========================================================================= Date: Sat, 7 Oct 1995 02:46:12 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: knon in dallas As many of you know, I do a blues radio show at KNON FM in Dallas. We have two of those weekly newspapers in town (you know, the ones with the Personal Ads in the back). A couple of weeks ago KNON was voted Best Radio Station in Dallas in one of them, The Dallas Observer. I think that's the third time we've received that honor. Then this week, The Met has a cover story on Dallas radio. Inside they analyzed every radio station in town for the highlights and low lights. The highlight at KNON was "That blues show. So good you'll want to kill yourself." I guess that's a compliment. Anyway, our blues programming is actually 5 different shows done by 5 volunteers, all of whom do a great job. It's pretty nice to be recognized as part of the best programming on the best radio station in Dallas and for the blues to be recognized as the best format on the best radio station. Now if we could just get some of our lousy commercial radio stations to start playing Larry Garner and Anson Funderburgh! Don O. still grinnin' ========================================================================= Date: Sat, 7 Oct 1995 02:55:07 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: Anson and Sam I got to see Anson Funderburgh and the Rockets with Sam Myers last night at the Blue Cat in Dallas. Great show, as usual, and a packed house. Sam says they are set to go in the studio later this month for Blacktop. The last half of the last set was mostly new material and covers I have not heard them do recently so I guess they were working on their set list for the new album. I particularly liked their version of Money (that's what I want). Anson was a'blazin' on that one. They also came back and did a real nice encore of Albert Collins' Frosty. Big fun in Big D. While playing around here lately they have been traveling in a huge blue panel truck. Sort of looks like the SWAT team parked out front. Yeah, The Blues SWAT team. Don O. ========================================================================= Date: Sat, 7 Oct 1995 05:08:13 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - October 7th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BLACKWELL, ED (d) d. 1992-1007, HARTFORD, CT 62 BLACKWELL,FRANCIS "SCRAPPER"(g/LEROY CARR)d. 1962-1007, INDIANAPOLIS, IN 59 BROWN, MEL (g/BOBBY BLAND/SILENT PARTNERS)b. 1939-1007, JACKSON, MS COOK, WILL MERCER (songw/afro-amer) d. 1987-1007, WASHINGTON, DC 84 DANIELS, BILLY (v/THAT OLD BLACK MAGIC) d. 1988-1007, LOS ANGELES, CA 73 GRANT, FELIX (dj) d. 1993-1007, WASHINGTON, DC 74 JACKSON, LAYMON A. (b) d. 1993-1007, ATLANTA, GA 62 JAMES, CLIFTON (d) b. 1936-1007, CHICAGO, IL JONES, JO (d/BASIE) b. 1911-1007, CHICAGO, IL JONES, LEROI (IMAMU AIMIRI BAKAKA)(author)b. 1934-1007, NEWARK, NJ LEWIS, SMILEY [OVERTON AMOS LEMONS] (g) d. 1966-1007, NEW ORLEANS, LA 53 MACON, DAVE UNCLE (bjo) b. 1870-1007, SMART STATION, TN MELLENCAMP, JOHN COUGAR (:) b. 1951-1007, SEYMOUR, IN MURRAY, STEVE (BLUES L MEMBER) b. 1943-1007, BERKELEY, CA MUSE, CLARENCE (songw afro-amer) b. 1889-1007, BALTIMORE, MD REDDING, ZELMA ATWOOD (songw/OTIS' wife) b. 1942-1007, MACON, GA SILVESTER, TONY(of MAIN INGREDIENT/POETS) b. 1941-1007, COLON, PANAMA VEGA, TATA [CARMEN ROSE VEGA] (v) b. 1951-1007, QUEENS, NY WEATHERSPOON, WARREN (d/BOBBY PARKER) b. 1954-1007, CHICAGO, IL YOUNG, LARRY (o/LIFETIME) b. 1940-1007, NEWARK, NJ ------------------------------------------------------------------------------- ========================================================================= Date: Sat, 7 Oct 1995 05:19:28 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this date Kind of interesting, in view of some of the bizarre threads seen here lately. On this day in 1954, Marian Anderson became the first black singer hired by the Metropolitan Opera Company in New York. On the same day one year later cellist Yo Yo Ma was born. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sat, 7 Oct 1995 10:16:29 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Re: Byron on CLAPTON Comments: To: bit-listserv-blues-l@moderators.uu.net Bruce, Soory to but in on your message but its the space I've been lookin' for. Zappa's various versions of Stairway To Heaven are bluesier than Clapton's I should know I have about 20 different versions on live tapes and I don't play no musical instrument, but I sure can sing Moanin' At Midnight or Crossroads in the shower!!! I'm white, middle aged and live in England - does this qualify me to be a blues artist? I couldn't resist either!! Onto wider things: To all those who are hand wringing over Blues-L and the debate about Black and White, etc. Lets get it straight - this is an open and honest debate, the problem is there are too many po-face sods who want to theorise for hours about the whole thing. Charlie Patton, Robert Johnson, Memphis Minnie, BB King, Albert King, Wynonie Harris, Louis Jordan, Roy Brown, Lightnin' Hopkins were in the game because they wanted to make some money out of it. Simple, it wasn't an art to them it was a chance to make some cash and get on with their lives make a living and enjoy themselves. Guys like Patton, Johnson and Leroy Carr etc didn't hang around studios after a recording session and think "God, I in fifty years time that session will regarded as a classic" even though it might have been. No, they went and got themselves a drink and some pussy. Recording sessions, live shows, tours - the lot - it was about making a living and getting along. Some were more successful than others. Some made one record and were forgotten despite making a damn good record.Its good that we talk about them today, its good that articles are written about them and the recordings re-issued on CD again. They would be delighted and the first thing they would want to know, quite rightly is when do I get paid. Fact. Been there, seen it, read the book and got the T shirt. In regards to so-called white blues. The situation from my point of view is simple - agonise all you like, but there are lots of blues fans around here and in the USA who are not, repeat are not going to be convinced by arguments that Jimmy Page, EC, Alvin Lee, Jeff Beck, The Yardbirds, Led Zep, Savoy Brown, Blodwyn Pig, Jerry Garcia were blues artists. It don't matter a monkeys to me. UK beat groups from the 60's, rock bands from the seventies, no matter how they are marketed have no real place on Blues-L. There are many fine white blues artists around - Ronnie Earl, James Harman, Bill Clarke, Little Charlie and the Nighcats, Roomful etc. They are quality and they stick with blues/R&B and also perform original material, but re-cycled they are not. Finally, as for the stuff about Layla!! This is song about a rock star, and at that time a drug addled rock star, Clapton, lusting after George Harrisons missus and wanting to get his end away with her! Pain! Hurt! My arse. Now, if it had been Tommy Johnson lusting after......"Beeeesssssie!! Ya Got Me on Ma Knees!!!" Chow for now!! TB ========================================================================= Date: Sat, 7 Oct 1995 10:31:04 GMT Reply-To: "Ian K. Mckenzie" From: "Ian K. Mckenzie" Subject: Re: knon in dallas Comments: To: bit-listserv-blues-l@moderators.uu.net Don O wrote: >A couple of weeks ago KNON was voted Best Radio >Station in Dallas in The Dallas Observer. I think that's the >third time we've received that honor. Then this week, The Met has a cover >story on Dallas radio. Inside they analyzed every radio station in town for >the highlights and low lights. KNON in Dallas, is the best `blues` station I've ever heard (Even through they dope have other `community' programming' "Sponsored by Extra Tech Communication". ALL the DJs are very knowledgeable and the music played by each is spot on. There's something for every taste. I know that Don.O knows that I enjoy Marc Tuton - acoustic blues - but the others including Don himself play some great stuff. When I worked in Fort Worth, Tx, I listened all the time. Now I'm back home again in the UK I am confined to 45 mins per week of Paul `bloody' Jones who is obsessed with harp players, do-wop and music that verges on soul. I'd give my right hand to be able to listen to KNON every day! *********************************************** Ian K. McKenzie University of Portsmouth England ************************************************** ========================================================================= Date: Sat, 7 Oct 1995 22:19:00 +0900 Reply-To: =?ISO-2022-JP?B?GyRCNUhCPDkwPk8bKEI=?= From: =?ISO-2022-JP?B?GyRCNUhCPDkwPk8bKEI=?= Subject: Nothing but the Blues in JPN I went to EC's concert last night. It was great blues show. I enjoyed his guitar play and singing. Especially, "I'm tore down", "Have you ever loved a woman" and "Before you acccuse me" were very good. I want to hear more encores if possible. This time, only "Nobody's biziness if I do" was encore song. (I heard there were three or four encore songs in US tour.) And also I hope concert fee will be much cheeper! P.S. Is there any news-group or www about "Freddy King" or other blues players? Please tell me, if anyone knows about these news-group or www. Hiro from Tokyo. ========================================================================= Date: Sat, 7 Oct 1995 06:34:54 +0100 Reply-To: "J. Witteveen" From: "J. Witteveen" Subject: Re: Laments for Blues-l - why? >After years of logging on every day, I am >seriously considering abandoning blues-l. > >Blues-L has always been a place where there were >controversies and disagreements and debates. That's >been great. >Lately, in the pasty 6 months or so, there's been a >change of tone that depresses me... As a subscriber to Blues-L for a grand total of two weeks, I've seen a lot of discussion on an age-old controversy (can a white boy play the blues?), and I really don't see much of a problem. There is difficulty in having a written discussion, on the internet or not - it's easier to sling barbs when your not face to face, and when you're thousands of miles away and know you'll probably never see a person anyway. However, I think this ``change of tone' is overblown (although i wasn't here 6 mo. ago). If you really want some bad vibes, try subscribing to the Midnight Oil list, announce that you're politics lean towards conservatism...and watch the flames come pouring in! Or, better yet, subscribe to a religious discussion group! I've gotten a lot of great info here already, and I'm really enjoying myself. So...don't jump ship just yet! -Jim (A white boy who freely admits that, although he can play the guitar and sing, he can't play the blues like a true bluesman can, but he can have a heckuva lot of fun trying! :-) E-mail: hndful@uniserve.com ========================================================================= Date: Sat, 7 Oct 1995 06:44:34 +0100 Reply-To: "J. Witteveen" From: "J. Witteveen" Subject: Blues Road Trip 1996 Hi all! First or all thanks to those of you who responded to my question about Miss. juke joints - much appreciated. Now for another question (this one a little more detailed): A friend and I are travelling to Miss. in August of next year for the Sunflower River Blues Festival. Does anyone have any recommendations about `must-see' blues sites for fanatics anywhere between here (Vancouver, Canada) and there? Thanks for your help! -Jim E-mail: hndful@uniserve.com ========================================================================= Date: Sat, 7 Oct 1995 06:47:19 -0700 Reply-To: Stephen Morrison From: Stephen Morrison Organization: CRL from Atlanta Subject: Re: Help me program Muddy/Wolf tape Comments: To: bit-listserv-blues-l@uunet.uu.net Jim Wong (jwong@BROBECK.COM) wrote: : Hello: : I'd like to make a 90 minute tape from the Muddy and Wolf Chess : boxes...but...how do you pare them down to 45 minutes each. Well, I : can't, so that's why I'm asking for your help and suggestions. Help : me program 45 minutes of essential Muddy and Wolf. : The reason I'm doing this is because my car pool won't tolerate more : than 45 minutes of this music. Go figure! Get a new carpool! How can you pare this down?! Cheers, -- * Stephen D. Morrison "Two wrongs don't make a right..... * Smorris@CRL.Com ......but it sure makes a good excuse!" * Smyrna, Georgia WWW Link ---> http://www.crl.com/~smorris ========================================================================= Date: Sat, 7 Oct 1995 15:12:54 GMT Reply-To: Patrik_Urbansson@online.idg.se From: Patrik Urbansson Organization: IDG Online, Stockholm, Sweden Subject: Crossroads Blues Society Hi you all! As a member of Crossroads Blues Society, Kalmar (Sweden) I've been asked to let you know what we are doing up here among the polarbears. Crossroads Blues Society were founded 1991 and are dedicated to the black blues tradition. What we do foremost are organize concerts with both known and unknown bluesartists. Among the known are Brewer Philips, Jimmy Rogers, Big Jack Johnson, Carey Bell and Phillip Walker. The last Thursday every month we have a concert with Swedish bands. Crossroads Blues Society also issue a newsletter 4 times a year and we have a radioshow once a month (or at least that's our goal). We are interested in Promotion CD's and we would like to get in touch with artists and booking agents. If anyone of you bluezellers are in the neighborhood, give us a call! Crossroad Blues Society Patrik Urbansson Email: Patrik_Urbansson@online.idg.se ========================================================================= Date: Sat, 7 Oct 1995 15:54:16 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Little Sonny - Blues With a Feeling Comments: To: bit-listserv-blues-l@uunet.uu.net An obscure label called Schoolkids' Records has released Little Sonny - Blues With A Feeling: Ann Arbor Blues & Jazz Festival Vol. 2 (SKR2102-2) This is on a label that might not be easy to find or could easily be passed by some. As its name implies these are live recordings by Little Sonny - 8 tunes (approximately 50 minutes). Also there are commentaries by John Sinclair, producer of this release who organized the festival and had these tapes and Little Sonny (approx. 12 minutes). Sound quality is very good for live recordings of this period. You hear very little from the audience. At the time of this recording, Little Sonny's first Enterprise label LP ( Black & Blue) had been released and he was developing some recognition because of it. Tunes include: The Creeper Returns/They Want Money/A Woman Named Trouble/ Going Down Slow/Hot Potatoes/Honest I Do/Blues With A Feeling/Sad Funk A nice addition from an artist who should receive greater recognition. Vol. 1 in this series is called Please Mr. Foreman:Motor City Blues at the Ann Arbor Blues & Jazz Festival. I've not heard or seen this one but the artists include Little Jr. Cannaday, Joe L. Carter, Bobo Jenkins, One String Sam, Johnny Mae Matthews, Washboard Willie, Dr. Ross, Boogie Woogie Red, Baby Boy Warren, Eddie Burns, Mr. Bo, Eddie Kirkland and more. Has anyone heard this? Any views on it? BTW - The disc indicates these recordings are from "The John Sinclair Audio Archives". This is intriguing because of other artists listed as performing at this festival included: Freddy King, Luther Allison, Otis Rush with Jimmy Dawkins, Lightnin' Slim, Bobby Bland and surprise guests Robert Jr. Lockwood & Johnny Shines. Maybe we could pry more recordings from this festival out of John & Schoolkids' Records. Schoolkids' email address is label@schoolkids.com according to the disc. TIME FOR AN EMAIL CAMPAIGN! Art Schuna ========================================================================= Date: Sat, 7 Oct 1995 14:07:34 -0400 Reply-To: rew4@PSU.EDU From: Ross Whitwam Subject: the rewards of performing the blues (was: Re: Byron on CLAPTON) Comments: To: blues-l%brownvm.BITNET@psuvm.psu.edu I suspect you're knowingly over-simplifying things to make a point, and perhaps for a certain comic effect as well. But I'll bite nonetheless. Most everyone wants to get paid well to do what he or she does. That's human nature. But surely you don't think financial and sexual rewards are the *sole* reasons why these people sang their songs? I find it hard to believe that Charley Patton, say, didn't know how good he was, how special he was. I'm sure he took pride in his abilities and was driven at least to some extent by his belief that he was creating something better than anyone else around him. Making a living is important, but there are other, perhaps easier ways, to do it than as an itinerant blues singer. And how does your theory explain people like Mississippi John Hurt who were essentially amateur performers, making their livings elsewhere? Ross Whitwam rew4@psu.edu Dept. Biochem + Molec Biology Penn State University + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Tony Burke wrote: >Charlie Patton, Robert Johnson, Memphis Minnie, BB King, Albert King, >Wynonie Harris, Louis Jordan, Roy Brown, Lightnin' Hopkins were in the >game because they wanted to make some money out of it. Simple, it wasn't >an art to them it was a chance to make some cash and get on with their >lives make a living and enjoy themselves. > >Guys like Patton, Johnson and Leroy Carr etc didn't hang around studios >after a recording session and think "God, I in fifty years time that >session will regarded as a classic" even though it might have been. No, >they went and got themselves a drink and some pussy. > ========================================================================= Date: Sat, 7 Oct 1995 13:14:06 -0500 Reply-To: 00lcspector@bsuvc.bsu.edu From: Lee Spector <00lcspector@BSUVC.BSU.EDU> Subject: Women in Blues My favorite women in blues are Katie Webster and Marva Wright. Others include: Bonnie Lee Big Time Sarah Linda Hornbuckle Zora Young Dietra Farr Saffire Valerie Wellington (young, but no longer with us) ========================================================================= Date: Sat, 7 Oct 1995 14:36:14 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Whose Blues, definition, and "Afindrafindrao" I'm going to make one more (one last?), hopefully less inflamatory take on this thread. The other night, I went to a David Lindley concert, where, among other things, he played the Madagascarian song "Afindrafindrao," which he introduced as the "Whipping Post" or "Old Joe Clark" of Madagascar. He played it on the Bouzouki, and, in his hands, it sounded like Medieval lute music. His performance remade it into something of his own, establishing links between disparate musical styles in a wonderful way that is typical of Lindley. He was quick to acknoweldge his sources, but he also made it into something of his own. And noone there thought they were hearing "the real thing from Mdagascar." I listened quite happily to Lindley. At other times, I've seen musicians outside contexts that I consider to be blues use blues elements to great effect. One musicians I have thought of repeatedly in this thread has been Steve Cropper. I don't think he would claim for himself the status of "blues guitarist," although he uses blues elements in phrasing and timing on his guitar. He made it into a style of his own, and it was/is a style essential to the development of ========================================================================= Date: Sat, 7 Oct 1995 20:09:18 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: was Whose blues..now it's done Patti Bowman (patti@ABEL-INFO.COM) wrote: : > I think to say an American : >is something other than an American, implies that they are not 100% American : >I am not a European American, just because that's where my ancestors are from : >I'm 100% American, to say someone is African-American, tells me that they are : >part African and part American....Which would imply that they are not 100% : >American... : Yes, but your European ancestors *probably* made a choice to come here : and therefore had a choice in being "Americans". : The Africans that came here did not have the same travel arrangements. : I think it's a personal choice what one calls oneself. : My ancestors are French, German, and American Indian). : That is part of my make-up, heritage, background. : I wish to be neither limited, categorized, glorified nor punished by that fact. : I am NOT 100% American (like that's some prize for accomplishment instead : of luck-of-the-draw). Doing the math, I am 1/16 American Indian, 1/4 : french, etc.... Anybody want to venture just what the hell an "American" is, anyway? Before you can be 100% anything, you gotta know what defines it. Far as I can tell, we're all decendants of a bunch of people who wound up here, either by force or by choice, on someone else's soil. One way or another, we systematically eradicated most of the native peoples, stole their land and resources, and created a mongrel race commonly referred to as "Americans." The very concept of "Americans" implies an evolutionary, cross-cultural identity. Anything else is just a lite. ============================================================================ Jef Jaisun eljefe@netcom.com ============================================================================ -- eljefe@netcom.com ========================================================================= Date: Sat, 7 Oct 1995 16:39:00 -0400 Reply-To: rew4@PSU.EDU From: Ross Whitwam Subject: Re: Charlie Patton Lyrics Comments: To: blues-l%brownvm.BITNET@psuvm.psu.edu I'm always happy to take the opportunity to plug R.R. McLeod's books on the blues-l. The lyrics to this and all the other pre-war blues songs that might stump you can be found in McLeod's series of four (and counting) lyric books. McLeod has grouped his transcriptions according to the Yazoo and Document albums on which each song appears: _Yazoo 1-20_ covers lyrics from all of Yazoo's first 20 releases, _Yazoo 21-83_ covers lyrics from Yazoo's next 62 releases, and _Document Blues_ and _Document Blues 2_ cover lyrics from Document releases not listed in the other two books. They are published by the author who can be reached at 19 Braiburn Terrace, Edinburgh, EH10 6ET Scotland. I find them a terrific resource, and the author, who wrote to me personally thanking me for buying his products, is a really nice guy. At the very least, I'd recommend people bug their local libraries to acquire them. verse V of "Banty Rooster Blues": My hook's in the water and my cork's on top My hook's in the water and my cork's on top How can I lose, Lord, whith the help I got? Ross Whitwam rew4@psu.edu Dept. Biochem + Molec Biology Penn State University + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + GDKimball wrote: >Hi folks, > >I need some help transcribing a Charlie Patton tune, "Banty Rooster Blues" >on "Founder of the Delta Blues" Yazoo 2010. Can anybody out there tell me >what Patton sings on the fifth verse ? For that matter, I wouldn't mind >the whole thing just to compare with my own interpretation. I'd also be >interested in verses and variations of the lyrics by other artists, as >well as other slide versions of the tune. >Gregg in Richmond ========================================================================= Date: Sat, 7 Oct 1995 14:57:28 -0600 Reply-To: BMPECH@mscd.edu From: Bruce Pech Subject: Re: Whose blues? (I dunno); Amp'ing Nationals In-Reply-To: On Fri, 6 Oct 1995, Paul Garon wrote: > In SINGING THE MASTER, Roger D. Abrahams notes that whites often > appropriate black culture and use it for different moral and aesthetic > purposes. *Without even suggesting that this difference is inferior, > can one ask, with different moral and aesthetic purposes, is it still blues? > Why? Just because it sounds like it? What of its cultural purpose in its > original setting?* I thought THAT was the blues. > > It would be interesting to try to address some of these questions without > the vitriol (which I must admit, I certainly contributed.) (Emphasis added.) Paul posed an interesting question. But the presumption that the moral and aesthetic purposes of "white blues" differ substantially from those of "black blues" is really at the heart of the debate. I think I'd ask whether it's possible for the moral and aesthetic purposes of the blues to transcend their original cultural setting because they reflect, at least in part, culturally underdetermined univerals. (Not surprisingly, the debate here on blues-l is closely akin to the "culture wars" raging in the humanities.) I'd like to think that the answer is "yes," but I don't pretend to know. A respectable body of opinion says "no way." Unfortunately the net is ill-suited to examining these issues "without vitriol." If professional conferences and scholarly articles adressing similar questions routinely degenerate into an exchange of polemics, a free-wheeling e-mail dialog is even more likely to breed instant, passionately intense misunderstanding (as Paul noted in a later post). The information superhighway has its express lanes -- and its dead ends. The "whose blues" thread appears to have reached one of those dead ends. To shift into reverse ... LW and others asked about pickups for Nationals. A local luthier recently showed me a Highlander pickup designed for National Resophonic reissues. It consists of a replacement biscuit with a circle of flexible, piezo-type wire fastened to the bottom. When the biscuit is screwed down, the wire's sandwiched between the biscuit and the resonator. (The replacement biscuit looks like it'll also fit vintage Nationals and National-style Dobros.) In principle, the pickup should capture the distinctive sound of the resonator better than other piezos (although probably not as well as a mike). Unfortunately, it was the first Highlander resophonic pickup he had installed and the installation wasn't finished -- so neither he nor I know how well it works in practice. For further information and specs, Highlander's address is 305 Glenwood Ave., Ventura, CA 93003 (I'm not affiliated, etc. -- I found the address in Acoustic Guitar). BP Boulder, CO ========================================================================= Date: Sat, 7 Oct 1995 15:22:24 -0600 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: Byron on CLAPTON Comments: To: Tony Burke In-Reply-To: <813060989.10249@bluestb.demon.co.uk> Having done it, I would have to say that taking a shower in England might qualify one as a blues artist if done on a regular basis. Jay Watterworth CU Boulder On Sat, 7 Oct 1995, Tony Burke wrote: > and I don't play no musical instrument, but I sure can sing Moanin' At > Midnight or Crossroads in the shower!!! I'm white, middle aged and live > in England - does this qualify me to be a blues artist? > > Chow for now!! > > TB > ========================================================================= Date: Sat, 7 Oct 1995 21:24:24 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Interlude Going nomail for a coupl'a weeks BE NICE(R) TO EACH OTHER! phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [7/10/95 17:22 PM] "Saturday I go out to play..." ========================================================================= Date: Sat, 7 Oct 1995 14:55:33 -0700 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Billboard Blues Chart for week of 10/14/95 The following is the Billboard Magazine Blues Chart for the week of 10/14/95. * indicates that the item is making it's chart debut ** indicates a chart re-entry; the item has been on the chart before, fallen off, and is now back on. 1. From The Cradle/Eric Clapton 2. Handful of Blues/Robben Ford & the Blue Line 3. Cover To Cover/The Jeff Healey Band 4. Some Rainy Morning/Robert Cray 5. Gov't Mule/Gov't Mule* 6. Blues/Jimi Hendrix 7. Chill Out/John Lee Hooker 8. Live '92-'93/Albert Collins & the Icebreakers 9. Standing On the Bank/Tab Benoit 10. Roll of the Dice/The Fabulous Thunderbirds 11. Texas Sugar/Strat Magik/Chris Duarte Group 12. Essential Blues/Various Artists (House of Blues Records) 13. Keb' Mo'/Keb' Mo' 14. 25 Years of Louisiana Music/Various Artists (Rounder Records) 15. Blues Of The Month Club/Joe Louis Walker Mary Katherine ========================================================================= Date: Sat, 7 Oct 1995 18:07:38 -0400 Reply-To: rew4@PSU.EDU From: Ross Whitwam Subject: Re: WILLIE BROWN Comments: To: blues-l%brownvm.BITNET@psuvm.psu.edu I think a major part of the reason Willie Brown isn't as celebrated as some of his contemporaries is because he didn't record very much as a frontman. He recorded just four of his own songs for Paramount when he was in Grafton, WI with Son House, Louise Johnson, and Charley Patton on 28 May 1930. ("M & O Blues", "Future Blues", "Kicking In My Sleep Blues" and "Window Blues". Are the last two even available?) And he sang on only one song ("Make Me A Pallet On The Floor") when Alan Lomax was recording Son House and friends at Lake Cormorant, MI in August 1941. I suspect that even Son House might have been a relatively overlooked figure if he had left us with only the six songs he recorded for Paramount in 1930. Being extensively recorded by Lomax twice (in 1941 and 1942) and being available in the flesh for audiences and cameras in the 60's helped draw attention to the extent of his talent. Of course, Tommy Johnson didn't leave a very large recorded legecy either, and he certainly isn't lacking for acclaim. But Johnson's style is so arrestingly distinctive that he just naturally stands out from his likewise under-recorded contemporaries, such as Brown. Bound to get more attention. It's not as if Brown's work as a sideman *transformed* the songs of Patton and House. Brown complemented them, but very little of the brilliance of their work can probably be laid at Brown's door. (Willie Dixon, on the other hand, as song-writer and arranger, no doubt was an integral contributer to the brilliance of Muddy Waters, Wolf, et al.) Ross Whitwam rew4@psu.edu Dept. Biochem + Molec Biology Penn State University + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + LW wrote: >I was wondering, why do you think Willie Brown, who was there when Son House, >RJ....etc was doing their thing, never got the attention he deserved .... > >I think his contribution and unpopularity (relativly speaking) is similar to >Willie Dixon's contributions and being overshawdowed by his "peers"... > ========================================================================= Date: Sat, 7 Oct 1995 15:24:13 -0700 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Billboard Blues Chart for week of 10/14/95, re-post > >The following is the Billboard Magazine Blues Chart for the week of >10/14/95. Re-posting needed because I left the double asterisk of entry #15, sorry. > >* indicates that the item is making it's chart debut >** indicates a chart re-entry; the item has been on the chart before, >fallen off, and is now back on. > > >1. From The Cradle/Eric Clapton >2. Handful of Blues/Robben Ford & the Blue Line >3. Cover To Cover/The Jeff Healey Band >4. Some Rainy Morning/Robert Cray >5. Gov't Mule/Gov't Mule* >6. Blues/Jimi Hendrix >7. Chill Out/John Lee Hooker >8. Live '92-'93/Albert Collins & the Icebreakers >9. Standing On the Bank/Tab Benoit >10. Roll of the Dice/The Fabulous Thunderbirds >11. Texas Sugar/Strat Magik/Chris Duarte Group >12. Essential Blues/Various Artists (House of Blues Records) >13. Keb' Mo'/Keb' Mo' >14. 25 Years of Louisiana Music/Various Artists (Rounder Records) >15. Blues Of The Month Club/Joe Louis Walker** >> >Mary Katherine > ========================================================================= Date: Sat, 7 Oct 1995 19:05:44 -0400 Reply-To: Hanson123@AOL.COM From: Karen Hanson Subject: First post Hi! I've been a subscriber for about a week now and have been content just to lurk, but now I have been asked to relay a message to all you regular Blues-l'ers -- Jim Bardsley asked me to tell you all that the computer system's down at his U. and he won't be online for a couple of days. (It just occurred to me that he e-mailed me, so I guess that means his computer at home is working....?) Anyway, I've enjoyed reading the posts, although I admit I'm overwhelmed at the number of them and I hope I can keep up. Crossing fingers and hoping I sent this to the right place....! Karen ========================================================================= Date: Sat, 7 Oct 1995 19:17:20 -0400 Reply-To: Bottlenekk@AOL.COM From: Joe Norris Subject: Kooper and Bloomfield MIA? Comments: cc: Wiley837@aol.com Not exactly a blues question, but I've run out of resources. Any of you know whether "The Further Adventures of Kooper and Bloomfield" exists on CD, and if so, where to find it? Joe Norris (bottlenekk@aol.com) ========================================================================= Date: Sat, 7 Oct 1995 18:43:05 -0500 Reply-To: Rob Varak From: Rob Varak Subject: The best opening line... L W does it again. Maybe that promotion has given him new inspiration, but this is _absolutely_ the best opening line I've seen in a post in a long time: No race content (sorry).... Bravo! Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Sat, 7 Oct 1995 19:00:22 -0500 Reply-To: Rob Varak From: Rob Varak Subject: Re: Lament for Blues-l Comments: To: Ian Angus In-Reply-To: <9510061816.aa12851@admin.dis.on.ca> Ian Angus wrote (in part): But whatever the reason is, it is depressing. Blues-l is not what it was, and the change is not for the better. - - - - - - - -- - - - - - - - - - - - - - - - - - - - - - - - - - - - - Welcome to the ever-expanding internet. I've been using the net for about 3 years, and in that relatively short time I've seen the quality of posts drop in _every_ newsgroup, mailing list and IRC channel. It's the price that's paid for a net that reflects the "real world" more and more every day. Not to be all negative though. There are still benefits and joys to be gained from the net and blues-l in particular. In fact, my personal experience is that blues-l is FAR AND AWAY the best discussion group around! For the most part discussions stay away from personal attacks, and the knowledge and helpfullness of the group as a whole are second to none. There is more of a community spirit on this list than on any other 10 lists. In short, (though it may be too late:) I would like to pose a challenge to everybody on the list. This applies in particular to the "old-timers". Remember that the only cure for "bad speech" is "good speech". Keep trying to contribute and stay away from flame-bait. In the long run, the "marketplace" of ideas will win out and this will be a happier place. I'd better end this before I quote Justice Holmes again, Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Sat, 7 Oct 1995 19:01:45 -0500 Reply-To: Rob Varak From: Rob Varak Subject: Re: Lament for Blues-l Comments: To: Wayne Ross In-Reply-To: Wayne, Stick around. While this is an ugly couple days, overall the list is absolutely invaluable as a resource and entertainment. You won't be sorry. Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Sat, 7 Oct 1995 21:04:31 -0600 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Howard Tate Please, I was just out driving and tuned into our local, weekly blues show here (at least we get one once a week -- and it is great!) and caught the end of "Get It While You Can" by Howard Tate. It almost caused me to drive off the road -- soul to the max. Can anyone tell me more about Howard Tate? Jay (wondering where he's been) Watterworth CU Boulder ========================================================================= Date: Sat, 7 Oct 1995 22:29:44 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Y Malmstein p.u. band info for??? My server is supsected of not sending FROM: or REPLY TO: fields in msgs from AOL subscribers, so, this is for whomever asked about details for backing Yngwie. Send me a message with your e-mail address in the sig if you get anywhere with this... Friday Oct. 20 Yndwiq Malmsteen (any bands looking to support one of the all time great guitarists contact United Talent 620 - 1156) This is for a gig at Toto's in Schuamburg, IL, here in the NW burbs of Chicago. So, the (undefined) Area code may be (708), else try (312) for Chicago. Toto's number is (708) 397 - 7000 Hope it leads somewhere, somewhen. Mike ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Sat, 7 Oct 1995 22:05:55 +0100 Reply-To: "J. Witteveen" From: "J. Witteveen" Subject: Re: cash talkin' + >Tony Burke wrote: > >>Charlie Patton, Robert Johnson, Memphis Minnie, BB King, Albert King, >>Wynonie Harris, Louis Jordan, Roy Brown, Lightnin' Hopkins were in the >>game because they wanted to make some money out of it. Simple, it wasn't >>an art to them it was a chance to make some cash and get on with their >>lives make a living and enjoy themselves. >> >>Guys like Patton, Johnson and Leroy Carr etc didn't hang around studios >>after a recording session and think "God, I in fifty years time that >>session will regarded as a classic" even though it might have been. No, >>they went and got themselves a drink and some pussy. I have read quotes from bluesmen who are amazed that, thirty years later, people are still listening to (and discussing) their songs. And Lightnin' Hopkins is heard (on the Jewel/Paula box set) replying to someone `Hey, I didn't get paid to tell no stories...just lemme sing this one and get out of here!' (or words to that effect). -Jim (hndful@uniserve.com) ========================================================================= Date: Sun, 8 Oct 1995 00:56:56 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Follow Your Heart - more stats Well zellers, a decision has been made, but, before I tell you the story (I think I'll keep you on edge until tomorrow - one full of twists and turns and temptations and signs), I've got more stats... An overwhelming number of the latest replies have been from those who followed their hearts, instead of the money. This leads me to the conclusion that: 1. If you follow your heart, it means less money (usually, at least for a very long time). 2. Having less money means you'll have a slower connection to the net. 3. Having a slower connection means that your replies arrive later than the others. ;-> Mike ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Sun, 8 Oct 1995 00:06:14 -0700 Reply-To: Garry Segal Comments: RFC822 error: CC field duplicated. Last occurrence was retained. From: Garry Segal Subject: Fab TBirds Review Comments: cc: rocket@telalink.net Caught the new Fab Tbird line up in New Haven CT Sept 29. I'm a long time fan of the band and use to see them play Tips in NOLA before they hit nationally. Kim Wilson was great and all the new players are good but...it just wasnt a TBirds show. It sounded like any bar rock/blues band on a Fri night. The majority of the show was full tilt rockin blues . They opened with Tear it Up and put the pedal to the metal. The keyboard player was good but the organ wasnt up in the mix enuf. The highlight? Kims harp solo ! WOW he cranked his Tweed Twin reverb head up and cranked out some super harp, great interplay with Fran C. on drums the only orig 'Bird along with Kim. Wrap it Up though, sounded like they hadnt rehearsed it and kinda muddled through it. The new tune Roll of the Dice was cool and stood out as a tight song in a night of lots 'o' rock outs. Guitarist Kid Ramos was good and he is one strong M**her F***er the TX shuffle feel was elusive though, and he had a pretty clean tone mostly played a strat through a Marshall rig from what I could tell.Played a nice slow blues near the end of the show. Overall a decent rockin blues show but without the versatility in songs and feels of past shows IMHO. Jimmy Vauhgns show several months ago there had more of a groove going . Just another one nighter, catch both of these guys, Kim and Jimmy are out there doin it right. Garry ( isnt the cooperative spirt between blacks & whites in blues what makes it so great ? ) S. BlueSngr@ix.netcom.com http://www.island.net/~blues/BlueSngr.html ========================================================================= Date: Sun, 8 Oct 1995 03:23:07 -0500 Reply-To: derek.hunter@COMPUSTUFF.COM From: Derek Hunter Organization: CompuSTUFF On-Line Services Subject: Information Hello all, I am new to the Internet and I am kind of lost. I love the blues and would like to know more about this area and what goes on here. I would also like to know of some other places I could go to get information on and to discuss jazz and blues. I would appreciate any and all help. Thanks. -Derek- ========================================================================= Date: Sun, 8 Oct 1995 07:03:09 -0400 Reply-To: SkylineBH@AOL.COM From: Bruce Houghton Subject: NEW SKYLINE BLUES TOURS MIGHTY SAM MC CLAIN, DEBBIE DAVIES, MERL SAUNDERS & THE RAINFOREST BAND MIGHTY SAM MCLAIN "10/07/95","","Husky Blues","Storrs","CT","(203) 429-2587" "10/08/95","","Shooters..","Providence","RI","(401) 273-2555" "10/21/95","","Harper's Ferry","Allston","MA","(617) 254-9743" "12/08/95",","BB Kings","Los Angeles","CA","(818) 622-5464" "11/05/95","","Riverwalk Blues Festival","Ft. Lauderdale","FL","(305) 760-7282" DEBBIE DAVIES "10/02/95","","El Madrid","Albuquerque","NM","(505) 242-0829" "10/04/95","","Night Moves","Kansas City","KS","(816) 452-8399" "10/06/95","","Fleetwood's","Alexandria","VA","(703) 739-7355" "10/07/95","","Warmdaddy's","Philidelphia","PA","(215) 627-2500" "10/27/95","","Theodore's","Springfield","MA","(413) 739-7637" "10/28/95","","RAoul's","Portland","ME","(207) 773-6886" "11/02/95","","Old Bay","New Brunswick","NJ","(908) 246-3111" "11/04/95","","Towne Crier","Pawling","NY","(914) 855-1444" MERL SAUNDERS & THE RAINFOREST BAND "10/06/95","","Boulder Creek Brewing Co.","Boulder Creek","CA","(408) 338-7175" "10/11/95","","Witz End","Steven Point","WI","(715) 344-9045" "10/12/95","","Buddy Guy's Legends","Chicago","IL","(312) 427-1190" "10/13/95","","Que","Iowa city","IA","(319) 337-9107" "10/14/95","10/15/95","Club De Wash","Madison","WI","(608) 256-3302" "10/17/95","","Shank Hall","Milwaukee","WI","(414) 276-7288" "10/20/95","","Sigma Alpha Epsilon House","Oxford","MS","(601) 234-6654" "10/21/95","","Clinch Mt. (Residence)","Luttrell","TN","(615) 579-0742" "10/23/95","","House of Blues.","New Orleans","LA","(504) 529-2624" "10/25/95","10/26/95","White Rabbit","austin","TX","(512) 472-2221" "10/27/95","","Smitty's","Little Rock","AR","(501) 224-7665" "10/28/95","10/29/95","Chester's Place","Fayetteville","AR","(501) 587-0521" ALWAYS CALL THE VENUE TO CHECK DETAILS!!!!! ========================================================================= Date: Sun, 8 Oct 1995 10:59:54 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Re: Billboard Blues Chart for week of 10/14/95 Comments: To: bit-listserv-blues-l@nac.no Mary Katherine... Lotsa BLUES releases there huh? TB ========================================================================= Date: Sun, 8 Oct 1995 11:02:14 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Re: Little Sonny - Blues With a Feeling Comments: To: bit-listserv-blues-l@nac.no Art, Do you have an address for Schoolkids Records? I know that Sequel have the rights in the UK to the Ann Arbor stuff and will be putting stuff out later on, but I din't know this stuff was around. TB ========================================================================= Date: Sun, 8 Oct 1995 08:30:46 -0400 Reply-To: gpalmer@ICCU6.IPSWICH.GIL.COM.AU From: gpalmer@ICCU6.IPSWICH.GIL.COM.AU Subject: Re: Lloyd Glenn (Blues) CD's Do you know where in Australia or overseas that I could purchase any new or second hand Lloyd Glenn blues CD's. Australian record shops report that catalogue listed CD's are out of stock. G. Palmer, Brisbane, Australia. ========================================================================= Date: Sun, 8 Oct 1995 10:18:09 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - October 8th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ADAMS, PEPPER (bsax) b. 1930-1008, HIGHLAND PARK, IL BELL, ROBERT "KOOL" (b/KOOL & THE GANG) b. 1950-1008, YOUNGSTOWN, OH CARNEY, HARRY H. (bsax/ELLINGTON) d. 1974-1008, NEW YORK CITY, NY 64 CASH, FRED (of THE IMPRESSIONS) b. 1940-1008, CHATTANOOGA, TN DAVIS, SAM (p) b. 1885-1008, NEW ORLEANS, LA DUNCAN, AL (d/songw/CHESS REC) b. 1927-1008, MCKINNEY, TX FREEDMAN, MAX C.(songw/ROCK AROUND THE CL)d. 1962-1008, PHILADELPHIA, PA 69 FREEMAN, H. GORDON(co-owner: CAPITOL REC) d. 1988-1008, NEW YORK CITY, NY 86 GREEN, DOCK JR.(of THE DRIFTERS/5 CROWNS) b. 1934-1008, NEW YORK CITY, NY HANDY, W. C. JR. (promoter) b. 1904-1008, CLARKSDALE, MS HEARD, J. C. (d) b. 1917-1008, DAYTON, OH JACKSON, JESSE REV. (:) b. 1941-1008, GREENVILLE, NC LEJEUNE, IRY (IRY LEJUNE) (acc/cajun) d. 1955-1008, EUNICE, LA 26 MOORE, OSCAR F. (g/NAT KING COLE TRIO) d. 1981-1008, LAS VEGAS, NV 64 PITCHFORD, LONNIE LEE (g/ROOSTER BLUES) b. 1955-1008,nLEXINGTON, MS RILEY, TEDDY (songw/prod) b. 1967-1008, NEW YORK CITY, NY SINGER, HAL "CORNBREAD" (tsax/SAVOY REC) b. 1919-1008, TULSA, OK TROTMAN, ERNIE (p) b. 1920-1008, BOSTON, MA WILLIAMS, CLARENCE (p/songw) b. 1898-1008, PLAQUEMINE DELTA,LA ------------------------------------------------------------------------------- ========================================================================= Date: Sun, 8 Oct 1995 11:03:30 -0400 Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Little Sonny - Blues With a Feeling Comments: To: bit-listserv-blues-l@uunet.uu.net In article <813150134.28243@bluestb.demon.co.uk> Tony Burke writes: >Do you have an address for Schoolkids Records? The address is Schoolkids' Records, 523 E. Liberty, Ann Arbor, MI 48104 Phone 313-994-8031, email address label@schoolkids.com Art Schuna ========================================================================= Date: Sun, 8 Oct 1995 11:13:14 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Bill Wharton & The Ingredients I spent ALL day yesterday alternately roasting in the Florida sun, and dousing it's fire with cold beer, at the 1st Tarpon Springs Blues Festival. I went there to do do two things mainly. One... to drink beer and eat great barbeque, and two.... to see Chris Cain. I was not disappointed in either department. They had my favorite local brew on draught, and Chris Cain was wonderful (I'm going to see him again tonight) However, I was treated with a great surprise. I had heard of, and had opportunities to see, Bill Wharton and the Ingredients before. I avoided all those other opportunities totally due to faulty assumptions I had made about his act, based on, I'm ashamed to say, things like race and culture (a popular topic here lately). Bill is white, his band is white, and he sells own brand of hot sauce called "Liquid Summer". From these "facts", my pea sized brain decided he was basically a "southern rock" band with a gimmick. As usual, pre-judging was my loss. Bill Wharton and the Ingredients have a mountain of "SOUL". A gumbo of Blues, Gospel, and Boogie is about the best description of Wharton's music. His lyrics are clever and memorable. And speaking of Gumbo, as an integral part of his act he whips up a big pot of gumbo right on stage (which he ladles out to anyone who wants some after his act). His guitar playing is all over the place. His lead slide playing ranges from loud and cliche filled, to very soulful and creative, but his rhythm playing is outstanding. I plan to add some Wharton records to my collection just for some rhythm guitar inspiration. I thoroughly enjoyed this band. Their mastery of Gospel, and JLH style boogie grooves, made me very envious. So I guess I'm saying don't EVER let melanin levels enter into your musical judgement, it's a piss poor scale of measurement. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 8 Oct 1995 15:33:23 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Lloyd Glenn (Blues) CD's Comments: To: bit-listserv-blues-l@uunet.uu.net In article gpalmer@ICCU6.IPSWICH.GIL.COM.AU writes: >Date: Sun, 8 Oct 1995 08:30:46 -0400 >From: gpalmer@ICCU6.IPSWICH.GIL.COM.AU >Subject: Re: Lloyd Glenn (Blues) CD's >Do you know where in Australia or overseas that I could purchase any new >or second hand Lloyd Glenn blues CD's. Australian record shops report that >catalogue listed CD's are out of stock. An 18 track Lloyd Glenn CD on the Night Train label, is listed in the latest catalog of Roots & Rhythm. (Newsletter #102). These are Swingtime recordings recorded between 1947-52 and are recommended. The title of the disc is Chica Boo (NTI CD 7009), which according to a sticker on the disc is featured in the movie, "Devil With A Blue Dress On" which was recently released in this country. In addition to the Lloyd Glenn, they also offer a Johnny Otis, Lowell Fulson and Jimmy Witherspoon disc of Swing Time and related labels from the about the same time period. They will take orders from outside the US. You can email them at roots@get.hooked.net. Considering how hard it is to find Night Train CDs in this, the country of their origin, you may be the only Australian with Night Train discs should you place an order. ;-) Art Schuna P.S. Lloyd plays piano on at least some of the Lowell Fulson disc, "Every Day I Have The Blues" (Night Train NTI CD 7007). The Johnny Otis in this series is also recommended and does not have much overlap with a previous Johnny Otis Night Train release. I've not picked up the Witherspoon disc yet in this series. As someone posted to me regarding Night Train, they are so tough to find that you will have instant collectables if you are successful in tracking them down. >G. Palmer, Brisbane, Australia. ========================================================================= Date: Sun, 8 Oct 1995 11:56:16 EDT Reply-To: "Eric C. Shoaf" From: "Eric C. Shoaf" Subject: BB on TV BB King is slated to make a guest appearance on NBC's "Fresh Prince of Bel-Air" television program. My guess is a rap duet of some sort (just kidding!). E. Shoaf ========================================================================= Date: Sun, 8 Oct 1995 11:58:19 EDT Reply-To: "Eric C. Shoaf" From: "Eric C. Shoaf" Subject: BB on TV: When That would be Monday October 9 at 8:00 pm. E. Shoaf ========================================================================= Date: Sun, 8 Oct 1995 16:22:56 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Re: the rewards of performing the blues (was: Re: Byron on CLAPTON) Comments: To: bit-listserv-blues-l@moderators.uu.net Ross, Many of those blues men who didn't become full time musicians, did so in my view because they couldn't make it at the time. Patton in particular was a major star, most of those guys had to find employment in industry or agriculture etc. i have never met a blues musician yet who didn't want to become a full time musician or stay full time. Most recognise they couldn't make a living that way. My argument is that for guys like Patton, Johnson etc being a full time profesional artist gave them the chance to get a better life, as they saw it. Sure Patton knew he was good, fuckin' good too. As did Johnson at lotsa others, but they didn't invest their money in a new house etc. they spent the lot and good luck to them. Reality for them was poss. a short life and a little time in which to enoy themselves. As my mate Keith Briggs says in B&R 104, Patton found that being a pro musician allowed him to wear a suit all the time and get himself women when he wanted. Thats his life! Tony ========================================================================= Date: Sun, 8 Oct 1995 10:42:07 PST Reply-To: "D. ALLEN SIMPSON" From: "D. ALLEN SIMPSON" Subject: Aretha on Letterman For those interested, FYI: Aretha Franklin will be the musical guest on Letterman, Mon. 10.9.95. Doug. ========================================================================= Date: Sun, 8 Oct 1995 10:53:00 PDT Reply-To: Gary Joneson From: Gary Joneson Subject: Re: Little Sonny - Blues With a Feeling >Do you have an address for Schoolkids Records? 523 E Liberty Ann Arbor, MI 48104 (313)994-8031 (800)445-2361 WEB Page is at: http://www.schoolkids.com/ >I know that Sequel have the rights in the UK to the Ann Arbor stuff and >will be putting stuff out later on, but I din't know this stuff was GJay King Biscuit Time http://www.island.net/~blues/ ========================================================================= Date: Sun, 8 Oct 1995 14:58:32 PDT Reply-To: Anand Prabhakar From: Anand Prabhakar Subject: John Lee Hooker Hey does anyone know if any big blues concerts are coming to NJ. I really want to see John Lee Hooker in concert. Um I dunno where any blues clubs are around here, I don't live too close to NYC or Phila, but if you have a clue, please drop me a line Anand ========================================================================= Date: Sun, 8 Oct 1995 12:28:57 -0800 Reply-To: Bob and Becky Hardin From: Bob and Becky Hardin Subject: Bowlful of Blues at Ojai Greetings from the West Coast! Just got back from the 13th Annual Bowlful of Blues last night up in Ojai, CA. Put on by FARM - Foundation for American Roots Music - and it was, IMHO, their best-ever show (in the last 3 years that I've been going). It's always an ecletic show, and this year was no exception, to wit: Buddy Smith Tribute Band King ernest and hi Wild Knights -------------------------------------------------------------------- | Bob & Becky Hardin | The Rule: | | email: hardin @ pacificnet.net | There is _always_ an | | http://north.pacificnet.net/~hardin | exception to the rule. | -------------------------------------------------------------------- ========================================================================= Date: Sun, 8 Oct 1995 20:09:25 GMT Reply-To: David Goldstein From: David Goldstein Organization: IPOF Subject: Re: Blues anyone? help yourself. Comments: To: bit-listserv-blues-l@uunet.uu.net Someone just replied: >This is becoming very faascinating reading. > >I had a hang nail once and it really hurt. Can I sing the Blues? > >"Educated idiots" thats an oxymoron isn't it? to a posting that didn't attack or criticize anyone. This is the type of criticism for it's own sake that is trivializing this list. If you want to see your words in print so bad, email something to yourself. Now that would be true self-aggrandizement. ========================================================================= Date: Sun, 8 Oct 1995 13:01:01 -0800 Reply-To: Bob and Becky Hardin From: Bob and Becky Hardin Subject: Bowlful of Blues at Ojai Uh, sorry about the earlier partial posting (Gawd, newbies!) - 2nd try: Greetings from the West Coast! Just got back from the 13th Annual Bowlful of Blues last night up in Ojai, CA. Put on by FARM - Foundation for American Roots Music - and it was, IMHO, their best-ever show (in the last 3 years that I've been going). It's always an eclectic show, and this year was no exception, to wit: Buddy Smith Tribute Band King Ernest and his Wild Knights A surprise guest. Tom Ball and Kenny Sultan Local harp and acoustic guitar duo, have played here _every_ year. Good stuff - check 'em out! Long John Hunter Inspired to play when he saw B.B. King in concert. Spent 13 years in Juarez, Mexico as the house act at the Lobby Bar (8 PM to sunup, 7 nights a week!) and played guitar backed by the house band here. Rosie Ledet and the Zydeco Playboys The latest thing out of Lafayette (actually Church Point, Louisiana) - how many _female_ Zydeco acts are there, anyway? The Boogie Woogie Kings: Rob Rio, Carl Sonnie Leyland, and Big Joe Duskin Separately, and then together. Rob's piano didn't work, so he spent some time at each of the other players over their shoulder or in between their hands. Then, they finally got his piano working and all three did a couple more numbers together! The place was rockin' er, boogyin'! Kenny Neal Wow! This guy rocks - he played guitar, harp (some may know his daddy, Raful) and bass (played with Buddy Guy at the age of 17). I was blown away. If there was one thing that would have made this festival perfect, it would have been to have him close it out. Also, his drummer was awesome. I can't remember his name, but he played with the Steve Miller Band on "Fly Like An Eagle". Oscar Brown, Jr. One of the living legends of jazz, he performed with the traditional setup (electric piano and standup bass) this guy not only sang, he acted! He was a show by himself. My favorite was his rendition of "A Ladies' Man" Can't wait for the "Bowlful" next year - look for it the first weekend in October, and get out here if you can! Bob -------------------------------------------------------------------- | Bob & Becky Hardin | The Rule: | | email: hardin @ pacificnet.net | There is _always_ an | | http://north.pacificnet.net/~hardin | exception to the rule. | -------------------------------------------------------------------- ========================================================================= Date: Sun, 8 Oct 1995 20:12:23 GMT Reply-To: David Goldstein From: David Goldstein Organization: IPOF Subject: Lament for Blues-l Comments: To: bit-listserv-blues-l@uunet.uu.net Everyone gets to choose their weapon. If you feel that you have been drawn in against your will and forced to lower your standards, maybe it's time to reevaluate your standards. There is some great stuff on this list, and I, although a mere novice at contributing anything to the knowledge of the blues, will gladly stand up for all who endeavor to follow this path. ========================================================================= Date: Sun, 8 Oct 1995 15:57:03 -0400 Reply-To: Jessica Sowin From: Jessica Sowin Subject: Kooper and Bloomfield MIA? Joe Norris asked: >Any of you know whether "The Further Adventures of Kooper and Bloomfield" exists on CD, and >if so, where to find it? The only active title by Kooper/Bloomfield the Legacy/Columbia/Epic/Sony Music catalog is "Super Sessions." Give me a coupla days and I'll check on "Further Adventures." Jessica Sowin Legacy Recordings 550 Madison Ave., Room 3135 NYC, NY 10022-3211 ========================================================================= Date: Sun, 8 Oct 1995 17:37:21 -0400 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Whose Blues? An archetypal experience Comments: To: bit-listserv-blues-l@uunet.uu.net As this thread bashes back and forth once again, I would like to offer a different perspective. I had an interesting conversation Saturday in Helena with Mike Aiello, drummer for the Radio Kings. I asked Mike what the European audiences were like from the performer's standpoint. He expressed delight, saying they seemed so genuinely appreciative and into the blues, that the band loves to play for them. Mike went on to suggest that in spite of their 1/3 heritage, the 2/4 beat strikes a chord deep within all people, predating the 1/3. The Brothers Grimm and other folklorists long ago determined that fairy tales and religious histories, etc., bore the same elements universally, when stripped of their cultural peculiarities. The blues is an archetypal form of musical expression which gives voice to man's deepest feelings. This is why the blues are accepted by people who can't even understand the words within their cultural context. (E.g., "got my mojo workin'...") The feeling is primordial. Now, I would like to suggest, the real challenge for us, the largely white listening audience at present, is to give credit to the culture that created that form of expression and made it enjoyable. We have an obligation to give the younger generation of black people a sense of pride in their musical heritage. But beating the slavery and repression congos will only drive them away. Just as the juke joint and medicine show audiences of the 20's and 30's appreciated the artists, so must we. The focus belongs on the individual entertainers, their contributions, their influence on later musicians--black or white. Again, I want to stress that blues musicians are not single voices in a large, underprivileged choir. They are individual contributors of creative material to a style of playing and should be recognized as such. Robert Jr. Lockwood, for instance, is not a grandson or great-grandson of slaves, expressing what just naturally bubbles forth from that experience. He is an extremely talented and sensitive man whose lifelong body of work has influenced a number of other artists, including, most recently and most remarkably, a sixteen year old white kid from Atlanta, named Sean Costello, who plays some of the finest blues guitar I've ever heard in my life. Robert was more than happy to hear about this kid, meet him and encourage him, just as he spent a great deal of time with the 17 year old grandson of his old friend and fellow blues player, Houston Stackhouse. Radio, records and television have spread the culture far beyond its old boundaries, so that anyone may share in it, feel it and seek to express it. I grew up immersed in black culture in the South, moreso than most white kids even here. This gives me a discernible edge on the dancefloor :-) but does not make a blues musician out of me. So argue black and white until you're all blue in the face, but don't denigrate the artists by grouping them and don't rob the fans of their enjoyment of the music. Thanks one and all, Denise ========================================================================= Date: Sun, 8 Oct 1995 17:50:09 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Lament for Blues-l I want to thank everyone who responded to my original post under this title. Some of the posts were public, some were by private e-mail, all were very helpful and positive. Two specific responses: 1. To Paul G. Thank you for the apology I do want to make clear that I was not targeting my remarks at you. The "Whose Blues" discussion had highs and lows, and both you and I contributed highs and lows! But my post was meant to be more general -- I really do think there has been a general decline in the quality of blues-l this year. 2. To Rob and several others: thank you for reminding me that no matter how bad Blues-l gets sometimes, it is far better than 99% of what passes for discussion elsewhere on the net. But, as Shakespeare said, "Lillies that fester smell far worse than weeds." I'm more bothered by bad times on blues-l than on the rest of the nert, because I've come to expect more here. I'm not going to drop out. I am going to take a sabbatical -- I have to do some travelling, anyway, so I'm going no mail for about two weeks ... Then I will return, so watch out! Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Sun, 8 Oct 1995 16:09:23 -0400 Reply-To: Patrick Lynch From: Patrick Lynch Subject: Seattle Blues BBS Comments: cc: 102113.770@compuserve.com Hello, Bluezellers. I am currently operating a blues edu-info bbs (not on the net yet) in Seattle, Washington, USA. We have a local focus as far as calendar events goes, but much broader in scope when it comes to other materials. We are asking for contributions of writings from any of you who would be interested in offering your written word to our archives and features. We've noticed an unusually high level of writing ability displayed in this group. What we are looking for is reviews (recorded and performance), essays, and the like for publication on the board. The conditions are up to you, though the board is free, so we can't pay you. Any who are interested, please respond e-mail to: Patrick Lynch plynch@wolfenet.com Thanks! Find the Blues at "Caldonia's Online Blues", Windows/Excalibur , 206-402-4675 ========================================================================= Date: Sun, 8 Oct 1995 19:06:04 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: the rewards of performing the blues (was: Re: Byron on CLAPTON) Comments: To: tony@bluestb.demon.co.uk In a message dated 95-10-08 12:38:40 EDT, you write: >most of those guys had to find employment in industry >or agriculture etc. i have never met a blues musician yet who didn't >want to become a full time musician or stay full time. Most recognise >they couldn't make a living that way. Didn't Walter Vinson say he became a blues musician because he "got tired of smelling mule farts"? Tom Freeland ========================================================================= Date: Mon, 9 Oct 1995 00:03:23 GMT Reply-To: David Goldstein Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: David Goldstein Organization: IPOF Subject: Follow Your Heart Comments: To: msuffern@XNET.COM As has everyone on this list, when decisions are to be made there are a few things to consider. Food, security, sex, etc... It seems to me, in retrospect, that if I had made more choices that jived with my heart, I would have been as successful as I have ended up. While there are limits to certain choices, the choice that results in a sense of personal satisfaction and fulfillment will leave you with the energy to expand that choice to a degree that will give you the things that you need to survive. Your energy, that would otherwise be used up dealing with the anxiety and frustration of being in a place you really didn't want to be, will help you achieve more than you think possible in that place that fulfills you. So, unless the heart option is from all angles a dead end, I would believe that much more can be made of it than what it now seems to be. ========================================================================= Date: Sun, 8 Oct 1995 21:00:37 -0400 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Shock and disgust in Helena: B Guy Comments: To: bit-listserv-blues-l@uunet.uu.net Dear List Members: For those of you who did not have the pleasure of attending the King Biscuit Boy Festival, let me assure that, overall, it was a terrific event. I will cover this in more depth in other posts, but the things which really make us mad seem to be more motivating. You know, a complaint is more easily generated than a compliment. Thanks to my friends Jay and Lee Sheffield, who are new to the list, but are long-time blues hounds, I had the privilege of attending the Festival backstage. What a blast! The artists were uniformly fun and in good humor, almost competitive in a friendly way. The old guys were helping the young guys. It was delightful. But at about 10:00 Saturday night, this good spirit was suddenly invaded by a bunch of white thugs, who screamed at all of us (musicians, media, festival volunteers, family, etc.) to "get behind the bus!" I looked back, and they were motioning towards a tour bus parked several hundred feet back. "Get behind the bus, now, or there will be no show!!! Do you understand me people???!!! Get behind the bus or Buddy won't play!!!" I was standing with Cat Bauer and Dick Waterman at the time. Dick said, "I'm not going to take this," and moved closer to the stage. Cat explained that Buddy was serious, he'd had things thrown at him in the past and wasn't taking chances. And I told Cat that B.B. never treated his fans this way, and that I wasn't interested in supporting a performer who was so rude to his fellow musicians, festival volunteers, the media (who, after all, made him, in spite of his relative paucity of talent), etc. Such behavior generates rock throwing and worse. I do not exaggerate when I describe this as a gang of thugs. Next thing I knew, Waterman was ejected, and we left together, with me chanting, "Buddy will never be more than just a guy, B.B. will always be King" to Buddy's obnoxious staff. I hear I missed a good performance, but after the Guy Troop ruined the community spirit which had thrived at the Festival, I would probably have found fault with him anyway. If Buddy's management lurks on this list or if any of you know them, please understand that the personal manager is wrecking Buddy's career with his treatment of other people. If you are aware of incidents like the one I have described above and persist in this course, you will have a falling missile on your hands before long. If one thing is true about the blues, it's this: Eventually, bullshit walks. Denise Tapp ========================================================================= Date: Sun, 8 Oct 1995 21:02:53 -0400 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Helena, the Beautiful Comments: To: bit-listserv-blues-l@uunet.uu.net Having dealt with the only unpleasant aspect of the King Biscuit Boy Festival, I'd like to share some fun observations about this past weekend. All the talent contributed great performances. No one that I saw or heard was under par. Many were "home" with friends and family, and the lighthearted spirit permeated the music. The Festival staff made their preparations invisible, and the 6'6" Colonel who served as stage manager kept things flowing smoothly and without an iota of unpleasantness. It was the most "professional" looking endeavor that I have ever witnessed, which made the artists comfortable and able to do their very best. Luther Allison was a treat. His finale was a slide number, played to perfection using a brass slide on a classic Effold. I asked him about his choice of slide after his performance, and after advising him that the Fire Department was on its way (because he had set off the metal detectors with his show.) Luther said that he typically didn't use a brass slide, "because it stinks while I'm playing." But he wanted that special sound on Friday night, and we got it. Joe Louis Walker, who has, imho, never turned in a bad performance, was great. It was also fun to discover that he is an avid reader and to share recommendations with him. He was there early and stayed late to visit with his friends and to stock up on books and CDs at Bubba Sullivan's Blues Corner. This guy is an obvious fan of his fellow artists and supports them heavily. Robert Jr. Lockwood has a reputation for surliness, but, in Helena, he was part kid-in-a-candy-store and part potentate. He was there all day Friday and all day Saturday, even though his performance was Saturday evening. He was in front of the stage enjoying and encouraging the other talent, he visited Muddy's Cabin on the Blue Highway, and he even visited the kids' stage in hopes of seeing 16 year old (white) Sean Costello play. I made several great photos of him, which I hope to share with all of you: seated among a crowd of admirers in his Lorenzo di Medici cap; smiling proudly at 17 year old Houston Stackhouse, III; and locked in a mutually respectful and obviously affectionate hug with Dick Waterman. James Cotton was a scream. He is as much fun offstage as onstage. And like Lockwood, he brought Ronnie Earl up to play with him, as well as 11 year old white harp player, Brody Buster. Extremely generous and caring man. Gorgeous, smiling Irma Thomas floored the crowd when she announced that her first song, "was a hit for me in 1958, when I was 17 years old." Every man and woman in the audience started doing higher math in their heads, and the women looked at each other and said, "No way is she 54 years old." She was so pretty and energetic and sincere. It's not too late to get into this lady's music, which has influenced a couple of generations of rock, pop, soul and blues entertainers. It was great fun to see several other blues-l people, as always, but I'm sorry I missed the jam, Bill Morgan and others. If you saw a white woman crawling all over the stage and the levee with a camera, that was probably me. I'm worn out but very satisfied. The King Biscuit Boy Festival is scheduled for the weekend of October 11th next year, so go ahead and make your reservations now! Best wishes, Denise Tapp ========================================================================= Date: Mon, 9 Oct 1995 01:30:06 GMT Reply-To: Jim Farris Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Jim Farris Organization: New Age Documentation Subject: Re: magic sam/ron thompson Comments: To: don.o@CHRYSALIS.ORG wrote: >I just picked up one of the infamous Quicksilver/Intermedia "Magic Sam" >albums while buying a small Lp collection. A quick look at Blues >Records confirmed my suspicians that it was not really Magic Sam, but is >Ron Thompson. Anyone know who Ron Thompson is? Anyone know the story >of how and why this tape came to be marketed as a Magic Sam album?? >(actually 2) It isn't Sam, but it really ain't too bad. > >Don O. Hi Don, Ron Thompson told me, in his own words, the story of what happened. I'll summarize it briefly: Ron was listening to the radio one day and heard his own music coming over the air. Then, the announcer said that it was from Magic Sam's Last Recordings! He said that the whole situation was a nightmare, and it took him a long time to get it straightened out, but he finally got credit for his recordings. Ron continues to tour constantly and lives in LA. He also performs with Mick Fleetwood from Fleetwood Mac. Jammin' Jim Farris Blues DJ on KKUP 91.5 FM South San Francisco Bay Area, California ========================================================================= Date: Mon, 9 Oct 1995 01:43:56 GMT Reply-To: Jim Farris Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Jim Farris Organization: New Age Documentation Subject: Re: Ron Thompson Comments: To: NED_KRAFT@HP0000.DESK.HP.COM Ned Kraft wrote: >Ron Thompson is (was?) a SF bay area player of upbeat >blues tunes. I liked his live shows, but haven't seen >them around lately. His band was called Ron Thompson >and the Resistors. I'm sure someone else can come up >with a more complete description. I really liked their >version of "Hip Shake" - don't know if it's an original. >Don't need to move your hands, Don't need to move your lips >come on baby, just shake your hips. > >Keep cool, > >Dirty Ned >Hoosier Daddy Ron Thompson moved to LA, but he still tours to the SF Bay area. He was performing at Blues on B in San Mateo, California recently. I interviewed him for my radio show many years ago. He played and sang several songs during the interview, including "Hipshake." He still tours all over the place, performing with his own band as well as Mick Fleetwood from Fleetwood Mac. Jammin' Jim Farris KKUP 91.5 FM Cupertino (South San Francisco Bay), California ========================================================================= Date: Mon, 9 Oct 1995 02:06:19 GMT Reply-To: Jim Farris Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Jim Farris Organization: New Age Documentation Subject: Re: Muddy's Cabin is Open Comments: To: curtis@MAGICNET.NET Curtis, Great news! See you at Muddy's Place. Curtis Hewston wrote: >We've done a little housekeeping and have put Muddy's Cabin back online for >regular use. We think we've also nabbed a few cyberpunks and hope they >won't be back. > >Muddy's Cabin is a form-based WebChat room at The Blue Highway. You don't >need any special software to use it -- just a forms-capable web browser and >a little free time. > >You can get there from > >http://www.vivanet.com/~blues/cabin.html > >(If you've bookmarked and are using the old room, please enter the new door >to get to the new room.) > >Cat is leaving for the King Biscuit Festival tomorrow, and we'll have Robert >Jr. Lockwood, Luther Allison, Charlie Musselwhite, Otis Clay, Anson >Funderburgh, Joe Louis Walker, and Dr. John -- among other surprise guests >-- online Friday through Sunday. Check the Cabin for details. > >If you can't make it to the guest chats and would like to send an advance >question, you can do so to catbauer@aol.com > >If you've already sent advance questions to Cat at vivanet.com, we've had >some technical glitches this past week, so please re-send them to >catbauer@aol.com > >See you there. Take care. > >*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* >Howard just pointed with his gun and said, "That way. Down Highway 61." > >curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ >*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Mon, 9 Oct 1995 02:11:39 GMT Reply-To: catherin@NWLINK.COM From: catherin@NWLINK.COM Organization: COYOTE/Seattle: The Sex Workers Rights Organization Subject: Re: Byron on CLAPTON Comments: To: bit-listserv-blues-l@uunet.uu.net > David Silberberg writes: > At 11:12 AM 10/6/95, L W wrote: > >The acoustic Layla IS NOT LAYLA....I have no idea what it is, some kind of > >easy listening music. LAYLA is a cry , a scream, it's agony at it's best. > Unplugging can go too far: some songs are just too electric.... And some songs were just made for Strats and Marshalls... >>>> A tout a l'heure, Catherine La Croix Seattle, Washington ========================================================================= Date: Mon, 9 Oct 1995 02:22:28 GMT Reply-To: catherin@NWLINK.COM From: catherin@NWLINK.COM Organization: COYOTE/Seattle: The Sex Workers Rights Organization Subject: Re: Byron on CLAPTON Comments: To: bit-listserv-blues-l@uunet.uu.net > Tony Burke writes: > Bruce, Soory to but in on your message but its the space I've been > lookin' for. -snip- > around here and in the USA who are not, repeat are not going to be > convinced by arguments that Jimmy Page, EC, Alvin Lee, Jeff Beck, The > Yardbirds, Led Zep, Savoy Brown, Blodwyn Pig, Jerry Garcia were blues > artists. > > It don't matter a monkeys to me. UK beat groups from the 60's, rock > bands from the seventies, no matter how they are marketed have no real > place on Blues-L. Then you've obviously never listened to the Clapton catalog very closely... >>>> A tout a l'heure, Catherine La Croix Seattle, Washington ========================================================================= Date: Sun, 8 Oct 1995 20:14:54 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Howard Tate Comments: To: Watterworth Jay > From: Watterworth Jay > I was just out driving and tuned into our local, weekly blues show here > (at least we get one once a week -- and it is great!) and caught the end > of "Get It While You Can" by Howard Tate. It almost caused me to drive > off the road -- soul to the max. > Can anyone tell me more about Howard Tate? Born in Macon GA in '38; raised in Philadelphia where he sang with soul pioneer Garnet Mimms and played some with Bill Doggett. Recorded for Verve in the late 60s, sessions produced by Jerry Ragovoy (who also produced Mimms' great "Cry Baby"). The Verve sessions included "Get It While You Can", and an album of the same name was released in '67 or thereabouts and re-released a couple of years later with two additional tracks. Tate continued to record into the early 70s for various labels (Turntable, Atlantic and Epic, some of these also produced by Ragovoy) before "disappearing into legend", to quote the liner notes from the recent CD reissue of his Verve material. This CD (also called Get It While You Can, on Mercury) is indeed a wonderful example of soul blues. BTW, according to Bill Shute another great Ragovoy soul production is about to be reissued: Lorraine Ellison's "Stay With Me". Keep your eyes peeled for this one. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Sun, 8 Oct 1995 22:49:17 -0500 Reply-To: SGLIWA From: SGLIWA Organization: Delphi (info@delphi.com email, 800-695-4005 voice) Subject: Grand Slam-Magic Slim Comments: To: bit-listserv-blues-l@uunet.uu.net Anyone know if Magic Slim's Grand Slam from '83 is available on CD? Steven James Gliwa ========================================================================= Date: Mon, 9 Oct 1995 00:00:33 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Mary Flower I know that her album Blues Jubilee came out in 1994, but... I interviewed Mary last night from her home in Denver and she was delightful! She stayed on the phone with me (live on the air) for an hour. We talked about her music, her guitars, being on the road, and her association with other great blues players. If you aren't familiar with this Blues Lady, pick up her album Blues Jubilee on Resounding Records. She does a few of her own as well as tunes by Scrapper Blackwell, Blind Lemon Jefferson, Jelly Roll Morton and more. Mary gets help on the album form Steve James, Spencer Bohren and several members of the Subdudes. The album is worth every penny. IMHO - Beef Stew - WHUS Radio ========================================================================= Date: Sun, 8 Oct 1995 22:45:44 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: Cultural Differences...Then I Might Shut Up Comments: To: shannon oconnor On Fri, 6 Oct 1995 12:23:59 EST shannon oconnor wrote: > One more observation to ponder, then--as I said above--I might shut > up. I'm beginning to resent the implication that there are only two > "cultures" at work in this issue, black and white. Isn't that a bit > simplistic? It sure is! Many of us has absorbed bits and pieces of other cultures. Some of us actively puruse that. More should. I attempt to share my culture with friends that are unfamiliar with it and try to get involved in theirs. My Mexican-American friends are pretty familiar with my culture, but they've been interested in hearing some Blues and have given me tips on making my chile sauces from scratch. I take my Russian friends out to the racetrack (thoroughbreds) or to Blues clubs to show them some of our American culture, both places have a wide range of Americana present, all getting along, having a good time. I go to Indian and Thai restaurants with other friends. I'm going to ask my black friends if any of them know of a good Sunday Gospel service that we can go to (I'd like to see what worship would be like with a bit more intensity of emotion like in the Blues). That's America. And for anyone who doesn't think each generation will absorb more of these cultures, you're wrong. Sad as that may be for those who study other cultures. I think that's good, it's what makes America unique and it's our hope for the future. I think we will always carry some of our familial culture with us (we now see a trend to *not forget* your heritage - I just don't think that means that you have to reject being an American.). > Geez, people, it's music with a rich cultural *history.* Preserve > and appreciate the history, but live in the NOW! > > Shannon Bravo Shannon, I think that finishes that! Mike ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Mon, 9 Oct 1995 00:12:35 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Billboard Blues Regarding the Billboard Blues Charts: IMHO, I think it's great that they're acknowledging Blues at all. It's a step in the right direction. It'll help some radio programmers to realize that there is an audience for Blues (even if rock based). Some commercial stations around the nation using the relatively new Triple A format are programming cuts from John Mayall's, Spinning Coin, The Hoax's new album, Sound Like This and (dare I say it) Buddy Guy's newest, Slippin In. For what its worth... Beef Stew - WHUS Radio ========================================================================= Date: Mon, 9 Oct 1995 14:21:49 +1000 Reply-To: Daniel Bruce From: Daniel Bruce Subject: Trade Ins Just thought I would share this. I found some Cd's in my collection which will rarely if ever get played and decided I could live without them. No, they were not blues, just some crap which I picked up really cheap etc etc I took them to my local Book & record exchange and returned with a veritable treasure trove of blues LP's. Blues LP's are very rare in australia because unlike america nothing in the blues ever charted in the country and never gets airplay on anything other tha the occasional specialist shows. So what did I get............. Little Milton - We're gonna make it (old Checker album, not original but released during the electronically enhanced to simulate stereo period) Albert King - Masterworks (double greatest hits LP but has some lesser known tracks as well) Joe Louis Walker - The Gift (which has always been highly rated on the list) also got a John Lee Hooker CD single from his latest album. All - in - all seemed like a good deal for 7 cd's which I will never play. All the LP's are in good nick. Just wanted to share my good luck. -- Daniel Bruce | Genasys II Pty Ltd, Sydney, Australia | "Born under a bad sign, been down since I began to crawl | If it wasn't for Bad Luck, Wouldn't have no luck at all" | Albert King | Internet: danielb@g2syd.genasys.com.au ========================================================================= Date: Sun, 8 Oct 1995 23:15:41 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: Blues anyone? help yourself. Comments: To: TSCHANZ@VM.TEMPLE.EDU Right On Bill! I just got done playing my heart out an hour ago (in the 'smoking room' - wife don't like cigarette smoke). I started playing because I took yesterday off for my callouses and wasn't feeling at first. It was of course pretty lame. The first lyrics to the second song hit me right away and a sorrow in my heart welled up and out came the Blues! I'm talkin' deep Blues. That's why I don't swing too much, a necessary evil to mix up the tempo of the set, but, I just can't feel that much. Mike - who's going back to the smoking room to play some more while imagining a cold gray winter day among the factories of Germantown. On Fri, 6 Oct 1995 16:49:05 EDT William R. Tschanz wrote: >I would like to dance on this thread for just a few oscilations. > It's possible that you might have heard the saying >"you got to suffer to play the blues" > Now I grew up in a project in north Phily, Been In a lot of juke joint >you understand me. Now if I hear someone singin the blues I can tell >If their singin the blues or playin the blues because their soul tells me >thru their performance how much they suffered Yes I sing the blues. >I earned my right to play the blues. Black culture? I'm Blond hair ,blue >eyed soul seen more shit than I care to say. And I sing the blues. >And I don't need some educated idiots to explain to me what the blues >is. Further more , If bb did hear some one singin the blues he >wouldn't say yes or no. He'd probably just shake his head and say >I've been their. > Willy from northwest phily > Just an old dog tryin to hump a puppy > >____________________________________________________ >| > >| WILLIAM R. TSCHANZ TSCHANZ@VM.TEMPLE.EDU > >| CIVIL ENGINEERING WRTSCHANZ@AOL.COM > >| TEMPLE UNIVERSITY ----------- > >|___________________________________________________> ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Sun, 8 Oct 1995 22:51:41 -0600 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: Whose Blues? An archetypal experience Comments: To: DeniseTapp In-Reply-To: <459gah$erm@newsbf02.news.aol.com> Denise, Thanks for your insights. I agree with you and couldn't have said it better myself. That is one thing I really enjoy about blues-l: I am constantly learning new aspects about an art form I love. At times even those engrossed in the flame wars impart wisdom in all their passion. Or despite it. Thanks again. Jay Watterworth CU Boulder On Sun, 8 Oct 1995, DeniseTapp wrote: > As this thread bashes back and forth once again, I would like to offer a > different perspective. I had an interesting conversation Saturday in > Helena with Mike Aiello, drummer for the Radio Kings. I asked Mike what > the European audiences were like from the performer's standpoint. He > expressed delight, saying they seemed so genuinely appreciative and into > the blues, that the band loves to play for them. Mike went on to suggest > that in spite of their 1/3 heritage, the 2/4 beat strikes a chord deep > within all people, predating the 1/3. > > The Brothers Grimm and other folklorists long ago determined that fairy > tales and religious histories, etc., bore the same elements universally, > when stripped of their cultural peculiarities. The blues is an archetypal > form of musical expression which gives voice to man's deepest feelings. > This is why the blues are accepted by people who can't even understand the > words within their cultural context. (E.g., "got my mojo workin'...") The > feeling is primordial. > > Now, I would like to suggest, the real challenge for us, the largely white > listening audience at present, is to give credit to the culture that > created that form of expression and made it enjoyable. We have an > obligation to give the younger generation of black people a sense of pride > in their musical heritage. But beating the slavery and repression congos > will only drive them away. > > Just as the juke joint and medicine show audiences of the 20's and 30's > appreciated the artists, so must we. The focus belongs on the individual > entertainers, their contributions, their influence on later > musicians--black or white. > > Again, I want to stress that blues musicians are not single voices in a > large, underprivileged choir. They are individual contributors of > creative material to a style of playing and should be recognized as such. > Robert Jr. Lockwood, for instance, is not a grandson or great-grandson of > slaves, expressing what just naturally bubbles forth from that experience. > He is an extremely talented and sensitive man whose lifelong body of work > has influenced a number of other artists, including, most recently and > most remarkably, a sixteen year old white kid from Atlanta, named Sean > Costello, who plays some of the finest blues guitar I've ever heard in my > life. Robert was more than happy to hear about this kid, meet him and > encourage him, just as he spent a great deal of time with the 17 year old > grandson of his old friend and fellow blues player, Houston Stackhouse. > > Radio, records and television have spread the culture far beyond its old > boundaries, so that anyone may share in it, feel it and seek to express > it. I grew up immersed in black culture in the South, moreso than most > white kids even here. This gives me a discernible edge on the dancefloor > :-) but does not make a blues musician out of me. > > So argue black and white until you're all blue in the face, but don't > denigrate the artists by grouping them and don't rob the fans of their > enjoyment of the music. > > Thanks one and all, > > Denise > ========================================================================= Date: Mon, 9 Oct 1995 01:35:38 -0500 Reply-To: Dave Daubard From: Dave Daubard Subject: Re: ROBERT JR. LOCKWOOD Comments: To: CATBAUER In-Reply-To: <44oqic$6st@newsbf02.news.aol.com> I bought a tape from Mr. Lockwood when I met him backstage in K.C. a few years back. I have seen the tape advertised in the back of magazines since. It is called "What's the Score" by Robert Lockwood Jr. When he brought his band to C-U last winter, they played an upbeat, jazzy/blues style as on "What's the Score". Since he really is Robert Lockwood, Jr., not Robert Jr., I think that is what he prefers. The Robert Jr. has probably worn as thin as the questions of RJ without focusing on what a truly great musican Robert Lockwood Jr. is. Get a copy of "What's the Score". I love it. "Swingin' Dave"-WEFT Champaign ========================================================================= Date: Mon, 9 Oct 1995 01:06:25 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Job decided - Thanks friends! Well I just want to thank all who replied, too many to personally respond to. You made it a lot easier, you guys are the greatest! Apologies for not requesting private replies, I didn't even think. Here's what happened... Logic said take the money. Heart said take the art. When things get tuff, I look for hints from the Universe on which way to go. There were many: The heart job didn't want me originally because of a misunderstanding that the interviewer wrote on my resume - I was passed on for their consulting division. A week later they said that their product development department wanted to see me. I interviewed with them and found out they use the same Internet suite that I do and the position was researching new technologies focusing on Web development and Internet tools. I sent an E-Mail thanking the manager and closing with a statement telling him to put me on the team. He replied positively. His reply arrived two minutes after a personal message from a zeller - with the same last name! They later made me an offer. So did the company downtown, then they sweetened it. It was time to make a decision. The day I had to make my decision my headhunter called at 7 a.m. to sell me on the money job. I knew he was going to keep calling, and he was very persuasive. Well, due to heavy rains, Ameritech lost phone service to Elk Grove! I couldn't call out and he couldn't call in and bug me anymore. I headed to the pay phone to call and accept the heart job. Judith still wasn't feeling very secure about the decision as we headed downtown for the Monet exhibition at the Art Institute. 1 mile down the road a car gets on the highway in front of us - the license plate was the last name of the manager at the heart job (and our beloved zeller). O.k. Judith is now feeling 'safer'. The next day, as Judith was driving back from the store, she pulled up to the light next to the heart job company. The radio starts pumping out E.C. with Cream playin' "Crossroads". This is a good sign, there are few better. Judith has seen it time and time again, when E.C. comes on, whatever the immediate situation is will turn out o.k. - you're on the right track. Mike - who is feeling really great about following his heart! ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Mon, 9 Oct 1995 04:13:21 -0400 Reply-To: Lilleston From: Lilleston Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Shock and disgust in Helena: B Guy Comments: To: bit-listserv-blues-l@uunet.uu.net >>>If Buddy's management lurks on this list or if any of you know them, please understand that the personal manager is wrecking Buddy's career with his treatment of other people. If you are aware of incidents like the one I have described above and persist in this course, you will have a falling missile on your hands before long. If one thing is true about the blues, it's this: Eventually, bullshit walks.<<< Actually, I think Buddy is doing a fine job of ruining his own career by dressing up like Hendrix and playing "Voodoo Chile," which is what he did at Helena. (Actually, most of the crowd loved this, so we could continue the old Buddy Guy thread, which is kinda boring at this point.) Me, after seeing Joe Lewis Walker for the first time...I FELT THE CHILL!! Ohhhh, baby. Not to mention what the Radio Kings did to me both nights at the Sonny Boy Music Hall after hours. Not to mention seeing Rod Piazza hiking up the river levee at the main stage site, wireless harmonica mic in hand, jamming away as the throngs surrounded him and cheered and while his wife played piano with her feet on stage. Not to mention sitting on a curb in downtown Helena with a guitar-playing friend and jamming (I'm a harp player). Not to mention getting the attention of John Weston during this little performance and getting to talk to him on the street for 20 minutes. Not to mention getting to jam with him after he picked up my friend's guitar. Not to mention bumping into Ronnie Earl on Beale Street on Sunday afternoon. Not to mention winning at the blackjack tables in Mississippi. Not to mention...but you get the point. What a festival! ========================================================================= Date: Mon, 9 Oct 1995 04:09:50 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - October 9th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- AUGUST, JOE "MR. G" (v/OKEH/DUKE REC) d. 1992-1009, NEW ORLEANS, LA 61 BIG BO (MCGEE) (hca/LITTLE WHITT) b. 1928-1009, EMELLE, AL CAIN, JIMMY (tsax) d. 1982-1009, DETROIT, MI 86 CLARK, SAMUEL H.(owner:ABC PARAMOUNT REC) d. 1988-1009, NEW YORK CITY, NY 74 GARRETT, KENNY (asax) b. 1960-1009, DETROIT, MI JACQUET, JULIUS (tsax) d. 1961-1009, OAKLAND, CA 54 LATEEF, YUSEF (tsax/obeo/fl) b. 1920-1009, CHATTANOOGA, TN LENNON, JOHN WINSTON(g/songw/THE BEATLES) b. 1940-1009, LIVERPOOL, UK SNOWDEN, ELMER C. (g/LONNIE JOHNSON) b. 1900-1009, BALTIMORE, MD THARPE, ROSETTA SISTER (g/gospel) d. 1973-1009, PHILADELPHIA, PA 57 THIBODEAUX, ERNEST (g/NATHAN ABSHIRE) b. 1925-1009, BASILE, LA WALTON, GREELY (tsax/INK SPOTS' director) d. 1993-1009, 89 WRIGHT,O.V.[OVERTON VERTIS WRIGHT JR.](v) b. 1939-1009, LENO, TN ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 9 Oct 1995 11:44:27 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Paul JONES - FAT POSSUM CD I don't remeber well if it has been discussed on Blues-l when it came out, but even if it was, I can't resist. I bought this one a few weeks ago and it is really one of those albums that I can't get tired of listening to: Fat Possum 42090-2 PAUL "Wine" JONE: MULE Sam Carr - drums Kenny Brown - Gtr Big Jack Johnson - gtr Paul "Wine" Jones - gtr, vcls There's been quite a lot of discussion again on what or who should or should not be consider as bluesman. Now here at least it's clear and I've got an answer: Paul "Wine" Jones IS a REAL one. You can mix 30 Hoax, 30 Walter Trout, 30 Gary Moore and even add 40 Chris Duarte, the resulting stuff would not have 10% of the original, real and true energy we have here! (No flame, IMHO :-) The sound is raw, rough, the music is real, fascinating and deliciously obsessing and I would just ask him to continue his "Bad Times in Mississippi" or "Rob abd Steal" (or any other track of this album) during 20 minutes! Needless to say the support of Carr, Brown and the OIl Man is great! Those who don't want their blues polished, those who are tired of the pseudo energy of some contemporary blues-rock bands, those who dig Hound Dog, the Wolf, the fans of Burnside, Kimbrough or simply real stuff and energy should not hesitate one minute. Jean-Pierre Urbain ========================================================================= Date: Mon, 9 Oct 1995 11:45:32 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Review: BIG BOY HENRY (NEW MOON CD) As Bill Shute said recently on Blues-L , there are many many small or not-too-big labels producing great things. Here's an example with an album from an interesting traditional East Coast country bluesman. BIG BOY HENRY "Poor Man Blues" NEW MOON NMC 9508 For me, Big Boy Henry is one of those underappreciated traditionnal East Coast bluesmen that I've always liked since I discovered his music. Born in Beaufort, North Carolina on May 21 (for eRic, :-), he started to play when he was about 16 years old and learned a lot from listening to records of Blind Blake, Blind Boy Fuller, Buddy Moss, and playing with local musicians like Fred Miller, a guy called Red River, .... In 1947, he got a job at a records shop in New Bern, where they were also producing some live tapes for radio shows. That's how he came to the idea to record himself in 1947 and 1952 and even had the greater idea to keep these tapes. During the 50's and 60's he made a living out of fishing, some other jobs and was preaching in Churches. Big Boy was rediscovered in 1981 and his 47/52 tapes were published finally in 1988 by the Ducth label Swingmaster. I discovered Big Boy Henry in the mid 80's with the cuts (a 45 and an EP) he recorded in 1983 for the extremely interesting Audio Arts Records label from Greenville, Carolina. We had there a great example of the sound of Durham blues with much personnality and great songs/lyrics like "Mr Ball's Warehouse is Burnin Down" (that won an Award in 1986) and especially "Mr President" which was a letter to Ronald Reagan complaining about Reagan's social policy "People are Suffering, Man.... You know it's rough out there! .....It might be better in Washington DC, but not better here! Come Down in North Carolian Man, ... I'll show you how a Poor Man lives! ..." In fact, while mostly playing in the Piedmont/East Coast blues tradition, Big Boy is an interesting musicians since listening to his recordings clearly show a number of components which reflect the potential influence someone like Ligthnin'Hopkins could have had on his music. In the late 80's he recorded a very good album for Swingmaster and later created his own label Home Town Records on which he published at least two tapes. In 1993 he made an album for Erwin and here he is again with this new set that came out this year on Chapel Hill's based label New Moon. Big Boy Henry, along with some other East Coast country bluesmen (like Guitar Gabriel) were also recorded by Tim Diffy for one or two Anthologies which were published on his label (Music Makers)- Haven't heard it yet-. With the years passing by, it seems that Big Boy Henry plays less guitar than before, nevertheless, he is here backed by some interesting musicians including Lightnin Wells (which I think has been quite intrumental in Big Boy's new career as he appears regularly on records with Big Boy since the Audio Arts cuts) and other accompagnists on harp, washboard, drums, gtr. His voice on the other hand is still as good as ten years ago! While I have a personnal preference for two cuts (Rocky Montain, Lookin' For Me At Midnight) where he plays guitar and presents his personnal combination of East Coast/Hopkins blues or where he is simply accompagnied (probably) by Lightnint' Wells on guitar (like on the nice "Poor Man Blues" -actually a kind of remake of his Mr President) and by Mike Wesolowski (Miss Lucy Gray) om harp, the CD present 60 minutes of varied Piedmont country blues which is really worthwhile to discover. The music is simple, well played and refreshing (with a nice mandoline on several cuts like "Shake That Thing") or intimate like on "Rocky Montain" (if I'm not wrong originally written by Little Bill Gaither and later also played -wonderfully- among others by Lightnin'Hopkins and J.B. Lenoir) or on "Poor Amn's Blues" (with nice lyrics). Big Boy Henry really deserve to be much more wellknown than what he actually is, and he is certainly one of last East Coast blues player of his generation still active and that good! If you enjoy East Coast blues or traditional stuff in general, this is a very recommendable set. Jean-Pierre Urbain New Moon Music Inc, P.O.Box 3214, Chapel Hill, NC 27515-3214 Fax 919-933 78 75 Distributed in Europe (Benelux, France, UK, Germany) by ALL BLUES RECORD SERVICE (FAx/Tel +32-51-72 29 54). PS. I have no financial relation with (or interest in) ALL BLUES RECORDS SERVICE but simply find it so nice that there are finally serious people over here trying to distribute interesting products from small -or almost unknown- labels like this in Europe that I think that I can only support what they're doing for the blues! P.S. For those interested (and I know there are) I think that both albums on Swingmaster are still available in LP and both are really recommended albums (they also have some other wonderfull albums). Big Boy Henry - Strutt His Stuff (Swingmaster 2117) Big Boy Henry - I'm Not Lying This Time - 1947-52 recordings (Swingmaster 2114) Address: Swingmaster, Kruitlann 21, 9711 TW Groningen, The Netherlands Phone +31-50-124020. !! Good news for US bluezellers: Swingmaster LPs should still be available in the US directly from ERWIN MUSIC, 52 1/2 Wentworth Street, Charleston, SC 29401. ========================================================================= Date: Mon, 9 Oct 1995 12:24:09 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: ALGIA ME HINTON While I was listening to the Big Boy Hendry Cd and remembering his Audio Arts EP, A question came to my mind. In the early-mid 80's, AUDIO ARTS RECORDS did publish a very interesting EP (AAEP009) by ALGIA MAE HINTON. She also was the subject of a Documentary on Black Folk traditions produced, I think, by Alan Lomax. Does someone knows what happened with her. Is she still playing a lot ? Did she record anything since the Audio Arts sides? In the 80's she lived near Zebulon in North Carolina and if I remeber well she was metioned in an article by Axel Kustner in a recent issue of the Uk magazine Juke Blues. if someone knows anything about her, I'd be happy to hear it. Thanks Jean-Pierre Urbain ========================================================================= Date: Mon, 9 Oct 1995 07:27:25 CST Reply-To: William Shute From: William Shute Subject: SA Blues Notes From: Bill Shute Well, although sabotaged by poor sound and an unsympathetic rhythm guitarist who obviously wanted to be "the star," Joe Guitar Hughes still managed to turn in a fine performance at our blues-l get-together at Billy Blues on Friday night. However, far better than this particular live show is his new CD--all original compositions, a full horn section, a REAL treat. Unfortunately, carrying a full horn section is an economic impossibility with what bands of Joe Hughes' level of fame get paid, so this new CD--Texas Guitar Slinger, on the Dutch "Me and My" label-- is perhaps the ultimate dose of Joe Guitar Hughes that you can presently get. Expect a review from me this week on this AMAZING album. Opening act Tracy Conover is, IMHO, a better version of what Sue Foley has to offer--at least there is SOME sensitivity to the playing. However, the barrage of feedback, the one-dimensional vocals (unlike Foley's, at least Conover's are ON-KEY and not delivered in a flat, Joan Jett- esque manner a la SF), and the anemic James Brown medley (Joe Hughes was at the table next to us and looked like he had just had a tooth pulled during this set) will have me arriving late the next time Ms. Conover opens for somebody. Many exciting acts are planned for Billy Blues over the next month or two. Kudos to my pal Jerry Clayworth for pulling things together--and for taking advantage of the "deep pockets" the new owners have provided. I hope those $3.25 bottles of Red Stripe I was drinking and the six- dollar burger I ate help to keep the place afloat. Here are some upcoming highlights: l0/l3 Pat Boyack and the Prowlers l0/l4 Stretch Williams Band Bobby Mack and NIght TRain l0/l5 and l0/29 Los Suenos (two members of Coyote Dreams (let's hope that DOES NOT include their vocalist) who are doing a combination of acoustic country blues and mexican corridos) l0/20 6 pm dinner show by Finis Tasby l0/20 regular show Danny Cowan Mike Stockton and the Rhythmators l0/2l Chubby Carrier and the Bayou Swamp BAnd (his third gig in as many months. Carrier and Roddy Romero have built up devoted local followings) l0/22 Leon Russell (Leon couldn't get a gig at Gruene Hall, so he deigned to appear at Billy's. What an honor...) l0/24 Paul Orta and His Mighty Kingpins l0/26 River City Slim and the Rhythm Kings (great local band...) l0/27 W.C. Clark Blues Review (finally, the great Austin bluesman in SA) l0/28 Texas Johnny Brown and His Quality Blues Band l0/3l opening: Kathy Murray & The Kilowatts feature: Bo Diddley (two shows: at 8 and ll--I hear Bo is not in the best of health, that he will be sitting down, and his show will be 40 minutes long. I'll be trick-or-treating with my kids that night.) December 3l--NEW YEAR'S EVE R&B Tenor Sax legend JOE HOUSTON ------------------------------- I think that most Austin and SA blues people will be at Antone's next Friday night to see Luther Allison, although I may well stay in town to see Pat Boyack and the Prowlers. At least at the venues here in SA, you can always get a good seat, the dance floor is empty unless people are dancing (no waves of standing bodies blocking your view), and the artists are more approachable. We'll see... Well, if the Papal visit didn't make your town, don't fret...blues-l has featured more PONTIFICATING in the last week than the Pope did in his entire American Visit. People who have been on this list more than a few months are quite familiar with the hangups and agendas of certain posters, and all we can do is laugh at the predictability and non-sequiter- based "arguments" of these folks--the guilt-ridden yet hollow and insincere self-flagellation and the holier-than-thou tone only add to the overall entertainment value. It's kind of like a 90s version of those early Aldous Huxley novels (Crome Yellow, Antic Hay) where a group of pretentious nerds with no real life experience all make sociological pronouncements from different perspectives and by doing so exemplify both their own naivete and the inconsistency and shallowness of their positions, most of which are just parrotings of something they have read somewhere. Who needs Huxley's literary version when we can now have it LIVE on Blues-l. The more things change, the more they stay the same. Bill Shute San Antonio, TX (who is glad the trial of the alleged murderer of Selena will not be televised) ========================================================================= Date: Mon, 9 Oct 1995 08:22:50 CDT Reply-To: DeniseTapp Comments: To: bit-listserv-blues-l@uunet.uu.net Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: DeniseTapp From: L W Organization: America Online, Inc. (1-800-827-6364) Subject: Helena, the Beautiful ----------------------------Original message---------------------------- >Luther Allison was a treat. His finale was a slide number, played to .perfection using a brass slide on a classic Effold. I asked him about his .choice of slide after his performance, and after advising him that the .Fire Department was on its way (because he had set off the metal detectors .with his show.) Luther said that he typically didn't use a brass slide, ."because it stinks while I'm playing." But he wanted that special sound .on Friday night, and we got it. To tie in Luther and "Thug-Buddy".....Buddy Guy needs to take some lessons from Luther Allison on how to put on show.. Saw Luther last night and it's not close, Luther would wipe the floor with Buddy Guy....Sorry Buddy, Luther does it right and with RESPECT......Although IMHO Luther is also, blues-rock He was THE highlight of the B'ham Jam, NO CONTEST. I was backstage and onstage for Luther's show and Luther was 100% a gentleman....He desveres all he gets More on the Jam Later LW 'finally impressed (not moved), but impressed with Keb' Mo..nice guy' ========================================================================= Date: Mon, 9 Oct 1995 13:38:06 GMT Reply-To: Derek Dresser From: Derek Dresser Organization: Agate Internet Services (AIS) Subject: National Steel - Miking Comments: To: bit-listserv-blues-l@uunet.uu.net I am looking for advice on miking my National. The best option I have seen so far is a combination of an internal and external mike. The external mike is necessary due to the distinctive, directional sound of the resonator, and the internal mike allows a little freedom of movement without major fluctuations in level. If anyone has other ideas, or can recommend an internal mike to install, please let me know. Derek ========================================================================= Date: Mon, 9 Oct 1995 08:40:37 CST6CDT Reply-To: SOXTON@CHE2.CHE.UMN.EDU From: Sara Oxton Organization: University of Minnesota Subject: King Biscuit, et al It sounds like several Blues-liners were down for the King Biscuit Festival; I'm sorry I missed all of you. This was my fifth consecutive King Biscuit. My first trip down was a secular pilgrimmage of sorts; now the trip is like a happy homecoming, populated by familiar faces and repeated rituals. The "tenured" King Biscuit performers: Robert Lockwood, Pinetop Perkins, Sam Carr, Frank Frost, and Sam Myers, are always wonderful and keep me believing in the integrity of the blues. Sonny Payne's presence onstage with these men adds to the strong feeling of community this festival exudes. It's been interesting over the years to see the King Biscuit evolve, and hit the big time, so to speak. Sponsorship money from the Lady Luck casino first was evident with a new neon sign last year. This year, shows by Little Milton and Rufus Thomas supplemented things across the river. I always stay in Memphis, and make the drive south each day for the Festival. That may change next year as Hwy 61 is a nightmare between Memphis and Tunica. How many casinos are down there anyway??? The ribbon of traffic and billboards on terrain that was once pristine cotton country is pretty depressing. Especially as some of the billboards say "cash your paychecks and WIN!" Yeah, right. If there's one thing folks in Tunica don't have, it's discretionary income. The delights of the King Biscuit happened off stage for me this year: meeting Dick Waterman; stumbling on to Sam Carr and Mr. Downchild playing on Cherry Street; talking to Bud Spires (wow). I missed the Buddy Guy fiasco, as I made up my mind a few years ago that Buddy-does-Clapton was not for me. But if it's any consolation, a few years ago the Kentucky Headhunters were booked at the Festival, and NO ONE was allowed backstage during their set. Good grief. I guess the biggest disappointment happened off stage too, and not in Helena. I drove to West Memphis to visit Albert King's grave. Once I found it, I was appalled to see the first line of the inscription read "Albert King was born under a bad sign..." A line like that, on someone's headstone, not only is bad writing, but trivializes everything Albert accomplished as an artist. I'll entertain flames on this one. Another wonderful trip; I'll look for everyone there next year. Sara ========================================================================= Date: Mon, 9 Oct 1995 08:48:02 -0500 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Records Well I made the mistake of going to the Austin Record Convention this weekend. I spent a large hunk of change on some Blues CD's. I did manage to add some artist to my collection that I'd been meaning to get for awhile, like JB Lenoir, Slim Harpo, and Lighting Slim, as while as add some more Freddie King and Albert King. But seeing all these people selling records for ridiculous prices made me think - Should I sell some of my old records? I want to keep some, like my Blues albumns, but there's a lot of them I wouldn't listen to if I had a workable turntable. So my question is should I keep all my records, because there all going to be valuable collectors items sometime in my lifetime? Or get rid of as many as I can now, because ten years from now I won't be able to give them away? Bruce Roberts Austin, TX ========================================================================= Date: Mon, 9 Oct 1995 06:48:31 +0100 Reply-To: "J. Witteveen" From: "J. Witteveen" Subject: Re: FAT POSSUM CDs >Fat Possum 42090-2 PAUL "Wine" JONE: MULE I've seen these Fat Possum cd's reviewed and advertised in Living Blues Magazine (and discussed here), but I've never seen them in stores (here in Western Canada). Does Fat Possum have a major distributor, or am I going to have to pay the insane exchange rate and ridiculous duty to buy 'em throught the mail? I heard a cut by Junior Kimbrough on CBC the other day, and it was fantastic...now _this_ is great blues! -Jim (hndful@uniserve.com) ========================================================================= Date: Mon, 9 Oct 1995 08:44:58 CDT Reply-To: Derek Dresser Comments: To: bit-listserv-blues-l@uunet.uu.net Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: Derek Dresser From: L W Organization: Agate Internet Services (AIS) Subject: National Steel - Miking ----------------------------Original message---------------------------- >I am looking for advice on miking my National. The best option I have >seen so far is a combination of an internal and external mike. The >external mike is necessary due to the distinctive, directional sound .of the resonator, and the internal mike allows a little freedom of .movement without major fluctuations in level. If anyone has other >ideas, or can recommend an internal mike to install, please let me >know. I had that problem also, but Keb used the Highlander system, made for N'nals and it attachs to the biscuit. Keb's National was new and he had National install the pu system. He had a very good sound..It can be bought from Stew- Mac and is somewhere in the $200.00 range.... LW ========================================================================= Date: Mon, 9 Oct 1995 08:48:28 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: No Etta, KOKO no EDDIE KING ! Etta was not feeling well and they got Koko to replace her, We were pleased that Koko was there, BUT EDDIE KING WAS NOT THERE. INSTEAD A YOUNG GUY WHERE"S EDDIE.....WHAT'S THE WORD ON EDDIE. Did Vino's "hot doggin" run Eddie off....I gotta to know, EDDIE KING was a big part of Koko's band and it wasn't the same without him..... LW ========================================================================= Date: Mon, 9 Oct 1995 10:15:48 +5EST Reply-To: dresserd@dns.nxi.com Comments: Authenticated sender is From: Derek Dresser Subject: National Steel - miking? I am trying to figure out the best way to mike my National. The best option I have seen so far is a combination of an internal and external mike. The external mike is necessary to capture the distinct, directional sound of the resonator. The internal mike allows a little freedom of movement without major fluctuations in level. If anyone has other ideas, or can recommend an internal mike to install it would be a great help. Derek ========================================================================= Date: Mon, 9 Oct 1995 09:07:08 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: B'ham Jam Review (short) Here's the one I enjoyed most in order: Luther Allison (IMHO blues-rock, but THE HIGHLIGHT) John Hammond (very good) RL Burnside (especially when he was by himself) Topper Price (always incredible) Keb' Mo (he has gotten better, since last the time(s), he doesn't move me like the BLUES do, but he's talented and nice) Koko Taylor (she needs more Eddie King and less Vino) Little Milton (too much BS...we left) Robert Moore & (GREAT vocals, from lowdown blues to scat singing...GREAT) The Wildcats JFTR: I played, but I was screwed and don't know who to blame. Long story and I'll spare you. I'll NEVER ever be a "fill in"...NEVER I sick of it..... LW ========================================================================= Date: Mon, 9 Oct 1995 15:39:26 GMT Reply-To: John Haigh From: John Haigh Organization: Manchester Metropolitan University Subject: Buddy's brother? HI all Someone told me that Buddy Guys brother was playing in town this Wednesday, I didn't even know he had a brother! Is this true? Is he any good? cheers John Haigh Information Systems Unit Art & Design Chatham Building Cavendish Street Manchester M15 6BR ========================================================================= Date: Mon, 9 Oct 1995 15:53:30 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Review: CRAZY MARVIN AND THE BLUES EXPRESS Let's go again with an artist I dicovered with this CD CRAZY MARTIN AND THE BLUES EXPRESS "Can We Talk Before we Separate" MONKEY BIZNESS RECORDS MBCD 1001 Recorded in 1994 Crazy Marvin, - hca, vcl Elijiah Pryor - keyb, vcl Herbert Pruitt - bass, vcl Jimmy Ferrari - gtr Dee Anderson - Drums, vcl To be honnest, except a few adds in blues mags, I hadn't heard of Crazy Marvin before getting to these CD which was published about a year ago on the small label Monkey Bizness. Given the very sparce information of the sleeves, I still don't know a lot about him. All I can say is what I read and see on the cover: Crazy Marvin is an Afro-American harmonica-singer that must be somewhere in his (late?) 40's (?) and apparently started with Ray Charles, recorded with Jimmy Hendrix in California (?) and plays a lot around Cleveland Ohio. The first thing you directly notice is his strong warm voice, his decent harp playing (don't expect the high technique of white West Coast harp players) and the good sound of the CD. In fact, this is certainly an artist that could find his way on a bigger label: his music is modern, soulful and dynamic, mixing slow blues (Title track), more Down-Home material (Highway's Byway's), funky blues tunes (Just Got Married, Mind Your Business), a typical Louisianish "Bayou Woman", a good version of Buster brown's Fannie Mae, a rocking boogie (Blues Injection), a touch of reggae (Shake Your Liver),... All of the songs, minus 2, are credited to Braxton which I assume is his real name and the overall sound of this album reminds me, -exception made of the ballad "Willom Weep for Me" which I wouldn't have missed at all-, to some extend of the Ichiban releases from Jerry McCain. Not the discovery of the year (that might well be Paul Wine Jones as far as I am concerned), but an interesting debut (?) album from someone from which we will hear more of the future. Jean-Pierre Urbain Monkey Bizness, 7060 Elise Drive, Cleveland , Ohio 44130. Distributed in Europe (at least in the Benelux) by ALL BLUES RECORD SERVICE (FAx/Tel +32-51-72 29 54). PS. Again: I have no financial relation with (or interest in) ALL BLUES RECORDS SERVICE but simply find it so nice that there are finally serious people over here trying to distribute interesting products from small -or almost unknown- labels like this in Europe that I think that I can only support what they're doing for the blues! ========================================================================= Date: Mon, 9 Oct 1995 10:16:19 CST Reply-To: JBards From: JBards Subject: Re: National Steel - Miking Comments: To: Derek Dresser I've got a new National that I have been thinking about miking, also. Can the installation be done by anyone, or does it take some expertise with National repair? -Jim _______________________________________________________________________________ Subject: National Steel - Miking From: Derek Dresser at INTERNET-SH Date: 10/9/95 9:29 AM ----------------------------Original message---------------------------- >I am looking for advice on miking my National. The best option I have >seen so far is a combination of an internal and external mike. The >external mike is necessary due to the distinctive, directional sound .of the resonator, and the internal mike allows a little freedom of .movement without major fluctuations in level. If anyone has other >ideas, or can recommend an internal mike to install, please let me >know. I had that problem also, but Keb used the Highlander system, made for N'nals and it attachs to the biscuit. Keb's National was new and he had National install the pu system. He had a very good sound..It can be bought from Stew- Mac and is somewhere in the $200.00 range.... LW ========================================================================= Date: Mon, 9 Oct 1995 10:25:00 CDT Reply-To: Paul Garon From: Paul Garon Subject: Re: Records >So my question is should I keep all my records, because there all going >to be valuable collectors items sometime in my lifetime? Or get rid of as >many as I can now, because ten years from now I won't be able to give >them away? > >Bruce Roberts >Austin, TX > Blues LPs, in good shape, are certainly collected these days, but it's always hard to pick which ones will become the most desirable. I was browsing through a copy of Goldmine's LP price guide to popular music (apparently, rock, folk, blues, soul), and some of the prices were amazing. But getting prices like that for your stuff means some dedicated marketing in specialist areas: advertising in collector magazines, selling for 1/2 or less to a dealer, etc. Do you want to go that route in ten years when you decide to cash in? If you can get some great CD trades NOW for your records, that may be the most pleasure for the least work. ========================================================================= Date: Mon, 9 Oct 1995 10:26:01 -0500 Reply-To: David Silberberg From: David Silberberg Subject: Re: Strange Mail Behavior At 08:37 AM 10/6/95 +0000, P.W. Fenton wrote: >I was going to say that some mail has vaporized but instead it >reappears after THREE DAYS. > >Where does mail GO for three days? > > I think it all goes to the new 'net censorship office set up by Senator Exon - we'd better start writing in code.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Mon, 9 Oct 1995 10:49:08 -0500 Reply-To: Mark Gobeyn From: Mark Gobeyn Subject: J.B. Lenoir I'm in need of some information on the J.B. Lenoir cd titled "1951-58." Can anyone provide me with a track list for this CD? Is it simply a compilation of the JOB and Chess recordings, or does it contain some of the singles he released for some smaller labels during the fifties? Tahnks for your help. mark ========================================================================= Date: Mon, 9 Oct 1995 11:11:59 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Starting a Blues Society I know some of you have started a Blues Society. Can someone give the details on how you go about doing it. Also does anyone have a problem with Tina Mayfield and The BLACK Blues Society which is in LA....right I don't want a discussion of race, I was just curious if anyone has a problem with a society that appears to be biased toward a certain race...I don't have a problem with it, since most blues socities I've been around are biased also they just don't publicly admit it, but their actions speak louder than their words.... I'm curious to why Tina Mayfield who I presume is black, did not call it The Afro-American blues society..( I'll ask Tina, why) This is intended as an intelligent question and I expect intelligent answers not a bunch of race crap....A simple yes I have a problem with it or No I don't have a problem with it will suffice.....I'm just curious to how others see it Thanks. LW ========================================================================= Date: Mon, 9 Oct 1995 12:20:45 -0400 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Cat and Muddy's Cabin Comments: To: bit-listserv-blues-l@uunet.uu.net Dear Folks: Cat is stranded at the Memphis Airport, but she wants me to pass on the following message to the list about Muddy's Cabin. Cat offers her sincere apologies for the telephone and other technical problems which plagued her efforts to bring the artists to you this weekend. (I was a witness to her valiant attempts to overcome each hurdle.) The artists, who could not be interviewed, were very disappointed, and each has volunteered to reschedule for a later date. Cat will be in touch with dates, times and places in the near future. Please watch for these announcements. I'm just happy that I got to be a fly on the wall for this action. Robert Jr. Lockwood was thrilled to be part of the online community--80 years old and happening, and the others were obviously dying to catch the wave. Entertainers like Otis Clay and Rod Piazza (whom I had the pleasure of hearing an Arkansas good old boy describe as "you know, the one who tore the place up this afternoon.") The whole blues community was excited about this special event and wanted to help make it happen. Unfortunately, Helena does not yet have fiberoptic service, so the proposition has inherent liabilities. But we are promised that next year, the phones will be working. Cat is tired, broke and more than a little discouraged about disappointing so many people. As I said, I watched her chug through one problem after another with endless energy. I hope a few of you will be kind enough to send her some words of encouragement and support: CatBauer@aol.com. Thanks, Denise Not affiliated with the Blue Highway or its owner. ========================================================================= Date: Mon, 9 Oct 1995 17:18:38 GMT Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: Apologies and explanations! And to think that I just got back from Redmond and all I did was take care of business, now I've got the Blues! In article <44s0u4$3q1@news1.wolfe.net> catherin@WOLFENET.COM writes: >Date: Tue, 3 Oct 1995 18:55:00 GMT >From: catherin@WOLFENET.COM >Subject: Apologies and explanations! >Ok, just to satisfy everyone's curiousity and flaming potential, please note the > following: >1. The long .sig line on my previous messages was an accident and I desperately > apologize. That's all the genuflection and >remorse you can expect. >2. My "profession" is,as the media say, "high class call girl" or, as I prefer, > consort or I'll answer equally and proudly to "whore," >knowing its origins. Who says a whore can't play the blues with the best of > them? I'm just a woman with many talents. Oh, and the >degrees are in English, advertising and marketing communications. I was a > Fortune 100 manager before dumping the corporate >gig for an honest and honorable profession...and one that pays and plays well. >3. I've loved the blues since about age 13 and EC and BB were early influences. > And, yes, I'm a Strat Girl... >The .sig below says all and you won't see it again. >A tout a l'heure, >Catherine La Croix >Executive Director >and Shameless Whore >COYOTE/Seattle >"Call Off Your Old Tired Ethics" >The Sex Workers Rights Organization >16625 Redmond Way Box M237 >Redmond, WA 98052 USA >Voice-Fax-FaxBack: +1.206.881.2292 >E-mail: coyote@wolfenet.com >COYOTE/Seattle is affiliated with other COYOTE chapters >in the U.S., the National Task Force on Prostitution NTFP) >in New York, the International Committee for Prostitutes >Rights in Holland (ICPR), Hooking Is Real Employment >(HIRE) in Atlanta, Prostitutes of New York (PONY) and >other national and international sex workers >rights organizations ========================================================================= Date: Mon, 9 Oct 1995 11:03:20 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Updates: Otis Rush and David Ii Otis Rush is recovering from the surgery on his left foot and also cataract surgery on his left eye, but will play his October 14 gig at B.L.U.E.S. Etcetera in Chicago, sitting on a stool. There's also talk of a November date at Legends, but I don't think anything is official yet. Pianist Nat Dove passed word that saxophonist/arranger David Ii, who made an integral contribution to many Hightone Records sessions through the 1970s, died, probably about a week ago. ========================================================================= Date: Mon, 9 Oct 1995 12:32:43 -0500 Reply-To: David Silberberg From: David Silberberg Subject: Re: Starting a Blues Society Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU At 11:11 AM 10/9/95 CDT, L W wrote: > >Also does anyone have a problem with Tina Mayfield and The BLACK Blues Society >which is in LA....right > Serious question: is this a society open to all to join that concentrates on black blues performers, or is it a society that only allows African Americans to join? Makes a diference.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Mon, 9 Oct 1995 09:13:35 PDT Reply-To: rjbauman@IQUEST.NET From: rjbauman@IQUEST.NET Subject: Blues at the Gulf Coast -- Chicago. I was in Chicago this weekend and visited a New Orleans style restaurant and bar called the Gulf Coast on Fullerton. It was a blast!! The downstairs area is a Cajun/Creole Mardis' Gras atmosphere (great food, too) and the upstairs is the music room set up to look like a backwoods cajun cabin, complete with moss hanging from the ceiling. I'm told they rarely have blues there, but Tab Benoit was a perfect fit for this joint. During the first of his three sets he featured material from his new CD and soon had the dance floor packed!! I hadn't danced like that in some time--- so many clubs these days aren't set up for it. For those who have met my wife, Tina--- she actually stopped Tab between sets and insisted he sign "MY BIGGEST FAN" on the CD jacket. I think he's afraid of her now. :-) She has enough of his strings to rewire the bathroom, I think. :-) Tab seems to be really comfortable on stage these days and is playing and singing with a lot of confidence. The crowd loved him. RJ Bauman (the CD "Standing On The Bank" has 5 great songs, 4 really good songs, and 3 ok songs, The good stuff is basically sandwiched in between the less memorable material.I highly recommend it for his original tunes. There are three that are really terrific. He's starting to accumulate a nice list of his own tunes with his first three CD's.) ========================================================================= Date: Mon, 9 Oct 1995 13:42:05 -0400 Reply-To: Wayne Ross From: Wayne Ross Subject: Re: FAT POSSUM CDs Comments: To: "J. Witteveen" In-Reply-To: <95Oct9.064844+0100_pdt.30749+2352@haven.uniserve.com> I don't know where you are in Western Canada, but when I was in Victoria BC last summer I found a couple of stores that carried a fairly good selection of Fat Possum and Earwig releases. Endangered Species Records and Lyle's Place, both had cds for C$20.00. Wayne Ross wross@bingsuns.cc.binghamton.edu On Mon, 9 Oct 1995, J. Witteveen wrote: > >Fat Possum 42090-2 PAUL "Wine" JONE: MULE > > I've seen these Fat Possum cd's reviewed and advertised in Living Blues > Magazine (and discussed here), but I've never seen them in stores (here in > Western Canada). Does Fat Possum have a major distributor, or am I going to > have to pay the insane exchange rate and ridiculous duty to buy 'em throught > the mail? I heard a cut by Junior Kimbrough on CBC the other day, and it > was fantastic...now _this_ is great blues! > > -Jim (hndful@uniserve.com) > ========================================================================= Date: Mon, 9 Oct 1995 17:49:11 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Re: J.B. Lenoir Comments: To: bit-listserv-blues-l@cis.ohio-state.edu Mark, There are a coupla CD's bearing this title, 1951 - 58, one on Verve, one on Fan Club, there is a Charly set bearing the same years but called Mama Watch Your Daughter. If its Charly it probably Chess, the others I'm not sure of without digging back through back issues of B&R to see if they were reviwed. JB cut one session for Chess in 51, the rest of the Chess stuff was cut 55 through to 58. The JOB and Parrot stuff is available on CD through Flyright, Paula and Relic. And damn good they are too! If you can tell me some more info I might be able to pinpoint it. TB ========================================================================= Date: Mon, 9 Oct 1995 08:45:16 -0500 Reply-To: David Wickhem From: David Wickhem Subject: Austin.TX.Band I am looking for help from Austin, TX !!!!! About three or four years ago I was in Austin TX and heard a small band by the name of the Solid Senders. I went to Antone's the next day and purchased their CD which was current at the time. Does anyone know if a. is the band is still around ? b. do they have any more recorded material ? c. the name of the lead guitar player ? d. if the band is defunked is the lead guitar player still playing w/someone ? Thanks for your help !!! David.Wickhem@acs.uswest.com ========================================================================= Date: Mon, 9 Oct 1995 11:17:23 PDT Reply-To: Gordon Fehlman From: Gordon Fehlman Subject: Re: Elvin Bishop This last Saturday the 7th we were treated to a free outside 2 set show by Elvin Bishop. He had is old band with him. Randy Forrester on key boards and "Daddy Ray" Arvizu on sax, Ed ??? on trombone, Evan Palmerson on bass and the drummer I know just can't think of it right now, he's from Oakland. In the first set EB played an hour of his old tunes. All were great to me cuz I happen to dig EB, but, he was alitte rusty on a few tunes due to touring with BB all summer he hasn't played with his band for awhile. His slide work was fantastic. He played Another Mule Kickin' In Your Stall, great horn work. He does Fooled Around and Fell In Love as a instrumental, GREAT slide stuff. He finished up with Fishin', got the crowd into it,they loved it. An all around good day, free show, alot of beer, great BBQ life is good. I would recommend EB's Ace In The Hole on Alligator Records. Its great. Gordon ========================================================================= Date: Mon, 9 Oct 1995 14:39:32 -0400 Reply-To: Tom Morgan From: Tom Morgan Subject: Playlist: Bartender's Bop Today's show was all new blues that have come in to the station in the last week or so. I will post a list of label and CD titles tomorrow. A couple of my favorites from the show are Bluesiana Hurricane with Lester Bowie doing fantastic blues on the trumpet, Roomful of Blues- my old friend Sugar Ray sounds as good as ever, Jesse Austin - he sounds like Screamin' Jay, but he's much more talented and Soul Drivers - blues out of California. Tom Title Group Year Label -------------------- -------------------- ---- ---------------- Slidell Blues Geremic, Paul 95 Blue Plate Music Peace Breakin' Johnson, Larry 95 Biograph People Devil's Real, The Smith, Chris 95 Blue Plate Music Two Hands One Heart Ramos, Kid 95 Black Top Quicksand Blues Brown, Charles 95 Blue Plate Music Hubidy Bluesiana Hurricane 95 Shanachie Danger Zone Roomful of Blues 95 Bullseye Blues On and Off Bluesiana Hurricane 95 Shanachie One Bayou Drive Roomful of Blues 95 Bullseye Blues Big Mama's Calling Austin, Jessie 95 Roesch Please Don't Leave Soul Drivers 95 BluesTime Me Train Fare McBee, Lee 95 Red Hot We're Gonna Have A Big John & The 39th 94 Red Hot Party St. Blues Band Snake Me Ricker, Johnny 94 Red Hot Everybody Gets The Linda Shell & the 94 Red Hot Blues Blues Thang White Knuckle Rickerm Johnny 94 Red Hot Shuffle Tired of Talkin Ford, Robben 95 Stretch Short Haired Cuties Soul Drivers 95 BluesTime Giving Mama and Papa Austin, Jesse 95 Roesch the Blues Chesterfield Moss, Buddy 95 Biograph Mama-less Rag Johnson, Larry 95 Biograph Zydeco Hog Nathan & the Zydeco 95 Rounder Cha Chas ----------------------------------------------------------------------------- My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Mon, 9 Oct 1995 14:41:56 -0400 Reply-To: Wayne Ross From: Wayne Ross Subject: Re: Starting a Blues Society Comments: To: L W In-Reply-To: I've never heard of the Black Blues Society, but it seems to me the more the merrier. I don't bother me. ========================================================================= Date: Mon, 9 Oct 1995 14:45:05 -0400 Reply-To: Wayne Ross From: Wayne Ross Subject: Blues in Cleveland I'm headed to Cleveland OH next month and interested in checking out the blues scene. Any advice on clubs to visit. Does Robert Lockwood Jr. play regularly in Cleveland? If so, where's the best place to catch him? Thanks Wayne Ross wross@bingsuns.cc.binghamton.edu ========================================================================= Date: Mon, 9 Oct 1995 13:47:55 CST6CDT Reply-To: SOXTON@CHE2.CHE.UMN.EDU From: Sara Oxton Organization: University of Minnesota Subject: Re: Starting a Blues Society I was a founding member of the ill-fated Upper Mississippi Blues Society in the Twin Cities. We have an amazing blues scene here: clubs, local talent, radio, etc., so support was definitely there and the Society started off quite well, but unfortunately fell into the control of the wrong person. But that's another story, another post... Several questions need to be answered as you start an organization: 1) Will you be a membership organization? Will your members have a vote on organization policy, board elections, etc.? 2) What services will your organization provide? What need is it fulfilling? 3) Will your organization incorporate as a non-profit or for-profit? Don't assume it as a given that all blues societies should be non-profit. Sometimes maintaining a board of directors (a requirement for non-profits), is more trouble than it's worth. I would suggest that you look for organizations to partner with for your various projects. You'll soon find out that there are a gazillion organizations, competing for for fundraising dollars, members, and people's leisure time. Many of the organization's objectives overlap to a certain extent, yet it seems like each organization reinvents the wheel, solo, with every project. You'll be more efficient if you engage in partnerships. I'll stop here. If you want to e.mail me privately, I'll share more ideas and give you a step-by-step of do's and don'ts. As far as Tina Mayfield is concerned, will her Blues Society be closed to white members or to white blues? One thing's for sure, if it's closed to white members, she'll never get tax-exempt status. I don't think the IRS smiles on exclusive non-profits these days. Sara >I know some of you have started a Blues Society. Can someone give the >details >on how you go about doing it. > >Also does anyone have a problem with Tina Mayfield and The BLACK Blues >Society >which is in LA....right ========================================================================= Date: Mon, 9 Oct 1995 18:13:47 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Re: Byron on CLAPTON Comments: To: bit-listserv-blues-l@moderators.uu.net Catherine, Yep!, yez is right. I spend my time listening to people like Hound Dog Taylor, Magic Slim, Magic Sam, Wynonie Harris, Louis Jordan, Clyde McPhatter, Muddy, Wolf, Willie McTell, BB King, Lowell Fulson, Albert Ammons, Leadbelly, Broonzy, Roy Brown, Jimmy Witherspoon, Leroy Carr, Johnny Otis, Memphis Minnie, Joe Louis Walker, Roomful, and lotsa others Sometimes on CD, sometimes on album, even 45's and the odd 78rpm. I must be missing out by not listening closely enough to Eric Clapton... I need EC when I got the new Charlie Patton on Yazoo ? Do me a favour! TB ========================================================================= Date: Mon, 9 Oct 1995 18:19:01 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: "Spoon Night Train Comments: To: bit-listserv-blues-l@moderators.uu.net To Art Shuna, Art, Night Train are getting more difficult to get hold of in UK too. But I did get a copy recently of the "Spoon and is is really good. 20 tracker - although I have most of the stuff, it does include 4 alt takes. Certainly worth getting without checking further. TB ========================================================================= Date: Mon, 9 Oct 1995 14:45:55 CDT Reply-To: Tony Burke Comments: To: bit-listserv-blues-l@moderators.uu.net Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: Tony Burke From: L W Organization: Blues & Rhythm Magazine Subject: Re: Byron on CLAPTON ----------------------------Original message---------------------------- >Catherine, >Yep!, yez is right. I spend my time listening to people like Hound Dog >Taylor, Magic Slim, Magic Sam, Wynonie Harris, Louis Jordan, Clyde >McPhatter, Muddy, Wolf, Willie McTell, BB King, Lowell Fulson, Albert >Ammons, Leadbelly, Broonzy, Roy Brown, Jimmy Witherspoon, Leroy Carr, >Johnny Otis, Memphis Minnie, Joe Louis Walker, Roomful, and lotsa others I spend my time doing the same, HOWEVER I do recognize talent when I hear it and as far as a ROCK song goes Layla was a very powerful one. I haven't heard a Joe Louis Walker tune that was a powerful and I'm more of a JLW fan than I am an EC fan. Just because YOU don't dig the music, doesn't make it less than spectacular WHY LISTEN TO ROMMFUL OF BLUES WHEN YOU CAN LISTEN TO BIG JOE TURNER WHY LISTEN TO BB KING WHEN YOU CAN HEAR T-BONE WALKER LW 'you left out Albert & Freddie, but I guess you don't listen to them' ========================================================================= Date: Mon, 9 Oct 1995 19:43:51 GMT Reply-To: David Alan Hammel From: David Alan Hammel Organization: The University of Calgary Subject: Luther Allison Comments: To: bit-listserv-blues-l@uunet.uu.net I just bought a great compilation CD for cheap called Kings of the Blues Guitar Volume 2. On this disc, there is a great tune by Luther Allison. I'd like to buy more of this stuff--can someone please recommend some for me. Is there a box set? Anything re-mastered? Thanks. ========================================================================= Date: Mon, 9 Oct 1995 15:59:22 -0400 Reply-To: MARCIAG@VMS.CIS.PITT.EDU From: Marcia Grodsky Subject: Re: Austin.TX.Band Comments: To: dwickhe@ACS.USWEST.COM The guitarist's name is Hector Watt, and as far as I know the band is still around and he's still with them. They have a cassette from around 1989 in addition to their cd. This was done before Keith Ferguson joined the band. A couple of the songs also appear on the cd, but they're different versions. There's seven songs on the cassette and they're all originals. ---Marcia Grodsky ========================================================================= Date: Mon, 9 Oct 1995 15:39:18 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: Byron on CLAPTON Amen! Good points, just where do you draw the line? Everybody draws it differently, which makes absolute proclaimations absurd. You know I love '50's Chicago Blues, I play a bit of them too, sounds like me, though, for the most part. Still, I don't usually call other's taste crap. I just tell 'em I don't like it. Layla is one of the most powerful rock songs every written and recorded. BTW, they were using heroin to mellow out from the cocaine. Mike On Mon, 9 Oct 1995 14:45:55 CDT L W wrote: >----------------------------Original message---------------------------- >>Catherine, > >>Yep!, yez is right. I spend my time listening to people like Hound Dog >>Taylor, Magic Slim, Magic Sam, Wynonie Harris, Louis Jordan, Clyde >>McPhatter, Muddy, Wolf, Willie McTell, BB King, Lowell Fulson, Albert >>Ammons, Leadbelly, Broonzy, Roy Brown, Jimmy Witherspoon, Leroy Carr, >>Johnny Otis, Memphis Minnie, Joe Louis Walker, Roomful, and lotsa others > >I spend my time doing the same, HOWEVER I do recognize talent when I hear it >and as far as a ROCK song goes Layla was a very powerful one. I haven't heard >a Joe Louis Walker tune that was a powerful and I'm more of a JLW fan than I >am an EC fan. > >Just because YOU don't dig the music, doesn't make it less than spectacular > >WHY LISTEN TO ROMMFUL OF BLUES WHEN YOU CAN LISTEN TO BIG JOE TURNER >WHY LISTEN TO BB KING WHEN YOU CAN HEAR T-BONE WALKER > > >LW 'you left out Albert & Freddie, but I guess you don't listen to them' ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Mon, 9 Oct 1995 16:51:03 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Roomful of Blues! Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I saw Roomful of Blues for the first time this weekend, at Tornado Alley in Wheaton, Maryland. I went mostly to hear Sugar Ray Norcia's vocals and harp playing, but I ended up enjoying everything they did. roomful has something for everyone - jump, swing and r&b for the dancers (Torndao Alley is notorious for the swing dance clubs who attend lots of shows there), the soulful voice and heavy duty harp of Sugar Ray (the place was full of harp players!), and a general level of high talent and musicianship. I usually don't go to big band type show but I was glad I went to see Roomful. See them if you get a chance. -Steve ========================================================================= Date: Mon, 9 Oct 1995 16:54:03 -0400 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: WFBE Playlist or 10-7-95 Tonights theme was Performers from the King Biscuit Festival, and an all vinyl hour from the Bluzmans vaults! ============================================================== WFBE Blue Highway Playlist, Oct. 7 1995. With Guest Host Ed Tremewan Song Album Artist Label 9 pm to 10pm Change My Way Burning Desire Jerry Lightfoot/Essentials Conner Ray Records I'm In The Mood Promo EP Ernie Johnson Waldoxy 6th Street Blues Atomic Boogie Hour Lee Rocker Black Top If You Know It Turn It On, Turn It Up Roomful Of Blues Bullseye I Was A Fool Two Hands, One Heart Kid Ramos Black Top Kill Me It Ain't Easy Radio Kings Icehouse Hard Working Woman Soul Man: Live In Japan Otis Clay Bullseye Blue Guitar Live at Slims Vol 2 Joe Louis Walker Hightone Juke Live at Antones Nightclub James Cotton Antones Blues and Trouble Windy City Blues Robert Jr. Lockwood Laserlight Lightning Bolt Hand Me Down My Moonshine Luther Allison Inak 10pm to 11pm Low Down Dog Blues In The Dark Rod Piazza/mighty Flyers Black Top Blues O The Month Club Title Track Joe Louis Walker Gitanes Mighty Long Time Title Track James Cotton Antones Love Bone I'll Treat You Right Otis Clay Bullseye Down At J.J.'s Through The Years/Retrospective Anson Funderburgh/Rockets Black Top All The Kings Horses Blue Streak Luther Allison Alligator Down Home Blues Harp Attack Cotton/Wells/Bell/Branch Alligator See See Rider Plays Robert & Robert Robert Jr. Lockwood Evidence Bad Thing Survivor Joe Louis Walker Gitanes Blue Hour Live At B.B. Kings Rod Piazza/Mighty Flyers Big Mo 11pm to Midnight One Time Blues Ratime Guitars Foremost... Blind Blake Yazoo LP 'Bout A Spoonful Texas Sharecropper/Songster Mance Lipscomb Arhoolie LP Tell The World I Do Now Appearing Jimmy Reed Vee Jay LP I want My Baby Original Folk Blues Smokey Hogg United LP Sittin On Top Of The World 1927 to 1932 Mississippi Sheiks Biograph Denver Blues Bottleneck Guitar 1928-37 Tampa Red Yazoo LP That Will Be Alright Vol 1 Kansas Joe Earl Blues Documents LP I'm Going To Brownsville Shake 'Em On Down FUrry Lewis Fantasy LP Yellow Dog Blues And His Git Fiddle Crying Sam Collins Origin LP Bad Luck Dice Mule Henry Townsend Nighthawk Take Me Back Blues 1925 to 1928 Papa Charlie Jackson Biograph LP My Baby Left Town Tappin That Thing Hammie Nixon High Water LP Pretty Flower In Your Garden Leadbelly Sings Ballads Leadbelly Sutton LP Long Time Blues Idle Hours Lonnie Johnson/Victoria Spivey Prestige Bluesville LP Statesboro Blues The Early Years Blind Willie McTell Yazoo LP The Breaks I'm Gettin' Goodtime Blues Pretty Boy Walker Mamlish LP Old Original Kokomo Blues Blues Classics By... Kokomo Arnold Arhoolie LP Cow Cow Blues (exit theme) Blue Ivory Mr. B ============================================================== Bluz! Bluzman Ed ========================================================================= Date: Mon, 9 Oct 1995 16:54:18 -0400 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: Lost mail I have accidently (stupidly?) deleted all the mail I have received since Oct 3. If any one sent me anything really important, please repost! Thanks Bluzman Ed ========================================================================= Date: Mon, 9 Oct 1995 16:55:36 -0400 Reply-To: Hanson123@AOL.COM From: Karen Hanson Subject: Re: First post >Karen, >Welcome. Just use the delete key. Even when it hurts to pass >up that juicy >thread, it's better than losing your sanity! >Enjoy, this is the Blues! >Mike Thanks, Mike! I've become quite acquainted with delete! Question, if someone doesn't mind answering: With this AOL system, I notice that when I hit "reply" or even "reply to all", I get the particular person's address in the "To:" box. I assume that means it will be e-mail, rather than sent to the group. In this case, I have to delete and put the Blues-L address in, correct? Also, I've noticed the parts quoted, etc.--I copied and pasted--is there another way? I'm thinking maybe some people's systems do it automatically. Btw, I'm coming from a Mac, which (like me) often sees the world in a slightly different way than most. Karen ========================================================================= Date: Mon, 9 Oct 1995 17:23:00 PDT Reply-To: Meridith Farnworth From: Meridith Farnworth Subject: Re: Roomful of Blues! Steve says: I went mostly to hear Sugar Ray Norcia's vocals and harp playing, but I ended up enjoying everything they did. (snip) the soulful voice and heavy du y harp of Sugar Ray (the place was full of harp players!)... To which I say: I've said it before, and i'm sure i'll say it again. sugar ray norcia is a good singer, and probably a GREAT harp player. But IMHO, he's got no (ok, little) SOUL. Roomful ain't been the same for me (who used to go seem them at least twice a month) since Greg Piccolo left the band. ...just an opinion from a usually unopinionated Meri ========================================================================= Date: Mon, 9 Oct 1995 16:39:55 -0500 Reply-To: theresa jensen From: theresa jensen Subject: New to the list Hello there, I am new to the list. I will be in St. Louis, MO for a confrence Oct 15 - 18. I am curious if anyone knows of good blues music happening during that time. Here in Lincoln we have the world famous Zoo Bar which pulls in some wonderful blues bands. I have not been listening to the blues all that long, just within the last 5 yrs. But now I realize that this music is what I was waiting for all along. I am also fortunate that Lincoln has a community radio station that has several blues programs throughout the week. Hope to hear from some one soon. Thanks for your time and trouble. -- Theresa Jensen 501 N. 10th Room 118C Information Services (402) 472-5879 University of Nebraska tjensen@unlinfo.unl.edu Computer Labs/Consultant Supervisor Lincoln, NE 68588-0203 ========================================================================= Date: Mon, 9 Oct 1995 17:29:53 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Dayton blues Will spend entire next week in Dayton, Ohio. Any blues in Dayton? This might be a stupid question, but had to ask. Ranko ========================================================================= Date: Mon, 9 Oct 1995 19:07:23 -0400 Reply-To: Msbeale From: Msbeale Organization: America Online, Inc. (1-800-827-6364) Subject: Need help in Des Moines Iowa Comments: To: bit-listserv-blues-l@uunet.uu.net Is anyone aware of any blues clubs in Des Moine??? I had a last minute cancel on a tour I'm putting together...need help FAST. Thanks in advance for any leads you can provide... Rita ms beale st. "I ain't lyin'!" -Albert King ========================================================================= Date: Mon, 9 Oct 1995 15:55:40 -0700 Reply-To: Mark Naftalin From: Mark Naftalin Subject: Tina Mayfield's Society Concerning Tina Mayfield's California Black Blues Society: Tina, like her late husband, Percy Mayfield, is the kind of person who appreciates language for its sound. My impression is that the name "Black Blues Society" sounded good to her. When I asked her, she assured me that the name had nothing to do with who could be part of it. The membership card does not designate race; anyone can get and carry one, and all are welcome. I will ask Tina for particulars on the organization and how to join, and post them here later this week. Mark Naftalin ========================================================================= Date: Mon, 9 Oct 1995 20:50:18 -0300 Reply-To: Mike Gilbert From: Mike Gilbert Subject: SRV CD's Hi Everyone, I was just looking at the catalogue of Stevie Ray Vaughan material that CDNow carries and I'm curious. Has anyone listened to the Live in Tokyo CD? I have the Live in N.Y.C. with Buddy Guy and I'm not happy with the sound. Is the Tokyo recording better? Mike G. ========================================================================= Date: Mon, 9 Oct 1995 20:11:36 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: Paul JONES - FAT POSSUM CD Mule is a really cool album. Unfortunately its the last album to be released on Fat Possum for a while. So enjoy it! Beef Stew - WHUS Radio >I don't remeber well if it has been discussed on Blues-l when it came out, >but even if it was, I can't resist. I bought this one a few weeks ago and it >is really one of those albums that I can't get tired of listening to: > >Fat Possum 42090-2 PAUL "Wine" JONE: MULE > >Sam Carr - drums >Kenny Brown - Gtr >Big Jack Johnson - gtr >Paul "Wine" Jones - gtr, vcls > >There's been quite a lot of discussion again on what or who should or >should not be consider as bluesman. Now here at least it's clear and >I've got an answer: Paul "Wine" Jones IS a REAL one. > >You can mix 30 Hoax, 30 Walter Trout, 30 Gary Moore and even add >40 Chris Duarte, the resulting stuff would not have 10% of the original, >real and true energy we have here! (No flame, IMHO :-) >The sound is raw, rough, the music is real, fascinating and deliciously >obsessing and I would just ask him to continue his "Bad Times in Mississippi" >or "Rob abd Steal" (or any other track of this album) during 20 minutes! >Needless to say the support of Carr, Brown and the OIl Man is great! >Those who don't want their blues polished, those who are tired of the pseudo >energy of some contemporary blues-rock bands, those who dig Hound Dog, >the Wolf, the fans of Burnside, Kimbrough or simply real stuff and energy >should not hesitate one minute. > >Jean-Pierre Urbain > > ========================================================================= Date: Mon, 9 Oct 1995 20:42:23 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: Denver's Mary Flower On 10/09/95 Dick Waterman wrote: She's a good friend and deserves wider appreciation. While she was on the road this Summer, there was a post about her and some talk about radio stations getting her CD. Nothing was ever done about the stations who posted that they wished to have a copy. You might re-ignite that spark by posting the label's address and mentioning that it would be polite if only stations with honest intentions of programming her music would request the free CD since the label is small and certainly not funded to supply CDs to stations who won't play her. Perhaps a mention that she would fit nicely on any station playing Keb Mo' or Rory Block or John Hammond or Taj Mahal, etc. Dick Waterman And he's more than right! Any radio people who want to treat their audiences to (IMHO) one of the finest Acoustic Blues Ladies around today, get Mary Flower's, "Blues Jubilee" on Resounding Records, Box 225, Loretto Station, Denver, CO 80236 313.331.2413. Mary gets help from Steve James, Spencer Bohren and a few members of the Subdudes on the album. She writes beautiful original tunes refelecting modern day troubles and backs them with finger-picking and slide that will make you weep. Mary also covers tunes by Scrapper Blackwell, Jelly Roll Morton, Blind Lemon Jefferson, Robert Johnson and more, all with incredible justice. I give the album four stars. I interviewed her for an hour live on the air and she was a joy to talk to. Beef Stew - WHUS Radio ========================================================================= Date: Mon, 9 Oct 1995 19:52:51 -0500 Reply-To: Amy Toomsen From: Amy Toomsen Subject: Blues Harp Newsletters Hi! Realizing that you all are the best source of blues info ever, I hope you can help me. My father in law is interested in learning to play a blues harp, cross harp, actually. He has a number of instruction books and is jamming with my husband right now...Jimmy Rogers!! Anyway, he wants to know if there is a newsletter for bluesharp fans out there....I seem to remember hearing about one on this list a long while back. Can you help me? An electronic newsletter would be fine, I could download it for him, but he'd really like a regular, US-mail sort of a deal. Thanks loads!!!!!!! ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ Amy Toomsen atoomsen@mail.coin.missouri.edu ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ========================================================================= Date: Mon, 9 Oct 1995 21:06:50 -0400 Reply-To: Hanson123@AOL.COM From: Karen Hanson Subject: Re: Buddy's brother? >Someone told me that Buddy Guys brother was playing in town >this >Wednesday, I didn't even know he had a brother! Is this true? >Is he >any good? Buddy's brother is Phil Guy. Some people say he looks like Buddy, but I don't think so--he's larger, and not as flamboyant. I've only seen him once, so I can't really judge, but he seemed OK. He didn't imitate any rock stars. Probably somebody can tell you more than I can. Karen ========================================================================= Date: Mon, 9 Oct 1995 21:14:28 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: Roomful of Blues! Steve wrote: I saw Roomful of Blues for the first time this weekend, at Tornado Alley in Wheaton, Maryland. I went mostly to hear Sugar Ray Norcia's vocals and harp playing, but I ended up enjoying everything they did. roomful has something for everyone - jump, swing and r&b for the dancers (Torndao Alley is notorious for the swing dance clubs who attend lots of shows there), the soulful voice and heavy duty harp of Sugar Ray (the place was full of harp players!), and a general level of high talent and musicianship. I usually don't go to big band type show but I was glad I went to see Roomful. See them if you get a chance. Steve I think their new album "Turn It On - Turn It Up" is pretty darn good too! Maybe more rock based, but I still think its great! Beef Stew - WHUS Radio ========================================================================= Date: Mon, 9 Oct 1995 20:45:56 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Des Moines blues clubs Somebody asked... Blues is regular at: Connie's 515/270-0412 Sheffield's 515/246-8496 The Grand 515/280-1024 ========================================================================= Date: Mon, 9 Oct 1995 21:49:48 -0700 Reply-To: heese90@WHARTON.UPENN.EDU From: "" Subject: Blues radio I am writing a college paper on Blues radio. Answers to the following questions would be appreciated: Is there a Blues station in your listening area? Is it commercial or community funded? If there is no full-time blues radio station, is there a locally produced show 1-2 hours long? Are there any syndicated blues shows that appear nationwide? For specific blues shows (local or syndicated), what time do they come on? Thanks ========================================================================= Date: Mon, 9 Oct 1995 22:12:11 -0500 Reply-To: C2MXBOY@FRE.TOWSON.EDU From: Kevin Boyle Subject: radio list - blues women I tried to send this last week, but it came back. So, here we go again We have a weekly Blues Show "Tuesday Night Blues" on 91.7 WFWM in Frostburg Maryland. My partner opens with 2 hours of traditional blues and then I host 2 hours of mostly contemporary blues. This week I dedicated both hours to the great women of blues. ARTIST SONG Record Label Bessie Smith A Good Man Is Hard To Find Columbia Rory Block Taint Long For Day Rounder Tracy Nelson Don't Go No Further Rounder Big Time Sarah Hoochie Coochie Woman Delmark Katie Webster Two Fisted Mama Alligator Bonnie Lee Next Time You See Me Delmark E.C. Scott You Got The Wrong Number Blind Pig Debbie Davies This Man Is Killing Me Blind Pig Michelle "Evil Gal" Wilson Evil Gal Blues Bullseye Marcia Ball Down The Road Rounder Etta James Wet Match Elektra Katie Webster C.Q. Boogie Alligator Saffire "Uppity Blues Women" Do Your Duty Alligator Maria Muldaur The Trouble With Love Black Top Barbara Carr Messin With My Mind Paula E.C. Scott Forecast Calls For Blues Blind Pig Candye Kane Watching The River Flow Antones Sue Foley To Be Alone With You Antones Saffire "Uppity Blues Women" I Almost Lost My Mind Alligator Michelle "Evil Gal" Wilson Big Long Sliding Thing Bullseye Toni Lynn Washington Blues Thing Tone Cool Katie Webster Red Negligee Alligator Rory Block On The Wall Rounder Koko Taylor Hound Dog Alligator I had a LOT of fun playin' the music of these great musicians (and the add a lot of class to the show!!) I'm just sorry I didn't have more time and more CD's of other great Blues Ladies to play. Oh Well, there's always the next show Keepin' de Blues Alive in Western Maryland Kevin B. ========================================================================= Date: Mon, 9 Oct 1995 19:35:40 -0700 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Shock and disgust in Helena: B Guy Comments: To: DeniseTapp Denise Tapp wrote: > >Dear List Members: > >For those of you who did not have the pleasure of attending the King >Biscuit Boy Festival, let me assure that, overall, it was a terrific >event. I will cover this in more depth in other posts, but the things >which really make us mad seem to be more motivating. You know, a >complaint is more easily generated than a compliment. > >Thanks to my friends Jay and Lee Sheffield, who are new to the list, but>are long-time blues hounds, I had the privilege of attending the Festival>backstage. What a blast! The artists were uniformly fun and in good>humor, almost competitive in a friendly way. The old guys were helping>the young guys. It was delightful. But at about 10:00 Saturday night,>this good spirit was suddenly invaded by a bunch of white thugs, who>screamed at all of us (musicians, media, festival volunteers, family,>etc.) to "get behind the bus!" I looked back, and they were motioning>towards a tour bus parked several hundred feet back. "Get behind the bus,>now, or there will be no show!!! Do you understand me people???!!! Get>behind the bus or Buddy won't play!!!" > >I was standing with Cat Bauer and Dick Waterman at the time. Dick said,>"I'm not going to take this," and moved closer to the stage. Cat >explained that Buddy was serious, he'd had things thrown at him in the >past and wasn't taking chances. And I told Cat that B.B. never treated>his fans this way, and that I wasn't interested in supporting a performer>who was so rude to his fellow musicians, festival volunteers, the media>(who, after all, made him, in spite of his relative paucity of talent),>etc. Such behavior generates rock throwing and worse. > >I do not exaggerate when I describe this as a gang of thugs. Next thing I>knew, Waterman was ejected, and we left together, with me chanting, "Buddy>will never be more than just a guy, B.B. will always be King" to Buddy's>obnoxious staff. I hear I missed a good performance, but after the Guy>Troop ruined the community spirit which had thrived at the Festival, I>would probably have found fault with him anyway. > >If Buddy's management lurks on this list or if any of you know them, >please understand that the personal manager is wrecking Buddy's career >with his treatment of other people. If you are aware of incidents like>the one I have described above and persist in this course, you will have a>falling missile on your hands before long. If one thing is true about the>blues, it's this: Eventually, bullshit walks. > Denise: I strongly urge you, and any other listers who attended this event, to write a detailed account of your experience and send it to Living Blues, Blues Access, or any other blues publication you subscribe to. The way to deal with situations like this is to publicize them far and wide (farther and wider than this list, anyhow). I doubt very much whether Buddy Guy's manager lurks on this list, but I'll bet you he reads Living Blues, and so do many of the blues club bookers and concert promoters he's trying to sell Buddy Guy dates....if I ran a club and was considering booking Buddy Guy, I would very much appreciate this kind of information, since I would never subject my audiences to the kind of treatment described in your post. Mary Katherine > ========================================================================= Date: Mon, 9 Oct 1995 19:48:57 -0700 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Starting a Blues Society Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu L.W. wrote: > >I know some of you have started a Blues Society. Can someone give the details>on how you go about doing it. > >Also does anyone have a problem with Tina Mayfield and The BLACK Blues Society>which is in LA....right >I don't want a discussion of race, I was just curious if anyone has a problem>with a society that appears to be biased toward a certain race...I don't have>a problem with it, since most blues socities I've been around are biased also>they just don't publicly admit it, but their actions speak louder than their>words.... >I'm curious to why Tina Mayfield who I presume is black, did not call it The>Afro-American blues society..( I'll ask Tina, why) >This is intended as an intelligent question and I expect intelligent answers>not a bunch of race crap....A simple yes I have a problem with it or No I don't>have a problem with it will suffice.....I'm just curious to how others see it > > The Southern California Black Blues Society was named that, as far as I know, solely to differentiate it from the Southern California Blues Society, a group which Tina (and many other people) prefer to distance themselves from. So far as I know Tina's organization is open to all races; she told me this herself. Yes, she is black, and is the widow of singer Percy Mayfield. As far as starting a blues society goes, it's a huge can of worms, and one which I had only negative experiences with. I think someone with a strong, positive attitude and a currently operational blues society should answer that question for you! Mary Katherine ========================================================================= Date: Mon, 9 Oct 1995 21:34:08 +0500 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Helena -- anyone see the Scatman? Did Leo "the Scatman" Aspiras ever make it to Helena? Any sightings? My long journey to Helena started Friday afternoon at my deep delta work-site in Port Sulphur, LA., and ended very late that night after a two hour search to find my Memphis friend's cabin in a campground outside Tunica. I would spend some of that night trying to locate the Scatcat at the casino and much of the following day at the festival. I fully anticipated meeting some blues-lers, but since the only one I've actually seen and could recognize is Leo, I was counting on him as a link. Suffice to say, I'd have had as much success finding an ivory-billed woodpecker or Jimmy Hoffa. This year I really had my momo (stet) working. Next year, I'll take a vacation day for travel and arrange a better meeting place with a variety of people. At any rate, Leo, if you're out there, I still have the CDM coffee, but my Memphis friends and I polished off the Abita beer. Very quickly, here are my picks for the best and worst of the fest. The list won't be as complete as others' , because I was only there Saturday and Sunday, and I spent a fair amount of time searching for the elusive Scatman and visiting the various stages. The only artist that I saw from start to finish was Robert Jr. Lockwood, and I thought his (and his magnificent band's) performance the most tasteful. The tone was elegant and rich, Lockwood's guitar work was beautifully understated (the contrast was striking with the artists that preceded and followed). I enjoyed Joe Louis Walker and James Cotton, but I found their sound overwhelming with volume at times. I especially found the solos by the band members and the booming sound from the overmiked drums tiresome. Cotton's harmonica playing was stunning however, and he had a magnetic stage presence. Buddy Guy did covers and imitations. I didn't stick around for all of his show, mostly because it was very cold outside. His performance evidently was the most crowd-pleasing -- high in entertainment value, low in artistic merit (as they might say in a gymnastics meet). He imitated Clapton, Hendrix, Stevie Ray Vaughn, Marvin Gaye, and John Lee Hooker; am I omitting someone? I was hoping he'd do Streisand. He kept saying something like "I can do Marvin Gaye," "I can do John Lee Hooker." I wanted to see him do Buddy Guy. However, I've got to admit that his Hendrix imitation sent a tingle up my neck that squashed my headache momentarily. I saw much too little of Otis Clay. He was on stage about the time I arrived, and I was doing the Scatman search for a good part of his show. He had a fabulous band with a great horn section. I'm hoping that I get the opportunity to see him play again soon. He and Lockwood were my favorite performers on the Main stage. On the other stages, and on the sidewalk, I was just nuts about Mr. Downchild and Sam Carr. I enjoyed their playing as much as any on the main stage. There were a couple of old guys playing on the Stackhouse stage. I think one of them was named Jack Owens. I don't know if he was the guitarist or the harp player. Both were very old. At one point the harp player, not realizing that he wasn't holding his harp, blew directly into the microphone as if he was. This, I suspect, was the first air harp performance in the history of the festival. That's a quick wrap up to a too brief festival. I took the scenic journey down Highway 61 the next day -- a most therapeutic journey. This weekend is the Baton Rouge festival. Anyone going? Scatman? **************************** Bill Morgan ========================================================================= Date: Mon, 9 Oct 1995 20:59:47 +0100 Reply-To: "J. Witteveen" From: "J. Witteveen" Subject: Re: Roomful of Blues! >Steve says: > I went mostly to hear Sugar Ray Norcia's vocals and harp playing, but I >ended up enjoying everything they did. (snip) the soulful voice and heavy du >y harp of Sugar Ray (the place was full of harp players!)... > >To which I say: >I've said it before, and i'm sure i'll say it again. sugar ray norcia is a >good singer, and probably a GREAT harp player. But IMHO, he's got no (ok, >little) SOUL. > >Roomful ain't been the same for me (who used to go seem them at least twice >a month) since Greg Piccolo left the band. And now I say: I never heard the Roomful of Blues before hearing `Colin James and the Little Big Band', a collaboration between Canadian rock/blues guy (who latest album is quite good, by the way) Colin James and the Roomful of Blues. I loved the album, saw them in concert at the Commodore in Vancouver, went out and bought Dance All Night, and was kind of dissapointed. They should have stuck with Colin, IMHO. Better voice, impeccable and tasteful guitar work, and they rocked. -Jim (hndful@uniserve.com) ========================================================================= Date: Mon, 9 Oct 1995 23:02:34 -0500 Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: Re: Austin.TX.Band Comments: cc: David Wickhem Hi David: The Solid Senders are friends of mine and I am in touch with them, well sort of, I'll tell what I mean in a second. I have interviewd them on my show and learned quite a bit about them. So here are the answers to your questions: a. The band was still around until about 2 weeks when 2 of its members left. I am not sure if the remaining members will keep the band or start a new one. b. They have 2 CDs out. The first one was called "The Solid Senders" (it is on an Austin label: The Solid Sender . c/o Arnold Media Consultants . 6715-A Woodhue Drive . Austin, Texas 78745), and the second one is called "Everything's Gonna Be Alright" (it is on the Munich label and can be pruchased from local stores or by writing or calling Blues Record Center. P.O. Box 15531 . 1001 NA Amsterdam . The Netherlands . Phone 0031-20-6794503 or Munich Records at: Munich records . Wageningen . The Netherlands . phone 0031-8370-21444 . fax 0031-8370-22959). No other recordings are available! c. The name of the lead guitar player is Hector Watt. He is a fabulous player with a style similar to Jimmie vaughn. The rest of the band are: Keith Ferguson on Bass (formerly with The Fabulous Thunderbirds for many years), Matt Ryan on drums, and Spencer Thomas on lead vocals. On the first CD they had the same members except for Keith on bass. Nick travis played bass. d. Hector and Keith remain together while Spencer and Matt are together. No word yet on were each is going. They may have regrouped since the last time I heard from them! Hope this helps! Nuri Nuri, Host/Producer "Off the Clock" blues show, KPFT 90.1FM-Houston Recently chosen by the Houston Press magazine as "The Best Blues Radio Program" in Housotn for 1995! >I am looking for help from Austin, TX !!!!! > >About three or four years ago I was in Austin TX and heard a small >band by the name of the Solid Senders. I went to Antone's the next day and >purchased their CD which was current at the time. Does anyone know if > >a. is the band is still around ? >b. do they have any more recorded material ? >c. the name of the lead guitar player ? >d. if the band is defunked is the lead guitar player still playing w/someone ? > > >Thanks for your help !!! > > > >David.Wickhem@acs.uswest.com > > ========================================================================= Date: Tue, 10 Oct 1995 04:30:27 GMT Reply-To: David Alan Hammel From: David Alan Hammel Organization: The University of Calgary Subject: Ian Moore Comments: To: bit-listserv-blues-l@uunet.uu.net Although its not pure blues, I'm just curious if anyone can give me a review of the latest Ian Moore CD. I heard one sample over the phone and it was pretty good. ========================================================================= Date: Tue, 10 Oct 1995 00:51:01 -0400 Reply-To: Fretman6@AOL.COM From: "J.B. Eanes" Subject: Fwd: Whose blues? --------------------- Forwarded message: Subj: Re: Whose blues? Date: 95-10-10 00:41:46 EDT From: Fretman6 To: mmccourt@acuson.com Dear Mike McCourt, I am very new to Blues L. and I must say I am not impressed by the recent "Whose blues?" . However, I am impressed with *your* reply to all the silly theories. Maybe those folks should be made aware that AOL has a "Teen chat" room that they may be more comfortable in. Thanx again Mike, J.B. Eanes Virginia ========================================================================= Date: Mon, 9 Oct 1995 23:37:44 -0500 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Re: Starting a Blues Society >L.W. wrote: >> >>I know some of you have started a Blues Society. Can someone give the >details>on how you go about doing it. While I didn't precisely start one I perhaps upgraded one that had already been started. The first thing you'll need is a lawyer to incorporate you as a non profit corporation. See if your community has a Volunteer Lawyers for the Arts or similar organization. If not try to find a lawyer who's a blues fan. There seem to be quite a few. Not sure why. Next thing you'll need is a formation committee or steering committee or whatever you want to call it. They should commence a search for a strong board of directors. The board of directors job is to raise money for the organization to operate and to steer the policy of the organization. It will be important for the steering committee or first board to set out a mission statement. One item in this MUST BE education. If the organization doesn't give back something to the community it will risk it's 501 C3 (tax exempt) status. You should think about interfacing with local artists, club owners, radio stations, record stores, recording studios. Also with other blues societies. I feel it is important to think about interfacing with your local black community (if your locale has one) Others I know don't give this importance, but I'm guessing you are white and many of your initial volunteers will be, but remember, it is/was originally THEIR music. Starting and running a blues society is a lot of work. You will need dedicated volunteers, you will need to recruit to bring in more. You should interface with your local and state Arts Commission and immediately start looking into grant money for things like bringing artists to your town who commercial promoters would not bring (Homesick James, Junior Kimbrough, artists of that ilk.) Commercial clubs I presume would bring the likes of Little Charlie or Buddy Guy. Arts Comissions typically give matching funds so you'll need to raise money by having benefit concerts, charging membership fees, bake sales, whatever. You'll want to have a membership chairman capable of implementing a membership drive. You'll need a newletter editor to keep your members informed of the organizations activities. Better a regular one page mimeo than a 20 page magazine that just doesn't come out too regularly. Blues record companies are anxious to buy ad space in your newletter. This will (help) pay your printing and mailing costs. That's the quick tour. Good luck. E-mail if you have specific questions. Joel Slotnikoff | BLUES WORLD e-mag Box 21652 | http://www.inlink.com/~joelslot St. Louis, MO 63109 | articles, images, reviews, (314) 647-2447 | 78rpm record auction joelslot@inlink.com | blueslinks Joel Slotnikoff | BLUES WORLD e-mag Box 21652 | http://www.inlink.com/~joelslot St. Louis, MO 63109 | articles, images, reviews, (314) 647-2447 | 78rpm record auction joelslot@inlink.com | blueslinks ========================================================================= Date: Mon, 9 Oct 1995 21:45:51 -0700 Reply-To: Robert Teeter From: Robert Teeter Subject: John Lee Hooker (fwd) John Lee Hooker's manager sent the following to me in response to my post about the San Francisco Blues Festival. Tom Mazzolini said much the same thing on his KPFA radio show the Saturday after the festival. Robert Teeter | "Ripeness is all." San Jose | -- Shakespeare rteeter@netcom.com | ---------- Forwarded message ---------- Date: Mon, 9 Oct 1995 15:38:33 -0400 From:ROSEBUDUS@aol.com To: rteeter@netcom.com Subject: John Lee Hooker You wrote-- We had been waiting two days for this, but after about 20 minutes, JLH got up and went back stage. People refused to believe it was over. Producer Tom Mazzolini had to announce that there would be no more songs and that was Mr. Hooker's wish. It was a disappointment, but then Hooker hasn't been at his best for a long time Dear Robert, I saw your post about the San Francisco Blues Festival and copied it out to reply. I've been so busy I've only now had the chance to send this. Hopefully the following explains John Lee's performance for you. Feel free to post this if you like-unfortunately I no longer recall if the post was on AOL or the Internet. FYI, regarding John Lee Hooker's performance: John has been slowed for nearly two years now by a thyroid problem which has severely reduced his stamina. During this time John has been wary of the exertion of travel and has only performed around San Francisco and Los Angeles and has not left California for two years. Like any great performer, playing live still gives him enjoyment but the stamina is no longer there. For that reason, all of John's recent performances have been booked for three to four songs and specifically billed as "a special appearance by John Lee Hooker" to indicate that he will make an appearance but also to indicate that it will not be a standard set. Many I spoke to were not sure if he would even be performing given the billing. The San Francisco Festival was also booked from the beginning for three to four songs and we were adamant that the advertising not be misleading. We would love to see a full set too but for now it's not going to happen. In the meantime, hopefully the audience can appreciate that John is still out performing when he no longer needs to and when it's not nearly as easy for him as it used to be. Mike Kappus, manager, John Lee Hooker "It don't make sense if you can't make peace" Willie Dixon ========================================================================= Date: Tue, 10 Oct 1995 00:08:17 -0600 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: Records Comments: To: Bruce Roberts In-Reply-To: <951009084802.4e4@TSBME.STATE.TX.US> On Mon, 9 Oct 1995, Bruce Roberts wrote: {SNIP}}}}}} > > So my question is should I keep all my records, because there all going > to be valuable collectors items sometime in my lifetime? Or get rid of as > many as I can now, because ten years from now I won't be able to give > them away? > > Bruce Roberts > Austin, TX > You could send them to me for safe keeping. Hell, I even went out and got a turntable a year ago in anticipation. ;-) Jay Watterworth CU Boulder ========================================================================= Date: Tue, 10 Oct 1995 04:17:06 -0400 Reply-To: POXY MAN From: POXY MAN Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Bill Wharton & The Ingredients Comments: To: bit-listserv-blues-l@uunet.uu.net PW... at least you admit your faults.... Bill "The Sauce Boss" Wharton plays a mean pot o' gumbo! don't forget his Blues! I had the chance to trade him some hot pickled tomatoes I canned for some Liquid Summer. Don't know yet who made out! regards, Pat Seay ========================================================================= Date: Tue, 10 Oct 1995 04:21:23 -0400 Reply-To: POXY MAN From: POXY MAN Organization: America Online, Inc. (1-800-827-6364) Subject: ROOMFul @ Blues At The Beach Comments: To: bit-listserv-blues-l@uunet.uu.net Well fans I can't wait ... I used to watch Roomful 15 yrs ago @ Kings head Inn in norfolk... Now This weekend FREE @ 24th St Park inVA beach... @nd annual blues At the Beach right off the boardwalk ========================================================================= Date: Tue, 10 Oct 1995 09:08:39 GMT Reply-To: catherin@NWLINK.COM From: catherin@NWLINK.COM Organization: COYOTE/Seattle: The Sex Workers Rights Organization Subject: Re: Ian Moore Comments: To: bit-listserv-blues-l@uunet.uu.net > David Alan Hammel writes: > Although its not pure blues, I'm just curious if anyone can give > me a review of the latest Ian Moore CD. I heard one sample over > the phone and it was pretty good. Some of his stuff is not "pure blues" but he's quite adept and I rather like his licks (guitar, that is)... >>>> A tout a l'heure, Catherine La Croix Seattle, Washington ========================================================================= Date: Tue, 10 Oct 1995 09:10:04 GMT Reply-To: catherin@NWLINK.COM From: catherin@NWLINK.COM Organization: COYOTE/Seattle: The Sex Workers Rights Organization Subject: Re: Buddy's brother? Comments: To: bit-listserv-blues-l@uunet.uu.net > Karen Hanson writes: > > Buddy's brother is Phil Guy. Some people say he looks like Buddy, but I > don't think so--he's larger, and not as flamboyant. I've only seen him once, > so I can't really judge, but he seemed OK. He didn't imitate any rock stars. > Probably somebody can tell you more than I can. I'd second the opinion. He backs Buddy adequately but there's no fire there... >>>> A tout a l'heure, Catherine La Croix Seattle, Washington ========================================================================= Date: Tue, 10 Oct 1995 05:12:53 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: More E-mail Blues Six months ago (or even less) it was possible to carry on a virtually real time conversation with nearly anyone else in the U.S. via e-mail. Something appears to have gone terribly wrong and it seems to be centered around America Online. This morning I received private e-mail from AOL members dated Oct 2nd, and Oct 4th. EIGHT DAYS!!! at the speed of light should be sufficient to complete a journey well outside our solar system P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Tue, 10 Oct 1995 05:12:53 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - October 10th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BLACKWELL, ED (d) b. 1929-1010, NEW ORLEANS, LA BOSWELL, CONNIE (of THE BOSWELL SISTERS) d. 1976-1010, NEW YORK CITY, NY 68 BRIMMER, CHARLES (v) b. 1948-1010, NEW ORLEANS, LA BROWN, OSCAR JR. (v/songw) b. 1926-1010, CHICAGO, IL BUTLER, JONATHAN (g) b. -1010, CAPETOWN, S. AFRICA COLE, JUNE LAWRENCE (b) d. 1960-1010, NEW YORK CITY, NY 45 EDISON, HARRY "SWEETS" (tpt/BASIE) b. 1915-1010, COLUMBUS, OH HEARD, EUGENE "FATS" (d/LIONEL HAMPTON) b. 1923-1010, CLEVELAND, OH HUNTER, IVORY JOE (p/songw) b. 1914-1010, KIRBYVILLE, TX JOHNSON, JOE (lead/THE CBS TRUMPETEERS) d. 1984-1010, BALTIMORE, MD 69 LARKIN, MILT "TIPPY" (tpt/tbn) b. 1910-1010, HOUSTON, TX MILLER, STEVE (g) b. 1943-1010, DALLAS, TX MONK, THELONIOUS (SPHERE) (p) b. 1917-1010, EDGECOMBE CTY, NC MONTGOMERY, WILLIAM "MONK" (el. b) b. 1921-1010, INDIANAPOLIS, IN PINDER, RAYMOND (of THE PINDER FAMILY) b. 1907-1010, NASSAU, BAHAMAS SHABALALA, HEADMAN M. (LADYSMITH BLACK..)b. 1945-1010, LADYSMITH,S. AFRICA THEARD, SAM "SPO-DEE-O-DEE" (v/songw) b. 1904-1010, NEW ORLEANS, LA THOMPSON, MAC (MAC JOHNSON) (b/MAGIC SAM) d. 1991-1010, CHICAGO, IL 57 VAN SINGEL, AMY (co-founder:LIVING BLUES) b. 1949-1010, CHICAGO, IL VEREEN, BEN (v/actor) b. 1946-1010 MIAMI, FL WALTON, WADE (g/ARHOOLIE REC) b. 1923-1010, LOMBARDY, MS WILSON, WESLEY "KID SOX" (v) d. 1958-1010, CAPE MAY COURT NJ 65 ------------------------------------------------------------------------------- P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Tue, 10 Oct 1995 09:53:21 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: BLUES & RHYTHM 104 OUT NEXT WEEK Comments: To: bit-listserv-blues-l@moderators.uu.net B&R 104 will be out in Europe next week, week after in the USA. So here's what ya got to look forward to. Silas Steele - The Bessemer Converter, Keith briggs tells the story of a number one gospel house wreaker. Roy Roberts - Phil Wight interviews a bluesman to look out for in the future. The Mystery Of Tampa Red's Guitar - Has Bill Greensmith discovered the whereabouts of Tampa's 1928 National.. Charlie Patton - Keith Briggs on BBC Radio 3's programme about Patton, plus a major review of the new Patton Yazoo CD. Festival reports from Colne, Lugano plus UK gigs - Byther Smith and Maurice John Vaughn Tons of other stuff and definately and guaranteed NO articles on Clapton, the Yardbirds, Deep Purple, crap bar bands, UK beat groups being re-marketed as blues bands (although we have got a review of the new Elvin Bishop) How did that baby get in there? TB ========================================================================= Date: Tue, 10 Oct 1995 07:27:28 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Day after Columbus Day Did everybody have a happy and safe Columbus Day? I'll be eating those delicious Columbus Day dinner leftovers all week. I hate the thought of having to take down the decorations. It's so depressing. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 10 Oct 1995 07:32:45 -0400 Reply-To: RLaMour From: RLaMour Organization: America Online, Inc. (1-800-827-6364) Subject: Re: SA Blues Notes (additional) Comments: To: bit-listserv-blues-l@uunet.uu.net Also noteworthy, appearing at Billy Blues in San Antonio: Gary Primich- November 25 Lavelle White- December 15 Teddy Morgan- December 29 ========================================================================= Date: Tue, 10 Oct 1995 07:40:43 -0400 Reply-To: rburger@CapAccess.org From: Richard Burger Subject: is it blues? Re: What is Blues?: Howsabout Little Jimmy Dawkins or Toots Thielman? Execptions? ========================================================================= Date: Tue, 10 Oct 1995 07:49:39 -0500 Reply-To: William A Morgan From: William A Morgan Subject: Tipitina's no longer for sale According to an article in the Lagniappe section of Friday's New Orleans Times-Picayune, Tipitina's is no longer for sale. Tipitina's not only has a new booking agent but also a new backer, who may later become a partner. The backer has not yet been named, but it is a non-New Orleanian. Owner Jim Green said that the new backer is someone who read of the struggles of Tip's in the New York Times. Apparently, Jim Green and his wife Mientje have renewed their commitment to the club. They are moving back to New Orleans from Houston. And Jim Green had this to say with regard to his feelings about Tipitina's, "We were lucky 10 years ago to be entrusted with what I would say is the musical heartbeat of New Orleans. We're still the custodians of that and I think we have an obligation to preserve it." The article also says that Tip's seems to be "coming on stronger than it has in months." ******************* Bill Morgan ========================================================================= Date: Tue, 10 Oct 1995 08:57:49 -0400 Reply-To: Tom Morgan From: Tom Morgan Subject: New Blues CDs Here is a list of the latest blues cds to come into the station. Larry Johnson w John Hammond Midnight Hour Blues Biograph Buddy Moss Atlanta Blues Legend Biograph Lee Rocker & Big Blue Atomic Boogie Hour Black Top Jesse Austin Baby's Back Roesch Robben Ford and the blue line Handful of Blues Stretch Soul Drivers Tight White Dress BluesTime Bluesiana Hurricane Blues Hurricane Shanachie Johnny Ricker Drivin' Me Blue Red Hot Lee McBee & the Passions Lee McBee & the Passions Red Hot Kansas City Blues Red Hot Roomful of Blues Turn it On, Turn It Up Bullseye Blues Blues: Live From Mountain Stage same Blue Plate Kid Ramos Two Hands, One Heart Black Top ----------------------------------------------------------------------------- My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Tue, 10 Oct 1995 08:13:30 PDT Reply-To: rjbauman@IQUEST.NET From: rjbauman@IQUEST.NET Subject: Re: Blues radio Comments: To: heese90@WHARTON.UPENN.EDU I'm NOT doing a college paper or anything, but it might be a good idea to gather up all this blues show data for a blues radio "atlas." RJ Bauman >I am writing a college paper on Blues radio. Answers to the >following questions would be appreciated: > >Is there a Blues station in your listening area? >Is it commercial or community funded? >If there is no full-time blues radio station, is there a locally >produced show 1-2 hours long? >Are there any syndicated blues shows that appear nationwide? >For specific blues shows (local or syndicated), what time do they >come on? > >Thanks > ========================================================================= Date: Tue, 10 Oct 1995 08:28:09 CST6CDT Reply-To: SOXTON@CHE2.CHE.UMN.EDU From: Sara Oxton Organization: University of Minnesota Subject: Re: Records Bruce, and anyone else holding vinyl: I buy cds only reluctantly. I've been a record collector for about 10 years now and wouldn't dream of dumping my stuff. I don't think of my records in terms of their monetary worth, rather their intrinsic worth. But I will confess my radio partner rolls his eyes everytime I cue up my BB King RPM records while he just punches a button, making me feel like a fuddy-duddy at the ripe age of 32. Here's to pops and scratches. Sara - proud owner of the complete, original Otis Redding library on vinyl. ========================================================================= Date: Tue, 10 Oct 1995 08:29:22 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: National guitar chat My National and my "former" Dobro came with the strings running up UNDER the tailpiece. The National started to buzz some, so I stuck a piece of rubber under the tailpiece. Last night I finally restrung it correctly and NO BUZZ and better tone....(I didn't think it could get better)... Does anyone know why some people run the strings under the tailpiece. Someone asked me about the "history" of my guitar and I of course, have no clue. There is a name scratched in it "Minnie McCoy" ???? (just kidding) The name is Dorthy Burleson, I wonder who she was, the writing is crude and pretty old. Now I'm beginning to wonder what "paths" the guitar did travel I figured out more ways to make the I, V, IV chords in Open G/A...That's going to be fun. I sure would like to be locked in a room with just my guitar for a week or two.....(with cigarettes, coffee, cheesebrgers and other things) LW ========================================================================= Date: Tue, 10 Oct 1995 09:05:42 -0500 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Texas Blues Book I picked up a really cool book this weekend. It's called "Meeting The Blues - The Rise of The Texas Sound" by Alan Govenar, put out by Da Capo Press. It has different sections on the major citys Dallas/ Ft. Worth, Houston, San Antonio, and Austin. It also has a section on all the Texas artist that moved to Calf. The only problem with the book is that it was written in 1988 and is a little out of date, but that's a minor problem. Bruce Roberts Austin, TX ========================================================================= Date: Tue, 10 Oct 1995 09:34:14 -0500 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: Records > I buy cds only reluctantly. I've been a record collector for about 10 years > now and wouldn't dream of dumping my stuff. > > I don't think of my records in terms of their monetary worth, rather their > intrinsic worth. But I will confess my radio partner rolls his eyes > everytime I cue up my BB King RPM records while he just punches a button, > making me feel like a fuddy-duddy at the ripe age of 32. I really don't have anything against records. If I had a turntable that worked, I would play my records from time to time. I would never buy a record new or old at this point in time (I'm spending too much on CD's). But I think all the reissues of Blues records on CD is partly responsible for the increased interest in the Blues in the past ten years. Bruce Roberts Austin, TX ========================================================================= Date: Tue, 10 Oct 1995 07:41:20 +0000 Reply-To: Rich Del Grosso Comments: Authenticated sender is From: Rich Del Grosso Subject: Miking a National To all the steel guitar players, I have played Nationals for a long time and have tried every possible combination of mike/ pick up arrangements. The one I settled on I believe is the best; a combination piezo pickup on the wood that connects the bridge to the cone, and a microphone in the body of the guitar near one of the F-holes. The pickup is a Fishman SBT-E and the microphone is a Crown BP100. The two are connected with a stereo jack. I run a stereo cable to a Fishman blender that allows me to mix the sound from each device. I can also separate the two sounds so that the sound board can feed me more of the pick-up into the monitor, avoiding feedback from the mike. I don't have to mess with the placement and feedback from an external mike, and the sound is great. If you received the Bottleneck Blues tape I had produced for Blues Revue then you can hear the guitar. The tone is great and I can get the level I need anywhere. Needless to say I am happy with it. The folks at Fishman can help you. My set-up was installed by the crew at the Frethouse in Covina, CA. Rich DelGrosso ========================================================================= Date: Tue, 10 Oct 1995 13:47:24 +0000 Reply-To: martin@srv0.ems.ed.ac.uk From: Martin Adamson Organization: EUMS Subject: Re: Records > So my question is should I keep all my records, because there all going > to be valuable collectors items sometime in my lifetime? Keep them because you love them. Martin ========================================================================= Date: Tue, 10 Oct 1995 16:08:17 GMT Reply-To: George Van Wagner From: George Van Wagner Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: LA area appearance I'd like to invite any and all LA area blues-ellers to see my band, The Funky Huns, at the Old Towne Pub in Pasadena (66 N. Fair Oaks St.) on Monday, October 30th. We do everything from Muddy and Wolf to some of my original tunes plus a few R&B tunes because the Old Towne's not a straight ahead blues club. A good time is guaranteed for all. BTW, since it's the night before Halloween, we'll be getting dressed up, you can too! "Good Time" George Van Wagner ========================================================================= Date: Tue, 10 Oct 1995 11:19:12 -0400 Reply-To: Patti Bowman From: Patti Bowman Subject: East Coast Blues I am so jealous of you zellers that can get together and meet and listen to some great blues. Anybody on the list from the East coast (specifically VA, MD, DC, NC area)? - other than you, PoxyMan.......I know where you are! I'd love to get together for some event. -Patti PS. Is anyone planning to come for the Blues @ the Beach this weekend? ( Smokin Joe Kubek on Sat. /Roomful o blues on Sun. with lots of cool stuff inbetween!) I'm sure that will be a GOOD time. ========================================================================= Date: Tue, 10 Oct 1995 11:19:01 -0400 Reply-To: Patti Bowman From: Patti Bowman Subject: Re: Day after Columbus Day >Did everybody have a happy and safe Columbus Day? I'll be eating >those delicious Columbus Day dinner leftovers all week. I hate the >thought of having to take down the decorations. It's so depressing. > PW- sounds to me like you've got the "Day after Columbus Day Blues" Don't worry, it' sfairly common around the holiday. Hell, I'll bet even Columbus had 'em. (but he probably didn't write a blues song about it.) -Patti who suffers the same thing after Bastille Day ========================================================================= Date: Tue, 10 Oct 1995 16:36:38 GMT Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: Do You respect them, In article <44t8fo$gp8@news1.wolfe.net> catherin@WOLFENET.COM writes: >> Joe Lempkowski writes: >> L W writes: >> >> >I see alot of Clapton, SRV ...etc talk all the time. >> >> >I have a question, even though you make not like their music, DO You respect >> >them at all. >> >> I respect them. They put a lot of effort into the work >Clapton is *still* God when he lets loose with Buddy Guy or just himself. The > only downside to "From the Cradle" was that he was >TOO true to the historical precedents...he should have given them the Clapton > touch... I agree! Hoochie Coochie Man would have been much more enjoyable if he had sung it like himself instead of trying to imitate Muddy. ========================================================================= Date: Tue, 10 Oct 1995 10:39:50 CST Reply-To: JBards From: JBards Subject: Re: Day after Columbus Day Comments: To: "P.W. Fenton" At my house, we don't throw out our Columbus Day tree until Halloween.... Jim _______________________________________________________________________________ Subject: Day after Columbus Day From: "P.W. Fenton" at INTERNET-SH Date: 10/10/95 6:57 AM Did everybody have a happy and safe Columbus Day? I'll be eating those delicious Columbus Day dinner leftovers all week. I hate the thought of having to take down the decorations. It's so depressing. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 10 Oct 1995 10:38:11 CST Reply-To: JBards From: JBards Subject: Re: Miking a National Comments: To: Rich Del Grosso That sounds very interesting, but what about those of us who have the all metal Nationals? I'm looking for a good setup for a Tricone Style 1. BTW, the most interesting miking I've seen was Jim Suhler's old Duolian: someone had stuck a P-90 up by the neck. It sounded great, but of course, Suhler was playing it at the time, so that probably adds some bias. Jim _______________________________________________________________________________ Subject: Miking a National From: Rich Del Grosso at INTERNET-SH Date: 10/10/95 10:21 AM To all the steel guitar players, I have played Nationals for a long time and have tried every possible combination of mike/ pick up arrangements. The one I settled on I believe is the best; a combination piezo pickup on the wood that connects the bridge to the cone, and a microphone in the body of the guitar near one of the F-holes. The pickup is a Fishman SBT-E and the microphone is a Crown BP100. Rich DelGrosso ========================================================================= Date: Tue, 10 Oct 1995 11:08:07 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Re: Day after Columbus Day > > Did everybody have a happy and safe Columbus Day? I'll be eating > those delicious Columbus Day dinner leftovers all week. I hate the > thought of having to take down the decorations. It's so depressing. > > P.W. Fenton > Tampa, Florida > e-mail = pwfenton@gate.net > WWW = http://www.gate.net/~pwfenton > I didn't know it was a holiday yesterday until I called Navy office in D.C. to ask whether they received the project proposal I faxed night before to them. The guy was surprised when I asked to talk to some peopple there. That's how I learned it was Columbus day. So much how Europeans celebrate Columbus Day around here..... Ranko ps. I went to record store and bought new Luther Allison, and in a used CD store and bought SBW I - Big Joe Williams RCA release. Both wonderful in their own blues "project areas." I guess that's how I celebrated Columbus Day. ========================================================================= Date: Tue, 10 Oct 1995 11:19:17 -0400 Reply-To: Patti Bowman From: Patti Bowman Subject: Re: John Lee Hooker >Hey does anyone know if any big blues concerts are coming to NJ. I really >want to see John Lee Hooker in concert. Um I dunno where any blues >clubs are around here, I don't live too close to NYC or Phila, but if you >have a clue, please drop me a line > >Anand Anad- Try the or is it< .net>? Anyway, they have a MASSIVE list of concerts that cover all genre of music. I only checked for Dylan yesterday but I'm pretty sure I saw JLH too. You can search by artist, venue or city. -Patti not affiliated with Pollstar...............yadda,yadda,yadda ========================================================================= Date: Tue, 10 Oct 1995 09:35:38 PST Reply-To: Mike McCourt From: Mike McCourt Subject: Re: Blues radio This looks like a good opportunity to let people in the SF Bay Area know about an on-line listing of blues radio stations that is now available. A few weeks ago I asked the list for information about blues shows here and received a number of responses, one of which was a fax of all the shows listed by day and time. I was able to scan it into my computer and now have it ready. If you would like a copy send me an e-mail and I will send it to you. If there is enough interest I will post it to the list. Mike ______________________________ Reply Separator _________________________________ Subject: Re: Blues radio Author: rjbauman@IQUEST.NET at ccUnix I'm NOT doing a college paper or anything, but it might be a good idea to gather up all this blues show data for a blues radio "atlas." RJ Bauman ========================================================================= Date: Tue, 10 Oct 1995 12:17:22 -0400 Reply-To: Wayne Ross From: Wayne Ross Subject: Re: Day after Columbus Day Comments: To: JBards In-Reply-To: <9509108133.AA813346275@mail-sh.lsumc.edu> Don't forget that Columbus Day in the USA means it's Thanksgiving in Canada, so there really are Colubus day leftovers!! ========================================================================= Date: Tue, 10 Oct 1995 12:48:24 -0400 Reply-To: James Leftwich From: James Leftwich Subject: Turntables (was: Records) Hello, This talk of records got me thinking. I've got some of my best stuff on vinyl and no working turntable to listen to them on. I'm missing a part, the plug, and can't seem to find a replacement. It's a 10 yr old Technics that doesn't even have automatic return. So, what I ask is...does anyone know a place where I could order this part...or...does someone have a turntable they'd be willing to unload for a reasonable price or exchange blues videos... Thanks Jim Leftwich leftwich@cloud9.net "I"m on cloud9!" :) ========================================================================= Date: Tue, 10 Oct 1995 09:50:27 -0700 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Re: Day after Columbus Day Comments: To: bit-listserv-blues-l@cs.washington.edu In-Reply-To: <199510101608.LAA24656@picasso.ccad.uiowa.edu> So *that's* why I didn't get any mail... Adrian > > Did everybody have a happy and safe Columbus Day? I'll be eating > > those delicious Columbus Day dinner leftovers all week. I hate the > > thought of having to take down the decorations. It's so depressing. > > > > P.W. Fenton > > Tampa, Florida > > e-mail = pwfenton@gate.net > > WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 10 Oct 1995 13:02:23 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Fresh Flowers For You On an Oct. 9 post, Beef Stew raved about Mary Flower and her CD ("Blues Jubilee") with a four star recommendation. Unfortunately, the address that he gave for radio programmers to get this CD was wrong. The correct address is: Resounding Records P.O. Box 205 Loretto Station 3001 South Federal Boulevard Denver, Colorado 80236 (303) 331-2412 I have no business affliation with Mary Flower so you may wave a Bic lighter in the air but no real flames will be entertained on this one. Dick Waterman ========================================================================= Date: Tue, 10 Oct 1995 12:45:50 -0500 Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: Re: Texas Blues Book Comments: cc: BRUCE@TSBME.STATE.TX.US The hard cover one (with Albert Collin's picture on the front) is a bit older than the soft cover one (with Stevie Ray Vaughn's picture on the front). The later is a bit more updated. Nuri Nuri >I picked up a really cool book this weekend. It's called "Meeting The >Blues - The Rise of The Texas Sound" by Alan Govenar, put out by >Da Capo Press. It has different sections on the major citys Dallas/ >Ft. Worth, Houston, San Antonio, and Austin. It also has a section >on all the Texas artist that moved to Calf. The only problem with the >book is that it was written in 1988 and is a little out of date, but >that's a minor problem. > >Bruce Roberts >Austin, TX > > ========================================================================= Date: Tue, 10 Oct 1995 11:03:20 -0600 Reply-To: PAN D'MONIUM From: PAN D'MONIUM Subject: Columbus Day We'd like to leave *our* tree up for awhile too, but we find that the pasta tinsel gets "funny" by Christmas. ========================================================================= Date: Tue, 10 Oct 1995 10:57:02 +0100 Reply-To: "J. Witteveen" From: "J. Witteveen" Subject: Best Lightnin? Hi Bluezellers! Another question... (I know you're thinking, man this guy asks a lot of stupid questions, but I've gotta ask!) I've got Lightnin Hopkins' `The Swarthmore Concert' on c.d., along with a few of his other albums. This album is by far the best of his that I've heard - great sense of humour, great guitar work and vocals (even the throat-clearing sounds good :-), and excellent sound. Can anyone recommend more of his stuff? I find that his solo work is better than his work in a group setting (unless I just haven't heard the right albums, that is!) Thanks for your help! -Jim (hndful@uniserve.com) ========================================================================= Date: Tue, 10 Oct 1995 14:13:23 CST Reply-To: Rich_E_Dowey@PNG.CNG.COM From: Rich Dowey Subject: Catherine La Croix With all respect to Catherine: A self avowed 'call girl'? You live in Redmond? Now I understand why Microsoft can't seem to hit a single deadline. ;-) Rich Who's contemplating selling whats left of his Microsoft stock, I think the benefits plan is just a little too generous. ;-> ========================================================================= Date: Tue, 10 Oct 1995 11:38:16 -0700 Reply-To: Chris Adams From: Chris Adams Subject: Blues Chat Who posted about the blues chat. Could you post the information again, the server name and the channel name. Thanks. Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us ========================================================================= Date: Tue, 10 Oct 1995 15:05:17 -0400 Reply-To: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM From: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM Subject: Re: Best Lightnin? Comments: To: hndful@UNISERVE.COM In-Reply-To: <95Oct10.110223+0100_pdt.30786+172@haven.uniserve.com> You can't go wrong with the 2 CD "Complete Aladdin Recordings". It's some of his earliest, almost all solo stuff and can be had cheap. Noteworthy Music carries it for <$10. His "Gold Star" recordings are also very good, but to me if you have the "Aladdin" stuff you don't really need his "Gold Star" as they are very similar. These were all recorded in the late 40s and are prime Lightnin'. >Hi Bluezellers! Another question... (I know you're thinking, man this guy >asks a lot of stupid questions, but I've gotta ask!) >I've got Lightnin Hopkins' `The Swarthmore Concert' on c.d., along with a >few of his other albums. This album is by far the best of his that I've >heard - great sense of humour, great guitar work and vocals (even the >throat-clearing sounds good :-), and excellent sound. Can anyone recommend >more of his stuff? I find that his solo work is better than his work in a >group setting (unless I just haven't heard the right albums, that is!) >Thanks for your help! > > >-Jim (hndful@uniserve.com) > ========================================================================= Date: Tue, 10 Oct 1995 13:33:19 -0700 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: Re: Blues Chat In-Reply-To: The blues chat channel is called "blueslers" and is on "us.undernet.org" from 7:30AM - 3:30PM CST Mon. to Fri. Haven't seen many Zellers yet. Do get other Blues Lovers from around the world though. RW (lived too long without Etta!) > Who posted about the blues chat. Could you post the information again, > the server name and the channel name. Thanks. > > > Christopher Adams > Automated Systems > Oregon State Library > chris@sparkie.osl.state.or.us > ========================================================================= Date: Tue, 10 Oct 1995 13:57:04 -0600 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: Turntables (was: Records) Comments: To: James Leftwich In-Reply-To: I picked up a good used turntable for $125. I just read the ads in the paper until one came up that looked good. It had hardly been used as the owner got a CD player. With the advent of CDs, turntables are being thrown out as dust catchers. You might try calling an electrical appliance repair shop for a plug. If they don't have one in stock, they might have one they could modify for you. Jay Watterworth going round and round at CU Boulder On Tue, 10 Oct 1995, James Leftwich wrote: > Hello, > > This talk of records got me thinking. I've got some of my best stuff on > vinyl and no working turntable to listen to them on. I'm missing a part, > the plug, and can't seem to find a replacement. It's a 10 yr old > Technics that doesn't even have automatic return. > > So, what I ask is...does anyone know a place where I could order this > part...or...does someone have a turntable they'd be willing to unload for > a reasonable price or exchange blues videos... > > Thanks > > Jim Leftwich > leftwich@cloud9.net > "I"m on cloud9!" :) > ========================================================================= Date: Tue, 10 Oct 1995 16:19:24 -0400 Reply-To: Leo Aspiras From: Leo Aspiras Subject: Helena Revisited(kind of long) Hey Folks: I'm back and I just wanted to post a short reaction/description to attending the King Biscuit Blues Festival in Helena. First of all, I regret missing fellow bluezellers Mr. Morgan from New Orleans (lost in the Ozone again, hey dude), Mr Waterman (left messages for you at the desk/computer), Ranko (i guess you did not make it - no messages at the motel), and Ms. Sara who was missed at the Little Milton show at Lady Luck Casino. I will start here since that was the first show we took in. After a nice BBQ dinner at The Hickory Place (on Route 1 going south out of Forrest City toward Route 49 - good BBQ (pork - beef - chicken and a fairly decent sauce)), we headed to Lady Luck for some Little Milton and a little gambling. No luck on the gambling (or running into anyone) but what a show Little Milton put on. He and the band were in good form. It seeme odd to me that the bandstand was right in the casino and the music had to compete with the din of the slot machines!!!!! The next day was Friday and the acts that stand out in this ol' mind were the Famous Unknowns (perhaps someone that was there could enlighten me on this group - is this their name and if not what was it????); Frank Frost and Sam Carr (who i talked with at length later on) put on a good set; Billy Branch with Pinetop Perkins was great; Luther Allison (this guy needed to play more because he was so good); Charlie Musselwhite with that West Coast cool; local favorite Jimmy McCracklin and it ended with Irma Thomas.....my pals and I were blissed out from this first day/night. Saturday began around 2:00PM because the boys and I took a pilgramage to the Blues Museum in Clarksdale and Muddy's Cabin on the outskirts. This trip I recommend to everyone!!!!! After much spending/meditating, it was back to Helena for the rest of the day/night. We made it back in time to see The Radio Kings out of Memphis. The few listings on this group in the past few months has been right on the money!!! They were good!!! Next up was Mr. Otis Clay. What can I say....the man is incredible!!! Next up was Rod Piazza & The Mighty Flyers. I have a bias toward this group because I know them through their manager and I have been following Rod since the Dirty Blues Band. Another great performance!!! There is a slight gap here because I wondered down to Sonny Boys' Music Hall for a jam that had been loosely set up by John Thaden from the Harp-L group. I had bass in hand ready for action but it was not to be....alas!!! Back to the stage area to catch Robert Jr. Lockwood and Ronnie Earl, James Cotton (i was in pain listening to him force his voice - sounded pretty bad) and a wrapup with the inimitable Buddy Guy. One of the guys in my group wandered down to the acoustic stage to catch Paul Rishell with Little Annie Raines and John Hammond and said both acts were great. All in all it was a great festival (got loaded down with all kinds of souvenirs). We will definitely be back next year and hopefully the weather will be just like this year (sunny and cool/mild). Hopefully, more of you people out there will consider it (you have a year to think about it....the festival will be October 10,11,12 of next year). My personal thanks to John Thaden and his wife for the company sharing on Saturday day/evening(we will jam next year)!!! Also, a quick P.S. to Bill Shute that I got your picture of Lazy Lester!!! Thank you and it has been carefully archived in the blues picture book!!! Leo 'The Scatman' Aspiras from D.C. ========================================================================= Date: Tue, 10 Oct 1995 15:41:09 CST Reply-To: JBards From: JBards Subject: Re[2]: Blues Chat Comments: To: Wack_Ron/rfh@SASK.AECL.CA What do you use for software support for the IRC? I've got Homer ( I'm on a PowerMAc) but I'll be damned if I can figure out how to use it and there's no manual or help function that I can see. It gives me the blues! -Jim, staying within topic _______________________________________________________________________________ Subject: Re: Blues Chat From: Wack_Ron/rfh@SASK.AECL.CA at INTERNET-SH Date: 10/10/95 3:16 PM The blues chat channel is called "blueslers" and is on "us.undernet.org" from 7:30AM - 3:30PM CST Mon. to Fri. Haven't seen many Zellers yet. Do get other Blues Lovers from around the world though. RW (lived too long without Etta!) > Who posted about the blues chat. Could you post the information again, > the server name and the channel name. Thanks. > > > Christopher Adams > Automated Systems > Oregon State Library > chris@sparkie.osl.state.or.us > ========================================================================= Date: Tue, 10 Oct 1995 16:54:54 -0400 Reply-To: SJeffcote@AOL.COM From: "Scott E. Jeffcote" Subject: Re: Shock and disgust in Helena: B Guy Comments: To: mkaldin@ix.netcom.com If you would like, you can e-mail me copies of how you feel about Buddy. I will see his brother, Sam, this week here in Baton Rouge. I would be glad to give them to him in hope that he would pass them on to Buddy. Please e-mail your responses to BR Blues@ Aol.com SJ ========================================================================= Date: Tue, 10 Oct 1995 16:56:09 -0400 Reply-To: Bob vanArsdall From: Bob vanArsdall Subject: Re: Turntables (was: Records) Jim Leftwich noted: >This talk of records got me thinking. I've got some of my best stuff on >vinyl and no working turntable to listen to them on. I'm missing a part, >the plug, and can't seem to find a replacement. It's a 10 yr old >Technics that doesn't even have automatic return. > I finally updated my old stereo equipment a couple of years ago to some (used) high-end stuff. Only later did I find out that, even though the amplifier had a gizillion inputs for everything from DSS to fiber optic jacks, there was no input for a turntable. Problem is that turntables need their own preamp, so you can't just plug it in anywhere. Beware when you go to get new equipment. Some manufacturers don't even think about vinyl as a medium anymore... Bob ========================================================================= Date: Tue, 10 Oct 1995 18:06:09 -0400 Reply-To: "Alan C. Rollins" From: "Alan C. Rollins" Subject: Helping a Subscriber Need help from anyone who has ability to phone Shannon OConnor. Seems her E-Mail address has gone bonkers. I recieved a request for help from her and reponded. She responded to that yesterday A.M. Now her Blue-L messages are coming back to me as undeliverable and so is my direct effort of this A.M. Thanks Alan ACR ========================================================================= Date: Tue, 10 Oct 1995 18:10:41 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: CD Trading Mood Blues. Comments: To: bit-listserv-blues-l@uunet.uu.net I got them again - anyone interested e-mail me and let's see what's to trade. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Tue, 10 Oct 1995 15:17:56 -0700 Reply-To: Jeffrey Taylor From: Jeffrey Taylor Subject: Re: Do You respect them, Comments: To: Dennis Miele In-Reply-To: > >> >I have a question, even though you make not like their music, DO You respect > >> >them at all. > >> > >> I respect them. They put a lot of effort into the work > > >Clapton is *still* God when he lets loose with Buddy Guy or just himself. The > > only downside to "From the Cradle" was that he was > >TOO true to the historical precedents...he should have given them the Clapton > > touch... > > I agree! Hoochie Coochie Man would have been much more enjoyable if he had > sung it like himself instead of trying to imitate Muddy. > FTC was just a little too clean for my tastes and yes I agree EC does a lousy job of covering Muddy (so does everyone else I've heard). Get ahold of the "Nothing but the Blues" program that aired on PBS. EC sounds like himself and the result is fine. Jerry Pourtnoy (sp?) is criminally low in the mix, but it is a fine performance. And there is some great footage of Bukka White, Skip James, Muddy, the Wolf, etc. ========================================================================= Date: Tue, 10 Oct 1995 17:05:00 MDT Reply-To: "William D. Hargrove" From: "William D. Hargrove" Subject: Re: Starting a Blues Society Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu <---- Begin Included Message ----> I know some of you have started a Blues Society. Can someone give the details on how you go about doing it. LW <---- End Included Message ----> LW, We have a terrific Blues Society here in Boise. I wasn't one of the organizers, but was around when they did it. It seems to me the most important element was getting together a core group of people who wanted to do it and were willing to commit the time -- a lot. Then they decided what they wanted to do -- primarily promoting blues performances, getting people together to play blues and generally making people more aware of the blues. They decided to become a non-profit to make raising money easier. Fortunately, one of the founders was a lawyer who helped draft a charter and file the appropriate papers with the IRS. Then they started staging events and recruiting dues-paying members from among those who attended. Last time I checked, about a year ago, we had 400 members. The BBS holds a couple of big events each year, including a summer picnic with blues from noon until dark. It also holds monthly jams at a restaurant bar, where people of all ages, including school kids, can attend and play. They also co-sponsor other out-of-town performers at our local blues bar, the Blues Bouquet. If you're interested in more of the nuts and bolts of getting started, send me a private e-mail and I'll track down an e-mail address for one of the founders, who can fill you in. Good luck. Bill H. ========================================================================= Date: Tue, 10 Oct 1995 19:32:34 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Re: Turntables (was: Records) Comments: To: bit-listserv-blues-l@uunet.uu.net James Leftwich (leftwich@CLOUD9.NET) wrote: : So, what I ask is...does anyone know a place where I could order this : part...or...does someone have a turntable they'd be willing to unload for : a reasonable price or exchange blues videos... Another great source for buying used equipment is right here on this thang called the "net". When I bought my new system I sold all my old equipment pretty cheaply and others do the same. There are a number of newsgroups devoted to the sales of used stereo equipment and some other groups where you can check out what's being offered - the afficianados are always ready to help. A little poking around should set you up jus fine. If your heart is set on finding the part the same poking ar- ound should do it. The resource is here - right at your old fingertips, give it a whirl. My advice though is you'd do a lot better buying a used piece of equipment intact than your starting in with the hassle of parts, connections etc unless that's your thing. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Tue, 10 Oct 1995 19:37:33 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Re: Best Lightnin? Comments: To: bit-listserv-blues-l@uunet.uu.net Two more stellar Lightnin' CD's are - Blues Train - Mainstream #901 Sittin' In With - Mainstream #905 That is the great Bob Shad label. Boths CD's have superior sound qulaity and the sessions are intensely personal. You get a direct feel for Lightnin' sittin in a chair, toe tap- pin and strummin and signing the blues. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Tue, 10 Oct 1995 19:43:18 -0400 Reply-To: DIMITROFF@DELPHI.COM From: Daniel Dimitroff Subject: Buddy Guy/Keb' Mo' Concert Just wanted to give y'all my review of the Keb' Mo'/Buddy Guy show I saw yesterday in Peoria, IL. The blues society members got to sneak in early an watch Keb' tune and warm up. He would play a little, wait for the sound guys to do something and wave at everyone sitting at the tables up front. He wandered off at about 6:55 pm. The doors opened to the public at 7:00. According to my watch, Keb' Mo' came out at 7:55 (the show was suppose to start at 8:00). I don't know his songs so I can't give you his set list, but he smoked. And when he was done (9:00), the crowd wouldn't let him leave. He came back on stage and said, "They shooed me back out here and told me 'keep playin', keep playin'." He did two more songs, thanked everyone, stood up and carried his metal bodied National off the stage with him (I'd carry that baby anywhere - I had to wear sunglasses with all the stage pots reflecting off of it :-). His grin never left his face, even during some nasty feedback problems ("don't mind that. I'm just tunin'"). I decided to use the restroom, but while I was wandering back to my table, Buddy's band kicked in. Damn! It wasn't even 10 minutes! These boys were here to play! I saw Buddy a few months ago at Illinois State University and he was incredibly LOUD! I had forgot my ear plugs and I was sitting so close to the stage (<10'), I expected my head to explode. I happy to find that I could actually talk to others at the table without yelling! The mix was pretty good, except the other guitarist had waaaayyyy too much reverb. It sounded good on the clean stuff, but a chord was a jumbled mess. Buddy was wearing his Farmer Brown Oshkosh outfit, playing the polka dotted strat with (I think) EMG pickups. His amps were two tweed bassmans and a Mesa Boogie nestled in between them. They all happily hissed like a cobra all night long. He was plugged in most of the night and only went wireless during the extended wandering sequence. It was a whole hour and a half into his performance before he went into the "JLH/Strange Brew/Voodoo Chile/Cold Shot" routine. He only did it for about 5 minutes, stopped the band then broke into "Slippin' In." He kept saying that he was feeling under the weather so we had to sing the chorus. This was his second sing along. His first was, unbelievably, "Feels Like Rain". He did "Mustang Sally" (also a sing along) and "Knock on Wood" as the encore. The whole performance (except for the "I can do that" routine) was very different than the ISU performance. I loved it and I can hear today! Dan ========================================================================= Date: Tue, 10 Oct 1995 19:48:03 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: Day after Columbus Day?? PW wrote: Did everybody have a happy and safe Columbus Day? I'll be eating those delicious Columbus Day dinner leftovers all week. I hate the thought of having to take down the decorations. It's so depressing. I write: Columbus Day??? I've never been to Ohio!! Beef Stew - WHUS RAdio ========================================================================= Date: Wed, 11 Oct 1995 00:07:22 GMT Reply-To: "Roy W. Forgy" From: "Roy W. Forgy" Subject: Re: Day after Columbus Day?? Comments: To: Stew Crossen On Tue, 10 Oct 1995 19:48:03 -0400, you wrote: >:-)PW wrote: >:-) >:-)Did everybody have a happy and safe Columbus Day? I'll be eating >:-)those delicious Columbus Day dinner leftovers all week. I hate the >:-)thought of having to take down the decorations. It's so depressing. >:-) >:-)I write: >:-) >:-)Columbus Day??? I've never been to Ohio!! >:-) Oh, thats where all the government workers went on Monday. Ohio??? >:-)Beef Stew - WHUS RAdio >:-) Roy W. Forgy (blueslvr@gnn.com) Pacifica, CA ========================================================================= Date: Wed, 11 Oct 1995 00:20:23 GMT Reply-To: "Roy W. Forgy" From: "Roy W. Forgy" Subject: Stress Ah yes stress test starting a little early of is GNN just getting ready. Just got no Carrier drop out and could not get back in to GNNNet, no Carrier. Now back on Sprint, see how long it lasts The Info: Time=PDT 17:20 Date=10/10/95 Number used=415-986-1001 Type= GNNNET Computer= 486/50 Clone. Memory= 8meg OS= Win3.1 (win32) Modem= Micronix Vomax2000 14,400 v.32/v.34 Connected at = 19,200 Version of GNN= 31b Applications open=GNN Works, Mail, News, Agent, Netscape ========================================================================= Date: Wed, 11 Oct 1995 00:24:25 GMT Reply-To: "Roy W. Forgy" From: "Roy W. Forgy" Subject: Help Comments: To: agent-support-team@forteinc.com I have lost my validation (or what ever it is called) and would like to install a copy of 99 at work too if this is legal. Could you send me another copy of the number Roy W. Forgy (blueslvr@gnn.com) Pacifica, CA ========================================================================= Date: Wed, 11 Oct 1995 00:27:01 GMT Reply-To: "Roy W. Forgy" From: "Roy W. Forgy" Subject: GNNNET Comments: To: gnnsupport@gnn.com Is there a seperate mail address for GNNNET problems? Roy W. Forgy (blueslvr@gnn.com) Pacifica, CA ========================================================================= Date: Wed, 11 Oct 1995 00:29:58 GMT Reply-To: "Roy W. Forgy" From: "Roy W. Forgy" Subject: Re: Stress On Wed, 11 Oct 1995 00:20:23 GMT, you wrote: I apologize for the post, I hit the wrong button. >:-)Ah yes stress test starting a little early of is GNN just getting ready. Just >:-)got no Carrier drop out and could not get back in to GNNNet, no Carrier. Now >:-)back on Sprint, see how long it lasts Roy W. Forgy (blueslvr@gnn.com) Pacifica, CA ========================================================================= Date: Wed, 11 Oct 1995 00:32:28 GMT Reply-To: "Roy W. Forgy" From: "Roy W. Forgy" Subject: Re: Help On Wed, 11 Oct 1995 00:24:25 GMT, you wrote: This one too, my mail program went crazy. >:-)I have lost my validation (or what ever it is called) and would like to install >:-)a copy of 99 at work too if this is legal. Could you send me another copy of >:-)the number >:-) >:-) >:-) >:-) >:-)Roy W. Forgy (blueslvr@gnn.com) >:-)Pacifica, CA >:-) Roy W. Forgy (blueslvr@gnn.com) Pacifica, CA ========================================================================= Date: Wed, 11 Oct 1995 00:34:16 GMT Reply-To: "Roy W. Forgy" From: "Roy W. Forgy" Subject: Apologize Sorry for the two strange posts, my mailer went crazy for a minute and copied things to addresses it wasn't supposed to. Roy W. Forgy (blueslvr@gnn.com) Pacifica, CA ========================================================================= Date: Wed, 11 Oct 1995 00:40:39 GMT Reply-To: "Roy W. Forgy" From: "Roy W. Forgy" Subject: Re: Printing form GNNmessenger dms@gnn.com (Douglas Stevens) Offered these words of wisdom: >:-)I just install 95 on my laptop this weekend, now when I try to print >:-)a mail message get the following error message. dynamic link error >:-)call to a .dll. All of my other programs seem to be printing fine. >:-) >:-)------------- >:-)Doug Stevens >:-)dms@chensys.com >:-) Straight from the known problem file; 9.0 Printing "Call To Undefined Dynalink." We have found that a "Call to Undefined Dynalink" error occurs when one of the following is present: A) SOFTWARE CONFLICT Disable all programs except Program Manager and Global Network Navigator using the Task List. There may be a program that is holding onto a particular DLL file that is causing the error. B) MISSING OR CORRUPTED DLL FILES In File Manager, verify that the following files within the C:\WINDOWS\SYSTEM are dated at least 3/20/92 (if using Windows for Workgroups, they must be dated at least 10/1/92). 1. TOOLHELP.DLL 2. SHELL.DLL 3. COMMDLG.DLL If they are not, then the file(s) must be installed from the Windows installation disks. C) CORRUPTED OR OUTDATED PRINTER DRIVER Please reload the printer driver. If trouble persists contact the manufacturer and make sure that you have the latest printer driver. D) LAST RESORT -- DELETE SOFTWARE, MOVE MFC250.DLL AND REINSTALL. NOTE: Also delete the GNN.INI and DIALER.INI files located in the \WINDOWS directory when deleting GNN. Before deleting the GNN software, Windows must be restarted. Also, move the following files to prevent losing potentially valuable information. 1. Downloaded files - usually in the \GNN\DOWNLOAD directory 2. Saved e-mail or logs - may be in the \GNN\MAIL directory or one of its sub-directories. 3. Custom Modem Profile - The USER.MDM file is stored in the \GNN\MPM directory. 4. Downloaded news articles in the \GNN\NEWS directory. 5. Using the file manager, go into the \WINDOWS\SYSTEM directory. Move the MFC250.DLL file to the root directory, and rename it MFC250.OLD. 6. Reinstall GNN. Once the new software is installed, Re-Register typing in your UserID for the Certificate Number, and your Password for the Certificate Password. Roy W. Forgy (blueslvr@gnn.com) Pacifica, CA ========================================================================= Date: Wed, 11 Oct 1995 00:52:04 GMT Reply-To: Jim Farris Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Jim Farris Organization: New Age Documentation Subject: Re: Starting a Blues Society Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.brown.edu Personally, I believe that anyone can get the Blues. However, many people still believe that Blues is best performed by Black entertainers. Of course, Blacks started the Blues, and I think that you would have a whole lot of trouble starting a Blues society without the support of the Black community. I don't really think that anyone would take you seriously. The power of the Blues is tradition and heritage. Blues is a Black heritage. Tina Mayfield has lived that heritage all her life. She has paid her dues. She has done the good work of keeping the Blues alive all these years. Mind you, I'm not advocating racism, just understanding. To play the Blues or to start a Blues society, you've got to pay your dues. I've been deeply involved in the Blues for almost 10 years now and still consider myself a newcomer. I've learned by experience that you can't buy your way into the Blues, you can't force your way into it, and you can't talk your way into it. You just have to live it and pay your dues. That's how you get into the Blues! Jammin' Jim Farris KKUP 91.5 FM Cupertino (South San Francisco Bay), California ========================================================================= Date: Wed, 11 Oct 1995 01:28:21 GMT Reply-To: Rennie Selkirk From: Rennie Selkirk Organization: NASA-Ames Research Center Subject: Re: Paul Butterfield Comments: To: bit-listserv-blues-l@uunet.uu.net In article Watterworth Jay writes: >The first (and best, IMHO) releases of the Butterfield Blues Band are >available on CD, lucky you! That would be "The Butterfield Blues Band", >"East/West", and "The Resurrection of Pigboy Crabshaw" all on Elektra. >They have the raw power of a Chicago El going round the corner. And there are two additional Butterfield CDs out there now, too. Mark Naftalin's Winner Records' "Strawberry Jam" consisting of live recordings from '66 and '67 (I think) and a new Elektra release consisting of (mostly) previously unreleased studio recordings from the approximate time of the first album. I say 'mostly', because some of these, i.e. Lovin' Cup, Spoonful, Good Morning Little Schoolgirl and one other I don't remember right now were released on an Elektra sampler album called "What's Shakin'" back in '65 or early '66. Curiously, and maybe Mark Naftalin can shed some light on this, a truly stunning version of James Cotton's "One More Mile" is included on the What's Shakin' LP but NOT on the new Elektra set, if I'm not misktaken. That particular cut features Mike Bloomfield almost going into orbit on his Telecaster. His playing's so screechingly hot that the poor vinyl of my copy just about goes up in smoke every time I play it. One last note, this forgotten LP also features the Lovin' Spoonful, Al Kooper, Tom Rush and a (pre-Mayall?) pickup band featuring some bloke with initials E.C. doing a pretty slick version of "Steppin Out". Rennie ========================================================================= Date: Tue, 10 Oct 1995 22:39:44 -0400 Reply-To: SSHAKA@AOL.COM From: Don Wilson Subject: . Anyone know where I can get some tablature music of Frank Strokes "Memphis Rounder Blues". Has anyone ever heard of Frank Strokes? don ========================================================================= Date: Tue, 10 Oct 1995 19:40:00 PDT Reply-To: Gary Joneson From: Gary Joneson Subject: Re: Paul Butterfield >And there are two additional Butterfield CDs out there now, too. >Mark Naftalin's Winner Records' "Strawberry Jam" consisting of live Additional information including Al Handa's review of "Strawberry Jam" is located at: http://www.island.net/~blues/paul.html >Curiously, and maybe Mark Naftalin Winner Records is located at: http://www.island.net/~blues/winner.html GJ ========================================================================= Date: Wed, 11 Oct 1995 04:14:15 GMT Reply-To: Paul L Pearson From: Paul L Pearson Organization: Iowa State University, Ames, Iowa Subject: G Big Sugar's drummer died on stage in Waterloo, IA Comments: To: bit-listserv-blues-l@uunet.uu.net >From an AP story in the ISU Daily: Walter "Crash" Morgan, 35, died on stage in Waterloo, IA. The band was opening up for Chris Duarte and during one song he stood up, crumpled over and collapsed. CPR was unsuccessful. (Friday night October 6th)SA No word on what caused this. I saw Duarte in Des Moines on Saturday night and Big Sugar was supposed to open. We got there kind of late (8:00) and no band playing, just Duarte's set up. We were wondering why-guess we got the answer. If anybody has any more information on this, I'd appreciate it. Duarte didn't say anything (nor did the management) about it on Saturday night-they might not have known(?). Sad to hear. -- Paul L. "Pro" Pearson President, Kurt Rambis Fan Club (unofficial) Ames, IA Chapter ========================================================================= Date: Tue, 10 Oct 1995 21:50:16 -0700 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: . Comments: To: SSHAKA@AOL.COM Don Wilson wrote: > >Anyone know where I can get some tablature music of Frank Strokes >"Memphis Rounder Blues". Has anyone ever heard of Frank Strokes? > I expect you are thinking of Frank STOKES, a fairly well-known pre-war blues man. I've got no clue re tablature, but an entire CD of his is available on Yazoo, featuring such wondrous selections as "Chicken You Can Roost Behind The Moon". Mary Katherine ========================================================================= Date: Wed, 11 Oct 1995 00:51:20 -0400 Reply-To: Maria Wegscheid From: Maria Wegscheid Subject: equipment (no real blues content) There has been a discussion recently about old records and turntables. As it turns out, my mom told me tonight that she wants to get rid of the old ones she has at her house. One is considerably old, I'm willing to bet, but the other is a Technics and as far as I know in pretty good condition. Here's the beauty part: she's willing to give them away. If you're interested, let me know. I'm also looking for a speaker for another friend of mine. He is looking for an ElectroVoice Series II EVM-15L. If anyone has one that they're looking to get rid of, or knows of someone who has one, please let me know. Or if you know of a more appropriate forum for this request, let me know. I apologize for the non-blues content (although for what it's worth, the speaker will be used to play a LOT of blues!) May be someone wants to trade a speaker for a turntable? :) Thanks. ****************************************************************** "Because, after all, a person's a person, no matter how small." ----Horton Maria J. Wegscheid Bettendorf (IA) Public Library mwegsche@libby.rbls.lib.il.us My opinions, as stated in this posting, are just that -- mine. ========================================================================= Date: Wed, 11 Oct 1995 01:00:52 -0400 Reply-To: DavidCady@AOL.COM From: DavidCady@AOL.COM Subject: A test... This is only a test to see if I have reached more than one person at this site at one time with this one mailing. If you have reieved this mailing, please reply to me with just the word "Recieved" in the message field. I would appreciate it. : ) Thank you for your time. DavidCady@aol.om ========================================================================= Date: Wed, 11 Oct 1995 05:56:08 GMT Reply-To: Aaron Solomon From: Aaron Solomon Organization: Northwestern University, Evanston IL Subject: 89.3 WNUR-FM Blues Show Comments: To: bit-listserv-blues-l@relay1.uu.net Hey all, I wanted to let you know about and get some feedback about the Blues Show on Sunday nights from 5:00-8:00 PM on 89.3 WNUR-FM in Evanston-Chicago. My name's Aaron, and I'm one of the DJ's on the show. We rotate DJ's each hour to try to cover as many types of blues as we can, from the early Mississippi Delta stuff to "Houserockin'" new guitar blues to solo acoustic acts to the occasional dip into Zydeco/Cajun blues. The station broadcasts out of Northwestern University and is noncommercial, so I basically just want to tell you guys that we're out there for your enjoyment, and I'm interested in what you think about the show (both positive and negative). Again, here's our "logistics": Station: 89.3 FM (WNUR) Area: Evanston/Chicago Day/Time: Sunday nights, from 5:00 PM to 8:00 PM Phone #: (708) 866-WNUR If you're in the Chicago area, please give us a listen and let us know what you think! Thanks a lot, Aaron Solomon solboy@nwu.edu ========================================================================= Date: Wed, 11 Oct 1995 03:46:13 -0400 Reply-To: MacRockin@AOL.COM From: M McCracken Subject: Mark Sallings and The Famous Unknowns Someone on the list mentioned that they enjoyed "Mark Sallings and The Famous Unknowns" at the KBB fest and wanted more information about him -- I am passing this profile on about Mark for those interested and if you would like to get his new CD "Let It Be Known" which was just released a few days ago --E-mail me for more info-- Mark Sallings is a harmonica player from Arkansas. Note--This is from a profile prepared by "Vent Records" in Birmingham, Alabama who produced Marks CD, "Let It Be Known." "Playing the blues--it's a real serious thing to us. We're not just an imitation of the blues," says Mark Sallings, who started playing music at the age of 13 in local clubs and, at 15, formed his own band called The Beale Street Blues Band. Mark Sallings and The Famous Unknowns were the first house band at B.B. King's Blues Club in Memphis--not just any band can say that. They played there for over two years and, in that time, developed quite an international following, as well as a large dedicated following of "unknown fans" throughout America. If you take a bunch of guys who have, individually, been running around the country for years putting their talent to work for other artists, and sharing the stage with, such names as Albert King, B.B King, Charlie Musselwhite, Steve Cropper, Rufus Thomas, Steve Windwood, Joe Walsh, Jerry Lee Lewis, and Muddy Waters, and throw them on one stage together--you get The Famous Unknowns. Mark Sallings is one of those musicians who just amazes you with his technical proficiency on harp as well as sax and keyboards. Victor Lukenbough on drums, has played with James Cotton, Son Seals, and Junior Wells. Jerry Bone, who has played with Mark for years, is on bass, while Tony Spinner's on guitar. "Tony's talent is undeniable," says Guitar Player Magazine's, Mike Varney. The Famous Unknowns, who formed in 1989, is a four-piece, band composed of musicians who could play any style of music--but chose to play the blues. It's a crime that this band isn't more well-known, but don't expect that situation to last much longer. This CD is going to let the cat out of the bag and, without a doubt, this is a band which won't live up to its name, The Famous Unknowns--long. Since 1992, Mark Sallings has won awards of recognition in four separate categories from the National Association of Recording Arts and Sciences for his original works, live performances, saxophone and harmonica skills. "Let It Be Known" will show you why he deserves such recognition. Mark's god given talent for playing the harmonica prompted him to pursue his dream of writing, performing, and preserving this musical art-form called the blues. "Vent Records" feels the same way about the blues and is very excited about adding Mark Sallings and The Famous Unknowns to their catalog. Hope this helps, Mike McCracken The Alabama Blues Project ========================================================================= Date: Wed, 11 Oct 1995 04:31:11 -0400 Reply-To: Msbeale From: Msbeale Organization: America Online, Inc. (1-800-827-6364) Subject: Stolen trombone Comments: To: bit-listserv-blues-l@uunet.uu.net I got this on another list....just in case someone here might be in the SF Bay area and pick up on it. Subject: trombone stolen in SF - please help From: shoup@interval.com (Richard Shoup) Date: Mon, 09 Oct 1995 16:02:51 +0100 Message-ID: On about October 3rd, my Bach model 8 trombone, serial #996 was stolen from a car in the Noe Valley area of San Francisco. It was in a leather Reunion Blues gig bag. I has a star on the bell, and "New York", having been made in NY, not Mt. Vernon. This horn has great sentimental and real value to me, and I would like to hear from anyone having any information about it, no questions asked. Please call John Kinney at 415-647-7118 anytime day or night. Thank you. ms beale st. "I ain't lyin'!" -Albert King ========================================================================= Date: Wed, 11 Oct 1995 04:53:35 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - October 11th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ACEA, JOHN A. (p) b. 1917-1011, PHILADELPHIA, PA ALEXANDER, MARGIE L. (v/ATLANTIC REC) b. 1948-1011, CAROLLTON, GA AMY, CURTIS E. (sax) b. 1929-1011, HOUSTON, TX BATES, CLAYTON "PEG LEG"(legendary dancer)b. 1907-1011, FOUNTAIN INN, SC BERRY, LEMUEL JR. DR. (author/critic) b. 1946-1011, ONEONTA, NY BLAKEY, ART SR. (d) b. 1919-1011, PITTSBURGH, PA BOWIE, LESTER (tpt) b. 1941-1011, FREDERICK, MD CALLICOTT, JOE "MISSISSIPPI" (g) b. 1900-1011, NESBIT, MS CLARKE, BUCK (d) d. 1988-1011, LOS ANGELES, CA 56 FARLEY, JESSE J. (of THE SOUL STIRRERS) d. 1988-1011, CHICAGO, IL 73 FOXX, REDD (JOHN ELROY SANFORD) (v/SAVOY) d. 1991-1011, LOS ANGELES, CA 68 FRANKLIN, ELMO (of MIGHTY CLOUDS OF JOY) b. -1011, FL HALL, DARYL (:) b. 1948-1011, PHILADELPHIA, PA HARMONICA FRANK (FRANK FLOYD)(of SUN REC) b. 1908-1011, TOCCOPOLA, MS HAWKINS, TRAMAINE DAVIS (v/gospel) b. 1957-1011, SAN FRANCISCO, CA JENKINS, HERMAN "DUKE" (p/COBRA REC) b. 1928-1011, MALVERN, OH KIRKLAND, MIKE JAMES "BO"(lead/CENSATIONS)b. 1946-1011, YAZOO CITY, MS LIGON, JOE (lead/MIGHTY CLOUDS OF JOY) b. 1936-1011, TROY, AL MORRISON, CLAUDE (of THE NYLONS) b. 1952-1011, TORONTO, ONTARIO PUGH, IOLA L. (of CONSOLERS/NASHBORO REC) d. 1994-1011, MIAMI, FL 68 WEATHERFORD, TEDDY (p) b. 1903-1011, BLUEFIELD, W. VA ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 11 Oct 1995 07:18:49 -0400 Reply-To: JRush11279 From: JRush11279 Organization: America Online, Inc. (1-800-827-6364) Subject: Sydney's Blues and Jazz Restaurant Comments: To: bit-listserv-blues-l@uunet.uu.net If you are ever in Rehoboth Beach, Delaware, check out Sydney's Blues and Jazz Restaurant. Upcoming Acts include: Friday, October 13: Memphis Gold and The Blues Museum featuring Charlie Sayles. Saturday, October 14: Sydney's BBQ Bash with Extremity, featuring Perky Scott October 18-22: Jazz Festival Week: Tim Eyerman and East Coast Offering, Barbara Walker, and Al Williams and Friends featuring Mary Ann Redmond. ========================================================================= Date: Wed, 11 Oct 1995 07:23:42 -0400 Reply-To: JRush11279 From: JRush11279 Organization: America Online, Inc. (1-800-827-6364) Subject: Blues in San Diego? Comments: To: bit-listserv-blues-l@uunet.uu.net I'll be in the San Diego area for about 1 month starting Oct. 23 - any suggestions on where to go for Blues? Thanks in advance. ========================================================================= Date: Wed, 11 Oct 1995 08:34:55 -0300 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: Buddy Guy > Just wanted to give y'all my review of the Keb' Mo'/Buddy Guy > show I saw yesterday in Peoria, IL. [...] > Buddy was wearing his Farmer Brown Oshkosh outfit, [...] :-) I've seen a picture of Buddy wearing these overalls and playing an non-cutaway archtop acoustic with heavy white binding... first thing I thought was "Hey, he looks like those old photos of Fred McDowell!" Has anyone seen this picture? I wonder if it's a deliberate tip o' the hat to the good Mr. McDowell... -Rob ps: if you don't know which McDowell pictures I'm referring to, check out the cover of Lomax's book _Land_Where_The_Blues_Began_ or the liner photos of the CDs "You Gotta Move" and "Ain't Gonna Worry". ========================================================================= Date: Wed, 11 Oct 1995 07:49:15 -0400 Reply-To: Stew Crossen From: Stew Crossen sshaka asked: Has anyone ever heard of Frank Strokes? I suspect that many people have heard of Frank "Stokes". "Now listen baby, you so good and sweet", "Hey, little baby, you so good and sweet", "I want to stay 'round you, if I have to beg in the street". 1928, The Beale Street Sheiks recorded on Paramount Records. Story has in that in the three years Frank Stokes was a recording artist, he did 39 songs. A large number for the time. There's plenty more on Frank if you read a little. Beef Stew - WHUS Radio ========================================================================= Date: Wed, 11 Oct 1995 07:52:05 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: Big Sugar's drummer died (fwd) I'm sitting here listening to Big Sugar as I'm reading this!!! >From an AP story in the ISU Daily: Walter "Crash" Morgan, 35, died on stage in Waterloo, IA. The band was opening up for Chris Duarte and during one song he stood up, crumpled over and collapsed. CPR was unsuccessful. (Friday night October 6th)SA No word on what caused this. I saw Duarte in Des Moines on Saturday night and Big Sugar was supposed to open. We got there kind of late (8:00) and no band playing, just Duarte's set up. We were wondering why-guess we got the answer. If anybody has any more information on this, I'd appreciate it. Duarte didn't say anything (nor did the management) about it on Saturday night-they might not have known(?). Sad to hear. Paul L. "Pro" Pearson President, Kurt Rambis Fan Club (unofficial) Ames, IA Chapter ========================================================================= Date: Wed, 11 Oct 1995 05:49:00 -0700 Reply-To: Chris.Hauge@NCAL.KAIPERM.ORG From: Chris Hauge Subject: sf blues clubs can anyone give me some names and locations of blues clubs in san francisco? plan on visiting.......chris ========================================================================= Date: Wed, 11 Oct 1995 07:37:00 -0400 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re[2]: Day after Columbus Day This may surprise you, but in Moscow we celebrate Columbus Day and Thanksgiving on the same day! Traditionally it's a big blues bash and blues lovers flock all the way from Smolensk! Jouni is planning to come from Finland this year, if all goes right. -- Blue Joe in Red Russia J.E._Downey@bakermck.com ========================================================================= Date: Wed, 11 Oct 1995 08:10:59 CDT Reply-To: DIMITROFF@DELPHI.COM Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: Daniel Dimitroff From: L W Subject: Buddy Guy/Keb' Mo' Concert ----------------------------Original message---------------------------- > I don't know his songs so I can't give you his set list, but he >smoked. And when he was done (9:00), the crowd wouldn't let him leave. I saw him on Sunday and he did not SMOKE in the least. He was entertaining and very friendly, NOW Luther Allison smoked..... LW 'IMHO...Keb' don't smoke" ========================================================================= Date: Wed, 11 Oct 1995 08:16:01 CST Reply-To: William Shute From: William Shute Subject: CD of Barbara Lynn "Jamie" sides From: Bill Shute Several inquired about the dutch CD of Barbara Lynn's Jamie recordings, so here is the info: BARBARA LYNN "You'll Lose A Good Thing" Sound of the Fifties GTCD 002 Sound of the Fifties Prinsengracht 669 l0l7 JT Amsterdam The Netherlands ph. 0206239745 fax 0206205l87 (note: the number one key is broken on my keyboard, so I am using a small letter "l" to substitute for the number one, OK?) Second FiddleGirl Give Me A Break Dina And Petrina Lonely Heartaches You Don't Sleep At Night I'm Sorry I Met You You'll Lose A Good Thing Heartbreaking Years Teen Age Blues What I Need Is Love You Don't Have To Go Letter To Mommy and Daddy (above tracks from l962 album on Jamie) you're gonna need me (62 non-lp) it's better to have it (64 " ") dedicate the blues to me (63 " ") oh baby (we got a good thing goin') (64 non-lp, though the Rolling Stones obviously owned a copy of this single) unfair (64 non-lp) (I cried at) laura's wedding (63 non-lp) Though I have played this CD l00+ times, I'm sure, in the last three years, as I listened to it again this morning I was struck at the STRONG New Orleans "feel" to the album tracks. The first few seconds of any number of tunes could have come off a Joe Jones or an Eddie Bo record and have that slightly lazy, yet insistent second-line beat. Combine that with the girl-group influences (perhaps suggested to Ms. Lynn by the label or by producer Huey Meaux), Ms. Lynn's deep Texas blues-soul roots, and the desire to create music that could compete head-to-head with RocknRoll (while Ms. Lynn had BIGGER hits on the R&B charts, she had three additional records chart pop that did not make the R&B charts), and you've got a wonderful mixture of elements that no doubt accounts for the love I have for these fine sides. I have no idea where you can score this CD--I bought mine from an individual back in l992--but for those who want to try, there's the info. Bill Shute San Antonio, TX ========================================================================= Date: Wed, 11 Oct 1995 09:42:02 -0400 Reply-To: Neil Cassidy From: Neil Cassidy Subject: Lightnin'recommendations Comments to: J. Witteveen Jim As there is a great amount of recorded material by ol' Sam, you're asking such a question is the right way to go. For myself, there are no bad Lightnin' Hopkins recordings. One release that has been a favorite of mine for 25 years is called 'Double Blues'. It is actually a 2 LP release recorded in May 1964 and originally released as two solo Lps (on Prestige label I Believe) and now available on CD as 'Double Blues'. 76 minutes of music. Great notes byGrover Lewis. I also recently picked up a 2 CD release of 'The Complete Aladdin Recordings' at Border's books for only $8.99. These are Lightnin's first recordings done in the late 40's. GGrreeaatttt stuff. Hope this helps you out. Neil _______ original post Hi Bluezellers! Another question... (I know you're thinking, man this guy asks a lot of stupid questions, but I've gotta ask!) I've got Lightnin Hopkins' `The Swarthmore Concert' on c.d., along with a few of his other albums. This album is by far the best of his that I've heard - great sense of humour, great guitar work and vocals (even the throat-clearing sounds good :-), and excellent sound. Can anyone recommend more of his stuff? I find that his solo work is better than his work in a group setting (unless I just haven't heard the right albums, that is!) Thanks for your help! -Jim (hndful@uniserve.com)> ______ ========================================================================= Date: Wed, 11 Oct 1995 08:22:09 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Paul Butterfield Comments: To: Rennie Selkirk In-Reply-To: <45f6jl$sc0@onramp.arc.nasa.gov> "What's Shakin'" is on CD, on an English label (Edsel?) if I remember right. There are still a couple of stray '60s Butterfield cuts looking for a home on CD as far as I know: the version of "Born In Chicago" on the "Folksong '65" anthology LP and the 45 "Come On In." ========================================================================= Date: Wed, 11 Oct 1995 09:59:53 -0400 Reply-To: bob unger From: bob unger Subject: blues-l tape #3 ************** UPDATE ********************** The assembly of blues-l tape #3 is well under way. So far I have contribution's from 5 bluezeller's. I am expecting contributions from 7 more 'zellers. Remember, the deadline is early November. The official name for blues-l tape #3 is - drum roll please - "Blues I-way" If anybody has not sent me a 'count me in' message, please do so a.s.a.p. so I can get an idea of how many copies will need to be made. For those of you who missed the 'count me in' message, here are the instructions again. If you want to be included on the list to recieve a copy of Blues I-way, send me (not the list) a message with the subject line "Count Me In" and in the body of the message, your e-mail address. PLease do not write anything else in the body as it will only be filed away. If you want more info, send me a separate message. My address is - bob@sun.bnkst.edu We are also fortunate to have the talents of embee who is designing the cover of the tape (or cd, dont know which yet) and Rob Hutten who is doing the j-cards (and contributing songs as well!) I'll send another update in a couple of weeks - so remember folks! Keep those card's and letter's (songs and requests) coming in! BU bob@sun.bnkst.edu ========================================================================= Date: Wed, 11 Oct 1995 14:13:41 GMT Reply-To: David Goldstein From: David Goldstein Organization: IPOF Subject: Re: McDowell/Guy Comments: To: bit-listserv-blues-l@uunet.uu.net He wore those overalls to the Handy Awards this year. But he doesn't have the hat. ========================================================================= Date: Wed, 11 Oct 1995 14:17:24 GMT Reply-To: David Goldstein From: David Goldstein Organization: IPOF Subject: Helping a Subscriber Comments: To: bit-listserv-blues-l@uunet.uu.net In the last week, the backbone from S. Fla to Atlanta was down due to maintenance. I couldn't get through to anyone outside FLA. If technicians are working on some section of the internet, it could result in all types of errors, including yours. ========================================================================= Date: Wed, 11 Oct 1995 10:12:46 -0400 Reply-To: Sam Lawton From: Sam Lawton Subject: Ike Turner Autobiography? Someone had indicated a while back that Ike Turner's autobiography was to be published in September or October. I haven't seen any further information. Anyone have any details? ========================================================================= Date: Wed, 11 Oct 1995 10:37:45 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Turntables (no blues, but I didn't start it:) You guys gotta be kidding me! Why would you even consider looking for used turntable or a turntable repair? Really good, brand NEW ones are so-o-o-o-o-o cheap now. The last time I took mine in for repair, which was right before I got rid of it, the repair tech looked at me like I had a third eye. A few companies are still making really nice vinyl platter players and they cost a fraction of the price of a decent cd player. Just 'cause you have a passion for the old vinyl format doesn't mean you gotta play 'em on your old beater turntable from your teen days in the '70s. ;) ;) Scrap that old Dual or Technics for cryin' out loud. Those old belt drives or servos are antiques. My $.02, useless though it may be. Riffin Rick (((( oo-) /- ....strictly digital now.... F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 11 Oct 1995 10:59:58 EDT Reply-To: levyt@RL.AF.MIL From: Toby Levy Subject: Re: New Blues CDs Whoa! Did I just read "Larry Johnson w John Hammond Midnight Hour Blues Biograph" ??? A million years ago I bought Larry Johnson's Fast and Funky and it has remained one of my favorites (if you need proof, my teenage daughter who doesnt like my music can sing all the lyrics to the first song on the album because she has heard it so many times!). Later I found the incredibly beautiful Johnson/Hammond album on Biograph (wasn't it called "Country Blues"?) Could Midnight Hour Blues be a new collaboration or is it just a reissue. Incidently I later bought the JSP cd of Larry Johnson and was bitterly disappointed. I keep meaning to play it again and give it a second chance, but I cant bear to be disappointed again. Toby ========================================================================= Date: Wed, 11 Oct 1995 11:10:22 EDT Reply-To: levyt@RL.AF.MIL From: Toby Levy Subject: Turntable trouble I too wouldn't give up my record collection for a mountain of cds. I have a real nice turntable I got used a few years ago as part of a "system" (tuner, speakers, cassette deck and turntable). I have relplaced everything but the turntable since that time. Recently the mechanism broke that lifted the needle before moving the arm back to the start position. I took it to the shop and the guy told me it couldnt be fixed. He disengaged the return mechanism so I have to put the arm back at the end of the record (no big deal). While it was in the shop my father-in-law gave me his turntable from his attic. While that one worked perfectly, the needle resembled a pretzel and snapped right off when I tried to monkey with it. I had to mail order the needle, but now I not only have a working turntable I HAVE A SPARE! I am back in vynyl heaven and life is sweet. Toby PS: I bet there are lots of attics with perfectly workable turntables. Why not put a want ad in the pennysaver or newspaper? ========================================================================= Date: Wed, 11 Oct 1995 11:09:07 -0400 Reply-To: MaryA NBP From: MaryA NBP Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Day after Columbus Day Comments: To: bit-listserv-blues-l@uunet.uu.net ..............Now my great granny who was 100% Ojibwa REALLY got the Columbus Day Blues........Mary Melodee ========================================================================= Date: Wed, 11 Oct 1995 12:35:43 -0300 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: Turntables (no blues, but I didn't start it:) Comments: To: MILLER@SCI.WFBR.EDU In-Reply-To: <01HWB70HYDMQ001SAX@SCI.WFBR.EDU> from "Rick Miller" at Oct 11, 95 10:37:45 am > Just 'cause you have a passion > for the old vinyl format doesn't mean you gotta play 'em on your old beater > turntable from your teen days in the '70s. ;) ;) Scrap that old Dual or > Technics for cryin' out loud. Those old belt drives or servos are antiques. But I want to play antiques :-) Does anyone make a decent turntable with a 78rpm speed anymore? I don't have anything to play my 78s on... -Rob ========================================================================= Date: Wed, 11 Oct 1995 11:38:00 EDT Reply-To: levyt@RL.AF.MIL From: Toby Levy Subject: Why I Love the Blues List I just caught up with reading about a week of postings to the Blues List. I hope Ian and other dissapointed bluezellers don't drop out because their comments make a distinct contribution to the never-ending conversation. Whoever said that if you think things are "harsh" here should check out some other lists is exacly right. One of the reasons I love the Blues List is that this is one of the few places on the net that arguments actually die out! People actually move onto other topics! What a concept! There's two reasons for this, I think. Numer one: the blues encompasses such a wide area, historically and gerographically that there is alot to talk about. Secondly: the relatively small number of blues fans are so isolated that having a place like this to share their passion with others who care quickly becomes a treasure. I've said this before, but for the newer members of the list, this is how I deal with unpleasantries: I get the list in digest format. I download it to my hard drive and read it using a text editor, where i have programed a key that searches for the start of a message and puts it at the top of the screen. I read the subject and a line or two of the message and if doen't appeal to me I press that key again and try the next message. I can usually read a whole digest in ten to 20 minutes. Rarely do I get through an entire digest without reading something that thrills and excites me. I love the blues (whatever they are) and I love this list. Toby ========================================================================= Date: Wed, 11 Oct 1995 10:34:40 PDT Reply-To: rjbauman@IQUEST.NET From: rjbauman@IQUEST.NET Subject: Re: Buddy Guy/Keb' Mo' Concert Comments: To: DIMITROFF@DELPHI.COM =================== I saw Buddy a few months ago at Illinois State University and he was incredibly LOUD! I had forgot my ear plugs and I was sitting so close to the stage (<10'), I expected my head to explode.============= I was there, too. I'll never go back when he plays there. I hope I have a similar "club" experience tonite as you had recently, Dan.. I think the ISU show was the only time I've seen him where I would describe him in the derogatory manner so many others here have. I guess I've just been lucky. RJ Bauman ========================================================================= Date: Wed, 11 Oct 1995 12:01:00 -0400 Reply-To: Ed Mezynski From: Ed Mezynski Subject: Re: Catherine La Croix Once upon a time Rich said: > With all respect to Catherine: ^ And I must agree with this point wholeheartedly. > > A self avowed 'call girl'? > > You live in Redmond? Now I understand why Microsoft can't seem to hit > a single deadline. ;-) > > Rich > > Who's contemplating selling whats left of his Microsoft stock, I think > the benefits plan is just a little too generous. ;-> I don't know, Rich, seems like a great benefits package to me! ========================================================================= Date: Wed, 11 Oct 1995 12:07:44 -0400 Reply-To: Tom Morgan From: Tom Morgan Subject: Re: New Blues CDs Comments: To: levyt@rl.af.mil In-Reply-To: <307BCDDF-00000001@nutbar> from "Toby Levy" at Oct 11, 95 10:59:58 am In another time and place, Toby Levy said: > > Whoa! > > Did I just read > > "Larry Johnson w John Hammond Midnight Hour Blues Biograph" > > heard it so many times!). Later I found the incredibly beautiful > Johnson/Hammond album on Biograph (wasn't it called "Country Blues"?) Could > Midnight Hour Blues be a new collaboration or is it just a reissue. I didn't look real close but I would imagine that the Larry Johnson CD was a reissue. I don't why they would change the name, but since i am not at the station today I can't check it fo you. Tom ----------------------------------------------------------------------------- My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Wed, 11 Oct 1995 12:19:17 -0400 Reply-To: Tom Morgan From: Tom Morgan Subject: Re: Playlist: Kangaroo Hop Comments: To: cjbray@quartz.geology.utoronto.ca In-Reply-To: <9510111605.AA06174@quartz.geology.utoronto.ca> from "C.J. BRAY" at Oct 11, 95 12:05:53 pm In another time and place, C.J. BRAY said: > > Re your playlist: > > > Here is the playlist from yesterday's show. It was primarily the new CD > > Kangaroo Hop Gershwin, George 16 Electra Nonesuch > > This was written, among many others, by Fred Godfrey for the great Australian > Music Hall star Billy Williams who made his career in Britain in the teens of > this century. Godfrey's grandson is a good friend of mine and lives here in > Toronto. He is currently researching anything to do with his grandfather and > his songs - can anyone help? Colin, I love to hear and read the history behind songs like this. I have a copy of the sheet music of this song which is an instrumental. I have always thought it to be one of the "animal" dance songs so prevelant in the teens. Both my copy (data below) and the one on the liner notes just list Morris as composer, FWIW. Did they add lyrics later? Year: 1915 Title: Kangaroo Hop Lyrics: Music: Melvin Morris Tom ----------------------------------------------------------------------------- My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Wed, 11 Oct 1995 10:23:36 -0700 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: Chat Address In-Reply-To: <45gibs$jvu@ipof.fla.net> I've changed the chat channel name to "Bluesland". It's still on "us.undernet.org". If you don't see it, create one if you want. RW ========================================================================= Date: Wed, 11 Oct 1995 09:54:49 PST Reply-To: Mike McCourt From: Mike McCourt Subject: Re: Turntables I used to spend hours with my turntable on the 16rpm setting, figuring out Charlie Parker solos. The 16rpm speed would make the licks slower and bring them down almost exactly an octave. The alto sax would then be in perfect range for guitar and still be in the same key. I'll bet you can't FIND a turntable with 16rpm anymore. Mike "yes, Bird did play the blues" ______________________________ Reply Separator _________________________________ Author: Rob Hutten at ccUnix But I want to play antiques :-) Does anyone make a decent turntable with a 78rpm speed anymore? I don't have anything to play my 78s on... -Rob ========================================================================= Date: Wed, 11 Oct 1995 10:28:04 -0700 Reply-To: David Orange From: David Orange Organization: UNLV Biological Sciences Subject: Re: Turntable trouble Comments: To: bit-listserv-blues-l@uunet.uu.net > Recently the mechanism broke that lifted > the needle before moving the arm back to the start position. I took it to the > shop and the guy told me it couldnt be fixed. He disengaged the return > mechanism so I have to put the arm back at the end of the record (no big deal). Just like to add that there is a device called 'Cue-up' or 'Q-up' that will pop up the tone arm at the end of a record. Keeps the stylus from continuing to wear out at the end groove. Basically, the tone arm trips a lever which raises the arm. It's really a simple device (costs c. $10) and well worth it for you vinyl freaks out there if you have this problem. BTW, I have a mere 400 lps, many of which won't be reissued. I generally avoid compilations, since I enjoy listening to the albums 'as is' and getting the ambience of the session/album. So no, I won't be giving up my albums, but someday, I may buy yours... Enjoy! David -- ->:) David Orange Send Email to: orange@nevada.edu ******************** ========================================================================= Date: Wed, 11 Oct 1995 11:46:16 -0600 Reply-To: Jessica Jones From: Jessica Jones Subject: Boise Blues Society Bill H., I am unable to get an e-mail to your posted address. It's been returned twice. Please send postal address for the society, and if possible, a phone #, an address and contact name for the Blues Bouquet. thanks alot Jessica Jones jessicaj@spot.Colorado.edu ========================================================================= Date: Wed, 11 Oct 1995 13:54:15 -0400 Reply-To: Tom Morgan From: Tom Morgan Subject: Re: Playlist: Kangaroo Hop In-Reply-To: <199510111619.MAA124278@poe.acc.Virginia.EDU> from "Tom Morgan" at Oct 11, 95 12:19:17 pm In another time and place, Tom Morgan said: > > In another time and place, C.J. BRAY said: > > > > Re your playlist: > > > > > Here is the playlist from yesterday's show. It was primarily the new CD > > > > Kangaroo Hop Gershwin, George 16 Electra Nonesuch Woops, sorry wrong list-serv. :) Tom ========================================================================= Date: Wed, 11 Oct 1995 09:26:47 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: blues-l concensus, from Race to E.C. Comments: To: slowhand@daacdev1.stx.com Do you have to be Black to play Blues? What is a Bluesman? Is the Blues a Black artform anymore? Is Eric Clapton a Blues artist? These four questions are often (and were very recently) debated on the blues-l mailing list. Blues-l is probably *the* definitive Blues resource on the net. We have Musicians, Producers, Engineers, Managers, Promoters, DJ's, Academics, Writers, Researchers, Collectors, and just plain Lovers and Listeners of the Blues. What blues-l is missing, and this seems rather sad, is any significant African-American participation (if any at all). [You may consider whether or not this mitigates the 'definitive-ness' of the list.] I've tried to document here, the consensus of the active blues-l membership on the above questions. This may not represent everyone's view (you can say that again). I've left out many of the views expressed by the most sensible people - the more reasonable middle ground - you should infer their positions from the two extremes presented. It is my hope that this article might become part of the FAQs for both the blues-l and slowhand mailing lists, with the intention that it will head off some of the repetitious threads that take up so much bandwidth - "Please, go read the FAQ before you start down this dark alley" would be the reply deluging newcomers who started such a debate. Since I composed this, the content may be (may be?) greater where I agree with the statements, but, I've tried to accurately document the extremes. This is my impression of what the consensus is on these issues: Do you have to be Black to play Blues? -------------------------------------- Obviously not! You may have an advantage if you are African-American. These would include: being most likely to have been steeped in the culture that spawned the Blues; being more likely to have grown up listening to the Blues; being less likely to have been taught to be uptight emotionally, which would be advantageous in performing the Blues; being more likely to have a voice more naturally suited to singing the Blues; more likely to have suffered the inequities in American society that are part of the history of the Blues; more likely to have suffered from poverty - a pain that contributes to having the Blues. Being more likely means more likely than most other American heritages, but, that doesn't rule out the other heritages. Certainly almost all people have experienced the pain of bad love, lost love, deception, and desire and many people are able to perform with emotional power. There are some people, mostly acedemicians and others with a deep interest in the history of the Blues and in preserving it's traditions, who either don't care for Blues performed by non-Black artists, or feel that non-Black artists cannot play the Blues - that it isn't really the Blues. The strongest opposition to those views comes from the musicians, who are also a biased group. ;-) They say that if you love the Blues and have studied the music (if not also the history) and play it from your heart and soul and play in the traditional Blues forms (at minimum), you are playing the Blues. But are you a Bluesman? What is a Bluesman? ------------------- Another tough one. The stereotype (ignoring the acoustic only players and the women for brevity) is an older Black man, born in Mississippi, born into poverty in a heavily racist society, disenfranchised from the American dream, playing a single string tacked onto the wall of the side of the house as a child, learning from an, older, traveling Bluesman, playing at parties and juke joints at too young an age, traveling around the Delta drinking and womanizing, moving to Chicago, getting an electric guitar and an amp (or a mic and amp for the harmonica players), getting a break from a respected, established Bluesman, recording the Blues, working the circuit and eventually the Jazz festivals, recording and touring with a British Blues based Rock band in the '60's, riding the global Blues interest wave of the 60's, falling on less popularity in the 80's, and having a resurgence in the 90's. Of course, this is just a stereotype. The divergence from this image (ignoring the traits that most would consider farcically irrelevant) seems to define the cutoff point for different people. My definition is that anyone who plays the Blues a large part of the time, and gets paid doing so, is a Bluesman (or someone who spent a large part of their life doing this - a retired Bluesman). That basically means that playing the Blues is your profession. Not a very exclusive definition, it is very inclusive. It also doesn't focus on the quality or style of Blues played, or on the ability of the performer to connect with the audience - all important to playing good Blues. It is a minimum that I think we can all agree on. How closely he sticks to the definition of the Blues is a hotly debated part of the definition of 'Bluesman'. Some say anyone who plays the Blues is a Bluesman. Other's say he has to be Black... Is the Blues a Black artform anymore? ------------------------------------- Yes, and more! The Blues is an artform of the African-American culture. It's history is long and deeply steeped in that culture. On this no one disagrees. All participants on blues-l would heartily recommend the study of Blues history and the addition of a wide variety of older recordings to your collection. The Blues is a living artform and has always changed. Disagreement arises on just how far from the original or earlier electrified versions one can deviate and still be called the Blues. Obvously, '50's electric Blues is Blues, but, it is different from the pre-war acoustic Delta Blues - the Blues has grown and changed in the past. Is the heavily distorted, hot guitar focused playing of the 90's players (Black and White and otherwise) still the Blues? There is disagreement on this, even though most would consider it to be more appropriately a debate of taste. The Blues is becoming a global music form, especially in America and Europe. Many people of non-Black heritages are playing the Blues and there are good and bad performers from each group. The consensus seems to be on the fact that the Blues is, and always will be an African-American artform. Just as Italian food is... well, Italian food. Whether it 'belongs' only to the African-American culture today or will so in future, we cannot agree on. Certainly, the African-American culture will always have the Blues as an artform that came from their culture, that they originated and *may* be the best at performing ('cooking'?). Where does that leave the non-Black Blues performer? Is Eric Clapton a Blues artist? ------------------------------- A seasonally appearing topic on blues-l. The facts are that Eric Clapton started out playing the Blues, motivated by a deep love of and emotional connection to the Blues. He played with John Mayall's Blues Band and then went on to form Cream, which started out as a Blues band and quickly became the prototype Blues-Rock/Acid-Rock/Heavy Metal outfit. [Heavy Metal? Yes, *prototype*, to be followed by the new Yardbirds - Led Zeppelin, Jimi Hendrix - also prototype, and Black Sabbath and Deep Purple - probably the first fully formed examples]. Clapton has always played Blues riffs and often performed traditional Blues songs in concert. He also invited *real Bluesmen* to tour with him, recorded with them, and advanced them as his heros and the source for his inspiration and motivation. Since Mayall, be has not recorded much Blues (if you ignore much of the Blues material on "Layla and Other Assorted Love Songs" that was not released until the recent re-mastering and re-issue by Polydor). It was 27 more years before he played a whole concert devoted to Blues and 29 years before recording an all Blues album. But few will disagree that he has been a huge influence in bringing respect to other Bluesmen and introducing a large number of people to the Blues. [He's been playing exclusively Blues (except for his Cream and Pop songs that appeared in the last half of the shows from the 1994 Royal Albert Hall season) for the last 3 1/2 years (Feb. 1993 - Oct. 1995)]. Some people find it truly offensive to call Eric Clapton a Bluesman. How could someone who spent so much time playing Pop music, be given the deeply reverent and honorable title of Bluesman? Besides his voice doesn't sound very Black, and he plays too many notes and riffs that his predecessors never even considered. "Besides,", they say, "he's rich! What does he know about having the Blues?". These people believe that he is insincere in playing the Blues and has done it just for the money. ["From The Cradle" has been a huge hit in the Blues category, though not that big in Clapton's career. He has toured longer on this album than most others, which should be a profitable venture for him. Is FTC a real Blues album? Some say no because it isn't real (i.e. Black) Blues, others say no because it isn't anything new - just a reproduction of the originals, others say yes, it obviously is the Blues, what else would you call it?] At the other end of the argument, are those who think that his early Blues years, Blues influenced Pop years including Blues songs in concert, his professed love/obsession with Blues, and recent all Blues recording and concert tours are good enough for them. He's (currently at least, if not having always been) a Bluesman. These people also would say that his long career and, most importantly, the deep emotional wounds he has suffered (being born illegitimate, growing up misrepresented as his grandparent's child, learning of this in his pre-teen years, losing many friends to early demise or insanity, loving another man's woman, damaging a close friendship, losing that woman, drug and alcohol abuse, losing his only son, perpetually feeling alienated except, maybe, in his Blues music), even rate him much in the league of the stereotypical 'Bluesman'. Anyone who has heard him play "Have You Ever Loved a Woman", especially during this last tour, would almost be compelled to agree. The man has been "...at the crossroads". So, *is* Eric Clapton a Bluesman? Not until he plays Blues, only, for another two decades (and maybe get's a real dark tan in Antigua) will there be a general agreement that he is. ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Wed, 11 Oct 1995 11:18:11 -0700 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Re: Blind Pig Review (query) Terry writes: >Several Blues-L'ers mentioned they were going to the SF Blues >Festival last weekend. Did anybody go to the Blind Pig Review at >Slim's Friday Sept. 22? Impressions? I haven't seen much feedback >on the SF Blues festival either. Just curious. I went to the Blind Pig Review at Slim's. I got there late having flown in from Albany, NY and had been awake for about 24 hours. I walked in after E.C. Scott's set. I wasn't to wild about Slim's. Not enought seats. A huge dance floor right in front of the seats. If you are sitting, you get the priviledge of having someone's posterior about eye level. I saw the Chris Cain Orchestra. Good guitar player. Lots of extended guitar solos. He did some interesting tunes. Debbie Davies came up and did a couple of tunes with Chris Cain. She has a nice voice and played some pretty sweet guitar. Frankie Lee did a couple of tunes and the crowd went wild. He really worked the audience. This guy was amazing. The highlight of the night was Magic Slim. This was Slim's first appearance in the SF Bay Area since 1991. John Primer opened up with a couple of tunes. He played some real nice slide on a pretty cool version of Country Boy. Nick Holt did a doo-wop tune. Magic Slim came up and did a bunch of tunes from his Blind Pig CD. Slim made a pretty interesting comment, "You haven't recorded until you've recorded for Blind Pig." Joe ========================================================================= Date: Wed, 11 Oct 1995 11:41:02 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: LIGHTNIN' HOPKINS' S.I.W./JAX /ALADDIN RECORDINGS Re: Best Lightnin? Comments: To: BluesHvn@aol.com Comments: cc: bsco@PANIX.COM Two more stellar Lightnin' CD's are - Blues Train - Mainstream #901 Sittin' In With - Mainstream #905 That is the great Bob Shad label. Boths CD's have superior sound qulaity and the sessions are intensely personal. You get a direct feel for Lightnin' sittin in a chair, toe tap- pin and strummin and signing the blues. -- I SECOND THAT EMOTION. 4 TIMES! YOU SHOULD ALSO NOTE THAT I BELIEVE THESE ARE NOW OUT OF PRINT & THAT MAINSTREAM #905 WAS ISSUED HERE IN NORTH AMERICA BY SONY (as SONY/MAINSTREAM 53626). These 2 CDs contain nearly all of Hopkins' recordings produced by Bob Shad (1920-1985) for his JAX and SITTIN' IN WITH labels. I say nearly as a few alternates are still only on those old TIME/ MAINSTREAM albums. The notes to these 2 CDs make next to no mention about the unissued sides & alternate takes used, let alone the song title changes! In one case, Cemetary Blues, we have the un-altered master take. So, record rats, hang on to those vinyls! BLUES & RHYTHM #100 has a wonderful article on Shad including a complete discography of his productions. B&R #100 is still available & I suggest you email Byron for subscription details to the finest blues magazine in all of bluesdom. And finally, I agree with the comment about his Aladdin recordings but be warned that this EMI set is not complete - in fact it does not contain the Aladdin 3005 version of "Big Mama Jump" which has only drums only (no piano). Also, at least one alternate take is missing. But hey, the music is great & is ESSENTIAL. "UNCLE" eRIC (one time member of The Lightnin' Hopkins Appreciation Society!). MAINSTREAM CD 901 : LIGHTNIN' HOPKINS - BLUES TRAIN 1. HELLO CENTRAL SIW 621 (as "GIVE ME CENTRAL 209") 2. COFFEE BLUES SIW 635 3. LONG WAY FROM TEXAS SIW 611 4. MAD AS I CAN BE SIW 611 (as "TELL ME BOOGIE") 5. NEW SHORT-HAIRED WOMAN SIW 635 6. GOTTA MOVE SIW 599 7. EVERYBODY'S DOWN ON ME MERCURY 8252 8. FREIGHT TRAIN SIW 658 9. PRAYIN' GROUND BLUES SIW 599 10. DON'T THINK I'M CRAZY TIME LP 70004 11. DIRTY HOUSE BLUES SIW 647 12. EVERYTHING HAPPENS TO ME SIW 652 13. I WONDER WHY SIW 660 (as "WHY") 14. BUCK DANCE BOOGIE SIW 652 (as "PAPA BONES BOOGIE") 15. MAD AS I CAN BE unissued alt take MAINSTREAM CD 905 : LIGHTNIN' HOPKINS - SITTIN' IN WITH 1. CONTRARY MARY JAX 321, HARLEM 2321 2. WHY DID YOU GET MAD AT ME? unissued 3. DOWN TO THERIVER SIW 661 4. I'M BEGGIN' YOU JAX 321, HARLEM 2321 5. BALD HEADED WOMAN SIW 647 6. WHAT KIND OF HEART HAVE YOU unissued, with HOPKINS & SHAD talking 7. BACK HOME BOOGIE SIW 660,JAX 315("I'VE BEEN A BAD MAN") 8. NEW YORK BOOGIE SIW 621 9. BROKEN HEARTED BLUES unissued long alternate take 10. LONG WAY FROM TEXAS SIW 661 - also on CD 901 11. MY HEART TO WEEP SIW 642("YOU CAUSED MY HEART TO WEEP') 12. TAP DANCE BOOGIE SIW 642 13. HOME IN THE WOODS JAX 315 (as "NO GOOD WOMAN') 14. SO SORRY by L.C. WILLIAMS SIW 640, JAX 640 (w/HOPKINS (g)) 15. FANNIE MAE by L.C. WILLIAMS SIW 648, JAX 648 (w/HOPKINS (g)) 16. CEMETARY BLUES DECCA 48312 - w/"crying" omitted 17. HAPPY NEW YEAR DECCA 48306 ========================================================================= Date: Wed, 11 Oct 1995 13:40:00 CDT Reply-To: topcat@COMPUTEK.NET From: "" Subject: Re: Blues-L Marketing Comments: To: Willy Evans Reply-To: Willy Evans Subject: Re: Blues-L Marketing >As regards Mr. Fentons Home Page: >It is simply a list of artists tapes/cd's/lp's with pertinent info. The >artists are from the Blues-L so the name is a natural. There is no >editorial content in his page so I don't see what the big deal is. He is >paying for the page (and I appreciate it!) so that gives him some degree >of autonomy. >So until he begins spouting opinion, I say let him be, he is providing a >service to some of us very unselfishly. I wholeheartedly agree with Willy. He's offering a great and unselfish service to blues-l member musicians trying to get going without the help of a record label behind them. These bands are trying to carry on the blues tradition and need all the help they can get. Richard Chalk TopCat Records ========================================================================= Date: Wed, 11 Oct 1995 14:39:01 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Stand-up bass live--query Hi all, Ihave a question for you live performers out there, or at least you astute listeners of live performances. My band is trying out a bass player who plays a big ol' stand up bass exclusively. He responded to our ad and we've got a line up of tryouts for next week. He sounds great, an experienced live blues gigging musician, idolizes Willie Dixon, and (heh-heh) he's a Brit, to boot. Gotta dig that. MY question is, given that we are basically a four-man electric blues band and can get really cranking when in bar-rockin' mode, how does a stand-up bass hold up in that environment? ie:can you hear them? Are these things amped? I guess I've never seen one played live playing electric Chicago blues. I would LOVE for this to work out, but as the front man and guitar player across the stage from the bass dude, I want, no *NEED* to hear the steady boom-boom groove that comes from a big ol' Fender Precision or Jazz pumped thru big ol' 15 inch woofers. Any experiences or feedback out there? Thanks guys! Riffin Rick (((( oo-) /- ... if you see my little red rooster, please drive him home. F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 11 Oct 1995 14:46:13 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: New Blues CDs Comments: To: levyt@rl.af.mil RE: Larry Johnson He called me recently and asked if I would help him find some bookings. He lives in New York City and feels limited for travel opportunities because he does not have a car. I told him that I was no longer working as an active manager/agent but I'd do what I could to help him out. The guy who runs Terrablues in NYC says that he uses Larry whenever he can and attests that Larry is in great shape and playing just fine. If anyone connected with a club or university or blues society could help in any way, give me a EMail and I'll provide his telephone number. Please do NOT request his number if your intentions are only to 'chat with ther artist' because this is cruel (albeit unintentionally so) to know that you have fans while you are unable to find any gigs. Please do not make any continuing thread out of this. Just do what you're going to do and then be done with it. Anyone located along a railroad stop (i.e. New Haven, Hartford, Philadelphia, Baltimore, etc.) would be especially welcome. Dick Waterman a/k/a jinxblues ========================================================================= Date: Wed, 11 Oct 1995 15:01:15 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0087 From: "DUTTWEILER.J" Subject: Magic Slim TO: Internet FROM: DUTTWEILER.J@GOMAIL SUBJECT: Magic Slim A recent post mentioned Magic Slim's performance in San Francisco and his Blind Pig release. I confess that I had really not heard of Magic Slim until joining this list sometime back, but have come to enjoy his music quite a bit. I have the only two Magic Slim recordings I have come across in local stores, the Alligator release "Raw Magic," and the Evidence release, "Highway is My Home." What would others consider "essential" Magic Slim record- ings? And would anyone care to offer an in depth review of a Magic Slim concert he/she has seen? (And as an aside, what has happened to Vincent, who, as I recall is big Magic Slim fan?) Jon (interested in more Magic Slim) Duttweiler ========================================================================= Date: Wed, 11 Oct 1995 14:52:05 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Test -- Ignore! Delete! Just testing. Things are screwy; wondering if this'll get posted. ========================================================================= Date: Wed, 11 Oct 1995 14:09:48 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Freddie King Set Did anyone ever post some kind of review or sumpin on the FK CD set...? I'd like to know more about the set..... LW ========================================================================= Date: Wed, 11 Oct 1995 15:16:42 -0400 Reply-To: Greg Hermanns From: Greg Hermanns Subject: Re: Day after Columbus Day PW: The same thing happens with me at Christmas; try this-- put up Columbus Day decorations several weeks early (get every one in the mood) Put on Johnny Winter's 'I'll Be Home for Columbus Day'. Greg Hermanns gregfh@tso.cin.ix.net ========================================================================= Date: Wed, 11 Oct 1995 14:32:33 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Lib Of Congress Recordings How many blues artists did Alan Lomax record for the LBC.....? Have they ever been available as a box set...? Which LBC is your favorite Can white people buy blues box sets...? :-) LW ========================================================================= Date: Wed, 11 Oct 1995 15:38:41 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: LIGHTNIN' HOPKINS' S.I.W./JAX /ALADDIN RECORDINGS Re: Best Lightnin? Comments: To: Eric LeBlanc-CISTI Comments: cc: leblanc@haida.dao.nrc.ca, BluesHvn@aol.com In-Reply-To: <9510111841.AA11091@dao.nrc.ca> On Wed, 11 Oct 1995, Eric LeBlanc-CISTI wrote: > Two more stellar Lightnin' CD's are - > Blues Train - Mainstream #901 > Sittin' In With - Mainstream #905 > That is the great Bob Shad label. Boths CD's have superior > sound qulaity and the sessions are intensely personal. You > get a direct feel for Lightnin' sittin in a chair, toe tap- > pin and strummin and signing the blues. > > I SECOND THAT EMOTION. 4 TIMES! YOU SHOULD ALSO NOTE THAT I BELIEVE THESE > ARE NOW OUT OF PRINT & THAT MAINSTREAM #905 WAS ISSUED HERE IN NORTH AMERICA > BY SONY (as SONY/MAINSTREAM 53626). These 2 CDs contain nearly all of Hopkins' > recordings produced by Bob Shad (1920-1985) for his JAX and SITTIN' IN WITH > labels. I say nearly as a few alternates are still only on those old TIME/ > MAINSTREAM albums. The notes to these 2 CDs make next to no mention about the > unissued sides & alternate takes used, let alone the song title changes! In one > case, Cemetary Blues, we have the un-altered master take. So, record rats, > hang on to those vinyls! BLUES & RHYTHM #100 has a wonderful article on Shad > including a complete discography of his productions. B&R #100 is still > available & I suggest you email Byron for > subscription details to the finest blues magazine in all of bluesdom. Another possible awesome set might be available on the Blues Collection series - I believe now distributed by Qualiton. If my memory serves me right I saw a CD listed by Hopkins on this label. I purchased the Little Willie Littlefield & the Eddie Boyd & the Clifton Chenier on BC and each one had exc- ellent sound quality & the sessions much like the Mainstream ones were very personal and very musical. Does anyone know if I am right about this CD being available? NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Wed, 11 Oct 1995 15:52:54 -0400 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." an enquiry for Blues -L members from the state of Michigan. I received three replies. I must believe there are more than 4 of us in the blues state of Michigan, so I'll ask again. >>I have noticed that there are a number of state or regional groups of Blues-l'ers that get together on occasion for a special event, or concert, or jam, or just for the heck of it. I was hoping to get something like that started here in Michigan. If you are a Michigan L'er, please send a private E-mail, and I'll compile a list, and we'll see what we can come up with.<< Thanks, and Bluz! Bluzman Ed aka Ed Tremewan ========================================================================= Date: Wed, 11 Oct 1995 14:57:23 CST Reply-To: JBards From: JBards Subject: Re: Stand-up bass live--query Comments: To: MILLER@SCI.WFBR.EDU Well, if you recall, Brian Setzer's group, the Stray Cats, used a stand-up bass, and Brian (guitar extraordinaire) was not exactly quiet ( he uses a bank of Dual Showman amps) and the bass worked really well. Second, yes, you can mike and amp those basses easily and I'm sure your player knows all about it. Jim _______________________________________________________________________________ Subject: Stand-up bass live--query From: MILLER@SCI.WFBR.EDU at INTERNET-SH Date: 10/11/95 2:36 PM Hi all, Ihave a question for you live performers out there, or at least you astute listeners of live performances. My band is trying out a bass player who plays a big ol' stand up bass exclusively. He responded to our ad and we've got a line up of tryouts for next week. He sounds great, an experienced live blues gigging musician, idolizes Willie Dixon, and (heh-heh) he's a Brit, to boot. Gotta dig that. MY question is, given that we are basically a four-man electric blues band and can get really cranking when in bar-rockin' mode, how does a stand-up bass hold up in that environment? ie:can you hear them? Are these things amped? I guess I've never seen one played live playing electric Chicago blues. I would LOVE for this to work out, but as the front man and guitar player across the stage from the bass dude, I want, no *NEED* to hear the steady boom-boom groove that comes from a big ol' Fender Precision or Jazz pumped thru big ol' 15 inch woofers. Any experiences or feedback out there? Thanks guys! Riffin Rick (((( oo-) /- ... if you see my little red rooster, please drive him home. F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 11 Oct 1995 20:01:14 GMT Reply-To: "Michael P. Henry" From: "Michael P. Henry" Organization: Your Organization Subject: Re: Starting a Blues Society Comments: To: bit-listserv-blues-l@uunet.uu.net I am currently in the process of founding the Napa Valley Blues Society. I have received some information from the Blues Foundation, but would welcome any more. As far as starting one goes -- just do it. But be prepared to put in a great deal of time and effort. The thing about it is, when it comes to the Blues, it never seems like work! Would be happy hearing from anyone by e-mail. Michael P. Henry ========================================================================= Date: Wed, 11 Oct 1995 14:22:15 -0600 Reply-To: BMPECH@MSCD.EDU From: Bruce Pech Subject: Stand-up bass live -- query Rick -- The bass player for one of the T-birds lineups played an amplified stand-up. (I seem to recall that it was an aluminum Kay.) -- BP Boulder, CO ========================================================================= Date: Wed, 11 Oct 1995 15:41:52 -0500 Reply-To: 00lcspector@bsuvc.bsu.edu From: Lee Spector <00lcspector@BSUVC.BSU.EDU> Subject: Little Milton According to an advertisement in Downbeat, Delmark is issueing a set by Little Milton called, "Live At Westville Prison." Has anybody heard of such a set and does anyone know whether it is anygood? Lee Lee C. Spector Department of Economics Ball State University ========================================================================= Date: Wed, 11 Oct 1995 17:16:12 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Re: Magic Slim Comments: To: bit-listserv-blues-l@uunet.uu.net DUTTWEILER.J (JONATXXX@GOMAIL.DOAS.STATE.GA.US) wrote: : What would others consider "essential" Magic Slim recordings? Jon, I doubt this will be considered essential Magic Slim but it is at least cream Magic Slim. Someone else mentioned a bit back and I concur. The new Wolf CD - Magic Slim Alone & Unplugged 15 sides of the magic man just pure acoustic. 13 great cuts + an interview + a great Ikey and Mikey - you know Ikey and Mikey were playing in the ditch, Ikey called Mikey a son of a bring down your children etc. etc. etc. Nice CD. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Wed, 11 Oct 1995 16:50:12 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Impromptu S. TX blues-l meeting Bill Shute and I will be heading up to Austin on Friday afternoon for the Happy Hour show at the Continental Club featuring TD BELL. Any of you Austin Blues-L'ers in the neighborhood stop buy and join us. I'd like to finally put faces to some of those other names that I see here regularly. -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / As I was riding across the Mississippi \ / I stopped there and I cried. \( No use for a man to keep a mighty river All dammed up inside. -Joe Ely ========================================================================= Date: Wed, 11 Oct 1995 14:58:25 -0800 Reply-To: James Carmin From: James Carmin Subject: Re: Stand-up bass live--query Riffin Rick asked: >MY question is, given that we are basically a four-man electric blues band and >can get really cranking when in bar-rockin' mode, how does a stand-up bass hold >up in that environment When I saw William Clarke last year he was touring with a stand-up bass and it held up great; not positive, but I'm pretty sure it was amped. And Little Charlie & the Nightcats newest bassist, Ronnie James Weber, plays a stand-up and it's a GREAT sound (check out their latest disc STRAIGHT UP!). Neither of these bands are "Chicago" blues, but for West Coast blues, it seems to work just fine! James C. jcarmin@teleport.com ========================================================================= Date: Wed, 11 Oct 1995 22:07:19 GMT Reply-To: Matthew Arthur Clark From: Matthew Arthur Clark Organization: Columbia University Subject: Cancellation of Hoax Tour Comments: To: bit-listserv-blues-l@uunet.uu.net I am disappointed to have to announce the cancellation of the Hoax's fall tour. As a number of you were, I was looking forward to seeing them this fall and am hoping that they will tour early next year. Disappointedly, Matthew Clark mac44@columbia.edu ========================================================================= Date: Wed, 11 Oct 1995 18:53:06 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Lib Of Congress Recordings Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu In a message dated 95-10-11 15:43:29 EDT, you write: >How many blues artists did Alan Lomax record for the LBC.....? no idea. Dixon and Godrich have field recording trips documented in the introductory part of the discography. I am far from home and cannot check whether Lib. of Cong. recordings are documented. >Have they ever been available as a box set...? They aren't all available, but there is a box set containing some of them, along with non-blues material. Of course, you can get them piecemeal. In addition to the Muddy Waters Plantation recordings on MCA, there are a couple of available versions of the Son House. Earwig (I think) has Honeyboy Edwards, along with some more recent recordings. The Willie Blackwell has just come out on Document along with all the pre-war Carl Martin and Louie Bluie. I've got to get that one..... >Which LBC is your favorite Muddy Waters then Son House, with the Bukka White also quite a favorite. The Muddy is truly awesome. Tom Freeland ========================================================================= Date: Wed, 11 Oct 1995 15:55:25 -0700 Reply-To: Jennifer Baldwin From: Jennifer Baldwin Subject: Re: Stand-up bass live--query In-Reply-To: <9509118134.AA813448321@mail-sh.lsumc.edu> Reverend Horton Heat's bass player plays stand-up, but most of the time he lays it down on the stage. He plays, and the Rev stands on top of it and plays his Gretsch. There's no question that they get plenty of sound. I say, go with him! On Wed, 11 Oct 1995, JBards wrote: > Well, if you recall, Brian Setzer's group, the Stray Cats, used a stand-up bass, > and Brian (guitar extraordinaire) was not exactly quiet ( he uses a bank of Dual > Showman amps) and the bass worked really well. Second, yes, you can mike and amp > those basses easily and I'm sure your player knows all about it. > > Jim > _______________________________________________________________________________ > Subject: Stand-up bass live--query > From: MILLER@SCI.WFBR.EDU at INTERNET-SH > Date: 10/11/95 2:36 PM > > Hi all, Ihave a question for you live performers out there, or at least you > astute listeners of live performances. My band is trying out a bass player > who plays a big ol' stand up bass exclusively. He responded to our ad and > we've got a line up of tryouts for next week. He sounds great, an experienced > live blues gigging musician, idolizes Willie Dixon, and (heh-heh) he's a Brit, > to boot. Gotta dig that. > > MY question is, given that we are basically a four-man electric blues band and > can get really cranking when in bar-rockin' mode, how does a stand-up bass hold > up in that environment? ie:can you hear them? Are these things amped? I guess > I've never seen one played live playing electric Chicago blues. I would LOVE > for this to work out, but as the front man and guitar player across the stage > from the bass dude, I want, no *NEED* to hear the steady boom-boom groove > that comes from a big ol' Fender Precision or Jazz pumped thru big ol' 15 inch > woofers. > > Any experiences or feedback out there? > > Thanks guys! > > > > > Riffin Rick > > > > > (((( > oo-) > /- > > ... if you see my little red rooster, > please drive him home. > > > > > > F.J.(Rick)Miller > Senior Research Assistant, > & Marine Facilities Manager > Worcester Foundation for Biomedical Research > "Miller@Sci.WFBR.Edu" > *************************************************************************** > > > > > ========================================================================= Date: Thu, 12 Oct 1995 00:06:38 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Turntables (no blues, but I didn't start it:) Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199510111535.AA14502@dragon.acadiau.ca> Rob Hutten writes: >But I want to play antiques :-) Does anyone make a decent turntable with >a 78rpm speed anymore? I don't have anything to play my 78s on... I bought a Thorens turntable with 78 speed a year or two ago. I still see this listed in the mail order catalogs. Can't recall the price but it was reasonable and included a Stanton cartridge. If you really want to do it right, however, you will need a 78 stylus which you have to order separately. Stanton makes them for this model. I think the stylus costs more than the whole cartridge with microgroove stylus. Well worth having if you have those blues 78s you want to play :-) Art Schuna ========================================================================= Date: Wed, 11 Oct 1995 20:22:13 -0400 Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Magic Slim Comments: To: bit-listserv-blues-l@uunet.uu.net In article "DUTTWEILER.J" writes: > What would others consider "essential" Magic Slim record- > ings? Magic Slim has quite a few releases on the Wolf label from Austria. I like the Zoo Bar Series Vol. 1-3 (catalog # 120.301, 120.302, 120.303, respectively). These are live recordings from the Zoo Bar in Lincoln, Nebraska. They will give you a pretty good idea of what his shows are like. Other titles that I have include Magic Slim & the Teardrops, Chicago Blues Session Vol. 3 (120.849) a 1987 Handy award winner (for what that's worth), Magic Slim & Nick Holt & The Teardrops Chicago Blues Session Vol. 10 (120.856) a 1990 Handy Winner, Teardrops Blues Jam (120.855) - sorry, no Handy winner but a fine release anyway!! and Magic Slim "Magic Blues" Chicago Blues Session Vol. 24 - a 3 TIMES HANDY WINNER!! How can you go wrong? I have a hard time picking between them, regardless of their award status. If you get a chance, go see him live Art Schuna ========================================================================= Date: Wed, 11 Oct 1995 20:28:19 EDT Reply-To: "Paul R. Seibert" <74363.3247@COMPUSERVE.COM> From: "Paul R. Seibert" <74363.3247@COMPUSERVE.COM> Subject: Salty Papa band The Salty Papa band, which is based in Tuscaloosa, AL, is interested in sending demo cassettes to any interested booking parties or people arranging private party gigs. We are a traditional, straight blues outfit w/ Hammond organ, and sax players which help to round things out a touch. We can arrange to travel throught the Southeast, and we can really _bring_ it. BTW, has anyone heard the Lucky Peterson record? I really dig the Hendrix cover, "Up from the skies" I believe it is...I'll check on that... At the B'ham jam in AL this past weekend, Koko Taylor and band threw an incredible live performance. The guitar player, "Nino", was astounding. Anyone know anything more about him? TTYL, -Paul ========================================================================= Date: Thu, 12 Oct 1995 00:32:26 GMT Reply-To: Weidel From: Weidel Organization: Voicenet - Internet Access - (215)674-9290 Subject: Re: Helena -- anyone see the Scatman? Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199510092155.VAA06139@emmett.bigeasy.com>, wmorga@BIGEASY.COM wrote: > > My long journey to Helena > Very quickly, here are my picks for the best and worst of the fest. Bill - Too bad you missed Friday night at Helena. Being from NOLA, you've probably seen Irma Thomas before. Her set to close Friday was great, despite it being really cold. Earlier that night, I thinkLuther Allison stole the best of the festival award. People were talking about it for the next two days. I bought his "Blue Streak" CD as soon as I returned home. Well, as soon as I recovered from three days of excess. > There were a couple of old guys playing on the Stackhouse stage. I > think one of them was named Jack Owens. Jack Owens is well into his nineties and is a national treasure. You should listen to the new (1995) Testament CD, " It Must Have Been the Devil" which was originally recorded in 1971. This is a better indication of Jack's once formidable skills. He's always mentioned with Skip James as masters of the Bentonia style. I don't know what was with Bud Spires and his "air harp" in Helena on Saturday. I saw him two years ago in Clarksdale and he was in much better form. Most of the people where I was sitting felt that perhaps Bud was a little buzzed. Bob ========================================================================= Date: Wed, 11 Oct 1995 20:35:44 -0400 Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Day after Columbus Day?? Comments: To: bit-listserv-blues-l@uunet.uu.net >PW wrote: >Did everybody have a happy and safe Columbus Day? I'll be eating >those delicious Columbus Day dinner leftovers all week. I hate the >thought of having to take down the decorations. It's so depressing. ^^^^^^^^^^ Depressing! I think I'm blissed or should I say bluesed out. I spent Columbus Day wading through my Delmark blues recordings trying to sort out favorites. Fortunately, even though the post office was non- functional, I made my "connection" with CDConnection through the UPS. It was a veritable bonanza of new blues releases :-) These are what came. Big Al Dupree Swings The Blues - Dallas Blues Society. Canray Fontenot - Louisiana Hot Sauce, Creole Style - Arhoolie. Great cajun style fiddle playing. Hot Lips Page 1940-44 and 1938-40 on Classics Label. Page crosses the lines between jazz, blues and R&B. If you like Louis Jordan, you'll love these. Luther Allison - Live in Paris - Ruf Records. Recorded in 1979. Almost like being there! Robert Lowery - A Good Man is Hard to Find - Orleans label. Very fine country style guitar. Unlike his first release, he has help on this one. Big Mojo Elem - Mojo Boogie - St. George Label. Roosevelt Sykes - Complete, vol. 4 - Document Billy Wright - Going Down Slow - Savoy Yes, indeed! The day after Columbus day was very blissful. Still wading through all the great tunes. Art Schuna ========================================================================= Date: Wed, 11 Oct 1995 13:12:55 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Let's start the Blues Marketing Council {was Whose blues} Comments: To: Bonnie Kalmbach , Cathi Norton , Richard Shurman On Mon, 09 Oct 95 17:57 CDT Bonnie Kalmbach wrote: > >>> I basically want African American blues musicians to get the >>>credit and fame and money for the music their ancestors created >> >>I disagree with this statement, Bonnie. I wish that the greats hadn't >>gotten screwed (even though everyone in Blues and Rock was screwed to one >>degree or another - mostly related to the time). But African-American >>blues musicians do *not* deserve credit and fame for what their >>predecessors did - only for what they themselves do. Hopefully, every good >>musician gets his chance. > >Actually, the way you phrased it in the above paragraph is the meaning >I intended - I want those talented contemporary black musicians >to have as much acclaim and money as the whites but it just ain't >working out that way for most of them - E.g.: I'm thinking of the great >slide guitarist Johnny B. Moore of Chicago - is he as well known on this >list as John Mooney? I could add many other names of artists who work the >ghetto clubs of Chicago regularly - but it's the Chris Duartes and Tab >Benoits who make the big festivals. > >There are scores of black artists languishing in the ghetto who learned the >music at their mother's or father's or grandparent's knee and are every >bit as talented or more so than white guys from more privileged >backgrounds who learned from records. But the black artists will never >achieve the (sometimes relative [success]) of their white counterparts. I >think this is unjust. > >What can be done about it?? > > -Bonnie I agree. And I don't think it's a racism problem with the white consuming public, taste may be their problem, and education (exposure to a wider range of Blues artists) is the only solution to it. The problem of promotion of the 'non-Benoits', is much more difficult. It's a vicious circle of not enough sales to the white consuming majority, and not enough money to promote (and therefore educate). Luther Allison is the only older Blues artist, IMHO, with wide appeal (not large, but, able to please the 'purists', the enthusiasts, the musicians, and the general audience). That means it is necessary to book the 'Benoits' and the heavyweights for the festivals so more people are attracted and exposed. The only hope, I think, is to grow the market so there is room for more high earners and a larger 'middle class'. There's no way to keep out the White players, but, the fakes won't make it commercially in the Blues if the heat, heart and soul of the Blues is promoted/made the guide by which we judge. But, most importantly, the Blues scene needs to grow. Many of us are doing what we can. But, how to salvage the North Carolinas and the Sacramentos? How to get more airplay? How to keep the Blues Society expansion going? We need a marketing council! "This message brought to you by The Blues Marketing Council. Eat more Blues." Can *we* do it? We have a wide range of expertise here on blues-l. We have people who are good at organizing. We have great mediators/compromisers. We have the DJ's and musicians, the artists and writers. We also have the electronic communications that would allow us to work from our disparate locales. We have people from all over the world, from Chicago to Vanatu, that will help, so we could be an international force for promoting the Blues! Let's limit control to those on the list (i.e. net connected, anyone connected is going to get on the list first thing) for the simple reason that we need to communicate. Once we create a non-profit organization and it becomes a solid entity, we could relax that. Until that time, people like The Bruce Iglauers, and Buddy Guys could be 'advisors'. We can get industry help, and between Dick Shurmann (should he decide to accept this mission) and I we should be able to get it from Chicago people (maybe even the city - they would benefit) and Eric Clapton (eventually). I'll bet House Of Blues would help out. Could we get public service messages? I know this is crazy, and something like this may have been tried and wilted on blues-l, but, if we don't try, it probably won't happen and there is a big hole there that needs filling! Start small, think big, and do great things. Mike - who's a great instigator and who volunteers for the position of "Vice Chairman in Charge of Instigating". ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Wed, 11 Oct 1995 22:20:31 -0300 Reply-To: Brent J Hooton From: Brent J Hooton Subject: Re: Stand-up bass live--query I had the pleasure of seeing BB's blues festival when it passed through Toronto this summer. Well, in the opening act (Jay Geils/Magic Dick) the bass player played a double bass for most of the act -- although he switched over to electric near the end. It's a much different sound, one which I enjoy. You can hear the sound difference on a couple recent blues albums that feature double bass -- the new Johnnie Johnson CD, and "Colin James & The Little Big Band" (one of the most incredible albums ever - Yay for Colin James! :) ). Unfortunately, it is not an easy instrument to mike (at least that's my experience), but you can get special double bass pickups. The one I use (and the one used in the aforementioned concert) has two little metal pickups that fit in the slots in the bridge, and this connects to a jack for a patch cord down at the bottom end of the strings. It is not permanent, so you can remove it if you want to use it on a different bass -- although in some bridges the slots are too big (fixable) or too small (good luck). The one problem I have experienced with it is *occasional* feedback if it gets too loud. However, I used it in a different setting (my high school stage band and jazz vocal group), and I don't know how it would hold up in a bar atmosphere. I'm sure it could be fixed by fiddling around with the amp controls or bass placement or something -- certainly there was no problem in this regard when I heard it in the concert. All the best to Rick in his bass quest -- hope the upright works out for him. Brent ========================================================================= Date: Thu, 12 Oct 1995 02:41:12 GMT Reply-To: "Roy W. Forgy" From: "Roy W. Forgy" Subject: Willie Kent Willie Kent and the Gents with Bonnie Lee will be in town this week and I was wondering if I could get some background and impressions from you good folks. Thanks Roy W. Forgy (blueslvr@gnn.com) Pacifica, CA ========================================================================= Date: Wed, 11 Oct 1995 22:38:44 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Stand-up bass live--query Comments: To: MILLER@SCI.WFBR.EDU On 11 Oct 95, Rick Miller had this to say: > MY question is, given that we are basically a four-man electric blues band and > can get really cranking when in bar-rockin' mode, how does a stand-up bass hold > up in that environment? ie:can you hear them? Are these things amped? I guess > I've never seen one played live playing electric Chicago blues. I would LOVE > for this to work out, but as the front man and guitar player across the stage > from the bass dude, I want, no *NEED* to hear the steady boom-boom groove > that comes from a big ol' Fender Precision or Jazz pumped thru big ol' 15 inch > woofers. My bass player plays a stand-up. He mounted a pickup from a P-bass down at the end of his fingerboard. It gives him plenty of punch and it still sounds "acoustic". There are all kinds of pickups that can do the job. We also run a little of him into the PA. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Wed, 11 Oct 1995 21:42:32 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Job decided but Devil keeps trying Well, ya'll know by now that I went with my heart. The kicker is, at 8:00 a.m. yesterday morning the headhunter called with another offer from the Devil, "...another $2000 if you'd consider... no? Did I say 2000? I meant $3000?...". So, I went to the park and played some harp with Muddy and E.C. and hugged a few trees, then I went to Guitar Center to give the other side a chance for rebuttal. They lost. I signed the offer for the heart job yesterday afternoon at the most beneficiant time and haven't looked back. Thanks again. Mike ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Wed, 11 Oct 1995 22:31:55 -0400 Reply-To: Paul Deeds From: Paul Deeds Subject: Robert Pete Williams Does anyone know if Arhoolie has released our plans to release Vol. 3 of their Robert Pete Williams CD reissues? In "When A Man Takes The Blues" they claim a third disc will "... soon be available on Arhoolie CD 419" but I haven't seen it anywhere (and its been at least a year). I have "Angola Prisoner's Blues" on vinyl but there are probably some songs in their archives that haven't been released that I am interested in hearing. Paul Deeds ========================================================================= Date: Wed, 11 Oct 1995 23:37:24 -0400 Reply-To: Fretman6@AOL.COM From: "J.B. Eanes" Subject: Re: Magic Slim Comments: To: JONATXXX@gomail.doas.state.ga.us I have seen Magic Slim and the Teardrops several times and have never been disappointed with any of his performances. Slim is just cool. I highly recommend going to Chicago and hangin' out for atleast a three day weekend. More than likely you can catch Magic at one of the many clubs. I saw him two nights at Sweet Home Blue Chicago on N.Clarke St. There's actually two of these clubs and they are only blocks apart. I also have to mention the first time I saw him. It was at the Blind Willie Bluesfest in Thomson GA back in 10/94. He headlined the one-day fest with a killer set and even had a young harp player ( about 12 yrs. old) come up and sit in on a tune or two. I was lucky to talk to Slim at both gigs and he's just a good guy. Never seems in a hurry, and always has time to talk. John Primer is not to go unmentioned. He always opens Magic's shows and is really pushin' his own material. I really like Primer because I always wanted to just be able to play and sing the way he does. These two guys are, to me, Chicago as good as it gets. I kinda look for Primer to start doin' his own thing since he was really pushin' his two or three CD's. I picked two of them and he has Slim playing on both I think and Billy Branch does all of his harpin'. You gotta see Slim if he comes around your area I promise you will have a great night. It's a great package! One thing you may figure out if you go to Chicago though. It's hard to figure out what act you wanna go see. What with Buddy's place and B.L.U.E.S., BLUES ETC.., The Kingston Mines, and the list goes on and on. Good luck--precisely why you will need a three-day weekend in the best city to see live blues. ========================================================================= Date: Thu, 12 Oct 1995 00:12:34 -0500 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Re: Magic Slim Comments: To: "DUTTWEILER.J" Jon: You've definitely hit on a winner in Magic Slim, I've heard him live many times and he always puts on a hell of a show. John Primer has several CDs out himself (I think on Earwig) and is one hellacious second guitarist, better than many first guitars. I have about fourteen different albums on a number of different labels. I don't know what's available on CD other than the ones you mention, except I'm sure the various Wolf albums are all out on CD at this point. Wolf is in Austria and can be hard to get in the states, but I think the likely place to try is Roots & Rhythm mail order in El Cerrito, CA. (roots@gethooked.net) or maybe its (roots@get hooked.net). A great resourse for hard to find blues material. Joel Slotnikoff | BLUES WORLD e-mag Box 21652 | http://www.inlink.com/~joelslot St. Louis, MO 63109 | articles, images, reviews, (314) 647-2447 | 78rpm record auction joelslot@inlink.com | blueslinks Joel Slotnikoff | BLUES WORLD e-mag Box 21652 | http://www.inlink.com/~joelslot St. Louis, MO 63109 | articles, images, reviews, (314) 647-2447 | 78rpm record auction joelslot@inlink.com | blueslinks ========================================================================= Date: Thu, 12 Oct 1995 01:10:28 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: Day after Columbus Day Comments: To: "P.W. Fenton" Damn, Paul, I forgot all about it! At least I can run down to Walgreens and get some Columbus Day candy for 1/2 off! Mike On Tue, 10 Oct 1995 07:27:28 -5 P.W. Fenton wrote: >Did everybody have a happy and safe Columbus Day? I'll be eating >those delicious Columbus Day dinner leftovers all week. I hate the >thought of having to take down the decorations. It's so depressing. > >P.W. Fenton >Tampa, Florida >e-mail = pwfenton@gate.net >WWW = http://www.gate.net/~pwfenton ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Thu, 12 Oct 1995 01:14:25 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: LET'S START THE BLUES MARKETI > On Mon, 09 Oct 95 17:57 CDT Bonnie Kalmbach wrote: >backgrounds who learned from records. But the black artists will never >achieve the (sometimes relative [success]) of their white >counterparts. I >think this is unjust. > >What can be done about it?? > then Michael Suffern jumped in with a bunch of good ideas and enthusiasm with the climax being: > Start small, think big, and do great things. I think the key is to do what YOU can do to help out any particular artist. You may not be able to personally make someone as big as Buddy Guy, but often, as an individual, you can help get things started. Some suggestions that I know work: Tell your friends, family, enemies, and everyone you meet about this great unknown artist that you love. Take them to his or her shows. Pay your friend's cover if you have to. Do an interview with your favorite unknown, write it up, and submit it to blues magazines, local music magazines, post it on trees, whatever. Even if you are a terrible writer it just might raise the interest of someone who is a good writer and get them interested in doing an interview. Get their story and name out there in the world. Heck, post it to Blues-L. I'd sure rather read interviews with artists I have never heard of than read people arguing the black/white, Clapton good/Clapton bad same old threads that seem to go round and round. Buy a copy of your favorite artist's demo tape and send it along to your favorite blues record company with a letter, from you, explaining why they should record them. Send the interview you did if it gets published. Send it if it doesn't get published. Get your friends together, chip in, and help get a good demo tape cut. Call your local radio stations and ask them to play the tape. 99% of them won't, but support the 1% (usually non-profit) that will. Let them know that is one of the reasons you support them. Basically, do everything you can to tell people about the artist and get their music heard. The Tab Benoits have people that do all these things for them. They are paid people. I know this because they occasionally bother me. They make more money because they have paid marketing professionals behind them (and they are also talented musicians). However, as we all (I think) probably agree, level of talent is not the primary decider of the level of profit. Johnny B. Moore has no one doing any marketing for him. So do it yourself. Do what you can do to help folks like that get up to the next level. You can't instantly elevate him to the star status of a Clapton. So what? Help him get some exposure and a record deal. You won't get paid for it, but it can make you feel pretty good. just my 2 copper tokens worth Don O. ========================================================================= Date: Thu, 12 Oct 1995 00:19:06 -0700 Reply-To: Mark Naftalin From: Mark Naftalin Subject: Tina Mayfield's International Blues Society Dear friends, I spoke with Tina Mayfield this evening concerning her blues society. She told me that she has heard from quite a few people, black and non-black, concerning the name "International Black Blues Society." She says that she meant the name to focus on where the blues really came from. However, finding that the name seems to provoke controversy, which was never her intention, she has decided to change it. Henceforth, Tina Mayfields's organization, previously known as the International Black Blues Society, will be known as the INTERNATIONAL BLUES SOCIETY. Tina assures me that all are welcome in the society. Furthermore, she welcomes constructive suggestions and invites any and all interested parties to contact her by phone, fax or US mail. She will be happy to speak with you and to send you materials on the International Blues Society. TINA MAYFIELD International Blues Society PO Box 82053 Los Angeles CA 90037 Tel: 805-267-0495 Fax: same number, reach her and she will turn on the fax The above is Tina's home number. I know you will enjoy speaking with her, especially if you're a Percy Mayfield fan. Best regards, Mark Naftalin ========================================================================= Date: Thu, 12 Oct 1995 04:17:58 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - October 12th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ANDERSON, PINK (g/BLUESVILLE REC) d. 1974-1012, SPARTANBURG, SC 74 ARCHEY, JIMMY (tbn) b. 1902-1012, NORFOLK, VA BROWN, NAPPY (NAPOLEON BROWN CULP) (v) b. 1929-1012, CHARLOTTE, NC CARMICHAEL, JAMES "LUCKY" (p) b. 1920-1012, HARRODSBURG, KY CRAWFORD, JAMES "SUGAR BOY" (p/JOCKAMO) b. 1934-1012, NEW ORLEANS, LA DAVIS, JOHN BLIND (p/DECCA REC) d. 1985-1012, CHICAGO, IL 71 FRANCO (FRANCIS L' OKANGA MAKIADI) (g) d. 1989-1012, BELGIUM, BRUSSELS 51 FRANKLIN, MELVIN (bass v/THE TEMPTATIONS) b. 1942-1012, MONTGOMERY, AL GOLDSTEIN, LEE (of SHANACHIE REC) b. 1954-1012, CHICAGO, IL GREGORY, DICK (:) b. 1932-1012, ST. LOUIS, MO GUITAR GABRIEL (NYLES JONES) (g) b. 1924-1012, ATLANTA, GA HOTZ, JIMMY CHRISTIAN (prod/B. B. KING) b. 1953-1012, SHERMAN, TX HUMPHREY, PAUL (d) b. 1935-1012, DETROIT, MI NORRIS, WILLIAM "DEAD EYE" b. 1951-1012, JACKSON, MS PIPER, EDDIE (d/RED CAPS/4 TUNES) d. 1981-1012, PHILADELPHIA, PA 60 THOMPSON,BEACHEY(ofTHE DIXIE HUMMINGBIRDS)b. 1915-1012, NEWBERRY, SC VINCENT, GENE [VINCENT EUGENE CRADDOCK](v)d. 1971-1012, HOLLYWOOD, CA 36 WILLIAMS, WINFRED "BILLY" (of CHARIOTEERS)d. 1972-1012, CHICAGO, IL 61 ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 12 Oct 1995 09:32:02 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Re: Magic Slim I just want to second Art's recommendation concerning Magic Slim's albums. I did send last june a more or less complete disco of Magic Slim. Since there are apparently a bunch of new bluzellers out there I just repost it here below. Sorry for the older zellers!! **************************************************************** Original June mail: Here's finally what I had promised to some of you since a while. The following lists the different LP/CDs with Magic Slim as a leader (EP and 45's are not included as nost of them have reissued on LP/CD- except maybe the JA-WES 3000/3001/0116). The references with an * are references I found out in the very good Bill Rowe discography, and thus refers to albums/CDs I didn't knew of and thus I never listened to. Those with a + are among my favorites, but one should know that, inluke a great number of musicians, almost all albums by Magic Slim are worth looking for. Any addition, correction, is wellcome. I'll try to send another list soon with a listing of the albums/CDs where Magic Slim appaers as a sideman. MAGIC SLIN DISCOGRAPHY FULL ALBUMS *********** ALLIGATOR LP/CD 4728 RAW MAGIC BLACK AND BLUES LP 33.525 HIGHWAY IS MY HOME = BLACK AND BLUES CD 595.252 (1 EXTRA) = EVIDENCE 26012-2 (1 EXTRA) BLIND PIG LP/CD 3690 GRAVEL ROAD = CROSSCUT LP/CD 1027 GRAVEL ROAD BLUE DOG LP 001 TV DINNER BLUES + BLUE DOG LP 002 BLUES FROM THE ZOO BAR + B.L.U.E.S LP 3701 LIVE AT B.L.U.E.S. (+++ !) CANDY APPLE LP 0401 LIVE'N'BLUE + ISABEL LP 900.505 IN THE HEART OF THE BLUES ISABEL LP 900.511 DOING FINE MCM LP 900.298 BORN ON A BAD SIGN = STORYVILLE CD 8033 (+5 BONUS TRACKS) MCM LP 900.304 LET ME LOVE YOU PLYMOUTH HOUSE CD 898902 MAGIC SLIM LIVE + ROOSTER BLUES LP 2618 GRAND SLAM = ATLAS LP LA25-5010 * = PVINE SPECIAL CD 1608 (+ EXTRA FROM THE ROOSTER EP) * WOLF CD 120.301 THE ZOO BAR COLLECTION VOL.1 + WOLF CD 120.302 THE ZOO BAR COLLECTION VOL.2 + WOLF CD 120.303 THE ZOO BAR COLLECTION VOL.3 + WOLF LP/CD 120.849 CHICAGO BLUES SESSION VOL.3 + MAGIC SLIM AND THE TEARDROPS WOLF LP/CD 120.856 CHICAGO BLUES SESSION VOL.10 MAGIC SLIM AND THE TEARDROPS AND NICK HOLT WOLF CD 120.864 CHIGACO BLUES SESSION VOL.18: LIVE ON THE ROAD WOLF CD 120.870 CHICAGO BLUES SESSION VOL.24: MAGIC BLUES WOLF CD 120.882 ALONE AND UNPLUGGED. ANTHOLOGIES ************ ALLIGATOR LP 7702 LIVING CHICAGO BLUES VOL.2 + ALLIGATOR CD 7702 = = SONET LP 785 = BEACON LP SBEAB 9 AUTHENTIC CHICAGO BLUES BLACK AND BLUE CD 604.2 CHICAGO BLUES FESTIVAL VOL.4 1977/1982 BLIND PIG CD 8002 PRIME CHOPS VOL.2 * BLUES OBSCURITIES LP V7 VOLUME 7 CASTLE COMMUNICATIONS 416 BLUES LEGENDS * CASTLE COMMUNICATIONS 113 BLUES LEGENDS * CASTLE COMMUNICATIONS 116 BLUES LEGENDS * CASTLE COMMUNICATIONS 197 DON'T MESS WITH THE BLUES* CASTLE COMMUNICATIONS 416 CHICAGO BLUES * CASTLE COMMUNICATIONS 316 BLUES LEGENDS * CASTLE COMMUNICATIONS 434 DOWN AND OUT BLUES * CASTLE COMMUNICATIONS 416 BLUES LEGENDS * EVIDENCE CD 26000-2 EVIDENCE SAMPLER * RED LIGHTNIN RL006 WHEN GIRLS DO IT = TOBACCO ROAD LP 2645 * RED LIGHTNIN RL0052 I DID'NT GIVE A DAMN IF WHITE BOUGHT IT VOL3 RED LIGHTNIN RL0056 I DID'NT GIVE A DAMN IF WHITE BOUGHT IT VOL4 RED LIGHTNIN RL0057 I DID'NT GIVE A DAMN IF WHITE BOUGHT IT VOL5 RHINO CD R2 71132 BLUES MASTERS * SEQUEL 3CDS NXTCD 185 BLUES GUITAR BOX VOLUME 2 WOLF CD 120.400 BLUES POWER VOL.1 WOLF CD 120.854 CHICAGO BLUES SESSION VOL.8: FROM WEST HELENA TO CHICAGO WOLF LP/CD 120.855 CHICAGO BLUES SESSION VOL.9: TEARDROPS BLUES JAM + ?????????????????? TRIBUTE TO MAGIC SAM (I still couldn't find the exact reference of this set which apparently came out this summer - I saw it in record shops in Tokyo) Reference with * are taken from Bill Rowe,Career Discographies Vol1, no1, 1995 to which I refer for further detaild concerning sessions, dates, musicians, ... It's a highly recommendable publication where you'll see that there are quite a number of unissued takes existing. ( 3.5 sterling p, p&p, 3a, St Margaret's lane, Titchfield, hampshire P014 4DD, UK) ************************************************************************* Jean-Pierre Urbain ========================================================================= Date: Thu, 12 Oct 1995 02:00:06 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Comments: To: -@haida.dao.nrc.ca, A@haida.dao.nrc.ca, BluesHvn@aol.com, DIXIE@haida.dao.nrc.ca, HUMMINGBIRD@haida.dao.nrc.ca, TO@haida.dao.nrc.ca, TRIBUTE@haida.dao.nrc.ca, s@haida.dao.nrc.ca - A TRIBUTE TO A DIXIE HUMMINGBIRD - Gospel tenor-baritone singer & long time manager of The DIXIE HUMMINGBIRDS, BEACHEY THOMPSON was born Tuesday, October 12, 1915, Newberry, SC. He joined the 'BIRDS in 1944 (after singing with The Singing Stars of Norfolk, VA., and The Willing Four of Baltimore, MD.), recording with them for next 50 years, beginning with such labels as Manor/Regis ('44), Apollo ('46-'49), Gotham ('49), Seagull ('50) and OKEH ('51). His tenor lead on "Is There Anyone In Heaven That You Know" (Gotham, Jul'49) has always been one of my favorites. In February 1952, they began recording for Don Robey's Peacock Records, the leading gospel label at the time. By August 1952, guitarist/vocalist Howard Carroll joined the group, followed (in January 1954) by James Walker, who would co-lead with Ira Tucker for next 38 years, until his last performance with them, in August 1992, Camden, NJ. This classic formation - Ira Tucker, James E. Walker, James B. Davis, Beachey Thompson, William M. Bobo, and Howard Carroll - would remain constant for 24 years, recording quartet masterpieces like "Christian Testimonial" ('54), "Let's Go To The Program No. 1" ('53), "Trouble In My Way" ('52), "Christian's Automobile" ('57), "In The Morning" ('61), "Our Prayer For Peace" ('64), until the death of their bass singer William M. Bobo, in April 1976 at age 55. For more information on The DIXIE HUMMINGBIRDS read Galen Gart & RoY C. Ames' "Duke/Peacock Records" (Big Nickel Publications) (and Tony Heilbut's "The Gospel Sound"). BEACHEY THOMPSON died Tuesday, June 28, 1994, Philadelphia, PA. His death was never mentioned in the press as his funeral service was eclipsed by the July 4th celebrations. This is the first time his death has been announced to the public. Those of you who have never witnessed The DIXIE HUMMINGBIRDS should all run out and view Ashley James' 1995 film, "WE LOVE YOU LIKE A ROCK", a 77 minute history that captures this legendary group, along with interviews with Stevie Wonder, Paul Simon, Bobby Womack & (the late) Melvin Franklin (bass singer of The Temptations). In October 1978, Ebony Magazine voted them The World's Greatest Gospel Group, and on March 31, 1988, they were inducted into The Philadephia Hall of Fame. Their Atlanta International CD, "In Good Faith", was nominated for the 1994 Grammy Award for Best Traditional Soul Gospel Album. The current group includes Ira Tucker Sr., Paul Owens, Howard Carroll, and Carl Davis, and they remain one of the leading gospel quartets on the road today, a group that celebrated 56 years of recording on September 19th. That's what I call LEGENDARY! I'd like to thank Jerry Zolten for his help with this posting. THE DIXIE HUMMINGBIRDS : CD DISCOGRAPHY ======================================= A.I.R. 10184 : DIXIE HUMMINGBIRDS - IN GOOD FAITH FREMEAUX & A 026 : VARIOUS - GOSPEL QUARTETS : V. 2 : 1921-1942 (2CD) MCA SP 22043 : DIXIE HUMMINGBIRDS - BEST OF MOBILE FIDELITY 751 : DIXIE HUMMINGBIRDS - WE LOVE YOU LIKE ../EVERY DAY .. MOBILE FIDELITY 771 : DIXIE HUMMINGBIRDS - LIVE (1976) RHINO 70288 : VARIOUS - JUBILATION! .. V.1 : BLACK GOSPEL (1 cut) SONY/LEGACY 57160 : VARIOUS - THE GOSPEL SOUND (2CD) (4 cuts) SONY/LEGACY 57163 : VARIOUS - THE ESSENTIAL GOSPEL SAMPLER (2 cuts) SONY/LEGACY 57164 : VARIOUS - PRECIOUS LORD : .. THOMAS A DORSEY (3 cuts) SPIRIT FEEL 1012 : VARIOUS - THE GOSPEL SOUND OF SPIRIT FEEL (2 cuts) VANGUARD 77014 : VARIOUS - GOSPEL AT NEWPORT 1959,1964-1966 REFERENCES : from Big Nickel Publications, P.O. BOX 157, MILFORD, NH. 03055 =========== DUKE/PEACOCK RECORDS : AN ILLUSTRATED HISTORY WITH DISCOGRAPHY / BY GALEN GART & ROY C. AMES GOSPEL RECORDS : CEDRIC HAYES & BOB LAUGHTON (2 VOLUME SET) ========================================================================= Date: Thu, 12 Oct 1995 05:13:00 PDT Reply-To: Meridith Farnworth From: Meridith Farnworth Subject: POB tape? Once again, I need help from ya'll. Do I recall seeing a relatively recent pair o' posts about the POB tape? One where Mike B. surfaced and said he was still working on the dubs? I tried to send a nag-gram to Mike last night, and my message bounced. MIKE BASEFLUG: are you out there? And / or can anyone else get me a POB copy? please & thanks Meri, sorely needing some new commuter tunes! mfarn@fibusa.com ========================================================================= Date: Thu, 12 Oct 1995 10:26:52 GMT Reply-To: marc@az.vub.ac.be From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Re: Stand-up bass live--query Comments: To: bit-listserv-blues-l@Belgium.EU.net Rick Miller (MILLER@SCI.WFBR.EDU) wrote: : I've never seen one played live playing electric Chicago blues. I would LOVE : for this to work out, but as the front man and guitar player across the stage : from the bass dude, I want, no *NEED* to hear the steady boom-boom groove : that comes from a big ol' Fender Precision or Jazz pumped thru big ol' 15 inch : woofers. Rod Piazza's Mighty Flyin' bassman also plays the stand-up bass ! pianoman. ========================================================================= Date: Thu, 12 Oct 1995 06:27:07 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: Stand-up bass live--query Riffin Rick asked: "...we are basically a four-man electric blues band and can get really cranking when in bar-rockin' mode, how does a stand-up bass hold up in that environment? ie:can you hear them? Are these things amped? Just listen to Little Charlie and The Nightcats or Rod Piazza & The Mighty Flyers and you've got the answer!!!! Seems to be no problem. Beef Stew - WHUS Radio ========================================================================= Date: Thu, 12 Oct 1995 06:28:12 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Re: Willie Kent Comments: To: bit-listserv-blues-l@uunet.uu.net Roy W. Forgy (Blueslvr@GNN.COM) wrote: : Willie Kent and the Gents with Bonnie Lee will be in town this week and I was : wondering if I could get some background and impressions from you good folks. Both Willie and Bonnie appear on their own CD's on Delmark. Willie is a bass player with a wondrous voice and Bonnie is steeped in the Valerie Wellington genre of singing. She is not as full vocalled as VW so she keeps her material fairly midranged and pulls off her songs very well. Willie is for sure a bluesman you want to hear - go for them both. Willie will sing you blues and then cut over to some soul - he has a wide range and a good solid delivery. I do not know whom the Gents are but if they are the band off his CD you won't go wrong. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Thu, 12 Oct 1995 06:52:58 -0400 Reply-To: T750232022 From: T750232022 Organization: America Online, Inc. (1-800-827-6364) Subject: Newbie wants to learn Guitar Comments: To: bit-listserv-blues-l@uunet.uu.net Hi all! Well, to be completely honest, I've always been tempted to learn guitar, but after seeing John Lee Hooker this past weekend, I was convinced! So, my questions are: 1) Where should I start? (My only experience is about a year or so of piano.) 2) What sort of guitar should I get? (My goal would be to play mostly blues & some Stones on it, if that's a factor in choosing.) 3) What books or other learning materials give the best (and quickest) results? Any suggestions would be greatly appreciated. TIA, Terence ========================================================================= Date: Thu, 12 Oct 1995 07:58:19 -0400 Reply-To: Bob vanArsdall From: Bob vanArsdall Subject: Stand-up bass live--query I'm not up on the brand names, but over the years I've seen electric versions of standup basses, mostly used by jazz groups. One recent version looks like just the neck of a standup with a long rod to the floor. Sounded great as well. Another same-technique-without-the-size alternative, which usually impresses the hell out of everyone, is one of the fretless electric basses. Rick Danko has played one for years. All the players sit around going, "How does he PLAY that?" Bob ========================================================================= Date: Thu, 12 Oct 1995 07:07:03 CST Reply-To: William Shute From: William Shute Subject: Blues, Boogie, and Bop--compilation CD From: Bill Shute Blues Boogie and Bop: The Best of the Mercury l940s Sessions Verve 3l4 525 5l7-2 (US CD) This wonderful sixteen-tracker is a sampler from an upcoming SEVEN CD set of Mercury Records R&B/jazz/jump blues/etc from the mid-late 40s. It's beautifully and tastefully packaged, fine liner notes and info, and best of all GREAT selection. ALBERT AMMONS AND HIS RHYTHM KINGS start the set with three jumpin' boogie piano pieces. With gtr,bs,dr accompanying him, Ammons rocks out in such a way that I doubt anyone could keep from moving. HELEN HUMES well-known for her time with Basie, lays down two sultry tracks featuring the deliciously TART trumpet of bandleader Buck Clayton JAY McSHANN (I didn't even know he recorded for Mercury) delivers a brace of hot tunes, the latter of which is sung by Jimmy Witherspoon (definitely an improvement over Walter Brown) EDDIE CLEANHEAD VINSON has three 46-47 tunes, featuring both his rich yet mellow voice and his bouncy vibrant alto playing. Including one of his biggest songs, Kidney Stew Blues. ROY BYRD (aka Professor Longhair) does the classics Hadacol Bounce and Longhair Stomp, which also appeared on the German 2-lp set from the l980s, THE MERCURY NEW ORLEANS SESSIONS. I wonder if the seven-cd set will replicate that entire double album? I hope so, as it's great material. BUDDY RICH may seem out of place here, but his two aggressively swinging tracks make for a nice contrast. Finally, the COOTIE WILLIAMS ORCHESTRA FEATURING WILLIS 'GATOR TAIL' JACKSON close up shop with a bang (not a whimper) with Gator Tail pt. l and Mercenary Papa. Jackson is one of the great R&B tenor saxmen (check out the album CALL OF THE GATOR on Delmark), and of course Cootie Williams, best known for his multiple decades with Ellington, has an inimitable tone on the trumpet and as a bandleader certainly heads an exciting outfit. Overall, this collection could not fail to satisfy those who like jumpin' l940s post-swing, proto-R&B rockin' music. Kiyoshi Koyama, who has done some wonderful jazz reissues for Japanese Phonogram (the series of Keynote-label reissues, for instance), is to be commended for the job he's done here. And the sound is fantastic also. Despite the occasional surface noise from disc, the music is rich and full and WITHOUT the artificial no-noise/CEDAR condensing of the sound (if they used those processes, they used them discreetly)--I've never before heard Albert Ammons' piano sound so bright yet FULL on CD. I can even hear the "metal" of the piano strings as Ammons uses the instrument percussively. Pop this baby on to your rich friend's $5000 stereo system and hear how a vintage reissue SHOULD sound. This CD should also be a great party item as it's a diverse collection and should interest the non-fan as well as the blues-l types. I can't wait for the seven-CD set...well, I guess I'd better look at the price tag of it first. It is so satisfying to see US labels doing first-rate reissues of classic US music (we'll forget that the Japanese arm of Polygram initiated this)... Bill Shute San Antonio, TX "well, little lean mama sure can't draw my pay/ she doesn't have a thing to drive my blues away/ little lean, stay 'way from my door/ I got a big fat gal and can't use you no more" --Little Al (excello records) ========================================================================= Date: Thu, 12 Oct 1995 07:23:00 CST Reply-To: William Shute From: William Shute Subject: Pat Boyack and the Prowlers From: Bill Shute PAT BOYACK & THE PROWLERS "Breakin' In" Bullseye Blues BB 9557 With the band making a San Antonio appearance tomorrow night (Jeff and I will catch them after coming back from TD Bell's show in Austin), I've been playing the heck out of their album, and all I can say is that if you are a fan of POWER Blues--Paladins, Bluebirds, Fab T-Birds, Jim Suhler and Monkey Beat, Sonny Moorman and the Dogs, The Crawl, The RAdio Kings, et al--this HOT album has your name on it. All the tunes are original compositions, yet are good enough to have been covers of classics, if you know what I mean. One tune will echo Howlin Wolf, another tune will be like a hot-wired version of a Rod Bernard-esque swamp pop stomper, another will take an Elmore James riff into the stratosphere, yet they are ALL originals and ALL memorable tunes you won't soon forget. The gtr of Pat Boyack--and to me, only Dave Gonzalez is Boyack's equal in this vein of music--slashes and burns all the while remaining blues-drenched, while the vocalizing of Jimmy Morello is suitably raw BLUES SHOUTING in a great tradition that, unfortunately, you don't hear much of anymore. Bands like this are often EVEN BETTER live, so I have high expectations for seeing Pat Boyack and the Prowlers in person tomorrow night. This is a beer and BBQ band is ever there was one, so I intend on arriving both hungry and thirsty--hungry for food, thirsty for brew, and HUNGRY AND THIRSTY for some HIGH-ENERGY Power Blues. Bill Shute San Antonio, TX who was sorry to see that Sherman Robertson is not playing SA--even tho he's playing at Doc Rockit's in Corpus Christi. Hey, are there any Corpus people reading this? You all have a good little scene down there. And now the city of Corpus Christi has a great "theme song" with the tune "Sparkling City" from Ted Roddy's new Hightone label album (CC is Ted's hometown, I think). Sounding like the greatest song Doug Sahm HAS NOT recorded, "Sparkling City" should be recorded immediately by Joe King Carrasco who can have the harmonica part played on a farfisa organ (or Vox) and get a much-needed "hit" to revive his career. Ted's own version is an anthem, though, and it's the tune I've played the most in the last two weeks. I often play it five times a day or more... ========================================================================= Date: Thu, 12 Oct 1995 08:10:09 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Let's start the Blues Marketing Council {was Whose blues} Comments: To: msuffern@xnet.com Comments: cc: Bonnie Kalmbach , Cathi Norton In-Reply-To: Sorry, I have no extra time or effort to commit to this. Good luck! ========================================================================= Date: Thu, 12 Oct 1995 06:44:38 +0100 Reply-To: "J. Witteveen" From: "J. Witteveen" Subject: Rounder/Roundup Hi all! Recently (I guess it was a few months ago now), my favorite mail-order catalog, the Record Roundup, underwent some serious changes, becoming the Rounder Roundup, and losing a whole lot of great releases to be featured in the process. I used to look forward to getting this thing in the mail like a kid waiting for the Sears Christmas catalog, but now it's not too terribly impressive. Does anyone know why things changed with the Roundup, and does anyone have any recommendations for a good mail-order company? Preferably something that carries releases from multiple companies, since I'm already on Blind Pig, Alligator, and Yazoo's mailing lists. Thanks! ========================================================================= Date: Thu, 12 Oct 1995 08:15:27 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Chicago Blues Festival 1996 The dates for the Chicago Blues Festival will be May 31-June 2, 1996, the weekend after Memorial Day. It will be several months before the lineup is determined. If there is any change in the format, it will be on the side of more stages and/or time on the side stages rather than less. Also, there won't be a conflict with the American Booksellers Association next year, so hotel rooms should be somewhat easier to get. ========================================================================= Date: Thu, 12 Oct 1995 10:46:51 -0300 Reply-To: Rob Hutten From: Rob Hutten Subject: MBBB in Cotati, CA Sorry for the lack of blues content here, but I recieved disk today from "MBBB" in Cotati, CA with no other information provided. If MBBB is someone on this list, please contact me - the disk arrived damaged and I can't get anything off it. -Rob ========================================================================= Date: Thu, 12 Oct 1995 14:16:40 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Stand-up bass live--query Comments: To: bit-listserv-blues-l@uunet.uu.net In <01HWBFIDG1B6001SAX@SCI.WFBR.EDU>, Rick Miller writes: >MY question is, given that we are basically a four-man electric blues band and >can get really cranking when in bar-rockin' mode, how does a stand-up bass hold >up in that environment? I'd rather have a stand up bass player than 50 fretted players. Yes, the sound can stand up. Real bassmen do it vertically. ///////////////////////////////////////////////////////////// B.B. Bean bbbean@cris.com Team OS/2 strictlow@aol.com Bean & Bean Cotton/Bean Farms 75474.2654@compuserve.com \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ ========================================================================= Date: Thu, 12 Oct 1995 14:26:38 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Stand-up bass live--query Comments: To: bit-listserv-blues-l@uunet.uu.net In , Bob vanArsdall writes: >I'm not up on the brand names, but over the years I've seen electric >versions of standup basses, mostly used by jazz groups. One recent version >looks like just the neck of a standup with a long rod to the floor. I had a bass player in Memphis who used one of those. Nice sound, easy to lug around. I own a "Zorko" bass, which has a fiberglass cello sized and shaped body and a standard stand up bass neck and head. Plays and sounds like a double bass. It has a 3' peg out the bottom to get it up to the proper heighth. It has a double bridge, with the first bridge sitting on a transducer pickup and has a volume pot. Many players also wrap a mic in cloth or foam and put it in the whole of the bridge for an added acoustic sound. ///////////////////////////////////////////////////////////// B.B. Bean bbbean@cris.com Team OS/2 strictlow@aol.com Bean & Bean Cotton/Bean Farms 75474.2654@compuserve.com \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ ========================================================================= Date: Thu, 12 Oct 1995 14:35:03 GMT Reply-To: Mark Crawford From: Mark Crawford Organization: Boehringer Ingelheim Ltd. Subject: (no subject) Comments: To: bit-listserv-blues-l@uunet.uu.net Hey, ========================================================================= Date: Thu, 12 Oct 1995 10:14:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Re: Willie Kent Comments: To: Blueslvr@GNN.COM >Willie Kent and the Gents with Bonnie Lee will be in town this week and I was >wondering if I could get some background and impressions from you good folks. Willie Kent has a good solid band usually with Jake Dawson, Luther Adams, or sometimes Johnny B. Moore on guitar. Willie plays bass. Bonnie Lee has a great BIG voice. They are a wonderful traditional Chicago blues band in that there is a lot of interplay among the musicians - no superstar guitar or other pyrotechnics. -Bonnie ========================================================================= Date: Thu, 12 Oct 1995 10:03:41 PDT Reply-To: rjbauman@IQUEST.NET From: rjbauman@IQUEST.NET Subject: Re: Shock and disgust in Indianapolis: B Guy Comments: To: SJeffcote@aol.com I saw Buddy again last nite. I'm certain I'll continue buying his CD's but I don't think I'll ever go see him perform live again. I've never seen so much monkeying around. He played for 2 hours but I don't think he played more than 6 whole songs, one of which was Mustang Sally. I've seen him ON several times (both indoors and out)but now I think his rock audience is really taking him away from doing blues because they go berzerk over every bullshit trick and shred he does. I was really working the crowd hard before the show trying to get the blacks in attendance fired up about our blues society. Now I'm a little embarrassed. The only consolation was Buddy did his walk upstairs and stopped at my table and played some. And we got the best seats in the joint......... BTW, the emcee from WTTS actually went with the "real fuckin' deal" intro he'd obviously been told to do. My eyes just rolled............. Apparently young guitar rock fans have sent him a message blues fans have not been able to. RJ Bauman (still a HUGE Buddy Guy fan, but his shows don't move me even as much as some rock acts like Los Lobos) ========================================================================= Date: Thu, 12 Oct 1995 08:22:44 -0700 Reply-To: Chris Adams From: Chris Adams Subject: Re: Stand-up bass live--query Comments: To: James Carmin In-Reply-To: <199510112158.OAA24040@desiree.teleport.com> In my book, the best stand-up bass player playing in blues today is Bill Stuve of the Mighty Flyers. Not only does he play blues, but he does a sort of rockabilly thing on the side. He's also a really nice guy. Talk to him after one of the shows about getting his CD. Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us On Wed, 11 Oct 1995, James Carmin wrote: > Riffin Rick asked: > > >MY question is, given that we are basically a four-man electric blues band and > >can get really cranking when in bar-rockin' mode, how does a stand-up bass hold > >up in that environment > > When I saw William Clarke last year he was touring with a stand-up bass and > it held up great; not positive, but I'm pretty sure it was amped. And > Little Charlie & the Nightcats newest bassist, Ronnie James Weber, plays a > stand-up and it's a GREAT sound (check out their latest disc STRAIGHT UP!). > > Neither of these bands are "Chicago" blues, but for West Coast blues, it > seems to work just fine! > > James C. > jcarmin@teleport.com > ========================================================================= Date: Thu, 12 Oct 1995 10:18:31 CDT Reply-To: rjbauman@IQUEST.NET Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: rjbauman@IQUEST.NET From: L W Subject: Re: Shock and disgust in Indianapolis: B Guy ----------------------------Original message---------------------------- >I saw Buddy again last nite. I'm certain I'll continue buying his CD's but I >don't think I'll ever go see him perform live again. >pparently young guitar rock fans have sent him a message blues fans have >ot been able to. I've seen Buddy about 5 times and I KNOW (and YOU know) Buddy can do it, but he's not doing it. I think in all honesty, I would rather go see Eric Clapton than BG, these days. That's a sad thing to say, because if BUDDY wanted to he could be THE BLUES GUITAR PLAYER. I wouldn't go see either unless it was free or really cheap. I don't even like his last few CD's, I still listen to "Stone Crazy" every now and then (rarely). I don't care for Buddy anymore. I still have to defend Buddy in the same way that I would defend Bonnie Raitt It's been a long time coming and they are finally getting very successful, even if they are alienating those of us who supported (or tried) when they weren't popular with the "mainstream" audience.... LW btw: Pleasure in Indianapolis....November 9th....CHARLES BROWN ========================================================================= Date: Thu, 12 Oct 1995 10:29:41 CDT Reply-To: ISTS024@UABDPO.BITNET Comments: RFC822 error: Invalid RFC822 field - "UABDPO.DPO.UAB.EDU (LMail V1.2a/1.8a) with BSMTP id 0097; Thu, 12 Oct 1995". Rest of header flushed. Comments: Resent-From: ISTS024@UABDPO From: L W ----------------------------Original message---------------------------- >In my book, the best stand-up bass player playing in blues today is Bill >Stuve of the Mighty Flyers. Not only does he play blues, but he does a >sort of rockabilly thing on the side. He's also a really nice guy. Talk >to him after one of the shows about getting his CD. I second this, check out Stuve's playing on Doug MacLeod's "Come To Find" really outstanding. The CD mentioned I think is called "Big Noise" (or ?????) I'm not into rockabilly, but I did buy it for support. I think I gave it away Could someone correct the CD title for me...Thanks LW > Riffin Rick asked: > > >MY question is, given that we are basically a four-man electric blues band and > >can get really cranking when in bar-rockin' mode, how does a stand-up bass hold > >up in that environment > > When I saw William Clarke last year he was touring with a stand-up bass and > it held up great; not positive, but I'm pretty sure it was amped. And > Little Charlie & the Nightcats newest bassist, Ronnie James Weber, plays a > stand-up and it's a GREAT sound (check out their latest disc STRAIGHT UP!). > > Neither of these bands are "Chicago" blues, but for West Coast blues, it > seems to work just fine! > > James C. > jcarmin@teleport.com > ========================================================================= Date: Thu, 12 Oct 1995 16:28:47 GMT Reply-To: John Haigh From: John Haigh Organization: Manchester Metropolitan University Subject: Phil Guy Hi all Thanks for all your opinions on Phil Guy that you mailed to me. I saw him last night and while lacking a little of his brothers charisma (I bet the comparison really bugs him) he still had the place rocking at the end of the night. It took him a couple of songs to warm up, but when he did the put on a fine show. Some original stuff was played, but mostly covers including a selection from slippin in. It was a good night. cheers John Haigh Information Systems Unit Art & Design Chatham Building Cavendish Street Manchester M15 6BR ========================================================================= Date: Thu, 12 Oct 1995 12:15:39 -0400 Reply-To: Peter Welch From: Peter Welch Subject: Big Wheeler? Has anyone ever heard of Chicago harp player Golden "Big" Wheeler? I bought his Delmark CD "Bone Orchard" a couple of years ago, and I still enjoy it....just non-nonsense Chicago harp blues with backing from The Ice Cream Men. I've also got a Big Wheeler disc on Wolf as well as a couple of cuts on the Rooster Blues "Low Blows" anthology. Is he still alive? Anyone know anything more about him? Thanks, Peter ========================================================================= Date: Thu, 12 Oct 1995 16:19:25 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: CD REVIEW: VIRGINIA TRADITION - Global Village While reading all the recent discussions about what is/what is not or what should be or what might not be considered as blues, I was listening the other day to an album on the overlooked and very interesting GLOBAL VILLAGE MUSIC label which in some sense did fit into the discussion (but at a, I think, somewhat more interesting level :-): VIRGINIA TRADITIONS - Var. Artist. "NON-BLUES SECULAR BLACK MUSIC" Global Village Music CD 1001 (Reissue published in 1994) Feat. Leonard Bowies, Jimmie Strothers, Daniel Womack, John Cephas, Marvin Foddrell, Turner Foddrell , James Appelwhite, .... Fields (?) recordings from 1936 (2x) and 1976/1977. This extremely interesting 49 minutes long anthology presents, as the title explains, what some researcher have labelled non-blues secular traditional black music, that is ballads, square dance tunes, lyric songs, some coumtry tunes, performed by Afro-americans. Those whoe've read Paul Oliver's book "Songsters and Saints" or more generally have some interest in African- Amrican culture and music as a whole do all know that indeed blues (in its more or less narrow -musical- sense) was not the only mode of traditional Black folk expression, especially in the first part of this century. This seems particularly true for some of the East Coast states where the difference between black and white traditional music was less clearly define. In this prespective, this album is a really interesting introduction to this branch of black music. Some of the musicians present on this anthology will be familiar to many blues fans like John Jackson (which is one of those known to play much of the "white" traditional repertoire including hilbilly songs, ...), the late excellent overlooked (see their nice Swingmaster LP) Foddrell brothers, John Cephas, Jimmi Strothers (with Libary of Congress cuts from 1936), or the lesser known but very talented gtr player Clayton Horsey (a nice Poor Black Annie), a bluesman which was influenced in his younger days by banjo players. The rest of the album contains a number of banjo tunes (in some sense the dominating instrument of this album) in the bluegrass tradition, some harmonica stuff including a solo tune by James Appelwhite, the nephew of the late Peg Leg Sam, a march tune by the very interesting and bluesy gtr player Daniel Womack (see also Global Village 216), great non-cajun accordion tunes by Isaac Curry ... Although the musicians present on this anthology often argued that they were not playing blues bu well buck dances tunes, marches, ..., the material contained here sounds to me -IMHO- much more emotional and related to blues than some things we often talk about on blues-l (no flame, just IMHO). It's a pleasure to see that, contrary to dominant trend in the recording business, a label like Global Village continues to produce athologies like this which illustrate so nicely with post war recordings this African- American songsters tradition. The interesting sleeves notes are written by Kip Lornell and a supplementary 20 page booklet is available (5$) from the Blue Ridge Institute, Ferrum College in Ferum Virginia. Like many other Global Village products this is a very recommendable album. GLOBAL VILLAGE Music 245 West 29th Street New York, NY 10025 Tel (212)-695 6024 I think that Gloabl Village is distributed in Benelux (europe) by Music and Words (NL). Jean-Pierre Urbain P.S. I have no relation with Global Village Music and or Music and Words (they're doing a fine work over here) but Global Village is a label that deserves (IMHO) the support of BLUES-L for its work of documenting non- commercial aspects of traditional African-American music (they have some great gospel CDs and tapes as well as some nice blues including Neal Pattman, Lynn August, ...). ========================================================================= Date: Thu, 12 Oct 1995 16:34:38 GMT Reply-To: curtis ramsey From: curtis ramsey Organization: Indiana University, Bloomington Subject: I SAW A DECENT BUDDY GUY SHOW!!!!!!!!!!! Comments: To: bit-listserv-blues-l@uunet.uu.net I have seen Buddy Guy play twice in the last week. Once in Helena at the King Biscuit Festival (Saturday night) and once in Bloomington, IN (Tuesday night). THERE WAS NO COMPARISON! Saturday night in Helena and he sucked. He did almost nothing but the famous "I can play Hendrix/Clapton/Van Halen" stuff we all hate. He went too far (and I saw people leaving the festival at this point) when he started trivializing the playing of such legends as John Lee Hooker and Albert King. I was so disgusted with his set (especially after such great stuff from the likes of Luther Allison, John Hammond, Charlie M.,Rod Piazza ect., ect., ect.) that I was truly sorry that I had a ticket to Buddy's show in Bloomington at Mars Niteclub on Tuesday night. BOY WAS I WRONG. Tuesday night I stood in the parking lot of the place, waiting in line and venting my disgust at what I was about to relive to my friends and other patrons. I told them not to expect much in the way of blues at all, just Buddy's ego playing the guitar. Howard and the White Boys opened the show with their usual tight set (But lay off the Green Acres/Purple Haze stuff for a while). Then Buddy came on. He said that a couple of years ago he got bad reviews in the local paper when he played in Bloomington a couple of years ago (He deserved these reviews too, he did not sound good). He also said they could kiss his ass. I do not think he meant it though, because he proceded to play more blues in a show than I had seen in a long time, especially compared to Helena. He played a bit of Cream (Strange Brew) and a bit of Hooker (but much more respectful) and NO HENDRIX, NO STEVIE RAY, NO VAN HALEN, OR ANY OF THE OTHER SHIT I HAD SEEN HIM DO IN HELENA. The crowd loved it. The more he sang blues the louder the place got. He did not have to resort to his "You can do better than that" taunts. Other than the Strange Brew stuff and the old "We're gonna get so funky you can smell it" stuff, he set the place on fire and I was very happy to go to everyone that I had run down Buddy to, and take it all back. A Happy and very suprised fan, Curtis Ramsey Indiana University Cyclotron Facility ========================================================================= Date: Thu, 12 Oct 1995 09:43:10 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Shock and disgust in Indianapolis: B Guy Comments: To: BLUES-L@BROWNVM.BROWN.EDU. RJ Bauman said: >I saw Buddy again last nite. I'm certain I'll continue buying his CD's but I >don't think I'll ever go see him perform live again. > >I've never seen so much monkeying around. He played for 2 hours but I don't >think he played more than 6 whole songs, one of which was Mustang Sally. Sorry to hear this... >BTW, the emcee from WTTS actually went with the "real fuckin' deal" intro >he'd obviously been told to do. My eyes just rolled............. What is this? Is this intro line something Buddy's (in)famous manager shoves on the local promoter? I seem to remember something about this a few months ago... >Apparently young guitar rock fans have sent him a message blues fans have >not been able to. Well, I think even at his worst, he's a better "rock" act than some hair-metal, or death-metal 140db+ load of wankers don't you? >RJ Bauman (still a HUGE Buddy Guy fan, but his shows don't move me even as >much as some rock acts like Los Lobos) Los Lobos is so good it's SCARY... don't get me started... the best live "Crossroads" I've ever heard... David Hidalgo is one of the best guitar guys on the planet, and Cesar sing good blues too.... yikes! (met 'em at the NAMM show... nice guys too!) Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Thu, 12 Oct 1995 11:57:03 CST6CDT Reply-To: SOXTON@CHE2.CHE.UMN.EDU From: Sara Oxton Organization: University of Minnesota Subject: Re: Buddy Guy I thinks it's important to point out that while Buddy has completely jumped ship, Bonnie Raitt continues to nurture her Blues roots. Witness her recent tour which included Ruth Brown and Charles Brown. I'm guessing Bonnie's aware of her position and her ability to help other Blues artists. I have yet to see such generosity out of Mr. Guy. Blues artists and fans have a responsibility to each other, as well as too the music. Bonnie Raitt is head and shoulders above Buddy in this respect. Takin' my time, Sara >I still have to defend Buddy in the same way that I would defend Bonnie >Raitt >It's been a long time coming and they are finally getting very successful, >even >if they are alienating those of us who supported (or tried) >when they weren't popular with the "mainstream" audience.... > >LW ========================================================================= Date: Thu, 12 Oct 1995 10:00:59 -0700 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Willie Kent in San Mateo, CA Willie Kent (with special guest Bonnie Lee) will be appearing in San Mateo, CA at Blues on B. Blues on B is at the corner of Second and B Streets in downtown San Mateo. It is in the basement of restaturant and microbrewery, Barley & Hops. Willie will be apprearing at Blues on B from 10/12 - 10/15 and 10/18 - 10/22. Willie is not to be missed. He sports a very tight band and is one of the most soulful singers in the blues today. If anyone is interested in hooking up there, drop me an e-mail. Joe Disclaimer: I am not affilitated with Barley & Hops or Blues on B. I want them to continue to import my favorite bands from Chicago. ========================================================================= Date: Thu, 12 Oct 1995 10:51:00 -0400 Reply-To: Steven H Bard +1 201 386 7384 From: Steven H Bard +1 201 386 7384 Subject: Lightnin' Stuff Barry S. asked about a Lightnin' Hopkins release on Blues Collection. Yes, there is. It's "Forever", on Blues Collection 157792. I think its some "last session" type material but I'm not 100% sure. I can check if you like. One of my favorite Lightnin's (and those mentioned previously are indeed great Lightnin' releases) are his CANDID recordings. They are on "The Complete CANDID Otis Spann/Lightnin' Hopkins Session" available from Mosaic Records MD3-139. This 3 CD set also includes 2 CDs of Otis Spann's CANDID recordings; some of his best solo stuff. A great set! Paul Deed asked for info on a Robert Pete Williams release on Arhoolie (CD419). Well, I too would to know if this is out yet or when its expected to be released. BTW, Robert Pete is terrific for clearing out rooms; even some blues fans may leave. Not me though! Steve Bard shb@fuwutai.att.com ========================================================================= Date: Thu, 12 Oct 1995 10:10:31 -0700 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Re: Magic Slim I am a really big fan of Grand Slam LP on Rooster. I think it is one of his best. I like the Teardrop Blues Jam CD on Wolf, but I like all of Slim's work. One of Slim's sidemen, John Primer also has some pretty good stuff out. I think Mr. Primer is a pretty good guitar player and a nice guy to boot. Joe ========================================================================= Date: Thu, 12 Oct 1995 13:07:51 -0400 Reply-To: SOO3713@OCVAXA.CC.OBERLIN.EDU From: Owen Okie Subject: Luther Allison in OH Is anyone in the OH area going to the Luther Allison concert in Toledo (or Ann Arbor)? I'm a student at Oberlin and have no way of getting amere 2 hours away. :( But I'd love to see the show and I'd love to pay for gas. Can Anyone help me! I've never been to a blues concert in a club. :.( Owen Okie ========================================================================= Date: Thu, 12 Oct 1995 13:11:38 -0400 Reply-To: bob unger From: bob unger Subject: "Blues" is dead Just read in the newspaper's tv section that TBS has cancelled the House Of Blues. No new installements are planned and they will air what they have through December. Apparently, the brass at TBS were not happy with the Neilsen ratings. Just so ya know...... BU bob@sun.bnkst.edu ========================================================================= Date: Thu, 12 Oct 1995 13:22:00 -0400 Reply-To: Oded Maron From: Oded Maron Subject: stand up bass and Bill Stuve Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu In-Reply-To: L W's message of Thu, 12 Oct 1995 10:29:41 CDT Chris Adams said: >In my book, the best stand-up bass player playing in blues today is Bill >Stuve of the Mighty Flyers. Not only does he play blues, but he does a >sort of rockabilly thing on the side. He's also a really nice guy. Talk >to him after one of the shows about getting his CD. and then LW said: --------- I second this, check out Stuve's playing on Doug MacLeod's "Come To Find" really outstanding. The CD mentioned I think is called "Big Noise" --------- Yes, it is called Big Noise, and it's not really rockabilly, but more like the swinging blues that the Mighty Flyers and the LC and the Nightcats do. For a home-brew CD, it's actually quite good and its got a great version of Muddy's "I got to find my baby". You can get it from Stuve at the shows, or from Blues Record Centre POB 15331 1001 NA Amsterdam Netherlands I agree with LW that his playing on "Come to Find" is amazing. I talked to him the last time the Mighty Flyers were in Boston, and he said that they are planning to record a followup album with MacLeod in the fall. I can't wait. Oded p.s. for all blueselers in Boston - Charles Brown is at the Regattabar tonight, Friday, and Saturday. I'm going tonight. Don't miss him. ========================================================================= Date: Thu, 12 Oct 1995 13:20:13 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0204 From: "DUTTWEILER.J" Subject: Re: Magic Slim Date: Thursday, 12 October 1995 1:19pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: Magic Slim In-Reply-To: The letter of Thursday, 12 October 1995 5:02am ET One addition I would make to the discography of Magic Slim, while not headlining on the album, is certainly worth checking out by his fans, is the Evidence reissue (of, I believe, a Black & Blue original) of Big Voice Odum's disc (sorry, can't remember the title being at work). Big Voice does all the singing, but the band is all Magic Slim and the Teardrops. This CD is, in my opinion, simply great. Big Voice is in great form and the band is tight. If you don't have it, check it out ========================================================================= Date: Thu, 12 Oct 1995 12:33:49 CDT Reply-To: SOXTON@CHE2.CHE.UMN.EDU Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: Sara Oxton From: L W Organization: University of Minnesota Subject: Re: Buddy Guy ----------------------------Original message---------------------------- >Blues artists and fans have a responsibility to each other, as well as too >the music. Bonnie Raitt is head and shoulders above Buddy in this respect. It could be that one's helping others is publicized and the other person's activities and whatnot are not advertised....? I think Buddy would help the blues in a heartbeat, when Robert Johnson had to play a few polka numbers to get some coins in his cup and I have to wonder if folks were trashing Robert...Ah he's into Polka-blues :-) LW ========================================================================= Date: Thu, 12 Oct 1995 10:42:42 +0100 Reply-To: "J. Witteveen" From: "J. Witteveen" Subject: Re: B Guy In the original message, LW wrote: >I've seen Buddy about 5 times and I KNOW (and YOU know) Buddy can do it, but >he's not doing it. I think in all honesty, I would rather go see Eric Clapton >than BG, these days. That's a sad thing to say, because if BUDDY wanted to he >could be THE BLUES GUITAR PLAYER. I wouldn't go see either unless it was free >or really cheap. I don't even like his last few CD's, I still listen to >"Stone Crazy" every now and then (rarely). I don't care for Buddy anymore. > >I still have to defend Buddy in the same way that I would defend Bonnie Raitt >It's been a long time coming and they are finally getting very successful, even >if they are alienating those of us who supported (or tried) >when they weren't popular with the "mainstream" audience.... In a way I agree, but on the other hand... I've seen Buddy twice - once in the Commodore Ballroom and once in the Orpheum Theatre in Vancouver. Of course, I don't think the blues is at home in a theatre, but I thought his show was really good. I'm not into all the guitar histrionics myself, but Buddy's voice is still awesome and spine-tingling, and the crowd has a lot of fun (with the singalongs, etc.) As for the nightclub show, it was TOO LOUD! (echoing earlier comments). Virtually the same show, except for an ear-piercing volume. I've been to a lot of shows, and this is about the only one I've been to where my ears have been ringing all the next day. I can't blame Buddy for moving into the rock side of things - that's obviously where the money is, and I can't blame him for wanting to make a good living. His album `Feels Like Rain' actually got me into the blues in the first place (which tells you how much of a newcomer to the blues I actually am); from there I moved on to the Rhino Bluesmasters series, and now I'm beating the bushes to hear the blues. So whether you like Buddy's style or not, he's getting a lot of (younger) people into the blues (I'm 24). I've seen a few negative comments about Buddy on this list (which is fine, to each his/her own!), but I haven't heard a better version of `5 Long Years' than his. Can anyone tell me about his releases from the seventies and early eighties, and whether they're worth owning? Thanks! -Jim (hndful@uniserve.com) ========================================================================= Date: Thu, 12 Oct 1995 12:42:37 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Blues Societies and Blues Stars I would really like to hear what you guys think on this issue: Should blues stars and expensive acts give break to blues societies and play from time to time for a lower fee than what they usually charge for playing in arenas, or what they charge club owners??????? For example, (and this is just example) should we be able to get Otis Rush to play Iowa City for $1500 or $2000, instead of $4000 or $5000. We can't even afford to pay deposit. We all know that blues societies helped alot in keeping the blues alive in times when Buddy was not able to fill 5000 arenas with a "I can play Clapton" show. It is not that blues societies want to take advantage of blues acts who succeeded, but should they give back to their blues fans that way? So, what do you think.... Ranko ========================================================================= Date: Thu, 12 Oct 1995 12:49:17 -0500 Reply-To: Mark Gobeyn From: Mark Gobeyn Subject: big voice odom The name of the Big Voice Odom reissue mentioned earlier is "Feel So Good." It indeed is excellent!!! I, too, saw Buddy Guy last Monday night in Peoria. No major complaints from me, except that my ears are still ringing. Turn it down, man!!! Magic Slim and the teardrops play tonight at BLUES, etc. in Chicago. later, mark ========================================================================= Date: Thu, 12 Oct 1995 12:48:14 CDT Reply-To: "J. Witteveen" Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: "J. Witteveen" From: L W Subject: Re: B Guy ----------------------------Original message---------------------------- >I've seen a few negative comments about Buddy on this list (which is fine, >to each his/her own!), but I haven't heard a better version of `5 Long >Years' than his. Can anyone tell me about his releases from the seventies >and early eighties, and whether they're worth owning? Thanks! I like Muddy's version of Five Long Years and I suspect Buddy loves it also LW 'go buy some Muddy' ========================================================================= Date: Thu, 12 Oct 1995 13:51:59 -0400 Reply-To: Greg Hermanns From: Greg Hermanns Subject: Re: S.F. Blues Clubs Short List: BLUES ...in the Marina District (never been) Biscuits & Blues ...downtown,Mason nr. Geary local acts & some nationally knowns. S.F.Brewing Co. ...end of Columbus nr. the pyramid; once in a while they'll have a blues act. ***LOU'S Pier 47*****my favorite, at Fishermans Wharf area across from the Cannery.,.4p-12m weekdays sometimes earler (12noon)on weekends Great place for local bands. Several more in Oakland and San Mateo(Blues on B?) and Santa Cruz(Moe's Alley) ========================================================================= Date: Thu, 12 Oct 1995 12:50:32 CDT Reply-To: Ranko Vujosevic Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: Ranko Vujosevic From: L W Subject: Blues Societies and Blues Stars ----------------------------Original message---------------------------- > Should blues stars and expensive acts give break to blues societies > and play from time to time for a lower fee than what they usually > charge for playing in arenas, or what they charge club owners??????? I think blues societies should get a break, but where would you draw the line. Should record stores (who sponsor the event) get a break, how bout radio stations....? There are others of course, but all three can say that they helpd the artist/blues in some way. LW 'OK I'll lower my fee....I'll pay YOU 5 bucks if I can play :-)' ========================================================================= Date: Thu, 12 Oct 1995 11:02:36 +0100 Reply-To: "J. Witteveen" From: "J. Witteveen" Subject: Re: "Blues" is dead >Just read in the newspaper's tv section that TBS has cancelled the House Of >Blues. No new installements are planned and they will air what they have >through December. Apparently, the brass at TBS were not happy with the >Neilsen ratings. >Just so ya know...... >BU Oh, well, at least we know that this isn't a statement against THE BLUES, since the HOB was actually the House of New Wave, Country, Rock, and Pop anyway. Now if there was a REAL Blues show... (BTW, don't scare us with those subject headers :-) ) -Jim (hndful@uniserve.com) ========================================================================= Date: Thu, 12 Oct 1995 13:01:25 CST Reply-To: William Shute From: William Shute Subject: Virginia Traditions CD--additional info From: Bill Shute The recent Global Village CD that Jean-Pierre Urbain (my favorite blues-l contributor, by the way...) reviewed is, as J-P U mentioned, a reissue. The original label is quite interesting, though, and I thought I'd say a few things about it. This album "Virginia Traditions--Non-Blues Secular Black Music" was originally issued on the BRI label, from the Blue Ridge Institute for Appalachian Studies at Ferrum College in Ferrum, Virginia. I lived in Southwestern Virginia from 85-9l, about 75 miles from Ferrum, so I was well aware of this fine label. As a label related to a non-profit organization, BRI never did any advertising, and thus the eight-to-twelve (I forget exactly how many) lps they did of traditional and indigenous Virginia music were not heard much outside of VA and the offices of musicologists. As I remember, three or four of the releases were significantly African-American oriented, others may have had a track or two by black artists, some explored other musical traditions. One nice thing (for me) about these BRI albums is that they combined commercial recordings from the 20s/30s, old field recordings that had never been issued, and NEW field recordings made in small towns (in people's living rooms, etc) expressly for the projects. There's a fine all-piano volume, and I remember they found an older lady in the nearby Craig County (next to where I lived) who still played in the same "parlor" piano styles common in the early part of the century. Living in a small town, she was "uncorrupted" by the modern world. If any of you ever happen to pass through the town of Floyd, Virginia, look for The County Records warehouse-- l/2 block south of the main intersection in town, in an alley on the LEFT hand side of the street as you are heading south. I'd bet they still have vinyl copies of all the BRI releases. They also have one of America's finest collections of early country/string-band/bluegrass/western swing/honky tonk records/CDs. They used to be the only place I could find Euro lps on labels such as "Cattle" and "Cowgirlboy" (anyone else into that kind of music? I have 30 or more lps on the german "cattle" label--I'll never part with my Porky Freeman or Dinning Sisters lps on that label). Just thought you'd like to know... Bill Shute San Antonio, TX (note--for anyone interested, here's a tidbit from Kinks-L------- Ray Davies will be on the Conan O'Brien show on Monday the 23rd. Who can forget Dave Davies' immortal Lazy Lester covers from the early-period Kinks) Boy, am I itching to hear some SILAS HOGAN when I get home (don't ask me why)--for some reason, his songs about "rats and roaches in my kitchen" really struck a chord with me. You wanna talk DOWN HOME??? Besides the AVI/Excello reissue of Hogan, his two tracks on Wolf's "Louisiana Swamp Blues Vol.l" are suitably raw--"Free Hearted Man" recorded live will certainly drive any posers out of your living room, but will have the rest of us melting. The weather is cooling down A LITTLE BIT in South Texas, but this summer, with the l00+ degree heat, I found that Excello Blues somehow was the PERFECT music to listen to when it's oppressively hot. When I think of the summers in Louisiana, somehow that makes perfect sense... Lazy Lester and the excello sound seem to take life at the same pace that I do. I like being this close to Mexico for the same reason--the "siesta" mentality is for me. "Why worry--it'll get done eventually..." "If it's important enough, it can wait" ========================================================================= Date: Thu, 12 Oct 1995 18:37:38 +0100 Reply-To: Guy Mersch From: Guy Mersch Subject: Re: Bill Stuve & Doug MacLeod >----------------------------Original message---------------------------- >>In my book, the best stand-up bass player playing in blues today is Bill >>Stuve of the Mighty Flyers. Not only does he play blues, but he does a >>sort of rockabilly thing on the side. He's also a really nice guy. Talk >>to him after one of the shows about getting his CD. > >I second this, check out Stuve's playing on Doug MacLeod's "Come To Find" >really outstanding. The CD mentioned I think is called "Big Noise" (or ?????) >I'm not into rockabilly, but I did buy it for support. I think I gave it away >Could someone correct the CD title for me...Thanks >LW > The CD is called "Come To Find" and Bill Stuve plays the acoustic bass on six other songs on this CD ========================================================================= Date: Thu, 12 Oct 1995 13:03:41 CDT Reply-To: "J. Witteveen" Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: "J. Witteveen" From: L W Subject: Re: "Blues" is dead ----------------------------Original message---------------------------- > (BTW, don't scare us >with those subject headers :-) ) I agree, I was fixing to give him directions to Clarksdale :-) LW ========================================================================= Date: Thu, 12 Oct 1995 13:03:01 PDT Reply-To: rjbauman@IQUEST.NET From: rjbauman@IQUEST.NET Subject: Re: Buddy Guy Comments: To: SOXTON@CHE2.CHE.UMN.EDU I don't think Buddy has completely jumped ship. I've seen some terrific blues shows out of him. I know I trashed his show last nite and his on-stage antics are hurting his image in some blues circles, but I will always stand up for his generosity to fellow blues artists. He shares the spotlight with his bandmates and encourages them. 1)I've seen Scott Holt really improve his singing ability and stage presence over the last several years. 2)He frequently brings in younger blues acts to open for him. 3) His club in Chicago is still a blues bar 7 days a week as far as I know. It's a dump, yes, but it features wall to wall blues for up -and -comers as well as established names. ==================I thinks it's important to point out that while Buddy has completely jumped ship, Bonnie Raitt continues to nurture her Blues roots. Witness her recent tour which included Ruth Brown and Charles Brown. I'm guessing Bonnie's aware of her position and her ability to help other Blues artists. I have yet to see such generosity out of Mr. Guy.=================== RJ Bauman ========================================================================= Date: Thu, 12 Oct 1995 12:43:16 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Big Wheeler? Comments: To: Peter Welch In-Reply-To: <199510121615.MAA76015@poe.acc.Virginia.EDU> Golden Wheeler hasn't recorded much, but he's also on Eddie King's Double Trouble LP. (By the way, LW, Eddie King has been gone from Koko's band for a few months; he was fired in Europe.) He's still around but low profile; I've heard recent rumblings of health problems but also of plans for another Delmark CD. Most of his live repertoire is Little Walter; drummer/dj Steve Cushing wrote a lot of songs for the "Bone Orchard" CD. I like his singing as much as or more than his playing. He's not a virtuoso but he's the Real Deal; he learned harp from listening to Buster Brown over the radio as a kid in Georgia. His younger brother James is a busy guitarist around Chicago with Mississippi Heat, Gloria Thompson Rodgers (who has a new homespun CD out called "Daddy's Girl") and studio work with Billy Boy Arnold (whose Alligator CD with Wheeler, Margolin and Sonny Leyland is due out at the end of the month), Lee "Shot" Williams, etc. ========================================================================= Date: Thu, 12 Oct 1995 11:35:39 -0700 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Need Memphis advice Anybody know whether there's anything wonderful happening musically in Memphis the night of November 5? Private email if so, many thanks, Mary Katherine ========================================================================= Date: Thu, 12 Oct 1995 11:28:51 -0800 Reply-To: James Carmin From: James Carmin Subject: Buddy Guy's generosity Sara wrote: >I thinks it's important to point out that while Buddy has completely jumped >ship, Bonnie Raitt continues to nurture her Blues roots. Witness her recent >tour which included Ruth Brown and Charles Brown. I'm guessing Bonnie's >aware of her position and her ability to help other Blues artists. I have >yet to see such generosity out of Mr. Guy. I agree it's great that Bonnie included Ruth and Charles on her recent tour, but I'd have to disagree about the generosity of BUDDY. A couple of years ago when Jimmy Vaughan and Buddy were opening for BB King, Buddy could detect that folks were more intested in him than BB, largely because of BB's older, more formal, horn-filled show. Well, Buddy lectured to the appreciative crowd that he and so many other blues artists wouldn't be where they were today had not BB KING spent such a long time on the blues circuit keeping the blues alive. Buddy obviously respects BB and he insisted that the audience did too! And I must add that I saw, and reported to BLUES-L, Buddy in August and thought he put on a sizzling, BLUES-filled, show. And go back, as Richard Shurman has reminded us awhile back, and listen to some of the early Buddy on Chess: he's still rockin' the blues as he did back then. James C. jcarmin@teleport.com ========================================================================= Date: Thu, 12 Oct 1995 11:59:44 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Too D--- Loud Comments: To: BLUES-L@BROWNVM.BROWN.EDU. >Jim Witteveen said: > >>As for the nightclub show, it was TOO LOUD! (echoing earlier comments). >>Virtually the same show, except for an ear-piercing volume. I've been to a >>lot of shows, and this is about the only one I've been to where my ears have >>been ringing all the next day. > > >I just want to say to all of you who don't know this.... > >If your ears are ringing the day after a show (especially all day) you have >probably recieved > >*Permanent Hearing Damage* > >Folks, this does not come back, it's gone forever... > >Lets stop putting up with horrible sound pressure levels at shows... It's >stupid, destructive, and sounds like garbage anyway... > >This won't change until we make it change. > >Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Thu, 12 Oct 1995 15:04:27 -0400 Reply-To: bob unger From: bob unger Subject: Re: "Blues" is dead Wasn't sure what header to use - "SEX, 100% SEX" or "BLUES IS DEAD" but I didn't know if it should be black or white sex...so I went with Blues Is Dead ;-) BU bob@sun.bnkst.edu ========================================================================= Date: Thu, 12 Oct 1995 19:09:42 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: ROOTS & RHYTHM MAIL ORDER Re: Rounder/Roundup Comments: To: bit-listserv-blues-l@uunet.uu.net "does anyone have any recommendations for a good mail-order company? Preferably something that carries releases from multiple companies, since I'm already on Blind Pig, Alligator, and Yazoo's mailing lists. Thanks!" May I suggest you contact ROOTS & RHYTHM (MAIL ORDER), P. O. BOX 837, EL CERRITO, CA. 94530. Tel: 510-525-1494 Fax: 510-525-2904 E-Mail: roots@hooked.net Their latest monthly newsletter #102 (Sep/Oct) is 64 pages, chock-a-full of great reviews. eRIC "I saw Son House in about 1970 and he was on his last legs then! The story told of him was that he got out of the train at Edinburgh Waverley and looked up at the castle and said "MY, that's a big church...."" ~ private e-mail, Lindsay Marshall, (0ctober 20, 1994) ========================================================================= Date: Thu, 12 Oct 1995 14:27:53 -0500 Reply-To: Roger Struve From: Roger Struve Subject: Just for the sake of information-No BLUES content I've seen others talking about getting double posts but it hadn't happened to me...so i paid little attention. Now, i am getting double everything...double BLUES-L posts, AND private email too! Did someone figure out what's happening? Did i miss the answer? Thanks, delta doc roger ========================================================================= Date: Thu, 12 Oct 1995 16:18:16 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0251 From: "DUTTWEILER.J" Subject: THIS is Blues?] TO: Internet FROM: DUTTWEILER.J@GOMAIL SUBJECT: THIS is Blues? The local paper here (The Atlanta Journal/Consitution) has a "new music" page in it's "living" section. Down at the bottom of today's paper are a number of "mini" reviews covering different types of music, e.g. rock, pop-spanish, hip-op, etc. One such today is captioned "Blues." "Wow," I thought, "an actual, honest to God, review of a new blues release in the news paper, will wonders never cease." Upon reading the review, however, I wonder if any- one at the paper has a clue as to what constitutes "blues." The review is on IIIrd Tyme Out, a cd called "Letter to Home." This group apparently took the 1994 BlueGRASS Music Association award for best vocal group. Now, I know there's been a lot of bandwidth used lately on just what is "blues," but this seems a bit *too* inclusive for me ========================================================================= Date: Thu, 12 Oct 1995 16:31:09 EDT Reply-To: ron kraemer From: ron kraemer Subject: Charlie Parker (was Re: Turntables) Mike McCourt ended his post on using a turntable at 16rpm to learn Charlie Parker solos with..."yes, Bird did play the Blues." Was there ever any doubt?? I spent many a night trying to get his sax licks on Now's the Time to come out of my guitar runs. I still have the song firmly planted in my head. His riffs were just.........Beautiful! I really love jazzy Blues. If only I could PLAY them. :) Jazzman? You bet, but boy could he play some Blues. Ron ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters ************************************************************ ========================================================================= Date: Thu, 12 Oct 1995 16:42:04 -0400 Reply-To: Hanson123@AOL.COM From: Karen Hanson Subject: Re: First post [[[Yes, you have to delete the address and then copy the correct one.]]] Thanks, Mike. And to all the rest of you who replied--I read them, but didn't answer. I'm still feeling my way around here. I'll most likely stick with the AOL for now....I'll figure something out to make it easier. [[[Liked your Mac qoute. That would make a good signature line. I truly appreciate people with a different slant than 'normal'. My favorite people (some of whom use a Mac).]]] Hope you still say that a few months from now.... Karen ========================================================================= Date: Thu, 12 Oct 1995 17:05:37 -0400 Reply-To: Hanson123@AOL.COM From: Karen Hanson Subject: Re: B Guy [[[I've seen a few negative comments about Buddy on this list (which is fine, to each his/her own!), but I haven't heard a better version of `5 Long Years' than his. Can anyone tell me about his releases from the seventies and early eighties, and whether they're worth owning? Thanks!]]] Jim, Buddy Guy was my path to the blues also, just a few years ago. (Although I'm just a teeny bit older than 24!) I like Buddy's "Five Long Years" too, especially for the singing...I love his dynamics. What's interesting, though, is to hear Buddy backing Eddie Boyd on "Five Long Years" on the '65 American Folk Blues Festival. He also backed, to my knowledge, several others, including Muddy Waters and SBW--probably someone more knowledgeable than I could give you a roll call. Buddy obviously learned from the best--I think it's sad that he spends much of his live show imitating rock stars. All of us know if he'd just do it, he could play *some blues*! As far as other Buddy albums go, I don't know the dates, but check out I Was Walking Through the Woods and The Man and the Blues. Also, Junior Wells' "Hoodoo Man" and--shoot--another one I can't remember the name of even though I listened to it just yesterday! And yes, they're worth owning! (IMHO, POV--BG fan) Karen ========================================================================= Date: Thu, 12 Oct 1995 14:49:21 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Charlie Parker (was Re: Turntables) Comments: To: BLUES-L@BROWNVM.BROWN.EDU. ron kraemer said: >Mike McCourt ended his post on using a turntable at 16rpm to learn Charlie >Parker solos with..."yes, Bird did play the Blues." > >Was there ever any doubt?? I spent many a night trying to get his sax licks >on Now's the Time to come out of my guitar runs. I still have the song >firmly planted in my head. His riffs were just.........Beautiful! I really >love jazzy Blues. If only I could PLAY them. :) > >Jazzman? You bet, but boy could he play some Blues. You got THAT right... Jeez I wish I could blow some of Bird's stuff over a good blues rythm section! I've been hearing that sound in my head for years now, and it would be so very cool... I'm not sure his stuff is do-able on guitar... Do you know of anyone who has done this? Bird Lives! Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Thu, 12 Oct 1995 22:07:12 GMT Reply-To: David Goldstein From: David Goldstein Organization: IPOF Subject: Re: B Guy Comments: To: bit-listserv-blues-l@uunet.uu.net I really like his albums, D.J. Play My Blues, Damn Right I Got The Blues, Slippin In, and Buddy Guy & Junior Well Play The Blues. It seems to me that someone has some undue influence over him. When he played at the Handy Awards this year he seemed to really let go of the rock influences. Maybe it was because he knew that the audience would appreciate blues instead of blues-rock. If he would only also do small venues at the cities that he plays in, he could get a double whammy; a big hit at a larger auditorium and an intimate audience for the blues. The last time he was in S. FLA, I was going to see him (w/Chris Duarte), but the postings on this list dissuaded me. Meanwhile, I will continue to buy his CD's. ========================================================================= Date: Thu, 12 Oct 1995 18:31:15 -0400 Reply-To: Fretman6@AOL.COM From: "J.B. Eanes" Subject: New Haven, CT Blues scene? Can anybody give me a little info about the blues scene in New Haven. I am temporarily station just north of there for work. To be specific I need to know where a place called "Toad's" is located so I can make it to see the Luther Allison show next week. Also if you can tell me how to get to "Lupo's" in Providence, I want to go to the Roomful...show there tomorrow nite. I am up here from VA working until mid to late Dec. and don't know my way around too well yet. Thanks, J.B. ========================================================================= Date: Thu, 12 Oct 1995 18:51:39 -0400 Reply-To: Jessica Sowin From: Jessica Sowin Subject: Kooper and Bloomfield MIA? Joe Norris asked: >Any of you know whether "The Further Adventures of Kooper and Bloomfield" exists on CD, and >if so, where to find it? I've checked with our Archives maven who cannot reference "The Further Adventures..." Are you sure it was recorded for Columbia? Sorry, Jessica Sowin Legacy Recordings 550 Madison Ave., Room 3135 NYC, NY 10022-3211 ========================================================================= Date: Thu, 12 Oct 1995 16:59:35 -0600 Reply-To: PAN D'MONIUM From: PAN D'MONIUM Subject: Re: B. Guy I picked up the double CD "Chess Years" a short time ago and find it pretty good. There's some stuff that seems almost like "novelty" songs, but by and large with the expenditure. ========================================================================= Date: Thu, 12 Oct 1995 17:18:34 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: Newbie wants to learn Guitar Comments: To: T750232022 Get a good Strat or Tele that feels good to you. A Fender Strat or Tele Squire at $199 is a real good deal. A Park practice amp for $99 or a Fender. If there's a selection of 'em, try end all for feel. Don't get a foxy Metal player type guitar. Take some lessons were they'll teach you chords, then Blues chords, you can pick up the rest if you have a good ear and paly along with the records. John Lee is a good start. Mike On Thu, 12 Oct 1995 06:52:58 -0400 T750232022 wrote: >Hi all! > > Well, to be completely honest, I've always been tempted to learn guitar, >but after seeing John Lee Hooker this past weekend, I was convinced! >So, my questions are: > >1) Where should I start? (My only experience is about a year or so of >piano.) >2) What sort of guitar should I get? (My goal would be to play mostly >blues & some Stones on it, if that's a factor in choosing.) >3) What books or other learning materials give the best (and quickest) >results? > >Any suggestions would be greatly appreciated. >TIA, >Terence ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Thu, 12 Oct 1995 19:50:16 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Fwd: Re: B. Guy --------------------- Forwarded message: Subj: Re: B. Guy Date: 95-10-12 19:37:00 EDT From: Jinxblues To: dgoldst@ipof.fla.net In a previous post you said: >I really like his albums, D.J. Play My Blues, Damn Right I Got >The Blues, Slippin In, > and Buddy Guy & Junior Well Play The Blues. It seems to me >that someone has >some undue influence over him. When he played at the >Handy Awards this year > he seemed to really let go of the rock influences. I have distanced myself from this Buddy Guy matter because I had a lengthy professional relationship with Buddy and still value our friendship. However, in the interest of historical accuracy, I would like to point out that Buddy did NOT perform at the 1995 Blues Awards. David Less (Executive Director of the Blues Foundation) and I worked long and hard on this matter. First he would appear, then he would not. Then he would perform, then he would not. Then he would only appear to accept/present awards, then he was considering a performance with the house band. It ended up with Buddy remaining backstage except to accept his awards, come to the microphone to present one award and then join in the finale where (without guitar) he took one verse of the final song. Read into that whatever you wish . . . Dick Waterman I looked out my window And what do you think I seen My baby with another man In a long black limousine It's your time now, baby, But it's going to be time after while (Buddy Guy) ========================================================================= Date: Thu, 12 Oct 1995 20:22:40 -0400 Reply-To: Jstudley@AOL.COM From: Jeff Studley Subject: Blues Place AOL won't like this, but... But there is an area on MSN which is looking for new folks. Right now the total people I can count on one hand, using just over half of my digits. If you're looking for a new place to hang check it out. To find it just go to: Find> Microsoft Network> Type in Blues and you'll find a couple of rooms to gather in. See ya there! Jeff ========================================================================= Date: Thu, 12 Oct 1995 19:11:28 -0700 Reply-To: as Douglas Bush From: as Douglas Bush Subject: test Please ignore this post I just wanted to see if the address was right ========================================================================= Date: Thu, 12 Oct 1995 22:11:21 PDT Reply-To: Anand Prabhakar From: Anand Prabhakar Subject: signoff Hi, I am going on vacation for a while, and I just got this new account, so I don't have a copy of the general instructions for this listmanager. How do I signoff the list? Unsubscribe that is. Sorry to clog your mailbox with this, but thanks Anand ========================================================================= Date: Thu, 12 Oct 1995 23:43:21 -0400 Reply-To: Wes From: Wes Organization: University of Oregon Subject: Re: Let's start the Blues Marketing Council {was Whose blues} Comments: To: bit-listserv-blues-l@uunet.uu.net >We need a marketing council! >"This message brought to you by The Blues Marketing Council. > Eat more Blues." >Can *we* do it? We have a wide range of expertise here on blues-l. We have >people who are good at organizing. We have great mediators/compromisers. We >have the DJ's and musicians, the artists and writers. We also have the >electronic communications that would allow us to work from our disparate >locales. We have people from all over the world, from Chicago to Vanatu, >that will help, so we could be an international force for promoting the >Blues! >I know this is crazy, and something like this may have been tried and wilted >on blues-l, but, if we don't try, it probably won't happen and there is a >big hole there that needs filling! >Start small, think big, and do great things. Just a lowly marketing major here, but for what it's worth I think it is a fine idea. I live in the NW and this place is hurtin' for some blues marketing. ========================================================================= Date: Fri, 13 Oct 1995 00:22:35 -0400 Reply-To: SFDBLUES@AOL.COM From: Steve Fay Subject: VARIOUS In the Muddy Box Set there is a picture of Muddy, Willie, Bukka, Big Joe, Sonny, and others watching a playback of a 1966 CBC-TV Special, "The Blues". Is there by chance a recording of this? Question 2. I have noticed in the CD bins at some stores recordings from the 2nd Fret. Some of the artist's are Lightning, Sonny and Brownie, and Joe Williams. Are these good recordings(recomendable)? Question 3. Is there a place to order pictures and posters of Blues performers. ========================================================================= Date: Fri, 13 Oct 1995 05:02:25 GMT Reply-To: Jim Farris Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Jim Farris Organization: New Age Documentation Subject: Re: sf blues clubs Comments: To: Chris.Hauge@NCAL.KAIPERM.ORG Chris, There's Slim's, Lou's Pier 47, The Saloon, BLUES, and a few others that I can't think of right now. There are also a few clubs in Oakland (across the Bay) and a few in San Mateo (down the peninsula), and a few more down in San Jose. Send me a private EMail if you want more. I'll check around with my sources. Jammin' Jim Blues DJ KKUP 91.5 FM South San Francisco Bay ========================================================================= Date: Fri, 13 Oct 1995 01:04:44 -0400 Reply-To: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA From: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA Subject: Re: Turntables (no blues, but I didn't start it:) No, don't buy a new one, prowl the used-hi-fi stores and/or pawnshops. I found, for instance, a staggering Philips table from the late 70s at a hamfest a few months ago for $10. I went to a place and they special-ordered me a replacement headshell, and it's perfect. Go find a DJ that's getting rid of the last of his Technics pro tables and make him an offer. And yeah, put an ad in the pennysaver (be sure to specify what you want, or you'll get a flood of people with Emersons, B.I.C beltdrives, and a small mountain of Yorxes. "Graduation stereos," I used to call them. Turtle (Philips direct drive and Onkyo direct-drive still working well) _____ Reply Separator _____ Author: MILLER @ SCI.WFBR.EDU (Rick Miller) @ INTERNET Received: 10/11/95 10:37:45 AM Subject: Turntables (no blues, but I didn't start it:) You guys gotta be kidding me! Why would you even consider looking for used turntable or a turntable repair? Really good, brand NEW ones are so-o-o-o-o-o cheap now. The last time I took mine in for repair, which was right before I got rid of it, the repair tech looked at me like I had a third eye. A few companies are still making really nice vinyl platter players and they cost a fraction of the price of a decent cd player. Just 'cause you have a passion for the old vinyl format doesn't mean you gotta play 'em on your old beater turntable from your teen days in the '70s. ;) ;) Scrap that old Dual or Technics for cryin' out loud. Those old belt drives or servos are antiques. My $.02, useless though it may be. Riffin Rick (((( oo-) /- ....strictly digital now.... F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 13 Oct 1995 05:09:53 GMT Reply-To: Jim Farris Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Jim Farris Organization: New Age Documentation Subject: Re: Chat Address Comments: To: Wack_Ron/rfh@SASK.AECL.CA I am very interested in finding a Blues chat on the 'Net. How do I connect to us.undernet.org? Do I use TELNET and log in remotely? or is there some trick to using IRC that I don't know about? All that I can connect to in NetCruiser is the EFNet server. Jammin' Jim Farris Blues DJ KKUP 91.5 FM ========================================================================= Date: Fri, 13 Oct 1995 00:30:15 -0500 Reply-To: Craig Edmundson From: Craig Edmundson Subject: Re: Tina Mayfield's International Blues Society Comments: To: Mark Naftalin In-Reply-To: On Thu, 12 Oct 1995, Mark Naftalin wrote: > She told me that she has heard from quite a few people, black and > non-black, concerning the name "International Black Blues Society." > However, finding that the name seems to provoke controversy, which was > never her intention, she has decided to change it. This sorry sequence of events strikes me as a sad commentary on the all-around divisiveness that so permeates American society. Based on one of the recent racial threads on this list, I can see how a few non-black individuals would be offended by Ms. Mayfield's choice of wording. But I am genuinely interested in hearing more from Mr. Naftalin regarding the black responses to the original name of the society. ce ========================================================================= Date: Fri, 13 Oct 1995 02:16:29 -0400 Reply-To: PaliGap69@AOL.COM From: "(christopher Jones)" Subject: Re: B Guy Although I haven't seen Buddy Guy live; I do enjoy his recent studio albums ("Damn Right..", "Feels Like Rain", "Slippin' In") I just recently got into the blues as well (about 2 years ago), and it was hearing Clapton praise BG that was very key; I went out and got "I was Walking Through the Woods" ,which Robert Cray said was one of his favorite albums, a little bit too "old" sounding. Since that time I have come to enjoy it more; I also have a couple of the BG/ Junior Wells stuff ("Plays the Blues" and "Alone and Acoustic") which I think are very good. Okay so where is this going? I don't know exactly; but I guess that the last of Buddy's releases are not too authentic (especially "LLR", although "You're Damn Right.. and "Slippin' In" are very bluesy) but they are some of his better represented works. I just read an article with Buddy, written about 5 years ago, where he claims that most of his albums suck except for a few. I am glad that I was lucky in the choices I picked; I have heard for some time now that there is going to be a live cd released of Buddy at his club; any info on that happening? Chris ========================================================================= Date: Fri, 13 Oct 1995 01:49:36 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: blues societies/artists > From: Ranko Vujosevic > Should blues stars and expensive acts give break to blues societies > and play from time to time for a lower fee than what they usually > charge for playing in arenas, or what they charge club owners??????? In my opinion, they should get whatever the market value is. Plus, the blues society should be more than happy to pay the market value for folks like Otis Rush. They've earned it. If they have a big guarantee, try hitting your membership up to buy tickets way in advance, with a refund if you don't have sufficient interest. The other thing you could try is charter a bus and catch them in a larger city. Make a blues society field trip out of it. You could also lower your sights and go for a "smaller name" that (undeservedly) makes smaller bucks. ie. if Otis Rush is out of your league, how about Hubert Sumlin? How about Jimmy Rogers? Dang, the list is endless. There are dozens of "Greats" out there that won't cost you $5000, that need the work, and the exposure. I don't feel that playing for a cut rate is a good way of "giving back" to the fans. They are giving back to their fans every time they play and record, IMO, and they should get paid the best rate they can get. I realize it is tough for a small blues society to compete with the major festivals, but let's face it, we should be happy about the success of folks like Otis and Buddy and concentrate on making some of these other great artists "unaffordable" as well. Don O. ========================================================================= Date: Fri, 13 Oct 1995 09:27:58 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Blue Ridge Institute Series Thanks to Bill for his nice comments :-) and his additional information concerning BRI. As far as I know the Blue Ridge Institute of Ferrum College has published at least the following albums (LPs) :-in addition to the Non- Blues Secular Black Music one- 1002 Virginian Traditions; Ballads from British Tradition 1003 Virginian Traditions; Western Piedmont Blues 1004 Virginian Traditions; Native Virginian Ballads and Songs 1005 Virginian Traditions; Blue Ridge Piano Style 1006 Virginian Traditions; Tidewater Blues 1007 Virginian Traditions; Virginia Work Songs 1008 Virginian Traditions; Southwest Virginia Blues 1009 Virginian Traditions; Early Roanoke Country Radio As Bill pointed out these are indeed very interesting albums that were published with first class supplementary booklets. I do have some of them at home with musicians like John Tinsley (who also had -again- a nice Swingmaster Lp out here in Europe in the 80's), Rabbit Muse, ... Jean-Pierre Urbain ========================================================================= Date: Fri, 13 Oct 1995 09:07:10 GMT Reply-To: Jim Farris From: Jim Farris Organization: New Age Documentation Subject: Re: SF Blues Clubs Comments: To: bit-listserv-blues-l@uunet.uu.net If you have access to America Online, there's an SF Blues folder in the Blues section of the Music Message Center. Just Goto Keyword Music Message Center. Another good place to look is Pollstar at: http://www.pollstar.com/ Just search by city for San Francisco. It will give you lists for all the cities in the area. ========================================================================= Date: Fri, 13 Oct 1995 10:07:15 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Re: Big Voice Odom, Evidence reissues, ... The Big Voice Odom album mentioned yesterday was in fact first issued on the French ISABEL label and was recorded during a European tour somewhere late 1982 early 1983. I had the pleasure to see them in Amsterdam (Paradisio) and to spent some time with these artists. The program had J.B.Hutto and his New Hawks, Little Milton (backed by a young Lucky Peterson), Luther Gtr Jr Johnson, Robert Lockwood Jr, Big Time sarah, Magic Slim and the Teardrops (feat at that time Natw Appelwhite on frums), Big Voice Odom, Little Willie Littlefield, ... That was great festival! In relation to Magic Slim disco, I'd like to add that this list I did re-sent yesterday contains the albums where Slim is present as LEADER. A complete listing of the recordings where he appears as sideman is almost done but in case you can't wait I would recommend the excellent Career Discography publication of Bill Rowe which is really worthwhile. A final thought I had these last time seeing Evidence reissuing much of the German L+R , Isabel and Black and Blue catalog. More or less "Old timers" will remember that at the time these albums (LPS) were issued over here in Europe, they generated a rather mitigated enthousiasm in the Blues press. Time have changed, and apparently tastes too, as the Evidence reissues do now generate much more enthousiasm than the initial releases did! I assume reviewers make their minds by comparing resissues with the contemporary productions.. Nevertheless, I hope the L+R Living Country Blues Series that should be reissued on Evidence will also be subject to this change in tastes, these are very worthwile albums. Jean-Pierre Urbain ========================================================================= Date: Fri, 13 Oct 1995 05:43:00 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Re: B Guy Comments: To: bit-listserv-blues-l@uunet.uu.net Karen Hanson (Hanson123@AOL.COM) wrote: : [[[I've seen a few negative comments about Buddy on this list (which is fine, : to each his/her own!), but I haven't heard a better version of `5 Long : Years' than his. Can anyone tell me about his releases from the seventies : and early eighties, and whether they're worth owning? Thanks!]]] Karen, Buddy Guy's late 70's and early 80's discs are for me his best work ever. Two of them appear on the JSP label - D.J. Play My Blues and Live At The Checkerborad Lounge. A third one is his Alligator release - Stone Crazy. I find that during this per- iod he was the most broody, deep and penetrating, personal and inventive of just about any period he ever went through. There is also a CD Breaking Out (on JSP as well), that is a quite an experiment by Buddy Guy BG in the use of high electric effects. The first 3 are pretty much from my point of view should gets, while the Breaking out is not for everybody. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Fri, 13 Oct 1995 06:11:06 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: B Guy Karen wrote: I've seen a few negative comments about Buddy on this list (which is fine, to each his/her own!), but I haven't heard a better version of `5 Long Years' than his. Can anyone tell me about his releases from the seventies and early eighties, and whether they're worth owning? Thanks! I write: Check out the new JSP release Buddy Guy - Live at the Checkerboard Lounge, Chicago 1979. It's prob'ly Buddy captured live at his best. Beef Stew ========================================================================= Date: Fri, 13 Oct 1995 06:24:32 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: Blues Marketing Council Sounds like a viable idea. What would its purpose be? What would its catagories be? Where would it be posted? ******************************************************* We need a marketing council! "This message brought to you by The Blues Marketing Council. Eat more Blues." Can *we* do it? We have a wide range of expertise here on blues-l. We have people who are good at organizing. We have great mediators/compromisers. We have the DJ's and musicians, the artists and writers. We also have the electronic communications that would allow us to work from our disparate locales. We have people from all over the world, from Chicago to Vanatu, that will help, so we could be an international force for promoting the Blues! I know this is crazy, and something like this may have been tried and wilted on blues-l, but, if we don't try, it probably won't happen and there is a big hole there that needs filling! Start small, think big, and do great things. Just a lowly marketing major here, but for what it's worth I think it is a fine idea. I live in the NW and this place is hurtin' for some blues marketing. ========================================================================= Date: Fri, 13 Oct 1995 06:40:30 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Blues Events In Connecticut WHUS Blues Night and CD release party Friday Oct. 20th - 1995 Student Union Ballroon 2110 Hillside Rd, Storrs, CT $3.00 w/student ID $4.00 w/out Doors open at 7 pm Bill: 1. Ramblin' Dan Stevens 2. Burt Teaque Group 3. Mark Nomad Band (Marks 2nd CD "Got To Carry On") *************************************************** Connecticut Blues Society's Second Annual Halloween Party Friday Oct. 27th - 1995 Irish American Hall 122 Commerce St., Glastonbury, CT $6.00 Doors open at 8 pm Bill: 1. The Hornets 2. The Blues Talkers 3. D. Smith Blues Project *************************************************** WHUS and CBS are both non-profit entities. Beef Stew - WHUS Radio ========================================================================= Date: Fri, 13 Oct 1995 03:38:00 -0700 Reply-To: Chris.Hauge@NCAL.KAIPERM.ORG From: Chris Hauge joe.sciallo, are you out there. tried to send a message to you twice on 10-12 but they both came back. just wanted to thank you for the blues clubs you recommended in san francisco. i wanted to thank everyone else who replied also. can`t wait to hear some live blues.....chris ========================================================================= Date: Fri, 13 Oct 1995 06:06:29 -0500 Reply-To: Roger Struve From: Roger Struve Subject: Blues Societies and Blues Stars -Reply This is Amerika. Therefore, money talks, B...S... walks. It's the law of supply and demand at work. If Blues Artists refuse to give Blues Societies a break, then it must be because they have enough gigs, and they're not hungry. If Blues Artists DO give Blues Societies a break, then either they're just nice people, OR, they don't have enough gigs and are hungry a little bit. Therefore, if fees for a blues act are too steep, then DON'T pay it, and find someone else that will play for an affordable rate. Eventually, those who "price" themselves out of the market will have to become more reasonable. The risk they face, of course, is that their popularity will also decrease due to the lack of exposure caused by their formerly "too high" fees. Then, they face the possibility that they won't be able to work unless they "really" cut their fees. Conclusion: Pay for the lesser known and/or more reasonably priced acts, and forget the big guys, if they're unaffordable. Just my opinion, that's all..... ddr. ========================================================================= Date: Fri, 13 Oct 1995 07:45:01 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - October 13th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BAUM, BERNIE (songw/a&r/CHANTELS) b. 1929-1013, NEW YORK CITY, NY BILBO, THEODORE G. (song/BILBO IS DEAD) b. 1877-1013, JUNIPER GROVE, MS BRICKLEY, SHIRLEY (of THE ORLONS) d. 1977-1013, PHILADELPHIA, PA 32 BROWN, RAY (b) b. 1926-1013, PITTSBURGH, PA BROWN, SCOVILLE (cl/LIONEL HAMPTON) b. 1915-1013, CHICAGO, IL CAESAR, SHIRLEY (v/gospel/CARAVANS) b. 1938-1013, DURHAM, NC CARLTON, HAMPTON(of MIGHTY CLOUDS OF JOY) b. 1960-1013, FALLON, JACK (b/JOSH WHITE) b. 1915-1013, LONDON, ONTARIO FLEMONS, WADE (v/songw/VEE JAY REC) d. 1993-1013, BATTLE CREEK, MI 53 KERR, ANITA (ANITA JEAN GROB) (SINGERS) b. 1927-1013, MEMPHIS, TN KOZAK, ROMAN (editor/BILLBOARD) d. 1988-1013, LAS VEGAS, NV 40 MUSE, CLARENCE (songw/afro-amer) d. 1979-1013, PERRIS, CA 90 PAHINUI, GABBY "POP" (g) d. 1980-1013, HONOLULU, HI 59 PLUNKETT, ROBERT (d/EDDIE SHAW) b. 1931-1013, YAZOO CITY, MS RUSSELL, NIPSEY (v) b. 1920-1013, ATLANTA, GA SANDERS, FARRELL "PHAROAH" (tsax) b. 1940-1013, LITTLE ROCK, AR SIMON, PAUL (g/songw) b. 1941-1013, NEWARK, NJ SMALLS, ED (owner: SMALL'S PARADISE) d. 1974-1013, NEW YORK CITY, NY 92 SULLIVAN, ED (tv host) d. 1974-1013, NEW YORK CITY, NY 72 SULLIVAN, JOE (p) d. 1971-1013, SAN FRANCISCO, CA 64 TATUM, ART (p) b. 1909-1013, TOLEDO, OH WASHINGTON, JUSTINE "BABY" (v) b. 1940-1013, BAMBERG, SC ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 12 Oct 1995 11:57:52 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Buddy Guy upcoming tomorrow in Cinti; also Lonnie Brooks Comments: To: rjbauman@IQUEST.NET Buddy Guy will be here in Cincinnati tomorrow evening, as will Lonnie Brooks, for our acclaimed riverboat festival, Tall Stacks. (Local blues acts the High Street Rhythm Rockers and Sweet Alice & the Unfinished Business Blues Band are also appearing.) I'm volunteering at Tall Stacks tomorrow and Saturday, and by the grace of quirky fate, my job assignment is working with the entertainers, directing them around the staging areas. It will be interesting to see what-all transpires, especially in the light of recent reports of Buddy's entourage's behavior (as well as Buddy's parody performance itself). Once you get in to Tall Stacks for an admission fee of $2.00, by the way, all the concert and performance etnertainment events are "free." Shannon ______________________________ Reply Separator _________________________________ Subject: Re: Shock and disgust in Indianapolis: B Guy Author: rjbauman@IQUEST.NET at INTERNET_TP Date: 10/12/95 11:57 AM I saw Buddy again last nite. I'm certain I'll continue buying his CD's but I don't think I'll ever go see him perform live again. I've never seen so much monkeying around. He played for 2 hours but I don't think he played more than 6 whole songs, one of which was Mustang Sally. I've seen him ON several times (both indoors and out)but now I think his rock audience is really taking him away from doing blues because they go berzerk over every bullshit trick and shred he does. I was really working the crowd hard before the show trying to get the blacks in attendance fired up about our blues society. Now I'm a little embarrassed. The only consolation was Buddy did his walk upstairs and stopped at my table and played some. And we got the best seats in the joint......... BTW, the emcee from WTTS actually went with the "real fuckin' deal" intro he'd obviously been told to do. My eyes just rolled............. Apparently young guitar rock fans have sent him a message blues fans have not been able to. RJ Bauman (still a HUGE Buddy Guy fan, but his shows don't move me even as much as some rock acts like Los Lobos) ========================================================================= Date: Fri, 13 Oct 1995 07:39:55 CST Reply-To: William Shute From: William Shute Subject: Bocktoberfest announcement/ other Texas items From: Bill Shute I hope folks in Western Louisiana and SW Arkansas as well as Texans will consider the following event: SHINER BEER BOCKTOBERFEST Shiner, Texas Saturday, l0/2l/95 afternoon/evening starring Delbert McClinton Marcia Ball Jesse "Guitar" Taylor Robert Earl Keen The Dead Crickets (the fine San Antonio rockabilly combo) The events I've attended that were supported by breweries like Celis (in Austin) and Shiner usually have a texas R&B slant, a nice laid-back open-air format, and beer flowing by the keg. A great way to spend a Saturday. -------------------------------------------------------- I just learned about another event yesterday, so it's probably too late for most to take advantage of it, BUT Thursday l0/l2, Friday l0/l3, Saturday l0/l4 FREDDY FENDER--SAN BENITO FESTIVAL The south texas valley city of san benito is having a three-day celebration in honor of its native son, FREDDY FENDER, the king of brown-eyed country soul and the titan of tex-mex r&b. No details yet, but I hope this becomes an annual celebration (like the Bob Wills Day in Turkey, Texas and the Gene Autry Festival each year in Gene Autry, Texas (the latter I was planning on attending this year, but had too many work responsibilities and had to cancel out--I was looking forward to meeting Pee Wee King, who was the major musical guest for this year) ) 'cause I would definitely like to pack the children in the car, arrange to take a day off work, and go down there for a few days...maybe next year. Before Fender "moved up" to the Duncan label in Harlingen, he recorded early R&B/rocknroll on two labels (at least--that's what I have) in San Benito itself: Only One/I'm Gonna Leave (Talent Scout Records, San Benito, TX) Going Out With The Tide/Coming Home Soon (Norco Records, San Benito, TX) Both are CLASSIC late 50s south texas tex-mex R&B. Wherever you are, raise a cerveza in honor of Freddy Fender ------------------------------------------------------ finally, another event of possible interest HABITAT FOR HUMANITY BENEFIT CONCERT Sunday, Oct. 22, l995 Majestic Theatre, San Antonio JOE ELY and TISH HINOJOSA -------------------------------------------------------- and speaking of benefit concerts, there will be a BIG benefit for Johnny "Clyde" Copeland in November at Billy Blues starring a number of Houston luminaries (Joe Hughes, Teddy Reynolds, Texas Johnny Brown, and many others). NOt sure of the date yet, but I will do my best to promote this super-gig and excellent cause with my workmates and friends...beyond the usual "blues circle of friends." Have a great blues-drenched (blues MUSIC-drenched, that is) weekend... Bill Shute, San Antonio, TX (who sends out birthday greetings to the wonderful Kathleen Shute with whom I saw Buddy Guy, Gatemouth Brown, Willie Dixon, Wanda Jackson, Willie Dixon, Junior Wells, the original Texas Playboys under the direction of Leon "Take It Away, Leon" McAuliffe, Junior Wells, Jonathan Richman, Alex Chilton, Carl Perkins, and many other great artists). ========================================================================= Date: Fri, 13 Oct 1995 07:50:39 CST6CDT Reply-To: SOXTON@CHE2.CHE.UMN.EDU From: Sara Oxton Organization: University of Minnesota Subject: No Blues content Forwarded from Sara Oxton: Top Ten Signs that you are "Webbed Out" 10. Your opening line is, "So what's your home page address?" 9. Your best friend is someone you've never met. 8. You see a beautiful sunset, and you half expect to see "Enhanced for Netscape 1.1" on one of the clouds. 7. You are overcome with disbelief, anger and finally depressed when you encounter a Web page with no links. 6. You feel driven to consult the "Cool Page of the Day" on your wedding day. 5. You are diving on a dark and rainy night when you hydroplane on puddle, sending your car careening toward the flimsy guardrail that separates you from the precipice of a rocky cliff and certain death. You look for the "Back" button. 4. You visit "The Really Big Button that Doesn't Do Anything" again and again and again. 3. Your dog has his own Web page 2. So has your hamster. ... And the No. 1 sign that you have overdosed on the WWW: When you read a magazine, you have an irresistible urge to click on the underlined passages. ========================================================================= Date: Fri, 13 Oct 1995 09:15:38 EDT Reply-To: Roland Mandler From: Roland Mandler Subject: Kooper/Bloomfield etc. Just to clear up some confusion, the Kooper/Bloomfield album talked about recently was a Columbia release. The correct title is "The Live Adventures of Mike Bloomfield and Al Kooper", circa 1969. It followed the "Super Session" album, and included guest appearances from Carlos Santana and Elvin Bishop. I played this album to extinction and would be more than happy to pick up a reissue on CD. On an unrelated topic, I have to agree with the recent opinions on Los Lobos. I saw them headlining a "Blues Festival" about 4 years ago and thought "here's the popular draw to bring in the Pop fans and drive away the Blues fans (myself included)". They turned out to be one of the finest groups of musicians I have ever seen, playing everything from Blues to Rock to Spanish music with equal enthusiasm and style. I would recommend that anyone who thinks that they are a "niche" band have a real listen and broaden your horizons. - Roland ========================================================================= Date: Fri, 13 Oct 1995 08:12:54 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Tina Mayfield's International Blues Society Comments: To: Craig Edmundson In-Reply-To: I can't let this pass without praising Tina Mayfield. I value her greatly as a friend, a morale booster and someone from whom I've always sensed an unassailably great love for the blues and NEVER any sense of racial exclusion. Casting aspersioons on her or her work is very unfortunate and misguided. Give it a rest! ========================================================================= Date: Fri, 13 Oct 1995 08:44:59 CDT Reply-To: Richard Shurman Comments: To: Craig Edmundson Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: Richard Shurman From: L W Subject: Re: Tina Mayfield's International Blues Society In-Reply-To: ----------------------------Original message---------------------------- I can't let this pass without praising Tina Mayfield. I value her greatly as a friend, a morale booster and someone from whom I've always sensed an unassailably great love for the blues and NEVER any sense of racial exclusion. Casting aspersioons on her or her work is very unfortunate and misguided. Give it a rest! ___________ I originally asked the question if anyone had a problem with the title of the blues society. I don't recall many people saying anything derogatory. I for one applaud her, even though the society has nothing to do with race (except that it is a blues society) I would have no problem with a blues society that is dedicated to black blues only. I think there are some that are only concerned with white blues/rock , but don't carry the title. I asked the question because I would like to be part of a "mixed" blues society and there is not one in my neighborhood. I am considering running an ad in a local black newpaper and see what kind of response I get....I would love a society that supported Ruth Brown with the same enthusiasm that they have for Jimmy Thackery, Tab Benoit....etc...I use those two as an example, no offense intended to anyone. That was my motive for asking the question. It makes my wife and I mad, when Charles or Koko come to a club and there is at the most TWO blues society members. We're talking the Queen Of The Blues and no one shows up...Debbie Davies would sell completely out... Tab Benoit will sell out TWO shows this month. I like Tab and Debbbie, but neither is in the league with THE QUEEN WHY is that, is it that way in your town....? LW 'sorry if my question cause problems, it wasn't intentional' ========================================================================= Date: Fri, 13 Oct 1995 09:18:43 PDT Reply-To: rjbauman@IQUEST.NET From: rjbauman@IQUEST.NET Subject: Re: Let's start the Blues Marketing Council {was Whose blues} Comments: To: Wes =================Just a lowly marketing major here, but for what it's worth I think it is a fine idea. I live in the NW and this place is hurtin' for some blues marketing.============================ Just one caveat. Don't follow the path of the CMA (country music association). What a joke country music is these days. Everbody's in cahoots to promote country music as a commodity. The awards are ............ never mind. You know where I'm going with this....... RJ Bauman ========================================================================= Date: Fri, 13 Oct 1995 10:20:29 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Sitting & Thinking-Willie Kent. Comments: To: bit-listserv-blues-l@uunet.uu.net re: Roy's interest in takes on Willie Kent here's a rap on his latest CD. We will shortly have a complete list of NY CD Blues reviews that we can send out via e-mail. Some have been posted and some not. I will post when the review list is ready & when the reviews have been uploaded for mailing. We should have about 100 or so to start and will add 100 every 3 months - KENT, WILLIE - Too Hurt To Cry (#DE-667) DELMARK RECORDS 4121 NORTH ROCKWELL CHICAGO, IL. 60618 Here's a CD that goes 13 for 13, with every cut worth the price of admission in itself. Willie Kent is a top flight songster. He has a singing style that is rough yet soulful, tough yet considerate. He seems to really care about the music he makes, and each cut bears witness to this. You won't find a pass by side on this entire CD. In fact you will find more than a few play twice sides. Also of note here is his backing by a great group of musicians. TOO HURT TO CRY / GOING DOWN THE ROAD / A MAN & THE BLUES / WILLIE MAE / BLUES TRAIN / JUST SITTING HERE THINKING / GOOD MAN FEELING BAD / THIS THING CALLED LOVE / 911 / IN CASE WE BOTH ARE WRONG / NIGHT TIME IS THE RIGHT TIME / COUNTDOWN / ALL NITE LONG NY CD-Takes TOO HURT TO CRY: The drums, the horns, the piano and the guitars set the stage for the soulful blues sound of Willie Kent. He has a very delicious voice - lots of smooth sounding singing and very polished. Delmark has found a winner in this bass player - who can sing up a storm. This cut makes a very nice introduction to what you will find to be a rising veteran bluesman. GOING DOWN THE ROAD: This second cut is also Willie Kent's second original side. All told he delivers 8 of his own songs and 5 by others. His vocals are very much in the vein of Jimmy Dawkins - both in his actual sound and in his delivery. He is big and powerful and places a lot of punch behind the words. Great blues. A MAN & THE BLUES: Here's the first cover and what a cover it is. Seven plus minutes of Buddy Guy's killer song. It's done with a lot more instruments than Mr. Guy did it but the personal feel to it is there as well as the pain and the suffering this song was written to convey. This is outstanding, and to top it off Mr. Billy Branch adds his superior harmonica on this cut. This is one of those sides that make the purchase of the CD worth it irrespective of what else is on it. WILLIE MAE: The tempo is up. A nice quick cut version of this Bob Jones song. Lots of good guitar solos and as on almost every other cut as well the fine piano work of Kenny Barker, who also adds the organ work on several tracks. BLUES TRAIN: Another Bob Jones side - this time with a lot of Mr. Billy Branch. The song is done more R&B and the instruments are more full blown. It is a bigger band sound with Willie Kent's vocals quite in step with this sound. The addition of Billy Branch on harmonica is a very interesting counterpoint. JUST SITTING HERE THINKING: Willie Kent now turns back to one of his own songs. The beat is driving and it is very much a guitar fronted song. The rest of the instruments sit back a bit giving full stage to Mr. Kent and the guitars. Very nicely done. GOOD MAN FEELING BAD: Here Willie Kent is clearly in the same vocal and instrumental frame as Jimmy Dawkins when he did Kant Sheck Dees Bluze. The parallels are eerie. The liner notes make no mention of these two bluesmen working together but one has to think somewhere there is connection. THIS THING CALLED LOVE: Here's a twist on the sounds of Mr. Willie Kent. A little popping jump tune. It is done as a blues side but it rocks. The piano work is very quick fingered and the saxophone of Sonny Seals, the trumpet of Malachi Thompson and the trombone of Steve Berry are aces. A nice fun hit of the blues. 911: Two big additions here - once again Mr. Billy Branch on harmonica and now the addition of Johnny B. Moore on guitar, who also did the honors on Blues Train. A very grinding, slow driving blues cut. IN CASE WE BOTH ARE WRONG: A mid-tempo blues done straight ahead, vocally and instrumentally. Mostly guitar with a nice set of piano break ins and more Billy Branch. A very good look at the basic blues roots Willie Kent has developed over his 30+ year career. NIGHT TIME IS THE RIGHT TIME: A nice cover of a Roosevelt Sykes and Jimmy Odon tune. The pacing is slower and the big horns are back, giving this side a big musical stage. Very simple, clean and direct vocals by Willie Kent here - showing off the true quality to his singing. COUNTDOWN: A great drum run sets this piece up followed by some hard working guitar playing. This is pretty much, at least for the first 4 minutes, a three piecer - guitars, drums and harmonica with no vocals except for Willie Kent introducing the band. What is particularly striking here is that the usually big sound from Billy Branch is set quietly in the background. Overall this and the final run out on the piano show off the high level of arrangement throughout this CD. ALL NITE LONG: Willie Kent has written a nice cut to say goodbye with. It's a taste and a remake of the sound of Junior Parker - nicely orchestrated and true to the influence. It will leave you with a filled feeling and a wanting to hear more from this up and coming veteran bluesman. Reviewed By Barry Silverberg Copyright NY CD Blues - 1995 -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Fri, 13 Oct 1995 10:28:10 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0334 From: "DUTTWEILER.J" Subject: Bocktoberfest announcement/ othe Date: Friday, 13 October 1995 10:27am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Bocktoberfest announcement/ othe In-Reply-To: The letter of Friday, 13 October 1995 9:00am ET The beer may be flowing by the keg, but, no offense, Shiner bock must be one of the worst beers I have ever tasted. Of course that was about 9 years ago, so maybe it's gotten better. ========================================================================= Date: Fri, 13 Oct 1995 08:34:00 MDT Reply-To: bhargrov@MICRON.NET From: "" Subject: Re: Starting a Blues Society Comments: To: Joel Slotnikoff <---- Begin Included Message ----> .. I feel it is important to think about interfacing with your local black community (if your locale has one) Others I know don't give this importance, but I'm guessing you are white and many of your initial volunteers will be, but remember, it is/was originally THEIR music... <---- End Included Message ----> Joel, Good point. I remember going to one of the early board meetings of our local blues society and thinking how it was a just a bit amusing to see a bunch of very nice white people sitting around talking about bylaws and tax regulations as prerequisites for promoting the blues. Bill H. ========================================================================= Date: Fri, 13 Oct 1995 08:34:00 MDT Reply-To: bhargrov@MICRON.NET From: "" Subject: Re: Elvin Bishop Comments: To: Gordon Fehlman <---- Begin Included Message ----> This last Saturday the 7th we were treated to a free outside 2 set show by Elvin Bishop. He had is old band with him. Randy Forrester on key boards and "Daddy Ray" Arvizu on sax, Ed ??? on trombone ... Gordon <---- End Included Message ----> That's Ed Early on the trombone. They were out here in Boise last winter. Last time I saw Ed he was touring with Albert King -- years ago. Bill H. ========================================================================= Date: Fri, 13 Oct 1995 09:40:02 -0500 Reply-To: Bruce Roberts From: Bruce Roberts Subject: R&B - Blues Can someone explain the distinction between R&B and Blues? It all seems the same to me. Is it that Blues is considered a broad category and R&B is just a sub-category of the Blues? Or is R&B really considered a separate genre like Jazz or Soul? I'm sorry I should know the answer to this by now, but I don't. Bruce Roberts Austin, TX ========================================================================= Date: Fri, 13 Oct 1995 10:36:57 -0400 Reply-To: Bob vanArsdall From: Bob vanArsdall Subject: Buddy Guy upcoming tomorrow in Cinti; also Lonnie Brooks Shannon wrote: > Unfinished Business Blues Band are also appearing.) I'm volunteering > at Tall Stacks tomorrow and Saturday, and by the grace of quirky fate, > my job assignment is working with the entertainers, directing them > around the staging areas. It will be interesting to see what-all > transpires, especially in the light of recent reports of Buddy's > entourage's behavior (as well as Buddy's parody performance itself). Why not just cut to the chase and, if you get a chance, ask Buddy himself about his set differences. Explain about Blues-L (he may not know that peole are following his shows), and that people have commented heatedly about his shows being different in one venue than another. See what he says. Bob ========================================================================= Date: Fri, 13 Oct 1995 15:55:00 MET Reply-To: robbd@VYGER.ENET.DEC.COM From: robbd@VYGER.ENET.DEC.COM Subject: CD help required Comments: To: "blues-l@brownvm.brown.edu"@vbormc.vbo.dec.com Can anyone out there help me find Irma Thomas's "Time Is On My Side - Best Of Vol.1" (EMI/Capitol 97988)? I believe it's been deleted on both sides of the pond, but perhaps someone knows of copies in some of the local stores. Would really appreciate any help with this. Cheers, - Dougie ========================================================================= Date: Fri, 13 Oct 1995 15:17:02 GMT Reply-To: David Goldstein From: David Goldstein Organization: IPOF Subject: Re: B Guy/Waterman rejoinder Comments: To: bit-listserv-blues-l@uunet.uu.net What I meant to say was that he did participate in the finale nicely. I obviously did not know that he was fence sittin'. ========================================================================= Date: Fri, 13 Oct 1995 15:53:47 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Review: HASH BROWN BAND - ROLLIN BLUES I was hoping to be able to send this sine two weeks, but just found some time to write this rapidly this morning. So here it is, a (too) rapidly written review of the new self-produced album of Hash brown. Let us support people like Hash Brown! THE HASH BROWN BAND "ROLLIN' BLUES" Browntone Records BR54900 Brian "Hash Brown" Calway, gtr, hca, vcl Terry Groff-Montgomery, bass Bobby Baranowski, drums Recorded in october-december 1994, Dallas Total playing time: 55'54. Here is the second solo album of this very talented guitar player, which for many of us, is particularly known for his work with ZuZu Bollin, Henry Qualls, or his appearance on the recent Big Al Dupree album from the Dallas Blues Society. Hash Brown is really one of my favorite -but again overlooked- modern Texas blues guitar player around. Everything but flashy, he's a very tastefull and quite personnal gtr player, personnal in the sense that you really hear that -unlike many contemporary white post SRV gtr players- he learned a lot from the old school, from the numerous "older" bluesmen he played with (Zuzu, UP, et al), from the generation for which it was not necessary to put 250 flashy notes when 15 were sufficient. This album presents Hash Brown with his own excellent trio and 14 originals. They musically "revisit" a variety of aspects and styles of what people now usually put under the vague label Texas Blues. We naturaly all know how diverse this "Texas blues" can be, and not surprisingly, Hash Brown really proposes here a kind of journey through these different sounds. From Texas shuffles, to ballads, T-Bone like material, deliciously jazzy and swinging licks, boogies, a piece of rock, and a lown down down home piece (Henry Qualls is not far from there), everything's there! While hash is an especially known to be an accomplished and tastefull guitar player, he also reminds us here that he can blow some really efficient harp while his vocals show a clear evolution compared to his previous Double Trouble album. There a number of extremely good guitar payers around, but Hash Brown really ranks among those who deserve more recognition, not only for his outstanding musical abilities, but also for his personality. Having seen him twice playing with Henry Qualls, laughing, enjoying himself, and really behaving like a sincere, (too) modest and nice person, I do sincerely think that he really knows what the (real) blues is all about! Oh, I forgot to mention :-), the liner notes are by ... Don O. And NO..., he even didn't sent me a dime! :-) to write this. Get this one: you'll enjoy yourself and at the same time support someone who deserves it. Jean-Pierre Urbain Browntone Records 8329 Banquo Dallas, TX 75228 Distributed in Europe by ALL BLUES RECORD SERVICE (FAx/Tel +32-51-72 29 54). PS. I have no financial relation with (or interest in) ALL BLUES RECORDS SERVICE but simply find it so nice that there are finally serious people over here trying to distribute products like this in Europe that I think that I can only support what they're doing for the blues! P.S. I have no ========================================================================= Date: Fri, 13 Oct 1995 11:11:13 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Newbie wants to learn guitar--advice My recommendation to you is to get a nylon-stringed "classical" guitar as a starter and take some classical lessons. My rationale for this (besides the fact that this is how my brothers and I started) is as follows: The guitar itself is a great teaching tool. The body is small and easy for people to work on. Often, beginners have trouble getting their arms around a big-bodied folk guitar. The nylon strings are easy to work and are amenable to all different kinds of tone, depending on hand-muting and fingerings. The frets tend to be wide, as is the neck, and if you learn how to play on one of these, and get clean tones even when your 1st and 4th fingers are four frets apart, you can play ANYTHING. An electric is like a toy in your hands. Seriously. Secondly, as for the classical lessons. Even though they may bore you to tears, you will learn finger techniques with both left and right hands that will make you a much better guitarist than the average joe. Many a player who goes straight to rock-style playing never learnds how to use all five fingers of the right hand for finger picking and getting the various tones and mutings of the strings while keeping time and working a bass line simultaneously. And as for the left hand, you will learn exercises, scales, speed, tone, and deadly accuracy that you carry over into ANY guitar style and put you way ahead of the game, and the pinky finger gets a real workout. Lots of players out there who's pinky is as useless as tits on a bull (pardon me, ladies). Do this for a solid year or two, and you will already have an awesome palate of guitar skills when you transition to blues/R&B/country/rock...you name it. You must KNOW the instrument and at least a bit of theory to make you a well rounded player. Then you'll smoke 'em with your blues playing. :) Good luck with, and practice hard! Riffin Rick (((( oo-) /- You can shout and make no sound, or whisper up a storm. F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 13 Oct 1995 10:20:49 -0500 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: Bocktoberfest announcement/ othe > The beer may be flowing by the keg, but, no offense, Shiner bock must be one > of the worst beers I have ever tasted. Of course that was about 9 years ago, > so maybe it's gotten better. Whoa there, them's fightin' words. Shiner Bock is the best domestic beer in the country. Whatever you do don't come to Austin and put down Shiner Bock, you'll be lucky to make it out alive. Bruce Roberts Austin, TX ========================================================================= Date: Fri, 13 Oct 1995 10:24:00 -0500 Reply-To: James Foster From: James Foster Subject: HAPPY BIRTHDAY, ROBERT WARD! ROBERT WARD b. 1938/Oct/15, LUTHERSVILLE, GA ON THIS SUNDAY LET'S ALL WISH A HAPPY BIRTHDAY TO ROBERT WARD!!! "Robert Ward is a total original. He was one of my first influences as a guitar player and turned me on to that Magnatone amplifier sound. His music was a turning point for me as a guitar player. When I first heard him play he was doing those backwards kind of runs that no other guitar player that I knew of was doing until Jimi Hendrix came along." - LONNIE MACK (adapted from the liner notes to FEAR NO EVIL) Often cited for his distinctive guitar tone, developed through the use of a Magnatone amp, and his influence on the playing style of Lonnie Mack, among others, Robert Ward amde his inital mark playing behind the band "The Falcons", which was home to a young Wilson Pickett. In fact, when Pickett's ballad "I Found a Love" climbed to national prominence on the LuPine label in 1962, it was Ward and his band, The Ohio Untouchables, who provided the backup. Pickett went solo shortly after this time and The Ohio Untouchables, sans Robert Ward, went on to eventually become the Ohio Players! Ward stayed in Ohio and went on the road with Pickett in 1966, though he left in the middle of the tour. Also in 1966-1967 Ward released the single "Fear No Evil" b/w "My Love Is Strictly Reserved For You" on the Groove City label. There are also a couple of other previously unreleased cuts from this same period. These, as well as many of the amazing cuts with the Pickett/Falcons, are all included on the outstanding compilation HOT STUFF (Relic 7094), just released in 1995. Ward also backed up the Motown group, The Undisputed Truth, as well as working with legendary producer Norman Whitfield (who directed many of the classic Marvin Gaye sessions) on a couple of albums by the Temptations. That, in a very tiny nutshell, is the Robert Ward story through about the middle of the 1970's. Jump ahead to the 1980's. Many folks are speculating that Ward was dead, crazy or in jail. Producer Hammond Scott (of Black Top records fame) tried to search him down in the mid-1980s, but only got as far as determining that Ward had moved to Dry Branch, Georgia after his playing days with the Ohio Untouchables were over. A chance encounter in a music shop in the late 1980s while on a road trip produced a meeting between Ward and Hammond Scott, who went on to co-produce, with George Porter Jr., Ward's first record in over twenty years, the 1991 Black Top release FEAR NO EVIL (Black Top 1063). On this highly acclaimed "comeback" record Ward has a great tone, a distinguished/laid-back style that reeks of "groove", and is backed by the imcomparable Porter, George Rains and Mark Kazanoff, among others. The album features reworkings of a few of Ward's early songs as well as some great new material, including some amazing gospel- and soul-based songs and some instrumentals. In addition to his wonderful guitar playing Ward is a stand-out soul singer, with parallels to Otis Clay and O.V. Wright, pretty good company! Out-takes from the FEAR NO EVIL album have been included on the Black Top samplers BLUES PAJAMA PARTY (Black Top 1075) and BLUES COCKTAIL PARTY (Black Top 1066). Ward followed up this release with another fine Black Top release, RHYTHM OF THE PEOPLE (Black Top 1088), and some touring, including the awesome BLACK TOP BLUES-A-RAMA tour, turning in fine performances across the country. A brand-new Black Top album, called BLACK BOTTOM (Black Top 1123), is slated for release on October 17. Recently, Ward also delivered some fine playing on Tad Robinson's Delmark CD. Also, be sure to read the fascinating interview with Ward in Living Blues, #106, November/December 1992. In this revealing interview Ward dismisses the importance of the Magnatone amp in his playing! Robert Ward turns 67 this Sunday and there is no better way to celebrate the birthday of this strikingly original and thoroughly enjoyable guitarist AND singer than to LISTEN to his music. Many thanks and kudos to Eric LeBlanc for his suggestions on posting a tribute to Robert Ward. _____________________________________ DISCOGRAPHY (this may be incomplete): Albums: BLACK BOTTOM (to be released 10/17/95; Black Top 1123) RHYTHM OF THE PEOPLE (Black Top 1088) FEAR NO EVIL (Black Top 1063) HOT STUFF (Relic 7094) (note: GREAT PHOTOS AND LINER NOTES!!!) Samplers: BLUES COCKTAIL PARTY (Black Top 1066) BLUES PAJAMA PARTY (Black Top 1075) BLUES COSTUME PARTY (Black Top 1116) As a sideman: ONE TO INFINITY (Tad Robinson, Delmark 673) ALL DIRECTIONS (Temptations, Motown 5417) MASTERPIECE (Temptations, Motown 635144) ========================================================================= Date: Fri, 13 Oct 1995 15:25:24 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Blues Societies and Blues Stars Comments: To: bit-listserv-blues-l@uunet.uu.net In <199510121742.MAA26277@picasso.ccad.uiowa.edu>, Ranko Vujosevic writes: > I would really like to hear what you guys think on this issue: > > Should blues stars and expensive acts give break to blues societies > and play from time to time for a lower fee than what they usually > charge for playing in arenas, or what they charge club owners??????? Only if they're really nice guys who feel like doing it a personal thing. > > It is not that blues societies want to take advantage of blues > acts who succeeded, but should they give back to their blues fans > that way? > > So, what do you think.... It sounds to me like thats exactly what many societies do. Why was the society formed in the first place? To promote blues? Then promote 'em! Pay blues acts a decent wage. Give them adequate publicity. Make the music accessible to the public. For that matter, perhaps instead of trying to get Otis Rush to play on the cheap, you should find a local band with more talent than publicity and give them a decent, high profile, good paying gig. Its a pet peeve of mine that many blues societies spend more time organizing parties for volunteers than they do working with local bands who could use a little help. I recall a few years ago, I had to go to the mat with a local blues society that wouldn't pay my singer for a gig we did for them. They said they paid "by the man" and singers weren't musicians. I did eventually get the money but it was pretty sobering to think that club owners with nothing but profit for motive paid us better and treated us better than the local organization presumably set up to promote blues. BBB ///////////////////////////////////////////////////////////// B.B. Bean bbbean@cris.com Team OS/2 strictlow@aol.com Bean & Bean Cotton/Bean Farms 75474.2654@compuserve.com \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ ========================================================================= Date: Fri, 13 Oct 1995 10:46:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Magic Slim/Loudness Magic Slim: Magic Slim has an excellent recording, IMO, on a Rooster LP, Called "GRAND SLAM". It was made in the late eighties. I really hope it will be on CD someday soon. Loudness: At a blues show a few years ago (I can't remember who the artist was but I think I was Albert Collins) the sound was deafening. A friend and local musician told me that the people running the sound system were local soundmen who primarily did rock shows and didn't know that blues doesn't require the same amount of decibels. This could explain why the sound level varies from show to show with the same artist. -Bonnie ========================================================================= Date: Fri, 13 Oct 1995 10:43:07 -0500 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Re: R&B - Blues Comments: To: Bruce Roberts >Bruce Roberts asks the difference betwen blues and R&B. I'll try to tackle >this and those who know more than I can correct me if I'm wrong. Blues has been around since the beginning of the century, maybe a little before that. The earliest blues had some simpler formats but certainly by the teens the AAB (one line repeated twice then one that rhymes, sort of, most of the time) 12 bar format (EAEE, AAEE, BAEB for instance) though there were several other forms (8 bar, the "ragtime" format CADG like Sitting On Top of The World). This name and format held true through the Classic blues of the 20's, the country blues of the 20's and 30's and the beginnings of the combo/electric/urban blues shift of the forties. In the mid 1950's whites began latching onto this sound and created Rock and Roll. At the beginning of Rock and Roll several black artists were quite successfully involved, Chuck Berry, Little Richard and Fats Domino in particular, but shortly thereafter there developed a segmentation in radio patterns and associated record store marketing patterns and two seperate charts were established, a "pop" chart for that music aimed at white markets, and an "R&B" chart for that aimed at black markets, though there was some significant crossover. One significan element in this segmentation was that during the conservative fifties the rock and roll of blacks was considered too raunchy by some powerful white interests and was to some extent banned from white radio in favor of tidied up versions of the black originals by such white artists as Pat Boone. Blues as it had been known up til that point went through something of a decline among blacks and whites (until the folk revival of the sixties began to repopularize the form, particularly to a largely white audience.) Blacks at that point began to favor more sophisticated forms (still plenty of straight 12 bar arrrangements in early R&B) but things like bridges, backup singers, and group vocals began to alter the character of the music somewhat. It has always been interesting to me that this distinction between blues and R&B is one largely drawn by whites (and perhaps a few blacks in the radio or recording businesses.) Blacks, in my experience, for the most part, call both the blues of say Jimmy Reed, Muddy Waters and Howlin' Wolf, and the R&B of say Lavern Baker, Ruth Brown, Young Jessie, etc "blues". So just to recap briefly, R&B was a term coined in the fifties to deal with segmentation of the music market between blacks and whites, while blues goes back to the turn of the century or before. Corrections, comments, flames welcome. Joel Slotnikoff | BLUES WORLD e-mag Box 21652 | http://www.inlink.com/~joelslot St. Louis, MO 63109 | articles, images, reviews, (314) 647-2447 | 78rpm record auction joelslot@inlink.com | blueslinks Joel Slotnikoff | BLUES WORLD e-mag Box 21652 | http://www.inlink.com/~joelslot St. Louis, MO 63109 | articles, images, reviews, (314) 647-2447 | 78rpm record auction joelslot@inlink.com | blueslinks ========================================================================= Date: Fri, 13 Oct 1995 11:05:27 CST Reply-To: JBards From: JBards Subject: Re[2]: Shock and disgust in Indianapolis: B Guy Comments: To: Don Cicchetti Agree completely on Los Lobos: those guys are monster musicians. I saw them on a triple bill two years ago during New Orleans Jazzfest- Terrance Simien ( pretty good- you have to like sanyone who plays on stage barefoot) Los Lobos ( most excellent!) and the Neville Brothers ( what can I say? It's all been said.) Jim _______________________________________________________________________________ >RJ Bauman (still a HUGE Buddy Guy fan, but his shows don't move me even as >much as some rock acts like Los Lobos) >Los Lobos is so good it's SCARY... don't get me started... the best live >"Crossroads" I've ever heard... David Hidalgo is one of the best guitar >guys on the planet, and Cesar sing good blues too.... yikes! (met 'em >at the NAMM show... nice guys too!) >Don ========================================================================= Date: Fri, 13 Oct 1995 10:53:10 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Peace In Hell I ask again (about the 5th time) ...Who wrote "Peace In Hell"....That is on the JS/SP Back To The Country.... THANKS LW ========================================================================= Date: Fri, 13 Oct 1995 10:26:37 -0600 Reply-To: Joe Sciallo From: Joe Sciallo Subject: Re: S.F. Blues Clubs You can also point your browser at: http://www.sfgate.com/chronicle/pink-section/nightlf.html#NIGHTCLUBS This is the Sunday edition of the S.F. Chronicle's Datebook section, which carries weekly listings for all the Bay Area clubs. (Of course, you'll have to sift through them all to find the blues...) - Joe S. > If you have access to America Online, there's an SF Blues folder in the > Blues section of the Music Message Center. Just Goto Keyword Music > Message Center. > > Another good place to look is Pollstar at: > > http://www.pollstar.com/ > > Just search by city for San Francisco. It will give you lists for all the > cities in the area. > ========================================================================= Date: Fri, 13 Oct 1995 11:26:24 CST Reply-To: William Shute From: William Shute Subject: latest HASH BROWN cd (follow-up to J-P U.) From: Bill Shute Thanks to the ever-tasteful Jean-Pierre for his fine review of Hash Brown's second (to my knowledge) solo album. This album is a bit different from Hash's first, Euro-only album, which I reviewed on blues-l way back when. ROLLIN BLUES is not rooted just in the late 40s/early 50s Texas jump blues/proto-R&B style of Zuzu Bollin, Goree Carter, Texas Johnny Brown, etc. This is a far more diverse album with many kinds of influences. As J-P has noted, Hash also blows a mean harp, and I like his mush-mouthed down-home vocalizing on a few of the witty, Louis Jordan-esque compositions. He can also sing convincingly in a number of styles. US residents can order the album from Hash Brown himself for $l7.00 postpaid. Write to Brian Calway(and make the check/m.o. out to Brian Calway), 8329 Banquo, Dallas, TX 75228. 'Tho his playing is intense and soulful and completely steeped in Texas Blues, there's not a note of excess in Hash Brown's playing, and many guitarists could take lessons in subtlety and EFFECTIVE playing from Mr. Hash Brown. He's so in-demand in the DFW area that I don't know when he'll be getting down to San Antonio, but you can be sure that I will be there when he does play SA next. Bill "hash brown fan" Shute San Antonio, TX I can almost smell the mesquite-wood smoking when I play hash's tune about BBQ from the new "Rollin' Blues" album. ========================================================================= Date: Fri, 13 Oct 1995 12:17:37 -29900 Reply-To: Michael Kaloyanides From: Michael Kaloyanides Subject: Re: Los Lobos (minimal Blues content) Comments: To: JBards In-Reply-To: <9509138136.AA813606942@mail-sh.lsumc.edu> A number of years ago I saw Los Lobos share the stage with Dr. John at a concert on a Maine college campus. It was one of the best shows I've seen. Michael G. Kaloyanides Department of Music & Sound Recording University of New Haven ========================================================================= Date: Fri, 13 Oct 1995 10:00:07 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Too D--- Loud Comments: To: BLUES-L@BROWNVM.BROWN.EDU. >On 12 Oct 95, Don Cicchetti had this to say... > >> Lets stop putting up with horrible sound pressure levels at shows... >> It's stupid, destructive, and sounds like garbage anyway... > >> This won't change until we make it change. P.W. Fenton said: >Trouble is, you have probably already paid 30 bucks for a pair of >tickets long before you have any idea how D-- LOUD it's gonna be. So >walking out has little effect beyond saving your hearing. Any >protests, or attempts at obtaining a refund will likely fall on >(sorry) deaf ears. And if you manage to get a refund it won't >include the enormous "Ticketron" service charge. Sad but true... Some suggestions: Call the venue manager the next day... Use words like "Permanent Hearing Damage", "Call My Lawyer", "Write the City Coucil", "Start a Petition" Write the band! Write a letter to the Editor of your newspaper! All these have gotten some (not as much as is needed) changes made... And I felt better! Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Fri, 13 Oct 1995 13:35:18 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Blues Societies and Blues Stars -Reply Comments: To: roger.lew.struve@medtronic.com First of all, let's make it very clear that there is a sharp distinction between major festivals sponsored by blues societies and individual monthly (bimonthly? semi-monthly?) musical events are are scheduled around society meetings. It is my opinion that blues societies should not fucntion to employ musicians who can otherwise by hired by commercial means. If a club is willing to book Otis Rish, the local blues society should send a signal to the club that they will support this booking by encouraging the membership to attend. A blues society should hire those talented musicians who do not have the commercial visibility to work regularly. This is especially difficult for the solo artist such as Jack Owens, Paul Geremiah, Roy Bookbinder, Mary Flower, Honeyboy Edwards, etc. (I have not listed Robert Lockwood Junior since he now seems to be getting his piece of the pie.) A society should decide if they want their gatherings to be. It's a little hypocritical to love Jack Owens and Jesse Mae Hemphill and then go out and hire Little Charlie and Debby Davies. Having worked with older traditional artists over a period of time, I can tell you that 'time & travel' are just as important as dollars when it comes to bookings. I can recall a few years ago when I discovered that a cavaran of six or seven older Mississippi Delta artists went from their homes to New York City for perform about 30 minutes each and then return home the next day. This is so stupid that it boggles comprehension. Why not have societies contact universities and urge the schools to find funds for Black History Month (i.e. February) and bring older African-American artists on campus as guest lecturers during then daytime and then perform in concert in the evening. I realize that this seems daunting but it is well worth the effort if an artist can get mutiple bookings after they have traveled a great distance. OK, chew on that for awhile . . . Dick Waterman ========================================================================= Date: Fri, 13 Oct 1995 10:45:53 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Newbie wants to learn guitar--advice Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Riffin Rick said: >My recommendation to you is to get a nylon-stringed "classical" guitar as a >starter and take some classical lessons. My rationale for this (besides the >fact that this is how my brothers and I started) is as follows: > >The guitar itself is a great teaching tool. The body is small and easy for >people to work on. Often, beginners have trouble getting their arms around >a big-bodied folk guitar. The nylon strings are easy to work and are amenable >to all different kinds of tone, depending on hand-muting and fingerings. The >frets tend to be wide, as is the neck, and if you learn how to play on one of >these, and get clean tones even when your 1st and 4th fingers are four frets >apart, you can play ANYTHING. An electric is like a toy in your hands. > >Seriously. > >Secondly, as for the classical lessons. Even though they may bore you to >tears, >you will learn finger techniques with both left and right hands that will make >you a much better guitarist than the average joe. Many a player who goes >straight to rock-style playing never learnds how to use all five fingers of the >right hand for finger picking and getting the various tones and mutings of the >strings while keeping time and working a bass line simultaneously. And as for >the left hand, you will learn exercises, scales, speed, tone, and deadly >accuracy that you carry over into ANY guitar style and put you way ahead of >the game, and the pinky finger gets a real workout. Lots of players out there >who's pinky is as useless as tits on a bull (pardon me, ladies). > >Do this for a solid year or two, and you will already have an awesome palate >of guitar skills when you transition to blues/R&B/country/rock...you name it. >You must KNOW the instrument and at least a bit of theory to make you a well >rounded player. Then you'll smoke 'em with your blues playing. :) One little niggle... I found that a lot of classical training didn't translate well to steel string electric for the following reasons. 1. I didn't build up my hands very much on a nylon string guitar. 2. You don't learn anything about muting when learning classical and muting is real important when you play electric loudly or with overdrive. 3. Vibrato on classical is done with an arched, single finger, and the thumb on the back of the neck, this doesn't work for electric very well because you can't get much leverage and more than one finger on the string. If you watch BB's vibrato you will see that he has the neck in his hand between the thumb and forefinger, and is pivoting back and forth on the palm for his vibrato. A classical teacher would NEVER let you do this... (unless they are a blues fan of course... ;-] ) Having said that, these things are pretty easy to learn once you have the basics down. but you will have to shift gears at one point. From what I have heard of Rick, he's a great player, so it obviously works! I would say to get a good, well setup electric, but do all your practicing unplugged (no Zoom boxes or other stuff either) and learn to play the strings and the wood and the pick, (and use that pinkie!) rather than the amp and the effects. I never got real good at guitar until I learned to practice unplugged. What a difference! AND you can run scales during "Combat" reruns!!! cuz the solid bodies are so quiet unplugged. Remember, there are many paths. Start to develop your own. Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Fri, 13 Oct 1995 11:01:54 -0700 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Re: Willie Kent The last time the Gents were out here in March/April they were: Willie Davis and Jake Dawson (gtrs) Willie Kent (bs, vo) Ken Barker (keyboard) I can't remember the drummer's name, he is a thin bald guy. He was very nice. My wife and I talked to him for a while. Joe ========================================================================= Date: Fri, 13 Oct 1995 11:03:27 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Los Lobos (minimal Blues content) Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Michael Kaloyanides said: >A number of years ago I saw Los Lobos share the stage with Dr. John at a >concert on a Maine college campus. It was one of the best shows I've seen. Yeah! Well I want them to do a blues album, and between the two wonderful guitar players, and one guy who sings like Winwood (only better) and another who sings like a cross between Ray Charles, John Fogerty, and Sam the Sham, I think it would be the blues album of the year! Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Fri, 13 Oct 1995 14:03:40 -0400 Reply-To: WGINFOCTR@AOL.COM From: WGINFOCTR@AOL.COM Subject: Blues info and archives Comments: To: INT@blues-l@brownvm.brown.edu Hello Blues fans, I am looking for information on the popularity of blues music i.e. statistics on number of records sold, clubs across the states, number of artists, festivals, etc. General information on how it has gained popularity over the past few years and some demographics on fans would also be of interest. Do you have an archives database for your listserv or is there another resource I should contact for this type of information? Any bits of information would be appreciated. Thanks for your help in advance. Tracey (e-mail: wginfoctr@aol.com) ========================================================================= Date: Fri, 13 Oct 1995 11:07:00 -0700 Reply-To: NED_KRAFT@HP0000.DESK.HP.COM From: Ned Kraft Subject: Blues/R&B One comment on Joel's description. I think the blues/R&B usage is age, not race, based in my experience. Most everyone I know who grew up after the term R&B was coined use it as a description of Motown and similar sounds. Usage varies considerably by region - some places blues is called jazz for example (heard it from many on the west coast and folks with a military upbringing. For me Muddy is blues, Motown is R&B. I dig both and don't sweat the phraseology. Dirty Ned ========================================================================= Date: Fri, 13 Oct 1995 18:21:09 GMT Reply-To: Karl H Fleischmann From: Karl H Fleischmann Organization: The University of Texas at Dallas Subject: UTD Blues Festival, Dallas 10/28 Comments: To: bit-listserv-blues-l@ncar.ucar.edu Hey all- The University of Texas at Dallas is having its first blues festival on October 28. The lineup includes: Tu Tu Jones Tyrone Starks Kenny Kay Blue Lisa and the Howling Dogs Bubba Johnson Band Show starts at 12:00 noon and is FREE. If you are going to be in town, come on out and help support us in what will (we hope) be the first of many blues festivals. DIRECTIONS: The University of Texas at Dallas is located in Richardson Texas, just north of Dallas in Dallas County. Go north on I-75 to Campbell. West on Campbell to North Floyd Road. Go in through the Main Gate. The show is outdoors on the mall next to the Green Center. For more Information: call (214) 883-2945 Hope we see you there! KHF ========================================================================= Date: Fri, 13 Oct 1995 13:00:47 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Newbie wants to learn guitar--advice Comments: To: Don Cicchetti In-Reply-To: <199510131741.KAA23892@vega.lasierra.edu> Since winter is coming and there's a thread about learning guitar, it's probably the right time to repeat a story I once heard about M.T. Murphy, who supposedly developed his speed and facility (and hopefully not future arthritis/rheumatism) partly by practicing in his car during winter, with no heat, figuring that if he could move quickly in the bitter cold, his muscles would be like lightning at room temperature. Just to cover my rear, this is 1) just hearsay and 2) a story, not a recommendation! ========================================================================= Date: Fri, 13 Oct 1995 11:37:09 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Newbie wants to learn guitar--advice Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Richard Shurman said: >Since winter is coming and there's a thread about learning guitar, it's >probably the right time to repeat a story I once heard about M.T. Murphy, >who supposedly developed his speed and facility (and hopefully not future >arthritis/rheumatism) partly by practicing in his car during winter, with no >heat, figuring that if he could move quickly in the bitter cold, his >muscles would be like lightning at room temperature. Just to cover my >rear, this is 1) just hearsay and 2) a story, not a recommendation! YIKES! Wonder if it worked? (or if he ended up with the fastest fingers for a guitar dude with a frozen keister?) great story Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Fri, 13 Oct 1995 14:48:18 -0400 Reply-To: Tom Morgan From: Tom Morgan Subject: Re: R&B - Blues Comments: To: joelslot@inlink.com In-Reply-To: <199510131543.KAA11606@vulcan.inlink.com> from "Joel Slotnikoff" at Oct 13, 95 10:43:07 am In another time and place, Joel Slotnikoff said: > > >Bruce Roberts asks the difference betwen blues and R&B. I'll try to tackle > So just to recap briefly, R&B was a term coined in the fifties to deal with > segmentation of the music market between blacks and whites, while blues > goes back to the turn of the century or before. Joel, pretty good job. I did want to mention that Jerry Wexler coined the term Rhythm and Blues in 1949 as a replacement for "Race Records." I think of rhythm and blues as being blues out of the city with an uptempo beat. I always thought of Louis Jordan as being a good example of rhythm and blues but he never made it on to the RnB charts when he was big. So who knows? I have always refered to the black doo-wop groups as rhythm and blues vocal groups. Charles Brown, The Treniers, Ivory Joe Hunter, Wynonie Harris, Amos Milburn, Jimmy Liggins, Roy Milton are but a few in my Rhythm and Blues Hall of fame. :) Tom ----------------------------------------------------------------------------- My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Fri, 13 Oct 1995 14:33:43 -29900 Reply-To: Michael Kaloyanides From: Michael Kaloyanides Subject: Re: R&B - Blues Comments: To: Joel Slotnikoff In-Reply-To: <199510131543.KAA11606@vulcan.inlink.com> On Fri, 13 Oct 1995, Joel Slotnikoff wrote: > >Bruce Roberts asks the difference betwen blues and R&B. I'll try to tackle > >this and those who know more than I can correct me if I'm wrong. > > So just to recap briefly, R&B was a term coined in the fifties to deal with > segmentation of the music market between blacks and whites, while blues > goes back to the turn of the century or before. > > Corrections, comments, flames welcome. As well as I can determine, the term RHYTHM & BLUES was coined by Jerry Wexler in 1949. In the late 40's he was a writer for BILLBOARD and later a producer for Atlantic Records. In June of 1949 BILLBOARD replaced the terms HILLBILLY and RACE musics and replaced them with COUNTRY & WESTERN and RHYTHM & BLUES respectively. Michael G. Kaloyanides Department of Music & Sound Recording University of New Haven ========================================================================= Date: Fri, 13 Oct 1995 13:47:56 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Willie Kent's drummer Comments: To: Joe Lempkowski In-Reply-To: <199510131801.LAA11668@bluesman.incog.com> Willie's drummer is Cleo "Bald Head Pete" Williams, who is also the father of guitarist Michael Coleman. ========================================================================= Date: Fri, 13 Oct 1995 15:09:51 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: Re: TOO D--- LOUD > Sad but true... Some suggestions: Call the venue manager the next > day... > Use words like "Permanent Hearing Damage", "Call My Lawyer", "Write > the > City Coucil", "Start a Petition" > > Write the band! Write a letter to the Editor of your newspaper! If you REALLY want to get at them, threaten to involve the EPA and OSHA. Both have very nasty loud noise regulations. Of course, the real way to deal with it is spend some money on earplugs. I use the disposable foam type, 29 DB reduction, that you can get in most good drug stores for about 50 cents. I have never had "ringing" since. Don O. ========================================================================= Date: Fri, 13 Oct 1995 15:20:25 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: LATEST HASH BROWN CD (FOLLOW- > From: William Shute > He's so in-demand in the DFW area that I don't know when he'll be > getting > down to San Antonio, but you can be sure that I will be there when > he > does play SA next. His schedule for October shows 23 gigs in the DFW area. They do keep busy. > I can almost smell the mesquite-wood smoking when I play hash's tune > about BBQ from the new "Rollin' Blues" album. Actually, that tune was written by Jimmy Morello (vocalist for The Prowlers). It's called "Greasy Pork Pete" and it really is an amazing little swing style blues tune. Don O. ========================================================================= Date: Fri, 13 Oct 1995 15:22:39 -0500 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: R&B - Blues > Joel, pretty good job. I did want to mention that Jerry Wexler coined the > term Rhythm and Blues in 1949 as a replacement for "Race Records." I > think of rhythm and blues as being blues out of the city with an uptempo > beat. I always thought of Louis Jordan as being a good example of rhythm > and blues but he never made it on to the RnB charts when he was big. So > who knows? I've always thought of Louis Jordan as a good example of Jump Blues. So what's the difference between Jump Blues and R&B? Bruce Roberts Austin, TX ========================================================================= Date: Fri, 13 Oct 1995 16:59:07 -0400 Reply-To: Hanson123@AOL.COM From: Karen Hanson Subject: Re: B Guy Barry Silverberg wrote the following reply: >Karen Hanson (Hanson123@AOL.COM) wrote: >: [[[I've seen a few negative comments about Buddy on this list >(which is fine, >: to each his/her own!), but I haven't heard a better version of >5 Long >: Years' than his. Can anyone tell me about his releases from >the seventies >: and early eighties, and whether they're worth owning? >Thanks!]]] > Karen, > Buddy Guy's late 70's and early 80's discs are for me his >best >work ever. Two of them appear on the JSP label - D.J. >Play My >>>>>AND ETC. Thanks, Barry, but I just wanted to point out that I did not ask the original question--it was somebody named Jeff, I believe. Instead, I was attempting to quote his question in reference to a reply--something I haven't learned how to do effectively on the Blues-L. I'm quite familiar with Buddy Guy. Forgot to mention in my original reply, however, Acoustic & Alone, which presents a side to Buddy that has been rarely heard, I think. Karen ========================================================================= Date: Fri, 13 Oct 1995 16:59:10 -0400 Reply-To: Hanson123@AOL.COM From: Karen Hanson Subject: Re: B Guy--Wait a minute, now! Beef Stew wrote this note: To: Hanson123@AOL.COM >You wrote: >I've seen a few negative comments about Buddy on this list >(which is fine, >to each his/her own!), but I haven't heard a better version of >`5 Long >Years' than his. Can anyone tell me about his releases from >the seventies >and early eighties, and whether they're worth owning? Thanks! >I write: >Check out the new JSP release Buddy Guy - Live at the >Checkerboard Lounge, >Chicago 1979. It's prob'ly Buddy captured live at his best. >Beef Stew GEEZ!!!! I promise I did not ask this question!!! My error was in trying to quote the guy who DID ask the question. See, Jim, I TOLD you I'd be in trouble if I tried to post here!!!!! Karen Conversant with Buddy Guy, thank you very much! ========================================================================= Date: Fri, 13 Oct 1995 17:12:00 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Blues info and archives Comments: To: WGINFOCTR@aol.com Start by getting some figures from NAIRD (National Association of Independent Record Distributors) which should be able to provide you with accurate numbers. I think that Bruce Iglauer of Alligator Records is a NAIRD officer. Attendence figures are difficult because weather is such a factor. The tail end of a hurricane really hurt Birmingham last weekend but a couple of hundred miles away, King Biscuit (Helena, Ark.) did their biggest numbers ever. Any of the bigger blues agencies (i.e. Rosebud, Concerted Efforts, Tom Gold, Monterey Peninsula, etc.) have accumulated a database of blues talent buyers, but I wouldn't be sure that they'd give that information away just for the asking. The Blues Foundation in Memphis tries to act as a clearing house for blues information but be aware that they serve as a PR aspect for the music so you'll only get the upside of what is happening. Bill Cherry of the Las Vegas Blues Society compiles an annual listing of blues festivals that is comprehensive and reliable but this is only a where/when compilation and does not reflect which ones have been successful in the past. Dick Waterman ========================================================================= Date: Fri, 13 Oct 1995 21:13:40 GMT Reply-To: Jeff From: Jeff Organization: Primenet Subject: Casting for Los Angeles photo shoot Comments: To: bit-listserv-blues-l@uunet.uu.net I am currently casting for blues bands to be used in an upcoming photo shoot. Bands should have at least one guy who is a "John Lee Hooker" type (only a little younger than John Lee). Pay is $500 per member per day. MUST BE LOCAL TO THE LOS ANGELES AREA NO REPLIES AFTER SUNDAY OCT. 15th 1995 ========================================================================= Date: Fri, 13 Oct 1995 14:59:16 PST Reply-To: Mike McCourt From: Mike McCourt Subject: Re: B Guy--Wait a minute, now! Karen, Don't take it personal. Though the replies may be to something someone THOUGHT you said, they are directed to the list in general. I think the assumption is the interest in BG is wider than just the person asking the question. Otherwise they would use private e-mail, wouldn't they? Wouldn't they...??? Mike ______________________________ Reply Separator _________________________________ Author: Hanson123@AOL.COM at ccUnix Beef Stew wrote this note: To: Hanson123@AOL.COM >You wrote: >I've seen a few negative comments about Buddy on this list >(which is fine, >to each his/her own!), but I haven't heard a better version of >`5 Long >Years' than his. Can anyone tell me about his releases from >the seventies >and early eighties, and whether they're worth owning? Thanks! >I write: >Check out the new JSP release Buddy Guy - Live at the >Checkerboard Lounge, >Chicago 1979. It's prob'ly Buddy captured live at his best. >Beef Stew GEEZ!!!! I promise I did not ask this question!!! My error was in trying to quote the guy who DID ask the question. See, Jim, I TOLD you I'd be in trouble if I tried to post here!!!!! Karen Conversant with Buddy Guy, thank you very much! ========================================================================= Date: Fri, 13 Oct 1995 17:57:14 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: Bocktoberfest announcement/ beer DUTTWEILER.J@GOMAIL wrote: Subject: Bocktoberfest announcement/ othe In-Reply-To: The letter of Friday, 13 October 1995 9:00am ET "The beer may be flowing by the keg, but, no offense, Shiner bock must be one of the worst beers I have ever tasted." I write: Amen! Having lived in Houston for a number of years, we used take visitors to the Shiner Brewery because IT IS A COOL PLACE TO SEE, but I didn't ever want to dring the FREE beer they give you while you're there! Beef Stew ========================================================================= Date: Fri, 13 Oct 1995 19:02:23 PST Reply-To: "D. ALLEN SIMPSON" From: "D. ALLEN SIMPSON" Subject: Los Lobos I truly don't spend much time talking on the discussion list, but this topic brought me to want to talk for some reason. I think Los Lobos is one of those of groups that tend to be able to cross musical boundaries & still garner some respect from listeners in the different musical genres. Over the course of the existence of blues-l (I'm a member from the inception) I've seen Los Lobos talked about before. I'm interested in their work & how they approach different musicial genres. Recently I saw the film "Desperados" & really enjoyed the music, which I found out later (stayed to actually watch the credits) was done by Los Lobos. I haven't yet actually listened to the soundtrack, but I"d like to check it out. One of the best ACL shows I taped was a segment that featured Los Lobos. Not strictly a blues band, but their approach still grabs me and pulls me. Doug S. ========================================================================= Date: Fri, 13 Oct 1995 21:01:42 -0500 Reply-To: Craig Edmundson From: Craig Edmundson Subject: Re: Buddy Guy's Repertoire Comments: To: Bob vanArsdall In-Reply-To: In the late 1960s, William R. Ferris, Jr. studied the repertoires of two bluesmen: James Thomas, from Leland, MS; and Scott Dunbar, from Lake Mary, MS. He concluded that "black singers who perform regularly for local whites develop a repertoire designed to satisfy the tastes of whites which is markedly different in both style and content from that used for black audiences." Perhaps this partially explains Mr. Guy's different "shows." Source: William R. Ferris, Jr. "Racial Repertoires Among Blues Performers," ETHNOMUSICOLOGY 14 (No. 3, 1970): 439-449. On Fri, 13 Oct 1995, Bob vanArsdall wrote: > people have commented heatedly about his shows being different in one > venue than another. ========================================================================= Date: Fri, 13 Oct 1995 22:02:32 -0400 Reply-To: KGIBSON743@AOL.COM From: Kevin Gibson Subject: Coco Montoya Can anyone supply me with a list of Coco's works? ========================================================================= Date: Fri, 13 Oct 1995 22:12:22 -0400 Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: 1966 CBC-TV Special, "The Blues" (was RE: Various) Comments: To: bit-listserv-blues-l@uunet.uu.net In article <951013002233_122817432@emout04.mail.aol.com> Steve Fay writes: >In the Muddy Box Set there is a picture of Muddy, Willie, Bukka, Big Joe, >Sonny, and others watching a playback of a 1966 CBC-TV Special, "The Blues". > Is there by chance a recording of this? There's a video store on N. Clark St in Chicago that has this available on video (at least I think its the same video). I can't think of the name of the store but Rob Varak turned me on to it and can probably give you a name and number. If not, I'm in Chicago this weekend and will try to look it up for you. Art Schuna ========================================================================= Date: Fri, 13 Oct 1995 19:20:54 -0400 Reply-To: Patrick Lynch From: Patrick Lynch Subject: Re: Los Lobos (minimal Blues content) >A number of years ago I saw Los Lobos share the stage with Dr. John at a >concert on a Maine college campus. It was one of the best shows I've seen. > >Michael G. Kaloyanides >Department of Music & Sound Recording >University of New Haven > I used to run a small blues club in Seattle, and we had a successful Monday night Jam session for several years. On one Monday night, three of Los Lobos' members dropped in and sat in. I have to admit that I had reservations, but they turned out to have a fantastic feel for the blues. In addition, they were entirely gracious, inviting our local musicians to play with them, and generally acting as just part of the crowd of locals who came to play each Monday. Such was not always the case with nationally known players dropping in. The Wolves won my admiration that night, as blues players and as humans. Just my two cents. Patrick Lynch Find the Blues at "Caldonia's Online Blues", Windows/Excalibur , 206-402-4675 ========================================================================= Date: Sun, 1 Oct 1995 00:55:24 EDT Reply-To: Joseph Leichter From: Joseph Leichter Subject: Re: posts from Crusader@national alliance With programs like Eudora, its easy as pi to send an email reply to these sob's with an attachment of , say, 500 megs ;-) Give 'em the blues *real* bad ========================================================================= Date: Sun, 1 Oct 1995 01:36:44 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Blues People Hate I could ALWAYS clear a room with THE FUGS. It ain't exactly Blues, but people who don't know sh*t about Blues, don't know the difference! Beef Stew - WHUS Radio http://www.ucc.uconn.edu/~whusfm ========================================================================= Date: Sun, 1 Oct 1995 02:18:17 -0400 Reply-To: SOO3713@OCVAXA.CC.OBERLIN.EDU From: Owen Okie Subject: Buddy Guy tour?!!!! Wow! Buddy Guy's touring? Could someone PLEASE send a schedule, or info on how to find a schedule? Thank You, I will love you forever :) Owen ========================================================================= Date: Sun, 1 Oct 1995 02:32:12 EDT Reply-To: Joseph Leichter From: Joseph Leichter Subject: More on Crusader Also got the adress national@netgate.net for the sob. The adress for the provider is noc@netgate.net. .... ========================================================================= Date: Sun, 1 Oct 1995 03:04:04 EDT Reply-To: Joseph Leichter From: Joseph Leichter Subject: Crusader-slime info Typing 'whois natvan.com' from Unix shell reveals the following: National Vangaurd Books P.O.Box 330 Hillsboro WV 24956 Domain Name: natvan.com Administrative Contact: Harding, Jack (JH793) national@natvan.com 304-653-4600 Technical Comtact, Zone Contact: Operations Center, Netgate Network (NNO) 408-565-9601 noc@netgate.net Domain servers listed in order: NS.NETGATE.NET 204.145.147.12 NS.NETGATE.NET 204.145.147.16 ========================================================================= Date: Sun, 1 Oct 1995 02:00:06 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: NASHBORO 4502 : THE CONSOLERS - BEST OF Comments: To: BluesHvn@aol.com NASHBORO 4502 : THE CONSOLERS - BEST OF ============================================================================== Today is Sullivan Pugh's 70th birthday, and what better way to celebrate it than to listen to THE CONSOLERS, a duo he & his wife Iola first formed in 1952. Sullivan Pugh, born October 1, 1925, Punta Gorda, FL., first met Iola Lewis in March 1949, just after his Navy service when he came to Miami. Her sister & father had just moved to Florida from Columbus, GA., and during one of those sunday afternoon 'gospel tent' meetings, she met Sullivan. By November 1950, they were married, and started their 40+ year journey on the gospel highway, first as members of The Miami Soul Stirrers (Deluxe/Glory Records, 1952/53), then with the financial help of Iola's father (Enel Lewis), they formed The Spiritual Consolers, recording for Deluxe Records (1953). They joined Nashboro Records in 1955, by this time they were known simply as THE CONSOLERS. With Sullivan as manager, songwriter, guitarist & tenor vocalist, and Iola on soprano, they would become one the most famous husband-wife gospel teams, recording over 25 albums, performing a unique brand of downhome southern gospel. A few of their songs - "Waiting for My Child to Come Home" ('65), "Give Me My Flowers (While I Live), ('55)" and "May The Work I've Done Speak for Me" ('65) - would become gospel favorites, some being recorded by Shirley Caesar, The Mighty Clouds of Joy, The (Sensational) Williams Brothers, the late Rev. Julius Cheeks (1929-1981) and the late Rev. James L. Cleveland (1931-1991). Today, Sullivan is retired, living in Northwest Dade, FL. Iola Lewis Pugh died at the age of 68, on October 11, 1994, Miami, Fl., survived by Sullivan, her sister (Lenora Lewis Braden), a nephew "son" (Lawrence B. Hill) (which they raised as their son) and stepmother Camilla Lewis. Give this CD are try, you may just like their honest direct blues-type moans. Contents -------- 1. Waiting For My Child To Come Home - 2. Give Me Flowers - 3. May The Work I've Done Speak For Me - 4. His Child Is Aboard - 5. Thank God Things Are As Well As They Are - 6. Somewhere Around God's Throne - 7. Lord Bring Me Down 8. Too Late - 9. Won't It Be Grand - 10. Don't Let Anything Shake Your Faith 11. Every Christian Mother - 12. Together We Will Stand - 13. Over Yonder 14. Since The Lord Laid His Hands On Me Others in the AVI NASHBORO CD series ==================================== NASHBORO 4001 VARIOUS - BEST OF NASHBORO RECORDS NASHBORO 4002 VARIOUS - IT'S JESUS Y'ALL - SOULFUL SOUND NASHBORO 4003 FAIRFIELD FOUR - STANDING ON THE ROCK NASHBORO 4004 HIGHTOWER BROTHERS - BEST OF NASHBORO 4005 SKYLARKS - BEST OF NASHBORO 4006 REV. DR. MORGAN BABB - KEEP THE FAITH NASHBORO 4007 RADIO FOUR - RADIO FOUR COLLECTION NASHBORO 4008 MADAME EDNA GALLMON COOKE - GREATEST RECORDINGS NASHBORO 4501 WILLIE NEAL JOHNSON & THE GOSPEL KEYNOTES - BEST OF NASHBORO 4502 CONSOLERS - BEST OF NASHBORO 4503 SWANEE QUINTET - BEST OF NASHBORO 4504 BROOKLYN ALL-STARS - BEST OF NASHBORO 4505 TROY RAMEY & THE SOUL SEARCHERS - BEST OF NASHBORO 4506 HOWARD "SLIM" HUNT & THE SUPREME ANGELS - BEST OF NASHBORO 4507 BROTHER JOE MAY - BEST OF NASHBORO 4508 DOROTHY LOVE COATES & GOSPEL HARMONETTES - BEST OF NASHBORO 4509 ANGELIC GOSPEL SINGERS - BEST OF NASHBORO 4510 PILGRIM JUBILEE SINGERS - HOMECOMING NASHBORO 4511 SISTER LUCILLE POPE - BEST OF NASHBORO upcomingKELLY BROTHERS NASHBORO upcomingREV. CLEOPHUS ROBINSON ========================================================================= Date: Sun, 1 Oct 1995 04:16:11 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: E.C. reviews: Chicago pt.1, best, worst Comments: To: slowhand@daacdev1.stx.com Comments: cc: Dave Hillman , jgallman@onramp.net, Rob Varak RE: Rob Varak's msg that Chicago was the best E.C. show ever. PLUS: Full Chicago Review NOTE: This will be sent as a series because it is detailed. Track listing to follow at the end Yeah, Chicago! It was among the top 4 shows I've seen and they are all number 1 in some way! I've seen 2 Chicago, 1 Tampa, and 5 RAH shows since '93. --------------------------------------------------------------------------- Top Four E.C. Shows --------------------------------------------------------------------------- #1 1. United Center, Chicago, Oct. 21st 1994: Row 2, Mezzanine, Stage right, apprx row 20 out from stage Very intense performance! Excellent all around. E.C. not as loose as later shows. His vocals not as confident. But, we got to hear "Cut Your Head" for the very first time and "Crosscut Saw", and "Born Under A Bad Sign" were there. Had "County Jail" still. His performance of "Five Long Years" left me in tears, Eric was off in guitar nirvana on that one, It was the best, most tuned into the Ether, performance of a song by Eric I've seen. Plus an encore of "Sweet Home Chicago" just for us, jammimn' with Jimmy Vaughn. I was emotionally exhausted and energized when the lights went on. The Chicago crowd didn't fail to let him know we loved it. --------------------------------------------------------------------------- #1 2. Royal Albert Hall, London, Wed. Mar. 1st 1995 - 'Grammy Night': Row 4, Stall ?, just right of the soundboard Eric knew by show time that he had won the Grammy so he came out effervescent and talkative. Smiling and obviously pumped, he just strangled the neck of each guitar, shaking vibrato out of the neck. I've never seen him attack the acoustic part of the show with such intensity. I swear "Double Trouble" and "Early In The Morning" were additions that were not in the Monday night show, I'll have to check my tape because "Where's Eric" says "Double Trouble" was not in. We got to hear "Got My Mojo Working" as the only encore. I think this night was the one were we heard the "Phewww" pause at the end of Five Long Years for the first time (might have heard it Monday, though). I would like to know if anyone heard him do that previously and when. I would like to think that it was spontaneous that night, naturally resulting from the fever pitch he had worked into, and that he decided to add it for some later shows. --------------------------------------------------------------------------- #1 3. Royal Albert Hall, London, Fri. Mar. 3rd 1995 Row 6, Stall ?, barely right of the soundboard With Eric still in good spirits, we were full of anticipations for this show. We had run into Jeff Beck in the lobby and talked to him for a moment. I thought that knowing Jeff was in the audience might drive Eric a bit tonight. He came out and performed a great show. But, he was taking chances tonight on the guitar that I had never seen him take. Very abandonded for Eric! While soloing during "44", at the V chord measure, he went even higher up the neck - out of the key of the song - and, whether on purpose or from sheer momemtum of the 'into-it-ness' of the moment, followed through on it and it was amazing. That is the kind of moment that I play for and to see him do that was very satisfying. It's a bold move, to go to a note because your soul tells you to (may even be a 'wrong' note, a 'mistake') and follow it wherever it leads. If you don't follow through, then it becomes a mistake. When Judith heard "Blues Before Sunrise" at this show, she was moved to tears. Before she always watched his face (enamoured, girl zone, thing). I had been teaching her bass and showing her the different expressions and phrases that a guitarist can use (vibrato, bending, going higher), so she had started watching his hands (still does, now). It was an ephiphany (not world wide, unfortunately - a Todd reference). While "T'aint Nobody's Business" was going on, I went back to the box where Jeff was sitting and waited for the show to end to get his autograph, etc (long timers will remember this part, sorry). He signed our stubs and 'autographed' some Fender Thin picks. The pen wouldn't write on the celluloid, so I told him to do whatever, make a mark. He punched a hole in the first pick, with the pen. Looking pleased with his solution to the problem, he proceeded to poke holes in the remaining picks. I asked him when he was going to do a Blues album and he said, "Well, I don't think I really need to now, eh?" and winked - meaning, "Eric's done a great job of it" (and besides, I like early Rock and Roll more than Blues?). Still one can dream. --------------------------------------------------------------------------- #1 4. United Center, Chicago, Oct. 24th 1995: Row 20 Center, Seats 1 - 8 After seeing the St. Pete show, I had a miniscule nagging doubt about this show. I hoped that the combination of this being the last show of the U.S. tour and being in the 'Home of Electric Blues' would spur him on. I also hoped that they used a local sound company (see below). I talked to Jerry Portnoy again before the show. We were talking harps and I couldn't understand what he said when he mentioned the brand of harps he's using now - "Lefson-Harris" or something (anybody got any idea what it could be, I don't think it was Joe Filisko from Joliet?). He said he's paying $75.00 a piece for them but they hold up. I told him we had heard that the next RAH would be non-blues old E.C. material because "Crossroads 2" was going to be released to coincide with it. He had heard no such thing and commented, "I hope not. I hope I'm there again". We found our seats but not everone was there. Chuck, from RAH '95, and Carla and Chuck's roommate were there, but Kay and Larry weren't (Kay does a segment on Jonathan Brandmier's syndicated WLUP Chicago radio show called "Ask the Travel Agent" - yeah, our agency is getting to be a real music travel agency. Johnny calls and gives her a hard time and Kay gives it back!). Dave Hillman, who runs the 46One Ocean Blvd. web site wasn't anywhere? There was a guy sitting in his seat. I said, "Hey, Dave's not here!", whereupon the guy got up and introduced himself as Dave Hillman. I'd never met him and it just didn't cross my mind that that was him sitting in his seat, duh. Dave gave me some tapes that someone had found in parking lot at a couple of other Clapton shows ('74 and Irving Plaza). Clarence Gatemouth Brown came out and played his new Washburn (he now endorses them). The old Firebird III was nowhere in sight. I could feel his fingers sticking on the new frets. A really appreciated set. The Chicago crowd loves it Blues. Loved the sax solo and Gatemouth's Fiddle too. I'm sure it was a great send off for the end of the U.S. tour. When the lights came up we went to see if we could find Kathy and Dean Hass and Dean's brother, sister-in-law and nephew. All except the nephew went with us to RAH '95 (he's going this year). Dean used to play drums for Jimmy Roger's until Jimmy started touring again. I had forgotten my wallet at home with their seat numbers, so, we didn't find them. Back to our seats to hear Eric. Kay and Larry made it. So all was well. We settled in as the lights went down. The new Clapton model Martin was in Eric's lap. Into the first verse of "Motherless Child" I realized that I had forgotten to unpause my... err... stopwatch, yeah that's it! The dobro came out and Eric chatted up the audience a bit more than usual, "It's really nice to be... here... tonight". The audience applaudes and a Mai Tai vendor walks past saying, "Here, here.. Mai Tais here...", which is not what I think Eric was referring to. "Where gonna play...uhmm... an evening of Blues songs for ya'.", more applause, "It's really quite fitting, uh... it's the last night of the tour, and we've been playing through America... last year and this year." More applause, "We're ending it in Chicago... I think that's really... the way it should be." And "Malted Milk" begins. It's nice to hear Eric pronounce Chicago with a hard 'A' as we do. It came out 'she cA go' as opposed to 'shih cA ga', but, it was better than everyone else's 'shih caw go'. Made us feel real special as keepers of the flame. The crowd sat and listened intently. Other problems with the... ummm... stem! of the stopwatch caused it to stop... uh... counting, yeah, for all of "From Four Until Late". For Leroy Carr's "How Long Blues" a tobacco-burst Gibson was used (an ES-175 maybe). Jerry harp work was very country sounding and sat nicely in the song, no real soloing. "Kidman Blues" and "I'm Gonna Cut Your Head" came on strong and got the crowd up for the electric side of things. Eric explained that he first heard "Cut Your Head" on a Muddy Waters album where Muddy was playing rythym guitar, but that it was being sung by Homer Harris. These last two played on the natural finish Gibson which I think is a Super400 CESN but others say is a Byrdland, I think the body's too thick for a Byrdland. more tomorrow... ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Sun, 1 Oct 1995 09:59:12 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Re: Jimmy Page was BLUES! Comments: To: bit-listserv-blues-l@cis.ohio-state.edu Nah! he wasn't y'know! This is just the sorta crap that pisses me and plenty of others off. Lets get it right. Jimmy Page was a good guitar player, some say a great guitar player. BUT..... Led Zeppelin were NOT, repeat, NOT, and never were a blues act. They were a rock band who took apart blues numbers and remodelled them to suit a growing audience circa 1968 through to the mid seventies when they had become a joke. If you don't believe me give a listen to a coupla their later albums. The Yardbirds were also NOT a blues act, they were a rock group with roots in the London white R&B scene of the early 60's. All of these types of bands, except for Mayall, were musicians looking to make it big in the rock world and they used blues and R&B as a start point or base. There were tons of these types of bands around in the late 60's and they were not blues artists, no matter how the rock press and some of the blues press try to dress it up. Hound Dog Taylor and The Houserockers, Magic Sam, JB Hutto and The Hawks, Albert King, Freddie King now, they were blues artists, play Hound Dogs 1970 Alligator album up against Led Zepplin 2 and you'll see what I mean. Contoversy at last!! ========================================================================= Date: Sun, 1 Oct 1995 11:41:43 GMT Reply-To: "Ian K. Mckenzie" From: "Ian K. Mckenzie" Subject: Re: The Hesitating Blues/Jug bands Comments: To: bit-listserv-blues-l@moderators.uu.net "dtapp@cc.memphis.edu"@MSUVX2.MEMPHIS.EDU wrote: >Relay-Version: ANU News - V6.1B10 04/18/95 OpenVMS VAX; site msuvx2.memphis.edu >Path: nntp.memphis.edu!nntp >Newsgroups: bit.listserv.blues-l >Subject: Re: The Hesitating Blues/Jug bands >Message-ID: <1995Sep30.191925.60678@msuvx2.memphis.edu> >From: Denise Tapp >Date: 30 Sep 95 19:19:25 -0500 >References: >Nntp-Posting-Host: wok-41.memphis.edu >X-Mailer: Mozilla 1.1 (Windows; U; 16bit) >MIME-Version: 1.0 >Content-Transfer-Encoding: 7bit >Content-Type: text/plain; charset=us-ascii >Lines: 13 > >Dear Folks: > >I am happy to announce, tangentially, that the late, great jug band >artist Gus Cannon, is about to have a grave marker installed, a mere 18 >years after his death. The Beale St. Blues Society held a fund raiser >earlier this year, which was heavily supported by John Sebastian, >incidentally, and paid for the headstone. > >Once again, the fans make the difference. > >Denise Thanks. But where?? *********************************************** Ian K. McKenzie University of Portsmouth England ************************************************** ========================================================================= Date: Sun, 1 Oct 1995 09:30:20 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: posts from Crusader@national alliance Comments: To: ST001297@BROWNVM.BROWN.EDU On 1 Oct 95, Joseph Leichter had this to say: > With programs like Eudora, its easy as pi to send an email reply to these > sob's with an attachment of , say, 500 megs ;-) Give 'em the blues *real* bad Sending e-mail with a 500 meg attachment is like shooting at your enemy with a shotgun when he's standing in the middle of your family. That attachment will gum up every innocent part of the internet it passes through, and probably won't have any effect on the target. I can set my own mail software to reject any attachment over whatever size I select. So can they. All you will do is waste the bandwith of innocent people. P.W. Fenton Tampa, Florida (Home of one helluva live music scene) email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 1 Oct 1995 09:30:20 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - October 1st Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BROWN, JOHNNY BLIND (g/hca) b. 1910-1001, MONTGOMERY, AL BUTLER, GEORGE "WILD CHILD" (hca) b. 1936-1001, AUTAUGAVILLE, AL COLLINS, ALBERT (g) b. 1932-1001, LEONA, TX DUNBAR, SCOTT (g) d. 1994-1001, CENTREVILLE, MS 90 EGANS, WILLIE LEE (p) b. 1933-1001, MINDEN, LA ETHRIDGE, ERMA (v/RED FOXX) b. 1923-1001, NEWARK, NJ HATHAWAY, DONNY (v/songw/prod) b. 1945-1001, CHICAGO, IL JACKSON, AL JR. (d/BOOKER T. & MGs) d. 1975-1001, EAST MEMPHIS, TN 39 KODA, CUB (g/author/critic) b. 1948-1001, DETROIT, MI MCILWAINE, ELLEN (g) b. 1945-1001, NASHVILLE, TN PARRITT, BARBARA (of THE TOYS) b. 1944-1001, WILMINGTON, NC PUGH, SULLIVAN(of CONSOLERS/NASHBORO REC) b. 1925-1001, PUNTA GORDA, FL RAY, HARRY MILTON (of RAY,GOODMAN&BROWN) d. 1992-1001, BOUND BROOK, NJ 45 RHOAD, HERBERT "TOUBO"(of THE PERSUASIONS)b. 1944-1001, BAMBERG, SC ROBINSON, JESSIE MAE BOOKER (songw) b. 1919-1001, CALL, TX ROGERS, LEE (v/HI REC) d. 1990-1001,?MEMPHIS, TN SAVOY, MARC (acc/ARHOOLIE REC) b. 1940-1001, EUNICE, LA WILSON, WESLEY "KID SOX" (v) b. 1893-1001, JACKSONVILLE, FL ------------------------------------------------------------------------------- ========================================================================= Date: Sun, 1 Oct 1995 15:23:51 +0100 Reply-To: Byron Foulger From: Byron Foulger Subject: Jimmy Page etc etc (yawn) Here we go again, ever got that feeling of deja vu? Jerry Garcia all over again!! Since when did anyone who played a few blues licks, even played a few blues tunes ever become 'blues', or a bluesman/woman? I've only caught up the last couple of weeks blues-l corres. in the last couple of days due to being busy and I've got to wade through all this crap on Page, Clapton and Beck etc etc. These guys, however technically proficient will never be real 'bluesmen' in the 'correct' definition of the word, surely? I was around in the '60s in the UK and these groups and bands like the Yardbirds and LZ just passed me by, they meant nothing, I couldn't even name one track they've made, their music had that much impact on me. I presumably heard a bit of it without realising it though, I do, or did, listen to the radio (wireless in them days). There's been the occasional, and I mean very occasional, UK or non-U.S. bluesman or band (white or black) that could occasionally CREATE blues, but in general surely all the like of EC etc do is RE-create it, occasionally acceptably - but no more, I accept, but that surely, again, doesn't make them bluesmen or 'blues'. There was a thread a few weeks ago on the list about Americans only accepting their own genuine music by having it diluted and refed to them by the likes of the Blues Bros and surely this is that same principle. Why do you accept these pale imitations of your own music when the true blues is, or was, just outside your own front door, or is that the very reason? On the American side of the Atlantic I doubt if many of you have ever heard of the Big Town Playboys, they were a band that EC used as his support at his February Albert hall concerts for a few years, he classed them as his fave. band. I'm not surprised, they WERE good, in fact they were chuffing brilliant, nowadays they're not so hot due to personnel changes, but I've walked out on EC, with a few others after they've been on, and EC came on. Seriously, try asking they few Yanks that might hace seen them, shut your eyes and you were watching - sorry listening to Amos Milburn and the likes, seriously!, but 'real' Blues, No, No, No! I'd have gone many country miles to see them, but they were never real blues/R&B, because they didn't CREATE, they RE-created, brilliantly, it must be said, but surely again to be real blues, to be a real blueman you need to have been been reared, brought up, whatever, with a blues environment, where the blues seaps into you from a very young age, viz johnny Otis, Billy Lee Riley etc, who I readily accept are, or at least can be real blues. Regretably, but referring to my last input, if my budgie Snooky, whistled a few 'blue' notes, is he blues? Ah well, that's my twopenneth (=$0.02 worth), just off to my tailors to be fitted for my made to measure asbestos suit, no doubt I'll need it! Byron ========================================================================= Date: Sun, 1 Oct 1995 12:29:57 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Re: Jimmy Page etc etc (yawn) Comments: To: bit-listserv-blues-l@uunet.uu.net Byron Foulger (byron@ROKER.DEMON.CO.UK) wrote: : On the American side of the Atlantic I doubt if many of you have ever heard of : the Big Town Playboys, they were a band that EC used as his support at his ^^^^^^^^^^^^^^^^^ By chance is this the band that backed up Roosevelt "Booba" Barnes on his last Rooster release ... they were called the Playboys but memory somewhere reminds me that I have proba- bly some CD with the Big Town Playboys on it, and I thought perhaps this was the one. Or is there a CD on JSP that has the BTP's on it. Searching around in this head turns noth- ing up - maybe you know. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Sun, 1 Oct 1995 11:41:14 -0500 Reply-To: "Pat Seger (Pat Seger)" From: "Pat Seger (Pat Seger)" Subject: newsgroup location? Help! the volume of messages on blues-l and my schedule are in conflict. If I miss a day of reading I come back to 200+ messages and keeping up is getting to be too much. I don't want to miss the great information and comraderie (sp?), but ... So, can anyone tell me the location for the newsgroup? the last info I had said bit.listserv.blues-l but that wasn't listed when I looked at the directory of newsgroups available. Has it moved? Thanxs Red seger001@gold.tc.umn.edu ========================================================================= Date: Sun, 1 Oct 1995 12:47:27 -0400 Reply-To: tiensivu@CPS.MSU.EDU From: tiensivu@CPS.MSU.EDU Subject: Jimmie Vaughan I saw Jimmie Vaughan in '86 with the T-birds.. sloppy? No! Real tight timing. I've seen him twice this past year... sloppy? NO! Definitely not.. the band was really tight and enjoyed being up on the stage. A guy behind me at the last show was there to see B.B. King [the big Blues package that has been going around, with Alvin Bishop and Etta James/etc] and by the time JV walked off the stage.. the guy was saying that JV should have been the headliner... he was so into it. To a certain extent, I agreed with him.. he was on fire that night. [For the curious, it was the Blues Music Festival 95 in Battle Creek, Michigan] ..Aaron Tiensivu..WWW Homepage: "http://www.cps.msu.edu/~tiensivu".. ..Homepage has lots of humor, graphics programs and music online.. ========================================================================= Date: Sun, 1 Oct 1995 12:50:37 -0400 Reply-To: Ted2204 From: Ted2204 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Leadbelly Comments: To: bit-listserv-blues-l@uunet.uu.net Leo Jilk wrote: >Can anyone recommend to me a good Leadbelly album to buy, etc. The best of the early Leadvbelly is contained in the three 1991 Rounder CDs: Midnight Special Gwine Dig a Hole to Put the Devil In Let it Shine on Me For one of the more important recording sessions ever, I suggest Leadbelly's Last Sessions. None of these has "Where Did You Sleep Last Night" ("Black Girl") though. Ted Lissauer Ted2204@AOL.com ========================================================================= Date: Sun, 1 Oct 1995 10:40:00 -0600 Reply-To: Don Ottensman From: Don Ottensman Organization: The Lunatic Fringe BBS - Richardson, Tx - (214) 235-5288 Subject: KLSU Hep! Anybody out there in receiving range of KLSU FM in Baton Rouge? If so, have I got a deal for you. Private replies, please. Don O. don.o@chrysalis.org don.ottensman@lunatic.com ---- The Lunatic Fringe * Richardson, TX * 214-235-5288 * Home Of FringeNet ========================================================================= Date: Sun, 1 Oct 1995 13:16:40 -0400 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: WFBE PLAYLIST 9-30-95 This weeks theme was Chicago and Chess artists. and East Coast style. =============================================================== WFBE Blue Highway Playlist, Sept 23, 1995. With Guest Host Ed Tremewan Song Album Artist Label 9 pm to 10pm Fat back of Georgia Baby's Back Jesse "Wild Bill" Austin Roesch Kick It Around With You Shine Me Up Bobby Parker Black Top See Me In The Evening My Blues and My Guitar Bob Margolin Alligator Should I Wait Blue Streak Luther Allison Alligator Playing With Fire Got To Play The Blues Mick Martin/Blues Rockers Blues Rock Hail To Th Iceman Call on the Blues Mark May/Agitators Ice House Gimmie A Break Deep Blue 25th anniversary Ron Levy Rounder Flyiong High Flying High Johnny Copeland Gitanes You Move Me Rising Sun Collection Big Moose Walker Just A Memory Kid Man Blues Chicago/The Blues/ Today Vol2 Johnny Young Vanguard Moonshine Blues Maxwell Street Alley Blues Big John Wrencher Blues Sting Look On Yonders Wall Ain't It Nice TO Be Loved Lefty Dizz JSP 10pm to 11pm Sneaking around Essential.... Little Milton MCA/Chess Just Your Fool Essential.... Little Walter MCA/Chess Weak Brain, Narrow Mind Chess Box Willie Dixon MCA/Chess Nine Below Zero Essential... Sonny Boy Williamson MCA/Chess Saddle My Pony Chess Box Howlin Wolf MCA/Chess Mean Red Spider Chess Box Muddy Waters MCA/Chess One Helluva Nerve Little Georgie...... Little Georgie/Shuffling Hungarians Queen Bee Brand Night Owl Night Owl Mambo Brothers MAM002 Honky Tonk Get On Up Walter "Wolfman" Washington Charly One Way Out Blues From The Heart City Limits Blues Band WAY/SAC Pure Religion Pure Religion & Bad Company Rev. Gary Davis Smithsonian Got The Blues For Murder Only Steppin' On The Blues Lonnie Johnson Columbia Keep Away From My Woman East Coast Piedmont Style Blind Boy Fuller Columbia/Legacy Walkin My Blues Away Sonny & Brownie Sonny Terry & Bownie McGhee A&M 11pm to Midnight Don' You Tell Me Old, New. Borrwed, Blue Saffire The Uppity Blues Women Alligator Risky Business Still Bad Denise LaSalle Malaco Sad Sad City Without A Warning Sue Foley Antones Born under A Bad Sign Force of Nature Koko Taylor Alligator The Blues Overtook Me Ace Of Harps Charlie Musselwhite Alligator Amnesia Down To Earth Willie Cobbs Rooster Alone J L W Joe Louis Walker Gitanes All Night Long Too Hurt To Cry Willie Ken Delmark Stormy Monday My Feeling For The Blues Freddie King Atlantic I Can't Quit You Baby So Many Roads-Live Otis Rush Delmark Orange Driver Detroit Eddie Burns Evidence Cow Cow Blues (exit theme) Blue Ivory Mr B Blind Pig Bluz! Bluzman Ed aka Ed Tremewan ========================================================================= Date: Sun, 1 Oct 1995 10:38:14 -0700 Reply-To: Michelle Anderson From: Michelle Anderson Subject: Re: Newsgroup Location? Comments: To: "Pat Seger (Pat Seger)" At 11:41 AM 10/1/95 -0500, Pat Seger (Pat Seger) wrote: >Help! the volume of messages on blues-l and my schedule are in conflict. >If I miss a day of reading I come back to 200+ messages and keeping up is >getting to be too much. > Along this same line, I have been trying everything I can think of to unsubscribe, with no luck whatsoever. I can't find the original message on how to do this. Please, Please help me!! Michelle - lady@primenet.com ========================================================================= Date: Sun, 1 Oct 1995 14:23:15 -0400 Reply-To: MILLER@SCI.WFEB.EDU From: Rick Miller Subject: Luther Allison on the rise. Hi all..! Last night on our local listener-supported blues show on 91.3 WCUW (Worcester) the guy spinning tunes played a portion of the new stuff from LA which I really, really enjoyed. I gather that he's been in self -imposed exile in Europe for quite a number of years?...and is now back in the US, as we can attest to since many of you have seen him recently. Anyway, the dj went as far as to say "I predict that Luther is going to eclipse and far surpass Buddy Guy as the premier blues-club attraction in this country if Buddy doesn't quit horsing around with all this nonsense he's been playing and get back to business of the blues." He had just been out to San Francisco and saw him there (Luther). What do you guys think? I am just starting to listen to Luther so I can't offer an opinion, but it sounds to me like this guy is definitely on the rise and may well take the US blues scene by storm. He's a great musician and seems genuinely charismatic. A good combination, eh? Opinions? Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Sun, 1 Oct 1995 14:49:05 -0400 Reply-To: MILLER@SCI.WFEB.EDU From: Rick Miller Subject: Catherine La Croix ? A "professional" what? Can you....play guitar? Clean a fish? Bait a hook? Tune my car? Do a liver transplant? Hit to the opposite field? Speak knowledgably on molecular biology? Make a decent lobster bisque? Balance the national budget? You sound absolutely stunning, and just my speed. :) But what the hell's this got to do with blues? Riffin Rick (who's also a professional and has his affiliation and company sig at the end of each and every e-mail posting) (Member, American Society of Cell Biologists, Instructor and Course Coordinator, Analytical & Quantitative Light Microscopy course at the Marine Biological Laboratory, Woods Hole, Massachusetts.) (Guitar player, dad, and all around nice guy, 6 feet, 175 lbs, brown, brown, handsome, althletic, Italian-ish) :) :) :) [heh-heh-heh-heh] fogive me zellers..... :) F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Sun, 1 Oct 1995 14:55:41 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Booba Barnes, PBS R&R, Buddy Guy (was Jimmy Page yawn) Comments: To: bsco@panix.com In a message dated 95-10-01 12:35:24 EDT, you write: >Byron Foulger (byron@ROKER.DEMON.CO.UK) wrote: >: On the American side of the Atlantic I doubt if many of you have ever heard >of >: the Big Town Playboys, they were a band that EC used as his support at his > ^^^^^^^^^^^^^^^^^ > By chance is this the band that backed up Roosevelt "Booba" > Barnes on his last Rooster release ... they were called the > Playboys but memory somewhere reminds me that I have proba- > bly some CD with the Big Town Playboys on it, and I thought > perhaps this was the one. Or is there a CD on JSP that has > the BTP's on it. Searching around in this head turns noth- > ing up - maybe you know. >-- No, its not Booba Barnes' backup band. Just as an aside, the other day I was listening to the Vanguard Buddy Guy from the mid sixties and realized that Willie Dixon songs was far from the only thing Led Zep cribbed (and made more boring). Listen to Robert Plant's yoweling and think about Buddy Guy's vocals. Tell me, English blues-listers, were those Sam Charters produced Vanguard recordings popular in the English R&B set in the sixties? I'll be they were.... Apologies for the blank reply that preceded this reply.... Thanks, AOL. Tom Freeland ========================================================================= Date: Sun, 1 Oct 1995 15:12:14 -0400 Reply-To: MILLER@SCI.WFEB.EDU From: Rick Miller Subject: Jimmy Page & blues. Jeff Fronczak thoroughly trashed Jimmy Page and someone else's opinion of him without saying a great deal with any intelligence. Sorry Jeff, but there are better ways to make your point. Now..look, we all know that Page copped riffs from his blues influences and they are clearly heard in his playing, for those who know what to listen for. I do. And so does nearly every blues player on this planet who wasn't born before WW II. We all cop other guys riffs to some degree. Fine. You obviously don't like Jimmy Page. Fine. However, there is no denying that his writing (as a Led Jep member) style, playing, technical innovation & showmanship influenced an entire generation of guitar players. Notice I did not say *blues* players, per se. And yeah, he got sloppy too. But you've never before or since heard some of the unusual and innovative chord and note sequences and structures that are quintessentially Jimmy Page trademarks. Not copped form anyone else. They're his, and all guitarists can recognize them in 3 notes. If you don't like him and don't consider him to have been/be a blues guitarist, that's cool. He's a rock man with blues roots. But there's no denying he was a seminal player and innovator with a style and sound that is as distinct as Hendrix or Robert Johnson. Riffin Rick (big on politeness) (((( oo-) /- Workin from seven, to eleven, every night kinda makes life a drag... F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Sun, 1 Oct 1995 15:37:34 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Re: Luther Allison on the rise. Comments: To: bit-listserv-blues-l@uunet.uu.net Rick Miller (MILLER@SCI.WFEB.EDU) wrote: : Anyway, the dj went as far : as to say "I predict that Luther is going to eclipse and far surpass Buddy Guy : as the premier blues-club attraction in this country if Buddy doesn't quit : horsing around with all this nonsense he's been playing and get back to : business of the blues." He had just been out to San Francisco and saw him : there (Luther). I can't say Rick if LA will eclipse BG but I can say that you should expect a lot more rock and roll from LA. The business of the blues will leave an artist in poverty, unless they get some mass appeal. Listen to some early LA i.e. Love Me Papa, and then listen to Soul Fixin' Man and Blue Streak. You will hear the differences. It is absolutely the same fiery honest intense bluesman but his approach is a changing. I personally think that his association with Alligator & Bruce Iglauer, is going to make an enormous difference in his fame and fortune. I think with this connection he will get more mass appeal, he will push new limits and he will be seen and heard a lot more. I also expect that some of his stuff to come you won't like - if you are a purist or someone who does not like to follow an artist's journey but require a lot of back to basics. A very powerful example of this sort of a journey is Sugar Blue. My opinion is that SB is fire on earth. I think he's one of the most accomplished and powerful harp blowers we have, and he's getting dissed left and right. He is into making music and I like to follow where someone is going (especially when theyre that good) rather than expect them to stay static, or give me more of what I had liked. Anyway I think LA is tremendous all around, and have a review in the can on Blue Streak if I haven't posted it already. If you're interested I can e-mail it to you and if I haven't pos- ted it yet will do here. Also have a review on Sugar's - In Your Eyes. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Sun, 1 Oct 1995 16:21:35 -0400 Reply-To: USBLUE5@AOL.COM From: "Gordon, Rich" Subject: Jelly Jelly...Lyrics Does anyone know what the last line is to Roscoe Gordon's Jelly Jelly is? After several listenings what I come up with makes little or no sense. Your help is appreciated. Thanks. Rich Gordon P.S.. For those who want to know...still haven't changed my bass strings. ========================================================================= Date: Sun, 1 Oct 1995 14:27:00 PDT Reply-To: Doug Cox From: Doug Cox Subject: Canadian Slide Guitarists Malahat Mountain Music now has a web page featuring some of Canada's finest slide players! We have cds and instructional videos available by Ken Hamm (nominated acoustic player of the year by Guitar Player Mag twice) , David Essig, Doug Cox and soon ...Ellen McIlwaine! New blues and roots music artists are being added constantly! Check us out at http://www.islandnet.com/~dobro ========================================================================= Date: Sun, 1 Oct 1995 16:59:51 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Blues-L FAQ - Administrative THE BLUES-L FAQ LIST - ADMINISTRATIVE PORTION List Owner - Alan Rollins (blzlynx@nexus.polaris.net) Compiled by David Silberberg (davidis@interaccess.com Last modified July 11, 1995 CONTENTS: 1. What is this FAQ List 2. What is Blues-L 3. How to Receive Blues-L 4. To Subscribe, Unsubscribe, and Other Listserv Commands 5. The Newsgroup Mirror 1. What is this FAQ List? This is a list of Frequently Asked Questions to the Blues-L mailing list and newsgroup mirror. The purpose of this FAQ is to inform newcomers to our community, and to refresh the memories of long-time members, about various aspects of Blues-L, both in terms of administration (subscription information, listserv commands, guidelines, etc.) and content (controversies, definitions, etc.) Please read this FAQ before posting any messages to the newsgroup or mail list. 2. What is Blues-L? Blues-L is a mail list with a newsgroup mirror devoted to the discussion of the Blues in all of its forms - from predecessors of blues music to contemporary performers. Discussions have been very wide-ranging, branching into a variety of topics, but always should include a definite, direct connection to the Blues. Subscribers and contributors include professional musicians, producers, radio programmers, and authors as well as average, everyday lovers of the music. The mail list was created by Jake Haller at Brown University. The current list owner is Alan Rollins. If you should have any technical problems with receiving or posting to the list, and you require human intervention, send a message to blues-l-request@brownvm.brown.edu. Please explain your problem clearly, including the steps you have already taken to solve the problem. Currently, over 750 people (from countries all over the world) subscribe to the mail list, and countless others read the list through the newsgroup mirror. 3. How to receive Blues-L Blues-L can be read, and posted to, either by subscribing to the mail list (thus receiving the messages as e-mail) or by reading the newsgroup. Either way, you will be receiving all of the messages, and have the ability to post your responses / questions / opinions. You should choose your method based on your internet connection: some people find it easier to read e-mail messages, some find it easier to read newsgroups. This is a high-volume group: usually, 50 to 100 messages are posted each day. The choice is yours, but we strongly urge you to subscribe to the mail list: if you wish to receive the list through the newsgroup, you can set the mail list to NOMAIL (instructions are below). At some point, the owner may take the list "private", meaning that only subscribers (including NOMAIL) subscribers) to the mail list will be able to post. To post a message to the list through e-mail, send the message to blues-l@brownvm.brown.edu This is the list address. 4. To subscribe, unsubscribe, and other listserv commands The following commands should be sent to: listserv@brownvm.brown.edu. DO NOT SEND THEM TO THE LIST ADDRESS, which would cause you request to be sent to the entire list and newsgroup without causing the listserv to act on your command. The subject line should be blank, and the message content should be as follows: TO SUBSCRIBE: SUBSCRIBE BLUES-L TO UNSUBSCRIBE: SIGNOFF BLUES-L TO SET YOUR RECEIVING METHODS: The default method is to receive individual e-mail messages for each message sent to the list. The digest format sends you one e-mail message each day containing all of the messages sent to the list since the last day's digest. This is a long document. To set the list to digest format, send the command to listserv@brownvm.brown.edu, no subject, message: SET BLUES-L dig The index format sends you a daily index of messages sent to the list. The index contains the poster of the message, the subject line, and the size of the message. To set the list to index, send the command to listserv@brownvm.brown.edu, no subject, message: SET BLUES-L index To retrieve a particular message that you wish to read, you will have send send a message to blues-l-request@brownvm.brown.edu. When you set this option, the listserv will send you detailed instructions on how to use it. TO TEMPORARILY STOP MAIL FROM THE LIST FOR A FEW DAYS, WITHOUT UNSUBSCRIBING, or to subscribe to the list and read the newsgroup instead, send a message to listserv@brownvm.brown.edu, no subject, with the message: SET BLUES-L nomail To resume receiving mail, send the message: SET BLUES-L mail Please remember, any subscription request should be sent to listserv@brownvm.brown.edu. You will receive a complete list of listserv commands by sending a message to the listserv, with no subject, and the message: HELP. 5. The Newsgroup Due to the high volume on this list, and the fact that many subscribers prefer to receive newsgroups rather than e-mail, David Pimmel led the way in initiating a Blues-L Newsgroup. This newsgroup mirrors the activities of the Blues-L mail list. The address of the newsgroup is: bit.listserv.blues-l If you are a newsgroup reader, you have all of the privileges and responsibilities of mail-list subscribers: you get all messages, and may post to the newsgroup. All of your messages will be read by list subscribers and newsgroup readers. If you are posting through a newsreader, there is a chance that your message will not appear in the group. This is most likely due to an incorrect setting for the moderator in the news software. The correct address is blues-l@brownvm.brown.edu. Check with your local system administrator if this seems to be a problem. In the meantime, you can always contribute via direct e-mail to the above address. ========================================================================= Date: Sun, 1 Oct 1995 16:59:57 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Blues-L FAQ - Etiquette THE BLUES-L FAQ ETIQUETTE AND GUIDELINES PORTION List Owner - Alan Rollins (blzlynx@nexus.polaris.net) Compiled by David Silberberg (davidis@davidis@interaccess.com) Last Modified July 11, 1995 Any additions, suggestions, or corrections should be mailed to David Silberberg (davidis@interaccess.com) CONTENTS: 1. General Etiquette 2. Announcing Personal Appearances 3. Announcing National Act Appearances 4. Selling Stuff on Blues-L 5. Appropriate Blues-L Topics This is the etiquette and guidelines portion of the Blues-L FAQ. PLEASE READ IT BEFORE POSTING ANY MESSAGE TO THE LIST / NEWSGROUP. Blues-L is not censored in any way. All messages will be posted to the list. But this is a list devoted to discussion of the blues, and this is a community of blues-lovers and people interested in the form. Over 750 people, from all over the world, subscribe to the mail list; countless others read the newsgroup without subscribing. We you will follow these simple guidelines, so that Blues-L will be a happier, friendlier place to be. 1. General Etiquette A. Remember that PEOPLE will be reading your post. Not everyone will agree with your views, but they are people with valid opinions. Base your arguments on what has been said, not on who you think the sender is. Don't get personal - let your argument speak for itself. B. Mr. Pimmel has structured the list so that your mail readers / newsgroup readers automatic "reply" feature will address your response to the individual poster of the message. This is to remind us to think whether or not we wish to respond to the entire list (certainly completely appropriate if you think you comments will interest the entire list), or to the individual poster of the message you are responding to. C. Avoid posting "I agree" or "Great Post" or "Me Too" messages to the entire list. This is a waste of resources. If you wish to send this kind of message, please send it to the individual you are complementing. D. Avoid posting messages without any useful contents. This includes messages containing only snide remarks to a previous poster, etc. It also includes message where you say "Sorry, no blues content". If there is no blues content, do not send the message to the list. E. Commercial messages should not be posted to the list. (However, see below for guidelines concerning personal appearances by musicians who are members of the blues-l community.) F. If a topic (or musician, etc.) has been extensively discussed recently, hold off on bringing it (him / her) up again. Let another topic get some time on the list. G. Remember the distinction between posting to the list (where everyone sees it) and posting to an individual privately. Think about the universality of your message: if you think many (if not most) people on the list would find your message interesting and informative, please post it to the list. If your message would be of interest to only one or two people, send it to them privately. H. Please pay attention to your "subject line": make sure it accurately reflects the contents of your message. If you have changed the subject during your response to a previous post, please change your subject line. I. When responding to a previous post, it is acceptable - and often necessary - to quote a few lines from that previous post, to remind readers of what you are referring to. But quote only as much as is necessary to make clear what you are responding to. J. Above all, use common sense and consider the feelings of others. Treat others as you would wish them to treat you. We know that sounds like church - but it is good advice. 2. ANNOUNCING PERSONAL APPEARANCES It is appropriate to announce your personal appearances on the list, with certain restrictions. Many people on our list are interesting in seeing other members perform. However, frequent (weekly?) announcements that you will be playing in such and such places is going too far. Please remember, this is a global list: most people will not be able to swing by the corner pub for your Friday night set even if they want to. With that in mind: A. Perhaps you could post a message bi-monthly, introducing yourself, the style of music you play, and the general geographic area you play in. Request private responses from people who would be interesting in receiving your "gig list". These would most likely be people who would realistically be able to attend your performances, and would be the people you would most like to reach with your message. B. E-mail the information only to those people. C. If your situation changes, and you get some bookings in a new location, then please post this information to the entire list. 3. ANNOUNCING NATIONAL ACT APPEARANCES Announcing "national touring acts" is appropriate to the list, because it gives readers a way of seeing who is on the road and who will be appearing in their area. Of course, the list members would be interested in your attending such shows, and reviewing them on the list. 4. SELLING STUFF ON THE LIST Do not use the list to sell CD's, tapes, or other merchandise for profit. Doing so may be illegal, so DO NOT DO IT. 5. APPROPRIATE BLUES-L TOPICS This is an uncensored list. All messages will be posted to the list, so please adhere to these simple guidelines: Any topic relating to the blues - the music, performers, books, cultural aspects, history, technical music discussions, reviews, opinions, facts - if it relates to the blues, it is appropriate for Blues-L. This is a terrific list: many members have some kind of professional relationship to the music - musicians, producers, authors, radio programmers, etc. Someone here can answer almost any question you may have - and any information you may wish to transmit will be gratefully accepted by our community. But please - make sure your facts, opinions, and other comments relate to the blues. ========================================================================= Date: Sun, 1 Oct 1995 22:36:44 GMT Reply-To: "John P. Willis" From: "John P. Willis" Organization: State University of New York At Buffalo, NY (USA) Subject: Where does one put Bo Diddley?? Speaking of Chuck berry and blues....what do we do with Bo diddley? He worked for Chess and was on the "Super Blues" albums that were released. While classification is not very important, it is sometimes useful to be able to tag things. Bo worled with bluesmen, and evidently got along well with Mud, wolf, Walter et al. ut is his music identifiabky bkues? If so what tunes exemplfy this to you. I like Bo's suff but never wouild include it on my list of fasvorite "blues" recordings. John Willis -- ========================================================================= Date: Sun, 1 Oct 1995 17:30:48 -0600 Reply-To: BMPECH@MSCD.EDU From: Bruce Pech Subject: Re: Luther Allison on the rise. Comments: To: Rick Miller In-Reply-To: <01HVXG1S2782000BLL@SCI.WFEB.EDU> On Sun, 1 Oct 1995, Rick Miller wrote: > What do you guys think? I am just starting to listen to Luther so I can't > offer an opinion, but it sounds to me like this guy is definitely on the rise > and may well take the US blues scene by storm. He's a great musician and seems > genuinely charismatic. A good combination, eh? > > Opinions? > > > Riffin Rick > Luther played Denver last night ... for 3 1/2+ hours straight (no breaks except for a brief stint in the men's room switching an ES-335 for a Strat during his wireless foray into the audience). Slow blues, fast blues, a little foolin' around ("You Can't Always Get What You Want," "Auld Lang Syne") -- marred only by a maniac behind the soundboard (I went out and got a pair of fancy earplugs today) and a keyboard player who didn't seem to have chops on a par with the rest of the band (or maybe it was just me). Luther was still going strong when blistered eardrums drove me out of the club at 1:00. The man was not only indefatigable, he seemed to be enjoying himself immensely -- both qualities that made for an memorable show. Highly recommended if your town is on the itinerary that Jef Jaisun posted a few days ago. BP Boulder, CO ========================================================================= Date: Sun, 1 Oct 1995 19:43:31 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: Jimmy Page was BLUES? Jesus, give it a rest! Beef Stew >Nah! he wasn't y'know! > >This is just the sorta crap that pisses me and plenty of others off. > >Lets get it right. > >Jimmy Page was a good guitar player, some say a great guitar player. > >BUT..... > >Led Zeppelin were NOT, repeat, NOT, and never were a blues act. They >were a rock band who took apart blues numbers and remodelled them to >suit a growing audience circa 1968 through to the mid seventies when >they had become a joke. > >If you don't believe me give a listen to a coupla their later albums. > >The Yardbirds were also NOT a blues act, they were a rock group with >roots in the London white R&B scene of the early 60's. > >All of these types of bands, except for Mayall, were musicians looking >to make it big in the rock world and they used blues and R&B as a start >point or base. > >There were tons of these types of bands around in the late 60's and they >were not blues artists, no matter how the rock press and some of the >blues press try to dress it up. > >Hound Dog Taylor and The Houserockers, Magic Sam, JB Hutto and The >Hawks, Albert King, Freddie King now, they were blues artists, play >Hound Dogs 1970 Alligator album up against Led Zepplin 2 and you'll see >what I mean. > >Contoversy at last!! > > ========================================================================= Date: Sun, 1 Oct 1995 19:45:25 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: posts from Crusader@national alliance AMEN, P. W. Give this a rest too! Beef Stew >On 1 Oct 95, Joseph Leichter had this to say: > >> With programs like Eudora, its easy as pi to send an email reply to these >> sob's with an attachment of , say, 500 megs ;-) Give 'em the blues *real* bad > >Sending e-mail with a 500 meg attachment is like shooting at your >enemy with a shotgun when he's standing in the middle of your family. > That attachment will gum up every innocent part of the internet it >passes through, and probably won't have any effect on the target. > >I can set my own mail software to reject any attachment over whatever >size I select. So can they. All you will do is waste the bandwith >of innocent people. > >P.W. Fenton >Tampa, Florida (Home of one helluva live music scene) >email - pwfenton@gate.net >WWW - http://www.gate.net/~pwfenton/ > > ========================================================================= Date: Sun, 1 Oct 1995 17:45:34 -0600 Reply-To: BMPECH@MSCD.EDU From: Bruce Pech Subject: Re: Catherine La Croix ? Comments: To: Rick Miller In-Reply-To: <01HVXGXODQLQ000BLL@SCI.WFEB.EDU> On Sun, 1 Oct 1995, Rick Miller wrote: > A "professional" what? Can you....play guitar? Clean a fish? Bait a hook? > Tune my car? Do a liver transplant? Hit to the opposite field? Speak > knowledgably on molecular biology? Make a decent lobster bisque? Balance > the national budget? > > You sound absolutely stunning, and just my speed. :) > > But what the hell's this got to do with blues? > > Riffin Rick > Maybe Ms. La Croix should amend her "FAQ" to to add some OBC. "Got love if you want it," perhaps. :-) But she seems to be both intelligent and knowledgeable -- always welcome in new 'zellers. BP Boulder, CO ========================================================================= Date: Sun, 1 Oct 1995 20:03:57 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: Luther Allison on the rise. Luther Allison is a terrific showman and a very good guitarist. He deserves whatever success he gets. Buddy Guy is an extremely good guitarist and maybe his best showmanship years are behind him, I don't know. IMHO, Buddy has deserved his success as well. I don't begrudge any musician (even if its Jimmy Page!) whatever level of success they attain, if they truly believe in their craft. You and I should be so fortunate as Buddy or Luther. Comparing guitarists (or any other musician) on anything other than a rudimentary level is an exercise in futility. I saw Luther at the 1995 Pocono Blues Festival and he tore the place up and brought down the house. Personally, I think he's got a lot of James Marshall Hendrix in him (thank the spirits, somebody does). It's Only Music, Beef Stew WHUS Radio >Hi all..! > >Last night on our local listener-supported blues show on 91.3 WCUW (Worcester) >the guy spinning tunes played a portion of the new stuff from LA which I >really, really enjoyed. I gather that he's been in self -imposed exile in >Europe for quite a number of years?...and is now back in the US, as we can >attest to since many of you have seen him recently. Anyway, the dj went as far >as to say "I predict that Luther is going to eclipse and far surpass Buddy Guy >as the premier blues-club attraction in this country if Buddy doesn't quit >horsing around with all this nonsense he's been playing and get back to >business of the blues." He had just been out to San Francisco and saw him >there (Luther). > >What do you guys think? I am just starting to listen to Luther so I can't >offer an opinion, but it sounds to me like this guy is definitely on the rise >and may well take the US blues scene by storm. He's a great musician and seems >genuinely charismatic. A good combination, eh? > >Opinions? > > >Riffin Rick > > > > > > (((( > oo-) > /- > > > > >F.J.(Rick)Miller >Senior Research Assistant, >& Marine Facilities Manager >Worcester Foundation for Biomedical Research >"Miller@Sci.WFBR.Edu" >*************************************************************************** > > ========================================================================= Date: Mon, 2 Oct 1995 01:33:50 GMT Reply-To: Pat Risser From: Pat Risser Organization: Access InfoSystems Subject: Re: Innovation Comments: To: bit-listserv-blues-l@uunet.uu.net In article <950925092423.1f1c@TSBME.STATE.TX.US>, Bruce Roberts wrote: > So who in the Blues would you consider truly innovative? I mean someone > who did something that no one had tried before. > > > Bruce Roberts > Austin, TX James Marshall Hendrix! Use of controlled feedback was innovative as hell!! ========================================================================= Date: Mon, 2 Oct 1995 02:39:37 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: The Hesitating Blues/Jug bands : >I am happy to announce, tangentially, that the late, great jug band : >artist Gus Cannon, is about to have a grave marker installed, a mere 18 : >years after his death. The Beale St. Blues Society held a fund raiser : >earlier this year, which was heavily supported by John Sebastian, : >incidentally, and paid for the headstone. : > : >Once again, the fans make the difference. : > : >Denise Any Tampa Red fans out there? I mentioned way last winter about there not being a marker for him, and I'm willing to start the collection. ============================================================================ Jef Jaisun eljefe@netcom.com ============================================================================ -- eljefe@netcom.com ========================================================================= Date: Sun, 1 Oct 1995 20:55:11 -0700 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: The Hesitating Blues/Jug bands Comments: To: Jef Jaisun Jef Jaisun wrote: > >> >Any Tampa Red fans out there? I mentioned way last winter about there not >being a marker for him, and I'm willing to start the collection. > A grave marker for Tampa Red is being installed now, and will be officially unveiled at a ceremony scheduled for October 14 at 1 p.m. at the Mount Glenwood Memory Gardens West Cemetery in Willow Springs, IL; Living Blues founding editor Jim O'Neal will make the dedication. The marker was paid for by BMG Records, current owners of the RCA, Victor and Bluebird labels, who are in the process of reissuing Tampa Red's complete recorded works for their labels. Jef is right, this is long overdue. Mary Katherine ========================================================================= Date: Sun, 1 Oct 1995 23:41:31 -0600 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: Blues People Hate Comments: To: Stew Crossen In-Reply-To: <199510010536.BAA11655@orion.neca.com> On Sun, 1 Oct 1995, Stew Crossen wrote: > I could ALWAYS clear a room with THE FUGS. > > It ain't exactly Blues, but people who don't know > sh*t about Blues, don't know the difference! > > Beef Stew - WHUS Radio > http://www.ucc.uconn.edu/~whusfm > Do you mean that "I Couldn't Get High" isn't blues? Jay Watterworth CU Boulder ========================================================================= Date: Mon, 2 Oct 1995 01:47:07 -0400 Reply-To: Claudio Caponi MARNR From: Claudio Caponi MARNR Subject: Chicago Airport-strange blues question... I realize the question may sound silly, but is there a record shop with a blues section in the Chicago Airport, and if so, where? I am leaving for a 2 week trip to China next thursday and on my way back I will spend 4 hours there on October 21. If you lived in Venezuela, you would understand how important is not to miss any chance, blueswise :-) TIA ccaponi@dino.conicit.ve | Claudio Caponi | I've had my fun... Ministerio del Ambiente | Caracas - Venezuela | Otis Spann ========================================================================= Date: Mon, 2 Oct 1995 00:05:55 -0600 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: Where does one put Bo Diddley?? Comments: To: "John P. Willis" In-Reply-To: The least you could say about Bo Diddley is that he has some cool guitars. Seriously, the songs he has written have become standards. And he had balls before most of us knew what they were for. I liked him then and still do. Jay Watterworth CU Boulder On Sun, 1 Oct 1995, John P. Willis wrote: > Speaking of Chuck berry and blues....what do we do with Bo diddley? > > He worked for Chess and was on the "Super Blues" albums that were released. > > While classification is not very important, it is sometimes useful to > be able to tag things. Bo worled with bluesmen, and evidently got along > well with Mud, wolf, Walter et al. > ut is his music identifiabky bkues? If so what tunes exemplfy this > to you. I like Bo's suff but never wouild include it on my list of > fasvorite "blues" recordings. > > John Willis > -- > ========================================================================= Date: Mon, 2 Oct 1995 05:02:24 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - October 2nd Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ABDUL-MALIK, AHMED (SAM GILL) (b) d. 1993-1002, LONG BRANCH, NJ 66 ARTMAN, ZOHN FREDERICK JR. (publicist) d. 1987-1002, SAN FRANCISCO, CA 51 COLEMAN, HERB (lead/DELTA RHYTHM BOYS) b. 1927-1002, NEW YORK CITY, NY COUSIN JOE (PLEASANT JOSEPH) (p/g/songw) d. 1989-1002, NEW ORLEANS, LA 81 CRUMP, EDWARD H. (song title) b. 1874-1002, HOLLY SPRINGS, MS JACKSON, QUENTIN "BUTTER" (tbn) d. 1976-1002, 67 JACKSON, FREDDIE (v) b. 1956-1002, HARLEM, NY RENE, OTIS (owner:EXCLUSIVE/EXCELSIOR REC)b. 1898-1002, NEW ORLEANS, LA ROBERTS, HOWARD M. (g) b. 1929-1002, PHOENIX, AZ ROSS, RONNIE (bsax/LOU REED) b. 1933-1002, CALCUTTA, INDIA SCOTT, HAZEL DOROTHY (p) d. 1981-1002, NEW YORK CITY, NY 61 SKY, PAT (g/prod/VANGUARD REC) b. 1940-1002, LIVEOAK GARDENS, GA SMITH, GEORGE "HARMONICA" (hca) d. 1983-1002, LOS ANGELES, CA 59 SOLOMON, KING S. (v/COMBO REC) b. 1940-1002, JACKSON, MS SONNER, JO-EL (acc/caun) b. 1946-1002, RAYNE, LA WILLIAMS, FRANC (tpt) d. 1983-1002, HOUSTON, PA 73 YOUNG, EVELYN (tsax/B. B. KING) d. 1990-1002, MEMPHIS, TX -- ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 2 Oct 1995 02:18:13 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: Jimmy Page was BLUES! Comments: To: Tony Burke I never said Led Zeppelin was a Blues band! But I can name 4 Blues songs on their first album! The rest was Rock. The Yardbird played a shitload of Blues songs, they played with Sonny Boy Williamson I for christ sake! They didn't do "Shapes of Things" with him! Just because you leave the Blues and play Rock, doesn't mean you *never* played the Blues!!! Would you say that *all* of the songs that Albert King recorded were Blues, or Freddie King's? Plus, I don't hink anybody starts out learning the Blues just so they can become Rock Stars. I think they like the Blues, learn 'em and then add other influences. If the results aren't very good... BTW, Why does everybody get pissed at this sort of shit (mostly AOL and DEMON subscribers it seems?)? Are we only supposed to discuss performers that *everyone* agrees is a Blues performer? Or did you mean, "This is the sorta stand that myself and many others disagree with."? At least you were a bit more resonable than some of the recent replies. :) Mike On Sun, 1 Oct 1995 09:59:12 GMT Tony Burke wrote: >Nah! he wasn't y'know! > >This is just the sorta crap that pisses me and plenty of others off. > >Lets get it right. > >Jimmy Page was a good guitar player, some say a great guitar player. > >BUT..... > >Led Zeppelin were NOT, repeat, NOT, and never were a blues act. They >were a rock band who took apart blues numbers and remodelled them to >suit a growing audience circa 1968 through to the mid seventies when >they had become a joke. > >If you don't believe me give a listen to a coupla their later albums. > >The Yardbirds were also NOT a blues act, they were a rock group with >roots in the London white R&B scene of the early 60's. > >All of these types of bands, except for Mayall, were musicians looking >to make it big in the rock world and they used blues and R&B as a start >point or base. > >There were tons of these types of bands around in the late 60's and they >were not blues artists, no matter how the rock press and some of the >blues press try to dress it up. > >Hound Dog Taylor and The Houserockers, Magic Sam, JB Hutto and The >Hawks, Albert King, Freddie King now, they were blues artists, play >Hound Dogs 1970 Alligator album up against Led Zepplin 2 and you'll see >what I mean. > >Contoversy at last!! ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Mon, 2 Oct 1995 02:40:01 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: Jimmy Page etc etc (yawn) Comments: To: Byron Foulger Byron, I listen to bands playing Blues all the time here in Chicago, American bands. All RE-CREATE the old Blues. Some CREATE new Blues. Some create something new that *may* be Blues, and is certainly Bluesy. Often that is just the old Blues, played with more distortion, and with more riffs/notes. I know real Bluesmen, and they aren't 60 year old Black men. They are in their 20's and 30's and they gig every night of the week for hardly nothing (poor grammar for expression), to empty bars, and sweat their music out. Is that good enough, or is it not possible for there to ever be any more Bluesmen, by your definition? If you only allow that younger players playing the Blues are simply RE-CREATING the Blues, you've doomed the Blues to a slow and sure death by attrition. If your Budgie can whistle the Blues, then it's Blues - might not be very good Blues, though (send me a tape). :-) When I play the Blues, I try to put my heart into my playing and the entire essence of my life force into my singing - it could become all used up and I would fall to the stage a shell of a flesh only (hasn't happened so far). That's the spirit of the Blues, Robert Johnson with hellhounds on his trail. I'm sure a purist of 1955 might have called Otis Rush an imitation of the Blues and not a true Bluesman, because he was electrified, wasn't hoboing around the delta, and played a regular Chicago circuit (all out of character for Robert Johnson). Where do you draw the line? Well we all draw it in a different place. And that's life. And that's O.K. Me? I draw the line something like this: Jeff Beck - Bluesy guitarist (ex) Jimmy Page - Blues guitarist (mostly ex) Eric Clapton - Bluesman SRV - Bluesman Buddy Guy - Bluesman Chris Duarte - Blues guitarist I think the issue is a matter of depth and not whether it's Blues or not. Who's was deeper Blues? B.B. King or Albert King? As a practising Blues player, I think your approach is too scholarly and is just arguing categorizations or how to divide up the real world into the mind's 'is and isn't' compartments. You do not need to be raised on Blues to become a Bluesman. You have to have the Blues touch you at some point and you have to be able to perform the Blues and express what that means to you - the deeper the better, IMHO - and that's all. Mike On Sun, 1 Oct 1995 15:23:51 +0100 Byron Foulger wrote: >Here we go again, ever got that feeling of deja vu? Jerry Garcia all over >again!! >Since when did anyone who played a few blues licks, even played a few blues >tunes ever become 'blues', or a bluesman/woman? I've only caught up the last >couple of weeks blues-l corres. in the last couple of days due to being busy and >I've got to wade through all this crap on Page, Clapton and Beck etc etc. These >guys, however technically proficient will never be real 'bluesmen' in the >'correct' definition of the word, surely? >I was around in the '60s in the UK and these groups and bands like the Yardbirds >and LZ just passed me by, they meant nothing, I couldn't even name one track >they've made, their music had that much impact on me. I presumably heard a bit >of it without realising it though, I do, or did, listen to the radio (wireless >in them days). >There's been the occasional, and I mean very occasional, UK or non-U.S. bluesman >or band (white or black) that could occasionally CREATE blues, but in general >surely all the like of EC etc do is RE-create it, occasionally acceptably - but >no more, I accept, but that surely, again, doesn't make them bluesmen or >'blues'. There was a thread a few weeks ago on the list about Americans only >accepting their own genuine music by having it diluted and refed to them by the >likes of the Blues Bros and surely this is that same principle. Why do you >accept these pale imitations of your own music when the true blues is, or was, >just outside your own front door, or is that the very reason? >On the American side of the Atlantic I doubt if many of you have ever heard of >the Big Town Playboys, they were a band that EC used as his support at his >February Albert hall concerts for a few years, he classed them as his fave. >band. I'm not surprised, they WERE good, in fact they were chuffing brilliant, >nowadays they're not so hot due to personnel changes, but I've walked out on EC, >with a few others after they've been on, and EC came on. Seriously, try asking >they few Yanks that might hace seen them, shut your eyes and you were watching - >sorry listening to Amos Milburn and the likes, seriously!, but 'real' Blues, No, >No, No! I'd have gone many country miles to see them, but they were never real >blues/R&B, because they didn't CREATE, they RE-created, brilliantly, it must be >said, but surely again to be real blues, to be a real blueman you need to have >been been reared, brought up, whatever, with a blues environment, where the >blues seaps into you from a very young age, viz johnny Otis, Billy Lee Riley >etc, who I readily accept are, or at least can be real blues. Regretably, but >referring to my last input, if my budgie Snooky, whistled a few 'blue' notes, is >he blues? >Ah well, that's my twopenneth (=$0.02 worth), just off to my tailors to be >fitted for my made to measure asbestos suit, no doubt I'll need it! > Byron ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Mon, 2 Oct 1995 04:08:18 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Blues-l Tape #3 Mastering Comments: To: bob unger Bob, I can produce a DAT master (at 48Khz, etc. which means sample rate conversion costs to make a CD), and a cassette master. I have a good engineering ear, a good studio and have special equipment, and the experience, to make poor quality analog tapes sound good. I mean *really* improve them without screwing up the original mix or overprocessing. All I would want is to keep one cassette master for myself. You could archive the DAT for blues-l if you wanted, or the list owner could be given that responsibility. If you want, just send me all of the sources (cassette or CD, no DAT), with the track order you want them to be in and I'll make the masters. If you would like to *produce*, I'll send you the result for critique, then re-mix appropriately. This gives those who recorded on a boom box the best chance to show their material in the best light, while CD material would probably just be copied with no changes. I can prepare a DAT master and many cassette masters if we want to do a tree - the branches would get the masters. I would think that each contributor should get a master too, not a copy. since they are likely to use it for promos or to make copies in the future. Mike On Thu, 28 Sep 1995 12:56:07 -0400 bob unger wrote: >OK...Here's where thing's stand as of today. 11 people will be contributing >their talents to the tape. So far, I have recieved material from 2 people. >The deadline is early November. We also have Marc Borms (better know as >embee) contributing his talents as an illustrator to do the art work. Rob >Hutten will be doing the j-cards. If everything keeps to schedule, by the >end of November I should be distributing the tapes to all who request one. > >Just so I can get an idea, I would appreciate it any and all who would like >a copy of this tape to send me private e-mail. In the subject line, write >"Count Me In" and in the body of the message, your e-mail address. At this >time, please do not add any thing else to this message as I expect to get alot >and I really wont be reading them...I will be filing these messages for >reference. From this, I should be able to get a ballpark figure on how each >is going to cost. > >We have some very talented people appearing on this tape...it's gonna be >killer stuff!!! > >BU >bob@sun.bnkst.edu > >p.s. - If anybody needs more info or whatever, please DO NOT ask me anything >in 'Count Me In' message....send me a separate message. ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Mon, 2 Oct 1995 04:35:19 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: Fort Lauderdale Question Comments: To: Patti Bowman Patti, Tobacco Road was the place to go when I lived in Miami. Downstairs and Upstairs bands, 100 years old or so, west side of downtown. I convinced the guys I was working with that I needed to hear some Blues, *bad*, after defecting from Chicago 2 or 3 years earlier, so they took me there. Had a great time, spent $200.00 on Glenleveit Malt Scotch, boogied my ass off, slept in my car on the causeway to Key Biscayne, got arrested by Coconut Grove Police, and was generally fried by noon. Judith lets me do this once a year, since I'm not always going to bars with the guys and getting drunk all the time, I just do it up grand once a year (if the occasion arises). Highly recommended if you have a partner or taxi. Mike On Mon, 25 Sep 1995 11:03:27 -0400 Patti Bowman wrote: >Anyone on the list from Ft Lauderdale? >I went gone to the Riverwalk blues fest a few years ago ( 92 and 93) and >was thinking about making the trip agin this year. It's a three day outdoor >fest in Nov. > >Just wondered who was playing? > >Also, Is Sushi Blues in miami still open? Gotta love a place that has a >great sushi chef AND a live blues band! > >-Patti >dreaming of a vacation................... ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Mon, 2 Oct 1995 04:52:10 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: Time for a new Blues-l Compilation tape Comments: To: rjbauman@iquest.net On Wed, 20 Sep 1995 13:48:35 PDT rjbauman@IQUEST.NET wrote: >>A couple of years ago LW put together a tape of music recorded by >>Blues-l members. it's time for a new Blues-l tape. >>-Steve > >I wonder how many blues-l'ers have access to a four track. >A lot of us, I would bet. > >How about breaking ourelves all down into "groups" , selecting songs and >parts, and then passing the tapes around the country/world to build up >the songs. > >We could then bring those together and mix them down for an album with a >cast of hundreds!!! > >It's not the ideal way to record an album, but I bet it'd be a lot of fun >and would give us another way to share a fellowship in the blues. > Lot's of band demos are done this way, some make it to the LP. >I can't think of a reason to NOT do it, unless no one shares my >enthusiasm for such a project. > >Are most decent four tracks calibrated similarly like regular cassette >decks? They should align close to the same. 8 track wouldn't. I'm in! > >RJ Bauman Maybe, we should do this by picking one classic song and making a 45 min recording of it and *everyone* with a 4-track, or near someone with one, would play a part(s)? It could be the longest blues song in existence and garner a Ripley's award for blues-l. 45 min. of Stormy Monday... could kill that song forever! :) Or we could create the longest medeley! The drum and bass track would seem to be the problem here. I lay down a scratch rythym guitar track and vocal for use in playing the drums and bass and a real rythym track. Or we could just record sequenced drums for 45 mins. and pass the tape around for bass parts, then rythym, then lead, mix that to two track, and send it around for vocals... It seems that something would have to be consistent throughout Let's kick this around for Blues-L Tape #4? ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Mon, 2 Oct 1995 03:32:00 -0700 Reply-To: Chris.Hauge@NCAL.KAIPERM.ORG From: Chris Hauge i`m new to the list and have enjoyed reading it for the last three weeks. i have always liked blues and have heard some great artists at the filmore west in san francisco in the late sixties and early seventies. i have just started collecting cds and would like some input on some 'must haves' formy collection. of course i started out with some bb king cds and picked up a jimmie vaughn but thought it was too up beat for me.would like some real down blues guitar. any ideas??????? ========================================================================= Date: Mon, 2 Oct 1995 10:49:36 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Luther Allison on the rise. In-Reply-To: <01HVXG1S2782000BLL@SCI.WFEB.EDU> On Sun, 1 Oct 1995, Rick Miller wrote: SNIP > as to say "I predict that Luther is going to eclipse and far surpass Buddy Guy > as the premier blues-club attraction in this country if Buddy doesn't quit > horsing around with all this nonsense he's been playing and get back to > business of the blues." He had just been out to San Francisco and saw him > there (Luther). > > What do you guys think? I am just starting to listen to Luther so I can't > offer an opinion, but it sounds to me like this guy is definitely on the rise > and may well take the US blues scene by storm. He's a great musician and seems > genuinely charismatic. A good combination, eh? Ottawa had a blues festival this summer and on the closing day Buddy Guy was the last act. Guess who was on just before him? (For those of you that need to be hit with a brick, it was Luther Allison :):) ). Allison cerytainly blew ME away ... just beautiful. Buddy was Buddy, no denying that but the general consensus (granted unofficial) was that the high pount of the whole festival was Luther Allison. I certainly won't argue with that. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [2/10/95 6:35 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 2 Oct 1995 06:17:32 -0500 Reply-To: Roger Struve From: Roger Struve Subject: Do You respect them, -Reply LW, I respect almost anyone who believes in themself enough and their music to make a career out of it...with all the disappointments, noisy disrespectful crowds, 'music" critics, low chances of success, lower chance of making "good" money, heartache, the constant drain of being "on" in every performance, playing your "hit" song every night you play (by request), disparaging "barowners", the constant presence of the "need" to "compromise" your music in order to survive, "day jobs", etc. in the music business, damn, i respect 'em alot...famous, not so famous, and most of all, the "obscure" performers that we may never hear of. delta doc roger ========================================================================= Date: Mon, 2 Oct 1995 11:28:41 GMT Reply-To: Pat Risser From: Pat Risser Organization: Access InfoSystems Subject: Jimmy Thackery Comments: To: bit-listserv-blues-l@uunet.uu.net Any other fans of Jimmy Thackery and the Drivers out there? Caught them twice in the SF Bay area and he does the best version of Red House I've heard in years. I understnd that he and Stevie Ray were buddies. I also understand that he had something like 26 albums while playing in the D.C. area. Any more info? ========================================================================= Date: Mon, 2 Oct 1995 11:44:11 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Boob Tube Blues Rube I was watching a show called "Live Shot" on the weekend when the music became REAL nice.It was a version Of SBWII's "Help Me" .... but then the vocal started up ...... who was that that that.....YECH person? 10 on a "room clearing" scale. IMHO phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [2/10/95 7:40 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 2 Oct 1995 06:51:03 -0500 Reply-To: Roger Struve From: Roger Struve Subject: Re: Jimmy Page was BLUES! -Reply Comments: To: msuffern@XNET.COM Michael Suffern: is making a point about blues, evolution of one's music, and categorization of people. I tend to heartily agree with his perspectives. A case in point: Is there ANYONE on this list that would not agree that ROBERT JOHNSON was a bluesman, pure and simple? OK, (even my deaf ol ears could hear THAT overwhelming BLUES-L affirmative cheer).... SOoooooo, tell me, what is HOT TAMALES? Tain't no blues song in even my wildest, most permissive interpretation of a "blues" song! But what's this, Robert Johnson sang this song, but he's a blues man....i'm confused now....does this mean that RJ isn't a blues man anymore....at what point did he sing this song....and does that make all of those songs that came after "not blues" because he isn't a blues man anymore because he played this non blues song and, gulp, even recorded and released it? Damn, but JOHN HAMMOND, oh my god, he even sang HOT TAMALES at some point and actually, gulp, recorded and released it too. I could not bear the thought that my blues hero JH, isn't a bluesman anymore. I've no doubt someone somewhere will take this post seriously. (smile) best regards, delta doc roger ========================================================================= Date: Mon, 2 Oct 1995 07:38:08 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Where does one put Bo Diddley?? > Speaking of Chuck berry and blues....what do we do with Bo diddley? > I'm not sure its necessary to classify him, but if we must, I would certainly say he recorded some excellent blues -- "Who Do You Love?" makes my list of favorites every time. During the 50s, the term "blues" was used to cover many things, including music we would today say is "R&B" -- the records Johnny Otis did with Esther Phillips were called blues, for example. Musicians then -- as now -- were experimenting with the music, pushing the limits. That's what Bo Diddley was doing. In the course of it, he made some great music, whether you call it blues or not. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Mon, 2 Oct 1995 07:21:29 CST Reply-To: William Shute From: William Shute Subject: Barbara Lynn "The Atlantic Years" CD From: Bill Shute BARBARA LYNN "The Best of Barbara Lynn--The Atlantic Years" Ichiban Soul Classics SCL2505-2 orig. recorded l967-l973 Regular blues-l folks may remember that my original copy of this, though it had the correct CD painting on the topside of the disc, actually contained classical music. The folks at Ichiban were nice enough to send me a replacement copy, and are now no doubt scratching their heads over the defective disc I sent them. Anyway, the 20 songs included here, except for three l968 selections produced by SPOONER OLDHAM (!!!!), are all either Huey Meaux productions or were produced under Meaux's auspices at his Sugar Hill Studios. As such, they do have the kind of "small-label sound" I enjoy so much. Lynn's l968 Atlantic album was produced by Meaux at a place called "Grits and Gravy Studios" in Mississippi (where have I seen that name before? it's too early Monday morning to find anything in the cobwebs of my long-term-memory)and is an unpretentious and somewhat diverse collection of circa '67 soul. Some experiments work better than others (you longtime 45 collectors know the way a b-side will sometimes have your head spinning as you ask "I wonder what they were attempting to achieve with THIS!"--many hits of the day had a kind of odd hook or strange gimmicky structure to them, and you can almost imagine the producer and artist agreeing that the experiment didn't really come off, but they didn't want to waste it, so they threw it on a b-side-- "Ring Telephone Ring", a strange dirge-like b-side which seems to be building up to something that never happens and also fades in mid-verse, is an example of this), but I feel that any fan of Barbara Lynn or any fan of Southern/Texas soul will dig this collection and play it often. I'm proud to say that I have a gig poster of Barbara Lynn on my bedroom wall (from the C-U-Later Lounge in Austin)! While my 45s are all in storage with the rest of my vinyl (until I move out of this damn apartment I'm now in), I do know that I have a Lynn 45 on Jetstream label, I think, and that there are other obscure Lynn tracks on those odd Huey P. Meaux "Hitkickers" 3-lp sets that were sold at truck stops at convenience stores and had 4 songs on a side). Those albums (and I think there were 12 three-record sets in the series...I have seven or eight of them) also have obscure material I'd never heard of by Doug Sahm, Joey Long, Ivory Joe Hunter, and just about every other TExas artist who worked with Huey in the l960s. It'll be a long time before Meaux's archives, which a friend and former Meaux employee told me are piled up in closets and in total disorganization, are combed by some Ray Topping- type who can catalog it all and start imposing some order on all the chaos, so don't expect a CD of Barbara Lynn mid-60s rarities anytime soon from a legit source. Ms. Lynn looked as stunning as ever when we saw her at the Lazy Lester show in Austin in July (where she waved at the audience and hugged Lester on stage, but alas didn't perform), and after her wonderfully soulful and contemporary-sounding SO GOOD album on Bullseye Blues, many of us are anxiously awaiting for Ms. Lynn to choose to do another album. By the way, her Jamie label album, plus the Jamie non-lp singles, are available on a Dutch CD, licensed from Jamie/Harold Lipsius, on the SOUND OF THE FIFTIES label, which I think is affiliated with a Dutch record store of that name. I've had that CD for a few years, but it must be quite obscure as the folks at Antone's Records had not heard of it when I mentioned it to them last year. If anyone is interested in this CD, I can get the number and label address from home. The CD was a class job--are they any other reissues of interest on that label? Bill Shute San Antonio, TX ========================================================================= Date: Mon, 2 Oct 1995 08:31:15 -0400 Reply-To: Kenhaub@AOL.COM From: Ken Haubrock Subject: the thrill is gone - lyrics... anyone have the lyrics to BB King's The Thrill is Gone? that's all i need. just the lyrics. email them directly to me at kenhaub@aol.com. thanks. kah ========================================================================= Date: Mon, 2 Oct 1995 13:37:03 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: I ain't no butcher Comments: To: bit-listserv-blues-l@uunet.uu.net In , L W writes: >What is the name of this tune, who did it and can you complete the lyrics: > >I ain't no butcher, I ain't no butcher's son, but I can cut your meat 'till >your butcher man comes That's Bo Carter (Armenter Chatmon, brother of Lonnie and Sam), King of the Single Entendre! ///////////////////////////////////////////////////////////// B.B. Bean bbbean@cris.com Team OS/2 strictlow@aol.com Bean & Bean Cotton/Bean Farms 75474.2654@compuserve.com \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ ========================================================================= Date: Mon, 2 Oct 1995 13:39:06 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: King Biscuit Blues Festival Comments: To: bit-listserv-blues-l@uunet.uu.net In <447ai4$onm@newsbf02.news.aol.com>, Lilleston writes: >....We festival folks definitely should set up a place to meet. I got a >room in Tunica, which is about 30 miles away, but it's a gambling town, so >there's some comfort there (grin). I'm also gonna try to sneak in a side >trip to Memphis - I'm going with a friend who never has been to Beale >Street (I used to live in Memphis). There'll be a bunch of Blues-l'ers at the International Blues Talent Competition Saturday in Helena and Sunday in Memphis. ///////////////////////////////////////////////////////////// B.B. Bean bbbean@cris.com Team OS/2 strictlow@aol.com Bean & Bean Cotton/Bean Farms 75474.2654@compuserve.com \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ ========================================================================= Date: Mon, 2 Oct 1995 08:34:44 CDT Reply-To: msuffern@XNET.COM Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: Michael Suffern From: L W Subject: Re: Jimmy Page was BLUES! ----------------------------Original message---------------------------- >TW, Why does everybody get pissed at this sort of shit (mostly AOL and >DEMON subscribers it seems?)? Are we only supposed to discuss performers >that *everyone* agrees is a Blues performer? Or did you mean, "This is the >sorta stand that myself and many others disagree with."? Well now that you mention it: Micheal Bolton did cover "When A Man Loves A Woman" that was written by Percy Sledge...So MB does the blues...I think "We Are The World" was a blues tune....Gosh we could go on forever... Drop the Jimmy Page or include Micheal Bolton.......They both covered blues the only difference it one covered, the other was SUED for stealing >Jimmy Page was a good guitar player, some say a great guitar player. The most overrated guitarist EVER...IMHO I think he was a good producer, but as a guitarist he was ZERO. I have never owned a Led Zep album, didn't know they did blues, until I read that they were SUED for stealing a blues tune... Jimmy Page a blues guitar player, is like saying Jeffery Dahmer liked boys LW 'IMHO and I'm having a bad day' ========================================================================= Date: Mon, 2 Oct 1995 14:42:00 --100 Reply-To: Vincent Vialard From: Vincent Vialard Subject: Re: Luther Allison on the rise Rick Riffin wrote: > What do you guys think? I am just starting to listen to Luther so I can't > offer an opinion, but it sounds to me like this guy is definitely on the rise > and may well take the US blues scene by storm. He's a great musician and seems > genuinely charismatic. A good combination, eh? > > Opinions? I dunno. He's been hangin' around in France and Germany for so long that it must be ggod for him to be back in the US. He's the one who got me into the blues 13 years ago, and I tend to prefer what he did back then, but what he does now should reach a larger audience. BTW, he his very highly charismatic. Vincent. ========================================================================= Date: Mon, 2 Oct 1995 08:44:58 CST Reply-To: William Shute From: William Shute Subject: give Margaret Lewis a try! From: Bill Shute The new Roots and Rhythm catalog is out (BTW, I am in no way affiliated with the company other than being a longtime customer), and it's chock full of goodies to deplete your financial resources. They are even stocking (and FEATURE in the catalog) a number of the Night Train reissues that we were discussing over the last few months. Anyway, one of the reviewers (who shall remain nameless since I don't want to give this dilettante any free publicity) slammed the Ace UK release of Ram label material (from Shreveport) by Margaret Lewis, saying that "she was rather deserving of her anonymity" and that "most" of the selections were "pretty amateurish" and two of the R&B covers were "particularly scary." For what it's worth, I love this album and Ms. Lewis is near the top of my list of female late 50s/early 60s vocalists. I haven't reviewed this album, though I've had it for awhile, on blues-l since it's not technically a blues album, but I don't want you folks who might find such an item of interest to be scared away by this guy's remarks. Imagine if Wanda Jackson had been from Texas/Louisiana instead of Oklahoma and had heard a lot of R&B as a child. Ms. Lewis hailed from Lubbock (Jeff, now YOU will have to buy a copy!), and in the liner notes discusses hanging out in the parking lot of a club talking with Sonny Curtis before a Big Joe Turner gig. While much of the material is rocknroll, it's mostly blues-based music, and it has the wonderful small-label sound associated with Goldband, Excello, et al. If you could imagine Janis Martin covering "Dust My Blues" and would find that possibility exciting, you will love Ms. Lewis' cover of the song and I doubt you'll find it"pretty amateurish". One highlight of this SOLID album is the cover of CArol Fran's "Emitt Lee"-- the vocal was off-mike on the original recording, so Ray Topping asked Ms. Lewis if she'd like to "complete" the track (in l994!) that she had "begun" 35 years ago, and she did, providing a NEW l994 vocal on it. And the great thing is that, unless I knew that, I WOULD NOT HAVE NOTICED!!! \Yeah, the voice is slightly deeper, but she still HAS IT> Let's hope someone gets Ms. Lewis to do some OTHER new recordings, as this is a lady who is too good to go unheard. MARGARET LEWIS "Lonesome Bluebird" ACE (UK) CDCHD 572 released l995 Bill Shute San Antonio, TX (only eight hours from Shreveport) ps, the maintenance workers here must have good taste. Someone stole my Stax Records coffee mug from my office over the weekend. Well, at least the black ELVIS mug is still here. pps, Roots and Rhythm is accessible by e-mail. their address is roots@get.hooked.net You might want to enquire about getting a copy of the new catalog. I also special ordered a number of Document items a month or two ago and Frank and crew were very helpful. They are also interested in perhaps letting regular customers know about new releases via e-mail bi-weekly for a nominal charge. This seems like a GREAT service to me, and if it interests you, you might let Frank SCott know that you are interested so he can see if there are enough interested parties out there to make a go of it. Honest and reputable folks like R&R deserve our support. -------------------------- See you all at Joe Guitar Hughes this Friday night. I'll buy a bottle of Frio Beer (San Antonio-brewed)for any blues-l-ers I haven't met before. ========================================================================= Date: Mon, 2 Oct 1995 13:43:54 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: posts from Crusader@national alliance Comments: To: bit-listserv-blues-l@uunet.uu.net In , Jef Jaisun writes: >One friend pointed out that it appears the nazi spam was sent to people >who posted on specific newsgroups recently. If everybody on Blues-L got >it, but people on, say, rec.music.guitar didn't, I'd venture to say we >were targeted as a group. Don't suppose it has anything to do with our >ferocious love of a black musical art form, do you. I don't know how targeted they were. I keep several accounts, and have received those posts ate each of my addresses, despite the fact that I use each account for different net activities. ///////////////////////////////////////////////////////////// B.B. Bean bbbean@cris.com Team OS/2 strictlow@aol.com Bean & Bean Cotton/Bean Farms 75474.2654@compuserve.com \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ ========================================================================= Date: Mon, 2 Oct 1995 09:47:56 -0400 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: ROBERT JR. LOCKWOOD Comments: To: bit-listserv-blues-l@uunet.uu.net ROBERT JR. LOCKWOOD IN MUDDY'S CABIN Robert Jr. Lockwood and Sonny (Sunshine) Payne will be online guests at The Blue Highway on Friday, October 6th at 12:45pm CST, immediately after their broadcast of the King Biscuit Time radio show. Robert Jr. Lockwood and Sonny Boy Williamson II (Rice Miller) started the King Biscuit Time radio show in 1941, shortly after Sonny Payne became the dj on the show. After more than 12,000 broadcasts, the show received a Peabody Award in 1994. Please join us on Friday, October 6th following the afternoon's King Biscuit Time radio show to speak to these interesting gentlemen. Check Muddy's Cabin at The Blue Highway for exact times. If you can't make it to Muddy's Cabin for the chat, we are accepting advance questions. Please e-mail them to catbauer@vivanet.com or Catbauer@aol.com The Blue Highway and Muddy's Cabin -- a virtual chat room -- are accessible by almost all web browsers and through any commercial service with web access, including CompuServe, America Online, and Prodigy. http://www.vivanet.com/~blues/ ========================================================================= Date: Mon, 2 Oct 1995 08:48:43 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: song ID please I heard a song on the radio the other day. The singer was addressing radio and asked the question - "are you ashamed of the blues?" It sounded almost like a "soul blues" - maybe by someone like Little Milton or the Malaco artists. Anybody else heard this song? Thanks, Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / As I was riding across the Mississippi \ / I stopped there and I cried. \( No use for a man to keep a mighty river All dammed up inside. -Joe Ely ========================================================================= Date: Mon, 2 Oct 1995 08:43:51 CDT Reply-To: Roger Struve Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: Roger Struve From: L W Subject: Do You respect them, -Reply ----------------------------Original message---------------------------- >LW, >I respect almost anyone who believes in themself enough and their >music to make a career out of it...with all the disappointments, >noisy disrespectful crowds, 'music" critics, low chances of success, >lower chance of making "good" money, heartache, the constant drain of >being "on" in every performance, playing your "hit" song every night >you play (by request), disparaging "barowners", the constant presence >of the "need" to "compromise" your music in order to survive, "day >jobs", etc. in the music business, I had this problem with a friend, we were attending a show of a band that was not real enjoyable. They were trying and not "goofing off"...Well my friend didn't clap after the tune. After the clapping was over I turned to him and said "Why don't you go up play a tune"...He said you're crazy I can't play. I asked him has he ever got up in front of people and performed, he said no and there's no way he'd have the guts to do that. I then said "Then respect the ones who do have more guts than you and PUT YOUR DAMN HANDS TOGETHER" He understood and started supporting them amd gained some respect for them It's not easy getting up in front of people and exposing your soul, or even trying to expose it.....You got to respect that.... LW ========================================================================= Date: Mon, 2 Oct 1995 09:50:16 -0400 Reply-To: RhythmShrk@AOL.COM From: Bernie Clarke Subject: Re: Portnoy's harps $$$ The last time I talked to Jerry about harps he was using Marine Bands. I know he has tried the Majic Harps that Majic Dick invented. I understand that he is using one of them in concert with EC. Jerry also uses Astatic mics. BC ========================================================================= Date: Mon, 2 Oct 1995 08:52:07 CDT Reply-To: CATBAUER Comments: To: bit-listserv-blues-l@uunet.uu.net Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: CATBAUER From: L W Organization: America Online, Inc. (1-800-827-6364) Subject: ROBERT JR. LOCKWOOD ----------------------------Original message---------------------------- >ROBERT JR. LOCKWOOD IN MUDDY'S CABIN >Robert Jr. Lockwood and Sonny (Sunshine) Payne will be online guests at >The >Blue Highway on Friday, October 6th at 12:45pm CST, immediately after >their broadcast of the King Biscuit Time radio show. Robert Jr. Lockwood I would like to say something here: If you are participating on this particular chat. TREAT Lockwood like the performer he is, acknowledge that HE IS ROBERT JR. LOCKWOOD....Leave out the Robert Johnson questions. Lockwood is a GREAT bluesman in his own right and he deserves to be ROBERT JR. LOCKWOOD. So don't ask him a bunch of questions about Robert Johson, it happens all the time. If you talked to BB King you would "discredit" his talent, by asking all kinds of questions about his cousin, Bukka White. So please, respect Mr. Lockwood and talk to him about himself and not about his stepfather...... I ask that sincerely, I've read too many interview of Lockwood that ignore his talent and only ask about Robert Jonhson.....Repsect the legend of Lockwood and FORGET that he was RJ's stepson..... Thanks LW "Thats just some advice, that will make the time spent more productive" ========================================================================= Date: Mon, 2 Oct 1995 09:23:32 CST Reply-To: William Shute From: William Shute Subject: upcoming Capitol Blues Reissues (query) From: Bill Shute I see that Capitol will be putting out a SECOND set of Blues Reissues later this month. Could someone with industry connections find out for blues-l what items will be coming out? Is the long-awaited reish of Fred McDowell's "I Do Not Play No Rock and Roll" going to be among them? For many of us who "grew up" (whatever that means!) in the l970s, that album was one of the essentials. Wouldn't it be exciting if there were outtakes from those sessions! If anyone at EMI is listening, I'd like to have the 2-lp french comp NEW ORLEANS RARITIES, put together by Jeff Hannusch circa early l985, to be reished on CD. Also, how 'bout a multi-disc Dave Bartholomew set that has DAve's actual recordings and not just his productions? I suppose that the Imperial stuff would come out via EMI and not Capitol, but still, I'd love to see it. Again, if someone who knows could tell us what will be in the October batch of Capitol reissues, I and many others would appreciate it. Thanks in advance. Bill Shute San Antonio, TX Time is running out if any of you want to audition for the lead role in the forthcoming Selena biopic, to be directed by Gregory ("El Norte") Nava and to be shot here in SA and in Corpus Christi. Don't worry about being able to speak Spanish--I understand Selena did some of her numbers phonetically (like those Spanish language films Laurel and Hardy did in l930-31), although you KNOW that item will NOT be mentioned in the film. I also heard that the always-fine Joe Nick Patoski was going to do the "authorized" biography in book form (anyone looking for an operational defintion of the term "potboiler"?)-- I guess with Joe King Carrasco's stock having fallen over the last few years,there are no liner-note gigs available! ========================================================================= Date: Mon, 2 Oct 1995 08:59:47 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: The Iceman Comments: To: "P.W. Fenton" In-Reply-To: <199509291549.LAA67730@tequesta.gate.net> Albert cranked the reverb on his amp in the studio too. It was never a subject of debate. It also helps explain the feedback that's on every live tape by him I've ever heard, which we ducked the best we could on the live CDs but couldn't eliminate totally because of leakage. I heard a good "leader forgets sideman's name" story recently involving Jr. Wells and drummer/journalist/producer Ben Sandmel. Supposedly during the band introductions during the first set, Jr. got through everyone but when it came to Ben (who was filling in) Jr. stalled and then said "and on drums-- my man!" The second set when Jr. stalled, Ben yelled his name to help him out, whereupon Jr. turned around and yelled "It's MY show, m*****f*****!" ========================================================================= Date: Mon, 2 Oct 1995 07:40:30 -0700 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Re: Do You respect them, L W writes: >I see alot of Clapton, SRV ...etc talk all the time. >I have a question, even though you make not like their music, DO You respect >them at all. I respect them. They put a lot of effort into the work. I find them quite talented. I like some of their stuff. I get tired of reading the same stuff over and over and over again. Joe ========================================================================= Date: Mon, 2 Oct 1995 09:48:35 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Worst by your favorites What is INYO the worst recording(s) by your favorite artist(s)....? I see "Electric Mud", "Muddy, Brass & Blues(was that the name) coming up often.... I'd also be willing to bet that the word "London" will be in a lot of those mentioned LW ========================================================================= Date: Mon, 2 Oct 1995 11:57:03 -0300 Reply-To: Rob Hutten From: Rob Hutten Subject: Goin' to Chicago Well, it looks like I'll be in Chicago for a few days in late October to take a course, providing there's still an opening for me. Soooooooo, any blues in Chicago? :-) Would any blues-l'er like to get together? I've never been south of the boarder, let alone in Chicago, so I'll be completely lost. If any of you Chicagoites see a big blond Canadian (look for the hunter orange hat and the hockey stick) wandering around looking for blues clubs, that's me. -Rob ========================================================================= Date: Mon, 2 Oct 1995 10:57:55 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: ROBERT JR. LOCKWOOD Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU On 2 Oct 95, L W had this to say... > If you talked to BB King you would "discredit" his talent, by asking all kinds > of questions about his cousin, Bukka White. So please, respect Mr. Lockwood and > talk to him about himself and not about his stepfather...... We can not interview the dead. Therefore we must ask their still living contemporaries for information about them. Asking someone about a friend, relative, or aquaintance that passed away does absolutely nothing to "discredit" the person you are asking. It's absurd to suggest it does. I had the pleasure of spending several alcohol soaked hours with David "Honeyboy" Edwards, another of Robert Johnson's contemporaries that gets asked about him constantly. I said to Honeyboy "I'll bet you get tired of answering questions about Robert (Johnson)", to which he replied, "Oh no. Absolutely not, Robert was my friend and I loved him. I like to remember him." If you were talking to a great bluesman, and ALL YOU TALKED ABOUT was someone else, THAT might be disrespectful. But no amount of questions about someone else could DISCREDIT him. There are other things I would like to ask Robert Jr. Lockwood about, but I wouldn't hesitate for an instant to ask him about his memories of Robert Johnson if that was something I was curious about. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 2 Oct 1995 11:14:33 -0400 Reply-To: RLaMour From: RLaMour Organization: America Online, Inc. (1-800-827-6364) Subject: Re: HOB and Tip's Comments: To: bit-listserv-blues-l@uunet.uu.net I manage Lavelle White and we have played both venues (HOB & Tips). We played at HOB on a show with Koko Taylor last March and at Tips with Marcia Ball and Marva Wright last May. Though the people at HOB were very accommodating and the show was great, nothing will ever top the great time we had at Tips. Its the real thing and I live for the day that we can get back there. ========================================================================= Date: Mon, 2 Oct 1995 11:17:18 -0400 Reply-To: POXY MAN From: POXY MAN Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Blues in Pitt. Comments: To: bit-listserv-blues-l@uunet.uu.net you are lucky to be in Pittsburgh. the Billy Price Band is one of the BEST EVER R&B /soul bands you can find. Saw Billy in DC twice this weekend at Tornado Alley and they set the place on FIRE !! If they are playing anywhere in your neck of the woods......SEE THEM ! Regards, Pat Seay ========================================================================= Date: Fri, 1 Sep 1995 09:02:27 PDT Reply-To: rjbauman@IQUEST.NET From: rjbauman@IQUEST.NET Subject: Re: Tornadoes? Comments: To: FlGator@AOL.COM Maybe they've relocated their base. They appear pretty often here in Indy. RJ Bauman >a group called Little Mike and the Tornadoes used to play here regularly, I >think they were from New York. Haven't seen them in quite a while, any body >know if they are still around? > ========================================================================= Date: Thu, 31 Aug 1995 17:20:41 PDT Reply-To: rjbauman@IQUEST.NET From: rjbauman@IQUEST.NET Subject: Re: Jimmy Page etc etc (yawn) Comments: To: Byron Foulger =====================to be a real blueman you need to have been been reared, brought up, whatever, with a blues environment, where the blues seaps into you from a very young age, viz johnny Otis, Billy Lee Riley etc, who I readily accept are, or at least can be real blues. Regretably, but referring to my last input, if my budgie Snooky, whistled a few 'blue' notes, is he blues?=========================== I'm sorry. I'm dying to know who Billy Lee Riley is. Can anybody tell me why he is held in such high esteem? RJ Bauman ========================================================================= Date: Thu, 31 Aug 1995 16:48:04 PDT Reply-To: rjbauman@IQUEST.NET From: rjbauman@IQUEST.NET Subject: Re: Luther Allison on the rise. Comments: To: MILLER@SCI.WFEB.EDU ===================Anyway, the dj went as far as to say "I predict that Luther is going to eclipse and far surpass Buddy Guy as the premier blues-club attraction in this country if Buddy doesn't quit horsing around with all this nonsense he's been playing and get back to business of the blues." He had just been out to San Francisco and saw him there (Luther). What do you guys think? I am just starting to listen to Luther so I can't offer an opinion, but it sounds to me like this guy is definitely on the rise and may well take the US blues scene by storm. He's a great musician and seems genuinely charismatic. A good combination, eh? Opinions?============================= As far as Luther being on the rise, yeah, he'll definately get his due here in the states if he hangs out here long enough. BLUE STREAK is "out of this world" kind of good. I think the guy *was* just being smart. He went to Paris after the last blues revival died and made a great name for himself in Europe. He did what he had to do to stay in front of people: making rock and R&B flavored blues and straight out POP music. He actually , in my completely not so humble opinion, is retreating back TOO the blues and not FROM the blues, as others might suggest. A listen to his "SERIOUS" and "HERE I COME" will definately make you appreciate his last two efforts even more. The two mentioned above are almost completely void of blues content!!! I've seen none of this in the three shows I've attended. He has several brilliant blues efforts, such as his new "BlUE STREAK" (with a touch of soul) "LOVE ME PAPA", LOVE ME MAMA", "LIVE IN PARIS", "GONNA BE A HOT ONE HERE TONIGHT", and other yet to be re-released albums from the 1970's. I personally didn't think "Soul Fixin' Man" was a breakthrough CD, blues-wise, but "BLUE STREAK" definately is, and I believe that even the biggest Buddy Guy fans (and I am one) realize that Luther has a real edge these days when it comes to an honest to goodness blues performance. That from someone who's seen only ONE goofy BG show with all the tricks. Buddy has SO much talent. I'd pay to hear him sing his head off with those wonderful vocal dynamics of his, and no guitar. He blows me away. But Luther seems more genuine and is his equal on the guitar. Now flame me on that!!! RJ Bauman (will see Buddy for the 6th time in 9 days from now) ========================================================================= Date: Mon, 2 Oct 1995 11:26:55 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: ROBERT JR. LOCKWOOD Comments: To: pwfenton@gate.net In a message dated 95-10-02 11:09:22 EDT, pwfenton@GATE.NET (P.W. Fenton) writes: > >There are other things I would like to ask Robert Jr. Lockwood about, >but I wouldn't hesitate for an instant to ask him about his memories >of Robert Johnson if that was something I was curious about. > I think what LW was trying to indicate subtly is that Robert Lockwood is (legendarily) sensitive about being asked-to-death about Robert Johnson and not being asked about his own remarkable career. He *will* talk about his associates-- ask him about his time playing guitar on the King Buscuit radio show (which in the context of backstage at Helena would certainly fit and would probably make him inclined to answer) or about his time as a session man in Chicago, or his own music, and he'll probably be glad to talk. Be the 10,000th interviewer to focus in on Robert Johnson and you'll get a verbal fist in your face. And somewhat understandably, given the things Lockwood has done *himself* since the late thirties. Subtlety? From LW? Interesting start to the week. Tom Freeland ========================================================================= Date: Mon, 2 Oct 1995 08:25:00 -0700 Reply-To: NED_KRAFT@HP0000.DESK.HP.COM From: Ned Kraft Subject: Help me vocals Item Subject: Help me Maybe it was Booker T? Says Green Onions on our promo, sounds like Help Me live. Dirty Ned Hoosier Daddy P.S. this is a good one for those of you looking for open mic tunes. Not many folks do it, but almost every bass player knows it. ========================================================================= Date: Mon, 2 Oct 1995 11:55:02 -0400 Reply-To: hhardy@BCONNEX.NET From: Hugh Hardy Subject: hearing I am new to the world of hearing protection. Can anyone recommend a type, brand, reusable or disposable, etc.? Thanks, Hugh H. P.S. Maybe I should find a "metal" list to ask the question. :-)> ========================================================================= Date: Fri, 1 Sep 1995 10:53:52 PDT Reply-To: rjbauman@IQUEST.NET From: rjbauman@IQUEST.NET Subject: Re: Worst by your favorites Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu >What is INYO the worst recording(s) by your favorite artist(s)....? > >I see "Electric Mud", "Muddy, Brass & Blues(was that the name) coming up >often.... > >I'd also be willing to bet that the word "London" will be in a lot of those >mentioned > >LW > Without a doubt, "THE THREE SIDES OF JOHNNY CLYDE COPELAND." Very inconsistent and some *bad* recording quality. RJ Bauman ========================================================================= Date: Mon, 2 Oct 1995 11:09:00 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: E.C. reviews: Chicago2, best, worst Part #2 Eric had the blue shirt, the same 'lucky' ripped jeans, workboots, and a necklace of bone or shell and gold. Steve Gadd, the drummer, reportedly had one on too. Eric got a haircut since the St. Pete show. Still long but not like a goofy high school kid from '78. Judith hates it, I think his lady admirers think he's cuter and looks better (and younger) out on a date in his Armanis with the shaggy do. I liked the rough and ready, means business and who cares, look of the 'workman's' haircut. The left leg rotated behind the chair as always during the acoustic set and a smile was present through the acoustic stuff. Things were looking good for a great show. I immediately noticed that his voice has become seasoned. Gruff, velvety, powerful, and confident, as opposed to just gruff or just Eric like before. Eric was playing with the time, streching phrases out like a more confident performer. He also played with the time more on guitar, doing the same or rushing the beat.The sound system was in good shape. I swear they had blown cabs in St. Pete and they had blown a couple more at the end of the night. The sound in Chicago was great. A bit of extra reverb from the Hall, but very clean, and not as loud. We were in the center section, row 20, seats 1 - 8. As in St. Pete, Eric grabbed a slide during "44" and played the lead with a slide. In St. Pete there were more than a few fans that noticed this and appluaded. Chicago didn't know the difference, sigh. The 'big' bass drum was on stage, played by one of the horn players. At least it didn't overpower the P.A. as in St. Pete. The guitar was the tobacco-burst Gibson (ES-125TD??) usually used for this tune (others say it's an ES-175 but it looks a bit thin too me). The crowd loves this song and you can tell tey are really into the show now. I thought this would be good time to take out the 90 min.... ummm... battery, in my watch and put in the 2 hr. battery (I was prepared for a long show - Chicago you know). It wasn't a good time, the guitar change wasn't until "Blues Leave Me Alone" was over. So, I fumbled with the battery and got my watch started during the first verse. Jerry came to the fore with this song and realy wailed and cried. He looked good on the dual monitors flanking the light rig. He's dressing less flashy, less Bluesey, but very nice, classy and still Bluesey, but not totally cliched. A big ovation was given to him after this solo - Chicago. The crowd was getting fired up now. A black Fender Stratocaster was brought out by Lee and the next song was introduced with "Here's one by the great man... called Standin' 'Round Cryin'", another chance for Jerry to shine. He undoubtedly played this many times with Muddy. Andy Fairweather Low's rythym playing really filled in the middle on this one. You could see him adding a nice wrist vibrato at the end of each chord and constantly moving around the neck - anyone who thinks Andy doesn't belong is just plain misinformed or unobservant. Dave Bronze wa playing the bass, smiling and dipping his body forward on every downbeat, obviously having a good time. Meanwhile Eric was playing fewer notes than usual and holding them longer, relaxed and tasty. He was putting more emotion into each note than usual. He definitely had a sense of confidence in his familiarity with the material by now and was at his leisure to play with some of the notes - to caress them a bit longer at the expense of the others he used to play. This is Eric at his best - not slowhand with super fast riffing - but with maximum feeling. There will be plenty of slowhand at the end of the show. A white Strat came out and Steve counted out four on the hi-hat to start "Hootchie Cootchie Man". So fare none of the Strats had Lace Sensors, they were all regular magnetic single coils. The crowd loudly acknowledged their familiarity with this tune, a Chicago staple. Out comes the Super400 CESN again. This is a beautiful axe, it has dual black soapbar pickups ('59 or earlier), the torch or flower (?) headstock inlay, block fret markers, tune-o-matic on top of a rosewood bridge, the gold crossed X's tailpiece with straight ends (maybe an L5 CESN?), triple black and white celluloid binding and the little notch sticking out at the end of the fretboard - a real beauty. He did Elmore James proud with "It Hurts Me Too". Really belting out the lyrics and, as I just said, sustaining the end of the phrases longer. This was much better than From The Cradle, though the old, less mature and confident Clapton voice was more like Elmore's. The crowd dug it. Then Judith's beloved "Blues Before Sunrise", one of the best driving songs ever. The song that people complain he's trying to hard to sing in a Black voice. Well, would they be happy if he tried less, probably not. Get ready, 'cause the next guitar is a brown-burst Gibson ES-335. This axe has the stop tailpiece and tune-o-matic bridge, and the pineapple headstock inlay with Gibson in script. Things have just heated up a notch! A hushed wave of "Oh, yeah", rolled across the hall as Eric started playing Eddie Boyd's "Third Degree". He really took is slow and sweet. Alright, the slow Blues, the Blues that reaches the deepest into your heart and moves you - I've been waiting. After the first "Bad Luck... is killin' me", there was a low pulse as different areas of the crowd muttered to themselves the white equivalent of "Tell it, tell it" - we know what your saying man. The lead solo was low and heartfelt, not rushed and full of Clapton riffs. It got great applause and the next verse came out of Eric's throat like he had all the time in the world to play with it. He was into it. The band was so smooth on this one, they were really tuned in. Chris Stainton held up Eddie Boyd's end very nicely. A faster more staccato and detailed intro to "Reconsider Baby" ended with Eric holding the last note, a low note on those wound strings. The audience yelled their agreement. Eric used pinched harmonics to add variety to the first accompanied verse. There was more distortion on the new amps he's using for the songs that he wants that British distortion on, so, his plucking of the strings was not as apparent as on the record. Go back to the Soldanos or a pile of Matchless'. The vocals were absolutely superb, once again the crowd applauded Eric's voice. And then he let rip with the guitar. This one got a great response. "It's called Sinner's Prayer"... Eric's voice wavers a bit with the first "Lord have mercy", the old vulnerable voice. Chris tickles the ivories and Eric is plucking the strings with his fingers. Again, the sound is not as dramatic because of the amp. His singing is unbelievably strong. Everybody loves it. And, after the song, Eric steps to the mic to offer a quick, "Thank you", as with most songs. Then my favorite >:-( "Every Day I Have The Blues". I'm not much of a fan of uptown Blues, Mike don't swing and Mike don't see the sense in swingin' - time wasted that could be spent getting worked up, maybe as the last song to get people out of the door, "Goodnight. Thanks for comin'. Remember we're the Mojo Hodo Allstars. Glad y'all came down. See ya next week! Same time. Same bar. Same $50.00 each. Same guy yellin' for 'Free Bird' or 'Red House'", Mike would have rather heard "Double Trouble" or "Early in The Morning" (Jerry said they did Double Trouble on the previous gig and would be doing 'Every Day' tonight). E.C did really boogie around when the other guys were taking their solos. He was happy. Eric didn't play E.C. signature riffs until later in the second solo, so it was one of the better versions he's done. Of course, the Chicago crowd loved it. This is probably one of the best known Blues songs, so it's always a sure bet to connect with the audience. That's probably why it's in the set so often. Plus it gives Eric the chance to play in the stylistic restrictions of B.B King. Next out, a white Strat with Lace Sensors and Eric doodles with it for a moment in the best Blues fashion. The first note slides of "Groanin the Blues" bring in the band, and then Jerry with a dirty cry from his harp. . Then Jerry's bent and drawn harp riffs after each verse are noticably replaced by Eric's guitar riffin' instead and the horns become apparent with their classy pads. I'm bummed, I love to hear Jerry shaking that harp and bending and releasing that chord after the verses. Eric's lead gets applause. He shifts from Bluesy playing to fast Clapton textbook riffs and back, garnering a big reaction from the crowd, there will be more of the classic slowhand from here on out. His tone between vocal verses is wonderfully dirty and thick - he's switched pickup settings, and is singing is again pretty emotional, not exceptional, but for Eric, a bit more personal than previous shows. "Before You Accuse Me" ups the tempo and gets the crowd movin'. Same thing happened in St. Pete. A bit more white light on stage probably cued us in. This will probably attain the same position that "Tulsa Time" did, not great, but liked by a great many people. You know, white folk need a faster, straight eights beat, in order to be able to move their butt from side to side, unless they're slow dancing - then they can help each other with their hands. ;-) Boy is it going to be a sad scene when the Reggae beat in Crossroads gets everyone on their feet. :) The appreciation is loud and long after this song. more tomorrow... ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Mon, 2 Oct 1995 12:08:46 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Robert Jr. Lockwood @ DC Blues Society Jam Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com We got a very nice surprise at the DC Blues Society blues jam yesterday - Robert Jr. Lockwood showed up! He was in town to pick up his National Heritage award and Ron Weinstock brought him and his wife to the jam. He did a short set of four songs (Love in Vain, Stop Breaking Down, See See Rider and Kindhearted Woman) on electric guitar and vocals. If he had wanted to play with a band I probably would've played harp with him, but he chose to play alone. It just goes to show that you'll never know who is going to show up at a jam session! -Steve ========================================================================= Date: Mon, 2 Oct 1995 13:28:55 -0300 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: Worst by your favorites Comments: To: ISTS024@UABDPO.BITNET In-Reply-To: from "L W" at Oct 2, 95 09:48:35 am > What is INYO the worst recording(s) by your favorite artist(s)....? Son House's recording on a Wolf LP called "Giants Of The Country Blues" (can't remember what title they stuck on it) is right up there... I think it's disgraceful that this was ever released. The only thing interesting about it is that it sounds a *lot* like Son is playing an electric guitar... -Rob ========================================================================= Date: Mon, 2 Oct 1995 11:56:31 -0600 Reply-To: Bennett Pearce From: Bennett Pearce Organization: UAB Pediatric Cardiology Subject: Killer Comments: To: bit-listserv-blues-l@uunet.uu.net Please forgive that this is not strictly blues. Does anyone have any info regarding touring or recording activity for Jerry Lee Lewis. B. Pearce ========================================================================= Date: Mon, 2 Oct 1995 12:41:54 -0400 Reply-To: James Leftwich From: James Leftwich Subject: grave markers Hey, With this talk of grave markers being erected, how about a compilation of these sites on the blues shed? I know when I was in the Delta I saw RJ's grave (I hope it was the right one) and it was a real thrill. So how about it? E-mail them to me if you like... Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" :) ========================================================================= Date: Mon, 2 Oct 1995 12:54:35 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Killer Comments: To: pedp102@uabdpo.dpo.uab.edu Someone asked about recent activity from Jerry Lee Lewis He has apparently worked some sort of accomodation with the IRS, which makes him more inclined to perform (cause he gets some of the money now). He has just put out a CD on Sire, well worth having. He was interviewed (and played the piano, demonstrating how he got kicked out of seminary for rockin' the hymns, and that he still can do it) in the recent PBS rock documentary. And last Friday, on Beale Street, he celebrated his birthday, at a part also attended by Sam Phillips. I was not there and don't know if he performed. Tom Freeland ========================================================================= Date: Mon, 2 Oct 1995 13:17:22 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Killer Comments: To: pedp102@uabdpo.dpo.uab.edu He celebrated his 60th birthday last week by playing in a Memphis club on Beale Street and apparently was in good form. Dick Waterman ========================================================================= Date: Mon, 2 Oct 1995 13:17:45 -0400 Reply-To: Ed Mezynski From: Ed Mezynski Subject: Re: I ain't no butcher ] On Fri, 29 Sep 1995, L W wrote: ] > What is the name of this tune, who did it and can you complete the lyrics: ] and then Willy said: (some poignant lyric deleted) ] This and other fine blues songs may be found on my tape, Gone Gone Gone .. ] (sorry, I forgot where I was for a moment!) Which I might add is a rather good collection by one of our own netbro's. ed ========================================================================= Date: Mon, 2 Oct 1995 13:29:29 -0400 Reply-To: Ted2204 From: Ted2204 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Jimmy Page was BLUES! -Reply Comments: To: bit-listserv-blues-l@uunet.uu.net It isn't the title of the song being done that makes it blues or not blues, but, rather HOW it is being played. If Son House played the national anthem, it would be blues. Ted Lissauer Louisville, Kentucky Ted2204@AOL.com ========================================================================= Date: Mon, 2 Oct 1995 10:33:22 -0700 Reply-To: Jef Jaisun From: Jef Jaisun Subject: Re: Unsolicited racist email (fwd) Note from Jef Jaisun to Blues-L moderator: This trace response was received this morning. Feel free to publish as much or as little as you deem appropriate. > Jef, > > Here's some interestingPath: > news.halcyon.com!nwnews.wa.com!uunet!in2.uu.net!news.roundabout.org!news.dem > on.co.uk!dispatch.news.demon.net!demon!tank.news.pipex.net!pipex!news.mathwo > rks.com!panix!news.eecs.umich.edu!newsxfer.itd.umich.edu!agate!news.Stanford > .EDU!nntp-hub2.barrnet.net!news1.digital.com!decwrl!amd!netcomsv!uucp3.netco > m.com!netcomsv!uu3news.netcom.com!ix.netcom.com!netnews > From: orbit@ix.netcom.com (Michael R. Grabois) > Newsgroups: news.admin.net-abuse.misc > Subject: Crusader message not sent by National Alliance? > Date: Mon, 02 Oct 1995 03:50:00 GMT > Organization: Netcom > Lines: 78 > Message-ID: <44nngi$nj4@ixnews2.ix.netcom.com> > References: <44n7fk$2gr@news.Austria.EU.net> > Reply-To: orbit@ix.netcom.com > NNTP-Posting-Host: ix-hou6-03.ix.netcom.com > X-NETCOM-Date: Sun Oct 01 8:49:38 PM PDT 1995 > X-Newsreader: Forte Free Agent 1.0.82 > > > >Newsgroups: soc.culture.jewish > >From: hsc@zippy.ho.att.com (Harvey S. Cohen) > >Subject: National Alliance hate email is HOAX > >Message-ID: > >Organization: AT&T Bell Labs > >Date: Sat, 30 Sep 1995 16:40:24 GMT > > >Here is a message from the AT&T gatekeeper. To summarize: The email is a HOAX. > >DO NOT RESPOND WITH EMAIL TO ANYONE. > >----------------Begin forwarded message--------------------------------- > >A large number of AT&T folks have gotten an email message from > >"Crusader@national-alliance.org" titled "The Long March." What follows is > >an explanation of what happened, and what you can do to make the messages > >go away sooner. > > >That message has a forged address...please do not reply to it. You'll only > >end up wasting time composing a message, which will sit in a spool > >directory on the gateways for a few days until it times out, at which time > >you'll get a bounce message saying that the host national-alliance.org (or > >national-alliance, if you responded to the first batch of messages) cannot > >be found. (I see that 41 people have already fallen victim to the trap and > >replied.) I've just spoken to the technical contact for Netgate > >Communications, the Internet Service Provider (ISP) for the National > >Alliance. Yes, the group does exist, and the content of the message that > >you received is from their material, but the National Alliance did not > >send the spam. > > >There have been two originating addresses of the spams so far: a site in > >France, and San Francisco State University. It seems that the spammed > >message is being sent by a group of people who are bitterly opposed to > >these National Alliance folks, and are trying to get the National Alliance > >pulled off of the net by making as many people as they can reach get mad > >and mail/spam/hack/whatever the National Alliance and their ISP. I'm told > >that the National Alliance's mailbox is getting something like 10MB of mail > >every hour. Many, many calls and mail messages have been sent to their ISP > >complaining of the spam. > > >The National Alliance is going to have their domain deactivated by the > >InterNIC at least until this blows over. Again, the mail you received did > >not come from them: it was sent by someone who is trying to get you mad > >enough at the National Alliance to complain to them and/or their ISP. I'd > >consider it a denial-of-service attack. > > >It is possible that these spams will continue until the domain is yanked, > >and possibly shortly thereafter. Please do not take any action if you > >receive subsequent messages: just delete them, and the whole thing will go > >away much faster. You might want to consider using a filter on your mailbox > >(such as Z-mail's filter, the exptool "ferret", or the free program > >"procmail") which will direct all mail from "national-alliance.org" to be > >sent to the bit bucket. Please see your local system or network administrator > >for questions about filtering your mail. ========================================================================= Date: Mon, 2 Oct 1995 14:12:11 -0400 Reply-To: FlGator@AOL.COM From: Mike Evans Subject: Re: Worst by your favorites A good addition to this list would be any song Mick Taylor sings on! Mike ************************************************* My mind runs two, three different ways. ========================================================================= Date: Mon, 2 Oct 1995 13:14:16 CST Reply-To: William Shute From: William Shute Subject: Killer in performance From: Bill Shute JERRY LEE LEWIS A few months ago, he did some shows on the same bill as Little Richard (Richard got top billing and performed LAST, by the way). A friend of mine in the midwest who saw one of the shows said that Jerry Lee stormed off stage after fifteen or so minutes because of something or other. However, what he did play was fine. He's still as testy as ever, evidently! (Richard did a double-long set to make up for the Killer's leaving early that night, BTW). Bill Shute San Antonio, TX (hey, speaking of the killer, does anyone know what the "fourth" cousin (ie, in addition to Mickey Gilley and Jimmy Swaggart) CARL McVOY has been up to in recent years? "Tootsie" is one of my all-time fave records (it's on the HI label). ========================================================================= Date: Mon, 2 Oct 1995 13:24:00 CDT Reply-To: Paul Garon From: Paul Garon Subject: Re: Where does one put Bo Diddley?? >Speaking of Chuck berry and blues....what do we do with Bo diddley? > >He worked for Chess and was on the "Super Blues" albums that were released. > >While classification is not very important, it is sometimes useful to >be able to tag things. Bo worled with bluesmen, and evidently got along >well with Mud, wolf, Walter et al. >ut is his music identifiabky bkues? If so what tunes exemplfy this >to you. I like Bo's suff but never wouild include it on my list of >fasvorite "blues" recordings. > > John Willis >-- > BO'S BLUES, an Ace release emphasizing Bo Diddley's blues output is one answer to your question (although not the definitive one). I've always thought BEFORE YOU ACCUSE ME to be his epitomal blues single. I've included BO'S BLUES in my chapter, POST WAR CHICAGO AND THE NORTH in the forthcoming BLACKWELL GUIDE TO RECORDED BLUES, but it was a, er, uh, "political decision" shall we say, and I'm not sure I would have done it if mine were the only judgement considered. Ditto for Chuck Berry's Ace release ON THE BLUES SIDE. ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email or postal mail or visit us at http://www.abaa-booknet.com/alldlrs/mw/60657bea.html. We also have catalogs available by ftp at ftp.mcs.com/mcsnet.users/beasley. _______________________________________|______________________________________ ========================================================================= Date: Mon, 2 Oct 1995 18:33:05 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Re: upcoming Capitol Blues Reissues (query) Comments: To: bit-listserv-blues-l@uunet.uu.net Coming up by October 24 will be - JOHN LEE HOOKER 3CD set - JIMMY ROGERS - Complete Shelter Recordings - SNOOKS EAGLIN - Complete Imperial Recordings - VARIOUS - TEXAS GUITAR 2CD set - FRED MCDOWELL - Complete "I DO NOT PLAY NO ROCK 'N ROLL" (2CD set) - VARIOUS - a sampler set eRIC ========================================================================= Date: Mon, 2 Oct 1995 14:42:05 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Son House & The Anthem Comments: To: ted2204@AOL.COM On 2 Oct 95, Ted2204 had this to say... > It isn't the title of the song being done that makes it blues or not > blues, but, rather HOW it is being played. > > If Son House played the national anthem, it would be blues. Only if he severely altered it. While it may be difficult to get people to agree on what IS Blues. It is much easier to say what ISN'T Blues. The U.S. National Anthem is not, was not, and never will be, Blues, and it doesn't matter who sings it. Son House might be able to make it seem more soulful, poignant, or heartfelt, but he wouldn't be able to make it Blues without changing it. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 2 Oct 1995 13:51:41 CDT Reply-To: "P.W. Fenton" Comments: Authenticated sender is Comments: To: ted2204@AOL.COM Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: "P.W. Fenton" From: L W Organization: The Second Ward Subject: Re: Son House & The Anthem ----------------------------Original message---------------------------- On 2 Oct 95, Ted2204 had this to say... > If Son House played the national anthem, it would be blues. >Only if he severely altered it. While it may be difficult to get >people to agree on what IS Blues. It is much easier to say what >ISN'T Blues. The U.S. National Anthem is not, was not, and never >will be, Blues, and it doesn't matter who sings it. Son House might >be able to make it seem more soulful, poignant, or heartfelt, but >he wouldn't be able to make it Blues without changing it. I don't disagree or agree with either statement. I'm just curious why could "someone" never make the "Star Spangled Banner" a blues tune. I heard Doyle Bramhall(sp) CD yesterday and I could have sworn he was doing a version of "The Lion Sleeps Tonight"....Or something like that. Did he actually cover that 'blues classic' on his "Birdnest on The Ground" CD... It was a tune close to that,anyway.... I don't know what was worse that or the cd that was played next, some girl I think her name was Shannon Worrell...Something like that. I had to apologize to everyone there and say "Sorry but I've had enough"......They understood, it was a "girls" thang..... LW ========================================================================= Date: Mon, 2 Oct 1995 18:21:22 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Re: Pinetop Comments: To: bit-listserv-blues-l@uunet.uu.net Someone was asking about a live PINETOP PERKINS. The brand new DELUGE 3010 is just that! It's even called LIVE TOP. eRIC ========================================================================= Date: Mon, 2 Oct 1995 18:12:50 GMT Reply-To: David Goldstein Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: David Goldstein Organization: IPOF Subject: Re: Newsgroup Location? Comments: To: lady@primenet.com The newsgroup location is bit.listserv.blues-l and the way to unsubscribe is: signoff blues-l addressed to listserv@brownvm.brown.edu ========================================================================= Date: Mon, 2 Oct 1995 19:10:10 GMT Reply-To: Mark A Basten From: Mark A Basten Organization: University of Wisconsin, College of Engineering Subject: Carol Fran and Clarence Hollimon Comments: To: bit-listserv-blues-l@uunet.uu.net The mention of Carol Fran in another post (Bill Shute's review of the new Margaret Lewis release) reminded me of something I wanted to ask. I saw Fran and Hollimon at the Duluth Bayfront Blues Fest this past August and they made me into an instant fan. Can anyone recommend one of the two Black Top releases (_See there_ or _Soul Sensation_) over the other? How about some tips on earlier recordings by either artist? Mark 'still checking the mail for that Black Top catalog' Basten ========================================================================= Date: Mon, 2 Oct 1995 15:21:35 -0400 Reply-To: Tom Morgan From: Tom Morgan Subject: Playlist: Bartender's Bop Here is this afternoon's show. There weren't many blues in this show, it's mostly great sixties soul. I know that Benny McCain get's mentioned here, I found a cut of his on a Lu Pine LP that was reissued sometime back. I also played the original Time Is On My Side for all those folks that thought the Stones were the first band to do it. Enjoy! Tom Title Group Year Label -------------------- -------------------- ---- --------- Bold Soul Sister Tuner, Ike and Tina Rhino It's a Man's Woman's Thomas, Irma Stateside World Blame Me (Don't Purify Brothers Arista Blame My Heart) Feeling Is Good Bland, Bobby MCA Psycho Hendricks, Bobby 60 Sue Sitting by The Dock Curtis, King 68 Atco of the Bay Shout Bama Lama Redding, Otis 60 Rhino Do I Make Myself DeSanto, Sugarpie 65 Chess Clear Road Runner Walker, Junior 66 Motown You Ain't The One Brenston, Jackie 60 Sue My Man Rockhead Carter, Eloise 61 Sue I Don't Want No Part McCain, Benny Lu Pine Time Lover Don't Cry Baby James, Etta 61 Chess I Choose To Sing The Charles, Ray ABC Blues Lee Cross Franklin, Aretha Rhino Time Is On My Side Thomas, Irma Stateside Baby I Need Your Four Tops 64 Motown Loving Anything for A Laugh Brown, Maxine 65 Kent You Make Me Feel Butler, Jerry 66 Polygram Like Someone Dream James, Etta 61 Chess Going Back Where I DeSanto, Sugarpie 59 Chess Belong Nitty Gritty Ellis, Shirley 63 Rhino Shake A Tail Feather Purify Brothers Arista Do The Boomerang Walker, Junior 65 Motown Wrap It Up Sam and Dave Atlantic Mr Pitiful Redding, Otis 64 Rhino Come Home Baby Pickett, Wilson 64 Rhino Plum Nuts James, Etta 60 Chess I Don't Need No Charles, Ray ABC Doctor Breakway Thomas, Irma Stateside Rescue Me Bass, Fontella Rhino Tea House in Four Tops 64 Motown Chinatown I Dig You Baby Butler, Jerry 66 Polygram I Wonder What My Brown, Maxine 64 Kent Baby's Doin I Feel A Sin Comin Burke, Solomon 66 Rhino On Sweet Inspiration Curtis, King 68 Atco Said I Wasn't Gonna Sam and Dave Atlantic Tell Nobody Happy Song, The Redding, Otis 67 Rhino Hey Joe Pickett, Wilson 69 Rhino ----------------------------------------------------------------------------- My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Mon, 2 Oct 1995 15:21:36 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Drummer needed in DC area for Fleetwood's Contest Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I already posted this to bit.listserv.blues-l, so some of you may receive it twice. Sorry if you do. One of the bands I'm playing with needs a drummer for the Fleetwood's contest finals, this Saturday (10/7) at the Taste of DC festival. The drummer we played with during the first round is playing with another contest finalist, and he told them that he wouldn't play with both bands. I don't think we'll be working with him again. Anyway, what we need is someone who has a nice light touch (playing a scaled-down set with brushes), is experienced, and is comfortable with Delta and Chicago blues. This isn't house-rocking/SRV stuff, it's more like early Muddy Waters Chess recordings, with lightly amplified slide guitar and harp, vocals, upright bass and drums. The set at the finals will probably be thirty-five minutest, mostly of tunes you'll be familiar with if you play in the style I described above. This is a good oppurtunity to play in front of a large festival crowd (the festival is being strongly promoted and thousands of people go each year), and to possibly win some $$$ and recording time. Plus, you'd be helping out a fellow blues-ler. If you can help me out please contact me as soon as possible, via private email. I can be reached at steve.levine@corp.wrgrace.com or slevine@capcon.net. Thanks, Steve ========================================================================= Date: Mon, 2 Oct 1995 14:26:46 CDT Reply-To: Mark A Basten Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: Mark A Basten From: L W Organization: University of Wisconsin, College of Engineering Subject: Carol Fran and Clarence Hollimon ----------------------------Original message---------------------------- >The mention of Carol Fran in another post (Bill Shute's review >of the new Margaret Lewis release) reminded me of something I >wanted to ask. I saw Fran and Hollimon at the Duluth Bayfront >Blues Fest this past August and they made me into an instant >fan. Can anyone recommend one of the two Black Top releases >(_See there_ or _Soul Sensation_) over the other? How about >some tips on earlier recordings by either artist? I STRONGLY suggest you get SOUL SENSATION....Great CD...One of my favorite song titles: "I Needs To Be Be'ed With"......If you like them, you will not be disappointed. I don't care for "See There"....MOF send me your snail address and I'll send you "See There", but don't use that to judge "Soul Sensation" When I got "Soul Sensation" I played it everyday, Loved it. Carol Fran is one terrific vocalist, Hollimon (who has been around) is very tasteful, but can throw out some fire when needed...... Leeme know I recommend Soul Sensation with dim lights and someone to hold LW "I love romance and so does my wife" ========================================================================= Date: Mon, 2 Oct 1995 16:12:59 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: I'm Gonna Be Sorry But . . . . I have a feeling that I'm going to be very sorry that I'm doing this but . . . Since a number of folks coming into Helena for the King Biscuit blues Festival this weekend are looking for a central meeting place, I guess that I'll volunteer my room at the Lady Luck Casino Hotel before Little Milton's show on Thursday night. Anyone with a mojo that works at blackjack is especially welcome. Send me EMail if you intend to be there so I'll have some idea as to just how stupid this offer really is . . . . . Dick Waterman ========================================================================= Date: Mon, 2 Oct 1995 15:35:32 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: Re: JIMMY PAGE WAS BLUES! > From: Michael Suffern > Would you say that *all* of the songs that Albert King recorded were > Blues, or Freddie King's? Certainly not, but most would agree that the ratio of blues/rock is much higher for AK & FK than for JP. However, there is no magic number or percentage that "qualifies" someone to be a blues artist. For Albert King see the album "King does the King's Thing" where Albert covers songs covered by Elvis. For Freddie, well he did numerous non-blues things including his horrendous entry into the early disco days, "Boogie Bump". Ya know, these threads seem to go on and on forever. Who is blues and who isn't blues. Arguing about it one way or another isn't going to change anyone's OPINION and that's what it really boils down to. If someone wants to think and say that Jimmy Page is a great bluesman, more power to them. That doesn't mean that I will agree with them. I'll probably just feel sorry for them. Don O. if ya wanna argue, take it private don.o@chrysalis.org ========================================================================= Date: Mon, 2 Oct 1995 17:01:17 -0400 Reply-To: Laura Koestinger From: Laura Koestinger Subject: NEED SOME LYRICS ** High Priority ** Please, can someone help me out, I need the lyrics of "Daddy let me love you" (by Lucille Span). Thanks Laura Koestinger laurako@smtp4.aw.com ========================================================================= Date: Mon, 2 Oct 1995 15:07:00 -0400 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re: Worst by your favorites I don't have much meaningful to contribute, so I'll just say that the recent posts about Little Jimmy King screaming at the sound man and the audiences in a number of different settings sort of amazed this humble bluezeller. Damn glad never to have heard that London trash, J.E._Downey@bakermck.com Blue Joe in Red Moscow Oh, and speakin' of trash, can't resist: Don't know where she been, Don't know where she goin, Won't ya please come back to me, baby, My garbage can is overflowin'! -M. Morganfield ========================================================================= Date: Mon, 2 Oct 1995 21:16:24 GMT Reply-To: Matthew Arthur Clark From: Matthew Arthur Clark Organization: Columbia University Subject: SHERMAN ROBERTSON TOUR DATES Comments: To: bit-listserv-blues-l@uunet.uu.net SHERMAN ROBERTSON TOUR DATES DATE CITY, STATE VENUE 10-26-1995 Lafayette, LA Downtown Alive 10-27-1995 Corpus Christi, TX Doc Rockets 11-04-1995 Ft. Lauderdale, FL Riverwalk Blues Fest 11-05-1995 St. Petersburg, FL The Ringside Cafe 11-09-1995 Albuquerque, NM The Madrid 11-10-1995 Phoenix, AZ Chaser's 11-11-1995 Tucson, AZ Rialto Club 11-14-1995 San Diego, CA Blind Melon's 11-15-1995 San Luis Obispo, CA Mother's Tavern 11-16-1995 Hermosa Beach, CA Cafe Boogaloo 11-17-1995 Santa Cruz, CA Moe's Alley 11-25-1995 Houston, TX Billy Blues The above is a list of dates for Sherman Robertson's American tour this fall. Be sure to catch this amazing blues act when it hits your town. Sherman's energetic music, expert showmanship, and passionate blues playing make for a fabulous show. Matthew Clark mac44@columbia.edu ========================================================================= Date: Mon, 2 Oct 1995 21:15:28 GMT Reply-To: Matthew Arthur Clark From: Matthew Arthur Clark Organization: Columbia University Subject: THE HOAX TOUR DATES Comments: To: bit-listserv-blues-l@uunet.uu.net THE HOAX "SOUND LIKE THIS" TOUR 1995 SEPTEMBER 28th Tapas Sittard, Holland 29th Metropool Hengelo, Holland 30th Oss Blues Festival, Holland OCTOBER 5th Denmark 6th Ejsberg, Denmark 7th Silkeborg, Denmark 13th Fox Theatre, Boulder, Colorado, USA 14th Fox Theatre, Boulder, Colorado, USA 17th Howling Wolf, New Orleans, LA, USA 18th Rockefellers, Houston, TX, USA 19th Steamboat, Austin, TX, USA 20th 3rd Floor Cantina, Bryan, TX, USA 21st Caravan of Dreams, Fort Worth, TX, USA 23rd Grand Emporium, Kansas City, USA 25th Cabooze On West Bank, Minneapolis, MN, USA 26th Barrymore Theatre, Madison, WI, USA 27th Legends, Chicago, IL, USA 28th Graffiti, Pittsburgh, PA, USA 29th Bling Pig, Ann Arbour, MI, USA NOVEMBER 1st Krazy Jax, Lexington, KY, USA 2nd State Theatre, Kalamazoo, MI, USA 3rd Peabodys, Cleveland, OH, USA 4th Fleetwoods, Washington, USA 8th House of Blues, Cambridge, MA, USA 9th Mercury Lounge, New York, NY, USA 10th Red Creek, Rochester, NY, USA 11th Lafayette Tap Room, Buffalo, NY, USA 24th Golden Lion, Ipswich 25th Blackbottom, Northampton 26th Blue Lamp, Hull 27th The Ladle, Middlesborough 30th The Arts Centre, Salisbury DECEMBER 1st Robin Hood R'N'B Clube, Dudley, Worcester 2nd Walkern Club, Stevenage 3rd Mean Fiddler, London NW.10 6th Axe & Cleaver, Boston, Lincs 7th Bridge Hotel, Scunthorpe 8th The Blues Club, Glossop 9th Rafa Club, Hartlepool, Clevland 13th The Hub, Bath 15th The Arts Centre, Workington 16th The Front Page, Carlisle 18th The Brewhouse, Oxford 19th Fleece & Firkin, Bristol 20th Louth Lincs 21st Juke Joint, Basildon 22nd Wheatsheaf, Stoke 23rd Boarshead, Fareham ---------------------------------------------------------- Above are the confirmed dates for THE HOAX'S 1995 tour. Make sure that you check them out when they come to your town. They are a great band who is simply amazing live. And, definately check out their excellent CODE BLUE/ATLANTIC release, "Sound Like This." If you like Texas Style blues like Stevie Ray Vaughan, you'll love this album. Matthew Clark ========================================================================= Date: Mon, 2 Oct 1995 17:19:41 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Son House & The Anthem Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU On 2 Oct 95, L W had this to say... > I don't disagree or agree with either statement. I'm just curious why could > "someone" never make the "Star Spangled Banner" a blues tune. Because if you did it wouldn't be the Star Spangled Banner any more, it would be a Blues tune. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 2 Oct 1995 15:56:23 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: JIMMY PAGE WAS BLUES! Comments: To: Don O In-Reply-To: <9510021535.0LWKB03@chrysalis.org> I'm sure we could never even agree on WHAT is blues, much less who! Once again, it's all in the eye of the beholder and each of us could never expect anyone else to match our own level of pure enlightenment. ========================================================================= Date: Mon, 2 Oct 1995 17:31:35 -0400 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: song ID please Comments: To: Jeff Seale In-Reply-To: On Mon, 2 Oct 1995, Jeff Seale wrote: > I heard a song on the radio the other day. The singer was addressing > radio and asked the question - "are you ashamed of the blues?" It > sounded almost like a "soul blues" - maybe by someone like Little > Milton or the Malaco artists. Anybody else heard this song? > That's got to be Eddie Rasberry singing "What's The Matter With The Blues". The lyrics start: I keep changing stations On my radio I can't find me no blues No matter which a way I go What's the matter? Are you too ashamed To play the blues If that's the way you feel Man, have I got news for you That's on a great little CD titled "Mississippi Burnin' Blues Volume 2: Authentic Mississippi Delta Urban Blues" (Mardi Gras Records MG 1025). It features three artists: Rasberry, "Big Daddy" Robert Robinson (Elmore James' bass player) and Melvin "Smokehouse" Moore (former lead singer of the Chicago group "Southside Movement"). Despite the title, the music is a mixture of R&B and blues -- but, thanks to Rasberry, the blues are excellent! Brenda Bogert KYANA Blues Society Louisville KY ========================================================================= Date: Mon, 2 Oct 1995 17:50:43 -0400 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Whose blues? Comments: To: Michael Suffern In-Reply-To: On Mon, 2 Oct 1995, Michael Suffern wrote: > You do not need to be raised on Blues to become a Bluesman. You have to > have the Blues touch you at some point and you have to be able to perform > the Blues and express what that means to you - the deeper the better, IMHO > - and that's all. I hope you can rethink your attitude, Michael. The Blues developed in this country sometime in the 1800's. I won't give you a history lesson (although I certainly could) but I will tell you that the Blues is African American music, plain and simple. It is a component of African American culture. BUT not all African Americans are automatically bluesmen/women. It *is* something that you are *raised on*. Such culture is not acquired on a whim. Let me explain it to you as I did to Jef Jaisun last week: You can sing opera until you are blue in the face, it will not make you an Italian! Brenda Bogert KYANA Blues Society Louisville KY ========================================================================= Date: Mon, 2 Oct 1995 16:54:39 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: song ID please Comments: To: Brenda Bogert In-Reply-To: That's the song! Where can I get the cd? -Jeff (that's why I love this list!) On Mon, 2 Oct 1995, Brenda Bogert wrote: > On Mon, 2 Oct 1995, Jeff Seale wrote: > > > I heard a song on the radio the other day. The singer was addressing > > radio and asked the question - "are you ashamed of the blues?" It > > sounded almost like a "soul blues" - maybe by someone like Little > > Milton or the Malaco artists. Anybody else heard this song? > > > That's got to be Eddie Rasberry singing "What's The Matter With The Blues". > The lyrics start: > > I keep changing stations > On my radio > I can't find me no blues > No matter which a way I go > What's the matter? > Are you too ashamed > To play the blues > If that's the way you feel > Man, have I got news for you > > That's on a great little CD titled "Mississippi Burnin' Blues Volume 2: > Authentic Mississippi Delta Urban Blues" (Mardi Gras Records MG 1025). > It features three artists: Rasberry, "Big Daddy" Robert Robinson (Elmore > James' bass player) and Melvin "Smokehouse" Moore (former lead singer of > the Chicago group "Southside Movement"). Despite the title, the music is > a mixture of R&B and blues -- but, thanks to Rasberry, the blues are > excellent! ========================================================================= Date: Mon, 2 Oct 1995 17:57:37 -0400 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: song ID please Comments: To: Jeff Seale In-Reply-To: The address for Mardi Gras Records is 3331 St. Charles Ave., New Orleans, LA 70115. The phone number is (800) 895-0441. Happy listening! Brenda Bogert KYANA Blues Society Louisville KY ========================================================================= Date: Mon, 2 Oct 1995 17:12:16 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Larry Garner and Slim Harpo questions I have two requests for opinion: 1. Should I buy 2CD "The Best of Slim Harpo" and why? I don't know much about Slim Harpo. Please educate me... 2. Just got hold of Larry Garner's "Too Blues" on JSP. Very intriguing songwriter. What do other people think about him? What do you think about his newest release on Verve? Ranko ========================================================================= Date: Mon, 2 Oct 1995 18:16:27 -0400 Reply-To: FlGator@AOL.COM From: Mike Evans Subject: Re: Whose blues? Brenda Bogert KYANA Blues Society Louisville KY had this(and other tripe) to say: Let me explain it to you as I did to Jef Jaisun last week: You can sing opera until you are blue in the face, it will not make you an Italian! -------------------------------------------------------- What a bunch of claptrap. no one would argue singing the blues (or listening to it) will make you an African-American, but if you think a white or yellow or brown person can't be a bluesman, of have a blues feeling, your thoughts are no better than the other racist bull we've been subjected to lately. ************************************************* My mind runs two, three different ways. ========================================================================= Date: Mon, 2 Oct 1995 17:25:50 GMT Reply-To: nns@VTNT02.VANTEK.NET From: nns@VTNT02.VANTEK.NET Subject: Moderated group posting Comments: To: bit-listserv-blues-l@uunet.uu.net Newsgroups: bit.listserv.blues-l Path: not-for-mail From: Penny Sun Subject: Blues Ball Message-ID: Date: Mon, 02 Oct 1995 17:25:48 GMT Organization: Archer/Malmo OnLine X-Mailer: Mozilla 1.1N (Macintosh; I; 68K) MIME-Version: 1.0 X-URL: news:bit.listserv.blues-l Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Lines: 14 Hello Blues Fans, You now have a chance to show your colors and support a good cause. The Blues Ball (http://www.bluesball.com) is on the Web for a short time and you have the chance to participate in a unique silent auction for great items from Dan Aykroyd, namely a leather jacket and a denim jacket, all signed by him. Do visit the site and place your bid. All proceeds benefit St. Jude Children's Research Hospital, Make-a-Wish Foundation and the Memphis Charitable Foundation. The deadline for all online bids is October 5, so hurry for your chance to get Dan's jacket. Thanks, Webmaster The Blues Ball ========================================================================= Date: Mon, 2 Oct 1995 15:27:40 GMT Reply-To: Steven Levine From: Steven Levine Organization: CAPCON Library Network, Washington, DC Subject: Needed: Blues Drummer for Taste of DC One of the bands I'm playing with is competing in the Fleetwood's Foundation/Tower Records blues contest this weekend. The finals are this Saturday (10/7) at the Taste of DC festival. Our drummer is playing with another contest finalist and he told the other band that he wouldn't play with us. I don't think we'll be working with this drumemr any more! So now we need a drummer for the finals. If any of you are DC area drummers or know of any, please contact me at slevine@capcon.net or steve.levine@corp.wrgrace.com. This is an oppurtunity to play for a large festival crowd and to possibly win some money and recording time. We need someone who is experienced, is comfortable with delta blues, and can play with brushes. I appreciate any help you can give me. Thanks, Steve -- ========================================================================= Date: Mon, 2 Oct 1995 17:46:26 GMT Reply-To: nns@VTNT02.VANTEK.NET From: nns@VTNT02.VANTEK.NET Subject: Moderated group posting Comments: To: bit-listserv-blues-l@uunet.uu.net Newsgroups: bit.listserv.blues-l Path: not-for-mail From: Penny Sun Subject: Blues Ball '95 Message-ID: Date: Mon, 02 Oct 1995 17:46:26 GMT Organization: Archer/Malmo OnLine X-Mailer: Mozilla 1.1N (Macintosh; I; 68K) MIME-Version: 1.0 X-URL: news:bit.listserv.blues-l Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Lines: 16 Hello Blues Fans, You now have a chance to participate in a cool online event and support a good cause. The Blues Ball (http://www.bluesball.com) is on the Web for a short time and you have the chance to participate in a unique silent auction for great items from Dan Aykroyd, namely a leather jacket and a denim jacket, all signed by him, Isaac Hayes, Max Weinberg's drums, BB King's "Lucille" and more. Do visit the site for more info and to place your bid. Remember, all proceeds benefit St. Jude Children's Research Hospital, Make-a-Wish Foundation and the Memphis Charitable Foundation. This is a charitable cause and event not for making money. The deadline for all online bids is October 5, so hurry for your chance to get some really cool items and help support the kids at St. Jude and Make-a-Wish. Thanks, Webmaster The Blues Ball ========================================================================= Date: Mon, 2 Oct 1995 16:13:00 -0700 Reply-To: NED_KRAFT@HP0000.DESK.HP.COM From: Ned Kraft Subject: Slim Harpo I only have a single Slim Harpo best-of, but I'd recommend that you own some of his material if you're into harp. He did several tunes that became standards and his vocals are unmistakable (some call them grating, but I dig it). As Mick Jagger said "Why would you listen to our version of I'm a King Bee when you can listen to Slim Harpo" or something to that effect. If you haven't heard him you may want to save some pennies and get the single disc version. Anyone out there heard both? I'm itchin', and I don't know where to scratch - or I'm young and able to buzz all night long. - Slim Harpo Slim goes on the player when I get home. Thanks, Dirty Ned Hoosier Daddy ========================================================================= Date: Mon, 2 Oct 1995 15:29:18 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Sitting & Thinking-Luther Allison. Comments: To: bit-listserv-blues-l@uunet.uu.net By request - LUTHER ALLISON - BLUE STREAK (ALLIGATOR #4834) ALLIGATOR RECORDS BOX 60234 CHICAGO, IL 60660 Luther Allison is back and back with a wallop. This CD offers up a number of sides to this exceptional bluesman. He plays plenty of blues and adds some funk, a bit of jump and some very moving R&B. His horizons are expanding as fast as he is given the stage. Alligator has offered Mr. Allison this possibility and the results are a blaze of top flight music. ALL THE KING'S HORSES / WHAT HAVE I DONE WRONG / BIG CITY / MOVE FROM THE 'HOOD / WHATS'S GOING ON IN MY HOME? / I BELIEVE IN YOU / CHERRY RED WINE / WALKING PAPERS / THINK WITH YOUR HEART / YOU DON'T KNOW / SHOULD I WAIT / MIDNIGHT CREEPER ALL THE KING'S HORSES: Luther Allison plays a ton of music. Here the first few bars out of his guitar and the first few words out of his mouth sum it all up - big, bad and ferocious. The guitar work on this side is electric magic and Mr. Allison's vocals are rich and full of music. A great opener to what you will soon discover is a major blues CD that never lets up. WHAT HAVE I DONE WRONG: Here the fever turns to funk blues. A lighter side to Mr. Luther Allison but still full of all of his musical abilities. The guitar here is set back a bit to allow the vocals sit up front and center, although a few riffs let you know Mr. Allison's guitar is still on stage. BIG CITY: This cut slows down another notch with some beautiful keyboard work by Ernest Williamson. Luther Allison is standing at the crossroads of blues and soul (later on in the CD you will get a full blast of Mr. Allison full out R&B) and he sounds so good. There is about half way in a set of long Luther Allison guitar solos that will sweep your feet out from under you. This is a stellar side for every second of its 5+ minute run. MOVE FROM THE 'HOOD: The drums open up this side and the instruments are the showcase for the first 45 seconds. A great big music intro to a Luther Allison written side. Mr. Allison has written 11 of the 12 sides on this CD - some alone and some as co-writer. Each one shows off Mr. Allison's professionalism and talents - as singer, guitarman and writer. WHATS'S GOING ON IN MY HOME?: Two nice guitars play to one another as this side slips back to a drawl. The pace again is slower and presents a more modern blues approach. It's nice to see Mr. Allison breaking out of being just a bluesman and into the arena of being an all around artist. I BELIEVE IN YOU: Get ready to rock. Here Mr. Allison turns up the energy and the motion. A rock-blues side that is one of the best cuts to this entire CD. A must listen to. CHERRY RED WINE: Luther Allison now turns back to the dark side of the blues. This cut has the power and vigor of his earliest recordings and is full of fire-and-ice. His vocals are sharp and penetrating and the backup keyboard of Mike Vlahakis is a smart counterpoint to Mr. Allison both on guitar and vocally. This is without question a first play side - remember it - you will give this CD and this cut in particular lots of play many times over, GUARANTEED. WALKING PAPERS: This side has a rolling, driving solid blues feel. It is a mid tempo cut with plenty of instruments. As always Mr. Allison includes plenty of his signature guitar work. THINK WITH YOUR HEART: A BIG TREAT - Luther Allison as promised delivers a straight soul side and if that is not enough he does it with the exceptional pair of Wayne Jackson and Andrew Love - The Memphis Horns. Just think of what that much artistry must sound like and you'll get a quick feel for this side and this CD. This is absolutely beautifully sung, beautifully arranged and a side to Mr. Allison I have never heard before. Bravo to all - Mr. Allison, The Memphis Horns and Alligator for getting this side cut. YOU DON'T KNOW: From the soul of the last cut Luther Allison now turns up the tempo and delivers a jumping blues cut. This side is full of fun and frolic and some very complex arranging - showing off more of what Mr. Allison is looking to bring to his music and the blues genre. As long as Mr. Allison plays the blues we can be sure that it will move forward. SHOULD I WAIT: Listen up to the piano of Bruce McCabe and the acoustic sounds from Mr. Allison - a good sound for a fine side. MIDNIGHT CREEPER: Some more soul to end a CD that has been a real treat from start to finish. Here Luther Allison gets some backup vocals from two fine ladies - Jacqueline Johnson and Jacquelyn Reddick. This CD is a must get - do it and do it now. Reviewed by Barry Silverberg Copyright NY CD Blues - 1995 -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Tue, 3 Oct 1995 00:51:52 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Larry Garner and Slim Harpo questions Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199510022212.RAA13047@picasso.ccad.uiowa.edu> Ranko Vujosevic writes: > I have two requests for opinion: > 1. Should I buy 2CD "The Best of Slim Harpo" and why? > I don't know much about Slim Harpo. Please educate me... Ranko - By all means, buy this set. If you like Jimmy Reed style harmonica blues, then you can't go wrong with this set. He is probably the cream of the Excello label artists in my book, and that says a lot because I like just about all of their output. I remember as a kid growing up in northern Wisconsin, where you didn't hear much blues, that Slim was one of the few blues artists to cross over to the pop charts. On cold winter nights you could pick up the southern AM clear channel radio stations who played a lot of Slim Harpo. Why, I used to fall asleep listening to my trusty AM radio playing "I'm A King Bee", "Baby, Scratch My Back", and "Rainin' In My Heart". How's that for nostalgia?! No serious blues collection can be complete without a little Slim Harpo. > 2. Just got hold of Larry Garner's "Too Blues" on JSP. Very > intriguing songwriter. What do other people think about him? > What do you think about his newest release on Verve? I don't have the JSP, but love the Verve release. And Bonnie the K likes it too. In fact, it seems just about every time I've listened to her radio show she plays a track from this. One night that I was guest hosting the show with her she played "The Preacher Man", just as I was leaving the station. The young guys who DJ the Universal Soul Explosion or whatever they call the program that follows were in the lounge area outside the studio waiting their turn. When Larry Garner sang "The preacher man stole my woman" they repeated it in sort of a testifying style. It was obvious they were digging this tune, as did I while driving away from the station. Great guitar player with an excellent voice. Buy this disc. Art Schuna ========================================================================= Date: Mon, 2 Oct 1995 18:00:33 -0700 Reply-To: Mark Naftalin From: Mark Naftalin Subject: Bluesman Francis Clay Dear friends, Francis Clay, the legendary blues drummer, has fallen on hard times. Some of his friends have rallied around. Blues promoter and writer Pat Morgan and Bay Area blues artists Big Bones and Alvin "Youngblood" Hart have been able to move Francis and his drums and some of his possessions from a rather squalid situation into a clean apartment which is subsidized by the San Francisco Housing Authority. Francis' only income is a modest monthly social security check. He needs some financial support at this time to buoy him morally and to solidify his living situation. A benefit concert for Francis will be held at Yoshi's in Oakland on Sunday, October 29. Details of the benefit will be posted at a later time. In addition, I have established the Francis Clay Fund at Redwood Bank in San Rafael, California. The purpose of the fund is to receive funds on Francis' behalf and to disburse them to him. I am administering the fund. All transactions will be on the books and open to scrutiny. The bank has agreed to waive fees on this account, so 100% of all funds received will be passed along to Francis. If you wish to check with the bank, please speak with the assistant manager, Ms. Bonnie Wilson, at 415-456-9420. If you have questions about Francis or his situation, please feel free to send me an e-mail or call or fax me at the numbers shown below. Francis Clay's work is well known to those who have studied Chicago Blues. If you've listened to Muddy Waters, you've heard Francis. He was Muddy's drummer on and off for about 15 years starting in about 1957. Francis was in the thick of things during the heyday of Chicago blues and played with all the greats. His highly original and immensely propulsive drumming drives numerous recordings by Muddy Waters and others. You can find his name on the back of the "Muddy Waters At Newport" album and many other Chicago blues classics. He was a founding member of the James Cotton Blues Band. In case it doesn't go without saying, I will add that I have known Francis since the sixties; that I've had the pleasure and privilege of recording and playing with him many times; that I consider him one of the finest musicians and people that I know; and that he's a dear friend. Please join me in offering some help and support to Francis Clay in his time of need. Contributions in any amount will be gratefully received and a list of donors will be available from me at any time. Thank you very much for taking the time to read this and for your support. Please make checks payable to the Francis Clay Fund and mail to: -0- FRANCIS CLAY FUND P.O. BOX 151095 SAN RAFAEL CA 94915-1095 If you would prefer to wire money directly to the fund, please call or fax me at the numbers shown below and I will provide you with the account number and routing information (or you can get it from the bank). Mark Naftalin Tel 415-453-7712 Fax 415-258-0692 E-mail ========================================================================= Date: Mon, 2 Oct 1995 21:18:05 -0400 Reply-To: GDKimball From: GDKimball Organization: America Online, Inc. (1-800-827-6364) Subject: Charlie Patton Lyrics Comments: To: bit-listserv-blues-l@uunet.uu.net Hi folks, I need some help transcribing a Charlie Patton tune, "Banty Rooster Blues" on "Founder of the Delta Blues" Yazoo 2010. Can anybody out there tell me what Patton sings on the fifth verse ? For that matter, I wouldn't mind the whole thing just to compare with my own interpretation. I'd also be interested in verses and variations of the lyrics by other artists, as well as other slide versions of the tune. Gregg in Richmond ========================================================================= Date: Mon, 2 Oct 1995 21:28:00 -0400 Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Ike Turner & His Kings Of Rhythm Comments: To: bit-listserv-blues-l@uunet.uu.net Just got the latest Roots & Rhythm catalog and they are listing a new Ace label release by Ike Turner & KOR titled, "Rhythm Rockin' Blues" ( CDCHD553). The catalog says this will be out in early October. Does anyone know if there is much overlap with the Charly release, "Trailblazer"? I bought the Charly release and then liked it so much I wished I'd put out the extra cash for the P-Vine 2 CD set. Art "Can't Get Enough of those Kings of Rhythm" Schuna ========================================================================= Date: Tue, 3 Oct 1995 01:39:49 GMT Reply-To: Weidel From: Weidel Organization: Voicenet - Internet Access - (215)674-9290 Subject: Re: Movie "Deep Blues" Comments: To: bit-listserv-blues-l@uunet.uu.net In article <447e8h$q7u@newsbf02.news.aol.com>, Ted2204 wrote: > Couple of years this movie missed Louisville entirely, never to be heard > of again. Doesn't seem to have been put on tape. > > Does anbody know how I can borrow, rent, buy, or otherwise get to see this > film? > > > Ted Lissauer > ted2204@aol.com Ted - "Deep Blues" ran for a week in Philly . I returned from a vacation to discover I had missed it, and I've been looking for it ever since. This summer I did see Robert Mugge's recent documentary on Rounder Records. Let me know if you find anything on "Deep Blues" - I do have the CD soundtrack. Bob ========================================================================= Date: Mon, 2 Oct 1995 21:19:49 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Killer in performance At 1:14 PM 10/2/95, William Shute wrote: >A few months ago, he did some shows on the same bill as Little Richard >(Richard got top billing and performed LAST, by the way). > >A friend of mine in the midwest who saw one of the shows said that >Jerry Lee stormed off stage after fifteen or so minutes because of >something or other. However, what he did play was fine. He's still >as testy as ever, evidently! (Richard did a double-long set to make >up for the Killer's leaving early that night, BTW). I saw this tandem at Ravinia Festival - may be the same one Bill's friend saw. Lewis did a very short, perfuntory set - openning for Little Richard, who did a much longer, much more enjoyable set. Lewis seemed to just want to get thru his songs and get off. He seemed in good health and sounded OK, but.... I had seen him at Ravinia two years ago (I think), when, as I recall, Bo Didley openned for him - same result: Lewis did the short, "let-me-play-my-hits-and-get-off" set. Oh, well, any old excuse to get to Ravinia on a nice summer evening (and only about 1 mile from my house). David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Mon, 2 Oct 1995 21:19:56 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Whose blues? At 3:50 PM 10/2/95, Brenda Bogert wrote: >Let me explain it to you as I did to Jef Jaisun last week: You can sing >opera until you are blue in the face, it will not make you an Italian! You will not be Italian, but you CAN sing opera. You will not become African-American, but you CAN sing blues.... David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Mon, 2 Oct 1995 22:01:10 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Whose blues? > -------------------------------------------------------- > What a bunch of claptrap. no one would argue singing the blues (or listening > to it) will make you an African-American, but if you think a white or yellow > or brown person can't be a bluesman, of have a blues feeling, your thoughts > are no better than the other racist bull we've been subjected to lately. > ************************************************* It is a sad commentary on the blues and on blues-l that it is impossible to discuss the relationship between Afro-American culture and blues without this type of stupidity. Whenever anyone discusses the unique contributions of blacks to American culture, there is always someone who wants to deny it -- all in the name of being "anti-racist" of course. Brenda's original post was about the fact that blues is rooted in Afro American culture, and that it is not easy for anyone who isn't part of that culture to fully understand it, let alone to internalize it enough to really perform great blues. She was, remember, responding to someone who said becoming a bluesman was just a matter of "having the blues touch you," whatever that means. In my opinion, that trivializes the blues -- and so too does a knee-jerk "white guys can too sing blues, so there!" response. Indeed, white folks can and do sing the blues -- but we won't understand the complexities of the process if we resort to name-calling. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Mon, 2 Oct 1995 22:01:09 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Son House & The Anthem On 2 Oct 95, L W had this to say... > > > I don't disagree or agree with either statement. I'm just curious why could > > "someone" never make the "Star Spangled Banner" a blues tune. And Paul said: > Because if you did it wouldn't be the Star Spangled Banner any more, > it would be a Blues tune. Perhaps as a Canadian I shouldn't comment on the Star Spangled Banner, but I'm not sure I agree with Paul on this. Blues is partly a matter of musical form, but it is mainly a matter of style. The 12-bar format is only one form of blues (largely imposed on a non-European music by WC Handy) but there are others. I think a good blues performer could make a blues out of just about anything. To cite a non blues illustration of what I mean, listen to "Try a Little Tenderness" by anyone at all before 1965, then listen to Otis Redding's version. Before Otis, it was a nice little Tin Pan Alley or torch-style tune. After Otis, it was a definitive soul song -- radically different, and yet still the same song. I have to admit, I have trouble imagining the Star Spangled Banner as a blues, but I wouldn't rule it out in principle. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Tue, 3 Oct 1995 12:50:00 +0900 Reply-To: HiroakiYOSHIMURA From: HiroakiYOSHIMURA Subject: Nothing but the Blues Hello! I've been looking for a video or Laserdisk of Clapton's "Nothing but the Blues Tour". Is there any video or Laserdisk of this tour? or just only a TV on-air. This Friday is the day of Clapton's concert in Japan. Thanks! Hiro from Tokyo. SGM00245@NIFTYSERVE.OR.JP ========================================================================= Date: Mon, 2 Oct 1995 21:22:57 PST Reply-To: "D. ALLEN SIMPSON" From: "D. ALLEN SIMPSON" Subject: FYI: Cray/Leno Just for your information: Robert Cray & Band will be the featured musical guests on the Tonight Show, Fri. 10/6/95. (He seems to be a favorite of Leno's... at least he has been the musical guest more times than any other blues-related musician since Leno took over Johnny's spot... Johnny always seemed to enjoy booking or having B.B. King) Doug ========================================================================= Date: Mon, 2 Oct 1995 23:30:08 -0500 Reply-To: Rob Varak From: Rob Varak Subject: Re: Worst by your favorites Comments: To: L W In-Reply-To: Muddy London Sessions Eric Clapton "August" Buddy Guy: Any of that Bubble-gum bullsh*t from the Chess recordings Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Tue, 3 Oct 1995 04:32:13 GMT Reply-To: David Alan Hammel From: David Alan Hammel Organization: The University of Calgary Subject: Paul Butterfield Comments: To: bit-listserv-blues-l@uunet.uu.net I heard on the HOB Blues hour that there is some new Paul Butterfield being released. Could someone please recommend to me the best two or three CD's to pick up (in Canada) for this band? Thanks. da ========================================================================= Date: Tue, 3 Oct 1995 04:34:46 GMT Reply-To: David Alan Hammel From: David Alan Hammel Organization: The University of Calgary Subject: Page and Hendrix Comments: To: bit-listserv-blues-l@uunet.uu.net Not to sound like I'm jumping on some bandwagon, but Page and Hendrix were the reasons that I started listening to the blues at all. Period. Each one had some great blues tunes (not many but some). da ========================================================================= Date: Tue, 3 Oct 1995 04:36:18 GMT Reply-To: David Alan Hammel From: David Alan Hammel Organization: The University of Calgary Subject: Mayall Comments: To: bit-listserv-blues-l@uunet.uu.net I recently found two John Mayall Box sets ($34.99 Cdn)....one is 1964 to 69 and the other is 70-74 (I think). Are these worth the buying price? Might it be smarter to buy the original albums instead? Thanks da ========================================================================= Date: Mon, 2 Oct 1995 23:51:10 -0500 Reply-To: Craig Edmundson From: Craig Edmundson Subject: Re: Slim Harpo (Long, but groovy!) Comments: To: Ranko Vujosevic In-Reply-To: <199510022212.RAA13047@picasso.ccad.uiowa.edu> On Mon, 2 Oct 1995, Ranko Vujosevic wrote: > 1. Should I buy 2CD "The Best of Slim Harpo" and why? >From the original liner notes written by Jack Walker (Music Director, WLIB-New York) for the 1969 release: THE BEST OF SLIM HARPO (Excello "Compatible Stereo" 8010) ... "Ahh, lay it on me Baby...don't stop now Let your hair down Baby...we ain't goin' to Heaven no how. I'm ready to burn Baby, Right chere and now..." And that's a fact. Slim Harpo burns, right here and now. Blues lovers don't need to be introduced to this immense talent, for Slim Harpo's name is as familiar in these circles as chittlins are on a hog farm. SLIM HARPO is what's happening in blues. Not the watered down, synthesized, diluted sound that sometimes passes for blues, but true black blues Baby. Slim Harpo burns!! However, for the un-hip who might be searching for something genuine in this too-often saccharine world of music, let me introduce the man: SLIM HARPO comes from way down in West Baton Rouge, Louisiana. That's a long way down, but that's where the blues began. Like most of his breed of exponents, Slim paid his dues knocking around the south...stevadoring in New Orleans...troubadoring in the Delta country...living life...learning the blues. And what he sings (and talks) today, comes out pure and beautiful. In the span of his five and a half decades Slim has seen a world of changes. What he does is simply put these happenings in his pristine style and "lay it on you, Baby." That's what the blues is all about. That's what SLIM HARPO is all about. Just recently, after all these years, SLIM HARPO did his thing in New York - in Greenwich Village at The Scene. He was an unqualified SMASH. Critics, including the New York Times, were enthusiastic in their apraisal (sic). But he was a surprise to New York too; many came expecting to see a hocked up act with dazzling light-effects and sophisticated staging. What they saw - and DUG - was one of today's great blues artists working his show in the big city exactly as he would have in Waycross, Georgia or Murfreesboro, Tennessee. Slim Harpo doesn't put on airs...he tells it like it is and that's groovy. "The blues is all around. Slim Harpo has gone just deeper into it than most people." That's what MIKE JAHN writing in the New York Times said about Slim. And that's a fact. In this newest EXCELLO offering Slim's fans will flip to find so many of the great favorites included. Things like "TIP ON IN" and "I'M A KING BEE". And you'll blow your mind behind his most recent smash "MOHAIR SAM." And then there's that all time goodie, "TE-NI-NEE-NI-NU". In fact, the title of this package accurately tells the contents: "THE BEST OF SLIM HARPO". Let me add, before closing; I'm a blues bug. I dig blues because in these excitingly revolutionary times, blues remains a constant...an unchanging bond to earthiness as we reach spaceward and beyond. I like the changes too but I relish the comfort of the blues that constantly reminds of where its really at. And I dig Slim Harpo because SLIM HARPO IS BLUES. ...from the liner notes by Jack Walker Contents of Excello 8010 - THE BEST OF SLIM HARPO: Side One: 1) Mohair Sam; 2) I'm Gonna Keep What I've Got; 3) Baby, Scratch My Back; 4) Buzz Me Baby; 5) I'm A King Bee. Side Two: 1) Rainin' In My Heart; 2) Shake Your Hips; 3) Te-Ni-Nee-Ni-Nu; 4) I'm Your Bread Maker Baby; 5) Tip On In. Recommended. cle ========================================================================= Date: Mon, 2 Oct 1995 22:27:49 +0100 Reply-To: James Witteveen From: James Witteveen Subject: Re: Mayall boxes Regarding the two Mayall boxes, they're well worth the price of admission, particularly the later one (you may not want to buy the original albums on cd...this is the cream of the crop, unless you are a Mayall Compleatist). The early stuff is better (in my opinion anyway), so you may want to go all out and buy the orig. albums (esp. Bluesbreakers with Eric Clapton.) But I got 'em, love 'em, and play 'em often! -Jim (hndful@uniserve.com) ========================================================================= Date: Tue, 3 Oct 1995 01:37:43 -0400 Reply-To: SJeffcote@AOL.COM From: "Scott E. Jeffcote" Subject: Re: Slim Harpo Comments: To: cedmunds@netserv.unmc.edu If you haven't already get this set. The highlight of course is the live songs at the end. If you are ever in the area (like the Baton Rouge Blues Fest 1995) and want to see the sidemen of Slim, come on down. Look for Rudi Richard and James Johnson. James plays reguarly with Raful Neal. He is by far one of the best guitarist around. He is of course the original "Chicken Scratch"man. Rudi can usually be seen around town playing at Phil Brady's or some of the other clubs. Come on down to the Bayou and Check them Out. ========================================================================= Date: Mon, 2 Oct 1995 22:42:23 +0100 Reply-To: James Witteveen From: James Witteveen Subject: Re: Slim Harpo question > I have two requests for opinion: > > 1. Should I buy 2CD "The Best of Slim Harpo" and why? > I don't know much about Slim Harpo. Please educate me... > [second q. deleted cuz I don't know the answer (but am interested in one)] Slim Harpo's great, and well worth a listen...one problem is that, like many 50's bluesmen with frequent single releases, he tended to release songs that were an awful lot alike...King Bee, Queen Bee, etc. But I'll recommend anything by Slim Harpo. -Jim (hndful@uniserve.com) ========================================================================= Date: Mon, 2 Oct 1995 22:49:20 +0100 Reply-To: James Witteveen From: James Witteveen Subject: Re: upcoming Capitol Blues Reissues >Coming up by October 24 will be > > - JOHN LEE HOOKER 3CD set > - JIMMY ROGERS - Complete Shelter Recordings > - SNOOKS EAGLIN - Complete Imperial Recordings > - VARIOUS - TEXAS GUITAR 2CD set > - FRED MCDOWELL - Complete "I DO NOT PLAY NO ROCK 'N ROLL" (2CD set) > - VARIOUS - a sampler set > > eRIC Is it just me or do these crappy paper boxes that these disks come in really suck? The artwork's nice though, and it's good to see the big boys come out with some good blues releases. -Jim (hndful@uniserve.com) > ========================================================================= Date: Tue, 3 Oct 1995 01:54:55 -0400 Reply-To: Tremolux From: Tremolux Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Jimmy Page was BLUES! Comments: To: bit-listserv-blues-l@uunet.uu.net >>>The Yardbird played a shitload of Blues songs, they played with Sonny Boy Williamson I for christ sake! Yeah, I really liked what Sonny Boy said about them, something like "Those British boys want to play the Blues real bad, and they play 'em real bad." Later for British blues. ========================================================================= Date: Mon, 2 Oct 1995 23:07:19 -0700 Reply-To: Garry Segal From: Garry Segal Subject: Star Spangled Blues LW wondered why the Star Spangled Banner couldnt be a blues tune. Did you ever hear Ray Charles belt out America ? Or hear/see the time Marvin Gaye sang the anthem (SSB) at an NBA game ? Certainly the most soulful versions Ive ever heard. Rays version of America should be the national Anthem IMHO. Blues got soul, Marvin & Ray ARE soul so the Star Spangled Banner is ... Garry "gave proof through the night" S. Moodswingerpage http://www.island.net/~blues/BlueSngr.html ========================================================================= Date: Mon, 2 Oct 1995 23:40:03 -0700 Reply-To: Garry Segal From: Garry Segal Subject: Darn that Racial Thread Just an aside to the " you can sing great opera, but that dont make you Italian " . I really didnt want to comment but I was thinking ... Blues is big all over the world, segments of all races and nationalities actually do "get it" when they hear blues. They support it, cheer, buy records etc. Are non-African American blues fans( not musicians) throughout the world 'imitation audiences' because they have not experienced culturally what blacks in the USA have ? If you believe whites cant do the blues, then how can so many dig it? Its about life, soul... an African American music that has the ability to awaken something so common in human nature that any race can play it , dig it, live it ... if they dare. Respect the roots, give the new leaves a little sun, watch it grow Garry 'strange mushrooms in my sauce tonight' S. ========================================================================= Date: Tue, 3 Oct 1995 09:36:25 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Worst by your favorites >What is INYO the worst recording(s) by your favorite artist(s)....? > >I see "Electric Mud", "Muddy, Brass & Blues(was that the name) coming up >often.... > >I'd also be willing to bet that the word "London" will be in a lot of those >mentioned > >LW I m sorry to mess up your question LW - but I saw a new Albert King compilation the other day. It s called Funky London but it s from the vaults of Stax- no London recordings. Does anyone know anything about it? I got almost everything Albert recorded - is it worth buying? Well back to the thread, personaly I think Albert Kings Elvis Presley-album is the worst he ever recorded. Mr Bo C "Take me all the way to London" Big Walter Price shouts to Albert Collins on "This is my tears". ========================================================================= Date: Tue, 3 Oct 1995 00:48:33 +0000 Reply-To: "Terry L. Odor" Comments: Authenticated sender is From: "Terry L. Odor" Subject: Blind Pig Review (query) Several Blues-L'ers mentioned they were going to the SF Blues Festival last weekend. Did anybody go to the Blind Pig Review at Slim's Friday Sept. 22? Impressions? I haven't seen much feedback on the SF Blues festival either. Just curious. Terry http://www.teleport.com/~tlo/ ========================================================================= Date: Tue, 3 Oct 1995 07:54:41 GMT Reply-To: marc@az.vub.ac.be From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Re: Blues that people HATE ! Comments: To: bit-listserv-blues-l@Belgium.EU.net : We're having another party this Saturday (You're all invited) and there will : be a bunch of non-blues fans. I expect a country fan or two, so I'll try to : keep it early Bonnie Raitt, Doug MacLeod, Little Feat, maybe slip in a Muddy Try some Roosevelt Sykes. If so, I'll come ! embee. ========================================================================= Date: Tue, 3 Oct 1995 08:06:07 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: Whose blues? Brenda Bogert (bogert@IGLOU.COM) wrote: : Let me explain it to you as I did to Jef Jaisun last week: You can sing : opera until you are blue in the face, it will not make you an Italian! Yeah, you said that, but you didn't include my response. To wit, I seem to recall a rather celebrated African-American woman opera singer who performed on the steps of the Lincoln Memorial at the behest of Eleanor Roosevelt. And last I checked, Marion Anderson wasn't Italian. For that matter, neither is Leontyne Price. Enough with the holier-than-thou crap already! ============================================================================ Jef Jaisun eljefe@netcom.com "It's like tryin' to tell a stranger 'bout rock 'n' roll." -J. Sebastian ============================================================================ -- eljefe@netcom.com ========================================================================= Date: Tue, 3 Oct 1995 08:09:16 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: Star Spangled Blues Garry Segal (bluesngr@IX.NETCOM.COM) wrote: : LW wondered why the Star Spangled Banner couldnt be a blues tune. : Did you ever hear Ray Charles belt out America ? Or hear/see the time : Marvin Gaye sang the anthem (SSB) at an NBA game ? Certainly the most : soulful versions Ive ever heard. Rays version of America should be the : national Anthem IMHO. Blues got soul, Marvin & Ray ARE soul so the Star : Spangled Banner is ... There are only two Star Spangled Banners that count. One is the Marvin Gaye performance at the Lakers playoff game, the other is Jimi Hendrix at Woodstock. ============================================================================ Jef Jaisun eljefe@netcom.com ============================================================================ -- eljefe@netcom.com ========================================================================= Date: Tue, 3 Oct 1995 04:29:41 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - October 3rd Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BATTLE, EDGAR WILLIAM (songw/TOPSY) b. 1907-1003, ATLANTA, GA BERRY, DARLIN INGRID (v/CHUCK BERRY) b. 1950-1003, ST. LOUIS, MO BRANCH, WILLIAM EARL "BILLY" (hca) b. 1951-1003, GREAT LAKES, IL BREWER, JIM BLIND (g/PHILO REC) b. 1920-1003, BROOKHAVEN, MS BRYMN, JAMES TIM (songw/afro-american) d. 1946-1003, NEW YORK CITY, NY 64 CHUBBY CHECKER (ERNEST EVANS) (v/TWIST) b. 1941-1003, SPRING GULLEY, SC COCHRAN, EDWARD RAY "EDDIE" (g) b. 1938-1003, OKLAHOMA CITY, OK COLEMAN, DEBORAH (g/NEW MOON REC) b. 1956-1003, PORTSMOUTH, VA CORCORAN, GENE "CORKY" (tsax) d. 1979-1003, TACOMA, WA 55 FREEMAN, EARL "VON" (tsax) b. 1922-1003, CHICAGO, IL GUTHRIE, WOODY (g/songw) d. 1967-1003, QUEENS, NY 55 JAMES, NEHEMIAH "SKIP"(g/p/PARAMOUNT REC) d. 1969-1003, PHILADELPHIA, PA 67 KEB' MO' (KEVIN MOORE) (g/SONY REC) b. 1951-1003, LOS ANGELES, CA LAMBERT, DAVE(of LAMBERT,HENDRICKS &ROSS) d. 1966-1003, WESTPORT, CT 49 LAWS, RONNIE (tsax) b. 1950-1003, HOUSTON, TX MCGEE, DENNIS (vln/caun/AMEDE ADOIN) d. 1989-1003, MAMOU, LA 96 PHILLIPS, THOMAS J. (owner: PHILLIPS REC) d. 1987-1003, MEMPHIS, TN 71 ROBERTS, JOHN (v/JOSEPH SPENCE) b. 1911-1003, ANDROS IS., BWI SHARPTON, AL REV. (:) (v/JAMES BROWN) b. 1954-1003, BROOKLYN, NY SPIVEY, VICTORIA "QUEEN" (p/songw) d. 1976-1003, NEW YORK CITY, NY 69 VAUGHAN, STEVIE RAY (g) b. 1954-1003, DALLAS, TX VINCENT, JOHNNY (prod/owner : ACE REC) b. 1927-1003, HATTIESBURG, MS WEIN, GEORGE T. (p/NEWPORT FEST) b. 1925-1003, BOSTON, MA ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 2 Oct 1995 21:08:33 +0100 Reply-To: Byron Foulger From: Byron Foulger Subject: None Hello again folks, as the tailor had a two for one offer going when I called, I got two asbestos suits, so here goes again: I'm sorry, but i just can't honestly see how, as I've said before the likes of Clapton can be considered as 'real' blues, I'll try and give 'my' reason: At the best, these guys heard blues - the American variety, in the early '60s in the UK (as I did), when they were in late teens/early 20s. That's a whole lot different to hearing it from the cradle (pun intended) and being INFLUENCED, consciously or subconsciously - surely!?! There's a great differnce between copying, albeit as flattery initially, and being influenced, and to me anyway these guys either just copied, or adapted blues tunes in a way that they weren't recognisable as blues- or were anywhere near as good as what they'd heard. I don't necessarily think they were always after trying to rip off their counterparts, I can accept it all started through wanting to sound like their US counterparts, but it never happened, not to me anyway. I can tell stork from butter, most of the time anyway. As with most 'truths' there's exceptions to prove the rule - of course! I watched 'from the cradle' last Christmas on UK TV, and reasonably enjoyed it, but after, I thought why did he bother, other than to make some money, because to me he only tried to sound like - exactly like - the stuff that influenced him, but in general didn't quite manage it. BTW, for he who asked, Billy Lee Riley was Irish-Cherokee and recorded a fair bit for Sun in the '50s, generally with much blues/R&B influence - note influence!, he also recorded as the 'Megatons' on Dodge - later picked up by Chess, and even recorded as Lightnin' Leon on his own Rita label, so bluesy were these later tracks that Arhoolie included a track on their Blues Classics LP Juke Joint blues!. That's what I call blues influence rather than blues copying. Also throw in Sonny Burgess, another wild white R&B man on Sun, superb R&B! n.b. both Riley & Burgess have great 2CD sets on Bear Family. Byron ========================================================================= Date: Tue, 3 Oct 1995 05:41:28 -0400 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: Whose blues? Comments: To: Jef Jaisun In-Reply-To: On Tue, 3 Oct 1995, Jef Jaisun wrote: > Brenda Bogert (bogert@IGLOU.COM) wrote: > > : Let me explain it to you as I did to Jef Jaisun last week: You can sing > : opera until you are blue in the face, it will not make you an Italian! > > Yeah, you said that, but you didn't include my response. To wit, I seem > to recall a rather celebrated African-American woman opera singer who > performed on the steps of the Lincoln Memorial at the behest of Eleanor > Roosevelt. And last I checked, Marion Anderson wasn't Italian. For that > matter, neither is Leontyne Price. > > Enough with the holier-than-thou crap already! > Marian Anderson, a world renowned contralto who was said to have the kind of voice your hear "once every 100 years", was not trying to be an Italian. She was African American and proud of it. In 1939 she was to perform at Constitution Hall in D.C. When the members of the D.A.R. realized that she was African American, they cancelled her show. It was then that Eleanor Roosevelt resigned her D.A.R. membership and arranged for Anderson to sing on the steps of the Lincoln Memorial. A crowd of about 75,000 attended her performance. That's not holier-than-thou and it's certainly not crap. It's called African American history. The history of the blues is rich and interesting. Why not celebrate it instead of trying to whitewash it! Brenda Bogert KYANA Blues Society Louisville KY ========================================================================= Date: Tue, 3 Oct 1995 09:42:58 GMT Reply-To: BRG Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: BRG Organization: Information Resources and Technology Subject: Re: Jimmy Page was BLUES! Comments: To: msuffern@xnet.com Michael Suffern wrote: >Whoa, Jeff, easy... >* Jimmy Vaughan, 2nd sloppiest guitar player in the world! Have you seen >him live? I suspect not. Tell me what show if I'm wrong. Probably a better singer than Page, ;) but we'll never know. Plus he's = still playing the >Blues, which Page has more or less lost interest in, at least commercially. >J.V. is a great guitarist, too. Not as good as J.P., IMO. He has that same genius of timing (not to as great a degree). Live, it c= omes off as >alternately sloppy and ballsy genius, but from the heart! No, slammin' of >J.V. here. I'm sure more than a few zellers will agree. Mike, Mike, Mike,.. Hello? Can you here me? Ya, it's me,the sloppiest poster in the world. I have to wonder why you would even think to compare Jimmy V with Jimmy P. Wait a minute, they both have the same first names. However, that is where any similarities stop. To say that JV is sloppy is truly foolish. What do you think sloppy means? No, don't go lookin' it up. That statement reminds me of the time I put the T-Birds first album on for a 'young' guitar player to which he made the comment "He sure doesn't do much". He finally came around to appreciating JV when he read that SRV thought JV was the greatest(somethin to that effect). I've seen JV many times and will continue to do so. He does more with three notes and tone than most people can do with an army. No I didn't compare him to JP. There is no need to. JP plays guitar with a bow (I hear) and may be technically able to reel off great rock/metal riffs, but he does not and really never has played in a style that I feel is blues. As for timing, it's good that you at least realize that JV IMHO has an intuitive ear or feel for what he does. Hell what am I doing analyzing his style. Maybe I'll just put his new CD on and listen to a guy that I didn't know could sing, but can play Texas guitar better than most folks, sing real sloppy like. What a drag...... ========================================================================= Date: Tue, 3 Oct 1995 12:06:50 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Darn that Racial Thread >>Just an aside to the " you can sing great opera, but that dont make you >>Italian " . I really didnt want to comment but I was thinking ... >>Blues is big all over the world, segments of all races and >>nationalities actually do "get it" when they hear blues. They support >>it, cheer, buy records etc. Are non-African American blues fans( not >>musicians) throughout the world 'imitation audiences' because they have >>not experienced culturally what blacks in the USA have ? If you believe >>whites cant do the blues, then how can so many dig it? Its about life, >>soul... an African American music that has the ability to awaken >>something so common in human nature that any race can play it , dig it, >>live it ... if they dare. >> >>Respect the roots, give the new leaves a little sun, watch it grow >> >>Garry 'strange mushrooms in my sauce tonight' S. > Good point Garry! I live, play and listen to blues in Sweden. Very far from Mississippi indeed. Of course I have had some thoughts about the value of my work during my close to 20 years career as a blues player. But I have choosed to take to hart what my fellow musicians and especially afro-american blues players has to say. If they enjoy my playing and reach out to say so without being asked - well, that makes me feel good. Then I know that music narrows the gap between cultures. I will also point out that people up here probobly has heard just as much - or more- live blues from american bands than most americans have. Bluesy yours mr Bo Carlsson ========================================================================= Date: Tue, 3 Oct 1995 12:40:46 +0200 Reply-To: T P Uschanov From: T P Uschanov Subject: Re: Ike Turner & His Kings Of Rhythm Comments: To: Art Schuna In-Reply-To: On Mon, 2 Oct 1995, Art Schuna wrote: > Just got the latest Roots & Rhythm catalog and they are listing a new Ace > label release by Ike Turner & KOR titled, "Rhythm Rockin' Blues" ( > CDCHD553). The catalog says this will be out in early October. Does anyone > know if there is much overlap with the Charly release, "Trailblazer"? I > bought the Charly release and then liked it so much I wished I'd put out the > extra cash for the P-Vine 2 CD set. You mean PVIN 1794 3031 2 TURNER*IKE ROCKS THE BLUES $44.77 P-VINE 10/93 is a 2-CD set, not merely a reissue of the old ten-track Crown album of the same name? There goes _my_ extra cash! -- T P Uschanov (Mr), University of Helsinki, Finland, European Union. "Art is dearer than sausages, dearer than women, dearer than anything else ... Art is a chemist's article for idiots." (Francis Picabia, _391_ #10, March 1920) ========================================================================= Date: Tue, 3 Oct 1995 09:06:16 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Son House, The Star Spangled Banner, and 'Whose blues' While Son House never tried the Star Spangled Banner (that I know of), he did record a patriotic song in 1942, "American Defense." About as far as he got from blues as far as I know (and not exactly one of his greater efforts). It was not the weirdest "WWII" theme picked up by Lomax, though. I'm drawing a blank on the exact title, but there was a *really strange* one that had the words "Santa Claus" "Christmas" and "Jap" in the title. Surreal enough that I'm sure Paul Garon could provide us with the title. Finally, perhaps if we ALL agree that each of us have the individual right to decide for ourselves what is and is not blues (NO MATTER HOW STRANGE THAT DECISION MIGHT BE), everyone would quiet down a bit about Jimmy Page et al. Or at least talk about them in proportion to, say, Muddy Waters. (all this Jimmy Page talk is even flooding the Richard Thompson list. What is this, sunspots?) Tom Freeland ========================================================================= Date: Tue, 3 Oct 1995 08:08:04 CDT Reply-To: Ian Angus Comments: Authenticated sender is Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: Ian Angus From: L W Subject: Re: Whose blues? ----------------------------Original message---------------------------- > -------------------------------------------------------- > What a bunch of claptrap. no one would argue singing the blues (or listening > to it) will make you an African-American, but if you think a white or yellow > or brown person can't be a bluesman, of have a blues feeling, your thoughts > are no better than the other racist bull we've been subjected to lately. > ************************************************* >It is a sad commentary on the blues and on blues-l that it is >impossible to discuss the relationship between Afro-American culture >and blues without this type of stupidity. Whenever anyone discusses >the unique contributions of blacks to American culture, there is always >someone who wants to deny it -- all in the name of being >"anti-racist" of course. I think Brenda picked a bad choice of words. I understood what she meant, but the way it was worded sounded like something I would say. I think it's all a "moot" point, EVERYBODY knows that blacks own the blues and whites bascially borrowed them (in most cases :-).....I honestly think the blues have become "whitewashed", but whites are the ones who support it....IMHO What the hell is an african american, your either an American or you're not I thought segregation was out of style. It makes it sound like they are not 100% American, which IMHO is as derogatory as the N-word. LW 'An Amercian..period' ========================================================================= Date: Tue, 3 Oct 1995 08:53:10 CST Reply-To: William Shute From: William Shute Subject: Question re Jimmy Rogers on Shelter From: Bill Shute Thanks to eRIC and MKA for the info on the October batch of Capitol Blues Reissues. At this point, they ALL sound worthwhile. However, I wonder if someone could enlighten us about the reissue of Jimmy Rogers' album on the Shelter label. How is it? Since it's on Leon Russell's "shelter" label, does it have any Leon influence at all or is it straight-ahead blues? I never did hear that album back in the 70s when it came out. As for the reish of Fred McDowell's I DO NOT PLAY NO ROCK AND ROLL, with it being a 2-CD set, that means there's at least one FULL cd of unreleased material. WOW..... I guess we'll have to wait a while for a James "Wee Willie" Wayne CD release, eh? The 3-CD Hooker set is undoubtedly a reish with extra tracks of that 3 lp box of early Hooker that came out on UA in the l970s. I didn't own that, but many of my friends did and as I remember it, it was Bernard Besman- produced early 50s stuff. That was the first SUSTAINED dose of EARLY Hooker (aside from a track here and there on comps such as "House Rent Boogie"), pre-VEE JAY Hooker, for many persons in my age group. My only suggestions about the Capitol reish series are l) if they are going to keep the digi-pak, try imitating the kind of laminated digipak used by Black Magic records. 2) Scrap the Ralph Stedman-esque, Beavis and Butthead-esque cover illustrations. Those things are gonna look dated in two years...let alone twenty. Save this type of thing for The Butthole Surfers or records on the Shimmy-Disc label. Otherwise, I'm ecstatic about a major label doing such a reish program. Didn't Lonnie Brooks do an album on Capitol in the late 60s? If they still own the rights to it and it wasn't a one-time lease job, perhaps that could be reished. Is it a good album? Bill Shute San Antonio, TX When will RCA/BMG be re-starting their blues reissue program? I assume (and hope) that Billy Altman will be doing that. Should I infer from the post about Tampa Red the other day that BMG intends to do a COMPLETE BLUEBIRD RECORDINGS on Tampa? As Tampa is one of my longtime heroes, I would be on cloud nine if such were true. I've already gotten six of the fifteen Document CDs. Of course, if the sides are run through a No Noise process, I'll continue to listen to the Documents. Finally, Cary Ginell has just published a book on the legendary MILTON BROWN, the most blues-drenched of the western swing pioneers. No publishing info yet, but perhaps someone already owns this and could share the info with us. ========================================================================= Date: Tue, 3 Oct 1995 09:11:00 CDT Reply-To: Paul Garon From: Paul Garon Subject: Wierd titles > >It was not the weirdest "WWII" theme picked up by Lomax, though. I'm drawing >a blank on the exact title, but there was a *really strange* one that had the >words "Santa Claus" "Christmas" and "Jap" in the title. Surreal enough that >I'm sure Paul Garon could provide us with the title. > Thanks for the plug (?)! You must be Willie "61" Blackwell's JUNIAN'S, A JAP'S GIRL CHRISTMAS FOR HIS SANTA CLAUS. Why do you call that strange? Makes perfect sense to me . Actually, it must be the wackiest title known, but Guido van Rijn, in his PhD thesis dissects as Lomax's rendering of Blackwell's words, which would translate as JUNIOR. A JAP'S SKULL CHRISTMAS FOR HIS SANTA CLAUS. Not an entirely clear statement, either, put it relates to the idea of bringing home ears, fingers, even a whole skull, as a war souvenir, for Junior, for Christmas ("for his Santa Claus"). Simple, eh? Good Lord, van Rijn oughta get a PhD for deciphering just that one! Paul Garon ========================================================================= Date: Tue, 3 Oct 1995 10:09:13 -0500 Reply-To: Erica Wissolik From: Erica Wissolik Subject: Forwarded: Robert Johnson A message from the rockabilly list forwarded this list cause who would know more than you all.... the list address is: rockabilly@u-strasbg.fr >>>>> Alright, everybody, after my earlier faux pas, I finally went out an bought the two Robert Johson CDs. "Sweet Home Chicago" is definitely included, and I'll try to decipher his lyrics at a later date. However, for now, I' looking form discographical information not included on the CDs. Please help me fill in the blanks, and thanks. Title Master# Date Release Crossroads Blues SA2629-2 11/27/36 Originally unreleased Terraplane Blues SA2586-1 11/23/36 Vocalion 03416 Come On In My Kitchen SA2585-1 11/23/36 Vocalion 03563 Walking Blues SA2630-1 11/27/36 Vocalion 03601 ========================================================================= Date: Tue, 3 Oct 1995 16:40:50 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Question re Jimmy Rogers on Shelter >From: Bill Shute > >Thanks to eRIC and MKA for the info on the October batch of Capitol >Blues Reissues. At this point, they ALL sound worthwhile. > >However, I wonder if someone could enlighten us about the reissue >of Jimmy Rogers' album on the Shelter label. How is it? Since it's >on Leon Russell's "shelter" label, does it have any Leon influence >at all or is it straight-ahead blues? I never did hear that album >back in the 70s when it came out. Well, the session is straight blues but not realy that good - I think. The album has a thin sound (typical 70 s with the mikes nearly inside the drums and guitars), even Freddie Kings guitar sounds lifeless to my ears. I think Rogers albums from the last years is much better. Mr Bo Carlsson ========================================================================= Date: Tue, 3 Oct 1995 15:40:30 GMT Reply-To: Bob Ancheta Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Bob Ancheta Organization: KGON Radio Subject: Re: Jimmy Thackery Comments: To: parisser@COMMUNITY.NET Yes, I'm a fan and friend of Jimmy Thackery. He's played several gigs here in Portland, Oregon and we became friends. I don't believe he has 26 albums, he played with the Nighthawks and went solo in 92. He calls his band the drivers because Jimmy doesn't have a drivers license. He just moved to Florida and USA today just did an article on him recently. He's on his way to becoming a star, I'm glad you like him as I do. Take care ========================================================================= Date: Tue, 3 Oct 1995 10:48:21 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Living Blues/T-Bone Walker I'm curious: I looked through the universities LB archives trying to find an article on T-Bone Walker, but DID NOT. I know they are a few issues missing from the archives, but not many. Does anyone know what issue, if any (surely, he's been covered by LB) has an article on T-Bone.....? THANKS LW ========================================================================= Date: Tue, 3 Oct 1995 10:35:08 CST Reply-To: "Dave Luciani, CE Video" From: "Dave Luciani, CE Video" Organization: University of Wisconsin-Extension Subject: Jimmy Vaughan's "Strange Pleasures" If you're of the belief that a 40 year old white man can sing and play the blues then read on. If you're not....we wish you a greater acceptance of diversity in your next life. I just bought Jimmie Vaughan's "Strange Pleasures" the other day and have been playing it non-stop since. If you don't have this CD yet I highly recommend it. JLV's range is incredible-- from good ol' fashioned straight ahead blues, including a JLH like tribute to Stevie Ray called "Six Strings Down" to JLV's trademark guitar twang from the early Tbird days! It is an incredible CD. I have no idea why it took me so long to get it. By the way, he dedicated it to Stevie Ray and Albert Collins. I bet even some of you "traditional only" folks would enjoy it. - Dave P.S. For all you SRV/JLV fans who can't get enough there's a SRV list out there that'll satisfy your needs! Email me for more info. ========================================================================= Date: Tue, 3 Oct 1995 11:46:11 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Whose Blues?: Another Viewpoint It's certainly true that "blues" as a musical styling emerged from the African/slave culture, in the southern U.S., quite a few years ago. We're not arguing that. But saying that "blues" as it exists now--with new music being created, with traditional music being reinterpreted--is still *strictly* an African/black art form is not true, in my opinion. To me that's like saying the Nile River is still the Nile River when it flows into the ocean. (Hoping desperately in my georgraphical ignorance that the Nile *does* flow into an ocean somewhere...) At its source and along its course its the Nile, but different waters blend with it, and then it in turn blends into greater waters itself. An anecdote from recent personal experience....our local blues society applied for state grant money to fund a series of concerts. Representatives of the society went to the grant hearing. One of the people reviewing the grant was "an older black man," and he questioned our representatives as to where "the art content" was in the proposed concert series. Our representatives were shocked (this was reported to me first-person, by one of the representatives herself) that this "older black man" didn't comprehend the "art content" of BLUES. Why some of us assume that ALL blacks embrace blues as part of their culture? This "older black man" may have grown up in a household that listened primarily to jazz, or opera, or country-western, or big band music, or ..... I grew up in a household that listened to big band music (Glenn Miller, Tommy Dorsey, etc.). I'm a big traditional Irish music fan. I did not gain that interest from my upbringing, despite my name; I went out and discovered it. I introduced my father to a lot of traditional Irish music. He liked to play dixieland banjo and harmonica, himself. The need to define "blues" as "balck/African" music seems to be a "white" thing. Music is music. Shannon ========================================================================= Date: Tue, 3 Oct 1995 12:56:17 -0300 Reply-To: Rob Hutten From: Rob Hutten Subject: Great quote "If singing the blues is a gift, I think I'd rather have a toaster." - Bob Schnieder :-) -Rob ========================================================================= Date: Tue, 3 Oct 1995 12:27:57 EST Reply-To: apaul@CLIFF.WHOI.EDU From: Alora Paul Subject: Re: Do You respect them, and applaud well, because i think LW and DDR are two pretty hep cats, i have cause to reconsider my stand on applause as it relates to appreciation/respect. my take has always been, if i applaud ALL the time, to be polite, then it diminishes the meaning of same, when i DO truly mean to make some noise to show my appreciation. but, y'all are right - i can and will, even if it hurts a little, applaud folks for their courage and effort. if the tables were turned, you can bet i'd appreciate it, too. another lesson learned. alora ______________________________ Reply Separator _________________________________ L W writes: >I see alot of Clapton, SRV ...etc talk all the time. >I have a question, even though you make not like their music, DO You respect >them at all. ========================================================================= Date: Tue, 3 Oct 1995 12:33:26 -0400 Reply-To: MaryA NBP From: MaryA NBP Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Worst by your favorites Comments: To: bit-listserv-blues-l@uunet.uu.net Mine would definitely have to be "Tickle Britches" B.B. King..........its one of those silly songs that stays in your brain all day once you hear it. Mary Melodee ========================================================================= Date: Tue, 3 Oct 1995 10:01:20 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Great quote Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Rob Hutten posted: > "If singing the blues is a gift, I think I'd rather have a toaster." > - Bob Schnieder > >:-) > >-Rob As a collector of art deco and moderne toasters (32+) I would rather sing the blues.... I got toasters comin' outta my ears... ;-] Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Tue, 3 Oct 1995 10:10:28 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Whose Blues?: Another Viewpoint Comments: To: BLUES-L@BROWNVM.BROWN.EDU. shannon oconnor said: (edit edit) > The need to define "blues" as "balck/African" music seems to be a > "white" thing. > > Music is music. > > > Shannon Great post Shannon! Really well thought out. The only thing I would add to "music is music" is the fact that the blues are based in African American culture, and that fact must never be forgotten. Yes the river flows and blends, but the source is still the source. We must not forget. Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Tue, 3 Oct 1995 10:12:38 -0700 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Living Blues/T-Bone Walker Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu L.W. wrote: > >I'm curious: I looked through the universities LB archives trying to find an article on T-Bone Walker, but DID NOT. I know they are a few issues missing from the archives, but not many. Does anyone know what issue, if any (surely, he's been covered by LB) has an article on T-Bone.....? A full-length, two-part interview with T-Bone Walker appears in Living Blues Issues 11 and 12. A lengthy obituary on appears in Living Blues Issue 21 Page 6. I have a full run of LB here at home, but alas have NO xerox machine here -- the Archives can copy things for you if you let them know what issues. Mary Katherine ========================================================================= Date: Tue, 3 Oct 1995 13:53:38 -0400 Reply-To: Oded Maron From: Oded Maron Subject: Freddie King I saw a 2-CD set of Freddie King (on Capitol, I think). From the song listing, it looks like mostly stuff from his Shelter period. Does anyone know if it's a full retrospective, or if it has any interesting unreleased stuff? Oded ========================================================================= Date: Tue, 3 Oct 1995 13:58:27 -0400 Reply-To: BlueSunJay From: BlueSunJay Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Killer Comments: To: bit-listserv-blues-l@uunet.uu.net The name of the Beale St. club was Blues City Cafe and Jerry Lee rocked the house! He and Sam Phillips spent much of the evening apparently reminiscing. Congratulations also to his daughter, Phoebe Lewis, who was instrumental in organizing the party. ========================================================================= Date: Tue, 3 Oct 1995 17:58:08 GMT Reply-To: David Goldstein Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: David Goldstein Organization: IPOF Subject: Re: Worst by your favorites Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.brown.edu I would have to say the album by BB King and Diane Schurr is pretty much my least favorite blues. ========================================================================= Date: Tue, 3 Oct 1995 13:49:03 -0100 Reply-To: Andrew Dillon From: Andrew Dillon Subject: Big town Playboys Not sure if this has been answered or not but it is likely that the BT Playboys referred to as backing E.C. are the same guys who backed Jeff Beck on an album a couple of years ago - called Jeff Beck and the Big Town Playboys - Crazy Legs (may be mistaken here, the c.d. is at home). It's a tribute album, and full of tight jump/r'n'r guitar goodies. Tight band indeed. They are British I think. Andy ========================================================================= Date: Tue, 3 Oct 1995 18:55:00 GMT Reply-To: catherin@WOLFENET.COM From: catherin@WOLFENET.COM Organization: COYOTE/Seattle: The Sex Workers Rights Organization Subject: Apologies and explanations! Comments: To: bit-listserv-blues-l@uunet.uu.net Ok, just to satisfy everyone's curiousity and flaming potential, please note the following: 1. The long .sig line on my previous messages was an accident and I desperately apologize. That's all the genuflection and remorse you can expect. 2. My "profession" is,as the media say, "high class call girl" or, as I prefer, consort or I'll answer equally and proudly to "whore," knowing its origins. Who says a whore can't play the blues with the best of them? I'm just a woman with many talents. Oh, and the degrees are in English, advertising and marketing communications. I was a Fortune 100 manager before dumping the corporate gig for an honest and honorable profession...and one that pays and plays well. 3. I've loved the blues since about age 13 and EC and BB were early influences. And, yes, I'm a Strat Girl... The .sig below says all and you won't see it again. A tout a l'heure, Catherine La Croix Executive Director and Shameless Whore COYOTE/Seattle "Call Off Your Old Tired Ethics" The Sex Workers Rights Organization 16625 Redmond Way Box M237 Redmond, WA 98052 USA Voice-Fax-FaxBack: +1.206.881.2292 E-mail: coyote@wolfenet.com COYOTE/Seattle is affiliated with other COYOTE chapters in the U.S., the National Task Force on Prostitution NTFP) in New York, the International Committee for Prostitutes Rights in Holland (ICPR), Hooking Is Real Employment (HIRE) in Atlanta, Prostitutes of New York (PONY) and other national and international sex workers rights organizations ========================================================================= Date: Tue, 3 Oct 1995 11:57:07 -0700 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Re: ROBERT JR. LOCKWOOD LW writes: >I would like to say something here: If you are participating on this particular >chat. TREAT Lockwood like the performer he is, acknowledge that HE IS ROBERT >JR. LOCKWOOD....Leave out the Robert Johnson questions. Lockwood is a GREAT >bluesman in his own right and he deserves to be ROBERT JR. LOCKWOOD. So don't >ask him a bunch of questions about Robert Johson, it happens all the time. Right on. Robert Jr is blues history. I am really sorry I am going to miss this one. He has created a lot of classic blues and has been part of a zillion great recordings. He deserves respect for his abilities and not for who his mother hung out with. Joe ========================================================================= Date: Tue, 3 Oct 1995 19:17:43 GMT Reply-To: catherin@WOLFENET.COM From: catherin@WOLFENET.COM Organization: COYOTE/Seattle: The Sex Workers Rights Organization Subject: Re: Jimmy Page was BLUES! Comments: To: bit-listserv-blues-l@uunet.uu.net > "Jeff Fronczak." writes: > WHAT? Jimmy "the sloppiest guitar player in the world" Page, BLUES? Get > real pal! How can you say Page playes blues better than Albert King? No, but "Since I've Been Lovin' You" from "The Song Remains The Same" video was pretty hot if not original... > you can take your Jimmie Vaughan trashing and stick it where your mamma > forgot to kiss you! And last but not least, Page ripped off every old blues > player out there, from taking credit from writting their songs, to their > guitar rifs. Page wouldn't be shit if Clapton and Beck never left the Yard > Birds! Get a clue pal. No, he would have been another record producer...and you're right about his plagiarism when it came to the blues. Technically proficient but no soul. > A very disappointed BLUES-L subscriber, > Jeff > >>>> A tout a l'heure, Catherine La Croix Seattle, Washington ========================================================================= Date: Tue, 3 Oct 1995 19:23:27 GMT Reply-To: catherin@WOLFENET.COM From: catherin@WOLFENET.COM Organization: COYOTE/Seattle: The Sex Workers Rights Organization Subject: Re: Catherine La Croix ? Comments: To: bit-listserv-blues-l@uunet.uu.net > Rick Miller writes: > A "professional" what? Can you....play guitar? Clean a fish? Bait a hook? > Tune my car? Do a liver transplant? Hit to the opposite field? Speak > knowledgably on molecular biology? Make a decent lobster bisque? Balance > the national budget? > > You sound absolutely stunning, and just my speed. :) > > But what the hell's this got to do with blues? Perhaps if you'd read the posts as well as the .sig you'd know... >>>> A tout a l'heure, Catherine La Croix Seattle, Washington ========================================================================= Date: Tue, 3 Oct 1995 15:23:45 EDT Reply-To: ron kraemer From: ron kraemer Subject: A Blues-L Thanks! To those good folks (my pal George Morales, and others) who post the upcoming TV Highlights, such as B.B.'s Blues Summit.....a big THANKS! I rarely watch the tube except for news, and always seem to miss the once-in-a-Blue-moon gem like B.B. or a Blues-related Austin City Limits. However, when I see it in Blues-L, I make a note to set the VCR. I just watched my B.B. tape over the weekend, and really enjoyed it. Keep 'em coming. Ron ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters ************************************************************ ========================================================================= Date: Tue, 3 Oct 1995 14:29:26 -0500 Reply-To: "dtapp@cc.memphis.edu"@MSUVX2.MEMPHIS.EDU From: "dtapp@cc.memphis.edu"@MSUVX2.MEMPHIS.EDU Subject: Re: Star Spangled Blues Comments: To: bit-listserv-blues-l@uunet.uu.net Relay-Version: ANU News - V6.1B10 04/18/95 OpenVMS VAX; site msuvx2.memphis.edu Path: nntp.memphis.edu!nntp Newsgroups: bit.listserv.blues-l Subject: Re: Star Spangled Blues Message-ID: <1995Oct3.142917.60890@msuvx2.memphis.edu> From: Denise Tapp Date: 3 Oct 95 14:29:16 -0500 References: <199510030607.XAA07614@ix.ix.netcom.com> Nntp-Posting-Host: wok-45.memphis.edu X-Mailer: Mozilla 1.1 (Windows; U; 16bit) MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Lines: 8 And which of us Blues-L ladies is going to confirm the following? >Garry "gave proof through the night" S. ;-) Sorry. I couldn't resist. ;-) Denise "Rockets' red glare" Tapp ========================================================================= Date: Tue, 3 Oct 1995 15:07:48 EST Reply-To: shannon oconnor From: shannon oconnor Subject: LW's PBS/ U2 question--In Defense of U2 I'm an ardent U2 fan. When "Rattle & Hum" came out, I played no other music on my stereo for a full year (I do not exaggerate) other than U2. U2 *is* important to RnR, or *was*, at the time of "The Joshua Tree" LP and then "Rattle & Hum." As for why B.B. King did that duet with U2.....it wasn't "to reach a wider audience," or because U2 had a lot of influence. It was for the same reason any one of us would've done a song with B.B. King. Bono (of U2) wrote the song hoping B.B. would record it, or even record it with the band. How many of us write songs, secretly hoping B.B. or Buddy or Clapton or *whoever* would take it and record it, or even better, do a duet with us????? Bono happened to be in a position, because of U2's fame, where his request made it to B.B., B.B. liked the song, and the rest is history. Bono was a fan, pure and simple. If you've ever seen the rockumentary "Rattle & Hum," you've seen a graphic depiciton of the respect and awe "my" Irish boys have for B.B. And you also saw B.B.'s graciousness, and the *fun* he had working with them. No ulterior motives, no jockeying for fame, no one-upmanship, no "oh-my-god-we're-crossing-cultural-barbed-wire -what-do-the-Irish-know-about-the-BLUES-anyway????" Just musicians, playing music with each other. That's all. Long live U2 AND the Blues! Shannon : Since I don't know a U2 song from an REM song. Why is that suprising did U2 : do something that had an effect on RnR. I do recall one tune by REM "Losing : My Religion" I thought it was pretty stupid and monotone....I'm not knocking : anyone, but I had no idea that U2 was that important, to RnR...? : LW 'not meaning anything derogatory toward U2' You've got me on that one, too. I never understood why B.B. did that duet with U2 (When Love Came To Town), unless it was to reach a wider audience. Like B.B. needs it. U2 is a decent rock band, but hardly influential enough to rate this kind of credit. You'll probably be even more amazed (as I was) to hear the people at the new Rock and Roll Hall of Fame recently proclaimed REM the best band of all time. Huh? ============================================================================ Jef Jaisun eljefe@netcom.com "Goosing my precision..." ============================================================================ -- eljefe@netcom.com ========================================================================= Date: Tue, 3 Oct 1995 20:01:29 GMT Reply-To: Anthony Graybosch From: Anthony Graybosch Organization: California State University Chico Subject: deep Blues Comments: To: bit-listserv-blues-l@uunet.uu.net This film is available from Tara Releasing, (415) 454-5838. The address I have for them is 124 Belvedere Suite #5, San Rafael, Ca., 94901. The videotape costs about forty dollars. I am not affiliated with them and am posting the information in response to an earlier inquiry on the line. ========================================================================= Date: Tue, 3 Oct 1995 16:38:38 -0400 Reply-To: Leo Aspiras From: Leo Aspiras Subject: Re: Star Spangled Blues My vote would be for the French (is that pseudo) Professional on the West Coast......... Leo 'Meat-me-in-Helena' Scatman/Aspiras from D.C. ---------------------- Replied Message Body ---------------------- >Received: from falcon.dol-esa.gov (falcon [199.200.255.1]) by fenix2 (8.6.12/8.6.12) with ESMTP id QAA03079 for ; Tue, 3 Oct 1995 16:24:57 -0400 >Received: from listserv.brown.edu (mbone.brown.edu [128.148.128.155]) by falcon.dol-esa.gov (8.6.12/8.6.12) with ESMTP id QAA00449 for ; Tue, 3 Oct 1995 16:24:54 -0400 >Received: from stanley.cis.Brown.EDU (stanley.cis.brown.edu [128.148.176.55]) by listserv.brown.edu (8.6.10/8.6.10) with SMTP id PAA15558; Tue, 3 Oct 1995 15:37:49 -0400 >Received: from BROWNVM.BROWN.EDU by BROWNVM.BROWN.EDU (LISTSERV release 1.8b) > with NJE id 5966 for BLUES-L@BROWNVM.BROWN.EDU; Tue, 3 Oct 1995 > 15:31:25 -0400 >Received: from BROWNVM (NJE origin SMTP@BROWNVM) by BROWNVM.BROWN.EDU (LMail > V1.2a/1.8a) with BSMTP id 8466; Tue, 3 Oct 1995 15:31:09 -0400 >Received: from relay3.UU.NET by BROWNVM.brown.edu (IBM VM SMTP V2R2) with TCP; > Tue, 03 Oct 95 15:31:08 EDT >Received: from msuvx2.memphis.edu by relay3.UU.NET with ESMTP id QQzjww12820; > Tue, 3 Oct 1995 15:33:35 -0400 >Received: from MSUVX2.MEMPHIS.EDU by MSUVX2.MEMPHIS.EDU (PMDF V5.0-3 #7188) id > <01HW099AMWSWQSAF97@MSUVX2.MEMPHIS.EDU> for > bit-listserv-blues-l@uunet.uu.net; Tue, 03 Oct 1995 14:29:26 -0500 > (CDT) >X-Vms-To: in%"bit-listserv-blues-l@uunet.uu.net" >Mime-Version: 1.0 >Content-Type: TEXT/PLAIN; CHARSET=US-ASCII >Content-Transfer-Encoding: 7BIT >Message-Id: <01HW099APL8YQSAF97@msuvx2.memphis.edu> >Date: Tue, 3 Oct 1995 14:29:26 >Reply-To: "dtapp@cc.memphis.edu"@MSUVX2.MEMPHIS.EDU >Sender: Blues Music List >From: "dtapp@cc.memphis.edu"@MSUVX2.MEMPHIS.EDU >Subject: Re: Star Spangled Blues >Comments: To: bit-listserv-blues-l@uunet.uu.net >To: Multiple recipients of list BLUES-L ------------------------------------------------------------------ Relay-Version: ANU News - V6.1B10 04/18/95 OpenVMS VAX; site msuvx2.memphis.edu Path: nntp.memphis.edu!nntp Newsgroups: bit.listserv.blues-l Subject: Re: Star Spangled Blues Message-ID: <1995Oct3.142917.60890@msuvx2.memphis.edu> From: Denise Tapp Date: 3 Oct 95 14:29:16 -0500 References: <199510030607.XAA07614@ix.ix.netcom.com> Nntp-Posting-Host: wok-45.memphis.edu X-Mailer: Mozilla 1.1 (Windows; U; 16bit) MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Lines: 8 And which of us Blues-L ladies is going to confirm the following? >Garry "gave proof through the night" S. ;-) Sorry. I couldn't resist. ;-) Denise "Rockets' red glare" Tapp ========================================================================= Date: Tue, 3 Oct 1995 20:13:46 GMT Reply-To: David Goldstein Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: David Goldstein Organization: IPOF Subject: Re: upcoming Capitol Blues Reissues Comments: To: hndful@UNISERVE.COM I just got Son House's release on Capitol, and it is wonderful music. The liner notes/biography was fascinating also. Black Magic also puts their Cd's in the same type of foldout box. It's a pain to put in the CD rack, but the music makes up for it. ========================================================================= Date: Tue, 3 Oct 1995 09:48:39 -0400 Reply-To: arhw@CNSVAX.ALBANY.EDU From: arhw@CNSVAX.ALBANY.EDU Would someone out there like to provide some information about this group to a new Internet user? ========================================================================= Date: Tue, 3 Oct 1995 16:49:34 -0700 Reply-To: Steve Roberts From: Steve Roberts Subject: Blues-less Blues Fest in Sarasota An Un-Review of the Fifth Annual Sarasota Blues Fest Warning: Low Blues Content (The fest, that is. Not this post.) Sunday afternoon I attended what was, without a doubt, the most un-bluesy Blues Fest of all time. Final score: Bands 6; Blues almost 0. The opening acts included yet another 15-year old blues "prodigy" (not Derek T.) who, as far as I could tell, wouldn't recognize the blues if it ran out from behind a bush and bit him on the ass. Chris Anderson played an excellent set, noteworthy for 1) its genuine blues content and 2) its sad brevity. Then Chris Duarte took the stage. What he played was neither blues nor substantively blues-based. I can't say that it was not entertaining, though: much of the crowd seemed to enjoy his work. Amazing what a coupla quarts of draft beer on a 100 degree afternoon will do for you. I, personally, was disappointed. Amazing what a coupla quarts of draft beer on a 100 degree afternoon will no longer do for me... I hoped the headliner, Buddy Guy, would save the (Blues) day. Buddy played exactly the set that so many of y'all have described. He started out like my best blues dreams come true, tearing up a few of his classics. Broke a string during Five Long Years, and ad-libbed a verse as the roadies took care of biz: Looks like I've broken my little ol' E string But that don't worry me none Gonna get me another guitar And play the blues all nite long. (crowd goes crazy on cue) Unfortunately, these moments turned out to be fleeting, and far too few. Out came the SRV impression, the Hendrix bit, etc. There's no question that Buddy's an incredible musician. But the show was not what I was hoping for from one my all-time favorite living blues legends. (`Course, Buddy don't owe me nothing...) We've beat the topic of "Blues-Influenced" rock to death. But how about "Rock-Influenced" blues? Are many of you attending so-called "Blues Fests" that turn out to have little or nothing to do with the blues? Is this a symptom of blues' newfound mainstream popularity? Is the blues becoming a marketing ploy? Can merchandising be far behind? Will my kids turn on "Teenage Mutant 12-Bar Turtles" next Saturday? If so, will they be better than Duarte? Sorry. Musta been too much sun. Or, maybe not enough Blues... S ========================================================================= Date: Tue, 3 Oct 1995 20:57:35 GMT Reply-To: "Roy W. Forgy" From: "Roy W. Forgy" Subject: Re: Question On Tue, 3 Oct 1995 09:48:39 -0400, you wrote: >:-)Would someone out there like to provide some information about this group >:-)to a new Internet user? >:-) I emailed him the FAQ Roy W. Forgy (blueslvr@gnn.com) Pacifica, CA ========================================================================= Date: Tue, 3 Oct 1995 17:09:11 -0400 Reply-To: jwong@BROBECK.COM From: Jim Wong Subject: Help me program Muddy/Wolf tape Hello: I'd like to make a 90 minute tape from the Muddy and Wolf Chess boxes...but...how do you pare them down to 45 minutes each. Well, I can't, so that's why I'm asking for your help and suggestions. Help me program 45 minutes of essential Muddy and Wolf. The reason I'm doing this is because my car pool won't tolerate more than 45 minutes of this music. Go figure! Thanks. Jim Wong ========================================================================= Date: Tue, 3 Oct 1995 17:10:42 -0400 Reply-To: Ted2204 From: Ted2204 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: deep Blues Comments: To: bit-listserv-blues-l@uunet.uu.net Thank you, Anthony. I am calling Tara right now. Ted Ted Lissauer Louisville, Kentucky Ted2204@AOL.com ========================================================================= Date: Tue, 3 Oct 1995 16:31:23 CDT Reply-To: Steve Roberts Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: Steve Roberts From: L W Subject: Blues-less Blues Fest in Sarasota ----------------------------Original message---------------------------- > We've beat the topic of "Blues-Influenced" rock to death. But how > about "Rock-Influenced" blues? Are many of you attending so-called > "Blues Fests" that turn out to have little or nothing to do with the > blues? Is this a symptom of blues' newfound mainstream popularity? > Is the blues becoming a marketing ploy? Can merchandising be far VERY well put, I like that "Rock-influenced" blues is what Buddy has become. LW 'Wet-Dirt influenced" ========================================================================= Date: Tue, 3 Oct 1995 17:07:25 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: magic sam/ron thompson I just picked up one of the infamous Quicksilver/Intermedia "Magic Sam" albums while buying a small Lp collection. A quick look at Blues Records confirmed my suspicians that it was not really Magic Sam, but is Ron Thompson. Anyone know who Ron Thompson is? Anyone know the story of how and why this tape came to be marketed as a Magic Sam album?? (actually 2) It isn't Sam, but it really ain't too bad. Don O. ========================================================================= Date: Sat, 2 Sep 1995 17:19:23 PDT Reply-To: rjbauman@IQUEST.NET From: rjbauman@IQUEST.NET Subject: Re: Help me program Muddy/Wolf tape Comments: To: jwong@BROBECK.COM Just tape it all. They'll probably never know the difference. You may even hear complaints that "it all sounds the same." RJ Bauman ( I don't mind taking it easy on people who don't get it. It's not their fault.) > Hello: > > I'd like to make a 90 minute tape from the Muddy and Wolf Chess > boxes...but...how do you pare them down to 45 minutes each. Well, I > can't, so that's why I'm asking for your help and suggestions. Help > me program 45 minutes of essential Muddy and Wolf. > > The reason I'm doing this is because my car pool won't tolerate more > than 45 minutes of this music. Go figure! > > Thanks. > Jim Wong > ========================================================================= Date: Tue, 3 Oct 1995 17:23:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Jimmy Rogers on Shelter This session was reissued on CD a few years ago. It's just OK - nothing to write home about, IMO. It doesn't begin to come near to his Chess sides. -Bonnie ========================================================================= Date: Tue, 3 Oct 1995 17:56:47 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Whose blues? >What the hell is an african american, your either an American or you're >not I thought segregation was out of style. It makes it sound like they >are not 100% American, which IMHO is as derogatory as the N-word. No more than Irish American, or Italian American, or any other term denoting origin. Many of those directly involved prefer "African American" rather than 'black" or "Negro" because it is an objective term (the place someone's ancestors came from) not a subjective term (race is a social construct, with no basis in genetics). Perhaps it would be nice if there were no need for labels at all, but then how could we discuss who created the blues? People of African origin created the blues -- that's a fact. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Tue, 3 Oct 1995 22:28:35 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Re: Question re Jimmy Rogers on Shelter Comments: To: bit-listserv-blues-l@uunet.uu.net Most of this - if not all - came out a few years ago on SEQUEL CD, which had a few unissued tracks. The discography was pretty bad, so I hope Capitol will clear up the confusion. If I remember right, Louis Myers played on some of this, including (uncredited) harmonica playing. As for the FRED MCDOWELL set, this is of course the Capitol album, plus the remainder that was issued on a small label, a name that just escapes me. It's in my files somewhere. An interesting thing about this set is the producer. It must rank as one of the early "pre"-MALACO productions by Tom Couch. MCDOWELL is in good voice but - for me - the drums does take getting used to. eRIC ========================================================================= Date: Tue, 3 Oct 1995 17:35:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Odie Payne sings!! What a delightful surprise on the new EDDIE TAYLOR reissue on Blind Pig: classic blues drummer ODIE PAYNE, JR. gets to sing on one cut. His voice is very mellow and pleasant on WILLIE MABON's "I Don't Know". In fact, Odie injects so much personality into this piece or a real narrative quality if-you-will, that by the time he hits the last verse "What did I do to make you mad, THIS-S-S time BAB-EEE?" I was practically hanging on with baited breath, waiting for the response (even though I've heard the tune a few jillion times already). I only got to see Odie once - I think - when WILLIE DIXON came to town and I don't think he sang that night, nor do I know if he sang on a regular basis. It is a fine album though as mentioned previously here on Blues-L. LOUIS and DAVE MYERS are with Eddie, recorded on a 1977 tour of Japan. LOUIS plays some fine harp as well as guitar. -Bonnie the K. ========================================================================= Date: Tue, 3 Oct 1995 15:40:00 -0700 Reply-To: NED_KRAFT@HP0000.DESK.HP.COM From: Ned Kraft Subject: Ron Thompson Ron Thompson is (was?) a SF bay area player of upbeat blues tunes. I liked his live shows, but haven't seen them around lately. His band was called Ron Thompson and the Resistors. I'm sure someone else can come up with a more complete description. I really liked their version of "Hip Shake" - don't know if it's an original. Don't need to move your hands, Don't need to move your lips come on baby, just shake your hips. Keep cool, Dirty Ned Hoosier Daddy ========================================================================= Date: Tue, 3 Oct 1995 17:48:13 -0500 Reply-To: JJTHADEN@LIFE.UAMS.EDU From: John Thaden Subject: King Biscuit Festival Blues-L/Harp-L jam ?! Hi, I'm a Harp-L'er whose joined your fine list today because a fellow Harp-L'er mentioned the Blues-L folks who are planning to attend the King Biscuit Blues Festival this weekend in Helena have discussed meeting to play some music. If this is true, I'd be grateful to hear from those planning to attend (or a recap of the on-line discussions about this). --John Thaden jjthaden@life.uams.edu Little Rock, Arkansas ========================================================================= Date: Tue, 3 Oct 1995 18:51:48 -0400 Reply-To: FlGator@AOL.COM From: Mike Evans Subject: Our Blues The history of the blues is rich and interesting. Why not celebrate it instead of trying to whitewash it! Brenda Bogert KYANA Blues Society Louisville KY Brenda, I for one am not trying to whitewash the blues. I have been listening to them for 40 years more or less, and still remember fondly John R and the Hossman on WLAC in my youth. I just don't appreciate it when told I can't understand something just because I'm a white man. I suspect most African-Americans would get even more irate if I were to tell them they can't understand some facet of white culture just because they are black. The music that evolved into the blues was truly an inovative and unique form of music, but the thought, "my baby left me and I feel like hell", is universal and surely everyone can understand it. ========================================================================= Date: Tue, 3 Oct 1995 19:08:39 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Re: Blues-less Blues Fest in Sarasota Comments: To: bit-listserv-blues-l@uunet.uu.net Steve Roberts (steve.roberts@OCTEL.COM) wrote: : Is this a symptom of blues' newfound mainstream popularity? IMHO just the opposite - blues is not becoming rockified cause of it's popularity - it's becoming popular because it's becom- ing rockified. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Tue, 3 Oct 1995 18:39:32 -0500 Reply-To: Larry Kirchmer From: Larry Kirchmer Subject: Re: Worst by your favorites There's no doubt in MY mind ................. The Legendary Paul Butterfield Rides Again ========================================================================= Date: Wed, 4 Oct 1995 00:11:36 GMT Reply-To: Zaphkiel From: Zaphkiel Organization: Netcom Subject: RL Adams Blues Cruise Tale Comments: To: bit-listserv-blues-l@uunet.uu.net Heya fellow fans, Well... here is my story. Please take into account that I'm not a reviewer! ;-) I just love the Blues. I did get super photos all of which were developed on computer disk! I hope you like the tale. Keep the Blues Alive RL Adams Blues Cruise Around the time of the Tampa Bay Blues Fest, Jerry Ross of Florida Blues Network passed me a flyer about a blues cruise. Looking it over, I got excited about 4 days and 3 nights of blues music. I had been looking for a short trip that fell during my boyfriends vacation, and this was it! The cruise started a few days after the Sarasota Labor Day Fest, so the timing was perfect. When I talked to Carl, my boyfriend, about the cruise, he was somewhat surprised that I wanted to go because of my severe motion sickness. I figured I could get a patch from the doc, and I really wanted to go. So we booked the cruise. $687.00 total for the two of us! That included everything, excluding drinks and excursions. Neither Carl or I drink much alcohol, and we were warned sodas were at bar price, so we took a case of Coca-cola for Carl. He's a Coke (Classic) addict. Thursday morning we drove from Sarasota across the state to Port Canaveral. After unloading luggage and putting the car in the lot, we went inside to stand in the long check-in lines. After about 45 minutes to an hour, we walked the plank onto the Big Red Boat. We were greeted by the Blues Cruise people, and given various free items (magazines, coolie cups, itinerary, cassette tape). The boat was set to sail at 6 pm. The date was Sept. 7th, '95 and hurricane Luis was raging south of us in the Atlantic. For several days before the start of the cruise, I'd been calling the cruise company to see if they had canceled the cruise. No way! We were sailing. I was a bit nervous about the rough seas. I had put my anti-motion sickness patch on that morning before leaving Sarasota. Usually you wear the patch behind your ear. The company that makes the patch wasn't producing them at that time because they couldn't get the raw materials. I had a local pharmacist make one for me. The size of the custom made patch was much larger, and he instructed me to put it on my torso. I placed mine on my back over my lower ribs to hide it under my bathing suit. The boat did indeed sail promptly at 6 pm and by 6:45 I was feeling poorly. I couldn't seem to lift my head off the pillows on our bed. I began to have visions of spending the whole rest of the trip this way. Dinner was served at 8:15 pm and, needless to say, Carl ate by himself that evening. (actually, I ate with a very nice dentist from Orlando, his wife and mother. Four of us at a table set for eight. I even had lasagna. I don't get motion sickness. -Carl) He was feeling bad for me, but a guy has to eat! As he was eating, I was getting rid of all the food in my body. After getting sick, I chewed a Bonine tablet and went to sleep. I woke up at midnight and was feeling much better, and hungry! Carl convinced me to go to the midnight buffet, which was a Mexican feast. As I sat at the table trying to get some food into me, three women joined us at the table. They were also from Sarasota, and worked at Sarasota Memorial. One of them was a nurse, and she informed me that I had to move the patch up towards my neck for it to work properly. My first glimmer of hope! Maybe I wouldn't be sick the entire cruise. I had missed all the live music the first night, and was really bummed about that. We wasted some money in the casino and went to bed about 2 am. The morning found us in Nassau, boat already moored and cleared customs. We had slept through breakfast, so after lunch, we headed out to explore the island. We roamed around the shops, fending off the persistent local vendors. After asking about the casino, we found a bus that took us to the other side of the island to the Crystal Palace. The bus ride was great, we saw much better scenery than the market and the main drag. We got a look at how the native folks live. The Crystal Palace was nice, and after blowing 20 or 30 dollars we got back on the bus. It was about 3 pm, and we got tied up in traffic as all the local schools let out. It's truely a sight, all the children in their school uniforms. A different uniform every few blocks. I enjoyed the ride. We got back on the boat around 4 30 pm. The afternoon music session was already under way. This was why I came, and I was a happy puppy! I could listen to blues music 24 hours a day. This was listed as the "Jam session", and anyone could get up and play with the band. Ace Moreland and the Midnight Creepers were on stage when we got there. Finding a comfortable couch, we settled down. Ace and the Creepers called up the other musicians to play with them. They were kind of the house band. Kenny Neal was there with the added bonus of his dad Raful(who was just there on vacation, but graciously joined in for a few songs) and they were hot! I have to admit that I fell in love with Kenny Neal. Talent, good looks, and one of the nicest people I've ever met. What can't this guy do? He plays guitar, bass, lap steel guitar, harmonica and has a great voice. (and was the last one off stage every night -Carl) After a few songs, Sonny Rhodes joined in. Sonny and Kenny jammed a while, then Floyd Miles hit the stage. Good Lord, the screaming howl he does made me shiver. At this point, the fans were a happy bunch. About 6:30 pm the music subsided and it was time to eat. One thing you can say about cruising, there is a ton of food to eat! You get used to eating 4 or 5 times a day. After the Captain's Dinner, the music started back up around 9. Once again, the musicians were cooking. Everyone was there, including the one person on the bill I hadn't seen yet, Noble "Thin Man" Watts. Noble is getting up in years, but when this skinny ole guy hits the stage, be prepared! He still has the power, and the wind (and the sea-legs! -Carl) to play one of the hottest sax's I've heard in years. I have to admit that I had never seen or heard of any of the musicians on the boat before the cruise. I was exposed to a whole new group of talented people. Thank god I had a camera. I got wonderful shots of all the musicians. (Too many photos of Kenny Neal, or at least Carl thought so! ;-) ) At midnight, we all trooped off to the Bar-B-Que midnight buffet. It's hard to believe that when you eat dinner at 8pm you could be hungry again by midnight, but you are! We slid into the casino and wasted a little more money, and got to bed by 1am. About 5 30 am the boat got to rocking so bad I was almost tossed out of bed, but no motion sickness! The patch seemed to be working. Saturday morning found us anchored off Port Lucaya, the Big Red Boat's exclusive island. I have to say I wasn't too impressed with this port of call. It's small, not much to do, and even the casino was dull. We were going to swim, but a rain storm chased us back to the boat. (note- the main attractions at Port Lucaya were scuba diving, a 'dolphin adventure' where you get to swim with dolphins, and para-sailing. At $50 to 100 each, none of these activities seemed very attractive to us, but the people who were into things like that seemed to enjoy them. -Carl) The afternoon session was 3 hours of bliss. All the musicians were in good moods, and the music really reflected this. All of the performances were audio and video taped. I hope I can get a hold of one of these tapes. After the afternoon session, we went down to our cabin, which was plenty large and comfy, to shower and change for dinner. We also had to pack our bags, as the baggage has to be collected by midnight. At around 6:30 pm, shipboard announcements informed us of rough seas ahead. It seemed like hurricane Luis was going to mess with us a little, after all. The front desk was offering free Dramamine. The announcement also stated that Dramamine doesn't work if you have been drinking. I had to laugh at that one. Carl and I had to be the only adults on board that hadn't been drinking. I went down and got some medication, and just for added measure, I also went and bought some accupressure wrist bands that are supposed to stop sea-sickness, too. OK, I was ready! No more motion sickness for me. Several people had a laugh at my expense, but I did not get sick! It was the last night. I didn't want to miss a moment of the final performance. Carl, not as much of a blues fan as I am, found ways to entertain himself. (blackjack, where I finally won something. Enough to cover our tips, anyway. -Carl) He kept checking in with me, to make sure I was happy. I was delighted. All the musicians looked great, and sounded even better. Sonny Rhodes was gorgeous in his bright orange turban. Noble Watts played his mean sax, and all followed along. Around 11 pm or so the ship did hit rough seas. The lounge where the music was being played was top level, near the back of the ship. The very worst place for pitch and roll. I got bruises on my knees from trying to take pictures while kneeling on the floor. Now that I have the pictures back, however, I must say that it was worth it. It was a glorious time, thanks to all the musicians. The Midnight Creepers, Ace Moreland, Sonny Rhodes, Floyd Miles, Kenny Neal, Raful Neal, and of course Noble "Thin Man" Watts! A special thanks to King Snake records for putting all these acts together on one ship. I got a King Snake t-shirt, which I got all the musicians to sign. I want to say that all aspects of the Big Red Boat were great. The staff was ever helpful, the food plentiful and tasty, and the ship itself was beautiful and always very clean. We didn't see much of the regular shipboard entertainment, but heard it was good. Sunday morning came and we were back at Port Canaveral. After a lovely breakfast, we cleared customs and the cruise was over. I'm not sure if I'll ever go on a cruise again. Certainly not during hurricane season. But who knows? If the blues is cooking, and the company is good, I"ll always be tempted. RL Adams WPC WPC ========================================================================= Date: Tue, 3 Oct 1995 19:05:25 CST Reply-To: JBards From: JBards Subject: Re: Apologies and explanations! Comments: To: catherin@WOLFENET.COM Catherine, maybe it's just me, but I don't see much flame potential here. After all, where would the blues be without whore, whoring, and johns? A lot of great material lost....Storyville, Stagger Lee, the list could go on a long time. Matter of fact, this suggests a new thread: blues songs associated with the Honorable Profession. Welcome aboard. Jim _______________________________________________________________________________ Subject: Apologies and explanations! From: catherin@WOLFENET.COM at INTERNET-SH Date: 10/3/95 5:09 PM Ok, just to satisfy everyone's curiousity and flaming potential, please note the following: 1. The long .sig line on my previous messages was an accident and I desperately apologize. That's all the genuflection and remorse you can expect. 2. My "profession" is,as the media say, "high class call girl" or, as I prefer, consort or I'll answer equally and proudly to "whore," knowing its origins. Who says a whore can't play the blues with the best of them? I'm just a woman with many talents. Oh, and the degrees are in English, advertising and marketing communications. I was a Fortune 100 manager before dumping the corporate gig for an honest and honorable profession...and one that pays and plays well. 3. I've loved the blues since about age 13 and EC and BB were early influences. And, yes, I'm a Strat Girl... The .sig below says all and you won't see it again. A tout a l'heure, Catherine La Croix Executive Director and Shameless Whore COYOTE/Seattle "Call Off Your Old Tired Ethics" The Sex Workers Rights Organization 16625 Redmond Way Box M237 Redmond, WA 98052 USA Voice-Fax-FaxBack: +1.206.881.2292 E-mail: coyote@wolfenet.com COYOTE/Seattle is affiliated with other COYOTE chapters in the U.S., the National Task Force on Prostitution NTFP) in New York, the International Committee for Prostitutes Rights in Holland (ICPR), Hooking Is Real Employment (HIRE) in Atlanta, Prostitutes of New York (PONY) and other national and international sex workers rights organizations ========================================================================= Date: Tue, 3 Oct 1995 20:15:31 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: For what its worth In the for what it's worth department: Here are a few of the CD's that have been rec'd at WHUS in the past coupla' weeks. ARTIST ALBUM LABEL Bluesiana Hurricane Bluesiana Hurricane Shanachie Luther Tucker & The Ford Blues Band Blue Rock'it Louisiana Red Sittin Here Wonderin Earwig Gary Primich Mr. Freeze Flying Fish John Mooney Travelin On Blue Rock'it Various-Rounder Deep Blue Rounder Clarence Spady Nature of the Beast Blues Street Chris Tofield Chris Tofield CRT REcords Candye Kane Knockout Antones Robben Ford Handful of Blues Stretch/GRP Jay Owens Movin On Code Blue Out of Control Cool & Unusual Punishment Blue World Beef Stew - WHUS Radio http://www.ucc.uconn.edu/~whusfm ========================================================================= Date: Wed, 4 Oct 1995 00:33:46 GMT Reply-To: Zaphkiel From: Zaphkiel Organization: Netcom Subject: Re: Blues-less Blues Fest in Sarasota Comments: To: bit-listserv-blues-l@uunet.uu.net Steve Roberts wrote: > An Un-Review of the Fifth Annual Sarasota Blues Fest > Warning: Low Blues Content (The fest, that is. Not this post.) > Sunday afternoon I attended what was, without a doubt, the most > un-bluesy Blues Fest of all time. Final score: > Bands 6; Blues almost 0. > Sorry. Musta been too much sun. Or, maybe not enough Blues... > S Nice review of the Sarasota Blues Fest. I didn't attend, was swamped that day. I'd just like to make sure everyone is aware that this was a Barbara Strauss production, and was not a project by the Florida Blues Network, which is also based in Sarasota. Our Sarasota Blues Fest took place on Labor Day. While it wasn't as big as this one, it did have actual blues performances. We are also putting on the Tarpon Springs "Blues on the Bayou" Oct 7th. Press release should be availible somewhere on this group. So... Steve and everyone come listen to some real blues with us! Keep Blues Alive RL Adams ========================================================================= Date: Wed, 4 Oct 1995 00:32:05 GMT Reply-To: Paul L Pearson From: Paul L Pearson Organization: Iowa State University, Ames, Iowa Subject: Duarte in Iowa??? Comments: To: bit-listserv-blues-l@uunet.uu.net Chris Duarte was scheduled to play Friday night in Waterloo and Saturday night in Des Moines. Thje place he was supposed to play in Des Moines shut down and is being remodeled or somesuch/ Does anyone know if he's cancelled that gig and set up another one?? Need to know ASAP> Thanks. -- Paul L. "Pro" Pearson President, Kurt Rambis Fan Club (unofficial) Ames, IA Chapter ========================================================================= Date: Wed, 4 Oct 1995 00:13:46 GMT Reply-To: Zaphkiel From: Zaphkiel Organization: Netcom Subject: Blues On The Bayou >>>> Tarpon Springs Comments: To: bit-listserv-blues-l@uunet.uu.net One last reminder... Don't miss this event if you are anywhere near it! Gonna be a good time! Keep The Blues Alive RL Adams Blues on the Bayou 3 East Tarpon Avenue, Tarpon Springs, Florida 34689 This event officially sanctioned by the Florida Sesquicentennial Commission in support of Celebrate Florida (1845 - 1995) ____________________________________________________________________________________ July 10, 1995 PRESS RELEASE The Main Street Association of Tarpon Springs, Florida, is pleased to announce the first annual Blues On The Bayou festival scheduled for Saturday, October 7, 1995, at Craig Park, located downtown in historic Tarpon Springs, Florida. This festival will feature national and regional blues music and will be centered around a chili cook-off supported by the International Chili Society. Set in beautiful Craig Park, the event will attract thousands of patrons and blues fans to the Tarpon Springs community. An impressive array of talent has been developed for this music festival. Headlining is a Chicago blues legend, guitarist Lonnie Brooks and the Lonnie Brooks Band, featuring the father and son combination of Lonnie and Ronnie Brooks. Lonnie's recent CD's, Bayou Lightning Strikes and Satisfaction Guaranteed, indicate the type of performance blues fans have come to know from the Lonnie Brooks Band. The State of Florida welcomes back, from California, guitarist Chris Cain, an electrifying talent who won rave reviews in Tampa on his last appearance in March/1995. The fact that Chris Cain's mother is of Greek heritage adds a special quality to this music festival in an area rich in Greek traditions. The Chris Cain Band features rich, impressive vocals, intelligent guitar phrasing, and a very tight rhythm unit which features organ and horn section performing all original material. Award-winning guitarist Jimmy Thackery and The Drivers roll into Tarpon Springs to join this great musical line-up. Jimmy Thackery is at the forefront of today's thriving blues scene nationwide and tours full-time due to demand for his special talent. Jimmy's three-piece band "cooks", as the saying goes. The fact that Jimmy Thackery recently purchased a home in the Tarpon Springs area adds another special quality to this music festival. Florida favorite Bill Wharton, known as "The Sauce Boss", and his band, The Ingredients, will open the show. Guitarist Bill Wharton concocts his own exotic gumbo during his blues performance and invites the audience to sample the delicious mixture. This fact adds another special quality to this music festival. Tampa favorites James Peterson and 13-year old female guitar sensation, Clearwater's D.D. Dunn, appearing with BirdDog Bobby and the Honey Hounds, round out this great event. The music will begin at 11:00 a.m. and continue through 10:00 p.m. providing a day-long backdrop to the flavors of chili. Food and beverages will be served throughout the day. The event will be open to people of all ages, and parents are encouraged to bring their children to the festival. The Main Street Association of Tarpon Springs is a non-profit organization whose membership supports many programs in the community. A portion of the proceeds from this event are earmarked for the Tarpon Springs Public Library Building Fund. Blues On The Bayou intends to be a yearly event. Tickets are available at all Ticketmaster locations statewide and at selected outlets locally. Children under 12, accompanied by adults, are free. General Admission is only $10.00 advance, $15.00 at the gate. Make plans to spend a fun-filled day in one of Florida's natural settings.....historic Craig Park, downtown Tarpon Springs, Florida. For further information: Tarpon Springs Main Street Association Hotline & Recorded Message: 813-944-3364 Ammon Gant/Main Street Association/Event Chairman 813-938-2287 Jerry Ross/Florida Blues Network, Inc./Director of Operations & Promotion 941-377-8220 ========================================================================= Date: Tue, 3 Oct 1995 17:59:25 -0400 Reply-To: Patrick Lynch From: Patrick Lynch Subject: Mayall choices David Allen Hammel said: >I recently found two John Mayall Box sets ($34.99 Cdn)....one is >1964 to 69 and the other is 70-74 (I think). Are these worth the >buying price? Might it be smarter to buy the original albums >instead? And I quietly responded: There are no good Mayall albums. Buy Booka White. Cheers...Fatcat Patrick Lynch Find the Blues at "Caldonia's Online Blues", Windows/Excalibur , 206-402-4675 ========================================================================= Date: Tue, 3 Oct 1995 20:35:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Re: Question re Jimmy Rogers on Shelter Comments: To: leblanc@dao.nrc.ca On October 3rd, Uncle eRIC said: As for the FRED MCDOWELL set, this is of course the Capitol album, plus the remainder that was issued on a small label, a name that just escapes me. It's in my files somewhere. An interesting thing about this set is the producer. It must rank as one of the early "pre"-MALACO productions by Tom Couch. MCDOWELL is in good voice but - for me - the drums does take getting used to. eRIC I saw Fred about this time - at one gig, he did play electric guitar and had a drummer with him. He brought the house down...then the Wolf was next... -Bonnie ========================================================================= Date: Tue, 3 Oct 1995 17:49:07 -0400 Reply-To: Patrick Lynch From: Patrick Lynch Subject: Non-blues blues fests... To Respond to Steve Roberts: ">We've beat the topic of "Blues-Influenced" rock to death. But how > about "Rock-Influenced" blues? Are many of you attending so-called > "Blues Fests" that turn out to have little or nothing to do with the > blues? Is this a symptom of blues' newfound mainstream popularity? > Is the blues becoming a marketing ploy? Can merchandising be far > behind? Will my kids turn on "Teenage Mutant 12-Bar Turtles" next > Saturday? If so, will they be better than Duarte? > I'd like to post an open letter to the promoters of a blues festival in Portland, written by my old comrade Uncle Ray Varner: A LITTLE FESTIVAL REFLECTION It seems like the Northwest has gone music festival crazy, and I'm thinking this is a good thing. My current favorite is the Waterfront Blues Festival, on the Willamette Riverside in downtown Portland. A recent Portland Oregonian preference poll, with choices of the venerable Mt. Hood Jazz Festival and the Waterfront Blues Fest, found that responding readers preferred the Blues Fest by a margin of 57% to 43%. I was surprized and pleased. This rapidly growing four day bluesathon is getting to be a destination for music lovers. I spoke to people from New York, Boston, and Nebraska who had come to the festival on purpose, not as an adjunct to a Coastal vacation or a side trip from visiting Aunt Tillie in Seattle. However, the festival promotion staff may be getting a little ahead of themselves when they assert that it is the second biggest blues festival in the U.S. Would that be second to Chicagofest, New Orleans Jazz and Heritage Festival, The Delta Blues Festival, The King Bisquit Blues Festival, Sacramento Blues Festival, San Francisco Blues Festival, Long Beach Blues Festival, or...you get the idea. Twenty six years ago, this month, I went to a little festival on a golf course in Ann Arbor Michigan. There was some pretty good people there. In no particular order, some of them were: Son House, Big Joe Williams, Robert "Pete" Williams, Sleepy John Estes, Skip James, Roosevelt Sykes, Yank Rachel, Hammie Nixon, Lightnin' Hopkins, Professor Longhair, Clifton Chenier, Houndog Taylor, J. B. Hutto, Lee Jackson, Johnny Shines, Johnny Young, Robert "Jr." Lockwood, Magic Sam, Luther Allison, Jr. Parker, George Smith, Big Walter, Jr. Wells, Buddy Guy, Otis Rush, Howlin' Wolf, Muddy Waters... Notice any rock and roll or lounge blues? Me, neither. This year's Waterfront Fest included, among others: The Subdudes, The Swingin' Snakes, John Mayall, Savoy Brown... Granted, there were many authentic blues acts, but I'm a little concerned about the direction this show is headed. The promoters will tell you that they need the quasi-blues and rock names to put butts in seats. I don't think so. These "headliners" might get a few more locals out on Saturday night, but blues fans from Boston are not flying to Portland for a chance to see aging rockers like Kim Simmonds of Savoy Brown. In the spirit of an open letter to the responsible parties, let me suggest they think about these folks for next year: Wolfman Washington, Bobby Bland, Irma Thomas, Johnny B. Moore, Sonny Rhodes, Smokey Wilson, Jr. Kimbrough, R. L. Burnside, Jack Johnson, Lonnie Pitchford, John Jackson, Chick Willis, Johnny "Guitar" Watson, Robert "Jr." Lockwood, John Delafose, Big Joe Duskin, Nathan and the Cha-Chas, Isaac Scott, Jerry McCain, Eddie Clearwater, Jimmy Rogers... I got more, if you want 'em. Ray Varner ******************************* Ray put it well, there. Ya gotta wonder why we can't have our blues neat, like a good single-malt. Do we really hafta use ringers to fill the seats? Just wondering, Patrick Fatcat Lynch Find the Blues at "Caldonia's Online Blues", Windows/Excalibur , 206-402-4675 ========================================================================= Date: Tue, 3 Oct 1995 20:43:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Re: Whose blues? Comments: To: ianangus@DIS.ON.CA DJ Ian Angus wrote: >Perhaps it would be nice if there were no need for labels at all, but >then how could we discuss who created the blues? People of African >origin created the blues -- that's a fact. to which I would add - and fully informed with their culture as much as they did soul, funk, gospel, hip-hop, jazz, and rap - which is not to say that people of other cultural and ethnic backgrounds can't play it or enjoy it - but with out those cultural nuances and traits - I find the music rather bland. Some people can't hear them, but that may be because they haven't listened enough to the early original stuff. -Bonnie ========================================================================= Date: Tue, 3 Oct 1995 20:32:12 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: Whose blues? [Mine!] Comments: To: Brenda Bogert And you can sing the Blues till you are blue in the face, it won't make you African-American. But it can make you a Bluesman. *I* don't define Bluesman as an African-American who sings the Blues. I define a Bluesman as someone who makes a living playing Blues. To make a living doing it means people pay you for it, so you are at least good enough for your customers. You can talk about the historic or mythic Bluesman, who *was* African-American, and maybe drank too much sour mash, gambled, played rent parties and died poisoned by a jealous husband. But that does not hold anymore. The Blues is no longer African-American music - I wouldn't even call it American anymore. It simply *was* African-American music. Also, is that pre-civil war Blues in the 1800's. There has already been a request from this list to see a copy of the sheet music for that. Or are you talking the *roots* of the Blues in the 1880's/90's? Fife and Drum music is *not* Blues! (I would accept that field hollers were...) ......................................................................... You are getting history. culture and classification mixed up. Bluesman is not a genetic trait. It is transmitted through the Blues music community *and no other*! ......................................................................... Mike - who differs from the academic view. On Mon, 2 Oct 1995 17:50:43 -0400 (EDT) Brenda Bogert wrote: >On Mon, 2 Oct 1995, Michael Suffern wrote: > >> You do not need to be raised on Blues to become a Bluesman. You have to >> have the Blues touch you at some point and you have to be able to perform >> the Blues and express what that means to you - the deeper the better, IMHO >> - and that's all. > >I hope you can rethink your attitude, Michael. The Blues developed in >this country sometime in the 1800's. I won't give you a history lesson >(although I certainly could) but I will tell you that the Blues is >African American music, plain and simple. It is a component of African >American culture. > >BUT not all African Americans are automatically bluesmen/women. It *is* >something that you are *raised on*. Such culture is not acquired on a whim. > >Let me explain it to you as I did to Jef Jaisun last week: You can sing >opera until you are blue in the face, it will not make you an Italian! > > >Brenda Bogert >KYANA Blues Society >Louisville KY > ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Tue, 3 Oct 1995 21:55:20 -0400 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Muddy's Cabin is Open Comments: cc: catbauer@aol.com We've done a little housekeeping and have put Muddy's Cabin back online for regular use. We think we've also nabbed a few cyberpunks and hope they won't be back. Muddy's Cabin is a form-based WebChat room at The Blue Highway. You don't need any special software to use it -- just a forms-capable web browser and a little free time. You can get there from http://www.vivanet.com/~blues/cabin.html (If you've bookmarked and are using the old room, please enter the new door to get to the new room.) Cat is leaving for the King Biscuit Festival tomorrow, and we'll have Robert Jr. Lockwood, Luther Allison, Charlie Musselwhite, Otis Clay, Anson Funderburgh, Joe Louis Walker, and Dr. John -- among other surprise guests -- online Friday through Sunday. Check the Cabin for details. If you can't make it to the guest chats and would like to send an advance question, you can do so to catbauer@aol.com If you've already sent advance questions to Cat at vivanet.com, we've had some technical glitches this past week, so please re-send them to catbauer@aol.com See you there. Take care. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Wed, 4 Oct 1995 01:59:45 GMT Reply-To: Rennie Selkirk From: Rennie Selkirk Organization: NASA-Ames Research Center Subject: Re: Ron Thompson Comments: To: bit-listserv-blues-l@uunet.uu.net In article NED_KRAFT@HP0000.DESK.HP.COM writes: >.......... I really liked [Ron Thompson and the Resistors'] >version of "Hip Shake" - don't know if it's an original. >Don't need to move your hands, Don't need to move your lips >come on baby, just shake your hips. > Hip Shake is a Slim Harpo thing. On his recent reissue CD and a tape I have from Rhino. HJB ========================================================================= Date: Tue, 3 Oct 1995 22:35:30 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Non-blues blues fests... Comments: To: plynch@wolfe.net I have no problem with the overall tone of this post. However, just as a note of historic accuracy, Skip James did not appear at the 1969 Ann Arbor Blues festival because he was already hospitalized with the cancer from which he would die a few months later. Dick Waterman ========================================================================= Date: Tue, 3 Oct 1995 21:42:58 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: FREDDIE KING > From: Oded Maron > > I saw a 2-CD set of Freddie King (on Capitol, I think). Huh?? I needs to know more about this one, too! Don O. ========================================================================= Date: Tue, 3 Oct 1995 22:14:15 -0500 Reply-To: JJTHADEN@LIFE.UAMS.EDU From: John Thaden Subject: Re: King Biscuit Festival Blues-L/Harp-L jam ?! Hi all, An update on the jam plans for musicians (and listeners!) on the Blues-L and Harp-L lists who will be in Helena this weekend for the King Biscuit Blues Festival: The availability of a stage with sound equipment is a strong possibility for Saturday at 5:00. But I still need to know how many people are interested. Please contact me SOON so we can firm up plans. --John Thaden jjthaden@life.uams.edu Litle Rock, Arkansas ========================================================================= Date: Tue, 3 Oct 1995 23:20:26 -0400 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Re: King Biscuit Blues Festival Comments: To: bit-listserv-blues-l@uunet.uu.net In article <44oq1q$mfi@spectator.cris.com>, Barry Bean writes: >There'll be a bunch of Blues-l'ers at the International Blues Talent >Competition > Saturday in Helena and Sunday in Memphis. > > How 'bout we meet by that stage Saturday? Or maybe breakfast before? Cat ========================================================================= Date: Tue, 3 Oct 1995 23:20:25 -0400 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Luther Allison on the rise. Comments: To: bit-listserv-blues-l@uunet.uu.net For anyone who hasn't made one of his shows, hurry before he leaves for Paris again. And a reminder for anyone interested in talking to Luther or reading his bio, he'll be in Muddy's Cabin on Oct. 6th. The url is http://www.vivanet.com/~blues, check there for times of the conference, bio and tour dates. Cat ========================================================================= Date: Tue, 3 Oct 1995 21:12:29 +0100 Reply-To: "J." From: "J." Subject: Re: C.Hauge's post, questions. In a previous posting, Chris Hauge wrote the following: >i`m new to the list and have enjoyed reading it for the last three weeks. >i have always liked blues and have heard some great artists at the filmore >west in san francisco in the late sixties and early seventies. i have just >started collecting cds and would like some input on some 'must haves' formy >collection. of course i started out with some bb king cds and picked up >a jimmie vaughn but thought it was too up beat for me.would like some real >down blues guitar. any ideas??????? Well, I'm new to this list, too, and relatively new to the blues (about two years or so...). However, when I jump into something, I go head first, and my collection of blues disks is nearing the two hundred mark. I notice some familiar names on this list (Dick Waterman, Dick Shurman...I'm not worthy!), and I'm enjoying dialogue with like-minded people immensely. Thanks all! Now, my recommendations for `real down blues (although not necessarily guitar)': 1. Blues From The Gutter - Champion Jack Dupree. Buy a case of beer, call a friend, talk about the nastiest things that have happened to you in your life, and play this album for a couple of hours (with the lights off). You'll be down in the gutter with the Champion, but the next day you'll be ready to face the world (except, perhaps, for a nasty hangover!) 2. Robert Lucas - Usin' Man Blues. A white acoustic slide guitarist from L.A. (who kind of puts to rest the idea that the blues is _strictly_ a black form of musical expression...although I can't think of more than two or three white guys who _really_ can sing and play the blues...sorry!). This release is awesome. 3. Buddy Guy - Damn Right I've Got The Blues. Worth buying if only for his overwrought version of Five Long Years. Beats `Feels Like Rain' by a country mile (although that is the album that got me into the blues in the first place). 4. Ted Hawkins - The Next Hundred Years. Although this may not be strictly blues (what _is_ strictly blues? Even the artists disagree!), Ted Hawkins' vocals are amazing...BTW, are his other releases this good? These are all my humble opinion, and if anyone else has recommendations, I'd love to see 'em. I've got a few more things, but I think I'll post 'em seperately...could someone inform me (politely! :-) if I have more than one topic to cover, should I post separate articles, or should I put them all under one heading? Thanks a bunch, see ya! -Jim (hndful@uniserve.com) ========================================================================= Date: Tue, 3 Oct 1995 21:12:55 +0100 Reply-To: "J." From: "J." Subject: Mississippi Jukes Hi Bluezellers! A friend and fellow blues lover and I are planning a roadtrip for next summer to the Sunflower River Blues Festival in Mississippi (from Vancouver, Canada.) Here's my question: I want to go to a juke joint or two along the way to see great players like Junior Kimbrough and R.L. Burnside in their element. My friend Ed, however, figures that these wouldn't be the safest places in the world to visit. So...what say you? Any recommendations are much appreciated! -Jim (hndful@uniserve.com) ========================================================================= Date: Wed, 4 Oct 1995 00:28:59 -0400 Reply-To: Tremolux From: Tremolux Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Ron Thompson Comments: To: bit-listserv-blues-l@uunet.uu.net I recall seeing Ron several times at the old Larry Blake's club in Berzerkley. I heard he moved to Smell-A. He still occasionally comes to the Bay Area for a gig. ========================================================================= Date: Wed, 4 Oct 1995 00:21:34 -0400 Reply-To: Patti Bowman From: Patti Bowman Subject: Re: Great quote/toasters Comments: cc: Don Cicchetti >As a collector of art deco and moderne toasters (32+) I would rather sing >the blues.... I got toasters comin' outta my ears... ;-] Don............. you collect ........um.......TOASTERS? /9 0 - |? \9 -Patti who barely collects her thoughts ========================================================================= Date: Wed, 4 Oct 1995 00:21:42 -0400 Reply-To: Patti Bowman From: Patti Bowman Subject: Re: Whose Blues?: Another Viewpoint Comments: cc: shannon oconnor "Well put". "Hear, hear" and "I agree" BTW, my little doppelganger, the Nile flows into the Med. Sea which is _kinda_ like an ocean. ;-> .....hmmmm....an _imitation_ shall we say? -Patti whose immense geographical ignorance was thwarted only beacuse the Websters sits on my desk! -----Shannon's post.....if ya missed it before----read it now!------- > It's certainly true that "blues" as a musical styling emerged from the > African/slave culture, in the southern U.S., quite a few years ago. > We're not arguing that. But saying that "blues" as it exists > now--with new music being created, with traditional music being > reinterpreted--is still *strictly* an African/black art form is not > true, in my opinion. To me that's like saying the Nile River is still > the Nile River when it flows into the ocean. (Hoping desperately in > my georgraphical ignorance that the Nile *does* flow into an ocean > somewhere...) At its source and along its course its the Nile, but > different waters blend with it, and then it in turn blends into > greater waters itself. > > An anecdote from recent personal experience....our local blues society > applied for state grant money to fund a series of concerts. > Representatives of the society went to the grant hearing. One of the > people reviewing the grant was "an older black man," and he questioned > our representatives as to where "the art content" was in the proposed > concert series. Our representatives were shocked (this was reported > to me first-person, by one of the representatives herself) that this > "older black man" didn't comprehend the "art content" of BLUES. Why > some of us assume that ALL blacks embrace blues as part of their > culture? This "older black man" may have grown up in a household that > listened primarily to jazz, or opera, or country-western, or big band > music, or ..... > > I grew up in a household that listened to big band music (Glenn > Miller, Tommy Dorsey, etc.). I'm a big traditional Irish music fan. > I did not gain that interest from my upbringing, despite my name; I > went out and discovered it. I introduced my father to a lot of > traditional Irish music. He liked to play dixieland banjo and > harmonica, himself. > > The need to define "blues" as "balck/African" music seems to be a > "white" thing. > > Music is music. > > > Shannon ========================================================================= Date: Tue, 3 Oct 1995 23:26:18 -0500 Reply-To: Rob Varak From: Rob Varak Subject: Re: Blues-less Blues Fest in Sarasota Comments: To: Steve Roberts In-Reply-To: <071a3220@corp.octel.com> The Rock -Influenced blues idea is definitely on the mark, but there is another monster out there. The Funk-influenced blues. Now do not get me wrong. I LOVE FUNK!! I am a tremendous afficianado of JB, P-Funk, Prince and may others. It just seems that far too many blues bands try and take a funky approach to the rhythm section that lacks the "bite" of more downhome blues. Am I nuts, or does somebody agree? Rob (who could just be nuts) Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke On Tue, 3 Oct 1995, L W wrote: > ----------------------------Original message---------------------------- > > We've beat the topic of "Blues-Influenced" rock to death. But how > > about "Rock-Influenced" blues? Are many of you attending so-called > > "Blues Fests" that turn out to have little or nothing to do with the > > blues? Is this a symptom of blues' newfound mainstream popularity? > > Is the blues becoming a marketing ploy? Can merchandising be far > > VERY well put, I like that "Rock-influenced" blues is what Buddy has become. > > LW 'Wet-Dirt influenced" > ========================================================================= Date: Wed, 4 Oct 1995 04:46:16 GMT Reply-To: toulouse From: toulouse Organization: Toulouse Enterprises, Inc. Subject: Re: Worst by your favorites Comments: To: bit-listserv-blues-l@uunet.uu.net on Tues. Oct 3, 1995 David Goldstein said: >I would have to say the album by BB King and Diane Schurr is pretty >much my least favorite blues. I would have to say the B.B.King/Diane Schurr album is jazz, not blues. That is of course, just my opinion. ========================================================================= Date: Wed, 4 Oct 1995 00:32:14 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Special Treatment for Harp Players Comments: To: Harp-L@garply.com We'll, today on the way into Chitown on the dreaded Kennedy Expr. where all the lanes merge back into 3 after the wide toll booth event, I was getting squeezed out of my lane with no where to go but the left lane and the truck behind me wasn't gong to let me in. I had the windows doen, the heater on, E.C. and Jerry Portnoy blasting "Groanin' the Blues" live, and playing my sweeeeeeet Lee Oskar D harp, and the guy in the truck say me as he was cutting me off and stopped and let me in! Special treatment for us strolling minstrels of that rough and tumble American tradition - the Blues! Also, got to walk down Monroe to the Merchantile Exchange blowing my best in a long while (practice), this time in a $600.00 Ralph Lauren suit, with shades, of course. Put a few smiles in the financial district. It must be like watching someone tell off the boss or quit their job and go live on a sailboat or something else a rebellious and righteous American might do. Mike ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Wed, 4 Oct 1995 06:07:19 GMT Reply-To: catherin@WOLFENET.COM From: catherin@WOLFENET.COM Organization: COYOTE/Seattle: The Sex Workers Rights Organization Subject: Re: Nothing but the Blues Comments: To: bit-listserv-blues-l@uunet.uu.net > HiroakiYOSHIMURA writes: > Hello! > > I've been looking for a video or Laserdisk of Clapton's "Nothing but the > Blues Tour". > > Is there any video or Laserdisk of this tour? or just only a TV on-air. And I've been trying to find a copy of the 1986 Birminghan concert with Phil Collins, Greg and Nathan..best "White Room" and "Crossroads" ever done... >>>> A tout a l'heure, Catherine La Croix Seattle, Washington ========================================================================= Date: Wed, 4 Oct 1995 06:10:00 GMT Reply-To: catherin@WOLFENET.COM From: catherin@WOLFENET.COM Organization: COYOTE/Seattle: The Sex Workers Rights Organization Subject: Re: Do You respect them, Comments: To: bit-listserv-blues-l@uunet.uu.net > Joe Lempkowski writes: > L W writes: > > >I see alot of Clapton, SRV ...etc talk all the time. > > >I have a question, even though you make not like their music, DO You respect > >them at all. > > I respect them. They put a lot of effort into the work Clapton is *still* God when he lets loose with Buddy Guy or just himself. The only downside to "From the Cradle" was that he was TOO true to the historical precedents...he should have given them the Clapton touch... >>>> A tout a l'heure, Catherine La Croix Seattle, Washington ========================================================================= Date: Wed, 4 Oct 1995 06:23:15 GMT Reply-To: catherin@WOLFENET.COM From: catherin@WOLFENET.COM Organization: COYOTE/Seattle: The Sex Workers Rights Organization Subject: Re: Jimmy Page was BLUES? Comments: To: bit-listserv-blues-l@uunet.uu.net > Stew Crossen writes: > Jesus, give it a rest! > > Beef Stew > > >Nah! he wasn't y'know! > > > >This is just the sorta crap that pisses me and plenty of others off. > > > >Lets get it right. > > > >Jimmy Page was a good guitar player, some say a great guitar player. > >If you don't believe me give a listen to a coupla their later albums. The first four were the only ones that really mattered... > >The Yardbirds were also NOT a blues act, they were a rock group with > >roots in the London white R&B scene of the early 60's. And that's why Clapton left. Jesus, how could any decent blues man or woman play "For Your Love" and not gag? > >All of these types of bands, except for Mayall, were musicians looking > >to make it big in the rock world and they used blues and R&B as a start > >point or base. I don't think that was Clapton's goal...before or after Mayall. In fact, without Clapton, most of probably would have missed a lot of Mayall... >>>> A tout a l'heure, Catherine La Croix Seattle, Washington ========================================================================= Date: Wed, 4 Oct 1995 02:34:16 -0400 Reply-To: Msbeale From: Msbeale Organization: America Online, Inc. (1-800-827-6364) Subject: Re: grave markers Comments: To: bit-listserv-blues-l@uunet.uu.net >With this talk of grave markers being erected, how about a compilation >of >these sites on the blues shed? >I know when I was in the Delta I saw RJ's grave (I hope it was the right >one) and it was a real thrill. For anyone that's interested: Albert King Paradise Gardens-just outside West Memphis, AR (on the outskirts of town) >From Memphis take I-40 towards Little Rock Take the Lehigh exit (Hwy 142, I think) So South, towards Horseshoe Lake It's on the right about 2 miles from the interstate. There's a little grocery store across the side road. Albert is near the large fountain that you can see from the road. The caretakers laid stepping stones in the shape of a Flying V that leads to the grave. Hope they are keeping it clean. Just for the record, George Eldridge paid for the plot, the Rhythm and Blues Foundation paid for the funeral and Albert almost had to be buried in one of Jay Sheffield's suits. A fund raiser was held and the money raised bought the headstone, the plots surrounding Albert and perpetual care for the site-they are supposed to keep flowers in the brick planters year round and keep the area clean. Larry Nager and I wrote the inscription. ms beale st. "I ain't lyin'!" -Albert King ========================================================================= Date: Wed, 4 Oct 1995 02:41:27 -0400 Reply-To: Msbeale From: Msbeale Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Ron Thompson Comments: To: bit-listserv-blues-l@uunet.uu.net RON THOMPSON is currently living in LA, last I heard. Doing alot of session work and playing with Mick Fleetwood when he's on tour... You can catch Thompson live at Blues on B in San Mateo, Ca October 26-28. ms beale st. "I ain't lyin'!" -Albert King ========================================================================= Date: Wed, 4 Oct 1995 02:41:43 -0400 Reply-To: Msbeale From: Msbeale Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Bluesman Francis Clay Comments: To: bit-listserv-blues-l@uunet.uu.net I've always heard Francis referred to as "the King of the Shuffle". And what a sweet man! I got to see him recently at the SF Blues Festival and he was having a great time...he told me about his new apartment and seemed real pleased with it. He probably doesn't know me by name, but always has a smile for me when we meet. I will take it upon myself to notify every drummer (especially) that I know and get pledges/or collect donations. I'll also email and/or fax all my music industry contacts and ask for assistance. This is a great thing you are doing and it couldn't be done for a nicer man. What a great gift he has given us! Let's all dig deep (believe me, I know times are hard, but...) every little bit that can be given will surely help. ms beale st. "I ain't lyin'!" -Albert King ========================================================================= Date: Wed, 4 Oct 1995 02:42:00 -0400 Reply-To: Msbeale From: Msbeale Organization: America Online, Inc. (1-800-827-6364) Subject: Re: I'm Gonna Be Sorry But . . . . Comments: To: bit-listserv-blues-l@uunet.uu.net Gee, Dick- I wish I was going to Helena just so I could say I hung out in your room. :) I'll be there in spirit, though. My mojo only works on the slots, sorry :( Say hi to Bubba, George Paul, Jay and all. ms beale st. "I ain't lyin'!" -Albert King ========================================================================= Date: Wed, 4 Oct 1995 09:35:21 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Re: Odie Payne Jr. Thanks Bonnie. I'm quite happy to FINALLY see this wonderfull musician mentioned on Blues-L. Oddie Payne was certainly one of the most interesting and important drummer in the post WWII period: with Fred Below, definitly my prefered drummer. He was moreover an extremely nice human been. I had the pleasure to meet him twice and especially to discusse almost two hours with him while he came in Europe about ten years ago touring with John Littlejohn, Lafayette leake, Buster Benton, Joe Beard (I think it was the Chicago Blues Legends Tour...) .... What initially was planned to be a 20 min interview was rapidly transformed into a more than two hours discussion about blues -obvioulsy-, great figures he played with, but we finally quite rapidly -after 30-45 minutes- left the pure musical field and had an extremely long and fascinating (for me at least- I was in my early 20's) discussion about Afro- American (at that time people were still saying Black) political movements, Black Power and Black Muslims, American frican identity and culture... He was a profoundly convinced (and I convincing) person. I tried to stay in contact (by mail) after this meeting during a while. I still have everything on tapes, maybe I'll find one day time and enrgy enough to transcribe -part- of this discussion (but I still have so many other interviews -old and more recent ones- to transcribe that it might take some time before I'll get to it)! BTW, I haven't bought the Blind Pig CD, but I assume that's it is a straight reissue of the nice Live P VINE album. Are there any unissued cuts on it? It's an album I always liked -altough for me not the best Eddie Taylor recordings- and played a lot on the air when I was doing a blueshow here in Belgium. Again, thanks to Bonnie for bringing Odie Payne on Blues-L. HE really deserves it (compared to some others .... :-)) Jean-Pierre P.S. Even his almost 15 minutes long drums solos were not boring (IMHO)! ========================================================================= Date: Wed, 4 Oct 1995 09:55:04 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Re: Larry Gardner I assume that some people will not share this but my prefered Larry Gardner Cds remain his JSP albums (especially the first one). He also had a very nice tape and a cut on a Sidetrack LP - entitled "Chemical City Breakdown" or something like that- produced by Steve Coleridge while he was still living in Baton Rouge. Jean-Pierre Urbain ========================================================================= Date: Wed, 4 Oct 1995 09:59:09 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Re: Ron Thompson Part of the story behind these pseudo Magic Sam albums can be found back in different magazines published around the time these LP appeared. I don't remember all the details. BTW, Ron I think had some solo material out and if my memory work more or less fine I think he had at least one album on Blind Pig. In fact, I think that his first appearance on a records was -again if I remember well- on K.C.DOUGLAS' wonderfull Arhoolie album "Country Boy" where he played some great bottleneck slide . More recently, he can be heard as sideman on the latest TRIX album by HOMESICK JAMES and he is also present on the new HARMONICA SLIM (very Down Home stuff) CD on the same TRIX label which is now puting new albums out thanks to drummer/producer Chris Millar from Blues West and formerly Fedora Records (Anthologies on West Fresno Blues with H. SLim ....). Chris is the new "president" (or something like that) of TRIX and is planning to reactivate as much as he can TRIX records. He will come with SUGAR PIE DESANTO in Utrecht in November. He was already behind the Black Magic CD by Cal Valentine and is apparently doing a lot for the promotion or Fresno and more generally West Coast bluesmen. Jean-Pierre Urbain ========================================================================= Date: Wed, 4 Oct 1995 05:18:07 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - October 4th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BAMBAATAA, AFRIKA (v/hip hop) b. 1958-1004, BRONX, NY BISHOP, WALTER F. JR. (p) b. 1927-1004, NEW YORK CITY, NY COHN, LARRY (author/ROOTS 'N' BLUES) b. 1932-1004, NEW YORK CITY, NY DAVIS, CLIFTON D. (v/songw) b. 1945-1004, CHICAGO, IL DAVIS-EASLEY, MARLENA (of THE ORLONS) b. 1944-1004, PHILADELPHIA, PA DILLARD, VARETTA (v/SAVOY/GROOVE REC) d. 1993-1004, BROOKLYN, NY 60 GATTON, DANIEL WOOD "DANNY" (g) d. 1994-1004, NEWBURG, MD 49 JOPLIN, JANIS LYNN (v/BIG BROTHER) d. 1970-1004, HOLLYWOOD, CA 27 LABELLE, PATTI [PATRICIA LOUISE HOLTE](v) b. 1944-1004, PHILADELPHIA, PA MOSES, PIRKLE LEE JR. (lead/EL DORADOS) b. 1937-1004, CHICAGO, IL MYERS, PETE "MAD DADDY" (dj) d. 1968-1004, NEW YORK CITY, NY 40 ROBILLARD, MICHAEL J. "DUKE" (g) b. 1948-1004, WOONSOCKET, RI SEARS, ZENAS "DADDY" (dj) d. 1988-1004, ATLANTA, GA 75 SMITH, CHRIS (songw/afro-amer) d. 1949-1004, NEW YORK CITY, NY 69 SPRINGS, JIMMY (lead/5 RED CAPS) d. 1987-1004, PHILADELPHIA, PA 76 THOMAS, LEON (v) b. 1937-1004, EAST ST. LOUIS, IL WALTON, GREELY (tsax/INK SPOTS' director) b. 1904-1004, MOBILE, AL ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 4 Oct 1995 12:06:51 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: BLUES ESTAFETTE - UTRECHT NOVEMBER 1995 Several people requested the line-up of the forthcoming BLUES ESTAFETTE which takes place each year mid/end of November in Utrecht in Holland. If you (hopefully) read mags like Blues&Rhythm, Juke Blues, Block, Soul Bag,.. you already saw it there and you also know this is one of the most important Festival in Europe. Outstanding line-up, many rather unknown names from the "great" public which often get here the chance to play their first gig in Europe. ... Oh yes, a little additional thing, with a very few exceptions since the beginning, the programm is almsot always 100% African American (NO flame please... :-)) and has often some very nice country blues acts (last year we had the pleasure to discover Henry Qualls) ! BLUES ESTAFETTE - UTRECHT (at the Vredenburg, located in the center of the city) THE NETHERLANDS SATERDAY 8th NOVEMBER 195 3.00 PM- 3.00 AM Ticket 65 fl- Info: +31-10-3130 314544 * COOKIE AND THE UPCAKES * TYRONE DAVIS REVUE * MISS LAEELLE WHITE * BIG JOE BURREL AND THE UNKNOWN BLUES BAND * RAY SHARPE WITH JOHNNY RED AND THE ROOSTERS * JIMMY BEASLEY * SUGAR PIE DESANTO * SUNPIE AND THE LOUISIANE SUSPOTS * THE EXCELLE LEGENDS feat EARL GAINES, ROSCOES SHELTON, CLIFFORD CURRY * LITTLE COOPER AND THE DRIFTERS * JOHN LEE ZIEGLER * J.W.WARREN * LEVI WILLIAMS AND THE MEMPHIS LOW-END BLUES BAND * BIG CLARA AND THE MAGNETONES * The DYNAMIC DUO (BLUES BOY HUBBARD AND MATTHEW ROBINSON) AND JET'S BAND Needless to say it looks like a great day. I'm particularly happy to see J.W. Warren on the progr. He plays some wonderfull botleneck and had an album out in the late 80's on Swingmaster (recorded by Georges Mitchell), but at that time simply didn't want to take the plane to come over here! There are a few people on this festival that I don't know so maybe some bluezellers could inform me and tell me what we can expect from: * BIG JOE BURREL AND THE UNKNOWN BLUES BAND * JIMMY BEASLEY * LEVI WILLIAMS AND THE MEMPHIS LOW-END BLUES BAND * BIG CLARA AND THE MAGNETONES In any case, I hope to see some bluezellers out there (PeterG. , I assume you'll be there again this year). Jean-Pierre Urbain P.S. I have no relation with or fina. interest in this organization... but as Blues&Rhythm once said "it really is Europe's finest blues event." ========================================================================= Date: Wed, 4 Oct 1995 07:02:30 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Whose blues? The discussion of blues and "race" is bedevilled by a classic issue in discussions of causality. People confuse two different types of causes: NECESSARY cause: X will not happen unless Y happens. SUFFICIENT cause: If Y happens, then X will happen. In blues: "Race" is a NECESSARY component of any explanation of the blues. Blues was created by African Americans, and that was no accident. If it weren't for slavery, Jim Crow, racism and all the rest, there would not be any blues. But "race" is NOT a SUFFICIENT explanation of the blues. If it were, then all black folks would sing the blues and no white folks would. Neither of those is true. I would argue -- agreeing with Bonne K and others -- that blues performed by people who have lived all their lives immersed in African American communities tends to have a sound which I don't hear in blues sung by others. If you view blues as primarily a matter of guitar technique, then this may not matter to you. But if you view it as an expression of black culture, then it is an essential issue which goes to the core of what blues is about. But -- and this is a critical point -- we are all human, and one of the things which makes us human is the ability to learn from each other, both intellectually and emotionally. That's why anyone can appreciate good blues, and why there are some excellent white blues performers in the world. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Wed, 4 Oct 1995 08:34:54 -0300 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: grave markers Comments: To: leftwich@CLOUD9.NET In-Reply-To: from "James Leftwich" at Oct 2, 95 12:41:54 pm > With this talk of grave markers being erected, how about a compilation of > these sites on the blues shed? I've been collecting - some of these only contain the town name: Robert Pete Williams: Southern Memorial Gardens in the Parish of East Baton Rouge, in the Masonic Garden, Lot 5-C, Space 1. Willie Brown: (died 12 Dec 1952) Prichard, MS in the Good Shepard Baptist Chuch cemetary. Blind Lemon Jefferson: "He is buried in Wortham, Freestone County, TX. A grave marker was erected on October 15, 1967 (see BLUES UNLIMITED #62). Blind Willie McTell: "The mistake on Willie McTell's grave marker was corrected in 1993, and the new gravestone has his name spelled right; at the same time, a separate historical marker was placed. This is in a small churchyear cemetery in Thomson GA, his birthplace" Bessie Smith: "Her grave at Mount Lawn Cemetary near Darby, PA remained unmarked until 1970 when JAnis Joplin and and a Phildelphia Nursing home director split the cost of a stone." Sam "Lightnin'" Hopkins died January 30, 1982, and was buried at Forest Park Cemetary on Lawndale in section 11. Located at 6900 Lawndale, 713-928-5141. John Hurt: Avalon, MS Sonny Boy Williamson: Tutwiler, MS Fred McDowell: Como, MS Sunnyland Slim (Albert Luandrew): Mount Vernon Memorial Estates in Lemont. (Chicago?) Leroy Carr: Floral Park Cemetary, Indianapolis. Tampa Red: "A grave marker for Tampa Red is being installed now, and will be officially unveiled at a ceremony scheduled for October 14 at 1 p.m. at the Mount Glenwood Memory Gardens West Cemetery in Willow Springs, IL;" ========================================================================= Date: Wed, 4 Oct 1995 13:14:22 +0100 Reply-To: Peter Gallagher From: Peter Gallagher Subject: Re: BLUES ESTAFETTE - UTRECHT NOVEMBER 1995 Comments: To: J.Urbain@KE.RULIMBURG.NL In-Reply-To: <01HW1J5OBS9U001LJH@RL0002.RULIMBURG.NL> from "Jean-Pierre Urbain" at Oct 4, 95 12:06:51 pm You bet I will, Jeann-Pierre - wild horses couldn't keep me away. This is one fest not to be missed, great music, great atmosphere, great food, lots of CD-stalls etc. Ted Gurley from Dallas,TX, will be there with a few friends... (Hi Ted). Any others? Regards, PeterG > > In any case, I hope to see some bluezellers out there (PeterG. , I assume > you'll be there again this year). > > Jean-Pierre Urbain > > > P.S. I have no relation with or fina. interest in this organization... > but as Blues&Rhythm once said > "it really is Europe's finest blues event." > > -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Wed, 4 Oct 1995 08:40:37 -0400 Reply-To: Bob vanArsdall From: Bob vanArsdall Subject: Re: New Thread Jim Bards wrote to Catherine: >Catherine, maybe it's just me, but I don't see much flame potential here. > >After all, where would the blues be without whore, whoring, and johns? A lot of >great material lost....Storyville, Stagger Lee, the list could go on a long >time. Matter of fact, this suggests a new thread: blues songs associated with >the Honorable Profession. One of my favorites: If I can't sell it, gonna keep sitting on it, Never catch me giving it away... (Memory tells me that was Alberta Hunter?) Welcome - Bob ========================================================================= Date: Wed, 4 Oct 1995 05:43:40 -0700 Reply-To: Mark Naftalin From: Mark Naftalin Subject: Ron Thompson Ron Thompson's most recent release is "Just Like A Devil" on Winner (reviewed in Rolling Stone, 2/4/93). Four solos, two duos (with me), and four band tunes, one of which is Slim Harpo's "Hip Shake." The album was recorded during live Blue Monday Party radio broadcasts. Ron's other albums are "Resistor Twister" on Blind Pig and "Treat Her Like Gold" on Takoma. Ron's background includes years in bay area blues clubs with artists like K.C. Douglas, Schoolboy Cleve and Little Joe Blue. He was John Lee Hooker's guitarist for 3 or 4 years. He's played with Lightnin' Hopkins and Jimmy Reed. He was the original house guitarist on my Blue Monday Parties (back in the early 'eighties) where we had, Pee Wee Crayton, Lowell Fulson, Jimmy McCracklin, Sonny Rhodes, Eddy Taylor, Percy Mayfield ("Percy Mayfield Live" was recorded there; Ron plays on it) and many more. Ron has a group with Mick Fleetwood called Blue Whale (Ron's the front man). I think Ron is a great artist. I play with him as often as I can, sometimes duo, sometimes with a band. For more information on Ron Thompson or Winner, please contact me directly. The story behind the Ron Thompson/Magic Sam records is, in outline, as follows: Norman Dayron sold a bunch of tapes to a cartel of doctors and dentists, supposedly as a then-legal tax shelter. He believed, or so he has said, that they would never be released. However, many LP's were released from those tapes by a company called Quicksilver or Intermedia who, assumably, had acquired them from the people Norman says he sold them to. These albums included five by Big Joe Turner with Michael Bloomfield, one by Percy Mayfield (with two of the six songs sung by the late Charles Houff), and one by Roy Brown. (I play on all of these.) There were also two albums which Norman sold as being by Magic Sam that were in fact work tapes from a project Norman was working on with Ron Thompson. Both of the "Magic Sam" albums were quickly taken off the market. The other releases were not. All of these releases are entirely unauthorized. They are bootlegs in the most nefarious sense of the word. This story is told in more detail in two articles written by Lee Hildebrand and published in the San Francisco Bay Guardian: "Counterfeit Vinyl," 9/28/83; and "More Counterfeit Vinyl," 3/7/84. Mark Naftalin Winner Records ========================================================================= Date: Wed, 4 Oct 1995 07:43:16 CST Reply-To: William Shute From: William Shute Subject: Jimmy Page w/the late Yardbirds 67-68... From: Bill Shute Well, I don't want to take part in this "is he or isn't he" discussion about Jimmy Page, but the discussion did prompt me to dust off the late-Yardbirds material (always a good thing to do). Not much of it from the Page period is blues (the plagiarized but solid "Drinking Muddy Water" was a regular live song by the late, quartet version of the Yardbirds), but in 67-68 Page still had significant blues roots and, frankly, I feel that his work from this period is a valid EXTENSION of some blues elements worked into a rock format. Of course it isn't blues, but those who have found the blues-based experiments with distortion and the like by Hendrix, SRV, Buddy Guy, and others would probably find much to appreciate in Page's Y-birds era work. Anyway, here are some available CDs "Psycho Daisies" features both Beck and Page (it's on the CBS-US vinyl reish of the "roger the engineer" album as one of the "extra" tracks) the 2-CD "Little GAmes SEssions" box on EMI-US has ALL the post-Psycho Daisies studio work by the Relf-Page-Dreja-McCarty version of the Yardbirds the UK "Band of Joy" label has a cd of Yardbirds on the BBC--the last third of it is w/ Jimmy Page (the rest is with Jeff Beck) ---------------------- there are two suspect-looking but great CDs on a dutch label which are "licensed from Charly International BV" (backtrack records, I think, is the name of this outfit) "The Live Saga" and "Rare Concerts" I don't havethese with me, but one has all the things the Page-era version of the band did for Swedish radio and German TV, and the other has the long-deleted "Live At The Anderson Theatre" album with the infamous "sweetened" applause track. I do like this album a lot. Again, those who are into Hendrix and SRV will no doubt enjoy the ten minute live versions of I'm a Man, Page's experiments w/ bowed gtr, etc. There was also a three-lp live in LA l968 bootleg that I have on tape somewhere--it's a poor, taped-from-the-rafters recording, but captures a FULL show of the final Yardbirds line=up. ------------------------ I'm not a Zeppelin fan, but i know that there are recordings extant of the so-called "New Yardbirds" line-up and the VERY early Zeppelin which are basically late-Yardbirds in everything but the name. There are also a number of fine solos on various obscure brit-R&B 45s from 63-65 that Page played on as a session man--various labels have reissued this material over the years, and at any time there seem to be a few "Jimmy Page-Session Man" albums/CDS in print, each with different but overlapping tracks. There's some fine blues-meets-Link Wray playing on those, but that's another story... SO--instead of just discussing the relative merits of Jimmy Page and whether or not he's a bluesman (I doubt he'd claim that he is), why not just listen to his music from 66-68 that I've listed. See what you think. Hey, speaking of Page, what is the word on this Jeff Beck/Carlos Santana tour? Any music being performed that would interest blues-l-ers? Or is it in the "fusion" vein (snore...)? Page's use of Chris Farlowe on vocals on some projects within the last decade shows that Page still has some taste. Now, to get back to something that's l00% blues...I was enjoying some LARRY DAVIS last night... Bill Shute San Antonio, TX (well, at least Page is one Brit rockstar who DID NOT urinate on the Alamo...) one-two-three-four "anyplace can be a soda fountain now/ with Great Shakes, new Great Shakes... shake it up with milk to make a rich thick shake it's great shakes, new great shakes..." (sung to the tune "Over Under Sideways Down") ============================================================================== ============================================================================== ========================================================================= Date: Wed, 4 Oct 1995 08:54:57 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: "honorable profession" blues songs Comments: To: Bob@rvana.pdial.interpath.net The Mississippi Shieks once sang: "If you don't want me, give my money back." Tom Freeland ========================================================================= Date: Wed, 4 Oct 1995 07:58:00 EWT Reply-To: "CATHI N." From: "CATHI N." Subject: Missing in Action Hello my good friends. And Goodbye. I'll be touring Ireland for the next few weeks and then on to Texas (watch out you blues-l'ers down there!) to mix my CD...so I'll be off line until November 6th. I hope I can trust you to keep the jumpin' alive until I get back! Cathi N. ========================================================================= Date: Wed, 4 Oct 1995 08:34:55 -0400 Reply-To: Willy Evans From: Willy Evans Subject: rock influenced blues This rock influenced blues we speak of may be what the blues has become. Most of the players in our generation went through the 60's. Our model for a band is based around guitar/bass/drums and not clarinet, piano, banjo or what ever. We spent our wonder years, for the most part, hearing rock/pop music. Blues has changed, possibly, into this "rock influenced" music we are talking about. I would like to suggest that people of our generation who play what some people call real blues are just imitators of older blues as they are not being true to THEIR roots and influences. Just a suggestion , mind you! Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** the hounds begin to bark **** ========================================================================= Date: Wed, 4 Oct 1995 08:23:02 CDT Reply-To: Rob Varak Comments: To: Steve Roberts Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: Rob Varak From: L W Subject: Re: Blues-less Blues Fest in Sarasota In-Reply-To: <071a3220@corp.octel.com> ----------------------------Original message---------------------------- >The Rock -Influenced blues idea is definitely on the mark, but there is >another monster out there. The Funk-influenced blues. Now do not get >me wrong. I LOVE FUNK!! I am a tremendous afficianado of JB, P-Funk, >Prince and may others. It just seems that far too many blues bands try >and take a funky approach to the rhythm section that lacks the "bite" of >more downhome blues. Am I nuts, or does somebody agree? You can't disagree with an opinion (we all need to realize that). I think Abert King was VERY FUNKY and I love ALbert King LW ========================================================================= Date: Wed, 4 Oct 1995 08:30:25 CDT Reply-To: Ian Angus Comments: Authenticated sender is Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: Ian Angus From: L W Subject: Re: Whose blues? ----------------------------Original message---------------------------- >Perhaps it would be nice if there were no need for labels at all, but >.then how could we discuss who created the blues? People of African >origin created the blues -- that's a fact. T-Bone was Texan-American, Muddy was Mississippi-American, Son House was...etc I don't think most of them have ever even been to Africa I think it's derogatory and refuse to use it as label to distinguish one race from another. As long as we keep doing this we will be a divided nation. I think we are all Americans (spelled it right) and it doesn't matter if you are red, yellow or black...An American is an American....If they were so proud of their heritage they would outnumber the whites as blues shows.... LW 'an Alabamian American" ========================================================================= Date: Wed, 4 Oct 1995 08:21:20 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Ike Turner & His Kings Of Rhythm Comments: To: Art Schuna In-Reply-To: I'd assume there's no overlap between the Ace Ike Turner CD and "Trailblazer" on Charly. "Trailblazer" came from Federal material; the two LPs on Ace were from earlier Modern/RPM material. There probably IS overlap between the Ace CD and the two-CD Ike Turner set on P-Vine, though. ========================================================================= Date: Wed, 4 Oct 1995 06:59:00 -0700 Reply-To: NED_KRAFT@HP0000.DESK.HP.COM From: Ned Kraft Subject: Hip shake Listening to Slim Harpo and realized I mis-posted Hip Shake as possibly a Ron Thompson original. It's "Shake your hips" originally by Slim Harpo. Quit teasin' me babe, with your fine brown frame. Got love if you want it. (Slim Harpo). Dirty Ned Hoosier Daddy ========================================================================= Date: Wed, 4 Oct 1995 09:09:24 -0500 Reply-To: Roger Struve From: Roger Struve Subject: Re: New Thread -Reply How about....she break in on a dollar, most anywhere she go....from Robt. Johnson's song. That was in the days when "she" went for 5 cents, so "breaking in on a dollar" was pretty HIGH class! she also had "elgin" movement from her head to her toe...meaning (and this was a thread not so very long ago)...she moved pretty smoothly from top to bottom...like the intricate balance of the internal watch movements. regards, delta doc roger ========================================================================= Date: Wed, 4 Oct 1995 08:41:54 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Odie Payne sings!! Comments: To: Bonnie Kalmbach In-Reply-To: <25100317355278@vms2.macc.wisc.edu> Odie Payne Jr. was so well known as a drummer that his many other talents are generally overlooked. Besides being an unusually good person and one of the great blues drummers, Odie was indeed a singer (mostly of novelty songs) and a multi-instrumentalist who worked some jobs as a bandleader during the late '70s on the Lincoln Avenue strip. I think he sings at least one song on Louis Myers' JSP album (which was a bootleg) and also has his own LP called "No! What Did She Say?" on his own OPJ label, recorded in the mid-'80s. Odie was a real loss; he always brought excellent musicianship, entertainment, poise and kindness to any job. ========================================================================= Date: Wed, 4 Oct 1995 14:14:49 GMT Reply-To: marc@az.vub.ac.be From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Help me make my choice !!! Comments: To: bit-listserv-blues-l@Belgium.EU.net Hi ev'rybody ! One of these days, I have the possibility to go to one of the following festivals ... 1. Tribute to Muddy with Pinetop Perkins, Bob Margolin, Carey Bell, a.o.... >>> in a bluesclub. 2. Unplugged Folk blues festival with Doug Mc Cleod, Phill Wiggins, John Mooney, John Cephas, a.o... >>> in a casino I CAN'T GO TO BOTH OF THEM .... :( :( :( :( I am terribly in doubt which one I should chose. I like acoustic blues VERY much, but I think maybe it's the last time to see Pinetop live in Europe, but I also wanna see Doug Mc Cleod ( WOW ! ). Help me make my choice.... embee. ========================================================================= Date: Wed, 4 Oct 1995 09:33:27 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Blues Rock...etc..Pete Welding Ok I found this to be relative to many of the threads going around lately It is from the Liner Notes to T-Bone Imperial Recordings.... IT IS USED HERE WITHOUT PERMISSION, But Pete's a great guy. I can't say enought about him: _____________ The history of black music in America has been one of continuous synthesis, an all but endless process of borrowing, absorption, dissemination, solidification and borrowing again, the process starting anew. Each generation of musicians have drawn upon and reinterpreted those elements of their predecessor's work it has found relevant to it's own experiences and expressive needs, rejecting some while retaining others, adding to the body of common musical practice that constitutes tradition those newer technical and expressive means it feels most tellingly set off its time and place from earlier ones with their own characteristic forms and expressions. Every age has its own story to tell and its own way of telling it. The only constant in all of this activity is the process--the fact of change itself--with each and every generation in effect choosing its own way of reinterpreting the past as a means of signifying the present. Pete Welding LW ========================================================================= Date: Wed, 4 Oct 1995 09:37:40 -0500 Reply-To: Roger Struve From: Roger Struve Subject: Missing in Action -Reply Comments: To: CANORTON@cluster.ucs.indiana.edu CATHI: No "Hello/Goodbyes" allowed on BLUES-L, that's the Beatles, if memory serves me right! THEY'RE NOT BLUES! Have a good trip. (smile) ddr ========================================================================= Date: Wed, 4 Oct 1995 10:29:34 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Jimmy Rogers is Returning to Cincinnati! Apparently Jimmy Rogers is on tour...he'll be appearing here in Cincinnati on Thursday, November 16th at Burbank's Real Bar-B-Que restaurant in Sharonville. There's no cover charge or ticket price; entrance is free. Opening for my "beau" (for those of you still tease me occasionally about THAT story) will be my friends, Sonny Moorman & the Dogs. If you're within driving distance, don't miss a chance to see a legend (AND my friend Sonny!). Shannon ========================================================================= Date: Wed, 4 Oct 1995 10:40:43 EDT Reply-To: "Tracey L. Milton" From: "Tracey L. Milton" Subject: eight dollar cd list on the web try this url: http://www.jims.com/blues.html decent stuff there. -- -- Tracey Milton Hewlett Packard Engineering Documentation TN: 436-4107 (508) EMAIL: milton_t@apollo.hp.com ========================================================================= Date: Wed, 4 Oct 1995 10:47:16 -0400 Reply-To: FlGator@AOL.COM From: Mike Evans Subject: Re: Blues On The Bayou >>>> Tarpon Springs For us out-of-towners that are planning on being there, any comment on the local talent, BirdDog Bobby, et al. from anyone in the Tampa area Mike ************************************************* My mind runs two, three different ways. ========================================================================= Date: Wed, 4 Oct 1995 15:29:17 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: UTRECHT : CORRECTION: 18 NOVEMBER!!! Thanks to Joel Slotnikoff for pointing out this typo. The Blues Estafette takes place on NOvember 18th!! and not 8th. J.P. ========================================================================= Date: Wed, 4 Oct 1995 08:07:16 -0700 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: grave markers The following are among the MANY blues performers buried or inurned at Inglewood Cemetery, Inglewood (Los Angeles): Percy Mayfield, Paul Gayten, Long Gone Miles, Pee Wee Crayton, Monk Higgins (rn Milton Bland), T-Bone Walker Roy Brown is buried at Garden of Eternal Rest in Newhall Big Joe Turner is buried at Roosevelt Memorial Park George "Harmonica" Smith is buried at Lincoln Memorial Park and I *think* that Little Esther Phillips is there as well. Mary Katherine ========================================================================= Date: Wed, 4 Oct 1995 10:44:51 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: WILLIE BROWN I was wondering, why do you think Willie Brown, who was there when Son House, RJ....etc was doing their thing, never got the attention he deserved .... I think his contribution and unpopularity (relativly speaking) is similar to Willie Dixon's contributions and being overshawdowed by his "peers"... I also think HC Speirs(sp) is not recognized enough for his part in the early blues scene......Just kind of curious to what others thought and trying to get away from recent threads........ LW ========================================================================= Date: Wed, 4 Oct 1995 11:49:59 -0400 Reply-To: jfrankle@PANIX.COM From: Jeff Frankle Subject: Address Change How would one go about switching E-Mail addresses? Jeff Frankle jfrankle@ix.netcom.com ========================================================================= Date: Wed, 4 Oct 1995 11:34:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Whose blues >I think it's derogatory and refuse to use it as label to distinguish one race >from another. As long as we keep doing this we will be a divided nation. I >think we are all Americans (spelled it right) and it doesn't matter if you are >red, yellow or black...An American is an American....If they were so proud of >their heritage they would outnumber the whites as blues shows.... > >LW 'an Alabamian American" This is true to some extent - but I don't think you can deny that there is a very distinctive flavor, approach, style to music, food, humor, etc that was created by people of African descent in this country - due to segregation keeping them outside of the mainstream. African American culture is a very rich culture and we should all should take delight in it and stop denying that it exists. We are not culturally homogenous nor should we want to be. Life would be very boring if it were so. -Bonnie ========================================================================= Date: Wed, 4 Oct 1995 11:39:31 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: next Blues-l South Texas get-together (fwd) Here's just a friendly little reminder about this week's South Texas Blues-L get-together. Hope to see all of you there. BTW, we'll also be celebrating (belatedly) James Foster's birthday. -Jeff ---------- Forwarded message ---------- From: Bill Shute Jeff Seale and I would like to invite all blues-l persons and their friends and anyone else WITHIN DRIVING DISTANCE to our next get- together in San Antonio, on Friday night, October 6-- an evening with Houston's bossman of the blues, the great JOE 'GUITAR' HUGHES @ Billy Blues Broadway and Grayson San Antonio, TX for choice seating, try to be there by 8:30-8:45 cover is approx. $7.00 Friday, October 6 MARK THAT DATE ON YOUR CALENDAR I've seen Mr. Hughes three times in the last two years, and he never fails to satisfy. Like Texas Johnny Brown, he plays with an authority that can only come from decades of playing blues to real, demanding audiences, and he is also a fine songwriter, as evidenced by his albums IF YOU WANT TO SEE THE BLUES (BLack Top) and DANGEROUS: DOWN AND DEPRESSED (Munich, The Netherlands) among many other fine recordings. I will be doing a piece on him and his recordings some time soon, but Mr. Hughes doesn't really need MY endorsement. All you Austin folks, we'll be lookin' for ya (bring friends along too)...and what about those Austin LURKERS? I know there's a bunch of you,' cause I met a few at the Antone's anniversary, and heard about MANY others. You all in San Marcos (will we get the honor of meeting MB? I hope so!), Wimberley, and you San Antonians reading this (and now I know there ARE others besides Jeff and yours truly!), please come out and support the blues. We had 20 people last time, let's beat that this time! I will buy a bottle of Frio beer for anyone reading this (whom I don't already know!) who shows up at the gig. We need more Houston blues in SA--very few Houston artists make it up to Austin either. Here's our chance to support Houston artists, so we can demand more of them after this gig gets a big crowd as Texas Johnny Brown did (TJB was signed up for TWO more shows before he left Billy Blues the night of the last TJB show). IF YOU WANT TO SEE THE BLUES, you'll want to see, hear, and experience J O E 'G U I T A R' H U G H E S Bill Shute San Antonio, TX ========================================================================= Date: Wed, 4 Oct 1995 12:43:29 EDT Reply-To: William Pollak From: William Pollak Subject: Re: Worst by your favorites In-Reply-To: Your message of "Tue, 03 Oct 95 18:39:32 CDT." <199510032339.AA14483@tyrell.net> Syl Johnson's final album on Hi, Uptown Shakedown, is abominable. Unlike everything else Syl did for the label, this one was not produced by Willie Mitchell. Instead, whoever did produce it managed to encapsulate on one album everything that was awful about disco. I defy any reasonable person to listen to the Otis Redding medley on this album without barfing. Fortunately, Syl redeemed himself later in his career with "Brings Out the Blues In Me," "Ms. Fine Brown Frame" (also discofied, but quite good), and of course his latest on Delmark. And his work with Willie Mitchell on Hi already qualified him for immortality. Speaking of the immortals, Al Green's "The Belle Album" was a big disappointment to me when it was released, despite its being hailed by the rock press as a huge breakthrough and a masterpiece. Although "Belle" may be the greatest single performance by Al Green ever captured on tape, and "I Feel Good" is also terrific, much of the rest of the album has Al noodling around on his acoustic guitar and mumbling incoherently. I've never been able to understand the universal acclaim that this album received, especially considering the quality of all the albums that preceded it. While I'm on the subject of Hi Records, here's a big public thank-you to Bill Shute for posting information on the Hi catalog available on Denon CDs. Things have been popping at my house lately thanks to Bill. Bill P. Bill Pollak, Technical Communication Carnegie Mellon U., Software Engineering Institute Pittsburgh, PA 15213-3890 email: wp@sei.cmu.edu ========================================================================= Date: Wed, 4 Oct 1995 12:30:56 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: "African American" -- was "Whose Blues?" > I think it's derogatory and refuse to use it as label to distinguish one race > from another. That's your right, of course. But many African Americans use the term proudly. "Race" is a myth. > I think we are all Americans (spelled it right) and it doesn't matter if you are > red, yellow or black...An American is an American... For most of their time in America, African-Americans had few or no rights. And many would argue that even today they are denied full citizenship precisely because of their origins. "We are all Americans" is a fine sentiment, but saying it doesn't make it true. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Wed, 4 Oct 1995 13:00:00 EDT Reply-To: BRENTS@CLEMSON.EDU From: "(Brent M. Smith)" Subject: Decisions decisions Comments: To: blues-l%BROWNVM.BITNET@INTERBIT.UGA.EDU OK here is the situation: Poor college student would like to go to a show, his choices are Thackery and Margolin. Where should he go?? ========================================================================= Date: Wed, 4 Oct 1995 12:55:51 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Help me make my choice !!! Comments: To: marc@aznet1.vub.ac.be The dilemma of choosing between musical opportunities came up a few months ago and Mary Katherine Aldin gave sage advice: 1/ See the artist who is the least likely to come into your area again in the foreseeable future. 2/ Choose the older traditional artist over the younger artist who will probably return frequently. I'd recommend that Pinetop/Margolin/Bell show myself. Dick Waterman ========================================================================= Date: Wed, 4 Oct 1995 12:07:52 CDT Reply-To: Bonnie Kalmbach Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: Bonnie Kalmbach From: L W Subject: Whose blues ----------------------------Original message---------------------------- >I think it's derogatory and refuse to use it as label to distinguish one race >from another. As long as we keep doing this we will be a divided nation. I >think we are all Americans (spelled it right) and it doesn't matter if you are >red, yellow or black...An American is an American....If they were so proud of >their heritage they would outnumber the whites as blues shows.... > >LW 'an Alabamian American" >This is true to some extent - but I don't think you can deny that there is >a very distinctive flavor, approach, style to music, food, humor, etc that >was created by people of African descent in this country - due to >segregation keeping them outside of the mainstream. African American culture >is a very rich culture and we should all should take delight in it and >stop denying that it exists. We are not culturally homogenous nor should >we want to be. Life would be very boring if it were so. Everbody on Blues-l should know that I prefer black blues and I think you can't understand the blues if you don't know the culture. I think to say an American is something other than an American, implies that they are not 100% American I am not a European American, just because that's where my ancestors are from I'm 100% American, to say someone is African-American, tells me that they are part African and part American....Which would imply that they are not 100% American....It's not about culture it's about seeing everybody as the same I didn't mean to start anything, with my comments. I just think the term says that blacks are not TRUE Americans.....I am refered to as an American or a White person....Cause that's what I am....I do not believe in division, it's been tried and it did not work. So understand it has nothing to do with culture LW 'trying to make us ONE, but it'll never be that way..don't blame me' btw: My last comment on this thread ========================================================================= Date: Wed, 4 Oct 1995 12:26:21 CST Reply-To: Ted Gurley From: Ted Gurley Subject: Re: Help me make my choice !!! Comments: To: marc@aznet1.vub.ac.be Mark, Both shows have their high points. However, I would vote for the casino show if you haven't seen John Mooney live. He's a great slide player. However, since you play piano, Pinetop is a don't miss. Hmmmm, you can always flip a franc heads Muddy, tails Mooney. Ted ------------------------------------- 10/04/95 12:26:21 Ted Gurley - Dallas, TX E-mail: tgurley@.onramp.net http://rampages.onramp.net/~tgurley ------------------------------------- ========================================================================= Date: Wed, 4 Oct 1995 13:25:01 -0400 Reply-To: leddy@A1.POLICE.UPENN.EDU From: Gerald Leddy Subject: `Professional' thread How about Elmore James.... `When she lived in a small town, she was so nice and sweet I brought her to Chicago, she don't do nothing but walk the street' jerry. ========================================================================= Date: Wed, 4 Oct 1995 17:59:11 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Blues-less Blues Fest in Sarasota In-Reply-To: On Wed, 4 Oct 1995, L W wrote: > ----------------------------Original message---------------------------- > >The Rock -Influenced blues idea is definitely on the mark, but there is > >another monster out there. The Funk-influenced blues. Now do not get > >me wrong. I LOVE FUNK!! I am a tremendous afficianado of JB, P-Funk, > >Prince and may others. It just seems that far too many blues bands try > >and take a funky approach to the rhythm section that lacks the "bite" of > >more downhome blues. Am I nuts, or does somebody agree? > > You can't disagree with an opinion (we all need to realize that). I think Abert > King was VERY FUNKY and I love ALbert King > > LW > There is NO-ONE that tops AK in my personal book NO-ONE. He could be said to be "funky" at times, but I am no lover of FUNK in the way that I think Bob meant. The prime example that comes to MY mind is The Michael Hill Blues Mob. I have trouble calling what they do on the CD "blues". There are those on the list who like 'em. IMHO it's a travesty. That is MHO and others are certainly entitled to theirs. We can (who knows maybe we will) get into a long, drawn out discussion, but I believe there is a difference between someting being funky and something being funk. LW said "You can't disagree with an opinion". You certainly can. You probably won't succeed in CHANGING it. Maybe that's what he meant. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [4/10/95 13:38 PM] "Wednesday's worse..." ========================================================================= Date: Wed, 4 Oct 1995 13:11:17 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Re: Decisions decisions > > OK here is the situation: Poor college student would like to go to > a show, his choices are Thackery and Margolin. Where should he go?? > Poor college student should not make poor choice. Here is what you should do: Forget Thackery and Margolin, spend the money buying some good CD (say Otis Clay's "I'll treat you right", pick-up a poor college girl, buy a six-pack, put on CD, and tell her "Let me roll your lemon" (Bo Carter, buy this if you have some money left). Ranko ========================================================================= Date: Wed, 4 Oct 1995 18:12:31 GMT Reply-To: Paul L Pearson From: Paul L Pearson Organization: Iowa State University, Ames, Iowa Subject: Re: Duarte in Iowa??? Comments: To: bit-listserv-blues-l@uunet.uu.net In Paul L Pearson writes: >Chris Duarte was scheduled to play Friday night in Waterloo and Saturday >night in Des Moines. >Thje place he was supposed to play in Des Moines shut down and is being >remodeled or somesuch/ Does anyone know if he's cancelled that gig and >set up another one?? Need to know ASAP> Thanks. xAnswering my own question, Duarte will be at the Love Shack in DM on Saturday the 7th. >-- >Paul L. "Pro" Pearson >President, Kurt Rambis Fan Club (unofficial) >Ames, IA Chapter -- Paul L. "Pro" Pearson President, Kurt Rambis Fan Club (unofficial) Ames, IA Chapter ========================================================================= Date: Wed, 4 Oct 1995 14:21:41 -0400 Reply-To: Leo Aspiras From: Leo Aspiras Subject: I shall return Bye for awhile y'all!!!!!! I'm heading on down to the heart of Dixie for the Biscuit Festival!!! I'll file a report when i get back........ See's ya.... Leo 'The Scatman' Aspiras from D.C. ========================================================================= Date: Wed, 4 Oct 1995 13:37:33 -0400 Reply-To: Willy Evans From: Willy Evans Subject: Re: Decisions decisions Comments: To: "Brent M. Smith" In-Reply-To: On Wed, 4 Oct 1995, (Brent M. Smith) wrote: > OK here is the situation: Poor college student would like to go to > a show, his choices are Thackery and Margolin. Where should he go?? > I vote Margolin! Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** the hounds begin to bark **** ========================================================================= Date: Wed, 4 Oct 1995 18:44:28 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Decisions decisions In-Reply-To: On Wed, 4 Oct 1995, (Brent M. Smith) wrote: > OK here is the situation: Poor college student would like to go to > a show, his choices are Thackery and Margolin. Where should he go?? > If he/she is into a more-or-less traditional Chicago sound then Margolin. Loud and rock oriented Thackery. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [4/10/95 14:40 PM] "Wednesday's worse..." ========================================================================= Date: Wed, 4 Oct 1995 14:19:32 -0400 Reply-To: Willy Evans From: Willy Evans Subject: Re: Decisions decisions Comments: To: Ranko Vujosevic In-Reply-To: <199510041811.NAA02917@picasso.ccad.uiowa.edu> On Wed, 4 Oct 1995, Ranko Vujosevic wrote: > Poor college student should not make poor choice. Here is what > you should do: Forget Thackery and Margolin, spend the money > buying some good CD (say Otis Clay's "I'll treat you right", > pick-up a poor college girl, buy a six-pack, put on CD, and > tell her "Let me roll your lemon" (Bo Carter, buy this if you have > some money left). > > Ranko > Big Ranko is a wise man and would not steer you wrong on purpose! But there are a few flaws in his formula. The CD should be Charles Brown and when she is on her 3rd beer, tell her that her eyes are like a farm pond at dusk! Assuming straight-faced execution of this last tactic, missing Thackery and Margolin should cause no regrets! Willy "it-worked-on-my-wife" Evans ========================================================================= Date: Wed, 4 Oct 1995 15:09:05 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Star Spangled blues, Ray Charles sings I second Garry (and his darned Moodswingers) motion. Ray Charles's "America" should be the National Anthem. Do we have a quorum? :) I just ordered Ray's "Best of Atlantic" collection for $1.99. I don't have any Ray Charles in my collection, but I'm psyched to get this. Do any Blue-lers have this? How do you like it? Riffin Rick (((( oo-) /- blues "..from sea to shining sea.." F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 4 Oct 1995 12:21:00 -0700 Reply-To: NED_KRAFT@HP0000.DESK.HP.COM From: Ned Kraft Subject: Wells/Rogers et.al. Having seen one disappointing Junior Wells show and hearing bad things about his performances recently should I sit in traffic for 1.5 hours to see the following group? Anyone seen them together? Wells/Jimmy Rogers/Johnnie Johnson/Robert Lockwood, Jr. For Bay Area folk this is at Yoshi's in North Oakland. October 12-15. It's designed for jazz so should be interesting. Thanks, Ned ========================================================================= Date: Wed, 4 Oct 1995 14:18:27 -0500 Reply-To: Rob Varak From: Rob Varak Subject: Race Stuff (fwd) Attached is a post I sent back in May, which was the last time the race thing came up in strenght. I think it's every bit as valid now, so let me know what you think. Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ---------- Forwarded message ---------- Date: Wed, 24 May 1995 21:41:32 -0500 (CDT) From: Rob Varak To: blues mailing list Subject: Race Stuff Here we go again, but it wouldn't be blues-l without this discussion every so often. I heard an interesting statement about race and the blues from Pete Townshend. I've found him consistently insightful on a number of issues, and this really struck a chord. He was talking specifically about EC, but this is equally applicable to any white blues artist. He pointed out that when he was younger he didn't understand how a white musician could play, feel and emote in the context of blues. To him, EC was just going through the motions. Years later, he realized that at the root of the blues is longing, and as long as the artist genuinely feels that he is lacking something important in his life he will identify strongly with the blues. EC, for example, is still looking for something in his life and music that he has not been able to nail down. All you cynics can say, "sure, he's white, rich, famous etc.", but there's more to it than that. I'm not just talking about his son dying, or his drug problems. Even a cursory look at his life and history could easily lead one to the conclusion that he is just now doing what he _really_ wants to do. Play blues music and make it personal. EC arguments aside, I think Townsend made a good point. I am finally beginning to form a coherent thesis about race and the blues after years of wrangling. Like most art, blues appeals to people on a number of levels for a number of reasons. Primarily, blues is 1)pure entertainment 2)an individual expressing his personal anguish, joy, longing and fear 3) a manifestation of the black experience, culture and identity. There are others, but to me these are the essentials. When a white performer stands up to sing the blues, he or she will obviously be more adept at expressing in the first two categories than in the third. EC singing "Crossroads" obviously lacks the racial underpinnings that Robert Johnson's version creates. Similarly EC's version may evoke the personal "crossroads" in one's life in a more effective way. To say that race isn't a part of blues is as ignorant as saying that one must be black to be an effective blues performer. Neither absolute is right. Every blues performer brings a different perspective to the stage with him or her, and a blanket generalization is inherently discriminatory. The blues of the individual are as valid as the blues of the race. Sorry for the length, Rob PS L W, you may be opinionated, but you're no ass. Your opinions are why it's fun around here!! Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Wed, 4 Oct 1995 19:26:39 GMT Reply-To: Martin Doppelbauer From: Martin Doppelbauer Organization: HRZ, University of Dortmund, Germany Subject: Tony Joe White Comments: To: bit-listserv-blues-l@news.Germany.EU.net There has been some talk about Tony Joe White recently on this list. I'd like to add some information for those who are interested. First of all here's his discography: 1968: Monument Records "Black And White" Willie And Laura Mae Jones Soul Francisco Aspen Colorado Whompt Out On You Don't Steal My Love Polk Salad Annie Who's Making Love Scratch My Back Little Green Apples Wichita Lineman Look Of Love 1969: Monument Records "Tony Joe White ... Continued" Elements And Things Roosevelt And Ira Lee Woodpecker Rainy Night In Georgia For Le Ann Old Man Willis Woman With Soul I Want You I Thought I Knew You Well The Migrant 1970: Monument Records "Tony Joe" Stud-Spider High Sherrif Of Calhoun Parrish Widow Wimberly Conjure Woman Save Your Sugar For Me Groupy Girl Hard To Handle What Does It Take My Friend Stockholm Blues Boom Boom 1971: Dixifrog "Tony Joe White Live!" (recorded live on tour in Europe 1971) Roosevelt And Ira Lee A Night In The Life Of A Swamp Fox Rainy Night In Georgia Lustfull Earl And The Married Woman Willie And Laura Mae Jones My Kind Of Woman Mississippi River Travelin' Bone Back To The Country Polk Salad Annie 1971: Warner Bros. "Tony Joe White" They Caught The Devil The Change My Kind Of Woman The Daddy Black Panther Swamps Five Summers For Jimmy A Night In The Life Of A Swamp Fox Traveling Bone I Just Walked Away Copper Kettle Voodoo Village 1972: Warner Bros. "The Train I'm On" I've Got A Thing About You Baby The Family If I Ever Saw A Good Thing Beouf River Road The Train I'm On Even Trolls Love Rock'n'Roll As The Crow Flies Take Time To Love 300 Pounds Of Hongry The Migrant Sidewalk Hobo The Gospel Singer 1973: Warner Bros. "Homemade Ice Cream" Saturday Night In Oak Grove Louisiana For Ol' Times Sake I Want Love Homemade Ice Cream Ol' Mother Earth Lazy California On My Mind Backwoods Preacher Man Takin' The Midnite Train No News Is Good News Did Somebody Make A Fool Out Of You 1976: 20th Century Fox "Eyes" Soulful Eyes Susie Q You Tought Me How To Love You Are Loved By Me Rainy Day Lover We'll Live On Love Making Love Is Good For You It Must Be Love Texas Woman Hold On To Your Hiney Swamp Boogie That Loving Feeling 1980: Casablanca "?" - no info available - 1983: Columbia "Dangerous" Dangerous Naughty Lady Our Day Will Come If You're Gonna Love Somebody Swamp Rap Do You Have A Garter Belt Down By The Border Lady In My Life We Belong Together You Just Get Better All The Time 1991: Polydor "Clother To The Truth" Tunica Motel Ain't Going Down This Time Steamy Windows Good In Blues Love M.D. The Other Side Bi-Yo Rhythm Cool Town Woman Bare Necessities Undercover Agent For The Blues Main Squeeze Closer To The Truth 1992: TS RRC "Swampsnake Soul" (recorded live in Montreux 1992) Willie And Laura Mae Jones Do You Have A Garter Belt ? Undercover Agent For The Blues Tunica Motel Good In Blues Bayou Rhythm Ain't Going Down This Time Closer To The Truth Polk Salad Annie Main Squeeze Rainy Night In Georgia Steamy Windows Evan Trolls Love Rock'n'Roll 1993: Polydor "The Path Of A Decent Groove" On The Return To Muscle Shoals Catawalling Alley In Nice I Want To Be With You Backside Of Paradise Mojo Dollar Way Down South Tina Jaguar Man Up In Arkansas Always The Song 2 Hot 4 U The Coldness Of The Chain The Path Of A Decent Groove 1995: Polydor "Lake Placid Blues" Lake Placid Blues Menutha Paris Mood Tonight Bayou Woman The Guitar Don't Lie Let The Healing Begin Louisiana Rain The Beach Life High Horse These Arms Of Mine Wampus Kitty Yo Yo Man / Garter Belt Down Again I'll Make Love Good For You Furthermore some "Best Of" albums were released through the years: 1975: Warner Bros. "Best Of TJW" (14 songs) 1993: Warner Bos. "The Best Of TJW" (20 songs) 1994: Movieplay "The Best Of TJW" (2 Cds, 24 songs) With the exception of "Eyes", the 1980 album from casablanca and "Best Of TJW" all of the above are/were available as compact discs. The list *may* be incomplete as it only lists the TJW albums I have in my collection. If you happen to know some more albums or can tell anything about the 1980 release on the casablanca label then please tell me ! Looking at TJW's career you can very cleary see three periods: - from 1968 - 1973 he did several very good soul/blues and "swamp-music" albums. Several of his songs were coverd by other popular artists (Elvis, for instance, sang three of his songs: "Polk Salad Annie", "I've Got A Thing About You Baby" and "For Ol' Times Sake", Tina Turner sang "Steamy Windows" and a lot of people covered "Rainy Night In Georgia") - from 1976 - 1983 he tried his first comeback with some sort of disco-music (forgettable) - in 1991 he actually had a second comeback with the album "Clother To The Truth". Later came "The Path Of A Decent Groove" (which is boring to death!) and "Lake Placid Blues" (which IMHO is one of his best albums ever). BTW, Tony Joe White was born 1943 on a cotton farm near Oak Grove, Louisiana. He was the youngest of seven children. Now, that's all I know. As I said above, If anybody has further information, PLEASE tell me! Regards Martin Doppelbauer, Germany martin@nuertingen.netsurf.de ========================================================================= Date: Wed, 4 Oct 1995 19:26:33 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Subject: Re: WILLIE BROWN Comments: To: bit-listserv-blues-l@uunet.uu.net In article , L W says: > >I was wondering, why do you think Willie Brown, who was there when Son House, >RJ....etc was doing their thing, never got the attention he deserved .... This has always seemed a mystery to me as well. He certainly seemed to have talent backing others. >I also think HC Speirs(sp) is not recognized enough for his part in the >early blues scene......Just kind of curious to what others thought and trying >to get away from recent threads........ If I remember correctly the magazine 78 Quarterly (which BTW is lucky if it comes out once/year) had quite a bit to say about HC Speir in a series of articles which discuss the Paramount label. He was a primary source for talent searches for the label. I'll dig out and dust off my copies later and see what I can find on the man. Art Schuna ========================================================================= Date: Wed, 4 Oct 1995 14:02:24 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: E.C. reviews: Chicago2, best, worst Comments: To: slowhand@daacdev1.stx.com Part 3 "A couple of songs by Freddy King" introduces the Red, Cream era, Gibson ES-335 for "Someday After A While", entirely tastily and not the same as on the LP. He's experimenting with it. "Tore Down" follows and the crowd is rockin'. Me, I'm waiting for "Have You Ever Loved A Woman", the best performance from the St. Pete show. And it's good. One sort of misses the frailty and staggering uncertainty of his voice from the "Timepieces" era but you know that he's just as vulnerable to this song as ever. His eyes are closed the whole time. I don't know how he finds his way back to the mic, I honestly don't. The band has paid attention over the tour and horn stabs exclaim every once in awhile when Eric lays back. And he does lay back. It's not all Clapton riffs. He holds some mid notes longer than I ever remember, shaking them at the end. Staying on one note and strumming the hell out of it in the second lead break after the modulation. Then going high and repeating the same bend without fear of boring the audience. More Clapton licks appear but I've never heard him play like this before. Every beat is *not* filled with a new note! Wow, he's getting better. Always the master technician, not always the most moving player, he's getting there. "Willie and the Hand Jive" starts. Not too many Chicagoans are surprised this time around. They know it's "Crossroads". No white lights to signal the rush to the stage, as usual. Those who try are quickly, and peacefully I might add, ushered back. A white Strat w/ Lace was brought out on this tune and the classic Clapton midrange honk of the in-between pickup positions is there. The crowd slowly gets to it's feet, not the usual instantaneous rise. I'm waiting for enough of my neighbors to get up so that the light on my stopwatch doesn't annoy any security people when I turn it on to check levels... err, the elapsed time. The sound guys pump up the level when critical parts of some songs are reached, in order to heighten the impact. This works very well, and is so subtle that I have to constantly keep an eye on it... so my stopwatch doesn't overload. I got pretty good at telling when they would do that. It is definitely a 'what's most popular with the average Clapton attendee' phenomenon. That's when they do it I'm dancing my butt off. My neighbors are on a different beat than I am, though, I'm into the Reggae upbeat. They probably think I'm a real uncoordinated dork. Carla and I keep bumping together but she doesn't seem to mind. Of course, I'm lovin' bumping into my sweet wife Judith, who's happy as a Seattle gooeyduck (clam) at high tide (no Seattlites diggin in the muck at high tide). Good applause mark the end of the song. "Five Long Years" becomes very Claptonesque for the last half. That honky midrange middle pickup, neck pickup combination and ringing is there in all it's glory to be acknowledged as part of who the man is. Then it's back to standard Blues riffs - bring it down, and then wail up high. The crowd goes nuts. Good use of tension and release. Andy again is all over the fretboard filling spaces here and there, really great. Jerry puts in a good solo getting raves from the crowd. Eric picks up a rose and sets it on one of his amps, walking out of the spotlight. While everyone else is soloing, Eric is sitting down on the drum riser drinking water from a Red 16 Oz. Solo cup and wiping off. Now is the time to get a candid look at the man. Slowly he starts doodling on his axe, turning the volume up after each phrase. He has the look on his face of a musician, doing a gig he enjoys, responding to well placed riffs by whomever is soloing at the moment. Looking at the soloist with complete respect and concentration. Hearing what is being played. He responds with a phrase or two and his brow wrinkles up as he does it - that's an "Uhh Huh, Oh Yeah, Yeah Yeah, Got it, Ummm Huh" Albert King-ism. Suddenly there are no longer *any* doubts in my mind about this man's sincerity in playing the Blues. He gets louder and eventually rises to continue the song, with a big smile on his face - it was very rewarding taking a break and listening. Eric comes back in ala Freddy King, then goes Claptonesque with the great dynamic variation he's known for during quiet segments. He's speaking his mind. Then back to tasty Blues riffs and a bit of Albert King. No "Phewww" ending, that was insincere after RAH, or he didn't feel it, I guess. Chuck leans over and, clearly speaking into my... stopwatch, says that Buddy Guy and Lonnie Brooks are in the audience. He asks what the last song will be and I figure we're in for a double treat, an encore of "T'aint Nobody's Business" (as usual), followed by a jam w/ Buddy and maybe Lonnie on "Sweet Home Chicago". I tell him this (clearly into my stopwatch). One thing that irritates me is that when I'm about to burst to hear him go up the fretboard or bend the shit out of a note, he goes down doing that fast run that he does so well (and that I haven't the slightest idea how to play and only a mild desire to... 'God I wish I knew how to do that' - o.k., it's not so mild). I'm waiting for him to go where Otis or Albert would go. He did give me my release more often than ever before during this concert, not enough mind you, but more. I wonder why. I know as a guitarist that I get sick and tired of always playing the same riffs that are my internal repertory. As I play other peoples stuff in their style, focusing on getting the essence of their style across, if not the literal reiterations, I find it freeing in that I am not forced to rehash my internal cache of riffs, but to use the vocabulary of the original artist (with my own mistakes, embellishments, take offs, and feeble attempts). This is freeing instead of confining, You are confined to the vocabulary, but you are free to use it and it is something new - new rules. Like 7 card draw poker, 3, 5, and 7 wild, Ace you're out, King you get another card, OR, you busted your high E string and now you've got to transpose. I *know* that's what's happened to Eric, and I *know* that's why he loves playing these tunes relatively straight. When they come back it's for "Sweet Home Chicago" only, with Buddy. It looks like Buddy is using one of Eric's Cream Strats and he's more distorted, so he's probably using the new amp (whatever replaced the Soldano). Eric is probably using the vintage Fender Twins. Eric and Buddy trade measures and even half measures back and forth before Eric starts singing. The sharpness of each guy is astounding - not treading on the other, perfectly in sync, ping ponging back and forth. The vocals start and, of course, the whole crowd is singing along. Then Eric takes most of another solo and passes the ring to Jerry - no Andy does not solo! Then Chris lays down some Barrelhouse piano and it's back to the vocals. Eric begins taking alternating leads with Buddy, then takes most of them, then they play at the same time with Buddy repeating Eric's licks - sort of. They play in unison for a few measures and the crowd goes nuts.. as they climb up the neck. It is awesome. When the song ends, Chicago says I love you and expects another encore, but "Happy Trails" (which I still have a yellow vinyl original 45 of by Roy Rogers and Dale Evans) plays and the lights come up. At least there were no calls for "Layla" here. We go see if we can get picks and Lee throws 2 down on the floor but nobody we know gets to them. So it's out into the halls where we say goodbye to Dave Hillman and finally run into Kathy and Dean Hass and entourage. Dean gave me a tape of himself with Jimmy Rogers and Big Walter Horton (I drooled all over, let me tell you!). Then up comes Andy Zwick, from "Where's Eric", looking a bit harried and carrying a bag of stuff. We get to talking, he finds out we're "the Albert Hall guys on slowhand" and I end up buying the latest issue of the mag which causes Dean and somebody else to buy one. Nobody seems to want to go down to Buddy Guy's Legends to hear John Duich and Blue Ballz or eat fried chicken (John plays a Silvertone for a song or two that he has modified with a custom bridge made out of a hunk of metal that give the axe a sitar twang - it's a kind of psychedelic era song). So, we went down to Buddy's by ourselves. When we got there, there was a line half way around the building and the police and fire marshall were there. I was trying to get near the door to get in on the guest list and a limo pulls up. Out comes Eric and he heads for the stage door entrance which is where I told Judith to wait. He brushed past her and into the club, sat down and listened to some Blues. There were reports that he was just listening and wasn't going to play so we chucked it in and headed for a restaurant. Judith had the realization that she wasn't thrilled or gaga over the incident. She said, "I was unimpressed. Now what interests me is his playing. Not his stardom". Ya' never know when this woman is going to come through with some sage wisdom of transcendence. I love her. Judith and I both said the next day that we weren't bored at all, unlike most of the last 2/3 of the St. Pete show. This definitely rates at the top! --------------------------------------------------------------------------- Honorable mention goes to '93 for the prototype "Nothin' But The Blues Show" and '94 because Judith got to hear "Layla" and "Wonderful Tonight", etc. -------------------------------------------------------------------------- Disappointing shows: -------------------------------------------------------------------------- 1. Thunderdome, St. Petersburg, Oct. 7th 1995: Row 30, Left Section , Center Aisle The sound was *loud* and some speakers were blown, more blew at the end of night. E.C. played the first 1/3 with fire. Then things deteriorated. I think they were turned off by the crowd or just became tired. The audience talked non-stop and went for beer constantly. The only real highlight of the remainder was "Have You Ever Loved A Woman", which may have been the best I've seen. We were empathizing with Eric as he rocked back and forth and squeezed emotion out of the guitar. He never opened his eyes. We both felt like the whole set list was getting boring and worn out. We loved the company we kept while there, though. --------------------------------------------------------------------------- 2. Royal Albert Hall, London, Feb. 27th 1995: Rows 10, 12, 13, 16, Main Floor, Center Aisle A good show. But our previous show was Chicago Oct. 21, 1994. This seemed a bit lazy. Not inspired. Plus "Double Trouble" was not played, Nor was "Got My Mojo Workin'". Still, it was a good show - we expected a great show, of course. Hey, you have your off nights and you often have no control over the muse! ========================================================================== Chicago Set List Oct. 24th, 1994 [Acoustics - wasn't looking at the guitars, but should have been...] [The new Martin Eric Clapton Signature Guitar] Motherless Child [Dobro, wood body] From 4 Until Late [Martin again?] Malted Milk [Gibson Super 400 CESN or L5CESN or maybe Birdland, Natural, 2 P90's] How Long Blues Kidman Blues Cut Your Head [Gibson ES-125TD or ES-175, Tobacco, 2 P90's, stop tailpiece and tune-o-matic, Pineapple headstock inlay w script logo] 44 Blues Blues Leave Me Alone [Fender Stratocaster, Black, single coil pickups] Standing 'Round Cryin' [Fender Stratocaster, White, single coil pickups] Hootchie Cootchie Man [Gibson Super 400CESN or L5CESN or Byrdland, Natural, 2 P90's, Gold crossed X tailpiece with straight top, tune-o-matic bridge with wooden base, block fretboard markers, pointed scalloped end of fretboard, Torch headstock inlay, triple white and black binding.] It Hurts Me Too Blues Before Sunrise [Gibson ES-335, Tobacco, humbuckers, stop tailpiece and tune-o-matic] Third Degree Reconsider Baby Sinner's Prayer Every Day I Have The Blues [Fender Stratocaster, White, Lace Sensors] Groaning the Blues Before You Accuse Me [Gibson ES-335, Red, humbuckers, stop tailpiece and tune-o-matic - the Cream guitar] Someday After a While Tore Down Have You Ever Loved A Woman [Fender Stratocaster, White, Lace Sensors] Crossroads Five Long Years Encore: Sweet Home Chicago w/ Buddy Guy on One of Eric's white Strats Goodbye muzak: Happy Trails To You ========================================================================== On Tue, 26 Sep 1995 11:36:57 -0500 (CDT) Rob Varak wrote: >Michael, > The good news is I went to the show. The better news is...HOLY >SHIT! Have you ever seen him play better? That was like my 6th or 7th >show, and it was _by far_ the best I've seen! He was singing like his >life depended on it. I suppose it was due in part to the fact that it >was the last night of the tour, and maybe b/c Buddy was there. >Unbelievable show. I just wonder what his next move is. > > Seeya, > Rob > >Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu >LaGrange, Il USA >"Giving money and power to government is like > giving whiskey and car keys to teenage boys"--P.J. O'Rourke > ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Wed, 4 Oct 1995 14:28:29 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re: Whose blues Comments: To: Bonnie Kalmbach Bonnie said: This is true to some extent - but I don't think you can deny that there is a very distinctive flavor, approach, style to music, food, humor, etc that was created by people of African descent in this country - due to segregation keeping them outside of the mainstream. African American culture is a very rich culture and we should all should take delight in it and stop denying that it exists. We are not culturally homogenous nor should we want to be. Life would be very boring if it were so. -Bonnie I believe you could substitute almost any racial, ethnic, religious, or gender group in place of "African" in this observation and preserve the veracity of it. We're not denying it exists. But we ARE Americans first, if we were born and raised in this culture. If you don't feel that's true, whether you are African-, Irish-, British-, Arabic-, Jewish-, Chinese-, or Whatever-American, then please, visit the country of "your" origin and see how you are perceived by the natives of that land. I've done it (three times), and believe me, no matter how proud I am of my "Irish" heritage, I AM an American. Skin color (or hair color, or eye shape, or body size, or ...) does NOT a culture make. Culture is environment, NOT genetics. And if you ask a geneticist, you'll find that ALL human beings are 99% similar in their genetic make-up. I'm growing a little tired (obviously) of the mythos some people seem to need to perpetuate concerning the "ownership" of blues. We won't deny or change its history and origins, but I really think it's a bunch of fantasy AND stereotyping to think that ONLY people of African genetic makeup can REALLY understand and feel the blues. You'll find horrible opression, suffering, and human mistreatment in ALL cultures. And you'll find a HUMAN response through music to go along with it. And another point to ponder before I run off to a meeting; if blues is solely an "African-American" thing and only black people (even younger black people born and raised in this "American" culture) can truly understand and play and sing the blues (and the rest are imitators), where does this put folks of mixed-race heritage? Partially capable of *really* feeling and understanding? Go ahead, flame me. I'm cranky today anyway. Shannon ========================================================================= Date: Wed, 4 Oct 1995 15:11:38 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: Re: GRAVE MARKERS > Sam "Lightnin'" Hopkins died January 30, 1982, and was buried at > Forest > Park Cemetary on Lawndale in section 11. Located at 6900 > Lawndale, > 713-928-5141. Let me just add that this is in Houston, Texas Don O. ========================================================================= Date: Wed, 4 Oct 1995 11:26:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Re: rock influenced blues Comments: To: willy@LIGHTNIN.BREVARD.EDU Rock isn't the only type of music currently influencing blues - Big Jack Johnson is influenced by country music, Donald Kinsey by reggae, and Fenton Robinson by jazz, Michael Hill by hip-hop and rap, many others were and *continue* to be influenced by gospel and soul. -Bonnie >Subject: rock influenced blues > >This rock influenced blues we speak of may be what the blues has become. >Most of the players in our generation went through the 60's. Our model >for a band is based around guitar/bass/drums and not clarinet, piano, >banjo or what ever. We spent our wonder years, for the most part, hearing >rock/pop music. Blues has changed, possibly, into this "rock influenced" >music we are talking about. I would like to suggest that people of our >generation who play what some people call real blues are just imitators >of older blues as they are not being true to THEIR roots and influences. > >Just a suggestion , mind you! > > Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu > **** the hounds begin to bark **** ========================================================================= Date: Wed, 4 Oct 1995 15:29:01 CST Reply-To: JBards From: JBards Subject: Re: Decisions decisions Comments: To: BRENTS@CLEMSON.EDU Yikes!!! Maybe sell some plasma and go to both? Got me through my first year of my Ph.D. program and they gave out great chocolate chip cookies, besides. -Jim _______________________________________________________________________________ Subject: Decisions decisions From: BRENTS@CLEMSON.EDU at INTERNET-SH Date: 10/4/95 12:38 PM OK here is the situation: Poor college student would like to go to a show, his choices are Thackery and Margolin. Where should he go?? ========================================================================= Date: Wed, 4 Oct 1995 15:32:32 CST Reply-To: JBards From: JBards Subject: Re[2]: Help me make my choice !!! Comments: To: Ted Gurley Hmm, I saw Mooney at the JazzFest last year and while he's okay, I wouldn't call him /great/. I'd be much more impressed with Jim Suhler, Buddy Flett (The Bluebirds) or Anders Osborne, among contemporary comparisons. They're each probably less in the traditional vein than Mooney, but much more exciting/fun and IMHOP much more adept at on slide. -Jim _______________________________________________________________________________ Subject: Re: Help me make my choice !!! From: Ted Gurley at INTERNET-SH Date: 10/4/95 1:22 PM Mark, Both shows have their high points. However, I would vote for the casino show if you haven't seen John Mooney live. He's a great slide player. However, since you play piano, Pinetop is a don't miss. Hmmmm, you can always flip a franc heads Muddy, tails Mooney. Ted ------------------------------------- 10/04/95 12:26:21 Ted Gurley - Dallas, TX E-mail: tgurley@.onramp.net http://rampages.onramp.net/~tgurley ------------------------------------- ========================================================================= Date: Wed, 4 Oct 1995 16:33:16 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0642 From: "DUTTWEILER.J" Subject: Racist Test TO: Internet FROM: DUTTWEILER.J@GOMAIL SUBJECT: Racist Test In discussing the issue of racism with a co-worker (who was a black female, while I am a white male) a few years back, she described to me a sermon her pastor preached the past Sunday. While not remembering all the particulars of what he said, it was basically a diatribe against white people in general. I told her I thought her pastor was racist. When she protested, I simply said to substitute "black" for "white" and vice versa in everything he said and imagine it coming from the mouth of a white man and see if she didn't think *that* was racist. She had no answer for that, because the truth was patently obvious. I have found this is a good general test - for oneself as well as others. BTW, the coworker and I were, and are, very good friends and have had many similar conversations over the years. And she doesn't like the blues at all, while I basically listen to nothing else (save some sixites and early seventies rock). Jon (just putting my two cents in) Duttweiler ========================================================================= Date: Wed, 4 Oct 1995 15:36:24 CST Reply-To: JBards From: JBards Subject: Re[2]: Decisions decisions Comments: To: Willy Evans Exactly, the "let me roll your lemon" lne must be construed as politically incorrect at that particular school ( or maybe not). Perhaps he should declare a business major and offer to balance her accounts, liquify her assets, or something along those lines... Jim _______________________________________________________________________________ Subject: Re: Decisions decisions From: Willy Evans at INTERNET-SH Date: 10/4/95 2:55 PM On Wed, 4 Oct 1995, Ranko Vujosevic wrote: > Poor college student should not make poor choice. Here is what > you should do: Forget Thackery and Margolin, spend the money > buying some good CD (say Otis Clay's "I'll treat you right", > pick-up a poor college girl, buy a six-pack, put on CD, and > tell her "Let me roll your lemon" (Bo Carter, buy this if you have > some money left). > > Ranko > Big Ranko is a wise man and would not steer you wrong on purpose! But there are a few flaws in his formula. The CD should be Charles Brown and when she is on her 3rd beer, tell her that her eyes are like a farm pond at dusk! Assuming straight-faced execution of this last tactic, missing Thackery and Margolin should cause no regrets! Willy "it-worked-on-my-wife" Evans ========================================================================= Date: Wed, 4 Oct 1995 15:55:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Re: Whose blues Comments: To: shannon_oconnor@kdc.com There's nothing to flame - I didn't say only one group of specific people could play blues - but there *are* often differences in approach by the traditional older black bands that I favor - e.g. Muddy, Wolf, Willie Dixon to the contemporary Willie Kent vs. younger all-white heavily rock-influenced bands. There is a black sound and a white sound and many variations in between. I have friends who will concede this point and thoroughly enjoy all kinds of blues - which is perfectly OK. I just happen to be like LW in preferring a black sound or feel - and pigmentation is not necessarily a part of that sound - although it often accaompanies it. I basically want African American blues musicians to get the credit and fame and money for the music their ancestors created - but it's too bad that the Claptons, and Mayalls and the Vaughns (who are not unworthy) get more of it. It should be, IMO, the other way around. As a matter of fact, in part of the PBS rocknroll special I missed, I was told that the was a segment where Clapton and other British blues musicians were surprised and embarassed that young white Americans were ignorant of Muddy, Wolf, and others they were idolised in Britain!! -Bonnie > I'm growing a little tired (obviously) of the mythos some people > seem to need to perpetuate concerning the "ownership" of blues. We > won't deny or change its history and origins, but I really think > it's a bunch of fantasy AND stereotyping to think that ONLY people > of African genetic makeup can REALLY understand and feel the blues. > You'll find horrible opression, suffering, and human mistreatment > in ALL cultures. And you'll find a HUMAN response through music to > go along with it. > > And another point to ponder before I run off to a meeting; if blues > is solely an "African-American" thing and only black people (even > younger black people born and raised in this "American" culture) > can truly understand and play and sing the blues (and the rest are > imitators), where does this put folks of mixed-race heritage? > Partially capable of *really* feeling and understanding? > > Go ahead, flame me. I'm cranky today anyway. > > Shannon > > > > ========================================================================= Date: Wed, 4 Oct 1995 16:02:00 CDT Reply-To: Joe Mayes From: Joe Mayes Subject: Re: next Blues-l South Texas get-together (fwd) Comments: cc: William Shute , Jeff Seale Jeff and Bill, You guys are in for a DOUBLE treat Friday night at Billy Blues! Tracy Conover will be opening for Joe 'Guitar' Hughes. Tracy and Joe will certainly make for a night of great music. In case you have not seen Tracy Conover live, here is a copy of my review of one of her Dallas gigs. Tracy was in Dallas last night for the 6th Annual SRV Birthday Jam at Blue Cat Blues. Without a doubt, Tracy was one of the highlights of the night. Best Regards, Joe Mayes Dallas, The Republic of Texas -------------------------------------------------------------------- TRACY CONOVER Blue Cat Blues Dallas, Texas May 26, 1995 Awesome Guitar Mistress There is nothing quite like being ill prepared and unsuspecting. I am unable to offer any excuses. I had Tracy Conover's demo tape of Blues originals well in advance. Her rhythm section on the demo tape is one of the best, Chris Layton and Tommy Shannon [aka Double Trouble]. Tracy played guitar and toured with Blues masters Albert Collins and Earl King. Very positive reports were received from several people in the know. With all this advance information, I knew what to expect, or so I thought. Two songs into Tracy's first set at Blue Cat Blues, a realization of clue-less-ness struck me like a bolt of lightning. I was not ready for the raw, silky smooth, incredible tone that Tracy was squeezing and nurturing out of her vintage Strat. Nor was I ready for her exquisite dynamics and flawless execution. In retrospect, nothing could have adequately prepared me for such an awe-inspiring, soul-stirring guitar mistress! Tracy Conover's power trio is; Tracy [lead/rhythm guitar and vocals], Chris Brewer, ex-Bugs Henderson's Shuffle Kings [bass], and Chris Sipe pinch-hitting on drums. Tracy makes minimal use of effects pedals or other equipment gizmos. She makes it appear deceptively easy, not unlike other great guitarist. Her vocals are strong and capable, belying her physical stature. The two Chris's kept the beat steady and provided a solid foundation for Tracy to do her magic. Tracy Conover thoroughly entertained an appreciative Blue Cat crowd with original and cover tunes during two sets of high energy, blues bliss. Cover tunes are always interesting because they provide a reference point. They are also very difficult to do well. Tracy did a magnificent job of covering some of Blues greatest; Freddy King, Earl King, Buddy Guy, Otis Rush, and Jimi Hendrix. Tracy's personalized renditions captured the spirit and essence of the originals. More importantly, her hybrid versions evoke pure admiration and respect. In a display of true versatility, Tracy honored a request from the audience to "play something nasty". She answered the call with a James Brown R&B tune that was so nasty and fierce, it would have made Mr. Brown blush had he been there. Another of the many highlights of the night was when Christian Brooks sat-in during part of the second set. Christian played the drums and a mean slide guitar. To Tracy's credit, it takes a confident and unselfish musician to allow impromptu sit-ins. Tracy Conover has an engaging, exciting, and unique style. Her May 26th Blue Cat Blues show was superb. A million thanks to Doug at the Blue Cat for bring such a fine act to Dallas. by Joe Mayes Reprinted with permission - Jam Magazine - Dallas/Ft. Worth, Texas Copyright 1995 ------------------------------------------------------------------ On Wed, 4 Oct 1995, Jeff Seale wrote: >Here's just a friendly little reminder about this week's South Texas >Blues-L get-together. Hope to see all of you there. [cut] >---------- Forwarded message ---------- >From: Bill Shute > >Jeff Seale and I would like to invite all blues-l persons and their >friends and anyone else WITHIN DRIVING DISTANCE to our next get- >together in San Antonio, on Friday night, October 6-- > >an evening with Houston's bossman of the blues, >the great > >JOE 'GUITAR' HUGHES > >@ Billy Blues >Broadway and Grayson >San Antonio, TX >for choice seating, try to be there by 8:30-8:45 >cover is approx. $7.00 >Friday, October 6 MARK THAT DATE ON YOUR CALENDAR [cut] >IF YOU WANT TO SEE THE BLUES, you'll want to see, hear, and experience > >J O E 'G U I T A R' H U G H E S > >Bill Shute >San Antonio, TX ========================================================================= Date: Wed, 4 Oct 1995 15:40:36 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Another passing I'm sorry to announce the death of Junior Wells' mother Lena Blakemore. Anyone who knows much about Junior knows how close they were; they still lived together until her death. I don't think I want to know how Junior "took care of it" after some neighborhood idiot accidentally shot her last year. The funeral is Thursday, 1:30 P.M. at A.A. Rayner, 318 E. 71st, Chicago. If anyone wants to send flowers, Rayner referred to me a florist with phone number 312-721-3307. ========================================================================= Date: Wed, 4 Oct 1995 15:18:17 -0700 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: Re[2]: Decisions In-Reply-To: <9509048128.AA812845886@mail-sh.lsumc.edu> Jim had this to say: > Exactly, the "let me roll your lemon" lne must be construed as politically > incorrect Would "Jump Your Bones" be a politically correct 90's type thing to say? %) RW ========================================================================= Date: Wed, 4 Oct 1995 14:23:49 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: HAPPY BIRTHDAY, LARRY COHN - ROOTS N' BLUES SERIES PRODUCER (pt 1 of 3) Comments: To: BluesHvn@aol.com Comments: cc: dcicchet@VEGA.LASIERRA.EDU A TRIBUTE TO LARRY COHN - ROOTS N' BLUES SERIES PRODUCER pt 1 of 3 As this list has almost doubled since I posted this tribute last October 04, I'm reposting it. Also, in the light of a thread of a few weeks ago, I believe Sony's LEGACY label is another of those "can't lose" label, if only because Larry Cohn is involved. It helps to have someone at the helm who not only knows his material but also knows who to call upon for help. The CD notes, for example, in Legacy's ROOTS N' BLUES SERIES are all written by authorites. People like Bruce Bastin, Sam Charters, Dave Evans, Pete Welding, etc all respected authorites. Also, this series is sometimes the only place you can find certain recordings. For example, LEGACY 53234 : BLIND WILLIE MCTELL - THE DEFINITIVE is a 2CD set contains his complete Columbia/Vocalion tracks, including 3 tracks that have never been issued before, not even on the JEMF album of a few years ago devoted to these Art Satherley acetates. Yes, their not even on the Document CD series devoted to the complete McTell! Let me give you another example. Take LEGACY 52835 : BLIND WILLIE JOHNSON - THE COMPLETE RECORDINGS (2CD) - a 2CD set which won the Grand Prix Du Disque. Granted these recordings are now over 65 years old, so don't expect 'stereo' but of all the Texas-born bluesman, gospel evanglist Blind Willie Johnson stands very tall, right along with Blind Lemon Jefferson & T-Bone Walker. His recording of "Dark Was The Night, Cold Was The Ground" is a slide guitar masterpiece. And finally, the 24K-gold version of Robert Johnson's 1st Columbia album - LEGACY 52944 : ROBERT JOHNSON - KING OF THE DELTA BLUES SINGERS. Mastered from first generation acetates & long lost original 78s - which were not available during the time the 2CD Complete set was in production - I must say that *I* can here the sound difference. A few months ago my good BLUES-L friend, Don Cicchetti, gave us a detail review of this CD in which he brings to question the 'improved' Super Bit Mapping (SBM) sound reproduction. I have to say that I've lived with this new 24K version now for nearly a year & I must say I enjoy this sound. I have a reel-to-reel tape of these recordings, taken from the original 78s, and I have to say that this 24k CD approaches that sound, with the exception that the CD has less surface noise. It could be that I like this CD because I've always thought that the first album contained the best of RJ's recordings, so I'm predisposed to liking this sequence of tracks. Also, I do respect Larry Cohn's efforts and I just don't believe that he would waste his time remastering & issue this CD if he didn't feel it improved the sound substantially. Anyway, I'm not surprised at the different views held by some of the blues-l experts with whom normally I would not dare to cross swords. However, and here I paraphrase H. A. Stoner, "since they disagree among themselves, I take courage, safe in the knowledge that whatever I say, at least one will back me!" HAPPY BIRTHDAY, LARRY COHN! And thank you for all you've done to promote blues in America. ========================================================================= Date: Wed, 4 Oct 1995 14:26:55 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: HAPPY BIRTHDAY, LARRY COHN - ROOTS N' BLUES SERIES PRODUCER pt 2 of 3 Comments: To: BluesHvn@aol.com Blues Scholar, author & ROOTS N' BLUES series producer LAWRENCE COHN was born on this day. His 1993 book NOTHING BUT THE BLUES : THE MUSIC AND THE MUSICIANS (Abbeville Press, 1993) is one of the best books ever written on the blues. I first became aware of him through his early albums notes for BLUESVILLE/PRESTIGE (Rev. Gary Davis, K. C. Douglas), ELEKTRA (Leadbelly Library of Congress set), BIOGRAPH (Blind Lemon Jefferson, Ma Rainey), PIEDMONT (Mississippi John Hurt) & BELZONA/YAZOO (Blind Willie McTell). He also wrote some of the first articles on Son House & Mississippi John Hurt, published in Saturday Review, Sing Out!, Sounds & Fury and Down Beat in the early 60s. He also was head of PLAYBOY Records, releasing (in 1972) Leadbelly's June 1949 University of Texas, his last concert. In the late 60s, he was also A&R Chief for EPIC Records, signing Johnny & Shuggie Otis. Of all the great reissues in the ROOTS N' BLUES series, I consider LEGACY 47911 : ROOTS N' BLUES - RETROSPECTIVE 1925-1950 (4CD) one of the best of the lot. The 4CD set belongs in everyone's CD collection. The set was dedicated to one of his mentors, Harry Smith (1923-1991) - "folklorist, filmaker, anthropologist & visionary" & compiler of Folkway Records' legendary 1953 set, "Anthology of American Folk Music". LAWRENCE COHN is one of the leading blues authorities & the fact that he works at SONY/CBS guarantees us that the ROOTS N' BLUES series is compiled with knowledge, love & care. HAPPY BIRTHDAY, LARRY COHN! And thank you for all you've done to promote blues in America. pt. 3 of 3 will be a a listing of the complete ROOTS N' BLUES SERIES. ========================================================================= Date: Wed, 4 Oct 1995 14:36:15 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: HAPPY BIRTHDAY, LARRY COHN - ROOTS N' BLUES SERIES PRODUCER pt 3 of 3 Comments: To: BluesHvn@aol.com This is a complete CD discography of SONY/LEGACY's ROOTS N' BLUES SERIES. I consider this series essential, especially if you're just beginning to collect pre-1943 blues & gospel. And if you're a long time fan, this series has a few gems that are only available in this series. New releases in the series are expected in 1996. SONY/LEGACY : ROOTS N' BLUES SERIES (* CONTEMPORARY BLUES MASTERS) ======================================================================= *46172 : MUDDY WATERS - BLUES SKY 46215 : VARIOUS - LEGENDS OF THE BLUES 46216 : WILLIE DIXON - THE BIG 3 TRIO 46217 : VARIOUS - NEWS & THE BLUES : TELL IT LIKE IT IS 46218 : VARIOUS - THE SLIDE GUITAR : BOTTLES, KNIVES & STEEL 46219 : BIG BILL BROONZY - GOOD TIME TONIGHT 46220 : VARIOUS - CAJUN : V. 1 1929-1939 46221 : LONNIE JOHNSON - STEPPIN' ON THE BLUES 46222 : ROBERT JOHNSON - COMPLETE RECORDINGS (2CD) 46775 : MEMPHIS MINNIE - HOODOO LADY 1933-1937 46776 : LEADBELLY - KING OF THE 12-STRING GUITAR 46777 : BLIND BOY FULLER - EAST COAST PIEDMONT BLUES 46779 : VARIOUS - PREACHIN' THE GOSPEL : HOLY BLUES 46780 : VARIOUS - GOOD TIME BLUES : HARMONICAS, KAZOOS, WASHBOARDS & .. 46783 : VARIOUS - RAUNCHY BUSINESS : HOT NUTS & LOLLYPOPS 46784 : VARIOUS - CAJUN DANCE PARTY : FAIS DO-DO 47060 : VARIOUS - GREAT BLUES GUITARISTS : STRING DAZZLERS 47091 : BESSIE SMITH - COMPLETE RECORDINGS V. 1 (2CD) 47465 : VARIOUS - BEAUTY OF THE BLUES 47466 : VARIOUS - WHITE COUNTRY BLUES 1926-1936 : A LIGHT SHADE ...(2CD) 47467 : VARIOUS - LEGENDS OF THE BLUES V. 2 47471 : BESSIE SMITH - COMPLETE V. 2 (2CD) 47474 : BESSIE SMITH - COMPLETE V. 3 (2CD) 47911 : VARIOUS - ROOTS N' BLUES - RETROSPETIVE 1925-1950 (4CD) 48867 : SON HOUSE - FATHER OF THE DELTA BLUES - COMPLETE 1965 ... (2CD) *52465 : TAJ MAHAL - TAJ'S BLUES *52466 : JOHNNY WINTER - SCORCHIN' BLUES 52725 : VARIOUS - THE SLIDE GUITAR : BOTTLES, KNIVES & STEEL V. 2 52782 : BUKKA WHITE - THE COMPLETE 52834 : CHAMPION JACK DUPREE - N. O. BARRELHOUSE BOOGIE 52835 : BLIND WILLIE JOHNSON - THE COMPLETE RECORDINGS (2CD) 52838 : BESSIE SMITH - COMPLETE V. 4 (2CD) 52933 : BROWNIE MCGHEE - THE COMPLETE (2CD) 52944 : ROBERT JOHNSON - KING OF THE DELTA BLUES SINGERS (24 K GOLD DISC) 53234 : BLIND WILLIE MCTELL - THE DEFINITIVE (2CD) 53235 : TAMPA RED - THE GUITAR WIZARD *57630 : ELVIN BISHOP - TULSA SHUFFLE : THE BEST OF *57631 : MICHAEL BLOOMFIELD - ESSENTIAL BLUES 1964-1969 *57829 : LONNIE JOHNSON - STOMPIN' AT THE SAVOY (w/JIM MCHARG'S METRO...) *57903 : SHUGGIE OTIS - SHUGGIE'S BOOGIE : PLAYS THE BLUES ========================================================================= Date: Wed, 4 Oct 1995 16:39:25 -0500 Reply-To: dwhite From: dwhite Subject: Re: GRAVE MARKERS Weldon "Juke Boy" Bonner died 29 June 1978 buried Rest Lawn Cemetary 8400 Wheatley Houston 713-448-6963 Harding "Hop" Wilson d. 27 Aug 1975 buried Mt. Zion Cemetary Grapeland, TX about 130 miles NNE of Houston Sorry Don O. about steering you wrong with Lightnin's last resting place. Dana dwhite@io.com > Sam "Lightnin'" Hopkins died January 30, 1982, and was buried at > > Forest > > Park Cemetary on Lawndale in section 11. Located at 6900 > > Lawndale, > > 713-928-5141. > >Let me just add that this is in Houston, Texas > >Don O. > > ========================================================================= Date: Wed, 4 Oct 1995 15:32:30 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Backup Band for Y Malmstein needed ;-> In the best Blues tradition, ;-> Yngwie Malmstein's people are looking for a band to back him up in October in Chicago. Next, he'll start smoking a pipe and showing up with just a Flying V. Mike ========================================================================= Date: Wed, 4 Oct 1995 16:39:08 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: Whose blues? Comments: To: Brenda Bogert No one is trying to whitewash the history of the Blues. I think all of us on blues-l take it very seriously, and many have more than one book about it on their bookshelves! Let's celebrate! Mike On Tue, 3 Oct 1995 05:41:28 -0400 Brenda Bogert wrote: >On Tue, 3 Oct 1995, Jef Jaisun wrote: > >> I seem to recall a rather celebrated African-American woman opera >> singer who performed on the steps of the Lincoln Memorial at the behest >> of Eleanor Roosevelt. ... >The history of the blues is rich and interesting. Why not celebrate it >instead of trying to whitewash it! > >Brenda Bogert >KYANA Blues Society >Louisville KY ========================================================================= Date: Wed, 4 Oct 1995 16:46:57 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: Whose blues? Comments: To: Ian Angus Ian, Yeah, labels are required to discuss 'things'. But when the Blues is playin', there's not a label in sight... :) Mike On Tue, 3 Oct 1995 17:56:47 +0000 Ian Angus wrote: >Perhaps it would be nice if there were no need for labels at all, but >then how could we discuss who created the blues? > >Ian Angus >"Built for comfort, not for speed" ========================================================================= Date: Wed, 4 Oct 1995 15:27:15 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: Chicago Airport-strange blues question... Comments: To: Claudio Caponi MARNR No. But that's a great idea! Mike On Mon, 2 Oct 1995 01:47:07 -0400 Claudio Caponi MARNR wrote: >I realize the question may sound silly, but is there a record shop with >a blues section in the Chicago Airport, and if so, where? > >I am leaving for a 2 week trip to China next thursday and on my way >back I will spend 4 hours there on October 21. If you lived in >Venezuela, you would understand how important is not to miss any >chance, blueswise :-) >TIA > >ccaponi@dino.conicit.ve | >Claudio Caponi | I've had my fun... >Ministerio del Ambiente | >Caracas - Venezuela | Otis Spann ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Wed, 4 Oct 1995 15:42:08 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: Byron on the unholy one Comments: To: Byron Foulger On Mon, 2 Oct 1995 21:08:33 +0100 Byron Foulger wrote: >Hello again folks, as the tailor had a two for one offer going when I >called, I got two asbestos suits, so here goes again: Smart move, Byron ;-) > I'm sorry, but i just can't honestly see how, as I've said before the >likes of Clapton can be considered as 'real' blues, I'll try and give 'my' >reason: ... >There's a great differnce between copying, albeit as flattery initially, >and being influenced,... You start by desperately trying to copy and the fact that you don't quite get it right makes it an influence on you. >... and to me anyway these guys either just copied, or adapted blues tunes >in a way that they weren't recognisable as blues- or were anywhere near as >good as what they'd heard. Of course, their Blues weren't the same as the originals. Clapton with Mayall was pretty good stuff though (or do you think that is not Blues?). Most of Clapton's work from then until FTC has not been Blues. Is that what the problem is here? Is that why you can't understand why anyone would think that, "the likes of Clapton can be considered as 'real' blues"? Do you think someone on blues-l considers "Layla" or "Cocaine" to be blues? ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ >I watched 'from the cradle' last Christmas on UK TV, and reasonably enjoyed >it, but after, I thought why did he bother, other than to make some money, >because to me he only tried to sound like - exactly like - the stuff that >influenced him, but in general didn't quite manage it. Clapton is making less money now because he's playing Blues. There is pressure on him from his management to play the old Clapton w/ new Clapton (i.e. Pop) material. What is acceptable to you? Do you want only old Blues, or only Blues by Black musicians, or only evolved Blues (don't really think you'd be happy with that last one)? Byron, you have to understand that a musician will tend to play the same stuff from his bag of riffs and it is embarrasing, to the musican, because he knows he's just playing everything he knows. It's not a feeling of great accomplishment to play like ole' Slowhand when you *are* Slowhand. Thus, to play covers, as best as you can in their original form, using the original vocabulary is a real breath of fresh air. He bothered because he loves the Blues and he loves playing the Blues. ... >Byron ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Wed, 4 Oct 1995 16:51:48 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: Whose blues? Comments: To: Ian Angus Ian, I haven't heard it stated more clearly! But, I view the Blues as an expression of human emotion - about as raw and close to the bone as you can get and still have it be music. Blues as an expression of Black culture is now only part of what Blues is. Mike On Wed, 4 Oct 1995 07:02:30 +0000 Ian Angus wrote: >The discussion of blues and "race" is bedevilled by a classic issue >in discussions of causality. People confuse two different types of >causes: > >NECESSARY cause: X will not happen unless Y happens. > >SUFFICIENT cause: If Y happens, then X will happen. > >In blues: > >"Race" is a NECESSARY component of any explanation of the blues. >Blues was created by African Americans, and that was no accident. >If it weren't for slavery, Jim Crow, racism and all the rest, there would >not be any blues. > >But "race" is NOT a SUFFICIENT explanation of the blues. If it were, >then all black folks would sing the blues and no white folks would. >Neither of those is true. > >I would argue -- agreeing with Bonne K and others -- that blues >performed by people who have lived all their lives immersed in >African American communities tends to have a sound which I don't hear >in blues sung by others. If you view blues as primarily a matter of >guitar technique, then this may not matter to you. But if you view it >as an expression of black culture, then it is an essential issue >which goes to the core of what blues is about. > >But -- and this is a critical point -- we are all human, and one of >the things which makes us human is the ability to learn from each >other, both intellectually and emotionally. That's why anyone can >appreciate good blues, and why there are some excellent white blues >performers in the world. > > > > >Ian Angus >"Built for comfort, not for speed" ========================================================================= Date: Wed, 4 Oct 1995 16:57:51 -0500 Reply-To: 00lcspector@bsuvc.bsu.edu From: Lee Spector <00lcspector@BSUVC.BSU.EDU> Subject: biggest disappointment The worst CD I ever bought by someone with a lot of talent is Otis Spann's Cracked Spanner Head. Most of you know the story behind it with the editing and the change of musicians which makes the material sound quite sad. The worst part, perhaps, is that they changed all the titles so that looking at the CD one might think that these are Spann tunes that one doesn't have, only to find out differently. The people involved in this should be forced to sit in a room and listen to the really, really bad Syl Johnson album that Bill Pollack offered. I suppose it takes a lot of talent to make one of the greatest bluesmen of all time sound disappointing, but... Lee Lee C. Spector Department of Economics Ball State University ========================================================================= Date: Wed, 4 Oct 1995 15:34:19 -0700 Reply-To: Mark Gentry From: Mark Gentry Subject: Re: Byron on the unholy one Comments: cc: antones@Ebay.Sun.COM Michael A. Suffern wrote: > Clapton is making less money now because he's playing Blues. There is > pressure on him from his management to play the old Clapton w/ new Clapton > (i.e. Pop) material. I find it hard to believe that Clapton is making less money playing the blues. I don't follow Clapton but I've seen more of him in the media in the last year than I have in the last 10 years combined. I think he's getting alot of exposure. He's on mtv unplugged, he's on pbs specials, ftc is getting alot of airplay, and I would guess his concerts sell out as well. I'd bet all of this exposure has made his return to the blues fairly lucrative. Regards, Mark Gentry ========================================================================= Date: Wed, 4 Oct 1995 16:10:58 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Backup Band for Y Malmstein needed ;-> Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Michael Suffern said: >In the best Blues tradition, ;-> Yngwie Malmstein's people are looking >for a band to back him up in October in Chicago. > >Next, he'll start smoking a pipe and showing up with just a Flying V. > >Mike Yeah, 'cept in HIS case the V will be stuffed up his bum, where 'is head is.... sorry, just couldn't resist... what a weenie that guy is.... Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Wed, 4 Oct 1995 19:36:36 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Another passing Comments: To: rshurman@ccs.nslsilus.org I'd like to agree with Dick Shurman's opinion that the passing of Lena Blakemore is a loss that some of us will take very hard. She was a gracious and kind woman who honored me with her friendship for almost 30 years. Dick Waterman ========================================================================= Date: Wed, 4 Oct 1995 18:44:26 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: Whose blues Comments: To: Bonnie Kalmbach On Wed, 4 Oct 1995 15:55:00 CDT Bonnie Kalmbach wrote: > There's nothing to flame - I didn't say only one group of >specific people could play blues - but there *are* often differences in >approach by the traditional older black bands that I favor - e.g. >Muddy, Wolf, Willie Dixon to the contemporary Willie Kent vs. younger >all-white heavily rock-influenced bands. There is a black sound and a white >sound and many variations in between. I have friends who will concede this >point and thoroughly enjoy all kinds of blues - which is perfectly OK. >I just happen to be like LW in preferring a black sound or feel - and >pigmentation is not necessarily a part of that sound - although it often >accaompanies it. I hate 'Hot White Boy Blues'. I love Muddy, Wolf, Otis. If white boys play good Muddy, Wolf, etc. or something like it, I'm quite happy (that's what I try to play!). Guitar fireworks don't trip my trigger, especially if the singing is lacking or absent! It's a certain spirit, most examples of which are Black musicians. > I basically want African American blues musicians to get the >credit and fame and money for the music their ancestors created I disagree with this statement, Bonnie. I wish that the greats hadn't gotten screwed (even though everyone in Blues and Rock was screwed to one degree or another - mostly related to the time). But African-American blues musicians do *not* deserve credit and fame for what their predecessors did - only for what they themselves do. Hopefully, every good musician gets his chance. Mike ========================================================================= Date: Wed, 4 Oct 1995 20:08:22 -0400 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: grave markers Comments: To: James Leftwich In-Reply-To: On Mon, 2 Oct 1995, James Leftwich wrote: > With this talk of grave markers being erected, how about a compilation of > these sites on the blues shed? > Louisville blues guitarist and singer William "Little Bill" Gaither, who recorded over 100 sides between 1931-1941, is buried in New Crown Cemetery, Indianapolis. A marker was placed there in June. Scrapper Blackwell is buried there,too. In Louisville Cemetery are buried Sylvester Weaver (1896-1960), Sarah Martin (1884-1955), Earl McDonald (1889-1949), Edmonia Henderson (1896-1947) and Rudolph Thompson (1913-1966) -- jug blower with Whistler's Jug Band. Cal Smith (1903-1937), a guitar virtuoso who recorded with Louisville jug bands and Jimmie Rodgers, is buried in Louisville's "Potter's Field". Pen Bogert Louisville KY ========================================================================= Date: Wed, 4 Oct 1995 15:42:12 -1000 Reply-To: Richard Duggan From: Richard Duggan Subject: Jimmy Thackery in Hawaii In-Reply-To: <199510040410.AAA27739@listserv.brown.edu> Jimmy Thackery played at Anna Banana's in Honolulu last Sunday night. It was the first time I've heard him, and yes, he was great. We didn't stop dancing except between sets. I asked him where he was from, he said he was homeless, being that he was on the road for three hundred days this year. If he remembered correctly, he also had a wife in the Virginia area... I've only been here in Hawaii for a year. I didn't realize how spoiled I got living in Chicago for the three years previous to coming here. Took the music for granted after a while since we went out just about every weekend to Legends, B.L.U.E.S., Kingston Mines, Checkerboard Lounge, etc. Out here it's a whole different ball of wax... when someone comes to town its reason to celebrate! There's a lot of slack key guitar out here and blues don't get much radio play. The other day someone asked about music stores at O'Hare airport. There are none that I know of at the airport. But you could grab a cab, zoom into Roses Records on Wabash, buy a pile of CDs and make it back to the airport in under three hours. Fact is I'm heading to Chicago next week for a couple of days of blues and barbecue and plan to get a little shopping in at the same time... Richard E. Duggan | Chairman, Exhibits Department | 808-848-4178 (vox) Bishop Museum | 1525 Bernice Street | 808-848-7897 (fax) PO Box 19000 | Honolulu, HI 96817 | rduggan@bishop.bishop.hawaii.org ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ "If hard work were such a wonderful thing, surely the rich would have kept it for themselves." -Anonymous ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Wed, 4 Oct 1995 18:45:22 -0700 Reply-To: Mark Naftalin From: Mark Naftalin Subject: Francis Clay Benefit Fund -- Press Release This release recapitulates information previously posted here. The language is designed for printing in publications or announcing on the radio. PRESS RELEASE For Immediate Release October 4, 1995 Media Contact Only: Mark Naftalin 415-453-7712 E-mail BENEFIT FUND ESTABLISHED FOR FRANCIS CLAY Francis Clay, the legendary blues drummer, has fallen on hard times. Francis is a much-loved member of the Bay Area blues community and his friends are now rallying around him to honor him and to solidify his financial situation. To handle donations from Francis' friends and fans, a benefit fund has been established at the San Rafael, California, branch of Redwood Bank. The bank has waived service charges on this account. The fund is administered by Mark Naftalin. PLEASE MAKE CHECKS PAYABLE TO: Francis Clay Fund PLEASE SEND DONATIONS TO: Francis Clay Fund, PO Box 151095, San Rafael CA 94915-1095 100% of all donations will go directly to Francis Clay. Biographical information: Francis Clay's work is well known to those who have studied Chicago Blues. If you've listened to Muddy Waters, you've heard Francis. He was Muddy's drummer on and off for about 15 years starting in 1957. Francis was in the thick of things during the heyday of Chicago blues and played with all the greats. His highly original and immensely propulsive drumming drives numerous recordings by Muddy Waters and others. You can find his name on some of the classics of Chicago blues, including the hightly- acclaimed album "Muddy Waters At Newport." He has toured and recorded with Little Walter, Otis Spann, Clifton Chenier, John Lee Hooker, Big Mama Thornton, Lightnin' Hopkins and Jimmy Reed (to name a few) and was a founding member of the James Cotton Blues Band. Francis Clay is truly one of the all-time masters of blues drumming. * * * * * There will be a benefit concert for Francis Clay at Yoshi's, 6030 Claremont Avenue, Oakland, on Sunday, October 29, at 8 p.m. Performers will include Brownie McGhee, Charlie Musselwhite and many other outstanding blues artists. Media contact: Pat Morgan or Michael James, 510-843-3106. ========================================================================= Date: Wed, 4 Oct 1995 20:48:50 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: rock influenced blues Comments: To: Willy Evans Jeez Willie, Isn't there enough to handle with "Jimmy Page" and it's spinoff, "Whose Blues"? ;-) Very good proposal, you might be entirely right. I would like to think that Chicago Electric Blues will be around forever. The raw power and classic tunes will always be part of the later generation's sets, and the more you get into the Blues, the deeper you go. Plus there will lots of us white old masters revered and booked at festivals and Legends. Mike On Wed, 4 Oct 1995 08:34:55 -0400 Willy Evans wrote: >This rock influenced blues we speak of may be what the blues has become. >Most of the players in our generation went through the 60's. Our model >for a band is based around guitar/bass/drums and not clarinet, piano, >banjo or what ever. We spent our wonder years, for the most part, hearing >rock/pop music. Blues has changed, possibly, into this "rock influenced" >music we are talking about. I would like to suggest that people of our >generation who play what some people call real blues are just imitators >of older blues as they are not being true to THEIR roots and influences. > >Just a suggestion , mind you! > > Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu > **** the hounds begin to bark **** ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Wed, 4 Oct 1995 22:08:56 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: Byron on the unholy one Comments: To: Mark Gentry Not so, St Pete was not sold out, there have been others. He has toured, however, for two years (2-3 mos/year). Unplugged was much bigger. Mike On Wed, 4 Oct 1995 15:34:19 -0700 Mark Gentry wrote: >Michael A. Suffern wrote: > >> Clapton is making less money now because he's playing Blues. There is >> pressure on him from his management to play the old Clapton w/ new Clapton >> (i.e. Pop) material. > >I find it hard to believe that Clapton is making less money playing >the blues. I don't follow Clapton but I've seen more of him in the >media in the last year than I have in the last 10 years combined. >I think he's getting alot of exposure. He's on mtv unplugged, >he's on pbs specials, ftc is getting alot of airplay, and I would guess >his concerts sell out as well. I'd bet all of this exposure has made >his return to the blues fairly lucrative. > >Regards, >Mark Gentry ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Thu, 5 Oct 1995 03:23:44 GMT Reply-To: Pat and Bob Marovich From: choir Subject: Re: NASHBORO 4502 : THE CONSOLERS - BEST OF Comments: To: bit-listserv-blues-l@uunet.uu.net In article <9510010900.AA28276@dao.nrc.ca>, Eric LeBlanc-CISTI says: > >NASHBORO 4502 : THE CONSOLERS - BEST OF >=============================================================================== > >Today is Sullivan Pugh's 70th birthday, and what better way to celebrate it >than to listen to THE CONSOLERS, a duo he & his wife Iola first formed in 1952. >Sullivan Pugh, born October 1, 1925, Punta Gorda, FL., first met Iola Lewis in >March 1949, just after his Navy service when he came to Miami. Her sister & >father had just moved to Florida from Columbus, GA., and during one of those >sunday afternoon 'gospel tent' meetings, she met Sullivan. By November 1950, >they were married, and started their 40+ year journey on the gospel highway, >first as members of The Miami Soul Stirrers (Deluxe/Glory Records, 1952/53), >then with the financial help of Iola's father (Enel Lewis), they formed The >Spiritual Consolers, recording for Deluxe Records (1953). They joined Nashboro > Records in 1955, by this time they were known simply as THE CONSOLERS. With >Sullivan as manager, songwriter, guitarist & tenor vocalist, and Iola on >soprano, they would become one the most famous husband-wife gospel teams, >recording over 25 albums, performing a unique brand of downhome southern >gospel. A few of their songs - "Waiting for My Child to Come Home" ('65), >"Give Me My Flowers (While I Live), ('55)" and "May The Work I've Done Speak >for Me" ('65) - would become gospel favorites, some being recorded by >Shirley Caesar, The Mighty Clouds of Joy, The (Sensational) Williams Brothers, >the late Rev. Julius Cheeks (1929-1981) and the late Rev. James L. Cleveland >(1931-1991). > >Today, Sullivan is retired, living in Northwest Dade, FL. Iola Lewis Pugh >died at the age of 68, on October 11, 1994, Miami, Fl., survived by Sullivan, > her sister (Lenora Lewis Braden), a nephew "son" (Lawrence B. Hill) (which >they raised as their son) and stepmother Camilla Lewis. > >Give this CD are try, you may just like their honest direct blues-type moans. > > Contents > -------- > 1. Waiting For My Child To Come Home - 2. Give Me Flowers - 3. May The Work > I've Done Speak For Me - 4. His Child Is Aboard - 5. Thank God Things Are As > Well As They Are - 6. Somewhere Around God's Throne - 7. Lord Bring Me Down > 8. Too Late - 9. Won't It Be Grand - 10. Don't Let Anything Shake Your Faith > 11. Every Christian Mother - 12. Together We Will Stand - 13. Over Yonder > 14. Since The Lord Laid His Hands On Me > > Others in the AVI NASHBORO CD series > ==================================== > NASHBORO 4001 VARIOUS - BEST OF NASHBORO RECORDS > NASHBORO 4002 VARIOUS - IT'S JESUS Y'ALL - SOULFUL SOUND > NASHBORO 4003 FAIRFIELD FOUR - STANDING ON THE ROCK > NASHBORO 4004 HIGHTOWER BROTHERS - BEST OF > NASHBORO 4005 SKYLARKS - BEST OF > NASHBORO 4006 REV. DR. MORGAN BABB - KEEP THE FAITH > NASHBORO 4007 RADIO FOUR - RADIO FOUR COLLECTION > NASHBORO 4008 MADAME EDNA GALLMON COOKE - GREATEST RECORDINGS > NASHBORO 4501 WILLIE NEAL JOHNSON & THE GOSPEL KEYNOTES - BEST OF > NASHBORO 4502 CONSOLERS - BEST OF > NASHBORO 4503 SWANEE QUINTET - BEST OF > NASHBORO 4504 BROOKLYN ALL-STARS - BEST OF > NASHBORO 4505 TROY RAMEY & THE SOUL SEARCHERS - BEST OF > NASHBORO 4506 HOWARD "SLIM" HUNT & THE SUPREME ANGELS - BEST OF > NASHBORO 4507 BROTHER JOE MAY - BEST OF > NASHBORO 4508 DOROTHY LOVE COATES & GOSPEL HARMONETTES - BEST OF > NASHBORO 4509 ANGELIC GOSPEL SINGERS - BEST OF > NASHBORO 4510 PILGRIM JUBILEE SINGERS - HOMECOMING > NASHBORO 4511 SISTER LUCILLE POPE - BEST OF > NASHBORO upcomingKELLY BROTHERS > NASHBORO upcomingREV. CLEOPHUS ROBINSON I just picked up "Don't Want to Be Lost"/"Around God's Throne" on Nashboro 45-833 at a flea market. I agree that the Consolers have a great sound. I think it's wonderful that the Nashboro stuff is being reissued. If only the Peacock gospel masters could be put out en masse. There's a ton of great gospel in the vault. VJ would also do well doing "A Taste of Gospel" series on CD, including such rarities as the Holy Gospel Singers and the Spiritualaires. Oh well... Bob Marovich choir@ibm.net ========================================================================= Date: Thu, 5 Oct 1995 03:29:32 GMT Reply-To: Pat and Bob Marovich From: choir Subject: Re: James Europe information Comments: To: bit-listserv-blues-l@uunet.uu.net A little earlier someone was asking about written material on James Europe. There's an entire book out on his life right now. I've skimmed through it and it looks very good. I can't remember the title :( but I do know that places like Barnes and Noble and Waterstones have it. I have a 78 of James Europe's Four Harmony Kings and it's presumed that Roland Hayes might be singing on this recording. Does anyone know that for sure? Bob Marovich choir@ibm.net ========================================================================= Date: Wed, 4 Oct 1995 23:29:07 -0400 Reply-To: DobroJB From: DobroJB Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Blues-l Tape #3 Comments: To: bit-listserv-blues-l@uunet.uu.net Hi all: Being completely new to this list, I was wondering how i might get my hands on Blues-l tapes number 1 and number 2. Please post and/or e-mail me. Thank you. Jeff B (DobroJB@aol.com) ========================================================================= Date: Wed, 4 Oct 1995 23:44:28 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: James Europe information Comments: To: choir@ibm.net In a message dated 95-10-04 23:32:36 EDT, choir@ibm.net (choir) writes: >A little earlier someone was asking about written material on James >Europe. There's an entire book out on his life right now. I've skimmed >through it and it looks very good. I can't remember the title :( but >I do know that places like Barnes and Noble and Waterstones have it. > Surely Tom Morgan knows the title of this one? Please? Tom Freeland ========================================================================= Date: Wed, 4 Oct 1995 15:07:45 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: `Professional' thread Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I read somewhere (probably in the liner notes of the Yazoo Masters of the Delta Blues cd) that Tommy Johnson's "Maggie Campbell Blues" was inspired by Johnson seeing a woman he thought was his ex-girlfriend or wife leaving a brothel. There's also a Lonnie Johnson tune about pimps taking money away from hard working men, but I can't recall the title. And wasn't "easy rider" originally slang for a prostitute's boyfriend or husband? Look at all of the "Easy Rider" tunes that exist. ========================================================================= Date: Wed, 4 Oct 1995 23:45:44 CST Reply-To: Ted Gurley From: Ted Gurley Subject: Obit Database I'm more than willing to start working on a file for the grave sites of the great blues players. I'll combine them in a .dbf file and post to the shed. Eric, has done a fantastic job on the daily list. I'm more than willing to try to follow in his shoes with another database. TG ------------------------------------- 10/04/95 23:45:44 Ted Gurley - Dallas, TX tgurley@.onramp.net or rampages.onramp.net/~tgurley Co-writer of "Plug-In: The Guide to Music on the Net" Look for it in Jan. 96 from Prentice-Hall ------------------------------------- ========================================================================= Date: Thu, 5 Oct 1995 01:19:47 -0400 Reply-To: Cicer60099 From: Cicer60099 Organization: America Online, Inc. (1-800-827-6364) Subject: Smokey Wilson at Blues on the Waterfront(Sacramento) Comments: To: bit-listserv-blues-l@uunet.uu.net The Sacramento Blues Society put on a great festival last week. I really enjoyed Guitar Shorty and Sonny Rhodes, but Smokey Wilson knocked me out! I've seen Smokey a number of times over the years here in California, but never like last week. He was primarily booked as a solo to play with house bands or to front an established band in years past. He now carries his own band and they cook. It was no nonsense, rockin' blues. Smokey really stole the show. I got a chance to talk to him after the show and he was incredibly cool. He said Blind Pig is releasing a CD he recorded for Murray Brothers in the 80's in late October. His set included a lot of songs from his new Bullseye CD, The Real Deal. I don't have it yet, but I will as soon as I can find it. ========================================================================= Date: Wed, 4 Oct 1995 22:47:25 -0700 Reply-To: Garry Segal From: Garry Segal Subject: Try This Those who feel that blues played by blacks is more "real" should try this. Just by listening to a particular instument on a recording identify the players race. Better yet have someone with a good album collection go make a tape with all black players on one side and all white on the other. Pick obscure tunes not trademark songs mix up BB, EC, Cray , J.Winter, Buddy, Chris Cain,Roomful of Blues, Delbert McC, Muddy, whatever... There has been so much recorded blues by so many races and artists it is staggering. Give the tape to someone and tell them to go tune by tune and identify the race of the artist. My friend gave such a tape to a local blues afficianado who swore he would get at least 80% right. He identified 30% right and was pissed that all black and all white were on different sides, said he was tricked ! Then the obligatory "You mean dat guys white!? He sure dont sound it" conversation. The tape contained mostly instumental cuts but there were a bunch of vocal tunes too.**I say nobody has a case unless they can consistently identify the race of a musician just by listening to their playing.** Again , African Americans gave birth to the blues but the *inspiration* and the form has travelled world wide to produce quality blues artists who owe a great debt to the originators but are no less legitimate as artists themselves. Garry(who hates long posts like this ) S. BTW I never heard the tape and dont listen to any music according to racial lines just grooves and soulful vocals, any color is fine with me. ========================================================================= Date: Thu, 5 Oct 1995 00:05:19 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: Whose blues? [Mine!] Comments: To: Brenda Bogert On Wed, 4 Oct 1995 07:05:20 -0400 (EDT) Brenda Bogert wrote: >> You can talk about the historic or mythic Bluesman, who *was* >> African-American, and maybe drank too much sour mash, gambled, played >> rent parties and died poisoned by a jealous husband. But that does not >> hold anymore. >I said no such thing. I was using the word "you" as in "One can talk about...", sorry. I did not mean to suggest that you had stated what followed. >Yours is a romanticized (narrow-minded) idea. Not all blues musicians >were drinkers, gamblers or whoremongers. Many divided their allegiances >between performing blues and singing in their churches. The idea of a >guy hopping trains with a guitar on his back was popularized by blues >scholars in the 1950's. Most of us have learned a lot since then. You are absolutely correct! That's why I said "mythic" Bluesman! >Do you ever read? I would suggest "Songsters & Saints" by Paul Oliver, >"The Theology of Popular Music" & "Blues and Evil" by Jon Michael >Spencer, and "Black Culture and Black Consciousness" by Lawrence Levine. > I've read "Deep Blues" by Robert Palmer, "Delta Blues" by ?, most every issue of Living Blues and Juke Blues magazines for 3 years and talked to Blues musicians, of most colors (none Purple, [hey is that a reference to the artist formerly known as...?]) and I am tuned into the Blues scene of today and concerned about it. It is a 'living blues' for me! >> The Blues is no longer African-American music - I wouldn't even call it >> American anymore. It simply *was* African-American music. >> >You forget to say "IMHO" -- because that is only your opinion. O.K., IMHO, contemporary Blues, no longer African-American, historic Blues is. >> Also, is that pre-civil war Blues in the 1800's. There has already been >> a request from this list to see a copy of the sheet music for that. Or >> are you talking the *roots* of the Blues in the 1880's/90's? Fife and >> Drum music is *not* Blues! (I would accept that field hollers were...) > I am not talking about a "song". There is sheet music from the > mid-1800's with "blues" in the title, but the term refers to military > uniforms. I didn't know that, that explains where the request for pre-civil war Blues came from last year! A sincere thanks for the info Brenda! >I am involved in a major research project -- studying the development of >African American music during the 19th century. Ours are primary >sources: newspapers from that time, diaries, eyewitness accounts, etc. >The music that became the blues was being performed for audiences prior >to the 1880's. It was not being played by drunken womanizers. It was >being performed by skilled musicians who passed their knowledge on to >others. > Yes, the music that *became* the Blues preceeded the Blues (it also preceeded it by a million years if you start at the very root). But I'm glad to see you are involved in such a worthwhile project, good luck. ......................................................................... >> You are getting history. culture and classification mixed up. Bluesman >> is not a genetic trait. It is transmitted through the Blues music >> community *and no other*! ......................................................................... >I said nothing about genetics. I am talking about history and culture. How else do you come from the race that you belong to if not genetically? (We already have proof that learning to sing Opera doesn't work) ;-) >It's pointless to go on. I don't expect you to understand. Your posts >reflect a decidedly materialistic approach to the music. I guess the >fact that the blues grew out of the need to express emotions born of >oppression and lack of opportunity has alluded you thus far. I don't >expect that you'll ever see the light. >Brenda Bogert >KYANA Blues Society >Louisville KY > My posts reflect a decidedly personal experience of the Blues (performer and listener) and usually ignore the history of the Blues, which most zellers know the basics about pretty well, I think. Brenda, those precise facts, that you suggest I will never understand, are at the core of what the Blues was, notice I said *was*. That history will never change and I not only agree with you on that (never said I didn't) I think it important that more people know about it. This whole thread started because my idea of what a Bluesman is is based on our current times, and differs from the historic definition. You may notice that race or background or history are *not* required parameters in my definition (except a history of getting paid in some way for playing your Blues). I saw the light the minute I heard Albert King do "Born Under A Bad Sign", decades ago. My eyes adjusted to the light when I read, "Delta Blues". I radiated the light back, the first time that I played a Blues song without thinking about it and it just came from my soul. Now that light burns inside me and I want to shine it on lots of people. While you are researching the past, I'm playing the present. I'll try to touch those that I can with my music. You make sure that the truth is there for them to learn. Then there will be hope yet! Not just for the Blues, but for the different peoples of this planet. Mike ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Thu, 5 Oct 1995 06:38:31 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: Bluesman Francis Clay Mark Naftalin (wpc@NETCOM.COM) wrote: : Francis Clay's work is well known to those who have studied Chicago : Blues. If you've listened to Muddy Waters, you've heard Francis. He was : Muddy's drummer on and off for about 15 years starting in about 1957. : Francis was in the thick of things during the heyday of Chicago blues and : played with all the greats. His highly original and immensely propulsive : drumming drives numerous recordings by Muddy Waters and others. You can : find his name on the back of the "Muddy Waters At Newport" album and many : other Chicago blues classics. He was a founding member of the James : Cotton Blues Band. Francis' drumming on the "Newport" version of "Mojo" is credited for giving the song its signature driving feel. Francis claimed he threw in some extra-fancy stuff to impress the jazz buffs in the audience. Wonder what that tune would have sounded like without his touch. x ============================================================================ Jef Jaisun eljefe@netcom.com ============================================================================ -- eljefe@netcom.com ========================================================================= Date: Thu, 5 Oct 1995 04:29:50 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - October 5th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ACKET, PAUL (of NORTH SEA JAZZ FES) d. 1992-1005, AMSTERDAM, HOLLAND 69 BOOKBINDER, ROY (g/ROUNDER REC) b. 1941-1005, NEW YORK CITY, NY BRYMN, JAMES TIM (songw/afro-american) b. 1881-1005, KINSTON, NC COOPER, AL (tsax/SAVOY SULTANS) d. 1981-1005, NY 70 ESTRIN, RICK (hca/LIT'CHARLIE & NIGHTCATS)b. 1949-1005, SAN FRANCISCO, CA GELDOF, BOB (:) (g/LIVE AID) b. 1951-1005, DUN LAOGHAIRE,IRELA JONES, GEORGE JR. (lead/THE EDSELS) b. 1936-1005, YOUNGSTOWN, OH KENDRICKS, EDDIE (lead/THE TEMPTATIONS) d. 1992-1005, BIRMINGHAM, AL 52 KRESS, KANIKA (g/ROY BUCHANAN) d. 1993-1005, CHICAGO, IL 39 CRAIG, FRANK "LEFT HAND"(g/ALLIGATOR REC) b. 1936-1005, GREENVILLE, MS LESTER, WALLY (of THE SKYLINERS) b. 1941-1005, PITTSBURGH, PA LEWIS, ROGER (of THE DIRTY DOZEN) b. 1941-1005, NEW ORLEANS, LA MARSH, HARRY"SKEETS"(d/SAMMY PRICE/BASIE) d. 1989-1005, PHILADELPHIA, PA 62 MASTRANGELLO, CARLO (of THE BELMONTS) b. 1938-1005, BRONX, NY MCGEE, F. W. REV. (gospel preacher) b. 1890-1005, WINCHESTER, TN MILLER, ALA MAE (p) b. 1915-1005, GA NORMAN, FRED (arr/prod/tbn) b. 1910-1005, LEESBURG, FL PATRICK, KEVIN (BLUES L MEMBER) b. 1963-1005, CRABTREE, PA RILEY, BILLY LEE (g) b. 1933-1005, POCOHONTAS, AR ROSS, LUCIUS (g/FUNKADELIC) b. 1948-1005, WAGRAM, NC SAYLES, EMMANUEL "MANNY" (g/bjo) d. 1986-1005, NEW ORLEANS, LA 79 SMITH, ARLENE (lead/THE CHANTELS) b. 1941-1005, BRONX, NY SPIVAK, JERRY (owner of ELECTRIC FACTORY) d. 1984-1005, FAIRMOUNT, PA 55 STREET, RICHARD (of THE TEMPTATIONS) b. 1942-1005, DETROIT, MI WILSON, DELROY (v) b. 1948-1005, KINGSTON, JAMAICA WILSON, MALCOM "BIG" (dj/p) d. 1989-1005, SELMA, NC 65 ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 5 Oct 1995 06:09:59 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: The Unholy One? (IMHO) From The Cradle, went straight up the charts to the top, the moment it hit the streets and sold well over a million copies. Eric made money on the album. My guess is, that if he didn't make money on it, he probably wouldn't have cared much. I think the album is just something he "had" to do. Although I do think he would have cared if the album didn't sell, because that is certainly an excellent barometer of ones acceptance and vitality to ones audience. It means that his fans still care. Personally, I have loved and hated Eric's musical "moods" over the years. I saw Cream during their first trip to America, (cicra 1966?) when they opened for the Who, somewhere in NYC, (I'm a little fuzzy on where). All they played was Blues and only sang one or two songs, they just jammed. Being a budding young rock drummer and blues nut at the time, I loved it. I'll admit to not ever liking Derek and the Dominos or Erics first solo album. I can't say that I was ever much thrilled with a lot of stuff that Eric did over the years, yet a song like "The Core" tears me up. Go figure. I took my 10 year old son to see Eric last year and actually got bored. Deep down I think that FTC and its subsequent tours are routine workouts, sounding like he woke up one day and said, "Hmmm, think I'll cut a Blues album today" and then went to the phone and rang up some of his buddies and invited them over and rolled tape. I only wish he had made an effort to go to Chicago, or Texas or (you pick the city) and get some players that were "closer" to "real" (whatever that is) Blues. I believe that Eric thinks he's real'y "paying respects" with the album and overall, I'm glad that he did it. Does this make any sense? Beef Stew - WHUS Radio to as an "certainly >Michael A. Suffern wrote: > >> Clapton is making less money now because he's playing Blues. There is >> pressure on him from his management to play the old Clapton w/ new Clapton >> (i.e. Pop) material. > >I find it hard to believe that Clapton is making less money playing >the blues. I don't follow Clapton but I've seen more of him in the >media in the last year than I have in the last 10 years combined. >I think he's getting alot of exposure. He's on mtv unplugged, >he's on pbs specials, ftc is getting alot of airplay, and I would guess >his concerts sell out as well. I'd bet all of this exposure has made >his return to the blues fairly lucrative. > >Regards, >Mark Gentry > > ========================================================================= Date: Thu, 5 Oct 1995 06:30:56 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: Whose blues In addition to working in comercial radio, I am a volunteer at a University station. The University station (WHUS) was chosen by the government of South Africa to help them design, equip, program and implement a radio station in Senagal. Over the past year or so, several of us have been to Senegal and several people from there have come here. (BTW, they are quite black) Not once, did the subject of skin color or cultural heritage ever come up regarding anyones interest in or understanding of the types of music we are programming, which is primarily World, Jazz and Blues. Is Ali Farka Toure, Blues? I think yes. I'm not sure I understand this issue. Help me. Beef Stew Blues Music Director - WHUS Radio > There's nothing to flame - I didn't say only one group of >specific people could play blues - but there *are* often differences in >approach by the traditional older black bands that I favor - e.g. >Muddy, Wolf, Willie Dixon to the contemporary Willie Kent vs. younger >all-white heavily rock-influenced bands. There is a black sound and a white >sound and many variations in between. I have friends who will concede this >point and thoroughly enjoy all kinds of blues - which is perfectly OK. >I just happen to be like LW in preferring a black sound or feel - and >pigmentation is not necessarily a part of that sound - although it often >accaompanies it. > > I basically want African American blues musicians to get the >credit and fame and money for the music their ancestors created - but >it's too bad that the Claptons, and Mayalls and the Vaughns (who are not >unworthy) get more of it. It should be, IMO, the other way around. As a >matter of fact, in part of the PBS rocknroll special I missed, I was told >that the was a segment where Clapton and other British blues musicians were >surprised and embarassed that young white Americans were ignorant of >Muddy, Wolf, and others they were idolised in Britain!! > > -Bonnie > > > > >> I'm growing a little tired (obviously) of the mythos some people >> seem to need to perpetuate concerning the "ownership" of blues. We >> won't deny or change its history and origins, but I really think >> it's a bunch of fantasy AND stereotyping to think that ONLY people >> of African genetic makeup can REALLY understand and feel the blues. >> You'll find horrible opression, suffering, and human mistreatment >> in ALL cultures. And you'll find a HUMAN response through music to >> go along with it. >> >> And another point to ponder before I run off to a meeting; if blues >> is solely an "African-American" thing and only black people (even >> younger black people born and raised in this "American" culture) >> can truly understand and play and sing the blues (and the rest are >> imitators), where does this put folks of mixed-race heritage? >> Partially capable of *really* feeling and understanding? >> >> Go ahead, flame me. I'm cranky today anyway. >> >> Shannon >> >> >> >> > > ========================================================================= Date: Thu, 5 Oct 1995 06:55:42 -0400 Reply-To: Sub53@AOL.COM From: Bob Day Subject: Ronnie Earl Hey folks! Just had a real nice weekend in Boston and caught Ronnie Earl and the Broadcasters at Jonnie D's. WWow! Ronnie was hot. He played with a real soulful emotion that I don't get a chance to see very often. His band was tight and right with him.This man is destined to move and groove. I strongly urge you all to get out and see this man the first chance you get. If you can't, buy his last two albums. They are great!! Feelin really good this Monday mornin, Bob Day Sub53@aol.com ========================================================================= Date: Thu, 5 Oct 1995 11:01:30 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: William Clarke In the past the posts have blown both hot and cold on this guy, mostly lukewarm. I got a chance to see and hear him last night and, I , for one, was not at all disappointed. Physically, Clarke resembles one of those mountain gorillas in a National Geographic special. Big fella! He was backed by two guitars a standup bass and drums. Once the man gets going he can play a mean harp, and the crowd loved it. In general what he does is intersperse vocal pieces playing a diatonic with intrumental, jazz based pieces playing a chromatic. I found that the latter tended to "kill the mood", probably because it sounded EXACTLY like the interludes they used to have on a radio program I used to listen to called "The Goon Show" :). I would have liked it if the backup guys could have stepped up and played. An occaisional guitar fill would have been icing on the cake. As it was it was "strictly rhythm [they] didn't want to make it cry or sing". phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [5/10/95 6:49 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 5 Oct 1995 07:22:27 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Special Treatment for Harp Players Comments: To: msuffern@XNET.COM On 4 Oct 95, Michael Suffern had this to say... > Special treatment for us strolling minstrels of that rough and tumble > American tradition - the Blues! > > Also, got to walk down Monroe to the Merchantile Exchange blowing my best > in a long while (practice), this time in a $600.00 Ralph Lauren suit, with > shades, of course. Nothing like those "rough and tumble" $600 Ralph Lauren suits. Interesting juxtaposition. This must be the new Caucasion influence on the Blues you've been telling us about for a few days now. ;-) "I spilled caviar on my Armani, so I had to wear my Ralph Lauren" "Oh, I got those low down dirty, life is so hard kinda Blues" P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 5 Oct 1995 08:42:27 -0400 Reply-To: Tom Morgan From: Tom Morgan Subject: Re: James Europe information In another time and place, tm4q said: >From tm4q Thu Oct 5 08:41:11 1995 Subject: Re: James Europe information To: Skipjames@AOL.COM Date: Thu, 5 Oct 1995 08:41:11 -0400 (EDT) In-Reply-To: <951004234426_116541042@emout04.mail.aol.com> from "Tom Freeland" at Oct 4, 95 11:44:28 pm X-Mailer: ELM [version 2.4 PL24] MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Content-Length: 813 In another time and place, Tom Freeland said: > > In a message dated 95-10-04 23:32:36 EDT, choir@ibm.net (choir) writes: > > >A little earlier someone was asking about written material on James > >Europe. There's an entire book out on his life right now. I've skimmed > >through it and it looks very good. I can't remember the title :( but > >I do know that places like Barnes and Noble and Waterstones have it. > > > Surely Tom Morgan knows the title of this one? Please? It's called James Reese Europe: A Life In Ragtime by R Reid Badger. It is an excellent book even though Badger is not really familiar with the music scene at the beginning of this century. Some of his conclusions I disagree with but it is a book for anyone interested in Europe, whom I call the "Father of Orchestral Jazz." Tom ----------------------------------------------------------------------------- My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Thu, 5 Oct 1995 09:25:28 EDT Reply-To: ron kraemer From: ron kraemer Subject: Female Blues Singers??? Some background first.... I have a real good friend named Brenda, who can sing like an angel. I've heard her do Gospel-type things, Whitney Houston stuff, great Billie Holliday, and she said she sings in church. I've always thought that she'd make a helluva Blues singer, given the right music. Well, while watching the BB King Blues Summit show just on A&E, I saw Irma Thomas singing some great Blues, and immediately thought that Brenda could nail stuff like that. In fact, Irma looks a lot like Brenda....very good looking, polished, with a terrific smile. So, I had her over last night to listen to Irma. The song was "You Can Have My Husband (but please don't mess with my Man)". I looked over at Brenda when the vocals started, and her arms were in the air, her head was down, and she was swaying. Can you say BINGO??!! Sure you can. :) Now, my CD collection is woefully short on BluesWomen. In fact, NONE! I'm not proud of that, but it's time to change. Irma Thomas looks like a great start, but who else would you recommend that could offer up the same Sassy Blues from a woman's perspective? I can't WAIT until Brenda gets to the point of sitting in with my band for a set! It'll be tremendous. Thanks for your responses, folks, as I value them highly. Ron ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters ************************************************************ ========================================================================= Date: Thu, 5 Oct 1995 09:34:10 -0500 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: Female Blues Singers??? > Now, my CD collection is woefully short on BluesWomen. In fact, NONE! I'm > not proud of that, but it's time to change. Irma Thomas looks like a great > start, but who else would you recommend that could offer up the same Sassy > Blues from a woman's perspective? Big Mama Thorton. She fits your criteria perfectly. Bruce Roberts Austin, TX ========================================================================= Date: Thu, 5 Oct 1995 10:30:32 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: ALbert King's grave marker, etc. So, having read this nice post about Albert's resting place, are you saying that Albert died basically broke? Sounds like all the particulars and arrangements were paid for by other folks' good will and fund raisers, including his suit? I did not know this. Sad, very sad. I'm gonna put some of the MAN on the cd box now.... Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 5 Oct 1995 10:39:30 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: "Professional" thread.. And yet MORE Elmore James(via RJ) in Dust My Broom... "..She's a no good doney, shouldn't allow her on the street.." Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 5 Oct 1995 09:47:06 CST Reply-To: William Shute From: William Shute Subject: women in blues/R&B--some personal faves From: Bill Shute Here, in no particular order, are some of my favorite blues/ R&B women vocalists...in response to the gentleman who was asking about this (and who mentioned Irma Thomas, who would indeed be near the top of my list). FONTELLA BASS (the anthology of her mid-60s material on Chess) CISSY HOUSTON (the recent anthology on Ichiban Soul Classics) ETTA JAMES (get the Ace/Flair collection of her 50s sides, the ROCKS THE HOUSE live album on Chess from the early 60s, and any of her recent albums) BARBARA LYNN (So Good on the bullseye blues label, and the comp on Ichiban Soul Classics) CAROL FRAN (her 50s and 60s stuff plus either of the FRan/Hollimon lps) ELLA MAE MORSE (a nice collection is out on the Capitol Collector's Series) ANITA O'DAY (get that comp on CBS of her stuff with Gene Krupa's band featuring the amazing duets with Roy Eldridge...WOW>>>>>>>) TONI PRICE (either of her Antone's albums shows Texas country soul meeting blues at the crossroads) ANN PEEBLES (pretty much anything--there's a nice comp of her HI-label singles out that would be a good introduction) SISTER ROSETTA THARPE (represents the wild, spirit-filled end of the spectrum, but I love her) this list isn't meant to be complete--it just represents the singers who I listen to the most, and who I feel would win over almost anyone who heard them. if you want to go more in a jazz direction, search out ANY recording by Jeanne Lee. Her sessions with Ran Blake have been reissued by RCA/ BMG and the amazing French album she did with Archie Shepp, BLASE, is available easily on the UK "affinity" label. Her versions of Ellington's "Sophisticated Lady" and the spiritual "There is a Balm In Gilead" are among the most perfect and beautiful recordings I have EVER heard. I've owned the album for 20+ years, and Ms. Lee's voice still melts me everytime a hear her. Of course, when you're READY, there's always Patty Waters--try either of her ESP-Disk albums, now reissued on CD in Germany--"black is the color of my true love's hair..." And when you get down to Texas, don't fail to catch people like Lavelle White, Angela Strehli, etc. Bill Shute San Antonio, TX (who, along with his blues-l pals from SA and Austin, will be seeing a GREAT female artist, Tracy Conover, opening for Joe Guitar Hughes tomorrow night--see YOU there) ========================================================================= Date: Thu, 5 Oct 1995 11:00:56 -0400 Reply-To: MARCIAG@VMS.CIS.PITT.EDU From: Marcia Grodsky Subject: Rockabilly Weekend in Pittsburgh I know this isn't blues, but I know that there are a lot of roots music fans on this list who don't have access to the rockabilly list or newsgroup. The Pittsburgh Rockabilly Weekender appears to be on. It's this weekend, October 6 & 7. Lineup is: Ronnie Dawson Frantic Flattops Belmont Playboys Rocket J & Her Rhythm Boys Vibrochamps Hillbilly Hellcats Royal Crowns Flea Bops Tremblers Ethyle & the Octanes Sonic Tonics Highway 13 Memphis Mafia Twistin' Tarantulas Location: American Serbian Club 2524 Sarah Street South Side For tickets or more information call James Morrow: (412)682-0924. Or you can email me with questions and if I can I'll answer them. ---Marcia P.S. James says he's made arrangements with the Hampton Inn in Oakland for a group rate. ========================================================================= Date: Thu, 5 Oct 1995 11:15:01 -0400 Reply-To: Ted2204 From: Ted2204 Organization: America Online, Inc. (1-800-827-6364) Subject: CBC Saturday Night Blues Comments: To: bit-listserv-blues-l@uunet.uu.net The Canadian Broadcasting System broadcasts Saturday Night Blues each Saturday from 11:00 P.M. to 1:00 A.M. Used to be able to get this over one of the Anik satellites. hen they lost the satellite or something. I ubderstand the broadcast has been put on another satellite, but I can;t find it. Does anyone know the satellite, transponder, and audio frequency for this broadcast? Thanks. Ted Lissauer Louisville, Kentucky TED2204@AOL.com ========================================================================= Date: Thu, 5 Oct 1995 10:46:00 CDT Reply-To: Paul Garon From: Paul Garon Subject: Re: Whose blues? [Mine!] I was trying to keep out of this thread since it's an easy one to get heated about, but... now I'm heated, mostly by the remarks of Mike's quoted below. Mine follow those: >Brenda, those precise facts, that you suggest I will never understand, are >at the core of what the Blues was, notice I said *was*. That history will >never change and I not only agree with you on that (never said I didn't) I >think it important that more people know about it. This whole thread >started because my idea of what a Bluesman is is based on our current >times, and differs from the historic definition. You may notice that race >or background or history are *not* required parameters in my definition >(except a history of getting paid in some way for playing your Blues). > >I saw the light the minute I heard Albert King do "Born Under A Bad Sign", >decades ago. > >My eyes adjusted to the light when I read, "Delta Blues". > >I radiated the light back, the first time that I played a Blues song >without thinking about it and it just came from my soul. > Mike, many of us very definitely notice that you said *was*. We think that's your problem, your great desire to consign black performers to history so you can concentrate on reflecting your own light (a light that many of us find a little dim, by the way). Brenda's emphasis on history is an effort to suggest to you things that are *still* components of the blues. I (and probably we) think black life, black culture, and black performance style ARE (not WERE) integral parts of the blues, but are not integral parts of what *you* play, which is why I don't think you play blues, and which is why I can say that without hearing you. This is also why "blindfold tests" are irrelevant to this subject. The blues has many, many dimensions, but a lot of folks choose to follow the acoustic dimension only. There really is much more to blues than what you hear. ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email or postal mail or visit us at http://www.abaa-booknet.com/alldlrs/mw/60657bea.html. We also have catalogs available by ftp at ftp.mcs.com/mcsnet.users/beasley. _______________________________________|______________________________________ ========================================================================= Date: Thu, 5 Oct 1995 11:45:16 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Freddie King - 2cd Someone mentioned a 2cd Freddie King set. I found it at Best Buy last night. It is on EMI and appears to just be a rehash of the Shelter material. It says there are about 4-5 previously unissued tracks. Since I have Texas Cannonball and Woman Across the River, I passed on it. Looks like I had a majority of the stuff already. If you don't have any of the Shelter material, then this might be the way to go. BTW, the cover was one of those charicatures like on the Capitol series reissues. -Jeff (Little Texas Cannonball) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / As I was riding across the Mississippi \ / I stopped there and I cried. \( No use for a man to keep a mighty river All dammed up inside. -Joe Ely ========================================================================= Date: Thu, 5 Oct 1995 12:41:00 EDT Reply-To: edward c liu From: edward c liu Subject: Blues in Nashville Howdy all, Lucky me, I get to head down to Nashville next week on business. Any zellers have any recommendations or suggestions on blues-related stuff to do down there? Is B.B. King's new club open down there yet? And does anybody know if Gibson guitars gives tours or free samples at their facilities down there? =8^). Thanks muchly! -- Ed Edward C. Liu | "I never say what I mean but I always manage edwick@cc.bellcore.com | to say something similar." | -- Eugene Ormandy The opinions in this message are mine and not Bellcore's. Really! ========================================================================= Date: Thu, 5 Oct 1995 10:28:46 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: PEACOCK GOSPEL ON CD Comments: To: BluesHvn@aol.com Comments: cc: choir@IBM.NET Bob, PEACOCK RECORDS is now owned by MCA & I'm sure one day we'll all see this material released. But until that happens, my I suggest you obtain the following MCA SP & MOBILE FIDELITY series, and if you haven't yet, do read DUKE/PEACOCK RECORDS : AN ILLUSTRATED HISTORY WITH DISCOGRAPHY/ BY GALEN GART & ROY C. AMES, Big Nickel Publications, P.O. BOX 157, MILFORD, NH. 03055. Also, on October 12 (the late Beachey Thompson's birth-date), I'll be posting a tribute to DIXIE HUMMINGBIRDS, one of the major PEACOCK gospel groups. MCA SP CD 22022 : MIGHTY CLOUDS OF JOY - LIVE MCA SP CD 22043 : DIXIE HUMMINGBIRDS - BEST OF MCA SP CD 22044 : SENSATIONAL NIGHTINGALES - BEST OF MCA SP CD 22045 : BLIND BOYS OF MISSISSIPPI - BEST OF MCA SP CD 22047 : BLIND BOYS OF MISSISSIPPI - BEST OF MCA SP CD 22050 : MIGHTY CLOUDS OF JOY - BEST OF V. 2 MOBILE FIDELITY CD 751 : DIXIE HUMMINGBIRDS - WE LOVE LIKE.. / EVERY DAY ... MOBILE FIDELITY CD 756 : PILGRIM JUBILEE SINGERS MOBILE FIDELITY CD 760 : RAISIN' THE ROOF (2CD) (SUNSET TRAVELERS,CHEEKS,...) MOBILE FIDELITY CD 763 : GOSPELAIRES MOBILE FIDELITY CD 767 : SENSATIONAL NIGHTINGALES MOBILE FIDELITY CD 769 : FIVE BLIND BOYS OF MISSISSIPPI MOBILE FIDELITY CD 770 : BOBBY BLUE BLAND - TOUCH OF THE BLUES/SPOTLIGHING .. MOBILE FIDELITY CD 771 : DIXIE HUMMINGBIRDS - LIVE (1976) I just picked up "Don't Want to Be Lost"/"Around God's Throne" on Nashboro 45-833 at a flea market. I agree that the Consolers have a great sound. I think it's wonderful that the Nashboro stuff is being reissued. If only the Peacock gospel masters could be put out en masse. There's a ton of great gospel in the vault. VJ would also do well doing "A Taste of Gospel" series on CD, including such rarities as the Holy Gospel Singers and the Spiritualaires. Oh well... Bob Marovich choir@ibm.net ========================================================================= Date: Thu, 5 Oct 1995 13:25:49 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Female Blues Singers??? >>great start, but who else would you recommend that could offer up the same >>Sassy Blues from a woman's perspective? You MUST get anything (everything!) by Saffire: The Uppity Blues Women. THey are by far the best contemporary exponents of sassy women's blues. Then on to these contemporary performers: Etta James (especially her 50s recordings), Koko Taylor Bonnie Lee Marcia Ball Dana Gillespie Zora Young And these legends who have passed on ... Big Mama Thornton Big Maybelle Dinah Washington And that's not even considering the pre-WW II material. Enjoy! Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Thu, 5 Oct 1995 17:52:08 GMT Reply-To: Mark A Basten From: Mark A Basten Organization: College of Engineering, Univ. of Wisconsin--Madison Subject: Re: women in blues/R&B--some personal faves Comments: To: bit-listserv-blues-l@uunet.uu.net In article <19951005.105144.396057.NETNEWS@AUVM.AMERICAN.EDU> William Shute writes: > [snip] >CAROL FRAN (her 50s and 60s stuff plus either of the Fran/Hollimon lps) > Do you recommend one of of the Fran/Hollimon cd's over the other as a `first pick'? Is there any single album from Carol Fran's earlier material that you would similarly recommend? Thanks. Mark Basten ========================================================================= Date: Thu, 5 Oct 1995 18:07:56 GMT Reply-To: Steven Levine From: Steven Levine Organization: CAPCON Library Network, Washington, DC Subject: Fleetwood's Contest Finals For all of you blues-lers in the DC area - I'm playing at the Taste of DC Festival this Saturday (Sept. 7). The Fleetwood's/Tower/Hard Rock Cafe blues contest finals are being held there (we found a replacement drummer - thank you Leo!). The contest is from noon til two PM at the Ninth Street Stage. The band I'm playing with is called Burr Clover. I'm not sure when we're on but come out if you can and look for a thin, white, dark-haired harp player. There should be some good talent at the contest (The Meteors is another band in the finals and they are a great local band. I think the other finalist is Blue Steel, but I'm not sure). I don't think there are any other blues bands on Saturday, but the festival is all weekend long and Little Feat and Bobby Parker are both playing there. Hopefully the rain will stop by Saturday! -Steve -- ========================================================================= Date: Thu, 5 Oct 1995 14:13:07 -0400 Reply-To: Ed Mezynski From: Ed Mezynski Subject: Not for the humor impaired All this black/white/blues stuff has moved me in such a way that I needed to share it with y'all. Take all the smilies you need, cause I got the... Too Light Blues They see me comin' on the darkest night, No incandescent, it'just I'm too light. I try my best to play a thang called blues, But you just hand me down my walking shoes. To Lawrence Welk, you know my folks would swing, But that ain't nuthin', man, it's just a thing. On Saturday night they'd don their polka shoes, Now I just cannot lose them Polka Blues. I'm really soulful, yes, it's really true. Outside I'm white, but deep inside I'm blue. So close your eyes, or just turn out the light, Then I might not appear to be so white. -ed ========================================================================= Date: Thu, 5 Oct 1995 13:24:41 -0500 Reply-To: JJTHADEN@LIFE.UAMS.EDU From: John Thaden Subject: Harp-L/Blues-L jam at King Biscuit Festival and IBTC Comments: To: Harp-L@garply.com I'm happy to announce an open stage for Harp-L and Blues-L musicians this weekend in Helena, Arkansas, the host city for both the 10th annual King Biscuit Blues Festival and the semifinals of the International Blues Talent Competition (IBTC). Thanks to the IBTC co-ordinator Vicki Bean (who also happens to be married to Blues-L/Harp-L'er Barry B. Bean), the IBTC stage will be available to Blues-L and Harp-L musicians after the last competitors play on Saturday afternoon (while the judges are compiling their scores). She tells me this will be roughly at 5:00 p.m. on Saturday, October 7th. The IBTC stage is in the Sonny Boy Music Room, the old J.C. Penney on the corner at 301 Cherry Street in downtown Helena. This is just across the street from the main Festival stage. If you haven't been to an amateur Blues competition, say in your home town, they rate high in entertainment value. Last year, the Helena IBTC semifinal held a steady crowd enthralled even while the professionals were at it on the three festival stages. The finalists then compete in Memphis on Sunday and I know some of you are planning to go. I'm told some Blues-L folks plan to meet at the Sonny Boy Music Room on Saturday morning, perhaps for breakfast. The competition organizers will be at the room at about 10 AM, Vicki tells me. I expect they'll be pretty busy, but it's not a bad place to meet if we keep out of the way, either inside or out. I've got confirmation that the following L'ers will be there: Randy Lilleston from D.C., who says he missed the Festival all the years he lived in Little Rock AR, and Memphis! B.B. Bean (Bring your harps, Barry!) Cat Bauer (Did I hear someone say you'd be ONLINE from Helena?) Leo 'The Scatman' Aspiras, of 'Dave Sherman & the Nightcrawlers' out of D.C., who is packing his bass with him. Yours truly from Little Rock (with fresh-tuned harps a-ready!) Who else is coming? No drummers, keys, or guits yet, but not to worry. I'm sure they'll be plenty of willing-and-able musicians there. Looking forward to meeting y'all. --John Thaden ========================================================================= Date: Thu, 5 Oct 1995 13:12:04 -0600 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: Paul Butterfield Comments: To: David Alan Hammel In-Reply-To: <44qecd$19e4@ds2.acs.ucalgary.ca> The first (and best, IMHO) releases of the Butterfield Blues Band are available on CD, lucky you! That would be "The Butterfield Blues Band", "East/West", and "The Resurrection of Pigboy Crabshaw" all on Elektra. They have the raw power of a Chicago El going round the corner. Jay Watterworth CU Boulder On Tue, 3 Oct 1995, David Alan Hammel wrote: > I heard on the HOB Blues hour that there is some new Paul > Butterfield being released. Could someone please recommend to me > the best two or three CD's to pick up (in Canada) for this band? > > Thanks. > > da > ========================================================================= Date: Thu, 5 Oct 1995 14:20:37 CST Reply-To: JBards From: JBards Subject: Re: Blues in Nashville Comments: To: edward c liu Ed, I called Gibson last year when I was heading up there and asked about tours: they responded with a tone of voice that suggested that I needed to get my medication adjusted. ( In other words, no regular tours.) I don't know about BB's club: for music in Nashville I usually check the Bluebird Cafe and Mere Bull's first. There are some other clubs on Division street nearly opposite Vandy that may have some good offerings, too. There is a Nashville home page on the WWW if you have access that may help. My strong recommendation: if you like barbecue, go to Mary's , it's across the street from Meharry Medical College on, I think, Jackson St. Have a good time- (former Nashvillite) Jim _______________________________________________________________________________ Subject: Blues in Nashville From: edward c liu at INTERNET-SH Date: 10/5/95 1:35 PM Howdy all, Lucky me, I get to head down to Nashville next week on business. Any zellers have any recommendations or suggestions on blues-related stuff to do down there? Is B.B. King's new club open down there yet? And does anybody know if Gibson guitars gives tours or free samples at their facilities down there? =8^). Thanks muchly! -- Ed Edward C. Liu | "I never say what I mean but I always manage edwick@cc.bellcore.com | to say something similar." | -- Eugene Ormandy The opinions in this message are mine and not Bellcore's. Really! ========================================================================= Date: Thu, 5 Oct 1995 13:31:24 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Whose Blues? Paul Garon's post is the first I have seen which actually argues that white guys can not play the blues. All along I have believed that argument was a caricature created by the "guitar technique is everything" crowd to put down those of us who believe that understanding black culture is fundamental to understanding blues. But now the caricature comes to life! Paul, you have a right to your opinion. But you're wrong. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Thu, 5 Oct 1995 17:26:07 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Re: ALbert King's grave marker, etc. Comments: To: bit-listserv-blues-l@moderators.uu.net Rick, I"m not sure if Albert was broke and busted. But a month or so after he died B&R got a faxed auction list of all, yep, all of his belongings, from his guitars - (Lucy's) through to his fur coats, socks, even cutlery and saucepans. Don't know who got the household stuff bu the guitars went, well, you'll guess where. So, as the executors of his estate need to flog everything off I suspect there wasn't too much money there. TB ========================================================================= Date: Thu, 5 Oct 1995 13:09:51 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: Whose blues? [Mine!] Comments: To: Paul Garon On Thu, 5 Oct 1995 10:46:00 CDT Paul Garon wrote: >I was trying to keep out of this thread since it's an easy one to get >heated about, Amen! >... but... now I'm heated, mostly by the remarks of Mike's quoted below. >Mine follow those: > >>Brenda, those precise facts, that you suggest I will never understand, are >>at the core of what the Blues was, notice I said *was*. That history will >>never change and I not only agree with you on that (never said I didn't) I >>think it important that more people know about it. This whole thread >>started because my idea of what a Bluesman is is based on our current >>times, and differs from the historic definition. You may notice that race >>or background or history are *not* required parameters in my definition >>(except a history of getting paid in some way for playing your Blues). >> >>I saw the light the minute I heard Albert King do "Born Under A Bad Sign", >>decades ago. >> >>My eyes adjusted to the light when I read, "Delta Blues". >> >>I radiated the light back, the first time that I played a Blues song >>without thinking about it and it just came from my soul. >> >Mike, many of us very definitely notice that you said *was*. We think >that's your problem, your great desire to consign black performers to >history so you can concentrate on reflecting your own light (a light that >many of us find a little dim, by the way). I don't want to consign Black performers to history. I want to consign the exclusively Black makeup of the Blues to history, simply because it is the truth. I concentrate on shining my light and it certainly doesn't require anyone else's to be dimmed - that's absurd! What I'd like to know is what you mean by my light being dim? Are you commenting on my recently expressed views or are you pre-judging my music (because of my lack of the 'correct' racial heritage, maybe?)? >Brenda's emphasis on history is an effort to suggest to you things that are >*still* components of the blues. I (and probably we) think black life, >black culture, and black performance style ARE (not WERE) integral parts of >the blues, but are not integral parts of what *you* play, which is why I >don't think you play blues, and which is why I can say that without hearing >you. My question answered! I agree that all of these things are part of the Blues? I don't want to hear some well trained white guy, playing transistor-enhanced SRV licks when I go listen to the Blues. Ideally, I want to hear it come from the heart, with an expressive voice, and in the Blues form ('50's Chicago for me), performed with power and joy or sorrow as appropriate, lyrics formed from the vernacular of the Blues (which is Black), and enthusiasm. These are part of *my* Blues. Picking cotton and playing a one string stick against the side of the house as a youth are not. When I play Howlin Wolf's "Commit A Crime" or Muddy's "She Moves Me", with at least half the power, heart, soul and facility of the original, and no SRV licks!, just the best I can play in the style of the original, what do you call it if not Blues? And don't reply with more rude barbs - 'Crap' is not an acceptable answer! Might you finally iterate what *you* consider necessary to play Blues? >This is also why "blindfold tests" are irrelevant to this subject. The >blues has many, many dimensions, but a lot of folks choose to follow the >acoustic dimension only. There really is much more to blues than what you >hear. There really is much more to Blues History than there is to Blues music; the two are not the same thing! Blues music is real flesh and blood experience, rooted in the moment. Blues History is an intellectual activity of reflecting on what was once flesh and blood. Even if reflecting on a performance of 1 minute ago, it is still History, and not *the thing itself*. The thing itself is much more ephemeral. I think I'll just play some Blues... Mike - who unlike you, is not doomed to be forever separate and alienated from the Blues by his racial heritage! >---- >Paul and Beth Garon | Fine first editions in the fields of >Beasley Books | literature, black studies, jazz & >1533 W. Oakdale | blues, radicalism, detective fiction, >Chicago, IL 60657 | psychoanalysis, psychiatry, and >beasley@mcs.com | psychology. >(312) 472-4528 | (312) 472-7857 (fax) > >Catalogs issued: Ask for yours by subject, by email or postal mail or >visit us at http://www.abaa-booknet.com/alldlrs/mw/60657bea.html. We also >have catalogs available by ftp at ftp.mcs.com/mcsnet.users/beasley. >_____________________________________|_____________________________________ ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Thu, 5 Oct 1995 16:39:30 -0400 Reply-To: Steven Levine From: Steven Levine Organization: CAPCON Library Network, Washington, DC Subject: Re: Fleetwood's Contest Finals Comments: To: bit-listserv-blues-l@moderators.uu.net Steven Levine (slevine@CAPCON.NET) wrote: : For all of you blues-lers in the DC area - I'm playing at the Taste of DC : Festival this Saturday (Sept. 7). Sorry, I forgot what month this was! That date should be October 7, not September 7! -Steve -- ========================================================================= Date: Thu, 5 Oct 1995 20:53:08 GMT Reply-To: ynot@io.org From: Tony Burns Organization: Internex Online, Toronto, Ontario, Canada (416 363 3783) Subject: Toronto Blues Society WEB SITE Comments: To: bit-listserv-blues-l@mail.uu.net It's new. It's under construction. It's here! The Toronto Blues Society Web Site can be found at http://www.io.org/~tbs/ Tony Burns | ynot@io.org | http://www.io.org/~ynot/ [Home page - Canadian Masters Windsurfing, Jughead, Greenbank Folk Music Society, Toronto Blues Society, ...] ========================================================================= Date: Thu, 5 Oct 1995 15:24:41 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Job decision - follow the Heart? Well friends, and spirited debating opponents, the time has come to decide on which job offer to take: The one that pays a bit more money, requires a train trip to downtown Chicago (2 hrs. gone each day), requires lot's of travel, writing reports, picking up new skills, doing designs for business systems and programs, interfacing with uptight MIS managers, managing junior programmers, doing something that doesn't interest me, but that I can perform well, that holds out the hope of entrepreneurial endeavors, where the partner of the division *really* likes my attitude, 'spark', and wide range of experience. Or the one 2 miles up the street, where the head of the department likes me, wants me to research new technologies for their next product (JAVA, so I stay near WWW development and get to use my graphic, musical, programming and creative writing skills), have entrepreneurial opportunities - not as great as the other but maybe sooner, where they have an unlimited supply of Earl Grey tea, where I work in product development (tools) - my field, get to advance my C++ skills and not just C, pick up new skills, have more time for our SoundTravels endeavor, and where, by a misunderstanding by the original interviewer, I was passed over as a consultant and, a week later, wanted by the product development team for the very reasons I was rejected in the first place (a sign to follow?) My head says, take the money. My heart says, take the enjoyable one. What should I do? (read your own sig, stupid!) Mike - Who is being tempted by the Devil to stray from the path. ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Thu, 5 Oct 1995 16:18:56 PDT Reply-To: rjbauman@IQUEST.NET From: rjbauman@IQUEST.NET Subject: Re: Whose blues? [Mine!] Comments: To: Paul Garon Mr. Garon, Your post to Mike Suffern really bothered and concerned me. Could you elaborate on your position on "Re: Whose Blues (Mine), lest I get the impression you are insulting white musicians playing blues music with their own vision. Also, are you maintaining that black culture is requisate of blues in 1995 as it was in 1945?? Is black blues inherently better in 1995 just because of the ancestral tradition?? thanks! RJ Bauman (gotta bad taste in my mouth) ========================================================================= Date: Thu, 5 Oct 1995 17:30:11 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Whose Blues? Not likely yours. Subj: Re: Whose blues? [Mine!] Date: 95-10-05 17:17:34 EDT From: Skip james To: msuffern@xnet.com In a message dated 95-10-05 16:26:35 EDT, msuffern, still claiming the blues as his own, wrote: >the Blues >form ('50's Chicago for me), performed with power and joy or sorrow as >appropriate, lyrics formed from the vernacular of the Blues (which is >Black), and enthusiasm. These are part of *my* Blues. Picking cotton and >playing a one string stick against the side of the house as a youth are not. > >When I play Howlin Wolf's "Commit A Crime" or Muddy's "She Moves Me", with >at least half the power, heart, soul and facility of the original, and no >SRV licks!, just the best I can play in the style of the original, what do >you call it if not Blues? If blues is a creative form then it is absolutely clear that when you play Howlin Wolf's or Muddy's *anything* that you aren't playing blues. Its theirs, not yours; how can you possibly say "mine!" about music that *you* say was 50's Chicago? Are you (white black or whatever) of that world? Did you even visit it within 20 years of its heyday? When Willie Dixon, Muddy Waters, and Howlin' Wolf took songs of a prior generation ("Walking Blues," "Sitting On Top Of The World," and "Stop and Listen Blues") and performed them they *remade them* into something else that was still blues. You seem to hold yourself up as an exemplar of the white-bluesman-ignored-by-racist-pursists yet you *admit* that you are simply playing pale knockoffs of greats from the past, from a time and culture you do not share. Why would I want to hear that? With Muddy and the Wolf available in recordings, why would anyone? With actual creating bluesmen extending the form right now, today, why not listen to them? One other bit of claptrap that is a commonplace on this list (and elsewhere) is that "only the white community supports the blues". This is simply not true. The white community has a taste for rock 'guitarslingers' who take heavily from blues forms, and will fitfully support some real blues, particularly blues that represents styles from the pasts. (I do note that there is substantial audience, including a lot of people on this list, who have supported the blues continually for decades). When the white audience does 'come around' to blues, the shear size, wealth, and market-making power of the white audience swamps the much smaller much poorer community-based audience that supports and actually creates blues. The people I see in juke joints can't afford a lot of CDs. They don't go to a lot of shows that charge covers. But they are there in the jukes to support live music when the white audience is not there. Tom Freeland ========================================================================= Date: Thu, 5 Oct 1995 14:33:07 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Whose blues? [Mine!] Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Paul Garon said: >Mike, many of us very definitely notice that you said *was*. We think that's >your problem, your great desire to consign black performers to history so >you can concentrate on reflecting your own light (a light that many of us >find a little dim, by the way). YIKES! Hey Paul, You had a good point, and Mike did too. It's ok to disagree, and it's ok to argue. BUT saying: >(a light that many of us find a little dim, by the way). is out of bounds. Your point would have carried much more weight without such a cheap shot. Let's remember our manners folks... Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Thu, 5 Oct 1995 17:40:06 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Subject: HC Speir (was Re: WILLIE BROWN) Comments: To: bit-listserv-blues-l@uunet.uu.net As promised in a post the other day, I dug through my 78 Quarterly magazines. An excellent article on HC Speir appeared in issue #8 by Gayle Dean Wardlow which serves as the source for this post. Speir was a talent agent for a number of blues labels and discovered some of the key country blues talents during the critical 1925-35 period. He was born in 1895 and got into scouting for talent as a means to increase his record store business he started in 1925 on North Farrish St in the black business district of Jackson, MS. He generally received straight fees for his discoveries rather than royalties. These were generally in the $100-150 range per artist discovered. He later also did some recording sessions on his own and sold the masters. Some of his discoveries included Charlie Patton, Son House, William Harris, Tommy Johnson, Skip James, Ishmon Bracey, Blind Joe Reynolds, Bo Carter, the Mississippi Sheiks, Blind Roosevelt Graves, Geeshie Wiley, Washboard Walter and Elvie Thomas. He auditioned Robert Johnson but had a dispute with an ARC executive for lack of payment. Speir did not pass Johnson on to ARC but gave his name to an ARC salesman who then arranged to record Johnson. Speir recorded artists who walked in off the street for $5/side. Those that he thought had commercial potential were then referred to record companies. His store carried 3000 78s and he sold 300-600 on a good Saturday. 80% of his stock was race records. He had to order as many as 500 records to get Victor to record Tommy Johnson and Ishmon Bracey Speir found many of his blues singers in small rural and Delta towns in Mississippi. One problem he had was that many of these artists moved from town to town and finding the artist for another session was not always easy. Speir believed that the era of recording original blues singers ended in the mid-30s. Prior to that time, people doing the recording just let the artist play. After that time they began telling the artist what to do. Speir always thought that it was better to let the artist play their "natural way". About individual artists, Speir had this to say: Jim Jackson - "he was what we call a dope head". with a cocaine habit. He was just a bum, nobody paid attention to him Tommy Johnson - "A good talent, pretty hard to keep sober." Speir had to bail him out of jail at one point. Johnson skipped town. At trial Speir testified for him after retrieving him from Louisiana with handcuffs. He said that Johnson sounded better on record than in person - he had a speech problem that detracted from his singing. Ishmon Bracey - Speir found him singing on the streets of Jackson for spare change. He asked Bracey to come to his store, Ishmon thought he was a detective and followed him to the store and a test was recorded which was sent to Victor who released is as "Saturday Night Blues". Bracey received a check from Paramount for $900 that a department store owner refused to cash saying, "This is too much money for a nigger to have". After calling Speir who backed the check, it was cashed. Skip James - Speir consisdered him one of the best guitar players he ever discovered. He was moody and got "religious ideas". He quit recording after this. Charlie Patton - Speir received $150 for referring Patton to Paramount. Patton was one of the best talents and best sellers of all of Speir's discoveries. "Charlie Patton never got religious ideas, like some of them." H.C. Speir died in 1972 at age 76. Many of the artists he discovered were legends. The 78 Quarterly goes into much greater detail about Speir and has some great pictures. Art Schuna ========================================================================= Date: Thu, 5 Oct 1995 17:52:39 -0400 Reply-To: Patti Bowman From: Patti Bowman Subject: was Whose blues..now it's done > I think to say an American >is something other than an American, implies that they are not 100% American >I am not a European American, just because that's where my ancestors are from >I'm 100% American, to say someone is African-American, tells me that they are >part African and part American....Which would imply that they are not 100% >American... Yes, but your European ancestors *probably* made a choice to come here and therefore had a choice in being "Americans". The Africans that came here did not have the same travel arrangements. I think it's a personal choice what one calls oneself. My ancestors are French, German, and American Indian). That is part of my make-up, heritage, background. I wish to be neither limited, categorized, glorified nor punished by that fact. I am NOT 100% American (like that's some prize for accomplishment instead of luck-of-the-draw). Doing the math, I am 1/16 American Indian, 1/4 french, etc.... >It's not about culture it's about seeing everybody as the same There is a difference between "the same" and "equal". No two people are the same. Everybody should be equal. -Patti ========================================================================= Date: Thu, 5 Oct 1995 17:52:50 -0400 Reply-To: Patti Bowman From: Patti Bowman Subject: Re: Blues-less Blues Fest in Sarasota Pat said: > LW said "You can't disagree with an opinion". You certainly can. >You probably won't succeed in CHANGING it. Maybe that's what he meant. you can disagree with an opinion you can sometimes change an opinion I think you can't declare it WRONG or invalid. ...................unless it's your own ;-> -patti so full of opinions..............or something............. ========================================================================= Date: Thu, 5 Oct 1995 22:02:07 GMT Reply-To: Derek Dresser From: Derek Dresser Organization: Agate Internet Services (AIS) Subject: Re: Whose blues? Comments: To: bit-listserv-blues-l@uunet.uu.net >On Mon, 2 Oct 1995, Michael Suffern wrote: >> You do not need to be raised on Blues to become a Bluesman. You have to >> have the Blues touch you at some point and you have to be able to perform >> the Blues and express what that means to you - the deeper the better, IMHO >> - and that's all. >I hope you can rethink your attitude, Michael. The Blues developed in >this country sometime in the 1800's. I won't give you a history lesson >(although I certainly could) but I will tell you that the Blues is >African American music, plain and simple. It is a component of African >American culture. >BUT not all African Americans are automatically bluesmen/women. It *is* >something that you are *raised on*. Such culture is not acquired on a whim. >Let me explain it to you as I did to Jef Jaisun last week: You can sing >opera until you are blue in the face, it will not make you an Italian! No, but it sure will make you an opera singer. In the same way, being touched by the blues, and deciding to dedicate part of your life to singing and playing and carrying on the blues will make you a blues man/woman. Color is not an issue. Derek ========================================================================= Date: Thu, 5 Oct 1995 16:57:13 -0500 Reply-To: William A Morgan From: William A Morgan Subject: Re: Harp-L/Blues-L jam at King Biscuit Festival and IBTC Comments: To: John Thaden In-Reply-To: <01HW2YIZ366Q8WWG3E@life.uams.edu> On Thu, 5 Oct 1995, John Thaden wrote: > ... > I'm told some Blues-L folks plan to meet at the Sonny Boy Music Room > on Saturday morning, perhaps for breakfast. The competition organizers > will be at the room at about 10 AM, Vicki tells me. I expect they'll > be pretty busy, but it's not a bad place to meet if we keep out of the > way, either inside or out. > > I've got confirmation that the following L'ers will be there: > Randy Lilleston from D.C., who says he missed the Festival all the > years he lived in Little Rock AR, and Memphis! > B.B. Bean (Bring your harps, Barry!) > Cat Bauer (Did I hear someone say you'd be ONLINE from Helena?) > Leo 'The Scatman' Aspiras, of 'Dave Sherman & the Nightcrawlers' > out of D.C., who is packing his bass with him. > Yours truly from Little Rock (with fresh-tuned harps a-ready!) > > Who else is coming? No drummers, keys, or guits yet, but not to worry. > I'm sure they'll be plenty of willing-and-able musicians there. > > Looking forward to meeting y'all. --John Thaden > John, I'll be up there on Saturday. I play the CD player, turntable, and cassette deck. I can also whistle and clap, and I promise only to do so in support of your performance. Looking forward to it. ************** Bill Morgan ========================================================================= Date: Thu, 5 Oct 1995 18:09:49 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Denver Bluezellers Saturday 10/14, I'll be interviewing Denver Blues/Folk Lady, Mary Flowers. Any kind words about her? Any live performance critiques? Thanks for your help, Regards, Beef Stew WHUS Radio ========================================================================= Date: Thu, 5 Oct 1995 17:22:03 CST Reply-To: JBards From: JBards Subject: Re: Job decision: No blues content, at least , not much Comments: To: msuffern@XNET.COM Well, let me put this reply in context: my wife, who is older than I and who started working at a young age, can retire from the state system here comfortably in 3 years. We have a house that we keep ( rented) in Eugene, Oregon, where we /really/ want to live. Problem is, there is no, nothing, not even close, kind of work for me there equivalent to what I do here. ( I'm Assistant Dean and Associate Professor in the School of Medicine. No, I'm not and MD...) We just took a two week vacation, most of it in Normandy, France, a climate and geography very similar to Oregon. We also got totally away from the mind-set and routine ( read rut) of work here. We're now seriously considering taking a reduction in life-style ( read, living on a lot less) in trade for an improvement in quality of life ( waking up in the morning and seeing the Cascade Mtns, living in Eugene, running on Pre's Trail..coffee and brioche at the 5th St. Market. So obviously, the "life is too short" philosophy is in the forefront of my current thinking. I'd probably vote for the lifestyle, rather than the new job. -Jim _______________________________________________________________________________ Subject: Job decision - follow the Heart? From: msuffern@XNET.COM at INTERNET-SH Date: 10/5/95 4:55 PM Well friends, and spirited debating opponents, the time has come to decide on which job offer to take: The one that pays a bit more money, requires a train trip to downtown Chicago (2 hrs. gone each day), requires lot's of travel, writing reports, picking up new skills, doing designs for business systems and programs, interfacing with uptight MIS managers, managing junior programmers, doing something that doesn't interest me, but that I can perform well, that holds out the hope of entrepreneurial endeavors, where the partner of the division *really* likes my attitude, 'spark', and wide range of experience. Or the one 2 miles up the street, where the head of the department likes me, wants me to research new technologies for their next product (JAVA, so I stay near WWW development and get to use my graphic, musical, programming and creative writing skills), have entrepreneurial opportunities - not as great as the other but maybe sooner, where they have an unlimited supply of Earl Grey tea, where I work in product development (tools) - my field, get to advance my C++ skills and not just C, pick up new skills, have more time for our SoundTravels endeavor, and where, by a misunderstanding by the original interviewer, I was passed over as a consultant and, a week later, wanted by the product development team for the very reasons I was rejected in the first place (a sign to follow?) My head says, take the money. My heart says, take the enjoyable one. What should I do? (read your own sig, stupid!) Mike - Who is being tempted by the Devil to stray from the path. ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Thu, 5 Oct 1995 17:36:52 CST Reply-To: JBards From: JBards Subject: Re[2]: Whose blues? [Mine!] Comments: To: Paul Garon Geez, Paul, regarding the comments below, I don't think I could disagree more. Certainly blues as music has black roots, and will always be a reflection of black culture, but I think race is irrelevant to art and musicianship: after all, can't Yoyo Ma excell in playing in a classical, European tradional form? Aren't there a lot of great African-American opera singers? I think it smacks of incredible arrogance to claim a copyright on a given form of music by a certain race or culture, particularly when bookended by such statements as "and which is why I can say that without hearing you." and "(a light that many of us find a little dim, by the way)." -Jim _______________________________________________________________________________ Subject: Re: Whose blues? [Mine!] From: Paul Garon at INTERNET-SH Date: 10/5/95 4:03 PM Mike, many of us very definitely notice that you said *was*. We think that's your problem, your great desire to consign black performers to history so you can concentrate on reflecting your own light (a light that many of us find a little dim, by the way). Brenda's emphasis on history is an effort to suggest to you things that are *still* components of the blues. I (and probably we) think black life, black culture, and black performance style ARE (not WERE) integral parts of the blues, but are not integral parts of what *you* play, which is why I don't think you play blues, and which is why I can say that without hearing you. This is also why "blindfold tests" are irrelevant to this subject. The blues has many, many dimensions, but a lot of folks choose to follow the acoustic dimension only. There really is much more to blues than what you hear. ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email or postal mail or visit us at http://www.abaa-booknet.com/alldlrs/mw/60657bea.html. We also have catalogs available by ftp at ftp.mcs.com/mcsnet.users/beasley. _______________________________________|______________________________________ ========================================================================= Date: Thu, 5 Oct 1995 17:31:21 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Job decision - follow the Heart??? Comments: To: rossentj@interaccess.com Well friends, just as I thought, the Devil has raised the stakes in order to tempt me! They tacked on another $2000.00, plus overtime - that's $6500 more base, plus overtime. >:O They also fessed up that it will be 60% travel (max). It would be the most important position I've ever fulfilled, which is a good career move. The only thing that I really look forward to is the fact that the 40% that I'm in town, I would be able to hit the jams two or three nights a week (and I could buy another Strat and amp and leave them at Tom Rossen's house so I wouldn't have drive those days!). I knew this was going to happen! This is critical, I need your thoughts in case I'm missing anything! Mike ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Thu, 5 Oct 1995 16:07:01 PST Reply-To: Mike McCourt From: Mike McCourt Subject: Re: Whose blues? What a pile. It's interesting to me the same people who purport to be representatives of some blues organization or see themselves as self appointed "insiders" to blues information, in their effort to "enlighten" us, are the very ones who are alienating people. You MAY know *something* about blues history, origin, culture etc...you do a poor job of communicating it and apparently know little about it's spirit. Mike McCourt mmccourt@acuson.com ____________ reply separator__________ >Catalogs issued: Ask for yours by subject, >Beasley Books ------------------ >KYANA Blues Society >Louisville KY ========================================================================= Date: Thu, 5 Oct 1995 19:07:39 -0400 Reply-To: "Abe W. Mathews" From: "Abe W. Mathews" Subject: Re: Whose Blues? Not likely yours. In-Reply-To: <951005173010_37315800@emout05.mail.aol.com> from "Tom Freeland" at Oct 5, 95 05:30:11 pm I was *really* hoping to stay out of this, but it's getting to be too much. Tom Freeland attacks Mike Suffern with: > In a message dated 95-10-05 16:26:35 EDT, msuffern, still claiming the blues > as his own, wrote: > > >the Blues > >form ('50's Chicago for me), performed with power and joy or sorrow as > >appropriate, lyrics formed from the vernacular of the Blues (which is > >Black), and enthusiasm. These are part of *my* Blues. Picking cotton and > >playing a one string stick against the side of the house as a youth are not. > > > >When I play Howlin Wolf's "Commit A Crime" or Muddy's "She Moves Me", with > >at least half the power, heart, soul and facility of the original, and no > >SRV licks!, just the best I can play in the style of the original, what do > >you call it if not Blues? > > When Willie Dixon, Muddy Waters, and Howlin' Wolf took songs of a prior > generation ("Walking Blues," "Sitting On Top Of The World," and "Stop and > Listen Blues") and performed them they *remade them* into something else that > was still blues. You seem to hold yourself up as an exemplar of the > white-bluesman-ignored-by-racist-pursists yet you *admit* that you are simply > playing pale knockoffs of greats from the past, from a time and culture you > do not share. Why would I want to hear that? With Muddy and the Wolf > available in recordings, why would anyone? With actual creating bluesmen > extending the form right now, today, why not listen to them? This is *way* outta line, Tom. Nowhere in Mike's post does he claim to be doing knockoffs of the classics. Now, I've never heard Mike play (yet, but I'm hoping!). Have you? Have you taken the time to *honestly* listen to those who you accuse of being second-rate knockoff artists? I'd bet not. Also, would you listen to Mike's playing if he did have a completely new approach to a classic style? Or would you simply label it as derivative, and not blues at all? In separate posts here, white artists are being slammed for not sounding like black artists, and then are being slammed for trying to sound like black artists! I realize that different people are making these points, but all the same, there's just no pleasing *anybody* here. I support *anyone's* right to sing the blues. I'd bet Mike does not sound anything like Muddy or Wolf. I'd bet he sounds like himself. And that's about the highest compliment I can pay another musician, black or white. If you don't like it, don't listen to it. But don't insult someone else's musical abilities just because they don't share your narrow view of a blues universe. > The white community has a taste for rock 'guitarslingers' who take > heavily from blues forms, If a white musician bows to the founders he takes. If a black musician bows to the founders, he's influenced. Double standard, anyone? I'm sorry if this seems like a personal attack, Tom. I don't mean it to be. However, I was brought up not to take a person's color into consideration when considering their talents and the relative value of their contributions. Am I wrong? Abe awmathew@mtu.edu ========================================================================= Date: Thu, 5 Oct 1995 16:16:34 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Whose blues? [Mine!] Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Well here's my .02... I think some of the unhappiness concerning this issue has come from a classic misunderstanding between the view of musicians and that of fans, collectors, writers etc (i.e. non-musicans) Listen folks, When I play music that I know came from the blues on my guitar, I don't care if the crowd calls it blues or not... A fan coming up and saying "great guitar playing, man" jazzes me just as much as ""hey, I heard the Freddie King quote, cool!" We musicians draw from these influences and they all end up in the music. Because we make the music, it is "ours" at that moment. I may draw on Freddie one minute, and Laurie Anderson the next, and the fans may call it blues anyway.... (and they may not) The clear categories that the public holds mean very little to most musicians. I have a new tune that is strongly blues based, yet when writing more music for a "middle 8" sort of break, I drew on Samuel Barber and added some guitar from BB.... hmmm is that blues?? Well, I don't know. BB used strings on "The Thrill is Gone" and they worked ok. I'm using the orchestral parts in a more emotional and deeper way than they were used on that song, and when the guitar drops in, I just love it... Now would BB call my tune blues? I dunno, but he might, it's certainly in there! My obligation as a musician deeply into the blues is to be true to the African-Americans who are the founders. It is from their culture, and I owe them my respect, and I owe them the life-long fight against racism (in spite of the absurd OJ verdict) that I have been involved with. Oh, and that fight to establish the dignity and equality of black americans, has cost me my relationship with several family members BTW. *BUT* We MUST remember that the founders were and are very inclusive, and would not be caught DEAD saying some of the things that whites say in their effort to assert who is "real blues" and who is not. BB King would not tell some white guy playing and singing his heart out that he is not playing "real blues".... Remember, this music is supposed to bring us all together! Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Thu, 5 Oct 1995 17:49:48 -0500 Reply-To: Gary Boudreaux From: Gary Boudreaux Organization: Macintosh Consulting Services Subject: Re: Freddie King Comments: To: bit-listserv-blues-l@uunet.uu.net >I saw a 2-CD set of Freddie King (on Capitol, I think). From the song >listing, it looks like mostly stuff from his Shelter period. Does >anyone know if it's a full retrospective, or if it has any interesting >unreleased stuff? It contains all 3 of his Shelter recordings, including the extra tracks on the individual reissues, along with some additional songs which are previously unreleased. ========================================================================= Date: Thu, 5 Oct 1995 20:13:36 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Whose Blues? Not likely yours. Comments: To: awmathew@mtu.edu In a message dated 95-10-05 19:11:32 EDT, awmathew@MTU.EDU (Abe W. Mathews) writes: >I'm sorry if this seems like a personal attack, Tom. I don't mean it to >be. However, I was brought up not to take a person's color into >consideration when considering their talents and the relative value of >their contributions. Am I wrong? What you did that was wrong is to use heavy editing of my message to make it say something it did not say, in particular the way you slice out of context my comment about rock guitarists use of blues forms. In the first place, I have never heard Mike play, either, BUT what HE SAID was: >When I play Howlin Wolf's "Commit A Crime" or Muddy's "She Moves Me", with > at least half the power, heart, soul and facility of the original, and no > SRV licks!, just the best I can play in the style of the original, what do > you call it if not Blues? And that lead me to say that he admitted himself that he was playing "Muddy's 'She Moves Me'", not making something of his own. You said: >Also, would you listen to Mike's playing if he did have a completely new >approach to a classic style? Or would you simply label it as derivative, >and not blues at all? I labeled based upon HIS OWN SELF-DESCRIPTION. Look, in the small town where I live (in Mississippi), I turn out for just about every blues-related event that occurs, regardless of the race of the musicians. I give just about everyone a listen. I am a fan of a large variety of music from fairly current rock back to ragtime. This is not a matter of excluding or refusing to hear someone-- the opinions I have expressed are based on my experience listening to a broad range of musicians who either are called bluesmen or call themselves bluesmen, and based on some experience actually playing the music. Finally, closing with the subject of race. Awmatthew wrote: >However, I was brought up not to take a person's color into >consideration when considering their talents and the relative value of >their contributions. Am I wrong? The point being made by me (and I suspect by the others-- Paul Garon, Bonnie K., Brenda from Louisville-- who have posted on this 'side' of the issue) IS NOT ABOUT RACE IT IS ABOUT CULTURE. It is clever to attempt to dismiss it by saying to us "you folks are just racists." But this dismissal fails entirely to meet the basic point that I am trying to make: This music is the product of a culture, and those who do not share that culture are damned unlikely to produce interesting versions of this music. Put in musical terms, this music is a complex musical form with harmonic and rythmic patterns that are not part of European traditions. Those brought up outside the (African-American-- because there is no other word for that *culture*, apologies to the understandable position of LW that we're all Americans) culture that produced the music are quite likely adopting something that is not theirs. And it is less likely to work. I do not think that this is necessarily always true. The adoption of blues forms by rock musicians (which I *do not fault* but view as an important kind of creativity) may ultimately make blues forms so much of mainstream culture that they are not so exclusively African American. On the other hand, some blues musicians (I have read Muddy Waters quoted to this effect) view adoption by the mainstream as having the danger of reducing the distinctive harmonic and rythmic elements that make the blues what it is. Adoption into mainstream culture has to a great extent happened to jazz through a process that began in the early part of this century. BUT to me ears it has not happened yet with blues. And to say that is not racism. To say that is not a refusal to listen. I have. Tom Freeland ========================================================================= Date: Fri, 6 Oct 1995 00:33:11 GMT Reply-To: "Roy W. Forgy" From: "Roy W. Forgy" Subject: What Blues is to me. Blues is, in my opinion: 1. The style of music I prefer to listen to. (old and new) 2. A state of mind (hopefully not all the time) 3. How I feel every Monday (Blue Monday) 4. A style of music that anyone of any race, religion, or creed can play and enjoy. (hopefully they play it well) 5. A style of music that has its roots and History in the black southern slave community. (this does not mean they are the only people capable of liking or playing it) OK I dug out my old flameproof driving suit so have at it. Just remember I prefaced this by saying this is my opinion not everyone's as everyone is different. Roy W. Forgy (blueslvr@gnn.com) Pacifica, CA ========================================================================= Date: Thu, 5 Oct 1995 21:03:45 -0400 Reply-To: Bob vanArsdall From: Bob vanArsdall Subject: Re: Job decision - follow the Heart? >MIME-Version: 1.0 >Date: Thu, 5 Oct 1995 15:24:41 PDT Mike - two old sayings to guide you, neither one original with me. Sounds like either way we'll still have you on Blues-L... Hesitation increases with risk, directly with age. - Hemingway Young rivers erode, old rivers deposit. - unknown ecologist Bob >My head says, take the money. > >My heart says, take the enjoyable one. > >What should I do? (read your own sig, stupid!) > >Mike >- Who is being tempted by the Devil to stray from the path. > Just read your second post, which included: >They also fessed up that it will be 60% travel (max). One of the great blessings of my life is having a job which requires me to travel on expense accounts. So long as they send you to Memphis, New Orleans, Houston, Dallas, Tampa (good barbecue at Big John's Alabama Barbecue), or Atlanta. Traveling can get old, but if depends on where you go and if you take your harps with you. For a couple of years it could be a real treat - learn all the best music and barbecue in the country. Now if that 60% is all to Des Moines....(sorry Ranko and other Iowans) Bob ========================================================================= Date: Thu, 5 Oct 1995 21:14:00 PDT Reply-To: Meridith Farnworth From: Meridith Farnworth Subject: Another dropped subscription?! Greetings, all. I just received private mail from a friend who just joined Blues-L in the last month. She's reporting that she has not received any Blues-L posts since *last friday* after a couple weeks of enjoying the daily deluge of mail. Can someone kindly send help / suggestions? You can either mail her privately at BMTallman@AOL.COM, or tell me and I'll help her out. Please and thanks... --Meri mfarn@fibusa.com ========================================================================= Date: Thu, 5 Oct 1995 21:23:28 -0400 Reply-To: "Abe W. Mathews" From: "Abe W. Mathews" Subject: Your Damn Right I've Got the Blues! Comments: To: Skipjames@AOL.COM In-Reply-To: <951005201334_37461032@mail06.mail.aol.com> from "Tom Freeland" at Oct 5, 95 08:13:36 pm Tom Freeland responds: > In a message dated 95-10-05 19:11:32 EDT, awmathew@MTU.EDU (Abe W. Mathews) > writes: > What you did that was wrong is to use heavy editing of my message to make it > say something it did not say, in particular the way you slice out of context > my comment about rock guitarists use of blues forms. My heavy editing was to get to what I felt was the point of the issue. If you feel the guitarist comment was wrong, that's fine. I expect you to disagree with me. I was only using what you said, and what I felt was important. Just as you feel that Mike's > >When I play Howlin Wolf's "Commit A Crime" or Muddy's "She Moves Me", with > > at least half the power, heart, soul and facility of the original, and no > > SRV licks!, just the best I can play in the style of the original, what do > > you call it if not Blues? Translates into: > And that lead me to say that he admitted himself that he was playing "Muddy's > 'She Moves Me'", not making something of his own. I didn't take Mike's post that way at all. You are entitled to your opinion. Just as I am entitled to mine. It's all a matter of semantics anyway. > Look, in the small town where I live (in Mississippi), I turn out for just > about every blues-related event that occurs, regardless of the race of the > musicians. I give just about everyone a listen. I am a fan of a large > variety of music from fairly current rock back to ragtime. This is not a > matter of excluding or refusing to hear someone-- the opinions I have > expressed are based on my experience listening to a broad range of musicians > who either are called bluesmen or call themselves bluesmen, and based on some > experience actually playing the music. Fine. I am sorry if I implied you were narrow minded; I see that you are not. For my sake, I am in a small town in northern MI. Almost every live blues event that occurs is one that *I* make happen. When I perform. I have had many people ask me where I got my influences from. I have turned a number of people on to artists they never would have listened to before. Even if what I do doesn't fit your definition of a bluesman, I *am* giving every bit back that I can. If that's not respecting the roots respecting the culture, I don't want to be in your definition of the blues. > The point being made by me (and I suspect by the others-- Paul Garon, Bonnie > K., Brenda from Louisville-- who have posted on this 'side' of the issue) IS > NOT ABOUT RACE IT IS ABOUT CULTURE. It is clever to attempt to dismiss it by > saying to us "you folks are just racists." But this dismissal fails entirely > to meet the basic point that I am trying to make: This music is the product > of a culture, and those who do not share that culture are damned unlikely to > produce interesting versions of this music. I have never said that *anyone* was racist. The word, like those whom it represents, is not to be taken lightly. I have made every attempt to understand "African-American" culture. Really. What I have a problem with is the attidue of "We have something you don't, and therefore you can never be a part of our little club." To me, saying this about the blues is almost as ludicrous as saying it about Italian cooking. The best Italian food I have ever had in my life was made by my Grandmother-in-law, Sophie. A full-blooded Serbian. Her Spaghetti is better than any "Authentic" Italian food I've ever had. Why is that? Probably because it isn't really Italian. She uses the influences her mother gave her in cooking to turn the dish into something unique, something new and different. This does not mean that I will never try any other Italian food ever again, just because I like this stuff. In much the same way, SRV (gasp!) speaks to me. Really. In a way that is different than any of his influences. B.B. King gets me movin' like none of the influences I've seen him mention. The same with Alberts King and Collins. Am I wrong in liking things because they appeal to me? This is what it comes down to, taste. You don't think non-black musicians have the feel and taste to play the blues. I do. Nothing you say will change my opinion (because I'm just one of those "white-bluesman-ignored-by-racist-pursists"). And it is clear that your opinion is set in stone as well. The challenge of it all is to let me like what I like without insulting it. I'll try to do the same for you. > And to say that is not racism. To say that is not a refusal to listen. I > have. And thank you for listening. Abe awmathew@mtu.edu ========================================================================= Date: Thu, 5 Oct 1995 20:22:31 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Job decision - follow the Money? BTW, the money amounts to a 16% raise over the last job, not including overtime, that's equivalent 1 1/2 to 3 years of raises on the 'heart' job (which is only a 4.5 % increase) Here's the current concensus: Go with your heart - 100% Except if you need the money, if it advances your career, or you can buy lots of new gear. - 80% Well, I think it's all of those things but I'm still not sure it's worth it. We have a big mortgage, and so have to scrimp on things like, no new car, few new clothes, drink less Lipton Brewed Iced Tea (No Sweetener, No Lemon), the Credit Card balance needs to come down a bit... 50% had recent experience with this problem and said that they would rather follow their heart, but went for the money. Not much help, but a lot to think about and the precedent seems to be to go with the money and dream about the missed opportunity or plan to get back to it 'someday'. Which seems sad, but the choice may be necessary, and the look back or forward a coping mechanism Is there anyone out there who went with their heart instead of the money that can shed some light on that path? Do you dream about having more money? Mike ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Thu, 5 Oct 1995 22:32:58 CST Reply-To: JBards From: JBards Subject: Re: Job decision - follow the Money? Comments: To: msuffern@XNET.COM There was a pole done several years ago: the average American- regardless of income level- thought he/she could do just fine with 25% more income. My question is: what does Judith think? Somehow, on matters like this, I think women are more highly evolved. Anyway, go with your instinct, if you can find it. regardez vous, jim _______________________________________________________________________________ Subject: Job decision - follow the Money? From: msuffern@XNET.COM at INTERNET-SH Date: 10/5/95 10:09 PM BTW, the money amounts to a 16% raise over the last job, not including overtime, that's equivalent 1 1/2 to 3 years of raises on the 'heart' job (which is only a 4.5 % increase) Here's the current concensus: Go with your heart - 100% Except if you need the money, if it advances your career, or you can buy lots of new gear. - 80% Well, I think it's all of those things but I'm still not sure it's worth it. We have a big mortgage, and so have to scrimp on things like, no new car, few new clothes, drink less Lipton Brewed Iced Tea (No Sweetener, No Lemon), the Credit Card balance needs to come down a bit... 50% had recent experience with this problem and said that they would rather follow their heart, but went for the money. Not much help, but a lot to think about and the precedent seems to be to go with the money and dream about the missed opportunity or plan to get back to it 'someday'. Which seems sad, but the choice may be necessary, and the look back or forward a coping mechanism Is there anyone out there who went with their heart instead of the money that can shed some light on that path? Do you dream about having more money? Mike ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Thu, 5 Oct 1995 23:46:03 -0400 Reply-To: Zig Zag Wanderer From: Zig Zag Wanderer Organization: University of Oregon Subject: Re: Job decision - follow the Heart? Comments: To: bit-listserv-blues-l@uunet.uu.net >My head says, take the money. >My heart says, take the enjoyable one. >What should I do? (read your own sig, stupid!) >Mike >- Who is being tempted by the Devil to stray from the path. >------------------------------------------------------- >Name : Michael A. Suffern > Judith Darin-Suffern >E-mail: msuffern@xnet.com >WWW : http://www.xnet.com/~msuffern/soundtravels.html > The Blues&Travel site, E.C @ R.A.H., Blues Guide > Above all, play what your heart tells you to, > As you learn, your heart will have more to say. >------------------------------------------------------- You will never regret doing what you enjoy. Some things just aren't worth the money. ========================================================================= Date: Thu, 5 Oct 1995 23:25:36 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: Job decision - follow the Heart??? Comments: To: Patti Bowman Patti sent this to the list too because it really says about all... On Fri, 6 Oct 1995 00:08:38 -0400 Patti Bowman wrote: >Had server problems. What a pain in the ass. >money is only money...... >what will taking this job cost you? >What do you get if you take it? >In the long run it has to be more than money...... The text below sums that up... >>The good side, besides being downtown where the jams are, ;) is that they >>are very entrepreneurial and I could develop a Web Service department of >>my own - I'd have to serve them doing this crap work for a while first, at >>least a year, meanwhile others get established, but then maybe management >>will see it as a more viable market to pursue then. They want me bad >>because I can do a lot of things (some that I hate doing), even though I >>have no degree (only have a GED, shhhhh!). >If you've got a plan that is reasonable then that's a plus. Yes, but I don't know if they are full of it or not. They stated that they are entrepreneurial *before* I brought it up, so, maybe... I just don't know if I can do all that uncreative, shit work, without it becoming an unbearable burden. Part of me (I always chide Judith to show me what part that is when she uses this phrase - but she needed to learn that all of her facets were part of the same stone - I use it figuratively) is attracted to the variety and challenge, part of me shies away in fear that I have finally run into something that I won't be able to master. It is of massive scope and probably overwhelmingly needy. It's more than I have ever done at one time in the past. I guess I know it will be like a trial of my discipline (me?), perseverence, ability to deal with pain, etc. It's like earning my Order Of The Arrow in Boy Scouts. Had to spend the weekend in the woods, not talking, eating berries, dandelion, and roots, sleeping on the ground, etc. to finally come back heroically sucessful (even though we cheated 'cause we all talked to each other about how it totally sucked - and should have disqualified ourselves as part of the code of honor). Got the fucking sash - didn't mean much to me though! [Gosh if I died and St. Peter let me into heaven, would I feel guilty about not really deserving it and be a miserable Woody Allen character in heaven for eons until I finally went and told him to just book me on the next flight to Hell?] Put me at a desk and tell me to document the reports that an accounting program produces and I'd probably panic and run right for the enemy trenches waiving my arms and screaming, "I can't take it anymore", or just be so bored... I'd be the kid sketching on the back of his Math test instead of taking the test (I think I actually did that a few times). That scares the hell out of me. Put me in front of a graphics program and tell me to create something snazzy for a company logo, and I'll work till 4 a.m. without a break (research and design turn me on like that too). Shouldn't going to work be something you're excited about each morning - or, at least, to some degree (especially if you hate being concious in the morning)? But then, shouldn't you make lots of money? I don't know which really will build my career more. If I believe in the Web as a hot area to be in, then I should go with my heart and the company that will have me researching new product ideas in that area! >What does our " Fair Lady of the 2 Verbs" say to this whole job thing? > >-Patti > Judith Darin' Sufferin' thinks that she would miss me but the money might console her. She would be able to pay all of the bills all of the time. I could get a new car. She could fly out to meet me for long romantic weekends. It would make it more difficult to have a baby. She's excited that the partner really liked me, of course, I've been bullshitted before when I was the only guy that could get the job done, still they offered me lots of money. She's not quite as confused as I am, and will support me in whatever decision I make, and wouldn't tell me what to do ('cause if it turned out bad, she'd feel guilty). I love her, and maybe I should go for the money to make things 'better' for her (us)? Mike - who wavers more each the minute. By tomorrow I should be vibrating at about 1.5 Hkz. ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Thu, 5 Oct 1995 23:36:44 -0600 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: Special Treatment for Harp Players Comments: To: Michael Suffern In-Reply-To: Do I hear a verse of "Mohair Sam" coming on? Jay Watterworth CU Boulder On Wed, 4 Oct 1995, Michael Suffern wrote: {snip} > > Also, got to walk down Monroe to the Merchantile Exchange blowing my best > in a long while (practice), this time in a $600.00 Ralph Lauren suit, with > shades, of course. Put a few smiles in the financial district. It must be > like watching someone tell off the boss or quit their job and go live on a > sailboat or something else a rebellious and righteous American might do. > > Mike > ------------------------------------------------------- > Name : Michael A. Suffern > Judith Darin-Suffern > E-mail: msuffern@xnet.com > WWW : http://www.xnet.com/~msuffern/soundtravels.html > The Blues&Travel site, E.C @ R.A.H., Blues Guide > > Above all, play what your heart tells you to, > As you learn, your heart will have more to say. > ------------------------------------------------------- > ========================================================================= Date: Fri, 6 Oct 1995 00:35:27 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: Whose blues? [Mine!] Comments: To: Don Cicchetti Gosh Don, First you eloquently state the musician/academician viewpoint problem quite well (something I felt too close to to actually spell it out for anyone), just when I needed to hear it, then you not only state your stand on rectifying the wrongs of past racism (which is my position even if I only practice it in my life and don't volunteer or donate), but you bring tears to my eyes that your relationships have suffered (what can I say :( peace, bro) and then you just tell the truth loud and clear. I'm sorry many will not even get it. Mike On Thu, 5 Oct 1995 16:16:34 -0800 Don Cicchetti wrote: >Well here's my .02... > >I think some of the unhappiness concerning this issue has come from a >classic misunderstanding between the view of musicians and that of fans, >collectors, writers etc (i.e. non-musicans) > >Listen folks, When I play music that I know came from the blues on my >guitar, I don't care if the crowd calls it blues or not... A fan coming >up and saying "great guitar playing, man" jazzes me just as much as ""hey, >I heard the Freddie King quote, cool!" We musicians draw from these >influences and they all end up in the music. Because we make the music, >it is "ours" at that moment. I may draw on Freddie one minute, and >Laurie Anderson the next, and the fans may call it blues anyway.... (and >they may not) > > The clear categories that the public holds mean very little to most >musicians. > >I have a new tune that is strongly blues based, yet when writing more music >for a "middle 8" sort of break, I drew on Samuel Barber and added some >guitar from BB.... hmmm is that blues?? Well, I don't know. BB used >strings on "The Thrill is Gone" and they worked ok. I'm using the >orchestral parts in a more emotional and deeper way than they were used on >that song, and when the guitar drops in, I just love it... Now would BB >call my tune blues? I dunno, but he might, it's certainly in there! > >My obligation as a musician deeply into the blues is to be true to the >African-Americans who are the founders. It is from their culture, and I >owe them my respect, and I owe them the life-long fight against racism (in >spite of the absurd OJ verdict) that I have been involved with. Oh, and >that fight to establish the dignity and equality of black americans, has >cost me my relationship with several family members BTW. > >*BUT* > >We MUST remember that the founders were and are very inclusive, and would >not be caught DEAD saying some of the things that whites say in their >effort to assert who is "real blues" and who is not. > >BB King would not tell some white guy playing and singing his heart out >that he is not playing "real blues".... > >Remember, this music is supposed to bring us all together! > >Don > > >____________________________________________________ >Don Cicchetti >La Sierra University Library Media Services >Audio/Video/Computer/Satellite >Event Services & Studio Production >dcicchet@vega.lasierra.edu > >There was a time, within the memory of some of us, >when American popular music was full of exaltation, pain & wit... >The raw intensity of Muddy Waters, >or the virile inventiveness of Duke Ellington.... > >- Robert Hughes >____________________________________________________ ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Fri, 6 Oct 1995 01:12:01 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Thanks for the Blues one and all! Well, I've had it with the semantic bickering that doesn't make a damn bit of diffference in the music called Blues, so I'm quiting the list... ...Hell no, just kidding! ;-> I wanted to thank all who debated this and caused a lot of turmoil and distress for me, and God for giving me the most difficult job decision to make in my life (still unmade). Y'all made my Blues improve 10%, at least - gave me lots of reasons and opportunities to feel real Blue and each time I took the guitar to the smoking room and played and sang my ass off. My vocals got stronger and I learned more ways to follow your heart and more riffs to play. Thanks! Also, thanks to all who took some of the load off me and responded to some of the absurdities that I didn't have the energy to. And special thanks to those who private e-mailed support. And thanks to Bonnie, for getting me off the Blues is/is not Black thread, gave me the chance to get back to the point. Anyway, thanks for the Blues and Salvation from all, it really helped my art! Mike ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Fri, 6 Oct 1995 07:07:00 -0400 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re: Job decision - follow the Heart? Mike says is considering accepting a two hour commute to do "something that doesn't interest me" in order to get "a bit more money" and in so doing not follow his heart. When it's put that way, it really doesn't seem like a choice, does it? It actually seems a bit Dickensian. Joe in Moscow, J.E._Downey@bakermck.com ========================================================================= Date: Fri, 6 Oct 1995 08:37:14 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Strange Mail Behavior Is it just me, or has e-mail been weird lately? I've posted to Blues-L recently and seen confirmation within a few minutes. I have also posted to Blues-l and not seen the post for DAYS. Is the entire list being routed through the "black hole" at AOL? I sent mail yesterday at around 5 AM to an individual, with a cc to Blues-l. I've received a reply from the individual but the cc to Blues-l hasn't even been posted yet. I was going to say that some mail has vaporized but instead it reappears after THREE DAYS. Where does mail GO for three days? P.W. Fenton Tampa, Florida (Home of one helluva live music scene) email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 6 Oct 1995 13:11:33 GMT Reply-To: Derek Dresser From: Derek Dresser Organization: Agate Internet Services (AIS) Subject: National Steel - Miking? Comments: To: bit-listserv-blues-l@uunet.uu.net I am looking for ideas on miking options for my National. The best option I have seen so far is a combination of an internal and external mike. The external mike is neccessary due to the distinctive, directional sound of the guitar, and the internal mike allows a little freedom of movement without major level fluctuations. I am looking for other ideas, or recommendations on an internal mike to install. I have a National Delphi, which is the new version of the Duolian. Thanks in advance. Please e-mail me directly. Derek Dresser ========================================================================= Date: Fri, 6 Oct 1995 09:18:19 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - October 6th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- CARMICHAEL, JAMES "LUCKY" (p) d. 1982-1006, CINCINNATI, OH 61 DAVIS, JOE (prod/owner : JOE DAVIS REC) b. 1896-1006, NEW YORK CITY, NY DEAN, DEMAS (tpt) b. 1903-1006, SAG HARBOR,L.I., NY GRANT, SOLOMON(of 5 BLIND BOYS OF ALABAMA)d. 1981-1006, TRENTON, NJ 51 GRUBBS, EARL (ssax) d. 1989-1006, PHILADELPHIA, PA 47 HIDALGO, DAVID (of LOS LOBOS) b. 1954-1006, LOS ANGELES, CA JONES, JIMMY (p/BESSIE SMITH) d. 1924-1006, CHICAGO, IL 29 LITTLE SONNY (AARON WILLIS) (hca) b. 1932-1006, GREENSBORO, AL LOVE, WILLIE JR. (p/TRUMPET REC) b. 1906-1006,nDUNCAN, MS MARTIN, RICHARD (g/PHIL. INT. REC) d. 1984-1006, ST. LOUIS, MO 36 PIANO WILLIE (WILLIAM OWSHIANNA) (p) b. 1950-1006, MILWAUKEE, WS PRICE, SAMMY (p) b. 1908-1006, HONEY GROVE, TX SIMMONS, NORMAN (p) b. 1929-1006, CHICAGO, IL WILLIAMS, BILL (g/BLUE GOOSE REC) d. 1973-1006, GREENUP, KY 75 WILLIAMS, ERNEST "PINKY" (bsax/MILLINDER) b. 1914-1006, TUSCALOOSA, AL WOOD, RANDY (vp/VEE JAY REC) d. 1980-1006, LOS ANGELES, CA 50 ------------------------------------------------------------------------------- ========================================================================= Date: Fri, 6 Oct 1995 14:03:06 MET Reply-To: ObeliX From: ObeliX Subject: Please, unsubscribe My account has expired. Please unsubscribe pez0023@cdc700.cdc.polimi.it -- VNA SALUS VICTIS NVLLAM SALVTEM SPERARE ******************************************************************* ___ __ ___ / \ | \| | |\ / ObeliX is Nicola Giani / \|__/|_ | | \/ \ /| \| | | /\ E-Mail: pez0023@cdc700.cdc.polimi.it \___/ |__/|___|___|/ \ obelix.ng@iol.it Visit the Gaul Village at http://cdc715_0.cdc.polimi.it/~pez0023/ ******************************************************************* ========================================================================= Date: Fri, 6 Oct 1995 08:31:36 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Job Decisions.... I was in a similar position recently .....I've had and still having offers for MUCH more money, No BLUES-L at the Other JOb.... Well my boss as I are close, so I stopped by and let him know what may be happening, because I respect him and did not want to shock him.... He said well now that you've mentioned it. I have put in for a promotion for you to Senior Systems Analyst and of course more $$$$ (I'm not money hungry) I was floored, it took me 6 years to finish High School and I never even considered college...(ie: no degree, no courses, even) and now I've been promoted to a great position....AS you can tell by my grammar and my spelling I'm pretty much "backwoods" ignorant...I'm always on Blues-L and I get A promotiom and a raise (very, VERY rare here..only five people had got something like this)...... I was blown away as was my power during our part of the hurricane, we haven't had electricty fro 3 days now, but the Duolian doesn't need electricty.... LW "Ignorant-American, but doing good for himself" ========================================================================= Date: Fri, 6 Oct 1995 08:58:00 CDT Reply-To: Paul Garon From: Paul Garon Subject: Re: Whose Blues? >Paul Garon's post is the first I have seen which actually argues that >white guys can not play the blues. [come now, you've been around the block--pg] All along I have believed that >argument was a caricature created by the "guitar technique is everything" >crowd to put down those of us who believe that understanding black culture >is fundamental to understanding blues. What do you mean by words like "can not" (attributed to me), or is this one of those famous caricatures (this time of my views) that you are so good at spotting? That I think playing blues isn't allowed for whites? Call the police? What system of enforcement would stop them? Whites are in power, remember? How can someone not have a "right" to play the blues, which is what I THINK you mean, since "can not" makes no sense in this context. Beats me. Whites have always had the *right* to do whatever they please in matters like these. I honestly and truly think that what you are really saying is that whites should not only have the right to play the blues, but should be able to do so without objections. No? Further, if understanding black culture is FUNDAMENTAL to the blues--your word--what is "blues" when it pretends to exist without the fundamental understanding of black culture? What is a fundamental understanding? Is it identical to lip service or is it deeper? What of "blues singers" who don't have it? Tough question. If we agree about the fundamental fact of what is fundamental, then you, I and the caricature you named all seem to be the same! Unless you are saying it's ok to talk about the importance of understanding black culture as long as we never try to figure out what we have when such an understanding is lacking. What do we have? ========================================================================= Date: Fri, 6 Oct 1995 08:58:00 CDT Reply-To: Paul Garon From: Paul Garon Subject: Spirit of the blues > You MAY know *something* about blues history, origin, culture etc...you do a > poor job of communicating it and apparently know little about it's spirit. > > Mike McCourt > mmccourt@acuson.com > What is "the spirit of the blues?" This is a nice question for anyone. Paul Garon ========================================================================= Date: Fri, 6 Oct 1995 08:58:00 CDT Reply-To: Paul Garon From: Paul Garon Subject: Re: Re[2]: Whose blues? [Mine!] I'm answering many posts here. Sometimes the "you" might mean someone else! >Certainly blues as music has black roots, and will always be a reflection of >black culture, but I think race is irrelevant to art and musicianship: after >all, can't Yoyo Ma excell in playing in a classical, European tradional form? >Aren't there a lot of great African-American opera singers? Do you REALLY believe it's always a reflection of black culture? Mike has suggested his blues reflect his own light, his own concerns, not those of a culture that WAS significant in the past. That sounds like his blues, currently, reflect his current job decision questions and whatnot. He thought them relevant enough to post them to a blues list. Is that black culture, or by black culture do you just mean a certain zing on a E7th chord, while singing about white culture? > >I think it smacks of incredible arrogance to claim a copyright on a given form >of music by a certain race or culture, particularly when bookended by such >statements as "and which is why I can say that without hearing >you." and "(a light that many of us find a little dim, by the way)." Copyright? Copyright? You must mean all those Robert Johnson copyrights, piling up cash for a white guy in California (with a token amount in an escrow account to silence the objectors.) We live in strange times, indeed. I'm staggered (really and truly, no here) that someone could actually say "the blues *was* Afro-American" and nobody found *that* out of bounds (except maybe me and Brenda Bogert), but that I was out of bounds for calling someone's music "dim," music that I'd obviously never heard and which was therefore being made the didactic object of a point I was trying to make. Gad. I mean here was something that sounded like the voice of the great white American appropriation in action--"it used to be yours but look who's got 'er now," a black blues singer might SIGNIFY on that--once again wresting cultural currents and commodities from a minority culture, and every one sits around with the attitude, "I dare you to say something, you, you ... racist." (or you arrogant copyrighter, or whatever). By the way, to make analogies about Leontyne Price (or any black opera singer) or Yoyo Ma really ignores the actual relationships between whites and blacks in America, which is what all this is about. Black opera singers didn't "appropriate" Italian culure, but whites have been appropriating black culture since day 1. I know, I know, we've really been "sharing" it in a bounteous and friendly interchange that's been going on for centuries (sarcasm). You act as if race were something with a capital R that once it rears its head, everybody is treated equally. Wishful thinking, I say. Anti-racism laws were passed in the US not because blacks and whites needed equal protection, but because racism against blacks, by whites, was such a problem, as it still is. It's only in the last ten years that it's become fashionable and permissable to cry "racism" as a way of defending white rights, usually when whites' extra large slice of the pie is threatened with reduction. "Post-racist society" is a joking misnomer, anti-black racism is alive and well, and whites aren't in danger as objects of racial discrimination; stop pretending we're all in the same boat by acting as if every cultural "interchange" were made on equal ground. ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email or postal mail or visit us at http://www.abaa-booknet.com/alldlrs/mw/60657bea.html. We also have catalogs available by ftp at ftp.mcs.com/mcsnet.users/beasley. _______________________________________|______________________________________ ========================================================================= Date: Fri, 6 Oct 1995 08:58:00 CDT Reply-To: Paul Garon From: Paul Garon Subject: Re: Whose blues? [Mine!] >Well here's my .02...[Don C] > >I think some of the unhappiness concerning this issue has come from a >classic misunderstanding between the view of musicians and that of fans, >collectors, writers etc (i.e. non-musicans) > >Listen folks, When I play music that I know came from the blues on my >guitar, I don't care if the crowd calls it blues or not... Entirely admirable, but I bet many of the "blues artists" on this list aren't so broad-minded. > >*BUT* > >We MUST remember that the founders were and are very inclusive, and would >not be caught DEAD saying some of the things that whites say in their >effort to assert who is "real blues" and who is not. > >BB King would not tell some white guy playing and singing his heart out >that he is not playing "real blues".... BB King has become a rather famous good-will ambassador, and diplomats indeed do not say such things. Since so many whites are the record buyers and the CD buyers, a black blues artist would be signing his commercial death warrant to denounce white blues and white blues players. Everyone would call him or her a "racist," no? Yet, things have been said. Bob Margolin talks about his playing with Muddy as proof of Muddy's non-racial thinking, but before Muddy depended on a white blues audience, he wasn't so broad-minded and he remarked that whites could never "vocal" like blacks. Monk, speaking of white dance bands--in the 1960s--said they "had carried off the healthiest child of Negro Music and starved it of its spirit until its parents no longer recognized it." (TIME, June 20, 1964, p. 77). Mingus was far more vitriolic. But you get the picture. It ISN'T just white critics who care about such things. Whites asking blacks what they think about the race problem (or white blues) is called poor polling. Smart black performers wouldn't say anything negative if they care about their sales. One reason many blues-l members feel that ONLY white critics are so contentious on this issue is that they don't read black critics and they don't hear black musicians (or read them) except when the black musicians are talking to whites. They don't read the black press, either. Blues-l is a wonderful sounding board, but it has its limits. Everybody's read DEEP BLUES on Muddy, Robert, et al., but have they read THE BLUESMAN by Julio Finn (Billy Boy Arnold's brother) on Robert Johnson and the voodoo core of the blues? LeRoi Jones/Amiri Baraka in BLUES PEOPLE? Samuel Floyd's newly released POWER OF BLACK MUSIC? These works would give blues-l members an idea of why so many of us think the blues are essentially black. Here's an example: Finn's work finds voodoo at the core of the blues. What happens when whites then play blues? Voodoo lyrics sounds empty when whites sing them since the shared cultural values aren't there. But if whites don't share core values of the blues, what then? Obviously, many will answer, the blues don't REQUIRE voodoo, but the fact remains that Finn's work, and others, do show what lies beneath our contention, and why we think you can't take the black out of the blues and still have the blues. What of a line, sung by a black singer, about taking a bus ride, "across Mississippi clean?" When a white singer voices the same line, 90% of the meaning is missing. In SINGING THE MASTER, Roger D. Abrahams notes that whites often appropriate black culture and use it for different moral and aesthetic purposes. Without even suggesting that this difference is inferior, can one ask, with different moral and aesthetic purposes, is it still blues? Why? Just because it sounds like it? What of its cultural purpose in its original setting? I thought THAT was the blues. It would be interesting to try to address some of these questions without the vitriol (which I must admit, I certainly contributed.) ========================================================================= Date: Fri, 6 Oct 1995 10:35:56 -0400 Reply-To: SJeffcote@AOL.COM From: "Scott E. Jeffcote" Subject: Baton Rouge Bluesfest Broadcasts The following is a list of live remotes which will be broadcast on 91.1 FM KLSU, Baton Rouge - the week before the 1995 Baton Rouge Blues Festival. Monday October 9 The Starlight Diamond Lounge An all star blues jam featuring the Neal family. Admission is $1 at the door. For information call (504) 343-8084. The broadcast will be from 10pm - until. Tuesday October 10 The Corner Bar Fruteland Jackson will be performing. For information call (504) 338 -1005. Admission is $3. The broadcast will be from 9pm - until. Wednesday October 11 The Varsity Theatre Debroah Coleman / David Thompson and Big Love. Advance tickets are $5; $6 at the door. For information call (504) 383-7018. The broadcast will be from 8pm - until. Thursday October 12 Phil Brady's Bazooka Baton Rouge Blues Week All Star Jam. Admission is FREE. For more information call (504) 927-3786. The broadcast will be from 10pm - until. Friday October 13 Argosy Club (Belle of Baton Rouge) Harmonica Fats and Bernie Pearl. For ticket information call (504)378-6341. The broadcast will be from 9pm - until. If you have any questions concerning the Blues Week or the Festival. Please feel free to e-mail me. ========================================================================= Date: Fri, 6 Oct 1995 09:55:08 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Spirit Of The Blues No race content (sorry).... IMHO: You CAN NOT retain the spirit of the blues, by covering another note-for note, or even real close to note-for-note...Sure it's Ok to be influenced and throw in some Albert or Son, but you have to EXPRESS YOUR FEELINGS. You and Robert Johnson did not have the same feelings, NO WAY...You are two different people. It's improvising and putting your own expressions into the music, thats what the blues is all about, EXPRESSING YOURSELF, not expressing SRV.....etc. I have a friend who sits with a tab book and plays Mance Lipscomb tunes NFN I told him time spent playing from your OWN HEART is blues, the other is Mance's playing....So I'm saying that the ONLY way to play blues is to play YOUR blues, otherwise IMHO it's NOT blues....Gotta to go with your feeling not BB's....Like BB said "Sure I improvise, I don't FEEL the same way everynight" OFFER FOR BEGINNERS: I have a tape of a backing band (Jamtraxx) and a book that offers scales to use on each tune. The backing band has no soul, but it's good for beginners who have no one to jam with....IT'S YOURS IF YOU ARE A BEGINNER.....FREE of course.... LW ========================================================================= Date: Fri, 6 Oct 1995 10:14:08 -0500 Reply-To: Roger Struve From: Roger Struve Subject: Strange Mail Behavior -Reply Comments: To: pwfenton@GATE.NET There's posts of mine that have NOT shown up yet...but i know some people have seen them as occasionally i get a reply to something i didn't think even posted. ========================================================================= Date: Fri, 6 Oct 1995 11:15:23 -0400 Reply-To: Tom Morgan From: Tom Morgan Subject: Louis Jordan trivia I have been reading and thoroughly enjoying John Chilton's biography of Louis Jordan. There are many interesting facts that turn up as well as insights into songs Louis did. I thought that I might share a couple as I'm sure some of you will find them as fascinating as I do. Who do you think was the first Black act to play Las Vegas? How about the first Black musical group to play Las Vegas? (answers below) If you are familiar with Louis' version of "Five Guy's Named Moe" then you might be surprised to learn that it was originally part of a routine performed in a tranvestite club and those five "guys" certainly wern't dressed as such. :) Kinda gives the song a whole new meaning. Lastly, when Louis first put together his group, he was billing himself as "The Modern Bert Williams." He was shortly convinced by his band to drop it. Jordan loved Bert Williams (so do I) and used to do some of his material as part of his act. It kinda makes me wonder as to Bert Williams' role in the eventual development of rock n' roll. :) If you are not familiar with Bert, I could post something if there's any interest. The answers to the questions First act: Delta Rhythm Boys First group: Louis Jordan and his Tympany Five Tom ----------------------------------------------------------------------------- My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Fri, 6 Oct 1995 11:11:50 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Whose Blues? There is a limit to every thread, and this is my last one on this topic.... Paul Garon's post superbly misses the entire point of mine. An astonishing achievement, Paul! The view I attributed to you (I think justifiably, given your original post) was that whites "can not" sing the blues -- meaning "are not able" to do so, a perfectly legitimate use of the words "can not." And if I am interpreting you correctly, then I think you are wrong. I think you are Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Fri, 6 Oct 1995 10:54:22 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Beginner Jam Tape OFFER I've got enough responses, so It's safe to say IT'S OVER ...No more mail please Thanks LW obc: I agree ========================================================================= Date: Fri, 6 Oct 1995 12:08:45 EDT Reply-To: george morales From: george morales Organization: TEMPLE UNIVERSITY Subject: blues/blues-related bands on tv just a little fyi: on 1/6 blues traveller will be on the david letterman show,the Robert Cray Band will be on the Tonight Show on 10/6 and on 10/11 Joe Ely will be on Late Night with Conan O'Brien +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ | | | GEORGE MORALES GMORALES@TEMPLEVM | | COMPUTER AND INFORMATION SERVICES GMORALES@VM.TEMPLE.EDU | | TEMPLE UNIVERSITY (215)204-6866 | | | +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Fri, 6 Oct 1995 11:18:20 PDT Reply-To: rjbauman@IQUEST.NET From: rjbauman@IQUEST.NET Subject: Re: Spirit Of The Blues Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu =================I have a tape of a backing band (Jamtraxx) and a book that offers scales to use on each tune. The backing band has no soul, but it's good for beginners who have no one to jam with....IT'S YOURS IF YOU ARE A BEGINNER.....FREE of course....==================== I have this one, too. The 2nd version is much better, IMO. Instead of "Mid-tempo Shuffle in A" you get stuff like "Livin' Roof" (obvious take offs on standards.) They are fun to use when making up lyrics. RJ Bauman ========================================================================= Date: Fri, 6 Oct 1995 16:29:53 GMT Reply-To: Peter Groves Schweitzer From: Peter Groves Schweitzer Organization: United States Internet, Inc. Subject: *FREE RADIO TIME, read this* Comments: To: bit-listserv-blues-l@uunet.uu.net oll,alt.rock-n-roll.metal,alt.rock-n-roll.metal.progressive,rec.music.christian,rec.music.early,rec.music.classical.guitar,alt.rock-n-roll.hard,alt.rock-n-roll.metal.death,alt.rock-n-roll.heavy,bit.listserv.allmusic,rec.music.misc,rec.music.makers,alt.music.gaffa,rec.music.makers.percussion,rec.music.classical.performing,alt.music.progressive,alt.rock-n-roll.symphonic,alt.thrash,alt.music.hardcore,alt.exotic-music,alt.music.ebm, X-Newsreader: TIN [version 1.2 PL2] My name is Noah Goodman and I work with WUTZ FM 88.3. WUTZ is a community radio station on The Farm in Summertown, Tennessee that works with the local school letting students DJ radio shows. We are currently looking for new music to review for airplay. Most music will be played. If you have a band or know someone that has a band that is willing to send music to us please send it to: Attn: Noah Goodman WUTZ FM PO Box 259 Summertown, TN 38483 Noah Goodman Keepin' it RUDE WUTZ FM 88.3 ========================================================================= Date: Fri, 6 Oct 1995 12:23:59 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Cultural Differences...Then I Might Shut Up One more observation to ponder, then--as I said above--I might shut up. I'm beginning to resent the implication that there are only two "cultures" at work in this issue, black and white. Isn't that a bit simplistic? I'm white, but I can tell you that Italian culture is foreign to me. As is Appalachian culture. Or Jewish culture. Or Swedish culture. Why do we divide the blues along the lines of blacks...and everybody else? I'm sure Jewish folks on this list enjoy the blues as much as I do, but if you start comparing their upbring and culture to my New England small-town Irish/American Protestant (yes Protestant...there goes *that* stereotype!) upbringing and culture, we'd find lots of uncommon ground. In the arguments I see here, though, you would lump my Jewish blues-fan counterparts and me together as one "white" entity when in fact we're culturally different. Geez, people, it's music with a rich cultural *history.* Preserve and appreciate the history, but live in the NOW! Shannon ========================================================================= Date: Fri, 6 Oct 1995 12:41:35 -0400 Reply-To: Rajeev K Karamchedu From: Rajeev K Karamchedu Subject: Re: Byron on the unholy one Comments: To: Mark Gentry In-Reply-To: <9510042234.AA14196@spartan1.EBay.Sun.COM> On Wed, 4 Oct 1995, Mark Gentry wrote: > Michael A. Suffern wrote: > > > Clapton is making less money now because he's playing Blues. There is > > pressure on him from his management to play the old Clapton w/ new Clapton > > (i.e. Pop) material. > > I find it hard to believe that Clapton is making less money playing > the blues. I don't follow Clapton but I've seen more of him in the > media in the last year than I have in the last 10 years combined. > I think he's getting alot of exposure. He's on mtv unplugged, > he's on pbs specials, ftc is getting alot of airplay, and I would guess > his concerts sell out as well. I'd bet all of this exposure has made > his return to the blues fairly lucrative. > > Regards, > Mark Gentry > Clapton's "unplugged" also served as an introduction to blues for people in distant lands. People started to listed to "Layla" the slowed down version whcih was a major hit (I think it "is " a good variation") after being on MTV. Many people started out buying that album for "Layla" and ended up getting on to the blues highway after listening to other numbers. If there was any person who was known to all kinds of music listeners, Clapton was one among the few. Regards, Rajeev4 ========================================================================= Date: Fri, 6 Oct 1995 11:58:00 CDT Reply-To: Paul Garon From: Paul Garon Subject: Re: Whose Blues? >There is a limit to every thread, and this is my last one on this >topic.... > >Paul Garon's post superbly misses the entire point of mine. An >astonishing achievement, Paul! [Unless you made an astonishing achievement with a lack of clarity?] >The view I attributed to you (I think justifiably, given your >original post) was that whites "can not" sing the blues -- meaning >"are not able" to do so, a perfectly legitimate use of the words "can >not." > >And if I am interpreting you correctly, then I think you are wrong. >I think you are > > Oh, cmon Ian, just one more little post, because this is really rich. Here is the paragraph I took out of my post to you; I took it out because I thought it too inflammatory because it didn't give you enough credit for common sense: "Or do you think I mean genetically incapable, like their fingers won't bend right or something? You'd have to be monumentally naive or think that I am that naive to think that I think that." Of course I don't think that. Guess I should have left the paragraph in. ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email or postal mail or visit us at http://www.abaa-booknet.com/alldlrs/mw/60657bea.html. We also have catalogs available by ftp at ftp.mcs.com/mcsnet.users/beasley. _______________________________________|______________________________________ ========================================================================= Date: Fri, 6 Oct 1995 10:00:23 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Re[2]: Whose blues? [Mine!] Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Paul Garon said: >We live in strange times, indeed. I'm staggered (really and truly, no >here) that someone could actually say "the blues *was* Afro-American" and >nobody found *that* out of bounds (except maybe me and Brenda Bogert), but >that I was out of bounds for calling someone's music "dim," music that I'd >obviously never heard and which was therefore being made the didactic object >of a point I was trying to make. Wait a minute here Paul... You were out of bounds for the obvious putdown of Mike S. and his music you have never heard, and the lack of good manners in your post.... This doesn't mean you don't have a good point to make. I for one, want to see you make it without being nasty to anybody.... >Gad. I mean here was something that sounded like the voice of the great >white American appropriation in action--"it used to be yours but look who's >got 'er now," a black blues singer might SIGNIFY on that--once again >wresting cultural currents and commodities from a minority culture, and >every one sits around with the attitude, "I dare you to say something, you, >you ... racist." (or you arrogant copyrighter, or whatever). This bears no relation to what he was saying, nor what I responded to. When someone is performing music it is THEIRS at that moment. What note they play next, rhythm changes, phrasing etc... They can segue from "Hellhound on My Trail" into "I'd like the Teach the World to Sing" if they choose to.... (yikes) Mike was simply describing what we musicians DO when we perform... Unless it is OURS for those few moments it will never be any good. You read REAMS of socio-political claptrap into a simple description of what happens when we make music... >By the way, to make analogies about Leontyne Price (or any black opera >singer) or Yoyo Ma really ignores the actual relationships between whites >and blacks in America, which is what all this is about. Black opera singers >didn't "appropriate" Italian culure, but whites have been appropriating >black culture since day 1. I know, I know, we've really been "sharing" it in >a bounteous and friendly interchange that's been going on for centuries >(sarcasm). Only a bloody liberal would say such a thing in sarcasm... Damn, Paul, many of us honks have been doing just that. For centuries there have been enlightened white people truly sharing in black culture, and fighting against slavery and against segregation, and some have given their very lives in this cause... If you're going to swing a sword around, you damn well better aim at those who deserve it instead of whacking away at every white face you see! >You act as if race were something with a capital R that once it rears its >head, everybody is treated equally. Wishful thinking, I say. Anti-racism >laws were passed in the US not because blacks and whites needed equal >protection, but because racism against blacks, by whites, was such a >problem, as it still is. It's only in the last ten years that it's become >fashionable and permissable to cry "racism" as a way of defending white >rights, usually when whites' extra large slice of the pie is threatened with >reduction. > >"Post-racist society" is a joking misnomer, anti-black racism is alive and >well, and whites aren't in danger as objects of racial discrimination; stop >pretending we're all in the same boat by acting as if every cultural >"interchange" were made on equal ground. *Much of this is true* HOWEVER one big thing has changed in the last decade. For the first time, African Americans are part of their own problem in this country... They follow unethical slime like Danny Bakewell, and anti semites like Louis Farrakhan (oh yeah, who DID kill Malcom anyway?) They let Damian Williams off with a slap after he slammed a cinder block down on the head of Regniald Denny (see, a cinder block is not a lethal weapon....), and a mostly black jury has decided that the lives of a murdered jew and a white woman who dared marry a rich, famous black celebrity are worthless. (yeah, but Furman is a racist!) I think whites ARE in danger when we can't get justice out of a black jury! You want to tell me that black racism is not a problem?? If you believe that, you, and your myopic ideology are making things worse, not better, because both sides have so much to atone for. I love my black friends enough to be honest with them, do you? Dr. King must be spinning in his grave. Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Fri, 6 Oct 1995 13:12:23 -0400 Reply-To: Lane Anderson From: Lane Anderson Subject: Re: Job decision - follow the Money? Comments: To: Michael Suffern In-Reply-To: Mike, I sympathize with your problem. I've recently been offered a job that would pay almost 50% more than I currently pull down. It would also be a straight 40 hour week gig instead of the work till you drop world I now occupy. However, it would put me in a work environment that I know would not be congenial to me, i.e.military/contractor instead of education-which I love. Even though I could really use the extra dough I've decided to stay with the job I love. It sounds to me that there are positives with either choice for you, so maybe you are in a win win situation. For me all it took was visualizing the day to day that would be involved with the new job to make what seemed like a tough call into a relatively easy choice. Maybe projecting yourself into what the two choices would actually require of and give to you would help. Good luck. ========================================================================= Date: Fri, 6 Oct 1995 13:17:34 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Sitting & Thinking: B&W & Buddy Guy Comments: To: bit-listserv-blues-l@uunet.uu.net This is a 2 thread review. Various Blues-lers / Who's Music Is It etc. (blues-l #???) This thread must have started out with an opinion - however it was such a hearty take that it spawned several threads - the guitar playing was weak, so was the harpwork. I'd have preferred to hear Sugar Blue or Carey Bell in on this one & for sure Eddie Clearwater. The playing was so uninteresting that I found myself over & over hitting the next side button. Not that this thread is unworthy but I believe private email would have been a much medium. Now we all like the crisp clarity of CD's and also public forums but some of the playing here clearly wasn't a public venue sound. What were these producers thinking of, when the cut these sides. The opening cut certainly had its validity since all public venues demand opinions. The rest of the cuts for the most seemed to extraneous. There were a lot of covers of material handled every couple of months. I personally would have liked to hear more original material. Overall lots of players came up to the mic and hopefully it will prove a good time for those who purchase it. This for sure isn't a must get thread better off with something like either of the U.P. Wilsons (lots of down and dirty playing) or the Vance Kelly (still cannot get his great cut Wall to Wall out of my shoes - I've been dancing for days). :):):). Reviewed by Barry Silverberg Various Blues-lers / Buddy Guy Stop Those Tricks (blues-l) The second review is just a sense of what we can expect in an upcoming thread on Buddy Guy. The playing will be more covers and I am sure cliches although the vocals will be a serious cut at the blues and the playing will be as always tremendous. Probably most of the material you'll certain- ly have heard before, but you know those guys that produce these threads as soon as someone has something to say they turn it into a full set and dig up all of the old stuff to fill the 78 minutes of tracking time. I am not anticipating this one coming, but rest assured it will. :):):) -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Fri, 6 Oct 1995 13:19:29 -0400 Reply-To: Bob vanArsdall From: Bob vanArsdall Subject: Re: Spirit of the blues Paul asks: >What is "the spirit of the blues?" This is a nice question for anyone. I always thought it was Colt 45 and/or Thunderbird... Bob ========================================================================= Date: Fri, 6 Oct 1995 12:12:32 CDT Reply-To: Rajeev K Karamchedu Comments: To: Mark Gentry Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: Rajeev K Karamchedu From: L W Subject: Re: Byron on CLAPTON In-Reply-To: <9510042234.AA14196@spartan1.EBay.Sun.COM> ----------------------------Original message---------------------------- >Clapton's "unplugged" also served as an introduction to blues for people >in distant lands. People started to listed to "Layla" the slowed down >version whcih was a major hit (I think it "is " a good variation") after The acoustic Layla IS NOT LAYLA....I have no idea what it is, some kind of easy listening music. LAYLA is a cry , a scream, it's agony at it's best. The acoustic "Layla" is a sweet & syrupy ballad, totally different song and totally different "expression"......The original Layla is IMHO the best ROCK song ever, it's two talented (smacked out of their minds) guitarists putting it all on the line, for the love of a woman...They play it with every part of their body and to compare it to that song on Unplugged is ABSURD...IMHO What a tune, incredible. LW "another post without race in it :-)' ========================================================================= Date: Fri, 6 Oct 1995 12:23:36 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Muddy Waters SON....? I was just reading in the local newpaper about the jam and the reporter said that Luther Allison spent some time with Muddy Waters Son.....? Who is Muddy Waters Son....? What doesn T-Bone's 'Nephew' do now ....Someone named Rankin or something like that..... LW "I'm Ready" ========================================================================= Date: Fri, 6 Oct 1995 13:37:36 -0400 Reply-To: S_JMALBRIGHT@PSTCC.CC.TN.US From: S_JMALBRIGHT@PSTCC.CC.TN.US Subject: SUBSCRIBE TO LIST Please subscribe me to your blues list. ========================================================================= Date: Fri, 6 Oct 1995 12:39:43 -0500 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Steve LaVere bashing: facts! I didn't save the message from the poster who was bashing LaVere, but here are the facts. LaVere has spent a *lifetime* researching Robert Johnson. He didn't just stumble on the photos, it took years of legwork in Mississippi and elsewhere, interviewing countless sourses. This work was not done to get rich, it was done out of interest in the music. He had no way of knowing he would find such material or what it's value would be during the years of research. Secondly, *there would be no Robert Johnson royalties* for Robert's descendants or LaVere had Steve not broken entirely new ground in copyright law. This material was considered public domain and Columbia didn't have to pay any royalties to anyone until Steve had the legalities of such copyrights revised. Lastly, the split between LaVere and the estate is 50-50, not the paltry percentage phrase the poster implied. The family is much better off with 50% of millions than 100% of nothing, and it is not LaVere's fault if the family's part of the money is tied up in litigation between greedy family members who want bigger slices of their half of the pie than another family member. It has become trendy for people to bash LaVere without having their facts straight. LaVere has spent a lifetime of work in support of blues, promoting shows and artists, writing liner notes, and doing research. If he was smart enough, lucky enough (and that luck is a result of lots of hard, unpaid work) to reap a bonanza he deserves it. Joel Slotnikoff | BLUES WORLD e-mag Box 21652 | http://www.inlink.com/~joelslot St. Louis, MO 63109 | articles, images, reviews, USA | 78rpm record auction joelslot@inlink.com | blueslinks Joel Slotnikoff | BLUES WORLD e-mag Box 21652 | http://www.inlink.com/~joelslot St. Louis, MO 63109 | articles, images, reviews, USA | 78rpm record auction joelslot@inlink.com | blueslinks ========================================================================= Date: Fri, 6 Oct 1995 13:59:10 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Spirit Of The Blues Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU On 6 Oct 95, L W had this to say: > No race content (sorry).... > > IMHO: You CAN NOT retain the spirit of the blues, by covering another note-for > note, or even real close to note-for-note...Sure it's Ok to be influenced and > throw in some Albert or Son, but you have to EXPRESS YOUR FEELINGS. You and > Robert Johnson did not have the same feelings, NO WAY...You are two different > people. It's improvising and putting your own expressions into the music, thats > what the blues is all about, EXPRESSING YOURSELF, not expressing SRV.....etc. Since I've done so much getting on your back lately I thought it was only fair to say publically that I feel you really nailed right here. Couldn't have said it better. Right on LW! P.W. Fenton Tampa, Florida (Home of one helluva live music scene) email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 6 Oct 1995 13:28:09 CST Reply-To: JBards From: JBards Subject: Re[4]: Whose blues? [Mine!] Comments: To: Paul Garon _______________________________________________________________________________ From: Paul Garon at INTERNET-SH Date: 10/6/95 9:49 AM >I'm answering many posts here. Sometimes the "you" might mean someone else! >>Certainly blues as music has black roots, and will always be a reflection of >>black culture, but I think race is irrelevant to art and musicianship: after >>all, can't Yoyo Ma excell in playing in a classical, European tradional form? >>Aren't there a lot of great African-American opera singers? >Do you REALLY believe it's always a reflection of black culture? Mike has >suggested his blues reflect his own light, his own concerns, not those of a >culture that WAS significant in the past. Yes I do think it is always a reflection at least in some part of black culture and experience, no matter who plays it. Hell, I just bought a CD when I was in Paris by a French guy named 'Joel Dayde' called "Spleen Blues" ( go figgure....) and it's got some pretty decent playing on it. No doubt Joel's interpretations reflect at least in part his cultural experience, but I don't think his being white (presumably, I don't have a picture) disqualifies him from playing meaningful blues. On the other hand, are you telling me that if he is black ( and maybe he is, I don't know, I'm even presuming he's French) that somehow his music is more relevant or culturally connected? I don't buy it. That's like saying there are some intrinsic qualities to barbecue cooked by black people that are better than barbecue cooked by white people. Get real. >We live in strange times, indeed. I'm staggered (really and truly, no >here) that someone could actually say "the blues *was* Afro-American" and >nobody found *that* out of bounds (except maybe me and Brenda Bogert), I think it's probably more accurate to say that blues at one time may have been exclusively an Afro-American product, but isn't today, any more than classical was/is exclusively the product of western Europeans. >that I was out of bounds for calling someone's music "dim," music that I'd >obviously never heard and which was therefore being made the didactic object >of a point I was trying to make. Say what? Geez, I must be dim myownself, I thought it was just an inappropriately ad hominem attack. >By the way, to make analogies about Leontyne Price (or any black opera >singer) or Yoyo Ma really ignores the actual relationships between whites >and blacks in America, which is what all this is about. Black opera singers >didn't "appropriate" Italian culure, but whites have been appropriating >black culture since day 1. So if Leontyne sings "La Traviata" it's additive, but if Mike Suffern sings "Prodigal Son" , it's ripping off? Like, 0-kay, I just wanted to be sure I understood, since I'm so dim. -Jim ========================================================================= Date: Fri, 6 Oct 1995 13:24:26 -0500 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: Byron on CLAPTON > The acoustic "Layla" is a sweet & syrupy ballad, totally different song and > totally different "expression"......The original Layla is IMHO the best ROCK > song ever, [...] Even better than Stairway to Heaven? :) :) (sorry, I just couldn't resist) Bruce Roberts Austin, TX ========================================================================= Date: Fri, 6 Oct 1995 14:16:49 -0400 Reply-To: Patti Bowman From: Patti Bowman Subject: Re: Strange Mail Behavior Comments: cc: pwfenton@GATE.NET >Is it just me, or has e-mail been weird lately? I've posted to >Blues-L recently and seen confirmation within a few minutes. I have >also posted to Blues-l and not seen the post for DAYS. Is the entire >list being routed through the "black hole" at AOL? >I sent mail yesterday at around 5 AM to an individual, with a cc to >Blues-l. I've received a reply from the individual but the cc to >Blues-l hasn't even been posted yet. >I was going to say that some mail has vaporized but instead it >reappears after THREE DAYS. > >Where does mail GO for three days? I thougt it was just me......... but I don't think it's just Blues-L(I have 11 other list subscriptions - all music related tho) and it's not just aol cuz I ain'y on it). Very wierd. I actually must have been thinking about it cuz I had a dream last night that there was a group of people (politicians actually) trying to control the internet and they started by dissolving MY e-mail. Think I watch too much TV? -Patti ========================================================================= Date: Fri, 6 Oct 1995 13:24:59 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Culture Just a question (not meant to start an arguement, SERIOUSLY. Since the WHITES were the slave owners and the ones who somewhat gave the early guys the pain/sufferin that contributed to SOME of the blues. Would it be true to say that the WHITE "Owners" attributed to the culture that brought forth the blues.....Would the blues still have had the pain and suffer ing "tones" that it had/has, if "they" were not oppressed by the White man ? Did I make sense...Please don't flame me...I'm not up to it today LW 'DO NOT misunderstand what I said, OKIE DOKIE" ========================================================================= Date: Fri, 6 Oct 1995 15:17:25 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Cultural Differences...Then I Might Shut Up Comments: To: shannon#f#oconnor/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=shannon#095#oconnor#a#SWPCO#f#COM@s1boca.corp.wrgrace.com, BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com * ...I'm sure Jewish folks on this list enjoy * the blues as much as I do.. * Yup, we do! :) -Steve ========================================================================= Date: Fri, 6 Oct 1995 16:54:53 -0400 Reply-To: Peter Welch From: Peter Welch Subject: Nothin' But the Blues Playlist Playlist for Nothin' But the Blues, WTJU-FM 91.1, Charlottesville, Va. 9-11 p.m. every Friday. September 29, 1995 Among other things, this week I played some early Zydeco, a set of murder (both in both the figurative and literal sense) & crime blues in "honor" of the OJ Trial, plus I did a set of blues about different streets and addresses. Squeeze Box Boogie - Clifton Chenier (Zodico Blues & Boogie - Ace) I'm on My Way - Clifton Chenier (Bayou Blues - Specialty) Hamburgers & Popcorn - Boozoo Chavis (The Lake Charles Atomic Bomb - Rounder) Opelousas Hop - Clifton Chenier (Zodico Blues & Boogie - Ace) Pallet on the Floor - Boozoo Chavis (The Lake Charles Atomic Bomb - Rounder) C-Key Blues - Little Latour's Sulphur Playboys (Bayou Blues Blasters - Ace) Chenier's Boogie - Clifton Chenier (Zodico Blues & Boogie - Ace) Murder in the 1st Degree - St. Louis Jimmy (Cool Playin' Blues - Relic CD) Cheating & Lying Blues - Doctor Clayton (Gotta Find My Baby - Contact/Bluetime) Murder - Albert King Your Funeral & My Trial - Sonny Boy Williamson (The Essential... - MCA/Chess) Icepick's Confession - James Harman (Do Not Disturb - Black Top CD) She's Murder - Percy Strother (Ready to Go! - Blue Moon CD) Cummins Prison Farm - Calvin Leavy (My Guitar Wants to Kill Your Mama - Lenox) Murder in the First Degree - Rod Piazza & The Mighty Flyers (Live at B.B. King's - Big Mo) Razor Totin' Mama - Perline Ellison (Singing with Sammy - Contact/Bluetime) Good Biscuits - Memphis Minnie (Hoodoo Lady - Columbia) If You're a Viper - Rosetta Howard (With the Harlem Hamfats - Official) I Want a Tall Skinny Papa - Sister Rosetta Tharpe (Lucky Millinder, 1941-42 - Classics) Please Throw This Poor Dog a Bone - Chubby Newsome (Hip Shakin' Mama - Official) Let's Have a Ball - Ray Charles (14 Hits - King) C.O.D. - Charles Brown (Sail on Blues - Jukebox Lil) Ain't That Fine - Ray Charles (14 Hits - King) Honey, Honey - Ray Charles (14 Hits - King) Losing Hand - Ray Charles (Birth of Soul - Atlantic) Living on Easy Street - Big Bill Broonzy (Compl. Rec. Works, Vol. 8 - Document) West Kinney Street Blues - Skoodle-Dum & Sheffield (Play My Juke Box - Flyright) 309 - Sonny Boy Williamson (Clownin' with the World - Alligator) Farish Street Jive - Little Brother Montgomery (Blues Piano Chicago Plus - Atlantic) Nelson Street Blues - Willie Love (Clownin' with the World - Alligator) Hastings Street Boogie - John Lee Hooker (Graveyard Blues - Specialty) Ninth Street Jive - Cecil Gant (Cecil Gant - Krazy Kat) Fitzwater Street - Slim Gaillard (Complete Recordings - Affinity) State Street Boogie - Smiling Smokey Lynn (Specialty Legends of Booie Woogie - Specialty) 627 Stomp - Pete Johnson (Pete Johnson 1939-41 - Classics) F. Lee Bailey Blues - Sugar Ray & The Bluetones (Don't Go No Further - Bullseye Blues) -Peter ========================================================================= Date: Fri, 6 Oct 1995 20:32:35 GMT Reply-To: David Alan Hammel From: David Alan Hammel Organization: The University of Calgary Subject: Big Sugar Comments: To: bit-listserv-blues-l@uunet.uu.net Does anybody else here adore these guys? They've got a new 5-song EP out that you can probably find really cheap if you're a fan. Gord rules!!! ========================================================================= Date: Fri, 6 Oct 1995 16:15:00 CDT Reply-To: Paul Garon From: Paul Garon Subject: Re: Re[2]: Whose blues? [Mine!] >Only a bloody liberal would say such a thing in sarcasm... Actually, I'm way to the left of liberal. Damn, Paul, >many of us honks have been doing just that. For centuries there have been >enlightened white people truly sharing in black culture, and fighting >against slavery and against segregation, and some have given their very >lives in this cause... This is a well known fact, I think. Presumably you're one of them and I'm one of them, and hopefully many people on the list are among them. To address the the problem of racism in whites, I have to go around the room first, saying "You're not guilty, and of course you're not guilty?" You're actually replying to a post that was 1) a reply to someone else, and 2) began with a note saying "watch out for the word *you* since it may mean someone else." So you decide it was aimed at you and is therefore out of line, as in the quote below. Sigh................................... >If you're going to swing a sword around, you damn well better aim at those >who deserve it instead of whacking away at every white face you see! My apologies to anyone who feels unjustly accused. Seriously. >Dr. King must be spinning in his grave. But which way, left or right? Paul G. ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email or postal mail or visit us at http://www.abaa-booknet.com/alldlrs/mw/60657bea.html. We also have catalogs available by ftp at ftp.mcs.com/mcsnet.users/beasley. _______________________________________|______________________________________ ========================================================================= Date: Fri, 6 Oct 1995 16:17:00 CDT Reply-To: Paul Garon From: Paul Garon Subject: Internet joys You know one of the greatest things about the internet and email that I've learned from the recent threads? INSTANT misunderstanding. No waiting. No long lines. Paul Garon ========================================================================= Date: Fri, 6 Oct 1995 16:49:05 EDT Reply-To: TSCHANZ@VM.TEMPLE.EDU From: "William R. Tschanz" Organization: TEMPLE UNIVERSITY Subject: Blues anyone? help yourself. I would like to dance on this thread for just a few oscilations. It's possible that you might have heard the saying "you got to suffer to play the blues" Now I grew up in a project in north Phily, Been In a lot of juke joint you understand me. Now if I hear someone singin the blues I can tell If their singin the blues or playin the blues because their soul tells me thru their performance how much they suffered Yes I sing the blues. I earned my right to play the blues. Black culture? I'm Blond hair ,blue eyed soul seen more shit than I care to say. And I sing the blues. And I don't need some educated idiots to explain to me what the blues is. Further more , If bb did hear some one singin the blues he wouldn't say yes or no. He'd probably just shake his head and say I've been their. Willy from northwest phily Just an old dog tryin to hump a puppy ____________________________________________________ | > | WILLIAM R. TSCHANZ TSCHANZ@VM.TEMPLE.EDU > | CIVIL ENGINEERING WRTSCHANZ@AOL.COM > | TEMPLE UNIVERSITY ----------- > |___________________________________________________> ========================================================================= Date: Fri, 6 Oct 1995 12:58:29 PST Reply-To: Mike McCourt From: Mike McCourt Subject: Re: Spirit Of The Blues Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu I would also add that it extends to the way you live, the values you chooses for yourself and above all (given it's roots), the way you treat other people. Mike ______________________________ Reply Separator _________________________________ Subject: Spirit Of The Blues Author: ISTS024%UABDPO.BITNET@brownvm.brown.edu at ccUnix Date: 10/6/95 9:54 AM IMHO: You CAN NOT retain the spirit of the blues, by covering another note-for note, or even real close to note-for-note...Sure it's Ok to be influenced and throw in some Albert or Son, but you have to EXPRESS YOUR FEELINGS. You and Robert Johnson did not have the same feelings, NO WAY...You are two different people. It's improvising and putting your own expressions into the music, thats what the blues is all about, EXPRESSING YOURSELF, not expressing SRV.....etc. LW ========================================================================= Date: Fri, 6 Oct 1995 17:51:48 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Lament for Blues-l After years of logging on every day, I am seriously considering abandoning blues-l. Blues-L has always been a place where there were controversies and disagreements and debates. That's been great. But in the past, the debates were mostly discussions among friends, among people who understood that we all share a love for this great form of musical and cultural expression, even when we disagreed vehemently about aspects of it. Occasionally tempers flared, but apologies almost always followed quickly. Name calling was rare. Lately, in the pasty 6 months or so, there's been a change of tone that depresses me. Reasoned debate has given way to insult. Disagree with someone, you call him a racist ... it's easier (and maybe, to some, more fun) than trying to explain your views clearly. And it comes from all sides -- no viewpoint has a monopoly on nastiness any more. I find myself being drawn into debates with people who, it turns out, have no interest in reasoned debate ... and inevitably my own contributions reflect the decline in the quality of discussion. I don't like what it's doing to me. I don't know why the change has taken place. Perhaps it's the increasing polarization and mean-spiritedness which we see in politics, invading the Internet. Perhaps it is just the result of net growth -- it's too easy for people who don't really care to throw garbage into the room. But whatever the reason is, it is depressing. Blues-l is not what it was, and the change is not for the better. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Fri, 6 Oct 1995 18:13:04 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Spirit Of The Blues On 6 Oct 95, P.W. Fenton had this to say about LW's recent post: > Since I've done so much getting on your back lately I thought it was > only fair to say publically that I feel you really nailed right here. > Couldn't have said it better. Right on LW! Apparently I could have said that better too. "Publically"? ??? and I have a spell checker! Not to mention the phrase "you really nailed right here." I wonder if I meant "nailed *IT* here". It's been raining all day, it must be affecting my neurons. P.W. Fenton Tampa, Florida (Home of one helluva live music scene) email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 6 Oct 1995 19:28:07 -0400 Reply-To: Wayne Ross From: Wayne Ross Subject: Re: Lament for Blues-l Comments: To: Ian Angus In-Reply-To: <9510061816.aa12851@admin.dis.on.ca> I just signed on to this list yesterday and as blues lover I'd have to say it's only taken me a few hours to consider abandoning the blues-l. I'm not afraid of controversy, but the level of "debate" on this list is embarrassingly shallow and seems to be fueled more by an interest in cutting or putting down others, than seriously considering alternative and opposing points of view. Closed-minded "fundamentalist" thinking stands in the way of attaining a rich understanding of the blues, what it meant to its originators and what it means to blues fans and musicians today. I'm interested in the music and history of the blues, not dissing somebody who happens to hold another point of view. On Fri, 6 Oct 1995, Ian Angus wrote: > After years of logging on every day, I am > seriously considering abandoning blues-l. > > Blues-L has always been a place where there were > controversies and disagreements and debates. That's > been great. > > But in the past, the debates were mostly discussions > among friends, among people who understood that we > all share a love for this great form of musical > and cultural expression, even when we disagreed > vehemently about aspects of it. Occasionally tempers > flared, but apologies almost always followed quickly. > Name calling was rare. > > Lately, in the pasty 6 months or so, there's been a > change of tone that depresses me. Reasoned debate has > given way to insult. Disagree with someone, you call > him a racist ... it's easier (and maybe, to some, more > fun) than trying to explain your views clearly. > > And it comes from all sides -- no viewpoint has a > monopoly on nastiness any more. > > I find myself being drawn into debates with people > who, it turns out, have no interest > in reasoned debate ... and inevitably my own > contributions reflect the decline in the quality of > discussion. I don't like what it's doing to me. > > I don't know why the change has taken place. Perhaps it's > the increasing polarization and mean-spiritedness which > we see in politics, invading the Internet. Perhaps it is > just the result of net growth -- it's too easy for people who > don't really care to throw garbage into the room. > > But whatever the reason is, it is depressing. Blues-l is not > what it was, and the change is not for the better. > > Ian Angus > "Built for comfort, not for speed" > ========================================================================= Date: Fri, 6 Oct 1995 20:01:08 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: Blues anyone? help yourself. This is becoming very faascinating reading. I had a hang nail once and it really hurt. Can I sing the Blues? "Educated idiots" thats an oxymoron isn't it? Beef *************************************************** Recently William R. Tschanz wrote geeting I would like to dance on this thread for just a few oscilations. It's possible that you might have heard the saying "you got to suffer to play the blues" Now I grew up in a project in north Phily, Been In a lot of juke joint you understand me. Now if I hear someone singin the blues I can tell If their singin the blues or playin the blues because their soul tells me thru their performance how much they suffered Yes I sing the blues. I earned my right to play the blues. Black culture? I'm Blond hair ,blue eyed soul seen more shit than I care to say. And I sing the blues. And I don't need some educated idiots to explain to me what the blues is. Further more , If bb did hear some one singin the blues he wouldn't say yes or no. He'd probably just shake his head and say I've been their. > Willy from northwest phily > Just an old dog tryin to hump a puppy > >____________________________________________________ >| > >| WILLIAM R. TSCHANZ TSCHANZ@VM.TEMPLE.EDU > >| CIVIL ENGINEERING WRTSCHANZ@AOL.COM > >| TEMPLE UNIVERSITY ----------- > >|___________________________________________________> > > ========================================================================= Date: Fri, 6 Oct 1995 20:03:26 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: Lament for Blues-l Ian makes an excellent point: Beef Stew ****************************** After years of logging on every day, I am >seriously considering abandoning blues-l. > >Blues-L has always been a place where there were >controversies and disagreements and debates. That's >been great. > >But in the past, the debates were mostly discussions >among friends, among people who understood that we >all share a love for this great form of musical >and cultural expression, even when we disagreed >vehemently about aspects of it. Occasionally tempers >flared, but apologies almost always followed quickly. >Name calling was rare. > >Lately, in the pasty 6 months or so, there's been a >change of tone that depresses me. Reasoned debate has >given way to insult. Disagree with someone, you call >him a racist ... it's easier (and maybe, to some, more >fun) than trying to explain your views clearly. > >And it comes from all sides -- no viewpoint has a >monopoly on nastiness any more. > > I find myself being drawn into debates with people >who, it turns out, have no interest >in reasoned debate ... and inevitably my own >contributions reflect the decline in the quality of >discussion. I don't like what it's doing to me. > >I don't know why the change has taken place. Perhaps it's >the increasing polarization and mean-spiritedness which >we see in politics, invading the Internet. Perhaps it is >just the result of net growth -- it's too easy for people who >don't really care to throw garbage into the room. > >But whatever the reason is, it is depressing. Blues-l is not >what it was, and the change is not for the better. > >Ian Angus >"Built for comfort, not for speed" > > ========================================================================= Date: Fri, 6 Oct 1995 20:00:58 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Culture Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU On 6 Oct 95, L W had this to say: > Just a question (not meant to start an arguement, SERIOUSLY. > > Since the WHITES were the slave owners and the ones who somewhat gave the early > guys the pain/sufferin that contributed to SOME of the blues. > > Would it be true to say that the WHITE "Owners" attributed to the culture that > brought forth the blues.....Would the blues still have had the pain and suffer > ing "tones" that it had/has, if "they" were not oppressed by the White man ? > > Did I make sense...Please don't flame me...I'm not up to it today > > LW 'DO NOT misunderstand what I said, OKIE DOKIE" Please don't take this wrong, LW...but.... WHAT?????? P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 6 Oct 1995 23:07:26 GMT Reply-To: hynes_g@IRISH-TIMES.IE From: Graham Hynes Subject: A BIG thank you.. Hi All, Just want to say thanks to everyone who posted me info re:Texas/New Orleans. It is quite amazing (to say the least) how generous the Blues-l people are taking time out to send info. I also have recieved a few telephone numbers from some of the folks ...so I hope to talk to them when we get there!! Well were leaving in about 8 hours!!!! Don't tell me about excitement!!! Anyway when i get back I'll hopefully have time to report our Blues holiday!! P.s. Don O. (yep we've packed our dancin' shoes!!!!) Talk to you all soon, Graham Hynes (and Liz!!!). ========================================================================= Date: Fri, 6 Oct 1995 20:45:46 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Byron on CLAPTON At 11:12 AM 10/6/95, L W wrote: >The acoustic Layla IS NOT LAYLA....I have no idea what it is, some kind of >easy listening music. LAYLA is a cry , a scream, it's agony at it's best. > >The acoustic "Layla" is a sweet & syrupy ballad, totally different song and >totally different "expression"......The original Layla is IMHO the best ROCK >song ever I usually don't post "I agree" messages, but - absolutely, LW. Unplugging can go too far: some songs are just too electric.... David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Fri, 6 Oct 1995 20:45:50 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Cultural Differences...Then I Might Shut Up At 1:17 PM 10/6/95, Steve Levine wrote: > >* ...I'm sure Jewish folks on this list enjoy >* the blues as much as I do.. >* > >Yup, we do! :) Do I bring up Howling Wolf and Walter Jacobs again? :-) David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Fri, 6 Oct 1995 20:52:00 CDT Reply-To: Paul Garon From: Paul Garon Subject: Ian's and Wayne's laments Now Ian, Just because a relative newcomer to blues-l like myself has a thuggish (sp?) lack of manners doesn't mean he's not teachable. Nor does it even mean he doesn't regret causing such disharmony. Or is it discord, or dis-chord? Apologies to all! And Wayne, You picked a whopping 24-hour period by which to judge blues-l. It's usually not dominated by my harangues and the replies such rudeness engenders. Give it a chance. I'm sure others won't judge you or the blues with the speed with which you judged blues-l . ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email or postal mail or visit us at http://www.abaa-booknet.com/alldlrs/mw/60657bea.html. We also have catalogs available by ftp at ftp.mcs.com/mcsnet.users/beasley. _______________________________________|______________________________________ ========================================================================= Date: Fri, 6 Oct 1995 19:19:00 -0700 Reply-To: NED_KRAFT@HP0000.DESK.HP.COM From: Ned Kraft Subject: Who's blues (flameless) Item Subject: Who's blues/OJ Been discussing race and justice a lot lately. My comment on the flames, counterflames, and occasional good points. The net is a fantastic place for misunderstandings to occur, even between friends, but it is also a fantastic place to learn about the experiences of others. Pretend you are talking to the other person, rather than typing furiously. If you feel you misunderstand a post don't be hostile. Send a private message for clarification. You may make a friend instead of possibly alienating the masses. Now, back to the race thing. Hope I say what I'm thinking (BTW, it's short). People have differing opinions based upon their personal experiences. These experiences will not change and only inputs from an INDIVIDUAL that someone respects greatly can even come close to matching training by experience. One person may believe that your skin must be black to perform the blues. If someone is big enough to admit their prejudice flaming doesn't work and will guarantee that the person you flame will not respect you. Respectful discussion is the ONLY way that most reasonable humans (my guess is that the folks on blues-l are) can be convinced to reconsider their beliefs and training. How many times have you tried to make a change in yourself and failed? Changing others is a bit more difficult. Keep cool, Dirty Ned Hoosier Daddy ========================================================================= Date: Fri, 6 Oct 1995 22:40:49 -0400 Reply-To: David Goldstein From: David Goldstein Subject: Whose Blues? Everyones Blues The blues is a feeling. Singing the blues is anyone's prerogative. Singing the blues using an identifiable style, e.g. - Piedmont, Delta, allows blues aficionados to make comparisons between players. I accept that there are certain identifiable styles or categories of classic blues songs. It is not, however, outside the realm of possibility that blues singer will express themselves using a style that mainstream blues aficionados will not recognize as fitting one of the accepted categories. We have two choices; either try to categorize that style as some variation of an existing style or accept it as it's own unique expression of the feeling of the blues. Categorization has various dimensions including a judgemental component. When blues folk decide to take the responsibility to decide how close a certain perfomance comes to fitting a category, and then deriding the perfomance because it is an inferior version of that style, we are being critical (a judgement). Why? Well, everyone has their own demons. It may be because the commentator feels that the classic style is being misapplied or misinterpreted and future performers will deviate even more from the classic style. Ultimately, the original style will be lost. This is a real concern and I, for one, appreciate the players that continue the traditional forms. However, I do not think that it is helpful to ridicule those players that choose to mix styles - e.g. Delta and Chicago (after all, who would want to crucify Muddy Waters?), or more extremely, that choose to distort a classic style, e.g. - adding odd instruments, changing rhythms, tempos. Each variation serves to crystallize the differences between the original and the offshoot. It becomes easier to differentiate between classic blues styles and mutations as mutations multiply and as we are able to preserve the classics. Electric mutations by The Rolling Stones, or Eric Clapton, etc. serve to make the guardians of the classic blues more vigilant, increasing their efforts to differentiate classic blues styles, and to support the classics. We can look at the growth of musical variations of the blues forms as either a distortion that will eventually lead to the demise of the blues song as we know it (an absurd notion), or as a natural form of evolution that will help us define the various blues forms in their historical context. After all, there would not be a Piedmont blues style if there wasn't a Delta style. Differences help us define ourselves. We should encourage them, point out the differences and let them decide their fate for themselves. They are no threat. The real goal, and one that most of the contributors to this list have not reached, is to contribute some bit of knowledge that will help preserve and grow the tree of the blues. Who in your neighborhood needs to learn about the blues, what can you do to spread the word? I'd like to hear those stories. David "I wouldn't know good if there wasn't bad" Goldstein ========================================================================= Date: Sat, 14 Oct 1995 00:04:04 -0400 Reply-To: robert barclay From: robert barclay Subject: Too d--- loud for years now I have carried a pair of foam ear plugs in my pocket wherever I go. If the db's are too high, I am prepared. They also come in handy in a noisy restuarant [I always get the table near the kitchen entrance]. A soft and moody blues lover. rb ========================================================================= Date: Fri, 13 Oct 1995 23:34:13 -0500 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Re: Blues Societies and Blues musicians Having run the St. Louis Blues Society for several years, I would like to second Dick Waterman's comments about Blues Societies and blues artists and add a few further thoughts. As a presumeably 501C3 tax-exempt, non-profit organization, the role of a blues society needs to be educational rather than commercial. Commercial acts are best left to commercial promoters. I did develop a nifty technique with one local club, the superb Off Broadway run by the Camerata family. I would encourage them to bring in acts that were marginally likely to break even in their view by offering for the Blues Society to shoulder a portion of the risk, usually the first hundred or two of loss, should there be a loss (there rarely was.) This allowed such acts as Frank Frost and Jack Johnson, Magic Slim, Sherman Robertson, Ronnie Earl and Tinsley Ellis to "break into" this market. Some returned, others did not, but at least St. Louis had the chance to see some acts it would not have otherwise. I felt at the time and still do that this was in keeping with a blues society's proper role. Be it local talent or regional or national, blues societies should not build themselves or their programs on the backs of the artists they ostensibly love and support. It is their job to raise funds in other ways (grant money! or??) to support the artists, not vice versa. This is particularly true with regard to blues in the schools programs. Numbers of artists would do these programs for free as they love children, but they should be paid. It is the blues societies job to raise the funds and administer the program. The program is crucial for several reasons, not the least of which is maintaining their 501C3 status by performing clearly educational activities. If, say once a year, the society wished to have a benefit for itself and it's operations and artists volunteered to play this gig I don't think I'd have a problem with that unless playing or not playing it determined favoritism with regards to the paying gigs at other times of the year. Joel Joel Slotnikoff | BLUES WORLD e-mag Box 21652 | http://www.inlink.com/~joelslot St. Louis, MO 63109 | articles, images, reviews, (314) 647-2447 | 78rpm record auction joelslot@inlink.com | blueslinks ========================================================================= Date: Sat, 14 Oct 1995 04:57:09 -0400 Reply-To: Vuduchil@AOL.COM From: "L. Wood Blues" Subject: LIST UNSUBSCRIBE-L L. WOOD BLUES ========================================================================= Date: Sat, 14 Oct 1995 08:20:37 -0400 Reply-To: Bkg agent From: Bkg agent Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Mark Sallings and The Famous Unknowns Comments: To: bit-listserv-blues-l@uunet.uu.net If you happen to be in Memphis and would like to the The Unknowns, you can catch them occasionally at the High Point Pinch. The High Point is without a doubt Memphis' best kept secret. Wonderful accoustics and atmosphere. I am sorry to say (but will anyway) that the High Point puts BBs to shame. Janice Nickeltune Music, Inc. ========================================================================= Date: Sat, 14 Oct 1995 06:47:57 +0100 Reply-To: "J. Witteveen" From: "J. Witteveen" Subject: Re: B Guy Karen Hanson replied to Barry Silverberg, who mistakenly replied to Karen Hanson instead of Jim Witteveen about Mr. Buddy Guy (follow? :-) )There will be a quiz! >Barry Silverberg wrote the following reply: > >>Karen Hanson (Hanson123@AOL.COM) wrote: >Thanks, Barry, but I just wanted to point out that I did not ask the original >question--it was somebody named Jeff, I believe. Instead, I was attempting >to quote his question in reference to a reply--something I haven't learned >how to do effectively on the Blues-L. I'm quite familiar with Buddy Guy. > Forgot to mention in my original reply, however, Acoustic & Alone, which >presents a side to Buddy that has been rarely heard, I think. > >Karen And now Jim Witteveen writes in reply to Karen Hanson, Barry Silverberg, et al: Aarrgggh! Confusion reigns supreme! :-) Thanks for the answer, Barry! This is Jim (Not Jeff! :-) ), the guy who wrote the original post about Buddy Guy. I have the early chess stuff, and Alone & Acoustic, but I'll definitely check out the others mentioned. Thanks all! -Jim (hndful@uniserve.com) ========================================================================= Date: Sat, 14 Oct 1995 10:16:51 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - October 14th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BREWSTER, W. HERBERT REV. (gospel songw) d. 1987-1014, MEMPHIS, TN 90 CREAMER, HENRY S. (v/HENDERSON) d. 1930-1014, NEW YORK CITY, NY 51 CROSBY, HARRY LILLIS "BING" (v) d. 1977-1014, MADRID, SPAIN 74 DIXON, DORSEY (g/DIXON BROS) b. 1897-1014, DARLINGTON, SC HICKS, EDNA LANDREAUX (v) b. 1895-1014, NEW ORLEANS, LA JUSTIS, BILL (sax/RAUNCHY) b. 1926-1014, MEMPHIS, TN KAZANOFF, MARK DAVID (tsax/BLACK TOP REC) b. 1949-1014, NORTHAMPTON, MA KING, BOB (of SOUL STIRRERS/BELLS OF JOY) d. 1955-1014, CHICAGO, IL -- LIGGINS, JIMMY (g/SPECIALTY REC) b. 1922-1014, NEWBY, OK MADISON, PEE WEE (g/MUDDY WATERS) b. -1014, MCKENZIE, WILLIAM "RED"(v/SPIRITS OF RHY) b. 1899-1014, ST. LOUIS, MO MCKINNEY, WILLIAM (d/COTTON PICKERS) d. 1969-1014, CYNTHIANA, KY 74 NEAL, KENNY RAY (g/hca/ALLIGATOR REC) b. 1957-1014, BATON ROUGE, LA PARKER, ROBERT "BAREFOOTIN'" (v/tsax) b. 1930-1014, NEW ORLEANS, LA STOVALL, JEWELL "BABE" (g) b. 1907-1014, TYLERTOWN, MS TERRELL, PHA ELMER (v/ANDY KIRK) d. 1945-1014, LOS ANGELES, CA 35 THOMAS, CHRIS (g/ARHOOLIE/HIGHTONE) b. 1962-1014, BATON ROUGE, LA THOMAS, JAMES "SON" (g) b. 1926-1014, EDEN, MS WARREN, U. S. (g) b. 1933-1014, AUBREY, AR WILLIAMS, SPENCER (p/songw) b. 1889-1014, NEW ORLEANS, LA ------------------------------------------------------------------------------- ========================================================================= Date: Sat, 14 Oct 1995 10:27:00 -0500 Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: Re: Coco Montoya Comments: cc: KGIBSON743@AOL.COM Coco has only one release on his own. It is called "Gotta Mind to Travel" and was originally released on the Silvertone label in Europe ONLY. It was re-released this year on Blind Pig here in the U.S. When I was in Europe last year I purposely looked for it and found it. It is FANTASTIC, great stuff! He has guests like the Iceman Albert Collins and Debbie Davies.. Check it out! Nuri Nuri, Host/Producer "Off the Clock" blues show, KPFT 90.1-FM-Houston Can anyone supply me with a list of Coco's works? > > ========================================================================= Date: Sat, 14 Oct 1995 11:49:56 -0400 Reply-To: hhardy@BCONNEX.NET From: Hugh Hardy Subject: too damn loud I had replied privately to Don C. regarding volume levels but I thought that I would address the group. I recently saw Colin James both during the sound check (which sounded great) and during his show - which was so loud that I thought I was having a heart attack. What I can't figure out is... you actually hear less articulation with excessive volumes....so why do it? I have a Fender Deluxe amp that I run at 7 for a great tone - no ringing ears the next day! I would really like to see Chris Duarte, but I hear he is deafening! Sure I'll use ear protection, but why can't these guys figure out that not only is it harmful, you get lower quality sound as well!! Hugh Hardy ========================================================================= Date: Sat, 14 Oct 1995 19:30:05 +100 Reply-To: Philippe GRAMOULLE Comments: Authenticated sender is From: Philippe GRAMOULLE Subject: stevie ray vaughan video tapes Hi i'm very interested in finding informations about Stevie Ray Vaughan and especially about some of his video tapes. i own two of his tapes: -Live at the El Mocambo (Toronto 1983) -The sky is crying (1991 video clips collection) In France , these are the only two tapes you can get in music shops,so if someone knows things about other video tapes (shows,concerts,...) please email me ! :-) If someone is interested in a list of his recordings , i own one quite long. Thanks Philippe GRAMOULLE : gram0733@eurobretagne.fr ========================================================================= Date: Mon, 2 Oct 1995 14:07:48 -0400 Reply-To: FlGator@AOL.COM From: Mike Evans Subject: Re: Barbara Lynn "The Atlantic Years" CD ******From: Bill Shute BARBARA LYNN "The Best of Barbara Lynn--The Atlantic Years" Ichiban Soul Classics SCL2505-2 orig. recorded l967-l973 Regular blues-l folks may remember that my original copy of this, though it had the correct CD painting on the topside of the disc, actually contained classical music. The folks at Ichiban were nice enough to send me a replacement copy, and are now no doubt scratching their heads over the defective disc I sent them.**** I had a similar experience. Got a 2 record set "Memphis Swamp Jam" back in the 70's that one of the records, although labled as Memphis Swamp Jam, was some unknown to me rock band. Never did get a replacement or figure out who it was on the record. Mike ************************************************* "My mind runs two, three different ways." ========================================================================= Date: Sat, 14 Oct 1995 15:25:58 -0400 Reply-To: KGIBSON743@AOL.COM From: Kevin Gibson Subject: Harvey Mandell Has anyone heard Harvey's Twist City CD? Sounds great to me!! ========================================================================= Date: Sat, 14 Oct 1995 15:36:57 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Buddy Guy's Repertoire Comments: To: cedmunds@netserv.unmc.edu Craig Edmundsun says: >In the late 1960s, William R. Ferris, Jr. studied the repertoires of two >bluesmen: James Thomas, from Leland, MS; and Scott Dunbar, from Lake >Mary, MS. He concluded that "black singers who perform regularly for local >whites develop a repertoire designed to satisfy the tastes of whites which >is markedly different in both style and content from that used for black >audiences." If you are trying to make the point that Buddy Guy's show varies from city to city as he tours, you have cited the wrong example. Doctor Ferris is very clearly saying that the artist's performance is altered by the RACIAL aspect of the audience, a point that no one raises regarding Buddy Guy. He is simply pointing out that black artists who play for white audiences make adjustments in their performances that ultimately results in something quite different from the way they perform within their own community. An example of this might be the show that B.B. King would put on for a prison population that was entirely male and largely African-Americans imprisoned for violent crime juxtaposed against a concert he would give at Carnegie Hall, for example. I think that you will find that, within the context of the songs themselves, there probably won't be much difference. However, the interplay between artist and audience would result in different stories, different introductions and different anecdotal references as he moves from song to song. A better example of what Doctor Ferris is saying - or perhaps the lack of it - is that the performances by Junior Kimbrough and R.L. Burnside as they toured the major blues festivals in 1995 is essentially the same performance that anyone can see at Junior's juke in Holly Springs, Mississippi. There is no sense of 'entertainment' happening from the stage. Both men are doing exactly the same thing onstage in San Francisco or Cambridge that they do at home. It remains to be seen whether or not continual exposure to white audiences will bring about changes in their performance. (I now return you to your original programming and you can continue Buddybashing . . . ) Dick Waterman ========================================================================= Date: Sat, 14 Oct 1995 14:44:04 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: R&B - Blues At 12:48 PM 10/13/95, Tom Morgan wrote: >I >think of rhythm and blues as being blues out of the city with an uptempo >beat. I always thought of Louis Jordan as being a good example of rhythm >and blues but he never made it on to the RnB charts when he was big. So >who knows? I like your definition.... >I have always refered to the black doo-wop groups as rhythm and blues >vocal groups. Charles Brown, The Treniers, Ivory Joe Hunter, >Wynonie Harris, Amos Milburn, Jimmy Liggins, Roy Milton are but a few in >my Rhythm and Blues Hall of fame. :) I would add Little Willie John, Clyde Mc Phatter, Ray Charles, among many others. David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Sat, 14 Oct 1995 13:25:34 PST Reply-To: "D. ALLEN SIMPSON" From: "D. ALLEN SIMPSON" Subject: Bonnie Raitt-Live/PBS I was perusing an edition of Tower REcords monthly magazine, Pulse, and saw that the next scheduled blues artist set to have a PBS live show is B. Raitt. She is currently taping her live shows for the special (unknown at this time when it will air), and also taping her shows for an upcoming live album (her first). Just FYI. Doug S. ========================================================================= Date: Sat, 14 Oct 1995 20:20:56 GMT Reply-To: Paul L Pearson From: Paul L Pearson Organization: Iowa State University, Ames, Iowa Subject: Re: too damn loud Comments: To: bit-listserv-blues-l@uunet.uu.net In <199510141549.LAA08780@nic.bconnex.net> Hugh Hardy writes: >I had replied privately to Don C. regarding volume levels but I thought that I >would address the group. >I recently saw Colin James both during the sound check (which sounded great) and >during his show - which was so loud that I thought I was having a heart attack. >What I can't figure out is... you actually hear less articulation with excessive >volumes....so why do it? I have a Fender Deluxe amp that I run at 7 for a great >tone - no ringing ears the next day! >I would really like to see Chris Duarte, but I hear he is deafening! Sure I'll >use ear protection, but why can't these guys figure out that not only is it >harmful, you get lower quality sound as well!! My advice is to bring ear protection, especially if the venue you're going to see him in is notoriously loud. I just saw him twice in the last two months and he varied volume continuously-some songs you had to strain to hear him when he played way down. The last show in Des Moines, played on an incredibly pathetic PA with an incompetent sound tech. was deafening, but only because I was standing 2 feet from Chris and getting his amps in front of me and the PA in my left ear. When I moved back 20 feet, I had no problems. He likes to rip it up, but his reputation fo r playing at two volumes "too loud" and "too fucking loud" no longer holds true from my last two experiences. He plays to the crowd, so if he's in front of a younger crowd that gets in to the loud rock part of his repertoire, he'll do it. >Hugh Hardy -- Paul L. "Pro" Pearson President, Kurt Rambis Fan Club (unofficial) Ames, IA Chapter ========================================================================= Date: Sat, 14 Oct 1995 21:33:51 +100 Reply-To: Philippe GRAMOULLE Comments: Authenticated sender is From: Philippe GRAMOULLE Subject: stevie ray vaughan video tapes Hi i'm very interested in finding informations about Stevie Ray Vaughan and especially about some of his video tapes. i own two of his tapes: -Live at the El Mocambo (Toronto 1983) -The sky is crying (1991 video clips collection) In France , these are the only two tapes you can get in music shops,so if someone knows things about other video tapes (shows,concerts,...) please email me ! :-) If someone is interested in a list of his recordings , i own quite a long one. Thanks Philippe GRAMOULLE : gram0733@eurobretagne.fr ========================================================================= Date: Sat, 14 Oct 1995 14:55:20 -0600 Reply-To: BMPECH@MSCD.EDU From: Bruce Pech Subject: Too Damn Loud: A Question Within the past year or so, I've been to several shows that were loud, but bearable (Kinsey Report, James Cotton, Lucky Peterson, Otis Rush, Fab T-birds), and two that were ear-splitting (Duarte, Luther Allison). As an amateur *acoustic* musician, I'm a neophyte when it comes to sound reinforcement. So, a question .... Who's principally responsible for the decibel level in a club? Is it the soundman or the performers? Do the performers, listening to one another through stage monitors, know how high the PA is cranked up? Perhaps some of you band members could shed a little light on these arcane matters. -- BP Boulder, CO ========================================================================= Date: Sat, 14 Oct 1995 17:44:26 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: R&B - Blues Comments: To: davidis@INTERACCESS.COM If you were to look to Billboard magazine for an answer to the question: "What consitutes "Rhythm & Blues"?, the answer would seem to be "race records". If you look at the R&B charts, the only unifying thing about all the recordings is that they feature black artists. I'm also fond of the catagory of "urban", or "urban contemporary" which is also used to lump together black records together (as though white people all lived in rural areas and blacks lived in cities). It does give new meaning to the word SUBurban. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sat, 14 Oct 1995 16:56:40 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Re: Blues Societies and Blues Stars Well, Dick, atually our society brought to Iowa City almost all of those artists you mentioned: Honeyboy Edwards, Mary Flower, Paul Geremia, plus Satan and Adam, R.L. Burnside and other from juke-joint caravan, and some other less known blues acts. Somebody also mentioned educational programs.... We have Blues-In-School and Blues-In-Library programs, both quite successful. But, that's not the point!!! Now, we want to be able to bring Otis Rush too. Why? Because clubs don't want to bring him because he's got kinda bad reputation around here for his past "inconsistency" in his live performances. Also, there is too much of "Debbie Davies and Tab Benoit" going on around here, and anywhere else in this country as a matter of fact. So what if members of our society have a little fun, see Otis Rush, bring REAL blues to Iowa City? Telling them that they are just supposed to work hard, educate, and be satisfied with little is just plain stupid!!! Somebody mentioned that club owners actually treated them better than some society. Well, that's not the case around here in Iowa. That can be easily checked with mentioned artists, and I am sure other blues societies treat artists very well, in general much better than club owners. We also never forget if a blues act is correct with us and help us with promotion or giving us a little break. They are the once usually invited to come over and over again, and the once that buid quite a good following, not the once that just wants to take an advantage of us. I bet those that were treated bad actually very well deserved it. Ranko ========================================================================= Date: Sat, 14 Oct 1995 17:57:16 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Too Damn Loud: A Question Comments: To: BMPECH@MSCD.EDU On 14 Oct 95, Bruce Pech had this to say: > Who's principally responsible for the decibel level in a club? Is it the > soundman or the performers? Do the performers, listening to one another > through stage monitors, know how high the PA is cranked up? Perhaps some > of you band members could shed a little light on these arcane matters. > Not such a simple question, or answer. On one hand the soundman has total control of the sound levels, on the other hand the band itself can kind of force the issue. Sometimes a guitar player's amp is SO loud all by itself that it forces the soundman to blast everything else through the P.A. in order to achieve a "balance" between the instruments, and/or vocals. The answer to the second question is no. Performers often have no idea how freakin' loud it is "out there". I played on a big festival stage last night and I couldn't even hear if the P.A. was on. All I could hear were the monitors on stage, and the various instruments on stage. We could have been blasting, or difficult to hear, and I would not have known (other than people telling me afterwards). P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sat, 14 Oct 1995 16:29:00 -0700 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Bonnie Raitt-Live/PBS Comments: To: "D. ALLEN SIMPSON" D. Allen Simpson wrote: > > I was perusing an edition of Tower REcords monthly magazine, >Pulse, and saw that the next scheduled blues artist set to have a PBS >live show is B. Raitt. She is currently taping her live shows for >the special (unknown at this time when it will air), and also taping >her shows for an upcoming live album (her first). > Just FYI. Doug S. > Both Bonnie's live double-CD, called "Road Tested," and her PBS special of the same title, are finished, and both will be released in November (the PBS show will be on home video). Mary Katherine ========================================================================= Date: Sat, 14 Oct 1995 21:15:43 -0500 Reply-To: Tom Kraft From: Tom Kraft Subject: Re: B Guy Comments: To: PaliGap69@AOL.COM At 02:16 AM 10/13/95 -0400, you wrote: >Although I haven't seen Buddy Guy live; I do enjoy his recent studio albums >("Damn Right..", "Feels Like Rain", "Slippin' In") I just recently got into Chris, I've got every Buddy Guy CD I could find. My favorite is "A Man and The Blues". Old sounding but well worth the listen. Acoustic my choices are Muddy Water's "Folk Singer" and Buddy and Jr. "Alone and Acoustic". He is an awesome bluesman. Tom "sometimes I feel like drinkin' me some gasoline... stikin' a match and blowing my fool self up in steam" BG ========================================================================= Date: Sat, 14 Oct 1995 21:12:12 -0500 Reply-To: derek.hunter@COMPUSTUFF.COM From: Derek Hunter Organization: CompuSTUFF On-Line Services Subject: Chord Progressions To Whom It May Concern: Could any of you please send me some general chord progressions I could just plunk out, per se, on my piano and then add a melody line. Just to improvise....thanks... Derek Hunter derek.hunter@compustuff.com ========================================================================= Date: Sun, 15 Oct 1995 03:53:57 GMT Reply-To: Weidel From: Weidel Organization: Voicenet - Internet Access - (215)674-9290 Subject: Re: Elvin Bishop Comments: To: bit-listserv-blues-l@uunet.uu.net In article , bhargrov@MICRON.NET wrote: > <---- Begin Included Message ----> > > This last Saturday the 7th we were treated to a free outside 2 set show > by Elvin Bishop. He had is old band with him. Randy Forrester on key > boards and "Daddy Ray" Arvizu on sax, Ed ??? on trombone ... > Gordon > > <---- End Included Message ----> > > That's Ed Early on the trombone. They were out here in Boise last winter. Last > time I saw Ed he was touring with Albert King -- years ago. > > Bill H. I'm really glad you posted this information. I took some wonderful photos of these guys this summer at Philly's River Blues Festival. Now at least I can correctly label them. Thanks. Bob ========================================================================= Date: Sun, 15 Oct 1995 00:16:30 EDT Reply-To: KCARLSON@VINES.ETN.COM From: Keith Carlson Subject: Too damn loud - another question It's interesting to hear other comments about the volume of the music in a club, since that's my main complaint about live music. I like to hear all the music; even *feel* the music, but not have my head split open! But this reminds of a question I've had for a long time: For a professional musician, some type of hearing protection is probably essential, isn't it? (Hoping some of you practicing musicians on Blues-L can answer this). But the standard, run-of-the-mill ear plugs used in a factory environment seem to do a much better job of cutting down the high frequencies than the lows. So, isn't a musician wearing ear plugs interested in hearing the same ahh.. frequency characteristics as his audience, just at a reduced level? Are there any special type of ear plugs available that are closer to a flat frequency "response"? ========================================================================= Date: Sun, 15 Oct 1995 06:02:06 GMT Reply-To: BRG From: BRG Organization: Information Resources and Technology Subject: Re: Roomful of Blues! Comments: To: bit-listserv-blues-l@uunet.uu.net "J. Witteveen" wrote: >>Steve says: >> I went mostly to hear Sugar Ray Norcia's vocals and harp playing, but I >>ended up enjoying everything they did. (snip) the soulful voice and heavy du >>y harp of Sugar Ray (the place was full of harp players!)... >> >>To which J Witteveen says: >>I've said it before, and i'm sure i'll say it again. sugar ray norcia is a >>good singer, and probably a GREAT harp player. But IMHO, he's got no (ok, >>little) SOUL. >> >>Roomful ain't been the same for me (who used to go seem them at least twice >>a month) since Greg Piccolo left the band. > I saw Roomful a few months ago when they were passing through. I have also followed them for many years. Their guitar player is a little rocky for my blood. But, when they do the real stuff he does the job well enough. there is a real tradition of guitar players in that band after all. As far as your disparaging comment about Sugar Ray-I don't understand!? Who were you expecting, Junior Parker,Bobby Bland,Earl Forrest,Johnny Ace?? How do you define soul? Also how much of this intangible do you require. What did Greg Piccolo have a corner on that market? I don't think so. They got to be one of the best sounding horn sections around today and their years together can be heard loud and clear. It don't get much better for my listening pleasure. BRG ========================================================================= Date: Sat, 14 Oct 1995 23:45:18 +0100 Reply-To: "J. Witteveen" From: "J. Witteveen" Subject: Re: Roomful of Blues! BRG wrote the following in response to someone (not me) who made the following comments: once again, confusion reigns supreme :-) ! >"J. Witteveen" wrote: >>>Steve says: >>> I went mostly to hear Sugar Ray Norcia's vocals and harp playing, but I >>>ended up enjoying everything they did. (snip) the soulful voice and heavy du >>>y harp of Sugar Ray (the place was full of harp players!)... >>> >>>To which J Witteveen says: >>>I've said it before, and i'm sure i'll say it again. sugar ray norcia is a >>>good singer, and probably a GREAT harp player. But IMHO, he's got no (ok, >>>little) SOUL. >>> >>>Roomful ain't been the same for me (who used to go seem them at least twice >>>a month) since Greg Piccolo left the band. Hold on a minute... I didn't say this! My comments were to the effect that I preferred Colin James with the Roomful of Blues (Colin James and the Little big Band) to the Sugar Ray Norcia Version (on Dance all Night, an album I really like). Someone else made the above comments, so don't flame me! :-) I've only seen them live once (and they rocked!), and i'm not even sure who Greg Piccolo is! Oh well... no big deal, but I thought I'd set the record straight anyway... have a good weekend, bluezellers! :-) Jim (hndful@uniserve.com) ========================================================================= Date: Sun, 15 Oct 1995 07:08:05 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - October 15th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BAKER, MCHOUSTON "MICKEY"(g/MICKEY&SYLVIA)b. 1925-1015, LOUISVILLE, KY CANNON, GUS (bjo/JUG STOMPERS) d. 1979-1015, MEMPHIS, TN 94 COLE, LIONEL "FREDDY" (p) b. 1931-1015, CHICAGO, IL EDMUNSON, WILLIAM E.(of THE SOUTHERNAIRES)b. 1902-1015, SPOKANE, WA HUNTER, EVAN (author/BLACKBOARD JUNGLE) b. 1926-1015, NEW YORK CITY, NY JACKSON, TITO (of THE JACKSONS ) b. 1953-1015, GARY, IN JOHNSON, JOE (lead/CBS TRUMPETEERS) b. 1914-1015, NORFOLK, VA JOHNSON, MARV (v/UNITED ARTISTS REC) b. 1938-1015, DETROIT, MI JONES, SAM "BIRMINGHAM" (v) b. 1922-1015, WAVERLY, VA KILLIAN, AL (tpt/BASIE/MCVEA) b. 1916-1015, BIRMINGHAM, AL LASLEY, CLYDE"PORKCHOP"(of BEA& BABY REC) b. 1915-1015, TN LESTER, BOBBY (lead/THE MOONGLOWS) d. 1980-1015, LOUISVILLE, KY 50 LORD INVADER (RUPERT GRANT) (v/songw) d. 1961-1015, NEW YORK CITY, NY 47 LUTCHER, NELLIE ROSE (p/CAPITOL REC) b. 1915-1015, LAKE CHARLES, LA PORTER, COLE (:) (awesome songw) d. 1964-1015, SANTA MONICA, CA 73 SPIVEY, VICTORIA "QUEEN" (p/songw) b. 1906-1015, HOUSTON, TX STRICKLIN, AL (p/BOB WILLS) d. 1986-1015, CLEBURNE, TX 78 SYLVESTER, HANNAH (v) d. 1973-1015, NEW YORK CITY, NY 73 TAMARKIN, JEFF M. (critic/GOLDMINE MAG) b. 1952-1015, BROOKLYN, NY WALKER, FRANK B. (a&r/prod/COLUMBIA REC) d. 1963-1015, LITTLE NECK, LI 73 WARD, ROBERT (g/FALCONS/BLACK TOP REC) b. 1938-1015, LUTHERSVILLE, GA ------------------------------------------------------------------------------- ========================================================================= Date: Sun, 15 Oct 1995 09:48:47 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Anders Osborne I was lucky enough to score myself a pre-release copy of Anders Osborne's new OKeh album, "Which Way To Here", due out sometime next month. As I have said before, I am not a reviewer, so this is not a review. Consider it a recommendation. Buy this album. It would be very hard not to like it. It is not Blues. However, I feel certain that if you love Blues, you'll love this album. Funky, groovy, swampy, NOLA style American roots music, all played deliciously. This was truely an advance copy, so it came without any liner notes other than a sort of xerox copy j-card listing the song titles. Therefore I can't tell you who plays what, but I can tell you that they uniformly play it well. There is a female voice that supplies harmony throughout and gets a couple of chances to step out on her own. Whoever she is I want to hear an album of her also. She has the soul and sound of a very young Bonnie Raitt with the depth and vocal control of a member of the Bulgarian State Radio Vocal Choir. Really superb. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 15 Oct 1995 10:10:25 CST Reply-To: JBards From: JBards Subject: Re: Anders Osborne Comments: To: "P.W. Fenton" As a matter of fact, I'm sitting here in an Anders Osborne t-shirt as I reply...(coincidence, he thought, or the Hand of God ?). Anyway, back to the subject, I reviewed Anders' previous effort last May and this sounds like more of the same good stuff. I think Anders and the group sound a bit like a younger version of Little Feat. The fmale vocalist is, BTW, Anders' long time main squeeze and (unless they've married in the interim) his fiance, Teresa Andersen, also from Sweden. She's a major babe and quite a talent in her own: plays marvelous electric violin ( classical training is apparent) and has an unforgettable voice ( jazz influences on her vocals). She does have her own solo CD oout, too, but I'd have to look it up. -Jim _______________________________________________________________________________ Subject: Anders Osborne From: "P.W. Fenton" at INTERNET-SH Date: 10/15/95 9:26 AM I was lucky enough to score myself a pre-release copy of Anders Osborne's new OKeh album, "Which Way To Here", due out sometime next month. As I have said before, I am not a reviewer, so this is not a review. Consider it a recommendation. Buy this album. It would be very hard not to like it. It is not Blues. However, I feel certain that if you love Blues, you'll love this album. Funky, groovy, swampy, NOLA style American roots music, all played deliciously. This was truely an advance copy, so it came without any liner notes other than a sort of xerox copy j-card listing the song titles. Therefore I can't tell you who plays what, but I can tell you that they uniformly play it well. There is a female voice that supplies harmony throughout and gets a couple of chances to step out on her own. Whoever she is I want to hear an album of her also. She has the soul and sound of a very young Bonnie Raitt with the depth and vocal control of a member of the Bulgarian State Radio Vocal Choir. Really superb. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 15 Oct 1995 11:03:50 -0500 Reply-To: William A Morgan From: William A Morgan Subject: Re: Anders Osborne Comments: To: "P.W. Fenton" In-Reply-To: <199510151352.JAA19541@tequesta.gate.net> I also received the copy of Ander's latest and agree with P.W.'s assessement. Thanks for the cassette, Cat. The female vocalist is Theresa Anderson, Anders' fiance, and also a native of Sweden (now living in N.O.). She has a CD out on Rabadash Records (Anders' label prior to signing with Okeh). Her CD is called _Vibes_. The music is jazz, and she sings and plays violin with a gifted group of N.O. musicians. I recommend seeing her live, not only for her musicianship, but also because she's easy on the eyes. ******** Bill Morgan On Sun, 15 Oct 1995, P.W. Fenton wrote: > I was lucky enough to score myself a pre-release copy of Anders > Osborne's new OKeh album, "Which Way To Here", due out sometime next > month. As I have said before, I am not a reviewer, so this is not a > review. Consider it a recommendation. Buy this album. It would be > very hard not to like it. > > It is not Blues. However, I feel certain that if you love Blues, > you'll love this album. Funky, groovy, swampy, NOLA style American > roots music, all played deliciously. This was truely an advance > copy, so it came without any liner notes other than a sort of xerox > copy j-card listing the song titles. Therefore I can't tell you who > plays what, but I can tell you that they uniformly play it well. > There is a female voice that supplies harmony throughout and gets a > couple of chances to step out on her own. Whoever she is I want to > hear an album of her also. She has the soul and sound of a very > young Bonnie Raitt with the depth and vocal control of a member of > the Bulgarian State Radio Vocal Choir. Really superb. > > P.W. Fenton > Tampa, Florida > email - pwfenton@gate.net > WWW - http://www.gate.net/~pwfenton/ > ========================================================================= Date: Sun, 15 Oct 1995 12:36:44 -0400 Reply-To: "Abe W. Mathews" From: "Abe W. Mathews" Subject: Re: Too damn loud - another question In-Reply-To: <0000ecuywogg.0000amicmacq@vines.etn.com> from "Keith Carlson" at Oct 15, 95 00:16:30 am > But this reminds of a question I've had for a long time: For a > professional musician, some type of hearing protection is probably essential, > isn't it? (Hoping some of you practicing musicians on Blues-L can answer > this). Practicing? I wish I had the time! But playing out, yeah I do that some. The only time I ever wear hearing protection while playing is when we have someone else sit in. We normally play pretty quiet (the PA's not that powerful), but when someone else sits in (especially another drumer), I have to put in some plugs. I got mine for $15 bucks from Musicians Friend. They're rubber, with a long stem and some ridges around them (not a good engineering description, but I haven't used them in a while). > Are there any special type of ear plugs available that are closer to > a flat frequency "response"? These seem to be pretty good for that. It kinda feels like having a cold, because you still feel the bass in your head (at least I do), but the apparent volume is reduced. If I put them in during a gig, I'm pretty disoriented for a song or two, but you get used to it after a while. They do look a little dopey, with the stems haning a little out of your ears, but better to wear hearing protectors than hearing aids, I figure. If I ever wonder, I just ask my dad (a former tank commander in the guards and long time unprotected duck hunter). Then I ask him again. And again, and again.......Eventually he hears the question well enough to answer. Abe awmathew@mtu.edu ========================================================================= Date: Sun, 15 Oct 1995 12:19:35 -0600 Reply-To: David Silberberg From: David Silberberg Subject: FAQ - Etiquette THE BLUES-L FAQ ETIQUETTE AND GUIDELINES PORTION List Owner - Alan Rollins (blzlynx@nexus.polaris.net) Compiled by David Silberberg (davidis@davidis@interaccess.com) Last Modified October 12, 1995 Any additions, suggestions, or corrections should be mailed to David Silberberg (davidis@interaccess.com) CONTENTS: 1. General Etiquette 2. Announcing Personal Appearances 3. Announcing National Act Appearances 4. Selling Stuff on Blues-L 5. Appropriate Blues-L Topics This is the etiquette and guidelines portion of the Blues-L FAQ. PLEASE READ IT BEFORE POSTING ANY MESSAGE TO THE LIST / NEWSGROUP. Blues-L is not censored in any way. All messages will be posted to the list. But this is a list devoted to discussion of the blues, and this is a community of blues-lovers and people interested in the form. Over 750 people, from all over the world, subscribe to the mail list; countless others read the newsgroup without subscribing. We you will follow these simple guidelines, so that Blues-L will be a happier, friendlier place to be. 1. General Etiquette A. Remember that PEOPLE will be reading your post. Not everyone will agree with your views, but they are people with valid opinions. Base your arguments on what has been said, not on who you think the sender is. Don't get personal - let your argument speak for itself. B. Mr. Pimmel has structured the list so that your mail readers / newsgroup readers automatic "reply" feature will address your response to the individual poster of the message. This is to remind us to think whether or not we wish to respond to the entire list (certainly completely appropriate if you think you comments will interest the entire list), or to the individual poster of the message you are responding to. C. Avoid posting "I agree" or "Great Post" or "Me Too" messages to the entire list. This is a waste of resources. If you wish to send this kind of message, please send it to the individual you are complementing. D. Avoid posting messages without any useful contents. This includes messages containing only snide remarks to a previous poster, etc. It also includes message where you say "Sorry, no blues content". If there is no blues content, do not send the message to the list. E. Commercial messages should not be posted to the list. (However, see below for guidelines concerning personal appearances by musicians who are members of the blues-l community.) F. If a topic (or musician, etc.) has been extensively discussed recently, hold off on bringing it (him / her) up again. Let another topic get some time on the list. G. Remember the distinction between posting to the list (where everyone sees it) and posting to an individual privately. Think about the universality of your message: if you think many (if not most) people on the list would find your message interesting and informative, please post it to the list. If your message would be of interest to only one or two people, send it to them privately. H. Please pay attention to your "subject line": make sure it accurately reflects the contents of your message. If you have changed the subject during your response to a previous post, please change your subject line. I. When responding to a previous post, it is acceptable - and often necessary - to quote a few lines from that previous post, to remind readers of what you are referring to. But quote only as much as is necessary to make clear what you are responding to. J. Above all, use common sense and consider the feelings of others. Treat others as you would wish them to treat you. We know that sounds like church - but it is good advice. 2. ANNOUNCING PERSONAL APPEARANCES It is appropriate to announce your personal appearances on the list, with certain restrictions. Many people on our list are interesting in seeing other members perform. However, frequent (weekly?) announcements that you will be playing in such and such places is going too far. Please remember, this is a global list: most people will not be able to swing by the corner pub for your Friday night set even if they want to. With that in mind: A. Perhaps you could post a message bi-monthly, introducing yourself, the style of music you play, and the general geographic area you play in. Request private responses from people who would be interesting in receiving your "gig list". These would most likely be people who would realistically be able to attend your performances, and would be the people you would most like to reach with your message. B. E-mail the information only to those people. C. If your situation changes, and you get some bookings in a new location, then please post this information to the entire list. 3. ANNOUNCING NATIONAL ACT APPEARANCES Announcing "national touring acts" is appropriate to the list, because it gives readers a way of seeing who is on the road and who will be appearing in their area. Of course, the list members would be interested in your attending such shows, and reviewing them on the list. 4. SELLING STUFF ON THE LIST Do not use the list to sell CD's, tapes, or other merchandise for profit. Doing so may be illegal, so DO NOT DO IT. 5. APPROPRIATE BLUES-L TOPICS This is an uncensored list. All messages will be posted to the list, so please adhere to these simple guidelines: Any topic relating to the blues - the music, performers, books, cultural aspects, history, technical music discussions, reviews, opinions, facts - if it relates to the blues, it is appropriate for Blues-L. This is a terrific list: many members have some kind of professional relationship to the music - musicians, producers, authors, radio programmers, etc. Someone here can answer almost any question you may have - and any information you may wish to transmit will be gratefully accepted by our community. But please - make sure your facts, opinions, and other comments relate to the blues. ========================================================================= Date: Sun, 15 Oct 1995 12:19:21 -0600 Reply-To: David Silberberg From: David Silberberg Subject: FAQ - Administrative THE BLUES-L FAQ LIST - ADMINISTRATIVE PORTION List Owner - Alan Rollins (blzlynx@nexus.polaris.net) Compiled by David Silberberg (davidis@interaccess.com Last modified October 12, 1995 CONTENTS: 1. What is this FAQ List 2. What is Blues-L 3. How to Receive Blues-L 4. To Subscribe, Unsubscribe, and Other Listserv Commands 5. The Newsgroup Mirror 1. What is this FAQ List? This is a list of Frequently Asked Questions to the Blues-L mailing list and newsgroup mirror. The purpose of this FAQ is to inform newcomers to our community, and to refresh the memories of long-time members, about various aspects of Blues-L, both in terms of administration (subscription information, listserv commands, guidelines, etc.) and content (controversies, definitions, etc.) Please read this FAQ before posting any messages to the newsgroup or mail list. 2. What is Blues-L? Blues-L is a mail list with a newsgroup mirror devoted to the discussion of the Blues in all of its forms - from predecessors of blues music to contemporary performers. Discussions have been very wide-ranging, branching into a variety of topics, but always should include a definite, direct connection to the Blues. Subscribers and contributors include professional musicians, producers, radio programmers, and authors as well as average, everyday lovers of the music. The mail list was created by Jake Haller at Brown University. The current list owner is Alan Rollins. If you should have any technical problems with receiving or posting to the list, and you require human intervention, send a message to blues-l-request@brownvm.brown.edu. Please explain your problem clearly, including the steps you have already taken to solve the problem. Currently, over 750 people (from countries all over the world) subscribe to the mail list, and countless others read the list through the newsgroup mirror. 3. How to receive Blues-L Blues-L can be read, and posted to, either by subscribing to the mail list (thus receiving the messages as e-mail) or by reading the newsgroup. Either way, you will be receiving all of the messages, and have the ability to post your responses / questions / opinions. You should choose your method based on your internet connection: some people find it easier to read e-mail messages, some find it easier to read newsgroups. This is a high-volume group: usually, 50 to 100 messages are posted each day. The choice is yours, but we strongly urge you to subscribe to the mail list: if you wish to receive the list through the newsgroup, you can set the mail list to NOMAIL (instructions are below). At some point, the owner may take the list "private", meaning that only subscribers (including NOMAIL) subscribers) to the mail list will be able to post. To post a message to the list through e-mail, send the message to blues-l@brownvm.brown.edu This is the list address. 4. To subscribe, unsubscribe, and other listserv commands The following commands should be sent to: listserv@brownvm.brown.edu. DO NOT SEND THEM TO THE LIST ADDRESS, which would cause you request to be sent to the entire list and newsgroup without causing the listserv to act on your command. The subject line should be blank, and the message content should be as follows: TO SUBSCRIBE: SUBSCRIBE BLUES-L TO UNSUBSCRIBE: SIGNOFF BLUES-L TO SET YOUR RECEIVING METHODS: The default method is to receive individual e-mail messages for each message sent to the list. The digest format sends you one e-mail message each day containing all of the messages sent to the list since the last day's digest. This is a long document. To set the list to digest format, send the command to listserv@brownvm.brown.edu, no subject, message: SET BLUES-L dig The index format sends you a daily index of messages sent to the list. The index contains the poster of the message, the subject line, and the size of the message. To set the list to index, send the command to listserv@brownvm.brown.edu, no subject, message: SET BLUES-L index To retrieve a particular message that you wish to read, you will have send send a message to blues-l-request@brownvm.brown.edu. When you set this option, the listserv will send you detailed instructions on how to use it. TO TEMPORARILY STOP MAIL FROM THE LIST FOR A FEW DAYS, WITHOUT UNSUBSCRIBING, or to subscribe to the list and read the newsgroup instead, send a message to listserv@brownvm.brown.edu, no subject, with the message: SET BLUES-L nomail To resume receiving mail, send the message: SET BLUES-L mail Please remember, any subscription request should be sent to listserv@brownvm.brown.edu. You will receive a complete list of listserv commands by sending a message to the listserv, with no subject, and the message: HELP. 5. The Newsgroup Due to the high volume on this list, and the fact that many subscribers prefer to receive newsgroups rather than e-mail, David Pimmel led the way in initiating a Blues-L Newsgroup. This newsgroup mirrors the activities of the Blues-L mail list. The address of the newsgroup is: bit.listserv.blues-l If you are a newsgroup reader, you have all of the privileges and responsibilities of mail-list subscribers: you get all messages, and may post to the newsgroup. All of your messages will be read by list subscribers and newsgroup readers. If you are posting through a newsreader, there is a chance that your message will not appear in the group. This is most likely due to an incorrect setting for the moderator in the news software. The correct address is blues-l@brownvm.brown.edu. Check with your local system administrator if this seems to be a problem. In the meantime, you can always contribute via direct e-mail to the above address. ========================================================================= Date: Sun, 15 Oct 1995 13:20:00 PDT Reply-To: Meridith Farnworth From: Meridith Farnworth Subject: Re: Roomful of Blues! whoa, there folks....some more quoting of the wrong people happening here... BRG erroneously attributed to Jim W. attributed something *I* said about Sugar Ray Norcia and it went something like this. >>>Roomful ain't been the same for me (who used to go seem them at least twice >>>a month) since Greg Piccolo left the band. >>Hold on a minute... I didn't say this! My comments were to the effect that >>I preferred Colin James with the Roomful of Blues (Colin James and the >>Little big Band) to the Sugar Ray Norcia Version (on Dance all Night, an >>album I really like). Someone else made the above comments, so don't flame >>me! :-) I've only seen them live once (and they rocked!), BRG felt the need to come back me with this tone: >As far as your disparaging comment about Sugar Ray-I don't understand!? >Who were you expecting, Junior Parker,Bobby Bland,Earl Forrest,Johnny >Ace?? How do you define soul? Also how much of this intangible do you >require. What did Greg Piccolo have a corner on that market? I don't >think so. All I'd said was that *after many years* of frequently seeing Roomful, it hasn't been the same FOR ME seeing Sugar Ray handle the vocals. As I recall, I did include at least one obligatory IMHO, and even a note with my sig saying it was just an opinion from someone who's usually not opinionated. TO ME (and many other New England long time Roomful fans, I might add) watching / hearing sugar ray sing is like watching Wayne Newton or some other easy listening singer. Sure, Mr. Norcia has a pleasant voice, and he's a nice enough fellow, but he just doesn't do "it" for me. After all these years, Greg's singing still gives me The Chill. If BRG needs any more information, I may be contacted privately: mfarn@fibusa.com Meri, hoping this doesn't turn into Wayne Newton-L :-) ========================================================================= Date: Sun, 15 Oct 1995 15:40:23 -0400 Reply-To: TOZ@IX.NETCOM.COM From: Jonathan Duttweiler Subject: Albert Collins, Son Seals & JLW Well, I was out yesterday and bought two new CD's. It was tough to keep it to just two, but that's all my budget could stand! I did pick up the new Albert Collins and the Icebreakers, "Live '92 - '93". What a terrific CD (in fact I'm listening to it as I write this.) Albert certainly was the "master of the telecaster" and, as our own Dick Shurman points out in his liner notes, "arguably the greatest shuffle guitarist ever..." Mr. Shurman, you and all who had a hand in the production of this CD deserve the thanks of all Albert Collins. This CD aptly illustrates that "there's nothing in this world that a Collins shuffle can't cure!" I also picked up Son Seals "Live and Burning." Many thanks to all who responded to my query last week concerning Mr. Seals, and a special thanks to those who recommended this album. What an apt name! Son literally smokes his way through each number and the band kicks right with him! If you haven't heard much Son Seals but love smokin' blues guitar and gutty, gritty, vocals, check this one out, it will *not* disappoint! Now, I did see some Joe Louis Walker that I was interested in, as well, but couldn't afford this week. I confess I'm not that familiar with Mr. Walker, having only heard him on a Verve sampler and from the BB King blues summit broadcast a few weeks back. I know there are plenty of JLW fans on the list, so how 'bout some info and recommendations. I saw one CD which looked particularly interesting, I believe it was "Live at Slims" or something like that. What's the scoop? Jon (a Joe Louis Walker newbie) Duttweiler ========================================================================= Date: Sun, 15 Oct 1995 16:00:51 -0400 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: HELENA ARK Several days ago I mentioned that I had lost about ten days worth of mail due to a (stupid) error trying to file them. The loss included the thread about Buddy Guy's road crew behavior at the King Biscuit Fest back stage. I need this info as background for an article. If you posted to the thread, will you PLEASE private e-mail me a copy of the post, or if anyone else has observed the same or similar event, please respond also. No, I am not trying to blast Buddy! I am a B.G. fan from way back, and in fact going to see him (for the third time this year) at the State Theatre tonight in Kalamazoo, Mi., where I hope to do an interview after the show. Thanks, and BLUZ! Bluesman Ed aka Ed Tremewan ========================================================================= Date: Sun, 15 Oct 1995 05:17:22 -0400 Reply-To: BulkMailr@AOL.COM From: BulkMailr@AOL.COM Subject: FYI... Comments: To: JMReno@aol.com Comments: cc: WillyBear@aol.com, Hiccup5@aol.com, Centervil@aol.com, Chatter218@aol.com, ONESPACY@aol.com, Akbn@aol.com, FOFanClub@aol.com, MUMBalum@aol.com, Spontcomb@aol.com, CAUTION767@aol.com, Anxiety95@aol.com, BANDDJ@aol.com, Jonwband@aol.com, MSelden@aol.com, LONNBN@aol.com, Smashmou@aol.com, UrboSleek@aol.com, Fminored@aol.com, Jus10j@aol.com, ONSET666@aol.com, Cassidy761@aol.com, NUBand@aol.com, Lightnboy@aol.com, ChungaV@aol.com, FxCityBand@aol.com, DelTino@aol.com, MarTayl@aol.com, Matopaha@aol.com, CHERYLDEAR@aol.com, BillatJL@aol.com, HAPPE31600@aol.com, DK4CASH1@aol.com, Lexicorps@aol.com, DorrieF@aol.com, RFowler998@aol.com, SBACJAX@aol.com, KBerquist@aol.com, TURNSMBUS@aol.com, HedHunter@aol.com, Nantacky@aol.com, JPMcL@aol.com, DThomas352@aol.com, IntBusAsoc@aol.com, HandsomeJS@aol.com, PHAT7@aol.com, DarkDanD@aol.com, ThisGuy@aol.com, BusyBusyBu@aol.com, REMiller60@aol.com, RAIDERRRRR@aol.com, Austin44@aol.com, UAOE@aol.com, RSWGROUP@aol.com, RMALMEIDA@aol.com, ABMLISTS@aol.com, UREYESEARS@aol.com, Jmcgu@aol.com, JeanChill@aol.com, ForumBusSr@aol.com, AmiMarco@aol.com, FREELONGDS@aol.com, Eatmydust1@aol.com, AISBS@aol.com, SWFLBGuild@aol.com, NYCDCVA@aol.com, LynchCons@aol.com, BTAEduc@aol.com, Dsptel@aol.com, ChinaMoney@aol.com, Businesguy@aol.com, BHPour@aol.com, JMorten453@aol.com, TurnkeyPOS@aol.com, PIP833@aol.com, VentureRes@aol.com, Hard2Plees@aol.com, JOU2@aol.com, BizPlan4U@aol.com, NAConcept@aol.com, BoricuaN@aol.com, LarryMrb@aol.com, TPope999@aol.com, JMartinec@aol.com, Cookie7491@aol.com, CoBuMgCons@aol.com, ACOasis@aol.com, ACHERM@aol.com, GTACMan@aol.com, ACSawyer@aol.com, ACFlecked@aol.com, Ac587@aol.com, ACMercury@aol.com, DraVed@aol.com, RomonaSton@aol.com, Skyman145@aol.com, Erbienais@aol.com, FOXYGOLD@aol.com, FDSLSRP1@aol.com, Themecha@aol.com, BoojeeKid@aol.com, AComp65001@aol.com, ACC333@aol.com, TrekieMan@aol.com, AMGNEIL@aol.com, Dirtman486@aol.com, JCtheAC@aol.com, Kender36@aol.com, Bltzkrgjh@aol.com, AC714@aol.com, Sesti@aol.com, PatSullivn@aol.com, ACirilo991@aol.com, ACtracer@aol.com, ACS27@aol.com, ACPAI@aol.com, Kentxx@aol.com, TurboAC@aol.com, ChgoExcel@aol.com, AC716@aol.com, Bootleger8@a.BITNET The following message comes to you from BulkMailr...serving the Internet for all Bulk mailing. Bulkmailr is an advertiser of small businesses. Contained within this message, you will find small businesses advertising goods and services for public use and knowledge. ------------------------------------------------------------------------------ ------------------------------------------------- ------------------------------------------------------------------------------ ------------------------------------------------- ------------------ ----D.C.H.---- ---Chicago--- ------------------ If you are currently a student, business owner or just someone that needs capital for bills or an extra income, D.C.H. has compiled information and made extensive research on a new business strategy. We are offering a very informative business package of how to make extra money that will help you turn about 1-3 hours of work into a very strong money making business that will turn to be a passive income! (A business that does the work for you!) Don't miss out on this chance to change the way you earn money! The cost of the program is only $9.95 and will be delivered to you within 7-10 business days of receiving your order. No sales, no marketing, no MLM, no hype!!! For a great way to make money: send check or money order for $9.95+$2.00 S/H to: D.C.H. P.O. Box 6016 Lindenhurst, IL 60046-6016 Don't miss out on this opportunity! ------------------------------------------------------------------------------ ------------------------------------------------- ------------------------------------------------------------------------------ ------------------------------------------------- ---------------------------- ------Num Skull------- ---------------------------- NUM SKULL, one of the first midwest thrash bands, was formed in the year 1985. They released their first demo "NUMS THE WORD" in 1987. The following year marked a change to a more extreme and heavier sound as exhibited on the band's second demo "THRASH TO THE BONE". THE NEW MATERIAL WAS MUCH FASTER AND THE LYRICS WERE FAR HEAVIER. THIS NEW STYLE CREATED QUITE A BUZZ IN THE UNDERGROUND AND IT SOON LED TO A DEAL WITH ENIGMA RECORDS. LATER IN 1988, NUM SKULL RECORDED THEIR DEBUT ALBUM "RITUALLY ABUSED". THE ALBUM CONTAINS 12 TRACKS CONSISTING OF EXTREMELY CATCHY RIFFS AND "TONGUE IN CHEEK", DARK LYRICS. although WELL RECEIVED BY THE UNDERGROUND, THE ALBUM RECEIVED VIRTUALLY NO PROMOTION AND BACKING FROM THE LABEL. PROBLEMS BETWEEN THE LABEL AND THE BAND'S MANAGEMENT LED TO THE MUTUAL TERMINATION WITH ENIGMA RECORDS. IN EARLY 1991, NUM SKULL RELEASED A 9 SONG TAPE THAT FEATURED A HEAVIER, FAR MORE BRUTAL SOUND. THE PROMO FEATURED THE PATENTED, CATCHY, HEAVY GUITAR RIFFS ALONG WITH MUCH IMPROVED, HEAVIER VOCALS. REALIZING THAT SECURING ANOTHER RECORD DEAL REQUIRES SINCERE DEVOTION FROM IT'S MEMBERS, NUM SKULL REPLACED UNSTABLE AND UNRELIABLE MEMBERS. THE LINE-UP CONSISTS OF FOUNDING MEMBER, TOM BRANDNER-LEAD GUITAR, DAVE HARRINGTON-RHYTHM GUITAR, PAUL BENIGNO- VOCALS, AND SCOTT CREEKMORE-DRUMS. NUM SKULL, ALONG WITH SEA OF TRANQUILLITY, HAVE RELEASED A BRAND NEW, SPLIT 7 INCH ON RAGE RECORDS (NY). NUM SKULL HAVE ALSO RELEASED 2 SONGS, FUTURE: OUR TERROR?, AND SPILL YOUR GUTS ON A COMPILATION CD FROM GROWING DEAF ENT. OUT OF HOLLAND. BESIDES RELEASING NEW MATERIAL, NUM SKULL HOPES TO RECREATE IT'S ONCE HUGE BUZZ BY PLAYING OUT AS MUCH AS POSSIBLE. NUM SKULL WILL BE SHOPPING THEIR MATERIAL IN HOPES OF SECURING ANOTHER RECORD DEAL. IN THE FUTURE, EXPECT EXTENSIVE TOURING AND A POSSIBLE RELEASE FROM NUM SKULL. FOR MORE INFORMATION OR MERCHANDISE, ETC., WRITE TO: NUM SKULL P.O. BOX 386 WINTHROP HARBOR, IL. 60096 U.S.A. or write to NUMSKULL1@aol.com ------------------------------------------------------------------------------ ------------------------------------------------- ------------------------------------------------------------------------------ ------------------------------------------------- This has been a massage from Bulmailr@aol.com ------------------------------------------------------------------------------ ------------------------------------------------- --------------------------------------------end of message------------------------------------------------------------ ========================================================================= Date: Sun, 15 Oct 1995 05:17:22 -0400 Reply-To: BulkMailr@AOL.COM From: BulkMailr@AOL.COM Subject: FYI... Comments: To: JMReno@aol.com Comments: cc: see end of body The following message comes to you from BulkMailr...serving the Internet for all Bulk mailing. Bulkmailr is an advertiser of small businesses. Contained within this message, you will find small businesses advertising goods and services for public use and knowledge. ------------------------------------------------------------------------------ ------------------------------------------------- ------------------------------------------------------------------------------ ------------------------------------------------- ------------------ ----D.C.H.---- ---Chicago--- ------------------ If you are currently a student, business owner or just someone that needs capital for bills or an extra income, D.C.H. has compiled information and made extensive research on a new business strategy. We are offering a very informative business package of how to make extra money that will help you turn about 1-3 hours of work into a very strong money making business that will turn to be a passive income! (A business that does the work for you!) Don't miss out on this chance to change the way you earn money! The cost of the program is only $9.95 and will be delivered to you within 7-10 business days of receiving your order. No sales, no marketing, no MLM, no hype!!! For a great way to make money: send check or money order for $9.95+$2.00 S/H to: D.C.H. P.O. Box 6016 Lindenhurst, IL 60046-6016 Don't miss out on this opportunity! ------------------------------------------------------------------------------ ------------------------------------------------- ------------------------------------------------------------------------------ ------------------------------------------------- ---------------------------- ------Num Skull------- ---------------------------- NUM SKULL, one of the first midwest thrash bands, was formed in the year 1985. They released their first demo "NUMS THE WORD" in 1987. The following year marked a change to a more extreme and heavier sound as exhibited on the band's second demo "THRASH TO THE BONE". THE NEW MATERIAL WAS MUCH FASTER AND THE LYRICS WERE FAR HEAVIER. THIS NEW STYLE CREATED QUITE A BUZZ IN THE UNDERGROUND AND IT SOON LED TO A DEAL WITH ENIGMA RECORDS. LATER IN 1988, NUM SKULL RECORDED THEIR DEBUT ALBUM "RITUALLY ABUSED". THE ALBUM CONTAINS 12 TRACKS CONSISTING OF EXTREMELY CATCHY RIFFS AND "TONGUE IN CHEEK", DARK LYRICS. although WELL RECEIVED BY THE UNDERGROUND, THE ALBUM RECEIVED VIRTUALLY NO PROMOTION AND BACKING FROM THE LABEL. PROBLEMS BETWEEN THE LABEL AND THE BAND'S MANAGEMENT LED TO THE MUTUAL TERMINATION WITH ENIGMA RECORDS. IN EARLY 1991, NUM SKULL RELEASED A 9 SONG TAPE THAT FEATURED A HEAVIER, FAR MORE BRUTAL SOUND. THE PROMO FEATURED THE PATENTED, CATCHY, HEAVY GUITAR RIFFS ALONG WITH MUCH IMPROVED, HEAVIER VOCALS. REALIZING THAT SECURING ANOTHER RECORD DEAL REQUIRES SINCERE DEVOTION FROM IT'S MEMBERS, NUM SKULL REPLACED UNSTABLE AND UNRELIABLE MEMBERS. THE LINE-UP CONSISTS OF FOUNDING MEMBER, TOM BRANDNER-LEAD GUITAR, DAVE HARRINGTON-RHYTHM GUITAR, PAUL BENIGNO- VOCALS, AND SCOTT CREEKMORE-DRUMS. NUM SKULL, ALONG WITH SEA OF TRANQUILLITY, HAVE RELEASED A BRAND NEW, SPLIT 7 INCH ON RAGE RECORDS (NY). NUM SKULL HAVE ALSO RELEASED 2 SONGS, FUTURE: OUR TERROR?, AND SPILL YOUR GUTS ON A COMPILATION CD FROM GROWING DEAF ENT. OUT OF HOLLAND. BESIDES RELEASING NEW MATERIAL, NUM SKULL HOPES TO RECREATE IT'S ONCE HUGE BUZZ BY PLAYING OUT AS MUCH AS POSSIBLE. NUM SKULL WILL BE SHOPPING THEIR MATERIAL IN HOPES OF SECURING ANOTHER RECORD DEAL. IN THE FUTURE, EXPECT EXTENSIVE TOURING AND A POSSIBLE RELEASE FROM NUM SKULL. FOR MORE INFORMATION OR MERCHANDISE, ETC., WRITE TO: NUM SKULL P.O. BOX 386 WINTHROP HARBOR, IL. 60096 U.S.A. or write to NUMSKULL1@aol.com ------------------------------------------------------------------------------ ------------------------------------------------- ------------------------------------------------------------------------------ ------------------------------------------------- This has been a massage from Bulmailr@aol.com ------------------------------------------------------------------------------ ------------------------------------------------- --------------------------------------------end of message------------------------------------------------------------ %%% overflow headers %%% Cc: WillyBear@aol.com, Hiccup5@aol.com, Centervil@aol.com, Chatter218@aol.com, ONESPACY@aol.com, Akbn@aol.com, FOFanClub@aol.com, MUMBalum@aol.com, Spontcomb@aol.com, CAUTION767@aol.com, Anxiety95@aol.com, BANDDJ@aol.com, Jonwband@aol.com, MSelden@aol.com, LONNBN@aol.com, Smashmou@aol.com, UrboSleek@aol.com, Fminored@aol.com, Jus10j@aol.com, ONSET666@aol.com, Cassidy761@aol.com, NUBand@aol.com, Lightnboy@aol.com, ChungaV@aol.com, FxCityBand@aol.com, DelTino@aol.com, MarTayl@aol.com, Matopaha@aol.com, CHERYLDEAR@aol.com, BillatJL@aol.com, HAPPE31600@aol.com, DK4CASH1@aol.com, Lexicorps@aol.com, DorrieF@aol.com, RFowler998@aol.com, SBACJAX@aol.com, KBerquist@aol.com, TURNSMBUS@aol.com, HedHunter@aol.com, Nantacky@aol.com, JPMcL@aol.com, DThomas352@aol.com, IntBusAsoc@aol.com, HandsomeJS@aol.com, PHAT7@aol.com, DarkDanD@aol.com, ThisGuy@aol.com, BusyBusyBu@aol.com, REMiller60@aol.com, RAIDERRRRR@aol.com, Austin44@aol.com, UAOE@aol.com, RSWGROUP@aol.com, RMALMEIDA@aol.com, ABMLISTS@aol.com, UREYESEARS@aol.com, Jmcgu@aol.com, JeanChill@aol.com, ForumBusSr@aol.com, AmiMarco@aol.com, FREELONGDS@aol.com, Eatmydust1@aol.com, AISBS@aol.com, SWFLBGuild@aol.com, NYCDCVA@aol.com, LynchCons@aol.com, BTAEduc@aol.com, Dsptel@aol.com, ChinaMoney@aol.com, Businesguy@aol.com, BHPour@aol.com, JMorten453@aol.com, TurnkeyPOS@aol.com, PIP833@aol.com, VentureRes@aol.com, Hard2Plees@aol.com, JOU2@aol.com, BizPlan4U@aol.com, NAConcept@aol.com, BoricuaN@aol.com, LarryMrb@aol.com, TPope999@aol.com, JMartinec@aol.com, Cookie7491@aol.com, CoBuMgCons@aol.com, ACOasis@aol.com, ACHERM@aol.com, GTACMan@aol.com, ACSawyer@aol.com, ACFlecked@aol.com, Ac587@aol.com, ACMercury@aol.com, DraVed@aol.com, RomonaSton@aol.com, Skyman145@aol.com, Erbienais@aol.com, FOXYGOLD@aol.com, FDSLSRP1@aol.com, Themecha@aol.com, BoojeeKid@aol.com, AComp65001@aol.com, ACC333@aol.com, TrekieMan@aol.com, AMGNEIL@aol.com, Dirtman486@aol.com, JCtheAC@aol.com, Kender36@aol.com, Bltzkrgjh@aol.com, AC714@aol.com, Sesti@aol.com, PatSullivn@aol.com, ACirilo991@aol.com, ACtracer@aol.com, ACS27@aol.com, ACPAI@aol.com, Kentxx@aol.com, TurboAC@aol.com, ChgoExcel@aol.com, AC716@aol.com, Bootleger8@a %%% end overflow headers %%% ========================================================================= Date: Sun, 15 Oct 1995 13:37:40 +0100 Reply-To: "J. Witteveen" From: "J. Witteveen" Subject: Cab Calloway Greetings all! Now that we've had the discussion about what is R&B and what is blues, here's another question. . .what would you classify Cab Calloway as? i just bought my first Cab Calloway disk (Are You Hep to the Jive on Columbia/Legacy), and I absolutely love it! The only Cab song I'd really heard and remembered before is Minnie the Moocher (from the Blues Brothers, I think), but every track on this album swings mightily. Any Comments? -Jim (hndful@uniserve.com) ========================================================================= Date: Sun, 15 Oct 1995 21:09:26 GMT Reply-To: Peter Groves Schweitzer From: Peter Groves Schweitzer Organization: United States Internet, Inc. Subject: *FREE RADIO TIME, read this* Comments: To: bit-listserv-blues-l@uunet.uu.net oll,alt.rock-n-roll.metal,alt.rock-n-roll.metal.progressive,rec.music.christian,rec.music.early,rec.music.classical.guitar,alt.rock-n-roll.hard,alt.rock-n-roll.metal.death,alt.rock-n-roll.heavy,bit.listserv.allmusic,rec.music.misc,rec.music.makers,alt.music.gaffa,rec.music.makers.percussion,rec.music.classical.performing,alt.music.progressive,alt.rock-n-roll.symphonic,alt.thrash,alt.music.hardcore,alt.exotic-music,alt.music.ebm, X-Newsreader: TIN [version 1.2 PL2] My name is Noah Goodman and I work with WUTZ FM 88.3. WUTZ is a community radio station on The Farm in Summertown, Tennessee that works with the local school letting students DJ radio shows. We are currently looking for new music to review for airplay. Most music will be played. If you have a band or know someone that has a band that is willing to send music to us please send it to: Attn: Noah Goodman WUTZ FM PO Box 259 Summertown, TN 38483 -- Noah Goodman Keepin' it RUDE WUTZ FM 88.3 "Conditioned to self interest with emotions locked away...if that's what they call normall then I'd rather be INSANE!!" Operation Ivy ========================================================================= Date: Sun, 15 Oct 1995 23:08:25 GMT Reply-To: Weidel From: Weidel Organization: Voicenet - Internet Access - (215)674-9290 Subject: Re: J.B. Lenoir Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199510091549.KAA00144@bradley.bradley.edu>, Mark Gobeyn wrote: > I'm in need of some information on the J.B. Lenoir cd titled "1951-58." > Can anyone provide me with a track list for this CD? Is it simply > a compilation of the JOB and Chess recordings, or does it contain > some of the singles he released for some smaller labels during the > fifties? Tahnks for your help. > > mark Mark - I haven't seen the CD, but I know he also recorded for Parrot and Checker during this time. Bob ========================================================================= Date: Sun, 15 Oct 1995 19:57:51 EDT Reply-To: Robert Crocker From: Robert Crocker Subject: Muddy on Much Sorry to say, but this message will only affect those who can get Much Music.... Channel surfing during the dying moments of the football, I found Muddy Waters on Much Music. It's only a half hour show, but it will be reprised, the TV guide tells us, at 11:00 tonight, (Sunday). Sorry for the short notice, but I didn't know about it myself until this evening. It would appear to be a Chicago Blues Festival segment from the late seventies, though it's hard to tell. rc ========================================================================= Date: Sun, 15 Oct 1995 22:35:41 -0500 Reply-To: Ken Ficara From: Ken Ficara Subject: Bo Diddley - Is he OK? I'd been look forward all week to seing Bo Diddley all week at Chicago BLUES in New York this weekend, only to find out that he'd cancelled due to illness. If I'm not mistaken, this happened the last time he was scheduled to play in NYC. What's the deal? Is he sick or just unreliable? Anyone seen him lately? I saw him in 1990 at the John Lee Hooker tribute and he was one of the best acts on the bill. Ken ====================================================================== Ken Ficara ficara@acm.org "And let's not forget, that if you want to preach a message of poverty, gentleness, and tolerance, you really need a rich, powerful, authoritarian organization with which to do it." (Monty Python) ========================================================================= Date: Mon, 16 Oct 1995 01:12:37 -0400 Reply-To: robert barclay From: robert barclay Subject: PINK and FLOYD Can someone tell me who the group PINK FLOYD are referring to in thier name? I know it is PINK ANDERSON but who is "FLOYD" ?. thanks in advance. rb. ========================================================================= Date: Mon, 16 Oct 1995 00:20:44 +0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Les bons temps in Red Stick I just returned from the second day of the Baton Rouge Blues Festival. This is a festival that I first attended about nine years ago, but I haven't been to one in about six years. The first year that I attended this blues festival it featured only Louisiana musicians, mostly from the Baton Rouge area or New Orleans. This year the festival attracted three musicians of international acclaim who are not from Louisiana: Luther Allison, Charles Brown, and John Mayall. This was a great opportunity for me to catch up with some of the local talent, who I may not have seen for awhile (such as Henry Gray, J. Monque D', Big Luther Kent, Johnny Adams, Tabby Thomas, Raful Neal, Kenny Neal, Sonny Landreth, and Frogman Henry) and to see some new blues artists. Here are brief impressions of the festival. For the last few months that I've been on the list, I've heard great things about Luther Allison, and when I missed out on the opportunity to see him at Helena, Bob Weidel told me that I had missed the best of that festival. You've got an "I told you so" coming, Bob. Whew! My teeth were sweating from that performance. I suspect that the last time Baton Rouge shook that much was when Union gunboats fired on the city. My other choices for best of the fest along with Luther Allison are Sweet Miss Coffy, Big Luther Kent, Long John Hunter, and Raful Neal. I could probably also include Kenny Neal, but I only saw him play one song -- Raful was playing opposite him, and I thought it proper to see Raful instead, so my nod goes to the patriarch. Raful also had a larger band that was exceptional, and his show was attended by more family members. It was a treat to see the Neal clan and family friends gathered in front of the stage, some of them dancing wildly. The Neals have been there since the early days of the festival as has Tabby Thomas and his family, and they seem like festival's proprietors. Big Luther Kent had the largest band of the festival (Trick Bag Big Band), and they were extra tight. At last count, there were twelve members, including a six-piece horn section and a harmonica player. Luther's vocals were even more mellifluous than I remembered from the last time I saw him at this festival. This time he did a greater variety of music, mostly New Orleans Rhythm and Blues and Jazz. Sweet Miss Coffy and Long John Hunter were pleasant surprises. I had never heard either one prior to this festival. Miss Coffy has a couple of CDs out on the Mardi Gras label. She plays with a band called the Mississippi Burning Blues Band from Jackson, Mississippi. Guitarist Eddie Raspberry stood out, as did Miss Coffy's vocal work, which was somewhat reminiscent of Katie Webster. Miss Coffy also plays keyboards. Band members write most of their own material. A couple of unusual things about the performance: I don't recall a pause between songs, and it was the first time I'd heard a synthesizer used in a blues performance, albeit unobtrusively and complementary. I had a sense that these people had played together before in a gospel setting, but this was clearly blues, with songs like "Broken-Hearted Woman" and "I'd Rather Drink Muddy Water." I had a chance to speak to Miss Coffy, but I don't know anything about Long John Hunter except that he's a fine singer and guitarist. His saxophonist was a standout as well. They had sort of a duel in one song, which showed off a deadpan sense of humor. I understand that Hunter just signed a contract with Alligator records. Any additional information about Long John Hunter would be appreciated. The most disappointing performances were by Sonny Landreth and Henry Gray. Sonny's set was marred by sound problems. First I couldn't hear the vocals, then I had difficulty hearing his guitar. He only had a three-piece band. I wish he had a larger band and better sound. He played the last time I attended the festival and was quite good. At that time he had a four or five piece band as I recall. Henry Gray, on the other hand, could have used a smaller band. He and this band were out of sync. I had seen him several times in clubs and at the B.R. Blues Festival. I always enjoyed him more as a solo performer or with just a harmonica player. I skipped Luther Allison's last couple of songs to see Henry Gray, because he is a blues legend and because he was one of my favorite blues musicians when I lived in Baton Rouge six years ago. One year, Larry Garner (who was conspicuously absent from this festival) played with him. And Larry's son joined in on keyboards -- Larry announced that Henry Gray had been giving his son piano lessons. Charles Brown also deserves mention. His was the classiest performance. I had seen him before at the New Orleans Jazz and Heritage Festival. This time I had the opportunity to see more of his performance. He was backed by a four piece band with exceptional ability. One of the highlights was a tribute to T-bone Walker. He also did "Merry Christmas Baby" as an encore. Charles Brown's performance was marred by the intruding noise of The Chris LeBlanc Band which was playing on a nearby stage. I went over momentarily to see what the commotion was, thinking someone had a football game blaring -- it was the Chris LeBlanc Band doing what I would categorize as a hard rock version of Rufus Thomas' "Walking the Dog." They get my vote for worst of the festival. I didn't see John Mayall, because I'm not a big fan and I had to get on the road to New Orleans. He had a late performance. I saw several other performers who were pretty good, but I don't know a whole lot about them. I spoke to one, a guitarist named Deborah Coleman. She is from Chesapeake, VA. but plays out of D.C. Any Blues-lers in the D.C./Va. area familiar with her? Also, is anyone familiar with Chick Willis, David Thompson and Big Love or Bernie Pearl and Harmonica Fats? Finally, I should add that one of the great things about this festival is that there isn't a "no man's land" between the stage and the audience. There are four stages and each one is accessible to the audience to the extent that I could go to the front of the stage and touch it. This was true for every performance I attended. There is no advantage to having a backstage pass here. Anyone can walk right up to the front of the stage, and surprisingly enough it was never so crowded at the front of the stage that a person couldn't work his or her way to the front with very little effort. ****************** Bill Morgan ========================================================================= Date: Sun, 15 Oct 1995 22:53:00 PDT Reply-To: Gary Joneson From: Gary Joneson Subject: Blues Publications For anyone that may be interested a listing of available Blues (Magazines, Periodicals ect) is on the WWW at: http://www.island.net/~blues/magazine.html Same for Harmonica at: http://www.island.net/~blues/mags.html Additions or corrections appreciated. Gary ========================================================================= Date: Sun, 15 Oct 1995 23:22:55 -0700 Reply-To: Chris Adams From: Chris Adams Subject: Re: PINK and FLOYD Comments: To: robert barclay In-Reply-To: <9510160115.aa19051@barb.wchat.on.ca> Floyd refers to Floyd Council, a bluesman from the Southeast U.S., but someone else on the list can probably provide more details. Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us On Mon, 16 Oct 1995, robert barclay wrote: > Can someone tell me who the group PINK FLOYD are referring to in thier > name? I know it is PINK ANDERSON but who is "FLOYD" ?. > > thanks in advance. rb. > ========================================================================= Date: Sun, 15 Oct 1995 23:24:35 -0700 Reply-To: Garry Segal From: Garry Segal Subject: Louisiana Music Tour Saw an interesting article in USA Today 10/13/95. In the vacation section there is a picture of J. Adams and article with the following info : LA's office of tourism operates a Louisiana Music Trail Program. Spotlighted:key events and sites offering gospel, rock, blues, classical,R&B,country, cajun and jazz. Fans who call the Music Trail Hotline at 1-800-685-0654 get free info on club and festival listings,historical sites, and a brochure on LA's contribution to each of the musical forms. Havent called yet so I have know idea what they send you. The article mentions the Baton Rouge Blues Fest, Gospel Singing Convention, Dixie Jamboree. Sounds like a cool freebie. Garry ========================================================================= Date: Mon, 16 Oct 1995 03:11:56 EDT Reply-To: "Paul R. Seibert" <74363.3247@COMPUSERVE.COM> From: "Paul R. Seibert" <74363.3247@COMPUSERVE.COM> Subject: SRV boots I have a number of excellent SRV bootlegs I would like to trade with other list members; I am interested in any Blues or Jazz recordings...I have a list for all prospective traders... Especially wonderful is a version I have of Stevie and Double Touble jamming out a truly memorable version of 'Boilermaker'... TTYL, -Paul ====================================== Siege Graphics -- The Internet's Best Kept Secret!! Coming Soon: Our Jazz and Blues Legends Lineup http://www.siege.com/siege ====================================== ========================================================================= Date: Mon, 16 Oct 1995 04:09:48 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - October 16th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BLAKEY, ART SR. (d) d. 1990-1016, NEW YORK CITY, NY 71 CAIN, JIMMY (tsax) b. 1895-1016, COLUMBUS, OH CHESS, LEONARD S.(prod/founder:CHESS REC) d. 1969-1016, CHICAGO, IL 52 CONNOR, EDRIC (v) d. 1968-1016, LONDON, UK 54 CRUMP, E. H. (blues song title) d. 1954-1016, MEMPHIS, TN 80 DESANTO,SUGAR PIE [UMPEYLIA BALINTON] (v) b. 1935-1016, BROOKLYN, NY DILLARD, CALVIN (sax/CASEY BILL WELDON) b. 1911-1016, LITTLE ROCK, AR FONTENOT, CANRAY (vln/zydeco) b. 1922-1016, L'ANSE AUX VACHESLA HALL, MINOR "RAM" (d) d. 1959-1016, SAWTELLE, CA 61 HARRIS, MORRIS O. (of THE INK SPOTS) d. 1974-1016, SYRACUSE, NY 59 JOHNSON, BILL (of SAM & BILL) b. 1932-1016, AUGUSTA, GA KRUPA, GENE (d) d. 1973-1016, YONKERS, NY 64 MOSLEY, LENA (v) b. 1949-1016, MOBILE, AL NEEDHAM, THERESA M. (of THERESA'S LOUNGE) d. 1992-1016, CHICAGO, IL 80 SCOTT, ESTHER MAE "MOTHER" (g) d. 1979-1016, WASHINGTON, DC 85 THOMAS, BLANCHE K. (v/IMPERIAL REC) b. 1922-1016, NEW ORLEANS, LA WASHINGTON, FORD "BUCK" (p/BESSIE SMITH) b. 1903-1016, LOUISVILLE, KY WEIR, BOB (:) [ROBERT HALL] b. 1947-1016, ATHERTON, CA WILLIAMS, JOE BIG [JOE LEE WILLIAMS] (g) b. 1903-1016, CRAWFORD, MS ZENO, LEE ALLEN (of BUCKWHEAT ZYDECO) b. 1954-1016, LAFAYETTE, LA ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 16 Oct 1995 08:52:56 GMT Reply-To: "Ian K. Mckenzie" From: "Ian K. Mckenzie" Subject: Blues in NYC Comments: To: bit-listserv-blues-l@moderators.uu.net I shall be in New York City on Friday, Oct 20. One night only. Any one tell me what blues artists I can catch and where? Thanks Ian M *********************************************** Ian K. McKenzie University of Portsmouth England ************************************************** ========================================================================= Date: Mon, 16 Oct 1995 06:11:31 -0500 Reply-To: Roger Struve From: Roger Struve Subject: Cab Calloway -Reply I think Cab Calloway is considered "swing" and/or jazz. A good movie to checkout is called the swing kids set in prewar Nazi Germany, while not only serving as a lesson in discrimination, the object of it in this case being young people into American Swing music in 1930's Germany, but there are some mighty fine examples of music played, including Count Basie (i think it was anyway), Django Reinhardt, and i think cab calloway was mentioned in this movie in some manner. Man, i'm reachin' back since it was a long time since i've seen this movie, and i offer my humble apologetic expectations ahead of time if i have inadvertently suffered another of those temporary attacks. (smile) ddr ========================================================================= Date: Mon, 16 Oct 1995 12:24:29 GMT Reply-To: gordon smith From: gordon smith Organization: Hamilton-Wentworth FreeNet, Ontario, Canada. Subject: Re: Muddy on Much Comments: To: bit-listserv-blues-l@uunet.uu.net Robert Crocker (robecroc@VILLAGE.CA) wrote: : Sorry to say, but this message will only affect those who can get Much : Music.... : Channel surfing during the dying moments of the football, I found Muddy Waters : on Much Music. It's only a half hour show, but it will be reprised, the TV : guide tells us, at 11:00 tonight, (Sunday). : Sorry for the short notice, but I didn't know about it myself until this : evening. : It would appear to be a Chicago Blues Festival segment from the late : seventies, though it's hard to tell. I was trying to figure out the date myself. I would put it around 74. Johnny Winters is in it and has no tatoos. -- _______________________________________________________ GORDON ROBERT SMITH DUNDAS, ONTARIO, CANADA http://www.freenet.hamilton.on.ca/~aa637/Profile.html ------------------------------------------------------- ========================================================================= Date: Mon, 16 Oct 1995 13:27:44 +0100 Reply-To: RASTBURY From: RASTBURY Subject: Re: PINK and FLOYD Floyd "Dipper Boy" Council Ray Astbury ========================================================================= Date: Mon, 16 Oct 1995 07:32:26 CST Reply-To: William Shute From: William Shute Subject: La Vern Baker Sings Bessie Smith From: Bill Shute LA VERN BAKER "La Vern Baker Sings Bessie Smith" Atlantic Jazzlore #45 (90980) originally released in l958 reissued in l988 With the recent Etta James does Billie Holiday album, I was reminded of this fine collection. Having a first-rate vocalist take on a group of songs associated with one of the greats is STILL a good idea (thankfully, it hasn't been overdone as the "tribute album" has in the rock field). Someone with his or her own style does not try to "sound like" the originals--that would be a waste of time and resources--instead, he or she brings a distinctive style to the body of material and meets it halfway, re-energizing it and putting a new and distinctive stamp on the work. I was let down by the reviews I saw of the Etta James album because some people faulted Ms. James for "taking on" Ms. Holiday. Hey, it's not as if she's doing an impersonation or something...or even that she is a similar-styled vocalist...not at all. Actually, when a different-styled vocalist takes on another body of work, it becomes fascinating...if it works. As for Bessie Smith, the empress of the blues, one wonders if Ms. Smith would have worked with a repertoire like Ms. Baker's had Ms. Smith emerged into the world of early 50s R&B-verging-on-rocknroll? Who knows... This album,however, has a rich jazz combo backing Ms. Baker in a collection that, musically speaking, is a bit different from her well known 50s r&b tunes and rockers. With such distinguished players as Urbie Green, Buck Clayton, Vic Dickenson, and tenorman Paul Quinichette (among others), the setting is classy, uptown, yet with the kind of sophisticated SOUL and get-down feel that first-rate pre-l960 jazz players could bring to a project when it inspired them. The songs, from "Empty Bed Blues" (do I have a story related to when I first heard Bessie's version--unfortunately, this is a FAMILY network, so I will refrain...) to "Baby Doll" to "Nobody Knows You When You're Down and Out" are a well-chosen mix of tempos, moods, and lyric content, and also shows Bessie Smith's diversity as an artist (and shows off La VErn BAker's versatility as a singer). The Atlantic collection of La Vern BAker's classic l950's recordings (sorry, the name of that escapes me, but it's in the same series as The Clovers and the Clyde McPhatter "Deep Sea Ball" set) is essential. This collection is a NEXT STEP for those who want to investigate further...or maybe a good FIRST STEP for those who have yet to hear La Vern Baker. Let Ms. Baker "grind YOUR coffee"... Bill "Gimme a Pigfoot" Shute San Antonio, TX (in case anyone cares, my six-year-old daughter, KENDRA, would like to recommend the new Rosie Flores album on Hightone, ROCKABILLY FILLY (Hightone 8067)with guests Wanda Jackson and Janis "My Boy Elvis" Martin. She's been playing the cassette copy I got her NONSTOP. As for my nine-year-old son, Eric, he still is devoted to Maria Muldaur and suggests you pick up copy of the Blacktop album "Meet Me At Midnight." So there's the Shute family "picks to click" for today.) ps, Pat Boyack and the Prowlers are a HOT band live..... they NAILED US TO THE WALL Friday night. What a performer that Jimmy Morello is...and Pat Boyack himself is, to me, in a class of his own as a fluid, dynamic, blues-steeped POWER guitarist. I look forward to a new album (they said to expect one in '96). As I said last week, Jimmy Morello is a first-rate BLUES SHOUTER... and you don't find many people working in the, say, Joe Turner tradition today...Mr. Morello is such a character, he should have his own TV show. pps, in an interesting bill in November, Barrence Whitfield and the Savages (the Esquerita of the 80s...and now the 90s) will be opening for Guitar Shorty. Don't know what the cover will be, but that bill ought to have more "bang for the buck" than any other SA gig this year. ========================================================================= Date: Mon, 16 Oct 1995 07:50:17 CST Reply-To: William Shute From: William Shute Subject: PINK and FLOYD--semi-blues King Bee cover From: Bill Shute The "pink anderson" allusion is news to me, re Pink Floyd, although I would not claim to be that knowledgeable about them (I only like Barrett-era stuff). What about Floyd Dixon? Harmonica Frank Floyd? Floyd the barber on Andy Griffith? Some might find of interest that the first recordings (I think) of "The Floyd"'s Syd Barrett lineup, on an unreleased acetate that has popped up on some bootlegs, is a cover of "I'm A King Bee." Unless Ian Whitcomb or Marc Bolan cut a version of the song, Pink Floyd's must qualify as the most FEY version around. Bill Shute San Antonio, TX (those lookin' for a good 60s rocknroll cover of I"m a King Bee should hear the amazing slide gtr (by Rod Prince, of Bubble Puppy fame) version by the Bad Seeds from Corpus Christi, TExas, on the j-beck label (reished in the l980s on an EVA album). This version still sends chills up and down my spine...) ========================================================================= Date: Mon, 16 Oct 1995 08:51:47 -0400 Reply-To: Tom Morgan From: Tom Morgan Subject: Re: Cab Calloway Comments: To: hndful@uniserve.com In-Reply-To: <95Oct15.133752+0100_pdt.30750+7452@haven.uniserve.com> from "J. Witteveen" at Oct 15, 95 01:37:40 pm In another time and place, J. Witteveen said: > > Greetings all! Now that we've had the discussion about what is R&B and what > is blues, here's another question. . .what would you classify Cab Calloway > as? i just bought my first Cab Calloway disk (Are You Hep to the Jive on > Columbia/Legacy), and I absolutely love it! The only Cab song I'd really > heard and remembered before is Minnie the Moocher (from the Blues Brothers, > I think), but every track on this album swings mightily. Any Comments? Along with Fats Waller I consider Cab Calloway an entertainer. Fats was definitely a musician first then an entertainer, Cab was definitely an entertainer first then a singer. If you want to call Cab a Jazz entertainer, I would think that would be an accurate discription. Cab's vocal abilities certainly were influential to Louis Jordan and many others including Nat King Cole. Years ago when I saw Cab, he told the story of telling Nat early on to ennunciate his words and then pointed out Nat's diction in the song "Mona Lisa." Tom ----------------------------------------------------------------------------- My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Mon, 16 Oct 1995 07:58:33 CDT Reply-To: William A Morgan Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: William A Morgan From: L W Subject: Re: Anders Osborne In-Reply-To: <199510151352.JAA19541@tequesta.gate.net> ----------------------------Original message---------------------------- >I also received the copy of Ander's latest and agree with P.W.'s >assessement. Thanks for the cassette, Cat. The Anders Osborne WE saw some time back does not remind me of anything about Little FEat whsoever. Little Feat was really good ,especially early Little Feat....I don't see any comparison in styles nor quality....Pretty useless group that WE saw.....Maybe they've improved, but we'll never know. We wouldn't even consider them again...There was NOTHING there...... LW ******** Bill Morgan On Sun, 15 Oct 1995, P.W. Fenton wrote: > I was lucky enough to score myself a pre-release copy of Anders > Osborne's new OKeh album, "Which Way To Here", due out sometime next > month. As I have said before, I am not a reviewer, so this is not a > review. Consider it a recommendation. Buy this album. It would be > very hard not to like it. > > It is not Blues. However, I feel certain that if you love Blues, > you'll love this album. Funky, groovy, swampy, NOLA style American > roots music, all played deliciously. This was truely an advance > copy, so it came without any liner notes other than a sort of xerox > copy j-card listing the song titles. Therefore I can't tell you who > plays what, but I can tell you that they uniformly play it well. > There is a female voice that supplies harmony throughout and gets a > couple of chances to step out on her own. Whoever she is I want to > hear an album of her also. She has the soul and sound of a very > young Bonnie Raitt with the depth and vocal control of a member of > the Bulgarian State Radio Vocal Choir. Really superb. > > P.W. Fenton > Tampa, Florida > email - pwfenton@gate.net > WWW - http://www.gate.net/~pwfenton/ > ========================================================================= Date: Mon, 16 Oct 1995 08:05:21 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: I saw Dave Thompson I went to see Dave Thompson with high expectations. Something told me I would be more impressed with his live show than his CD. Dave was hungry and being the stage slut that I am, I just happen to have my Duolian in the car (as expected) so I did a few "lame" tunes, with pitiful sound. It was last minute, they said "Hey we need you to play, Dave's eating".....I thought I did terrible, but a harp player who I have been wanting to play with, followed me to the car and wants to play NOW (he must have liked something)...So we'll see Well DT's CD is better than his performance, gee I thought I was lame. He was terrible, considering he is on Fat Possum...They were worse than most local bands. I left after the first set, well actually before the set was over.When he started "Mustang Sally"....I was outta there....No fire or intensity, he was just going through the motions. I thought some of his CD sounded like SRV, but he didn't play anything that sounded SRVish at the show....It was FREE, but I still don't think it was worth the drive. I got to think he's better than what he showed, he could not have got a record deal playing like that... I'd much rather see Willy Evans, ANYDAY LW 'got to mic my National better' ========================================================================= Date: Mon, 16 Oct 1995 08:38:28 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: TD Bell, Pat Boyack Friday afternoon and night was a plethora of Texas blues for Bill Shute and I. We started off the afternoon with a short trek up to Austin to see the happy hour gig of TD Bell and the Blues Specialists at the Continental Club. We were happy to meet Bruce and Rhonda Roberts and James and Cynthia Foster for the show - our own little S. Texas Blues-L happy hour! I was glad to finally meet Bruce and his wife. They are genuinely nice people and they know a lot about the Austin blues scene. It was also nice to see James and Cynthia again. We've become *real* friends as opposed to just cyber-friends! This gig was as fabulous as previously advertised. TD Bell can play it all and play it all well. The first set was led by the harp player who handled all the vocals. It didn't move me as much as the second set. During the break, I spoke with TD. He is a true gentleman. He talked with me about his days in my hometown - Lubbock - and then remarked, "you aren't old enough to know any of those places!" with a grin. He gladly autographed my copy of It's About Time - a wonderful cd with Erbie Bowser. You should hunt this cd down. It is a gem. The second set featured TD on vocals along with his guitar playing. As James Foster said, TD has an angelic voice. When they did When Something Is Wrong With My Baby, I nearly melted. It was wonderful. After we said goodbye to the gang, we jaunted back down to SA to Billy Blues in time to catch Kathy Murray and the Kilowatts and Pat Boyack and the Prowlers. Kathy Murray was orders of magnitude better than the SA appearances of Sue Foley or Tracy Conover. I'll echo what Bill has said about Jimmy Morello. He is a great stage presence, very much full of energy. Pat Boyack reminds me a lot of the early T-birds-style Jimmy Vaughan. Awesome guitar playing. I was skeptical about Pat and the Prowlers (even though they come with the Don O. seal of approval). I was pleasantly surprised. If they come to your area, chack them out! Also, if your near Austin on Friday afternoon, don't miss TD Bell at the Continental Club! -Jeff (if only every day cold be like last Friday!) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / As I was riding across the Mississippi \ / I stopped there and I cried. \( No use for a man to keep a mighty river All dammed up inside. -Joe Ely ========================================================================= Date: Mon, 16 Oct 1995 08:29:35 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Wife went to Chicago My wife sepnt the weekend in Chicago. I tried to tell her to go see Otis Rush or Son Seals, who were both playing at different venues. Instead she went to Buddy Guys and saw Mike Peavy (sp) and Miss Moore and the Moore Better Orches. She didn't care for either, she though Mike P. played excellent sax, but too fast. She wanted him to slow down and feel it. Her complaint about The Moore Orchestra was TWO keyboard players, who had a "dinky" tone...To quote her "Have they never heard of Otis Spann"....She should have gone to see Son or Otis. Here in the south we hear of Chicago being really dirty/nasty. She stayed near Grant Park and fell in love with Chicago. She thought it was fabulous incredible. Which is really suprising, since she is a country kind of girl. One night when David Pimmel ('member him) was visiting, he said he wanted to live in dowtown Chicago. We thought he was nuts for wanting to live in a city NOW, she understands and she doesn't blame him. I didn't think she'd like it, but she loved it and wants us to go to the Chicago Blues Fest... LW 'I missed her really bad' ========================================================================= Date: Mon, 16 Oct 1995 08:37:11 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Blues Societies and Blues Stars Comments: To: Ranko Vujosevic In-Reply-To: <199510142156.QAA23893@picasso.ccad.uiowa.edu> What is Otis' (or anyone, you said he was just an example) management supposed to tell a local club the next time he asks for his usual fee and the club owner tells his agency that he played the Blues Society for a much lower fee? ========================================================================= Date: Mon, 16 Oct 1995 09:08:36 CDT Reply-To: Richard Shurman Comments: To: Ranko Vujosevic Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: Richard Shurman From: L W Subject: Re: Blues Societies and Blues Stars In-Reply-To: <199510142156.QAA23893@picasso.ccad.uiowa.edu> ----------------------------Original message---------------------------- >What is Otis' (or anyone, you said he was just an example) management >supposed to tell a local club the next time he asks for his usual fee and >the club owner tells his agency that he played the Blues Society for a >much lower fee? He can say the club is 100% for profit, whereas the blues society was non profit. What about when the club owner says you did so and so's benefit for free. I see both sides.....I think blues artists should give a non-profit organization a break. I can't think of many situations where the artists is promoted for FREE. The record stores make money, commercial radio makes money the club makes money....etc. The blues society does it for the blues and is 'sposed to be non-profit. The other side what if the blues societies started accepting "payola" to review a CD or to mention that Otis Rush is playing a local club....They are getting free advertising, WHY....?. What about when the club calls a local paper to advertise Otis Rush is playing and the paper wants to charge them...Does the club say well the blues society ran it for FREE I see both sides. DON'T BITE THE HAND THAT FEEDS YOU..... LW ========================================================================= Date: Mon, 16 Oct 1995 09:20:55 CST Reply-To: William Shute From: William Shute Subject: remembering Brother Al Stricklin From: Bill Shute I see from Eric's blues dates that yesterday, the l5th, was the ninth anniversary of the death of longtime Bob Wills pianist "Brother" Al Stricklin. Stricklin was a fine player in the barrelhouse tradition, although he also absorbed other influences such as Jess Stacy (the Stacy influence came later, and so was incorporated INTO the barrelhouse foundation, which makes for interesting listening and analysis by those of us who enjoy investigating the different "schools" of pre-war piano playing), and he injected a DEEP blues element into Bob Wills and The Texas Playboys' work, and he thus brought blues piano--in a relatively PURE form, I would say--to a large audience in the l930s who would never have heard a record by Roosevelt Sykes or Curtis Jones. I had the privilege of seeing "Brother Al" live on a few occasions in the early l980s with "The Original Texas Playboys under the direction of Leon McAuliffe" and his playing was ALWAYS a highlight. He also did a fine solo album, as I remember, on the long-defunct DELTA label. His work was in many ways similar to that of Black Bob, Blind John Davis, and other 'house pianists'from l930s Chicago.Heard in the context of a western swing band, this kind of playing had a lot to do with the "swing" element in western swing. Stricklin would have sounded great playing with someone like Frankie Jaxon... Bill "aaaaaahhhhh haaaaaaaaaaa" Shute San Antonio, TX _____________________________________________________________________ speaking of blues-related piano players in the western swing field, another player of interest to blues-l piano people is Knocky Parker, who began his career with the Light Crust Doughboys, and later became a big ragtime expert/enthusiast who recorded a nice series of albums devoted to the compositions of Jelly Roll Morton (although I would never describe Knocky as a primarily barrelhouse man, as I don't detect much if any ragtime influence in Stricklin). ========================================================================= Date: Mon, 16 Oct 1995 09:46:01 CST Reply-To: William Shute From: William Shute Subject: Jimmy McCracklin at Helena (query) From: Bill Shute I saw from the poster advertising the recent festival at Helena, AR (already much-discussed on blues-l, as we ALL know...) that Jimmy McCracklin was scheduled to appear. I've been REALLY getting into my McCracklin collection recently and wonder how he was? Could someone post a review of his set to the list? many thanks... I had forgotten how early Jimmy McCracklin started his recording career (in l947, I think, just a year after Lowell Fulson) because he adapted so well to the trends of the 60s and 70s (as did Mr. Fulson). This man's name ought to be SHOUTED from the rooftops, and his music ought to be played OFTEN and celebrated. Let's hope that his mid-60s sides, now owned by EMI, come out soon via EMI or Capitol. There are a few early tunes on the Swingtime box set...those of you who have that should dig it out and give a careful listen to the JMcC tracks...and then follow through his career from there (not forgetting his amazing Stax album, which reminds me a lot of that recent and great Syl Johnson album on Delmark). Bill Shute San Antonio, TX ========================================================================= Date: Mon, 16 Oct 1995 10:09:48 -0500 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Happy Hour & Luther The Texas chapter of Blues-L held a meeting at the Continenal Club on friday during happy hour. It's always great to see Bill Shute and James Foster again. Also got meet James' wife Cynthia and I finally got to meet Jeff Seale. I have yet to meet anyone from Blues-L that wasn't a genuinely nice person. All the critics of the internet who say that its destroying interpersonnel relationships have never heard of Blues-L. After happy hour my wife and I went to see Luther Allison at Antone's. And yes all the posts about him have been true. This guy is great! If you look up intensity in the dictionary I'm sure there's a picture of Luther Allison. If comes to your town go see him, you won't reget it. Bruce Roberts Austin, TX PS - Thanks to all the people who responded to my question about R&B. I got some great replies. ========================================================================= Date: Mon, 16 Oct 1995 11:10:33 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Tab Benoit in Cambridge, FYI. Tab will be playing at the original House of Blues in Cambridge, Massachusetts tonight, October 16th, for anyone who can tear themselves away from Monday Night Football. :) Sadly, I can t oops....can't go, got an important meeting. Jeez, I have a gift certifcate for HOB too.....bummer. Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Mon, 16 Oct 1995 11:28:22 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Supporting your fellow musicians by NOT trashing 'em Comments: cc: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU On 16 October 1995 LW gives us the following unsolicited comments about Anders Osborne: "Pretty useless group that WE saw.....Maybe they've improved, but we'll never know. We wouldn't even consider them again...There was NOTHING there...... " On 16 October 1995 LW gives us the following unsolicited comments about Dave Thompson: "He was terrible, considering he is on Fat Possum...They were worse than most local bands. I left after the first set, well actually before the set was over." "When he started "Mustang Sally"....I was outta there....No fire or intensity, he was just going through the motions....It was FREE, but I still don't think it was worth the drive." "...he could not have got a record deal playing like that... " On 16 October 1995 LW gives us the following unsolicited comments about Mikey Peavey, Miss Moore, and the Moore Better Orchestra: "Instead she went to Buddy Guys and saw Mike Peavy (sp) and Miss Moore and the Moore Better Orches. She didn't care for either, she though Mike P. played excellent sax, but too fast. She wanted him to slow down and feel it. Her complaint about The Moore Orchestra was TWO keyboard players, who had a "dinky" tone..." MY QUESTION IS THIS... What possesses a musician to take time out of his busy day to publicly put down several of his fellow musicians? Not a very unusual day for LW either. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 16 Oct 1995 11:01:47 CDT Reply-To: "P.W. Fenton" Comments: Authenticated sender is Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: "P.W. Fenton" From: L W Organization: The Second Ward Subject: Supporting your fellow musicians by NOT trashing 'em ----------------------------Original message---------------------------- >On 16 October 1995 LW gives us the following unsolicited comments >about Mikey Peavey, Miss Moore, and the Moore Better Orchestra: ."Instead she went to Buddy Guys and saw Mike Peavy (sp) and Miss >Moore and the Moore Better Orches. She didn't care for either, she >though Mike P. played excellent sax, but too fast. She wanted him to >slow down and feel it. Her complaint about The Moore Orchestra was >TWO keyboard players, who had a "dinky" tone..." I don't think the above was a put down, a put down seldom includes the word "Excellent"....I meant for it to mean that it wasn't her type of music. That's why I said he played excellent sax... >hat possesses a musician to take time out of his busy day to >publicly put down several of his fellow musicians? ONE question: Why did you wait for me. There has been an entire week of Buddy Guy bashing, a SEASON of Eric Clapton bashing. I think you asked the question several months too late. So all you EC/BG bashers answer Paul's question I'm confused could you send me a list of who is "fair game" and who is not. I see a whole lot of bashing, but I don't see responses like I get...It makes me wonder....? >Not a very unusual day for LW either. JFTR: I bash myself in the same manner. I don't even consider myself a "fellow musician"....I usually try and tell the truth about WHAT I heard & saw. I see it like this: You hear a great CD see a great band you like to turn others on to it. If you see a bad act, hear a bad CD , you should react in like manner Let folks know that if you're going to see So & So be forewarned that it's not up to snuff...IMHO....You have to keep in mind it's only my opinion. LW 'If you can't say something nice, TELL THE TRUTH' btw: No offense was intended AT ALL. It was just my opinion that's all... ========================================================================= Date: Mon, 16 Oct 1995 11:47:39 CST6CDT Reply-To: SOXTON@CHE2.CHE.UMN.EDU From: Sara Oxton Organization: University of Minnesota Subject: Re: Jimmy McCracklin at Helena (query) To Bill and everyone who's curious: Jimmy McCracklin performed Friday night at the King Biscuit Blues Festival in Helena. This was an encore to his 1991 appearance at the Fest. Thankfully, this year, he only performed with one drummer (in 1991, he had three!). Outward appearances promised a good show: horns, backup girls, and McCracklin resplendent in a teal-blue suit. However, the band seemed unfamiliar with McCracklin's material and fell apart on numerous occasions. His horns took the craziest solos: rhythm & blues meets Milo Fine. At the end, one sax player staged a junta, stood up and played "Shotgun" when McCracklin just stood there looking confused. My sense of things was that McCracklin was playing the songs he thought the crowd would know: "Think" and "The Walk" were songs 1 and 2. Once those songs were played, he wandered through "After Hours," "Proud Mary," and a Jimmy Reed song (which one, I can't remember). All in all, the show was a disappointment. His vocal power is definitely there, but he needs a decent band. McCracklin's one of my favorites. His Imperial records, along with the album he did for Stax, are on permanent heavy rotation at my home. Maybe somebody saw the show differently than I.... Sara >I've been REALLY getting into my McCracklin collection recently and >wonder how he was? Could someone post a review of his set to the >list? many thanks... > > >Bill Shute >San Antonio, TX > ========================================================================= Date: Mon, 16 Oct 1995 12:02:27 CST Reply-To: William Shute From: William Shute Subject: blues-l as positive socializing influence From: Bill Shute I just wanted to follow up on Bruce Roberts' excellent comments about how blues-l contradicts the stereotypes about the Internet leading to a society of loners sitting in their underwear in their rooms leading vicarious cyberspace lives and moving away from "real" experience (the underwear image comes from a recent Joe Bob Briggs column on the topic). My experience is similar. I've met blues fans from Europe, from different parts of the US, and now have REAL friends whom I see regularly both here in SA and in Austin. I probably go out MORE often now because of blues-l...and writing about blues on a nearly- daily basis has probably strengthened my commitment to the blues and given me a focus I may have previously lacked. I love the way that blues-l persons, when they are going to visit an area, can contact any blues-l folks in that area and find a new and like-minded friend. It's almost like being in the Masons or something. Having been involved with other networks and Internet "experiences," I can say that blues-l is somewhat unique...at least among the ones I have tried. Also, when you post about a particular area, you act as a magnet for others into that area who then contact you privately. For instance, I've heard from dozens of Stax-Volt maniacs (like me) all over the world, and now we all are in touch w/ each other on a regular basis off-network. I couldn't have anticipated something like blues-l, or I would have invented it MYSELF. But now that I'm here, I'm glad I am. It's an honor to be included alongside people I've admired such as Dick Shurman, Tony Burke, and Don O. ...and people of equal (IMHO) stature such as Eric LeBlanc, Eliot Williams, Martin Adamson, and many others. (Don paid me the ultimate compliment recently by including my name on the same subject line as Rod Piazza's) We all become more knowledgeable blues persons via blues-l and to me that means we all become BETTER blues persons. Bill Shute San Antonio, TX (where I met Jeff Seale--that alone would have made blues-l worthwhile) ========================================================================= Date: Mon, 16 Oct 1995 10:07:03 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Too damn loud - another question Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Keith said: > But this reminds of a question I've had for a long time: For a >professional musician, some type of hearing protection is probably essential, >isn't it? (Hoping some of you practicing musicians on Blues-L can answer >this). But the standard, run-of-the-mill ear plugs used in a factory >environment seem to do a much better job of cutting down the high frequencies >than the lows. So, isn't a musician wearing ear plugs interested in hearing >the same ahh.. frequency characteristics as his audience, just at a reduced >level? Are there any special type of ear plugs available that are closer to >a flat frequency "response"? Yes, they are called "Westone", and are fitted by a professional Audiologist.. They are expensive (about 100.00) but they are supposed to be the best. BTW, all othe plugs severely skew the freq. response (tonality) of the sound with them in. P.W. really nailed ths subject of levels on stage/in the crowd, so I don't have much to add on that. Here's how I set my band up, and how I do it for bands I mix for (if they are smart enought to let me...) 1. What can you not change? Typically, the drummer. So, (without the house system or monitors on) set your stage levels so everyone can hear both themselves and the drummer. This is usually acheived with guitar amps in the 30-60 watt range btw... If you have a guitar player with stacks/hundreds of watts etc, he/she may need to get a smaller rig. The point? Match acoustically, BEFORE you turn the house system/monitors on. If someone is blowing everyone else away before you turn the house system/monitors on *fix it THEN*, don't assume you can fix it with the monitors. 2. Bring up the monitors, but use them for as little as possible... NEVER put the bass in the monitors, (unless they are in their own monitor mix) move the bass amp closer to the drums etc as you need to. Try to restrict the monitors to voices, and a little snare or KB's as you need them. *Monitors are for hearing yourself sing* They are not there to represent the house mix, or fix on-stage levels. If you are matched on stage before turning on the monitors, and you use them just for voices and a little drums or KB you will have a comfortable stage volume of 95-105dB or so. (if you have several seperate monitor mixes available you can get a little fancier) 3. NOW bring the house system up, and do sound check. Tell the sound guy/gal that you expect them to keep the levels moderate. If they have an SPL meter, tell them to limit the levels to 110dB on peaks. This is loud enough to feel it, yet will not wreck anyone's ears, nor drive PA equipment into gross non-linearites (distortion) The crowd will love the show because they are not being deafened, the musical climaxes will be loud enough to *feel it*, the PA will sound clear, not fuzzy and overloaded, and no one wakes up with ringing ears... Everybody's happy! Well, there's always a few people (quite a few live sound mixers actually) who are deaf already and want "rock n roll man, turn it up!" Fuggem! 110dB is loud enough for anyone. We shouldn't be deafening people with good music! They can go to a "Buns and Poses" concert for that!! Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Mon, 16 Oct 1995 12:34:45 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Corey Harris I hope I got his name right. He's coming out (or is it out already) with an acoustic blues CD on Alligator and is around 26 yrs old.... Anyone have any info on him. Seen him?,....Heard Him....? Did I read that he is the FIRST acoustic blues guy on Alligator...? LW 'looking forward to hearing him, corrections on his name accepted" ========================================================================= Date: Mon, 16 Oct 1995 18:47:09 +0100 Reply-To: Thomas Gutberlet From: Thomas Gutberlet Subject: Canned Heat Biography ??? Has anybody heard anything about a biography on the band CANNED HEAT written by Antony de la Parra of the group ???? I am glad about any information on this subject. Thomas ========================================================================= Date: Mon, 16 Oct 1995 13:52:27 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Sitting & Thinking-Bonnie Lee. Comments: To: bit-listserv-blues-l@uunet.uu.net Here's the other 1/2 of the response to the inquiry on Willie Kent and Bonnie Lee. BONNIE LEE - Sweetheart Of The Blues (#DE 676) DELMARK RECORDS 4121 NORTH ROCKWELL CHICAGO, IL. 60618 Bonnie Lee has a lot of music to offer us. She has a big voice capable of shouting and then turning soulful. She can be both a belter on the blues and then a crooner on her next tune. Neither she nor this CD is ever one dimensional. Each cut, for example, has a different set of musicians playing the music. I have to fully applaud Delmark for getting this lady recorded and even more so for putting the final touches on a solid and well produced CD. BABY, WHAT YOU WANT ME TO DO / WALKING BLUES / I LOVE YOU BABY / THAT'S ALL RIGHT / I NEED YOUR LOVE SO BAD / SINCE I FELL FOR YOU / IF YOU BE MY BABY / BREAKIN' UP SOMEBODY'S HOME / OCEAN OF TEARS / GOT THE BLUES 'BOUT MY BABY / NEXT TIME YOU SEE ME / CHANGE YOUR MIND / GIVE ALL YOUR LOVIN NY CD-Takes BABY, WHAT YOU WANT ME TO DO: A driving Jimmy Reed side, begun full out by Billy Branch on the harmonica and Ms. Bonnie Lee on vocals. Right off the bat Ms. Lee establishes her credentials. She has a very rich voice and makes the most of it. She is not as gritty as a Katie Webster or as down and dirty. She is more in line with a Valerie Wellington. The power is there, the ability is there, the intonations are there and the musicality is there. You have in your hands a solid CD by a real lady of the blues. WALKING BLUES: Johnny B. Moore is the guitar here in very nice counterpoint behind Ms. Lee. The pacing is slowed down from the first tune and played deeper and darker. Ms. Lee delivers a true blue shot but I must say Mr. Moore steals this one - he is simply blazing on the guitar when the pacing is hot and deep when the tempo turns low. I LOVE YOU BABY: A faster side with the addition of a full horn section. It is an R&B dance soul tune. Ms. Lee sweetens up and tenders down her singing here. The drums of Jon Hiller and the bass of Harlan Terson really set the glue on this side and the three piece horn section is great - Kenny Anderson on trumpet, Hank Ford on tenor sax and Willie Henderson on baritone sax. THAT'S ALL RIGHT: This side opens with a big instrumental intro and then Bonnie Lee steps up. Ms. Lee is solid and directed in her singing. She takes word by word and delivers them straight forward. The five instruments here are played as a band and not singled out on solos. Mr. Billy Branch though is the killer on this cut. Even though he's just one piece of five he stands out. This tune also points out for us the full musicality of Bonnie Lee and the music she makes. I NEED YOUR LOVE SO BAD: This side starts out as a nice dreamy blues tune. As it progresses the intensity does too. A Willie John cut performed right on by Ms. Lee and again Johnny B. Moore on guitar. Hank Ford has a number of tenor sax punches which perforate this well done song. SINCE I FELL FOR YOU: Every one of us knows this song - and Ms. Lee does a great rendition. She touches on the big band singing style of Billie Holiday, softly sensitive and melodic. A late night snuggle me side. IF YOU BE MY BABY: Steve Freund opens this side with a squealing, moaning guitar run. He also handles the vocals. A nice touch to make this CD more than a one star performance. Delmark has been putting a lot of unique touches into their productions of late and thus delivering enjoyable set after enjoyable set. BREAKIN' UP SOMEBODY'S HOME: From the simple direct blues of the last cut we are now taken to a more soulful and rounded side. The instruments are more blended and there are more of them. There is less individual fronting of each musician, giving Ms. Bonnie Lee more room to sing. This is really her song from start to finish. OCEAN OF TEARS: The opening notes say this is a stealer. Bonnie Lee is right at the top. She is full voiced and delicious. This is a great hit of gospel driven blues. Also of note is that this is the first side with backup vocals. I highly recommend this cut as a first play tune. You will entranced and sold on this lady and her full bodied music. GOT THE BLUES 'BOUT MY BABY: Following up on it's predecessor this cut is a world apart. It is deep down and sullen. Billy Branch blows a wicked harmonica here that makes the blues bluer. Ms. Lee also stretches her form. The blues here is levels deep and solidly driven. A major cut into the music we love. NEXT TIME YOU SEE ME: Here the side opens sweet and swinging. Bonnie Lee takes us out for a mid tempo stroll. The instruments are reduced to four and again leave lots of room for this growing blues lady to lay another one on us. CHANGE YOUR MIND: Steve Freund sets the stage here with a shrill picked guitar opener. Bonnie Lee turns the low road and together they take off. Next up Ken Saydak takes his roll on the piano to make this side a fully packed four plus minute cut. Then just as you are feeling this tune leveling off Steve Freund blasts away again with a wondrous and musical guitar riff. This side may well be my favorite on this A+ CD. GIVE ALL YOUR LOVIN: A slip slider is your closer. Without an intro Bonnie Lee opens up. She is more sophisticated here than on most of the other cuts to this CD. She is a lady crooner with a beautiful Jimmy Witherspoon tune to do it to. And she does it, and she'll do it to you. Beware, this is her first offering and time will yield a lot more for sure. Reviewed By Barry Silverberg Copyright NY CD Blues - 1995 -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Mon, 16 Oct 1995 11:00:58 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: BIG DEE IRWIN DIES AT 63 Comments: To: BluesHvn@aol.com Comments: cc: tony@bluestb.demon.co.uk "Been so long, since I held you tight, Been So long, since I kissed you goodnight, The blues?, are mine." ~ THE PASTELS, "BEEN SO LONG" (Mascot 123 (Nov'57)/ Argo 5287 (Jan'58)) BIG DEE IRWIN has died. Oldies fans will known him from his 1963 hit "Swingin' On A Star" (w/Little Eva, Dimension Records). But he was much more than a one hit wonder. As a producer publisher & songwriter, he worked with Ray Charles, The Dells, Isaac Hayes, Wilson Pickett, Stanley Turrentine, Tribe, The Whispers, Bobby Womack, etc. As a recording executive, he worked for ABC-Dunhill, Motown, Ripple and Tangerine Records. As a soul singer - actually a pioneer in this field - he recorded for Bliss, Dimension, Fairmont, Hull, Imperial, Liberty, Redd-Coach, Rotate, Roxbury, Signpost & 20th Century Records. His lead vocal on The Pastels' "Been So Long" ranks as one of the very first soul recordings, pre-dating say, The Impressions' "For Your Precious Love" by nearly 2 years. This magnificent recording was produced by Ms. Bea Kaslon & arranged by the legendary Teacho Wilshire. (As an aside, Kaslon also produced such hits as "Book Of Love" (The Monotones) and "Little Star" (The Elegants)). Though recorded in Oct'56, it was first released in Nov'57 on the tiny Mascot label, at which time "Maxie Waxie" Silverman suggested that Leonard Chess license it for their Argo label. A quick scan through Galen Gart's "First Pressings" series will tell you lots about how this record was promoted by George Woods & Al Freed. The Pastels toured extensively in 1958 behind this record, meeting greats like Sam Cooke, Chuck Berry & Buddy Holly. This recording in now available on the 1994 4CD MCA set, "Chess Rhythm & Roll" (MCA 9352), an essential set if I've ever heard one. No matter under what name he recorded - he's recorded under the name Big Dee Irwin, Jason Grant & Difosco - he was actually born DiFosco Ervin, August 4, 1932, New York City, and died Sunday, August 27, 1995, Las Vegas, NV. Reference : Galen Gart, First Pressings : The History Of Rhythm & Blues (Big Nickel Pub) ========================================================================= Date: Mon, 16 Oct 1995 14:00:05 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Supporting your fellow musicians by NOT trashing 'em Comments: cc: ISTS024%UABDPO.BITNET@brownvm.brown.edu On 16 Oct 95, L W had this to say... > I'm confused could you send me a list of who is "fair game" and who is not. I > see a whole lot of bashing, but I don't see responses like I get...It makes me > wonder....? It's easy, LW. Here's the list of musicians I feel it's "fair game" to trash when nobody has asked you: > >Not a very unusual day for LW either. > > JFTR: I bash myself in the same manner. I don't even consider myself a "fellow > musician"....I usually try and tell the truth about WHAT I heard & saw. I see > it like this: You hear a great CD see a great band you like to turn others on > to it. If you see a bad act, hear a bad CD , you should react in like manner > Let folks know that if you're going to see So & So be forewarned that it's not > up to snuff...IMHO....You have to keep in mind it's only my opinion. Being asked for an opinion and giving it, good or bad, is one thing. I could probably argue against the need to speak poorly of another musician there as well, but finding it necessary to inform everyone of the "TRUTH" when it hasn't been asked of you, and when your "TRUTH" is a negative "OPINION", is mean spirited and unproductive. Why do you NEED to share this negative opinion? Or do you think WE NEED to know your negative opinion? You are fond of wrapping your put downs in the convenient "IMHO" abbreviation. I'd like to suggest to you that when you put down another musician, especially one that's enjoying more success than yourself, that the "H" is not very appropriate. Humility is not usually defined by a NEED to put others down. It's really very simple. Nobody is served well by an unsolicited put down. Especially in the "Blues" genre. In a field where a few thousand copies sold defines a "hit", and traveling musicians can't earn a living wage, or afford health care, or support a family, a simple "HUMBLE opinion" broadcast to a couple of thousand Blues fans, characterizing someone as unworthy of consideration can be devastating. If that is your goal, then I would have to say you were pretty self serving and not at all "humble". You know it would be different if you simply said you didn't like something. But you can't seem to do that. You need to tell the rest of us what the "truth" is. I don't like fish... should I go around telling other people not to eat it? P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 16 Oct 1995 12:57:37 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Jimmy McCracklin at Helena (query) Comments: To: Sara Oxton In-Reply-To: <4AE271067@che2.che.umn.edu> I saw McCracklin in Chicago the night after Helena and it was pretty good, probably partly because of having one more night's experience together. They had most of the songs worked out pretty well together. Gino Landry did do "Shotgun" and the "girls" as Crack called them did a feature or three, but hey, it was a revue. It was nice enough that I recommended them for consideration for next year's Chicago Blues Festival. ========================================================================= Date: Mon, 16 Oct 1995 11:28:00 PDT Reply-To: Gary Joneson From: Gary Joneson Subject: Re: Blues Societies and Blues Stars This is just a reminder to anyone who may be in the area that there will be benefit concert put on for Francis Clay, Oct. 29 @ 8:00 pm. at: Yoshi's 6030 Claremont Ave Oakland, CA with Brownie McGhee, Charlie Musselwhite and many other outstanding bluesmen. Details can be found on the WWW at: http://www.island.net/~blues/fclay.html As for Blues artists or (anyone for that matter) giving up part of their income to perform for non-profit or charitable organizations this becomes a personal decision (IMHO). From my perspective the rhetoric that has been tossed around with this thread is missing an important point (IMHO). The financial aspect of life as anyone gets older is of prime concern, you must be able to look after yourself and family. Blues musicians are no different in this area, and who is to say they don't contribute in different ways other than "cutting" the show rate for a select group. Many of the younger Blues artists I would think look around at what has happened in the past to the older artists and they are going to look after themselves and families first and try and make sure they do not end up in the same situation. There will be those that can give and others that cannot. With the hard work, and outstanding achievements of many Blues Societies I still, in my opinion do not think the artists "owe" anything, other than what they feel they can give as would any other person in any walk of life. Gary ========================================================================= Date: Mon, 16 Oct 1995 14:41:03 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Buddy Guy and Lonnie Brooks in Cinti Comments: To: Bob vanArsdall Shannon wrote: > Unfinished Business Blues Band are also appearing.) I'm volunteering > at Tall Stacks tomorrow and Saturday, and by the grace of quirky fate, > my job assignment is working with the entertainers, directing them > around the staging areas. It will be interesting to see what-all > transpires, especially in the light of recent reports of Buddy's > entourage's behavior (as well as Buddy's parody performance itself). Why not just cut to the chase and, if you get a chance, ask Buddy himself about his set differences. Explain about Blues-L (he may not know that peole are following his shows), and that people have commented heatedly about his shows being different in one venue than another. See what he says. Bob ------------------------------------------------------------ Until I arrived for my volunteer job at Tall Stacks, I wasn't sure where I'd be working. There were six stages throughout the festival. I was assigned to stage B, which was mostly comedy, vaudeville, and local jug band acts. (Since some good friends of mine, comedians, appeared regularly on that stage, that was a fine assignment for me). Lonnie Brooks and Buddy Guy appeared on stage C, which was a larger performance pavilion. Complaints I have about both shows have *nothing* to do with the performers. The performance pavilion is outdoors in a park, and seating is on the ground. It had rained--hard--Saturday morning, so the ground was actually mud. And after the sun went down, it was COLD. I had worked all day in a t-shirt and a windbreaker, my car was MILES away, so I had no way to dress more warmly. And last, at 5'3", I have a definite disadvantage in a SRO audience. (Bluntly, I can't see s**t!) Both Lonnie Brooks (and son Ronnie Baker Brooks) and Buddy Guy put on fine shows. Buddy was much LOUDER than Lonnie, but being outdoors (and unable to see anyway), it was easy enough to move back away from the stage to a comfortable volume level. I did see...er, um...*hear* Buddy do all the usual stuff he does, according to folks here on BLUES-L; he talked about playing "so funky you can smell it," etc., and he did the "I can play SRV, I can play Jimi, I can play EC" medley, etc. But from what I could see, and certainly from what I could hear, he appeared happy, energetic, and seemed to be enjoying himself immensely. I did not get a sense that he was trying to put one over on anyone, and I didn't find his performance to be a parody of anything or anyone. He was enjoyable. As was Lonnie Brooks. I can tell you that in chatting with the Tall Stacks volunteers who *were* working the performance pavilion, they were required to push the audience farther back from the stage during Buddy than during Lonnie (or any of the previous acts). Also, a few of Buddy's entourage manned the front of the stage next to the speakers and were very...firm...about keeping people back. It was tense, up front there. There were also Cincinnati police officers on hand to keep the crowd in line, which was not necssary at all during any of the other shows. So my evaluation was that if there is a problem, it is not Buddy himself. After encountering the insufferable attitudes of the members of Mississippi Heat during their appearance here at the Blues Fest in July, having to deal with an uptight "security" staff for a better performer (IMHO) is manageable. And a note to all blues fans 5'6" and over...if you're in a SRO crowd and you see one of us vertically challenged individuals trying vainly to peer around your shoulder, do us a favor...either STAND STILL so we can establish a sight line that lasts more than a nano-second, or better yet, invite us to stand in front of you. You can still clearly see over the top of our soft little heads, and everyone will be happy. And to ALL of you who are 6'+ and insist on standing in the front, a big, fat pppppppppphhhhhttt!!!! :) Shannon ========================================================================= Date: Mon, 16 Oct 1995 19:02:12 GMT Reply-To: Rennie Selkirk From: Rennie Selkirk Organization: NASA-Ames Research Center Subject: Re: Kooper/Bloomfield etc. Comments: To: bit-listserv-blues-l@uunet.uu.net In article Roland Mandler writes: >I played [Kooper/Bloomfield 'Live Adventures of Mike & Al] to extinction and >would be more than happy to pick up a reissue on CD. Roland, I believe there are at least 2 cuts from this on the Bloomfield collection CD 'Essential Blues, 1964-69' which Al Kooper put together: "Mary Anne" and "Don't Throw Your Love On Me So Strong". BTW, I agree with you about Los Lobos entirely! Rennie ========================================================================= Date: Mon, 16 Oct 1995 12:43:00 -0700 Reply-To: NED_KRAFT@HP0000.DESK.HP.COM From: Ned Kraft Subject: James Harman Saw James on Saturday night in Santa Cruz at Moe's Alley. It was his usual great show. No long review or list of tunes. James has been great every time I've seen him and this was no exception. 1st time I'd been to Moe's - cool place, sound was very good. Not TOO LOUD. James is an entertainer - go see him. Not affiliated with the James Harman band in any way. Keep cool, Dirty Ned Hoosier Daddy ========================================================================= Date: Mon, 16 Oct 1995 19:27:12 EST Reply-To: Jim Miller From: Jim Miller Subject: Happy Face Comments: To: BLUES-L Here we go again with the "if you can't say anything good about anyone don't say anything at all " homily. Maybe we should get out our hymnals and ...... Sorry , I'm getting a little carried away here but I think you get the picture. I cannot disagree more with Mr. Fenton's point concerning LW's occasional negative review of a Blue's performance or CD although I do admire his in-your -face-attitude. 1. Even if you believe LW was out of bounds he often saves his most venomous attacks on his VERY OWN performances. I think his honesty is very refreshing. 2. Maybe all these gushing reviews I read are honest but sometimes I get the feeling that there is a little grade inflation going on here. There is an incredible amount of 5 star reviews. 3. Yes I realize that some of these folks are barely making a living but I think we as a discussion list would be incredibly condenscending if we see blues musicians as above criticism. That is NOT being constructive. 4. With the explosion of blues band out there in the last 5 years I am starting to see a lot of generic acts. ( They may be better than myself but maybe I'm generic also!!) If you want to see our music continue to prosper (relatively speaking) we need to reflect on anything which might burn people out on our music. If LW thinks something sucks he needs to say it and say why. To tell you the truth I have learned a hell of a lot more from reviews which are negative than the typical " they really smoked" reviews. Keep them comming!! 5. What makes LW's reviews so useful is that he tells us why he either likes something or doesn't. Also he is very consistent and this is very useful whether you agree with his tastes or not. So if you are salivating over Tab or Duarte and LW hates an act because they sound too much like SRV my advice is -- GO BUY THE CD. ========================================================================= Date: Mon, 16 Oct 1995 16:42:16 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Kooper/Bloomfield etc. Comments: To: selkirk@telsci.arc.nasa.gov I don't know what all the mystery is about concerning Al Kooper. He has his own file in the MMC which he visits daily, answers questions and seems pleasant enough. Dick Waterman ========================================================================= Date: Mon, 16 Oct 1995 15:16:34 CDT Reply-To: Jim Miller Comments: To: BLUES-L Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: Jim Miller From: L W Subject: Happy Face ----------------------------Original message---------------------------- > 1. Even if you believe LW was out of bounds he often saves his most venomous > attacks on his VERY OWN performances. I think his honesty is very > refreshing. I don't count....If I were a professional musician and making my living I would agree. If I were trying to make a living making music, I'd lie like hell: I'm great you need to book me....hey buy my CD it's terrific....I can trash myself cuz I'm not going anywhere musically and I can accept that, but I do have LOTS of fun playing. LW ========================================================================= Date: Mon, 16 Oct 1995 16:33:05 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: long john hunter > From: Bill Morgan > I don't know a thing about > Long John Hunter except that he's a fine singer and guitarist. His > saxophonist was a standout as well. They had sort of a duel in one > song, which showed off a deadpan sense of humor. That would be Art Lewis. Art has played sax with LJH off and on for more than 30 years. If I'm not mistaken, I believe there was a cover story on Long John Hunter in Living Blues a few years back. I'm sure looking forward to Mary Katherine's index! Don O. ========================================================================= Date: Mon, 16 Oct 1995 14:51:30 PDT Reply-To: Gordon Fehlman From: Gordon Fehlman Subject: Re: Kooper Dick Watterman mentioned Al Kooper will answer questions at MMC. Just where do I send questions? Please help. Gordon gjf5@pge.com ========================================================================= Date: Mon, 16 Oct 1995 15:50:14 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: blues-l as positive socializing influence Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Bill Shute said: (edit edit) >I couldn't have anticipated something like blues-l, or I would have >invented it MYSELF. But now that I'm here, I'm glad I am. Hey, that's really true, and we're glad you're here too! What I like is that most people will try to work through diasgreements using a positive approach (actually trying to understand the other guy) rather than the rhetorical/debating techniques used by so many (alienated young men mostly) in the endless "flame wars" on so many lists/groups. You can almost script those things out in advance.... And it is sooo boring... Blues-L generally tries to be a lot more understanding. And of course, there's the unbelievable depth of knowledge on this list. Someone knows almost anything you could ask about the blues, even the equipment, and booking, publishing, music theory, history, new release reviews, you name it. No one else even comes close! IMHO of course...... ;-] Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Mon, 16 Oct 1995 19:57:11 -0400 Reply-To: "Alan C. Rollins" From: "Alan C. Rollins" Subject: Waterman right again ACR ========================================================================= Date: Mon, 16 Oct 1995 19:58:54 -0400 Reply-To: HippieLady@AOL.COM From: Beverly Howell Subject: KIM WILSON LIVE on AOL & Other BLUES CHAT Info This coming TUESDAY, October 17, at 11:00 PM ET, I'm thrilled to be hosting ANTONES/PRIVATE MUSIC Recording Artist KIM WILSON of the FABULOUS THUNDERBIRDS in BLUES CHAT, on America Online's CENTERSTAGE. I've been wanting to feature Kim for a long time, and I've received a lot of mail from the BLUES CHAT audience requesting I invite Kim, so I hope to see y'all on Tuesday! Bio info for Kim and the TBirds follows this letter, for your information. I have .gif files (photos) for Kim and all BLUES CHAT Guests, if you want copies, just email me. I have two for Kim; one is a photo of him, one of him w/the TBirds. I've received a BUNCH of requests for transcripts from folks that subscribe to Blues-L, for shows I've previously hosted with various blues artists, (i.e., Luther Allison, Smokey Wilson, Rene Martinez, and the recent, "Remembering Stevie Ray," memorial show, featuring Double Trouble and Margaret Moser of the Austin Chronicle on 8/27/95) and I'm always thrilled to send them; but I've also had some email asking what in the heck BLUES CHAT is, so please let me answer this in one big email... I host, and produce, "BLUES CHAT," a weekly Live, text based, show, that is scheduled on America Online, in the CenterStage area. I feature national blues artists as my guests. The shows generally run on Wed. and/or Sun. nights at 10:00 PM ET, but we sometimes schedule on other nights as well. Heres a list of upcoming guests, all in CenterStage: (as you can see, right now we're featuring a series of Texas Blues Artists...coming soon are BLUES CHATS dedicated to Chicago and Memphis) Tues. Oct. 17, 11:00 PM "BLUES CHAT Presents ANTONE'S/PRIVATE MUSIC Recording Artist KIM WILSON of the FABULOUS THUNDERBIRDS!! Wed. Oct. 25, 10:00 PM "BLUES CHAT Presents BLACKTOP Recording Artist ANSON FUNDERBURGH" Tues., Oct. 31 - Sun., Nov. 12 -- BLUES CHAT ON THE ROAD: DALLAS AND AUSTIN.....Live BLUES CHATS from ANTONE'S in AUSTIN, Interviews via email, Possible BLUES CHAT Get Togethers in DALLAS and AUSTIN...more info to follow... I'd love to hear from you if you live in these areas!! Please email me if I can provide more information...and please forgive the length of this email. Warm Regards, Beverly Howell (HippieLady/BevBlues) Producer/Host "Blues Chat" & Board Host, Blues Music Message Center (keyword: MMC) America Online, Inc. -------------------------- INFO REGARDING THIS WEEK'S BLUES CHAT GUEST: KIM WILSON OF THE FABULOUS THUNDERBIRDS Kim has not one, but TWO hot releases currently receiving rave reviews from coast to coast: his new effort with THE FABULOUS THUNDERBIRDS, entitled "ROLL OF THE DICE," (Private Music) as well as his latest solo release, "THAT'S LIFE," on the Antone's label. Kim's accomplishments as founder/vocalist/harmonica master with the T-Birds have firmly established him as one of the hottest Texas bluesmen to ever mosey 'cross state lines, and his contributions to seasoning the flavor of contemporary Texas blues has firmly established Kim as an "etched-in-granite" Texas Blues legend. "ROLL OF THE DICE" Private Music (0100582130-2) "ROLL OF THE DICE" is the album KIM WILSON has spent his whole life preparing for. And, "Roll of The Dice," represents a new era for THE FABULOUS THUNDERBIRDS ... who are: Kim Wilson, Vocals & Harp Kid Ramos Guitar Fran Christina, Drums Mark Carrino Bass Gene Taylor, Keyboards "Roll of The Dice," The Fabulous Thunderbirds' debut on PRIVATE MUSIC, attracted veteran producer Danny Kortchmar (Don Henley, Billy Joel) who achieved "honorary lifetime T-Bird member" status, by guiding this "low-down and nasty" collection of twelve songs, mostly co-written by Kim Wilson, including three by Kim and Danny. Kortchmar added guitar throughout the sessions. "I've got the power going on this one," says Wilson. "It makes me very happy. It's the first time I've been able to get this kind of sound on a T-Birds record. I've also got to give credit to the whole band, right up front, with a special acknowledgment of Fran Christina. He's been there all along, giving this band an unshakable foundation, and he's a solid friend. That's what the T-Birds are all about." Kim Wilson has been around music since his early days growing up in Detroit, but it wasn't until high school that he started to develop a passion for the blues. He says, "My dad was a popular singer on the radio. He and my mother would sing together. I and guitar lessons, moved to California, and played in the high school band. When I was a senior, I really got good at the blues." And he's been "good at the blues" ever since. As Danny Kortchmar remarks, "Kim is one of the great, great blues artists -- and singers -- ever produced in this country. He is part of a great tradition, and he is one of the strongest, most talented forces to keep blues and R&B alive. He's a vessel of the word." "It's up to you how you want to live Go out and have your fun You don't want to be a fugitive >From the things you've never done Ain't nobody gonna throw you a bone To keep your hopes alive You got to walk like a Big Dog Only the fit survive Just roll with the dice" (from "Roll of the Dice," written by Kim Wilson and Danny Kortchmar But, The Fabulous Thunderbirds' founder isn't just singing. For the first time in the band's storied history, Kim Wilson is allowing his virtuosic harmonica-playing to occupy its position in the spotlight. "I figured why not let people know I play the thing," says Wilson, whose swooping, full-throated harp technique echoes the influence of a lifetime studying the works of Little Walter and Sonny Boy Williamson, and being a protege of blues master Muddy Waters. "People have never heard me play harmonica with The Fabulous Thunderbirds on radio, except as an ensemble part. This, though, is wide open. It just rocks. I didn't expect to play that much harp, but Danny insisted. "Special production consultant Steve Jordan (who contributes drums/percussion on three tracks) agreed: "Kim's harmonica playing just kills me." "And, there is another dimension to the evolution of this recording," Kim continues. "I always had a sound in mind for this band ... in-your-face hard guitar parts ... the kind of riff that you sing in your sleep. And that's what Kid Ramos did the first time I heard him." Ramos, a whiz-kid guitarist who can play fluid Clapton-style leads, soul rhythms and noisy "hard" blues parts with equal efficiency, provides Wilson with the solo-in" foil that has been missing since the departure of original T-Birds guitarist Jimmie Vaughan. "He's a genius; he can do it all," Kim says of the Kid. "He's gonna turn some heads and rock this band." "Roll of The Dice" sure enough puts the T-Birds back in the fast lane. The album is packed with brilliantly-crafted songs played with flat-out abandon and supreme taste. "Takin' It Too Easy" was co-written by Wilson and Nashville collaborator Rick Giles. "It's kind of like Bo Diddley meets Willie Dixon meets Muddy Waters -- they have a baby, and call it ... Bootsy Collins!" Kim exclaims, almost startling himself. "It's a combination of a lot of music. Kid Ramos did a lot of cool stuff on this one. It's about things you take for granted ... the simplest things, which are the best things in life, of course." "'Roll of the Dice' isn't a typical one," Kim says, of the title track. "I've had the song for a long time. I brought it to Danny, because I needed somebody to help me buff it out. I felt very strongly about going out in life and really taking a chance and not sitting on mediocrity. There's really nothing to be afraid of -- I guess that's the message -- because life can go bad when you're playing it safe, too." "It was Danny's idea to do (Van Morrison's) 'Here Comes the Night,"' Kim recalls. "The band really loved the song, and wanted to cover it right." The other cover tune is a surprising choice, the Disney chestnut, "Zip A Dee Do Dah," righteously funked up on this album. "It was only the second time we'd played it, but it came out killer," says Wilson, who also reports that the song was the idea of Maggie Kortchmar (Danny's wife). "It was a little difficult to deal with, because it was all on one track, but the vocals came out good: after all, I knew the words by heart. It was just one of those moments; you capture it." "The same thing happened with 'I Can't Win,' (written by Wilson/Kortchmar/Jordan and the only song co-produced by Kortchmar/Jordan). Very rarely does a demo become a record, but we did it." The tough and raunchy "Too Many Irons in the Fire," is a Slim Harpo take-off, written (not without humor) by Danny Kortchmar and (Heartbreaker) Stan Lynch, featuring tasty drums and percussion by Steve Jordan: "On our anniversary just the other day I couldn't find a parking place in my own driveway But I overlooked it baby Cause you're so fine... Too many irons in the fire Too many hands in the glove Too many fingers on the trigger And that ain't what I call love." Kortchmar/Lynch also wrote "How Do I Get You Back," -"another one of those tracks that Kid Ramos really burned," says Kim. Kortchmar notes that "Do As I Say," is a "traditional T-Birds kind of tune." Indeed, the song is driven by the powerful T-Birds rhythm section, led by Fran Christina (with Harvey Brooks on bass), while Taylor's keyboards and Wilson's harmonica give it a subtle New Orleans flavor. "I wrote 'Lookin' Forward to Lookin' Back,' with Rick Giles and Chuck Jones in Nashville," says Kim. ''I get with them every chance I get. The lyrics are pretty self-explanatory -- looking forward to the memory of that special person in your life!!" Wilson also wrote the similarly-themed and ironically beautiful: ballad, "Memory From Hell," with Giles and Jones. Wilson explains that his low-down "Mean Love" is "a tongue-in-cheek thing. It's the kind of subject you can write verse after verse about. It's bad; it's mean. Danny and Steve Jordan are all over this track. It's one of my favorites." "I Don't Want to Be the One" is a charming production, penned by Wilson and Jerry Williams, featuring sweet melody, harp and harmonies by Kim, with background singer Babi Floyd. The roots of The Fabulous Thunderbirds began to take hold when Kim Wilson was still a teenager, in the height of the sixties, "listening to Jimmy Reed and Eddie Taylor. I would try to play with anybody who came through town. I used to ask Albert Collins to let me play with him all the time. He was good to me. So was Pee Wee Crayton, Lowell Fulsom, Luther Tucker, guys who are dead now; it's terrible. I can hardly talk about it. It kind of raised my status early, being able to play with George Smith, Eddie Taylor and John Lee Hooker. I just nudged my way in there. A lot of times I'm not sure they knew what they were getting into." Kortchmar takes that thought to the next phase: "All those guys that Kim knew, like Muddy Waters, actually said that Kim's the harbinger ... the guy who is gonna take their music to the next place." Kim Wilson traveled to Austin, Texas in the seventies where he met guitarist Jimmie Vaughan during a 1975 jam session at the legendary "Antone's Blues Club" The two formed "The Fabulous Thunderbirds," and became the house band at Antone's, where they continued to back up a who's who of visiting blues stars. During this time, Wilson came under the wing of one of the greatest bluesmen in history, Muddy Waters. "He was like my pop," said Wilson. "I still get a little weird when I think that he's gone now. He made my reputation. If you have his seal of approval, you're golden. I was sitting there one night watching Muddy; he was playing 'Everything's Gonna Be All Right' by Little Walter, and at the end he says, 'speaking of Little Walter, there's a young man in the house who reminds me of Little Walter more than anyone else.' I was floored, when I realized he was talking about me." The Thunderbirds became a staple on the blues circuit, and, in 1979, they released an eponymous debut on Takoma Records. "What's the Word," was released on Chrysalis Records in '80, followed by "Butt Rockin" in '81. The critically-acclaimed "T-Bird Rhythm," produced by Nick Lowe, was part of an '82 campaign that saw the band open for The Rolling Stones Tour and back Carlos Santana on much of his "Havana Moon" album. In 1986, the Dave Edmunds-produced "Tuff Enuff" album was released on CBS Affiliates, and became a hit. The Thunderbirds saw themselves not only spearheading a blues revival, but also crossing over into pop hit status. Television appearances, model-packed videos (notably "Wrap It Up" and the title track) and headlining tours ensued. The T-Birds were riding high in the late eighties, following up "Tuff Enuff" with two more albums in a similar vein, "Hot Number," and "Powerful Stuff." In 1987, the band headlined the New Orleans Jazz & Heritage Festival with a once-in-a-lifetime concert on the Riverboat President backed by a series of special guests including Dr. John, Bonnie Raitt, John Lee Hooker, Rockin' Sidney, Lazy Lester, Katie Webster and the Roomful of Blues horns. "That was a really fun time," says Wilson, about this career highlight. "I'd give anything for a tape of that. The organizers of the festival came to us and said, 'name the people you want to play with, and we'll get them for you.' So we put together our ideal kind of line-up." In 1990, the T-Birds went through a major change when Vaughan left to follow his dream of forming a band with his younger brother, Stevie Ray Vaughan. Stevie Ray was tragically killed in a helicopter accident just before the first Vaughan Brothers album, "Family Style," was released. Jimmie went on to a solo career. The T-Birds recorded another album in 1991, "Walk That Walk, Talk That Talk." Steve Jordan came in to produce a new line-up, featuring guitarists Duke Robillard; and Kid Bangham, and formed a lasting friendship with Wilson. But, rather than continue to wrestle with the T-Birds image, Wilson decided to give it a break and redefine his whole approach. "There was a time with the T-Birds when we were on the edge of compromising ourselves," says Wilson. "After 'Tuff Enuff,' we got some conflicting advice and faced a few obstacles. But, again, we were determined to make good music, no matter what was going on." Using some of the once and future T-Birds, as well as outside musicians, Wilson recorded his first solo album, "Tiger Man," on the Antone's label, in 1993. The critically-praised album stoked Wilson's hottest musical fires and allowed him to regain his position as one of the world's preeminent harmonica players. "I found a way to satisfy myself because I went off and did my own thing," he says. "I know I'll have my chops up for everything I do now. I did the solo project, because I needed something I could really sink my teeth into." After recording a second solo album with Antone's, "That's Life," (1994), Wilson put together a new T-Birds line-up, anchored by charter member Fran Christina and San Francisco bay area bassist Mark Carrino. Gene Taylor, the earthy keyboardist on both of Wilson's solo albums, also joined the new T-Birds. When Wilson heard guitarist Kid Ramos, gigging on the Southern California blues circuit, everything clicked. "Kid was about to break out, man, and I just wanted to grab him in time." Kim Wilson has more energy than ever and looks forward to life on the road. "I'm just groovin' -- it's like the early days again," he says, and he looks like he's relieved. "I don't even need a house. I'll be livin' on the road. I wanna get out and show my stuff, 'cause I'm hot to play." - John Swenson with Karen Johnson May 1995 Update: Since the writing of the above release, Mark Carrino left the TBirds, and their new bassist is Willy J. Campbell. "ROLL OF THE DICE," sales are stronger than ever, and The Fabulous Thunderbirds continue to take the country by storm! "THAT'S LIFE:" Antone's Records (ANT0034) Kim Wilson's hurricane harmonica and soulful survivor vocals are always a cause for celebration, as well as the perfect way to lose your blues by diving deep into them. Wilson's primary renown comes from his work as the frontman for "The Fabulous Thunderbirds," the butt-rocking Texas blues unit which has virtually defined the shape of the sound off the modern music. That's essentially been his day job because Wilson's as devoted a blues workaholic as has ever played the music, has spent the rest of his waking hours jamming on stage and recording in the studio with the best and brightest the blues has to offer. Wilson has stood shoulder-to-shoulder with the legends of the blues, trading licks and earning their praises. But while the great guitarists, pianists, singers and rhythm sections of the blues readily welcome Wilson to the stage, you won't find too many blues harpists willing to share the microphone with him. There's a reason; Wilson is simply the premier blues harpist of his era. If there are any doubts, all that need be done is to ask the legends he's played with, starting with Buddy Guy, a man who has heard more than a few harmonica heroes in his time. "Kim's the best there is," Guy flatly states. "If he'd been born twenty or thirty years earlier he'd be legendary by now. He's still going to be a legend because he keeps getting better every time we play together." Wilson, never known to be shy when it comes time to make music, has personality to spare and it's all on display in this recording. His no-nonsense attitude radiates from every song, whether a rediscovered R&B gem, a tried and proven blues classic, or a funky new creation, four of which grace this recording. His vocal style is straight forward and straight to the heart. Wilson's music carries echoes of his upbringing as well as his on-stage experiences. The largest component of the Wilson sound quite naturally comes from the musical melting pot of Austin, where he's been based for the past couple of decades. There, all manner of roots music styles, ranging from Texas blues shuffles to steamy Louisiana swamp music to gut-bucket gospel, blend together after being baptized in sweaty Southern soul. All Wilson's musical associates on this recording including Clarence Holliman, Derek O'Brien, and Rusty Zinn are kindred spirits. But it is the pervasive presence of Wilson's power-packed harp work and gut-wrenching vocals that gives a purpose to their contributions. That purpose is plain and simple: to rock the place like only the Tigerman can. ========================================================================= Date: Mon, 16 Oct 1995 20:16:14 -0400 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: Buddy Guy at Kalamazoo On Sunday night at the State Theater in Kalamazoo, Buddy Guy made his second appearance this year at this venue. To a packed solid house, he put on a BLUES show that would make nearly any fan happy. I was pleased. On the 145 mile drive over to the show, I had said to my son that I hoped Buddy was in a blues mood tonight, because I sure was. He was!. I among 1500 other B.G. fans was happy to let him indulge himself with his little homage to Jimi, EC, and SRV, which I believe is a sincere tribute from Buddy to artists he admires. And it was only about 7 minutes out of a show which, including encores, lasted 2 hours. He did not pose it as "I can play Jimi etc...." but rather as "We all have the Blues and we all play the Blues. This is how Eric Clapton did it when he was with Cream" ( the same with Jimi and Stevie), and then "This is how I play the blues", and did a prolonged version of " I will play the blues for you". Man, it sent shivers down my spine. His "walk about" was short, and was preceded by solos from Scott Holt (who has always been a phenomenal talent, but has really grown as a player and a vocalist over the past year), and bass player Greg Rzab, and of course the unbelievable energy of drummer Ray "Killer" Allison. After the main show, Buddy came to the apron of the stage, passed out picks, signed autographs, including shirts and guitars, shook hands, and all without a sign of his security people. The only downside to the whole event was "NO CAMERAS" which was a bummer for a shutterbug like me, and that no-one got backstage after the show, (unlike the Clio Blues fest this summer), so my hopes for an interview were dashed. The one I had at Clio will suffice for now. Buddy appeared to have a good time all through the show, and the audience was on its feet through much of it. There were more than the usual number of sing alongs, simply because every one in the crowd knew all the words to all the songs, and insisted on helping out. Yes, I definitely will drive another 288 mile round trip to see Buddy at the State in Kalamazoo, anytime he plays there, and I would advise anyone else to do the same. It was one of the best concerts I've seen in a long time. Bluz! Bluzman Ed aka Ed Tremewan ========================================================================= Date: Mon, 16 Oct 1995 20:14:53 -0400 Reply-To: "Alan C. Rollins" From: "Alan C. Rollins" Subject: Waterman Right Again Even Even when he says nothing Dick Waterman is right. Actually I say this because I accidently sent a version of this message sans the message. Long daze and short knightz lately. Sorry. I am speaking to his remarks re: Blues Societies. I am glad to Hear Joel support him. I have been the president of a Blues Socty for over ten years now. My original reason for getting into this was to be Spreadin' the Blues. No race relations problems, no special style of Blues, No discounts. We were dedicated to bringing the Blues to the fore. Particularly bringing the unknown artists to the local venues, to our schools, to teach local artists,young and old what the blues are and what they can be and how all of us can be part of the Blues. We were there to give artists a chance to earn some money, never very much to begin with, and never including health benefits, or vacations, or dental care or burial insurance. Most times not even his/her due. Blues Societies were begun to make a differenc, to bring Blues to the masses to those people with enough heart and soul to feel it and love it. We were not there to get a discount, or free drinks, or free CDs,etc. Many times we get them and I appreciate and love every one. I enjoy it when Buddy Guy says hey, or Gaye from Sapphire comes and gives me a hug, but it aint why I'm there. It is as Bob Vorel was qouted as saying, the music stupid, the music. Remember every discount, every freebee comes off somebody's account. If they give them because they are willing to do so fine, but they don't owe it. Nuff said. Alan ========================================================================= Date: Mon, 16 Oct 1995 19:34:57 -0500 Reply-To: Mouth of the South <954JBOYD@ALPHA.NLU.EDU> From: Mouth of the South <954JBOYD@ALPHA.NLU.EDU> Subject: Re: BLUES-L Digest - 14 Oct 1995 to 15 Oct 1995 I saw Sonny Landreth and Chris LeBlanc, along with John Mayall at the Baton G Rough Blues Festival and to put it simply...they were the shit! Ihad a great time and recommend this festival to anyone. Joe ========================================================================= Date: Mon, 16 Oct 1995 17:35:36 -0800 Reply-To: James Carmin From: James Carmin Subject: Re: long john hunter Comments: cc: don.o@CHRYSALIS.ORG > > From: Don O. >That would be Art Lewis. Art has played sax with LJH off and on for more than >30 years. If I'm not mistaken, I believe there was a cover story on Long John >Hunter in Living Blues a few years back. > >I'm sure looking forward to Mary Katherine's index! I'm looking forward to Mary Katherine's index too, but in the meantime, take my word for it that the story you're talking about is in LIVING BLUES #116 (August '94), pp. 14-25, and it's good! And as coincidence would have it, Long John Hunter was the featured artist today on Bill Rhoades great blues show on KBOO here in Portland! James C. jcarmin@teleport.com ========================================================================= Date: Mon, 16 Oct 1995 17:41:21 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: A TRIBUTE TO BIG JOE WILLIAMS Comments: To: BluesHvn@aol.com Bluesmeister BIG JOE WILLIAMS was born Joe Lee Williams, Friday, October 16, 1903, Crawford, MS. "Big Joe Williams may have been the most cantankerous human being who ever walked the earth with guitar in hand. At the same time, he was an incredible blues musician: a gifted songwriter, a powerhouse vocalist, and an exceptional idiosyncratic guitarist. Despite his deserved reputation as a fighter (documented in Michael Bloomfield's bizarre booklet ME AND BIG JOE), artists who knew him well treated him as a respected elder statesman. Even so, they may not have chosen to play with him, because -- as with other older Delta artists if you played with him you played by his rules. As protege David "Honeyboy" Edwards described him, Williams in his early Delta days was a walking musician who played work camps, jukes, store porches, streets, and alleys from New Orleans to Chicago. He recorded through five decades for Vocalion, Okeh, Paramount, Bluebird, Prestige, Delmark, and many others. As a youngster, I met him in Delmark owner Bob Koester's store, the Jazz Record Mart. At the time, Big Joe was living there when not on his constant travels. According to Charlie Musselwhite, he and Big Joe kicked off the blues revival in Chicago in the 60s. When I saw him playing at Mike Bloomfield's "blues night" at the Fickle Pickle, Williams was playing an electric nine-string guitar through a small ramshackle amp with a pie plate nailed to it and a beer can dangling against that. When he played, everything rattled but Big Joe himself. The total effect of this incredible apparatus produced the most buzzing, sizzling, African-sounding music I have ever heard. Anyone who wants to learn Delta blues must one day come to grips with the idea that the guitar is a drum as well as a melody-producing instrument. A continuous, African- derived musical tradition emphasizing percussive techniques on stringed instruments from the banjo to the guitar can be heard in the music of Delta stalwarts Charley Patton, Fred McDowell, and Bukka White. Each employed decidedly percussive techniques, beating on his box, knocking on the neck, snapping the strings, or adding buzzing or sizzling effects to augment the instrument's percussive potential. However, Big Joe Williams, more than any other major recording artist, embodied the concept of guitar-as-drum, bashing out an incredible series of riffs on his G-tuned nine-string for over 60 years." ~ Barry Lee Pearson BIG JOE WILLIAMS died Friday, December 17, 1982, Macon, GA. He was inducted in W. C. Handy Blues Hall of Fame on October 4, 1992. A grave marker was erected in Crawford, MS., by the Mount Siani Foundation on October 9, 1994. If I had to choose one single CD by Big Joe, it would be ARHOOLIE 315 : BIG JOE WILLIAMS - SHAKE YOUR BOOGIE. Truly amazing! BIG JOE WILLIAMS : CD DISCOGRAPHY ================================= ALLIGATOR 2702 : VARIOUS - DELTA BLUES 1951 (same as TRUMPET CD) ARHOOLIE 315 : BIG JOE WILLIAMS - SHAKE YOUR BOOGIE BMG RCA 9599 : SONNY BOY WILLIAMSON & BIG JOE WILLIAMS CAPITOL 29376 : VARIOUS - REDISCOVERED BLUES (2CD) (World Pacific set) CMA 8001 : BIG JOE WILLIAMS - WATERGATE BLUES COLLECTABLES 5534 : BIG JOE WILLIAMS - NINE STRING GUITAR WIZARD DELMARK 604 : BIG JOE WILLIAMS - BLUES ON HIGHWAY 49 DELMARK 609 : BIG JOE WILLIAMS/J. D. SHORT - STAVIN' CHAIN BLUES DELMARK 627 : BIG JOE WILLIAMS - NINE STRING GUITAR BLUES DOCUMENT 6003 : BIG JOE WILLIAMS - V. 1 - COMPLETE (1935-1941) DOCUMENT 6004 : BIG JOE WILLIAMS - V. 2 - COMPLETE (1945-1949) FANTASY 24724 : BIG JOE WILLIAMS - WALKING BLUES FANTASY OBC 545 : BIG JOE WILLIAMS - CLASSIC DELTA BLUES (Milestone set) FANTASY OBC 580 : BIG JOE WILLIAMS - AT FOLK CITY GNP CRES 10016 : BIG JOE WILLIAMS - LEGACY OF THE BLUES - V. 6 L & R 2047 : BIG JOE WILLIAMS SEQUEL 208 : BIG JOE WILLIAMS - HAND ME DOWN MY OLD WALKING STICK STORYVILLE 8002 : BIG JOE WILLIAMS - BLUES MASTERS V. 2 TESTAMENT 5013 : BIG JOE WILLIAMS - BACK TO THE COUNTRY TRUMPET 702 : VARIOUS - DELTA BLUES 1951 REVIEWS ======= ALLIGATOR 2702 : VARIOUS - DELTA BLUES 1951 TRUMPET 702 : VARIOUS - DELTA BLUES 1951 ------------------------------------------------------------------------------ Though the early '50s were not a great time for delta blues musicians, there remained some proficient players performing in this vein throughout the South. The three presented on this new collecion of classic Trumpet recordings includd Big Joe Williams, known for his nine-string guitar and robust singing, Luther Huff, a good, if derivative vocalist/guitarist and the spry pianist and vocalist Willie Love, an exuberant performer whose Three Aces band at various times contained Elmore James and Little Milton. This anthology includes 18 selections that show the link between older, traditional blues and the urban, electric sounds that emerged as the idiom's dominant form later in the decade. ~ Ron Wynn, All-Music Guide DELMARK 604 : BIG JOE WILLIAMS - BLUES ON HIGHWAY 49 ------------------------------------------------------------------------------ From his introductory recitation on the lead-off title cut, sort of like the roadsign incantation of "Route 66," you're quickly convinced that Williams knew the subject well. The road that led from the Delta to the rest of the country was his stomping ground, and he knew every crack in the cement, to hear him tell. The master of his own invention, the 9-string guitar, Big Joe Williams was also a skillful and clever Delta bluesman and, as this fourth Delmark CD reissue more than adequately reminds, he was one of the most mesmerizing of that fraternity. With less filigree than John Hurt or John Jackson, Williams was a gruff-voiced man who lived for the road. This is raw blues -- cut to the quick. And this was a wholly original man on a mission, as his superb renditions of "Overhaul Your Machine," "Walk on, Little Girl," "Tiajuana Blues" and "45 Blues" show. As was the case with his previous Delmarks, this is a major treat. ~ Mark E. Gallo, Blues Access DELMARK 609 : BIG JOE WILLIAMS/J. D. SHORT - STAVIN' CHAIN BLUES ------------------------------------------------------------------------------ A CD reissue of 1958 recordings, including four previously unreleased tracks. Raw but beautiful country-blues, featuring the otherworldly sound of Big Joe's nine-string guitar. ~ Niles J. Frantz FANTASY OBC 545 : BIG JOE WILLIAMS - CLASSIC DELTA BLUES ------------------------------------------------------------------------------ Vocalist/guitarist Big Joe Williams tackles "Rollin' and Tumblin',"Terraplane Blues," and 10 others during these 1964 sessions. Williams uses a standard six-string guitar rather than his homemade nine-string model. ~ Roundup Newsletter FANTASY OBC 580 : BIG JOE WILLIAMS - AT FOLK CITY ------------------------------------------------------------------------------ I've considered this "Folk City" set essential for years, and now we have it again, this time in stereo. This record (his last for BLUESVILLE Records) has great tracks such as "I'M TIRED, WOMAN", "BURNED CHILD IS SCARED OF FIRE" and "I CAN'T SIGN MY NAME" ~ Eric LeBlanc ========================================================================= Date: Mon, 16 Oct 1995 14:50:43 PDT Reply-To: rjbauman@IQUEST.NET From: rjbauman@IQUEST.NET Subject: Re: Supporting your fellow musicians by NOT trashing 'em Comments: To: "P.W. Fenton" ====================I don't like fish... should I go around telling other people not to eat it?========================== If you think it's likely to be spoiled, one might consider it a favor. :-) Anyway, oncw we know a 'zeller doesn't like "fish", most of us take it with a grain of sea salt anyway........ RJ ========================================================================= Date: Tue, 17 Oct 1995 02:12:41 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: R&B - Blues Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199510131848.OAA183258@poe.acc.Virginia.EDU> Tom Morgan writes: >Joel, pretty good job. I did want to mention that Jerry Wexler coined the >term Rhythm and Blues in 1949 as a replacement for "Race Records." I >think of rhythm and blues as being blues out of the city with an uptempo >beat. I always thought of Louis Jordan as being a good example of rhythm >and blues but he never made it on to the RnB charts when he was big. So >who knows? According to the booklet that accompanies the Bear Family box set, Louis Jordan had quite a few hits on what would have been termed the "race" charts prior to changing the name to Rhythm & Blues. Billboard Magazine began the "Harlem Hit Parade" chart for popular black music on Oct 24, 1942. "I'm Gonna Move to the Outskirts of Town" was #3 on that list of 10 records. On 11/14/42 "What's the Use of Getting Sober" made #1. Others that I could glean from a quick perusal of the book are: 1. Ration Blues/Is YOu Is or Is You Ain't My Baby #1 Race and #1 FOLK & WESTERN (Yikes!) 2. Deacon Jones #7 on the hillbilly list (did not chart R&B or Pop) 3. G.I. Jive #1 for 6 weeks in the summer of 1944 4. GI Jive and Is You Is also made the Armed Forces Top 13 favorite list. Louis was the only artist besides Bing Crosby to have more than one title listed. 5. Mop-Mop #1 6. You Can't Get That Anymore #2 1945 (? year not precisely given) 7. Caldonia #6 Pop, #1 for 7 weeks on Race chart 8. Don't Worry 'Bout That Mule/Buzz Me #1 1946 R&B 9. Salt Pork West Virginia #2 1946 10. Beware #2 1946 R&B (a relatively disappointing release sales-wise) 11. Stone Cold Dead #1 1946 12. Choo Choo Ch-Boogie #1 1946 R&B 13. Ain' That Just Like A Woman #1 1946 R&B 14. Ain't Nobody Here But Us Chickens #1 1946 R&B (That's 6 number 1 records (#8 was a double sided #1) not a bad year!) 15. Texas and Pacific #1 R&B 1947 16. Open the Door Richard (booklet says it charted higher on Pop than R&B chart but exact position not given) 17. Ain't Nobody Here But Us Chickens #1 R&B form Jan to April 1947 18. Jack Your Dead #1 R&B 1947 19 Boogie Woogie Blue Plate #1 R&B 1947 20. Early In The Morning #3 1947 R&B 21. Run Joe #1 R&B 1948 22. Beans & Cornbread #1 R&B 1948 23. Saturday Night Fish Fry Parts 1&2 #1 R&B 1949, his last hit to cross over to the Pop charts (and my personal all-time Louis Jordan favorite) 24. Blue Light Boogie #1 R&B 1950 (? exact chart date not indicated). This was his last #1 Hit. I'm not sure when Billboard change the name from "Harlem Hit Parade" or Race to Rhythm & Blues Charts. It's possible it happened after Louis' hay day but there's no question he charted on lists that tracked music for black artists/listeners and in a very big way. Art Schuna ========================================================================= Date: Mon, 16 Oct 1995 19:24:16 +0100 Reply-To: "J. Witteveen" From: "J. Witteveen" Subject: MMC? > Hello there! Please excuse my ignorance and wasting your time, but what exactly is the MMC (Where Al Kooper is answering questions)? Thanks! > >-Jim (hndful@uniserve.com) ========================================================================= Date: Mon, 16 Oct 1995 22:27:50 -0400 Reply-To: Hanson123@AOL.COM From: Karen Hanson Subject: Re: A TRIBUTE TO BIG JOE WILLIAMS Thanks, Eric LeBlanc, for the great write-up on Big Joe! Too many coincidences --I did not know it was his birthday, but I had "Stavin' Chain" in my car stereo all day today. I was just in the mood for it! AND I was singing "Shake Your Boogie" all day (quietly, of course!) ... but my favorite is "Brother James." Karen ========================================================================= Date: Mon, 16 Oct 1995 22:43:42 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Kooper Comments: To: gjf5@pge.com In reply to a post that I made about Al Kooper, someone replied with: >>Dick Watterman mentioned Al Kooper will answer questions >>at MMC. >>Just where do I send questions? Please help. It was very stupid of me and I should have obviously realized that MMC (i.e. Music Message Center) is an AOL feature and not available to others. However, I will be glad to be the conduit by which messages are placed in his folder. His screen name is "Alfonts" and his folder is in "Classic Rock" within the "Rock Music" section of MMC. By the way, I never said that he 'chats' there. He apparently comes in daily to read messages and leave responses. So send me anything you want re-posted in his file and I'll do my best to handle it for a while. Dick Waterman ========================================================================= Date: Mon, 16 Oct 1995 14:54:13 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Corey Harris Comments: To: ISTS024/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=ISTS024#p#UABDPO#f#BITNET#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *I hope I got his name right. He's coming out (or is it out already) with an *acoustic blues CD on Alligator and is around 26 yrs old.... * *Anyone have any info on him. Seen him?,....Heard Him....? I've seen him, heard him, and played with him. He used to come to DC from New Orleans to play some of the clubs here. My step brother used to run an open mic at a coffee house and Harris played there once or twice (and my step brother still has a slide he left there). My step brother told me about him and I went and saw him one night and sat in with him for a set. I later saw him in Charlottesville, VA at the Virginia Blues Festival where I sat in with him again. I think he may be living in Charlottesville now but I'm not sure. Last time I saw him was over a year ago. He's a hell of a guitar player and singer. I think you'd like him. -Steve ========================================================================= Date: Mon, 16 Oct 1995 23:22:34 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: Let's start the Blues Marketing Council {was Whose blues} Comments: To: Wes On Thu, 12 Oct 1995 23:43:21 -0400 Wes wrote: >>We need a marketing council! > >>"This message brought to you by The Blues Marketing Council. >> Eat more Blues." >>Can *we* do it? We have a wide range of expertise here on blues-l. >Just a lowly marketing major here, but for what it's worth I think it is a >fine idea. I live in the NW and this place is hurtin' for some blues >marketing. A simple series of 5 flyers, posted one design at a time (cost for 500, $42.00, 100 of each design), in the same spot, underneath each other. Posted every week for 5 weeks in conspicuous places that they would still be likely to be left alone (light poles, telephone poles, etc.).. 1. The Blues... 2. Is from the... 3. Heart And Soul... 4. Of a Man like You. 5. Get some Today! Brought to you by the Blues Marketing Council, Oregon Chapter A sort of Burma Shave ad campaign, spaced out in time instead of location (sounds like art now). Builds supsense, gets people thinking 'bout the Blues, might sustain interest from curiousity as it develops week to week. I think I'll try it here in Chicago and the 'burbs. Lots of light poles with crap on them already, in the city. Lots of country roads where nobody's gonna bother to tear 'em down, in the 'burbs. And, I think I can convince any self respecting record store manager to give up some space for it too! Mike - inspired by Wes' innocence, optimism, and passion. ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Mon, 16 Oct 1995 23:03:17 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: Wife went to Chicago Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU On Mon, 16 Oct 1995 08:29:35 CDT L W wrote: >My wife sepnt the weekend in Chicago. I tried to tell her to go see Otis >Rush Everybody makes a mistake once in a while... and you'd never know otherwise. >Here in the south we hear of Chicago being really dirty/nasty. She stayed >near Grant Park and fell in love with Chicago. She thought it was fabulous >incredible. Which is really suprising, since she is a country kind of >girl. It has a certain charm, especially that section, the shops, the park, the grand old (and new) hotels, the Art Institute and it's lions guarding her treasures (Monet, most recently, was wonderful), the amazing cityscapes, skyline, and architecture, the Blues, the Chess Building... >One night when David Pimmel ('member him) was visiting, he said he wanted >to live in dowtown Chicago. We thought he was nuts for wanting to live in >a city. NOW, she understands and she doesn't blame him. I didn't think >she'd like it, but she loved it and wants us to go to the Chicago Blues >Fest... Yeah, we won't give up our driveway, garage, trees, forest preserves, peace and quiet and suburban sprawl / convenience, but this city has really become something amazing in the last 10 years. It never ceases to suprise and delight me. Plus, we *are* gonna have a jam this year! Get your axe the h**l up here for the Fest! > >LW 'I missed her really bad' Cool! Mike ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Mon, 16 Oct 1995 23:38:34 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: Let's start the Blues Marketing Council {was Whose blues} Comments: To: rjbauman@IQUEST.NET RJ, That's a fine line to attempt to walk. I think the commerical use of the Blues is like a snowball, can't stop it. I think it's a good thing, Blues goes along for the ride with MCI and Ma Bell, and Blues Jeans. I understand you allegory to the Country bandwagon, though. But, good Blues is tough Blues, to me, and that can't come from some Blues poseurs, (look at the Blues Brothers, a few fun songs, but everybody I ever met said El and Jake weren't musicians). Push the pucker factor. Promote the heart and soul - juxtapose it with a sample of all the other musical forms currently popular and suggest that people decide for themselves which has emotion and power (as opposed to no-motion or just plain watts). We should market it as, 'the real deal' and promote the image of the Blues fan as prizing emotional power - an emotion snob, if you will. We can help set the standard, the stereotype, and make it a positive influence on the scene. If cool, in the Blues, is cooler than anywhere else, 'cause we are listening to the real anguish of a man whose heart's being torn out (as opposed to neat lyrics or flashy guitar technique), just like we've felt before, then what's gonna stop it from being the Blues that we want and cherish. It won't get screwed up by big business, if what it's all about is to prize honest emotion. (Theory, just a theory, for now, o.k.) :-) Mike On Fri, 13 Oct 1995 09:18:43 PDT rjbauman@IQUEST.NET wrote: >=================Just a lowly marketing major here, but for what it's worth I >think it is a >fine idea. I live in the NW and this place is hurtin' for some blues >marketing.============================ > > >Just one caveat. Don't follow the path of the CMA (country music >association). What a joke country music is these days. Everbody's in cahoots >to promote country music as a commodity. The awards are ............ never >mind. You know where I'm going with this....... > > >RJ Bauman ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Mon, 16 Oct 1995 23:48:49 -0500 Reply-To: Rob Varak From: Rob Varak Subject: Los Lobos It's great to see a bunch of 'zellers into Los Lobos. They are the BEST!! I put them next to any band workin' today without hesitating. Musically, lyrically and for entertainment they cannot be topped!! I just wish they'd get a new album out. The "Assassins" Soundtrack is all old stuff. OBC: Shit, Los Lobos is bluesy enough to stand on their own. Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Tue, 17 Oct 1995 00:04:41 -0500 Reply-To: Rob Varak From: Rob Varak Subject: Re: B Guy Comments: To: Stew Crossen In-Reply-To: <199510131011.GAA29795@orion.neca.com> Stew Crossen wrote: Check out the new JSP release Buddy Guy - Live at the Checkerboard Lounge, Chicago 1979. It's prob'ly Buddy captured live at his best. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Many of you are probably sick of hearing me hype this, but if the powers that be ever get off their asses and release the shows Buddy recorded in the Spring of 1994 there will be a new standard for Buddy Guy records! I was there for two of the nights, and having seen Buddy at least a dozen times, I can honestly say that he has rarely approached the level of power and emotion at those dates! THey are incredible. I spoke w/Buddy last spring, and he said that the plan was for a summer '95 release. C'est La Vie. It better get out soon. Anyone have any info about this? Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Tue, 17 Oct 1995 00:21:15 -0500 Reply-To: Rob Varak From: Rob Varak Subject: Re: 1966 CBC-TV Special, "The Blues" (was RE: Various) Comments: To: Art Schuna In-Reply-To: The place is called Video Beat. 2616 North Clark Chicago, IL 60614 (312) 871-6667 As for Lee. Tell him Rob (the guy who keeps bugging him about blues, Los Lobos and Prince) sent ya. When he hears those names, he'll know it's me. BTW, I was just up there last w-end and I picked up two Vestapol videos. The first "Legends of the Delta Blues" features Son House, Johnny Shines, Booker White and John Lee Hooker. Fantastic shit!! The second is "Freddie King...THE BEAT!!!" IT IS UNBELIEVABLE!!! I haven't heard any mention of this video before, maybe I just missed it, but it's unreal. FK on a bizarre and short-lived '60's TV show complete with bad go-go dancers and a house band led by Clarence "Gatemouth" Brown. REally surreal. Highly recommended. Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke On Fri, 13 Oct 1995, Art Schuna wrote: > In article <951013002233_122817432@emout04.mail.aol.com> Steve Fay writes: > > >In the Muddy Box Set there is a picture of Muddy, Willie, Bukka, Big Joe, > >Sonny, and others watching a playback of a 1966 CBC-TV Special, "The Blues". > > Is there by chance a recording of this? > > There's a video store on N. Clark St in Chicago that has this available on > video (at least I think its the same video). I can't think of the name of > the store but Rob Varak turned me on to it and can probably give you a name > and number. If not, I'm in Chicago this weekend and will try to look it up > for you. > > Art Schuna > ========================================================================= Date: Tue, 17 Oct 1995 01:29:11 -0400 Reply-To: PRUnwin@AOL.COM From: Peter R Unwin Subject: Peter Green I'd like to hear from anyone who knows about a new testimonial album of Peter Green songs made by contemporary artists. Also there is supposedly a biography about him being written. All I know is that he is living rough in London. Does anyone know more? ========================================================================= Date: Tue, 17 Oct 1995 00:28:26 -0500 Reply-To: Rob Varak From: Rob Varak Subject: Kudos To Mary Katherine BTW, The videos I mentioned are both very well documented, and the FK contains a thank you to Mary Katherine Aldin. I think one out of every three albums I buy has either Mary Katherine or Dick Shurman's names in it. Both deserve a round of blue-l applause. Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Tue, 17 Oct 1995 00:38:32 -0500 Reply-To: Rob Varak From: Rob Varak Subject: Re: blues-l as positive socializing influence Comments: To: William Shute In-Reply-To: 19951016.120228.WSHUTE@SACADMIN Bill, Excellent post. I find that the positive things you mention outweight the occasional nasty moments by a considerable margin. Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Tue, 17 Oct 1995 03:35:25 -0400 Reply-To: Joe Milon From: Joe Milon Subject: Andrew Brown I've been looking for this lp for years now. "Big Brown's Chicago Blues" on the Dutch Black Magic label. It won a W.C. Handy award in 1982 and now it's out of print. He released "On The Case" the year before he died in 1986 and it's excellent as well. I have that one. You may have heard him on Alligator's 1980 release Living Chicago Blues volume 4. I am listening to "I'm in The Mood" off that album right now and I don't know if I want to cry or smack her upside the head! I sure hope someone can help me in my search. ========================================================================= Date: Tue, 17 Oct 1995 04:35:44 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - October 17th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BLANCHARD, EDGAR V. (g) d. 1972-1017, NEW ORLEANS, LA 48 BLAND, MILTON(aka MONK HIGGINS)(tsax/prod b. 1935-1017, MENIFEE, AR COLE, WILLIAM RANDOLPH "COZY" (d/TOPSY) b. 1909-1017, EAST ORANGE, NJ COLLINS, LEE (tpt) b. 1901-1017, NEW ORLEANS, LA GIBSON, STEVEN A. (of THE 5 RED CAPS) b. 1914-1017, LYNCHBURG, VA HARRISON, JIMMY (tbn/BESSIE SMITH) b. 1900-1017, LOUISVILLE, KY HUNTER, ALBERTA (v) d. 1984-1017, ROOSEVELT IS., NY 89 KESSEL, BARNEY (g) b. 1923-1017, MUSKOGEE, OK MAXWELL, HOLLY (v/CONSTELLATION REC) b. 1945-1017, CHICAGO, IL MAYFIELD, TINA JERMANY (of PERCY MAYFIELD)b. 1929-1017, STAMPS, AR PEARL, BERNIE (dj/p) b. 1939-1017, ? CA WILLIAMS, HENRY "RUBBERLEGS" (v) d. 1962-1017, NEW YORK CITY, NY 55 ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 17 Oct 1995 09:58:03 GMT Reply-To: BRG From: BRG Organization: Information Resources and Technology Subject: Re: Jimmy Page was BLUES? Comments: To: bit-listserv-blues-l@uunet.uu.net You should here Johnny Guitar Watson/Larry Williams "live" doin "For your love". I'll admit that JGW hasn't done any blues (on record or CD) in the last 15+ years that I've heard but I like the way he does this oneLive in England I believe). Also does "Embracable You" as only he can. I don't think he gagged when he did "for your love". I don't when I hear it.At that time, I think he could be considered a blues artist. He may still be, but he choses to do other things from what I've heard. BRG ========================================================================= Date: Tue, 17 Oct 1995 10:13:58 GMT Reply-To: BRG From: BRG Organization: Information Resources and Technology Subject: Re: Roomful of Blues!Misquote/Apologies Comments: To: bit-listserv-blues-l@uunet.uu.net Beggin' the pardon of J.Witteven, ========================================================================= Date: Tue, 17 Oct 1995 11:04:57 GMT Reply-To: BRG Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: BRG Organization: Information Resources and Technology Subject: Re: Roomful of Blues! Comments: To: hndful@uniserve.com Beggin' the pardon of J.Witteveen, I surely must have been confused(late night posting leads to problems). He did not write any or all of what I snipped as an attachment.Damned if I didn't make a mistake again. Go figure! BRG ========================================================================= Date: Tue, 17 Oct 1995 06:12:43 -0500 Reply-To: dwhite From: dwhite Subject: "The Beat" The second is >"Freddie King...THE BEAT!!!" IT IS UNBELIEVABLE!!! I haven't heard any >mention of this video before, maybe I just missed it, but it's unreal. >FK on a bizarre and short-lived '60's TV show complete with bad go-go >dancers and a house band led by Clarence "Gatemouth" Brown. REally >surreal. Highly recommended. "The Beat" was filmed at WFAA-TV in Dallas, TX in 1966. There are if memory serves about 23-26 episodes. The production company, host Hoss Allen, and many of the musicians that appeared were from Nashville. At that time WFAA had the first color video production studio in the South. Hoss and his crew would drive to Dallas and shoot several episodes in a day. I interviewed him in the late '80's. He told me that Freddie King would be waiting for them outside the station and was alway's eager to be on the show. Other's that appeared on the show were Otis Redding(in the one non Hoss hosted show), MIttie Collier, Percy Sledge, Wilbert Harrison, Lou Rawls, Clarence Frogman Henry and many others. Gatemouth Brown and the BlueBeats did on average about two numbers per show and backed many of the performers. Look for Hendrix bassplayer Billy Cox in the BlueBeats in some of the episodes. Hoss auditioned Hendrix himself while Hendrix and Cox were stationed at a military base in Kentucky. Unfortuately; for Hoss he didn't like Hendrix's playing and even unlugged him in the studio. The show was at one time syndicated in over 100 markets. The tapes lanquished in a Nashville television station for many years. At the time I pursued them (like the holy Grail) legal problems were keeping them shelved. I'm glad to see them coming out they are priceless. The Freddie King performances remain some of the best playing I've ever seen on film or video. The Gatemouth isn't far behind. Dana ========================================================================= Date: Tue, 17 Oct 1995 11:46:30 GMT Reply-To: BRG Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: BRG Organization: Information Resources and Technology Subject: Re: Roomful of Blues! Comments: To: mfarn@FIBUSA.COM Meridith Farnworth wrote: >whoa, there folks....some more quoting of the wrong people happening here... >BRG felt the need to come back me with this tone: > >>As far as your disparaging comment about Sugar Ray-I don't understand!? >>Who were you expecting, Junior Parker,Bobby Bland,Earl Forrest,Johnny >>Ace?? How do you define soul? Also how much of this intangible do you >>require. What did Greg Piccolo have a corner on that market? I don't >>think so. > >All I'd said was that *after many years* of frequently seeing Roomful, it hasn't >been the same FOR ME seeing Sugar Ray handle the vocals. As I recall, I did This is what I believe you did say, Meri: >To which I say: >I've said it before and I'm sure I'll say it again. Sugar ray norcia is a good singer and probably a GREAT harp player. But IMHO, h= e's got no (ok,little) SOUL. I'm sorry for the misquote. However, this is the disparaging comment I was reffering to. Although you go on to ....... >include at least one obligatory IMHO, and even a note with my sig saying >it was just an opinion from someone who's usually not opi= nionated. You now go on to express an opinion which you claim is not only your own but also many New Englander's. You certainly have the right to your opinion(or in this case slam). Your opinions seem in no way humble as you claim. I can't help but wonder why so many in the business including Ronnie Earl think otherwise(told me personally). You must know that he sang with the broadcasters for a long while. Greg Piccolo was ok but didn't always sing anyway. Curtis Salgado did a good job for a brief while. Ever heard them do "Mother in law blues" in the old days? It's all really subjective--but I don't think it's very constructive to claim someone has "...got no soul...", or is like "..watching Wayne Newton or some other easy listening singer." Maybe your doing too much "watching" and not enough listening!? TO ME (and many >other New England long time Roomful fans, I might add) watching / hearing >sugar >ray sing is like watching Wayne Newton or some other easy listening singer. > Sure, >Mr. Norcia has a pleasant voice, and he's a nice enough fellow, but he just >doesn't >do "it" for me. > >After all these years, Greg's singing still gives me The Chill. > >If BRG needs any more information, I may be contacted privately: > mfarn@fibusa.com > >Meri, hoping this doesn't turn into Wayne Newton-L :-) Sorry for the confusion, but I disagree, BRG ========================================================================= Date: Tue, 17 Oct 1995 07:51:00 -0400 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re: Supporting your fellow musicians by NOT trashing 'em I'm not a musician (I bang in a most primitive way my guitar, no performances) so I would have a different perspective. I have never understood the "If you can't say anything nice" school and I appreciate honest criticism, harsh or otherwise. I guess that's cuz' I am a consumer. If the show sucks, I very much want to know, cuz' I sure don't wanna go see it. Ditto the CD. I acknowledge that I would personally *hate* to hear someone saying, "Oh that Joe Downey, he's the worst." On the other hand, I believe some of the best advice and the most valuable (to me as a consumer) is often: "Don't buy that CD. It is the absolute pits." Or, "They play some blues but the rest is Euro-pop trash." That's what I need to know. Joe in Moscow J.E._Downey@bakermck.com ========================================================================= Date: Tue, 17 Oct 1995 07:44:49 -0400 Reply-To: Willy Evans From: Willy Evans Subject: Re: Supporting your fellow musicians by NOT trashing 'em Comments: To: "J.E. Downey" In-Reply-To: <"Tue Oct 17 07:51:25 199500*/G=J.E./S=Downey/O=BMMOSCOW/PRMD=BMCK/ADMD=TELEMAIL/C=US/"@MHS> In LW's defense. He goes to see all of these shows. That is support in itself. His reviewing style is a little caustic at times, but LW works with his heart! You'll not find many people who are as devoted to the support and preservation of blues as a whole as LW is. He does a lot of real work that involves cost and effort on his part in support of blues. And I LIKE his playing! Just my .o2. Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** the hounds begin to bark **** ========================================================================= Date: Tue, 17 Oct 1995 07:30:15 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Jimmy McCracklin > From: William Shute > This man's name ought to be SHOUTED from the rooftops, and his > music ought to be played OFTEN and celebrated. I like a man who says what he thinks... One disc that ought to be in anyone's McCracklin collection is BEA15558 MCCRACKLIN*JIMMY MERCURY RECORDINGS $19.55 BEAR FAMILY 9/94 These are 13 wonderful sides that Jimmy recorded during 1958-60. They are a perfect example of his ability to adapt to changing times, as he adapts blues/R&B stylings in an attempt to create teen dance fads. The fads didn't catch on (Mercury had no idea how to promote a blues singer - they wanted another Brook Benton) but the attempt was a memorable one! Check out "The Wobble" and "Georgia Slop", for example. The latter tune was covered by Los Lobos on "Kiko", in case it sounds familiar. EW (now headed for my rooftop) Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Tue, 17 Oct 1995 09:49:50 -0300 Reply-To: Mike Gilbert From: Mike Gilbert Subject: CDnow & SRV CD's Many thanks to all who responded to my post about SRV on CDnow. I've made my decision and am now anxiously waiting. ----- Mike Gilbert gilbertm@fox.nstn.ca ========================================================================= Date: Tue, 17 Oct 1995 07:59:37 CST Reply-To: William Shute From: William Shute Subject: Count Basie sings (l930) From: Bill Shute I always enjoy little "factoids" regarding firsts, rare occurences, and related trivia. So here's one I found of interest. The complete works of legendary Kansas City bandleader Bennie Moten are now available on four CD's on the french "Classics" label (which is to pre-war jazz what Document is to pre-war blues). I've always loved Moten's music and the Kansas City scene in general (you can read about this period in Count BAsie's fine fine autobiography, co-written with Albert Murray (someone whose name ought to appear on blues-l from time to time)), GOOD MORNING BLUES. Anyway, as many of you know, the Moten band eventually evolved into the Count Basie band, after Moten's health problems caused the dissolution of the band as an active unit (Moten himself passed away in l935). In l930, Jimmy Rushing (Mr. Five by Five himself) was the band's vocalist, but on one songSOMEBODY STOLE MY GAL the band's pianist, COUNT BASIE takes the vocal. When I first heard this tune, I wondered if Basie ever "sang" on another record. I couldn't remember any time he had, but I certainly didn't have a complete collection of Basie (who does? with all the airchecks and the like, you could probably have l000+ albums) enough to say that this was his only vocal. However, according to Anatol Schenker's interesting notes to the Classics volume, "this is Count BAsie's only officially issued effort as a singer, although he did sing again during a concert in l944 when Jimmie Rushing was suffering from hoarseness." So IT IS his only effort. OK--so much for the suspense, what is the tune like? Well, it's in the l920s rooted "two-beat" style, a rollicking tune, and even features both an accordion (played by Bus Moten) and a brass bass (is this basically a tuba--or is it somehow different as an instrument?). Basie comes in during the last "verse" (it's an instrumental until then--remember that until the early l940s in some bands' cases, singers provided a "vocal refrain" with a tune, and often did not SING the whole song--they "soloed" like an instrument, for one verse and maybe a chorus)and provides a wordless semi-scat vocal, the kind of thing he could have made up on the spot if the regular vocalist didn't "come in" as scheduled. This little snatch of vocalizing also suggests that, on this tune at least, correct intonation would have been a problem for the Count, although I guess I shouldn't judge that by ONE song, and of course the Count is providing what would be described as a "novelty vocal." So there it is---Count BAsie's only recorded effort as a vocalist. If they ever put out a blues/jazz version of Trivial Pursuit, you've now got the edge on the other players... Bill Shute San Antonio, TX "Somebody Stole My Gal" by BENNIE MOTEN'S KANSAS CITY ORCHESTRA recorded l0-30-30 reissued on Classics 59l (french CD) Bennie Moten l930-l932 (fourth of four volumes) ========================================================================= Date: Tue, 17 Oct 1995 09:10:56 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Supporting your fellow musicians by NOT trashing 'em Comments: To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM > I'm not a musician (I bang in a most primitive way my guitar, no > performances) so I would have a different perspective. > > I have never understood the "If you can't say anything nice" school > and I appreciate honest criticism, harsh or otherwise. I guess that's > cuz' I am a consumer. If the show sucks, I very much want to know, > cuz' I sure don't wanna go see it. Ditto the CD. > > I acknowledge that I would personally *hate* to hear someone saying, > "Oh that Joe Downey, he's the worst." On the other hand, I > believe some of the best advice and the most valuable (to me as a > consumer) is often: > > "Don't buy that CD. It is the absolute pits." Or, "They play some > blues but the rest is Euro-pop trash." That's what I need to know. But Joe, I could tell you "Don't eat fish of any kind. It tastes horrible.", and I would be telling the truth. I happen to know that most people don't actually feel that way though. Music is exactly the same. One person's "this sucks" is another person's "can't get enough". P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 17 Oct 1995 09:16:54 -0400 Reply-To: ac928@osfn.rhilinet.gov From: Jim McGlynn Subject: Texas Blues Jeff Seale wrote: >T.D. Bell... gladly autographed my copy of It's About Time - a wonderful cd with Erbie Bowser. You should hunt this cd down. It is a gem. Yes indeed. "It's About Time" has done hard time on my player the past few weeks, after being hipped to it here in the wake of Erbie's passing. Can someone recommend other stuff on CD by these gents? Also been spending a lot of time with Zuzu Bollin's "Texas Bluesman," on which I was delighted to splash out all of fifty cents at a Wherehouse store in L.A. (Lotsa great used and promo stuff to be had at the Wherehouse stores in the L.A. area -- got Colin James & the Little Big Band for $.99 and Charles Brown Sings Christmas Songs for $1.99 -- yowza!) I'd appreciate any recommendations of classic Texas CDs that like Bell/Bowser and Zuzu Bollin may be a little off the beaten track. Just can't get enough of that stuff. Jim McGlynn -- ========================================================================= Date: Tue, 17 Oct 1995 08:20:10 CDT Reply-To: "P.W. Fenton" Comments: Authenticated sender is Comments: To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: "P.W. Fenton" From: L W Organization: The Second Ward Subject: Re: Supporting your fellow musicians by NOT trashing 'em Paul and I finished our discussion through private mail. We are "net" friends and he has every right to trash what I said. I defend Paul and his comments I saw nothing wrong with it, he's a great guy and I understand his position. Anyone who stands up for what he believes , whether you agree or not, is to be commended... >Music is exactly the same. One person's "this sucks" is another >person's "can't get enough". Absolutely. I think this subject has run it's course. LW 'nuff already' ========================================================================= Date: Tue, 17 Oct 1995 09:30:32 -0400 Reply-To: Bob vanArsdall From: Bob vanArsdall Subject: Feel a Song Coming On... LW wrote: "My wife went to Chicago..." ...which later became a thread title. Everytime I see it it catches my ear. Isn't there a song in that start waiting to come out? May I propose as a start, something in a reverse ZZ Top vein: My wife went to Chicago, I tried to tell her not to take that bus. My wife went to Chicago, I tried to tell her not to take that bus. But she keep mumblin' talking Saying something about Otis Rush. Bob ========================================================================= Date: Tue, 17 Oct 1995 08:25:37 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Bad Girl Blues Does anyone find this tune offensive...? Women loving each other , they ain't thinking about no men....etc I plan on doing this tune at a benefit for the homeless on Nov 8th. It's called the Canned Jam and all proceeds go to the homeless. I was scheduled THEN asked if I would play ....I guess my reputation as a stage slut is getting out there. (actually they know I'm a nice person) I would hate to do a tune that would be offensive, but I really like the tune "Went out last night, smelling sweet like a rose, come home five oclock in the morning with that fish scent all in her clothes..." That could be offensive to someone...I plan on doing it, I think LW 'If I was really that bad, would they keep asking me to play...?' ========================================================================= Date: Tue, 17 Oct 1995 08:01:21 -0700 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: Re: Wife went to Chicago - Leaving Blues-L In-Reply-To: My old lady went to Calgary last weekend. Best f**king weekend I had in 6 years!! :) I'm going unsub for a while. The bluesland chat channel will be no more as well. To the people I was helping with net chatting, please feel free to get in touch by private email. I will be surfing the chat channels, on which server I don't know. I'd like to thank everyone for all the disc recommendations and info. that was sent my way. Special thanks to Don Chicetti for pointing me to Taylor guitars (next month!), and to Delta Doc Roger for his offer of helping me buy a National. Also to Bruce Davis, as trustworthy as they come. Take care all, RW ========================================================================= Date: Tue, 17 Oct 1995 09:25:38 -0400 Reply-To: Willy Evans From: Willy Evans Subject: Re: Bad Girl Blues Comments: To: L W In-Reply-To: On Tue, 17 Oct 1995, L W wrote: > Does anyone find this tune offensive...? Women loving each other , they > ain't thinking about no men....etc > > I plan on doing this tune at a benefit for the homeless on Nov 8th. It's > called the Canned Jam and all proceeds go to the homeless. I was scheduled > THEN asked if I would play ....I guess my reputation as a stage slut is > getting out there. (actually they know I'm a nice person) > > I would hate to do a tune that would be offensive, but I really like the tune > > "Went out last night, smelling sweet like a rose, come home five oclock in the > morning with that fish scent all in her clothes..." > > That could be offensive to someone...I plan on doing it, I think > > LW 'If I was really that bad, would they keep asking me to play...?' > I used to be afraid that Big Legged Women would be offensive to some, I've since decided that If I like it and it sounds happening, I play it! Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** the hounds begin to bark **** ========================================================================= Date: Tue, 17 Oct 1995 10:18:10 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Recorder for performances Whenever I listen to a recording that has been made at one of my own performances, I learn a whole lot about what we need to work on. I plan to start recording all performances for this purpose primarily. Can anybody recommend some type of recorder, better than a boom box, that would be good for live ambient stereo recording at gigs? There used to be several high quality cassette portables designed for professional reporters but most of these seem to have disappeared. I'm interested in analog cassette, and/or DAT and price is very important. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 17 Oct 1995 09:39:18 -0400 Reply-To: Tom Morgan From: Tom Morgan Subject: Re: R&B - Blues Comments: To: aschuna@vms2.macc.wisc.edu In-Reply-To: from "Art Schuna" at Oct 17, 95 02:12:41 am In another time and place, Art Schuna said: > > In article <199510131848.OAA183258@poe.acc.Virginia.EDU> Tom Morgan writes: > > >Joel, pretty good job. I did want to mention that Jerry Wexler coined the > >term Rhythm and Blues in 1949 as a replacement for "Race Records." I > >think of rhythm and blues as being blues out of the city with an uptempo > >beat. I always thought of Louis Jordan as being a good example of rhythm > >and blues but he never made it on to the RnB charts when he was big. So > >who knows? > > According to the booklet that accompanies the Bear Family box set, Louis > Jordan had quite a few hits on what would have been termed the "race" > charts prior to changing the name to Rhythm & Blues. Billboard Magazine > I'm not sure when Billboard change the name from "Harlem Hit Parade" > or Race to Rhythm & Blues Charts. It's possible it happened after > Louis' hay day but there's no question he charted on lists that > tracked music for black artists/listeners and in a very big way. Art, that was the point I was trying to make. By the time around 52 or 53 when they started calling them Rhythm and Blues Charts, Louis was past his hay day as you call it. This was a big surprise to me when I read it in Louis's biography. There are also some very sad tales at that point in Louis's career as record companies no longer promoted his releases and dropped him to try and focus on the up and coming rock and rollers. Louis was not real pleased also with the growing R n' B musicians as the honking and shouting seemed much more raw to him than what his brand of music. AS to rock and roll, the quote I remember best from the book though I don't think that it was Louis that said it was that "Rock and Roll was Rhythm and Blues without the music!." :) Tom ----------------------------------------------------------------------------- My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Tue, 17 Oct 1995 10:43:10 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Connecticut Blues (Society) question. Hey there! Yesterday when I was reading my weekend's accumulation of Blues-L digests I saw something about the CT Blues Society and a meeting/festival/fundraiser or something, and participation by WHUS(?not sure) radio, etc. My band spent a good chunk of the last year playing in towns around CT's northern border with central Mass. Towns like Thompson, Dudley, etc. So, Even though we're based near Worcester, Mass, we feel like that's sort of our old turf down there and would love to find out how to get involved with some of these activities in CT and expand our base of operations and get more exposure for ourselves. Do we have to be from CT? If the person who posted that info could drop me a line, I'm interested to hear from you and who knows? ...hook up with a gig or something, take a little road trip down to "Southern" New England! :) We have a very busy schedule of weekly performances in central Mass, but are ALWAYS looking to expand and participate in blues events! Any contact is a good contact! Thanks, in advance! Riffin Rick (((( oo-) /- It's 3 o'clock in the morning and all the pretty women are gone. F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 17 Oct 1995 10:04:01 -0500 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: Texas Blues > Yes indeed. "It's About Time" has done hard time on my player the past > few weeks, after being hipped to it here in the wake of Erbie's passing. > Can someone recommend other stuff on CD by these gents? That's the only CD by the two of them. TD Bell does show up on some compilation albumns. Erbie Bowser did record the "Texas Piano Professors", which I think is on Catfish Records, along with Roosevelt "Grey Ghost" Williams and Lavada "Dr. Hepcat" Durst. This is a great CD of Barrelhouse/ Boogie-Woogie/Ragtime piano. If you can find this CD buy it. If you can find two copies get one for me, I only have it on tape and I can't find the CD anywhere. TD Bell has told me another CD was recorded with Erbie Bowser and that he is just looking for the right company to put it out (they got burned on "It's About Time", so he's a little cautious). I think TD Bell has been often overlooked in the Blues world. He is a very talented guitar player and has the sweetest voice around. He was heavily influenced by T-Bone Walker. And he's played with such diverse Texas talents as Johnny Ace and Long John Hunter. He has also had a great influence on the local Austin Blues Scene. Bruce Roberts Austin, TX ========================================================================= Date: Tue, 17 Oct 1995 08:16:55 -0800 Reply-To: Bob & Becky Hardin From: Bob & Becky Hardin Subject: B-Guy, Los Lobos One of our annual events is a trip, with another couple, to the Playboy Jazz Festival at the Hollywood Bowl. We go on Saturday, when they have a more eclectic mix and usually end up with a blues act (Sunday is usually more traditional jazz). Anyway, in 1993, Buddy closed the evening and, like B.B. King the year before, he had the house rocking all the way to the end of the night. A great show, and I don't remember any of the Hendrix/SRV/etc. mimicking. At the time, his "comeback" was established, "Feels Like Rain" had just come out, so he was doing tunes off that as well. Anyway, I had had some knee problems and was sitting with my leg outstretched on the bleacher back in front of me. During the course of Buddy's set, my friend reached over, started stroking my shin and said, "Baby, isn't this great stuff?" Whereupon, his wife, who was sitting between us, said, "Doug, that's Bob's leg!" And I was so engrossed in the music (okay, we'd had a little wine during the day too) that I didn't even notice until she said that! We still crack up reminiscing about what _close friends_ Doug and I are. :-) Well, this year, they were all excited because Los Lobos was the closing act, and they had seen them at the Universal Amphitheater and enjoyed their show. But we were all really disappointed when all they played was Mexican/American stuff - I don't remember any blues at all! That's not flame bait, I just prefer blues, and judging by previous posts I've read about what they _can_ do, I was right to be disappointed in what we heard (or didn't get to hear). Was anyone else there this year who might have had a different experience? I guess my point is, every performer has ups and downs, days they perform sick, days they are in-tune with the audience, and that is part of the risk and reward of seeing them perform live. Not to mention the vagaries of sound system quality and volume levels that have also been mentioned here. If you want consistency, play the same CD over and over. I'll continue to roll the dice and be disappointed _and_ rewarded at live performances. Bob ========================================================================= Date: Tue, 17 Oct 1995 11:20:04 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Fwd: Re: Feel a Song Coming On... --------------------- Forwarded message: Subj: Re: Feel a Song Coming On... Date: 95-10-17 10:43:22 EDT From: Jinxblues To: Bob@rvana.pdial.interpath.net My wife went off to Chicago You know, that woman she tells no lies. My wife she went off to Chicago You know, that woman she tells no lies. She said she was going visit her sister But I found her at Buddy Guy's ========================================================================= Date: Tue, 17 Oct 1995 11:20:51 -0400 Reply-To: Bob vanArsdall From: Bob vanArsdall Subject: Re: Feel a Song Coming On... Dick posted this to me. It's too good not to post to the list... Thanks, Dick. >From: Jinxblues@aol.com >Date: Tue, 17 Oct 1995 10:43:09 -0400 >To: Bob@rvana.pdial.interpath.net >Subject: Re: Feel a Song Coming On... > >My wife went off to Chicago >You know, that woman she tells no lies. >My wife she went off to Chicago >You know, that woman she tells no lies. >She said she was going visit her sister >But I found her at Buddy Guy's. let me add: She said her sister's name was Lucille And those other friends don't mean a thing. She said her sister's name was Lucille And those other friends don't mean a thing. Then I caught her on the TV With her hands on BB King. Bob ========================================================================= Date: Tue, 17 Oct 1995 10:25:23 CST Reply-To: JBards From: JBards Subject: Re[2]: BLUES-L Digest - 14 Oct 1995 to 15 Oct 1995 Comments: To: Mouth of the South <954JBOYD@ALPHA.NLU.EDU> Can you clarify? Does "They were the shit" mean they were great or awful, and if so, why? Jim ( Hard to believe Sonny could be anything less than awesome.) _______________________________________________________________________________ Subject: Re: BLUES-L Digest - 14 Oct 1995 to 15 Oct 1995 From: Mouth of the South <954JBOYD@ALPHA.NLU.EDU> at INTERNET-SH Date: 10/16/95 8:13 PM I saw Sonny Landreth and Chris LeBlanc, along with John Mayall at the Baton G Rough Blues Festival and to put it simply...they were the shit! Ihad a great time and recommend this festival to anyone. Joe ========================================================================= Date: Tue, 17 Oct 1995 10:18:43 -0500 Reply-To: David Silberberg From: David Silberberg Subject: Re: Supporting your fellow musicians by NOT trashing 'em At 09:10 AM 10/17/95 -5, P.W. Fenton wrote: >But Joe, I could tell you "Don't eat fish of any kind. It tastes >horrible.", and I would be telling the truth. > >I happen to know that most people don't actually feel that way though. > >Music is exactly the same. One person's "this sucks" is another >person's "can't get enough". > Which is why I solicit - or at least look for- more than one review of a performer / show / CD. I don't have enough time or money to buy every blues CD issued, or see every show that comes to Chicago. I rely on reviews - comments - snippets - etc. - to help me make some buy / no buy decisions. Fortunately, we have blues-l, and 'zellers who are opinionated and egotistical enuf (:-)) to post their opinions here. After a while, I begin to understand the "prejudices" if you will of LW and the other reviewers here: because of the relationships between their tastes and mine, I know that for some, I should buy the CD if they like it; for others, I should buy it only if they DON'T like it. In any case, their opinions - however opinionated they may be - help me turn my limited resources into satisfying musical purchases. David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Tue, 17 Oct 1995 10:32:21 -0500 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Detroit After Hours I picked up this CD, "Detroit After Hours Vol. I" on Trix Records, a couple of months ago and it's becoming one of my favorite's. It's a very raw recording. Basically a recorder was turned on during a party and very little attempt was made at editing it. But that's the beauty of this CD. I think all the background noise (people talking, babies crying, phones ringing, etc.) really adds to the music. If your into Blues piano music, you might want to consider picking this one up. It has Boogie Woogie Red, Chuck Smith, Little Dickie Rogers, Charlie Price, James Barnes, Emmett Lee Brooks, and Carben Givens on it. Its a great CD to turn up loud and get into the feeling. I'm going to have to find Vol. II. Bruce Roberts Austin, TX ========================================================================= Date: Tue, 17 Oct 1995 10:22:59 CST Reply-To: Edward Komara From: Edward Komara Subject: Renegade Possum Fat Possum founder Peter Lee has now established a new record company, Shade Tree Records, in Oxford, Mississippi. With the arrival of Shade Tree, there are now four major players in the Mississippi blues record derby, the other three being Malaco, Fat Possum/Capricorn, and Rooster. I had to wonder when I saw Peter set up some new offices in town the last couple of weeks, and it turns out the new label is what he is up to. Hopefully we will be all the richer for it. best, edward ========================================================================= Date: Tue, 17 Oct 1995 17:52:56 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Feel a Song Coming On... Comments: To: Bob vanArsdall >LW wrote: > >"My wife went to Chicago..." > >...which later became a thread title. Everytime I see it it catches my ear. >Isn't there a song in that start waiting to come out? May I propose as a >start, something in a reverse ZZ Top vein: > >My wife went to Chicago, >I tried to tell her not to take that bus. >My wife went to Chicago, >I tried to tell her not to take that bus. >But she keep mumblin' talking >Saying something about Otis Rush. > >Bob Maybe: She said, there is things Otis can do with his fingers that no other man can do She said, there is things Otis can do with his fingers that no other man can do She said, I must find out how its done in real life and then I might come back home to you Bo ========================================================================= Date: Tue, 17 Oct 1995 11:44:53 -0400 Reply-To: Ed Mezynski From: Ed Mezynski Subject: Re: PINK and FLOYD ] robert barclay queried? ] Can someone tell me who the group PINK FLOYD are referring to in thier ] name? I know it is PINK ANDERSON but who is "FLOYD" ?. ] thanks in advance. rb. Floyd was th barber on The Andy Griffith Show. There was even a t-shirt that I saw once, pink in color, with Floyd's image. Very cool! ed ========================================================================= Date: Tue, 17 Oct 1995 11:39:36 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Blues Muzak--A Discovery I was in a grocery store last evening, picking up some cans of red beans and a box of cat food. I didn't want to stop at the huge hyper-supermarket and walk 20 miles to the sections I needed, so I stopped at the neighborhood IGA a couple blocks from my apartment. I noticed that the muzak was actually blues muzak! I've never heard this before. Then I realized, looking around, that most of the folks who shop and work at this IGA are black. (I'm about as white as Irish can be, myself.) So the question, or observation, is...is muzak tailored to the store/neighborhood? What a concept! I was picking up beans and singing along to what I know as a Buddy Guy song (and if it's not, I know I'm going to be corrected posthaste!!), "You've got to live for yourself, for yourself and nobody else..." There was another song after that...I don't remember what it was...something definitely blues or r&b. Oh, well. You learn (or notice) something new every day. Shannon ========================================================================= Date: Tue, 17 Oct 1995 09:23:33 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: KNOCKY PARKER re : remembering Brother Al Stricklin Comments: To: BluesHvn@aol.com Comments: cc: WSHUTE@ACCDVM.ACCD.EDU THANKS BILL FOR BRING UP ONE OF THE GREAT UNSUNG PIANO PLAYERS - BROTHER AL! I KNOW YOU'LL AGREE BUT TEXAS SWING IS VERY MUCH A BLUES FORM. MOST OF THE PLAYERS WERE FANS OF THE GREAT BANDS OF COUNT BASIE & ANDY KIRK. IF YOU LISTEN TO BUDDY JOHNSON & LUCKY MILLINDER, YOU CAN TELL THAT THEY LISTENED TO TEXAS SWING BANDS! AS FOR JOHN W. "KNOCKY" PARKER JR. (1918-1986), YOU CAN EVEN HEAR HIM ON ONE OF THOSE EARLY SLEEPY JOHN ESTES DELMARK RECORDINGS. YES KNOCKY WAS AN EARLY MEMBER OF THE LIGHT CRUST DOUGHBOYS - DON'T YOU LOVE THAT NAME :-). eRIC His work was in many ways similar to that of Black Bob, Blind John Davis, and other 'house pianists'from l930s Chicago.Heard in the context of a western swing band, this kind of playing had a lot to do with the "swing" element in western swing. Stricklin would have sounded great playing with someone like Frankie Jaxon... Bill "aaaaaahhhhh haaaaaaaaaaa" Shute San Antonio, TX _____________________________________________________________________ speaking of blues-related piano players in the western swing field, another player of interest to blues-l piano people is Knocky Parker, who began his career with the Light Crust Doughboys, and later became a big ragtime expert/enthusiast who recorded a nice series of albums devoted to the compositions of Jelly Roll Morton (although I would never describe Knocky as a primarily barrelhouse man, as I don't detect much if any ragtime influence in Stricklin). ========================================================================= Date: Tue, 17 Oct 1995 12:25:47 -0400 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: Peter Green Comments: To: bit-listserv-blues-l@uunet.uu.net In article <951017012909_74763885@emout06.mail.aol.com> Peter R Unwin writes: >I'd like to hear from anyone who knows about a new testimonial album of Peter >Green songs made by contemporary artists. Also there is supposedly a >biography about him being written. All I know is that he is living rough in >London. Does anyone know more? I've heard a few cuts off this CD and found the covers to sound "modernized" and the overall feel to be boring. I'd rather listen to the real thing. Uh-oh, I hope the Opinion Police aren't listening! :-) ========================================================================= Date: Tue, 17 Oct 1995 09:30:46 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: Re: A TRIBUTE TO BIG JOE WILLIAMS Comments: To: BluesHvn@aol.com Comments: cc: Hanson123@AOL.COM Karen, I agree - BROTHER JAMES is a great song. On the new TESTAMENT 5021 : BOTTLENECK BLUES, he does one of his amazing on-the-stop blues about his Travelling, with a great extro to Pete Welding. Fans of bottleneck guitar should serious consider this 61 minutes of slide guitar. The Johnny Shines' track CRUCIAL MOMENT alone is worth the price of admission. eRIC >From Karen Hanson Newsgroups: bit.listserv.blues-l Date: Mon, 16 Oct 1995 22:27:50 -0400 Subject: Re: A TRIBUTE TO BIG JOE WILLIAMS Thanks, Eric LeBlanc, for the great write-up on Big Joe! Too many coincidences --I did not know it was his birthday, but I had "Stavin' Chain" in my car stereo all day today. I was just in the mood for it! AND I was singing "Shake Your Boogie" all day (quietly, of course!) ... but my favorite is "Brother James." Karen ========================================================================= Date: Tue, 17 Oct 1995 11:57:14 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Req: Furry Lewis LP, Tampa Red photo I am looking for a copy of the Adelphi Furry Lewis record. My photo of Memphis railroad yards was used on the cover. My copy was stolen in a burglary some time ago and Adelphi has only their one archive copy. Evans has a copy buy naturally won't part with it. If anyone has or knows of a copy I'd love to obtain one. I am also looking for a 1940s RCA publicity photo of Tampa Red with his National guitar. I believe in this photo he has one hand up in the air. If anyone has this photo or knows where it is reprinted I'd appreciate some help. Tampa's National Style 4, as you may have heard, has surfaced in St. Louis. There is a new article about it and some photo's on my BLUES WORLD web page. Thanks, Joel Slotnikoff | BLUES WORLD e-mag Box 21652 | http://www.inlink.com/~joelslot St. Louis, MO 63109 | articles, images, reviews, (314) 647-2447 | 78rpm record auction joelslot@inlink.com | blueslinks Joel Slotnikoff | BLUES WORLD e-mag Box 21652 | http://www.inlink.com/~joelslot St. Louis, MO 63109 | articles, images, reviews, (314) 647-2447 | 78rpm record auction joelslot@inlink.com | blueslinks ========================================================================= Date: Tue, 17 Oct 1995 11:51:41 -0500 Reply-To: Bill Balcerzak From: Bill Balcerzak Subject: Re: Renegade Possum Someone wrote: >Fat Possum founder Peter Lee has now established a new record company, And speaking of Peter Lee and Fat Possum I heard a rumor a while back that the House of Blues was looking to purchase Fat Possum. Peter Lee was unceremoniously dumped from Fat Possum while out of the country and trying to get a return visa. He's been working in Oxford as a janitor and record shop clerk. ========================================================================= Date: Tue, 17 Oct 1995 13:13:40 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Blues Muzak--A Discovery Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, shannon#f#oconnor/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=shannon#095#oconnor#a#SWPCO#f#COM@s1boca.corp.wrgrace.com * I was in a grocery store last evening, picking up some cans of red * beans and a box of cat food. I didn't want to stop at the huge * hyper-supermarket and walk 20 miles to the sections I needed, so I * stopped at the neighborhood IGA a couple blocks from my apartment. I * noticed that the muzak was actually blues muzak! I've never heard * this before. Then I realized, looking around, that most of the folks * who shop and work at this IGA are black. (I'm about as white as Irish * can be, myself.) So the question, or observation, is...is muzak * tailored to the store/neighborhood? What a concept! I was picking up * beans and singing along to what I know as a Buddy Guy song (and if * it's not, I know I'm going to be corrected posthaste!!), "You've got * to live for yourself, for yourself and nobody else..." Yesterday I heard a muzak version of a Scott Joplin tune (it was either "Maple Leaf Rag" or "The Entertainer"). I've also heard muzk versions of Jimmy Reed's "Honest I Do" and Bob Dylan's "Tangled Up in Blue." The Buddy Guy song is "I'll Go Crazy" by James Brown. -Steve ========================================================================= Date: Tue, 17 Oct 1995 12:18:36 -0500 Reply-To: Mark Gobeyn From: Mark Gobeyn Subject: more lyrics Said she was goin' over to the west-side To check out something new Said she was goin' over to the west-side To check out something new Came home lookin' kinda funny Said even old Pinetop do it better than you ========================================================================= Date: Tue, 17 Oct 1995 13:23:00 EDT Reply-To: edward c liu From: edward c liu Subject: NYC Club Dates Pointer Howdy all, The latest New York City Club Dates Pointer is available for the month of October. To receive it, send e-mail to me at: edwick@cc.bellcore.com with a subject line of "NYC CLUB DATES". Thank you for your support! -- Ed Edward C. Liu | "I never say what I mean but I always manage edwick@cc.bellcore.com | to say something similar." | -- Eugene Ormandy The opinions in this message are mine and not Bellcore's. Really! ========================================================================= Date: Tue, 17 Oct 1995 13:27:03 EDT Reply-To: george morales From: george morales Organization: TEMPLE UNIVERSITY Subject: blues and/or good music on tv a little fyi, on the David Letterman show 10/18 Rusted Root 10/24 John & Bonnie Raitt 10/26 John Hiatt on Late Night w/ Conan O'Brien 10/24 Johnny Johnson enjoy, george +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ | | | GEORGE MORALES GEORGEM@TEMPLEVM | | COMPUTER AND INFORMATION SERVICES GEORGEM@VM.TEMPLE.EDU | | TEMPLE UNIVERSITY (215)204-6866 | | | +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Tue, 17 Oct 1995 17:52:04 GMT Reply-To: gordon smith From: gordon smith Organization: Hamilton-Wentworth FreeNet, Ontario, Canada. Subject: Re: Los Lobos Comments: To: bit-listserv-blues-l@uunet.uu.net D. ALLEN SIMPSON (dsimpson@BESTLA.CALSTATELA.EDU) wrote: : I think Los Lobos is one of those of groups that tend to be : able to cross musical boundaries & still garner some respect from : listeners in the different musical genres. When they first started getting noticed up her in Canada back in the early eighties one interviewer asked " What makes you different from the other groups coming out of California today?" Without missing a beat the answer came "We're all fat." Gotta love em. -- _______________________________________________________ GORDON ROBERT SMITH DUNDAS, ONTARIO, CANADA http://www.freenet.hamilton.on.ca/~aa637/Profile.html ------------------------------------------------------- ========================================================================= Date: Tue, 17 Oct 1995 12:54:09 CDT Reply-To: Bill Balcerzak Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: Bill Balcerzak From: L W Subject: Re: Renegade Possum ----------------------------Original message---------------------------- >Fat Possum founder Peter Lee has now established a new record company, >And speaking of Peter Lee and Fat Possum I heard a rumor a while back that >the House of Blues was looking to purchase Fat Possum. >Peter Lee was unceremoniously dumped from Fat Possum while out of the country >and trying to get a return visa. He's been working in Oxford as a janitor >and record shop clerk. Since Capricorn now owns (?) FP, would the HO? still want to buy it. The HO? already has their own label. Just curious: Did Peter Lee get "dumped" when Capricorn came around or did it have nothing to do with Capricorn.... I still have to wonder about the music that Fat Possum will be putting out now that Capricorn is invovled. It would stand to reason that Capricorn would like more marketable artists than FP usually records..... LW ========================================================================= Date: Tue, 17 Oct 1995 14:17:33 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Renegade Possum Comments: To: bill@gis.mces.msstate.edu On October 17, Bill Balcerzak wrote: >>And speaking of Peter Lee and Fat Possum I heard a rumor a >>while back that >>the House of Blues was looking to purchase Fat Possum. It is my understanding that Fat Possum has requested a release from their Capricorn distribution deal in order to go with House of Blues Records. Capricorn's Phil Walden has underwritten the Fat Possum caravan of artists traveling around the country and has spent a significant sum of money in advertising and tour support. He has no intentions of allowing Fat Possum to break a contractual agreement so it looks like extended litigation lies ahead on this matter. With Junior Kimbrough, RL Burnside and the other artists probably not recording because of their legal limboland, it looks like the artists will once again be the losers while the lawyers fight it out. I know that the knee-jerk reation would be to side with the little guy (i.e. Fat Possum) in this matter, but it should be noted that Phil Walden's credentials regarding black blues artists indicate over 30 years of integrity. In a quiet and unpublicized gesture, he paid for a magnificent gravestone for Elmore James. Phil Walden believes that signed contracts should be honored, but I guess he's just old-fashioned that way. (I live in the same Mississippi town as Fat Possum and Peter Lee, so I am not taking any sides on this one.) Dick Waterman ========================================================================= Date: Tue, 17 Oct 1995 14:38:17 -0400 Reply-To: "Abe W. Mathews" From: "Abe W. Mathews" Subject: HO? R.I.P.? I've been waiting for the death certificate here, but I havent heard any discussion, so here's my question: Is the HO? show now off the air? I think I heard on Headline News that it'd been cancelled by TBS. I waited to see if it'd run again, but it didn't. Can anyone confirm or deny this? Abe awmathew@mtu.edu ========================================================================= Date: Tue, 17 Oct 1995 15:12:14 -0400 Reply-To: James Rutkowski From: James Rutkowski Organization: Towson State University Subject: James Cotton Comments: To: bit-listserv-blues-l@uunet.uu.net Has anyone heard the latest James Cotton CD? I highly (and I mean highly) urge you to purchase this CD and listen to it over and over and over. I do. ========================================================================= Date: Tue, 17 Oct 1995 14:19:48 -0500 Reply-To: Roger Struve From: Roger Struve Subject: Delta -Reply Comments: To: JMILLER%A1.SPEEDY.mrouter@shawnee.edu Hi Jim, Great reply.... Interesting that you find the delta music so applicable to your innovations on electric guitar. I shy away from electrified music generally, although not always, as i am losing my hearing pretty much...and don't want to grow silent before my time....(smile) I tend to try to learn the old style and then add my personal touch to it. I am most influenced, as most Blues-llers know, with john hammond. I still maintain, look what this man has gone and done, and he WAS the first to do it too....he took these old songs, some of which were bare rudiments of a tune, captured that tune, embellished it, added a tremendous amount of his own style to it, accompanied by a "smoky voice" that, to me, fits the mood of the music completely. Needless to say, that he can keep rhythm with his boot, blow harp (straight harp at that), play guitar, and sing (his greatest instrument, methinks)....is just too amazing. best regards, delta doc roger ========================================================================= Date: Tue, 17 Oct 1995 14:26:38 CDT Reply-To: Roger Struve Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: Roger Struve From: L W Subject: Delta -Reply ----------------------------Original message---------------------------- >Needless to say, that he can keep rhythm with his boot, blow harp (straight >harp at that), play guitar, and sing (his greatest instrument, >methinks)....is just too amazing. Watching him the other day play harp and guitar (not just chording) dazzled me. I don't always like his "versions" especially "Preaching Blues" , I like it slower, but that's just my preference. He was really good. A few years back in the same structure (a big shed at Sloss Furnaces), Robert Lockwood was doing the intro to a tune and the train came by and laid on it's horn. It was pure magic. The same thing happened with John Hammond, the train blew and John played with it. The magic wasn't the same as Lockwood (you had to be there), but it was great and John had fun with it. LW ========================================================================= Date: Tue, 17 Oct 1995 16:11:51 -0400 Reply-To: JRapp59288@AOL.COM From: Jason Rapp Subject: Re: Kooper Comments: To: Jinxblues@aol.com I'm new to AOL. How do I get to the MMC? ========================================================================= Date: Tue, 17 Oct 1995 13:27:59 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Lowriders on the Matterhorn Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Hi Everybody! I first heard Los Lobos when the "Will the Wolf Survive" album came out. I was just FLOORED by "Don't worry Baby", it sounded like John Fogerty fighting for his life in a bar brawl! But I noticed (as somebody else posted) all the "mexican-american" stuff they did. I really didn't care for this "Norteno" music very much. Now this was in the old days and I had it on vinyl, so skipping tracks was a lot harder, so I would end up listening to the tracks I would have skipped over with the remote on a CD player. I used to call the Norteno music "Lowriders on the Matterhorn" because it reminded me of the music they play while you are in line to go on the Matterhorn ride at Disneyland (of course there's lots of Mexican influences thrown in too). Little did I know.... Turns out that Norteno comes from the Texas/Border region and is an amalgam of Mexican folk music with German polka influences (accordian of course). turns out there were quite a few German immigrants in that part of Texas... Soooooo I was right! Anyway, I came to really love the Norteno and other related Mexican-American styles that the Wolves do. Maybe we need to leave the CD remote in the closet for a while! They did a whole album of this stuff called "La Pistola y El Corazon" (The pistol and the heart) and it is one of their very best records. Give this stuff a couple of more listens and you will find you may like it more than you thought you would... I do hope they do a blues album someday. I saw them do Cream's version of "Crossroads" at a live show, and brother it SMOKED! Just amazing! yeah yeah "blues rock" blah blah... they could do any style of blues they wanted to and it would be done to their standards of heart and excellence. See you later.... vato, Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Tue, 17 Oct 1995 20:38:05 GMT Reply-To: Greg McBride From: Greg McBride Organization: The University of Western Ontario, London, Ont. Canada Subject: Re: CDnow & SRV CD's Comments: To: bit-listserv-blues-l@uunet.uu.net I just joined this newsgroup, so I didn't see the previous messages on this thread. Whats this about SRV CD's? - Greg McBride mcbride@gaul.csd.uwo.ca ========================================================================= Date: Tue, 17 Oct 1995 14:14:20 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Recorder for performances Comments: To: BLUES-L@BROWNVM.BROWN.EDU. P.W. Fenton said: >Whenever I listen to a recording that has been made at one of my own >performances, I learn a whole lot about what we need to work on. I >plan to start recording all performances for this purpose primarily. >Can anybody recommend some type of recorder, better than a boom box, >that would be good for live ambient stereo recording at gigs? > >There used to be several high quality cassette portables designed for >professional reporters but most of these seem to have disappeared. > >I'm interested in analog cassette, and/or DAT and price is very >important. I wouldn't bother with cassette (snob that I am..) so that leaves you with two choices: Sony TCD-D7 (about 500.00 at discount) DAT recorder. Not real rugged, but sounds pretty good. To use with a stereo mic (Audio Technica makes a nice one for about 400.00) you need to adapt the mic's output to a stereo 1/8" mini (!) plug... yikes... Tascam DA-P1 Portable pro DAT recorder. (about 1500.00 at discount) Nice compact portable pro unit... no AES digital input (not a problem unless you use an outboard A-D convertor) It has real XLR inputs, and phantom power for the mic. I got one of my recording clients one of these and she loves it. She got the Audio-Technica stereo mic with it and it is a nice package. Not real cheap, but not bad for pro gear... Why would you want to record with a mic? Recording the ampient sound in a club rarely sounds very good. Will the places you play in give you a feed from the mixer? (if you don't mic everything, this may not give you great results either) If you end up with a cassette deck, there is a 3-head portable Marantz that works pretty well. Don't know the price. good luck Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Tue, 17 Oct 1995 17:41:39 EDT Reply-To: Joseph Leichter From: Joseph Leichter Subject: Re: James Cotton Speaking of Cotton, how's his voice these days? When he was in town a few months ago, his harp was (as usual) god-like, but his voice was terrible.. ========================================================================= Date: Tue, 17 Oct 1995 22:01:07 GMT Reply-To: Lucy Dueck private account From: Lucy Dueck private account Organization: U of Toronto Zoology Subject: Re: Texas Blues Comments: To: bit-listserv-blues-l@uunet.uu.net If you liked Zuzu, you'll love Eddie 'Clean Head' Vinson's "Kidney Stew is Fine", with Jay McShann & T-Bone Walker! ========================================================================= Date: Tue, 17 Oct 1995 18:03:14 -0400 Reply-To: Hanson123@AOL.COM From: Karen Hanson Subject: Re: Blues Muzak--A Discovery Shannon said: > I was in a grocery store last evening, picking up some cans >of red beans and a box of cat food Interesting combination, Shannon...I usually have rice with my red beans. Seriously, there is something scary about Blues Muzak, isn't there? I'm sorta new here, so I don't know if you all have discussed this before, but it the blues is popping up in the strangest places lately. Example: Little Walter's "Juke" as background for a weather report on FX channel. Also, the consolation prize for Jeopardy for the past few weeks has been a CD changer--when they show the picture on TV, there's Elmore James's King of the Slide Guitar CD displayed next to it. I'm not sure if all this "mainstreaming" is good or bad.......What do you all think? Karen ========================================================================= Date: Tue, 17 Oct 1995 18:23:12 -0400 Reply-To: Bob vanArsdall From: Bob vanArsdall Subject: Ad libbing LW wrote: >A few years back in the same structure (a big shed at Sloss Furnaces), Robert >Lockwood was doing the intro to a tune and the train came by and laid on it's >horn. It was pure magic. > >The same thing happened with John Hammond, the train blew and John played with >it. The magic wasn't the same as Lockwood (you had to be there), but it was >great and John had fun with it. I saw Bonnie Raitt many years ago on a riverboat in New Orleans. After a warm-up act (the T-Birds!) while tied up to the dock, the boat cast off into the River (Mississippi, so it has to be capitalized). The boat was a former ferry, with metal decks that reverberated under your feet, and the churning of the propellers and the engine could be felt by everyone. Bonnie got up on stage with her band, and said something to the effect that she'd played a lot of crazy places, but she was sure that it would be New Orleans to come up with the craziest. Then she and the band, instead of breaking into her set, started playing IN TIME TO THE BOAT. As the props started picking up speed out into the River, so did they. They played a long, maybe 10 minute jam before the boat reached the channel and throttled down, and Bonnie broke immediately into her set. The crowd went crazy. Bob ========================================================================= Date: Tue, 17 Oct 1995 18:23:19 -0400 Reply-To: Bob vanArsdall From: Bob vanArsdall Subject: Re: Feel a Song Coming On This one may be too literary.. People, the reason my baby left me, Some men can and some men can't. (Rhymes with taint, like Muddy) People, the reason my baby left me, Some men can and some men can't. Said I been spending too much time Fooling 'round with Portnoy's Complaint Bob ========================================================================= Date: Tue, 17 Oct 1995 17:25:12 -0500 Reply-To: Rob Varak From: Rob Varak Subject: Re: "The Beat" Comments: To: dwhite In-Reply-To: <199510171112.GAA01657@deliverator.io.com> My man Lee at the aforementioned Video Beat recently got copies of many of those tapes. I don' know who or what is on them, but he was raving. Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Wed, 18 Oct 1995 08:37:39 +1000 Reply-To: Daniel Bruce From: Daniel Bruce Subject: Re: Blues Muzak--A Discovery Comments: To: shannon_oconnor@SWPCO.COM In-Reply-To: <9509178139.AA813956069@smtpgate.swpco.com> from "shannon oconnor" at Oct 17, 95 11:39:36 am > > I was in a grocery store last evening, picking up some cans of red > beans and a box of cat food. I didn't want to stop at the huge > hyper-supermarket and walk 20 miles to the sections I needed, so I > stopped at the neighborhood IGA a couple blocks from my apartment. I > noticed that the muzak was actually blues muzak! I've never heard > this before. Then I realized, looking around, that most of the folks > who shop and work at this IGA are black. (I'm about as white as Irish > can be, myself.) So the question, or observation, is...is muzak > tailored to the store/neighborhood? What a concept! I was picking up > beans and singing along to what I know as a Buddy Guy song (and if > it's not, I know I'm going to be corrected posthaste!!), "You've got > to live for yourself, for yourself and nobody else..." > > There was another song after that...I don't remember what it > was...something definitely blues or r&b. > > Oh, well. You learn (or notice) something new every day. > > Shannon > I had an experiaence the other day when I rang one of my customers and got put on hold. They had the funkiest blues guitar instrumental stuff playing on the hold music. It was't the radio as it was interspersed with messages about their services. I thought it was pretty darn cool!!! -- Daniel Bruce | Genasys II Pty Ltd, Sydney, Australia | "Born under a bad sign, been down since I began to crawl | If it wasn't for Bad Luck, Wouldn't have no luck at all" | Albert King | Internet: danielb@g2syd.genasys.com.au ========================================================================= Date: Tue, 17 Oct 1995 20:08:58 -0400 Reply-To: PITSBRGJon@AOL.COM From: "John Puleo. User" Subject: Who is the 18 year old guitarist? Comments: To: Bo.Carlsson@munin.dc.hks.se Can anyone tell me the name of the 18 year old guitarist from Texas who sounds alot like Stevie Ray Vaughn? I heard he was one of Stevies students. Would appreciate the help. John ========================================================================= Date: Tue, 17 Oct 1995 20:22:30 -0400 Reply-To: KGIBSON743@AOL.COM From: Kevin Gibson Subject: Tinsley Ellis Does anyone have any Ellis before he went solo? ========================================================================= Date: Tue, 17 Oct 1995 22:14:38 -0400 Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Please Mr. Foreman:Motor City Blues Comments: To: bit-listserv-blues-l@uunet.uu.net A week or so ago I posted information on a Little Sonny release on the Schoolkids' Record label and asked about the other release in this series, " Please Mr. Foreman":Motor City Blues at the Ann Arbor Blues & Jazz Festival 1973 (SKR 2101-2). I managed to find a copy of this on a trip to Chicago over the weekend. Thought I better let others know about it. The disc consists of live recordings from Detroit blues artists who for the most part didn't get much opportunity to record. There are a few recognizable names: Dr. Ross, Eddie Burns, Eddie Kirkland but many with limited exposure. Like the Little Sonny disc, sound quality for a live recording is very good. Angelo, my cockatoo, rates this disc very high ( based on his attempts to sing along with the music)! Little Junior - I Got My Eyes On You Joe L - Please Mr. Foreman/In The Evening Bobo Jenkins - 24 Years/Reelin' and Rockin' Had a 45 on on Chess "Democrat Blues" recorded in 1954. Also on Blues Classics #6 One String Sam - I Need $100/I Got to Go Recorded 2 sides for the JVB label on a one string diddley bo recorded around 1956. This is his only other recording Johnny Mae Matthews - Send You Back to Georgia Found nothing in Blues Records about this female blues artist Washboard Willie - Wee Baby Blues Recorded an LP on the Barrelhouse label (#01) in 1964 and 2 singles on the JVB label recorded in 1956. I recall a blues magazine cover ( Living Blues?) with him performing on the street Dr Ross - Boogie Disease Probably one of the better known/documented artists. Check out his Arhoolie release Boogie Woogie Red - The Viper Song/Red's Boogie Has only one song on a Decca lp recorded in 1960 Baby Boy Warren - Too Many Drivers/She's Fine Recorded a number of sides - available on a bootleg LP a few years ago. Originally released mostly on obscure indy labels in the Detroit area Eddie Guitar Burns - Better Watch What You're Doing Probably best known for backing John Lee Hooker in his early days. Has a few releases currently available Mr. Bo - Don't Want No Woman Had a few releases in the 60s - mostly small labels Eddie Kirkland - I Got The Blues (Eddie & his band sound a little out of tune here, but John Sinclair says he was doing flips while playing so maybe he has an excuse. Of course you can't appreciate those flips on the CD) Of course Eddie has a number of recordings currently available. Try the Trix label releases or It's The Blues Man! (OBCCD513-2) The discs finishes with an 11:28 minute interview of John Sinclair, the producer of this event about putting the Ann Arbor Festival together. IN summary, a fine release with a lot of under-recorded artists. Definitely worth checking out. I hope they sell enough of these to continue putting out more in this series. It sounds like John Sinclair has quite a few other tapes from these festivals stashed away. Art Schuna ========================================================================= Date: Tue, 17 Oct 1995 09:44:00 -0700 Reply-To: NED_KRAFT@HP0000.DESK.HP.COM From: Ned Kraft Subject: Recorder Thanks for the question P.W. I was thinking along similar lines myself. Here's what we did until our four track crapped out. Vocals - direct out of PA to one track Drums/bass - bass direct + 3 drum mics into a 4 channel Radio Shack mixer --> one track Harp - mic to one track Guitar - mic to one track Then you can easily set levels and mix down. A cheaper and easier way to get an idea of how you sound if to use a standard cassette recorder with a stereo mic (the Radio Shack ones work OK). Being able to mix is cool and I'm spoiled. Since I'm shopping for a new setup any recommendations would be appreciated. Another advantage of the 4 track is that all the stuff is on stage - you can tape your sound check, adjust levels and be in business. Bring headphones. Dirty Ned Hoosier Daddy ========================================================================= Date: Wed, 18 Oct 1995 06:18:34 GMT Reply-To: Doc Doc From: Doc Doc Organization: Internet Texoma, Inc. Subject: Kirby Kelley Band or Black Dog Blues Band Info Comments: To: bit-listserv-blues-l@uunet.uu.net Heard a slide played named Kirby Kelley. He is from St Louis and has been playing in the Dallas Fort Worth area for about 3-4years. He did some tracks for Bugs Hendersons latest albumn (yet to be released). Have seen him in the guitar mags Ad'ing for Ibanez. Just concluded some shows at the Texas Fair. This is about all I know. ANy additional info would be appreciated. ========================================================================= Date: Wed, 18 Oct 1995 00:57:04 -0400 Reply-To: Fretman6@AOL.COM From: "J.B. Eanes" Subject: Where's Larry McCray? Blues-Lers, I'm looking for Larry McCray. I heard he's playing in Boston this week and was wondering if anyone in CT of RI etc...could tell me if he's heading to New Haven or Providence (or anywhere in the area). Please check your local club listings and get back with me if you would. I would really apreciate it. If you've never Larry live, I highly recommend catching his show. He does great guitar work and is really an underrated singer. Check his latest on Pointblank "Delta Hurricane" it's a great CD and I've played it thousands of times and it still does'nt get old. Not to mention Larry is just a real nice guy too. He always takes time to talk to all the people that come out to support the blues. If you see him tell J.B. is looking for him and I'm in New London, CT right now for the winter. Thanx, J.B. Eanes (from VA). ========================================================================= Date: Tue, 17 Oct 1995 22:04:22 +0100 Reply-To: "J. Witteveen" From: "J. Witteveen" Subject: James Cotton Greetings all! A few people have mentioned James Cotton's new album - was this just released? I've got his Blind Pig release, and heard a few tracks from a fairly recent release (but didn't buy it cuz the vocals were just painful to listen to), but I haven't heard anything really new...but that's not what I wanted to talk about... it's James Cotton - The Best of the Verve Years. WOW! I must say, this is one of the best blues albums I own, and it proves that James Cotton did at one time have a magnificent, powerful voice - esp. Good Time Charlie and The Creeper. And of course, the ever-present and knowledgable Dick Shurman did the liner notes! Unfortunately, there's not enough of James' great harp, but I love the horn charts on a lot of the tracks. Now a question: what happened to his voice? Was it just over-use, wear and tear, or was there an illness involved? Thanks, and I'll keep enjoying this one for a long time! -Jim (hndful@uniserve.com) ========================================================================= Date: Tue, 17 Oct 1995 22:59:11 -0800 Reply-To: Bob Hardin From: Bob Hardin Subject: Re: long john hunter > > From: Bill Morgan > > > I don't know a thing about > > Long John Hunter except that he's a fine singer and guitarist. His > > saxophonist was a standout as well. They had sort of a duel in one > > song, which showed off a deadpan sense of humor. > >That would be Art Lewis. Art has played sax with LJH off and on for more than >30 years. If I'm not mistaken, I believe there was a cover story on Long John >Hunter in Living Blues a few years back. --------------- I saw Long John Hunter here in Ojai two weekends ago at the Bowlful of Blues. He was here by himself, backed up by the Bowlful of Blues House Band, and he had some fun with them. You could tell they were working to keep up. No mention of Art. Anyway, here's his bio according to F.A.R.M. (Foundation of American Roots Music) who sponsored the Bowlful: "...Long John Hunter, born in Shreveport, Louisiana on July 13, 1931, was raised on a farm in the backwoods of Magnolia, Arkansas. The son of a sharecropper and the oldest of ten children, he worked picking cotton as a boy and earned 30 cents for every 100 pounds picked. The only music he heard during those years was some occasional country and western that drifted out of the bossman's house. "Onlything I ever knew was plow that mule 'til he dropped, then wake him up and plow him some more." When he was 22 the Hunter family relocated to the Beaumont, Port Arthur, "Golden Triangle" area of Texas, and John secured a job in a box factory. One night while attending a B. B. King concert with some co-workers, his life was transformed, literally overnight. so inspired was he by that B.B. performance, a strong feeling overcame him that, "yea, I could do that." He went out the next day and bought himself a blond Fender Telecaster guitar and small amp, and by the next night had made his way onto the stage of a small club with two friends, making $2.50 for playing the same two songs over and over. "I haven't been without a gig since." So stated Long John from his Living Blues Magazine interview (Issue #16, August, '94). Within a year he was playing the same club where he had seen B.B. King, the Raven Club in Beaumont. Don Robey of Duke Records in Houston became interested enough to sign Hunter and his combo, the Hollywood Bearcats, and in 1954 the group moved 100 miles west over to the big city and a chance of more opportunity. They kicked around the local blues joints for a couple of years to moderate success, and then on the advice of a cousin and in the spur of the moment, Long John decided to make a move out to El Paso in West Texas. The night he arrived he landed a gig in a wild all-night club across the Rio Grande in Juarez, Mexico called the Lobby Bar. It was there that Long John Hunter was to reign as the house act for the next 13 years. It was a 'colorful' venue to be sure, the clientele made up of a rough and tumble, southwestern border town mixture of wild men and even wilder women, and the job description was to play from 8 pm to sunup, seven nights a week. After returning to the U.S. in the 70's Hunter settled down in Odessa, Texas, continuing to perform his vintage Texas rock 'n roll-tinged blues he had honed over the previous 20 years. It wasn't until 1992 that he recorded his first American album, "Ride With Me," on Spindletop Records out of Austin, to be hailed "the Texas blues event of the decade." He subsequently has toured in Europe, started playing U.S. festivals including the San Fransisco Blues Festival in '93, and is soon to release a much anticipated new album. ..." ------------ And we thoroughly enjoyed him!! Bob ========================================================================= Date: Wed, 18 Oct 1995 01:37:02 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: KIRBY KELLEY BAND OR BLACK DO > From: Doc Doc > Heard a slide played named Kirby Kelley. If you're in the DFW area he plays every Tuesday night at the Blue Cat Blues Club in Dallas on Commerce street. I believe he also plays in a band called the Ferris and Clark Expedition. Don O. ========================================================================= Date: Wed, 18 Oct 1995 00:46:25 -0700 Reply-To: bluesdj@HALCYON.COM From: Roberta Penn Subject: Re: Capricorn vs HOB In-Reply-To: <199510180405.AAA27651@listserv.brown.edu> I am saddened to hear that the Fat Possum artists want to go over to the HOB label. And it's not because the HOB TV show was so un-bluesy, it's because the only HOB release I've heard is the live one of the Blind Boys of Alabama. They are a great group and give amazing shows, but the one at the HOB that made it onto disc is uninspired at best. I hope that Kimbrough, Burnside, etc... will be treated with more artistic vision and respect. What artists is Lee putting on his new label? Roberta ========================================================================= Date: Wed, 18 Oct 1995 07:52:51 GMT Reply-To: marc@az.vub.ac.be From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: BLUES-L tape QUESTION Comments: To: bit-listserv-blues-l@Belgium.EU.net Hello, As you may know by now, Bob Unger gave me permission to design the cover for the 3th blues-l tape/cd. I've already made some sketches but I still like to know something more of you all, bluespeople... If I say "BLUES", tell me what kinda attributes you think about : What makes a man a bluesman, what makes a woman a blueswoman... And then I think of things like : harps, beards, sunglasses,... I've made a cartoon of a band playin' some blues, but would like to put some more accent on the blues itself, so you see it's a BLUESband. Let me know ! embee. ps. I appreciate private email. ========================================================================= Date: Wed, 18 Oct 1995 01:08:00 -0700 Reply-To: Chris.Hauge@NCAL.KAIPERM.ORG From: Chris Hauge Subject: charles brown i just received the new "charles brown" cd for my birthday from a friend. my sixteen year old son loved it. i had mixed feelings about it. i thought there was to much piano. i have never heard this artist before. any comments from those who have heard it out there????....chris ========================================================================= Date: Wed, 18 Oct 1995 03:33:31 -0700 Reply-To: Jef Jaisun From: Jef Jaisun Subject: Your Net Activities for Sale (fwd) Comments: To: "Richard K. Worthington" Comments: cc: Jayne DeHaan , Rusty Williams , Aaron Torres , Malachi De AElfweald , Sam Longoria , Lorene Machado , Caroline Aiken In cyberspace, there is no Direct Mail Marketing association. L. Jefe -----------------------Peter Langston wrote------------------------ > From psl@wolfenet.com Tue Oct 17 16:20:47 1995 > Date: Tue, 17 Oct 95 16:05:40 -0700 > From: Peter Langston > Message-Id: <9510172305.AA00969@wolfenet.com> > To: Fun_People@wolfenet.com > Subject: Your Net Activities for Sale > Reply-To: psl@acm.org (Peter S. Langston) > > From: Alix Herrmann > (fwds fwded to /dev/null. Reproduced from the latest EPIC alert): > > ======================================================================= > [3] Your Net Activities for Sale (and what you can do) > ======================================================================= > > The Marketry company of Bellvue, Washington is now selling email > addresses of Internet users obtained from Newsgroup postings. From > the company's press release: > > "These are email address of individuals who are actively using > the Internet to obtain and transfer information. They have > demonstrated a substantial interest in specific area of information > on the Internet. They are regularly accessing information in their > interest areas from newsgroups, Internet chats and websites. . . . > The file is anticipated to grow at the rate of 250,000 E Mail > addresses per month, all with Interest selections." > > What are the interest areas currently available? "Adult, Computer, > Sports, Science, Education, News, Investor, Games, Entertainment > Religion, Pets." The release notes that "additional interests areas > will be added, please inquire." Activities of US and non-US Net users > will be included in the Marketry product. > > The Washington Post reported that the president of Markertry, Norm > Swent, would not disclose who the actual owner of the list is. "That > really is confidential information," Swent said, "and we are obviously > bound by confidentiality agreements with the list owner." > > WHAT YOU CAN DO: > > (a) Sit back, let your newsgroup postings get swept up by the data > scavengers and watch the junk email pile high on your system, or > > (b) Send email to Marketry and tell them to STOP SELLING PERSONAL > DATA GATHERED FROM THE NET. Send email to: listpeople@marketry.com > and tell your friends to send email. And tell your friends' friends. > > It's your name. It's your mailbox. Think about it. > ========================================================================= Date: Wed, 18 Oct 1995 10:38:55 GMT Reply-To: "Ian K. Mckenzie" From: "Ian K. Mckenzie" Subject: Re: Peter Green Comments: To: bit-listserv-blues-l@moderators.uu.net Dennis Miele wrote: >In article <951017012909_74763885@emout06.mail.aol.com> Peter R Unwin > writes: > >>I'd like to hear from anyone who knows about a new testimonial album of Peter >>Green songs made by contemporary artists. Also there is supposedly a >>biography about him being written. All I know is that he is living rough in >>London. Does anyone know more? > >I've heard a few cuts off this CD and found the covers to sound >"modernized" and the overall feel to be boring. I'd rather listen to the real >thing. > >Uh-oh, I hope the Opinion Police aren't listening! :-) Here in the UK Mick Fleetwood was interviewed at length by Paul Jones on his Rhythm and Blues Programme over the last couple of weeks. Fleetwood spoke in some detail about the new album - amongst other things saying that he was intending to get Ry Cooder to do Albatros for it. It seemed, from that conversation, that the new album was still in production and I wonder if the one referred to here is a "tribute" by Gary Moore, which I think is "in all good stores NOW" but which I haven't heard. Fleetwood said, amongst other things, that Peter Green is well and that he sees him (and Jeremy Spencer who is in a commune in the USA) regularly. There was no indication that he is living rough. Some rumours (joke?) circulated that PG had been working as a gravedigger. MF said "Not true" although he did do some work as a gardner. He says that PG is playing again. So who knows........ I recorded the interviews. If any one wants a copy of the tape, send a C90 cassette to me at 2, Kings Terrace, Southsea, Hampshire, England, PO5 3AR and I'll get a copy to you ASAP. *********************************************** Ian K. McKenzie University of Portsmouth England ************************************************** ========================================================================= Date: Wed, 18 Oct 1995 07:06:41 -5 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - October 18th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ALBERTSON, CHRIS(author/prod/BESSIE SMITH)b. 1931-1018, REYKJAVIK, ICELAND ALLEN, LEE (tsax/F.DOMINO/LITTLE RICHARD) d. 1994-1018, LOS ANGELES, CA 68 ALSTON, JAMIE (v) b. 1907-1018, ORANGE CTY, NC ARMSTEAD, JOSHIE JO (of THE IKETTES) b. 1944-1018, YAZOO CITY, MS BERRY, CHUCK (g/songw/CHESS REC) b. 1926-1018, ST. LOUIS, MO BOOGIE WOOGIE RED [VERNON HARRISON] (p) b. 1925-1018, RAYVILLE, LA BRIGHT, RONNIE(of THE VALENTINES/COASTERS)b. 1938-1018, LOS ANGELES, CA DANIELS, JULIUS (g) d. 1947-1018, CHARLOTTE, NC 44 DAVIS, GUSSIE LORD (songw/afro-amer) d. 1899-1018, WHITESTONE, NY 35 DOUGLAS, K. C. (g/MERCURY BOOGIE) d. 1975-1018, BERKELEY, CA 61 EDISON, THOMAS ALVA (phonograph inventor) d. 1931-1018, WEST ORGANGE, NJ 84 EVANS, PAUL A. "STUMP" (sax/cl/IDA COX) b. 1904-1018, LAWRENCE, KS HAYES, ROLAND "BOY BLUE" (hca) b. 1922-1018, LAUREL, MS HEMPHILL, JESSIE MAE BROOKS (g) b. 1933-1018,nCOMO, MS JONES, ORVILLE "HOPPY" (of The INK SPOTS) d. 1944-1018, EAST ELMHURST, NY 39 MCCOWIN, MICHAEL(of MIGHTY CLOUDS OF JOY) b. 1959-1018, STEARNS, MARSHALL WINSLOW (author) b. 1908-1018, CAMBRIDGE, MA STEELE, REBECCA WALKER (gospel) b. 1925-1018, LAKELAND, FL TEMPLE, JOHNNIE (v/g) b. 1906-1018, CANTON, MS THIBODEAUX, AMBROSE (cajun) b. 1903-1018, EUNICE, LA TROUP, BOBBY (p/songw/ROUTE 66) b. 1918-1018, HARRISBURG, PA WILLIAMS, L. C. (v/LIGHTNIN' HOPKINS) d. 1960-1018, HOUSTON, TX 36 ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 18 Oct 1995 07:29:31 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Blues Muzak--A Discovery Comments: To: Hanson123@AOL.COM On 17 Oct 95, Karen Hanson had this to say... > Seriously, there is something scary about Blues Muzak, isn't there? I'm > sorta new here, so I don't know if you all have discussed this before, but it > the blues is popping up in the strangest places lately. Example: Little > Walter's "Juke" as background for a weather report on FX channel. Also, the > consolation prize for Jeopardy for the past few weeks has been a CD > changer--when they show the picture on TV, there's Elmore James's King of the > Slide Guitar CD displayed next to it. > I'm not sure if all this "mainstreaming" is good or bad.......What do you all > think? I for one am stunned and dismayed. Just the thought of other people listening to Elmore James and Little Walter sends shivers up my spine. What would I do when I wanted to feel elite? I might have to turn to classical music. Muddy Waters just doesn't do it for me now that so many OTHER people are listening. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 18 Oct 1995 07:56:36 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: James Cotton Didn't James Cotton have throat cancer and surgery which has effected his voice ?? LW ========================================================================= Date: Wed, 18 Oct 1995 07:58:10 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Tampa Red/Hokum/John Hammond I been listening to Tampa Red and you got to "love that stuff"...Very, very good. I wonder about his influences... I like the hokum tunes a whole lot. I'm hokum dumb , so could someone recommend some of the best hokum available with good sound quality. One of the cuts on the Tampa Red is so noisy I just can't listen to it... I listened to John Hammond alot last night also and I changed my mind on his "version" of Preaching Blues. It blew me away last night, wow.... That's what's great about blues-l, Delta Doc talked about Hammond again, so I had to go home and give it some more listening....So thanks for CHANGING my view and making me go back and listen..... LW ========================================================================= Date: Wed, 18 Oct 1995 08:22:45 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Mark Sallings & Famous Unknowns I've had this CD a week or so and I tried to listen to it, but it wasn't working. Last night and the night before I gave it the attention that it deserves. This guy can play harp and nice sax also. I usually don't dig this type of music, but you can not deny that Mark can play the heck out of a harmonica...I'm more convinced with each listen. His vocals don't add anything but they don't hurt enough to make it a bad recording. I recommend to folks who like in-your-face harp playing, with an occasional rock/blues feel. The tune "Mighty Oaks" is really clever writing with the "Oaks" being the blues masters and goes on to say that folks like Anson, Chris Cain and others are carrying the blues on....You have to listen to know who his talking about.....Pretty good disc, if you like that kind of thang. It's on Vent Records, which is here in B'ham. I of course have no interest in Vent and they have NO interest in me.....yet :-)... LW 'The sun no longer SHINES on Johnny' MS (close enough) ========================================================================= Date: Wed, 18 Oct 1995 08:24:14 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Andrew Brown Comments: To: Joe Milon In-Reply-To: <199510170736.DAA18919@mail-e1a.megaweb.com> Black Magic is planning to release an Andrew Brown box next year including both his albums and possibly some earlier recordings. You may be able to get his LPs through Jazz Record Mart's mail order service (phone 312-222-1467). ========================================================================= Date: Wed, 18 Oct 1995 09:02:05 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Guitar Chat I never play my electrics anymore and my Epiphone has just been hanging on the wall and the Strat is kept in it's case. I noticed when I played the Epiphone the other night the action seemed to have raised... So I guess since I never play it, I should keep the strings loosened. I may sell this guitar since , the lack of playing on it may not be good for it It's a 67 Sorrenta and as Willy Evans or Craig Smoot can attest, it is a fine playing/sounding guitar. I may have to give it up and let a "real" player have some fun.....My wife probally would not let me sell it, but I hate for it to sit around without being played...... LW ========================================================================= Date: Wed, 18 Oct 1995 08:42:11 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Peter Green Comments: To: "Ian K. Mckenzie" In-Reply-To: <814012809.23753@ipcs.demon.co.uk> There are at least two Peter Green tributes out now. One is on Virgin in England; U.S. release seems to be delayed since it was originally slated for June. It's Gary Moore's BLUES FOR GREENY. The other is the 2 CD RATTLESNAKE GUITAR on Viceroy by various artists. I thought Gary Moore did a pretty tasteful job, though a little more frenetic than Green, who was a master of understatement. I thought RATTLESNAKE had a lot more "rattlesnake shakin'" (some will know/remember what that song was about) than Peter Green attitude to it; a lot of it sounded really overaggressive compared to the Fleetwood Mac originals. The biography (sorry I can't remember the title; maybe someone else can post the info) is somewhere between okay and definitive; it provides some enlightenment but left me with a feeling that not all the questions were answered. Anyhow, it's nice to see PG getting all this recognition while he's at least alive. There's also a double CD Fleetwood Mac Live On BBC on Castle in England; I think it's out already. ========================================================================= Date: Wed, 18 Oct 1995 09:21:03 -0500 Reply-To: Mark Gobeyn From: Mark Gobeyn Subject: james cotton Is there a brand new James Cotton record out? Or is the "new" cd people have been referring to the past couple of days actually his '94 release on Verve called "Living the Blues?" Just curious. Also, I've noticed a lot of commentary on this list concerning Luther Allison's recent work. No doubt that he is deserving of all the praise. For all who have recently tuned into Luther, may I recommend some recent titles by a similar talent, Jimmy Dawkins. It seems that he has never really received as much attention as he deserves. Check out the excellent '91 release "Kant Shek Deez Bluz" and the new cd "B Phur Real." ========================================================================= Date: Wed, 18 Oct 1995 10:27:00 EDT Reply-To: edward c liu From: edward c liu Subject: Re: Ad libbing Howdy all, Bob vanArsdall and LW have tossed in with their "ad-lib" stories... here's one I saw. This year at the Riverblues Festival in Philly, Elvin Bishop's band was playing on the big bandstand right on the riverfront. A ship passed by and honked while one of Elvin's sax player's was soloing. The sax player honked right back and continued to throw in honks to match the boat's. Crowd loved it. -- Ed Edward C. Liu | "I never say what I mean but I always manage edwick@cc.bellcore.com | to say something similar." | -- Eugene Ormandy The opinions in this message are mine and not Bellcore's. Really! ========================================================================= Date: Wed, 18 Oct 1995 09:34:30 -0500 Reply-To: Roger Struve From: Roger Struve Subject: John Hammond -Reply Comments: To: ISTS024%UABDPO.BITNET@uunet.uu.net Hey LW, Glad you liked it! Check out the LP's if you can find them...i forget which one has which songs on it, but Can't Beat the Kid, and Footwork (footloose?)...there is a studio version on one of these of Drop Down Mama, which is so COOL as to be incredible. Also, i highly recommend watching the Austin City Limits show (circa Nov/Dec 1990) where JH shares the bill with Shawn Colvin (her performance, while not blues, is mind boggling too---just as an aside---her performance is entirely solo acoustic, and she blew me completely away)....i consider this one hour tape of music (ACL) to be one of the finest hours that could ever be spent listening and watching too tremendous performers. BTW, anyone who can't get into Hammond, should oughta watch him perform either live or for instance on the above mentioned show....once you see him in action, the music will always grab you from then on...even if only on cd or casette in your car! Of course, as for CD's, Solo recorded live in 1976 at the Vanguard in NY (on vanguard label), and Live (recorded live at McCabe's in CA in 1980 (1?), are pretty great too. Check out Sail On....this is JH playing guitar in as expressive and soulful and deep blues as he gets. It is one dynamite song. best regards, delta doc roger ========================================================================= Date: Wed, 18 Oct 1995 10:30:00 -0400 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re: Tampa Red/Hokum/John Hammond Is there anything that we, the musicologically-challenged members of the List, should purchase/not purchase by Tampa Red? Curious in the cradle of the Russian empire, Joe J.E._Downey@bakermck.com ========================================================================= Date: Wed, 18 Oct 1995 09:48:19 CDT Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: "J.E. Downey" From: L W Subject: Re: Tampa Red/Hokum/John Hammond ----------------------------Original message---------------------------- >Is there anything that we, the musicologically-challenged members of >the List, should purchase/not purchase by Tampa Red? The on I have is Guitar Wizard on the Columbia/Legacy series. I like it alot, but from what I've read his best playing is usually when he's "backing" up someone else. I like the Hokum tunes a whole lot and I'll be doing some Tampa Red tunes in the near future.... I'm curious also, to which is THE Tampa Red recording. Does Tampa's "estate/?????????" own the rights to "Sweet Little Angel" and "It Hurts Me Too"........Just curious LW ========================================================================= Date: Wed, 18 Oct 1995 09:49:57 -0500 Reply-To: David Silberberg From: David Silberberg Subject: Re: Eric LeBlanc's Blues Dates - October 18th >------------------------------------------------------------------------------- >artist notes/full name yyyy-mmdd, city/county state age >------------------------------------------------------------------------------- >ALBERTSON, CHRIS(author/prod/BESSIE SMITH)b. 1931-1018, REYKJAVIK, ICELAND OK - how could he have produced Bessie Smith if he was born in 1931? And why in Iceland? >ARMSTEAD, JOSHIE JO (of THE IKETTES) b. 1944-1018, YAZOO CITY, MS Ahhhh - "The Gone Gone Song".... >BERRY, CHUCK (g/songw/CHESS REC) b. 1926-1018, ST. LOUIS, MO Jeeez - almost 70 - who knows where the time goes (sang Judy Collins).... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Wed, 18 Oct 1995 11:07:16 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Capricorn vs HOB Comments: To: bluesdj@halcyon.com On October 18, Roberta Penn (accidently) repeated erroneous information when she wrote: >>I am saddened to hear that the Fat Possum artists want to go >>over to the HOB >>label. And it's not because the HOB TV show was so >>un-bluesy, it's because the >>only HOB release I've heard is the live one of the Blind Boys >>of Alabama. They >>are a great group and give amazing shows, but the one at the >>HOB that made it >>onto disc is uninspired at best. I hope that Kimbrough, >>Burnside, etc... will be >>treated with more artistic vision and respect. >>What artists is Lee putting on his new label? >>Roberta No one is saying that the artists "want to go." It is simply a distribution deal that Fat Possum has with Capricorn and now they wish to be distributed by House of Blues Records. The artistic control of the music itself will remain with Fat Possum and their producers. I have heard nothing that indicates that HOB wants to have any creative imput. Peter Lee is very anxious to get Jerry Ricks for his first artist and long time music veteran Jim Dickinson has had long talks with Ricks and is anxious to produce him in his new studio on his Mississippi farm. Ricks is originally from Philadelphia and was one of the few black acoustic guitarists in the 1960s. He learned knee-to-knee from John Hurt, Brownie McGhee, Lonnie Johnson, Son House, etc. He lived in Europe for over 20 years and has many CDs there but no product available in this country. Peter Lee is talking to Ricks and, hopefully, they can reach an agreement and have something out soon. Ricks played at the 1995 Chicago Blues Fest where Brownie brought him onstage for an extended duet. Dick Waterman ========================================================================= Date: Wed, 18 Oct 1995 11:02:24 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Opinions on Drawing a Crowd Solicited The Greater Cincinnati Blues Society is planning on hosting a blues concert at Cincinnati's glitzy, brand-spanking-new arts center, the Aronoff Center, in downtown, in April. We have reserved a 440 seat theater. Last night was our GCBS board meeting, and we were discussing budget, advertising, etc., and most importantly, who to book to perform. I would like some *realistic* opinions on who you think the public would pay to see. Some of our board members (the ones who get on my nerves...but okay, I have a reputation of being a bit high-strung) want to bring in an old-time, obscure, acoustic artist in an attempt to "educate" the audience about blues (and, of course, please themselves). My point is that the general public audience is not going to pay $15-$20 for a ticket, plus parking in downtown, to see someone they've never heard of. If every single current member of our blues society attended, we wouldn't fill a 440 seat theatre (sad, but true). I think we need to find someone within our budget who has more mainstream appeal. I was, of course, branded as a heretic. So it goes. My suggestion for an artist was Saffire. Jimmy Rogers was also mentioned, but he's playing here for free twice within a 12-month period, so I can't logically imagine people paying $15-$20 plus parking to see someone they've seen or could've seen for free. We're at an impasse. Anyway, any ideas, advice, or opinions would be welcome. Thanks! Shannon ========================================================================= Date: Wed, 18 Oct 1995 10:16:00 CDT Reply-To: shannon oconnor Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: shannon oconnor From: L W Subject: Opinions on Drawing a Crowd Solicited ----------------------------Original message---------------------------- > would pay to see. Some of our board members (the ones who get on my > nerves...but okay, I have a reputation of being a bit high-strung) . want to bring in an old-time, obscure, acoustic artist in an attempt > to "educate" the audience about blues (and, of course, please > themselves). My point is that the general public audience is not > going to pay $15-$20 for a ticket, plus parking in downtown, to see > someone they've never heard of. If every single current member of our What's the "purpose" of the event...? I agree with "some of our board members" . That's why I am no longer associated with any "local" blues society. So I suggest Tab Benoit, Tinsley Ellis, Chris Durate, or someone like that. Thay always draw a big crowd. I have no idea what their fee is, but you can bet they will pack the place. No offense intended to anyone or their relatives....etc. LW 'who THINKS 'Blues in Blues Societies', should precede "Blues In Schools"' ========================================================================= Date: Wed, 18 Oct 1995 10:41:49 CST Reply-To: JBards From: JBards Subject: Re: Who is the 18 year old guitarist? Comments: To: PITSBRGJon@AOL.COM Tha's Kenny Wayne Shepard, and he's from Shreveport, La., which a lot us consider East Texas, I guess. He has a new CD out called "Ledbetter Hights". He sounds an awful lot like SRV now, but never had lessons from SRV, to the best of my knowledge. -Jim, live from Shreveport _______________________________________________________________________________ Subject: Who is the 18 year old guitarist? From: PITSBRGJon@AOL.COM at INTERNET-SH Date: 10/17/95 7:44 PM Can anyone tell me the name of the 18 year old guitarist from Texas who sounds alot like Stevie Ray Vaughn? I heard he was one of Stevies students. Would appreciate the help. John ========================================================================= Date: Wed, 18 Oct 1995 10:43:49 -0500 Reply-To: Arthur Schuna From: Arthur Schuna Subject: Re: R&B - Blues Comments: To: Tom Morgan Tom Morgan wrote: >Art, that was the point I was trying to make. By the time around 52 or 53 >when they started calling them Rhythm and Blues Charts, Louis was past >his hay day as you call it. This was a big surprise to me when I read it >in Louis's biography. There are also some very sad tales at that point in >Louis's career as record companies no longer promoted his releases and >dropped him to try and focus on the up and coming rock and rollers. Louis >was not real pleased also with the growing R n' B musicians as the >honking and shouting seemed much more raw to him than what his brand of >music. AS to rock and roll, the quote I remember best from the book >though I don't think that it was Louis that said it was that "Rock and >Roll was Rhythm and Blues without the music!." :) Most of the blues shouters from the immediate post war period were no longer "in" during this time. What's always struck me as strange is why did Big Joe Turner succeed during this era? I can't hear anything in his sound that was uniquely different from Wynonie Harris, Roy Brown, Louis Jordan, etc. I don't hear a difference in Big Joe's approach to the music between his earlier and later recordings. Was Atlantic just a better marketer than other labels? Did they just provide more payola to DJs? Just curious. Art Schuna ========================================================================= Date: Wed, 18 Oct 1995 09:12:00 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Guitar Chat Comments: To: BLUES-L@BROWNVM.BROWN.EDU. LW said: >I never play my electrics anymore and my Epiphone has just been hanging on >the wall and the Strat is kept in it's case. I noticed when I played the >Epiphone the other night the action seemed to have raised... > >So I guess since I never play it, I should keep the strings loosened. I may >sell this guitar since , the lack of playing on it may not be good for it Your guitar needs a good setup. The action changes, not because it isn't being played, but because of seasonal climatic changes. Changes in the average temperature/humidity can strongly affect the amount of truss rod tension needed to keep the neck straight. Don't loosen the strings, because the neck may do all kinds of funny stuff before it stabilizes again under tension. Basically you need to take the guitar to a *good* repair person and have them do a complete setup on it, and leave those strings on and tuned to pitch! Don *who has four electrics to get setup twice a year.....* ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Wed, 18 Oct 1995 11:14:30 PDT Reply-To: rjbauman@IQUEST.NET From: rjbauman@IQUEST.NET Subject: Re: charles brown Comments: To: Chris.Hauge@NCAL.KAIPERM.ORG >i just received the new "charles brown" cd for my birthday from a friend. >my sixteen year old son loved it. i had mixed feelings about it. i >thought there was to much piano. i have never heard this artist before. >any comments from those who have heard it out there????....chris > Isn't that like saying your whipped desert topping has too much cream in it? ========================================================================= Date: Wed, 18 Oct 1995 12:20:18 -0400 Reply-To: Tom Morgan From: Tom Morgan Subject: Re: R&B - Blues In-Reply-To: <199510181543.KAA33685@audumla.students.wisc.edu> from "Arthur Schuna" at Oct 18, 95 10:43:49 am In another time and place, Arthur Schuna said: > > Most of the blues shouters from the immediate post war period were no longer > "in" during this time. What's always struck me as strange is why did Big > Joe Turner succeed during this era? I can't hear anything in his sound that > was uniquely different from Wynonie Harris, Roy Brown, Louis Jordan, etc. I > don't hear a difference in Big Joe's approach to the music between his > earlier and later recordings. Was Atlantic just a better marketer than > other labels? Did they just provide more payola to DJs? Just curious. I can't really give you a good answer to a good question. I don't hear any differences either between Joe's early work and his Fifties stuff, hell even his Eighties stuff. :) Considering that "Shake Rattle and Roll" and "Corrine Corrina" were about the only two of Joe's to do anything in the Fifties, it might have involved payola. Jerry Wexler gives no explanation for Joe's success in his book nor any talk about payola. I also wonder if it was just happenstance as Shake Rattle and Roll just fit in perfectly with the growth of Rock n' Roll. As I said a good question. Tom ----------------------------------------------------------------------------- My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Wed, 18 Oct 1995 11:20:48 PDT Reply-To: rjbauman@IQUEST.NET From: rjbauman@IQUEST.NET Subject: Re: Ad libbing Comments: To: edward c liu Here's another one for you all: Koko Taylor shaking her fist at the heavens--- staring into the dark clouds belting "Don't mess with Mother Nature: You'll be SOORRY if you do!!!!" Her set in Memphis this spring took place outdoors in a driving rainstorm. ========================================================================= Date: Wed, 18 Oct 1995 12:24:18 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Opinions on Drawing a Crowd Solicited Comments: To: shannon_oconnor@swpco.com You haver the perfect artist right there in Ohio. There could be no one better that Robert Lockwood Junior. Because he performs as a duo (with bass player), he will not overwhelm a 440-capacity room. He lives in Cleveland so travel would not be a major problem. His blues credentials are impeccable for those people already familiar with blues. However, most important, he is a 1995 winner of the National Heritage Foundation Award which was given to him at the White House a few weeks ago and followed by a reception at a Washingon theater. This significant career recognition means that the 'mainstream' press of Cincinnati will surely take note of his prestige and give you the crossover media recognition that is perfect for an event like this. Robert's your man. No doubt about it. Dick Waterman ========================================================================= Date: Wed, 18 Oct 1995 16:29:15 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Opinions on Drawing a Crowd Solicited Comments: To: bit-listserv-blues-l@uunet.uu.net In <9509188140.AA814040081@smtpgate.swpco.com>, shannon oconnor writes: > The Greater Cincinnati Blues Society is planning on hosting a blues > concert at Cincinnati's glitzy, brand-spanking-new arts center, the > Aronoff Center, in downtown, in April. We have reserved a 440 seat > theater. > I would like some *realistic* opinions on who you think the public > would pay to see. Some of our board members (the ones who get on my > nerves...but okay, I have a reputation of being a bit high-strung) > want to bring in an old-time, obscure, acoustic artist in an attempt > to "educate" the audience about blues (and, of course, please > themselves). My point is that the general public audience is not > going to pay $15-$20 for a ticket, plus parking in downtown, to see > someone they've never heard of. If every single current member of our > blues society attended, we wouldn't fill a 440 seat theatre (sad, but > true). I think we need to find someone within our budget who has more > mainstream appeal. I was, of course, branded as a heretic. So it > goes. > > My suggestion for an artist was Saffire. Jimmy Rogers was also > mentioned, but he's playing here for free twice within a 12-month > period, so I can't logically imagine people paying $15-$20 plus > parking to see someone they've seen or could've seen for free. The number 1 rule of events is that if you promote it right, the audience will come. I'd encourage you to go with the traditional act. You'd be surprised at how well known some of those "obscure" artists really are if you get the local paper, radio and TV to help you promote. Besides, you DID start your blues society to promote and preserve the blues, didn't you? I'd let the local clubs book Saffire. As for Jimmy Rogers, he's uniformly great, As long as his free gig isn't the week before or after your event, go ahead and book him. Heck it'd be worth booking Jimmy Rogers just to get Tom Radai to come hang out for a day or two. Remember, you've got only a capacity of 440. Pitch the event as a high class date and you're sold. A tribute to X. Invite several local celebrities to appear in your PSAs or emcee the event. Have a local artist or band with a good following open the show. Get Gibson to give you a guitar to give away. Etc. By the way, when you write "old-time, obscure, acoustic artist" your biases are showing. Given that you think Saffire is a suitable act, I have to assume you appreciate traditional acoustic blues. Why not pay an ORIGINAL artist the highest tribute posiible - $$$. BBB ///////////////////////////////////////////////////////////// B.B. Bean bbbean@cris.com Team OS/2 strictlow@aol.com Bean & Bean Cotton/Bean Farms 75474.2654@compuserve.com \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ ========================================================================= Date: Wed, 18 Oct 1995 16:48:16 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: BESSIE SMITH Re: Eric LeBlanc's Blues Dates - October 1 Comments: To: bit-listserv-blues-l@uunet.uu.net >------------------------------------------------------------------------------- >artist notes/full name yyyy-mmdd, city/county state age >------------------------------------------------------------------------------- >ALBERTSON, CHRIS(author/prod/BESSIE SMITH)b. 1931-1018, REYKJAVIK, ICELAND OK - how could he have produced Bessie Smith if he was born in 1931? And why in Iceland? Chris of course did not produce BESSIE SMITH - Frank B. Walker (1889-1963) was her producer BUT Chris did write the biography on BESSIE SMITH & wrote the notes to the SONY/LEGACY series. As for producing, check out all those early Riverside/Bluesville albums (now on FANTASY OBC series) around Alberta Hunter, Ida Cox, Lonnie Johnson, Little Brother Montgomery etc. Chris now lives in NYC & his real name is CHRISTIERN GUNNAR ALBERTSON. As I have so little room in BLUES DATE, it can lead to misunderstanding :-) eRIC ========================================================================= Date: Wed, 18 Oct 1995 11:50:33 -0500 Reply-To: David Silberberg From: David Silberberg Subject: Re: R&B - Blues At 10:43 AM 10/18/95 -0500, Arthur Schuna wrote: > >Most of the blues shouters from the immediate post war period were no longer >"in" during this time. What's always struck me as strange is why did Big >Joe Turner succeed during this era? I can't hear anything in his sound that >was uniquely different from Wynonie Harris, Roy Brown, Louis Jordan, etc. I >don't hear a difference in Big Joe's approach to the music between his >earlier and later recordings. Was Atlantic just a better marketer than >other labels? Did they just provide more payola to DJs? Just curious. > I do hear a difference in the material: sounds to me like his Atlantic stuff was somewhat more pop oriented, more "youth" (if not exactly "teen") oriented: "Honey Hush", "Shake Rattle and Roll", "Corrinna" - more youth oriented than the more sophisticated / adult offerings of the other performers you mentioned. David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Wed, 18 Oct 1995 13:22:36 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Recorder quest over To all those who sent me advice on my recorder purchase (for recording gigs for reference), I thank you. The worst part (aside from facing my wife tonight) is over. I went with the Marantz PMD430 stereo cassette recorder. It was way too expensive but I felt that a DAT in the same general price range would be just a toy (fragile). My research lead me to realize that there is an enormous gap waiting to be filled. In terms of recording gear the area between $79 and $500 is almost completely empty. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 18 Oct 1995 19:00:58 GMT Reply-To: wgsicara@mailbox.syr.edu From: William G Sicaras Organization: Syracuse University, Syracuse NY, USA Subject: Re: CDnow & SRV CD's Comments: To: bit-listserv-blues-l@uunet.uu.net On the web, look at http:\\cdnow.com do a find music search, for Stevie Ray Vaughan. It will give a mega list of boot CD's! -Bill : I just joined this newsgroup, so I didn't see the previous messages on this : thread. Whats this about SRV CD's? ========================================================================= Date: Wed, 18 Oct 1995 14:06:21 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Dave Specter & Jack McDuff Bluezellers who are organ fans will be glad to know that yesterday Dave Specter brought in Jack McDuff for a Delmark session. They were only supposed to do three songs together and I was only able to catch the third one, but it was a cooker in the vintage McDuff mold. As I left they were negotiating over whether McDuf had the time and Delmark had the money for a fourth song before McDuff's flight. ========================================================================= Date: Wed, 18 Oct 1995 15:53:49 EDT Reply-To: "Eric C. Shoaf" From: "Eric C. Shoaf" Subject: John Hammond - Another Opinion I got my first John hammond record in 1971 after hearing it in a record store. Since then I've seen him live about a dozen times, watched him sweat, break strings, respond to audience requests "hey, when I'm drivin I go where I want", and talked to him over chinese food in Woonsocket RI. I'm a fan. I'd always appreciated the work he did on the film "Little Big Man" with Dustin Hoffman which came out in the early 70's. Great hounting stuff in spots where Hammond plays and just moans softly. Real hang-your- head-down music that didn't need vocals to be effective. I looked for the soundtrack to the movie for a long time (you know it ain't on CD) and finally found it just recently in Goldmine magazine. Too bad, they left the dialogue in so what you hear is the playing but also the actors. Not the end of the world because it really is a great movie (and its on video - might I suggest you rent it this weekend if you haven't seen it), but I would have liked to hear the playing in undiluted form. Still, Hammond can do it all in my book and the Delta Doc is right because sho 'nuff nobody was doin this stuff back in the early sixties when Hammond started and no one would have predicted that he would be making a decent living at it 35 years later. E. Shoaf Ask me about Vintage Guitar Magazine ========================================================================= Date: Wed, 18 Oct 1995 15:08:19 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Kim Wilson Talks Amps FYI: In the current Vintage Guitar, Kim Wilson talks about amps and other things. Pretty good stuff... LW ========================================================================= Date: Wed, 18 Oct 1995 16:47:14 -0500 Reply-To: Mike Heidenberg From: Mike Heidenberg Subject: Re: Peter Green Hi there. Dick Shurman wrote about the Live at the BBC 2-CD set by Peter Green's Fleetwood Mac. It _is_ quite nice indeed- lots of songs that are previously unreleased, as well as several live versions of some of the best tunes from PG's tenure in FM (Jumping at Shadows, Need Your Love So Bad, Stop Messin' Round, etc.). If I had to choose between getting this, getting Rattlesnake Shake, and getting Blues For Greeny, I'd definitely pick this. It's only available right now in the US as an import, though. After Live at the BBC, I'd choose Blues For Greeny (which, curiously, is also available only as an import in the US). Gary Moore definitely _is_ tasteful on this one, and I'm not even sure I'd necessarily characterize him as more "frenetic" than PG- perhaps more than the original album versions of the tunes, but not more than some of the live versions I have by PG of some of those tunes. Some of the tunes sound more like "typical" Gary Moore, it's true, but it's important to point out (for those who HATE Gary's overplaying) that Gary _never_ overplays on this release. He seems to have used PG's own playing speed as a guide, and never really plays faster than PG played (and PG _could_ play rather fast, for EFFECT, when he wanted to). Not the same as stuff by PG himself, but pretty close and definitely a labor of love.... I have heard some of Rattlesnake Guitar, and I think Dick's "Rattlesnake shakin'" analogy is apt. The playing is good, but it doesn't have that really "classic" and "moving" quality that PG's work does (and that Blues For Greeny emulates/evokes pretty well). No "chills," basically. However, this release may be worth getting for Rory Gallagher's contributions- his work, sadly some of his _last_ work, was very good- probably the best stuff on the albums (from what I've heard, anyway- I don't have this release). An added point in its favor, I guess, is that it's the only one of the three that is available in the US as a non-import. Still, if you know PG's work, you may be disappointed by this tribute; if you don't know his work, then this isn't really going to give you an idea of what he sounds like...... BTW, what's this about PG playing again????? -Mike ========================================================================= Date: Wed, 18 Oct 1995 14:25:27 PDT Reply-To: Gordon Fehlman From: Gordon Fehlman Subject: Re: no blues Can anyone give me names and phone numbers of companies that build amp road cases? I need one for my 64 Deluxe Reverb. Thanks in advance Gordon gjf5@pge.com ========================================================================= Date: Wed, 18 Oct 1995 17:36:30 -0400 Reply-To: Sam Lawton From: Sam Lawton Subject: Who's in Chicago 10/25-29? I have the privilege of visiting Chicago while on the company payroll, October 25 to 29. I'd appreciate any info regarding who will be playing where. I'd love to see Otis Rush if he's in town. Any recommendations? ========================================================================= Date: Wed, 18 Oct 1995 17:49:56 -0400 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: Tampa Red Comments: To: L W In-Reply-To: On Wed, 18 Oct 1995, L W wrote: > I been listening to Tampa Red and you got to "love that stuff"...Very, very > good. I wonder about his influences... Tampa Red was influenced by a street musician and singer in Tampa, FL, who was called Piccolo Pete. He was the guy who first taught Tampa the blues on guitar. He was also influenced by the sound of Hawaiian guitar, which was extremely popular from about 1915 into the 1930's. As for THE Tampa Red recording, it would probably have to be his instrumental "You Got To Reap What You Sow", a song that is as moving as Blind Willie Johnson's "Dark Was The Night, Cold Was The Ground". Most of his songs are usually associated with the artists that covered them: "It Hurts Me Too" - Elmore James; "Crying Won't Help You" - Robert Nighthawk; "Don't Lie To Me" - Elvin Bishop; and "Love Her With A Feeling" - Anson Funderburgh & The Rockets. His work is available in 15 volumes on Document, but that's probably more than the average person would care to buy. Check out recent releases on the Indigo and Story of Blues labels at the CD Connection (cdconnection.com) Pen & Brenda Bogert Louisville KY ========================================================================= Date: Wed, 18 Oct 1995 15:20:15 -0800 Reply-To: Rich Del Grosso Comments: Authenticated sender is From: Rich Del Grosso Subject: Pee Wee Crayton Recordings Good folks of Blues-L, Anyone have a good source for old records on the west coast? I'm looking for old recordings of Pee Wee Crayton, the originals on the Aladdin or Imperial label. Any ideas? Thanks for you help. Rich DelGrosso Rich DelGrosso Blues Revue Magazine ========================================================================= Date: Wed, 18 Oct 1995 18:26:33 -0400 Reply-To: Patricia Norris From: Patricia Norris Subject: John Hammond - Another Opinion E Shoaf wrote: >I'd always appreciated the work he did on the film "Little Big >Man" with Dustin Hoffman which came out in the early 70's. Great hounting >stuff in spots where Hammond plays and just moans softly. Real hang-your- >head-down music that didn't need vocals to be effective. I agree....Little Big Man is one of my favorite movies of all time....and some great Blues, too. Another soundtrack I'd love to find is Southern Comfort. I watched the movie a second time only to hear Ry Cooder....the movie gave me the willies.....but OOOOOOH that music! Pat N. ========================================================================= Date: Wed, 18 Oct 1995 18:39:45 -0400 Reply-To: Philip and/or Carol Decker From: Philip and/or Carol Decker Organization: Net Sarasota Subject: Recordings of "Crossroads"? Comments: To: bit-listserv-blues-l@uunet.uu.net I have Robert Johnson's and Cream's recordings of Crossroads, and was wondering who else has recorded it. I'd particularly like a less muddy version of Cream's arrangement than the Live at the Fillmore performance on Wheels of Fire. Shame SRV never did it. PJD ========================================================================= Date: Wed, 18 Oct 1995 15:49:21 -0700 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Pee Wee Crayton Recordings Rich Del Grosso wrote: > >Good folks of Blues-L, > >Anyone have a good source for old records on the west coast? >I'm looking for old recordings of Pee Wee Crayton, the originals on >the Aladdin or Imperial label. Any ideas? >Thanks for you help. If you want the *music* but don't need to have the original recordings, all his Imperial and Aladdin stuff is being reissued by Capitol onto CD. It's due out in February or March 96. Mary Katherine ========================================================================= Date: Thu, 19 Oct 1995 20:46:50 GMT Reply-To: Andrew Gregg From: Andrew Gregg Organization: Department of Primary Industry Subject: Re: Recorder for performances In article <199510171414.KAA97969@tequesta.gate.net>, "P.W. Fenton" wrote: >Whenever I listen to a recording that has been made at one of my own >performances, I learn a whole lot about what we need to work on. I >plan to start recording all performances for this purpose primarily. >Can anybody recommend some type of recorder, better than a boom box, >that would be good for live ambient stereo recording at gigs? > >There used to be several high quality cassette portables designed for >professional reporters but most of these seem to have disappeared. > >I'm interested in analog cassette, and/or DAT and price is very >important. PW, This post kinda assumes youve got a four track. I use my tascam four track. I use three mikes and a lineout from the desk. I then mix the various sounds and get quite good live sounds. Try using PZM's attached to largish plexigass panels in front of stage and a pair of vocal mikes each side at around a 1/3rd of the total room distance. You can futz around and get a great sound at the mixdown stage. However its a royal pain in the ass to set up! ********************************************************************** * Andrew Gregg * * * Dept of Primary * I see angels on Ariels * * Industry * in leather & chrome * * ooOO00OOoo * Swooping down from heaven * * Email : * to carry me home * * mpagregg@aries.dpi.tas.gov.au * * * * - Richard Thompson * ********************************************************************** ========================================================================= Date: Wed, 18 Oct 1995 21:22:21 -0400 Reply-To: James Leftwich From: James Leftwich Subject: Re: B Guy Comments: To: Rob Varak In-Reply-To: Hey, I have an LP which I've never seen on CD. It's also a live at the Checkerboard Lounge recorded sometime in the '60s I would think. It's on Chess and features Buddy, Muddy, the Wolf, Willie Dixon all live. Is this a collector's item? The music is outstanding. Jim ========================================================================= Date: Wed, 18 Oct 1995 21:23:46 -0400 Reply-To: James Leftwich From: James Leftwich Subject: Blues in B Hey, I have a blues harp in E. Can someone supply a couple tunes in B that I could jam with? What key is the best for a harmonica? Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" :) ========================================================================= Date: Wed, 18 Oct 1995 23:45:07 -0400 Reply-To: Hanson123@AOL.COM From: Karen Hanson Subject: Re: Blues Muzak--A Discovery Mr. P.W. Fenton, I'm not sure how you meant your note--Hopefully, your sarcasm was not directed at me. Since you don't really know me or anything about me, I'm going to assume not. I never considered the idea of elitism. I don't really care what other people listen to. One thing that bothers me a bit about this "mainstreaming" is that it might dilute the quality of the music due to musicians "jumping on the bandwagon" (sorry for the cliche). This has happened with "alternative music", which is no longer the alternative, but the norm. That in itself is not a problem...fly-by-night, one-hit-wonder bands, (yikes--more cliches) "I'll buy anything as long as it's labeled "alternative" mentalities...that's the problem. Sort of like when a pro sports league expands...Does this make any sense at all? But, truthfully, I really don't know. I haven't formed a solid opinion. Which is why I asked. I wanted to hear what other people had to say. I don't know much. But I listen real well. Thanks for your input. Karen ========================================================================= Date: Wed, 18 Oct 1995 23:50:03 -0500 Reply-To: Bill Balcerzak From: Bill Balcerzak Subject: Mississippi Blues Musicians map I would like to announce the completion of the Mississippi Blues Musicians map. This is a project I've worked on with the help of Jim O'Neal of Rooster Blues Records and others. Blues-l's own beloved Eric "The Date Man" LeBlanc also help with error checking. The map shows the birth place of over 230 musicians and can be seen at the Blues Mall on the Blue Highway http://www.vivanet.com/~blues. It will also be advertised in the next issue of Living Blues (Nov/Dec) and - as soon as I can come up with the money - the Feb/Mar issue of Blues Review. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Bill Balcerzak (Ball-sir-zak) /* bill@gis.mces.msstate.edu Extension GIS, Box 9642 /* TEL: 601.325.8321 Mississippi State, MS 39762 /* FAX: 601.325.7844 ========================================================================= Date: Thu, 19 Oct 1995 00:16:25 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: jerry ricks > From: Dick Waterman > Peter Lee is very anxious to get Jerry Ricks for his first artist Oh yeah! Now we're talkin! Best news I've heard in a long time. Jerry Ricks is a wonderful artist that has gone WAY too long without a U.S. record deal. Don O. ========================================================================= Date: Thu, 19 Oct 1995 01:50:23 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: Recorder for performances Comments: To: Andrew Gregg , "P.W. Fenton" On Thu, 19 Oct 1995 20:46:50 GMT Andrew Gregg wrote: >In article <199510171414.KAA97969@tequesta.gate.net>, > "P.W. Fenton" wrote: >>Whenever I listen to a recording that has been made at one of my own >>performances, I learn a whole lot about what we need to work on. If you can bring yourself to re-record over last week's tape, get a DAT, the Sony DTC-D7 is a great little machine. Record @ 32Khz and you get 4 hours on one tape. Use a pair of Radio Shack PZM's, try 'em on the floor on either side of *you*. They'll have to forward of the PA cabs to get the vocals, but, I don't think they need to be in the audience and the floor makes a great backing plate for PZMs. This is not going to produce the most pleasing room sound, but, for documentary purposes should be fine. If you're like me and you hate to tape over yourself, get a 4-track. Tape length becomes a problem here. 120 min tapes are much more fragile than 90's. If the deck has a pitch (variable speed) control, you can slow down the tape and get more time on a 90. The tape will only sound right when played back at that speed, so leave a little bit of speed adjustment when you record (maybe mark the dial and case like you would a flywheel and block). Changing the tape speed affects the frequency response (even faster isn;t necessarily better), it's best at the design speed. If you want to run 3 mics and a line out, make sure the deck records on 4 tracks at once (cheaper ones record on only two). The built in mixing allows you to listen to just one track and really isolate problems, mistakes, missing groove, etc. Good Luck Mike ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Thu, 19 Oct 1995 02:20:20 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: Opinions on Drawing a Crowd Solicited Comments: To: shannon oconnor Shannon, Call some managers and ask them how much their artist can bring in and how much he costs. A good manager will try to sell you and will give you that kind of info. Let them help you. Maybe you should have 'em both. I'll bet the old acoustic guy works for a lot less than Tab and his band! Mike ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Thu, 19 Oct 1995 00:21:00 -0700 Reply-To: Chris.Hauge@NCAL.KAIPERM.ORG From: Chris Hauge Subject: new to the list after reading the list for a month or so and asking suggestions for starting my cd blues collection i finally was able to go shopping for some blues cds. most of the record stores here do not have a very big selection of blues. one of my friends suggested that i go downtown to a new and used record store to check out the blues collection. she was right they had a very big selectionof blues both new and used. i looked through all of them and came up with two cds that the people on the list recommended. (of course i forgot the list at home so i tried to remember names) i bought a used bob margolin "me and my guitar" i remembered the artist name and also a new luther allison "blue streak". i listened to bob margolin first and really liked it and thought i did well. then the luther allison cd came on and i couldn't get enough, this guy is great and i loved the guitar music. i work at night so i should have been in bed instead of listening to my new cds but i was on such a high from listening to luther that i couldn`t sleep. i can`t beleive i haven`t heard him before. i can`t wait to buy more of his music, hes great! i sure want to thank everyone who mentioned luther. next i`ll buy albert king. you have to realize its very exciting to us who haven`t listened to that many blues artist and what its like to hear someone like luther for the first time. what a great high......chris ========================================================================= Date: Thu, 19 Oct 1995 02:24:32 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: Blues in B Comments: To: James Leftwich E.C. on FTC: Tore Down - maybe I'll get back to you on this, I play a lot in the car and that deck is a 1/4 step slow/low or worse (I can't remember). I know I get some use out of my E. One thing I do is 'Never go anywhere without your harps'. If a song comes on on the radio and it moves me, I'll grab my harps and find the one for that key (by trial and error if I can't tell from the tonality of the song). You'd be suprised what you can play cross harp on. The best key for a harmonica, is..., the key... that... it sounds good in! :-) I see two possible questions here: What key of harp plays and sounds the best? ------------------------------------------- None really. It's a matter of taste as far as sound. I find a low G harp to be harder to play because you move more air through it and you have to make large changes in your mouth and throat to bend. A harp higher than an Eb sounds tinny and kind of lame to me. That keys are the most useful to have? -------------------------------------- Get an A harp so you can play with all the slide players that tune to E. Get a C harp to do Stormy Monday and other G stuff, including slide. Get a D to play in A (my fave right now), another guitar player fav key. Get a harp, then a few more. Get yourself a bag and you got... A Bag-O-Harps Mike On Wed, 18 Oct 1995 21:23:46 -0400 James Leftwich wrote: >Hey, > >I have a blues harp in E. Can someone supply a couple tunes in B that I >could jam with? What key is the best for a harmonica? > >Jim Leftwich >leftwich@cloud9.net >"I'm on cloud9!" :) ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Thu, 19 Oct 1995 04:18:58 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - October 19th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ADAMS, MARIE (v/PEACOCK REC) b. 1925-1019, LINDEN, TX ASCH, MOSES (founder: FOLKWAYS REC) d. 1986-1019, NEW YORK CITY, NY 81 BANKS, BILLY (v) d. 1967-1019, TOKYO, JAPAN 59 BOLLIN, A. D. "ZUZU" (g/ANTONES REC) d. 1990-1019, DALLAS, TX 68 BURRAGE, RONNIE (p/d/vibes) b. 1959-1019, ST. LOUIS, MO CHAMBERS, HENDERSON C. (tbn) d. 1967-1019, NEW YORK CITY, NY 59 CHANCE, LARRY (lead/THE EARLS) b. 1940-1019, PHILADELPHIA, PA DIXON, ERIC (tsax/BASIE) d. 1989-1019, NEW YORK CITY, NY 59 DOTSON, JIMMY (g/b/ZYNN/FLYRIGHT REC) b. 1934-1019, ETHEL, LA GAYLES, BILLY (d/IKE TURNER) b. 1931-1019, SILKESTON, MO HART, WILBERT (of THE DELFONICS) b. 1947-1019, PHILADELPHIA, PA HEIDENBERG, MICHAEL S. (BLUES L MEMBER) b. 1973-1019, HOLLIDAY, JENNIFER (v) b. 1960-1019, HOUSTON, TX HOUSE, SON [EDDIE JAMES HOUSE JR.] (g) d. 1988-1019, DETROIT, MI 86 JONES, TOMMY "MAD DOG" (tsax) b. 1922-1019, CHICAGO, IL LANGFORD, WILLIAM S.(lead/GOLDEN GATE QT) d. 1969-1019, WINSTON-SALEM, NC 60 MCCLAIN,ALPHONSO(of MIGHTY CLOUDS OF JOY) b. 1966-1019, MCCRAE, GEORGE (v/prod/ROCK ME BABY) b. 1944-1019, WEST PALM BEACH, FL MOSS, EUGENE "BUDDY" (g) d. 1984-1019, ATLANTA, GA 70 PIANO RED (DR. FEELGOOD) (W. L. PERRYMAN) b. 1911-1019, HAMPTON, GA POWELL, JESSE (tsax/JUBILEE REC) d. 1982-1019, NEW YORK CITY, NY 58 REDD, SHARON (v) b. 1945-1019, NEW YORK CITY, NY SATHERLEY, ARTHUR EDWARD"UNCLE"(prod/a&r) b. 1889-1019, BRISTOL, UK TOSH, PETER [WINSTON HERBERT MACINTOSH](v)b. 1944-1019, WESTMORELAND,JAMICA WEAVER, ROBERT"LITTLE"(b g/BIG BAD SMITTY)d. 1993-1019, ST. LOUIS, MO 60 WILLIAMS, NAT D. "PROFESSOR" (dj/WDIA) b. 1907-1019, MEMPHIS, TN ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 19 Oct 1995 01:39:00 PDT Reply-To: Gary Joneson From: Gary Joneson Subject: Re: Blues in B >I have a blues harp in E. Can someone supply a couple tunes in B that I >could jam with? What key is the best for a harmonica? >Jim Leftwich Cool Disposition SBWII Fattening Frogs For Snakes SBWII Worried Life Little Walter Harmonica Blues Will Shade Gary King Biscuit Time http://www.island.net/~blues/ ========================================================================= Date: Thu, 19 Oct 1995 10:51:57 +0000 Reply-To: Philippe Gramoulle Comments: Authenticated sender is From: Philippe Gramoulle Subject: Little Jimmy King I bought,few months ago, the Little Jimmy King CD called 'Something inside of me' from Bulleyes Blues/Rounder Records and i was wondering if he had released a new album. I would be pleased to have any kind of info about him (like if he's been touring now ,what are the previous CDs he made). I know that he was very influenced by Albert king and Jimi Hendricks but as he plays on the CD with Tommy Shannon and Chris Layton (SRV bass and drum players),could anyone tell how is he considered in America ? (I'm think he's almost unknown in Europe) Thanks for all Philippe Philippe Gramoulle gram0733@eurobretagne.fr University of Brest France ========================================================================= Date: Thu, 19 Oct 1995 06:52:19 CST Reply-To: William Shute From: William Shute Subject: Walter "The Buzzard" Perry From: Bill Shute In several business/poliltical magazines this month, there is a two-page advertisement from the PFIZER Corporation (into pharmaceuticals and medical technology) with a great photo and text about a bluesman named Walter "The Buzzard" Perry, who is New York-based. To quote the ad text, "Today, thanks to medical technology developed at Pfizer, Walter has two new artificial knees, and he's mobile again." He sounds like a fascinating man. Once again from the ad, "Walter 'The Buzzard' Perry says he was born to be a songwriter. In fact, he carried his guitar with him on the Italian Front during World War II and serenaded his platoon. But l5 years ago, he started singing a different kind of blues." (the reference here is to his knee problems) Is anyone familiar with Mr. Perry? Has he recorded? Have you seen him live? Just from his picture, he appears to be a real character... Thanks in advance for any info... Bill Shute San Antonio, TX ========================================================================= Date: Thu, 19 Oct 1995 12:04:16 GMT Reply-To: Tommy Jansson From: Tommy Jansson Organization: Uppsala university Subject: Re: Big Wheeler? Comments: To: bit-listserv-blues-l@uunet.uu.net In article , rshurman@CCS.NSLSILUS.ORG says... > >Golden Wheeler hasn't recorded much, but he's also on Eddie King's Double >Trouble LP. (By the way, LW, Eddie King has been gone from Koko's band >for a few months; he was fired in Europe.) He's still around but low >profile; I've heard recent rumblings of health problems but also of plans >for another Delmark CD. Most of his live repertoire is Little Walter; >drummer/dj Steve Cushing wrote a lot of songs for the "Bone Orchard" CD. >I like his singing as much as or more than his playing. He's not a >virtuoso but he's the Real Deal; he learned harp from listening to Buster >Brown over the radio as a kid in Georgia. His younger brother James is a >busy guitarist around Chicago with Mississippi Heat, Gloria Thompson >Rodgers (who has a new homespun CD out called "Daddy's Girl") and studio >work with Billy Boy Arnold (whose Alligator CD with Wheeler, Margolin and >Sonny Leyland is due out at the end of the month), Lee "Shot" Williams, etc. Hi, Are you the Dick Shurman that writes in Jefferson. Schucks. I love your articles. A swedish bluesfan. ========================================================================= Date: Thu, 19 Oct 1995 07:13:25 CST Reply-To: William Shute From: William Shute Subject: Finis Tasby live (query) From: Bill Shute Tomorrow night, Billy Blues San Antonio is presenting a FREE 6 pm dinner show (a first for Billy's) by FINIS TASBY.Yes, I've read the reviews of his album and I remember his being discussed a while back on blues-l, but has anyone seen him live? What would we have in store for us? I may well take my children to this show. Any comments on Mr. Tasby's live performances would be appreciated. Thanks in advance... Bill Shute San Antonio, TX PS, later that night Billy's will be featuring one of my favorite bands, the hot Texas soul-blues of MIKE STOCKTON AND THE RHYTHMATORS (a show I don't want to miss--I gave their last show in SA a rave review on blues- l), with former Augie Meyers/Chris Holzhaus-sideman Danny Cowan opening. Speaking of Chris H. (I know he has many fans around the globe), now that he is no longer affiliated with Billy Blues, he's been keeping a somewhat low profile in SA, but seems to play one or two weekends a month at a dive called "WINGS" across from the Airport on 4l0. This place has failed under many formats (even failed as a topless "gentleman's club") and has always had a kind of scuzzy ambience, but I'd see a major player like Chris WHEREVER he is playing. I'll try to catch Chris soon and speak with him. His present blues-band line-up includes renowned jazz trombonist/bassist Jon Blondell on bass (some of you may know him from his work with Clifford Scott), and the interplay between these two masters is nothing short of telepathic. Hey, there are no windows in this Wings place, so maybe it's still a gentleman's club (as they are euphemistically called here in TX) in its present incarnation? I remember that once, as a gimmick, this place had an enclosed (a kind of tent-like structure behind the building) area behind the club where you could get your car washed by topless women. The sight of bikini-clad ladies holding up "topless carwash-- turn here" signs on the 4l0 access road was an absurdist scene I'll never forget(and NO, I didn't stop to get one...) ----------------------------------- ========================================================================= Date: Thu, 19 Oct 1995 14:24:28 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Walter "The Buzzard" Perry >From: Bill Shute > >In several business/poliltical magazines this month, there is a two-page >advertisement from the PFIZER Corporation (into pharmaceuticals and >medical technology) with a great photo and text about a bluesman >named Walter "The Buzzard" Perry, who is New York-based. > >To quote the ad text, "Today, thanks to medical technology developed >at Pfizer, Walter has two new artificial knees, and he's mobile again." Sorry - don t know anything about mr Perry - just got to think about Johnny Copeland. He apeared in the swedish TV program -MEDIX- this program was about artificial hearts. I did not see it - I found out to late. Bo ========================================================================= Date: Thu, 19 Oct 1995 07:43:09 -0500 Reply-To: James Foster From: James Foster Subject: Re: Pee Wee Crayton Recordings Comments: To: Rich Del Grosso At 3:20 PM 10/18/95, Rich Del Grosso wrote: >Good folks of Blues-L, > >Anyone have a good source for old records on the west coast? > >I'm looking for old recordings of Pee Wee Crayton, the originals on >the Aladdin or Imperial label. Any ideas? > >Thanks for you help. > >Rich DelGrosso >Rich DelGrosso >Blues Revue Magazine Some early Pee Wee Crayton material is slated to appear on the next batch of Capital re-issues. Specifically, there will be a 2-CD set titled something like "Texas Blues Guitarists" that will feature Crayton and Fulson and others. I'm not sure if this will be Crayton's Modern recordings or something else. These are slated to be released next Tuesday. James Foster ========================================================================= Date: Thu, 19 Oct 1995 07:53:01 CDT Reply-To: Chris.Hauge@NCAL.KAIPERM.ORG Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: Chris Hauge From: L W Subject: new to the list ----------------------------Original message---------------------------- >i sure want to thank everyone who mentioned luther. next i`ll buy albert >king. you have to realize its very exciting to us who haven`t listened >to that many blues artist and what its like to hear someone like luther for >the first time. what a great high......chris Jeez, you ain't heard nothing yet. Wait 'til you hear Albert King...WOW I like King of The Blues Guitar and Blues At Sunrise....If Luther keeps you awake you best listen to Albert on an evening when you don't have to go anywhere the next morning LW 'I'll Play The Blues For You' ========================================================================= Date: Thu, 19 Oct 1995 07:59:36 CDT Reply-To: Tommy Jansson Comments: To: bit-listserv-blues-l@uunet.uu.net Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: Tommy Jansson From: L W Organization: Uppsala university Subject: Re: Big Wheeler? ----------------------------Original message---------------------------- > >Golden Wheeler hasn't recorded much, but he's also on Eddie King's Double >Trouble LP. (By the way, LW, Eddie King has been gone from Koko's band >for a few months; he was fired in Europe.) He's still around but low >profile; I've heard recent rumblings of health problems but also of I wouldn't doubt that he would eventually have some health problems, but they ain't the same without Eddie. I'm not a fan of Vino's, too much hotdogging. Anyone know how long Eddie had been playing with Koko....? THANKS LW 'shocked that Eddie was fired' ========================================================================= Date: Thu, 19 Oct 1995 09:06:29 -0700 Reply-To: Steve Roberts From: Steve Roberts Subject: Re: James Cotton Yesterday, a few people mentioned James Cotton and his last few CDs. Couldn't resist chucking in my few cents worth... Mr. C's voice on "Living The Blues" does, indeed, take some getting used to, especially, as one Blues-Ler pointed out, in light of the change it's made since he recorded the excellent stuff that appears on "the Verve Years." Nevertheless, I own and highly recommend "Living the Blues." Even if it was the only good tune on the CD (which it's not, by far...) the title track alone is worth the purchase price. Cotton's harp work here is, perhaps, the his best ever, and it's beautifully complemented by the guitars (Larry McCray solos, with John Primer) and piano (Dr. John in a guest spot, if I'm not mistaken). It's the last song on a blues cassette I recorded to match my 35-40 minute commute to work, and, invariably, the tune I'm singing as I cruise in the front door. Cotton's is a pure blues voice, singing a pure blues song. Pretty much what it's all about, far as I'm concerned. Give the CD a listen...a bunch of y'all are bound to like it. S ========================================================================= Date: Thu, 19 Oct 1995 08:17:54 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Peter Green Comments: To: Mike Heidenberg In-Reply-To: There's at least one issue (Summer 1995) of a Peter Green newsletter called Green Info Globally (GiG). It's available from 'Jet' Martin Celmins, 1, Sea View, Woodland, Broughton-In-Furness, Cumbria LA20 6AG, United Kingdom. If he's playing again, I hope it's a radical transformation from the tapes I've heard from a few years ago. The guitar work then contained occasional flashes of the old authority, but the vocals were sad and lacked any "attitude." Unfortunately, it's taken a lot of wishful thinking to bring enjoyment to his output that I've heard from the last two decades or so. ========================================================================= Date: Thu, 19 Oct 1995 08:23:54 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Pee Wee Crayton Recordings Comments: To: Rich Del Grosso In-Reply-To: <9510182213.AA01984@thalia> I've heard that Pee Wee's Imperial sides are on the list for the Capitol reissue series. They're available on CD in Japan (Wild Blues Guitarist) or on LP from Japan (same title, hard to find) or France (Pathe, issued around 1984). I think but can't recall for sure that the Aladdins are on his Swedish Blues Boy LP. They're well worth tracking down. Imperial was when he started recording with a Fender and he did some nice stuff in New Orleans with Dave Bartholomew's band (he's also on some Bartholomew sides), and the Aladdins are tasty too even though he hated them because he thought they jinxed his career. ========================================================================= Date: Thu, 19 Oct 1995 07:37:15 -0700 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Pee Wee Crayton Recordings Comments: To: James Foster James Foster wrote: >Some early Pee Wee Crayton material is slated to appear on the next batch>of Capital re-issues. Specifically, there will be a 2-CD set titled>something like "Texas Blues Guitarists" that will feature Crayton and>Fulson and others. I'm not sure if this will be Crayton's Modern>recordings or something else. These are slated to be released next>Tuesday. > My understanding is that the guitar anthology has been put off till January or February release; also, Capitol is releasing and entire set of JUST Pee Wee Crayton, his Aladdin and Imperial sides, also February. Subject of course to the dreaded Change Without Notice. Mary Katherine ========================================================================= Date: Thu, 19 Oct 1995 10:48:46 -0400 Reply-To: RhythmShrk@AOL.COM From: Bernie Clarke Subject: Re: Supporting your fellow musicians by NOT trashing 'em I would like to point out that I personally get sick of everybody and their brother getting good reviews on blues-l, local newspapers and blues publications. People seem to have this fear of amking a negative comment about someone. It is totally appropriate to give a bad review of a performer if you thought their performance was not up to par. At the same time, lets keep the balance too. If their was a bright spot in the performance it is only fair to mention that too. If the sound was bad, then say that too. (As often as I have left a show because of a poor performance, I have left because the sound was unbearable.) As a professional musician and sound man, I would rather have people honestly tell me what they like and don't like about my band rather than just sit there and say, "You're awesome!" or "You suck!". I don't out a whole lot of stock in either of those comments, (the awesome one may make me feel better, but it's just about as informative.) In defense of LW, I have erad very good reviews of artists that he likes and is supportive of them. Personally, I will continue to support musicians that I like and will be the first to write here about ones that don't cut it. And let's remember here too, all that we read here are opinions. Consider the source and disagree if you disagree, but there is no reason to get offended or offensive. BC ========================================================================= Date: Thu, 19 Oct 1995 10:57:43 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Pee Wee Crayton Recordings Comments: To: jfoster@sedl.org Strange coincidence that Pee Wee Crayton's name came across the Blues-L today. I have been trying to identify all of the artists that I photographed at the Ann Arbor blues fests of 1969 and 1970. I had a couple of nice shots of a well dressed guitarist wearing a suit, white shirt, tie, etc. By process of checking roster against negatives, I realize that it is Pee Wee Crayton. Dick Waterman ========================================================================= Date: Thu, 19 Oct 1995 10:59:51 -0400 Reply-To: RhythmShrk@AOL.COM From: Bernie Clarke Subject: Re: Recorder for performances Comments: To: pwfenton@gate.net I would heartily recommend a DAT (get one that fits in your rack or put it in its own rack case) and a couple of high quality microphones (maybe small diaphragm condensers) and place them in a stereo configuration of choice. Even easier, there are binaural stereo mics that you can stick on plastic head and then listen on headphones. BC ========================================================================= Date: Thu, 19 Oct 1995 10:59:10 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0380 From: "DUTTWEILER.J" Subject: Atlanta Blues Society TO: Internet FROM: DUTTWEILER.J@GOMAIL SUBJECT: Atlanta Blues Society The recent discussion concerning Blues Societies has really wet my appetite to get *involved*. Much to my consternation, I have not been able to find any listing in area phone books or yellow pages for any Blues Society in the Atlanta area. I *know* there must be one and would appreciate any information anyone on the list might have conerning a Blues Society in the Atlanta area. Thanks in advance. Jon (wanting to get involved) Duttweiler ========================================================================= Date: Thu, 19 Oct 1995 10:09:38 CST Reply-To: William Shute From: William Shute Subject: Pee Wee Crayton From: Bill Shute As for Pee Wee Crayton's "modern" label sides on CD (there was a fine ACE lp in the early 80s), there is a recent Japanese "P-Vine" label CD with 19 or 20 tunes on it called "Blues After Hours." It's incredible stuff, and there are a number of instrumentals on it that highlight this man's amazing note-bending abilities on the guitar. If anyone needs the actual stock number or track listing, e-mail me privately and I'll bring in the disc from home. I anxiously await the reissue mentioned by MKA. In addition, though these are later recordings, Pee Wee Crayton's "vanguard" label album is widely available on CD. And a few CD's contain material Pee Wee did in the early 70s with Johnny Otis. Bill Shute San Antonio, TX where we take free speech rights seriously, but I guess we're just old-fashioned that way! Those who live on unearned income no doubt have a more "enlightened" view of free speech.I'm sorry, but those jackboots don't fit on me!!! ========================================================================= Date: Thu, 19 Oct 1995 10:40:16 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Blues Women My wife needs some suggestions on who to write abut this month. She'd like to do Bonnie Raitt (just in case no one knew she used to do blues) but we have to find good info on BR's "blues years". She has already written about: Bessie, MA, Koko, Rory, Debbie Davies,Big Mama, and most of the "classic" singers.... Any suggestions on modern performers, who have enough of a "history" to be interesting and also easy to obtain info about them THANKS LW ========================================================================= Date: Thu, 19 Oct 1995 12:43:41 EDT Reply-To: John Doukas From: John Doukas Subject: Bennie Moten & Count Basie Bill Shute's comments on the 1930 recording of "Somebody Stole my Gal" by Bennie Moten's Kansas City Orchestra were very insightful. If I may, I'd like to add a few comments of my own. While these may be more jazz than blues, what the hey. Read a little, learn a little. What strikes me most about "Somebody Stole my Gal" is the multiple influences in evidence: (1) an opening in the style of early Duke Ellington "jungle" music (e.g., the 1928 recording of "East St. Louis Toodle-oo"), with piano and banjo laying a hard rhythmic foundation for the blaring trumpets, (2) a piano solo straight out of the Fats Waller stride book, (3) a saxophone- stated melody in standard dance band style, with the expected solos, (4) Basie's scat vocal, reminiscent of the exuberant outbursts of Mr. Waller (check out Waller's first recording of "Somebody Stole my Gal" for a tremendous example of his artistry), (5) another stride solo, and finally (6) an unexpected accordion in the ending (a foreshadow of Franco-jazz?). A fun tune! An excellent source is the two CD "The History of Jazz: Kansas City and the South West" (Disky DCD 8004), available from Roots and Rhythm. Also including on this collection is the Moten's band 1925 recording "Kater Street Rag", with composer credits to Moten. To my ears this is a slightly altered version of the classic "Dippermouth Blues", recorded in 1923 by King Oliver's Creole Jazz Band, with credits to Oliver and Armstrong. What's your opinion, Bill? As to Bill's question regarding a "brass bass", it's what we generally refer to as a tuba. Finally, as to Bill's comment regarding Bennie Moten's reduced recording activities and his eventual death, they are not related. By the early thirties, Moten managed/directed the band, and Basie handled all the piano chores. Work and recordings were hard to come by because of the depression, however the band held together under Moten's name until his death in 1935 from complications following a tonsillectomy. Harper Barnes turned the death into a possible murder in the excellent mystery "Blue Monday" (Patrice Press), but in the afterword quotes trumpeter Ed Lewis as saying: "Bennie was a nervous type, and they had to use Novocain because he wouldn't let them put him to sleep. He got frightened when he felt the knife, and jumped, severed an artery and bled to death. It wasn't [the doctor's] fault, but people in Kansas City were so hurt over it that the poor fellow had to leave town." ========================================================================= Date: Thu, 19 Oct 1995 16:50:44 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Capitol/Polygram reissues Re: Pee Wee Crayton Recordings Comments: To: bit-listserv-blues-l@uunet.uu.net I also understand that in 1996, Capitol will come out with a SOUL STIRRERS set - their Aladdin sides with the wonderful R. H. HARRIS, a MERCY DEE set and another REDISCOVERED BLUES featuring BUMBLE BEE SLIM, SUNNYLAND SLIM & ARTHUR CRUDUP. Also for those who are keep track (like Bill S.), POLYGRAM will be issuing the "BLUES BOOGIE & BOP" boxset in limited edition (20,000 copies) on November 7 - with 172 cuts, you better save up you pennies! eRIC (I KNOW WHAT I WANT FOR XMAS ALREADY :-)) ========================================================================= Date: Thu, 19 Oct 1995 11:56:46 -0500 Reply-To: David Silberberg From: David Silberberg Subject: Re: Blues in B At 01:39 AM 10/19/95 PDT, Gary Joneson wrote: >>I have a blues harp in E. Can someone supply a couple tunes in B that I >>could jam with? What key is the best for a harmonica? >>Jim Leftwich > >Cool Disposition SBWII >Fattening Frogs For Snakes SBWII >Worried Life Little Walter >Harmonica Blues Will Shade > > OK - this will show just how "musically challenged" I am (altho I am terrific with the remote on the CD player): Can't you play any song in any key? If the above songs were in the key of B, couldn't you play them in C by just - ummmhhh - moving everything up a - hmmmmmm - half note? Or something like that? David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Thu, 19 Oct 1995 04:26:10 GMT Reply-To: Jim Farris From: Jim Farris Organization: New Age Documentation Subject: I'm Starting a List of SF Blues Clubs Comments: To: bit-listserv-blues-l@uunet.uu.net Fellow Blues lovers from the San Francisco Bay Area, The following is the start of a list of San Francisco Bay Area Blues clubs. It is only a partial list. With your help, we can make it a complete list. Fellow Blues lovers from all over the World will benefit from this list when they visit our area. Fremont Irvington Monument Saloon on Bay Street San Jose JJs Blues Downtown on 2nd Street near 2nd and Santa Clara streets JJs Blues Uptown on Stevens Creek Blvd. between Winchester and San Tomas Exprssway Almaden Feed and Fuel on Old Almaden Road just S of splitoff from Almaden Expressway Santa Clara CJs Sports Bar on Lafayette just N of El Camino Real Sunnyvale Lakewood Lounge on Lawrence Exprsway just N of US-101 near Dick's Market San Mateo Blues on B on corner of 2nd and B in downtown San Mateo Gionetti's on B 1/2 block W of Blues on B (can't remember name) 1/2 block E of Blues on B San Francisco Slim's South of Market Lou's Pier 47 just to the West of Fisherman's Wharf The Saloon Pat O'Shea's near Golden Gate Park Hotel Utah South of Market near 4th Street exit of US-80 Oakland Eli's Mile High Club Martin Luther King Way Yoshi's Nitespot on Claremont Street, the Berkeley end Jammin' Jim Farris KKUP 91.5 FM ========================================================================= Date: Thu, 19 Oct 1995 13:15:48 -0400 Reply-To: Tom Morgan From: Tom Morgan Subject: Re: Blues Women In-Reply-To: from "L W" at Oct 19, 95 10:40:16 am In another time and place, L W said: > > She has already written about: Bessie, MA, Koko, Rory, Debbie Davies,Big Mama, > and most of the "classic" singers.... > > Any suggestions on modern performers, who have enough of a "history" to be > interesting and also easy to obtain info about them How about Big Maybelle or Julia Lee? Tom ----------------------------------------------------------------------------- My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Thu, 19 Oct 1995 16:53:31 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Subject: Re: Supporting your fellow musicians by NOT trashing 'em Comments: To: bit-listserv-blues-l@uunet.uu.net In article <951019104846_75541921@mail04.mail.aol.com>, Bernie Clarke says: > >I would like to point out that I personally get sick of everybody and their >brother getting good reviews on blues-l, local newspapers and blues >publications. People seem to have this fear of amking a negative comment >about someone. Though I wholeheartedly agree with LW re: the artist in question who started this thread (couldn't wait for his performance at the Chicago Blues Festival to end and his disc is the only Fat Possum release I've passed on after getting an opportunity to preview it), I'm not sure how I feel about negative reviews. Personally, it is more of an issue of time. Given only so much time in a day to do postings and all of the good music out there, I'd much rather tell people about what I come across that I really like rather than waste that time giving thumbs down. Personal biases also influence these choices. Should I spend a couple of paragraphs lambasting an artist just because he may have a style that sounds more like run of the mill rock music with hints of blues? I recognize that many out there enjoy that style. In fact, all you have to do is look at the Billboard Blues Top recordings to figure out that those people are actually in the majority. Attacking these artists and their releases only leads to lengthy flaming discussions which do not change the opinions of the people involved in them. Another factor that leads to the number of positive reviews is the fact that most of us do not receive unsolicited free copies of new releases. We buy based on previous knowledge of an artist, favorable reviews or recommendations of people we trust. If you buy wisely and read a lot, your less likely to end up with losers. The same is true for performances. Unless you happen to be in a position to get complimentary passes, your less likely to put out money for artists that don't fit your definition of "good". Negative reviews are important for people to know about, but your more likely to get them from the blues press. In that setting, reviewers are generally sent promotional copies, are assigned to do that particular review, and they (probably) get paid for their effort (correct me if I'm wrong all of you blues press people out there :-) ). You should receive more of the negative side of things from the blues mags than from this list. Even in the blues press, I sometimes see that reviews do not always trash releases when perhaps they should. But one of their limitations is space to provide reviews. They may be more likely to tell you what's good and not bother to list the negative reviews just due to space limitations. I do believe that you can sometimes read between the lines when a less than great review appears. What does the blues press say on this issue? Art Schuna ========================================================================= Date: Thu, 19 Oct 1995 13:22:06 -0400 Reply-To: "Munson, Bill" From: "Munson, Bill" Subject: Re: 10 King Biscuit Boy, 2) Charles Brown, 3) Al Cromwell 1) Blues and Rhythm 103 reviews the new CD "Rollin' and Tumblin'", Various Artist, Indigo Records IGOCD 2029. Says it includes King Biscuit Boy and Ronnie Hawkins doing "Hoodoo Party". Can anyone tell me anything about this recording - I can't recall having seen anthing by Hawkins with Biscuit other than the first Cotillion LP (with Duane Allman, Scott Cushnie and the Muscle Shoals guys). 2) Chris Hauge wrote: >i just received the new "charles brown" cd for my birthday from a >friend. my sixteen year old son loved it. i had mixed feelings >about it. i thought there was to much piano. i have never heard >this artist before. any comments from those who have heard it out >there????....chris Funny thing, though I'd always heard of the guy I'd never heard his music until last Friday when a friend sent me one of those Grand Prix budget LPs from the early '60s. (I'd wanted it for the two otherwise- unavailable Jackie Shane cuts.) LP also has two Brown cuts ("Trouble Blues" and "Please Sing My Blues" and two more songs sung by Brown and Amos Milburn. All four are good, but the two by Brown alone are breathtakinly beautiful. 3) The Toronto Star recently ran the following: "Bluesman Al Cromwell Dies: Toronto's blues and folk communities are mourning the loss of Al Cromwell, a veteran acoustic performer best remembered as an integral member of the Yorkville-era folk fraternity. Crowmell, credited as one of the artists who helped launch the Mariposa festival in 1961, died in a Toronto hospital Thursday [ie, 28/09/95) after a battle with liver and pancreas ailments. He was 58." I can only add that he released only two recordings that I know of: singing folk on a mid-60s solo 45 and singing blues on the Live At Grossmans multi-artist LP of the early '80s. It was later reported that people are putting together a Cromwell compilation, but I know no more than that (but would like to if anyone else out there does). ========================================================================= Date: Thu, 19 Oct 1995 12:37:34 CDT Reply-To: ISTS024@UABDPO.BITNET Comments: RFC822 error: Invalid RFC822 field - "UABDPO.DPO.UAB.EDU (LMail V1.2a/1.8a) with BSMTP id 0854; Thu, 19 Oct 1995". Rest of header flushed. Comments: Resent-From: ISTS024@UABDPO From: L W ----------------------------Original message---------------------------- I still got to say, that anyone who gets up onstage and performs desverves a "way to go"...I just hate when it appears that they are just going through the motions... I just ate lunch at a resturant owned by the guy that ran the sound for the show Sunday. He said that he enjoyed the "artist", but he (and his wife) also commented on how well I played, that kind of takes away their credibility :-) >I sometimes see that reviews do not always trash releases when perhaps they >should. But one of One review that really sticks out in my mind was in a recent Living Blues, the reviewer absolutely trashed Sugar Blue's newest release... LW ========================================================================= Date: Thu, 19 Oct 1995 14:41:20 EST Reply-To: apaul@CLIFF.WHOI.EDU From: Alora Paul Subject: Re[2]: Blues Women how about etta james - ruth brown - lucille span - denise lasalle - queen ida (?) - marcia ball and her pals - the neville women - rory block...how about a piece that highlights up and coming women in the blues (me, no just kidding) could be folks like our own cathi norton or the more widely known new generation of blues women. who might that be anyway? just tossing these off the cuff, obviously. and sorry if i missed it - but where do your wife's articles appear? alora apaul@whoi.edu ______________________________ Reply Separator _________________________________ Subject: Re: Blues Women Author: Tom Morgan at WHOInet_Post_Office Date: 10/19/95 2:30 PM In another time and place, L W said: > > She has already written about: Bessie, MA, Koko, Rory, Debbie Davies,Big Mama, > and most of the "classic" singers.... > > Any suggestions on modern performers, who have enough of a "history" to be > interesting and also easy to obtain info about them How about Big Maybelle or Julia Lee? Tom ========================================================================= Date: Thu, 19 Oct 1995 14:04:19 -0500 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Texas Music Office Don O. had posted a while back about Casey Monahan at the Texas Music Office (who was able to help him locate Lightnin' Hopkins gravesite). He now has an e-mail address: music@governor.texas.gov so if you have any questions about Texas music, new or old, he's a good source to go to. Bruce Roberts Austin, TX ========================================================================= Date: Thu, 19 Oct 1995 15:14:45 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Re: I'm Starting a List of SF Blues Clubs Comments: To: bit-listserv-blues-l@uunet.uu.net Jim Farris (jfarris@IX.NETCOM.COM) wrote: : Fellow Blues lovers from the San Francisco Bay Area, : The following is the start of a list of San Francisco Bay Area Blues : clubs. It is only a partial list. With your help, we can make it a : complete list. Fellow Blues lovers from all over the World will benefit : from this list when they visit our area. : Fremont : Irvington Monument Saloon : on Bay Street Jim ( and anyone else compiling lists), I have used and compiled lists just like this great undertaking you are involved in. As a recommendation I have found it to be very important to give complete info (a lot more work but it is much more useful to users) - i.e. club name street address (cross streets useful) city, state zip tel. # anything else that could be useful to someone trying to reach the club and get info or book a table or find who's there etc. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Thu, 19 Oct 1995 15:18:19 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Re: Blues Women Comments: To: bit-listserv-blues-l@uunet.uu.net L W (ISTS024%UABDPO.BITNET@BROWNVM.brown.edu) wrote: : My wife needs some suggestions on who to write abut this month. She'd like to : do Bonnie Raitt (just in case no one knew she used to do blues) but we have : to find good info on BR's "blues years". : Any suggestions on modern performers, who have enough of a "history" to be : interesting and also easy to obtain info about them Modern yes - gone sad to say, Valerie Wellington. This lady would have risen to the very tops had fate not been so mean. I am sure that Rooster must have some info on her since they issued her last CD (at least I hope so). This also would be a fitting tribute to someone who might get overlooked in the bio dept. since she passed away so early from us. Just a thought. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Thu, 19 Oct 1995 14:35:06 -0500 Reply-To: David Silberberg From: David Silberberg Subject: Re: Blues Women At 10:40 AM 10/19/95 CDT, L W wrote: > >She has already written about: Bessie, MA, Koko, Rory, Debbie Davies,Big Mama, >and most of the "classic" singers.... > Katie Webster? Good history, with Otis Redding and all.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Thu, 19 Oct 1995 14:42:33 -0500 Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: Re: I'm Starting a List of SF Blues Clubs Checkout the following web page, it is interesting and may include some of what you are trying to do: http://www.sfgate.com/chronicle/pink-section/nightlf.html#NIGHTCLUBS Hope this helps! Nuri Nuri ____________________________________________________________________________ ___________________________ >Fellow Blues lovers from the San Francisco Bay Area, > >The following is the start of a list of San Francisco Bay Area Blues >clubs. It is only a partial list. With your help, we can make it a >complete list. Fellow Blues lovers from all over the World will benefit >from this list when they visit our area. > >Fremont > >Irvington Monument Saloon >on Bay Street > >San Jose > >JJs Blues Downtown >on 2nd Street near 2nd and Santa Clara streets > >JJs Blues Uptown >on Stevens Creek Blvd. between Winchester and San Tomas Exprssway > >Almaden Feed and Fuel >on Old Almaden Road just S of splitoff from Almaden Expressway > >Santa Clara > >CJs Sports Bar >on Lafayette just N of El Camino Real > >Sunnyvale > >Lakewood Lounge >on Lawrence Exprsway just N of US-101 near Dick's Market > >San Mateo > >Blues on B >on corner of 2nd and B in downtown San Mateo > >Gionetti's >on B 1/2 block W of Blues on B > >(can't remember name) >1/2 block E of Blues on B > >San Francisco > >Slim's >South of Market > >Lou's Pier 47 >just to the West of Fisherman's Wharf > >The Saloon > >Pat O'Shea's >near Golden Gate Park > >Hotel Utah >South of Market near 4th Street exit of US-80 > >Oakland > >Eli's Mile High Club >Martin Luther King Way > >Yoshi's Nitespot >on Claremont Street, the Berkeley end > >Jammin' Jim Farris >KKUP 91.5 FM > > ========================================================================= Date: Thu, 19 Oct 1995 15:20:59 -0500 Reply-To: Rob Varak From: Rob Varak Subject: Missing a show blues Ok songwriters, how 'bout a blues for those w-ends when you have plans and end up missing a great show? This w-end my finace is finishing a very important paper, and I need to help her w/ the editing and word processing stuff. That effectively kills my w-end. Ordinarily not a big problem, but...Joe Louis Walker, currently my favo contemporary bluesman, is gonna be at Legends!! UGH! Just to kik me when I'm down, G Love and Specail Sauce are also in town. I've been dyin' to see both acts. Major bummer. I mean, it ain't the end of the world, but it sucks! Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Thu, 19 Oct 1995 15:34:17 -0500 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: Blues Women How about Lavelle White? She's been around for a while, but is really getting a lot of notice lately. Bruce Roberts Austin, TX ========================================================================= Date: Thu, 19 Oct 1995 16:47:01 -0400 Reply-To: Hanson123@AOL.COM From: Karen Hanson Subject: S. Burke & Bobby "Blue" Bland A friend of mine asked if I could find out information about the booking agencies of Solomon Burke and Bobby "Blue" Bland. Does anyone know? Thanks! Karen ========================================================================= Date: Thu, 19 Oct 1995 17:08:27 EDT Reply-To: Scott_Wenzel.SSA@NOTES.COMPUSERVE.COM From: Scott_Wenzel.SSA@NOTES.COMPUSERVE.COM Subject: Re: SAXOPHONE AND THE BLUES Roosevelt Sykes recorded quite a few records in the late Fifties which included the late King Curtis on sax. King Curtis was best known in the pop world for "Soul Twist" and other such instrumentals. The best of them were done in 1959 and 1960, stuff like "Satellite Baby" and "Mistreated Mama" and such. There were also lots and lots of records Willie Mabon made in the early Fifties which featured saxes -- he has several collections out on CD -- and if you like jump blues, check out Louis Jordan, from mayb 1947 to 1953. People also sometimes forget that Ray Charles was a hardcore blues player in his days at Atlantic and plays alto sax on some of these recordings. As far as more recent stuff, somebody correct me if I'm wrong, but the T-Birds and Roomful of Blues have used horn sections extensively, right? Realistically, there aren't too many electric blues niches you can't fit a saxophone into. Sax only sounds out of place (to me) on country blues records and lower-volume acoustic stuff. Turtle _____ Reply Separator _____ Author: INTERNET:BRENTS @ CLEMSON.EDU@CISHUB Received: 08/31/95 04:07:00 PM Subject: SAXOPHONE AND THE BLUES Can y'all clue me into some blues that is heavy on the sax. A friend and I can't think of too much that has it. Thanks in advance for your help. Your brother in the blues, Brent ========================================================================= Date: Thu, 19 Oct 1995 17:10:00 EDT Reply-To: Scott_Wenzel.SSA@NOTES.COMPUSERVE.COM From: Scott_Wenzel.SSA@NOTES.COMPUSERVE.COM Subject: Re: Car Stereo Blues <> My favorite is actually to set the EQ just right on the Saab and put on "Get Your Fine Self Home," from Albert Collins/Robert Cray/Johnny Copeland's "Showdown!" If I crank it up high enough I fully expect to blow the back glass out of the Saab and have it land in the street behind me some time. But it's clean, unlike a lot of the boomercars, where the distortion is so bad you can cook meat with it. Turtle ========================================================================= Date: Thu, 19 Oct 1995 16:56:09 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Midi blues piano fil Do any of you Blues Piano Wizards out there have the ability to get some pre-war piano techniques down on standard MIDI flies on IBM compatable 3.5" floppies?? I am trying to learn Blues piano the way the real guys did, by imitation and copping riffs. I have NO interest in learning music 'theory', reading sheet music, or struggling with the lack of sheet music on _real_ Blues. Apparently, _very_ few keyboard people have any grasp of the more fundamental, powerful, and interesting pre-war styles. ========================================================================= Date: Thu, 19 Oct 1995 21:54:56 GMT Reply-To: Matthew E Karch From: Matthew E Karch Organization: University of Pennsylvania Subject: Snowy White Comments: To: bit-listserv-blues-l@uunet.uu.net I recently purchased the Peter Green tribute "Rattlesnake Guitar." Some of the cuts are very good. Snowy White does a great rendition of one song. Does anyone have any info on him and his work. All I know is that he played with Roger Waters on the Wall solo album. His guitar playing is great..it is emotional and bluesy and very subtle. Thanks for the help, Matt ========================================================================= Date: Thu, 19 Oct 1995 18:30:28 -0400 Reply-To: "Marc L. Boucher" From: "Marc L. Boucher" Subject: Re: Recordings of "Crossroads"? In-Reply-To: Jonell Mosser does a version on the "Boys On The Side" soundtrack. Bonnie Raitt is also on the soundtrack. My question is WHO is Jonell Mosser and what else has she done. _marc_ On Wed, 18 Oct 1995, Philip and/or Carol Decker wrote: > Subject: Recordings of "Crossroads"? > > I have Robert Johnson's and Cream's recordings of Crossroads, > and was wondering who else has recorded it. I'd particularly > like a less muddy version of Cream's arrangement than the Live > at the Fillmore performance on Wheels of Fire. Shame SRV never > did it. > > PJD > ========================================================================= Date: Thu, 19 Oct 1995 21:56:35 GMT Reply-To: Matthew E Karch From: Matthew E Karch Organization: University of Pennsylvania Subject: Re: Coco Montoya Comments: To: bit-listserv-blues-l@uunet.uu.net Nuri A. Nuri (nuri@NEOSOFT.COM) wrote: : Coco has only one release on his own. It is called "Gotta Mind to Travel" : and was originally released on the Silvertone label in Europe ONLY. It was : re-released this year on Blind Pig here in the U.S. When I was in Europe : last year I purposely looked for it and found it. It is FANTASTIC, great : stuff! He has guests like the Iceman Albert Collins and Debbie Davies.. : Check it out! : Nuri Nuri, Host/Producer : "Off the Clock" blues show, KPFT 90.1-FM-Houston : Can anyone supply me with a list of Coco's works? : > : > You should see Coco live. He is one of the best that I have ever seen (and heard!!!). ========================================================================= Date: Thu, 19 Oct 1995 15:48:24 -0700 Reply-To: Pamela McNeilly From: Pamela McNeilly Subject: What am I in for? Just got tickets for a show at the Paramount Theater in Oakland to see a Blues Tribute with Johnny Otis, Charles Brown, Jay McShann, Lowell Fulson, Jimmy Witherspoon, Jimmy McCracklin, Earl Brown I am not so familiar with the last three, and would be interested in comments on any and all. Thanks, Pam ========================================================================= Date: Fri, 20 Oct 1995 00:01:36 GMT Reply-To: Steve Leigh From: Steve Leigh Organization: a Digital Internet AlphaServer Site Subject: Strings for metal-bodied acoustic guitars? Comments: To: bit-listserv-blues-l@uunet.uu.net Am wondering what kind and what gauge strings everyone uses for National and Dobro acoustic guitars? ==Steve "Spider" Leigh ========================================================================= Date: Fri, 20 Oct 1995 00:53:29 GMT Reply-To: Weidel From: Weidel Organization: Voicenet - Internet Access - (215)674-9290 Subject: Re: Jimmy McCracklin at Helena (query) Comments: To: bit-listserv-blues-l@uunet.uu.net In article <19951016.132830.905101.NETNEWS@AUVM.AMERICAN.EDU>, William Shute wrote: > From: Bill Shute > > I saw from the poster advertising the recent festival at Helena, AR > (already much-discussed on blues-l, as we ALL know...) that Jimmy > McCracklin was scheduled to appear. > > I've been REALLY getting into my McCracklin collection recently and > wonder how he was? Could someone post a review of his set to the > list? many thanks... > I was there, but I can't tell you a whole lot about it. It was just a good time set, lots of soul standards in a ryhthm and blues revue format. Crack was in good form. The girls, "Sweet Nectar," I believe they were billed as, were wonderful. It was the kind of set where you smile so long that your face hurts. Actually that could have been the cumulative result of two great days of blues. Bob ========================================================================= Date: Thu, 19 Oct 1995 21:11:23 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: What am I in for? Comments: To: pmcneill@dvc.edu With a talent lineup of Johnny Otis, Charles Brown, Jay McShann, Lowell Fulson Jimmy Witherspoon, Jimmy McCracklin, Earl Brown, all I can say is that this is a show that cries out to be filmed by some archive. There are blues fans of today who watch old videos of concerts that have Muddy, Otis Spann, Big Joe Williams, Booker White and those people and marvel at how wonderous it was 30 years ago. Flash forward to the year 2025 and know that people then will be glad if someone gets it together to perpetuate this Oakland show. That Paramount is a magnificent venue with excellent acoustics. No one on this show is under 65-ish so you know that ego and pride will make each artist reach down for that something extra. And with so many artists on the bill, they won't get a whole lot of stage time so they'll only be doing their best stuff. This is a terrific lineup of pure vocalists; singers who can phrase and turn a lyrical line with true sense of timing. I hope there are some eager students of blues in the audience because there will be some real professors on stage. Dick Waterman ========================================================================= Date: Thu, 19 Oct 1995 21:13:09 -0400 Reply-To: Hanson123@AOL.COM From: Karen Hanson Subject: Re: S. Burke & Bobby "Blue" Bland Jim's question: >Karen- didn't you mention the chat room on Blues Highway >site on the WW? >I'm on it right now- just switched over to get my mail. Was >this the one Cat >Bauer was on? Right. It's http://www.vivanet.com/cgi-bin/webchat_3 anchor #3 Cat's trying to establish a regular day & time for those who want to get together and talk music. The first time is Thursday, Oct. 19, 9:30 Eastern time. I'm about to go there. Hope you can join us. :) Karen ========================================================================= Date: Fri, 20 Oct 1995 02:03:15 GMT Reply-To: "Linda L." From: "Linda L." Organization: CSU, Sacramento Subject: Re: Little Jimmy King Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199510190947.KAA05531@gaia.eurobretagne.fr>, Philippe Gramoulle wrote: > I know that he was very influenced by Albert king and Jimi > Hendricks but as he plays on the CD with Tommy Shannon > and Chris Layton (SRV bass and drum players),could anyone > tell how is he considered in America ? (I'm think he's almost > unknown in Europe) > I don't think he's terribly well known here, but he has been on the tour circuit. I've seen several postings that say he is rather obnoxious in concert; complaining about the sound guys, whining about this or that, and generally bringing everyone down. As far as I know, he has not had a new CD since the one you mentioned, but there is an *earlier* CD of his. I don't remember the title, but I think you can obtain information on it thru CDNOW. http://www.cdnow.com (<--- I think that's the web site) -- Linda L. sac62628@saclink.csus.edu ========================================================================= Date: Fri, 20 Oct 1995 02:08:57 GMT Reply-To: "Linda L." From: "Linda L." Organization: CSU, Sacramento Subject: Re: Blues Women Comments: To: bit-listserv-blues-l@uunet.uu.net In article , ISTS024%UABDPO.BITNET@BROWNVM.brown.edu wrote: > My wife needs some suggestions on who to write abut this month. > Any suggestions on modern performers, who have enough of a "history" to be > interesting and also easy to obtain info about them > THANKS > > LW How about Sue Foley or Maria Muldaur? Sue Foley is a blues guitarist & singer out of Austin Tx. She is young, so not sure if she has enough history for you but she has made a name for herself. I saw her recently when she warmed up for Chris Duarte (they are totally different styles). Sue has at least one CD out. I don't know much about Maria Muldaur. I have a CD of hers that I haven't listened to in a long time. She does vocals. I'm looking at the CD cover and it says that she can be booked thru Piedmont Talent at 704-335-1605 so maybe your wife can get some info from them. Her CD is out on the Black Top label. -- Linda L. sac62628@saclink.csus.edu ========================================================================= Date: Thu, 19 Oct 1995 19:24:21 +0100 Reply-To: "J. Witteveen" From: "J. Witteveen" Subject: Re: Coco Montoya >You should see Coco live. He is one of the best that I have ever seen >(and heard!!!). I must agree with this one! I've never heard him sing (as i haven't seen the new album around here), but I saw him play with John Mayall in Vancouver, and he blew me away. It wasn't a flashy, million note per minute thing, but soulful, crisp, smooth (amazingly smooth!), _heartfelt_ blues playing. I have never heard such beautiful string-bending in a guitar solo live before (but then again, I've probably been to a lot less blues shows than most of you! :-). -Jim (hndful@uniserve.com) ========================================================================= Date: Thu, 19 Oct 1995 22:24:02 CST Reply-To: JBards From: JBards Subject: Re: Strings for metal-bodied acoustic guitars? Comments: To: Steve Leigh John Pearse 12's, at a minimum. Jim _______________________________________________________________________________ Subject: Strings for metal-bodied acoustic guitars? From: Steve Leigh at INTERNET-SH Date: 10/19/95 7:42 PM Am wondering what kind and what gauge strings everyone uses for National and Dobro acoustic guitars? ==Steve "Spider" Leigh ========================================================================= Date: Fri, 20 Oct 1995 03:44:24 GMT Reply-To: David Goldstein From: David Goldstein Organization: IPOF Subject: Mickey, Minnie, and Goofy Comments: To: bit-listserv-blues-l@uunet.uu.net So, Disney bought a piece of HOB. It seems really hypopcritical considering that I took my family to Disney this week, and I could count the number of black families on one hand. ========================================================================= Date: Thu, 19 Oct 1995 22:44:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: King Biscuit off-Cherry St "When you go to Helena, go down on Cherry Street.." -Memphis Minnie in "Reachin' Pete" "I'm going to old Helena, walk down on Cherry Street" -Robert "Dudlow" Taylor, pianist on "King Biscuit Time" Quite a bit goes on "off-Cherry Street" during the KING BISCUIT FESTIVAL as well as on the main stage. More about that in a minute - I feel obligated to mention a couple of sets I really liked on the latter: OTIS CLAY turned a mighty set - it just as powerful as his classic live album "OTIS CLAY - LIVE IN JAPAN" (now on CD on Rounder). CHARLES and TEENIE HODGES of the HI RHYTHM SECTION were in attendance (altho only one of them played - fantastic keyboard - I forget who was who but someone will straighten me out I'm sure). The women back-up singers were great; on lead guitar he had a young white guy (CHRISTOPHER WILSON ??) who was the embodiment of sixties soul guitar. Perhaps his mother had been a soul fan while he was still in the womb :-). On bass was a (slender, attractive black) woman with a sixties hairdo which made it all seem that much more authentic. My other blues stage favorite was harp and guitar player JOHN WESTON who lives near Helena. His band wasn't with him at the beginning of his set and John seemed a little put out; but he did just fine on solo guitar with harp on rack as he did at the Delta Blues Museum during the Sunflower Fest in August. JOHN is one of the most original song writers in the blues today - he seems to have SONNYBOY's talent for coming up with new and original lyrics. His (late-arriving) band consists of some very talented veterans - especially his wonderful guitarist: TROY LEE BROUSSARD. John has one CD out on Fat Possum (Bubba had some copies for sale in his famous store "Bubba Wine's Blues Corner) and one in the can. But for the "off-Cherry Street" doings: on Friday night, ARTHUR LEE "OSCAR" WILLIAMS, an excellent harp player dropped down from St. Louis to jam with his old Jewel recording buddies: FRANK FROST and SAM CARR. ARTHUR LEE turned in an exceedingly lively and vigorous set at FRANK FROST's place (aka "Eddie Mae's Cafe" - I think Eddie Mae is Frank's current girl friend). FRANK is the one who started all the confusion with Arthur Lee's real name by calling him "Oscar". They did it again next day on Helena's famous CHERRY STREET itself - with MR. DOWNCHILD on guitar (MR. DOWNCHILD is a talented older white guitarist who works with ROBERT JR. LOCKWOOD). Frank's big hit of the 60's "MY BACK SCRATCHER" features Arthur Lee on harp, Frank on guitar and Sam on drums. ARTHUR LEE is currently with BIG BAD SMITTY's band. He told us that he was born in 1936, the same year as Frank. I earned a big hug by venturing the thought he ought to have his own album. ARTHUR sure was cookin' this weekend. He told us SMITTY has made a lot of progress recovering from the stroke he had last year and is playing guitar again. I was transfixed for most of the festival at the fabulous GOSPEL STAGE at the other end of Cherry Street. Last year I missed most of it and so was determined to check out a least a few sets. But the gospel stage crew was so quick and efficient in bringing on succeeding acts, each one better than the next, that it was hard to tear myself away. Hey! Uncle eRIC and all you other gospel fans - you HAVE to experience this sometime! It's so "down home'! This year the "KING BISCUIT GOSPEL FESTIVAL" was bigger and better than ever! Almost all of the groups were very traditional - quartets and quintets (opposed to mass choirs) with stinging blues guitars (opposed to synthesizers). The excitement generated by groups like the MEMPHIS HARMONIZERS and the JUBILEE HUMMINGBIRDS reminded me of the excitement I've heard about in early Elmore James or Howling' Wolf sets - or more recently - the church scene in "The Blues Brothers" movie. The MEMPHIS HARMONIZERS, all wearing royal blue suits, whipped the crowd to frenzy with a fast-paced number; they all came crouching to the edge of the stage singing: "Holy Ghost-Holy Ghost-Who's got the Holy Ghost?" One man, head down, arms flapping and legs kicking, was doing a loosely jointed version of what looked like the Funky Chicken. The HARMONIZERS pointed to him: "THAT *man's* got the Holy Ghost". An elderly lady in a broad-brimmed hat was spinning in circles, eyes shut and arms raised. "HOLY GHOST! HOLY GHOST! Who's got the Holy Ghost?? THAT *lady's* got the Holy Ghost!!" A white teen-age boy in grunge plaid shirt and high-top basket ball sneakers was frenetically jumping up and down and convulsively shaking like he was having a conniption fit - you just knew he wasn't acting! There had been four big beefy wild-eyed guys (the Gospelaires (?) in double-breasted tan suits shaking hands with each other while bending over and circling round while doing a high-stepping strut. Amazing!! and then there was a fine women's quartet - the HUGHES SISTERS - all deep contraltos - what a sound! I missed a group with a great name: "THE TRAVELLING SOULETTES". Then - from my original home town, Toledo, Ohio, were BROTHER WILL COLLIER and the "PURPLE WONDERS" - in purple suits, of course. The lead singer (Brother Will, perhaps) and keyboard player also wore a long black scarlet-lined cape (made me think of DRACULA) and when things got going good and the music was racing, played with his foot! Next, I was really surprised when one of the two stout Robertson Brothers (they reminded me of the O'NEAL TWINS) of Milwaukee, Wisconsin whipped out a harp, cupped it around the mike and began to blow with great vigor.! He wasn't very good but that was still an interesting phenomenon> HELENA itself seems an enchanting place during the festival, especially in the evening - the weather is balmy and the people are mellow. There's a new lamp-lit brick "river-walk" on top of the levee, from which you can look down on some of the old buildings on Cherry Street with strings of white holiday lights atop their cornices (the ones that don't - I surmised - would probably crumble and fall down if one stepped out the roof). I stopped in GIST's music store and asked the elderly man behind the counter if SONNYBOY had ever come in. "Oh yes" he said, "but he usually didn't have enough money to buy anything". On the way over to Helena from Clarksdale where I was staying, I listened to another long-running blues show, besides "King Biscuit Time": with EARLY WRIGHT out of Clarksdale on WROX. Early's been on the air since 1947 and his announcing is just as enjoyable as the music, if not more. EARLY reads his own ads - for undertakers, grocery stores - "this bread is so good I'll buy you a loaf - just tell'em this is on Early Wright, they'll know who I am" or dry cleaners -"they're the finest folks to do business with - get your Sunday clothes so clean and sharp-lookin'. They'll clean anything for you but they don't do leather and they don't do..uh..uh..suede. Yep, leather and suede..they don't mess wid' that!" But please do as Memphis Minnie and Dudlow suggest next time you're in Helena and take a walk down old Cherry Street. -Bonnie ========================================================================= Date: Thu, 19 Oct 1995 14:57:19 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Blues Women Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *In another time and place, L W said: *> *> She has already written about: Bessie, MA, Koko, Rory, Debbie Davies,Big Mama, *> and most of the "classic" singers.... *> *> Any suggestions on modern performers, who have enough of a "history" to be *> interesting and also easy to obtain info about them * *How about Big Maybelle or Julia Lee? * What about Ruth Brown, Etta James, Victoria Spivey, Sippie Wallace, Rosetta Tharpe? ========================================================================= Date: Fri, 20 Oct 1995 01:14:56 -2400 Reply-To: Colin Linden From: Colin Linden Subject: news:bit.listserv.blues-l I recently read in a blues magazine a reference to the Chicago blues musician, "Singing Sam" Chatmon. I was very friendly with his father, the late Mississippi bluesman, also named Sam Chatmon. I only met Singing Sam once,and that was at his father's funeral. I wonder if he is still with us, and if any one has any information about him. Thanks, Colin Linden Toronto, Canada ========================================================================= Date: Fri, 20 Oct 1995 05:18:28 GMT Reply-To: Colin Linden From: Colin Linden Organization: InterLog Internet Services Subject: Singing Sam Chatmon Comments: To: bit-listserv-blues-l@uunet.uu.net This is the first time I have tried to post to blues-l via the newsgroup, so if I've posted this message a couple of time, please excuse me! I am interested in finding out any information about Chicago blues musician, "Singing Sam" Chatmon. I was close with his father, the Mississippi bluesman, also named Sam Chatmon. I only met Singing Sam once, and that was at his father's funeral. I lost touch with him, and am curious to know if he's still around, and anything about him. Thanks, Colin Linden Toronto, Canada ========================================================================= Date: Fri, 20 Oct 1995 02:33:00 CDT Reply-To: topcat@COMPUTEK.NET From: "" Subject: Texas Bluesmen European Tour Schedule TEXAS BLUESMEN RHYTHM & BLUES REVUE - WINTER 1995 October 19, 1995 Howdy! Announcing the TopCat Records' Texas Bluesmen winter European tour for 1995. We will play around 26 one-night-stands in Germany, Holland, Belgium and Greece in November/December. Our tour schedule is as follows: November 11 Terneuzen, Holland Porgy & Bess 12 Antwerp, Belgium Crossroads Club 15 Munich, Germany Bayerischer Hof 16 Halle, Germany Turm Club 17 Kiel, Germany Velvet Club 18 Husum, Germany Speicher Club 19 Emmen, Holland 21 Hamburg, Germany Consortium 22 Wursburg, Germany Omnibus Club 23 Darmstaat, Germany Studentenkeller 24 Saarbrucken, Germany Mo' Club 25 Gaufelden, Germany Gruner Baum 26 Oosterhout, Holland Ob Brabant Club 29 Regensburg, Germany Factory 30 Augsburg, Germany Kerosin Club December 1 Bamberg, Germany Live Pub 2 Hannover, Germany Complex with Cafe Glocksee 4 Thesaloniki, Greece 5 Larissa, Greece 6 Athens, Greece 7 Athens, Greece 8 Athens, Greece If any of you European Bluzellers want to see the real thang, then come on down and catch the show when we're in your area. See ya'll there! Richard Chalk TopCat Records ========================================================================= Date: Fri, 20 Oct 1995 02:40:00 CDT Reply-To: topcat@COMPUTEK.NET From: "" Subject: TEXAS BLUESMEN RHYTHM & BLUES EURO-TOUR Howdy! Announcing the TopCat Records' Texas Bluesmen winter European tour for 1995. We will play around 26 one-night-stands in Germany, Holland, Belgium and Greece in November/December. Our tour schedule is as follows: November 11 Terneuzen, Holland Porgy & Bess 12 Antwerp, Belgium Crossroads Club 15 Munich, Germany Bayerischer Hof 16 Halle, Germany Turm Club 17 Kiel, Germany Velvet Club 18 Husum, Germany Speicher Club 19 Emmen, Holland 21 Hamburg, Germany Consortium 22 Wursburg, Germany Omnibus Club 23 Darmstaat, Germany Studentenkeller 24 Saarbrucken, Germany Mo' Club 25 Gaufelden, Germany Gruner Baum 26 Oosterhout, Holland Ob Brabant Club 29 Regensburg, Germany Factory 30 Augsburg, Germany Kerosin Club December 1 Bamberg, Germany Live Pub 2 Hannover, Germany Complex with Cafe Glocksee 4 Thesaloniki, Greece 5 Larissa, Greece 6 Athens, Greece 7 Athens, Greece 8 Athens, Greece If any of you European Bluzellers want to see the real thang, then come on down and catch the show when we're in your area. See ya'll there! Richard Chalk TopCat Records ========================================================================= Date: Fri, 20 Oct 1995 10:07:00 BST Reply-To: Mr P R Munro From: Mr P R Munro Subject: Snowy White Someone asked for info on Snowy White. After from playing live with Pink Floyd, he took over in Thin Lizzy from Gary Moore(Oops that just lost the interest of 50% of the list). He had one hit single in the UK 'Bird of Paradise'. When Thin Lizzy broke up he formed his own band Snowy White's Blues Agency. I have a copy of 'The Best Of...' which to be honest I've only played a couple of times. This doesn't mean it's a bad album, just that there wasn't anything that really grabbed my attention first up. If anyone's interested I'll check out the track/personnel details when I get home, just let me know. Pete ========================================================================= Date: Fri, 20 Oct 1995 11:02:06 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Re: supporting .... I've been quite busy these days and could in fact only very rapidly follow Blues-L, but I think I had something on this issue. First of all, I'd like to say that I (almost) totally agree with Art's comments. A number of member of the list have in fact already asked me by private mail if I received the albums I review on Blues-L for free... and if this might explain why almost all the reviews I send are positive not to say more. Now the answer is the following: from the albums I've reviewed here on Blues- L, something like 2 third were indeed review copies I get. The remaing are simply some of the albums I regularly buy because I love the artists. But it should be clear, as Art is telling, that given my busy prof. occupations (which have really nothing to do with muysic, trust me), I will only continue to send reviews of Cds I find interesting. So clearly, YES, I will continue to try to promote those (labels and artists) that I think are really overlooked like the wonderfull reissues of the TRIX catalog (and NO, I don't receive them for free), Butler Twins (I bought it and THEN did send a review), Testament and Arhoolie Cds (yes I often get them for reviews in the mags I write for), Robert Lowery (I buy this too), ... I simply don't have time to review things on Blues-L I don't like (and that is -sadly enough- too often the case with what I receive). My tastes and the way I do approach blues are such that I dont want to kill someone simply because he doesn't fit into the music I like, into what I consider as wotrhwile. Clearly, you'll never see me on Blues-L reviewing products of Chris Duarte, Robben Ford, Tab Benoit, Lucky Peterson, Sugar Blue, Bill Perry, Sue Foley and many others simply because it's absolutely not my cup of thee. I have the same problem with many artists that are quite appreciated and indeed very good musicians BUT for which I don't feel a lot, which simply don't move me. Instead I will really prefer to review someone like Henry Qualls, Abu Talib, Snuff Johnson, Cal Valentine, harmonica Slim, Big Al Dupree, James Son Tomas, Baby Tate, Magic Slim, Big Mojo Elem, John Primer, Mississippi Heat, and many others who ,I think, deserve a more wide recognition. This is IMHO, obviously. In brief, I find tastes to be often so subjectives (and function of so many things) that I took deliberately the position of NOT talking about someone I don't like. We do the same in the magazine for which I'm coordinating the blues material. >>> And NO, we do not get paid one dime, I can even tell you that it's totally the opposite, it even has already cost me quite a lot of money when I look back over the years (just ask my wife!). From what I know in Europe, reviewers are almost NEVER paid for their job, they do it because they LOVE it, because they want to share their love for a music with other people, because they want to promote something they find worthwhile enough. There are obviously profess. writters out there, but quite a lot of people contributing to European Blues/Jazz magazines have full time jobs which often have nothing to do with the music. I don't know what's the situation in the US, but it must be similar. Notice that some labels have stopped sending us promo copies because they never saw reviews of their stuff. It is again a choice you HAVE to make at some point in time unless you have unlimited space (which means money!). Jean-Pierre Urbain ========================================================================= Date: Fri, 20 Oct 1995 07:59:18 -0400 Reply-To: Bob vanArsdall From: Bob vanArsdall Subject: Texas Bluesmen European Tour Schedule Note, please, the November 24 club date in Saarbrucken. See! See! B >From: "" >Subject: Texas Bluesmen European Tour Schedule >To: Multiple recipients of list BLUES-L > > TEXAS BLUESMEN RHYTHM & BLUES REVUE - WINTER 1995 > >October 19, 1995 > >Howdy! Announcing the TopCat Records' Texas Bluesmen winter European tour for >1995. We will play around 26 one-night-stands in Germany, Holland, Belgium >and Greece in November/December. > >Our tour schedule is as follows: > >November >11 Terneuzen, Holland Porgy & Bess >12 Antwerp, Belgium Crossroads Club >15 Munich, Germany Bayerischer Hof >16 Halle, Germany Turm Club >17 Kiel, Germany Velvet Club >18 Husum, Germany Speicher Club >19 Emmen, Holland >21 Hamburg, Germany Consortium >22 Wursburg, Germany Omnibus Club >23 Darmstaat, Germany Studentenkeller >24 Saarbrucken, Germany Mo' Club >25 Gaufelden, Germany Gruner Baum >26 Oosterhout, Holland Ob Brabant Club >29 Regensburg, Germany Factory >30 Augsburg, Germany Kerosin Club > >December >1 Bamberg, Germany Live Pub >2 Hannover, Germany Complex with Cafe Glocksee >4 Thesaloniki, Greece >5 Larissa, Greece >6 Athens, Greece >7 Athens, Greece >8 Athens, Greece > >If any of you European Bluzellers want to see the real thang, then come on >down and catch the show when we're in your area. See ya'll there! > >Richard Chalk >TopCat Records > ========================================================================= Date: Fri, 20 Oct 1995 08:29:41 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Sue Foley, Maria Muldaur Linda L wants to know about Sue Foley, a Canadian guitarist (and not very good singer) who works out of Austin, Texas and records for Antones. Not most peoples' cup of tea, and a singer with pitch problems and an act with attitude. Bonnie Raitt doesn't have to worry, but Foley gets cut a lot of slack because she's young. Linda L also wants to know about Maria Muldaur, and that astonishes me. How come Linda's never even heard of her? Does she not have access to music books, standard music reference works, a nearby record store perhaps, or friends with record collections? Information on Muldaur's 30-year career, from her work with jug bands in the early '60s folk revival, her six albums on Warners (including the ones with her then-husband Geoff Muldaur, the hit Midnight at the Oasis (of course), and her lesser-known but much better album with Benny Carter), her kids' album, her gospel material to her current output on Black Top and Stony Plain, is all readily available, and I find Linda's ignorance as stunning as most of you would if I posted a note saying "I've heard of a singer called B.B. King - who is he?" Her query, to be honest, is typical of so many messages on Blues L; there are faster, simpler, easier, and more efficient ways of finding things out than posting messages on the Internet which make the sender sound totally out of touch with reality. Reference libraries, music books, and record collectors, and even half-educated record retailers are all far more reliable-and much faster-sources of information than this clumsy, lumbering new invention we've christened the Internet. "In my humble opinion, etc. etc. blah blah blah." - Richard Flohil (private mail and pissed-off comments to: rflohil@inforamp.net) ========================================================================= Date: Wed, 18 Oct 1995 07:31:00 -0400 Reply-To: Willy Evans From: Willy Evans Subject: Re: BLUES-L tape QUESTION Comments: To: marc borms In-Reply-To: <462boj$165@rc1.vub.ac.be> Perhaps for your illustration you could have a table off to the side with a patron passed out and an empty gin bottle by their head. :-) Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** the hounds begin to bark **** ========================================================================= Date: Thu, 19 Oct 1995 13:17:12 -0400 Reply-To: Willy Evans From: Willy Evans Subject: Re: Blues Women Comments: To: L W In-Reply-To: On Thu, 19 Oct 1995, L W wrote: > My wife needs some suggestions on who to write abut this month. She'd like to > do Bonnie Raitt (just in case no one knew she used to do blues) but we have > to find good info on BR's "blues years". > > LW > I've been following Bonnie Raitt since I was just a pup. As far as I know, she has never been a "blues" artist. She almost always had a blues song or two on her albums and was always "blues influenced". She does play great blues guitar, both electric and acoustic has a good voice. But she has never been , to my knowledge, totally a blues performer. She associates with blues performers (John Lee Hooker, Sippie Wallace) and does work for outfits like Blues Heaven and Rythm and Blues foundation. She is well worth an article and is, herself, a very genuine person. Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** the hounds begin to bark **** ========================================================================= Date: Fri, 20 Oct 1995 08:19:03 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - October 20th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- COLLINS, SAM "CRYIN'" (g/GENNETT REC) d. 1949-1020, CHICAGO, IL 62 HALL, ADELAIDE (v) b. 1901-1020, BROOKLYN, NY HARRIS, EDDIE (tsax) b. 1934-1020, CHICAGO, IL JACKSON, VASTI (g/d/arr/KATIE WEBSTER) b. 1959-1020, MCCOMB, MS JOHNSON, ALBERT J. "BUDD" (tsax) d. 1984-1020, KANSAS CITY, MO 73 KRESS, CARL (g/EDDIE LANG) b. 1907-1020, NEWARK, NJ LEE, RIC (d/TEN YEARS AFTER) b. 1945-1020, STAFFORDSHIRE, UK MICHAUX, SOLOMON LIGHTFOOT ELDER (gospel) d. 1968-1020, WASHINGTON, DC 84 MILLER, PORK (v) d. 1913-1020, RICHMOND, VA 69 MOORE, JOHNNY (of THREE BLAZERS) b. 1906-1020, AUSTIN, TX MORTON, FERDINAND "JELLY ROLL" (p) b. 1890-1020, NEW ORLEANS, LA SCOTT, TONY (tsax) b. 1921-1020, MORRISTON, NJ TRAVIS, MERLE ROBERT (g/songw) d. 1983-1020, PARK HILL, OK 65 ------------------------------------------------------------------------------- ========================================================================= Date: Fri, 20 Oct 1995 09:05:40 -0500 Reply-To: Erica Wissolik From: Erica Wissolik Subject: Re: Little Jimmy King -Reply I just saw this him play in Memphis last week with Al Green's rhythm section and he's really very good - influenced by Albert King I guess because he's his grandson. That's how the soundman introduced him. The crowd loved him. I noticed that there were 2 "Jimmys" running around the club - one obnoxious and the other very friendly. It turns out that he has a twin who seems to run the show while Jimmy is on stage. >>> Linda L. 10/19/95 09:03pm >>> In article <199510190947.KAA05531@gaia.eurobretagne.fr>, Philippe Gramoulle wrote: > I know that he was very influenced by Albert king and Jimi > Hendricks but as he plays on the CD with Tommy Shannon > and Chris Layton (SRV bass and drum players),could anyone > tell how is he considered in America ? (I'm think he's almost > unknown in Europe) I don't think he's terribly well known here, but he has been on the tour circuit. I've seen several postings that say he is rather obnoxious in concert; complaining about the sound guys, whining about this or that, and generally bringing everyone down. As far as I know, he has not had a new CD since the one you mentioned, but there is an *earlier* CD of his. I don't remember the title, but I think you can obtain information on it thru CDNOW. http://www.cdnow.com (<--- I think that's the web site) -- Linda L. sac62628@saclink.csus.edu ========================================================================= Date: Fri, 20 Oct 1995 08:02:14 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Trix Reissues I was glad to see the reissues. I have the Robert Lockwood, Contrasts on tape and now I can get the CD :-) I forget what label Lockwood Live in Japan (with the ACES !) is on, but I wonder if it's available on CD...... LW ========================================================================= Date: Fri, 20 Oct 1995 08:59:01 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Mickey, Minnie, and Goofy Comments: To: dgoldst@IPOF.FLA.NET On 20 Oct 95, David Goldstein had this to say: > So, Disney bought a piece of HOB. It seems really hypopcritical considering that I > took my family to Disney this week, and I could count the number of black families > on one hand. > What are you saying, David? That Disney keeps black people out of Disney World? ...or that HOB attracts black people? Explain this statement. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 20 Oct 1995 09:21:36 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: SAXOPHONE AND THE BLUES Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, Scott#f#Wenzel#f#SSA/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=Scott#095#Wenzel#f#SSA#a#NOTES#f#COMPUSERVE#f#COM@s1boca.corp.wrgrace.com * Realistically, there aren't too many electric blues niches you can't fit * a saxophone into. Sax only sounds out of place (to me) on country blues * records and lower-volume acoustic stuff. But there are plenty where "Mississippi Saxophone" fit in! Which reminds me - if a harmonica is called a Mississippi Saxophone, what should a saxophone be called? A New York harmonica? :) -Steve ========================================================================= Date: Fri, 20 Oct 1995 08:22:36 CDT Reply-To: ISTS024@UABDPO.BITNET Comments: RFC822 error: Invalid RFC822 field - "UABDPO.DPO.UAB.EDU (LMail V1.2a/1.8a) with BSMTP id 9556; Fri, 20 Oct 1995". Rest of header flushed. Comments: Resent-From: ISTS024@UABDPO From: L W ----------------------------Original message---------------------------- >I just saw this him play in Memphis last week with Al Green's rhythm section >and he's really very good - influenced by Albert King I guess because he's his >grandson. That's how the soundman introduced him. The crowd loved him. I Little Jimmy King is Eric Gales brother. I always thought the "rumor" of him being related to Albert King was not true. I have read where Lil JK had Alberts Pipe and the family wanted it back , to include it in AK's casket. So LJK went to Walgreens and bought a similar pipe, scratched it up some and gave them that one instead. I read that and I;m not sure if it's true, if it is, it's a pretty shitty thinkg to do IMO........ I saw him a BB's a few years ago and I thought he did a great "imitation" of ALbert. That's about all I remeber about his show, I do recall enjoying it LW 'not connected with Walgreens' ========================================================================= Date: Fri, 20 Oct 1995 08:20:06 -0500 Reply-To: Roger Struve From: Roger Struve Subject: Guitar Carry-on Luggage experiences requested for NW Airlines!!!! dear fellow and sister bluesellers, Please someone respond right away, as i won't be here after 10:30 this morning. Does anyone know if a National Duolian in a hard shell case (somewhat between the size of an electric and a dreadnought acoustic---perhaps a little shorter in overall length) is able to be carried on board the plane, specifically NORTHWEST AIRLINES? There is ABSOLUTELY NO WAY i would trust this heirloom guitar as regular luggage no matter how well packed it is. Has anyone ever been allowed to carry on their guitar only to find out that at the other end of the flight, they wouldn't allow you to carry it on to come back home? Just trying to figure all the ways that i could possibly be thwarted by the friendly skies people. Thanks all for your help. BTW, i am travelling to heaven this weekend. regards, ddr ========================================================================= Date: Fri, 20 Oct 1995 08:09:28 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Singing Sam Chatmon Comments: To: Colin Linden In-Reply-To: <199510200510.BAA25487@gold.interlog.com> I'm not sure if Singing Sam if still alive, but he hasn't performed since a heart attack around ten years ago. He was a bassist and bandleader who always had bands featuring excellent and sophisticated guitarists. His 45s (two or three) had Matt Murphy or Smiley Tillman on guitar and John Calvin on tenor. In the '70s the band was usually billed as the Wild Fire Band. He never got much attention, but I could always count on some good music from him and the band. ========================================================================= Date: Fri, 20 Oct 1995 08:33:41 CDT Reply-To: ISTS024@UABDPO.BITNET Comments: RFC822 error: Invalid RFC822 field - "UABDPO.DPO.UAB.EDU (LMail V1.2a/1.8a) with BSMTP id 9646; Fri, 20 Oct 1995". Rest of header flushed. Comments: Resent-From: ISTS024@UABDPO From: L W ----------------------------Original message---------------------------- On 20 Oct 95, David Goldstein had this to say: > So, Disney bought a piece of HOB. It seems really hypopcritical considering that I > took my family to Disney this week, and I could count the number of black families > on one hand. >What are you saying, David? That Disney keeps black people out of >Disney World? ...or that HOB attracts black people? Explain this >statement. If you went last Monday, the Blacks were busy :-). LW ========================================================================= Date: Fri, 20 Oct 1995 08:14:26 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Trix Reissues Comments: To: L W In-Reply-To: Lockwood In Japan with the Aces was originally on Trio; it's been out on CD for a year or two with some extra cuts. There's also a Volume 2 on CD in Japan (sorry, can't recall the label) which is also nice. ========================================================================= Date: Fri, 20 Oct 1995 07:06:28 +0100 Reply-To: "J. Witteveen" From: "J. Witteveen" Subject: Re: Mickey, Minnie, and Goofy About this Disney having no (or few) black people visiting: perhaps some people are smart enough not to waste their money there! :-) But, really, I suppose it's just a socio-economic thing - Disneyland costs big bucks, and not a lot of working-class folks can afford to go there. Anyway, why the fuss about the House of Blues? It's not a blues place, there's plenty of excellent record labels out there putting out great stuff on a consistent basis, and as for the show being cancelled...oh well! The Brady Bunch is still on... :-) -Jim (hndful@uniserve.com) ========================================================================= Date: Fri, 20 Oct 1995 08:53:06 PDT Reply-To: rjbauman@IQUEST.NET From: rjbauman@IQUEST.NET Subject: Re: Midi blues piano fil Comments: To: laurie.forti@INFOEXCH.MIAMI.FL.US I understand your reluctance to learn piano by standard methods, as this can try your patience as it has others. However, you would be very well served to learn some music theory. Atleast scales and how chords are constructed from the scale notes. From this knowledge you will be able to play almost anything you want without reading sheet music. I would suggest picking up some Leroy Carr and Roosevelt Sykes among others and listening to the real music. Believe me, this is a SHORTCUT compared to learning riffs by wrote from a midi file, which likely will not have the same feel as if played by a human blues pianist. The "real guys" learned by listening to players live and on records. good luck, RJ Bauman (not a pre-war piano wizard. And not a MIDI hater) > Do any of you Blues Piano Wizards out there have the ability to >get some pre-war piano techniques down on standard MIDI flies on IBM >compatable 3.5" floppies?? > > I am trying to learn Blues piano the way the real guys did, by >imitation and copping riffs. I have NO interest in learning music >'theory', reading sheet music, or struggling with the lack of sheet >music on _real_ Blues. Apparently, _very_ few keyboard people have >any grasp of the more fundamental, powerful, and interesting pre-war >styles. > ========================================================================= Date: Fri, 20 Oct 1995 09:17:16 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: What am I in for? Comments: To: Pamela McNeilly > Just got tickets for a show at the Paramount Theater in Oakland to see a > Blues Tribute with > Johnny Otis, Charles Brown, Jay McShann, Lowell Fulson, > Jimmy Witherspoon, Jimmy McCracklin, Earl Brown When is this show??? (so's I can clue in my kids, who live in Oakland...) EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Fri, 20 Oct 1995 09:19:10 -0500 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: Sue Foley, Maria Muldaur > Her query, to be honest, is typical of so many messages on Blues L; > there are faster, simpler, easier, and more efficient ways of finding > things out than posting messages on the Internet which make the sender > sound totally out of touch with reality. Reference libraries, music books, > and record collectors, and even half-educated record retailers are all far > more reliable-and much faster-sources of information than this clumsy, > lumbering new invention we've christened the Internet. The whole point of this list is to exchange information. This is the wrong way to respond to this post, regardless of how you feel about it. A much better way would have been to answer her question in general terms and then point her in the right direction for more details. I think it's very inapproiate to come down so hard on her for asking a simple question. Ease up! Bruce Roberts Austin, TX ========================================================================= Date: Fri, 20 Oct 1995 09:23:31 -0500 Reply-To: Mark Gobeyn From: Mark Gobeyn Subject: willie dixon Last night I put Willie Dixon's '91 LP "I Am the Blues" on my turntable for the first time in quite a while. This is a wonderful record, but the album cover and inner sleeve offer no information as to who the musicians are on the album. Does anyone have this kind of information handy? I would be most appreciative. mark ========================================================================= Date: Fri, 20 Oct 1995 09:22:52 CST Reply-To: William Shute From: William Shute Subject: responses to blues-l newcomers From: Bill Shute Richard Flohil makes many excellent points in his post about Maria M. and Sue F. (by the way, Richard, thanks for referring to Sue as a "canadian" artist--it tarnishes Texas' reputation to refer to her as a Texas artist). However, I do not see blues-l as merely a place where already-knowledgeable people can share that knowledge with each other, although that is of course one of its main functions. To me, blues-l can be used AND IS BEING USED to bring people INTO the fold. Now, if we start getting bombarded with "who is this BB King guy--I've heard he plays the blues--is he good?"-type questions, I may change my attitude; however, until then, I usually make a point (when I have time) of sending an informative private e-mail reply to newcomers who ask what to many of us would be obvious questions. I'm not a minister, but let me make a ministerial analogy for a moment, OK? If someone takes the time to come into your church and attend a service, you can presume that he/she is at least LEANING toward faith and your church and, as they say in sales, is a PROSPECT. The vast majority of people will never ask "who is this Earl Hooker?" We ought to be GLAD people WOULD ask this question.That person is a PROSPECT. And EVERY ONE OF US was at that point once, even if it was at age nine... I think it's great that the many super-knowledgeable people on this list DO take the time to answer newcomers' questions without getting snippy and pretentious and elitist about it. I want the blues community to grow, and it will, but it will ONE PERSON AT A TIME. The last thing I want is for some blues-leaning person to say, "well, **** you, you pretentious ass" when he/she is lectured about his/her "ignorant" question... and then NOT pursue the blues because he/she has been turned off by US> Bill Shute San Antonio, TX ps, I LOVE Maria Muldaur. She is a great artist, a beautiful person. My son met her, and he has been in love ever since. He has her autographed "Maria would appreciate your not smoking" flyer on his wall. HOWEVER, only Ms. Muldaur's agent would claim that she is equal in stature to BB King. Having met Ms. Muldaur and having spoken with her, I know that she would NEVER make that claim. Let's be honest--Benny Carter is a national treasure, but anyone who lives in the REAL world knows that 95 out of l00 people on the street have NEVER heard of him, let alone heard of his work with Maria Muldaur. That's a shame, I admit, but if we make a point of being kind and welcoming to people who show an inclination toward the blues, maybe we can lower that figure to 90 out of l00...or maybe 85? This product--the blues/R&B/etc.--will SELL ITSELF, I believe, if given the exposure. ========================================================================= Date: Fri, 20 Oct 1995 09:28:03 CST Reply-To: JBards From: JBards Subject: Re: Guitar Carry-on Luggage experiences requested for NW Comments: To: Roger Struve A couple of years ago I carried around a Gretsch 6120- roughly the sam size or bigger- through 7 legs of a trip on Delta and onthe 8th leg the gate attendant gave me holy hell ( and got as well back). However, carry-on restrictions are much worse now, and I wouldn't risk it if I were you. Jim _______________________________________________________________________________ Subject: Guitar Carry-on Luggage experiences requested for NW From: Roger Struve at INTERNET-SH Date: 10/20/95 9:16 AM Airlines!!!! dear fellow and sister bluesellers, Please someone respond right away, as i won't be here after 10:30 this morning. Does anyone know if a National Duolian in a hard shell case (somewhat between the size of an electric and a dreadnought acoustic---perhaps a little shorter in overall length) is able to be carried on board the plane, specifically NORTHWEST AIRLINES? There is ABSOLUTELY NO WAY i would trust this heirloom guitar as regular luggage no matter how well packed it is. Has anyone ever been allowed to carry on their guitar only to find out that at the other end of the flight, they wouldn't allow you to carry it on to come back home? Just trying to figure all the ways that i could possibly be thwarted by the friendly skies people. Thanks all for your help. BTW, i am travelling to heaven this weekend. regards, ddr ========================================================================= Date: Fri, 20 Oct 1995 10:29:56 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Sonny Landreth? Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com Can anyone tell me anything about Sonny Landreth? My band is openin for him at Tornado Alley next month, and I've never heard him. What kind of stuff does he play? I'm just wondering what to expect. -Steve ========================================================================= Date: Fri, 20 Oct 1995 09:31:34 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Friday Must Haves Quick, list some CD's that IYO are must haves for a blue fan: Freddy King - FK Sings Muddy Waters - One More Mile Robert Johnson - Complete BB King - Live At the Regal Albert King - Ultimate Collection Johnny Shines - Traditional Delta Blues Miss Fred Mcdowell - You Gotta Move (aka Miss Delta Blues) Lthgin Hopkins - Complete Aladdin T-Bone Walker - Complete Imperial Son House - Father of The Delta Blues Little Walter - The Blues World of Little Walter (I hope that's the title) Your turn LW 'bored' ========================================================================= Date: Fri, 20 Oct 1995 09:54:19 -0500 Reply-To: David Silberberg From: David Silberberg Subject: Re: Sue Foley, Maria Muldaur Comments: To: Richard Flohil At 08:29 AM 10/20/95 -0500, Richard Flohil wrote: > Her query, to be honest, is typical of so many messages on Blues L; >there are faster, simpler, easier, and more efficient ways of finding >things out than posting messages on the Internet which make the sender >sound totally out of touch with reality. Reference libraries, music books, >and record collectors, and even half-educated record retailers are all far >more reliable-and much faster-sources of information than this clumsy, >lumbering new invention we've christened the Internet. Just in case there are any new readers out there: Poor Richard's feelings are NOT (fortunately) the feelings of most of us 'zellers. David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Fri, 20 Oct 1995 11:17:07 -0400 Reply-To: Sriram Dayanand From: Sriram Dayanand Subject: Luther in Toronto and Nashville in November ?/ hi Any other bluezellers in Toronto know anything about the Nov 1st show of Luther Allison at the El Mocambo ? I haven't seen/heard anything about it except on blues-l... and I am going to be in Nashvilee form Nov 6th thru the 9th. Any info about blues bars to visit/scheduled shows in the area will be appreciated... =sriram= ******************************************************************** Sriram Dayanand email: sriram@aw.sgi.com Modeling Group Alias | Wavefront Toronto, Canada Ph: (416) 362-8558 x314 ========================================================================= Date: Fri, 20 Oct 1995 11:30:44 -0400 Reply-To: Patrick J Brennick From: Patrick J Brennick Subject: Re: Sue Foley, Maria Muldaur In-Reply-To: <951020091910.1a90@TSBME.STATE.TX.US> Richard Flohil wrote >> Bruce Roberts wrote > > > Her query, to be honest, is typical of so many messages on Blues L; > > there are faster, simpler, easier, and more efficient ways of finding > > things out than posting messages on the Internet which make the sender > > sound totally out of touch with reality. Reference libraries, music books, > > and record collectors, and even half-educated record retailers are all far > > more reliable-and much faster-sources of information than this clumsy, > > lumbering new invention we've christened the Internet. > > The whole point of this list is to exchange information. This is the > wrong way to respond to this post, regardless of how you feel about it. Except for Mr. Flohil's grousing, his response was great in giving information on Maria Muldaur. Bruce is right on with his point: many people don't HAVE access to reference libraries, music books, collectors and record retailers. Some of us are lucky to have these resources, and now the resource includes BLUES-L. I've learned about artists that I "should" have already known about but didn't. Geez, lighten up. Patrick Brennick ========================================================================= Date: Fri, 20 Oct 1995 10:40:01 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Friday Must Haves Comments: To: L W In-Reply-To: On Fri, 20 Oct 1995, L W wrote: > Quick, list some CD's that IYO are must haves for a blue fan: TD Bell and Erbie Bowser It's About Time (Spindletop) Otis Spann Otis Spann's Chicago Blues (Testament) Wille Kent Too Hurt to Cry (Delmark) Various (Joe Calicott, Jr Kimbrough) Blow My Blues Away Vol II (Arhoolie) Jr. Wells HooDoo Man Blues (Delmark) Lightnin Hopkins Complete Aladdin Recordings Lavelle White Miss Lavelle (Antones) Big Bad Smitty Mean Disposition (Black Magic) -Jeff (I tried to stay away from the obvious artists) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / As I was riding across the Mississippi \ / I stopped there and I cried. \( No use for a man to keep a mighty river All dammed up inside. -Joe Ely ========================================================================= Date: Fri, 20 Oct 1995 10:09:36 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: willie dixon Comments: To: Mark Gobeyn In-Reply-To: <199510201423.JAA07117@bradley.bradley.edu> I'm pretty sure that I Am The Blues included Mighty Joe Young gtr; Lafayette Leake pno; Walter Horton hca; Dixon on bass; and Clifton James, drums. However, I don't have it in front of me so maybe someone in closer proximity to a copy (someone who uses Internet from their home instead of their day job) can confirm this. ========================================================================= Date: Fri, 20 Oct 1995 10:35:27 -0500 Reply-To: David Silberberg From: David Silberberg Subject: Re: Friday Must Haves At 09:31 AM 10/20/95 CDT, L W wrote: >Quick, list some CD's that IYO are must haves for a blue fan: > > Jimmy Reed - just about any extensive Vee Jay compilation. David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Fri, 20 Oct 1995 15:04:33 GMT Reply-To: Richard Cotenas From: Richard Cotenas Organization: California State University Sacramento Subject: Re: Chord Progressions Comments: To: bit-listserv-blues-l@uunet.uu.net Derek Hunter (derek.hunter@COMPUSTUFF.COM) wrote: : To Whom It May Concern: : Could any of you please send me some general chord progressions I could : just plunk out, per se, on my piano and then add a melody line. Just to : improvise....thanks... : Derek Hunter : derek.hunter@compustuff.com In addition to the standard twelve bar blues progression, there are a couple of eight bar progressions: 1) I / I / IV / IV / I / V / I / V -- "It hurts me, too" is an example. sometimes the second IV chord is played as a minor. 2) I / V / IV / IV / I / V / I / V -- "Trouble in mind" and "Key to the highway" are two examples. -- Richard Cotenas Calif. State Univ., Sacramento Library, Acquisitions Unit (916) 278-6951 ========================================================================= Date: Fri, 20 Oct 1995 11:43:08 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Friday Must Haves Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, ISTS024/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=ISTS024#p#UABDPO#f#BITNET#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *Quick, list some CD's that IYO are must haves for a blue fan... *Your turn Muddy - The Chess Box Junior Wells - Hoodoo Man Blues Sonny Boy Williamson - The Essential Sonny Boy Williamson Skip James - Devil Got My Woman Mississippi John Hurt - The Immortal Mississippi John Hurt Walter Horton - Fine Cuts, Can't Keep Loving You ========================================================================= Date: Fri, 20 Oct 1995 11:04:38 CST6CDT Reply-To: SOXTON@CHE2.CHE.UMN.EDU From: Sara Oxton Organization: University of Minnesota Subject: Re: Must Haves While I'll confess to always reading "must have" lists, I rarely heed them. Many of us have Son House, and BB King, and Freddy King in our collections. But I don't think we went out and bought them em masse. Or did we? I didn't. I discovered each artist over the course of 10 years. And along the way, I made some pretty interesting detours that have only (in my opinion) embellished my musical knowledge. I'll be the first to confess I have along way to go before reaching know-it-all nirvana, but I'm going to get there on my own time. As long as everyone's asking though, here's my "must-have" list. Also reads as the heavy rotation list at the Oxton house: 1. Bobby Bland, Two Steps From the Blues 2. Spencer Wiggins, Soul City USA 3. Chuck Willis, King of the Stroll 4. OV Wright, Nickel & A Nail 5. Sam Cooke, A Man & His Music 6. John Lee Hooker, Complete VeeJay Recordings 7. Earl Bostic, Dance Time w/ Earl Bostic 8. BB King, Live at the Regal 9. Ray Price, Night Life 10. Eddie Floyd, Knock on Wood Best, Sara ========================================================================= Date: Fri, 20 Oct 1995 10:14:42 -0600 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Geoff Muldar in Denver Geoff Muldaur, whose name has come up recently on blues-l, will be appearing in Denver this Saturday @ 8:00 at the Mercury Cafe, 2199 California Street. Tickets are $14 and are available by calling 777-1003. (He may be in your town soon???) Geoff was one of the primary members of the Kewskin Jug Band of the '60s (with his ex, Maria Muldar) and cut some tasty sides with Paul Butterfield's Better Days, with Amos Garrett, and under his own name (ie, "Bluesboy"). Jay Watterworth (no affiliation except as an lp purchaser) CU Boulder ========================================================================= Date: Fri, 20 Oct 1995 09:42:00 -0500 Reply-To: "timothy (t.b.) bosley" From: "timothy (t.b.) bosley" Subject: Re: Mickey, Minnie, and Goofy In message "Mickey, Minnie, and Goofy", David Goldstein wrote: > >So, Disney bought a piece of HOB. It seems really hypopcritical >considering that I took my family to Disney this week, and I could >count the number of black families on one hand. It's not about black and it's not about blue.... it's all about green. To think otherwise is a bit naive. ========================================================================= Date: Fri, 20 Oct 1995 11:17:53 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Friday Must Haves > > Quick, list some CD's that IYO are must haves for a blue fan: > > Freddy King - FK Sings > Muddy Waters - One More Mile > Robert Johnson - Complete > BB King - Live At the Regal > Albert King - Ultimate Collection > Johnny Shines - Traditional Delta Blues > Miss Fred Mcdowell - You Gotta Move (aka Miss Delta Blues) > Lthgin Hopkins - Complete Aladdin > T-Bone Walker - Complete Imperial > Son House - Father of The Delta Blues > Little Walter - The Blues World of Little Walter (I hope that's the title) > > Your turn > > LW 'bored' > Those are all classics LW and I have most of them, but I rather play these: 1. Arthur "Big Boy" Crudup - "Mean Ol' Frisco" (Charly) 2. RL Burnside - "Too Bad Jim" (Fat Possum) 3. Rare Chicago Blues 1962-1968 (Bullseye) 4. Sonny Boy Williamson - "King Biscuit Time" (Arhoolie) 5. Sonny Boy Williamson - "Essential SBW" (Chess) 6. Maxwell Street Jimmy Davis (Wolf) 7. Muddy Waters - "Hard Again" (Blue Sky) 8. Johhny Young - "Chicago Blues" (Arhoolie) 9. Fenton Robinson - "Somebody Loan me a Dime" 10. Bo Carter - "1931-1940" (Yazoo) BTW, try "new" Mississippi Fred McDowell on Rounder (just released). Best Fred IMO. Ranko ========================================================================= Date: Fri, 20 Oct 1995 09:33:35 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Sue Foley, Maria Muldaur Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Richard Flohil said: > Linda L also wants to know about Maria Muldaur, and that astonishes >me. How come Linda's never even heard of her? Does she not have access to >music books, standard music reference works, a nearby record store perhaps, >or friends with record collections? Information on Muldaur's 30-year >career, from her work with jug bands in the early '60s folk revival, her >six albums on Warners (including the ones with her then-husband Geoff >Muldaur, the hit Midnight at the Oasis (of course), and her lesser-known >but much better album with Benny Carter), her kids' album, her gospel >material to her current output on Black Top and Stony Plain, is all readily >available, and I find Linda's ignorance as stunning as most of you would if >I posted a note saying "I've heard of a singer called B.B. King - who is >he?" > Her query, to be honest, is typical of so many messages on Blues L; >there are faster, simpler, easier, and more efficient ways of finding >things out than posting messages on the Internet which make the sender >sound totally out of touch with reality. Reference libraries, music books, >and record collectors, and even half-educated record retailers are all far >more reliable-and much faster-sources of information than this clumsy, >lumbering new invention we've christened the Internet. "In my humble >opinion, etc. etc. blah blah blah." - Richard Flohil (private mail and >pissed-off comments to: rflohil@inforamp.net) YIKES! What an attitude! Listen Richard, most of us here on Blues-L don't mind hipping people to our favorite artists, and many of us actually enjoy it, and will expound at length with discography! Which is what makes this group so cool. In the space you took to try to make Linda look like a moron above, you could have done a nice, *positive* capsule review of Maria and made a friend to boot. Why all the effort on such nastiness? I doubt the sender is "totally out of touch with reality" at all, and I doubt you were anywhere near as "astonished" as you are so archly claiming to be... This sort of hyperbole is what makes so many lists so tiresome... Give us and Linda a break and remember your manners please... BTW, if someone posted a "note saying "I've heard of a singer called B.B. King - who is he?" on this list, (and it appeared sincere) FRIENDS of BB's on this list would have been happy to get the poster hip, really quick, and really nicely, and welcomed a new blues fan! Listen and learn, my friend. Don Oh, and my girlfriend didn't know who BB was when I met her... Instead of being "stunned", I played "Live st the Regal" for her, and she became a great fan. Now she's my wife, and we hear the blues every chance we get. Guess it was a good thing I was nice to her instead of "stunned", huh? ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Fri, 20 Oct 1995 15:58:32 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Sax and the Blues Comments: To: bit-listserv-blues-l@moderators.uu.net Having been away on hols I missed the start of the Sax and the Blues thread. However, for what its worth - It has to be remebered that not all blues records were made by artists with a gob iron (tin sandwich) and a battered guitar. If you wanna here someblues with fine sax playing try anything fron Chicago in the late 40's and 50's with JT Brown, or try Eddie Cleanhead Vinson's early recordings, or why not Wynonie Harris with some amazing sax playing by Illinios Jacquet. Then there's Louis Jordan, Muddy (yes with saxes! During the late 50's Muddy had a band in Chi town that had sax and damn it a clarinet!!!), there's tons of stuff. Now we run a thread with blues records featuring violin - I mean real scratchy violin! Or the most unusual instrument to be played on a blues/R&B record. How about Big Boy Cleveland's syrinx on "Quill Blues" cut in 1927 for starters? If you don't know it you should do. Can anybody whistle it? ========================================================================= Date: Fri, 20 Oct 1995 09:44:17 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Guitar Carry-on Luggage experiences requested for NW Comments: To: BLUES-L@BROWNVM.BROWN.EDU. You know, there are really phenomenal cases available now that I would put through luggage. (although they may lose it of course...) The Mark Leaf cases come to mind. They have like 4-5 inches of padding all the way around, the shell is not metal or plastic so it gives more, and they have a built in humidifer. Best case I have ever seen, bar-none. Of course, they are 500.00+ ouch Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Fri, 20 Oct 1995 12:27:37 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: What am I in for? Jimmy Witherspoon -- the last of the great midwest Blues shouters, known as "The Spoon." Expect, strong mellow vocals in the greatest of 40s R&B blues tradition. Jimmy McCracklin -- Best known for "The Walk" recorded in the 1950s. A solid R&B vocalist. This sounds like a great concert -- I wish I was there. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Fri, 20 Oct 1995 12:27:37 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Luther in Toronto and Nashville in November ?/ >Any other bluezellers in Toronto know anything >about the Nov 1st show of Luther Allison at the >El Mocambo ? I haven't seen/heard anything about it > except on blues-l... It WAS scheduled, but the El Mo is once again in financial difficulties and has closed the upstairs room, cancelling all scheduled gigs. Many have been re-scheduled for other venues in the city, but I haven't heard about the Luther Allison show. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Fri, 20 Oct 1995 12:54:07 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Friday Must Haves Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com Another one I just remembered (how could I have forgotten?!) Jimmy Rogers - Chicago Bound ========================================================================= Date: Fri, 20 Oct 1995 12:04:58 CDT Reply-To: ISTS024@UABDPO.BITNET Comments: RFC822 error: Invalid RFC822 field - "UABDPO.DPO.UAB.EDU (LMail V1.2a/1.8a) with BSMTP id 5310; Fri, 20 Oct 1995". Rest of header flushed. Comments: Resent-From: ISTS024@UABDPO From: L W ----------------------------Original message---------------------------- >While I'll confess to always reading "must have" lists, I rarely heed them. >Many of us have Son House, and BB King, and Freddy King in our collections. >But I don't think we went out and bought them em masse. Or did we? I didn't. The motive was easy, a lot of new subscribers asking questions that also indicates they MAY be new to blues. So this is a around about way to steer them in the right direction. When they see BB's Live At The Regal on a bunch of Must Have lists, that's going to make them think that it's something they might ought to give a listen to.. LW 'it was for the new folks and me :-)' ========================================================================= Date: Fri, 20 Oct 1995 13:10:16 -0400 Reply-To: ROSEBUDUS@AOL.COM From: Rosebud Agency Subject: Los Lobos In reply to Rob Varak, Los Lobos is just putting the finishing touches on their new album which should be out approximately late March. Nice to see the support for them-they are great. This would be my objective opinion and was before beginning to work with them in 1983-It still is my opinion but have to disclose for the record that we are their agents. Mike Kappus, Rosebud It don't make sense if you can't make peace. Willie Dixon Date: Mon, 16 Oct 1995 23:48:49 -0500 From: Rob Varak It's great to see a bunch of 'zellers into Los Lobos. They are the BEST!! I put them next to any band workin' today without hesitating. Musically, lyrically and for entertainment they cannot be topped!! I just wish they'd get a new album out. The "Assassins" Soundtrack is all old stuff. ========================================================================= Date: Fri, 20 Oct 1995 13:25:47 -0400 Reply-To: bob unger From: bob unger Subject: Name That Tape This is an update for blues-l tape #3. Originally, I had decided to name it "Blues I-Way" but after a considerable number of blank stares and human mouth's saying "Huh?" I decided to trash that title.....SO.....here comes the fun part.....and the subsequent reward. Name The Tape! Just send a message with your original title for blues-l tape #3. Seeing as how I am putting together the tape, I will pick the winner. I hear ya...BIG DEAL!...well, the deal is.....the winner has to give me his/her snail mail address and I will send him/her my copy of......... Freddie King - Live At Antibes Anybody got any ideas????????? BU bob@sun.bnkst.edu ========================================================================= Date: Fri, 20 Oct 1995 12:32:25 -0500 Reply-To: Mark Gobeyn From: Mark Gobeyn Subject: my must haves how 'bout ... J B Lenoir Alabama Blues (absolutely must have) Skip James 1931 Sonny Boy Essential (an appropriate title) Syl Johnson Back in the Game Fenton Robinson Somebody Loan Me a Dime J B Lenoir Down in Mississippi R L Burnside Too Bad Jim Albert King The Ultimate Collection ========================================================================= Date: Fri, 20 Oct 1995 12:43:01 -0400 Reply-To: Willy Evans From: Willy Evans Subject: Man , I'm sad!!! Luther Allison finally comes to town tonight and I gotta go out of town. Who says I ain't paid my dues!!! Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** the hounds begin to bark **** ========================================================================= Date: Fri, 20 Oct 1995 12:43:11 CDT Reply-To: Willy Evans Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: Willy Evans From: L W Subject: Man , I'm sad!!! ----------------------------Original message---------------------------- >Luther Allison finally comes to town tonight and I gotta go out of town. >Who says I ain't paid my dues!!! I just came back from a music store (buying mic's and boom stands...etc) and there was a big autographed LA poster. I asked if they saw him at the jam and they said he stopped by the store. One of the guys there jammed with him. I asked if he cut Luther's head and he said "No I got severely educated"...... LW 'giving in and buying mic's ..etc and acting professional onstage.' (even though I'm an amateur) ========================================================================= Date: Fri, 20 Oct 1995 12:56:54 CST Reply-To: William Shute From: William Shute Subject: Friday Must Haves From: Bill Shute This looks like yet another way of getting our personal "top 5 or 10" list for the week out, and I'll always jump at another chance to do that. So, here are my most-played items for THIS Friday: MIKE STOCKTON AND THE RHYTHMATORS It's My Soul (Azure) JOE GUITAR HUGHES Texas Guitar Slinger (Me & My, Holland) FLETCHER HENDERSON Fletcher Henderson and the Blues Singers, Vols. 1&2 (Document, Austria) various artists The Earliest Negro Vocal Groups, Vol. 3 (Document) T-BONE WALKER The Complete Black & White/Capitol Recordings (Capitol) various artists Swinging The Blues (Document) various artists SARG ROCKERS, Vols. 1 & 2 (Collector/White Label, Holland) Happy Listening... Bill Shute San Antonio, TX ========================================================================= Date: Fri, 20 Oct 1995 11:49:12 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Name That Tape Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Bob Unger said: >Name The Tape! Just send a message with your original title for blues-l tape >#3. Seeing as how I am putting together the tape, I will pick the winner. Simple, "Blues on the Net"! what else? >I hear ya...BIG DEAL!...well, the deal is.....the winner has to give me >his/her snail mail address and I will send him/her my copy of......... post privately for my address. ;-] Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Fri, 20 Oct 1995 11:53:28 +0100 Reply-To: "J. Witteveen" From: "J. Witteveen" Subject: Sue Foley, Canuck Bill Shute wrote: >Richard Flohil makes many excellent points in his post about >Maria M. and Sue F. (by the way, Richard, thanks for referring to >Sue as a "canadian" artist--it tarnishes Texas' reputation to refer >to her as a Texas artist). And I, a (somewhat) proud Canadian, respond: Hey! I resent that! What does it do for Canada's reputation??? :-) :-) -Jim (hndful@uniserve.com) Abbotsford, British Columbia! ========================================================================= Date: Fri, 20 Oct 1995 13:57:04 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Re: What am I in for? > > Jimmy Witherspoon -- the last of the great midwest Blues shouters, > known as "The Spoon." Expect, strong mellow vocals in the greatest of > 40s R&B blues tradition. > Speaking of which, how many of you guys out there also dig Spoon's "Feelin' The Spirit," a collection of spirituals??? Ranko ========================================================================= Date: Fri, 20 Oct 1995 12:08:06 -0700 Reply-To: Chris Adams From: Chris Adams Subject: Re: Sax and the Blues Comments: To: Tony Burke In-Reply-To: <814204712.10017@bluestb.demon.co.uk> For some great blues/jazz/early r & r saxaphone, there's nothing finer than Buddy Johnson and his orchestra. His sister Ella performed with him and he performed big band blues meant for dancing. Duke Robillard has said that Buddy and his band were one of his big influences in forming Roomful of Blues. There is a multi-CD set of Buddy on Bear Family and I think some others of his MCA output in individual packages, though some of that is out of print except on the Bear Family package. Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us On Fri, 20 Oct 1995, Tony Burke wrote: > Having been away on hols I missed the start of the Sax and the Blues > thread. > > However, for what its worth - It has to be remebered that not all blues > records were made by artists with a gob iron (tin sandwich) and a > battered guitar. > > If you wanna here someblues with fine sax playing try anything fron > Chicago in the late 40's and 50's with JT Brown, or try Eddie Cleanhead > Vinson's early recordings, or why not Wynonie Harris with some amazing > sax playing by Illinios Jacquet. > > Then there's Louis Jordan, Muddy (yes with saxes! During the late 50's > Muddy had a band in Chi town that had sax and damn it a clarinet!!!), > there's tons of stuff. > > > Now we run a thread with blues records featuring violin - I mean real > scratchy violin! > > Or the most unusual instrument to be played on a blues/R&B record. How > about Big Boy Cleveland's syrinx on "Quill Blues" cut in 1927 for > starters? If you don't know it you should do. Can anybody whistle it? > ========================================================================= Date: Fri, 20 Oct 1995 15:07:30 -0400 Reply-To: CRotenberr@AOL.COM From: Conrad and Judy Rotenberry Subject: DMX It has really suprised me that in the month I've been involved with Blues-L that no one has mentioned the TV Cable company's DMX Blues Channel. It has 24 hours a day, 7 days a week, of solid Blues without interruption, of which I'm listening to right now. What a kick!. I just love the Blues. I don't care who's playing it. If it hits that spot inside me that only the blues can go to, then I'm happy. Don't get me wrong, I do have my favorites, but DMX has certainly given me a broader view of the Blues than I would otherwise have experienced if I had not subscribed to DMX. My husband and I are in our 50's and many nights of the week we will listen to 4 or 5 hours of Blues and we only pay about $10.00's a month. What a great value for our bucks. And we don't have to go to noisey, smoked filled rooms to get really laid back. Hope all of you can find DMX! J San Antonio, TX ========================================================================= Date: Fri, 20 Oct 1995 14:24:36 CDT Reply-To: "Hubbell, Christy" <96625@MHS77.DSC.K12.AR.US> From: "Hubbell, Christy" <96625@MHS77.DSC.K12.AR.US> Organization: mhs77.dsc.k12.ar.us Subject: Information Please send some information to me. Christy Hubbell 96625@ mhs77.dsc.k12.ar.us ========================================================================= Date: Fri, 20 Oct 1995 19:20:56 GMT Reply-To: David Goldstein From: David Goldstein Organization: IPOF Subject: Re: Mickey, Minnie, and Goofy Comments: To: bit-listserv-blues-l@uunet.uu.net "P.W. Fenton" wrote: >On 20 Oct 95, David Goldstein had this to say: > >> So, Disney bought a piece of HOB. It seems really hypopcritical considering > that I >> took my family to Disney this week, and I could count the number of black > families >> on one hand. >> > >What are you saying, David? That Disney keeps black people out of >Disney World? ...or that HOB attracts black people? Explain this >statement. > >P.W. Fenton >Tampa, Florida >email - pwfenton@gate.net >WWW - http://www.gate.net/~pwfenton/ The relationship between Disney and blacks is not that simple. The exhibits at Disney are close to being anti-color. Pocahontas is about the wonderful rapport between the indians and whites that developed through the love of two people - white fantasy PR bullshit. Second, the HOB blues venues should attract blacks as well as whites, but they don't because the shows are "dominated" by white wit and mentality. In my opinion you will never see a large black audience at these shows, because there is an anthropological identity gap between whites and blacks that white people can't get a handle on. In other words, when whites as the majority are planning these things, they cannot grasp or incorporate the cultural elements of the black community that grab blacks and provoke an "I can appreciate that" type of emotion, humorous or otherwise, that would make most blacks want to participate. Blacks can't relate to many white cultural social and interpersonal cues and vica versa, so these white dominated events are seen as largely irrelevant to black cultural and aesthetic sensibilities. Disney is certainly no better at making these venues relevant to blacks than the people currently in charge at HOB. ========================================================================= Date: Fri, 20 Oct 1995 12:54:00 PDT Reply-To: Gary Joneson From: Gary Joneson Subject: Re: my must haves My mailer went nuts this is my... Friday play list.... SBW 1 Vol.3 (Document) Jimmy & Mamma Yancy Vol.1 Chicago Piano (Atlantic) SBW 2 Essential Leroy Carr & Scrapper Blackwell (Document DLP543) Vinyl Otis Spann Heart Loaded with Trouble (Bluesway) Vinyl Buddy Guy & Junior Wells Alone & Acoustic (Alligator) Jimmy Reed (Charly) Blues Masterworks Vol. 17 SBW 1 Vol. 1 (Document) Ron Thmpson Just Like A Devil (Winner) Little Walter Boss Blues Harmonica (Chess) Vinyl ========================================================================= Date: Fri, 20 Oct 1995 14:57:22 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: 1st anniversary Johnson County Blues Society will celebrate the First Anniversary with Big Daddy Kinsey and Kinsey Report on December 2nd, Gunnerz, Iowa City. Tickets: $8 in advance, $10 at the door. Ranko ========================================================================= Date: Fri, 20 Oct 1995 13:57:37 -0600 Reply-To: BMPECH@MSCD.EDU From: Bruce Pech Subject: Friday Must-Haves (semi-obscure) Jimmy Dawkins -- Hot Wires: 1981. Stunning slow blues. BP Boulder, CO ========================================================================= Date: Fri, 20 Oct 1995 15:01:03 CDT Reply-To: Gary Joneson Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: Gary Joneson From: L W Subject: Re: my must haves ----------------------------Original message---------------------------- >Leroy Carr & Scrapper Blackwell (Document DLP543) Vinyl I shamedly admit I own NO LC and SB, but I got to get some, I was thinking about how deprived I am for not owning anything, by those two very influential artists.....Gotta get some of that stuff LW ========================================================================= Date: Fri, 20 Oct 1995 16:35:53 -0400 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: Name That Tape Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199510201725.NAA27488@sun.bnkst.edu> bob unger writes: >This is an update for blues-l tape #3. Originally, I had decided to name it >"Blues I-Way" but after a considerable number of blank stares and human mouth's >saying "Huh?" I decided to trash that title.....SO.....here comes the fun >part.....and the subsequent reward. >Name The Tape! Just send a message with your original title for blues-l tape >#3. Seeing as how I am putting together the tape, I will pick the winner. >I hear ya...BIG DEAL!...well, the deal is.....the winner has to give me >his/her snail mail address and I will send him/her my copy of......... >Freddie King - Live At Antibes Howzabout: - Blues Without a Net ========================================================================= Date: Fri, 20 Oct 1995 16:35:11 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Mickey, Minnie, and Goofy Comments: To: David Goldstein On 20 Oct 95, David Goldstein had this to say: > The exhibits at Disney are close to being anti-color. Pocahontas > is about the wonderful rapport between the indians and whites that > developed through the love of two people - white fantasy PR bullshit. Wake up.... Pocahontas is a cartoon! > Second, the HOB blues venues should attract blacks as well as > whites, Whoah... if you owned HOB you would think that what they should attract is mainly dollar bills. Green ones. > but they don't because the shows are "dominated" by white > wit and mentality. Wouldn't a club owned by blacks have shows "dominated" by black wit and mentality. So do you have a point? > Blacks can't relate to many white cultural social and > interpersonal cues and vica versa, so these white dominated events > are seen as largely irrelevant to black cultural and aesthetic > sensibilities. Therefore what????? Disney has a responsibility to create "Disney Hood"? If they did, and it was successful you'd be bitching because Disney was white and he was making money by EXPLOITING blacks. Muddy Waters and Walt Disney were in the exact same business... Entertainment. You give people what they need to feel good, and you make money. You aim at a black market, you make money from them. You aim at a white market, you make money from them. You try to aim somewhere in the middle, and while you are making lots of money, you suffer the slings and arrows of folks like you who will bitch about nearly anything. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 20 Oct 1995 16:35:11 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: willie dixon Comments: To: rshurman@CCS.NSLSILUS.ORG On 20 Oct 95, Richard Shurman had this to say: > I'm pretty sure that I Am The Blues included Mighty Joe Young gtr; > Lafayette Leake pno; Walter Horton hca; Dixon on bass; and Clifton James, > drums. However, I don't have it in front of me so maybe someone in > closer proximity to a copy (someone who uses Internet from their home > instead of their day job) can confirm this. I internet from home on Fridays... here it is: Willie Dixon, vocals and bass Walter Horton, harmonica Sunnyland Slim, piano on some Lafayette Leake, piano on the others Johnny Shines, guitar Clifton James, drums P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 20 Oct 1995 15:49:47 -0500 Reply-To: C L Buchanan From: C L Buchanan Subject: Re: DMX (Primestar) Comments: To: CRotenberr@AOL.COM For those of us who live out in the country and cannot get cable there is another option. Primestar! Basically a mini-dish with a digital signal. Price is comparable to cable and they also have an all blues channel. It is older, traditional blues (haven't heard EC) and is a very refreshing change! Chad Buchanan *Note: I am NOT affiliated with Primestar except that they get a check from me once a month. ========================================================================= Date: Fri, 20 Oct 1995 15:55:15 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Firday must have Mistake On my list of Must haves, I listed a wrong performer. The Arhoolie Disc "Blow My Blues Away, Vol. II" has Mississippi Joe Calicott, RL Burnside, and Houston Stackhouse. Joe Calicott has one of the most angelic voices I have heard. -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / As I was riding across the Mississippi \ / I stopped there and I cried. \( No use for a man to keep a mighty river All dammed up inside. -Joe Ely ========================================================================= Date: Fri, 20 Oct 1995 17:01:31 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Re: Sue Foley, Maria Muldaur Comments: cc: Don Cicchetti Don reminded everyone of my ill-temper in responding to Linda L's query about Maria Muldaur, with whom I have long been totally in love, by adding: "Oh, and my girlfriend didn't know who BB was when I met her... Instead of being "stunned", I played "Live st the Regal" for her, and she became a great fan. Now she's my wife, and we hear the blues every chance we get." Yes, Don, it WAS "a good thing" you were nice to her instead of being "stunned", and I do hope you haven't had the blues as a result of your decision. I've apologised to one and all, I did give Linda L some stuff about Maria, and if she wants a whole discography, with ratings, I'll spend an hour or two putting one together, okay? And if Live at the Rgal did wonders for you, may I suggest that Solomon Burke's Live at the (dreaded) House of Blues on Black Top could keep the marraige going well into the next century! Cheers, Richard ========================================================================= Date: Fri, 20 Oct 1995 17:01:35 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Luther Allison in Toronto Comments: cc: Sriram Dayanand In response to your post, Luther Allison is now scheduled to play two long sets at the RPM club in Toronto on Wed. Nov. 1. Tickets are $13 in advance at Ticketmaster, $16 at the door (that's Canajun money, American friends -wotta bargain!). Judging from his new Alligator album, he'll be well worth catching, and he'll be joyously LOUD. I'll be there, muttering apologies to Blues L subscribers for being a crotchetty old fart... Richard ========================================================================= Date: Fri, 20 Oct 1995 16:03:19 CDT Reply-To: "P.W. Fenton" Comments: Authenticated sender is Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: "P.W. Fenton" From: L W Organization: The Second Ward Subject: Re: Mickey, Minnie, and Goofy ----------------------------Original message---------------------------- > Second, the HOB blues venues should attract blacks as well as > whites, >Whoah... if you owned HOB you would think that what they should attract >is mainly dollar bills. Green ones. >Muddy Waters and Walt Disney were in the exact same business... >Entertainment. You give people what they need to feel good, and you >make money. You aim at a black market, you make money from them. I don't think the blacks support the blues, period. I have no explainaton, unless they feel that it's been 'whitewashed'. Pete Welding told me that IHHO the Civil Rights movement hurt the blues, by not embracing the blues. He said the "there was a living tradition and continuum , that from the early to middle 60's hasn't been there' He mentioned that Soul Music/ R&B/ Dance music..etc had more to offer in terms of money and recogition. He said that blues music had too many umpleasant connotations for blacks.........It has nothing to do with HOB or Disney....I bet there were more blacks at Disney World than there was at the Charles Brown Show......I don't know why, but I sure would like to see blacks take "their music" back. I think the blues is ONE thing that can unite all races, of course that ain't the only thing..... LW ========================================================================= Date: Fri, 20 Oct 1995 14:08:11 -0600 Reply-To: Steven Fluet From: Steven Fluet Organization: Ala Carte Entertainment Subject: KOKO TAYLOR'S CHICAGO BLUES Comments: To: bit-listserv-blues-l@relay1.uu.net Truly one of the best Chicago Blues Experiences Located on state and division, It has 7 live shows a week. Here's the list: TONIGHT: L.V. Banks and the Blues Survivors Saturday the 21st Lonnie Shields & Joan Baby Sunday the 22nd Sunday Night Jam! Monday the 23rd Mike Peavy Tuesday the 24th Alvin Cash Wednesday the 25th John McDonald Thursday the 26th Sharon Lewis with Under the Gun Friday the 27th Lil Ed w/ Dave Weld & THe Imperial Flames Saturday the 28th Studebaker John and the Hawks W/ Little Mac Simmons Sunday the 29th Sunday Night Jam! Monday the 30th J.W. Williams Tuesday the 31st Melvina Allen Staytuned for the November update! ========================================================================= Date: Fri, 20 Oct 1995 17:01:24 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Re: Sue Foley, Maria Muldaur Comments: cc: Bruce Roberts Jeez, yes, I WAS a miserable s.o.b. in responding to Linda L's query about my beloved Maria Muldaur. But the point remains-the Internet's an awful complicated way to find out about anybody. Read a book, go to a library, (rent some records there?), get some fresh air...So, I'll try to be nicer and not have a bad day! - Love, Linda L!; I'm really a nice guy...and discover Maria; she's a delight, and a singer (a diva, really) who tackles jazz, blues, gospel and even old standards with class and sass. Cheers, y'all rflohil@inforamp.net ========================================================================= Date: Fri, 20 Oct 1995 16:54:10 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Information Comments: To: 96625@MHS77.DSC.K12.AR.US On 20 Oct 95, Christy Hubbell had this to say: > Please send some information to me. > Four out of five dentists prefer surgarless gum for their patients that chew gum. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 20 Oct 1995 21:29:04 GMT Reply-To: Weidel From: Weidel Organization: Voicenet - Internet Access - (215)674-9290 Subject: Re: willie dixon Comments: To: bit-listserv-blues-l@uunet.uu.net In article , Richard Shurman wrote: > I'm pretty sure that I Am The Blues included Mighty Joe Young gtr; > Lafayette Leake pno; Walter Horton hca; Dixon on bass; and Clifton James, > drums. However, I don't have it in front of me so maybe someone in > closer proximity to a copy (someone who uses Internet from their home > instead of their day job) can confirm this. You're pretty much on the money here. While Lafayette Leake does appear on piano, it's Sunnyland Slim on some cuts. Also, the guitarist is Johnny Shines, not Mighty Joe Young. You still did better than I would have done at work. Bob ========================================================================= Date: Fri, 20 Oct 1995 15:59:35 -0600 Reply-To: PAN D'MONIUM From: PAN D'MONIUM Subject: SIGNOFF BLUES-L Iim going on vacation for awhile...Yellowstone Park! Only blue thing there will be the stellar jays. Gonna miss you guys while I'm gone. ========================================================================= Date: Fri, 20 Oct 1995 18:07:34 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Name That Tape Comments: To: DMIELE@crsgi1.erenj.com I say that we call it: Blues-Eller Fitzgerald and hope to make a lot of money before people realize that it isn't just a spelling mistake. Dick Waterman (Not related to Eller/Ella in any way) ========================================================================= Date: Fri, 20 Oct 1995 15:08:00 -0700 Reply-To: NED_KRAFT@HP0000.DESK.HP.COM From: Ned Kraft Subject: Who's BB? I'll disagree with Richard on this. IMO the internet is the easiest way to get info (if available) and blues-l is a good source of info on blues artists. You don't have to leave home and can often get the info you are looking for. I gladly answer questions about artists I am familiar with and appreciate others doing the same. Private e-mail deluge expected if there is great disagreement. Dirty Ned Hoosier Daddy ========================================================================= Date: Fri, 20 Oct 1995 22:19:34 GMT Reply-To: "Linda L." From: "Linda L." Organization: CSU, Sacramento Subject: Re: Little Jimmy King -Reply Comments: To: bit-listserv-blues-l@uunet.uu.net In article , Erica Wissolik wrote: > I just saw this him play in Memphis last week with Al Green's rhythm section > and he's really very good - influenced by Albert King I guess because he's his > grandson. That's how the soundman introduced him. LJK is not really Albert King's grandson . . . but he was a protege of Albert King and AK fondly referred to Little Jimmy King as his grandson. In fact, I believe LJK's name is neither Jimmy nor King. He calls himself Jimmy in honor of Hendrix, and King in honor of Albert. I don't know if he's truly Little or not. His debut cd, btw, is "Little Jimmy King and the Memphis Soul Survivors" Bullsey Blues label. He also played lead guitar on Otis Clay's "I'll Treat You Right" and Ann Peeble's "Full Time Love". [Got this info from the CD cover] -- Linda L. sac62628@saclink.csus.edu ========================================================================= Date: Fri, 20 Oct 1995 18:37:47 -0400 Reply-To: David Goldstein From: David Goldstein Subject: Re: Mickey, Minnie, and Goofy On 10/20 P.W. Fenton wrote in response to my soapbox diatribe: >Wake up.... Pocahontas is a cartoon! You are being naive if you think that cartoons do not represent a cultural bias that takes more prejudicial forms elsewhere. >Whoah... if you owned HOB you would think that what they should attract >is mainly dollar bills. Green ones. > >Wouldn't a club owned by blacks have shows "dominated" by black wit and >mentality. So do you have a point? > >Therefore what????? Disney has a responsibility to create "Disney Hood"? > >If they did, and it was successful you'd be bitching because Disney >was white and he was making money by EXPLOITING blacks. > >Muddy Waters and Walt Disney were in the exact same business... >Entertainment. You give people what they need to feel good, and you >make money. You aim at a black market, you make money from them. >You aim at a white market, you make money from them. You try to aim >somewhere in the middle, and while you are making lots of money, you >suffer the slings and arrows of folks like you who will bitch about >nearly anything. > It is easy to use economics to support your view; however those same economics have served to segregate races in the past, and the present. Passive exclusion is just as prejudicial as active racism, just more insidious. Your arguments are an excellent example of it. Do you think that Muddy preferred to make the money he made instead of the money that the Elvis' of the world made? ========================================================================= Date: Fri, 20 Oct 1995 17:49:43 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Mickey, Minnie, and Goofy At 3:03 PM 10/20/95, L W wrote: >I don't think the blacks support the blues, period. I have no explainaton, >unless they feel that it's been 'whitewashed'. I think, during the fifties, there was the belief that blacks wouldn't support the old country accoustic blues tradition from the Delta, preferring the electrified Muddy Waters urban style as well as the urban R & B approach. The explanation was that the country style reminded many urban African Americans of the "old country", and they preferred to embrace the "new" urban entertainment, now that they were living in the city - in much the same way that (to make it more personal to me) first and (primarily) second generation Jews would not want anything to do with the "old country" culture of their (our) grandparents from the shtetl. Nothing new under the sun.... > Pete Welding told me that IHHO >the Civil Rights movement hurt the blues, by not embracing the blues. He said >the "there was a living tradition and continuum , that from the early to middle >60's hasn't been there' He mentioned that Soul Music/ R&B/ Dance music..etc >had more to offer in terms of money and recogition. He said that blues music >had too many umpleasant connotations for blacks.........It has nothing to do >with HOB or Disney....I bet there were more blacks at Disney World than there >was at the Charles Brown Show......I don't know why, but I sure would like to >see blacks take "their music" back. I think the blues is ONE thing that can >unite all races, of course that ain't the only thing..... Blacks have taken their music back - by developing modern R & B / hip hop / dance music / etc. Do whites of our generations prefer the "old style white music" (say pop music of the thirties, as an analogy to the blues), or modern white music - R & R or rock music? Why should we expect African Americans to keep their traditions instead of developing new ones, as every other ethnic group does? The masses - black OR white - are not going to like entertainment of decades ago - each generation develops its own style. David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Fri, 20 Oct 1995 16:50:23 -0600 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: Must Haves Comments: To: Sara Oxton In-Reply-To: <63F75B4824@che2.che.umn.edu> Nice list, Sara. I would have to nominate it for the "Most Unique" award. Personally, I appreciate the way it leans into soul, a school of the blues we don't often touch upon on blues-l (relatively speaking). Have you heard Sam Cooke's "Live at the Harlem Square Club, 1963"? Jay Watterworth CU Boulder On Fri, 20 Oct 1995, Sara Oxton wrote: {{{some snipping}}} > As long as everyone's asking though, here's my "must-have" list. Also reads a s > the heavy rotation list at the Oxton house: > > 1. Bobby Bland, Two Steps From the Blues > 2. Spencer Wiggins, Soul City USA > 3. Chuck Willis, King of the Stroll > 4. OV Wright, Nickel & A Nail > 5. Sam Cooke, A Man & His Music > 6. John Lee Hooker, Complete VeeJay Recordings > 7. Earl Bostic, Dance Time w/ Earl Bostic > 8. BB King, Live at the Regal > 9. Ray Price, Night Life > 10. Eddie Floyd, Knock on Wood > > Best, > Sara > ========================================================================= Date: Fri, 20 Oct 1995 17:11:34 -0600 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: Sax and the Blues Comments: To: Chris Adams In-Reply-To: Come to think of it, Lester Young didn't do too badly backing up Billie Holiday. Jay Watterworth CU Boulder ========================================================================= Date: Fri, 20 Oct 1995 19:21:26 -0400 Reply-To: Hanson123@AOL.COM From: Karen Hanson Subject: Re: Friday Must Haves >Quick, list some CD's that IYO are must haves for a blue fan: My pick: American Folk Blues Festivals, 1962-1985. (about 11 CDs in all, I think) You mentioned: >>3. Rare Chicago Blues 1962-1968 (Bullseye) Can you tell me about this one? Karen ========================================================================= Date: Fri, 20 Oct 1995 16:29:32 -0700 Reply-To: Jennifer Baldwin From: Jennifer Baldwin Subject: Re: Friday Must Haves In-Reply-To: <951020192125_49940402@emout05.mail.aol.com> Genesis : from the beginning No, not the band! It's a bitch'n box set. The sound quality isn't great, but what would you expect? Does anyone know if this is out on CD? ========================================================================= Date: Fri, 20 Oct 1995 23:40:35 GMT Reply-To: Rennie Selkirk From: Rennie Selkirk Organization: NASA-Ames Research Center Subject: Re: I'm Starting a List of SF Blues Clubs Comments: To: bit-listserv-blues-l@uunet.uu.net In article <464k12$72r@ixnews3.ix.netcom.com> Jim Farris writes: > Some notations, Jammin' Jim: >JJs Blues Uptown >on Stevens Creek Blvd. between Winchester and San Tomas Exprssway Right across from Santa Clara Guitar Center in case you bust some strings! Note: supposedly they have happy hour blues jams EVERY night. >Blues on B >on corner of 2nd and B in downtown San Mateo Downstairs from Barley and Hops. >Gionetti's >on B 1/2 block W of Blues on B They now have a Sunday night jam. >(can't remember name) >1/2 block E of Blues on B This may be "Vibes". >Slim's >South of Market On 11th between Folsom and Harrison, the "famous" South of Market (SOMA) club/bistro/restaurant district. >The Saloon Referring here to the Last Day Saloon on Clement St. nr 5th? And how about 'Biscuits and Blues' and 'Bimbos'? Hope I'm not leading anybody astray, H.J. Boogie ========================================================================= Date: Fri, 20 Oct 1995 19:49:46 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Mickey, Minnie, and Goofy LW wrote: > I don't think the blacks support the blues, period I don't think that's true. Even at its peak the blues was listened to only by a minority of people in the black community. So black blues fans are a minority of a minority, and thus not very visible. More significantly, blues itself has split along lines which reflect the divisions in our society. A recent item in Blues & Rhythm magazine describes a Chicago concert on the "near west side" -- ie not at the clubs frequented by whites -- which featuring these big stars -- Bobby Bland, Johnnie Taylor, Tyrone Davis, Otis Clay, Latimore, Artie White, Lee Williams, J. Blackfoot, and Ruby Andrews. You'll rarely see any of those names at a big Blues Festival or at the House of Blues -- but they frequently play to packed houses on the chitlin circuit, where white faces are very rare. Tragically, there is a "black vlues" audience and a "white blues" audience, and they don't even listen to the same artists. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Fri, 20 Oct 1995 19:49:46 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Name That Tape >Name The Tape! Just send a message with your original title for blues-l tape >#3. Seeing as how I am putting together the tape, I will pick the winner. "Got My Modem Working ..." Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Fri, 20 Oct 1995 20:23:54 -0400 Reply-To: DIMITROFF@DELPHI.COM From: Daniel Dimitroff Subject: Re: Robert Cray Concert A negative review? Okay, here's one. I saw the Robert Cray Band wednesday night in Peoria, IL. The opening act was Duke Robillard (??). Robert Cray is not one of my favorites and we were forced to wait in the lobby because the bands showed up late and were still doing sound check, so I wasn't going in with a really good attitude. We got to watch Keb' Mo' go thru his soundcheck, so I thought what was so special about these people? Duke was okay. The music was fairly good and he talked to the crowd between songs. He also did a little fancy stuff, like playing this huge semi-acoustic guitar behind his head. Afterwards, he announced what a big T-Bone Walker fan he was. Gee, who would have known? :-) The most interesting thing I noticed was the bass player slapping his upright acoustic bass. It looked like he had a Shure 57 wrapped in a hand towel and shoved between the strings after the bridge for miking. He also had a second wire attached to (I think) a contact mike inside the bass. At a little after 9pm, Robert Cray came out playing "Smokin' Gun." Okay, good tune, I like it. Songs over. Did he do a "Hello Peoria", etc.? Nope. Lights go out, he switches guitars with the tech, lights come up and they start the next tune. Songs over. Does Robert have anything to say now? Nope. Lights go out, guitar switch, lights come up, next tune. Boring. Songs over. Lights out. Guitar switch. Lights come up. Robert walks up to the mike. What does he have to say? "Here's a song off our new album." They start playing. Whoa! Bob's getting down right chatty!! Needless to say, I was less than impressed. The music was good, but, to me, kinda of technical with little soul. Maybe seeing Buddy the week before ruined it for me. At least he talked to the crowd and you knew how he was feeling. I'd say Robert was just going thru the motions. He didn't appear to be having fun. He didn't smile and he had his eye's closed quite a bit (of course, that's how he sings). I did notice that when he would back away from the mike and play, he kind of bowed his head down, open his eyes a crack and look back and forth. It gave me the creeps and when I pointed it out to some else, he comment was, "Now that is weird!" We left before the encore. If you have any questions on some of the equipment they were using, let me know. I notice that sort of thing. Dan ========================================================================= Date: Fri, 20 Oct 1995 19:11:28 +0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Re: Sonny Landreth? Steve, Sonny is a slide guitar player from Lafayette, Louisiana. His resume includes stints with the great Clifton Chenier and John Hiatt. I'm not sure when he played with Clifton. I don't know if he is on any of Clifton's records, he may have just toured with him. He's only 44 or 45 years old. He was a member of John Hiatt's band, The Goners, that recorded the "Slow Turning" album. He replaced Ry Cooder, who played on Hiatt's previous album.I believe he toured with Hiatt as well. Sonny also plays on Larry Garner's latest release on one of my favorite tunes, "Rats and Roaches in My Kitchen". He has played on records by Michael Doucet and Beausoleil, Mark Knopfler, John Mayall, Junior Wells, Stephen Eicher, Sue Medley and Darden Smith. He has three or four solo albums/CDs, the latest of which is "South of I-10". Sonny would not be considered a blues musician, although he is influenced by the blues. Being from Lafayette, he has a strong Cajun influence as well. Also, his voice is more suited for Cajun music. I find his voice a bit malnourished, but his breathtaking guitar playing easily compensates. Of his solo releases, I have a 1985 album, "Way Down in Louisiana", which is stronger on the Cajun influences than his latest, which I also own. "South of I-10" really shows off his ability on guitar and features some excellent musicians including Mark Knopfler and Allen Toussaint. As I stated earlier in a posting about the Baton Rouge Blues Festival, I was very disappointed in Sonny's performance at that most recent festival, although I had seen him at a previous festival and enjoyed him. This time around, he had some serious sound problems. He was backed by only a drummer and a bass player. He's certainly capable of an exceptional performance, hope this one isn't beset with problems. I'd be interested to know your impression of the performance. ********************* Bill Morgan WA>From: Steve Levine WA>To: Multiple recipients of list BLUES-L WA>Subject: Sonny Landreth? WA>Can anyone tell me anything about Sonny Landreth? My band is openin for WA>him at Tornado Alley next month, and I've never heard him. What kind of WA>stuff does he play? I'm just wondering what to expect. WA>-Steve ========================================================================= Date: Fri, 20 Oct 1995 20:12:11 -0500 Reply-To: William A Morgan From: William A Morgan Subject: Re: Sax and the Blues In-Reply-To: I don't believe anyone has mentioned Earl Turbinton, so let me be the first. The sometimes surly but always great "African Cowboy" has tooted his horn for B.B. King and Champion Jack Dupree. ************ Bill Morgan ========================================================================= Date: Sat, 21 Oct 1995 02:34:54 GMT Reply-To: catherin@NWLINK.COM From: catherin@NWLINK.COM Organization: COYOTE/Seattle: The Sex Workers Rights Organization Subject: Re: Catherine La Croix Comments: To: bit-listserv-blues-l@uunet.uu.net > Rich Dowey writes: > With all respect to Catherine: > > A self avowed 'call girl'? > > You live in Redmond? Now I understand why Microsoft can't seem to hit > a single deadline. ;-) I bought my house just a mile away from the MS campus. Makes commuting so much easier... > Who's contemplating selling whats left of his Microsoft stock, I think > the benefits plan is just a little too generous. ;-> Now, *I* wouldn't say that. Microsoft has beeen berry goooood to me! >>>> A tout a l'heure, Catherine La Croix Executive Director and Shameless Whore COYOTE/Seattle "Call Off Your Old Tired Ethics" The Sex Workers Rights Organization Oh, and Strat girl... ========================================================================= Date: Sat, 21 Oct 1995 02:45:01 GMT Reply-To: catherin@NWLINK.COM From: catherin@NWLINK.COM Organization: COYOTE/Seattle: The Sex Workers Rights Organization Subject: Re: blues-l concensus, from Race to E.C. Comments: To: bit-listserv-blues-l@uunet.uu.net > Michael Suffern writes: > Do you have to be Black to play Blues? > > What is a Bluesman? > > Is the Blues a Black artform anymore? > > Is Eric Clapton a Blues artist? -snip- > Some people find it truly offensive to call Eric Clapton a Bluesman. How > could someone who spent so much time playing Pop music, be given the > deeply reverent and honorable title of Bluesman? Because it plays it from the heart and he plays from pain...and that's always been the base of the blues. > Besides his voice > doesn't sound very Black, and he plays too many notes and riffs that his > predecessors never even considered. "Besides,", they say, "he's rich! Discarding his blues playing for lack of pigmentation is simply reverse bigotry and mindless elitism. And who gives a rat's ass if he has money. It doesn't mean he doesn't know heartache (the lost of parents, a son and, in a way, Patti/Layla to name a few). Listening to the "Rush" soundtrack, replete with strings, is still some of the most touching blues I've ever heard and I've been listening to Clapton since his very first days and, basically, he has the soul needed for the blues. > What does he know about having the Blues?". These people believe that he > is insincere in playing the Blues and has done it just for the money. Bullshit. He played them when there was no money, e.g Yardbirds and Mayall. > ["From The Cradle" has been a huge hit in the Blues category, though not > that big in Clapton's career. He has toured longer on this album than > most others, which should be a profitable venture for him. Is FTC a real > Blues album? Some say no because it isn't real (i.e. Black) Blues, > others say no because it isn't anything new - just a reproduction of the > originals, others say yes, it obviously is the Blues, what else would > you call it?] He did homage in his covers but I would have liked to have seen his interpretations more than simply his ability to cover Buddy Guy, Elmore James, Muddy Waters et al... >>>> A tout a l'heure, Catherine La Croix Executive Director and Shameless Whore COYOTE/Seattle "Call Off Your Old Tired Ethics" The Sex Workers Rights Organization and Strat Girl... ========================================================================= Date: Sat, 21 Oct 1995 02:47:16 GMT Reply-To: catherin@NWLINK.COM From: catherin@NWLINK.COM Organization: COYOTE/Seattle: The Sex Workers Rights Organization Subject: Re: Catherine La Croix Comments: To: bit-listserv-blues-l@uunet.uu.net > Ed Mezynski writes: > Once upon a time Rich said: > > With all respect to Catherine: > ^ > And I must agree with this point wholeheartedly. > > > > A self avowed 'call girl'? > > Who's contemplating selling whats left of his Microsoft stock, I think > > the benefits plan is just a little too generous. ;-> > > I don't know, Rich, seems like a great benefits package to me! Now, if I could just get Bill G outta my parking space... >>>> A tout a l'heure, Catherine La Croix Executive Director and Shameless Whore COYOTE/Seattle "Call Off Your Old Tired Ethics" The Sex Workers Rights Organization and Strat Girl... ========================================================================= Date: Fri, 20 Oct 1995 19:48:31 -0800 Reply-To: Michael Hewitt From: Michael Hewitt Subject: Re: Name that tape Okay...drum roll if you please........... How about.."Born Under A Baud Sign" Kinda catchy, huh? Michael Hewitt mhewitt@telis.org Region 7 Telementor MDH1953@aol.com California Technology Project 209-667-5903 X34 Troutbusters - Modesto, CA Fax 209-667-7628 "Flyfishing for trout is the closest thing to Heaven on Earth." - M. Hewitt "Nobody loves me but my mother, and she could be jivin' too." _ B.B. King ========================================================================= Date: Sat, 21 Oct 1995 02:51:32 GMT Reply-To: catherin@NWLINK.COM From: catherin@NWLINK.COM Organization: COYOTE/Seattle: The Sex Workers Rights Organization Subject: Re: Bad Girl Blues Comments: To: bit-listserv-blues-l@uunet.uu.net > L W writes: > Does anyone find this tune offensive...? Women loving each other , they > ain't thinking about no men....etc Some of the best sex I ever had...and I've had my share. > > I plan on doing this tune at a benefit for the homeless on Nov 8th. It's > called the Canned Jam and all proceeds go to the homeless. I was scheduled > THEN asked if I would play ....I guess my reputation as a stage slut is > getting out there. (actually they know I'm a nice person) > "Went out last night, smelling sweet like a rose, come home five oclock in the > morning with that fish scent all in her clothes..." Go for it, honey. Besides that tuna myth just originates with men... >>>> A tout a l'heure, Catherine La Croix Executive Director and Shameless Whore COYOTE/Seattle "Call Off Your Old Tired Ethics" The Sex Workers Rights Organization and Strat Girl... ========================================================================= Date: Sat, 21 Oct 1995 04:46:29 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: TEXAS BLUESMEN RHYTHM & BLUES EURO-TOUR RichardChalktopcat@COMPUTEK.NET wrote: : Howdy! Announcing the TopCat Records' Texas Bluesmen winter European tour for : 1995. We will play around 26 one-night-stands in Germany, Holland, Belgium : and Greece in November/December. Yo Richard! Which bluesmen are on this tour? ============================================================================ Jef Jaisun eljefe@netcom.com ============================================================================ -- eljefe@netcom.com ========================================================================= Date: Fri, 20 Oct 1995 22:52:27 -0600 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: Name That Tape Comments: To: bob unger In-Reply-To: <199510201725.NAA27488@sun.bnkst.edu> "Trackin' the Line, the Music of Blues-L" Jay Watterworth CU Boulder (I would be too presumptive to include my address. I'll give it at my acceptance speech. ;-)) ========================================================================= Date: Sat, 21 Oct 1995 03:04:47 -0500 Reply-To: Craig Edmundson From: Craig Edmundson Subject: ANY-day blues must have If Muddy's "Hard Again" (Blue Sky ZK 34449, 1977) fails to pump you up, then you don't have a pulse. :) "Well my baby she run off with the bus driver, and you know that don't feel right. Yeah my woman run off with the bus driver, and you know that don't feel right. Well he used to give her a ride in the daytime, Now she gives him rides at night." ][ Craig Edmundson ][ cedmunds@netserv.unmc.edu ][ ========================================================================= Date: Sat, 21 Oct 1995 04:29:09 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Austin area internet stuff If you're into Austin area Blues, check out these web sites: Antone's Records: http://www.quadralay.com/antones/home.html Austin Music: http://www.quadralay.com/www/austin/austinmusic/austinmusic.html Beef Stew WHUS Radio ========================================================================= Date: Sat, 21 Oct 1995 04:29:11 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Austin BLues Internet Stuff Check out these web sites Antones: http://www.quadralay.com/antones/home.html Austin Blues: http://www.quadralay.com/www/austin/austinmusic/austinmusic.html Beef Stew WHUS Radio ========================================================================= Date: Sat, 21 Oct 1995 08:15:00 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - October 21st Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BARBECUE BOB (ROBERT HICKS) (g) d. 1931-1021, LITHONIA, GA 29 BEAUMONT, JIMMY (lead/THE SKYLINERS) b. 1940-1021, PITTSBURGH, PA BISHOP, ELVIN (g) b. 1942-1021, GLENDALE, CA BLACK, BILL (b/HI REC) d. 1965-1021, MEMPHIS, TN 39 BRADLEY, OWEN (g/prod) b. 1915-1021, WESTMORELAND, TN BYAS, CARLOS WESLEY "DON" (tsax) b. 1912-1021, MUSKOGEE, OK CROPPER, STEVE (g/prod/STAX REC) b. 1941-1021, WILLOW SPRINGS, MO FORD, MARK (hca/owner: BLUE ROCK'IT REC) b. 1953-1021, UKIAH, CA GILLESPIE, JOHN BIRKS "DIZZY" (tpt) b. 1917-1021, CHERAW, SC KELLY, JO-ANN (g) d. 1990-1021, LONDON, UK 46 KEROUAC, JACK (:) d. 1969-1021, ST. PETERSBURG, FL 47 MOORE, MONETTE (p) d. 1962-1021, GARDEN GROVE, CA 60 ROSS, CHARLES ISAIAH "DOCTOR" (g/hca/d) b. 1925-1021, TUNICA, MS SHORT, J. D. (g) d. 1962-1021, ST. LOUIS, MO 59 WILLS, OSCAR "TV SLIM" (g/hca) d. 1969-1021, KINGMAN, AZ 53 WATERFORD, CHARLES "CROWN PRINCE" (v) b. 1919-1021, JONESBORO, AR WRIGHT, NORMAN (lead/THE DEL VIKINGS) b. 1937-1021, PHILADELPHIA, PA ------------------------------------------------------------------------------- ========================================================================= Date: Sat, 21 Oct 1995 07:42:00 CDT Reply-To: Paul Garon From: Paul Garon Subject: Guide to clubs I've noticed that many posters ask about clubs in various towns they're visiting, and it makes me wonder if they know about Christiane Bird's JAZZ AND BLUES LOVERS GUIDE TO THE U.S. (Addison-Wesley, 1994, revised edition). This is a very useful guide to clubs all over the US, and it should be available in most major book stores (or be orderable from them). We don't sell it, but we do recommend it. I know that clubs come and go fast and often a blues-l message will give you up-to-date info, but give this book a try. ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email or postal mail or visit us at http://www.abaa-booknet.com/alldlrs/mw/60657bea.html. We also have catalogs available by ftp at ftp.mcs.com/mcsnet.users/beasley. _______________________________________|______________________________________ ========================================================================= Date: Sat, 21 Oct 1995 09:09:00 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Reviews and top tens ... Comments: To: bit-listserv-blues-l@uunet.uu.net One of my special joys about top ten picks is that it is never a static list. I have noticed that whenever I see these posts about what's your 10-Musts or 10-Tops and I get to thinking it is always different from my last set of picks. Sometimes it's that I have gotten new stuff that has my fancy for the moment. Sometimes it is that I've gone into the vault for a while, and I've relistened to older material I had that recaptures me and sometimes it's just a pondering and a review in my head of all that I've listened to and now picking 10 or 5 or any number is just an exercise in listing 10. I love the exercise & like it that there is motion in this ocean. re: reviews postive vs. negative ones. Ever since I've started NY CD Blues it has always been my policy, that if I can't give an album a positive review I'd rather leave it out. Now we're 3 reviewers so we can always pass a CD one of us dislikes over to another and if need be the third. If none of us can make a plus pass at it - we pass it by. Our writing is still new and we have the luxury still in part of reviewing what weve bought so needless to say the job of positive reviewing is easier. Particularly in the blues for me (I'd much rather see it grow, than be part of stifling it) I like giving each & every artist room to play and room to grow. If 1 album is bad or not liked and the reviews blast off the face of the earth this musician, then the next output will not get a fair shake - and it mat be damn good. There really is enough material to stay positive on and push - rather than cut the legs out from under anyone or any piece. The other assumption is that if an artist has been cut by some established label someone must have thought something was up - no knock here to those pressing their own output but I have to say that independent publishers (their own works) may not have the same criteria as a label whose ass goes on the line - with each and every album they cut. I also think that some reviewers give negative reviews to some how establish their credibilty. i have chosen a different way to establish that up front, if I don't like it I don't make it available from me for public consumption. I either let you know what I like - or I stay quiet. There is so much I have gleaned from the get-this-one-now reviews, that have been posted here that I like being part of that camp. I certainly on the other hand will fight for anyone's right to place negative reviews whenever and wherever they choose, it's just not my thing. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Sat, 21 Oct 1995 10:22:37 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Guide to clubs In a message dated 95-10-21 08:45:58 EDT, beasley@MCS.COM (Paul Garon) writes: >I've noticed that many posters ask about clubs in various towns they're >visiting, and it makes me wonder if they know about Christiane Bird's JAZZ >AND BLUES LOVERS GUIDE TO THE U.S. >I know that clubs come and go fast and often a blues-l message will give you >up-to-date info, but give this book a try. I want to second this recommendation. Some of the information is slightly out of date now, but this is a very reliable book. The Norweigians who posted their accounts of their travels (and who had as good a blues trip as I could imagine) told me that this book was the bible for their trip planning. Tom Freeland ========================================================================= Date: Sat, 21 Oct 1995 09:33:37 PDT Reply-To: rjbauman@IQUEST.NET From: rjbauman@IQUEST.NET Subject: Re: Name that tape Comments: To: Michael Hewitt BINGO!!!! I LOVE IT!!! ============"Born Under A Baud Sign"============= RJ Bauman ========================================================================= Date: Sat, 21 Oct 1995 14:41:12 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Friday Must Haves Comments: To: bit-listserv-blues-l@uunet.uu.net In article <951020192125_49940402@emout05.mail.aol.com> Karen Hanson writes: >You mentioned: >>>3. Rare Chicago Blues 1962-1968 (Bullseye) >Can you tell me about this one? I didn't post this originally, but it happens to be a favorite of mine as well so I thought I'd respond. "Rare Chicago Blues" is a compilation of live recordings from the collection of producer, Norman Dayron. The recordings are taken from performances at small clubs, parlors, and even on the streets of Chicago. Artists include Little Brother Montgomery, John Lee Granderson, Robert Nighthawk, Otis Spann, Big Joe Williams, Johnnie Jones, Rev. Robert Wilkins, Big Joe and Paul Butterfield, Johnny Jones & Billy Boy Arnold, James Cotton & Elvin Bishop, Maxwell St. Jimmy. For live recordings of this era, the recording quality is very good. Many of these come from sessions recorded at Tuesday Night Blues Sessions from the Fickle Pickle, a northside Chicago club. Mike Bloomfield originated these sessions. These recordings are a real slice of Chicago blues in the 60s - sans many of the Chess masters. If you like this, another recording of interest would be Robert Nighthawk "Live on Maxwell Street" (Rounder CD 2022). These are street recordings also taken from the Norman Dayron archives, none of which are on the "Rare Chicago Blues" release. Art Schuna ========================================================================= Date: Sat, 21 Oct 1995 09:49:07 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Finis Tasby in SA Well, I had hoped to posting a review of the Finis Tasby dinner show that was to take place last evening at Billy Blues here in San Antonio. I arrived about 15 minutes before show time and met Bill Shute and his kids. Well, the show was cancelled by the artist (or his management) about 90 minutes before show time. There was apparently no reason given. In addition, a radio interview at the local public station KSYM was also cancelled. According to people at the club, Shanachie had agreed to help them promote the show and they did absolutlely nothing in this regard. To me, this reeks of total unprofessionalism. The band was in Corpus Christi the night before and has a scehduled gig in Austin this weekend. There were several people that came for the show only to leave when they found out it had been cancelled. I hope that this experience doesn't hurt the blooming blues scene here at Billy Blues. In the mean time, I choose not to support Finis Tasby or his label by purchasing his cd. -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / As I was riding across the Mississippi \ / I stopped there and I cried. \( No use for a man to keep a mighty river All dammed up inside. -Joe Ely ========================================================================= Date: Sat, 21 Oct 1995 11:00:23 -0400 Reply-To: Hanson123@AOL.COM From: Karen Hanson Subject: Re: my must haves Gary mentioned this on his "must have" list: >Little Walter Boss Blues Harmonica (Chess) Vinyl Is this one of those old LP's that only collectors have? Or is it available somewhere? Not interested in vinyl or collecting, just Little Walter! Karen ========================================================================= Date: Sat, 21 Oct 1995 11:00:28 -0400 Reply-To: Hanson123@AOL.COM From: Karen Hanson Subject: Re: Making Lists LW replied, concerning listing: >The motive was easy, a lot of new subscribers asking >questions that also >indicates they MAY be new to blues. So this is a around about >way to steer them >in the right direction. When they see BB's Live At The Regal on >a bunch of >Must Have lists, that's going to make them think that it's >something they >might ought to give a listen to.. I agree, LW (btw, cool initials)--I'm not new to the blues, and I'm not new online--but I'm new to the Blues-L, and it's been interesting for me to see everybody's lists. It's sort of a way to get to know people...because my experience online tells me it's easier to communicate with someone when you know a little about where they're coming from. Besides, there were a couple named that I wasn't familiar with...and asked questions about-- so there you go! Karen ========================================================================= Date: Sat, 21 Oct 1995 11:39:34 -0400 Reply-To: Sriram Dayanand From: Sriram Dayanand Subject: Sax and ze Blues Unless I missed it I haven't heard anyone mention A.C Reed and his band the Spark Plugs. Saw him live in Toronto last year and it was a blistering show... and A.C is absolutely cool ! He tots himself (thats how the drummer introduced him onto the stage too) as "The man who's full of shit" ! Check out his song "Fast Food Annie". Gives you an idea about the kinda guy he is... can't wait to see him again ! =sriram= ******************************************************************** Sriram Dayanand email: sriram@aw.sgi.com Alias | Wavefront R&D Toronto, Canada Ph: (416) 362-8558 x314 ========================================================================= Date: Sat, 21 Oct 1995 13:06:14 -0400 Reply-To: SunKress@AOL.COM From: Rob Kress Subject: C.C. Rider Hi Everbody, Rather new to BLUES-L, but have question for ya'll. I'm trying to find out information about the song "C.C.Rider." ( Sp-? ) Not really hard blues, more of a "Street Sound Piece." I've played many versions of it over past 34 years with everyone from Jerry Lee, to Mtich Ryder, to Sam and Dave, to Chuck Berry, to Delbert McClinton and the Gatemouth. Absoultely baffeled by this piece for years. I have heard that it was originally written back in the 1920's ( Think 1925 ) Copyright is (free domain----hard to trace). Does anyone have a clue as to who wrote this song? When was it written? Any info about the about the author,or composer?. Plus, most significantly, what are the lyrics referring to. "C.C. Rider." Been trying to find out about this piece for a long time, simply just for fun, I guess, or because of it's musical "Cry."s. Would apperciate any info: By the way.....Blues is becoming integral quite rapidly, and "rightly so" in Detroit. Thanks, Rob Kress ========================================================================= Date: Sat, 21 Oct 1995 12:10:12 -0500 Reply-To: Rob Varak From: Rob Varak Subject: Neophyte Questions I want to go on digital record as being _very much_ in favor of newcomers or the curious posting even elementary questions to the list. That's sort of the point here, isn't it. The idea of the net was, at least initially, to facilitate the rapid exchange of ideas and info. Granted it was for the military and prof's but the concept remains. We have assembled a community of blues lovers on this list with a virtualy encylcopedic knowledge of the genre, and there can be no better place to _begin_ discovering arists and the music. So "keep those cards and letters coming" and we'll keep peppering out the answers as best we can. ROb Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Sat, 21 Oct 1995 18:05:07 GMT Reply-To: "Linda L." From: "Linda L." Organization: CSU, Sacramento Subject: Linda L. - Maria Muldaur Comments: To: bit-listserv-blues-l@uunet.uu.net Geez! Just to set the record straight. I did *not* say I don't know who Maria Muldaur is, and I did *not* post a query asking who she is. SOMEONE ELSE asked about female blues artists they might like to investigate, and I responded that he might want to look into Maria Muldaur. I have her disk and I don't listen to it much because, quite frankly, I'm not fond of it. But that didn't stop me from recommending it to someone else whoe might find her to his liking. So, Don Cicchetti, get off your high horse, and relax. You don't have to be the King of the Blues or the King of this Group, or whatever it is that inspired you to be so rude. -- Linda L. sac62628@saclink.csus.edu ========================================================================= Date: Sat, 21 Oct 1995 12:07:59 -0600 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: Reviews and top tens ... Comments: To: Barry Silverberg In-Reply-To: <46ardc$h6m@panix.com> I understand the logic here and support it. I also think it is important for me to hear negative reviews, too. Any artist who merits a recording contract is a professional. The work that they present to the public becomes part of the actual body of music that defines the blues. I think a well considered review of a poor representation helps put it into the prespective of what the blues is or should be. I also want to know if the work is worthy of my hard earned dollars or my time to listen to it. It also is a measure of the individual artist; is this work consistant with their previous efforts. That tends to define the artist, ie, this particular work does or does not measure up to the body of work that we can expect from the individuals involved. Finally, I feel that the feedback the artist gets, whether it be positive or negative, helps them in terms of feedback. How can the emperor know he is naked without someone letting them know? If their work is not up to their potential (as evidenced by their previous recordings or performance), they may appreciate knowing it. The underlying validation to my view is, of course, that the review be well done rather than a simple "it sucks". I want to know why given the merits of the individual work in question, its place in the school of blues, and how it represents the individual artist. Musing on a Saturday afternoon, Jay Watterworth CU Boulder On Sat, 21 Oct 1995, Barry Silverberg wrote: {{{{Some clipping}}}} > NY CD Blues it has always been my policy, that if I can't give > an album a positive review I'd rather leave it out. Now we're > 3 reviewers so we can always pass a CD one of us dislikes over > to another and if need be the third. If none of us can make a > plus pass at it - we pass it by. Our writing is still new and > we have the luxury still in part of reviewing what weve bought > so needless to say the job of positive reviewing is easier. > > Particularly in the blues for me (I'd much rather see it grow, > than be part of stifling it) I like giving each & every artist > room to play and room to grow. If 1 album is bad or not liked > and the reviews blast off the face of the earth this musician, > then the next output will not get a fair shake - and it mat be > damn good. > > There really is enough material to stay positive on and push - > rather than cut the legs out from under anyone or any piece. > > The other assumption is that if an artist has been cut by some > established label someone must have thought something was up - > no knock here to those pressing their own output but I have to > say that independent publishers (their own works) may not have > the same criteria as a label whose ass goes on the line - with > each and every album they cut. > > I also think that some reviewers give negative reviews to some > how establish their credibilty. i have chosen a different way > to establish that up front, if I don't like it I don't make it > available from me for public consumption. > > I either let you know what I like - or I stay quiet. There is > so much I have gleaned from the get-this-one-now reviews, that > have been posted here that I like being part of that camp. > > I certainly on the other hand will fight for anyone's right to > place negative reviews whenever and wherever they choose, it's > just not my thing. > -- > NY CD Blues > Definitive In-Depth Blues Reviews > c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 > e-mail bsco@panix.com > ========================================================================= Date: Sat, 21 Oct 1995 11:23:18 -0700 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Billboard Blues Chart, 10/28/95 Here is the Billboard Magazine Blues Chart for the week of October 28,1995. 1. From The Cradle/Eric Clapton 2. Handful of Blues/Robben Ford & the Blue Line 3. Cover to Cover/The Jeff Healey Band 4. Some Rainy Morning/Robert Cray 5. Blues/Jimi Hendrix 6. Chill Out/John Lee Hooker 7. Deep Blue: 25 Years of Blues on Rounder Records/Various Artists 8. Essential Blues/Various Artists (House of Blues Records) 9. Live '92-'93/Albert Collins & the Icebreakers 10. Roll of the Dice/The Fabulous Thunderbirds 11. Standing on the Bank/Tab Benoit 12. Texas Sugar/Strat Magik/Chris Duarte Group 13. Blue Streak/Luther Allison 14. Blues of the Month Club/Joe Louis Walker 15. Keb' Mo'/Keb' Mo' When the next chart is published by Billboard (in about two weeks) I will be unable to post it here; I will therefore post two charts at the same time when the following one is issued (in about four weeks). Mary Katherine ========================================================================= Date: Sat, 21 Oct 1995 14:57:25 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Neophyte Questions Comments: To: robbiev@interaccess.com This whole issue of being rude to newcomings seems to have sprung from Richard Flohil's abbrasive behavior a few days ago. I think perhaps we are confusing the message with the messenger. There is no question that Richard went overboard and exhibited inexcueseable behavior but he has owned up to this and offered an apology that I found acceptable. Mr. Flohil has been around the blues scene for a very long time. He is one year older than I, a fact that I never let him forget. After the great Son House was rediscovered over 30 years ago, Richard immediately booked him into the Mariposa Folk Festival in Toronto. He has a long history of bringing traditional blues men and women into Canada for gigs that are financially secure and well promoted. If Richard is to be faulted for anything. it should be that he eats his steak charred into ashes and no green vegetable has visited his plate in four decades. If you get him into the right mood, he'll tell you about the time at Expo '67 when he shared a boat in the St. Lawrence River with some drunk German tourists and their stewardess friends. So lighten up . . . he made an improper flip remark, just like me and just like you. (He's not even a real Canadian either. He's from Mother England and might even tell you the time that he saw Big Bill Broonzey there . . ) Dick Waterman ========================================================================= Date: Sat, 21 Oct 1995 15:31:55 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Re: Reviews and top tens ... Comments: To: bit-listserv-blues-l@uunet.uu.net Watterworth Jay (watterwo@OSIRIS.COLORADO.EDU) wrote: <> : understand the logic here and support it. I think a well considered : review of a poor representation helps put it into the prespective of : what the blues is or should be. 1. who's doing the review and are they up to DEFINING it 2. one person's poor representation may be anothers cake 3. what about the artist's input into what is the blues A great case of this for me, was the slamming Sugar Blue took on his last CD In Your Eyes. I read a few where the reviewer had some notion that Sugar should stick to certain parameters and stay within the blues. I know for a fact that Sugar tends to experiment in his music - in his music. If I read between the lines correctly he is making music not just blues. He may have a notion that he's expanding the blues and we may or may not like the experiment, but certainly Sugar given his talent and his abilties has more to say about where the music should go then someone like myself. I personally think he's terrif- ic all the time and respect him when he's doing what I happen to like and when he's not I listen for what he has to say not what I think of it. : I also want to know if the work is worthy of my hard earned dollars : or my time to listen to it. Most of the adventures I have taken (when I was not sure that the album would be my taste) were discoveries and opened many doors for me. If everyone listens to everyone elses' reviews who's gonna do the discovering. : It also is a measure of the individual artist; is this work consistant : with their previous efforts. That tends to define the artist, ie, this : particular work does or does not measure up to the body of work that we : can expect from the individuals involved. Consistency is an interesting question. What constitutes the definition of consistency - that we like the works each time? - that the musical abilties are there each time? - that it's a blues tune all the time? Probably the parameters go on and on. Your parameters may not be Joe's ot Mary's or mine. Generally I try to listen past the piece. I really believe in listening to something two ways. Once as a sit in the chair & get the whole piece as a single presented unit and then I try to listen as if I were inside the stage, catching the nuances and the finer points of each musician and what they're up to. Every review I do I generlaly listen to the piece first as if I got it and all I wanted to do was listen to it. On a second listen I review and try to get as I said above what were they up to note by note, riff by riff, arrangement wise,instrument mix and when each came up to the plate etc. I'm still pretty new at this game but my appreciation for the hard work effort and musicianship that anyone giving the platter a go is up to touches me and tempers my wanting to say boo. Everybody's got something they are offering and I want to know what. I don't like it all, some I love, rarely do I hate but I sure get the goose bumps imagining what that person had in their heart and soul when they decided to do that. : If their work is not up to their potential (as evidenced by their : previous recordings or performance), they may appreciate knowing it. Here I speculate - I assume they know when they are on or off & when they've run a session that has their fullest potential in it. Certainly, they having been in the session know quite a bit more about that set than we might ever know. Maybe the label pushed them for a particular sound & they just were not into it. Maybe some battle was ensuing that they were giving vent to. I know we may not want to pay the bucks for what we may call their indulgence but certainly this may have nothing to do with their potential. It's hard enough figuring out my wife's potential let alone someone I don't even know. : The underlying validation to my view is, of course, that the review be : well done rather than a simple "it sucks". I want to know why given the : merits of the individual work in question, its place in the school of : blues, and how it represents the individual artist. This is very important - agreed - if you want to bomb someone for their lack of talent etc. you better have your talents as well as your reasons here on the table and in plain view. The reviewers deserve as much scrutiny as the artists they review. : Musing on a Saturday afternoon, Similarly M.O.A.S.A. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Sat, 21 Oct 1995 21:18:28 +0100 Reply-To: Robert Paul Schwippert From: Robert Paul Schwippert Subject: new guy forsyth cd? Has anyone heard the new CD of the Guy Forsyth Band and is it good? Thanks RP ========================================================================= Date: Sat, 21 Oct 1995 20:18:29 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: DISCOGRAPHICAL HELP NEEDED Comments: To: bit-listserv-blues-l@cis.ohio-state.edu Interested in discographies? Wanna help out with some important blues research? Then perhaps you can help out a mate of ours, Bill Rowe, publisher of a dandy little publication called CAREER DISCOGRAPHIES. This A5 size publication covers discographies of some of the forgotten and yes, contemporary artists currently on the scene. In the latest issue (Volume One, Number Three), Bill covers the following: Eddie C. Campbell/Little Johnny Christian/Larry Davis/Lefty Dizz/Hip Linkchain/Johnny Littlejohn/Andrew Brown This 46 pager takes us through the above artists full career to date. So we get Eddie C. Campbells first unissued Cobra session from 58 through to recent recordings; the late Johnny Christians sides from his 1982 debut 45 on Cher Kee/Leric through to his Big Boy album from three years ago; an excellent Larry Davis discography from 1958 through to Larrys untimely death in April 1994; a well researched discography on Lefty Dizz from his 1961 session for Federal through to his live show at the 1991 Burnley Festival; fine research on Hip Linkchain, Johnny Littlejohn and finally a discography on the lamented Andrew Brown. Also in this issue - a new updates feature, called The Hawk-Eye Column. Bill needs help on the following: Mojo Buford; Wild Child Butler; Larry Garner; Big Jack Johnson (Anyone got a spare copy or two of Jack's "Ice Storm Blues" cassette for sale?); Jimmy Johnson; Little Sonny Willis; Robert Lockwood; Sonny Rhodes; Bobby Rush; Otis Rush; Mack Simmons; Byther Smith; Eddie Taylor; Joe Louis Walker; Artie White and Chick Willis. So dig out those 45s, compilation album, oddities and anything that you think will help Bill and his buddies down on the south coast to keep this most worthwhile venture going. Available from Bill Rowe, Career Discographies, 3a St. Margarets Lane, Titchfield, Hampshire, PO14 4DD. UK. Price 3 UK; 4 overseas. Bill will take cash equivalents too. Back issues also available. You can also email me with any info you think may be helpful and I will pass it on to Bill. All info recieved will be fully credited. Tony Burke ========================================================================= Date: Sat, 21 Oct 1995 17:10:16 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: C.C. Rider >> I'm trying tofind out information about the song "C.C.Rider." ( Sp-? ) Not really hard >> blues, more of a "Street Sound Piece." [snip] I have heard that it was originally written back in >> the 1920's ( Think 1925 ) Copyright is (free domain----hard to trace). It was first recorded in the 1920s by Ma Rainey, who is often given author's credit, but she didn't write. Versions were collected by folklorists as early as the 1890s. I think it can safely be described as "traditional." >> Plus, most significantly, what are the lyrics referring to. "C.C. Rider." I've heard many explanations, but the one that makes most sense to me (partly because I worked it out myself) is this ... "C.C. Rider" is a corruption of "Easy Rider." Early versions use the term "easy Rider" with exactly the same verses. A "rider" is a sexual partner -- very common in early blues songs. An "Easy Rider" is an unfaithful lover. That seems to fit all the evidence, but there is an alternative ... "C.C. Rider" is really "See, See, Rider" as in "Look here, Rider." That makes superficial sense, but I think the version which spell it as "See See" are actually later than the "C.C." versions., and may just be attempts to make sense out of "C.C." I know that "St. Louis Blues" is the most recorded blues song of all time, but I'm willing to bet that CC Rider is in the top five, if not number two. I've been accumulating versions of it for years -- I keep threatening to devote my entire radio show to them one day. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Sat, 21 Oct 1995 19:48:36 -0600 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: Reviews and top tens ... Comments: To: Barry Silverberg In-Reply-To: <46bhrb$bs@panix.com> Barry, Thank you for your insight. It makes me realize that I forgot to mention that the discussion that sometimes results from an opinion ventured forth is one of the rewards of critical discourse. At the least it helps the individuals involved (or listening in) to a better understanding of their own concepts and to add others; at the most it encourages discussion, further understanding, and growth. When the flurry of activity escalates here on blues-l due to the passion some of us feel for the art (and sometimes the certainty we feel that so and so is full of BS), it sometimes raises the level of the conversation. That's one of the reasons I'm here. 'Course it's always fun to listen to LW get out of hand. Jay ========================================================================= Date: Sat, 21 Oct 1995 20:56:31 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: C.C. Rider At 11:10 AM 10/21/95, Ian Angus wrote: >"C.C. Rider" is a corruption of "Easy Rider." Early versions use the >term "easy Rider" with exactly the same verses. A "rider" is a sexual >partner -- very common in early blues songs. An "Easy Rider" is an >unfaithful lover. > >That seems to fit all the evidence, but there is an alternative ... > >"C.C. Rider" is really "See, See, Rider" as in "Look here, Rider." >That makes superficial sense, but I think the version which spell it >as "See See" are actually later than the "C.C." versions., and may >just be attempts to make sense out of "C.C." I've read of another alternative: "C C Rider" stands for "Country Circuit Rider", referring to the itinerant circuit riding preachers prevalent in the Delta (as well as other rural areas) in earlier times. These preachers had a reputation for developing sexual liasons all along their circuits, without much care (except for their personal safety) about whether their paramours (I like that word - hope it means what I think it does) were attached to another man or not. >I know that "St. Louis Blues" is the most recorded blues song of all >time, but I'm willing to bet that CC Rider is in the top five, if not >number two. I've been accumulating versions of it for years -- I keep >threatening to devote my entire radio show to them one day. I would guess that "Stagger Lee" would be there, too - and you could fill one of your shows with the various versions of that song.... David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Sat, 21 Oct 1995 23:24:53 -0400 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Who Lives in San Francisco? Comments: cc: michaelb@sonic.net Something's come up. If you live in or near San Francisco and have no plans for Friday evening, November 3, please send me a private reply at curtis@magicnet.net Hint. It's a good thing for the blues. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Sat, 21 Oct 1995 22:40:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Re: Eric LeBlanc's Blues Dates - October 21st Comments: To: leblanc@dao.nrc.ca >WILLS, OSCAR "TV SLIM" (g/hca) d. 1969-1021, KINGMAN, AZ 53 I would like to know a little more about "TV Slim". I have heard a few of his recordings. Thank you -Bonnie ========================================================================= Date: Sun, 17 Apr 1904 20:59:27 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Hello! G'day, I've been lurking on this list for a week now and decided to de-lurk and say hello. I'm a Australian currently residing in LA, studying music. I play guitar but I am not new to the blues. It has been my favoutite music to listen to and play for a long time. This year in LA I've seen a few blues performances. I had the privilege of seeing Eric Clapton jam with Dr. John at the 10th Annual Musicians picnic earlier in the year.Clapton played some of the best blues I've heard him play. It was amazing. I saw day one of the 16th Annual Long Beach Blues Festival. Otis Rush was fantastic but he had to follow Buddy Guy who just blew everyone away. Buddy was burning.However,the day was marred by over zealous security. Recently, I saw Debbie Davies and Robben Ford at the House of Blues. Even though it I had heard of Debbie this was the first time I had heard her play. She was fantastic. Put on a great show. She won me over by playing Magic Sam's 1st solo from Sweet Home Chicago (from 'Magic Sam Live') during a shuffle in E. Anyone into Magic Sam is a friend of mine. Robben Ford is getting better every year. His new album, 'A Handful of Blues' is a must listen to see where Blues is headed. His ability to seamlessly combine traditional blues with his Miles Davis/John Coltrane influences is amazing. This was his first show on a support tour for 'Handful..'. His band was hot and so was his playing. If Robben plays near you check hin out. As a final fling I'll give you my favourite ten Blues albums. 1. Magic Sam 'Magic Sam Live' - This where a lot of my Blues licks come from and my all-time favourite album and Blues performer. 2. Magic Sam 'West Side Soul' - His singing on this album is amazing as is everything else. 3. Blind Willie Johnson - The compilation by Yazoo with 'Dark Was The Night, Cold Was The Ground'. I left the CD in Oz so I forgot the title. Some of the most emotional music ever recorded. 4. Son House 'The Columbia Recordings' - When he sang you experienced his life. There is no higher compliment in my book. 5. Muddy Waters 'Hard Again' - The intro to 'Mannish Boy' still gets me everytime. 6. Buddy Guy 'Stone Crazy' - This the studio album that comes closest to Buddy's live playing. Over the top and inspiring. 7. B.B. King 'Live at The Regal' - 'Everyday I Have the Blues' is one of the greatest blues guitar solos ever. 8. Miles Davis 'A Kind Of Blue' - Blues/Jazz? Jazz/Blues? Who Cares? A great album of very sophisticated Blues and grooves. 9. Ali Farka Toure - 'The Source' - The real thing. Ali has been desribed as a West frican John Lee Hooker and his music has been described as 'West African Blues' and it is a good but inadequate description. Just get an album and listen for yourself. Hypnotic and beautiful. 10. Dave Hole 'Short Fuse Blues' - Over the top slide guitarist from Australia (that's why he's on this list). Often veers towards Blues/Rock at times but still worth a listen for his amazing slide playing and strong songs. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sun, 22 Oct 1995 00:53:07 -0500 Reply-To: C2MXBOY@FRE.TOWSON.EDU From: Kevin Boyle Subject: Halloween blues ? The recent post's about Willie Dixon reminded me that my Tuesday Night Blues Show on WFWM in Western MD (shameless plug) will be on Halloween. Other than Willie'sI Ain't Superstitious what Blues's tunes do YOU think would be good for a Blues Halloween. It's a great chance for me to play some of my fav' Howlin Wolf! Any suggestions would be appreciated. Trick or Treat! Thanx! Kevin B. (whose feets just can't stay still when they hear de' Blues!) ========================================================================= Date: Sun, 22 Oct 1995 01:12:39 -0400 Reply-To: ac928@osfn.rhilinet.gov From: Jim McGlynn Subject: Roy Rogers gig in Providence Roy Rogers played to fifty folks at the Met Cafe last night. Three piece band - Rogers, bass and drums (sorry, missed the names.) Despite his obvious influences, I don't consider his music blues, even if he's doing Robert Johnson or Willie Dixon. What he is is one mother of a slide player whose music is solidly (and, dare I say, a tad repetitively) in the Lowell George/Little Feat/New Orleans bag. Nevertheless, a player to make your jaw drop. If I a.) could actually play guitar, and b.) could have the chops and sound of any guitarist I've ever heard, I'm not sure at all sure that Rogers wouldn't be my pick. If blues-derived slide guitar is your thing, don't miss him. I swear he'll blow your doors off. Jim McGlynn -- ========================================================================= Date: Sun, 22 Oct 1995 00:43:14 -0500 Reply-To: Rob Varak From: Rob Varak Subject: Re: KOKO TAYLOR'S CHICAGO BLUES Comments: To: Steven Fluet In-Reply-To: Maybe it's just me, but I have been pretty disappointed by Koko's place. While the bar itself is ok (as long as you don't trip over liquored up, fake ID wielding, hormonally and equillibrium challenged 18 yr olds), I have been pretty bummed about the quality of the bookings. I was hoping for Koko's to compete with Legends and bring in some local and national acts that don't get here that often. Unfortunately, it seems like even their weekends are filled with local talent (many of whom I _love_, that's not the point) whom I can see any day of the week. Anybody else kinda disappointed? Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Sun, 22 Oct 1995 00:57:33 -0500 Reply-To: Rob Varak From: Rob Varak Subject: Re: C.C. Rider Comments: To: David Silberberg In-Reply-To: David Silberberg wrote: without much care (except for their personal safety) about whether their paramours (I like that word - hope it means what I think it does) were attached to another man or not. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - It certainly makes the practical act difficult if the "lady" was attached to another man at the time!:) Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Sat, 21 Oct 1995 23:24:00 -0800 Reply-To: Bob Hardin From: Bob Hardin Subject: Re: Hello! >I saw day one of the >16th Annual Long Beach Blues Festival. Otis Rush was fantastic but he had >to follow Buddy Guy who just blew everyone away. Buddy was >burning.However,the day was marred by over zealous security. Recently, I >saw Debbie Davies and Robben Ford at the House of Blues. Even though it I >had heard of Debbie this was the first time I had heard her play. She was >fantastic. Put on a great show. She won me over by playing Magic Sam's 1st >solo from Sweet Home Chicago (from 'Magic Sam Live') during a shuffle in E. First post I've seen on the Long Beach Festival. I couldn't make it, but I'm gonna plan on next year. Any other observations? >10. Dave Hole 'Short Fuse Blues' - Over the top slide guitarist from >Australia (that's why he's on this list). Often veers towards Blues/Rock at >times but still worth a listen for his amazing slide playing and strong >songs. I got into Dave Hole after reading a review of a concert in Phoenix while I was visiting a couple of years ago. Picked up "Working Overtime" after I got back home and really like it. This guy somehow gets a buzz saw to sound like a guitar!! This came out in '93 - anyone know how it compares to Shaun's recommendation? Bob Lovin' the blues up in NoSoCal ========================================================================= Date: Sat, 21 Oct 1995 23:47:09 -0800 Reply-To: Bob Hardin From: Bob Hardin Subject: Re: Halloween blues ? >The recent post's about Willie Dixon reminded me that my Tuesday Night >Blues Show on WFWM in Western MD (shameless plug) will be on Halloween. >Other than Willie'sI Ain't Superstitious what Blues's tunes do YOU think >would be good for a Blues Halloween. Okay, here's a _totally_ random sampling: Bleedin' Heart Jimi Hendrix, ":Blues" Nighttime is the Right Time Etta James, "The Right Time" Your Killing Me (on my feet) Sonny Boy Williamson, "One Way Out" Like Wolf Your Funeral and My Trial The Moon Is Full Albert Collins, Robert Cray, Johnny Copeland Black Cat Bone "SHOWDOWN!" If I Should Have Bad Luck Charlie Musselwhite, "In My Time" Richest Guy in the Graveyard Saffire - The Uppity Blues Women, "Old, New, Borrowed, Blue" Blue Midnight Little Walter, "The Essential Little Walter" Quarter to Twelve Dead Presidents Bob ========================================================================= Date: Sun, 22 Oct 1995 12:22:33 +0100 Reply-To: Per Nielsen From: Per Nielsen Organization: DKnet Subject: Re: Blues Women Comments: To: bit-listserv-blues-l@uunet.uu.net In-Reply-To: On Fri, 20 Oct 1995, Linda L. wrote: > Sue Foley is a blues guitarist & singer out of Austin Tx. She is young, > so not sure if she has enough history for you but she has made a name for > herself. I saw her recently when she warmed up for Chris Duarte (they are > totally different styles). Sue has at least one CD out. > Actually, she originally from Ottawa,Canada but now lives in Austin, Tx. Furthermore, she has released 3 CD's: "Young Girl Blues" "Without a Warning" "Big City Blues" -Per (One of her greatest fans) ===================================================================== *--------------------------------* | Per Nielsen | *------------------------------* | N\o rgaardsvej 21 1.tv | | A few weeks of development | | DK-2800 Lynbgy | | and testing can save an | | Denmark | | afternoon in the library. | | E-mail:pernil@pip.dknet.dk | *------------------------------* | Home phone: +45 45 93 44 63 | | Office phone: +45 45 27 24 66 | *--------------------------------* ========================================================================= Date: Sun, 22 Oct 1995 08:38:12 -0400 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: Halloween blues ? Comments: To: Kevin Boyle In-Reply-To: <01HWPZNUC7PU8WW94W@TOE.TOWSON.EDU> On Sun, 22 Oct 1995, Kevin Boyle wrote: > The recent post's about Willie Dixon reminded me that my Tuesday Night > Blues Show on WFWM in Western MD (shameless plug) will be on Halloween. > Other than Willie'sI Ain't Superstitious what Blues's tunes do YOU think > would be good for a Blues Halloween. It's a great chance for me to > play some of my fav' Howlin Wolf! > > Any suggestions would be appreciated. Trick or Treat! > Thanx! Kevin B. (whose feets just can't stay still when they hear de' Blues!) > How about: I Put A Spell On You -- Screamin' Jay Hawkins Hoodoo Moon -- Kenny Neal Black Cat Bone -- Albert Collins & Johnny Copeland Black Cat Bone -- Brownie McGhee & Sonny Terry When Bad Luck Is On You -- Tampa Red Dark and Stormy Night -- Tampa Red Stony Lonesome Graveyard -- Bill Gaither Vampire Woman (aka The Vamps of "28") -- Whistler and His Jug Band Pen & Brenda Bogert Louisville KY ========================================================================= Date: Sun, 22 Oct 1995 10:01:15 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - October 22nd Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BARROW, KEITH (v) d. 1983-1022, NEW YORK CITY, NY 29 BRENNICK, PATRICK J. (BLUES L MEMBER) b. 1959-1022, EDMUNDSTON, NB CARMIN, JAMES (BLUES-L MEMBER) b. 1954-1022, CHAMPAIGN, IL HARRIS, EDWARD"CAROLINA SLIM"(g/SAVOY REC)d. 1953-1022, NEWARK, NJ 30 DAVIS, WALTER (p/BLUEBIRD REC) d. 1963-1022, ST. LOUIS, MO 51 FULLER, BOBBY (g/I FOUGHT THE LAW) b. 1943-1022, BAYTOWN, TX HARRIS, JACK (g) b. 1916-1022, LITTLE ROCK, AR HENDERSON, BUGS (g) b. 1944-1022, PALM SPRINGS, CA HILL, ROSALIE (ROSA LEE HEMPHILL) (v) d. 1968-1022, SENATOBIA, MS 58 HOLTZMAN, MARVIN (arr/ROY HAMILTON) d. 1982-1022, NEW YORK CITY, NY 60 JONES, JOHN A. "BUNNY" (sax/BASIE) d. 1989-1022, ROXBURY, MA 76 JONES, JAMES L. (b lead/HARMONIZING 4) d. 1991-1022, CHICAGO, IL -- KNOWLING, RANSOM (awesome b) d. 1967-1022, CHICAGO, IL 55 MILLER, JIMMY (d/prod/ROLLING STONES) d. 1994-1022, BOULDER, CO MORRIS, WILLIAM JR. (agency owner) b. 1899-1022, NEW YORK CITY, NY NEWBY, DOUG (sax/BLUZBLASTERS) b. 1949-1022, SURRY, VA WEST, LESLIE (g/MOUNTAIN) b. 1945-1022, QUEENS, NY YEAZIE, MELVIN (of BUCKWHEAT ZYDECO) b. 1962-1022, LAFAYETTE, LA ------------------------------------------------------------------------------- ========================================================================= Date: Sun, 22 Oct 1995 09:31:39 -0500 Reply-To: dwhite From: dwhite Subject: Re: Halloween blues ? >On Sun, 22 Oct 1995, Kevin Boyle wrote: > >> The recent post's about Willie Dixon reminded me that my Tuesday Night >> Blues Show on WFWM in Western MD (shameless plug) will be on Halloween. >> Other than Willie'sI Ain't Superstitious what Blues's tunes do YOU think >> would be good for a Blues Halloween. It's a great chance for me to >> play some of my fav' Howlin Wolf! >> >> Any suggestions would be appreciated. Trick or Treat! >> Thanx! Kevin B. (whose feets just can't stay still when they hear de' Blues!) >> How about: "Black Cat" Lightnin Hopkins "Haunted House Blues" Mance Lipscomb "Voo Doo Woman" Joe Guitar Hughes "Bloodstains on the Wall" Big Walter "VooDoo Love", "Snakes" James Harman "VooDoo Daddy" Lonnie Brooks "I Ain't Superstitious" Lonnie Brooks "Up Jump the Devil" Gatemouth Brown "Black Cat Bone" Hop Wilson "Unseen Eye", "Boot Hill", "Evil on My Mind", "Creepy" Johnny Winter "Castin My Spell", "VooDoo Woman" Johnny Otis "Lien on Your Body (Mortgage on Your Soul) Calvin Loudmouth Johnson & Johnny Winter "Mean Black Cat Blues" Charlie Patton "Gloomy Sunday" Billie Holiday (not exactly Halloween related but makes my soul go cold everytime I hear it) Dana dwhite@io.com ========================================================================= Date: Sun, 22 Oct 1995 10:48:52 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Where do they fit .. Comments: To: bit-listserv-blues-l@uunet.uu.net I just listened to my recordings of Walter Davis King Oliver Luis Russell Where would you place them along the blues spectrum? Style, type, school, other etc. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Sun, 22 Oct 1995 12:01:13 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: C.C. Rider David S wrote: > I've read of another alternative: "C C Rider" stands for "Country Circuit > Rider", referring to the itinerant circuit riding preachers prevalent in > the Delta (as well as other rural areas) in earlier times. These preachers > had a reputation for developing sexual liasons all along their circuits, > without much care (except for their personal safety) about whether their > paramours (I like that word - hope it means what I think it does) were > attached to another man or not. I've heard that version, too, but it always seemed unlikely to me -- the kind of explanation which someone came up with after the fact to explain the term "CC". The problem is, I've never come across the term "country circuit rider" in any other context. "Circuit Rider" was used for travelling judges. I suppose we'll never know for sure. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Sun, 22 Oct 1995 12:01:13 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Halloween blues ? Blues for Halloween... If you go into R&B ... Screamin Jay Hawkins: I put a spell on you Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Sun, 22 Oct 1995 12:38:00 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Phil Guy and Sax - 2 for 1. Comments: To: bit-listserv-blues-l@uunet.uu.net If I'm right two questions emerged recently - one about Buddy Guy's brother and the other sax in the blues. Here's a recc- omendation to kill 2 birds with one stone. JSP has a release Phil Guy - All Star Chicago Blues (#214). Phil does some very hot blues including Texas Flood/Blues With A Feeling/Bad Sign /Ice Around My Heart and a couple of others worth the listens to. On it is Maurice John Vaughn on SAX - stellar. Also note on this album is Buddy Guy, Eddie "Professor" Lusk among oth- ers. We will be reviewing it shortly. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Sun, 22 Oct 1995 13:06:15 -0400 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: WFBE Blue Highway 10/21/95 Blues-L'ers My theme for this show was the anniversary of the birth of Flint Michigan's most famous bluesman, the late Doctor Isaiah Ross, "The Harmonica Boss", who would have been 70 on 10/21. I also featured some Piedmont style blues. ============================================================== WFBE Blue Highway Playlist, Oct. 21, 1995. With Guest Host Ed Tremewan Song Album Artist Label 9 to 10 PM C C Rider L.I.V.E. Sonny Moorman and the Dogs 706 Records Downtown Boogie Sun Records Hamonicas Classics Doctoer Ross Rounder Beale Street Tonight You Know I Like That Blind Mississippi Morris Ice House Doin All The Wrong Things Right Bad Connection Dr. Hector/Blues Injectors King Snake Drop Down Mama Trouble Monkey Lloyd Jones Audioquest Walkin' In The Same Tracks Puttin' It Down Terry Evans Audioquest Cadillac In The Swamp Title track Smokehouse King Snake How Long Live at B B Kings Radio Kings Ice House Roll Mr. Jelly Two Hands One Heart Kid Ramos Black Top Illinois Blues My Little Woman Freight Train Good Mornin Little Schoolgirl Call The Doctor Doctor Ross Testament 10 to 11 PM Where The Hell Were You... Ain't It Nice To Be Loved Lefty Diz JSP Walkin' Blues Modern Blues of the 80's Roy Rogers Rhino Louis Collins Memorial Anthology Mississippi John Hurt GENES Lucky Man Blues From The Heart Blue Suit Blues Band Way/SAC Boogie Disease Shake 'em on Down Chicago Breakdown Industrial Avenue Boogie Boogie Disease Doctor Isaiah Ross Arhoolie Moon Goes Down Pure Religion, Bad Company Rev. Gary Davis Smithsonian So Many Roads Title Track Otis Rush Delmark Call Me The Rocker Atomic Boogie Hour Lee Rocker Black Top Nothin' But Trouble Sittin' Here Wonderin' Louisiana Red Earwig Rockin Chair Blues Maxwell St. Alley Blues Big John Wrencher Blue Sting 11PM to Midnight I Feel like breaking Up....... Modern Blues of the 70's Ann Peebles Rhino Two Bit Texas Town Modern Blues of the 90's Angela Strehli Rhino Change Your Mind Sweetheart of the Blues Bonnie Lee Delmark You Got What It Takes Deep Blues/25th Anniversary Michelle Wilson/Sugar Ray Norcia Rounder The Door Was Open My Blues and My Guitar Bob Margolin Alligator Single Man Blues Sky Songs Bukka White Arhoolie I'm A Rattle snakin' Daddy East Coast Piedmont Style Blind Boy Fuller Legacy The Things I Used to Do Live In Momtreaux Buddy Guy/Junior Wells Evidence Cold Cold Feeling Complete Imperil Recordings T-Bone Walker Emi How Long Can A Fool....... 100% Cotton James Coton One Way Deep Freeze Can't Buy A Break Chris Cain Band Blind Pig Going To The River Boogie Disease Doc Ross Arhoolie Juke Box Boogie Sun Records Hamonica Classics Doctor Isaiah Ross Rounder My Black Name Is Ringing American Folk Festival 1965 Doctor Isaiah Ross Optimism Cow Cow Blues (exit theme) Blue Ivory Mr B Blind Pig ============================================================== BLUZ! Bluzman Ed aka Ed Tremewan ========================================================================= Date: Sun, 22 Oct 1995 12:29:16 -0500 Reply-To: William A Morgan From: William A Morgan Subject: Re: Halloween blues In-Reply-To: <9510221227.aa11236@admin.dis.on.ca> Here are a few possible selections: Junior Wells, "Hoodoo Man Blues" Skip James, "Devil Got My Woman" Lightnin' Hopkins, "Devil is Watching You" R.L. Burnside, "Death Bell Blues" Luther Allison, "Midnight Creeper" Coco Robicheaux, "Walking with the Spirit" and "St. John's Eve" Champion Jack Dupree, "Bad Blood" Muddy Waters, "Screamin' and Cryin'" Lightnin' Slim, "Nothin' but the Devil" Freddy King, "Boogie Man" Earl King, "Trick Bag" Henry Gray, "Cold Chills" *************** Bill Morgan ========================================================================= Date: Sun, 22 Oct 1995 13:14:04 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Information At 10:54 AM 10/20/95, P.W. Fenton wrote: >On 20 Oct 95, Christy Hubbell had this to say: > >> Please send some information to me. >> > > >Four out of five dentists prefer surgarless gum for their patients that chew >gum. That's not information - that's a factoid, never to be confused with information.... David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Sun, 22 Oct 1995 14:26:16 -0500 Reply-To: 00lcspector@bsuvc.bsu.edu From: Lee Spector <00lcspector@BSUVC.BSU.EDU> Subject: a bit off subject I know many of you are into jazz as well - hence this note. If, like me, you are Blue Note fanatics, check out the new book of Francis Wolff's photos. They are exquisite black and white photos that appeared on Blue Note covers or on the back of Blue Note albums. They are previewed in the current Jazz Times. And even if you don't like jazz, but like photos of musicians, I can hardily recommend this book. Lee Lee C. Spector Department of Economics Ball State University ========================================================================= Date: Sun, 22 Oct 1995 17:59:23 GMT-6 Reply-To: Eliot Williams From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: TV Slim Comments: To: KALMBACH@MACC.WISC.EDU > From: Bonnie Kalmbach > >WILLS, OSCAR "TV SLIM" (g/hca) d. 1969-1021, KINGMAN, AZ 53 > I would like to know a little more about "TV Slim". I have heard a few > of his recordings. Thank you -Bonnie Born and raised in the Houston area. Early influences included Sonny Boy I and DeFord Bailey, began his musical life as a harp player, progressed (?) to guitar where he showed a strong Guitar Slim influence (as did many blues guitarists in the 50s). Moved to Shreveport, Louisiana and began recording in 1957 with the classic "Flatfoot Sam" (leased to Checker). Another early recording was picked up by Don Robey and released as the B-side of Junior Parker's "Next time you see me". Moved to LA in 1959 where he worked as a TV repairman (hence the nickname). Reportedly made a lot more $$ at this than he ever did at music, but fortunately he continued to play juke joints and record (mainly for Speed) into the late 60s. He was killed in an auto accident in 1969. He had a vocal style that reminds me a lot of Slim Harpo, and an knack for clever original lyrics. His "Don't reach across my plate" was covered by Albert Collins. I'm not aware of any CD reissues of his material, but he seems like a prime candidate for reissue to me. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Mon, 18 Apr 1904 17:24:35 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: 1995 Long Blues Fest. As requested by Bob Hardin here are a few obversations regarding the Saturday of the Long Beach Island Blues Festival. The first thing is get yourself organized. By the time we got there we had missed the first two acts. One was the Fat Possum show but since I later heard that R.L. Burnside (who I wanted to see) didn't appear due to illness I wasn't that upset by missing it. Next was the Johnny Otis Show.This was a great review of classic Blues and R&B. He brought out a few guests such as Lowell Fulson, Charles Brown, Big Jay McNeelly and a few others (I forget who. Sorry). It was great to see these guys in action but they only played two or three songs. Big Jay McNeely started his set in the crowd playing his sax but just as he started to get going he was finished.It was like a production line. One on then off for the next one.The show was good but suffered from being outdoors. It would of gone over better in a club. Dr. John was next. He played a good set but it didn't really connect. I saw him earlier on in the year and that was much better. Otis Rush was fantastic. It great to see this legend live. His set was filled with cool grooves and great solos. It would of been a fitting end to the festival but then came Buddy Guy. Buddy Guy connected with the audience like no other performer that day. His first song, Sweet Home Chicago, had the crowd on their feet from the first bar. It was a great set. He stormed through about 1 1/2 hours worth of songs. This was twice as long as any other performer. He did a lot of showboating but when your playing that good no one cares. The downside was no encore. The crowd wanted one. But I don't think that this was Buddy's decision. A friend of mine who has seen Buddy many times stated that this was one of the first concerts that he been to where Buddy hadn't given an encore. Overall the concert was great. The only downside was the security. Some of the security staff seemed to take their jobs too seriously and had hang ups about people having a good time. Someone should point out that these guys that they are there to help, not hinder, peoples' enjoyment. I didn't get to see day 2. If someone who did can post a report on that it would be most welcome. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sun, 22 Oct 1995 19:40:10 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Little Jimmy King -Reply At 4:19 PM 10/20/95, Linda L. wrote: >Ann Peeble's "Full Time Love" "Part Time Love", I think - an outstanding song by an outstanding singer - why did she never become a major star (and I don't want to hear the excuse that Willie Mitchell and Hi were too busy promoting Al Green to pay much attention to her carear)? David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Mon, 23 Oct 1995 01:16:17 GMT Reply-To: "Linda L." From: "Linda L." Organization: CSU, Sacramento Subject: Re: Blues Women Comments: To: bit-listserv-blues-l@uunet.uu.net In article , Per Nielsen wrote: > On Fri, 20 Oct 1995, Linda L. wrote: > > > Sue Foley is a blues guitarist & singer out of Austin Tx. She is young, > > so not sure if she has enough history for you but she has made a name for > > herself. I saw her recently when she warmed up for Chris Duarte (they are > > totally different styles). Sue has at least one CD out. > > > Actually, she originally from Ottawa,Canada but now lives in Austin, Tx. > Furthermore, she has released 3 CD's: > "Young Girl Blues" > "Without a Warning" > "Big City Blues" > > > -Per (One of her greatest fans) > Per Thank you so much for this polite correction to my posting. This is much nicer than the flames I received from others. -- Linda L. sac62628@saclink.csus.edu ========================================================================= Date: Sun, 22 Oct 1995 22:00:27 -0400 Reply-To: MrThree3@AOL.COM From: Jeremy Norris Subject: SIGNOFF BLUES-L please take me off the list ========================================================================= Date: Sun, 22 Oct 1995 23:52:16 -0400 Reply-To: Philip and/or Carol Decker From: Philip and/or Carol Decker Organization: Net Sarasota Subject: Buddy Guy, bass Comments: To: bit-listserv-blues-l@uunet.uu.net I recently bought my first Buddy Guy CD, "Damn Right I've got the Blues" (1991). I found the mix very bass heavy. Is this a common perception or does Greg Rzab happen to spend a lot of time playing at the bass resonant frequency of my re-coned 23 years old Advents? Philip Decker Sarasota, Florida, USA ========================================================================= Date: Mon, 23 Oct 1995 01:05:42 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: WNUR:Chuck Berry freak slide song? Comments: To: Aaron Solomon I was listening to WNUR tonight and they played a song that has to be one of the worst Blues performances on record. It was a shuffle with two slide guitarists. The vocals and the main guitarist reminded me of Chuck Berry. The main guitar was loud, upfront in the mix, and terribly out of tune (Chuck?), not to mention... o.k. I'll mention it... the slide playing was off key. The second guitarist was mostly buried (Berry'ed?) in the mix, except for a long solo. This was horribly distorted (solid state or fuzz), read unpleasant, and there was a touch of wah pedal too. This playing was better than the main guitar, but still extremely amatuerish - not open tuned. I can't remember much else because I was chuckling the whole time. Was this Chuck Berry circa 1973? Who could this be? And who had the guts to release it? [If send this to the guy at WNUR, for a definitive answer. Aaron, what was that song? It spun around 7:00 - 7:30 Sunday night Oct, 22nd] Mike ========================================================================= Date: Mon, 23 Oct 1995 00:34:49 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: E.C. RAH tour '96, got our ticks! Comments: To: slowhand@daacdev1.stx.com [The Sturgeon General has determined that if you hate E.C. and you are reading this, you either didn't look at the subject beforehand or your mail program automatically loaded this when you deleted the previous message. Therefore we are required by negotiated_agreement_ with_the_US_Attorney's_Office_(_but_we_accept_no_liability_for_any_ damages_) to advise you to hit your delete button] :-> :-> :-> :-> :-> :-> Well, we recieved our tickets for '96. Looks like Judith and I are going to see Eric 5 nights this time! Hope to meet lot's of friends there. For those who don't know about our little SoundTravels gig, here's the short story. If you want more information, there are hundreds of thousands of bytes available at our Web Site: http:// www.xnet.com/~msuffern/soundtravels.html or private e-mail me at: msuffern@xnet.com ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... Every year we take a group of Claptonites to London for a week to see Eric at the Royal Albert Hall. We also kick around London and see the sights, drink the beer, hit the Blues bars, eat toasted ham and cheese sandwiches, go see castles and Stonehenge and the like. Eric Clapton at the Royal Albert Hall '96 The 1996 tour can be booked now, thru December 15th, 1995! We have Main Floor Rows 8 - 11, + Departs Saturday Feb 24th, 1996 From Chicago, Tampa, and San Francisco Returns Sunday March 3rd, 1996 There is an early booking discount and extra night's concert tickets may still be available for early bookers. The fine print: Prices and minor details may change without notice. About as likely, a meteor may crash into the earth and cause catastrophic climatic changes. Also, the Earth is oviod, not round. Also, Bullwinkle was a Pottsylvanian moose, not an American moose! [ Michael A. Suffern & Judith Darin-Suffern ] [ home work ] [ http://www.xnet.com/~msuffern/soundtravels.html ] [ The Blues&Travel Site, Blues Guides, Festivals, ] [ Eric Clapton @ Royal Albert Hall, London tour ] ------------------------------------------------- [ Above all, play what your heart tells you to... ] [ As you learn, your heart will have more to say. ] ========================================================================= Date: Mon, 23 Oct 1995 03:18:57 -0400 Reply-To: aj514@osfn.rhilinet.gov From: Mary Moretti Subject: blues-l hello, i'm new to the list, so i thought i'd introduce myself. my name's mary, i'm also a new fan of blues as well as jazz, but an eager student. you won't be getting long eloquent posts from me....... not for a long time :) i'm also a fan of NRBQ, and Steve Ferguson and the Midwest Creole Ensemble. i'm 36, and live in rhode island. -- ========================================================================= Date: Mon, 23 Oct 1995 02:27:26 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: Midi blues piano fil Comments: To: laurie.forti@INFOEXCH.MIAMI.FL.US Laurie, Bravo for your 'attitude', your approach. I hope it brings great fulfillment. I'm unconventional at the piano. I learned by ear (I'm a guitarist, mostly) and play Pop, Beatles and Todd Rundgren, with single note bass lines in the left hand (doubled via MIDI with several Bass patches) and the melody and accompaniment in the right hand at the same time (again the MIDI out of my digital piano is split so the right hand gets extra electronic piano, harpsichord, or string pads). So, I can't offer much help on pre-war Blues piano, just encouragement. 1. Listen to it all the time. Pick one LP and listen to just that for a month. The music will become part of you and you'll be able to find the riffs - you're fingers will occasionally just head for the right keys or your expression and timing will change without effort. 2. Play some, take a break. Let the brain assimilate, then let the creative urge build up again. 3. Jam! Find some Blues piano buff nearby. Or a band that does the tunes that you like. Each will teach you somehting new. (Admittedly not as easy for a piano player). 4. Be patient. You probably have a whole lifetime to get it down pat. I've been at all this for a few decades and it just gets better and more rewarding, even though I probably can't 'blow away' any of the 'pros', I can express my feeling for each song quite well. Mike On Thu, 19 Oct 1995 16:56:09 -0500 Laurie Forti wrote: > Do any of you Blues Piano Wizards out there have the ability to >get some pre-war piano techniques down on standard MIDI flies on IBM >compatable 3.5" floppies?? > > I am trying to learn Blues piano the way the real guys did, by >imitation and copping riffs. I have NO interest in learning music >'theory', reading sheet music, or struggling with the lack of sheet >music on _real_ Blues. Apparently, _very_ few keyboard people have >any grasp of the more fundamental, powerful, and interesting pre-war >styles. ========================================================================= Date: Mon, 23 Oct 1995 03:59:15 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - October 23rd Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BANASHAK, JOE (owner: INSTANT/MINIT REC) d. 1985-1023, ATLANTA, GA 62 BLAND, JAMES A. (afro-amer songw) b. 1854-1023, FLUSHING, NY CARTER, MAYBELLE ADDINGTON (g/CARTER FAM) d. 1978-1023, NASHVILLE, TN 69 CHAVIS, WILSON "BOOZOO" (acc/zydeco) b. 1930-1023, LAKE CHARLES, LA CRISS, WILLIAM "SONNY" (asax) b. 1927-1023, MEMPHIS, TN EDWARDS, TOMMY (v/IT'S ALL IN THE GAME) d. 1969-1023, HENRICO COUNTY, VA 47 ESQUERITA (ESKEW REEDER JR.) (p) d. 1986-1023, HARLEM, NY -- FOXX, CHARLIE (v/SUE REC) b. 1939-1023, GREENSBORO, NC FRAN, CAROL (p/CLARENCE HOLLOMAN) b. 1933-1023, LAFAYETTE, LA GREENE, L. C. (g) b. 1921-1023, MINTER CITY, MS IMMERMAN, CONNIE (of CONNIE'S IN) d. 1967-1023, NEW YORK CITY, NY 74 JOHNSON, THEARD (v/MERCURY REC) b. 1927-1023, NEW ORLEANS, LA JOLSON, AL [ASA YOELSON] (v) d. 1950-1023, SAN FRANCISCO, CA 64 KILBERT, PORTER (sax/RED SAUNDERS) d. 1960-1023, CHICAGO, IL 39 LEE, LEONARD (v/SHIRLEY & LEE) d. 1976-1023, NEW ORLEANS, LA 40 MO, FINNEY (LESLIE FINNEY II) (v) b. 1929-1023, NEW ORLEANS, LA PERRYMAN, RUFUS "SPECKLED RED" (p) b. 1892-1023, MONROE, LA PETRILLO, JAMES CAESAR (of PETRILLO BAN) d. 1984-1023, CHICAGO, IL 92 PHILLIPS, MARVIN (v/tsax/MARVIN & JOHNNY) b. 1931-1023, GUTHRIE, OK RODGERS, GENE (p/arr) d. 1987-1023, ST. ALBANS, NY 77 SPENCER, LENA (of CAFFE LENA) d. 1989-1023, SCHENECTADY, NY 66 STAPLES, YVONNE (of STAPLE SINGERS) b. 1937-1023, CHICAGO, IL TAYLOR, AUSTIN "TED" (v) d. 1987-1023, LAKE CHARLES, LA 53 WATSON, MERLE (g/DOC WATSON) d. 1985-1023, LENOIR, NC 36 WATTS, ERNIE (tsax) b. 1945-1023, NORFOLK, VA YOAKUM, DWIGHT (:) b. 1954-1023, PIKESVILLE, KY ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 23 Oct 1995 02:55:30 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: Midi blues piano fil ADDN: Comments: To: laurie.forti@INFOEXCH.MIAMI.FL.US Laurie, RJ's advice is good, although I hesitate to recommend learning 'scales' per se. I sort of assumed that you have some skill at the piano. If you don't, then the following is important... You *should* learn three things: 1. What key every note is on, on the keyboard (only 12 of 'em, that's easy, huh?) 2. What an interval is, half step and a whole step are required - major, minor, 7th, etc, are good ones too, but, you can reverse engineer that information from learning chords... 3. How to construct chords. You can memorize chord patterns (not a bad start) and later you'll begin to recognize patterns of intervals within the chords. Mike ========================================================================= Date: Mon, 23 Oct 1995 04:13:41 -0400 Reply-To: Ted2204 From: Ted2204 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: C.C. Rider Comments: To: bit-listserv-blues-l@uunet.uu.net As pointed out by David Silverberg, "C. C. Rider" was a song about county circuit riders who preached at various churches in the rural south. The song was also known as "See See Rider," and, in the case of Leadbelly, "Easy Rider." He used all three titles for the same song. See, see, rider See what you done done You made me love you Now your man done come To add more confusion to the situation, there is another song called "Easy Rider," which is sung by Blind Lemon, LeRoy Pierson, and Barbecue Bob, among others. This is NOT the Leadbelly song. And, of course, these are not to be confused with "Special Rider," "Noted Rider," "No Good Rider," "Low Rider," or "Stomp Down Rider." Ted Lissauer Fisherville, Kentucky Ted2204@AOL.com ========================================================================= Date: Mon, 23 Oct 1995 11:10:06 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: The sweet voice of Poppsy Dixon Just wanted to share a great moment me and my band had when we played in Copenhagen this weekend. On friday our manager brought Poppsy Dixon with him. (You know that angelic singer and drummer from the Holmes Brothers) He sung a couple of numbers with us and man-what a voice! Mr Dixon is realy a stylish singer with that high falsetto. It was a thrill! Mr Bo ========================================================================= Date: Mon, 23 Oct 1995 10:24:26 GMT Reply-To: "Ian K. Mckenzie" From: "Ian K. Mckenzie" Subject: Re: Blues Muzak--A Discovery Comments: To: bit-listserv-blues-l@moderators.uu.net Karen Hanson wrote: >I'm not sure if all this "main streaming" is good or bad.......What do you all >think? > >Karen It seems to me that people come to the blues from all sorts of directions. Its not bad thing therefore, if people hear the music as an adjunct to other things. Here in the UK blues (and some soul) have been used as the backing to TV commercials and in particular in some beer ads. It may sell more beer - I don't know - but I doe get people asking me "I saw a commercial last night with a blues song on it. Who/What was it?" That can't be bad. Lonnie Brooks and Harmonica Fats have actually appeared (acting and playing) in a commercial. If for every ten thousand (or 100,000) who are muzacked one or two are turned on then it's a plus. BTW I think PW Fenton was being ironic not sarcastic and certainly not personal, But I wasn't on the receiving end so what do I know? *********************************************** Ian K. McKenzie University of Portsmouth England ************************************************** ========================================================================= Date: Mon, 23 Oct 1995 07:51:29 -0400 Reply-To: MaryA NBP From: MaryA NBP Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Halloween blues ? Comments: To: bit-listserv-blues-l@uunet.uu.net On Sunday 10/2/95 Kevin B wrote: Other than Willie'sI Ain't Superstitious what Blues's tunes do YOU think would be good for a Blues Halloween. It's a great chance for me to play some of my fav' Howlin Wolf! Any suggestions would be appreciated. Trick or Treat! Thanx! Kevin B. (whose feets just can't stay still when they hear de' Blues!) How about: Graveyard Dream Blues- Bessie Smith Cemetery Blues- Bessie Smith Graveyard Dogs- Luther "Guitar Junior" Johnson Candy Man- Mississippi John Hurt Mary Melodee ========================================================================= Date: Mon, 23 Oct 1995 07:07:12 CST Reply-To: William Shute From: William Shute Subject: film: LOTTO LAND (query) From: Bill Shute Perhaps some of you have noticed the opening of a film called LOTTO LAND which co-stars Wendell Holmes of the Holmes Brothers. This film certainly would qualify as "blues-related." Jim Beal Jr. of the San Antonio Express- News had a nice interview with Mr. HOlmes in the FRiday paper (the day the film opened). I haven't yet had a chance to see it, but I wonder if someone who has could post a brief review to the network. I believe that WEndell HOlmes does provide some music for the film as well as act in it. Thanking you in advance... Bill Shute San Antonio, TX ========================================================================= Date: Mon, 23 Oct 1995 07:37:07 CST Reply-To: William Shute From: William Shute Subject: Jerry Lightfoot & The Essentials CD From: Bill Shute JERRY LIGHTFOOT & THE ESSENTIALS "Burning Desire" Connor Ray Records (US CD) approx. 53 minutes (from HOUSTON, TEXAS) Lightfoot--gtr, vocal Bert Wills--2nd gtr Steve Krase--harmonica Robert Lewis Stephens--keyboards Gunga Gene Kurtz--bass Jupiter Ray Strickland--percussion with guests: Big Walter Price--vcl and piano Grady Gaines--tenor sax Joe "Guitar" Hughes--gtr Wayne Talbert--piano A solid Texas blues disc from Jerry Lightfoot, hard-working Gulf Coast contemporary bluesman! I've unfortunately missed their San Antonio gigs so far, but they'll be in town again next month to open for Sonny Rhodes. Lightfoot is a thoughtful, passionate guitarist who THANKFULLY avoids the excess of so many guitarists on the modern blues scene. He's parti- cularly effective on slow blues pieces such as the moving "Night Train (From Oakland)". As a singer, Lightfoot uses his understated voice well, and he is to be commended for NOT trying to sound like Howlin' Wolf on his cover of "Who's Been Talkin'". He rebuilds the song to fit his own strengths as a vocalist, realizing that the way to pay tribute to a musical hero (as Chester Burnett is to JL) is NOT to do a bad imitation of him. The uptempo and shuffle tunes work well also, and it's clear that this is a band that has paid its dues and learned what works and what doesn't by performing for diverse audiences week in and week out. Nick Gravenites is cited as an inspiration for the band, and they do reflect the no-bull, all-meat-no-filler attitude found in Nick the Greek's own work. The guest artists are used quite well also. Grady Gaines is always welcome on my stereo, and his fans will marvel at his beautiful, heartfelt playing on "Night TRain (From Oakland)." Joe Guitar Hughes shines on the long, closing track, "Walkin' With Colleen," and Lightfoot's friend Big Walter "The Thunderbird" Price lends his piano, voice, and inimitable insights into the grind of daily life on "The Preacher Talks And Plays The Blues," which rates with some of the conversational pieces recorded by Memphis Slim. Rich harp blowing by Steve Krase and solid rhythm guitar by Bert Wills (a first-rate bluesman in his own right--BW has been working with Johnnie Johnson recently...that collaboration ought to be fascinating!) add to the overall success of this album. I understand that the album has attracted considerable attention here in Texas and in Europe, and it's getting airplay in various pockets-of-interest around the country. It's a worthwhile purchase for any serious fan of contemporary Texas blues and has me anxious to see Jerry Lightfoot & The Essentials in concert ASAP. Since most of you will not find this at a local store, if you are interested in purchasing a copy, the label CONNOR RAY RECORDS in Houston does have an e-mail address: ConnorRay@AOL.COM Good job, guys! I await album #2 from Mr. Lightfoot and crew. Bill Shute San Antonio, TX ps, I am in no way connected with this artist or the label, other than being a fan. ========================================================================= Date: Mon, 23 Oct 1995 08:44:22 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: KOKO TAYLOR'S CHICAGO BLUES Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *Maybe it's just me, but I have been pretty disappointed by Koko's place. *While the bar itself is ok (as long as you don't trip over liquored up, *fake ID wielding, hormonally and equillibrium challenged 18 yr olds), I *have been pretty bummed about the quality of the bookings. I was hoping *for Koko's to compete with Legends and bring in some local and national *acts that don't get here that often. Unfortunately, it seems like even *their weekends are filled with local talent (many of whom I _love_, *that's not the point) whom I can see any day of the week. Anybody else *kinda disappointed? When I was in Chicago for the festival I saw Billy Branch there and I had a great time. I was expecting it to be much more up-scale and expensive, but it was about the same as my favorite local club, Tornado Alley, price-wise. ========================================================================= Date: Mon, 23 Oct 1995 07:16:36 -0600 Reply-To: Jessica Jones From: Jessica Jones Subject: Re: Holloween Show In-Reply-To: <199510230403.AAA01688@listserv.brown.edu> How could Halloween be complete without Robert Johnson's Hell Hound on my Trail? jessica jessicaj@spot.Colorado.edu ========================================================================= Date: Mon, 23 Oct 1995 08:16:08 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Them damn vocals It sure is discouraging to play a tune and can't even come close to the vocals. How in the world can you cover a Muddy or Johnny Shines tune when you don't have the same instruments as they have...Like incredible vocals. Some of the tunes, have pretty easy non-sensational guitar work, but the vocals carry the tune. It's kind of useless, I try to sing them, but you can trash a tune with terrible vocals just as bad as terrible playing.... Pisses me off. I want to cover "Peace In Hell"...."Fell Like Going Home" and others. The guitar playing works, the vocals don't work. I really like the tunes and want to do them and even though folks say if you sing from inside it will be OK. That's like saying you don't have to play the song right, just play it with feeling....That's fine, but you've got to resemble the song in some way... So do you still say, just shut up and sing it best you can, or don't sing. If you don't sing you have those rhythm licks that get boring without the vocals. I'd rather be able to sing, than to be able to play LW 'Angel of Mercy won't you please look down on me' ========================================================================= Date: Mon, 23 Oct 1995 08:34:51 -0500 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: new guy forsyth cd? > Has anyone heard the new CD of the Guy Forsyth Band and is it good? It's called "Needle Gun". I've only heard a couple of tracks off it, but they sound real good. Bruce Roberts Austin, TX ========================================================================= Date: Mon, 23 Oct 1995 09:48:00 EDT Reply-To: "ANDRE J.M. PREVOS" From: "ANDRE J.M. PREVOS" Subject: Unpaid European Reviewers Just want to second Jean-Pierre Urbain's comments. For almost 15 years I have been writing for the French blues magazine _Soul Bag_ (Yes! It's in French from front to back covers). I write book reviews mostly, some record reviews and some articles. I have NEVER been paid and have NEVER expected to be paid for what I write. This is the ONLY sure thing about writing for _Soul Bag_! Do I object to that situation? Hell, I've been doing it for close to 15 years (draw your conclusions here.....). By the way, I also publish in *scholarly* publications and they do not pay either (whether for book reviews or essays). Sometimes they even require that you belong to their organization. Do I think I write better reviews that those whose *paid* job is to do just that? No! Do I think that I should tell readers if a book is not simply worth buying, yes! Do I chose to *sink* a book I do not like at all, no! Maybe I'm just stupid??? (private messages please if you agree!!). Andre J.M. Prevos Pennsylvania State University DUNMORE PA 18512 AXP7@psuvm.psu.edu ========================================================================= Date: Mon, 23 Oct 1995 14:02:33 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Gossip Hi, glad to be back I don't know if this was mentionned while I was away but I have it from two separate sources that Sue Foley will be coming back home (to Ottawa) for a couple of months (for personal reasons). She will be doing a regular weekly acoustic gig. For those of you familiar with Southside Denny (a regular act at Buddy Guy's Lengends in Chicago). Rumour has it that he has moved to Montreal(?!!) Blues acts do play Montreal but there is no blues scene there worthy of the name. What could he be thinking? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [23/10/95 9:55 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 23 Oct 1995 14:06:15 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Tab Benoit CD I just got the Tab Benoit CD "Nice and Warm" the other day ... the strangest thing. There is not a mark on it. No label, song titles, nothing. Its hard to tell which side of this shiny silver disc is UP. Have I gotten an odd one or are they all like that? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [23/10/95 10:02 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 23 Oct 1995 14:13:33 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Keri Leigh et al Got to see and hear Keri Leigh and the Blue Devils the other night. All in all it's not a bad little bar band. Nothing to write home about but entertaining enough. She did do an interminable version of "Tell Mama" (which segued to "I'm Gonna Wait 'til the Midnight Hour" for a bit) that included an unending monologue. Someone should tell her that there are many Canadians who don't even know who Newt Gingrich is :):) There was a blurb posted at the club with a quote from Blues Access stating that this was "..the best voice to come out of Texas since Janis Joplin". How do people get away with putting such brain dead drivel in print? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [23/10/95 10:06 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 23 Oct 1995 09:10:42 CDT Reply-To: Pat Hertel Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: Pat Hertel From: L W Subject: Tab Benoit CD ----------------------------Original message---------------------------- > I just got the Tab Benoit CD "Nice and Warm" >the other day ... the strangest thing. There is >not a mark on it. No label, song titles, nothing. >Its hard to tell which side of this shiny silver >disc is UP. Have I gotten an odd one or are they >all like that? You have an odd one....I recommend to any Tab or maybe Tab fans, his newest "Standing On The Bank".....I think it is quite good, if you like that kind of stuff. There are a couple of tunes that I would not have included, but I still think it's worth having for a Tab fan. I don't know if many of you will agree but I think Tab has some decent vocals.... LW ========================================================================= Date: Mon, 23 Oct 1995 09:17:59 CDT Reply-To: Pat Hertel Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: Pat Hertel From: L W Subject: Keri Leigh et al ----------------------------Original message---------------------------- > There was a blurb posted at the club with >a quote from Blues Access stating that >this was "..the best voice to come out of >Texas since Janis Joplin". How do people >get away with putting such brain dead >drivel in print? I always wondered about that myself. My all time favorite was on Tinsley's recording: Stands along side SRV and Johnny Winter and that's not hype (probally not verbatim, but close) Their right it's not hype, it's a flat out LIE. I'm not knocking TE, I'm praising SRV and Johnny Winter..... LW "I've even read where Keb' Mo was compared to Robert Johnson' ========================================================================= Date: Mon, 23 Oct 1995 16:26:03 +0200 Reply-To: T P Uschanov From: T P Uschanov Subject: Re: film: LOTTO LAND (query) Comments: To: William Shute In-Reply-To: 19951023.070712.WSHUTE@SACADMIN On Mon, 23 Oct 1995, Bill Shute wrote: > Perhaps some of you have noticed the opening of a film called LOTTO LAND > which co-stars Wendell Holmes of the Holmes Brothers. This film certainly > would qualify as "blues-related." Jim Beal Jr. of the San Antonio Express- > News had a nice interview with Mr. HOlmes in the FRiday paper (the day > the film opened). I haven't yet had a chance to see it, but I wonder > if someone who has could post a brief review to the network. I believe > that WEndell HOlmes does provide some music for the film as well as > act in it. I haven't seen it, but I don't think fate will strike me down if I post this: > X-within-URL: http://www.cm.cf.ac.uk/M/review_2_html.pl?4063/1F1561 > > LOTTO LAND > > A film review by Christopher Null > > Copyright 1995 Christopher Null > > There's a whole lotto lovin' goin' on in LOTTO LAND, an odd little > feature from writer/director John Rubino, which explores relationships > among young and old folks in Brooklyn, particularly Lotto players. > > Hank (Larry Gilliard, Jr.) and Joy (Barbara Gonzalez) are about to > embark on prom night. Hank's father Milt (blues legend Wendell Holmes) > rediscovers long-extinguished passion with Joy's guardian Nini > (Suzanne Costallos). Oh, and Joy's drunken, roller-skating, > drug-dealing father just may have won $27 million in the New York > Lottery. Trust me, it's not as complicated as it sounds...or as > interesting. > > Basically just a talky drama, LOTTO LAND has a heart of gold but is as > lifeless as overcooked spaghetti. Yawns were much more common than any > laughs at the screening. The acting is workmanlike, and the plot is > predictable, but the movie's intentions--to tell a story of purity, > romance, redemption, and modern-day chivalry--are so noble you can't > help but smile and say, "How cute...." > > Cute--that's the sum of it. The film never gets off the ground at all, > and it seems Rubino is more intent on getting playing time for the > blues musicians (including Holmes) on his soundtrack. (To be fair, the > tunes are pretty good.) As a result, the movie just meanders in the > undeveloped storyline and finishes up with an appropriate yet totally > unfulfilling conclusion. Ho hum, no jackpot this time. > > RATING: **1/2 > > \-------------------------------\ |* Unquestionably awful | |** > Sub-par on many levels | |*** Average, hits and misses | |**** Good, > memorable film | |***** Perfection | \-------------------------------\ > > > -Christopher Null / null@utxvms.cc.utexas.edu -E-mail request to join > the movie review mailing list T P Uschanov (Mr), University of Helsinki, Finland, European Union. (GEEK CODE 2.1) GP/H d++@ H s-:+ !g>++ p1 !au a- w+++(+) v- C+ US+ L+ 3 E N++ K-- W+ M(+) V -po+(--) Y t- !5 !j R- G'' !tv b+++ !D(--) B e+$ u+++(*) h+(*) f(+) !r n---->+ !y(*) ========================================================================= Date: Mon, 23 Oct 1995 10:04:00 CST Reply-To: JBards From: JBards Subject: Re: Austin BLues Internet Stuff Comments: To: Stew Crossen Steve I tried both these and got an error 404- "Not Found" message. What gives? -Jim _______________________________________________________________________________ Subject: Austin BLues Internet Stuff From: Stew Crossen at INTERNET-SH Date: 10/21/95 3:46 AM Check out these web sites Antones: http://www.quadralay.com/antones/home.html Austin Blues: http://www.quadralay.com/www/austin/austinmusic/austinmusic.html Beef Stew WHUS Radio ========================================================================= Date: Mon, 23 Oct 1995 15:01:52 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Midi blues piano fil Comments: To: bit-listserv-blues-l@uunet.uu.net In <9510191656.0NSI700@infoexch.miami.fl.us>, Laurie Forti writes: > I am trying to learn Blues piano the way the real guys did, by >imitation and copping riffs. I have NO interest in learning music >'theory', reading sheet music, or struggling with the lack of sheet >music on _real_ Blues. Apparently, _very_ few keyboard people have >any grasp of the more fundamental, powerful, and interesting pre-war >styles. That is true to an extent, but remember that they managed to play the way they did in spite of their lack of formal training, not because of it. ///////////////////////////////////////////////////////////// B.B. Bean bbbean@cris.com Team OS/2 strictlow@aol.com Bean & Bean Cotton/Bean Farms 75474.2654@compuserve.com \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ ========================================================================= Date: Mon, 23 Oct 1995 11:00:40 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Quotes (was: Keri Leigh et al) Comments: To: phertel@CMC.DOE.CA On 23 Oct 95, Pat Hertel had this to say... > There was a blurb posted at the club with > a quote from Blues Access stating that > this was "..the best voice to come out of > Texas since Janis Joplin". How do people > get away with putting such brain dead > drivel in print? All those quotes are not always what they appear to be. I used to put in my flyers that we were voted Tampa Bay's Best Blues Band. I failed to mention that the only people who voted was a group of waitresses at the club where we played most often (and tipped heavily). For all we know the Keri Leigh quote might be from a statement like: "Ms. Leigh acted as though she thought she was the best voice to come out of Texas since Janis Joplin." It must be a real challenge to write reviews that can't be creatively quoted. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 23 Oct 1995 10:16:15 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Morris Pejoe I keep reading and listening about Morris Pejoe, who played with many greats around Chicago in 60s, 70s, but never heard anything by him. Has any label issued anything recorded by Morris Pejoe? Anybody knows more about him: born, died, discography... Ranko ========================================================================= Date: Mon, 23 Oct 1995 11:25:21 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: new releases information The new releases mail list each week publishes a list of new releases; obviously, its not complete (there's a new Robert Ward out, for instance, that is not on the list). I've pulled out new releases that might be interesting to someone on this list. I'M NOT SAYING THIS IS BLUES. Some isn't. But people on this list talk about these artists...... If folks around here care, I'll keep posting this from time to time. Just as an aside, this is *all* the information contained in the mail list; I don't know anything else about most of these, unless I've heard about it elsewhere. 10/17 Various Artists Inner City Blues: The Music Of M.Gay Various Artists It Came from Memphis (reissue) 10/24 Sam Cooke The Rythm and The Blues (reissue) Sweet Honey in the Rock Sacred Ground Various Artist Motown Christmas Album Various Artist Texas Guitar Killer (reissue) 10/31 Neville Bros The Neville Brothers (reissue) Stevie Ray Vaughan Hits (reissue) Various Artists Curtis Mayfield's Chicago Soul (reissue) Various Artists Soulful Love: Duets Vol One Various Artists Soulful Love: Duets Vol Two 11/7 Al Green Your Heart's In Good Hands Bonnie Raitt Road Tested (Live) Tom Freeland ========================================================================= Date: Mon, 23 Oct 1995 10:00:40 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Gossip Comments: To: Pat Hertel In-Reply-To: On Mon, 23 Oct 1995, Pat Hertel wrote: > Hi, glad to be back Glad to have you back! > I don't know if this was mentionned while I was > away but I have it from two separate sources that > Sue Foley will be coming back home (to Ottawa) > for a couple of months (for personal reasons). > She will be doing a regular weekly acoustic > gig. Good! Maybe the Republic of Texas will revoke her visa while she's gone and she won't be able to come back!!! -Jeff (ok, so it's Monday morning!) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / As I was riding across the Mississippi \ / I stopped there and I cried. \( No use for a man to keep a mighty river All dammed up inside. -Joe Ely ========================================================================= Date: Mon, 23 Oct 1995 11:24:32 -0400 Reply-To: aj514@osfn.rhilinet.gov From: Mary Moretti Subject: piano red do any of you have any info on a blues pianist, from new orleans who went by the name piano red, his real name was william perryman. i would appreciate any alblum recomendations, as well. mary -- ========================================================================= Date: Mon, 23 Oct 1995 10:47:31 CST Reply-To: JBards From: JBards Subject: Austin Music WWW address Comments: To: Pat Hertel Okay, I found the correct WWW address for the Austin music scene. It's: http://www.quadralay.com/www/Austin/AustinMusic/AustinMusic.html Hope this helps. -Jim ========================================================================= Date: Mon, 23 Oct 1995 09:07:04 -0700 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Morris Pejoe Comments: To: Ranko Vujosevic Ranko Vujosevic wrote: > I keep reading and listening about Morris Pejoe, who played with many greats around Chicago in 60s, 70s, but never heard anything by him. Has any label issued anything recorded by Morris Pejoe? Anybody knows more about him: born, died, discography... > His obituary appeared in Living Blues Magazine Issue 55 page 40. Might be some details there. There is a little bit of his music on The Chess Blues Box, I seem to recall; maybe one instrumental, maybe two. Sorry to be so vague--Dick Shurman knows everything, he'll probably give you a better answer! Mary Katherine ========================================================================= Date: Mon, 23 Oct 1995 12:33:43 -0400 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Good to be back I'm back after a few weeks hiatus. And a very appreciated thank you to those who sent their condolences. Re: Halloween Blues: Pen and Brenda Bogert hit it right on the mark by suggesting Screamin' Jay Hawkins' "I Put a Spell on You". I'm gonna use it on my own show Saturday, particularly the live version from the Evidence release. On the sidelines... Dave Prychitko ========================================================================= Date: Mon, 23 Oct 1995 09:42:59 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Linda L. - Maria Muldaur Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Linda L said: >Geez! Just to set the record straight. I did *not* say I don't know who >Maria Muldaur is, and I did *not* post a query asking who she is. SOMEONE >ELSE asked about female blues artists they might like to investigate, and >I responded that he might want to look into Maria Muldaur. I have her >disk and I don't listen to it much because, quite frankly, I'm not fond of >it. But that didn't stop me from recommending it to someone else whoe >might find her to his liking. > >So, Don Cicchetti, get off your high horse, and relax. You don't have to >be the King of the Blues or the King of this Group, or whatever it is that >inspired you to be so rude. What in the heck is she talking about? Oh well... Maybe she and ole' Rich have a thing going or something? Hey Linda! In case you missed it, Richard went out of his way to reduce you to a complete moron, and I and many others felt we should have better manners here on Blues-L. He has responded in a nice and informative ========================================================================= Date: Tue, 24 Oct 1995 13:50:00 EDT Reply-To: edward c liu From: edward c liu Subject: Re: Halloween blues ? Howdy all, Kevin Boyle wrote: >Other than Willie'sI Ain't Superstitious what Blues's tunes do YOU think >would be good for a Blues Halloween. Other than the one's already mentioned, I can think of: "Blues After Hours" anybody (Pinetop Perkins did it on the Alligator 20th Anniversary set) "Evil" Howlin' Wolf "Witchy Red" and "Shadows" Dr. John (off his _Television_ CD -- I'm sure he's got other stuff you could use) -- Ed Edward C. Liu | "I never say what I mean but I always manage edwick@cc.bellcore.com | to say something similar." | -- Eugene Ormandy The opinions in this message are mine and not Bellcore's. Really! ========================================================================= Date: Tue, 24 Oct 1995 14:16:50 -0400 Reply-To: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA From: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA Subject: Re: Where do they fit .. Not familiar with the other artists, but Joe "King" Oliver was a giant of the 1920s Chicago-style jazz era, the sound that was New Orleans traditional jazz with a different flavor as it moved north in the early 1920s. As a blues artist, I don't guess his influence would be as great as the influence he had on traditional jazz. He and a young Louis Armstrong were contemporaries, and (y'all can correct me if I'm wrong on this) but did Bessie Smith make some of her early records with the King Oliver band? Turtle _____ Reply Separator _____ Author: bsco @ PANIX.COM (Barry Silverberg) @ INTERNET Received: 10/22/95 10:48:52 AM Subject: Where do they fit .. I just listened to my recordings of Walter Davis King Oliver Luis Russell Where would you place them along the blues spectrum? Style, type, school, other etc. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Tue, 24 Oct 1995 14:16:57 -0400 Reply-To: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA From: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA Subject: That Blues Music Page I post this once in a while, and as a result of being flooded with changes, updates and new additions, I figured I should post it again: That Blues Music Page at The Weightless Dog: http://www.charm.net/~turtle/blues.html Dozens of blues-related links, including links to pages of blues artists and bands, blues record sources, blues venues (festivals, jams, clubs), links to other people's link lists, and other random sorts of information, nicely categorized. I'm also building pages devoted to 1940s and 1950s Chicago electric blues. If you have a blues link, either yours or someone else's, please feel free to email it to me at turtle@charm.net, or visit The Weightless Dog Home Page and leave it in the comments page: http://www.charm.net/~turtle While you're there, feel free to look around at some of the other weirdness there. Thanks Turtle ========================================================================= Date: Tue, 24 Oct 1995 10:22:58 -0700 Reply-To: Jennifer Baldwin From: Jennifer Baldwin Subject: where's the mail In-Reply-To: I'm not getting any blues-l mail. Is it just me? ========================================================================= Date: Tue, 24 Oct 1995 12:38:57 EDT Reply-To: ron kraemer From: ron kraemer Subject: Johnnie Johnson and Bobby Parker Caught Mr.'s Johnson and Parker at the Commodore Barry Club in Philly, PA this past Saturday night. The show was put on by the Philadelphia Blues Machine. The "Club" reminded me of an old high school gym, without the basketball lines all over the place, and a stage at one end. The sound system needed adjusting on just about every tune, and there were a few "glances" over to the soundman, but overall the program went well. Bobby Parker opened with some blistering Strat work. His voice reminded me of a cross between Buddy Guy and Al Green. Blues-n-Soul. He had a powerful tone, too. His band had a bass, drum, keyboard, and trumpet as well. I had read some on him on the List. Lots of Soul mixed in, but enough Blues for me. I love Johnnie Johnson's style, and he's one of my favorites. He did a few songs from Johnnie B. Bad (he autographed my copy of his CD), some classic "Chuck"-sounding tunes (He was with Chuck Berry for years), and standards like Route 66 and Take the A-Train. Johnnie is 66 years old, but when he starts playing, the Magic is definitely still there. Wish they had a real piano for him to play, but he sounded great on a Korg keyboard. If you get a chance, don't miss him. The guy is a Legend, and deservedly so. Ron ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters ************************************************************ ========================================================================= Date: Tue, 24 Oct 1995 16:03:25 EST Reply-To: Jim Miller From: Jim Miller Subject: TEST Comments: To: BLUES-L This is a test, please ignore or whatever. ========================================================================= Date: Tue, 24 Oct 1995 09:05:08 -0700 Reply-To: David Orange From: David Orange Organization: UNLV Biological Sciences Subject: Re: Keri Leigh et al Comments: To: bit-listserv-blues-l@uunet.uu.net [general review deleted] > There was a blurb posted at the club with > a quote from Blues Access stating that > this was "..the best voice to come out of > Texas since Janis Joplin". How do people > get away with putting such brain dead > drivel in print? > Simple, not enough people actually *go* to Austin ;) -- ->:) David Orange Send Email to: orange@nevada.edu ******************** ========================================================================= Date: Tue, 24 Oct 1995 11:56:17 -0400 Reply-To: Peter Welch From: Peter Welch Subject: Test :-) ========================================================================= Date: Tue, 24 Oct 1995 10:48:53 -0500 Reply-To: David Silberberg From: David Silberberg Subject: Re: Them damn vocals At 08:16 AM 10/23/95 CDT, L W wrote: >It sure is discouraging to play a tune and can't even come close to the >vocals. > >How in the world can you cover a Muddy or Johnny Shines tune when you don't >have the same instruments as they have...Like incredible vocals. > Are you trying to compare yourself to a Muddy of Johnny Shines too much? I'll bet you're a pretty good Leonard Watkins.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Tue, 24 Oct 1995 10:25:13 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Leukemia Benefit Performance Comments: To: Melinda.Gromack@BANYAN.UMMED.EDU From: WFBR2::MILLER 24-OCT-1995 10:23:22.74 To: @BLUES CC: Subj: Benefit for Leukemia PRC Records and GAF Productions present... R O C K A G A I N S T L E U K E M I A ! in memory of local musician Peter Venuti. Featuring Four Live Bands: Blue Steel Monster Zero Wild Vein and Gate Street Blues! .... .. P L U S A F U L L B U F F E T ! SUNDAY OCTOBER 29, 1995 at the VFW Hall, Allen Street, Clinton, Mass. DOORS OPEN AT 2:00 PM All ages welcome. You must be 21+ to drink. Admission: $8.oo in advance, $10.oo at the door. ALL PROCEEDS GO TO THE AMERICAN LEUKEMIA SOCIETY. Food donated by Village Catering Advance tickets are available by calling (508) 365-1746 or get them at the door. The first 25 people through the door will receive FREE Blue Steel's debut CD on PRC Records. For more information, tickets, or if you'd just like to make a donation, contact Rick at Help support the fight against leukemia and your local music scene by supporting this worthwhile event! Come out and enjoy! ********************************************************************************* F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 24 Oct 1995 10:27:58 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Definition of "gig" (no blues content) Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I was wondering where the word "gig" originated. Is it a shortened form of another word, or something from another language? I know this isn't a blues question, but there are a lot of musicians on blues-l who talk about gigs. Any linguists on blues-l who can jelp me out? -Steve ========================================================================= Date: Tue, 24 Oct 1995 08:56:01 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Mickey, Minnie, and Goofy Comments: To: "P.W. Fenton" In-Reply-To: <199510202040.QAA21750@tequesta.gate.net> Uh oh... another statement that "blacks don't support the blues." While the numbers don't equal the numbers of sales to whites for many artists and probably overall, and while there are certainly many other types of music in greater fashion, the actual situation is just that THE BLUES REMAINS SEGREGATED IN MANY WAYS. There are artists who have sustained careers with little or no white support, particularly vocalists-- Denise LaSalle, Little Milton, Bobby Rush, etc. I'd be willing to bet that whites bought about 5% or less of the copies of Z.Z. Hill's Down Home LP, which was arguably the biggest commercial blues hit of the 1980s. There are venues where one could find a fairly large black audience with few or no white faces--- and vice versa. For all the flaws in Pervis Spann's promotions, I didnb't see any white promoters fielding the lineup he put on last month at a pavilion in Chicago (Johnnie Taylor, Shirley Brown, Bobby Bland, Bobby Ruish, Artie White, Ruby Andrews and Lee "Shot" Williams plus two fospel acts all performed), and very few whites there. Does that mean whites don't support the blues? No, it just means that some major and fundamental gaps keep those audiences separate enough that each is sometimes under the misimpression that the other doesn't exist. ========================================================================= Date: Tue, 24 Oct 1995 12:55:31 GMT Reply-To: marc@az.vub.ac.be From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: RobertJohnson vs. RobertJrLockwood Comments: To: bit-listserv-blues-l@Belgium.EU.net Hi folks ! Read in a Belgian culture magazine in the blues-column: Review of Park Blues Festival 95 Antwerp, Belgium. I try to translate : ------------------------------------------------------------------------------- James Harman mentioned there : RJ is alive, and more : RJL is RJ !!! Based on following facts : 1. On a backstage party, somewhere in the States, RJL drunk a little too much and started a hair-rising performance. Normally, he's already one of the best RJ-performers, but now a strang thing happened to him, his version of RJ-songs was so good it only could be compared with the original RJ recordings. James Harman was a witness and lives now with a wtih a strong doubt. 2. A Johnny Shines confession : Shines is one of the musicians who knew RJ personally. When a photograph of RJ was given to him ( one of the two available RJ pictures ) he said : "That ain't Bob. Ask Robert Jr. ! He should know better." ------------------------------------------------------------------------------- What do you, bluezellers, think about these statements ? Is this an excellent example of low, dirty papergossip, or maybe true ? embee. ps. Don't flame me, I 've just tried to keep you informed :-) ========================================================================= Date: Tue, 24 Oct 1995 07:39:40 -0500 Reply-To: Radical Liberation From: Radical Liberation Subject: Focal Point in St. Louis Hey all! Would just like to note that if you live in St. Louis, (or are passing through some weekend), check out Focal Point. I and a friend have been catching lots of shows there this year and they have been of a consistently high quality. The music features blues, of course, along with other American folk and international folk music. (Among others, was introduced to Catfish Keith here). Great stuff! If you can find a CD by "Geyer St. Sheiks", (a St. Louis band), you will have much musical joy. They do a couple Bessie Smith tunes that will just floor you. -- I am Radical Liberation. ========================================================================= Date: Tue, 24 Oct 1995 07:39:07 -0400 Reply-To: Willy Evans From: Willy Evans Subject: Tab Benoit Tab Benoit is playing in our area for two nights. He did a local radion spot and played 3 numbers as solo acoustic. The guy was great! I'm somewhat of a Tab fan, but this drove the nail home. Cool, sparse guitar and killer vocals. This is the best that I have ever heard him! I hope he puts and album out of solo acoustic, I think that it would be a hit!! Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** there'll be snuff juice everywhere **** ========================================================================= Date: Tue, 24 Oct 1995 07:53:22 EDT Reply-To: William Pollak From: William Pollak Subject: Re: Quotes (was: Keri Leigh et al) In-Reply-To: Your message of "Mon, 23 Oct 95 11:00:40." <199510231457.KAA123996@tequesta.gate.net> P.W. Fenton wrote >All those quotes are not always what they appear to be. I used to >put in my flyers that we were voted Tampa Bay's Best Blues Band. I >failed to mention that the only people who voted was a group of >waitresses at the club where we played most often (and tipped >heavily). When I first began singing in Pittsburgh a couple of decades ago, a writer in the Pittsburgh paper referred to me as a "white Wilson Pickett." A couple of months later, I had a gig about two hours east of Pittsburgh at a teenage dance club in Portage, Pa. The club was a converted movie theatre, and I arrived at the gig to see this emblazoned on the marquee, in huge letters: TONIGHT! THE RHYTHM KINGS, FEATURING BILLY PRICE, THE WHITE WILSON PICKETT. Bill Pollak, aka Billy Price Carnegie Mellon U., Software Engineering Institute Pittsburgh, PA 15213-3890 email: wp@sei.cmu.edu ========================================================================= Date: Mon, 23 Oct 1995 12:45:31 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Re: BILL ROWE's CAREER DISCOGRAPHIES Just want to second Tony's recommendation concerning Bill ROWE's work. I haven't yet seen the last volume, but as I told to blues-l a while ago, and as Tony also mentions, we should really support Bill ROWE's very interesting work... and for all the MAgic Slim fans out there, I just wanted to remind you that the two first issues of Career Discography contains the disco of MAGIC SLIM, ANREW BROWN, FENTON ROBINSON, PHILLP WALKER, LITTLE MILTON and JERRY McCAIN. Jean-Pierre ========================================================================= Date: Tue, 24 Oct 1995 09:45:04 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Re: Piano Red Check out the great ARHOOLIE CD379 entitled ATLANTA BOUNCE. Jean-Pierre Urbain ========================================================================= Date: Tue, 24 Oct 1995 09:28:00 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Re: Morris Pejoe >From what I remember from the top of my head -I would have to check at home- Morris Pejoe recorded for Checker (I think he even had a local pseudo hit, don't remember the title, in 1954(or 55?), and also later recorded several things for Atomic-H (Houston Harrington's label), Abco and I think Vee-Jay. Some of these were reissued on a P-Vine album whose title espaces me. Like MKA, said, Dick will certainly provide you with more details. Jean-Pierre ========================================================================= Date: Tue, 24 Oct 1995 04:16:09 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BANKHEAD, TOMMY (g) b. 1931-1024, LAKE COMORANT, MS DAWKINS, JIMMY (g) b. 1936-1024, TCHULA, MS FARINA, SANTO (of SANTO & JOHNNY) b. 1937-1024, BROOKLYN, NY HAMLIN, LEWIS (tpt/JAMES BROWN) b. 1930-1024, BALTIMORE, MD HENDERSON, JOE (v/SNAP YOUR FINGERS) d. 1964-1024, NASHVILLE, TN 27 HUGHES, REVELLA (v) d. 1987-1024, NEW YORK CITY, NY 92 MABON, WILLIE (p/CHESS REC) b. 1925-1024, HOLLYWOOD, TN MCGEE, KIRK (g/SAM MCKEE) d. 1983-1024, 83 MORGENSTERN, DAN MICHAEL (author/prod) b. 1929-1024, MUNICH, GERMANY PATEK, JOE (sax) d. 1987-1024, SHINER, TX 80 POPE, ODEAN (tsax) b. 1938-1024, NINETY SIX, SC POWELL, JIMMIE (asax) b. 1914-1024, NEW YORK CITY, NY ROBINSON, JOHN ROOSEVELT "JACKIE" (:) d. 1972-1024, STAMFORD, CT 53 SHIHAB, SAHIB (EDMUND GREGORY) (bsax) d. 1989-1024, TN 64 SIEGEL, MARK "CORKY"(p/hca/SIEGEL-SCHWALL)b. 1943-1024, CHICAGO, IL SWANN, BETTYE (BETTY JEAN CAMPION) (v) b. 1944-1024, SHREVEPORT, LA TAVARES, PERRY LEE "TINY" (of THE TAVARES)b. 1954-1024, CAPE VERDE IS., TERRY, SONNY (SAUNDERS TERRELL) (hca) b. 1911-1024, GREENSBORO, NC WALKER, FRANK BUCKLEY (prod/a&r/COLUMBIA) b. 1889-1024, FLY SUMMIT, NY WARNKEN, CLIFF (BLUES-L MEMBER) b. 1944-1024, SAN FRANCISCO, CA WILLIAMS, ALEXANDER "SANDY" (tbn/HENDERSONb. 1906-1024, SUMMERVILLE, SC WOODRUFF, CONNIE "WILLIAMS" (p) b. 1921-1024, NEWARK, NJ WYMAN, BILL[WILLIAM PERKS](ROLLING STONES)b. 1936-1024, LONDON, UK YANKOVIC, AL "WEIRD" (:) b. 1959-1024, LYNWOOD, CA ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 24 Oct 1995 00:14:50 +0000 Reply-To: "Terry L. Odor" Comments: Authenticated sender is From: "Terry L. Odor" Subject: EC Scott tour schedule E.C. Scott (Blind Pig "Come Get Your Love") is on tour. You can catch her at the following locations: * Tues. Oct. 24 Springfield, OH Ringside Cafe * Thurs. Oct. 26 Louisville, KY Backstage * Fri. Oct. 27 So. Bend, IN Madison Oyster Bar * Sat. Oct. 28 So. Bend, IN Madison Oyster Bar * Tues. Oct. 31 Davenport, IA Crawdaddy's * Weds. Nov. 1 Angola, IN Skip's Lounge * Sat. Nov. 4 Jersey City, NJ Stanhope House For more information see her web site at: http://teleport.com/~boydroid/ec-scott/ec-scott.htm Terry http://www.teleport.com/~tlo/ ========================================================================= Date: Mon, 23 Oct 1995 23:45:18 +0100 Reply-To: "J. Witteveen" From: "J. Witteveen" Subject: More Blues Commercials! Good evening bluezellers! One of the strangest uses of blues I've seen yet in advertising: while a group of well-dressed yuppies (is that word still used? :-) parties, a catchy little blues riff plays in the background, advertising a California Chardonnay. In another ad I saw tonight whilst watching Monday Night Football (why? I don't know!), was an airline commercial featuring an older black guy sitting on his porch in a suit, playing an acoustic blues - this one was pretty cool. And the John Lee H. ad (for jeans, I think) is a great one. The blues goes Madison Avenue! -Jim (hndful@uniserve.com) `I've got those Madison Avenue Blues' -not quite Elmore James :-) ========================================================================= Date: Tue, 19 Apr 1904 23:24:01 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Learning Scales On Mon, 23 Oct 1995 02:55:30 PDT Mike wrote, >Laurie, >RJ's advice is good, although I hesitate to recommend learning 'scales' per se. I sort of assumed that you have some skill at the piano. If you don't, then the following is important... Scales do have a bad name (form the Shred Head Eighties Guitar style) yet learning scales in important. It gives you more choices for improvisation. Knowing the major scale gives you the Dorian and Mixolydian modes which are great for Blues playing. After that, you can learn how the harmonic minor, altered and dimished scales can be used in blues. Start off with the minor pentatonic scale, then the Blues scale (almost the same as the minor pentatonic). These are the ones that you should know first (for Blues). Next the Major scale. This will give you access to the modes (scales built from the major scale). Then play these scales for a few years. Then you can get to the uptown stuff. Learning all these scales won't make you a Blues player. That comes from somewhere else. A hell of lot of players have played some of the greatest blues had no concept in terms of music theory of what they were doing. Knowing or not knowing your thoery has nothing to do with whether your ability to reach an audience with your music. If you are playing a downhome John Lee Hooker boogie you better not play any fancy notes. It just doesn't work. It is a groove thing. Just play a few notes and keep the groove going. If it's an uptown thing with a heavy swing then get that jazzy, sophisticated approach going. I do look the blues from a theoretical stand point. I will look at a typical 12 bar progression, thinking about new ways to approach each chord. I use jazz theory to help me there. Still, I hope that I have the comon sense to know when not to use that knowledge. In most of my solos the old Magic Sam, Albert King and B.B. King licks still get me home. I feel that I've given out a lot in response to the question but I hope it helps. The rest of the advice Mike gave is exactly what I would of reccomended. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Mon, 23 Oct 1995 23:15:56 -0400 Reply-To: James Leftwich From: James Leftwich Subject: Houston help needed Hello, I will be in Houston (with wheels) starting October 29 until the next Sunday. Can someone advise as to what blues is in town or venues other than Billy Blues. I also may be in Austin Friday (Nov. 3). Thanks Jim Leftwich leftwich@cloud9.net ========================================================================= Date: Tue, 24 Oct 1995 02:54:40 GMT Reply-To: "A.C. Brockton" From: "A.C. Brockton" Organization: Primenet Subject: Sue Foley: What's the Deal Comments: To: bit-listserv-blues-l@uunet.uu.net Since I'm in the mood to post, let me put this out there. I purchased a copy of Young Girl Blues not so long ago, and liked it well enough to purchase her two subsequent albums. Unfortunately, the producer(s) of the latter two albums made the mistake of clarifying her voice. Bad choice. Especially the cuts on Big City Blues where she doesn't even play guitar... IMHO, of course. ================================================================= Andrew Brockton http://www.primenet.com/~brock Technical Documentation Services: including manuals, help, & HTML ================================================================= ========================================================================= Date: Tue, 24 Oct 1995 02:49:09 GMT Reply-To: "A.C. Brockton" From: "A.C. Brockton" Organization: Primenet Subject: Re: charles brown Comments: To: bit-listserv-blues-l@uunet.uu.net I found it to be an enjoyable album, although Brown's vocals tend to take on the character of corn syrup after awhile. I personally prefer his tracks from the 40's and 50's. If you like this type of music, I suggest you look at a few other really good albums: Joe Williams Me and the Blues Joe Williams Nothin' But the Blues Johnny Adams Walking on a Tightrope Charles Brown Driftin' Blues The Joe Williams mentioned above is not the Big Joe Williams. You'll more than likely find him in Jazz at the CD store. His claim to fame was doing vocals for Count Basie in the fifties. The above statements are strictly IMHO. ================================================================= Andrew Brockton http://www.primenet.com/~brock Technical Documentation Services: including manuals, help, & HTML ================================================================= ========================================================================= Date: Mon, 23 Oct 1995 22:45:51 -0400 Reply-To: Ari Eisinger From: Ari Eisinger Organization: Voicenet - Internet Access (800)835-5710 Subject: ARI EISINGER's November touring schedule Comments: To: bit-listserv-blues-l@uunet.uu.net To the listowner: please do not post this message if you object to blues players posting detailed touring schedules. ARI EISINGER Blues and Ragtime Guitarist and Singer November 1995 touring schedule Friday November 3: 8:00-10:00 p.m. at BORDERS BOOK SHOP, 1501 Plymouth Road, Minnetonka, MN, (612) 595-0977. Friday November 10: 7:00-9:00 p.m. at BORDERS BOOKS AND MUSIC, 43075 Crescent Blvd., Novi, MI, (810) 347-0780 (splitting the bill with blues player and radio host Robert Jones of WDET). Saturday November 11: 7:00-9:00 p.m. at BORDERS BOOKS AND MUSIC, 5601 Mercury Dr., Dearborn, MI, (313) 271-4441 (solo). Sunday November 12: 1:00-2:00 p.m. at BORDERS BOOKS AND MUSIC, 612 E. Liberty, Ann Arbor, MI, (313) 668-7652 (solo). Friday November 17: 8:00-10:00 p.m. at BORDERS BOOKS AND MUSIC, 30995 Orchard Lake Road, Farmington Hills, MI, (810) 737- 0110 (solo). Friday November 19: 2:00-4:00 p.m. at BORDERS BOOK SHOP, 1775 N. Highland Road, Pittsburgh, PA, (412) 835-5583. ========================================================================= Date: Mon, 23 Oct 1995 21:30:19 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: suspiciously light I've noticed a rather severe drop off in Blues-l communications since around noon monday. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Mon, 23 Oct 1995 21:04:33 -0400 Reply-To: KGIBSON743@AOL.COM From: Kevin Gibson Subject: key to the highway Does anyone have the lyrics to Key to The Highway? ========================================================================= Date: Mon, 23 Oct 1995 14:22:54 -0400 Reply-To: Willy Evans From: Willy Evans Subject: Tab Benoit Tab Benoit is playing in my area for two nights starting tomorrow. He appeared on a local radio program and played 3 number on acoustic resonator guitar. This was the best that I have ever heard him. His acoustic style is very delta and his vocals are very cool! I wish he'd put out an album like that. Have you ever heard him acoustic, LW? Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** there'll be snuff juice everywhere **** ========================================================================= Date: Mon, 23 Oct 1995 19:51:39 -0400 Reply-To: KGIBSON743@AOL.COM From: Kevin Gibson Subject: Sugar Cane Harris Has Don Harris put anything out in the last 20 years? He was great with Mayall & Frank Zappa. ========================================================================= Date: Mon, 23 Oct 1995 17:32:36 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: piano red > do any of you have any info on a blues pianist, from new orleans > who went by the name piano red, his real name was william perryman. > i would appreciate any alblum recomendations, as well. > Not from New Orleans ... Piano Red was from Atlanta. He was the younger brother of Speckled Red ... both brothers were albinos. Piano Red recorded in the early 50s ... had several R&B hits including "The Right String But the Wrong Yo Yo." In the early sixties he had a hit called Dr. Feelgood, so he changed his name to Dr. Feelgood and the Interns, toured Europe under that name. Later went back to Piano Red, and lived out his life playing steadily in Atlanta bars. His style was hard driving, boogie piano, with loud lyrics delivered in a style that was closer to speaking than singing. If you are really a fan, there is a oretty comprehensive boxed set of his recordings on Bear Family Records. Otherwise, you'll find some individual CDs, but none, in my opinion, really counts as a good "Best Of." Look for "Atlanta Bounce" on Arhoolie records -- it contains material recorded live in Atlanta in 1956, and in the studio in 1972. My favorite record by him is "Dr. Feelgood and the Interns" which came out about 1962. So far as I know its only available on vinyl, except for the Bear Family set. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Mon, 23 Oct 1995 17:32:36 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Help the Blues on Toronto radio This is a very self-interested post .... This is Fundfest week at CKLN-FM in Toronto, home of the Blue Soul show. (I tech the show and occasionally host it, so I have a bias.) This is the longest surviving blues show on Toronto radio. For ten years, David Barnard has brought the best in the blues to this city on Wednesday nights. We need your help now ... to let the station know that you value blues broadcasting ... to help keep blues on the air. On Wednesday, October 25, between 8 and 10, tune in to 88.1 FM. We'll have a bunch of special guests, including blues legend Jodie Drake. I would love to have bluzellers call in and make pledges ... any amount, big or small. (And, just to help you decide, we'll have some great prizes for pledging.) Please -- call Wednesday night and support the blues! Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Mon, 23 Oct 1995 16:53:21 CDT Reply-To: Mike Davis From: Mike Davis Organization: N.C.T.R. Subject: Alan Haynes Looking for any audio or video of Texas blues guitarist Alan Haynes. I have a list of both video and audio to trade inc.. SRV, Johnny Winter, Ian Moore, Chris Duarte, Eric Johnson, Warren Haynes, Gov't Mule, Allman Bros, Eric Clapton etc... Respond email, mdavis@fdant.nctr.fda.gov Mike Davis ========================================================================= Date: Mon, 23 Oct 1995 17:19:25 -0400 Reply-To: ROBlues From: ROBlues Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Albert Collins, Son Seals & JLW Comments: To: bit-listserv-blues-l@uunet.uu.net >>Jonathan Duttweiler Date: Sun, 15 Oct 1995 15:40:23 -0400 wrote: >>Now, I did see some Joe Louis Walker that I was interested in, as well, >>but couldn't afford this week. I confess I'm not that familiar with Mr. >>Walker, having only heard him on a Verve sampler and from the BB King >>blues summit broadcast a few weeks back. I know there are plenty of >>JLW fans on the list, so how 'bout some info and recommendations. I >>saw one CD which looked particularly interesting, I believe it was "Live >>at Slims" or something like that. What's the scoop?<<< There are 2 "Live at Slims" vol.1 and vol.2. I prefer vol.1 as it seems to have captured a typcial JLW show a little better than the second. The song selection is more diverse, and the playing more spontaneous. Perhaps it was the "good nerves vibrations" of a first live recording? Also, check out "JLW" from last year. It smokes. He has a new disc titled, "Blues of the Month Club" and the title song is really cool. Heard a couple other tunes from it in a live show at JJ's in San Jose. Good stuff though don't remember the names. Defintely see him live if at all possible. ========================================================================= Date: Mon, 23 Oct 1995 18:26:10 GMT Reply-To: mud <"address unknown"@NEWS.CIS.OKSTATE.EDU> From: mud <"address unknown"@NEWS.CIS.OKSTATE.EDU> Organization: Oklahoma State University, Stillwater OK Subject: Re: What am I in for? Comments: To: bit-listserv-blues-l@uunet.uu.net In article , Pamela McNeilly says: > >Just got tickets for a show at the Paramount Theater in Oakland to see a >Blues Tribute with > Johnny Otis, Charles Brown, Jay McShann, Lowell Fulson, > Jimmy Witherspoon, Jimmy McCracklin, Earl Brown > >I am not so familiar with the last three, and would be interested in >comments on any and all. > Thanks, > Pam You have commited a crime of unknown proportions, you will get out in about 12. ========================================================================= Date: Mon, 23 Oct 1995 20:16:31 GMT Reply-To: "Robert J. Dewar" From: "Robert J. Dewar" Organization: The National Capital FreeNet, Ottawa, Ontario, Canada Subject: Otis Rush, Magic Sam Hello, out there! I really enjoy reading this group because of all the knowledgable people who inhabit it. My question concerns the recorded output of the two men mentioned in the subject line. Can anyone recommend the essential recordings that I should not be without of Otis and Magic? I have the Cobra records box set and it is rarely off my CD player.As for Magic Sam, what else should I be looking for other than West Side Soul? There is a concert scheduled next month here in Ottawa which will feature Sonny Landreth and Robben Ford. Sounds good to me! Robert J Dewar ========================================================================= Date: Mon, 23 Oct 1995 14:42:30 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Texas Blues @ Billy Blues This weekend is not to be missed at the Billy Blues in San Antonio. Friday night will feature the Godfather of Austin Blues - WC CLARK. I don't know who will be in his band, but we can only hope that it will be those cats from Antones - Derek O'Brien, Sarah Brown, and Mark Kazanoff. Show starts at 9 with Jon Geiger (another Austin guitar slinger) opening. The following night (Sat.) Will feature the Houston blues of my favorite - TEXAS JOHNNY BROWN. You've heard all the hype from me here before. Now witness it for yourself. Make a weekend of it. There's plenty to see in town between the shows. If you plan on coming to town, let Bill Shute or I know. We'd love to see you here. Also, coming up in November at Billy Blues is a benefit for JOHNNY CLYDE COPELAND. The gig will be on a Sunday evening and feature allthe guys from the Houston blues scene (TEXAS JOHNNY BROWN, JOE GUITAR HUGHES, GRADY GAINES, etc). The show is scheduled from 6pm to 1am. The admission will be $8. Let's make this gig another S. Texas Blues-L get together! -Jeff (I have NO affiliation with Billy Blues. They just happen to be the only BLUES club in San Antonio) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / As I was riding across the Mississippi \ / I stopped there and I cried. \( No use for a man to keep a mighty river All dammed up inside. -Joe Ely ========================================================================= Date: Mon, 23 Oct 1995 13:08:41 -0400 Reply-To: Ted2204 From: Ted2204 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: C.C. Rider Comments: To: bit-listserv-blues-l@uunet.uu.net As pointed out by David Silverberg, "C. C. Rider" was a song about county circuit riders who preached at various churches in the rural south. An Easy Rider was also a man who lived off the earnings of a woman (read pimp). The song was also known as "See See Rider," and, in the case of Leadbelly, "Easy Rider." He used all three titles for the same song. See, see, rider See what you done done You made me love you Now your man done come To add more confusion to the situation, there is another song called "Easy Rider," which is sung by Blind Lemon, LeRoy Pierson, Barbecue Bob, among others. This is NOT the Leadbelly song. And, of course, these are not to be confused with "Special Rider," "Noted Rider," "No Good Rider," "Low Rider," or "Stomp Down Rider." Ted Lissauer Fisherville, Kentucky TED2204@AOL.com Ted Lissauer Fisherville, Kentucky ted2204@aol.com ========================================================================= Date: Mon, 23 Oct 1995 13:22:31 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Midi blues piano From: msuffern@xnet.com Subject: Midi blues piano files >1. Listen to it all the time. Pick one LP and listen to just that for a > month. The music will become part of you and you'll be able to find > the riffs - you're fingers will occasionally just head for the right > keys or your expression and timing will change without effort. Actually, I have been playing the Oldie Blues Robert McCoy LP and some Peetie Wheatstraw stuff continually when in my car for some 5 years. As I have learned(?) some figures intuitively (?), I am starting to be able to pick out and recognize a very few riffs. >2. Play some, take a break. Let the brain assimilate, then let the > creative urge build up again. To be creative presumes _some_ underlying structure. So, I don't have a 'creative urge' yet, more of a 'copying urge'. What I want to do seems obvious, at least to me: develop a catalog of riffs that I like. Strangely, over the past four years, a process has been occurring whereby I intuit(?) riffs, or make a mistake that I like, and this is evolving into, if I may be so bold, my own 'style' - unlike anything else I've heard. Reminds me of Bukka White calling his music 'sky music' and when asked why, he replied that it comes out of the sky. >3. Jam! Find some Blues piano buff nearby. There ain't none, that's the point. Obviously, I have had notes up at the two monster music stores in Miami for years with NO responses. Remember this is Miami, black hole of consciousness. The only one in town that knows anything about pre-war Blues is Piano Bob of Piano Bod and the Snowman - winners of the National Amateur Blues Contest a couple of years ago, who doesn't have the 'time'. Apparently, there also aren't any among the subscribers of this list, a highly self-selected group of Blues maniacs. From: msuffern@xnet.com >I sort of assumed that you have some skill at the piano. >If you don't, then the following is important... >You *should* learn three things: >1. What key every note is on, on the keyboard (only 12 of 'em, that's easy, huh?) >2. What an interval is, half step and a whole step are required - > major, minor, 7th, etc, are good ones too, but, you can reverse > engineer that information from learning chords... >3. How to construct chords. You can memorize chord patterns (not a bad > start) and later you'll begin to recognize patterns of intervals > within the chords. Although I appreciate your good intentions, this falls within the general domain of abstract _music theory_ and has absolutely NO relevance to PLAYING pre-war Blues piano. Certainly, the guys that developed this music did NOT get a BS in Music before they learned/created this form. Obviously, I have talked to a variety of folks who _teach_ music and none of them had the ability to listen to the songs and play them. One teacher with 20 years experience, who claimed to teach 'advanced' piano, and who had an existing like for Boogie Woogie flailed around for 4 hours trying to cop McCoy's version of "How Long" with about 10% success. That is, there is a huge difference between knowing abstract and irrelevant music theory in the domain of the intellect and having a 'good ear' and being able to reproduce the music on hearing it. I seek those with the latter talent; those with the former abound and can not help me. I have spent the the past 5 decades in abstract, left-brain intellectual masturbation, so want to learn Blues piano with the right-brain. This, by imitating certain sounds that appeal to me. The other flaw in the music theory approach is the fact that to my knowledge, pre-war piano Blues is not available on sheet music; talk about a niche market. IF anyone knows of sources of this, please advise. Also, the houses that produce MIDI files do not touch this micro-market. A $99 computer program, MIDIscan, can scan sheet music directly into MIDI files, so even IF the sheet music existed, it would not be necessary to learn abstract music theory and how to read music first! Hallelujah!! When I lived in Boston, I used to hang around with an obscure local Blues dude, Guitar Nubbitt. In the '50's, he decided he wanted to learn Blues guitar, so went to Berkely School of Music, where he got the same old BS: "Learn music theory and you will be able to play anything". After months of torturous scale and useless chord practice, he quit, not learning _one_ Blues lick. You see, music theorists and academicians don't know anything about Blues. ========================================================================= Date: Mon, 23 Oct 1995 13:25:15 -0600 Reply-To: Gary Constantine From: Gary Constantine Subject: Back from vacation I'm back from a great vacation. Managed to catch some great blues in Hamburg and London. Don't remember a lot about the Hamburg club and my liver is still swollen from the London experience. Did I miss anything real important in the last six weeks? Gary ............. Gary Constantine >> gconstan@ccinet.ab.ca << If hard work were such a wonderful thing, surely the rich would have kept it for themselves. ========================================================================= Date: Mon, 23 Oct 1995 15:17:15 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Kyl Kelly - Private (sorry). Comments: To: bit-listserv-blues-l@uunet.uu.net Sorry to use the bandwidth but Kyl please get in touch with me. Get the money order but misplaced the list - I'll wait to hear from you - e-mail ASAP. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Mon, 23 Oct 1995 15:12:40 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Re: Reviews and top tens ... Comments: To: bit-listserv-blues-l@uunet.uu.net Watterworth Jay (watterwo@OSIRIS.COLORADO.EDU) wrote: : Barry, : Thank you for your insight. It makes me realize that I forgot to : mention that the discussion that sometimes results from an opinion ventured : forth is one of the rewards of critical discourse. At the least it helps : the individuals involved (or listening in) to a better understanding of : their own concepts and to add others; at the most it encourages discussion, : further understanding, and growth. Jay - as a followup to what I had to say about if we all listen to the critics who'll do the discoverin'. Well my biggest dis- covery this month has been Little Axe. Columbia House said they were blues & a couple of critics disagreed. Stupid me, I went & got the damn CD. Does not sound like blues although Little Axe seems to agree with Columbia House in the liner notes. Anyways it hasn't left the player all week - blues or not it is jammin' music - superb in every way. If anyone has any inkling what it is that makes this music blues 'cept Little Axe and CH say so - please lemme know. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Fri, 20 Oct 1995 14:47:11 -0400 Reply-To: MARCIAG@VMS.CIS.PITT.EDU From: Marcia Grodsky Subject: B.B. King Press Release Former Blues-L'er and B.B. King biographer, Charlie Sawyer,faxed me the following press release, which he suggested I post to Blues-L. Here it is: B.B. KING TO RECEIVE KENNEDY CENTER HONORS B.B. King has been selected to receive the "Kennedy Center Honors" in recognition of his extraordinary contributions to the life of our country. The honors are presented annually to individuals who have enriched American life by distinguished achievement in the performing artists [sic]. The primary criterion is excellence. The 18th annual Honors will be presented the weekend of December 2-3 in Wash- ington, D.C. On the evening of Saturday, December 2, the Secretary of State will host a black tie dinner at which the Honors will be presented in the presence of the Trustees and Artists Committee under whose auspices the Honors are conducted. On the evening of Sunday, December 3, the President and Mrs. Clinton will hold a reception in the White House in honor of the recipients. This will be followed by the Honors Gala in the Kennedy Center Opera House at which the nation's leading performing artists will pay tribute to the Honorees. King and his fellow Honorees - playwright Neil Simon, actor Sidney Poitier, opera singer Marilyn Horne and ballet dancer Jacques d'Amboise - will be seated in the Honors box next to the President but will not be expected to perform. The proceedings will be taped for broadcast on television early next year on CBS. B.B. King was also presented the Presidential Medal of the Arts in 1990 by President Bush and the following year received the American Heritage Fellowship Award by the National Endowment for the Arts. He was inducted into the Blues Foundation Hall of Fame in 1984 and the Rock Hall of Fame in 1987. His lifetime achievement Awards included the Orville H. Gibson Lifetime Achievement Award in 1991, the Songwriter's Hall of Fame in 1990 and the Grammy Awards Lifetime Achievement Award in 1987. B.B. KING CELEBRATES 70th BIRTHDAY On September 16, B.B. King celebrated his 70th birthday. And what was B.B. doing that day? He was on the road, of course. performing as the headliner of the "Blues Music Festival" at Atlanta's Chastain Park. He plans to celebrate his birthday at the end of October when he plays at the B.B. King's Blues Club in Memphis for a few nights. B.B. King also received a special birthday wish from the White House: "Dear B.B.: Happy 70th Birthday! Hillary and I send our very best wishes for a wonderful day and for a healthy and happy new year ahead. Sincerely (signed) Bill Clinton." Helena Hopper-October 1995 The press release appears to be from B.B.'s pr firm, rather than coming from Kennedy Center. ---Marcia Grodsky ========================================================================= Date: Tue, 24 Oct 1995 14:25:06 -0400 Reply-To: Jessica Sowin From: Jessica Sowin Subject: new releases information-- correction Thanks, Tom, for announcing Legacy's new compilation, Curtis Mayfield's Chigaco Soul (ZK/ZT. We had to push it back a week, however. The new release date is November 7. The good news is that the other new titles in our Rhythm & Soul series will still come out Oct. 31: The Intruders Best Of: Cowboys To Girls (ZK/ZT 66688) MFSB Best Of: Love Is The Message (ZK/ZT 66689) The Manhattans Best Of: Kiss And Say Goodbye (ZK/ZT 64662) Various Artists Am I Black Enough For You (ZK/ZT 67105) Please feel free to e-mail me directly for more information. For those with www access, we're workin' on a some web pages which will include cover art, track listings, etc. Shooting for pages to be up either Oct. 31 or just before. Thanks, Jessica Sowin Legacy 550 Madison Ave, Rm 1767 NYC, NY 10022 (212) 833-7940 ========================================================================= Date: Mon, 23 Oct 1995 12:32:44 CST Reply-To: JBards From: JBards Subject: Big Mike Griffin's newest? _______________________________________________________________________________ Has anybody got/reviewed the new Big Mike Griffin CD? A friend got a promotional copy and says it's excellent, but the local stores haven't stocked it (yet?). I've always been knocked out by Mike's live performances, but the recording quality of the two CDs of his that I have was very poor. Here's hoping for better. -Jim _______________________________________________________________________________ ========================================================================= Date: Mon, 23 Oct 1995 12:30:56 CST Reply-To: JBards From: JBards Subject: Re: Austin Music WWW address Has anybody got/reviewed the new Big Mike Griffin CD? A friend got a promotional copy and says it's excellent, but the local stores haven't stocked it (yet?). I've always been knocked out by Mike's live performances, but the recording quality of the two CDs of his that I have was very poor. Here's hoping for better. -Jim _______________________________________________________________________________ Subject: Austin Music WWW address From: JBards at INTERNET-SH Date: 10/23/95 11:36 AM Okay, I found the correct WWW address for the Austin music scene. It's: http://www.quadralay.com/www/Austin/AustinMusic/AustinMusic.html Hope this helps. -Jim ========================================================================= Date: Mon, 23 Oct 1995 09:42:59 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Linda L. - Maria Muldaur Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Linda L said: >Geez! Just to set the record straight. I did *not* say I don't know who >Maria Muldaur is, and I did *not* post a query asking who she is. SOMEONE >ELSE asked about female blues artists they might like to investigate, and >I responded that he might want to look into Maria Muldaur. I have her >disk and I don't listen to it much because, quite frankly, I'm not fond of >it. But that didn't stop me from recommending it to someone else whoe >might find her to his liking. > >So, Don Cicchetti, get off your high horse, and relax. You don't have to >be the King of the Blues or the King of this Group, or whatever it is that >inspired you to be so rude. What in the heck is she talking about? Oh well... Maybe she and ole' Rich have a thing going or something? Hey Linda! In case you missed it, Richard went out of his way to reduce you to a complete moron, and I and many others felt we should have better manners here on Blues-L. He has responded in a nice and informative manner, and I respect him for his views even as I disagree because he has stated them without trying to make anyone (named Linda for instance) look like a fool. BB is King of the Blues, and uncle Eric is king of this group! So THERE ;-] Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Tue, 24 Oct 1995 14:36:18 -0400 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: WHERE IS THE MAIL? I have been 24 hours now with no blues-l mail. What gives? This is most unsettling and a little bit scary. Have I been ousted from the list, or am I the only 'eller left alive on the planet due to some freak blues accident? If anyone out there receives this post, please reply to me both on the list, and privately, so I can try to figure this thing out. Could it be something wrong with AOL? I have read where other people have had a few mail problems through AOL, but I've never experienced any. (before) Thanks, and BLUZ! Bluzman Ed aka Ed Tremewan ========================================================================= Date: Tue, 24 Oct 1995 15:14:50 -0400 Reply-To: hhardy@BCONNEX.NET From: Hugh Hardy Subject: No mail Sorry to clutter up the list with this, but I'm not getting any blues-l mail. Suggestions? ========================================================================= Date: Tue, 24 Oct 1995 16:07:09 -0400 Reply-To: Wayne Ross From: Wayne Ross Subject: Re: WHERE IS THE MAIL? Comments: To: "Bluzman Ed@Aol.Com." In-Reply-To: <951024143617_53078887@mail04.mail.aol.com> I don't know I just recieved six messages in the last hour, including yours. Some of the messages were posted yesterday, some today. Wayne Ross wross@bingsuns.cc.binghamton.edu On Tue, 24 Oct 1995, Bluzman Ed@Aol.Com. wrote: > I have been 24 hours now with no blues-l mail. What gives? This is most > unsettling and a little bit scary. > > Have I been ousted from the list, or am I the only 'eller left alive on the > planet due to some freak blues accident? > > If anyone out there receives this post, please reply to me both on the list, > and privately, so I can try to figure this thing out. > > Could it be something wrong with AOL? I have read where other people have > had a few mail problems through AOL, but I've never experienced any. (before) > > Thanks, and BLUZ! > > Bluzman Ed > aka Ed Tremewan > ========================================================================= Date: Tue, 24 Oct 1995 16:21:10 -0400 Reply-To: James Leftwich From: James Leftwich Subject: Re: WHERE IS THE MAIL? Comments: To: "Bluzman Ed@Aol.Com." In-Reply-To: <951024143617_53078887@mail04.mail.aol.com> I've had the same problem (and I'm not AOL). Your message is about the third one I've gotten in a day or so. Jim On Tue, 24 Oct 1995, Bluzman Ed@Aol.Com. wrote: > I have been 24 hours now with no blues-l mail. What gives? This is most > unsettling and a little bit scary. > > Have I been ousted from the list, or am I the only 'eller left alive on the > planet due to some freak blues accident? > > If anyone out there receives this post, please reply to me both on the list, > and privately, so I can try to figure this thing out. > > Could it be something wrong with AOL? I have read where other people have > had a few mail problems through AOL, but I've never experienced any. (before) > > Thanks, and BLUZ! > > Bluzman Ed > aka Ed Tremewan > ========================================================================= Date: Tue, 24 Oct 1995 16:21:48 -0400 Reply-To: Ted2204 From: Ted2204 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: WHERE IS THE MAIL? Comments: To: bit-listserv-blues-l@uunet.uu.net I read you five by five, Ed. I'm e-mailing, also. Ted Lissauer Fisherville, Kentucky ted2204@aol.com ========================================================================= Date: Tue, 24 Oct 1995 16:27:29 -0400 Reply-To: Wayne Ross From: Wayne Ross Subject: Yo! Anybody There? What's up with the mail? Wayne Ross wross@bingsuns.cc.binghamton.edu ========================================================================= Date: Tue, 24 Oct 1995 16:39:28 EDT Reply-To: ron kraemer From: ron kraemer Subject: Re: Them damn vocals LW fretted because he (and anyone else, for that matter) can't sing a song like Muddy could. My $.02? Keep singing. If everyone in the Blues kept a lid on their vocals because Muddy did it better, we'd be sitting around here discussing instrumentals all day. I've found that improving ones vocals are just like improving at anything else....practice, practice, practice. Look at it as another instrument to add to your repetoire. And, you WILL improve. Good Luck Ron (who digs BB's vocals just as much) ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters ************************************************************ ========================================================================= Date: Tue, 24 Oct 1995 16:55:11 -0500 Reply-To: SIXONJ@VAX.CS.HSCSYR.EDU From: Jonathan Sixon Subject: John Mayall et al Since I've got time now to post since the influx of mail on the list has gone down considerably, (I hope there wasn't a bombing or something) I was meaning to bring up a discussion on the British Blues. It was my first exposure to "getting into" the blues when I heard John Mayall's retrospective album "Looking Back," in which a host of young talent at the time strutted their blues-aficionado selves onto vinyl: Eric Clapton, Peter Green, Mick Fleetwood, Mick Taylor, and others doing what else? Covers of the greats ranging from Elmore James' "It Hurts Me Too" to the T-Bone classic "Stormy Monday." This whole British Blues experience, later including hearing Alexis Corner and the like, I was hooked and determined to find out more about those progenitors of the sweet sound i was not only hearing but feeling. And so it continued with the discovery of Muddy Waters, BB, Albert King, and a list so long we could all identify maybe the population of a small city of names. Anyway, my first love of blues was with John Mayall and others, and I was wondering if anyone else out there was "hooked" the way I was? jon in syracuse "I got a little red rooster, Too lazy to crow for day" ========================================================================= Date: Tue, 24 Oct 1995 17:03:33 EDT Reply-To: Joseph Leichter From: Joseph Leichter Subject: Re: John Mayall et al yep...was hooked the same way...after buying the beano album, I went out and bought albums by FK, Otis Rush, Willie Dixon etc etc... ========================================================================= Date: Tue, 24 Oct 1995 16:08:11 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: John Mayall et al In-Reply-To: Message of Tue, 24 Oct 1995 16:55:11 -0500 from >what else? Covers of the greats ranging from Elmore James' "It Hurts Me Too" OK...is the above tune a Elmore tune or is it actually a Tampa Red tune.... Who owns the copyright....? Thanks LW ========================================================================= Date: Tue, 24 Oct 1995 16:16:30 CDT Reply-To: Dave Kneifl From: Dave Kneifl Organization: University of Wisconsin-Extension Subject: Re: WHERE IS THE MAIL? Comments: To: "Bluzman Ed@Aol.Com." I received nothing from about 4:15 pm (CDT) Monday until about 3:00 pm Tuesday. But things are better now. I don't think we are on AOL here at work. I don't know where the problem was, but I'm glad to hear it wasn't just me. DK > Date sent: Tue, 24 Oct 1995 14:36:18 -0400 > Send reply to: BLUZMANED@AOL.COM > From: "Bluzman Ed@Aol.Com." > Subject: WHERE IS THE MAIL? > I have been 24 hours now with no blues-l mail. What gives? This is most > unsettling and a little bit scary. > > Have I been ousted from the list, or am I the only 'eller left alive on the > planet due to some freak blues accident? > > If anyone out there receives this post, please reply to me both on the list, > and privately, so I can try to figure this thing out. > > Could it be something wrong with AOL? I have read where other people have > had a few mail problems through AOL, but I've never experienced any. (before) > > Thanks, and BLUZ! > > Bluzman Ed > aka Ed Tremewan > ========================================================================= Date: Tue, 24 Oct 1995 21:36:10 GMT Reply-To: Steven Hirsch From: Steven Hirsch Organization: National Agricultural Library Subject: Re: The sweet voice of Poppsy Dixon Comments: To: bit-listserv-blues-l@uunet.uu.net > Just wanted to share a great moment me and my band had when we played in >Copenhagen this weekend. On friday our manager brought Poppsy Dixon with >him. (You know that angelic singer and drummer from the Holmes Brothers) He >sung a couple of numbers with us and man-what a voice! Mr Dixon is realy a >stylish singer with that high falsetto. It was a thrill! >Mr Bo Ditto, and moreso. I haven't seen the Holmes Brothers mentioned, at least not in a while, and I want to say they are excellent. If you have a chance to see them, take it. Steve Hirsch (I have no connection with the band, management, or record company.) ========================================================================= Date: Tue, 24 Oct 1995 16:27:18 -0500 Reply-To: William A Morgan From: William A Morgan Subject: Re: WHERE IS THE MAIL? In-Reply-To: <46jhss$jde@newsbf02.news.aol.com> I've hardly received mail from two mailing lists on two service providers, none of which is AOL. Looks like a conspiracy. Round up the usual suspects: CIA, ATF, USPS. Bill Morgan ========================================================================= Date: Tue, 24 Oct 1995 18:24:10 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Neophyte questions-& vegetables & Big Bill & limited blooze content Comments: cc: Dick Waterman Now Richard Waterman has scattered my (dubious) blues "credentials" all over the world, he has given me the option of explaining my strange past, which is by no means as glamourous as his. I did want to tell him that while I still don't eat vegetables (my anathema to green stuff is equal to the hatred of a former publicity client, k.d. lang, to meat), my wife the chef has persuaded me to eat them mushed up into soup and drunk with closed nose. Big Bill in the UK stories must wait for anoher time, except that he, too, lost his temper with me, mainly because I asked him a dumb question! - Richard ========================================================================= Date: Tue, 24 Oct 1995 18:24:17 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Re: film: LOTTO LAND Comments: cc: William Shute Just responded to another query about this movie, but I think I screwed up and the message got lost. So I'll repeat (with apologies if the first message DID go through). I work as publicist with Stony Plain Records, an Edmonton label that is currently in discussions re releasing the soundtrack from this movie, which is mainly by the Holmes Brothers, and is well up to their usual high standard-few three-piece bands mix blues, r&b and soul with the energy and passion of these guys, and if you haven't heard them, I urge you to get on the case. I thought the film (which I saw on video) was quite charming-Wendell Holmes delivers a fine acting job in one of the lead roles. When the movie makes the art-house circuit, I think it'll do quite well; it's sincere, simple (in the best sense of the word), unpolished, and drenched in the blues. Please check it out if it comes to your community. And I'll let you know about the soundtrack if and when the negotiations work out as well as we hope. - Richard ========================================================================= Date: Tue, 24 Oct 1995 18:24:21 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: The sweet voice of Popsy Dixon Comments: cc: Bo Carlsson Yes indeed, he DOES have a sweet, sweet voice - and a falsetto that rivals that of Al Green, and what higher praise could there be? - Richard ========================================================================= Date: Tue, 24 Oct 1995 18:24:25 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Re: Where do they fit .. Comments: cc: Scott_Wenzel/DSES/DIRM/OIM/DCS/SSA%SSA@NOTESGW.COMPUSERVE.COM Scott Wenzel asked whether Jo King Oliver's band recorded with Bessie Smith. Louis Armstrong recorded lots of sides with her (some of his very best early work-he was a superb accompanist back then, just as he was on the later stuff done with Ella Fitzgerald). But, alas, no, Oliver never recorded with Bessie Smith. - Richard ========================================================================= Date: Tue, 24 Oct 1995 18:28:26 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Re: Bad Girl Blues Just a note to say how on-the-money Ms. Le Croix's comments have been (particularly about Clapton and Bill Gates, in my view). Someone was kind enough to say they enjoyed my recent comments re Sue Foley/Maria Muldaur (and the resulting boos from all and sundry); I wanted to say what a pleasure it is to have a free-thinking, witty, and smart "high class call girl" on the list with the rest of us blues fogeys, music biz professionals, hardcore blooze addicts, etc. And I hope that passing on her bon mots to the rest of us is a pleasant change from her stressful occupation. - Richard ========================================================================= Date: Tue, 24 Oct 1995 17:31:07 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: mail problems There was a problem with the mailing list at Brown. I don't know how or what. I contacted Alan and he told he me he was trying to fix it. It appears that he has now fixed it. In the future, if you have not gotten mail in a long while, send a note to BLUES-L-REQUEST@BROWNVM.BROWN.EDU A real person (Alan) will get your note that way and respond. If you send it to the list and the list is down, NO ONE will see it until the list is back and running and we'll have 500 messages about not having any messages! ;-) -Jeff (glad y'all are back!) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / As I was riding across the Mississippi \ / I stopped there and I cried. \( No use for a man to keep a mighty river All dammed up inside. -Joe Ely ========================================================================= Date: Tue, 24 Oct 1995 19:04:06 CST Reply-To: JBards From: JBards Subject: Blues in DC this weekend? Comments: To: Richard Flohil I'm seeking recommendations for blues and/or other worthy music in the DC area this weekend- Friday through Tuesday? Thanks for your help. -Jim ______________________________ ========================================================================= Date: Wed, 25 Oct 1995 00:16:32 GMT Reply-To: "A.C. Brockton" From: "A.C. Brockton" Organization: Primenet Subject: Re: Otis Rush, Magic Sam Comments: To: bit-listserv-blues-l@uunet.uu.net If you don't already have them, I'd recommend the following by Otis: Right Place, Wrong Time Lost in the Blues Ain't Enough Coming In I like the album *Screamin & Cryin*, but it's an acquired tasted. Only for Otis Rush diehards. The playing is a little disjointed, Otis sounds like he's ripped out of his mind, but he really does sound like he's suffering. There's a new collection out of sixties Magic Sam tracks called The Late Great Magic Same. It's pretty good, although the organ player nearly derails the whole thing. It includes two live tracks and a few tracks that show up in another form on West Side Soul. Personally, I'd probably buy anything by Magic Sam... ================================================================= Andrew Brockton http://www.primenet.com/~brock Technical Documentation Services: including manuals, help, & HTML ================================================================= ========================================================================= Date: Tue, 24 Oct 1995 20:19:50 -0400 Reply-To: BluesBeats@AOL.COM From: Joseph Jordan Subject: Bay Area Blues Beat October '95 Hi... I'm new to Blues-L and would like to share with you a monthly column I write for Southland Blues out of Long Beach, CA entitled bay Area Blues beat. I will try to post it on, or as near to it as I can get, the first of each new month. Hope you like it and that it keeps you a little informed of what is going on each month in the SF Bay Area. See you November First, friends! October 1995 Bay Area Blues Beat by Joseph Jordan SAN FRANCISCO: BAY AREA BLUES BEAT CD OF THE MONTH: "Married To The Blues" is the title of Oakland-based Mark Hummel's jumping new recording that's just been released on Flying Fish Records. It features Mark's outstanding harp work and impassioned vocals and is host to a plethora of Bay Area monster musicians. You'll be stomping to the contributions of artists-in-their-own-right like guitarist Rusty Zinn, pianist Steve Lucky, keyboardist Jimmy Pugh, saxophonist John Firman and studio guests Charlie Musselwhite and Duke Robillard. Don't argue with me, just get it on your CD player, or in your tape deck and let it rip. And be sure to invite the neighbors over for a rave, so they won't feel left out of the blues-wailing fun. Who says they don't make 'em like they used to? BAY AREA BLUES BEAT IN CONCERT: The Oakland Blues and Heritage Festival at Dunsmuir House and Gardens featured as headliner the hilarious raunchy Clarence Carter (Hey, C.C. A little discretion...please! I know you're known for this kind of stuff, and I know you couldn't see the audience, but this was a family show and there were a lot of kids around;) Memphis' Little Jimmy King once again displayed his guitar mastery and commanding stage presence, L.A.'s Guitar Shorty hopped, rolled and somersaulted through his set, The Bay Area Blues Cavalcade of All Stars featuring Ronnie Stewart was the afternoon's excellent house band and Bay Area diva E.C. Scott gained legions of new converts. About 3,000 happy, sun-loving blues fans enjoyed a solid afternoon of music and good vibes. Congrats everyone! Blues was booming by the Bay this past month bringing: B.B. King, Jimmy Vaughan, J. Geils with Magic Dick & Elvin Bishop all at the Concord Pavilion and Mountain View's Shoreline Amphitheater / Henry Butler + Charles Brown at Cafe Du Nord in SF / Honeyboy Edwards and Fruteland Jackson at SF's Ace Cafe / Sue Foley with Chris Duarte + Koko Taylor + Magic Slim + Angela Strehli at Slim's in SF, Nathan Cavalerri at Lous's Pier 47 in SF / The Blind Boys of Alabama at Kimball's East in Emeryville / Rockin' Ron Thompson at Blues in SF / Coco Montoya + Ronnie Earl + Carol Fran & Clarence Holliman + Guitar Shorty at Moe's Alley in Santa Cruz / Billy Branch and the Sons of Blues + Chris Cain + Detroit Junior at Blues on B in San Mateo / Clarence "Gatemouth" Brown at Robert Mondavi Winery in Oakville, Napa County / Johnnie Johnson with Rhythmtown Jive + Jimmy Thackery & The Drivers at Sweetwater in Mill Valley. ARTIST SIGNING: It doesn't happen very often, but some times nice guys do finish first. Two "friends of the blues" have found each other and we fans will be the recipients of that collaboration. Blind Pig Records' owner Edward Chmelewski has had the great, good fortune to sign one of the hottest un-signed blues groups in the country, The Tommy Castro Band. This quartet is phenomenally talented, as rabid Bay Area fans have known for years, and now the rest of the country will have a chance to hear and see that for themselves. Lead guitarist / vocalist Castro is a dynamic, rock-solid blues performer who absolutely commands each stage he lands on. Look for their first release, "I've Had Enough," produced by Jimmy Pugh, in January. San Francisco's best kept secret is about to get out! By the way, look for brand new releases on Blind Pig by two other Bay Area treasures, bluesman Chris Cain ("Somewhere Along The Way") and the mighty and righteous Gospel Hummingbirds ("Taking Flight.") ========================================================================= Date: Tue, 24 Oct 1995 20:26:53 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: key to the highway Comments: To: KGIBSON743@aol.com I got the key to the highway Lord, I'm bound to go I got to get there running 'cause walking's much too slow (OK, somebody else take the second verse) Dick "Not related to Big Bill" Waterman ========================================================================= Date: Tue, 24 Oct 1995 17:16:00 -0800 Reply-To: Tessa Renison From: Tessa Renison Organization: Fullerton College, CA Subject: Richard Norton band Has anybody heard of Richard Norton? He has a cool homepage with a couple links and sound bytes (if your system has the minimum requirements and a graphics program like Netscape it comes off real nice.) Anyway - I have the Cd and it's a nice combination of slide, acoustic, and electric blues. The homepage address is http://www.fullcoll.edu/communit/rich_nor/home.htm So if you're a fan of progressive blues/rock you should check it out. ======================================================================== Fullerton College claims no responsibility to the opinion expressed above (This is an automatic stamp from our Email system and not from the user.) ======================================================================== ========================================================================= Date: Tue, 24 Oct 1995 21:10:09 -0400 Reply-To: Drdoubt From: Drdoubt Organization: America Online, Inc. (1-800-827-6364) Subject: Billy Branch & Blues in the Schools Comments: To: bit-listserv-blues-l@uunet.uu.net Saw the result of a dozen students spending a week with Billy at the King Biscuit Festival. I was very impressed. I am interested in doing something like that in Des Moines. Does anyone know how to get a hold of him. His or his agents phone number would be appreciated. Thanks in advance, Jeff Wagner ========================================================================= Date: Tue, 24 Oct 1995 14:28:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Re: Morris Pejoe Comments: To: rvujosev@CCAD.UIOWA.EDU On Oct. 23rd, Ranko wrote: > I keep reading and listening about Morris Pejoe, who played > with many greats around Chicago in 60s, 70s, but never heard > anything by him. Has any label issued anything recorded by > Morris Pejoe? Anybody knows more about him: born, died, discography... ** There are several cuts by Morris Pejoe on "Wrapped in my Baby" on Pearl, a reissue subsidiary of Delmark, including a nice shuffle called "Let's get High!". I believe in was in his 1983 obituary that Jim O'Neal wrote of once seeing Pejoe perform in a Chicago ghetto biker bar. Jim was approached by a large menacing motorcycling enthusiast who said something to the effect: "I don't like white boys much - I think I'm gonna kill me one." Jim wrote that he regretted not being able to stay for the whole set. -Bonnie ========================================================================= Date: Tue, 24 Oct 1995 21:43:49 -0400 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: Re: WHERE'S THE MAIL? IT"S BACK!!!!! Thanks to all who responded privately to my question. Some very "creatively" too, I might add! I am happy to be receiving mail again. BLUZ! Bluzman Ed aka Ed Tremewan ========================================================================= Date: Tue, 24 Oct 1995 22:04:00 -0400 Reply-To: Hanson123@AOL.COM From: Karen Hanson Subject: Re: key to the highway Dick Waterman posted the first verse: >I got the key to the highway >Lord, I'm bound to go >I got to get there running >'cause walking's much too slow > (OK, somebody else take the second verse) Got it right here! :-) I'm goin' back to the border Where I'm better known Because you haven't done nothing but drove (or drug?) A good man away from home Give me one more kiss, mama Yes, before I go Cause when I leave this time, girl I won't be back no more (Insert incredible harp solo) When the moon peeps over the mountain Honey, I'll be on my way I'm gonna roam this highway Until the break of day Well, it's so long, so long baby I must say goodbye I'm gonna roam this highway Until the day I die This, of course, is Little Walter's version. Big Bill's differs somewhat, I think--but I'm not as familiar with it. Boy, was that ever fun! Karen ========================================================================= Date: Tue, 24 Oct 1995 22:06:23 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Otis Rush, Magic Sam Comments: To: bq423@freenet.carleton.ca I give my highest recommendation to "The Cobra Records Story, Chicago Rock and Blues, 1956-1958" issued in two CD format as Capricorn 9 42012-2. The sound quality is excellent and the brochure is detailed and informative. In addition to Otis and Sam, there are also tracks by Buddy Guy, Walter Horton, Sunnyland Slim, Ike Turner, etc. It's good stuff. Check it out. Dick Waterman ========================================================================= Date: Tue, 24 Oct 1995 22:19:23 -0400 Reply-To: aj514@osfn.rhilinet.gov From: Mary Moretti Subject: Re: key to the highway here's the version that keith richards sings on johnnie johnson's album, johhnie b. bad. i got the key to the highway feel lord, i'm bound to go i've gotta leave here running 'cause walkings much too slow i'm going back to the bottom where i'm better known 'cause you haven't done nothing but draw a good man away from home give me one more kiss woman just before i go 'cause when i leave this time girl i won't be back no more wicked piano solo from johnnie when the moon peep over the mountain honey i'll be on my way i'm gonna roam this highway until the break of day well it's so long, so long baby i must say goodbye i'm gonna roam this highway until the day i die mary -- ____/| mary moretti aj514@osfn.rhilinet.gov \'o.0| "can you count to four, do you want a little more? =(_|_)= can you feel that beat, that's neat" - NRBQ U ========================================================================= Date: Wed, 25 Oct 1995 00:04:46 -0400 Reply-To: James Leftwich From: James Leftwich Subject: Re: Houston help needed : Hello, : : I will be in Houston (with wheels) starting October 29 until the next : Sunday. Can someone advise as to what blues is in town or venues other : than Billy Blues. I also may be in Austin Friday (Nov. 3). : : Thanks : : Jim Leftwich : leftwich@cloud9.net `------ Here's your last post that I could find... This means it made it to the list. ;) Pete ========================================================================= Date: Tue, 24 Oct 1995 23:03:54 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Music theory Reply-To: Shaun T Cronin Subject: learning scales >I do look the blues from a theoretical stand point. To me, that's like trying to develop a meaningful sexual relationship by reading books on physiology, endocrinology, and neuroanatomy. Then you will absolutely revel in 'The Blues, Boogie, and Barrelhouse Piano Workbook', apparently fallout from his master's thesis in music theory and composition at Rutgers, by Aaron Blumenfeld, Ekay Music, 223 Katonah Ave, Katonah, NY 10536. > I use jazz theory to help me there. Still, I hope that I have > the comon sense to know when not to use that knowledge. Being a rabid purist, so do I, remembering some pretty nice old records totally destroyed by swing or jazz clarinet clowns playing in the wrong scale. > I feel that I've given out a lot in response to the question but I > hope it helps. I appreciate your effort, however, the question was does anyone here have the ear and hardware necessary to get pre-War piano Blues down in MIDI files. So far, the answer is 'No'. ... "Canola oil is for _cooking_??" Duckman ========================================================================= Date: Wed, 20 Apr 1904 21:44:58 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Magic Sam If you are into Magic Sam then you need 'Magic Sam Live'. This IS my favourite Blues album. The album consists of some club dates from '63 or 64 (I think. S friend has the CD at the moment) and his incredible set at the '69 Ann Arbor Blues festival. The sound quality isn't great but the music is amazing. That and 'West Side Soul' are the essential Magic Sam albums. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Tue, 24 Oct 1995 22:34:13 -0800 Reply-To: Bob Hardin From: Bob Hardin Subject: Re: key to the highway >Dick Waterman posted the first verse: >>I got the key to the highway >>Lord, I'm bound to go >>I got to get there running >>'cause walking's much too slow > > > (OK, somebody else take the second verse) > >Got it right here! :-) > >I'm goin' back to the border >Where I'm better known >Because you haven't done nothing but drove (or drug?) >A good man away from home Karen - THANKS! I'm sittin' here with the blues 'cuz my stereo developed a really irritating hum recently and my speakers are in need of some new woofers after 20 years. Can't listen, right? Luckily my Mac has a CD player (okay, so the bass sucks, but at least I've got music), so I can listen to the blues while I'm reading about it on the Blues-L. So I'm listening to the Essential Little Walter and here comes this post about Key to the Highway. Cool, so I pop in the other disk and listen. Now I've gotten more blues, but I've lost some too - feelin' better already! Thanks again! Bob ========================================================================= Date: Wed, 25 Oct 1995 01:40:08 -0400 Reply-To: SFDBLUES@AOL.COM From: Steve Fay Subject: Tommy Johnson, Son House, others What recordings are there of Tommy Johnson and prewar Son House?. Also where can I find Willie Brown recorded? Can you tell that I have been reading Lomax's book? Thanks SFDBLUES ========================================================================= Date: Wed, 25 Oct 1995 00:04:46 -0500 Reply-To: Gary Boudreaux From: Gary Boudreaux Organization: Macintosh Consulting Services Subject: Re: piano red Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199510231524.AA04910@osfn.rhilinet.gov>, aj514@osfn.rhilinet.gov wrote: > do any of you have any info on a blues pianist, from new orleans > who went by the name piano red, his real name was william perryman. > i would appreciate any alblum recomendations, as well. I highly recommend the 4 CD box set called "The Doctor's In" on Bear Family. I've not heard any individual releases (if any are even available). ========================================================================= Date: Wed, 25 Oct 1995 00:09:45 -0600 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: John Mayall et al Comments: To: Jonathan Sixon In-Reply-To: <01HWTQ1D7ZZC90NF7R@VAX.CS.HSCSYR.EDU> Although I was into the blues before John Mayall made is entry into the scene. I really appreciated his earlier stuff. But one first I could claim regarding Mayall is that I took my future wife on our first date to see John play at the Grandee Ball Room in Detroit. He had a young lead player that went on to play with another British group that touched upon the blues from time to time. Mick Taylor was an impressive kid. The whole show was, actually. And I've been married to Pam for 25 years now. Just goes to show what the blues can do to a guy. And a gal, for that matter. God knows, I've given her a few reasons to sing the blues! Jay Watterworth CU Boulder On Tue, 24 Oct 1995, Jonathan Sixon wrote > Since I've got time now to post since the influx of mail on the list has > gone down considerably, (I hope there wasn't a bombing or something) I was > meaning to bring up a discussion on the British Blues. > > It was my first exposure to "getting into" the blues when I heard John > Mayall's retrospective album "Looking Back," in which a host of young > talent at the time strutted their blues-aficionado selves onto vinyl: Eric > Clapton, Peter Green, Mick Fleetwood, Mick Taylor, and others doing > what else? Covers of the greats ranging from Elmore James' "It Hurts Me Too" > to the T-Bone classic "Stormy Monday." > > This whole British Blues experience, later including hearing Alexis Corner and > the like, I was hooked and determined to find out more about those progenitors > of the sweet sound i was not only hearing but feeling. And so it continued > with the discovery of Muddy Waters, BB, Albert King, and a list so long > we could all identify maybe the population of a small city of names. > > Anyway, my first love of blues was with John Mayall and others, and I was > wondering if anyone else out there was "hooked" the way I was? > > jon in syracuse > > "I got a little red rooster, > Too lazy to crow for day" > ========================================================================= Date: Wed, 25 Oct 1995 03:00:02 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Tommy Johnson, Son House, others Comments: To: SFDBLUES@aol.com Somebody else will have to tell you if it is available in CD format but there was a great Origin Jazz Library album many years ago called something like "Mississippi Delta Blues, 1927-1941." Willie Brown's "Future Blues' and "M & O Blues' are on this album. When it came out around 1962 or so, it was assumed that every artist was dead but within two or three years came the rediscovery of Son House, Skip James, Booker White and maybe a couple more. Pretty terrific stuff if you can find it. . The Biograph reissue of the Son House Library of Congress is excellent but is not 'exactly' pre-War since one of the sessions was 1942 and Son does a song about the war (i.e. "This War Will Last You For Years"). Dick Waterman ========================================================================= Date: Wed, 25 Oct 1995 03:14:00 -0400 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: QUICK: ANY LONDON CLUBS? If anyone can tell me this morning European time, is there any place reliable where I could hear some blues in London Thursday night, or at least any blues or bluesy clubs I could check. I don't know London from Port-Au-Prince, BTW. Many thanks and happy Wednesday to all. Blue Joe in Red Russia, J.E._Downey@bakermck.com ========================================================================= Date: Wed, 25 Oct 1995 00:52:47 +0000 Reply-To: Blueslvr@gnn.com Comments: Authenticated sender is From: "Roy W. Forgy" Subject: Here today Gone to Maui Signing off for a few weeks, going on vacation then have to find a new ISP when I get back. Roy W. Forgy (Blueslvr@gnn.com) Pacifica, CA ========================================================================= Date: Wed, 25 Oct 1995 05:18:46 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - October 25th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ANDERSON, ELESTER (g) b. 1925-1025, CONETOE, NC BASSETT, ARTHUR "RIP" (bjo/MA RAINEY) b. 1903-1025, CHICAGO, IL DAVIS, DON (g/prod/songw/STAX) b. 1938-1025, DETROIT, MI GRAHAM, BILL[WOLFGANG GRAJONCA](promoter) d. 1991-1025, SONOMA CTY, CA 60 HEATH, JIMMY (tsax) b. 1926-1025, PHILADELPHIA, PA HOLLEY, MAJOR (b) d. 1990-1025, MAPLEWOOD, NJ 66 JACKSON, GREIG "CHUBBY" (b) b. 1918-1025, NEW YORK CITY, NY JACKSON, WILLIS "GATOR TAIL" (tsax) d. 1987-1025, NEW YORK CITY, NY 59 JONES, TOMMY "MAD DOG" (tsax) d. 1993-1025, CHICAGO, IL 71 LANG, EDDIE (BLIND WILLIE DUNN) (g) b. 1902-1025, PHILADELPHIA, PA LITTLE HATCHET (PROVINE HATCH JR.) (hca) b. 1921-1025, SLEDGE, MS MCKAIE, ANDY (prod/MCA/CHESS RECORDS) b. -1025,?NEW YORK CITY, NY PALMER, EARL C. (d) b. 1924-1025, NEW ORLEANS, LA REEVES, REUBEN (tpt/APOLLO THEATRE) b. 1905-1025, EVANSVILLE, IN RICHARDSON,JOHNNIE LOUISE(ofJOHNNIE & JOE)d. 1988-1025, NEW YORK CITY, NY 43 ROBINSON, IKEY "BANJO" (bjo/g) d. 1990-1025, CHICAGO, IL 86 TAYLOR, SAM JR. (g) b. 1934-1025, ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 25 Oct 1995 10:30:45 +0000 Reply-To: Philippe Gramoulle Comments: Authenticated sender is From: Philippe Gramoulle Subject: Luther and Bernard Allison Hi I've seen a lot of posts about Luther Allison saying that he is an awesome guitarist and bluesman (i share this opinion) But i didn't see any post about his son Bernard. I was lucky enough to see him twice when he played in my area (Brest,far west of France). The two shows were just amazing ,playing with his famous green Gibson guitar shaped like the United States. He did some SRV covers and hendricks things like making his guitar speak.He just charmed the audience and really played with his soul. I believe ,he is an up and coming guitarist (he released a CD called 'Hang on') and used to tour a lot in Europe (so maybe less in the U.S) Does anyone have info about him (tour dates,cd release) ? Thanks to all Philippe. ========================================================================= Date: Wed, 25 Oct 1995 07:18:23 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Help the Blues on Toronto radio Comments: To: Jinxblues@aol.com > > Subject: Re: Help the Blues on Toronto radio > You forgot to give us the NUMBER !!!> > Dick Waterman > You're right! It didn't occur to me that bluezellers outside of our listening area might support us! Thank you for the reminder. Phone number: 416-598-8810 Station: CKLN-FM, 88.1, Toronto Program: Blue Soul. 8-10 pm, Wednesday Oct 24 (Tonight) Pledges, prizes -- support the blues on Toronto Radio. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Wed, 25 Oct 1995 07:58:14 -0400 Reply-To: "Alan C. Rollins" From: "Alan C. Rollins" Subject: Day From Hell As I am sure you all know by now there was a day the Earth Stood Still. Yes Blues-Lers there was a day with no Blues-L. Some form of error occured at the Brown University end which required me to send a specific command. Then at my end an error occured which did not allow any of my messages out. Hence a merry go round with ya all waiting patiently. I emphasise patiently because I never recieved the first nastiness. Every message was supportive and helpful. Paul Fenton again thanks for the phone call which allowed me to know that my messages were going into the nether land. David Silberberg not only you work with the FAQ is appreciated, your efforts yesterday too were a help. We often may forget the Brown University staff who help behind the scenes making this list what it is to each of us. Ms. Yang and Mr. DiCamillo thank you both. Several of you will need to send me new messages as some may have been dumped in the process. There were some requests for changes in status and I need to know who you were in order to make it happen. You are all a great group thanks for being there. Keep Spreadin' the Blues. ACR ========================================================================= Date: Wed, 25 Oct 1995 12:25:15 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Lonnie Shields The name is familiar but that's it. I have an opportunity of seeing him this Friday in Ottawa .... what's the "scouting report" on this guy? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [25/10/95 8:23 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 25 Oct 1995 12:26:02 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Blind Lemon Jefferson Any CD recommendations? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [25/10/95 8:25 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 25 Oct 1995 07:39:10 -0400 Reply-To: Willy Evans From: Willy Evans Subject: Re: Them damn vocals Comments: To: David Silberberg In-Reply-To: <199510241548.KAA02295@psycfrnd.interaccess.com> > At 08:16 AM 10/23/95 CDT, L W wrote: > >It sure is discouraging to play a tune and can't even come close to the > >vocals. > > > >How in the world can you cover a Muddy or Johnny Shines tune when you don't > >have the same instruments as they have...Like incredible vocals. > > > > Just let one of them suckers try to sing like ME!!! Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** there'll be snuff juice everywhere **** ========================================================================= Date: Wed, 25 Oct 1995 08:33:08 -0400 Reply-To: Kenhaub@AOL.COM From: Ken Haubrock Subject: Spanish tuning? on the radio the other day (listening to a blues program in Richmond, VA) there was an excerpt from an interview done back in 42 with Muddy Waters. he mentions, after playing a song, that he has his guitar tuned in "Spanish tuning" anyone know what that is - what each note is tuned to? thanks kah ========================================================================= Date: Wed, 25 Oct 1995 07:46:12 CST Reply-To: William Shute From: William Shute Subject: happy birthday Andy McKaie From: Bill Shute It's easy to forget sometimes that the major labels have some fine people working in their "archival" branches, the folks responsible for doing domestic reissues of material in the corporate vaults, material that is a priceless, precious part of our national history and culture. Andy McKaie at MCA is one of them. While he has been involved with many quality reissues, the Chess Reissue series has on the whole been exemplary. People such as Andy M. are taking the time to document American culture with the care and love that we often have associated with European reissues and scholarly projects. But at the same time, he puts out a commercially viable product--he has to, or he'd lose his job. To the shareholders of MCA (or whoever owns MCA), there is no "obligation" to document the work of Muddy Waters or Buddy Guy if the releases do not sell. Mr. McKaie has the corporate bosses breathing down his neck and, as MKA perceptively pointed out a while back, he must also coordinate enough Elton John and Bing Crosby reissues to keep the ship afloat financially. He, Lawrence Cohn, Pete WElding at Capitol, the folks at EMI, Orrin Keepnews with the Decca Jazz series...these folks have a tough job, and we music lovers ought to congratulate them. BAck in the l980s, when Polydor was beginning their archival reissues of James BRown material, I wrote a letter thanking Tim Rogers, who then was responsible for the James Brown and Hank Williams archival reissues, and Mr. Rogers thanked me profusely, saying that he could show my letter to his bosses and it could help in keeping a steady stream of JB reissues coming. That letter probably took me 20 minutes to write and 29 cents (back then) to mail. Maybe we should take the time to write letters to Cohn, Welding, McKaie, etc., pointing out how much WE spend as individuals on CDs per month; then they can show our letters to the corporate powers-that-be and have more "support" for their difficult jobs.(For example, if he never did anything else in his life, Lawrence Cohn's 4-CD "Roots and Blues--The Retrospective" (or whatever it was called) should earn Mr. Cohn the blues-fan's equivalent of sainthood or knighthood!) Anyway, THANK YOU MR. McKAIE. I, for one, appreciate your work, and I know that tens of thousands of people out there do too. You, as just one person, have MADE A DIFFERENCE. If there's such a thing as karma (and on a good day I'd like to believe there is, although my rational side might rebel against that), you ought to be in for some good vibes in the future. Let's hope you can get a taste of that positivity on your birthday-- you can always play one of your own reissues at the party!!! Bill Shute San Antonio, TX ========================================================================= Date: Wed, 25 Oct 1995 08:15:09 -0400 Reply-To: Willy Evans From: Willy Evans Subject: Re: Spanish tuning? Comments: To: Ken Haubrock In-Reply-To: <951025083307_132392808@mail06.mail.aol.com> On Wed, 25 Oct 1995, Ken Haubrock wrote: > on the radio the other day (listening to a blues program in Richmond, VA) > there was an excerpt from an interview done back in 42 with Muddy Waters. he > mentions, after playing a song, that he has his guitar tuned in "Spanish > tuning" > anyone know what that is - what each note is tuned to? > If I'm not mistaken, Spanish tuning refers to "normal" tuning. EADGBE Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** there'll be snuff juice everywhere **** ========================================================================= Date: Wed, 25 Oct 1995 10:23:59 -0300 Reply-To: Rob Hutten From: Rob Hutten Subject: I'm Chicago Bound Well folks, if all goes well I'll be arriving at O'Hare airport around 4:45pm (local) tonight. Two days of NCD X-Terminal administration training, and then Saturday and Sunday to myself. If anyone wants to meet me for some beer and/or blues, I'll be staying at the Drake Hotel in Oakbrook - I've already planned to touching base with a few Chicago Bluezellers. Young country boy in the big city - lock up your, uh, doneys :-) -Rob ========================================================================= Date: Wed, 25 Oct 1995 09:26:06 -0400 Reply-To: NyteBlues@AOL.COM From: Jim Herbert Subject: Anaheim Blues I am in Anaheim CA for the rest of this week, and need tips on any blues joints in the area. Post any suggestions to my e-mail, as I might miss them buried in the digest. Thanks . . . ========================================================================= Date: Wed, 25 Oct 1995 13:46:38 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Music theory Comments: To: bit-listserv-blues-l@uunet.uu.net In <9510242303.0WEHL00@infoexch.miami.fl.us>, Laurie Forti writes: >Reply-To: Shaun T Cronin >Subject: learning scales > >>I do look the blues from a theoretical stand point. > To me, that's like trying to develop a meaningful sexual >relationship by reading books on physiology, endocrinology, and >neuroanatomy. In an ideal sexual relationship, you'd understand BOTH the technical side and the intuitive side. Likewise with music. Consider how far Willie Dixon went on his formal training. Yes, its true, none of his formal training would have matered if he didn't understand the oomph of blues, but he went a hell of a lot further than he would have otherwise by understanding the theory behind the oomph. ///////////////////////////////////////////////////////////// B.B. Bean bbbean@cris.com Team OS/2 strictlow@aol.com Bean & Bean Cotton/Bean Farms 75474.2654@compuserve.com \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ ========================================================================= Date: Wed, 25 Oct 1995 14:52:46 +0100 Reply-To: Roadrunner Tour Management From: Roadrunner Tour Management Subject: R.T.M. / LOOKING FOR GOSPEL CHOIR / BAND Comments: To: Automatic digest processor Dear Blues-l'rs I'm surching for a good gospel choir / band to tour Europe for two to three weeks by next summer. Shouldn't be too big, "15 - 20" people max.!!! Has anybody got any suggestions!?!?!?!? Thanks a lot!! Cheers Carsten ROADRUNNER TOUR MANAGEMENT 141 Tirellan Heights Galway / Ireland Tel.&Fax: +353 95 35976 Mobile: +353 95 35976 E-Mail: roadrun@iol.ie KEEPING THE BLUES ALIVE ========================================================================= Date: Wed, 25 Oct 1995 09:08:13 CDT Reply-To: ISTS024@UABDPO.BITNET Comments: RFC822 error: Invalid RFC822 field - "UABDPO.DPO.UAB.EDU (LMail V1.2a/1.8a) with BSMTP id 2599; Wed, 25 Oct 1995". Rest of header flushed. Comments: Resent-From: ISTS024@UABDPO From: L W ----------------------------Original message---------------------------- >>I do look the blues from a theoretical stand point. > To me, that's like trying to develop a meaningful sexual >relationship by reading books on physiology, endocrinology, and >neuroanatomy. >In an ideal sexual relationship, you'd understand BOTH the technical side and >the intuitive side. Likewise with music. Consider how far Willie Dixon went on >his formal training. Yes, its true, none of his formal training would have >atered if he didn't understand the oomph of blues, but he went a hell of a lot >further than he would have otherwise by understanding the theory behind the >oomph. When I interviewed Doug MacLeod I asked him about Berklee (sp) since he was a graduate from there what it did for his BLUES playing. He said absolutely nothing. He had to forget all that and PLAY. He said Kenny Burrell told him to learn all he can and graduate, then forget it and play. IMO time spent playing pays bigger dividends than time spent studying playing...Maybe that's why I'm a programmer and not a muscian..... LW 'consider how much FARTHER Muddy went without formal training' ========================================================================= Date: Wed, 25 Oct 1995 09:16:39 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Alligator/BMG Club Something funny about a cd we recieved from Alligator. We requested info on Saffire and they sent a bio and the cd "New, Borrowed, Blue..etc" (whatever) and I noticed it says "Manufactured under license by BMG distibution" like you wouls get if you ordered it from the BMG record club...I thought that was strange since it came directly from Alligator.....? I'll give this CD to the first private response.....I would recommend a Saffire fan respond cause this one IMO will not make a fan out of you..... LW ========================================================================= Date: Wed, 25 Oct 1995 09:16:24 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Magic Sam Live Comments: To: Shaun T Cronin In-Reply-To: <199510250449.VAA14383@wavenet.com> I've posted this before, but the most complete version of Magic Sam Live on Delmark is on CASSETTE-- more songs than the CD, more complete versions of a couple songs than the double LP. ========================================================================= Date: Wed, 25 Oct 1995 09:49:05 CST Reply-To: William Shute From: William Shute Subject: recordings vs. live performances/backing tapes From: Bill Shute I was visiting a friend yesterday who has a HUGE sound system in her home, so I brought by the latest Joe "Guitar" Hughes album, "Texas Guitar Slinger" (Me & My Records, Holland---PLUG! PLUG!). Of course, it sounded GREAT on her seven-foot-tall speakers, and I noticed many details in the instrumentation that I had missed on my little system in my apartment (such as the synth lines that "backed up" the horn charts throughout, and also the unique "choked" effect that Joe has on his guitar amp). Since this big sound system produced a sound as HUGE as a set of Marshall amp stacks, it really dawned on me how different this album-- in instrumentation, in material, in technique, in many other ways--was from seeing Joe Hughes in concert. Yeah, I know that musicians are not human jukeboxes that should just replicate records...and I wouldn't want that. However, I started to think about how many working bluesmen must tailor their sound and their repertoire to live performance situations, how different audiences are given different kinds of shows by the same performers, how bands will use keyboards to imply horn section charts (since performers on the level of Joe Hughes can't afford a horn section with what they are paid), etc. Perhaps some of you have some anecdotes you could share about some of these issues? Maybe you've seen the same performer at two different kinds of venues in the same week and seen not just different songs performed but different performance styles? I know that many bluesmen-- from Guitar Shorty to Jitterbug Webb--have told me that they feel as though they have to play about 50% cover versions for the usual club gigs because they do not feel that audiences expect or want a concert of all-originals. On the negative side, are there performers who pretty much have a ROTE show that they do EXACTLY the same wherever they are performing? In the past, I've seen people do a show in another city and even the stale anecdotes are the same! Or they make the same comments about San Antonio tonight that they make about Corpus Christi tomorrow night and Houston the night after that (we can't ALL be the "best audience" they've had in a long time!!!) I can share some stories about these points later, but I just wanted to throw this topic out for any discussion it may prompt--a kind of "jumpstart" for blues-l after all the problems of the last few days. (there have been some threads in the past where I WISHED THAT the system had gone down to short-circuit them!) Any takers? As they say in talk-radio, "I'll hang up now and listen to your response on the radio." Bill Shute San Antonio, TX (2 days until the W.C. Clark Blues Review hits town!!! Jeff and I can hardly wait!!! and Texas Johnny Brown is back again for this third gig in as many months! It's SO satisfying to see people from the community coming out for REAL blues concerts. I always say "hey, this music is GREAT...if only people heard it, they'd love it"--but the excellent attendance at recent San Antonio blues shows seems to be proving the point. one more point: Leon Russell appeared last weekend at Billy Blues (no, I had better things to do, like watch paint dry or grass grow), and for $15 he performed to the accompaniment of a backing tape (he did have a live bassist and drummer). Have any of you EVER seen a decent blues gig that involved backing tapes? The only (and it's non-blues) decent gig I ever saw with a backing tape was seeing Wanda Jackson, armed with her acoustic gtr and a tape player with backing track, in a small Baptist church in Pawnee, Oklahoma circa l984. BTW, Wanda Jackson is rumored to be appearing WITH Rosie Flores (she's on Rosie's new and fine rockabilly album on Hightone) sometime in November at Antone's. ========================================================================= Date: Wed, 25 Oct 1995 10:58:24 -0400 Reply-To: bob unger From: bob unger Subject: We have a winnah! Well, it look's like the suggestions for the name of Blues-L tape #3 have stopped coming in, so, I have selected a winner....the envelope please... The winner of "Freddie King - Live At Antibes" is................ Paul Fenton for his suggestion "The Blues Bytes Back"....BUT....I think I'm going to exercise "producer's right's" here and shorten the name to "Blues Bytes" A close second was Robert Barclay for his suggestion "Byte The Blues", so Rob, if you want a cassette copy of the cd, let me know before I mail the cd to Paul. Here's the list of all the suggestions and the suggestee's CyberCats from L Willy Evans Just For The Blues-l Of It Bruce Roberts Blues-l - Raisin' Hell Mark Basten L Of A Blues Tape Steve Levine Best Of Blues-l " A Tribute To LW ;-) " HOB Sucks " Geek Blues " The Blues Bytes Back Paul Fenton Blues Without A Net Dennis Miele Blue Plate Special Timothy (t.b.) Bosley Blues-Eller Fitzgerald Dick Waterman (who is not related to Ella/Eller in any way!) Got My Modem Working Ian Angus Born Under A Baud Sign Michael Hewitt (Hey, you know RJ?) Born Under A Baud Sign R J Bauman (Hey, you know Mike?) Trackin' The Line - The music Of Blues-L Jay Watterworth The Third Degree Chris Jones Three The Hard Way " Three-For-All " Blues-L Stars III Bob Hardin Byte The Blues Robert Barclay Blues On The Line " Web Blues " Net Blues " To 'zel And Back Rob Varak Blues-L Plugged & Unplugged " Blues-L Family Album " >From The Keyboard To The Porch " Blues Online " Live From Cyberspace: The Blues-L All Stars " A Third Of Blues Peter Gallagher The Third First Blues-L Tape " Blues From The Superhighway " Superhighway 66 " The Third Byte " Thricing The Blues " 32 Bit Blues Ed Mezynski Blues From Cyberspace " Blues-L Blues " Various Internet Artists #3 " Blues-L CyberJam " Wired For Blues " Blues On The Net Don Cicchetti Dirt, Grit, And The Blues Of Life DORMAN@RHODA.FORDHAM.EDU (didn't see your name anywhere) World O' Blues Ron Kraemer Blues Around The World " It's A Blues World " ************* BU bob@sun.bnkst.edu ========================================================================= Date: Wed, 25 Oct 1995 11:09:19 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Spanish tuning? Comments: To: Kenhaub@aol.com "Spanish" is Open G "Cross" is Open D "Natural" is standard tuning Some Delta musicians also refered to Open G as "Sevastopol" or "vastolpol" apparently taking the name of the city in Russia. Dick Waterman (Does not play Delta blues but knew a few who did) ========================================================================= Date: Wed, 25 Oct 1995 08:42:09 CST6CDT Reply-To: SOXTON@CHE2.CHE.UMN.EDU From: Sara Oxton Organization: University of Minnesota Subject: Speaking of BB... On Monday, I received notice of a "BB King 70th Birthday Bash" at the Orpheum Theatre in Memphis. The lineup was quite impressive, with sets from Al Green, Willie Mitchell & the Memphis Horns, Buddy Guy, Issac Hayes... In conjunction with this party, according to my source, Northwest Airlines is unveiling an airplane named Lucille in Memphis, either today or tomorrow. This airplane is the first in what Northwest is calling its "Hall of Fame" series. Maybe the next plane will be named Ludella... Can any of our Memphis correspondants verify this? Is anyone attending either event? I'd love to hear about it. Thanks, Sara (who feels quite snubbed living in a Northwest hub that doesn't have a Lucille airplane) ========================================================================= Date: Wed, 25 Oct 1995 07:58:02 -0700 Reply-To: TGB From: TGB Subject: Re: Spanish tuning? Comments: To: Willy Evans In-Reply-To: On Wed, 25 Oct 1995, Willy Evans wrote: > On Wed, 25 Oct 1995, Ken Haubrock wrote: > > > on the radio the other day (listening to a blues program in Richmond, VA) > > there was an excerpt from an interview done back in 42 with Muddy Waters. he > > mentions, after playing a song, that he has his guitar tuned in "Spanish > > tuning" > > anyone know what that is - what each note is tuned to? > > "Spanish" tuning refers to an open G tuning, usually for bottleneck. It is DBGDGD, high to low. The other popular bottleneck tuning is open D, or Vestapol, which is DAF#DAD, high to low. Hope this helps. tgb ========================================================================= Date: Wed, 25 Oct 1995 15:16:04 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Spanish tuning? In-Reply-To: On Wed, 25 Oct 1995, Willy Evans wrote: > > > If I'm not mistaken, Spanish tuning refers to "normal" tuning. EADGBE > > Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu > **** there'll be snuff juice everywhere **** > 'fraid you ARE mistaken..that's "standard" tuning Spanish is something like DGDGDG (can't remember exactly) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [25/10/95 11:13 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 25 Oct 1995 09:28:25 PDT Reply-To: rjbauman@IQUEST.NET From: rjbauman@IQUEST.NET Subject: Re: Midi blues piano Comments: To: laurie.forti@INFOEXCH.MIAMI.FL.US =====================That is, there is a huge difference between knowing abstract and irrelevant music theory in the domain of the intellect and having a 'good ear' and being able to reproduce the music on hearing it. I seek those with the latter talent; those with the former abound and can not help me.=================== I'm sure to offend some innocent people who misunderstand my point, but musicians who "have a good ear" and can "reproduce music on hearing it" have only discovered by accident and experimentation what those who have approached music from a theoretical standpoint are able to assimilate with much less effort. There's nothing really wrong with that, and I'm not arguing that the theory approach is superior in terms of learning any musical STYLE. This becomes more clear is once we make an important distinction. There are three dimensions to music; 1)multiple tones related by intervals to the root note(s) 2)RHYTHM and 3)dynamics. If one understands how to apply the concept of intervals between notes, one can readily duplicate passages of NOTES on a musical instrument without so much "hunting and pecking." Once one learns to recognize intervals and can translate them to his instrument he has intuitively apllied what others discover in a more orderly fashion through their understanding of theory. Having approached music from both standpoints over the last 20+ years I can say from experience that knowing theory makes it all fall into place MUCH faster. Now the problem becomes how to we put the notes together to copy a style? That requires applying rhythm and dynamics. These dimensions are what truly define a style. I can paint numbers on a few piano keys and tell you definitively that such and such riff is played on exactly these keys in this order, but you would have to rely on your sense of rhythm and dynamics to mimic a particular feel or style. Musical scoring systems can only approach how the riffs will sound when played by a particular musician, and MIDI data must be very carefully quantized from an original "performance" to accomplish what records can do. I only say all this because you seem to reject using theory out of hand as abstract and irrelevant when (if used in moderation) it is really very PRACTICAL. One who apllies theory *does not* make music by conciously retrieving theorticals, it is only a framework for understanding how the twelve note music system in use today works. RJ Bauman (still not a theory freak or anti- MIDI) ========================================================================= Date: Wed, 25 Oct 1995 10:25:46 -0500 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Jazz Lists Does anyone know of any Jazz mailing lists? Hopefully one that doesn't discuss Kenny G. Thanks, Bruce Roberts Austin, TX ========================================================================= Date: Wed, 25 Oct 1995 11:17:31 EST Reply-To: shannon oconnor From: shannon oconnor Subject: If You're Near Indianapolis on Thursday... ...and you want to hear/see Cincinnati's *best* blues/rock power trio, come out to the Slippery Noodle. Thursday, Oct. 26. My friends Sonny Moorman & the Dogs will be playing there Thursday night, 9:30 p.m to 2:30 p.m. I'll be travelling with them and have already arranged to meet several blues-l'ers there, so it's going to be a blues-l event. Come on out; hear, see, and meet one of the *best* and *nicest* blues/rock guitarists you'll ever encounter; and rub elbows with fellow blues-l acquaintances. I'll be the short, shy, blonde woman accompanying the band. Shannon ========================================================================= Date: Wed, 25 Oct 1995 15:46:27 GMT Reply-To: marc@az.vub.ac.be From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Re: We have a winnah! Comments: To: bit-listserv-blues-l@Belgium.EU.net bob unger (bob@SUN.BNKST.EDU) wrote: : Well, it look's like the suggestions for the name of Blues-L tape #3 : have stopped coming in, so, I have selected a winner....the envelope please... : The winner of "Freddie King - Live At Antibes" is................ : Paul Fenton for his suggestion "The Blues Bytes Back"....BUT....I think I'm : going to exercise "producer's right's" here and shorten the name to : "Blues Bytes" A close second was Robert Barclay for his suggestion "Byte : The Blues", so Rob, if you want a cassette copy of the cd, let me know before : I mail the cd to Paul. Congratulations, Paul !!! embee. ========================================================================= Date: Wed, 25 Oct 1995 08:52:30 -0700 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: happy birthday Andy McKaie Comments: To: William Shute William Shute wrote: > >It's easy to forget sometimes that the major labels have some fine >people working in their "archival" branches, the folks responsible >for doing domestic reissues of material in the corporate vaults, >material that is a priceless, precious part of our national history >and culture. Andy McKaie at MCA is one of them. While he has been >involved with many quality reissues, the Chess Reissue series has >on the whole been exemplary. People such as Andy M. are taking >the time to document American culture with the care and love that >we often have associated with European reissues and scholarly projects.>But at the same time, he puts out a commercially viable product--he>has to, or he'd lose his job. To the shareholders of MCA (or whoever>owns MCA), there is no "obligation" to document the work of Muddy>Waters or Buddy Guy if the releases do not sell. Mr. McKaie has >the corporate bosses breathing down his neck and, as MKA perceptively >pointed out a while back, he must also coordinate enough Elton John >and Bing Crosby reissues to keep the ship afloat financially. >He, Lawrence Cohn, Pete WElding at Capitol, the folks at EMI, >Orrin Keepnews with the Decca Jazz series...these folks have a tough >job, and we music lovers ought to congratulate them. >Maybe we should take the time to write letters >to Cohn, Welding, McKaie, etc., pointing out how much WE spend as >individuals on CDs per month; then they can show our letters to the >corporate powers-that-be and have more "support" for their difficult >jobs.> >Anyway, THANK YOU MR. McKAIE. I, for one, appreciate your work, and I know>that tens of thousands of people out there do too. You, as just one person, have MADE A DIFFERENCE. If there's such a thing as karma (and on a good day I'd like to believe there is, although my rational side might rebel against that), you ought to be in for some good vibes in the future.>Let's hope you can get a taste of that positivity on your birthday-->you can always play one of your own reissues at the party!!! > What a nice idea; as a matter of fact, I am having lunch with Andy tomorrow (Thurs.) for his birthday (and to work some on the next blues box we're doing, Blues Classics). Since he's no longer on this list, I'll print out Bill Shute's message and take it to him. Anyone else wanting to send him a Happy Birthday or any other message (re his reissue work, per Bill's suggestion) can just email it to me and I'll print them out and feed them to him for lunch... Mary Katherine ========================================================================= Date: Wed, 25 Oct 1995 11:58:03 -0400 Reply-To: Tom Morgan From: Tom Morgan Subject: Playlist: Bartender's Bop Here is Monday's show. I was in a terrible funk that day due to a looming deadline, I was calling it the "dictionary writing blues" and I'll tell you the music on the show certainly lifted my spirits. Only one brand new CD on the show that of Mem Shannon. I don't know much about him other than he drives a cab in New Orleans. His song about his baby watching too much TV is tremendous. I also had to give more airplay to Elder Roma Wilson, if you have not heard this CD I think you ought to. His harp playing and gospel singing is out of this world, I think. I had to slip on a little Lord Buckley which got the phones ringing, it is suprising how many people don't know about him. This was an eclectic show but then many of mine are. Enjoy. Tom (who should have taped this show and used it to raise his spirits this morning and who secretly wants to sing Dead Presidents on stage) Title Group Year Label -------------------- -------------------- ---- ------------- Ta-De-Ah Cole, Nat King 39 Savoy Laughin and Clownin Cooke, Sam 63 Abkco You Got Me Knocking Alexander, Arthur 73 Warner What Do You Know Swan Silvertones Specialty About Jesus Death Ain't Nothing Wilson, Roma Arhoolie But A Thief and a Robber Muddy Jumps One Muddy Waters 48 Chess Hey I Am Blue Hayes, Clifford Yazoo Me and My Bed Shannon, Mem 95 Hannibal Live Wire Meters Rhino Wrong Number Hill, Michael 94 Alligator Angel On My Shoulder Poppa Chubby 95 OKeh Don't Make Me Stop Thomas, Irma 67 Chess Now Marc Anthony's Lord Buckley 51 Discovery Funeral Oration My Lord's Gonna Move Wilson, Roma 48 Arhoolie This Wicked Race Go Home Girl Alexander, Arthur 73 Warner Lost and Lookin Cooke, Sam 63 Abkco Nobody Cooder, Ry 78 Warner My Baby's Been Shannon, Mem 95 Hannibal Watching TV UFO Has Landed in Cooder, Ry 82 Warner the Ghetto Little Old Money Meters Rhino Maker Signifyin Hill, Michael 94 Alligator Monkey/Watch What You Say One Meat Ball Cooder, Ry 70 Warner Settin By The Fire Redbone, Leon 94 Private Music Cabenza de Gasca, Lord Buckley 51 Discovery The Gasser Dead Presidents Little Walter Chess Gettysburg Address Lord Buckley 51 Discovery ----------------------------------------------------------------------------- My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Wed, 25 Oct 1995 12:05:17 -0400 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Lonnie Shields Comments: To: bit-listserv-blues-l@uunet.uu.net In article , Pat Hertel writes: >Subject: Lonnie Shields >From: Pat Hertel >Date: Wed, 25 Oct 1995 12:25:15 +0000 > > The name is familiar but that's it. > I have an opportunity of seeing him this >Friday in Ottawa .... what's the "scouting report" >on this guy? Go see him. He has a cd on Rooster called "Potraits." Big Jack Johnson and Frank Frost are on it. You can find some info on him at... http://www.vivanet.com:80/~catbauer/rooster.html, about halfway down the page. Randy Lippincott (from J. C. Copeland's band) may be with him. Cat ========================================================================= Date: Thu, 26 Oct 1995 01:06:50 +0900 Reply-To: "MIE \"micro\" SENOH" From: "MIE \"micro\" SENOH" $B!! (BSubscribe Blues Mailing list,please! $B!!!!!!!!!! (B *****micro@kiwi.co.jp***** ***NIFTY:GBH06573@niftyserve.or.jp*** MIE"micro"SENOH ========================================================================= Date: Wed, 25 Oct 1995 12:29:07 -0400 Reply-To: Peter Welch From: Peter Welch Subject: Bravo Network Blues Documentary Did anyone see the documentary called "Bluesland" on the Bravo cable network on Tuesday? It was part of Bravo's "Masters of American Music" Jazz series...This episode focused on the Blues and featured some really nice footage and interview segments, including showing the complete footage of Muddy and his band doing "Hoochie Coochie Man" at Newport in 1960...I've seen bits of this, but never the entire thing...I also enjoyed seeing footage of Sonny Boy Williamson (Rice Miller) playing solo with a 12-hole harp...great stuff. Unfortunately I caught only the last 35 minutes or so of this, so I hope they'll re-run it soon, but it's definitely worth seeing and better than the blues segment on PBS's Rock'n Roll series. -Peter ========================================================================= Date: Wed, 25 Oct 1995 11:35:33 -0500 Reply-To: James Foster From: James Foster Subject: Re: recordings vs. live performances/backing tapes On the thread about live performance versus recordings I can make a few observations based on a couple of shows I saw this last weekend while traveling in Memphis. First of all, we saw Preston Shannon at Willie Mitchell's club and it was a fine performance. Preston has a fine album out on the Bullseye label (with another release set for early '96) which features the Memphis Horns in their usual fine form. Of course, when we saw Preston he didn't have a horn section (which parallels the situation with folks like Joe Hughes and Texas Johnny Brown, who simply cannot afford to travel with horns; BTW, Carol Fran and Clarence Holliman travel with a "synth" device which is their rhythm section!!!) and the keyboard player tried to "replicate" the horn charts...only semi-effective. Now, Preston is a tremendous entertainer and does lots of covers and is on stage to serve his audience, but his show would have been more powerful with an actual horn section as his album can testify. The next night I saw the INCOMPARABLE Philip Walker, easily one of the finest living bluesman, who put on a very fine show WITH a great two-man horn section that added the necessary punch to all the performances. In this case, Walker sounded even better than on his latest fine disc, "Working Girl Blues" (on Bullseye). BTW, be sure to check out all of Walker's work, from his first album for "Playboy", re-released by Hightone, to his other work for Hightone and his fine side playing with folks like Lonesome Sundown and Ted Hawkins. Walker is a treasure, a professional entertainer, and he can play with the best of them. James Foster ========================================================================= Date: Wed, 25 Oct 1995 10:45:43 CDT Reply-To: rjbauman@IQUEST.NET Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: rjbauman@IQUEST.NET From: L W Subject: Re: Midi blues piano ----------------------------Original message---------------------------- >If one understands how to apply the concept of intervals between notes, one >can readily duplicate passages of NOTES on a musical instrument without so >much "hunting and pecking." Once one learns to recognize intervals and can It's the "stuff" that you run across when "hunting & pecking" that is great. You can be trying to figure out a Albert King lick and stumble on a lick by someone else. I have bad ears and enough theory to hurt me. I started that theory stuff some years back and when I would play my mind was over ruling my heart. Had I been playing classical or STRICT jazz that would have been great, but with blues the heart/feeling rules. It really hurt my playing, I was into all the different modes/scales...etc and it showed. I don't think ANY education is harmful, but you got to know when to let it go and trust your instincts.....IMO and I am not a great player, so it's like Madonna telling you how to dress. I'm just saying what works best for ME.. LW ========================================================================= Date: Wed, 25 Oct 1995 12:11:49 PDT Reply-To: rjbauman@IQUEST.NET From: rjbauman@IQUEST.NET Subject: Re: recordings vs. live performances/backing tapes Comments: To: William Shute Bless her anyway, but Koko Taylor has done this. RJ Bauman ============On the negative side, are there performers who pretty much have a ROTE show that they do EXACTLY the same wherever they are performing? In the past, I've seen people do a show in another city and even the stale anecdotes are the same!========= ========================================================================= Date: Wed, 25 Oct 1995 12:33:02 -0400 Reply-To: Willy Evans From: Willy Evans Subject: Re: your mail Comments: To: L W In-Reply-To: On Wed, 25 Oct 1995, L W wrote: > > When I interviewed Doug MacLeod I asked him about Berklee (sp) since he was a > graduate from there what it did for his BLUES playing. He said absolutely > nothing. He had to forget all that and PLAY. He said Kenny Burrell told him > to learn all he can and graduate, then forget it and play. IMO time spent > playing pays bigger dividends than time spent studying playing...Maybe that's > why I'm a programmer and not a muscian..... > > > LW 'consider how much FARTHER Muddy went without formal training' > It doesn't have to be all or nothing! We shouldn't equate formal training with soullessness! It frustrates me tremendously that I don't have the vocabulary to play everything that comes in my head. Just because you understand the theory, doesn't mean that you can't put in some feeling! Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** there'll be snuff juice everywhere **** ========================================================================= Date: Wed, 25 Oct 1995 13:24:11 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Training vs. Playing Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU LW said: >When I interviewed Doug MacLeod I asked him about Berklee (sp) since he was >a graduate from there what it did for his BLUES playing. He said absolutely >nothing. He had to forget all that and PLAY. He said Kenny Burrell told him >to learn all he can and graduate, then forget it and play. IMO time spent >playing pays bigger dividends than time spent studying playing...Maybe >that's why I'm a programmer and not a muscian..... I feel that I have to speak to this issue of musical training vs. just playing. I think if you took a survey of good players, you'd find an overwhelming majority would tell you to get the formal training in music theory as well as in your chosen instrument(s). They would *also* tell you to play, play, play. I don't know *any* musicians who would say "don't bother with the training, just play." I've pondered this issue for most of my life, and I DO have the training (a degree in Music Education). I had instructors in college--voice and piano, most notably--who told me I was "not allowed* to play or sing anything other than my exercises and performances pieces while I was studying with them. In the weeks when I disciplined myself to sing and play *only* scales and arpeggios and my practice pieces, I did not have good results in my lessons. In the weeks when I bellowed along with the radio in the car, played hours of four-handed boogie with a fellow music student, and sang, wrote, and performed my folk songs on my guitar, I had great results in my lessons. So I learned early on to misdirect the truth as to whether or not I'd been playing or singing "outside" music. I also remember practicing a particularly challenging Bach piano piece in a practice room at school one day, becoming frustrated, and breaking out into a piece I had written. While I was playing along, oblivious and relieved that I was finally in touch with the music, the door to the room opened and the Dean of the Music Dept. stepped in. He looked at my sheet music (Bach), looked at me, and looked confused. I apologized and whispered that it was something I'd written. He did a double take, cursed softly, waved his hand at me to continue, and quietly left the room. So....I firmly believe that having all the knowledge you can stuff into your brain concerning music theory and history, as well as the technical workings of your instrument(s), can ONLY help your overall musicianship. You need the foundation and the structure. And yes, there are exceptions to the rule. There are natural musicians, gifted souls. No doubt. I've met a few. But the vast majority of us can do nothing but benefit from knowledge and training. Learn, have fun, and experiment!! (This goes for other, more "physical" arts, as well......) :-D Shannon ========================================================================= Date: Wed, 25 Oct 1995 12:53:40 -0500 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: recordings vs. live performances/backing tapes > On the negative side, are there performers who pretty much have a ROTE > show that they do EXACTLY the same wherever they are performing? In the > past, I've seen people do a show in another city and even the stale > anecdotes are the same! Or they make the same comments about San Antonio > tonight that they make about Corpus Christi tomorrow night and Houston > the night after that (we can't ALL be the "best audience" they've had > in a long time!!!) I saw a Blues band once, who shall remain nameless (mainly because I forgot their name), who came on stage and played a pretty good set. They took a short break and then came out and did the exact same set. Like all the people who were there at the first set had left and were replaced by a new audience. Needless to say I didn't stay long. Bruce Roberts Austin, TX ========================================================================= Date: Wed, 25 Oct 1995 14:10:25 -0400 Reply-To: Oded Maron From: Oded Maron Subject: Bravo Network Blues Documentary Comments: To: pw7e@poe.acc.virginia.edu In-Reply-To: Peter Welch's message of Wed, 25 Oct 1995 12:29:07 -0400 <199510251629.MAA135129@poe.acc.Virginia.EDU> From: Peter Welch Did anyone see the documentary called "Bluesland" on the Bravo cable network on Tuesday? It was part of Bravo's "Masters of American Music" Jazz series...This episode focused on the Blues and featured some really nice footage and interview segments, including showing the complete footage of Muddy and his band doing "Hoochie Coochie Man" at Newport in 1960...I've seen bits of this, but never the entire thing...I also enjoyed seeing footage of Sonny Boy Williamson (Rice Miller) playing solo with a 12-hole harp...great stuff. Yes, I caught the last hour and half or so. It was kind of a history of blues up to 1960. I know that it's tough to condense that much stuff into 2 hours, but I certainly would have done it differently. There were just a couple of mentions of Robert Johnson, but nothing major. Way too much stuff on jazz people like Armstrong, Basie, and Dinah Washington. In addition, a lot of the footage that I wanted to see more of was cut too quickly in favor of still photos with no info (like people dancing, people at a bar, cotton fields). This included great snippets of T-Bone, Son House, Bukka White, Sonny and Terry, SBWII (boy, did he have bad teeth). The talking heads were generally reasonable, except for the host, who was way too smarmy for me. One of them slammed the idea of blues as primitive music by saying "if you want to hear primitive music, listen to Mozart." Oded ========================================================================= Date: Wed, 25 Oct 1995 18:35:08 GMT Reply-To: David Goldstein From: David Goldstein Organization: IPOF Subject: Re: Otis Rush, Magic Sam Comments: To: bit-listserv-blues-l@uunet.uu.net "A.C. Brockton" wrote: >If you don't already have them, I'd recommend the following by Otis: > >Right Place, Wrong Time >Lost in the Blues >Ain't Enough Coming In > >I like the album *Screamin & Cryin*, but it's an acquired tasted. Only for >Otis Rush diehards. The playing is a little disjointed, Otis sounds like he's >ripped out of his mind, but he really does sound like he's suffering. > >There's a new collection out of sixties Magic Sam tracks called The Late Great >Magic Same. It's pretty good, although the organ player nearly derails the >whole thing. It includes two live tracks and a few tracks that show up in >another form on West Side Soul. > >Personally, I'd probably buy anything by Magic Sam... don't let Mr. Shurman hear you say that you like Screaming and Crying.. ========================================================================= Date: Wed, 25 Oct 1995 13:34:47 -0500 Reply-To: C L Buchanan From: C L Buchanan Subject: New Amp for Christmas Just found out I'm getting a new amp from my wife for Christmas. It's a Peavey Classic 30 and a Classic 112 Enclosure. Does anyone use these?????? Chad ========================================================================= Date: Wed, 25 Oct 1995 14:02:56 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Tab Benoit...any questions It appears I will be going to see Tab this weekend and doing an interview So if you have any questions you'd like to ask Tab...Leeme know private mail and of course the interview will make it's way to blues-l...eventually LW ========================================================================= Date: Wed, 25 Oct 1995 14:04:01 PDT Reply-To: rjbauman@IQUEST.NET From: rjbauman@IQUEST.NET Subject: Re: Midi blues piano It's not the theory that hurts one's playing blues, it's that one tries to apply it while he plays in ways that go beyond the musical statement he is trying to make. You are absolutely right when you say to trust your instincts. The theory shouldn't direct how you play, rather it should make you aware of how musical parts fit. RJ Bauman ===================It's the "stuff" that you run across when "hunting & pecking" that is great. You can be trying to figure out a Albert King lick and stumble on a lick by someone else. I have bad ears and enough theory to hurt me. I started that theory stuff some years back and when I would play my mind was over ruling my heart. Had I been playing classical or STRICT jazz that would have been great, but with blues the heart/feeling rules. It really hurt my playing, I was into all the different modes/scales...etc and it showed. I don't think ANY education is harmful, but you got to know when to let it go and trust your instincts.....IMO and I am not a great player, so it's like Madonna telling you how to dress. I'm just saying what works best for ME.. LW====================== ========================================================================= Date: Wed, 25 Oct 1995 15:33:53 -0400 Reply-To: rew4@PSU.EDU From: Ross Whitwam Subject: Re: Blind Lemon Jefferson Comments: To: BLUES-L%BROWNVM.BITNET@psuvm.psu.edu Yazoo has a Blind Lemon compilation that presents a good and representative sampling of his output, but Document has Jefferson's complete works on 4 CD's -- DOCD 5017 - 5020. I'd whole-heartedly recommend getting all four, but if you're just testing the waters, I'd recommend picking up at least one of these. Chances are good you'll get hooked and want more -- and once you want more you'll soon want it all! :) With Document, you can accumulate it all and never have to worry about duplicating material you already have on another CD (this is true as well for all of the other pre-war artists Document releases -- and Document releases most of them.) For an intial purchase, I'd recommend _Blind Lemon Jefferson, Complete Recorded Works in Chronological Order, Vol. 3, 1928_. It features 21 songs, including "Penitentiary Blues", "See That My Grave Is Kept Clean", "Change My Luck Blues" (contains the "elgin movements" verse Robert Johnson incorporated into his version of "Walking Blues"), "Christmas Eve Blues", "Hangman's Blues"... well, actually all 21 are gems. Blind Lemon Jefferson: Complete Recorded Works In Chronological Order Vol 3 (1928) DOCD-5019 1. Blind Lemon's Penitentiary Blues Chicago, ca. Feb '28 2. 'Lectric Chair Blues " 3. See That My Grave Is Kept Clean " 4. Lemon's Worried Blues " 5. Mean Jumper Blues " 6. Balky Mule Blues " 7. Change My Luck Blues " 8. Prison Cell Blues " 9. Lemon's Cannon Ball Moan Chicago, ca. Mar '28 10. Long Lastin' Lovin' " 11. Piney Woods Money Mama " 12. Low Down Mojo Blues Chicago, ca. Jun '28 13. Competition Bed Blues Chicago, ca. July '28 14. Lock Step Blues " 15. Hangman's Blues " 16. Sad News Blues " 17. How Long How Long " 18. Christmas Eve Blues Chicago, ca. Aug '28 19. Happy New Year Blues " 20. Maltese Cat Blues " 21. D B Blues " Given the Eric LeBlanc seal of approval :) (It was his postings on Document releases that started me on my addiction to their CDs -- not necessarily a helpful thing for someone trying to get by on grad student pay.) Ross Whitwam rew4@psu.edu Dept. Biochem + Molec Biology Penn State University + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + > Any CD recommendations? > >phertel@cmc.doe.ca > OR bv808@freenet.carleton.ca >Local Time [25/10/95 8:25 AM] >"Wednesday's worse..." ========================================================================= Date: Wed, 25 Oct 1995 19:59:46 GMT Reply-To: Richard Cotenas From: Richard Cotenas Organization: California State University Sacramento Subject: Re: Recordings of "Crossroads"? Comments: To: bit-listserv-blues-l@uunet.uu.net Philip and/or Carol Decker (pandc.decker@NETSRQ.COM) wrote: : I have Robert Johnson's and Cream's recordings of Crossroads, : and was wondering who else has recorded it. I'd particularly : like a less muddy version of Cream's arrangement than the Live : at the Fillmore performance on Wheels of Fire. Shame SRV never : did it. : PJD Didn't Elmore James record "Crossroads"? Sorry I can't be more help. -- Richard Cotenas Calif. State Univ., Sacramento ========================================================================= Date: Wed, 25 Oct 1995 16:13:22 -0400 Reply-To: USBLUE5@AOL.COM From: "Gordon, Rich" Subject: Re: Robert Cray Concert Comments: To: DIMITROFF@delphi.com Robert was in Rockford on Saturday nite at the historic Coronado Theater. Lonnie Brooks opened and was great. He had the crowd up and sure knows how to work the audience. He set was only 50 minutes. Robert came and delivered a very technical performance. The hi-tech lazer show added to the show. Robert just played and tried to talk a few times but seemed ill at ease. I sensed he would have been more comfortable in a bar/lounge atmosphere where people could be dancing and enjoying themselves along with his music. He had a hard time reading an audience stuck in their chairs. I thought he was great but definitely had a different delivery as compared to Lonnie who worked well off the crowd. It's got to be difficult playing the blues in a sterile environment. A club is a much better place to get into the blues. I am still very glad him came to rockford. The show sold out...2200 people turned out to hear the blues in Rockford, IL. Rich Gordon WXRX Sunday Night Blues ========================================================================= Date: Wed, 25 Oct 1995 20:07:48 GMT Reply-To: Richard Cotenas From: Richard Cotenas Organization: California State University Sacramento Subject: Re: Midi blues piano fil Comments: To: bit-listserv-blues-l@uunet.uu.net Laurie Forti (laurie.forti@INFOEXCH.MIAMI.FL.US) wrote: : Do any of you Blues Piano Wizards out there have the ability to : get some pre-war piano techniques down on standard MIDI flies on IBM : compatable 3.5" floppies?? : I am trying to learn Blues piano the way the real guys did, by : imitation and copping riffs. I have NO interest in learning music : 'theory', reading sheet music, or struggling with the lack of sheet : music on _real_ Blues. Apparently, _very_ few keyboard people have : any grasp of the more fundamental, powerful, and interesting pre-war : styles. This isn't true at all (I mean the part about few keyboard people having any grasp...). Nicky Hopkins got a lot of his blues piano licks from Cripple Clarence Lofton. Dr John (Mac Rebennack) has an encyclo- pedic knowledge of blues and early jazz piano styles (and probably piano styles of rock and every other musical genre as well). There is a book of transcriptions by Eric Kriss (I think) called "Six Black Blues Pianists" that includes pre-war styles. If I were at home now, I could give you more info--there's a whole series of LP's based on the collection of some British dentist that is exclusively pre-war blues piano. If you're interested, let me know and I'll log on when I'm home and I can get this info for you. -- Richard Cotenas Calif. State Univ., Sacramento Library, Acquisitions Unit (916) 278-6951 ========================================================================= Date: Wed, 25 Oct 1995 14:44:44 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Otis Rush Screamin' And Cryin' Comments: To: David Goldstein In-Reply-To: <46luou$gf2@ipof.fla.net> You're right... or even READ that someone likes it. I still say that putting this out and reissuing it violate basic decency since it reflects a person who was literally out of his mind at the time (sent home early from the tour the next day) and incapable of giving a coherent performance, much less the brilliant ones he's turned out on other occasions. I've said before that it's the musical equivalent of a photo of someone with his pants down; put yourself in his place and decide how you'd feel about its release. I'd think Otis Rush diehards would be the LAST people it's for; they're the ones who should appreciate the painful difference between SAC and normal, decent Otis, of which there's enough to spend a whole day listening without wasting time on this abomination. Yeah yeah, people deserve a chance to hear everything no matter how bad, and/or it's the blues equivalent of Charlie Parker's "Lover Man." Maybe, but there are a few thousand better ways to spend your dollars on blues CDs you might even ENJOY that don't besmirch the reputation of the artist and record label(s). ========================================================================= Date: Wed, 25 Oct 1995 09:19:28 PDT Reply-To: rjbauman@IQUEST.NET From: rjbauman@IQUEST.NET Subject: Re: Neophyte questions-& vegetables & Big Bill & limited blooze content Comments: To: Richard Flohil ====================I did want to tell him that while I still don't eat vegetables (my anathema to green stuff is equal to the hatred of a former publicity client, k.d. lang, to meat), my wife the chef has persuaded me to eat them mushed up into soup and drunk with closed nose.================= Darn. Could of had a V-8 !!! :-) RJ Bauman ========================================================================= Date: Wed, 25 Oct 1995 17:11:29 -0400 Reply-To: rew4@PSU.EDU From: Ross Whitwam Subject: Re: Tommy Johnson, Son House, others Comments: To: BLUES-L%BROWNVM.BITNET@psuvm.psu.edu The first 2 CDs in Document Records' catalog are _Tommy Johnson (1928-1929) Complete Recorded Works in Chronological Order_, DOCD-5001, and _Son House and the Great Delta Blues Singers (1928- 1930) Complete Recorded Works_, DOCD-5002. On the first you'll get Johnson's entire recorded output of 17 songs. On the second you'll get: the 7 Son House recordings that are still available from his 1930 recording session for Paramount (House recorded at least 3 more songs for Paramount that no one's been able to find copies of); the 2 Willie Brown songs that are still available from the same 1930 recording session (Brown recorded at least 2 more songs for Paramount that are likewise lost); and songs from Kid Bailey, Garfield Akers, Joe Calicott, Jim Thompkins, Blind Joe Reynolds, and Rube Lacy. I don't have either CD, but if they're from Document, I think I can confidently say they are first-rate product. I've never seen a single Document CD for sale in any CD store, but you can order them directly from the company themselves, or, if you have a cooperative CD store around, you can get the store to special-order the CDs for you. (This is what I do -- the store doesn't charge extra for it.) Independent stores tend to be more friendly this way than chains. Some of the same material is available more readily on Yazoo 2002, _Masters of the Delta Blues: The Friends of Charlie Patton_. This contains the same 7 Son House recordings and the same 2 Willie Brown recordings as the Document CD, as well as 5 Tommy Johnson recordings. It also contains songs from Kid Bailey, Ishmon Bracey, Bukka White, Louise Johnson, and Bertha Lee. I have this CD and listen to it a lot. (I just wish Yazoo would provide the recording dates for all their songs the way Document does.) A warning though: some people have a hard time enjoying some of these recordings due to the surface noise on the source recordings (beat-up 78's borrowed from collectors, for the most part.) The Son House songs, especially, are in rough shape. But, as there are only a few surviving copies of some of these songs (only *one* copy of Son House's "Preaching Blues" is known to exist), that's the price that has to be paid. I find that once I start concentrating on the singing and on the songs' lyrics, I no longer notice the pops and crackles. Masters of the Delta Blues: The Friends of Charlie Patton Yazoo 2002 Son House: Walking Blues (unissued test) Grafton, WI May 30 My Black Mama (part 1) " My Black Mama (part 2) " Dry Spell Blues (part 1) " Dry Spell Blues (part 2) " Preachin' The Blues (part 1) " Preachin' The Blues (part 2) " Willie Brown: Future Blues " M and O Blues " Tommy Johnson: Maggie Campbell Blues Memphis, TN Feb '28 Big Fat Mama Blues Memphis, TN Aug '28 Canned Heat Blues " Button Up Shoes (take 1, unissued test) " Lonesome Home Blues (take 1, unissued test) " Kid Bailey: Rowdy Blues Memphis, TN Sept '29 Mississippi Bottom Blues " Bertha Lee: Yellow Bee NYC, Jan '34 Mind Reader Blues " Louise Johnson: On The Wall Grafton, WI May '30 Long Way From Home " Bukka White: I Am In The Heavenly Way Memphis, TN May '30 Promise True and Grand " Ishmon Bracey: Brown Mama Blues Memphis, TN Aug '28 Ross Whitwam rew4@psu.edu Dept. Biochem + Molec Biology Penn State University + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Steve Fay wrote: >What recordings are there of Tommy Johnson and prewar Son House?. >Also where can I find Willie Brown recorded? Can you tell that >I have been reading Lomax's book? > >Thanks SFDBLUES ========================================================================= Date: Wed, 25 Oct 1995 17:26:20 -0400 Reply-To: hhardy@BCONNEX.NET From: Hugh Hardy Subject: New Amp for Christmas <---- Begin Forwarded Message ----> Date: Wed, 25 Oct 1995 13:34:47 -0500 Reply-To: C L Buchanan From: C L Buchanan Subject: New Amp for Christmas To: Multiple recipients of list BLUES-L Just found out I'm getting a new amp from my wife for Christmas. It's a Peavey Classic 30 and a Classic 112 Enclosure. Does anyone use these?????? Chad <---- End Forwarded Message ----> No Chad, I'm sorry, nobody uses these. :-)> ========================================================================= Date: Wed, 25 Oct 1995 17:26:18 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Re: Tommy Johnson, Son House, others Comments: To: rew4@PSU.EDU In-Reply-To: <199510252111.RAA60486@r02n08.cac.psu.edu> from "Ross Whitwam" at Oct 25, 95 05:11:29 pm > I've never seen a single Document CD for sale in any CD store, > but you can order them directly from the company themselves, Document CDs COULD be found in better record stores, but usually in higher price as treated as imports until recently. Nowdays, Arhoolie is importing and distributing them, so the price got down to the regular CD price. Arhoolie still does not import all of Document releases though. Now, I understand you don't have Real Records (Iowa City) in your town - THE BEST little record store in the world. Craig, manager, is a blues fanatic and former blues DJ; Real Records has about 2500 blues CDs, plus 1500 LPs. I am scared to go there, because I spend lots of money and there are so many of CDs I want to have but can't buy. Ranko ========================================================================= Date: Wed, 25 Oct 1995 15:49:00 -0700 Reply-To: NED_KRAFT@HP0000.DESK.HP.COM From: Ned Kraft Subject: Chicago blues fest Anyone out there know when the 1996 Chicago Blues Festival will be. I need to have my family schedule the reunion around it - The dates or a phone contact would be much appreciated. Thanks loads, Dirty Ned ========================================================================= Date: Wed, 25 Oct 1995 18:53:17 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Where To Get Document (was Re: Tommy Johnson, Son House, others) Someone wrote: >> I've never seen a single Document CD for sale in any CD store, >> but you can order them directly from the company themselves, > > Document CDs COULD be found in better record stores.... A LARGE selection of Document releases is available at Tower Records, New Orleans and in Planet Music, Memphis (which anyone in the Memphis area seeking a superstore should check out. The local store you should support first is Shangri La Records). Other Towers I've been in have had good-but-not-as-stellar selections of Document releases. Some Document (and they can order others) is available at Be Bop Records in Jackson, MS and at Uncle Buck's Records here in Oxford, MS (truth-in-advertising: My brother owns a small stake in the store), which leads me to believe that any store with a serious blues selection would have some of the Document. And you can order ANY of them through Roots 'n Rythmn's mail order service. Their email and mailing address have been repeatedly supplied by Uncle eRIC (I'll dig it out again if you don't have it), 'though I've yet to hear back on one email query I sent 'em recently. I know that Tower and Uncle Buck's have Tommy Johnson and Son House. I'll bet that Planet Music and Be Bop have some of that stuff. Tom Freeland ========================================================================= Date: Wed, 25 Oct 1995 15:52:00 -0700 Reply-To: NED_KRAFT@HP0000.DESK.HP.COM From: Ned Kraft Subject: Music training I learned to play piano and French horn by reading music, but I can't be as creative when bridled by such organization. I now play by ear, but an understandin of chord progressions is extremely valuable when trying to teach songs to others. Learn the standard progressions and let your fingers do the rest. Dirty Ned ========================================================================= Date: Wed, 25 Oct 1995 17:24:59 -0600 Reply-To: Steven Fluet From: Steven Fluet Organization: Ala Carte Entertainment Subject: KOKKO TAYLOR'S CHICAGO BLUES - NOVEMBER Comments: To: bit-listserv-blues-l@relay1.uu.net All righty...I've kept y'all in suspense long enough...Here's the November List for Koko's! Nov 1-Dave Specter & Lynwood Slim Nov 2-Zora Young Nov 3 & 4-ICEBREAKER REUNION! Nov 6-J.B. Ritchie Nov 7-Nate Turner Nov 8-Howard and the Whiteboys Nov 9-Liz Manville w/ The Aron Burton Band Nov 10-Charlie Love Nov 11-Corbits Blue Nov 13&14-Piano C. Red Nov 15-MIGHTY BLUE KINGS Nov 16-Sharon Lewis Nov 17-CHIDECO ZYDECO Nov 18-Roy Hightower Nov 20-Bobby 'Slim' James Nov 21-Fernando Jones Nov 22-Fabulous Fishheads Nov 23-Joan Baby Nov 24-Shirley King Nov 25-Casey Jones Nov 27-Jasper Buchanan Nov 28-Johnny B. Moore Nov 29-Lovie Lee Nov 30-Karen Carroll Once again, Koko's is located on State and Division...Write me for passes or info! ========================================================================= Date: Wed, 25 Oct 1995 16:53:56 -0600 Reply-To: Steven Fluet From: Steven Fluet Organization: Ala Carte Entertainment Subject: KOKO TAYLOR'S CHICAGO BLUES - ICEBREAKER REUNION! Comments: To: bit-listserv-blues-l@relay1.uu.net All Right, crew...Here's the scoop on Koko's for November. First, I am proud to announce the special appearance of Albert Collins' ICEBREAKERS on November 3rd & 4th. This is the first reunion show in the Chicago Area and features members of Collins' band over the years. All musicians have played with Collins on a long term basis during his illustrious career as 'Master of the Telecaster'. Collins and the Icebreakers have garnered many awards as the hottest band on the blues scene and we are proud to be able to present this show as a tribute to Albert's memory. -Featured Players- Johnny B. Gayden - One of the original Icebreakers, Johnny is a 14 year veteran as Collins' bass player and the longest active member of the band in this show. Johnny recorded 9 CDs with Collins for Alligator and Virgin--Point Blank Records. Casey Jones - An original Icebreaker, widley known Chicago drummer and vocalist who toured with Collins for 5 years. Jones has gone on to form his own band and has just recently released (I 94) On My Way To Chicago on his own Airwax label. Robert 'Guitar Slinger' Noll - From Detroit, Noll played guitar behind collins for four years. Known for his blazing guitar riffs and exuberant spirit, Noll has incorporated a tribute to Collins as part of his regular show. Larry Burton - Originally from Clearwater, Mississippi, Larry grew up in Chicago and is now living in New York. Larry played guitar for Collins for 2 years and moved on to play with Son Seals, Lonnie Brooks, Otish Rush and Jimmy Johnson to name a few. Marvin Jackson - Native Chicago guitarist who toiured with Collins for four years and played on several of his recordings. Jackson is well known for his original rhythm patterns and innovative style on the rhythm guitar. Alan Batts - Chicago keyboard wizard who played locally and overseas with Collins and played on four recordings with him. He is known for his keyboard artistry. Batts has played widely in chicago. Sam Franklin - From Albequerque, New Mexico, tenor saxophone player, Franklin toured with Collins worldwide for 5 years. Known as 'Black Magic' Franklin for his electrifying solos and horn lines. Abb Locke - Chicago tenor saxophonist Locke toured with Collins for 2 years and has played locally in studio sessions as well as with his own international touring band. For those of you not yet up to speed on Koko's, It's located on State and Division in downtown Chicago. The performances will begin at 9 and the cover charge is $10...Ask me for a pass, and get a discount! ========================================================================= Date: Wed, 25 Oct 1995 18:57:33 -0400 Reply-To: Hanson123@AOL.COM From: Karen Hanson Subject: Re: key to the highway Bob Hardin said: > Luckily my Mac has a CD player >(okay, so the bass sucks, but at least I've got music), so I can >listen to >the blues while I'm reading about it on the Blues-L. >So I'm listening to the Essential Little Walter and here comes >this post >about Key to the Highway. A Mac user and a Little Walter fan. Yes! Good to meet you, Bob! :) Karen ========================================================================= Date: Wed, 25 Oct 1995 18:57:39 -0400 Reply-To: Hanson123@AOL.COM From: Karen Hanson Subject: Re: Billy Branch & Blues in the Schools Jeff asks: >Saw the result of a dozen students spending a week with Billy >at the King >Biscuit Festival. I was very impressed. I am interested in >doing >something like that in Des Moines. Does anyone know how to >get a hold of >him. His or his agents phone number would be appreciated. I was waiting to see if someone else would reply to this, but no one has, so I'll tell you what I can. I know that Billy performs every other Sunday at B.L.U.E.S. Etc. on Belmont in Chicago. I'm sorry, I don't have the phone number. I don't know whether or not the people there could/would tell you anything anyway. I don't know how the etiquette or protocal of that type of thing works. Anyway, I have a friend who has worked with Blues in the Schools in the past and if you give me a few days, I'll see what I can find out. Btw, Billy is wonderful, and Carl Weathersby is a talented guitarist and songwriter (and he has a great singing voice, too). If you don't have his new CD, The Blues Keep Following Me Around, look for it. Karen ========================================================================= Date: Wed, 25 Oct 1995 19:00:24 -0400 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: key to the highway Comments: To: Kevin Gibson In-Reply-To: <951023210432_52442148@mail02.mail.aol.com> On Mon, 23 Oct 1995, Kevin Gibson wrote: > Does anyone have the lyrics to Key to The Highway? > KEY TO THE HIGHWAY (Words & music by Big Bill Broonzy and Charles Segar) Copyright 1941, 1963 by Duchess Music Corp., NY I've got the key to the highway Yes, I'm billed out and bound to go I'm gonna leave here runnin' because walking is much too slow I'm goin' back to the border Where I'm better known because you haven't done nothing but drive a good man from home Now, when the moon peeks over the mountain Yeah . . . you know I'll be on my way I'm gonna walk, walk this ol' highway Deep until the break of day Now, gimme one more kiss baby Yes, just before I go 'Cause when I leave you this time now, baby I declare I won't be back no more So long and goodbye Yes, I had to say goodbye 'Cause I'm gonna walk, walk this ol' highway Deep until the day I die. That's from "The Book of the Blues", a great publication from 1963 with the music and lyrics to a lot of classic blues songs. Pen & Brenda Bogert Louisville KY ========================================================================= Date: Wed, 25 Oct 1995 16:25:25 -0800 Reply-To: Rich Del Grosso Comments: Authenticated sender is From: Rich Del Grosso Subject: New Orleans Folks on the list, A friend is traveling to New Orleans next week. Anybody have some info regarding blues concerts and clubs that are hot for the first weekend in Nov.? How about restaurants she must experience? Thanks Rich DelGrosso Blues Revue Magazine ========================================================================= Date: Wed, 25 Oct 1995 19:14:48 -0400 Reply-To: Ari Eisinger From: Ari Eisinger Organization: Voicenet - Internet Access (800)835-5710 Subject: Re: Blind Lemon Jefferson Comments: To: bit-listserv-blues-l@uunet.uu.net In article , Pat Hertel wrote: > Any CD recommendations? > >phertel@cmc.doe.ca > OR bv808@freenet.carleton.ca >Local Time [25/10/95 8:25 AM] >"Wednesday's worse..." Blind Lemon Jefferson is one of my two heroes, the other being Blind Blake. I recommend his Complete Recorded Works on the Document label (4 CDs sold separately). If you don't want four CDs of him, I recommend you get _King Of The Country Blues_ on the Yazoo label. Be prepared for the worst sound quality you ever dreamed of, as well as the best music! ARI EISINGER ==Blues and Ragtime Guitarist and Singer== ==Guitar Teacher== ========================================================================= Date: Wed, 25 Oct 1995 19:24:10 -0400 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington School of Fisheries Subject: Whiteboy and the Wagon Burners Comments: To: bit-listserv-blues-l@cs.washington.edu Anybody out there in Central New York-land know this great band? Do they still exist? I only saw them play a couple of times and could use a dose of their kind of R&B out here in the mellow northwest... Just wondering, Adrian ========================================================================= Date: Wed, 25 Oct 1995 19:33:10 PDT Reply-To: lparkes@KOMETS.K12.CFA.ORG From: Lawrence Parkes Subject: Re: Key to the H.and vocaleeese..... Hi blues-zellers (is it still B-Z's?) Just passin' through and saw the Key ? ... I've been doing this one again and just had to drop in...anyway........ This is the way J.C. Leonard does it. Claims he got it from a book. He's always makin' shit up though. These are the ones I use...... I got the key to the highway yes I'm billed out and bound to go gonna leave here runnin' walkin's much to slow Goin' back to the border where I'm better known cause you haven't done nothin' drive a poor man from home When the moon peeks o'er the mountain I'll be on my way gonna walk this old highway till the break of day Now give me one more kiss babe just before I go cause when I leave this time Know I won't be back no more So long and good bye yes I have to say goodbye Gonna walk this old highway till the day I die A bit of singin' wisdom from J.C.:: "Just Practice man, what else you gonna be doin'. This ain't opera" I guess he's right and I have found myself improving after a year of 2 30 min. drives a day (60 m. round trip to work and home) I can even hit some of the old McCartney tunes (sorry, braggin' a bit) My thoughts are: I don't particularly like to sound like someone else when I get a song down. I hope I can put something into the song that hasn't been done before. But for Practicing there is nothing like singing along with your recent favorite(s) and hitting the notes right along with the artist. lparkes@komets.k12.cfa.org 'Mellow down easy or your really gonna blow your top" $ ;-> ========================================================================= Date: Wed, 25 Oct 1995 09:11:16 PDT Reply-To: rjbauman@IQUEST.NET From: rjbauman@IQUEST.NET Subject: Re: Otis Rush, Magic Sam Comments: To: "A.C. Brockton" While we're on the subject, I picked up Otis' "So Many Roads" live CD yesterday. It's from his tour of Japan in 1975. I really like it, but am wondering if anybody who has heard *this* CD knows if their is a better live Otis Rush CD. Now that would be a great one.I have TOPS and don't want "Screamin' and Cryin'." thanks, RJ Bauman >If you don't already have them, I'd recommend the following by Otis: > >Right Place, Wrong Time >Lost in the Blues >Ain't Enough Coming In > >I like the album *Screamin & Cryin*, but it's an acquired tasted. Only for >Otis Rush diehards. The playing is a little disjointed, Otis sounds like he's >ripped out of his mind, but he really does sound like he's suffering. > >There's a new collection out of sixties Magic Sam tracks called The Late Great >Magic Same. It's pretty good, although the organ player nearly derails the >whole thing. It includes two live tracks and a few tracks that show up in >another form on West Side Soul. > >Personally, I'd probably buy anything by Magic Sam... > >================================================================= >Andrew Brockton http://www.primenet.com/~brock >Technical Documentation Services: including manuals, help, & HTML >================================================================= > ========================================================================= Date: Wed, 25 Oct 1995 21:01:21 -0600 Reply-To: Scott Berman From: Scott Berman Subject: Cotton CD for trade Would anyone like to trade something for my "Cut You Loose" CD by James Cotton? Write to me, not the list. Thanks, Scott _______________________________________________________________ Dr. Scott Berman bermansj@sluvca.slu.edu Department of Philosophy Office (314) 977-3160 St. Louis University Fax (314) 977-3874 St. Louis, MO 63103 U.S.A. ========================================================================= Date: Wed, 25 Oct 1995 18:59:18 -0700 Reply-To: Karen Johnson From: Karen Johnson Subject: Portland Greetings, I'll be in Portland Oct. 31-Nov. 3 for a conference. Naturally I'm interested in finding out who, what ,where and when regarding blues performances there. I'll be staying about four blocks from the Convention Center. Thanks in advance for your recommendations. KJ in SF ========================================================================= Date: Wed, 25 Oct 1995 23:21:42 -0400 Reply-To: Msbeale From: Msbeale Organization: America Online, Inc. (1-800-827-6364) Subject: Chris Cain Nov. Tour Dates Comments: To: bit-listserv-blues-l@uunet.uu.net CHRIS CAIN NOV. ITINERARY Just a short little tour before the holidays to promote Chris' current release "Somewhere Along the Way" on Blind Pig Records. Currently at #6 on the Hard Report this week!! WED & THUR NOV 1/2 BB KING'S, HOLLYWOOD, CA FRI NOV 3 JACK'S SUGAR SHACK, HOLLYWOOD, CA SAT NOV 4 CAFE BOOGALOO, HERMOSA BEACH, CA THUR NOV 9 ZOO BAR LINCOLN, NE FRI &SUN NOV 10 &12 THE GRAND EMPORIUM, KC, MO *SUN is a benefit performance for Johnny Clyde Copeland, who is need of a heart transplant. Performers include Otis Clay, Chris Cain and many others! WED NOV 15 SKIP'S LOUNGE, ANGOLA, IN THUR NOV 16 BIG HEAVY'S, LOUISVILLE, KY FRI&SAT NOV 17/18 BB KING'S, MEMPHIS, TN Chris Cain's 40th Birthday is Sunday, November 19 and we'll be having a surprise party for him at BB King's club in Memphis. Any well wishers can send Chris a note via email to : chriscain1@aol.com Thanks. ms beale st. "I ain't lyin'!" -Albert King ========================================================================= Date: Wed, 25 Oct 1995 23:39:07 -0400 Reply-To: robert barclay From: robert barclay Subject: Re: John Mayall et al >>what else? Covers of the greats ranging from Elmore James' "It Hurts Me Too" > >OK...is the above tune a Elmore tune or is it actually a Tampa Red tune.... >Who owns the copyright....? >Thanks > >LW > I am taking this from the liner notes of the TAMPA RED- THE GUITAR WIZARD album."and in the fifties Tampa was seldom active in the clubs. But Victor kept recording him, probably remembering not only his big hits of the 30's and early 40's, but also his 1949 number WHEN THINGS GO WRONG WITH YOU [IT HURTS ME TOO], which briefly made the national rythym -and- blues charts". It makes mention of who has the copwright. "Oh, I'm a little dry, a little crippled. You think you could bring me some beer and Bugler?" Tampa Red. rb. ========================================================================= Date: Wed, 25 Oct 1995 21:55:00 MDT Reply-To: bhargrov@MICRON.NET From: "" Subject: Re: Midi blues piano Comments: To: laurie.forti@INFOEXCH.MIAMI.FL.US In-Reply-To: <9510231322.0ISG400@infoexch.miami.fl.us> laurie forti wrote: > ... abstract _music theory_... has absolutely NO >relevance to PLAYING pre-war Blues piano... I have talked to a variety of folks who _teach_ music and none of them had the ability to listen to the songs and play them ... music theorists and academicians don't know anything about Blues. > Laurie, It's too bad you've had such bad experiences with music theorists and academicians, but you shouldn't paint them all so blackly. It's true that lots of academic musicians don't have a clue about playing blues. They're mostly people who learned to play by reading music and never got around to learning to improvise. Jazz theorists, on the other hand, are all over the blues. In fact, probably the most serious theorists are the people who can really play jazz, because you can't play jazz without understanding tons of music theory. And most people who can really play jazz can play the bejesus out of blues. They can also help you learn to play blues if they can sort out the portions of their encyclopedic knowledge that apply to helping you sound like those pre-war pianists, Muddy Waters, A.C. Reed or whoever happens to be your hero. I learned to play sax from a young jazz guy who could do that. Believe me, theory applied in the right way can make learning the blues go a lot faster and further. The key is in getting it the right way from the right people. So, keep talking to those theory people. Sooner or later you'll find a good one. Bill H. ========================================================================= Date: Thu, 21 Apr 1904 21:11:31 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Music Theory On Tue, 24 Oct 1995 23:03:54 -0500 Laurie wrote, >>I do look the blues from a theoretical stand point. >To me, that's like trying to develop a meaningful sexual relationship by reading books on physiology, endocrinology, and neuroanatomy. I understand the analogy (I tend to use my previous experiences in this regard. Maybe that's the problem. Sorry, back to the point) but I think it you can get a lot out of the Blues by thinking about the progression. An example I sometimes use is against the V7 chord, I will play the major third of the V7 which is ouside the Blues tonality of the I7 chord (in A, the V chord is E,of which G# is the major third. In Blues tonality, the G# is the Major 7 of A. This clashes against the dominant 7, G, of the A7 chord. However, playing a G# over the E7 creates an cool and interesting sound. Against the chord it is correct but it isn't part of the overall tonality. Be sure to resolve quickly. I hope you followed all that. Let's not get too out there. Other cool notes are the the 6 and 9 of a chord. The 6 is favoured by B.B. King while the 9 was often used by T-Bone Walker. Since I started writing this post there have been a few other comments regarding music theory/training and the Blues. When I play the Blues I forget about the theory. I play what sounds good. The theory cah help you. It can lead to new ideas and and help with the creativite process. Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Wed, 25 Oct 1995 23:15:12 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: EC at RAH !Kevin@AOL! Comments: To: slowhand@daacdev1.stx.com Kevin, My server is stripping the FROM: and REPLYTO: fields from all messages from AOL users (discrimination?) :-) Can you include your e-mail address in the text of a reply to this msg? Then I can send you the info. You can browse the World Wide Web by adding our site to your Favorite Places (choose the Low graphics level when you get to SoundTravels if AOL is slow). The URL is: http://www.xnet.com/~msuffern/soundtravels.html Mike >Could you please send me more info on your trip to see EC at RAH. I am >very interested in going if the price is right. > >Thanks >Kevin [ home work ] [ http://www.xnet.com/~msuffern/soundtravels.html ] [ The Blues&Travel Site, Blues Guides, Festivals, ] [ Eric Clapton @ Royal Albert Hall, London tour ] ------------------------------------------------- [ Above all, play what your heart tells you to... ] [ As you learn, your heart will have more to say. ] ========================================================================= Date: Thu, 26 Oct 1995 00:22:46 -0400 Reply-To: Patti Bowman From: Patti Bowman Subject: Re: If You're Near Indianapolis on Thursday... > I'll be the short, shy, blonde woman > accompanying the band. > Shannon Further proof that Shannon & I are not the same person. I'm a tall-ish reddish brunette (today) with not a shy bone in my body! Wish I was gonna make this show, Shannon. Sounds like a blast! -Patti who might be blonde next week but can't figure how to be short.............. ========================================================================= Date: Thu, 26 Oct 1995 00:22:59 -0400 Reply-To: Patti Bowman From: Patti Bowman Subject: Re: Training vs. Playing Shannon said, quite eloquently: >I feel that I have to speak to this issue of musical training vs. just playing. >I think if you took a survey of good players, you'd find an overwhelming >majority would tell you to get the formal training in music theory as well >as in >your chosen instrument(s). They would *also* tell you to play, play, play. I >don't know *any* musicians who would say "don't bother with the training, just >play." > > >So....I firmly believe that having all the knowledge you can stuff into your >brain concerning music theory and history, as well as the technical workings of >your instrument(s), can ONLY help your overall musicianship. You need the >foundation and the structure. > >And yes, there are exceptions to the rule. There are natural musicians, gifted >souls. No doubt. I've met a few. But the vast majority of us can do nothing >but benefit from knowledge and training. Learn, have fun, and experiment!! I have to agree. I am not a musician but am a graphic artist. I could design before I got my degree. That's talent. That's also not enough to survive as an artist. I went to school to get my degree. I learned different techniques and experimented. I learned why other artists did what they did by studying the masters and watching fellow students - I was influenced by them all. That opened more possibilities to me. On my own I may or may not have become the artist I am now without taking the extra learning opportunities. I will say that after I got my degree, I was encouraged to go on and get the next one. I couldn't see where that would have taken me where I wanted to go so I went out into the world and started doing the practical part of being an artist (I started my own design business and worked to better my art.) I have taken classes along the way on techniques that were new or rusty. I find myself inspired by other artists creativity and try to surround myself with creative people. my advice? The two -training and playing - go hand and hand. The best that you can be will come from a combination of both. -Patti who is trying to get inspired for a grocery catalog............... ========================================================================= Date: Wed, 25 Oct 1995 23:41:00 -0500 Reply-To: Rob Varak From: Rob Varak Subject: Hidden Gems At the risk of usurping LW's throne as King of the New Threads, I pose the following question. What are the two or three CD's that you have that you absolutely _love_, but are by artists aside from the acknowledged giants. I know that "giants" is a subjective term, but let's just say it means the _really_ big guys like Muddy, Wolf, Otis etc. I'm filling out a wish list and would love some neat ideas. Rob PS What's the "can't live w/out it" James Cotton album? Is there one? Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Thu, 26 Oct 1995 01:37:26 -0400 Reply-To: s060772@AIX1.UOTTAWA.CA From: Hosni Jaidane Subject: Why I sing the blues In-Reply-To: Hi, does anyone have the lyrics to "wyh I sing the blues" of B.B. king Have fun Hosni ========================================================================= Date: Wed, 25 Oct 1995 23:51:42 -0600 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: key to the highway Comments: To: Karen Hanson In-Reply-To: <951025185732_54299445@emout05.mail.aol.com> On Wed, 25 Oct 1995, Karen Hanson wrote: > Bob Hardin said: > > Luckily my Mac has a CD player > >(okay, so the bass sucks, but at least I've got music), so I can >listen to > >the blues while I'm reading about it on the Blues-L. > >So I'm listening to the Essential Little Walter and here comes >this post > >about Key to the Highway. > > A Mac user and a Little Walter fan. Yes! > Good to meet you, Bob! :) > > Karen > Well, he's a Little Walter fan. I guess he at least has that going for him. Too bad about the other..... ;-) Jay Watterworth (Whose wife is gonna get a Mac ;-( ) CU Boulder ========================================================================= Date: Wed, 25 Oct 1995 23:54:58 -0600 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: Music training Comments: To: Ned Kraft In-Reply-To: <"d0n-mK2000000000*"@MHS> On Wed, 25 Oct 1995, Ned Kraft wrote: > I learned to play piano and French horn by reading > music, but I can't be as creative when bridled by > such organization. I now play by ear, but an understandin > of chord progressions is extremely valuable when > trying to teach songs to others. Learn the > standard progressions and let your fingers do > the rest. > > Dirty Ned > When you played your French horn in the orchestra, did you go by "Dirty Ned"? Jay Watterworth CU Boulder ========================================================================= Date: Thu, 26 Oct 1995 15:54:42 +22303754 Reply-To: David Blanken From: David Blanken Subject: Re: Hidden Gems In-Reply-To: On Wed, 25 Oct 1995, Rob Varak wrote: > At the risk of usurping LW's throne as King of the New Threads, I > pose the following question. What are the two or three CD's that you > have that you absolutely _love_, but are by artists aside from the > acknowledged giants. I know that "giants" is a subjective term, but > let's just say it means the _really_ big guys like Muddy, Wolf, Otis > etc. I'm filling out a wish list and would love some neat ideas. My three hidden gems are: Various artists "Deep Blues soundtrack" - unbeatable modern delta blues by R.L. Burnside, Junior Kimbrough, Jack Johnson etc. Big Leon Brooks "Let's Go To Town" - straight ahead Chicago blues with no frills but plenty of soul Various artists "Hard Times : L.A Blues Anthology" - excellent material by Smokey Wilson, Harmonica George Smith, Hollywood Fats etc. > PS What's the "can't live w/out it" James Cotton album? Is there one? Has to be the recently reissued "The best of the Verve years". Guitarist Luther Tucker gets about as much solo space on this material as Cotton. There's some soul, some funk, lots of blues and Richard Shurman wrote the liner notes. What more do you want? :-) -Dave- ----------------------------------------------------------------- David Blanken E-mail: D.Blanken@nla.gov.au Phone: +616 2621473 ----------------------------------------------------------------- ========================================================================= Date: Thu, 26 Oct 1995 04:38:17 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - October 26th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ADAMS, STANLEY ACE (prod/songw) b. 1925-1026, NEW YORK CITY, NY COLLINS, WILLIAM "BOOTSY" (b/JAMES BROWN) b. 1951-1026, CINCINNATI, OH DETROIT JUNIOR (EMERY H. WILLIAMS JR.)(p) b. 1931-1026, HAYNES, AR HARRISON, WILBERT (v/KANSAS CITY) d. 1994-1026, SPENCER, NC JACKSON, MAHALIA (gospel) b. 1911-1026, NEW ORLEANS, LA JOHNSON, ED "JACK RAGGS"(tbn/arr/ONYX REC)d. 1961-1026, BRONX, NY 51 KING, SHIRLEY (v/GBW REC) b. 1949-1026, WEST MEMPHIS, AR MCDANIEL, HATTIE (v) d. 1952-1026, HOLLYWOOD, CA 57 PALEY, WILLIAM SAMUEL (ceo/CBS REC) d. 1990-1026, MANHATTAN, NY 89 ROBINSON, JESSIE MAE BOOKER (songw) d. 1966-1026, LOS ANGELES, CA 47 SMITH, GRACE (v) d. 1989-1026, NEWARK, NJ 81 VILLA, ALBERTO "BETO" (asax/tejano) b. 1915-1026, FALFURIAS, TX ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 26 Oct 1995 10:53:19 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Hidden Gems In-Reply-To: On Wed, 25 Oct 1995, Rob Varak wrote: > At the risk of usurping LW's throne as King of the New Threads, I > pose the following question. What are the two or three CD's that you > have that you absolutely _love_, but are by artists aside from the > acknowledged giants. I know that "giants" is a subjective term, but > let's just say it means the _really_ big guys like Muddy, Wolf, Otis > etc. I'm filling out a wish list and would love some neat ideas. > Without ANY doubt my first choice here is: Big Dave and the Ultrasonics "Love & Money" My other two would be: Debbie Davies "Picture This" Larry Garner "You Need To Live A Little" .....Although its hard to pick just two. I am assuming we are excluding people like Jimmy Dawkins which would be a whole 'nother thang. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [26/10/95 6:23 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 26 Oct 1995 10:56:59 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Tour database Anyone know what's happened to "http://www.pollstar.com/pollstar/search.html" ? I can't seem to get it anymore. (It was working monday) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [26/10/95 6:55 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 26 Oct 1995 06:02:46 -0500 Reply-To: Roger Struve From: Roger Struve Subject: Re: Guitar Carry-on Luggage experiences requested for NW Comments: To: Jinxblues@aol.com -Reply Hi Dick and fellow "helpful hint" bluesellers, there was no ultimate problem with taking the guitar. On the trip out of Minneapolis/St. Paul Int'n'l, not a word was said, and it FIT perfectly in the overhead ( i think it was a 757 jet). On the way back, no one said a word, although, I think i heard someone say "sir would you like to check that in first class?" when i got back to row 35, the overhead in the DC10 wouldn't accept the guitar....however a very helpful passenger noticing my dilemma, pointed out that there was a little "hole" between some of the overheads (like if they were manufactured as modules, and each module contained several overheads....there was a connecting space between these overhead compartments within each module) The guitar, with the slightest maneuvering, was safely tucked away, much to my relief! Thanks everyone on Blues-L that responded! (It helps to walk with an "attitude" that says, "don't even think of asking me to check this as baggage!!!!!!" (it's ALL in the eyes!) best and warmest regards, "flyin" delta doc roger ========================================================================= Date: Thu, 26 Oct 1995 09:02:12 -0200 Reply-To: Hudson Carvalho Bianchinni From: Hudson Carvalho Bianchinni Subject: Lightnin Hopkins records I would like some informations about all records of Lightnin Hopkins at 70 decade. Hudson Bianchini-Brazil bianchi@bc.unifenas.br ========================================================================= Date: Thu, 26 Oct 1995 11:46:20 GMT Reply-To: BRG From: BRG Organization: Information Resources and Technology Subject: Re: Otis Rush, Magic Sam Comments: To: bit-listserv-blues-l@uunet.uu.net Another Magic Sam(unless you got it) is Black Magic.Also, there's a live cd with Shake Jake on harp in a Chicago club. The cd is real rough, sound-wise. Somehow, it's still good for me. A real documentary, if you can get passed the weak sound quality. Come to think of it(the cd) sounds kinda like some of ny well used L.P's. BRG ========================================================================= Date: Thu, 26 Oct 1995 07:42:22 -0500 Reply-To: James Foster From: James Foster Subject: HAPPY BIRTHDAY, CLIFFORD ANTONE This weekend Clifford Antone celebrates his birthday and all lovers of good music and good times should wish the infamous Clifford a happy birthday. Clifford's well-known club, Antone's, is hosting two nights of birthday parties for him featuring the great line-up of IKE TURNER, DOUG SAHM, KIM WILSON, the Antone's house band, and - of course - many other guests. This will be some fun. Clifford likes to party and, who knows, maybe he will even put on that old bass guitar for us! While the Antone's club continues to just barely avoid being closed (operating costs, taxes, etc.) this weekend will offer a chance to celebrate what the club and Clifford have given to the world-wide music community. James Foster ========================================================================= Date: Thu, 26 Oct 1995 07:44:08 CST Reply-To: William Shute From: William Shute Subject: new Guy Forsyth Band CD on Antone's From: Bill Shute THE GUY FORSYTH BAND "Needle Gun" Antone's (US CD) ANT 0039 released October l995 In the last year or so, Guy Forsyth has IMHO become one of Texas' most powerful and riveting live performers. With a deep powerful voice that doesn't need a microphone, awesome harmonica tone, raw slide gtr technique, lyrics that hit hard yet find the lyricism and the poetry of modern Texas life, and a stage presence that must be envied by 99 out of l00 performers, GUY FORSYTH is a man to watch...and those of us who have seen him live have been watching for this new album for some time (his first album, HIGH TEMPERATURE, appeared in l994 on the Dutch "Lizard Discs" label). Unless your definition of the blues requires that a band ape the sound of an early 50s chess session (or some other place and time), I can't imagine any open-minded listener being disappointed with this album. >From the opening slash of slide gtr and a rap about a guy named "snakeboy" (no, not THAT one), this album grabs you by the throat and doesn't let up. Yet it's also quite diverse, incorporating clarinet on one track, washboard and shaker on others, even haunting excerpts from some tear-jerking 78 from the late 20s/early 30s by the likes of a Carson Robison or a Gene Austin (I can't identify this tune or artist exactly), a long piece of which closes the album. "Hometown Boy," the final Forsyth song (before the 78), is a tragic but finely-wrought small-town song worthy of the best of Joe Ely or James McMurtry, while another tune sounds like Louis Prima delivering lyrics written by Charles Bukowski!!! And the final 2/3 of the album is a non-stop blues blast that sounds loud at any volume. "Don't Turn Me In," reprised from the Dutch album (which must be not very common, because when I last saw Guy at Cibolo Creek, I had the CD with me, and almost everyone in the place came over to look at it!), is the kind of fatalistic story-song that Dave Alvin or Robert Earl Keen do so well, but Guy is such a superior vocalist and assumes the desperate persona of the song so well, it's almost scary. In short, this is a major effort from a major artist--still in his 20s, I think. Guy has a large word-of-mouth following down here in San Antonio, and his semi-regular gigs at Antone's and the Continental Club are NECESSARY events in the lives of many Austinites. I am so happy that a label with national distribution has picked up Guy Forsyth. Such a combination of musical power linked with a controlling intelligence and a keen sense of both the tragedy of life and the temporary joys that lighten the load is rare. And the album is completely unpretentious at the same time (pretentiousness is the fatal flaw in the music of James McMurtry, Robert Earl Keen, et al, to me at least)--he even lets his bassist, the BIG BIG man Gil "T" Isias who usually does a few Howlin'Wolfish tunes in concert, do a crunching version of "I'm A Hog For You" (my fave version since the Primitives' l966 garage-punk rendition), backed by Guy's FAT-TONED harmonica. How many other ways do I need to say that I love this album and that if any of this sounds intriguing to you, you should pick up NEEDLE GUN as soon as possible... Bill Shute San Antonio, TX ========================================================================= Date: Thu, 26 Oct 1995 07:58:17 CDT Reply-To: Rob Varak Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: Rob Varak From: L W Subject: Hidden Gems ----------------------------Original message---------------------------- Doug MacLeod - No Road Back Home (Nightbird nails me) Little Whitt & Big Bo - Moody Swamp Blues >PS What's the "can't live w/out it" James Cotton album? Is there one? The one I would not part with is: Mighty Long Time ...Matt Murphy is on there and also Wayne Bennet plays guitar on "Stormy Monday" LW ========================================================================= Date: Thu, 26 Oct 1995 08:24:16 -0500 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Ike Turner Ike Turner is going to be at Antone's this weekend (along with Kim Wilson, Doug Sham, Papa Chubby, and others) to celebrate Clifford Antone's birthday. Has anyone seen Ike Turner perform lately? Is he someone I really should see? I have to admit I don't know much about him, except for watching the movie "What's Love Got To Do With It?". Bruce Roberts Austin, TX ========================================================================= Date: Wed, 25 Oct 1995 23:12:44 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Supporting Blues -- Thanks If I ever again complain about Blues-l, please remind me about this.... As I wrote yesterday, this week our radio station in Toronto is doing fundraising. We're a small, low-power community station, and we depend very heavily on pledges for our budget. Tonight (Wed Oct 24), our show, Blue Soul, had its turn to appeal for funds. I'm pleased to report that we exceeded our show objective, and made a big contribution towards the station's goal. And part of the reason we exceeded our goal was a pledge from bluezeller Dick Waterman, calling from Oxford Mississippi with a pledge of "$1 for every year Richard Flohil has been alive." So you know it was a substantial pledge!! :-) When you're pitching for funds at a low-power community station in Toronto, it's great to get every call that comes in. But I can't tell you how great it felt to get a call all the way from Mississippi, and even greater that it came from someone who has made as many contributions to the blues as Dick Waterman. Thank you, Dick -- ths is the kind of thing that makes Blues-L great! Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Thu, 26 Oct 1995 11:35:16 -0200 Reply-To: Hudson Carvalho Bianchinni From: Hudson Carvalho Bianchinni Subject: Re: HAPPY BIRTHDAY, CLIFFORD ANTONE Comments: To: James Foster In-Reply-To: Very very happy birthday Cliffod Antone,you are great.Have a nice birthday and nice show.Greeting from Brazil. Hudson Bianchini ========================================================================= Date: Thu, 26 Oct 1995 13:55:29 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Training vs. Playing Comments: To: bit-listserv-blues-l@uunet.uu.net >>When I interviewed Doug MacLeod I asked him about Berklee (sp) since he was >>a graduate from there what it did for his BLUES playing. He said absolutely >>nothing. He had to forget all that and PLAY. He said Kenny Burrell told him >>to learn all he can and graduate, then forget it and play. IMO time spent >>playing pays bigger dividends than time spent studying playing...Maybe >>that's why I'm a programmer and not a muscian..... I think Doug was puttin' you on. No one ever got to be a better player by knowing LESS. I know that in evaluating my own playing, the periods when I've made the most progress were when I was spending LOADS of time in the woodshed, running through scales, doing tone exercises, practicing on a variety of instruments and playing several different styles of music. On a professional note, I remember several years ago being called into Kiva studios in Memphis for a session. I was a little surprised and somewhat concerned when I saw a friend of mine, also a harp player, come into the room. The producer apparently had some very specific ideas about what he wanted, and went to the piano to play what he wanted to hear on harp. My friend, arguably the better bluesman, took a stab at it and did a great bluesed up version. I pulled out my chromatic and played what the producer wanted. I went home with the check (it even cleared the bank!). I woudn't have gotten the gig if I hadn't spent countless hours running through different scales and learning to play different genres. Had I exclusively improvised to blues, I would have been walking home empty handed with my friend. BBB ///////////////////////////////////////////////////////////// B.B. Bean bbbean@cris.com Team OS/2 strictlow@aol.com Bean & Bean Cotton/Bean Farms 75474.2654@compuserve.com \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ ========================================================================= Date: Thu, 26 Oct 1995 14:44:47 GMT Reply-To: Richard Cotenas From: Richard Cotenas Organization: California State University Sacramento Subject: Re: key to the highway Comments: To: bit-listserv-blues-l@uunet.uu.net Don't neglect to listen to the version of this song by Steve Miller Band on the first LP "Children of the Future" (1968?), and the rather histronic jam on the Derek and the Dominos LP. I would also like to point out that the chord progression is similar to "Trouble in mind" which has been done by almost everyone, but I have a solo piano LP by Otis Spann recorded in Denmark which includes the song with guitar accompaniment by Lonnie Johnson. Kevin Gibson (KGIBSON743@AOL.COM) wrote: : Does anyone have the lyrics to Key to The Highway? -- Richard Cotenas Calif. State Univ., Sacramento ========================================================================= Date: Thu, 26 Oct 1995 09:19:19 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Training vs Playing This is really a useless thread, seeing that it is up to the individual. You can't discredit education at all. I would like to mention this: We on Blues-l used to vote blues performers in to the Blues-l HOF, before David Pimmel left the list. I would venture to say that if someone has that list of HOF'rs and could post it. That an overwhelming majority of those who WE voted on as being influential/popular enough to be in the HOF had zero formal musical training. The only thing that that really proves are the people who moved US the most knew the LEAST about theory....etc. I don't think Robben Ford made it in the HOF and most of you would probally rather hear RL Burnside than Robben... I do know Albert King eventually took some classes on theory in order to help him tell his horns players what to play (or so I read in an interview) I'm not talking training vs playing here, I'm just asking who do you listen to the most....The bluesman or the music major..... Nothing against theory, but the people I listen to 99% knew nothing about how a major,minor chord was built and the different degrees and their relations to each other. I don't think they needed it and I don't think any of us are qualified to tell Muddy or Sonny Boy that they needed improvement.... I guess it boils down to what YOU want to do. I just want to play, I don't care about the tonic, dominant, sub-dominant.....etc it's just what sounds good to my ears LW 'so list all them music majors (blues only) that are in YOUR collection" btw: No offense to anyone, just my VERY HUMBLE opinion ========================================================================= Date: Thu, 26 Oct 1995 16:21:32 +0100 Reply-To: Hans Korteweg From: Hans Korteweg Subject: Re: Hidden Gems Three not so hidden gems: - Robert Nighthawk on Chess (on Testament he is also sublime - does anybody know if there will be a reissue of the Pearl LP Bricks in my Pillow? - that's my number one Nighthawk) - Cookie and the Cupcakes - Jin - The Story of Goldband Records, Eddie's House of Hits - Ace (listen to Phil Philips) - Memhis Jug Band - Yazoo Hans ========================================================================= Date: Thu, 26 Oct 1995 10:23:52 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Hidden Gems.. Heres one that is not a hidden gem, but he is rarely mentioned on blues-l. It's probally because there is very little recorded output by him The Black Ace (BK Turner) on Arhoolie...great slide work LW ========================================================================= Date: Thu, 26 Oct 1995 16:30:40 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Training vs. Playing Comments: To: bbbean@cris.com >>>When I interviewed Doug MacLeod I asked him about Berklee (sp) since he w= as >>>a graduate from there what it did for his BLUES playing. He said absolute= ly >>>nothing. He had to forget all that and PLAY. He said Kenny Burrell told = him >>>to learn all he can and graduate, then forget it and play. IMO time spent >>>playing pays bigger dividends than time spent studying playing...Maybe >>>that's why I'm a programmer and not a muscian..... Barry Bean wrote > >I think Doug was puttin' you on. No one ever got to be a better player by >knowing LESS. I know that in evaluating my own playing, the periods when >I've made the most progress were when I was spending LOADS of time in the >woodshed, running through scales, doing tone exercises, practicing on a >variety of instruments and playing several different styles of music. And: My friend, arguably the better bluesman, took a stab at it and did a great bluesed up version. I pulled out my chromatic and played what the producer wanted. > >I went home with the check (it even cleared the bank!). > >I woudn't have gotten the gig if I hadn't spent countless hours running >through different scales and learning to play different genres. Had I >exclusively improvised to blues, I would have been walking home empty >handed with my friend. > >BBB Well Barry. I think the question was what formal training does to your BLUES-playing. And you mention a gig you got because you had learnt not to play blues. You even admits that your friend might have been the better bluesman between the two of you (without so much formal training I guess) - sorry but I just don t follow. I think that you have to be an artist to be a good blues-player - not just a good musician, . Formal training helps you to be a great musician and that is something that never hurts you. But it is in the ability to get people to listen, react and maybe cry a tear that you can single out a real artist. And BLUES is a powerfull tool in the hands of her or him. Bo ========================================================================= Date: Thu, 26 Oct 1995 10:29:13 -0500 Reply-To: David Silberberg From: David Silberberg Subject: Re: Training vs Playing At 09:19 AM 10/26/95 CDT, L W wrote: > >Nothing against theory, but the people I listen to 99% knew nothing about how >a major,minor chord was built and the different degrees and their relations >to each other. I don't think they needed it and I don't think any of us are >qualified to tell Muddy or Sonny Boy that they needed improvement.... > I would guess that your heros, LW, know more about those things than you're giving them credit for - they may not have gotten it from Juilliard (sp?), but they did pick a lot of it up somewhere. Whenever I hear or read interviews with some of the musicians that I would guess would be nothing but home grown players - with little or no music theory - I wind up hearing them say things like "minor 7th" "diminished 8th" "dominant piccoloed 13th" and other phrases that I certainly have no idea about, but which they understand. David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Thu, 26 Oct 1995 10:39:01 CDT Reply-To: David Silberberg Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: David Silberberg From: L W Subject: Re: Training vs Playing ----------------------------Original message---------------------------- >I would guess that your heros, LW, know more about those things than you're >giving them credit for - they may not have gotten it from Juilliard (sp?), >but they did pick a lot of it up somewhere. They pick it up from PLAYING, not STUDYING playing >Whenever I hear or read interviews with some of the musicians that I would >guess would be nothing but home grown players - with little or no music >theory - I wind up hearing them say things like "minor 7th" "diminished 8th" >"dominant piccoloed 13th" and other phrases that I certainly have no idea >about, but which they understand. I read alot, I'm curious to some of those artists you are talking about. I'm not doubting you in THE LEAST, I must be reading the wrong interviews LW 'They aren't my heros, they are who I like to listen to" ========================================================================= Date: Thu, 26 Oct 1995 11:41:33 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Re: Ike Turner > Bruce Roberts >Austin, TX Bruce: Ike tends to be a little undependable these days, but if he makes the gig you are seeing a giant of music history. Prior to meeting Tina about 1957 or so Ike was already a candidate for the Hall of Fame. He produced Howlin' Wolf in Memphis for the Bihari brothers (Flair/Modern) and assorted other stuff for Chess (Jackie Brenston's Rocket 88, according to some the first rock and roll record was indeed Ike and his band with horn player Brenston taking the vocal. Ike rarely sang himself). He also produced a body of blues recordings available on Flyright and perhaps Ace (?) that are superb. Initially he played piano, but once he took up guitar he cut quite a swath with his distinctive use of the whammy bar. Some of this early stuff has great guitar. THEN he met Tina. Their first album on Sue, Dynamite, is just that. Fool In Love and I Think It's Gonna Work Out Fine charted at number one or two in 1960 and 1961. Subsequently they turned out several more fine albums on Sue and Kent and a bunch of more mediocre ones on a variety of labels. I've only seen his recent work on one TV talk show, I forget which, where he plays behind some new female singer who I believe he recently married. But I read a review of one show he did in the past year or two where he sat down at the piano and told the audience he was going to give them a lesson on the blues and proceeded to do just that. It's a bit iffy, but if it was within a hundred miles of me I wouldn't miss it. Joel Slotnikoff ========================================================================= Date: Thu, 26 Oct 1995 12:53:06 -0400 Reply-To: DBrech@AOL.COM From: DBrech@AOL.COM Subject: question A friend of mine suggested I ask you - Born in Mississippi but raised in Chicago, this blues artist recorded "I'm a Man '55" and performed at Carnegie Hall. Thanks! David Brecheisen ========================================================================= Date: Thu, 26 Oct 1995 12:55:33 -0400 Reply-To: Steven M Salvi From: Steven M Salvi Subject: SIGNOFF BLUES-L please take me off the list ========================================================================= Date: Thu, 26 Oct 1995 13:17:16 -0400 Reply-To: James Leftwich From: James Leftwich Subject: Re: hidden gems Anything by John Mooney Jim ========================================================================= Date: Thu, 26 Oct 1995 13:11:43 -29900 Reply-To: Michael Kaloyanides From: Michael Kaloyanides Subject: Dissing Music Theory Comments: To: Laurie Forti In-Reply-To: <9510231322.0ISG400@infoexch.miami.fl.us> As a music teacher, I can't let you slam music educators and the value of music theory. Music theory abstract and irrelevant? Them's fighting words! On Mon, 23 Oct 1995, Laurie Forti wrote: > From: msuffern@xnet.com > >I sort of assumed that you have some skill at the piano. > >If you don't, then the following is important... > >You *should* learn three things: > >1. What key every note is on, on the keyboard (only 12 of 'em, that's > easy, huh?) > >2. What an interval is, half step and a whole step are required - > > major, minor, 7th, etc, are good ones too, but, you can reverse > > engineer that information from learning chords... > >3. How to construct chords. You can memorize chord patterns (not a bad > > start) and later you'll begin to recognize patterns of intervals > > within the chords. > Although I appreciate your good intentions, this falls within the > general domain of abstract _music theory_ and has absolutely NO > relevance to PLAYING pre-war Blues piano. Certainly, the guys that > developed this music did NOT get a BS in Music before they > learned/created this form. Music theory is anything but abstract and irrelevant. Believing so, you just reveal your ignorance of what music theory is. An understanding of music theory, the study of musical structures such as scales, chords, and form, is essential to creating and performing music in a MEANINGFUL way. Without understanding the blues scale, I, IV, and V chords, and the 12-bar form, you could only hope to learn a blues song by note-by-note rote memorization. Hell, your budgie could do that. Without a doubt, the vast majority of noted blues musicians have had a deep understanding of the theory of the blues, its language, even though they may not have possessed the technical vocabulary to describe the grammar of their music. > Obviously, I have talked to a variety of folks who _teach_ music > and none of them had the ability to listen to the songs and play them. > One teacher with 20 years experience, who claimed to teach 'advanced' > piano, and who had an existing like for Boogie Woogie flailed around > for 4 hours trying to cop McCoy's version of "How Long" with about 10% > success. > That is, there is a huge difference between knowing abstract and > irrelevant music theory in the domain of the intellect and having a > 'good ear' and being able to reproduce the music on hearing it. I > seek those with the latter talent; those with the former abound and > can not help me. Well, I'm a music teacher, theorist, academician--all the identities you "dis"--and I have great ears. Most of my colleagues have great ears. The piano teachers you mention who can't perform by ear are handicapped by a LACK of music theory, not too much. They are the ones who learned music by rote, the budgie method. If you play a riff for me, I'll play it back to you, I'll play it in any key you want, I'll play it straight or "swing it", I'll play it in major or minor, and I'll cnahge it a little each time I play it to keep it interesting. I'll even transcribe it to music manuscript paper so your piano teachers can play it. You and your budgie couldn't do any of that without music theory. You see, music > theorists and academicians don't know anything about Blues. > Wheh! What piano teacher tortured you with Fur Elise? Michael G. Kaloyanides Department of Music & Sound Recording University of New Haven ========================================================================= Date: Thu, 26 Oct 1995 12:41:10 -0500 Reply-To: David Silberberg From: David Silberberg Subject: Re: Training vs Playing At 10:39 AM 10/26/95 CDT, L W wrote: > >They pick it up from PLAYING, not STUDYING playing I think they pick it up from listenning - to a teacher, a mentor, a friend, a relative. > >>Whenever I hear or read interviews with some of the musicians that I would >>guess would be nothing but home grown players - with little or no music >>theory - I wind up hearing them say things like "minor 7th" "diminished 8th" >>"dominant piccoloed 13th" and other phrases that I certainly have no idea >>about, but which they understand. > >I read alot, I'm curious to some of those artists you are talking about. I'm >not doubting you in THE LEAST, I must be reading the wrong interviews > I'll try to find some examples - seems to me the Muddy interview on the plantation recordings - the one where he talks about Spanish tuning - is one - I'll have to listen to it at home. I doubt we really have any disagreement here - I would guess you agree that these were not ignorant, by guess and by golly musicians - they did too many terrific things too consistently to make me believe they at least understood the theoretical concepts. David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Thu, 26 Oct 1995 12:41:08 -0500 Reply-To: "Pat Hertel (by way of David Silberberg )" From: "Pat Hertel (by way of David Silberberg )" Subject: Re: Training vs Playing I know it's mis-stating the issue somewhat but how can anyone argue that you will play better by knowing less. Sure [FILL IN THE BLANK] was a blues legend without (purportedly) any formal training. I would argue the obverse ... Just IMAGINE what [FILL IN THE BLANK] COULD have done if he did have the training. It's only what you DON'T know that restricts you or bites you in the ass. They say "ignorance is bliss". Sure but only because you live in a small world and you don't know any better. No-one would be silly enough to say that training can replace talent, it might make up for some lack of talent. Imagine if you have BOTH. I reject out of hand any argument that implicitly states that knowledge get's in the way of talent or does anything in the way of diminishing it. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [26/10/95 12:53 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 26 Oct 1995 12:45:49 -0500 Reply-To: Roger Struve From: Roger Struve Subject: Hidden Gems.. -Reply Comments: To: ISTS024%UABDPO.BITNET@uunet.uu.net His signature song, Black Ace, is absolutely incredible. He played slide exclusively (or near exclusively) lap style. Careful listening will detect that there are slide bar techniques at work characteristic of pedal steel guitar players. ddr. ========================================================================= Date: Thu, 26 Oct 1995 13:11:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Re: KOKKO TAYLOR'S CHICAGO BLUES - NOVEMBER Comments: To: stevef@ELMHCX9.ELMHURST.EDU Steve, This looks great - I'm so glad some of the lesser known Chicago artists are getting a chance to go beyond the ghetto/neighborhood clubs and play for bigger - we hope - audiences. See you soon. -Bonnie >All righty...I've kept y'all in suspense long enough...Here's the November >List for Koko's! > >Nov 1-Dave Specter & Lynwood Slim > >Nov 2-Zora Young > >Nov 3 & 4-ICEBREAKER REUNION! > >Nov 6-J.B. Ritchie > >Nov 7-Nate Turner > >Nov 8-Howard and the Whiteboys > >Nov 9-Liz Manville w/ The Aron Burton Band > >Nov 10-Charlie Love > >Nov 11-Corbits Blue > >Nov 13&14-Piano C. Red > >Nov 15-MIGHTY BLUE KINGS > >Nov 16-Sharon Lewis > >Nov 17-CHIDECO ZYDECO > >Nov 18-Roy Hightower > >Nov 20-Bobby 'Slim' James > >Nov 21-Fernando Jones > >Nov 22-Fabulous Fishheads > >Nov 23-Joan Baby > >Nov 24-Shirley King > >Nov 25-Casey Jones > >Nov 27-Jasper Buchanan > >Nov 28-Johnny B. Moore > >Nov 29-Lovie Lee > >Nov 30-Karen Carroll > >Once again, Koko's is located on State and Division...Write me for passes >or info! ========================================================================= Date: Thu, 26 Oct 1995 13:18:17 CST Reply-To: William Shute From: William Shute Subject: Bobby Byrd got soul! From: Bill Shute BOBBY BYRD "Bobby Byrd Got Soul!--The Best of Bobby Byrd" Polydor 31452 7987-2 (US CD) generous playing time (over an hour, but I didn't count) recorded between l964-l972 When I was mentioning the major label reissue programs the other day, I mentioned Tim Rogers who was doing the "James Brown reissue A&R" at Polydor in the 80s. Harry Weinger seems to have been handling this the last few years, and he's doing a fantastic job--exemplified by this long-overdue package of probably THE most essential and deep-rooted member of the ongoing "James Brown FAMILY" over the years, BOBBY BYRD. In terms of quality AND (especially) quantity, the James Brown of the l960s and early l970s must be unmatched by any other major artist. I remember as a little kid buying 45s in the l969-71 periodthat everytime a visited a record store there were three or four new Brown and Brown-related 45s available. And I missed many of the People and Brownstone label releases, many of which I (as a record collector) only later stumbled across and only in promo copies. Still, when I saw the discography at the end of Brown's autobiography (I hope the Thunder's Mouth reprint of this book still has the discography) I was blown away by how many 45s and albums this man produced--both by himself and on the members of his extended musical family (check out the still-in-print two volumes JAMES BROWN'S FUNKY PEOPLE for hot material by people such as the sultry LYN COLLINS). You could literally collect nothing but Brown and Brown-related discs and have a life's work ahead of you!!! Thankfully, Polydor realizes what a body of work they have (with tons of quality unreleased stuff and full versions of songs that came out only in edits, etc.), and are mining the vein in a tasteful and thorough manner. Bobby Byrd is without a doubt the deepest-rooted member of the Brown musical family, as the Byrd family sponsored the young James Brown when he was released from reform school as a teen...so in a sense he's really like a brother. His own musical development is quite fascinating on its own. Chronologically, this set begins with some lesser-known singles for Smash circal964. If you remember, Brown could not for contractual reasons "sing" on the Smash material, so that's why there are so many instrumentals from that period (some of which Byrd says HE played the organ on, not Brown), and records featuring singers in the Brown entourage. Tracks like "No one Like My Baby," "We're in Love," "I'm Lonely," "I Love you So" are solid and fascinating songs that lack the force of Brown's persona and dynamism, yet have a curious, understated attraction to them and could no doubt have done better on the charts (only one of those charted) were they not part of a glut of product and competing with Brown's OWN records for Mercury/Smash's promo budget. As the l960s progressed and Brown went supernova creatively and as a personal force, completely redefining the song form and traditional concepts of chord progressions and "changes," Byrd's own work mirrored this transition, and the man adapted well to the world of nascent FUNK. In fact, tunes like "I KNow YOu Got Soul," "I Need Help (I Can't Do It Alone" and "Hot Pants--I'm Coming, coming, I'm Coming" are definitive slices of late soul/early funk which stand alongside Brown's own records as dynamite classics of the form. Yet, during this period, Byrd could still record a cover of "When Something Is Wrong With My Baby" (unissued at the time) which is quite distinctive and slightly- skewed enough to pull in the attentive listener and exemplify the UNIQUE Bobby Byrd style. The early 70s funky workouts on the Brownstone label are so obscure that I'd bet few have heard these, but like his boss JB, Bobby Byrd continued to do a diverse mix of material, such as the l973 cover of "Signed, Sealed,& Delivered." Since '73, Mr. Byrd has been outside the JB orbit, often working with his wife, the bewitching Vicki Anderson. This collection is programmed for playability, not chronologically (altho they do a very wise thing in the credits--give you the song numbers in Chronological order, so you can program the CD player to go from track 20 to track 14 etc. when you want to hear the package in chron. order), and it's an essential package for the JB fan...but also it's quite possible that those who find Brown himself too over-the- top (and I know they must be out there!) would enjoy Byrd's work. Bobby Byrd helped compile and design the CD, and he can certainly be proud of it. It took a VERY secure man to stand in Brown's shadow all those years. As Byrd himself says in the album's liners, "With James running things, you could never get a hit as big as his, but I always knew that going in...Hey! we started out together. I pulled HIM up. And oh, man, we would get down." The music of Bobby Byrd and James Brown always revitalizes me-- in terms of "Maximum R&B," this is it! Bill Shute San Antonio, TX (tomorrow night, direct from East Austin, it's W.C.Clark here in San Antonio. Check out his solid BLack Top album HEART OF GOLD and his tracks on the recent Blacktop "Blues Costume Party" comp). Late breaking news for the rockabilly fan: the Rosie Flores/Wanda Jackson duo will be playing SAN ANTONIO (not just Austin) on Friday, Nov. 24th. Thanks to Jerry Clayworth for scoring this booking coup...you know where I'll be THAT night... ========================================================================= Date: Thu, 26 Oct 1995 11:31:01 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: HAPPY BIRTHDAY, CLIFFORD ANTONE : INTERVIEW & CD DISCOGRAPHY Comments: To: BluesHvn@aol.com Since tomorrow is Clifford Antone's birthdate, I'm reposting an interview Dan Enright e-mailed me last year. It was written by Chris Gray and available in the University of Texas' on-line paper THE DAILY TEXAN (Friday, July 8, 1994 edition). I've supplemented the interview with a listing of their CDs. If you have Web access, check them out at =========================================================================== When people, whether it's the City Council, tourists, or even someone who actually believes it, refer to Austin as the "Live Music Capital of the World," they're usually thinking one thing: Antone's. Over 19 years, three locations and too many broken guitar strings to count, Clifford Antone's labor of love has become as much of an Austin institution as the Lege, Shiner Bock or disappointing UT football teams. Antone's, celebrating its 19th anniverary all next week, started down on Sixth Street (back when it was still cool) on July 15, 1975, with music by the "King of the Bayou," the late Louisiana accordion king Clifton Chenier. Since then, the club has moved twice, first to Anderson Lane in '79 and then to its present location at 2915 Guadalupe St. in 1982. The sheer degree of talent that has sat or stood on Antone's stage is staggering: Local legends like Stevie Ray and Jimmie Vaughan, Kim Wilson and the Fabulous Thunderbirds, Angela Strehli, Marcia Ball and Lou Ann Barton; not to mention blues greats from all over like Muddy Waters, Lightnin' Hopkins, John Lee Hooker, Albert King, Albert Collins and Jimmy Reeves. Unfortunately for both Antone and the world, many of the old musicians are passing on faster than new ones can arise to take their place. "One of the biggest changes is that we've lost so many of the older people [Muddy Waters, Big Walter Horton, Eddie Taylor, Jimmy Reeves, Clifton Chenier] up to this year, losing Albert King and Albert Collins," Antone said from his home Thursday. "Those changes are the most traumatic. The people that made us and taught us - the majority of them are not there any more. You can imagine the void that leaves." There are young artists, many of them local, who study the blues and attempt to carry on the tradition. "Somehow, someway they just keep coming up," Antone says. "We've got some really really good ones coming up - Sue Foley, Teddy Morgan, Johnny Moeller, Mike Flanagan. There's a bunch of really young ones out there - I mean like 14 or 15 who were influenced by Stevie [Ray Vaughan, of course] and who found out Stevie was influenced by Albert King, Albert Collins and Hubert Sumlin [Howlin' Wolf's guitarist]. They just start studyin' the whole history of the blues." Some would say that studying the blues is not enough, that no matter how good your chops are, if you haven't lived the blues, you can't play them. Antone agrees -- to a point. He knows there is a difference in generations of the blues, but doesn't think it necessarily hurts the music. "The only difference is you can't tell the story of the [Mississippi River] Delta if you didn't live it," he says. "You can't tell what it's like to get up before sunrise and pull a mule pickin' cotton and choppin' cotton until the sun sets and not having shoes until you're seven years old. That's a story, and they would tell it with their guitar. "Of course, these kids, or Stevie, or any of them, never lived that way. But obviously they have a great sensitivity for the feel of the music. And they've had their own blues in their lives, too. And the times have changed for everyone." Antone's is a true landmark that has almost gone beyond status as a mere club. In a town where the life span of a club is more often measured in months, 19 years is virtually unheard of. And although this isn't in any C of C brochure, especially with the way things are now, the blues in Austin were nonexistent in 1975. Antone knows -- he was there. "[The blues] wasn't nothin'." he says. "It's all because of that club. We've brought back a lot of careers, man." And Antone did it himself. The Port Arthur native from a family famous for its po-boy sandwiches took the Louisiana blues and zydeco he grew up with, incorporated the Chicago-Delta sound that produced so many blues masters and added some Texas boogie-woogie rock-flavored blues and came out with something that has probably done more for Austin than either the Legislature or the University. So why isn't the city more accommodating of one of its last remaining legends? "The only reason we've made it is because we just try so hard, without any help from anyone except for friends," Antone says. "The city makes it hard on me, with high property taxes, the fire marshal givin' you tickets, all that kind of crap makes it hard on you." Speaking of the fire marshal, Antone has had more than his share of difficulties. During this year's South by Southwest showcases, Antone's was the only club to recieve a citation for overcrowding. "That's why I'm doin' Buddy Guy at the Terrace, 'cause I'm paranoid. [The fire marshal] could come out and destroy the whole thing," he says. "It's funny that after being in that location for 12 years all of a sudden it's too crowded. I remember opening [the club] with the Thunderbirds and it was packed to the walls in '82. It's funny I was the only one that got a ticket during the whole South by Southwest and every club in town was packed. They could have wrote a hundred tickets that night and the next night. The next night I was even more crowded than I was on Friday when I got the ticket. No one helps." Nevertheless, Antone, who says business has been "pretty good" lately, keeps featuring the music he loves while keeping one eye on the future. Although details are still sketchy, a deal is in the works with the San Antonio-based Billy Blues chain of nightclubs to open Antone's Billy Blues sometime soon. Antone's has also begun featuring non-blues acts regularly, including K-NACK's Homegroan local alternative showcase every Wednesday night. "That's for the kids," Antone says. "I mean, there's not that many blues artists left. We like to give everyone a chance to play. If I could bring guys out of the Delta seven nights a week I'd do that. There's a lot of great musicians around the world and even out of Houston who I'd love to bring, but people just don't support that kind of thing." But Antone gets enough support from his friends, musicians and media to keep going. As long as that sign at 2915 Guadalupe St. is lit, Clifford is somewhere smiling, because he's doing "something that we love doin'." Chris Gray Daily Texan Staff ANTONES'S CD DISCOGRAPHY ======================================================================= 0002 RONNIE EARL & BROADCASTERS I LIKE IT WHEN IT RAINS 0004 VARIOUS ANTONE'S 10TH ANNIVERSARY ANTHOLOGY 0006 ANGELA STREHLI BAND SOUL SHAKE 0007 JAMES COTTON LIVE 0008 DOUG SAHM JUKE BOX MUSIC 0009 LOU ANN BARTON READ MY LIPS 0010 SILENT PARTNERS IF IT'S ALL NIGHT IT'S ALL RIGHT 0011 OMAR & THE HOWLERS MONKEY LAND 0012 JIMMY ROGERS LUDELLA 0013 MATT "GUITAR" MURPHY WAY DOWN SOUTH 0014 VARIOUS DREAMS COME TRUE 0015 JAMES COTTON MIGHTY LONG TIME 0016 VARIOUS ANTONE'S ANNIVERSARY ANTHOLOGY V. 2 0017 SNOOKY PRYOR TOO COOL TO MOVE 0018 ZUZU BOLLIN TEXAS BLUESMAN 0019 SUE FOLEY YOUNG GIRL BLUES 0020 PINETOP PERKINS PINETOP'S BOOGIE WOOGIE 0021 LOU ANN BARTON OLD ENOUGH 0022 0023 KIM WILSON TIGERMAN 0024 STEVE JAMES TWO TRACK MIND 0025 SUE FOLEY WITHOUT A WARNING 0026 LUTHER TUCKER SAD HOURS 0027 DOYLE BRAMHALL BIRD NEST ON THE GROUND 0028 SNOOKY PRYOR IN THIS MESS UP TO MY CHEST 0029 LEWIS COWDEY IT'S LEWIS 0030 STEVE JAMES AMERICAN PRIMITIVE 0031 LAVELLE WHITE MISS LAVELLE 0032 JOHNNY NICHOLAS THRILL ON THE HILL 0033 CANDYE KANE HOME COOKIN' 0034 KIM WILSON THAT'S LIFE 0035 TEDDY MORGAN RIDIN' IN STYLE 0036 DOUG SAHM LAST REAL TEXAS BLUES BAND 0037 SUE FOLEY BIG CITY BLUES 0038 CANDYE KANE KNOCKOUT 0305 MEMPHIS SLIM/MURPHY/TAYLOR TOGETHER AGAIN ONE MORE TIME 9901 VARIOUS BRINGING YOU THE BEST IN BLUES 9902 VARIOUS ANTONE'S WOMEN BRINGING YOU THE BEST 9905 VARIOUS CAN'T LIVE WITHOUT IT ========================================================================= Date: Thu, 26 Oct 1995 14:34:44 -0400 Reply-To: bob unger From: bob unger Subject: playing vs. learning Man, I can't believe some of the responses I've read on this thread. Am I reading this right? People are actually saying thing's like, don't learn, dont educate yourself, music is to be played and that is it.......it seems to me, some people are saying if you learn about music, theory, etc...you will end up hurting your talent????? I cant believe I'm reading this?!?!?!? BU bob@sun.bnkst.edu ========================================================================= Date: Thu, 26 Oct 1995 13:33:28 CST Reply-To: William Shute From: William Shute Subject: Teddy Reynolds From: Bill Shute I was just informed by someone who spoke to Texas Johnny Brown this morning that the great Gulf Coast keyboard player/vocalist/songwriter Teddy Reynolds is recovering from TRIPLE bypass surgery within the last week or so. He is now at home, and doing well in his recovery. Mr. Brown says that Teddy has been ordered by the doctor to take at least 6 weeks off from performing(at least!). We all certainly hope that Teddy Reynolds' spunky spirit, great enthusiasm, and fine sense of humor will help him through this difficult period. I haven't cleared this with anybody, but I am pretty sure that Mr. Brown would not mind having "get well" messages for Teddy sent via TJB. Teddy Reynolds c/o Johnny Brown 21218 Park Willow Katy, TX 77450 Bill Shute San Antonio, TX ========================================================================= Date: Thu, 26 Oct 1995 11:45:40 -0700 Reply-To: Chris Adams From: Chris Adams Subject: Steel Guitar (Was RE:Hidden Gems.. -Reply Comments: To: Roger Struve In-Reply-To: Anyone interested in the steel guitar, both pedal, lap and other, should check out the URL http://www.well.com/user/wellvis/steel.html. Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us On Thu, 26 Oct 1995, Roger Struve wrote: > His signature song, Black Ace, is absolutely incredible. He played slide > exclusively (or near exclusively) lap style. > > Careful listening will detect that there are slide bar techniques at work > characteristic of pedal steel guitar players. > > > ddr. > ========================================================================= Date: Thu, 26 Oct 1995 18:53:12 GMT Reply-To: disilvs@VAX.SBU.AC.UK From: disilvs@VAX.SBU.AC.UK Subject: subscrition hi guys !!! tell me more about your newsgroup thanks ========================================================================= Date: Thu, 26 Oct 1995 15:06:04 -0400 Reply-To: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA From: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA Subject: Re: Midi blues piano <> Of course you can! Bix Beiderbecke did it every day. Hell, he could barely read music! I'll modify your comment to something like, "you can't play jazz without understanding a ton of MUSIC." Theory is simply the names and formal relationships given to describe the things a good musician of any persuasion already knows and has internalized. Theory is a way to describe music in non-music language. Theory lets us know we all understand what we're talking about. But knowing theory, by itself, isn't particularly useful to musicians while playing, and I know of few to no musicians who actively consider theoretical constructs while they're actually playing. It's one of those things that, well, you either know it in your gut or you don't. And you get that "gut" by understanding and listening to music as music, not as theory. Theory helps explain the "why" but does little to enhance the "how" in the absence of that gut understanding of the sound. <> But again, I think this comes more from listening and playing than in theoretical learning. If you're interested in dissecting existing music, theory helps a lot. You transcribe solos off old '78s, look at them, see how things done, then think about how they could be done differently. But ultimately it comes back to hearing something in your head and making the horn in your face or the keyboard under your hands produce that sound, and this act transcends theory pretty fast. The difference between theory and playing blues is sort of like the difference between an automotive engineer and a Formula 1 driver. The driver may be helped by knowing engineering, but ultimately the drive is an internalized thing. And the engineer probably ought to drive a lot, too, to make sure he stays rooted in reality and doesn't start designing things that look great on paper but don't work in the 3D world. <> Yup. ========================================================================= Date: Thu, 26 Oct 1995 15:06:01 -0400 Reply-To: aj514@osfn.rhilinet.gov From: Mary Moretti Subject: Re: playing vs. learning i believe it's an individual thing. whatever's right for you, do it -- mary moretti " i just stand up, and make a joyous sound 'cause i don't let the little things get aj514@osfn.rhilinet.gov get me down" - YFF @}-}--- ========================================================================= Date: Thu, 26 Oct 1995 14:21:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Black Ace/Buddy Woods I like the Black Ace's vintage material on Document. Half the disc features his work - the other half that of another fine Texas slide player Oscar "Buddy" Woods. The material is from the 1930's. -Bonnie ========================================================================= Date: Thu, 26 Oct 1995 11:56:27 PDT Reply-To: rjbauman@IQUEST.NET From: rjbauman@IQUEST.NET Subject: Teacher/music influence on theory application Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu Somehow we went from a suggestion to be open to learning a *little* theory to help learn to play blues piano riffs to a thread on the sin of formal music training for blues players. Formal training suggests involving a mentor or instructor other than yourself. Even if that "instructor" is an author of a book. I suggest that way formal training might mess a player up is that *somebody elses* ideas of how to make music are getting in the way of your pursuit of personal expression. It's not the information on a circle of fifths or "The Keyboard Poster" that does this!!! It's not the theory itself at all, but the teacher and the music used to illustrate certain musical fundamentals. If you're going to play blues, too much theory running around your brain might distort your playing. I'll stand with others on that. And trying to derive the blues exclusively out of theory certainly leaves a lot of holes in the fabric of the blues that must be filled by other means. But, if one is a beginner, using a book on theory remains a very good accellerant to learning music from scratch if used as a part of a balanced diet of training, eg listening to others music. Advanced players who seek advanced music training to improve their technique will benefit from "listening to their hearts" as LW nicely put it and not getting caught in the physics and mathematics of it all. RJ Bauman (wondering how many students I screwed up when I taught percussion.....) ========================================================================= Date: Thu, 26 Oct 1995 16:24:39 -0400 Reply-To: Hanson123@AOL.COM From: Karen Hanson Subject: Re: New Orleans Rich asks, concerning New Orleans: >How about restaurants she must experience? We always enjoy Michaul's (I think that's how you spell it). Cajun food with live cajun bands nightly. If you go early, you can even get dance lessons! Btw, the batter-fried dill pickles are wonderful! karen ========================================================================= Date: Thu, 26 Oct 1995 16:24:46 -0400 Reply-To: Hanson123@AOL.COM From: Karen Hanson Subject: Re: key to the highway KGIBSON asks: >Thanks! I never heard Little Walter's version. What release is >it on? Shoot, just about all of them! It's on the Essential Little Walter, a double CD, and The Best of Little Walter (not sure if it's vol. 1 or 2--I think vol. 1). It's also on this cheap little CD I've got called Blues With a Feeling. It's probably on a bunch of other LW things, too! (I don't have vinyl.) If you've never heard LW, I'd suggest picking up The Best of Little Walter. Or, get The Best of Muddy Waters. This might be easier to find. It doesn't have "Key to the Highway" on it, but it's got some of the best playing Little Walter ever did, not to mention the best (obviously, by the title) that Muddy Waters ever did. Karen ========================================================================= Date: Thu, 26 Oct 1995 15:05:38 -0600 Reply-To: Sean Matthew George From: Sean Matthew George Subject: Re: More Blues Commercials! Comments: To: "J. Witteveen" In-Reply-To: <95Oct23.234522+0100_pdt.30732-1+223@haven.uniserve.com> I'm not sure I've seen those two commercials. Have you seen B.B King's commercials for both Norwest and M&M's. Hmmmm. ========================================================================= Date: Thu, 26 Oct 1995 17:11:55 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: subscrition Comments: To: disilvs@vax.sbu.ac.uk Dear New Person, The first thing that I will tell you about this news groups is that anyone who enters with a greeting of "hi guys !!!" is about to get a very fast lesson in erroneous assumptions. We not only have 'guys' in this news group but 'women' as well and most of them are pretty knowledgeable about blues or they wouldn't have made the choice to be here in the first place. I'm going to step back now and I'm sure that Ms. Kalmbach, Ms. Oxton, Ms. Bauer, Ms. Aldin, Ms. Hanson and probably several others will introduce themselves to you with calm and measured tones. Then you can come back into the room and we will be nice to you. Dick Waterman ========================================================================= Date: Thu, 26 Oct 1995 21:17:07 GMT Reply-To: MATTHEW HASSALL From: MATTHEW HASSALL Organization: Brock University, St. Catharines Ontario Subject: Re: Recordings of "Crossroads"? Yeah, Cream recorded back in the early days. Also, you can hear Clapton doin' it with Derek and the Dominos, Live at the Fillmore, or on the Crossroads box set. I don't think Elmore did "Crossroads", but I know he does a song titled, "Standin' at the Crossroads." Another contemporary band who has performed and recorded the song is the Cowboy Junkies. A British Alternative band does a song called Drivin' South, which deals with the Crossroads but is not the actual song. I wouldn't recommend it though, I just think they are a garbage band. Matt ========================================================================= Date: Thu, 26 Oct 1995 21:34:38 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Midi blues piano Comments: To: bit-listserv-blues-l@uunet.uu.net In <9510261906.AA2161@CServe-Hub3.inhouse.compuserve.com>, Scott Wenzel/DSES/DIRM/OIM/DCS/SSA writes: >about. But knowing theory, by itself, isn't particularly useful to musicians >while playing, and I know of few to no musicians who actively consider >theoretical constructs while they're actually playing. That's funny, I know of NONE that don't. Remember, even something as simple as a 12 bar blues, requires an understanding of what the I, IV, and V are. Go to a rehearsal sometime, and try to understand the chatter WITHOUT thinking about theory: "You came in a little too soon on the IV", "Modulate a whole step on the bridge", etc. Listen blues solos, and you'll notice that blues players tend to use the same two or three scales. Construct a solo using a differnt scale, and it'll work, but you're going to have a completely different effect. ///////////////////////////////////////////////////////////// B.B. Bean bbbean@cris.com Team OS/2 strictlow@aol.com Bean & Bean Cotton/Bean Farms 75474.2654@compuserve.com \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ ========================================================================= Date: Thu, 26 Oct 1995 17:31:58 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Ike Turner > Ike Turner is going to be at Antone's this weekend (along with Kim Wilson, > Doug Sham, Papa Chubby, and others) to celebrate Clifford Antone's birthday. > Has anyone seen Ike Turner perform lately? Is he someone I really should see? > I have to admit I don't know much about him, except for watching the movie > "What's Love Got To Do With It?". I have no idea ehat Ike Turner is like as a performer these days, but I would go just to be able ro say I ha seen a legendf, oner of the great originals in R&B. His personal life has been pretty awful, and he may not be the nicest person in the world, bt his contribution to blues, and souls is inestimable. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Thu, 26 Oct 1995 18:10:16 -0400 Reply-To: James Leftwich From: James Leftwich Subject: Houston visit Hello, I will be in Houston all next week. If anyone would like to share some live music or could offer advice on what blues is going on please e-mail me. Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" :) ========================================================================= Date: Thu, 26 Oct 1995 21:11:13 GMT Reply-To: MATTHEW HASSALL From: MATTHEW HASSALL Organization: Brock University, St. Catharines Ontario Subject: Re: Robert Cray Concert It's nice to see someone talkin' about Robert Cray! I saw him in mid September in Tonawanda at a place called Melody Fair. That night, Dr. Z and the blues Remedy opened the show. They were okay, but I really didn't enjoy them that much. I've seen better opening acts. Cray later came on with his laser show and pounded out some licks. Phenomenal! It was an excellent show for the most part. However, I thought he slowed things down a little too much when he played, "The Things You do to Me," and a couple of other slow songs which I can't remember for the life of me. But the show finished off explosively with I Was Warned and Our Last Time! Cray is on top! Matt ========================================================================= Date: Thu, 26 Oct 1995 17:21:48 -0500 Reply-To: Andrea Greggo From: Andrea Greggo i need help ========================================================================= Date: Thu, 26 Oct 1995 15:39:25 -0700 Reply-To: Mark Gentry From: Mark Gentry Subject: Teacher/music influence on theory application Comments: cc: antones@Ebay.Sun.COM It seems to me that what's implied, but may have been lostin all of these posts about training/no training, is that we're talking about blues. Possesing music theory knowledge obviously is not going to hurt anyone. I think the essence of what people are saying though is that formal music training is less important for the blues genre then it is for other styles. I agree with that. I think most (obviously not all) will agree that, as long as a player has a rudimentary understanding of the blues style, the most important thing is for the listener to come away with the impression that a musician can play with passion, emotion, feeling, and all of that in tempo. I really think the note selection, although important, is secondary. Again, I'm only referring to blues here and not other styles of music. I will admitt that even other styles within the blues such as blues rock, west coast swing, etc, have wider boundries where more knowledge can be utilized. I'm sure the way in which the legends accumulated their knowledge of the music theory was by: a) listening to records b) listening to/ watching others perform c) having others show them how to play. As far as the blues are concerned I think this approach is just as effective, if not more, than formally studying music theory. Yes, you'll miss out on the odd studio gig, as mentioned earlier. Yes, you'll have difficulty explaining to the horn section how to play the harmony you want. But, I've found that with a little help and a little effort, most people can play pretty rockin versions of Jimmy Reed, Elmore James, Slim Harpo within a couple of years after picking up the guitar for the first time. I suppose someone starting out doesn't need to see theory vs listening to lots of records and playing by ear as two opposite choices. I just don't believe that the blues requires that you go the academic route. I think knowing the major and penatonic scale are important but beyond that, I think listening to loads of records is the most important aspect of learning. I would bet money that a survey of blues legends would show they learned by listening to music rather then by studying theory. They may have discovered or stumbled on the same thing that theory books teach and they may have different names for things like passing tones, flat V, intervals etc. the point is that they learned this by listening. Regards, Mark Gentry ========================================================================= Date: Thu, 26 Oct 1995 20:05:05 -0400 Reply-To: ROBERTO SGROSSO From: ROBERTO SGROSSO Subject: Re: Why I sing the blues Comments: To: Hosni Jaidane In-Reply-To: On Thu, 26 Oct 1995, Hosni Jaidane wrote: > Hi, > does anyone have the lyrics to "wyh I sing the blues" of B.B. king > Have fun > Hosni > I'm not exactly sure, but I'll give it a shot... CHORUS Everybody wants to know why I sing the blues. Yes I say everybody wants to know why I sing the blues Well I've been around a long time, I really have paid my dues. Well I first got the blues they brought me over on a ship men was standing over me and the ? law was the whip. Now everbody wants to know why I sing the blues. Well I've been around a long time (Mmm) I've really paid my dues. I've laid in the ghetto flats cold and numb, I heard the rats tell the bed bugs to hit the road, just now. Everybody wanna know why I'm singing the blues. Yes I've been around a long time, people I've payed my dues. I stood in line down at the county hall. I heard a man say we're gonna build some new apartments for you all Everybody wants to know Yes they want to know why I'm singing the blues. Yes I've been around a long long time yes I've really really paid my dues... Now I'm going to play Lucille (Amazing Guitar Solo) My kid's gonna grow up gonna grow up to be a fool cuz they ain't got no more room no more room for hipman's(?) school Everybody wants to know Everybody wanna know why I'm singing the blues. I say I've been around a long time Yes I really have paid some dues. Yeah, you know, the company told me yes you're born to lose. Everybody around me, people it seems like everybody got the blues, but I had them a long time. I've really really paid my dues. You know, I ain't ashamed of it people I just love to sing my blues. (More amazing guitar playing) I walked through the cities, people on my bare feet. I've had my fill of (?) up and down build (?) street. You know, I'm singing the blues. Yes I'm really, I just have to sing my blues. I've been around a long time people, I've really really have paid my dues. Now, all the time is catching up with me. Gone is my youth. I look in the mirror every day and let it tell me the truth. I'm singing the blues (MmMmMm) I just have to sing the blues. I've been around a long time yes, yes I've really paid some dues. (More guitar) Yeah they told me everything would be better Everything was fine. I caught me a bus uptown, baby and every people, all the people got the same trouble as mine I got the blues (aha) I said I've been around a long time (MmMmMmm) I have really paid some dues. One more time, fellas. Blind man on the corner, begging for a dime. The rollers come and call him and throw in the jail for a crime I've got the blues (MmMmMm) I'm singing my blues. I've been around a long time, (Mm) I've really paid some dues. Can we do just one more? Woah, I thought I'd go down to the well there to get myself some grits and stuff, but a maid(?) stood up and said, "You haven't been around long enough" That's why I got the blues (MmMm) The blues. I said I been around a long time I've really really have paid my dues. Doin' it just one more time. (more of Lucille) (Ha ha ha, that's all right....Yeah!) _________________________________________ I believe that's about it. I'm sorry about the (?)'s, but I just can't make out what he's saying. If anybody else out there, who knows what it is he is saying can please fill in what's missing, and perhaps fix whatever i got wrong, it would be nice. TIA. New Blue-l subscriber Roberto Sgrosso (Big Daddy) after my favorite bluesman Big Daddy Kinsey! (It helps that I'm also HUGE). ========================================================================= Date: Thu, 26 Oct 1995 20:10:04 -0400 Reply-To: Bkg agent From: Bkg agent Organization: America Online, Inc. (1-800-827-6364) Subject: Blues lecture-Millsaps Academic Complex Comments: To: bit-listserv-blues-l@uunet.uu.net Living Blues Drummer of the Year 1994-1995, Sam Carr, King Edward, Greg "Fingers" Taylor, Chick French and Budley Bays will conduct a Mississippi Delta Blues Lecture/Concert at Millsaps College's Academic Complex Room 215 in Jackson, MS on Friday at 12:30pm October 27, 1995. It's free and it's gonna be good. If you need further details call (601) 974-1039. Hope you can make it! Janice Nickeltune Music, Inc. ========================================================================= Date: Thu, 26 Oct 1995 20:34:21 EDT Reply-To: Robert Crocker From: Robert Crocker Subject: Hidden Gems Only because you asked ... three "hidden gems": American Folk Blues Festival '69 -- CBS 63912 -- My introduction not only to the incomparable Clifton Chenier but to one of the all-time blues guitar greats and oft-forgotten heroes, Earl Hooker. Juke Joint Blues -- Blues Classics 23 -- You'd have to listen to this one to understand why I think this is a truly scary record. The Everlasting Blues versus Otis Spann -- Spivey LP 1013 -- I don't know whether Spivey Records out of New York is stil in operation or not. This, despite its brevity, is a "desert island disc". Otis Spann rocks out with S.P. Leary on drums, Luther Johnson and Peter Malik on guitar, and Johnny "Mandolin Player" Young on rave-ups. Worth hunting down if only for "You're Gonna Miss Me When I'm Gone (Black Snake Legend). RC ========================================================================= Date: Thu, 26 Oct 1995 21:19:03 -0400 Reply-To: TLevy47@AOL.COM From: TLevy47@AOL.COM Subject: Re: Where To Get Document CDs Comments: cc: SFDBLUES@aol.com, Skipjames@aol.com Hey! I just got the Tommy johnson cd on Document and its excellent. Now you are making me lust after the Son House as well (I have some of his "modern" recordings). To my knowledge, the place I bought Tommy johnson from is the most economical place from which to acquire a Document collection. That place is Strategy Records. They sell ALL Document CDs for $13.99 POSTPAID! I'd like to know if Tower or Arhoolie can beat that. You can call Karl of Strategy at 1-800-838-7774 or write him at box 517 Bethlehem CT 06751. If we buy enough of his records maybe he'll spring for a computer and join us here on line cause I have a feeling he's one heck of blues fan! Toby ========================================================================= Date: Thu, 26 Oct 1995 18:18:42 -0700 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Andy McKaie says thanks.... ...to all of you who sent birthday greetings. I printed them all out and he read them at lunch. I also picked up a full set of all the new MCA Chess reissues, and he says they are officially "out" now: Back Door Wolf, Muddy's Woodstock album, a Little Walter rarities twofer (disclaimer: I worked some on this set), and a Dale Hawkins rockabilly set. Mary Katherine ========================================================================= Date: Fri, 27 Oct 1995 02:25:18 GMT Reply-To: "A.C. Brockton" From: "A.C. Brockton" Organization: Primenet Subject: Re: Otis Rush Screamin' And Cryin' Comments: To: bit-listserv-blues-l@uunet.uu.net Sorry... I didn't intend to endorse the CD. It's just that it seems the man didn't record an awful lot. If you would be so kind as to elaborate on your previous message, I'd be glad to chuck the CD and forget about it. I've seen repeated references to "personal demons" in O.R. CD liner notes, but know nothing more about it... Perhaps you could post the Otis Rush essentials list. By the way, to expose my ignorance, are you THE Dick Shurman mentioned on the cover of the Right Place, Wrong Time cd? ================================================================= Andrew Brockton http://www.primenet.com/~brock Technical Documentation Services: including manuals, help, & HTML ================================================================= ========================================================================= Date: Thu, 26 Oct 1995 19:29:00 PDT Reply-To: Gary Joneson From: Gary Joneson Subject: Re: Where To Get Document CDs Comments: To: BROWNVM@BROWN.EDU >Records. They sell ALL Document CDs for $13.99 POSTPAID! I'd like to know >if Tower or Arhoolie can beat that. You can call Karl of Strategy at >1-800-838-7774 or write him at box 517 Bethlehem CT 06751. If we buy enough The FAX or Voice number for those outside the USA is (203)-266-7774. I am not affiliated with Strategy, but have had prompt, courteous service from Karl >of his records maybe he'll spring for a computer and join us here on line He probably has enough from me for the computer already :-) Gary John Lee Williamson http://www.island.net/~blues/johnlee.html ========================================================================= Date: Thu, 26 Oct 1995 23:50:09 -0400 Reply-To: Msbeale From: Msbeale Organization: America Online, Inc. (1-800-827-6364) Subject: Chris Cain November Tour Dates-repost Comments: To: bit-listserv-blues-l@uunet.uu.net This did not show up on my system as a new message, so I'm re-posting...maybe in my exhasted stupor (I'm moving this week), I never sent it in the first place. For those of you that got this twice (if, in fact I did send it the first time) I sincerely apologize for being totally brain dead. :) CHRIS CAIN NOV. ITINERARY Just a short little tour before the holidays to promote Chris' current release "Somewhere Along the Way" on Blind Pig Records. Currently at #6 on the Hard Report this week!! WED & THUR NOV 1/2 BB KING'S HOLLYWOOD, CA FRI NOV 3 JACK'S SUGAR SHACK HOLLYWOOD, CA SAT NOV 4 CAFE BOOGALOO HERMOSA BEACH, CA THUR NOV 9 ZOO BAR LINCOLN, NE FRI &SUN NOV 10 &12 THE GRAND EMPORIUM KC, MO *SUN Nov 12 is a benefit performance for Johnny Clyde Copeland, who is need of a heart transplant. Performers include Otis Clay, Chris Cain and many others! WED NOV 15 SKIP'S LOUNGE ANGOLA, IN THUR NOV 16 BIG HEAVY'S LOUISVILLE, KY FRI&SAT NOV 17/18 BB KING'S MEMPHIS, TN Chris Cain's 40th Birthday is Sunday, November 19 and we'll be having a surprise party for him at BB King's club in Memphis. Any well wishers can send Chris a note via email to : chriscain1@aol.com Thanks. ms beale st. "I ain't lyin'!" -Albert King ms beale st. "I ain't lyin'!" -Albert King ========================================================================= Date: Fri, 27 Oct 1995 00:21:18 -0400 Reply-To: Patti Bowman From: Patti Bowman Subject: Re: subscrition >Dear New Person, > The first thing that I will tell you about this news groups is that anyone >who enters with a greeting of "hi guys !!!" is about to get a very fast >lesson in erroneous assumptions. > We not only have 'guys' in this news group but 'women' as well and most of >them are pretty knowledgeable about blues or they wouldn't have made the >choice to be here in the first place. > I'm going to step back now and I'm sure that Ms. Kalmbach, Ms. Oxton, Ms. >Bauer, Ms. Aldin, Ms. Hanson and probably several others will introduce >themselves to you with calm and measured tones. > Then you can come back into the room and we will be nice to you. >Dick Waterman Thanks, Dick, but in all fairness, I don't mind being "one of the guys". (oh and some us gals/guys don't know squat about blues......but we're learning!) So, dear new person of mysterious gender, come back in the room now, it's OK. Don't mind gruff ole Dick, he won't bite. (At least I'm *reasonably* sure he won't) woman enough to speak her mind, Patti who, btw, grew up in NY where "you guys" is a term of endearment ;-> ------------------------------------ Check out the new InDeepEndAnts site: http://www.elwood.com/ants ...and don't forget to sign the Guestbook! ------------------------------------ ========================================================================= Date: Fri, 27 Oct 1995 00:44:00 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: wonderful time I had someone call me up asking about a tune and it's driving me crazy! The lines he remembered were: "I had a wonderful time last night, at least I think I did" The tune was about the dangers of having several too many. I seem to recall it as being kind of a Louis Jordan/Wynonie Harris swing style song but I have obviously killed the brain cells containing the artist and writer. I've checked all the references I have available, combed through my collection for similar titles and styles and have come up FRUSTRATED. If anyone can help, please e-mail me privately. Thanks for the help! Don O. don.o@chrysalis.org ========================================================================= Date: Fri, 27 Oct 1995 00:57:24 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: mem/luther >From a stack of 30 new releases at the station there were two absolute gold nuggets: Mem Shannon-A Cab Driver's Blues-Hannibal Records (Rykodisc) Luther Tucker-Luther Tucker and the Ford Blues Band-Blue Rock'It Mem is a songwriter of similar caliber to Larry Garner. ie. a BIG gun! There is a great tune "My Baby's Been Watching TV" where he moans about his lady watching Oprah. The great Luther Tucker was woefully under-recorded as a band leader and this set has some very nice live stuff. Better than his Antons's set, to my ears. Keep your eyes and ears peeled for these two discs. Don O. KNON Dallas not associated with any of the above ========================================================================= Date: Thu, 26 Oct 1995 23:59:00 MDT Reply-To: bhargrov@MICRON.NET From: "" Subject: Re: Midi blues piano Comments: To: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA In-Reply-To: <9510261906.AA2161@CServe-Hub3.inhouse.compuserve.com> >Theory is simply the names and formal >relationships given to describe the things a good musician of any persuasion >already knows and has internalized. This must be where part of the disagreement in this thread comes about, because it seems to me that music theory doesn't quit being theory just because a musician has internalized it to the point that it becomes second nature. As long as some part of musician's brain is actively thinking about what notes or scales go with a particular chord or progression, then that's applying theory. about. But knowing theory, by itself, isn't particularly useful to musicians >while playing, and I know of few to no musicians who actively consider >theoretical constructs while they're actually playing. It's one of those >things that, well, you either know it in your gut or you don't. I think this must be a matter of who you know. I know lots of people who play with only their "guts", i.e., by a combination of ear and memory. I know a few people who play both by "guts" and by intellectually reaching out to try things they know will fit the constructs of the music. The latter tend to be the better musicians. ========================================================================= Date: Fri, 27 Oct 1995 01:19:03 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: KOKO TAYLOR'S CHICAGO BLU > From: Steven Fluet > This is the first reunion show in the Chicago Area and features > members > Casey Jones - An original Icebreaker, widley known Chicago drummer > and > vocalist who toured with Collins for 5 years. Jones has gone on to > form > his own band and has just recently released (I 94) On My Way To > Chicago on > his own Airwax label. This is a very good CD BTW. Available from Airwax, P.O. Box 288291, Chicago, IL 60628. Phone 312-779-2384, fax 312-779-7898. I don't know what Casey is charging for them but it is well worth $15-$17 and probably won't be widely distributed. Don O. (not associated, etc.) ========================================================================= Date: Thu, 26 Oct 1995 23:30:41 -0600 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: subscrition Comments: To: Dick Waterman In-Reply-To: <951026171154_55211086@emout04.mail.aol.com> Nicely put, Dick. Jay Watterworth CU Boulder, where sociologists would have it no other way. On Thu, 26 Oct 1995, Dick Waterman wrote: > Dear New Person, > The first thing that I will tell you about this news groups is that anyone > who enters with a greeting of "hi guys !!!" is about to get a very fast > lesson in erroneous assumptions. > We not only have 'guys' in this news group but 'women' as well and most of > them are pretty knowledgeable about blues or they wouldn't have made the > choice to be here in the first place. > I'm going to step back now and I'm sure that Ms. Kalmbach, Ms. Oxton, Ms. > Bauer, Ms. Aldin, Ms. Hanson and probably several others will introduce > themselves to you with calm and measured tones. > Then you can come back into the room and we will be nice to you. > Dick Waterman > ========================================================================= Date: Fri, 27 Oct 1995 01:12:06 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Tunings Ji> Reply-To: Jinxblues@AOL.COM Ji> From: Dick Waterman Ji> Subject: Re: Spanish tuning? Ji> "Spanish" is Open G Ji> "Cross" is Open D Ji> "Natural" is standard tuning Ji> Some Delta musicians also refered to Open G as "Sevastopol" or Ji> "vastolpol" apparently taking the name of the city in Russia. More interesting, what is called Open D really is the strings tuned to an E chord, and then lowered a whole note so the tonic is then D. That is, Open D is really a down-tuned E chord. That is, from bottom up: Standard: E A D G B E Fingered E: E B E G# B E Drop all one note: D A D F# A D If one wanted music 'theory' to be logical, one would expect that open D tuning would be tuned to a D chord, but that would be asking for too much. ========================================================================= Date: Fri, 27 Oct 1995 01:42:37 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Riff grabber From: edwick@cc.bellcore.com (edward c liu) ed> If you've already done this, then never mind. One thing that may help is buying one of those "riff recorders" they usually market to guitar players that can slow down tapes. I think there's also a digital one that'll sample about 30 seconds and play it back however you want over and over. Your friendly neighborhood guitar shop should have players like this, and they sell 'em in the ed> _Musician's Friend_ catalog. I'll take a look at this, however, it seems from your description that a variable playback speed tape recorder, such as the Radio Shack models, might work. These things can adjust playback speed and pitch simultaneously, and were made to play back lectures faster while dropping the pitch to eliminate the Donald Duck effect of increasing the tape speed. For musicians, it could work backward: slowing down tape speed, and adjusting pitch to normal or any desired key. I haven't actually tried this yet, but have been considering it for years. ed> I also could have sworn I've seen songbooks and stuff out there marketing themselves as "early blues," but I don't know if any of them have piano parts in them. You could try to rip off chord structures ed> and some solos from guitar music and adapt it to piano, though. Yea, there are some by a guy named Kriss that have items by all the right guys, and probably other books I don't know of, but my chosen approach is to avoid all the abstract theory and PLAY. If I could afford MIDIscan, and IF I wanted to deal with Windoze (which I don't!!), I could just scan the sheet music in and be done with it. ========================================================================= Date: Fri, 27 Oct 1995 01:42:34 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Pitch Be> From: beasley@mcs.com (Paul Garon) Be> Subject: Midi blues Be> .., we thought the easiest way to transcribe a Minnie song, would Be> be to play one (from a record) into a midi file, since I knew there Be> was software that could "write a score" from such a file. This would be by running the audio through some hypothetical 'pitch to MIDI' converter. Be> We were passed from expert to expert, talking to various people who Be> seemed to know what they were talking about, and we finally got someone Be> who did know what he was talking about, but he said NO. Be> Essentially, he said, there was no device accurate or perceptive Be> enough to listen to a record and know the difference between a scratch, Be> pop, click, hiss and an actual note! This is not quite true; pops, clicks, and hiss should not be a problem, they could be filtered out by various existing techniques. The problem is the fact that each instrument, and the human voice(s), have a different 'timbre'; this a musical term referring to the fact that each instrument has a different _spectrum_ of overtones or harmonics. Thus, the analytical technique would have to be able to analyze the mixed music, and somehow differentiate out the separate instruments by spectral analysis. This might be accomplished by 'training' the system to recognize each instrument by sampling a single note from that instrument to get its spectrum. Then 'knowing', the guitar's spectrum, the piano's spectrum, and the voice's spectrum, horrendous number crunching might be able to separate out the instruments to separate MIDI tracks. There are single-input pitch-to-MIDI converters that let one sing into it to produce the melody in standard notation, but I don't know of any that have the spectral analysis feature. When I get rich, I intend to pump some money into this project to see if it can be done. Thus, for single instrument solos, one would need only 88 audio filters set to the 88 standard frequencies, each one looking for their respective note. This is quite simple; however, as a second instrument was added, then the complete audio frequency spectrum would have to be analyzed by looking for the spectrum of each instrument in the composite signal. As more instruments are added, this task becomes exponentially more complex. ========================================================================= Date: Fri, 27 Oct 1995 01:12:03 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Music theory From: rjbauman@iquest.net Subject: Re: midi blues piano >I'm sure to offend some innocent people who misunderstand my point, > but musicians who "have a good ear" and can "reproduce music on > hearing it" have only discovered by accident and experimentation > what those who have approached music from a theoretical standpoint > are able to assimilate with much less effort. There's nothing really > wrong with that, and I'm not arguing that the theory approach is > superior in terms of learning any musical STYLE. Great, because the people who created this music certainly did not approach it from a theoretical standpoint. Perhaps you overlook the obvious fact that different people learn things differently. There are many different learning experiences occurring in different parts of the brain involved in learning how to play an instrument: left-brain theory, visual coding/reading; right-brain 'soul/feeling/emotion', psychomotor coordination, ear training, visual/spatial memory, ... And individuals have different abilities at these skills, which I readily admit may be enhanced by training. Some are born with 'perfect pitch' and some can't carry a tune in a bucket. >Having approached music from both standpoints over the last 20+ years >I can say from experience that knowing theory makes it all fall into >place MUCH faster. >I can paint numbers on a few piano keys and tell you definitively that >such and such riff is played on exactly these keys in this order, but >you would have to rely on your sense of rhythm and dynamics to mimic a >particular feel or style. I can do that, if I have a map of the flow of notes. >I only say all this because you seem to reject using theory out of hand as >abstract and irrelevant when (if used in moderation) it is really very >PRACTICAL. Several others here have reported that this did not work for them. My original question remains unanswered: can anyone here with a good ear copy old Blues piano into MIDI files? Again, I have had piano teachers with 20 years experience flail around for over four hours and get maybe 20% of How Long, thus, all their theory, practice, and experience had, indeed, NOT provided the mysterious capacity known as a 'good ear'. Therefore, for me to learn what they had learned in 20 years would still not allow me to do what _I_ want to do, which is play simple riffs. Can you do this (apparently) simple task?? Let me know where to send the tape. Since I have lived in my own consciousness for half a century, assume that I know what I need to learn, how I want to learn, and what I want to learn. ========================================================================= Date: Fri, 27 Oct 1995 07:07:33 GMT Reply-To: marc@az.vub.ac.be From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: OTIS SPANN question Comments: To: bit-listserv-blues-l@Belgium.EU.net On a recently bought Spann-cd ( ROOTS label (UK) ) there's a song called 'Great Northern Stomp', written by Spann himself. I was very surprised when I heard that the biggest part of this stomp is a part of Charles 'Cow Cow' Davenport's Cow Cow blues, also performed by Rufus Perryman (Speckled Red) !!!! Is this Great Northern Stomp really a Spann-song ? Did he ever agree that he used Davenport's melody ? embee. ========================================================================= Date: Fri, 27 Oct 1995 07:12:22 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - October 27th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ANTONE, CLIFFORD (founder: ANTONE'S REC) b. 1949-1027, PORT ARTHUR, TX BILLINGTON, SCOTT THOMAS(prod/ROUNDER REC)b. 1951-1027, MELROSE, MA CARR, LESLIE (asax) b. 1903-1027, LOUISVILLE, KY CUGAT, XAVIER (rumba king!) d. 1990-1027, BARCELONA, SPAIN 90 GALLAGHER, PETER (BLUES-L MEMBER) b. 1959-1027, CORK, IRELAND GONZALES, BABS (LEE BROWN) (v) b. 1919-1027, NEWARK, NJ GORDON, JIMMIE (of the FOUR TUNES) d. 1993-1027, CARSON CITY, NV -- GRIFFIN, REGGIE (arr/v/MANCHILD) b. 1955-1027, INDIANAPOLIS, MN MCCRARY, SAMUEL H. REV.(lead/FAIRFIELD 4) b. 1913-1027, CHRISTIANA, TN MCKINNIES, MAURICE (v) b. 1944-1027, PENSACOLA, FL METCALF, LOUIS (tpt/BESSIE SMITH) d. 1981-1027, JAMAICA, L.I., NY 76 PEG LEG SAM (ARTHUR JACKSON) (hca) d. 1977-1027, JONESVILLE, SC 65 ROBERTSON, SHERMAN (g) b. 1948-1027, BREAUX BRIDGE, LA RYAN, MARC WILLIAM (author/TRUMPET REC) b. 1945-1027, JACKSONVILLE, FL TOWNSEND, HENRY J. (p/g) b. 1909-1027, SHELBY, MS WHITE, ROBERT (g/MOTOWN REC) d. 1994-1027, LOS ANGELES, CA 57 WILLIAMS, NAT D. "PROFESSOR" (dj/WDIA) d. 1983-1027, MEMPHIS, TN 76 WRIGHT, BILLY (v/SAVOY REC) d. 1991-1027, ATLANTA, GA 73 ------------------------------------------------------------------------------- ========================================================================= Date: Fri, 27 Oct 1995 07:12:21 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: subscrition Comments: To: Jinxblues@AOL.COM On 26 Oct 95, Dick Waterman had this to say: > Dear New Person, > The first thing that I will tell you about this news groups is that anyone > who enters with a greeting of "hi guys !!!" is about to get a very fast > lesson in erroneous assumptions. > We not only have 'guys' in this news group but 'women' as well and most of > them are pretty knowledgeable about blues or they wouldn't have made the > choice to be here in the first place. > I'm going to step back now and I'm sure that Ms. Kalmbach, Ms. Oxton, Ms. > Bauer, Ms. Aldin, Ms. Hanson and probably several others will introduce > themselves to you with calm and measured tones. > Then you can come back into the room and we will be nice to you. > Dick Waterman Now wait a dang minute Mr. Waterperson (PC for WaterMAN), as a former New Yawkah I happen to know that the greeting "Hey yooze guys!" is omni-sexual in nature and can even be used to address other species (a pack of wolves, for instance). P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 27 Oct 1995 07:33:00 EDT Reply-To: "ANDRE J.M. PREVOS" From: "ANDRE J.M. PREVOS" Subject: I Can't live without it! The recent inquiries about "can't live without it" albums by musicians not often mentioned among the greatest has led me to smile and tell you that, I, for one, cannot picture myself living without the John Henry Barbee album recorded in the 1960s on Storyville and, more particularly, without the song "I'm Gonna Pick No More Cotton" ! I also greatly enjoy another "lesser-known" bluesman --Robert Highthawk, particularly his Testament recording with Houston Stackhouse. Finally, I could hardly survive without Nathan Abshire's "Pinegrove Blues" featuring the Balfa Freres (as they were known in French-speaking Cajun Country) --maybe I am a little outside the "true blues" realm here but listen to Nathan and you will like his record. Well, my day is starting on a good note (bad pun I know!). Andre J.M. Prevos Pennsylvania State University Worthington Scranton Campus Dunmore PA 18512-1699. ========================================================================= Date: Fri, 27 Oct 1995 07:38:09 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: subscrition > On Thu, 26 Oct 1995, Dick Waterman wrote: > > > Dear New Person, > > The first thing that I will tell you about this news groups is that anyone > > who enters with a greeting of "hi guys !!!" is about to get a very fast > > lesson in erroneous assumptions. Dick, I agree with you, but ... There may be an age thing here. At my age (not far off yours) I say "guys" and I mean males. My 19-year-old daughter says "guys" and means all of her friends, male and female. As when our parents tried to decipher our language decades ago, we may have trouble understanding the next wave of vocabulary change. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Fri, 27 Oct 1995 07:38:09 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: wonderful time > I had someone call me up asking about a tune and it's driving me crazy! > The lines he remembered were: > > "I had a wonderful time last night, > at least I think I did" "Sure Had a Wonderful Time Last Night" is a Louis Jordan song. It appears on CD #4 in the Bear Family Boxed set. There is also a very nice version by Koko Taylor, on her "From the Heart of a Woman" album on Alligator. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Fri, 27 Oct 1995 08:27:52 EDT Reply-To: Roland Mandler From: Roland Mandler Subject: Bad Blues Not to take away from the valuable information and opinions that have been flying around Blues-L of late, but how about a lighter accompaniment? What I have in mind - and I know everybody's been through it - are nominations for worst attempt at a blues tune by a non-blues artist. (I know some of us ride in elevators all too often and have been tortured before ...). Any nominations? - Roland ========================================================================= Date: Fri, 27 Oct 1995 08:35:59 -0400 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: tour database Comments: cc: phertel@cmc.doe.ca >Anyone know what's happened to >"http://www.pollstar.com/pollstar/search.html" ? Hmmm, looks like Pollstar is undergoing some renovations. Meanwhile, there's Musi-Cal at http://www.calendar.com/concerts/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Fri, 27 Oct 1995 07:44:47 CST Reply-To: William Shute From: William Shute Subject: Burnin' Chicago Blues Machine--info??? From: Bill Shute This weekend here in SA, a group called the Burnin' Chicago Blues Machine will be playing at Cibolo Creek. According to Jim Beal, the band consists of JJ Johnson (Koko Taylor)gtr Jim Dortch (Koko Taylor)keyboards Danny Fields (James Cotton/Junior Wells)trumpet PrinceMozack Milton (Otis Clay)sax John Caldwell (Otis Clay/Billy Branch)bass Larry McClure (Lefty Dizz/Magic Slim)percussion and they have am album out called "Midnight Sunrise." Has anyone seen this unit in concert? What have we in store? How about the album? Chicago imports are ALWAYS welcome in this neck of the woods! BTW, Bo Diddley had to cancel his Halloween show in SA--evidently he is not yet fully recovered from surgery enough to perform. Does anyone have an address where we could send "get well" messages to Bo? also, the 3-CD John Lee Hooker set and the 2-CD Fred McDowell set are now IN STORES from the Capitol Blues reissue series. Another little question: does anyone know if James Brown attended the Million Man March? If so, did he make any public statements or was his attendance covered in any way by the media? Why not honor the birthday of the late Billy Wright, THE PRINCE OF THE BLUES, by picking up the Savoy Jazz reissue "Goin' Down Slow." Has the Swedish "Stacked Deck" comp with the amazing live version of "Do Something" been reissued on CD yet? Bill Shute San Antonio, TX ========================================================================= Date: Fri, 27 Oct 1995 06:26:59 +0100 Reply-To: "J. Witteveen" From: "J. Witteveen" Subject: Hidden Gems... I don't know exactly how hidden these gems are, but here goes: 1. Jerry McCain - I've Got The Blues All Over Me (Wild Dog Blues, 1993) Just an all 'round great album - Good humoured, laid back vocals, unobtrusive backing band, and some of the best, thickest (I don't know how else to explain that sound) blues harp on record, in my opinion. A great instrumental (I've got the Blues All over Me), and an album of all-original songs. 2. Roy Rogers & Norton Buffalo - R&B (Blind Pig, 1991) This is Roy Rogers acoustic, the way I like him - I don't think his vocals suit the rockin' electric slide. Norton Buffalo is a great blues harpist, at the best of his game here. An album of mostly originals (which I like), with a spine-chilling cover (guitar-wise, if not vocally) of Rev. Robert Wilkins' Heaven Sittin Down. 3. Robert Lucas - Usin' Man Blues (Audioquest, 199?) This guy plays a mean acoustic slide, and his original songs are great (Usin' Man, What Happened to my Shoes). Vocally, one of the best white blues vocalists around (not to get back to the black/white thing... :-) , but he sounds bluesy to the max - natural-sounding, rough-hewn vocals that add something new to some old, often-covered nuggets (Ramblin' On My Mind, If I Had Possession Over Judgment Day). Great stuff! By the way, I love these kinds of threads, but I'd love it if people gave their picks, and then explained_why_ they picked them - makes things a bit more interesting (IMHO). See ya! -Jim (hndful@uniserve.com) Abbotsford, B.C. Canada ========================================================================= Date: Fri, 27 Oct 1995 08:50:12 -0500 Reply-To: Mike Heidenberg From: Mike Heidenberg Subject: Luther Tucker and the Ford Blues Band Hi there. I've got to second Don O's recommendation of this album. While not perhaps quite at the level of Luther's classic sides with James Cotton, this one is definitely a good 'un. I never really realized how important a figure Luther Tucker was until well after he died, and I really regret that I won't have the chance to see him. That's one reason why this disc is such a welcome surprise, as several of the tracks are from Breminale '93, Luther's last gig. Luther is in fine voice, and his tremolo picking is some of the best you'll hear anywhere. His guitar tone is also occasionally somewhat "nastier" (i.e. more biting) on the Breminale tracks than I'd come to expect from him, and it's interesting to hear his licks with that tone. I have to confess that I'd never even really heard of Luther Tucker until I heard Rod Carey and Ronnie Earl talking about him about a week after his death. Ronnie and the Broadcasters were also at Breminale '93, and their set from that show is captured on their Live In Europe/Blues and Forgiveness album. Ronnie thanks Luther at one point during that CD, and I kept thinking, "gee, wouldn't it have been nice if Luther's set had been recorded too?" Well, it was, and now the two sets can be reunited, in a sense. Must have been one heck of a festival! I do also agree with Don O that this new album is probably better overall than is Sad Hours (not that I disliked Sad Hours, mind you). Since stuff by Luther _is_ so rare, I'd strongly recommend that you keep your eyes open for this album..... -Mike PS- I'll be in Virginia this weekend, so I've gone to NOMAIL. I can still be reached via private e-mail if anybody needs to get into touch with me and/or fill me in about any cool stuff I may miss..... ========================================================================= Date: Fri, 27 Oct 1995 08:26:42 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Hidden Gems I LOVE THIS THREAD: (are these hidden) The Blues World Of Little Walter....I love this recording. They all sound like they've been heavily drinking and having a blast. Little Walter play decent guitar on a few tracks, sings his ass off and I don't EVEN have to mention his harp playing. If you don't have this one (I can't imagine that)...GET IT Champion Jack Dupree - Blues From The Gutter, I like it cause it sounds like a relaxed atmosphere and I dig the shit out of Champion Jack Al Cook - Victrola Blues . This has almost every style of (mostly pre-war) blues on it. He bills himself as "The White King of The Black Blues" or something to that effect. To be honest, he just may be right. There are some tunes that the "average" blues listener will not really like...It took many months, before I actually liked this CD..... The Houston Stachouse on Genes.....I can't remeber the name, but after Eric and myself raved about it, It's probally not hidden. It shouldn't be LW 'best thread since Jim Hartac or whoever he was started one :-)' ========================================================================= Date: Fri, 27 Oct 1995 09:28:50 -0400 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: Tampa Red Comments: To: L W In-Reply-To: On Tue, 24 Oct 1995, L W wrote: > >what else? Covers of the greats ranging from Elmore James' "It Hurts Me Too" > > OK...is the above tune a Elmore tune or is it actually a Tampa Red tune.... > Who owns the copyright....? > Thanks In the Fall 1992 issue of Blues Revue Quarterly, Vincent Cortese wrote the following in an excellent article about Tampa Red, The Guitar Wizard: "Tampa Red left behind an enormous wealth of music and creation. His influence was felt directly by the likes of Elmore James, B. B. King, Robert Nighthawk and Little Walter. Besides the personnel he inherited from Tampa's band, Elmore had huge hits with Tampa's 'It Hurts Me Too', 'Stranger Blues', 'Anna Lee' and 'Mean Mistreatin' Mama'. Muddy Waters would score big with 'Mean Mistreater'. B. B. King and Robert Nighthawk both had hits with 'Sweet Black Angel' and 'Cryin' Won't Help You'. Nighthawk developed a bottleneck style that, at times, was very close to a straight copy of Tampa's style. . . . There have been countless others who have followed and felt his influence, many of whom, sadly, may not even be aware of it. Long live the music and memory of Tampa Red - 'The Guitar Wizard.'" "It Hurts Me Too" is definitely a Tampa Red song. When Elmore James recorded it *somehow* he was given songwriter credit. Copyright law was a little more lax in the mid-50's. One of our favorite songwriter credits is on Led Zeppelin's cover of "When the Levee Breaks". The writers listed, in order, are Jimmy Page, Robert Plant, John Paul Jones, John Bonham and Memphis Minnie. Last, but not least! Pen & Brenda Bogert Louisville KY ========================================================================= Date: Fri, 27 Oct 1995 07:09:36 +0100 Reply-To: "J. Witteveen" From: "J. Witteveen" Subject: Re: playing vs. learning Bob Unger wrote: >Man, I can't believe some of the responses I've read on this thread. Am I >reading this right? People are actually saying thing's like, don't learn, >dont educate yourself, music is to be played and that is it.......it seems >to me, some people are saying if you learn about music, theory, etc...you >will end up hurting your talent????? I cant believe I'm reading this?!?!?!? Yup. You're reading this. :-) I disagree, too. When I first tried to play the blues, I knew the blues scale in one position, in the key of E (which I figured out myself.) After taking several lessons from a great teacher, I now have the entire fretboard figured out, and can transpose from one key to the next. So if someone says `This one's in A', I know what the heck he (or she, sorry Dick! :-) )is talkin' about, and I can play along. So learning music theory has helped me a great deal in my playing, as well as in song-writing. I just wish I knew more, so that when I write a song I can put it down on paper! Of course, I can't play blues worth a $#!+, but I have fun trying, and I've written some good (IMNSHO) tunes along the way. :-) This is not to say that everyone must know theory - some are extremely talented and can play entirely by ear - I am not one of those lucky folks! >From what I've heard, Hound Dog Taylor (one of my faves of all time) couldn't even tune his own guitar! -Jim (hndful@uniserve.com) ========================================================================= Date: Fri, 27 Oct 1995 10:08:44 -0400 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Crossroads recordings (outliers) Here's a couple more artists who've recorded "Crossroads": Stephen Stills -- on his live album Leslie West -- I thought he had died, but he recently put out a cover on a new L.A. (Blues? Music?) Authority collection by various peformers that contains -- covers -- songs that Cream covered. I don't remember the title of the disk. They should have called it "Cream Re-Covered." Hope it helps. Dave ========================================================================= Date: Fri, 27 Oct 1995 10:14:08 -0400 Reply-To: RhythmShrk@AOL.COM From: Bernie Clarke Subject: Re: Whiteboy and the Wagon Burners Comments: To: spidle@pisces.fish.washington.edu These guys have not really been at it for about two and a half years - maybe longer. Since then, they would not reallly play much locally, but they would go on the road for Native American events around the country. They broke up for good about six months ago. I'll tell Dugan Henhawk, their front man that he was asked about the next time I see him. BC ========================================================================= Date: Fri, 27 Oct 1995 10:14:11 -0400 Reply-To: RhythmShrk@AOL.COM From: Bernie Clarke Subject: Re: Burnin' Chicago Blues Machine--info??? Comments: To: WSHUTE@accdvm.accd.edu Burnin' Chicago is a great band. I ran sound for them a couple of years ago in Upstate, NY and I just saw Boney (Dan Fields) with Lucky Peterson's band. He is one of the hottest horn players around. The band is basically run by the keyboard player, Jim. He is a really nice guy and the whole band puts on a fantastic show if you like the "new" Chicago style power-funk/blues sound. These guys are very hot! BC ========================================================================= Date: Fri, 27 Oct 1995 07:33:39 -0800 Reply-To: Rich Del Grosso Comments: Authenticated sender is From: Rich Del Grosso Subject: Guitar tunings To the group; I've received a lot of mixed messages regarding guitar tunings lately, so I wanted to clear things up. The tuning players from the thirties called "Spanish" tuning is open G: D G D G B D (6 to 1) What the same players called "Sevastopol" is open D: D A D F# A D (6 to 1) It does contain the D triad (or D Chord). What players called "Cross"; as can be heard in the music of Skip James, was a cross between standard and an open tuning, by raising the fifth string to B and the fourth string to E to get an Em sound: E B E G B E (6 to 1) Fretting the third string at the first fret turns the chord into a major. The player can now alternate easily between the open E and Em. Rich DelGrosso Blues Revue Magazine ========================================================================= Date: Fri, 27 Oct 1995 14:41:22 GMT Reply-To: Richard Cotenas From: Richard Cotenas Organization: California State University Sacramento Subject: Re: C.C. Rider Comments: To: bit-listserv-blues-l@uunet.uu.net I was goint to point out that the song must refer to a woman (and thus cast doubt on all the "County Circuit Rider" theories) because of the verse that is often sung in versions of this song which includes some variant of "you're three times seven, baby, you know what you want to do." After thinking about it, though, I recognized that the verse pointing out that the person being addressed has reached the age of 21, and is free from parental control, may have been thrown in by later performers, and is not necessarily related to the "easy rider"--which, by the way, is the theory that makes most sense to me. Ted2204 (ted2204@AOL.COM) wrote: : As pointed out by David Silverberg, "C. C. Rider" was a song about county : circuit riders who preached at various churches in the rural south. -- Richard Cotenas Calif. State Univ., Sacramento ========================================================================= Date: Fri, 27 Oct 1995 09:33:08 -0500 Reply-To: Mark Gobeyn From: Mark Gobeyn Subject: louis myers The continuing discussion on Little Walter led me to dig out an old Louis Myers record last night. It's titled "I'm a Southern Man" (1978). Quite good, actually. Does Louis have an extensive discography, and is there anything else worth owning? Also, Lonnie Pitchford's cd "All Around Man" is highly recommended for those who like the minimalist sound of such Fat Possum artists as R.L. Burnside and Junior Kimbrough. have a nice day, mark ========================================================================= Date: Fri, 27 Oct 1995 14:34:06 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: More Blues Commercials! Comments: To: bit-listserv-blues-l@uunet.uu.net In , Sean Matthew George writes: >I'm not sure I've seen those two commercials. Have you seen B.B King's >commercials for both Norwest and M&M's. Hmmmm. I say HOORAY. I'm looking forward to the day when a Rod Piazza or Jimmy Rogers is mainstream enough to hawk the goods on TV. ///////////////////////////////////////////////////////////// B.B. Bean bbbean@cris.com Team OS/2 strictlow@aol.com Bean & Bean Cotton/Bean Farms 75474.2654@compuserve.com \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ ========================================================================= Date: Fri, 27 Oct 1995 14:37:42 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Music theory Comments: To: bit-listserv-blues-l@uunet.uu.net In <9510270112.01OQS00@infoexch.miami.fl.us>, Laurie Forti writes: >From: rjbauman@iquest.net >Subject: Re: midi blues piano ========================================================================= Date: Fri, 27 Oct 1995 10:54:44 -0500 Reply-To: Ken Ficara From: Ken Ficara Subject: Ike Turner I'm jealous of you folks who are going to get to see him -- I've always wanted to. Like Ian said, he seems like a pretty messed up person but the more I listen to his stuff alone and with Tina the more impressed I am. (And with all due respect to Tina, her stuff solo since then has been good, but very corporate, and I listen to it, and I think Ike could have taken those songs and wiped the floor with the versions on the album. Not that he would have, but you know). Look in the credit notes on your Wolf albums and others and you'll see a lot of him. ====================================================================== Ken Ficara ficara@acm.org "And let's not forget, that if you want to preach a message of poverty, gentleness, and tolerance, you really need a rich, powerful, authoritarian organization with which to do it." (Monty Python) ========================================================================= Date: Fri, 27 Oct 1995 14:51:52 GMT Reply-To: Richard Cotenas From: Richard Cotenas Organization: California State University Sacramento Subject: Re: OTIS SPANN question Comments: To: bit-listserv-blues-l@uunet.uu.net marc borms (marc@SC1000.UUCP) wrote: : On a recently bought Spann-cd ( ROOTS label (UK) ) there's a : song called 'Great Northern Stomp', written by Spann himself. : I was very surprised when I heard that the biggest part of this stomp : is a part of Charles 'Cow Cow' Davenport's Cow Cow blues, also performed : by Rufus Perryman (Speckled Red) !!!! : Is this Great Northern Stomp really a Spann-song ? Did he ever agree that : he used Davenport's melody ? : embee. Mark, I think that "Cow cow blues" was a song that every aspiring blues pianist mastered at one time or another. It was probably requested (or, more likely, demanded) at the places that pianists played. If you had the time, and a large collection of blues piano recordings, you could probably find many, many songs that were based on "Cow Cow Blues" or that used the intro, or that distinctive riff in the turnaround. In fact, Nicky Hopkins, the British session pianist, who played on the records of nearly everyone in the sixties and seventies, plays that riff in a jam with Ry Cooder and members of the Rolling Stones that was recorded and released on a budget priced LP called "Jammin' with Edward". I have heard an instruction tape by Dr John on New Orleans style piano on which he plays the song--I'll bet every blues and boogie woogie pianist in the world has their own version of the song. -- Richard Cotenas Calif. State Univ., Sacramento ========================================================================= Date: Fri, 27 Oct 1995 14:36:14 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Re: OTIS SPANN question Comments: To: bit-listserv-blues-l@moderators.uu.net Marc, Cow Cow's opus was used by lots of blues pianists as a "theme", or as an original, as with Spann's "Great Northern Stomp". I doubt if Davenport was consulted about it by anyone as the tune became almost common currency among blues pianists. One of the best of this bunch is "Cow Cow Shake" by (get this) Tommie "Blind Tom" Malone with Bill Reese and His Ebony Studio Band with Little Arch "Shake Calling" on Ebony, released in 1960. The info above is what is says on the label and its great!! Tony ========================================================================= Date: Fri, 27 Oct 1995 09:27:58 CST Reply-To: William Shute From: William Shute Subject: San Antonians to play Antone's B'Day Bash From: Bill Shute Just for the record (and for you South Texas music fans out there), tonight (Friday) and Saturday night, a group of legendary San Antonio- based musicians with R&B credentials going back to the late 50s will be among the many "guests" to musically celebrate Clifford Antone's birthday. "EL WEST-SIDE SOUND" will consist of Rocky Morales, Jack Barber, Sauce Gonzales, Louie Bustos, Al Gomez, and Randy Garibay. According to local sources, they will back (among other people) the great Roy Head, who was last heard from in these parts doing an acoustic gig at The Saxon Pub in Austin about a month ago. The West-Side crew will also be jamming w/ members of the Fabulous T-birds. Of course, I'm sure some of the audience will be so busy looking for/ waiting for Ike Turner that they might not care about Roy Head or Sauce Gonzales. Since Doug Sahm is probably going to be there also, this might be your best-bet to catch Sir Doug with these guys who had been playing and recording with him as early as l959. Bill Shute San Antonio, TX ps, that America On-Line is driving me up the wall! No, I'm not connected via AOL, but a number of musicians/bands/managers are, and I've been trying to help a number of them line-up gigsand the like in SA by serving as an intermediary with local bookers/newspaper writers/etc. who are not yet computerized. I sometimes have to send a message four times before I stop getting "unable to deliver mail for 3 days to this address" messages. Sometimes they won't get the message at all! I start getting messages from THEM saying "I know you're busy Bill, but could you let us know...", and I"ve tried numerous times already to contact them. Then I wind up calling them on the phone, which kind of defeats the whole purpose of the musicians coming "on-line." AOL always seemed to work when Jim Hartac was posting!!! ========================================================================= Date: Fri, 27 Oct 1995 09:49:55 CST Reply-To: William Shute From: William Shute Subject: hidden gems From: Bill Shute OK, here's my two-cents' worth on this topic: THE SENATE "Sock It To You One More Time" (Line/Retreat CD, Germany) wonderful Scottish soul band, recorded live in l967 RUFUS THOMAS "Live" (Stax/Fantasy CD) Nothing hidden about Rufus, but this CD--which collects his lesser-known circa l970 Live At PJ's album along with three live Wattstax tracks-- is the one I'd loan to a friend who had never heard any Rufus Thomas and I really haven't seen much coverage of it since its release. OLLIE NIGHTENGALE "I'll Drink Your Bathwater, Baby" (Ecko CD) wonderful 90s soul w/ the instant classic "She's In A Midnight Mood In The Middle Of The Day" DOUG SAHM AND AUGIE MEYERS "The 'West-Side' Sound Rides Again" (Teardrop lp,cassette) nice l983 reunion of Doug w/ Barber,Gonzales,et al on Sunny Ozuna's label THE SOLID SENDERS "Everything's Gonna Be Alright" (Munich CD, Holland) OMAR and the HOWLERS "Muddy Springs Road" (Watermelon) to me, this man is criminally under-rated-- what a songwriter! what a powerful singer! what a slide guitarist! what stage presence! LORENZO HOLDEN "Cry of the Wounded Jukebox" (Southland) hot late 50s Los Angeles tenor-sax R&B THE EDDIE TAYLOR BLUES BAND "My Heart is Bleeding" (Evidence) any of the three BEA AND BABY RECORDS comps on Wolf BAYOU BLUES BLASTERS (Goldband-label blues w/ Lazy Lester etc. on ACE UK) JOHN BRIM "Ice Cream Man" (Tone-Cool...not hidden, but under-appreciated) Bill Shute San Antonio, TX ========================================================================= Date: Fri, 27 Oct 1995 14:40:04 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Re: Where To Get Document CDs Comments: To: bit-listserv-blues-l@cis.ohio-state.edu Try Hotshot Records 01132 742106 fax 01132 786291 for UK They have the complete catalogue of Document CD's - why anyone would want the complete Peetie Wheatstraw though is beyond me...Ooooh Well, Well. TB ========================================================================= Date: Fri, 27 Oct 1995 09:55:18 PDT Reply-To: rjbauman@IQUEST.NET From: rjbauman@IQUEST.NET Subject: Re: Hidden Gems Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu "Cryin' Won't Help You" RJ Bauman (I'll trade it if anyone wants it) ==========The Houston Stachouse on Genes.....I can't remeber the name, but after Eric and myself raved about it, It's probally not hidden. It shouldn't be====== ========================================================================= Date: Fri, 27 Oct 1995 10:03:41 -0500 Reply-To: James Foster From: James Foster Subject: THE FIELDSTONE'S On my recent wonderful trip to Memphis the only disappointment in the whole affair was the news that the Fieldstone's no longer are playing in town. They had a regular gig at Green's Lounge on Saturdays, but that is now being filled by the Hollywood All-Stars (another very capable band). In talking to some folks around town about the Fieldstone's I didn't find out the specifics of the "break-up" of the group. Any info on this? As an earlier thread mentioned...the Fieldstone's have some 45s out on the High Water label that are very good. If fact, most of the stuff on this label is quite good and still available at select stores in Memphis as well as here in Texas! James Foster ========================================================================= Date: Fri, 27 Oct 1995 11:05:37 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Tampa Red Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, bogert/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=bogert#a#IGLOU#f#COM@s1boca.corp.wrgrace.com *One of our favorite songwriter credits is on Led Zeppelin's cover of *"When the Levee Breaks". The writers listed, in order, are Jimmy Page, *Robert Plant, John Paul Jones, John Bonham and Memphis Minnie. Last, but *not least! My favorite Zeppelin credit is for their version of Traveling Riverside Blues. It says Jimmy Page, Robert Plant and Robert Johnson! Like Robert Johnson called them up one day and said, "Hey, let's write a song together!" :) -Steve ========================================================================= Date: Fri, 27 Oct 1995 11:04:55 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Music theory/learning thread This has been an interesting thread, which if I remember correctly, I had been in on at it's inception, way back, when I'd suggested to someone that they take some lessons in classical guitar before jumping into blues or rock. In the interest of tying this one up, again I use myself as an example. Not that I'm great or anything, but that I make a good example. I am what can best be described as a "natural". Just lucky I guess. I have always been able to just been able to sit with my guitar and play what I hear, either in my head or what's on the stereo. I take no credit for this ability, it just happens. I've been told by many, many players over the years, all of whom I consider better guitarists than me, that it's unusual to see somebody pick up the chord progression, rhythm, timing, and the various subtle details the way I SEEM to be able to do. ANYWAY>>> despite this innate thingy, I really feel I'd be useless as a musician without the theory that I've picked up over the years either through lessons or by hanging with other well-learned musicians. It's essential, I feel. Despite the fact that I'm the front man (vocals & guitar) of my band, I feel that I'm the weak link in our line-up, because the other guys are way ahead of me on the theory side. Where they often can make a (musical) point with just a verbal description, (ie: theory) I often have to sheepishly ask "can you just show me?" Lucky for me, they are patient and want me to learn. Bottom line: theory is good. Learn as much as you can. Have a good weekend everybody! Riffin Rick :) (((( oo-) /- ".....how 'bout them INDIANS!!" F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 27 Oct 1995 09:15:40 -0600 Reply-To: Bruce Pech From: Bruce Pech Subject: Re: Riff grabber Comments: To: Laurie Forti In-Reply-To: <9510270142.02EHW00@infoexch.miami.fl.us> On Fri, 27 Oct 1995, Laurie Forti wrote: > From: edwick@cc.bellcore.com (edward c liu) > > ed> If you've already done this, then never mind. One thing that > may help is buying one of those "riff recorders" they usually > market to guitar players that can slow down tapes. I think there's > also a digital one that'll sample about 30 seconds and play it back > however you want over and over. Your friendly neighborhood guitar > shop should have players like this, and they sell 'em in the > ed> _Musician's Friend_ catalog. > I'll take a look at this, however, it seems from your description > that a variable playback speed tape recorder, such as the Radio Shack > models, might work. These things can adjust playback speed and pitch > simultaneously, and were made to play back lectures faster while > dropping the pitch to eliminate the Donald Duck effect of increasing > the tape speed. > For musicians, it could work backward: slowing down tape speed, > and adjusting pitch to normal or any desired key. > I haven't actually tried this yet, but have been considering it > for years. I stand ready to be corrected, but, to the best of my knowledge: Variable speed tape recorders (e.g., most reel-to-reels and a few cassette recorders) lower the pitch by an octave or more depending on the machine's range of recording/playback speeds. I.e., if you record a riff at 15 ips and play it back at 7.5 ips, the "half speed" riff will be played back an octave lower than the recording. The so-called "pitch adjustment" feature simply makes minor adjustments to playback or recording speed to raise or lower the pitch of the recording by a half-step or so. Even if the pitch adjustment worked over a greater range, it would have to speed playback back up to 15 ips to reproduce the pitch of the original riff -- defeating the purpose of slowing down playback speed to slow down the riff. The only recorder that will play back a riff at half-speed (or less) without changing the original pitch, is the digital recorder sold by Roadrunner in Texas. I'm not sure how it works, but I believe it stores the riff in RAM (or perhaps to a small hard disk) and plays it back using an algorithm in which playback speed and pitch are independent variables. However, as Ed mentioned, it only records about 30 second samples and it's expensive (at least $300 for the cheapest model the last time I received one of their advertisements). I've often wondered if software could be (or has been) written to accomplish the same result on a sound-card equipped PC. Most cards can record .wav files from CD's but the bundeled software always plays the files back at the speed of the original recording. Opportunity knocks ... BP Boulder, CO ========================================================================= Date: Fri, 27 Oct 1995 10:09:51 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Tampa Red In-Reply-To: Message of Fri, 27 Oct 1995 11:05:37 -0400 from On Fri, 27 Oct 1995 11:05:37 -0400 Steve Levine said: >*One of our favorite songwriter credits is on Led Zeppelin's cover of >*"When the Levee Breaks". The writers listed, in order, are Jimmy Page, >*Robert Plant, John Paul Jones, John Bonham and Memphis Minnie. Last, but >*not least! > >My favorite Zeppelin credit is for their version of Traveling Riverside >Blues. It says Jimmy Page, Robert Plant and Robert Johnson! Like Robert >Johnson called them up one day and said, "Hey, let's write a song together!" :) I think the reason they probally do that is a good reason. It lets the listner know that "they" are using Robert's song (actually lyrics) but Zep's arrangment It would be terrible if they just said Robert Johnson and folks went through life thinking RJ played it they way "they" do/did.....No offense to Led Zep fans or ????? LW ========================================================================= Date: Fri, 27 Oct 1995 10:17:47 -0500 Reply-To: DAN SPIGARELLI From: DAN SPIGARELLI Subject: RE; THEORY AND PLAYING This is my first posting to this list, so I'll be careful what I say, but I am surprised with some of the responses I have been reading lately. To me, music theory is an invaluable asset. Even if the great blues players of the past could not claim to have been educated at G.I.T., or boast of their vast theoretical knowledge, the sweet things they played worked because of the theory involved in their music. The theory is the music. They may not have known that they were playing a dominant ninth chord or altered scale, but when they did, it worked, and it was because of the theoretical connections involved. Also, too many "musicians" (And I use the term loosely)I know are simply intimidated by theory. It is a lot to learn, but every little bit of theory I have learned has helped me tremendously, and while I am not on par with Buddy Guy or Stevie Ray Vaughn, I will try everything possible to IMPROVE my playing. THEORY is one of the keys to that improvement in my eyes. In addition, I can't see how a more diverse musical vocabulary could ever hinder creativity.-- Just my two cents worth. Dan Spigarelli Bemidji State University Bemidji, Minnesota ========================================================================= Date: Fri, 27 Oct 1995 14:24:13 GMT Reply-To: mckenzie@ipcs.demon.co.uk From: "Ian K. Mckenzie" Subject: Re: Recordings of "Crossroads"? Comments: To: bit-listserv-blues-l@moderators.uu.net Richard Cotenas wrote: >Philip and/or Carol Decker (pandc.decker@NETSRQ.COM) wrote: >: I have Robert Johnson's and Cream's recordings of Crossroads, >: and was wondering who else has recorded it. I'd particularly >: like a less muddy version of Cream's arrangement than the Live >: at the Fillmore performance on Wheels of Fire. Shame SRV never >: did it. > >: PJD > There's a great version of Crossroads on an album by Sam Mitchell a British slide player who seems to have disappeared from the scene in recent years (Anyone know where he is??) He also does a wonderful version of Hell Hound on My Trail. Album details if you e-mail me. Ian M *********************************************** Ian K. McKenzie University of Portsmouth England ************************************************** ========================================================================= Date: Fri, 27 Oct 1995 11:34:51 -0400 Reply-To: RhythmShrk@AOL.COM From: Bernie Clarke Subject: Re: Hidden Gems I'm putting my vote in for Darrell Nulisch and Texas Heat "Business as Usual." Anything with Darrell singing on it is worth the money. Another CD that no blues lover should be without is the Hollywood Fats "Rock this Houlse." which is a re-release of "The Hollywood fats Band recorded at least ten years ago. All you guys that dig Alex Shulz, Rick Holmstrom, Junior Watson and the West Coast sound - check out the master here. Al Blake does the singing and harp playing which is perfect in the context of this record. I'm sitting here listening to "Majic Sam - 1957-1966 West Side Guitar" which everytime I listen to, I have to back up the CD a couple of times to hear things again. I want to try to incorporate some of Majic Sams soulfulness of his vocals into my own singing. Sonny Boy Williamson II "King Biscuit Time" WOW! That's what I'm supposed to be doing with that harmonica! Neil Young really sucks! (A white suburban kid gets his first blues record.) These guys really played BLUES! No tricks, no gimmicks, take yourself back to 1952. Check out what Little Walter learned from and get a CD of John Lee "Sonny Boy" Williamson's stuff. I have something, I think it's on Wolf and it has about 25 tracks on it. This is some of the earliest Chicago blues combo recordings there are. Muddy Water's first gig after he got to Chicago was backing up Sonny Boy. BC ========================================================================= Date: Fri, 27 Oct 1995 16:43:08 +0100 Reply-To: Peter Gallagher From: Peter Gallagher Subject: John "Bones" Nobles ??? Hi all, While in a hurry ( am I ever any other way? ;-) ) I was giving the bookstore a quick once-over when I cam across a photo of a guy called John "Bones" Nobles. He was holding two bones in his right hand with the bones between his 1st adn 2nd, and 2nd and 3rd, respectively. Hence the name, of course. Using "bones" like this is quite common in Irish traditional music. The bones are played somewhat like catstanets (sp?). You can get great rythms and even "double-notes" with them... As a kid, I was fascinatedby this "magical" double-click and taught myself how to use them. They are usually ribs and have a most distinctive sound. The method is to hold the bones as described above and roll the wrist over and back, rattling the bones against each other. One of the bones is clamped firmly by the forefinger and thumb and the other bone is allowed to "rattle" agains the "held" bone. I even tried "playing along" with Bukka White on his "Memphis Hotshots" cd , which has a lot of washboard one there, but I couldn't seem to make any sounds which fitted in - maybe I had traditional Irish rhythms inprinted in my association with the bones... But you can't play washboard with the bones - so what does one do with the bones in the blues!!?? I've never heard of the bones being used in the blues and i'd appreciate it enormously if someone could pass on any info about John "bones" Nobles or any other artist who used the bones in the blues. How about some of you other Irish people on th elist - Andy? Shannon? Graham? besta regards as always, PeterG "bones in the blues - I've heard it ALL now! :-)" -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Fri, 27 Oct 1995 11:34:40 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Tampa Red Comments: To: bogert@IGLOU.COM Comments: cc: ISTS024%UABDPO.BITNET@brownvm.brown.edu On 27 Oct 95, Brenda Bogert had this to say: > In the Fall 1992 issue of Blues Revue Quarterly, Vincent Cortese wrote > the following in an excellent article about Tampa Red, The Guitar Wizard: > > "Tampa Red left behind an enormous wealth of music and creation. His > influence was felt directly by the likes of Elmore James, B. B. King, > Robert Nighthawk and Little Walter. Besides the personnel he inherited > from Tampa's band, Elmore had huge hits with Tampa's 'It Hurts Me Too', > 'Stranger Blues', 'Anna Lee' and 'Mean Mistreatin' Mama'. Muddy Waters > would score big with 'Mean Mistreater'. B. B. King and Robert Nighthawk > both had hits with 'Sweet Black Angel' and 'Cryin' Won't Help You'. > Nighthawk developed a bottleneck style that, at times, was very close to > a straight copy of Tampa's style. . . . There have been countless others > who have followed and felt his influence, many of whom, sadly, may not > even be aware of it. Long live the music and memory of Tampa Red - 'The > Guitar Wizard.'" > > "It Hurts Me Too" is definitely a Tampa Red song. When Elmore James > recorded it *somehow* he was given songwriter credit. Copyright law was a > little more lax in the mid-50's. > > One of our favorite songwriter credits is on Led Zeppelin's cover of > "When the Levee Breaks". The writers listed, in order, are Jimmy Page, > Robert Plant, John Paul Jones, John Bonham and Memphis Minnie. Last, but > not least! > > Pen & Brenda Bogert > Louisville KY Tampa Red, after he left Tampa and established himself in Chicago became sort of a Chicago Blues scene father figure. He lived at 35th and State St. next door to a bank and upstairs from a pawn shop. He had 2 pianos in his apartment and there was a nearly constant jam session going on there. As musicians migrated to Chicago from the south they inevitably were sent to Tampa's house to get themselves introduced into the scene. Many of them would be allowed to stay there until they got on their feet. Tampa Red had a fine, understanding, and busy wife, who may have fed nearly every musician in Chicago. Everyone knew Tampa Red and loved him. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 27 Oct 1995 10:52:29 CST Reply-To: "Dave Luciani, CE Video" From: "Dave Luciani, CE Video" Organization: University of Wisconsin-Extension Subject: My visit to SRV's crash site Note: This letter was originally posted to the SRV list (texasflood@dmu.ac.uk), but since there's a good number of SRV fans on the Blues-L, I decided to post it here too. It contains no discussion of the blues, except the blues that wells up inside all of us when one of our most treasured and respected blues stringers passes on to the great blues band in the sky.......... Hey folks, Just got back from vacation and have to tell you about my trip to Alpine Valley. I'd never been there before but made the trip to try and find Stevie's crash site. I really doubted my odds of finding the site mainly because I didn't expect to get much help from the folks who run the ski lodge there. Luckily I was wrong! I parked in the lot and saw an employee pulling dead marigolds out near the golf course (actually very close to the area where the chopters took off, just in back of the giant amphitheater). I explained to her that I was a huge SRV fan and had never been to AV before....I asked her if she knew which hill was the one that Stevie crashed into. What happened next was kind of eerie. This woman was probably in her 50's, and she answered my question with a voice that seemed near tears. She pointed to the hill which wasn't visable because it's behind the ski lodge. We talked for a few minutes and then I said good-bye. As I was leaving she asked me if I wanted to walk over to the crash site. She said she couldn't give me authority but couldn't see any harm in it. She pointed me in the right direction and I told her if anybody stopped me and asked me what I was doing, I'd just stop and return to my car. I walked back behind the lodge and came to a crossroads for work vehicles. I decided to take a route up a very steep hill, not knowing at all if this was the right way. This road curves up the backside of the tallest ski hill at AV. As I neared the top I saw a couple of workers repositioning a snow making machine. I walked up to these guys, camcorder in hand, and asked them if they knew where the crash site was. The older guy, who later told me he had worked the amphitheater the night of the show, told me I had just walked up the hill where the chopter crashed. He pointed back towards the road, and gave me details about the crash site and where the wreckage was scattered. The other guy told me that a group of people gather together on each anniversary of the crash to honor him with music, talk and prayer by candlelight. I asked the two of them if they minded if I shot video of the area and they said go ahead. So I took out my camcorder and went to work. Knowing what I know about the flight and the crash I was able to see first-hand just how short the flight actually was. His chopter was probably in the air for no more than 30 seconds. The pilot apparently thought he had cleared the ski-hill, or was about to hit it and banked sharply to the right.....right into the backside of the ski-hill....right alongside the road that I walked. I have read a few accounts of the crash from the two books about SRV's life. I know the pilot was faulted for flying by "sight" instead of relying on his instruments. I know he was involved in at least two prior crashes.....but to be there, on the side of that hill, and to see how close Stevie's chopter was to getting out of the AV area that night brought tears to my eyes.........it crashed only about a hundred feet from the top of the hill. The accounts of the crash site are correct. Stevie's body was found in a meadow of wildflowers. Some of you die-hard SRV fans will understand why I took some of the seed-heads from the Queen Anne's Lace that I found at the crash site as well as some of the smaller stones from the road and some pieces of bark from a fallen tree at the site. The seeds will be planted next fall in my backyard, as a sign of new life where such a tragic and ill-fated death took place....it'll be my "Stevie garden".....a little tribute to an incredible person and talent. One last thing......I plan on going back to AV to honor Stevie on the anniversary date of the crash next August. If any of you would like to join me, let me know, I'd be happy to go there with a group of SRV fans and reminisce. Before I left the site and started the long walk back to my car I spoke three words I thought appropriate--"Soul to Soul". - Dave ========================================================================= Date: Fri, 27 Oct 1995 15:57:47 GMT Reply-To: InterJazz From: InterJazz Organization: InterJazz Subject: LARRY CARLTON live on JazzIRC(r) Comments: To: bit-listserv-blues-l@uunet.uu.net +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+ ANNOUNCEMENT JazzIRC SESSION WITH MR. LARRY CARLTON +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+ The Blue Note, in association with InterJazz, is proud to announce a JazzIRC session with Mr. Larry Carlton. On his opening night, Tuesday, October 31, 1995 from 7:30PM-9:15PM Eastern Time USA, we will open the Blue Note "Dressing Room Door" to anyone wanting to interact with Mr. Carlton live on (IRC) Internet Relay Chat. Mr. Carlton will take your questions right before he goes on the Blue Note stage to perform! The session will be moderated. Complete instructions on how to participate is available on InterJazz at: http://www.interjazz.com/~ijazz/ We hope to see you all there. Larry Carlton will be performing at the Blue Note, Tuesday-Sunday, October 31- November 5, 1995. Complete information, including artist bios, photos, sound bites, e.t.c. is available on the Blue Note home page at: http://www.interjazz.com/~ijazz/bluenote.html For step by step instructions on how to participate in the session, read the JazzIRC page found in the above World Wide Web URL. If after reading this page you still have difficulties reaching the channel or conversing with the artist, please email us at ijazz@interjazz.com. We will be glad to help you. ========================================================================= Date: Fri, 27 Oct 1995 12:16:42 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Band Name Needed Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com Once again I'm asking my fellow bluesellers to help me come up with a name for a band. This band is a mostly traditional Delta and Chicago blues band (with some jump and r&b thrown in), with lots of slide guitar (open tunings) and harp. We cover Robert Johnson, Fred McDowell, Blind Boy Fuller, Little Walter, Muddy, Snooks Eaglin, Roy Brown, Big Walter, Elmore James, etc. The lineup is acoustic (but lightly amplified) guitar, upright bass, harp, drums and vocals. We sometimes work as a duo, sometimes as a trio, and sometimes as a four piece. Originally we were Burr Clover, then the name was 32-20, but both of those names are too obscure. We're now calling ourselves Blues Messengers, but we found out that there is already a Blues Messenger in DC. I'm looking for a Delta sounding name. Maybe I can make a contest out of it - suggest a name we can all agree on and you'll win a prize! (maybe a copy of our demo tape, or a cd from my collection) If you have any suggestions, please send them my way. Thanks, Steve ========================================================================= Date: Fri, 27 Oct 1995 12:21:04 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: This silly Music Theory debate "Music Theory" is simply a "language" for speaking about music. It's not something you play, and it's not something that you can substitute for your ears with any degree of success. Find me a musician who plays by ear who doesn't wish he could read music. I don't think any exist. Being able to speak the language of music can do nothing but good for a talented musician, and in no way inhibits the free flow of gut level musical creation. Absolutely EVERYONE who picks up an instrument, or opens their mouth, and makes musical sounds with it that are attractive to another human, is learning, and utilizing musical theory, whether they learn the language or not, they're learning the rules. Nobody, in real life, goes to the crossroads, not knowing how to play, and comes back knowing how. Everyone LEARNS. And like any other language at all, the more you learn the better you can express yourself. The idea that learning music theory will have a bad effect on your ability to make music is simply ludicrous. It's like suggesting that learning grammar, punctuation, and vocabulary, will stifle your writing skills and your ability to tell a story, or communicate your feelings, or express your love. A downright silly notion. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 27 Oct 1995 11:31:15 CST6CDT Reply-To: SOXTON@CHE2.CHE.UMN.EDU From: Sara Oxton Organization: University of Minnesota Subject: Re: Hidden Gems... One single that I keep coming back to is Bobby Boseman's "Another Man's Woman" on the Evejim label. Leon Haywood is the producer for this label and most of the material is solid, soul-soaked Blues. Clay Hammond and Jimmy McCracklin have both recorded albums for him. I believe that Boseman got his start in the 60's recording for Don Robey on Duke Peacock as "Gashead." I have no idea where he is now. Sara ========================================================================= Date: Fri, 27 Oct 1995 13:24:58 -0400 Reply-To: Ari Eisinger From: Ari Eisinger Organization: Voicenet - Internet Access (800)835-5710 Subject: Re: Where To Get Document CDs Comments: To: bit-listserv-blues-l@uunet.uu.net Simpler and perhaps cheaper might be just telnetting to cdconnection.com. They have tons and tons of Documents (perhaps all of them). ARI EISINGER ==Blues and Ragtime Guitarist and Singer== ==Guitar Teacher== ========================================================================= Date: Fri, 27 Oct 1995 17:24:03 GMT Reply-To: wgsicara@mailbox.syr.edu From: William G Sicaras Organization: Syracuse University, Syracuse NY, USA Subject: Re: RE; THEORY AND PLAYING Comments: To: bit-listserv-blues-l@uunet.uu.net I respect your opinion. I do however think that the absense of music theory can add soulfulness in your playing. Instead of thinking about which pattern and mode will go well over a chord, or which NOTE to play, you should think of what SOUND to play. It comes from the heart, not the mind. At least in blues. Bill : This is my first posting to this list, so I'll be careful what I say, but I : am surprised with some of the responses I have been reading lately. To me, : music theory is an invaluable asset. Even if the great blues players of : the past could not claim to have been educated at G.I.T., or boast of their : vast theoretical knowledge, the sweet things they played worked because of : the theory involved in their music. The theory is the music. They may not : have known that they were playing a dominant ninth chord or altered scale, : but when they did, it worked, and it was because of the theoretical : connections involved. Also, too many "musicians" (And I use the term : loosely)I know are simply intimidated by theory. It is a lot to learn, but : every little bit of theory I have learned has helped me tremendously, and : while I am not on par with Buddy Guy or Stevie Ray Vaughn, I will try : everything possible to IMPROVE my playing. THEORY is one of the keys to : that improvement in my eyes. In addition, I can't see how a more diverse : musical vocabulary could ever hinder creativity.-- Just my two cents worth. : Dan Spigarelli : Bemidji State University : Bemidji, Minnesota -- ************************************************************************ * * * * wgsicara@fubar.syr.edu * Bill Sicaras * * wgsicara@netune.syr.edu.ecs * 717 Ackerman Ave. * * wgsicara@mailbox.syr.edu * Syracuse NY 13210 * * * (315) 423 - 7968 * * * * ************************************************************************ ========================================================================= Date: Fri, 27 Oct 1995 12:36:46 -0500 Reply-To: Rob Varak From: Rob Varak Subject: Re: Hidden Gems Comments: To: L W In-Reply-To: LW, Here I am basking in the glow of your praise,thinking that the "Threadmaster" has deigned to compliment my modest efforts and then... LW 'best thread since Jim Hartac or whoever he was started one :-)' You go and mention me and the _true_ unholy one in the same sentence. Shocking! J/K I'm glad people are having fun with it. I've written down damn near all the suggestions. Keep those cards and letters coming. Rob (who truly is honored) Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Fri, 27 Oct 1995 14:06:22 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Recordings of "Crossroads"? Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, mckenzie/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=mckenzie#a#ipcs#f#demon#f#co#f#uk@s1boca.corp.wrgrace.com *There's a great version of Crossroads on an album by Sam Mitchell a *British slide player who seems to have disappeared from the scene in *recent years (Anyone know where he is??) . I saw Sam Mitchell a couple of years ago in Copenhagen, at Mojo (one of the few blues bars in Copenhagen). Acually, it wasn't called Mojo then, but I forget what it was called back then. He may still be there. I was in Copenhagen last year and I think he may have been in town, but I didn't see him. -Steve ========================================================================= Date: Fri, 27 Oct 1995 19:36:22 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: RE; THEORY AND PLAYING Comments: To: bit-listserv-blues-l@uunet.uu.net In <46r4jj$8qb@newstand.syr.edu>, William G Sicaras writes: >I respect your opinion. I do however think that the absense of music >theory can add soulfulness in your playing. Instead of thinking about >which pattern and mode will go well over a chord, or which NOTE to play, >you should think of what SOUND to play. It comes from the heart, not the >mind. At least in blues. If we take your argument to the next level, I think you'll realize how absurd it is. Why just say that theory impairs your ability to play? Why not argue that ANY training gets in the way. You should just sit down at a guitar/harmonica/sax/piano/etc. and play the sound you want and feel. Uh oh, don't know how to play? When you strum the strings, instead of a great Willie Johnson slide riff you get a racket that upsets your cat? Hmmmm..... Imagine how great it would sound if when you "felt" the sound you actually knew enough about the instrument to play it. Imagine again how great it would sound if not only could you play the instrument but knew your scales and could choose between playin a major scale, a minor scale, a blues scale, a diminished scale, etc. Imagine you knew enough to GET that sound out of your instrument when you sat down to it. No one ever gets there completely, but knowing the theory behind the music puts you half way there. Its like having a good vocabulary. Even if you want to write simple poetry, imagine how far ahead you are with a good vocabulary and knowledge of grammar. You may opt to use simple words and incorrect sentence structure, but you chose that becasue thats what you wanted, not out of ignorance. BBB ///////////////////////////////////////////////////////////// B.B. Bean bbbean@cris.com Team OS/2 strictlow@aol.com Bean & Bean Cotton/Bean Farms 75474.2654@compuserve.com \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ ========================================================================= Date: Fri, 27 Oct 1995 12:51:00 -0700 Reply-To: NED_KRAFT@HP0000.DESK.HP.COM From: Ned Kraft Subject: Gems I'd pick Darrell Nulisch and Texas Heat - Business as Usual (former front man for Ronnie Earl and Anson F.) - Black Top Paul DeLay - The Other One (kind of jazzy) - Criminal (some of you know how ironic this is) Ry Cooder - Borderline (not all blues, but ...) Thanks for the thread - nice to see what others are into. I'll be watching in index form for a while due to new day job and CD production pain and suffering. Also, thanks for the Chicago blues fest info (5/31-6/2) I'll be there ready to play and party. Dirty Ned hoosier.daddy@rockhouse.com (more permanent than my job?;) ========================================================================= Date: Fri, 27 Oct 1995 15:57:52 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Band Name Needed Comments: To: Steve.Levine@CORP.WRGRACE.COM On 27 Oct 95, Steve Levine had this to say: > Originally we were Burr Clover, then the name was 32-20, but both of > those names are too obscure. We're now calling ourselves Blues > Messengers, but we found out that there is already a Blues Messenger in > DC. I'm looking for a Delta sounding name. Maybe I can make a contest > out of it - suggest a name we can all agree on and you'll win a prize! > (maybe a copy of our demo tape, or a cd from my collection) > > If you have any suggestions, please send them my way. O.K. my suggestion is that the prize be $200 cash. Maybe the whole band could contribute the prize money. You ought to get a great name for $200 Seriously, here's a tip for free. Get a newspaper. Get the sports section. Turn to the race results. Read all the race horse names. It's a goldmine of potential band names. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 27 Oct 1995 15:23:50 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Re: Band Name Needed Comments: To: bit-listserv-blues-l@uunet.uu.net Steve Levine (Steve.Levine@CORP.WRGRACE.COM) wrote: : Once again I'm asking my fellow bluesellers to help me come up with a : name for a band. This band is a mostly traditional Delta and Chicago : blues band (with some jump and r&b thrown in), with lots of slide Steve - maybe you are looking too far. In your own words: "The Mostly Traditional Delta & Chicago Blues Band" Certainly not esoteric. Certainly explains what you do play. Certainly no other group has used it. Keep the tape or CD - better yet donate it to a local kids group. Let them in for the treat - kids deserve it. After all their first few years are nothing but the blues. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Fri, 27 Oct 1995 15:42:01 -0600 Reply-To: Bennett Pearce From: Bennett Pearce Organization: UAB Pediatric Cardiology Subject: Re: Sugar Cane Harris Comments: To: bit-listserv-blues-l@uunet.uu.net In article <951023195134_52359464@emout05.mail.aol.com>, KGIBSON743@AOL.COM wrote: > Has Don Harris put anything out in the last 20 years? He was great with > Mayall & Frank Zappa. I think that he appears on a couple of selections on the Shuggie Otis "Shuggie Otis plays the Blues" compilation. -- Bennett Pearce ========================================================================= Date: Fri, 27 Oct 1995 15:26:50 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Band Name Needed In-Reply-To: Message of Fri, 27 Oct 1995 15:57:52 +0000 from >On 27 Oct 95, Steve Levine had this to say: > >> Originally we were Burr Clover, then the name was 32-20, but both of >> those names are too obscure. We're now calling ourselves Blues I don't think you can do better than "Burr Clover"....That's excellent and since your not gonna use it....just call me Burr for short :-) LW (aka: Burr Clover) btw: IF I had a band I would either call it The Rhythmatics or "Paler Shade of White" ========================================================================= Date: Fri, 27 Oct 1995 16:40:05 -0400 Reply-To: BluesRevue From: BluesRevue Organization: America Online, Inc. (1-800-827-6364) Subject: Re: THE FIELDSTONE'S Comments: To: bit-listserv-blues-l@uunet.uu.net I'm not sure of this, but I heard that the Fieldstones moved to a different club . . . over a disagreement with the new owner of Green's. I miss them there as well, as I would always make a point of seeing them when I was in Memphis. Their LP as well as a number of other releases are available on the High Water label by David Evans who has a regular advert in the back of Blues Revue Magazine. You can call or write the office for back issues or consider subscribing: here the details, and get a free CD while you are at it. Bob Vorel, Publisher Blues Revue Blues Revue is currently the largest sellling blues publication-IN THE WORLD! Published bi-monthly, Blues Revue covers the full spectrum of the blues, from downhome country, to traditional Chicago, to blues influenced rock [and beginning with the next issue-JAZZ]. Recent cover features have included Stevie Ray, Johnny Winter, Charlie Musselwhite, Jimmy Rogers, Willie Dixon, Jimi Hendrix, John Lee Hooker, and Dr. John. Transcription, columns by leading blues researchers and musicians, blues society news, festival info, and extensive reviews make Blues Revue the leader in Blues publications. US subs are $20 for six issues [$36 for two years]. Canada is $24 [$44 for two years]. Overseas subscriptions are $30US [$56 for two years]. Samples in US are $5 ppd, Canada and overseas $8 ppd. Currently, any NEW subscriber can choose a Free CD from a list of 17 top blues labels with the new subscription. Payment in US funds, on a US bank, IMO, or credit card. For a subscription form write-send your address by, e-mail, call, or fax: Blues Revue - Bonnie Rt 2 Box 118 West Union, WV 26456 USA Phone: 304/ 782-1971 Fax: 304/ 782-1993 or call toll free between 9-5 Eastern, 1-800/284-4355 (credit card subscription orders only) e-mail: BluesRevue@aol.com (for your convenience here is the complete list of CD choices-you may call, write, email, or fax your choice along with payment, Visa/MC accepted) o Icehouse Records: VARIOUS ARTISTS, "ICEHOUSE SAMPLER-VOL 1" "A FEW DEGREES COOLER" ICD 4900 o House of Blues Music: CLARENCE FOUNTAIN & THE BLIND BOYS OF ALABAMA "I BROUHT HIM WITH ME" o Viceroy Music: VARIOUS ARTISTS, "THE MUSIC OF PETER GREEN - RATTLESNAKE GUITAR" VIC 2-8021 (2-CD SET) o Black Top: VARIOUS ARTISTS, "BLUES, MISTLETOE & SANTA'S LITTLE HELPER" BT 1122 o Black Top: VARIOUS ARTISTS, "BLUES VOCAL DYNAMITE" BT 1124 o Code Blue: JAY OWENS, "THE BLUES SOUL OF JAY OWENS" 82696-2 o Evidence: VARIOUS ARTISTS, "EVIDENCE BLUES SAMPLER FOUR" ECD 26058-2 o Earwig Music: LITTLE WILLIE ANDERSON (featuring, Robert Lockwood Jr), "SWINGING THE BLUES" CD 4930 o Earwig Music: HOMESICK JAMES, "GOIN' BACK IN THE TIMES" CD 4929 o Waldoxy: VARIOUS ARTISTS, "SOUTHERN SHADES OF BLUE" WCD 1900 o Silvertone: JOHN MAYALL & THE BLUESBREAKERS, "SPINNING COIN" 01241-41541-2 o Silvertone: CHRIS DUARTE GROUP, "TEXAS SUGAR/STRAT MAGIK" 01241-41546-2 o Drive Entertainment: VARIOUS ARTISTS, "BLUES ALL WAYS" DE2-41045 o Drive Entertainment: VARIOUS ARTISTS, "ALONE WITH THE BLUES" DE2-41044 o Drive Entertainment: LEAD BELLY, "STORY TELLER BLUES" DE2-41002 o Big Mo: JOHNNY NEEL & THE LAST WORD, "COMIN' ATCHA . . . LIVE!" 10272 o Big Mo: MURALI CORYELL, "EYES WIDE OPEN" 30232 o Inside Sounds: MEMPHIS SHEIKS, "SLOW-COOKED PIG MEAT" ISC-494 The Following Are All Document Records: o MEMPHIS MINNIE & KANSAS JOE, Vol 3 DOCD 5030 o JIMMY YANCEY, Vol 2 DOCD 5042 o SONNY BOY WILLLIAMSON, Vol 1 DOCD 5055 o SONNY BOY WILLLIAMSON, Vol 2 DOCD 5056 o JOSH WHITE, Vol 2 DOCD 5195 o JOSH WHITE, Vol 3 DOCD 5196 o ARTHUR BIG BOY CRUDUP, Vol 1 DOCD 5201 o LEADBELLY, Vol 3 DOCD 5228 o MISSISSIPPI STRING BANDS, BDCD 6013 o "DELMARK 40TH ANNIVERSARY BLUES", DX-2 o Antones Records: VARIOUS ARTISTS, "CAN'T LIVE WITHOUT IT!", ANT 9905 o Orleans Records: THE ORIGINAL ROLAND STONE, "REMEMBER ME", OR 1111 o Rounder/Bullseye, VARIOUS ARTISTS, "DEEP BLUE" AN 20/21 (2-CD SET) ========================================================================= Date: Fri, 27 Oct 1995 15:56:50 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: HIDDEN GEMS... > From: "J. Witteveen" > 1. Jerry McCain - I've Got The Blues All Over Me (Wild Dog Blues, > 1993) A great big "Oh Yeah!" on that one. That was my favorite album of 1993 and is one of those all too rare releases that does not have one single bad cut. Jerry McCain is one of those (many) folks that deserves SO much more recognition than he has received so far. He's someone that I have never had the chance to see live but would really like to. He doesn't seem to tour much outside of Alabama. Guess I need to take a road trip! Don O. ========================================================================= Date: Fri, 27 Oct 1995 17:06:00 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Re: Guitar Carry-on Luggage experiences Some years back, Air Canada insisted that Stephane Grappelli (for whom I was arranging a cross-country tour) could not carry his violin on bioard, and it took a royal surge of Gallic temper ("would you do this to Yehudi Menuhin!?!") and streams of steam from Steph's ears before they relented. In the old days Air Canada did, in mythical fact, have a guitar crusher, and the late Stan Rogers (who got killed in an Air Canada crash some 13 years ago) lost his instrument to its ministrations. My advice to people is to check before you book the ticket as to the policy, if necessary going to the public relations or special handling office to do so. On a subsequent tour with Stephane, I talked to Air Canada's PR department, found a woman who actually knew who he was, and she put into the computer-for every flight he had on the whole tour-the equivalent of "Speak French, roll out the red carpet, treat him nice, let him-and his band-carry ALL their instruments on board" (except the acoustic bass in its heavily reinforced case). All that cost me was two front row seats for the Massey Hall concert in Toronto! In other words, ask nice and they can be persuaded to be helpful. Incidentally, those of you who know the folkie Tom Paxton may remember his hilarious song called Thankyou Republic Airlines, adout how they destroyed his guitar. Republic, of course, later went broke... -Richard ========================================================================= Date: Fri, 27 Oct 1995 16:46:12 -0400 Reply-To: BluesRevue From: BluesRevue Organization: America Online, Inc. (1-800-827-6364) Subject: Luther/Blind Boys/Sam McClain Sunday Comments: To: bit-listserv-blues-l@uunet.uu.net This Sunday, the 29th, Mountain Stage on American Public Radio, will be having a super blues show with Luther Allison, The Blind Boys, and Mighty Sam McClain as well as others. Really great line-up. Blues Revue will be there so we'll let y'all know how it went for those that can't get APR. Bob Vorel, Publisher Blues Revue ========================================================================= Date: Fri, 27 Oct 1995 15:53:39 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: HIDDEN GEMS... In-Reply-To: Message of Fri, 27 Oct 1995 15:56:50 -0600 from > > 1. Jerry McCain - I've Got The Blues All Over Me (Wild Dog Blues, > > 1993) > >A great big "Oh Yeah!" on that one. That was my favorite album of 1993 and is >one of those all too rare releases that does not have one single bad cut. >Jerry McCain is one of those (many) folks that deserves SO much more >recognition than he has received so far. He's someone that I have never had >the chance to see live but would really like to. He doesn't seem to tour much >outside of Alabama. Guess I need to take a road trip! Jerry lives fairly close to us and we've called and invited him and his wife over for supper. I told him he didn't need to bring his harp and he said oh yes I do. I seen Jerry do tremendous shows and I've seen him do some that were so-so. I agree he deserves wider recognition, but being on the cover of Living Blues sometime back should let some folks know about him. He's a character, thats for sure. I think everytime I've seen him, he has got down on his knees and played harp through his nose. Sadly alot of local blues fans don't really care about him, but what do you expect from a town that had Johnny Shines in their own backyard and virtually ignored him. Tab Benoit is playing tonight and tommorrow here and BOTH shows are sell outs...The only other show I've seen do like that is Michelle Shocked (one show) it wasn't blues, but it was GREAT and as crowded as a Tab show.... LW ========================================================================= Date: Fri, 27 Oct 1995 16:43:28 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: THEORY AND PLAYING > I do however think that the absense of music > theory can add soulfulness in your playing. Instead of thinking about > which pattern and mode will go well over a chord, or which NOTE to play, > you should think of what SOUND to play. It comes from the heart, not the > mind. At least in blues. > I am not going to express an opinion on this thread, but i am reminded of the apocryphal Nashville session musician who was asked if he could read music. "Yes," he replied, "But not enough to hurt my pickin'." And of Pop Stonema, who had a lot of kids, all of whom played multiple instruments very well. Asked whether he had to force the kids to take lessons, he replied: "Nope. I just went out and bought a bunch of instruments. Then I throwed them on the bed in the childrens' roiom, and said, 'Don't touch them instruments!'" Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Fri, 27 Oct 1995 17:37:56 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Re: Guitar Carry-on Luggage Comments: cc: Roger Struve Horror stories abound...folkie Tom P{axton once did a wonderful song called Thank You Republic Airlines, in which he castigated them for destroying his guitar (and that airline went broke, which serves 'em right). Up here north of the border, Air Canada for years reputedly had a "guitar crusher" which did woeful damage-the great Canadian folk artist Stan Rogers (who was later to die in an Air Canada crash) once had his guitar pulverized, so did Sylvia Tyson (late of Ian & Sylvia), who had hers dropped out of the plane while it was, fortunately, on the ground. My worst experience was during a national tour which I arranged for Stephane Grappelli, who was told by some Air Canada functionary that his violin would have to go in the hold. Steph, then in his late 70s had what could be described, mildly, as a temper tantrum as steam blew out of his ears ("Would you do this to Yehudi Menuhin," he screamed as his band members faded into the background). Finally, he was allowed to carry it with him, but he refused thereafter to fly Air Canada again. On his next national tour, the only way it could be done was with the same airline, so I called their PR department, explained that I had a cross-tempered French jazz violinist on tour, and was relieved when the woman who answerered said, "Oh, Stephane Grappelli?" To cut a long one shorter, she inserted instructions in the computer that came on every single stop on the tour, to the effect that personnel should a) speak French, b) roll out the red carpet, c) put him and the band in the VIP lounge, d) upgrade to first class at no cost if possible, and e) allow them to carry all instruments on board (except the double bass and its tour-crate). All it cost was two tickets for the Air Canada employee in the front row of the Massey Hall show in Toronto; it won Grappelli's undying gratitude. Moral: Explain the position to the special handling people or the PR department, call in advance, and lose your temper only in the last resort. Good luck! -Richard ========================================================================= Date: Fri, 27 Oct 1995 17:51:47 -0400 Reply-To: BluesRevue From: BluesRevue Organization: America Online, Inc. (1-800-827-6364) Subject: Blues Revue Holiday Issue Out Comments: To: bit-listserv-blues-l@uunet.uu.net Blues Revue Holiday Issue Out Our latest and biggest ever holiday issue is just being mailed and sent to newstands. The issue is dedicated to Muddy Waters and features a great cover shot with Muddy in a Santa's hat! This issue is already a "Collectable" for the cover--very special! All the usual columns, reviews, and transcription, along with one of the most in-depth article ever on the King of Chicago Blues, Muddy Waters, by Jas Obrecht. Also a very touching rememberance by Bob Margolin from when he played in the Muddy band. Also features on Little Walter, Otis Spann, Saffire, and The Blind Boys. We're already lining up more "fantasy blues weekend" prizes for our subscribers, everything from top blues fests to blues cruises, so check out the details in the latest issue. If you're a subscriber, you're already entered. If you'd like to subscribe, you'll get a free CD for your troubles, your choice from 17 different blues labels, and over 30 CDs to choose from. For subscription info, you can email BluesRevue@aol.com or look for us on the newstand thanks, Bob Vorel, Publisher Blues Revue Magazine ========================================================================= Date: Fri, 27 Oct 1995 18:03:08 -0400 Reply-To: GDKimball From: GDKimball Organization: America Online, Inc. (1-800-827-6364) Subject: Guitar Tunings Comments: To: bit-listserv-blues-l@uunet.uu.net A reply to several messages with various (often conflicting) info on tunings. Open G or Spanish: DGDGBG Examples: Charlie Patton, Screamin' and Hollerin' the Blues, Willie Brown, Future Blues Open D or Vestapol: DADFsharpAD Examples: Blind Blake, Police Dog Blues Crossnote D (D minor): DADFAD Example: Skip James, Devil Got My Woman (Go up a full step for Crossnote E (E minor) Drop D: DADGBE Example: Tommy Johnson, Big Road Blues Vestapol has various spellings, Grossman says on one of his tapes that he found the song Vestapol (in this tuning) in a parlor guitar book from the 19th century. Obviously there may have been regional variations on what tunings were called, but the above seems standard in most of the guitar stuff I have read. Slide tunes are usually in Spanish or Vestapol, but I've heard Booker White used crossnote E. Gregg in Richmond ========================================================================= Date: Fri, 27 Oct 1995 17:11:44 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Re: Blues Revue Advertisement Bob: A shameless advertisement for your commercial enterprise pretending to be a message about the Fieldstones. Joel ========================================================================= Date: Fri, 27 Oct 1995 17:39:47 PDT Reply-To: rjbauman@IQUEST.NET From: rjbauman@IQUEST.NET Subject: Re: Band Name Needed how about THE NERVE RJ Bauman ========================================================================= Date: Fri, 27 Oct 1995 18:52:15 -0400 Reply-To: HeyNowJoe@AOL.COM From: "Joe T. User" Subject: Blues One of my favorite bluesmen of all times is John Lee Hooker. How can I get a discography of all of his earliar recordings and labels. ========================================================================= Date: Fri, 27 Oct 1995 18:52:16 -0400 Reply-To: HeyNowJoe@AOL.COM From: "Joe T. User" Subject: Blues I know this is a Blues list, but does anyone know where I can find any information on Group Harmony ?? ( Besides Blues, it's the second love of my life ) ========================================================================= Date: Fri, 27 Oct 1995 18:56:30 -0400 Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Hidden Gems Comments: To: bit-listserv-blues-l@uunet.uu.net In article <9510262034.aa20865@villtor.village.ca> Robert Crocker writes: >The Everlasting Blues versus Otis Spann -- Spivey LP 1013 -- I don't know > whether Spivey Records out of New York is stil in operation or not. The last time I checked, the Cadence magazine/catalog listed most, if not all of the Spivey LPs. You can find Cadence at most of your more complete magazine newstands. Art Schuna ========================================================================= Date: Fri, 27 Oct 1995 23:26:57 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Jerry McCain (was RE: HIDDEN GEMS) Comments: To: bit-listserv-blues-l@uunet.uu.net > > From: "J. Witteveen" > > 1. Jerry McCain - I've Got The Blues All Over Me (Wild Dog Blues, > > 1993) And while your recommending some hidden Jerry McCain gems, why not also consider "That's What I Want:The Best of Jerry McCain" AVI/Excello CD 3009. This gem has 23 tracks including both sides of all 6 singles released by the Excello label. Even more interesting are the 11 tracks that are from an audition tape he sent to Excello to get the label to record him. These 11 tracks were taped with a single mike on a one track home tape recorder. None of the official releases ever got much notice at the time they were released. I suspect Jerry was just a little to raw and crazy for the average radio station of the times. He mixes blues, rock and R&B in these tunes and that may have been a problem - after all, if you can't classify him how can a station decide whether he would fit the play list? The officially released sides are not much different than the audition tape in terms of sound quality. After all, this was the mid-50s and the label is Excello! :-) But you can't match this for pure energy. The audition tape material includes the original "I'm A Ding Dong Daddy From A Rock & Roll City" which was very smoothly covered by Gary Primich in his most recent release. But there is nothing smooth about this version. If you crank this disc up to a certain level on your stereo hifi you may just find your speakers smokin'. Art Schuna ========================================================================= Date: Fri, 27 Oct 1995 21:37:36 -0200 Reply-To: Hudson Carvalho Bianchinni From: Hudson Carvalho Bianchinni Subject: Re: Band Name Needed Comments: To: Steve Levine In-Reply-To: The name of the band which be "Muddy Blues Band", "Route 66", "Highway 61" , "Mogoltone Blues Band" or "Delta Acoustic Blues Band". I hope you enjoyed this names for his band.That's my contribuition. Sassarrao/Alfenas-MG-Brazil ========================================================================= Date: Fri, 27 Oct 1995 23:42:13 GMT Reply-To: Mitchell Drumm From: Mitchell Drumm Organization: Santa Rosa Junior College, Santa Rosa, CA Subject: Re: piano red Comments: To: bit-listserv-blues-l@uunet.uu.net Mary Moretti (aj514@OSFN.RHILINET.GOV) wrote: : do any of you have any info on a blues pianist, from new orleans : who went by the name piano red, his real name was william perryman. : i would appreciate any alblum recomendations, as well. : mary : -- get his RCA label recordings: Rockin' With Red, etc. These were issued on lp format maybe 15 years ago, but I am not sure about CD reissue..possibly Bear Family has done it. His brother Speckled Red was a pretty good hand around a piano too. ========================================================================= Date: Fri, 27 Oct 1995 19:00:06 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Midi piano Me> From: Michael Kaloyanides Me> Subject: Dissing Music Theory Me> As a music teacher, I can't let you slam music educators and the value Me> of music theory. Music theory abstract and irrelevant? Them's fighting Me> words! First of all, I haven't 'slammed' music educators. I have pointed out, and several others have agreed by their own personal _experience_, however, that learning music theory does not help one learn to PLAY Blues. Music theory is totally irrelevant to this music, simply because the people who created it did not do so with any understanding of music theory, which is a western European concept of intellectual masturbation. I am rather sure that 'primitive' tribes' people all over the planet for the last 20,000 years do not have to develop a written system of music theory _before_ they made their music. Music came first, and one particularly obnoxious culture generated a somewhat systematic language to TALK about it. Personally, I do not want to talk about it, I want to play it. Are there any ancient written instructions for music, say, of China or Japan?? How about the African tribes?? Music theory IS abstract, it is a totally arbitrary system of intellectualizing about music. Me> Music theory is anything but abstract and irrelevant. Believing so, Me> you just reveal your ignorance of what music theory is. An Me> understanding of music theory, the study of musical structures such as Me> scales, chords, and form, is essential to creating and performing Me> music in a MEANINGFUL way. Are you being so bold as to suggest here on blues-l that the music of Robert Johnson, Charley Patton, Skip James, Ishman Bracey, et. al. was not played "in a MEANINGFUL way"????? If so, then your ignorance of this music form is far more profound than mine regarding abstract theory. I am not totally ignorant about music theory, I learned enough to understand very clearly that it is not going to help me do what I want to do. I have been in contact with people who TEACH music, and music theory, and THEY can not listen to a record and reproduce the very simple piano part. Me> Without a doubt, the vast majority of noted blues musicians Me> have had a deep understanding of the theory of the blues, its Me> language, even though they may not have possessed the technical Me> vocabulary to describe the grammar of their music. I think you are muddying the waters here by not differentiating clearly between an intuitive grok of the music and the abstract technical vocabulary. Me> If you play a riff for me, I'll play it back to you, ... Is this really a sincere offer to help?? If so, give me your snail-mail address, and I will send you a tape of a few songs for you to reproduce as individual MIDI files [type 1 or 2, no MIDI General] on an IBM compatable floppy disk. Thanks... ========================================================================= Date: Fri, 27 Oct 1995 20:45:00 CDT Reply-To: Paul Garon From: Paul Garon Subject: New Buddy Guy song Someone recommended to me the new Buddy Guy piece, "Please Don't Tell Me About the Blues," or something similar. They thought it was on a new CD. Does anyone know which CD? Thanks, Paul Garon ========================================================================= Date: Fri, 27 Oct 1995 23:03:25 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Midi piano Comments: To: laurie.forti@INFOEXCH.MIAMI.FL.US On 27 Oct 95, Laurie Forti had this to say: > Are you being so bold as to suggest here on blues-l that the music of > Robert Johnson, Charley Patton, Skip James, Ishman Bracey, et. al. was > not played "in a MEANINGFUL way"????? If so, then your ignorance of > this music form is far more profound than mine regarding abstract theory. I guess I missed your original post on this matter. You are desperately wrong about this, and completely missing points. For one thing, there is nothing "abstract" about music theory. In fact, it's not even a theory. Your lack of knowledge in this area is getting in the way of your ability to even understand what's being talked about. Robert Johnson didn't invent music, and he didn't invent the Blues style or structure. He learned it. He learned Blues scales. He learned the relationships between note intervals and harmonies. He may never have learned the term "pentatonic scale" but he sure as hell learned the intervals that it is comprised of, and he learned where to find them on his guitar. He wrote complex music for his guitar and voice. You can't do that without an understanding of musical mechanics and structure. You can't do that by simply copying what you hear. You could, for instance, sit down and copy the novel "Tom Sawyer" word for word without even knowing what the words meant, without even knowing how to speak or read english, but that doesn't mean you could then sit down and write "Huckleberry Finn". Likewise it is only after understanding the "language" of music that you can express yourself creatively. Like I said, you may not be using the same words and labels to describe what you are doing but you are still following the same rules of harmony. > I am not totally ignorant about music theory, I learned enough to > understand very clearly that it is not going to help me do what I want > to do. I have been in contact with people who TEACH music, and music > theory, and THEY can not listen to a record and reproduce the very > simple piano part. And apparently you, with NO knowledge of Music Theory, can't do it either, or you wouldn't be asking for somebody to do it for you. You see, being able to recognize the relationship between several notes being played on one instrument at the same time, just by listening, is something that very few people can actually do. A knowledge of musical structure is something that makes it possible for even you to learn that skill. Imagine that you are sitting in front of a piano. You have 88 keys to chose from. I sit at another piano whose keyboard you can't see. I play a chord with two hands made up of 8 notes. I wait a few seconds and then I play another chord. A good musical "ear" will allow you do decide if I played the same set of 8 notes the second time, or a different set, even if I only change one note. Most people however won't be able to play back on their piano the same 8 notes. But perform that same experiment after learning some music theory about intervals and harmonies and you will be able to associate a physical pattern with that sound you hear and you will find it on your piano. Anything that allows you to play on your instrument what you hear in your mind will help you play the Blues (or any other kind of music that involves improvisation). Your posts make two things apparent to me. One, that you don't seem to even know what "Music Theory" is, and two, that you are thinking that there must be a way to play music, in this case Blues, without the hard work of learning how it's done. I've got bad news for you. Nobody that you've ever liked to listen to skipped the hard work of learning how it was done. Not Robert Johnson, not Skip James, not Charlie Patton or Ishman Bracey. They all worked very hard to learn their skills, and they ALL understood music theory. They may not have had a way to verbalize it, but they all knew it inside out. Don't make the mistake of thinking you will accomplish anything in music without it. I wasted quite a few years of my own life trying to hold on to that fallacy. Otis Rush is somebody that you would think had no formal music education and therefore had no knowledge of the "language" of music theory. But I could stand beside Otis and say "12 bar slow blues in A starting on the five" and then count off the time and he and I would start playing a song that he's never heard, complete with an intro, as if we had been playing together for years. Your attitude of "I don't need to know any of that crap, I just want to play." will keep you from ever being able to do that. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sat, 28 Oct 1995 00:05:39 -0400 Reply-To: PRUnwin@AOL.COM From: Peter R Unwin Subject: Re: John Mayall et al Comments: To: ST001297@brownvm.brown.edu I was reading the Beano long before the Beano album came out. Every boy I went to school with had a guitar long before that. (That's not a sexist statement but girls then didn't play guitars or soccer.) The guitarists were the heros we emulated in all our front rooms. John Mayall carried the blues to us English kids who suddenly thought we were at one with the real blues players. I think that, through the Bluesbreakers, our eyes were opened, and maybe our minds a little. However I've often thought how silly it must have looked for London kids to be playing the blues. I live in the States now and find myself playing more Country (probably a dirty word on this network) music than blues, with guys who think such old blues interests are somewhat esoteric. Maybe country music is the white working man's blues now?! Who knows? ========================================================================= Date: Sat, 28 Oct 1995 00:24:39 -0400 Reply-To: Hanson123@AOL.COM From: Karen Hanson Subject: Re: subscription Patti Bowman said to Dick Waterman, who pointed out to the New Person (sorry, I lost the original note so I don't know your name) that there are indeed women here.... >Thanks, Dick, but in all fairness, I don't mind being "one of the >guys". >(oh and some us gals/guys don't know squat about blues......but >we're learning!) It is good to know we females are welcome and not just tolerated (or "for decoration only")--but truly, I am just a newcomer here myself, and I'm here not because I know a lot, but because I want to learn more! And btw, besides from the music itself, most of what I have learned has been online. >who, btw, grew up in NY where "you guys" is a term of >endearment ;-> Yes, where I live, "you guys" is the equivalent of the Southern "y'all." It is INclusive, not EXclusive. In fact, we women use the term when speaking to each other--"You guys wanna go see the new Brad Pitt movie?" :-) So, perhaps the New Person was just expressing a local idiom..... Karen ========================================================================= Date: Sat, 28 Oct 1995 00:24:42 -0400 Reply-To: Hanson123@AOL.COM From: Karen Hanson Subject: Re: louis myers Mark said: >The continuing discussion on Little Walter led me to dig out >an old >Louis Myers record last night. It's titled "I'm a Southern Man" >(1978). >Quite good, actually. Does Louis have an extensive >discography, and >is there anything else worth owning? I just bought this CD last Saturday! It's wonderful!!! I was wondering the same thing myself--whether or not he had recorded any other solo stuff. A also bought Luther Tucker Sad Hours and now I'm looking for Jimmie Lee Robinson's Lonely Traveler. What I don't have is any Robert Lockwood stuff--What's good? >Also, Lonnie Pitchford's cd "All Around Man" is highly >recommended I'll second that! And Pitchford has been playing in a band called the New Africa String Band. I saw them in Chicago at Bluesfest this year. They were fascinating, especially in the instrumentation--besides a guitar and Pitchford's diddly-bow, there were also a violin and cello, which the musician picked up and played like a guitar for one song. I heard something a while back about them having a CD coming out this fall, but I haven't heard anything recently. Karen ========================================================================= Date: Sat, 23 Apr 1904 21:33:51 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Crossroads recordings Dave Hole, the Australian slide guitarist, covers 'Travelling Riverside Blues' using the Crossroads riff on 'Short Fuse Blues'. Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sat, 23 Apr 1904 21:33:56 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Theory and Playing Once more into the fray. I must first confess that I'm a GIT student (Guitar Institute at Musician's Institute in Hollwood, CA for those who don't know) and a Blues player. When I play blues theory is the last thing I think about. Groove,feel and attitude is where it's at. Any theoretical knowledge I use is the result working things out when practicing, forgetting about it, and being surprised when it comes out in a solo. When I play Blues it is by ear. When I play any music it is by ear. I feel that being exposed to theory has helped my ear and my playing. Still, I'd rather sit down and play a shuffle in E than anything else. I won't get fancy. I'm going to try and play simple and effective. Theory isn'a hinderance to your playing. Neither will theory make you a great player. To make a statement along the lines of "so and so" was a great blues player because they didn't know any theory is stupid. A great player will be a great player no matter how much theory they knew or didn't know. I love listening to R.L. Burnside as much as Robben Ford. I refuse to compare to two as they are coming form different perspectives. Yet both play the Blues. The danger of theory is when it comes to intellectualizing music. The state that the all the Blues is a I7, IV7 and V7 and therefore limited and boring is gross ignorance. People who find Blues boring are boring themselves. Theory is a tool. How you use it is up to you. In the end, any impact your music has comes from your heart not from whether you understand or don't understand music theory. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sat, 28 Oct 1995 00:49:50 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Sam Carr A while back, a couple of people on the list were commenting that it was good that Jack Johnson was finally getting his due (I agreed). Another musician around these parts who deserves close watching is Sam Carr. I saw him a month or so. It was a pleasant evening of blues with a local band the core of which was Frank Frost and Sam Carr. But what struck me throughout was how great a drummer Carr is. Rock-steady drumming, *always* making the music go and never saying "look at the drummer." Always interesting. Carr has evermore got it. And the man must have stumbled on the fountain of youth; I think he's in his seventies and looks twenty years short of that. Must be all that time spent fishing. Also makes me miss the Jelly Roll Kings.... What do you folks think? ========================================================================= Date: Sat, 28 Oct 1995 15:16:18 +0100 Reply-To: Robert Paul Schwippert From: Robert Paul Schwippert Subject: good blues bars in london? Probably spending the weekend of the 20th Nov in London (Sat/Sun/Mon) - staying with a friend in Chelsea. Any suggestions for good blues bars to go and visit there? Thanks RP ========================================================================= Date: Sat, 28 Oct 1995 14:03:03 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: HELP NEEDED ON LITTLE SAM DAVIS Comments: To: bit-listserv-blues-l@moderators.uu.net B&R is running a full length interview in the Xmas issue with Little Sam Davis and we need the recording details of Sam's brand new CD on Delmark - like yesterday! - A review copy is on its way from the US but if anyone has a copy out there now can you let me have a track listing, recording details in order that we can get the pages done and away against a very tight schedule. Any help appreciated! Tony ========================================================================= Date: Sat, 28 Oct 1995 14:07:35 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Re: Sam Carr Comments: To: bit-listserv-blues-l@moderators.uu.net Tom, You're dead right pal! Sam Carr is a great drummer. I saw him a few years ago in London with the Jelly Roll Kings, Frank was a little off form but Sam played so well, nice and steady, no sweat and a great guy to interview about his old man. While on the subject of the Jelly Roll Kings. Has anyone got a copy or can get me a copy of Big Jack Johnson's Ice Storm Blues cassette single. I will pay or swap something. Will take as many copies as I can get. TB ========================================================================= Date: Sat, 28 Oct 1995 23:38:58 +0900 Reply-To: "MIE \"micro\" SENOH" From: "MIE \"micro\" SENOH" Subject: Hello! I'm calling from JAPAN! Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Hello! I join INTERNET because I wanted to watch BLUES-SITES. Finally,I can subsucribe BLUES-L! I sometimes work with P-VINE RECORDS STAFF, and write a review about CD on BLUES & SOUL(magazine) but I don't write English very well...... My favorite artists.....mmm...difficult. I love CHICAGO BLUES. I love HOUSTON JUMP etc.... I love Joe Liggins too. I love HI-SOUND too.... There are many BLUES fan in JAPAN. In December,Little Sonny,Snooks Eaglin,Vernon Garett, Robert Jr.Lockwood will come to JAPAN. This month,I can look at FIVE BLIND BOYS OF ARABAMA! I hope introduce about JAPAN BLUES SCENE. And have many Blues Freiend all over the world. I am glad to make your acquaintance. Best Wishes. Mie Senoh (micro@kiwi.co.jp) ========================================================================= Date: Sat, 28 Oct 1995 12:03:01 -0400 Reply-To: Hanson123@AOL.COM From: Karen Hanson Subject: Re: Guitar Tunings Gregg mentions: >Obviously there may have been regional variations on what >tunings were >called, but the above seems standard in most of the guitar >stuff I have read. Speaking of regional variations...I recently got some Hawaiian slack key guitar music. It's beautiful acoustic, mostly instrumental, stuff, both 6-string and 12-string. Here are some of the tunings as listed on the liner notes: C Wahine -- C G D G B D G Old Mauna Loa -- D G D E G D B flat Wahine -- F Bflat D F A D C Mauna Loa -- C G C G A F Are these tunings familiar to anyone? Karen ========================================================================= Date: Sat, 28 Oct 1995 17:06:40 +0100 Reply-To: Peter Gallagher From: Peter Gallagher Subject: Re: Band Name Needed Comments: To: Steve.Levine@CORP.WRGRACE.COM In-Reply-To: from "Steve Levine" at Oct 27, 95 12:16:42 pm I always fancied the name "The Shakin' Chills" for a band. Should at least be approprite considering the people you cover. I don't know if it's already in use... :-) Good luck and don't forget to let us all know the outcome! regards, PeterG > > Once again I'm asking my fellow bluesellers to help me come up with a > name for a band. This band is a mostly traditional Delta and Chicago > blues band (with some jump and r&b thrown in), with lots of slide > guitar (open tunings) and harp. We cover Robert Johnson, Fred McDowell, > Blind Boy Fuller, Little Walter, Muddy, Snooks Eaglin, Roy Brown, Big > Walter, Elmore James, etc. The lineup is acoustic (but lightly > amplified) guitar, upright bass, harp, drums and vocals. We sometimes > work as a duo, sometimes as a trio, and sometimes as a four piece. > > Originally we were Burr Clover, then the name was 32-20, but both of > those names are too obscure. We're now calling ourselves Blues > Messengers, but we found out that there is already a Blues Messenger in > DC. I'm looking for a Delta sounding name. Maybe I can make a contest > out of it - suggest a name we can all agree on and you'll win a prize! > (maybe a copy of our demo tape, or a cd from my collection) > > If you have any suggestions, please send them my way. > > Thanks, > > Steve > > -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Sat, 28 Oct 1995 12:51:48 -0400 Reply-To: Hanson123@AOL.COM From: Karen Hanson Subject: Re: Sam Carr Tom Freeland mentioned: >A while back, a couple of people on the list were commenting >that it was good >that Jack Johnson was finally getting his due (I agreed). I don't know whether or not this has been discussed. but Jack Johnson is also a member of the New Africa String Band that I had mentioned before, along with Lonnie Pitchford, and somebody whose name starts with a K....(help me out here, someone) Anyway, definitely worth checking out. Karen ========================================================================= Date: Sat, 28 Oct 1995 10:00:06 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Comments: To: -@haida.dao.nrc.ca, -@haida.dao.nrc.ca, A@haida.dao.nrc.ca, BluesHvn@aol.com, HAWKINS@haida.dao.nrc.ca, TED@haida.dao.nrc.ca, TO@haida.dao.nrc.ca, TRIBUTE@haida.dao.nrc.ca, s@haida.dao.nrc.ca TED HAWKINS was born Theodore Hawkins Jr., Wednesday, October 28, 1936, Lakeshore, MS. I would like to thank Cary Wolfson for allowing me to post this. For more info about BLUES ACCESS, e-mail Cary Wolfson or visit their Web site . Ted Hawkins 1936-1995 ===================== In conversation last September, Ted Hawkins, an extraordinarily gifted singer/songwriter who died of a stroke on New Year's Day at age 58, sounded strong and vital. But given the number of times he brought up the subject of mortality, perhaps he realized that he was reaching the end of his days. Hawkins had lived a supremely difficult life, during which he wrote compositions that were startlingly pure and timeless. Thanks to his first major-label album, a beautiful disc called The Next 100 Years (Geffen), he was finally being noticed D and he didn't want this long-awaited opportunity to slip from his grasp. "Talking about certain things in my past kind of upsets me," he said. "Because it's not only heartbreaking. It's a waste of time. I don't have that much time left on earth, so I want to get on with my life." That life began in 1936 Mississippi. In circumstances of the starkest poverty. There was no stability at home: Hawkins' father had hit the highway before he was born, leaving him with no one other than his mother, a prostitute and alcoholic who died of cirrhosis of the liver while her son was locked in a state penitentiary. Young Hawkins grew up wild, and no matter how hard he tried to hide, trouble kept finding him. The only thing he relied upon was his music, but it provided more succor than folding green. He spent much of the '60s and '70s playing for spare change near the beach in Venice, California. It wasn't until Rounder Records' 1982 release of Watch Your Step, a gorgeous collection of recordings that had been sitting around for years, that he finally received a modicum of recognition. But the follow-ups he produced over the course of the decade failed to achieve the sales success they deserved. Until a few years ago, he was back on the boardwalk, playing memorable, bluesy songs of love, hurt and devotion for tourists and passerby. Hawki ns' rediscovery, by a Geffen talent scout tipped off by songwriter Michael Penn, came as a glorious surprise that pulled him from the depths of depression. "I'm not going to lie," he said in September. "Sometimes the bitterness would come up and I would cry _ Then one day I looked up and said, 'whosoever you are up there, I'm talking to you. I'm talking to the maker, the one who made this place and caused me to walk around. Why do you show partiality? So many people that you've helped don't give a tinker's damn about you, but I'm crazy about you. Everywhere I go, I talk about you and tell you, but I'm crazy about you. Everywhere I go, I talk about you and tell people how wonderful you are, and you don't seem to give a damn about me. "After that prayer," Hawkins continued, "everything worked. And now I don't have time to hang around and pick flowers like I used to. I've got big things to do. I've got to hurry up." Hawkins was moving quickly then, but he wasn't fast enough to outpace the hellhounds on his trail. Fortunately, he left his music behind. And it's still running strong. ~ DMichael Roberts, BLUES ACCESS TED HAWKINS died Sunday, January 1, 1995, Los Angeles, CA. He was survived by his wife Elizabeth, his son Theodore Jr., and daughters Tina, Carmen, Elizabeth and Adrienne. CD DISCOGRAPHY ============== GEFFEN CD 24627 : TED HAWKINS - NEXT HUNDRED YEARS ROUNDER CD 2024 : TED HAWKINS - WATCH YOUR STEP ROUNDER CD 2033 : TED HAWKINS - HAPPY HOUR STRANGE FRUIT CD 100626 : THE KERSHAW SESSIONS ========================================================================= Date: Sat, 28 Oct 1995 10:37:27 -0400 Reply-To: Patrick Lynch From: Patrick Lynch Subject: Re: Bad Blues >Not to take away from the valuable information and opinions that have been >flying around Blues-L of late, but how about a lighter accompaniment? What >I have in mind - and I know everybody's been through it - are nominations >for worst attempt at a blues tune by a non-blues artist. (I know some of us >ride in elevators all too often and have been tortured before ...). Any >nominations? >- Roland Oh, yassuh... How about almost any of Steve Miller's blues, but most offensively "Big Boss Man" ?? Stinko. Patrick Find the Blues at "Caldonia's Online Blues" bbs, Windows/Excalibur , 206-402-4675 ========================================================================= Date: Sat, 28 Oct 1995 10:39:54 -0400 Reply-To: Patrick Lynch From: Patrick Lynch Subject: Re: Burnin' Chicago Blues Machine--info??? >From: Bill Shute > >This weekend here in SA, a group called the Burnin' Chicago Blues >Machine will be playing at Cibolo Creek. >Has anyone seen this unit in concert? What have we in store? Yes, I've seen them...they were somehow stuck here in Seattle for a month in late Summer. They play a LOT of funk and sort of fusion stuff. Sometimes some blues, but it is not their better stuff. Patrick Find the Blues at "Caldonia's Online Blues" bbs, Windows/Excalibur , 206-402-4675 ========================================================================= Date: Sat, 28 Oct 1995 10:41:35 -0700 Reply-To: Jef Jaisun From: Jef Jaisun Subject: NWB: Bobby Bland (a review) (fwd) If anyone has info on the following, feel free to pass it along directly to Patrick. Thanks. Jef Jaisun > From: plynch@wolfenet.com (Patrick Lynch) > Subject: NWB: Bobby Bland (a review) > > Greetings. I am inquiring if anyone has news of Bobby Bland's health. I saw > him this Summer in Seattle, and he was not well. Any news would be appreciated. > > The following is a review I wrote at that time: > > BOBBY "BLUE" BLAND > June 10, 1995 > Jazz Alley, Seattle > > > Backed by an eight piece "orchestra" at Seattle's fine Jazz Alley, > Bobby "Blue" Bland showed that he could not yet be counted out as > one of the blues' finest interpreters still performing. Still weak > from a recent heart attack and clearly showing his age, Bland sang > and flirted his way through a set that included many of the crowd's > favorites, shortening many of the songs, and dropping some of them > into medleys. In spite of that energy conserving tactic, he gave a > charismatic show, leaving the crowd asking for more. > > Bobby Bland was born (January 27, 1930) and raised in Rosemark, > Tennessee, a small town outside Memphis. In 1947, he moved to the > city with his mother. His career as a singer started soon after, > first with a gospel group, "The Miniatures", and next with a blues > group, "The Beale Streeters", which included Johnny Ace, B.B.King, > Junior Parker, and Rosco Gordon. From 1950 to 1952, he recorded for > the Modern and Chess labels. In 1955, he released his first single > on the Duke label, "It's My Life Baby". In 1957, he scored a number > 1 spot on the R&B charts with "Farther Up The Road", followed in > 1961 by "I Pity The Fool", and "Turn On Your Love Light", which > made numbers 1 and 2, respectively. His last number 1 hit was, > "That's The Way Love Is", in 1963, also on Duke. He has continued > with a prolific recording career, creating sides in recent years > for the Jackson, Mississippi label, Malaco. > > The show at Jazz Alley, while less intense than most Bland > performances, contained moments reminiscent of a stronger past. > Most notably, he seemed to come alive in a very strong rendition > of "Stormy Monday Blues", playing off the audience, and prowling > the stage as in his younger days. But in other moments, his fire > was almost out, singing "I Pity The Fool" as if in a fog, and > seemingly unable to carry "St. James Infirmary" to its finish, > ending the song half way through, and moving slowly backward to > sit heavily on the barstool placed center stage. At one point he > explained to the audience that he had suffered a "small heart > attack" the week before, but that he would try, with their help, > to reach all the notes, and not disappoint them. He said, "I know > I'll hit most of the notes, 'cause some of them I just gotta hit, > anyway.". > > The band was very strong; maybe a little too strong, considering > the small room and the weakened condition of Bland's voice. There > were times when the horns (trombone, tenor sax, two trumpets) > completely overwhelmed the singer, something that likely would not > have been the case in his stronger days. The guitarist was > perfect, finding just the right combination of blues and jazz riffs > for the tunes. The bass player, though technically great, played > way too much sometimes, resorting to effects and hot-rod antics a > little too often. His touch on the quieter tunes was excellent, > though. The one real questionable choice in the instrumentation > was the inclusion of a percussionist who , for the most part, > played only snare and high hat in sync with the trap drummer. He > seldom played his congas. His presence generally served only to > help drown out the already difficult to hear singer. > > Living up to the title, "The World's Greatest Blues Singer", would > be a difficult task for a singer of any age. Bobby "Blue" Bland, > 65, showed in this performance that he would keep on trying to do > that, no matter what. Looking at his eyes during the set, one > couldn't help wondering how long he would be able to keep up a > touring schedule, and if his weakened appearance was due solely to > his recent illness, or if age and years of blues bruising had caught > up to him finally. There may not be many more opportunities to see > this master ply his craft. > > Patrick Lynch > Caldonia's Online Blues > > Find the Blues at "Caldonia's Online Blues" bbs, Windows/Excalibur , > 206-402-4675 > > ========================================================================= Date: Sat, 28 Oct 1995 13:06:58 PDT Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Blues in Chicago Tonight! There is definitely going to be some Blues going on in Chicago tonight! (Good thread: If there was nobody in the audience to hear a Blues performance, would it still be Blues?) We'll, I'm about to go pick up Rob Hutten and drag his ass all over "da' great city of Chicauga'" to see some sights and hear a bunch of Blues (thanks to a benefactor on blues-l). He has a warm coat - it's in the 40's and drizzling - and said, "...as long as you don't mind going around with a guy that looks like lumberjack", and I told him, "As long as it doesn't have little red maple leaves all over it". ;-) This list never ceases to amaze me. If we can't spread the blues to the general population, at least we helping to share them with each other. Rob is a pre-war Blues guy and I'm a 50's Chicago and later kind of guy, so between us we have *one* good collection. It should be interesting to see what each thinks about the sounds we hear tonight. BTW, Judith had a dream last night that she saw me up on stage blowing harp and the audience went wild... we'll see if she's getting psychic or not. Even nailed the cloths I'm planning to wear (it was in Technicolor). Mike 'bag-o-harps' Suffern [ home work ] [ http://www.xnet.com/~msuffern/soundtravels.html ] [ The Blues&Travel Site, Blues Guides, Festivals, ] [ Eric Clapton @ Royal Albert Hall, London tour ] ------------------------------------------------- [ Above all, play what your heart tells you to... ] [ As you learn, your heart will have more to say. ] ========================================================================= Date: Sat, 28 Oct 1995 13:23:51 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: 'blues' piano video Bh> From: bhargrov@micron.net Bh> Subject: Re: Music theory Bh> Have you checked out the blues piano videos in the Homespun Tapes Bh> catalogue? Yep, bought one: David Cohen's 'Beginning Blues Piano', $50. From the catalog: "The only requirement for taking this video course is to want to play blues, boogie woogie, or rock 'n' roll piano. With no written music to learn, and David Cohen's easy-to-follow instructions, even a beginner will be improvising blues riffs, and sound great doing it! This video really makes it easy!" WOW, just what I want!! Unfortunately, the people who wrote the advertising copy had much more talent than Cohen: it was mostly cowboy music. This further substantiates my somewhat unpopular opinion that music 'professionals' and music academicians don't know much about Blues, generally to the point that some tend to try to cash in by using the word to refer to things not remotely Blues-like. Fortunately, a scathing letter to Homespun, complaining about their false advertising, brought a refund. ========================================================================= Date: Sat, 28 Oct 1995 13:23:48 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Pitch witch Bm> From: Bruce Pech Bm> Subject: Re: Riff grabber Bm> Variable speed tape recorders (e.g., most reel-to-reels and a few Bm> cassette recorders) lower the pitch by an octave or more depending on Bm> the machine's range of recording/playback speeds. I.e., if you record Bm> a riff at 15 ips and play it back at 7.5 ips, the "half speed" riff Bm> will be played back an octave lower than the recording. The so-called Bm> "pitch adjustment" feature simply makes minor adjustments to playback Bm> or recording speed to raise or lower the pitch of the recording by a Bm> half-step or so. Not so. The pitch adjustment is apparently made electronically in the tape machines made _specifically_ for this purpose. You were describing _minor_ tape-speed-based pitch tweaking capabilities of _standard_ machines accomplished by tweaking transport _speed_. From the Radio Shack catalog: "Voice activation and Variable Speech Control, model VCS-2002. Ideal for reviewing lengthy lectures and transcribing dictation. Variable Speech Control lets you vary tape speed and pitch independently for understandable playback at up to twice normal speed. SN 14-1158 $79.99" My _assumption_ is that it can be operated in reverse of the intended 'lecture' mode. That is, music can be recorded at the high tape speed, and then it can be played back at the slow tape speed, using the pitch control to bring the notes back to their original frequency (or even transpose it to another key). This process could then be repeated until one could follow the piece. Bm> I've often wondered if software could be (or has been) written to Certainly could be; once the music is digitized, time between notes _could_ be varied easily; but who else but wanna be musicians trying to cop riffs would need to do such a thing?? ========================================================================= Date: Sat, 28 Oct 1995 13:23:53 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Theroy vs. practice Pw> Reply-To: "P.W. Fenton" Pw> "Music Theory" is simply a "language" for speaking about music. It's Pw> not something you play, and it's not something that you can Pw> substitute for your ears with any degree of success. My point exactly, that learning theory is certainly quite different from, and absolutely not necessary to, the actual act of playing Blues. Pw> Find me a Pw> musician who plays by ear who doesn't wish he could read music. I Pw> don't think any exist. I'd hazard a guess that the folks who _created_ this music were of that opinion. Hey, Dick Waterman, did you ever discuss the _necessity_ of learning theory with the legends you talked to?? Did any of them ever harbor the fantasy that learning theory would help them play their music better?? Since these folks CREATED a musical form that did not exist out of their own limited geographical environment, why would they want to learn theory -- to read, learn, and play the music of, say, Bing Crosby?? Pw> The idea Pw> that learning music theory will have a bad effect on your ability to Pw> make music is simply ludicrous. I don't think this particular concept was expressed, at least not by me. The concept that theory is _irrelevant_ to _playing_ pre-War Blues was agreed to by several from their own personal experience; and substantiated by your own admission, above. Pw> It's like suggesting that learning Pw> grammar, punctuation, and vocabulary, will stifle your writing skills Pw> and your ability to tell a story, or communicate your feelings, or Pw> express your love. A downright silly notion. Interesting point; however, one INDEED does learn to speak quite adequately, well BEFORE one is forced into school and forced to learn the existing highly-local syntactic intricacies. Certainly it should be obvious that learning the syntax of English would most certainly NOT prepare one to speak Japanese; in fact it WOULD be totally irrelevant, and perhaps, an impediment to that task. Blues may be considered a highly specific local dialect of the general domain of music. So unique a dialect, that the general musical theory is not especially useful for the actual playing of it. Talking about it, but certainly not playing it. An even sillier notion is that learning the abstract and theoretical syntax of the American English would thereby enable one to speak 'steeet jive'. It just doesn't apply. Let's also remember that thousands of tribes on the planet today have NO written language, yet they speak and communicate quite well; undeniably, the contrived 'theory' is irrelevant to the practice. QED 'Theory' is neither necessary or sufficient to the act of playing. ========================================================================= Date: Sat, 28 Oct 1995 11:35:23 -0400 Reply-To: Patrick Lynch From: Patrick Lynch Subject: Trudy Lynn review A "soul-blues" review for your perusal, dear readers... Trudy Lynn / First Lady Of Soul / Ichiban Blues ICH 1180-2 Wang Dang Doodle / Try To Leave Me If You Can / Trudy Sings The Blues / 24 Hour Woman / Instant Breakfast / Speak Now, Baby / Loose Lips / Rock Me Baby / In My Arms / Come To Mama / Just A Little Bit / I'll Run Your Hurt Away / The Woman In Me / When Something Is Wrong With My Baby/I've Been Loving You Too Long Trudy Lynn fits perfectly into the genre loosely called "soul blues". The term is vague enough to allow wide interpretation, and to allow blues purists to still dig a singer like this in spite of her bands' extensive use of "wah-wah" type funk guitar grooves. On this compilation of mostly previously issued material, Lynn shouts and hollers and croons through a broad variety of material touching bases with hard blues and funk grooves; and she pulls it off. On this CD, Trudy Lynn alternates live cuts with studio releases, showing two distinct sides. The live cuts are primarily her blues tunes, and are obviously constructed to get a live crowd moving. On "Wang Dang Doodle", she fairly mimics Koko Taylor's singing, down to the trademark growl. There are five live cuts, all standard blues readings of standard blues tunes, except for one, "The Woman In Me", which has a fine groove reminiscent of Al Green's work in his heyday. Also excepting this tune, all the live cuts have annoying hot-rod rock guitar work (by Jody Worrell and Lil' Harry) which, while possibly exciting in a live show, are almost ridiculously out of place in these blues treatments. The studio cuts, from her earlier albums, is where she makes this record happen. Culled from five previous releases on Ichiban, these tunes are a fine sample of grooves and guts. Each song is a gem, from the funny, Denise LaSalle-like "Instant Breakfast", to a surprisingly fresh treatment of Willie Mitchell and Earle Randle's "Come To Mama". The album closes with a soaring medley rendition of "When Something Is Wrong With My Baby / I've Been Loving You Too Long". Put this CD on next time you're havin' a barbeque or yard party; it'll keep things swingin'. But if you want to find out what Trudy Lynn's really about, pick up one of her other releases, sit back with a Hennesy, and listen to her tell you how it's gonna be. c,Patrick Lynch, 1995 Find the Blues at "Caldonia's Online Blues" bbs, Windows/Excalibur , 206-402-4675 ========================================================================= Date: Sat, 28 Oct 1995 19:05:51 -0000 Reply-To: kenpeace@ACER.U-NET.COM From: Ken Peace Organization: Acer Laboratories and Science / Down at Antone's Subject: UK Blues Gigs Comments: To: bit-listserv-blues-l@uunet.uu.net Blues fans in the NW UK can catch my band "Down at Antone's" doing that shufflin' and swingin' thing at the following gigs.... Sat 4th Nov The George Hotel, Accrington, UK Wed 8th Nov The Lamb, Preston, UK Fri 10th Nov The Talbot, Burnley, UK All free admission and 9pm start. Come and say hello. Ken ------------------------------------------------------------------------------ Ken Peace Down at Antone's kenpeace@acer.u-net.com Red Hot Texas Blues Chester, UK Swinging 'n' Shuffling in the U.K. ========================================================================= Date: Sat, 28 Oct 1995 14:51:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Sam Carr etc. From: WIRCS2::KALMBACH "Bonnie Kalmbach" To: IN%"tony@BLUESTB.DEMON.CO.UK",KALMBACH Subject: RE: Re: Sam Carr >Has anyone got a copy or can get me a copy of Big Jack Johnson's Ice >Storm Blues cassette single. I will pay or swap something. Will take as >many copies as I can get. > >TB I could copy mine but Jim O'Neal has a jillion copies at the Stackhouse in Clarksdale as of three weeks ago when I was last there. Telephone:601-627-2209 Fax: 601-627-9861 I believe his email address is on the Rooster section of Curtis's Blue Highway web site. Yes, I really enjoy Sam's drumming too. I remember seeing him in Memphis in '89 when he played with Frank and Jack at Huey's. Sam carefully rolled up his right pant leg, revealing a knee-high white sock, before he commenced drumming. We stopped at his house in Dundee just before we headed up to Memphis. He lives in a rambing old place in the middle of an alfalfa field with old cars parked everywhere. Sam is a tenant farmer by day. I believe he is in his early sixties. -Bonnie ========================================================================= Date: Sat, 28 Oct 1995 16:04:33 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Theroy vs. practice Comments: To: laurie.forti@infoexch.miami.fl.us Whoa . . . here I am doing a quickie screen roll through the "Theory vs. Practice" thread and my name jumps out at me. Eeek! So Laurie Forti ask me if any of the musicians that I have worked with over the years have ever shown any interest - 'harbor the fantsay' was the term - about music theory. I must plead ignorance on this subject since I was a very mediocre musician myself. It was my vague recollection that Skip James was able to communicate what musical progressions he was demonstrating with various tunings and playing in different keys. This is not to say that a 'savant' is better equiped to deal with a music career than someone with an academic background. I'm just not qualified to have an educated opinion. I guess that John Hurt, Son House, Willie Brown et al got their initial introduction into music by observation and a few rudimentary lessons from their mentor. Where it goes from there would appear to be solely dependent upon the creativity of the individual. I'm sure that no one has been enlightened in the slightest by this post and I have learned a lesson about reading everything that is sent to me. Dick Waterman ========================================================================= Date: Sat, 28 Oct 1995 20:15:03 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Re: good blues bars in london? Comments: To: bit-listserv-blues-l@moderators.uu.net Yeah, go see John Primer at the Mean Fiddler on November 23rd if you are around call 0181 961 5490 If not try 100 Club on on Oxford Street on Sunday or Tuesday. TB ========================================================================= Date: Sat, 28 Oct 1995 16:23:53 -0400 Reply-To: Kenhaub@AOL.COM From: Ken Haubrock Subject: David Hole? anyone heard anything by this guy? supposedly he is a great slide player out of Australia...or so i thought i read. anyone have one of his CDs? can you compare him with anyone? thanks kah ========================================================================= Date: Sat, 28 Oct 1995 20:29:41 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Theroy vs. practice Comments: To: bit-listserv-blues-l@uunet.uu.net In <9510281323.0ITLJ00@infoexch.miami.fl.us>, Laurie Forti writes: > Pw> Reply-To: "P.W. Fenton" > Pw> Find me a > Pw> musician who plays by ear who doesn't wish he could read music. I > Pw> don't think any exist. > I'd hazard a guess that the folks who _created_ this music were of >that opinion. I've mert several of the greats, and I think all of them either learned or wished they'd learned to read somewhere along the way. > Since these folks CREATED a musical form that did not exist out >of their own limited geographical environment, why would they want to >learn theory -- to read, learn, and play the music of, say, Bing Crosby?? As great as blues is, No one CREATED it, and it certainly isn't anything that simply sprang forth from the vacuum. Blues EVOLVED from several styles, genres, and influences. Bing and blues didn't exist independently of each other. The clearest example of this can be found in the relationship between blues and country. They have shared musical ideas (i.e. THEORY) since either was distinct as a genre. > > Pw> It's like suggesting that learning > Pw> grammar, punctuation, and vocabulary, will stifle your writing skills > Pw> and your ability to tell a story, or communicate your feelings, or > Pw> express your love. A downright silly notion. > Interesting point; however, one INDEED does learn to speak >quite adequately, well BEFORE one is forced into school and forced to >learn the existing highly-local syntactic intricacies. > Certainly it should be obvious that learning the syntax of English >would most certainly NOT prepare one to speak Japanese; in fact it >WOULD be totally irrelevant, and perhaps, an impediment to that task. Learning the principles of grammar and language development would, however, help with both English and Japanese. BBB ///////////////////////////////////////////////////////////// B.B. Bean bbbean@cris.com Team OS/2 strictlow@aol.com Bean & Bean Cotton/Bean Farms 75474.2654@compuserve.com \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ ========================================================================= Date: Sat, 28 Oct 1995 16:47:14 -0400 Reply-To: Ari Eisinger From: Ari Eisinger Organization: Voicenet - Internet Access (800)835-5710 Subject: Re: C.C. Rider Comments: To: bit-listserv-blues-l@uunet.uu.net In article <9510211735.aa12441@admin.dis.on.ca>, Ian Angus wrote: [snips] >[...]I think the version which spell it >as "See See" are actually later than the "C.C." versions., and may >just be attempts to make sense out of "C.C." It's possible, but the original "C.C." could also have been erroneous. The people who wrote out the titles to the early blues records didn't all seem to know what they were doing. I remember a record called "Stered Gal", which judging from the lyrics should have been "Stir It, Gal". Also Blind Willie McTell's "Mama 'Tain't Long For Day" should have been "...Fore Day". Patton's "Hammer Blues" is really "Hammock Blues", etc. Apropos, does anyone know why the song Rev. Gary Davis recorded in 1935 that starts "If I could holler just like a mountain jack" is entitled "I'm Throwin Up My Hand"? I've never been able to figure that out as the words in the title don't appear anywhere in the song. Does the title mean something like "I'm giving up my present hand (of cards) (figuratively) and starting afresh"? ARI EISINGER ==Blues and Ragtime Guitarist and Singer== ==Guitar Teacher== ========================================================================= Date: Sat, 28 Oct 1995 17:12:00 -0400 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Say hello to Ukraine pls.-no blues My friend Christina, a 12-year-old Ukrainian girl celebrating her birthday here in Moscow with her parents, would be grateful if anyone in the capitalist countries could send her a message this weekend, at this address, just to familiarize herself with the Internet and e-mail. As you might well imagine, they ain't got a lot of computers in much of Ukraine, so this is a treat for this young lady, who's English incidentally ain't half bad! Many thanks my dear Bluezellers; for my part I promise to explain to Christina what is blues and have her listen to a tiny bit! Joe Downey here in the imperial capital, J.E._Downey@bakermck.com And now a word from Christina: Hello, I`ll be very glad if you send me a letter,I want so much to acquint with you.I live in Kiev,it is a wonderful city and i like it very much. your faithfully Christina Terechovskaya. ========================================================================= Date: Sun, 29 Oct 1995 06:36:36 +0900 Reply-To: potential.new.members.info@0.5.5.1.7.6.9.8.1.7.1.tpc.int Comments: RFC822 error: More than one sender was specified. Second and following senders discarded. From: set@UNEE.EDU Comments: To: yoshio@osak.ac.jp (Association of International Students, Executive Board of Directors, Japan Chapte Subject: ===>> FREE 1 yr. Magazine Sub sent worldwide- 295+ Popular USA Titles -----> NOTE: Please first read my note which appears below the "Request for more info Form." Then, to get more info, just fill out the "Request for More Info" form completely and *email* it back to the company. To make it easier for you to reply, I have put their address in the "Reply-To" field, which means you can just use your email software to reply to this message in order to get that address to pop-up in your "To:" field. <----- *------------cut here-----------------------------------------------* REQUEST FOR MORE INFO: please return *only* this section only via internet email to: potential.new.members.info@0.5.5.1.7.6.9.8.1.7.1.tpc.int Sorry, but incomplete forms *will not* be acknowledged. If you do not have an email address, or access to one, they will not be able to help you until you do have one. If you saw this message, then you should have one. :) Name: Internet email address: Smail home address: City-State-Zip: Country: Work Tel. #: Work Fax #: Home Tel. #: Home Fax #: Name of USA mags you currently get on the newstand or in the store: Name of USA mags you currently get on a subscription basis, through the mail: Name of USA mags you would like price quotes on when they call you: Catalogue format desired from below two choices: (1. 19-part email message; 2. atttached file by email; see below on which format may be best for you). How did you hear about us (name of person who referred you or the area of the internet that you saw us mentioned in): Yoshio Koseki's referral 102895-l *------------cut here-----------------------------------------------* {{{Note- 19-part email can be received by anyone with any computer. Attached file format may not be for you: it is sent as an uncompressed 525K file formatted in Microsoft World on a Mac; if you don't use Microsoft Word on a Mac - you will have to know how to convert into a usable text format. They cannot help you with this. If in doubt, they suggest you go with the universally acceptable 19-part email message. You can always manually spend a few minutes pasting the parts into one whole.}}} Hi fellow 'netters, My name is Yoshio Koseki and I recently started using a magazine subscription club in the USA that has a FREE 1 yr. magazine subscription deal with your first paid order- and I have been very pleased with them. They have over 1,500 different USA titles that they can ship to any country on a subscription basis. As for computer magazines from the USA, they more of a selection than I ever knew even existed. They have magazines for most every area of interest in their list of 1,500 titles. Within the USA, for their USA members, they are cheaper than all their competitors and even the publishers themselves. This is their price guarantee. Overseas, on the average, they are generally around one-fourth to one-half of what the newstands overseas charge locally for USA magazines. On some titles they are as little as one-tenth of what the newstands charge. They feel that mgazines should not be a luxury overseas. In the USA, people buy magazines and then toss them after reading them for just a few minutes or hours. They are so cheap in the USA! Well, this company would like to make it the same way for their overseas members. They are also cheaper than all their competitors in the USA and overseas, including the publishers themselves! This is their price guarantee. Around one-half their business comes from overseas, so they are very patient with new members who only speak limited English as a 2nd language. Their prices are so cheap because they deal direct with each publisher and cut-out all the middlemen. They will send you their DELUXE EMAIL CATALOGUE (around 525K-big and juicey) !)...if you completely fill out the form above. It has lists of all the freebies, lists of all the titles they sell, titles broken down by categories and detailed descriptions on nearly 1,200 of the titles that they sell. Please do not email me as I am just a happy customer and a *busy* student. I don't have time to even complete my thesis in time, let alone run my part-time software business! Please fill out the below form and email to them at: potential.new.members.info@0.5.5.1.7.6.9.8.1.7.1.tpc.int *NOTE: to make it easier for you to reply, I have put their address in the "Reply-To" field, which means you can just use your email software to reply to this message in order to get that address to pop-up in your "To:" field.* They guarantee to beat all their competitors' prices. Sometimes they are less than half of the next best deal I have been able to find and other times, just a little cheaper - but I have never found a lower rate yet. They assured me that if I ever do, they will beat it. They have been very helpful and helped me change my address from the USA to Finland and then back again when I moved last month. They are very knowledgeable about addressing mags worldwide. They have a deal where you can get a free 1 yr. sub to a new magazine from a special list of over 300 popular titles published in the USA. They will give you this free 1 yr. sub when you place your first paid order with them to a renewal or new subscription to any of the over 1,500 different popular USA titles they sell. They can arrange delivery to virtually any country and I think they have clients in around 35 or 36 countries now. Outside the USA there is a charge for foreign postage and handling (on both paid and freebie subs) that varies from magazine to magazine. I have found their staff to be very friendly and courteous. They even helped me with an address change when I moved from one country to another. The owner thinks of his service as a "club" and his clients as "members" (even though there is no extra fee to become a member - your first purchase automatically makes you a member) and he is real picky about who he accepts as a new member. When he sets you up as a new member, he himself calls you personally on the phone to explain how he works his deal, or sometimes he has one of his assistants call. He is kind of quirky sometimes - he insists on setting up new members by phone so he can say hi to everyone (I sure wouldn't want to have his phone bills!), but you can place future orders (after your first order) via E-mail. He has some really friendly young ladies working for him, who seem to know just as much as he does about this magazine stuff. If you live overseas, he will even call you there, as long as you are interested, but I think he still makes all his overseas calls on the weekends, I guess cause the long distance rates are cheaper then. He only likes to take new members from referrals from satisfied existing members and he does virtually no advertising. When I got set-up, they had a 2-3 week waiting list for new members to be called back so that they could join up. (Once you are an existing member, they help you immediately when you call. ) I think they are able to get back to prospective new members the same day or within a few days now, as they have increased their staff. I am not sure about this.........but if you email the above form to them, that is the way to get started! They will send you their DELUXE EMAIL CATALOGUE (around 525K-big and juicey) !)...if you completely fill out the form above. It has lists of all the freebies, lists of all the titles they sell, titles broken down by categories and detailed descriptions on nearly 1,200 of the titles that they sell. They then send you email that outlines how his club works and the list of free choices that you can choose from, as well as the entire list of what he sells; and then they will give you a quick (3-5 minute) friendly, no-pressure no-obligation call to explain everything to you personally and answer all your questions. Once you get in, you'll love them. I do. Sincerely, Yoshio Koseki ps. please forward a copy of this message to all your friends on the net who you think might be interested in it! It is a great deal! If you join and then they join after you, you will earn a free 1 yr. subscription for each new person you get to join after you join! If you exceed 25 referrals, they let you use them to give away as gifts, for Christmas, Chanukah or any other occassion. Please make sure to mention my name when you join. I will get a free magazine for a year for referring you. Thank you. ========================================================================= Date: Sat, 28 Oct 1995 21:50:05 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: New Buddy Guy song Comments: To: bit-listserv-blues-l@uunet.uu.net In article Paul Garon writes: >Someone recommended to me the new Buddy Guy piece, "Please Don't Tell Me >About the Blues," or something similar. They thought it was on a new CD. >Does anyone know which CD? You will find the track "Don't Tell Me About The Blues" on Slippin' In, Silvertone 41542-2 Art Schuna ========================================================================= Date: Sat, 28 Oct 1995 18:27:36 -0400 Reply-To: Curtis Hewston From: Curtis Hewston Subject: The Blue Highway Okay, I lied. I said I wasn't going to do this again, but I got this note the other day ... ---------------- Congratulations! The editorial team at GNN has nominated The Blue Highway as a finalist in the Arts & Entertainment category (Amateur division) for GNN's Best of the Net awards. GNN will announce the winners at the second annual Best of the Net party at the Herbst Pavillion at the Fort Mason Center in San Francisco on the evening of Friday, November 3, 1995. ---------------- GNN is the Global Network Navigator -- a "granddaddy" web presence now owned by AOL. (This is still kind of a secret, so don't tell anybody ;-) Pity I can't be there, but there will be a few special guests attending for me. (Thanks to all of you who responded to my "Who Lives in San Francisco" post.) So I figure if we all direct our thoughts toward the city by the bay next Friday night... Regardless, thanks again my blueszellers for your soul and inspiration. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Sat, 28 Oct 1995 17:34:05 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Theroy vs. practice At 12:23 PM 10/28/95, Laurie Forti wrote: >Pw> Find me a > Pw> musician who plays by ear who doesn't wish he could read music. I > Pw> don't think any exist. > I'd hazard a guess that the folks who _created_ this music were of >that opinion. snip.... >Since these folks CREATED a musical form that did not exist out >of their own limited geographical environment, why would they want to >learn theory -- to read, learn, and play the music of, say, Bing Crosby?? Did anybody / any group of bodies create the blues? Or is it more on target to say that the blues developed, through the efforts of many many people - some who became famous, some who didn't - Didn't the music develop out of African traditions mixed with largely rural Southern U. S., mostly black experiences - but with at least a hint of "Western" musical traditions as an incidental influence? The developers didn't sit in isolated rooms "creating" a musical form out of nothing - by the time the blues became identifiable - late 19th century? - by the time electrified Chicago blues became identifiable - to current practitioners of the art - all sorts of traditions come into play, including some that would fit Laurie's definition of "western musical theory". As we have discussed here in the past, for example - Robert Johnson knew and used a lot of Tin Pan Alley songs during his working life. David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Sat, 28 Oct 1995 15:51:43 -0700 Reply-To: Chris Adams From: Chris Adams Subject: Re: John "Bones" Nobles ??? Comments: To: Peter Gallagher In-Reply-To: <199510271543.AA02771@xs1.xs4all.nl> There are a few bones players that play blues related music. One that comes to mind is Richard Thomas, who plays on Archie Edwards Mapleshade release "Blues 'n Bones", which also features Mark Wenner on harp, who plays with the DC Nighthawks. Edwards is a Piedmont musician, and is one onf the few bluesmen who play the ukelele, as well as guitar. Another bones player was the late John "Mr. Bones" Burril, who can be found on both of Spider John Koerner' Red House releases, "Nobody Knows the Trouble I'e Been", and "Raised by Humans". Mr Burril, who passed away a few years ago, had an interesting story to tell. When he ended up in the hospital in Minneapolis with a heart problem at age 70 or 80 something, he told the nurses and doctors that he had played with Bonnie Raitt, the Grateful Dead, Dr, John, the Neville Bros, and many other musicians. The staff thought he was just some crazy old man. But the truth was, he had! Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us On Fri, 27 Oct 1995, Peter Gallagher wrote: > Hi all, > While in a hurry ( am I ever any other way? ;-) ) I was giving the > bookstore a quick once-over when I cam across a photo of a guy called > John "Bones" Nobles. > > He was holding two bones in his right hand with the bones between his 1st > adn 2nd, and 2nd and 3rd, respectively. Hence the name, of course. > > Using "bones" like this is quite common in Irish traditional music. The > bones are played somewhat like catstanets (sp?). > > You can get great rythms and even "double-notes" with them... > As a kid, I was fascinatedby this "magical" double-click and taught > myself how to use them. They are usually ribs and have a most > distinctive sound. > The method is to hold the bones as described above and roll the wrist > over and back, rattling the bones against each other. One of the bones is > clamped firmly by the forefinger and thumb and the other bone is > allowed to "rattle" agains the "held" bone. > > I even tried "playing along" with Bukka White on his "Memphis Hotshots" > cd , which has a lot of washboard one there, but I couldn't seem to make > any sounds which fitted in - maybe I had traditional Irish rhythms > inprinted in my association with the bones... > But you can't play washboard with the bones - so what does one do with > the bones in the blues!!?? > > I've never heard of the bones being used in the blues and i'd appreciate > it enormously if someone could pass on any info about John "bones" Nobles > or any other artist who used the bones in the blues. > How about some of you other Irish people on th elist - Andy? Shannon? Graham? > > besta regards as always, > PeterG "bones in the blues - I've heard it ALL now! :-)" > > -- > ----------------------------------------------------------------------------- > Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl > > " I used to finish every sentence I started, but now I just ...." > --my sister, Christine > ----------------------------------------------------------------------------- > ========================================================================= Date: Sat, 28 Oct 1995 20:34:38 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: John "Bones" Nobles ??? Comments: To: chris@sparkie.osl.state.or.us I can certainly attest that John"Mister Bones" Burril was a major character in the Boston/Cambridge music scene back in the 1970s. He accompanied John Koerner on many occasions and Bonnie Raitt would bring him on stage as a featured player after she began to play the major concert halls in the area. I used to kid him that I wanted to be his 'equipment roadie,' and he would just pat his pocket and laugh. I have no opinion regarding "Mister Bones" and whether he came about his talent naturally or was educated in music theory. Dick Waterman ========================================================================= Date: Sun, 29 Oct 1995 02:05:07 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: Tampa Red L W (ISTS024%UABDPO.BITNET@BROWNVM.brown.edu) wrote: : I think the reason they probally do that is a good reason. It lets the listner : know that "they" are using Robert's song (actually lyrics) but Zep's arrangment : It would be terrible if they just said Robert Johnson and folks went through : life thinking RJ played it they way "they" do/did.....No offense to Led Zep : fans or ????? Doubt it. Unless you can similarly explain how they ripped off folksinger Annie Bredon for "Babe, I'm Gonna Leave You." Nary a credit for her on the album. Bredon had to fight for years in court to get an iota of royalties. Sorry...count me in the "Led Zepp are scumbag ripoffs" category. ============================================================================ Jef Jaisun eljefe@netcom.com ============================================================================ -- eljefe@netcom.com ========================================================================= Date: Sun, 29 Oct 1995 02:18:42 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: New Orleans Karen Hanson (Hanson123@AOL.COM) wrote: : Rich asks, concerning New Orleans: : >How about restaurants she must experience? : We always enjoy Michaul's (I think that's how you spell it). Cajun food with : live cajun bands nightly. If you go early, you can even get dance lessons! : Btw, the batter-fried dill pickles are wonderful! Michaul's is at 840 St. Charles. They've got all kinds of music, including a Cajun group that plays the "dinner" show (6-8pm). Stunninly great Cajun/Creole food! Otherwise, grab a copy of Lagnappe from the newspaper, or Off Beat, the free music mag. Look for good blues at the bowling alley and at the Lion's Den where Irma Thomas hangs out as the house band. (!) ============================================================================ Jef Jaisun eljefe@netcom.com ============================================================================ -- eljefe@netcom.com ========================================================================= Date: Sat, 28 Oct 1995 19:31:28 +0000 Reply-To: "Terry L. Odor" Comments: Authenticated sender is From: "Terry L. Odor" Subject: Re: The Blue Highway Congratulation Curtis. You deserve the kudos, your site is definately one of the best! Speaking of web sites, my humble abode has just been updated. The current edition talks a little about Luther Allison's Blue Streak and Albert Collins Live 92-93. Check it out when you have a chance, you might even see some familiar blues-l names mentioned! URL in signature. Terry http://www.teleport.com/~tlo/ ========================================================================= Date: Sun, 24 Apr 1904 19:42:32 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: David Hole? >anyone heard anything by this guy? supposedly he is a great slide player out >of Australia...or so i thought i read. anyone have one of his CDs? can you >compare him with anyone? > >thanks >kah Dave Hole is a great slide player. I have all four of his CD's. The first one he released was 'Short Fuse Blues.' His style is firmly rooted in the blues and he likes a wild distorted tone and is always rockin' out. His slide playing is very intense. This album is great. It features great covers of 'Dark Was The Night', 'Purple Haze' (on slide!?!), 'Tore Down, and Fleetwood Mac's 'Albatross'. His originals rock as well with original and often witty lyrics. He then released two albums simultaenously. One was in Australia called 'The Plumber' and the other in Europe and the USA called 'Working Overtime'. 'The Plumber' is all original blues and blues/rock tunes. Two of the songs feature Dave playing standard guitar. His standard playing is excellent as well. You can hear Alber Collins, Alber King and BB King in his playing. 'Working Overtime' features a nice acoustic slide version of Muddy Water's 'I Can't Satisfied'. He also covers 'Key to The Highway'. There is a great standard guitar solo on 'You're Gonna Reap Everything You Saw' (an original in the vain if 'Crosscut Saw'). His originals run from some greay slow blues to 'Stones like rock grooves. His most recent album is 'Steel On Steel'. I found it a little dissapointing. There seems to be something missing regarding the album. If you have never heard Dave Hole then you may enjoy this album. If you are new then obtain a copy of 'Short Fuse Blues' or 'Working Overtime'. As the promotional blurb on 'Short Fuse Blues' states he is 'utterly blues approved.' Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sat, 28 Oct 1995 22:52:44 -0400 Reply-To: Ari Eisinger From: Ari Eisinger Organization: Voicenet - Internet Access (800)835-5710 Subject: Re: Tunings Comments: To: bit-listserv-blues-l@uunet.uu.net In article <9510270112.01OS100@infoexch.miami.fl.us>, Laurie Forti wrote: > More interesting, what is called Open D really is the strings >tuned to an E chord, and then lowered a whole note so the tonic is >then D. That is, Open D is really a down-tuned E chord. > > That is, from bottom up: > >Standard: E A D G B E >Fingered E: E B E G# B E >Drop all one note: D A D F# A D > > If one wanted music 'theory' to be logical, one would expect that >open D tuning would be tuned to a D chord, but that would be asking >for too much. A guitar that is in open D tuning _is_ tuned to a D chord. There is no point to first tuning to an E chord and then tuning all the strings a whole step down as you've described. This accomplishes the amazing feat of adjusting nine strings on a six-string guitar (first three, then six)! It is much easier just to tune the first, second, third and sixth strings down to the notes you want, thus adjusting only four strings. ARI EISINGER ==Blues and Ragtime Guitarist and Singer== ==Guitar Teacher== ========================================================================= Date: Sat, 28 Oct 1995 22:18:37 -0600 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Kevin's Harps I just received the 1996 catalog from Kevin's Harps. This is one of the most fascinating catalogs on most any topic from anyone (even Harry and David's), but might be particular interest to those interested in harps. It's like a Shorty's Tool Shop catalog for harps or the Whole Harp Catalog. Definately historic and folkloric. The 161 pages have most anything one could want to know about harps. It includes articles and lotso harps and amps and mikes and books and videos and so forth. It makes for entertaining reading, and I am not a musician. Neither do I work for Kevin or know him (except for the friendly voice on the telephone months ago). I just wanted to pass this information on as there has always been a harp thread around blues-l. I don't know enough to assess their prices, but the catalog is free and with a toll free number, almost painless. Kevin's Harps: 1-800-27-HARP-N (1-800-274-2776), fax: (609) 298-3100. 210 Farnsworth Avenue, Bordentown, NJ 08505. Jay Watterworth CU Boulder ========================================================================= Date: Sat, 28 Oct 1995 22:21:57 +0100 Reply-To: "J. Witteveen" From: "J. Witteveen" Subject: Buddy Guy, Skip James, Son House... Hi there Bluezellers! Well, I made another ill-advised trip to the new music megastore in town, and blew some more hard-earned dough on the Blues. I can't seem to leave the place without some new music... On the recommendation of some bluezellers (and an actual positive review in Living Blues!), I picked up Buddy Guy's DJ Play My Blues. Since my experience with Buddy's recorded works includes only his three latest offerings, this album was quite a change - and for the most part, a positive one. This album is pretty much pure blues, with standout tracks `Dedication to the Late T-Bone Walker', an excellent and surprisingly understated cover of `All Your Love' (Otis Rush's song). Also included are two Phil Guy tracks - Garbage Man Blues is great, but I'm not a big fan of Phil's singing style. But an awesome album, nonetheless! The second album I picked up was Skip James' Complete Early Recordings (Yazoo). This is some eery stuff - excellent guitar playing, spooky singing - pure low-down blues (with a couple of spirituals). This is the first I've heard of Skip James, and I'm blown away, especially by Devil Got My Woman - i've never heard anything quite like that before. I think it must be nearly impossible to cover this guy's work, or anything even remotely resembling it. My cd-spoiled ears can even get past all the noise from the original 78's, and this one will definitely get repeated listens! The third album I picked was Delta Blues and Spirituals, one of the albums in the new Capital blues series. I've got mixed feelings about this one - it was recorded in 1970, when Son House was apparently on the decline. I love Son House's music - this is pure blues, straight from the heart. But it is also kind of sad to hear Son stumble over lyrics, forget lyrics, and his severely reduced ability on the guitar. I was amazed to read in the liner notes that Son House lived until 1988 (before I was into the blues, so I don't remember hearing anything about it). All this is not to say that this album isn't worth a listen - but I'd rather listen to some of his older stuff. From the liner notes: `A fan from Detroit visited him in the rest home a year or two before his death, bringing along a National guitar. Son could barely speak coherently, but his eyes lit up and he reached for the guitar and tried to play it before attentive relatives removed it from his hands...' Just picturing this in my mind brought a tear to my eye...the love of music is always the last thing to go. Are there any books about Son House that anyone would recommend? What were his later years like for him? I've got the empty wallet blues... - Jim(hndful@uniserve.com) Not associated with anyone above! Have a Good Weekend! ========================================================================= Date: Sun, 29 Oct 1995 01:30:13 -0500 Reply-To: SokolowMus@AOL.COM From: Fred Sokolow Subject: Re: Supporting your fellow musicians by NOT trashing 'em Comments: To: pwfenton@gate.net Never met a good musician who publicly trashed other players...the good ones are humble...Fred S. ========================================================================= Date: Sun, 29 Oct 1995 04:00:45 +0000 Reply-To: "Terry L. Odor" Comments: Authenticated sender is From: "Terry L. Odor" Subject: Sugar Blue on HBO Did anybody catch Sugar Blue on Midnight Mac on HBO Saturday night? He was great. I have his last 2 CD's but I've never seen him before. Terry http://www.teleport.com/~tlo/ ========================================================================= Date: Sun, 29 Oct 1995 10:20:43 -0600 Reply-To: William A Morgan From: William A Morgan Subject: Re: Hidden Gems In-Reply-To: On Wed, 25 Oct 1995, Rob Varak wrote: > At the risk of usurping LW's throne as King of the New Threads, I > pose the following question. What are the two or three CD's that you > have that you absolutely _love_, but are by artists aside from the > acknowledged giants. I know that "giants" is a subjective term, but > let's just say it means the _really_ big guys like Muddy, Wolf, Otis > etc. I'm filling out a wish list and would love some neat ideas. > > > Rob > My two selections for hidden gems are Lonesome Sundown and Phillip Walker, _from LA. to L.A._, and Little Johnny Taylor (not to be confused with Johnny Taylor), _Greatest Hits_. The recordings on the Lonesome Sundown and Phillip Walker album were made from 1969 to 1981. This Rounder Records release is a wonderful blend of rural and urban blues, with Sundown (nee Cornelius Green) responsible for the more country tunes such as "Crawl Back to Opelousas" and Walker producing a more urban sound that features a horn section on "Bopp's Dream" and "Trouble in my Home". A couple of my favorite blues tunes are on this album: "The Train" and "This is the Blues". "The Train" shows off the piano and organ playing of Llew Matthews, the saxophone of Hollis Gilmore and the penetrating guitar of Phillip Walker. "This is the Blues" is a Walker and Sundown collaborative effort written by Sundown. Both tunes give me "quintessential blues chills". As an added attraction, the liner notes were written by Dick Shurman. I don't recall seeing Little Johnny Taylor's name mentioned on this list in the five or six months that I've been here. LJT is a powerful vocalist with a background in Gospel (he formerly sang with the Mighty Clouds of Joy). Little Johnny Taylor's _Greatest Hits_ is a 1982 release on Fantasy records. This is a compilation of songs recorded on the Galaxy label in the 1960s (prior to LJT's signing with the Ronn label of Shreveport. La.). *Any Blues-lers have any of these Galaxy recordings?* This album is a great mix of blues and R&B, and it's hard to say which has the upper hand. Most of the songs are heavy on the horns, but there is some great blues guitar playing throughout and some fine harp playing on "Somewhere Down the Line." If I had to compare LJT with anyone, I would have to say that he's the male Etta James. I'd also like to second some other recommendations made concerning this thread: R.L. Burnside, Champion Jack Dupree, Junior Kimbrough, and Larry Garner. Bill Morgan ========================================================================= Date: Sun, 29 Oct 1995 13:37:25 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: Re: BAND NAME NEEDED > From: "P.W. Fenton" > Turn to the race results. Read all the race horse names. > It's a goldmine of potential band names. Yeah but you have to be careful. Some of those names have already been used. A friend of mine in England keeps sending me the race results of a horse named John Lee Hooker. Don O. how, how, how, how ========================================================================= Date: Sun, 29 Oct 1995 14:10:19 -0500 Reply-To: Bob vanArsdall From: Bob vanArsdall Subject: Re: Band Name Needed Some of the best ones I can suggest are all Delta place names, like: Nitta Yuma Panther Burn Coahoma One of the better ones, unfortunately already used (though they may have bitten the dust), came from an old Delta aphorism. If something was really tight, it was ,"Tighter than Dick's hatband." In the last 70's there was a band around Jackson MS called Dick's Hatband. Bob ========================================================================= Date: Sun, 29 Oct 1995 10:58:25 -0800 Reply-To: TGB From: TGB Subject: Re: Tampa Red Comments: To: Jef Jaisun In-Reply-To: On Sun, 29 Oct 1995, Jef Jaisun wrote: > L W (ISTS024%UABDPO.BITNET@BROWNVM.brown.edu) wrote: > > : I think the reason they probally do that is a good reason. It lets the listner > : know that "they" are using Robert's song (actually lyrics) but Zep's arrangment > : It would be terrible if they just said Robert Johnson and folks went through > : life thinking RJ played it they way "they" do/did.....No offense to Led Zep > : fans or ????? > > Doubt it. Unless you can similarly explain how they ripped off folksinger > Annie Bredon for "Babe, I'm Gonna Leave You." Nary a credit for her on > the album. Bredon had to fight for years in court to get an iota of > royalties. Sorry...count me in the "Led Zepp are scumbag ripoffs" category. > > ============================================================================= > Jef Jaisun eljefe@netcom.com > ============================================================================= > > -- > eljefe@netcom.com Amen. Not to mention Willie Dixon for "You Need Love". tgb ========================================================================= Date: Sun, 29 Oct 1995 15:50:05 EST Reply-To: ron kraemer From: ron kraemer Subject: Shameless Self-Promotion :) ...and more... Well, it's official. My band, formerly known as "Blues 1" and named after my NJ license plate, is now "Ron Kraemer and the Hurricanes". Private e-mail me with a home address and I'll add you to our mailing list. Things are REALLY going well. :) MBC (More Blues Content): Saw just a bit of Mike Griffin and the Unknown Blues Band last night, missing Big Dave and the Ultrasonics altogether. Things always run late when I get together with this certain pal and his wife. Anyway, caught ALL of Smokin Joe Kubek and B'nois King. All I can say is.... SMOKIN!!! The guy is really smooth on the strat, and B'nois plays a great jazzy style rhythm. All their shuffles work well together. Ron ************************************************************ Ron Kraemer rkraemer@ets.org "Well, WELL, Well!" Muddy Waters ************************************************************ ========================================================================= Date: Sun, 29 Oct 1995 16:25:55 -0500 Reply-To: aj514@osfn.rhilinet.gov From: Mary Moretti Subject: Re: Tampa Red re: led zepplin's making free with other's work, when r. plant made the honeydripper's first album in the early 80's he used bits and pieces of songs by wynonie hawkins, "good rockin' tonight" and, "bad news baby,(there'll be no rockin' tonight)" as well as others. can't recall if there were any mention of his name, on the album. wynonie was a jump blues singer. -- mary moretti " i just stand up, and make a joyous sound 'cause i don't let the little things get aj514@osfn.rhilinet.gov get me down" - YFF @}-}--- ========================================================================= Date: Sun, 29 Oct 1995 16:54:17 -0500 Reply-To: WFritchen From: WFritchen Organization: America Online, Inc. (1-800-827-6364) Subject: Re: David Hole? Comments: To: bit-listserv-blues-l@uunet.uu.net I saw Dave Hole in Cedar Rapids Iowa about 2 years ago. Incredible ax man! He has an unusual playing style, with his hand over the top of the neck. I thought he was having trouble with his voice that night -- turns out he sounds like that all the time. Try "Working Overtime" to get the flavor. I recommend it highly. ========================================================================= Date: Sun, 29 Oct 1995 16:03:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Re: The Blue Highway Comments: To: curtis@MAGICNET.NET >Okay, I lied. I said I wasn't going to do this again, but I got this note >the other day ... So why'd you go and say a thing like that? I'm sure we all want to know about all the honors "The Blue Highway" is reaping. We're all very proud of it! Congratulations once again, Curtis, and keep us all apprised. -Bonnie ========================================================================= Date: Sun, 29 Oct 1995 17:36:00 -0500 Reply-To: Hanson123@AOL.COM From: Karen Hanson Subject: Re: C.C. Rider Ari asks, concerning a Rev. Gary Davis song (who coincidentally, I'm listening to right now): >"I'm >Throwin Up My Hand"? I've never been able to figure that out >as the words >in the title don't appear anywhere in the song. Does the title >mean >something like "I'm giving up my present hand (of cards) >(figuratively) >and starting afresh"? I'm not sure of the song you mean, but there is an old-time phrase among the religious, "I raise my hand," meaning "I appeal to God for help," (raise my hand to God). I heard this phrase once in a blues song--I can't remember what song or who. I don't know if that's the same thing as "throwing up" one's hand, but perhaps it makes sense in the context of the song....? Karen ========================================================================= Date: Sun, 29 Oct 1995 16:40:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Arthur Wright Speaking of Little Johnny Taylor, he made some recodings with a very fine guitarist by the name of Arthur Wright. Can somebody tell me more about him? BTW - thanks to Eliot for the information I requested on "TV Slim". -Bonnie ========================================================================= Date: Sun, 29 Oct 1995 17:15:18 -0600 Reply-To: William A Morgan From: William A Morgan Subject: Re: Band Name Needed Comments: To: Bob vanArsdall In-Reply-To: Panther Burn has already been taken as a band name; I'm not sure if it's still being used, however. The band was fronted by Alex Chilton (of the Boxtops fame) and Tav Falco in the late seventies/early eighties. It wasn't a blues band though, and I'm not quite sure how to describe the music other than anarchistic or chaotic. The name of the town, as I understand it, resulted from an incident in which the locals trapped a panther that had been tormenting them and set it afire to destroy it. As the story goes, they could hear the cries of the big cat into the night. Bill Morgan On Sun, 29 Oct 1995, Bob vanArsdall wrote: > Some of the best ones I can suggest are all Delta place names, like: > > Nitta Yuma > Panther Burn > Coahoma > > One of the better ones, unfortunately already used (though they may have > bitten the dust), came from an old Delta aphorism. If something was really > tight, it was ,"Tighter than Dick's hatband." In the last 70's there was a > band around Jackson MS called Dick's Hatband. > > Bob > ========================================================================= Date: Wed, 25 Oct 1995 18:37:01 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: THE RHYTHM & SOUL SERIES Re: new releases information-- correction Comments: To: bit-listserv-blues-l@uunet.uu.net ALL RIGHT! The Manhattans were one of the best soul groups of the 70s. With Gerald Austin on lead & Blue Lovett on bass, you have heavenly music! And what can you say about Little Sonny Brown of The Intruders - man must be crazy to go from Cowboys to Girls :-). eRIC The good news is that the other new titles in our Rhythm & Soul series will still come out Oct. 31: The Intruders Best Of: Cowboys To Girls (ZK/ZT 66688) MFSB Best Of: Love Is The Message (ZK/ZT 66689) The Manhattans Best Of: Kiss And Say Goodbye (ZK/ZT 64662) Various Artists Am I Black Enough For You (ZK/ZT 67105) Please feel free to e-mail me directly for more information. For those with www access, we're workin' on a some web pages which will include cover art, track listings, etc. Shooting for pages to be up either Oct. 31 or just before. Thanks, Jessica Sowin Legacy 550 Madison Ave, Rm 1767 NYC, NY 10022 (212) 833-7940 ========================================================================= Date: Fri, 27 Oct 1995 16:13:59 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: TESTAMEMT CD Re: louis myers Comments: To: bit-listserv-blues-l@uunet.uu.net LOUIS MYERS? Now their's a wonderful bluesman. This ADVENT album is now available as TESTAMENT CD 5026. I highly recommend this CD. His version of Willie Dixon's WOMAN TROUBLE has his wonderful side guitar. BYW, TESTAMENT CD 5028 : CHICAGO BLUES AT HOME has a few acoustic tracks by Louis Myers that were recorded by Dick Shurman. One of the tracks - "JUST A SNAP BOOGIE" - even has the telephone ringing in the background. It's all very informal. It's the first "unplugged" album, I think :-). Again, highly recommended. eRIC >From Mark Gobeyn Newsgroups: bit.listserv.blues-l Date: Fri, 27 Oct 1995 09:33:08 -0500 Subject: louis myers The continuing discussion on Little Walter led me to dig out an old Louis Myers record last night. It's titled "I'm a Southern Man" (1978). Quite good, actually. Does Louis have an extensive discography, and is there anything else worth owning? ========================================================================= Date: Wed, 25 Oct 1995 22:31:35 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Re: happy birthday Andy McKaie Comments: To: bit-listserv-blues-l@uunet.uu.net I'd like to second Bill Shute. Along with Larry Cohn (of SONY/Legacy's Roots 'n Blues) & Kirk Roberts (of Fantasy Records), the "Andy McKaie"s of this business are very important. True, they do report to "suits" but at the same time, they do know the music or know someone who does. In the case of MCA, someone like - and I'm NOT going to mention her name :-) - brings to projects a long time interest in this music. Those of us who have followed the Chess catalog, know that this material is (nearly) everywhere, but be forewarn (sp?) that all those Charly, RST, "Red Dog Express" material are bootlegs. Since August 1992, MCA now owns the CHESS catalog, and you can expect them (ie. McKaie) to do one hell of a fine job. I can't wait for the new DECCA series, and v.3 in the Duke Bobby "Blue" Bland series. Hey, what about a set devoted to ARISTROCAT Records! And a 2CD set around Peacock Gospel groups. Cecil Gant's Decca Records. The Decca 40000 series. An early Ink Spots set. What about Skeets Tolbert's Decca sides. etc. etc. Tonight on the radio show I host, I'll be playing lots from the CHESS BOX sets. Andy, Happy Birthday. (And thanks again for all you're help) Eric Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ANDERSON, ELESTER (g) b. 1925-1025, CONETOE, NC BASSETT, ARTHUR "RIP" (bjo/MA RAINEY) b. 1903-1025, CHICAGO, IL DAVIS, DON (g/prod/songw/STAX) b. 1938-1025, DETROIT, MI GRAHAM, BILL[WOLFGANG GRAJONCA](promoter) d. 1991-1025, SONOMA CTY, CA 60 HEATH, JIMMY (tsax) b. 1926-1025, PHILADELPHIA, PA HOLLEY, MAJOR (b) d. 1990-1025, MAPLEWOOD, NJ 66 JACKSON, GREIG "CHUBBY" (b) b. 1918-1025, NEW YORK CITY, NY JACKSON, WILLIS "GATOR TAIL" (tsax) d. 1987-1025, NEW YORK CITY, NY 59 JONES, TOMMY "MAD DOG" (tsax) d. 1993-1025, CHICAGO, IL 71 LANG, EDDIE (BLIND WILLIE DUNN) (g) b. 1902-1025, PHILADELPHIA, PA LITTLE HATCHET (PROVINE HATCH JR.) (hca) b. 1921-1025, SLEDGE, MS MCKAIE, ANDY (prod/MCA/CHESS RECORDS) b. -1025,?NEW YORK CITY, NY PALMER, EARL C. (d) b. 1924-1025, NEW ORLEANS, LA REEVES, REUBEN (tpt/APOLLO THEATRE) b. 1905-1025, EVANSVILLE, IN RICHARDSON,JOHNNIE LOUISE(ofJOHNNIE & JOE)d. 1988-1025, NEW YORK CITY, NY 43 ROBINSON, IKEY "BANJO" (bjo/g) d. 1990-1025, CHICAGO, IL 86 TAYLOR, SAM JR. (g) b. 1934-1025, ------------------------------------------------------------------------------- ========================================================================= Date: Sun, 29 Oct 1995 19:40:19 +0000 Reply-To: "Terry L. Odor" Comments: Authenticated sender is From: "Terry L. Odor" Subject: Jon Butcher Does anyone know anything about Jon Butcher? He has a CD out called "Positively the Blues" on Blues Bureau International, part of Shrapnel. Have you heard this? Where is he from? etc. Thanks Terry http://www.teleport.com/~tlo/ (updated 10/28/95) ========================================================================= Date: Sun, 29 Oct 1995 22:41:36 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Canadian Blues: Ellen MacElwain (?) I was listening to CBC Radio's Saturday Night Blues program last night (a great weekly show, even considering the waves of static I occassionally have to wade through here on the southeast side of Lake Ontario). I heard a jazzy cover of Born Under a Bad Sign from a Calgary-based singer, Ellen MacElwain. (I'm not sure of the spelling, but it's phonetically close.) Great voice, backed only by a wonderfully rhythmic guitar. I liked the sound. Can anybody inform me of her releases? Thanks in advance. Dave P. (aka "Southside" Dave, Blues 101, 88.9 FM WNYO-Oswego) ========================================================================= Date: Sun, 29 Oct 1995 22:58:43 -0500 Reply-To: Ari Eisinger From: Ari Eisinger Organization: Voicenet - Internet Access (800)835-5710 Subject: Re: C.C. Rider Comments: To: bit-listserv-blues-l@uunet.uu.net In article <951029173559_92644402@mail06.mail.aol.com>, Karen Hanson wrote: >Ari asks, concerning a Rev. Gary Davis song (who coincidentally, I'm >listening to right now): >>"I'm >>Throwin Up My Hand"? I've never been able to figure that out >as the words >>in the title don't appear anywhere in the song. Does the title >mean >>something like "I'm giving up my present hand (of cards) >(figuratively) >>and starting afresh"? > >I'm not sure of the song you mean, but there is an old-time phrase among the >religious, "I raise my hand," meaning "I appeal to God for help," (raise my >hand to God). I heard this phrase once in a blues song--I can't remember >what song or who. I don't know if that's the same thing as "throwing up" >one's hand, but perhaps it makes sense in the context of the song....? > >Karen Don't think so. There's really nothing like that in the song. It's one of two blues songs he recorded in 1935 and as such it does not have any religious references, or at least not anything I take to be a religious reference. By the way, Davis's 1935 recordings are just unbelievable! I recommend either the Rev. Davis Yazoo CD (which, although it says it's Davis's complete 1935 and 1949 recordings, is not--it's just most of them) or his Document CD, which has more tunes but perhaps sound quality that is not as good as the Yazoo album. ARI EISINGER ==Blues and Ragtime Guitarist and Singer== ==Guitar Teacher== ========================================================================= Date: Mon, 30 Oct 1995 00:46:38 -0400 Reply-To: Claudio Caponi MARNR From: Claudio Caponi MARNR Subject: Music stores in D.C.? I just got back from the Far East and on the way back was unable to profit from the suggestions of Art Schuna and Dave Daubard as the plane from Tokyo arrived in Chicago late, giving me no time to go CD shopping downtown (I am the guy that asked for music stores at O'Hare Airport three weeks ago). Well, I have another unexpected opportunity: next week I will be attending a 3-day conference in Washington in lieau of my boss. The agenda is very tight, though, so I will have just 2-3 hours available for shopping and need to know where to find the music store with the best blues section near my hotel: the JW Marriott at 1331 Pennsiylvania Av. N.W. The venezuelan government has just announced some change in its currency exchange policy, and the first consequence is that our credit cards are temporarily not valid outside Venezuela, thus preventing me from using online CD shops, and making this request for help all the more desperate, as this may be my last blues refill in a loooong time! :-( Private replies, please, as I think the list may be getting tired of my asking for CD stores from all over the world! :-) ccaponi@dino.conicit.ve | Claudio Caponi | I've had my fun... Ministerio del Ambiente | Caracas - Venezuela | Otis Spann ========================================================================= Date: Tue, 31 Oct 1995 02:49:55 GMT Reply-To: Andrew Gregg From: Andrew Gregg Organization: Department of Primary Industry Subject: Robert Johnson - Any INFO surfacing?? Greetings, Seeing I hadnt seen the topic surface lately, has there been any other information come to light regarding RJ?? What does everyone think the general likelyhood of other information coming to hand at this stage (new photo's, links to his life, etc.)?? Did Steve La Vere ever release his book on RJ?? What about the movie?? Thanks in Advance ********************************************************************** * Andrew Gregg * * * Dept of Primary * I see angels on Ariels * * Industry * in leather & chrome * * ooOO00OOoo * Swooping down from heaven * * Email : * to carry me home * * mpagregg@aries.dpi.tas.gov.au * * * * - Richard Thompson * ********************************************************************** ========================================================================= Date: Mon, 25 Apr 1904 23:54:09 -0900 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Hidden Gems I'll throw in my two (three?) cents worth. Robert Ward - Fear No Evil This is a great album of Blues and Soul. His voice is amazing and his guitar, solo and rythm, is excellent in it's taste. Mississippi Delta Blues in the 1960's Vol. 2 I bought it mainly for the RL Burnside (I can't get enough of this guy) tracks but Joe Callicott and Houston Stackhouse are great as well. Terry Evans This is the singer who often worked for Ry Cooder. I forgot the title as I have a cassette of the CD with song titles only. There are some great Blues on this. 'Shakespeare Didn't Qoute That' and 'Get Your Lies Straight' are great songs. Ry Cooder plays on most tracks and Robert Ward guests on a few as well. Stevie Ray Vaughan - Alpine Valley 8/25/1990 I know that this one is hard to obtain but it is special to me. This is a copy of a copy of the soundboard tape of his 2nd Last show. There is a fantastic version of 'Couldn't Stand The Weather' on this. I have two other bootlegs. One is a CD of the El Mocambo video. If you have seen the video you know that this was a great show. The sound of the CD is excellent. The other CD is from the 1985 Montreux Jazz Festival. SRV was not in form this evening. I feel that the drink and drugs were taking their toll. On one or two songs there are some noticable mistakes. The highlight is when Johnny Copeland (BTW, I heard that he was sick. Anyone know how he is doing?) comes out and sings a few songs. The funny thing is though his guitar is way out of tune on one cut it sounds great in the end ?!? His voice is magnificent. This is for real SRV fans only. Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Mon, 30 Oct 1995 09:23:52 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Sam Mitchell was Re: Recordings of "Crossroads"? Comments: To: mckenzie@ipcs.demon.co.uk >> >There's a great version of Crossroads on an album by Sam Mitchell a >British slide player who seems to have disappeared from the scene in >recent years (Anyone know where he is??) He also does a wonderful >version of Hell Hound on My Trail. Album details if you e-mail me. > >Ian M Sam Mitchell lives in Copenhagen I think. He playes regularily att MOJO ( a club that features blues every night of the week) I don t know anything more about him and I have not heard him myself (I live in Gothenburg, Sweden but plays in Copenhagen now and then) But friends says he s good. Mr Bo ========================================================================= Date: Mon, 30 Oct 1995 00:30:04 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: DELMARK RECORDS TRIBUTE pt. 1 Comments: To: BluesHvn@aol.com This is part 1 of a series of 21 postings dedicated to BOB KOESTER and DELMARK RECORDS. Most of the postings will be personal tributes and blues related. The final posting will be a complete DELMARK discography of their blues & jazz CD releases. For those who have Web access, check DELMARK on the Jazz Online's BLUES ROOM site Organization: Herzberg Institute of Astrophysics (DAO) Subject: A TRIBUTE TO SAM MCCRARY (OF THE FAIRFIELD FOUR) Comments: To: bit-listserv-blues-l@uunet.uu.net Gospel lead singer Samuel H. McCrary was born on Monday, October 27, 1913, Christiana, TN., and was a founding member of The FairField Four. The Fairfield Four first recorded on Sunday October 19, 1941 for the Library of Congress, recording "Don't Let Nobody Turn you 'round" featuring McCrary's salient lead tenor. They started recording commercially in 1946, recording more than 100 titles from 1946 to 1961 for Bullet, Delta, Dot, Champion and Old Town Records (see Hayes & Laughton's GOSPEL RECORDS). They achieved sizeable recognition through their syndicated radio program. According to gospel authority Tony Heilbut, author of the book "The Gospel Sound : Good News and Bad Times", they represent "perhaps the last honorable gasp of jubilee (acappella) singing on records". The Dot Recordings feature Willie Love (tenor), Willie Frank Lewis (bass-baritone), Clarence "Baby" Brooks (baritone), George McCurn or Isaac "Dickie" Freeman (bass), and Samuel H. McCrary, the most outstanding quartet lead singer Nashville ever produced. Heibut refers to MCCRARY as "the bluesy Caruso whose tenor seldom required in-person miking. MCCRARY's falsette with its perfect timing, sinous note bending, unearthly breath-control, casts an almost erotic spell on the listener". In 1954, he was called to the ministry but by 1958, MCCRARY had reformed The Fairfield Four around The Silver Quintet (of Gary, IN.), recording the ultra rare 1960 OLD TOWN album for gospel deejay Bill "Hoss" Allen, which also featured upcoming soul/R&B masters Roscoe Robinson who recorded "That's Enough" for WAND Records and the late Joe Henderson who recorded "Snap Your Fingers" for TODD Records. Recordings like "Pilgrim of sorrow" (Dot,'53), "No room at the inn" (Dot,'52) "Come on in this altar" (Dot,'53), "Love is like a river" (Dot, '52), "Angels watching over me" (Dot,'52), "All the way" (Dot,'53), feature SAM MCCRARY in what I consider some of greatest "deep acappella gospel" ever recorded. ACE CD 449/NASHBORO CD 4003 is a wonderful sampling of these Dot Recordings. Give a listen & you'll hear how much an influence he was on B. B. king. In my opinion, SAM MCCRARY ranks as one of the 'bluesest' quartet leads along with Silas Steele (of The Blue Jays of Alabama) and Walter Latimore (of The Kings of Harmony). In 1980, Doug B. Seroff arranged for The Fairfield Four to re-organize & perform in Washington, DC. (Nov/81), where I had the privilege of seeing them perform (and spending an evening with them). The group featured the Rev. Sam McCrary, Willie Love, Joe Whittaker, James S. Hill and Isaac "Dickie" Freeman. The Rev. Samuel H. McCrary Sr. died on Thursday, March 7, 1991, Nashville, TN. He was the pastor of St. Mark Baptist Church & was survived by his 8 children, including Regina McCrary Havis, lead singer of the B.C.& M. Choir, and member of Bob Dylan's 1980-1981 touring group ; and The McCrarys (Linda, Charity, Alfred & Sam Jr.) who had a Top 10 R&B hit with "You"(Portrait,'78). In early 1992, The Fairfield Four released their first CD on Warner Brothers, (26945 : THE FAIRFIELD FOUR - STANDING IN THE SAFETY ZONE) featuring lead singer Rev. W. L. Richardson (1913-1993). The current group is made up of James Hill, Isaac Freeman, Robert Hamlett, Wilson Waters, Walter Settles and 22 year old, Joe Rice (of The Voices of Nashville). Their new Warner CD is in the works with a few celebrity quests. As I post this I've just received Colin Linden's new SONY CD 80225 : THROUGH THE STORM THROUGH THE NIGHT which has four tracks featuring THE FAIRFIELD FOUR. I'm particularily impressed with Colin's version of PRECIOUS LORD, TAKE MY HAND, done in a way that Blind Willie Johnson would be proud of! I'd like to thank Jerry Zolten for his help. References : ------------ GOSPEL RECORDS / by Cedric Hayes & Bob Laughton. 2 Volumes. (available from : Big Nickel Publications, P.O. BOX 157, MILFORD, NH. 03055) FAIRFIELD FOUR : DISCOGRAPHY ============================ ACE CD 449 : THE FAIRFIELD FOUR - STANDING ON THE ROCK AVI GOSPEL 8439 : THE FAIRFIELD FOUR - ANGELS KEEP WATCHING AVI GOSPEL 50023 : THE FAIRFIELD FOUR - ANGELS WATCHING OVER ME AVI NASHBORO CD 4001 : VARIOUS - BEST OF NASHBORO GOSPEL (1 cut) AVI NASHBORO CD 4003 : THE FAIRFIELD FOUR - STANDING ON THE ROCK NASHBORO 7045 : THE FAIRFIELD FOUR NASHBORO 7232 : THE FAIRFIELD FOUR - ONE RELIGION NASHBORO 8361 : THE FAIRFIELD FOUR - ONE RELIGION OLD TOWN 103 : THE FAIRFIELD FOUR - THE BELLS ARE TOLLING P-VINE CD 2327 : THE FAIRFIELD FOUR - ANGELS WATCHING OVER ME SONY CD 80225 : COLIN LINDEN - THROUGH THE STORM THROUGH THE NIGHT SPIRIT FEEL CD 1012 : VARIOUS - THE GOSPEL SOUND OF SPIRIT FEEL (1 cut) TIS CD 144926 : THE FAIRFIELD FOUR - STANDING ON THE ROCK ========================================================================= Date: Mon, 30 Oct 1995 05:04:39 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - October 30th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ALLAN, LEWIS (songw/STRANGE FRUIT) d. 1986-1030, LONGMEADOW, MA 83 BELL, BRENDA (v) b. 1953-1030, NEWPORT NEWS, VA BERG, BILLY (prod/BILLY BERG'S) d. 1962-1030, HOLLYWOOD, CA 52 BERRY, LEON BROWN "CHU"(awesome tsax/BASIEd. 1941-1030, CONNEAUT, OH 33 BROWN, CLIFFORD (tpt) b. 1930-1030, WILMINGTON, DE FOSTER, GEORGE "POPS" (b) d. 1969-1030, SAN FRANCISCO, CA 77 GAITHER, BILL(LEROY'S BUDDY)(g/DECCA REC) d. 1970-1030, INDIANAPOLIS, MN 60 GILLETTE, LEE(prod/LEADBELLY/CAPITOL REC) b. 1912-1030, INDIANAPOLIS, MN HOLLAND, EDDIE (songw/prod/MOTOWN) b. 1939-1030, DETROIT, MI JOHNSON, FOSTER (tap dancer/BASIE) d. 1981-1030, LOS ANGELES, CA 64 JONES, BOBBY (tsax) b. 1928-1030, LOUISVILLE, KY JOSEY, BILL (discovered JOHNNY WINTERS) d. 1976-1030, GREENVILLE, NY -- KOESTER, ROBERT GREGG (owner: DELMARK REC)b. 1932-1030, WICHITA, KS MACERO, TEO (tsax/prod/arr) b. 1925-1030, GLENS FALLS, NY MYERS, DAVID (b g/THE ACES) b. 1926-1030, BYHALIA, MS POWELL, RUDY (cl/sax) d. 1976-1030, NEW YORK CITY, NY 69 RIDGLEY, TOMMY (p/songw) b. 1925-1030, SHREWESBURY, LA SLICK, GRACE WING (:) b. 1939-1030, CHICAGO, IL THORNTON, GUS (b/JOHNNIE JOHNSON) b. 1951-1030, ST. LOUIS, MO WALKER, JAMES (co-lead/DIXIE HUMMINGBIRDS d. 1992-1030, PHILADELPHIA, PA 66 WELLS, BEN (d/THE CONFINERS) b. 1938-1030, LUCEDALE, MS WEST, NORMAN (v/SOUL CHILDREN/STAX REC) b. 1939-1030, MONROE, LA WILLIAMS, OTIS (of THE TEMPTATIONS) b. 1941-1030, TEXARKANA, TX ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 30 Oct 1995 01:30:06 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: DELMARK RECORDS TRIBUTE pt. 2 Comments: To: BluesHvn@aol.com "Fullest artistic freedom is a matter of paramount importance to any jazz/blues label. It has been responsible for DELMARK being able to present some outstanding albums, and is, in my opinion, the cornerstone of our reputation." ~ Bob Koester, Living Blues #9, p. 4 (Summer 1972) Robert Gregg Koester was born on Sunday, October 30, 1932 in Wichita, KS., and first heard jazz when be was 8 years old. While at St. Louis University, he decided to record Sammy Gardner with the Fabulous Windy City Six, and started the DELMAR Record label (the K for Koester would be added much later). That magic day was Saturday, September 19, 1953, when Mr. Koester was still not 21 years old. By September 1958, he had moved to Chicago with the Seymour's Jazz Mart, but by 1961 he started up the Jazz Record Mart, which is still in operation. I can go on, because I bought (by mail) the Riverside lps of Blind Lemon Jefferson, Jimmy Yancey and John Lee Hooker from the Jazz Record Mart, and of course his Delmark albums. Koester's Blues News Bulletin kept us current. I believe the first blues person he recorded was the SPECKLED RED (aka Rufus G. Perryman) on Sunday, September 2, 1956. He would go on and record all the great 'country' bluesmen : Big Joe Williams, Sleepy John Estes, Yank Rachell, Curtis Jones, Arthur Crudup, Roosevelt Sykes, Ransom Knowling, Little Brother Montgomery, etc. He can also claim to have recorded the very FIRST Chicago Blues album, DELMARK 612 : JUNIOR WELLS - HOODOO MAN BLUES with one Friendly Clap (aka BUDDY GUY) helping out. The recording engineer on that September 1965 session was Stu Black. Ask Bruce Iglauer, an-ex DELMARK employee and founder of Alligator Records, about Stu Black & how important Black was in capturing the Hound Dog Taylor on tape. I remember meeting Bob Koester (& I think, Len Kunstadt :-)) backstage at the 1st Ann Arbor Jazz & Blues Festival (1969), and asking Koester about the legendary 'Bluebird' blues producer Lester Melrose (1891-1968). In time, Koester would record all the great contemporary blues people like Luther Allison, Magic Sam, Carey Bell, Jimmy Dawkins, J. B. Hutto, Jimmy Johnson, Mighty Joe Young, Otis Rush, Otis Spann, Robert Jr. Lockwood, etc. He would also acquire the catalogs of the Apollo & United labels. Today, DELMARK is still recording, as the attached discography (see separate posting) will show. Finally, if you want a taste of all the different blues styles that DELMARK has recorded over the years just pick up DELMARK DX-2 : DELMARK 40TH ANNIVERSARY : BLUES. It's a great sampler with a 16 page booklet. DELMARK DX-2 : DELMARK 40TH ANNIVERSARY : BLUES. ------------------------------------------------ Contents : 1. Junior Wells - Snatch it back and hold it - 2. Big Joe Williams - Baby, Please don't go - 3. Jimmie Lee Robinson - Lonely Traveller - 4. Big Time Sarah - I make love - 5. Dave Spector & Barkin' Bill Smith - Things I'd do for you - 6. Robert Jr. Lockwood - Ramblin' on my mind - 7. Sleepy John Estes - I'd been well warned - 8. Arthur "Big Boy" Crudup - That's all right - 9. Otis Rush - You're breakin' my heart - 10. J. B. Hutto - Slidewinder - 11. Roosevelt Sykes - Eagle rock me baby - 12. Jimmy Johnson - Easy money - 13. Curtis Jones - Highway 51 14. Edith Wilson - Mistreatin' blues - 15. Speckled Red - The dirty dozens - 16. Yank Rachell - Let me tangle in your vine - 17. Jesse Fortune - Fortune tellin' man - 18. Willie Kent - Memory of you - 19. Magic Sam - I need you so bad HAPPY BIRTHDAY, BOB KOESTER! Finally, as for my favorite 5 (only 5!) DELMARK CDs, here's my list : 455 TAB SMITH ACE HIGH 447 TAB SMITH JUMP TIME 435 JIMMY FORREST NIGHT TRAIN 620 MAGIC SAM BLUES BAND BLACK MAGIC 603 SLEEPY JOHN ESTES LEGEND OF Along with Earl Bostic, TAB SMITH could meet & (sometimes) beat Johnny Hodges at his own game! These 2 CDs (from a projected 5 CD series) contain his United Recordings, and all fans of jump bands like Roomful Of Blues should check out TAB SMITH; the JIMMY FORREST's set is his complete United sides, including the original R&B hit version of NIGHT TRAIN ; the MAGIC SAM BLUES BAND set is where 50/60s blues ends & 70s blues begin - essential in anyone's CD blues collection ; and finally SLEEPY JOHN ESTES' very first album - after all these years, that cryin' voice still gets to me - he was a master blues poet. .... and now to the personal tributes. I hope you enjoy reading them. ========================================================================= Date: Mon, 30 Oct 1995 10:27:29 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Announcing a new Quarterly Blues magazine: BLUES GAZETTE December 1995 is planned to be release month for the first issue of a new quarterly Blues magazine: BLUES GAZETTE. Former Blues Life contributor (and also Living blues), photographer JACQUES DEPOORTER has just started a magazine which will (primarly) concentrate on all aspects of African-Americam blues and artists. Number 1 will be out in december, featuring reviews, articles, interviews and biographies, losts of photos and more.... A4 format in >>ENGLISH<< language. At this time (some other might well join) contributors are Larry Benicewicz from Baltimore, Len Kunstadt from New York, Maria Bainer from the SF Bay Area, Mick Rainsford and Norma Darwen fron England, Robert Sacre from Belgium, Jacques Depoorter and ... myself. More information can be obtained from JACQUES DEPOORTER BLUES GAZETTE 22 FANCISCUSLAAN B-9112 SINAAI BELGIUM Tel: +32-3-772 52 98 of by sending me a private E-mail (J.URBAIN@KE.RULIMBURG.NL), I'll pass the message to Jacques. Jean-Pierre Urbain P.S. This is a >>non-profit<< project! ========================================================================= Date: Mon, 30 Oct 1995 10:01:16 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Re: Luther Tucker and some other new stuff... Well, thanks to Don O. for mentioning Luther Tucker's new Crosscut CD. Actually, I received last week a package from Detlev Hoegen and was hoping to find some time this week to write a review of Luther's album. Don O was faster. Thanks. So let me just second his comments. European (especially Belgians and people from benelux) might remember Luther from the period where he lived over here in Belgium in the early 80's. I had the pleasure to meet him on several occasions. The first time was when the San Francisco Blues Festival toured in Belgium in 1982 (with Little Joe Blue, Sonny Rhodes, the late Troyce Key, JJ Malone, Guitar Mack, -a then quite unknown and discrete Roy Rogers, Henry Oden, ...). Luther joined them on Stage during what was a really great festival (in an old Castle from the 16th century). Besides being a wondefully tastefull guitar player he was also an extremely nice and charming person, a real gentleman! Just a few words about his album entitled LUTHER TUCKER AND THE FORD BLUES BAND (CROSSCUT CCD11040). As the title mentions, he's presented here with the Ford Blues band which, contrary to much of their own recent material, doesn't play their heavy-blues type of music, but provide some nice effective support. Andy Just blows harp (I would sometime want to ask him to slow it a bit, IMHO) and sings on the two cuts for which Luther had still to do some studio recordings (voice and gtr). Part of the album is recorded live in Bremen (Germany) and the remaining cuts are from some California studio sessions Luther never could finished as he died before all the sessions where done. He plays some extremely good guitar and as Don O. mentioned, I find this set superior to his Antone album. Recommended. In relation to the new Testament reissue of Louis Myers' Advent LP, I'd juts like to recommend the four other recent Hightone/Testament CDs which are all really great run don't walk albums (Bottleneck Blues, Thomas Shaw, San Diego Blues JAm -one of my pers. fav,and the wondefull Chicago Blues at Home, with lots of unissued cuts). Last but not least, I want again to recommend all the great TIX reissues that are now on the market -see the last B&R for Tony Burke's enthousiasm!!- and especially the BIG CHIEF ELLIS set (TRIX 3316) which is for me - OK, I know I already told it more than once- one the nicest post WWII piano blues album available. In the great tradition of piano-gtr duets with John Cephas, the great Henry Johnson, Tarheel Slim, Brownie Mc Ghee. RDW!! I'll take a few days off, but I will come back next monday with, hopefully, several reviews. Jean-Pierre Urbain ========================================================================= Date: Mon, 30 Oct 1995 02:30:05 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: DELMARK RECORDS TRIBUTE pt. 3 Comments: To: BluesHvn@aol.com BOB KOESTER PERSONAL TRIBUTE #1 =============================== Bob Koester actually "gave me my start" in blues. I had just discovered blues via Brownie McGhee and Sonny Terry and maybe a blues anthology or two, when I discovered 1) Arhoolie and Chris Strachwitz, 2) Delmark and Koester, and 3) Big Joe Williams. I had driven up from Louisville to watch Joe play at the Fickle Pickle (or some such coffee house in Chicago), and I was telling him about having one of his 78s and his new LPS from Arhoolie and Delmark. He pointed at Koester and said, "That's the guy you oughta meet. He's got 1000s of them old records." Well, I did meet Koester, and I started working at the Jazz Record Mart when it was still on South Wabash (where the Roosevelt University Bookstore is now) in the Summer. This was circa 1962, I think. Finally I moved to Chicago in 1968, was Bob and Sue's best man at their wedding, and for the last time, worked at Jazz Record Mart while they went on their honeymoon. The amount of material I learned from Bob about records and artists is considerable, and I know from experience I'm only one of many who were introduced to blues at the Jazz Record Mart. ~ Paul Garon, BEASLEY BOOKS, 1533 W. OAKDALE, CHICAGO. IL. 60657. TEL: 312-472-4528 FAX: 312-472-7857 EMAIL: beasley@mcs.com WWW: http://www.abaa-booknet.com/alldlrs/mw/60657bea.html. ========================================================================= Date: Mon, 30 Oct 1995 03:00:05 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: DELMARK RECORDS TRIBUTE pt. 4 Comments: To: BluesHvn@aol.com BOB KOESTER PERSONAL TRIBUTE #2 =============================== I have, of course, long admired his work for Delmark. Along with Pete Welding and Chris Strachwitz he was a major figure in documenting the living blues traditions in the early 60s when it was all but ignored by major labels and academia. My fondest recollection of Bob is when I first visited Chicago in 1963 and he shepharded me around the blues joints to see people like Otis Rush, Fenton Robinson and, best of all, Robert Nighthawk. One of the great experiences of my life. ~ Frank Scott, ROOTS & RHYTHM (MAIL ORDER), P. O. BOX 837, EL CERRITO, CA.94530. Tel: 510-525-1494 Fax: 510-525-2904 E-Mail: roots@hooked.net ========================================================================= Date: Mon, 30 Oct 1995 03:30:07 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: DELMARK RECORDS TRIBUTE pt. 5 Comments: To: BluesHvn@aol.com BOB KOESTER PERSONAL TRIBUTE #3 =============================== The problem with a tribute to Bob Koester isn't where to start, it's where to stop. Producer, label owner, store owner, mentor, patron, advocate... it'd be very hard to overstate Bob's role in Chicago blues, especially broadening its base into the white community over the four decades. Everyone knows about the Jazz Record Mart (now thriving in its fourth location) and second store on Lincoln Avenue, Collectors Record Mart (at the Lincoln location), Delmark and Pearl Records. As the proprietor of those enterprises, Bob has provided great music, employment, lodging, hospitality, advice and plenty of conversation. He and the stores have been centers for people passing through Chicago to find out what's happening, when and where, and also centers for a group of people including Charlie Musselwhite, Mike Bloomfield, Jim O'Neal, Amy Van Singel, Bruce Iglauer (who's always considered Bob his role model and surrogate father), Steve Tomashefsky, Steve Cushing, Wes Race, myself and many others trying to find our own place in the blues community-- and we all got a lot of good things from Bob that helped us make our ways. Then there were the Friday night movies from Bob's great collection (he's still a frustrated filmmaker, I think), the Saturday night blues club tours when the music was a lot less accessible than it is today, his role in instigating the founding of Living Blues via a signup sheet in JRM and a willingness to provide funding for the startup, his role in getting the Chicago Blues Festival rolling ... With all these accomplishments to his credit (and Bob's not a spotlight seeker), it's especially gratifying to see that he shows no signs of slowing down. Things may even be at a peak in a lot of good ways: the big new store location and lots of ambitious plans for the space, Riverside Studios and a secure place in blues history. Once a man whom I advised to see Bob about selling his 78s said to me "Kaster, Koster, Koeester-- I know him well." Well, if there's any justice, a whole lot of blues fans shouldn't need to know how to pronounce Bob Koester's name, or why they might want to mention it with gratitude and appreciation. ~ Dick Shurman, record producer & writer From: Pat Hertel Subject: Re: Lonnie Shields In-Reply-To: <951030022607_92979211@mail04.mail.aol.com> On Mon, 30 Oct 1995 CATBAUER@aol.com wrote: > Did you happen to catch thre Lonnie Shields show? Cat > Well I did .. but he didn't :):):). At 10 PM there was an anouncement that he had gone to the wrong border crossing and was, at that time, 4 hours out. This is not the first time this has happened. Don't these guys use a map!? I assume he was there the next night but this time I wasn't. To bad, I really wanted to hear him. :'( phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [30/10/95 6:06 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 30 Oct 1995 04:00:06 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: DELMARK RECORDS TRIBUTE pt. 6 Comments: To: BluesHvn@aol.com BOB KOESTER PERSONAL TRIBUTE #4 =============================== I don't know Bob Koester at all well - I've spoken to him several times. I guess I was too in awe of him to say much. Every time I pay him with my University of Wisconsin credit union Mastercard, he inevitably says: "Ah, Wisconsin - my wife's alma mater (rhyming "mater" with 'tater). Once when I was chatting with Sue Koester, this was in '83 and we had just been at Muddy's wake, she said she remembered how beautiful Madison was, with the campus right on the lake. She said she had been trying to talk Bob into moving up here. I was a bit startled and said something like "Ah no! don't do that! Chicago needs him!" So many people I know have been priviledge to have Bob take them on tours to the city's best little-known music spots. ~ Bonnie The K ========================================================================= Date: Mon, 30 Oct 1995 08:14:09 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: Blues in Chicago Tonight! In-Reply-To: from "Michael Suffern" at Oct 28, 95 01:06:58 pm Got back from Chicago late last night - trip report to follow. Here's a quick one-word preview of said report: # # #### # # # # # # # # # # # # # # # # # # ## # # # # ## # # ## ## # # ## ## # # #### # # # I'll send the more wordy trip report later today... -Rob ========================================================================= Date: Mon, 30 Oct 1995 04:30:07 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: DELMARK RECORDS TRIBUTE pt. 7 Comments: To: BluesHvn@aol.com BOB KOESTER PERSONAL TRIBUTE #5 =============================== You were smart and got started early in life - hunting for music! And you were putting out "classics" like the George Lewis Antone sessions before I even contemplated making records! You were definitely one of my role-models! And when you put out that Big Joe Williams LP, I knew it would be hard to top it. And it was only due to poor Big Joe really having the worst *blues* of his life, that the Arhoolie sessions came out so moving and powerful. And congratulations also for putting together a fine family and keeping Delmark as a living label with constantly new music and new recordings - may you have a zillion more joyful and rewarding birthdays. I know the music will keep you feeling good and have you flow with it - having all the magnificent sounds this world has to offer. Keep up the good and steady work & all my best wishes. ~ Chris Strachwitz, ARHOOLIE PRODUCTIONS, INC. 10341 SAN PABLO AVE., EL CERRITO, CA. 94530. TEL: 510-525-7471 FAX: 510-525-1204. ========================================================================= Date: Mon, 30 Oct 1995 13:08:14 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: song credits. wasRe: Tampa Red Comments: To: Steve.Levine@CORP.WRGRACE.COM >*One of our favorite songwriter credits is on Led Zeppelin's cover of >*"When the Levee Breaks". The writers listed, in order, are Jimmy Page, >*Robert Plant, John Paul Jones, John Bonham and Memphis Minnie. Last, but >*not least! > >My favorite Zeppelin credit is for their version of Traveling Riverside >Blues. It says Jimmy Page, Robert Plant and Robert Johnson! Like Robert >Johnson called them up one day and said, "Hey, let's write a song= together!" :) > >-Steve It s interesting to see how mAny songs mr Lomax wrote for Blues in the Mississippi night. He must have been very surprised when he did his field-trips and heard all these singers sing his own songs :-). Bo Carlsson ========================================================================= Date: Mon, 30 Oct 1995 05:00:04 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: DELMARK RECORDS TRIBUTE pt. 8 Comments: To: BluesHvn@aol.com BOB KOESTER PERSONAL TRIBUTE #6 =============================== Bob Koester is one of the great unsung heroes of blues recording. He was a pioneer in recording both country (Big Joe Williams) and urban (Junior Wells) blues on LP, and by capturing the true sounds of the Chicago clubs he inspired countless blues fans as well as other record companies. Bob's store, the Jazz Record Mart, has been for 35 years a mecca for blues fans who had no other way to find out about the blues scene in the getto clubs in Chicago. I went there myself as a blues pilgrim in 1969 and Bob took me, like he took so many others, to the blues clubs in the heart of the ghetto. It was from this experience that I chose to move to Chicago and eventually to work for Bob and then start Alligator. He was and is a charismatic, highly opinionated and outspoken man who follows his own muse. He has made both friends and enemies in the business, but no one could forget him. He's never been the world's greatest businessman, but he certainly has been one of the blues' biggest helpers. The record companies that have sprung out of the Jazz Record Mart/ Bob Koester experience are many; besides his own Delmark, I can think of Testament, Nessa, Earwig, Flying Fish, my own Alligator, Rooster Blues, and I'm sure there are more. I can't speak for the other label owners, but for me, without Bob I never would have been inspired to start my own label and pursue a life of blues recording. He is the closest thing I have to a spiritual "father" and he deserves all the acclamation that anyone in the blues world can give. ~ Bruce Iglauer, ALLIGATOR RECORDS & ARTISTS MANAGEMENT, INC., P. O. BOX 60234, CHICAGO, IL. 60660. TEL: 312-973-7736 FAX: 312-973-2088 ========================================================================= Date: Mon, 30 Oct 1995 08:30:34 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Re: subscription -Reply Comments: To: Hanson123@aol.com Well, i'm not Jewish, but i remember a Jewish friend telling me that the term "guy" is an aberration of "goy" which i believe was explained to me as a non-sex specific term for non-Jewish people.....or something like that. Anyway, it would seem then, that, in using it to refer to a mixed sex group of people is entirely correct in the slang vernacular. regards, delta doc roger ========================================================================= Date: Mon, 30 Oct 1995 05:30:07 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: DELMARK RECORDS TRIBUTE pt. 9 Comments: To: BluesHvn@aol.com BOB KOESTER PERSONAL TRIBUTE #7 =============================== Happy birthday Mr. Koester! When me and my three friends went on our 4-week blues pilgrimage of the US this summer, one of the places we KNEW we wanted to visit was the Jazz Record Mart. Having read so much about "The world's largest jazz & blues store", and having enjoyed so many of the great DELMARK albums by Jr. Wells, Magic Sam, Otis Rush, Big Joe Williams, Jimmy Johnson and so on, this was a must. Delmark is to us one of the few blues record labels with a sort of mythical aura - from the stories of all the musicians hanging around there, of having Big Joe Williams and Charlie Musselwhite sharing a flat in the basement etc., to the quality of the music recorded by the label. Although comparatively small in quantity, its catalog reads like an expert's list of essential albums of jazz and blues. This is surely tribute to the high standards of quality established by Mr. Koester, who also writes fascinating liner notes to many of the albums. Our visit to the newly relocated and expanded Jazz Record Mart proved to be the highlight we hoped for. Unfortunately we didn't get to meet Mr. Koester, but we did find a mind-boggling selection (8000 square feet!) of the greatest, the latest, and the most obscure in jazz, blues, gospel, r&b - on both CD and vinyl, new and used, imports and domestic releases. We also picked up a lot of useful info on what was going on in the clubs, and browsed through the substantial book and magazine section. All the while, great black music poured out of the speakers. We stacked up with CDs to such an extent that the economic reverberations are still felt today, two months later! On behalf of me and my friends Roland, Tor Arne, and Per Arne, it is an honour for me to wish Mr. Koester a great birthday and many more happy and productive years. Keep the music coming! Best regards, ~ Geir E. Oien , Associate Professor, Rogaland University Center Department of Electrical and Computer Engineering, Signal Processing Group, P. B. 2557 Ullandhaug, 4004 Stavanger, NORWAY. Geir's account, "The Great Norwegian US Blues Trip '95", is available on the BLUE HIGHWAY Web site ========================================================================= Date: Mon, 30 Oct 1995 08:44:00 -0600 Reply-To: Roger Struve From: Roger Struve Subject: 'blues' piano video -Reply Comments: To: laurie.forti@infoexch.miami.fl.us Thank you for sharing your story about the blues video. I have dealt a lot with Homespun Tapes, and a scathing letter was never necessary with these people. My experience is that they are only eager to have you pleased with the material you order. There has never been the slightest reason in my experience to treat them in any way but as fellow friends and musicians. (check out Happy and Arty Traums duet of Happys Tribute to Miss. John Hurt---it will actually bring tears to your eyes with its simplistic soulful blues playing and Happy's singing too). Months after ordering a couple of tapes that i just wasn't happy with, and i mentioned that when speaking with one of the representatives while ordering some more tapes, got me a return call and a promise to send back the tapes i hadn't been interested in. I was awestruck....i ain't rich, but i tend not to send stuff back when its from such a good karma place as Homespun Tapes. This has been my experience, and that of all of my friends who have ordered from them. regards, delta doc roger BTW: I just saw their video on Hans Thessink.....what an incredible video, and an incredible bluesman. ANy one ever hear of this guy? He's from Holland, and was so enthused with old American blues being played in Holland on midnight radio, that he moved to Mississippi to learn how to do blues.....and man, did he learn!!! ========================================================================= Date: Mon, 30 Oct 1995 06:55:23 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: Re: good blues bars in london? Comments: To: Robert Paul Schwippert >Probably spending the weekend of the 20th Nov in London (Sat/Sun/Mon) - >staying with a friend in Chelsea. >Any suggestions for good blues bars to go and visit there? >Thanks >RP Recently returned from London. Found a great club(with the assistance of P. Munroe) called "Ain't nuthin' but....". It is on Kingly Stree just off of Regent Street in Soho. Place is real small and smokey but the blues was great. If you want a seat you better get there early. If your lucky you may get to see Giles Hedley. Incredible Delta blues player. Have fun....... Gary ........... Gary Constantine >> gconstan@ccinet.ab.ca << If hard work were such a wonderful thing, surely the rich would have kept it for themselves. ========================================================================= Date: Mon, 30 Oct 1995 06:00:06 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: DELMARK RECORDS TRIBUTE pt.10 Comments: To: BluesHvn@aol.com BOB KOESTER PERSONAL TRIBUTE #8 =============================== Long before I ever met Bob I was inspired by the great records on his Delmark label. During my college years in Pennsylvania I became an avid collector of blues records and to a lesser extent jazz, and I became aware of Delmark Records while browsing through record store bins and by reading Living Blues Magazine and Blues Unlimited. Over twenty- five years later, I do not recall when I bought my first Delmark LP, but I am sure it was Junior Well's HOODOO MAN BLUES or Magic Sam's WEST SIDE SOUL, and these Lps are still desert island disks for me. By the time I got out of college in 1971 I had every Delmark blues album and some jazz. I was so hooked on the blues that in 1972 I wrote Bob for a job, figuring that I would move to Chicago and hang out in blues clubs. I had met Bob at the Ann Arbor Blues Festival in 1970 and again when I visited Chicago during Thanksgiving weekend of 1970 - my first foray into the blues club scene. Bruce Iglauer was a stock boy sat the time for Bob. Koester actually wrote me back to explain that his store and label were small operations with no openings, but in summer 1972 when I moved to Chicago I spent a lot of time in his store. I also started going out to clubs in the Black community with him, as well as having Mexican food and margaritas with him and his wife Susan on many Friday nights and then watching his collection of movies. I later worked 15 hours a week 1974-1977 at the Jazz Record Mart as a resident blues expert, and of course I spent my salary on records. Somehow Bob must have seen that I was more than just a fan, and he encouraged me to start my own label. This was around 1978. He gave me two pieces of good advice - do not get into the label business if I were thinking of doing only one album, and name my label beginning with a letter early in the alphabet, so it would appear early in a distributer's catalog and towards the front of the store's alphabetical bins. Bob also helped me produce my first album by THE JELLY ROLL KINGS by showing me how to keep a session flowing and by working on artist repertoire. The first recording contract I used was one Bob wrote for me. Nowdays it's too simple, but it worked fine in 1978. Bob has always given freely of his time and knowledge to anyone wanting to learn and he did so with me many times. The most memorable thing that Bob and I did together was streaking the Arlean Brown blues show at Bill Gilmore's second club - Elsewhere on Clark, which we did out of respect for here since she couldn't afford to bring hjer streakers on what the club was paying. Arlean loved it, and Amy Van Singel took our picture for posteriority. The audience reaction was a bit mixed as I recall. Probably the second most memorable time was when Bob threw a party crasher out of the door of his Lincoln Avenue store as my sister and I were walking in, thereby knocking us over. The party was the Delmark 20th Anniversary, featuring Hammy Nixon, Sleepy John Estes, and Big Joe Williams, so I did not mind such an entrance. The third most memorable things is the weeknights Bob and I stayed out til 4:30 AM at the 604 Club on east 63rd Street listening to To Hat Bobby Davis play organ, with his teenage sons playing drums and guitar. Since I had to go to work at 6:30 AM it was rough, but the music made me do it! I do not see Bob so much anymore, but he gave me a big push and lots of encouragement in the blues business, and a lot of late nights of great blues and conversation. I am still a fan of the Delmark label, but now I am also a competitor too, and I like to think that the records I produce on EARWIG are as great as the Delmark records which first got me excited about the blues and the musicians. Thanks a lot Bob and Happy Birthday. Sincerely, ~ Michael Frank, President & CEO, EARWIG MUSIC COMPANY. INC., 2406 W. LUNT, CHICAGO, IL. 60645. TEL: 312-262-0278 FAX: 312-262-0285 ========================================================================= Date: Mon, 30 Oct 1995 09:20:53 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: theory/practice/history My $.02: You need both theory and practice, but we tend to misunderstand theoretical knowledge -- we think, because it's more formal, that it's somehow more objective, universal, or important. If you follow the post-1950 discussions in epistemology and the philosophy of science (Winch, Kuhn, Feyerabend, and esp. Polanyi or Dreyfus) it seems that "practice" -- i.e., inarticulate and tacit knowledge is the foundation of all other knowledge. (Ex., while a physicist might be able to "describe," with the use of calculus, how a person rides a bike [or plays a piano, for that matter], that doesn't necessarily mean that the physicist "knows" how to ride a bike himself. The theoretical equations are not enough... hell, they are not even necessary. I can ride a bike without knowing or articulating all the "rules" involved.) This isn't trashing theory; it's just emphasizing that theory does not necessary transcend tacit or practical knowledge. Though less dramatic, the same can be said in regard to playing music. Regarding the blues: I'd much rather see younger performers have a better understanding of the rich and complex _history_ of their tradition. Many younger bands and performers that I've seen (yes, perhaps my sample is biased) don't really know or care about the past -- to some, Born Under a Bad Sign is a Cream song.... Completely embracing the Robert Johnson myth isn't enough; nor is the nod to the past by throwing in "gonna get me a mojo hand," or "big legged woman," or "black cat bone" etc into one's own song lyrics. (Imagine if three out of ten post-Beatles bands threw in "love me do," or "hey jude," or "I am the walras" [hello, Simon and Garfunkel] into their lyrics... it just don't work after the nth time.) I think we'd (the performers and their audience) gain if good practice was backed by better historical understanding. Dave (aka "Southside" Dave, Blues 101, 88.9 FM WNYO-Oswego) P.S.: sorry if I alienated some with that philosophy crap in the first paragraph... looking back, it sounds distressingly close to the stuff I publish in my real (paying) job... I'm a philosopher and historian of economics, as well as an economic theorist. God, please don't use it against me, and I promise I won't bring it up again. ========================================================================= Date: Mon, 30 Oct 1995 06:23:01 -0000 Reply-To: "J. Witteveen" From: "J. Witteveen" Subject: Re: song credits Bo wrote: >It s interesting to see how mAny songs mr Lomax wrote for Blues in the >Mississippi night. He must have been very surprised when he did his >field-trips and heard all these singers sing his own songs :-). I just got that disk, and I noticed the same thing - all songs cowritten by Alan Lomax! Pretty impressive writing...:-) Goes to show that the seeming ripoffs aren't confined just to Led Zep! Unless of course, someone knows of another reason why Lomax added his name to the credits... -Jim (hndful@uniserve.com) ========================================================================= Date: Mon, 30 Oct 1995 06:30:06 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: DELMARK RECORDS TRIBUTE pt.11 Comments: To: BluesHvn@aol.com BOB KOESTER PERSONAL TRIBUTE #9 =============================== I went to the new Jazz Record Mart for my first trip there since their move from Grand Avenue. I had a lot of anticipation about this visit. Would it be the same as the old JRM? For those who never had the opportunity, the old store was kind of, well, OLD! It was kind of dreary looking, the floorboards creaked when you walked. But there was something about knowing that Big Joe Williams lived in the basement when he happened to blow through town. The store had an incredible amount of character. The blues section was in the front part of the store. In a room the size of an average independent music dealer, CDs were packed into the bins so tight you had to remove a few just to browse. Then of course, the trick was to try to put them back especially if you didn't pick some out of that bin. It would take me at least a couple of hours to browse through those bins and by the time I was done, I would usually have spent at least $150. My hands would be covered with dirt picked up off of the CD holders. I always had to ask to use the bathroom that was supposedly off limits to customers to wash my hands, but in some ways I felt kind of like the mechanic or farmer who'd put in a good day's work. The back room, about 3 times the size of the front room, was similarly packed with jazz. This room was even more mind boggling if you are a fan of jazz. It never failed that you could always find some of those obscure small independent or import discs you were looking for there. So how did the new store stack up? Well it's 3500 square feet of space. The CDs, both jazz and blues are in one huge room. It's very well lit, with big picture windows along one side. Other rooms house LPs - both new and used. The floors are carpeted. The new JRM catalog refers to this store as "kinder, gentler, cleaner". My first impression walking in the door is that was definitely the case, but had they lost the character of the store? It looked a little too "high tech" in some ways. Well, browsing through the bins I found them to be just as packed as at the old store in spite of the spaceous appearance. At the end of my search, I still had more than $150 of merchandise and my fingers were just as dirty! I felt really good about this somehow. Well enough about the store, what about Delmark's releases. This label to me is definitely a can't miss label. I find myself frequently buying new releases from them without knowing the artist. I own quite a few and can say I've never been disappointed. They've had more than 40 years in the recording business. They rejuvenated the careers of a number of blues artists including Big Joe Williams, Yank Rachell, Sleepy John Estes, Roosevelt Sykes and Big Boy Crudup. I have fond memories of Crudup's "Look On Yonder's Wall" as I can say it was one of the first blues albums I ever heard. A friend at the college dorm I lived in more years ago than I care to remember happened to own a copy and played it often. I must say, at the time, these were mighty strange sounds to be hearing when your point of reference was Top 40 radio. But I found myself mellowing to it very quickly. Delmark has also been in the re-issue business - owning both the United & States label masters as well as those of the Apollo label. Over the years, Bob Koester has been very shrewd in his choice of artists to record for the label. You will find some of the very best of Chicago blues on his releases. Well, here's my shot at picking the best of the best: MAGIC SAM - WEST SIDE SOUL (DD-615) and JUNIOR WELLS - HOODOO MAN BLUES (DD-612). These two would be in my list of all time top ten favorites. They epitomize the West Side Chicago Blues sound and may be Delmark's most successful blues titles in their entire catalog. They belong in every blues collection. MAGIC SAM - BLACK MAGIC (DD-620) and JUNIOR WELLS - SOUTHSIDE BLUES JAM (DD-628). These two are such close runners up to the above two that if I could expand my top ten blues picks to twelve, they would probably be on it. The Junior Wells release has the last studio recordings by my favorite piano blues man, Otis Spann. It attempts to recreate the sound of Theresa's Blues Bar at 48th and Indiana, which no longer exists. This makes me wish I had been there. By the way, Buddy Guy is also featured on both Juniors. LITTLE WALTER -THE BLUES WORLD OF LITTLE WALTER (DD-648). Also has Baby Face Leroy, J.B. Lenoir and Sunnyland Slim. These are Little Walter's first recordings as a band leader from 1950-51. Muddy Waters provides backup. I think I read somewhere that Leonard Chess had been reluctant to allow Walter and the rest of Muddy's regular band play on his records prior to the release of these recordings. I guess he thought a studio band would be more professional and polished. The original version of "Rollin' and Tumblin' " was released on the tiny Parkway label (as were the rest of the recordings on this set). Chess quickly re-recorded the song on his label with Muddy Waters to compete. The Parkway version is worth the price of the CD. BIG JOE WILLIAMS - BLUES ON HIGHWAY 49 (DD604). It's hard to choose between the Delmark Big Joe releases, but this one wins by a hair in my judgement. Fine country style blues on that famous nine string guitar. OTIS RUSH - COLD DAY IN HELL (DE 638) - Otis plays about as fine as you will ever hear him on this disc. His more recent CD release "So Many Roads Live in Japan" is great too, but I give the edge to these studio sessions. Of the more recent issues, I like CAREY BELL - HEARTACHE AND PAIN (DD-666), FLOYD McDANIEL - LET YOUR HAIR DOWN! (DE-671) and BARKIN' BILL - GOTCHA (DE-672). Carey's harp playing on his most recent Delmark release is truly outstanding. Comparing this to the re-issue on CD of his first release, he seems a lot more up front here (not that I don't like his earlier release). It's a shame Floyd McDaniel did not get more opportunities to record. His sound has a lot of R&B and jazz influences. Very tasty stuff! I look forward to the upcoming reissue of his earlier work with the Blazes (from the 40s and 50s) that Delmark plans to release shortly. Barkin' Bill has a tremendous warm blues voice. He has influences that remind me of Joe Williams (not Big Joe, but Count Basie's former vocalist), Jimmy Witherspoon, Percy Mayfield, Big Joe Turner, etc. If you like any of these blues vocalists, you will love this disc. J.B. HUTTO - HAWK SQUAT (617) - Very powerful slide guitar work here. If your a fan of raw, high energy electric guitar, you can't go wrong with this. Speaking of slide guitar, I wanted to recommend Robert Nighthawk's "Bricks in My Pillow" This is a reissue of United Records label recordings from the 50s. This came out on a Delmark offshoot label, Pearl (PL-11). Unfortunately the most recent JRM catalog states that this just went out of print in LP. They still list it as available in the back and probably still have some cassette copies available. When I was at the store, there were a few copies in the "overstock" bin that had the LP with plain white covers. If you act fast, you might still be able to obtain it. The Apollo label reissue program is going well. Some of the releases I like in this series are: East Coast Jive (DE669), West Coast Jive (DD657), Duke Henderson - Get Your Kicks (DD668), and Dinah Washington - Mellow Mama (451). The Dinah disk has her at her most bluesy sound. I know most people think of her based on her later recordings and her biggest hit, "What a Difference A Day Makes", but try this if you like female blues vocals. Well, this is a little longer than I'd planned for it to be, but you can tell that I'm a real Delmark and JRM enthusiast. Happy Birthday Bob Koester! May you have many more and keep turning out those excellent blues issues. ~ Art Schuna ========================================================================= Date: Mon, 30 Oct 1995 09:31:53 -0500 Reply-To: Erica Wissolik From: Erica Wissolik Subject: Re: Band Name Needed -Reply Panther Burn(s) is already being used by a band out of Memphis. They've got a new CD out on Upstart/ Rounder. >>> Bob vanArsdall 10/29/95 Some of the best ones I can suggest are all Delta place names, like: Nitta Yuma Panther Burn Coahoma >>>>>>>>>>>>> ========================================================================= Date: Mon, 30 Oct 1995 09:42:51 EST Reply-To: "Mr. Troy Kelley" From: "Mr. Troy Kelley" Subject: Chris Duarte in Baltimore Just saw Chris Duarte and Sugar last night, and my ears are still ringing. Sugar was definitely interesting. The guitarist kinda reminded me of david bryne from the talking heads. But he played like johny winter/early billy gibbins. He had a marshall cranked, and kept it cranked through every song. He played a couple of hollow body gibsons, and one black les paul that would feed back almost immediatly. He didn't play much great lead, but his rythmn skills were great. Lots of energy too. The bass player was a sort of rasta guy. Which made some of the songs very interesting because they would play some regga right in the middle of some hard-driven blues type song. They had a harmonica player who also played sax, who put down some really nice solos over the hard driven blues riffes. The drummer did a great job considering I heard that Sugar's other drummer pasted away recently. My condolences to his family and friends. Chris Duarte can definitly play some FAST guitar. He had that FAST/FUNKY/CLEAN Fender sound perfect. He played an old strat (61 I think) through a VibroKing (Great amp) and a Marshall gum drop amp, and a riveria amp. His bass player played that huge seven string bass very nicely. The drummer was great too. What I really liked about Chris, was that he was really working. I saw Eric Clapton recently, and even though I like EC, I wish he would just play as hard as he could. I like seeing someone sweat when they play, like SRV used to. You can really tell he is giving it his all, that is what Chris does for sure. If you like FAST blues guitar, check out Chris, you won't be sorry. Troy ========================================================================= Date: Mon, 30 Oct 1995 15:59:17 GMT Reply-To: David Goldstein From: David Goldstein Organization: IPOF Subject: Re: Band Name Needed Comments: To: bit-listserv-blues-l@uunet.uu.net Electric Memphis Boys ========================================================================= Date: Mon, 30 Oct 1995 09:38:40 -0500 Reply-To: Patti Bowman From: Patti Bowman Subject: * SDF Internet Community radio needs some DJ's just passing in along............. ************************* >Date: Fri, 27 Oct 1995 21:05:49 -0500 >From: "Theodore S. Uhlemann" >Mime-Version: 1.0 >Newsgroups: >rec.music.industrial,alt.radio.internet,alt.music.alternative,alt.music.ind >ependent >To: nm-list@xmission.xmission.com, severed-heads@next.com.au, > txraves@mcfeeley.cc.utexas.edu >Subject: * SDF Internet Community radio needs some DJ's >Sender: owner-nm-list@xmission.com >Precedence: bulk > >SDF Communications (me) is about to go on the air with a >sort of internet community "radio" station, broadcast with >the new "IWave" streaming audio software >(http://vocaltec.com/iwave.htm) to any 14.4kbps or greater >TCP net connection (we may try to provide ISDN-quality audio >formats separately). Our focus will be on all "fringe" >ideas and music not normally encountered on conventional >radio. We will have licenses to play material from the >entire ASCAP and BMI (http://bmi.com) repertoires by the >time we go on the "air". > >We have scheduled so far only a handful of DJ's, including >myself doing an eclectic mix of 80's "alterna-pop" and >classic industrial (lots of 4AD bands, Throbbing Gristle, >Severed Heads, etc.); and my friend with a separate show >focusing on ambient/noise/trance stuff (Autechre, Non, SPK, >etc). > >If you're interested in DJ'ing a weekly (or even irregular) >show on our web "radio" pages, please reply (to me, NOT the >mailing list or newsgroup you're reading this in). I'm >accepting material in any genre (even non-music oriented), >and in any audio format (assuming you can provide me a >decoder/player for my PC if I don't already have it. >USnail'd cassettes will be fine also). > >We're planning to start "airing" around the end of November, >but submissions will, of course, be accepted continually. >Everything will be volunteer work at the beginning, but I'm >planning to introduce a sponshorship program within a few >months to help offset operating expenses. > >We have MANY open slots right now for new shows, so please >don't hesitate to contact me. I hope to hear from you, even >if you're just interested in being a listener. Thanks for >your time... > >-Ted (mailto:iczer@metronet.com) ========================================================================= Date: Mon, 30 Oct 1995 09:39:13 -0500 Reply-To: Patti Bowman From: Patti Bowman Subject: UK radio station Found this message on the AJ list and thought you guys who have CD's out, might want to send this guy one to play in the UK. This is forwarded without his permission so you might want to talk to him before you send anything. -Patti ***************************** >From: ENYJWE@vme.ccc.nottingham.ac.uk >Date: Tue,24 Oct 95 15:04:27 BST >Subject: Record Companies >To: acid-jazz@UCSD.EDU > >Hi, >I'm just starting up as a jazz dj on my University radio station, and I need >to get in touch with a lot of record companies and distributers in the UK who >can supply demo material and samplers. Does anyone have e-mail addresses of >likely candidates to save on stamps? I want to play aj/funk as well as modern >and contemporary (maybe some blues too). If anyone can help out, it would >be greatly apreciated! >Jason Webb >University Radio Nottingham >University Park >Nottingham >England >e-mail : enyjwe@vme.ccc.nottingham.ac.uk > >Peace and freedom. > ========================================================================= Date: Mon, 30 Oct 1995 10:50:36 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Canadian Blues: Ellen McIlwaine (?) Comments: cc: "David L. Prychitko" Ellen McIlwaine (that's the correct spelling) is an American slide guitarist who has lived in Canada off and onn (mostly on) for more than 20 years; she's currently resident in Calgary, but at various times has also lived in Montreal (still in Canada as of this morning) and Toronto. The version of Born Under a Bad Sign is from a recent Stony Plain Records reissue of two early albums (The Real Ellen McIlwaine - 1975 and made in Montreal with members of the Ville Emard Blues Band, and Everybody Needs It, cut in 1982 with Jack Bruce on bass and b.g. vocals). The version of Born Under a Bad Sign was from the Montreal sessions. Ellen plays guitar-she's a monster slide player-and has a unique way of syncing her guitar and her wordless vocals. There is an earlier album on Stony Plain, Looking for Trouble (SP-1110) was was recorded about eight or nine years ago, and is her most recent album, apart from some stuff she's done for the CBC for airplay only, and nearly impossible to find. Her early roots were in New York during the folkie era, when musicla barriers were much less stringent-she played with Muddy and Jimi Hendrix, did jazz and blues festivals, and always delivers a full-bore, balls against the wall show. Highly recommended-and I'd say that even if I didn't work for Stony Plain! -Richard ========================================================================= Date: Mon, 30 Oct 1995 09:42:10 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Band Name Found Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I talked to our "fearless leader" last week about a new band name (since we finished the demo tape and have to get it to clubs). He suggested either The Kingfish or The Crawling Kingfish. I like Crawling Kingfish better, and I think there may have been a band called Kingfish (a Grateful Dead side project maybe?). So it looks like we got the name problem solved. I wanted to make up a symbol and call us Artists Formerly Known as Blues Messengers. :) Thanks for all of the suggestions. -Steve ========================================================================= Date: Mon, 30 Oct 1995 15:54:51 CET Reply-To: Andrzej Tkacz From: Andrzej Tkacz ok ========================================================================= Date: Mon, 30 Oct 1995 16:16:48 GMT Reply-To: David Goldstein From: David Goldstein Organization: IPOF Subject: Hello! I'm calling from JAPAN! Comments: To: bit-listserv-blues-l@uunet.uu.net I don't know about this guy.. ARABAMA???? too much! ========================================================================= Date: Mon, 30 Oct 1995 07:00:07 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: DELMARK RECORDS TRIBUTE pt.12 Comments: To: BluesHvn@aol.com BOB KOESTER PERSONAL TRIBUTE #10 ================================ I guess that I'd have to say that Bob Koester pretty definitely determined the course of my life. I had been a newspaperman writing about music and sports back in the 1960s when I went down to Mississippi with two others and rediscovered Son House. After that, I started a blues booking agency called Avalon Productions (named after the home town of Mississippi John Hurt) with intentions of finding work for the older blues men. I thought that I'd do it for a few years and then go back to being a sports writer. In 1966, Bob Koester told me that there was a whole generation of Chicago blues men eager for a chance to be booked out of town. Vanguard's "Chicago, the Blues Today" series had come out the previous year and there was a greater interest in Chicago blues than ever before. I told Bob that if he could find me an artist who was talented, motivated and committed, that I would give it a try. He replied that Junior Wells (one of the artists on the Vanguard series) was having major success with 45s on local labels and he was about to releases an album titled "Hoodoo Man" on Delmark. I ended up managing Junior for over 15 years and we have remained close personal friends to this day. In the old store on West Grand, there was a small space for living accomodations under the floor. At varous times, it was used by Sleepy John Estes, Big Joe Williams, Arthur 'Big Boy' Crudup and many others. Bob Koester had better music under his floor than most festivals had on their stage. Bob Koester is a true pioneer who brought blues artists out of obscurity and helped to popularize the music for a whole world of appreciative fans. ~ Dick Waterman, pioneer promoter & blues meister ========================================================================= Date: Mon, 30 Oct 1995 09:14:03 -0600 Reply-To: James Foster From: James Foster Subject: IKE TURNER / DOUG SAHM AND THE WEST SIDE SOUND Well, after much hype here in town, Ike Turner was a "no-show" at Antone's over the weekend birthday party for Clifford Antone. However, all was not lost. In fact, I went to the club on Friday night specifically to see Doug Sahm with many of his San Antonio and Austin friends who were to be the backing band for most of the evening's festivities. Oh, what a good night of music. The history of Doug and some of these players is a fantastic story...some of it is reported in the liner notes to Doug's last release on Antone's label "LAST REAL TEXAS BLUES BAND" and the rest of it is scattered among other album liner notes and books. Anyway, the show Friday night brought together Doug with Randy Garibay, Rocky Morales, Al Gomez, Jack Barber, Sauce Gonzales, Louie Bustos, Mark "Kaz" Kazanoff, Derek O'Brien, George Rains, Gene Taylor, Kim Wilson, and others. In fact, for over 45 minutes of one set there was a 14-piece band on stage, runnig through such great songs as Bobby Bland's "Further On Up The Road" and many swamp-pop hits just for Clifford's birthday. It really was great to see and hear a band like that...three guitars, three saxes, one trumpet, one harp, piano, organ, bass, drums, a variety of vocalists! These are some of the finest musicians in all of Texas and the rest of the country; and many of them don't have any regular gigs! Oh well, I've sorta given up trying to figure that all out. I'll just support them when they play. It was a great show, even without Ike. As Doug said...we gotta get these guys out more often. And, as Bill Shute (who knows the history of these guys very well) often says..."these guys are alive and kicking in San Antone...know let's just get them some regular gigs"... James Foster Special request: Randy Garibay is a great blues player...quite a character and apparently a mainstay in the San Antonio "West Side" scene for dozens of years. Doug Sahm repeatedly touted Randy as one of the finest singers he knows and Randy lived up to the billing. Any more knews on Randy would be appreciated? Bill? ========================================================================= Date: Mon, 30 Oct 1995 08:44:40 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: louis myers Comments: To: Karen Hanson In-Reply-To: <951028002441_78439102@emout05.mail.aol.com> Louis Myers was underrecorded as a leader, but two fairly recent CDs have nice samples of his work. One is Hightone's anthology Chicago Blues At Home, originally on Advent, which has six extra cuts not on the LP including some I taped in Louis' apartment by him and his brother Bob. The other is Delmark's Sweet Home Chicago anthology, which has two nice Louis harp tracks plus excellent stuff by Magic Sam, Eddie Shaw, Luther Allison (his first recordings as a leader), etc. ========================================================================= Date: Mon, 30 Oct 1995 08:58:55 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Arthur Wright Comments: To: Bonnie Kalmbach In-Reply-To: <25102916403193@vms2.macc.wisc.edu> Bonnie is (W)right, guitarist Arthur Wright made a great contribution to Little Johnny Taylor's records. He also plays in pretty much the identical style on a single by Len Johnson called "One Day;" I can't even remember the label. He was a pretty busy L.A. studio guitarist in the '60s and '70s. I think he was from Texas; he had at least one 45 as Sir Arthur (a jazzed-up "Driftin' Blues"). His btoehr Charles Wright was the leader of the Watts 103rd Street Rhythm Band. I talked with Arthur by phone about fifteen years ago and at that time he was producing disco for Casablanca Records; I don't think he keps much of a finger in the blues pie! ========================================================================= Date: Mon, 30 Oct 1995 15:29:27 GMT Reply-To: InterJazz From: InterJazz Organization: InterJazz Subject: REMINDER: Larry Carlton JazzIRC tomorrow Comments: To: bit-listserv-blues-l@uunet.uu.net ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ JazzIRC(R) REMINDER ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ The following is a reminder about tomorrow's JazzIRC session. For more comprehensive information check out InterJazz's Web site at: Http://www.interjazz.com/~ijazz ******************************************************************** guest artist: Larry Carlton Date: October 31, 1995 Time: 7:30-8:15PM USA EDT (WE START RIGHT ON TIME) IRC Servers: servers Port ------------------|------------------- irc.dal.net | 6667 or xanth.dal.net | 6667 or groucho.dal.net | 6667 or usd.dal.net | 6667 or cin.dal.net | 6667 or uncc.dal.net | 6667 or mindijari.dal.net | 6668 7000 or davis.dal.net | 6666 or xgw.dal.net | 6668 or uncc.dal.net | 6667 Channel: #jazzirc ******************************************************************** ========================================================================= Date: Mon, 30 Oct 1995 10:30:11 -0500 Reply-To: Bob vanArsdall From: Bob vanArsdall Subject: Re: Band Name Needed mary moretti wrote me: >panther burn? are you referring to panther burns? or as they are known now, >tav falco's panther burns? Then Bill Morgan wrote me: > Panther Burn has already been taken as a band name; I'm not sure if it's >still being used, however. The band was fronted by Alex Chilton (of the >Boxtops fame) and Tav Falco in the late seventies/early eighties. It >wasn't a blues band though, and I'm not quite sure how to describe the >music other than anarchistic or chaotic. > The name of the town, as I understand it, resulted >from an incident in which the locals trapped a panther that had >been tormenting them and set it afire to destroy it. As the story goes, >they could hear the cries of the big cat into the night. Great story, Bill. Thought the list would like it. I missed this band, and had no idea the name had been picked up. Wasn't Alex Chilton from Memphis? That could explain a familiarity with the name... Bob ========================================================================= Date: Mon, 30 Oct 1995 07:30:06 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: DELMARK RECORDS TRIBUTE pt.13 Comments: To: BluesHvn@aol.com BOB KOESTER PERSONAL TRIBUTE #11 ================================ Having not been into blues for very long, I must say that the Delmark label has been a wonderful discovery. I have purhcased several Delmark cds and have been disappointed with none. In fact, Delmark is one of the labels that I will buy blindly. Here are a few of my favorites: JR. WELLS - HOODOO MAN BLUES. To me, this is THE Chicago sound. One of my all time favorite cds. This has the definitive Buddy Guy blues guitar. JIMMY DAWKINS - ALL FOR BUSINESS. Another classic blues cd that has been overlooked by most people. This cd has the deadly trio of Jimmy Dawkins, Otis Rush and Big Voice Odom. This should be in every blues lover's collection. WILLIE KENT - TOO HURT TO CRY. Not only has Delmark released the classic cds from the early days, they continue to release the finest in today's talent. Willie Kent is a bass player from Chicago that has assembled an awesome band. The musicianship is excellent and the songwriting by Kent is superb. Another must have! Thanks to Bob Koester and Delmark for keeping the blues alive ~ Jeff Seale ========================================================================= Date: Mon, 30 Oct 1995 11:35:55 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Quebec Referendum Blues I've spent some time this morning talking to my French-Canadian buddy Christophe here at work, and it has really sunk in how important today's vote to separate is, both politically and culturally, for all Canadians. It is a serious cause for blues. We here in North America have enjoyed relative peace and quiet on our own soil for over a century, unlike the rest of the world which seems in constant turmoil and upheaval, accompanied by an ever-changing global geography. Borders and territory change hands, usually violently, all the time. Not here though. This may come to an end very quickly, and of all places! ...the usually peaceful and neighborly nation of warm, friendly people to the north of us. If you live in a part of the U.S. or elsewhere where this issue has gotten no press coverage, and you think this is just silly nonsense..."oh, those upstart Quebec-ers, they don't mean it, how could they?", well, you haven't been paying attention. Emotions are high and this is an historically volatile area, and people. Not the least of whom are the powerful Mohawk and Cree indian nations who control vast amounts of territory and natural resources in northern Quebec, and who DO NOT get along with the Quebecois, and who DO NOT want separation and have threatened violent action, and have done so in the past. I have the blues for Canada today. Think a good thought or say a prayer for our Canajun neighbors and fellow Blues-l-ers to the north, that no matter what the people of Quebec decide today, that all goes peacefully. I fear it may not. Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Mon, 30 Oct 1995 07:45:05 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: DELMARK RECORDS TRIBUTE pt.14 Comments: To: BluesHvn@aol.com BOB KOESTER PERSONAL TRIBUTE #12 ================================ Regarding Bob Koester I spoke with him once at a NAIRD convention and he seemed a congenial and knowledgable guy. I am aware of his monumental achievements in blues and jazz, but only as a spectator. The people you mention are in a far more appropriate position than I to comment. As a promoter of St. Louis blues I would mention that he began his label here in St. Louis, as the Delmar label (I have one of those early albums) because his store was located on Delmar. He was at the western end of Delmar, nearly out to the city limits, while the eastern end of Delmar, down by the river, was, long ago, known as Deep Morgan and was a major center of early blues in this city and is referred to in lyrics by the artists performing here at that time. ~ Joel Slotnikoff , manager, promoter & writer Box 21652, St. Louis, MO 63109 (314) 647-2447. Check out his BLUES WORLD e-mag for articles, images, reviews, 78rpm record auction & blueslinks ========================================================================= Date: Mon, 30 Oct 1995 10:50:19 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Open d tuning Sh> From: shaun@wavenet.com (Shaun T Cronin) Sh> Subject: Open Tunings LF> More interesting, what is called Open D really is the strings LF> tuned to an E chord, and then lowered a whole note so the tonic is LF> then D. That is, Open D is really a down-tuned E chord. LF> That is, from bottom up: > >Standard: E A D G B E >Fingered E: E B E G# B E >Drop all one note: D A D F# A D > > If one wanted music 'theory' to be logical, one would expect that >open D tuning would be tuned to a D chord, but that would be asking LF>for too much. Sh> A friendly note to say that a D chord is made from three notes. The Sh> 1,3 and 5. The 1 is D, the third is F#, the 5 is A. Open D tuning IS a Sh> D chord. Sh> It is not a tuned down version of E or standard. :-) Sh> Shaun A friendly question, then. What I said was that what is called 'Open D' is really an E chord fingered in Standard Tuning, and that configuration down-tuned a tone to produce what is called Open D. I'm not sure by your comment that you understood this. If you want to refute the development of this concept, then please do it step-by-step in the following manner, so I can understand where the divergence of opinion lies: 1> Standard tuning is: E A D G B E; if you agree, so state; if you disagree, give reason in detail 2> Fingering an E chord then gives: E B E G# B E; if you agree, so state; if you disagree, give reason in detail 3> Downtuning _this_ configuration two frets gives: D A D F# A D; if you agree, so state; if you disagree, give reason in detail Further, I'd like to modify my previous statement to read: "If one wanted music 'theory' to be logical, one would expect that Open D tuning would be Standard, tuned to a FINGERED D chord, but that would be asking for too much." Yes, I know that there are SEVERAL "D" chords that are called D chords, but that is part of the built-in irrationality and ambiguity of music 'theory'; actually dogma, practice, or convention. It seems that the 'Open' chords would be simply the regular tuning tuned to the most fundamental of the fingered chord in whatever key one claimed one was using. One might therefore ask: if Open D is really a downtuned E chord, then what is Open E?? A downtuned F, if there is any consistency. ========================================================================= Date: Mon, 30 Oct 1995 08:00:07 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: DELMARK RECORDS TRIBUTE pt.15 Comments: To: BluesHvn@aol.com BOB KOESTER PERSONAL TRIBUTE #13 ================================ Tonight on my radio show I played from the Delmark album (recorded in 1964) which brings together the talents of Sleepy John Estes, Yank Rachell, Hammie Nixon and my late partner, Michael Bloomfield. As the music played I couldn't help remarking to myself that it was a wonderful thing that someone (i.e., Bob Koester) had, in that time and place, enough imagination and concern to foment and document this kind of get-together. I'm grateful to Bob for bringing to the world such a valuable and meaningful body of work, of which this is just one example among many. And if I may, in this public forum, I'd like to thank Bob for inspiration in the art of independent record entrepreneurship, and for specific help and instruction as well. ~ Mark Naftalin , performer,producer & promoter WINNER PRODUCING CO., P.O. BOX 151095, SAN RAFAEL, CA. 94915. TEL: (415) 453-7712 FAX: (415) 258-0692 MAIL ORDER : (US only) 1-800-411-WINNER (others) (415) 453-5995 WWW: ========================================================================= Date: Mon, 30 Oct 1995 17:44:21 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: louis myers AND hidden gems Here is some LP-suggestions so for you Aces-fans/Bo C Dick Shurman wrote >Louis Myers was underrecorded as a leader, Bo Carlsson wrote One record that has some nice Louis Myers on it is Chicago Blues Stars on Blue thumb. Besides Louis the group had Skip Rose on piano, Freddy Roulette on steel (talk about underrecorded! when are we about to hear mr Roulette again on record?) Charlie Musselwhite on harp, Dave Myers on bass (I think so, records at home etc.) and Fred Below on drums - and doing what I think is his only singing on record. An entertaining set but I dont know if its on CD. Dick S wrote You're right, Chi. Blues Stars was a nice LP. It was Jack Myers on bass, not Dave. It's not on CD. I also like the Aces' Black & Blue LP a lot and have tried to get Evidence to put it on CD. ========================================================================= Date: Mon, 30 Oct 1995 11:47:32 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Canadian Blues: Ellen McIlwaine (?) -Reply Comments: To: rflohil@INFORAMP.NET HI, She played at the Cedar Culutural Center in Minneapolis, oh about January i believe. She was dynamite, even though only about 12 people showed up for the show....and half of them were volunteers for the center! She didn't let it phase her, and her show was brilliant. SHe has a wonderful rap with the audience (wish i could have heard it better....) Anyway, when Bill, the manager of the center heard me on open stage in February, he signed me up for his opening acts list, suggesting that the next time Ellen came to play, that i could open for her. WHAT AN HONOR for ol delta doc! I highly recommend this woman and her band wherever you may be blessed with the opportunity to see this in person. SHe was billed as having been a "student" of Jimi Hendrix....actual teacher/student type of thing. regards, delta doc roger ========================================================================= Date: Mon, 30 Oct 1995 10:51:15 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Quebec Referendum Blues > > I've spent some time this morning talking to my French-Canadian buddy Christophe > here at work, and it has really sunk in how important today's vote to separate > is, both politically and culturally, for all Canadians. It is a serious cause > for blues. > Coming from a country that was destroyed by premature and illegal recognition (by Canadian authorities among others) of illegal successions, I can only symphatize with citizens of Canada. To the government of Canada, I have only one message: WHAT GOES AROUND, COMES AROUND. If Louis Farakhan gets it his way, we will all live long enough to see something like that happening here as well. Ranko ========================================================================= Date: Mon, 30 Oct 1995 09:00:11 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: DELMARK RECORDS TRIBUTE pt.16 Comments: To: BluesHvn@aol.com BOB KOESTER PERSONAL TRIBUTE #14 ================================ In the great tradition of Blue Note, Circle, and other specialist labels, DELMARK RECORDS was started by a music lover for the benefit of other music lovers. Such labels are quite different from solely commercial labels -- labels that would market air-conditioner noises or chanted limericks with bagpipe accompaniment, if either happened to be "this year's fad." When I first began buying records as a teenager in the l970s, I soon learned that the Delmark name represented quality in jazz (both traditional and contemporary) and blues (again, both traditional and contemporary) All I knew about Bob Koester (and, since I don't know him personally, all I STILL know about him) was that he had excellent taste, allowed artists to express themselves in ways other labels would not, and in many cases issued records that WOULD NOT HAVE BEEN ISSUED OTHERWISE if Mr. Koester did not put them out.Who else would have allowed Anthony Braxton to put out a two-record set of solo alto saxophone? How many other record moguls would get excited about re-uniting Arthur "Big Boy" Crudup and Ransom Knowling? How many other labels recognized the incredible potential of Jimmy Dawkins in the late 60's? Mr. Koester is one of those rare individuals who sense the continuity within various American musical traditions, the kind of person who can see "the big picture." He could issue records by the most traditional jazz players -- people such as pianist Art Hodes and trumpeter Bunk Johnson, both of whose styles are firmly rooted in the pre-war tradition -- alongside the so-called "avant-garde" work of then-young pioneers such as Anthony Braxton and the other members of Chicago's AACM. In the blues field, he recorded great traditional bluesmen such as Arthur Crudup and Big Joe Williams, realizing the importance and immediacy of their music in ANY time period, while bringing newer musicians such as Jimmy Dawkins and JB Hutto to a larger national and international audience. Beyond the incredible musical and cultural significance of Delmark releases, Mr. Koester acheived something rare for any record label in any period : the jazz and blues record buyer could always buy a Delmark release with confidence WITHOUT HAVING HEARD IT! And today in l995, with Delmark having adapted well to the CD era, that is still true. Happy birthday, Bob Koester!!! You are living proof that ONE person, passionate in his love of and support for jazz and blues music, CAN make a difference in the world. Excuse me, I want to go listen to my Syl Johnson and Tab Smith Delmark CDs -- what better way to celebrate? ~ Bill Shute ========================================================================= Date: Mon, 30 Oct 1995 12:16:10 -0500 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Recommendations, please Comments: To: bit-listserv-blues-l@uunet.uu.net For my birthday I received about $55.00 worth of gift certificates to Sam Goody's. I'd like to augment my small Blues CD collection with some discs that showcase some good electric guitar work. I'd also like to expand my appreciation of different Blues artists. But, whenever I check out the (usually fairly small) selection of Blues CD's at any given store, I'm still at a loss for what to select, so maybe some of you can help me decide. Artists that I currently listen to are the 3 Kings, Elmore James, Jimmy Reed, T-Bone Walker, SRV, Anson Funderburgh, (recent) Buddy Guy, EC, Peter Green. I was thinking of maybe some Otis Rush, or older Buddy Guy or Albert Collins. Any suggestions for these or others would be appreciated. Thanks, Dennis ========================================================================= Date: Mon, 30 Oct 1995 12:08:50 EST Reply-To: ron kraemer From: ron kraemer Subject: Re: Kevin's Harps Jay Watterworth had some fine words to say about Kevin's 1996 catalog, and Kevin himself. Might I add... DITTO!!! Kevin (Kevin McGowan) is my harp player in The Hurricanes, and is one helluva nice guy and a real wealth of blues harp info and The Blues in general. I'm a guitar nut and I read through his entire catalog when I got it. I believe he also has ads in Living Blues and Blues Review, among others. You can reach Kevin at 1-800-27-HARPN. ************************************************************ Ron Kraemer rkraemer@ets.org "Well, WELL, Well!" (and in another life...) Muddy Waters Ron Kraemer and the Hurricanes ************************************************************ ========================================================================= Date: Mon, 30 Oct 1995 11:56:55 -0600 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: Quebec Referendum Blues Does this have anything to do with Blues or Music or anything even remotely related to this list? Bruce Roberts Austin, TX ========================================================================= Date: Mon, 30 Oct 1995 11:53:39 CST Reply-To: William Shute From: William Shute Subject: Randy Garibay (reply to James Foster's post) From: Bill Shute Randy Garibay, who's been around since the late 50s, is a wonderfully diverse musician who probably plays four or five nights in any given week. I'm glad Doug Sahm recognizes his talent. Doug has never forgotten these guys, although I'm sorry that Doug himself chooses not to play in San Antonio anymore. Randy led a band for the last few years called "Cats Don't Sleep," which was an amazing amalgam of blues/r&b/LOTS of jazz/spanish guitar and many other influences. They mostly played upscale restaurants and the like, and Mr. Garibay must be given credit for improving the musical literacy of the general audience here in San Antonio by functioning as a kind of Trojan Horse who is able to bring aspects of music to audiences who would NEVER go to what we blues people would call a "club." Presently, Randy Garibay has a regular gig one or two days a week at Jalapeno's Blues Corner on Alamo St., run by tenor-sax man Frank Rodarte, famous for his "drive-by concerts," spontaneous concerts given in the worst, most crime-ridden barrio neighborhoods (it's a play on words from that San Antonio phenomenon, the drive-by shooting). At Jalapeno's, Randy Garibay does a more straight-ahead blues show, but with Mr. Garibay's deep and diverse roots, there are always surprises. Most of the members of San Antonio's Hispanic R&B scene do not play outside of the area--there is a network of small clubs they can play here in the city, and they manage to make a living without ever leaving town (some also do occasional for-money work as sidemen on Tejano-pop records made in San Antonio). This is a great loss to the rest of Texas, let alone to the rest of the nation. Some conjunto players like Nick Villarreal have recently gotten some European gigs and will play some prestige gigs in Scandinavia and then come back to play for the homeboys back at the El RAnchito Lounge, but the large Hispanic R&B scene has yet to export its music out of the city...let alone out of the south and west sides of the city!!! Long before I moved here in l991, I was a great admirer of this scene and had a good collection of local 45s and cassettes, so I was stunned when I arrived and saw that my heroes were working three or four nights a week, playing to crowds of ten or thirty, most of whom have known them since highschool days. Actually, my boss went to school with the Rodarte brothers!!! Anyway, one reason I posted about the "west side" guys being at Antone's was that it was a rare out-of-SA appearance by these amazing men. I'm fortunate to have them around here all the time, and I try NOT to take them for granted. James Foster can now also testify to their brilliance!!! Bill Shute San Antonio, TX by the way, WC Clark was amazing! Best live show I've seen since I last saw Guy Forsyth in July or August. It was Clark, a HOT tenor sax player, bass, and drums (sorry, my notes are at home). Three and a half hours of music when I left at 1:55 am, and it didn't seem WC was about to stop the momentum anytime soon. He's also a gracious and friendly man, and interacted physically with audience members FROM THE STAGE (you'd have to be there, I can't describe it). He also told me a new Black Top album is due in Feb., and the tracks I heard from it were wonderful. And in honor of San Antonio's Clifford SCott, they did a dynamite version of Honky Tonk that they ought to record. I can't wait till he's back here again... SP Leary and Hash Brown will be here in two weeks... ========================================================================= Date: Mon, 30 Oct 1995 10:00:12 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: DELMARK RECORDS TRIBUTE pt.17 Comments: To: BluesHvn@aol.com BOB KOESTER PERSONAL TRIBUTE #15 ================================ Koester. A truly memorable individual who has done as much as the best of us to further the cause of blues. Delmark was/is a label of value and substance & something which brought great pleasure to many of us. Bob's influence, subliminal as well as overt, has been far reaching and I can only hope that those who follow us will have the taste and dedication exhibited over the years by such as Bob Koester. Bob, my best to you and may you continue to function forever. Warmest wishes, ~ Larry Cohn, producer of SONY/Legacy's "ROOTS N' BLUES" series. The complete series is available at the SONY Web site : ========================================================================= Date: Mon, 30 Oct 1995 13:01:45 -0500 Reply-To: MaryA NBP From: MaryA NBP Organization: America Online, Inc. (1-800-827-6364) Subject: Re: (no subject given) Comments: To: bit-listserv-blues-l@uunet.uu.net Shouldn't that be "Okeh"?! Mary Melodee ========================================================================= Date: Mon, 30 Oct 1995 13:28:30 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Quebec Referendum Blues Comments: To: rvujosev@CCAD.UIOWA.EDU On 30 Oct 95, Ranko Vujosevic had this to say... > Coming from a country that was destroyed by premature and illegal > recognition (by Canadian authorities among others) of illegal > successions, I can only symphatize with citizens of Canada. > To the government of Canada, I have only one message: WHAT GOES > AROUND, COMES AROUND. > > If Louis Farakhan gets it his way, we will all live long enough to see > something like that happening here as well. Really, Ranko? What state, or group of states does Louis Farakhan intend to turn into a new country? This would be the first time I've heard of this. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 30 Oct 1995 13:47:13 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0127 From: "DUTTWEILER.J" Subject: Recommendations, please Date: Monday, 30 October 1995 1:47pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Recommendations, please --------------------------( Forwarded letter 1 follows )--------------------- Date: Monday, 30 October 1995 1:43pm ET To: GO-MAIN.DMIELE@DOASMAIN.SNADS From: DUTTWEILER.J@GOMAIL Subject: Recommendations, please In-Reply-To: The letter of Monday, 30 October 1995 12:44pm ET Otis Rush "Cold Day in Hell" on Delmark Son Seals "Live and Burning" on Alligator Luther Allison "Love Me, Papa" on Evidence Albert Collins "Live '92 '93" on Pointblank If you love searing blues guitar, none of this will disappoint you ========================================================================= Date: Mon, 30 Oct 1995 11:00:14 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: DELMARK RECORDS TRIBUTE pt.18 Comments: To: BluesHvn@aol.com BOB KOESTER PERSONAL TRIBUTE #16 ================================ I first read the name Bob Koester many years ago in France when I bought a Delmark Album released under another label ("Goody" if I am not mistaken -- I'd have to check at home but I am at work). I also heard about Mr. Koester from my very good friend Jacques Lacava (who now resides in Chicago with his wife) and from Jean-Paul Levet (author of Talking That Talk: Le langage du blues et du jazz) who told me that, during his stay in Chicago, he stayed with Bob Koester and even helped re-paint the front of the store. I still have my old Delmark albums bought in France almost thirty years ago (and brought here with the rest of my collection) as well as new ones. I listen to them often and wish very much that Mr. Koester will be around for a long time, providing us with our repeated doses of good blues. HAPPY BIRTHDAY BOB KOESTER ~ Andre J.M. Prevos , Pennsylvania State University Dunmore PA 18512-1699 ========================================================================= Date: Mon, 30 Oct 1995 19:09:37 GMT Reply-To: william higdon From: william higdon Organization: Michigan State University Subject: Re: Open d tuning Comments: To: bit-listserv-blues-l@relay2.uu.net I just wanted to mention that a D Major chord consists of the first,third and fifth notes (D-F#-A) of the D -Major scale and doesn't depend on the fingering or the way one tunes the guitar ( this is the gist, IMHO, of the disagreement in the previous post). It's funny, for 10 years I played in standard tuning because I thought it was the right thing to do. Having spent much of the last 2 years in open-G, open-G is now standard! Try it, (especially with a slide) D-G-D-G-B-D you'll like it. Say it's because G-B-D form the G Major triad, as opposed to calling it a "downturned A chord :) ========================================================================= Date: Mon, 30 Oct 1995 14:13:59 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Re: Quebec Referendum Blues Comments: To: bit-listserv-blues-l@uunet.uu.net Bruce Roberts (BRUCE@TSBME.STATE.TX.US) wrote: : Does this have anything to do with Blues or Music or anything even remotely : related to this list? Bruce - Rick has enough solid posts here to be cut a little slack on what's important to him. Also stuff like this is better han- dled via private e-mail. I chose public because I don't want to see this turn into a thread. I sure hope mine is the last post here. BTW to follow up on this I'm at bsco@panix.com - although I think reaching Rick personally would be a far and away better thing to do. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Mon, 30 Oct 1995 11:01:11 -0800 Reply-To: TGB From: TGB Subject: Re: Open d tuning Comments: To: Laurie Forti In-Reply-To: <9510301050.0F85H00@infoexch.miami.fl.us> > > A friendly question, then. > What I said was that what is called 'Open D' is really an E chord > fingered in Standard Tuning, and that configuration down-tuned a tone > to produce what is called Open D. I'm not sure by your comment that > you understood this. > If you want to refute the development of this concept, then please > do it step-by-step in the following manner, so I can understand where > the divergence of opinion lies: > > 1> Standard tuning is: E A D G B E; > if you agree, so state; if you disagree, give reason in detail > > 2> Fingering an E chord then gives: E B E G# B E; > if you agree, so state; if you disagree, give reason in detail > > 3> Downtuning _this_ configuration two frets gives: D A D F# A D; > if you agree, so state; if you disagree, give reason in detail > > Further, I'd like to modify my previous statement to read: > "If one wanted music 'theory' to be logical, one would expect > that Open D tuning would be Standard, tuned to a FINGERED D chord, but > that would be asking for too much." > Yes, I know that there are SEVERAL "D" chords that are called D > chords, but that is part of the built-in irrationality and ambiguity > of music 'theory'; actually dogma, practice, or convention. > It seems that the 'Open' chords would be simply the regular tuning > tuned to the most fundamental of the fingered chord in whatever key > one claimed one was using. > > One might therefore ask: if Open D is really a downtuned E chord, > then what is Open E?? A downtuned F, if there is any consistency. > One major flaw in your theory - tuning guitar strings "up" to simulate fingering of a chord is very hard on the string tension - particularly tuning from a B to a D as you would be in open D tuning using your approach. That's why they are tuned "down" (in most cases) - still giving the three notes of the chord. tgb ========================================================================= Date: Mon, 30 Oct 1995 14:15:37 -0500 Reply-To: Oded Maron From: Oded Maron Subject: Dan Penn I saw Dan Penn and Spooner Oldham last night and they put on a great show. It was just Spooner on the piano and Penn strumming on the guitar and singing his heart out. The show was very loose, and almost seemed like an intimate rehearsal. He forgot many of the lyrics, and had trouble seeing the lyric sheet from where he was standing, but somehow it all seemed ok. It almost felt like they were demoing the songs all over again. They did most of the songs from Penn's CD "Do Right Man" and many more (all co-written by one of them). The crowd kept shouting titles, but Penn said that he couldn't remember the words to most of them. His vocals are still amazing, and he really let loose on songs like "It tears me up". This show had more feeling than a lot of the well-prepared and technically perfect shows that I've seen. I don't know if they're touring or if this was just a one-stop, but don't miss your chance to catch them. (For those who don't know, Dan Penn co-wrote a lot of the songs that became soul hits in the 60's, like "Dark end of the street", "Do Right woman". More importantly, he made demos of those songs, and the artists that recorded them learned (copied) the songs from those demos.) Oded ========================================================================= Date: Mon, 30 Oct 1995 14:22:05 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Hans Thessink I asked about this guy but it was sort of buried in another reply, so i am reposting the question. I never heard of this guy before, but he is from Holland, and studied in Mississippi, and is one very good bluesman. He has a video out through Homespun Tapes, which i just received. Apparently he enjoys world-wide recognition, and has perhaps a dozen CD's out. Anybody ever hear any of them? A new CD is apparently being readied for release in the USA. ddr. ========================================================================= Date: Mon, 30 Oct 1995 14:20:56 -0500 Reply-To: Mgauf From: Mgauf Organization: America Online, Inc. (1-800-827-6364) Subject: Blue(s) about Detroit Comments: To: bit-listserv-blues-l@uunet.uu.net Even though the pop-rock crowd views Detroit as a 2nd-tier city for concerts and tours, why does the Blues musicians and groups feel the same way? At one time The Motor City was one of THE places to hear the big name and emerging Blues acts. Starvin' for the Blues in Detroit! ========================================================================= Date: Mon, 30 Oct 1995 14:24:12 -0500 Reply-To: SFDBLUES@AOL.COM From: Steve Fay Subject: Sonny Boy Question? Does the Essential Sonny Boy contain his King Biscuit Sides that I have heard about? Is this a good collection? Observation: Alan Lomax in his book mentions that Willie Brown doesn't have a good voice. I heard a couple of his early recordings on Friends of Charlie Patton. I kind of enjoy his gravel voice. Did his voice go down hill by the time Lomax got around to recording him or is this just a matter of opinion? ========================================================================= Date: Mon, 30 Oct 1995 11:30:06 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: DELMARK RECORDS TRIBUTE pt.19 Comments: To: BluesHvn@aol.com BOB KOESTER PERSONAL TRIBUTE #17 ================================ Bob Koester is a marvellous man. When I first went to Chicago (58? 59?) he was my guide and mentor. He took me to clubs; introduced me to Big Joe Williams; let me go to a Delmark recording session with Roosevelt Sykes, St. Louis Jimmy, and Homesick James; took me to hear Muddy Waters and Howling Wolf; helped start a continuing friendship I am fortunate to have with Buddy Guy; introduced me to the beat cop on West Grand who showed me how his gun worked (he took the bullets out first)... Bob introduced me to a fellow-Limey, Pete Wingfield, who was working in the basement at the time, and later became a hit-making pianist and whom I met again many years later when he was playing with The Hollies of all people. Bob introduced me to his marvellous assistant Bruce Iglauer (who went on to be semi-rich and famous as the founder of Alligator Records - Bruce will tell you that I encouraged him energetically to do so). And Bob also introduced me to writer Don Kent (who sold me a cracked Bing Crosby 78 on which he forgets the lyrics and says many un-Christian things instead). And how about Bob's kindness in introducing me to several zaftig Robert Crumb-like young women who had their way with me... life was so much easier in the '60s! My fondness and affection and passion for the blues was nurtured by Bob Koester. I deeply admire what he has done with his shop and his record label, and the role he has played in the development of the music we all love. Koester is a delight; it's years since I have seen him, but I'll love him and thank him to my dying day. Lovely, friendly, crabby, gentle, affectionate, honest, as straight as the day's long, and one of the small handful of people who has contributed so very much to making the blues the world-wide, international force it has become. Give Bob my affectionate regards, and let him know how deeply in debt to him this one blues addict continues to be. ~ Richard Flohil , STONY PLAIN RECORDING CO., LTD., P. O. BOX 861, EDMONTON, ALBERTA T5J 2L8 CANADA Tel: (403) 468-6423 Fax: (403)-465-8941 (Write for their STONY PLAIN NEWS) ========================================================================= Date: Mon, 30 Oct 1995 11:45:05 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: DELMARK RECORDS TRIBUTE pt.20 Comments: To: BluesHvn@aol.com BOB KOESTER PERSONAL TRIBUTE #18 ================================ I never met Bob Koester personally, and unlike some other participants to this tribute who know him personally very well, I can only modestly contribute here by expressing how important the work of Bob Koester was in my discovering of, and growing passion for, African-American culture. It is through Delmark that I, as teenager, discovered Magic Sam that I still consider today -and more than ever- as the most influential and important figure in the development of modern blues. Obviously, I owe to Bob's work a lot of blues emotions and discoveries, but I also owe to Delmark my discovering of the great, incredible, totally disturbing and fascinating musical world and sound of the AACM family, of some of the most important African-American musicians of the last three decades: Joseph Jarman, Roscoe Mitchell, Leroy Jenkins, Lester Bowie, Art Ensemble of Chicago , ... All of them recorded for Delmark in the late 60's, early 70's. Bob Koester gave them space and liberty to express their revolutionary view even if, as he one said (quoted from the nice CD "Delmark 40th Anniversary JAZZ" DX-1, a good place to start for blues fans) "I didn't understand what the AACM was doing, but I know the only chance I had to make some really great records would be something like his. I felt these guys were really important to the history of jazz". And yes indeed, they are! We will never be thankful enough to Bob Koester for what he has done, and still does, for African-American music. Happy birthday Bob, and I hope we'll hear more of your great stuff! Selecting 5 albums was again an incredibly difficult task. Here are some albums that crossed my mind while I was thinking about it. Notice that I did NOT want to include any MAGIC SAM albums (the selection would otherwise directly be complete), as they are all simply ESSENTIAL to any records collection. (Great) reissues of material not recorded by Bob Koester are also not included. BIG JOE WILLIAMS and J.D.SHORT - STAVIN' CHAIN BLUES - Delmark 609 (recorded in 1958). One of my preferred Big Joe album and one of the too few existing opportunitites to hear J.D.Short. Superb Delta blues! WILLIE KENT - TOO HURT TO CRY - Delmark 667 (recorded in 1993) Maybe the best album by one of one the best Chicago Blues bass-player around. Great songs (including "911" by poet Sterling Plumpp) and great music! Horn section directed by Malachi Thompson (who's got some great stuff on Delmark too!). ROBERT Jr LOCKWOOD - STEADY ROLLIN MAN - Delmark 630 (recorded in 1970) A great set of Robert Lockwood with the Aces. His first complete album as a leader and my first Lockwood album, still one of my favorites. ... and I really wanted to include at least two jazz albums: ROSCOE MITCHELL - SOUND - Delmark 408 (recorded in 1966) Like some early Ornette Coleman or Albert Ayler: not easy at first sight, but just get through it and you might well see the way you approach jazz changing! For me this was, and still is, a very important record which really opened my mind. ZANE MASSEY- BRASS KNUCKLES - Delmark 464 (recorded in 1992) This is what I think jazz should be nowadays, a music with some kind of natural liberty and wildness, miles away from the "asepticized" and polished sound of the 80's and early 90's. Like Albert Ayler could do it, he can preach with his tenor sax and it's full of funky blues feeling! ~ Jean-Pierre Urbain, Department of Econometrics, University of Limburg, P.O. Box 616, 6200 MD Maastricht, The Netherlands Tel: +31-43-88 36 60 Fax: +31-43-25 85 35 Email: J.Urbain@KE.RULIMBURG.NL> The last posting, pt.21, will be a complete DELMARK CD discography. ========================================================================= Date: Mon, 30 Oct 1995 12:01:50 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: A BELATED HAPPY BIRTHDAY, TONY WATSON Comments: To: BluesHvn@aol.com Tony Watson, of BLUES & RHYTHM magazine, was born Tuesday, October 29, 1946, Leeds, Yorkshire, UK. BLUES & RHYTHM grew out of PICKIN' THE BLUES magazine and the need to have a blues magazine that had a major review section. A few of their quest reviewers (Bob Laughton, Bob Groom, Neil Slaven) are old time blues/gospel observers, who's views on this music are based on years of research and listening. Bob Groom was the founder of BLUES WORLD magazine, Neil Slaven is a co-author of BLUES RECORDS 1943-1970 and Bob Laughton is a co-author of GOSPEL RECORDS 1943-1969. Tony Watson is a member of the editorial board, handling all accounts & advertising, and often reviews on the 'jump blues' & vocal group harmony scene. A typical B&R issue usually has 44+ pages, half devoted to reviews of CDs, books, singles, cassettes covering BLUES, R&B, GOSPEL, CAJUN, VOCAL GROUPS, and VINTAGE SOUL. BLUES & RHYTHM is fact-based and to the point. Sometime ago a letter to the editor expressed the opinion that B&R spends too much time on obscure topics, not enough on the seminal blues players. The editor responded by saying that "part of B&R's job is to dig out information and features on the obscure or under-researched blues and R&B artists. If we don't do it few other mags would." Let's face it, what more can you say about ELMORE, BB, FREDDY, ALBERT, ROBERT etc. The recent issue (#104, November) has a great color cover of Robert Ward, a lead article on the gospel shouter Silas Steele (with more evidence that Little Axe was indeed a SHE!), interview with Roy Roberts, George Paulus' "Rare Jams" where George talks up rare recordings, a review of the BBC radio program devoted to Charlie Patton, article on Tampa Red's guitar, letter section including an important find by Kurt Mohr & updates to the Bob Shad discography in B&R #100, plus festival reports, Gospel Records Update, Scott Dirks' (always intersting) Chicago News column, the great "Little Known Blues Facts Garnered Over The Years" column (wierd blues humor) and of course, the most current blues review section (19 pages!) available today. Everyone on the BLUES-L(over) network who are serious about their blues should read B&R. Don't be left in the dark, send your subscription to the address below & let B&R keep you in the picture. BLUES & RHYTHM subscription information is available from Byron Foulger at 1 CLIFFE LANE, THORNTON, BRADFORD, BD13 3DX, UNITED KINGDOM. Tel : +44 (0) 1274832147 ; Fax : +44 (0) 1274835398 HAPPY BIRTHDAY, TONY WATSON. ========================================================================= Date: Mon, 30 Oct 1995 15:37:42 -0500 Reply-To: Appelarts From: Appelarts Organization: America Online, Inc. (1-800-827-6364) Subject: Chris Smither/Guy Davis @ Appel Farm, NJ Comments: To: bit-listserv-blues-l@uunet.uu.net Chris Smither and Guy Davis will appear in an amazing double bill of acoustic blues at Appel Farm Arts ans Music Center in Elmer, New Jersey on Friday, November 10, 1995 at 7:30pm. Appel Farm is a non-profit arts center, just 35 mins southeast of Philadelphia. Guy Davis has just issued his first album on Red House Records. For tickets, info and directions, call 1-800-394-1211. ========================================================================= Date: Mon, 30 Oct 1995 12:20:49 PST Reply-To: rjbauman@IQUEST.NET From: rjbauman@IQUEST.NET Subject: Let's agree on a definition first!! Comments: To: laurie.forti@INFOEXCH.MIAMI.FL.US =============Music theory is totally irrelevant to this music, simply because the people who created it did not do so with any understanding of music theory, which is a western European concept of intellectual masturbation. I am rather sure that 'primitive' tribes' people all over the planet for the last 20,000 years do not have to develop a written system of music theory _before_ they made their music. Music came first, and one particularly obnoxious culture generated a somewhat systematic language to TALK about it. Personally, I do not want to talk about it, I want to play it.================== We disagree on what music theory is and this makes all of the above meaningless except that I atleast think I understand what your real point is. I understand your arguments against theory to mean that the *terms and symbols used to describe musical elements* is irrelevant to blues, etc.... If I am on the right track, then you really have only mistated your point which has brought such an avalanch of posts. (Too many from me, I suppose :-) ) Among SOME non- formally trained musicians there exists a seeming lack of understanding of how music theory came into practice and what it means to understand music theory. There is an important difference between information and how we learn about it. An historical encyclopedia is not history, etc. We mustn't lump the two together. Music "theory" is but a collection of pre-existing MUSICAL conventions. That there is a written form and a vocabulary available to describe them is completely aside from the existence of music theory itself. Because the two are so often used together they have come to be confused as being one and the same. The many written and spoken terms used to describe musical constructs are NOT theory in themselves. And like the music that begat the theory, no one "created" it and it is not especially well suited for any particular style of music--- unless you mean music constructed from a system of 12 tones in the octave instead of 64, etc..... Blues music has always overflowed with music theory. That the musicians didn't recognize the written and verbal system that developed over the course of hundreds of years which has been commonly attributed to Europeans has NOTHING to do with a lack of understanding the theory in a musical sense! IMO, these musicians would not have been hampered by having access to and using theoretical language to describe theory as it apllied to their music, either. As I see it, any argument against this must go to a difference in how one defines THEORY as it applies to music. RJ Bauman (used theory a lot to get started. Still don't sight read well. There is little connection between the two.) ========================================================================= Date: Mon, 30 Oct 1995 14:42:05 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Dan Penn Comments: To: Oded Maron In-Reply-To: <199510301915.OAA01828@fiber-bits.ai.mit.edu> There's some nice stuff about Dan Penn & Spooner Oldham in Robert Gordon's recent and lively book It Came From Memphis (published by Faber and Faber). ========================================================================= Date: Mon, 30 Oct 1995 19:36:57 -0200 Reply-To: Hudson Carvalho Bianchinni From: Hudson Carvalho Bianchinni Subject: Hudson`s 15 Top blues cd labels I sended to Dennis Miele some cd blues suggest already,now my own list are available for any request or to rise up by any help. -Johnny Winter - Schorki`n Blues -Buddy Guy & Junior Wells - Live in Montreaux -Buddy Guy - Dawn right -Chicagofest 80`- Blues Deluxe -J B Hutto & New Hawks - Live at Shaboo Inn, Conn.1979 -Willie Dixon - I`m Blues -Lightin`Hopkins - It`s a sin to be a rich -John Lee Hooker - Mr. Lucky -Muddy Waters - I`m Ready; Muddy" Mississippi" Waters -Rory Gallagher - Jinx - Paul Rodgers - A Tribute to Muddy -Blues`n`Trouble - Live -John Campbell - A man and his Blues -Lil`Ed and Blues Imperials - ...what you see is what you get -Roy Buchanan - Live Stock I hope you enjoy it, just like I do. Hudson Bianchini bianchi@bc.unifenas.br ========================================================================= Date: Mon, 30 Oct 1995 21:27:24 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Re: A BELATED HAPPY BIRTHDAY, TONY WATSON Comments: To: bit-listserv-blues-l@moderators.uu.net Ha!!! Somebody found out! Trust it to be Eric (I know your birthday!) LeBlanc. The old srcote is 49!! One more year to the big 50! TB ========================================================================= Date: Mon, 30 Oct 1995 17:33:39 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Tele question-gearheads only! Guitar junkies, I spent about 3 hours last Saturday playing four or five different versions of Fender Telecasters, feeding my Jones, and getting a feel for it in the event that someone drops a few hundred bucks on me and I am forced to buy one. (I knew you guys would understand) ;) Let's see...to my recollection, there are at least 4 versions that I played: American "Standards" -top of the line Japanese editions --good quality Mexican editions --USA built parts (factory seconds) assembled there. Mexican "Squiers" --inexpensive "starter" axes, decent quality, classic looks. These are all Fenders, not other brand versions. All were 2 pickup, with a "lipsitck" pickup at the neck, and a single coil at the bridge. EXCEPT the Japanese, which was a Strat style 3 pickup w/ 5 way switch. Actually, I liked them all! They all had that classic Tele spank and bite (ooh!) that makes 'em so popular with country pickers. Question: does anybody have any BAD experience with the less expensive versions of these guitars? I can't afford the American, or a G & L "ASAT", but the other versions seemed pretty damned decent for just a couple hundred bucks, just to add the Fender sound to my toolbox of goodies. Please don't anybody ask me about a Strat. No offense...but not interested. I'm talkin' Teles here. Any feedback (ahem) welcome. Thanks guys and gals. Riffin Rick (((( oo-) /- ps. oh, I do know about the bogus woodgrain which is some kind of photographic overlay, which, I must say, is remarkably realistic. RM F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Mon, 30 Oct 1995 15:44:59 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: Quebec Referendum Blues Comments: To: Ranko Vujosevic In-Reply-To: <199510301651.KAA24303@picasso.ccad.uiowa.edu> Ranko, What exactly is "illegal recognition"? I find the term interesting. You are referring to the former Yugoslavia, correct? Rob PS Just an old Political Science Major and my curiosity. Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Mon, 30 Oct 1995 21:34:50 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Re: good blues bars in london? Comments: To: bit-listserv-blues-l@moderators.uu.net Luther Allison also appears at the 100 Club on Nov. 21st and 26th. TB ========================================================================= Date: Mon, 30 Oct 1995 16:20:49 -0600 Reply-To: Bennett Pearce From: Bennett Pearce Organization: UAB Pediatric Cardiology Subject: Jerry Lee Lewis Comments: To: bit-listserv-blues-l@uunet.uu.net Does anyone know anything about an electric piano version of "What'd Id Say". I found it on a Special (division Of Polygram) cassette. This compilation is apparently not available on CD. Is this an old Mercury recording. Anyone have any info on this? B Pearce -- Bennett Pearce ========================================================================= Date: Mon, 30 Oct 1995 14:27:39 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: A BELATED HAPPY BIRTHDATE, SAM MCCRARY (OF THE FAIRFIELD FOUR) Comments: To: BluesHvn@aol.com Comments: cc: jjz1@email.psu.edu I've been having a few problems with my mailer & noticed that this never reached the list. Since McCrary is one of the great gospel blues singers, and one of my favorites (as well as B. B. King's), so I just had to repost it. He should be remembered. The AVI/Nashboro CD is a must if you enjoy hard acappella gospel quartet singing. eRIC Gospel lead singer Samuel H. McCrary was born on Monday, October 27, 1913, Christiana, TN., and was a founding member of The FairField Four. The Fairfield Four first recorded on October 19, 1941 for the Library of Congress, recording "Don't Let Nobody Turn you 'round" featuring McCrary's salient lead tenor. They started recording commercially in 1946, recording more than 100 titles from 1946 to 1961 for Bullet, Delta, Dot, Champion and Old Town Records (see Hayes & Laughton's GOSPEL RECORDS). They achieved sizeable recognition through their syndicated radio program. According to gospel authority Tony Heilbut, author of the book "The Gospel Sound : Good News and Bad Times", they represent "perhaps the last honorable gasp of jubilee (acappella) singing on records". The Dot Recordings feature Willie Love (tenor), Willie Frank Lewis (bass-baritone), Clarence "Baby" Brooks (baritone), George McCurn or Isaac "Dickie" Freeman (bass), and Samuel H. McCrary, the most outstanding quartet lead singer Nashville ever produced. Heibut refers to MCCRARY as "the bluesy Caruso whose tenor seldom required in-person miking. MCCRARY's falsette with its perfect timing, sinous note bending, unearthly breath-control, casts an almost erotic spell on the listener". In 1954, he was called to the ministry but by 1958, MCCRARY had reformed The Fairfield Four around The Silver Quintet (of Gary, IN.), recording the ultra rare 1960 OLD TOWN album for gospel deejay Bill "Hoss" Allen, which also featured upcoming soul/R&B masters Roscoe Robinson who recorded "That's Enough" for WAND Records and the late Joe Henderson who recorded "Snap Your Fingers" for TODD Records. Recordings like "Pilgrim of sorrow" (Dot,'53), "No room at the inn" (Dot,'52) "Come on in this altar" (Dot,'53), "Love is like a river" (Dot, '52), "Angels watching over me" (Dot,'52), "All the way" (Dot,'53), feature SAM MCCRARY in what I consider some of greatest "deep acappella gospel" ever recorded. ACE CD 449/NASHBORO CD 4003 is a wonderful sampling of these Dot Recordings. Give a listen & you'll hear how much an influence he was on B. B. king. In my opinion, SAM MCCRARY ranks as one of the 'bluesest' quartet leads along with Silas Steele (of The Blue Jays of Alabama) and Walter Latimore (of The Kings of Harmony). In 1980, Doug B. Seroff arranged for The Fairfield Four to re-organize & perform in Washington, DC. (Nov/81), where I had the privilege of seeing them perform (and spending an evening with them). The group featured the Rev. Sam McCrary, Willie Love, Joe Whittaker, James S. Hill and Isaac "Dickie" Freeman. The Rev. Samuel H. McCrary Sr. died on Thursday, March 7, 1991, Nashville, TN. He was the pastor of St. Mark Baptist Church & was survived by his 8 children, including Regina McCrary Havis, lead singer of the B.C.& M. Choir, and member of Bob Dylan's 1980-1981 touring group ; and The McCrarys (Linda, Charity, Alfred & Sam Jr.) who had a Top 10 R&B hit with "You"(Portrait,'78). In early 1992, The Fairfield Four released their first CD on Warner Brothers, (26945 : THE FAIRFIELD FOUR - STANDING IN THE SAFETY ZONE) featuring lead singer Rev. W. L. Richardson (1913-1993). The current group is made up of James Hill, Isaac Freeman, Robert Hamlett, Wilson Waters, Walter Settles and 22 year old, Joe Rice (of The Voices of Nashville). Their new Warner CD is in the works with a few celebrity quests. As I'm posting this, I've just got a copy of SONY CD 80225 : COLIN LINDEN - THROUGH THE STORM THROUGH THE NIGHT which has 4 tracks with The FAIRFIELD FOUR, including an amazing version of Dorsey's "Precious Lord, Take My Hand" which would even convert Blind Willie Johnson :-). The slide guitar is wonderful. I'd like to thank Jerry Zolten for his help. References : ------------ GOSPEL RECORDS / by Cedric Hayes & Bob Laughton. 2 Volumes. (available from : Big Nickel Publications, P.O. BOX 157, MILFORD, NH. 03055) FAIRFIELD FOUR : DISCOGRAPHY ============================ ACE CD 449 : THE FAIRFIELD FOUR - STANDING ON THE ROCK AVI GOSPEL 8439 : THE FAIRFIELD FOUR - ANGELS KEEP WATCHING AVI GOSPEL 50023 : THE FAIRFIELD FOUR - ANGELS WATCHING OVER ME AVI NASHBORO CD 4001 : VARIOUS - BEST OF NASHBORO GOSPEL (1 cut) AVI NASHBORO CD 4003 : THE FAIRFIELD FOUR - STANDING ON THE ROCK NASHBORO 7045 : THE FAIRFIELD FOUR NASHBORO 7232 : THE FAIRFIELD FOUR - ONE RELIGION NASHBORO 8361 : THE FAIRFIELD FOUR - ONE RELIGION OLD TOWN 103 : THE FAIRFIELD FOUR - THE BELLS ARE TOLLING P-VINE CD 2327 : THE FAIRFIELD FOUR - ANGELS WATCHING OVER ME SONY CD 80225 : COLIN LINDEN - THROUGH THE STORM THROUGH THE NIGHT SPIRIT FEEL CD 1012 : VARIOUS - THE GOSPEL SOUND OF SPIRIT FEEL (1 cut) TIS CD 144926 : THE FAIRFIELD FOUR - STANDING ON THE ROCK ========================================================================= Date: Mon, 30 Oct 1995 14:36:00 EST Reply-To: CHAMBERLIN.JOHNB@EPAMAIL.EPA.GOV From: John B Chamberlin Subject: LUTHER ALLISON!!!!! Having had the good fortune to hear Luther absolutely set the place on fire this summer at the Chicago Blues Festival, I was elated to learn that he was scheduled to appear at "my" local club--Tornado Alley in Wheaton, MD (about 20 minutes north of Washington DC) this past Saturday (10/27). I got to the club early enough to tell him how much I had enjoyed both his Chicago appearance , as well as the later one in the summer at the Poconos Blues festival-- which I was also lucky enough to catch. He very graciously autographed a a picture for me. The first set began around 9:30 and lasted 75 minutes. Given that timing, I figured he would do a second set of about the same length after the traditional 30 minute break and that would be it for the night. Well, he did break for 30 minutes, so I got that right. I was dead wrong about the rest of the tradition. He resumed at about 11:20 and a FANTASTIC TWO HOURS AND TWENTY MINUTES LATER he stopped. UNBELIEVABLE! This is a must see/ must hear musician! By the way you can pull his itinerary down off the 'net. I don't have a URL but thorough one of the Blues pages links, I got to the Rosebud Agency in SF which handles his bookings. If you're going to be in Europe (Germany or France) after the first of the year, you can catch up with him there; he's overseas until April if I remember the schedule correctly. OTHERWISE, IF THERE IS ANY CHANCE TO GET TO A SHOW WHERE YOU LIVE, I URGE YOU TO DO SO; YOU WON'T BE DISAPPOINTED. AS HE SAID TO ME "BON APPETIT!" ========================================================================= Date: Mon, 30 Oct 1995 17:14:45 -0600 Reply-To: tbeabout@UTDALLAS.EDU From: tbeabout@UTDALLAS.EDU Organization: The University of Texas at Dallas Subject: Your Assistance Please Comments: To: bit-listserv-blues-l@ncar.ucar.edu Here, @DFW-TX, on sunday nites, is the HOB hour with Dan. @ the end of the show, he gives a WWW address. But he says it toooo fast for my sour mashed brain to get. Can someone send it to me. Tanx in advance -- _________________________ & I still haven't found what I'm looking for - U2 ========================================================================= Date: Mon, 30 Oct 1995 19:43:37 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Re: John "Bones" Nobles ??? Comments: To: bit-listserv-blues-l@uunet.uu.net My files tell me that JOHN "MR. BONES" Burrill was born in 1921, Brockton, MA., and died March 16, 1993, Boston, MA. - age 72. eRIC (THE DATE MAN) ========================================================================= Date: Mon, 30 Oct 1995 17:35:28 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Re: Canadian Blues: Ellen McIlwaine (?) Comments: To: bit-listserv-blues-l@uunet.uu.net I SECOND THAT EMOTION. I'VE SEEN FRANCES ELLEN MCILWAINE MANY TIMES, BUT IN THE LAST FEW YEARS SHE HAS BECOME BETTER. SHE'S CLEANED UP, AS THEY SAY, HER ACT & IS IN FULL CONTROL. I NEVER MISS HER WHEN SHE COMES TO TOWN. eRIC ========================================================================= Date: Mon, 30 Oct 1995 17:33:16 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: Re: LUTHER TUCKER AND SOME O > From: Jean-Pierre Urbain > > Well, thanks to Don O. for mentioning Luther Tucker's new Crosscut CD Actually, I was mentioning the domestic (U.S.) issue on Blue Rock'It. Nice to see it is getting simultaneous release in Europe as well. The U.S. release will probably be cheaper than getting the Crosscut import (for those in the USA.) Once again the album is question is: Luther Tucker and the Ford Blues Band Blue Rock'It #122 their address is: P.O. Box 383 Redwood Valley, CA 95470 Their asking price is $15 postpaid. Don O. not associated, etc., etc., blah, blah, woof, woof just passing on the info cause it's durned well worth getting ========================================================================= Date: Mon, 30 Oct 1995 17:35:04 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: Melvin Taylor I remember someone mentioning a new Melvin Taylor CD on Blues-L last week and I was hoping the nice folks at Evidence would send us a promo copy at KNON. Well, sure enough, they did, and it is a great one. What I didn't know is this is a NEW recording cut in 1995. Evidence has built a nice reputation by re-issuing nice (mostly) stuff that was originally put out in Europe. To my knowledge, this is their first new blues recording. They couldn't pick a better artist to start with. If you've enjoyed the first two Melvin Taylor re-issues on Evidence (or their original European releases) you'll love this one, too. The only disappointment is there's only 3 original tunes out of 10. He is a great player though, and even old standards like "T-Bone Shuffle" sound pretty good. Another one to look and listen for. Melvin Taylor and the Slack Band Evidence #26073-2 Don O. not associated, as usual ========================================================================= Date: Mon, 30 Oct 1995 18:49:21 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Jerry Lee Lewis Comments: To: pedp102@uabdpo.dpo.uab.edu In a message dated 95-10-30 17:21:41 EST, pedp102@UABDPO.DPO.UAB.EDU (Bennett Pearce) writes: >Does anyone know anything about an electric piano version of "What'd Id >Say". I found it on a Special (division Of Polygram) cassette. This >compilation is apparently not available on CD. Is this an old Mercury >recording. Anyone have any info on this? There is a version on Sun, not electric piano, I don't think. Supposedly, Jerry Lee was having trouble in that session, till Sam Phillips came up to him and said "I understand, Jerry Lee, you just aren't up to handling this song 'cause Ray Charles did it so well" or something quite like that (this is from memory), inspiring Jerry Lee to play the track they used. Good he didn't have a weapon handy..... There may be a Mercury version, too, because Lewis re-recorded much of his Sun material when he started with Mercury, as was the common practice. Tom Freeland ========================================================================= Date: Mon, 30 Oct 1995 19:16:46 -0500 Reply-To: ghost From: ghost Subject: Re: Penn review Ditto ditto ditto on that review. Ditto again. Penn has a remarkable voice; reaches into the high tenor (not falsetto) when necessary, & down to some very respectable bass notes. Some after-the-fact & completely besides-the-point (the point being it was, as Marron already said so well, a musically intense but relationally relaxed, downright friendly evening) remarks: To be brutally honest I wouldn't hire Penn to play guitar unless someone else had at least tuned it some 1st (he did pause to retune 3/4-way into the show, without much discernable improvement), & likewise no-one would probably hire Oldham to sing lead; Oldham's got a very true, but not too spectacular singing voice. The gravy part of Oldham's few leads was we got to hear Penn singing the harmony, & it was very interesting to me to hear that while Penn's lead singing is strictly & purely from the roots of Black gospel, his harmonies, especially on one song, had a lot of ancient-White-gospel/old-style-country in them. Some guy in the subway on the way home was trying to impress his date by feeding her misinformation; he told her that Penn was copying Carr's vocals on "Dark End of the Street", whereas everything I've ever read says Carr practically copied Penn's demo note for note. The mis-informer also thought the show should have been slicker, tighter; I've heard enough slickly tight to last me a lifetime by now. I have to make conscious mental allowances for groups/acts I really do like when they put on shtick, or even just act suspiciously spontaneous (like segueing into something), in order to remain in my seat for the rest of the show. They didn't sing "The Letter" though, dammit. I heard an interview a few years ago with Alex Chilton?, the lead singer of The Boxtops, who was promoting his new record & trying to establish a reputation singing in what he somewhat grumpily proclaimed was his real voice. The producer of "The Letter", he said, *made* him sing it over & over (30 times according to Ted Drow-I'm-not-even-going-to-try-to-spell-this-without-a-crib-sheet in the Boston Phoenix) until he got it sounding as much like the producer's version as he possibly could. You can guess who the producer was. The only question is *why* Penn didn't sing his own songs in public back when he wrote them. Conjecture would be "at the beginning of his era he wasn't Black enough, by the end of it he wasn't young & cute enough?" Or maybe he just didn't wanna. [I also learned from this show that Oldham is yet another dead ringer for Eric Clapton, at least from the distance I was sitting. Actually, considering who became known for their music 1st, its Clapton who is a dead ringer for Oldham. So is the lead guitarist for Sam McClain's touring group as of last spring. ========================================================================= Date: Mon, 30 Oct 1995 19:19:22 -0500 Reply-To: KGIBSON743@AOL.COM From: Kevin Gibson Subject: Clean Head I saw Eddie "Clean Head " in the mid-seventies. He was great and very energetic.Does anyone know if he has released anything lately? ========================================================================= Date: Mon, 30 Oct 1995 20:20:14 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Penn review Comments: To: jmf@das.harvard.edu In a message dated 95-10-30 19:22:51 EST, jmf@DAS.HARVARD.EDU (ghost) writes: >I heard an interview a few years ago with Alex Chilton?, the lead singer of >The Boxtops, who was promoting his new record & trying to establish a >reputation singing in what he somewhat grumpily proclaimed was his real >voice. The producer of "The Letter", he said, *made* him sing it over & >over (30 times according to >Ted Drow-I'm-not-even-going-to-try-to-spell-this-without-a-crib-sheet in the >Boston Phoenix) until he got it sounding as much like the producer's >version as he possibly could. You can guess who the producer was. Alex Chilton *did* sing "The Letter" (giving him a hit record at 16) and does (when he's willing to talk about the Box Tops) tell that story about singing the song repeatedly. I'm not sure what the original poster meant by "tring to establish a reputation singing in what he...proclaimed was his real voice", though-- Chilton's post-Box Tops band, Big Star has long since passed from cult status into legendary status. And is another great Memphis contribution to music, this time the rock department. Chilton has had more that his share of pasts-to-live-down (and more than than his share of unrealized potential). Tom Freeland ========================================================================= Date: Mon, 30 Oct 1995 19:47:40 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Open tuning blues > More interesting, what is called Open D really is the strings >tuned to an E chord, and then lowered a whole note so the tonic is >then D. That is, Open D is really a down-tuned E chord. > > That is, from bottom up: > >Standard: E A D G B E >Fingered E: E B E G# B E >Drop all one note: D A D F# A D > > If one wanted music 'theory' to be logical, one would expect that >open D tuning would be tuned to a D chord, but that would be asking >for too much. Ar> A guitar that is in open D tuning _is_ tuned to a D chord. My point was that it is not the regular primary fingered D chord; is it?? If it is, please so state. Ar> no point to first tuning to an E chord and then tuning all the strings Ar> a whole step down as you've described. This accomplishes the amazing Ar> feat of adjusting nine strings on a six-string guitar (first three, Ar> then six)! It is much easier just to tune the first, second, third and Ar> sixth strings down to the notes you want, thus adjusting only four Ar> strings. The conceptual development was given, not to describe a practical or efficient way of re-tuning to Open D, but rather to demonstrate the fact that it is nothing but a down-tuned fingered E chord. One would expect, if logic were involved, that Open D would be the strings tuned UP to a _fingered_ D chord from standard. So the question is, would this method of getting a D chord lead to yet another Open D tuning? Yes or no. If the answer is yes, what are the notes?? Are the notes the same as reached by the first method?? If not, how could different tunings have the same name?? For the real pitch pundits: how many Open D tunings are possible, from Standard Tuning without tweaking any individual string more than an octave?? ========================================================================= Date: Mon, 30 Oct 1995 21:25:45 -0500 Reply-To: ghost From: ghost Subject: Re: Penn review Comments: To: Skipjames@aol.com > From Skipjames@aol.com Mon Oct 30 20:20:51 1995 > Date: Mon, 30 Oct 1995 20:20:14 -0500 > To: jmf@das.harvard.edu, BLUES-L@brownvm.brown.edu > Subject: Re: Penn review > > Alex Chilton *did* sing "The Letter" (giving him a hit record at 16) and does > (when he's willing to talk about the Box Tops) tell that story about singing > the song repeatedly. I'm not sure what the original poster meant by "tring > to establish a reputation singing in what he...proclaimed was his real > voice", though-- Chilton's post-Box Tops band, Big Star has long since passed > from cult status into legendary status. And is another great Memphis > contribution to music, this time the rock department. Chilton has had more > that his share of pasts-to-live-down (and more than than his share of > unrealized potential). I'm "the original poster" who used the phrase "trying to establish a reputation"; I used it because I (& the interviewing DJ) had never heard of Chilton in any other incarnation than as lead Box Top (top Box Top?). This is my loss if you say it is, though I wasn't that crazy about the record he was previewing in that interview 3 or 4 years ago. I liked it OK, I just wasn't crazy. All the DJ could do was proclaim "but you don't sound like you did on 'The Letter'", which naturally prompted Chilton to tell the story (probably for the 5,000th time) & to get a little grumpy (but not very grumpy; he was on a promotional tour, & being very polite). Its kind of a Cyrano de Bergerac kind of story, except that Dan Penn doesn't have any Cyrano-style incapacitations, other than not being 16 at time the world wanted a 16-year-old letter-receiver, I guess. About my not hearing of Big Star; I'm not that much up on rock acts anymore, but if this was one shortly after the Box Tops time (when I was up on rock acts) all I can say is that it must have been a regional-only hit group. There are *far* too many of those, many of them quite good, I'm finding out. [Even the national biggies had regional-only hits in some cases, though. Chuck Berry, for instance.] ========================================================================= Date: Mon, 30 Oct 1995 22:56:52 CST Reply-To: JBards From: JBards Subject: Re: Music stores in D.C.? Comments: To: Claudio Caponi MARNR NO question about it, the Tower Records on Pennsylvania Ave, around 20th and Penn, is one of my favorite stores in the country. It's not all that far...BTW, also try KramerBooks and Afterwords- a great bookstore/bistro. Jim (just got back from DC an hour ago) _______________________________________________________________________________ Subject: Music stores in D.C.? From: Claudio Caponi MARNR at INTERNET-SH Date: 10/30/95 12:19 AM I just got back from the Far East and on the way back was unable to profit from the suggestions of Art Schuna and Dave Daubard as the plane from Tokyo arrived in Chicago late, giving me no time to go CD shopping downtown (I am the guy that asked for music stores at O'Hare Airport three weeks ago). Well, I have another unexpected opportunity: next week I will be attending a 3-day conference in Washington in lieau of my boss. The agenda is very tight, though, so I will have just 2-3 hours available for shopping and need to know where to find the music store with the best blues section near my hotel: the JW Marriott at 1331 Pennsiylvania Av. N.W. The venezuelan government has just announced some change in its currency exchange policy, and the first consequence is that our credit cards are temporarily not valid outside Venezuela, thus preventing me from using online CD shops, and making this request for help all the more desperate, as this may be my last blues refill in a loooong time! :-( Private replies, please, as I think the list may be getting tired of my asking for CD stores from all over the world! :-) ccaponi@dino.conicit.ve | Claudio Caponi | I've had my fun... Ministerio del Ambiente | Caracas - Venezuela | Otis Spann ========================================================================= Date: Tue, 31 Oct 1995 05:46:29 GMT Reply-To: Jim Farris From: Jim Farris Organization: Netcom Subject: List of Blues Street Corners & Dives Comments: To: bit-listserv-blues-l@uunet.uu.net To all SF Bay Area Blues Lovers, After reviewing the lists of SF Blues clubs already available on the 'Net, I would like your help in changing the focus of this thread to the smaller and lesser known Blues "venues." Let's talk about the two-bit bars that aren't on anyone's list. As far as I'm concerned, it doesn't even have to be a bar. I thought about it and realized that the Blues was born in the farm fields, on the street corners, and in the two-bit honky-tonk saloons of the South. I would like to talk about local places like that in this thread. Where are the street bands jamming? Where can you see the old man on the street corner playin' and singin' the Blues straight from his heart? Some places that feature Blues don't even have a stage, money for advertising, or even someone with a computer to post their club to this list. Be that person. Some of you have already gotten the idea. Keep those cards and letters coming! Jammin' Jim Farris KKUP 91.5 FM ========================================================================= Date: Tue, 31 Oct 1995 05:46:23 GMT Reply-To: Jim Farris From: Jim Farris Organization: Netcom Subject: Re: WFBE Blue Highway 10/21/95 Comments: To: bit-listserv-blues-l@uunet.uu.net Hi Ed, I'm Jammin' Jim, the California DJ that's originally from Bay City (MI), aka JamminJimFar@aol.com. When I look at your playlist, it makes me wonder where you found some of these CDs (or records). I've never heard of the vast majority. Are the Blues record stores that good in Michigan. I would dearly love to see your collection. I'll be back in Michigan over Christmas. Is there any chance that I might venture down and check it out? Jammin' Jim Farris KKUP 91.5 FM "Bluzman Ed@Aol.Com." wrote: >Blues-L'ers >My theme for this show was the anniversary of the birth of Flint Michigan's >most famous bluesman, the late Doctor Isaiah Ross, "The Harmonica Boss", who >would have been 70 on 10/21. I also featured some Piedmont style blues. >============================================================== >WFBE Blue Highway Playlist, Oct. 21, 1995. With Guest Host Ed Tremewan >Song Album > Artist Label >9 to 10 PM >C C Rider L.I.V.E. > Sonny Moorman and the Dogs 706 Records >Downtown Boogie Sun Records Hamonicas Classics > Doctoer Ross Rounder >Beale Street Tonight You Know I Like That > Blind Mississippi Morris Ice House >Doin All The Wrong Things Right Bad Connection > Dr. Hector/Blues Injectors King Snake >Drop Down Mama Trouble Monkey > Lloyd Jones Audioquest >Walkin' In The Same Tracks Puttin' It Down > Terry Evans Audioquest >Cadillac In The Swamp Title track > Smokehouse King Snake >How Long Live at B B Kings > Radio Kings Ice House >Roll Mr. Jelly Two Hands One Heart > Kid Ramos Black Top >Illinois Blues >My Little Woman >Freight Train >Good Mornin Little Schoolgirl Call The Doctor > Doctor Ross Testament >10 to 11 PM >Where The Hell Were You... Ain't It Nice To Be Loved > Lefty Diz JSP >Walkin' Blues Modern Blues of the 80's > Roy Rogers Rhino >Louis Collins Memorial Anthology > Mississippi John Hurt GENES >Lucky Man Blues From The Heart > Blue Suit Blues Band Way/SAC >Boogie Disease >Shake 'em on Down >Chicago Breakdown >Industrial Avenue Boogie Boogie Disease > Doctor Isaiah Ross Arhoolie >Moon Goes Down Pure Religion, Bad Company > Rev. Gary Davis Smithsonian >So Many Roads Title Track > Otis Rush Delmark >Call Me The Rocker Atomic Boogie Hour > Lee Rocker Black Top >Nothin' But Trouble Sittin' Here Wonderin' > Louisiana Red Earwig >Rockin Chair Blues Maxwell St. Alley Blues > Big John Wrencher Blue Sting >11PM to Midnight >I Feel like breaking Up....... Modern Blues of the 70's > Ann Peebles Rhino >Two Bit Texas Town Modern Blues of the 90's > Angela Strehli Rhino >Change Your Mind Sweetheart of the Blues > Bonnie Lee Delmark >You Got What It Takes Deep Blues/25th Anniversary > Michelle Wilson/Sugar Ray Norcia Rounder >The Door Was Open My Blues and My Guitar > Bob Margolin Alligator >Single Man Blues Sky Songs > Bukka White Arhoolie >I'm A Rattle snakin' Daddy East Coast Piedmont Style > Blind Boy Fuller Legacy >The Things I Used to Do Live In Momtreaux > Buddy Guy/Junior Wells Evidence >Cold Cold Feeling Complete Imperil Recordings > T-Bone Walker Emi >How Long Can A Fool....... 100% Cotton > James Coton One Way >Deep Freeze Can't Buy A Break > Chris Cain Band Blind Pig >Going To The River Boogie Disease > Doc Ross Arhoolie >Juke Box Boogie Sun Records Hamonica Classics > Doctor Isaiah Ross Rounder >My Black Name Is Ringing American Folk Festival 1965 > Doctor Isaiah Ross Optimism >Cow Cow Blues (exit theme) Blue Ivory > Mr B Blind Pig >============================================================== >BLUZ! >Bluzman Ed >aka Ed Tremewan ========================================================================= Date: Mon, 30 Oct 1995 20:43:51 -0800 Reply-To: bluesdj@HALCYON.COM From: Roberta Penn Subject: Re: Seattle Blues Playlist In-Reply-To: <199510300503.AAA08598@listserv.brown.edu> SEATTLE BLUES 10/29/95 CRAY/COLLINS/COPELAND BLACK CAT BONE ALLIGATOR SCREAMIN' JAY HAWKINS I PUT A SPELL ON YOU EVID. HOWLIN' WOLF EVIL MCA DR. JOHN I WALK ON GUILDED SPLINTERS RHINO PAT BENATAR I GET EVIL CHRY. LUTHER ALLISON MIDNIGHT CREEPER ALLIG. JAMES PETERSON DONT LET DEVIL RIDE JOHNNY WINTER BAD LUCK AND TROUBLE CEMA FREDDIE KING MOJO BOOGIE HOMECOOK. LOWELL FULSON DOUBLE TROUBLE BLUES CAPIT. COLIN JAMES BAD HABITS WEA ETTA JAMES LETS BURN DOWN THE CORNFIELDS MCA NEVILLE BROS. FIRE ON THE BAYOU RHINO IKE TURNER/BILLY GALE NIGHT HOWL ACE JIMMY DAWKINS LONESOME BLUES WILD DOG DAN PENN DO RIGHT WOMAN/MAN SIRE JAMES ARMSTRONG DEVIL'S MOON HIGHTONE LLOYD JONES MARYANN AUDIOQ. COWBOY JUNKIES ME AND THE DEVIL BMG T-BONE WALKER EVIL HEARTED WOMAN CAPITOL EDNA MC GRIFF EDNA'S BLUES SEQUEL ROBT. CRAY I SHIVER MERCURY OTIS REDDING/CARLA THOMAS TRICK OR TREAT ATL. BOBBY BLUE BLAND GOIN' DOWN SLOW MCA ========================================================================= Date: Tue, 26 Apr 1904 21:41:06 -0900 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Open tuning blues > The conceptual development was given, not to describe a practical >or efficient way of re-tuning to Open D, but rather to demonstrate the >fact that it is nothing but a down-tuned fingered E chord. One would >expect, if logic were involved, that Open D would be the strings tuned >UP to a _fingered_ D chord from standard. So the question is, would >this method of getting a D chord lead to yet another Open D tuning? >Yes or no. > If the answer is yes, what are the notes?? Are the notes the same >as reached by the first method?? If not, how could different tunings >have the same name?? > For the real pitch pundits: how many Open D tunings are possible, >from Standard Tuning without tweaking any individual string more than >an octave?? If you play guitar, especially slide, then the open D tuning (DADF#AD) makes sense. Tuning up to an open D chord would put too much tension on the strings and also make hard to play a lot of standard slide licks that lie in Open D tuning. I think that you are thinking too hard about all this. The reason why open D is as such is because of ease of playing not chord shapes (actually yes if you relate back to open E but then we start turning circles. My head already hurts from thrashing out an arrangement of 'Girl >From Impanema' during band rehearsal today. It got confusing). Any tuning that is based on the three notes that make a major or minor triad is an open tuning in that key regardless of chord shapes. Open D is open D because it is D Major triad. That makes perfect sense in relation to music theory. As for possible open D tunings here are three. I'd do more but my head hurts. The maximum interval any note was raised or lowered was a perfert 5th. DAF#AF#, ADF#ADF#, F#ADF#AD. Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Tue, 26 Apr 1904 21:41:12 -0900 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: theory/practice/history >Regarding the blues: I'd much rather see younger performers have a >better understanding of the rich and complex _history_ of their >tradition. Many younger bands and performers that I've seen (yes, >perhaps my sample is biased) don't really know or care about the past -- to >some, Born Under a Bad Sign is a Cream song.... As a blues playing GIT student, I agree. I hate it when someone plays an Albert King/T-Bone Walker/Freddie King etc lick and some ignoramus says something like, 'Yeah, Stevie Ray!' It isn't SRV's fault that a lot of people think that the Blues began and ended with SRV. He was always acknowledging his heroes and where he learnt his blues from. I just wish people would realize that the Blues has a rich history. I try and do my part by refering people back to the masters (i.e. 'If You like SRV then check out Albert King's 'Live Wire/Blues Power'). or tell people point blank, 'Stop Listening to SRV, Clapton and whatever. Go back to guys who influence them and then even further.' I also hope that people read the songwriting credits and try and track those people down. >Completely embracing the Robert Johnson myth isn't enough; nor is the nod >to the past by throwing in "gonna get me a mojo hand," or "big legged >woman," or "black cat bone" etc into one's own song lyrics. (Imagine if >three out of ten post-Beatles bands threw in "love me do," or "hey jude," >or "I am the walras" [hello, Simon and Garfunkel] into their lyrics... it >just don't work after the nth time.) Just as we need people preserving the Blues we need people modernising the Blues. That is one reason why I like Robben Ford. He isn't content to stay in the past. If you listen to his playing you will know that he has studied his history. Yet he can take very modern musical concepts and turn them into the Blues. >I think we'd (the performers and their audience) gain if good practice was >backed by better historical understanding. I agree. Also no more 'LA Blues Authority' projects. These CD's send chills doen my spine. The Blues they ain't. >Dave >(aka "Southside" Dave, Blues 101, 88.9 FM WNYO-Oswego) > >P.S.: sorry if I alienated some with that philosophy crap in the first >paragraph... looking back, it sounds distressingly close to the stuff I >publish in my real (paying) job... I'm a philosopher and historian of >economics, as well as an economic theorist. God, please don't use it >against me, and I promise I won't bring it up again. Hey, I studied economics back in Australia in the late eighties. What was it all about. I can't seem remember much of what I studied. maybe it was the beer. Anyway I hear Freddie King calling. Time to play them Blues. BTW, has anyone ever noticed that the melody line from 'San-Ho-Zay' is very similar to the one SRV uses for the vocal line in 'Couldn't Stand the Weather' and that 'Just Pickin'' is similar to Buddy Guy's 'Mary had a Liitle Lamb'. Hmmmm. Just wondering :-) Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Tue, 31 Oct 1995 07:38:27 GMT Reply-To: marc@az.vub.ac.be From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Erwin Helfer Comments: To: bit-listserv-blues-l@Belgium.EU.net A few years ago ( maybe 10 ), I enjoyed a clubconcert here in Belgium with Erwin Helfer on piano accompanying a lady of the blues with a great voice ( I think it was Sarah Brown ). In a boogiewoogie book 'A left hand like God', I've read Erwin also has been busy with producing boogiewoogie pianists in the 50's and maybe later... Since that day, I've heard nothing anymore about Mr. Helfer. Is he still performing, and if he is, with who or solo ? Thanks for the info ! embee, the pianoman. **************************************************************************** One day, someone asked the boogiewoogie pianist Pete Johnson to play "The Silent Rag". "How you do that ?", Pete asked... The guy said: "First get your foot off that pedal, than put your hands from those keys, and then, get off that seat and leave..." **************************************************************************** ========================================================================= Date: Tue, 31 Oct 1995 04:36:16 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Re: Clean Head Comments: To: bit-listserv-blues-l@uunet.uu.net Kevin Gibson (KGIBSON743@AOL.COM) wrote: : I saw Eddie "Clean Head " in the mid-seventies. He was great and very : energetic.Does anyone know if he has released anything lately? Sorry to say - Eddie has been dead for a while. If you have nothing on disc by him, check out JSP #253 - Meat's Too High. 15 great cuts - over 75 minutes of one of life's great plea- sures. The ECV on sax. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Tue, 31 Oct 1995 05:40:41 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - October 31st Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BROMBERG, BRUCE (prod/HIGHTONE REC) b. 1941-1031, CHICAGO, IL BRUTON, SUMTER (g/JUKE JUMPERS) b. 1944-1031, FORT WORTH, TX BUSHELL, GARVIN PAYNE (asax/cl) d. 1991-1031, LAS VEGAS, NV 91 EDWARDS, BERNARD (b/NILE RODGERS) b. 1952-1031, GREENVILLE, NC ERVIN, BOOKER (tsax/MINGUS) b. 1930-1031, DENISON, TX GRIFFIN, CHRIS (tpt/MEADE LUX LEWIS) b. 1915-1031, BINGHAMTON, NY JACQUET, JEAN-BAPTISTE "ILLINOIS" (tsax) b. 1922-1031, BROUSSARD, LA LEE, JULIA (p/CAPITOL REC) b. 1902-1031, KANSAS CITY, MO MADDOX, JAMES (of THE ELDORADOES) b. 1936-1031, CHICAGO, IL MOORE, MELVIN (v/MILLINDER) b. 1917-1031, OKLAHOMA CITY, OK NAPIER, SIMON A.(founder: BLUES UNLIMITED)b. 1939-1031, MANCHESTER, UK SILL, LESTER J. (producer/publisher) d. 1994-1031, LOS ANGELES, CA 76 TAYLOR, EVA (IRENE GIBBONS) (v) d. 1977-1031, JAMAICA, NY 82 WATERS, ETHEL (v) b. 1896-1031, CHESTER, PA ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 31 Oct 1995 04:56:03 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Re: LUTHER ALLISON!!!!! Comments: To: bit-listserv-blues-l@uunet.uu.net In article <9509308151.AA815104182@lancelot.rtptok.epa.gov>, John B Chamberlin writes: > > By the way you can pull his itinerary down off the 'net. I don't have a > URL but thorough one of the Blues pages links, I got to the Rosebud > Agency in SF which handles his bookings. If you're going to be in Europe > (Germany or France) after the first of the year, you can catch up with > him there; he's overseas until April if I remember the schedule > correctly. The url for his itinerary is...http://www.vivanet.com/~catbauer/allison.html. You can find the dates there along with Luther's bio and sound clip. Cat ========================================================================= Date: Tue, 31 Oct 1995 08:05:38 EST Reply-To: William Pollak From: William Pollak Subject: Jean Plum I recently bought a number of the mid-priced Hi Records compilations on Denon that Bill Shute told us about a few months ago, and I've become much enamored with a singer named Jean Plum who appears on several of these, including *Hi Girls*. She is a wonderful singer, a bit more uptown than most of the Hi female vocalists; she has a "cultured" quality that reminds me of Lorraine Ellison without the histrionics. I think her recordings on Hi are some of the best ever on the label, and to me that's saying a lot. I've always considered myself well versed in southern soul obscurities, and I'm surprised that I never heard of Ms. Plum before I got these disks. If anyone knows anything about Jean Plum, would you please post to the list or send private email? Speaking of Lorraine Ellison, it is good news that her work with Jerry Ragovoy will soon be available in CD. The release this year of previously unavailable recordings by Lorraine Ellison and Howard Tate is good news for soul fans. I'm also looking forward to the Walter Jackson compilation on Sony/Legacy. Bill P. Bill Pollak, Technical Communication Carnegie Mellon U., Software Engineering Institute Pittsburgh, PA 15213-3890 email: wp@sei.cmu.edu ========================================================================= Date: Tue, 31 Oct 1995 11:35:33 -0200 Reply-To: Hudson Carvalho Bianchinni From: Hudson Carvalho Bianchinni Subject: Re: Hudson`s 15 Top blues cd labels In-Reply-To: On Mon, 30 Oct 1995, Hudson Carvalho Bianchinni wrote: I sended this message but failed delivery.I send again for all Blues-L friends. > I sended to Dennis Miele some cd blues suggest already,now my own list > are available for any request or to rise up by any help. > -Johnny Winter - Schorki`n Blues > -Buddy Guy & Junior Wells - Live in Montreaux > -Buddy Guy - Dawn right > -Chicagofest 80`- Blues Deluxe > -J B Hutto & New Hawks - Live at Shaboo Inn, Conn.1979 > -Willie Dixon - I`m Blues > -Lightin`Hopkins - It`s a sin to be a rich > -John Lee Hooker - Mr. Lucky > -Muddy Waters - I`m Ready; Muddy" Mississippi" Waters > -Rory Gallagher - Jinx > - Paul Rodgers - A Tribute to Muddy > -Blues`n`Trouble - Live > -John Campbell - A man and his Blues > -Lil`Ed and Blues Imperials - ...what you see is what you get > -Roy Buchanan - Live Stock > > I hope you enjoy it, just like I do. > > Hudson Bianchini > bianchi@bc.unifenas.br > ========================================================================= Date: Tue, 31 Oct 1995 23:18:53 +0900 Reply-To: MIE SENOH From: MIE SENOH Subject: Re: Hello! I'm calling from JAPAN! Comments: To: David Goldstein Hello David, >I don't know about this guy.. > >ARABAMA???? > >too much! This is Gospel Quartet "Five Blind Boys Of Arabama". He keep on singing over 40 years. Other group "Five Blind Boys of Mississippi" is great too. We can listen to their gospel on Specialty Lavel. Almost Japanese people doesn't believe any religion(especially Christianity) But The Gospel group is given an enthusiastic welcome for Black Music fan. Best regards, Mie Senoh(micro@kiwi.co.jp) ========================================================================= Date: Tue, 31 Oct 1995 09:30:08 -0500 Reply-To: Jerry Zolten From: Jerry Zolten Subject: McCrary/BB KING Just to add to Eric's post on Sam McCrary of the Fairfield Four. McCrary was a major influence on the young B.B.King. According to B.B., he used to get up every morning as a kid down there in Indianola and listen to the Fairfield Four dawn radio broadcast before going to work. McCrary was B.B.'s singing idol and ultimately vocal role model. Otis Clay, too, credits Sam McCrary with influencing his vocal style. Same with Ray Charles. I'm sure there were countless others who went on to careers in both blues and gospel who were influenced by the vocals of Rev. Sam. ========================================================================= Date: Tue, 31 Oct 1995 10:01:19 -0500 Reply-To: RhythmShrk@AOL.COM From: Bernie Clarke Subject: Hidden Gems/Lous Myers I just bought an Evidence re-issue of Louis Jordan entitled, "I Believe In Music." It was recorded in Paris in 1973 18 months before he died. This recording is of excellent quality and Louis' alto playing sounds great. It also has Dave and Louis Myers on bass and guitar respectively and Fred Below on the drums (The Aces - Little Walter's band). There are remakes of classic Jordan stuff. The only cut that I would like to forget about is the title cut which sounds like lounge jazz. I'm a big Louis Jordan fan and I really liked this disc for the quality and looseness of the session. Louis seems to do a lot more sax playing than he did on the original versions of these songs. BC ========================================================================= Date: Tue, 31 Oct 1995 10:29:19 EST Reply-To: "Mr. Troy Kelley" From: "Mr. Troy Kelley" Subject: Re: Tele question-gearheads only! Rick wrote: Date: Mon, 30 Oct 1995 17:33:39 -0500 From: Rick Miller Subject: Tele question-gearheads only! Guitar junkies, I spent about 3 hours last Saturday playing four or five different versions of Fender Telecasters, feeding my Jones, and getting a feel for it in the event that someone drops a few hundred bucks on me and I am forced to buy one. (I knew you guys would understand) ;) Let's see...to my recollection, there are at least 4 versions that I played: American "Standards" -top of the line Japanese editions --good quality Mexican editions --USA built parts (factory seconds) assembled there. Mexican "Squiers" --inexpensive "starter" axes, decent quality, classic looks. These are all Fenders, not other brand versions. All were 2 pickup, with a "lipsitck" pickup at the neck, and a single coil at the bridge. EXCEPT the Japanese, which was a Strat style 3 pickup w/ 5 way switch. Actually, I liked them all! They all had that classic Tele spank and bite (ooh) that makes 'em so popular with country pickers. Question: does anybody have any BAD experience with the less expensive versions of these guitars? I can't afford the American, or a G & L "ASAT", but the otheo add the Fender sound to my toolbox of goodies. Please don't anybody ask me about a Strat. No offense...but not interested. I'm talkin' Teles here. Any feedback (ahem) welcome. Thanks guys and gals. Riffin Rick ------- I just sold an american standard tele a little while ago, and I really liked the guitar. I would suggest going the extra mile and paying for the American standard. I don't think you will be disappointed. I hope you are not paying list price for it? There are plenty of big music stores where you can get a tele for a lot less than list price. Also, from what I understand the mexican teles have different pickups than the American models. I don't know about the Japanese, and in fact every Japanese guitar I have ever played has been a good one, but I would image there are differences between the two, so ask your salesman what differences there are between the japanese and american. Last time I bought a guitar, I went downstairs to the warehouse of a music store and played about 10 guitars. I knew I wanted an American standard strat with a rosewood neck. So the sales guy pulled out a whole bunch of them and I played as many as I could. Be sure and listen carefully to the guitar acoustically. I am convinced that if a guitar has a good acoustic sound, as long as the pickups are not screwed up, it will have a good electric sound too. It should sound loud and clear acoustically. DON'T just play some song when you are checking it out, play every fret. Especially the higher frets and listen carefully for buzzing and intonation problems. Some of that can be "adjusted" out, but I want a guitar that sounds great right out of the box. Also, don't worry too much about color. I though I wanted a sunburst strat, until I played a black one that sounded much better. Color doesn't make a guitar sound great, acoustics make a guitar sound great. And it should sound great when it is not plugged in, that is the key to a great electric guitar. Good luck. Troy ========================================================================= Date: Tue, 31 Oct 1995 09:14:23 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Erwin Helfer Comments: To: marc@aznet1.vub.ac.be In-Reply-To: <474jpj$ms7@rc1.vub.ac.be> Erwin is still very active around Chicago as a performer and teacher. He mostly plays places like Andy's and Gavroche. His Testament LP "Rough And Ready" with Jimmy Walker was recently reissued on CD by Hightone. ========================================================================= Date: Tue, 31 Oct 1995 10:46:06 -0500 Reply-To: Patti Bowman From: Patti Bowman Subject: a (really lame & sad) Riddle How do you know when your blues-l isn't arriving? When you've been able to catch up on all your other mail. ********************************** OK so I didn't really find it funny either but it seemed more fun than just sending a boring "test" to myself. Boohoohoo No blues-L for Patti in 2 days. -Patti ========================================================================= Date: Tue, 31 Oct 1995 10:42:00 EST Reply-To: edward c liu From: edward c liu Subject: Re: Hidden Gems Comments: cc: robbiev@INTERACCESS.COM Howdy all, Rob Varak asks the question: >What are the two or three CD's that you >have that you absolutely _love_, but are by artists aside from the >acknowledged giants. The ones I can think of off the top of my head: - Luther "Guitar Junior" Johnson's _Country Sugar Papa_ (which was just on my CD player at work) on Bullseye Blues - Junior Parker, _Complete Duke Recordings_ on MCA - Phil Guy, _Tina Nu_ or _Breaking Out On Top_ on JSP - Luther Allison's _Blue Streak_ on Alligator (though his status as "not one of the acknowledged giants" is, IMO, in jeopardy =8^) We now return you to your regularly scheduled music theory slamming/defending. -- Ed Edward C. Liu | "I never say what I mean but I always manage edwick@cc.bellcore.com | to say something similar." | -- Eugene Ormandy The opinions in this message are mine and not Bellcore's. Really! ========================================================================= Date: Tue, 31 Oct 1995 11:04:41 -0500 Reply-To: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM From: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM Subject: Info on Freddie King CD wanted In-Reply-To: <199510311418.XAA13807@ns.kiwi.co.jp> CDNow.com has a Freddie King CD Titled "Mojo Blues" on the Collectables label. Anyone have any info on this CD? Jim Smith smith_jb@atc.alcoa.com ========================================================================= Date: Wed, 27 Apr 1904 08:09:11 -0900 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Tele question-gearheads only! >Question: does anybody have any BAD experience with the less expensive versions >of these guitars? I can't afford the American, or a G & L "ASAT", but the >other versions seemed pretty damned decent for just a couple hundred bucks, >>just to add the Fender sound to my toolbox of goodies. > >Please don't anybody ask me about a Strat. No offense...but not interested. >I'm talkin' Teles here. Any feedback (ahem) welcome. Thanks guys and gals. Well I will talk about a Japanese Strat I have. It is a 40th Anniversary model and is a reissue of '62 (the finish is 'Salmon' A unique colour). It is a wonderful guitar. I fell in love with it as soon as I picked it up and played it (I also have an American Standard Strat which I adore as well). It cost about US$600 in Japan. It was a bargain as far as I'm concerned . Anyway the issue at hand....In general the Japanese Fenders (Strat, Tele, whatever) are of a good quality. A friend of mine has a American Standard (I think) Tele. He had trouble with the finish flaking off. He was going to go back and see what could be done. I'm not sure what happened in the end. I'll call him and let you know what happened. For those of you with big bucks (I wish) try out a Tom Anderson model. A friend of mine has a Tom Anderson Tele. It is a wonderful instrument. I went to a gig of her's recently and played it when I jammed on a few blues with the band. The guitar played and sounded amazing. The only trouble is that they cost a arm and two legs. >ps. oh, I do know about the bogus woodgrain which is some kind of photographic > overlay, which, I must say, is remarkably realistic. Are you talking about 'Foto Flame'? I have that on the neck of my '62 reissue. It is cool. Sorry about talking about Strats. I couldn't reisist :-) Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Tue, 31 Oct 1995 14:19:14 EST Reply-To: Jim Miller From: Jim Miller Subject: Big Star Comments: To: BLUES-L In the incredibly silly world of rock just tell your local alternative critic that your band was influenced by Big Star and watch them salivate. It's almost as PC as the Sex Pistols. ========================================================================= Date: Tue, 31 Oct 1995 08:54:59 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: DELMARK RECORDS TRIBUTE pt.21 (DISCOGRAPHY) Comments: To: BluesHvn@aol.com Here's the final posting. Sorry about dividing this up into 21 different postings but I've been having a few problems with my workstation & it was the only way. Anyway, someone as important as Bob Koester/DELMARK RECORDS deserves 21 postings - that way you won't forget his name :-) eRIC COMPLETE DELMARK CD DISCOGRAPHY : JAZZ & BLUES All available from your local CD shop or mailorder places like Roots & Rhythm or directly from The Jazz Record Mart, 444 N. Wabash, Chicago 60601 Tel: 312-222-1467. By the way, do check Delmark's Web site at From: JBards Subject: Re: Tele question-gearheads only! Comments: To: MILLER@SCI.WFBR.EDU Rick- You might consider going the used rooute here: Tele's are built like the proverbial brick s**thouse and I've yet to see one that was badly abused to the point the playability or sound suffered. Also, there are a lot of aftermarket pickups that are /much/ better than stock equipment on any of the models you mentioned. On Don Ciccheti's advice, I put some Tom Anderson pu's into my (used) Tele custom and I am ecstatic with the tone. Also, the G&L for some reason are e reasonable on the used market than are the Fenders. I found one in a pawnshop in Seattle 2 years ago for $200 and did not have the presence of mind at the time to snatch it up. -Jim _______________________________________________________________________________ Subject: Tele question-gearheads only! From: MILLER@SCI.WFBR.EDU at INTERNET-SH Date: 10/30/95 5:24 PM Guitar junkies, I spent about 3 hours last Saturday playing four or five different versions of Fender Telecasters, feeding my Jones, and getting a feel for it in the event that someone drops a few hundred bucks on me and I am forced to buy one. (I knew you guys would understand) ;) Let's see...to my recollection, there are at least 4 versions that I played: American "Standards" -top of the line Japanese editions --good quality Mexican editions --USA built parts (factory seconds) assembled there. Mexican "Squiers" --inexpensive "starter" axes, decent quality, classic looks. These are all Fenders, not other brand versions. All were 2 pickup, with a "lipsitck" pickup at the neck, and a single coil at the bridge. EXCEPT the Japanese, which was a Strat style 3 pickup w/ 5 way switch. Actually, I liked them all! They all had that classic Tele spank and bite (ooh!) that makes 'em so popular with country pickers. Question: does anybody have any BAD experience with the less expensive versions of these guitars? I can't afford the American, or a G & L "ASAT", but the other versions seemed pretty damned decent for just a couple hundred bucks, just to add the Fender sound to my toolbox of goodies. Please don't anybody ask me about a Strat. No offense...but not interested. I'm talkin' Teles here. Any feedback (ahem) welcome. Thanks guys and gals. Riffin Rick (((( oo-) /- ps. oh, I do know about the bogus woodgrain which is some kind of photographic overlay, which, I must say, is remarkably realistic. RM F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 31 Oct 1995 11:20:37 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Tele question-gearheads only! In-Reply-To: Message of Tue, 31 Oct 1995 12:12:21 CST from On Tue, 31 Oct 1995 12:12:21 CST JBards said: >Rick- You might consider going the used rooute here: Tele's are built like the >proverbial brick s**thouse and I've yet to see one that was badly abused to the I agree IMHO the Tele was probally the best electric guitar that Fender made. It's very simple and sturdy. I had a Pink Paisley one that I trade awhile back. I like them alot. I like the Tele Thinlines best, with the F-holes and humbuckers. If I were getting a Tele, it would be a Thinline...defintely LW 'I think they are called Thinlines, anyway' >I spent about 3 hours last Saturday playing four or five different versions >of Fender Telecasters, feeding my Jones, and getting a feel for it in the >event that someone drops a few hundred bucks on me and I am forced to buy one. >(I knew you guys would understand) ;) > >Let's see...to my recollection, there are at least 4 versions that I played: > >American "Standards" -top of the line > >Japanese editions --good quality > >Mexican editions --USA built parts (factory seconds) assembled there. > >Mexican "Squiers" --inexpensive "starter" axes, decent quality, classic looks. > >These are all Fenders, not other brand versions. All were 2 pickup, with a >"lipsitck" pickup at the neck, and a single coil at the bridge. EXCEPT the >Japanese, which was a Strat style 3 pickup w/ 5 way switch. >Actually, I liked them all! They all had that classic Tele spank and bite >(ooh!) >that makes 'em so popular with country pickers. > >Question: does anybody have any BAD experience with the less expensive versions >of these guitars? I can't afford the American, or a G & L "ASAT", but the >other >versions seemed pretty damned decent for just a couple hundred bucks, just to >add the Fender sound to my toolbox of goodies. > >Please don't anybody ask me about a Strat. No offense...but not interested. >I'm talkin' Teles here. Any feedback (ahem) welcome. Thanks guys and gals. > > >Riffin Rick > > > > (((( > oo-) > /- > >ps. oh, I do know about the bogus woodgrain which is some kind of photographic > overlay, which, I must say, is remarkably realistic. > >RM > > > >F.J.(Rick)Miller >Senior Research Assistant, >& Marine Facilities Manager >Worcester Foundation for Biomedical Research >"Miller@Sci.WFBR.Edu" >*************************************************************************** ========================================================================= Date: Tue, 31 Oct 1995 12:55:41 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Lorraine Ellison (was: Jean Plum) > From: William Pollak > Speaking of Lorraine Ellison, it is good news that her work with Jerry Ragovoy > will soon be available in CD. This has apparently just been released: SoJ2106 ELLISON*LORRAINE STAY WITH ME/BEST OF $12.52 SOUL CLASSICS 10/95 Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Tue, 31 Oct 1995 12:51:01 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Re: 'blues' piano video -Reply Comments: To: bhargrov@micron.net Hi Bill, Mr. Hargrove asks what would delta doc recommend for blues piano video instruction: I would recommend D. Cohen's video series. Video One is ":beginning blues piano", for level 1/2. Especially designed for those with little or no keyboard background. Video two: is "Learning Blues Piano" is level 2. These lessons are for those who have some background in blues piano, or those who have completed video one. Video three: is Expanding your Technique, and is level 2/3. Beyond the usual 12 bar blues pattern. Contains such classics as "nobody knows you when you're down and out"--one of my personal all time favorite blues tunes. Happy Traum, who owns Homespun Tapes is an excellent person, as well as an excellent musician. You can reach him at HappyT@aol.com. I have corresponded with numerous times, and he is a sweetheart of a person. I am sure he would not mind your contacting him for further recommendations. Tell 'em delta doc sent you...he will surely chuckle. No discouraging words or heightened anger is EVER necessary when dealing with Homespun Tapes. They guarantee your satisfaction. They are always very friendly, and always very polite....even when some customers exhibit the height of their disappointment at mismatched expectations. This is just the reality of any venture or anticipation. Rest assured, there are never any hassles involved in doing business with these extremely fine people. After all, they're musicians first, and their aim is to be pleased that you are learning via their lessons. If you do not learn or are not happy, then THEY are not happy. (no pun on the name intended!) I urge to you to try them out. OF course, i have absolutely no stock or monetary interest in HT, they can be reached via the above email, or 1-800-33TAPES. Some really fine video BTW, is the Dr. John Teaches New Orleans Piano. I have this series, and having played piano since i was 4 years old (much longer ago than i care to recollect) i can tell you that this is ONE challenging series of tapes....but not insurmountable. If you like Antoine Domino, Prof. Longhair, allen touissant, and the like, you will thoroughly enjoy Mac Rebenack's videos (aka. Dr. John). DON"T buy the Triumpherant CD of John Hammond, Dr. John, and i forgot who else....too much ego going on there and the album kind of flopped. (not to detract from any of the fine persons appearing on that CD---but what is is). kindest regards, delta doc roger ========================================================================= Date: Tue, 31 Oct 1995 12:53:21 -0500 Reply-To: BluesBeats@AOL.COM From: Joseph Jordan Subject: Performance Mag - New Blues Web Site! Hi Friends, Happy Halloween! A friend of mine in the music industry just turned me on to a copy of Performance Magazine dated 10-27-95. On pages 20 and 21, there was information about a Memphis-based company called, "Quest Interactive Media." To quote the article, "Quest is in the midst of constructing the quintessential blues site called 'NetMemphis', which will encompass blues labels, artists, repertories and history." Here is the URL of the web sites listed: Performance Online Test Site: http://www.quest.net/performance/tour search Performance Online: http://www.performancemag.com Quest Interactive Media: http://www.quest.net Just thought all of you should know! Best regards from San Francisco. I'll be posting my November Bay Area Blues Beat Column to you via Blues-L tomorrow, Wednesday, November 1st. ========================================================================= Date: Tue, 31 Oct 1995 13:07:05 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Hudson`s 15 Top blues cd labels Comments: To: bianchi@BC.UNIFENAS.BR On 31 Oct 95, Hudson Carvalho Bianchinni had this to say... > On Mon, 30 Oct 1995, Hudson Carvalho Bianchinni wrote: > I sended this message but failed delivery.I send again for all Blues-L > friends. We all received it, Hudson. Ignore those error messages about failed delivery. They are coming from somewhere else. (a member's system) P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 31 Oct 1995 13:16:17 -0500 Reply-To: John Manley From: John Manley Subject: Philly blues next week? I'm going to be in Philly 11/6-9. Where can I go to get a BLUES fix? Also, given all of the reports of Duarte on the East coast. Does anyone know if he'll be near Philly during my trip? Thanks in advance! JM ========================================================================= Date: Tue, 31 Oct 1995 13:22:16 -0500 Reply-To: C L Buchanan From: C L Buchanan Subject: Re: Music Theory I have been reading this thread for quite a while and have been amazed at some of the stances some people have taken. I'll have to admit though that I do not know enough to add much to this debate. But I was rereading an interview with B.B. King today and found something interesting that is worth sharing and is something hopefully most people will agree with. If you don't, you aren't arguing with me, you are arguing with B.B. King. "Always use your ears and your taste, learn all the positions, chords, and scales - that's important - but PLAY the ones that SOUND best to you." B.B. King (Guitar Legends 1994) Chad aj202@ctc.cummins.com ========================================================================= Date: Tue, 31 Oct 1995 16:32:16 -0200 Reply-To: Leonardo Kenji Shikida From: Leonardo Kenji Shikida Subject: Re: Hello! I'm calling from JAPAN! Comments: To: MIE SENOH In-Reply-To: <199510311418.XAA13807@ns.kiwi.co.jp> On Tue, 31 Oct 1995, MIE SENOH wrote: > > This is Gospel Quartet "Five Blind Boys Of Arabama". > He keep on singing over 40 years. > Other group "Five Blind Boys of Mississippi" is great too. > We can listen to their gospel on Specialty Lavel. > Almost Japanese people doesn't believe any religion(especially Christianity) > But The Gospel group is given an enthusiastic welcome for Black Music fan. > > Best regards, > > Mie Senoh(micro@kiwi.co.jp) > They're also in Charlie Musselwhite's album "In My Time". IMHO, I don't believe in any religion, but I believe in music, specially blues. Nobody must believe in a god to like good music like Gospel. ps. "Arabama" ? Well, in japanese alphabet, there's no way to write "L"...and he's text isn't ASCII, but a conversion from japanese to ASCII. I'm sure he knows the right name. Leonardo Kenji Shikida (coming soon... http of brazilian blues...) ========================================================================= Date: Tue, 31 Oct 1995 12:38:41 -0600 Reply-To: "dtapp@cc.memphis.edu"@MSUVX2.MEMPHIS.EDU From: "dtapp@cc.memphis.edu"@MSUVX2.MEMPHIS.EDU Subject: Re: Dan Penn Comments: To: bit-listserv-blues-l@uunet.uu.net Relay-Version: ANU News - V6.1B10 04/18/95 OpenVMS VAX; site msuvx2.memphis.edu Path: nntp.memphis.edu!nntp Newsgroups: bit.listserv.blues-l Subject: Re: Dan Penn Message-ID: <1995Oct31.123836.63336@msuvx2.memphis.edu> From: Denise Tapp Date: 31 Oct 95 12:38:35 -0500 References: <199510301915.OAA01828@fiber-bits.ai.mit.edu> Nntp-Posting-Host: wok-19.memphis.edu X-Mailer: Mozilla 1.1 (Windows; U; 16bit) MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Lines: 17 > >(For those who don't know, Dan Penn co-wrote a lot of the songs that >became soul hits in the 60's, like "Dark end of the street", "Do Right >woman". More importantly, he made demos of those songs, and the >artists that recorded them learned (copied) the songs from those >demos.) > >Oded And let's not forget his monster hit, "Drop Kick Me Jesus Through the Goalposts of Life"!! :-) Really!! DeniseTapp@aol.com ========================================================================= Date: Tue, 31 Oct 1995 10:42:38 -0800 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Chicago Area Clubs I've been on the road lately. So I thought I would do some thinking (which isn't always easy for me) and some data entry. Enclosed are some clubs in the Chicago Metro Area which feature blues on a regular basis. (Some of this I got from memory, some of it I out of the Chicago Reader.) Joe Chicago Metro Area Clubs Last Update: October 27, 1995 Artis's 1249 E. 87th St. Chicago, IL (312)734-0491 B.L.U.E.S. 2519 N. Halsted Chicago, IL (312)528-1012 B.L.U.E.S. Etc. 1124 W. Belmont Chicago, IL (312)525-8989 Blue Chicago on Clark 536 N. Clark Chicago, IL (312)661-0100 Blue Chicago 736 N. Clark Chicago, IL (312)642-6261 Buddy Guy's Legends 754 S. Wabash Ave. Chicago, IL (312)427-0333 Checkerboard Lounge 423 E. 43rd St Chicago, IL (312)624-3240 Cotton Club 1710 S. Michigan Chicago, IL (312)341-9787 Fitzgeralds 6615 Roosevelt Rd. Berwyn, IL (708)788-2118 Cuddle Inn 5317 S. Ashland Ave. Chicago, IL (510)778-1999 Gavroche 1935 W. Irving Park Road Chicago, IL (312)871-2233 Kingston Mines 2548 N. Halsted Chicago, IL (312)477-4646 Group Sales: (708)325-5940 Koko Taylor's Chicago Blues 7 W. Division 7 W. Division Chicago, IL (312)337-2583 Lee's Unleaded Blues 7401 S. Chicago Chicago, IL (312)493-3477 Lilly's 2513 N. Lincoln Ave. Chicago, IL (312)525-2422 Rosa's 3420 W. Armitage Chicago, IL (312)342-0452 Smoke Daddy 1804 W. Division Chicago, IL (312)772-6656 Harlem Avenue Lounge 3701 S. Harlem Berwyn, IL (708)484-3610 Del Rhea's Chicken Basket 645 Joliet Rd. Willowbrook, IL (708)325-0780 Bookings: Pat @ (708)325-3483 ========================================================================= Date: Tue, 31 Oct 1995 13:23:15 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Open scathe minor Reply-To: Roger Struve From: Roger Struve Subject: 'blues' piano video -reply >I have dealt a lot with Homespun Tapes, and a scathing letter was never >necessary with these people. Perhaps, I am a bit old fasioned, but being a self-confessed rabid Blues purist, I believe foisting cowboy music off as Blues in an 'instructional' video is intentional false advertising, and that deserves at least a minor scathe. Perhaps in the the tuning of Open Scathe minor?? ========================================================================= Date: Tue, 31 Oct 1995 10:50:51 -0800 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Bay Area Club List Attached is a list of clubs within the San Francisco Bay Area that routinely feature blues. I would recommend calling ahead, since booking policies in some of these clubs change like the direction of the wind. Joe San Francisco Bay Area Blues Clubs Last Update: October 29, 1995 John Patrick's 1813 Park St. Alameda, CA (510)522-5105 Ashkenaz 1317 San Pablo Ave. Berkeley, CA (510)525-5054 Blake's 2367 Telegraph Ave. Berkeley, CA (510)848-0886 Starry Plough 3101 Shattuck Ave. Berkeley, CA (510)841-2082 19 Broadway 17 Broadway Fairfax, CA (415)459-1091 Club Kaos 39148 State St. Fremont, CA (510)792-6500 Irvington Monument 4000 Bay St. Fremont, CA (510) Sweetwater 153 Throckmorton Mill Valley, CA (415)388-2820 A & C Club 1950 San Pablo Ave. Oakland, CA (510)893-4100 Bosn's Locker 5817 Shattuck Ave. Oakland, CA (510)652-1520 Eli's Mile High Club 3629 Martin Luther King Jr. Way Oakland, CA (510)655-6661 Fifth Amendment 3255 Lakeshore Avenue Oakland, CA (510)832-3242 Pacific Coast Brewery Oakland, CA Yoshi's Nitespot 6030 Claremont Oakland, CA (510)652-9200 Station House Point Reyes, CA The Hopyard 3015 Hopyard Road Pleasanton, CA (510)426-9600 Pleasanton Hotel 855 Main St. Pleasanton, CA (510)846-8106 BLUES 2125 Lombard San Francisco, CA (415)771-BLUE Biscuits & Blues 401 Mason San Francisco, CA (415)292-BLUE Lou's Pier 47 300 Jefferson San Francisco, CA (415)771-0377 Saloon 1232 Grant San Francisco, CA (415)989-7666 Slim's 333 11th St San Francisco, CA (415)621-3330 Blues On B Barley And Hops 201 B St. San Mateo, CA (415)348-7808 C.S. Riffs 150 S. Winchester Blvd. San Jose, CA (408)866-0511 JJ's Blues Downtown 14 S. Second St. San Jose, CA (408)286-3066 JJ's Blues Lounge 3439 Stevens Creek Blvd. San Jose, CA (408)243-6441 Fourth Street Tavern San Rafael, CA Moe's Alley Blues Club 1535 Commercial Way Santa Cruz, CA (408)479-1854 Ideal Bar & Grill 106 Beach St. Santa Cruz, CA (408)423-5271 Margaritaville Sausalito, CA Murphy's Law 135 S. Murphy Ave. Sunnyvale, CA (408)736-3822 ========================================================================= Date: Tue, 31 Oct 1995 10:57:36 -0800 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Bay Area Radio Comments: cc: lknight1@aol.com Unfortunately, this is going to be a bit wide since it has lots of fields. Enclosed is a copy of the Blue Waves FM Radio Guide for the San Francisco Bay Area. It is compiled by Danny Denaro, Leslie Ann Knight, Don Coyle, and Curtis Jay. Any changes should be forwarded to Leslie Ann Knight via e-mail to lknight1@aol.com. Any typos are probably mine. NOTE: There are a few blues-l members on this list. Joe Day Start End Station Mhz Program DeeJay Time Time Sunday 0:00 3:00 KKUP 91.5 Blues In The Night The Blue Radish (1st, 3rd, & 5th weeks) Sunday 0:00 3:00 KKUP 91.5 Late Night City Blues Jammin' Jim Farris Sunday 2:00 7:00 KPOO 89.5 Blues For The Night Owl William Brown Sunday 10:00 13:00 KSCU 103.3 Sunday Blues Brunch The Jakester Sunday 13:00 15:00 KSCU 103.3 Crossroads Brad Lee Monday 15:00 18:00 KBLX 102.9 Golden Oldies / R&B and Soul Timothy Alexander White Monday 6:00 9:00 KKUP 91.5 Monday Morning Blues Leslie Ann Knight Monday 9:00 12:00 KPOO 89.5 Marilyn's World Marilyn Fowler Monday 13:00 14:30 KPFA 94.1 Blue Monday Tom Mazzolini Monday 21:00 22:00 KALW 91.7 The Blues Power Hour Mark Naftalin Monday 23:00 0:00 KALW 91.7 Blues Stage (NPR) Ruth Brown Monday 22:30 1:00 KKUP 91.5 Late Freight Twist Paul Jacobs Backstroke John Fuller Groovin' Time Steve Ahlgrim Tuesday 1:00 5:00 KDIA-AM 1310 Blues Experience Frankie M Tuesday 16:00 17:30 KPOO 89.5 Blues And Oldies Johnny Brooklyn Tuesday 21:30 23:30 KUSF 90.3 Treasures Untold Harry Duncan Tuesday 20:00 23:00 KPOO 89.5 Blues House Party Jay Johnston (1st week) Tuesday 23:00 2:00 KPOO 89.5 Blues House Party Jay Johnston (all others) Wednesday 1:00 5:00 KDIA-AM 1310 Blues Experience Frankie M Wednesday 9:00 12:00 KPOO 89.5 Spotlight On The Blues Big Bones Wednesday 14:00 17:00 KKUP 91.5 Key To The Highway Johnny Cozmik Wednesday 23:00 2:00 KPOO 89.5 The Blues Donald C. Jones Thursday 1:00 5:00 KDIA-AM 1310 Blues Experience Frankie M Thursday 15:00 17:00 KKUP 91.5 Heavy Traffic Curtis Jay (1st and 3rd week) Thursday 15:00 17:00 KKUP 91.5 Heavy Traffic Roger Anderson (2nd, 4th & 5th week) Friday 1:00 5:00 KDIA-AM 1310 Blues Experience Frankie M Friday 6:00 9:00 KSCU 103.3 Big Daddy Blu Show Big Daddy Blu Friday 9:00 12:00 KZSU 90.1 The Blues Wizard Skinny Mike Friday 21:00 0:00 KCSM 91.1 Crazy About The Blues Kathleen Lawton Friday 21:00 0:00 KKUP 91.5 Mood Indigo Jim Thomas and Gratia Rankin Saturday 0:00 3:00 KKUP 91.5 Blues Morning Train The Conductor Saturday 0:00 3:00 KUSF 90.3 Blues Show Bob Grunde Saturday 3:00 6:00 KKUP 91.5 After Hours Blues Revue Steady Eddie Saturday 9:00 11:00 KPFA 94.1 The Johnny Otis Show Johnny Otis Saturday 9:00 12:00 KZSU 90.1 Blues With A Feeling The Byrd Of Paradise Saturday 17:00 18:00 KSJS 90.7 House Of Blues L.B. Saturday 18:00 21:00 KKUP 91.5 Jim Dandy To The Rescue The Wallflower (2nd week) Saturday 21:00 0:00 KKUP 91.5 Mojo Hand / 50s R&B Jim Dandy and The Walflower (1st week) Saturday 18:00 21:00 KKUP 91.5 The Pole Cat Saturday 18:00 22:00 KSJS 90.7 Mostly Blues The Crazy Yogi Saturday 20:00 0:00 KDIA-AM 1310 Blues Experience Frankie M Blue Waves is compiled for dedicated blues listeners by Danny Denaro, Leslie Ann Knight Don Coyle, and Curtis Jay. To add updates and changes, send e-mail to Leslie Ann Knight @ lnkight1@aol.com. ========================================================================= Date: Tue, 31 Oct 1995 13:55:59 -0500 Reply-To: Leo Aspiras From: Leo Aspiras Subject: Rock & Roll Hall of Fame - Blues Portion Greetings all: Just thought y'all might like to know that one of the 1996 inductees into the Rock & Roll Hall of Fame is Little Willie John........ Leo 'The Scatman' Aspiras from d.c. ========================================================================= Date: Tue, 31 Oct 1995 10:41:00 -0800 Reply-To: Richard Norton From: Richard Norton Organization: Fullerton College, CA Subject: BLUES FARMERS WANTED *******BLUES FARMERS WANTED******* Hi I'm new to this group, please allow me to introduce myself, my band [Richard Norton Band] and the Blues Farm, a coalition of concerned artists and patrons of the arts. Please feel free to visit my website located at http://www.fullcoll.edu/communit/rich_nor/home.htm. You can view a multi-media demonstration and hear some samples of my latest CD entitled "I Can Stand A Little Rain". Combining electric and acoustic formats there is something for everyone here, from ragtime to the more contemporary sounds of progressive blues/rock. About the BLUES FARM............... According to Request magazine Bruce Iglauer of Alligator records was recently quoted as saying that 99.9% of his musician friends have no type of medical insurance. It should come as no great shock that a great many blues artists have spent their remaining years in poverty and obscurity completely forgotten by tyhe public that bought their records. In my opinion this is criminal. Given the fact that there would be no multi-billion dollar music business without musicians, it's stunning how little the industry has done until recently, with regards to health insurance for musicians. Bluesman Larry Davis, [ he wrote the song "Texas Flood" remember ] spent the last year of his life battling cancer and the federal government, wich wanted him to sell a small plot of family land before it would help him pay for his health care. Do you think that Bob Dole or Bill Clinton cares deeply about Larry or any other destitute musician? Then you must also believe in the tooth fairy. Don't get me wrong folks, I'm not conducting a fund raiser here. We all know that begging for money won't solve any problems. However, if I told you that long term solutions exist right here right now, and that each one of us can help out these great artists, and that it wouldn't cost a dime would you be interested? I hope so because without music the world would be a pretty boring place. The BLUES FARM is a coalition of concerned musicians and patrons of the arts whose mission is simple....to foster wider recognition, financial support, and historical and cultural preservation for blues music and its artists. If you would like more info about how you can help, please write to me at: BLUES FARM C/O RNB ENTERPRISES 1435 PROSPECT AVE #D PLACENTIA CA. 92670 Believe me there is no cost or obligation, I know that sounds too good to be true inthese cynical times we live in but it's true. Just for asking I'll give you a free gift worth $50.00 with My compliments. Best Regards, richard Norton Founder/ the Blues Farm ======================================================================== Fullerton College claims no responsibility to the opinion expressed above (This is an automatic stamp from our Email system and not from the user.) ======================================================================== ========================================================================= Date: Tue, 31 Oct 1995 14:10:17 -0500 Reply-To: Michael Kaloyanides From: Michael Kaloyanides Subject: Re: Tunings Comments: To: Laurie Forti In-Reply-To: <9510270112.01OS100@infoexch.miami.fl.us> On Fri, 27 Oct 1995, Laurie Forti wrote: > Standard: E A D G B E > Fingered E: E B E G# B E > Drop all one note: D A D F# A D > > If one wanted music 'theory' to be logical, one would expect that > open D tuning would be tuned to a D chord, but that would be asking > for too much. > Laurie, Your proving my point here about the value of theory. If you knew theory you would realize that an open D tuning *IS* tuned to a D major chord which consists of the notes D F# A. Michael G. Kaloyanides ========================================================================= Date: Tue, 31 Oct 1995 14:15:39 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Halloween Blues Characters? It's Halloween. Anyone in costume at work? Anyone dressed as their favorite blues character?? Just wondering. (I'm dressed as a "Renaissance" character, myself, complete with boots, cape, and sword. Dressing as a blues musician seemed too easy.) And speaking of blues, last night in Cincinnati the prestigious biennial Post-Corbett Awards, which honor the Arts in Cincinnati, were held, and the theme was "Uptown...Black Tie....Blues." Local blues musicians provided music throughout the evening. Pianist "Big Joe" Duskin played during dinner, harpist/author Steve Tracey played during the post-dinner/pre-ceremony interlude, my friends Sonny Moorman & the Dogs acted as host band to play (blues) cues while presenters and award-winners made their way to the stage. A "blues production number" took place in the middle of the ceremony, and included songs from local blues luminaries "Sweet Alice" Hoskins, H-Bomb Ferguson, Sonny Hill, Big Joe Duskin, Jeff Dion, and Albert Washington. At the end of the night, as people were leaving the theatre, all the musicians came back on stage for an impromptu jam. It was quite an experience. (And obtaining photographs of blues musicians in tuxedoes made it especially worthwhile!) So the blues made it into "society" for one night, at least, here in Cincinnati! Shannon ========================================================================= Date: Tue, 31 Oct 1995 13:49:00 CST Reply-To: Paul Garon From: Paul Garon Subject: Lyric transcription help Many thanks to all the folks who led me to the right Buddy Guy CD.I've transcribed the lyrics of DON'T TELL ME ABOUT THE BLUES, but there are a few phrases I'm having trouble with, marked below with question marks or brackets, ? or []. The third to the last line is giving me the most trouble, but as you can see, there are obscurities (to me) in the first verse as well. Any help with these phrases will be deeply appreciated. And of course, if you see non-bracketed material that you think is wrong, don't hesitate to suggest alternates! Yeah, you [down and dirty] blues man, ? spoken: looka here, You play [blues on blues] guitar ? [I'm telling it to the] news, man, ? As far as blues goes, you're a star I'll admit you're getting down there, But I'm down much deeper than you are. Yeah, you sing those songs of sorrow, But to me you just don't sound real. You say you're down enough to borrow, I must be down enough to steal. Now, the blues ain't what you're singing, The blues is what I feel. You tell me your love-light is dimming, And how your old lady cheats, You go back stage with other women, While I go back out on the street. Well, you know that you're a winner, And you tell me you were born to lose, But please, please, please Don't tell me about the blues. You're telling like your barefoots And you're wearing those $100 shoes. Yeah, you can shuck and jive me all you wanta, But please, please don't tell me about the blues. Yeah, you tell me you're a poor man, While you're flashing those ruby rings, But on a million tour, Man, [your gonna flash ??? goddamned] thing. But it's me paying my dues So, please, man, don't tell me about the blues. ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email or postal mail or visit us at http://www.abaa-booknet.com/alldlrs/mw/60657bea.html. We also have catalogs available by ftp at ftp.mcs.com/mcsnet.users/beasley. _______________________________________|______________________________________ ========================================================================= Date: Tue, 31 Oct 1995 12:09:03 -0800 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Bay Area Radio Guide Comments: cc: LKnight1@aol.com There is a typo in the radio guide I sent out. The e-mail address should read LKnight1@aol.com and not lnkight1@aol.com. Sorry for the mixup. Like I said typos are mine. Joe ========================================================================= Date: Tue, 31 Oct 1995 15:43:09 -0500 Reply-To: Bob vanArsdall From: Bob vanArsdall Subject: Panther Burn Nope, that one passed by me. You have to remember, my in-depth knowledge og groups begins to slack off in the mid 70's, and reaches almost zero by the mid 80's. This, too, will happen to you... B ========================================================================= Date: Tue, 31 Oct 1995 15:45:44 -0500 Reply-To: Bob vanArsdall From: Bob vanArsdall Subject: Wrong Reply Apologies to the list for my comment on Panther Burn. It was a reply to a personal message which I inadvertently mis-addressed. Bob ========================================================================= Date: Tue, 31 Oct 1995 15:50:55 -0500 Reply-To: bob unger From: bob unger Subject: Satan & Adam gig I just got a call from my friend Adam Gussow of Satan and Adam who asked a favor of me. They just got a gig in Pittsbrugh at the place that used to be The Decade - I think it's called Ribbet's now - anyway, he asked me to post the gig info to the list here as he's not sure about how much publicity will get out. So if you'se "guys" (I'm from New Yawk) dont mind, I'd like to do that. They will be appearing at Ribbet's in Pittsburgh on Nov. 11 that's on a Saturday, during the cocktail hour, from 5 - 8. There's a $3 cover charge. He's just asking for anyone in the area to come on down, support the blues, bullshit with him and Mr. Satan, have a few drinks, check out his equipment (I know he's got vintage amp's from the 50's, dont know if he'll take that on the road with him or not) and basically just come on out and support the blues and it's musician's. If any of you have already met them, you know they are real friendly guy's and they put on a real high energy show. It should be good time..... BU bob@sun.bnkst.edu ========================================================================= Date: Tue, 31 Oct 1995 16:18:23 CST Reply-To: JBards From: JBards Subject: Re: Guitar tunings Comments: To: Rich Del Grosso Rich: Do you know of anyone how has done a chord dictionary ( a la John Pearse's excellent tome for standard tuning) for the major open tunings? It sure would be helpful to at least have all the maj, min, 7ths, maj7s, min7s, 6ths and 9ths for each of the most used open tunings, and it wouldn't have to be as exhaustive as Pearse's book. _______________________________________________________________________________ Subject: Guitar tunings From: Rich Del Grosso at INTERNET-SH Date: 10/27/95 10:25 AM To the group; I've received a lot of mixed messages regarding guitar tunings lately, so I wanted to clear things up. The tuning players from the thirties called "Spanish" tuning is open G: D G D G B D (6 to 1) What the same players called "Sevastopol" is open D: D A D F# A D (6 to 1) It does contain the D triad (or D Chord). What players called "Cross"; as can be heard in the music of Skip James, was a cross between standard and an open tuning, by raising the fifth string to B and the fourth string to E to get an Em sound: E B E G B E (6 to 1) Fretting the third string at the first fret turns the chord into a major. The player can now alternate easily between the open E and Em. Rich DelGrosso Blues Revue Magazine ========================================================================= Date: Tue, 31 Oct 1995 15:55:30 -0600 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Dr. Hepcat I just heard that Lavada "Dr. Hepcat" Durst died. He was a local Blues piano player here in Austin. He was the first black DJ in Austin. He did a R&B show on KVET radio. Since becoming a preacher he rarely played the piano in public, refusing to preform anywhere that served alcohol. The only recording I know of is the "Texas Piano Professors" with Erbie Bowser and the Grey Ghost. Bruce Roberts Austin, TX ========================================================================= Date: Tue, 31 Oct 1995 16:06:55 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Dr. Hepcat Comments: To: Bruce Roberts In-Reply-To: <951031155530.4e4a@TSBME.STATE.TX.US> That's a shame about Dr. Hepcat. He was a colorful character, to say the least. He did two 78s; I think one version of Hattie Green is on a Blues Classics LP and one (maybe the same one) is on a bootleg LP. British researcher Mike Rowe recorded him about 15 years ago but the session was never issued, and Arhoolie has some recordings from about 10 years ago but I don't think Chris Strachwitz thinks much of them; last I knew he was waiting for the right anthology to use some. There's also a booklet called "The Jives Of Dr. Hepcat" which is a hipster's dictionary of the terms he'd use during his radio show. Maybe Down Home Music still has some, but it could well be out of print. He learned piano from Robert Shaw; I think part of Chris' disappointment was that he got it second hand instead of being an old school barrelhouse pianist himself like Shaw, Buster Pickens, etc. ========================================================================= Date: Mon, 30 Oct 1995 11:27:18 EST Reply-To: shannon oconnor From: shannon oconnor Subject: On Vacation by the Bay! I will be on vacation in the San Francisco/San Jose area, Nov. 2 through the 14th. Any shows, local bands, clubs not to miss? Please let me know! (Private e-mail is fine.) Thanks! Shannon ========================================================================= Date: Tue, 31 Oct 1995 14:43:10 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: ANOTHER DELMARK RECORDS STORY : BIG JOE WILLIAMS & BOB BYLAN Comments: To: BluesHvn@aol.com >From article "Big Joe Williams - Memory of the Road"" in the March/April issue of Blues Revue magazine: "A very young Bob Dylan had been similarly impressed with Williams' performances and began a kind of musical partnership with Williams when Big Joe was booked in the fall of 1961 by [Bob] Koester [founder of Delmark Records], at Gerde's Folk City in New York City. Joe performed regularly during a two week period with Dylan frequently sitting in. They were billed as Big Joe and Little Joe, or Joe Junior. Len Kunstadt was subsequently talked into letting Dylan play for some of Williams' studio sessions by his wife, Victoria Spivey. These sides were later released on an album featuring tracks by Victoria, Lonnie Johnson, and Roosevelt Sykes entitled _Three Kings and a Queen_. Dulan played harp behind Williams driving guitar and raspy vocals on "Sitting on Top of the World" and "Wichita". ========================================================================= Date: Tue, 31 Oct 1995 17:50:00 EST Reply-To: edward c liu From: edward c liu Subject: NYC Club Dates Pointer Howdy all, The latest New York City Club Dates Pointer is available for the month of November. To receive it, send e-mail to me at: edwick@cc.bellcore.com with a subject line of "NYC CLUB DATES". Thank you for your support! -- Ed Edward C. Liu | "I never say what I mean but I always manage edwick@cc.bellcore.com | to say something similar." | -- Eugene Ormandy The opinions in this message are mine and not Bellcore's. Really! ========================================================================= Date: Tue, 31 Oct 1995 17:53:59 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: 'blues' piano video -Reply Comments: To: roger.lew.struve@medtronic.com In a message dated 95-10-31 12:55:13 EST, roger.lew.struve@MEDTRONIC.COM (Roger Struve) writes: >Some really fine video BTW, is the Dr. John Teaches New Orleans Piano. I >have this series, and having played piano since i was 4 years old (much >longer ago than i care to recollect) i can tell you that this is ONE >challenging series of tapes....but not insurmountable. If you like Antoine >Domino, Prof. Longhair, allen touissant, and the like, you will thoroughly >enjoy Mac Rebenack's videos (aka. Dr. John). I have this tape. It is *really good* not just as an instructional tape but as an explanation of the finer details of different piano styles of the New Orleans greats; Dr. John walks you through the nuts and bolts of the styles. Even if you don't go through and attempt to learn the finer details, this one will help you out in moving forward in rythmn n blues, barrelhouse, blues, or rock piano styles. I recommend this one, and would say don't be scared off by Roger's comment that its a tough one. I noted a remark hereabouts the other day criticising one of the other homespun tapes; I haven't seen those, but I can say that this is the real thing, performed by a master musician who knows the styles he is demonstrating as well as anyone could. Tom Freeland ========================================================================= Date: Tue, 31 Oct 1995 18:02:17 CST Reply-To: JBards From: JBards Subject: Re[2]: Guitar tunings Scuse-em Moi, but that should be "...anyone WHO has done a chord dictionary." ...+) _______________________________________________________________________________ Subject: Re: Guitar tunings From: JBards at INTERNET-SH Date: 10/31/95 5:16 PM Rich: Do you know of anyone how has done a chord dictionary ( a la John Pearse's excellent tome for standard tuning) for the major open tunings? It sure would be helpful to at least have all the maj, min, 7ths, maj7s, min7s, 6ths and 9ths for each of the most used open tunings, and it wouldn't have to be as exhaustive as Pearse's book. _______________________________________________________________________________ Subject: Guitar tunings From: Rich Del Grosso at INTERNET-SH Date: 10/27/95 10:25 AM To the group; I've received a lot of mixed messages regarding guitar tunings lately, so I wanted to clear things up. The tuning players from the thirties called "Spanish" tuning is open G: D G D G B D (6 to 1) What the same players called "Sevastopol" is open D: D A D F# A D (6 to 1) It does contain the D triad (or D Chord). What players called "Cross"; as can be heard in the music of Skip James, was a cross between standard and an open tuning, by raising the fifth string to B and the fourth string to E to get an Em sound: E B E G B E (6 to 1) Fretting the third string at the first fret turns the chord into a major. The player can now alternate easily between the open E and Em. Rich DelGrosso Blues Revue Magazine ========================================================================= Date: Tue, 31 Oct 1995 18:38:55 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: Hans Thessink Well, por supuesto, amigo! I met Hans on my first European tour in 1980. He does most of his work in Europe (obviously). He and his wife used to promote a folk/blues festival, but I think they've dropped it in recent years. I don't recall ever hearing his recordings, but as a live performer he was pretty credible. ============================================================================ Jef Jaisun eljefe@netcom.com ============================================================================ Roger Struve (roger.lew.struve@MEDTRONIC.COM) wrote: : I asked about this guy but it was sort of buried in another reply, so i am : reposting the question. : I never heard of this guy before, but he is from Holland, and studied in : Mississippi, and is one very good bluesman. : He has a video out through Homespun Tapes, which i just received. : Apparently he enjoys world-wide recognition, and has perhaps a dozen CD's : out. Anybody ever hear any of them? : A new CD is apparently being readied for release in the USA. : ddr. -- eljefe@netcom.com ========================================================================= Date: Tue, 31 Oct 1995 16:03:29 PST Reply-To: mmccourt@ACUSON.COM From: Mike McCourt Subject: Re: Open scathe minor Comments: To: laurie.forti@INFOEXCH.MIAMI.FL.US I can no longer resist; if you don't want to read a *scathing* reply, delete now. >Perhaps, I am a bit old fashioned, Not to mention narrow-minded, ignorant and extremely abrasive. >but being a self-confessed rabid >Blues purist, I believe foisting cowboy music I haven't heard the *cowboy music* tapes but you should be aware that there are people who believe that country music is a legitimate music form in it's own right. Because you don't happen to like it (and obviously don't understand how it's played) doesn't give you license to deride it. I have been reading your posts for a couple of days now and am amazed at your steadfast, stubborn and irrational pride in your ignorance. The main theme I have observed is: if it doesn't fit *your* definition, then it's not logical, makes no sense, and has no real value. Get off your high horse (sorry if that sounds like a cowboy reference) and open your mind a little. You give purists a bad name. >Perhaps in the tuning of Open Scathe minor?? Let's see, is that a real Open Scathe minor tuning or just a Open Scathe # (that's a sharp sign in case you haven't seen it) minor tuned down a half step? Mike McCourt mmccourt@acuson.com ========================================================================= Date: Tue, 31 Oct 1995 18:47:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Re: Band Name Needed Comments: To: wam01@WWW.GNOFN.ORG Bill Morgan wrote to describe the origin of the name "Panther Burn" : > The name of the town, as I understand it, resulted >from an incident in which the locals trapped a panther that had >been tormenting them and set it afire to destroy it. As the story goes, >they could hear the cries of the big cat into the night. My comment is in no way critcal of Bill - but this is truly a horrible story. I just had to say something. Loves animals (wild and tame), Bonnie the K. ========================================================================= Date: Tue, 31 Oct 1995 19:55:48 -0500 Reply-To: HugeSmall@AOL.COM From: Boyd Small Subject: Feelin' Like Splittin'? Comments: To: jbards@mail-sh.lsumc.edu Every once in a while I feel as though I'm in a rut. I'm working on a CD currently but that just aint enough. Gigs get to be too much the same and the pay just too little. So__ Anyone from 'round Texas looking for an excellent Blues Drummer? By the way has anyone heard from a former guitarist in my band by the name of Chris Miller? How about the drummer he went to Texas with Jeff Minnick? The last I heard Jeff quit a gig with Jr. Brown. I saw him with Jr. on Austin City Limits. Anyone from anywhere else looking for an excellent Blues Drummer$? Any reply will be greatly appreciated even if only to help my get outa town jones to pass. Ya know Portland, Or. is a beautiful place and there are plenty-o-gigs (almost) but sometimes I get an itch I just can't scratch. Ya know whadda mean? ========================================================================= Date: Tue, 31 Oct 1995 20:01:49 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Halloween blues Maybe some of these were already posted, but here's my contribution to the Halloween Blues Extravaganza: Devil Sent the Rain Blues -- Charley Patton Devil Got My Woman -- Skip James Hard Time Killin' Floor Blues -- Skip James Evil Devil Blues -- Johnny Temple Death Valley Blues -- Arthur Crudup Haunted House Blues -- Big Joe Wiliams See That My Grave is Kept Clean -- Blind Lemon Jefferson Dark Road -- Floyd Jones Rattlesnake -- John Brim Evil -- Howlin' Wolf I Ain't Superstitious -- Howlin' Wolf Howlin' Blues -- Howlin' Wolf Moanin' at Midnight -- Howlin' Wolf Dead Shrimp Blues -- Robert Johnson Mad Man Blues -- John Lee Hooker Devil Is Watching You -- Lightnin' Hopkins Lonesome Dog Blues -- Lightnin' Hopkins Little Demon -- Screamin' Jay Hawkins ... and a cast of thousands: various Black Cats, Crawlin' Kingsnakes, and spiders crawlin' on the wall, tryin' to get their ashes hauled... ========================================================================= Date: Tue, 31 Oct 1995 20:16:41 -0500 Reply-To: Niles Frantz From: Niles Frantz Organization: Megaweb Subject: Bugs Henderson Comments: To: bit-listserv-blues-l@uunet.uu.net I'm looking for information about guitarist Bugs Henderson. If you can help, please send e-mail to Niles@gnn.com Thanks. Niles A loop is a loop is a loop. ========================================================================= Date: Tue, 31 Oct 1995 20:52:03 -0500 Reply-To: DJones4708@AOL.COM From: Douglass W Jones Subject: shameless intrduction Hi all my name is Douglass Jones I'm the owner of OKEY-DOKEY PRODUCTIONS an indie record label. I'm new here on the blues-l so just thought I might introduce myself. Seems like a lot of great info here and I'm glad to be apart of it. Anyone with an intrest in OKEY-DOKEY can e-mail me at DJones4708@aol.com happy halloween! ========================================================================= Date: Mon, 30 Oct 1995 16:28:40 -0600 Reply-To: Bennett Pearce From: Bennett Pearce Organization: UAB Pediatric Cardiology Subject: Re: Dan Penn Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199510301915.OAA01828@fiber-bits.ai.mit.edu>, Oded Maron wrote: > I saw Dan Penn and Spooner Oldham... Where was the show? Are they touring? -- Bennett Pearce ========================================================================= Date: Wed, 1 Nov 1995 02:54:54 GMT Reply-To: Garby Leon From: Garby Leon Organization: Netcom Subject: TEST - don't read Comments: To: bit-listserv-blues-l@uunet.uu.net New subscriber, as of Halloween 95. Testing if I can post from my newsgroup reader. Don't read this. Garb Leon ========================================================================= Date: Tue, 31 Oct 1995 19:04:23 -0900 Reply-To: Bob Hardin From: Bob Hardin Subject: Re: Canadian Blues: Ellen McIlwaine Richard Flohil wrote: >Ellen McIlwaine (that's the correct spelling) is an American slide >guitarist who has lived in Canada off and onn (mostly on) for more than 20 >years; she's currently resident in Calgary, but at various times has also >lived in Montreal (still in Canada as of this morning) and Toronto. >There is an earlier album on Stony Plain, >Looking for Trouble (SP-1110) was was recorded about eight or nine years >ago, and is her most recent album, apart from some stuff she's done for the >CBC for airplay only, and nearly impossible to find. If you want to go back a little further, she did an album on Polydor in 1972 (PD-5044) called "We The People" (my first introduction to her) which contains a mixture of jazz and blues, and is a really fine set of tracks. I bought it for "I Don't Want to Play", but there are other gems there too, like "Everybody Wants to Go To Heaven (But Nobody Wants to Die)" and "Never Tell Your Mother She's Out of Tune." I've never seen her live, but Richard is right, she's a great slide player and the "wordless vocals" are prevalent on this LP as well. A form of scat singing? Bob ========================================================================= Date: Tue, 31 Oct 1995 22:16:00 PST Reply-To: Meridith Farnworth From: Meridith Farnworth Subject: Re: W.C. Clark? (was:Randy Garibay) Bill Shute mentioned yesterday (I'm behind on my reading again!): >by the way, WC Clark was amazing! Best live show I've seen since I last >saw Guy Forsyth in July or August. It was Clark, a HOT tenor sax player, >bass, and drums (sorry, my notes are at home). Three and a half hours >of music when I left at 1:55 am, and it didn't seem WC was about to stop >the momentum anytime soon. He's also a gracious and friendly man, and >interacted physically with audience members FROM THE STAGE (you'd have to >be there, I can't describe it). Bill...do check your notes for bass & drums! I've been wondering if Gerald Spencer (Spenser?) is still playing bass with W.C. Talk about a solid bass player, and all 'round nice guy! whew-ee! yup, I've been there and I know ~exactly~ what you mean about W.C.'s momentum, interaction, and HOT playing. btw: Any good news to report about W.C. recording projects? thanks for any & all info --Meri, seriously needing a Trip to Austin! ========================================================================= Date: Tue, 31 Oct 1995 19:59:16 -0800 Reply-To: Dennis Say From: Dennis Say Subject: Hidden Gems "Rip it Hard" by Michael Katon. Almost an hour of nonstop gut bucket blues and boogie. Truly an exhausting CD to listen to. ========================================================================= Date: Tue, 31 Oct 1995 23:06:20 -0500 Reply-To: Niles Frantz From: Niles Frantz Organization: Megaweb Subject: Re: Hidden Gems Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199510311554.AA01316@bulkrate.cc.bellcore.com> edward c liu wrote: > Rob Varak asks the question: >>What are the two or three CD's that you >>have that you absolutely _love_, but are by artists aside > from the >>acknowledged giants. > (1) Johnny Adams, "Walking On A Tightrope." Superb readings of Percy Mayfield songs by one of the country's best vocalists, regardless of style. Nice guitar from Walter "Wolfman" Washington and Duke Robillard. (2) Anything/Everything by Byther Smith. Niles A loop is a loop is a loop. ========================================================================= Date: Tue, 31 Oct 1995 23:59:50 -0500 Reply-To: PaliGap69@AOL.COM From: "(christopher Jones)" Subject: Robert Cray Show Well, I just got back from seeing RC; Ist impression: awesome! He's as much an R&B guitarist as he is a blues player. I had fourth row center seats so I was able to watch his every move (because I play guitar). Not only are his vocals outstanding, the way he mouths the notes of his solos while he plays them is also fun to watch. He definetly gets into it! His band is remarkable. His keyboard player took a couple of solos- including an especially long, 6 bar one during the last encore- but they became kind of redundant; he is still a solid back up player (as are the bassist and drummer). For some reason I was expecting horns; I had seen him on A&E with a horn section, plus he uses them a lot on his albums. I agree that he would probably be better off in a club where people move. The show was in this nice, plush theater where everyone (mainly middle aged men & women) was seated, with not much movement all around. At times I wanted to jump up and yell instead of sit and politely clap; it seemed like Cray was expecting that too. Oh well, you can't have it all. People on the digest lately that his gigs tend to run a bit short; Including the encores (2) the show was 2 hrs; I'm not complaining. All in all a very good funky r&b show. The only I would like to see him do now is a live album! Later Chris ========================================================================= only adults on board that hadn't been drinking. I went down and got some medication, and just for added measure, I also went and bought some accupressure wrist bands that are supposed to stop sea-sickness, too. OK, I was ready! No more motion sickness for me. Several people had a laugh at my expense, but I did not get sick! It was the last night. I didn't want to miss a moment of the final performance. Carl, not as much of a blues fan as I am, found ways to entertain himself. (blackjack, where I finally won something. Enough to cover our tips, anyway. -Carl) He kept checking in with me, to make sure I was happy. I was delighted. All the musicians looked great, and sounded even better. Sonny Rhodes was gorgeous in his bright orange turban. Noble Watts played his mean sax, and all followed along. Around 11 pm or so the ship did hit rough seas. The lounge where the music was being played was top level, near the back of the ship. The very worst place for pitch and roll. I got bruises on my knees from trying to take pictures while kneeling on the floor. Now that I have the pictures back, however, I must say that it was worth it. It was a glorious time, thanks to all the musicians. The Midnight Creepers, Ace Moreland, Sonny Rhodes, Floyd Miles, Kenny Neal, Raful Neal, and of course Noble "Thin Man" Watts! A special thanks to King Snake records for putting all these acts together on one ship. I got a King Snake t-shirt, which I got all the musicians to sign. I want to say that all aspects of the Big Red Boat were great. The staff was ever helpful, the food plentiful and tasty, and the ship itself was beautiful and always very clean. We didn't see much of the regular shipboard entertainment, but heard it was good. Sunday morning came and we were back at Port Canaveral. After a lovely breakfast, we cleared customs and the cruise was over. I'm not sure if I'll ever go on a cruise again. Certainly not during hurricane season. But who knows? If the blues is cooking, and the company is good, I"ll always be tempted. RL Adams WPC WPC ========================================================================= Date: Tue, 3 Oct 1995 19:05:25 CST Reply-To: JBards From: JBards Subject: Re: Apologies and explanations! Comments: To: catherin@WOLFENET.COM Catherine, maybe it's just me, but I don't see much flame potential here. After all, where would the blues be without whore, whoring, and johns? A lot of great material lost....Storyville, Stagger Lee, the list could go on a long time. Matter of fact, this suggests a new thread: blues songs associated with the Honorable Profession. Welcome aboard. Jim _______________________________________________________________________________ Subject: Apologies and explanations! From: catherin@WOLFENET.COM at INTERNET-SH Date: 10/3/95 5:09 PM Ok, just to satisfy everyone's curiousity and flaming potential, please note the following: 1. The long .sig line on my previous messages was an accident and I desperately apologize. That's all the genuflection and remorse you can expect. 2. My "profession" is,as the media say, "high class call girl" or, as I prefer, consort or I'll answer equally and proudly to "whore," knowing its origins. Who says a whore can't play the blues with the best of them? I'm just a woman with many talents. Oh, and the degrees are in English, advertising and marketing communications. I was a Fortune 100 manager before dumping the corporate gig for an honest and honorable profession...and one that pays and plays well. 3. I've loved the blues since about age 13 and EC and BB were early influences. And, yes, I'm a Strat Girl... The .sig below says all and you won't see it again. A tout a l'heure, Catherine La Croix Executive Director and Shameless Whore COYOTE/Seattle "Call Off Your Old Tired Ethics" The Sex Workers Rights Organization 16625 Redmond Way Box M237 Redmond, WA 98052 USA Voice-Fax-FaxBack: +1.206.881.2292 E-mail: coyote@wolfenet.com COYOTE/Seattle is affiliated with other COYOTE chapters in the U.S., the National Task Force on Prostitution NTFP) in New York, the International Committee for Prostitutes Rights in Holland (ICPR), Hooking Is Real Employment (HIRE) in Atlanta, Prostitutes of New York (PONY) and other national and international sex workers rights organizations ========================================================================= Date: Wed, 1 Nov 1995 00:03:12 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Radio Kings live/Belgium and NL Comments: To: bit-listserv-blues-l@uunet.uu.net My friend Jay Sheffield, who types one word a month, asked me to post the November touring schedule for the Radio Kings. Since they're one of my favorite bands, it's a pleasure to help Jay and the boys. Wed, 11/1 Little Richard's Roadhouse--N. Andover, MA Sat, 11/4 Yard Rock Bluesclub--Quincy, MA Sun, 11/5 Chap's Country & Blues Club--Avon, MA Fri, 11/10 Ed Burke's--Boston, MA Sat, 11/11 Gilrein's--Worcester, MA Sun, 11/12 Amsterdam's--Providence, RI Tuesday, November 14th, the band leaves for Belgium. (Backstage at the King Biscuit Boy Festival, I asked the guys how they felt about playing Europe. They love it. The fans are extremely nice to them and most appreciative.) Thu, 11/16 Cactus Club--Brugge Fri, 11/17 Blaune Wolf--Zottegen Sat 11/18 Maison de Jeunes--Tamines Sun 11/19 Mohbeek--Mechelen Then the Netherlands: Tue, 11/21 Topaz--Sittard Wed 11/22 Club Paradiso--Amsterdam Thu 11/23 Para--Breda Fri 11/24 Lottum--Canix Sat 11/25 Lantaarn--Hellendoorn Sun 11/26 Tivoli--Utrecht Mon 11/27 Oosterpoort--Groningen If I've misspelled any of the venues or city names, please blame Jay Sheffield Entertainment. You can straighten him out at BlueSunJay@aol.com. You can also get additional info about the Radio Kings at this email address. This is a great boogie blues band. If you get to meet them, please say "Hi" for Denise, the maniac who shot three rolls of film of them at Helena. Denise ========================================================================= Date: Wed, 1 Nov 1995 01:06:45 PST Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Catholic Blues Mass? Comments: To: Patti Bowman , Cathi Norton I answered the call at church and filled out a form to join the 'choir' for the new choir they are putting together to be more contemporary. Play: Blues Instr: Guitar, Vocals, Harmonica Comments: If you want to do a Blues or Gospel mass, I'd be glad to help. Well I got that call today that practice is tomorrow night. Doesn't require sight reading or even ability to read standard musical notation at all. This could be the shortest lived choir in the church's history! I sure would love to get some excitement and emotion onto the stiff intellectual process they call the Catholic Mass. I'm hoping they don't mind that my religion is in my life and my worship is in the living of it (and the music in it)... We play Sunday after next! Maybe "Stormy Monday"? ... Mike [ home work ] [ http://www.xnet.com/~msuffern/soundtravels.html ] [ The Blues&Travel Site, Blues Guides, Festivals, ] [ Eric Clapton @ Royal Albert Hall, London tour ] ------------------------------------------------- [ Above all, play what your heart tells you to... ] [ As you learn, your heart will have more to say. ] ========================================================================= Date: Tue, 31 Oct 1995 23:23:32 -0800 Reply-To: Richard Del Grosso From: Richard Del Grosso Subject: Sign-off for awhile List folks, On the road for a few days. If I don't sign off I'll return to 600 messages! Will get back on as soon as I can. Rich DelGrosso ========================================================================= Date: Wed, 1 Nov 1995 09:12:45 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Re: Clean Head Comments: To: bit-listserv-blues-l@moderators.uu.net Er.....he died years ago. But!! what a great artist. There is plenty of stuff around on vinyl by Eddi but not too much on CD. Mercury have included 30 sides from his 1940's recordings for the label on their new box set. TB ========================================================================= Date: Wed, 1 Nov 1995 11:41:36 +0100 Reply-To: Hugues Pirotte From: Hugues Pirotte Subject: Need info. Hi everybody! I am new on the list, I play sax and I love blues. So I would be very grateful to anyone could help me to find: 1) internet addresses where i can download blues music 2) is there a list of references of blues disks and themes? Thank you for that. Sorry for disturbing all others. Hughes. ---------------------------------------------------------------------------- Hugues PIROTTE (President of the GMBF Association) University of Lausanne Ecole des HEC Institute of Banking and Finance(IBFM) BFSH1 1015 LAUSANNE-DORIGNY SWITZERLAND Phone#: 41/21 692 34 89 Fax#: 41/21 692 33 05 E-mail: Hugues.Pirotte@hec.unil.ch) Internet: http://ww.hec.unil.ch/postgrad/mbf/gmf1.htm ---------------------------------------------------------------------------- ========================================================================= Date: Wed, 1 Nov 1995 06:13:35 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Columbia House Blues - Long. Comments: To: bit-listserv-blues-l@uunet.uu.net To the best of my knowledge the following is a complete list of blues titles available through Columbia House. It is posted on a strictly voluntary basis by me. I am in no way affilliated with them. I have begun a very nice collection of blues CD's through Columbia House and simply want to share my findings. If anyone is interested in the various offers they make there are FAQ's etc. available on that. This is merely a list of what can be gotten from them (sorry for the truncations). I will repost this list on a regular basis - monthly. If you have any questions, flames, comments, additions, etc. e-mail me bsco@panix.com. I would be particularly grateful to know if there is anything I have left out and will certainly include it in my next post. Also if you plan to order from this list I recommend you recheck the ordering #'s as I am sure I have made some typing errors. I accept no responsibility for wrong names, titles etc., however I have done my best to be as accurate as I could. ARTIST ORDER# TITLE LABEL Ammons Albert 101881 Master of Boogi Mila Louis Armstrong 101840 Blueberry Hill Mila Lavern Baker 414839 Lavern Baker Atlantic/Jazz Beausoleil 389825 Bayou Boogie Rounder Elvin Bishop 482125 Tulsa Shuffle Epic/Legacy Bobby "Blue" Bl 478677 Years of Tears Malaco Bobby "Blue" Bl 484576 Turn on Your Mca Bobby Bland 404137 Midnight Run Malaco Bobby Bland 431601 Portrait of Blu Malaco Bobby Bland 452144 Two Steps from Mca James Booker 489914 Resurrection of Rounder Charles Brown 452177 Driftin' Blues Emi Charles Brown 489781 Just a Lucky So Bull Clarence "Gatem 472290 Standing My Gro Alligator Big Bill Broonz 447201 Good Time Tonig Columbia/Legacy Lonnie Brooks 472282 Turn on the Nig Alligator Ruth Brown 434886 Fine and Mellow Fantasy Clarence Carter 485359 Snatchin it Bac Rhino Boozoo Chavis 100503 Boozoo, That's Rounder Clifton Chenier 452128 Bayou Blues Specialty Clifton Chenier 472308 I'm Here Alligator Collins/Cray/Co 472332 Showdown! Alligator Albert Collins 472316 Ice Pickin' Alligator Albert Collins 472324 Cold Snap Alligator Johnny Copeland 460782 Flyin' High Gitanes Johnny Copeland 481788 Catch up with Verve Johnny Copeland 489856 Texas Twister Rounder James Cotton 101378 Living the Blue Verve James Cotton 462150 Cut You Loose! Vanguard Cotton/Wells/Be 472340 Harp Attack Alligator Blind Gary Davi 485367 Harlem Street Fantasy Bo Diddley 408955 Chess Box Chess Bo Diddley 429126 Rare and Well D Chess Willie Dixon 380113 the Chess Box Chess Willie Dixon 447219 Big Three Trio Columbia/Legacy Willie Dixon 465625 I Am the Blues Columbia/Legacy Champion Jack D 458661 New Orleans Bar Columbia/Legacy Champion Jack D 485326 Blues from the Atlantic Aretha Franklin 358804 Sings the Blues Columbia Blind Boy Fulle 447235 East Coast Columbia/Legacy Lowell Fulson 446906 Hung down Head Chess Buddy Guy 110171 Slippin' in Silvertone Buddy Guy 434373 Damn Right Silvertone Buddy Guy 440602 Complete Chess Chess Buddy Guy 457234 Feels like Rain Silvertone Buddy Guy 462143 a Man and the Vanguard Buddy Guy 462168 My Time after Vanguard Buddy Guy 472357 Stone Crazy Alligator Buddy Guy & Jun 441238 Buddy Guy Rhino Buddy Guy & Jun 472365 Alone & Acousti Alligator Slim Harpo 462077 Best of Slim Rhino Ted Hawkins 484519 the next Hundre Dgc Hound Dog Taylo 485375 Hound Dog Taylo Alligator Holmes Brothers 489880 Soul Street Rounder John Lee Hooker 407080 Real Folk Blues Chess John Lee Hooker 438333 Detroit Special Atco John Lee Hooker 440305 Best of John Ho Mca John Lee Hooker 462176 Plays & Sings Chess John Lee Hooker 472126 Graveyard Blues Specialty Lightnin' Hopki 460790 it's a Sin to Gitanes Son House 447193 Father of the D Columbia/Legacy Howlin' Wolf 400499 London Sessions Chess Howlin' Wolf 415745 Real Folk Blues Chess Howlin' Wolf 440438 Chess Box Chess Howlin' Wolf 485342 Change My Way Chess Mississippi Joh 379826 Best/M.j.hurt Vanguard Etta James 379685 Second Time Chess Etta James 380154 7 Year Itch Island Etta James 452250 Right Time Elektra Etta James 461699 Essential Etta Chess Etta James 485334 Etta James Rock Chess Elmore James 462085 Dust My Broom Rhino Elmore James & 472142 Whose Muddy Sho Chess Blind Willie Jo 458745 Complete Record Columbia/Legacy Johnnie Johnson 427344 Johhnie B. Bad Elektra/Nonesuch Lonnie Johnson 446831 Steppin' on Columbia/Legacy Lonnie Johnson 482117 Stompin' at the Columbia/Legacy Pete Johnson 101857 King of Boogie Mila Robert Johnson 414888 Complete Record Columbia Keb Mo 482430 Keb Mo Okep Albert King 102228 the Best of Alb Stax Albert King 446914 King of the Blu Atlantic Albert King 452169 I'll Pay the Stax B.b. King 209668 Live at Regal Mca B.b. King 379776 Best of Bb King Mca B.b. King 421354 Live at the Grp B.b. King 440628 Lucille Mca B.b. King 448084 King of the Mca B.b. King 463505 Blues Summit Mca Sleepy Labeef 100446 Strange Things Rounder Booker T. Laury 489898 Nothin' but the Bull Leadbelly 428524 King of the 12- Columbia/Legacy Leadbelly 489724 Nobody Knows Th Rounder Furry Lewis 485383 Shake 'Em on Fantasy Smiley Lewis 472134 Best of Smiley Emi Lil'ed and the 472373 What You See Alligator Lonnie Mack 472381 Strike Like Lightni Alligator Little Milton 101295 Welcome to the Chess Little Milton 408708 Too Much Pain Malaco Little Milton 486399 I'm a Gambler Malaco Little Walter 446849 Best of Little Chess Little Walter 461707 Essential Littl Chess Lonnie Mack Wit 472381 Strike like Alligator Delbert Mcclint 472399 Live from Austi Alligator Mcghee Brownie 482067 Complete Browni Columbia/Legacy Blind Willie Mc 472159 Atlanta 12-Stri Atlantic Blind Willie Mc 482075 the Definitive Columbia/Legacy Memphis Minnie 379800 I Ain't No Bad Portrait Memphis Minnie 447227 Hoodo Lady: Columbia/Legacy Jelly Roll Mort 462119 Mr. Jelly Lord Rhino Charlie Musselw 472407 Ace of Harps Alligator Nathan and the 100735 Zydeco Live Rounder Shuggie Otis 482141 Shuggie's Boogi Epic/Legacy Junior Parker 485318 Junior's Blues Duke Dan Penn 480061 Do Right Man Sibh Pinetop Perkins 461194 Portrait of a Omega Lucky Peterson 460774 I'm Ready Gitanes Lucky Peterson 479782 Beyond Cool Verve Professor Longh 452110 New Orleans Pia Atlantic Professor Longh 472415 Crwfish Fiesta Alligator Tampa Red 482091 the Guitar Wiza Columbia/Legacy Jimmy Reed 366534 Compact Command Motown Zachary Richard 100768 Mardi Gras Mamb Rounder Jimmy Rogers 446880 Chicago Bound Chess Roy Rogers 111559 Slide Zone Li Roomful of Blue 100255 First Album Varr Otis Rush 437004 Mourning in the Atlantic Saffire - the U 472423 the Uppity Blue Alligator Johnny Shines 102236 Hey Ba-Ba-Re Bo Rounder Bessie Smith 383430 Bessie Smith Columbia/Jazz Bessie Smith 421388 Complete Vol. 1 Epic/Legacy Bessie Smith 428532 Complete Vol. 2 Columbia/Legacy Bessie Smith 458703 Complete Vol. 4 Columbia/Legacy Bessie Smith 449561 Complete Vol. 3 Columbia/Legacy Son Seals 472431 Midnight Son Alligator Otis Spann 485391 Blues Never Die Fantasy Taj Mahal 447177 Taj's Blues Columbia/Legacy Taj Mahal 467019 Dancing the Blu Private Music Koko Taylor 429142 What it Takes Chess Koko Taylor 452151 Koko Taylor Chess Koko Taylor 472449 Queen of the Bl Alligator Sonny Terry 102202 Sonny Is King Fantasy Sister Rosetta 101865 Live at the Hot Mila Irma Thomas 100289 Simply the Best Rounder Big Mama Thorto 472118 Hound Dog/Peaco Mca Big Joe Turner 474494 Jumpin' with Ic Emi James Blood Ulm 472977 Blues Preacher Columbia Various Artists 100305 Modern New Orle Rounder Various Artists 100321 Mardi Gras Part Rounder Various Artists 101899 Le Hot Club De Mila Various Artists 352591 Atl.blues:piano Atlantic Various Artists 352609 Atl.blues:guita Atlantic Various Artists 352617 Atl.blues:vocal Atlantic Various Artists 352625 Atl.blues:chica Atlantic Various Artists 353656 Atl.blues Atlantic Various Artists 378414 Best of the Chi Vanguard Various Artists 378422 Great Blues Men Vanguard Various Artists 378430 Blues Vol.1 Chess Various Artists 378448 Blues Vol.2 Chess Various Artists 378455 Blues Vol.3 Chess Various Artists 378463 Best of Chess B Chess Various Artists 378471 Best of Chess B Chess Various Artists 421230 Great Blues Epic/Legacy Various Artists 421347 Legends of Columbia Various Artists 421362 Slide Guitar Columbia Various Artists 421370 News & the Blue Columbia Various Artists 421396 Raunchy Busines Epic/Legacy Various Artists 428557 Legends of the Columbia/Legacy Various Artists 442285 Roots of Rhythm Columbia Various Artists 446864 Drop down Mama Chess Various Artists 447151 Roots N' Blues Columbia/Legacy Various Artists 447243 Cajun: 1929-39 Columbia/Legacy Various Artists 453498 Chess Blues Box Chess Various Artists 458711 Slide Guitar Columbia/Legacy Various Artists 458828 Cobra Records Capricorn Various Artists 462028 Okeh R&B Story Epic/Legacy Various Artists 462127 Blues with a Vanguard Various Artists 472472 20th Ann. Coll. Alligator Various Artists 474577 Feelin' the Blu Grp Various Artists 475756 20th Ann. Tour Alligator Various Artists 477877 Stone Rock Blue Chess Various Artists 482109 Cajun Dance Columbia/Legacy Various Artists 486860 Swingtime Story Capricorn Joe Louis Walke 484915 Jlw (With Branf Verve T-Bone Walker 427815 Complete Imperi Emi T-Bone Walker 446856 T-Bone Blues Atlantic Walter "Wolfman 489740 Wolf at the Doo Rounder Muddy Waters 400481 London Muddy Chess Muddy Waters 402966 Chess Box Chess Muddy Waters 407932 Best of Muddy W Chess Muddy Waters 415760 Real Folk Blues Chess Muddy Waters 447169 Blue Sky Epic/Legacy Muddy Waters 461723 Complete Planta Chess Katie Webster 472456 the Swamp Boogi Alligator Junior Wells 462135 it's My Life Vanguard Bukka White 482083 the Complete Bu Columbia/Legacy Artie Blues Boy 486498 Different Shade Wald Sonny Boy Willi 415752 Real Folk Blues Chess Sonny Boy Willi 461715 Essential Sonny Chess Johnny Winter 472464 Guitar Slinger Alligator Sonny Boy Willi 446872 down and out Chess Jimmy Witherspo 485409 Evenin' Blues Fantasy O.v. Wright 472167 Soul of O.v. Wr Mca Buckwheat Zydec 100487 Waitin' for My Rounder Buckwheat Zydec 101204 5 Card Stud Island Bo Diddley 362475 Go Bo Diddley Chess Bo Diddley 379677 Bo Diddley Chess B.b. King 429134 Live "Now Appea Mca Denise La Salle 404020 Wher it Hurts Malaco Denise La Salle 412874 Still Trapped Malaco Leadbelly 379792 Leadbelly Columbia Bessie Smith 449561 Complete Record Columbia/Legacy Various Artists 363911 Best of Chess B Chess Various Artists 404079 Blues Is Alrig Malaco Various Artists 404087 Blues Is Alrig Malaco Various Artists 404129 Blues Is Alriv Malaco Various Artists 421248 Preachin' the Epic/Legacy Various Artists 428441 Good Time Blues Columbia/Legacy Various Artists 458695 White Country Columbia/Legacy Muddy Waters 379834 More Real Folk Chess Denny Freeman 433037 Blues Cruise Amazing Keri Leigh & Th 433052 Blue Devil Blue Amazing Gary Primich 433029 Gary Primich Amazing Stevie Ray Vaugha 446765 In the Beginning Epic Stevie Ray Vaugha 429258 The Sky Is Crying Epic Stevie Ray Vaugha 411306 Vaughn Bros. Family Epic Stevie Ray Vaugha 382374 In Step Epic Stevie Ray Vaugha 351148 Live Alive Epic Stevie Ray Vaugha 338483 Soul To Soul Epic Stevie Ray Vaugha 326694 Couldn't Stand The Epic Stevie Ray Vaugha 321158 Texas Flood Epic Elmore James 455758 King Of The Slide G Capricorn Elmore James 446898 Let's Cut It-The Be Flair Big Joe Turner 402305 Greatest Hits Atlantic/Jazz ***Thanks to Jim McGlynn for these 4 new additions*** Big Joe Turner 113100 I've Been To Kansas MCA Various 476440 The Gospel Sound Big Maybelle 489732 Okeh Sessions Legacy Meters 100362 Look-A-Py-Py Rounder ***More new ones*** Joe Turner 117408 The Trumpet Kings M Pablo Junior Wells 122655 Everybody's Gettin Telarc Jimmie Vaughan 466821 Strange Pleasure Epic ***More new ones*** DANNY GATTON 458505 CRUISN' DEUCES ELEKTRA JOHNNY COPELAND 481788 CATCH UP WITH THE BL VERVE MEMPHIS SLIM 129023 RAINING THE BLUES FANTASY TINSLEY ELLIS 128058 STORM WARNING ALLIGATOR SUNNYLAND SLIM 117747 SLIM'S SHOUT CAPITOL FRANKIE LEE SIMS 129031 LUCY MAE BLUES SPECIALTY SMOKIN' JOE KUBEK 128082 CRYIN' FOR THE MOON BULLSEYE JAMES COTTON 126953 BEST OF THE VERVE YE VERVE JEFF HEALEY BAND 375873 SEE THE LIGHT ARISTA LITTLE CHARLIE AND 128066 STRAIGHT UP ALLIGATOR POPPA CHUBBY 120469 BOOTY AND THE BEAST OKEH LITTLE AXE 100982 THE WOLF THAT HOUSE OKEH -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Wed, 1 Nov 1995 07:07:53 -5 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - November 1st Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ALEXIS, LESTER (d) b. 1914-1101, NEW ORLEANS, LA BACON, LOUIS (tpt/BESSIE SMITH) b. 1904-1101, LOUISVILLE, KY BELL, RONALD (sax/KOOL & THE GANG) b. 1951-1101, YOUNGSTOWN, OH CURTIS, JAMES "PECK"(d/KING BISCUIT BOYS) d. 1970-1101, HELENA, AR 58 DADDY STOVEPIPE [JOHNNY WATSON] (stovep!) d. 1963-1101, CHICAGO, IL 96 DONALDSON, LOU (asax) b. 1926-1101, BADIN, NC HARRIS, WOODY (songw) b. 1911-1101, NEW YORK CITY, NY HILLER, LARRY (sound eng/BESSIE SMITH) d. 1978-1101, NEW YORK CITY, NY 55 JACKSON, FRANZ R. (tsax) b. 1912-1101, ROCK ISLAND, IL JOHNSON, TOMMY (g) d. 1956-1101, CRYSTAL SPRINGS, MS 60 JONES, JAMES "MIDDLE WATER" (g/hca) d. 1986-1101, GARY, IN 51 JONES, JOHNNIE LITTLE (p/ELMORE JAMES) b. 1924-1101, JACKSON, MS LEWIS, WILLIAM "SABBY" (p/arr) b. 1914-1101, MIDDLEBURG, NC LORILLARD, LOUIS (founder: NEWPORT JAZZ) b. 1919-1101, NEWPORT, R.I., NY LOVETT, LYLE (:) b. 1957-1101, HOUSTON, TX MERRIAM, ALAN PARKHURST DR. (author) b. 1923-1101, MISSOULA, MT MOOREHEAD, CONSUELA (p) b. 1926-1101, TALLAHASSE, FL POLLOCK, MARK (g/COLD BLUE STEEL) b. -1101, TX RICE, KENNY BIRDELL (d/ALBERT KING) b. 1942-1101, ST. LOUIS, MO ROBEY, DON DEADRIC(owner:DUKE/PEACOCK REC b. 1903-1101, HOUSTON, TX TILLMAN, JOSEPH HENRY "JOE"(tsax/GTR SLIM)d. 1976-1101, NEW ORLEANS, LA -- VILLA, ALBERTO "BETO" (asax) d. 1986-1101, CORPUS CHRISTI, TX 71 WALLACE, BEULAH BELLE THOMAS "SIPPIE" (v) b. 1898-1101, HOUSTON, TX WALLACE, BEULAH BELLE THOMAS "SIPPIE" (v) d. 1986-1101, DETROIT, MI 88 WOODS, JOHNNY MISSISSIPPI (hca) b. 1917-1101, LOOXAHOMA, MS ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 1 Nov 1995 07:24:28 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Additional Blues Date - November 1st On Nov. 1, 1952, the United States exploded the first hydrogen bomb, in a test at Eniwetok in the Marshall Islands. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 1 Nov 1995 12:30:22 +0000 Reply-To: "David J. Wallace" From: "David J. Wallace" Subject: This is a test, since I keep getting error messages. Test. ========================================================================= Date: Wed, 1 Nov 1995 11:14:44 -0200 Reply-To: Hudson Carvalho Bianchinni From: Hudson Carvalho Bianchinni Subject: Re: Additional Blues Date - November 1st Comments: To: "P.W. Fenton" In-Reply-To: <199511011226.HAA49589@tequesta.gate.net> On Wed, 1 Nov 1995, P.W. Fenton wrote: > On Nov. 1, 1952, the United States exploded the first hydrogen > bomb, in a test at Eniwetok in the Marshall Islands. > > P.W. Fenton > Tampa, Florida > e-mail = pwfenton@gate.net > WWW = http://www.gate.net/~pwfenton > It was a sad sad day... "love,peace and freedom" ========================================================================= Date: Wed, 1 Nov 1995 07:41:22 CST6CDT Reply-To: SOXTON@CHE2.CHE.UMN.EDU From: Sara Oxton Organization: University of Minnesota Subject: Re: Dr. Hepcat Richard Shurman wrote: > There's also a booklet >called "The Jives Of Dr. Hepcat" which is a hipster's dictionary of the >terms he'd use during his radio show. Maybe Down Home Music still has >some, but it could well be out of print. I have that book. It was given to me by a friend. I believe she bought it at Antone's in Austin. I've tried to emulate some of his speakology on my radio show, however nothing sounds worse than a middle-class white girl trying to sound "hep." Fun reading though. Makes you want to listen to Ella Mae Morse and Freddie Slack ride the riffs. Sara ========================================================================= Date: Wed, 1 Nov 1995 08:09:48 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Cray or Atkins It came down to a choice, actually wasn't a choice at all. Robert Cray in a nightclub or Chet Atkins with the symphony....Since we don't care for Robert Cray, we will go see the KING I'm excited , Chet can do it all and at the same time. LW 'second time to see Chet, never seen Robert Cray' ========================================================================= Date: Wed, 1 Nov 1995 08:23:50 CST6CDT Reply-To: SOXTON@CHE2.CHE.UMN.EDU From: Sara Oxton Organization: University of Minnesota Subject: Blues Invitation Before my fair town turns into a winter wonderland of ice and windchill, I'd like everyone withing driving distance to consider visiting next weekend, November 9-12. We have a superb offering of music that weekend beginning on Thursday and Friday with Roomful of Blues at the Blues Saloon. Saturday at the Blues Saloon is Jimmy Rogers. Last time he was in town, Rogers pulled a fast one on us by bringing Pinetop Perkins along. A pleasant surprise to say the least. The crown jewel also happens on Saturday with a show by Honeyboy Edwards at the Cedar Cultural Centre in Minneapolis. Hope to see some folks there. Watching the snow fly in St. Paul.... Sara ========================================================================= Date: Wed, 1 Nov 1995 09:21:45 PST Reply-To: rjbauman@IQUEST.NET From: rjbauman@IQUEST.NET Subject: Re: Catholic Blues Mass? Comments: To: msuffern@XNET.COM I know how you feel, Mike. After induring mass for 30 years, I switched for good to the Episcopal Church, which has a much more flexible style of worship in the second service on Sundays. Bass player, two keyboards, vocalists; the works. All the rest is pretty much just like the Catholic service. It's pretty much the Catholic "sure priests can get married" division. I too have been asked to play with the "musical ministry." I'm really interested to see how this turns out. I'll bet you could substitute "Baptist" in "Preachin' Blues" and get away with it. RJ Bauman (y'all can flame me for evangelizing if you want, I don't mind) ===========I sure would love to get some excitement and emotion onto the stiff intellectual process they call the Catholic Mass. I'm hoping they don't mind that my religion is in my life and my worship is in the living of it (and the music in it)... We play Sunday after next! Maybe "Stormy Monday"? ...=============== Mike RJ Bauman ========================================================================= Date: Wed, 1 Nov 1995 14:31:49 GMT Reply-To: Ed Mezynski From: Ed Mezynski Subject: Two topics elvis & harps In the November issue of Smithsonian magazine, there are two articles that may be of interest to some of you. One is about the Elvis conference that was held at Ole Miss back in August, and the other is about the harmonica, it's origins, uses; past, present, lah-de-dah. I found both articles to be rather interesting, your mileage may vary. Smithsonian may be available for perusal at your local library. ed (too much leftover candy blues) mezynski ========================================================================= Date: Wed, 1 Nov 1995 09:32:46 PST Reply-To: rjbauman@IQUEST.NET From: rjbauman@IQUEST.NET Subject: Re: Bugs Henderson Comments: To: Niles Frantz ME TOO!!!! I hope this request does better than mine did. RJ Bauman >I'm looking for information about guitarist Bugs Henderson. If >you can help, please send e-mail to Niles@gnn.com > >Thanks. > >Niles > >A loop is a loop is a loop. > ========================================================================= Date: Wed, 1 Nov 1995 09:37:16 PST Reply-To: rjbauman@IQUEST.NET From: rjbauman@IQUEST.NET Subject: Re: Robert Cray Show Comments: To: PaliGap69@AOL.COM This tour is more stripped down on purpose. Check out the new album. RJ Bauman =========For some reason I was expecting horns; I had seen him on A&E with a horn section, plus he uses them a lot on his albums. ====== ========================================================================= Date: Wed, 1 Nov 1995 08:53:22 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Lyric request - See That My Grave Is ..etc Anyone got the lyrics to Blind Lemon's "See That My Grave Is Kept Clean" Thanks LW ========================================================================= Date: Wed, 1 Nov 1995 10:18:51 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Playlist: Bartender's Bop Here is Monday's show. A warm-up to Halloween and some dandy country blues. We just got a nice shipment of CDs from the Smithsonian Folkways collection which I played, also most of the Leadbelly songs feature him and the Golden Gate Quartet. Talk about roots, when those legendary artists get together it is thrilling. Title Group Year Label -------------------- -------------------- ---- ------------ Nightmare Thornton, Big Mama 53 Ace I Hear Voices Hawkins, Screamin 62 Red Lightnin Jay Mr Ghost Comes To Five Jones Boys 36 Clanka Lanka Town Skeleton in the Armstrong, Louis 36 MCA Closet Gayten's Nightmare Gayten, Paul 47 Route 66 Dream, The Fox, Eugene 54 Ace Whammy, The Hawkins, Screamin 63 Red Lightin Jay Dead Poets Flash Dinner With Drac Zacherle Shadow Knows, The Coasters Rhino Frankenstein Caddilacs Murray Hill Graveyard Blenders EMI Slime Coasters Rhino I'm Nuts About That Johnson, Lonnie 32 Columbia Gal Ran the Blues Out Of Sykes, Roosevelt 61 Smithsonian My Window Pick A Bale of Leadbelly 40 BMG Cotton Frankie and Johnnie Lewis, Furry 61 Fantasy She'll Be Comin Williams, Big Joe 62 Smithsonian Round the Mountain Stewball Leadbelly 40 BMG Have To Change Keys Johnson, Lonnie 28 Columbia (To Play These Blues) Mama Don't Allow Me Williams, Big Joe 62 Smithsonian To Fool Around Shakem on Down Lewis, Furry 61 Fantasy Alabamy Bound Leadbelly 40 BMG Mosquito Moan Jefferson, Blind 29 Milestone Lemon St Louis Blues Lewis, Furry 61 Fantasy Delta Blues Son House 41 Biograph Playing With The Johnson, Lonnie 28 Columbia Strings You Can't Lose-A-Me Leadbelly 40 BMG Cholly Woman in Elaine, Sykes, Roosevelt 61 Smithsonian Arkansas Cakewalk Into Town Taj Mahal 72 Columbia She Wants To Sell My Tampa Red 42 Arhoolie Monkey Fishin Blues Taj Mahal Columbia ----------------------------------------------------------------------------- My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Wed, 1 Nov 1995 09:21:18 -0600 Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: Re: Hans Thessink I've met Hans in Houston once when he walked into Billy Blues to see a friend of his and mine perform. After the show, he and Mike picked up their Dobros and jammed while the watresses and bar tenders were cleaning up; man what a show. He is excellent, playing and vocals. He gave me one of his CDs to play on the radio; it is called "Call Me" on Deluge Records (1993). there is a lot of folk on this CD but it is good. He has a new one oput but I do not know what it is called. Bye Nuri Nuri, Host/Producer "Off the Clock Blues Show", 90.1FM, KPFT-Houston Voted "Best Blues Radio Program" in Houston ______________________________________________________________________________ >Well, por supuesto, amigo! I met Hans on my first European tour in 1980. >He does most of his work in Europe (obviously). He and his wife used to >promote a folk/blues festival, but I think they've dropped it in recent >years. I don't recall ever hearing his recordings, but as a live >performer he was pretty credible. > > >============================================================================= >Jef Jaisun eljefe@netcom.com >============================================================================= > > > >Roger Struve (roger.lew.struve@MEDTRONIC.COM) wrote: >: I asked about this guy but it was sort of buried in another reply, so i am >: reposting the question. > >: I never heard of this guy before, but he is from Holland, and studied in >: Mississippi, and is one very good bluesman. > >: He has a video out through Homespun Tapes, which i just received. > >: Apparently he enjoys world-wide recognition, and has perhaps a dozen CD's >: out. Anybody ever hear any of them? > >: A new CD is apparently being readied for release in the USA. > >: ddr. >-- > eljefe@netcom.com > > ========================================================================= Date: Wed, 1 Nov 1995 13:32:09 -0200 Reply-To: Leonardo Kenji Shikida From: Leonardo Kenji Shikida Subject: Re: Lyric request - See That My Grave Is ..etc Comments: To: L W In-Reply-To: Excuse me, but I have the lyrics of "One kind favor" that has this "see that my grave is kept clean" into its lyrics. They're the same music ? (Or it's Blind Lemon's favorite statement ? :^]). _____________________________ Leonardo Kenji Shikida "I've been driftin... like a ship out on the sea... Well I ain't got nobody, baby... in this world that would care for me..." Charles Brown -/- On Wed, 1 Nov 1995, L W wrote: > Anyone got the lyrics to Blind Lemon's "See That My Grave Is Kept Clean" > Thanks > > LW > ========================================================================= Date: Wed, 1 Nov 1995 09:42:58 -0600 Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: Re: Bugs Henderson Bugs Henderson is a Dallas-Texas blues guitar (legend) as they call him. He plays incredible guitar including material that is not blues. Check out a song in which he plays 3 different riffs at once including The Yellow Rose of texas. The 2 recordings that I have (and there may be more) are: "Bugs Henderson and the Shuffle kings at Poor David's Pub, Dallas, TX, August 1992" (on Poor Davis Recordings, 1924 Greenville Avenue, Dallas, Texas 75206, 214-821-9891) and "At Last" by The Bugs Henderson Group, 1978 by Armadillo Productions, Inc. ARLP 78-1 (Armadillo Productions, Inc., 525=BD Barton Springs Road, Austin, texas 78704, USA). I am not sure if these addresses are still valid though! For those in the Houston area, check out Bugs at Billy Blues located on Richmond Ave. on Friday, November 3, 1995! Hope this helps a bit! Nuri Nuri, Host/Producer "Off the Clock" blues show, 90.1FM, KPFT-Houston Voted "Best Blues Radio Show" in Houston _______________________________________________________________________ >ME TOO!!!! > >I hope this request does better than mine did. > >RJ Bauman > > > >>I'm looking for information about guitarist Bugs Henderson. If >>you can help, please send e-mail to Niles@gnn.com >> >>Thanks. >> >>Niles >> >>A loop is a loop is a loop. >> > > ========================================================================= Date: Wed, 1 Nov 1995 10:44:35 -0500 Reply-To: David Ott From: David Ott Subject: Kansas City Blues/Jazz? Will be attending a professional meeting in Kansas City next month and will be there the nights of November 15-17 and whole days of Nov.16-17. Would be interested to hear from those in the area about tours that might relate to KC blues/jazz history and night activities that I might attend. Thanks in advace. Dave Ott ========================================================================= Date: Wed, 1 Nov 1995 11:16:31 -0500 Reply-To: Paul Deeds From: Paul Deeds Subject: Re: Lyric request - See That My Grave Is ..etc Comments: To: Leonardo Kenji Shikida In-Reply-To: > Excuse me, but I have the lyrics of "One kind favor" that has this "see > that my grave is kept clean" into its lyrics. They're the same music ? > (Or it's Blind Lemon's favorite statement ? :^]). Who did the original "One Kind Favor" ? I have some Legion Of Mary tapes with that song on it, and am curious as to its origin. Thanks, Paul Deeds ========================================================================= Date: Wed, 1 Nov 1995 08:30:00 -0800 Reply-To: Chris Adams From: Chris Adams Subject: Re: Feelin' Like Splittin'? Comments: To: Boyd Small In-Reply-To: <951031195545_79608344@emout05.mail.aol.com> Boyd- Last I knew Chris Miller was playing steel in the honk-tonker Wayne "The Train" Hancock in Austin. Too bad the pay is so little, but I have heard that it is even tougher in Austin, where there are many places to play, but where the pay is also kind of sparse, so what to do? I'm not sure, but I , as an Oregon blues fan, ALWAYS come out to support local talent. I realize that I may in a minority in that regard, but I would hate to see blues music and blues musicians become endangered species. (Don't EVER let Newt into a blues gig!!) I don't need a drummer, since I don't have a band, but I would if I did, though we would probably make less than you are making now. I can only provide my support to the blues and the musicians who play it. Some friends of mine on the east coast have begun to expand into other areas such as theater. They have done live music for several theater productions, as well as the regular gigs. They find it quite fulfilling as they get to expand their repertoire, but the work is just as hard and time consuming. They DO stick to their blues roots and NEVER compromise themselves. See you in the blues. Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us On Tue, 31 Oct 1995, Boyd Small wrote: > Every once in a while I feel as though I'm in a rut. I'm working on a CD > currently but that just aint enough. Gigs get to be too much the same and the > pay just too little. So__ Anyone from 'round Texas looking for an excellent > Blues Drummer? By the way has anyone heard from a former guitarist in my band > by the name of Chris Miller? How about the drummer he went to Texas with Jeff > Minnick? The last I heard Jeff quit a gig with Jr. Brown. I saw him with Jr. > on Austin City Limits. Anyone from anywhere else looking for an excellent > Blues Drummer$? Any reply will be greatly appreciated even if only to help my > get outa town jones to pass. Ya know Portland, Or. is a beautiful place and > there are plenty-o-gigs (almost) but sometimes I get an itch I just can't > scratch. Ya know whadda mean? > ========================================================================= Date: Wed, 1 Nov 1995 12:21:08 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Whitney (who?) blues : a new thread Okay dig this, and be open minded now. This morning I was tuned to my local public supported jazz show and they had on some great swing/big band stuff which sounded to me like blues, not jazz. Without us sqabbling over that fine line (jazz v. blues), I'll go on... So anyway, this woman with a GREAT BIG VOICE was singing this big band number with a great bass line, and her name was Mickey somebody. But I swear I thought it was Whitney Houston. I'm no Whitney fan, that's for sure, but until I heard the announcer give the song credits, I said to myself,"Wow! This pop diva can really belt out some blues! When the hell did she record THIS!?" -Which gives rise to my topic for a new thread- at least I think it's different from the recent "bad attempts at blues by non-blues artists" thread. Can you name some artists with great voices that don't do blues that you think would be awesome at it? I'll tell you, after having heard this WHitney sound-alike, Ms.Houston gets my nod, which oddly, I find disturbing. ;) (Yikes!) Don't forget that great surprising album of blues covers by Pat Benatar with Roomful of Blues! Who'da thunk it? Ciao! Riffin Rick (((( oo-) /- .....can Pavarotti do blues? F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 1 Nov 1995 10:30:42 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Whitney (who?) blues : a new thread In-Reply-To: Message of Wed, 1 Nov 1995 12:21:08 -0500 from > >I'll tell you, after having heard this WHitney sound-alike, Ms.Houston gets >my nod, which oddly, I find disturbing. ;) (Yikes!) I think that Whitney Houston has the best voice of any "modern" female singer in a long, LONG time. I don't listen to her, but everytime I've heard her she has impressed me. Now a shocker, DOLLY PARTON I think she is incredible. I would go see her in a heartbeat, great vocals....Sorry you asked LW ========================================================================= Date: Wed, 1 Nov 1995 11:50:24 -0500 Reply-To: rew4@PSU.EDU From: Ross Whitwam Subject: Re: Lyric request - See That My Grave Is ..etc Comments: To: blues-l%brownvm.BITNET@psuvm.psu.edu Blind Lemon Jefferson recorded "See That My Grave Is Kept Clean" twice, once in Oct '27 (Pm 12585) and again in Feb '28 (Pm 12608). Paramount's 78's were notorious for being shabbily made and rapidly perishable. For a popular record, even the master might get worn out from repeated pressings. Presumably this is why Jefferson had to re-record this song, one of his best-selling releases. (He had to re-record "Match Box Blues" one month after doing his initial Paramount version for the same reason.) The song was released under the title "See That My Grave Is Kept Clean" both times. It might be erroneously titled on some LPs today due to sloppy track listings. However, the intial release was credited to Jefferson's religous alter ego "Deacon L.J. Bates". Paramount released other religous recordings by Jefferson under this name, such as "I Want To Be Like Jesus In My Heart" backed w/"All I Want Is That Pure Religion" The second recording of "See That My Grave" was released under Jefferson's own name. Bob Groom's linear notes for Document's Complete BLJ Recordings say that the song was probably an old folk song that had been floating around for decades before Jefferson recorded it. It was included in the book _Negro Workaday Songs_ (Howard Odum and Guy Johnson, 1926) under the title "Dig My Grave With A Silver Spoon". Versions of the song were recorded for the Library of Congress by Pete Wilson in 1934 (as "Blind Lemon's Song") and by Smith Casey in 1939 (as "Two White Horses Standin' in Line"). Ross Whitwam rew4@psu.edu Dept. Biochem + Molec Biology Penn State University + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Leonardo Kenji Shikida wrote: >> Excuse me, but I have the lyrics of "One kind favor" that has this "see >> that my grave is kept clean" into its lyrics. They're the same music ? >> (Or it's Blind Lemon's favorite statement ? :^]). Paul Deeds replied: >Who did the original "One Kind Favor" ? I have some Legion Of Mary tapes >with that song on it, and am curious as to its origin. Thanks, > >Paul Deeds ========================================================================= Date: Wed, 1 Nov 1995 12:08:24 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: DC Blues Society Blues Jam Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, slevine@capcon.net The next DC Blues Society blues jam is this Sunday, November 5. We're expecting some special out of town guests this time - it should be a good one. Here are more details, from our www site: MONTHLY JAM SUNDAY NOVEMBER 5 The Society's monthly jam will be held at Food For Thought Restaurant, Sunday November 5. The jam, which runs from 4:00 to 8:00 PM, will start with acoustic artists and then switch over to electric blues no later than 6:00 PM. The jams, held the first Sunday of each month, are open to musicians and vocalists of all levels. They provide a means for musicians to get to know each other and to let everyone enjoy what is the biggest monthly house party in town. If you want to sit back and simply enjoy the good music and good times, you can do that too. Florette Orleans and Melvin Lavert host the jam so, if you want to play, see them when you arrive. If you would like to help us run the jam, please let us know. JP Reali pitched in last month as our sound technician and we hope to have him back. We could use assistance in announcing and scheduling as well. The jam has become so popular that we may be forced to place strict limits on set times. Our policy is to give the set leader (determined by position on the sign-up sheet) a good deal of freedom in selecting the musicians playing on their set. Set leaders are responsible for song selection and, therefore, have a tendency to chose artists that they know can play their songs. Set leaders will be encouraged to use artists that have not yet had a chance to play. To make this work effectively for everyone, we will need more help in organizing the jam. If you are interested in helping, please come a little early to the jam so we can talk about procedures. Food For Thought is located on Connecticut Avenue, a few blocks north of the Dupont Circle Metro station on the Red Line. ========================================================================= Date: Wed, 1 Nov 1995 17:31:57 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Re: Hans Thessink Comments: To: bit-listserv-blues-l@uunet.uu.net This particular CD on Deluge was produced by Colin Linden who's a member of BLUES-L eRIC He gave me one of his CDs to play on the radio; it is called "Call Me" on Deluge Records (1993). there is a lot of folk on this CD but it is good. He has a new one oput but I do not know what it is called. ========================================================================= Date: Wed, 1 Nov 1995 13:07:31 CST Reply-To: JBards From: JBards Subject: Re: Whitney (who?) blues : a new thread Comments: To: MILLER@SCI.WFBR.EDU I think that might be Micki Honeycutt, who used to be lead singer with A-Train. She's local here in Shreveport and has her own CD out somewhat recently. She sounds a bit like Tracey Nelson, only with a bigger voice... Jim _______________________________________________________________________________ Subject: Whitney (who?) blues : a new thread From: MILLER@SCI.WFBR.EDU at INTERNET-SH Date: 11/1/95 11:27 AM Okay dig this, and be open minded now. This morning I was tuned to my local public supported jazz show and they had on some great swing/big band stuff which sounded to me like blues, not jazz. Without us sqabbling over that fine line (jazz v. blues), I'll go on... So anyway, this woman with a GREAT BIG VOICE was singing this big band number with a great bass line, and her name was Mickey somebody. But I swear I thought it was Whitney Houston. I'm no Whitney fan, that's for sure, but until I heard the announcer give the song credits, I said to myself,"Wow! This pop diva can really belt out some blues! When the hell did she record THIS!?" -Which gives rise to my topic for a new thread- at least I think it's different from the recent "bad attempts at blues by non-blues artists" thread. Can you name some artists with great voices that don't do blues that you think would be awesome at it? I'll tell you, after having heard this WHitney sound-alike, Ms.Houston gets my nod, which oddly, I find disturbing. ;) (Yikes!) Don't forget that great surprising album of blues covers by Pat Benatar with Roomful of Blues! Who'da thunk it? Ciao! Riffin Rick (((( oo-) /- .....can Pavarotti do blues? F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 1 Nov 1995 10:54:57 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Signing Off for Vacation! I'm going NOMAIL for a couple weeks while I head off for California. Don't cause too much trouble here on BLUES-L while I'm gone! Shannon ========================================================================= Date: Wed, 1 Nov 1995 12:15:24 -0600 Reply-To: Scott Berman From: Scott Berman Subject: Blues in Chicago at Thanksgiving If anyone knows of some especially good things happening in Chicago during the weekend of Thanksgiving, could you please let me (and not the list) know. Thanks, Scott _______________________________________________________________ Dr. Scott Berman bermansj@sluvca.slu.edu Department of Philosophy Office (314) 977-3160 St. Louis University Fax (314) 977-3874 St. Louis, MO 63103 U.S.A. ========================================================================= Date: Wed, 1 Nov 1995 13:18:47 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Lyric request - See That My Grave Is ..etc Comments: To: rew4@psu.edu I generally stay away from threads of this sort but perhaps I can add something to this one: Son House told me that when he was recording for Paramount Records in Grafton, Wisconsin, in May, 1930, there was still tremendous interest in the material of Blind Lemon Jefferson who had been dead for about six months. Son recorded a version of "See That My Grave Is Kept Clean" on May 28, but it was never assigned a matrix number or released. Later that same day, he used the melody of the song along with his own lyrics for "Mississippi County Farm Blues" which was issued as Paramount 13096 with "Clarksdale Moan" on the other side. He continued to perform this song in concert following his 1964 rediscovery. *SEXIST PIG CONTENT FOLLOWS* I asked Son how it could be that he and Charley Patton and Willie Brown could travel from Mississippi to Wisconsin and back with the young Louise Johnson without there being some sort of romantic attraction going on. He smiled as his memory went back almost 40 years and he took a drag on his cigarette. "Well," he said, "She left out Charley's but she come home mine." Dick Waterman ========================================================================= Date: Wed, 1 Nov 1995 13:19:30 -0500 Reply-To: BluesBeats@AOL.COM From: Joseph Jordan Subject: November 1995 Bay Area Blues Beat Hi Friends, Here is my monthly column ( I write this for Southland Blues out of Los Angeles) for those of you interested in just some of what's going on around the San Francisco Bay Area Blues Scene. Hope you enjoy it and that the rest of the year is a happy and pleasant one for your friends and family. Peace and Love from San Francisco...Regards from your Bay Area blues friend... Joseph. November 1995 Bay Area Blues Beat by Joseph Jordan SAN FRANCISCO: BAY AREA BLUES BEAT CD OF THE MONTH: Ex-Texas and now San Mateo guitarist Kenny "Blue" Ray has recently released his second, self-produced recording, the 56-minute, 17-song, "Cadillac Tone" and its a spine-tingling scorcher in the SRV and Albert Collins mold. Kenny is a way-undersung artist who displays a dazzling command of fat-toned rocking-blues and he's much deserving of wider attention. Heck, even co-Peninsula resident John Lee Hooker is a big fan of Kennys. Get in touch with "Blue" Ray at 415-321-5870 and order up one of the best independent releases of the year. You'll be wondering how this guy has been kept under wraps for so long. Spread the word! BAY AREA BLUES BEAT CLUB DATE OF THE MONTH: It's got to be the night that the great Massachusetts favorite-son, Ronnie Earl, made his only live appearance in San Francisco in almost five years when he sat in with local hero (and soon to be yours) Tommy Castro at Biscuits and Blues and stunned the small but extremely fortunate crowd with his blistering guitar work. And by the way, look for Tommy's debut recording for Blind Pig Records out next month! BAY AREA BLUES BEAT BRIGHT STAR: One of the most beloved figures in the Northern California blues community is Chicago-blues veteran and master drummer Francis Clay. Francis was Muddy's drummer on and off for about 15-years starting in 1957. He has also toured and recorded with Little Walter, Otis Spann, Clifton Chenier, The Hook, Big Mama Thornton, Lightin' Hopkins and Jimmy Reed (to name a few) and was a founding member of the James Cotton Blues Band. Unfortunately, Francis has fallen on some hard times recently and musician Mark Naftalin has opened up a benefit fund for him with a 100% assurance that every penny of donated monies will go directly to Clay. Your checks can be made payable to: Francis Clay Fund and sent to: Francis Clay Fund, POB 151095, San Rafael, CA 94915-1095. Instead of buying yourself and your best friend that beer this weekend, pop a much-needed check in the mail to Francis. He's already done a ton for us and it's now our chance to shine by providing him with our thanks. By the way, Yoshi's in Emeryville recently hosted an amazing turnout of Francis' friends and colleagues in a musical benefit for the semi-active drummer. Donating their time for their friend were Boz Scaggs, Big Bones, Elvin Bishop, Pete Sears, Sista Monica, Lady Bianca, Alvin Youngblood Hart, Nick Gravenites, Bobbie Webb, Tommy Castro, and Naftalin among many others. BAY AREA BLUES BEAT PUBLISHING NOTE: If you've not yet seen it, I've got to tell you about a marvelous new art book out by one of the legendary (and I do not use that term lightly) R&B pioneers. Surprise, surprise, but Sebastopol resident, the great Johnnie Otis is an accomplished and critically acclaimed artist (oils, sculptures, and cartoons) as his 128-page, coffee-table quality art book entitled "Colors and Chords" will attest. With a biographical essay and comprehensive discography by pre-eminent Bay Area musicologist Lee Hildebrand, this book has been hailed as a elegant showcase for yet another facet of this true Renaissance man of music. Congrats to Pomegranate Artbooks of Rohnert Park for having the class to do this project right. Heck, if Johnny had done nothing else but help sire Shuggie, I'd still be thanking him forever. BAY AREA BLUES BEAT ARTIST ON THE TOWN: The remarkable musicologist and Arhoolie Record owner Chris Strachwitz celebrated his label's 35th-anniversary last month with a three-day extravaganza of lectures, workshops, seminars, and concerts. Guest speakers included among others Larry Cohn of Columbia/Sony's re-issue project (Robert Johnson, Bessie Smith and countless others), Dick Spottswood (discographer and writer) and Orrin Keepnews (NARAS.) A real highlight was a Sunday night blues and gospel session featuring Oakland's Paramount Singers, Sacramento keyboardist Omar Shariff, Virginia's treasure Mr. John Jackson and North (Bay Area) County's Johnny Otis and his Orchestra. Happy Birthday, Arhoolie, and congratulations on an impressive weekend celebration! ========================================================================= Date: Wed, 1 Nov 1995 18:49:49 GMT Reply-To: keith abel From: keith abel Organization: jewel-paula records Subject: World Mourns Loss Of Great Rock n' Funk n' Soul Drummer Comments: To: bit-listserv-blues-l@uunet.uu.net (Shreveport, Louisiana) It is with great sadness that I report the passing of Louis Acorn. Louis died suddenly in a tragic car-train collision here Saturday, October 29, 1995. Although few will ever recognize the name Louis Acorn, it was his remarkable talent as a drummer with Bobby Patterson and the African Music Machine that will raise the curios wonders of fans worldwide. Louis was also a great singer, one of the most soulful I have ever heard! During the late 60's and 70's, Louis was a staple at Shreveport's Southern Star Studios. He and James Stroud were the session drummers who along with Louis Villery recorded numerous super southern soul numbers. Louis was still working and was as good as ever, right up until his untimely demise. Louis is survived by his three sons ages 24, 15 and 10, and three sisters. A memorial service is scheduled tonight, November 1, 1995, from 6:00 to 8:00 p.m. at Good Samaritan, 2200 Laurel Street, Shreveport, Louisiana. Graveside Burial Service will be Thursday, November 2, 1995 at Round Grove Cemetery, Shreveport, Louisiana. ========================================================================= Date: Wed, 1 Nov 1995 14:09:22 EST Reply-To: apaul@CLIFF.WHOI.EDU From: Alora Paul Subject: Steve Miller i'm listening to the 'blues at 2' on our local (hyannis, ma) radio station. today in this precious 10 minute allotment of blues time, one of their selections is a live rendition of steve miller 'mercury blues'. i've always loved the studio version of this song, and the live one sounds good too. what is he up to these days, anybody know? how do you all regard (or not) his blues guitar playing, anyhow? regards, alora apaul@whoi.edu ========================================================================= Date: Wed, 1 Nov 1995 15:25:42 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: James Brown (heh! kiss myself!) influence. I just picked up my first James Brown CD, and I don't know why I should be surprised, but this stuff is awesome. I purchased "The CD of JB", a 1985 compilation on Polydor for $1.99. Like a lot of white kids from the suburbs, I've only really known the JB that has trickled into mainstream (read "also white") radio and movie soundtracks over the years. "I Feel Good", etc, right? As a blues musician, I've learned that his influence is strongly felt by other artists of his heyday, say the '60s, even though he's really considered a soul and R&B artist. The Godfather, n'est ce pas? But not til now have I really grasped it. In his band's playing (The JBs) I hear guitar riffs, hooks, and chord changes that I have heard over and over by later artists, not knowing the source. This is sort of R&B influencing blues, sort of a "chicken and egg" thing, which is interesting. And, AND!..there is some blues in there too. It's funky as hell how the band may just hang (at his vocal direction) on the I, never making it to the IV, or V til maybe the end of ths song, but will break into a bridge that you didn't know was coming, or again at his command, switch key entirely in the middle of a song. "..Can we go to a D?! I said CAN WE GO TO A D?! [heh!]" If you think you know something about blues but don't have any James Brown in your collection,do yourself a favor. School is still in session. :) Riffin (I'm a late learner) Rick (((( oo-) /- "...this is a man's world, but it isn't NOTHIN'--- without a woman, or a girl" jb F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 1 Nov 1995 12:12:24 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: JAMES BURTON, GUITARIST Comments: To: BluesHvn@aol.com Some of you may know that JAMES BURTON came out of a coma on August 24, Shreveport, LA. (Highland Hosp). Does anyone know how he's doing. For years he played lead guitar for Rick Nelson & Elvis Presley. eRIC ========================================================================= Date: Wed, 1 Nov 1995 14:16:39 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: JAMES BURTON, GUITARIST In-Reply-To: Message of Wed, 1 Nov 1995 12:12:24 -0800 from On Wed, 1 Nov 1995 12:12:24 -0800 Eric LeBlanc-CISTI said: > Some of you may know that JAMES BURTON came out of a coma on > August 24, Shreveport, LA. (Highland Hosp). > > Does anyone know how he's doing. For years he played lead > guitar for Rick Nelson & Elvis Presley. I didn't even know he was in a coma. I'd like to know more. I think he has been a tremendous influence on alot of todays pickers..(whether they know it or not) I saw him when he was part of Emmy Lou Harris's band, I think he was part of the "Hot Band". He was absolutely terrific and of course the rest of the band was outstanding also.. LW ========================================================================= Date: Wed, 1 Nov 1995 12:35:07 -0000 Reply-To: "J. Witteveen" From: "J. Witteveen" Subject: Re: Catholic Blues Mass? RJ wrote in reply to Mike: >I know how you feel, Mike. > >After induring mass for 30 years, I switched for good to the Episcopal >Church, which has a much more flexible style of worship in the second service >on Sundays. Bass player, two keyboards, vocalists; the works. My mother's been trying to convince me to join the church choir for a couple of years now - I told her that as soon as they start doing Blind Boys songs I'll be there with my guitar strapped on! :-) Heck, I'll even settle for doing some Mahalia Jackson... oh, well, I don't think it'll happen in my lifetime! -Jim (hndful@uniserve.com) Abbotsford, B.C. Canada ========================================================================= Date: Wed, 1 Nov 1995 21:33:33 +0100 Reply-To: Peter Gallagher From: Peter Gallagher Subject: Re: Whitney (who?) blues : a new thread Comments: To: jbards@MAIL-SH.LSUMC.EDU In-Reply-To: <9510018152.AA815255962@mail-sh.lsumc.edu> from "JBards" at Nov 1, 95 01:07:31 pm I often thought the rather portly lady who sang with Soul to Soul (Soul 2 Soul? Soul II Soul? - whatever) would be a great blues-singer. A gorgeous lady too! And what about "Arrested Development" - ? regards, PeterG ( "I can see, I can see, I can see right THRU YOU"- Soul to Soul) :-) ( alright - alright - I'll shuddup now and speak blues in future! :-) ) ---- > -Which gives rise to my topic for a new thread- at least I think it's different > from the recent "bad attempts at blues by non-blues artists" thread. > > Can you name some artists with great voices that don't do blues that you think > would be awesome at it? -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Wed, 1 Nov 1995 15:55:11 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Arhoolie-Tribute and Contest. Comments: To: bit-listserv-blues-l@uunet.uu.net We have decided to devote a special issue of NY CD Blues to the great output of Chris Strachwitz's Arhoolie Records. Our goal is to review the entire output of his label - CD by CD. So I've turned it into a contest (I always say - if you ain't havin' fun, why do it). e-mail me a review of any Arhoolie CD you own (OK to enter more than once). The winner (best review IMO) will win their choice of one of the following CD's: 1. Jesse Fuller - Frisco Bound 2. Fred McDowell - You Gotta Move 3. Big Joe Williams - Shake Your Boogie 4. Mance Lipscomb - Texas Blues Guitar In case of a tie I'll give away more than 1 CD to the tie-ees. In case of no winners - boo on us. All reviews become the property of NY CD Blues and each review will have the name of the writer included in the byline. This issue as all of our issues goes out free. There is no charge for it and we make no money on it. It's just part of our contribution to the blues. Issues of NY CD Blue are sent to blues clubs in the Northeast, radio stations and this one of course will be sent as well direct to Arhoolie. e-mail your review to bsco@panix.com -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Wed, 1 Nov 1995 16:15:25 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: James Brown (heh! kiss myself!) influence. Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, MILLER/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=MILLER#a#SCI#f#WFBR#f#EDU@s1boca.corp.wrgrace.com F.J.(Rick)Miller writes: * If you think you know something about blues but don't have any James Brown *in your collection,do yourself a favor. School is still in session. :) Rick - if you liked the CD of JB, get James Brown Live at The Apollo. This is, IHMO, one of the greatest live albums ever recorded (it's up there with BB Live at The Regal and the Allman Brothers Live at The Filmore). -Steve ========================================================================= Date: Wed, 1 Nov 1995 16:27:00 CST Reply-To: topcat@COMPUTEK.NET From: "" Subject: NEW WEBPAGE - TOPCAT RECORDS FINALLY, our Webpage is up!!! URL is http://www.texasblues.com/topcat OR http://www.computek.net/topcat. It is under construction right now on the Live Tour section, but the catalog is up and running. Please give 'er a look! Thanks. Richard Chalk TopCat Records ========================================================================= Date: Wed, 1 Nov 1995 16:34:48 CST Reply-To: JBards From: JBards Subject: Re: JAMES BURTON, GUITARIST Comments: To: Eric LeBlanc-CISTI As I think I reported earlier, James is alive and well here in Shreveport. He opened up a rock n' roll club on the riverfront, opposite our handy-dandy new floating casino (ugh), but the club is quite good. His son fronts the house band and is a very good player, but alas, they do mainly covers. James is frequently at the club, and will get up and a play a couple of numbers most nights. Other than that, he's still travelling and doing a lot of special appearences and studio recording.\ Jim, Shreveport _______________________________________________________________________________ Subject: JAMES BURTON, GUITARIST From: Eric LeBlanc-CISTI at INTERNET-SH Date: 11/1/95 3:12 PM Some of you may know that JAMES BURTON came out of a coma on August 24, Shreveport, LA. (Highland Hosp). Does anyone know how he's doing. For years he played lead guitar for Rick Nelson & Elvis Presley. eRIC ========================================================================= Date: Wed, 1 Nov 1995 16:36:10 CST Reply-To: JBards From: JBards Subject: Re: Kansas City Blues/Jazz? Comments: To: David Ott The Emporium is really excellent, and has very good barbecue too, even though George seldom.... over never, mind. Try the Grand Emporium, it's a great blues hall. _______________________________________________________________________________ Subject: Kansas City Blues/Jazz? From: David Ott at INTERNET-SH Date: 11/1/95 10:30 AM Will be attending a professional meeting in Kansas City next month and will be there the nights of November 15-17 and whole days of Nov.16-17. Would be interested to hear from those in the area about tours that might relate to KC blues/jazz history and night activities that I might attend. Thanks in advace. Dave Ott ========================================================================= Date: Wed, 1 Nov 1995 21:56:46 GMT Reply-To: keith abel Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: keith abel Organization: jewel-paula records Subject: Re: JAMES BURTON, GUITARIST Comments: To: leblanc@HAIDA.DAO.NRC.CA I have talked with James and his wife Louise this week. He is doing very well, however he is still in therapy for the trauma to his leg. He plans to be back on stage in a regular fashion very soon. ========================================================================= Date: Wed, 1 Nov 1995 22:00:07 GMT Reply-To: keith abel Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: keith abel Organization: jewel-paula records Subject: Re: JAMES BURTON, GUITARIST Comments: To: leblanc@HAIDA.DAO.NRC.CA i spoke to james and his wife louise on saturday. he is recovering well, however he still is in therapy for the trauma to his leg. look for him to be back on stage at his own james burton's rock n' roll cafe in shreveport real soon! ========================================================================= Date: Wed, 1 Nov 1995 22:32:10 GMT Reply-To: Paul L Pearson From: Paul L Pearson Organization: Iowa State University, Ames, Iowa Subject: Re: Bugs Henderson Comments: To: bit-listserv-blues-l@uunet.uu.net In <199511011542.JAA08377@sam.neosoft.com> "Nuri A. Nuri" writes: >Bugs Henderson is a Dallas-Texas blues guitar (legend) as they call him. He >plays incredible guitar including material that is not blues. Check out a >song in which he plays 3 different riffs at once including The Yellow Rose >of texas. The 2 recordings that I have (and there may be more) are: "Bugs >Henderson and the Shuffle kings at Poor David's Pub, Dallas, TX, August >1992" (on Poor Davis Recordings, 1924 Greenville Avenue, Dallas, Texas >75206, 214-821-9891) and "At Last" by The Bugs Henderson Group, 1978 by >Armadillo Productions, Inc. ARLP 78-1 (Armadillo Productions, Inc., 525=BD >Barton Springs Road, Austin, texas 78704, USA). PDR is available through cdconnection.com, I believe. The at last recording is available through cdeurope.com as an import. Bugs also has "American Music", Daredevils of the Red guitar (pronounced Gi' tar' or however Bugs says it), Years in the Jungle and his most recent, That's the Truth-Live all on Flat Canyon records out of Colorado. Some of these are available on cdconnection.com or cdnow.com. I do have the phone # for FCR if you need it. I got a video, That's the Truth-Live from them also-nope, it's called Live at the Fox, sorry. It's cool. >I am not sure if these addresses are still valid though! >For those in the Houston area, check out Bugs at Billy Blues located on >Richmond Ave. on Friday, November 3, 1995! >Hope this helps a bit! >Nuri Nuri, Host/Producer >"Off the Clock" blues show, 90.1FM, KPFT-Houston >Voted "Best Blues Radio Show" in Houston >_______________________________________________________________________ >>ME TOO!!!! >> >>I hope this request does better than mine did. >> >>RJ Bauman >> >> >> >>>I'm looking for information about guitarist Bugs Henderson. If >>>you can help, please send e-mail to Niles@gnn.com >>> >>>Thanks. >>> >>>Niles >>> >>>A loop is a loop is a loop. >>> >> >> Bugs rules!! -- Paul L. "Pro" Pearson President, Kurt Rambis Fan Club (unofficial) Ames, IA Chapter ========================================================================= Date: Wed, 1 Nov 1995 15:09:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Hello Ukraine/Lotta class Comments: cc: jdharper@aristotle.net Over the weekend, not-so-well-off friends from the suburbs of Kiev were visiting us here in the decidedly affluent (no lie) center of Moscow. I got this nutty idea to introduce the twelve-year old daughter (birthday girl as it happened), Christina, to the blues and the internet, and I invited Bluezellers to wish Christina happy birthday via a post I sent. Well, I don't know how many people responded, it must have been 25 or more!!! I can't *tell* you all what a revelation this amounted to for the young girl, and her family as well. Suburban Kiev, mind you, is so damn bad off these days that they don't illuminate the streets at night for lack of power, they only light up the downtown. You go home in moonlight or blackness. In short, these are people that can use a little cheer in their lives. I won't belabor this, but you all made quite an impression. BTW, I used the amusing Muddy Waters' cut from Live at Newport about how his baby left him for the garbage man (imagine his chagrin) to explain the Blues. The girl was knocked over by it all, my good Bluezellers. But you made a big big impression on me too. Every single E-mail was thoughtful, caring, and full of decency. Bluezellers, you are simply the best damn folks!!!! "Don't know where she been And I don't know where she goin' Yeah, I don't know where the little girl's been ANd I don't know where she goin' Won't you please come back to me little darlin' My garbage can is overflowin'! Yours very gratefully, J.E._Downey@bakermck.com Joe Downey ========================================================================= Date: Wed, 1 Nov 1995 17:53:08 -0500 Reply-To: Jazzman181@AOL.COM From: Paul Stowell Subject: UNSUSCRIBE UNSUSCRIBE please unsuscribe me from this mailing list. ========================================================================= Date: Wed, 1 Nov 1995 18:27:00 EST Reply-To: edward c liu From: edward c liu Subject: SITTING&THINKING: Albert Collins Howdy all, This is the NYCD Blues cut-by-cut review for Albert Collins & the Icebreakers _Live '92-'93_ disc. I feel like this one practically wrote itself. Special thanks must go to list member Dick Shurman for his involvement in bringing Albert's last recordings to us. I bought this disc based on some of the hoopla given it here. Liked it enough to do this review. Go get it. Now. You'll thank me =8^). -- Ed Edward C. Liu | "I never say what I mean but I always manage edwick@cc.bellcore.com | to say something similar." | -- Eugene Ormandy The opinions in this message are mine and not Bellcore's. Really! *------------------------------cut heer------------------------------* ALBERT COLLINS AND THE ICEBREAKERS / LIVE '92 - '93 (POINTBLANK 7243 8 40658 2 9) POINTBLANK RECORDS 338 N FOOTHILL ROAD BEVERLY HILLS, CA 90210 In March, 1993, I was faced with the choice of studying for a midterm or going to see Albert Collins live. I opted for Albert, having seen him live once before. At one point during his trademark audience walk, Albert was on a balcony about 50 feet away but directly across from me. I howled something incomprehensible and shook my fists in the air, which drew a grin, a wave, and a friendly, "How y'all doin?" from Albert. Eight months later, I heard the news that Albert had succumbed to cancer. A man who knew he was dying still managed to give me one of the most memorable moments of my concert-going life. This disc, culled from live performances shortly before his death, is a fitting way to say farewell to Albert, letting us celebrate the fact that he lived rather than mourn the fact that he died. It crackles with the same energy that Albert brought to his live performances -- close your eyes and you'll see him next to you, capo'ed blonde Telecaster in hand. Without a doubt, this is one of the best albums of the year, and it is destined to take its place in musical history as one of the greatest live albums of all time. Iceman / Lights Are On But Nobody's Home / If You Love Me (Like You Say) / Put The Shoe On The Other Foot / Frosty / Travelin' South / Talkin Woman / My Woman Has A Black Cat Bone / I Ain't Drunk / T-Bone Shuffle NYCD Takes Iceman: This is the first of many quick, infectious shuffles on this disc. Some thunderous bass and horns by Johnny B. Gayden and "the Legendary White Trash Horns," respectively, lead into this Albert trademark tune. The guitar part cuts like a hot knife through butter, Albert's vocals rip you ragged, and you can see the electricity the band is generating. But the band is only warming up.... Lights Are On But Nobody's Home: This 10-plus minute slow burner opens with a squawking-chicken guitar intro, complete with Albert scat singing along with his Telecaster. After an incendiary vocal, you are treated to some mighty saxophone blowing by Jon Smith. Then it's back to Albert's wonderfully ragged vocals and guitar. The track closes out with the first sample of Albert's talking guitar and some nice riffing between Albert and rhythm guitarist Pete Thoennes. If You Love Me (Like You Say): There are some songs done during live performances that grab you out of any chair you might have been sitting in and MAKE you shake your moneymaker. This track does that without the live part. This track motors along at a steady clip, opening with a call-and-response between Albert and the horns. Albert turns in a white-knuckler of a guitar solo before turning it over to Bobby Alexis who defines "funky" on his organ solo. Put The Shoe On The Other Foot: A swinging shuffle showcasing the amazing rhythm section of Johnny B. Gayden on bass and Marty Binder on drums. Marty especially shines, pounding the hell out of his drums in a funky tom-tom under Albert's sizzling guitar solo. While it has a more laid-back feel than the previous track, it'll get you going just as much. Go ahead -- try to keep your feet still for this track. I dare you. Frosty: After a quick shirt-change, Albert kicks off his encore with one of his classic tunes. He starts it off with a razor-sharp solo before letting the other members of the band shine. Jon Smith blows mightily again on sax before handing it over to Steve Howard on trumpet, who first plays muted and then full-blast. It's on to "Pete on guitar" and then Bobby on organ before Albert introduces the band. Then it's one last Albert solo before he hits the road. Travelin' South: A spartan lead-in by Albert kicks off another one of the band's infectious shuffles. Albert's vocals are especially good on this track, and his guitar solo is lean and mean and full of fire. Talkin Woman: An uptempo number driven hard and fast by Johnny and Marty again. Albert's guitar solos are full of broken-glass edges to them. He also lets his dry sense of humor come out in his lyrics about his woman with a big mouth. The horns provide terrific fill-ins to Albert as well. This one's so infectious you better have some penicillin handy just in case. My Woman Has A Black Cat Bone: Another of Albert's live staples that opens with that unmistakable two-note signature. Albert starts off with vocals, and the band enters one-by-one, slowly building the intensity of this track until it just about explodes. Albert's vocals have got fantastic ragged edges to them. Bobby provides a wonderful organ solo before Albert kicks into another thunder-and-lightning solo. There's more talking guitar here and more Albert scat singing before Albert does some riff-trading with Pete (who holds his own against Albert admirably) before the band slowly turns it down, eventually returning to the two-note riff for a fade-out. Simply brilliant. I Ain't Drunk: A Collins classic, chock full of Albert's dry (and sometimes not-so-dry) sense of humor. The band is clearly having a ball on this one. The interlude is terrific, especially when Albert does his "two drunks in a tavern" story, proving he's the only man in the world capable of cursing you out with his guitar. T-Bone Shuffle: A more laid-back groove closes out this disc. The rhythm section is gently insistent, and Albert's vocals are more restrained than on other tracks. Bobby Alexis does some wonders on organ, filling in nicely for a background vocal section behind Albert's vocals. More great soloing by Pete and Albert before Albert's scat-solo finishes off the track and the disc. ========================================================================= Date: Wed, 1 Nov 1995 12:37:00 -0600 Reply-To: "timothy (t.b.) bosley" From: "timothy (t.b.) bosley" Subject: Re: Dr. Hepcat In message "Dr. Hepcat", Bruce Roberts wrote: >I just heard that Lavada "Dr. Hepcat" Durst died. >The only recording I know of is the "Texas Piano Professors" with Erbie >Bowser and the Grey Ghost. > There is also "Lavada Durst", a cassette put out by Documentary Arts in Dallas. ========================================================================= Date: Wed, 1 Nov 1995 19:28:55 EST Reply-To: William Pollak From: William Pollak Subject: James Brown It's nice to see some play on the list lately for James Brown. While I was working on my submission on James Brown for the book that Tom Morgan is editing, it suddenly struck me that I live in a country where the most influential musician of the last 50 years is an object of ridicule, indifference, and derision, while Billy Joel or [fill in whoever you want here] is considered an "artist." James absorbed the Blind Boys, the Five Royales, the Midnighters, and Little Willie John (listen to his early records on "Roots of a Revolution"), then took a left turn and created funk, disco, hip-hop, and rap. Without James, nothing we hear today would sound the same. If our definition of art doesn't include James Brown, we either need a new definition or a new word. Bill P. (Who hopes to meet Jean Plum one day and tell her that she is great and that her recordings are brilliant.) ========================================================================= Date: Wed, 1 Nov 1995 20:04:17 -0500 Reply-To: KGIBSON743@AOL.COM From: Kevin Gibson Subject: Milk Cow Blues I need a list of people who coverd this song. Thanks in advance. ========================================================================= Date: Wed, 1 Nov 1995 21:12:21 -0500 Reply-To: Bkg agent From: Bkg agent Organization: America Online, Inc. (1-800-827-6364) Subject: Roy Rogers and the "Delta" (?) Rhythm Kings Comments: To: bit-listserv-blues-l@uunet.uu.net Just curious. Wonder how many of the members of this band are from the delta? The real delta...the MISSISSIPPI Delta? Anybody know? Janice Nickeltune Music, Inc. ========================================================================= Date: Wed, 1 Nov 1995 22:06:58 -0500 Reply-To: Conqueroot From: Conqueroot Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Quebec Referendum Blues Comments: To: bit-listserv-blues-l@uunet.uu.net Lets try to stick to the blues and keep the crap about politics, canada, bosnia, OJ etc. off of this newsgroup. ========================================================================= Date: Thu, 2 Nov 1995 03:19:21 GMT Reply-To: "A.C. Brockton" From: "A.C. Brockton" Organization: Primenet Subject: Re: Clean Head Comments: To: bit-listserv-blues-l@uunet.uu.net There's a 1983 recording by Joe Williams called "nothin' but the blues' that features Vinson on sax and vocals (one track). The CD is on Delos Records. I don't know if you're familiar with Williams, but he's a superb jazz/blues vocals who started out singing for Count Basie forty years ago. The CD includes a set of blues standards, including Just a Dream, Please Send Me Someone to Love, and Mean Old World. If you check this one out and like it, I'd suggest "Me and Blues," a recording Williams did in the early 60's, also available on CD. ================================================================= Andrew Brockton http://www.primenet.com/~brock Technical Documentation Services: including manuals, help, & HTML ================================================================= ========================================================================= Date: Wed, 1 Nov 1995 21:38:32 -0600 Reply-To: Bennett Pearce From: Bennett Pearce Organization: UAB Pediatric Cardiology Subject: Re: JAMES BURTON, GUITARIST Comments: To: bit-listserv-blues-l@uunet.uu.net In article <9511012012.AA17962@dao.nrc.ca>, Eric LeBlanc-CISTI wrote: > Some of you may know that JAMES BURTON came out of a coma on > August 24, Shreveport, LA. (Highland Hosp). > > Does anyone know how he's doing. For years he played lead > guitar for Rick Nelson & Elvis Presley. > > eRIC He is one of the GREATEST. Played on some classic Killer tracks. Get Well Soon!!! -- Bennett Pearce ========================================================================= Date: Thu, 2 Nov 1995 03:30:41 GMT Reply-To: "A.C. Brockton" From: "A.C. Brockton" Organization: Primenet Subject: Re: Hidden Gems Comments: To: bit-listserv-blues-l@uunet.uu.net >(1) Johnny Adams, "Walking On A Tightrope." Superb readings >of Percy Mayfield songs by one of the country's best vocalists, >regardless of style. Nice guitar from Walter "Wolfman" >Washington and Duke Robillard. I will most definitely second that motion. I would add Joe Williams "Me and the Blues", Robert Ward "Fear no Evil", and Angela Strehli "Blonde and Blue". ================================================================= Andrew Brockton http://www.primenet.com/~brock Technical Documentation Services: including manuals, help, & HTML ================================================================= ========================================================================= Date: Wed, 1 Nov 1995 23:24:59 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Dr. Hepcat One of the great things about the Internet -- and especially the Blues-L part of it -- is the rapid distrbution of news to people who want or need to know. The passing of Dr. Hepcat is an example. Because a bluezeller cared to post the news of Lavada Durst's death, we were able to schedule a short tribute to him on our show tonight, and to play his 1950 recording, "Hattie Green." Such news would never appear in regular newspapers, andeven excellent journals like Blues & Rhythm or Living Blues have long lead times before printing. So thank you, Blues-L, once again. A question -- The UK Ace LP "Lyons Avenue Jive" contains Durst's two tracks from Peacock. The liner notes, dated 1986, say "an album of new recordings [by Durst] will be issued shortly by Mike Rowe." Does anyone know if this ever appeared, and if so, if it is still available? Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Wed, 1 Nov 1995 23:43:24 -0500 Reply-To: robert barclay From: robert barclay Subject: Re: Whitney (who?) blues : a new thread >> >>I'll tell you, after having heard this WHitney sound-alike, Ms.Houston gets >>my nod, which oddly, I find disturbing. ;) (Yikes!) > >I think that Whitney Houston has the best voice of any "modern" female singer >in a long, LONG time. I don't listen to her, but everytime I've heard her she >has impressed me. Now a shocker, DOLLY PARTON I think she is incredible. I >would go see her in a heartbeat, great vocals....Sorry you asked >LW > > I'm with you on this LW [if I may be so bold] Try listening to the album "TRIO" [not a cd]. On a really good stereo, DP sings with LINDA RONSTADT and EMILY LOU HARRIS and it is the sweetest country music you could ever hear. You would think you had died and gone to heaven! rb. ========================================================================= Date: Wed, 1 Nov 1995 23:27:39 PST Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Catholic Mass w/ some Blues! Well folks, first practice is over and I have a strange feeling this was meant to be. I think God wants me to help get a hipper choir on it's feet for this church to pay off it's building debt. I know I won't stick with it for more than 6 months (when the weather starts getting nice), so that *has* to be the plan. We practiced 6 songs, 2 traditional hymns, 2 contemporary hymns, and two things that go along with what the priest incants during the mass. They sure don't go to much trouble getting the chord names right on this stuff, for us guitarists. Figured it out anyway! We are: a director with a great voice, a piano teacher in her 30's with a great voice, myself with a good voice, and a soprano violinist (w/o her axe tonight) fresh out of school who is a bit shy to sing loudly (but I hope she sticks it out). I decided that the Blues tune I want to do is "Sinner's Prayer" the Lowell Fulson tune, ala E.C. ('sides, I don't have any Fulson). Great lyrics that won't offend anyone, a piano part you could really sink your digits into and even without a bass and drums (haven't found anyone yet) that song would come across very powerfully. Any Catholic (or passable) bass player and drummer out there in the NW Chicago suburbs, mail me! The director (who could be Rob Reiner's younger brother) suggested "Tears In Heaven", at which point I picked my guitar back up and started playing the song (I've never played it before). I looked down at my amp and there was this fat, little, orange-red, Lady Bug sitting smack in the middle of the tweed top. Must be good luck. "A sign", the director said. He also said he had this strong feeling that he had met me before, known me for a long time. I must admit I felt more comfortable than I would normally have under the circumstances. It was very peaceful being in the church at night with the lights down low and no one else around, just makin' music. I don't really know why I'm doing this. It is not like me to be participating in anything to do with organized religion, especially one that I disagree with so much. But, I feel almost dragged along. I have an ultimate faith in life, so, I've cast my lot to the wind and, having no worries about where I'm going with this, it is a wondrously stressless journey. Like being 50 lbs. lighter. The bitch is, Wednesday nights are big time Jam nights in Chicago and that's the only night they can practice at the moment. Another choice to be made! Is God trying to really show me something here, or what? This following your heart shit is getting easier and easier... Mike "If not for the courage of her fearless crew, the Minnow would be lost..." [ home work ] [ http://www.xnet.com/~msuffern/soundtravels.html ] [ The Blues&Travel Site, Blues Guides, Festivals, ] [ Eric Clapton @ Royal Albert Hall, London tour ] ------------------------------------------------- [ Above all, play what your heart tells you to... ] [ As you learn, your heart will have more to say. ] ========================================================================= Date: Wed, 1 Nov 1995 22:40:04 -0800 Reply-To: BotSoak From: BotSoak Subject: Try Can you please put me on the mailing list. ========================================================================= Date: Wed, 1 Nov 1995 23:21:32 -0900 Reply-To: Bob Hardin From: Bob Hardin Subject: Whitney (who?) blues : a new thread >Sender: Blues Music List >From: Rick Miller >Subject: Whitney (who?) blues : a new thread >To: Multiple recipients of list BLUES-L > >Can you name some artists with great voices that don't do blues that you think >would be awesome at it? Memory being what it is/isn't, I'd vote for Linda Ronstadt, but I'm not sure she hasn't already done it (ala' Pat Benatar)! Bob ========================================================================= Date: Thu, 2 Nov 1995 03:46:05 -0500 Reply-To: EarwigMusi From: EarwigMusi Organization: America Online, Inc. (1-800-827-6364) Subject: Re: OTIS SPANN question Comments: To: bit-listserv-blues-l@uunet.uu.net marc, i do not know if otis spann ever acknowledged where he learned the song. but there are several possibilities regarding the roots album crediting the song to otis spann as author. first, many blues musicians do not know who wrote the song, as they learned it in a folk manner by hearing it from another musician not necessarily the author. second, some record producers do not know the author and credit the song to the recording artist. third, some artists and record producers know that the author is someone other than the recording artist, but credit it to the artist anyway. The producers/record labels who do the third option of renaming a song and renaming the author often do so in order to avoid paying mechanical royalties to the actual songwriter and publisher and to claim publishing for themselves. there are several labels who do this often, and they are overseas labels. ========================================================================= Date: Thu, 2 Nov 1995 03:45:00 CST Reply-To: topcat@COMPUTEK.NET From: "" Subject: NEW WEBPAGE - TOPCAT RECORDS <---- Begin Included Message ----> Date: Wed, 1 Nov 1995 16:27:00 CST From: "" Reply-To: topcat@COMPUTEK.NET Subject: NEW WEBPAGE - TOPCAT RECORDS To: topcat@COMPUTEK.NET FINALLY, our Webpage is up!!! URL is http://www.texasblues.com/topcat OR http://www.computek.net/topcat. It is under construction right now on the Live Tour section, but the catalog is up and running. Please give 'er a look! Thanks. Richard Chalk TopCat Records <---- End Included Message ----> ========================================================================= Date: Thu, 2 Nov 1995 05:37:21 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Quebec Referendum Blues Comments: To: conqueroot@AOL.COM On 1 Nov 95, Conqueroot had this to say: > Lets try to stick to the blues and keep the crap about politics, canada, > bosnia, OJ etc. off of this newsgroup. Dear Root, Let's try not to have our very first post to the list be one telling everyone else what they can write about. ========================================================================= Date: Thu, 2 Nov 1995 06:32:42 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Re: NEW WEBPAGE - TOPCAT RECORDS Comments: To: bit-listserv-blues-l@uunet.uu.net RichardChalktopcat@COMPUTEK.NET wrote: : FINALLY, our Webpage is up!!! URL is http://www.texasblues.com/topcat OR : http://www.computek.net/topcat. It is under construction right now on the : Live Tour section, but the catalog is up and running. Please give 'er a look! Richard, I gave both of the above URL's a try at 6AM this morning. Neither one was reachable. I stress 6AM so I know it is not web-traffic. Check into it and please repost what's the problems so we can all reach it. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Thu, 2 Nov 1995 06:59:39 -5 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - November 2nd Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ALLEN, WALTER C. (author) b. 1920-1102, NEW YORK CITY, NY BERNAY, ERIC (co-founder: MERCURY REC) d. 1968-1102, NEW YORK CITY, NY 62 CARON, DANNY (g/CHARLES BROWN) b. 1955-1102, BOSTON, MA CARROLL, EARL "SPEEDO"(lead/THE CADILLACS)b. 1937-1102, HARLEM, NY CARTER, CHALMAS "BELL BOY"(d/JIMMY VAUGHN)b. 1939-1102, ST. LOUIS, MO HURT, JOHN MISSISSIPPI (g) d. 1966-1102, GRENADA, MS 73 MILLS, FLORENCE (v) d. 1927-1102, 31 MORRIS, WILLIAM (founder of the AGENCY) d. 1932-1102, NEW YORK CITY, NY 60 NIGHTINGALE, MAXINE (v) b. 1952-1102, WEMBLEY, UK SCOTT, CECIL XAVIER (tsax) b. 1905-1102, SPRINGFIELD, OH SIMON, FREDDIE (tsax/tpt/L.JORDAN) d. 1973-1102, LOS ANGELES, CA 53 WENNER, MARK (hca/NIGHTHAWKS) b. 1948-1102, WASHINGTON, DC WOODS, PHIL (asax) b. 1931-1102, SPRINGFIELD, MA ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 2 Nov 1995 08:29:39 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: Otis Spann solo recordings I picked up a Testament sampler CD while in Chicago (story to follow in a few days - Mike Suffern and I are working on it) and there's an Otis Spann song called "Nobody knows my troubles" or something like that - sorry, I don't have the disc here. Anyway, it's the first Spann I've heard where he wasn't playing with a band, and it's got to be the most beautiful piano music I've ever heard. Does anyone know if there is a whole album of solo Spann? The notes in this sampler seem to indicate that this was the only solo of the session... -Rob ========================================================================= Date: Thu, 2 Nov 1995 08:25:22 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: (Fwd) Re: Dr. Hepcat One of the great things about the Internet -- and especially the Blues-L part of it -- is the rapid distrbution of news to people who want or need to know. The passing of Dr. Hepcat is an example. Because a bluezeller cared to post the news of Lavada Durst's death, we were able to schedule a short tribute to him on our show tonight, and to play his 1950 recording, "Hattie Green." Such news would never appear in regular newspapers, and even excellent journals like Blues & Rhythm or Living Blues have long lead times before printing. So thank you, Blues-L, once again. A question -- The UK Ace LP "Lyons Avenue Jive" contains Durst's two tracks from Peacock. The liner notes, dated 1986, say "an album of new recordings [by Durst] will be issued shortly by Mike Rowe." Does anyone know if this ever appeared, and if so, if it is still available? Ian Angus "Built for comfort, not for speed" Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Thu, 2 Nov 1995 12:41:49 +0000 Reply-To: "David J. Wallace" From: "David J. Wallace" Subject: Re: Hidden Gems > >(1) Johnny Adams, "Walking On A Tightrope." Superb readings > >of Percy Mayfield songs by one of the country's best vocalists, > >regardless of style. Nice guitar from Walter "Wolfman" > >Washington and Duke Robillard. > > I will most definitely second that motion. > > I would add Joe Williams "Me and the Blues", Robert Ward "Fear no Evil", and > Angela Strehli "Blonde and Blue". > Speaking of Walter 'Wolfman' Washington, how about his 1988 Rounder CD 'Out of the Dark' I think its a great one, although you may disagaree.... Can anyone tell me what Walter is doing at the moment, I don't hear a lot about him here in the UK. David. ========================================================================= Date: Wed, 1 Nov 1995 07:35:50 -0500 Reply-To: Willy Evans From: Willy Evans Subject: Re: Satan & Adam gig Comments: To: bob unger In-Reply-To: <199510312050.PAA02523@sun.bnkst.edu> I will reinforce what Mr. Unger says about Satan and Adam. I had a chance to meet them both briefly at a festival we were both playing and to hear them. This is about twice as much music as two guys ought to be able to make and on top of it, they are really nice guys, too! Big Satan is one of the most phenomenal rythm guitar players that I have ever seen and a really good singer! This is the real thing and is FUN to support! MY .o2 ! Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** there'll be snuff juice everywhere **** ========================================================================= Date: Thu, 2 Nov 1995 08:39:02 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Devotion to Blues or Too Much Free Time? An examination of some Blues-l statistics reveals that among currently active members the 6 with the highest number of posts are: 1. LW with 2282 posts 2. Eric LeBlanc with 1813 posts 3. Bonnie The K with 964 posts 4. P.W. Fenton (who me?) with 769 posts 5. Willy Evans with 451 posts 6 Ian Angus with 402 posts Even with all that hot air these posts only represent about 15 percent of the 43,763 posts Blues-l has received since April 14th 1993. Between that date and today (933days) Blues-l has averaged 47 posts per day. (Must have been really slow around here at one time). P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 2 Nov 1995 08:54:04 -0500 Reply-To: Cicer60099 From: Cicer60099 Organization: America Online, Inc. (1-800-827-6364) Subject: Smokey Wilson Itinerary Comments: To: bit-listserv-blues-l@uunet.uu.net Smokey Wilson Itinerary: 11/01 Terra Blues, New York, NY 11/02 Terra Blues, 11/03 Black Eyed Sally's, Hartford, CT 11/04 Newport Blues Cafe, Newport, RI 11/05 Hungry Tiger, Manchester, CT 11/06 House of Blues, Cambridge, MA 11/07 Bidwell Tavern, Coventry, CT 11/08 Morganfield's, Portland, ME 11/09 Warmdaddy's, Philadelphia, PA 11/10 Bayou, MT. Vernon, NY 11/11 Carleen's, Wilmington, DE 11/15 Terra Blues, New York 11/16 State Theater, Kalamazoo, MI 11/17 Rhythm Kitchen, Grand Rapids, MI 11/21 Slippery Noodle Inn, Indianapolis, IN 11/22 Stevie Ray's Louisville, KY 11/24 The Blues Saloon, St. Paul, MN 11/25 Spanky's, Moline, IL ========================================================================= Date: Thu, 2 Nov 1995 08:03:47 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Roy Rogers and the "Delta" (?) Rhythm Kings In-Reply-To: Message of Wed, 1 Nov 1995 21:12:21 -0500 from On Wed, 1 Nov 1995 21:12:21 -0500 Bkg agent said: >Just curious. Wonder how many of the members of this band are from the >delta? The real delta...the MISSISSIPPI Delta? Anybody know? I'd be willing to bet that not one single one is from the Delta.... LW ========================================================================= Date: Thu, 2 Nov 1995 08:10:49 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Otis Spann solo recordings In-Reply-To: Message of Thu, 2 Nov 1995 08:29:39 -0400 from On Thu, 2 Nov 1995 08:29:39 -0400 Rob Hutten said: > >Does anyone know if there is a whole album of solo Spann? The notes >in this sampler seem to indicate that this was the only solo of the >session... The Testament Otis Spann has at least half the tunes with just him and piano (if I remember right).... LW ========================================================================= Date: Thu, 2 Nov 1995 08:13:02 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Devotion to Blues or Too Much Free Time? In-Reply-To: Message of Thu, 2 Nov 1995 08:39:02 -5 from On Thu, 2 Nov 1995 08:39:02 -5 P.W. Fenton said: >An examination of some Blues-l statistics reveals that among >currently active members the 6 with the highest number of posts are: > >1. LW with 2282 posts >2. Eric LeBlanc with 1813 posts >3. Bonnie The K with 964 posts >4. P.W. Fenton (who me?) with 769 posts >5. Willy Evans with 451 posts >6 Ian Angus with 402 posts All I can say is: I'm in great company....... LW 'I think it has alot to do with being on Blues-l for three years' ========================================================================= Date: Thu, 2 Nov 1995 09:18:45 +0000 Reply-To: rjbauman@IQUEST.NET Comments: Authenticated sender is From: rjbauman@IQUEST.NET Subject: testing Pegasus : sorry just trying a new mail program. Sorry ========================================================================= Date: Thu, 2 Nov 1995 14:44:14 GMT Reply-To: Anybody From: Anybody Organization: Lund University Subject: Re: JAMES BURTON, GUITARIST Comments: To: bit-listserv-blues-l@uunet.uu.net Eric LeBlanc-CISTI wrote: > > Some of you may know that JAMES BURTON came out of a coma on > August 24, Shreveport, LA. (Highland Hosp). > > Does anyone know how he's doing. For years he played lead > guitar for Rick Nelson & Elvis Presley. > > eRIC Burton played on Elvis Costello's last record The Kojak Variety, and was on a European tour with Costello over the summer. The album contains only covers, including ones by Little Willie John, Screamin Jay Hawkins (Strange), and Willie Dixon (Hidden Charms). Burton was also on Letterman earlier this year with Costello for a cover of Little Richard's Bamma Lamma Loo, also on the album. Burton was smoking in every format. Costello is a big fan of blues and r&b, has recorded with the Dirty Dozen Brass Band, and has noted several times his great admiration for JB Lenoir as a songwriter., Scott Barretta Lund Sweden soc_sba@pmail.ldc.lu.se ========================================================================= Date: Thu, 2 Nov 1995 09:46:57 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: testing Pegasus : sorry Comments: To: Chris.Hauge@ncal.kaiperm.org It works. This is a great freeware product. It even fixes itself when a database goes corrupt!! > Date: Thu, 02 Nov 1995 06:36 -0800 (PST) > From: Chris.Hauge@ncal.kaiperm.org > Subject: testing Pegasus : sorry > To: rjbauman@IQUEST.NET > DID IT WORK..... > > ========================================================================= Date: Thu, 2 Nov 1995 09:43:06 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: DC Blues Society interview Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com The DC Music World Wide Web site has an interview with some members of the DC Blues Society. It has a pretty good overview of how the society was formed (which may be useful for those who are forming blues societies), what the society does, and the society's use of the internet. Check it out at: http://dcmusic.ari.net/dcmml/dcbsint.html -Steve ========================================================================= Date: Thu, 2 Nov 1995 09:46:41 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Lefty Dizz (a procrastinator's review) I'm supposed to be completing a conference paper on anarchism (due last week), but I was instead moved to send the following review: LEFTY DIZZ: AIN'T IT NICE TO BE LOVED (JSP -- JSPCD 259) Cloudy Weather/That's Alright in the Dark/I Feel Like Jumping/ Bad Avenue/Ain't it Nice to be Loved/Look on Yonders Wall/ Too Late/Sadie/Where the Hell Were You When I Got Home?! Total playing time: 58:54 Only twice have I heard the term "anarchy" associated with the blues. (As something of a philosophical anarchist myself, the word catches attention.) The first was used -- I can't recall where now -- to describe the music of Hound Dog Taylor and the Houserockers, clearly masters of Chicago's rawest sound. The second was used to describe Lefty Dizz's guitar playing, in a review in Living Blues magazine, whose quote is reprinted on the CD's front cover. A coincidence? Dizz honed his chops in the late 1960s, as a bandleader for Junior Wells, and by the 70s he frequently hung out at Florence's, with such celebrated names -- today -- as Magic Slim, Carey Bell, Son Seals, and Lonnie Brooks, waiting his turn to play along with Hound Dog Taylor. And whenever Hound Dog and his bandmate Brewer Phillips fell into one of their frequent (and sometimes violent) fights, Dizz would fill in Phillips' bass lines. Indeed, there was talk that Dizz might be slated as a permanent member of the Houserockers after Hound Dog shot Phillips (during that short period after the Dog was released from jail, and before he died). More recently, in the early 1990s, Dizz was an occassional member of Magic Slim's band, The Teardrops. Although he cut a few obscure albums beginning in the late 1970s and 1980s, AIN'T IT NICE TO BE LOVED was Lefty Dizz's first U.S. album, released in 1989. Dizz's solo career was just about to take off. He was performing one successful tour after another before he sadly, yet heroically, lost a battle to cancer in 1993. JSP's 1995 reissue on CD is a wonderful tribute to Lefty Dizz and his music. Dizz is backed by none other than the celebrated Bell family: Carey on harp, and sons Lurrie on guitar, Tyson on bass, and James on drums. Jerry Soto joins on piano. Standouts include "I Feel Like Jumping," "Bad Avenue," the title track, "Where the Hell Were You When I Got Home?!," and Dizz's cover of "Sadie" -- the classic penned by Hound Dog Taylor. (Son Seals also covers "Sadie" on his latest Alligator release, NOTHING BUT THE TRUTH -- a fine album. As solid as Seals' "Sadie" is, however, the Dizz has him beat. He can feel it. As Dizz himself proudly remarks at the beginning of the tune, "This is a little thing in memory of the great Hound Dog Taylor. I had the pleasure of working with him... I think I was the last man to play guitar with him. As a matter of fact I know I was. Shucks!" And away he goes....) If the sweet and perhaps mathematically predictable sounds of something like the "chamber blues" is your thing, look elsewhere. Lefty Dizz played proudly at the other end of the spectrum. AIN'T IT NICE TO BE LOVED offers an hour of raunch-n-roll blues, so much in that anarchic houserocker tradition that only fans of the slow-burning, raw and pleasantly imperfect could really appreciate it. Dave Prychitko (aka "Southside" Dave, Blues 101, 88.9 FM, WNYO-Oswego) Note: I have no affiliations with the label/distributer/etc. Lefty played a houseparty or two at my cousin's place in Chicago shortly before he died (and too far of a drive, unfortunately, from Oswego County, NY). ========================================================================= Date: Thu, 2 Nov 1995 08:39:34 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: (Fwd) Re: Dr. Hepcat Comments: To: Ian Angus In-Reply-To: <9511020754.aa23257@admin.dis.on.ca> Mike Rowe's Dr. hepcat recordings have never been issued. ========================================================================= Date: Thu, 2 Nov 1995 08:41:12 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Otis Spann solo recordings Comments: To: L W In-Reply-To: Most of the Storyville Otis Spann LP/CD is solo, along with some of the Candid material. ========================================================================= Date: Thu, 2 Nov 1995 09:12:24 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Re: Satan & Adam gig > > I will reinforce what Mr. Unger says about Satan and Adam. I had a chance > to meet them both briefly at a festival we were both playing and to hear > them. This is about twice as much music as two guys ought to be able to > make and on top of it, they are really nice guys, too! Big Satan is one > of the most phenomenal rythm guitar players that I have ever seen and a > really good singer! This is the real thing and is FUN to support! > > MY .o2 ! > > Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu > **** there'll be snuff juice everywhere **** > I already posted about the Satan and Adam gig we put on here in Iowa City last September. Just thought to share a funny story with you. After Dave and Kyle Kelly (both on Blues-L) and I took them to the U of Iowa student radio for a chat and two-song playing, we got to hang out with them that afternoon. We talked about many things, and at one point we asked them what kind music they listeneed to. While Adam said he mostly listened to jazz, Satan said that he mostly listened to music on commercials while wathing TV. Again, two great guys, fun to hang out with, and some of most easiest to deal with musicians. They put on a great show too, but that's nothing new about them. Ranko ========================================================================= Date: Thu, 2 Nov 1995 10:10:46 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Otis Spann solo recordings > On Thu, 2 Nov 1995 08:29:39 -0400 Rob Hutten said: > > > >Does anyone know if there is a whole album of solo Spann? The notes > >in this sampler seem to indicate that this was the only solo of the > >session... > > The Testament Otis Spann has at least half the tunes with just him and piano > (if I remember right).... > > LW > And there is a compilation CD mentioned here often called "Rare Chicago Blues" (or close to that) that has two extremely moving cuts recorded in a church during the riots following Dr. Martin Luther King Jr.'s assassination. He is accompanied by drums only, and he's improvising the lyrics. Someone help me on the exact title & label of the disc. I'm 35 miles from my treasures. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 2 Nov 1995 09:28:08 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: James Brown At 07:28 PM 11/1/95 EST, William Pollak wrote: >It's nice to see some play on the list lately for James Brown. While I was >working on my submission on James Brown for the book that Tom Morgan is >editing, it suddenly struck me that I live in a country where the most >influential musician of the last 50 years is an object of ridicule, >indifference, and derision, while Billy Joel or [fill in whoever you want >here] is considered an "artist." > I don't think Mr. Brown has been "an object of ridicule" - he seems to have gotten in a lot of trouble recently, maybe or maybe not by his own actions, with the law, with his spouse, etc. - but I haven't seen much ridicule.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Thu, 2 Nov 1995 09:28:10 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Quebec Referendum Blues At 10:06 PM 11/1/95 -0500, Conqueroot wrote: >Lets try to stick to the blues and keep the crap about politics, canada, >bosnia, OJ etc. off of this newsgroup. > > Be careful what you wish for - the blues don't exist apart from the society they are played in.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Thu, 2 Nov 1995 09:28:11 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Whitney (who?) blues : a new thread At 11:43 PM 11/1/95 -0500, robert barclay wrote (referring to Dolly Parton): >>> >> >> I'm with you on this LW [if I may be so bold] Try listening to the album >"TRIO" [not a cd]. On a really good stereo, DP sings with LINDA RONSTADT and >EMILY LOU HARRIS and it is the sweetest country music you could ever hear. >You would think you had died and gone to heaven! > rb. > > "Trio" is a terrific - particularly the Emmy Lou Harris numbers - really shows what country vocal group can be - MILES beyond what Alabama, Sweethearts of the Rodeo, etc. have come up with - But why do you say [not a cd]? David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Thu, 2 Nov 1995 10:30:26 -0500 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: Re: Otis Spann solo recordings Comments: cc: rob.hutten@acadiau.ca In a message dated 95-11-02 07:53:50 EST, Rob Hutton wrote: > >Does anyone know if there is a whole album of solo Spann? The notes >in this sampler seem to indicate that this was the only solo of the >session... > > I don't know of a totally solo Spann album, but there is a CD release of a Candid lp from the sixties titled "Otis Spann Is The Blues" CCD9001,(from da music,PO Box 3, Little Silver N.J 07739). I found my copy at Best Buy in Flint Michigan It features Otis Spann on piano and vocals (with lots of piano), with Robert Lockwood Jr. on guitar and vocals, no other musicians, and is an absolute treasure. BLUZ! Bluzman ED aka Ed Tremewan ========================================================================= Date: Thu, 2 Nov 1995 09:28:06 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Eric LeBlanc's Blues Dates - November 2nd At 06:59 AM 11/2/95 -5, P.W. Fenton wrote: >Here's a few dates (b. born, d. death) for today. If you have any >corrections/additions, let me know at leblanc@dao.nrc.ca. > >------------------------------------------------------------------------------- >artist notes/full name yyyy-mmdd, city/county state age >------------------------------------------------------------------------------- >CARROLL, EARL "SPEEDO"(lead/THE CADILLACS)b. 1937-1102, HARLEM, NY "They often call me Speedo But my real name is Mr. Earl...." David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Thu, 2 Nov 1995 15:57:16 GMT Reply-To: keith abel Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: keith abel Organization: jewel-paula records Subject: (no subject) Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.brown.edu LW, James was trimming trees at his Cross Lake, LA home this past August when he fell off a ladder causing serious trauma to his leg. The injury required surgery and there were complications while he was under anesthesia. James went into a comma and we almost lost him that night in the hospital. Thank God for Dr Chris Rheams, avid guitar fan and doctor to Billy Gibbons and James Burton, who stayed with James through the ruff! James was released from the hospital in early September and is in therapy for the trauma to his leg. His spirits are good, but not as good as his playing on Jerry Lee Lewis' last album. James also got some co-writer credits on the killer's latest. Diggin' the grooves and preachin' the Blues, Keith Abel >L W wrote: >On Wed, 1 Nov 1995 12:12:24 -0800 Eric LeBlanc-CISTI said: >> Some of you may know that JAMES BURTON came out of a coma on >> August 24, Shreveport, LA. (Highland Hosp). >> >> Does anyone know how he's doing. For years he played lead >> guitar for Rick Nelson & Elvis Presley. > >I didn't even know he was in a coma. I'd like to know more. I think he >has been a tremendous influence on alot of todays pickers..= (whether they >know it or not) > ========================================================================= Date: Thu, 2 Nov 1995 11:03:33 CST Reply-To: JBards From: JBards Subject: Re[2]: JAMES BURTON, GUITARIST Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu It's a long story, but basically: Louise had James up on a ladder pruning their trees. A limb fell on him, knocked him off the ladder and broke his ankle. He went in for surgery and came out fine, was in his room recovering from the anesthesia, and was left alone for a few minutes. When the family came back in, he had had a seizure or something...was unconscious and unresponsive for a few days. Scary times... By all reports, he's doing all right now. -Jim _______________________________________________________________________________ Subject: Re: JAMES BURTON, GUITARIST From: ISTS024%UABDPO.BITNET@brownvm.brown.edu at INTERNET-SH Date: 11/1/95 11:40 PM On Wed, 1 Nov 1995 12:12:24 -0800 Eric LeBlanc-CISTI said: > Some of you may know that JAMES BURTON came out of a coma on > August 24, Shreveport, LA. (Highland Hosp). > > Does anyone know how he's doing. For years he played lead > guitar for Rick Nelson & Elvis Presley. I didn't even know he was in a coma. I'd like to know more. I think he has been a tremendous influence on alot of todays pickers..(whether they know it or not) I saw him when he was part of Emmy Lou Harris's band, I think he was part of the "Hot Band". He was absolutely terrific and of course the rest of the band was outstanding also.. LW ========================================================================= Date: Thu, 2 Nov 1995 10:57:58 -0600 Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: Re: Smokey Wilson Itinerary Comments: cc: cicer60099@AOL.COM He will also beat Billy Blues-Houston on Saturday, Nov. 18. Nuri Nuri __________________________________________________________ Smokey Wilson Itinerary: > >11/01 Terra Blues, New York, NY >11/02 Terra Blues, >11/03 Black Eyed Sally's, Hartford, CT >11/04 Newport Blues Cafe, Newport, RI >11/05 Hungry Tiger, Manchester, CT >11/06 House of Blues, Cambridge, MA >11/07 Bidwell Tavern, Coventry, CT >11/08 Morganfield's, Portland, ME >11/09 Warmdaddy's, Philadelphia, PA >11/10 Bayou, MT. Vernon, NY >11/11 Carleen's, Wilmington, DE >11/15 Terra Blues, New York >11/16 State Theater, Kalamazoo, MI >11/17 Rhythm Kitchen, Grand Rapids, MI >11/21 Slippery Noodle Inn, Indianapolis, IN >11/22 Stevie Ray's Louisville, KY >11/24 The Blues Saloon, St. Paul, MN >11/25 Spanky's, Moline, IL > > ========================================================================= Date: Thu, 2 Nov 1995 10:40:27 -0700 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: James Brown (heh! kiss myself!) influence. Comments: To: Rick Miller In-Reply-To: <01HX4SXVM9HE000F1M@SCI.WFBR.EDU> Anyone into James Brown should own "At the Apollo, 1962" and "Love Power Peace, Live at the Olympia, Paris, 1971". If "Sex Machine" or "Goodfoot" ever make it to CD, pick up those, too. "Pure Dynamite, JB Live at the Regal" would also be a must have if it ever came out on CD: it's better than "At the Apollo", its contemporary. This is not IMHO, nothing humble about this one. And, they are facts, not opinion (IMHO). Good listening, Jay Watterworth CU Boulder ========================================================================= Date: Thu, 2 Nov 1995 10:55:38 -0700 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: Milk Cow Blues Comments: To: Kevin Gibson In-Reply-To: <951101200027_95542184@emout05.mail.aol.com> The Kinks did an outstanding rock'n'roll job on their early live LP. Jay Watterworth CU Boulder On Wed, 1 Nov 1995, Kevin Gibson wrote: > I need a list of people who coverd this song. Thanks in advance. > ========================================================================= Date: Thu, 2 Nov 1995 10:59:02 -0700 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: Quebec Referendum Blues Comments: To: Conqueroot In-Reply-To: <479cki$93a@newsbf02.news.aol.com> On Wed, 1 Nov 1995, Conqueroot wrote: > Lets try to stick to the blues and keep the crap about politics, canada, > bosnia, OJ etc. off of this newsgroup. > It is my personal feeling that the topics you list are the seat of the blues. I would be hard to avoid discussing contemporary blues without reference to the topics they relate to. "What's Going On?" Jay Watterworth CU Boulder ========================================================================= Date: Thu, 2 Nov 1995 18:27:44 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Re: Dr. Hepcat Comments: To: bit-listserv-blues-l@moderators.uu.net Thanks for the mention of B&R Ian. However, whilst you are correct that Blues-L does get the info to blues fans quickly, I think it is unfair to say that B&R has a long lead time before we produce obits. The reality is that B&R's obits are usually detailed and include lotsa information on the deceased! If you look at our record I think you will find, that whilst we weren't about to hear the last breath, we produce obits a damn sight faster than ANYONE else. Sometimes other mags are 6 or 8 months behind. We do our best and we couldn't do it without people like Eric (Death Walks Behind You) LeBlanc and Mary Katherine Aldin. TB ========================================================================= Date: Thu, 2 Nov 1995 13:21:24 +0028 Reply-To: "Lois R. Toomey" From: "Lois R. Toomey" Organization: TASC Subject: John Hamond Comments: To: bit-listserv-blues-l@uunet.uu.net Hi, I'm posting this for a friend. She's interested in John Hammond and the song "Southern Fried". Did he sing it? If so, is it available on tape/CD? You may email me at: lrtoomey@tasc.com Thanks! ========================================================================= Date: Thu, 2 Nov 1995 14:25:56 EST Reply-To: DOug Hinman From: DOug Hinman Subject: Re: Milk Cow Blues Off the top of my head... after Sleepy John Estes there has been Kokomo Arnold; ELvis Presley; Eddie Cochran; Ricky Nelson; The Kinks .... ========================================================================= Date: Thu, 2 Nov 1995 19:40:23 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: OBITUARIES Re: Dr. Hepcat Comments: To: bit-listserv-blues-l@uunet.uu.net LAVADA (DR. HEPCAT) DURST b. 1913/Jan/09, Austin, TX d. 1995/Oct/31, Austin, TX v/piano/Peacock Records/dj I agree with Tony Burke - even though he's the editor of Blues & Rhythm! B&R is the most current source available today when it comes to blues & R&B. Their obits, as well as Juke Blues', are the most detailed. BLUES-L is also current but hey, this comes out everyday, while say, B&R comes out 10 times a year & Juke Blues, 4 times a year! But the most current source is on the Web is Lindsay's obituary page. If you want to know who has died recently, check out and don't forget to check out 'other links', especially the museum of mummies - it's simply amazing! Don't for weak at heart :-) Since I now have you, here's a few more that have not been mention on BLUES-L yet - this from the man Tony calls "Death Walks Behind You" :-) - which is a little better than the name they call me at the radio station - DR. DEATH! I've even had phone calls from the Smithsonian asking for dates! Carl Donnell "KANAS" Fields b. 1915/Dec/05, Chapman, KS d. 1995/Aug/03, Chicago, IL drums/recorded with Floyd McDaniel, Big Bill Broonzy, Memphis Slim. I'll be profiling him on his b-date. Edward Pollock b. 1899/MAY/09, New Orleans, LA d. 1995/Jun , New Orleans, LA sax/cl/recorded with MA RAINEY. Can anyone confirm the actual June date. R. B. Hudmon b. 1954 , West Point, GA d. 1995/Aug/25, West Point, GA R&B/Soul singer/Atlantic Records/4 Billboard R&B hits. Can anyone tell be what R. B. stands for. Eddie (E. C. Williams) Wiggins b. 1916/17 d. 1995/Mar/29, Chicago, IL alto sax/sometime comedian ========================================================================= Date: Thu, 2 Nov 1995 14:50:00 -0400 Reply-To: MARCIAG@VMS.CIS.PITT.EDU From: Marcia Grodsky Subject: Big Jack Johnson, Roger Montgomery, Ernie Hawkins I heard my first Christmas song of the season loast night. Ordinarily I'd be grumbling about that, but since it was performed by Big Jack Johnson ---well, what can I say? He played "Happy Birthday" twice and I was I won't even complain about that! When he came to the Decade last year I was out of town, so I made the trek to Canonsburg, Pa. a few months ago when I heard he was performing there. On that occasion, I was surprised to ralize that Roger Montgomery was playing with him. I had been hearing about Roger from my friend Ernie Hawkins for years. Ernie would often travel to Meadville to play with Roger and always told me what an incredible player he was. That night I spoke to Roger and mentioned Ernie. He told me that Ernie had been to his house in Meadville the night before to record with Big Jack! Those of you from Austin or Dallas may remember Ernie from his days as an acoustic-guitar player in those two cities. (On my first trip to Austin about nine years ago I remember Ernie dragging me to hear W.C Clark, whom I'd never heard of). Well, last night I against my better judgment I made the trip back to Canonsburg to see Big Jack again. I had a lot of misgivings --- week night, long drive, small club where the music's too loud, etc. --- but we've had slim pickings since the Decade closed. I almost walked out before Jack started to play, when the bartender and some patrons started playing catch with a pitcher of beer (I, unfortunately, got caught in the middle and had to wash beer out of my hair when I got home). Ernie showed up and told me that he was going to play with them, and he did play the entire second set with them. It was really excellent. Three wonder- ful guitar players --- each with their own style, but improvising together beautifully. By the way, Jack will be on one cut of the acoustic cd that Ernie's currently recording. That cd will have a lot of Rev. Gary Davis stuff --- including some tunes that Davis wrote but never recorded. Ernie has another recording project going with the blues-rock band that he plays with --- the Blue Bombers. By the way, Johnny Winters' drummer (Tom Compton, I think his name is) has joined the Blue Bombers since Winters' is no longer able to play. I'm not sure whether or not Roger still has his own band going --- it was called simply "The Roger Montgomery Blues Band" but if you get a chance to hear him, with or without Big Jack, you won't be disappointed. Now we just need a decent place closer to Pittsburgh for these people to play. Anybody want to open a club? ---Marcia ========================================================================= Date: Thu, 2 Nov 1995 14:05:33 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Re: Otis Spann solo recordings > > And there is a compilation CD mentioned here often called "Rare > Chicago Blues" (or close to that) that has two extremely moving cuts > recorded in a church during the riots following Dr. Martin Luther > King Jr.'s assassination. He is accompanied by drums only, and he's > improvising the lyrics. > > Someone help me on the exact title & label of the disc. I'm 35 miles > from my treasures. > > P.W. Fenton > Tampa, Florida > e-mail = pwfenton@gate.net > WWW = http://www.gate.net/~pwfenton > It is Rare Chicago Blues, 1962-1968 - Recordings from the collection of Norman Dayron, on Rounder records (1993). A MUST FOR CHICAGO BLUES LOVERS. Otis Spann cuts are "Hotel Lorraine" (man, what a great blues this is!!!) and "Blues for Martin Luther King". Ranko ========================================================================= Date: Thu, 2 Nov 1995 16:03:13 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: James Brown This was reported about poor old James on October 31st AIKEN, S.C. (AP) -- Singer James Brown, who has had several run-ins with the law and served time in prison, was back in jail again Tuesday on a domestic violence charge after his wife said he assaulted her. Aiken County sheriff's authorities charged Brown, 62, with criminal domestic violence after his wife, Adrienne, called 911 asking for medical help, sheriff's spokesman Don Biermann said. Deputies arrested the singer, while his wife was taken to Aiken Regional Medical Centers, Biermann said. He refused to comment further. A hospital spokeswoman said Mrs. Brown was treated and released. Brown posted $940 bond after a hearing before Aiken County Magistrate Rodger Edmonds, a court clerk said. In December 1994, Brown turned himself in to Aiken County authorities after being accused of shoving his wife during an argument. A magistrate dismissed the charge in March when Mrs. Brown refused to testify. Brown served nearly three years in prison after he was arrested in September 1988 for leading police on a car chase between South Carolina and Georgia. It began when a gun-toting Brown stormed an insurance agency next to his Augusta, Ga., office and claimed strangers were using his bathroom. Tests later showed Brown had used the illegal hallucinogen PCP. Brown's lawyer, Buddy Dallas, declined to comment on the charge except to say, ``it's just another story in the continuing saga of James and Adrienne Brown.'' The Browns have been married more than 10 years. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 2 Nov 1995 10:32:10 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: vocal intensity I been working on my vocals and singing from my diaphram (sp) which really works. The problem is no intensity.... I sound like Kenny Loggins doing Delta blues. It ain't working, but I'm going to sing anyway. I will not sing for my wife, she'll just have to wait and suffer with the rest of them. I know she won't like my singing and I don't want any discouragment, cause I have to sing. LW 'I wonder if Son House ever covered "House At Pooh Corner" :-)' ========================================================================= Date: Thu, 2 Nov 1995 18:11:00 CST Reply-To: Paul Garon From: Paul Garon Subject: Re: Milk Cow Blues >I need a list of people who coverd this song. Thanks in advance. > I presume you're asking who has covered Kokomo Arnold's original version from c. 1934, not counting Arnold's own 2 or 3 versions. A relatively obscure cover was done by country and western singer Johnnie Lee Wills; it's a faithful version, with correct composer credit to Kokomo Arnold. It was on Decca, in the 1940s. Memphis Minnie used Kokomo's melody and emphases but NOT his words in her GOOD MORNING for Bluebird in the early-mid 1930s. ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email or postal mail or visit us at http://www.abaa-booknet.com/alldlrs/mw/60657bea.html. We also have catalogs available by ftp at ftp.mcs.com/mcsnet.users/beasley. _______________________________________|______________________________________ ========================================================================= Date: Thu, 2 Nov 1995 19:53:44 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Dr. Hepcat > Thanks for the mention of B&R Ian. > > However, whilst you are correct that Blues-L does get the info to blues > fans quickly, I think it is unfair to say that B&R has a long lead time > before we produce obits. > > The reality is that B&R's obits are usually detailed and include lotsa > information on the deceased! Please ... I wasn't being critical! One of the great things about B&R is the wealth of detail on very current events, include death reports. I was only comparing a print schedule to the immediacy of the Internet and Blues-L. As a result of information in Blues-L, we've been able, many times, to run tributes (on our radio show) to blues artists within a few days of their passing. If we had had to wait until we saw the information in print -- even in such a fine source as B&R -- the time for such tributes would have passed us by. "Long lead time" is a relative term -- I'm sorry if my use of it caused any offense. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Fri, 3 Nov 1995 11:08:28 +1030 Reply-To: sue freeman From: sue freeman Subject: BROWNIE McGHEE Australia was meant to be visited by Brownie McGhee early November but the tour was cancelled due to serious ill-health, the result of the death of his daughter. It was said that Brownie was so ill he would probably be unable to perform again - even in the US. However; I read a post to Blues-L recently that had Brownie headlining a benefit concert for Francis Clay at Yoshi's in Oakland, CA on Oct 29. Curiouser and curiouser. Have we ignorant Australians been stooged yet again!!!! If not can someone please advise the state of Brownie's health? We are all very concerned for his wellbeing. Cheers, Sue ========================================================================= Date: Thu, 2 Nov 1995 20:54:27 -0500 Reply-To: rew4@PSU.EDU From: Ross Whitwam Subject: Re: James Brown Comments: To: blues-l%brownvm.BITNET@psuvm.psu.edu I'd say *Adrienne* Brown is the one deserving of sympathy in this case. Odious behavior is odious behavior, even from the phenomenally talented. Ross W. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + "P.W. Fenton" wrote: >This was reported about poor old James on October 31st > > > AIKEN, S.C. (AP) -- Singer James Brown, who has had several >run-ins with the law and served time in prison, was back in jail >again Tuesday on a domestic violence charge after his wife said he >assaulted her. > Aiken County sheriff's authorities charged Brown, 62, with >criminal domestic violence after his wife, Adrienne, called 911 >asking for medical help, sheriff's spokesman Don Biermann said. > Deputies arrested the singer, while his wife was taken to Aiken >Regional Medical Centers, Biermann said. > ....... > >P.W. Fenton >Tampa, Florida >e-mail = pwfenton@gate.net >WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 2 Nov 1995 12:15:00 -0600 Reply-To: "timothy (t.b.) bosley" From: "timothy (t.b.) bosley" Subject: TopCat Homepage The page is working and it looks pretty good. ========================================================================= Date: Fri, 3 Nov 1995 13:45:37 +1100 Reply-To: Daniel Bruce From: Daniel Bruce Subject: Re: James Brown (heh! kiss myself!) influence. Comments: To: MILLER@SCI.WFBR.EDU In-Reply-To: <01HX4SXVM9HE000F1M@SCI.WFBR.EDU> from "Rick Miller" at Nov 1, 95 03:25:42 pm > > I just picked up my first James Brown CD, and I don't know why I should > be surprised, but this stuff is awesome. I purchased "The CD of JB", a 1985 > compilation on Polydor for $1.99. Like a lot of white kids from the suburbs, > I've only really known the JB that has trickled into mainstream (read "also > white") radio and movie soundtracks over the years. "I Feel Good", etc, right? > As a blues musician, I've learned that his influence is strongly felt by > other artists of his heyday, say the '60s, even though he's really considered > a soul and R&B artist. The Godfather, n'est ce pas? But not til now have > I really grasped it. > > In his band's playing (The JBs) I hear guitar riffs, hooks, and chord > changes that I have heard over and over by later artists, not knowing the > source. This is sort of R&B influencing blues, sort of a "chicken and egg" > thing, which is interesting. And, AND!..there is some blues in there too. > It's funky as hell how the band may just hang (at his vocal direction) on > the I, never making it to the IV, or V til maybe the end of ths song, but > will break into a bridge that you didn't know was coming, or again at his > command, switch key entirely in the middle of a song. "..Can we go to a D?! > I said CAN WE GO TO A D?! [heh!]" > > If you think you know something about blues but don't have any James Brown > in your collection,do yourself a > > > > > > favor. School is still in session. :) > > > Riffin (I'm a late learner) Rick > > > > > (((( > oo-) > /- > > "...this is a man's world, > but it isn't NOTHIN'--- > without a woman, or a girl" jb > > > > > > F.J.(Rick)Miller > Senior Research Assistant, > & Marine Facilities Manager > Worcester Foundation for Biomedical Research > "Miller@Sci.WFBR.Edu" > *************************************************************************** > Praise the Lord. Another sinner has been converted to the faith. James Brown is simply the graetest soul/R&b performer evr to wander the planet. A big rap I know but he IS that good. Listen to the track 'Cold Sweat' until the CD wears out. You will not get tired of it. If it is not on that CD then get CD of JB II (or the Startime Box) Happy listening -- Daniel Bruce | Genasys II Pty Ltd, Sydney, Australia | "Born under a bad sign, been down since I began to crawl | If it wasn't for Bad Luck, Wouldn't have no luck at all" | Albert King | Internet: danielb@g2syd.genasys.com.au ========================================================================= Date: Thu, 2 Nov 1995 22:12:22 -0500 Reply-To: Wes From: Wes Organization: University of Oregon Subject: Re: Steve Miller Comments: To: bit-listserv-blues-l@uunet.uu.net In article <9510018152.AA815263823@cliff.whoi.edu> Alora Paul writes: >Date: Wed, 1 Nov 1995 14:09:22 EST >From: Alora Paul >Subject: Steve Miller > i'm listening to the 'blues at 2' on our local (hyannis, ma) radio > station. today in this precious 10 minute allotment of blues time, > one of their selections is a live rendition of steve miller 'mercury > blues'. i've always loved the studio version of this song, and the > live one sounds good too. > what is he up to these days, anybody know? how do you all regard (or > not) his blues guitar playing, anyhow? > regards, > alora > apaul@whoi.edu He and Kenny Neal will be comming through town to do a blues show. Unfortunatly I won't be going. ========================================================================= Date: Thu, 2 Nov 1995 22:40:10 -0500 Reply-To: BAJammin From: BAJammin Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Corey Harris Comments: To: bit-listserv-blues-l@uunet.uu.net You got the spelling right. And snatch up that CD! Corey Harris lived in the Charlottesville area off and on for around two years, until about a year ago. He played several coffee house and festival gigs and was often heard playing his blues outside in the downtown mall area. I heard him a dozen times and talked to him alot. He's a remarkable man, a truly outstanding acoustic blues/slide player and a powerful singer. I don't know if he's the first acoustic blues player on Alligator. I recomend him highly. Both live and the CD, which I haven't heard yet but I'll be using it on my Walkin' Blues show on WTJU. Enjoy! BA ========================================================================= Date: Thu, 2 Nov 1995 22:40:05 -0500 Reply-To: BAJammin From: BAJammin Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Cab Calloway -Reply Comments: To: bit-listserv-blues-l@uunet.uu.net He was considered a "dangerous man". Another fine old movie with Cab Calloway, featuring W.C. Fields, the Marx Brothers and others, is International House. Cab Calloway and the Harlem Maniacs make a great performance in this one. Check it out. ========================================================================= Date: Thu, 2 Nov 1995 22:40:04 -0500 Reply-To: BAJammin From: BAJammin Organization: America Online, Inc. (1-800-827-6364) Subject: Re: *FREE RADIO TIME, read this* Comments: To: bit-listserv-blues-l@uunet.uu.net I'm a DJ for WTJU Charlottesville 91.1 FM. Like WUTZ we are a local public radio alternative. My work is in the folk department, specifically early blues. I have no music to send you but I think you have great idea with the student involvement. Our folk department has had some great success with featuring local musicians live on the air. There is a certain ease with doing that since folk music tends to be acoustic, unplugged and made on simple easily portable instruments. Maybe a similar idea could work for you too. Just a suggestion. Keep up the good work! Bill Adams ========================================================================= Date: Thu, 2 Nov 1995 23:29:29 PST Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: This silly Music Theory Paranoids Comments: To: "P.W. Fenton" , Cathi Norton O.K., This is gonna step on a few toes (sorry) and a few noses will get bent out of shape from not paying attention to all of what I say (too bad for me), but, learning music theory and then no longer playing with the the same feeling and style *is* a fear that some of us have (or this thread wouldn't even come up]. On Fri, 27 Oct 1995 12:21:04 +0000 P.W. Fenton wrote: > ...The idea >that learning music theory will have a bad effect on your ability to >make music is simply ludicrous... It's not a fear of it effecting our ability but our sensibilities, our style. It is something that many of us Theory illiterati fear. > ...It's like suggesting that learning >grammar, punctuation, and vocabulary, will stifle your writing skills >and your ability to tell a story, or communicate your feelings, or >express your love. A downright silly notion. They won't stifle your writing skills, but if you have a street vocabulary that you use in telling your stories, and you go to finishing school, you're going to start using the new words that you've learned. Your grammar will improve, etc. The character will have changed. When you know *big* words, it's hard not to use them. In the same way, learning Theory can expand your musical vocabulary. Once enlightened it can be difficult to restrain yourself and you've lost something. I've listened to sooooooo... much Clapton lately, the concerts and the tapes of the concerts, that I've picked up that major scale Freddie King appregio thing and I can't shake it. Now most people are going to hear a Clapton riff from me (not something a lot of people on this list would care to hear). I've become a better guitarist, but I've traded something. It will take a conscious effort to restrain myself from overusing that riff. I've known people who could never go back (after picking up a Lynyrd Skynyrd riff, as example). Many of us [non-Theory types] wonder if Jazz guitarists are just regular guitarists who learned too much Theory and couldn't stand playing Blues (or Rock or whatever) anymore because it didn't allow them to play all this stuff they knew. So they had to play Jazz - they became enamoured of the richness of the language and can no longer tell the story. High noise, low content. The basic utility of information is in the using of it, and man has not invented one single thing that he doesn't end up using. I'll have no more Music Theory in my life than I've already gotten from Tom Wheeler's Guitar Book. No college courses or books from the library. No lessons on how to make music that I don't like. Learn chords, how to form chords, learn the Blues scale, riffs and techniques, take a few lessons, learn from records, practice, play-play-play [like practice, except more like fun], jam with other people and ask them how to do... [whatever it is that appealed to you], but stay away from modes and other scales, lessons on the intellectual manufacture of music, inane 'exercises', learning lead and not being able to play rythym, and being force fed stuff that you have no interest in [I mean, if that interests you, go for it, but...]. That's just my way, and that's what worked for me. I've been at it for 30 years and I've always loved it and there's always been a thousand guys that could play 'better', faster, and knew stuff I didn't. But I get more out of it than ever, so I'm happy. I hope I've shed some light on why some of us are Music Theory Paranoids. My Blues is deep and I don't want to loose that. Mike [ home work ] [ http://www.xnet.com/~msuffern/soundtravels.html ] [ The Blues&Travel Site, Blues Guides, Festivals, ] [ Eric Clapton @ Royal Albert Hall, London tour ] ------------------------------------------------- [ Above all, play what your heart tells you to... ] [ As you learn, your heart will have more to say. ] ========================================================================= Date: Fri, 3 Nov 1995 01:10:12 -0500 Reply-To: robert barclay From: robert barclay Subject: Re: Whitney (who?) blues : a new thread >At 11:43 PM 11/1/95 -0500, robert barclay wrote (referring to Dolly Parton): >>>> > >>> >>> I'm with you on this LW [if I may be so bold] Try listening to the album >>"TRIO" [not a cd]. On a really good stereo, DP sings with LINDA RONSTADT and >>EMILY LOU HARRIS and it is the sweetest country music you could ever hear. >>You would think you had died and gone to heaven! >> rb. >> >> > >"Trio" is a terrific - particularly the Emmy Lou Harris numbers - really >shows what country vocal group can be - MILES beyond what Alabama, >Sweethearts of the Rodeo, etc. have come up with - > >But why do you say [not a cd]? > >On a good sound system the album justs sounds more musical. ========================================================================= Date: Fri, 3 Nov 1995 01:17:31 PST Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: Blues in Chicago at Thanksgiving Comments: To: Scott Berman Scott, Jimmy Rogers is playing at Buddy Guy's Legend, I think, the weekend after Thanksgiving. Judith and I will be there. I'll message the list with details. Mike On Wed, 1 Nov 1995 12:15:24 -0600 Scott Berman wrote: >If anyone knows of some especially good things happening in Chicago >during the weekend of Thanksgiving, could you please let me (and not the >list) know. > >Thanks, >Scott > > > >_______________________________________________________________ >Dr. Scott Berman bermansj@sluvca.slu.edu >Department of Philosophy Office (314) 977-3160 >St. Louis University Fax (314) 977-3874 >St. Louis, MO 63103 >U.S.A. [ home work ] [ http://www.xnet.com/~msuffern/soundtravels.html ] [ The Blues&Travel Site, Blues Guides, Festivals, ] [ Eric Clapton @ Royal Albert Hall, London tour ] ------------------------------------------------- [ Above all, play what your heart tells you to... ] [ As you learn, your heart will have more to say. ] ========================================================================= Date: Fri, 3 Nov 1995 01:21:48 PST Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: Additional Blues Date - November 1st Comments: To: "P.W. Fenton" And we gave the residents three notices, in English, French and Spanish, so it's their own damn fault they all got killed... ;-) Uh, sorry, didn't happen like that, but probably not toooooo far from the truth... Mike On Wed, 1 Nov 1995 07:24:28 -5 P.W. Fenton wrote: >On Nov. 1, 1952, the United States exploded the first hydrogen >bomb, in a test at Eniwetok in the Marshall Islands. > >P.W. Fenton >Tampa, Florida >e-mail = pwfenton@gate.net >WWW = http://www.gate.net/~pwfenton [ home work ] [ http://www.xnet.com/~msuffern/soundtravels.html ] [ The Blues&Travel Site, Blues Guides, Festivals, ] [ Eric Clapton @ Royal Albert Hall, London tour ] ------------------------------------------------- [ Above all, play what your heart tells you to... ] [ As you learn, your heart will have more to say. ] ========================================================================= Date: Fri, 3 Nov 1995 01:25:32 -0500 Reply-To: BAJammin From: BAJammin Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Tampa Red/Hokum/John Hammond Comments: To: bit-listserv-blues-l@uunet.uu.net I'm not real good at this pasting of qoutes from one message to the next reply and such but I;d like to share your enthusiasm for hokum, LW. Check out Big Bill Broonzy's recordings with vocalist Jane lucas, pianist Georgia Tom Dorsey, and guitarist Frank Brasswell if you haven't already. This would be the young Big Bill (late '20's early '30's) on Yazoo. Hokum Stomp, Hip Shakin' Strut, Saturday Night Rub and Eagle Ridin' Papa to name a few. I'm still not sure if hokum music is a style all it's own or just any cheap sexy blues fraught with double entendre. If it's the latter it might all be hokum, I don't know. Anyway, if recording quality is your yearn, most of Bo Carters stuff sounds like it was recorded yesterday. BA ========================================================================= Date: Fri, 3 Nov 1995 00:48:20 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Otis Spann solo recordings Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199511021229.AA28563@dragon.acadiau.ca> Rob Hutten writes: >Does anyone know if there is a whole album of solo Spann? The notes >in this sampler seem to indicate that this was the only solo of the >session... The Mosaic release, "Complete Candid Otis Spann/Lightnin' Hopkins Sessions lists 6 tracks by Otis without guitar. The rest of the 2 CDs on this set devoted to Spann have Robert Jr. Lockwood backing him on guitar. The third disc is solo Lightnin' Hopkins. This set is on Mosaic's endangered release list (i.e., soon to be deleted). Available by mail order only ( phone 203-327-7111). Art Schuna ========================================================================= Date: Fri, 3 Nov 1995 07:31:59 GMT Reply-To: marc@az.vub.ac.be From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: R.SYKES question Comments: To: bit-listserv-blues-l@Belgium.EU.net In the book , "A left hand like God", the story of boogiewoogie, the writer mentions a book written by someone from Belgium (!) named : "Roosevelt Sykes, The Honey Dripper". Who can give some information about this book ? (References, author, publisher, where available ?) Thanks ! embee, the pianoman. ========================================================================= Date: Fri, 3 Nov 1995 11:30:19 GMT Reply-To: Steve Leigh From: Steve Leigh Organization: a Digital Internet AlphaServer Site Subject: Blues clubs in Palm Springs, CA? Comments: To: bit-listserv-blues-l@uunet.uu.net I doubt that there are any, but can someone tell me if there are any good blues clubs in Palm Springs, CA? Thanks to all that respond. ========================================================================= Date: Fri, 3 Nov 1995 15:04:02 +0200 Reply-To: T P Uschanov From: T P Uschanov Subject: Re: Milk Cow Blues Comments: To: Paul Garon In-Reply-To: On Thu, 2 Nov 1995, Paul Garon wrote: > A relatively obscure cover was done by country and western singer Johnnie > Lee Wills; it's a faithful version, with correct composer credit to Kokomo > Arnold. It was on Decca, in the 1940s. Another country version of sorts was done by Bob Wills & his Texas Playboys in 1946 (for OKeh, I believe). This is titled "Brain Cloudy Blues," and has the first verse replaced by an entirely different one not about milk cows at all. But all the rest of it is extremely similar to Elvis' version! T P Uschanov (Mr), University of Helsinki, Finland, European Union. (GEEK CODE 2.1) GP/H d++@ H s-:+ !g>++ p1 !au a- w+++(+) v- C+ US+ L+ 3 E N++ K-- W+ M(+) V -po+(--) Y t- !5 !j R- G'' !tv b+++ !D(--) B e+$ u+++(*) h+(*) f(+) !r n---->+ !y(*) ========================================================================= Date: Fri, 3 Nov 1995 08:04:21 EST Reply-To: levyt@RL.AF.MIL From: Toby Levy Subject: SITTING AND THINKING: Rod Piazza Live at BB King's! ROD PIAZZA & THE MIGHTY FLYERS / LIVE AT BB KING'S (BIG MO 10262) BIG MO RECORDS RR1 BOX 389C NORWICH VT 05055 It's been about four years since southern California's secret treasure burst onto the national scene with two great albums on the Blacktop label. The latest release from The Mighty Flyers outdoes those two albums in every way. Whether you are new to Rod Piazza's blues harp magic or are a long time fan, this is an absolutely essential album for your collection. The band brings to mind Muddy Waters' classic ensembles: heavenly harp, great guitar, out of this world piano playing, and rock solid bass and drums. Recorded during two performances at a club owned by blues legend BB King, this is as LIVE as live gets. SINISTER WOMAN / LOVE AND MONEY / MURDER IN THE 1ST DEGREE / CLAP YOUR HANDS / CALIFORNIA BLUES / DIAMONDS AT HER FEET / JU JU COCKTAIL / DOWN SO LONG / THE STINGER / BLUE HOUR / SOUTHERN LADY / THEY WANT MONEY NY CD-Takes SINISTER WOMAN: The album kicks off at a breakneck pace with a passionate solo by Rod Piazza followed by an equally passionate solo by the guitarist Alex Shultz and a short time later ANOTHER wonderful solo by Rod's wife Honey on piano. Then Rod takes an even longer solo that will leave you gasping for breath. The song is over eight minutes long! This is the first of nine Piazza originals on the cd. LOVE AND MONEY: The pace is slowed down to mid-tempo for this number, but just try to keep your feet from doing the boogie woogie. This original song has the feel of a blues classic, and surely other bands will be playing it for years to come. Rod sings of searching for love and money, "I knocked hard on every door, but it was the blues that let me in." Miss Honey, as she likes to be called, plays an outstanding solo here with Rod yelling encouragement in the background. MURDER IN THE 1ST DEGREE: This song contains Rod's best singing. When he cries out "You were SOOOOO mean to me," you can really feel his pain. His harmonica simply wails. The lyrics concern a person who feels that his divorce is more painful than being murdered. Alex Shultz nails down the end of the song with an incredibly blue guitar. CLAP YOUR HANDS: A heavy duty stomp where Rod declares independence by stating "Clap your hands, snap your fingers, I won't come running any more, and you can stop that foot stomping girl, cause you're just wearing out the floor." The music that pours out of Rods harp here sounds as if it requires mighty strong lungs. Rumbling and growling, Rod moves blues harp to new places. CALIFORNIA BLUES: The first slow blues on the album. A timely piece in which the devastating effects of California forrest fires are described. In a recent interview Miss Honey told how she learned the blues by playing along with Otis Spann records. The ghost of Otis Spann truly can be heard taking over the piano here, and Rod contributes by raising the ghost of his mentor, the late great George Smith. DIAMONDS AT HER FEET: A Muddy Waters composition recast into a jump blues. Rod spends most of this song at the lower end of the harmonica, blowing an extremely fat tone that many harp players would kill to be able to achieve. Just as Rod yelled to Miss Honey earlier, here he urges Alex Shultz to ever greater heights: "You are smooth, you are smooth!" Rod yells as Alex proceeds through a very jazzy solo. JU JU COCKTAIL: The first of two instrumentals on the album, and the only one in which the whole band performs. It's an uptempo ode to joy that brings to mind the style of Little Walter. Yet another number in which it is impossible to listen to sitting still. By far the shortest song on the album, but a cohesive testimony to the greatness of the Mighty Flyers as a mighty tight unit. DOWN SO LONG: The second cover is a Shakey Jake song. The blues keep falling like rain in the mid tempo swing, with yet more hot guitar from Alex Shultz. "Walk the streets at midnight, have no food to eat, wearing borrowed clothes, no shoes on my feet" the singer is truly down to the bottom and feels that his rebound is just around the corner. THE STINGER: Rod, Alex and Bill the bass player leave the stage to Miss Honey and the drummer, Jimi Bott. The Stinger is as good as boogie woogie gets, and that's just great! If you didn't know the pretty, petite Miss Honey was at the keyboards, you would swear the piano was being played by a barrel chested man wearing a derby and smoking a cigar. The music is so hot you'd better line your cd player with asbestos. Toward the end of the song Bott takes a brief drum solo. He has stated in an interview that it was his life's ambition to be the drummer for the Mighty flyers from the first time he saw them play when he was a teenager. May he be their drummer for years to come! BLUE HOUR: This is my favorite song on the album. A soulful slow blues that showcases every member of the band in the best possible light. The Blue hour of the song occurs "way past midnight" and there is a dreamy quality to the music that perfectly compliments the lyrics. SOUTHERN LADY: By far the longest song on this 72 minute cd, Southern Lady is an eleven minute romping stomping jump blues. You get the feel of being in the club as Rod introduces all the band members toward the end of the song, and each of them responds with tasty little solos. Alex Shulz takes another very jazzy turn here, and it is very effective. During one of Rod's solos the rest of the band pauses and Rod takes complete control for about a minute. THEY WANT MONEY: The Flyers cover Jerry McCain's They Want Money for their finale, and the song sounds very much like a finale as Rod thanks the audience for their kindness. To a basic Bo Diddley beat with humorous lyrics, the Mighty Flyers leave us to ponder how they are ever going to top this cd. Reviewed by Toby Levy Copyright NY CD Blues - 1995 ========================================================================= Date: Fri, 3 Nov 1995 08:24:21 -0500 Reply-To: Niles Frantz From: Niles Frantz Organization: Megaweb Subject: Re: James Brown (heh! kiss myself!) influence. Comments: To: bit-listserv-blues-l@uunet.uu.net In article <9CE8BF8D@MHS> Steve Levine wrote: >F.J.(Rick)Miller writes: > >* If you think you know something about blues but don't have > any James Brown >*in your collection,do yourself a favor. School is still in > session. :) Right on!!! I have two 2CD sets which I can heartily recommend: - Messing With The Blues, Polydor 847 258-2. Some killer straight-ahead blues, plus R&B, and some stuff that can only be called James Brown. - Roots of a Revolution, Polydor 817 304-2. Wonderful early R&B material (mostly pre-funk). Niles A loop is a loop is a loop. ========================================================================= Date: Fri, 3 Nov 1995 08:50:43 -0600 Reply-To: Roger Struve From: Roger Struve Subject: John Hamond -Reply Comments: To: lrtoomey@tasc.com Hi, John Hammond did not sing the song Southern Fried. That is the name of one of his most popular earlier LP's. Four of the best songs off of this LP have been added to the songs of the LP "I Can Tell" and re-released on a CD entitled "I Can Tell". The four songs also included from the LP Southern Fried included those upon which Duane Allman appeared, along with i think it was Robbie Robertson. regards, delta doc roger BTW: John Hammond is re scheduled for the Cedar Cultural Center in Minneapolis on February 23, 1996. !!!!!! ========================================================================= Date: Fri, 3 Nov 1995 08:53:13 -0500 Reply-To: MaryA NBP From: MaryA NBP Organization: America Online, Inc. (1-800-827-6364) Subject: Boston Blues Hotline Comments: To: bit-listserv-blues-l@uunet.uu.net I'm assuming it is all right to post this info here as The Boston Blues Society is certainly a non-profit organization. (When I took over as treasurer 6 months ago suddenly the term "non-profit" took on a whole new meaning!) At any rate, as a service to New England Blues fans, musicians & clubs we are providing a BLUES HOTLINE that can be called 24 hours a day. It is free to call...free to be listed...its easy....its painless. Call today! (617) 876-BLUE...Ext 7. Always have a pen (preferably a blue one) and paper handy because we cover A LOT of info (1 weeks worth) at a time. We are thrilled about this new service and we hope everyone will benefit from it. Mary Melodee ========================================================================= Date: Fri, 3 Nov 1995 07:49:13 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: This silly Music Theory Paranoids In-Reply-To: Message of Thu, 2 Nov 1995 23:29:29 PST from >stuff they knew. So they had to play Jazz - they became enamoured of the >richness of the language and can no longer tell the story. High noise, low >content. Eric Gale (the real one), Wes Montgomery, Kenny Burrell, Charlie Christian..etc Tell a story with high content, it may not be YOUR story, but it's a helluva story. You can be educated and still play from the heart/soul. Albert King took fromal theory classes. >Learn chords, how to form chords, learn the Blues scale, riffs and >techniques, take a few lessons, learn from records, practice, Like MR K. (can't remember name said)...Do you not think learning the above is music theory....????. I think we are confusing formal training with theory. Knowing that a standard blues prgression is 1,4,5 is THEORY...period LW 'never had a lesson in my life...learned with Mel Bay :-)' ========================================================================= Date: Fri, 3 Nov 1995 09:46:25 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: The Music Theory Cop-out Comments: To: msuffern@xnet.com On 2 Nov 95, msuffern@xnet.com had this to say: > This is gonna step on a few toes (sorry) and a few noses will get bent out > of shape from not paying attention to all of what I say (too bad for me), > but, learning music theory and then no longer playing with the the same > feeling and style *is* a fear that some of us have (or this thread wouldn't > even come up]. If, after learning more music theory, your playing style changed and lost it's feeling, then you probably had none to begin with. I feel that this "fear" is usually just a convenient cop out. I myself don't know a great deal of "music theory" but I don't blame that on a fear of the knowledge changing what I hold dear, I blame it on my own laziness. It's EASIER to go with what I already know, and can pick up painlessly (effortlessly). On comparing mastery of the written language to mastery of the music language you wrote: > They won't stifle your writing skills, but if you have a street vocabulary > that you use in telling your stories, and you go to finishing school, > you're going to start using the new words that you've learned. Your grammar > will improve, etc. The character will have changed. When you know *big* > words, it's hard not to use them. Mark Twain, for instance, was a master of the English language but had no trouble whatsoever using local vernacular to better tell a story. Again, if you use big words simply to impress people with the fact that you know them, you were probably a bore BEFORE you learned them as well. > In the same way, learning Theory can expand your musical vocabulary. Once > enlightened it can be difficult to restrain yourself and you've lost > something. When you gain knowledge, what you lose is ignorance. Inability to restrain oneself is a separate issue that exists independent of the AMOUNT of knowledge you possess. > I've listened to sooooooo... much Clapton lately, the concerts and the > tapes of the concerts, that I've picked up that major scale Freddie King > appregio thing and I can't shake it. Now most people are going to hear a > Clapton riff from me (not something a lot of people on this list would care > to hear). > I've become a better guitarist, but I've traded something. It will take a > conscious effort to restrain myself from overusing that riff. Hey... just because the sign at the buffet says "all you can eat" doesn't mean you have to eat like a pig. You don't blame the size of the buffet for the gluttony, you blame the glutton. Music is no different. Spitting out thoughtless scales and licks is not a product of the knowledge, it's a product of the player. > The basic utility of information is in the using of it, and man has not > invented one single thing that he doesn't end up using. Huh? What would be the point of inventing something you have no use for? You got that ass backwards. People didn't invent the wheel and then look around for something to do with it. They started with a problem like "How do I get this really heavy thing over there?" and came up with a SOLUTION. > That's just my way, and that's what worked for me. I've been at it for 30 > years and I've always loved it and there's always been a thousand guys that > could play 'better', faster, and knew stuff I didn't. But I get more out of > it than ever, so I'm happy. > > I hope I've shed some light on why some of us are Music Theory Paranoids. > > My Blues is deep and I don't want to loose that. Again... this is just baloney (talk about stepping on toes). If we are walking down the street together enjoying each other's company, would the fact that you could outrun me force you to leave me in the dust? That's exactly what your saying. You are trying to tell me, and unfortunately other people, that if you learn how to play fast, you will lose the ability to play slow.... that if you learn scales, you will lose your ability to play melody.... that if you learn a complicated chord, you will lose your ability to use simple ones. ALL of that is horse****, and YOU KNOW IT IS. There is nothing WRONG with learning only enough to do what you want to do, but when you try to tell people that learning more will somehow make them lose what they already have, then you are telling me something else. You are telling me that you are trying to JUSTIFY TO YOURSELF some perceived inadequacy. "I'm not avoiding learning more because it seems like work, I'm avoiding learning more because more knowledge will poison me"......right...sure. If hearing Eric Clapton riffs repeatedly makes you quote them too much in your own playing, DESPITE your desire to avoid them, it would be far more plausible to conclude that perhaps you needed to EXPAND your musical vocabulary in order to avoid such cliche, than to suggest that learning more would stop you from playing the way you wanted. A certain number of people deleted this message before reading it said when they saw the length of it... it's the same process. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 3 Nov 1995 09:46:26 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - November 3rd Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BARBEE, WILLIAM "JOHN HENRY" (g) d. 1964-1103, CHICAGO, IL 58 CHARTERS, MARTIN A. (g/JUNIOR WELLS) b. 1967-1103, DAYTON, OH DAVIS, EDDIE "LOCKJAW" (tsax) d. 1986-1103, CULVER CITY, CA 65 ERNIE THE WHIP (dj) d. 1983-1103, LOS ANGELES, CA -- FRITZ, JOE "PAPOOSE" (tsax/SIW REC) b. 1924-1103, HOUSTON, TX GORDON, JOE (tpt) d. 1963-1103, SANTA MONICA, CA 35 JANSCH, BERT (g) b. 1943-1103, GLASGOW, SCOTLAND JOHN, MABEL (v/STAX REC) b. 1930-1103, BASTROP, LA KUGELL, MARTY (prod/5 SATINS) d. 1980-1103, LOS ANGELES, CA 42 LITTLE COOPER [TIMOTHY COOPER] (hca/b) b. 1928-1103, PRATTSVILLE, AL MCCARTHY, ALBERT J. (author) d. 1987-1103, LONDON, UK 67 MCGHEE, ANDY (tsax/HAMPTON) b. 1927-1103, WILMINGTON, NC MORRIS, WILLIAM JR. (of the AGENCY) d. 1989-1103, MALIBU, CA 90 NEWTON, FRANKIE (tpt/BESSIE SMITH) d. 1954-1103, NEW YORK CITY, NY 48 REVEL, HARRY (songw) d. 1958-1103, NEW YORK CITY, NY 52 RHODES, SONNY (g) b. 1940-1103, SMITHVILLE, TX SHUMAN, MORT (songw/DOC POMUS) d. 1991-1103, LONDON, UK 52 TURNER, JOE "STRIDE"[JOSEPH H. TURNER](p) b. 1907-1103, BALTIMORE, MD ------------------------------------------------------------------------------- ========================================================================= Date: Fri, 3 Nov 1995 10:03:21 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: vocal intensity Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU On 2 Nov 95, L W had this to say: > I been working on my vocals and singing from my diaphram (sp) which really > works. The problem is no intensity.... > > I sound like Kenny Loggins doing Delta blues. It ain't working, but I'm > going to sing anyway. I will not sing for my wife, she'll just have to wait > and suffer with the rest of them. I know she won't like my singing and I > don't want any discouragment, cause I have to sing. Leonard, I think the key is to sound like yourself. Don't COMPARE your voice to someone that you like. You're not them - they're not you. Just try to put the song over. Someday, some misguided kid will be trying to sound like you. If you can sell the song, and someone could hear your voice and say "That's Leonard Watkins!" you'll have alot more going for you than you would if you could sound just like Muddy Waters. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 3 Nov 1995 08:33:12 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Very Ignorant"Clean Grave" Question As I hang my head down in shame, I confess to you, the congregation of 'ellers that I have heard only ONE version of "Keep My Grave Clean" and that version is John Hammond's. I have the feeling that HIS version doesn't resemble BLJ's at all. I saw Stephan Grossman doing Son House's tune "County Farm Blues" and it was slower and played with a slide (naturally)... (similar songs, right) So I ask you,BLJ's version was probally slow and performed like the gospel tune that it's "structure" sounds like to me....(kind of like Swing Low Sweet C.) Hammonds is pretty fast and powerful none-the-less, something tells me that I haven't really heard the song.....Whatcha think LW 'Did Kenny Loggins do a version ? :-)' ========================================================================= Date: Fri, 3 Nov 1995 08:45:03 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: etc. 1. Bought newly released 2CD Freddie King "King of the Blues" last night. No doubt my "buy of the year." Great collection! What bothers me is no liner notes whatsoever. Is my CD missing it, or that's how it was released? 2. Got new Rolling Stone recently. There is voting ballot inside, and I was thinking wouldn't be nice if we can do on Blues-L a quick voting about best album, performer, show, etc. and then all of us RS subscribers vote for the vinners. Could get some of blues acts listed and maybe help some of them. 3. Playboy reviewed new Paul Jones "Mule" release. Got good grades. 4. For my fellow blues society bookers, my top three Best Buys: (quality and money considered): 1. Honeyboy Edwards 2. Byther Smith 3. Satan and Adam 5. Why is Byther Smith so underappreciated? Man is he good!!!!! Ranko ========================================================================= Date: Fri, 3 Nov 1995 08:24:41 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: James Brown (heh! kiss myself!) influence. Comments: To: Niles Frantz In-Reply-To: <47d57i$51d@news-e1a.megaweb.com> There's also a CD of JB II which is comparable in quality (i.e., essential) to The CD Of JB. ========================================================================= Date: Fri, 3 Nov 1995 06:59:58 +0000 Reply-To: "Terry L. Odor" Comments: Authenticated sender is From: "Terry L. Odor" Subject: Stanhope House If you are close to Jersey check out EC Scott at Stanhope House Saturday, November 4. Her CD "Come Get Your Love" is on Blind Pig. Terry http://www.teleport.com/~tlo/ (updated 10/28/95) ========================================================================= Date: Fri, 3 Nov 1995 07:04:37 -0800 Reply-To: Garry Segal Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Garry Segal Subject: Wireless Blues/L.Allison Greetings techie types, I've been trying to put together a road worthy wireless set up using a Shure 58 for harp. Sampson has a true diversity model for $559 . Is Sampson stuff durable ? Any recommendations on using a mic preamp before going to the board ? Effects? On a bluer note, I too must add my raves about Luther Allison. Incredible show and I'm not prone to gushing. He played past closing to a small crowd on a Tuesday night and the band was tight. Great gut wrenching version of It Hurts Me Too, it was as if I had never heard it before. Catch em if you can. Garry email BlueSngr@ix.netcom.com Moodswingerpage http://www.island.net/~blues/BlueSngr.html ========================================================================= Date: Fri, 3 Nov 1995 09:03:43 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: etc. In-Reply-To: Message of Fri, 3 Nov 1995 08:45:03 -0600 from On Fri, 3 Nov 1995 08:45:03 -0600 Ranko Vujosevic said: > 2. Got new Rolling Stone recently. There is voting ballot inside, > and I was thinking wouldn't be nice if we can do on Blues-L a quick > voting about best album, performer, show, etc. and then all of us > RS subscribers vote for the vinners. Could get some of blues acts Glad you mentioned RS. I have a question: MR Vorel from Blues Revue says that Blues Revue is the most subscribed to or most read or something blues publication in the US. He also mentions that they will be adding jazz and we all know they cover rock (blues rock if thats what you wanna say).. I think that if BR is a blues publication, then so is Rolling Stone. So Blues Revue probally doesn't have as many subscribers as RS, so RS is the most popular magazine, since they cover "some" blues, rock and jazz....Makes sense to me.. LW 'who has tons of respect from Mr. Vorel and BR contributors..I mean that' ps: No offense toward BR, or Mr. Vorel. I have trouble understanding how a blues, rock & jazz publication can be considered a blues publication..??? ========================================================================= Date: Fri, 3 Nov 1995 09:10:26 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: B'day Blues I will be playing at a 40th birthday party at a local club. The Bday boy is the drummer on the second POB tape, btw. Can someone recommend a BLUES tune that would be suitable for a birthday song I usually write one, but I don't feel motivated and it's tommorrow. Anyone have the lyrics to Muddy's "Young Old Fashioned Ways" or whatever it's called/...THANKS LW 'I apologize for posting too much, this morning" ========================================================================= Date: Fri, 3 Nov 1995 10:16:03 -0500 Reply-To: "Alan C. Rollins" From: "Alan C. Rollins" Subject: Blues Finds Tallahassee Tallahassee has become a regular stop for Blues artists of late. Ain't not complaining mind you. After about nine years here with only a token or two thrown our way occassionaly it is great to have such a menu of Blues to choose from. Choose we must as we can brag of having Cris Duarte Sunday, Marcia Ball with Anson Funderburg & the Rockets Monday night, and Thursday we have to club hop if we are to fit in both Sue Foley and Phillip Walker. We had Delbert McClinton open with Luther Allison last week, Buddy Guy has been here twice. It does get better. I want to plug Phillip Walker his hollow bodied guitar, his gritty vocals and tight-as-nails band. This man is a treasure undiscovered. His new CD, "Working Girl Blues" is a must have. He has been at it since 1955 when Clifton Chenier(who's son was here a week or so ago and is fine) gave him his start. He comes to Tally Town regularly to play at Dave's CC Club. I ain't not associated with either Mr. Walker or Dave's. It is just that Mr. Walker is a fine artist deserving a broader audience. He is one fine person as well always approachable and ready with a story from the road. ========================================================================= Date: Fri, 3 Nov 1995 09:49:15 -0500 Reply-To: Willy Evans From: Willy Evans Subject: Re: vocal intensity Comments: To: "P.W. Fenton" In-Reply-To: <199511031415.JAA40687@tequesta.gate.net> > On 2 Nov 95, L W had this to say: > > > I been working on my vocals and singing from my diaphram (sp) which really > > works. The problem is no intensity.... > > > > I sound like Kenny Loggins doing Delta blues. It ain't working, but I'm > > going to sing anyway. I will not sing for my wife, she'll just have to wait > > and suffer with the rest of them. I know she won't like my singing and I > > don't want any discouragment, cause I have to sing. > In my case, the key to vocal intensity lay in the taking of chances. Listen to someone like Bonnie Raitt. She gets a lot of her vocal intensity through these hot little musical phrases that she adds to a melody. Also the great Delta singers like Lightnin' use some cool vocal phrasing. Just don't be afraid to stray from the "melody" and sing some wild note, or shout, or change the timing a little bit. All of these things start out as being real unsure, but after a while you get use to doing them and you get the confidence. The confidence is what causes "intensity". Bottom line, sing a lot and get wild! Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** there'll be snuff juice everywhere **** ========================================================================= Date: Fri, 3 Nov 1995 10:51:51 -0500 Reply-To: RhythmShrk@AOL.COM From: Bernie Clarke Subject: Re: vocal intensity Paul Fenton said: Leonard, I think the key is to sound like yourself. Don't COMPARE your voice to someone that you like. You're not them - they're not you. Just try to put the song over. Someday, some misguided kid will be trying to sound like you. If you can sell the song, and someone could hear your voice and say "That's Leonard Watkins!" you'll have alot more going for you than you would if you could sound just like Muddy Waters. I disagree with this idea that singers should not compare themselves with other singers. That's the best way for anyone to learn. I in no means reccommend becoming a clone of your favorite singer, but what I did when I was starting out was to find a singer that I liked who had a vocal style and placement similar to my own. I wouldn't try to sing like Muddy if your voice has the tonal qualities of Kenny L. Understand right from the start that YOU WILL NEVER SOUND LIKE THAT SINGER, but this is a learning process. Hell, guitar players spend hours and hours listening to other players. There is a lot of direct copying and borrwing that goes on in music and it's how we learn. Paul is right in saying that you should put the song over as yourself, but good singers aren't just born, they have to develop just like other musicians. After you've been doing it for awhile, you will have a style fo your own that hopefully sounds good and sounds like you. I want to emphasise one thing: understand what aspects of a given singers performance that you could use. You might not be able to get Muddy's tone, but how about learning how to incorporate some of the inflections of his singing into your performance. You might not have Darrell Nulisch's upper range, but how about the way he uses vibrato at the end of long, drawn out notes or how he seems to acutally restrict his airflow to get that breathy, pleading, soulful style that he does so well. If you're into power, check out Kim Wilson's delivery. Maybe you've got pipes like Delbert McLinton or Lee McBee. Can you sing like you've just gargled sand? These are all valid styles and there is plenty to be learned from all of them. Sing along with your "teacher" in your car, at home or wherever and you will improve. Whether you're happy with the level that you improve to is your call. ========================================================================= Date: Fri, 3 Nov 1995 15:56:19 GMT Reply-To: Richard Cotenas From: Richard Cotenas Organization: California State University Sacramento Subject: Re: Otis Spann solo recordings Comments: To: bit-listserv-blues-l@uunet.uu.net Rob Hutten (rob.hutten@ACADIAU.CA) wrote: : Does anyone know if there is a whole album of solo Spann? The notes : in this sampler seem to indicate that this was the only solo of the : session... I have an Otis Spann discography that includes over 700 songs with Spann as solo pianist, band leader, and house pianist for Chess records and other companies. Unfortunately, its at home, and I'm here, so I'll have to work from memory. Since I was trying to pick up some blues piano licks, I was always looking for recordings on which you can hear the piano. Spann recorded hundreds of songs with Howlin' Wolf, Muddy Waters, Bo Diddley, Sonny Boy Williamson, and others, but the piano is pretty much buried in the mix on most of them. I'll tell you about some recordings that do justice to Spann's piano. An LP recorded in Denmark in 1963 has Spann solo, except for one cut, "Trouble in mind" with unobtrusive guitar by Lonnie Johnson. Maybe because it was my first solo Spann, it is my favorite. It's been released by Everest/Archives of Folk Music, and Storyville on LP and CD as "Good morning Mr Blues." It has great versions of many songs Spann recorded many times: Good morning Mr Blues--It must have been the devil--Worried life blues--Jelly Roll Baker, and others. The CD release by Storyville, which I don't have, has 3 songs not on the LP. Incidently, the same people recorded a bunch of tunes with Lonnie Johnson as the singer, with Spann backing, on the same day. In Aug 1960, Spann recorded a bunch of tunes, a few solo, a few with Robert Jr. Lockwood on guitar, a few with Lockwood singing, and a few with St Louis Jimmy Oden singing. Some of these were first released as "Otis Spann is the blues." on Candid. Later, another bunch of tunes from the session were released as "Walking the blues". They have also been released together, in double LPs and CD as "The Candid Sides", and other titles. Great performances and great for people who want to learn some blues piano licks. The Testament LP, called "Otis Spann's Chicago Blues" or "Nodbody knows my Troubles," was released with about 9 solo performances and five with a band. It has been re-released on CD. It is well worth the money: the performances are moving, and you can hear every key on the piano. Vanguard had a series, recorded in the sixties, and re-released on CD called "Chicago, the blues today", volumes 1, 2, and 3. One of these (volume 1, I think) has 5 tracks with Spann and drummer S.P. Leary. They are also good for transcribing piano. There are a couple of records on which Spann plays with a band that are also of interest to those wanting to hear Spann's piano. 'Cryin' Time" was released in the late sixties, and has been released on CD. Vanguard KNEW how to record a piano with a band. You'll find it under Spann's name. Buddy Guy's "A man and the blues" has a good mix of Spann's piano. It's also on Vanguard (no surprise). There are other sides with Spann solo, or in a duet, on which one can hear the piano well. I'll try to post here again with more information, when I can look at my notebooks at home. -- Richard Cotenas Calif. State Univ., Sacramento ========================================================================= Date: Thu, 2 Nov 1995 16:25:33 GMT Reply-To: Anybody From: Anybody Organization: Lund University Subject: testing, don't read Comments: To: bit-listserv-blues-l@uunet.uu.net test, sorry if you read ========================================================================= Date: Fri, 3 Nov 1995 11:02:59 +0000 Reply-To: rjbauman@IQUEST.NET Comments: Authenticated sender is From: rjbauman@IQUEST.NET Subject: Theory paranoids and musicianship Comments: To: msuffern@XNET.COM =============Many of us [non-Theory types] wonder if Jazz guitarists are just regular guitarists who learned too much Theory and couldn't stand playing Blues (or Rock or whatever) anymore because it didn't allow them to play all this stuff they knew. So they had to play Jazz - they became enamoured of the richness of the language and can no longer tell the story. High noise, low content.============= Whoa!! Are you commenting on theory paranoia or are you a theory paranoid?? The above statement is a good example of it, that's for sure!!! It isn't the theory that causes stylistic influences, it is the music one hears in one's head. That is unless the only tool one has is the knowledge and no ^ musical sensabilities of one's own; ^which would make one a real musician in my book (regardless of level of training). What many anti-theory people OUGHT to be afraid of, IMO, is not the theory, but what < the way in which one may be pre-disposed to apply the knowledge of theory> says about one's inate musical abilities/musicianship. I'm not thinking about anyone here in particular, just making an observation. You could hum through paper and comb all day and be a musician in my book, as long as learning theory does not lead you away from making rather than commencing a physio-mathematical exercise with no direction from the heart and soul. A good musician need not seek out the theory from books and instructors to become a better musician, but it certainly is a great help. A musician is going to encounter it all anyway, so he may as well have the benefit of about it up front. I've already had my say on the value of learning music theory, and maintain that most disagreements with what I've said have to do with what you think of when you use the term "music theory." RJ Bauman (is anybody keeping score on this subject? :-) :-) ) ========================================================================= Date: Fri, 3 Nov 1995 16:13:34 GMT Reply-To: Stessa Cohen From: Stessa Cohen Organization: Philadelphia's Complete Internet Provider Subject: Chris Smither Comments: To: bit-listserv-blues-l@uunet.uu.net I just wanted to let people know that the Blue Guitar, The Chris Smither Web site, has many new features you might want to check out! Including: * ASK CHRIS - Your chance to ask Chris about his blue guitar, songs, (his song 'Love You Like a Man' has been recorded by Bonnie Raitt) performances, favorite diners....and see his answers posted on the web! * Full discography, * Interviews * Complete Tour Schedule * Chris' letters from the road Visit the Blue Guitar Web at: And if you don't know who Chris Smither is...... Chris Smither is one of the finest acoustic blues guitarists alive today. Born and raised in New Orleans, Chris took his acoustic guitar north to Boston nearly 30 years ago. Since then, Chris has recorded seven albums for Poppy, Flying Fish and now Hightone Records. He describes his own style as "1/3 Lightnin' Hopkins, 1/3 Mississippi John Hurt, and 1/3 *me*." On the road a steady 150+ dates a year -- across the US, Canada and Europe -- keep your eye open for his signature blue Alvarez Yairi guitar. -- Stessa Cohen stessa@netaxs.com ========================================================================= Date: Fri, 3 Nov 1995 11:42:26 -0500 Reply-To: hhardy@BCONNEX.NET From: Hugh Hardy Subject: Milk Cow Blues Colin James often includes Milk Cow Blues as part of his shows. Always uses a slide. Sometimes a National O-Style. Hugh H. ========================================================================= Date: Fri, 3 Nov 1995 13:09:31 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Stuff we talk about The stuff about the Quebec referendum (or neverendum, as we call it) has been a refreshing change. Sorry if Conqueroot figures that, like Bosnia, America's OJ crisis, and the rest of the reality of the real world, it's all "crap"-that's his loss. The fact that America's largest trading partner, let alone close neighbour, damn nearly split up, to the total indifference of the United States. Actually, the TV news folk did do something - mentioned it three days before it happened, after important stuff about car wrecks, the odd murder, and more wind about the attempts to sort out a health scheme...haveaniceday... ========================================================================= Date: Fri, 3 Nov 1995 12:33:57 -0500 Reply-To: Bob vanArsdall From: Bob vanArsdall Subject: Re: Milk Cow Blues Both the Band and Levon Helm have recorded versions of Milk Cow Blues. Bob ========================================================================= Date: Fri, 3 Nov 1995 13:11:05 -0500 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: Blues clubs in Palm Springs, CA? Comments: To: bit-listserv-blues-l@uunet.uu.net In article <47cud3$d2m@ns1.moran.com> Steve Leigh writes: >I doubt that there are any, but can someone tell me if there are any >good blues clubs in Palm Springs, CA? >Thanks to all that respond. In Palm Spring, no one has the Blues... they all have the Teals :-) (or is that the Torquioses???) ========================================================================= Date: Fri, 3 Nov 1995 13:12:18 -0500 Reply-To: Conqueroot From: Conqueroot Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Quebec Referendum Blues Comments: To: bit-listserv-blues-l@uunet.uu.net OK, OK Uncle! Pease stop the flames (I'm already married) Bosnia, Canada OK with me. I just hope we don't have to listen to the Cokie Roberts cover of "I've Got My Mojo Workin'". Root ========================================================================= Date: Fri, 3 Nov 1995 18:19:20 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: James Burton/Dale Hawkins/Roy Buchanan/new MCA CHESS Comments: To: bit-listserv-blues-l@uunet.uu.net Thanks everyone for bring me up on Burton's condition (Keith Abel : I've been trying to email you but it just bounces back. Could you email me you're fax# as I have something to send you). I'm surprise that no one has mentioned that it was Burton who played lead guitar on Dale Hawkins' "SUZIE Q" - now available on the new MCA CHESS 9356 : DALE HAWKINS - OH! SUSIE Q - THE BEST OF along with (what must be) Roy Buchanan's very first recordings (as a session player), one dating back to June 1958 ("Crossties") when he wasn't even 19 years old! If you're blues leans a little towards rock(a-billy), you may want to check out this set. For the record, here are the new MCA CHESS releases, with short reviews: MCA CHESS 9357 : LITTLE WALTER - BLUES WITH A FEELING (2CD) With at least 10 new never-issued tracks, plus all those tracks from the Genesis box, what you have hear is 40 tracks to please all new & old fans of LW. What I've heard so far, it's great & the notes are by Mary Katherine Aldin MCA CHESS 9358 : HOWLIN' WOLF - THE BACK DOOR WOLF (his last Chess album (1973) produced by Ralph Bass with one new alternate take) MCA CHESS 9359 : MUDDY WATERS - THE MUDDY WATERS WOODSTOCK ALBUM (with Paul Butterfield, and The BAND (minus Robbie). Produced by Henry Glover with one new unissued track ("Fox Squirrel"). MW plays slide on at least 2 cuts) eRIC ========================================================================= Date: Fri, 3 Nov 1995 12:20:28 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: E.C. Scott > If you are close to Jersey check out EC Scott at Stanhope House > Saturday, November 4. Her CD "Come Get Your Love" is on Blind Pig. > Terry > http://www.teleport.com/~tlo/ (updated 10/28/95) > EC Scott IS NOT TO BE MISSED. In my opinion, she was one of the highlights of the last Mississippi Valley Blues Fest, and we all know how good that Fest was. Miss. Valley Blues Society's newsletter have an interview with EC Scott printed in the last issue. There is a funny store ES told about her beginnings and playing first gig for about 3-4 mothns in a lesbian bar in SF, not realising that was a lesbian bar until one of patrons started to hug her a little much too friendly. Her concert (and CD) is so soulful, funky and bluesy - IT WILL MAKE YOU HAPPY. Ranko ========================================================================= Date: Fri, 3 Nov 1995 13:30:44 -0500 Reply-To: ghost From: ghost Subject: Re: Very Ignorant "Clean Grave" Question, Also "L-Inadvertent Kenny Loggins Soundalike-W" Question (too backed up to quote above articles properly) 1st do you mean "One Kind Favor" or some other grave-cleaning song? Have you never heard Dave Van Ronk? Its on the 2nd Vanguard "DVR Folksinger" album. DVR is slow but steady, & *very* spooky. (*I've* never heard BLJ, either) 2nd: Do you know any John Hurt songs? And how about Charles Brown, whom you've said you like; he doesn't exactly sound like "Delta Charles Brown", does he? Hamhanded point here being that forcing yourself into some kind of gravel-voice thing if that's not how you sound normally could do a lot of harm. You didn't much like the effects Clapton gets trying it; why should you try to follow his lead? Also forget about that operatic theory; alhough I guess it can't *hurt* to breath from your diaphragm for some kinds of blues singing, please forget all their other advice unless you want to sing opera. (These opera people don't know any physiology, but are not afraid to stick their 2-cents in regarding kinds of singing they refuse to really listen to & demonstrably *don't* know how to do. I speak from recent close-up experience.) If you still find yourself stuck at the Kenny Loggins level at D-Day, how's about "The Blues at Pooh Corner" "Even Kangas Get the Blues" "You'll Roo the Day" "I Wouldn't Give a Piglet For Your Love" etc ========================================================================= Date: Fri, 3 Nov 1995 13:39:59 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Re: Blues Finds Tallahassee Comments: To: bit-listserv-blues-l@uunet.uu.net Alan C. Rollins (blzlynx@POLARIS.NET) wrote: : I want to plug Phillip Walker his hollow bodied guitar, his gritty vocals : and tight-as-nails band. This man is a treasure undiscovered. His new CD, : "Working Girl Blues" is a must have. He has been at it since 1955 when : Clifton Chenier(who's son was here a week or so ago and is fine) gave him : his start. He comes to Tally Town regularly to play at Dave's CC Club. : I ain't not associated with either Mr. Walker or Dave's. It is just that : Mr. Walker is a fine artist deserving a broader audience. He is one fine : person as well always approachable and ready with a story from the road. Second your appreciation of Mr. Walker. Love his big barrel vocals and his nice guitar sound. As an added note he's the owner of a club in Los Angeles - Club 4. He recently did an album with a blues rocker Jay Gordon that is quite good. Its a nice set with the mellow Mr. Walker set against the highly charged electric blues rock of Mr. Gordon. I have heard Jay Gordon's first CD - Blues Infested which was very much a big stright ahead rockin' set, and the second one Jaywalkin' got me more because the move from this rock-blues artist sitting down with the likes of Phillip Walker really makes for quite a different sound. May have a review of both soon. But it's always good to hear PW. He took my heart the first time that I listened to Bottom Of The Top - still one of my fav's. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Fri, 3 Nov 1995 13:47:14 +0100 Reply-To: Kelli Chessic From: Kelli Chessic OK ========================================================================= Date: Fri, 3 Nov 1995 13:43:00 PST Reply-To: Meridith Farnworth From: Meridith Farnworth Subject: Mass. Blues Tonight greetings all, sorry for posting this to the whole list... Is anyone else going to go see Saffire at the Old Vienna Coffeehouse in Westborough Mass tonight?! I'm definitely gonna be making the two hour ride to do it...been far too long since this'n has had a Night Out for Live Music. I'm mostly asking 'cause for *once* i won't be wearing my -L t-shirt for recognizability ...nope, I'll be the one in the leopard outfit tonight. I'll check my mail before heading out tonight, hoping anyone's gonna be there. btw: Guitar Shorty is at HoB Cambridge, too. It was a big toss up for me as to which to do, but Saffire won out, as i have friends who will go see them with me, but i woul've been doing the HoB thing solo. If i'm remembering right, Rory Block is at the OVC in Westborough tomorrow night. later, ---Meri, fixin to head over the Bridge, off this sandbar for some live music! p.s. Rick: thanks for the excellent directions to OVC and tips on same!! p.s. again: has anyone beside me and delta doc roger noticed how slow the Blues-L mail is coming? wondering if there's a problem or if everyone's just feeling quiet for the past 24 hours? ========================================================================= Date: Fri, 3 Nov 1995 15:06:20 EST Reply-To: salem@bbnplanet.com From: James C Salem Subject: Re: Hello [The Christmas Tree mass mailing...] In-Reply-To: <199511030404.UAA06788@ix5.ix.netcom.com> (message from Bryan on Thu, 2 Nov 1995 20:04:41 -0800) Bryan and Mike, the Christmas tree salesmen, are Amway distributors. If you disliked their mass email solicitation, I encourage you to call Amway directly and complain. Amway's phone number is (800) 253-6500 and their distributor number is JOH1648765X. Please accept my sincere apologies if I'm simply compounding the annoyance. -- jim ========================================================================= Date: Fri, 3 Nov 1995 13:38:33 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Byther Smith Fan Club Comments: To: Ranko Vujosevic In-Reply-To: <199511031445.IAA04125@picasso.ccad.uiowa.edu> Byther has retired from his day job and is planning to record for Delmark; he's also trying to find a good road band. (Isn't everybody?) ========================================================================= Date: Fri, 3 Nov 1995 15:22:45 -0500 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: The Music Theory Cop-out Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199511031358.IAA29965@tequesta.gate.net> "P.W. Fenton" writes: > >If, after learning more music theory, your playing style changed and >lost it's feeling, then you probably had none to begin with. You've hit the nail on the head. That says it all. ========================================================================= Date: Fri, 3 Nov 1995 15:39:54 -0500 Reply-To: Ncta From: Ncta Organization: America Online, Inc. (1-800-827-6364) Subject: Echoes of Africa-West Coast Tour Comments: To: bit-listserv-blues-l@uunet.uu.net Echoes of Africa A National Tour Exploring the African-Folk Origins of American Popular Music and Dance The Echoes of Africa tour offers a glimpse of the African origins of American popular music and dance. Songs, rhythmic traditions and Gullah stories from the Georgia Sea Islands and Piedmont blues from Virginia are juxtaposed against kora (harp) playing and drumming from West Africa and modern tap, a 20th century popular music dance form that evolved from the African juba dance. Featured performers are: SenegaleseJalie, kora player and drummer Djimo Kouyate; Premier Piedmont Blues performers John Cephas and Phil Wiggins; Philadelphia's tap master LaVaughn Robinson; and "The Georgia Sea Island Singers" Frankie and Doug Quimby. WEST COAST TOUR SCHEDULE Date Location Sponsor/Venue Concert Time 11/2/95 Chico, CA Cal. State - Chico 7:30 pm Laxson Auditorium 11/3/95 Santa Rosa, CA Luther Burbank Center 8:00 pm 11/5/95 Long Beach, CA Cal. State - Long Beach 3:00 pm Carpenter Perf. Arts Center 11/8/95 San Luis Obispo, CA Cal. Poly - San Luis Obispo 8:00 pm Chumash Auditorium 11/10/95 Santa Barbara, CA UC - Santa Barbara 8:00 pm Campbell Hall 11/11/95 Torrance, CA El Camino College 8:00 pm South Bay Center for the Arts 11/15/95 San Diego, CA UC - San Diego 8:00 pm Mandeville Auditorium 11/17/95 Las Vegas, NV Las Vegas/Clark County 8:00 pm Clark County Library Theater 11/18/95 Los Angeles, CA Occidental College 8:00 pm Performing Arts Center For more information contact: The National Council for the Traditional Arts, 1320 Fenwick Ln, Suite 200, Silver Spring, MD 20910. PH: 301-565-0654, FAX: 301-565-0472, E-MAIL: NCTA@AOL.COM or OLDTIME1@AOL.COM ========================================================================= Date: Fri, 3 Nov 1995 15:44:54 -0500 Reply-To: Ncta From: Ncta Organization: America Online, Inc. (1-800-827-6364) Subject: Memphis Sound-East Coast Tour Comments: To: bit-listserv-blues-l@uunet.uu.net THE MEMPHIS SOUND First Generation Rock & Roll A National Tour In the late 1940s and early '50s a synthesis of regional folk musics - blues, country, gospel, honky-tonk, and western swing - started bubbling out of the mid-South. Fueled by raging hormones and 3.2 beer, white teenagers in and around Memphis created a new sounds that would revolutionize popular music. Rock and roll was born. THE MEMPHIS SOUND tour brings together several of the pioneers who helped create the pulsing ROCKABILLY sounds that Memphis gave the world. Featured are: Pacers guitarist and composer of "We Wanna Boogie" and "Red Headed Woman" SONNY BURGESS; long-time Elvis drummer D.J. FONTANA; singer, guitarist, and rock & roll history book SLEEPY LABEEF; Sun Records producer and session musician STAN KESLER; young boogie-woogie pianist JEFF LITTLE; and the red-hot guitar of SCOTTY ANDERSON. A roots rock fan's dream band. TOUR SCHEDULE Date Location Sponsor/Venue Concert Time 12/1/95 Manchester, NH Hampshire Perf. Arts Center 8:00 pm The Palace Theater 12/2/95 Lowell, MA Lowell Regatta Festival 8:00 pm Durgin Hall - UMASS Lowell 12/3/95 Geneva, NY Smith Opera House 7:00 pm 12/5/95 Easton, PA Lafayette College 8:00 pm Williams Center 12/7/95 Washington, DC Smithsonion Associates 7:30 pm Baird Auditorium 12/8/95 Wilmington, DE Grand Opera House 8:00 pm 12/15/95 Louisville, KY Lonesome Pine Special 8:00 pm Kentucky Center for the Arts For more information contact: The National Council for the Traditional Arts, 1320 Fenwick Ln, Suite 200, Silver Spring, MD 20910. PH: 301-565-0654, FAX: 301-565-0472, E-MAIL: NCTA@AOL.COM or OLDTIME1@AOL.COM ========================================================================= Date: Fri, 3 Nov 1995 15:04:56 -0500 Reply-To: Willy Evans From: Willy Evans Subject: Re: B'day Blues Comments: To: L W In-Reply-To: On Fri, 3 Nov 1995, L W wrote: > I will be playing at a 40th birthday party at a local > club. The Bday boy is the drummer on the second POB tape, btw. > > Can someone recommend a BLUES tune that would be suitable for a birthday song > I usually write one, but I don't feel motivated and it's tommorrow. > > Anyone have the lyrics to Muddy's "Young Old Fashioned Ways" or whatever it's > called/...THANKS > > LW 'I apologize for posting too much, this morning" > I heard a work chant one time that said "Death You can't be Far Off Now". Tell the old boy I said Happy Birthday. And I never get tired of your posts. Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** there'll be snuff juice everywhere **** ========================================================================= Date: Fri, 3 Nov 1995 15:12:24 -0600 Reply-To: Bennett Pearce From: Bennett Pearce Organization: UAB Pediatric Cardiology Subject: Re: Hidden Gems Comments: To: bit-listserv-blues-l@uunet.uu.net In article <476rp2$sk8@news-e1a.megaweb.com>, Niles Frantz wrote: > > (1) Johnny Adams, "Walking On A Tightrope." . Nice guitar from Walter "Wolfman" > Washington and Duke Robillard. > Ditto on Johnny Adams; The Rounder CD "Room With a View Of the Blues" features the above artists and Mac Rebbenack on piano and Hammond B3. The recording is pristine and the vocals are typical Johnny Adams. -- Bennett Pearce ========================================================================= Date: Fri, 3 Nov 1995 16:49:51 CST Reply-To: JBards From: JBards Subject: Re[2]: vocal intensity Comments: To: Willy Evans I agree: a lot of very engaging singers don't have particularly good voices, but they know how to use them well, and learn to lay behind or move ahead of the beat for emphasis. Look at Sinatra: phrasing is everything. They also know their limitations and work within or around them. The list of great blues performers who don't have particularly good pipes is probably longer (proportionatley) than a lot of other popular music genres. -Jim _______________________________________________________________________________ Subject: Re: vocal intensity From: Willy Evans at INTERNET-SH Date: 11/3/95 3:03 PM > On 2 Nov 95, L W had this to say: > > > I been working on my vocals and singing from my diaphram (sp) which really > > works. The problem is no intensity.... > > > > I sound like Kenny Loggins doing Delta blues. It ain't working, but I'm > > going to sing anyway. I will not sing for my wife, she'll just have to wait > > and suffer with the rest of them. I know she won't like my singing and I > > don't want any discouragment, cause I have to sing. > In my case, the key to vocal intensity lay in the taking of chances. Listen to someone like Bonnie Raitt. She gets a lot of her vocal intensity through these hot little musical phrases that she adds to a melody. Also the great Delta singers like Lightnin' use some cool vocal phrasing. Just don't be afraid to stray from the "melody" and sing some wild note, or shout, or change the timing a little bit. All of these things start out as being real unsure, but after a while you get use to doing them and you get the confidence. The confidence is what causes "intensity". Bottom line, sing a lot and get wild! Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** there'll be snuff juice everywhere **** ========================================================================= Date: Fri, 3 Nov 1995 17:35:30 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Re: etc. Comments: To: bit-listserv-blues-l@uunet.uu.net Ranko Vujosevic (rvujosev@CCAD.UIOWA.EDU) wrote: : 5. Why is Byther Smith so underappreciated? Man is he good!!!!! """ "" "" """"""""""""""""? """ "" "" """"!!!!! """ "" "" """"""""""""""""? """ "" "" """"!!!!! """ "" "" """"""""""""""""? """ "" "" """"!!!!! """ "" "" """"""""""""""""? """ "" "" """"!!!!! """ "" "" """"""""""""""""? """ "" "" """"!!!!! """ "" "" """"""""""""""""? """ "" "" """"!!!!! Let's see - we could play fillin the blanks and we could sub- stitute for underappreciated - underecorded, underknown, and a host of other under-somethings including underpaid. My list would include: Louisiana Red Jimmy Davis Phil Guy Vance Kelly Snuff Johnson And until recently: Tutu Jones U.P. Wilson Luther Allison (in exile no less) Actually the list of living blues impressarios reads like a list of lost legends. The dead fare much better in the game called the blues. I have been thinking about this for sev- eral days now and your thread brought the point home for me. What if there was a ban on releasing older materials by the greats of yesteryear, and we were forced to deal with blues by the contemporaries. What if we had to follow their lead as to where the blues is headed (not where it's been). I'd surmise that Byther would not be an unknown, nor any of the others and the blues might be heading in a lot of new direc- tions and we'd be at the forefront of supporting the growth of the blues - not just retrospectively but prospectively. I like that word prospectively alot. The root "prospect" - just hit me. What are the prospects for the blues? Who are the prospectors of the blues? I'd like to hear some thoughts on this ........ anyone got opinions (Barry laughs quietly). Barry - who is now known as The Scooter ......... -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Fri, 3 Nov 1995 16:48:01 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: Jim Zeller Caught the last 10 minutes of a TV program on the Bravo! channel that had to do with a harp wizard named Jim Zeller. What little I heard sounded great. Can anyone fill me in on the details of this guy? Think he is a Montreal native. Any recordings etc? Thanx, Gary .......... Gary Constantine >> gconstan@ccinet.ab.ca << If hard work were such a wonderful thing, surely the rich would have kept it for themselves. ========================================================================= Date: Fri, 3 Nov 1995 17:43:28 -0700 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: Very Ignorant"Clean Grave" Question Comments: To: L W In-Reply-To: There is a version by Dave Ray with Tony Glover playing harp on the fabled "Blues, Rags and Hollers" by Koerner, Ray, and Glover. This version is quite good, IMHO. Jay Watterworth CU Boulder On Fri, 3 Nov 1995, L W wrote: > As I hang my head down in shame, I confess to you, the congregation of 'ellers > that I have heard only ONE version of "Keep My Grave Clean" and that version is > John Hammond's. I have the feeling that HIS version doesn't resemble BLJ's at > all. I saw Stephan Grossman doing Son House's tune "County Farm Blues" and it > was slower and played with a slide (naturally)... (similar songs, right) > > So I ask you,BLJ's version was probally slow and performed like the gospel tune > that it's "structure" sounds like to me....(kind of like Swing Low Sweet C.) > > Hammonds is pretty fast and powerful none-the-less, something tells me that I > haven't really heard the song.....Whatcha think > > LW 'Did Kenny Loggins do a version ? :-)' > ========================================================================= Date: Fri, 3 Nov 1995 13:54:27 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Open d blues Me> From: Michael Kaloyanides Me> To: Laurie Forti Me> Subject: Re: Tunings Me> On Fri, 27 Oct 1995, Laurie Forti wrote: > Standard: E A D G B E > Fingered E: E B E G# B E > Drop all one note: D A D F# A D > > If one wanted music 'theory' to be logical, one would expect that > open D tuning would be tuned to a D chord, but that would be asking > for too much. > Me> Your[sic]proving my point here about the value of theory. If you knew Me> theory you would realize that an open D tuning *IS* tuned to a D major Me> chord which consists of the notes D F# A. I believe I corrected the above statement to read something like: rationality would demand that Open D would be tuned to the most fundamental fingered D chord in Standard. Fingering to E and downtuning _that_ configuration of get Open D is an exercise in illogic readily accepted by musicians without question. Most probably because music is essentially a right-brain activity and logical analysis is a left-brain activity. Also, at my request, someone posted other possible Open D tunings: DAF#AF#, ADF#ADF#, F#ADF#AD, with the claim that there are even more. Many thanks to this poster. If the purpose of music theory was to actually produce a useful verbal description by which one could converse unambiguously about various concepts, this institutionalized misnomer certainly does not accomplish this. If you were immersed as deeply into 'theory' as you assert, perhaps you could also understand that vague, nonspecific, ambiguous language is not conducive to meaningful communication. I believe that was my original point. The _relationship_ between the strings in 'Open D' are those same relationships as those in a fingered E major chord. The _relationships_ are simply NOT the same _relationships_ as those in a fingered D major chord. Therefore, the mechanics necessary to actually _play_ a guitar tuned to a fingered E chord vs. a fingered D chord are _quite_ different. Don't you agree?? This is not a trivial point to be obscured by bombast. ========================================================================= Date: Fri, 3 Nov 1995 13:54:30 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Scathe rave Mm> Reply-To: mmccourt@ACUSON.COM Mm> From: Mike McCourt Mm> Subject: Re: Open scathe minor Mm> I can no longer resist; if you don't want to read a *scathing* reply, Mm> delete now. LF>Perhaps, I am a bit old fashioned, Mm> Not to mention narrow-minded, ignorant and extremely abrasive. I'm sure you actually think personal insults in public increases your credibility, right?? LF>but being a self-confessed rabid LF>Blues purist, I believe foisting cowboy music Mm> I haven't heard the *cowboy music* tapes but you should be aware Mm> that there are people who believe that country music is a legitimate Mm> music form in it's[sic] own right. Because you don't happen to like it (and Mm> obviously don't understand how it's[sic] played) doesn't give you license Mm> to deride it. The concept that I was expressing, which you neatly edited out to change my text to one you could falsely criticize, was that foisting cowboy music off on a video advertised and sold as a Blues Piano instructional tape is simply FALSE ADVERTISING. I DID NOT 'deride' cowboy music, I derided FALSE ADVERTISING; if you would like to present a case supporting false advertising, I'm sure we'd all be amused. Mm> I have been reading your posts for a couple of days now and am amazed Apparently without comprehension. Mm> ... (that's a sharp sign in case you haven't seen it) ... Juvenile insults don't impress me, or probably anyone else here. ... "Even mud gives the illusion of depth." -- Marshall McLuhan ========================================================================= Date: Sat, 4 Nov 1995 01:41:26 GMT Reply-To: Weidel From: Weidel Organization: Okanagan Internet Junction, Vernon, B.C., Canada Subject: Re: Hello! I'm calling from JAPAN! Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199510281438.XAA27358@ns.kiwi.co.jp>, "MIE \"micro\" SENOH" wrote: > Hello! > I join INTERNET because I wanted to watch BLUES-SITES. > I hope introduce about JAPAN BLUES SCENE. > And have many Blues Freiend all over the world. > I'm sure you will enjoy Five Blind Boys from Alabama. I saw them in July at the Riverfest Blues Festival in Philadelphia. They aren't "boys" at all, of course. They're actually all quite up in years. We have many Japanese CD's available here.They are always very expensive, but the quality is exceptional. A US cd, "Otis Clay Live in Japan" is one of my favorites. I just saw Otis down in Helena, Arkansas at the King Biscuit Festival. I guess with the condition of the Japanese stock market, you guys must really be singing the blues lately. O ya sumi ... Bob ========================================================================= Date: Sat, 30 Apr 1904 21:40:36 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: The Music Theory Cop-out >If, after learning more music theory, your playing style changed and >lost it's feeling, then you probably had none to begin with. I feel >that this "fear" is usually just a convenient cop out. I myself don't >know a great deal of "music theory" but I don't blame that on a fear >of the knowledge changing what I hold dear, I blame it on my own >laziness. It's EASIER to go with what I already know, and can pick >up painlessly (effortlessly). I'm not sure how much theory I know compared to most people on this list but as a student in a music school I've picked up a hell of a lot. As I've said before I use this theory in practice to help myself with new ideas but when I'm performing I play by ear. I let the music decide what I play. If it is the Blues then I play the Blues. Nothing else. >> In the same way, learning Theory can expand your musical vocabulary. Once >> enlightened it can be difficult to restrain yourself and you've lost >> something. > >When you gain knowledge, what you lose is ignorance. Inability to >restrain oneself is a separate issue that exists independent of the >AMOUNT of knowledge you possess. Knowing theory requires the ability to know when to use it. I've seen Jazz players totally ruin an R&B song by playing Jazz licks when nice and simple was what was needed. This knowledge comes from knowing how the music sounds and what it needs. This comes from listening to the music a LOT! A few Muddy Waters CD's won't make you a blues player. You have to listen to as much and absorb as much of the music as you can. >> I've listened to sooooooo... much Clapton lately, the concerts and the >> tapes of the concerts, that I've picked up that major scale Freddie King >> appregio thing and I can't shake it. Now most people are going to hear a >> Clapton riff from me (not something a lot of people on this list would care >> to hear). >> I've become a better guitarist, but I've traded something. It will take a >> conscious effort to restrain myself from overusing that riff. > >Hey... just because the sign at the buffet says "all you can eat" >doesn't mean you have to eat like a pig. You don't blame the size >of the buffet for the gluttony, you blame the glutton. Music is no >different. Spitting out thoughtless scales and licks is not a >product of the knowledge, it's a product of the player. Knowing scales (and modes) has help my melodic phrasing a lot. Knowing how scales sound helps you make note choices when soloing. This helps with any music. I will often listen to one artist and try and absorb some of this artists style. I will then use that as a springboard to developing my own 'sound'. I will often play a riff to death and then forget about it. I did that with an Albert King lick recently. Played it all the time. In alnmost every solo. Now I've moved on. I still will play it but hopefully it is just another phrase in my musical vocabulary. It has become a part of me. It is a part of learning. When you have learnt a riff move onto another one. That will help out with playing one riff constantly. (snip) >Again... this is just baloney (talk about stepping on toes). If we >are walking down the street together enjoying each other's company, >would the fact that you could outrun me force you to leave me in the >dust? That's exactly what your saying. You are trying to tell me, >and unfortunately other people, that if you learn how to play fast, you >will lose the ability to play slow.... that if you learn scales, you >will lose your ability to play melody.... that if you learn a >complicated chord, you will lose your ability to use simple ones. >ALL of that is horse****, and YOU KNOW IT IS. > >There is nothing WRONG with learning only enough to do what you want >to do, but when you try to tell people that learning more will >somehow make them lose what they already have, then you are telling >me something else. You are telling me that you are trying to JUSTIFY >TO YOURSELF some perceived inadequacy. "I'm not avoiding learning >more because it seems like work, I'm avoiding learning more >because more knowledge will poison me"......right...sure. > >If hearing Eric Clapton riffs repeatedly makes you quote them >too much in your own playing, DESPITE your desire to avoid them, it >would be far more plausible to conclude that perhaps you >needed to EXPAND your musical vocabulary in order to avoid such >cliche, than to suggest that learning more would stop you from >playing the way you wanted. > >A certain number of people deleted this message before reading >it said when they saw the length of it... it's the same process. > >P.W. Fenton Well said. I can't agree more. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sat, 30 Apr 1904 21:40:46 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: New SRV Just picked picked up the SRV greatest hits package. Here is the track listing. 1. Taxman 2. Texas Flood 3. The House is a Rockin' 4. Pride and Joy 5. Tightrope 6. Little wing 7. Crossfire 8. Change it 9. Cold Shot 10. Couldn't Stand the Weather 11. Life Without You Nothing new except "Taxman" which is a great cover. Stevie's vocals are great on this tune with a fantastice hard hitting solo. Dan Forte contributes the liner notes and offers a lot of information relating to each song. Like a lot of people I've heard all these songs many times before but hearing them together like this is cool. A great package. The first listening brought home the fact SRV is gone. 5 years gone and I still miss him. Shaun. Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sat, 30 Apr 1904 21:40:52 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Private e-mail I've been a little busy and I know that I've recieved some private e-mail that I've forgoten about. If anyone has sent me some private e-mail in the last week or so and not yet recieved a reply can you send it again. I will get up to date this weekend. Sorry, Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sat, 4 Nov 1995 01:00:53 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Luther Allison @Legends I just heard that Mr. Allison is gonna be at Legends Saturday the 4th. Any 'zellers gonna be there? I'm gonna try and make it. I've only seen him at the fest last year, and I'd like to get a full dose. Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Sat, 4 Nov 1995 03:20:31 PST Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: The Music Theory Cop-out On Fri, 3 Nov 1995 09:46:25 +0000 P.W. Fenton wrote: >On 2 Nov 95, msuffern@xnet.com had this to say On comparing mastery of >the written language to mastery of the music language you wrote: > >> They won't stifle your writing skills, but if you have a street >> vocabulary... and you go to finishing school, ... Your grammar >> will improve, etc. The character will have changed. > >Mark Twain, for instance, was a master of the English language but >had no trouble whatsoever using local vernacular... . There are exceptions (Mark Twain, I should have seen that coming ;-) ,very good point Paul). **** >> ...learning Theory can expand your musical vocabulary. Once >> enlightened it can be difficult to restrain yourself and you've lost >> something. > >When you gain knowledge, what you lose is ignorance. ... That would be the definition, yes. **** > ...Inability to >restrain oneself is a separate issue that exists independent of the >AMOUNT of knowledge you possess. Sort of, you do have to have something to restrain, i.e. knowledge. **** >> I've listened to sooooooo... much Clapton lately, ... I've picked up >> that major scale Freddie King appregio thing and I can't shake it. ... >> It will take a conscious effort to restrain myself from overusing that. > >Hey... just because the sign at the buffet says "all you can eat" >doesn't mean you have to eat like a pig. You don't blame the size >of the buffet for the gluttony, you blame the glutton. Music is no >different. ... Oh, yes it is (for me). That sounds good, logically, but in real application they are not similar. The buffet is food - matter. It fills a physical need, and then it's over with. Knowledge is not a very important factor at a buffet. Music is ephemeral, it exists from moment to moment and yet, a song can stay with you forever. It is an experience and you can have knowledge of it. The knowledge of the Clapton riffs was more or less absorbed through exposure to the music. When practicing, bits of it would suddenly 'make sense'. It was not a choice like deciding to pig out at a buffet. And what notes I play are not part of a conscious decision to play certain notes (or scales). It's a dialog like: "slide up, yeah... down... hmmmmm.... didley. waaaaa.. bend it... hold it... shake it... uhmmm that feels right, yeah". I fear it becoming mathematical, something like: "o.k, minor run up the neck, now a descending Mixylodian mode, fret those notes correctly now, keep sweep picking properly (I downstroke pick most of the time), and... throw in the 11th which is the same as the 4th of the V which is coming up in 183 ticks... Paul, I'm not kidding (exaggerating a bit, but not kidding). How does your internal dialog go? **** > ...Spitting out thoughtless scales and licks is not a >product of the knowledge, it's a product of the player. True, but everytime I hear *thoughtful* scales and licks I am turned off. **** >> The basic utility of information is in the using of it, and man has not >> invented one single thing that he doesn't end up using. > >Huh? What would be the point of inventing something you have no use >for? You got that ass backwards. You were referring to inventing as an engineering pursuit - designing to solve a problem. I was thinking more of inventing as suddenly having an inspiration and looking to see if it is useful. Once the idea's been had, you can't go back. Man has invented (discovered) some horrible technology and couldn't resist trying it out, at least once (or twice, Hiroshima - Nagasaki, did dozens of scientists work for years to develop the atomic bomb because they needed a bigger explosion or because someone one day suddenly understood the meaning of, and how to apply, E=MC2?) **** >> That's just my way, and that's what worked for me. ... so I'm happy. ... >> I hope I've shed some light on why some of us are Music Theory Paranoids. >> >> My Blues is deep and I don't want to loose that. > >Again... this is just baloney (talk about stepping on toes). ... Huh? 'Tis not baloney. It's how I feel about my Blues. I didn't say a single thing about anyone else's Blues. I *did not say* my Blues is deeper than so and so's. I will *now say*, specifically, that it's deeper to me than Robin Fords' is (at least his recorded output, a good example of what I fear too much Music Theory could do to me). **** > ...If we are walking down the street together enjoying each other's >company, would the fact that you could outrun me force you to leave me >in the dust? That's exactly what your saying. You are trying to tell >me, and unfortunately other people, that if you learn how to play fast, >you will lose the ability to play slow.... that if you learn scales, you >will lose your ability to play melody.... that if you learn a >complicated chord, you will lose your ability to use simple ones. >ALL of that is horse****, and YOU KNOW IT IS. It is not, Paul. :-o At least I don't think so in the majority of cases. There is only one guitarist that I've met who plays tasteful, soulful, Blues after knowing how to play fast, modal, scales, etc. I don't know if he knew what he was doing when he played that stuff - I don't know if he learned it by ear or by learning theory, but I'll ask him. That's Rob Hutten. He can shred some Metallica and then play some sweet Booker White. **** >There is nothing WRONG with learning only enough to do what you want >to do, but when you try to tell people that learning more will >somehow make them lose what they already have, then you are telling >me something else. You are telling me that you are trying to JUSTIFY >TO YOURSELF some perceived inadequacy. "I'm not avoiding learning >more because it seems like work, I'm avoiding learning more >because more knowledge will poison me"......right...sure. My turn. Unsubstantiated bullpuckey (and somewhat inflammatory)! I know my inadequacies pretty well. I think you've heard me itemize them several times now. I happen to find Music Theory as appealing as Mathematics, and the teachers that I've had for both were uninspiring - neither convinced me that their offerings were essential to my successful enjoyment of life. It's not a problem with working. Knowledge won't poison me, but it sure can change my playing. I am trying to explain how I feel in order to: a) Converse with you and other members (the prime directive for a list). b) Express my opinion on this topic. c) Maybe provide the opposition with some insight into how we MTP's feel, d) Maybe provide some insight for us MTP's ourselves. e) See if anyone else feels the same way (or differently). f) Stand up for my view, unpopular as it may be. g) Let the novice players know there is an alternative view (warning). I am fascinated by the creative process and creative people and *I know* that there is something going on in a heartfelt Blues performance that is deeply spiritual and close to the essence of man himself. I want to explore that. **** >If hearing Eric Clapton riffs repeatedly makes you quote them >too much ... perhaps you need to EXPAND your musical vocabulary... > >P.W. Fenton I definitely need to expand my vocabulary. I intend to expand it in directions that I like and I'll do it by attempting to learn stuff that I like that is directly used in the Blues. I know a bit of Music Theory. I know enough to construct chords, refer to chord numerals when transmitting song structure information, to know what a minor pentatonic, Major pentatonic, and Pentatonic Blues scale is (more of less) and sounds like (if not being able to name each note). I recommend picking up this minimum knowledge, but warn of aquiring more than is necessary to accomplish your goals. Why learn all of the modes if you're going to play Blues guitar? Why? One thing sticks out after all of the discussion is over: How many of the guitarists that you admire, whose records you collect, learned all about Music Theory? I don't think many GIT graduates go out into the world and play Blues. Mike p.s. You are definitely not one of the ones who gets emotional and ignores my statements completely, as always a pleasure discoursing with you, P.W. [ home work ] [ http://www.xnet.com/~msuffern/soundtravels.html ] [ The Blues&Travel Site, Blues Guides, Festivals, ] [ Eric Clapton @ Royal Albert Hall, London tour ] ------------------------------------------------- [ Above all, play what your heart tells you to... ] [ As you learn, your heart will have more to say. ] ========================================================================= Date: Sat, 4 Nov 1995 06:20:28 -0600 Reply-To: Peter Scott From: Peter Scott Organization: University of Saskatchewan Subject: "It's all the blues" newsletter found on the web Comments: To: bit-listserv-blues-l@uunet.uu.net It's all the Blues - Monthly blues, news, and reviews from newsletter publisher and radio host Mr.Z (Gary Zajac). http://orchid-isle.com/blues/blues.htm ========================================================================= Date: Sat, 4 Nov 1995 07:53:08 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Clean graves in perspective Comments: To: bit-listserv-blues-l@uunet.uu.net Questions about the song started this thread, but I think it's important to delve into the significance of the song. Furry Lewis used to sing this number quite often, as he grew old and understood his fate. In September 1981, he was laid to rest in the black people's graveyard in Memphis, which is behind the Jewish, Catholic and Protestant white graveyards on highway 51. I went to a little bit of trouble one Sunday afternoon to dig through the weeds and creep across the lumpy dirt roads of the black cemetary in search of Furry's grave. I found a lovely stone with a guitar etched on it and the words "When I lay my burden down". There is also a foot stone with his dates of birth and death. But Furry's living wish was a form of this blues song that the list has been discussing intellectually. He had no children and only those of us who loved and cared for him to ask this of, but it seemed quite important that we survivors remember to keep the weeds from covering his marker. The point is that if no one remembers you, you have not lived. So, if any of you venture into graveyards, in search of the final resting places of your heroes, take a moment to pull the weeds from the markers and clean them up a bit. Dust off the trash. And, if you're really interested, take some paper and chalk and do a rubbing of the stone. That's how I remember and celebrate the life of my friend Furry. Well, it works for me. Denise ========================================================================= Date: Sat, 4 Nov 1995 09:11:41 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - November 4th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ARDOIN, AMEDEE (awesome zydeco acc) d. 1941-1104, ALEXANDRIA, LA 45 BENJAMIN, CLAUDE "BENNIE" (songw/afro-a) b. 1907-1104, ST. CROIX,VIRGIN IS BENJAMIN, JOE (b/ELLINGTON) b. 1919-1104, ATLANTIC CITY, NJ BOLDEN, CHARLES "BUDDY" (cnt) d. 1931-1104, JACKSON, LA 54 BORUM, WILLIE B. MEMPHIS (g/BLUESVILLE) b. 1911-1104, MEMPHIS, TN CECIL, STEPHEN (p/BOBBY PARKER) b. 1964-1104, WASHINGTON, DC ELSTON, HARRY (of FRIENDS OF DISTINCTION) b. 1938-1104, DALLAS, TX GOODSON, RONNIE (of RONNIE & HI-LITES) d. 1980-1104, JERSEY CITY, NY 33 HERZOG, SCOTT MCCOMB(g/COBALT BLUES BAND) b. 1953-1104, NANTUCKET, MA KING, BOBBY (v/HI/SOUND STAGE REC) b. 1943-1104, DETROIT, MI LEE, CHESTER FOY (prod/HUEY P. MEAUX) d. 1992-1104, BOONEVILLE, MS 63 MARTIN-MOORE, CORA (v/SALLIE MARTIN SING)b. 1927-1104, CHICAGO, IL MCCLINTON, DELBERT (g/hca) b. 1940-1104, LUBBOCK, TX MCGEE, KIRK (g/SAM MCGEE) b. 1899-1104, FRANKLIN, TN OFFITT, LILLIAN (v/I MISS YOU SO) b. 1933-1104, NASHVILLE, TN SULLIVAN, JOE (p) b. 1906-1104, CHICAGO, IL YOUNG, HORACE (tsax/B. B. KING) b. 1954-1104, HOUSTON, TX WATSON, IVORY "DEEK" (co-lead/INK SPOTS) d. 1969-1104, WASHINGTON, DC 60 ------------------------------------------------------------------------------- ========================================================================= Date: Sat, 4 Nov 1995 09:11:41 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: vocal intensity Comments: To: RhythmShrk@AOL.COM I agree totally with what Bernie Clarke had to say on this topic. I didn't mean to imply that you should not LEARN from other singers. I just meant that a singer shouldn't long for another singer's voice. You gotta concentrate on the one you got. By all means listen to ALL the masters and think about what they are doing that makes you want to listen. Study their phrasing, and their acting ability. How they manipulate the audience. How they interact with the instruments. All those things can be learned. You don't have to be born with Big Voice Odem's pipes. Some of the shittiest voices in the world have made the most powerful music. Listen to Jimmy Durante's "September Song" as a good example. Just try to keep your eyes dry, and the goose bumps off your flesh. I listen to somebody like Tom Waits and feel on one hand blessed, because I have a better voice than he does, and on the other hand AWED because of what he can do with the voice he's got. And guitar players who want to sing have to learn to block out that guitar. Don't listen to what Buddy Guy is playing, listen to how he's singing... it would be hard to do it better. Listen to B.B., listen to Muddy, listen to Bobby Bland, listen to Lightnin', listen to Gladys Knight, Aretha, Koko, listen to all of them. But instead of just listening to enjoy, listen for the things that move you. Figure out how the magic is being done. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sat, 4 Nov 1995 09:06:15 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Wish Amanda Happy Birthday This is a purely personal request, with no blues content, but, as blues-l's fifth biggest loudmouth (by actual count -- thanks Paul) I can't resist. Monday, November 6, is my daughter's 12th birthday. She has recently become an avid Internet user. So I'd like to fill her mailbox with birthday greetings from bluezellers around the world. Please send her a happy birthday message, and tell her where you are sending from. (She, by the way, is in Pickering, Ontario, which is just outside of Toronto. Address your e-mail to: Amanda Angus That will put the message right in her computer. Thank you. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Sat, 4 Nov 1995 09:42:36 -0500 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: R.SYKES question Comments: To: marc@aznet1.vub.ac.be In-Reply-To: <47cghf$bu9@rc1.vub.ac.be> On Fri, 3 Nov 1995, marc borms wrote: > In the book , "A left hand like God", the story of boogiewoogie, > the writer mentions a book written by someone from Belgium (!) > named : "Roosevelt Sykes, The Honey Dripper". > > Who can give some information about this book ? > (References, author, publisher, where available ?) > > Thanks ! > > embee, the pianoman. It's not a book -- it's a Belgian film which was released in 1961. It does not seem to be available on video or in any of the African American film collections accessible on the Internet. Sykes also appeared in "Roosevelt Sykes" (released in 1971) and the French films "Blues Under the Skin" and "Out of the Blacks into the Blues, Pt. 1" (both released in 1972). Pen & Brenda Bogert Louisville KY ========================================================================= Date: Sat, 4 Nov 1995 10:08:36 -0500 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: Milk Cow Blues Comments: To: Kevin Gibson In-Reply-To: <951101200027_95542184@emout05.mail.aol.com> On Wed, 1 Nov 1995, Kevin Gibson wrote: > I need a list of people who coverd this song. Thanks in advance. > Here is a list of performers who have covered "Milk Cow Blues". We got the info from CD Connection (telnet cdconnection.com). The artists cover the musical spectrum, buPewe've only heard about half of these, so we don't know how they stack up against Kokomo Arnold's orginal. Aerosmith Glen Campbell Hadley J. Castille Eddie Cochran Commander Cody and His Lost Planet Airmen Sleepy John Estes Sleepy LaBeef Mississippi Fred McDowell Maddox Bros & Rose Ricky Nelson Elvis Presley Johnny Shines George Strait The Kinks Luke & Jenny Anne Bulla Bob Wills & His Texas Playboys Somehow I expected to see a Pat Boone cover, but I guess he never got around to it. Brenda Bogert Louisville KY ========================================================================= Date: Sat, 4 Nov 1995 10:41:22 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Finis Tasby (fwd) Comments: cc: PiedmontT@aol.com, William Shute A couple of weeks ago I posted a note about the Finis Tasby show that was cancelled here in San Antonio at Billy Blues. I received the following reply from the booking agent for Tasby after my relatively harsh criticism. In fairness to the artist, here is their side of the story. -Jeff ---------- Forwarded message ---------- Date: Tue, 31 Oct 1995 09:59:27 -0500 From: PiedmontT@aol.com To: seale@bioc02.uthscsa.edu Subject: Finis Tasby As booking agent for Finis Tasby I want to set the record straight. The show by Finis was cancelled by the club three days before the show! A dispute arose between the management of Billy Blues and Shanachie Records and Billy Blues resolved the dispute (regarding placement of promotional efforts) by cancelling Finis. The rest of the tour went off well and FInis was enthusuasitcally received. The show at Billy Blues in Houston was packed and magnificent. ========================================================================= Date: Sat, 4 Nov 1995 09:00:09 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: A BELATED TRIBUTE TO WALTER C. ALLEN Comments: To: BluesHvn@aol.com I don't know about anyone else on BLUES-L, but I can point to a few people who started me on this 'dusty road', and WALTER C. ALLEN is one of them. I've posted this tribute before but since we have so many new members, I'm reposting it. Walter Carl Allen Sr. was born on Tuesday, November 2, 1920, New York City, NY., and always generous with his time & advice. I wrote to him often, and his replies were undogmatic and usually seasoned his advice with a quite scholarly wit. In those dark ages (1960-1963), Walter operated a mail-order book service for jazz (& blues) enthusiasts. I bought my first BLUES UNLIMITED through him. I bought PAUL OLIVER's 'BLUES FELL THIS MORNING' I bought Godrich & Dixion's 'BLUES & GOSPEL RECORDS : 1902-1942' (1st ed.) that changed my life. (The new 4th ed. will be published soon, this time in 2 volumes by Cambridge University Press). I think you get the idea? Even though I lived in Montreal, I never relied on my local 'record stores', 'book stores' to keep me connected. I still don't. Today, we have BLUES & RHYTHM, JUKE BLUES, BLUES ACCESS, LIVING BLUES, ROOTS & RHYTHM, ROUNDUP, RED LICK, BLUES-L but in the dark ages, we had WALTER C. ALLEN, Bob Koester's JAZZ RECORD MART (in Chicago, IL.), and (the late) Doug Dobell's Record Shop (in London, UK). In the course of more than 3 decades of research, Dr. Allen measurbly raised the standards of discography & introducted bio-discography, a form represented by his 2 books : HENDERSONIA : THE MUSIC OF FLETCHER HENDERSON & HIS MUSICIANS, and KING JOE OLIVER. He was a professor of ceramic engineering at Rutgers University, he helped with forming the Rutgers Institute of Jazz Studies, and initiated their annual Conferences on Discographical Research. He clearly saw that phonograph records and newspaper files were the chief means of documentation of the jazz & blues of the 20s & 30s. He went about his tiring but necessary work with a patience and thoroughness unusual even among discographers. Now let me jump to 1978, Toronto. I was visiting John Norris' Jazz & Blues Record Centre to pickup my tickets to a solo piano Dollar Brand 'open space' concert (now available on a SACKVILLE CD). John greets me and says : 'Eric, I'd liked you to meet someone.' From the storage area, out comes Walter C. Allen Jr.!!! Like father, like son, Allen Jr's 'Bibliography of Discograph- ies' continued on the legend. He even, for a small period of time, ran a few ads in CODA as WALTER C. ALLEN of CANADA! Walter Allen Jr. still lives in Toronto, surrounded by his father's rare 78 collection. It was this rare 78 collection that was used for FORTE 38001/2/3, a 3CD set of the complete 1924-1925 Fletcher Henderson & Louis Armstrong recordings, compiled by Dr. Colin J. Bray & rock-blues guitarist Jeff Healey, and mastered by John R. T. Davis. Dr. Walter Carl Allen died on Monday, December 23, 1974, Point Pleasant, NJ. He would be 75 today and if he had lived, we would be that much richer. Galen Gart, in his FIRST PRESSING : THE HISTORY OF RHYTHM & BLUES series, has continued on in the "Walter C. Allen" tradition. The FIRST PRESSINGS series is a month-by-month compilations of the major events, news stories, feature columns and record releases in the Rhythm & Blues field for the entire year, highlighted by hundreds of illustrations, photographs and vintage record company advertisements. Each yearly volume is completely indexed. So far, Big Nickel Publications (P.O. BOX 157, MILFORD, NH. 03055) has published a volume for each year between 1950 & 1958. I recommend this series to all who have an interesting in the history of post-war blues/R&B. ========================================================================= Date: Sat, 4 Nov 1995 12:05:25 -0500 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: Re: Milk Cow Blues BMI lists the following writers and publishers for songs titled Milk Cow Blues. Estes, John......................APRS Stone, Roy M & Wise, Robert Russell.........Stoneway Music Co York, William.....................Fort Knox Music Inc Trio Music Inc Moore, Kathy Lynn.............Additional Publisher(s) Swaim, John Eric...............Just Picking Publishing Except for Sleepy John's, I have no idea what the other versions may have in similarity, if any, to Kokomo's original. They may be original songs, and only coincidently have the same title. Looking at the repertoire listings of the above writers, they seem to be of the country, bluegrass, hillbilly genre. If anyone knows more about these versions, I'd be interested. Hope this helps the discussion. BLUZ! Bluzman Ed aka Ed Tremewan ========================================================================= Date: Sat, 4 Nov 1995 13:41:52 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Columbia House Blues (long!) Comments: cc: Barry Silverberg Yes, Barry's list of blues records available via Columbia House looks modestly interesting, although most fans with any kidn of extensive collection will have most of them. The problem I have is with the very concept of "record clubs" (there are two of 'em, now BMG has joined the fray). In Canada, 30 per cent of all the record sales in the country are through these two organizations, who get their customers with "10 CDs for a penny" offers and major advertising programmes. My guess that the figure in the US will be slightly less-maybe 25 per cent. So how can these clubs make any money? They do so because they pay the artists and the composers (and/or their estates) drastically reduced royalty rates, with no apprecaible long-term savings to you and I, the end customers. Thus the creative people who make the music get hit. The clubs don't give a twopenny fart about music; they are large, huge, impersonal direct mail operations. Period. The record clubs argue that they are providing a service to people who live in communities where there are no record stores, or where records are only available in limited quantities in department stores-it was this rationale that sucked in the record companies to marketing their output in this way. (Of course, the BMG operation is owned by BMG-better known to most as RCA, still-and Columbia House is owned 50-50 by Sony Music and Time/Warner). But for blues buyers, I'd suggest that patronizing specialist stores (or the big stores with decent repertoire like Towers) is better than dealing with record clubs. In the end, the "savings" of record clubs are largely illusiory, and it's the artists that get hit. And if you live in smaller communities, there are dozens of mail order services out there who offer far greater repertoires of available music. (I used to deal with Down Home Music, Arhoolie's subsidiary-now owned by Frank Scott I believe. Their catalogue was wonderful to behold, and full of solid, helpful information, but by the time I had paid up in Canajun dollars (worth about 70 cents US) and handled the postage, I was better off buying in my home town of Toronto, where there are wonderful mainline stores-HMV and Sam's-and some distinguished independent stores, most notably Kops Kollectibles.) But I'm copnvinced record clubs are a scam-and one built on the backs of the people who create the music. Comments, experiences, blah blah blah??? -Cheers, Richard (the Elder) PS: This is the handle that Richard the Younger (Waterman) has christened me, and I'm adopting it. Not that there's a hell of a lot of difference in our years.... ========================================================================= Date: Sat, 4 Nov 1995 13:41:57 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Great live records (was James Brown) Comments: cc: Steve Levine Yes, yes yes; James Brown at the Apollo is pretty damned good-and there's a new one on the Scotti Bros. label that came out a few months ago - Live at the Apollo 1995 is the title (I think; my copy's at home and the computer's in my office). Neither Brown's are quite up to B.B. King Live at the Regal, but close. But a very close runner-up in my book is the wondrously over-the-top Solomon Burke Live at the House of Blues on Black Top. (Oh, no, not another HOB thread, puhleeze). - Cheers, Richard the Elder ========================================================================= Date: Sat, 4 Nov 1995 13:42:00 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Great sidemen (was James Burton) James Burton (and I trust he's getting well) is one of the great sidemen in pop music (and that, folks does include da blooze). There are many others who, like Burton, probably could not lead a band to a gig across the road without tripping over their own feet, but who play wonderful music; Hubert Sumlin, Dave Bartholomew and Lee Allen are three that come imnmediatgely to mind, and I'm sure everyone can think of others to add to the list. (Yes, I KNOW Hubert leads a band, but he's obviously not very happy doing it!) Leading a band is a tough, hard grind-and some people can handle it well, and other prefer to be sidemen. These are the true soldiers; they go where they're sent, on time, and deliver their best. And we should always acknowledge the contributions they've made. - Richard the Elder ========================================================================= Date: Sat, 4 Nov 1995 13:42:04 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: James Brown Comments: cc: "P.W. Fenton" Sure, James Brown is wonderfully screwed up. Wouldn't you be, if every single night of your life you were introduced to thousands of strangers by a 10-piece band, all shouting, in unison: James Brown! James Brown! James Brown!! JAMES BROWN!!!? Celebrity and fame does strange things to people (ya oughta meet Little Richard). I heard JB in concert at MIDEM, the music biz event in the south of France; the day before, he kept 300-plus members of thre media (me included) waiting for two and a half hours, apparently because they sent a white limousine for him instead of a black one. The point was that the limo, literally, had to take him across the road from his hotel, the aptly named Majestic, to the place where the conference was being held; a distance, by foot, of maybe 100 yards. - Cheers, Richard the Elder. ========================================================================= Date: Sat, 4 Nov 1995 13:40:01 -0500 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: BMI Home page BMI has a home page at (http://rep.edge.net/index.html). Does anyone know if ASCAP has a home page and if so, what their address is? Thanks, and BLUZ! Bluzman Ed aka Ed Tremewan ========================================================================= Date: Sat, 4 Nov 1995 10:56:48 -0800 Reply-To: Michael Hewitt From: Michael Hewitt Subject: Re: Columbia House Blues (long!) Comments: To: Richard Flohil At 1:41 PM 11/4/95, Richard Flohil wrote: >Yes, Barry's list of blues records available via Columbia House looks >modestly interesting, although most fans with any kidn of extensive >collection will have most of them. How about us fans who are trying to build a collection on a limited, divorce-ravaged budget? I, for one, was grateful for the info... The problem I have is with the very >concept of "record clubs" (there are two of 'em, now BMG has joined the >fray). > So how can these clubs make any money? They do so because they pay >the artists and the composers (and/or their estates) drastically reduced >royalty rates, with no apprecaible long-term savings to you and I, the end >customers. It would be interesting to see proof of this comment, however, I would think it would be irrelevant. Any reduction in royalty rates would have to be negotiated, wouldn't it? And that implies that it was agreed to by all parties in the decision making process. If anyone (meaning Artist) is left out of that loop, then they have already been left out of the loop when it comes to royalites or whatever, and that problem most likely exists regardless of what type of distribution system we are talking about. It is a larger problem than just whether the mail-order music business is ripping them off. If the larger problem were taken care of, the smaller problem wouldn't exist. > The record clubs argue that they are providing a service to people >who live in communities where there are no record stores, or where records >are only available in limited quantities in department stores-it was this >rationale that sucked in the record companies to marketing their output in >this way. (Of course, the BMG operation is owned by BMG-better known to >most as RCA, still-and Columbia House is owned 50-50 by Sony Music and >Time/Warner). They provide a service to me because they provide me with music that I otherwise couldn't afford. I _do_ save money in the long run. My average cost per CD, even factoring in the dreaded S&H is between $6-$7. Compare that against the $10 (budget CD's) and $16 (routinely saleable CD's) that the chain stores reguarly charge. > But for blues buyers, I'd suggest that patronizing specialist >stores (or the big stores with decent repertoire like Towers) is better >than dealing with record clubs. Obviously, you haven't shopped for blues albums in my area. The music business here is dominated by Whorehouse ...ooops, Wherehouse... Records and their selection of blues recordings sucks. Assuming that inventories are driven by consumer demand, it's apparent that there are not many blues buyers in my area and that I suffer because of it. Most of their inventory is in alternative or popular music to accomodate what they have determined to be the category where most of their sales will occur. Blockbuster has established a music store in a neighboring town, but that is a 35-40 minute drive away. Factor the cost of time and travel into the equation of how much CD's cost and see what that does to store purchases. >In the end, the "savings" of record clubs are largely illusiory, I'm sorry, but the math won't support you on this one. I save money without question. If you divide the full price value of all recordings obtained through a single membership agreement (assuming discontinuance immediately once the agreement has been met) by the number of recordings you receive, the average cost will be in the $7 range (+ or -), and this is including all S&H costs. They are not illusory if you stick to meeting the enrollment agreements to the letter and then canceling your membership. Within a short while, past subscribers are asked to resubscribe and then the process can be repeated. As long as one doesn't exceed membership requirements, money will be saved. I certainly feel for the artists who are paid miserly sums for there work. But that is a problem that exists at levels other than with the mail-order business. If I couldn't buy mail-order recordings, I would buy a lot fewer recordings. And I assume that there are many people like me. That equates to a reduced number of total sales of recordings. Wouldn't artists like to sell some recordings rather than none? Is making music about making money or _making music_? Those who can make a comfortable living making music are lucky. They get to do what they enjoy and get paid for it (not that it's not hard work!). But musicians choose to be musicians. It is not forced upon them. If they don't like the system, they can choose 1) to try to change it 2) to accept it's shortcomings or 3) to get out of it. No one is forcing them to stay in it. If you want to complain about the royalty situation, that's fine with me. But don't try to make me feel like a whore for buying mail order. Michael Hewitt mhewitt@telis.org Region 7 Telementor MDH1953@aol.com California Technology Project 209-667-5903 X34 Troutbusters - Modesto, CA Fax 209-667-7628 "Flyfishing for trout is the closest thing to Heaven on Earth." - M. Hewitt "Nobody loves me but my mother, and she could be jivin' too." _ B.B. King ========================================================================= Date: Sat, 4 Nov 1995 15:08:52 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: smokestack lightning -- the real thing During my show this morning Oswego experienced its first snowstorm of the season, complete with lightning and thunder. There are two smokestacks a quarter mile from the radio station... my wife had called to tell me she thought lightning struck one of them... ... fade up Howlin' Wolf. Oh is it good to be alive or what? Dave Prychitko Blues 101, WNYO-Oswego ========================================================================= Date: Sat, 4 Nov 1995 12:51:00 PST Reply-To: Gary Joneson From: Gary Joneson Subject: Re: Very Ignorant"Clean Grave" Question >There is a version by Dave Ray with Tony Glover playing harp on the >fabled "Blues, Rags and Hollers" by Koerner, Ray, and Glover. This >version is quite good, IMHO. For anyone interested in the reissue of this early 60's album it is on: Red House RHR CD76 BluesWEB http://www.island.net/~blues/ ========================================================================= Date: Sat, 4 Nov 1995 13:43:51 PST Reply-To: Gordon Fehlman From: Gordon Fehlman Subject: Re: road cases A good afternoon my fellow blues lovers! Its a beautiful day here on the Monterey Peninsula. Just was wonderin if anyone of ya had the phone number or address to Anvil Road case company? A Big Thank You. e-mail me at gjf5@pge.com ========================================================================= Date: Sat, 4 Nov 1995 16:59:29 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: The Envelope Please... For GNN's Best of the Net award, Arts & Entertainment category, Amateur division, the nominees were: Art Crimes: The Writing on the Wall Art on the Net The Blue Highway The Surrealism Server WWWF Grudge Match X-Files: Trust No One And the winner was... X-Files: Trust No One So anyway, if you want, you can get to all these sites from: http://www-e1c.gnn.com/gnn/wic/botn/ae.best.html Yours bluely... *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Sat, 4 Nov 1995 22:05:24 GMT Reply-To: Chaz Eves Comments: RFC822 error: SENDER field duplicated. Last occurrence was retained. From: Chaz Eves Organization: IgLou Internet Services (1-800-436-4456) Subject: Guitar Videos? Comments: To: bit-listserv-blues-l@nac.no Anybody have any guitar videos that they want to sell or trade? I've got a "Hot Licks" of Greg Martin,the guitarist for the Kentucky Headhunters. It covers blues and country licks. Level 2-3(1hr.) I'm only looking for the "Hot Licks" brand because I bought an off brand video the other day that covers 68 of Claptons riffs. It didn't have EC on the Video. It looked like some hippie dude got his hands on a video camera and made the tape.It might as well be called "El Cheeso Productions". Don't get me wrong, the Clapton video is ok if your a beginning guitarist, I've been playing for 16+ years and just expected more out of it. Both videos have the TAB booklet that comes with the video. I'll sell the Hot Licks for $20, and take $10 for the other. I'll also trade the HL video for whatever HL video(guitar) that you may have lying around. Email me at chaz@iglou.com. -- ###### ## ## ##### ##### I have departed, for now, ## ###### ## ## ## Buy I will return! ## ###### ####### ## ####### ## ## ## ## ##### chaz@iglou.com ========================================================================= Date: Sat, 4 Nov 1995 17:23:10 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Re: Columbia House Blues (long!) Comments: To: bit-listserv-blues-l@uunet.uu.net Richard Flohil (rflohil@INFORAMP.NET) wrote: : Yes, Barry's list of blues records available via Columbia House looks : modestly interesting, although most fans with any kidn of extensive : collection will have most of them. The problem I have is with the very : concept of "record clubs" (there are two of 'em, now BMG has joined the : fray). First things first. This is not MY LIST of Columbia House's blues CD's. It is Columbia House's list of their blues CD's that I merely keep up to date and post as information to any one interested. : So how can these clubs make any money? They do so because they pay : the artists and the composers (and/or their estates) drastically reduced : royalty rates, with no apprecaible long-term savings to you and I, the end : customers. Thus the creative people who make the music get hit. The clubs : don't give a twopenny fart about music; they are large, huge, impersonal : direct mail operations. Period. I do not think any of the above is factual. From what I know they don't give reduced royalties to any of the artists. On their full price items I guess the full royalties are paid & on the special intro or FREE CD's NO ROYALTIES ARE PAID. The CD's that fall under this category are considered like promo copies. Their purpose is to expose the artist etc. and they get zippola on these. I'm not supporting this here I'm just reporting what I think is accurate. Whether they care about the music or not you may be right. But remember they aren't a label - they are a retailer of what they think people want. Their role is not to be a judge or a supporter - that is for the labels and you and me and us to do. The savings are huge if you use the clubs correctly. I won't but I could cite you many examples of this. Using the clubs longterm increases your cost/CD and using the clubs on short term bases keeps your costs down. My thoughts as a consumer is that we should use the full gamut of what is available to us. If CH or BMG want to sell you "X" CD for $4.00 and John's wants $15.00 spend your money how ever you choose. I personally agree that we should support local & specialty stores because if we don't they'll close & all we'll get is clubs and superstores. The same way if you aren't buy- ing CDs from the smaller labels like Rooster and others you're just as guilty of not supporting the blues. These arguments come up over and over and always seem to me to be the debate between us as blues supporters & us as blues con- sumers. For me either side of the argument fails. It is only when we meld the twosides of the discussion into a unified buy and support theory that something useful will emerge. We have to support the blues and be consumers simultaneously. Barry (The Scooter) This name was given to me by Mrs. Silverberg and I have chosen to use it :). -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Sun, 5 Nov 1995 11:36:34 +1300 Reply-To: 16BLUE@WAIKATO.AC.NZ From: Brett Loper <16BLUE@WAIKATO.AC.NZ> Subject: Re: Milk Cow Blues. One of my fave versions of this tune is the Maddox Brothers and Rose cut of it. Check out their two _America's Most Colorful Hillybilly Band (Vols 1 & 2)_ cds on Arhoolie. _Milk Cow Blues_ is on Volume 1. ciao, Brett ========================================================================= Date: Sun, 1 May 1904 15:50:34 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Open d blues > I believe I corrected the above statement to read something like: >rationality would demand that Open D would be tuned to the most >fundamental fingered D chord in Standard. Fingering to E and >downtuning _that_ configuration of get Open D is an exercise in >illogic readily accepted by musicians without question. Most probably >because music is essentially a right-brain activity and logical analysis >is a left-brain activity. Open tunings (please correct me if I'm wrong) were develped to accomadate slide playing. The intervals open D are similar to open E so that the licks you play in E can be easily transposed to D. The same thing goes for open G and open A. It has nothing to do with theory and the divisions of the brain. It is about achieving a certain sound and what lies best on the guitar. To tune as you would have would be far more illogical. Also, at my request, someone posted other possible Open D tunings: > DAF#AF#, ADF#ADF#, F#ADF#AD, with the claim that there are even >more. Many thanks to this poster. Thank you. That was me. Here are three more. F#AF#ADF#, AF#DDAF#, DADAF#D > If the purpose of music theory was to actually produce a useful >verbal description by which one could converse unambiguously about >various concepts, this institutionalized misnomer certainly does not >accomplish this. > If you were immersed as deeply into 'theory' as you assert, >perhaps you could also understand that vague, nonspecific, ambiguous >language is not conducive to meaningful communication. I believe that >was my original point. > The _relationship_ between the strings in 'Open D' are those >same relationships as those in a fingered E major chord. The >_relationships_ are simply NOT the same _relationships_ as those in a >fingered D major chord. Therefore, the mechanics necessary to >actually _play_ a guitar tuned to a fingered E chord vs. a fingered D >chord are _quite_ different. Don't you agree?? This is not a trivial >point to be obscured by bombast. The mechanics are different, I agree but to reiterate my point you have no idea of what you are talking. Open D (as it stand) best accomadates slide playing. If you play guitar you would inderstand that. Music theory does do it job of communicating ideas well. Open D is open D because it contains the D triad. It has nothing to do with how one voicing of D can be played on the guitar. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sun, 1 May 1904 15:50:41 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Lost e-mail Blues I sent out three messages last night and they haven't "boomeranged" yet I'm assuming that they are lost in the ether of cyberspace. Don, I sent you a private e-mail message last night as well. Could you let me know if you recieved it One message was to those who have sent me private e-mail in the last week or so. If I haven't replied could you give me friendly reminder of what your message was about. I've been a liitle busy. Sorry about that. The 2nd message was regarding the " Theory Paranoia" thread. I echo P.W. Fenton's remarks. Music comes from the soul. Theory (knowledge or lack of) has nothing to do with it. Listen to Coltrane or John Lee Hooker. One knew a lot about music, the other a little. Yet they had the ability to move people when they played. The third was about the the new SRV greatest hits package. The only new song is a cover of "Taxman" which burns. SRV was in fine form, vocally as well as guiatar, on this day. Even though all the songs are familar it is interesting to hear them in a new context. The songs are (in order) Taxman, Texas Flood, The House is a Rockin', Pride and Joy, Tightrope, Little Wing, Crossfire, Change It , Cold Shot, Couldn't Stand the Weather, Life Without You. I hope this one makes it. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sun, 1 May 1904 15:53:32 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Egg on my Face(Lost e-mail Blues) Oops, found them. Should of waited a few minutes longer. Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sat, 4 Nov 1995 20:04:00 PST Reply-To: Meridith Farnworth From: Meridith Farnworth Subject: Re: Lost e-mail Blues >I sent out three messages last night and they haven't "boomeranged" yet >I'm assuming that they are lost in the ether of cyberspace. "me too" I'd posted on FRIDAY, 11/03 about going to see Saffire "tonight" yet the post didn't hit the list 'till SATURDAY, 11/04. My apologies if I sent anyone out to Westborough Mass. "tonight" (but at least they'll get to see Rory Block!) --Meri (Sure had a wonderful time last night...) ========================================================================= Date: Sat, 4 Nov 1995 20:36:13 -0500 Reply-To: rew4@PSU.EDU From: Ross Whitwam Subject: Re: James Brown Comments: To: blues-l%brownvm.BITNET@psuvm.psu.edu Richard Flohil replied to P.W.Fenton's posting of a wire story describing James Brown's arrest on charges of criminal domestic violence: >Sure, James Brown is wonderfully screwed up. Well, I'm probably belabouring a point, and I'm sure to dismissed as "P.C." for this, but let me try to say this again. Wife-beating is not a charming peccadillo. It is vile and reprehensible and inexcusable. I'll still buy James Brown's products, but I can't use his talent to justify in my mind holding him to a different standard of decency than everyone else. Ross Whitwam rew4@psu.edu Dept. Biochem + Molec Biology Penn State University + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + > Wouldn't you be, if every >single night of your life you were introduced to thousands of strangers by >a 10-piece band, all shouting, in unison: James Brown! James Brown! James >Brown!! JAMES BROWN!!!? > Celebrity and fame does strange things to people (ya oughta meet >Little Richard). I heard JB in concert at MIDEM, the music biz event in the >south of France; the day before, he kept 300-plus members of thre media (me >included) waiting for two and a half hours, apparently because they sent a >white limousine for him instead of a black one. The point was that the >limo, literally, had to take him across the road from his hotel, the aptly >named Majestic, to the place where the conference was being held; a >distance, by foot, of maybe 100 yards. - Cheers, Richard the Elder. ========================================================================= Date: Sat, 4 Nov 1995 18:02:35 -0800 Reply-To: Michael Twomey From: Michael Twomey Subject: Why Brownie McGhee did not tour Down Under Comments: cc: suefree@ADAM.COM.AU, Jinxblues@aol.com, Leslie Knight Thanks to Dick Waterman (Jinxblues@aol.com) for forwarding this to us. Forwarded message : Original Questioner: suefree@ADAM.COM.AU (sue freeman) Australia was meant to be visited by Brownie McGhee early November but the tour was cancelled due to serious ill-health, the result of the death of his daughter. It was said that Brownie was so ill he would probably be unable to perform again - even in the US. However; I read a post to Blues-L recently that had Brownie headlining a benefit concert for Francis Clay at Yoshi's in Oakland, CA on Oct 29. Curiouser and curiouser. Have we ignorant Australians been stooged yet again!!!! If not can someone please advise the state of Brownie's health? We are all very concerned for his wellbeing. Cheers, Sue ------------------------ Reply to Sue's Question ------------------------ Dear Australia and New Zealand, Let me introduce Leslie Ann Knight and myself, Mike Twomey as Brownie McGhee's biographers. We have been meeting with Brownie on a weekly basis for the past year and a half. We have been very fortunate to be in a position to be able to enjoy Brownie's company and his enthusiasm for life. We understand then how disappointed you all must have been upon the cancellation of his tour. To have expectations of once again enjoying his remarkable stage presence snatched away must have brought sadness into your life. In Brownie's name we apologize. Brownie will tell you that he is not a musician, he is an entertainer. I would add, professional entertainer at that. We saw Brownie come out of a voluntary retirement and comfortable life for the sole purpose of being able to assist the Elmer Lee Thomas Blues Revue in gaining world-wide popularity and acceptance as THE standard-bearer of traditional blues music as inspired by Brownie and others of his generation. I remember the gleam in his eye the Sunday that we came over and he had the idea of exposing all of his loyal Australian fans to the Elmer Lee Thomas sound. From the sound of his voice and his actions you would have thought that he was a man of fifty. We remember him calling Bob McKinnon, the promoter of the tour and just mentioning that he would like to tour Australia. Bob said, "I don't want to waste your time on the phone Brownie, I'll be up next weekend." Bob was up next weekend and met with Brownie in his living room. They discussed the rich past Brownie had had in Australia and New Zealand and the future tour with Elmer Lee. Bob went through a great deal to make this tour possible and really extended himself in every way. We were all aware of the wonderful job that Bob did putting the tour together and promoting it. We thought that is was fitting that someone as loved as Brownie would be able to see his fans once more in Australia. We watched Brownie polish the act with Elmer Lee in preparation for the tour. They went to Chicago and played to 650,000 people. They opened the main stage at the Monterey Blues Festival. They were wonderful. Then the unexpected happened. Brownie's daughter, Valerie became ill with a life-threatening infection. She was hospitalized. They needed to take more drastic action than just antibiotics. They performed surgery. Her condition worsened during the operation and her heart stopped. No one expected this. It was a shock to us all. The burial was September 8th. It was a horribly sad occasion. True to his professionalism though, Brownie went on to play the Long Beach Blues festival on the following Sunday, September 10th. From the audience I thought that his voice and strength of delivery was that of a much younger man. Afterwards though, he seemed just a little more tired than he had seemed after the other performances. Non-the-less he did two interviews on Monday, one of which ended up broadcast nation wide on National Public Radio here in the US. Brownie appeared more and more tired. His daughter Vilhelmena made decision to put him in hospital on September 14th. He stayed in the hospital for five 5 days. Brownie's doctors advised that a trip to Australia, New Zealand and the rigors of the tour were just too much for his physical condition. Brownie is 80 after all. Long Beach was the last time that Brownie performed publicly. It was with great regret that Brownie informed Bob McKinnon that he wouldn't be able to complete the tour. Brownie was aware and saddened by the repercussions that would have on his fans and on Bob. There was nothing that could be done, even a professional has his limits. The benefit for Frances Clay at Yoshi's in Oakland, CA on October 29th that was referred to in a previous post was a wonderful tribute to a great drummer. I don't know what the post promoting the benefit said. If there was an inference that Brownie would headline, that was inappropriate. We had all hoped Brownie would appear as a guest honoring Frances and possibly play a tune. It was never expected that he would headline. Brownie was unable to attend. Brownie is currently insuring the creation of his non-profit foundation aptly named The B.I.T. Foundation (Blues Is Truth). This is a non-profit organization devoted to the blues and will support music students with scholarships, musicians and researchers of the blues with a variety programs. Brownie continues to meet with us on a weekly basis. Brownie and the Elmer Lee Thomas Blues Revue recorded a splendid CD together On May 6th, 1995. Bob McKinnon manufactured the CD in support of their Down Under Tour. We're sure this CD, BROWNIE'S BLUES is available through Bob McKinnon at Goldstar Associates, N.S.W., Australia. For further information on how you can support the B.I.T. Foundation please EMail the foundation's Director of Public Relations, Leslie Ann Knight at LKnight1@aol.com. Direct any questions about the Elmer Lee Thomas Blues Revue to LKnight1@aol.com. ========================================================================= Date: Sun, 5 Nov 1995 02:50:07 GMT Reply-To: "Linda L." From: "Linda L." Organization: CSU, Sacramento Subject: Re: Steve Miller Comments: To: bit-listserv-blues-l@uunet.uu.net > re: Steve Miller Blues > > what is he up to these days, anybody know? how do you all regard (or > > not) his blues guitar playing, anyhow? > > > regards, > > alora > > apaul@whoi.edu > > He and Kenny Neal will be comming through town to do a blues show. > Unfortunatly I won't be going. Fortunately, I will! He's playing 4 nights in a row in SF in mid November. I believe the first two nights are with Curtis Salgado (good) and the second two with Kenny Neal. -- Linda L. sac62628@saclink.csus.edu ========================================================================= Date: Sat, 4 Nov 1995 11:38:05 PDT Reply-To: us002838@INTERRAMP.COM From: us002838@INTERRAMP.COM Organization: PSI Public Usenet Link Subject: Re: Very Ignorant"Clean Grave" Question Comments: To: bit-listserv-blues-l@uunet.uu.net In article , writes: > Path: interramp.com!interramp.com!psinntp!psinntp!gatech!news.uoregon.edu!news.emf.ne t!overload.lbl.gov!news.kreonet.re.kr!news.dacom.co.kr!newsfeed.internetmci.com !news.kei.com!newsstand.cit.cornell.edu!news.graphics.cornell.edu!news.tc.corne ll.edu!newsserver.sdsc.edu!news.cerf.net!nntp-server.caltech.edu!vixen.cso.uiuc edu!usenet.ucs.indiana.edu!paladin.american.edu!auvm!OSIRIS.COLORADO.EDU!watte rwo > Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU > Newsgroups: bit.listserv.blues-l > Comments: ******************************************************** > Comments: * The following "Approved" statement verifies header * > Comments: * information for gateway passage. No approval of the * > Comments: * content is implied. * > Approved: NETNEWS@AUVM.AMERICAN.EDU * > Comments: ******************************************************** > MIME-Version: 1.0 > Content-Type: TEXT/PLAIN; charset=US-ASCII > Message-ID: >Walter "Furry" Lewis also included this tune in most of his shows. As agent for the Memphis Blues Caravan, I had the opportunity to hear him do it on MANY occations. The one that sticks in my mind occured on tour somewhere in IL or KS. I was sitting backstage talking with the promoter when I heard my name called by Furry. I bolted up on to the stage. Furry was sitting down center in front of the Mic, his right arm draped across the back of his guitar. He had a sly grin on his face. "Arne...seeee that my grave is kept clean..." And cackled. The audience roared, and he went straight into the tune. I, of course, stood there like a bozo. I think I made him carry his own guitar on to the bus that night. Arne Brogger ========================================================================= Date: Sat, 4 Nov 1995 20:30:08 PST Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Internal Dialog while playing? In discussing Music Theory, I described the internal dialog that goes on when I'm playing. It is only barely percieved. I don't know if it is me thinking what I'm about to do in the next 10 milliseconds or if it is my verbalizing what I just saw myself do. If I've played the song enough to internalize it, it's more like being an observer. If I don't know it as well, then I'm thinking where to go next. Sometimes, it is absolutely quiet and the music just happens. The dialog used to be mostly: "slide up to that spot, yeah... down... hmmmmm.... didley. waaaaa.. bend it... hold it... shake it... uhmmm that feels right, yeah". Since I've been playing Blues most of the time the last few years, it's changed more to just hearing the next note and then my fingers instinctively know where to go or at least they attempt to implement what I'm hearing. Sometimes they go somewhere unexpected and I'm pleasantly surprised by the result (or amused at the goof). I'm sure part of this is just from experience, but, I never before heard the notes so clearly in my head. I'm curious about what kind of internal dialog other players experience and if those who've come from other genres have seen their relationship with their instrument change. Mike [ home work ] [ http://www.xnet.com/~msuffern/soundtravels.html ] [ The Blues&Travel Site, Blues Guides, Festivals, ] [ Eric Clapton @ Royal Albert Hall, London tour ] ------------------------------------------------- [ Above all, play what your heart tells you to... ] [ As you learn, your heart will have more to say. ] ========================================================================= Date: Sat, 4 Nov 1995 20:47:43 PST Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: This silly Music Theory Paranoids Comments: To: bhargrov@micron.net On Fri, 3 Nov 95 07:27 MST bhargrov@micron.net wrote: > >Mike, > >It's a little bit interesting how people can feel almost exactly the >same about something and express it in almost opposite ways. In your >recent post you said: > >> >>Learn chords, how to form chords, learn the Blues scale, riffs and >>techniques, take a few lessons, learn from records, practice, >>play-play-play [like practice, except more like fun], jam with other >>people and ask them how to do... [whatever it is that appealed >>to you]..." > >as part of your explanation of why you mistrust music theory. Interestly >enough, I'm a strong supporter of music theory, but would give most >people who want to play blues pretty much the same advice that you did >in the paragraph above. What you described seems like a nice reasonable >chunk of music theory for playing blues. A very reasonable position. When I wrote that I was actually hoping that someone from the 'other camp' would voice their support for my suggestion. I emphasize a distrust of music theory, fully knowing that I have benefitted from a certain amount of it, because I want the beginning players to be aware of the idea that music theory is not essential to good Blues playing. And music theory only, is a seductive way to become technically skilled without learning *from the music* itself. I feel sad when I meet a kid who can play SRV leads but can't comp the rythym to a standard 12 bar Blues. And academic training like GIT can give you the tools before you are ready to use them properly. Too many tools, in fact, to play the Blues, I think - maybe to play Jazzed up Blues, or Uptown Big Band Blues. But, I'll bet most of the graduates go into Pop (for the money), Progressive Rock, or Jazz. Has anyone read the player profiles (of amateur guitarists who submit a tape) in Guitar Player the last decade? GIT graduate after GIT graduate after GIT graduate, who plays shred metal or jazz or wants to play jazz. >I might add a couple of things, however, like how you can use the blues >scale from the related minor key (e.g., use the A blues scale to play >in C) to get a different sound. ... That's something that I slowly figured out from listening to Lynyrd Skynrd, the Allman Brothers, Freddie and B.B. King. I didn't know how to name it, musically, until a few years ago. I don't think it would have meant as much if I had learned it years before from a music theory book. I don't know if I would have even given it much thought. I'd be way beyond that stuff by now and playing... er,... jazz? > ...If somebody was really serious, I might >even throw in chord substitutions (e.g., ii-V-I to substitute for the >V-IV-I in the turnaround). >I'm curious, what do you think about that? Where does that kind of >information fall? > >Bill H. > Playing the Blues scale a third down from the key you're in is useful in the Blues (however you can't play the complete Blues scale in such a case so it's not exactly a correct explanation - isn't that the same as playing the Major scale?). I just went and tried a II-V-I and that's skatin' on thin ice in my book! ;-) I think that is near where I draw the line, but, it's a big, blurry line, You'd have to step pretty far over it before I'd be certain. I should put a disclaimer on my more rebellious messages: The opinions expressed here are mine (and maybe mine alone). I am a hard core rollin' and tumblin' '50's Chicago Electric Blues fan... But, anyone who's been on the list for 30 days pretty much knows that. Ultimately, it's a personal decision, if it even ever becomes a decision. Everyone is different, and I respect that. But I do have a 'way' to suggest and someone may find it's in tune with their life. Thanks for the considered reply, Bill. Mike [ home work ] [ http://www.xnet.com/~msuffern/soundtravels.html ] [ The Blues&Travel Site, Blues Guides, Festivals, ] [ Eric Clapton @ Royal Albert Hall, London tour ] ------------------------------------------------- [ Above all, play what your heart tells you to... ] [ As you learn, your heart will have more to say. ] ========================================================================= Date: Sun, 5 Nov 1995 00:48:54 PST Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: Theory paranoids and musicianship Comments: To: rjbauman@iquest.net Hi RJ, I gave a long and thoughtful reply to your reply last night and before I sent it, my mail program froze up. So, I'll just say that I pretty much agree with you and where I didn't, I still understand, and, yes, I am not just illustrating the Theory Paranioa problem, but,... ...I'm also the President. :-> Mike [ home work ] [ http://www.xnet.com/~msuffern/soundtravels.html ] [ The Blues&Travel Site, Blues Guides, Festivals, ] [ Eric Clapton @ Royal Albert Hall, London tour ] ------------------------------------------------- [ Above all, play what your heart tells you to... ] [ As you learn, your heart will have more to say. ] ========================================================================= Date: Sun, 5 Nov 1995 06:00:19 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: BROWNIE McGHEE Can't speak for Brownie personally, of course, but he does live in Oakland. Probably wasn't a major stretch for him to do Yoshi's. And we still don't know if he played the gig, and/or under what circumstances. ============================================================================ Jef Jaisun eljefe@netcom.com ============================================================================ sue freeman (suefree@ADAM.COM.AU) wrote: : Australia was meant to be visited by Brownie McGhee early November but : the tour was cancelled due to serious ill-health, the result of the : death of his daughter. It was said that Brownie was so ill he would : probably be unable to perform again - even in the US. : However; I read a post to Blues-L recently that had Brownie headlining a : benefit concert for Francis Clay at Yoshi's in Oakland, CA on Oct 29. : Curiouser and curiouser. : Have we ignorant Australians been stooged yet again!!!! : If not can someone please advise the state of Brownie's health? We are : all very concerned for his wellbeing. : Cheers, : Sue -- eljefe@netcom.com ========================================================================= Date: Sun, 5 Nov 1995 01:35:19 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: BROWNIE McGHEE Comments: To: eljefe@netcom.com Brownie did NOT play the gig and was never scheduled to play the gig. It was hoped that he might make a token appearance and wave to the folks but his name was not used for ticket sales. As for what is and is not "a major stretch" for an 80-year-old man, I'm satisfied to let him make that determination for himself. Dick Waterman ========================================================================= Date: Sun, 5 Nov 1995 03:58:44 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Enlightened clean grave reply Comments: To: bit-listserv-blues-l@uunet.uu.net In article , us002838@INTERRAMP.COM writes: > Furry was sitting down center in front of the Mic, his right arm draped across the back of his guitar. He had a sly grin on his face. "Arne...seeee that my grave is kept clean..." And cackled. The audience roared, and he went straight into the tune. I, of >course, stood there like a bozo. Ladies and Gentlemen of the List: Arne Brogger has never been a bozo for a moment of his life. In 1972, he came to Memphis and helped put together the Memphis Blues Caravan, which traveled to universities around the world with wonderful, elderly blues artists like Furry Lewis, Bukka White, Ma Rainey II, Mose Vinson and others. Arne was just a kid then, and most of us blues lovers were still in diapers or school uniforms, but he treated the artists with respect and understood their physical and emotional needs. I mentioned Arne recently to Mose Vinson, a blues/boogie piano player on Beale Street whose age is even a mystery to the man himself, and Mose lit up. He remembers Arne with affection and respect. Considering the fact that most of the old bluesmen and blueswomen knew very few honest people, this is high praise, indeed. When people like Arne contribute to the list, we fans and musicians should offer both ears. Arne is a true gentleman, and he has lots to share with us, although he seems to need a little encouragement. I was not in the least surprised when the "clean grave" thread brought him out. That's because I knew that Furry had made this request to Arne at one time. And when I visited Furry's grave recently and cleaned the weeds away from it, I was serving two friends--Furry, who is gone but not forgotten, and Arne, who lives near NYC, but still cares about the promises he made to a delightful old man eons ago. Sometimes, I'm a sentimental old fool, but I hope that you all cut me some slack. Denise ========================================================================= Date: Tue, 31 Oct 1995 18:33:18 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Re: Clean Head Comments: To: bit-listserv-blues-l@uunet.uu.net I saw Eddie "Clean Head " in the mid-seventies. He was great and very energetic.Does anyone know if he has released anything lately? Eddie passed away in 1988 (Jul 02, Los Angeles, CA.). His Mercury recordings will be included in the new 7CD Mercury set BLUES BOOGIE & BOP which will be out in North American on Nov. 7, just in time for xmas :-) eRIC ========================================================================= Date: Sun, 5 Nov 1995 07:14:53 -0600 Reply-To: dwhite From: dwhite Subject: Clean Grave History Perhaps this has already been posted by someone; but the compulsive historian and East Texan in me makes me want to tell this. When Blind Lemon Jefferson said "Please See that My Grave is Kept Clean" he may have meant scraped clean to the bare earth. This was a custom in rural lower South cemetaries for a long time. All the graves would be scraped and not to scrape them was a sign of disrespect for the dead. In "Texas Graveyards: A Cultural Legacy" by Terry Jordan UT Press, 1982, Jordan speculates that this may have been a West African custom. Homes in East Texas also had scraped yards around them. My great-grandparents had a scraped yard around there first house. It may have had it's origin in fire prevention or insect control. Grass in Africa and the South could be an unwelcome intruder. It is rarely seen anymore though. Though covering the grave with gravel may be a modern substitute. Some very old graves are covered with sea shells and this is also believed to be an African custom. The only scraped burial ground I've seen are in theAlabama-Coushatta Indian cemetary near Livingston, TX. My great-grandparents lie under some carefully manicured St. Augustine. This is just a sidebar to history; not an injunction to go out and scrape graves which these days would be more likely considered vandalism. But I believe like Denise Tapp said in her message about Furry Lewis that we should take time to remember and maintain the monuments of the blues people we visit. Dana White Austin, TX ========================================================================= Date: Sun, 5 Nov 1995 16:07:06 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: R.SYKES question Comments: To: bit-listserv-blues-l@uunet.uu.net In article <47cghf$bu9@rc1.vub.ac.be> marc borms writes: >Date: Fri, 3 Nov 1995 07:31:59 GMT >From: marc borms >Subject: R.SYKES question >In the book , "A left hand like God", the story of boogiewoogie, >the writer mentions a book written by someone from Belgium (!) >named : "Roosevelt Sykes, The Honey Dripper". >Who can give some information about this book ? >(References, author, publisher, where available ?) The book, "A Left Hand Like God: A History of Boogie-Woogie Piano" was written by Peter Silvester and published by Da Capo copyright 1988. I picked up a copy in paperback this summer. It's a great read if you have an interest in boogie woogie piano. I found a lot of new boogie woogie artists that I would not have otherwise known about from this book. It should still be available. Art Schuna ========================================================================= Date: Sun, 5 Nov 1995 11:13:22 -0500 Reply-To: "Long, Valeria - Personal Acct." From: "Long, Valeria - Personal Acct." Subject: Chicago Blues Greetings, y'all, My girlfriends and I are heading to Chicago Nov. 10-12. Any suggestions for places wild white girls over 40 can hear some blues? We're staying in Chicago proper (is there a proper Chicago? downtown, I guess). Other suggestions as to restaurants, shopping emporiums, etc. may be appreciated. Thanks-- Valeria ========================================================================= Date: Sun, 5 Nov 1995 12:21:03 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - November 5th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- COLE, EDDIE (p/NATALIE COLE) b. 1952-1105, CHICAGO, IL GAITHER, TOMMY (g/THE ORIOLES) d. 1950-1105, BALTIMORE, MD -- LORILLARD, LOUIS L.(founder:NEWPORT JAZZ) d. 1986-1105, PROVIDENCE,R.I., NY 67 MCVEA, JACK (tsax/cl) b. 1914-1105, LOS ANGELES, CA NIGHTHAWK, ROBERT[ROBERT LEE MCCOLLUM](g) d. 1967-1105, HELENA, AR 57 NUNN, BOBBY (of THE ROBINS/COASTERS) d. 1986-1105, LOS ANGELES, CA 61 ODOM, DAVID "KING" (lead/KING ODOM QT) d. 1988-1105, -- PAGE, ORAN "HOT LIPS" (tpt) d. 1954-1105, NEW YORK CITY, NY 46 SHERRILL, BILLY (prod/p/asax) b. 1936-1105, PHIL CAMPBELL, AL STUDEBAKER JOHN (GRINALDI) (g) b. 1952-1105, TATUM, ART (p) d. 1956-1105, LOS ANGELES, CA 47 ------------------------------------------------------------------------------- (AND - today is Rosalyn & P.W. Fenton's 29th Wedding Aniversary) ========================================================================= Date: Sun, 5 Nov 1995 16:13:40 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Re: Byther Smith Fan Club Comments: To: bit-listserv-blues-l@moderators.uu.net Byther played here recently and turned in some fine shows. He is one of the most under-rated Chi Town blues men on the scene and could wipe the floor with some of the dross that purport to be blues artists these days. He could do with a high profile releases to ensure he gets the attention he deserves. Maybe Delmark will do the trick. In the meantime check out his Bullseye CD's and also don't miss his Adressing The Nation With The Blues. So count me in on Byther's fan club Dick. Just a note to those UK fans who are prone to post gig details on bands like The Hoax and others, John Primer, is here at present. Go see him, and get educated. TB TB ========================================================================= Date: Sun, 5 Nov 1995 12:40:39 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Memphis Sound-East Coast Tour Comments: To: Ncta@aol.com In a message dated 95-11-04 12:19:28 EST, ncta@AOL.COM (Ncta) writes: > > In the late 1940s and early '50s a synthesis of regional folk musics >- blues, country, gospel, honky-tonk, and western swing - started bubbling >out of the mid-South. Fueled by raging hormones and 3.2 beer, white >teenagers in and around Memphis created a new sounds that would >revolutionize popular music. Rock and roll was born. THE MEMPHIS SOUND >tour brings together several of the pioneers who helped create the pulsing >ROCKABILLY sounds that Memphis gave the world. Featured are: Pacers >guitarist and composer of "We Wanna Boogie" and "Red Headed Woman" SONNY >BURGESS; long-time Elvis drummer D.J. FONTANA; singer, guitarist, and >rock & roll history book SLEEPY LABEEF; Sun Records producer and session >musician STAN KESLER; young boogie-woogie pianist JEFF LITTLE; and the >red-hot guitar of SCOTTY ANDERSON. A roots rock fan's dream band. > > I look at this tour, and note: Where are they NOT playing? Memphis, of course. Sad but true. Tom Freeland ========================================================================= Date: Sun, 5 Nov 1995 12:53:39 EST Reply-To: Jeffrey Krentz <100755.2005@COMPUSERVE.COM> From: Jeffrey Krentz <100755.2005@COMPUSERVE.COM> Subject: Hans Theessink Comments: cc: Delta Doc Roger Saw a message from Delta Doc regarding Hans Theessink (corrected his spelling) - I thought I was the only one who appreciated this fellow. My first experience with Mr. Theesink was at the 1989 or 1990 Chicago Blues Festival. I convinced my friends that we should hike over to the Navy Pier area from Grant Park because one of my heros, Taj Mahal was going to be giving a guitar workshop. Well, I still don't know if I had the schedule screwed up, or if Taj was a no-show, but we were fascinated by Mr. Theesink, who was holding court in a small room indoors. He had on silver tipped cowboy boots, and was playing a National Steelbody and sounding just like a delta bluesman. His speaking voice had very much of his native accent, but it seemed to disappear when he was singing. As I said, I was very impressed. He had just released a CD on Flying Fish, and I ordered it as soon as I got home. The name of that one is "Baby Wants to Boogie" - I don't have the CD here with me at work, so no catalog number, sorry. In my non-musician opinion, I think he is a great guitar player and he has a very deep soulful sounding voice. I fin myself playing that CD quite a bit and it always reminds me of that Chicago trip. I also picked up a copy of a 1993 release called "Call Me" on Deluge records that I can also recommend. This one is in the current office rotation, so I can tell you that the number is DEL D 3006. It features a full backing group on most tracks. Richard Bell on piano and B3, Colin Linden on Guitar, Maceo Parker on Alto Sax and Pee Wee Ellis on Tenor Sax. Gary Graig on Drums. Hans plays Guitar/Dobro/Mandocello/Mandolin. I don't think Deluge is a widely distributed label. I got this one used at a collector show this summer. ========================================================================= Date: Sun, 5 Nov 1995 10:07:33 -0800 Reply-To: Mike Baron From: Mike Baron Subject: Add to mailing list Please add me to your mailing list. Regards, Mike Baron baron@ix.netcom.com ========================================================================= Date: Sun, 5 Nov 1995 14:02:49 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Very Ignorant"Clean Grave" Question >Walter "Furry" Lewis also included this tune in most of his shows. As agent > for the Memphis Blues Caravan, I had the opportunity to hear him do it on MANY > occations. The one that sticks in my mind occured on tour somewhere in IL or > KS. I was sitting backstage talking with the promoter when I heard my name > called by Furry. I bolted up on to the stage. Furry was sitting down center > in front of the Mic, his right arm draped across the back of his guitar. He > had a sly grin on his face. "Arne...seeee that my grave is kept clean..." And > cackled. The audience roared, and he went straight into the tune. I, of > course, stood there like a bozo. > > I think I made him carry his own guitar on to the bus that night. > > Arne Brogger > Arne, I couldn't figure out a way to reply to you directly, so right here in front of the crowd, THANK YOU, for a great story. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 5 Nov 1995 13:06:08 EST Reply-To: "M.A. Murphy" From: "M.A. Murphy" Subject: Re: Hans Theessink Comments: To: Jeffrey Krentz <100755.2005@COMPUSERVE.COM> I've seen Hans perform twice, though I never expected to see him perform in Maine. Two springs ago I got lucky and saw an ad for his performance at the Tradewinds in Rockland, ME in a music paper I happened to pick up because I'd gone to Portland to see Madder Rose and the Loud Family. I made immediate plans to head for Rockland on the day of the show. He played solo and I could've sat there listening all night long. I saw him again a couple of nights later in Bar Harbor, ME. He played that show with Jo(h)n Sass, his tuba player. The Rockland show was better, mostly because the sound was not nearly as good in Bar Harbor - for instance they had the tuba miked in a room small enough that it didn't need to be. Anyway, I spoke with Hans for a while at the Rockland show. I didn't speak to him as much at the Bar Harbor show, but I did give him a tape of Terry Garland material (we'd talked about Delta-style performers in Rockland and he said he'd not heard anything by Terry). Here's what I have by Hans. I know he has some other releases overseas, but I've never managed to get a definitive discography. I highly recommend _Johnny & the Devil_. Theessink, Hans Titanic 1982 Blue Groove Time - 46:54 Tracks - 12 Catalog Number - BG-3020 Source - CD ------------------------------- Weary Blues From Waitin' River's Invitation Down Where the Drunkards Roll John Hurt/Creole Belle Goodbye Monday Blues Mississippi You're On My Mind Titanic L.A. Freeway Shake Hands With the Sun Play it Again Sam Aragon Mill Almost Every Circumstance/Witte Wieve Theessink, Hans Baby Wants To Boogie 1986 Flying Fish Time - 38:21 Tracks - 10 Catalog Number - FF 70455 Source - CD ------------------------------- Baby Wants to Boogie My Baby Changed the Lock On Her Door Slidin' Delta Stones in My Passway Nobody's Fault But Mine Darkest Hour Southsea Shuffle Hunted Man Went to the Doctor When Things Go Wrong Theessink, Hans Johnny & The Devil 1990 Flying Fish Time - 40:42 Tracks - 10 Catalog Number - FF 70545 Source - CD ------------------------------- Johnny & the Devil Travelling Man Sitting in Limbo Living in the Fast Lane Mississippi Flying Shoes Shake Hands With the Sun Dough Roller Blues Grinning in Your Face False Accusations Theessink, Hans Call Me 1993 Deluge Time - 49:50 Tracks - 12 Catalog Number - Del D 3006 Source - CD ------------------------------- Late Last Night Call Me Mabellene Lonely Days & Lonely Nights Soul of Song Ain't Got No Home Rock the Boat New Orleans The Planet Bluesdoctor Cuckoo Sail On ------- Murph Michael A. Murphy murph@maine.maine.edu If you do not understand my silence you will not understand my words. Network Audio Bits E-Zine: http://maine.maine.edu/~n-audio Music reviews, news and information ========================================================================= Date: Sun, 5 Nov 1995 14:02:49 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: The Envelope Please... Comments: To: curtis@MAGICNET.NET On 4 Nov 95, Curtis Hewston had this to say: > For GNN's Best of the Net award, Arts & Entertainment category, Amateur > division, the nominees were: > > > Art Crimes: The Writing on the Wall > Art on the Net > The Blue Highway > The Surrealism Server > WWWF Grudge Match > X-Files: Trust No One > > > And the winner was... > > X-Files: Trust No One Trust No One - certainly we don't. Especially if they didn't select our beloved Blue Highway. You're number one in my book, Curtis. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 5 Nov 1995 12:38:13 -0600 Reply-To: James Foster From: James Foster Subject: Re: Clean graves in perspective Comments: To: DeniseTapp At 7:53 AM 11/4/95, DeniseTapp wrote: >The point is that if no one remembers you, you have not lived. So, if any >of you venture into graveyards, in search of the final resting places of >your heroes, take a moment to pull the weeds from the markers and clean >them up a bit. Dust off the trash. And, if you're really interested, >take some paper and chalk and do a rubbing of the stone. > >That's how I remember and celebrate the life of my friend Furry. Well, it >works for me. > >Denise Yes, yes, yes!!! On my recent trip to Memphis (where I missed Denise!) Cynthia and I eventually found Furry's gravesite nestled in a wonderful cemetary just like Denise describes in her post. It took some looking around - and int he process we looked at many wonderful tributes and alters to the deceased - but the point of the story is that these graves (which are not kept up on a regular basis) need folks to just pay them a little attention. We pulled weeds from Furry's gravesite as well as many others. As Dana mentioned, it is out of respect for the people we walked before and among us. James Foster ========================================================================= Date: Sun, 5 Nov 1995 12:12:00 MST Reply-To: bhargrov@MICRON.NET From: "" Subject: Re: Internal Dialog while playing? Comments: To: msuffern@XNET.COM In-Reply-To: Mike Suffern wrote: > >I'm curious about what kind of internal dialog other players experience >and if those who've come from other genres have seen their relationship >with their instrument change. I'm interested in this question, too, which goes to the heart of the ongoing thread about music theory, so I'll try to answer it. To put my comments in perspective for those who don't know me, I've only been playing sax for four years, so I'm not real accomplished, but I've been playing with the same blues band for three of those years, so I've played quite a bit blues. If I don't know a tune well, I have to think real hard about the chords just to keep up with the changes, so I don't think about much else. When I know a tune real well, I tend to play by ear after I decide what scale to use, although I'm always thinking with part of my brain about what chord is being played. In the middle of the solo, I may decide I want to change my "sound" by switching to another scale or to focusing on chord tones, so I have to think a little about that. If I decide to focus on chord tones, then I also have to think about how to get from one of them to another without sounding too square, which only works when it is more of a "hearing" process, than a thinking process. As I get better, I'm also trying to listen more closely to the other players and relate what I'm doing to what they're doing. Sometimes I also work consciously at throwing in a bit of the melody or a particular lick, though that usually seems to happen best on the subconscious level. Finally, I also have to devote a little of my consciousness to the quality of my tone and to playing in tune, which I may not do if I get carried away by passion. And, if this makes any sense, all the way through I'm trying to not think too much about anything except what chord is up, because my best playing comes about when I just "hear" what I want in my head, then play it. Unfortunately, that's not possible all the time at my modest level of accomplishment. I hope this makes at least a little sense. Like Mike, I'm interested in what goes through others' heads as they play. Bill H. ========================================================================= Date: Sun, 5 Nov 1995 20:36:34 +0000 Reply-To: James Wood From: James Wood Organization: Saskatoon Free-Net Subject: Re: The Envelope Please... Comments: To: bit-listserv-blues-l@uunet.uu.net : X-Files: Trust No One Obviously not those making the decisions! :) Their judgement can't be trusted, anyway. The Blue Highway is still #1, Curtis. -- James (Murray) Wood | Theatre is life. aa066@sfn.saskatoon.sk.ca | Film is art. Saskatoon Free-Net | Television is furniture. SFN IP-COM & IP-TRAIN | ========================================================================= Date: Sun, 5 Nov 1995 16:04:33 -0500 Reply-To: Greg Hermanns From: Greg Hermanns Subject: Re: Triumvirate Triumvirate: a 1973 album by John Hammond, Dr John and Mike Bloomfield, to me feels like a great set by 3 (at the time) up and coming masters of music. OK, "Just to Be With You" seems to go in 3 separate direction at once. Overall I think the 3 main players complement each other quite well. Listen to 'Rock Me Baby' -it's there. Greg Hermanns gregfh@tso.cin.ix.net ========================================================================= Date: Sun, 5 Nov 1995 16:44:55 CST Reply-To: JBards From: JBards Subject: Jesse Thomas Memorabilia (Second try to get this posted...my server must have lost the first one.) I hope this doesn't violate any rules of the blue-l listing, but even if it does it's for a good cause. Jesse Thomas left behind a good scattering of musical instruments and equipment. His wife, Bessie Levon, was going to take them to a pawn shop to dispose of them, but Dan Garner, his friend and supporting musician for these last 10 years or so in Shreveport, asked Mrs. Thomas to let him try to see if they could be sold off to Jesse's fans. Realistically, the equipment is probably worth more for historic value or memorabilia, but as far as I know all is in working order. The collection includes: A white Fender Strat (Japanese), maple neck (w/case); a Roland Synth guitar (watching Jesse play this Roland caused a bunch of us here and on Prodigy to chip in and buy him the Strat 4 or 5 years ago); an Alvarez acoustic; a Carvin doubleneck guitar/bass; a Yamaha 6channel mixer, a Boss KM4 instrument mixer; a Boss micro-monitor; some pedals and effects ( DODFX80-B; ElectroHarmonix Black Finger; KOrg Programmable SuperSectionPSS50.) You can call Dan at 318-631-3322 or fax to me at 318-675-5081. It would be for a good cause and I think Mr. Jesse would like to see his stuff used by people who appreciated the blues than wholesaled off to some anonymous pawnshop. Thanks, Jim Bardsley ========================================================================= Date: Sun, 5 Nov 1995 15:27:42 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: CD's to trade I have the following CD's to trade: PETER GREEN - LITTLE DREAMER (RNCD 1002) PETER GREEN - WHATCHA GONNA DO? (RNCD 1006) Private replies only please. Gary .......... Gary Constantine >> gconstan@ccinet.ab.ca << If hard work were such a wonderful thing, surely the rich would have kept it for themselves. ========================================================================= Date: Sun, 5 Nov 1995 23:04:41 GMT Reply-To: Weidel From: Weidel Organization: Okanagan Internet Junction, Vernon, B.C., Canada Subject: Re: Hidden Gems Comments: To: bit-listserv-blues-l@uunet.uu.net In article <2720C5442F9@Agden.shef.ac.uk>, "David J. Wallace" wrote: > > >(1) Johnny Adams, "Walking On A Tightrope." Superb readings > > >of Percy Mayfield songs by one of the country's best vocalists, > > >regardless of style. Nice guitar from Walter "Wolfman" > > >Washington and Duke Robillard. > > > > I will most definitely second that motion. Couldn't agree more. I remember when he was billed as "The Tan Canary" of New Orleans. You don't hear as much of that in the '90's, and , from the sound of it, with good reason. > > I would add Robert Ward "Fear no Evil" I just purchased his new cd, "Black Bottom". If you liked the other two Black Top releases, you'll enjoy this one too. > Speaking of Walter 'Wolfman' Washington, how about his 1988 Rounder > CD 'Out of the Dark' I spent the summer of 1989 in New Orleans at Tulane University. Walter was all the rage that summer, frequently appearing hours late for gigs, but being quickly forgiven in a town where deadlines are never taken seriously. Bob ========================================================================= Date: Sun, 5 Nov 1995 18:35:38 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Inquiry: Woody Mann, guitarist Comments: To: bit-listserv-blues-l@uunet.uu.net I've been asked by a friend to see if any of the list members know how to get in touch with New York born guitarist Woody Mann. If you can help, please respond by private email. Thanks, Denise ========================================================================= Date: Sun, 5 Nov 1995 18:35:55 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Inquiry: Jas Obrecht, writer Comments: To: bit-listserv-blues-l@uunet.uu.net There's an article in the Sept/Oct issue of Blues Review by Jas Obrecht, with reference to a new book "Early Blues." I'm not familiar with Mr. Obrecht's work. Can anyone educate me? Where can I locate other articles, reviews, etc.? Thanks, folks. Denise ========================================================================= Date: Sun, 5 Nov 1995 17:53:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Spann Hidden Gem One of my favorite Otis Spann pieces is a recording he made in Victoria Spivey's living room. It's called "If I could see my mother" and it's dedicated to the late Miz Josephine Spann. It's almost like a gospel piece and very like the memorial recordings he made dedicated to Martin Luther King. Spann gets carried away and begins to cry out "Oh Jesus-Oh Jesus_ Oh Jesus!!" Queen Spivey comments dryly "he's worried about his soul". In the background her parakeets are equally carried away and are chirping and squawking with great fervor. It's on one of her Spivey label compilations and not available on CD as far as I know. -Bonnie ========================================================================= Date: Mon, 6 Nov 1995 00:06:17 GMT Reply-To: Jim Farris From: Jim Farris Organization: Netcom Subject: Re: Bay Area Radio Comments: To: bit-listserv-blues-l@uunet.uu.net Leslie Knight, Danny Denaro, CJ, the DJ, and Don Coyle did a great job on this list. However, I have indicated just a few recent changes due to some cutbacks in the Blues shifts at KSCU. Each shift was cut back one hour. See below. Also, Leslie Knight's EMail address, the address for updates is not lnkight1@aol.com. It is LKnight1@aol.com. As a footnote, I would like to encourage other Blues-L subscribers to help keep this list current by sending any new information or corrections to Leslie Knight. As I have said many times, it is the Blues people that keep the Blues alive with their particiation and support. Jammin' Jim Farris KKUP 91.5 FM Joe Lempkowski wrote: >Unfortunately, this is going to be a bit wide since it has lots of fields. > >Enclosed is a copy of the Blue Waves FM Radio Guide for the San Francisco >Bay Area. It is compiled by Danny Denaro, Leslie Ann Knight, Don Coyle, >and Curtis Jay. Any changes should be forwarded to Leslie Ann Knight via >e-mail to lknight1@aol.com. > >Any typos are probably mine. NOTE: There are a few blues-l members on >this list. > >Joe > > >Day Start End Station Mhz Program DeeJay > Time Time > >Sunday 0:00 3:00 KKUP 91.5 Blues In The Night The Blue > Radish (1st, 3rd, & 5th weeks) >Sunday 0:00 3:00 KKUP 91.5 Late Night City Blues Jammin' > Jim Farris >Sunday 2:00 7:00 KPOO 89.5 Blues For The Night Owl William > Brown >Sunday 10:00 13:00 KSCU 103.3 Sunday Blues Brunch The > Jakester Sunday 10:00 12:00 KSCU 103.3 Sunday Blues Brunch The Jakester >Sunday 13:00 15:00 KSCU 103.3 Crossroads Brad Lee Sunday 12:00 14:00 KSCU 103.3 Crossroads Brad Lee >Monday 15:00 18:00 KBLX 102.9 Golden Oldies / R&B and Soul > Timothy Alexander White >Monday 6:00 9:00 KKUP 91.5 Monday Morning Blues Leslie > Ann Knight >Monday 9:00 12:00 KPOO 89.5 Marilyn's World Marilyn Fowler >Monday 13:00 14:30 KPFA 94.1 Blue Monday Tom > Mazzolini >Monday 21:00 22:00 KALW 91.7 The Blues Power Hour Mark > Naftalin >Monday 23:00 0:00 KALW 91.7 Blues Stage (NPR) Ruth > Brown >Monday 22:30 1:00 KKUP 91.5 Late Freight Twist Paul > Jacobs > Backstroke John > Fuller > Groovin' Time Steve > Ahlgrim > >Tuesday 1:00 5:00 KDIA-AM 1310 Blues Experience Frankie > M >Tuesday 16:00 17:30 KPOO 89.5 Blues And Oldies Johnny > Brooklyn >Tuesday 21:30 23:30 KUSF 90.3 Treasures Untold Harry > Duncan >Tuesday 20:00 23:00 KPOO 89.5 Blues House Party Jay > Johnston (1st week) >Tuesday 23:00 2:00 KPOO 89.5 Blues House Party Jay > Johnston (all others) > >Wednesday 1:00 5:00 KDIA-AM 1310 Blues Experience Frankie > M >Wednesday 9:00 12:00 KPOO 89.5 Spotlight On The Blues Big > Bones >Wednesday 14:00 17:00 KKUP 91.5 Key To The Highway Johnny > Cozmik >Wednesday 23:00 2:00 KPOO 89.5 The Blues Donald > C. Jones > >Thursday 1:00 5:00 KDIA-AM 1310 Blues Experience Frankie > M >Thursday 15:00 17:00 KKUP 91.5 Heavy Traffic Curtis > Jay (1st and 3rd week) >Thursday 15:00 17:00 KKUP 91.5 Heavy Traffic Roger > Anderson (2nd, 4th & 5th week) > >Friday 1:00 5:00 KDIA-AM 1310 Blues Experience Frankie > M >Friday 6:00 9:00 KSCU 103.3 Big Daddy Blu Show Big > Daddy Blu >Friday 9:00 12:00 KZSU 90.1 The Blues Wizard Skinny > Mike >Friday 21:00 0:00 KCSM 91.1 Crazy About The Blues Kathleen > Lawton >Friday 21:00 0:00 KKUP 91.5 Mood Indigo Jim > Thomas and Gratia Rankin > >Saturday 0:00 3:00 KKUP 91.5 Blues Morning Train The > Conductor >Saturday 0:00 3:00 KUSF 90.3 Blues Show Bob > Grunde >Saturday 3:00 6:00 KKUP 91.5 After Hours Blues Revue Steady > Eddie >Saturday 9:00 11:00 KPFA 94.1 The Johnny Otis Show Johnny > Otis >Saturday 9:00 12:00 KZSU 90.1 Blues With A Feeling The Byrd > Of Paradise >Saturday 17:00 18:00 KSJS 90.7 House Of Blues L.B. >Saturday 18:00 21:00 KKUP 91.5 Jim Dandy To The Rescue The > Wallflower (2nd week) >Saturday 21:00 0:00 KKUP 91.5 Mojo Hand / 50s R&B Jim > Dandy and The Walflower (1st week) >Saturday 18:00 21:00 KKUP 91.5 The Pole > Cat >Saturday 18:00 22:00 KSJS 90.7 Mostly Blues The > Crazy Yogi >Saturday 20:00 0:00 KDIA-AM 1310 Blues Experience Frankie > M > >Blue Waves is compiled for dedicated blues listeners by Danny Denaro, Leslie > Ann Knight >Don Coyle, and Curtis Jay. To add updates and changes, send e-mail to Leslie > Ann Knight >@ lnkight1@aol.com. ========================================================================= Date: Sun, 5 Nov 1995 18:20:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Re: Byther Smith Fan Club Comments: To: tony@BLUESTB.DEMON.CO.UK Here's goes post number 950 or whatever - but at this very moment I am wearing my Byther Smith T-shirt. His set here last summer was simply one of the best I've heard in decades!! I have all of his albums - none of his 45's I'm sorry to say. He's great! -Bonnie >From: IN%"tony@BLUESTB.DEMON.CO.UK" "Tony Burke" >To: Multiple recipients of list BLUES-L >Subject: Re: Byther Smith Fan Club > >Byther played here recently and turned in some fine shows. > >He is one of the most under-rated Chi Town blues men on the scene and >could wipe the floor with some of the dross that purport to be blues >artists these days. > >He could do with a high profile releases to ensure he gets the attention >he deserves. Maybe Delmark will do the trick. In the meantime check out >his Bullseye CD's and also don't miss his Adressing The Nation With The >Blues. > >So count me in on Byther's fan club Dick. ========================================================================= Date: Sun, 5 Nov 1995 19:59:02 -0500 Reply-To: Wes From: Wes Organization: University of Oregon Subject: Re: Steve Miller Comments: To: bit-listserv-blues-l@uunet.uu.net In article "Linda L." writes: >Date: Sun, 5 Nov 1995 02:50:07 GMT >From: "Linda L." >Subject: Re: Steve Miller >> re: Steve Miller Blues >> > what is he up to these days, anybody know? how do you all regard (or >> > not) his blues guitar playing, anyhow? >> >> > regards, >> > alora >> > apaul@whoi.edu >> >> He and Kenny Neal will be comming through town to do a blues show. >> Unfortunatly I won't be going. >Fortunately, I will! He's playing 4 nights in a row in SF in mid >November. I believe the first two nights are with Curtis Salgado (good) >and the second two with Kenny Neal. At least go when Kenny Neal will be there (although I may be biased by my dislike of Salgado:-) ========================================================================= Date: Sun, 5 Nov 1995 20:20:38 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Hidden Gems Comments: To: robbiev@interaccess.com I have wanted to participate in this particular thread but I felt that old 'conflict of interest' problem becasuse I (A) worked with people whose music I loved and (2) loved the music of the people with whom I worked. What to do? The answer, so obvious that it eluded me, is to simply make a list excluding the men and women with whom I have worked. My hiden gems: "Wild About My Living" RCA This is a compilation of the greatest Memphis music from the 1920s and 1930s including the Memphis Jug band, Gus Cannon's Jug Stompers, Memphis Minnie, Frank Stokes, Jim Jackson and others. Not a bad track or a wasted minute here. Highest recommendation. "James Carr, The World's Greatest Blues Singer" Goldwax I have had "Dark End of the Street" on my answering machine for several years and every time I take it off, I get complaints from people who enjoy hearing it before they leave their message. Other great cuts are "Pouring Water on a Drowning Man," "These Ain't Raindrop in my Eyes" and so many more. Carr shares with Ray Charles an ability to overcome mediocre material by sheer talent. He takes the Bee Gees' "To Love Somebody" and turns it into an anthem. Great notes by Peter Guralnick are an added bonus here. "El Rayo X" David Lindley OK, so it's not strictly blues but this one is fun fun fun and everyone should have one goofus in their collection. He does a terrific job on "Boogie Woogie Flu," "Mercury Blues" and a hilarious song about Italian shoes called "She Took Off My Romeos." Go see Lindley anytime you get the opportunity and enjoy this CD in the meantime. Dick Waterman ========================================================================= Date: Mon, 2 May 1904 18:06:21 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: GIT Blues On Sat, 4 Nov 1995 20:47:43 PST, msuffern@XNET.COM wrote, >I feel sad when I meet a kid who can play SRV leads but can't comp the >rythym to a standard 12 bar Blues. And academic training like GIT can >give you the tools before you are ready to use them properly. Too many >tools, in fact, to play the Blues, I think - maybe to play Jazzed up >Blues, or Uptown Big Band Blues. But, I'll bet most of the graduates go >into Pop (for the money), Progressive Rock, or Jazz. I have said before (I think) that I am a GIT student. What do I play? Blues. Does learning music theory and taking an academic approach to music hurt my Blues playing? No way. Part of playing the Blues is understanding what is needed to play the Blues. You can tell how much a guitarist knows about playing the Blues, and the history of the Blues, by listening to what they play during solo. At GIT you will hear guys play a solo that is what I call Rock/Blues. Their entire take on the Blues comes from listening to Seventies rock etc. To me it isn't Blues. The other end of the spectrum are the Jazz/Fusion guys who play jazzed up Blues. The trouble is that they often try to play Jazzed up blues during a deep shuffle which is precisely the wrong time. I'm not denigrating these guitarists. When I enter their world they can run rings around me. When I play Jazz or Rock I still end up playing Blues, which isn't always appropriate (I try to make it though). A lot of people at GIT think of the Blues as a I, IV and V chord. They don't understand that there is a whole history behind the music that goes way beyond SRV. When I practice I keep the technical side (scales etc) away from the Blues. When I practice the Blues it is by learning songs/solos and jamming. The technical side is reserved for learning how to navigate jazz standards etc. GIT gives you a lot of tools. If you are listening then it also tells you how to use the tools. When I play the Blues I'm not playing anything different than what my heroes played. Hopefully I will play lines that are my own as well. If anything, my playing has become simpler since attending GIT. I know I can't cut it technically with a lot of guys so I try and make sure that my playing is of the less is more category. As for the "can play solos but not play rhythm" syndrome that is common in all styles. I spend a lot of time searching out new ways to play Blues rhythm guitar. To me rhythm is as important as soloing. If you want to be able to solo then learn to play rythym. It will help. Most of the people who attend GIT are into rock or jazz. That is why most of the graduates you hear about play pop, rock or jazz. I intend to be playing the Blues when I graduate but if I get offered a gig in another style that is going to pay money then I'll take it. I need to eat and pay rent. A Blues guitarist can attend a school like GIT and learn a lot. I don't think that knowing how different scales work etc. has hurt my Blues playing. Some students tend to get categorized by what style they play. "So and so plays shred metal/jazz/country etc" I'm quite happy that people at school regard me as a Blues player. I'll play any style of music. Latin, Country, Jazz, Rock and R&B are all styles that I regularly play (some better than others). The ability to play the Blues has nothing to do with how much you know/don't know about theory. It has to do with how deep you are into the music and what is in your soul. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Mon, 2 May 1904 18:06:29 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Internal Dialog while playing? When I solo I try and hear a melody and play that. I'm not trying to think of scales etc. In Blues I have a good idea of how certain notes sound against certain chords. But I'm not conciously thinking "Hmmm, the 6th of this chord would a good choice at the moment." I hear a note (the 6th) and I play it. In any music I try and become familiar with the melody of the song. When I solo I often hear the melody behind what I'm playing. I'll often quote the melody in the solo, either rythmically or use the notes of the melody as a motif. Ultimately, I agree with Bill H. when he said that he tries to hear what he wants to play in his head and then play it. I also try and sing what I'm playing. That helps to create more melodic statements. My best playing comes when I just try and let go and go with the music. At this stage I'm not really conscious of what I'm playing. I just let the solo come out. It can be a little scary as you feel that you aren't in control. When this happens you often check yourself and you lose the flow you had. The trick is to just let it keep happening. Sometimes, after this happens, I'll have no idea of what I just played. It is a weird but satisfying feeling. Usually when this happens you have played something good. I hope that helps. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sun, 5 Nov 1995 21:08:41 -0500 Reply-To: s060799@AIX1.UOTTAWA.CA From: s060799@AIX1.UOTTAWA.CA Subject: lyrics hi, could anyone give me the lyrics of everyday I have the blues of B.B.King thanks Kamoun ========================================================================= Date: Sun, 5 Nov 1995 21:10:15 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Hidden Gems EMERGENCY CORRECTION ALERT11111 Apparently, I am too busy "living" and not getting enough "loving." My "Hiden Gem" is "Wild About my LOVING" and not "Wild About my LIVING." ========================================================================= Date: Mon, 6 Nov 1995 02:56:53 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Louisiana Red-"Sittin Here Wonderin" Comments: To: bit-listserv-blues-l@uunet.uu.net No, this is not a review by Barry Silverberg or the other NYCD people, but the title of a new Earwig CD release, "Sittin Here Wonderin" (#4932). These recordings were done in 1982 for the B.O.B. label, but not released until now. On this set, Louisiana Red plays in a style similar to his very first recordings done in 1952. Red got his start in Detroit in the years after WW II. He was heavily influenced by John Lee Hooker, Eddie Burns and others. Joe Van Battle recorded him when he was 16 years old in 1952. Six of these tunes were leased to Chess who released 2 sides as a single. "Soon One Morning" was a JL Hooker style song, "Come On Baby Now" was in a Lightnin' Hopkins style. Red was also said to be the one shouting "Lord have mercy" in the middle of Hookers song, "Down Child". The song, Boogie Woogie Baby, by Red appears on the Hooker album "Driftin' Thru The Blues" recorded during a Modern label JL Hooker set. You can here an example of Red's early recording style, "Funeral Hearse At My Door", on The Blues, Vol. 6, 50s Rarities which is a selection of Chess rarities (MCA CHD-9330). It can also be found on the Chess Blues Box. The recording is credited to Rocky Fuller and also features Little Walter and Jimmy Rogers (maybe). Red was only 16 years old at the time. Getting back to the set in question, what's different about it is that the guitar is overamped, giving it a somewhat distorted sound - very much like early Hooker recordings. All but 2 of the 11 songs on this set are written by Louisiana Red. This is a very tight set and is highly recommended. With this collection and the "Best of Louisiana Red", which is a re-issue of Atco label material released earlier this year on the Evidence label (ECD 26059-2), hopefully Red will get the attention of blues enthusiasts that he deserves. I would recommend you snap up both of these sets, but if you can only choose one, I'd go for the Earwig first. Art Schuna ========================================================================= Date: Sun, 5 Nov 1995 18:52:29 -0800 Reply-To: Richard Del Grosso From: Richard Del Grosso Subject: Re: November 1995 Bay Area Blues Beat Comments: To: Joseph Jordan In-Reply-To: <951101131929_9819455@mail06.mail.aol.com> Joseph, Great to see you're on the list. Looking forward to more good news from the Bay area. Rich DelGrosso ========================================================================= Date: Sun, 5 Nov 1995 19:10:09 -0800 Reply-To: Richard Del Grosso From: Richard Del Grosso Subject: Re: Corey Harris Comments: To: BAJammin In-Reply-To: <47c2uq$4mc@newsbf02.news.aol.com> BA Just had the chance to see and hear Corey in New Orleans. He really is a fine player! He has captured the styles of Son House, Fred McDowell and Blind Willie Johnson. I am pleased to see that Alligator is recording acoustic blues. It is a rare treat nowadays! Rich DelGrosso Blues Revue On Thu, 2 Nov 1995, BAJammin wrote: > You got the spelling right. And snatch up that CD! > > Corey Harris lived in the Charlottesville area off and on for around two > years, until about a year ago. He played several coffee house and festival > gigs and was often heard playing his blues outside in the downtown mall > area. I heard him a dozen times and talked to him alot. > > He's a remarkable man, a truly outstanding acoustic blues/slide player and > a powerful singer. I don't know if he's the first acoustic blues player on > Alligator. > I recomend him highly. Both live and the CD, which I haven't heard yet but > I'll be using it on my Walkin' Blues show on WTJU. Enjoy! > > BA > ========================================================================= Date: Mon, 6 Nov 1995 14:41:42 +1100 Reply-To: Daniel Bruce From: Daniel Bruce Subject: Buddy Guy Live in Sydney Guys & Gals, My wife and I attended the Buddy Guy show here in Sydney on friday night. It was held at the Enmore Theatre which is an old movie theatre coverted toa live music/comedy venue. It seats about 2500. It is also very hot as the aircon is pretty ordinary. Despite this Buddy put on a spectacular show, the best i have seen from him (I have seen him 3 times now). He played many graet songs and complete versions of them. He started with Sweet Home Chicago, followed up witha scorching version of Five Long Years. He went through many other graet songs including Hoochie Coochie Man, Steppin' Out, Slippin' In , Feels like rain, Damn right I got the blues, Stormy Monday etc etc etc. All up he palyed for about 2 1/4 hours. He only did a little bit of playing like other guitarists and when he did he tended to play entire songs rather than just littel snippets. Like he played I'll play the blues for you as a tribute to Albert King. He encouraged the crowd to sing along and at one stage during Feels like rain stopped and advised those in the audience who didn't know thew words to shut up and those who did to sing louder. He was very friendly and seemed to be in a really good mood. Scott Holt did a good version of Red House with Buddy on rhythm. Scott also sang. Buddy was very splendidly dressed witha black and white polka dot shirt which matched his guitar. Looked very cool. The backing group was a band from melbourne called Louis King & the Liars Club. They were a mixture of Blues/ Rockabilly and were quite good. The first time I have seen a standup drummer witha full kit. he also sang. Anyway a fantastic show which we greatly enjoyed. BTW, is it just me or is the blues-l off the air. -- Daniel Bruce | Genasys II Pty Ltd, Sydney, Australia | "Born under a bad sign, been down since I began to crawl | If it wasn't for Bad Luck, Wouldn't have no luck at all" | Albert King | Internet: danielb@g2syd.genasys.com.au ========================================================================= Date: Sun, 5 Nov 1995 23:54:47 -0700 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: Internal Dialog while playing? Comments: To: Shaun T Cronin In-Reply-To: <199511060211.SAA07156@wavenet.com> QUESTION: Max Weber, a noted sociologist, dealt with the phenoneom of charisma. This state is realized at certain, unique times by an individual who is going beyond the envelope. It is my feeling that when an artist is in the state you describe, they are experiencing a state of charisma. It might be said that those who are witnessing such a state are also brought into it. Some musicians talk about the feedback they get from audiences they are reaching, a feeling that enables them to enter into a dialetic with the listeners, a process that informs the creative process that is happening. I wonder if those of you who preform experience the kind of feeling that Shaun is describing (below). I know as an audience member (or even in listening to a moving recording) that I have felt moved by the experience. My wife wonders at the tears flowing down my cheeks, tears of joy in being able to experience such a moment. The beauty of artistic creation is transendent for me, perhaps a charismatic experience. Musing instead of perparing for my Sociology & Art class, Jay WAtterworth CU BoulderATZ AT S7=45 S0=0 V1 X4 On Mon, 2 May 1904, Shaun T Cronin wrote: > When I solo I try and hear a melody and play that. I'm not trying to think > of scales etc. In Blues I have a good idea of how certain notes sound > against certain chords. But I'm not conciously thinking "Hmmm, the 6th of > this chord would a good choice at the moment." I hear a note (the 6th) and > I play it. > > In any music I try and become familiar with the melody of the song. When I > solo I often hear the melody behind what I'm playing. I'll often quote the > melody in the solo, either rythmically or use the notes of the melody as a > motif. > > Ultimately, I agree with Bill H. when he said that he tries to hear what he > wants to play in his head and then play it. I also try and sing what I'm > playing. That helps to create more melodic statements. My best playing > comes when I just try and let go and go with the music. At this stage I'm > not really conscious of what I'm playing. I just let the solo come out. It > can be a little scary as you feel that you aren't in control. When this > happens you often check yourself and you lose the flow you had. The trick > is to just let it keep happening. Sometimes, after this happens, I'll have > no idea of what I just played. It is a weird but satisfying feeling. > Usually when this happens you have played something good. > > I hope that helps. > > Shaun > > > > Shaun Cronin 'The Blues is what exists between a man and a > shaun@wavenet.com woman.' Son House and John Lee Hooker. > ========================================================================= Date: Mon, 6 Nov 1995 08:01:59 GMT Reply-To: marc@az.vub.ac.be From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: REVIEW : Tribute to Muddy Waters Comments: To: bit-listserv-blues-l@Belgium.EU.net REVIEW : Tribute to Muddy Waters, Nov. 5th, Peer, Belgium. Well, well, well, what a night :) :) :) :) (PINETOP LIFE !) Oh, oh, what a morning :( :( :( (almost not slept... ) Yes, the 'Tribute to Muddy' made his stop here in Belgium, featuring Bob Margolin, Willy 'Big Eyes' Smith, Luther 'guitar' Johnson, Carey Bell, Casey Jones and last but not least, Pinetop Perkins. The support act was a Belgian bluesband, The Electric Kings. If you haven't seen/heard them yet, please do ( they have a very good first cd !). A mixture of Waters/TBWalker tunes and also a lot of original songs.... This band was introduced to me by Jean-Pierre Urbain ( you know him, don't you ? By the way, JP, where were you last night ??? ) last summer during the Belgium Rhythm and Blues Festival and they are GOOD ! And the 'Tributers' had the chance to do their part one by one... But I still have to say ... Pinetop is just top ! He came in and had the crowd (and me) on his hand ... Yeah, man, he can still play the boogie woogie... After the show, I had the chance to go backstage ( thank you, Electric Kings !) and have a nice talk with Mr.Perkins and Mr.Margolin. I told Mr Margolin about the online conference on the Blue Highway, the blues website of Curtis Hewston, and he did remember !!! He just wants to greet you all, folks ! And Mr. Perkins is also a very, very fine man. I hope I'll be as goodlookin' as him when I am over 80 !! With his advise on playin' the boogie woogie I think I'll never forget it.... embee, the pianoman. ========================================================================= Date: Mon, 6 Nov 1995 05:11:59 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - November 6th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BLOCK, RORY (g/ROUNDER) b. 1949-1106, NEW YORK CITY, NY BOSTON BLACKIE [BENNIE JOE HOUSTON] (g) b. 1943-1106, PANOLA, AL CARTER, JOE (g/BARRELHOUSE REC) b. 1927-1106, MIDLAND, GA DICKINSON, KARL (g/UNCLE BONES BAND) b. 1950-1106, DETROIT, MI GIBSON, ANDY (tpt/arr/KING REC) b. 1913-1106, ZANESVILLE, OH GOODMAN, DICKIE (ceo/20TH CENT REC) d. 1989-1106, FAYETTEVILLE, NC 55 HALL, JUANITA (v) b. 1902-1106, KEYPORT, NJ MORELLO, JOHN (d/GARRY & MOODSWINGERS) b. 1966-1106, CHICAGO, IL PITT, EUGENE (lead/THE JIVE FIVE) b. 1937-1106, BROOKLYN, NY POPE, JOSEPH (lead/THE TAMS) b. 1933-1106, ATLANTA, GA SAHM, DOUG [DOUGLAS WAYNE SALDANA] (g) b. 1941-1106, SAN ANTONE, TX SAX, ADOLPHE (inventor of SAXOPHONE) b. 1814-1106, DINANT, BELGIUM SMITTY, BLUE (CLAUDE SMITH) (g/CHESS REC) b. 1924-1106, MARIETTA, AR WILLIAMS, CLARENCE (p/songw) d. 1965-1106, QUEENS, NYC, NY 67 ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 6 Nov 1995 11:42:38 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Jim Zeller In-Reply-To: <9511032348.AA15087@bach.ccinet.ab.ca> On Fri, 3 Nov 1995, Gary Constantine wrote: > Caught the last 10 minutes of a TV program on the Bravo! channel that had to > do with a harp wizard named Jim Zeller. What little I heard sounded great. > Can anyone fill me in on the details of this guy? Think he is a Montreal > native. Any recordings etc? > > Thanx, > > Gary .......... > Gary Constantine >> gconstan@ccinet.ab.ca << > > If hard work were such a wonderful thing, surely the rich > would have kept it for themselves. > Yes he is a Montrealer and has a recent CD (Can't remember the title). A musician I know has implied to me that he is a somewhat "unsavoury" character. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [6/11/95 6:30 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 6 Nov 1995 10:46:29 +0000 Reply-To: "David J. Wallace" From: "David J. Wallace" Subject: Re: Philip Walker Records(Blues Finds Tallahassee) > Alan C. Rollins (blzlynx@POLARIS.NET) wrote: > : I want to plug Phillip Walker his hollow bodied guitar, his gritty vocals > : and tight-as-nails band. This man is a treasure undiscovered. His new CD, > : "Working Girl Blues" is a must have. This one I'm going to have order, so could anybody help me out with the details i.e. label and number, Thanking you in advance, David ========================================================================= Date: Mon, 6 Nov 1995 10:01:19 -0200 Reply-To: Hudson Carvalho Bianchinni From: Hudson Carvalho Bianchinni Subject: Re: Quebec Referendum Blues Comments: To: Conqueroot In-Reply-To: <479cki$93a@newsbf02.news.aol.com> On Wed, 1 Nov 1995, Conqueroot wrote: > Lets try to stick to the blues and keep the crap about politics, canada, > bosnia, OJ etc. off of this newsgroup. > You have my support,this list are to speak of the best music of the world:BLUES. "love,peace and freedom" Hudson ========================================================================= Date: Mon, 6 Nov 1995 12:10:04 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Byther Smith Fan Club In-Reply-To: <25110518201410@vms2.macc.wisc.edu> I haven't heard a lot from him, but I love what I have heard. his "I'm A Mad Man" CD is among my favourites. What are the recommendations? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [6/11/95 6:30 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 6 Nov 1995 07:29:42 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Re: Very Ignorant"Clean Grave" Question -Reply Comments: To: us002838@INTERRAMP.COM THE VERY BEST RECORDING OF "SEE THAT MY GRAVE IS KEPT CLEAN" IS done by John Hammond on one of his older LP's. There is nothing like it....and listen for the sound of the coffin sound that he makes with his guitar....it is totally uncanny. ddr ========================================================================= Date: Mon, 6 Nov 1995 08:33:11 EST Reply-To: levyt@RL.AF.MIL From: Toby Levy Subject: The Search For Robert Johnson Tonight at one hour past Midnight, Bravo will present the hour and ten minute movie, "The Search for Robert Johnson." I know this has been shown by them before, but my cable company just added Bravo and I'm finally gonna get to see it! I meant to post this over the weekend so that all the digest readers would see it in time, but I never got a chance. All you type A personalities that get the messages real time have probably seen the movie, right? Toby ========================================================================= Date: Mon, 6 Nov 1995 08:55:38 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Re: Inquiry: Jas Obrecht, writer Comments: To: denisetapp@aol.com In-Reply-To: <47jhor$gcu@newsbf02.news.aol.com> from "DeniseTapp" at Nov 5, 95 06:35:55 pm In another time and place, DeniseTapp said: > > There's an article in the Sept/Oct issue of Blues Review by Jas Obrecht, > with reference to a new book "Early Blues." I'm not familiar with Mr. > Obrecht's work. Can anyone educate me? Where can I locate other > articles, reviews, etc.? > Denise, I am familiar with Jas Obrecht. Among other places he writes for a magazine that I am contributing to on occasion, called "Victrola and 78 Journal. The magazine is published by Tim Gracyk who is on-line. I can give you his e-mail address if you want. I respect Obrecht's work very much and do have a snail mail address for him if you desire. Tom ----------------------------------------------------------------------------- My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Mon, 6 Nov 1995 08:24:12 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: I sang in public Thanks to the encouragement from the "ellers I actually sang at a club Saturday I got up and did "Peace In Hell" right off the bat. I did fine, the singing wasn't real good, BUT I DID IT. I had more presence than ever before. I actually talked/joked.....etc had a blast. Sat in with some electric guys the first time I've played electric with folks since the POB thing. I did good. My wife suggests no more singing, but I won't listen. I'll sing a few tunes at the benefit Wed. night. I just wanna say THANKS for ya'll's encouragment, otherwise I would have not behaved so well. It's more fun to go up there and be under control and confidnt than to be a scared wimp. I also didn't drink any whiskey, that's a first and that probally helped alot... THANKS LW ========================================================================= Date: Mon, 6 Nov 1995 08:34:18 CST6CDT Reply-To: SOXTON@CHE2.CHE.UMN.EDU From: Sara Oxton Organization: University of Minnesota Subject: Black & White Blues A new book will be in the stores around Thanksgiving. It's called "Black & White Blues" and it is a collection of blues portraits by Minneapolis-based photographer Marc Norberg. Many of these portraits will be familiar to you as they have graced album covers. Beginning with Willie Dixon's "Hidden Charms" lp and most recently, Terry Evans' album (the title escapes me right now). Norberg began shooting these portraits 13 years ago. His first shot was of Queen Sylvia Embry at St. Paul's Blues Saloon. Next came a fierce portrait of Luther Allison wielding a guitar carved like the United States. Eventually, Norberg became friends with Willie Dixon and for a period, took portraits under the auspices of Dixon's fledgling Blues Heaven. Norberg has been present at each of the River Blues festivals in Philadelphia, displaying his portraits and shooting various artists performing there. Today the collection totals over 100; this book has approximately 60. Especially moving portraits in the book are those of Sunnyland Slim, Memphis Slim, Lefty Dizz, Pee Wee Crayton, Willie Dixon.... artists who have passed away but are here monumentalized in beautiful portraiture. I have had the enormous previlege of watching Marc take some of these portraits. His eye for detail, his immediate rapport with the artists, and his respect for the music are inspiring. As I said, the book will be out in a few weeks. For those of you fortunate enough to live in our pristine tundra, be aware that Marc is planning a book release party for Saturday, December 16 at the Fine Line Music Cafe in Minneapolis. A tentative line-up for music at the party is Dave Ray & Tony Glover, Philadelphia Jerry Ricks, and Anson & the Rockets. All of these artists have portraits in "Black & White Blues." Hope to see you there. Sara ========================================================================= Date: Mon, 6 Nov 1995 09:46:51 -0500 Reply-To: Erica Wissolik From: Erica Wissolik Subject: BMI , ASCAP & SESAC homepages >>> Bluzman Ed@Aol.Com. 11/04/95 01:40pm >>> BMI has a home page at (http://rep.edge.net/index.html). Does anyone know if ASCAP has a home page and if so, what their address is? Thanks, and BLUZ! Bluzman Ed aka Ed Tremewan >>>>>>>> I had found an ASCAP "homepage" awhile ago but it was totally useless unless you were a paying AOL costomer (good news for you). The old address that allowed the rest of us to see the "homepage" and the sales pitch of AOL is now defunct. SESAC also has a homepage and they are at http://online.music-city.com/sesac.html And I have BMI at http://bmi.com ========================================================================= Date: Mon, 6 Nov 1995 10:15:24 -0600 Reply-To: Roger Struve From: Roger Struve Subject: The Search For Robert Johnson -Reply Comments: To: levyt@RL.AF.MIL This is a pretty good documentary, with John Paul Hammond narrating (not his father John Henry Hammond). Most notable i thought, were the scenes with John and Honeyboy Edward playing together in the juke joint. Also, the interviews with Honeyboy Edwards and Johnny Shines were pretty interesting. Also, some of the old folks that knew Rob. Johnson were interviewed, including Willie May who was the girl that rob. johnson wrote Love in Vain for. It was played for her, and there were noticeable tears in her eyes to hear his voice cry out "willie may" after what, some 50 years. SHe had never heard him sing on record before, nor had she heard that particular song, which she recalled he had said he was going to write for her. It was interesting that there is some controversy as to the actual burying ground of Rob. Johnson. I think i agree with John, that it isn't where the markers are. Another interesting scene reenacted, although a little hokey, was with Johnny Shines playing on one corner, and John on the other, and they're reenacting "cutting heads" which was sort of a competitive thing where street musicians would try to draw the crowds away from each other. The tape that i have i found on sale at Tidal Wave. It is before Johnny Shines died, and subsequently they've added a tribute to Mr. Shines on subsequent tapes, which isn't on my tape. Very interesting tape altogether. regards, delta doc roger ========================================================================= Date: Mon, 6 Nov 1995 15:28:30 GMT Reply-To: mckenzie@ipcs.demon.co.uk From: "Ian K. Mckenzie" Subject: Attention Scott Baretta (Re Sam Mitchell) Comments: To: bit-listserv-blues-l@moderators.uu.net >I probably have the freshest info on Sam Mitchell other than from >Sam himself. I just listened this morning to his most recent, still >unmixed recordings. He is in Copenhagen, where he has been for years, >playing both rock in a popular band called the Sandmen, and solo >blues gigs. He is now out of the rock scene, and still does solo, but >also now has a blues trio, and is also doing duet gigs with a good >friend of mine who plays more East Coast (Blind Blake, Blind Boy >Fuller, etc) style on dobro. Sam's style is quite a bit rougher, >but together they complement each other well, and are now in the >process of recording an album together. My friend's name is >Homesick Mac, who is from Eastern Europe and learned English through >listening to Robert Johnson and Doc Watson. I listened to the >demos today and was quite impressed. Sam really has a great feel >for the music, and neither overplays or oversings. He has only gotten >better over the years. Dear Scott, The email address on yours to me is all screwed up. Can yiu let me have another (or the right one) *********************************************** Ian K. McKenzie University of Portsmouth England ************************************************** ========================================================================= Date: Mon, 6 Nov 1995 07:16:00 EST Reply-To: CHAMBERLIN.JOHNB@EPAMAIL.EPA.GOV From: John B Chamberlin Subject: Overload Apologies in advance for raising a topic previously aired (?) and I DO NOT WANT TO START A DIALOGUE ON THE ISSUE. This is a one-time plea As a new "subscriber", I love the Blues-List but I am overwhelmed at the volume of traffic hitting me. I wonder if folks could be a bit more selective/ targeted in their distribution --that is, think about the audience a bit before you deliver to everyone. For example--and apologies again if these folks feel singled out. they're not; it's just the topic is a good example-- the ongoing dialogue about "music theory" is obviously of intense interest to some of us but not all; however we are all in the same room so we all have to hear it, whether we want to or not. I'm afraid I'm going to have to unsubscribe unless there's a bit of self-censorship. Could we just take a moment to think about whether everyone needs to hear our message before we send it off? (Especially problematic is the posting of answers to everyone specific questions raised by one person ) Even if I just scan for the "subjects" without examining the body of the messages, it takes a long time to delete 125 "reports". If you have hit on an alternative, please respond DIRECTLY to me only. And apologies one more time for committing the same act I am asking others not to do. ========================================================================= Date: Mon, 6 Nov 1995 16:14:31 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: harlem nocturne I guess it's more jazz than blues but would anyone venture an opinion as to who does the best version of it? I like beaucoup. Just to put in some blues-like content, I saw Robben Ford and Sonny Landreth last wednesday. Whereas the playing was all pretty nice I found that it never really took off. There just wasn't that spark. Landreth seems more of a country oriented player as opposed to blues. You keep wishing he would just once take the slide off and PLAY. I guess when you are doing show after show things can get a bit stale now and then. It seemed that the only one into it that night was Sonny's drummer (and I am very much guitar oriented). Was it worth the price of admission. Yes, but it could have been better is all. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [6/11/95 11:05 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 6 Nov 1995 11:10:44 -0500 Reply-To: Erica Wissolik From: Erica Wissolik Subject: FYI - Alex Chilton/ Memphis again For those who were wondering who he was, the attached is a recent article that discusses Alex Chilton, his influences, those he influenced, the Memphis scene, etc..... Received: from [198.115.181.223] (slip-6-23.shore.net) by northshore.ecosoft.com with SMTP id AA20570 (5.67a/IDA-1.5 for ); Sat, 4 Nov 1995 15:34:50 -0500 Message-Id: <199511042034.AA20570@northshore.ecosoft.com> X-Sender: tcr@shore.net (Unverified) Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Date: Sat, 4 Nov 1995 15:35:52 -0500 To: deafaccess@aol.com, zakim@acpub.duke.edu, 73063.3445@compuserve.com, 100340.3467@compuserve.com, jhamilto@aol.com, dgoldhirsch@internet.kronos.com, 100135.530@compuserve.com, 73232.3055@compuserve.com, fwilson@ocvaxa.cc.oberlin.edu, yhboston@aol.com, gkagency@aol.com, kepnert@ctrvax.vanderbilt.edu, 71301.71@compuserve.com, gbjr@world.std.com, honeycut@mindspring.com, ewissolik@crs.loc.gov, roym@primenet.com, melzdiner@aol.com, mrstone@indiana.edu, lgulgowski@asqc.org, rmc@xmission.com, istrsc@asuvm.inre.asu.edu, usd27130@pop3.interramp.com, pbernard@crim.ca, jahsley@comp.uark.edu, millenia@cyberstore.ca, lunaf@leonardo.net1948, mtsaler@ucdavis.edu, jay.reeg@mro.mts.dec.com, mark@tumyeto.com, dagonz@nytimes.com, buganec@gpu.srv.ualberta.ca, hewitson@epas.utoronto.ca, m-j.anderson@netaxis.qc.ca, labell@spartan.ac.brocku.ca, katchoo@serv1.law.emory.edu, fran_feldman@pacsci.org, kanel@moodys.com, klaus@soda.csua.berkeley.edu, ted.wugofski@ast.com, glenn_j._ricci@csgi.com, jump_t@a1.eop.gov, manny@mqi.com, lindeman@nations.ucs.indiana.edu, jeflah00@ukcc.uky.edu, bereolos@ecn.purdue.edu From: tcr@shore.net (Tim Riley) Subject: mpop 10/95 3 of 3 millennium pop: the thinking person's guide to pop culture Volume II, Issue 6 October 1995 part 3 of 3 music Nature Boy How To Sing Funny And Influence People A Man Called Destruction Alex Chilton (Ardent). by Stephanie Zacharek Long before I heard Alex Chilton's original version of "Kangaroo"-a song about meeting a girl, then seeing her again at a party and going home with her, a song that on paper sounds infinitely more simple than it really is-I came across a cover of it done by an arty British studio project called This Mortal Coil in the early '80s. I liked that "Kangaroo." It was moody and mysterious in a neatly hemmed sort of way, like a carefully scripted message from superintelligent beings in outer space-but it hardly prepared me for Chilton's version. His "Kangaroo," recorded in Memphis in 1974 with what remained of his band Big Star, opens with a rusty shard of feedback, followed by messy lightning veins of static. Chilton's voice, stretched-thin and golden, trails through the song as if it were draining every last ounce of his strength; he sounds alien, too, but he's no superior being and certainly no conqueror. Instead, it's as if he's stumbled into an inhospitable atmosphere, as if this new air has made him sickly and his spidery legs can barely support him; he nearly pushes the song out of time as he lurches to keep his balance. When I heard Chilton's "Kangaroo," when I dropped into the rabbit hole of its completely senseless and devastating last line-"Oh I want you, like a kangaroo"-I lost forever my faith in weird, arty Brits. They'd made the song sound strange all right, but they hadn't made it mean anything. Chilton, in his "Kangaroo," is a man close to being done in by his desire; he's breathing his own poison-or is it the very thing that's keeping him alive? Nothing in Chilton's subsequent solo career matches Big Star 3rd/Sister Lovers, the album "Kangaroo" appeared on, for sheer emotional intensity (although 1979's Like Flies on Sherbert comes close). But "Kangaroo" and much of Big Star 3rd seem to have cut a jagged path into Chilton's future, pointing the way to a career of making stunningly imperfect records, to a lifetime of being in thrall to the unshakable, unselfconscious habit of putting so much of himself into his records that they nearly wobble off course. (It's little wonder the Replacements' Paul Westerberg responded to the off-kilter beauty of Chilton's work. His "Alex Chilton," on 1987's Pleased to Meet Me, became a guidepost to young rock fans, and kept Chilton in rock'n'roll's public eye.) For all its moonlit otherworldliness, all its despairing beauty, there's something homely about Big Star 3rd, particularly in the way it's left with so many threads hanging. Chilton's messier songs suggest not that he's been lazy in finishing them off, but that they can't possibly be completed. They leave you a little uneasy: Where do I go from here? If you're looking for perfectly shaped performances, for vocals that crack only in the exquisitely appropriate places, for guitar parts plastered into place with lots of spit and polish, Chilton can drive you crazy. He isn't driven to perfection, but if you give in to his songs, he also lessens your patience for pointless perfection. He's offering something else: a little mess to clean up and sort out in your own head. It's one way of making the listener a participant instead of a receptacle. Chilton's career never took off in the conventional sense, partly because of his own refusal to play the star-making game, but mostly because of sheer lousy luck. The son of a Memphis jazz pianist, Chilton launched his own career early on; at 16, as the lead singer of the Box Tops, he recorded "The Letter," a number one hit in 1967. Those early Box Tops albums-particularly the first one, The Letter/Neon Rainbow-are strange, frustrating little things, sometimes soaring to heights of near brilliance, sometimes hurtled into the mud by gloppy strings. And they're highly confused records: The Box Tops' packager and producer, Dan Penn (the remarkable songwriter whose credits include "Do Right Woman" and "Dark End of the Street"), came from gritty Memphis roots but obviously wanted to make hits. The songs on The Letter/Neon Rainbow swing wildly between hip-swinging R&B, the Memphis hallmark, and psychedelic pop, the big trend at the time. Chilton's singing, though, is never anything less than wonderful: If he loved R&B, he also loved grooviness, and he makes the records work by bridging their broad mood gaps. His reading of the country number "Break My Mind" is tough and salty, like a piece of aged beef, and shockingly uncompromising-it's no wonder some buffoon thought he had to friendly it up by tacking on a corny slide-whistle ending. Chilton gives us something else again on the eerie Dan Penn/Spooner Oldham ballad "I Pray for Rain," where he sings about hoping that his ex's picnic with her new lover will be spoiled. "I'll be seeing you again. . . . ," he sings, his voice pale and willowy and utterly disquieting as it trails off, foreshadowing the wraithy uneasiness of some of his work with Big Star. After several years of touring with the Box Tops, Chilton ended up feeling like a pawn of his packagers-apparently, Chilton never made the money he should have-and at 19 he quit the band abruptly, walking offstage in the middle of a gig. After a brief stint in New York, he returned to Memphis in 1971 and hooked up with singer, songwriter, and guitarist Chris Bell, whom he'd known in high school, bassist Andy Hummel, and drummer Jody Stephens to form Big Star, the most influential American band of the 1970s. Critics loved the first album, #1 Record (1972), and it's easy to see why: The band had obviously been influenced by British pop, but it had a sound like no one else's. Its guitars were jangly, like the Byrds', but they were capable of even more subtlety. Its harmonies were lucent and just slightly unpolished, as down to earth as layers of agate but also weirdly transcendent. Big Star's sound cut like a knife through the overbaked sludge clogging the rock'n'roll pipeline at the time. But as much as critics loved #1 Record (and although it was later rereleased to a new audience that slowly but intently brought it some of the recognition it deserved), it was virtually ignored by everyone else at the time of its release-because of distribution problems, no one could buy it. Chris Bell left the band in frustration (he died in a car accident in 1979; a record of his solo material, the gorgeous and deeply unsettling I Am the Cosmos, is available on Rykodisc). Big Star's second record, Radio City (1974), matched #1 Record in artistry and sheer beauty, but its chances at success were toppled, again, by shoddy distribution. By the time of Big Star 3rd (alternately titled Sister Lovers), the band had pretty much disintegrated and Chilton was on his own, having rounded out the last incarnation of Big Star with Memphis studio musicians and a string section. (The album wasn't released until 1978, and then not in the intended form; it's available in a form as correct as possible on Rykodisc.) Big Star 3rd is like no other rock record I've ever heard; I'd be hard-pressed to name one that's more desperately beautiful. It maps out the contours of Chilton's vast unhappiness at the time, territory marked by a disintegrating love affair, alcohol and drugs, and disillusionment with the music business. But the desolation of Big Star 3rd doesn't drag it down: It's an assertive record, not a droopy one, and its conviction to stand up and take misery like a man makes it all the more affecting. On the spooky, atmospheric "Big Black Car," Chilton turns fatalism into a kind of go-for-broke bravery: "Nothing can hurt me/Nothing can touch me/Why should I care?/Drivin's a gas/It ain't gonna last." Big Star 3rd has a gorgeous, echoey sound: It conjures deep, grassy hollows so green and lush they dwarf the sky. And the strings, instead of getting in the way as they so often do on rock records, hover in the background like insects humming in the forest, adding an extra layer of intensity. They're loveliest on "Stroke It Noel"-they have all the civility and exquisite control of a carefully orchestrated minuet, yet the desperation in Chilton's voice seems to cast a flush of feeling on them. When Chilton sings, "Do you wanna dance? do you? do you do you do you wanna dance?" his voice shivers, as if he's daring to hope that the possibility of wanting to dance is within his reach. He suggests Lewis Carroll more than Bobby Freeman: Will you, won't you, will you, won't you? On "Stroke It Noel," Chilton comes as close as he can to joining the dance. There are some critics who think Big Star 3rd was the beginning of the end for Chilton, the same critics who believe-stupidly-that his subsequent solo work is almost worthless. In his exhilarating history of the Memphis music scene since the 1950s, It Came from Memphis, Robert Gordon dressed down one critic who just didn't get it (Gordon, perhaps out of kindness, doesn't name the critic, but it happens to be David Schulps in The Trouser Press Record Guide): " 'Like Flies on Sherbert,' a critic has written, 'painfully confirmed the degradation of a once-major talent.' Such a statement reveals a dickhead writer with a bad record collection. On the album we hear Chilton bumping into the microphone and then laughing about it-where else but Memphis goddamn rock and fucking roll are you going to hear that allowed onto the finished product? 'Fixing' that would have made a super alive moment into stone dead rock." Chilton's 1979 Like Flies on Sherbert (as of this writing, available as an import on Line Records; a domestic release is supposedly in the works) practically vibrates with super alive moments: Gordon calls it "a pseudo-reckless masterpiece," and he's right. Chilton had spent the five or so years since Big Star's demise recording material here and there-including the new-wave-shimmy single "Bangkok" in 1977, with Chris Stamey, and some demos for Elektra that were never picked up-but Like Flies was his first fully conceived recording since Big Star 3rd. Like Flies introduced punk to the Memphis R&B tradition and shook up the test tube. It's as if Chilton and his band had taken the Stones' chunky, rubbery "Brown Sugar" guitar chords, the Sex Pistols' gleeful disregard for fussed-over artistry, and the spontaneity and intuitiveness of old blues players, and rolled them all together into a bobbling, uncontrollable fireball. There's a loose, stringy reading of "Boogie Shoes," featuring honkytonk piano and slabs of guitar fuzz as fat as ham hocks; Chilton doing a fine Elvis on "Girl After Girl," less a parody of '50s rock'n'roll than one last desperate attempt to hang onto it forever, if only by one shredded pink-and-black coattail; and a woozy, moonshine-soaked version of the Ernest Tubb ballad, "Waltz Across Texas," where Chilton turns into a semi-lucid but still-in-pain Hank Williams, sounding as if he's perched boozily on the rim of a glass, the guitars twining around to support him. There's a natural progression from Big Star 3rd to Like Flies on Sherbert. Like Flies is certainly looser, and much less despairing-but it's just as pissed off. Chilton's disillusionment hadn't dissolved by the time of Like =46lies-that disillusionment probably lingers to this day-but the record is anything but bitter. And in at least one respect, Like Flies seems to have laid the groundwork for the solo work Chilton continues to do. It stems from such a weird convergence of influences that, through all its anger, there's an undeniable sense of delight shimmering just beneath the surface. It's as if every time Chilton had sullenly asked himself, "What's pop music ever done for me?" he'd be hit with a strain of an old R&B hit he knew as a kid, or a remnant of some particularly outlandish Elvis Presley number, or the chorus from some standard his dad might have played. Even if it's betrayed him, and in some ways it has, Chilton can't get pop music out of his blood. That's probably why, through the assorted solo albums Chilton has released in the past 15 years, his cover versions are often the most memorable songs. Despite what his detractors tell you, Chilton isn't a less interesting performer when he's covering other people's stuff: his choices are so wide-ranging, so idiosyncratic, and so on the money, they're rarely disappointing. His big ears are part of what you're shelling out for when you buy an Alex Chilton disc. Chilton called his 1994 album of standards Clich=E9s, but his versions of ol= d pop tunes aren't just recycled fluff. With its spare voice-and-guitar arrangements, Clich=E9s may not be a great album, but it's plainly a heartfelt one. Chilton has never been able to sing an old song without pouring love into it. His bemused version of Slim Harpo's "Tee Ni Nee Ni Noo" (off the 1985 EP Feudalist Tarts) is pure pleasure. And his version of Domenico Modugno's 1958 hit "Volar=E9" off 1987's High Priest, is often cite= d as an example of Chilton's giving in to his worst cornball instincts, but anyone who listens carefully will hear that he's not digging for camp value. He sinks his heart into the words, whatever they mean. His Italian isn't very lyrical-in fact, it's pretty flat-but he lets the melody carry him, and it forgives all his faults. Similarly, Chilton makes the Nat King Cole hit "Nature Boy" his own. (The song is included on the Rykodisc version of Big Star 3rd.) If you didn't know Cole's version, you'd think this "Nature Boy"-so tender and just slightly unhinged-was one of Chilton's more poignant originals. It's easy to see why Chilton felt straitjacketed by the material on those early Box Tops records-he was still in his teens, and there was a different kind of greatness in him that just had to come out. His years with Big Star were unquestionably his most fertile as a songwriter. Now, though, it seems as if Chilton has come full circle-he's come back to the idea of making pop music his life's work, and if his latest record, A Man Called Destruction (released earlier this year on Ardent), is any indication, it's a pretty fine way to live. Chilton sounds at home on songs like the slinky "Devil Girl" and an effervescent cover of the Beach Boys' "New Girl in School." And if Chilton's finding his way back to his roots sounds like a copout, that's a failing on the audience's part, not his. I recently heard him end a live show with a version of Jesse Belvin's "Goodnight, My Love," which, he told us, a popular DJ (it was Alan Freed) used to play as a sign-off. Chilton didn't sound as if he were hang-gliding on nostalgia; he sounded as if he was still trying to figure out where he came from. Tender and sweet as a wild rose, Chilton's "Goodnight, My Love" sounded more alive than ever. We tend to forget that roots aren't finite things. They can always go deeper into the soil, and Chilton is well on his way to the new territory at the center of the earth. Stephanie Zacharek writes about music for the Boston Phoenix. ************************************************************* millennium pop Editor: Tim Riley Executive Editor: Sara Laschever Copy Editor: Frank Christmas 173 Morrison Avenue, Somerville, MA 02144-2016 E-MAIL: tcr@shore.net or sklasch@aol.com Web page: http://mirror.wwa.com/mirror/atlantis/millpop/homepage.htm E-MAIL SUBSCRIPTIONS are available at the regular rate of $19.95 per year, $36. 95 for two years. Hard copies and fax services are also available for subscribers without e-mail access. Back issues are still available at $4.95 per issue. T-Shirts (S,M,L,XL) are $15 plus $2 postage and handling. Your feedback is encouraged. ************************************************************* millennium pop: a journal of the popular arts Tim Riley, editor tcr@shore.net 173 Morrison Ave, Somerville, MA 02144 =46ax: 617-666-8099 http://mirror.wwa.com/mirror/atlantis/millpop/homepage.htm (Mac System 7.5.1---Word 5.1---Filemaker Pro---Quark Express) ========================================================================= Date: Mon, 6 Nov 1995 11:18:28 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: Internal Dialog while playing? Comments: To: Watterworth Jay In-Reply-To: > an artist is in the state you describe, they are experiencing a state of > charisma. It might be said that those who are witnessing such a state > are also brought into it. Some musicians talk about the feedback they > get from audiences they are reaching, a feeling that enables them to > enter into a dialetic with the listeners, a process that informs the > creative process that is happening. Somebody should ask Jay's question about charisma to Luther Allison... esp. during his set at this year's festival in Chicago! > I wonder if those of you who preform experience the kind of feeling that > Shaun is describing (below). I know as an audience member (or even in > listening to a moving recording) that I have felt moved by the > experience. Ditto. The first (and second and third) time I heard Buddy Guy's "I Smell a Rat" from his Stone Crazy release, it raised the hair on the back of my neck, as they say. ========================================================================= Date: Mon, 6 Nov 1995 12:26:53 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Why Brownie McGhee did not tour Comments: cc: Michael Twomey Thanks for the touching response about Brownie McGhee and his current tribulations. Hopefully, Michael Twomey can convey to his friend the sympathies and understanding of the thousands of blues fans who met Brownie when he was on the road. This fan, in particular, remembers dozens of appearances in Toronto at venues as varied as the Riverboat and the O'Keefe Centre (and a couple of occasions when I presented him in concert with his old sparring partner Sonny Terry). Let's wish him well in the late autumn of his life, and remember him and his music with the warmth and affection he so richly deserves. They don't make 'em like Brownie any more, and we should be grateful we heard him when we did. -Richard the Elder. ========================================================================= Date: Mon, 6 Nov 1995 12:26:57 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Re: James Brown Comments: cc: Ross Whitwam No, of course wife beating is not a mere pecadillo. James Brown, marvellous musician, writer, performer though he may be, is a deeply disturbed asshole. I was just offering an exmple of why he may have turned into one-like I said, celebrity and fame does surprising (and often appalling) things to people. -Richard the Elder ========================================================================= Date: Mon, 6 Nov 1995 12:32:17 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Columbia House Blues (still long!) Whew, what did I start here? Anyway, I'm prepared to accept that if you pick up your (nearly) free records, and then get out of the club a.s.a.p. you might indeed get your records cheaper. But some of the issues that have raised regarding royalty payments are innaccurate-just take it as a fact that a) royalties are not paid at all on the "free" records, and b) royalties to songwriters, publishers, and artists are reduced on other sales through record clubs (usually by a third). Yes, of course, the artists (who are often, but not always, the songwriters and even the publishers as well) should know this going in; it's in their recording contracts (usually on page 84, Paragraph 194, subsection D, clause Y). The point is that the record companies know that they will sell close to one-third of their volume through these clubs, and sometimes the artists know this as well, and decide to accept the lower royalties as a fact of music business life. It's of interest that MCA, in Canada, has just announced it will no longer sell to record clubs; in exchange, they're asking retailers to give them better displays and facings in their stores. And there are a number of individual artists who, given the strength of their contracts, do refuse to allow their music to be sold through the clubs. Of course, blues artists are not alone in their ignorance of the ways of the music business-just as Leonard Chess reputedly showed his artists their new Cadillacs rather than give them an honest account of the royalties due, so record companies rarely go to the trouble to explain, paragraph by paragraph, the intricacies of a contract-and too many artists would rather take the contract anyway, regardless of its built-in inequities. I happen to think that record clubs still rip off artists, publishers, and even record companies, but I dearly wish record companies and retailers realised why these clubs are so successful- in particular, it tells me that retailers do a pretty crappy job of serving the public, otherwise these clubs wouldn't work. Older people, for instance, hate going into record stores because they're always full of people with green hair asking for the new Weezer record, or rap fans looking for more poetry about bitches and hos and shooting up the hood. And we all know that it is impossible for most retailers to stock anything but the top sellers. Hence my suggestion that we patronize specialist stores or specialist mail-order companies (where the prices are higher but the service terrific), where at least we have some confidence that the correct royalties will reach the people who crated the music. I don't mean to imply that people who buy through clubs are "whores"; one-third of the record buyers in North America can't be all wrong all the time. But they should know who pays the savings they make-it's the artists. No, nobody forced them to be musicians, nobody forced them to write songs, nobody forced them to put up with a monolithic music business that usually refers to what they create as "product." But we shouldn't play a part-however small-in screwing them out of a reasonable, fair return for their talent and the joy it brings us, the listeners. -Richard the Elder ========================================================================= Date: Mon, 6 Nov 1995 12:33:46 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: "Dirty" harp sound question: How to? Thanks for your indulgence folks for the "no-blues" status of this post, but when you've got a question like mine, ya gotta go to the experts. :) My harp player plays through a Shure "Green Bullet" wired straight into a new Fender "Blues Deluxe" amp, the small cousin of the 4x10 "DeVille". He is trying very hard to get a really dirty harp sound for some of our tunes but is unable to get it. Here's the scoop: he plays into the "clean" (#2) channel or input jack and gets great tone at any volume. No feedback. But he doesn't want clean all the time. So, switch to the "high gain" channel (#1) a.k.a the DRIVE channel which has dialed-in distortion, and except at the lowest of low volumes, the thing just howls like a banshee. Major league feedback no matter how far he stands from the amp. The DRIVE channel is where that sound he wants is, but can't use it. It's basically useless to him. We've tried using a distortion pedal on the clean channel. Feedback again. To reiterate, we're looking for that greasy, dirty tone that Kim Wilson is so great at, you KNOW the one. I've seen Kim live twice, and close up, and I don't recall him using anything much different. Maybe a Bassman amp I think, but they're not all that different than this Blues Deluxe in "clean" mode, 'cept no reverb. We haven't tried, but are thinking that maybe the only way is to use the DRIVE channel way down low, which works, and mike the amp to get the stage volume we need? That's a lot of new hardware just for that tone. Please, can someone familiar with this equipment and THAT tone help me? We're befuddled. Thanks! Riffin Rick (((( oo-) /- I'm the king of the jungle, call me the Tiger Man. F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Mon, 6 Nov 1995 11:49:13 -0500 Reply-To: RhythmShrk@AOL.COM From: Bernie Clarke Subject: LITTLE WALTER REISSUES!!! Comments: To: Harp-l@garply.com I am crossposting the to harp-l and blues-l. Folke time to stop snivelling about John Popper and go out and get the real deal. Just rereleased recordings of Little Walter one is a two CD set, Chess Collectibles Vol 3. "Blues With a Feeling." This stuff came out last week and any blues lover let alone harp player should have this. The stuff on this collection is HEAVY! Much of it I had never heard because it was only available on imports. There are some shaky alternate takes that might not be that great for their musical value, but from the perspective of listening and understanding the decisions that were being made in the studio while recording these blues classics is interesting. At this time I can't give you a complete review (when have I ever given you guys a complete review), but if the collective membership[ of harp-l and blues -l doesn't start talking about these releases, I will be very dissapointed. The other "new" cd release is "Quarter to Twelve" I have it on order and I'll chastise the collective lists for not rushing out to get it after mine comes in. I think the discussion of HRM Popper will come to an abrupt halt when some more folks grab this stuff! BC ========================================================================= Date: Mon, 6 Nov 1995 10:52:25 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Yazoo Catalog I got the Yazoo catalog this weekend and they have a great deal. You buy three cd's (12.95) and get one free. That beats columbia house, cause you can get Charlie Patton, Blind Lemon Jefferson.....etc. That IMHO is a bargain LW ========================================================================= Date: Mon, 6 Nov 1995 12:50:16 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Mike's internal dialog. (my version) Hi Mike, et al... Interesting question you bring up here. Hmmmmmmmm. I think, and I say that "I think" because since I'm not playing right now, that I can only recall what I think happens, IS that with me, I hear a whole phrase or guitar statement a millisecond before I translate it down my nervous system to my hands. Yeah, my leads/guitar solos come to me in phrases, rather than individual notes. I hear these either as some artists version that I really dig, or memory of my own version as I've played it before. Make sense? Interesting topic. Riffin Rick (((( oo-) /- ....blues deja vu, all over again. F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Mon, 6 Nov 1995 17:17:11 GMT Reply-To: william higdon From: william higdon Organization: Michigan State University Subject: Christmas Music Request Comments: To: bit-listserv-blues-l@relay2.uu.net I was wondering if there is an album of music suitable for the holidays consistent with the style of acoustic blues. I am not looking for "holiday blues", just a nice way to share some of the music I enjoy with family and friends who would otherwise never listen :). ps. "Santa got run over by a reindeer" doesn't count. ========================================================================= Date: Mon, 6 Nov 1995 11:19:48 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Christmas Music Request In-Reply-To: Message of Mon, 6 Nov 1995 17:17:11 GMT from On Mon, 6 Nov 1995 17:17:11 GMT william higdon said: >I was wondering if there is an album of music suitable for the >holidays consistent with the style of acoustic blues. >I am not looking for "holiday blues", just a nice way to share >some of the music I enjoy with family and friends who would >otherwise never listen :). I HIGHLY recommend Charles Brown "Cool Christmas Blues" (I hope that's right) It's exceptional and guaranteed to please everybody, except the un-pleasable folks, which is impossible.....It's a great disc for anytime of year. LW 'I guarantee it' ========================================================================= Date: Mon, 6 Nov 1995 11:46:51 CST Reply-To: William Shute From: William Shute Subject: San Antonio benefit for Johnny Copeland From: Bill Shute ---announcement--- JOHNNY CLYDE COPELAND BENEFIT Sunday, l9 November l995 6pm to 1 am @Billy Blues, Grayson St., one block east of Broadway San Antonio, TX admission is $8.00 artists confirmed as of 11/6/95 WC Clark Pete Mayes Joe Guitar Hughes Texas Johnny Brown Keri Leigh and Mark Lyons Kathy Murray and the Kilowatts Rusty Martin Jimmy Spacek Barrence Whitfield (tentative) and Billy's Super Unleaded Blues Band, featuring Eddie Polenco (gtr/leader) Albert Garcia (sax) Ray Symczyk (keyboards, including accordion!) Pete Perez (bass) Teri Leach (drums) and surely others will come, especially when they see the line-up. There will be some raffles for various items (such as some of the huge banners hanging from the ceiling of the Billydome) to raise funds, and Mr. Copeland has also authorized the sale of commemorative t-shirts with the gig poster depicted on them (and I've talked Billy's into doing some 2x sized ones for those of us who are big, burly guys...and gals too!). Everyone is performing for free and Billy's has generously donated their services and venue. Many of the artists are from Houston, as you can see, and are longtime friends of Mr. Copeland's--friendships going back thirty and forty years in some cases!!!--so that ought to give the evening an even MORE special meaning and I have the feeling it will be a BEAUTIFUL experience. Since Joe Hughes and Johnny Brown are considered mentors to Johnny Clyde Copeland, the love felt and the depth of feeling in general that these guys have for their Houston homeboy will surely be felt by all present. A great time for a great cause. Hope to see you there...it'll be worth the drive from Corpus, San Marcos, Austin, Kerrville, etc. Bill Shute San Antonio, TX the whole thing is being put together by Jerry Clayworth. (I'll be sure to take the camera that night, and will have extra photos made to give to the artists themselves when I see them again...and will have Jerry send some photos to Mr. Copeland himself) (AND, contrary to what was published in "action" magazine, Johnny "Clyde" Copeland will NOT be playing or in attendance!!!) ========================================================================= Date: Mon, 6 Nov 1995 17:47:35 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Subject: Re: Yazoo Catalog Comments: To: bit-listserv-blues-l@uunet.uu.net In article , L W says: > >I got the Yazoo catalog this weekend and they have a great deal. You buy >three cd's (12.95) and get one free. That beats columbia house, cause you >can get Charlie Patton, Blind Lemon Jefferson.....etc. That IMHO is a bargain So how do we get a copy of this catalog? Art Schuna ========================================================================= Date: Mon, 6 Nov 1995 10:04:35 -0800 Reply-To: Mark Gentry From: Mark Gentry Subject: Re: "Dirty" harp sound question: How to? Rick Miller wrote: >Please, can someone familiar with this equipment and THAT tone help me? >We're befuddled. Rick, my observation is that the tone is in the microphone and the way the harp is played (ie, the volume going into the mic). Our harp player has several clean sounding Fender amps but always gets a nice warm/dirty tone with his green bullet mic. As you have noticed, using distortion on the amp usually results in feedback. I suggest your harp player try other mics out. Our harp player has several stock bullet mics that sound great. In addition, he has one that was modified by Rod Piazza that has more distortion then the stock version. Good luck, Mark Gentry ========================================================================= Date: Mon, 6 Nov 1995 18:10:09 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: LITTLE WALTER REISSUES!!! In-Reply-To: <951106114912_14159405@mail04.mail.aol.com> On Mon, 6 Nov 1995, Bernie Clarke wrote: > deal. Just rereleased recordings of Little Walter one is a two CD set, Chess > Collectibles Vol 3. "Blues With a Feeling." This stuff came out last week > and any blues lover let alone harp player should have this. The stuff on Is there much/any overlap with the "Essentiail" Little Walter set from Chess? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [6/11/95 13:06 PM] "They call it stormy monday..." ========================================================================= Date: Mon, 6 Nov 1995 13:15:30 -0500 Reply-To: Niles Frantz From: Niles Frantz Organization: Megaweb Subject: Photos from Pocono Festival Comments: To: bit-listserv-blues-l@uunet.uu.net The Pocono Blues Festival World Wide Web site (http://www.scranton.com/bluinfo.html) now features color photos of all the performers, including Luther Allison, Little Charlie and the Nightcats, Little Milton, Smokey Wilson, Rod Piazza and Miss Honey, Bigg Daddy Kinsey and the Kinsey Report, Sherman Robertson, Artie White, Eddie C. Campbell and more. These photos were taken by yours truly (I'm not certain that is a recommendation). Check 'em out. I think you'll like 'em Niles A loop is a loop is a loop. ========================================================================= Date: Mon, 6 Nov 1995 10:20:01 -0800 Reply-To: Chris Adams From: Chris Adams Subject: Re: Hidden Gems Comments: To: Dick Waterman In-Reply-To: <951105202037_13688134@emout05.mail.aol.com> I totally agree with Dick's choice of "Wild About My Lovin" (not Living). It is one of the out of print collections that were compiled by Billy Altman and rivals the Memphis Archives collection and the Yazoo Memphis collection. I actually bought it after reading an article about the reunion of The Lovin Spoonful (sans John Sebastian, if you can believe that) and even though I was a BIG fan of jug band music, this recording stimulated my interest once again. The idea was that there would be a big renewal of interest in jug band music, but I guess it didn't happen, though the Barbecue Orchestra (featuring the great Fritz Richmond) continues their weekly gigs here in Puddle Town. Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us On Sun, 5 Nov 1995, Dick Waterman wrote: > I have wanted to participate in this particular thread but I felt that old > 'conflict of interest' problem becasuse I (A) worked with people whose music > I loved and (2) loved the music of the people with whom I worked. > What to do? > The answer, so obvious that it eluded me, is to simply make a list excluding > the men and women with whom I have worked. > > My hiden gems: > "Wild About My Living" RCA > This is a compilation of the greatest Memphis music from the 1920s and 1930s > including the Memphis Jug band, Gus Cannon's Jug Stompers, Memphis Minnie, > Frank Stokes, Jim Jackson and others. Not a bad track or a wasted minute > here. Highest recommendation. > > Dick Waterman ========================================================================= Date: Mon, 6 Nov 1995 13:21:09 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Lightnin' Hopkins Are there any biographies of Lightnin' Hopkins available or is there one in progress. It would seem to be a ripe time to create one before contemporaries pass away. I was in Houston last week and saw his gravesite. I also struck up a conversation with my Grandmother's carekeeper a 70 yr old black woman who had lived her entire life in Houston. I asked her if she knew Lightnin' and she said, "Oh yeah..." and regaled me with stories. Apparently her daughter was very close to him. Once my home page is up and running I'll show some of her photos. Anyway, to all blues historians on the list, a bio of Lightnin' would make great reading, please don't wait until it's too late. Jim ========================================================================= Date: Mon, 6 Nov 1995 14:00:27 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: harlem nocturne > I guess it's more jazz than blues but would anyone venture > an opinion as to who does the best version of it? I like > beaucoup. > No versionm beats the original, by the composer, the incredibly great Johnny Otis. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Mon, 6 Nov 1995 14:00:27 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Why Brownie McGhee did not tour The posts about Brownie McGhee's health have made me weven more greatful that I was able to see him at the Chicago Blues Festival this year. Way back in the early sixties, Sonny Terry and Brownie McGhee werer the very first real bluesmen I ever saw perform. They were at L'hibou, a coffeehouse in Ottawa. At that time they were doing their downhome, just-off-the-plantation show which the urban flok clubs seemed to want -- I didn't know until much later that they had been urban performers for two decades, had been on broadway for three years, etc. They inspired me -- and started a lifelong love affair with this music. I hope the performance I saw in Chicago wasn't one of the last ever for Brownie ... but I'm sure glad I got to be there. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Mon, 6 Nov 1995 13:47:16 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Why Brownie McGhee did not tour -Reply SO, is there an address that we can send mail to Brownie? He has always been one of my favorite originals. Seen him only on TV. One old clip where he must have been only in his 20's or 30's was on a Stefan Grossman video. Also saw him on Pete Seeger show once. Sonny Terry was on the show too, but absolutely uncommunicative. I've heard allusions that the two of them didn't get along well at times, but they sure played well together. ddr. ========================================================================= Date: Mon, 6 Nov 1995 12:47:32 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Yazoo's phone number for a good time call: 1-800-497-1043.....that's SHANACHIE ask for the Yazoo catalog LW ========================================================================= Date: Mon, 6 Nov 1995 19:36:39 +0000 Reply-To: Roadrunner Tour Management From: Roadrunner Tour Management Subject: clubs in Spain Please, could someone give me some addresses of venues in Spain. I've got David Brewer booked there for two gigs for his next European Tour, starting December 28th, but it's hrdly worth heading down that far south for just two gigs! Thanks a lot!! Carsten ROADRUNNER TOUR MANAGEMENT 141 Tirellan Heights Galway / Ireland Tel.&Fax: +353 95 35976 Mobile: +353 95 35976 E-Mail: roadrun@iol.ie KEEPING THE BLUES ALIVE ========================================================================= Date: Mon, 6 Nov 1995 14:50:40 -0400 Reply-To: Ian Angus From: Ian Angus Subject: Thanks to all My thanks to all the bluezellers who have sent birthday greetings to my daughter Amanda. I haven't totalled them or done a detailed survey (its HER mail, I don't read it) but I know she has received dozens of messages from places as fair afield as Finland, Brazil, India, Ireland, the UK ... and of course from the US and Canada. What a great group! -- ============================================================ IAN ANGUS Tel: 905-686-5050 ext 222 Angus TeleManagement Group Fax: 905-686-2655 8 Old Kingston Road e-mail: ianangus@angustel.ca Ajax Ontario Canada L1T 2Z7 http://www.angustel.ca ============================================================ ========================================================================= Date: Mon, 6 Nov 1995 15:06:15 -0400 Reply-To: Ian Angus From: Ian Angus Subject: Hidden Gems Two CDs I cherish, but which have never (so far as I can remember) been mentioned on Blues-L. Neither one is traditional Chicago blues, by a long shot. DANA GILLESPIE: BLUE ONE (Wolf 120.956) I cannot understand why Dana Gillespie isn't better known in North America. She is a fine blues/R&B vocalist with a gutsy voice that grabs me every time I listen to her. But she doesn't seem to get much respect outside of Europe. (She's British, but seems to perform mainly in Austria.) This CD consists entirely of songs she wrote, with the only unifying theme that every one has the word "Blue" in the title. Not all blues, but all excellent. The second track, "Blue Temptation," alone is worth the price of the CD. JEANNIE & JIMMIE CHEATHAM: BLUES AND THE BOOGIE MASTERS (Concord Jazz CCD-4579) Over at the jazz end of the blues spectrum, the Cheatham's specialty is West Coast horn-and-piano style blues -- there's not even a guitar in the band. Jeannie does piano & vocals, Jimmy is on bass trombone. On this album, Hank Crawford joins in on alto sax on four tracks. I play this in my office a lot. There's not a bad track on the album, but if I had to pick a favorite, I'd go with "Lead Dog Blues." -- ============================================================ IAN ANGUS Tel: 905-686-5050 ext 222 Angus TeleManagement Group Fax: 905-686-2655 8 Old Kingston Road e-mail: ianangus@angustel.ca Ajax Ontario Canada L1T 2Z7 http://www.angustel.ca ============================================================ ========================================================================= Date: Mon, 6 Nov 1995 12:12:37 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: Lightnin' Hopkins biography? re: Lightnin' Hopkins Comments: To: BluesHvn@aol.com Comments: cc: leftwich@CLOUD9.NET, roots@hooked.net Hi James, A few years ago JOHN HOLT was working on such a bio., but I don't know what happen. I've re-routed this note to Frank Scott (of Roots & Rhythm) who may just know. Frank's a little busy these days as he's editing the next Roots & Rhythm newsletter (#103, Nov/Dec - email him at if you're not on their mailing list), so he may not response for a little while. I was an original member of their Lightnin' Hopkins Appreciation Society (1964) (a fancy name for fan club :-)), and when you joined you could buy this booklet with discography & an article by Paul Oliver. It's very out-of-date. eRIC >From James Leftwich Newsgroups: bit.listserv.blues-l Date: Mon, 6 Nov 1995 13:21:09 -0500 Subject: Lightnin' Hopkins Are there any biographies of Lightnin' Hopkins available or is there one in progress. It would seem to be a ripe time to create one before contemporaries pass away. I was in Houston last week and saw his gravesite. I also struck up a conversation with my Grandmother's carekeeper a 70 yr old black woman who had lived her entire life in Houston. I asked her if she knew Lightnin' and she said, "Oh yeah..." and regaled me with stories. Apparently her daughter was very close to him. Once my home page is up and running I'll show some of her photos. Anyway, to all blues historians on the list, a bio of Lightnin' would make great reading, please don't wait until it's too late. Jim ========================================================================= Date: Mon, 6 Nov 1995 15:17:42 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Columbia House Blues (still long!) Comments: To: rflohil@inforamp.net First of all, let me explain why Mister Flohil has taken to signing his posts as "Richard The Elder." It is because my dear Canadian friend is several HUNDRED days older than I am. We have maintained that precise distance for our 30 (plus) years of friendship and I - Richard The Younger - accord him all respect and courtesies due to a senior citizen. * * * With regard to the royalties being paid on reissues, this is an area that is as much moral as it is legal. There is absolutely no way that the estates of Lightning Hopkins, Fred McDowell, Skip James and dozens of others could ever monitor the flow of product continually coming onto the market from both domestic (US) and foreign sources. It is further complicated when an album done for a foreign country (i.e. Son House in London, Liberty Records, 1970) is reissued in the US (Capitol Records, 1995) without any paperwork providing for either artist's rotalty or writer's royalty or publishing royalty. I don't intend to weary your eyes with a lengthy tirade against those who reissue product since I love my Blind Willie Johnson and Frank Stokes and would never has access to these without reissue producers. If the major record clubs contact publishers and ask them for a reduced royalty rate (generally 75% of statutory) because of lowered retail pricing, at least the writer's know they are going to get their 75% of SOMETHING rather than knowing that bins are full of their music that has been reissued without any regard to payment. Too many labels take the attitude that the artists are dead and their estates are without the resources to pursue any compensation. So the next time you pick up a reissue, pause for a minute and remember this: the list price of the retail product has an artists/publishers royalty already built into the price but . . .. are they actually paying it ?????? One final word: regarding honest payment of royalties, Chris Strachwitz at Arhoolie Records rules supreme. He charts every sale of every song on every album and pays every penny due to the right person. Dick Waterman a/k/a Richard The Younger ========================================================================= Date: Mon, 6 Nov 1995 21:00:33 +0000 Reply-To: Roadrunner Tour Management From: Roadrunner Tour Management Subject: clubs in Spain Dear Blues-l'ers Please, could someone give me some addresses of venues in Spain. I've got David Brewer booked there for two gigs for his next European Tour, starting December 28th, but it's hardly worth heading down that far south for just two gigs! Thanks ! Carsten ROADRUNNER TOUR MANAGEMENT 141 Tirellan Heights Galway / Ireland Tel.&Fax: +353 95 35976 Mobile: +353 95 35976 E-Mail: roadrun@iol.ie KEEPING THE BLUES ALIVE ========================================================================= Date: Mon, 6 Nov 1995 16:02:42 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Catalogs/ New Otis Rush I was playing around with CD Now over the weekend and did a search on Delmark. It gave me back over 125 albums to select from. A similar search on Yazoo yielded over 80!! You can usually get songlists, dates, and reviews on them, too. That's one way to "get a catalog." The big revelation was I turned up a new Otis Rush album that Cd Now doesn't know the release date on yet. It's on GENES, cat. # 1313 4131-2 and the title is listed as LIVE AND AWESOME. Release date not yet known. Can anybody add anything on this??? I'd love to find it before X-mas if possible. RJ Bauman ========================================================================= Date: Mon, 6 Nov 1995 13:14:03 -0800 Reply-To: Mark Gentry From: Mark Gentry Subject: Theory Comments: cc: antones@Ebay.Sun.COM I keep reading posts advocating theory. I just think some are overstating the value and benefit of reading/theory as compared to ear training. As I stated in a previous post, learning to read and studying theory is not the quickest/best path to playing good blues, especially blues guitar. I think the best approach, and this is obviously not the approach for everyone, if someone wants to learn blues guitar, they should spend time listening to stacks of records and play by ear. I really don't understand how anyone can recommend a different path for blues guitar. My point is that you can't escape the countless hours of listening needed to absorb the blues feel. If someone wants to play in a traditional style, and starts with formal training, they're going to need to spend a bulk of their time listening to records anyway. There is no substitue for listening. I do think learning to read and studying theory are vaulable for other styles of music. I think it's even important for SOME blues like jump, and west coast swing. I just don't think it's essential for learning blues guitar. Most people who play by ear know the relationship between notes just like those who study theory in a traditional way. They may use a language different from those studying in a traditional way. Further, they may have stumbled on these concepts awkwardly. The point is, people who play blues by ear understand the musical concepts and relationships. As I said in a previous post, to learn traditional blues, knowing the major, and penatonic scale and a few chords is really the only foundation needed to build on. I think for players who want to take blues in a new direction, an academic approach would probably help expand the boundries. But, for my money, what impresses me is listening to a blues guitarist who has their own style but can also throw in quotes from different players by either playing licks or approximating someone elses style. I'm not talking about copying but just giving a nod here and there to the tradition. You can tell how much listening someone has done. Nothing turns me off faster then a hot shot musician who tries to floor everyone with their academic approach to blues by playing lots of notes and elaborate licks withouth giving the impression they've ever listened to much blues and absorbed the tradition of what's going on. Listening will teach that less is often more. The bottom line for me is, if someone starting out wants to sound like Hubert Sumlin for instance, they're going to have to get the records and spend the hours to understand what's going on. The formal study of music is no substitute for listening. Regards, Mark Gentry ========================================================================= Date: Mon, 6 Nov 1995 20:07:11 -0200 Reply-To: Hudson Carvalho Bianchinni From: Hudson Carvalho Bianchinni Subject: Re: Overload Comments: To: John B Chamberlin In-Reply-To: <9510068156.AA815683130@lancelot.rtptok.epa.gov> On Mon, 6 Nov 1995, John B Chamberlin wrote: > Apologies in advance for raising a topic previously aired (?) and I DO > NOT WANT TO START A DIALOGUE ON THE ISSUE. This is a one-time plea > > As a new "subscriber", I love the Blues-List but I am overwhelmed at the > volume of traffic hitting me. I wonder if folks could be a bit more > selective/ targeted in their distribution --that is, think about the > audience a bit before you deliver to everyone. I AGREE!!!!! Hudson ========================================================================= Date: Mon, 6 Nov 1995 14:18:08 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: A TRIBUTE TO BOSTON BLACKIE Comments: To: BluesHvn@aol.com BOSTON BLACKIE was born Bennie Joe Houston, Saturday, November 6, 1943, Panola, AL., and died at the age of 49 on Sunday, July 11, 1993, Chicago, IL. Since not everyone on BLUES-L has a Web browser, I've taken the liberty of posting this interesting story taken from the BLUES ACCESS Web site . Those who are interested in hearing BOSTON BLACKIE, check out WOLF CD 120.847 : BOSTON BLACKIE/OTIS SMOTHERS - Chicago Blues Sessions v. 1. eRIC A story of Taildragger and Boston Blackie by Sandra Pointer-Jones The Delta Fish Market, on Chicago's West Side, is a popular place for the blues crowd and a hangout for West Side musicians. The fish market sells fresh fish trucked in from the South. It also has live entertainment performed on an outdoor stage in the parking lot. At any given time, upwards of 50 to 100 people gather to listen to and/or play music. Just sitting in the parking lot, even when it's closed, you can see musicians passing through, checking to see who's hanging out and anticipating the relaxed camaraderie of a fellow player. Just behind the open-air venue is the Woods Lounge, which has its own outdoor stage. It was there, on July 11, 1993, that guitarist Bennie Houston, < age?>, known in the Chicago blues world as "Boston Blackie," was shot and killed by blues musician James Jones, the "Taildragger," 54. The two musicians had known each other and performed together for almost 20 years in the tightly knit blues community of the West Side. Taildragger, a Howlin' Wolf-styled vocalist who played guitar until an accident hampered his playing hand, is widely known on the Chicago blues scene, where fans love his audience-friendly performances in which he saunters through the crowd, slithering up to women and singing his local hit, "My Head is Bald." Guitarist Bennie Houston was a popular musician on the West Side, mostly playing neighborhood bars and only occasionally turning up in the trendier, less intimate venues of the North Side. "He didn't have the range on his instrument in terms of his knowledge of the instrument on the fretboard as much as, say, Jimmy Dawkins," remarks Michael Frank, owner of Earwig Records. "But he had a sound that was a really deep blues sound. He had his own tone and his own style. I'm sure it was influenced by Magic Sam or Freddy King. He should have had some recognition because he was a really fine guitarist." But on the night of July 11, after performing at the Woods Lounge, Jones shot Houston during an altercation near the stage. Houston's brother, Milton, was performing at the nearby Guess Who Lounge when he got word of the shooting. "Maryann, a friend, come got me and said, 'Somebody done shot Boston Blackie.' I said, 'Oh, Lord have mercy. Where did he get shot?' 'Over at the fish market.' " James "Taildragger" Jones was convicted and sentenced to four years in prison for involuntary manslaughter in the death of Bennie "Boston Blackie" Houston. He is serving a four-year term in some penitentiary in Illinois. Meanwhile, [something about how the crime has left the blues community mystified as to how such a thing could come about between two if its best-loved members] y y y The West Side of Chicago is where artists like Magic Sam, Freddy King and Otis Rush, among others, have honed their musical skills since the 1950s. In this part of town the blues flourished like the many lush vines in a rain forest; at one time as many as 200 clubs peppered the West Side community. West Side bands, envisioning horn sections and keyboards they couldn't afford, were forced to create their own versions of those sounds. The guitarist, for instance, had to play hard, gritty, hold-it-down rhythm while still being able to solo. This inventive tradition is the backbone of what is known as the tough West Side sound even today. Violence is a stigma that has haunted the blues since its beginning. Robert Johnson, Little Walter Jacobs, John Lee (Sonny Boy I) Williamson and Scrapper Blackwell were all murder victims. Chicago had more deaths by hand guns then any city in America in 1993, including New York, Los Angles and Miami. Poverty has a grip on the city's West Side community, and the artists that live and work there have felt it. West Side clubs are often small dark places, neighborhood bars where the audiences are at least vaguely familiar with one another and musicians are well-known in the community. There are no rock-tinged solos, no Las Vegas choreography. Competition among artists and bands is fierce. The desire to be recognized is strong, and pride is a thick cable that can be snapped as easily as a dry twig. It is in the context of this intense competition and solid but fragile pride that Taildragger Jones killed Boston Blackie. y y y After the incident, when this reporter asked Jones why he shot Houston, a peer and a man that he had known for almost 20 years, he said Houston was jealous after he was barred from the Delta Fish Market because of a knife-wielding incident. "We worked together some years here at the Fish Market, but last year he pulled a knife on a girl and was barred from here. I could still work here, but he couldn't." (Milton Houston, guitarist and brother of Bennie Houston, calls those knife allegations untrue. "Boston ain't cut nobody in his life," he says.) Jones says that Houston plagued and pestered him. Just before a scheduled summertime bus tour of local blues clubs that included the Delta Fish Market, Jones and Houston had a telephone conversation which Jones remembers ending on bad terms. "Blackie called me up and said, 'Why don't you call me up (onstage)?' I said, 'Davis (Oliver "Fishman" Davis, owner of the Delta Fish Market) said he don't want you on his property.' He said, 'It's your show.' 'But this is this man's place. I can't control that.' He said, 'You honky-lover. You got these white boys playing, and black boys supposed to be making this money.' I said, 'I hire whoever the hell I can get along with.' So he says, 'If I can't play at the Fish Market, you can't play at the festival.' I said, 'You can't stop me. My name is just as big as yours.' " Felix Wohrstein, a longtime friend of Houston, says Houston did have the power to stop Jones from performing at the prestigious annual Chicago Blues Festival, held each spring in Grant Park. "Boston played at the festival in '91, and he was hired to play there in '93, to do, like, a Fish Market jam session. He would lead his band and have guest singers and guest musicians," Wohrstein said. "He got, like, six people to be guests: Vern Harrington (guitarist) and a few others. On the brochure Taildragger was advertised to be a part of that. But he wouldn't accept the money that they decided on. "But when it came time, a couple days before the festival, Boston told me that he (Taildragger) was asking around, 'Are you going to the festival?' He made it clear that he wanted to be on as part of the deal. So Boston let him come on. He let him perform, but he wasn't contracted to perform." Jimmy Dawkins, one of Chicago's great guitarists, is a friend and colleague of both Jones and Houston. Dawkins is also on the Chicago Blues Festival Committee. He confirms that Jones was contracted to perform at the festival but wasn't satisfied with the details. "Taildragger was in the contract," Dawkins says. "He was doing what he was supposed to do. But he wanted more money." Jones performed, but he says the set was marred by heckling from Houston, and that he had to go through unconventional channels to get paid for his performance. "We go to the blues festival. He (Houston) do two numbers. Little Wolf do two numbers. Vern Harrington and I go up, and while I'm trying to sing he's up there bugging me, saying, 'You ain't got nothing coming. The city hired me; they didn't hire you.' I just kept on trying to sing. Before we left the fest he walked off and didn't pay nobody." Dawkins explains the policies of the committee and the role of the bandleader when hiring a band. "If Jimmy Dawkins gonna come in with his band, or Otis Rush or whoever, then the check is always made out to the leader. Boston Blackie was the leader. He can hire Taildragger or bring him in, as they agreed to, as one member of the show. 'Dragger just didn't want to work for him. To my understanding City Hall sent out checks to each of the musicians again." Wohrstein adds, "The city was mad at Boston for being a messy dealer and having to pay extra money, or maybe they figured Boston cheated him (Jones), but he was never contracted to perform. Boston just let him sing a couple songs to make him happy to be on the festival. He paid everybody else their money. So Taildragger put Boston in bad with the city. Barry Dolins (city coordinator of the Chicago Blues Festival) told me he was never hiring Boston Blackie for the fest again." y y y The feud between the two men raged on. In the wake of these events, what was once a mild rivalry often ignited into moments of heated anger. After the embarrassment of being heckled at a festival where blues fans came from all over the world, did the sting of hurt pride ignite Jones into further action? And now that Houston had a clouded reputation with city planners, what could he do to clear his name? Jones explained that Houston approached him and offered to pay him the money he did not receive at the festival. But Jones refused to take it, which made Houston angry. Wohrstein says he witnessed an argument between the two men. Houston wanted Jones to return the check to clear his name with the city. "The weekend that he got shot, I was there and I was talking to both of them. They were arguing." The two men bickered almost constantly whenever they ran into each other. Jones recounts that Houston often would inquire about the check and started a series of threats that he began to feel Houston would carry out. "One Friday he got in behind me. I ran in the fish market. He got in behind me with a knife. Wanted to cut me, so I run. He asked me, 'Show me where you got the check.' I didn't have no papers on me," Jones says. "So that Saturday morning when I left home I put the receipt up over my sun visor in my pick-up. So I was sitting talking with some guys (at the fish market), and here he pulls up. He's got a pipe with some tape on the end of it. I said, 'Hold it. I done got paid, OK. You don't owe me nothing. I don't owe you no money. You don't owe me none, so why don't you leave me alone? Other guys got a check and you ain't fighting them.' "He said, 'They wouldn't have got no check if it wasn't for you. You think you smart. That's why I'm gonna whip your ass.' I said, 'Man I can't take no whipping.' I ran in the fish market and called the police. When the police come they just told him to leave me alone." y y y By the weekend of July 10 things had escalated into a situation that, on a hot summer Chicago night, would end in death. Taildragger Jones performed at the Woods Lounge on July 11. He remembers sitting on the stage afterwards when Houston showed up. "I look up and there he (Houston) was, right up on me. He said, 'You black motherfucker. You called the police on me. I'm gonna fuck you up good.' It scared me because he was somewhere watching. He was barred from here (the fish market), he was barred from the lounge, but he's out there watching. Well, he seen me by myself, so he was running to get me. "When I look up this man is up on me. I couldn't get up. I couldn't think of but one thing. I've seen him cut his own brother. He cut his own brother right here at the fish market. I know he'd shoot you and I know he'd cut you. So what else could I do? It shocked me. "It was dark out there. I was sitting down out there on that bandstand, and he could have grabbed my feets and snatched them out from under me. He'd have had me. He was gonna jump up there and whip me in style. I don't know what was on his mind. But when I looked up, that's what I seen was in his face, and I just closed my eyes and pulled my pistol and shot." y y y Given that Taildragger and Blackie had been friends and performed together over the years, Jimmy Dawkins feels that things just got out of control that night. "It was an issue that should have been dead from its inception. It just went on and on until it ended in violence. He (Jones) didn't mean to do that. Him and Boston was good friends, real good friends. We all are. We right here in the same pot. It was just that 'Dragger happened to have a gun on him. Boston had been harassing him, and Taildragger had called the police. The police had took a knife or stick or something from Blackie. But it was just wolfing and going on. Aggravation just led to him getting shot. 'Dragger felt threatened. 'Dragger is not the fighting type. He felt sometimes that people had took advantage of him because he didn't fight. Boston would fight if he had to." Others suggest that Houston, though short-tempered, wasn't the killing type either. Michael Frank, owner of Earwig Records, was beginning to build a friendship with Houston at the time of his death, with plans of perhaps recording him. "He was always nice to me. I know he had a hot temper D he got angry kind of quick D but I was never exposed to that," Frank says. "I've seen Taildragger on the scene as much as Blackie. My own experience was that of the two of them, the way they treated me and the way they treated other people, Blackie treated people better than Taildragger. That's my own impression; it's a very limited impression. It seemed to me that Taildragger had a meaner streak in him, especially when he was drinking." The murder of Bennie Houston was not, as it may first appear, a case of two uneducated drunken blues men, or just another murder statistic. It had to do with the continuing struggle of life we all face: the scramble for that $10,000 contract; the pressure to present a proposal that could yield a million-dollar deal; the anger at a colleague that has scuttled a pet project. The tragedy is that now neither of them are part of the blues scene here. "He (Jones) and Fishman (Davis) was at my house the day before he reported to prison. 'Dragger felt sorry about it," says Dawkins. "The mistake was having a gun, because we gonna show our knife or show our gun, but we don't want to shoot someone. He had the gun, and both of them was drinking. They argue all the time, so that's nothing. It was having that gun, that was it. That was the big mistake D a deadly mistake." ========================================================================= Date: Mon, 6 Nov 1995 18:16:41 CST Reply-To: JBards From: JBards Subject: Re[2]: Overload Comments: To: Hudson Carvalho Bianchinni I think that is what the "digest " function is for. Simply scan the titles you want, and read what you want. Am I supposed to /guess/ what threads may or may not be interesting to you? Similarly, am I supposed to squelch a thread that may be interesting to someone else, but is apparently not interesting to you? How am I supposed to know? -Jim _______________________________________________________________________________ Subject: Re: Overload From: Hudson Carvalho Bianchinni at INTERNET-SH Date: 11/6/95 5:00 PM On Mon, 6 Nov 1995, John B Chamberlin wrote: > Apologies in advance for raising a topic previously aired (?) and I DO > NOT WANT TO START A DIALOGUE ON THE ISSUE. This is a one-time plea > > As a new "subscriber", I love the Blues-List but I am overwhelmed at the > volume of traffic hitting me. I wonder if folks could be a bit more > selective/ targeted in their distribution --that is, think about the > audience a bit before you deliver to everyone. I AGREE!!!!! Hudson ========================================================================= Date: Mon, 6 Nov 1995 15:23:16 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: test Comments: To: BLUES-L@BROWNVM.BROWN.EDU. test test 3:20pm sorry ========================================================================= Date: Mon, 6 Nov 1995 13:33:49 -0500 Reply-To: Tremolux From: Tremolux Organization: America Online, Inc. (1-800-827-6364) Subject: Re: "Dirty" harp sound question: How to? Comments: To: bit-listserv-blues-l@uunet.uu.net Also, those early 60s brown tolex Fender 4 x 10 Concert amps with the original alnico Jensens seem to be real popular. I think Piazza uses one, as does my friend Andy Santana. Both get killer harp tone with these amps and those old green bullet microphones. Regards ========================================================================= Date: Mon, 6 Nov 1995 16:34:52 -0500 Reply-To: BluesRevue From: BluesRevue Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Inquiry: Jas Obrecht, writer Comments: To: bit-listserv-blues-l@uunet.uu.net Jas is the Associate Editor for Guitar Player magazine, and the "Early Blues" referred to is a work in progress, I believe. He has been published thru Miller Freeman Publishing, so you can check at any good book stor. His profile book of Blues Guitarists is quite good, also on Miller Freeman. Bob Vorel, Publisher Blues Revue Magazine. ========================================================================= Date: Mon, 6 Nov 1995 19:03:00 CST Reply-To: topcat@COMPUTEK.NET From: "" Subject: NEW Big Mama, George "Harmonica Smith", JB Hutto, Muddy Waters, Big Joe Turmer I think something went haywire with my first posting of this. I'll repeat it. TopCat Records has just secured the rights to over 15 hours of UNRELEASED live performances of these guys during 4 road shows they did together in 1971. This stuff was recorded professionally on 8 track mixable tape. Pristeen condition. Absolutely killer stuff. We are mixing it now and will do a scheduled release of the best of these shows in the spring of 1996. We also have 2 more Freddie King masters of shows he did in New Jersey and NYC in 1974. Also killer stuff. Of course, I'll announce it on the list as soon as we are finished. Thanks. Richard Chalk TopCat Records http://www.texasblues.com/topcat <---- End Included Message ----> ========================================================================= Date: Mon, 6 Nov 1995 19:07:00 CST Reply-To: topcat@COMPUTEK.NET From: "" Subject: Texas Blueswomen For you guys in Dallas, tonight we are doing a sort of dress rehearsal' of our upcoming new show featuring Betty Lewis, Wanda King and Lady Lotion. Full gowns and all the regalia. They will do individual tunes and a tune all together. Purpose is to take some photos and basically get everyone on the same page. It will be at the Moday night jam at the Greenville Bar and Grill. Come on out if you get a chance. Thanks, Richard Chalk TopCat ========================================================================= Date: Mon, 6 Nov 1995 12:32:00 -0600 Reply-To: "timothy (t.b.) bosley" From: "timothy (t.b.) bosley" Subject: Documentary Arts Someone wrote me directly asking for the address...I don't remember who. Anyway, I think this may be of general interest. Documentary Arts, Inc Post Office Box 140244 Dallas TX 75214 Can't find their number at the moment. Some of the things they had available back in Jun 94. CD: Snuff Johnson - black cowboy blues and church songs CD: John D. Holeman - piedmont blues Cass: Deep Ellum Blues - jazz, barrelhouse and country blues Cass: Alex Moore - piano blues (prev. unreleased and recent) Cass: Lavada Durst - piano blues 45: John T Samples (90+ years old, East TX) - unknown Video: Black on White/White on Black - Alex Moore Video: Living Texas Blues - a collection featuring Deep Ellum Blues - Dallas in 20s and 30s Battle of the Guitars - Houston R&B Cigarette Blues - TX music in Oakland CA ========================================================================= Date: Mon, 6 Nov 1995 19:26:47 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: LITTLE WALTER REISSUES!!! >Just rereleased recordings of Little Walter one is a two CD >set, Chess >Collectibles Vol 3. "Blues With a Feeling." Rushed out to get this a week ago Saturday; had to order it (they had sold the only copy they had)--got it last Monday, and have spent the better part of the week listening. Here's some details for the interested: The double-CD has 40 Little Walter songs, alternates of "Juke," "Can't Hold Out Much Longer," "Blue Midnight," "Off the Wall" (misidentified as "Fast Boogie"), "My Baby is Sweeter," "Blue and Lonesome" and some others. Some of these are close to the popular versions, but as BC said, some are obvious alternate takes because the band's timing was off, or the words didn't fit the phrase or something. In addition, there are some never released songs: "Driftin'", "You're Sweet," and "That's It," plus some songs never released before in the U.S.: "Chicken Shack" (interesting to hear LW play along with a sax player), "You Don't Know," "Going Down Slow" (which sounds an awful lot like "I Had My Fun") and "Worried Life Blues." For the person who asked about overlap with The Essential LW, most of the songs which would overlap are alternate takes. A casual fan probably would not be interested in the new CD; but then, none of us here are casual fans, are we? ;) >The other "new" cd release is "Quarter to Twelve" I have it on >order This one I don't know about!!!! Please tell me! What label? I want to order it too! Karen, JukeFreak ========================================================================= Date: Mon, 6 Nov 1995 18:59:54 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Louisiana Red-"Sittin Here Wonderin" Comments: To: bit-listserv-blues-l@uunet.uu.net Art's review of material recorded over a decade ago and only released recently reminds me of an injustice (in my opinion, at least.) A couple of years ago, NARAS made the decision to disqualify from Grammy consideration any material recorded more than two or three years ago. Certainly, from an audio engineering standpoint, the older stuff would not be competitive with newer recordings. But the content should not be overlooked. This has a couple of really unfair repercussions, including: (1) A number of seminal figures in the blues cannot be recognized and given (long overdue) acclaim; and (2) The indie labels, which often cannot afford to release material immediately, are shut out of the competition. They can still qualify for a Grammy for the liner notes, so we may at least look forward to some very good writing. Denise ========================================================================= Date: Mon, 6 Nov 1995 18:19:24 -0600 Reply-To: richard chalk From: richard chalk Subject: TEST DO NOT READ SOrry, but something's haywire. I keep getting messages without titles nor subject! Is it me or blues-l? Richard ========================================================================= Date: Mon, 6 Nov 1995 21:07:27 -0500 Reply-To: HugeSmall@AOL.COM From: Boyd Small Subject: Oops! D#*N. 11-1 I accidentally deleted a post on 11-1 that had a subject listed 'Portland'. I really wanted to read it. Is there some way I can get that back? ========================================================================= Date: Mon, 6 Nov 1995 21:20:39 -0500 Reply-To: HugeSmall@AOL.COM From: Boyd Small Subject: Re: Theory paranoids and musicianship Comments: To: rjbauman@iquest.net Some people just can't resist pitting the cart before the horse. ========================================================================= Date: Mon, 6 Nov 1995 18:39:56 -0800 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Re: lightnin hopkins bio now I know that this biography is hard to find but it is worth looking for. its called lightnin hopkins rare performances,1960-1979 it was published by vestapool productions ;cambridge mass nationally distributed by rounder records. It kicks ass and I think that You wont be dissapionted Isaac. ========================================================================= Date: Mon, 6 Nov 1995 21:57:38 -0500 Reply-To: C2MXBOY@FRE.TOWSON.EDU From: Kevin Boyle Subject: Mary Flower CD WE just received the Mary FLower CD "Blue's Jubilee" here at WFWM, and I've been listenin' to it ever since. She is a very suttle and smooth country blues player, just the right notes in the right places! Her slide guitar is real sweet, no overkill! In addition to great covers of R. Johnson's 'Walkin' Blues', Blind Lemon Jefferson's "Six White Horses", and Memphis Minnie's "Me and My Chauffer Blues", Mary performs five originals that are wonderful additions to Blues music. I particularly like her tune, aw hell, I like all of 'em! This CD was brought to my attention through this list and it met every expactation and bragging comment previously made - Amazing, only on Blues-L do you find truth in advertising(for lack of a better word) Keep those suggestions coming. I urge any and all COuntry Blues Fans to get this CD , You'll Love It!, really.((BTW the opinions expressed in this diatribe are mine, for what its worth) Kevin B. Mary Flower "Blues Jubilee" Resounding Records Denver CO (303) 331-2412 ========================================================================= Date: Tue, 7 Nov 1995 03:25:48 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Philip Walker Records(Blues Finds Tallahassee) Comments: To: bit-listserv-blues-l@uunet.uu.net In article <2D0225319B2@Agden.shef.ac.uk> "David J. Wallace" writes: >Date: Mon, 6 Nov 1995 10:46:29 +0000 >From: "David J. Wallace" >Subject: Re: Philip Walker Records(Blues Finds Tallahassee) >> Alan C. Rollins (blzlynx@POLARIS.NET) wrote: >> : I want to plug Phillip Walker his hollow bodied guitar, his gritty vocals >> : and tight-as-nails band. This man is a treasure undiscovered. His new CD, >> : "Working Girl Blues" is a must have. >This one I'm going to have order, so could anybody help me out with >the details i.e. label and number, Thanking you in advance, This is a Black Top release, (BT-1117). It was "CD of the month" in a recent Blues & Rhythm magazine and Blues Revue magazine's reviewer says it will receive serious consideration for Blues Album of the Year. Not too bad recommendations. I'm not sure I can add much more to those reviews. Art Schuna ========================================================================= Date: Tue, 7 Nov 1995 03:48:27 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Oops! D#*N. 11-1 Comments: To: bit-listserv-blues-l@uunet.uu.net In article <951106210726_14686418@mail04.mail.aol.com> Boyd Small writes: >Date: Mon, 6 Nov 1995 21:07:27 -0500 >From: Boyd Small >Subject: Oops! D#*N. 11-1 >I accidentally deleted a post on 11-1 that had a subject listed 'Portland'. >I really wanted to read it. Is there some way I can get that back? If you have access to World Wide Web, I just found an interesting web service that indexes and keeps all newsgroup posts for approximately 4 months. If I remember correctly, the address is http://dejanews.com. You can put in any search terms and it will pull up all related postings from any news group. If you try this and it doesn't work, then I didn't give you the right address. Send me an email and I'll send the correct address (I have the address at work and I'm typing this at home). Art Schuna aaschuna@facstaff.wisc.edu ========================================================================= Date: Mon, 6 Nov 1995 21:54:00 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Re: Mary Flower CD > This CD was brought to my attention through this list and it met > every expactation and bragging comment previously made - Amazing, > only on Blues-L do you find truth in advertising(for lack of a better word) > Keep those suggestions coming. > I urge any and all COuntry Blues Fans to get this CD , You'll Love It!, > really.((BTW the opinions expressed in this diatribe are mine, for what its worth) > > Kevin B. > > Mary Flower "Blues Jubilee" > Resounding Records > Denver CO > (303) 331-2412 > Kevin, while reading your post, I was listening to Paul Geremia's "Gamblin' Woman Blues," a good friend of Mary Flowers'. Mary Flower is a fine artist, but give also Geremia a try. 'Gamblin' Woman Blues" is on my top ten country blues albums of all time!!!! Man is just unbelievable good. Did not buy his new release "Self Portrait of Blues" though, but if is to believe Blues Access, it is another winner. Blues Access reviewer said "Paul Geremia is so damned good it's scary!!" PG is coming to Iowa City in a few days again - not to be missed. Ranko ========================================================================= Date: Mon, 6 Nov 1995 20:19:13 -0800 Reply-To: Jef Jaisun From: Jef Jaisun Subject: Gusto Records Does anyone have any information as to whether Gusto Records (Nashville circa 1980) still exists? They used to license re-issues of King and Federal artists. Also, is anyone familiar with a double album set of R&B/blues called Gabe's Dirty Blues? It was released about 1979. Thanks. ============================================================================ Jef Jaisun eljefe@netcom.com ============================================================================ ========================================================================= Date: Tue, 7 Nov 1995 09:18:32 +0200 Reply-To: T P Uschanov From: T P Uschanov Subject: Re: harlem nocturne Comments: To: Ian Angus In-Reply-To: <9511061329.aa25157@admin.dis.on.ca> On Mon, 6 Nov 1995, Ian Angus wrote: > No version beats the original, by the composer, the incredibly great > Johnny Otis. ^^^^^^^^^^^^^^^ Funny, my version on the Otis double LP on Savoy says Earle H. Hagen... T P Uschanov (Mr), University of Helsinki, Finland, European Union. (GEEK CODE 2.1) GP/H d++@ H s-:+ !g>++ p1 !au a- w+++(+) v- C+ US+ L+ 3 E N++ K-- W+ M(+) V -po+(--) Y t- !5 !j R- G'' !tv b+++ !D(--) B e+$ u+++(*) h+(*) f(+) !r n---->+ !y(*) ========================================================================= Date: Tue, 7 Nov 1995 02:54:35 -0500 Reply-To: BluesBeats@AOL.COM From: Joseph Jordan Subject: Re: BROWNIE McGHEE Hi Everyone, For fans of Brownie McGhee, I wanted to let you know that there will be a benefit show at Kimball's (East) in Emeryville, CA, (just across the Bay Bridge between Oakland and Beserkeley,) on Monday evening, December 11, 1995 to help kick-off Brownie's new non-profit organization. He has personally named the show, "Blues On Parade," as in, anybody who parades on up to the stage, etc. It ought to be a lot of fun, with some very famous talent paying their respects. Brownie would be happy to have all of you there in person and/or spirit! Specific participants and further details to come.... ========================================================================= Date: Tue, 7 Nov 1995 09:58:54 +0200 Reply-To: T P Uschanov From: T P Uschanov Subject: Re: Gusto Records Comments: To: Jef Jaisun In-Reply-To: <199511070419.UAA19538@netcom11.netcom.com> On Mon, 6 Nov 1995, Jef Jaisun wrote: > Does anyone have any information as to whether Gusto Records (Nashville > circa 1980) still exists? They used to license re-issues of King and > Federal artists. I think they (a part of Shelby S Singleton International Inc, also the owner of the Sun masters) still own the catalogue, but have delegated licencing to re-issue labels such as Charly and Ace to Highland Music, who also seem to have re-issued a considerable number of original King albums themselves, on both vinyl and CD. T P Uschanov (Mr), University of Helsinki, Finland, European Union. (GEEK CODE 2.1) GP/H d++@ H s-:+ !g>++ p1 !au a- w+++(+) v- C+ US+ L+ 3 E N++ K-- W+ M(+) V -po+(--) Y t- !5 !j R- G'' !tv b+++ !D(--) B e+$ u+++(*) h+(*) f(+) !r n---->+ !y(*) ========================================================================= Date: Tue, 7 Nov 1995 03:09:31 EST Reply-To: "M. Mullins" <102533.1676@COMPUSERVE.COM> From: "M. Mullins" <102533.1676@COMPUSERVE.COM> Subject: Returned mail: User unknown -------- Forwarded Message -------- Subject: Returned mail: User unknown Date: 06-Nov-95 at 15:26 From: Mail Delivery Subsystem, INTERNET:MAILER-DAEMONompuserve.com TO: 102533,1676 Sender: mailer-daemon@compuserve.com Received: from localhost by dub-img-6.compuserve.com (8.6.10/5.950515) id QAB21188; Mon, 6 Nov 1995 16:21:35 -0500 Date: Mon, 6 Nov 1995 16:21:35 -0500 From: Mail Delivery Subsystem Subject: Returned mail: User unknown Message-Id: <199511062121.QAB21188@dub-img-6.compuserve.com> To: 102533.1676@compuserve.com The original message was received at Mon, 6 Nov 1995 15:14:26 -0500 from mailgate@localhost ----- The following addresses had delivery problems ----- ausetkmt@delphi.com (unrecoverable error) ----- Transcript of session follows ----- ... while talking to bos1h.delphi.com.: >>> RCPT To: <<< 553 unknown or illegal user: ausetkmt@delphi.com 550 ausetkmt@delphi.com... User unknown ----- Original message follows ----- Received: by dub-img-6.compuserve.com (8.6.10/5.950515) id PAA19655; Mon, 6 Nov 1995 15:14:26 -0500 Date: 06 Nov 95 15:04:47 EST From: "M. Mullins" <102533.1676@compuserve.com> To: "Anika Collins (Sweet Black Kat)" Subject: Returned mail: User unknown Message-ID: <951106200447_102533.1676_HHV115-2@CompuServe.COM> -------- Forwarded Message -------- Subject: Returned mail: User unknown Date: 05-Nov-95 at 02:42 From: Mail Delivery Subsystem, INTERNET:MAILER-DAEMONompuserve.com TO: 102533,1676 Sender: mailer-daemon@compuserve.com Received: from localhost by arl-img-5.compuserve.com (8.6.10/5.950515) id DAA20003; Sun, 5 Nov 1995 03:26:11 -0500 Date: Sun, 5 Nov 1995 03:26:11 -0500 From: Mail Delivery Subsystem Subject: Returned mail: User unknown Message-Id: <199511050826.DAA20003@arl-img-5.compuserve.com> To: 102533.1676@compuserve.com The original message was received at Sun, 5 Nov 1995 03:26:00 -0500 from root@localhost ----- The following addresses had delivery problems ----- ausetkmt@delphi.com (unrecoverable error) ----- Transcript of session follows ----- ... while talking to bos1h.delphi.com.: >>> RCPT To: <<< 553 unknown or illegal user: ausetkmt@delphi.com 550 ausetkmt@delphi.com... User unknown ----- Original message follows ----- Received: by arl-img-5.compuserve.com (8.6.10/5.950515) id DAA20000; Sun, 5 Nov 1995 03:26:00 -0500 Date: 05 Nov 95 03:24:53 EST From: "M. Mullins" <102533.1676@compuserve.com> To: "Anika Collins (Sweet Black Kat)" Subject: Hello Message-ID: <951105082453_102533.1676_HHV50-5@CompuServe.COM> Hi Sweet Kat, I haven't heard from you, so I had to stop my crazy hectic racing around in circles and check to see if you are still around. Be Sweet, Sweet Black Kat, Moses ========================================================================= Date: Tue, 7 Nov 1995 05:06:06 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - November 7th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BOB, CAMILLE "LIL" (v/zydeco) b. 1937-1107, ARNAUDVILLE, LA BREWER, DAVID (g/ALBERT COLLINS) b. 1948-1107, SEATTLE, WA CARLISLE, UNA MAE (p) d. 1956-1107, NEW YORK CITY, NY 40 CARTER, A. P. (of THE CARTER FAMILY) d. 1960-1107, MACES SPRINGS, VA 69 CLARK, DEE (DELECTA CLARK JR.) (v/VEEJAY) b. 1938-1107, BLYTHSVILLE, AR CORNELIUS, CARTER (of CORNELIUS BROS &ROSEd. 1991-1107, DANIA, FL 43 GRONER, DUKE (b/NAT KING COLE) d. 1992-1107, CHICAGO, IL 82 HALL, ADELAIDE (v) d. 1993-1107, LONDON, UK 92 HOLLAND, CHARLES (v/BENNY CARTER) d. 1987-1107, AMSTERDAM, HOLLAND 77 HOOVER, ODIE M. JR. REV (gospel) d. 1973-1107, CLEVELAND, OH 52 HUFF, PERCY (g/LUTHER HUFF) b. 1912-1107, FANNIN, MS MENARD, KEVIN (of BUCKWHEAT ZYDECO) b. 1965-1107, LAFAYETTE, LA MICHAUX, SOLOMON LIGHTFOOT ELDER (v) b. 1883-1107, NEWPORT NEWS, VA RIVERS, JOHNNY (g/LIBERITY REC) b. 1942-1107, NEW YORK CITY, NY ROGERS, SHORTY (tpt/arr/prod) d. 1994-1107, VAN NUYS, CA 70 SIMPKINS,LEW (a&r/prod/PREMIUM/UNITED REC)b. 1918-1107, MS THOMAS, THEODORE (tsax/MOTOWN/HAMPTON) d. 1992-1107, HARTFORD, CT 84 TURNER, BUCK (THE BLACK ACE) (g) d. 1972-1107, FORT WORTH, TX 66 ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 7 Nov 1995 04:16:02 -0500 Reply-To: Lilleston From: Lilleston Organization: America Online, Inc. (1-800-827-6364) Subject: Re: "Dirty" harp sound question: How to? Comments: To: bit-listserv-blues-l@uunet.uu.net >>Please, can someone familiar with this equipment and THAT tone help me? We're befuddled.<< Practice, son. A lot. You never get that tone unless you earn it. --RL ========================================================================= Date: Tue, 7 Nov 1995 12:43:29 GMT Reply-To: Patrik_Urbansson@online.idg.se From: Patrik Urbansson Organization: IDG Online, Stockholm, Sweden Subject: Jimmy Dawkins A couple of days ago I received two CD's from the Storyville label. Jimmy Dawkins "Come Back Baby" and John Littlejohn "Dream". Both are recorded live by MCM Records 1976. Great music and great sound. Does anyone know if these records have been issued before? I have never heard about them before. Patrik ========================================================================= Date: Tue, 7 Nov 1995 06:04:00 MST Reply-To: bhargrov@MICRON.NET From: "" Subject: Permission to Print a Song Comments: To: T P Uschanov Does anybody know the quickest, easiest way (on-line, maybe?) to identify who owns the rights to a tune and get permission to use it in print? Do you go through BMI or ASCAP? The tunes I'm interested in are Johnny B. Goode and a Miles Davis blues called Freddie Freeloader. Bill H. ========================================================================= Date: Tue, 7 Nov 1995 08:55:46 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: I Need Blues Radio Listings I know. I must be nuts trying to do this, but I'm compiling pages of blues radio listings on The Blue Highway. I've got e-mail forms you can fill out there, or if you can't get there, could you please send some to me like this: Example United States Florida Orlando WLOQ-FM 103.1 Smokestack Lightnin' Paul Nunum Sun 8-10 pm Note: If you've already listed one at P.W.'s site, then I've already got it. Thanks much. Maybe someday I'll do X-Files listings. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Tue, 7 Nov 1995 07:57:09 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: SP Leary SP Leary is coming to San Antonio this Friday night. Since he played drums on most of OTIS SPANN's Testament cd (Chicago Blues), I can hardly wait. The show is billed as SP LEARY and the CHICAGO ALL STARS. Does anyone know who is traveling with him? HASH BROWN is supposed to be playing with him as well. -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / As I was riding across the Mississippi \ / I stopped there and I cried. \( No use for a man to keep a mighty river All dammed up inside. -Joe Ely ========================================================================= Date: Tue, 7 Nov 1995 09:06:40 -0500 Reply-To: Leo Aspiras From: Leo Aspiras Subject: Blues Question Hello all: I was reading one of my old Blues Revue magazines last night and there is a review of a Snooks Eaglin record/cd that starts out with a sentence about the oddness of Earl King composing some of his songs in a Tastee Donut shop in New Orleans. Does anybody know more about this????? This ex-flour child/blues seeker is curious to know..... thanks, Leo 'The Scatman' Aspiras from d.c. P.S. My friend Captain Bill Morgan down in the Crescent City would probably have an interesting answer...... ========================================================================= Date: Tue, 7 Nov 1995 09:18:13 -0500 Reply-To: "Abe W. Mathews" From: "Abe W. Mathews" Subject: Re: Wireless Blues In-Reply-To: <199511031504.HAA27242@ix10.ix.netcom.com> from "Garry Segal" at Nov 3, 95 07:04:37 am Sorry for the low blues content, but someone else might be interested at some point: Garry writes: > > Greetings techie types, I've been trying to put together a road worthy > wireless set up using a Shure 58 for harp. Sampson has a true diversity > model for $559 . Is Sampson stuff durable ? Any recommendations on > using a mic preamp before going to the board ? Effects? I've had experience with many of the wireless systems available (at least, the ones available 3 years ago - sheesh! Has it been that long?) For the lower price bracket, I liked the Sampson much better than Nady. The only redeeming feature of the Nady systems is their price. Sampson equipment normally held up better, and seemed to be less prone to crosstalk on the transmitter frequency. Of all of the systems I used, tho, I liked the Sony far and above the rest. Nice, nice equipment (if you don't mind shelling out $2K for a single mic). One thing to be aware of with wirelesses is that distorting the reciever is bad. Very bad. I tried a wireless pack with my main strat, and as soon as I kicked in my guitar's on-board preamp, things got nasty. Real hard, metallic distortion that was not at all as pleasing as I had hoped. If you are a hard player, you're probably going to have to turn the transmitter gain *way* down for it to work. Other than that, good luck, and above all, have fun with it! Abe awmathew@mtu.edu ========================================================================= Date: Tue, 7 Nov 1995 09:31:48 -0500 Reply-To: Jerry Zolten From: Jerry Zolten Subject: Furry/Wolf/Buddy Moss I need some help relative to some information that came up in an interview I was doing. Anyone out there know anything about any of the following: 1. Noah Lewis and Furry Lewis. Half brothers? Noah Lewis also called Noah Davis? 2. Howling Wolf serving at Ft. Blanding, Florida during WW II 3. Buddy Moss jail time for killing his wife. When, Where, for how long? 4. Jessie Hurt, wife of Mississippi John Hurt. Related to Nat Cole in any way? Related to slain Emmit Till in any way? Appreciate your collective expertise. ========================================================================= Date: Tue, 7 Nov 1995 08:57:14 EST Reply-To: levyt@RL.AF.MIL From: Toby Levy Subject: SITTING AND THINKING: Marcia Ball's Blue House MARCIA BALL / BLUE HOUSE (ROUNDER 3131) ROUNDER RECORDS ONE CAMP STREET CAMBRIDGE MA 02140 Long and tall, she's Marcia Ball! Invariably introduced to audiences in this manner, she grabs audience's attention as she sits down to the piano and crosses her endless legs before she begins to play. As son as she opens her mouth, her distinctive, beautiful voice reveals her true talent. Marcia has been a mainstay of the Austin music scene since the mid 70s, with several critically acclaimed solo albums to her credit. A few years ago she joined Lou Ann Barton and Marcia Strehli to record a delightful album on the Antones label, called "Dreams Come True." This cd is her fourth release on Rounder, and is easily her most ambitious. Eight of the twelve songs are original and display the variety of musical influences that come from being raised in a musical family from Louisiana. RED BEANS / THE FACTS OF LIFE / DOWN THE ROAD / BLUE HOUSE / BIG SHOT / ST GABRIEL / THAT'S WHAT I GET / FINGERNAILS / WHY DO I / IF THIS IS LOVE / SPARKLE PARADISE / ONE OF A KIND RED BEANS: Marcia kicks off the album cooking, and you can smell the delicious creole aroma through your speakers. This uptempo rocker features an outstanding r&b sax solo by Paul Klemperer accompanied by "The Kamikazi Horns." This quartet four other songs on the album as well. THE FACTS OF LIFE: Slowing down the pace, Marcia's lovely voice explores a child's coming of age from the mother's perspective. If it is not clear by this time, it will be shortly that this very much a "woman's album" with all the songs clearly taking the female perspective. DOWN THE ROAD: Marcia hits the Zydeko highway with an eminently danceable number featuring great lyrics and wonderful instrumentation. Can you picture this? "Headlights popping through the fog, sirens screaming on a one lane street" BLUE HOUSE: The title track is one of the best on the album, rivaled only by "St Gabriel." This is a midtempo shuffle blues that tells the story of abandonment and loneliness. Mark Kazanoff guest solos on tenor saxophone. BIG SHOT: How often do you hear a woman singing a blues bragging song? On this highly original song, Marcia Ball puts the male stud muffin in his place. With a boogie beat, this song will have its way with your feet. ST GABRIEL: By far the most beautiful song on the album. A slow blues with plenty of great guitar work by Steve Williams to complement Marcia's heavenly voice. "All the sad songs are about leaving, none about coming home," Marcia sings as she tells the tale of a woman getting out of prison after serving time for murdering her husband. THAT'S WHAT I GET: Marcia takes a country music turn on this number, with David Webb featured on the Hammond B3 organ. This plaintive song tugs at the heartstrings and will find many women nodding their heads in agreements at the sentiments expressed in the lyrics. FINGERNAILS: This bouncy little number shakes off the pathos of the last couple of songs and exudes nothing but good times. With a Jerry Lee Lewis franticness, Marcia showcases her boogie woogie talents on the piano. She's gonna keep her fingernails long so she hear them click on the keys. the piano WHY DO I: A slow burning soul number. Marcia turns over her heart lock stock and barrel to her man unconditionally, with all the aches and pains that comes from this. Paul Klemperer's saxophone is especially effective on this track. IF THIS IS LOVE: Another good dance number, written by the always dependable Duke Robillard. Steve William's stinging guitar work drives Marcia's wonderful voice to ever greater heights. SPARKLE PARADISE: Back to Zydeko, with great results. Sparkle Paradise is a bar in Louisiana. Once again Marcia's unique lyric writing talent shines: "And the moon would make strange shadows on the wall of the smokey neon people in the hall." Marcia's piano solo makes you feel like you are right there in the bar. ONE OF A KIND: The album closes with a slow sad song of a broken relationship. This is much like the kind of song that Mary Chapin Carpenter does so well. Both the man and the woman think they are leaving the other. The band splendidly sets the mood of loss and regret. Reviewed by Toby Levy Copyright NY CD Blues - 1995 ========================================================================= Date: Tue, 7 Nov 1995 09:45:45 -0500 Reply-To: Erica Wissolik From: Erica Wissolik Subject: Permission to Print a Song -Reply >>> 11/07/95 08:04am >>> Does anybody know the quickest, easiest way (on-line, maybe?) to identify who owns the rights to a tune and get permission to use it in print? Do you go through BMI or ASCAP? The tunes I'm interested in are Johnny B. Goode and a Miles Davis blues called Freddie Freeloader. Bill H.>>>>>>>>>>> I can offer this - nobody has registered rights with the Copyright Office to words and/or music for Freddie Freeloader since 1978 - the date that the Office started to automate everything. Since that date there have been 4 copyrights for recorded versions of that song. You should check with BMI, ASCAP or SESAC (not sure which one has this song) or you can check with the Harry Fox Agency in NYC ((212) 370-5330). The "Big 3" mentioned above collect royalties for public performance of a song. The Harry Fox Agency collects from record companies for mechanical reproduction of a song. There are others that do this but Harry Fox is the "giant". One of them should know who owns the rights. Chuck Berry re-registered his rights to Johnny B. Goode on Jan 7, 1986. For trivia's sake, you can see that claimed original copyright on Apr 22, 1958. RE-281-819 TITL: Johnny B. Goode. w & m acChuck Berry. CLNA: Chuck Berry (A) DREG: 7Jan86 ODAT: 22Apr58; OREG: EP119599. OCLS: E ========================================================================= Date: Tue, 7 Nov 1995 09:02:16 -0600 Reply-To: Bruce Roberts From: Bruce Roberts Subject: New Orleans Blues My wife and I just got back from New Orleans and had a great time. We caught a couple of really great Blues shows. The first was Corey Harris at a HOB's happy hour show. This guy plays some great country blues. He looks like a "Rasta" man, but plays some mean Blues. He has a new CD out on Alligator called "Between Midnight and Day". The second show was John Mooney at the Maple Leaf. He had Son House for a teacher and was apparently paying attention. He has a nice mix of Blues and Zyedco. He was joined by local harp player Bruce "Sunpie" Barnes for the second set and really set the place on fire. Can anyone tell me if John Mooney has any CD's out? If you go to New Orleans be sure to check out the Louisiana Music Factory. This place has the largest collection of Blues and Jazz T-Shirts I've ever seen and also has a great selection of CD's. And a great radio station is WWOZ, plays a nice selection of Blues, Jazz, and Zyedco. Bruce Roberts Austin, TX PS - The club Muddy Waters in New Orleans closed. ========================================================================= Date: Tue, 7 Nov 1995 10:02:35 -0500 Reply-To: "Munson, Bill" From: "Munson, Bill" Subject: disconnected items about Muzak and Robert Johnson 1) I was standing at the frozen food section of the local Food City and realized that the sound I was hearing was a strings-and-muffled-horns version of Jackie Wilson's immortal "Baby Workout". I must admit that it was pretty zippy, which is as good as it gets with Muzak I suppose. (Still, for incongruous Muzak this recent episode pales in comparison to the time I heard a Muzak "Aqualung" at a chinese restaurant in Saudi Arabia.) 2) Does anyone know anything more than Johnny Shines mentioned in "Deep Blues" (I thiink) by Robert Palmer (I think) about the time he and Robert Johnson crossed the border to play in Windsor Ontario? Thanks in advance for any info. bmunson@itac.ca ========================================================================= Date: Tue, 7 Nov 1995 09:24:34 -0600 Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" testing! ========================================================================= Date: Tue, 7 Nov 1995 15:30:47 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: "Dirty" harp sound question: How to? Comments: To: bit-listserv-blues-l@uunet.uu.net In <01HXBMHIP0D4001BA5@SCI.WFBR.EDU>, Rick Miller writes: >My harp player plays through a Shure "Green Bullet" wired straight into a >new Fender "Blues Deluxe" amp, the small cousin of the 4x10 "DeVille". He is >trying very hard to get a really dirty harp sound for some of our tunes but >is unable to get it. Here's the scoop: he plays into the "clean" (#2) channel >or input jack and gets great tone at any volume. No feedback. But he doesn't >want clean all the time. So, switch to the "high gain" channel (#1) a.k.a the >DRIVE channel which has dialed-in distortion, and except at the lowest of >low volumes, the thing just howls like a banshee. Major league feedback no >matter how far he stands from the amp. The DRIVE channel is where that sound >he wants is, but can't use it. It's basically useless to him. A couple of things come to mind. First, most of that tone comes from the player. If he's pushing the harp with his diaghram and has a great tone to begin with, he'll get the sound he wants out of the amp. It took me a few years to figure out that the REAL dirty sound came from me, and not from the amp. Listen to Musselwhite and Jr. Wells, both of whom usually run straight through the PA. That great sound comes from them. But that's not what you asked, was it? I'd recommend using the high gain channel, setting the amp on somewhere in the 3 range (I've got a RI 59 Bassman thats essentially the same amp) and turn treble all the way down, set midrange to 4 or 5, and set bass to 6 or 7. Now adjust the treble and presence to brighten up the sound and bring it out of the basement. But remember, if you're using a big amp with harp, when in doubt, turn down the treble. Another option would be to go to a smaller amp. I have two smaller amps I use for small rooms, and used to have a beautiful tweed champ (that some slimeball stole after the Handys in 1990). The nice thing about a small amp is that you can run it all out, and get that nice full power distortion that you can't get with a big amp unless you're in the studio or playing the astrodome. If you opt for this route, you will have to pay a little more attention to the mix, or turn down the band, but it'll be worth it if you've got a great harp player. BBB ///////////////////////////////////////////////////////////// B.B. Bean bbbean@cris.com Team OS/2 strictlow@aol.com Bean & Bean Cotton/Bean Farms 75474.2654@compuserve.com \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ ========================================================================= Date: Tue, 7 Nov 1995 09:34:00 -0600 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Little Freddie King When I was down in New Orleans I picked up the CD "Swamp Blues" by Little Freddie King and was really impressed. It contains some original songs, as well as one by Freddie King (Big) and Ray Charles. Its out on Orleans Records. I had never heard of this guy before and apparently this is his first CD (even though he's been around for a while). According to the liner notes he got his name because people thought he sounded like Freddie King and started calling him Little Freddie King. And he did play with Freddie King for a while. This is a great CD. I've played it a lot since I've been back. Also while I was there I read about a Cab Driver called Mem Shannon who came out with a CD that has Blues mixed with conversations from his Cab rides. I didn't get a chance to hear it, but it sounds interesting. Bruce Roberts Austin, TX ========================================================================= Date: Tue, 7 Nov 1995 10:55:08 -0500 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: Re: Louisiana Red-"Sittin Here Wonderin" Comments: To: DeniseTapp@aol.com In a message dated 95-11-07 07:25:37 EST, denisetapp@AOL.COM (DeniseTapp) writes: > (Re: Louisiana Red-"Sittin Here Wonderin") NARAS made the decision to disqualify from Grammy >consideration any material recorded more than two or three years ago. =============================================================== Fortunately, the Blues Foundation has no such *silly* restriction, so those of us who have a voice in the nominating process for the Handy Awards certainly can consider this material, and hopefully set the wheels in motion that will give recognition where it is deserved. BLUZ! Bluzman Ed aka Ed Tremewan ========================================================================= Date: Tue, 7 Nov 1995 11:10:21 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Blues in Manhattan Wed/Thurs nights Does anyone know who's playing at the clubs within a reasonable distance from NYU tomorrow night or Thursday night? Blues and/or jazz. Please reply directly to me [or John C. might snap ;*)] Thanks in advance. Yours, Dave Prychitko ========================================================================= Date: Tue, 7 Nov 1995 09:13:38 -0700 Reply-To: Jeff Birk From: Jeff Birk Subject: Blues in Las Vegas?? I'm going to be at COMDEX in Las Vegas during the week of Nov. 13 to 17. Any blues clubs or concerts that may be scheduled that week that anyone could pass along would be much appreciated. Thanks. Jeff ========================================================================= Date: Tue, 7 Nov 1995 11:41:16 CST Reply-To: JBards From: JBards Subject: Re: New Orleans Blues Comments: To: Bruce Roberts I believe that Mooney has a couple of CDs out as "John Mooney and Bluesiana", but I am not sure of the label. Glad you liked N.O. : I think the music scene is , like gumbo, becoming quite rich and varied there lately. Jim _______________________________________________________________________________ Subject: New Orleans Blues From: Bruce Roberts at INTERNET-SH Date: 11/7/95 10:03 AM My wife and I just got back from New Orleans and had a great time. We caught a couple of really great Blues shows. The first was Corey Harris at a HOB's happy hour show. This guy plays some great country blues. He looks like a "Rasta" man, but plays some mean Blues. He has a new CD out on Alligator called "Between Midnight and Day". The second show was John Mooney at the Maple Leaf. He had Son House for a teacher and was apparently paying attention. He has a nice mix of Blues and Zyedco. He was joined by local harp player Bruce "Sunpie" Barnes for the second set and really set the place on fire. Can anyone tell me if John Mooney has any CD's out? If you go to New Orleans be sure to check out the Louisiana Music Factory. This place has the largest collection of Blues and Jazz T-Shirts I've ever seen and also has a great selection of CD's. And a great radio station is WWOZ, plays a nice selection of Blues, Jazz, and Zyedco. Bruce Roberts Austin, TX PS - The club Muddy Waters in New Orleans closed. ========================================================================= Date: Tue, 7 Nov 1995 11:37:42 EST Reply-To: apaul@CLIFF.WHOI.EDU From: Alora Paul Subject: lightnin' hopkins bio/info i was checking in Books in Print to see what i could see about Isaac's suggestion "lightnin' hopkins rare performances". although i did not see this title (he mentioned it was hard to find and indeed it does seem to be out of print), i did find: Deep Down Hard Blues: A Tribute to Lightnin' Hopkins Author: Sarah A. West Lawrenceville: Brunswick Publishing Corp. July 1995 ISBN: 1556181507 $15 80 p. Anyone know anything about this title? Thanks. Alora apaul@whoi.edu ========================================================================= Date: Tue, 7 Nov 1995 11:40:17 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Ole Miss in The Baltimore Sun Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com Today's Baltimore Sun has a great article about the Center for the Study of Southern Culture and Ole MIss. It includes quotes from William Ferris. There's nothing there about the Blues Archive, but there is a mention of Living Blues. Reading it has resparked my interest in going back to school and getting a master's in Southern Studies (Ole Miss is a school I've been considering but I've been very lazy about applyng to schools!). -Steve ========================================================================= Date: Tue, 7 Nov 1995 11:47:22 -0500 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: Re: Furry/Wolf/Buddy Moss Comments: To: jjz1@psu.edu In a message dated 95-11-07 10:08:52 EST, jjz1@PSU.EDU (Jerry Zolten) writeS: >I need some help relative to some information that came up in an interview I >was doing. Anyone out there know anything about any of the following: > >1. Noah Lewis and Furry Lewis. Half brothers? Noah Lewis also called Noah >Davis? No. (Not likely, at least) Furry was born in Greenwood, Ms 3-6-1893 father was Walter Lewis Sr., mother was Victoria Jackson. Moved to Memphis with mother about 1899. Noah was born in Henning, TN 9-3-1895, father was Daniel Lewis, I don't have his mothers name in my files. I never heard Furry mention this in any conversations we ever had, and with Furry being the story teller that he was, I can't imagine him overlooking that. I have no record in my files of "Noah Davis" > >2. Howling Wolf serving at Ft. Blanding, Florida during WW II According to Dick Shurman's liner notes in " Ain't Gonna Be Your Dog", Chester was drafted 4-8-41, and spent most of his four years with the Army Signal Corps in the Pacific Northwest. > >3. Buddy Moss jail time for killing his wife. When, Where, for how long? His incarceration was in Greensboro, GA from 1935 to about 1940. > >4. Jessie Hurt, wife of Mississippi John Hurt. Related to Nat Cole in any >way? Related to slain Emmit Till in any way? Dick Waterman may be able to help with this. Based on the liner notes he wrote for "Today, The Immortal..", a Vanguard LP from early 60's, he knew him pretty well. > Hope this helps. If you gain any further info, I would appreciate it if you would share so I can update my files BLUZ! Bluzman Ed aka Ed Tremewan ========================================================================= Date: Tue, 7 Nov 1995 11:55:47 -0500 Reply-To: Jessica Sowin From: Jessica Sowin Subject: Permission to Print a Song Bill H. asked: >Does anybody know the quickest, easiest way (on-line, maybe?) to identify who >owns the rights to a tune and get permission to use it in print? One of the societies has a web site. Their phone numbers are: BMI 212.586.2000 ASCAP 212.621.6160 Jessica Legacy ========================================================================= Date: Tue, 7 Nov 1995 12:51:19 -0500 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: Columbia House Blues Comments: To: bit-listserv-blues-l@uunet.uu.net In article Michael Hewitt writes: > >As long as one doesn't exceed membership requirements, money will be saved. This is not necessarily true. After being a BMG member for a while, they do offer some more savings. You can get 3 for the price of one (16.95) deals. Even with S&H this averages to about $7 per. ========================================================================= Date: Tue, 7 Nov 1995 12:57:17 -0500 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: SEARCHING...every which-a-way Having exhausted my usual sources, I am posting to blues-l (where I probably should have gone first, since it is globally the best source for anything blues related) 1. I am trying to find a copy of an LP titled, as best as I can remember, "From Chicago to New Orleans" by Champion Jack Dupree, issued on the London label. It was a favorite album of a friend of mine until it got lost, and I'd like to give him a copy for Christmas. Does anyone have a copy they'd be willing to sell or trade? 2. Also looking for the Alligator compilation album titled "Blues Deluxe", out of print, and seemingly not available through the normal cut-out sources. This is the one that has a cut of Muddy Water's last band at the Chicago Blues Fest, featuring Lovie Lee on the piano. Sell or trade, anyone? 3. I heard some time ago, that the Godrich and Dixon, Blues and Gospel Records 1902-1942, was being revised and a new edition would soon be available. Does anyone know if this has come to pass? In the meantime, does anyone have an older edition that they would be willing to sell or trade? Can anyone help? Thanks, and BLUZ! Bluzman Ed aka Ed Tremewan ========================================================================= Date: Tue, 7 Nov 1995 13:24:41 +0000 Reply-To: "David J. Wallace" From: "David J. Wallace" Subject: JOE LOUIS WALKER: BLUES OF THE MONTH CLUB I just picked up Joe Louis Walker's new CD 'Blues of the Month Club' and I thought that I'd share my thoughts with you all on it. Firstly, I'm a big Joe Louis Walker fan, so this may not represent the worlds most objective viewpoint, that said I'll try and keep it as unbiased as possible. Secondly, this is not a review as such, but my thoughts in general. I hope that this is useful to someone out there. Joe Louis Walker: Blues of the Month Club Verve 527 999-2 BLUES OF THE MONTH CLUB/ YOU'VE GOT TO LOSE/ LOST HEART/ BLUESIFIYIN'/ HIDDEN FEELINGS/ PLAY 'EM WHERE THEY LAY/ GET IT RIGHT/ I'M NOT COMIN' OVER/ SECOND STREET/ YOUR LYIN' EYES/ STREET PEOPLE. My first impressions were as usual jumbled. The CD did not seem to 'gel' at all well, the tracks not showing any natural progression. The quality of the material was also on first impressions rather variable. I have always found this when listening to a Joe Louis Walker CD for the first time. Joe Louis Walker's music requires a degree of concentration and attention. By the third listening I was starting to like the CD. It's not in the same league as 'Blues Survivor', but is on a level with 'JLW' indeed I would venture that it is a slightly more focused and committed performance than 'JLW' comparable in places to 'The Gift' in intensity. The material is a mixture of some soul, some rather more progressive stuff (which I like), an acoustic piece, and straight up Joe Louis Walker blues. Joe Louis Walker plays very good slide on roughly half the tracks. He is joined by Steve Cropper on the title track who also shares a production credit with Joe Louis Walker. The Memphis Horns are present on two tracks, and regular Joe Louis Walker guests 'The Spiritual Corinthians' contribute backing vocals. The title track along with 'Play 'em where they lay and 'I'm not comin' over' are the highlights for me, with 'Bluesifyin'', 'Your Lyin' Eyes, Ike Turners 'You got to lose' and 'Street People' also being solid. The remainder is typical Joe Louis Walker soul, acceptable, but nothing to get exited about. Overall the performances are solid, with very nice guitar work from Joe Louis Walker especially on 'I'm not comin' over' and the slide pieces. Joe Louis Walker's vocals are tough and gritty and do not disappoint. As a side note Joe Louis Walker seems to have lost about fifty pounds since I last saw him live, (two years ago). Fortunately his playing isn't losing weight. Concluding, I would say that this CD advances Joe Louis Walker's art form a little further, whilst reinforcing the ground explored in 'JLW'. It didn't make me jump up and down the same way that 'Blues Survivor' did, but it is a solid effort, worthy of a recommendation to general fans, and certainly a strong recommendation to dedicated Joe Louis Walker fans like me. Thanks David. PS this is my first major post, is it OK? ========================================================================= Date: Tue, 7 Nov 1995 13:17:53 -0500 Reply-To: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA From: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA Subject: Re: R.SYKES question Don't know anything about a book written specifically about Roosevelt Sykes, the influential 1940s and 1950s piano blues giant. If copyright for it was registered in this country, you can get information about it or other books on Sykes at the Library of Congress web site: http://www.lc.gov, which also has a telnet gateway to an online search engine. I've found all sorts of cool stuff, and not just books... anything that has a copyright, essentially. Turtle _____ Reply Separator _____ Author: marc @ SC1000.UUCP (marc borms) @ INTERNET Received: 11/03/95 07:31:59 AM Subject: R.SYKES question In the book , "A left hand like God", the story of boogiewoogie, the writer mentions a book written by someone from Belgium (!) named : "Roosevelt Sykes, The Honey Dripper". Who can give some information about this book ? (References, author, publisher, where available ?) Thanks ! embee, the pianoman. ========================================================================= Date: Tue, 7 Nov 1995 13:18:00 -0500 Reply-To: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA From: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA Subject: Re: The Music Theory Cop-out > This is gonna step on a few toes (sorry) and a few noses will get bent out > of shape from not paying attention to all of what I say (too bad for me), > but, learning music theory and then no longer playing with the the same > feeling and style *is* a fear that some of us have (or this thread wouldn't > even come up]. If, after learning more music theory, your playing style changed and lost it's feeling, then you probably had none to begin with. I feel that this "fear" is usually just a convenient cop out. I myself don't know a great deal of "music theory" but I don't blame that on a fear of the knowledge changing what I hold dear, I blame it on my own laziness. It's EASIER to go with what I already know, and can pick up painlessly (effortlessly). A certain number of people deleted this message before reading it said when they saw the length of it... it's the same process. P.W. Fenton =========================================== Their loss, P.W. A very well-reasoned message, really. I don't see how learning more about the structure of the music can harm an already-capable player. NOT knowing certain things can temporarily hinder someone, but does not act as a permanent barrier to achieving things... i.e., not knowing certain chord structures and harmonies won't keep someone from eventually learning to use them, but it will speed them along that road. I agree with you: if learning more made you a worse player, there's something wrong. In effect, he was echoing the idea that people who know "big words" have to use all of them right away and in a hurry. If anything, knowing all the fancy stuff and having the restraint NOT to use every trick in the book every bar is the hallmark of a truly great player. Otherwise we'd all end up sounding like a cross between an old George Thorogood and a young Eddie Van Halen. (flamebait) Turtle ========================================================================= Date: Tue, 7 Nov 1995 13:56:13 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0053 From: "DUTTWEILER.J" Subject: Son Seals lyrics TO: Internet FROM: DUTTWEILER.J@GOMAIL SUBJECT: Son Seals lyrics Does anyone out there have the lyrics to Son Seals' song "Call My J ob?" Particularly the line "You look so good to me, I had to much. .." and I can't make out the end. Any help would be most appreciate d ========================================================================= Date: Tue, 7 Nov 1995 14:04:52 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Furry/Wolf/Buddy Moss Comments: To: BLUZMANED@aol.com Bluzman Ed wrote: >>Dick Waterman may be able to help with this. Based on the >>liner notes he >>wrote for "Today, The Immortal..", a Vanguard LP from early >>60's, he knew him >>pretty well. I consider my friendship with John Hurt to be one of the better things that have happened to me. Just impossible to describe the joy he brought. He was wise. He was funny. He could make you sad. He could buckle your knees laughing. I have no idea if Jesse was related to either Nat Cole or Emmit Till. I recall that Emmit was from Chicago and had been sent to Mississippi to visit relatives when he was murdered. I was recently contacted by a woman from Chicago who adamantly said that Jesse Hurt was not John's legal widow since John had a wife from who he had never been legally divorced. The astounding thing she said was that Mrs. Hurt is still alive! Considering that John died 29 years ago this week, it's quite an interesting story. Sorry I could not be more helpful. Dick Waterman ========================================================================= Date: Tue, 7 Nov 1995 13:01:33 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Johnnie Billington Questions I will be interviewing Mr. Billington tonight, If you have any questions you like to ask, please e-mail them to me (private-asap) and I'll ask them. The interview will be on blues-l soon THANKS LW ========================================================================= Date: Tue, 7 Nov 1995 11:28:51 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: A TRIBUTE TO LEW SIMPKINS (OF UNITED RECORDS' FAME) Comments: To: BluesHvn@aol.com This profile is dedicated to Lou Levy (1910-1995), founder of Leeds Music, who was the first to publish the works of the great boogie-woogie masters (Albert Ammons, Pete Johnson, Meade Lux Lewis). ============================================================================= "We sent down and recorded and, sure enough, he sold it to United. That was how we got with United in 1950. .... We stayed with them five or six years. Lou Simpkins was the one at United who liked us. He got us lots of jobs all out in Texas." ~ Floyd McDaniel talking about The Four Blazes, LIVING BLUES #123 (Sep/Oct 1995), p. 51 Pioneer record man LEW SIMPKINS was born Lewis Conrad Simpkins, Thursday, November 07, 1918, MS., the son of Lily Jackson & Lube Simpkins. It was Simpkins who first recorded Willie Dixon & Memphis Slim together, and Memphis Slim's "Everyday I Have The Blues" (released as "Nobody Loves Me"); he also recorded the blues standard, Sonny Thompson's "Long Gone pt. 1 & 2" with Eddie Chamblee (tenor sax), and one of the great gospel blues songs, Robert Anderson's "Prayer Changes Things". Based in Chicago, Simpkins would be responsible for the following recordings, all on Lee Egalnick's Miracle and Premium labels. By the way, I believe SEQUEL (UK) will be issuing CDs from these labels. Robert Anderson - "Prayer Changes Things" ('50) Eddie Chamblee - "Last Call" ('47) Cryin' Jesse - "And She Cried" ('51) (aka Jesse Cryor) Four Vagabonds - "Mighty Hard To Go Thru Life Alone" ('49) Holy Wonders - "Move In The Room" ('50) Lynn Hope - "Tenderly" ('51) Sarah McLawler - "My Whole Life Through" ('50) Memphis Slim - "Lend Me Your Love" ('46) (with Willie Dixon) Memphis Slim - "Nobody Loves Me (aka Eveyday I Have The Blues)" ('48) Memphis Slim - "Mother Earth" ('50) Morning Echoes - "Dear Mother" ('51) Tab Smith - "Spider Rock" ('51) Johnnie Temple - "Between Midnight And Day" ('49) Sonny Thompson - "Long Gone" ('47) (w/Eddie Chamblee) In July 1951, LEW SIMPKINS and an ex-policeman, Leonard Allen (1900-1985), formed UNITED RECORDS, followed (in May 1952) by STATES RECORDS. DELMARK RECORDS now owns the rights to these label. Here's a few examples of some of the artists that LEW SIMPKINS produced for UNITED/STATES Records : Gene Ammons - "Street Of Dreams" ('52) Robert Anderson - "How I Got Over" ('51) Paul Bascomb - "More Blues - More Beat" ('52) J. T. Brown - "Windy City Boogie" ('51) Eddie Chamblee - "Easy Street" ('50) Jimmy Coe - "After Hours Joint" ('53) Dozier Boys - "Early Morning Rain" ('53) Billy Ford - "Smooth Rockin'" ('53) Four Blazes - "Mary Jo" ('52) (w/Eddie Chamblee) Jimmy Forrest - "Night Train" ('52) Tiny Grimes - "Blues Round Up" ('51) Sax Kari - "Daughter" ('53) Memphis Slim - "Living The Life I Love" ('52) Robert Nighthawk- "Cryin' Won't Help You" ('51) Leo Parker - "Cool Leo" ('52) Tab Smith - "Because Of You" ('51) Roosevelt Sykes - "Fine And Brown" ('51) LEW SIMPKINS died Monday, April 27, 1953, Rochester, MN. He was survived by his wife Eva Ryan Simpkins, and 2 children, Randy & Pamela. The Four Blazes' United Recordings will soon be issued by Delmark Records. You'll hear the late Tom Braden's vocals on tune like "Mary Jo", "My Great Love Affair", "My Hat's On The Side Of My Head" accompanied by Floyd McDaniel (gtr) and Eddie Chamblee (tenor sax). And if you're a jump blues fan, I would check out the Tab Smith CDs on Delmark, 2 of a project 5 CD series of Tab's complete United Recordings. Roomful of Blues fans - take note! I'd like to thank Vincent Ready and as always, Galen Gart's notable series "FIRST PRESSINGS" which details the history of Rhythm & Blues, year-by-year, month-by-month, label-by-label, performer-by-performer, as printed in the music press. Each volume has an exhaustive index, so no serious fan of Blues/R&B/Gospel should be without this series. LEW SIMPKINS productions on CD (additions are welcomed) ============================== CHARLY CD 249 MEMPHIS SLIM - LIFE IS LIKE THAT (Miracle sides) CHESS CD 9250 MEMPHIS SLIM - MEMPHIS SLIM (Premium sides) CHESS CD 9270 MEMPHIS SLIM - THE REAL FOLK BLUES (Premium sides) DELMARK CD soon THE FOUR BLAZES (United sides) (1952/53) DELMARK CD 431 PAUL BASCOMB - BAD BASCOMB (United sides) (1952) DELMARK CD 435 JIMMY FORREST - NIGHT TRAIN (United sides) (1952/53) DELMARK CD 438 VARIOUS - HONKERS & BAR WALKERS V. 1 (United sides) DELMARK CD 447 TAB SMITH - JUMP TIME (United sides) (1951/52) DELMARK CD 455 TAB SMITH - ACE HIGH (United sides) (1952/53) REFERENCES (from Big Nickel Publications, P.O. BOX 157, MILFORD, NH. 03055) ========== THE HISTORY OF RHYTHM & BLUES : First Pressings - Special 1950 volume ISBN 0-936433-16-7 First Pressings - v. 1 (1951) ISBN 0-936433-14-0 First Pressings - v. 2 (1952) ISBN 0-936433-15-9 First Pressings - v. 3 (1953) ISBN 0-936433-03-5 First Pressings - v. 4-8 also available ========================================================================= Date: Tue, 7 Nov 1995 14:30:05 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: R.SYKES question Comments: To: Scott_Wenzel/DSES/DIRM/OIM/DCS/SSA%SSA@notesgw.compuserve.com In a previous message, Scott Wenzel wrote: >>Don't know anything about a book written specifically about >>Roosevelt Sykes, >>the influential 1940s and 1950s piano blues giant It's really nit picking, to be sure. but you are cutting Roosevelt short by a decade and more. Some of his best work was done in the 1960s including the Storyville album backing up Sippie Wallace as she does the album that had four (!) songs later covered by Bonnie Raitt. It's been reissued by Alligator and Roosevelt's work is mighty fine. He was the best dresser that I ever worked with. Three piece suits, beautiful vests, diamond stickpin, pearl grey Homburg and he was the last man I knew who wore spats every day. He wasn't the easiest guy to negotiate a deal with, but he was a complete professional and always arrived in town ready to play. To show his longevity, I booked a Bonnie/Sippie/Roosevelt package as late as 1976. Dick Waterman ========================================================================= Date: Tue, 7 Nov 1995 15:34:57 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: The Music Theory Cop-out Comments: To: msuffern@XNET.COM In-Reply-To: from "Michael Suffern" at Nov 4, 95 03:20:31 am Mike Suffern wrote: > I don't know if he knew > what he was doing when he played that stuff - I don't know if he learned it > by ear or by learning theory, but I'll ask him. That's Rob Hutten. He can > shred some Metallica and then play some sweet Booker White. You're in deep trouble, Suffern - telling all these blues people that I did a stint as a head-banger. :-) I'm all better now, folks - really. I don't know my modes, and I only know a couple of scale patterns. My theory is limited to basic diatonic chord stuff, and yes, it's been helpful to my development as a blues player. But... I might be treading on some toes here, but I think all the theory in the world isn't gonna help anyone play *certain styles* of blues. Some styles, however, can be better understood if you know some basic theory. If you want to play Piedmont, ragtime, or other more sophisticated blues (Lonnie Johnson's style leaps to mind), then a strong knowledge of how chords and progressions can help you along nicely. However, if you're aiming for that primitive sound (Booker White, Fred McDowell, Big Joe Williams, etc) then you're gonna be hard pressed to find an application for all that diatonic theory you've learned. One of the biggest stumbling blocks I've encountered while trying to unlock the secrets of the more primitive styles is to lose the dang counting. Everything I've ever been taught about music emphasized the ONE-two-three-four-ONE-two-three-four schtick, and it's so engrained in my playing that I have to consciously count one-one-one-one when playing in the primitive style. Listen to Booker or Lightnin' sometime and try counting a straight four pattern. Good luck. So, I guess my point is that I don't know what I'm talking about, and I'm wasting all your time :-) -Rob ========================================================================= Date: Tue, 7 Nov 1995 14:43:39 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Blues-L overload? To the Blues-L overloaded, I suggest you go to DIGEST mode and read at your leisure. Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 7 Nov 1995 14:49:58 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Why Brownie McGhee did not tour Comments: To: rflohil@inforamp.net I think that Richard Flohil has hit it exactly right with his comments on how we should approach the news of Brownie's illness when he writes: >>> Let's wish him well in the late autumn of his life, and >>>remember >>>him and his music with the warmth and affection he so >>>richly deserves. They >>>don't make 'em like Brownie any more, and we should be >>>grateful we heard >>>him when we did. -Richard the Elder. No one is saying that Brownie is at death's door. He is very sick and, of course, any illness to an 80-year-old man must be considered life threatening. He is intelligent, alert, and he's busy planning the December 11th fund raiser for his Blues Is Truth in the East Bay. By the way, this is NOT a charity or benefit for Brownie and no one should get that impression. He continues to work with Leslie Knight on his autobiography and he is very involved in many musical projects. He does not want or need or require any outpouring of public sympathy. He is crusty, opinionated, stubborn and full of fight. I can absolutely positively assure you that Brownie McGhee does not intend to go gently into that good night. Dick Waterman ========================================================================= Date: Tue, 7 Nov 1995 14:47:26 -0500 Reply-To: "John R. Vanderpool" From: "John R. Vanderpool" Organization: NASA/GSFC Subject: WANTED: freddie king live at antibes (either CD or DAT copy) i can't find this sucker anywhere - i guess its out of print i have the muddy waters at antibes i could trade for (on DAT) also have a few other blues DATs (always looking for more!) if you haven't picked up all three FK videos from stephan at the guitar workshop do it now - all three can be had for $60 (too bad they are only one hour each, but they are smoking!) fish -- ...and I, I don't mind the pain, don't mind the drivin' rain, I know I will sustain, because I believe in you.... -bob dylan for Earth Science data and information use URL http://daac.gsfc.nasa.gov/ ========================================================================= Date: Tue, 7 Nov 1995 14:57:44 -0500 Reply-To: BluesBeats@AOL.COM From: Joseph Jordan Subject: An Apology I'm sorry, I was caught up in the enthusiasm of the moment. I posted incomplete information about the B.I.T. Foundation (Blues Is Truth) founded by Brownie McGhee. This non-profit organization has a publicist, Leslie Ann Knight (LKnight1@aol.com) who will be posting B.I.T. Foundation information. Joseph Jordan ========================================================================= Date: Tue, 7 Nov 1995 19:56:49 GMT Reply-To: Michael Rouan From: Michael Rouan Organization: Stanford University Subject: Nathan Cavaleri Poster Giveaway.. Comments: To: bit-listserv-blues-l@uunet.uu.net The H.E.A.R. Artist of the Month for October is blues guitarist Nathan Cavaleri, the 13 year old Australian phenom who has already played with B.B. King, Albert Collins, Mark Knopfler, and many other guitar greats. This month, HEARNET is having an autographed poster of Nathan as part of their monthly contest.. Check it out. http://www.hearnet.com ========================================================================= Date: Tue, 7 Nov 1995 19:58:47 +0000 Reply-To: Roadrunner Tour Management From: Roadrunner Tour Management Subject: Re: Lost e-mail Blues Comments: To: Shaun T Cronin At , Shaun T Cronin wrote: >I sent out three messages last night and they haven't "boomeranged" yet >I'm assuming that they are lost in the ether of cyberspace. > >Don, I sent you a private e-mail message last night as well. Could you let >me know if you recieved it > Yes, I seem to have the same problem for the last few days. Especialy to privat addresses! Carsten ROADRUNNER TOUR MANAGEMENT 141 Tirellan Heights Galway / Ireland Tel.&Fax: +353 95 35976 Mobile: +353 95 35976 E-Mail: roadrun@iol.ie KEEPING THE BLUES ALIVE ========================================================================= Date: Tue, 7 Nov 1995 15:31:24 -0500 Reply-To: LKnight1@AOL.COM From: Leslie Ann Knight Subject: Corrections to: Re: BROWNIE McGHEE Some corrections and additions are required for Joseph Jordan's post. Joseph has no relationship with the B.I.T. Foundation (Blues is Truth). He had good intentions, but limited information. Joseph Jordan wrote: >Subject: Re: BROWNIE McGHEE >Hi Everyone, >For fans of Brownie McGhee, I wanted to let you know that there will be a >benefit show at Kimball's (East) in Emeryville, CA, (just across the Bay >Bridge between Oakland and Beserkeley,) on Monday evening, December 11, 1995 >to help kick-off Brownie's new non-profit organization. There will be a benefit and details will be posted to this group. The B.I.T. Foundation (Blues is Truth) has been incorporated in the state of California as a non-profit organization. The purpose of the Blues is Truth Foundation is to sustain and continue the blues Brownie McGhee and others have created as a living and dynamic art form for future generations to incorporate in their lives. Brownie McGhee has referred to his Oakland home as the House That Blues Built for all the years that he has lived there. It is his wish that this home be preserved and serve as the heart of the Blues is Truth Foundation. The House That Blues Built is one of the resources that will be used by the Foundation to educate the public and will serve as a center for educational projects, a music scholarship resource and other materials as they are developed. >He has personally named the show, "Blues On Parade," as in, anybody who >parades on up to the stage, etc. That was not the source for the name, "Blues On Parade." In years past Brownie would produce stage shows featuring several acts, only one of which was himself. These variety music shows had several names, one of them was "Blues on Parade". In remembrance of times past, Brownie thought "Blues on Parade" would be a good name for this fund raising event. >It ought to be a lot of fun, with some very famous talent paying their >respects. Brownie would be happy to have all of you there in person and/or >spirit! There will be talented musicians paying tribute to Brownie and his music by playing his compositions. I will post the lineup when it is confirmed. The artists will express their honor and love for Brownie McGhee by donating their time to raise money for the B.I.T. Foundation. >Specific participants and further details to come.... Further information concerning the B.I.T. (Blues Is Truth) Foundation will be posted to Blues-L by the Foundation's Director of Public Relations, Leslie Ann Knight. ========================================================================= Date: Tue, 7 Nov 1995 21:28:00 GMT Reply-To: Matthew E Karch From: Matthew E Karch Organization: University of Pennsylvania Subject: Re: Little Jimmy King -Reply Comments: To: bit-listserv-blues-l@uunet.uu.net Erica Wissolik (EWISSOLIK@CRS.LOC.GOV) wrote: : I just saw this him play in Memphis last week with Al Green's rhythm section : and he's really very good - influenced by Albert King I guess because he's his : grandson. That's how the soundman introduced him. The crowd loved him. I : noticed that there were 2 "Jimmys" running around the club - one obnoxious : and the other very friendly. It turns out that he has a twin who seems to run : the show while Jimmy is on stage. : >>> Linda L. 10/19/95 09:03pm >>> : In article <199510190947.KAA05531@gaia.eurobretagne.fr>, Philippe : Gramoulle wrote: : > I know that he was very influenced by Albert king and Jimi : > Hendricks but as he plays on the CD with Tommy Shannon : > and Chris Layton (SRV bass and drum players),could anyone : > tell how is he considered in America ? (I'm think he's almost : > unknown in Europe) : I don't think he's terribly well known here, but he has been on the tour : circuit. : I've seen several postings that say he is rather obnoxious in concert; : complaining about the sound guys, whining about this or that, and generally : bringing everyone down. As far as I know, he has not had a new : CD since the one you mentioned, but there is an *earlier* CD of his. I don't : remember the title, but I think you can obtain information on it thru CDNOW. : http://www.cdnow.com (<--- I think that's the web site) : -- : Linda L. sac62628@saclink.csus.edu Like I posted earlier. King is part of the Gales family. Eric Gales, the young rock /blues guitarist is his little brother. Matt ========================================================================= Date: Tue, 7 Nov 1995 13:44:27 -0700 Reply-To: Aki Yanagisawa From: Aki Yanagisawa Subject: Let me know... Hi! I am interested in Soul Music and I wanna get informations about it. If anybody know some information, please let me know... I like every kind of Soul Music (especially slow ballard)!! ========================================================================= Date: Tue, 7 Nov 1995 17:30:55 EST Reply-To: ron kraemer From: ron kraemer Subject: Amp repairs Just a quick plug for a buddy of mine who does repairs on amps. Tube amps are his specialty, and the guy is a Wizard. His name is George Allessandro, and his number is 215-947-0598. He's just outside of Phila, PA, and is looking at getting "online" in the future. He's "rebuilt" my Bassman head, Deluxe Reverb, and even my CryBaby Wah. My Deluxe has never sounded better. And, he's in the process of building his own line of amps. They're somewhat like the "Trainwreck" line (I think he's authorized by "Trainwreck"), and it's just an amp head. Custom built, about the size of a breadbox, and they deliver Tone like you wouldn't believe. (Riffin' Rick's post on his "Search for Dirty Harp Tone" made me think of George. He worked on my Harp man's Bassman, and it sounds even better than it used to! Dirty??? Downright Un-cleanly.) Ob-Blues: I can't get William Clarke's "Blowin' Like Hell" out of my CD player! The title song alone is worth the price of admission. Great harp tone, tasty guitar, Blues from "Slow" to "Boogie", and liner notes by Blues-L's own Richard Shurman! What more do ya want??!! Ron ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters (and in another life...) Ron Kraemer and the Hurricanes ************************************************************ ========================================================================= Date: Tue, 7 Nov 1995 16:30:42 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Let me know... At 01:44 PM 11/7/95 -0700, Aki Yanagisawa wrote: >Hi! I am interested in Soul Music and I wanna get informations about it. > >If anybody know some information, please let me know... > >I like every kind of Soul Music (especially slow ballard)!! > > Didn't Slow Ballard lead the Midnighters? David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Tue, 7 Nov 1995 14:37:01 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: I'm back! I think & theory debate Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Hi Everybody! Our computing dept. has been changing around the server configuration, and came down to show me how my email address could be "conveniently shortened" under the new system. Of course, the new email address was *gibberish* to the *oracle uber-computer* of the mighty blues-l list.... I think it is all straightened out now... Thanks to PW for helping me! To paraphrase Freddie: Hey Don.... What you doin' with that long knife in yo pocket? Listen SON, I'd rather go the computer department's director's funeral any day than than lose my blues-L! So he better stay away from my computer! Sho' is cold.... Now, back to the theory debate! I have some music theory background. I got it from a fabulous theory and composition teacher. I would play, on the piano a tune I had written, and he would re-harmonize it for me, and massage the arrangement and teach me some of the mechanics of different eras in music. I would say, "how might Debussy do this tune", and he would show me! These were amazing experiences, ones that literally gave me headaches on occasions because I was learning things so fast that I couldn't absorb them. But I was READY for this, I was stuck in a rut with my writing, and *wanted* to draw on the classical tradition more, to expand my palette if you will. Make no mistake, when you listen to/study Ravel, Barber, Copeland, Ives, etc all day, it *will* pop up in your writing and playing. For me it has been wonderful, but it has relegated the blues to an influence (albeit a strong one) in my writing and playing. One must have the clearest, most tenacious vision of their own style and their own feelings to retain them in the context of learning the theory and harmony of guys like Aaron Copeland. Much of your own stuff will sound like "chopsticks" in that context. Of all my musician friends from college who wrote songs themselves, they all stopped writing rock or blues type stuff once they became music majors. Once you learn to appreciate the greatness of "serious" music, it is very hard to retain *your* version of what great music is. What's sad and ironic is that your stuff may be really great, but it's hard to believe it is because it is "unsophisticated". As we get older we learn to recognize native talent and that sort of instictive commitment/obsession to produce art you find in some unschooled people who nonetheless are geniuses. Think of the fabulous unschooled painters like Rousseau, Grandma Moses, and so many others. I think you have to put Muddy, RJ, and many others in that camp of absolute genius-naturals. Me? I never had any doubt what *I* wanted, and learned the theory I needed to get there, and it has been a real blessing. But my vision is so tightly focussed, and I am so sure of what I want to sound like, that it never made me feel like my stuff wasn't good. It's kinda up to you. People who are afraid of traditional theory, even after we gently explain to them how much it can do for them, probably are doing what is best for them. I NEEDED theory, man, I was writing DRIVEL before I learned some theory, yet I understand the fear of losing one's own artistic vision. This is a complex issue that cannot be resolved with simple answers like "you don't need music theory to play the blues" well.... some do! or "You're not a real musician without a good theoretical grounding" We all know this isn't true. I would tell a young person to get all the knowledge they can, but to never lose sight of the heartbeat, the soul the love, the courage and dignity, and supreme beauty of America's best musical heritage. tha Blues! And don't we all know it? Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Tue, 7 Nov 1995 17:46:02 -0500 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: Re: John "Bones" Nobles ??? Comments: To: pega@xs4all.nl In a message dated 95-10-27 12:47:43 EDT, pega@XS4ALL.NL (Peter Gallagher) writes: >I even tried "playing along" with Bukka White on his "Memphis Hotshots" >cd , which has a lot of washboard one there, but I couldn't seem to make >any sounds which fitted in - maybe I had traditional Irish rhythms >inprinted in my association with the bones... >But you can't play washboard with the bones - so what does one do with >the bones in the blues!!?? > >I've never heard of the bones being used in the blues and i'd appreciate >it enormously if someone could pass on any info about John "bones" Nobles >or any other artist who used the bones in the blues. >How about some of you other Irish people on th elist - Andy? Shannon? Graham? > Peter, I know this is a bit long after the post, but I just discovered, in reviewing some Robert Wilkins material, that on at least 5 recordings he did in 1935, he was accompanied by "Kid Spoons" (real name not known to me). Of course, these are spoons not bones, but the principle is the same. I have also noticed in some jug and hokum band recordings a sound that reminds me more of bones than washboard. (or perhaps drumsticks on a variety of objects?) No specific examples in mind right now, but as I get a little further in my research on a current project, I will post examples as I find them. The Wilkins songs are: Dirty Deal Blues, Black Rat Blues, New Stockyard Blues; rec. at Jackson MS, Oct 10, 1935 Old Jim Canan's, Losin Out Blues; rec. at Jackson MS Oct 12, 1935. I am not familiar with Booker White's "Memphis Hotshots" CD. Is it in print? Where can I order it? BLUZ! Bluzman Ed aka Ed Tremewan ========================================================================= Date: Tue, 7 Nov 1995 18:31:37 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Harlem Nocturne > > No version beats the original, by the composer, the incredibly great > > Johnny Otis. ^^^^^^^^^^^^^^^ > > Funny, my version on the Otis double LP on Savoy says Earle H. Hagen... You are right, of course. I wrote the message without checking ... somehow I've always thought Otis wrote it, since it was his first big hit. Live and learn (and remember to check facts!) Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Tue, 7 Nov 1995 19:01:59 PST Reply-To: mail06702@pop.net From: "(Dave Ruthenberg)" Subject: Gary Moore Web Site Name: Dave Ruthenberg E-mail: mail06702@pop.net Date: 11-7-95 Time: 6:00 p.m. Fans of guitarist Gary Moore can get all the latest info, concert dates, and other misc info at the new Gary Moore WWW Site: http://math.berkeley.edu/~bourgoin/Gary_Moore.html ========================================================================= Date: Tue, 7 Nov 1995 14:23:00 -0800 Reply-To: Richard Norton From: Richard Norton Organization: Fullerton College, CA Subject: Have Guitar Will Travel Experienced guitarist seeks gig[s] with established blues artist[s]. Lead,rythmn,slide,vocals, blues/rock, electric, acoustic fingerstyle, writer, producer etc. Teamplayer, will relocate, overseas no problem. For more info please see homepage at: http://www.fullcoll.edu/communit/rich_nor/home.htm email richard-norton@fullcoll.edu or call 714-528-3689 or write 1435 Prospect Ave #D Placentia Ca. 92670 Well I'm ready ready as anybody can be I'm ready for you I hope your ready for me. ======================================================================== Fullerton College claims no responsibility to the opinion expressed above (This is an automatic stamp from our Email system and not from the user.) ======================================================================== ========================================================================= Date: Tue, 7 Nov 1995 23:36:51 GMT Reply-To: Guynethe Lassiter Mars From: Guynethe Lassiter Mars Organization: University of Southern Mississippi Subject: s.r.vaughn Comments: To: bit-listserv-blues-l@uunet.uu.net In one of the groups a couple of weeks ago, I read where someone wanted to know the artist who sounded like Stevie Ray Vaughn. Could the artist be Kenny Wayne Shephard? His new CD, Ledbetter Heights, sounds a lot like Stevie Ray Vaughn. I could be wrong. Thanks, glmars ========================================================================= Date: Tue, 7 Nov 1995 18:58:02 -0500 Reply-To: James Leftwich From: James Leftwich Subject: John Mooney (was Re: New Orleans Blues) Comments: To: JBards In-Reply-To: <9510078157.AA815769167@mail-sh.lsumc.edu> Mooney is one of my all-time faves (and I've said it here before). His releases are: Comin Your Way (Blind Pig) Telephone King (Blind Pig) Late Last Night (Rounder Bullseye) Testimony (Domino) Sideways in Paradise ( acoustic w/ Jimmy Thackery) Travellin' On (Crosscut) I'd recommend _Travellin' On_ most basically because it's recorded live. You can't go wrong with any of the tho. What a great and unique slide player! Jim ========================================================================= Date: Tue, 7 Nov 1995 20:16:55 EST Reply-To: "George C. Gerhold" From: "George C. Gerhold" Subject: New Orleans Blues To follow up on several mentions of New Orleans musicians: Leo "The Scatman" Aspiras asked about Earl King and Tastee Donuts. Earl used to use one of the Tastee locations for his "office." He could he found there most days, working on song lyrics. The cover picture on his "Glazed" album was taken at Tastee Donuts. In addition to being a great songwriter, guitarist and connoisseur of fried dough products, Earl King is also a licensed beautician. I can't add much to Jim Leftwich's response to Bruce Roberts about John Mooney. If you haven't caught him live, he puts on a terrific show. I spoke with him last January, and he was planning to go into the studio in February to record a new album on the House of Blues label. Tenative release was for Spring, 1995. Last I heard, it was to come out by the beginning of 1996. Anyone have a clue as to why the delay? As a couple of others have mentioned, the new album from Mem Shannon "A Cab Driver's Blues" on Hannibal is great. In between the songs are recordings Mem made in his cab of conversations with his passengers. I read the other night that getting the clearances for the cab conversations kept Hannibal's legal people busy for over a year. Buy the CD, and maybe Mem can quit driving a cab to make ends meet. George Gerhold yyg@cu.nih.gov Washington, DC ========================================================================= Date: Tue, 7 Nov 1995 21:43:28 -0500 Reply-To: SJeffcote@AOL.COM From: "Scott E. Jeffcote" Subject: Re: New Orleans Blues Comments: To: jbards@mail-sh.lsumc.edu Mooney has been signed to the House of Blues label. And should have something coming out pretty soon. ========================================================================= Date: Tue, 7 Nov 1995 22:01:23 -0500 Reply-To: SGLIWA From: SGLIWA Organization: Delphi (info@delphi.com email, 800-695-4005 voice) Subject: Re: Gusto Records Comments: To: bit-listserv-blues-l@uunet.uu.net Jef Jaisun writes: >Also, is anyone familiar with a double album set of R&B/blues called >Gabe's Dirty Blues? It was released about 1979. Yeah. I have it on vinyl. It's a compilation of old King R&B. Steven James Gliwa ========================================================================= Date: Tue, 7 Nov 1995 21:56:40 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: SP LEARY > From: Jeff Seale > SP Leary is coming to San Antonio this Friday night. Since he played > drums on most of OTIS SPANN's Testament cd (Chicago Blues), I can > hardly > wait. The show is billed as SP LEARY and the CHICAGO ALL STARS. Does > anyone know who is traveling with him? HASH BROWN is supposed to be > playing with him as well. He is playing Dallas, as well, at the Blue Cat, 2617 Commerce st. on Saturday Nov. 11. They are billed as S.P. Leary & the Chicago Blues Allstars featuring Barrelhouse Chuck on Piano and Harmonica Todd with special guests the Hash Brown Band. If you are in the DFW region, please do make the trip. There's a special surprise planned for S.P. that night. BTW, I believe Hash Brown had a lot to do with this tour coming through Texas. Don O. not associated, blah, blah, woof, woof ========================================================================= Date: Wed, 8 Nov 1995 05:31:32 GMT Reply-To: "Linda L." From: "Linda L." Organization: CSU, Sacramento Subject: Re: Steve Miller Comments: To: bit-listserv-blues-l@uunet.uu.net After we wrote: > >> He and Kenny Neal will be comming through town to do a blues show. > >> Unfortunatly I won't be going. > > > >Fortunately, I will! He's playing 4 nights in a row in SF in mid > >November. I believe the first two nights are with Curtis Salgado (good) > >and the second two with Kenny Neal. > .. someone else wrote: > At least go when Kenny Neal will be there (although I may be biased by my > dislike of Salgado:-) I am going on a Kenny Neal night - I've seen Kenny and he is wonderful so I'm looking forward to it. I was disappointed in Curtis Salgado's last disk, but overall I like him. Plus he has sentimental attachment for me, since I met my boyfriend when Curtis was warming up for Robert Cray 3 years ago. -- Linda L. sac62628@saclink.csus.edu ========================================================================= Date: Wed, 8 Nov 1995 01:23:08 -0500 Reply-To: HugeSmall@AOL.COM From: Boyd Small Subject: Re: Gusto Records Comments: To: sgliwa@delphi.com Yes, I have Gabe's dirty blues on vinyl also. Great album. ========================================================================= Date: Tue, 7 Nov 1995 23:24:12 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: Wante: blues clubs in Atlantic Canada I am off on vacation again. This time I will be in Atlantic Canada (Nova Scotia, New Brunswick). Does anyone know of any blues clubs/bars in Halifax or Moncton? Thanx, Gary .............. Gary Constantine >> gconstan@ccinet.ab.ca << If hard work were such a wonderful thing, surely the rich would have kept it for themselves. ========================================================================= Date: Wed, 8 Nov 1995 07:32:02 GMT Reply-To: Jim Farris From: Jim Farris Organization: Netcom Subject: Re: I Need Blues Radio Listings Comments: To: bit-listserv-blues-l@uunet.uu.net Curtis, You might have this list already (even though it's not up on Blues Highway), but just in case you don't, here it is again. I made some corrections to the two KSCU shows (on Sunday) because the school cut a couple hours off their Blues programming (Shame on them!). I also added some spacing that might make it easier for you to read. I will be sending you more detailed information about the shows later, things like the phone numbers and addresses, that type of thing. Day Start End Station Mhz Program DeeJay Time Time Sunday 0:00 3:00 KKUP 91.5 Blues In The Night The Blue Radish (1st, 3rd, & 5th weeks) Sunday 0:00 3:00 KKUP 91.5 Late Night City Blues Jammin' Jim Farris (2nd & 4th weeks) Sunday 2:00 7:00 KPOO 89.5 Blues For The Night Owl William Brown Sunday 10:00 12:00 KSCU 103.3 Sunday Blues Brunch The Jakester Sunday 12:00 14:00 KSCU 103.3 Crossroads Brad Lee Monday 15:00 18:00 KBLX 102.9 Golden Oldies / R&B and Soul Timothy Alexander White Monday 6:00 9:00 KKUP 91.5 Monday Morning Blues Leslie Ann Knight Monday 9:00 12:00 KPOO 89.5 Marilyn's World Marilyn Fowler Monday 13:00 14:30 KPFA 94.1 Blue Monday Tom Mazzolini Monday 21:00 22:00 KALW 91.7 The Blues Power Hour Mark Naftalin Monday 23:00 0:00 KALW 91.7 Blues Stage (NPR) Ruth Brown Monday 22:30 1:00 KKUP 91.5 Late Freight Twist Paul Jacobs John Fuller Backstroke Steve Ahlgrim Groovin' Time Tuesday 1:00 5:00 KDIA-AM 1310 Blues Experience Frankie M Tuesday 16:00 17:30 KPOO 89.5 Blues And Oldies Johnny Brooklyn Tuesday 21:30 23:30 KUSF 90.3 Treasures Untold Harry Duncan Tuesday 20:00 23:00 KPOO 89.5 Blues House Party Jay Johnston (1st week) Tuesday 23:00 2:00 KPOO 89.5 Blues House Party Jay Johnston (all others) Wednesday 1:00 5:00 KDIA-AM 1310 Blues Experience Frankie M Wednesday 9:00 12:00 KPOO 89.5 Spotlight On The Blues Big Bones Wednesday 14:00 17:00 KKUP 91.5 Key To The Highway Johnny Cozmik Wednesday 23:00 2:00 KPOO 89.5 The Blues Donald C. Jones Thursday 1:00 5:00 KDIA-AM 1310 Blues Experience Frankie M Thursday 15:00 17:00 KKUP 91.5 Heavy Traffic Curtis Jay (1st and 3rd week) Thursday 15:00 17:00 KKUP 91.5 Heavy Traffic Roger Anderson (2nd, 4th & 5th week) Friday 1:00 5:00 KDIA-AM 1310 Blues Experience Frankie M Friday 6:00 9:00 KSCU 103.3 Big Daddy Blu Show Big Daddy Blu Friday 9:00 12:00 KZSU 90.1 The Blues Wizard Skinny Mike Friday 21:00 0:00 KCSM 91.1 Crazy About The Blues Kathleen Lawton Friday 21:00 0:00 KKUP 91.5 Mood Indigo Jim Thomas and Gratia Rankin Saturday 0:00 3:00 KKUP 91.5 Blues Morning Train The Conductor Saturday 0:00 3:00 KUSF 90.3 Blues Show Bob Grunde Saturday 3:00 6:00 KKUP 91.5 After Hours Blues Revue Steady Eddie Saturday 9:00 11:00 KPFA 94.1 The Johnny Otis Show Johnny Otis Saturday 9:00 12:00 KZSU 90.1 Blues With A Feeling The Byrd Of Paradise Saturday 17:00 18:00 KSJS 90.7 House Of Blues L.B. Saturday 18:00 21:00 KKUP 91.5 Jim Dandy To The Rescue The Wallflower (2nd week) Saturday 21:00 0:00 KKUP 91.5 Mojo Hand / 50s R&B Jim Dandy and The Walflower (1st week) Saturday 18:00 21:00 KKUP 91.5 The Pole Cat Saturday 18:00 22:00 KSJS 90.7 Mostly Blues The Crazy Yogi Saturday 20:00 0:00 KDIA-AM 1310 Blues Experience Frankie M Blue Waves is compiled for dedicated blues listeners by Danny Denaro, Leslie Ann Knight, Don Coyle, and Curtis Jay. To add updates and changes, send e-mail to Leslie Ann Knight LKnight1@aol.com. << Jammin' Jim Farris KKUP 91.5 FM Curtis Hewston wrote: >I know. I must be nuts trying to do this, but I'm compiling pages of blues >radio listings on The Blue Highway. I've got e-mail forms you can fill out >there, or if you can't get there, could you please send some to me like this: > >Example > >United States >Florida >Orlando >WLOQ-FM 103.1 >Smokestack Lightnin' >Paul Nunum >Sun 8-10 pm > >Note: If you've already listed one at P.W.'s site, then I've already got >it. Thanks much. Maybe someday I'll do X-Files listings. > >*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* >Howard just pointed with his gun and said, "That way. Down Highway 61." > >curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ >*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Tue, 7 Nov 1995 23:43:20 -0800 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: hmmm. Theory The great theory debate >From studying tone rows to serial music I believe that no matter how much theory you study you still will produce the music you want to hear. I am Music major at school in my junior year and I still play the blues. The same blues I been playing for the last 12 years. Theory can only give you more choices to work with but when it comes to playing it has to come from your soul and no austrian dead guys are gonna help me find some depth in my playing. I still study music and and analysis but I find that it only adds to my blues playing. I do have a serious case of blues on the brain 24-7 and when I learn some new theory I can only think of a way to apply it to the ultimate form of music. I read someplace that T-Bone Walker would only work with musicians that sight read perfectly while that is not such a bluesy thing to do I dont think it affected his music in a negative way at all. And there are scores of true blues players that are knowledgeable of music theory. I am not at all saying that theory is needed to play the blues just that it doesnt hurt and that it is a usefull tool for a musician to have. ========================================================================= Date: Wed, 8 Nov 1995 08:32:47 GMT Reply-To: marc@az.vub.ac.be From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Re: Hans Theessink Comments: To: bit-listserv-blues-l@Belgium.EU.net For you, European bluezellers, Hans Theessink will be on stage at the Blues Parade in Peer, Belgium next weekend : Nov 11/12. Wish I could be there... embee. ========================================================================= Date: Wed, 8 Nov 1995 09:15:51 -0100 Reply-To: Egger Urs MSM IS CH From: Egger Urs MSM IS CH Subject: Test Sorry to send a test but the last message somehow did not get ti the list Urs ========================================================================= Date: Wed, 8 Nov 1995 03:46:08 -0500 Reply-To: HugeSmall@AOL.COM From: Boyd Small Subject: Re: hmmm. Theory Comments: To: isprints@indy1.calarts.edu I agree. If my last post comes up eventually you perhaps will read a few more examples of the uses of theory in Blues. But anyway I'm glad to hear another players perspective on this subject agrees with mine. Keep on keepin' on! Boyd ========================================================================= Date: Wed, 8 Nov 1995 03:56:19 -0500 Reply-To: HugeSmall@AOL.COM From: Boyd Small Subject: Re: hmmm. Theory Sorry. That was a typo. I meant to say PUTTING the cart before the horse. What I meant was that the music comes first and the Theory comes second as a descriptive language. I was in a hurry and probably should have waited before posting. But while we're on the subject, there seems to be 2 main questions in the discussion on Theory and Blues. The first is the question of whether or not learning Music Theory is harmful to ones ability to play blues. The answer in my opinion is DEFINITLY NOT. BUT one's ability to focus on the style they are playing at any given time and play within the genre could be at risk. A little knowledge IS a dangerous thing. Terry Robb is a good example. He is schooled in many different styles an is VERY adept at his instrument. This hasn't hampered his ability to play traditional blues but occasionally during a live performance of a traditional blues song he gets a wild hair and throws in 'something else'. I know Terry personally and he has no desire to be known as a 'traditional bluesman', so I don't think it is an inability to concentrate that causes this. He just wanted to raise some eyebrows is usually the case. And when he wants to play a traditional blues tune and sound like a traditional bluesman he can. But like an American who learns a little Spanish and then cannot find the correct word or phrase to express what he is trying to say while shopping in Tijuana and resorts to speaking English and gets no response, or says the wrong thing in Spanish and offends someone, it is important to learn the entire language before trying to speak it. Thus it is important to learn the ENTIRE Blues language before trying to speak IT. The knowledge of Classical music theory can be very helpful when trying to express exactly what you want someone to play in a blues band because it is a common language that is easily understood. But it would be better for all the musicians in the band to know Blues music theory. Ive done several gigs with Jimmy Rogers and when he would say "Make sure everyone kicks it on the turnaround" I would turn to some of the bandmembers and say "accent the AND of TWO when you get to the twelfth bar on the V." It should also be known that Hubert Sumlin and several other Bluesmen that I have played with use the terms I, IV, and V (one , four , and five) rather than saying C, F, and G (while playing in the key of C) because it is easier. Which brings up the other question is the knowledge of Classical music theory useful when playing blues? The answer is definately YES. The more knowledge you have of all musical styles helps one define exactly what style they are trying to play. When Bluesmen such as those I have mentioned say "this is a shuffle in C" or "this is a slow blues in F minor" shows that they have a knowledge of classical music theory (because they said "C" and "F minor"). Even though it is limited in the "Classical" sense they have expanded on it to create Blues music theory. The main point I guess is that it is very important to listen to as much blues as you possibly can if you want to play it. And it is very important to learn as much Classical music theory as you can if you want to be a professional musician. It is also very important to learn as much Blues music theory as you can if you want to be a professional Blues musician. One way to do this is to hang out with Jimmy Rogers, Hubert Sumlin, Guitar Shorty, Pinetop Perkins and other Bluesmen, drink whiskey and talk about blues. Or you can watch and read interviews with these men, listen to all their records, cop all their licks and worship them like Gods. Either way you've got sa lots of woyk to do so gets busy baby! ========================================================================= Date: Wed, 8 Nov 1995 05:22:22 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - November 8th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ALSTON, GERALD (ex-lead/THE MANHATTANS) b. 1942-1108, NC ARNOLD, JAMES "KOKOMO" (g) d. 1969-1108, CHICAGO, IL 68 BERNS, BERT (prod/songw/BANG/SHOUT) b. 1929-1108, NEW YORK CITY, NY BOOKER, JAMES (p) d. 1983-1108, NEW ORLEANS, LA 43 BRAMLETT, BONNIE LYNN (of DELANEY&BONNIE) b. 1944-1108, ACTON, IL HERZHAFT, GERARD (author/ENCY OF BLUES) b. 1943-1108, MEYZIEU, FRANCE HUNTER, IVORY JOE (p/songw) d. 1974-1108, MEMPHIS, TN 60 JACKSON, ARTHUR "DOGMAN" (d/EARL HOOKER) d. 1990-1108, CHICAGO, IL -- JOHNSON, FREDERIC "KEG" (tbn) d. 1967-1108, CHICAGO, IL 58 MITCHELL, RED (b/HAROLD LAND) d. 1992-1108, SALEM, OR 65 MONTGOMERY, GENE (tsax) d. 1967-1108, LOS ANGELES, CA -- MOORE, ARNOLD D. "GATEMOUTH"(v/SAVOY REC) b. 1913-1108, TOPEKA, KS RAITT, BONNIE LYNN (g) b. 1949-1108, BURBANK, CA RIPERTON, MINNIE (ANDREA DAVIS) (v) b. 1947-1108, CHICAGO, IL SHAW, EDDIE "VAAN" JR. (g/EDDIE SHAW) b. 1955-1108, GREENVILLE, MS THOMAS, TASHA (v/ATLANTIC REC) d. 1984-1108, NEW YORK CITY, NY 34 VANCE, MARCIA (author/BIM BAM BOOM) d. 1988-1108, NEW YORK CITY, NY 48 WATERMAN, RICHARD A. (author) d. 1971-1108, TAMPA, FL -- ------------------------------------------------------------------------------- ========================================================================= Date: Sun, 5 Nov 1995 17:26:36 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Blues Books Help Wanted. Comments: To: bit-listserv-blues-l@uunet.uu.net Makin' a Christmas list and need some help. Which of these to get and any review/rapups appreciated. Any others recommended - I'd love to hear it. Blues Fell This Morning - P. Oliver Blues From The Delta - W. Ferris Country Blues - S. Charters Chicago Blues - M. Rowe Damn Right I've Got The Blues - Buddy Guy Early Downhome Blues - J.T. Titon Land Where The Blues Began - A. Lomax Living Texas Blues - A. Govenar Lost Highway - P. Guralnick Rhythm Oil - S. Booth I Say Me For A Parable (Lipscomb) - G. Alyn Sweet Soul Music - P. Guralnick -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Wed, 8 Nov 1995 06:22:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Join me in London Friday? Just wonderin' if any 'zellers might be up to hear a tune or two in London on Friday night; I'll be in town for one night and may be available to have some fun. I'm overdue for live blues! If interested, let me know by midday tommorow (Thursday) European time, please, okay? Lots of good cheer to all from snowy Moscow, Joe Downey J.E._Downey@bakermck.com ========================================================================= Date: Wed, 8 Nov 1995 17:27:08 EST Reply-To: VENKATRK From: VENKATRK this is my first posting.. to begin with,i live in india,and except for the really famous blues performers and their music,there really isn't much of the blues i get to listen to.i have managed to get hold of robert johnson's music(2 tape set),but very little else that's worth mention..so,if this sounds illiterate,i'm sorry. a few days ago,i heard "drifting blues" by Charles Brown..it was a rec of a live performance whose details i dont have..i'd just like some more info abt his music..is he a guitar player?the song i heard had some really !?!! guitar playing.(i've read about how the real blues musicians make their guitars talk..the guitar on this track squealed,sighed,danced grunted,jumped besides talking.)..thanks in advance.. Venkatraman Krishnamurthy ========================================================================= Date: Wed, 8 Nov 1995 07:26:03 -0500 Reply-To: Bkg agent From: Bkg agent Organization: America Online, Inc. (1-800-827-6364) Subject: Katie Webster Comments: To: bit-listserv-blues-l@uunet.uu.net Katie Webster will be performing at the Sangerheim in Notodden Norway November 11th. This should be an excellent show. Katie is right on top of that piano once again and the band even features a well known bass player from Mississippi, Raphael Semmes. Wish I could go myself, but I must live vicariously through others at this busy time. Let me know if any of you get to make the show! Janice Nickeltune Music, Inc. ========================================================================= Date: Tue, 7 Nov 1995 21:06:39 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Earl King (was: Blues Question) Comments: To: Leo Aspiras > From: Leo Aspiras > I was reading one of my old Blues Revue magazines last night and there is a > review of a Snooks Eaglin record/cd that starts out with a sentence about > the oddness of Earl King composing some of his songs in a Tastee Donut shop > in New Orleans. Does anybody know more about this????? This ex-flour > child/blues seeker is curious to know..... I first read this story in Jeff Hannusch's book "I hear you knockin'" which, along with John Broven's "Rhythm and blues in New Orleans", is one of the best books about the Crescent City music scene I've read. Said donut shop is at the corner of Prytania and Louisiana streets if you're in the neighborhood (kind of in between the warehouse and Garden districts). According to Hannusch, King can often be found at the shop's counter armed with a notepad and tape recorder, jotting down song ideas. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Wed, 8 Nov 1995 08:47:06 -0500 Reply-To: Erica Wissolik From: Erica Wissolik Subject: Eric LeBlanc's Blues Dates - November 8th -Reply >>> P.W. Fenton 11/08/95 12:22am >>> WATERMAN, RICHARD A. (author) d. 1971-1108, TAMPA, FL >>>>>>>>>>>>>>> Ummm... probably a stupid question but since I'm still learning who's who and what's what, I'm going to ask anyway..... isn't he on this list and therefore, I assume, still alive? ========================================================================= Date: Wed, 8 Nov 1995 07:50:36 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Otis Spann discog? Does anyone have an Otis Spann discography (either as a sideman or solo)? I've really gotten into Spann since getting the Testament cd OTIS SPANN'S CHICAGO BLUES. What an awesome cd. As a bonus, it has some great harp blowing by brother JAMES COTTON. If you don't have this cd, I'll use Uncle eRIC's line - RUN, don't walk, to get this one. Thanks, -Jeff (could we try rec.music.blues.theory?) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / As I was riding across the Mississippi \ / I stopped there and I cried. \( No use for a man to keep a mighty river All dammed up inside. -Joe Ely ========================================================================= Date: Wed, 8 Nov 1995 09:07:02 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Columbia House Blues - Quandry. Comments: To: bit-listserv-blues-l@uunet.uu.net I am always interested in the discussions that center around the question of being a consumer vs. being an advocate & how each of us stands in the face of the dilemma at times. This quandry easily is highlighted by the CH thing. I like to ask and I like to think that the consumer sides of the arguments are in our power to some extent to control. If we continue & look for lesser priced items will the labels reduce prices & /or will artists take less in royalties, both ultimately ma- king the purchase price of the CD's etc. come down. The free CD's from the clubs is a bad example since noone gets nothin. However as more lesser priced material hits the floor who'll give the give. Will consumers decide to only pay more - will the industry side decide to take less? I doubt consumers'll ever give the give. Just as Richard the Elder says that the clubs don't care - how many consumers care? The real quandry for me is what is the right balance between being a consumer and being an advocate. This is for sure not a question to be answered by those privileged few who do not pay for CD's (getting them sent as being in the trade) but a real in your face question that a true consumer needs to get up and address. Also of import, would be to hear the points of view of successful artists and how they feel about prices and royalties and markups etc. I stress here successful art- ists (meaning recorded by a major label, or at least a label that they have not generated to market their music) since it seems that they have the inside track on what'll get them in to the market place, exposed and growing just as a real con- sumer is a better judge of what they want out of the market- place. Certainly no dis is intended here to artists getting started and/or those self-producing their material. Its just a different question I would ask of them. Just want to add that I have nothing to do at all with CH or any of the clubs. My posts were merely informative. I must say however that the conversation generated is quite valid & should be discussed. Barry "the Scooter" -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Wed, 8 Nov 1995 08:05:32 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Theory ?? So once more let me get this straight: You are saying that Little Walter, Muddy Waters, Hound Dog, ....etc were in need of musical education. Lemme ask the WHOLE list this question: Name some of the blues legends that actually had some formal theory/musical training... No flames, but could theory is a white thing, they/we seem to be the ones who need it, cause I honestly can't think of many black BLUES players who have formal music training.... Thanks (not intended as flamebait) LW 'who has nothing against theory, do what you want to' ========================================================================= Date: Wed, 8 Nov 1995 08:33:04 -0500 Reply-To: Willy Evans From: Willy Evans Subject: So long , for now Well, my brothers and sisters de la blues-l. I fear that I will soon be unsubscribing. I'm changing jobs and I am not sure if I will be able to subscribe from my new life. I've sure enjoyed my time here and count all of the people that I have met as good friends!! Don't fight too much. Love the music and love the people behind the music! I hope to have your bits a'bathin' my eyeballs soon, but if not, its been grand!!! Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** there'll be snuff juice everywhere **** ========================================================================= Date: Wed, 8 Nov 1995 08:42:19 CST6CDT Reply-To: SOXTON@CHE2.CHE.UMN.EDU From: Sara Oxton Organization: University of Minnesota Subject: Re: Earl King (was: Blues Question) Earl's record "Glazed" tells the whole story... >> I was reading one of my old Blues Revue magazines last night and there is a >> review of a Snooks Eaglin record/cd that starts out with a sentence about >> the oddness of Earl King composing some of his songs in a Tastee Donut shop >> in New Orleans. Does anybody know more about this????? This ex-flour >> child/blues seeker is curious to know..... ========================================================================= Date: Wed, 8 Nov 1995 10:05:05 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Theory ?? Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU On 8 Nov 95, L W had this to say... > No flames, but could theory is a white thing, they/we seem to be the ones who > need it, cause I honestly can't think of many black BLUES players who have > formal music training.... It would depend on what you are going to call formal training. Is formal training where momma gives you ten bucks to go to your weekly piano lesson? Is formal training where an elder Son House shows a young man how to tune his guitar in different ways, and how to find different chords on it? I think they are both "formal training". I don't think many people pick up an instrument and figure out how to play it all by themselves. Just because you hear a delta Bluesman on an old Library of Congress recording say that he's playing "in the key of natural", doesn't mean that he doesn't understand music theory, it means YOU don't understand HIS names for things. I think that many of the debaters of this issue are making the mistake of thinking that the passing down of everything your uncle knows about making music does not constitute music theory training. It does. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 8 Nov 1995 09:13:52 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Theory ?? In-Reply-To: Message of Wed, 8 Nov 1995 10:05:05 -5 from On Wed, 8 Nov 1995 10:05:05 -5 P.W. Fenton said: >> No flames, but could theory is a white thing, they/we seem to be the ones who >> need it, cause I honestly can't think of many black BLUES players who have >> formal music training.... > >It would depend on what you are going to call formal training. Is >formal training where momma gives you ten bucks to go to your weekly >piano lesson? Is formal training where an elder Son House shows a >young man how to tune his guitar in different ways, and how to find >different chords on it? I think they are both "formal training". I Point well made, I'm going back into the woodwork. Thanks for setting me straight ....AGAIN :-) it's better to be thought of as a fool, than to speak and remove all doubt LW ========================================================================= Date: Wed, 8 Nov 1995 10:26:06 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Re: Blues Books Comments: To: Barry Silverberg Barry: Funny you should ask, I've been thinking about starting a blues books thread. Of those you mention, the one's I'm familiar with and recommend are: > > Country Blues - S. Charters > Chicago Blues - M. Rowe > Land Where The Blues Began - A. Lomax especially Mike Rowe's book, packed with tidbits and gems. Didn't know it was still in print, but if you can get it, buy it! The two I recommend are Paul Oliver's The Story of the Blues, comprehensive text and pictures from a variety of sourses (long out of print I believe), and Val Wilmer's The Face of Black Music with excellent pictures by Wilmer of Mississippi bluesmen in their own homes (back in print.) I just picked up a copy of Frederic Ramsey Jr.'s Been Here and Gone (out of print) which contains some excellent photographs and text. For out of print bluesbooks you might try Paul Garon's Beasley Books (Paul posts regularly to Blues-L with info on how to obtain his catalogue) or get on Arthur L. Newman's mailing list. His address is 10325 Elk River Ct. Fountain Valley, CA 92708-5924, Phone 714/968-3706, Fax 714/968-3921. He sends out a regular list of current and out of print jazz and blues books. (Disclaimer: I am in no way connected to either bookseller, but have done business quite satisfactorily with both.) ========================================================================= Date: Wed, 8 Nov 1995 07:24:42 -0800 Reply-To: Garry Segal From: Garry Segal Subject: Kenny Wayne Shepard I never heard of Kenny Wayne Shepard until someone gave me a free ticket to see him at a club in town. You get what you pay for in this case. Just a kiddie rock band all young and competent for their age ( mid 20's?) but sounded like local high school rock band , no blues content that I could detect. Lots of hair swinging though. Very unfortunate that the show was promoted as a blues show. I have very wide tastes on the blues/soul/jazz/rock/R&B side of things and these guys didnt fit in there anywhere. Any comparisons to SRV are way overstated. I dont like giving negative reviews but this is another example of a marketing ploy of a young kid who doesnt know any better being used, instead of bluesed. Garry ========================================================================= Date: Wed, 8 Nov 1995 10:32:13 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Bartender's Bop Playlist Here is Monday's playlist, rhythm and blues in all it's glory for the most part. Enjoy! Title Group Year Label -------------------- -------------------- ---- -------------- Chew Tobacco Rag Carroll, John 51 Jukebox Lil Bump Miss Suzie Turner, Big Joe 51 Atlantic See You Soon Baboon Hawkins, Dale 56 Chess Legend of Sleepy Monotones 58 Murray Hill Hollow Poison Ivy Mabon, Willie 54 Mr R&B You Done What The Brownlee, Archie 59 Gospel Jubilee Doctor Couldn't Do That's Right Powell, Chris 49 OKeh Live At The UN Mabley, Moms 61 Chess Tornado Hawkins, Dale 58 Chess Your Cash Ain't Big John & the 54 Edsel Nothin But Trash Buzzards Come On Daddy (Let's Traylor, Peral 51 OKeh Go Play Tonight) Cindy-Ella Mabley, Moms Chess I'll Get Along Darnell, Larry 49 Mr R&B Somehow In The Garden Brownlee, Archie 54 Gospel Jubilee Goof Boogie Brown, Little 51 OKeh Brother Little Richard's Little Richard 56 Ace Boogie You Give Me The Cortez, Baby 58 Edsel Heebie Jeebies Rock this Morning Fulson, Lowell 57 Chess Square Dance Boogie Anderson, Ernestine 53 OKeh Break It Up Mabley, Moms Chess Cold Feet Moonglows 58 Chess Town Without Pity Nylons 82 Open Air Serve Another Round 5 Keys Charly Dream of a Lifetime Flamingos Chess Ten Commandments of Moonglows 57 Chess Love Stars Are Ours Nylons 86 Open Air Helter Skelter Bobs 83 Kaleidoscope James Brown Zap Mama 94 Luka Bop Combat Zone Nylons 86 Open Air Love Is A River Moonglows 56 Chess Whispering Stars Flamingos Chess ----------------------------------------------------------------------------- My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Wed, 8 Nov 1995 10:50:13 -0500 Reply-To: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM From: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM Subject: Blues-l Postings Missing In-Reply-To: <199510312050.PAA02523@sun.bnkst.edu> I have not received any Blues-l mailings since last friday (nov 3) ans attempts to contact the list owner have failed. If this shows up on the list will someone please email me or perhap shed some light on what's going on. On a Blues releated topic. I received the latest Blues Review and am happy to see what looks like an increase in their "Review" section but am still distressed on an increasing amount of space being dedicated to Jazz. In one of the editorials they state that response has been overwelmingly postive on their jazz coverage. I find that hard to believe. Jim Smith ========================================================================= Date: Wed, 8 Nov 1995 11:00:00 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Organization: IQuest Internet Services Subject: Don't confuse Theory with Training ============So once more let me get this straight: You are saying that Little Walter, Muddy Waters, Hound Dog, ....etc were in need of musical education. Lemme ask the WHOLE list this question: Name some of the blues legends that actually had some formal theory/musical training...========== I guess we should reframe the discussion around learning by listening or learning by being taught by modern methods. The answe above does little to help the debate as it was framed before (Theory vs no theory -- which never made sense to me anyway). It makes no sense to suggest that because so many major blues stars made wonderful blues music without having the benefit of FORMAL music training that they did not still benefit from theory. Understanding theory does not require one to know how to sight read or transcribe chord changes into the "Nashville" numeral sytem. It merely means you can apply mucical conventions (like a scale) to an instrument. It matters not that you know what the scale degrees are. That requires a knowledge of theory SPEAK, which I'm afraid a lot of people in this debate are confusing with learning theory. Most formal music training revolves around learning to read music and learning the language of music theory. It's not the only way to learn the actual constructs that make up thre theory we've ended up building a language for. Listening is still the best teacher. Theory can be TAUGHT or it can be LEARNED by listening. You're gonna assimilate it (I don't mean ALL of it, ofcourse) anyway. I'll bet if you approached Robert Johnson when he was alive and heard him play a chord, you could ask him to play several other ways to make that chord and he could do it. Just because he doesn't understand what the technical terms for different voicings are doesn't mean he hasn't learned how to play them somewhere along the way. If someone would have shown him a box scale near a few chords when he first started out might he have learned faster??? Possibly. He would eventually discover that he could bend to and from notes in that box and vary from that box to suit his tastes, etc.... RJ Bauman ========================================================================= Date: Wed, 8 Nov 1995 11:10:00 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: That Harp Tone- reply to RL? RL said> Practice, son. A lot. You never get that tone unless you earn it. Sorry RL, no offense, but my harp player needs no practice. He's one of the most astounding Chicago harp players I've ever heard. He is Sonny Boy Williamson incarnate. Jerry Portnoy's got nothing on my guy. Pat could stand in onstage with the biggest names performing today and blow your friggin' socks off. My question of 'tone' is purely a technical one. It is definitely equipment- based. Electrified tone is by its very nature equipment based. That fat, greasy, distorted tone that Kim Wilson and others get is achieved with the right mike, amp, tone settings, and nice, warm tube power. At Ron Kraemer's suggestion, I've got a call in to Kevin at Kevin's Harps and hopefully he'll be able to offer some equipment expertise. Thanks to everyone else who sent suggestions too. Riffin Rick Gate Street Blues, Worecester, Mass. F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 8 Nov 1995 09:41:46 CST Reply-To: Edward From: Edward Subject: You can't underestimate music theory in blues Regarding this thread of music theory and blues: A basic need for music theory for any style of music (and yes, this does include blues) is to be able to duplicate and repeat melodies and hooks, chords, phrasing, tunings, and other musical effects at will. To tune a guitar, for example, requires the tuner to understand at which specific pitches each string should be tightened, even if that understanding is limited to "OK, be sure that each string sounds the same as its upper string at the fifth fret, except for the second string up, which should sound the same as the third string up at the fourth fret." Relying on the devil at the crossroads to tune your guitar for you is sheer foolishness. Other aspects of blues theory come from dances, many of which are long gone, and others that are seldom seen except on certain occasions when some of the older folks get up. When people start dancing, the performer has to be sure to maintain his meter and rhythm if he (or she) want to keep the dancers on the floor. To be sure, Muddy Waters, Hound Dog Taylor, and even Robert Johnson never studied theory in a formal conservatory, but they did learn from other musicians how to keep in tune, keep in time, and thus keep on top of their music. What these and other musicians in the blues music tradition had to learn was no less stringent than a composer had to learn in a school of music. Just how some of these blues musicians remembered as much as they did night after night in order to continue playing their brand of music is simply beyond me. Jazz musicians, including Mississippi-born Lester Young (of Woodville) and Milt "The Judge" Hinton (of Vicksburg), have demonstrated how important an understanding of music theory can aid the retention of musical concepts so that the best moments can be played night after night. I am very disturbed by those posts that state (paraphrasing) "You don't need theory to play blues, play what you feel." It seems then the blues musicians we respect most (including Muddy Waters and Robert Johnson) are musical idiots who play great music, not because of their hours of practice and discussion, but because of the grace of God and the devil. It's time we recognized our blues heroes as craftsmen, excellent ones at that. Pardon the bad writing, I just haven't had my coffee yet this morning. Edward Komara, Ole Miss ========================================================================= Date: Wed, 8 Nov 1995 09:13:34 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Theory ?? >So once more let me get this straight: You are saying that Little Walter, >Muddy Waters, Hound Dog, ....etc were in need of musical education. Well, I'm not saying that. I've had my say in the theory debate and my position is that is you want to learn theory, fine. If you don't want to learn theory, fine. This doesn't make you right and the other person wrong. Music comes from the soul. I don't think any of us are saying the aforementioned legends needed musical education. I think to ask the question is to miss the point of the debate. >Lemme ask the WHOLE list this question: Name some of the blues legends that >actually had some formal theory/musical training... T Bone Walker knew what he was doing. His variations on standard blues progressions and his phrases in his solo are evidence that he studied something with someone somwhere. Charles Brown, according to BB King, had gone to college and majored in Music. BB King himself has picked up quite a bit of knowlege from somewhere. Read some of his interviews where he discusses music using (gasp) theoretical terms. >No flames, but could theory is a white thing, they/we seem to be the ones who >need it, cause I honestly can't think of many black BLUES players who have >formal music training.... There are many white Blues players as well who don't have formal musical training. I think that one reason people have a adverse reaction to theory is because they don't know or understand it. I don't care whether someone knows what a Locrian mode is, I want them to move me. That's the bottom line and it has nothing to with ones theoretical background. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Wed, 8 Nov 1995 12:17:29 CST Reply-To: JBards From: JBards Subject: Re: Kenny Wayne Shepard Comments: To: Garry Segal Kenny Wayne is pretty heavily marketed by his father, Ken Shepard, a local DJ/ promoter ( could you have guessed?). He begand making a public splash about 3 years or so ago, and at that time the PR approach was the "youthful prodigy" line- he was doing a pretty good SRV imitation. He still does a pretty comeptent SRV -type style in my opinon, but there are a lot of SRV clones out there and Kenny Wayne no longer has the novelty of youth on his side. I'm hoping he will find his own style and stride. -Jim _______________________________________________________________________________ Subject: Kenny Wayne Shepard From: Garry Segal at INTERNET-SH Date: 11/8/95 10:23 AM I never heard of Kenny Wayne Shepard until someone gave me a free ticket to see him at a club in town. You get what you pay for in this case. Just a kiddie rock band all young and competent for their age ( mid 20's?) but sounded like local high school rock band , no blues content that I could detect. Lots of hair swinging though. Very unfortunate that the show was promoted as a blues show. I have very wide tastes on the blues/soul/jazz/rock/R&B side of things and these guys didnt fit in there anywhere. Any comparisons to SRV are way overstated. I dont like giving negative reviews but this is another example of a marketing ploy of a young kid who doesnt know any better being used, instead of bluesed. Garry ========================================================================= Date: Wed, 8 Nov 1995 17:18:38 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Re: SEARCHING...every which-a-way Comments: To: bit-listserv-blues-l@uunet.uu.net The new edition of B&R is now in press - by Cambridge U Press - now a 2 vol set. Should be out by early 1996. 3. I heard some time ago, that the Godrich and Dixon, Blues and Gospel Records 1902-1942, was being revised and a new edition would soon be available. Does anyone know if this has come to pass? In the meantime, does anyone have an older edition that they would be willing to sell or trade? ========================================================================= Date: Wed, 8 Nov 1995 12:18:24 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Eric LeBlanc's Blues Dates - November 8th -Reply Comments: To: EWISSOLIK@crs.loc.gov In an earlier post, P.W. Fenton noted: >>WATERMAN, RICHARD A. (author) d. 1971-1108, >>TAMPA, FL >>Ummm... probably a stupid question but since I'm still >>learning who's who and >>what's what, I'm going to ask anyway..... isn't he on this list >>and therefore, I >>assume, still alive? Well, it's just one of life's odd coincidences. We not only shared the same last name, same first name, same middle initial, we also spelled our middle names the same (ALLEN). We was a folkorist (ethnomusicologist) who apparently did a lot of writing for Library of Congress publications dealing with African rhythm patterns and their influence on the Carribean and American south. I used to get mail for him dealing with the American Folklore Association and often had people in the late 1960s confuse me with him. The only time we might have almost met was when I was traveling with Son House for a concert at Wayne State University (Detroit) where Doctor Waterman was then a professor. Someone said he came into the concert hall and stood in the back for a few minutes and then left. He later taught at University of South Florida in Tampa and died there. It's a bit eerie because he's been dead so long that I never think about the coincidence any more and here it just jumps up again, strangely enough, on the birthday of Bonnie Raitt, with whom I worked for many years. What was it that Mark Twain once said? "I wake up in the morning and read the newspaper. If I don't see my death notice, I get out of bed and get dressed." Dick Waterman ========================================================================= Date: Wed, 8 Nov 1995 12:35:50 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Theory ?? Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu I am obviously missing something here because I thought that 'formal' training referred to the CLOTHES that a person wore while learning. Am I confused on this? When the King of England abdicated in the 1930s, didn't he form Duke (of Windsor) Records? If the current heir to the English throne left to form a blues label, it would be called (Symbol) Records because he would be man previously known as Prince. Wasn't King Biscuit the regning monarch of Arkansas? The reason that you don't see a lot of blues being played by men in tuxedos is that formal performance is much rarer than formal training. Therefore, the popularity of Levi 501 Blues. You may now resume normal programming . . . ========================================================================= Date: Wed, 8 Nov 1995 12:11:46 -0600 Reply-To: Bennett Pearce From: Bennett Pearce Organization: UAB Pediatric Cardiology Subject: Re: R.SYKES question Comments: To: bit-listserv-blues-l@uunet.uu.net In article , Art Schuna wrote: > The book, "A Left Hand Like God: A History of Boogie-Woogie Piano" was > written by Peter Silvester and published by Da Capo copyright 1988. Thanks for the refrence. It is available in paper and I have just ordered it from a local bookshop. It should be available online thru Amazon bookshop. -- Bennett Pearce ========================================================================= Date: Wed, 8 Nov 1995 13:30:31 EST Reply-To: William Pollak From: William Pollak Subject: GIG ANNOUNCEMENT: Billy Price Band, Alexandria VA, 11/10 DC area soul/blues fans, Please email me for information about my gig at the Birchmere in Alexandria, Va. this Friday night. Last time I was at the Birchmere, I played the night before Merle Haggard. That calendar went right into the scrapbook. Bill P. Bill Pollak, aka Billy Price Carnegie Mellon U., Software Engineering Institute Pittsburgh, PA 15213-3890 email: wp@sei.cmu.edu ========================================================================= Date: Wed, 8 Nov 1995 12:39:40 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: JOE LOUIS WALKER: BLUES OF THE MONTH CLUB Comments: To: "David J. Wallace" In-Reply-To: <2EAC5DD1E95@Agden.shef.ac.uk> I would like to throw my $.02 in on this one too. I absolutely _loved_ it!! It definitely pushes the envelope a little, but usually with excellent results. I've already made it clear in previous posts that I I think JLW is one of, if not the, finest performers in contemporary blues. This album certainly underscores that point. Many of the tracks lean toward Rock/Soul, but JLW's screaming guitar and passionate vocals keep everything firmly rooted. I'd give the album a 7.5 out of 10, and I'm a tough grader. Rob PS David, your post was excellent. Don't be shy. PPS I may be slightly giddy over this album b/c my fiance go it for me along with: Muddy's Plantation Recordings "Body & Soul" Colemna Hawkins "Blues and Ballads" Lonnie Johnson w/ Elmer Snowden (OUTSTANDING ALBUM!!!) "Ellington is Forever" Kenny Burrell So, needless to say i am in a euphoric state!! Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke On Tue, 7 Nov 1995, David J. Wallace wrote: > I just picked up Joe Louis Walker's new CD 'Blues of the Month Club' > and I thought that I'd share my thoughts with you all on it. Firstly, > I'm a big Joe Louis Walker fan, so this may not represent the worlds most > objective viewpoint, that said I'll try and keep it as > unbiased as possible. Secondly, this is not a review as such, > but my thoughts in general. I hope that this is useful to someone out there. > > Joe Louis Walker: Blues of the Month Club > Verve 527 999-2 > > BLUES OF THE MONTH CLUB/ YOU'VE GOT TO LOSE/ LOST HEART/ > BLUESIFIYIN'/ HIDDEN FEELINGS/ PLAY 'EM WHERE THEY LAY/ GET IT RIGHT/ > I'M NOT COMIN' OVER/ SECOND STREET/ YOUR LYIN' EYES/ STREET PEOPLE. > > My first impressions were as usual jumbled. The CD did not seem to > 'gel' at all well, the tracks not showing any natural progression. The > quality of the material was also on first impressions rather > variable. I have always found this when listening to a Joe Louis > Walker CD for the first time. Joe Louis Walker's music requires a > degree of concentration and attention. By the third listening I was > starting to like the CD. It's not in the same league as 'Blues > Survivor', but is on a level with 'JLW' indeed I would venture that it > is a slightly more focused and committed performance than 'JLW' > comparable in places to 'The Gift' in intensity. > > The material is a mixture of some soul, some rather more progressive > stuff (which I like), an acoustic piece, and straight up Joe Louis Walker blues. > Joe Louis Walker plays very good slide on roughly > half the tracks. He is joined by Steve Cropper on the title track > who also shares a production credit with Joe Louis Walker. The Memphis Horns > are present on two tracks, and regular Joe Louis Walker > guests 'The Spiritual Corinthians' contribute backing vocals. > > The title track along with 'Play 'em where they lay and 'I'm not > comin' over' are the highlights for me, with 'Bluesifyin'', 'Your Lyin' Eyes, > Ike Turners 'You got to lose' and 'Street People' also being solid. > The remainder is typical Joe Louis Walker soul, > acceptable, but nothing to get exited about. Overall the performances are solid, > with very nice guitar work from Joe Louis Walker especially on 'I'm not comin' over' > and the slide pieces. Joe Louis Walker's vocals are tough and gritty and do not > disappoint. > > As a side note Joe Louis Walker seems to have lost about fifty pounds > since I last saw him live, (two years ago). Fortunately his playing isn't > losing weight. > > Concluding, I would say that this CD advances Joe Louis Walker's > art form a little further, whilst reinforcing the ground explored in 'JLW'. > It didn't make me jump up and down the same way that 'Blues > Survivor' did, but it is a solid effort, worthy of a recommendation > to general fans, and certainly a strong recommendation to dedicated > Joe Louis Walker fans like me. > > Thanks > > David. > > PS this is my first major post, is it OK? > ========================================================================= Date: Wed, 8 Nov 1995 12:47:57 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: Theory ?? Comments: To: L W In-Reply-To: Lemme ask the WHOLE list this question: Name some of the blues legends that actually had some formal theory/musical training I understand that Wayne Bennett (maybe not a legend, but one of my fav's) studied formally and also played in the pit orchestra at a theater in Chicago. Rob PS I could be wrong, wouldn't be the first time. Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Wed, 8 Nov 1995 12:49:07 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: So long , for now Comments: To: Willy Evans In-Reply-To: Willy, Take care and good luck. It's been a pleasure having you around. Your comments and insight as a musician have always bee terrific contributions and they'll be missed. Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke On Wed, 8 Nov 1995, Willy Evans wrote: > Well, my brothers and sisters de la blues-l. I fear that I will soon be > unsubscribing. I'm changing jobs and I am not sure if I will be able to > subscribe from my new life. I've sure enjoyed my time here and count all > of the people that I have met as good friends!! > > Don't fight too much. Love the music and love the people behind the > music! I hope to have your bits a'bathin' my eyeballs soon, but if not, > its been grand!!! > > Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu > **** there'll be snuff juice everywhere **** > ========================================================================= Date: Wed, 8 Nov 1995 19:00:15 GMT Reply-To: cnotes@CNOTES.COM From: Mike Corso Subject: Online Chat/Excello's Lazy Lester, Jerry McCain Hi, folks! I'm interested in setting up an online chat with Excello recording artists Jerry McCain, Lazy Lester and perhaps Nashboro gospel recording artists (such as Shannon Williams) as well. I'm looking for feedback as to the best place to do this (IRC? AOL? Prodigy? Compuserve?) so please email me with your thoughts. Thanks for any suggestions. Mike Corso C NOTES INTERACTIVE http://www.cnotes.com ========================================================================= Date: Wed, 8 Nov 1995 14:05:00 -0500 Reply-To: Paul Greenbaum From: Paul Greenbaum Subject: Re: Eric LeBlanc's Blues Dates - November 8th -Reply Comments: To: Erica Wissolik In-Reply-To: Richard A. Waterman who died in 1971 is another Dick Waterman, also involved in revitalizing the blues and, I believe worked with Son House. He was a very well respected ethnomusicologist and anthropologist who taught at the University of South Florida. His wife, Pat Waterman is also still at USF, a faculty member in the Dept. of Anthrolopology, who is a well-known folklorist in Florida, and is currently President of the Florida Folklorist Society. Their son, Chris Waterman, carries on the tradition, is an enthnomusicologist, who did his dissertation on and has written a well-received book about Nigerian Juju music. HTH, Paul Greenbaum greenbau,hal.fmhi.usf.edu Tampa, FL On Wed, 8 Nov 1995, Erica Wissolik wrote: > >>> P.W. Fenton 11/08/95 12:22am >>> > > WATERMAN, RICHARD A. (author) d. 1971-1108, TAMPA, FL > >>>>>>>>>>>>>>> > > Ummm... probably a stupid question but since I'm still learning who's who and > what's what, I'm going to ask anyway..... isn't he on this list and therefore, I > assume, still alive? > ========================================================================= Date: Wed, 8 Nov 1995 12:53:14 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Theory ?? In-Reply-To: Message of Wed, 8 Nov 1995 12:47:57 -0600 from On Wed, 8 Nov 1995 12:47:57 -0600 Rob Varak said: >Lemme ask the WHOLE list this question: Name some of the blues legends that >actually had some formal theory/musical training > >I understand that Wayne Bennett (maybe not a legend, but one of my fav's) >studied formally and also played in the pit orchestra at a theater in >Chicago. > >PS I could be wrong, wouldn't be the first time. I suspect there are many others. The only one I'm sure of his Albert King, later in his career. SRV (by no means a legend) had trouble playing with Bowie cause they stuck the "sheets" in front of him and he had no clue. So he just played Albert King kicks, maybe had he been able to read music he could have been the next Steve Vai or Yngwie Malsteen....I guess will never know... I remember Anson was considering taking some theory classes, about 5 years ago I have no idea if he ever did. That's second hand information, btw. SRV, is one of my favorite modern players and I'm glad he was clueless on reading. I actually learned much theory on my own, through books and self taught lessons In my case it took the enjoyment out of playing. That's just for me, of course I forgot most of it, it did help me TALK about it. LW 'who cares' ========================================================================= Date: Wed, 8 Nov 1995 19:00:51 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: LETS HAVE A LITTLE BOOGIE WOOGIE 'ROUND HERE Comments: To: bit-listserv-blues-l@moderators.uu.net If there has been little in the way of gospel on this news group there has been bugger all on boogie woogie. So, here's a nice double set that you should order from your nearest import shop/dealer. That is unless you have everything here on vinyl or even 78's!!! BOOGIE WOOGIE PIANO Chicago - New York 1924 - 1945 Various Artists Fremeaux And Associes FA 036 PINETOP SMITH: Pinetops Boogie Woogie/JIMMY BLYTHE: Chicago Stomps. COW COW DAVENPORT: Cow Cow Blues/Chimes Blues. JIMMY YANCY: Five OClock Blues/Yancey Stomp/Slow And Easy Blues. HERSAL THOMAS: The Fives. ALBERT AMMONS: Suitcase Blues/ Boogie Woogie Stomp/St. Louis Blues/The Boogie Rocks. MEADE LUX LEWIS: Honky Tonk Train Blues/Mr. Freddies Blues/ Six Wheel Chaser. CHARLES AVERY: Dearborn Street Breakdown. CRIPPLE CLARENCE LOFTON: I Dont Know. MONTANA TAYLOR: Detroit Rocks. WILL EZELL: Heffer Dust. BLIND LEROY GARNETT: Chain Em Down. SPECKLED RED: St. Louis Stomp. BOB CALL: Thirty One Blues. JABO WILLIAMS: Pratt City Blues. DOT RICE AND FRANKIE BLACK: Texas Stomp. LITTLE BROTHER MONTGOMERY: Farish Street Jive. CLEO BROWN: Pinetops Boogie Woogie. PETE JOHNSON: Basement Boogie/Death Ray Boogie/Dive Bomber. BOOGIE WOOGIE TRIO: Boogie Woogie Prayer. ALBERT AMMONS AND PETE JOHNSON: Sixth Avenue Express/Barrelhouse Boogie. JAY McSHANN: Hold Em Hootie. LIONEL HAMPTON AND THE KING COLE TRIO: Central Avenue Breakdown. CECIL GANT: Cecil Boogie. SAMMY PRICE: Boogin With Big Sid. Is Boogie Woogie about to make an unannounced comeback in popularity? Not an unfair question given the amount of material now being made available again on compact disc. Last month we featured a fine set issued by Storyville on what Keith Briggs described as non-commercial boogie from the Boogie Woogie Trio - Ammons, Johnson and Lewis, the Japanese Mercury box set has over 30 Ammons sides and any amount of boogie and blues piano has appeared on Document CDs, if only the whole of the Magpie Piano Blues Series had been reissued on CD, with extra tracks, only then would we have known we were in boogie heaven. This double set, relies heavily on the great-pre war tradition of blues and boogie piano with the first CD covering piano solos, with the except of the Dot Rice side from 1935 which features Frankie Black and Scrapper Blackwell and Speckled Reds superb St. Louis Stomp cut in Aurora in 1938 with Robert McCoy and Willie Hatcher on mandolin. Commencing with Pinetops ground breaker from 1928, side one also illustrates from when boogie woogie partly came by including the impeccably played The Fives cut in 1924 by the teenage Hersal Thomas and Jimmy Blythes Chicago Stomps from the same year. Obvious inclusions in any set like this have to be Cow Cow Blues, Ammons sweetly played Suitcase Blues, the original 1927 version of Honky Tonk Train Blues and Montana Taylors thundering Detroit Rocks. On the barrelhouse side Bob Calls, Leroy Garnetts and Jabo Williams sides are classics as is the impeccable Farish Street Jive from Little Brother. Disc two takes us through a decade from 1935 to 1945, the golden age of boogie woogie, when the music moved uptown, out of juke joints, barrelhouses and brothels and into the appropriately named Cafe Society. Driven by the triumvirate of Ammons, Johnson and Lewis, boogie woogie caught the USAs imagination and the style was adopted by a range of popular bands and artists. Ammons, Johnson and Lewis provide the meat of disc two and all of the sides by them as soloists (the first time I heard Ammons Boogie Woogie Stomp I would have sworn there were two pianists), as a duet or as the Boogie Woogie Trio are superb and should not be missed. However, both Jimmy Yancy sides from 1939 also demonstrate that he was a Grade-A pianist, listen to the complex figures on Yancy Stomp. Not to be missed is McShann on blistering form on Hootie from 1941, Hamp and Nat Cole 1940 run around on Central Avenue Breakdown and of course Gants Cecil Boogie. Finally the great Sam Price winds things up with a marvellous 1945 solo driven by the deft drums of Big Sid Catlett. This is an excellent compilation, put together with a great deal of thought, avoiding the overtly commercial side of the genre from the early 40s, but including a balance of classics and rarer items that will make this one definitely to get if the boogie woogie section of your collection is non-existant or at best a little meagre. Older hands will know just when to hold it when Pinetop tells ya to. Tony Burke ========================================================================= Date: Wed, 8 Nov 1995 18:39:56 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Re: Otis Spann discog? Comments: To: bit-listserv-blues-l@moderators.uu.net Try Blues Records Volume Two for the complete Spann solo discog. TB ========================================================================= Date: Wed, 8 Nov 1995 18:57:58 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: LETS HAVE A LITTLE GOSPEL 'ROUND HERE Comments: To: bit-listserv-blues-l@moderators.uu.net There's been little or no gospel on this newsgroup for a while so here's somethin' to straighen things out a little. Taken from B&R 105 (Xmas issue) LA GRANDE EPOQUE DU GOSPEL 1902 - 1944 Best Of Gospel 21 DINWIDDIE COLOURED QUARTET: Gabriels Trumpet. BLIND WILLIE JOHNSON: Dark Was The Night - Cold Was The Ground. BIRMINGHAM JUBILEE SINGERS: He Took My Sins Away. REV. JM GATES: Deaths Black Train Is Comin. CLARA SMITH: Get On Board. BESSIE SMITH: On Revival Day. ARIZONA DRANES: Crucifixion. REV. FW McGHEE: Fifty Miles Of Elbow Room. ELDERS McINTORSH AND EDWARDS: The 1927 Flood. WASHINGTON PHILLIPS: Denomination Blues Part One. BLIND JOE TAGGART: Take Your Burden To The Lord. BLIND ROOSEVELT GRAVES AND UAROY GRAVES: When I Lay My Burden Down. AC FOREHAND AND BLIND MAMIE FOREHAND: Mothers Prayer. ELDER RICHARD BRYANTS SANCTIFIED SINGERS: How Much I Owe For Love Divine: MOTHER McCOLLUM: When I Take My Vacation In Heaven. REV. JC BURNETT: The Gospel Train Is Leaving. REV. AW NIX: The White Flyer To Heaven - Part 1. THOMAS A. DORSEY: Singing In My Soul: REV. EDWARD W. CLAYBORN: Gods Riding Through This Land. NORFOLK JUBILEE SINGERS: Jonah In The Belly Of The Whale. REV. DC RICE: Im Pressing On. MITCHELLS CHRISTIAN SINGERS: Famine In The Land. GOLDEN GATE QUARTET: Gospel Train. LOUIS ARMSTRONG WITH THE DECCA MIXED CHORUS: Shadrack. MAHALIA JACKSON: Keep Me Everyday/Gods Gonna Separate The Wheat From The Tares. SISTER ROSETTA THARPE: Strange Things Happening Everyday/Two Little Fishes and Five Loaves Of Bread. SELAH JUBILEE SINGERS: Travelling Shoes. DENNIS CRUMPTON AND ROBERT SUMMERS: Go Ill Send Thee. JOSH WHITE: I Wonder Will My Mother Be On Dat Train. BLIND BOY FULLER: Precious Lord. REV. GARY DAVIS: I Belong To The Band - Hallelujah! BROWNIE McGHEE: I Want To See Jesus. GOLDEN EAGLE GOSPEL SINGERS: Hes My Rock. HEAVENLY GOSPEL SINGERS: John Wrote The Revelation. GEORGIA PEACH: Jesus Knows How Much We Can Bear. SOUTHERN SONS: Go Down Moses. DIXIE HUMMINGBIRDS: Book Of The Seven Seals. SISTER ERNESTINE WASHINGTON WITH THE DIXIE HUMMINGBIRDS: Saviour Dont Pass Me By. REV. UTAH SMITH: I Want Two Wings. JUBILAIRES: Before This Time Another Year. KINGS OF HARMONY: Little David. WILLIE LEWIS AND HIS ENTERTAINERS: Wholl Be A Witness. The perfect antidote to those Document pre-war gospel sets that some of B&R reviewers dont even dare to write about - or listen to for that matter. Pre-war gospel is an acquired taste for most blues fans, with the notable exception of Willie Johnson and a few choice guitar evangelists. This double set, produced in France by Gilles Petard provides the perfect overview of what was goin on in the gospel music scene before the house wreckers in the post war quartets got to rocking the roofs of churches and stadiums throughout the USA. Although much of the material here may be familiar to older hands, Petard has thought about the less convinced and those needed to be saved and has provided a cross section of black religious music, from a very early (and listenable recording) by the Dinwidde Quartet cut in 1902 for Victor through guitar evangelists, raging preachers, jubilee quartets (from whence sprang hard quartet singing), familiar blues artists in clerical garb and a few novelty sides to spice things up a little. Keynote sides that will appeal to blues fans obviously include Blind Willies Dark Was The Night, Taggarts Burden, cut in 1926 for Vocalion, Fullers track from 1940 with Oh Red and Sonny Terry, Brownies I Want To See Jesus (as Brother George) cut for Okeh in 1941, Gary Davis 1935 ARC side, Sisters two brilliant tracks with the Sam Price Trio, and of course the unmissable Utah Smith, a major maniac, who tears up his theme Two Wings, this the Regis release from 1944. On the quartet side not to be missed are the Golden Gates brilliant harmony and instrument imitation on the superb Gospel Train cut for Bluebird in 37. Also on hand to help you on the road to righteousness are the Selahs, The Heavenly Gospel Singers, the Dixies and the Southern Sons. Just in case you should slip back to the ways of the flesh, the Revs Gates, Burnett and Nix are around to scare the living shit out of you and make sure you get back in there. For good measure the pianist Arizona Dranes bashes seven bells out of the instrumental Crucifixion, Mahalia Jackson storms her way through her Decca, 1937 recording of Wheat From The Tares, Armstrong mugs it up on Shadrack, Crumpton and Summers deliver a brilliant slide version of Go Ill Send Thee one of two issued sides cut for ARC in 1936, The Golden Eagles with Hammie Nixon on harp are in great form and its great to have the delicate and complex harmonies of the Kings Of Harmony on a side from the King Solomon label cut in 1944. If you are just getting into gospel and religious music this set, with a booklet in French and English, full discography and some fine photographs is required listening as it provides a base from which to explore the fascinating era in greater depth - thats if you dare! Tony Burke ========================================================================= Date: Wed, 8 Nov 1995 14:36:58 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Blues Books Help Wanted; question about Paul Oliver & blues research Comments: To: bsco@panix.com In a message dated 95-11-08 04:39:47 EST, bsco@PANIX.COM (Barry Silverberg) writes asking of a number of books. Here's my thoughts (I've got them grouped where my thoughts fit together): > Blues Fell This Morning - P. Oliver > Country Blues - S. Charters These are two seminal books on the subject by people researching in the field, early on. Charters gets a certain amount wrong, and both books have been superceded by later research in many details. This brings up somethign I've wondered about for years. Oliver's writing has some amazing information about amazingly obscure musicians who are favorites of mine, such as Coley Jones and the Dallas String Band, or Roosevelt and Uaroy Graves and the Mississippi Jook Band. None of the "principals" of these bands survived long enough to be interviewed, and Oliver does not footnote or otherwise explain where he got information about these folks. It's not that I've ever caught him out or anything like that -- where the facts involve things I've heard about through other sources, they pretty well check out. But I have to wonder where he gets some of his information. Even given that he traveled over here doing research as early as the fifties. > Land Where The Blues Began - A. Lomax I have a couple of problems with this one. I get the impression it was written from recollection without careful review of the notes, more than forty years after the fact. I have a feeling the tone is a bit off-- that the place he is describing wasn't quite as described. I've been told by people who are experts that he gets things really really wrong (memory again). On the other hand, he *was* there and you get first-hand descriptions of the place that, at that moment, had to be the center of the blues universe from the guy who had the sense to record Muddy Waters, Howling Wolf, and Bukka White (just for starters). > Lost Highway - P. Guralnick Good but not great. He has 3 books that are better (see below) > Rhythm Oil - S. Booth Some amazing stories, hopefully mostly true, about Memphis and music. There are several recommended books about Memphis' music. I would rank this one behind Sweet Soul Music (which obviously covers other scenes, also) and Guralnick's Elvis book (which is a great biography if you have *any* interest in the birth of rock and roll), but ahead of Robert Gordon's It Came From Memphis > Sweet Soul Music - P. Guralnick This is a really, really fine book. It is great music history and great cultural history, and I know of no close 2nd in telling the story of soul music. I have occasionally wondered why Guralnick's writing about Memphis and Muscle Shoals (and the very integrated bands in those places) did not crop up on this list in the interminable "Can white boys play the blues" debates. I highly recommend this one. The third of his best books is the Robert Johnson one. I know some of the others of the books on your list, but have not given them a careful enough read to want to comment. Tom Freeland ========================================================================= Date: Wed, 8 Nov 1995 14:40:08 -0500 Reply-To: bob unger From: bob unger Subject: CDROM Blues? I just got the latest newsletter from Billy...er...Mr. Gates...you know, of Micro$oft. Anyway, there's a list of new cdrom's compatable with Windows 95 and there's one called 'Blue Chicago Blues 1.0' by Riverhill Software. Anybody know anything about this?? Hear of it, etc...etc.... BU bob@sun.bnkst.edu ========================================================================= Date: Wed, 8 Nov 1995 15:03:16 -0600 Reply-To: Roger Struve From: Roger Struve Subject: JOHN JACKSON AND WARNER WILLIAMS First, i just saw the Homespun Tape on John Jackson, and what a wonderful tape it is. At over 70 years old, John Jackson still plays extremely well. The tape is narrated/hosted by Roy Book Binder. Several songs are played by John, and Roy asks questions and things are played over slowly. It seems like it will be easy enough to learn from, but it is most interesting as a documentary, as John tells a few stories....especially touching is how he had learned a 1928 version of Miss. John Hurt's Candyman, and was still playing it in the back of this gas station when he was "discovered". The next night sitting on his porch (i didn't hear the name, and once knew who it was...but drat this alzheimer's combined with bad hearing anyway!)...and the guy took John to see John Hurt. John Jackson said he thought it all was a trick of some sort, as he could not figure that John Hurt was doing much other than pushing up daisies. BUT when he heard Hurt do Candyman, he knew it was the real thing. They got to meet that night, and Elizabeth cotton was there too! Great stories. DOes anyone know how to contact Warner WIlliams of A little bit of BLues? Also, i've lost John Jackson's home address where i sent his compilation and dedication on his birthday some months ago. Does anyone happen to have it handy? Thanks fellow/sister bluesellers! regards, delta doc roger ========================================================================= Date: Wed, 8 Nov 1995 15:06:55 -0500 Reply-To: Jerry Zolten From: Jerry Zolten Subject: Etta James book Since books keep comin' up, I'm in the middle of Etta James book about her life. Not exactly deep, but what a flow of anecdote from the possibility that pool shark Minnesota Fats was her dad to years of addiction and glimpses into the character of folks ranging from Johnny Otis to the Chess brothers to Jackie Wilson to Charles Brown and even Charles Brown's dad! I must say, my reaction to the book is like my reaction to her live performances, kind of taken aback by her lascivious gyrations but at the same time drawn by the intensity of the performance. ========================================================================= Date: Wed, 8 Nov 1995 15:21:21 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Risque Boy Arnold. Comments: To: bit-listserv-blues-l@uunet.uu.net Just gave a quick listen to the new Alligator CD by Billy Boy Arnold - Eldorado Cadillac and will review soon. However the final side is great dirt. Sort of a play on the standard Iky and Miky but without the use of the final change-that-meaning words. BBA just drops the entire last word and lets you fill in the blanks. Really a lot of fun and a good side to boot - the rest of the CD is a dose of contemporary blues with shots of BBA's harp work and what may be the stealer on this entire CD - the piano work of Carl Sonny Leyland. Story is that BBA specifically asked for Leyland to be flown in from somewhere, and GOD did he know what he wanted. Anyway a listen to Arnold and Loving Mother For You (the ref- ered to cut) is mandatory listening. Also - if you say those last three words "Mother For You" real fast 30 or 40 times it will hit you where this song is coming from. Looks like the blues is heading for the gutter - "thank god", it's about time. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Wed, 8 Nov 1995 15:27:57 -0500 Reply-To: RhythmShrk@AOL.COM From: Bernie Clarke Subject: Re: That Harp Tone- reply to RL In a message dated 95-11-08 11:11:49 EST, you write: >Sorry RL, no offense, but my harp player needs no practice. He's one of the >most astounding Chicago harp players I've ever heard. He is Sonny Boy >Williamson incarnate. Jerry Portnoy's got nothing on my guy. Pat could >stand >in onstage with the biggest names performing today and blow your friggin' >socks off. Well, Now that was just about the most ignorant statement I have ever read on blues-l! As a pro harp player, I can assure you that the microphone and amplifier have just about the least to do with having good tone on a harp. I have ten differnt amps:big, small, medium, whatever. I have Fenders, Silvertones. I even have an old Stromberg Carlson Tube PA head and at least six different microphones, bullets, Astatics whatever with crystal elements, dynamic elements, ceramic elements - lots of possible combinations. I used to be on a quest thinking I could find my tone in a box or a mic or a speaker or whatever. I will not deny that those things might help. But they are the gravy. The meat comnes from the player and his acoustic tone. I f you sound fat without a mic, then learn how to cup a mic around that sound and it should still sound fat. If he is "Sonnyboy incarnate" (let me lower my head to His Holiness) then point out to him that Sonnyboy rarely used a mic, preferring to play acoustic. Don't even try to make some silly statement that Jerry Portnoy has nothing on yo' boy. Jerry has an incredible gift. Comparing your friend to Jerry would be like saying yer bud walks on water better than Jesus Christ! It doesn't help your argument very much. Someone who has been playing for a long time might say to himself, how could this chump have Portnoy's chops if he has to have his guitar player buddy ask the blues list how to sound good? OK, back to your original question. Kim Wilson uses a variety of amplifiers in the studio. On his solo stuff he mentioned using a multi-speaker Gibson stuff on soem of the cuts. These are all old, small tube amps. I would imagine that he uses a variety of microphones as well. When I have seen him live, he had a brown Vibroverb (maybe a re-issue) and an Astatic JT-30 crystal microphone. I'll tell you though, I know guys that sound just as down and dirty as anybody with an SM-57 going through a PA. I don't go that route. I generally like a JT-30 through a small amp - maybe a Princeton or a Champ (very overdriven sound, not clean at all). I have a small Silvertone 1432 that I cannot recommend highly enough, but I really don't want everyone to know about it anyway. (My secret) I also have a Tremolux. That is a good mid-sized amp and some gigs if I don't want to rely on the PA for miking my harp, I'll use my Bassman. (reissue, sounds really good and ia almost the same as your buddy's) In all honesty, from what you desribe, it sounds like your pal need to hit the woodshed, with and without the amp to work on his sound - probably with another experienced harp player, not the rest of his band. Good Luck! BC ========================================================================= Date: Wed, 8 Nov 1995 14:00:04 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Theory ?? Comments: To: L W In-Reply-To: There are MANY Chicago blues musicians who had some formal training. Guitarist Reggie Boyd gave lessons in theory to Fenton Robinson, Louis Myers (who was working on his knowledge as long as he was still playing, usually from written music), briefly Otis Rush and Howlin' Wolf and many others. There were also music schools where musicians went. The Blues Archive at the Harold Washington Library (Chicago Public) has Wolf's old work book from a class he took. Compared to places like New York or L.A., Chicago has always been known as a place where sessions are done less off charts and more off "head" arrangements, but there are still some sophisticated players. Needless to say, part of formal training is opportunity. In the old rural south, church was the closest a lot of African-Americans could get to a musical education. Then there were ulterior motives. I remember Percy Mayfield telling me his start in music came early in school because he was "the biggest, oldest, dumbest kid in class and the teacher was horny, so she had me stay after school for 'piano lessons.'" There's also an ever-amusing part of Chauvard and Demetre's 1959 articles which have been reprinted in the book Boyage To The Land Of Blues, where the late Detroit jump guitarist Emmitt Slay tells John Lee Hooker that he could really get somewhere if he'd just learn how to really play his guitar right. The same comment was often made to and/or about Muddy. (I hope what's-his-face is still back in the ether so he won't reopen last year's most stupid thread!) ========================================================================= Date: Wed, 8 Nov 1995 15:32:25 EST Reply-To: Henry Gould From: Henry Gould Subject: Re: theory ?? I heard from several reputable sources (CIA, FBI, Shirley who works at the laundromat near here) that Jimi Hendrix studied theory with Albert Einstein. He was shacked up in the Princeton Theological Seminary one weekend, when Al just dropped by from the Institute with his fiddle. Never touched the instruments--but they talked--E=mC flat was just the beginning. No one can tell me there isn't some Einstein influence in "Look over Yonder". In my opinion, the Theory of Everything and the Four Strong Forces have not yet rendered the Woodstock hypothesis obsolete. See my paper in the latest THEORETICAL NOTES (Vol. 11, #6) on "Relativity Concepts and Blue-Band Spectral Magnetism Using Reverb Through Fender Tube Remakes" (pp. 31-59). --Heinrich Gould ========================================================================= Date: Wed, 8 Nov 1995 21:00:17 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Theory ?? Comments: To: bit-listserv-blues-l@uunet.uu.net >On 8 Nov 95, L W had this to say... > >> No flames, but could theory is a white thing, they/we seem to be the ones who >> need it, cause I honestly can't think of many black BLUES players who have >> formal music training.... Errr, Ummm..... Does Willie Dixon count? For a more contemporary player, how about Sam Myers? BBB ///////////////////////////////////////////////////////////// B.B. Bean bbbean@cris.com Team OS/2 strictlow@aol.com Bean & Bean Cotton/Bean Farms 75474.2654@compuserve.com \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ ========================================================================= Date: Wed, 8 Nov 1995 15:06:00 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Theory ?? > Lemme ask the WHOLE list this question: Name some of the blues legends that > actually had some formal theory/musical training Charles Brown was trained as a classical pianist. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Thu, 9 Nov 1995 08:18:51 +22303754 Reply-To: David Blanken From: David Blanken Subject: Re: Theory ?? In-Reply-To: On Wed, 8 Nov 1995, L W wrote: > Lemme ask the WHOLE list this question: Name some of the blues legends that > actually had some formal theory/musical training... > > No flames, but could theory is a white thing, they/we seem to be the ones who > need it, cause I honestly can't think of many black BLUES players who have > formal music training.... > Thanks (not intended as flamebait) I believe T-Bone Walker had formal musical training. BTW, LW re: "theory is a white thing" - Huh? > LW 'who has nothing against theory, do what you want to' ----------------------------------------------------------------- David Blanken E-mail: D.Blanken@nla.gov.au Phone: +616 2621473 ----------------------------------------------------------------- ========================================================================= Date: Wed, 8 Nov 1995 16:31:06 -0500 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: Hidden Gems Comments: To: bit-listserv-blues-l@uunet.uu.net In article <951105202037_13688134@emout05.mail.aol.com> Dick Waterman writes: >"El Rayo X" David Lindley >OK, so it's not strictly blues but this one is fun fun fun and everyone >should have one goofus in their collection. He does a terrific job on "Boogie >Woogie Flu," "Mercury Blues" and a hilarious song about Italian shoes called >"She Took Off My Romeos." Go see Lindley anytime you get the opportunity and >enjoy this CD in the meantime. This is one of my favorites! It's in regular rotation on my CD player. I wouldn't categorize it as a *goofus*, though. It is major foot-tappin', hip shakin' fun. ========================================================================= Date: Wed, 8 Nov 1995 21:28:13 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Theory and stereotypes Comments: To: bit-listserv-blues-l@uunet.uu.net I'm beginning to take offense at some of the stereotypes being bandied about in this discussion. There is a popular conception that the great blues players were simple ignorant sharecroppers who were really most at home barefoot on the back porch of some ramshackle shack with a bottle of whiskey and a loose woman within reach, and were about as smart as a stick of firewood. It may be too much to expect the general public to let loose of this insulting stereotype, but the continued barrage of messages telling how Blind Willie So and So didn't need or want any theory to play his blues has this very sterotype beneath it. Replace musician and theory with sharecropper and education, and you'll see how the argument sounds: "Aw hell, you don't need any education to be a sharecropper. In fact, education would just get in the way." None of us were around for the first generation of bluesmen, so its pointless to debate whether or not Robert Johnson et al ever took the time to study in any formal sense, but I can say that with few exceptions, the professional blues players I have had the privilige to work with in any capacity have uniformly taken lessons, read texts, and woodsheaded extensively to improve their fundamental technique. I was fortunate enough to spend some time with Willie Dixon before he died, and he was particularly adamant about this point. Indeed, it was his recognition of the benefits of music education that caused him to form the Blues Heaven Foundation and donate instruments to schools with music programs. He felt that a musician who didn't take every available opportunity to educate himself about ALL types of music wasn't living up to his potential. He also chafed at the characterization of blues musicians as simpletons, and ran down a fairly impressive list of formally educated players. Another curious development in this thread has been a bizarre sort of suggestion that jazz players are "trapped" into playing jazz because of their education. Am I the only person here who, in addition to considering this patently absurd, noticed the anti-jazz assumption underlying this argument? Would anyone seriously argue that the music of Charlie Parker, John Coltrane, Coleman Hawkins, Lester Young, Ben Webster, Miles Davis, et al was any less soulful or meaningful than that of blues greats? BBB ///////////////////////////////////////////////////////////// B.B. Bean bbbean@cris.com Team OS/2 strictlow@aol.com Bean & Bean Cotton/Bean Farms 75474.2654@compuserve.com \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ ========================================================================= Date: Wed, 8 Nov 1995 15:24:28 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Theory ?? In-Reply-To: Message of Thu, 9 Nov 1995 08:18:51 +22303754 from On Thu, 9 Nov 1995 08:18:51 +22303754 David Blanken said: >I believe T-Bone Walker had formal musical training. BTW, LW re: "theory is a >white thing" - Huh? I said COULD it be a white thing according to my dictionary "could" means that it "can be"...If I had left out the word "could" then your above mis-construing of what I said would be valid. Since that is nowhere near what i said. I think you should take the credit, since it is entirely your statement and does not have the same meaning as MY statement LW ========================================================================= Date: Wed, 8 Nov 1995 21:39:52 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Subject: Re: Risque Boy Arnold. Comments: To: bit-listserv-blues-l@uunet.uu.net In article <47r3g1$h1t@panix.com>, Barry Silverberg says: Anyway a listen to Arnold and Loving Mother For You (the ref- > ered to cut) is mandatory listening. Also - if you say those > last three words "Mother For You" real fast 30 or 40 times it > will hit you where this song is coming from. Roosevelt Sykes often sang a song with this line - his was titled "Mother Fuh Ya" if I remember correctly. Is that the same song as Arnold's? I haven't seen the new Alligator but his last release on this label is a favorite of mine Art Schuna ========================================================================= Date: Thu, 9 Nov 1995 18:50:18 GMT Reply-To: Andrew Gregg From: Andrew Gregg Organization: Department of Primary Industry Subject: Re: Very Ignorant"Clean Grave" Question In article , L W wrote: >As I hang my head down in shame, I confess to you, the congregation of 'ellers >that I have heard only ONE version of "Keep My Grave Clean" and that version is >John Hammond's. I have the feeling that HIS version doesn't resemble BLJ's at >all. I saw Stephan Grossman doing Son House's tune "County Farm Blues" and it >was slower and played with a slide (naturally)... (similar songs, right) > >So I ask you,BLJ's version was probally slow and performed like the gospel tune >that it's "structure" sounds like to me....(kind of like Swing Low Sweet C.) Grossman also does this song on 'Country Blues Guitar Festival' and its more a BLJ version. I also have a 'Going up the Country' by Canned Heat (signed by Henry Vestine) that has a version of this on the flip. It sounds, however, not too unlike a goth-metal version! ********************************************************************** * Andrew Gregg * * * Dept of Primary * I see angels on Ariels * * Industry * in leather & chrome * * ooOO00OOoo * Swooping down from heaven * * Email : * to carry me home * * mpagregg@aries.dpi.tas.gov.au * * * * - Richard Thompson * ********************************************************************** ========================================================================= Date: Wed, 8 Nov 1995 21:17:45 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Re: Blues Books Help Wanted. Comments: To: bit-listserv-blues-l@moderators.uu.net Barry, Blues Fell This Morning - P. Oliver A must!! Great early work by Paul. Blues From The Delta - W. Ferris Not great but worth getting. Country Blues - S. Charters Spam Charters? Well, the book is ok, but everything has moved on and some of Sam's theories have proved to be way off beam. But he is still, corrrectly credited with being a pioneer blues critic/writer. Not in Oliver's league though. Chicago Blues - M. Rowe The best book ever written on Chi Town Blues by one of the most knowledgeable blues writers around. Damn Right I've Got The Blues - Buddy Guy Stark bilge Early Downhome Blues - J.T. Titon Again, things have moved on a little but still a good un. Land Where The Blues Began - A. Lomax Essential read of how the Lomax family did most of the early blues research Living Texas Blues - A. Govenar Picture book really. Lost Highway - P. Guralnick Great piece of music writing if a little dated now. Rhythm Oil - S. Booth Rythm Oil (thats what the title says) - well written feature/sunday mag style written book, if you like that sorta thing. I Say Me For A Parable (Lipscomb) - G. Alyn Not read it. Sweet Soul Music - P. Guralnick Again good as Peter is a great writers What you really need to get if you already don't have 'em are: Nothing But The Blues - Larry Cohn; both John Broven's books Walkin' To New Orleans and South To Louisiana; Arnold Shaw, Honkers and Shouters; Left Hand Like God, Peter Silvester; Songsters and Saints, Paul Oliver; Big Road Blues, David Evans; Sound Of The City, Charlie Gillett; Blues On CD, Charles Shaar Murray; Good Rockin' Tonite, Escott and Hawkins, nuff said? Tony ========================================================================= Date: Wed, 8 Nov 1995 16:32:47 EST Reply-To: sysop@DJSA.COM From: sysop@DJSA.COM Organization: Internet Who's Who Guide Subject: Internet Who's Who Directory DJSA Bulletin Board, Inc. is pleased to announce the publication of the National Internet Directory's WHO'S WHO GUIDE - 1996. As you may know, we have been producing the National Internet Directory for almost five years. You can get a copy of this directory by calling DJSA BBS at 305-749-6458. The National Internet Directory is a quarterly publication of Internet related companies. The Directory includes advertising from many organizations offering FreeNet Access, WWW Sites, FTP Sites, Telnet Access, Usenet Groups and much more information and services. Within the Directory is a listing of all USENET groups plus hundreds of BBS numbers from all over the USA. The directory is free for all to download from our BBS and is also available on most major online services in the country. It is distributed electronically. Starting in January of 1996, we will be releasing an annual WHO's WHO GUIDE. The guide will be in alphabetical order and will contain single listings of Internet related companies. The listings are FREE. We will place any listing in our Who's Who Guide as long as it is in good taste. To get a FREE listing included just send your FIVE LINE ascii listing to ---> director@djsa.com <--- (in the following format) 1st line........... name of company 2nd line........... email address 3rd line........... www site address 4th line........... modem online telephone number 5th line........... type of service If we receive any other information aside from what is listed above we will return it to you for revision. You can substitute other information if you do not have an online number or www site. As long as it is in good taste we will allow you to list your service anyway you wish. The free listings are not supposed to be display advertising and we wish to make the Who's Who guide a resource directory for those looking for different types of Internet related services. If you are interested in placing a display advertisement in our WHO'S WHO GUIDE then please send an internet email requesting HELP to ---> archive@djsa.com <--- You will receive an automatic reply to your email with advertising rate information. If you have questions, you can email djsabbs@djsa.com Thanks, David Smith Sysop DJSA Bulletin Board, Inc. http://www.djsa.com BBS (305)749-6458 (28,800bps) ========================= !!! Automated Notice !!! ======================= E-mail replies to this user should have the following on the first line of message text: TO: Johnson ========================================================================= ========================================================================= Date: Wed, 8 Nov 1995 14:19:01 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Robot Military Polka Blues Wow did I just make a mistake. I decided to spend my lunch hour today at a fine record selling establishment with a large section of decently priced Blues CDs. I had been wanting some James Booker and found two CDs which I instantly snatched up and stuck under my arm. I then began the process of browsing and narrowing down what I could do with the remaining funds I had. I eventually stumbled on a brand new 2 CD box called "Freddie King - King Of The Blues" on EMI/Shelter. 40 classic Blues tunes, include 6 never before released cuts one of which is a 4:47 version of "Hideaway". HOW COULD I LOSE? Being a double CD the price was up around $25 so I reluctantly put one of the two James Booker CDs back and bought the King and the remaining Booker. HOW COULD I LOSE? I'll tell you how I could lose - by not knowing anything about Freddie's period with Shelter Records. Imagine a band made up of shiny robots playing what seems like polkas in a sort of stiff military style. Then imagine Freddie King trying to apply his voice and guitar to this while trying desperately not to sound bored to tears. This is what I put that live James Booker CD back for. My only hope is that tomorrow they'll take it back. It's just awful. Here is the warning that I wish I had been given prior to todays trip to the store.... If you love Freddie King don't buy this double CD set which would be more aptly titled.. "Freddie King - SOUL FREE" (Yes I know I'm the guy who spoke against negative reviews but this is different... This was MY twenty five bucks!) ;^) P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 8 Nov 1995 17:28:24 -0500 Reply-To: HugeSmall@AOL.COM From: Boyd Small Subject: Re: Theory ?? Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu On 11-8 LW wrote: . On 11-7 someone else wrote: < I read someplace that T-Bone Walker would only work with musicians that sight read perfectly while that is not such a bluesy thing to do I dont think it affected his music in a negative way at all. And there are scores of true blues players that are knowledgeable of music theory.> I would like to mention Gatemouth Brown who had classical music training. Guitar Shorty had a little too (this may not show up in any history books but he intimated it to me personally.) And while many of the people you call 'TRUE' Blues legends may not have had formal classical training there is no question in my mind that they would have welcomed it had they had a chance at an early age. Also you are asking to get flamed if you refer to any aspect of music as a "WHITE" or "BLACK" thing. I , for one , personally find that offensive. Although there is no question that Blues music was spawned from a 'Black' culture there have ALWAYS been 'TRUE' Blues musicians that were (are) WHITE (Troyce Key God bless his soul to name only one). I believe Blues music has now transcended all racial boundries. I personally know a Japanese man, a Mexican man, an Italian man, an American Indian man, and several White women that are all EXCELLENT Blues guitarists. Which brings up another point that the "BLUES LEGENDS" are not the only Blues musicians that shaped Blues music as we know it. Although I'm not asking you to ignore race completely in your discussions of Blues music please try to keep it in perspective as we are an enlightened people. There is only ONE race THE HUMAN RACE. Please love your sisters & brothers of another color. ========================================================================= Date: Wed, 8 Nov 1995 16:10:33 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: theory ?? Comments: To: Henry Gould In-Reply-To: I thought for Hendrix Einstein changed his theory to "mc = E flat" ========================================================================= Date: Wed, 8 Nov 1995 16:12:06 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Risque Boy Arnold. Comments: To: Art Schuna In-Reply-To: <47r838$129i@news.doit.wisc.edu> Billy Boy did a very nice job yesterday reuniting with Bo Diddley on three songs for Bo's upcoming Code Blue CD. So did Johnnie Johnson, not surprisingly. ========================================================================= Date: Wed, 8 Nov 1995 14:51:37 -0800 Reply-To: Jennifer Baldwin From: Jennifer Baldwin Subject: TIME ZONE In-Reply-To: > On Thu, 9 Nov 1995 08:18:51 +22303754 David Blanken said: Where in the world is David Blanken that he's writing on Thursday, November 9, 1995? I'm just curious. It's my birthday wherever he is! Jennifer ========================================================================= Date: Wed, 8 Nov 1995 16:54:00 CST Reply-To: Paul Garon From: Paul Garon Subject: Re: Blues Books Help Wanted. > Makin' a Christmas list and need some help. Which of these to > get and any review/rapups appreciated. Any others recommended - > I'd love to hear it. Most of the books you ask about are well worth having, but it really depends on what you want: history, interpretation, singers talking about their lives, etc. Rowe's CHICAGO BREAKDOWN or CHICAGO BLUES as it is now titled is the definitive history of the Chicago blues: from Baby Face to Muddy, whereas BLUES FELL THIS MORNING is the best--I think--attempt to relate the lyrics of the blues to the facts and fancies of black life in the US. COUNTRY BLUES is the pioneer (and dated) history of blues on record, EARLY DOWNHOME BLUES is a *study* of the same, LIVING TEXAS BLUES is a great picture book and more, LOST HIGHWAY and SWEET SOUL MUSIC are only partially about blues, etc. It really depends on what you want to read about. > Blues Fell This Morning - P. Oliver > Blues From The Delta - W. Ferris > Country Blues - S. Charters > Chicago Blues - M. Rowe > Damn Right I've Got The Blues - Buddy Guy > Early Downhome Blues - J.T. Titon > Land Where The Blues Began - A. Lomax > Living Texas Blues - A. Govenar > Lost Highway - P. Guralnick > Rhythm Oil - S. Booth > I Say Me For A Parable (Lipscomb) - G. Alyn > Sweet Soul Music - P. Guralnick > >-- > NY CD Blues > Definitive In-Depth Blues Reviews > c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 > e-mail bsco@panix.com > ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email or postal mail or visit us at http://www.abaa-booknet.com/alldlrs/mw/60657bea.html. We also have catalogs available by ftp at ftp.mcs.com/mcsnet.users/beasley. _______________________________________|______________________________________ ========================================================================= Date: Wed, 8 Nov 1995 14:56:38 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: SEQUEL 272 : OTIS GRAND - NOTHING ELSE MATTERS .... Comments: To: BluesHvn@aol.com SEQUEL 272 : OTIS GRAND - NOTHING ELSE MATTERS ... ============================================================================= FRED BISHTI b. 1950/FEB/14, BEIRUT, LEBANON Don O., in his CD notes, suggests that you should 'grab on with both hands' to this CD, and I agree. With 15 tracks (8 originals co-written by Lori Basson, a young poet from Portland, OR.) and singers like Kim Wilson, Sugar Ray Norcia and Curtis Salgado, and a horn section featuring 'Sax' Gordon Beadle, you not only get the all-important variety component, but you also get Otis Grand's great guitar solos. He includes a nice tribute to Albert Collins ("Coldburn"), and covers of 2 Magic Sam numbers ("Looking Good", "All Night Long"). Other highlights include Curtis Salgado's vocal on "Finish Line", Sugar Ray's "Marginal Man", and Kim Wilson's response to Guitar Slim, "Things I Forgot To Do". If this doesn't convince US fans that Otis Grand is a serious bluesman, his real name is not Fred Bishti. Contents: *= SUGAR RAY NORCIA (vocal)+= CURTIS SALGADO (vocal)#= KIM WILSON @= instrumental (Total Time : 64 minutes) 1.+FINISH LINE (4:37) 9.*WAITING FOR THE HARD TIMES TO GO (7:43) 2.*CARELESS LIVING (4:52) 10.@COLDBURN(THE MASTER'S GONE) (2:58) 3.*NO REASON (4:04) 11.*ALL NIGHT LONG (4:21) 4.*5 TO 99 BLUES (3:25) 12.+COMMON SENSE (3:16) 5.+MOTHER-IN-LAW BLUES (4:47) 13.*DAYS OF OLD (2:41) 6.*MARGINAL MAN (5:17) 14.+YOU WIN, I LOSE (3:29) 7.*LOOKING FOR A NEW BABY (4:17) 15.@LOOKING GOOD (2:37) 8.#THINGS I FORGOT TO DO (5:00) OTIS GRAND DISCOGRAPHY ====================== BROADWAY CD 101 : OTIS GRAND - HE KNOWS THE BLUES JSP CD 228 : VARIOUS - THE BURNLEY BLUES FESTIVAL (1989) JSP CD 245 : GUITAR SHORTY/OTIS GRAND - MY WAY ON THE HIGHWAY JSP CD 248 : PHILLIP WALKER/OTIS GRAND - BIG BLUES FROM TEXAS JSP CD 251 : JOE HOUSTON/OTIS GRAND - THE RETURN OF HONK SEQUEL CD 219 : OTIS GRAND - HE KNOWS THE BLUES SEQUEL BAR CD 001 :*OTIS GRAND - & THE BIG BLUES BAND (inc. 2 live cuts) SPECIAL DELIVERY LP 1019 : OTIS GRAND - ALWAYS HOT VOLT CD 3410 : OTIS GRAND - HE KNOWS THE BLUES (* promo CD with BLUES & RHYTHM #100) ========================================================================= Date: Wed, 8 Nov 1995 17:57:40 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: JOHN JACKSON AND WARNER WILLIAMS Comments: To: Roger Struve In-Reply-To: On Wed, 8 Nov 1995, Roger Struve wrote: > stories....especially touching is how he had learned a 1928 version of > Miss. John Hurt's Candyman, and was still playing it in the back of this > gas station when he was "discovered". The next night sitting on his porch > (i didn't hear the name, and once knew who it was...but drat this > alzheimer's combined with bad hearing anyway!)...and the guy took John to > see John Hurt. Just a quick addendum...the guy who discovered Jackson was Charles Perdue, a folklorist at University of Virginia. Jim ========================================================================= Date: Wed, 8 Nov 1995 18:03:06 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Eric LeBlanc's Blues Dates - November 8th >>SHAW, EDDIE "VAAN" JR. (g/EDDIE SHAW) b. 1955-1108, >>GREENVILLE, MS I just saw him last weekend and wondered how old he is. He looks about 17. Turns out he's older than me! He's really a fine guitarist. I saw him play 12-string slide, standing in the rain on a platform in front of the Tower Records tent, at Chicago Bluesfest this last summer, . Loved it! I understand that on his next CD he's going to do a few acoustic numbers. Sure is a surprise he's 40, though. >>WATERMAN, RICHARD A. (author) d. 1971-1108, >>TAMPA, FL -- At first I thought that said.. b. 1971...*knew* that couldn't be right...Then I realized it said... d. 1971...and I thought, "Yikes! Who've we been talkin' to all this time???? " (Never mind...I read your answer, Jinx!) Thanks for the info, Eric, but you DID give us pause there... :) Karen ========================================================================= Date: Wed, 8 Nov 1995 18:03:10 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Blues Books Has anybody mentioned: The History of the Blues: The Roots, The Music, The People, From Charley Patton to Robert Cray by Francis Davis ??? Davis states he has no thesis, but his method seems (at least to me) to be to state the legend, myth or popularly-held belief, and then disprove it by using factual and anecdotal evidence. Interesting book, good pictures...also has a discography and a timeline that attempts to put blues and jazz recordings in the context of current events and popular culture. I'm surprised it hasn't been talked about more. ========================================================================= Date: Wed, 8 Nov 1995 18:14:20 -0500 Reply-To: RhythmShrk@AOL.COM From: Bernie Clarke Subject: Re: Theory ?? In a message dated 95-11-08 16:43:54 EST, you write: >>I believe T-Bone Walker had formal musical training. BTW, LW re: "theory is >a >>white thing" - Huh? > >I said COULD it be a white thing > >according to my dictionary "could" means that it "can be"...If I had left out >the word "could" then your above mis-construing of what I said would be >valid. >Since that is nowhere near what i said. I think you should take the credit, >since it is entirely your statement and does not have the same meaning as MY >statement > >LW > Ordinarily, I find your posts very thoughtful and informative if not slightly opinionated. (I KNOW an opinion when I see one!) The one that David quoted, however, was possibly your most ridiculous! Don't think that you're going to weasel out of that one so easily. BC ========================================================================= Date: Wed, 8 Nov 1995 18:14:41 -0500 Reply-To: USBLUE5@AOL.COM From: "Gordon, Rich" Subject: Re: Mary Flower CD Comments: To: C2MXBOY@fre.towson.edu I got my copy a few weeks ago and think it's great. I have been playing a song from it every show. Hope to bring Mary to Rockford the next time see is in the area. Simply a great acoustic blues CD. Rich Gordon WXRX Sunday Night Blues Rockford,IL ========================================================================= Date: Wed, 8 Nov 1995 23:26:42 GMT Reply-To: Martin Basil From: Martin Basil Organization: Integra Instruments Limited Subject: Clapton Concert Tickets Comments: To: bit-listserv-blues-l@pipex.net Does anyone have tickets to sell for EC at the Royal Albert Hall in Feb/Mar please email with details. Also does anyone know of other EC concerts in the UK. Regards Martin Basil /\ Martin Basil / /_ integra@wintermute.co.uk /\ \/\ +44 01224 822601 /\/###/\//^\ /\ +44 0836 608127 ####/#/#,##/_/##\ "To err is human, ###/########/##/\\ to really screw up ##/,,##~##,/##/##\\ takes a compu*(`@#z3" #/,#~~####/##/#####\_____________________________ #,,~~~~~~/##/~~###,,,,~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Wed, 8 Nov 1995 19:12:29 -0500 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: Re: Risque Boy Arnold. Comments: To: bsco@panix.com On 95-11-08 16:31:36 EST bsco@PANIX.COM (Barry Silverberg) wrote >> Anyway a listen to Arnold and Loving Mother For You (the ref- >> ered to cut) is mandatory listening. ============================================================== Up to Billy Boy Arnold's cover of this song, my favorite version was by Magic Slim and the Teardrops, from the Alligator Living Chicago Blues Vol ll. The earliest version I have is by Roosevelt Sykes from 1936. Anyone else have a favorite version before Billy Boy did the "definitive Mother"? =============================================================== >>what may be the stealer on this entire >> CD - the piano work of Carl Sonny Leyland. Story is that BBA >> specifically asked for Leyland to be flown in from somewhere, >> and GOD did he know what he wanted. I couldn't agree more. The piano is awesome, and so is David Zielinski's sax work on "How Long Can This Go On". BLUZ! Bluzman Ed aka Ed Tremewan ========================================================================= Date: Wed, 8 Nov 1995 19:33:35 -0500 Reply-To: DJones4708@AOL.COM From: Douglass W Jones Subject: help yestrdays mail had an e-mail address for a tour management in Dublin i believe. well i deleted it. could someone please see if they still have it and send it my way. thanks alot DJ ========================================================================= Date: Wed, 8 Nov 1995 18:52:51 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Re: Risque Boy Arnold. > Roosevelt Sykes often sang a song with this line - his was titled > "Mother Fuh Ya" if I remember correctly. Is that the same song as > Arnold's? I haven't seen the new Alligator but his last release > on this label is a favorite of mine > > Art Schuna > Got new Aligator's Billy Boy Arnold - "Eldorado Cadilac" in mail two days ago. It was a love on a first listen. A really very good album. I particularly like his vocals and production - clear, crisp, not over-produced - right as a chiago blues album should be produced (IMO). The only thing I did not like - sax in song #8 - a good example of how a bad sax can ruin a good blues song. Got new Corey Harris album too. Listened to it only once, but I can't say I like it very much. If he is a passionate performer, that did not come through this time. The following formula applies: Acoustic blues - passion = boredom Will give it few more tries though. Maybe it is just these first freezing temperatures in Iowa City. Ranko ========================================================================= Date: Wed, 8 Nov 1995 20:18:13 -0500 Reply-To: Ted Dames From: Ted Dames Subject: Re: Sue Foley, Maria Muldaur again I know...that subject was three weeks ago...so I'm a little behind (or a big ass, keep reading to find out). My bitch is this: If you want to piss on somebodys' back, do it by e-mail. I'd do it right now but there are too many of you (and you know who you are) and I'm not drinkin' beer till the weekend. You are all correct in your own twisted ways AND somewhat wrong in others. Take a hint and e-mail me if that pisses you off.....stop staining the list I love this list but, sometimes y'all need an enema! So,....... How 'bout that Melvin Taylor and the Slack Band? HaHaaa! bandana@fast.net is Ted Dames AKA A. Pepperhead owner/sauce maker and resident bon vivant at: Bandana's Serious Pepper Products located in sub-tropical Southeast PA. "Say WHAT?"- Smokie Wilson ========================================================================= Date: Thu, 9 Nov 1995 01:44:47 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Theory ?? Comments: To: bit-listserv-blues-l@uunet.uu.net In article <951108123547_82279381@emout06.mail.aol.com> Dick Waterman writes: >I am obviously missing something here because I thought that 'formal' >training referred to the CLOTHES that a person wore while learning. Am I >confused on this? >The reason that you don't see a lot of blues being played by men in tuxedos >is that formal performance is much rarer than formal training. >Therefore, the popularity of Levi 501 Blues. >You may now resume normal programming . . . According to the tribute to Floyd McDaniel in the Sept/Oct issue of "Living Blues", T-Bone Walker was the first man he knew who played the blues in a tuxedo. Guess that might make him 'formal'in performance. ;-) Art Schuna ========================================================================= Date: Wed, 8 Nov 1995 19:20:54 -0500 Reply-To: Patrick Lynch From: Patrick Lynch Subject: Re: LETS HAVE A LITTLE GOSPEL 'ROUND HERE >There's been little or no gospel on this newsgroup for a while so here's >somethin' to straighen things out a little. Taken from B&R 105 (Xmas >issue) > > >LA GRANDE EPOQUE DU GOSPEL Well, here's my two gospel cents...a review I wrote for the upcoming issue of Blue Suede News: THEY SING PRAISES, A Gospel Sampler, featuring Blind willie Johnson Paul Robeson Mahalia Jackson Marion Williams The Staple Singers Alex Bradford The Abyssinian Baptist Gospel Choir The Dixie Hummingbirds The Angelic Gospel Singers The Golden Gate Quartet On LEGACY/COLUMBIA CK 67007 This collection of gospel music contains releases by some of the most successful artists in the history of this genre. From the close harmonies of the Golden Gate Quartet to the street-singer quality of the Blind Willie Johnson cuts, this CD looks at a broad history of the sanctified popular music known as gospel. The CD opens with the 1941 recording of "God Told Nicodemus", invoking a controlled harmony sound reminiscent of the black pop groups of the day, such as The Ink Spots. The Quartet is featured again two cuts later on "My Time Done Come", with a similar sound and approach. The next cut jumps back to Blind Willie Johnson's "Let Your Light Shine On Me", recorded in 1929 in New Orleans. This one has an unmistakeable country blues feel and sound. Johnson had a wide vocal range, and he shows off a bit here. This is the stuff of which great blues is made, but he never strayed from the Lord's word in his career. He is also heard, with the aid of his wife, on "Church, I'm Fully Saved Today". Paul Robeson weighs in with "Dere's A Man Goin' Round / I Know De Lord" and "I Got A Home In Dat Rock / Gimme Your Han'". His delivery is almost operatic, and evokes memories of white impressions of the black spiritual experience, such as the show tunes found in Porgy & Bess. His presence here is a sample of the Negro spirituals, more that pop gospel, and his strong voice carries the tunes in an almost hyper-traditional fashion. Few gospel quartets have seen the success of The Dixie Hummingbirds, a group that had its start in the late thirties. They are heard here on "One Day", along with a female counterpart, The Angelic Gospel Singers. What painting of this kind would be complete without the brush strokes supplied by Mahalia Jackson? Her Majesty is heard here performing "What A Friend We Have In Jesus", "There Is A Balm In Gilead", and "Great Gettin' Up Morning". Her sophisticated delivery is well known in the secular world as well as the Church. The high points of this compilation are provided by Marion Williams with "I'm Looking To Jesus", Packin' Up", and "He's Got The Whole World In His Hands". She romps through these tunes as though trying to bring the congregation to Heaven by the sheer strength of her delivery. These tunes are classic, in the sense of their pure energy and sense of emotion. "It's A Highway To Heaven", sung by Alex Bradford is a rousing, full band rendition, replete with backing choir and a load of tambourines. Standard stuff, but with Energy! The Staple Singers sing "Be Careful Of Stones That You Throw", complete with spoken sermon for the break. More interesting is "Samson And Delilah", which, recorded in 1964, is almost a rock and roll number. Then there is The Abyssinian Gospel Choir. Rolling through "Said I wasn't Gonna Tell Nobody", this is real church choir music, with alternating soloists, crowd clapping, and abandoned improvising. Gives a guy reason to get up on a Sunday...even though they're from Newark. Patrick Lynch, 1995 Find the Blues at "Caldonia's Online Blues" bbs, Windows/Excalibur , 206-402-4675 ========================================================================= Date: Thu, 9 Nov 1995 00:09:10 -0500 Reply-To: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA From: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA Subject: Re: R.SYKES question Comments: To: Jinxblues My apologies -- I knew he was still active, but I went on the fact that most people who listed his recordings as an influence would probably have been listening to things recorded from maybe 1946 to around 1962 or 1963, I'd guess... Turtle To: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA, BLUES-L @ brownvm.brown.edu @ INTERNET cc: From: Jinxblues @ aol.com @ INTERNET @ CSERVE Date: 11/07/95 02:30:05 PM Subject: Re: R.SYKES question In a previous message, Scott Wenzel wrote: >>Don't know anything about a book written specifically about >>Roosevelt Sykes, >>the influential 1940s and 1950s piano blues giant It's really nit picking, to be sure. but you are cutting Roosevelt short by a decade and more. Some of his best work was done in the 1960s including the Storyville album backing up Sippie Wallace as she does the album that had four (!) songs later covered by Bonnie Raitt. It's been reissued by Alligator and Roosevelt's work is mighty fine. He was the best dresser that I ever worked with. Three piece suits, beautiful vests, diamond stickpin, pearl grey Homburg and he was the last man I knew who wore spats every day. He wasn't the easiest guy to negotiate a deal with, but he was a complete professional and always arrived in town ready to play. To show his longevity, I booked a Bonnie/Sippie/Roosevelt package as late as 1976. Dick Waterman ========================================================================= Date: Thu, 9 Nov 1995 00:26:00 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: SEQUEL 272 : OTIS GRAND - NO > From: Eric LeBlanc-CISTI > > SEQUEL 272 : OTIS GRAND - NOTHING ELSE > MATTERS ... > > Don O., in his CD notes... BTW, those notes were heavily edited and somehow Albert Collins magically became a DFW blues artist. Of course he was actually from Leona, Texas in Leon County, NOT the Dallas/Fort Worth area. Eventually, Sequel is supposed to release this CD on a U.S. subsidiary and I sure hope they fix that. A small matter to be noticed by only a few, to be sure, but it really bugs me when someone edits something inaccurately but leaves my name at the bottom. It is a GREAT CD. Otis Grand will eventually be discovered by U.S. blues fans. Don O. ========================================================================= Date: Thu, 9 Nov 1995 07:16:32 GMT Reply-To: Martin Basil From: Martin Basil Organization: Integra Instruments Limited Subject: Eric Clapton Concert Tickets Comments: To: bit-listserv-blues-l@pipex.net Does anyone have tickets to sell for EC's concert at the Royal Albert Hall in Feb/Mar please email with details. Also does anyone know of other EC concerts in the UK. Regards Martin Basil /\ Martin Basil / /_ integra@wintermute.co.uk /\ \/\ +44 01224 822601 /\/###/\//^\ /\ +44 0836 608127 ####/#/#,##/_/##\ "To err is human, ###/########/##/\\ to really screw up ##/,,##~##,/##/##\\ takes a compu*(`@#z3" #/,#~~####/##/#####\_____________________________ #,,~~~~~~/##/~~###,,,,~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Thu, 9 Nov 1995 00:19:14 -0800 Reply-To: David Burke From: David Burke Organization: CRL Dialup Internet Access (415) 705-6060 [Login: guest] Subject: Popa Chubby! Comments: To: bit-listserv-blues-l@uunet.uu.net I just bought an album by this big fat cat named Popa Chubby. Shee-it, this guy's pretty cool..uh...huh..huh...huh..huh..(shut up, Beavis...you're ruining it!) Can anyone out there tell me a little about the old Chubmeister...where's he from, have you seen him live, so on and so forth. I'm interested, as I find his album to by a nice selection of material, and his guitar playing, though not anything phenominal, is downright coooool! Info? "Lonesome" Dave ========================================================================= Date: Thu, 9 Nov 1995 04:17:08 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Luther Allison Comments: To: bit-listserv-blues-l@uunet.uu.net I found out that Luther would be sitting in with the band on the Conan O'Brian show and made a point of getting home in time to watch. I expected him to be mentioned in passing and maybe catch a glimpse of him but not only was he mentioned but I saw him on camera more than once...he even sang...for someone who plays some of the longest shows I've ever seen I wondered how he was going to handle the structure...this might not seem like much but anyone who's seen Luther Allison knows he doesn't just end a song on cue.: ) I have to admit I was expecting someone to unplug him but he did it! When they came back from the break he did finish the song and managed to get Faye Dunaway's attention...the audience seemed to appreciate him too. It's nice to see all this happening for him. He's having a great year and I hope he and his family are enjoying every minute of it. ========================================================================= Date: Thu, 9 Nov 1995 09:19:55 GMT Reply-To: Boyd Martin From: Boyd Martin Organization: Teleport - Portland's Public Access (503) 220-1016 Subject: The Muddy Awards - Cascade Blues Assn. Comments: To: bit-listserv-blues-l@uunet.uu.net Oregon and Southwest Washington's Cascade Blues Association held their 7th annual "Muddy Awards" ceremonies, Nov. 1 at Key Largo in Portland, OR. Winners were announced in 12 categories each with three nominees. The Lifetime Acheivement Award went to Riley B.B. King, and the "Best National Recording" to Eric Clapton's "From the Cradle". A full roster of winners and links can be perused at: http://www.teleport.com/~boydroid/blues/muddies.htm Boyd CBA Webmaster ========================================================================= Date: Thu, 9 Nov 1995 04:25:50 -0500 Reply-To: Msbeale From: Msbeale Organization: America Online, Inc. (1-800-827-6364) Subject: Chris Cain tour-cancellations Comments: To: bit-listserv-blues-l@uunet.uu.net Chris Cain performances for the Zoo Bar on Thursday, Nov 9 and the Grand Emporium on Friday, Nov 10 and Sunday, Nov 12 have been cancelled. Chris' mother passed away on Tuesday, Nov 7 and he is currently at home with his family. Hopefully, these dates will be rescheduled for early next year. However, Chris still plans to appear at Skip's Lounge in Angola, IN on Wednesday, Nov 15, Big Heavy's in Louisville, KY on Nov 16 and BB King's in Memphis on Friday and Saturday, Nov 17 & 18. Interested parties may send their condolensces to ChrisCain1@aol.com. ms beale st. "I ain't lyin'!" -Albert King ========================================================================= Date: Thu, 9 Nov 1995 05:14:03 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - November 9th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BOWMAN, EUDAY LOUIS (p) b. 1887-1109, FORT WORTH, TX BROWN, ALMA PARKS (gospel) d. 1990-1109, WASHINGTON, DC 82 BROWN, JAMES "PETE" (awesome asax) b. 1906-1109, BALTIMORE, MD DOUGLAS, TOMMY (reeds) b. 1911-1109, ESKRIDGE, KS FOGERTY, TOM (of CREEDENCE CLEARWATER) b. 1941-1109, BERKELEY, CA HOPKINS, LINDA [HELEN MELINDA MATHEWS](v) b. 1925-1109, NEW ORLEANS, LA KEY, TROYCE (g) d. 1992-1109, OAKLAND, CA 55 MAY, JOE BROTHER (gospel/SPECIALTY REC) b. 1912-1109, MACON, MS MAY, PHIL (v/PRETTY THINGS) b. 1944-1109, DARTFORD, KENT, UK MEZZROW, MILTON "MEZZ" (cl) b. 1899-1109, CHICAGO, IL SMITH, LUCIUS (bjo) b. 1884-1109, PANOLA CTY, MS SPANIER, FRANCIS "MUGGSY" (tpt) b. 1906-1109, CHICAGO, IL TROTMAN, STANLEY (p/LLOYD TROTMAN) b. 1921-1109, BOSTON, MA ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 9 Nov 1995 05:16:38 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Re: Blues-l Postings Missing Comments: To: bit-listserv-blues-l@uunet.uu.net Jim, I'd just like to say that were it not for their jazz section no one, and I repeat no one would ever have heard of Mr. Jim McCarthy (5 words in the Papa John DeFrancesco review) - who in my opinion is a blazing blues harpman. He played a summer blues barbecue where I first heard him and he caught me att- ention right off. Two or three weeks ago I also went to his sidelining (or IMHO headlining) a walk down 20 seat bar show and he stopped everyone with his blowing. Of note as well is that Papa John DeFrancesco although listed in the jazz notes backed Jim at the barbecue and he was true blues. I personally don't mind the jazz reviews, and if it helps BR reach a wider audience and thus get the blues more exposure, more power to them. I also find a lot of the music in my collection has a strong jazz-to-blues crossover and so one reviewer might place some material in blues and another in jazz. I think adding jazz to the mag will give BR more readers and more money - I think they deserve it. I enjoy the mag a lot. Expanding their horizons is a decision on their part probab- ly in the same vein as Buddy Guy has expanded his music, and certainly is getting him the exposure and bucks he is so en- titled to. Let's not forget that the blues is not the larg- est market in the world and unless those siding with it find larger audiences we could lose them for good. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Thu, 9 Nov 1995 06:09:37 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: theory ?? Comments: To: AP201070@BROWNVM.BROWN.EDU On 8 Nov 95, Henry Gould had this to say: > I heard from several reputable sources (CIA, FBI, Shirley who works at > the laundromat near here) that Jimi Hendrix studied theory with > Albert Einstein. He was shacked up in the Princeton Theological > Seminary one weekend, when Al just dropped by from the Institute > with his fiddle. Never touched the instruments--but they > talked--E=mC flat was just the beginning. See now, if you had studied your theory you would have known that they could only have discussed E=mC sharp, since there is no C flat. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 10 Nov 1995 08:39:06 -0200 Reply-To: Hudson Carvalho Bianchinni From: Hudson Carvalho Bianchinni Subject: Re: Eric LeBlanc's Blues Dates - November 9th Comments: To: leblanc@dao.nrc.ca In-Reply-To: <199511090926.EAA44008@tequesta.gate.net> On Thu, 9 Nov 1995, P.W. Fenton wrote: > Here's a few dates (b. born, d. death) for today. If you have any > corrections/additions, let me know at leblanc@dao.nrc.ca. > > ------------------------------------------------------------------------------- > artist notes/full name yyyy-mmdd, city/county state age > FOGERTY, TOM (of CREEDENCE CLEARWATER) b. 1941-1109, BERKELEY, CA > ------------------------------------------------------------------------------- > Please,anyone could help me sending news about Tom Fogerty today.I thougt he was died. Regards, Hudson Bianchini ========================================================================= Date: Tue, 7 Nov 1995 16:24:47 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: 1940s Mercury Sessions Box Set Comments: To: bit-listserv-blues-l@uunet.uu.net The Mercury 7 CD box set mentioned earlier on this list is now in the stores. It's titled "Blues, Boogie & Bop:The 1940s Mercury Sessions" (Cat # 314 525 609-2). This is one you could easily miss in the stores if you don't know what your looking for. If there is an award given for unique packaging or historic recordings collections - this set should take it for this year. The box the discs comes in looks like a 1940s table radio. Inside is a 79 page booklet with complete discography/sessionography and essays for each of the artists featured plus photos and ads that appear to be from Billboard and other sources. Each set comes individually numbered in an edition "limited" to 20,000. There are 172 tracks in about as fine a sound quality as you can get from recordings of this vintage - which is pretty good. 25 tracks have never been issued, 43 have not been seen since 78 rpm release and 100 are on CD for the first time. The discs are individually packaged in paper slip covers within the "radio" that look like old 78 albums and the discs are in paper sleeves that look like old 78s in paper jackets. What about the music? This is music that drives people who believe everything fits in a unique category nuts. Although the back of the box suggest filing this under "Jazz", I don't plan to do that. With the exception of the Buddy Rich tracks, the majority of these could be classified as jump blues or R&B. Maybe a rundown of the artists will help to show why. Albert Ammons - a master of boogie woogie piano. These are his last recordings and the complete Mercury label recordings. There are 34 released sides and 8 alternate takes. The very first 2 recordings on this set he is backing Sippie Wallace who, at the time, had not recorded since 1927. Unfortunately, these didn't make her a household name either, as she was not to record again until the 1959. Helen Humes - 14 released tracks and 6 alternate takes. Helen replaced Billie Holiday when she left Count Basie's band in 1938. To me, she sounds a little more like early Dinah Washington than Billie but I can see where she would probably be able to fill in for her for Basie. By the time she recorded for Mercury, it was 2 years after her huge hit "Be Baba Leba" recorded in 1945 (which is considered as a contender for first rock 'n' roll record by a book of similar title). Much of the tracks on this are in a similar vein. Great voice. Jay McShann - 24 released tracks and 2 alternates. Many of these feature Jimmy Witherspoon on vocals. These are his complete Mercury recordings. Also on vocals is Walter Brown and Crown Prince Waterford. Eddie Cleanhead Vinson - 30 released tracks and 6 alternates. You will recognize some of his signature tunes here including Cherry Red and Kidney Stew Blues. These are his complete 1940s Mercury recordings and this is probably my favorite Vinson period. Roy Byrd and His Blues Jumpers - 9 released tracks and 6 alternates. Many of you may know Roy better as Professor Longhair but these are recordings made before he got his "degree". There is no mistaking who's playing on these tracks. His hit version of "Bald Head" which made #5 on the R&B charts in 1950 is included. Lots of other great tunes here including " Hadacol Bounce". Hadacol was an alcoholic tonic that was guaranteed to put the bounce back in your sex life among other things. Why did they quit making that stuff anyway? Julia Lee and Myra Taylor were Kansas City vocalists - each get 4 tracks on this set. Disc 6 is devoted to more jazz oriented performers including Rex Stewart, Buddy Rich (who has the only real clinker in 172 tracks with "The Iggity Song" sung by a vocal group that reminds me of bad 1950s radio advertising jingles, but hey, that's why they invented remote controls that allow you to skip a track!!). It also has Cootie Williams complete Mercury recordings which include " 'Gator Tail parts 1 & 2" which is a highlight of this set. It's easy to see how Willis Jackson, who plays some of the wildest honking saxophone ever put down on this set, permanently picked up the nickname "Gator Tail" Jackson after recording this number. Disc 7 is "For Collectors Only" and gathers all of the alternate and breakdown tracks mentioned above. This is nice because you don't have to listen to the same song over and over. The designation is kind of strange as I'm not sure "non-collectors" will spring for a 7 disc box like this. In summary, if you are a fan of jump blues, early R&B or the influences of what in the mid-50s became recognized as rock & roll, then this set is a must have item. If your taste is more towards Jimi Hendrix influenced blues guitar, you won't find it here, but then you probably quit reading this long before you got this far. Art Schuna ========================================================================= Date: Thu, 9 Nov 1995 08:05:30 -0500 Reply-To: RhythmShrk@AOL.COM From: Bernie Clarke Subject: Re: theory ?? C flat would be B natural (music theory teaches you this) and on the tempered scale, they are really not the same note! How's that for a theory lesson today! BC ========================================================================= Date: Thu, 9 Nov 1995 07:09:00 CST Reply-To: Paul Garon From: Paul Garon Subject: Re: Theory and stereotypes > >Another curious development in this thread has been a bizarre sort of suggestion that jazz players are "trapped" into playing jazz because of their education. Am I the only person here who, in addition to considering this patently absurd, noticed the anti-jazz assumption underlying this argument? You were NOT the only person to notice , but it wasn't really a "development" of the thread, as much as *one* person's opinion early on in the thread (unless I missed some messages that supported this notion). As it was so absurd, and as I was trying to be a good boy (!), I let it go. Still, it was interesting to see it as part of the anti-theory tendency. And you are right that the whole anti-theory argument can reinforce the worst in racist stereotypes. But I think we missed the initial impetus of this thread and got sidetracked by other issues. The anti-theory position is obviously trying to make sense of the fact that some of the great blues artists were sometimes uneducated, illiterate, couldn't read music, and lacking in sophistication. It's difficult to articulate what they did have: intelligence? genius? talent? heart? Because our systems of formal learning are, uh, eh, formal, we have trouble articulating aspects of in-formal creativity, although many have made valiant stabs. The problem is that in saying that these musicians "understood" theory, even if they couldn't articulate it "correctly," theory itself becomes a bit murky. I think at the bottom (or heart) of this thread is the idea of "Who needs formal training when some of the greatest achievers of the blues didn't have it?" Flip-flopping with "training" vs "theory" doesn't clarify the real question. Sure so-and-so taught Robert J how to make an E chord, but that's not the "formal training" that the thread-posers are talking about, if my reading of the original point is correct. Most greats learned something from someone; everyone LEARNED. But if the real question is "how much formal training do I need if I want to play like Robert Johnson," the answers are too glib if they just say, "Get all you can." Maybe "formal training" means "dreaded music lessons" and "no training at all" means "learning blues from someone who can teach me riffs and chords as they are played in blues songs." It may have been beside the (original) point to argue whether or not the latter was or wasn't "theory" or "formal training". ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email or postal mail or visit us at http://www.abaa-booknet.com/alldlrs/mw/60657bea.html. We also have catalogs available by ftp at ftp.mcs.com/mcsnet.users/beasley. _______________________________________|______________________________________ ========================================================================= Date: Thu, 9 Nov 1995 08:20:58 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: 1940s Mercury Sessions Box Set Comments: To: aschuna@VMS2.MACC.WISC.EDU On 7 Nov 95, Art Schuna had this to say... > The Mercury 7 CD box set mentioned earlier on this list is now in the > stores. It's titled "Blues, Boogie & Bop:The 1940s Mercury Sessions" > (Cat # 314 525 609-2). This is one you could easily miss in the stores if > you don't know what your looking for. If there is an award given for unique > packaging or historic recordings collections - this set should take it for > this year. The box the discs comes in looks like a 1940s table radio. > Inside is a 79 page booklet with complete discography/sessionography and > essays for each of the artists featured plus photos and ads that appear to > be from Billboard and other sources. Each set comes individually > numbered in an edition "limited" to 20,000. There are 172 tracks in about > as fine a sound quality as you can get from recordings of this vintage - > which is pretty good. 25 tracks have never been issued, 43 have not been > seen since 78 rpm release and 100 are on CD for the first time. The discs > are individually packaged in paper slip covers within the "radio" that look > like old 78 albums and the discs are in paper sleeves that look like old 78s > in paper jackets. > The package sounds very charming, imaginative, and artistic. But the prize I'd give would be the booby prize. Your description of the music that is in the set has me drooling. Your description of the packaging has me wondering what I would do with 7 CDs in paper sleeves. Like most people with big record collections, I have racks and racks of CDs in "jewel boxes" filed alphabetically by artist with the title printed edge being the only thing showing. A box shaped like a 1940s radio might look neat under the Christmas Tree, but what do you do with it when the tree comes down. I have a REAL 1940s radio and it's in the garage because I have no space for it. Buying the set would mean also buying 7 empty jewel boxes and trying to make tray cards myself so I can see what they are. Not sure I'm willing. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 9 Nov 1995 08:35:54 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: You want books? I got books! Recent talk of Xmas and Books prompted me to drag out the old Blues Bibliography that I compiled a couple of years ago. It rests, un-maintained at the "Blues Shed" FTP site since it got too large for the Blues-L faq. (This is not an offer to update or maintain it) ------------------------------------------------------------ -=:::::: Blues Bibliography ::::::=- ------------------------------------------------------------ Title: Aspects Of The Blues Tradition Author: Oliver, Paul Publisher: Oak Price Hard: Price Soft: Number of pages: Copyright: Illustrated?: Synopsis: Censorship and obscenity in the Blues ------------------------------------------------------------ Title: Beale Black And Blue; Life and music on black America's main street Author: McKee, Margaret & Chisenhall, F. Publisher: Louisiana State University Press Price Hard: Price Soft: Number of pages: Copyright: 1981 Illustrated?: Synopsis: ------------------------------------------------------------ Title: Been Here And Gone Author: Ramsey, Frederic Jr. Publisher: unk Price Hard: Price Soft: Number of pages: Copyright: 1960 Illustrated?: Yes Synopsis: Chronicles authors trek through the south during the 50s ------------------------------------------------------------ Title: Big Book Of The Blues Author: Santelli, Robert Publisher: Peguin Books Price Hard: Price Soft: 15.95 Number of pages: 491 Copyright: 1993 Illustrated?: No Synopsis: Over 600 biographical entries on Blues figures ------------------------------------------------------------ Title: Black Talk Author: Sidran, Ben Publisher: unk Price Hard: Price Soft: Number of pages: Copyright: Illustrated?: Synopsis: How the music of the Black American created a radical alternative to the values of western literary tradition. ------------------------------------------------------------ Title: Blackwell Guide To Recorded Blues, The Author: Oliver, Paul (Ed) Publisher: Blackwell Price Hard: Price Soft: Number of pages: Copyright: 1989 Illustrated?: Synopsis: Reviews of 'significant' Blues recordings ------------------------------------------------------------ Title: Blues Fell This Morning; Meaning in the Blues - 6th Edition Author: Oliver, Paul Publisher: Cambridge University Press Price Hard: Price Soft: Number of pages: Copyright: 1990 Illustrated?: Synopsis: Comes with a complete discography of race records including company and catalog number ------------------------------------------------------------ Title: Blues From The Delta Author: Ferris, William Publisher: Da Capo Press Price Hard: Price Soft: 11.95 Number of pages: 226 Copyright: 1978 Illustrated?: Yes Synopsis: Rural Mississippi Blues culture ------------------------------------------------------------ Title: Blues Guitar; The men who made the music Author: Jas Obrecht (Ed) Publisher: Hal Leonard Publishing Price Hard: Price Soft: 19.95 Number of pages: 200 Copyright: 1990 Illustrated?: Yes Synopsis: Collection of articles on Blues guitarists from the pages of Guitar Player magazine ------------------------------------------------------------ Title: Blues Harmonica Collection Author: McKelvy, David Publisher: Hal Leonard Publishing Price Hard: Price Soft: Number of pages: Copyright: Illustrated?: Synopsis: ------------------------------------------------------------ Title: Blues Line, The; A collection of Blues Lyrics Author: Sackheim, Eric Publisher: Ecco Press Price Hard: Price Soft: 14.95 Number of pages: Copyright: 1969 Illustrated?: Yes Synopsis: ------------------------------------------------------------ Title: Blues Makers, The Author: Charters, Samuel Publisher: Da Capo Press Price Hard: Price Soft: 16.95 Number of pages: 186 Copyright: 1967 Illustrated?: Yes Synopsis: Blues musicians by region ------------------------------------------------------------ Title: Blues On CD; The essential guide Author: Murry, Charles Shaar Publisher: unk Price Hard: Price Soft: Number of pages: Copyright: 1993 Illustrated?: Synopsis: ------------------------------------------------------------ Title: Blues People Author: Jones, LeRoi Publisher: Apollo Editions Price Hard: Price Soft: 10.95 Number of pages: 244 Copyright: 1963 Illustrated?: No Synopsis: Wordy dissertation on the negro experience in white America and the music that developed from it. ------------------------------------------------------------ Title: Blues Records Author: Leadbitter, Mike Publisher: Hanover Books Price Hard: Price Soft: Number of pages: Copyright: 1987 Illustrated?: Synopsis: a selective discography ------------------------------------------------------------ Title: Blues Who's Who Author: Harris, Sheldon Publisher: Da Capo Press Price Hard: Price Soft: 29.50 Number of pages: Copyright: 1979 Illustrated?: Synopsis: Comprehensive entrys on 571 Blues Artists ------------------------------------------------------------ Title: Bluesland Author: Welding, Pete & Byron, Toby Publisher: Dutton Price Hard: 26.95 Price Soft: Number of pages: 255 Copyright: 1991 Illustrated?: Yes Synopsis: Stories on a dozen prominent Blues figures ------------------------------------------------------------ Title: Chicago Blues; the city and the music Author: Rowe, Mike Publisher: Da Capo Press Price Hard: Price Soft: Number of pages: Copyright: Illustrated?: Synopsis: ------------------------------------------------------------ Title: Chicago Breakdown Author: Rowe, Mike Publisher: Eddison BluesBooks Price Hard: Price Soft: Number of pages: Copyright: Illustrated?: Synopsis: Chicago Blues scence ------------------------------------------------------------ Title: Conversations With The Blues Author: Oliver, Paul Publisher: unk Price Hard: Price Soft: Number of pages: Copyright: Illustrated?: Synopsis: ------------------------------------------------------------ Title: Damn Right I Got The Blues Author: Wilcock, Donald E. Publisher: Woodford Press Price Hard: Price Soft: 14.95 Number of pages: 152 Copyright: 1993 Illustrated?: Yes Synopsis: The life and music of Buddy Guy in an interview format ------------------------------------------------------------ Title: Devil's Music, The; A History Of The Blues Author: Oakley, Giles Publisher: unk Price Hard: Price Soft: Number of pages: Copyright: 1976 Illustrated?: Yes Synopsis: Illustrated history. Contains lyrics as well as social and musical background. ------------------------------------------------------------ Title: Down Home Guide To The Blues, The Author: Scott, Frank Publisher: A Cappella Books Price Hard: Price Soft: 14.95 Number of pages: 250 Copyright: 1991 Illustrated?: Synopsis: ------------------------------------------------------------ Title: Encyclopedia Of The Blues Author: Herzhaft, Gerard Publisher: Arkansas Price Hard: Price Soft: Number of pages: Copyright: Illustrated?: Yes Synopsis: ------------------------------------------------------------ Title: Feel Like Going Home Author: Guralnick, Peter Publisher: Harper & Row Price Hard: Price Soft: 10.95 Number of pages: 261 Copyright: 1971 Illustrated?: Yes Synopsis: Portraits of seminal Blues Artists and the developement of Rock & Roll ------------------------------------------------------------ Title: Harmonicas, Harps, And Heavy Breathers Author: Field, Kim Publisher: Simon & Schuster Price Hard: Price Soft: 14.00 Number of pages: Copyright: Illustrated?: Synopsis: A celebration of the world's most popular instrument and it's American Masters ------------------------------------------------------------ Title: Honker's And Shouters Author: Shaw, Arnold Publisher: Collier Price Hard: Price Soft: Number of pages: Copyright: Illustrated?: Synopsis: Story of Blues and R&B independent record companies 1920s - 60s ------------------------------------------------------------ Title: I Am The Blues; The Willie Dixon Story Author: Dixon, Willie & Snowden, Don Publisher: Da Capo Press Price Hard: Price Soft: 12.95 Number of pages: 264 Copyright: 1989 Illustrated?: Yes Synopsis: Willie Dixon's biography ------------------------------------------------------------ Title: I Hear You Knockin' Author: Hannusch, Jeff 'Almost Slim' Publisher: Swallow Price Hard: Price Soft: Number of pages: Copyright: Illustrated?: Synopsis: New Orleans R&B scene ------------------------------------------------------------ Title: Jazz And Blues Lover's Guide To The U. S. ,The Author: Bird, Christiane Publisher: Addison-Wesley Price Hard: Price Soft: 14.95 Number of pages: 385 Copyright: 1991 Illustrated?: Yes Synopsis: Travel Guide to the Jazz & Blues scene in over 25 major American Cities ------------------------------------------------------------ Title: Land Where Blues Began, The Author: Lomax, Alan Publisher: Pantheon Books Price Hard: 25.00 Price Soft: Number of pages: 539 Copyright: 1993 Illustrated?: Yes Synopsis: Chronicles Lomax's trek through the south recording music for the Library of Congress ------------------------------------------------------------ Title: Looking Up At Down Author: Barlow, William Publisher: Temple University Press Price Hard: Price Soft: Number of pages: Copyright: Illustrated?: Synopsis: ------------------------------------------------------------ Title: Nothing But The Blues Author: Cohn, Lawrence Publisher: Abbeville Press Price Hard: 45.00 Price Soft: Number of pages: 432 Copyright: 1993 Illustrated?: Yes Synopsis: Illustrated history of the Blues. Separate authors for individual chapters. ------------------------------------------------------------ Title: Nothing But The Blues Author: Leadbitter, Mike Publisher: Hanover Books Price Hard: Price Soft: Number of pages: Copyright: 1971 Illustrated?: Yes Synopsis: Half on Chicago Blues. Half on Southern Blues ------------------------------------------------------------ Title: Rhythm And Blues In New Orleans Author: Broven, John Publisher: Pelican Books Price Hard: Price Soft: Number of pages: Copyright: Illustrated?: Synopsis: Crescent City music scene ------------------------------------------------------------ Title: Rythm Oil; A journey through the music of the American south. Author: Booth, Stanley Publisher: Pantheon Books Price Hard: Price Soft: Number of pages: Copyright: Illustrated?: Synopsis: Covers R&B, Blues, Soul, and some Rock ------------------------------------------------------------ Title: Searching For Robert Johnson Author: Guralnick, Peter Publisher: unk Price Hard: Price Soft: Number of pages: Copyright: Illustrated?: Synopsis: Documents the author's search through the Delta in search of facts about Blues legend, Robert Johnson ------------------------------------------------------------ Title: Sounds So Good To Me; The Bluesman's story Author: Pearson, Barry Lee Publisher: unk Price Hard: Price Soft: Number of pages: Copyright: Illustrated?: Yes Synopsis: Collection of the oral histories of various Bluesfigures ------------------------------------------------------------ Title: South To Louisiana; the music of the Cajun bayou Author: Broven, John Publisher: unk Price Hard: Price Soft: Number of pages: Copyright: Illustrated?: Synopsis: Rural Louisiana music. Swamp Blues. ------------------------------------------------------------ Title: Stormy Monday; The T-Bone Walker Story Author: Dance, Helen Oakley Publisher: Da Capo Press Price Hard: Price Soft: Number of pages: Copyright: Illustrated?: Yes Synopsis: T-Bones biography. Forward by B. B. King ------------------------------------------------------------ Title: Story Of The Blues, The Author: Oliver, Paul Publisher: unk Price Hard: Price Soft: Number of pages: Copyright: Illustrated?: Synopsis: ------------------------------------------------------------ Title: Sweet Soul Music; Rhythm and Blues and the southern dream of freedom Author: Guralnick, Peter Publisher: Harper & Row Price Hard: Price Soft: 16.95 Number of pages: 438 Copyright: 1986 Illustrated?: Yes Synopsis: Story of southern R&B developement from gospel roots, Atlantic Records, Stax Records ------------------------------------------------------------ Title: Upside Your Head; Rhythm and Blues on Central Avenue Author: Otis, Johnny Publisher: University Press of New England Price Hard: Price Soft: Number of pages: Copyright: 1993 Illustrated?: Synopsis: ------------------------------------------------------------ Title: Urban Blues Author: Keil, Charles Publisher: University of Chicago Press Price Hard: Price Soft: Number of pages: Copyright: 1969 Illustrated?: Synopsis: ------------------------------------------------------------ Title: Woman with Guitar; Memphis Minnie's Blues Author: Garon, Paul & Beth Publisher: Da Capo Press Price Hard: Price Soft: 14.95 Number of pages: Copyright: Illustrated?: Yes Synopsis: Memphis Minnie's life and music ------------------------------------------------------------ P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 9 Nov 1995 08:52:58 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Re: Risque Boy Arnold. Comments: To: bit-listserv-blues-l@uunet.uu.net Art Schuna (aaschuna@FACSTAFF.WISC.EDU) wrote: : Roosevelt Sykes often sang a song with this line - his was titled : "Mother Fuh Ya" if I remember correctly. Is that the same song as : Arnold's? I haven't seen the new Alligator but his last release : on this label is a favorite of mine It sure is the same song Art. In fact even though the name of the cut is "Loving Mother For You" BBA sings just as you have it "Mother Fuh Ya". Is the release you are talking of his Back Where I Belong? I haven't heard it - I would like any comments on it. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Thu, 9 Nov 1995 08:55:31 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Re: Risque Boy Arnold. Comments: To: bit-listserv-blues-l@uunet.uu.net Richard Shurman (rshurman@CCS.NSLSILUS.ORG) wrote: : Billy Boy did a very nice job yesterday reuniting with Bo Diddley on : three songs for Bo's upcoming Code Blue CD. So did Johnnie Johnson, not : surprisingly. Heard there were a couple of other big-benders on that session as well. Do you happen to have the full line-up with Bo on this one. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Thu, 9 Nov 1995 08:18:28 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Risque Boy Arnold. Comments: To: Art Schuna In-Reply-To: <47r838$129i@news.doit.wisc.edu> On Wed, 8 Nov 1995, Art Schuna wrote: > Roosevelt Sykes often sang a song with this line - his was titled > "Mother Fuh Ya" if I remember correctly. Is that the same song as > Arnold's? I haven't seen the new Alligator but his last release > on this label is a favorite of mine I was listening to Roosevelt Sykes do Kickin Motor Scooter on a Delmark cd (forget the name). The first thing I thought was, hmm, this sure sounds like BB King doing Mother Fuh ya from the box set. Could BB gotten this from Roosevelt? -Jeff (I'm a rotten muther fuh ya) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / As I was riding across the Mississippi \ / I stopped there and I cried. \( No use for a man to keep a mighty river All dammed up inside. -Joe Ely ========================================================================= Date: Thu, 9 Nov 1995 09:27:09 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Organization: IQuest Internet Services Subject: Re: Robot Military Polka Blues Comments: To: "P.W. Fenton" ------------------King and the remaining Booker. HOW COULD I LOSE? I'll tell you how I could lose - by not knowing anything about Freddie's period with Shelter Records. Imagine a band made up of shiny robots playing what seems like polkas in a sort of stiff military style. Then imagine------------ I have to agree here. I have all the Shelter re-issues but don't play them. I put all the better ones from Shelter together on one cassette, though. I personally LOVE "My Feeling For The Blues" and "Blues Master" on Atlantic, but others don't agree. What do I know? Don't you hate it when you first discover an artist for yourself and get his greatest stuff first and then go out in pursuit of more of the same only to find out 10 cd's later that first one really WAS a great album?? RJ Bauman (my copy of Live at Antibes melted in the car window. Stupid me!! :-( ) ========================================================================= Date: Thu, 9 Nov 1995 14:43:08 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Advent reissues on Testament/Hightone (+ info req.) hi everybody, I'm back two/three weeks of silence ... and like always I couldn't find time enough to write down the reviews of the recent testament/Hightone reissues I had promised. Nevertheless, these albums are so EXCELLENT that I don't need a lot of space (although they really would deserve it!) to highly recommend these wonderfull CDs: TESTAMENT/HIGHTONE TCD 5021 BOTTLENECK BLUES 60 minutes of wonderfull stuff including Mott Willis, Jack Owens, Herb Quinn, Robert Johnson (no, not the one you think of, but well a delicious trad. gospel/blues singer-guitar player borned in 1917 borned in Skene Misissippi - also present of the wonderfull Advent anthology "Sorrow Come Pass me Around" - hopefully soo reissued with unissues!) Big Joe, Fred Mc Dowell, John Littlejohn, Nighthwak, .... Altough the sleeves notes (BTW why are there no exact details on location and date of recordings?) point out that this is the much anticipated original 1960's Testament Botleneck Blues album that was never released, I was wondering if this CD is not in fact an single issue of BOTH this "never released but announced" Testament album + the Advent set BIG ROAD BLUES which was also announced but never released. If I remember well, this set was initially supposed to contain recordings done by David Evans including Mott Willis, Herb Quinn, ... (in the vain of the other published anthologies of recordings made by Evans in the 60's). I would be very grateful if someone could amplify/confirm/correct this hypothesis. TESTAMENT/HIGHTONE TCD 5029 SAN DIEGO BLUES JAM Feat. Tom Courtney, Thomas Shaw, Bob Jeffrey, Sam Chatmon, ... with 6 superb unissued sides. The LP version of this album has always been of my favorite 70's trd. blues anthology. I never could resist to Bonnie Jefferson's "Take Me bAck" or to Louis Major's "Handy Brandy". This is a truely interesting and enjoyable album that should be in each country blues fan's collection. Great to see it on CD!! TESTAMENT/HIGHTONE TCD 5027 THOMAS SHAW - BORN IN TEXAS Reissue of the LP + 8 unissued tracks. Superb deep texas country blues in the line of early Texas bluesmen as Blind Lemon, Funny Papa Smith... Includes a track with Thomas Shaw on hca. Thomas Shaw was a major discovery of the early 70's. Great songwritter and GREAT music. This album contains (IMHO) his best recordings published ever (along with the San Diego Blues Jam cuts). Whether this is due to the fact that he uses here his electric guitar is not impossible (if I remember well the two other albums of Shaw on Blues Beacon and Blue Goose -recorded a bit later- did present him playing acoustic gtr). Simply A RUN DON'T WALK ALBUM! TESTAMENT/HIGHTONE TCD 5028 CHICAGO BLUES AT HOME Feat John Littlejohn, Louis Myers, Bob Myers, Eddie Taylor, Jimmie Rogers, Johnny Shines, ... This was already mentioned more than once on Blues-L. The only thing I regrett is that Louis Myers AND Bob have apparently not been more extensively recorded in this setting then (BTW, thanks to Dick Shurman Frank Scott and Jim O'Neal for having done these wonderfull recordings). RDW again ! My hope is that they'll continue reissuing such great material. I personally also hope that Frank Scott will also one day start reissuing the Muskadine Lps! Jean-Pierre Urbain P.S. No relation, not affiliated, ..... just long time Advent fanatic. ========================================================================= Date: Thu, 9 Nov 1995 08:52:00 CST Reply-To: topcat@COMPUTEK.NET From: "" Subject: TEXAS BLUESMEN EUROPEAN TOUR <---- Begin Included Message ----> Cc: topcat@computek.net Date: Thu, 9 Nov 95 08:51 CST From: topcat@computek.net Subject: TEXAS BLUESMEN EUROPEAN TOUR To: blues-l@brownvm.brown.edut We're outta here tomorrow morning for our month long tour across Europe from Amsterdam to Atens, and all points inbetween. I'm going nomail for the next month, so see ya'll around December 10th. Adios. Richard Chalk TopCat Records <---- End Included Message ----> <---- End Included Message ----> ========================================================================= Date: Thu, 9 Nov 1995 15:52:23 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Info needed: TUTU JONES, VANCE KELLY I would need to get in touch with these musicians (if not possible with their agents, but would really prefer these musicians directly) for Pierre Degeneffe (from the SPRING BLUES FESTIVAL). Address + Tel and/or FAx would really be wellcome (private E-mail please). Thanks in advance Jean-Pierre Urbain ========================================================================= Date: Thu, 9 Nov 1995 15:31:01 GMT Reply-To: Maren Wright From: Maren Wright Organization: Wake Forest University Subject: I need harmonica tabs Comments: To: bit-listserv-blues-l@uunet.uu.net I need harmonica tabs. send some. if not, where can i get them. bob ========================================================================= Date: Thu, 9 Nov 1995 10:46:47 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: M.T.O. Just stumbled across this - M.T.O. - Music Theory Online - The Online Journal Of The Society For Music Theory - University of California at Santa Barbara These folks are WAY serious. http://boethius.music.ucsb.edu/mto/mtohome.html P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 9 Nov 1995 10:58:11 -0500 Reply-To: Steven Levine From: Steven Levine Subject: Copyright for recording covers I'm planning on doing a recording in the near future and my band mostly does covers and traditional songs. When you record a cover and you are selling it what is the procedure for getting permission or making sure the writer (or publishing company) gets royalties? Do you have to go through the copyright office or BMI or ASCAP? I just want to make sure I don't do anything illegal when we eventually put out a tape or cd to sell. I'm sure there are other blues-lers who have done albums with covers who can help me out. I'd appreciate any help or advice. Thanks, Steve ========================================================================= Date: Thu, 9 Nov 1995 16:09:59 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Subject: Re: 1940s Mercury Sessions Box Set Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199511091323.IAA26230@tequesta.gate.net>, "P.W. Fenton" says: >The package sounds very charming, imaginative, and artistic. But >the prize I'd give would be the booby prize. Your description of >the music that is in the set has me drooling. Your description of >the packaging has me wondering what I would do with 7 CDs in paper >sleeves. Like most people with big record collections, I have racks >and racks of CDs in "jewel boxes" filed alphabetically by artist >with the title printed edge being the only thing showing. A box >shaped like a 1940s radio might look neat under the Christmas Tree, >but what do you do with it when the tree comes down. I have a REAL >1940s radio and it's in the garage because I have no space for it. PW - Did I mention it was a "small" 1940s radio? Yes, I know exactly what your talking about with the storage dilemma. The outer cardboard sleeves described are about as substantial as LP jackets (maybe slightly thinner). Each one has the title on the back spine of the jacket (like an LP). You could just put them on the shelf this way and store or throw out the radio box. Given that CD boxes, because of their design, would not put a lot of pressure on the jacket (unlike LPs), over time there probably would be little or no effect on the paper jackets. I haven't quite decided what I will do - probably will set it on top of one of my CD storage units with other box sets I own. Since I currently own no other boxes that look quite like this (nor do I expect to in the future), it should not be a problem identifying it. Since this is a various artists box set, you won't be able to file it alphabetically by artist. The Albert Ammons takes up all of the first disc and 6-8 tracks on disc 2. Other artists placement depends on how much material they released on the label. They appeared to group it as best they could and use the space available on the disc. The alternate takes sessions on Disc 7 is of course the most varied. Art ========================================================================= Date: Thu, 9 Nov 1995 11:19:45 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Organization: IQuest Internet Services Subject: Re: theory ?? Comments: To: RhythmShrk@AOL.COM A flatted C is definately the same as B natural, as a flatted C is C lowered a semi-tone. However, there is no such term as Cb or B# I would consider that the blues DOES NOT adhere to a tempered scale. Atleast not a 12 note one. How many times do you hear about the micro-tones , the "space between the notes". For example, guitarists routinely add tension to a phrase when they bend from one scale degree to another. They hang on it before resolving back down or up or choke a mini bent note and move on. This is even more apparent in blues harmonica playing. I can't sight read music but anybody can HEAR that. Makes no difference if you know the theory language. The theory itself is THERE anyway. Don't try to run away from it, folks! btw, there's no such thing as Cb, as in theory speak, but you sure as hell can flatten a C. RJ Bauman (none of this crosses my mind when I'm playing) > C flat would be B natural (music theory teaches you this) and on the tempered > scale, they are really not the same note! How's that for a theory lesson > today! > > > > BC > > ========================================================================= Date: Thu, 9 Nov 1995 09:00:00 PST Reply-To: mmccourt@ACUSON.COM From: Mike McCourt Subject: Re: theory ?? I hate myself already for this but not only is there a Cb, it has it's own key signature of 7 flats. Mike ______________________________ Reply Separator _________________________________ Author: "P.W. Fenton" at ccUnix See now, if you had studied your theory you would have known that they could only have discussed E=mC sharp, since there is no C flat. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Thu, 9 Nov 1995 10:23:30 MST Reply-To: 100hart@WEST.CSCWC.PIMA.EDU From: 100hart@WEST.CSCWC.PIMA.EDU Subject: request blues info. To Whom It May Concern: Hello. I am presently working on a music major (specifically, a major in guitar performance). I saw your entry in the Internet yellow pages this morning and I decided to drop you all a line. I have always been a big fan of blues. I have found it somewhat of a difficulty to find recordings and manuscripts of good music by the old blues legends. I would like to request any information you may have about how I can get my hands on some manuscripts (I don't care if it's in musical notation or tablature). I am particularly interested in music from approximately 1940 and older. Please send me the desired information to my E-mail address or to my home address. Any information will be greatly appreciated. I thank you sincerely in advance. Home address: Anthony Hart 4900 E. 5th Street #1705 Tucson, AZ 85711 E-mail address: 100hart@west.cscwc.pima.edu Thank you. ========================================================================= Date: Thu, 9 Nov 1995 11:48:00 -0600 Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Why am I not receiving any mail from the group anymore and also from the Texasflood group. I've checked my settings on both as well as checked with my provider. Everything seems to check out OK. Nuri Nuri ========================================================================= Date: Thu, 9 Nov 1995 17:51:43 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Cb In-Reply-To: Reminds me of an old joke : what do you get when you through a piano down a mine shaft? - Abm :) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [9/11/95 12:51 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 9 Nov 1995 10:23:18 -0800 Reply-To: Garry Segal From: Garry Segal Subject: Techie/Batteries Just bought the Shure 58 wireless set up. Thanks to all the Blues Lers who offered advice. Any suggestions on the best non rechargeable batteries (9V) ? Thanks, Garry Moodswingerpage http://www.island.net/~blues/BlueSngr.html BTW congrats to CH on the Blue Highway recognition! Dont forget there are some other cool blues sites out there Like KING BISCUIT TIME which includes plenty 'o'links and great info including DELTA BLUES MAGAZINE . Both of which have been helpful to my band and the blues. ========================================================================= Date: Thu, 9 Nov 1995 13:46:59 -0500 Reply-To: Jerry Zolten From: Jerry Zolten Subject: Cover Royalties In response to anyone recording an album with covers. All you need to do is get the correct titles, writers, and, if possible, publishers, put it all on paper, and send it to the Harry Fox Agency, 110 E. 59th St., New York City 10022. They will arrange for clearances and royalty payments at, I believe, no cost to you, i.e., no fee for their services. I don't have the phone number, but if you need more specifics, get it from the directory and give them a call. ========================================================================= Date: Thu, 9 Nov 1995 18:47:12 GMT Reply-To: Jessica Alexander From: Jessica Alexander Organization: OHSU School of Nursing Subject: Re: Theory: by K.T. Comments: To: bit-listserv-blues-l@uunet.uu.net I can sit down and write out theory all day but if you want to play Blues you have to listen to a bunch of it and then "just do it"; it's very important to then listen back to yourself and see if the music is saying what you think it is. I can also tell you with no hesitation that when you work on the bandstand, you better know minimum applied theory, that is, know what they mean when they say "go to IV in the bridge" and no whining from AA degree students who say that's hillbilly stuff; it's applied theory and if you get stuck on the stage and someone is yelling a chord change at you and it's too loud and you can't tell if they're saying "G" or "C"......after you've been out there a while you run into situations where you are really grateful for people who know the basics. Certain functions of applied theory are the basic for bandstand players, especially when you have to jump on and improvise with artists/tunes you don't know, or haven't played before. "There is a difference between ten years of experience and one year of experience ten times." "The" K.T. ========================================================================= Date: Thu, 9 Nov 1995 20:04:41 +0100 Reply-To: Peter Gallagher From: Peter Gallagher Subject: Re: Christmas Music Request Comments: To: ISTS024@UABDPO.bitnet In-Reply-To: from "L W" at Nov 6, 95 11:19:48 am I second that! LW _gave_ me a copy! (Thanks again Leonard!) PeterG " I guaranTWO it" > > On Mon, 6 Nov 1995 17:17:11 GMT william higdon said: > >I was wondering if there is an album of music suitable for the > >holidays consistent with the style of acoustic blues. > >I am not looking for "holiday blues", just a nice way to share > >some of the music I enjoy with family and friends who would > >otherwise never listen :). > > I HIGHLY recommend Charles Brown "Cool Christmas Blues" (I hope that's right) > It's exceptional and guaranteed to please everybody, except the un-pleasable > folks, which is impossible.....It's a great disc for anytime of year. > > LW 'I guarantee it' > > -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Thu, 9 Nov 1995 14:12:53 -0400 Reply-To: Ian Angus From: Ian Angus Subject: Saffire Web Page Saffire, The Uppity Blues Women, has a brand new Web page at http://www.onewdesign.com/saffire/ Check it out. Disclaimer: Apart from being the most dedicated and enthusiastic Saffire fan in all of her majesty's dominions, I have no connection with the band, the web page, etc. -- ============================================================ IAN ANGUS Tel: 905-686-5050 ext 222 Angus TeleManagement Group Fax: 905-686-2655 8 Old Kingston Road e-mail: ianangus@angustel.ca Ajax Ontario Canada L1T 2Z7 http://www.angustel.ca ============================================================ ========================================================================= Date: Thu, 9 Nov 1995 14:39:01 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Techie/Batteries Comments: To: bluesngr@IX.NETCOM.COM On 9 Nov 95, Garry Segal had this to say... > Just bought the Shure 58 wireless set up. Thanks to all the Blues Lers > who offered advice. Any suggestions on the best non rechargeable > batteries (9V) ? I usually replace the battery in my guitar transmitter after about 6 hours use (2 nights, 8 45 minute sets, turning it off between sets). I've gone 3 nights or 9 hours without any problem, but I change them more frequently just to be certain. I mostly use Eveready Energizers and Maxells. The transmitter has a seat into which the 9V is pressed broad side. I have found that the Duracells have slighly smaller cases than all other brands which results (in this transmitter) in a loosely fitting battery that causes static like noise from the poor contact. As soon as I figured out why some nights I got static, and some nights I didn't, I stopped using Duracells and never again had the problem. (Duracells work just fine where this size difference has no effect). I am not affiliated with any manufacturer of alkaline batteries;-) P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 9 Nov 1995 20:02:30 +0100 Reply-To: Peter Gallagher From: Peter Gallagher Subject: Re: Why Brownie McGhee did not tour Comments: To: rflohil@INFORAMP.NET In-Reply-To: from "Richard Flohil" at Nov 6, 95 12:26:53 pm I had the major fortune to catch BOTH Sonny and Brownie in the Stadium, Dublin, Ireland way back in about '81 I had heard plenty of the 2 "boys" on vinyl and was immediately smitten. These "youngfellas", acording to my recollection, were both already in their 70's. I ha a girlfriend accompany me on my insistance. She was not realyy a blues fan, but she was "gob-smacked". I was also blown away. The boys were ROCKIN'! I'm sad to hear Brownie is having bad times. I saddens me. Brownie should be placed up there alongside of JLH as one of the last REAL old (living) bluesmen. regards as always, PeterG > > Thanks for the touching response about Brownie McGhee and his current > tribulations. Hopefully, Michael Twomey can convey to his friend the > sympathies and understanding of the thousands of blues fans who met Brownie > when he was on the road. This fan, in particular, remembers dozens of > appearances in Toronto at venues as varied as the Riverboat and the O'Keefe > Centre (and a couple of occasions when I presented him in concert with his > old sparring partner Sonny Terry). > Let's wish him well in the late autumn of his life, and remember > him and his music with the warmth and affection he so richly deserves. They > don't make 'em like Brownie any more, and we should be grateful we heard > him when we did. -Richard the Elder. > > -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Thu, 9 Nov 1995 15:02:12 -0500 Reply-To: Erica Wissolik From: Erica Wissolik Subject: Cover Royalties -Reply I second all of this - Harry Fox Agency is at (212) 370-5330 Erica R.I.P. Country Dick Montana of the Beat Farmers died this week :-( >>> Jerry Zolten 11/09/95 01:46pm >>> In response to anyone recording an album with covers. All you need to do is get the correct titles, writers, and, if possible, publishers, put it all on paper, and send it to the Harry Fox Agency, 110 E. 59th St., New York City 10022. They will arrange for clearances and royalty payments at, I believe, no cost to you, i.e., no fee for their services. I don't have the phone number, but if you need more specifics, get it from the directory and give them a call. ========================================================================= Date: Thu, 9 Nov 1995 19:03:38 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: VIRUS ALERT Comments: To: bit-listserv-blues-l@moderators.uu.net Subject: Virus Alert I am passing on u this urgent warning that came through from someone at Boston University. There is a computer virus that is being sent across the Internet. If you receive an e-mail message with the subject line "Good Times", DO NOT READ THE MESSAGE, delete IT IMMEDIATELY. Please read the message below from the FCC. WARNING!!!!!!!! INTERNET VIRUS The FCC released a warning last Wednesday concerning a matter of major importance to any regular user of the InterNet. Apparently, a new computer virus has been engineered by a user of American Online that is unparalleled in its destructive capability. Other, more well-known viruses such as Stoned, Airwolf, and Michaelangelo pale in comparsion to the prospects of this newest creation by a warped mentality. What makes this virus so terrifying, said the FCC, is the fact that no program needs to be exchanged for a new computer to be infected. It can be spread through the existing e-mail systems of the Internet. Once a computer is infected, one of the several things can happen. If the computer contains a hard drive, that will most likely be destroyed. If the program is not stopped, the computer's processor will be placed in an nth-complexity infinite binary loop which can severaly damage the processor if left running that way too long. Unfortunately, most novice computer users will not realize what is happening until it is far too late. Luckily, there is one sure means of detecting what is now known as the "Good Times" virus. It always travels to new computers the same way in a text e-mail message with the subject line reading simply "Good Times". Avoiding infection is easy once the file has been received-- NOT READING it! The act of loading the file into the mail server's ASCII buffer cause the "Good Times" mainline program to initialize and execute. The program is highly intelligent - it will send copies of itself to everyone whose e-mail address is contained in a received-mail file or a sent-mail file, if it can find one. It will then proceed to trash the computer it is running on. The bottom line here is - if you receive a file with the subject line "Good Times", delete it immediately! Do not read it ! Rest assured that whoever's name was on the "From:" line was surely struck by the virus. Warn your friends and local system users of this newest threat to the InterNet! It could save them a lot of time and money. Tony Burke ========================================================================= Date: Thu, 9 Nov 1995 15:27:54 -0500 Reply-To: Neil Cassidy From: Neil Cassidy Subject: a little theory can be dangerous on 11/9/95 rj bauman wrote >A flatted C is definately the same as B natural, as a flatted C is C >lowered a semi-tone. However, there is no such term as Cb or B# and later >btw, there's no such thing as Cb, as in theory speak, but you sure as >hell can flatten a C ___ Well as a matter of fact there is such a thing as a Cb, and it is used more frequently than you might think. For instance, when writing music in the key of Gb the major scale is Gb, Ab, Bb, Cb, Db,Eb, F (natural) and Gb. The reason you write 'Cb' in this case is that a 'B type' note has already been used as the 3rd scale degree and to have a scale that reads Gb, Ab,Bb, B Db... is simply not done. So who plays in Gb? Why play in Gb (a key signature with 6b's)? Why not just play in F#? Well as it goes instumentalists playing a flat transposing instrument like all you tenor sax folks (Bb) or alto sax(Eb) generally would rather read a key signature with flats (Gb) than one with sharps. Whatever the scenario, this is only one of many, a Cb (as well as B#) is a much more common note than you might think. Neil Cassidy (music theorist in a past life) Capital University, Columbus, OH ========================================================================= Date: Thu, 9 Nov 1995 15:34:24 -0500 Reply-To: rew4@PSU.EDU From: Ross Whitwam Subject: Re: VIRUS ALERT *hoax*! Comments: To: blues-l%brownvm.BITNET@psuvm.psu.edu Uh, this isn't a virus. This is a hoax. An *old* hoax that was making the rounds about 6 months ago. It must have travelled to the U.K. on the same slow boat that always takes my mail. Really, completely fictitious. Nothing to worry about. Ross Whitwam rew4@psu.edu Dept. Biochem + Molec Biology Penn State University + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Tony Burke wrote: >Subject: Virus Alert > >I am passing on u this urgent warning that came through from someone at >Boston University. There is a computer virus that is being sent >across the Internet. If you receive an e-mail message with the subject >line >"Good Times", > >DO NOT READ THE MESSAGE, delete IT IMMEDIATELY. Please read > >the message below from the FCC. > > > > WARNING!!!!!!!! INTERNET VIRUS > >The FCC released a warning last Wednesday concerning a matter of major >importance to any regular user of the InterNet. Apparently, a new >computer >virus has been engineered by a user of American Online that is >unparalleled ========================================================================= Date: Thu, 9 Nov 1995 14:43:40 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: a little theory can be dangerous In-Reply-To: Message of Thu, 9 Nov 1995 15:27:54 -0500 from On Thu, 9 Nov 1995 15:27:54 -0500 Neil Cassidy said: > >So who plays in Gb? Why play in Gb (a key signature with 6b's)? I like to tune to open Gb, it pisses off the harp players :-) LW 'I think you need a new harp, that one's about shot' ========================================================================= Date: Thu, 9 Nov 1995 15:48:58 -0500 Reply-To: Steven M Salvi From: Steven M Salvi Subject: Need Help To Whomever: I was wondering if anyone could explain how I can unsubscribe from the B-list. I have tried, but I keep on doing something wrong. If someone could show me step by step I would greatly appreciate it. Thank-You. Steve ========================================================================= Date: Thu, 9 Nov 1995 15:19:25 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: VIRUS ALERT Comments: To: Tony Burke In-Reply-To: <815943818.13832@bluestb.demon.co.uk> This is one of the longest running myths on the net. The problem is that it's natural for people to want to pass on information to their friends, but in this case it's a crock. Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Thu, 9 Nov 1995 16:42:27 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Good Times Comments: To: tony@BLUESTB.DEMON.CO.UK On 9 Nov 95, Tony Burke had this to say... > Subject: Virus Alert > > I am passing on u this urgent warning that came through from someone at > Boston University. There is a computer virus that is being sent > across the Internet. If you receive an e-mail message with the subject > line > "Good Times", > > DO NOT READ THE MESSAGE, delete IT IMMEDIATELY. Puh-leeeeeeze. If such a virus existed, and I assure you it doesn't, all our computers would be wiped out by now because it's author could not be so stupid as to ALWAYS NAME IT GOOD TIMES! P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 9 Nov 1995 15:52:09 -0600 Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: Re: Christmas Music Request He is a partial list of the stuff that I use: . Christmas Blues (CD-Savoy, 1994) . Christmas on the Border (CD-Regency, 1994) . The Alligator Records Christmas Collection (CD-Alligator, 1992) . Blue Yule (CD-Rhino, 1991) . The Texas Christmas Collection (CD-Amazing Records, 1991) . Merry Christmas Baby (CD-Paula Records, 1991) . An Austin Rhythm & Blues Christmas (CD-Sony, 1993) . It's Christmas Time Again (CD-Stax, 1989) . Charles Brown's Cool Christmas Blues (Bullseye) . Ichiban Blues at Christmas (LP-Ichiban, 1991) . Jingle Bell Jamboree (Antones) . Rhythm & Blues Christmas (Cassette-Highland, 1989) . The Temptations "Give Love at Christmas" (LP-Motown, 1980) There is plenty more. I hope this helps!1 Nuri Nuri, Host/Producer "Off the Clock" blues show, KPFT 90.1FM-Houston Recently voted "Best Blues Radio Program" in Houston >I second that! LW _gave_ me a copy! (Thanks again Leonard!) >PeterG " I guaranTWO it" > >> >> On Mon, 6 Nov 1995 17:17:11 GMT william higdon said: >> >I was wondering if there is an album of music suitable for the >> >holidays consistent with the style of acoustic blues. >> >I am not looking for "holiday blues", just a nice way to share >> >some of the music I enjoy with family and friends who would >> >otherwise never listen :). >> >> I HIGHLY recommend Charles Brown "Cool Christmas Blues" (I hope that's right) >> It's exceptional and guaranteed to please everybody, except the un-pleasable >> folks, which is impossible.....It's a great disc for anytime of year. >> >> LW 'I guarantee it' >> >> > > >-- >----------------------------------------------------------------------------- >Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl > >" I used to finish every sentence I started, but now I just ...." > --my sister, Christine >----------------------------------------------------------------------------- > > ========================================================================= Date: Thu, 9 Nov 1995 15:52:09 -0600 Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: Christmas songs He is a partial list of stuff that I use: . Christmas Blues (CD-Savoy, 1994) . Christmas on the Border (CD-Regency, 1994) . The Alligator Records Christmas Collection (CD-Alligator, 1992) . Blue Yule (CD-Rhino, 1991) . The Texas Christmas Collection (CD-Amazing Records, 1991) . Merry Christmas Baby (CD-Paula Records, 1991) . An Austin Rhythm & Blues Christmas (CD-Sony, 1993) . It's Christmas Time Again (CD-Stax, 1989) . Charles Brown's Cool Christmas Blues (Bullseye) . Ichiban Blues at Christmas (LP-Ichiban, 1991) . Jingle Bell Jamboree (Antones) . Rhythm & Blues Christmas (Cassette-Highland, 1989) . The Temptations "Give Love at Christmas" (LP-Motown, 1980) There are plenty more. I hope this helps! Nuri Nuri, Host/Producer "Off the Clock" blues show, KPFT 90.1FM-Houston Recently voted "Best Blues Radio Program" in Houston ========================================================================= Date: Thu, 9 Nov 1995 16:04:01 CST Reply-To: Edward Komara From: Edward Komara Subject: Blues books I can't believe I went through a ka-jillion posts for blues books with no one recommending Paul Oliver's STORY OF THE BLUES. Although published in 1970, THE STORY OF THE BLUES remains, overall, the most CONSISTENTLY written and EDITED history of blues music. Along with the prose, there are also great photos and record labels. For two years, especially after Cohn's NOTHING BUT THE BLUES came out, I have been screaming for someone to reissue the Oliver history. Now that my voice is worn out, I am mighty close to groveling. But I reach for STORY OF THE BLUES when asked for the best overall history of blues. Although out-of-print, it is worth seeking out, and it is worth it! Edward Komara, BLues Archive, Ole Miss ========================================================================= Date: Thu, 9 Nov 1995 17:46:12 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Theory ?? > In article <951108123547_82279381@emout06.mail.aol.com> Dick Waterman writes: > > >I am obviously missing something here because I thought that 'formal' > >training referred to the CLOTHES that a person wore while learning. Am I > >confused on this? > >The reason that you don't see a lot of blues being played by men in tuxedos > >is that formal performance is much rarer than formal training. Does that make Johnny Otis a formal performer? He wore a (very bright) tuxedo at the Chicago Blues Festival 3 years ago. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Thu, 9 Nov 1995 17:46:12 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Risque Boy Arnold. Dirty Mother Fuyer has been done in various forms by various artists. It also appears as Dirty Motor Scooter and Mean Motor Scooter. I especially like "Dirty Mama Jama" by Zora Young, on her Travelin' Light CD, on Deluge Records. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Thu, 9 Nov 1995 14:23:04 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: STAX 8595 : SUPERBLUES : ALL-TIME CLASSIC BLUES HITS V. 3 (1947-1972) Comments: To: BluesHvn@aol.com STAX 8595 : SUPERBLUES - ALL-TIME CLASSIC BLUES HITS V. 3 (1947-1972) ============================================================================= It's nice to see well-informed & knowledgeable people compiling useful collections. Kirk Roberts has compiled a 3rd set of blues classics, local hits and a few rare tracks for those who have everything, with Lee Hildebrand as-usual excellent notes. The mastering is super, and in some cases it's the best I've heard. Take, for example, Joe Morris-Laurie Tate's classic #1 R&B Atlantic Recording, "Anytime, Anyplace, Anywhere"; You can finally hear Elmo Hope's wonderful piano work - yes, the same Elmo Hope who would record with John Coltrane. Longtime fans of Ted Taylor (1934-1987) will be happy to see his 1958 masterpiece, "Be Ever Wonderful" reissued here. Also included are tracks by Larry Dale, Camille Howard, Eddie Taylor, Billy Boy Arnold - 19 different artists in all. Like Piano Red/Bertha Colbert sings in "I Ain't Nobody's Fool", (and I'm paraphrasing) : "Well now, you better listen to me, BLUES-Listener, come on & ride in my V-8; 'Cause if you keep up all that walkin', BLUES-Listener, you're gonna get there real real late!". I wouldn't even stop for the red light! Run, don't walk & get this CD. Contents : (Total Time = 54 minutes) --------- 1. ELMORE JAMES MADISON BLUES 60/04 2. BILL BOY (ARNOLD) I WISH YOU WOULD 55/05 3. FRANKIE LEE SIMS LUCY MAE BLUES 53/05 4. LITTLE WALTER LAST NIGHT 54/10 5. JIMMY LIGGINS & HIS 3-D MUSIC DRUNK 53/10 6. LARRY DALE DRINKIN' WINE SPO-DEE-O-DEE 61/ 7. JOE LIGGINS & HIS HONEYDRIPPERS PINK CHAMPAGNE 50/01 8. CAMILLE HOWARD X-TEMPERANEOUS BOOGIE 47/12 9. PIANO RED/BERTA COLBERT I AIN'T NOBODY'S FOOL 56/03 10. MERCY DEE WALTON ONE ROOM COUNTRY SHACK 52/05 11. EDDIE TAYLOR BIG TOWN PLAYBOY 55/12 12. JIMMY REED & HIS TRIO I FOUND MY BABY 53/12 13. LARRY BIRDSONG/LOUIS BROOKS PLEADIN' FOR LOVE 56/03 14. LARRY DAVIS TEXAS FLOOD 58/08 15. JOE MORRIS/LAURIE TATE ANYTIME, ANYPLACE, ANYWHERE 50/06 16. TED TAYLOR BE EVER WONDERFUL 58/11 17. GUITAR GABLE IRENE 56/12 18. LITTLE JOHNNY TAYLOR I KNOW YOU HEAR ME CALLING 67/01 19. LITTLE MILTON WALKING THE BACK STREETS & CRYING 72/04 Other Kirk Roberts-Lee Hildebrand projects : -------------------------------------------- STAX 7029 : VARIOUS - ALL NIGHT LONG THEY PLAY THE BLUES (THE GALAXY MASTERS) STAX 7057 : VARIOUS - BAD, BAD WHISKEY (THE GALAXY MASTERS) STAX 8551 : SUPERBLUES - ALL-TIME CLASSIC BLUES HITS V. 1 (1957-1981) STAX 8559 : SUPERBLUES - ALL-TIME CLASSIC BLUES HITS V. 2 (1950-1972) ========================================================================= Date: Thu, 9 Nov 1995 17:32:06 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Harp tone quest- NOW my reply to BC :) Thanks. You just made my point for me. :) I love it when long-winded flamers do that. I really didn't post my original question so I would have to sit here and defend my MOST GIFTED harp player, who's been playing acoustically for over 30 years in the Chicago scene. Now he's gone electric, and on a modest working man's budget, we're simply asking for some technical advice and equipment recommendations. There *IS* a tone that is attainable with certain equipment GIVEN that the player can in fact play. I deliberately praised my guy and made the Sonny Boy et al comparisons so that I wouldn't have to fend off the obvious silly replies "Well, can the guy play?" One thing that really steams my clam is when someone on the other side of friggin' cyberspace, who has never heard the other play, tells them to go practice or something as trite as "go to the woodshed" and earn your chops. And did anybody hear me say anything derogatory about Sonny Boy or Jerry Portnoy? These guys are fabulous and legends. I heartily agree. So does this mean automatically that there are no undiscovered players out there who couldn't go toe to toe with these guys. I think not. Every legend was an undiscovered nobody for a big chunk of their life. Thanks, and thanks to all those out there who understood my query and sent me helpful equipment recommendations. Thanks to Ron Kraemer (of the Hurricanes)a) and his man, Kevin, the Harp Dude! :) We'll be ordering that book, I'm sure. Riffin Rick (who detests having to get pissed at complete strangers) F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 9 Nov 1995 18:10:24 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Harp tone final thoughts---a guitar analogy. So, hmmm. If I correctly understand a certain point of view expressed to me, I guess then that I could get that rich, warm crunch like a tube amp from my Les Paul just playing it acoustically. And get "Tube Screamer" highs out of my big ol' Yamaha acoustic with just my fingers. I'll practice this and see how it works. Equipment matters not, for electric tone! a-HA! Cancel those gigs! Back to the woodshed gentlemen! :) (what a sarcastic s.o.b. I can be, when hungry) Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 9 Nov 1995 18:16:11 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: The Books Have Been Rated. Comments: To: bit-listserv-blues-l@uunet.uu.net The votes are cast and Xmas looks interesting. Using (Barry) The Scooter's rating system here's what blues-l has to say re: the best books to "must have fer dang sure". 8 1/2* Sweet Soul Music - Guralnick 5 1/2* Land Where The Blues Began - Lomax 5* Chicago Blues - Rowe 3* Big Road Blues - Evans 3* Nothin But The Blues - Cohn 3* Rhythm Oil - Booth 3* Blues Fell This Morning - Oliver 2 1/2* Early Downhome Blues - Titon 2* Blues On CD - Murray 2* It Came From Memphis - Gordon 2* Country Blues - Charters 2* Feel Like Going Home - Guralnick 2* History Of The Blues - Davis 2* Honkers And Shouters - Shaw 2* A Left Hand Like God - Silvester 2* Songsters And Saints - Oliver 2* South To Louisiana - Broven 2* Walkin To New Orleans - Broven 2* Sound Of The City - Gillett 2* Good Rockin Tonite - Escott & Hawkins 1 1/2* Lost Highway - Guralnick 1* Face Of Black Music - Wilmer 1* I Say Me For A Parable - Alyn 1* Story Of The Blues - Oliver 1* Been Here And Gone - Ramsey 1/2* Blues From The Delta - Ferris ?* Damn Right I've Got The Blues - Guy ???? TONY WHAT DOES STARK BILGE MEAN ???? The ratings are based on The Scooter's personal interpretations of the zeal of the responses and the actual number of responses for each book listed above. Hope this is of use to others, sure was for me and THANKS TO ALL. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Thu, 9 Nov 1995 18:51:21 -0500 Reply-To: Matth54041@AOL.COM From: Matthew Collins Subject: Re: Cover Royalties Comments: To: jjz1@psu.edu The new address for Harry Fox Agency is 711 Third Avenue, New York, NY 10017 Phone is 212 370-5330. They will send you the info for publishing licenses. Mitch Collins ========================================================================= Date: Thu, 9 Nov 1995 18:56:42 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Organization: IQuest Internet Services Subject: Re: a little theory can be dangerous Comments: To: ncassidy@CAPITAL.EDU ===========For instance, when writing music in the key of Gb the major scale is Gb, Ab, Bb, Cb, Db,Eb, F (natural) and Gb. The reason you write 'Cb' in this case is that a 'B type' note has already been used as the 3rd scale degree and to have a scale that reads Gb, Ab,Bb, B Db... is simply not done.================ That's not how I do it. I call it a B. But it's not for the reason of writng out music. I don't sight read well. Theory has lttlie to offer me there. It's because there is only 1 semi-tone between C and B ( and E and F) so a Cb=B#, but a B# =C, so in this case if we have to argue this Lauri's case is well made about theory. RJ Bauman (why don't you just call it the 4) BTW, if anybody ever catches me playing in Gb, tell me to retune!! ========================================================================= Date: Thu, 9 Nov 1995 19:25:23 EST Reply-To: Robert Crocker From: Robert Crocker Subject: Dirty Billy Barry and others excited by BBA's dirty lyrics might wish to dig through their back issues of Living Blues. LB #97 (May/June 91) has an article by list member Paul Garon called "The Dirty Dozens". I remembered being impressed by this study at the time, since it's unusual to get a feature in any magazine which centres on a particular *song* as opposed to an artist or genre. RC ========================================================================= Date: Thu, 9 Nov 1995 18:47:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Artist's Characters The recent thread about Ike Turner and other artists of known violent anti-social tendencies, put me in mind of that oft-quoted 18th century gentleman, the bluff and blustery Dr. Samuel Johnson. A noble lady had been continually prevailing on him to introduce her to a famous but dissolute writer of his aquaintance. Johnson finally remonstrated: "Leave it alone, Madam! the best part of an author is to be found in his books!!" -Bonnie getting ready to go out and brush snow off the car. ========================================================================= Date: Thu, 9 Nov 1995 20:30:43 -0500 Reply-To: hhardy@BCONNEX.NET From: Hugh Hardy Subject: GREAT TIMES The GREAT TIMES virus is even more insidious than the "pales in comparison" GOOD TIMES virus. ... be careful out there! Hugh Hardy ========================================================================= Date: Thu, 9 Nov 1995 20:40:38 EST Reply-To: TSCHANZ@VM.TEMPLE.EDU From: "William R. Tschanz" Organization: TEMPLE UNIVERSITY Subject: Tomatoes tomaatoes You say Cb and I say Bnatural you say B# and I say Cnatural................... I wonder......how many blues keyboard players have had the same lyrics with their guitar players as that little ditti above. ____________________________________________________ | > | WILLIAM R. TSCHANZ TSCHANZ@VM.TEMPLE.EDU > | CIVIL ENGINEERING WRTSCHANZ@AOL.COM > | TEMPLE UNIVERSITY ----------- > |___________________________________________________> ========================================================================= Date: Thu, 9 Nov 1995 21:24:53 -0500 Reply-To: KGIBSON743@AOL.COM From: Kevin Gibson Subject: William Clark Does anyone have a list of William Clark releases? ========================================================================= Date: Thu, 9 Nov 1995 21:33:04 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Weird theoretical dangerous keys (and theories) Comments: To: ncassidy@capital.edu Somewhere along the line in this theory thread (what *where* we talking about) someone denied the existence of Cb, or asserted that existed only in theory. Paraphrasing the guy about infant baptism ("Hell, yes, I believe in infant baptism. I've seen it done!"), I've seen it in musical notation. I'm pretty sure. And while on the subject of unpleasant keys; someone mentioned Gb. Irving Berlin could *only play in F#*-- the black keys on the piano-- and had a custom-made Steinway that allowed him to shift keys with pedals. I *believe* there was one (or two?) barrelhouse player who had the same limitation, but I'd have to look it up to get the name(s). I'd have to assume they did not have access to Berlin's piano. Finally, Scott Joplin's "Maple Leaf Rag" is in the key of Ab. It's a work out. Tom Freeland ========================================================================= Date: Fri, 10 Nov 1995 05:32:35 GMT Reply-To: "Linda L." From: "Linda L." Organization: CSU, Sacramento Subject: What's up with Junior Kimbrough Comments: To: bit-listserv-blues-l@uunet.uu.net Hey, what's the consensus on Junior Kimbrough? Just go his CD, and we'd like to know more about him. Does he tour? The CD was produced by Robert Palmer . .. is that the ELP Robert Palmer? What can you tell us? Rob and Linda -- Linda L. sac62628@saclink.csus.edu ========================================================================= Date: Fri, 10 Nov 1995 00:57:50 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: What's up with Junior Kimbrough Comments: To: saclink62628@csus.edu In a message dated 95-11-10 00:35:58 EST, you write: >Hey, what's the consensus on Junior Kimbrough? There may not be a concensus. In my opinion, his first Fat Possum CD was truly great, and his performances (when he's on and paritucularly in his juke joint in Chulahoma) are even greater. Hypnotic blues. He's been playing since the late forties, and apparantly taught guitar to Charlie Feathers (of all people. He was a rockabilly singer, wrote "I Forgot To Remember To Forget" for Elvis at Sun). > Just go his CD, and we'd like to know more about him. Does he tour? Irregularly. He is not in great health, had a stroke a couple of years ago. He did do some of the Fat Possum tour this summer, but not with his regular band-- CeDell Davis' regular bass player (whose name I can't recall) sub'd for Gary Burnside, and Kenny Brown was added as a 2nd guitar. In my opinion, these were not a good thing. It still sounded fine, but Gary is a *very* good bass player, and, particularly with a 2nd guitar, some of the rough edges were smoothed off, particularly in harmonics and rythmn, and making it less interesting. Even so, the time I saw him with the "tour" band, he was still focused on getting into a groove that got the crowd moving, and working it as long as the crowd was still moving. First song of the set got the crowd *going* and lasted almost a half an hour. >The CD was produced by Robert Palmer . .. is that the ELP Robert Palmer? Nope. Former pop music critic for the New York Times, author of Deep Blues, and consultant for both the filrm Deep Blues and the recent PBS Rock history. >What can you tell us? Check Junior out live. Tom Freeland ========================================================================= Date: Fri, 10 Nov 1995 01:33:31 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Weird theoretical dangerous keys (and theories) >Somewhere along the line in this theory thread (what *where* we talking >about) someone denied the existence of Cb, or asserted that existed only in >theory. Paraphrasing the guy about infant baptism ("Hell, yes, I believe in >infant baptism. I've seen it done!"), I've seen it in musical notation. I'm >pretty sure. Example being the spelling of Bb7(b9) chord. Bb, D, F, Ab, Cb. The ninth of Bb is C (2nd Octave) giving us the b nine, Cb. Given that B is now flat, calling the b nine a B would create confusion. Cb makes more sense theoretically. Whether the note is called a B or Cb depends on what key we are refering to. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Fri, 10 Nov 1995 05:15:45 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - November 10th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BOTH, ROBERT(studio engineer/JAMES BROWN) b. 1952-1110, MONTCLAIR, NJ BRYSON, BILL (b/RY COODER) b. 1946-1110, EVANSTON, IL BUFORD, GEORGE "MOJO" (hca) b. 1929-1110, HERNANDO, MS COX, IDA [IDA PRATHER] (v/songw) d. 1967-1110, KNOXVILLE, TN 78 DAVIS, JAMES "THUNDERBIRD" (g/DUKE REC) b. 1938-1110, PRICHARD, AL DYSON, RONNIE (v) d. 1990-1110, PHILADELPHIA, PA 40 ELLIS, WILBERT "BIG CHIEF" (p/TRIX REC) b. 1914-1110, BIRMINGHAM, AL JUNIOR [NORMAN GISCOMBE] (v) b. 1961-1110, LONDON, UK LAWS, HUBERT (flute) b. 1939-1110, HOUSTON, TX LEONARD, HARLAN QUENTIN (sax) d. 1983-1110, LOS ANGELES, CA 78 LINKCHAIN, HIP (HIP LANKCHAN) (g) b. 1936-1110, JACKSON, MS OWSLEY, WILLIAM (v) d. 1977-1110, CHICAGO, IL 73 PERSON, HOUSTON (tsax) b. 1934-1110, FLORENCE, SC PINDER, EDITH SPENCE (of PINDER FAMILY) b. 1909-1110, SMALL HOPE, ANDROS PRICE, BILLY (WILLIAM POLLAK) (v/BLUES-L) b. 1949-1110, PASSAIC, NJ RUSH, BOBBY (EMMETT ELLIS JR.) (g) b. 1931-1110, HOMER, LA ------------------------------------------------------------------------------- ========================================================================= Date: Fri, 10 Nov 1995 02:01:43 +0000 Reply-To: "Terry L. Odor" Comments: Authenticated sender is From: "Terry L. Odor" Subject: Theory debate/virus alert While there is no doubt that Tony Burke issued that virus alert "from the heart" a little more theory and he would have known better than to play that chord as the virus experts at Microsoft, McAfee, and the online services all agree that there is NO virus that acts in the ways attributed to the so called Good Times virus. Terry http://www.teleport.com/~tlo/ (updated 10/28/95) ========================================================================= Date: Fri, 10 Nov 1995 11:44:57 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: HELP: I'm searching for ... I'm searching for a publication (I assume it was a small magazine of less than 20 pages or so) called BLUE FLAME which was published in the early 70's (I assume by Carl Jones). I'm trying to locate someone having these to see if I could obtain a copy for an ongoing project. There were apparently at least 14 numbers issued between 1970 and 1972. Many thanks in advance Jean-Pierre Urbain ========================================================================= Date: Fri, 10 Nov 1995 10:54:07 GMT Reply-To: marc@az.vub.ac.be From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: BluesBytes artwork Comments: To: bit-listserv-blues-l@Belgium.EU.net Coming soon ! The 3th annual blues-l tape : BluesBytes. Everybody who is interested, can check out the BluesNet-webserver containing the cartoon for the cover of the blues-l tape. http://dragon.acadiau.ca/~rob/blues/tape/tape.html Thanks to Rob Hutten to put this gif on his webspace !!! embee. ========================================================================= Date: Fri, 10 Nov 1995 08:18:20 -0600 Reply-To: Roger Struve From: Roger Struve Subject: OH BOY Delta Doc has just purchased tickets for the elusive Rory Block concert at the Cedar Cultural Center TONIGHT! Only been rescheduled 3-4 times, but this is the first time i've actually got the tickets in my hot little hands! Should be a great show, she was SOLD OUT last time she came to the CCC. Will report on the show next week. Any Twin Citian BLUESELLERS going tonight? Doors open at 7pm, and show starts at 8pm. Tomorrow night, same time same place, Honeyboy Edwards will be playing half a show, and doing a question and answer session about his past adventures including those with Robert Johnson. This sounds much like what transpired down in Moline at the Mississippi Valley Blues Festival. Best regards, delta doc roger ========================================================================= Date: Fri, 10 Nov 1995 08:27:38 EST Reply-To: george morales From: george morales Organization: TEMPLE UNIVERSITY Subject: upcoming blues in Phila PA Middle East Restaurant 11/29 - roomful of blues w/ leroy foster,stevie larocca and the buicks 11/14 - blues jam w/ steve larocca Blue Moon Jazz Club 11/14 - johhny defrancesco and denise king Warmdaddy's 11/10-11 - RL BURNSIDE 11/12,16,23 - Keisa Brown 11/17-18 - might sam mcclain 11/26 - mike dugan North Star Bar 11/18 - SATAN & ADAM Tin Angel 11/25 - the holmes brothers +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ | | | GEORGE MORALES GEORGEM@TEMPLEVM | | COMPUTER AND INFORMATION SERVICES GEORGEM@VM.TEMPLE.EDU | | TEMPLE UNIVERSITY (215)204-6866 | | | +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Fri, 10 Nov 1995 08:32:44 -0500 Reply-To: Neil Cassidy From: Neil Cassidy Subject: a little theory can be dangerous >===========For instance, when writing music in the key of Gb the major scale is Gb, Ab, Bb, Cb, Db,Eb, F (natural) and Gb. The reason you write 'Cb' in this case is that a 'B type' note has already been used as the 3rd scale degree and to have a scale that reads Gb, Ab,Bb, B Db... is simply not done.================ to which rj replied >That's not how I do it. I call it a B. But it's not for the reason of writng out music. I don't sight read well. Theory has lttlie to offer me there. It's because there is only 1 semi-tone between C and B ( and E and F) so a Cb=B#, but a B# =C, so in this case if we have to argue this Lauri's case is well made about theory. (why don't you just call it the 4) we don't just call it the 4 because it's not a 4, it's a sharp 3. I wholeheartedly agree that to make too big a deal out of this leads us right back to Lauri's post. I hope I'm not coming across as one who says that correct note/chord naming is necessary or even preferable. Theory is only a set of conventions, a generally agreed upon method of discourse. There is always room for non-conventional or expanded conventional approaches. But the fact remains that traditional music theory is most useful when folks agree on the terminology, even if it is the terminology of a relatively small portion of the world's music, in this case tonal (i.e. diatonic) music coming out of white European culture from c.1600-1900. Neil Cassidy Let us not forget the incredible profundity of the late music theorist Frank Zappa,who in his infinite wisdom and extreme musicality reminds us to "Shut up and play your guitar." ========================================================================= Date: Fri, 10 Nov 1995 08:43:22 -0500 Reply-To: Neil Cassidy From: Neil Cassidy Subject: dangerous keys on 11/9/95 Tom Freeland wrote >And while on the subject of unpleasant keys; someone mentioned Gb. ___ By posing the question "So who Plays in Gb?" I only meant to raise a question that I thought might come up in a readers mind. Tom Freeland's Irving Berlin anecdote illustrates the point that alot of people play in this key. Yes it is very common, some of its popularity no doubt due to the fact that F# and Gb use all of the black keys (plus 2 white ones) and make a great visual impact on the player. Neil Cassidy ========================================================================= Date: Fri, 10 Nov 1995 09:02:51 -0500 Reply-To: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM From: Jim Smith Subject: Re: lightnin hopkins bio Comments: To: isprints@INDY1.CALARTS.EDU In-Reply-To: Are you referring to the video put out by Stefan Grossman's Guitar Workshop? His video label is Vestapol and he has a number of Hopkins videos available including one with the title you mentioned. >now I know that this biography is hard to find but it is worth looking for. >its called lightnin hopkins rare performances,1960-1979 >it was published by vestapool productions ;cambridge mass nationally >distributed by rounder records. It kicks ass and I think that You wont >be dissapionted > >Isaac. > ========================================================================= Date: Fri, 10 Nov 1995 08:13:00 CST Reply-To: Paul Garon From: Paul Garon Subject: Re: Risque Boy Arnold. >Up to Billy Boy Arnold's cover of this song, my favorite version was by Magic >Slim and the Teardrops, from the Alligator Living Chicago Blues Vol ll. > >The earliest version I have is by Roosevelt Sykes from 1936. > >Anyone else have a favorite version before Billy Boy did the "definitive >Mother"? Memphis Minnie's version was done in January, 1935, for Decca, but who's counting ? ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email or postal mail or visit us at http://www.abaa-booknet.com/alldlrs/mw/60657bea.html. We also have catalogs available by ftp at ftp.mcs.com/mcsnet.users/beasley. _______________________________________|______________________________________ ========================================================================= Date: Fri, 10 Nov 1995 08:18:17 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Riley B. King...Thief? I have a question that bugs me. WE all know Hudson Whittaker wrote "Sweet Little Angel" many, many moons ago. Then why on "Live At The Regal" does the credit say "Riley King"....... So someone please explain to me why BB is ok but Led Zep is wrong for taking credit for tunes they didn't write. I have MUCH (who don't) respect for BB and I hope I'm wrong (leeme know) but this is no different than what Led Zep has been trashed for.... Please explain about the Sweet Little Angel tune.... LW 'a racist, according to private mail' I had about 20-30 teenagers camping out in the woods and backyard last night. The neighbors could tell it was the daughters party and not ours, cause it was too quiet....Pretty sad when the parents of a 17 yr old are "wilder" than the child..... ========================================================================= Date: Fri, 10 Nov 1995 09:40:40 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Blues Radio Listings Thanks everybody for the great response! In less than a week, I've managed to post at least one listing for half the states and a few provinces and European countries. I think this could become an excellent resource. This weekend, if you would, please make a note of your favorite local show and pass it on to me in the following format. United States Florida Orlando WLOQ-FM 103.1 Smokestack Lightnin' Paul Nunum Sun 8-10 pm You can also use the e-mail forms at the Highway. Thanks again. This is cool. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Fri, 10 Nov 1995 08:51:35 -0600 Reply-To: William A Morgan From: William A Morgan Subject: Death of Lloyd Lambert Sr. (This Obituary comes from the New Orleans Times-Picayune. It is excerpted and paraphrased without permission of the T-P or its author Keith Spera.) Lloyd Lambert Sr. died of cancer on October 31. Lloyd was a bass player, who most recently played traditional jazz at Preservation Hall in New Orleans. Lloyd was a native of Thibodaux, LA. In the 1950s he was bandleader for Guitar Slim. He later toured and recorded with Little Richard and Ray Charles. He made his last recording just a few weeks ago with a Danish Jazz Band at the Palm Court Cafe in New Orleans. Lambert's wife, Pauline, said "He played until the last possible moment; when he was playing, he forgot about being sick." Bill Morgan ========================================================================= Date: Fri, 10 Nov 1995 10:04:30 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Organization: IQuest Internet Services Subject: Re: a little theory can be dangerous Comments: To: Neil Cassidy ===============>===========For instance, when writing music in the key of Gb the major scale is Gb, Ab, Bb, Cb, Db,Eb, F (natural) and Gb. The reason you write 'Cb'======--- Honestly, I'm learning a lot here and I'm kind of glad we tripped over this nugget, but it perfectly illustrates the problem of learning theoretical language. Gb Ab Bb Cb Db Eb F 1 2 3 3# 5 6 7 This is beyond what I ever dreamed a major scale was. Here is a major scale where the fourth scale degree does not follow the third. I'm bailing out of this for good. Many thanks to Neil for straightening me out and to PW for finding a place on the web to move this discussion to. ========================================================================= Date: Fri, 10 Nov 1995 09:00:51 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Blue Mood I was listening to Johnny Winter's version of "Blue Mood" (I was in a non- racist mood :-)) and what a great tune for him. I would like to know how that one came about, it's great on the National. I sat down for a second with my National trying to figure it out. I only tried for a minute, except for the use of ninths(naturally since T-Bone did it also) I didn't figure out anything. Anyone care to give me clue like what key he's in. My guitar was out of tune and It sounded pretty close to "Cb" :-) ...Anyone shed some light on it for me, think of it as helping the hard-of-hearing. Johnny plays his ass off on that tune....Sure would like a Johnny Winter /James Cotton/ Snooky Pryor/ Pinetop Perkins...etc acoustic blues CD...(hint, hint Mr. Shurman) LW 'chipped & broken nails and very sore fingers' ========================================================================= Date: Fri, 10 Nov 1995 09:20:00 CST Reply-To: Mike A Suffern From: Mike A Suffern Subject: Who's going to Otis Rush? Comments: cc: rossentj@interaccess.com Hey zellers! Anybody else going to see Otis Rush tonight at Legends? Reply to me at work before 5 p.m.: msuffern@gr.com OR at home (may not be able to get it there though, my mail has been intermittent since last Sat.): msuffern@xnet.com Judith and I will be there, sitting up front I hope, with Dean and Kathy Haas (They go to London with us... [usual E.C. trip plug] ...and Dean played drums for Jimmy Rogers for years. I'll be the guy with the goatee and 'burns, and tinted glasses (maybe with clip on shades if it's real bright up front). Judith has a white streak all across her bangs. Rob V.? Richard? Tom R.? ... Mike "Yeah you know I love you baby" "Oooo, you know you're my heart's desire" - at which point Albert King's shadow can be seen on the bass drum head... ========================================================================= Date: Fri, 10 Nov 1995 10:34:11 -0500 Reply-To: Mgauf From: Mgauf Organization: America Online, Inc. (1-800-827-6364) Subject: Cleveland blues Comments: To: bit-listserv-blues-l@uunet.uu.net ANyone know of a Cleveland blues radio program? Where is it on the dial and what time does it air? ========================================================================= Date: Fri, 10 Nov 1995 08:40:00 MST Reply-To: bhargrov@MICRON.NET From: "" Subject: Re: Theory and stereotypes In-Reply-To: Barry Bean wrote: >> >>Another curious development in this thread has been a bizarre sort of >suggestion that jazz players are "trapped" into playing jazz because of >their education. Am I the only person here who, in addition to considering >this patently absurd, noticed the anti-jazz assumption underlying this >argument? > I caught the same drift, but didn't say anything, figuring I'd get nowhere at the same rate I get there with my own blues playing pals here in town. However, I do think that what the anti-jazzers describe does happen, i.e., that some people who study more theory and listen to different kinds of music start hearing and enjoying different things and so end up playing differently. It's happening to me. Whether that's good or bad is a matter of opinion, I guess. Personally, I seem to be perennially caught between people with different opinions on this subject. I play in a fairly hard-core blues band, but at home study what I like best -- close-to-melody jazz that people like Ben Webster, Benny Carter, Oscar Peterson, Stan Getz and Herb Ellis were recording for Verve in the early 1950s. When I try out some of that stuff with my band, I get comments like, "Uh, you're getting a little toooo mellow there, Bill." On the other hand, my chief mentor, a hard bop guy, listens to me and, though trying to bite his tongue, makes it clear that I'm never really going to make it as a sax man unless I push myself to get further "out". I'm thinking the only sensible course is to please yourself. If some people call that getting "trapped", then maybe they ought to look at the bars on their own windows. Bill H. ========================================================================= Date: Fri, 10 Nov 1995 10:40:26 EST Reply-To: ron kraemer From: ron kraemer Subject: Re: Poppa Chubby David Burke asked for the skinny on Chubby....(couldn't resist!)..... I saw Poppa Chubby at the Riverfest Blues Festival in Philadelphia this past summer. Big biker-lookin' bald guy with lots of tattoos. Just his look made me want to hear what he's about. I caught his first set, and really enjoyed it. He played a Strat through what looked like a Twin Reverb, and not surpisingly he had a great Tone. Lots of hommage paid to SRV, and he had a strong voice that suprises you. His is a 3-man with bass and drums. I saw him soon after that at the North Star Bar in Philly, catching 2 sets. I wasn't as impressed after that, but only because the 2nd set strayed into the guitar-wanking arena. His first set was real Bluesy. Ron ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters (and in another life....) Ron Kraemer and the Hurricanes ************************************************************ ========================================================================= Date: Fri, 10 Nov 1995 09:40:47 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Theory and stereotypes In-Reply-To: Message of Fri, 10 Nov 1995 08:40:00 MST from On Fri, 10 Nov 1995 08:40:00 MST said: >Barry Bean wrote: >>> >>>Another curious development in this thread has been a bizarre sort of >>suggestion that jazz players are "trapped" into playing jazz because of >>their education. Am I the only person here who, in addition to considering >>this patently absurd, noticed the anti-jazz assumption underlying this >>argument? >> IMHO since jazz (not all) is heavy on improvisation, I see no difference in playing it or playing blues. Like blues , jazz also has the standard chord progressions that make up a ton of jazz standards. There are plenty of blues players who incorporate octave licks ala Wes Montgomery. LW ========================================================================= Date: Fri, 10 Nov 1995 09:04:00 MST Reply-To: bhargrov@MICRON.NET From: "" Subject: Re: dangerous keys Comments: To: Neil Cassidy In-Reply-To: <9511101343.AA01676@athena.capital.edu> On Fri, 10 Nov 1995, Neil Cassidy wrote: >___ >By posing the question "So who Plays in Gb?" I only meant to raise a >question that I thought might come up in a readers mind. Tom Freeland's >Irving Berlin anecdote illustrates the point that alot of people play in >this key. Yes it is very common, some of its popularity no doubt due to the fact >that F# and Gb use all of the black keys (plus 2 white ones) and make a >great visual impact on the player. > Neil Cassidy > You might also note that anyone who plays a Bb tenor sax, clarinet, trumpet, etc. will probably end up playing in Gb a lot if he or she plays with guitar players. That happens because guitarists like to play in E for obvious reasons and E concert is played as Gb or F# on a Bb instrument like the tenor sax. Surprisingly, improvising blues in Gb on a tenor sax isn't really that hard. What's hard is reading music in Gb. I'm not going to do that until my next life, when I come back as a studio musician. Your comment on using all the black keys on the piano is interesting. From a blues point of view, it's also worth noting that if a pianist starts on Eb, then the black keys are the Eb blues scale, except for A, which makes it easy to improvise along with Eb concert blues. Unfortunately, I can't say I ever met anybody who played blues in Eb. Bill H. ========================================================================= Date: Fri, 10 Nov 1995 11:08:31 -0500 Reply-To: rew4@PSU.EDU From: Ross Whitwam Subject: Re: HELP: I'm searching for ... Comments: To: blues-l%brownvm.BITNET@psuvm.psu.edu Sorry, I've never heard of the magazine, but I thought it was appropriate that you should ask about it in the midst of an on-going thread on risque blues. Ross Whitwam rew4@psu.edu Dept. Biochem + Molec Biology Penn State University who first learned about "blue flames" in summer camp as a kid. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + J.Urbain@KE.RULIMBURG.NL wrote: >I'm searching for a publication (I assume it was a small magazine of less >than 20 pages or so) called > > BLUE FLAME > ========================================================================= Date: Fri, 10 Nov 1995 17:18:32 +0100 Reply-To: CCSTROMB From: CCSTROMB SIGN-OFF BLUES-L Kristof Smet ========================================================================= Date: Fri, 10 Nov 1995 10:25:33 -0600 Reply-To: David L Eidler From: David L Eidler Subject: Re: 1940s Mercury Sessions Box Set Comments: To: Art Schuna In-Reply-To: Hey Art, Greetings from New Orleans! Great write up of the above mentioned box set. Concerning Roy Byrd and His Blues Scholars, you say, "Many of you may know Roy better as Professor Longhair but these recordings were made before he got his "degree". "Fess'" first recordings were by Jesse Erikson, owner of the Star Talent label of Dallas. A local New Orleans club was used as recording studio. One of the 4 songs he recorded for Erikson in 1949: "Professor Longhair's Boogie". Byrd got the name Prof Longhair around the time he formed his first band, called the Four Hairs combo, showing his predilection for "hairy" names in 1949. Within a short period of time, William Allen introduced Fess to Mercury Records. His number 5 (on R&B chart) hit, "Baldhead", was also recorded in a temporary studio. Can't wait to get this box set. David Eidler Rep. for SongByrd, the Professor Longhair holding company TEL 504 822 2344 FAX 504 822 6583 Email dle01#www.gnofn.org ========================================================================= Date: Fri, 10 Nov 1995 16:12:31 +0000 Reply-To: "David J. Wallace" From: "David J. Wallace" Subject: Re: Riley B. King...Thief? this is no different than what Led Zep has been trashed for.... > > Please explain about the Sweet Little Angel tune.... > I always understood that the title of the tune was changes by Mr. King to Sweet Little Angel from Sweet Black Angel. Doesnt excuse it but that may be the rationale. I could be, and am probably wrong! David ********************************************************** For mail filtering purposes and fast attention, please place one of the following in the SUBJECT line of your message: If it is related to the Department of TRP: 'TRP' If it is related to Airline/Aircraft Business: 'AIR' If it is personal or a priority matter 'PER' Other text can follow. Thank You! ********************************************************** ========================================================================= Date: Fri, 10 Nov 1995 12:00:43 -0600 Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: Re: William Clark Comments: cc: KGIBSON743@AOL.COM William Clarke's works: . Blowin' Like Hell . Seriuos Intentions . Groove Time All on Alligator records. Hope this helps. Nuri Nuri, Host/Producer "Off the Clock" blues show, KPFT 90.1FM-Houston ____________________________________________________ >Does anyone have a list of William Clark releases? > > ========================================================================= Date: Fri, 10 Nov 1995 12:08:22 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: I saw another guitar I need I just played a 1964 Gibson ES140-T (3/4 scale)....What a fine playing little guitar. I want it, stay tuned :-) (the wife was with me :-)) Anyone have/had one of those did you like it LW ========================================================================= Date: Fri, 10 Nov 1995 18:17:15 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Eddie Vaan Shaw (was Re: Eric LeBlanc's Blues Dates - November 8th Comments: To: bit-listserv-blues-l@uunet.uu.net In article <951108180306_101521815@mail04.mail.aol.com> Karen Hanson writes: >>>SHAW, EDDIE "VAAN" JR. (g/EDDIE SHAW) b. 1955-1108, >>GREENVILLE, > MS >I understand that on his next CD he's going to do a few acoustic numbers. I just picked up "Trail of Tears" Eddie's second disc on Wolf records ( 120.878). Two tracks, "Oh How They Can Love" and "I'm Crazy Now" are acoustic guitar with harmonica accompaniment. I'm a sucker for this kind of stuff, but these two tracks alone make this disc worth picking up. It's interesting that his father, Eddie Shaw, who is noted for his blues sax playing backs Eddie Vaan on HARMONICA here. Sax on these same tracks is provided by Michael Pevey with whom I'm not familiar. Art Schuna ========================================================================= Date: Fri, 10 Nov 1995 14:21:56 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: Blues books Comments: To: ULKOMARA@UMSVM.BITNET In-Reply-To: from "Edward Komara" at Nov 9, 95 04:04:01 pm > Although published in 1970, THE STORY OF THE BLUES remains, overall, > the most CONSISTENTLY written and EDITED history of blues music. Along > with the prose, there are also great photos and record labels. I hardly have a complete collection of the blues books out there, but I've got to say that of my dozen or so blues books, this one is waaaay up there. My only problem is the production - the photos are printed very dark, and some of them are almost useless. Let me echo Edward in pleading with the publishing world to reprint this great book. -Rob ========================================================================= Date: Fri, 10 Nov 1995 13:25:37 -0500 Reply-To: PrePhoto From: PrePhoto Organization: America Online, Inc. (1-800-827-6364) Subject: Re: What's up with Junior Kimbrough Comments: To: bit-listserv-blues-l@uunet.uu.net That *ELP* Palmer is CARL palmer. Must not be a child of the 70s ========================================================================= Date: Fri, 10 Nov 1995 18:25:45 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Risque Boy Arnold. Comments: To: bit-listserv-blues-l@uunet.uu.net In article <47t13q$mmq@panix.com> Barry Silverberg writes: > Is the release you are talking of > his Back Where I Belong? I haven't heard it - I would like > any comments on it. "Back Where I Belong" is the title of Arnold's first Alligator release in 1993. I think I chose it as a top 10 personal favorite for the year of release. It has a more traditional Chicago blues sound to me than some of the later Alligator recordings. I find I still frequently reach for this when I have the "harmonica jones". Probably my favorite track on this release is Arnold's cover of "Shake Your Hips", originally a Slim Harpo number. I think I like Arnold's version a little bit better. Hard drivin', high energy, in your face blues. Can't go too far wrong with that.... :-) Art Schuna ========================================================================= Date: Fri, 10 Nov 1995 12:02:56 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Blue Mood Comments: To: L W In-Reply-To: I can't remember what key "Blue Mood" was in, but it was Johnny's idea to do it acoustically. We get constant requests to do more acoustic stuff and he gets asked to tour that way or do more live. The main issues are 1) he hardly ever practices on acoustic except when we're recording, so he isn't as confident about his playing and 2) when he does record with a National, it's usually with two parts, so live he'd have to either have a second guitarist or just do one part. Also, the "unplugged" fad akes an acoustic project seem like more of a cliche than it would have a few years ago. Maybe someday... ========================================================================= Date: Fri, 10 Nov 1995 12:05:21 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Riley B. King...Thief? Comments: To: "David J. Wallace" In-Reply-To: <335947552C4@Agden.shef.ac.uk> Once again (and for the last time from me), before we start accusing the artists themselves of being "song thieves," maybe we could reflect on who it is that provides this information, designs covers, etc. If you think it's usually the artist, I have a bridge to sell you. ========================================================================= Date: Fri, 10 Nov 1995 10:41:03 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: ROZELLE CLAXTON DIES AT 82 Comments: To: BluesHvn@aol.com ROZELLE CLAXTON b. 1913/FEB/05, BARLETT, TN - d. 1995/MAR/30, LAKE FOREST, IL "Good jazz musicians are always based in the blues, that's where the roots are, and those guys will always find the right notes" ~ Johnny Otis, in: "Rock Mr. Blues : The Life and Music Of Wynonie Harris / by Tony Collins, Big Nickel Pub., 1995). Pianist & arranger ROZELLE CLAXTON has died. Born on Wednesday, February 5, 1913, Barlett, TN., Roz grew up in Memphis, moving on to Kansas City in 1933, were he connected with Harlan Leonard (1905-1983). One of Roz's arrangements, "Parade Of The Stompers", was recorded by Harlan Leonard & His Kansas City Rockets at their 1940 Bluebird recording session (see: Blues & Rhythm #22 for a complete story of this important group). During this period, Roz made his very first recordings, on Ernie Fields' original 1939 Vocalion recording of "T-Town Blues" (with vocalist Melvin Moore & guitarist Rene Hall). As an arranger, Roz was very prolific, scoring for Count Basie, Earl Hines, Andy Kirk, Jimmie Lunceford and Lucky Millinder. As an accompaniest, he worked for Pearl Bailey and last recorded with clarinetist Franz Jackson (Phillips,'59, Riverside,'61, Pinnacle,61-65). He spent his last 50 years working in & around Chicago (he lived in Waukegan). On June 27, 1989, Mayor Daley honored his musicial contributions by declaring it "Rozelle Claxton Day". Rozelle Claxton died Thursday, March 30, 1995, Lake Forest, IL., and was survived by his wife Mary & 10 stepchildren. I'm sure today he's in Blues Heaven playing along with his old friend Little Brother Montgomery. ========================================================================= Date: Fri, 10 Nov 1995 14:44:18 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: Blues Books Help Wanted; question about Paul Oliver & blues Comments: To: Skipjames@aol.com In-Reply-To: <951108143612_101339406@emout04.mail.aol.com> from "Tom Freeland" at Nov 8, 95 02:36:58 pm Tom Freeland wrote: > > Land Where The Blues Began - A. Lomax > I have a couple of problems with this one. I get the impression it was > written from recollection without careful review of the notes, more than > forty years after the fact. I have a feeling the tone is a bit off-- that > the place he is describing wasn't quite as described. I've been told by > people who are experts that he gets things really really wrong (memory > again). On the other hand, he *was* there and you get first-hand > descriptions of the place that, at that moment, had to be the center of the > blues universe from the guy who had the sense to record Muddy Waters, Howling > Wolf, and Bukka White (just for starters). But not the sense to photograph these historical sessions! Aaaaagh! I loved this book, but I really recommend reading it as a diary and not a history. Lomax writes well, and he's had a remarkable career. However, I suspect that some of the stories in this book are boardering on the apocryphal. For instance, the story of Lomax meeting Robert Johnson's mother - beautiful, passionate writing, but I can't help but think it's a far cry from what really happened. He admits that his field notes from the period are sketchy, but yet he's recalling extended conversations from fifty years ago... -Rob ========================================================================= Date: Fri, 10 Nov 1995 11:54:09 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: CD's to give away!!!!! OK> I am willing to give away the following 2 CD's.. PETER GREEN -- LITTLE DREAMER PETER GREEN -- WHATCA GONNA DO? If you are interested you must send me a message with the title of the CD that you want in the subject line and your snail address in the body of the message. If you want both of the CD's you must send TWO messages. Any postings to Blues-l or messages without the CD title in the subject header will be disqualified. Deadline is 0830 hrs. (MST) November 11. You got about 22 hours. All the names go in the famous Blue hard hat and the winners will be notified and the CD's will be mailed off the same day. Have fun !!!! Gary............... REMEMBER: PERSONAL REPLIES ONLY!!!!! Gary Constantine >> gconstan@ccinet.ab.ca << If hard work were such a wonderful thing, surely the rich would have kept it for themselves. ========================================================================= Date: Fri, 10 Nov 1995 10:58:07 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: LOU LEVY, MUSIC PUBLISHER, DIES AT 84 Comments: To: BluesHvn@aol.com "Never Sell A Copyright!" ~ Joseph Morton Davis (1896-1978) (founder of JOE DAVIS & JAY DEE RECORDS) This posting is dedicated to Michael Jackson & The Beatles. Sony Corp. has just bought 250 Beatles songs from Michael Jackson for $95 Million. Lou Levy's LEEDS MUSIC published the Beatles' first hit in the USA, "I want to Hold Your Hand". LOU LEVY b. 1910/NOV/29, MANHATTAN, NY. - d. 1995/OCT/31. MANHATTAN, NY. Pioneer song publisher, LOUIS (LOU) LEVY JR.., died in his hometown of Manhattan, NY., on Tuesday, October 31, 1995 where he was born on November 29, 1910. As a youth he had been a hoofer, working the audience (in black-face!) at the Apollo Theatre (1935) when he met Jimmie Lunceford, persuading Lunceford to perform songs by a few of his friends. During this time, he also managed The Andrews Sisters (& briefly married Maxene, who died on Oct. 21, 1995). So what, you say. WHAT DOES THIS HAVE TO DO WITH WITH BLUES-L? Lou Levy was one of the few broadway publishers (he formed LEEDS MUSIC in 1939) who had an understanding of blues. In time LEEDS would own the copyrights to such songs as "C. C. Rider", "Milk Cow Blues", "The Dirty Dozen", "Boogie Woogie Stomp", most of Leroy Carr's songs including "How Long Blues"/"Big Four Blues", and most of Clarence Williams' compositions. It was also LEEDS MUSIC that pioneered the boogie woogie era, publishing the works of Albert Ammons, Meade Lux Lewis, Pete Johnson, Jay McShann, Sammy Price, Mary Lou Williams and Jimmy Yancey. He was also a champion for Meade Lux Lewis when Lux Lewis applied to be a member of ASCAP, who I believe was the FIRST Afro-American to be admitted. On November 25, 1964, Lou Levy sold his 12,000 copyrights to MCA for $4.5 million, remaining active in ASCAP & negotiations involving music publishers. In 1987, Levy received the Songwriter's Hall of Fame Abe Olman Award for excellence in music publishing. LOUIS (LOU) LEVY JR. was survived by his (3rd) wife Julie, and his 3 children (Lou, Aleda and Peter). ========================================================================= Date: Fri, 10 Nov 1995 11:00:51 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: FLORENCE GREENBERG DIES AT 82 Comments: To: BluesHvn@aol.com MRS. FLORENCE GREENBERG, founder of Scepter Records (1959-1976) has died. Most pop fans will know her as Scepter recorded/discovered The Shirelles, B. J. Thomas, Dionne Warwick, and the Hal David-Burt Bacharach songwriting term. She first recorded The Shirelles' "I Met Him On A Sunday" in 1958, releasing it on her own Tiara Label, selling it to Decca for $4000. R&B/soul fans will know the recordings on their subsidiary Wand Records (1961-1976), especially the early years when Jacksonville,Florida born Luther Dixon was producing. He was responsible for recording Maxine Brown ("Oh No Not My Baby"), Tommy Hunt ("Human"), Chuck Jackson ("Any Day Now"), Isley Brothers ("Twist And Shout"), Joe Jeffrey ("My Pledge Of Love"), Lenny Miles ("Don't Believe Him, Donna"), Roscoe Robinson ("That's Enough"), Tammi Terrell ("If You See Bill"), Dionne Warwick ("Don't Make Me Over") and of course, let's not forget The Kingsmen recording of "Louie Louie", which was purchased from Jerry Dennon. He was also able to convince Sam Cooke to produce a few of The Shirelles' (album track) recordings. Sometime in the late 60s, Scepter Records also started HOB Records which recorded gospel artists like Shirley Caesar, James Cleveland, Davis Sisters, Tommy Ellison, Clarence Fountain & Five Blind Boys Of Alabama, Harmonizing Four, Highway QC's, Swan Silvertones, Albertina Walker and Clara Ward. Florence Greenberg also co-wrote songs with Luther Dixon, Chuck Jackson, Van McCoy, and Ed Townsend. Scepter/Wand/Hob Records filed for bankruptcy on September 28, 1976 - the assets where purchased by Gusto Records of Nashville. It was a sad ending as she had been offered $6 million for the label in 1965, around the time when Dionne Warwick was a hit on both the pop & R&B charts. Mrs. Florence Greenberg was born in Manhattan, NY., and died Thursday, November 2, 1995, Hackensack, NJ., at the age of 82. She was survived by her daughter Mary Jane Goff (who told her mother about The Shirelles) and her son Stanley. For more information, I suggest you look up CAPRICORN RECORDS 42003 : The Scepter Records Story (3CD), all those Northern Soul ACE/KENT releases and the rare interview with Florence Greenberg in the Goldmine August 21/1992 issue. ========================================================================= Date: Fri, 10 Nov 1995 14:47:15 -0500 Reply-To: MaryA NBP From: MaryA NBP Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Popa Chubby! Comments: To: bit-listserv-blues-l@uunet.uu.net On Nov 9 David Burke posted in regard to Popa Chubby; he wrote: Popa Chubby is from the Bronx origionally (his parents owned a candy store....go figure!) and for a while his was the house band at Manny's Car Wash in Manhattan. I had a slightly amusing run-in with him in the spring of '94 when I arranged to interview him for our Boston Blues Society newsletter. His 2nd cd "Gas Money" had just been released and I called to arrange to interview him while he was in town. The best I could do was to get a comittment to speak with him between sets at Harpers Ferry where he was playing. I was slightly intimidated. The liner notes of the new release spoke of Popa as a man of words who loves to read.....(not to mention the intimidating size of the guy!) My interview was as follows: Q: So, do you feel there is a big difference between Boston and New York Blues fans? A: YA! I wait expectantly for several moments for an eloquent elaboration. Popa is staring, his mouth slightly open, at an attractive woman standing next to me. I have that sinking feeling that I m losing control of the situation. I spring forward with another question: Q: Soooooo, what do you think some of those differences ARE? A: BOSTON LOVES TO PARTY, MAN!! SEE YA LATER!! -End of Interview- I have a question that never got answered that night- maybe someone else knows...The liner notes of the Gas Money cd say: "I was into the real-deal roadhouse Texas blues," Chubby continues, "but I also dug the pure energy of punk and New Wave. I hooked up with Richard Hell. I played outside music. I also played inside subway stations, on my own." After reading this info I immeditely checked out a Richard Hell & The Voidoids single "Blank Generation" that I had kicking around from my days as a dj in the late 70's. The record sleeve has a large picture of the band but no names listed.....sure looks like the guy on the far left could be Popa....sure sounds like him (I guess!!). Anyone have a soft spot in their heart for 70's punk AND the blues and know for sure if its him?? Mary Melodee~ ========================================================================= Date: Fri, 10 Nov 1995 11:52:01 PST Reply-To: Gordon Fehlman From: Gordon Fehlman Subject: Re: guitars Talkin bout' guitars my wife just let me buy a Epi Sheraton II, man, I love it. BUT, not as much as I LOVE my 71 Les Paul. But, I've got it set up for slide, open G, love Elvin Bishops slide work,, been tryin to teach myself some of his tunes. His Ace In The Hole CD is pretty good, slide work is great.IMOP. Anyone on the list know any of his tunes, I like the tab or chords to it. Anyway, its a great guitar and seems pretty easy to play. Later, Gordon ========================================================================= Date: Fri, 10 Nov 1995 15:59:25 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Zappa Quote? Comments: To: ncassidy@CAPITAL.EDU On 10 Nov 95, Neil Cassidy had this to say: > Let us not forget the incredible profundity of the late music theorist > Frank Zappa,who in his infinite wisdom and extreme musicality reminds us > to "Shut up and play your guitar." Well not exactly. As you may well know, "Shut up and play your guitar" is the title of a collection of live instrumentals that Frank's label put out some time ago. The title does not quote Frank, however. Around 1976 I attended one of Frank's annual Holloween extravaganzas at a large theater in Passaic New Jersey. Frank played a few tunes from his current record but was clearly in a grumpy mood. He stopped songs in the middle and chewed out band members for playing parts wrong, and forced them to play the parts solo so he could point out their errors. The audience was very uncomfortable. During one song he stopped to tune his guitar several times. After the fourth stop in this song the audience started booing. This got Frank really pissed. He started lecturing the audience about how little we all were compared to himself when someone with a very powerful voice yelled out "SHUT UP AND PLAY YOUR GUITAR!" which brought a roar of laughter and applause from the crowd, and a ten minute scorching Blues instrumental from Frank, who never said another word. When that collection of instrumentals came out under that title it was perfect. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 10 Nov 1995 15:13:31 -0500 Reply-To: MaryA NBP From: MaryA NBP Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Earl King (was: Blues Question) Comments: To: bit-listserv-blues-l@uunet.uu.net On 11/7 Eliot Wms wrote: Said donut shop is also pictured on the cover of the Roomful of Blues/Earl King cd "Glazed".........("Glazed".....get it?!) Mary Melodee ========================================================================= Date: Fri, 10 Nov 1995 13:52:04 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Blues books Comments: To: Rob Hutten In-Reply-To: <199511101821.AA14325@dragon.acadiau.ca> Another great blues book by Paul Oliver that's WAY overdue for reprinting is Conversation With The Blues. ========================================================================= Date: Fri, 10 Nov 1995 20:28:15 GMT Reply-To: Rennie Selkirk From: Rennie Selkirk Organization: NASA-Ames Research Center Subject: Re: Riley B. King...Thief? Comments: To: bit-listserv-blues-l@uunet.uu.net In article ISTS024%UABDPO.BITNET@BROWNVM.brown.edu writes: >I have a question that bugs me. WE all know Hudson Whittaker wrote "Sweet >Little Angel" many, many moons ago. Then why on "Live At The Regal" does >the credit say "Riley King"....... > Don't know the answer to your question. Just wanted to point out that this also occurs on at least one of the Flair reissues, I think it's called Best of B.B. King, Vol. 1. Credit for "Five Long Years" is given to him, and there might be a couple of others on that disc as well. Memphis Slim does get the credit for "Everyday I Have the Blues" though. I've always wondered what the repercussions of these appropriations of songwriting credits actually had for the perpetrators. Perhaps the record companies like ABC Paramount figured that if they could get away with it, why not? Obviously, in the case of really big-time pop music the Lennon-McCartneys of this world can really hurt you if you try to pull something like that with their songs, but in the R&B world, how many songwriters had the cash to hire a lawyer to sue for their royalties? Just wondering, Rennie Selkirk ========================================================================= Date: Fri, 10 Nov 1995 14:18:28 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Blues Books Help Wanted; question about Paul Oliver & blues Comments: To: Rob Hutten At 02:44 PM 11/10/95 -0400, Rob Hutten wrote: (about "Land Where the Blues Began"): >I loved this book, but I really recommend reading it as a diary and >not a history. Lomax writes well, and he's had a remarkable career. >However, I suspect that some of the stories in this book are boardering >on the apocryphal. While reading it, I always felt that Lomax (writing over 50 years later) was being very condescending and paternalistic toward his subjects: the "noble savage" black sharecropper, prisoner, mule skinner, etc., living his / her life in simple innocence - I never got the feeling that Lomax was talking about real people. I also have gotten echoes of the "noble savage" interpretation thru the recent music theory threads - if only we could go back to being the innocent children of nature that our blues heroes were, before we all learned about musical theory.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Fri, 10 Nov 1995 16:28:40 -0500 Reply-To: IVES Comments: Authenticated sender is From: IVES Subject: Robben Ford, Morganfield's, Portland, ME, 11/7/95 Anyone else impressed/inspired/deaf? Sonny smoked, but Robben BURNED. What a band . . . ========================================================================= Date: Fri, 10 Nov 1995 16:05:50 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Ritual Self Humiliation (was Re: Blues Books Help Wanted) Comments: To: rob.hutten@acadiau.ca Reading through Rob Hutten's reply to my doubts about Lomax book (Hutten essentially agreed with me) I read, quoted from my message: >Tom Freeland wrote: >> > Land Where The Blues Began - A. Lomax >> I have a couple of problems with this one. >>On the other hand, he *was* there and you get first-hand >> descriptions of the place that, at that moment, had to be the center of the >> blues universe from the guy who had the sense to record Muddy Waters, >>Howling Wolf, and Bukka White (just for starters). I said that? Jesus, how can your brain think Son House and your fingers type Howling Wolf. I meant Son House. I really did. And no one called me on it. Some of you snickered, though. Tom Freeland ========================================================================= Date: Fri, 10 Nov 1995 16:08:05 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Blues Books Help Wanted Comments: To: davidis@interaccess.com In a message dated 95-11-10 15:33:13 EST, davidis@INTERACCESS.COM (David Silberberg) writes: >While reading it, I always felt that Lomax (writing over 50 years later) was >being very condescending and paternalistic toward his subjects: the "noble >savage" black sharecropper, prisoner, mule skinner, etc., living his / her >life in simple innocence - I never got the feeling that Lomax was talking >about real people. > >I also have gotten echoes of the "noble savage" interpretation thru the >recent music theory threads - if only we could go back to being the innocent >children of nature that our blues heroes were, before we all learned about >musical theory.... That's some of what I meant when I said the tone was wrong. That and the southern-sherrif-right-out-of-the-movies at the start of the book. And here's the problem: if you have the feeling that the tone is wrong (or consists of cardboard figures and not real people) *and* you know the facts aren't quite right, what's left? Tom Freeland ========================================================================= Date: Fri, 10 Nov 1995 13:12:50 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: Re: Advent reissues on Testament/Hightone Comments: To: BluesHvn@aol.com I'd like to second the emotions! Especially the THOMAS SHAW & CHICAGO AT HOME set. I also have reviews of these CDs which I'll post sometime next week. TESTAMENT/HIGHTONE TCD 5021 BOTTLENECK BLUES TESTAMENT/HIGHTONE TCD 5029 SAN DIEGO BLUES JAM TESTAMENT/HIGHTONE TCD 5027 THOMAS SHAW - BORN IN TEXAS TESTAMENT/HIGHTONE TCD 5028 CHICAGO BLUES AT HOME "UNCLE" eRIC "I saw Son House in about 1970 and he was on his last legs then! The story told of him was that he got out of the train at Edinburgh Waverley and looked up at the castle and said "MY, that's a big church...."" ~ private e-mail, Lindsay Marshall, (0ctober 20, 1994) ========================================================================= Date: Fri, 10 Nov 1995 13:18:40 -0800 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Trip Report Last week, I had the good fortune to stop be traveling from Miami to Washington via Chicago. While in Chicago, I went to Rosa's to hear and visit with Son Of Blues. I had an awesome time. Billy Branch and Carl Weathersby were sounding real awesome. On the last tune, a woman named Peaches came up and did a very nice version of Wang Dang Doodle. She has a very nice voice and is quite easy to look at. A couple of others were on stage a Japanese guitarist named Hiro and an accordian player. Every time I have seen the SOBs, I've had a great time and have heard some incredible music. Rosa's also lives up to its billing as "Chicago's Friendliest Blues Lounge." I arrived in DC on Sunday and missed the DC Blues Society jam, but did manage to catch a local harmonica player named Roger Edsall on Monday night at the City Blues Cafe in Washington. Roger is a nice guy and a good harmonica player. He also let me sit in on a couple of tunes. It was my first time on stage in about six years. This latest trip was a fun one. It is nice to be able to mix in some pleasure on a business trip. Joe ========================================================================= Date: Fri, 10 Nov 1995 21:45:47 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: dangerous keys Comments: To: bit-listserv-blues-l@uunet.uu.net In , "" writes: >Your comment on using all the black keys on the piano is interesting. From a >blues point of view, it's also worth noting that if a pianist starts on Eb, then >the black keys are the Eb blues scale, except for A, which makes it easy to >improvise along with Eb concert blues. Unfortunately, I can't say I ever met >anybody who played blues in Eb. Actually, I've managed to get my band to do several numbers in Eb. Surprise of surprise, these songs all feature bari sax solos. BBB ///////////////////////////////////////////////////////////// B.B. Bean bbbean@cris.com Team OS/2 strictlow@aol.com Bean & Bean Cotton/Bean Farms 75474.2654@compuserve.com \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ ========================================================================= Date: Thu, 9 Nov 1995 15:58:29 -0600 Reply-To: George McClellan From: George McClellan Subject: Re: Blues in Las Vegas?? On Nov. 7th Jeff wrote, "I'm going to be at COMDEX in Las Vegas during the week of Nov. 13 to 17. Any blues clubs or concerts that may be scheduled that week that anyone could pass along would be much appreciated. Thanks." Blues on Fremont is a blues club located in downtown Vegas. Bookings are usually very good. Atmosphere friendly. Watch your wallet as area is known for pick pocketing problems. Also used to be a club there called the Sand Dollar. Saw Kenny Neal there one night in a terrific (albeit very late) set. I'm not sure if the club is still booking blues or not. George Chicago ========================================================================= Date: Fri, 10 Nov 1995 16:17:13 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Riley B. King...Thief? In-Reply-To: Message of Fri, 10 Nov 1995 16:12:31 +0000 from On Fri, 10 Nov 1995 16:12:31 +0000 David J. Wallace said: >this is no different than what Led Zep has been trashed for.... >> >> Please explain about the Sweet Little Angel tune.... >> >I always understood that the title of the tune was changes by Mr. >King to Sweet Little Angel from Sweet Black Angel. Doesnt excuse it >but that may be the rationale. According to the liner notes on Tampa Red Guitar Wizard, Tamapa changed it to "Sweet Little Angel" along time ago. No one misunderstand, I'm not calling BB King a thief, I'm just curious to why the credit says BB and J Taub....? I'm also curious, who does Robert Nighthawks version of "Sweet Black Angel" list as the writer...? LW ========================================================================= Date: Fri, 10 Nov 1995 16:24:48 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Riley B. King...Thief? In-Reply-To: Message of Fri, 10 Nov 1995 12:05:21 -0600 from On Fri, 10 Nov 1995 12:05:21 -0600 Richard Shurman said: >Once again (and for the last time from me), before we start accusing the >artists themselves of being "song thieves," maybe we could reflect on who >it is that provides this information, designs covers, etc. If you think >it's usually the artist, I have a bridge to sell you. I never remember reading that before, THANKS for clearing it up. Does this mean that maybe Zep was not as guilty as I have been lead to believe ??? THANKS LW ========================================================================= Date: Fri, 10 Nov 1995 16:27:07 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: Riley B. King...Thief? Comments: To: "David J. Wallace" In-Reply-To: <335947552C4@Agden.shef.ac.uk> It's because BB King is black and LZ are white. Ok, just trying to tie together two threads. Rob (who's very prickly today) Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Fri, 10 Nov 1995 17:37:00 EST Reply-To: edward c liu From: edward c liu Subject: S&T: Otis Rush _Cold Day In Hell_ Howdy all, The latest from NYCD Blues reviews, for Otis Rush's _Cold Day In Hell_. I have to (somewhat shamefacedly) admit that it's only the 2nd Otis Rush disc I own. After I listened to it for the first time, I kind of understand how that first caveman felt when he discovered fire (and boy do I wish English wasn't such a gender specific language....=8^). -- Ed Edward C. Liu | "I never say what I mean but I always manage edwick@cc.bellcore.com | to say something similar." | -- Eugene Ormandy The opinions in this message are mine and not Bellcore's. Really! *------------------------------cut heer------------------------------* OTIS RUSH / COLD DAY IN HELL (DELMARK DE-638) DELMARK RECORDS 4121 NORTH ROCKWELL CHICAGO, IL 60618 Otis Rush is in the unenviable position of being one of the most under-recorded and under-appreciated living legends of the blues today. The mark which he has left on the blues and on rock-and- roll is immeasurable, and he has garnered considerable acclaim from music critics and fellow musicians alike. This disc is usually recommended as one of Otis' core works, and with good reason. Every track on the disc hits like a pile-driver, and any one of them alone would make Otis Rush a legend of the blues. Together, they add up to a modern blues classic -- a "must-have" for any blues collection. Cut You A Loose / You're Breaking My Heart / Midnight Special / Society Woman / Mean Old World / All Your Love / Cold Day In Hell / Part Time Love / You're Breaking My Heart (Alt) / Motoring Along NYCD-Takes Cut You A Loose: This boisterous, fast-paced number gives you a taste of what you're in for. Otis Rush demonstrates why he's a legend in the Chicago blues world with some tough bent-note guitar playing and vocals strong enough to lift a car. Give a good listen to Jesse Green's drumming, too, or you're going to miss a lot. You're Breaking My Heart: I should make sure I mention that Otis Rush's vocals on this track are to die for. "Intense" doesn't even begin to describe them, but I think Otis' cathartic, burning guitar that's the real star of this show. You'd almost think this was an instrumental, since Otis takes upwards of two minutes to get to vocals. There's a B.B. King-esque quality to the initial lead-in, but it soon turns into 100% Otis. He shows he knows how to make every note count -- as well as every space between the notes. Midnight Special: A slow and very funky instrumental with a strong foundation laid down by dynamic rhythm duo of Jesse Green and James Green. There's also some fantastic saxophone playing by Abb Locke and Chuck Smith. Otis gets his licks in, too, with tremolos and bends that will leave you slack-jawed. Society Woman: A gentle introduction leads into another slow sizzler. There's some great piano playing in the background and in the solo by Big Moose Walker, and Otis is in fine form as always. The vocals are more plaintive, perhaps with less rasp but without any loss of feeling. Mighty Joe Young on rhythm guitar provides a strong T-Bone Walker-ish feel to this track that works very effectively. Mean Old World: Again, the rhythm section provides a powerful, driving foundation for this medium tempo track. Alternately pleading and shouting, Otis really shines vocally on this track. If you listen closely, you can hear some very nice organ playing by Big Moose Walker in the background as well. All Your Love: An Otis Rush classic, done in classic Otis Rush style. There's a tremendous sense of tension in Otis's playing and vocals until the tempo change in the middle of the song, at which point the band really kicks into high gear. There's also more terrific saxophone backing is provided by Abb Locke and Chuck Smith. Cold Day In Hell: The title track to this CD gives a slightly more laid-back rhythm section. Otis puts out some chilling vocals until the words just start failing to describe what he feels. Then he lets his guitar take over, telling you things you can't say in words. The solo is occasionally punctuated by some real heartfelt grunts, groans, wails, and "Lord have mercy!"s. If you ever want to know how a performer can bond with his instrument, play this track. Part Time Love: Along the same lines of "Cold Day In Hell," Otis growls and moans his way through this track. Otis keeps his guitar to the background, mostly using it to punctuate his vocal lines. His guitar truly becomes an extension of his voice, and Otis proves himself equally adept at both. You're Breaking My Heart: Otis brings in another version of this song that has a different feel than the one earlier on this disc. While the earlier version really highlighted Otis' guitar work, this shorter one underscores the vocals more. Otis pulls out all the stops, managing to wring even more emotion and pain out of his vocals without making them seem overwrought. Motoring Along: This fast-paced instrumental does exactly that. Again, the rhythm section of Jesse and James Green really propel this track with gusto, as Abb Locke and Otis riff away at a breakneck pace. The "technical problem" described in the liner notes (volume variations throughout the track) is somewhat frustrating, since it mars an otherwise flawless closing track. Reviewed By Edward C. Liu Copyright NY CD Blues - 1995 ========================================================================= Date: Fri, 10 Nov 1995 17:46:04 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Blues Books > > Land Where The Blues Began - A. Lomax Rob Hutto writes: >>I loved this book, but I really recommend reading it as a diary and >>not a history. Lomax writes well, and he's had a remarkable career. >>However, I suspect that some of the stories in this book are boardering >>on the apocryphal. Yes, I agree...it disappointed me that the focus oftentimes was on Lomax himself and his experiences instead of on the musicians and their experiences. He also seems to have some unusual personal theories, most notably the one about why there aren't very many female guitarists. (I hope you don't ask me to tell you about that, because it's been a year or more since I've read the book, and I don't remember any details. I do, however, remember being slightly offended.) ========================================================================= Date: Fri, 10 Nov 1995 17:47:23 -0500 Reply-To: Maria Wegscheid From: Maria Wegscheid Subject: equipment question I apologize for the non-blues content, but so far as I'm concerned, the experts are on this list. My friend has a 1983 Westone ES-335 copy, and uses a 1965 Blackface all Tube Fender Super Reverb 4 x 10 with a tube rectifier. This has been modified so the normal channel is now overdriving the vibrato channel. He also patches in a Boss CE-2 compressor/sustainer pedal for leads. He wants opinions on what pickups will possibly give him a sound similar to Clapton's lead on Cream's Wheels of Fire version of Crossroads. So far the following have been sugggested: Seymour Duncan 59, Seymour Duncan Custom, Seymour Duncan Seth Lover (sp?). Any of you guitar players want to take a stab at this? ****************************************************************** "Because, after all, a person's a person, no matter how small." ----Horton Maria J. Wegscheid Bettendorf (IA) Public Library mwegsche@libby.rbls.lib.il.us My opinions, as stated in this posting, are just that -- mine. ========================================================================= Date: Fri, 10 Nov 1995 16:54:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Re: Blues Books Help Wanted; question about Paul Oliver & bl Comments: To: rob.hutten@ACADIAU.CA >> > Land Where The Blues Began - A. Lomax >> I have a couple of problems with this one... For instance, the story of Lomax meeting Robert Johnson's mother - beautiful, passionate writing, but I can't help but think it's a far cry from what really happened. He admits that his field notes from the period are sketchy, but yet he's recalling extended conversations from fifty years ago... > >-Rob My guess is also that the story of this meeting is pretty apocryphal. In the first place, Robert Johnson's mother never married his father, Noah Johnson. Robert was a product of his mother's in-between marriages dalliance with Mr. Johnson, described in some books as a "farmhand". Her married names were Spencer and Dodds; I'm not sure in which order. So she never was "Mrs. Johnson" and if Lomax had asked about her using that name, people probably wouldn't have known who he was talking about. In the book he also describes her as some sort of barefoot crone with a rag of scarf tied round her head. The photograph I have seen of her shows a middle-class appearing, well-dressed woman...not that she couldn't have fallen on hard times in later life. So this is why I take part of this very fine book with a grain of salt. But it is excellent in recreating the milieu of the south in the thirties and forties. -Bonnie ========================================================================= Date: Fri, 10 Nov 1995 23:16:35 GMT Reply-To: "tim thigpen, bs rdms" From: "tim thigpen, bs rdms" Organization: OHSU Subject: Muddy Waters Comments: To: bit-listserv-blues-l@uunet.uu.net In search of vinyl or cd version of "Electric Mud" any ideas? ========================================================================= Date: Fri, 10 Nov 1995 18:25:21 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Riley B. King...Thief? Comments: To: robbiev@interaccess.com I have examined this matter very carefully and I am now qualified and prepared to render my objective opinion. The letters of the word "T-H-E-O-R-Y" do not appear at any point in the spelling of "B.B. KING." I don't know what this reveals, but I feel that it must prove whatever the conspiracy buffs wish to find. (Please resume normal programming.) Dick Waterman ========================================================================= Date: Fri, 10 Nov 1995 15:20:34 -0800 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Library of Congress I was wondering if anybody knows where to find either original or reissues of the library of congress blues recordings. I have stumbled on a few but have been unable to find the Son House,William Brown,and David Edwards one. I know that some have been reissued but under what Labels? P.S. This list is great and I thank you all . Isaac ========================================================================= Date: Fri, 10 Nov 1995 16:39:03 -0700 Reply-To: ar271@freenet.uchsc.edu From: "Paul R. Leach" Subject: So Long and Thanks My freenet account is finally getting serious about limiting email priviledges for "abusers" of email. I guess that'd be me :-) I've been sponging off you folks for well over a year now and I thought I'd take a minute to say thanks. I've never posted much but until recently read just about everything ever posted here. First, the music...without your help, I more than likely would have never known the joys of: Muddy Waters Folk Singer Magic Sam WSSoul and Black Magic RL Burnside Houston Stackhouse Doug McCleod Lesley Riddle Paul Geremia Buddy and Junior Alone & Acoustic and Buddy and the Juniors Junior Wells Hoodoo Man Blues Freddie King Sings and Antibes I could go on...but I'd be preaching to the choir And of course, the folks: eRIC the MAN ! Ldub dig them threads Paul Ian Bonnie Tom F Don and...and...and... And of course MARCIA for pulling of the immense T=shirt project thanks Thanks THANKS... -- Paul { * }====# ========================================================================= Date: Fri, 10 Nov 1995 18:45:57 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Billboard's Top 15 In Mary Katherine's absence, I thought I'd post: Billboard's Top 15 Blues Albums for the week ending November 11, 1995 1. From The Cradle, Eric Clapton 2. Handful Of Blues, Robben Ford & The Blue Line 3. Some Rainy Morning, Robert Cray 4. Cover To Cover, The Jeff Healey Band 5. Blues, Jimi Hendrix 6. Chill Out, John Lee Hooker 7. Turn It On, Turn It Up, Roomful Of Blues * 8. Keb' Mo', Keb' Mo' 9. Standing On The Bank, Tab Benoit 10. Texas Sugar-Strat Magik, Chris Duarte Group 11. Blue Streak, Luther Allison 12. Deep Blue: 25 Years Of Blues, Various Artists (Rounder Records) 13. Live '92/'93, Albert Collins & The Icebreakers 14. Essential Blues, Various Artists (House of Blues) 15. Blues Of The Month Club, Joe Louis Walker * This one's new. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Fri, 10 Nov 1995 19:57:03 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Riley B. King...Thief? Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU On 10 Nov 95, L W had this to say: > No one misunderstand, I'm not calling BB King a thief, I'm just curious to > why the credit says BB and J Taub....? I think that "Taub" may be the key to what you are wondering about. For many years BB was under contract to The Bihari Brothers who managed to get themselves 75% of BB's royalties. They had 100% of his publishing and Jules Bihari would add a fake name of either Taub, Josea, or Ling to the copyrights and take 50% of the writer's royalties as well. If there was an actual effort to steal songs from other writers, I would suspect the Biharis before I'd suspect BB. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 10 Nov 1995 19:38:17 -0500 Reply-To: HugeSmall@AOL.COM From: Boyd Small Subject: J. Shines Live PDX Tape A while back I prepared a tape of a Johnny Shines afternoon concert at Mt. Hood Community College for someone in New York. The Tape was misplaced and so subsequently was your address. Are you still around? Do ya still want one? Blues tapes around here are like potato chips if you leave em lying around someones gonna eat em. I hope the whole mailing list doesn't respond to this because I couldn't afford to send everyone a copy. But I've made another one so let me know! Huge ========================================================================= Date: Fri, 10 Nov 1995 19:07:00 -0600 Reply-To: Bill Balcerzak From: Bill Balcerzak Subject: Mississippi Blues Musicians I've announced this a few weeks back but I wanted to make those aware who might have missed ... I now have for sale a map showing the birthplace of over 300 Mississippi blues musicians (303 to be exact). The map can be seen in the Blues Mall at the Blue Highway (www.vivanet.com/~blues) and is advertised in the display classified section of the latest issue of Living Blues Magazine (Dec/Jan). I am also now taking MasterCard and Visa. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Bill Balcerzak (Ball-sir-zak) /* 1579 Tobe Henry Lane GeoMaps Incorporated /* Starkville, MS 39759 geomaps@mailhost.net /* TEL: 601.325.5104, 323.9177 ========================================================================= Date: Sat, 11 Nov 1995 01:47:27 GMT Reply-To: bluesdj@HALCYON.COM From: Roberta Penn Organization: Northwest Nexus Inc. Subject: Steve Miller Comments: To: bit-listserv-blues-l@uunet.uu.net According to the ads, the Steve Miller concert here in Seattle on 11/18 is an "all blues" show. ========================================================================= Date: Fri, 10 Nov 1995 19:19:09 EST Reply-To: sysop@DJSA.COM From: sysop@DJSA.COM Organization: Internet Who's Who Guide Subject: Free Windows 95 Comm Program! If you would like a Windows 95 Communications program in multimedia then call 305-749-6458 and download worldgrp.exe. This file is available for those who like to use WIN95 to call online services that do not have their own software. You can do alot of your online work, offline. Mail, File Libraries can all be reviewed while you are not connected to the BBS. It saves you time and money and allows you graphics and sound to boot. Call today for your free program. ========================= !!! Automated Notice !!! ======================= E-mail replies to this user should have the following on the first line of message text: TO: Johnson ========================================================================= ========================================================================= Date: Fri, 10 Nov 1995 20:07:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Re: Billboard's Top 15 Comments: To: curtis@MAGICNET.NET Curtis Hewston said this Friday evenin: >In Mary Katherine's absence, I thought I'd post: > >Billboard's Top 15 Blues Albums >for the week ending November 11, 1995 > > 1. From The Cradle, Eric Clapton > 2. Handful Of Blues, Robben Ford & The Blue Line > 3. Some Rainy Morning, Robert Cray > 4. Cover To Cover, The Jeff Healey Band > 5. Blues, Jimi Hendrix > 6. Chill Out, John Lee Hooker > 7. Turn It On, Turn It Up, Roomful Of Blues * > 8. Keb' Mo', Keb' Mo' > 9. Standing On The Bank, Tab Benoit >10. Texas Sugar-Strat Magik, Chris Duarte Group >11. Blue Streak, Luther Allison >12. Deep Blue: 25 Years Of Blues, Various Artists (Rounder Records) >13. Live '92/'93, Albert Collins & The Icebreakers >14. Essential Blues, Various Artists (House of Blues) >15. Blues Of The Month Club, Joe Louis Walker > >* This one's new. > Curtis! I think you got the list upside down! :-) !! -Bonnie ========================================================================= Date: Sat, 11 Nov 1995 09:31:39 MNL Reply-To: "Michel D. Latendresse" From: "Michel D. Latendresse" Subject: Lyrics Wanted A little while ago, somebody posted the lyrics of Buddy Guy's song "Don't Tell me About The Blues". I unfortunately misfiled this post. Can somebody be kind enough to send me these lyrics directly. thanks michel ========================================================================= Date: Fri, 10 Nov 1995 22:57:00 PST Reply-To: Meridith Farnworth From: Meridith Farnworth Subject: Roy Bookbinder reference? Greetings.... we were just sitting here listening to Roy Bookbinder's "Live Book". Forgive me, but I don't make any connection to the reference to "Jorma" (said: Yorma) used in the context of someone (?) who played the same song / style? Can anyone provide any info on this? --Meri ========================================================================= Date: Sat, 11 Nov 1995 04:09:08 GMT Reply-To: "A.C. Brockton" From: "A.C. Brockton" Organization: Primenet Subject: Re: Blues Books Help Wanted. Comments: To: bit-listserv-blues-l@uunet.uu.net Don't know about the rest, but I'm about third of the way through the Lomax book and find it both fascinating and agitating. This book does a thorough job of explaining the cultural incubation of the blues, including the influence of spirtuals and the misery inflicted by racism. Lomax is quite good at describing the conditions of people who really earned the right to sing the blues. ========================================================================= Date: Sat, 11 Nov 1995 04:02:36 GMT Reply-To: "A.C. Brockton" From: "A.C. Brockton" Organization: Primenet Subject: Re: Philip Walker !!!YES!!! Comments: To: bit-listserv-blues-l@uunet.uu.net Thanks for the recommendation of the Working Girl Blues album. Just bought it today and absolutely love it! Thank god there's still some old farts around to remind us what the blues should sound like... ========================================================================= Date: Fri, 10 Nov 1995 23:27:48 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: viruses (long & fun) Computer users beware of these new computer viruses: Speed Virus: Puts a bomb on your Local Bus and threatens to detonate it if it goes below 50 megabits per second. Captain Kirk Virus: Your computer. Talks. In short. Sentences. And you. Don't know why. Bobbit Virus: Turns your hard drive into a floppy. Pentium Virus: A stealthing virus that creates numerical errors and then tries to hide them. Baseball Virus: Asks the user for more money before it will run. Schlong Virus: Takes your 3 1/2 inch disk and enlarges it to a 5 1/4 inch disk. Reggie Miller Virus: Every time you hit a two he hits a three. Jolly Rancher Virus: Takes up 3/4 inch by 3/4 inch of you screen. Gump Virus: You take apart your computer to find nothing but a box of chocolates inside. O.J. Simpson Virus: You turn on every monitor in the lab and notice that his picture is on every one. Energizer Virus: Once this virus is executed it keeps going and going and going.... Laboratory Scientist Virus: Runs an experiment that turns your mouse into a >rat. > >Bob Villa Virus: Rebuilds your home directory into a multi-level condo. > >Agriculture Virus: Takes your root directory and lets it grow and branch out >into a tree. > >Doug Sapp Virus: Files like FTP magically appear on your computer and it now >runs smoothly. > >Dungeons and Dragons Virus: Every time you hit a character it lists its >Strength, Dexterity and Hit Points. > >Eva J's Virus: Every time you do a warm boot you get a cold boot. > >American Express Virus: Claims your VESA card won't be everywhere you want >to be. > >---------------------------------------------------------------------------- >Bobbit Virus: Removes a vital part of your hard disk then re-attaches it. >(But that part will never work again.) > >Oprah Winfrey Virus: Your 200MB hard drive suddenly shrinks to 80MB, and >then slowly expands back to 200MB. > >AT&T Virus: Every three minutes it tells you what great service you are >getting. > >MCI Virus: Every three minutes it reminds you that you are paying too much >for the AT&T virus. > >Paul Revere Virus: This revolutionary virus does not horse around. It warns >you of impending hard disk attack --- once if by LAN, twice if by C:\. > >Politically Correct Virus: Never calls itself a "virus", but instead refers >to itself as an "electronic microorganism." > >Right to Life Virus: Won't allow you to delete a file, regardless of how old >it is. If you attempt to erase a file, it requires you to first see a >counselor about the possible alternatives. > >Ross Perot Virus: Activates every component in your system, just before the >damn thing quits. > >Mario Cuomo Virus: It would be a great virus, but it refuses to run. > >Ted Turner Virus: Colorizes your monochrome monitor. > >Arnold Schwarzenegger Virus: Terminates and stays resident. It'll be back. > >Dan Quayle Virus: Prevents your system from spawning any child process >without joining into a binary network. > >Dan Quayle Virus #2: There is sumthing rong wit your komputer, ewe jsut cant >figyour out watt! > >Government Economist Virus: Nothing works, but all your diagnostic software >says everything is fine. > >New World Order Virus: Probably harmless, but it makes a lot of people >really mad just thinking about it. > >Federal Bureaucrat Virus: Divides you hard disk into hundreds of little >units, each of which does practically nothing, but all of which claim to be >the most important part of you computer. > >Gallup Virus: Sixty percent of the PCs infected will lose 38 percent of >their data 14 percent of the time. (plus or minus a 3.5 percent margin of >error.) > >Terry Randle Virus: Prints "Oh no you don't" whenever you chose "Abort" from >the "Abort" "Retry" "Fail" message. > >Texas Virus: Makes sure that it's bigger than any other file. > >Adam and Eve Virus: Takes a couple of bytes out of your apple. > >Congressional Virus: The computer locks up, screen splits erratically with a >message appearing on each half blaming the other side for the problem. > >Airline Virus: You're in Dallas, but your data is in Singapore. > >Freudian Virus: Your computer becomes obsessed with marrying its own >motherboard. > >PBS Virus: Your programs stop every few minutes to ask for money. > >Elvis Virus: Your computer gets fat, slow and lazy, then self destructs; >only to resurface at shopping malls and service stations across rural >America. > >Ollie North Virus: Causes your printer to become a paper shredder. > >Nike Virus: Just does it. > >Sears Virus: Your data won't appear unless you buy new cables, power supply >and a set of shocks. > >Jimmy Hoffa Virus: Your programs can never be found again. > >Congressional Virus #2: Runs every program on the hard drive simultaneously, >but doesn't allow the user to accomplish anything. > >Kevorkian Virus: Helps your computer shut down as an act of mercy. > >Imelda Marcos Virus: Sings you a song (slightly off key) on boot up. then >subtracts money from your Quicken account and spends it all on expensive >shoes it purchases though Prodigy. > >Star Trek Virus: Invades your system in places where no virus has gone >before. > >Health Care Virus: Tests your system for a day, finds nothing wrong, and >sends you a bill for $4,500. > >George Bush Virus: It stars by boldly stating, "Read my docs... No new >files!" on the screen. It proceeds to fill up all the free space on your >hard drive with new files, then blames it on the Congressional Virus. > >Cleveland Indians Virus: Makes your 486/50 machine perform like a 286/AT. > >LAPD Virus: It claims it feels threatened by the other files on your PC and >erases them in "self defense." > >Chicago Cubs Virus: Your PC makes frequent mistakes and comes in last in the >reviews, but you still love it. > >Oral Roberts Virus: Claims that if you don't send it a million dollars, it's >programmer will take it back. > ========================================================================= Date: Fri, 10 Nov 1995 20:28:51 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Roy Bookbinder reference? You wrote: > >Greetings.... > >we were just sitting here listening to Roy Bookbinder's "Live Book". >Forgive me, but I don't make any connection to the reference to "Jorma" >(said: Yorma) used in the context of someone (?) who played the same song / >style? > >Can anyone provide any info on this? > > --Meri Jorma Kaukonen, lead guitarist of the Jefferson Airplane. Mary Katherine ========================================================================= Date: Fri, 10 Nov 1995 21:28:58 -0800 Reply-To: Eugene Wan From: Eugene Wan Organization: University of Washington Subject: Charlie Musselwhite (sp?) Comments: To: bit-listserv-blues-l@cs.washington.edu I am expanding a basic blues CD collection and would like to add some Charlie Musselwhite (sp?) CD's. Are there any suggestions? ========================================================================= Date: Sat, 11 Nov 1995 00:55:37 -0500 Reply-To: Neil Cassidy From: Neil Cassidy Subject: Roy Bookbinder reference Jorma Kaukonen (sp?) formerly of Hot Tuna and most likely the Jefferson Airplane I saw that he was playing here in Columbus, OH about a year and a half ago and heard he was living in Athens, Ohio, about 70 miles from Columbus.With Hot Tuna they did a fine version of Keep on Truckin' that features some Jorma playingheavily influenced by the John Hurt and others that sound like him. Neil Cassidy I seem to remember an 'h' in jorma's last name but couldn't decide where to put it. ========================================================================= Date: Fri, 10 Nov 1995 23:53:43 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Blues Books Help Wanted; question about Paul Oliver & blues On David Silberberg wrote Fri, 10 Nov 1995 14:18:28 >I also have gotten echoes of the "noble savage" interpretation thru the >recent music theory threads - if only we could go back to being the innocent >children of nature that our blues heroes were, before we all learned about >musical theory.... I hear echoes "theory is a dangerous thing" here. I don't see what knowing theory has got to do with enjoying or playing the Blues, or any music for that matter. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Fri, 10 Nov 1995 23:53:49 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: a little theory can be dangerous >===============>===========For instance, when writing music in the key of Gb >the major scale is >Gb, Ab, Bb, Cb, Db,Eb, F (natural) and Gb. The reason you write >'Cb'======--- > >Honestly, I'm learning a lot here and I'm kind of glad we tripped >over this nugget, but it perfectly illustrates the >problem of learning theoretical language. > >Gb Ab Bb Cb Db Eb F >1 2 3 3# 5 6 7 > > This is beyond what I ever dreamed a major scale was. Here is a >major scale where the fourth scale degree does not follow the third. Uuum.. If you sharp the third you get a fourth. I've never encountered a "#3" in my musical travels. This is a normal Gb major scale. If you understand how key signatures work you would understand why Cb exists. It makes theoretical sense. >I'm bailing out of this for good. Many thanks to Neil for >straightening me out and to PW for finding a place on the web to move >this discussion to. BTW, I accidently deleted the part of the original message that contained the identity of the author. Sorry. Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Fri, 10 Nov 1995 23:54:07 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Etta James book I've met and jammed with Etta James' current (was last time I talked to him) guitarist and musical director, Josh Sklar. He drops by MI every now and again. Great guy and a great Blues player. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Fri, 10 Nov 1995 23:54:12 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Blues Books I don't think I've seen Rober Palmer's "Deep Blues" mentioned so far. I found it to be informative and quite interesting. Another book that deals extensivley with the Blues is Charles Shaar Murray's "Crosstown Traffic". The book examines the musical roots and legacy of Jimi Hendrix. There is a chapter that discusses the Blues' influence on Hendrix and Hendrix' influence on the Blues (as well as similar chapters on Jazz, Rock and Soul). It is a great book on Hendrix and popular music in general since Hendrix. I also recommend "Miles", the autobiography of Miles Davis. He pulls no punches in his opnions, is brutally honest about himself and other people and offers great recollections of the how Jazz developed in the 20th century. After reading the book I came away with a greater appreciation of the man. Not everything about him was pretty but he admitted that and I admire him for his courage, honesty and his music. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Fri, 10 Nov 1995 23:54:34 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Christmas in New Orleans There is a good chance that I'll be spending Christmas in New Orleans. If anyone knows of any good shows that are going to be on between the 20th and 30th of December I'll appreciate the info. Thanks, Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sat, 11 Nov 1995 03:12:42 -0500 Reply-To: DBHertzog From: DBHertzog Organization: America Online, Inc. (1-800-827-6364) Subject: off the theory track Comments: To: bit-listserv-blues-l@uunet.uu.net This classical violinist who also loves to play jazz, country, and zydeco fiddle feels the discussion of what a note is called becomes pointless if we forget that enharmonic spellings are dependent on the direction of the musical line and not what is easier to read or, for that matter, the original key signature. Each note (or chord) naturally leads to another. Simply put - listening for the melodic and harmonic line is the way to create music. Real theorists would agree. DBH ========================================================================= Date: Sat, 11 Nov 1995 11:04:09 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Re: The Books Have Been Rated. Comments: To: bit-listserv-blues-l@nac.no Stark Bilge. English term for absolute rubbish, real crap. Bilge is bilge water, the stagnant stuff from the bottom of ships. TB ========================================================================= Date: Sat, 11 Nov 1995 11:45:32 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: Steve Miller A live version of "Mercury Blues," eh? Wonder if it smokes like the obscure version he recorded in 1968, available only on a soundtrack LP to the Haight-Ashbury-filmed movie, "Revolution." That LP also included his versions of "Your Old Lady" (Isley Bros.) and "Superbyrd" (a Miller original). For you collectors: Revolution : United Artists UAS 5185 (stereo) UAL 4185 (mono) Other tracks: Revolution; Stranger in My Own Home Town; Without Love -- Mother Earth Codine; Babe, I'm Gonna Leave You -- Quicksilver Messenger Service Liner notes by Paul Krassner. (And yes, "Babe, I'm Gonna Leave You" is properly credited to Annie Bredon, Eric Darling and P. Bennett, unlike a later recording of that tune by you-know-who.) ============================================================================ Jef Jaisun eljefe@netcom.com ============================================================================ -- eljefe@netcom.com ========================================================================= Date: Sat, 11 Nov 1995 11:53:54 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: Riley B. King...Thief? L W (ISTS024%UABDPO.BITNET@BROWNVM.brown.edu) wrote: : I never remember reading that before, THANKS for clearing it up. Does this : mean that maybe Zep was not as guilty as I have been lead to believe ??? No, it doesn't. If it did, they wouldn't have forced Annie Bredon to spend thousands in court fees to get her royalties for "Babe, I'm Gonna Leave You." Said it before, and I'll say it again: Led Zepp are scumbag rip-offs. They knew what they were doing, and did it with absolutely no compunction or remorse. ============================================================================ Jef Jaisun eljefe@netcom.com "Babe, we're gonna screw ya." ============================================================================ -- eljefe@netcom.com ========================================================================= Date: Sat, 11 Nov 1995 12:54:38 GMT Reply-To: Vincent Vialard Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Vincent Vialard Organization: Laboratoire d'informatique de Marseille Subject: Re: hmmm. Theory Comments: To: isprints@INDY1.CALARTS.EDU Hi Isaac, You're right, quite right. Nice to hear from reasonnable people out there... Vincent. ========================================================================= Date: Sat, 11 Nov 1995 09:14:19 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - November 11th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ACE, BUDDY[JIMMY LEE LAND](v/JEWEL/PAULA) b. 1936-1111, JASPER, TX ALLEN, ANNISTEEN (v/LUCKY MILLINDER) b. 1920-1111, CHAMPAIGN, IL ALLISON, MOSE (p/songw) b. 1927-1111, TIPPO, MS ANDERSON, ERNESTINE IRENE (v) b. 1928-1111, HOUSTON, TX BAKER, LAVERN (v/ATLANTIC) b. 1928-1111, CHICAGO, IL COOK, WILLIE JOHN (tpt/ELLINGTON/MCSHANN) b. 1923-1111, TANGIPAHOA, LA DAVIS, ELLABELLE (gospel) d. 1960-1111, NEW ROCHELLE, NY 53 DREJA, CHRIS (of THE YARDBIRDS) b. 1946-1111, SURBITON, UK GARLAND, HANK (g) b. 1930-1111, COWPENS, SC HAWKINS, ERSKINE R. (tpt) d. 1993-1111, WILLINGBORO, NJ 79 JONES, LARRY LEE (d) d. 1982-1111, CHICAGO, IL 29 LASTIE, DAVID (tsax) b. 1934-1111, NEW ORLEANS, LA LEVINGSTON, SARAH (v) d. 1989-1111, OAKLAND, CA 40 MAYERS, LLOYD G. (p/VINSON/COBB) b. 1929-1111, NEW YORK CITY, NY OAKLEY, BERRY (of ALLMAN BROS) d. 1972-1111, MACON, GA 24 PETERSON, MARVIN "HANNIBAL" (tpt) b. 1948-1111, SMITHVILLE, TX SANFORD, BILL (p/arr/THE RAVENS) d. 1975-1111, NEW YORK CITY, NY -- SEXTON, BRAD LEE(b/LIT'CHARLIE/NIGHTCATS) b. 1947-1111, SC WHITE, SONNY (p/BILLIE HOLIDAY) b. 1917-1111, PANAMA CITY, CANAL WILSON, DICK (tsax/ANDY KIRK) b. 1911-1111, MOUNT VERNON, IL ------------------------------------------------------------------------------- ========================================================================= Date: Sat, 11 Nov 1995 08:42:26 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Nothing But The Blues (books) I've not got ahold of Cohn's book by this title, but I'd like to mention that there is a 1971 book Nothing But The Blues from Oak Publications put together by Mike Leadbitter that consists of many snippets, I think from Blues Unlimited magazine, by authors such as Paul Oliver, Leadbitter himself, John Broven, Neil Patterson, Jacques Demetre, Pete Welding, Don Kent, Mike Rowe, Frank Scott, Pete Lowry, Bob Koester, Paul Garon etc. It is fascinating stuff on a variety of artists and topics. There are some excellent photos as well. Long out of print, but if you can find it, highly recommended. I'd also like to put in my enthusiastic vote (again) for Paul Oliver's Story of The Blues. ========================================================================= Date: Sat, 11 Nov 1995 13:47:23 GMT Reply-To: "Tim J. Walsh" From: "Tim J. Walsh" Organization: Luna Internet Services Subject: um... Comments: To: bit-listserv-blues-l@uunet.uu.net um... ========================================================================= Date: Sat, 11 Nov 1995 14:56:50 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Sweet Black Angel (was Re: Riley B. King...Thief? Comments: To: bit-listserv-blues-l@uunet.uu.net In article L W I'm also curious, who does Robert Nighthawks version of "Sweet Black Angel" >list as the writer...? My copy of Robert Nighthawk/Forrest City Joe - Black Angel Blues (Charly CDRED 29) lists McCollum as the writer. Robert Lee McCollum was Nighthawk's real name. He also recorded as Robert Lee McCoy in his pre-war incarnation Art Schuna ========================================================================= Date: Sat, 11 Nov 1995 07:05:04 -0000 Reply-To: "J. Witteveen" From: "J. Witteveen" Subject: Internet Blues Radio Hi there Bluezellers! I just thought I'd let y'all know that I'll be doing a weekly one-hour blues show on the internet called `Heart and Soul', using the new Iwave technology. I'll be playing a lot of blues, also some r&b, gospel, and jazz, so I'll be glad if some of you could give it a listen. It's kind of a community radio project, so there's no ads, nothing to buy, etc., and I'm just doing this for fun...I've always wanted to be a dj, and this is my chance to sound real goofy in front of thousands (??? :-) )people (hopefully) and play songs from my collection. It'll be starting up sometime during late November, and if you want to get the program to listen, you can download it for nothing (and I haven't got the address, so just do a search for IWave and you'll find it). if you haven't heard it, it's really neat - you can listen while you compose your next message about theory! :-) You'll recognize me - I'll be the guy playing real music surrounded by geeks playing techno, ambient house, trance, rave, and the sounds of barbed wire being scraped across shards of glass... :-) Give it a listen - the more listeners I get means I can stay on the air, and the less mind-numbing noise will get played... :-) Thanks! (and thanks to Patty Bowman who let me hear about this project!) -Jim (who is a volunteer, so this isn't really shameless self-promotion) :-) Oh yeah, if you have any announcements (non-profit organizations, events, etc.) that aren't terribly time-sensitive, drop me a line and I'll mention them! ========================================================================= Date: Sat, 11 Nov 1995 10:09:53 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Organization: IQuest Internet Services Subject: Re: a little theory can be dangerous Comments: To: shaun@WAVENET.COM I put in my sig line " (why don't you just call it the 4)" when I argued that Cb was not Cb but B. Ofcourse that made perfect theoretical sense for the overwhelming circumstances of the music I've encountered personally. Then someone comes back and says, it's not the 4, it's the 3#. Just jackin' me around I guess. Well, it's the 4. RJ Bauman (you too can put yourself through theory reform school from Bob Fraziers Music Page. E-mail 70172.177@compuserv.com) >Honestly, I'm learning a lot here and I'm kind of glad we tripped > >over this nugget, but it perfectly illustrates the > >problem of learning theoretical language. > > > >Gb Ab Bb Cb Db Eb F > >1 2 3 3# 5 6 7 > > > > This is beyond what I ever dreamed a major scale was. Here is a > >major scale where the fourth scale degree does not follow the third. > > Uuum.. If you sharp the third you get a fourth. I've never encountered a > "#3" in my musical travels. This is a normal Gb major scale. If you > understand how key signatures work you would understand why Cb exists. It > makes theoretical sense. > > >I'm bailing out of this for good. Many thanks to Neil for > >straightening me out and to PW for finding a place on the web to move > >this discussion to. > > BTW, I accidently deleted the part of the original message that contained > the identity of the author. Sorry. > > Shaun Cronin 'The Blues is what exists between a man and a > shaun@wavenet.com woman.' Son House and John Lee Hooker. > > ========================================================================= Date: Sat, 11 Nov 1995 15:20:52 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Library of Congress Comments: To: bit-listserv-blues-l@uunet.uu.net In article Isaac Sprintis writes: >Date: Fri, 10 Nov 1995 15:20:34 -0800 >From: Isaac Sprintis >Subject: Library of Congress >I was wondering if anybody knows where to find either original or >reissues of the library of congress blues recordings. I have stumbled >on a few but have been unable to find the Son House,William Brown,and >David Edwards one. I know that some have been reissued but under what >Labels? Son House - Complete Library of Congress Recordings 1941-42. Travelin' Man (TM CD 02). This is a British import but available from larger mail order business (Roots & Rhythm, cdconnection, cdnow, etc) David Honeyboy Edwards - Delta Bluesman (Earwig 4922CD) has 14 tracks froom LoC recorded in 1942 by Alan Lomax as well as recordings from 1979 and 1991. An excellent career retrospective. Probably the best place to start your Honeyboy collection. Willie Brown "Make Me a Pallet On the Floor" is the only track by him on " Misssissippi Blues: Library of Congress Recordings 1940-42". This is on Travelin' Man CD 07). Other artists include Leroy Williams, Honeyboy Edwards (4 tracks also on Earwig above), Fiddlin' Joe Martin, Lucious Curtis, Willie Ford, and Willie Blackwell's "Junior's A Jap Girl's Christmas for His Santa Claus". This last title's real name was misunderstood by the person doing the person doing the recording. I can't remember what the actual title was, but I think it was pretty awful - having something to do with the WW II fervor. Willie Brown backs Blackwell and Leroy Williams on 2 titles besides his solo number. This is an excellent various artist collection of lesser known bluesmen. Art Schuna ========================================================================= Date: Sat, 11 Nov 1995 09:05:03 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: Here's who won the free CD's The following people won the draw for the CD's: BRENT HOOTEN --- LITTLE DREAMER JENNIFER BALDWIN --- WHATCHA GONNA DO? Thanx to everybody who entered. More free CD's in January if I can't find someone to trade with...... As a note of interest: over 30% of the people who asked for the CD's did not follow the rules. Better luck next time! Gary ........... Gary Constantine >> gconstan@ccinet.ab.ca << If hard work were such a wonderful thing, surely the rich would have kept it for themselves. ========================================================================= Date: Sat, 11 Nov 1995 09:05:06 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: off on vacation agaain.... I'm off to Atlantic Canada for a couple of weeks or so. Hope to catch some maritime blues. See you all when I get back. Long live Moosehead!!!! Gary ............... Gary Constantine >> gconstan@ccinet.ab.ca << If hard work were such a wonderful thing, surely the rich would have kept it for themselves. ========================================================================= Date: Sat, 11 Nov 1995 08:31:55 +0000 Reply-To: "Terry L. Odor" Comments: Authenticated sender is From: "Terry L. Odor" Subject: Re: The Muddy Awards - Cascade Blues Assn. ===================================================== Boyd Martin said: Oregon and Southwest Washington's Cascade Blues Association held their 7th annual "Muddy Awards" ceremonies, Nov. 1 at Key Largo in Portland, OR. Winners were announced in 12 categories each with three nominees. The Lifetime Acheivement Award went to Riley B.B. King, and the "Best National Recording" to Eric Clapton's "From the Cradle". A full roster of winners and links can be perused at: http://www.teleport.com/~boydroid/blues/muddies.htm Boyd CBA Webmaster ======================================================== Boyd is so modest! Boyd Martin is the drummer for Robbie Laws & the Urban All Stars who won a Muddy for best regional recording "Midnight Rain" and for best regional band. Another list member, Boyd Small, aka HugeSmall, tied for best drummer, with Jeff Miniweather of Curtis Salgado's band. Congratulations to the Boyds! Terry http://www.teleport.com/~tlo/ (updated 10/28/95) ========================================================================= Date: Sat, 11 Nov 1995 17:05:59 GMT Reply-To: Richard Cotenas From: Richard Cotenas Organization: California State University Sacramento Subject: Learning blues piano Comments: To: bit-listserv-blues-l@uunet.uu.net There has been some discussion in this news group about which is the best way to learn to play blues piano. I am certainly not an expert, but before I began squandering all my valuable time on job and family, I was teaching myself to play blues and boogie piano by transcribing piano parts from recordings. I would recommend you do this, whether or not you do any of the other things that have been mentioned here--using MIDI, learning theory, getting video tapes from Homespun, slowing the recording down to half speed, etc, etc, etc. Here are some of my insights into the recordings of one of the greatest blues pianists, Otis Spann. OTIS SPANN (Everest/Archives of Folk Music) Recorded Oct 16, 1963 in Denmark. Just Spann's voice and piano. A great place to learn blues piano licks. Includes: TITLE KEY ------------ ----- Worried life blues C a tune Spann learned from one of his mentors, Big Maceo Merriweather, and recorded often. You should compare it with Merriweather's recording, with Spann's many re-recordings, and with the recording by Spann's contemporary, Johnny Jones (see below). Love, love, love E An 8 measure blues. Spann didn't record anything like this at any other time, so I'm assuming it was improvised on the spot. Must have been the devil A this is my favorite version of a song Spann recorded several times. Spann plays a great 'comping lick while he's singing that I could never quite figure out. T.B. blues C the first song with which I had any success. Spann's boogie C compare with "Twisted snake," "Spann's stomp," and "Spann's boogie woogie." Don't you know C a portion of this song is transcribed in Kriss's book (see below). Trouble in mind Bb A portion transcribed in Kriss's book. Good morning Mr. Blues D all Spann's blues in D share some distinctive licks. Compare this with "Jelly Roll Baker," and "Sarah Street." Jelly roll baker D Riverside blues A Wasn't very successful with this one. OTIS SPANN IS THE BLUES. (Barnaby/Candid) Recorded Aug. 23, 1960 in New York. Mostly Spann solo, several tracks with guitarist Robert Jr. Lockwood. Re-issued in several different forms, often with extra tracks. Includes "Great northern stomp", Spann's version of "Cow cow blues" (discussed in this newsgroup a while ago. I worked on: Worried life blues C There are probably more recordings of this song than any other, but you never tire of hearing it. Otis in the dark E The hard way G Country boy D Otis blues D WALKING THE BLUES. (Barnaby/Candid) The rest of the tunes recorded on the date above. St Louis Jimmy is added for a few vocals. Walking the blues C This is the blues D uses the same piano accompaniment as Muddy Waters "Sugar Sweet" (on the "Fathers and Sons" LP), and Spann's "Crack your head", and a few others. Half ain't been told Am minor blues, with a similar accompaniment to Spann's "A sad day in texas" recorded 3 years later (or is it "Blues for Martin Luther King"? Can't remember). Evil ways C similar to "Don't you know" from the Copenhagen recordings. Reissues of this LP include 2 additional tracks: When things go wrong C (aka "It hurts, me too") Strange woman D OTIS SPANN'S CHICAGO BLUES/NOBODY KNOWS MY TROUBLES. Testament 2211 Recorded in 1965. 9 songs solo, 5 with a band. CD releases include some songs from other Testament LPs. See see rider Bb Spann plays variations on a riff in thirds that he uses in a great many songs (I'd show it to ya, if I could post traditional musical notation...). The riff is used a lot in "Don't you know," above. Bb is an unusual key for Spann--did he play the song as a tribute to his friend, Lonnie Johnson, with whom he recorded in Copenhagen, and accompanied on the 1963 American Folk Blues Tour of Europe?. Worried life blues C yep, another one. Nobody knows my troubles G One room country shack A the Mercy Dee classic, Spann also recorded this with Buddy Guy, in G minor (see below). Mr. Jelly Roll Baker D If you couldn't quite get it from the Copenhagen recording, you can try this version. Vicksburg blues F compare this with "S.P. Blues" on the Vanguard LP, and with the "Vicksburg blues" released on a Spivey LP. What's on your worried mind G You can't hide C another boogie, but with a straight 8th feel. CHICAGO, THE BLUES TODAY. VOL. 1 (Vanguard 79217) (recorded in 1965?) Five performances, of which I worked on: S.P. blues F Spann's version of Little Brother Montgomery's classic, "Vicksburg blues." Spann's stomp C compare with "Spann's boogie woogie", and "Spann's boogie." A portion of this is transcribed in Kriss's book. Marie C OTIS SPANN: CRYIN' TIME. Vanguard 6514. Recorded in 1968? Includes a full band, they don't get in the way. When I listen to this LP, I think what a shame it is that they couldn't record the piano like this at the Chess studios in the fifties. Just think of all the great blues piano licks we could be learning from the likes of Johnny Jones, Hosea Lee Kennard, Henry Grey, Johnnie Johnson, Lafayette Leake, Johnny Jones...oh well. The three tracks I struggled with are: Blues is a botheration C Twisted snake C Mule kickin' in my stall E This is what I call a "boogaloo" rhythm. Other songs Spann has recorded in a similar vein are "Top of the Boogaloo" (E), "Sting it" (E), and "Dig you" (E), from the 1969 LP with Fleetwood Mac. Blues purists may object, but these songs are a lotta fun to play. EDDIE CLEANHEAD VINSON AND OTIS SPANN: BOSSES OF THE BLUES. RCA Songs originally released on a Flying Dutchman/Bluestime LP called "Sweet Giant of the Blues." Recorded Aug. 13, 1969. This cassette includes: Got my mojo working E A song that every British blues band had to play after the "Muddy Waters Live at Newport" LP hit England. Learn this song and you'll be just like Nicky Hopkins, Ian Stewart, Stevie Winwood, Manfred Mann, Bob Hall, Pete Wingfield, Keith Scott, and a hundred other budding rock stars. Another good place to learn the piano part to this song is on a Chess LP from 1963 released as "Folk Festival of the Blues" and "Blues at Big Bill's Copa Cabana". Make a way C? Ray Charles is the master of 6/4 gospel style piano, but Spann gives it a try. Spann's first use of the diminished 7th chord, as far as I can tell. Sellin' my thing G This and the following song are good places to get more "boogaloo" piano licks. I'm a dues paying man C MUDDY WATERS IN CONCERT, 1958. Krazy Cat 7405 (rel. 1982) Some English blues enthusiasts wanted to hear Muddy Waters in person, but they didn't want to pay for his whole band, so he only brought Spann--lucky for us. Songs I worked on are Hoochie coochie man G the familiar stop-time riff that Spann also used on Chuck Berry's "No money down" (G). Baby please don't go G Another song that became a staple of British rock groups after the "Muddy Waters at Newport, 1960" LP made it to England. Long distance call G JIM KWESKIN, WITH SIPPIE WALLACE AND OTIS SPANN. Mountain Railroad Records (recorded 1967). 3 tracks are duets with Wallace and Spann. Has recently been released on CD. The only song I've worked on is: Black snake blues A JOHNNY JONES WITH BILLY BOY ARNOLD Alligator 4717 Johnny Jones backed many of the greats of Chicago blues, including Elmore James, Howlin' Wolf, Eddie Taylor, Jimmy Reed, and J.B. Hutto, but his piano is often buried in the mix. He and Spann were contemporaries and students of Big Maceo Merriweather, and it is instructive to compare their approaches. I figured out portions of: Worried life blues C She wants to sell my monkey G Dirty dozens G Hello baby G Eric Kriss's book, SIX BLUES-ROOTS PIANISTS (Oak Publications 1973), presents actual transcriptions of three piano pieces by Spann, as well as a couple each by Jimmy Yancey, Champion Jack Dupree, Little Brother Montgomery (including "Vicksburg Blues"!), Speckled Red, and Roosevelt Sykes. If you've been trying to learn one of these pieces, you can compare what you've figured out to Kriss's transcription. P.S. If I am not severely criticized for wasting bandwidth with such long, boring posts, I'll probably post something like this again about Pete Johnson, or Memphis Slim, or Nicky Hopkins, or Bob Hall, or... -- Richard Cotenas Calif. State Univ., Sacramento ========================================================================= Date: Sat, 11 Nov 1995 12:19:51 -0500 Reply-To: Michael Kaloyanides From: Michael Kaloyanides Subject: Re: Theory and stereotypes Comments: To: Barry Bean In-Reply-To: <47r7dd$1sh@spectator.cris.com> Like Barry I'm also dismayed at the stereotyping of blues and blues performers in the theory thread. It reminds me of what in ethnomusicology circles was called the "moldy fig" or "moldy leaf" approach to folk musics. In short, only music that was written through communal composition (no individual song writers, please) and performed by primitive, illiterate, amateur and musically naive rural musicians was true folk music. These quaint visions of folk musics like the blues are quite demeaning to the traditions as well as the performers and hinder rather than assist in gaining insight into great musical cultures. Michael G. Kaloyanides Department of Music & Sound Recording University of New Haven ========================================================================= Date: Sat, 11 Nov 1995 13:11:21 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Christmas in New Orleans Shaun writes: >>There is a good chance that I'll be spending Christmas in New Orleans. If >>anyone knows of any good shows that are going to be on between the 20th and >>30th of December I'll appreciate the info. Yes, please post information publicly--I'll be In Louisiana during that time and would like to know, also. Thanks! Karen ========================================================================= Date: Sat, 11 Nov 1995 13:22:23 -0500 Reply-To: Michael Kaloyanides From: Michael Kaloyanides Subject: Re: theory ?? Comments: To: "P.W. Fenton" In-Reply-To: <199511091022.FAA27745@tequesta.gate.net> On Thu, 9 Nov 1995, P.W. Fenton wrote: > See now, if you had studied your theory you would have known that > they could only have discussed E=mC sharp, since there is no C flat. Paul, You better pull out your old theory textbooks. There is indeed a C flat. It is also called B. By the way I think in Einstein's hand written notes for his special theory of relativity the equation was F flat=Cm+2. Michael G. Kaloyanides Department of Music & Sound Recording University of New Haven "I guess all songs is folk songs, I never heard no horse sing 'em." --Big Bill Broonzy ========================================================================= Date: Sat, 11 Nov 1995 13:59:14 -0500 Reply-To: Michael Kaloyanides From: Michael Kaloyanides Subject: Re: Roy Bookbinder reference? Comments: To: Meridith Farnworth In-Reply-To: <30A45A81@ipnovell.fibusa.com> Meri, I suspect Roy was refering to JORMA KAUKONEN, guitarist for Jefferson Airplane and Hot Tuna. On Fri, 10 Nov 1995, Meridith Farnworth wrote: > Greetings.... > > we were just sitting here listening to Roy Bookbinder's "Live Book". > Forgive me, but I don't make any connection to the reference to "Jorma" > (said: Yorma) used in the context of someone (?) who played the same song / > style? > > Can anyone provide any info on this? > > --Meri > Michael G. Kaloyanides ========================================================================= Date: Sat, 11 Nov 1995 15:12:27 -0600 Reply-To: William A Morgan From: William A Morgan Subject: Re: Christmas in New Orleans Comments: To: Karen Hanson In-Reply-To: <951111131121_103890043@emout06.mail.aol.com> For music information I always recommend Offbeat Magazine's web page at http://www.neosoft.com/~offbeat. Offbeat comes out once a month, so you won't find the December club listings until the December issue comes out December 1. Some of the clubs I would recommend for blues, R&B, or Jazz are House of Blues, Snug Harbor, Tipitina's, The Maple Leaf, The Blue Jackal, Carrollton Station, Mid City Lanes, The Lion's Den, Margaritaville, The Rivershack, Checkpoint Charlie's, Le Bon Temps Roule, and there are a host of others. There are some New Orleans links on the Offbeat page such as Virtual New Orleans that can give you information about restaurants, hotels, bed and breakfasts and such. Also, there are numerous other New Orleans web sites that you might find using Web Crawler. I really ought to put together a FAQ for this topic, since it comes up so often. Feel free to contact me by private e-mail at wmorga@bigeasy.com or wam01@www.gnofn.org for more information. I can make more specific recommendations after I'm aware of who's playing where in December. I do want to recommend Louisiana Music Factory as a source of some great CDs and records. They also feature live music about three or four times a month, and it's just down the block from Tower Records if you want to comparison shop. (I'm in no way affiliated with any of the businesses or publication mentioned above.) Bill Morgan On Sat, 11 Nov 1995, Karen Hanson wrote: > Shaun writes: > > >>There is a good chance that I'll be spending Christmas in New Orleans. If > >>anyone knows of any good shows that are going to be on between the 20th and > >>30th of December I'll appreciate the info. > > Yes, please post information publicly--I'll be In Louisiana during that time > and would like to know, also. Thanks! > > Karen > ========================================================================= Date: Sat, 11 Nov 1995 16:33:40 -0500 Reply-To: Nancy Worthington From: Nancy Worthington Subject: Tab Benoit video cybercast 11/14 Video of Tab Benoit's concert performance from the White Rabbit in Austin, Texas on November 14 will be available over the Internet. Tab Benoit, the 28 year old blues guitarist from Louisiana, has recently released his third album on Justice Records "Standing On The Bank". Recorded live to two-track, "Standing" has remained on Billboard's Top Blues Album's chart for over a month now. To participate in the cybercast, a Mac or PC user just needs a fast connection (14.4 to see, 28.8 and a soundcard to see and hear) to the Internet and free-for-the-downloading CU-SeeMe software. If you don't already have it, you can get the information and links to software at http://justicerecords.com/tablive.htm. ************************************************************************* Nancy K. Worthington - Interactive Marketing Department Justice Records - Redefining Independence nancy@justicerecords.com Web site: http://JusticeRecords.com (713) 520-6669 fax (713) 525-4444 ************************************************************************* ========================================================================= Date: Sat, 11 Nov 1995 16:32:02 -0500 Reply-To: BBGInc From: BBGInc Organization: America Online, Inc. (1-800-827-6364) Subject: Christmas picks needed Comments: To: bit-listserv-blues-l@uunet.uu.net I am trying to make up my christmas list already (hard to believe isn't it). I would like some suggestions if people have any for: -- Favorite blues Christmas CDs -- Anthologies/Collections suitable for friends not 100% into the blues -- yet. Is there an Austin Blues collection? Thanks much in advance. Andy Gordon ========================================================================= Date: Sun, 12 Nov 1995 01:32:25 GMT Reply-To: Dan Day From: Dan Day Organization: Sirius Connections Subject: Re: LITTLE WALTER REISSUES!!! Comments: To: bit-listserv-blues-l@uunet.uu.net In article , Pat Hertel wrote: > On Mon, 6 Nov 1995, Bernie Clarke wrote: > > > deal. Just rereleased recordings of Little Walter one is a two CD set, Chess > > Collectibles Vol 3. "Blues With a Feeling." This stuff came out last week > > and any blues lover let alone harp player should have this. The stuff on > > Is there much/any overlap with the "Essentiail" Little Walter set > from Chess? > > phertel@cmc.doe.ca > OR bv808@freenet.carleton.ca > Local Time [6/11/95 13:06 PM] > "They call it stormy monday..." I did a comparison of "Blues With A Feeling" with "Essential" ...no overlap. Also did a comparison of BWAF and "The Chess Years" 5-CD set. There are 14 cuts on BWAF that are not on "The Chess Years". That still leaves 23 cuts on "The Chess Years" not availble on "Essential" or BWAF. So, if you're like me, get all three! Dan ========================================================================= Date: Sat, 11 Nov 1995 20:47:52 EST Reply-To: "M.A. Murphy" From: "M.A. Murphy" Subject: Morganfields in Portland, ME (was re: Robben Ford...) >Anyone else impressed/inspired/deaf? Sonny smoked, but Robben >BURNED. What a band . . . I saw Tab Benoit a few weeks ago at Morganfields. I just wish there were a venue like that closer to Bangor. Whoever designed that place did it right. Good blues, no smoke (smoking sections are away from the main floor and are ventilated so the smoke does not reach the main floor), reserved table seating, 30 taps with real beer (even more in bottles) and a good sound system with well thought out room acoustics. I'll be back to Morganfields, but I can't do it as often as I'd like. Those 2+ hour (one way) trips start to hurt if they're taken often. I did the Portland round trip thing the previous Thursday for Pere Ubu and then on Sunday for Tab. I think I'm still recovering and that was almost a month ago! ------- Murph Michael A. Murphy murph@maine.maine.edu If you do not understand my silence you will not understand my words. Network Audio Bits E-Zine: http://maine.maine.edu/~n-audio Music reviews, news and information ========================================================================= Date: Sun, 12 Nov 1995 03:52:03 GMT Reply-To: Aaron Solomon From: Aaron Solomon Organization: Northwestern University, Evanston IL Subject: I'm taking requests for 89.3 WNUR in Evanston/Chicago Comments: To: bit-listserv-blues-l@relay1.uu.net Hi all, My name's Aaron, and I deejay the Blues Show on 89.3 WNUR-FM out of Northwestern University in Evanston/Chicago. I'm doing a show tomorrow (Sunday, Nov. 12th) from 7-8 PM, so I'm asking for *internet* requests. If I play your request, I'll announce your name and what internet system you're "from" over the air. I play all kinds of blues, from the Delta acoustic and slide, to houserockin' guitar, to blues crossovers to even Cajun music (Zydeco, etc). If you want to make a request, E-mail me at: solboy@nwu.edu If it's in our library, it's yours. I played some Paul Butterfield last week on the show based on a similar request from a listener who E-mailed me. So, LISTEN IN! The show's on every Sunday from 5-8 PM on 89.3 WNUR-FM in Evanston/Chicago, Illinois and I'm doing the 7-8 PM slot tomorrow. Okay! Thanks! Aaron ========================================================================= Date: Sun, 12 Nov 1995 02:21:59 -0500 Reply-To: SokolowMus@AOL.COM From: Fred Sokolow Subject: Re: Blues Books Help Wanted. Comments: To: bsco@panix.com I am a fan of the Peter Guralnick books, and the Lomax book is great as well...Fred S. ========================================================================= Date: Sun, 12 Nov 1995 02:49:28 -0500 Reply-To: SokolowMus@AOL.COM From: Fred Sokolow Subject: BLUES GUITAR INSTRUCTION Comments: To: gjf5@pge.com A new instructional video is now available called ELECTRIC BLUES GUITAR...teaches improvisation, lead & backup, and classic songs like Stormy Monday & Killing Floor...with a tab book. For info on this & upcoming transcription books on Wolf, Jimmy Reed & Elmore James, (& other blues guitar stuff) Email your snailmail address...Fred S. ========================================================================= Date: Sun, 12 Nov 1995 03:05:35 -0500 Reply-To: BluesBeats@AOL.COM From: Joseph Jordan Subject: A Greeting from Alamo Square, San Francisco Comments: To: LGVW90A@prodigy.com Hello You Sweet Thing, I don't know if you're back from your tour, but I've missed talking with you. I've finally got myself a new computer at home and hooked myself up to the internet. I can't get enough of this stuff. I'm going to add you to my list I directly e-mail my Bay Area Blues Beat Column to if you don't mind. I mentioned you in my year end review of standout albums! Love and hugs my cyber-friend, Joseph I hope we keep in touch this way as well. ========================================================================= Date: Sun, 12 Nov 1995 03:07:14 PST Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: This silly Music Theory [insight] Comments: To: bhargrov@micron.net On Sun, 5 Nov 95 11:15 MST bhargrov@micron.net wrote: >Mike, > >Just a couple of comments on your response to me, which confirmed my >suspicion that we think a lot a like. You said: Ain't it so. :-) >>Playing the Blues scale a third down from the key you're in is useful in >>the Blues (however you can't play the complete Blues scale in such a >>case so it's not exactly a correct explanation - isn't that the same as >>playing the Major scale?). >You can play the whole blues scale a third down, at least I do. You're >right about one thing, though. Now that you mention it, I see that it is >pretty close to a major scale. (It's just a major scale with a flatted >third added and the fourth and major seventh taken out.) In fact, the >guy who taught me to solo on the sax this way calls it playing major >blues. A lot of old-time sax players play blues and jazz over this >scale, but I have no idea whether they think of it a blues scale a >third down. In any case, it does create that uptown, jazzy blues >sound, which you mentioned isn't to your taste. > >For what it's worth, >Bill H. Aha, insight! I think of the scale visually as a pattern on the fretboard as opposed to the notes and scale degrees. So, I move the pattern down 3 frets and play part of it and it sounds major to me, but, I can't play all of the notes I usually play in the pattern, so I call it "playing part of the Blues scale". I'm actually playing part of the major scale! This points out the usefulness of talking in the same 'language', which notation and knowledge of scale degrees allows. As a guitarist, the most we usually communicate between each other or the bass player is the chord names as roman numerals so we know the structure of the song. Mike - who's going to get himself a sax after he teaches the wife bass, so she won't get mad, 'cause he told her to learn the bass instead of the sax so he wouldn't have to listen to her practice. [ home work ] [ http://www.xnet.com/~msuffern/soundtravels.html ] [ The Blues&Travel Site, Blues Guides, Festivals, ] [ Eric Clapton @ Royal Albert Hall, London tour ] ------------------------------------------------- [ Above all, play what your heart tells you to... ] [ As you learn, your heart will have more to say. ] ========================================================================= Date: Sun, 12 Nov 1995 04:54:16 -0500 Reply-To: MacRockin@AOL.COM From: M McCracken Subject: New Alabama Blues Web Page I'm just letting those who might be interested know that I just put up a web page for a small independent label out of Birmingham, Alabama called Vent Records. I tried to make it informative. It's profiles of the artists and their CDs. Includes the Alabama Blues Showcase (has Jerry "Boogie" McCain on it)--half the proceeds from this one goes to the Alabama Blues Society, CDs by Little Whitt and Big Bo, Topper Price and The Upsetters, Little Jimmy Reed (we have lots of little people :-), and Mark Sallings and The Famous Unknowns' new one. Check it out... http://www.dbtech.net/ventblues Mike McCracken The Alabama Blues Project - trying to keep these blues alive in Alabama! ========================================================================= Date: Sun, 12 Nov 1995 11:01:15 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - November 12th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BOSWELL, VET (of THE BOSWELL SISTERS) d. 1988-1112, PEEKSKILL, NY 77 BUCKLEY, RICHARD "LORD" (:) d. 1960-1112, NEW YORK CITY, NY 54 CLAYTON, WILBUR "BUCK" (tpt/BASIE) b. 1911-1112, PARSONS, KS COLES, CHARLES "HONI" (of COLES & ATKINS) d. 1992-1112, EAST ELMHURST, NY 81 CREWE, BOB (prod/songw) b. 1936-1112, NORMANDY BEACH, NJ CURTIS, RUDY NASH(of RUDY & THE ROMANTICS)b. 1934-1112, AKRON, OH DAVIS, CHARLOTTE (of THE TUNE WEAVERS) b. 1936-1112, BOSTON, MA EASON, LEON (tpt) b. 1910-1112, RICH SQUARE, NC HAYES, JIMMY (of THE PERSUASIONS) b. 1943-1112, HOPEWELL, VA JACKSON, PRESTON (tbn) d. 1983-1112, BLYTHEVILLE, AR 81 JOHNSON, TERRY I. (of THE FLAMINGOS) b. 1935-1112, BALTIMORE, MD JONES, SAM (b) b. 1924-1112, JACKSONVILLE, FL SCHOLL, JERRY (of THE MELLO-KINGS) b. 1941-1112, MT. VERNON, NY SCHWALL, JIM (g/SIEGEL-SCHWALL BAND) b. 1942-1112, EVANSTON, IL SHUMAN, MORT (songw/POMUS & SHUMAN) b. 1938-1112, NEW YORK CITY, NY SILVA, MICHAEL (d) b. 1925-1112, NEW YORK CITY, NY TAVARES, ARTHUR "POOCH" (of THE TAVARES) b. 1949-1112, CAPE VERDE IS., WASHINGTON, JACKIE (g) b. 1919-1112, HAMILTON, ONTARIO WEBB, MELVIN (d/MARVIN GAYE) d. 1982-1112, LOS ANGELES, CA 34 WELLS, WILLIAM "DICKY" (tbn/BASIE) d. 1985-1112, HARLEM, NY 78 WHITE, BOOKER T. "BUKKA" (g) b. 1906-1112, HOUSTON, MS WHITE, ROBERT (g/MOTOWN REC) b. 1936-1112,nHARRISBURG, PA WILLIAMS, BERT (v) b. 1874-1112, NEW PROVIDENCE, NAS YOUNG, NEIL (:) b. 1945-1112, TORONTO, ONTARIO ------------------------------------------------------------------------------- ========================================================================= Date: Sun, 12 Nov 1995 11:09:34 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: A Greeting from Alamo Square, San Francisco Comments: To: BluesBeats@AOL.COM On 12 Nov 95, Joseph Jordan had this to say: > Hello You Sweet Thing, > ::::More stuff deleted:::: > Love and hugs my cyber-friend, > > Joseph > > I hope we keep in touch this way as well. > I hope we can stay in touch too, Bumpkins P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 12 Nov 1995 13:01:17 -0500 Reply-To: Richard Flohil From: Richard Flohil Roger Struve asked whether it's true that Sonny Terry and Brownie McGhee "didn't get along well at times" and one has to respond in the affirmtive. Stories of their off-stage relationship are numerous in the business, and anyone who knew them will have their favourites. Mine was when I got them a CBC Radio gig, and was told that one of them would have to be, on the contract, the leader of the duo, and would get extra money for this. Knowing that this would be unacceptable to both of them-they demanded, and usually got, equal (but very separate!) treatment-I finally negotiated the same fee for both of them; both were deemed "leaders" for the purpose of the show. It would be unfair to go into the great stories of their rivalry, jealousy, intransigence and occasional bloody-mindedness, but that tends to take away from how good they were on stage, and what a major role they played in introducing the blues to wider audiences. -Richard the Elder ========================================================================= Date: Sun, 12 Nov 1995 13:01:21 -0500 Reply-To: Richard Flohil From: Richard Flohil The indefegatible Eric LeBlanc, in his excellent post on the passing of music puboisher Leeds Levy, suggested that Meade Lux Lewis (or was it Albert Ammons? I just ditched the post by accident!) may have been the first black member of ASCAP. I hope no-one at ASCAP is keeping perfect count, but I think that various others would have preceeded the boogie-woogie pianist-including Eubie Blake, Andy Razaf, Fats Waller, Duke Ellington, Louis Armatrong...Cheers, Richard the Elder. ========================================================================= Date: Sun, 12 Nov 1995 13:01:24 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Riley B. King...Thief? When I first met B.B. King in '67 (I promoted his second Canadian appearance, at Massey Hall in Toronto-he'd appeared at the Grand Theatre in Kingston, Ont. 10 days before) I was much younger and a great deal more naive. So, I asked him, who's this guy J. Taub who helped you write Sweet Little Angel? Oh, said B, Taub ran the record company and that way he could cut himself in for half the writer's royalties. That's terrible, I said (unaware, of course, that Elvis Presley did the same thing!); King grinned and said, "Anyway, I took the song from an old Tampa Red record." In the years since (1970-1994) I've put in almost 25 years working for SOCAN (the Canadian equivalent of ASCAP and BMI), so I know more than I did...But Richard Shurman's right; it's rarely the artists themselves who provide the details. The rule still seems to be, get away with misappropriation (and self-serving publisher credits) if you can....Richard the Elder. ========================================================================= Date: Sun, 12 Nov 1995 17:55:44 GMT Reply-To: Dan Day From: Dan Day Organization: Sirius Connections Subject: Re: Harlem Nocturne Comments: To: bit-listserv-blues-l@uunet.uu.net Yes, the same Earle Hagen who wrote the theme to "The Andy Griffith Show", "The Mod Squad", "Gomer Pyle, U.S.M.C.", "I Spy", and "The Dick Van Dyke Show". Dan In article <9511071801.aa29451@admin.dis.on.ca>, Ian Angus wrote: > > > No version beats the original, by the composer, the incredibly great > > > Johnny Otis. ^^^^^^^^^^^^^^^ > > > > Funny, my version on the Otis double LP on Savoy says Earle H. Hagen... > > You are right, of course. I wrote the message without checking ... > somehow I've always thought Otis wrote it, since it was his first big > hit. Live and learn (and remember to check facts!) > > Ian Angus > "Built for comfort, not for speed" ========================================================================= Date: Sun, 12 Nov 1995 10:19:22 -0800 Reply-To: Mary Robin Whitney From: Mary Robin Whitney Thank you for your patience as I try to guide myself around the Internet and WWW. Have just signed on with netcom. Would love to read some of your humorous quotations. I write for a living, and also teach college composition, hence need all the good laughs I can find. Looking forward to hearing from you! Respond to robinink@ix.netcom.com. Thanks! ========================================================================= Date: Sun, 12 Nov 1995 14:23:57 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Re: ASCAP and African American songsters Comments: To: rflohil@inforamp.net In-Reply-To: from "Richard Flohil" at Nov 12, 95 01:01:21 pm In another time and place, Richard Flohil said: > > The indefegatible Eric LeBlanc, in his excellent post on the passing of > music puboisher Leeds Levy, suggested that Meade Lux Lewis (or was it > Albert Ammons? I just ditched the post by accident!) may have been the > first black member of ASCAP. I hope no-one at ASCAP is keeping perfect > count, but I think that various others would have preceeded the > boogie-woogie pianist-including Eubie Blake, Andy Razaf, Fats Waller, Duke > Ellington, Louis Armatrong...Cheers, Richard the Elder. Somehow i missed that post by eRIC or I would have corrected it. Besides all the fine people mentioned above, according to my research, the first black member of ASCAP would have been James Weldon Johnson. He was a charter member. In 1920 there were 10 black members of ASCAP. I don't know for sure who they were, but I bet you would have to include: Will Marion Cook James P Johnson Joe Jordan James Reese Europe Shelton Brooks Henry Creamer W.C. Handy Chris Smith or Cecil Mack Bert Williams Tom ----------------------------------------------------------------------------- My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Sun, 12 Nov 1995 19:47:41 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: (no subject given) Comments: To: bit-listserv-blues-l@uunet.uu.net In article Richard Flohil writes: >Subject: (no subject given) >Date: Sun, 12 Nov 1995 13:01:21 -0500 >From: Richard Flohil >The indefegatible Eric LeBlanc, in his excellent post on the passing of >music puboisher Leeds Levy, suggested that Meade Lux Lewis (or was it >Albert Ammons? I just ditched the post by accident!) may have been the >first black member of ASCAP. I hope no-one at ASCAP is keeping perfect >count, but I think that various others would have preceeded the >boogie-woogie pianist-including Eubie Blake, Andy Razaf, Fats Waller, Duke >Ellington, Louis Armatrong...Cheers, Richard the Elder. I don't know who was first, but the book "A Left Hand Like God" had an account of Lewis' attempt to get ASCAP membership. He applied for membership in 1941. Both Downbeat and Lewis' publisher Leeds Music Company took up his cause after denial of membership. Downbeat published stories criticizing ASCP in Oct 30, 1941 and January 1942. Lewis was basing his membership application on commercial hits (>500,000 sales) for "Yancey Special" and "Honky Tonk Train Blues". He had five other published works with Leeds. The adverse publicity caused ASCAP to grant membership. The reason for the initial denial was never given but felt due to either discrimination or the view by some at the time that boogie woogie was not " serious" music. Leeds music and Levy were leaders in the movement for equal treatment of black artists. Membership meant that Lewis had a permanent financial return from his copyrighted music. Art Schuna ========================================================================= Date: Sun, 12 Nov 1995 19:49:30 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Riley B. King...Thief? Comments: To: bit-listserv-blues-l@uunet.uu.net In article Richard Flohil writes: >and said, "Anyway, I took the song from an old Tampa Red record." In the When was Tampa Red's version of Sweet Black Angel recorded? Art Schuna ========================================================================= Date: Sun, 12 Nov 1995 20:43:28 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Re: LITTLE WALTER REISSUES!!! Comments: To: bit-listserv-blues-l@moderators.uu.net And not wishing to cause any offence to our chums at MCA (and sleevenote writer Mary Katherine) I make it 11 sides on the double set that are not on the 95 tracker issued by Charly in 1993 which makes this a must for Walter freaks. This figure will need to be double checked but, what the hell, the MCA set is excellent! Sound is superb, great photo's too and great alternates of Can't Hold Out Much Longer/Blues With A Feeling and a fine version of Drfitin' Blues!! US fans - if you didn't or couldn't get the box set should get your mits on this baby right away!! If anyone has already done a comparison with the box set let me know. Yeah, lazy ain't I? Tony ========================================================================= Date: Sun, 12 Nov 1995 17:11:56 -0500 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: Ari Eisinger It is always a pleasure to meet someone you only know as a name on a Blues-L post, but when they turn out to be a major talent as well, its even better! I went down to Novi, about an hour drive from Davison, Mi., where I live, to see an all acoustic performance featuring Detroit's Robert Jones, a delta style picker (and a friend of mine), and fellow Blues-l'er Ari Eisinger. Ari plays ragtime and blues from the twenties and thirties, in the style of Mississippi John Hurt, Blind Blake, Tampa Red etc., and though I have heard his CD, it did not prepare me for the experience of listening to and seeing him in person. The man is phenomenal. When you listen to his recording, you'd swear he has to have a couple of extra fingers there to play the way he does, but I can tell you, he has no more than anyone else. He just uses them better! He is a quiet and unassuming man, who lets his guitar express his love for the music he performs. A high point for me was the several Blind Lemon Jefferson pieces he did. I share his passion for Lemon's guitar skills, which, until some recent remasterings, was virtually lost in the production of the original 78's. My advise is, if you ever get a chance to see Mr. Eisinger perform, "RUN, don't walk"! You will not be sorry. I am pleased to count fellow Blues-l'er Ari Eisinger as a friend, and an artist whose skill I greatly admire. BLUZ! Bluzman Ed aka Ed Tremewan ========================================================================= Date: Sun, 12 Nov 1995 16:22:52 EST Reply-To: "Barry B. Bean" From: "Barry B. Bean" Subject: Re: Theory and stereotypes Comments: To: menelaos@charger.newhaven.edu On Sat, 11 Nov 1995 12:19:51 -0500 (EST) you wrote: >Like Barry I'm also dismayed at the stereotyping of blues and blues >performers in the theory thread. It reminds me of what in ethnomusicology >circles was called the "moldy fig" or "moldy leaf" approach to folk >musics. This reminds me of Big Bill Broonzy's definition of folk music. He said that to him it ALL was folk music, because, after all, he'd never heard a cow sing a song. BBB - B.B. Bean - Have horn. Will travel. ========================================================================= Date: Sun, 12 Nov 1995 14:43:00 -0800 Reply-To: Michael Hewitt From: Michael Hewitt Subject: Looking for Monterey, CA blues clubs I will be in Monterey for 4 nights this week. Anyone know of any blues clubs in the area? I will be staying at the Marriot, but I don't mind a short drive. TIA Mike Michael Hewitt mhewitt@telis.org Region 7 Telementor MDH1953@aol.com California Technology Project 209-667-5903 X34 Troutbusters - Modesto, CA Fax 209-667-7628 "Flyfishing for trout is the closest thing to Heaven on Earth." - M. Hewitt "Nobody loves me but my mother, and she could be jivin' too." _ B.B. King ========================================================================= Date: Sun, 12 Nov 1995 18:18:13 -0500 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: WFBE PLAYLIST I posted the Blue Highway playlist at about 1 AM this morning (11/12/95), as well as some personal e-mail. I did not get response, nor have I seen the playlist on Blues-l. I wonder if any of it has made it out there. It is now 6:45pm, 17 hours later. Has anyone seen it? Bluz! Bluzman Ed aka Ed Tremewan ========================================================================= Date: Sun, 12 Nov 1995 16:13:14 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Dr. Kenneth Goldstein has died I have just heard that scholar and folklorist Dr. Kenneth Goldstein passed away yesterday. His pioneering work in recording all kinds of traditional music, including blues, has been well documented over the years. Perhaps Eric L. will do one of his usual excellent tributes; no one deserves it more. Mary Katherine ========================================================================= Date: Sun, 12 Nov 1995 19:10:40 -0600 Reply-To: David Silberberg From: David Silberberg Subject: FAQ - Administrative THE BLUES-L FAQ LIST - ADMINISTRATIVE PORTION List Owner - Alan Rollins (blzlynx@nexus.polaris.net) Compiled by David Silberberg (davidis@interaccess.com Last modified October 12, 1995 CONTENTS: 1. What is this FAQ List 2. What is Blues-L 3. How to Receive Blues-L 4. To Subscribe, Unsubscribe, and Other Listserv Commands 5. The Newsgroup Mirror 1. What is this FAQ List? This is a list of Frequently Asked Questions to the Blues-L mailing list and newsgroup mirror. The purpose of this FAQ is to inform newcomers to our community, and to refresh the memories of long-time members, about various aspects of Blues-L, both in terms of administration (subscription information, listserv commands, guidelines, etc.) and content (controversies, definitions, etc.) Please read this FAQ before posting any messages to the newsgroup or mail list. 2. What is Blues-L? Blues-L is a mail list with a newsgroup mirror devoted to the discussion of the Blues in all of its forms - from predecessors of blues music to contemporary performers. Discussions have been very wide-ranging, branching into a variety of topics, but always should include a definite, direct connection to the Blues. Subscribers and contributors include professional musicians, producers, radio programmers, and authors as well as average, everyday lovers of the music. The mail list was created by Jake Haller at Brown University. The current list owner is Alan Rollins. If you should have any technical problems with receiving or posting to the list, and you require human intervention, send a message to blues-l-request@brownvm.brown.edu. Please explain your problem clearly, including the steps you have already taken to solve the problem. Currently, over 750 people (from countries all over the world) subscribe to the mail list, and countless others read the list through the newsgroup mirror. 3. How to receive Blues-L Blues-L can be read, and posted to, either by subscribing to the mail list (thus receiving the messages as e-mail) or by reading the newsgroup. Either way, you will be receiving all of the messages, and have the ability to post your responses / questions / opinions. You should choose your method based on your internet connection: some people find it easier to read e-mail messages, some find it easier to read newsgroups. This is a high-volume group: usually, 50 to 100 messages are posted each day. The choice is yours, but we strongly urge you to subscribe to the mail list: if you wish to receive the list through the newsgroup, you can set the mail list to NOMAIL (instructions are below). At some point, the owner may take the list "private", meaning that only subscribers (including NOMAIL) subscribers) to the mail list will be able to post. To post a message to the list through e-mail, send the message to blues-l@brownvm.brown.edu This is the list address. 4. To subscribe, unsubscribe, and other listserv commands The following commands should be sent to: listserv@brownvm.brown.edu. DO NOT SEND THEM TO THE LIST ADDRESS, which would cause you request to be sent to the entire list and newsgroup without causing the listserv to act on your command. The subject line should be blank, and the message content should be as follows: TO SUBSCRIBE: SUBSCRIBE BLUES-L TO UNSUBSCRIBE: SIGNOFF BLUES-L TO SET YOUR RECEIVING METHODS: The default method is to receive individual e-mail messages for each message sent to the list. The digest format sends you one e-mail message each day containing all of the messages sent to the list since the last day's digest. This is a long document. To set the list to digest format, send the command to listserv@brownvm.brown.edu, no subject, message: SET BLUES-L dig The index format sends you a daily index of messages sent to the list. The index contains the poster of the message, the subject line, and the size of the message. To set the list to index, send the command to listserv@brownvm.brown.edu, no subject, message: SET BLUES-L index To retrieve a particular message that you wish to read, you will have send send a message to blues-l-request@brownvm.brown.edu. When you set this option, the listserv will send you detailed instructions on how to use it. TO TEMPORARILY STOP MAIL FROM THE LIST FOR A FEW DAYS, WITHOUT UNSUBSCRIBING, or to subscribe to the list and read the newsgroup instead, send a message to listserv@brownvm.brown.edu, no subject, with the message: SET BLUES-L nomail To resume receiving mail, send the message: SET BLUES-L mail Please remember, any subscription request should be sent to listserv@brownvm.brown.edu. You will receive a complete list of listserv commands by sending a message to the listserv, with no subject, and the message: HELP. 5. The Newsgroup Due to the high volume on this list, and the fact that many subscribers prefer to receive newsgroups rather than e-mail, David Pimmel led the way in initiating a Blues-L Newsgroup. This newsgroup mirrors the activities of the Blues-L mail list. The address of the newsgroup is: bit.listserv.blues-l If you are a newsgroup reader, you have all of the privileges and responsibilities of mail-list subscribers: you get all messages, and may post to the newsgroup. All of your messages will be read by list subscribers and newsgroup readers. If you are posting through a newsreader, there is a chance that your message will not appear in the group. This is most likely due to an incorrect setting for the moderator in the news software. The correct address is blues-l@brownvm.brown.edu. Check with your local system administrator if this seems to be a problem. In the meantime, you can always contribute via direct e-mail to the above address. ========================================================================= Date: Sun, 12 Nov 1995 19:10:47 -0600 Reply-To: David Silberberg From: David Silberberg Subject: FAQ - Etiquette THE BLUES-L FAQ ETIQUETTE AND GUIDELINES PORTION List Owner - Alan Rollins (blzlynx@nexus.polaris.net) Compiled by David Silberberg (davidis@davidis@interaccess.com) Last Modified October 12, 1995 Any additions, suggestions, or corrections should be mailed to David Silberberg (davidis@interaccess.com) CONTENTS: 1. General Etiquette 2. Announcing Personal Appearances 3. Announcing National Act Appearances 4. Selling Stuff on Blues-L 5. Appropriate Blues-L Topics This is the etiquette and guidelines portion of the Blues-L FAQ. PLEASE READ IT BEFORE POSTING ANY MESSAGE TO THE LIST / NEWSGROUP. Blues-L is not censored in any way. All messages will be posted to the list. But this is a list devoted to discussion of the blues, and this is a community of blues-lovers and people interested in the form. Over 750 people, from all over the world, subscribe to the mail list; countless others read the newsgroup without subscribing. We you will follow these simple guidelines, so that Blues-L will be a happier, friendlier place to be. 1. General Etiquette A. Remember that PEOPLE will be reading your post. Not everyone will agree with your views, but they are people with valid opinions. Base your arguments on what has been said, not on who you think the sender is. Don't get personal - let your argument speak for itself. B. Mr. Pimmel has structured the list so that your mail readers / newsgroup readers automatic "reply" feature will address your response to the individual poster of the message. This is to remind us to think whether or not we wish to respond to the entire list (certainly completely appropriate if you think you comments will interest the entire list), or to the individual poster of the message you are responding to. C. Avoid posting "I agree" or "Great Post" or "Me Too" messages to the entire list. This is a waste of resources. If you wish to send this kind of message, please send it to the individual you are complementing. D. Avoid posting messages without any useful contents. This includes messages containing only snide remarks to a previous poster, etc. It also includes message where you say "Sorry, no blues content". If there is no blues content, do not send the message to the list. E. Commercial messages should not be posted to the list. (However, see below for guidelines concerning personal appearances by musicians who are members of the blues-l community.) F. If a topic (or musician, etc.) has been extensively discussed recently, hold off on bringing it (him / her) up again. Let another topic get some time on the list. G. Remember the distinction between posting to the list (where everyone sees it) and posting to an individual privately. Think about the universality of your message: if you think many (if not most) people on the list would find your message interesting and informative, please post it to the list. If your message would be of interest to only one or two people, send it to them privately. H. Please pay attention to your "subject line": make sure it accurately reflects the contents of your message. If you have changed the subject during your response to a previous post, please change your subject line. I. When responding to a previous post, it is acceptable - and often necessary - to quote a few lines from that previous post, to remind readers of what you are referring to. But quote only as much as is necessary to make clear what you are responding to. J. Above all, use common sense and consider the feelings of others. Treat others as you would wish them to treat you. We know that sounds like church - but it is good advice. 2. ANNOUNCING PERSONAL APPEARANCES It is appropriate to announce your personal appearances on the list, with certain restrictions. Many people on our list are interesting in seeing other members perform. However, frequent (weekly?) announcements that you will be playing in such and such places is going too far. Please remember, this is a global list: most people will not be able to swing by the corner pub for your Friday night set even if they want to. With that in mind: A. Perhaps you could post a message bi-monthly, introducing yourself, the style of music you play, and the general geographic area you play in. Request private responses from people who would be interesting in receiving your "gig list". These would most likely be people who would realistically be able to attend your performances, and would be the people you would most like to reach with your message. B. E-mail the information only to those people. C. If your situation changes, and you get some bookings in a new location, then please post this information to the entire list. 3. ANNOUNCING NATIONAL ACT APPEARANCES Announcing "national touring acts" is appropriate to the list, because it gives readers a way of seeing who is on the road and who will be appearing in their area. Of course, the list members would be interested in your attending such shows, and reviewing them on the list. 4. SELLING STUFF ON THE LIST Do not use the list to sell CD's, tapes, or other merchandise for profit. Doing so may be illegal, so DO NOT DO IT. 5. APPROPRIATE BLUES-L TOPICS This is an uncensored list. All messages will be posted to the list, so please adhere to these simple guidelines: Any topic relating to the blues - the music, performers, books, cultural aspects, history, technical music discussions, reviews, opinions, facts - if it relates to the blues, it is appropriate for Blues-L. This is a terrific list: many members have some kind of professional relationship to the music - musicians, producers, authors, radio programmers, etc. Someone here can answer almost any question you may have - and any information you may wish to transmit will be gratefully accepted by our community. But please - make sure your facts, opinions, and other comments relate to the blues. ========================================================================= Date: Sun, 12 Nov 1995 17:45:00 PST Reply-To: "D. ALLEN SIMPSON" From: "D. ALLEN SIMPSON" Subject: Blues this week on TV Tues, 11/14: Fab. T-birds - CBS This Morning Weds, 11/15: special on the St. Louis blues scene/music - ABC Good Morning America Thurs. 11/16: Al Green (not blues, but I thought I'd just add him in) - Tonight Show Weds, 11/22: Blues Traveller - Tonight Show Doug S. ========================================================================= Date: Mon, 13 Nov 1995 01:48:32 GMT Reply-To: Paul L Pearson From: Paul L Pearson Organization: Iowa State University, Ames, Iowa Subject: Duarte in Ames, IA-Hey Joe Mayes Comments: To: bit-listserv-blues-l@uunet.uu.net Chris Duarte will play at People's in Ames, IA on Dec. 9th, the day after my thesis defense. Cover is $10. Joe-do you still have contact with the Duarte group, or was that someone else? I'd like to get a message to John and Chris to see if they would like to get together before/after their show. x -- Paul L. "Pro" Pearson President, Kurt Rambis Fan Club (unofficial) Ames, IA Chapter ========================================================================= Date: Mon, 13 Nov 1995 02:23:36 GMT Reply-To: "Linda L." From: "Linda L." Organization: CSU, Sacramento Subject: Steve Miller Blues/Keyboard guy Comments: To: bit-listserv-blues-l@uunet.uu.net We saw Steve Miller and his blues band last night in SF and were much impressed with the keyboard player. We think his name is Joseph Wheaton (?). Does anybody know anything about him? Does he play in other bands normally, and does he have any disks out? BTW, the show was great. Kenny Neal warmed up and he was rip-roaring. Anybody who has seen him knows that he is a pleasure to watch. He so obviously loves what he is doing and is so full of energy and smiles and his eyes positively twinkle. He only played about 45 minutes, but he had the audience eating out of his hand from the first second. Steve Miller and his blues band played for over 3 hours, and did not disappoint. They played many blues favorites, and a few bluesy versions of Steve Miller songs. We did notice that Steve keeps a pretty tight reign (sp?) on the band. The sax player, keyboard guy, and Norton Bufffalo each got to take solos but it was all very closely orchestrated. (We got a glimpse of the play list and it not only listed the songs to be played, but how long each would last! i.e. 4 minutes, or whatever). And the the bass guy, rhythm guitar guy (Kenny Lee Lewis),and drummer did not get showcased at all. Also, Steve did virtually all the vocal work with only minimal backup, even tho several other band members wore headset microphones. Kinda weird, but a good show. Linda and Rob -- Linda L. sac62628@saclink.csus.edu ========================================================================= Date: Sun, 12 Nov 1995 23:03:29 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Re: Blues this week on TV Comments: To: "D. ALLEN SIMPSON" > Weds, 11/15: special on the St. Louis blues scene/music - ABC > Good Morning America They taped Renee Smith (a wonderful though not famous singer) Henry Townsend, Oliver Sain, Bennie Smith. Joel Slotnikoff . ========================================================================= Date: Sun, 12 Nov 1995 23:06:20 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Brint Anderson and Little Freddie King This weekend, I purchased a couple of excellent newly released CDs (and first recordings) from two New Orleans blues artists: Little Freddie King and Brint Anderson. The Little Freddie King (Freddie Martin) release was mentioned a few days ago by another blues-ler. Little Freddie is a rare treat for a blues musician from this city (he's originally from McComb, MS), in that he plays a country style of blues. This CD is on the Orleans label and is titled "Swamp Boogie." Little Freddy wrote 7 of the 12 songs on the CD. Liner Notes are by Jeff Hannusch. The Brint Anderson release, titled _Homage to Elmore_ is on the Tomato label. This is an exceptional tribute to Elmore James. Anderson's great affection for James is evident in his vocals, which sound remarkably like James'. The energy level is high throughout with some fine musicianship. Anderson plays a great slide guitar, and Smokey Greenwell deserves mention for his harp playing. Rick Allen plays all keyboards on this CD (coincidentally, he plays on Little Freddie's CD as well). Brint is originally from Natchez, Mississippi. He has lived and played in both Texas and Louisiana through the years. He lived and played for a time in Austin, I believe. For the past few years Anderson has lived in New Orleans and played guitar for George Porter, which he continues to do. But he now spends more time playing with his own band. I've seen Brint play with both Porter's band (Runnin' Partners) and his blues band. Porter's band is a funk and jazz oriented band. And Anderson's band plays a funkier flavored blues than is heard on this recording which is truer to the Elmore James originals. Although Anderson employs five hornplayers on this CD anchored by Brian Garber who also plays in the George Porter horn section. A few drawbacks on the Anderson CD: The recording level is too low. I'm not crazy about the liner notes on the CD, and the authors of the 17 songs on this CD are not credited. Most songs were written by Elmore James, but I believe several of those are collaborative efforts, and a few songs were written by others. Otherwise these are two great, highly recommended CDs. ========================================================================= Date: Mon, 13 Nov 1995 01:57:12 PST Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Dick Waterman Charms Chicago Comments: To: rob.hutten@acadiau.ca, "P.W. Fenton" , jinxblues@aol.com Comments: cc: msuffern@gr.com Noted blues-l'er and Mississippian Dick Waterman blew into Chicago for a few days and charmed the pants off of at least four Blues fans. Judith and I went over to Wrigleyville and got Dean and Kathy Haas (who go with us every year... drums for Jimmy Rogers... etc.) and trucked on down to Rosa's for the taping of a testimonial for/interview with the legendary Junior Wells. I found Dick over by Bob Koester (Delmark Records) and when we shook hands Dick grabbed me and gave me a big warm hug which I reciprocated. He came over to our table to meet everyone and when he heard that Dean played with Jimmy Rogers and Big Walter Horton, the topic switched to ways to make sure that Jimmy got the publishing royalties from the songs E.C. covered on "From The Cradle", instead of Jimmy's publishing company getting them all. Dick dragged Junior over and they hassled each other for a minute. Junior had on his light blue rhinestone embroidered jacket and a cream derby. Junior then went back to the table to fire his brother from the band (this would be the first of several layoffs his brother would suffer today). Several Blues drenched topics later, Junior's current manager came over and told Dick they were ready and we all settled down to 2 hours of delightful testimonials and suprising revelations. About halfway through, Tony came over and asked me to help him get on the web with his AOL browser, so, we went upstairs, past Mama Rosa, and sat down at his Mac. One reinstall later, we got it working and found out that the current version chokes on certain pages (like our Chicago Blues Guide page, is the AOL Mac web software sensitive to page length?) forcing a reboot. After two of those, I told Tony to e-mail me and we'd try to find a way around the problem. Back downstairs, taping was wrapping up and we invited Dick to dinner. His only requirement was that the meal include meat. We ended up at one of Chicago's typical German restaurants. While waiting for a table we could hear loud live polka music coming from the dining room. German Blues? This prompted Dick and I to ponder whether you have to be "from the Black Forest to play German Blues?" Even though we hadn't made reservations, we got to sit right smack in front of the band - I SAID RIGHT SMACK IN FRONT OF THE BAND! Thank goodness they took a few breaks during the meal, because we were there to eat and talk! Or, at least to listen... Dick has more stories than the kid who didn't want to eat his Malt 'O Meal. Everything from funny anecdotes, to sad mistreatment, tragedy, poignant lessons on life, and uplifting brotherhood. If the topic wasn't something to actively discuss, we were all mesmerized and delighted at his tales and transported back to the event by his characterizations of the parties involved. He would take on the demeanor, posture, and voice of the person he was imitating and almost startle you with the power and personality conveyed. When it was time for desert no one seemed able to pass up the strudel, visions of Bavarian confectionary perfection (phew!) should have appeared in cartoon balloons over every head. Well Judith was just going to have a bite of mine because she's had a bad stomach recently, when Dick joyously raised the question, "Who wants to split Cherries Jubillie?", as if he where a Knight of The Round Table making a most noble and glorious toast. Well, I could hardly resist his infectious enthusiasm, so I raised my standard high and shouted, "I shall!", with great love for my king and country. Dick thereupon told Judith that she'd have to have some with us instead of the strudel and ordered three spoons! This is all happening very fast. We all have full bellies and are feeling better than good from the great food and wonderful company. It is like being swept away in the passion of V.E. day. The Jubillie was served in a goblet and looked more like a sundae, which caused a few moments of confusion as we went back and forth with the waiter: "What's this?". "Z'at is't der [drowned out by the accordian].". "But what's this?". "Z'at is't der [drowned out by the accordian] you ordered.". "Yes, but we ordered Cherries Jubillie". "[Completely drowned out by the accordian]". "I guess it's Cherries Jubillie?". So, Dick passed Judith a spoon, grabbed one, took the first cherry, and passed the goblet to me. I took the second cherry and Dick, not having relenquished control of the goblet, slid it over to Judith and she took a bite. Dick continued to pass the damn thing back and forth in a giddy frenzy while we alternately gulped or commented on the fact that we'd "...never seen Cherries Jubillie made quite like this before.". Judith bowed out after the second round. When Dick finally gave up and passed it to me , alone, I was so high on life - well, let's just say it would have made a good episode of "Sisters" or a scene from "thirty something". It was a thoroughly enjoyable meal. The next thing I know Dick is looking at the receipt, which has his credit card attached to it. I asked him how much it was and he said, "No! I'm paying" and a terrible fight breaks out... but Dick overpowered me and won. ;-) The SOB must have snuck away from the table and given the waitress his credit card and told them to give him the receipt. We all headed over to Dean and Kathy's house and Dick got to see Dean's Cub'ie memorabilia and club line up clippings from the seventies. Dick regailed us with more great stories and we discussed that state of the Blues then and now. Judith and I took Dick back to the hotel and we traded Bonnie Raitt stories and talked about B.B. King and SRV (we passed the Cubby Bear where B.B. was doing two sold out shows). Dick helped Judith out of the back seat and got a big hug from both of us as we said our goodbyes. Dick Waterman is one of the warmest and happiest people I've ever met. In the world of the Blues, he's got a lot to be happy about. Mike [ home work ] [ http://www.xnet.com/~msuffern/soundtravels.html ] [ The Blues&Travel Site, Blues Guides, Festivals, ] [ Eric Clapton @ Royal Albert Hall, London tour ] ------------------------------------------------- [ Above all, play what your heart tells you to... ] [ As you learn, your heart will have more to say. ] ========================================================================= Date: Mon, 13 Nov 1995 00:47:51 -0800 Reply-To: bluesdj@HALCYON.COM From: Roberta Penn Subject: Re: Seattle Blues Playlist In-Reply-To: <199511130502.AAA06547@listserv.brown.edu> SEATTLE BLUES 11/12/95 SMOKEY WILSON HOWLIN' FOR MY DARLIN' BLIND PIG MUDDY WATERS LET THE GOOD TIMES ROLL MCA SOLOMON BURKE ALONG ABOUT MIDNIGHT BLK TOP LLOYD JONES I'LL BE LAUGHING AUDIOQ. BONNIE RAITT NEVER MAKE YR MOVE... CAP. JIMMY WITHERSPOON SWEET LOVIN' BABY FLARE G. LOVE/REBIRTH BRASS BYE BYE BABY OKEH KAREN CARROLL HELP ME DELMARK BLIND WILLIE JOHNSON GONNA NEED SOMEB. ON BOND YAZOO DR. JOHN DO YOU CALL THAT A BUDDY WB JAMES CARR THESE AIN'T RAINDROPS RAZOR & TIE BOBBY BLAND TWO STEPS FROM THE BLUES MALACO E.C. SCOTT I'VE GOT LOVE ON THE LINE BLD PIG. ROBERT WARD SOUL STROLL BLK TOP DAVID BREWER WOULDN'T TREAT A DOG LOCAL COLIN JAMES BAD HABITS WEA SISTA MONICA PRECIOUS LORD THUNDERBIRD MELVIN TAYLOR TALKIN' TO ANNA MAE EVID. JOAN ARMATRADING LOST THE LOVE RCA HOWARD ARMSTRONG SITTIN' ON TOP OF WORLD BLU.SUIT FAB. T-BIRDS HERE COMES THE NIGHT PRIVATE BOBBY BLAND DOUBLE TROUBLE MALACO BENNY LATIMORE KEEP THE HOMEFIRE BURN. RHINO ========================================================================= Date: Mon, 13 Nov 1995 04:59:50 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - November 13th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BARKER, BLUE LU (LOUISA DUPONT) (v) b. 1913-1113, NEW ORLEANS, LA BRIM, JOHN JR. (g) b. 1951-1113, CHICAGO, IL CALHOUN, EDDIE (b) b. 1921-1113, CLARKSDALE, MS DOVE, NAT (p/PHILLIP WALKER) b. 1939-1113, BRYAN, TX FOULGER, BYRON (of BLUES & RHYTHM MAG) b. 1943-1113, SUNDERLAND, UK HAMMOND, JOHN (g/hca) b. 1942-1113, NEW YORK CITY, NY HAWES, HAMPTON (p) b. 1928-1113, LOS ANGELES, CA KILLEN, BUDDY (prod/owner: DIAL REC) b. 1932-1113, FLORENCE, AL MANUEL, BOBBY (of BOOKET T. & MGs) b. 1945-1113, MEMPHIS, TN MCCLURE, BOBBY (v/CHESS REC) d. 1992-1113, LOS ANGELES, CA 50 MOTEN, BENNIE (p/BASIE) b. 1894-1113, KANSAS CITY, MO MUHAMMAD, IDRIS (LEO MORRIS) (d) b. 1939-1113, NEW ORLEANS, LA PALMER, SINGLETON (b/tpt/JIMMY FORREST) b. 1912-1113, ST. LOUIS, MO ROSSI, JOHN (of ROOMFUL OF BLUES) b. 1942-1113, PROVIDENCE, RI THOMAS, TIMMY (v) b. 1944-1113, EVANSVILLE, IN VICK, HAROLD E. (tsax) d. 1987-1113, MANHATTAN, NY 51 WASHBOARD SAM (ROBERT BROWN) (wbd) d. 1966-1113, CHICAGO, IL 56 WILLIAMS, LESTER (g) d. 1990-1113, HOUSTON, TX 60 Z, TONY (TONY ZAMAGNI) (o/TONE-COOL REC) b. 1952-1113, BOSTON, MA ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 13 Nov 1995 05:04:57 -0500 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: WFBE Blue Highway Playlist 11/11/95 Reposted 11/13/95 ============================================================= The theme for tonight was "MEMPHIS". Everything was by a Memphis artist, or on a Memphis Label, or made in Memphis, or had Memphis in its name, or in a couple of cases a really obscure connection. Anyway, its all because I am going to Memphis on a little vacation over Thanksgiving week, and this helps put me in the mood. I even found a jug band version of our exit theme. T'was fun!! =============================================================== WFBE Blue Highway Playlist, Nov. 11, 1995. With Guest Host Ed Tremewan Song Album Artist Label 9 to 10 PM Junkyard Dog You know I Like That Blind Mississippi Morris Ice House Old Jim Canans Memphis Blues 1928-35 Robert Wilkins Document Highway 61 Blues Memphis Jamboree Will Batts Yazoo I Will Turn Your Money Green In His Prime Furry Lewis Yazoo Beale Street Breakdown Early American Blues Classics Jed Davenport Yazoo Blues on The Prowl Nothin But The Blues Booker T. Laury Bullseye You Can Call On The Blues Call On The Blues Mark May& the Agitators Ice House How Blue Can You Get B B King Classic B B King Masters Sweet Little Angel Memphis Blue Caravan Vol2 Big Daddy Rucker Memphis Archives Memphis Yodel Memphis Town Jimmy Rodgers Memphis Archives Boogie Beat 'ditto Levi Seabury & His Band ditto Memphis Slim USA ditto Peter Chatmon/Matt Murphy ditto Memphis Blues Memphis Blues Memphis Slim Milan 10 to 11 pm Goin Down Slow The Toler Bros Toler Brothers Ice House Cadillac in The Swamp title track Smokehouse King Snake Love Like A Wave It Ain't Easy Radio Kings Ice House She's Gone Mean Old Frisco Arthur Crudup Charly Saddle My Pony The Chess Box Howlin Wolf Ches/MCA Cotton Crop Blues Sun Blues Collection James Cotton Rhino I'm Gonna Murder My Baby Sun Blue Collection Pat Hare Rhino Mr Crump 45 rpm Hammie Nixon/Van Hunt Jug Band Records Its A Good Place To Go 45 rpm Hammie Nixon High water Records Tappin Tha t Thing/ Dudloe Joe 45 Rpm Van Hunt/Hammie Nixon Jug Band Records Bottle Up And Go 45 rpm Hammie Nixon High Water Records Can I DO That For You Kansas Joe Vol 1 Kansas Joe/Memphis Minnie Earl Archives 11pm to midnight Beale Street Mama title track Bessie Smith Charly Classic Black Mary Testament Sampler Ruby Jackson Testament Where Is My Good Man At Early American Blues Classics Memphis Minnie Yazoo Coldest Stuff In Town Memphis Country Blues Vol 2 Hattie Hart Memphis Archives Tupelo Jammed Together King/Cropper/Staples Stax Remember Me title track Rev. Robert Wilkins Genes Bad Girl Blues Introducing... Memphis Willie B Prestigeville Milk Cow Blues Legend of Sleepy John Estes Delmark I'll Drink Your Bathwater, Baby Ollie Nightingale Ollie Nightingale Ecko I Wanna Tell You About the Blues Sad Street Bobby Blue Bland Malaco Beale Street Tonight You Know I Like That Blind Mississippi Morris Ice House Furry Lewis Blues Memphis Blue Caravan Vol 2 Furry Lewis Memphis Archives Juke Box Boogie Country Clown Sun Harmonica Classics Doctor Isaiah Ross Rounder I Aint Superstitious Chess Box Howlin Wolf Chess/mca Cow Cow Blues (Exit theme) Memphis Harp And Jug Blowers Jed Davenport jug band RST Records =============================================================== BLUZ! Bluzman Ed aka Ed Tremewan ========================================================================= Date: Mon, 13 Nov 1995 05:23:06 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Blues Releases from the New Releases List A couple of weeks ago, I said I'd review the weekly new releases list and post items that show up that might be of interest to blues-L. Not a lot of blues. Of interest to *ANYONE* interested in either guitar playing (period) or American music (period) is the Doc Watson Vanguard Years box. Doc Watson is one of the greatest acoustic guitarists America has ever produced. He is a genuine treasure. I am very excited about this box, and would recommend that bluesellers check out Doc Watson if they haven't already. There's some action on the list related to the R&R hall of fame-- a Shirelles Greatest Hits (didn't they just get in?), and a 'various' called "Rock And Roll Hall Of Fame." Its not listed as a reissue, and the new releases list did not say what label, so I have no idea what exactly it is. I don't know what "Global Gumbo" is, either. A couple of disclaimers: I AM NOT SAYING this is or isn't blues; I'm not excluding anything on a "that's not blues theory." If I think someone around here might be interested, I included it. Do ya'll want me to keep this up? I haven't had much feedback, but would be glad to post every couple of weeks. Let me know. r 11/14 Doc Watson The Vanguard Years 1963-71 r 11/21 The Shirelles Greatest Hits 11/21 Various Artists Rock & Roll Hall of Fame R 11/21 Various Artists Billboard R&B 1985 R 11/21 Various Artists Billboard R&B 1986 R 11/21 Various Artists Billboard R&B 1987 R 11/21 Various Artists Billboard R&B 1988 R 11/21 Various Artists Billboard R&B 1989 R 11/21 Various Artists Global Gumbo r 12/05 Wilson Pickett I'm In Love r 12/05 Wilson Pickett Pickett in Philadelphia Non blues-L but may be interesting to folks out there (like Dick Waterman, perhaps?): February release for a new Van Morrison, How Long Has This Been Going On? on Verve (Polygram Jazz). Tom Freeland ========================================================================= Date: Mon, 13 Nov 1995 11:38:42 GMT Reply-To: Tommy Jansson From: Tommy Jansson Organization: Uppsala university Subject: Re: Dawkins Comments: To: bit-listserv-blues-l@uunet.uu.net What albums has Jimmy Dawkins done? A short and simple question! ========================================================================= Date: Mon, 13 Nov 1995 13:24:32 +0100 Reply-To: BIBGA@HHS.SE From: BIBGA@HHS.SE Subject: MCM and Storyville CD reissues --Boundary (ID bxnb6CEGWLHg1CQDHhNBKQ) Content-type: TEXT/PLAIN; CHARSET=US-ASCII A countryman of mine posted in last week asking for information on the MCM label after having bought some reissues on the Danish Storyville label. As I haven't seen any response to this on the list, I felt obliged to reply. Hopefully this will also be of interest to you Chicago blues fans over there, even if the records might be hard to find. Gorgen Antonsson, Stockholm MCM was a French label, run by Marcelle Morgantini, and active 1975-1979. Their recording policy was simple; to set up a their microphones in a Chicago club (with or without an audience) and record whatever talent they could get. The musicians were usually given free hands as to what to play and how. The idea was to capture the atmosphere of the small club, but it also meant an abundance of worn standards, often in too longwinded versions. The covers were amateurish, and the short notes were translated into "Hercule Poirot-style broken English", to quote Geoff Hatherick's Blues Unlimited review of the first LP. I haven't heard but a few of the LPs myself, but I hope that some quotations from Blues unlimited and Living blues will give an idea of the worth of the recordings. In all likelihood, Storyville will issue more MCM recordings. MCM LP's: MCM 900.290 [LP] Jimmy Dawkins: I want to know ["... the overall quality of the LP, which, despite the lack of new material, is recommended not only as good music but also as an important document of the blues as it is played for Black club-goers on the West Side." BU 123 (1977), p. 33. "... starts the series off with its best single performance, perhaps one of Jimmy's best on record, too: 'I Want To Know' ... The rest of the album, while not bad, unfortunately fails to keep the same high level." LB, no 31 (1977), p. 38] MCM 900.291 [LP] Willie James Lyons & Willie Kent: Ghetto ["... fail miserably. ... Nowhere is any excitement generated at all." BU 124 (1977), p. 32. "This album should not be missed." LB, no 31 (1977), p. 38] MCM 900.292 [LP] Bobby King: Chaser ["... an album that's not all bad but could have been so much better with a little reharsal ..." BU 124 (1977), p. 30. "Although Bobby King's plainly a talented singer and guitarist, his album is less satisfying. This is largely due to the choice of material, but also has to do with excessive mannerisms, especially vocally." LB, no 31 (1977), p. 38] MCM 900.293 [LP] The Aces: The Aces with their guests Bobby King, Joe Carter and Johnny Drummer [" Even the use of five different singers cannot alleviate the dullness which has become this group's trademark." LB, no 31 (1977), p. 39 MCM 900.294 [LP] Jimmy Johnson & Luther Johnson Jr: Ma Bea's rock. ["... not at all bad ... 'Ma Bea's Rock' ... one of those unexciting instrumentals which you are bound to hear in the clubs." BU 122 (1977), p. 27. "... these are two Johnsons who definitely should record again." LB, no 31 (1977), p. 39] MCM 900.295 [LP] Jimmy Dawkins: Come back baby ["... compares favorably to Dawkins' studio work." LB, no 39 (1978), p. 51] MCM 900.296 [LP] Eddie Clearwater: Black night ["MCM's programming and material problems are most acute here, too, so although Eddie has some fine moments his talent is, overall, shortchanged, the moreso in that Jimmy Dawkins takes the lion's share of the lead guitar work." LB, no 45/46 (1980), p. 76] MCM 900.297 [LP] Andrew "Big Voice" Odom: Going to California ["Odom shouts and strains his way through this entire album, and the lack of contrast in his vocals eventually becomes grating. ... Big Voice Odom has made more appealing records than this one ..." LB, no 39 (1978), p. 51] MCM 900.298 [LP] Magic Slim: Born on a bad sign ["All in all, a very satisfying album, in fact the best of this series ..." BU 135/136 (1979), p. 49-50. "... this set is definitely one of MCM's best. Trouble is, it's not Slim at HIS best." LB, no 45/46 (1980), p. 76] MCM 900.299 [LP] Hip Linkchain: I am on my way ["Like Magic Slim, Lankchan has limited vocal tools, and his work here, although forceful, tends to be harsh and one-dimensional." LB, no 45/46 (1980), p. 76] MCM 900.300 [LP] John Littlejohn: Dream ["... here we have one of the very best recent albums of 'live' Chicago blues." BU 137/138 (1980), p. 47. "Littlejohn's set consists almost entirely of songs he has recorded before, some under different titles ... Not surprisingly, the earlier versions are generally superior, but this is by no means a bad set." LB, no 44 (1979), p. 43] MCM 900.301 [LP] Andrew "Blueblood" McMahon: Go get my baby ["A sad affair ..." BU 139 (1980), p. 52. "... a disaster." LB 44 (1979), p. 43] MCM 900.302 [LP] Jimmy Johnson: Tobacco road ["... quite a bit better [than 900.303], mostly because Johnson possesses exceptional musical individuality ... an adequate if not breath-taking LP ..." LB, no 54 (1982), p. 40) MCM 900.303 [LP] Big Mojo Elem: Mojo boogie ["... a dull and undistinguished album which proves that not all bluesmen can manifest individuality or even energy in the informal, record-whatever-happens approach of this and other import labels." LB, no 54 (1982), p. 40] MCM 900.304 [LP] Magic Slim: Let me love you MCM 900.305 [LP] Eddie Clearwater, Fred Below, Eddie Taylor MCM 900.306 [LP] Chicago blues nights vol. 1 [anthology]: Jimmy Dawkins, Jimmy Johnson, Hip Linkchain, John Littlejohn, Eddie Taylor Storyville reissues: Storyville STCD 8032 Chicago blues nights vol. 1 [anthology]: Jimmy Dawkins, Jimmy Johnson, Hip Linkchain, John Littlejohn, Alabama Jr. Pettis, Eddie Taylor Storyville STCD 8033 Magic Slim: Vol. 1: born on a bad sign Storyville STCD 8034 John Littlejohn: Dream Storyville STCD 8035 Jimmy Dawkins: Come back baby --Boundary (ID bxnb6CEGWLHg1CQDHhNBKQ)-- ========================================================================= Date: Mon, 13 Nov 1995 08:27:22 -0500 Reply-To: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM From: Jim Smith Subject: Re: Roy Bookbinder reference? Comments: To: mfarn@FIBUSA.COM In-Reply-To: <30A45A81@ipnovell.fibusa.com> The "Jorma" Roy was refering to is Jorma Kaukonen of Jefferson Airplane and Hot Tuna fame. Jorma has been hot on the college circuit playing fingerstyle blues since his rellease with Jack Cassidy as Hot Tuna in the late 60's early 70's. Jorma like Roy is particularly fond of Rev Gary Davis and does some nice interpretations of Rev Davis' work. For Jorma at his best check out the self-titled first Hot Tuna album, Jorma's 1st solo release "Quah" or a newly remastered "Magic Two". Jim Smith ========================================================================= Date: Mon, 13 Nov 1995 09:02:29 EST Reply-To: rossc@BEN.NET From: Ross Cockfield Organization: Black Electronic Network Subject: Looking for events The Black Electronic Network is seeking to establish an Events Calendar for educational, social and political events in the African American communities and beyond. We are specifically looking to post notices of Kwanzaa celebrations, and events up through African History Month. We would appreciate your help and support by sending your notices of "what's happenin" to the following address: events@ben.net Our Web site is planned for completion by the mid December. Look for us at http://www.ben.net Peace... ========================================================================= Date: Mon, 13 Nov 1995 08:57:26 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: New Stuff On My Website Just a little shameless self promotion. There are several new ".wav" music samples on my web page. I'd love everyone to visit and check them out if you have those capabilities. A related request - Can someone send me the correct author/publisher credits for "Sell My Monkey"? That's the only one that's not my own, and I forgot to look it up before leaving home this A.M. The web page address is in the signature below... P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 13 Nov 1995 09:16:47 -0600 Reply-To: Roger Struve From: Roger Struve Subject: John Hammond -Forwarded HAPPY BIRTHDAY to John Paul Hammond! You know, every once in a while, something they call a Significant Emotional Event (SEE) happens to you. You all know what i'm talking about, something you see or hear or experience that changes you forever! Well, for me, one of the most Major SEE's happened to me in 1968, when a poet friend on the West Bank in Minneapolis turned me on to an album simply called John Hammond. I've never been the same since! I've listened to absolutely everything that this fabulous musician has recorded. Own every LP, a few of the CD's that were reissued, and all the new CD's. (For your convenience, attached is a complete discography that Margot from the Rosebud Agency (they represent John Hammond) sent me at my request.) She also sent me an itinerary, but for some reason, it didn't translate right on my Groupwise, and appeared as gibberish, so i didn't send it along with this. What amazes me most about John Hammond, is that he "does it all"....he sings, he blows straight harp (on a rack yet), he does percussion (keeping time with his boot), and plays guitar, both regular fingerstyle, and slide. The complete package is incredible. John said once that it's very hard work to get to that point....it's like three different people accompanying himself as he sings! But watching him on stage, he makes it look simple! Some people have noticed that my list of blues people that i like is rather short. Well, there is a simple explanation for this. When you've heard the BEST, nothing else quite does it for you! How many times over the years i've been listening to something that John did, and thought to myself, damn, it must be a great feeling to be able to do that. Music to me fills a void in communication that words alone can't begin to approach. The feeling that John puts into his music comes straight from his heart. If you listen, you'll know it's true. There is incredible power, intensity, truth, and love coming from John in his music. It's interesting that on the Lonesome Pine Special which starred John Hammond appearing with Robert Lockwood, Jr., they were interviewing John Hammond, and he said what a thrill it was to meet Robert Lockwood, Jr. He had listened to the man's music for years, and grown to love him from the music., and now he finally got to meet him! This explains exactly how i felt when i finally met John Hammond. The first time i approached John Hammond, i was quite intimidated. It was in 1978, and he had just played his second set in the Whole Coffeehouse, located in the sub-sub-sub basement of the Coffman Student Union building at the University of Minnesota. It was an incredibly cold January night (-33 F). About 40 stalwart souls ventuired out that night to hear John Hammond. It was, without a doubt one of the most special performances i've ever witnessed. He played out his soul right there on stage for our little group. Call it youthful enthusiasm, coupled with an intense awe and respect for this man, that caused me to run out after him as he was leaving the stage. I just had to communicate to him somehow how meaningful his music was to me. He just kind of looked at me funny (my wife was with me, and he looked at her when i told him i listened to his music virtually every day...and she nodded, yes he does!). I felt kind of foolish being so enraptured by someone, and didn't want to appear "uncool". It was quite sometime before i summoned up the courage to approach him again. How foolish i really was. John Hammond, is one of the most polite, courteous, gentle people that you could ever want to meet. When i had inherited my "share" of the peace dividend, in the form of a cost savings for the company i was working for at the time (read: laid off), it had been almost a year since i had any work. I was understandably a little depressed, so a friend and I decided to drive down from Minneapolis to Greenwood Mississippi for the !st Annual Mississippi Crossroads Blues Festival to kind of take our minds off of our troubles in finding work. Somehow, i was lucky and wrangled a staff pass from one of the director's of the festival, and this allowed me access behind the "fence" where the musicians and friends and family were hanging out. Of a sudden, there he was, John Hammond. I kind of stood there watching him as he talked to someone, and when he was finished i said hello. Since i had just started playing my own National guitar, i was quite eager to play John's, and managed to squeek out how pleased i would be at this opportunity. He looked up at me, looked down at the National, picked it up, gave it a quick tune (thank god it was in Open A--the only key i knew how to play in!), and i sat there on this amp case shoulder to shoulder with John Hammond playing "his guitar" in Greenwood Mississippi....arguably the epicenter of the beginning of the delta blues. Need i mention, that this was another of those Significant Emotional Events. The next time i saw John was when our little entourage ducked into the Korean Restaurant next to the Cedar Culural Center (it was a very cold February 3rd....and we didn't feel like standing in front of the CCC door waiting for it to open), and "oh my god", there was John Hammond and his lovely wife eating! I didn't know whether to say hi or respect his privacy....but somewhere in the back of my mind, i remembered a musician telling me the worst time to try to talk to a musician is when they're just about ready to go on stage...so i choose the latter course of action, and sat down at an empty table and tried hard to imagine he wasn't sitting there! Later, after his show, we waited in line to talk with him, and the wife had sewn a guitar sleeve (elastic at both ends---for wearing when you have a short sleeve shirt on, and don't want to sweat on your Martin), and i had prepared a list of anecdotes sent in by all of you fellow bluesellers to give to him! He seemed genuinely touched by some of the memories that you all had sent in! Well, John is coming to the Cedar Cultural Center again on February 11. You just know I will be there! (BTW, not mentioned on the attached discography, is John's newest CD to be released in January, called Found True Love. It is coproduced by Duke Robiillard, and he and his band play on some of it.) Received: from medtron.medtronic.COM by mspeos.cis.corp.medtronic.COM (5.x/SMI-SVR4) id AA28857; Thu, 9 Nov 1995 12:23:32 -0600 Received: from uunet.UUCP by medtron.medtronic.COM with UUCP id AA15465 (5.65c/IDA-1.4.4 for roger.lew.struve); Thu, 9 Nov 1995 12:28:01 -0600 Received: from mail02.mail.aol.com by relay2.UU.NET with SMTP id QQzpdh07303; Thu, 9 Nov 1995 13:23:32 -0500 (EST) From: ROSEBUDUS@aol.com Received: by mail02.mail.aol.com (8.6.12/8.6.12) id NAA12917 for roger.lew.struve@medtronic.com; Thu, 9 Nov 1995 13:23:21 -0500 Date: Thu, 9 Nov 1995 13:23:21 -0500 Message-Id: <951109132320_4332187@mail02.mail.aol.com> To: roger.lew.struve@medtronic.com Subject: John Hammond Mime-Version: 1.0 Content-Type: multipart/mixed; boundary="PART.BOUNDARY.0.13118.mail02.mail.aol.com.815941400" --PART.BOUNDARY.0.13118.mail02.mail.aol.com.815941400 Content-ID: <0_13118_815941400@mail02.mail.aol.com.73747> Content-type: text/plain Dear Delta Doc Roger: Thanks for your message regarding John Hammond. Attached is the discography which we are currently using with John's publicity materials. Please note that it does not include guest appearances on other artists' albums. And at this time we do not have a formal listing of John's television appearances. We hope to undertake both of these projects in the near future, but doubt that we will have anything ready in time for John's birthday. Hope that the attached is helpful...we look forward to seeing it posted on Blues-L. --Margot Nassau The Rosebud Agency --PART.BOUNDARY.0.13118.mail02.mail.aol.com.815941400 Content-ID: <0_13118_815941400@mail02.mail.aol.com.73748> Content-type: text/plain; name="JHammond Discography" Content-Transfer-Encoding: quoted-printable JOHN HAMMOND For more than 30 years John Hammond has dedicated himself to the traditio= n of the solo blues artist, perfecting a style that existed long before h= is birth and stamping it with his own intense vision. As indicated below= , John has influenced and been supported by some of the most important ar= tists in American music. DISCOGRAPHY 1962 John Hammond Vanguard VSD 2148 1964 Big City Blues Vanguard VSD 79153 1964 Blues At Newport Vanguard VSD 79145 Compilation LP with Sonny Terry & Brownie McGhee, Mississippi John Hurt,= John Lee Hooker, Rev. Gary Davis, Dave Van Ronk 1964 Country Blues Vanguard VSD 79198 1965 So Many Roads Vanguard VSD 79178 Backed by Robbie Robertson, Garth Hudson and Levon Helm (The Band), Char= lie Musselwhite and Michael Bloomfield (on piano!) 1967 Mirrors Vanguard VRS 9245 = Backed by the same band as on So Many Roads 1967 I Can Tell Atlantic SD 8152 With guests Bill Wyman (Rolling Stones), Charlie Otis (Ray Charles, Fats= Domino), Robbie Robertson and Rick Danko (The Band) 1968 Sooner Or Later Atlantic SD 8206 1969 Encore Spivey LP 1009 Compilation LP with Willie Dixon, Koko Taylor, Memphis Slim, Victoria Sp= ivey and others 1969 Southern Fried Atlantic SD 8251 With guest Duane Allman (guitar on selected cuts) 1970 The Best Of John Hammond Vanguard VSD 11/12 1970 Source Point Columbia C30458 1970 Kings & The Queen Spivey LP 1014 Compilation LP with Bob Dylan and others, featuring a duet with Roosevel= t Sykes 1971 Dustin Hoffman as Little Big Man Original Soundtrack Columbia S30545= All music composed and performed by Hammond = 1971 The All Star World Of Spivey Records Spivey Compilation LP with Sunnyland Slim, Johnny Shines and others 1972 I'm Satisfied Columbia KC 31318 Produced by Delaney Bramlett (over) JOHN HAMMOND DISCOGRAPHY (continued) 1973 Triumvirate Columbia KC 32172 With Dr. John and Michael Bloomfield; backed by Blue Mitchell (trumpet),= Chris Ethridge (bass) and others 1975 Can't Beat The Kid Capricorn CP 0153 With Spooner Oldham, Eddie Hinton, Kenny Buttrey, Tommy Cogbill and Roge= r Hawkins 1976 John Hammond Solo Vanguard VSD 79380 1978 Footwork Vanguard VSD 79400 With guest Roosevelt Sykes on piano 1979 Hot Tracks Vanguard VSD 799424 Backed by The Nighthawks 1980 Mileage Rounder 3042 1982 Frogs For Snakes Rounder 3060 1983 John Hammond Live Rounder 3074 1984 Spoonful Edsel ED 129 English compilation LP from I Can Tell and Southern Fried LPs 1984 John Hammond Live In Greece (Greece) Lyra CP-93 1984 Blues Explosion Atlantic 80149-1 Compilation LP from the Montreux Jazz Festival with *1985 Grammy Award = Winner = Stevie Ray Vaughan, Koko Taylor, J.B. Hutto, Sugar Blue and Luther "Guit= ar Junior" Johnson 1987 John Hammond Rounder 11532 Reissue of Mileage (1980) and Frogs For Snakes (1982) on one CD = 1988 Nobody But You Flying Fish 502 1992 I Can Tell Atlantic 82369 Reissue of 1967 album plus 4 songs featuring Duane Allman from 1969=D5s = Southern Fried = 1992 Got Love If You Want It Pointblank/Charisma 92146 Produced by J.J. Cale with guests Cale, John Lee Hooker, Little Charlie = And The Nightcats = 1993 You Can=D5t Judge A Book By The Cover Vanguard 79472 Collection of John=D5s electric guitar work on Vanguard Records, with Ch= arlie Musselwhite, members of The Band, Mike Bloomfield, Duane Allman, Sp= ooner Oldham and others. 1993 Trouble No More Pointblank/Virgin 88257 Co-produced by J.J. Cale with guests Charles Brown and Roy Rogers = --PART.BOUNDARY.0.13118.mail02.mail.aol.com.815941400-- ========================================================================= Date: Mon, 13 Nov 1995 09:41:17 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Blues Books Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com Folklorist Barry Pearson wrote a great book called "Sounds So Good to Me." It is a book about blues from the artists' point of view and in the artists' own words. He also wrote a book anout John Jackson and and Archie Edwards. I forget the title of that one but it's a great book for anyone interested in Piedmont blues. ========================================================================= Date: Mon, 13 Nov 1995 08:24:57 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: LITTLE WALTER REISSUES!!! Comments: To: Tony Burke In-Reply-To: <816209008.4517@bluestb.demon.co.uk> Another argument in favor of getting "Blues With A Feeling" even if you have the Charly box, in addition to the "new" tracks on BWAF, is that many of the tracks on the Charly box were dubbed from three poorly mastered and pressed bootleg LPs, but on BWAF and The Essential) they come from masters. ========================================================================= Date: Mon, 13 Nov 1995 10:04:12 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Rory Block Concert Review Went to the Cedar Cultural Center Friday night, and saw Rory Block for the first time live. What an incredible performer. She develops a rapport with the audience, and as a matter of fact, ol delta doc was in the front row, and we carried on quite a conversation during the show. She was asking for suggestions on what to play, and i suggested 6 different songs over the course of the two sets. SHE PLAYED EVERY ONE OF THEM....and two of them turned out to be her personal favorites (Moon going down--Charlie Patton, and Future Blues---don't remember)! At the end of the show, as she was taking her bows, she walked up to the edge of the stage, and spoke directly to me, and thanked me for everything. She reached out her hand, and i jumped up and shook her hand right there in front of the whole audience. Was i feeling good or what! After the show, i went up and introduced myself, and told her what a marvelous concert it was (it really was), and ol delta doc got one huge warm wonderful hug from Rory Block! I gave her my card, and she said she was going to keep an eye out for me....don't really know what that means, but i'll be watchin' too! I've seen Rory on Austin City Limits, and on four of the Homespun Videos. Her performances on the tapes are pretty great. But wow, what a difference live....she comes across with a heart just full of love....and perhaps too, i think she really enjoyed the crowd that night. She dedicates songs to her old friends, some of which are deceased. It brought tears to my eyes, when she talked about her friend, i think it was Wendy, who had died from breast cancer 10 years ago. She also talked about a guy with AIDS whose last wish was to see her live, and she saw him at her show in his wheel chair. She said you could tell he wasn't doing so well. Shortly afterward, she got a letter saying he had passed on, but that the memory of her concert was a wonderful one for him. Well, i hope i am not on death's doorstep yet, but this was a wonderful memory for me too. Funny, but this is the second blues woman i've met, Mary Flowers was the other, and i got a hug from both of them! I guess people in the blues just recognize each other right from the start or something. Regards, delta doc roger PS: Does anyone know how to reach Rory Block--her agent or something? ========================================================================= Date: Mon, 13 Nov 1995 10:12:34 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: R.L. Burnside at The Bottom Line R.L. Burnside will be playing at The Bottom Line in NYC on Wednesday night. And for Blues-Lers in upstate central NY, he'll be at the Dinosaur BBQ in Syracuse on Tuesday night. Not affiliated; just a big fan. Dave ========================================================================= Date: Mon, 13 Nov 1995 08:48:34 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: D.L. Menard in Hospital Sad news: Bay Area musician Suzy Thompson just posted a note to the Cajun newsgroup that Cajun music legend D.L. Menard (writer of "The Back Door" and other Cajun standards) has suffered a heart attack and is in hospital in intensive care. I'm sure some blues-lers are also Cajun music fans (I know two for sure, myself and Tom Freeland) so thought I would pass this along. Suzy is trying to get more info (name of hospital to send cards, etc.) If she does I will pass it on to anyone interested. Mary Katherine ========================================================================= Date: Mon, 13 Nov 1995 11:50:10 -0500 Reply-To: Elise Lebordais From: Elise Lebordais Subject: Illustrations I'm making publicity pamphlets for the Blues Club in Trois-Riviere (Quebec) and I need some illustrations of drawings portraying some musiciens or instruments relating to this subject. Il possible, could someone send me some drawings or from whom I could get them. Thanx, looking forward to learning from you. Elise Elise_Lebordais@uqtr.uquebec.ca ========================================================================= Date: Mon, 13 Nov 1995 17:01:17 GMT Reply-To: JOHN BARR From: JOHN BARR Organization: MIT PLASMA FUSION CENTER Subject: Who is Ali Farka Toure? Comments: To: bit-listserv-blues-l@uunet.uu.net I'm a stranger to the blues so cut me some slack if the question is too lowbrow. There is a cut titled "Albine" on a soundtrack to the movie Equinox. It's the first Toure I've heard and no other information is given. Can someone tell me what album it is from and if it is typical of his style? Thanks for any information. John Barr barr@hslc.org ========================================================================= Date: Mon, 13 Nov 1995 18:27:58 GMT Reply-To: Michael Twomey From: Michael Twomey Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: Illustrations Elise Lebordais (Elise_Lebordais@UQTR.UQUEBEC.CA) wrote: : I'm making publicity pamphlets for the Blues Club in Trois-Riviere (Quebec) : and I need some illustrations of drawings portraying some musiciens or : instruments relating to this subject. You might try sending a post like this to alt.binaries.clipart. I would reccomend being more specific about what you want, the people there are very helpful and very into clipart. Mike ========================================================================= Date: Mon, 13 Nov 1995 10:59:55 -0800 Reply-To: chris@SPARKIE.OSL.STATE.OR.US From: Chris Adams Subject: Guy Davis Guy Davis is giving everybody the blues. With Keb' Mo,' and a handful of others, he stands at the forefront of an acoustic blues revival, reclaiming a rich cultural legacy. Whether reinterpreting the poetry and music of masters like Blind Willie McTell, Robert Johnson, and the Reverend Gary Davis, or adding his own powerful compositions to the blues repertoire, Guy has dedicated his career to preserving and passing on the blues. His live shows are spectacular--he plays down and dirty, hard driving, Delta, Slide and Stride guitar, and he's a superb singer. In 1991, he was the East Coast Champion of KLON's "Blues Talent Search," and claimed third prize in the national competition. This is the same competition that brought national attention to Keb' Mo' and Popa Chubby. Up against some of the finest blues bands in America, he was the only contestant to compete as a soloist, with only guitar and harmonica as accompaniment. Guy's blues performances don't stop with concerts, however. He is also an actor, director, and an award winning writer. He has performed on Broadway in "Mulebone," as well as off-Broadway in his self-penned show "In Bed with the Blues: The Adventures of Fishy Waters," and as Robert Johnson in "Robert Johnson: Trick the Devil." He has also performed with his parents, Ossie Davis and Ruby Dee, in the Crossroads Theatre Company production of "Two Hah Hahs and a Homeboy." His efforts in the theater have earned him the Blues Foundation W.C. Handy "Keeping the Blues Alive Award." Throughout the past year, Guy has been the surprise sensation of North American music festivals, including a knock-out performance at New York's Lincoln Center. In a rare coup, he was invited to the Calgary Folk Festival two years in a row. This fall he will receive national attention not only when his music appears in a new PBS series entitled "The American Promise," but also with the release of "Stomp Down Rider." This debut album captures Guy in a stunning live performance. Guy features some of the jewels of his original songwriting like "Wintertime Blues," "Ramblin' All Over," and "Watch Over Me," and infuses long-lost edge into masterworks by Willie McTell, Robert Johnson, Leadbelly, Gary Davis, and Mance Lipscomb. As "Stomp Down Rider" ably testifies, this is a talented man whose star has just begun to shine. ========================================================================= Date: Mon, 13 Nov 1995 12:34:55 -0800 Reply-To: Christopher Adams From: Christopher Adams Subject: Mem Shannon: A Cab Driver's Blues > Crescent City Cabbie Drives Home the Blues > -------------------------------------------------------- > > The cab driver's got the blues. And why wouldn't he? His air > conditioning's broken. His passengers are jerks, criminals, or both. > His girlfriend wants to put him on a diet of hay and water. The tips > suck. Oh yeah you have a nice day too, pal. > > Mem Shannon, whose new album A Cab Driver's Blues is Hannibal's > first R&B release, arrived in the city of New Orleans at the end of > 1959. From then on, he exercised his vocal talents freely, though > neither he nor his parents imagined at that time he would become a > singer. Not only did he, but Mem's soulful vocal style and > contemporary approach to the blues demonstrate a vibrancy and > freshness that's been a long time coming. > > "We didn't have much music around the house when I was growing up," > says Mem, "but what we did have were mostly blues records. It wasn't > like they were on all the time, but when the record player was > going, it was generally the blues." > > At the age of nine, Mem inexplicably picked up the clarinet, an > instrument he still occasionally plays. About six years later, after > bugging his father (who was also named Mem) incessantly, he got his > first guitar. > > "When I was a little kid," Mem recalls, "I saw a lot of guys with > guitars around their necks but I didn't really know what it was > supposed to sound like until I saw B.B. King." > > New Orleans is rich in musical history, but tough on its players. > The tourists (musical and otherwise) want to hear the seven > billionth version of "Mother In Law" or "Dust My Broom," and woe be > unto the young musician who fails to toe the mark; there are always > a few hundred dozen others waiting in the bayou to take his place. > So Mem played out in top-40 bands and the occasional gospel group, > practicing his chops and writing his songs in private until tragedy > struck. > > In 1981, Mem Shannon senior passed away, and it fell to Mem junior > to be the family breadwinner. He didn't play in public again for the > better part of a decade. > > To support his family, Mem started driving a cab, a vocation he > still pursues. > > "The job," he says, "lasted a little longer than I expected it > would." > > So did the urge to make music. > > In 1990, he decided to recall his father's advice and "play the > guitar, son." He formed a loosely-knit collection of musicians he > calls The Membership. Membership in The Membership has been fairly > exclusive, and the current band consists of Mem on guitar and > vocals, bassist Peter Carter, drummer Barry Thomas, keyboard player > Jackie Banks and sax players Lance Ellis and Tim Green. > > In 1991, they appeared in a "Jazz Search" contest sponsored by a > local New Orleans television station. > > The Membership subsequently traveled to California, where they > competed for a spot in the Long Beach Blues Festival. It was the > farthest Mem had ever traveled from the Crescent City; even still, > he has never been north of US Interstate 10. The band was also > invited to play in the New Orleans Jazz and Heritage Festival, > something they have done three times in the last five years. Oddly > enough, Mem's "big break" came one of the years he wasn't playing > the festival. > > Membership saxman Tim Green introduced Shannon to producer Mark > Bingham. > > "I had this tape," says Mem. "It wasn't very good, but I wanted a > remixer. The bottom line was that Mark had a studio and no money and > I had some songs and no money. It was a perfect match." > > They built the album, A Cab Driver's Blues, from the ground up, > incorporating bits of conversation recorded in Mem's cab to serve as > linking bits between the ten original blues songs. Ranging from the > comic tale of domestic conflict in "My Baby's Been Watching TV" to > the stripped-down raggedness of "One Hot Night" to the funky > sensuality of "Boogie Man," the songs capture the languid heat of a > New Orleans summer night. The album was slated to come out on > Bingham's regionally-distributed Gert Town label, until his old > friend (and Hannibal label chief) Joe Boyd came to town. > > "The New Orleans Jazz Festival is great," says Boyd. "Great sound, > great food, great artists. But after two days at the fairground, I > was depressed. All these great R&B and blues artists who have > learned what the NPR audience wants from them: 'authenticity.' And > that is what they get - pure, post-modern authenticity in spades. I > heard songs and patter identical to the last nuance to the last time > I had heard some of these great names perform. Many of them sounded > as if they were imitating themselves. There was little of what I > think of as music an art form where the beauty is in knowing the > song, but never knowing how it will be performed." > > "In this state of cosmic depression, I paid a visit to Mark > Bingham's studio. He sat me down and gave me the tonic to cure my > ills: Mem's master tape. Lo and behold, here was a splash of cool > water in my blues-hound's face. I heard great songs, fresh and > original arrangements, personal yet universal lyrics that made no > attempt to recreate a long-lost 'Golden Age of R&B,' great guitar > playing that didn't seem to be imitating anyone. 'If this isn't the > best new blues record I have heard for many a year,' I said to > myself, 'I'll eat my muffaletta.'" > > Bingham recalls their conversation as consisting primarily of two > lines: "Can you put it on the small speakers? Can you put it on the > big speakers again?" Boyd sat through the entire tape, transfixed by > the album. And then he decided he wanted it on Hannibal. > > "I was impressed," says Mem, "that he listened to the whole thing. > Most of what you hear about these record guys is they listen to one > song or two, and then they're done with it." > > But Boyd isn't done with it, not by a long shot. He sees Shannon as > being at the front of a new generation of bluesmen who aren't > content to cover the Robert Johnsons and Elmore Jameses of the > world. Along with some of the Crescent City's musical cognoscenti, > he also sees Mem as a potential Grammy nominee. > > But that's another day and another place for Mem. Right now, he's > gearing up to get on the road and see some of that country north of > Interstate 10. And he's not planning to do it in his cab. > > -------------------------------------------------------------------- ========================================================================= Date: Mon, 13 Nov 1995 15:03:05 -0500 Reply-To: Paul Deeds From: Paul Deeds Subject: Re: Who is Ali Farka Toure? Comments: To: JOHN BARR In-Reply-To: <13NOV95.17011747@shrsys.hslc.org> > I'm a stranger to the blues so cut me some slack if the question > is too lowbrow. > There is a cut titled "Albine" on a soundtrack to the movie Equinox. > It's the first Toure I've heard and no other information is given. Ali Farka Toure is an musician from Mali who plays guitar and other stringed instruments. He has three albums out that I know of: Ali Farka Toure - 1987 The Source - 1990 Talking Timbuktu - 1994 (not entirely sure about the years) Taj Mahal plays on some of the songs on "The Source", and Ry Cooder plays on most of the songs on "Talking Timbuktu" (Gatemouth Brown also plays on a couple songs). Toure's playing has a definite blues feel to it, which he layers over a traditional African rhythm section to create an interesting blend of sound. I'm not sure which album (if any) has Albine on it, but they are all excellent. "The Source" is my personal favorite. I also saw an Ali Farka Toure show this Summer in Detroit. It was one of the best shows I've seen in a long time-- he doesn't tour that much, so if you get a chance to see him, don't miss it. Paul Deeds ========================================================================= Date: Mon, 13 Nov 1995 15:05:18 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Illustrations Comments: To: Elise_Lebordais@UQTR.UQUEBEC.CA On 13 Nov 95, Elise Lebordais had this to say... > I'm making publicity pamphlets for the Blues Club in Trois-Riviere (Quebec) > and I need some illustrations of drawings portraying some musiciens or > instruments relating to this subject. Il possible, could someone send me > some drawings or from whom I could get them. > There are plenty of artists trying to earn a living with their talents out there. It shouldn't be to hard to find one who will do EXACTLY what you want for a reasonable price. There are some right here on this list that would do an excellent job for you. There are also volumes of clip art that are commercially available that come with a clearance for their use in advertising. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 13 Nov 1995 16:22:09 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Sitting&Thinking-Carey Bell. Comments: To: bit-listserv-blues-l@uunet.uu.net Given the wonderful tribute eRIC put together for one of the blues' giants, Mr. Bob Koester, we thought we'd dig into the review archives and give a taste of some of the works he has released. We just finished an issue devoted just to his CDs. We'll be posting several over the next few weeks. CAREY BELL / Blues Harp (#DE 622) DELMARK RECORDS 4121 NORTH ROCKWELL CHICAGO, IL. 60618 Here is a CD you should already own. It puts in front of you a host of great bluesmen. It also takes the harmonica and voice of Mr. Carey Bell and sets him right down in your living room. The sound quality is exemplary and the song selection is varied and smart. Carey Bell covers a number of big blues covers by other harmonica masters and then sets in a good sprinkling of his own creations. This is a well produced CD without flaws. I'M READY / I GOT TO FIND SOMEBODY / I WANNA WILL MY LOVE TO YOU / BLUE MONDAY AT KANSAS CITY RED'S / I'M GONNA BUY ME A TRAIN TICKET / COME ON OVER HERE / I CRY SO MUCH / SAD DREAMS / EVERYTHING'S UP TIGHT / YOU KNOW IT AIN'T RIGHT / LAST NIGHT / ROCKING WITH A CHROMATIC / I'M GONNA BUY ME A TRAIN TICKET / WALKING IN THE PARK / CAREY BELL'S BLUES HARP NY CD-Takes I'M READY: This CD opens with some nice hits on the guitar by the great Jimmy Dawkins and then Carey Bell lays into the song. His vocals here are solid, strong, direct and full blown. Mr. Bell is well backed here by Pinetop Perkins on piano, Joe Harper on bass and W. Williams on drums. A nice intro song to what you will discover is a beautiful and very musical CD. I GOT TO FIND SOMEBODY: This cut and several others offer Mr. Bell backed by a second set of musicians. The band here is comprised of Eddie Taylor and Royal Johnson on guitars - played left and right, Joe Harper again on bass and Sidney Thomas on drums. It starts with a screeching top of the register run and then a bassier riff follows. The two sided harmonica playing adds a larger musical stage here and pits Carey Bell on harp face up to Carey Bell on harp. A very intriguing arrangement. Mr. Bell also delivers the vocals here more laid back and easy. I WANNA WILL MY LOVE TO YOU: Another Walter Jacobs tune finds Carey Bell once again higher up in his harp sound. Jimmy Dawkins is strong in the background and Pinetop Perkins sets down some very fine piano pecking. Mr. Bell sings this one with a word over word vocal drawl. At about 1 1/2 minutes in he turns the harmonica down to the deeper side. Although he doesn't really play as counterpoint to himself as he did on I Got To Find Somebody, he does offer up the two sides of the harmonica. BLUE MONDAY AT KANSAS CITY RED'S: The classic harmonica train riff sets up this side. It is also a Carey Bell original - the first of eight on this CD. The beat is closer to jazz and the instruments are all highlighted. Very quick harmonica taps are backed by the full band. A highly musical side that goes a long way to define Carey Bell's larger musical scope. I'M GONNA BUY ME A TRAIN TICKET: Another train riff opener, but this time it's the blues that follow. Carey Bell brings out that husky cut voice of his and sings this song right in front of the guitar work of Jimmy Dawkins and the drums of W. Williams. Mr. Bell offers here a straight blues oriented harp and vocals. COME ON OVER HERE: This side opens with what one might feel is a Sugar Blue opener, and rightfully so - the beat is up, swingy and more funky. Yet another side to Mr. Bell. I CRY SO MUCH: Following three Carey Bell penned sides the CD now turns to the work of Mel London. More of that swingy played dance music as on its predecessor, but sung in the style of Junior Parker. SAD DREAMS: Slow grinding blues and a harp to match. The tempo here is way down and moaning. Jimmy Dawkins and Mr. Bell both take the front here and establish a terrific duet. Of particular note on this side is Jimmy Dawkins. He is cruel on the strings and blistering - some of his finest guitar work on this CD and elsewhere. EVERYTHING'S UP TIGHT: Now a piece from the archives of one of my favorite harpmen - Junior Wells. Carey Bell does him justice. The vocal overtoning and lost words are classic Junior Wells. So is the harmonica work here. A straight play of a great side. YOU KNOW IT AIN'T RIGHT: Take it back to Walter Jacobs. A driving sound based on a lot of Carey Bell singing. Note that he still carries the singing style of Junior Wells into this piece. A real credit to the overall production sense here. Nice high noted harmonica work comes in about mid song. LAST NIGHT: Some more Walter Jacobs - this time played note by note. The separation between each note is captivating. The two guitars side Carey Bell nicely and give him a strong center stage for his singing. This is a true blues side done in the best traditions of the genre. It does though have a slight modern interpretation running through it. Who said - straight blues can't be today's sound. Carey Bell proves it can. ROCKING WITH A CHROMATIC: A very hot swing harmonica piece with Pinetop Perkins providing a great counterpoint. These two blues artists set the house afire - each adding to the blazing musical pace of this cut. All instrumental and superior. This could be a first play side. Give it a try if you don't need a hit of straight blues to introduce Carey Bell to you. I'M GONNA BUY ME A TRAIN TICKET: Nice getting a chance to hear an alternate take. Listen here and then go back to cut 5. Sit back and relish the differences - two very different pacings to the same song. A real pleasure to listen to a player and writer offer up his own work in multiple fashions. WALKING IN THE PARK: This is the third Carey Bell original in this closing set of sides. Mr. Bell hits this one with a big, deep and vicious set of vocals - not unlike the singing style of Junior Wells. Also here is a lot of very fine harpwork by Mr. Bell - perhaps some of the best to this MUST GET CD. CAREY BELL'S BLUES HARP: This final side is extraordinary - the harmonica work is mean and evil. The dexterity of his playing is very well exemplified here and when he cuts those high shrill yelping bites of music your hair may stand up. He does play against it some deeper notes but the high octane high pitch fevered playing is best. Reviewed By Barry Silverberg Copyright NY CD Blues - 1995 -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Mon, 13 Nov 1995 23:13:14 GMT Reply-To: Mitchell Drumm From: Mitchell Drumm Organization: Santa Rosa Junior College, Santa Rosa, CA Subject: Re: Milk Cow Blues Comments: To: bit-listserv-blues-l@uunet.uu.net Kevin Gibson (KGIBSON743@AOL.COM) wrote: : I need a list of people who coverd this song. Thanks in advance. Country artist and composer Billy Hughes recorded a nasty, low-down version of this song for 4 Star in Los Angeles around 1950. Issued on 78 RPM at the time and I don't think it has ever appeared on LP or CD. Hughes died about 6 months ago in Horatio Arkansas. He is perhaps best known as a composer ("Tennessee Saturday Night"), but was also a very bluesy singer with a gruff voice. Most of his recordings feature some wicked lap steel playing by Curly Cochran. If any of you ever get into a pile of 78s, pick up anything by Billy on 4 Star, King, Gilt-Edge, Mutual, or Fargo. ========================================================================= Date: Mon, 13 Nov 1995 18:23:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: MCM and Storyville releases I would give this album at least a B+. I like Willie Kent very much, I like the real or simulated club atmosphere, and I especially like it for the rare chance to hear the late Willie James Lyons, who left us at about age 54. He made one album - not bad/not exciting - for a French label, either Isabel or MCM - but I'll bet he could be excellent in person. Does anyone have any more info on him or an any other recordings of this litle known fine Chicago guitarist. -Bonnie >MCM 900.291 [LP] Willie James Lyons & Willie Kent: Ghetto ["... fail >miserably. ... Nowhere is any excitement generated at all." BU 124 (1977), p. >32. "This album should not be missed." LB, no 31 (1977), p. 38] > ========================================================================= Date: Mon, 13 Nov 1995 21:27:25 -0500 Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Karen Caroll (was Re: Seattle Blues Playlist Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199511130847.AA06723@halcyon.com> Roberta Penn writes: >Subject: Re: Seattle Blues Playlist >KAREN CARROLL HELP ME DELMARK Just picked up a copy of the CD from which this was played, "Had My Fun" by Karen Carroll, a new Delmark release. This lady has a huge voice. She could make "Big Voice" Odom sound like a man with laryngitis. The person who comes to my mind when I hear her voice is Big Mama Thornton. Four of the 10 tracks were recorded live this summer at Blue Chicago. She really gets down and dirty on the last track of these four, Love Her With A Feeling. Backing on the live and studio tracks is by Johnny B. Moore and band who also recorded a live set at Blue Chicago during these same sessions that Delmark plans to release next year (can't wait). Most of the tracks on this set were recorded in one take, minimal fooling around with the sound. Very nicely done. Check it out. You won't be disappointed. Where has this woman been hiding that it took this long for her debut release? Has anyone seen her live performances that could comment on what they are like? Vicksburg Blues*/Bluebird*/Down Home Blues*/Love Her With A Feeling*/Help Me/ Goin' Down Slow/Shakey Ground/Spoonful/Confessin' The Blues/Since I Fell For You *Live recordings Art Schuna ========================================================================= Date: Mon, 13 Nov 1995 23:00:44 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: Who is Ali Farka Toure? Comments: To: Paul Deeds In-Reply-To: People call him the John Lee Hooker of Africa... On Mon, 13 Nov 1995, Paul Deeds wrote: > > I'm a stranger to the blues so cut me some slack if the question > > is too lowbrow. > > > There is a cut titled "Albine" on a soundtrack to the movie Equinox. > > It's the first Toure I've heard and no other information is given. > > Ali Farka Toure is an musician from Mali who plays guitar and other > stringed instruments. He has three albums out that I know of: > > Ali Farka Toure - 1987 > The Source - 1990 > Talking Timbuktu - 1994 > (not entirely sure about the years) > > Taj Mahal plays on some of the songs on "The Source", and Ry Cooder plays > on most of the songs on "Talking Timbuktu" (Gatemouth Brown also plays on > a couple songs). Toure's playing has a definite blues feel to it, which > he layers over a traditional African rhythm section to create an > interesting blend of sound. I'm not sure which album (if any) has Albine > on it, but they are all excellent. "The Source" is my personal favorite. > > I also saw an Ali Farka Toure show this Summer in Detroit. It was one of > the best shows I've seen in a long time-- he doesn't tour that much, so > if you get a chance to see him, don't miss it. > > Paul Deeds > ========================================================================= Date: Mon, 13 Nov 1995 21:40:07 -0000 Reply-To: "J. Witteveen" From: "J. Witteveen" Subject: Re: Illustrations >Elise Lebordais (Elise_Lebordais@UQTR.UQUEBEC.CA) wrote: >: I'm making publicity pamphlets for the Blues Club in Trois-Riviere (Quebec) >: and I need some illustrations of drawings portraying some musiciens or >: instruments relating to this subject. CorelDraw has the following blues and blues related (and jazz, soul, etc.) cliparts: John Lee Hooker BB King Howlin' Wolf James Brown Muddy Waters Little Richard Jimi Hendrix Duke Ellington Chuck Berry Unfortunately, pretty much all of them are unrecognizable unless you already know who they're _supposed_ to be :-( . . .oh, well). -Jim (not employed by Corel, just a user :-) ========================================================================= Date: Mon, 13 Nov 1995 23:32:39 -0900 Reply-To: Bob Hardin From: Bob Hardin Subject: Re: LITTLE WALTER REISSUES!!! >And not wishing to cause any offence to our chums at MCA (and sleevenote >writer Mary Katherine) I make it 11 sides on the double set that are not >on the 95 tracker issued by Charly in 1993 which makes this a must for >Walter freaks. > >This figure will need to be double checked but, what the hell, the MCA >set is excellent! I caught some of this set last night on our local KCLU Sunday night "Blues Roots" show while I was taking some youth around the neighborhood to collect canned goods for the local food pantry. I'll race you all to the record store! Between Little Walter, Roy Bookbinder and all the food people were donating, I was reallly jazzed by the end of the evening (Oops! Maybe I was "bluesed"?) Anyway, I say this: Don't worry about overlap - when ya gotta have some Little Walter massaging your eardrums, you don't want to have to waste time trying to find the disks. It's better to have some overlap on _more_ disks than not have the other songs! ;-) Bob ========================================================================= Date: Tue, 14 Nov 1995 08:51:20 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: MCM and Storyville releases Comments: To: Bonnie Kalmbach >I would give this album at least a B+. I like Willie Kent very much, >I like the real or simulated club atmosphere, and I especially like it >for the rare chance to hear the late Willie James Lyons, who left us >at about age 54. He made one album - not bad/not exciting - for a French >label, either Isabel or MCM - but I'll bet he could be excellent in >person. Does anyone have any more info on him or an any other >recordings of this litle known fine Chicago guitarist. > > -Bonnie > > >>MCM 900.291 [LP] Willie James Lyons & Willie Kent: Ghetto ["... fail >>miserably. ... Nowhere is any excitement generated at all." BU 124 (1977),= p. >>32. "This album should not be missed." LB, no 31 (1977), p. 38] >> Willie James Lyons recorded one album for Isabel in Paris. He did it while on tour with a package of Odie Payne jr, Big Mojo Elem, Big Moose Walker, Jimmy Johnsson and Lefty Dizz. This great group put on fantastic performances and the big surprices (at least for me) was Willie James Lyons and Lefty (who my band later invited back to Sweden for a tour). I must agree in Bonnies Wiew on the MCM - James lyrical guitar and Kents dark voice digs down deep here. I also notice that its time to revaluate many older recordings. And often the reason is that they got to be the only recordings of some great musicians. I did not care for many of the rather hurried recordings made by european labels over the years. But in retrospect the work of labels such as Black and Blue, Storyville, Isabel, L+R and many others seems very important. In many cases they did what nobody else did at the time - they gave the not so known a chance to do albums. Mr Bo ========================================================================= Date: Tue, 14 Nov 1995 08:46:01 GMT Reply-To: tdevit3@ibm.net From: tdevit3@IBM.NET Organization: IBM TCP/IP for OS/2 Subject: Re: Dawkins Comments: To: bit-listserv-blues-l@uunet.uu.net In <487ao2$1qmo@columba.udac.uu.se>, Tommy Jansson writes: >What albums has Jimmy Dawkins done? A short and simple question! Fast Fingers, All for Business (Delmark), Kant Sheck Dese Bluze (Earwig), BlisterString (Delmark), Hot Wire 81 (Evidence), Feel the Blues (JSP), Blues & Pain (Ichiban)...list taken from Blues Revue article Sep/Oct. Tony Devitt @ Auckland, NZ ========================================================================= Date: Tue, 14 Nov 1995 05:08:14 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - November 14th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ADAMS, GEORGE (tsax) d. 1992-1114, BROOKLYN, NY 52 BARBEE, JOHN HENRY (g/STORYVILLE REC) b. 1905-1114, HENNING, TN BELL, CAREY (CAREY BELL HARRINGTON) (hca) b. 1936-1114, MACON, MS BILLINGSLEA, JOE (of THE CONTOURS) b. 1937-1114, HAMTRAMCK, MI BISHOP, STEPHEN (g) b. 1951-1114, SAN DIEGO, CA BUCKWHEAT ZYDECO (STANLEY DURAL JR.)(acc) b. 1947-1114, LAFAYETTE, LA CLARKE, KIM ANNETTE (b) b. 1954-1114, JAMICA, NY FUNDERBURGH, ANSON (g/BLACK TOP REC) b. 1954-1114, PLANO, TX GUNTER, CORNELL (of THE FLAIRS/COASTERS) b. 1938-1114, LOS ANGELES, CA HARDING, LAVERE "BUSTER" (p/arr) d. 1965-1114, NEW YORK CITY, NY 48 HAYES, CLANCY (bjo) b. 1908-1114, CANEY, KS HODES, ART (p) b. 1904-1114, NIKOLAEV, RUSSIA JEFFERSON, JEFF "HILTON" (asax) d. 1968-1114, NEW YORK CITY, NY 65 KELLEY, ARTHUR "GUITAR" (g/EXCELLO) b. 1924-1114, CLINTON, LA LITTLE SON JOE [ERNEST LAWLARS] (g) d. 1961-1114, MEMPHIS, TN 61 MARSALIS, ELLIS (p) b. 1934-1114, GERT TOWN, LA O'NEAL, ALEXANDER (v) b. 1954-1114, NATCHEZ, MS PAYNE, SHARI (of THE SUPREMES) b. 1944-1114, DETROIT, MI RILEY, TEDDY (tpt/ROY BROWN) d. 1992-1114, NEW ORLEANS, LA 68 SMITH, RICHARD J. (tpt/HARLEN LEONARD) d. 1974-1114, KANSAS CITY, MO 65 TAYLOR, DALLAS (lead/THE DANDERLIERS) d. 1986-1114, CHICAGO, IL 50 WELLINGTON, VALERIE EILEEN HALL (v) b. 1959-1114, CHICAGO, IL YANNI :-) [YANNI CHRYSSOMALLIS] b. 1954-1114, KALAMATA, GREECE ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 14 Nov 1995 11:49:01 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Fab T-birds I have a chance of seeing them nect week and am just wondering who is in their travelling lineup i.e. will I get to see the likes of Kim Wilson and/or Kid Ramos? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [14/11/95 6:47 AM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 14 Nov 1995 07:36:40 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Re: John Hammond -Forwarded -Forwarded Below is an itinerary for John Hammond that I received today. SInce the memory of John Hammond's appearance was very nice, I took the liberty of posting this. Regards, ddr Received: from medtron.medtronic.COM by mspeos.cis.corp.medtronic.COM (5.x/SMI-SVR4) id AA20557; Mon, 13 Nov 1995 21:02:47 -0600 Received: from uunet.UUCP by medtron.medtronic.COM with UUCP id AA24596 (5.65c/IDA-1.4.4 for roger.lew.struve); Mon, 13 Nov 1995 21:07:31 -0600 Received: from mail02.mail.aol.com by relay2.UU.NET with SMTP id QQzptk06265; Mon, 13 Nov 1995 22:03:55 -0500 (EST) From: CATBAUER@aol.com Received: by mail02.mail.aol.com (8.6.12/8.6.12) id WAA04078 for roger.lew.struve@medtronic.com; Mon, 13 Nov 1995 22:03:52 -0500 Date: Mon, 13 Nov 1995 22:03:52 -0500 Message-Id: <951113220258_105776114@mail02.mail.aol.com> To: roger.lew.struve@medtronic.com Subject: Re: John Hammond -Forwarded Here's the tour dates you mentioned...he is not only very talented but very gracious. The last time he was here he did an early morning radio show for us and was nice enough to ask what we'd like him to play...you could have heard a pin drop in the studio as he played "Love In Vain" on Rochester's #1 rock station. : ) John Hammond 11/11/95 Teatro Lopez de Ayala Badajoz SPAIN John Hammond 11/18/95 Band Box Callicoon NY USA John Hammond 11/19/95 The Haunt Ithaca NY USA John Hammond 11/27/95 Venue tba Toronto ONT Canada John Hammond 11/28/95 Red Creek Inn Rochester NY USA John Hammond 11/29/95 The Calumet Buffalo NY USA John Hammond 11/30/95 Wilbert's Cleveland OH USA John Hammond 12/1/95 The Ark Ann Arbor MI USA John Hammond 12/2/95 Main Event Toledo OH USA John Hammond 12/3/95 Canal Street Dayton OH USA John Hammond 12/4/95 Slippery Noodle Indianapolis IN USA John Hammond 12/5/95 The Bluebird Bloomington IN USA John Hammond 12/7/95 Staches Columbus OH USA John Hammond 12/8/95 Rosco's Cafe Fairlea WV USA John Hammond 12/13/95 Brokerage Bellmore NY USA John Hammond 12/14/95 Rosie's Cabaret Long Valley NJ USA John Hammond 12/29/95 Town Crier Millbrook NY USA John Hammond 12/30/95 Godfrey Daniels Bethlehem PA USA John Hammond 12/31/95 The Turning Point Piermont NY USA John Hammond 2/23/96 Cedar Cultural Center Minneapolis MN USA John Hammond 2/24/96 Prairie Home Companion St Paul MN USA John Hammond 3/29/96 Gorel Recital Hall / Indiana Univ of PA Indiana PA USA John Hammond 6/1/96 Maryland Theatre 1996 Bluesfest Hagerstown MD USA John Hammond 11/30/96 Ford Centre for the Performing Arts North York ONT Canada ========================================================================= Date: Tue, 14 Nov 1995 07:12:15 CST Reply-To: William Shute From: William Shute Subject: Hash Brown/SP Leary on CBS Morning Show??? From: Bill Shute While at last Friday night's WONDERFUL Hash Brown/SP Leary/Barrelhouse Chuck show here in San Antonio, Hash mentioned to me that CBS cameras were filming some of the show the night before at Antone's in Austin, and that that footage might/would be used during a piece Wednesday morning, 11/15, on the CBS morning show with Harry Smith. CBS Morning Show seems to be doing a piece on a different TExas city each day this week. Today, they are doing a livecast from San Antonio, allowing Mark McCuen(one of my fave TV personalities! he deserves his own game show...how I long for the days when people like Wink Martindale, Mike Douglas, and Jack Narz ruled the daytime airwaves, not tabloid talk shows) to broadcast from his favorite Mexican restaurant... Anyway, the Wednesday show will be from Austin, or so I'm told, so maybe you might want to catch the show to see Hash and crew live from antone's...if CBS chooses to use any of the footage. In most areas, this show runs from 7 to 9 am. Since I start work at 6:30, I'll leave the VCR running on slow speed when I leave and then see what's on it when I get home. Hash ventured up to Chicago last spring to record an 10 or 11 tunes with Barrelhouse Chuck, SP Leary, Harmonica Todd, and others, and I got the album (a cassette-only release) from them last FRi. and it was FANTASTIC. However, since only 200 were made and most were already sold, you're not likely to find it. Perhaps some Euro label will license the material and give it wider exposure. For the record, the release is called BARRELHOUSE CHUCK "Chicago Blues Piano." Chuck was phenomenal, a fine Sunnyland Slim-influenced pianist and also a fine ENTERTAINER (something many forget now-a-days); SP Leary plays with an authority and subtlety and less-is-more approach that I haven't heard since I saw Ted Harvey here two or three years ago; Hash Brown, who melds his Texas blues guitar style well with the Chicagoans (remember, T-Bone Walker and other TExans have recorded successfully in Chicago themselves), is IMHO the finest under-45 Texas blues gtrist now playing; singer/harpman Harmonica Todd is a solid and exciting frontman in the James Harman/Rod Piazza vein. All in all, a fascinating Texas-meets-Chicago evening of 100% blues. Hearing a band like this, I realize how much "blues" around today is actually blues-rock, although there's nothing innately wrong with blues-rock. The "rill thing" always stands out and commands attention. A good time was had by all. See you Texans at the Johnny Clyde Copeland benefit Sunday night!!! Bill Shute San Antonio, TX QUIT ========================================================================= Date: Tue, 14 Nov 1995 08:20:03 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Playlist: Bartender's Bop Here is yesterday's playlist. 99% new blues or blues that are new to the station. We finally got service from Delmark Records and so the show was heavy on many of that label's fine artists. I had to start with a Christmas song or two as it was snowing here in Charlottesville (which is a rariety here in November). There are some new Xmas CDs out there from Black Top and Bullseye Blues, but more about them in a couple of weeks. Delmark and other new blues Title Group Year Label -------------------- -------------------- ---- -------------- Five Pound Box of Wilson, Michelle 95 Bullseye Blues Money Sleigh Ride Holmstrom, Rick 95 Blacktop Black Bottom Ward, Robert 95 Blacktop Bukka's Jitterbug Harris, Corey 95 Alligator Swing Chitlins Con Carne Rush, Otis 95 Delmark Real Fine Woman Clearwater, Eddy 95 Delmark Long Grey Mare Miller, Al 95 Delmark Blue Monday At Bell, Carey 95 Delmark Kansas City Reds Tin Pan Alley Taylor, Melvin 95 Evidence You Put The Hurt On Daniels, Chris 95 Flat Canyon Me It Should've Been Me Arnold, Billy Boy 95 Alligator Here I Am Smith, Willie 95 Blind Pig You Know What My Wilson, Smoky 95 Blind Pig Body Needs Eight Men Four Women Little Milton 95 Delmark Shorty Davis, Little Sammy 95 Delmark Bluebird Carroll, Karen 95 Delmark I-Man Stomp Davis, Little Sammy 95 Delmark Voo-Doo Whammy Bell, Lurrie 95 Delmark Flying Saucers Winter, Jonathan Verve Somebody Stole My Redbone, Leon 88 Sugar Hill Gal Wicked Jer Chicken Dixie Power Trio 95 DPT Swamp Opera Too Slim & the Tail 95 Burnside Draggers ----------------------------------------------------------------------------- My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Tue, 14 Nov 1995 05:27:09 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Re: Karen Caroll (was Re: Seattle Blues Playlist Comments: To: bit-listserv-blues-l@uunet.uu.net Art Schuna (aschuna@VMS2.MACC.WISC.EDU) wrote: : >KAREN CARROLL HELP ME DELMARK : Just picked up a copy of the CD from which this was played, "Had My Fun" by : Karen Carroll, a new Delmark release. This lady has a huge voice. She : could make "Big Voice" Odom sound like a man with laryngitis. The person : who comes to my mind when I hear her voice is Big Mama Thornton. Four of Art, Nice to hear you praise this woman of the blues. My impression was that her range was just bordering a males' set of vocals so an allusion of her making a male singer sound like a laryngitis victim fits. Also she bears a diverse set of roots. Displaying blues, soul, gospel and more on this disc. A very solid and of course well produced disc as is so much of Delmark's releases. On another note they also just released the Little Milton, Live at Westville Prison. Someone on the list asked about this disc a week or so ago and it is a very strong outing. The first 1/2 of the cuts (5) are played to the male population at the prison (my absolutely pick of the year is LM's rendition here of Eight Men, Four Women) and the last 3 are for the women at the prison. Lucky Peterson & The All Stars back him up and Lucky gets quite a lot of front and center on the keyboards on this set. I will (during NYCDB's Bob Koester reviews, these next few weeks) make it a point to get a cut-by-cut to the list. This is a must get disc from a lot of angles. Milton's showmanship is right there in his doing 2 distinct shows for his audience, as they go from men to women - song selection, pacing, etc. change nicely. Men get the blues, women get the soul. He knew his "customers" and delivered appropriately to each. Potentially could be a disc of the year nominee. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Tue, 14 Nov 1995 08:24:56 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: New Blues CDs Here are some of the latest releases to come into the station. Corey Harris Between Midnight and Day Alligator Mem Shannon Open 24 Hours Rykodisc Roosevelt Sykes Blues by Smithsonian Folkways Big Joe Williams Mississippi's Big Joe Williams and his nine-string guitar Smithsonian Folkways Melvin Taylor Melvin Taylor & the Slack Band Evidence Leon Redbone Red to Blue Sugar Hill Corey Harris Between Midnight and Day Alligator Billy Boy Arnold Eldorado Cadillac Alligator Robert Ward Black Bottom Black Top Eddy Clearwater Boogie My Blues Away Delmark Al Miller Wild Cards Delmark Otis Rush So Many Roads Delmark Carey Bell Blues Harp Delmark Little Walter Blues With A Feeling Chess Howlin' Wolf The Back Door Wolf Chess Dale Hawkins Oh! Suzy-Q Chess Muddy Waters Woodstock Album Chess Chris Daniels & the Kings Live Wired Flat Canyon Red Blooded Blues Arsenal Tom ----------------------------------------------------------------------------- My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Tue, 14 Nov 1995 08:02:08 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Jimmy Rogers' Capitol reissue Saw this in the store the other day and forgot what the opinion of the list was on this one. So, should I get it? I still need to get Chicago Bound... -Jeff (deficient in Jimmy Rogers) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / As I was riding across the Mississippi \ / I stopped there and I cried. \( No use for a man to keep a mighty river All dammed up inside. -Joe Ely ========================================================================= Date: Tue, 14 Nov 1995 07:59:27 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Humming PA's / amp feedback I have a question: Will a solid state amp be less apt to feedback when used to mic a guitar.....?? When I played the Homeless benefit last Wed. a professional sound company handled the sound. I used my Vibrolux and mic'd it through the PA...great sound I played two sets and thanked the sound man for helping me get such a great sound. I've used another bands PA a couple times, once was last Sunday night and it hummed so bad I had to stop. I could not hear. I complained but was told there was nothing they could do (In retrospect I think they should have cut the monitors, I think the hum was from them)....The other time I used this particul ar PA, there was no hum, but not a great sound. So my two choices so far, are to use my Gibson with the DeArmond pickup or put a pickup on my National. When you put a pickup on the National , it loses it's resonating quality. Keb' Mo suggested moving it back to the coverplate but it still sounds like an electric guitar.... Any thoughts. Would a solid state (ugh) give me more volume before feeding back......???? LW 'I ain't buying a PA' ========================================================================= Date: Tue, 14 Nov 1995 09:42:07 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Organization: IQuest Internet Services Subject: Re: New Blues CDs Comments: To: Tom Morgan I read a review of Bonne Raitt's new live double CD called "Road Tested" and the reviewer said it had lots of blues on it. In fact he went on to say that the three great "comeback" albums notwithstanding, the best Raitt was her early work-- so we can trust his perspective a little better than the avg. newspaper columnist. Has anyone seen the song list for this album? I saw Rod Piazza is on it, too, btw. RJ Bauman ========================================================================= Date: Tue, 14 Nov 1995 06:26:00 -0800 Reply-To: Chris.Hauge@NCAL.KAIPERM.ORG From: Chris Hauge Subject: COLUMBIA CDS LAST WEEK SOMEONE POSTED A LIST OF BLUES CDS THAT YOU CAN GET FROM COLUMBIA HOUSE. I SEEM TO HAVE LOST IT. CAN YOU PLEASE REPOST AGAIN OR SEND IT TO ME DIRECTLY VIA E-MAIL. I JUST JOINED COLUMBIA HOUSE AND RECEIVED THEIR BOOK AND DIDN~T SEE ALL THE CDS YOU MENTIONED. I AM A NEW BLUEZZER AS FAR AS COLLECTING. WHEN I FIRST STARTED READING THE LIST I ASKED FOR SOME SUGGESTIONSFOR STARTING MY CD BLUES COLLECTION AND GOT QUITE A FEW GREAT IDEAS FROM ALL OF YOU. I HAVE ABOUT TWELVE CDS IN MY COLLECTION SO FAR AND LIKE ALL OF THEM, I ESPECIALLY ENJOY LUTHER ALLISON. I HAVE TWO OF HIS CDS AND CAN~T STOP PLAYING THEM.......THANKS AGAIN.......CHRIS ========================================================================= Date: Tue, 14 Nov 1995 08:20:41 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Milk Cow Blues Comments: To: Mitchell Drumm In-Reply-To: <488jea$ghp@floyd.santarosa.edu> We can add Sleepy LaBeef to this list. ========================================================================= Date: Tue, 14 Nov 1995 09:08:00 CST Reply-To: Paul Garon From: Paul Garon Subject: Re: Dr. Kenneth Goldstein has died >I have just heard that scholar and folklorist Dr. Kenneth Goldstein >passed away yesterday. His pioneering work in recording all kinds of >traditional music, including blues, has been well documented over the >years. I think it was he who helped start out the Ol Miss Blues Archive with the donation of his song book collection, some 10,000 pieces! ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email or postal mail or visit us at http://www.abaa-booknet.com/alldlrs/mw/60657bea.html. We also have catalogs available by ftp at ftp.mcs.com/mcsnet.users/beasley. _______________________________________|______________________________________ ========================================================================= Date: Tue, 14 Nov 1995 10:31:27 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Ali Farka Toure Guitar Player magazine frequently talks about Ali, his guitar playing,and his blues-based guitar stylings. (Did I really say "stylings"?) :) You might check some back issues of GP if you are really interested in him. Riffin Rick (((( oo-) /- It's 3 o'clock in the morning, and all the pretty women are gone. F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 14 Nov 1995 10:40:38 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Miking an acoustic guitar/dobro: Help please I'm going to do a 2 man (guitar + harp) sorta unplugged gig this weekend and have been mulling over getting a Shure SM57 mike to put my dobro and jumbo acoustic into the PA. I've been using my SM58 vocal mike, but I'm not happy with how it picks up guitar. My understanding is that the SM57 is the industry workhorse for good, inexpensive instrument miking. "good" and "inexpensive" being the operative words here. Can someone with experience give me some info re: these mikes? Like, yes, it's a good choice, or no, you won't notice the difference from the SM58. I know it's unidirectional, not omni like the SM58, which I would assume makes it better for picking up the guitar. I'm going to buy this in the next 2 or 3 days if it looks good. Your help is appreciated. Thanks, guys! :) Riffin Rick, Live and Unplugged (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 14 Nov 1995 10:47:00 EST Reply-To: BRENTS@CLEMSON.EDU From: "(Brent M. Smith)" Subject: KEB MO Comments: To: blues-l%BROWNVM.BITNET@INTERBIT.UGA.EDU Last Friday night Keb Mo played at a local listening room here in the upstate of SC. While I knew I would like his music, I was not expecting too much from the show. I remember reading one post about him here saying he just is not personable with the audience. He is now ladies and gents. He not only put on a great show musically, he also was fun fun fun. He was as gracious or more than John Hammond is on stage. You could really tell he was enjoying himself. At times between songs he had us laughing pretty hard. To make it an even better night, the opener for him was a 15 yeard old kid named Evan Dehner, watch for that name. This young man can play!! He was playing Robert Johnson and Ray Charles like he was raised by them. I had the chance to meet Evan earlier in the week, he lives here in Clemson, a sophomore in highs school, seemed kind of shy, but he sure wasn't shy when Keb Mo asked him to join him for a couple of songs. For all of you who doubt Kevin Moore's showmanship because of a post or two on the list, give him a chance. I had a blast, and I think he was having fun also. If he comes to your area you need to go!! --Brent ========================================================================= Date: Tue, 14 Nov 1995 11:54:58 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: Blues Books Comments: To: JukeFreak@aol.com In-Reply-To: <951110174230_103358775@emout04.mail.aol.com> from "Karen Hanson" at Nov 10, 95 05:46:04 pm > Rob Hutto writes: ^^^^^ Hey! I like it. J.B.'s son, that's me. > Yes, I agree...it disappointed me that the focus oftentimes was on Lomax > himself and his experiences instead of on the musicians and their > experiences. He also seems to have some unusual personal theories, most > notably the one about why there aren't very many female guitarists. (I hope > you don't ask me to tell you about that, because it's been a year or more > since I've read the book, and I don't remember any details. I do, however, > remember being slightly offended.) I seem to recall him saying that the guitar is ripe with sexual imagery - the body is shaped like a woman's torso, and the neck is phallic. (Of course, anything longer than it is wide is phallic in some people's eyes) Perhaps he felt this is why women stayed away from guitars... -Rob ========================================================================= Date: Tue, 14 Nov 1995 09:49:49 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: KEB MO In-Reply-To: Message of Tue, 14 Nov 1995 10:47:00 EST from On Tue, 14 Nov 1995 10:47:00 EST Brent M. Smith said: >Last Friday night Keb Mo played at a local listening room here in >the upstate of SC. While I knew I would like his music, I was not >expecting too much from the show. I remember reading one post about >him here saying he just is not personable with the audience. I think I'm the only person on the list (maybe the world) to ever say anything derogatory about Keb's performances, I don't ever recall saying he wasn't "personable" with the crowd. Even the first couple of times I saw him and while I was along way from impressed by his music, he was still very personable and like you mentioned very humorous. The last time I saw him, I was much more impressed with his music. We talked backstage and talked of the problem with amplifying a National. He had National install a Highlander pu system in his new National. I told him with mine being a 32, I don't want to go installing stuff in it. Very nice guy and I am more impressed with his live show. LW ========================================================================= Date: Tue, 14 Nov 1995 09:47:46 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Organization: IQuest Internet Services Subject: Re: New Blues CDs Comments: To: Tom Morgan BTW, having mentioned that Rod Piazza is on the new Bonnie Raitt CD, I wanted to mention how much I enjoyed the recently re-issued Smokey Wilson album "88th Street Blues." Both Rod and Honey are featured players throughout, and they sound great playing these traditional Chicago style arrangements. For those of you who have the 1983 LP, this CD has 3 bonus tracks--- and they are some of the best songs on the album. Smokey's version of "Howlin' For My Darlin' " is really a dead-on Wolf cover. RJ Bauman (get to see Smokey in 7 days!!! Yeah!!! ) ========================================================================= Date: Tue, 14 Nov 1995 13:13:48 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Miking an acoustic guitar/dobro: Help please Comments: To: MILLER@SCI.WFBR.EDU On 14 Nov 95, Rick Miller had this to say... > I'm going to do a 2 man (guitar + harp) sorta unplugged gig this weekend and > have been mulling over getting a Shure SM57 mike to put my dobro and jumbo > acoustic into the PA. I've been using my SM58 vocal mike, but I'm not happy > with how it picks up guitar. My understanding is that the SM57 is the industry > workhorse for good, inexpensive instrument miking. "good" and "inexpensive" > being the operative words here. > > Can someone with experience give me some info re: these mikes? Like, yes, it's > a good choice, or no, you won't notice the difference from the SM58. I know it's > unidirectional, not omni like the SM58, which I would assume makes it better > for picking up the guitar. > > I'm going to buy this in the next 2 or 3 days if it looks good. Your help > is appreciated. Thanks, guys! :) Yes an SM57 will do a fine job on an acoustic guitar. It's relatively cheap and very rugged. Both the SM57 and the SM58 are uni-directional. The main difference between the 57 and 58 besides the built in windscreen of the 58 is that the 58 has some low frequency attenuation to allow for close up singing without booming, and a little bit of midrange boost. It is designed to do best with vocals. For an "all around" mike, it's hard to beat the SM57 for the money. (and it's a wee bit cheaper than the 58) P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 14 Nov 1995 12:15:44 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: Blues Books Comments: To: Shaun T Cronin In-Reply-To: <199511110758.XAA07900@wavenet.com> Another book that deals extensivley with the Blues is Charles Shaar Murray's "Crosstown Traffic". The book examines the musical roots and legacy of Jimi Hendrix. There is a chapter that discusses the Blues' influence on Hendrix and Hendrix' influence on the Blues (as well as similar chapters on Jazz, Rock and Soul). It is a great book on Hendrix and popular music in general since Hendrix. I have to throw an "Amen" in on this one. CSM does a terrific job of putting Hendrix in context while simultaneously educating the reader on blues, jazz, funk, rock etc. Required reading for Hendrix fans. Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Tue, 14 Nov 1995 13:51:19 -0500 Reply-To: hhardy@BCONNEX.NET From: Hugh Hardy Subject: COLUMBIA CDS <---- Begin Forwarded Message ----> Date: Tue, 14 Nov 1995 06:26:00 -0800 Reply-To: Chris.Hauge@NCAL.KAIPERM.ORG From: Chris Hauge Subject: COLUMBIA CDS To: Multiple recipients of list BLUES-L LAST WEEK SOMEONE POSTED A LIST OF BLUES CDS THAT YOU CAN GET FROM COLUMBIA HOUSE. I SEEM TO HAVE LOST IT. CAN YOU PLEASE REPOST AGAIN OR SEND IT TO ME DIRECTLY VIA E-MAIL. I JUST JOINED COLUMBIA HOUSE AND RECEIVED THEIR BOOK AND DIDN~T SEE ALL THE CDS YOU MENTIONED. I AM A NEW BLUEZZER AS FAR AS COLLECTING. WHEN I FIRST STARTED READING THE LIST I ASKED FOR SOME SUGGESTIONSFOR STARTING MY CD BLUES COLLECTION AND GOT QUITE A FEW GREAT IDEAS FROM ALL OF YOU. I HAVE ABOUT TWELVE CDS IN MY COLLECTION SO FAR AND LIKE ALL OF THEM, I ESPECIALLY ENJOY LUTHER ALLISON. I HAVE TWO OF HIS CDS AND CAN~T STOP PLAYING THEM.......THANKS AGAIN.......CHRIS <---- End Forwarded Message ----> This is an excellent example of why we should always wear hearing protection. That's..."HEARING PROTECTION". ;-)> Hugh H. ========================================================================= Date: Tue, 14 Nov 1995 12:52:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Milk Cow Blues We can add Elvis to the list. I'm pretty sure, Bonnie ========================================================================= Date: Tue, 14 Nov 1995 13:58:50 -0500 Reply-To: Jerry Zolten From: Jerry Zolten Subject: Harmonica Enhancement A good friend of mine, a skilled blues harpist, has entered into a new endeavor that I thought might be of interest to serious blues harpists. His name is Richard Sleigh and he essentially doctors, refurbishes, soups up, studio quality tunes up, alters to personal specifications, customizes (I can't think of any more other ways to say it) harmonicas including blues harps, Marine Bands, any manner of diatonic or chromatic harmonica. He's entered into this on the advice of master harmonica builder, Joe Filisko, and a person Richard describes as "Oregon harmonica pioneer and harpopath," David Flack. If any of you want to contact Richard, provate E-mail me and I'll give you the data. Thanks Jerry Zolten jjz1@psu.edu. ========================================================================= Date: Tue, 14 Nov 1995 12:55:15 -0600 Reply-To: Rob Varak From: Rob Varak Subject: BB King Up Close Comments: cc: Ed Davila I had the pleasure of seeing noted song thief BB King up close and personal at the Cubby Bear in Chicago on Sunday. Spectacular!!! I jumped at the chance to get tix three months ago because of the size of the venue. I've seen BB everywhere from outdoor venues to Orchestra Hall, but the chance to see him in a club was way too much to pass up. Mr. King did not disappoint. I attended the second show (10:30PM on a Sunday...Yikes!), and managed to squirm my way up to about 10' from the stage. BB's set was pretty standard stuff. He had big amp and mic problems on the first couple of tunes, and looked pissed off for the first time I've seen. Nevertheless, he handled it like the true professional he is. I don't have the set list, but like I wrote, it's the usual stuff. The set really took off when BB sent off the horns and sat down. He played about 45 minutes in this manner, moving from song to song without stopping and weaving his trademark storytelling througout. Highlights included "Five Long Years", "How Blue Can You Get" and "Black Rat" by Memphis Minnie. It was interesting that when BB asked if anyone knew Memphis Minnie, about 2/3 of the crowd screamed. Something tells me that may not have been accurate. Overall, it was a brilliant show. BB is still master of creating "the Chill". Time and time again he played with transcendant elegance. The fact that he could play with such brilliance for 2 1/2 hours at 70 years old is a testament to his excellence. I konw this is long, but I couldn't pass on a quick word about what a gentleman BB is. I know it's been written many times by scribes more eloquent than I, but his warm and kind nature really is obvious to the audience. I've never seen an artist who triggered such adoration merely by walking on stage. He reinforced this notion at the end of the set. He was doing his usual 15 minute autograph and pick throwing session (didn't get my "Live at the Regal" signed though), and people were rushing the stage. He stopped the band, took the microphone and kindly asked that the audience not shove forward. It seems there was a gentleman in a wheelchair at the foot of the stage, and as BB said, he was just their to enjoy a show. BB handled it with class and humor, and the crowd appreciated that. The same could be said of this giant's entire career. Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Tue, 14 Nov 1995 11:04:37 -0800 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Re: Sitting&Thinking-Carey Bell Eddie Taylor's work on I CRY SO MUCH is really, to use a California term, bitchin'. I've had this on vinyl for years, but since I installed a CD changer in the car I very rarely get to listen to vinyl. I picked this up on CD a couple of weeks ago. This is really great stuff. It is amazing how Carey Bell's sound has evolved over the years. He seems to keep getting better and better. Joe ========================================================================= Date: Tue, 14 Nov 1995 13:03:44 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Milk Cow Blues At 12:52 PM 11/14/95 CDT, Bonnie Kalmbach wrote: >We can add Elvis to the list. > > I'm pretty sure, > Bonnie > > "Wait a minute - that don't MOVE me - Let's get REAL GONE for a change...." Yeah, Elvis.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Tue, 14 Nov 1995 14:12:19 -0500 Reply-To: bob unger From: bob unger Subject: Last call for Blues Bytes This is a last call for submissions to the 3rd blues-l compilation tape - "BluesBytes - Music from Blues-l" I am setting the closing date to Dec. 1st. To those of you who wrote me and said they would like to contribute, please do. If you are now unable to contribute, please write me and let me know. I have already recieved contributions from 7 blueseller's and I want to thank them for their time and excellent music. We even have one honest-to-goodness, true-blue composition inspired and written by member's of blues-l. "My Wife Went To Chicago" which was inspired by the notorious LW, and who along with Bob vanArsdall, Dick Waterman and Bo Carlsson, also wrote the lyrics. The music was written by Bo Carlsson's band, The Nightcat's, and was recorded in Sweden. A truly international blues-l affair. I still do not know what the cost will be for anyone who want's a tape. I will give you a ballpark figure of around $5. I'm assuming that will cover the cost of the tape, mailing envelope and postage. When all request's have come in and once I settle on a duplicating house, I will have the final price. For those of you who missed it, you can see the artwork for the tape at Rob Hutten's web site Bluesnet at http://dragon.acadiau.ca/~rob/blues This was created by blueseller embee. (Round of applause) Again, the deadline for you musician's is Dec. 1st. Please let me know one way or the other if can contribute or not. BU bob@sun.bnkst.edu ========================================================================= Date: Tue, 14 Nov 1995 14:41:55 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Organization: IQuest Internet Services Subject: Re: COLUMBIA CDS I saw "Live At The Regal" is on sale for $3.98 this month on cassette if there's still anybody here who doesn't have it. ========================================================================= Date: Tue, 14 Nov 1995 20:31:52 GMT Reply-To: Banana on Wheels From: Banana on Wheels Organization: Inline Hell Subject: BLUES HOCKEY RULES!!!!!! Comments: To: bit-listserv-blues-l@uunet.uu.net Blues hockey kicks ass! ========================================================================= Date: Tue, 14 Nov 1995 14:37:24 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: BLUES HOCKEY RULES!!!!!! In-Reply-To: Message of Tue, 14 Nov 1995 20:31:52 GMT from On Tue, 14 Nov 1995 20:31:52 GMT Banana on Wheels said: >Blues hockey kicks ass! I remember my first WHOLE beer :-) LW ========================================================================= Date: Tue, 14 Nov 1995 12:39:50 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: KENNETH S. GOLDSTEIN DIES AT 68 Comments: To: BluesHvn@aol.com Just as I'm preparing to pre-post the tributes to Peter Welding, I hear the news of Dr. Kenneth Goldstein's death. Bluesville Records issued 3 albums taken from Welding's recordings of Doug Quattlebaum (1065), Clarence Clay & William Scott (1066) and Alec Seward (1076). We should all remember Dr. Kenneth Goldstein as he was a pioneer in starting the 'folk blues' movement of the early 60s. eRIC Anyone who had the vision to record the Rev. Gary Davis is 100% in my book. If you're a long time 'label' reader, certain names pop up every once and while. Take for example KENNETH S. GOLDSTEIN. Born Sunday, March 17, 1929, Brooklyn, NY., I first saw his name on RIVERSIDE 148, a Rev. Gary Davis/ Pink Anderson album that is now available in the Fantasy Original Blues Classic series (OBCCD 524). Goldstein recorded the Rev. Gary Davis in January 1956 while working for a NY publisher. Prior to his involvement with Riverside, he compiled reissues for STINSON Records - albums by Josh White & Leadbelly, taken from their 1943-1944 Asch/Disc Recordings. Goldstein also recorded new material by Sonny Terry (STINSON 55,'52) and the Rev. Gary Davis' 1st ablum (STINSON 56,'54). During this time he also wrote notes to a few ELEKTRA albums, and I think (as I've never seen them), he recorded Sonny Terry's two 1953 ELEKTRA albums (with Alec Seward). By 1958, he was a Ph.D student, receiving his degree in 1963 (from University of Pennsylvania). At the same time, Robert Weinstock's PRESTIGE label convinced him to head their new BLUESVILLE album division. Most of us who have the early BLUESVILLE albums will recognize his name. With A&R men like Paul Rothchild (1959-63)/Sam Charters (1963-64), and producers like Chris Alberston, Ozzie Cadena, Harry Oster & Pete Welding, BLUESVILLE reissued some great country blues. After receiving his Ph.D, he became the chairman of the University of Pennsylvania's Folklore & Folklife Department, and president of the American Folklore Society. He also recorded/produced 100s of traditional folk albums and wrote at least 10 books on Folklore, British ballads, sea songs and monologues. His recordings of Bob Gibson, Jean Ritchie and Ewan MacColl are still favorites of mine. He was also the first program director of The Philadelphia Folk Festival. As an aside, Howard Yanks, co-founder of The Phildelphia Folk Festival, also died this year, on Friday March 3 at age 65. Yanks was born June 3, 1929, Camden, NY. Kenneth S. Goldstein died Saturday, November 11, 1995, Philadelphia, PA. He was survived by his wife Rochelle, daughters Rhoda & Diane and sons, Karl and Scott. Burial will be at Haym Salomon Memorial Park in Frazer, Chester County, PA. His large collection of sheet music will be housed at the Middle Tennessee State University, Murfreesboro, TN., while his books & records will be housed at the Center For Southern Culture, Oxford, MS. I'm sure Dr. Kenneth Goldstein, Howard Yanks will started up another folk festival in the next life! Maybe they'll ask Paul Rothchild (1935-1995) to join them. I'd like to thank Dr. Jeff Titon & Mary Katherine Aldin their help in this profile. PRESTIGE OBCCD/BLUEVILLE SERIES ------------------------------- CD# LP # --- ---- 514 1001 : AL SMITH - HEAR MY BLUES 1002 : BROWNIE MCGHEE/SONNY TERRY - DOWN HOME BLUES 501 1003 : WILLIE DIXON/MEMPHIS SLIM - WILLIE'S BLUES 556 1004 : MILDRED ANDERSON - PERSON TO PERSON 1005 : BROWNIE MCGHEE/SONNY TERRY - BLUES AND FOLK 546 1006 : ROOSEVELT SYKES - THE RETURN OF ROOSEVELT SYKES 502 1007 : LONNIE JOHNSON - BLUES BY LONNIE 572 1008 : SHAKEY JAKE - GOOD TIMES 1009 : VARIOUS ARTISTS - SOUL JAZZ, V. 1 1010 : VARIOUS ARTISTS - SOUL JAZZ, V. 2 531 1011 : LONNIE JOHNSON/ELMER SNOWDEN- BLUES AND BALLADS 554 1012 : LITTLE BROTHER MONTGOMERY - TASTY BLUES 1013 : AL SMITH - MIDNIGHT SPECIAL 557 1014 : ROOSEVELT SYKES - THE HONEYDRIPPER 547 1015 : REV. GARY DAVIS - HARLEM STREET SINGER 558 1016 : SUNNYLAND SLIM - SLIM'S SHOUT 579 1017 : MILDRED ANDERSON - NO MORE IN LIFE 1018 : MEMPHIS SLIM - JUST BLUES 532 1019 : LIGHTNIN' HOPKINS - LIGHTNIN' 1020 : BROWNIE MCGHEE/SONNY TERRY - BLUES ALL AROUND MY HEAD 1021 : ARBEE STIDHAM - TIRED OF WANDERING 515 1022 : CURTIS JONES - TROUBLE BLUES 533 1023 : K. C. DOUGLAS - K. C.'S BLUES 543 1024 : LONNIE JOHNSON - LOSING GAME 503 1025 : SONNY TERRY - SONNY'S STORY 553 1026 : ROBERT PETE WILLIAMS - FREE AGAIN 559 1027 : SHAKEY JAKE - MOUTH HARP BLUES 1028 : ST. LOUIS JIMMY - GOIN' DOWN SLOW 548 1029 : LIGHTNIN' HOPKINS - LAST NIGHT BLUES (w/SONNY TERRY) 516 1030 : TAMPA RED - DON'T TAMPA WITH THE BLUES 1031 : MEMPHIS SLIM - NO STRAIN 1032 : REV. GARY DAVIS - HAVE A LITTLE FAITH 1033 : BROWNIE MCGHEE/SONNY TERRY - BLUES IN MY SOUL 573 1034 : MEMPHIS WILLIE B. - INTRODUCING MEMPHIS WILLIE B. 574 1035 : SIDNEY MAIDEN - TROUBLE AN' BLUES 1036 : FURRY LEWIS - BACK ON MY FEET AGAIN 1037 : FURRY LEWIS - DONE CHANGED MY MIND 504 1038 : PINK ANDERSON - CAROLINA BLUES MAN 552 1039 : MERCY DEE WALTON - PITY AND A SHAME 517 1040 : BLIND WILLIE MCTELL - LAST SESSION 1041 : HENRY TOWNSEND - TIRED BEIN' MISTREATED 505 1042 : BROWNIE MCGHEE - BROWNIE'S BLUES 549 1043 : TAMPA RED - DON'T JIVE ME 518 1044 : LONNIE JOHNSON/V. SPIVEY - IDLE HOURS 506 1045 : LIGHTNIN' HOPKINS - BLUES IN THE BOTTLE 568 1046 : SNOOKS EAGLIN - THAT'S ALL RIGHT 1047 : SCRAPPER BLACKWELL - MR. SCRAPPER'S BLUES 578 1048 : MEMPHIS WILLIE B. - HARD WORKING MAN BLUES 519 1049 : REV. GARY DAVIS - SAY NO TO THE DEVIL 569 1050 : K. C. DOUGLAS - BIG ROAD BLUES 1051 : PINK ANDERSON - MEDICINE SHOW MAN 520 1052 : HEGAMIN/SPIVEY/HUNTER - BLUES WE TAUGHT YOUR MOTHER 507 1053 : MEMPHIS SLIM - ALL KINDS OF BLUES 566 1054 : VICTORIA SPIVEY/L. JOHNSON - WOMAN BLUES 544 1055 : VARIOUS ARTISTS - BAWDY BLUES 1056 : BIG JOE WILLIAMS - BLUES FOR 9 STRINGS 1057 : LIGHTNIN' HOPKINS - WALKIN' THIS ROAD BY MYSELF 561 1058 : BROWNIE MCGHEE/SONNY TERRY - AT THE SECOND FRET 521 1059 : SONNY TERRY - SONNY IS KING 1060 : WADE WALTON - SHAKE'EM ON DOWN 1061 : LIGHTNIN' HOPKINS - LIGHTNIN' & CO. 550 1062 : LONNIE JOHNSON - ANOTHER NIGHT TO CRY 1063 : SMOKEY BABE - HOTTEST BRAND GOIN' 1064 : ROBERT CURTIS SMITH - CLARKSDALE BLUES 1065 : DOUG QUATTELBAUM - SOFTEE MAN BLUES 1066 : CLARENCE CLAY/WILLIAM SCOTT - THE NEW GOSPEL KEYS 580 1067 : BIG JOE WILLIAMS - AT FOLK CITY 560 1068 : PETE FRANKLIN - GUITAR PETE'S BLUES 514 1069 : AL SMITH - BLUES SHOUT (reissue of 1001) 551 1070 : LIGHTNIN' HOPKINS - SMOKES LIKE LIGHTNIN' 557 1071 : PINK ANDERSON - BALLAD & FOLK SINGER 567 1072 : BABY TATE - SEE WHAT YOU DONE DONE 522 1073 : LIGHTNIN' HOPKINS - GOIN' WAY 1074 : BROOKS BERRY/S. BLACKWELL - MY HEART STRUCK SORROW 523 1075 : MEMPHIS SLIM - STEADY ROLLIN' BLUES 1076 : ALEC SEWARD - CREEPIN' BLUES 1077 : J. T. ADAMS - INDIANA AVE. BLUES 1078 : RAVI SHANKAR/ALI AKBAR KHAN - MASTER MUSICIANS OF INDIA 1079 : ALI AKBAR KHAN - CLASSICAL MUSIC OF INDIA 1080 : (never used) 1081 : LIGHTNIN' HOPKINS - GOT TO MOVE MY BABY(reissue of 1029) 1082 : (never used) 1083 : BIG JOE WILLIAMS - STUDIO BLUES 1084 : LIGHTNIN' HOPKINS - HIS GREATEST HITS 1085 : (never used) 1086 : LIGHTNIN' HOPKINS - DOWN HOME BLUES 1087 : SHIRLEY GRIFFITH - SATURDAY BLUES 1088 : (never used) 1089 : OUDI HRANT - TURKISH DELIGHTS ========================================================================= Date: Tue, 14 Nov 1995 17:00:33 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Organization: IQuest Internet Services Subject: Re: Sitting&Thinking-Carey Bell Comments: To: joey@OSMOSYS.INCOG.COM ================I've had this on vinyl for years, but since I installed a CD changer in the car I very rarely get to listen to vinyl. =========== Man, it's such a pain recuing a record in the car every time the tone arm jumps off the tuntable when you hit a bump.. Maybe that's why those car turntables never really caught on. RJ Bauman ========================================================================= Date: Tue, 14 Nov 1995 16:21:20 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: BLUES HOCKEY RULES!!!!!! Comments: To: Banana on Wheels In-Reply-To: <48aubo$c7c@hptemp1.cc.umr.edu> On Tue, 14 Nov 1995, Banana on Wheels wrote: > Blues hockey kicks ass! I think you meant STLBLUES-L@wums.wustl.edu -Jeff (and they suck right now, Keenan is a butthead) Back to your regularly scheduled MUSIC list.... ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / As I was riding across the Mississippi \ / I stopped there and I cried. \( No use for a man to keep a mighty river All dammed up inside. -Joe Ely ========================================================================= Date: Tue, 14 Nov 1995 15:03:07 -0800 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Re: Sitting&Thinking-Carey Bell Comments: To: rjbauman@iquest.net RJ writes > > Man, it's such a pain recuing a record in the car every time the tone > arm jumps off the tuntable when you hit a bump.. Maybe that's why those car > turntables never really caught on. It's even harder trying to recue a record, drive, and talk on the cell phone at the same time. Thank God I'm not one of those sensitive guys who wears make-up. Not that I would need it. Joe ========================================================================= Date: Tue, 14 Nov 1995 19:53:36 PST Reply-To: mail06702@pop.net From: "(Dave Ruthenberg)" Subject: New Detroit Blues Newsletter Name: Dave Ruthenberg E-mail: mail06702@pop.net Date: 11-14-95 Time: 6:55 PM EST Attention Detroit area Blues lovers. A new Blues publication (actually "newsletter" is more appropriate) is tentatively set to debut in January 1996. It will be distributed free and available (hopefully) at your favorite Blues club. THE BLUES RAG, as we are calling it, is looking for some assistance. If you are interested in helping out (i.e. writing, distribution, artwork, reviews, etc...) please reply via PRIVATE e-mail to the above address. An alternate e-mail address is MojoBandit@aol.com Our focus, naturally, will be on the Detroit Blues scene, but also will include some coverage of national and/or international blues as well. While we definetly welcome assistance we also want to be very upfront and advise that any help you may be able to provide would have to be considered voluntary as we are not (yet) in a position to pay for submissions. Thanks and we hope to hear back from a few folks. Take care. ========================================================================= Date: Tue, 14 Nov 1995 16:15:40 -0000 Reply-To: "J. Witteveen" From: "J. Witteveen" Subject: Re: Internet Blues Radio Comments: cc: ERIC@ivl.com >Where do I connect to hear your Blues radio program and to get the >software? For anyone interested in listening, there is a temporary website set up at http://www.metronet.com/~iczer that has all the relevant details. You can download the free beta software at http://vocaltec.com/iwave.htm. Our first show should appear around the end of November, and it features Paul James, Snooky Pryor & Johnny Shines, the Five Blind Boys of Alabama, and more! -Jim (hndful@uniserve.com) ========================================================================= Date: Tue, 14 Nov 1995 16:46:29 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Humming PA's / amp feedback Comments: To: BLUES-L@BROWNVM.BROWN.EDU. L W said: >I have a question: Will a solid state amp be less apt to feedback when used to >mic a guitar.....?? Theoretically no, but the compression effect from an overdriven tube amp with a tube rectifier could make the feedback worse. Of course, driving a tube amp into distortion with a microphone would sound REALLY AWFUL, so the answer is, they will be the same. (assuming similar frequency response characteristics, something not likely to be true) >I've used another bands PA a couple times, once was last Sunday night and it >hummed so bad I had to stop. I could not hear. I complained but was told there >was nothing they could do (In retrospect I think they should have cut the >monitors, I think the hum was from them)....The other time I used this particul >ar PA, there was no hum, but not a great sound. A humming sound system is a dead giveaway for amateur operators, and no engineer in sight. There is absolutely no excuse for this, and I would not hire that sound company again. What really gets me is that they acted like "it couldn't be fixed" when the truth was, they did'nt know what they were doing. Proper equipment interfacing/grounding is BASIC in audio engineering. Someone who does not know how to fix these kinds of problems is like a guitar player who still cheats on his "G" chord.... (I am assuming here that the hum was NOT introduced by something the band brought... if it was, the sound guys should have pointed out what the problem was, instead of letting you think it was their gear) >So my two choices so far, are to use my Gibson with the DeArmond pickup or >put a pickup on my National. When you put a pickup on the National , it loses >it's resonating quality. Keb' Mo suggested moving it back to the coverplate >but it still sounds like an electric guitar.... I'm in on this late, but what's wrong with a good mic?? Do you like the sound of going through a guitar amp? >Any thoughts. Would a solid state (ugh) give me more volume before feeding >back......???? no. Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Tue, 14 Nov 1995 19:47:14 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: More CH offers. Comments: To: bit-listserv-blues-l@uunet.uu.net Just got in a new batch of Columbia House CD offers. Anyone interested e-mail me privately. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Tue, 14 Nov 1995 16:51:16 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Miking an acoustic guitar/dobro: Help please Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Riffin Rick said: >I'm going to do a 2 man (guitar + harp) sorta unplugged gig this weekend and >have been mulling over getting a Shure SM57 mike to put my dobro and jumbo >acoustic into the PA. I've been using my SM58 vocal mike, but I'm not happy >with how it picks up guitar. My understanding is that the SM57 is the industry >workhorse for good, inexpensive instrument miking. "good" and "inexpensive" >being the operative words here. > >Can someone with experience give me some info re: these mikes? Like, yes, it's >a good choice, or no, you won't notice the difference from the SM58. I know >it's >unidirectional, not omni like the SM58, which I would assume makes it better >for picking up the guitar. Hi Rick! The only difference between a 57 and a 58 is the windscreen. They are both unidirectionals (cardioids) In my opinion these mics are yesterday's "standard". We use them for some stuff, but there are much better mics out there now. See if someone can let you try a Beyer M201 or M69. They are both LOTS better than the old 58's/57's. There in the 235.00 to 265.00 price range, but the sound improvement is dramatic. good luck Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Tue, 14 Nov 1995 15:13:16 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Rob's Drawing/Blues Bytes Just a thought, if we have Rob's blessings. I'd consider doing some T-shirts (one color, no sweat shirts) That had Rob's drawing and something like the 3rd Annual Blues-l tape or whatever. There is a local shop that is run by "disabled" folks, they do a great job and are cheaper than most places. If there is interest I can check into it..... The shirts would probally be about 12-13 dollars including postage.... Lemme know if you think it's a good idea or a bad idea LW btw: GREAT DRAWING ========================================================================= Date: Tue, 14 Nov 1995 19:59:54 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Blues Books Rob said, concerning A. Lomax and his book The Land Where the Blues Began: >>I seem to recall him saying that the guitar is ripe with sexual >>imagery - the body is shaped like a woman's torso, and the neck >>is phallic. (Of course, anything longer than it is wide is >>phallic in some people's eyes) Perhaps he felt this is why women >>stayed away from guitars... Yes, that was something like it...and then he went on to add... because many male guitarists, especially rock guitarists, position their guitars low over their pelvises, playing the guitar is like a sexual act. To me, this is really stretching the imagination. Even if we accept the sexual symbolism, why would women stay *away* from it? After all, to play, one must finger the neck, and if that's a phallic symbol, then....well, it doesn't make sense. The entire explanation made me wonder what he would say about men who play clarinets.... I seem to remember that he interpreted pre-adolescent girls' circle games in a sexual way, too. Creepy. Karen ========================================================================= Date: Wed, 15 Nov 1995 02:01:53 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Jimmy Rogers' Capitol reissue Comments: To: bit-listserv-blues-l@uunet.uu.net In article Jeff Seale writes: >Saw this in the store the other day and forgot what the opinion of >the list was on this one. So, should I get it? I still need to get >Chicago Bound... If you don't own Chicago Bound, I'd start there. With Little Walter, Otis Spann, Muddy Waters, Big Crawford, Willie Dixon and a cast of 1000s of blues giants (just kidding), how can you go wrong? These are truly classic recordings that belong in everyone's collection. The Capitol release is Shelter label recordings from 1972-73. These were some of his first commercial recordings after leaving Chess in 1960. They are good but maybe not at quite the same level. If you own the Sequel CD Chicago's Jimmy Rogers Sings the Blues (NEX CD 142), then you already own this stuff. If you're looking for a next purchase after the Chess sides, I'd go for "Blue Bird", Analogue Productions Originals (APO 2001). This is a small label from Kansas - tough to find in stores but well worth ordering through one of the computer CD stores or you can call them directly (Acoustic Sounds 913- 825-8609). Art Schuna ========================================================================= Date: Tue, 14 Nov 1995 21:02:37 -0500 Reply-To: PaliGap69@AOL.COM From: "(christopher Jones)" Subject: BB King/Bobby Bland Live I was listening to the first "BB King and Bobby Bland, Together For the Frst Time; Live" today, and for some reason I remember reading somewhere that it was not recorded in a club like it sounds, but instead was all done in the studio using the technicians, etc. Is there any truth to this? If that was the case, why? I mean it is "live"; but you get the impression that they are in a club. At one point BB asks for a beer! Please explain Chris ========================================================================= Date: Wed, 15 Nov 1995 02:56:13 GMT Reply-To: Jim Farris From: Jim Farris Organization: Netcom Subject: Re: Katie Webster Comments: To: bit-listserv-blues-l@uunet.uu.net Hi Bkg agent, I was so glad to hear that Katie is out touring again. She was pretty sick a few years ago. We had a benefit for her in Sunnyvale, California. I'm glad that she's doing well. Jammin' Jim Farris KKUP 91.5 FM Bkg agent wrote: >Katie Webster will be performing at the Sangerheim in Notodden Norway >November 11th. > >This should be an excellent show. Katie is right on top of that piano >once again and the band even features a well known bass player from >Mississippi, Raphael Semmes. > >Wish I could go myself, but I must live vicariously through others at this >busy time. Let me know if any of you get to make the show! > > >Janice >Nickeltune Music, Inc. ========================================================================= Date: Wed, 15 Nov 1995 02:56:29 GMT Reply-To: Jim Farris From: Jim Farris Organization: Netcom Subject: Re: Online Chat/Excello's Lazy Lester, Jerry McCain Comments: To: bit-listserv-blues-l@uunet.uu.net Mike, AOL already has a Blues chat set up for Wednesdays and Sundays. Contact HippieLady@aol.com for more information. If you want to set up your own, nothing could be easier. Just go into private rooms and start your own room by typing a name for it (any name you want). (Of course, you can do the same thing in IRC.) It seems that there's a lot of Blues people on AOL. I think AOL's easier to use, and the chat rooms are a lot easier to use than IRC. Of course, depending on the connection you have, IRC can be a lot cheaper! Jammin' Jim Farris KKUP 91.5 FM Mike Corso wrote: >Hi, folks! > >I'm interested in setting up an online chat with Excello recording artists >Jerry McCain, >Lazy Lester and perhaps Nashboro gospel recording artists (such as Shannon >Williams) as >well. > >I'm looking for feedback as to the best place to do this (IRC? AOL? >Prodigy? Compuserve?) so please email me with your thoughts. > >Thanks for any suggestions. > >Mike Corso >C NOTES INTERACTIVE >http://www.cnotes.com ========================================================================= Date: Tue, 14 Nov 1995 20:57:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Jr.Wells query Does anyone know who wrote the tune "Watch Me Move" on Jr. Wells' Delmark album "Jr. Wells on Tap"? It says only "arranged by Phillip Guy". It sounds rather James Brown-ish. Thanks, Bonnie ========================================================================= Date: Tue, 14 Nov 1995 20:00:02 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: New Blues CDs RJ Bauman says: >>I read a review of Bonne Raitt's new live double CD called "Road >>Tested" and the reviewer said it had lots of blues on it I heard a Bonnie Raitt song on the radio yesterday and it was excellent. Didn't hear what the name of it was, but it was blues, and the radio guy said it was from her new album. I was wondering also about the rest of the album.... Karen ========================================================================= Date: Tue, 14 Nov 1995 22:37:56 PST Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: "Tom, Dick & Jane" , Judith and Tony Comments: To: dchiass On Tue, 14 Nov 1995 21:11:40 GMT dchiass wrote: > > >Mike, enjoyed your discourse on Dick Waterman. For the uninformed in >the rest of the world who are Judith and Tony since you mentioned them >multi times? Ah, Judith is my lovely wife and Tony's mother is Rosa, the owner of... Rosa's. >It's almost like I should know who "Judith and Tony" are. Boy am I >ever dumb and don't have a clue about the Chicago blues scene!!!! Nah. I used to include Judith the sig but she hasn't been very active lately so I used the space myself... >Obviously if I did I could understand your post better. This is not a >flame but an observation. > >On Mon, 13 Nov 1995 01:57:12 PST, in bit.listserv.blues-l you wrote: > >>Noted blues-l'er and Mississippian Dick Waterman blew into Chicago for a >>few days and charmed the pants off of at least four Blues fans. >massive snip >>Dick thereupon told Judith that she'd have to have some with us instead of >>the strudel and ordered three spoons! This is all happening very fast. We >>all have full bellies and are feeling better than good from the great food >>and wonderful company. It is like being swept away in the passion of V.E. >>day. >more snip > >DeWayne C >the West Coast of Canada Loves the Blues > >http:/www.mortimer.com/users/dchiass/ Mike [ home work ] [ http://www.xnet.com/~msuffern/soundtravels.html ] [ The Blues&Travel Site, Blues Guides, Festivals, ] [ Eric Clapton @ Royal Albert Hall, London tour ] ------------------------------------------------- [ Above all, play what your heart tells you to... ] [ As you learn, your heart will have more to say. ] ========================================================================= Date: Tue, 14 Nov 1995 23:02:57 -0500 Reply-To: THesters From: THesters Organization: America Online, Inc. (1-800-827-6364) Subject: Blues scales Comments: To: bit-listserv-blues-l@uunet.uu.net I'm tired of playing in diatonic scales, please e-mail me or just answer this message in the newsgroup for something diferent. Diatonic blues scales accepted. And if someone knows something diferent scales to play with silde, I would be glad. Apriciated, Alexandre de Santi ========================================================================= Date: Wed, 15 Nov 1995 00:08:33 -0500 Reply-To: James Leftwich From: James Leftwich Subject: home page netiquette Hey, I'm starting up my home page and was wondering if I'm obligated to inform site owners if I include them as a link on my page. If I'm using some of someone's list of links do I need their permission? Back to blues programming... Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" :) ========================================================================= Date: Wed, 15 Nov 1995 00:07:35 -0500 Reply-To: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA From: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA Subject: Re: Christmas picks needed I have a pretty large collection of blues, jazz and r'n'b Christmas recordings, and my tendency is to collect up the better tracks from all of them and do a compilation tape. I should track one down and post the playlist here. My personal favorite is a partly-blues CD called "Bummed Out Christmas," which includes such r'n'b Christmas classics as "Santa Came Home Drunk," "Christmas in Jail," and "Christmas in Vietnam." Also good, but with a few tracks of schlock, is a thing called "Rhythm & Blues Christmas," which leads off with Hank Ballard's paint-peeling "Christmastime For Everybody But Me," and which has the Amos Milburn recording (not the similar Charles Brown recording) of "Christmas Comes But Once A Year." I have this on cassette... I am still loo king for the CD. You might also like "Have a Merry CHESS Christmas," which includes some decent stuff on it. Cheers to Leonard and Phil for putting this together. I often end up buying Christmas blues and jazz collections in August, when they're cheap. I've also learned, if you see something that has even a couple interesting tracks on it, BUY IT NOW, because next year nobody at Sam Goody's will have the slightest clue what you're talking about. I'm gonna stop by the record store on my way home and see what I can find. As a federal grunt, I am being sent home today, so I guess I'll have the time. As far as what to buy for people who aren't hardcores like us... I may not be the best person to ask. Several years ago I got a friend the Robert Johnson box set. I got my wife the Muddy Waters box set. I got my stepbrother the Atlantic Blues box set. Actually, the Atlantic Blues/Guitar collection is one of the better ones to ease someone into the genre, and it's good you can buy each disc individually. Can't help you with the Austin stuff. Scott Visit That Blues Music Page at The Weightless Dog! http://www.charm.net/~turtle _____ Reply Separator _____ Author: bbginc @ AOL.COM @ INTERNET Received: 11/11/95 04:32:02 PM Subject: Christmas picks needed I am trying to make up my christmas list already (hard to believe isn't it). I would like some suggestions if people have any for: -- Favorite blues Christmas CDs -- Anthologies/Collections suitable for friends not 100% into the blues -- yet. Is there an Austin Blues collection? Thanks much in advance. Andy Gordon ========================================================================= Date: Wed, 15 Nov 1995 00:07:43 -0500 Reply-To: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA From: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA Subject: Re: Ari Eisinger Ari: If you're reading this, by the way, I still owe you a Christmas tape. And thanks again for the tapes you had sent that one time. Can you email me your postal address? My wife and I moved and (as usual) little pieces of paper got lost somewhere... Scott Wenzel turtle@charm.net Visit That Blues Music Page at The Weightless Dog! http://www.charm.net/~turtle/blues.html _____ Reply Separator _____ Author: BLUZMANED @ AOL.COM ("Bluzman Ed@Aol.Com.") @ INTERNET Received: 11/12/95 05:11:56 PM Subject: Ari Eisinger Ari plays ragtime and blues from the twenties and thirties, in the style of Mississippi John Hurt, Blind Blake, Tampa Red etc., and though I have heard his CD, it did not prepare me for the experience of listening to and seeing him in person. The man is phenomenal. When you listen to his recording, you'd swear he has to have a couple of extra fingers there to play the way he does, but I can tell you, he has no more than anyone else. He just uses them better! He is a quiet and unassuming man, who lets his guitar express his love for the music he performs. ========================================================================= Date: Wed, 15 Nov 1995 04:59:09 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - November 15th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- AUSTIN, BILL JOE (tsax) b. 1911-1115, SMITHFIELD, NC BURNSIDE, HAROLD C. (arr/STAX) d. 1986-1115, CHERRY HILL, NJ 44 CURTIS, MANN (EMANUEL MANNY KURTZ)(songw) b. 1911-1115, BROOKLYN, NY DURAL, SANDIS P. (of BUCKWHEAT ZYDECO) b. 1953-1115, LAFAYETTE, LA EUBANKS, KEVIN TYRONE (g) b. 1957-1115, PHILADELPHIA, PA HARRIS, DICKY (tbn/MILLINDER) b. 1918-1115, BIRMINGHAM, AL HINTON, JOE (JOSEPH LEE HINTON) (v/HI) b. 1929-1115, EVANSVILLE, IN JOHN, LITTLE WILLIE[WILLIAM EDGAR JOHN]v b. 1937-1115, CULLENDALE, AR JOHNSON, CONRAD (asax) b. 1915-1115, VICTORIA, TX JOHNSON, GUS (d) b. 1913-1115, TYLER, TX JORDAN, CHARLEY (g) d. 1954-1115, ST. LOUIS, MO 64 LESTER, SONNY (prod/owner: LRM REC) b. 1924-1115, BOSTON, MA LOVE, CLAYTON (p/IKE TURNER) b. 1927-1115, MATTSON, MS MCPHATTER, CLYDE LENSEY (v/DRIFTERS) b. 1932-1115, DURHAM, NC MISSISSIPPI MATILDA (WITHERSPOON) (v) d. 1978-1115, CHICAGO, IL 64 READ, WALLACE "CHEESE" (vln/cajun) d. 1981-1115, EUNICE, LA 57 RICHARDSON, JEROME C. (tsax) b. 1920-1115, SEALY, TX STRANGE, RICHARD "DOBIE" (of LIL'CHARLIE) b. 1948-1115, RED CLIFF, CO TAYLOR, BILLY JR. (b) d. 1977-1115, WASHINGTON, DC 51 TURNER, IZEAR LUSTER "IKE" (g/p/prod) b. 1931-1115, CLARKSDALE, MS WELDING, PETER JOHN (prod/TESTAMENT REC) b. 1935-1115, PHILADELPHIA, PA ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 15 Nov 1995 04:19:10 -0500 Reply-To: "jose.eric.s.maglanque" From: "jose.eric.s.maglanque" Subject: Re: Blues Scales (For Slide???) Whoa! You don't mean scale as in a *blues* scale to play with slide, do you? It'd have billion notes in it, wouldn't it ;-) I'll give my whole record collection to the person who will produce a chart! And I always thought this is precisely the reason that I turned to slide in the first place! :-) My friend, the voice of your soul lies within the notes, and it will not show itself in a chart to the last. \\\\\ 00 < ~ // - Delta Slim (3rd World Bluesman) > I'm tired of playing in diatonic scales, please e-mail me or just > answer this message in the newsgroup for something diferent. Diatonic > blues scales accepted. And if someone knows something diferent scales to > play with silde, I would be glad. > Apriciated, > > Alexandre de Santi ========================================================================= Date: Wed, 15 Nov 1995 10:29:44 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: UTRECHT BLUES ESTAFETTE Nov 18th Just a remainder concerning Europe's finest blues festival: BLUES ESTAFETTE - UTRECHT (at the Vredenburg, located in the center of the city) THE NETHERLANDS SATERDAY 18th NOVEMBER 1995 3.00 PM- 3.00 AM Ticket 65 fl >>>> Info: +31-10-233 02 33 (NEW Ph NUMBER) * COOKIE AND THE UPCAKES * TYRONE DAVIS REVUE * MISS LAEELLE WHITE * BIG JOE BURREL AND THE UNKNOWN BLUES BAND * RAY SHARPE WITH JOHNNY RED AND THE ROOSTERS * JIMMY BEASLEY * SUGAR PIE DESANTO * SUNPIE AND THE LOUISIANE SUSPOTS * THE EXCELLE LEGENDS feat EARL GAINES, ROSCOES SHELTON, CLIFFORD CURRY * LITTLE COOPER AND THE DRIFTERS * JOHN LEE ZIEGLER >>>>>>>>* J.W.WARREN IS REPLACED BY JACK OWENS <<<<<<<<<<<<<<<<<<< * LEVI WILLIAMS AND THE MEMPHIS LOW-END BLUES BAND * BIG CLARA AND THE MAGNETONES * The DYNAMIC DUO (BLUES BOY HUBBARD AND MATTHEW ROBINSON) AND JET'S BAND Needless to say it looks like a great day. Hope to meet bluezeller from all over the world :-)) .. I'll have my Blues-L T-shirt on ... For Peter G. : I hope we'll meet us upstairs near the small hall. I still have to offer you some drink! Jean-Pierre Urbain P.S. I have no relation with (or finan. interest in) this organization... but as B&R once said "it really IS Europe's finest blues event." ========================================================================= Date: Wed, 15 Nov 1995 05:58:04 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Jr.Wells query Comments: To: KALMBACH@MACC.WISC.EDU On 14 Nov 95, Bonnie Kalmbach had this to say: > Does anyone know who wrote the tune "Watch Me Move" on Jr. Wells' Delmark > album "Jr. Wells on Tap"? It says only "arranged by Phillip Guy". It > sounds rather James Brown-ish. You must have a vinyl version. My Delmark CD gives no credits at all on any of the songs. The liner notes, however, make reference to claims that Junior was doing James Brown BEFORE James Brown. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Wed, 15 Nov 1995 05:58:04 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Blues scales Comments: To: thesters@AOL.COM On 14 Nov 95, THesters had this to say: > I'm tired of playing in diatonic scales, please e-mail me or just > answer this message in the newsgroup for something diferent. Diatonic > blues scales accepted. And if someone knows something diferent scales to > play with silde, I would be glad. Well, you could try a whole tone scale, but I'm a fraid you'll have trouble working that into the Blues. Are you sure you mean "diatonic" scales? Most scales in western music are diatonic (5 whole tones and 2 semi-tones). Perhaps you mean "pentatonic" which is a 5 note scale most closely associated with the Blues. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Wed, 15 Nov 1995 07:44:23 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Blues Promotion Eric Clapton's (a.k.a Rich Little's)"From The Cradle" must be the highest selling Blues album of all times. The sad part is that record execs will probably look at it as the power of Clapton instead of the power of the Blues. What they won't realize is that they could take Jimmy Dawkins (or any one of a hundred other guys) give him half of E.C.'s production budget, make a PBS special about his new album, make an MTV unplugged episode with him, grease all the radio station wheels, supply free "exclusives" to Entertainment Tonight, produce a few key music videos and GIVE them away to the media, and you'd sell a few million Dawkins albums as well. Unlike many folks, I believe that the public has good taste. I think if they got to hear all of what's out there, the real cream would rise to the top. But Big Biz's disrespect for the public, fear of the un-proven, and love of the "sure thing" will never allow that to happen. On the other hand, the general public is lazy, and getting lazier every day, which fits perfectly into what the media plans for them. You got to work hard to scrape up a copy of Freddie King Live in Antibes (damn, I had to win a contest!), but you can find E.C.'s album at K-Mart directly opposite the plastic loafers. Please stop me.... somebody. It's one of them moooods. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 15 Nov 1995 13:59:04 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Blues Promotion Comments: To: "P.W. Fenton" >Eric Clapton's (a.k.a Rich Little's)"From The Cradle" must be the >highest selling Blues album of all times. The sad part is that >record execs will probably look at it as the power of Clapton >instead of the power of the Blues. What they won't realize is that >they could take Jimmy Dawkins (or any one of a hundred other guys) >give him half of E.C.'s production budget, make a PBS special about >his new album, make an MTV unplugged episode with him, grease all >the radio station wheels, supply free "exclusives" to Entertainment >Tonight, produce a few key music videos and GIVE them away to the >media, and you'd sell a few million Dawkins albums as well. > >Unlike many folks, I believe that the public has good taste. I think >if they got to hear all of what's out there, the real cream would >rise to the top. But Big Biz's disrespect for the public, >fear of the un-proven, and love of the "sure thing" will never allow >that to happen. > >On the other hand, the general public is lazy, and getting lazier >every day, which fits perfectly into what the media plans for them. >You got to work hard to scrape up a copy of Freddie King Live in >Antibes (damn, I had to win a contest!), but you can find E.C.'s >album at K-Mart directly opposite the plastic loafers. > >Please stop me.... somebody. It's one of them moooods. Stop! PW STOP! Dawkins had something to say about this (but its close to ten years - he might have changed his wiew) He said something to the effect: - Stevie Ray can play guitar, Clapton can play guitar, Buddy Guy and myself can play the guitar. They are white and we are black - thats the reason they get exposed. But I agree otherwise "even" a middleaged black bluesman would of course be better off with half EC:s promotion budget. Mr Bo ========================================================================= Date: Wed, 15 Nov 1995 13:02:24 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: THE SWINGING PIG NEW IN STOCK LIST In-Reply-To: Am I correct in assuming these are all boots? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [15/11/95 7:47 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 15 Nov 1995 09:30:14 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: Rob's Drawing/Blues Bytes Comments: To: ISTS024@UABDPO.BITNET In-Reply-To: from "L W" at Nov 14, 95 03:13:16 pm > Just a thought, if we have Rob's blessings. I'd consider doing some T-shirts > (one color, no sweat shirts) That had Rob's drawing and something like the > 3rd Annual Blues-l tape or whatever. Just to clear things up - The drawing was by embee, not me. I just stuck it on my web site... > btw: GREAT DRAWING It's an AMAZING drawing, and I'd love to have it on a shirt... -Rob ========================================================================= Date: Wed, 15 Nov 1995 08:43:59 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Re: home page netiquette Comments: To: leftwich@cloud9.net In-Reply-To: from "James Leftwich" at Nov 15, 95 00:08:33 am In another time and place, James Leftwich said: > > Hey, > > I'm starting up my home page and was wondering if I'm obligated to inform > site owners if I include them as a link on my page. If I'm using > some of someone's list of links do I need their permission? You are not obligated to inform them but I consider it to be good netiquette to stop by the page you are going to link, compliment them and tell them you are going to link them on your pages and maybe they will do the same for you. If you are going to steal someone elses links, I would have two comments. One, consider how hard these people worked to find those links, I encourage you to not put those links on your page in the same way they had them and not to do it again. :) There are plenty of places that you can surf on the net for new links which will make your site more valuable and a better resourse to us all. If people have their web pages copyrighted ( as I do on my record label links ) then just don't do it. Why not link to the site and let that person get credit for what he or she is doing? One last thing since you asked, a web site should not be judged on how many links you have to other places but rather what you have put on your pages that are unique and can't be found elsewhere. IMHO, of course. :) Tom ----------------------------------------------------------------------------- My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Wed, 15 Nov 1995 09:07:20 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Who wrote "Drop Down Mama"? Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com Can anyone tell me who wrote "Drop Down Mama"? I've heard at least two versions - by Sleepy John Estes and Fred McDowell (the version on McDowell's Arhoolie album You Got To Move is incredible!), and I'm sure others have done it. Did Estes or McDowell write it or was it around before them? Just curious, Steve ========================================================================= Date: Wed, 15 Nov 1995 09:06:09 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0350 From: "DUTTWEILER.J" Subject: Re: Blues Promotion Date: Wednesday, 15 November 1995 9:05am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: Blues Promotion In-Reply-To: The letter of Wednesday, 15 November 1995 8:29am ET While not disputing the basic thrust of this thread, it's difficult to argue with the economics of the situation. EC has been selling millions of records for years. He has a very wide fan base and has brought in a great deal of money for his record company over the years. Certainly there must have been record company execs who balked at the idea of a totally "blues" album even from EC, but he carried the "weight" to swing the deal. I think those of us who are BLUES fans should face the reality that the Blues are simply never going to reach as many people as we would like. While the music itself carries a universal message it does not, in reality, have universal appeal. It's sort of like everyone bemoaning the fact that there are so few "G" rated movies one can take one's family to, and then no one going to the "G" rated movies when they come out. Who can really blame the movie companies for not putting more into releasing those movies? I guess I'm just of the opinion that not everyone has "good" taste (meaning, of course, taste that coincides with *mine*) and even if they are exposed to something everyone will not buy it. Pop is pop because it appeals to a wide audience, and that will always be where the most money is. And BTW, I don't buy it being a black/white issue, with all due respect to Mr. Dawkins. Lot's of white people have been buying black performed and produced music for a long time (you can't really make much money at all, relatively speaking, if you appeal to *only* 12% of the total population). Let's be honest, the blues simply is not going to appeal to enough people to make it worthwhile for record companies to put the same (or even half) effort they put into to a proven money maker's project into (relatively) unkown blues muscian's, no matter how great we may know him/her to be. Jon (just my opinion) Duttweiler ========================================================================= Date: Wed, 15 Nov 1995 09:20:18 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Organization: IQuest Internet Services Subject: Re: Christmas picks needed Comments: To: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA ============As far as what to buy for people who aren't hardcores like us... I may not be the best person to ask. Several years ago I got a friend the Robert Johnson box set. =========== I'd go with the gold disc of King Of The Delta Blues this time around. It's so much more listenable than it's predecessor. I really like it. ========================================================================= Date: Wed, 15 Nov 1995 08:19:24 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Blues Promotion Before this thread gets into a black & white thing or an UNDESERVING trashing of Eric Clapton. Lets use a better example. Jimmy Rogers Bluebird is excellent , then why in the world has Keb' Mo outsold it about a million to one. Promotion & Marketing.... Why has Keb out sold Honeyboy , James Cotton, Jr. Wells.....Is Keb that much better than them.....?????. Promotion and Marketing I'm using Keb as an example cause he is black and the performers you were comparing to EC were black. So we need to keep it oranges and oranges otherwise it sounds racist.... LW ========================================================================= Date: Wed, 15 Nov 1995 09:49:31 -0500 Reply-To: "Abe W. Mathews" From: "Abe W. Mathews" Subject: Willie's Guitars (Limited Blues Content) Hey, bluesers- During an interview trip to Minneapolis this last weekend, I made to to Willie's American Guitars for the first time. I've wanted to go for a while, but was never able to find the time. Boy, was I impressed. Every instrument in the store (including some 70's Fenders) was highly playable, and decently priced. The sales staff was exceedingly friendly, and allowed one to play anything you wanted through any amp you wanted. At first, I thought that this was just being friendly, but then I realized that it was like the milk commercial with the guy being in a place filled with chocolate chip cookies, thinking he was in heaven, then running out of milk, and knowing he was in hell. Anyway, I found some equipment there that I had some questions about, and was hoping some of you could answer. The first is a question about archtops. On my way there, I promised myself I would not buy anything unless I could find a good archtop for under $600. So of course, they had an 70's Ibanez copy of an ES-175 for $450. I couldn't justify it enough with my available line of credit. :( Has anyone tried these guitars? Are they worth that much? I'd like to get an archtop, but I'm afraid I'm not too informed about them. How are the ones from other makers, like Heritage? Or should I just bite the bullet, and save up for a real Gibson? Also, the neck was thinner and narrower than I am used to. Are all Gibson-style archtops like this? I liked the guitar, and liked the sound, but the neck would take some getting used to. Next question: Amps. I played through a couple of amps there, including a Naylor and a Bluesland. Does anyone know much about the Bluesland amps? The one I tried was a Bandmaster copy, and it was heavenly. Has anyone compared this amp with, say, a real Bandmaster or a Victoria? How did it stack up? Hopefully, the interview went well enough where I'll be able to really afford some of this stuff in the near future. Any help would be appreciated. Abe awmathew@mtu.edu ========================================================================= Date: Wed, 15 Nov 1995 10:17:36 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Junior Wells in Oxford, MS Dec. 2 Saturday, Dec. 2nd Junior Wells will be at Proud Larrys, a small club just off the Square in Oxford, MS. The place holds legal capacity of about 150. I'll be there; any blues list folks who wants information or help with tickets let me know. Usual disclaimer: I have no formal connection with the club; my brother used to work there and I'm friends with the folks who own it. Tom Freeland ========================================================================= Date: Wed, 15 Nov 1995 10:16:17 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Blues Promotion Comments: To: JONATXXX@GOMAIL.DOAS.STATE.GA.US On 15 Nov 95, DUTTWEILER.J had stuff like this to say... > I think those of us who are BLUES fans should face the reality > that the Blues are simply never going to reach as many people as we > would like. While the music itself carries a universal message it > does not, in reality, have universal appeal. I think it DOES have universal appeal. I think all kinds of folks who are into "other" kinds of music also like the Blues. Country fans appreciate the Blues. Hip-Hop fans appreciate the Blues. Jazz fans appreciate the Blues. Rock fans appreciate the Blues. I even know ClASSICAL fans who appreciate the Blues. And I think that is refelected in the use of so much Blues in commercials today. Advertisers recognize it's universal appeal. > Let's be honest, the blues simply is not going to appeal to enough > people to make it worthwhile for record companies to put the same > (or even half) effort they put into to a proven money maker's > project into (relatively) unkown blues muscian's, no matter how > great we may know him/her to be. You've stated exactly the attitude that stagnates popular music. It's not a truth... it's self fulfilling prophecy. You accept that something CAN'T be done, solely on the basis that it HASN'T been done. Are you a C.E.O.? ;^) P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 15 Nov 1995 09:17:54 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Junior Wells in Oxford, MS Dec. 2 In-Reply-To: Message of Wed, 15 Nov 1995 10:17:36 -0500 from On Wed, 15 Nov 1995 10:17:36 -0500 Tom Freeland said: >Saturday, Dec. 2nd Junior Wells will be at Proud Larrys, a small club just >off the Square in Oxford, MS. The place holds legal capacity of about 150. > I'll be there; any blues list folks who wants information or help with >tickets let me know. Usual disclaimer: I have no formal connection with the >club; my brother used to work there and I'm friends with the folks who own >it. It appears Jr will be doing a VERY small club in B'ham on Dec. 1st. I hope he remembers his harps and behaves like a human. The last time was pitiful I hope to see the real JR. WELLS. LW ========================================================================= Date: Wed, 15 Nov 1995 10:21:20 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Blues Promotion Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU On 15 Nov 95, L W had this to say... > Before this thread gets into a black & white thing or an UNDESERVING trashing > of Eric Clapton. Lets use a better example. > > Jimmy Rogers Bluebird is excellent , then why in the world has Keb' Mo > outsold it about a million to one. Promotion & Marketing.... > > Why has Keb out sold Honeyboy , James Cotton, Jr. Wells.....Is Keb that much > better than them.....?????. Promotion and Marketing > > I'm using Keb as an example cause he is black and the performers you were > comparing to EC were black. So we need to keep it oranges and oranges otherwise > it sounds racist.... Very good point, LW. I keep forgetting about race. ;-) P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 15 Nov 1995 10:41:03 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: R.L. Burnside and dem Nor'Easter Blues The other day I mentioned that R.L. Burnside was playing at the Dinosaur BBQ in Syracuse on Tuesday and at The Bottom Line on Wed, which occasioned Mart Green to reply: >Maybe some very fortunate person might produce a review...hint, hint ! Well, Mart, it may have started something like this: Maybe some of you were introduced to guitarist R.L. Burnside through Arhoolie's anthology, MISSISSIPPI DELTA BLUES VOL. II. Maybe others caught on with his Fat Possum release, TOO BAD JIM. And still some other fortunate ones caught him along with Junior Kimbrough and Dave Thompson on the Fat Possum Juke Joint Caravan tour at one of the top festivals this summer. For those of you still asking "R.L. Who," read on... R.L. Burnside hails from Holly Springs, in the deeply wooded North Mississippi hill country, where he was influenced by a master -- Mississippi Fred McDowell, and indirectly by Muddy Waters. Certainly no "delta" musician, Burnside, like his longtime friend and neighbor Junior Kimbrough, has fashioned his own unique interpretations of earlier blues classics, such as "Shake 'Em on Down," "Old Black Mattie," and "Fireman Ring the Bell" (found on the TOO BAD JIM release). His "Goin' Down South" has become a classic of its own. Unlike Kimbrough, however, Burnside moves far beyond those dreary and existential single-chord romps. I'd like to say that his music is more upbeat and fun, but that's an embarrassing understatement. The key to Burnside's music lies in his strange and bewildering sense of time. On the surface of a Burnside song, everything seems to make sense. You find your feet tapping, and so on, as they would to any fine groove. But the groove that you hear is something of an illusion; it's not what R.L.'s playing. If you have TOO BAD JIM, and a guitar, take this test: Try to play along with "Fireman Ring the Bell," "Peaches," or ".44 Pistol." Simple songs? Well, sure, you'll hit the right chords, but I guarantee you'll spin off track, for R.L. is always one step ahead of you. Like Big Jack Johnson told me, "He'll take you this way, and the moment you're there he jump THAT way!" I'd go so far as to say that R.L. Burnside is the Dancing Wu Li Master of the Blues. And, fittingly, he's not even aware of it. He creates illusion. It's like being impressed by the overall beauty -- and apparent simplicity -- of a Northern Mississippi forest, as it were. But the action and the chaos spontaneously explode at ground level, among the individual trees and the country juke joints. That's where R.L. and his band plays. Well, usually. Last night upstate New Yorkers had a real treat -- R.L. and his band played at the Dinosaur BBQ in Syracuse. Unlike Junior's juke joint, where "you pays your two bucks and you go in," there was no cover. The crammed 8x8 stage (or whatever it is) would be the perfect venue for Burnside. Well, it must have been... I mean, damn, if I could only have been there. I started out two hours before the show. A forty mile drive. Forty miles, that is, through wet heavy snow, and wind, and ice, and storm warnings predicting a foot and a half by morning, and truckers passing their horror stories up and down the line. I gave up -- I NEVER give up -- after fifteen miles. I was back home, with a very pleased wife and kids, by ten o'clock, just when R.L. was taking the stage. Instead of a BBQ pork platter, I had my two burgers and two fries for two bucks. I sat through a doubly depressing episode of that tuesday night cop show. I had what you might call them Nor'Easter Blues. "Southside" Dave Blues 101, 88.9 FM, WNYO-Oswego ========================================================================= Date: Wed, 15 Nov 1995 08:01:25 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Blues scales On Tue, 14 Nov 1995 23:02:57 Alexandre wrote, > I'm tired of playing in diatonic scales, please e-mail me or just >answer this message in the newsgroup for something diferent. Diatonic >blues scales accepted. And if someone knows something diferent scales to >play with silde, I would be glad. Diatonic refers to seven note scales. The Blues scale is six note scale with the spelling as 1,b3,4,b5,5,b7. You can also use the pentatonic (5 note) scales, minor or major. The minor pentatonic is the same as the blues scale except omit the b5. The major pentatonic is spelt 1,2,3,5,6. This scale is often used in country music. When used in blues it gives a 'sweeter' sound to a solo (think BB King). As for diatonic blues scale you can use the mixolydian(major sounding) or dorian (minor sounding) modes. Mixolydian is 1,2,3,4,5,6,b7 while the dorian contains 1,2,b3,4,5,6,b7. There is a scale that one of my instructors, Pedro Wyant, showed me. He calls it the Blues mixolydian. It contains 1,b3,3,4,5,6,b7. Leave out the b7 and you have what he calls the Blues major pentatonic. Hope this helps. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Wed, 15 Nov 1995 10:54:57 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Who wrote "Drop Down Mama"? Comments: To: Steve.Levine@corp.wrgrace.com In a message dated 95-11-15 09:15:19 EST, Steve.Levine@CORP.WRGRACE.COM (Steve Levine) writes: >Can anyone tell me who wrote "Drop Down Mama"? I've heard at least two >versions - by Sleepy John Estes and Fred McDowell (the version on >McDowell's Arhoolie album You Got To Move is incredible!), and I'm sure >others have done it. Did Estes or McDowell write it or was it around >before them? I don't know an earlier version than the one Estes recorded with Hammie Nixon in 1935. Paul Oliver's blues section of "The New Grove Gospel, Blues and Jazz" notes that the piece has "beautifully integrated instrumental lines" but does not speculate on authorship. Don't blame him, either; at this distance either "Who knows" or "Estes recorded it first, anyway" or "Estes said he wrote it" is about the best anyone could do. Tom Freland ========================================================================= Date: Wed, 15 Nov 1995 09:56:29 -0600 Reply-To: Mark Gobeyn From: Mark Gobeyn Subject: 'keb, EC, etc. Promotion and exposure are indeed central to the commercial success of any artist. But I can't help but agree with much of what Jimmy Dawkins says concerning race. Look, for instance, at the most recent Billboard blues chart. Yes, Clapton is an international rock star, and he could probably record a bluegrass album and sell millions. But what are we to make of others near the top of the chart. Are the albums by Robben Ford, Jeff Healey, etc. superior to those of Dawkins, Rush, and Rogers (the list is endless)? Ford, Healey, and Clapton's blues tunes can regularly be heard on classic rock radio stations. This exposure/promotion is no doubt crucial to the success of their albums. My question is, why do classic rock programmers so blatantly prefer (and hence give air-time to) these artists to Dawkins, Allison, Guy, et al.? Disturbing, to say the least. ========================================================================= Date: Wed, 15 Nov 1995 09:59:26 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: 'keb, EC, etc. In-Reply-To: Message of Wed, 15 Nov 1995 09:56:29 -0600 from On Wed, 15 Nov 1995 09:56:29 -0600 Mark Gobeyn said: >Promotion and exposure are indeed central to the commercial success >of any artist. But I can't help but agree with much of what Jimmy >Dawkins says concerning race. Look, for instance, at the most recent >Billboard blues chart. Yes, Clapton is an international rock star, Race has nothing to do with it. Whitney Houston, Micheal Jackson, Janet Jackson ,Keb' MO.....etc sell tons more than the ones you mentioned. It's not just WHITE classic rockers that get radio airplay...Quit being racist..... LW ========================================================================= Date: Wed, 15 Nov 1995 09:33:32 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Blues Promotion Comments: To: L W In-Reply-To: I've always maintained that a country that can sell millions of pet rocks and have riots over Cabbage Patch Kids (got your 'preemy yet?) certainly ought to be able to sell a good blues album. I was chastized not long ago by someone at a major label because "bashing major labels is too easy," but maybe there's a reason that's true. I think they do more than anyone else to "ghetto-ize" the blues. Realistically, most blues albums aren't going to sell 500,000+, but the overhead to make a good one is so low (less than a cover, a video or maybe even a demo project for a "commercial" act) that there's no reason for a realistic approach and expectations not to be self-sustaining. If the company doesn't think something will sell that many copies, they won't be disappointed when it doesn't and pull the plug on the act. The break-even point just doesn't have to be that high. How many have noticed that it's considered poison to use the word "blues" in an album title on a record/CD with high hopes? It's no accident that SRV's avoided that, for example, and the same is probably true for "From The Cradle." I guess this is the opposite of the House Of Blues approach: HOB uses the word but not the music, while the labels use the music but are afraid to let it stand publicly as what it is. Hmm... enough fussing for one post! ========================================================================= Date: Wed, 15 Nov 1995 08:04:30 -0800 Reply-To: James Carmin From: James Carmin Subject: Bonnie Raitt (Was: New Blues CDs) >RJ Bauman says: > >>>I read a review of Bonne Raitt's new live double CD called "Road >>>Tested" and the reviewer said it had lots of blues on it I've also heard a few cuts from it on the radio and they were very bluesy, even Bonnie's cover of BURNIN' DOWN THE HOUSE! This new cd was recorded live in Oakland CA and here in Portland OR when Bonnie was touring with Ruth Brown and Charles Brown, so that should give us some clues. James C. jcarmin@teleport.com ========================================================================= Date: Wed, 15 Nov 1995 11:06:55 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Who wrote "Drop Down Mama"? -Reply Sleepy John Estes wrote Drop Down Mama.....my favorite blues song in the world by the way! ddr ========================================================================= Date: Wed, 15 Nov 1995 11:18:30 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: JT's "Steamroller Blues" Figgered since I'm gonna get out the jumbo acustic and do this unplugged gig this weekend, I gotta do the first real acoustic blues tune I ever learned, what? 25 years ago..James Taylor's "Steamroller Blues". I remember the guitar, but can't recall all the lyrics. Can somebody send me these? What album is that on anyway, Sweet Baby James? Yikes! :) Riffin Rick (((( oo-) /- "....a hefty hunk of steamin'junk." F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 15 Nov 1995 11:13:11 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0400 From: "DUTTWEILER.J" Subject: Re: Blues Promotion Date: Wednesday, 15 November 1995 11:13am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: Blues Promotion In-Reply-To: The letter of Wednesday, 15 November 1995 10:16am ET PW, while I know fans of other genres of music who have an appreciation for the blues as well, I think that vast majority of people, even those who consider themselves music lovers, do *not* find the blues appealing and will not support it. While someone may like this or that blues song, most will never become avid collectors/supporters of the blues. My father is a huge early Jazz fan (pre-war black swing groups are his favorite) and has a couple of blues CD's, but he really is not too interested in delving too deep into the blues beyond a little Muddy Waters and BB King. He will certainly never be a "supporter" of more contemporary blues artists. And no, I'm not a CEO (wish I were ;-), but I do understand the need to make money when you run a business AND the difficulty in trying to get people to try (much less like) something we think they *ought* to like. My wife and I love sugar peas and buy a very good frozen brand. My 8 year old daughter certainly ought to like them, but she doesn't and it is practically impossible to convince her to eat any. Now, I agree that with a little more promotion, the Blues could do a lot better in terms of sales then it currently is - but it seems whenever the Blues (and Blues artists) start doing those things necessary to promote themselves we hear cries of "sellout." (E.g. BB King doing McDonalds commercials). I don't think my attitude is self-defeating, just realistic. Jon (who probably don't really know nothin') Duttweiler ========================================================================= Date: Wed, 15 Nov 1995 10:28:15 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Eric LeBlanc's Blues Dates - November 15th >JOHN, LITTLE WILLIE[WILLIAM EDGAR JOHN]v b. 1937-1115, CULLENDALE, AR >MCPHATTER, CLYDE LENSEY (v/DRIFTERS) b. 1932-1115, DURHAM, NC > I did not know that two of the greatest (if not the two greatest) voices in R & B shared a birthday.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Wed, 15 Nov 1995 10:33:46 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Promotion...Was blues promotion I saw Chet Atkins last Saturday and he was having trouble getting in tune. He said if I don't get in tune, I'll be playing blues, he then said I'd start sounding like BB King....I laughed and didn't think he meant that derogatory toward blues.....Did he ?? Anyway here's what he said about promotion: You can not get airplay on the radio anymore unless you are YOUNG and Pretty. It has become more visual and the actual sound doesn't play as an important part as it used to. He said he started doing jazz/fusion cause he can not get airplay on country music stations. So It's not just with the blues, but all types of music. I think of Tab Benoit ,Keb' Mo or Robert Cray selling the clubs completely out. Then legends like Koko Taylor & Charles Brown have half empty clubs...At least in B'ham that's the way it is. I have no idea why, but it makes me sick LW ========================================================================= Date: Wed, 15 Nov 1995 11:46:58 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Who likes the BLUES???? One of the problems in the world as i see it, is that there are ALWAYS in existence certain groups of people who believe they're on to something big, and they want to alert the whole world to it. If the world is not totally receptive to this "something big", then it seems to me it usually escalates into a situation where this "informed" group of people want to "educate" the rest of the world, until the rest of the world "sees" it their way. Frankly, Scarlett, i don't give a damn if my next door neighbor doesn't like the blues. It is fine for me that I like the blues, but i don't like hip hop or rap. If the guy down the street likes polka, and jazz, but not opera....hey, i still don't give a damn. I think the whole society would be better off if we just mind our own business and pursue our own sense of happiness, as long as we don't do it in a manner that hurts or jeopardizes other people, animals, or things. I still keep remembering what they told me in grade school....be proud to be an American, because this is the LAND OF THE FREE. Hey, i just want to be free to do what the hell i want....subject to that no one or nothing gets hurt in the process. I do believe it is a great philosophy, but the true reality of this society is that there appears to be very little tolerance from people for each other's differences and tastes. I love BLUES-L, and i love bluesellers with two exceptions, but BLUES-L is just a microcosm of the rest of society, and even this hallowed group of people sometimes shows very little tolerance for views other than "it's" own---not speaking of the BLUES-L group as a whole, but that there certainly have been some real flaming going on time to time because someone ventured an opinion that "differed" from someone elses on this list. Yeah, it's Wednesday alright! ddr ========================================================================= Date: Wed, 15 Nov 1995 08:44:00 -0800 Reply-To: NED_KRAFT@HP0000.DESK.HP.COM From: Ned Kraft Subject: Hum PA Hum - don't stand for it. show up early enough to do a sound check make sure things are right. It was probably a ground problem so if you're not using a Marshall stack and your amp is properly grounded it was the sound guys giving you the hum (so to speak). Dirty Ned ========================================================================= Date: Wed, 15 Nov 1995 16:46:59 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Blues Promotion In-Reply-To: <199511151519.KAA52410@tequesta.gate.net> On Wed, 15 Nov 1995, P.W. Fenton wrote: > On 15 Nov 95, DUTTWEILER.J had stuff like this to say... > > > Let's be honest, the blues simply is not going to appeal to enough > > people to make it worthwhile for record companies to put the same > > (or even half) effort they put into to a proven money maker's > > project into (relatively) unkown blues muscian's, no matter how > > great we may know him/her to be. > Two words - "Pet rocks" i.e. with a market of over 200 million you can sell little bags of laminated dog doo doo if you push it hard enough, never mind something that has the quality of blues. Look at the turn wrestling (talk about doo doo) took just because some celebs decided it was "in". There is, however, the other side of the coin. If money goes in quality goes down because every fly by night and marginal yahoo tries for the gravy (and remember if its crap you can sell it at a higher profit margin) like flies on dead meat. I desparately want the Blues to survive but am deathly afraid it will become "popular". Elitist? You bet. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [15/11/95 11:35 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 15 Nov 1995 12:06:31 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Promotion...Was blues promotion Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, ISTS024/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=ISTS024#p#UABDPO#f#BITNET#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *Anyway here's what he said about promotion: You can not get airplay on the *radio anymore unless you are YOUNG and Pretty. It has become more visual and *the actual sound doesn't play as an important part as it used to. He said he *started doing jazz/fusion cause he can not get airplay on country music *stations. * I don't know if that's 100% true. I saw Blues Traveler on one of the late night talk shows recently (and I know they're not a blues band, so let's not start that thread!). They were asked about image and John Popper stood up, pointed to his backside and said "Do you think *this* ass sells records!?" Image is important in the music world, but some bands get by without being young and pretty. -Steve ========================================================================= Date: Wed, 15 Nov 1995 12:14:46 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Willie's Guitars (Limited Blues Content) -Reply DISCLAIMER: I am in no way financially associated with Willie's American Guitars.... But, i would ask Nate, the proprietor and owner, and i trust his opinion implicitly. I know several people on this list have taken my advice and talked to Nate, and i've received back extremely positive endorsements from these people. Abe, your experience mirrors my own experiences there, and i cannot remember ever hearing someone say a discouraging word about Willie's. regards, ddr ========================================================================= Date: Wed, 15 Nov 1995 12:32:09 CST Reply-To: JBards From: JBards Subject: Re: Willie's Guitars (Limited Blues Content) Comments: To: "Abe W. Mathews" The Ibanez archtops- you probably played the George Benson model, which is similar to the ES175- are generally very good, and $450 is an excellent =price from a dealer. I would have expected $600. The Heritage line is by all accounts very well made- excellent worksmanship from the former Gibson luthiers in Kalamazoo who didn't want to move to Nashville. I hear their archtops are particularly good. The only downside may be on the resale value, if that matters to you. Finally, neck size depends on the model you play. Byrdlands, for example , have exceedingly thin necks ( to my hammy hands.). I thought the neck on the 175 model was pretty much the same as a 335, but I could be wrong. Hope this helps.... Jim _______________________________________________________________________________ Subject: Willie's Guitars (Limited Blues Content) From: "Abe W. Mathews" at INTERNET-SH Date: 11/15/95 10:30 AM Hey, bluesers- During an interview trip to Minneapolis this last weekend, I made to to Willie's American Guitars for the first time. I've wanted to go for a while, but was never able to find the time. Boy, was I impressed. Every instrument in the store (including some 70's Fenders) was highly playable, and decently priced. The sales staff was exceedingly friendly, and allowed one to play anything you wanted through any amp you wanted. At first, I thought that this was just being friendly, but then I realized that it was like the milk commercial with the guy being in a place filled with chocolate chip cookies, thinking he was in heaven, then running out of milk, and knowing he was in hell. Anyway, I found some equipment there that I had some questions about, and was hoping some of you could answer. The first is a question about archtops. On my way there, I promised myself I would not buy anything unless I could find a good archtop for under $600. So of course, they had an 70's Ibanez copy of an ES-175 for $450. I couldn't justify it enough with my available line of credit. :( Has anyone tried these guitars? Are they worth that much? I'd like to get an archtop, but I'm afraid I'm not too informed about them. How are the ones from other makers, like Heritage? Or should I just bite the bullet, and save up for a real Gibson? Also, the neck was thinner and narrower than I am used to. Are all Gibson-style archtops like this? I liked the guitar, and liked the sound, but the neck would take some getting used to. Next question: Amps. I played through a couple of amps there, including a Naylor and a Bluesland. Does anyone know much about the Bluesland amps? The one I tried was a Bandmaster copy, and it was heavenly. Has anyone compared this amp with, say, a real Bandmaster or a Victoria? How did it stack up? Hopefully, the interview went well enough where I'll be able to really afford some of this stuff in the near future. Any help would be appreciated. Abe awmathew@mtu.edu ========================================================================= Date: Wed, 15 Nov 1995 17:06:33 GMT Reply-To: Michael Twomey From: Michael Twomey Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: home page netiquette James Leftwich (leftwich@CLOUD9.NET) wrote: : Hey, : I'm starting up my home page ...[snip] Please don't put a snappy 500kB image on the first page. When I go to a new page, I want to go there. Give me a choice AFTER I get there to view huge graphics files. Thumbnails, with the option of downloading works for me. A home page graphic of 50k or less is a good start. Mike ========================================================================= Date: Wed, 15 Nov 1995 12:48:42 -0500 Reply-To: Bob vanArsdall From: Bob vanArsdall Subject: Bonnie Raitt's New One I can't do an impartial review of this one, ' cause I'm one of her old-time fans and have accumulated all her albums (even the uneven ones) over the years. Here's the songlist: CD1 Thing Called Love (with Butch Hornsby on accordion) Three-time Loser Love Letter Never Make Yor Move Too Soon (with Ruth Brown, Charles Brown, and Kim Wilson) Something to Talk About Matters of the Heart Shake a Little Have a Heart Love Me Like a Man The Kokomo Medley Louise Dimming of the Day CD2 Longing in Their Hearts Come to Me Love Sneaking Up On You Burning Down the House I Can't Make You Love Me (with Butch Hornsby) Feeling of Falling I Believe I'm in Love with You (with Kim Wilson) Rock Steady (with Bryan Adams) My Opening Farewell (with Jackson Browne) Angel from Montgomery (with Jackson Browne, Kim Wilson, Bryan Adams, and Butch Hornsby) If anything, Bonnie's voice sounds better and better than it has in the past, and her guitar has become more tasty. The live recording quality is excellent (I hate hearing the crowd noise all the time), and the band is right behind her. The band is pretty much her regular crew (Ricky Fataar, Hutch Hutchinson, etc.), no Ricky Lee Schell or Freebo from the way old days. Produced by Don Was in his fine way. Not straight blues, just Bonnie's mix of R&B, slides, and good stuff. This one will be on my CD player for awhile. What do I miss? Background vocals with some good bottom or gospel tones; Bonnie backed by Little Feat; a little more acoustic. But then I didn't produce the album... Saw her once long ago on a nearly-acoustic tour with Paul Barrere and Catfish Hodge when they did a lot of backing each other. Now don't I wish I THAT on tape? Bob ========================================================================= Date: Wed, 15 Nov 1995 18:33:38 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Subject: Live From Antibes (was Re: Blues Promotion Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199511151247.HAA54954@tequesta.gate.net>, "P.W. Fenton" says: >You got to work hard to scrape up a copy of Freddie King Live in >Antibes (damn, I had to win a contest!), PW - I've been searching high and low and STILL can't find this disc. I know someone posted a European CD mail order source but then someone posted that they backordered. Anybody have a clue? Art Schuna ========================================================================= Date: Wed, 15 Nov 1995 12:39:26 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Live From Antibes (was Re: Blues Promotion In-Reply-To: Message of Wed, 15 Nov 1995 18:33:38 GMT from On Wed, 15 Nov 1995 18:33:38 GMT Art Schuna said: > says: > >>You got to work hard to scrape up a copy of Freddie King Live in >>Antibes (damn, I had to win a contest!), > >I've been searching high and low and STILL can't find this disc. I know >someone posted a European CD mail order source but then someone posted >that they backordered. Anybody have a clue? I thought it was "out of print". I still think FK Sings is his best recording,' but that's MHO. LW ========================================================================= Date: Wed, 15 Nov 1995 13:47:57 -0500 Reply-To: bob unger From: bob unger Subject: I've been down If anybody has tried getting in touch with me today, my mailer was acting funky and I haven't recieved any messages. Sorry 'bout that........damn email bugs were bytin'!!! BU bob@sun.bnkst.edu ========================================================================= Date: Wed, 15 Nov 1995 11:04:52 PST Reply-To: mmccourt@ACUSON.COM From: Mike McCourt Subject: Re: Blues scales Comments: To: Shaun T Cronin If you are playing in a minor blues there are some other ways to use the minor pentatonic scale. These are not for everyone and some may say they aren't blues, but give them a try. Play the minor pentatonic scale a whole step above the chord name. Example: against Am use the B minor pentatonic scale. Play the minor pentatonic scale a fifth above (or a fourth below) the chord name. Example: against Am use the E minor pentatonic scale. On major blues you can use the combination of blues scale and major pentatonic scales. Major: 1, 2, 3, 5, 6. Blues: 1, b3, 4, b5, 5, b7. Both: 1, 2, b3, 3, 4, b5, 5, 6, b7. Use ALL the damn notes! Mike ========================================================================= Date: Wed, 15 Nov 1995 11:23:26 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: PETER WELDING TRIBUTE : PART 1 OF 7 Comments: To: BluesHvn@aol.com PETER WELDING TRIBUTE : PART 1 OF 7 ===================== This tribute to Peter Welding is dedicated to Dr. Kenneth Goldstein (1927-1995). PETER JOHN WELDING was born Friday, November 15, 1935, PHILDELPHIA, PA. He is the eldest of seven children born to Joseph Patrick & Elizabeth Marie Cunius Welding. "Whenever feasible, I like to record an artist in this manner - taking my time and, as much as possible, drawing him and his music out over a long period." "It may seem fatuous or pretentious to state it baldly, but TESTAMENT largerly is operated as a lobour of love, as a means of helping to repay the music and the musicians for having given me so much pleasure and joy, for having enriched my life." ~ Pete Welding, "The Testament Story" BLUES WORLD #42-44 (1972) As this profile contains an interview, an overview of his early TESTAMENT label, personal tributes, TESTAMENT reviews, and discography, I'll just mention how I first became aware of Welding. I first noticed his initials "(P.W.)" in Down Beat, a good source for blues reviews during the 1962/63 (pre-Blues Unlimited) period. He also wrote articles in Down Beat, including a 1961 "The Rise Of Folk Blues" article, articles on Robert Johnson, Howlin' Wolf interview, Sleepy John Estes, John Lee Hooker, B. B. King, and Robert Pete Williams - important when you consider how important Down Beat was in those days. Remember this was all before Living Blues. He also wrote articles in Blues Unlimited, the granddaddy of blues magazines. articles on Robert Johnson (reprint of DB article), Howlin' Wolf, Leoy Dallas, Honey Boy Edwards, Son House (w/Perls & Waterman), Henry Towsend, Fred McDowell, Big Joe Williams, Jimmy Lee Robinson, Dr. Ross, George "Hca" Smith, Big Boy Spires, Rev. Robert Wilkins interview, and Johnny Young. Bob Groom's Blues World also published an excellent 3 part article he wrote concerning Testament Records. Living Blues published his writings on Shakey Jake, Carl Martin and Johnny Shines. The American Folk Music Occasional also published his important interview with Muddy Waters. As for album notes, other than notes to his own label, he wrote notes for Antilles, Arhoolie, Bluesville, Chess, Columbia, Elektra, Imperial, Milestone, Muse, OJL, Prestige, Vanguard, etc. He was also responsible for compiling the Imperial Records' Legendary Master Series, and the wonderful 2lp Blue Note set of T-Bone Walker Imperial recordings. A few of his own recordings have been issued on labels other than Testament, including Bluesville (Alec Seward, Doug Quattlebaum, Clarence & William Scott (The New Gospel Keys)), Storyville, a 3 album series for Milestone (Fred McDowell, (Big Joe Williams and the "Ramblin' On My Mind" anthology), and let's not forget the Johnny Young Arhoolie album (now on Arhoolie CD 325) he co-produced - one of the best Chicago blues ever released! Today, he works for Capitol/CEMA, reissuing from the vaults of Capitol, Imperial, Aladdin and World Pacific Records. As I post this, the CAPITOL BLUES COLLECTION releases are as follows & should be available at you're local CD shop : 29372 : SONNY TERRY - WHOOPIN' THE BLUES 29375 : MUDDY WATERS/MEMPHIS SLIM - V.1 : CHICAGO BLUES MASTERS 29376 : VARIOUS - REDISCOVERED BLUES 29379 : T-BONE WALKER - COMPLETE CAPITOL/BLACK & WHITE 31743 : ROY BROWN - COMPLETE IMPERIAL RECORDINGS 31744 : LIL' SON JACKSON - COMPLETE IMPERIAL RECORDINGS 31747 : VARIOUS - RUMBLE AND SCRATCH SAMPLER : VOICES OF THE BLUES (3CD) 31830 : SON HOUSE - DELTA BLUES & SPIRITUALS 33912 : JOHN LEE HOOKER - ALTERNATIVE BOOGIE - EARLY STUDIO (3CD) 33915 : VARIOUS - TEXAS GUITAR KILLERS (2CD) 33916 : JIMMY ROGERS - COMPLETE SHELTER RECORDINGS 33918 : SNOOKS EAGLIN - COMPLETE IMPERIAL RECORDINGS 33919 : FRED MCDOWELL - I DO NOT PLAY ROCK 'N ROLL (2CD) 34972 : FREDDIE KING - KING OF THE BLUES (2CD) I'd like to thank the following for helping me out with this profile : Mark Blass, BLUES ACCESS/Dave Ranney, Steve Bard, Bonnie Kalmbach, Oded Maron, Steve Levine, Art Schuna, Jean-Pierre Urbain, Ranko Vujosevic, Cliff Warnken, Leonard (LW) Watkins. This has been one of series devoted to "insiders" who make a difference. The series has included Roy Ames/Home Cooking Records, Al Bell/STAX Records, Jonas Bernholm/Mr. R&B Records, Brackens/Vee Jay Records, Leonard Chess/Chess-Checker Rec Don Davis/STAX Records, Bob Fisher/Sequel Records, Michael Frank/Earwig Records, Bob Greenlee/King Snake Records, Bob Koester/Delmark, J. D. Miller/Excello Records, Dr. Harry Oster/Folk-Lyric Records, Bill Quinn/Gold Star Records, Dr. Kenneth S. Goldstein/Bluesville, Mike Ledbetter/Blues Unlimited Syd Nathan/King-Federal Records, Johnny Parth/Document Records, Nick Perls/Yazoo Records, Don Robey/Duke-Peacock Records, Bobby Robinson/Fire-Fury Records, Art Rupe/Specialty Records, Lew Simpkins/United Records, Chris Strachwitz/Arhoolie Records, Dick Waterman. Next year or so I hope to profile John E. Abbey, Ewart Abner, Leonard Allen, Mose Asch, Joe Banashak, Al Benson, Eric Bernay, Jerry Blaine, Bruce Bromberg, Joe Davis, John Dolphin, Bruce Iglauer, Dan Jacoubovitch, Bruce Kaplan, Leaner Brothers, Morris Levy, Ron Levy, Jack Lauderdale,Herman Lubinsky, Lillian McMurry,Lester Melrose, Holger Peterson,Sam Phillips, Don Pierce, Jake Porter, Rosetta Reitz, Rene Brothers, Art Sheridan, Eddie Shuler, John Stedman, Henry Stone, Johnny Vincent, Frank B. Walker, Richard Weise, J. Mayo "Ink" Williams. ========================================================================= Date: Wed, 15 Nov 1995 14:42:07 -0500 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: Scott Wenzel Anytime there has been a post to Blues-l from Scott, I have not been able to read it as my reader gives me an application error and shuts down my AOL program. The exact message is WAOL caused a stack fault in module MANAGER.AOL at 000F:009A. I do not have a complete e-mail address for Scott as a result of this, so I can't mail him directly. His postings always do this, and I've never had it happen on any others. Has anyone else experienced this? It would not be a great concern normally, but one of his posts is a reply to one of mine. I am going to consult AOL on line help to see if I can solve this, but your comments are also welcome Thanks, and BLUZ! Bluzman Ed aka Ed Tremewan ========================================================================= Date: Wed, 15 Nov 1995 13:48:00 CST Reply-To: Paul Garon From: Paul Garon Subject: Re: Blues Promotion >What they won't realize is that >>they could take Jimmy Dawkins (or any one of a hundred other guys) >>give him half of E.C.'s production budget, make a PBS special about >>his new album, make an MTV unplugged episode with him, grease all >>the radio station wheels, supply free "exclusives" to Entertainment >>Tonight, produce a few key music videos and GIVE them away to the >>media, and you'd sell a few million Dawkins albums as well.>>Please stop me.... somebody. It's one of them moooods. > > >Dawkins had something to say about this (but its close to ten years - he >might have changed his wiew) He said something to the effect: >- Stevie Ray can play guitar, Clapton can play guitar, Buddy Guy and myself >can play the guitar. They are white and we are black - thats the reason >they get exposed. > Sugar Blue comments on this to the same degree (and no doubt with the same effect) in DOWN BEAT October 1996, in an interview with him and Jr. Wells done by Dave Helland (who doesn't *seem* to like Blue's hostility to the great white fathers, although I could be wrong.) ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email or postal mail or visit us at http://www.abaa-booknet.com/alldlrs/mw/60657bea.html. We also have catalogs available by ftp at ftp.mcs.com/mcsnet.users/beasley. _______________________________________|______________________________________ ========================================================================= Date: Wed, 15 Nov 1995 14:58:46 -0500 Reply-To: Charles d'Orban From: Charles d'Orban Subject: Larry Garner on JSP I very much enjoyed Larry Garner's recent album "You need to live a little" and now I'm wondering about checking out his 2 releases on the JSP label. Which one should I start with? One of them is called "Double dues"; can't remember the title of the other one, maybe its "Too blues" (???) Charles ========================================================================= Date: Wed, 15 Nov 1995 13:19:00 CST Reply-To: "Wsiaki, Bill" From: "Wsiaki, Bill" Subject: Archtops Recently Abe Mathews visited Willie's American Guitars in Minneapolis. Abe is 100% correct about the atmosphere there. I visited the store this summer and what a treat. They are friendly, helpful and laid back. I was permitted to try any guitar into any amp they had. How many guitar stores permit a person to climb up on an amp to get at a PRS? Anyway, if you can get a George Benson Ibanez for under $600, go for it. I saw one in Saskatoon last summer for $1100. Heritage make beautiful archtops but they are quite expensive. Some of them show very fine craftsmanship and I think they may be worth something down the road but this likely won't be the case for their Les Paul types. Hope this helps. Bill Wsiaki St. Paul's College Library Winnipeg, CANADA WSIAKI@BLDGEDUC.LAN1.UMANITOBA.CA ========================================================================= Date: Wed, 15 Nov 1995 12:46:28 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: PETER WELDING TRIBUTE : PART 2 (BLUES ACCESS profile) Comments: To: BluesHvn@aol.com PETER WELDING TRIBUTE : PART 2 OF 7 (BLUES ACCESS profile) ===================== I'd like to thank BLUES ACCESS for allowing me to post the article on TESTAMENT Records. Please visit their Web site at From: Rob Varak Subject: Re: Bonnie Raitt (Was: New Blues CDs) Comments: To: James Carmin In-Reply-To: <199511151604.IAA29553@desiree.teleport.com> I got the new, live album yesterday. The short review is FANTASTIC!! I'm a big Bonnie fan to begin with, but the funny thing is that I didn't expect much. I figured that like most live albums this would be retread. Was I ever wrong!!! Even on the less "bluesy" tunes, Bonnie plays some absolutely stingin, nasty guitar. Her playing on "Love Me Like a Man" was particularly novel. (is it me or is she playing w/out a slide? I'm not used to that from her). I strongly suggest that if you like Ms. Raitt, AT ALL, run don't walk. Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Wed, 15 Nov 1995 13:16:20 -0000 Reply-To: "J. Witteveen" From: "J. Witteveen" Subject: Re: Old farts vs Young bucks LW wrote: >So It's not just with the blues, but all types of music. I think of Tab Benoit >,Keb' Mo or Robert Cray selling the clubs completely out. Then legends like >Koko Taylor & Charles Brown have half empty clubs...At least in B'ham that's >the way it is. I have no idea why, but it makes me sick MTV, 3 minute attention spans, and a culture that worships youth and ignores the value of old age is what does it. Which leads me to another question: it seems like these days a bluesman (or woman) has to reach a certain age (+30 at least) before they get respect - yet in the fifties guys like Buddy Guy were big in the blues, while they were still in their twenties...comments? -Jim (hndful@uniserve.com) ========================================================================= Date: Wed, 15 Nov 1995 15:11:15 -0600 Reply-To: Rob Varak From: Rob Varak Subject: BB King Up Close (fwd) Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ---------- Forwarded message ---------- Date: Tue, 14 Nov 1995 12:55:15 -0600 (CST) From: Rob Varak To: blues mailing list Cc: Ed Davila Subject: BB King Up Close I had the pleasure of seeing noted song thief BB King up close and personal at the Cubby Bear in Chicago on Sunday. Spectacular!!! I jumped at the chance to get tix three months ago because of the size of the venue. I've seen BB everywhere from outdoor venues to Orchestra Hall, but the chance to see him in a club was way too much to pass up. Mr. King did not disappoint. I attended the second show (10:30PM on a Sunday...Yikes!), and managed to squirm my way up to about 10' from the stage. BB's set was pretty standard stuff. He had big amp and mic problems on the first couple of tunes, and looked pissed off for the first time I've seen. Nevertheless, he handled it like the true professional he is. I don't have the set list, but like I wrote, it's the usual stuff. The set really took off when BB sent off the horns and sat down. He played about 45 minutes in this manner, moving from song to song without stopping and weaving his trademark storytelling througout. Highlights included "Five Long Years", "How Blue Can You Get" and "Black Rat" by Memphis Minnie. It was interesting that when BB asked if anyone knew Memphis Minnie, about 2/3 of the crowd screamed. Something tells me that may not have been accurate. Overall, it was a brilliant show. BB is still master of creating "the Chill". Time and time again he played with transcendant elegance. The fact that he could play with such brilliance for 2 1/2 hours at 70 years old is a testament to his excellence. I konw this is long, but I couldn't pass on a quick word about what a gentleman BB is. I know it's been written many times by scribes more eloquent than I, but his warm and kind nature really is obvious to the audience. I've never seen an artist who triggered such adoration merely by walking on stage. He reinforced this notion at the end of the set. He was doing his usual 15 minute autograph and pick throwing session (didn't get my "Live at the Regal" signed though), and people were rushing the stage. He stopped the band, took the microphone and kindly asked that the audience not shove forward. It seems there was a gentleman in a wheelchair at the foot of the stage, and as BB said, he was just their to enjoy a show. BB handled it with class and humor, and the crowd appreciated that. The same could be said of this giant's entire career. Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Wed, 15 Nov 1995 16:23:06 -0500 Reply-To: Bob vanArsdall From: Bob vanArsdall Subject: BRUCE Hornsby My apologies to PW And Leo Aspiras for spotting my egregious error in Mr Hornsby's name. May they always be checking the footnotes. My level of caffeine and the dexterity of my fingers do not match. I must try to correct this. Bob ========================================================================= Date: Wed, 15 Nov 1995 21:38:17 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Clyde McPhatter & Little Willie John Comments: To: bit-listserv-blues-l@uunet.uu.net I second that emotion. SEQUEL will be issuing a LWJ set with new unissued tracks. >JOHN, LITTLE WILLIE[WILLIAM EDGAR JOHN]v b. 1937-1115, CULLENDALE, AR >MCPHATTER, CLYDE LENSEY (v/DRIFTERS) b. 1932-1115, DURHAM, NC > I did not know that two of the greatest (if not the two greatest) voices in R & B shared a birthday.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Wed, 15 Nov 1995 16:03:09 CST Reply-To: JBards From: JBards Subject: Re: Willie's Guitars (Limited Blues Content) -Reply Comments: To: Roger Struve There's also a very fine vintage guitar store in LaCrosse, Wisc., "Dave's Guitars". It has a pretty incredible inventory for being located in LaCrosse, and Dave seems to have monopolized the vintage Strat market before they became popular. -Jim _______________________________________________________________________________ Subject: Willie's Guitars (Limited Blues Content) -Reply From: Roger Struve at INTERNET-SH Date: 11/15/95 12:04 PM DISCLAIMER: I am in no way financially associated with Willie's American Guitars.... But, i would ask Nate, the proprietor and owner, and i trust his opinion implicitly. I know several people on this list have taken my advice and talked to Nate, and i've received back extremely positive endorsements from these people. Abe, your experience mirrors my own experiences there, and i cannot remember ever hearing someone say a discouraging word about Willie's. regards, ddr ========================================================================= Date: Wed, 15 Nov 1995 13:52:09 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: PETER WELDING TRIBUTE : PART 3 (INTERVIEW) Comments: To: BluesHvn@aol.com PETER WELDING TRIBUTE : PART 3 OF 7 (INTERVIEW) ===================== I'd like to thank LW for sharing this December 5, 1994 interview with us. A shorter version was published in the Johnson County Blues Society (Iowa) newsletter BLUES NOTES #2. PETER WELDING INTERVIEW by Leonard Watkins ========================================== LW: How did Testament Records get started PW: I started a radio program for station WHYY, which was operated by the Philadelphia Board of Education. I had a jazz show on WHYY early on, and when folk music got to be big, they asked me to do a folk show. I said "Sure I'll do it, but I'm not going to play records by Peter, Paul and Mary, The Clancy Brothers, or Pete Seeger, as much as I like those people. I'd rather do a show about the folk music in Philadelphia." They were cool enough to say , sure give it a try, then I started recording some of the street singers, spiritual and blues singers I had met. I used to record them at the radio station, but quickly discovered that I sometimes got stilted results. I got much more interesting results when they were playing in their homes. I bought a tape recorder and a microphone and tried to record them where they felt most comfortable. I moved to Chicago in 1962 and got to be very good friends with Bob Koester at Delmark Records. LW: Bob Koester was friends with quite a few people who went on to become huge assets to the blues and the recording of blues. PW: Oh yeah, absolutely. I wound up doing some work for his Delmark label. It was Bob who showed me it was actually possible to start a record company. The first thing I put out was the Bill Jackson album. He was one of my major discoveries, if you want to call it that. It just went from there; it was strictly a one man operation at first. It was nothing more than a hobby. It was an attempt to put something back into the music that had given me so much pleasure. LW: Looking at the artists you recorded, it would have had to have been a hobby. They weren't big names at the time. PW: Well, there was another consideration. When I moved to Chicago, it was like Mohammed going to Mecca. Chicago at the time was, and my still be, the most blues rich city in the country. That's when I felt as if I really started to learn something about the music. I would go to clubs and seek out the performers. I would interview them and get leads to others. I didn't want to record guys like, Jr. Wells, Buddy Guy, or Otis Rush; they already had recording contracts and their music was already getting out. I was more interested in recording the musicians who were not being documented, and that tends to be the older generation of players, whose music pre-dated the electric styles. LW: What did the older generation musicians have that seems to be missing from the preceding generations. PW: The difference is, if I can offer a possible explanation, that those early guys were a part of a living tradition and continuum, that from the early to middle sixties hasn't been there. The blues, for all practical purposes, started dying at that time, or at least coming close to dying. Black listeners were less interested in it, and fewer black performers were turning their attention to it. Popular dance, R & B, and soul music were much more lucrative, or potentially lucrative areas to follow. The rewards were greater, not only in terms of money, but also in recognition. I think the blues were kind of thrown out by black people; it had too many unpleasant connotations for them. It was never embraced by the civil rights movement the same way that black religious music was. LW: Tell me about the Peg Leg Howell recording PW: That was purely a fluke. My friend, George Mitchell, had recorded Peg, and originally that album was supposed to come out on Delmark. I felt that Bob Koester didn't really want to put it out; he saw that it's commercial potential was non-existent. He and George were friends and Bob had sort of committed to it. He had decided at that point that he had to follow a more commercial route, if he wanted Delmark to succeed. You've got to remember, along with his retail shop, Delmark was his source of income. Testament was not the source of my income. It's a very forbidding recording, I know that. LW: How does a person a talented as say, Johnny Young, remain almost unknown. PW: It has to do with personality. Johnny was a very self-effacing person and he didn't push himself forward. He wasn't a very good songwriter. The music you like by Johnny is traditional music. In the dog-eat-dog world of commercial blues, in the early post-war and middle post-war period, that stuff just didn't cut it. Fortunately, I had the luxury of recording Johnny over a long period of time. A lot of the stuff we did was while we were waiting for other players to show up. Then sometimes we'd actually have Johnny Young recording sessions where we'd plan to do things. Most of the mandolin stuff was done that way, and most of the solo guitar or two-guitar stuff was done informally. I had the opportunity to record him quite a bit. I just chose what I felt was the best and most representative of the man. There were two people among the musicians that I was very friendly with; one was Johnny Young and the other was Jimmy Walker. LW: What are your memories of Otis Spann. PW: Otis Spann was a real sweetheart of a guy. He was a very trusting man and very outgoing. From the day I met him we were friends; he just had that manner about him. It was Muddy who introduced us, and if Muddy introduced you to Otis, you had Muddy's guarantee. LW: What was it that made Muddy so special and how did he always wind up with such great musicians in his band. PW: It was something about his personality-he was a very strong individualistic performer who had success very early. He was selected or fate selected him, to be one of the cornerstones of the Chess roster. Leonard (Chess) invested a lot of time and money in Muddy, just as he did with Wolf later on. It was incumbent upon Muddy and Chess to keep the best band together. After Little Walter left Muddy's band, Leonard would wait until he could get Little Walter. If it turned out that Walter was totally unavailable, then he would use one of the other players. Leonard Chess firmly believed in repeating what had worked for him in the past. Muddy, because the success of his records, had a tremendous reputation. He worked steadily, and when you worked steadily in Chicago, that was a rarity. So that enabled him to keep a good band together. The same thing with Wolf; he was able to keep a good band together because he was always at Sylvio's on the weekend. He rarely traveled; Sylvio's was his set base. You could go there Friday, Saturday or Sunday night and you knew you were going to see one of the best blues bands in Chicago, week after week. Charlie Musselwhite and I used to go to Sylvio's every second or third weekend just to see Wolf. LW: What is the best selling Testament recording. PW: It was probably The Muddy Plantation Recordings. It was kind of funny how that came about. Once in the course of the conversations, I felt that Muddy had never heard the Library of Congress recordings. I had the album that had the three tracks, and I played them for him. He asked "Where is the rest of them" I said "What are you talking about?" He told me he had done a whole bunch of those for Mr. Lomax on two separate occasions. Muddy didn't bullshit, so I believed what he said. We sent to the Library of Congress and requested a copy. A few weeks later we received them and had a listening party. LW: What was Muddy's reaction when he heard them. PW: He said "We got to get this stuff out." He thought it was wonderful. The recordings were reassigned to Muddy's estate; they now appear on MCA. One thing that I find very interesting is there is no mention as to it's prior existence. If you look on the MCA package, you will find no mention of the Testament release, no testament number, and no reference to me. It's like it never existed, and I find that strange. I certainly can't fault the way they did it-it's very good. They did a first rate job and it belongs with the Chess Masters. That's what we wanted to do in the first place, but Leonard Chess did not want to put it out. He thought the sound was terrible, it was too old fashioned, and besides, he had lots of other Muddy recordings that he hadn't released. Muddy and I thought it was great, but Leonard didn't want to do it. LW: Do you have a favorite Testament recording, excluding Muddy. PW: Well aside from Muddy, my favorite Testament recordings would include the Robert Nighthawk. The sound on that recording is glorious; it sounds like a chamber group with lightly amplified guitar. Robert plays slide on half the tracks, and Johnny Young plays acoustic rhythm behind him. Johnny Young is playing a sweet little Martin guitar, a 1935 0-17 that I used for all the recordings. John Wrencher is playing amplified harmonica, and the sound of those three instruments is just beautiful. That out of all the Testament sessions, is my odds on favorite. The Johnny Young album would be my second choice. It's Johnny recorded over a long period of time showing what he could do best. That's the best way to record a traditional artist, not with one or two sessions, but try and capture it over a long period of time. You get to know the artist and his music better; then you find different ways to present it. That's the way they used to make albums, not just a session, but a collection of singles. One special to me just for sentimental reasons, although it's musically marvelous as well, is my first album with Bill Jackson. LW: Is the Otis Spann recording the only one, that wasn't recorded from the master recording PW: I think so. I licensed some recordings in the sixties to Elektra for release in the UK and provided them with master tapes, but that one got lost. They could never find it when it came time to return it. LW: Was there someone you wanted to record, but never got the chance. PW: I would have to say that anybody I heard, that I thought was good and worth recording, I managed to record. I tell you who I would have liked to record doing blues: Roebuck Staples I knew Roebuck well. He would sit around and do Charlie Patton songs, but he would never let me record them. He knew Patton directly and learned how to play guitar from Charlie. When he did move away from pure religious music, he never really embraced flat-out blues or secular music. Roebuck always stayed close to what he started out with; he is always doing songs with a message of love or what have you. LW: Do you think it has anything to so with blues once being considered devil's music. PW: I knew Roebuck for 35 years, and he is a deeply religious person. He has remained true to his conviction during the time I have known him. He felt that if he started recording his other kind of music, the black gospel audience would turn their backs on him. I can remember listening to a gospel station in Chicago, when Roebuck's recording "When There's Been A Change" had been released. They started to play it on the air, and you could hear the DJ pick it up off the turntable and break it in the air. He went in to a big tirade about how the Staples had sold out and turned their back on the music. LW: What artist today, would you like to record if Testament was still active. PW: I would probably like to record Robert Cray, different than he's being recorded. LW: I like his early recordings, he seemed more intense. PW: I don't think it's that; it's because he has a lot of pressure put on him to capture a larger market, and the only way to do that is to expand out from pure blues and embrace other types of music. I think he's doing a very capable job of doing what he's doing. I prefer his earlier stuff also, but not because there is more vitality to it. If you go see Robert live, he will blow your socks off; it's just not reflected on his recordings. LW: They sound too polished over-rehearsed. PW: When you do Memphis soul music, you have to be controlled, and all the elements have to locked in place for it to work well. LW: How did the Johnny Shines sessions come about. PW: I was excited to find Johnny. He was one of the people that I was looking for all the time I was in Chicago. I had been looking for him and had a number of other people looking for him also. Johnny Young actually found him-Shines was working as a photographer in blues clubs at night. He would take a picture of you and your girlfriend so you would have a memento of the evening. I started talking to him about recording, and then Sam Charters came to town to do "Chicago/ The Blues/Today". Sam wanted to record him and I thought exposure on Vanguard would be great. I thought he was a marvelous player and just a wonderful, soft spoken, scholarly man. I had the luxury of recording him over a long period of time. He came up with some pieces that he hadn't played in a long time. I would interview him and during the course of the interview, he would start remembering all those old songs he had played. He'd start reconstructing them, and when we got together, he would record them. I recorded Fred McDowell in the same manner. LW: Why did Testament end, did it have anything to do with the blues losing popularity PW: No, not at all. The blues slowed down, but I always kept it going. I was even putting stuff out in the seventies. The reason Testament came to a complete stop was because when I came to Capitol, I had to sign a conflict-of-interest clause. Testament was not in competition with this, but if you sign an agreement, you have to observe it. LW: What is your position at Capitol. PW: I am Director of A & R in the Special Markets Division. LW: Do you miss the old days and Maxwell Street. PW: Sure, absolutely, but those days don't exist anymore. I sort of lament their passing, but that is inevitable. I feel sorry for the younger people, who don't have those options or opportunities. I would have liked to have been there ten years earlier, like in '51 instead of '61. ========================================================================= Date: Wed, 15 Nov 1995 17:02:42 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: The Kingfish url Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, elma@magnet.at, pp001832@interramp.com The DC Blues Society has added my band's bio, photo and soundbite to their www site. Check it out at: http://intelus.com:80/DCBlues/sLevine.html There are also some articles I've written on that site. -Steve ========================================================================= Date: Wed, 15 Nov 1995 23:19:51 +0100 Reply-To: Robert Paul Schwippert From: Robert Paul Schwippert Subject: Guy Forsyth NL tour dates? Does anyone have the exact dates/venues for Guy Forsyth performing in Holland next week? I read he was playing in Paradiso the 22nd, but that didn't turn out to be right. I think he was also playing at Het Paard in The Hague but dont know when. All clues are welcome! RP ========================================================================= Date: Wed, 15 Nov 1995 14:32:13 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: PETER WELDING TRIBUTE : PART 4 (PERSONAL TRIBUTES) Comments: To: BluesHvn@aol.com PETER WELDING TRIBUTE : PART 4 OF 7 (PERSONAL TRIBUTES) ===================== ============================================================================== My favorite Testament CDs are actually not the Chicago blues that the label is known for, but instead are "It must have been the devil" - Jack Owens and Bud Spires, and "Standing at the crosscroads" - Johnny Shines. Owens and Spires sound like a combination of Skip James and Junior Kimbrough. The Bentonia style is there, but instead of the concise and modern songwriting of James, we have the haunting, hypnotic repetition of the delta. If you want some eery music, put this CD on. The Shines CD is worth the price of admission solely for the "Hoo-Doo Snake Doctor Blues" track. In addition, the entire CD is great and makes a nice complement to his work on Tomato (like "Too wet to Plow"). From the liner notes, it is clear that Pete Welding appreciated Johnny Shines' genius, something that is too often realized only after artists have passed away. Thank you Pete Welding, for enriching my life with this music. ~ Oded Maron ============================================================================== The first Testament cds I bought were Johnny Shines cds: The Johnny Shines Band - Masters of Madern Blues and Johnny Shines With Big Walter Horton. I bought these because Big Walter is my favorite blues harp player, and probably the biggest influence on my playing. These cds have some of Horton's best playing ever. The next two I bought were Otis Spann's Chicago Blues and Johnny Young and Friends. These also feature Big Walter, but they would be great recordings even without his brilliant harp playing. Shines, Young and Spann are on the top of my list of favorite blues artists and I have Pete Welding and Testament Records to thank for exposing much of their talents to me. Before I bought the Johnny Shines cds I thought he was just an influental Delta bluesman - I hadn't realized how great his amplified Chicago blues was. I have yet to find a Testament recording I haven't liked. Happy birthday Mr. Welding. ~ Steve Levine ============================================================================== If you have a collection of blues music it's unlikely that you don't own at least something that Pete had a part in producing, writing liner notes for or some other activity. Why, his name appears almost as often as some other members of this list who shall remain nameless. His most recent activities have involved the Capitol blues reissue series for which he is listed as Producer and Compiler and seems to also be responsible for most of the liner notes. This series is valuable to blues enthusiasts because it makes available recordings that have long been unavailable. They have very extensive depth (in some cases, complete recordings). The liner notes are exceptional. Pete Welding is perhaps best known for founding Testament records. I missed these when they first came out on LP and got to know about the label through buying whatever used LPs I could find. I quickly learned that this was a label you could buy with confidence even if you didn't know the artist. I was very pleased to see Hightone reissuing this series as it was uncommon to see used LPs due to the understandable reluctance of people to get rid of them. The label seemed to favor excellent artists who seemed to be ignored by other labels. Without these recordings, there would be a serious deficiency in our knowledge of artists active in the 1960s. Picking favorites are tough, but here goes: 1. Johnny Shines - perhaps my favorite postwar blues guitarist who played in a country style. He had 3 releases on Testament, all worth getting, but my personal favorite is "Standing At the Crossroads" (TCD 5022). This is a 1970 acoustic set. The other 2 with Big Walter Horton and Otis Spann among others are also not to be missed. 2. Robert Nighthawk/Houston Stackhouse (TCD 5010) - these are two seriously under-recorded artists. This also features Detroit harmonica man, John Wrencher on the Nighthawk sides. 3. Floyd Jones/Eddie Taylor (TCD 5001) - Hightone had good reason to make this their first reissue, it's one of the best. With Otis Spann, Walter Horton and Fred Below, how can you go wrong? 4. Jack Owens & Bud Spires - It Must Have Been The Devil (TCD 5016). Before these recordings, people thought there was no one like Skip James. This release made people talk about "Bentonia" style blues. Skip and Jack came from the same town. Skip got recorded in the 1931 and gained national recognition. This release made people question who were the originators of this style. 5. Otis Spann - Otis Spann's Chicago Blues (TCD 5005). Since Otis is my favorite postwar piano blues man how could I not choose this release? 6. The various artists Blues at Home CD which is a reissue of an Advent LP also belongs in every collection. This is solo acoustic or minimal backing of a number of artists done in the home setting. For those of us not having the privilege of hearing artists perform in casual setting, this is a real treasure. For me, never having had this experience, the best way I could describe it is the difference between hearing the same artist perform on stage in front of a whole bunch of people or 25-40 at the Mississippi Valley Blues Festival Workshop tent. Much more relaxed. The artists seem to have more fun playing. Happy Birthday Pete Welding. Your recorded legacy is a treasure to all of us. ~ Art Schuna ============================================================================== When Pete Welding was producing those great Testament releases, I was listening to the Beatles and Herman's Hermits. My journey through rock and roll took me me far and wide. Unlike most other folks, the early English rock/blues bands just lead me further into rock; I never found the roots of what I was listening to. After the punk/new wave music of the early 80's I stopped buying music altogether. Finally, about three years ago, I found the 'source'; I was home. Now, I was faced with the daunting task of navigating the new world of blues music with limited financial resources. I didn't know many artists; I didn't have any 'old friends' I could rely on to supply me with good music. So I started slowly and soon I began to find that certain labels, producers, compilers names consistently appeared on the CDs in my player. Well, Pete Welding is just such a name; an 'old friend' I could rely on for great music. So far I've collected 20 of the Testament (Hightone) re-issues, 7 of the Capitol Blues Collections, The Complete Imperial Recordings of T-Bone Walker, The Complete Imperial Recordings of Albert Collins, and The Complete Aladdin Recordings of Lightnin' Hopkins. Pete hasn't disappointed me yet. So, Happy Birthday my 'old friend' and many more. Thanks for the hours of great music, truly an eye-opening trip. A few of my favorites are: EMI 96843 : LIGHTNIN' HOPKINS - The Complete Aladdin Recordings HIGHTONE 5022 : JOHNNY SHINES - Standing at The Crossroads HIGHTONE 5019 : FRED and ANNIE MAE MCDOWELL - My Home is in the Delta HIGHTONE 5016 : BUD SPIRES/JACK OWENS - It Must Have Been The Devil CAPITOL 31744 : LIL' SON JACKSON - The Complete Imperial Recordings ~ Steve Bard ============================================================================== While I was preparing an article on Testament records early this year for the Belgian magazine Jazz in Time, I decided that I should first seriously "study" Pete Welding/Testament's history to find out interesting details or anecdotes, to propose a rather complete historical overview. So I started to (re)-read everything I could find in my archives about Testament, by/about Pete Welding. I took the numerous sleeves notes (Testament, Milestone, OJL, Storyville ...), numerous blues mags, books ... to end up with the conclusion that Pete Welding's contribution to the blues is so important that it would be better for me, given the deadline I had, NOT try to write something with the hope to be more or less complete! ... I still think that his contribution is too important to be summarised in a few sentences so let me just modestly participate to this tribute by thanking Pete Welding for what he did (and still does with the Capitol reissues) for the blues, for his numerous instructive writings, for the superb musicians such as Johnny Young, Robert Nighthawk he brought back on the blues scene and in recording studios, for having produced/published so many wonderful albums from McDowell and Johnny Young to Johnny Shines or Dr Ross, ... I really wish you, Mr Welding, a happy birthday. Selecting 5 albums was again an incredibly difficult task given the numerous great productions Pete Welding has been involved in (Testament, Milestone, OJL,...). I deliberately decided to confine myself to 5 TESTAMENT Albums that are available on CD (1) TESTAMENT TCD 5003 JOHNNY YOUNG AND HIS FRIENDS One of my favourite Testament album by one of my all time favourite luesman! A MUST........ (2) TESTAMENT TCD 5007 CAN'T KEEP FROM CRYING - Various Artists. A superb anthology of topical blues on the death of Pres. Kennedy. (3) TESTAMENT TCD 5010 ROBERT NIGHTHAWK-HOUSTON STACKHOUSE ....What should I add? (4) TESTAMENT TCD 5016 JACK OWENS and BUD SPIRES Bentonia Blues at his best recorded by David Evans (5) TESTAMENT TCD 5022 JOHNNY SHINES: STANDING AT THE CROSSROADS For me his best solo recordings ever! ~ Jean-Pierre Urbain ============================================================================== I've never met Pete Welding, but I remember my first encounter with one of his Testament albums. It was the one containing the Muddy Waters Library of Congress recordings. What a treasure! I was just getting into Chicago blues, and was totally fascinated to discover this gem, not only for the music but also for the liner notes with their wealth of information about the artist and the historical/cultural background of the music. For me, this has always been one of the highlights of the many albums Pete has been involved with--the well- written and extensive notes always do such a great job of putting things in perspective. The Testament albums introduced me to artists like Floyd Jones, J. B. Hutto, Eddie Taylor, and especially made me aware of the link between the city blues and the country blues that had gone before. They helped me understand what the music was and where it had come from, to appreciate the breadth and depth of the blues tradition. Thank you very much, Pete Welding! ~ Cliff Warnken ============================================================================== Pete Welding has produced some wonderful recordings of both acoustic and amplified blues. His early 60's Chicago blues series on his own label - Testament - are hardly to be surpassed, except perhaps by a later session he did with Johnny Young in November of 1965: "Johnny Young and his Chicago Blues Band" released on the Arhoolie label. Otis Spann, James Cotton, and S.P.Leary accompany the urban mandolin player. But I want to touch on Welding's talents as a writer, especially in the liner notes of this album and a subsequent 1967 Johnny Young album (produced by Chris Strachwitz and Willie Dixon) that he really captures the essence of the Chicago Blues for me. One of my all-time favorite blues quotation penned by Welding (unfortunately edited from the CD edition) goes like this: "the sound of a good tight Chicago blues band at full throttle can still jolt the listener with its blistering force and raw urgency as can few musical experiences our present "Great Society" has to offer." -Pete Welding, 1966 It is obvious Pete has had a lot of empathy with the musicians he recorded, for his Chicago sessions fully capture that "blistering force and raw urgency" we can still experiece thirty years later. ~ Bonnie Kalmbach ============================================================================== part 5 of 7 : Reviews part 6 of 7 : Reviews part 7 of 7 : Discography ========================================================================= Date: Wed, 15 Nov 1995 14:48:13 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: PETER WELDING TRIBUTE : PART 5 (REVIEWS) Comments: To: BluesHvn@aol.com PETER WELDING TRIBUTE : PART 5 OF 7 (REVIEWS) ===================== These 3 reviews by Ranko Vujosevic were published in Blues Notes #2, the newsletter of the Johnson County Blues Society (Iowa) : Johnny Shines - "Johnny Shines Blues Band" - Testament Records TCD 5002 In the mid 60's Pete Welding got word that Johnny Shines was living in Chicago. Pete began to look for him and spread the word of his search. Johnny Young has seen Johnny Shines taking photos at Sylvio's Lounge and relayed that to Pete Weliding. Pete began to talk with Johnny Shines and Johnny started recording some for Testament. Shines had all but gave up playing music in the late 1950's. This recording could be considered his rediscovery recording. He is backed by an allstar Chicago band, that included Otis Spann, Big Walter Horton and Fred Below. Johnny's bottleneck slide and powerful vocals lead this recording, although Otis Spann is superb, as usual. This recording has some classics like "Rollin and Tumblin", which starts slow, but picks up and never lets go. I'm sure these bluesmen had no idea that "Sweet Home Chicago" would become overplayed in later years. It is a marvelous version of the well worn classic. "Mr. Tom Green's Farm" has Shines on guitar and Lee Jackson on bass. Lee's bass playing is right on the money. It's a slow blues with raw, gritty, and tortured bottleneck guitar. "My Black Mare" has a great groove to it with Spann throwing in piano fills, that really push it along. The recording has ten cuts and the only complaint would be it's too short. I encourage you to try this recording and any other Johnny Shines you can find. He was a great bottleneck player and powerful vocalist. Johnny Young - "Johnny Young and Friends" - Testament Records TCD 5003 It is shocking that more blues fans are not aware of Johnny Young and his contribution to Chicago blues. He was among the first to record in the postwar Chicago blues style. In 1947 he recorded along with his cousin, Johnny Williams, for the Ora-Nelle label. His main instrument was the blues mandolin, you read that right, blues mandolin. He is considered the only mandolin player to play in the electric Chicago blues style. He spent most of his time playing Maxwell Street and that's where Benard Abrams, owner of the Ora-Nelle label, heard him. The actual recording did nothing to help Johnny Youngs career. He recorded very little and spent most of his time on Maxwell Street playing on Sunday mornings with other musicians such as Robert Nighthawk and Carey Bell. In the eary 1960's Peter Welding began to frequently record Johnny and his friends for Testament Records. This particular CD is a re-issue of some of those sessions. The friends who accompanied Johnny included Otis Spann, Big Walter Horton, Little Walter Jacobs, Robert Nighthawk and others. You may have guessed from that line up that this sounds much like the Muddy Waters recordings from the same period. Muddy and Johnny often played together. Johnny was very well liked and respected by his peers, but most blues fanswere never really aware of him. There are eighteen tracks on this CD and Johnny plays mandolin on seven and guitar on the remaining tracks. The vocals are superb and the supporting musicians all eventually became blues legends. This is not slick and polished blues, this is pure Chicago blues from one of the best Chicago bluesmen ever. The mandolin was usually not considered a blues instrument, but when Johnny Young played the mandolin it was definitely a blues instrument. If pure Chicago blues appeals to you, this CD will be a welcomed addition to your collection. Johnny Young died of a heart attack on April 18th 1974 in Chicago at age 56. He was finally beginning to get the recognition he deserved. His main goal in life was to own his own home, but died before reaching that goal. It can be said without doubt or hesitation that Johnny Young was one of the greatest Chicago bluesmen. Otis Spann - "Chicago Blues" - Testament Records TCD 5005 Otis Spann is synonymous with blues piano. He honed his skills playing with Big Maceo Merriweather and it certainly paid off. Otis not only plays great piano, but he also sings very well. His voice has a rough edge to it that works well with blues. How can you go wrong with a recording that has James Cotton, Big Walter Horton, Johnny Young, Johnny Shines and Fred Below . There are 15 tracks on this recording and seven have Otis by himself. The great Big Maceo classic "Worried Life Blues" is one of those seven and it is wonderful. Otis's two-fisted piano style is still unsurpassed. The organ is featured in two cuts, the instrumental "Jack-knife" and the typical hurting blues, "Lovin You." "See See Rider" and "One Room Country Shack" are two cuts that is Otis by himself. After listening to those two you wonder why the entire recording is not Otis alone. The five cuts that include James Cotton reminds you why he is on this recording. It's harp playing that will reach out and grab your attention. The tune "Sarah Street" dares you to ignore Cotton's playing, he is fine form and no holding nothing back. There are three instrumentals the afore-mentioned "Jack-Knife", "Spann's Boogie Woogie" and "G.B. Blues." "G.B. Blues" is the only cut with Big Walter Horton and Johnny Shines, they do nothing to help the tune, it is too short and all Otis. "Vicksburg Blues" is Otis and drummer Robert Whitehead and it works very well. Johnny Young can be heard playing laidback guitar on five of the tracks. The sound quality is lacking due to the original master tapes being lost in transit a few years ago. The recording is from a mint pressing, but it still lacks the quality of other Testament re-issues. The performance of Otis and James Cotton overshadow the poor sound quality and made it well worth having. ============================================================================== part 6 of 7 : More Reviews part 7 of 7 : Discography ========================================================================= Date: Wed, 15 Nov 1995 15:22:45 -0800 Reply-To: Mark Gentry From: Mark Gentry Subject: BB King Up Close (fwd) Comments: cc: antones@Ebay.Sun.COM Rob, Nice post on BB King. You are probably the envy of many of us on blues-l today having had the pleasure of seeing BB King in a club. He is without a doubt, a national treasure. After reading your quote however, I couldn't resist. It looks like you and PJ O'Rourke are getting your wish now that the government is shutting down, Regards, Mark - "Although I would not give whiskey and car keys to teenage boys, I willingly pay taxes to my government so we avoid anarchy and preserve a way of life where I spend what's left of my money on blues cd's. - Gentry :) > Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu > LaGrange, Il USA > "Giving money and power to government is like > giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Wed, 15 Nov 1995 19:20:18 CST Reply-To: JBards From: JBards Subject: Re: The Kingfish url Comments: To: Steve.Levine@CORP.WRGRACE.COM Nice job, Steve, the soundbite- hardly a "bite", since it's a minute lonmg, is nicely done. I've bookmarked it...hope to see ya in DC sometime. -Jim _______________________________________________________________________________ Subject: The Kingfish url From: Steve.Levine@CORP.WRGRACE.COM at INTERNET-SH Date: 11/15/95 5:02 PM The DC Blues Society has added my band's bio, photo and soundbite to their www site. Check it out at: http://intelus.com:80/DCBlues/sLevine.html There are also some articles I've written on that site. -Steve ========================================================================= Date: Wed, 15 Nov 1995 17:58:45 -0800 Reply-To: Brian Simmons From: Brian Simmons Subject: Denver blues? Anyone out there familiar with the Denver scene? May be relocating and want to know about good places to go locally to hear the blues. I am presently on "nomail" for the general list, so please reply privately. Thanks Brian ========================================================================= Date: Wed, 15 Nov 1995 19:00:08 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: PETER WELDING TRIBUTE : PART 6 (MORE RE VIEWS) Comments: To: BluesHvn@aol.com PETER WELDING TRIBUTE : PART 6 OF 7 (MORE REVIEWS) ===================== These reviews were submitted to Roots 'N Rhythm for their next newsletter. For more information on how to get their newsletter, email or write to : ROOTS & RHYTHM (MAIL ORDER), P. O. BOX 837, EL CERRITO, CA.94530., Tel: 510-525-1494 Fax: 510-525-2904 TESTAMENT 5014 BILL JACKSON - LONG STEEL RAIL ============================================================================= BILL JACKSON b. 1906/FEB/22, GRANITE, MD Vocalist & 12-string guitarist Bill Jackson was one of a group of artists - including Carl Hodges, Doug Quattlebaum, Blind Connie Williams, Clarence Clay & William Scott - that Peter John Welding discovered in 1961/62, reissuing their sides on his own Testament label & on Bluesville, Milestone and Storyville Records. This CD was Welding's first album, and should entice fans of Pink Anderson, John Jackson and Mississippi John Hurt. Born in Maryland, his versions of tunes like "Careless Love", "Trouble In Mind", "Blood Red River" & "Key To The Highway" are earnest attempts at Piedmont blues but it's his original tunes like "Long Steel Rail", "You Ain't No Woman", "Old Rounder Blues" that I'm impressed with. Fans of new artists like Eric Bibb & Guy Davis should also give this set a listen. TESTAMENT 5015 JOHNNY SHINES WITH BIG WALTER HORTON ============================================================================= JOHN NED LEE SHINES JR. b. 1915/APR/25, FRAYSER, TN d. 1992/APR/20, TUSCALOOSA, AL WALTER HORTON b. 1918/APR/06, HORN LAKE, MS d. 1981/DEC/08, CHICAGO, IL Recorded in 1966 and 1969, this is Johnny Shines' 2nd Testament album. Like it's companion volume TESTAMENT 5002, this 1966 session includes Lee Jackson & Fred Below with guest pianist Otis Spann and Walter Horton appearing only on the instrumental "G. B. Blues". Spann is the star on this session, especially his soloing on "I Want To Warn You" and "Till I Made My Tonsils Sore". As for the 1969 session, Horton is back, who even sings on one track ("If It Ain't Me") but this time we have a 2nd guitarist, a 29 year old newcomer, Luther S. Allison. Relatively new to the recording studio, Luther had only previously recorded with Sunnyland Slim (1968) and for Shakey Jake (1967), and was still 6 months away from recording his first album (for Delmark). It's his lead guitar you hear on "Sneakin' And Hidin'" (2 takes), "I Cry, I Cry" (2 takes), and "If It Ain't Me". Some tape hiss is audible on a few of these 1969 tracks. TESTAMENT 5020 J. B. HUTTO - MASTERS OF MODERN BLUES ============================================================================= JOSEPH BENJAMIN HUTTO b. 1929/APR/29, ELKO, SC d. 1983/JUN/12, HARVEY, IL This 1966 recording, J. B.'s very first album, was recorded 6 months after his appearance on the award winning Vanguard Records series "Chicago/The Blues/Today!". This time producer Peter Welding arranged to have their friend Big Walter Horton (hca) join him in the studio, along with Johnny Young (rhythm gtr), Lee Jackson (b) and everyone's favorite drummer, Fred Below. Most of the tracks are originals, except for Roosevelt Sykes' "Mistake In Life" and St. Louis Jimmy's "Goin' Down Slow", with 9 of tracks featuring J. B.'s slide guitar. If you enjoy Elmore James-Hound Dog Taylor type blues, you'll want to check out this CD. TESTAMENT 5021 VARIOUS - BOTTLENECK BLUES ============================================================================= This is the long lost TESTAMENT album devoted to bottleneck blues. Big Joe Williams does one of his amazing on-the-stop blues ("Traveling Blues") with a nice extro to producer Pete Welding. The Johnny Shines' track "Crucial Moment", one of those blues that never makes mention of the title but captures the moment, alone is worth the price of admission. Other highlights include "Cryin' Won't Help You" (Robert Nighthawk), and "Worryin' Woman Blues" (David "Honeyboy" Edwards). Most of the tracks are new, with a few by Fred McDowell, Blind Connie Williams, J. B. Hutto being reissued before on TESTAMENT. Other artists include John Lee Granderson, Robert "Nighthawk" Johnson, Herb Quinn, John Littlejohn and Jack Owens. Fans of bottleneck guitar should seriously consider this sampler of 15 different artist, which covers all the different styles that CD note writer David Evans describes so well. TESTAMENT 5024 BLIND CONNIE WILLIAMS - PHILADELPHIA STREET SINGER ============================================================================= CONNIE WILLIAMS b. 1915, FL A friend of the Rev. Gary Davis, singer/guitarist Connie Williams was discovered playing accordion (!) and with his help, Philadelphia-born Peter Welding began recording onto tape performers he would meet. Recorded on May 5, 1961, it would remain unissued until it's release in 1974. Eighteen of the 23 tracks (7 unissued) feature his slide guitar on mostly gospel tracks like Willie Eason's "Tell Me Why You Like Roosevelt", "Crossed The Separated Line", "Oh, What A Time", "Motherless Children", with 5 examples of his accordian playing. If you're a fan of guitar evangelists, you'll like this CD. TESTAMENT 5025 JOHNNY TURNER & BLUES WITH A FEELING ============================================================================= JOHNNY TURNER b. 1934/NOV/16, ALTHEIMER, AR Recorded in May 1976, this live recording is the last in this 25 CD series devoted to Peter Welding's pioneer Testament label. With gtr-harmonica-bass -drums line up, singer/guitarist Johnny Turner performs versions of Little Walter's "Can't Hold Out Much Longer", "You're Mine" and "Last Night"; Roy Brown's "Hard Luck Blues"; Sonny Boy Williamson #2's "Checkin' On My Baby" and "Don't Start Me To Talking"; and "Tennessee Woman Blues", a tune originally recorded by his mentor, Fenton Robinson. At least 4 of these tracks were also issued on Jake Leg Records. ============================================================================== part 7 of 7 : Discography ========================================================================= Date: Wed, 15 Nov 1995 22:06:12 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Who likes the BLUES???? Roger (who signed his note ddr) said: >>Frankly, Scarlett, i don't give a damn if my next door neighbor doesn't >>like the blues. It is fine for me that I like the blues, but i don't like >>hip hop or rap. If the guy down the street likes polka, and jazz, but not >>opera....hey, i still don't give a damn. I agree, Roger. I've never understood the idea of "blues evangelism." Sure, it's natural, if you know of something good--a restaurant, a movie, a song--to want to share it with your friends, etc. But if they don't like it, what's the big deal? If we were all the same, it would be a mighty dull world. >>BLUES-L is just a microcosm of the rest of society, No, here I disagree. We are not like the rest of society. We have computers and the time and resources to use them online. I don't believe the majority of society does. I've always wondered whether we were representative of the the total group of blues fans. I live in a very small town, and I've met only a couple of blues fans besides my computer buddies. What about it, folks? Are other blues fans like us? (Don't ask me "like" in what way...I don't even know!) Karen ========================================================================= Date: Wed, 15 Nov 1995 22:57:24 -0500 Reply-To: ATBandTBA From: ATBandTBA Organization: America Online, Inc. (1-800-827-6364) Subject: The Blues Audience in New England Comments: To: bit-listserv-blues-l@uunet.uu.net We have had a soild Blues community here in the northeast for the past 30 years ( I can personally vouch for 25 of them). We have Bands that keep winning the National Blues Talent Competition. The Movers are the 1995 winners We keep in touch with the musicians we love and I am trying to expediate that process with my newsletter. It is a service designed to help Blues musicians get their schedules out to their fans. We have a great group of people, both musicians and audience. If you are interested in what we are doing you can e-mail me at ATBandTBA@aol.com We have access to the schedules of great Blues Bands like: Roomful Of Blues Jay Geils, Magic Dick and Bluestime James Montgomery Loaded Dice Parker Wheeler and Fly Amero Cheryl Renee and Howard Randall Annie Raines and Paul Rishell Walk That Walk Professor Harp The Jaywalkers The Hornets The Biggs Band The Jacksonville Blues Band interested? Live Blues is alive and well in New England dispite the sagging economy. That's when the Blues is most popular! I hope this is not too commercial for Blues-L, but I am not looking for money, just spreading the word It's my job... the Blues Diana Shonk- Publisher ========================================================================= Date: Wed, 15 Nov 1995 22:58:56 -0500 Reply-To: JRush11279 From: JRush11279 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Kansas City Blues/Jazz? Comments: To: bit-listserv-blues-l@uunet.uu.net There is supposed to be a walking map tour of the 18th and Vine Historic Jazz District available through the 18th and Vine Planning Center. The phone number is 816-274-1571. The tour includes Count Basie residence, Bennie Moten residence, Mutual Musicians Foundation, and lots of historic clubs. Check the Pitch weekly magazine for nighttime blues and jazz. Your best bets for Jazz are the Phoenix and for Blues the Grand Emporium or B.B.'s Lawnside BBQ. ========================================================================= Date: Wed, 15 Nov 1995 11:52:00 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Piano bob & snowman PIANO BOB & THE SNOWMAN are a guitar/vocalist and piano duo who play mostly in the older, pre-War, Barrelhouse and Blues styles. 1992 Winner National Blues Contest, The Blues Foundation, Memphis TN 1992 Winner of the B.B.King 'Lucille Award', Best Unsigned Blues Act in the USA, W.C.Handy Awards, Memphis TN Nov 21, 10PM-2AM: Tobacco Road, 626 South Miami Ave, Miami, FL (305)374-1198 Dec 5, 9PM-1AM: CocoNuts, Mile Marker 100, Key Largo, FL (behind Holiday Inn) Clubs and booking agents call Piano Bob at (305)663-9746 ========================================================================= Date: Wed, 15 Nov 1995 23:23:49 -0500 Reply-To: JRush11279 From: JRush11279 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Roy Rogers and the "Delta" (?) Rhythm Kings Comments: To: bit-listserv-blues-l@uunet.uu.net Roy Rogers is from the San Francisco area. Chances are that's where the band members originate also. ========================================================================= Date: Wed, 15 Nov 1995 23:52:35 -0500 Reply-To: "jose.eric.s.maglanque" From: "jose.eric.s.maglanque" Subject: Re: Blues Scales (For Slide???) Comments: To: thesters Precisely my point: I don't know much scales and stuff and -- for playing blues -- I've never felt inadequate or been castigated for it. Don't think that you are inadequate bec. you don't know some scales. If you play with your instincts, you're well on your way. > I mean, I'm fifteen years old and trying to learn something > about slide. I don't know if there really is a scale for slide, plus, I > have never took phrasing classes, just chords. My music theory is sorry, I > barelly can read guide lines. I can play some tunes with slide in open > chords, but what I wanted to know if you, people who know everything about > theory, could help me with some slide theory, because I just play with my > "instincts". > > Alexandre de Santi ========================================================================= Date: Wed, 15 Nov 1995 21:00:06 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: PETER WELDING TRIBUTE : PART 7 (TESTAMENT DISCOGRAPHY) Comments: To: BluesHvn@aol.com PETER WELDING TRIBUTE : PART 7 OF 7 (TESTAMENT DISCOGRAPHY) ===================== TESTAMENT RECORDS ----------------- CD # new Hightone CD 5000 series (dist. by HIGHTONE RECORDS, 220 4TH STREET, ---- #101, OAKLAND, CA. 94607) | | LP # : original Testament album series | ---- | | | | 5014 201 : BILL JACKSON LONG STEEL RAIL 5011 2202 : JIMMY WALKER/ERWIN HELFER ROUGH & READY 5008 2203 : VARIOUS MODERN CHICAGO BLUES 2204 : PEG LEG HOWELL THE LEGENDARY 5013 2205 : BIG JOE WILLIAMS BACK TO THE COUNTRY 5009 2206 : DR. ISAIAH ROSS CALL THE DOCTOR (1) 2207 : VARIOUS CHICAGO BLUES : THE BEGINNING 5019 2208 : FRED & ANNIE MCDOWELL MY HOME IS IN THE DELTA 5012 2209 : VARIOUS SOUND OF THE DELTA (2) 2210 : MUDDY WATERS DOWN ON STOVALL'S PLANTATION 5005 2211 : OTIS SPANN CHICAGO BLUES 5002 2212 : JOHNNY SHINES BAND MASTERS OF MODERN BLUES 5020 2213 : J. B. HUTTO MASTERS OF MODERN BLUES 5001 2214 : EDDIE TAYLOR/FLOYD JONES MASTERS OF MODERN BLUES 5010 2215 : ROBERT NIGHTHAWK/H. STACKHOUSE MASTERS OF MODERN BLUES 5021 2216 : VARIOUS BOTTLENECK BLUES (*NOT ISSUED*) 5015 2217 : JOHNNY SHINES WITH BIG WALTER HORTON 5018 2218 : VARIOUS GOIN' TO CHICAGO 5004 2219 : FRED MCDOWELL AMAZING GRACE (W/Hunter's ...) 5006 2220 : CHICAGO STRING BAND (MARTIN/YOUNG/GRANDERSON/...) 5022 2221 : JOHNNY SHINES STANDING AT THE CROSSROADS 5016 2222 : JACK OWENS/BUD SPIRES IT MUST HAVE BEEN THE DEVIL 5017 2223 : NEGRO FIFE & DRUM BANDS TRAVELING THROUGH THE JUNGLE 5023 2224 : EDDIE LEE JONES YONDER GO THAT OLD BLACK DOG 5024 2225 : BLIND CONNIE WILLIAMS PHILADELPHIA STREET SINGER 5003 2226 : JOHNNY YOUNG & FRIENDS 5025 2227 : JOHNNY TURNER BLUES WITH A FEELING 5007 S-01 : VARIOUS CAN'T KEEP FROM CRYING (JFK) 4001 : VARIOUS TESTAMENT RECORDS SAMPLER Notes : (1) mostly available on EPIC LP 37318 : OKEH CHICAGO BLUES (2 LP) (2) now on MCA CHESS CD 9344 : MUDDY WATERS - THE COMPLETE PLANTATION RECORDINGS ========================================================================= Date: Thu, 16 Nov 1995 00:53:11 -0500 Reply-To: JRush11279 From: JRush11279 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Blues Radio Listings Comments: To: bit-listserv-blues-l@uunet.uu.net United States Kansas City Missouri KKFI 90.1 FM Monday-Friday 4:00-6:00 PM KCFX 101.1 FM Sundays 8:00-10:00 PM Lindsay Shannon's Blues Show ========================================================================= Date: Wed, 15 Nov 1995 23:01:51 -0700 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: Bonnie Raitt's New One Comments: To: Bob vanArsdall In-Reply-To: Nice review, but isn't it Bruce Hornsby (not Butch)? Jay Watterworth CU Boulder ========================================================================= Date: Thu, 16 Nov 1995 01:09:44 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Old farts vs Young bucks Comments: To: hndful@uniserve.com If your previous message you wrote: >> - yet in the fifties guys like Buddy >>Guy were big in the blues, while they were still in their >>twenties...comments? This is clearly not so. When I met Buddy Guy in the mid-1960s, he was working days as a Chevy mechanic and doing Chess session work at night. He has a bunch of Chess 45s in his own name that had been placed in jukeboxes on the South Side but that was the extent of his career. To say that he was 'big in blues' is absolutely untrue. However, I'm totally supportive of your position that public appreciation of blues artists is far too long in coming. Buddy did not receive his first Grammy until he was past 55. Dick Waterman ========================================================================= Date: Wed, 15 Nov 1995 15:02:53 GMT Reply-To: Verified From: "John M. Saylor" Organization: Cornell University Subject: Voodoo Woman Comments: To: bit-listserv-blues-l@uunet.uu.net I thought I heard a song on the radiooo coming into work called Voodoo Woman sung by Keri Leigh. Can anyoone tell me which CD this is on? -thanks -john _____________________________________________________ John M. Saylor email: JMS1@cornell.edu Director o phone: 607-255-4134 Engineering Library '<, fax: 607-255-0278 Cornell University /> http://www.englib.cornell.edu/jms/ Ithaca, NY 14853-220 Information is not knowledge Knowledge is not wisdom Wisdom is not truth Truth is not beauty Beauty is not love Love is not music Music is THE BEST F. Zappa / `-' ) ,,, | IU U||||||||[:::] \_.-.( ''' ========================================================================= Date: Thu, 16 Nov 1995 09:37:01 +0100 Reply-To: BIBGA@HHS.SE From: BIBGA@HHS.SE Subject: Jimmy Dawkins disco --Boundary (ID N7vb6E+O6ZFXFpgpVLt+xg) Content-type: TEXT/PLAIN; CHARSET=US-ASCII Tommy Jansson of Uppsala requested a Jimmy Dawkins disco. This, I hope, is a full listing of recordings in his own name. The list of records as a sideman may not be complete. I have included CD reissues of LPs as far as I know them; there may be more. Gorgen Antonsson, Stockholm JIMMY DAWKINS ALBUMS (in chronological order) Fast fingers (Delmark DS-623 [LP]). Chicago, 1969 All for business (Delmark DS-634 [LP] = Delmark DE-634 [CD] with 3 added tracks). Chicago, Oct-Nov 1971 Jimmy Dawkins (Vogue LDM 301 49 [LP]). Paris 1971 Tribute to Orange (Black & Blue 33.038 [LP; also issued as 33.538 & 33.556] = Black & Blue 59.556-2 = Evidence ECD 26031-2 with added tracks from Black & Blue 33.510). Toulouse (France), 30 Nov 1971 Transatlantic 770 (Excello 8024 = Sonet 758 = Contempo CLP 513 [LP]). London 1972 American Folk Blues Festival '72 (L+R LS 42.018 = Atlantic G 60036 [LP, 2 tracks on anthology]). Munich, 26 Oct 1972 Montreux Blues Festival (Excello 28026 [LP; 8 tracks on anthology]). Montreux (Switzerland), 18 June 1972 Jimmy Dawkins-Big Voice Odum (Black & Blue 33.510 [LP; 5 of 10 tracks on Evidence ECD 26031-2; see 30 Nov 1971 session above]) Paris, 26 Nov 1974 I want to know (MCM 900.290 [LP]). Chicago, 16 Oct 1975 Blisterstring (Delmark DS-641 [LP]). Chicago, 1976 Come back baby (MCM 900.295 [LP] = Storyville STCD 8035 with 4 added tracks). Chicago, 11 Nov 1976 Hot wire '81 (Isabel 900.508 [LP] = Evidence ECD 26043-2). Paris, 22 March 1981 Live! (Rumble RR 1003 [3 tracks on LP shared with Hip Linkchain]). Champaign, Ill., 1982? American Livin' Blues Festival (Paris Album C 3346/7 [LP; 4 tracks on anthology]). Paris? 1983? Feel the blues (JSP 1093 [LP] = JSP CD 206 with 2 tracks added from anthology JSP 1097). Evanston, Ill., 1984 or 1985 All blues (JSP 1102). London, 1985 Blue ice (Platonic 001 = Evidence ECD 26064-2 [5 tracks; further titles by Chicago Beau, and Icelandic group Vinir Dora]). Reykjavik, April 1991 Kant sheck dees bluze (Earwig 4920 CD = Blue Sting CD 024). Chicago, 18 June 1991 Blues & pain (Ichiban DOG 9108-2). Atlanta, 1994? Ichiban blues at Christmas (Ichiban 1173-2 [one track on anthology]). Atlanta?, 1994? B phur real (Ichiban DOG 9110-2). Atlanta, March-April 1995 JIMMY DAWKINS AS SIDEMAN: Clarence "Gatemouth" Brown: New Okie Dokie stomp (Black & Blue 33.033 = Black & Blue 33.550 [LP]). Paris, 3 Dec 1971 Chicago Beau: My ancestors (GBW 004). Chicago, 1991 or 1992 Eddie Clearwater: Black night (MCM 900.296 [LP]); Eddie Clearwater, Fred Below, Eddie Taylor MCM 900.305 [LP; with 4 tracks]). Chicago, 5 Nov 1976 Cousin Joe: Bad luck blues. (Black & Blue 33.035 [LP; also issued as 33.549 & 33.583] = Black & Blue BB 035.2 = Evidence ECD 26046-2). Toulouse (France), 30 Nov 1971 Queen Sylvia Embry (Leric LD 01338 = Leric 42083 [single]). Chicago?, 1983? Queen Sylvia Embry: Midnight baby (L+R 42.057 [LP] = L+R CDLR 72003 = Evidence ECD 26057-2 with 2 added tracks). Chicago, April 1983 Jimmy Johnson: Ma Bea's rock (MCM 900.294 [LP, one side Jimmy J, the other Luther Johnson, without Dawkins]). Chicago, 15 Oct 1975 Willie Kent (Blue Soul BS-22436 [single]. Chicago?, 1986? [poss. Dawkins or Johnny B. Moore on this] Shirley King: Jump through my keyhole (GBW GBW-007). Chicago, 21 April & 12 May 1992 Andrew McMahon: Blueblood (Dharma DB 4401 [LP]). Chicago?, 1973? [on one track only] Andrew McMahon: Go get my baby (MCM 900.301 [LP]). Chicago, 8 & 10 Nov 1976 [on four tracks] Andrew "Big Voice" Odom: Going to California (MCM 900.297 [LP]). Chicago, 28 Oct 1976 Peps Persson: The week Peps came to Chicago (Sonet SLPD 2532 = SLPCD-2532). Chicago, Spring 1972 [on 4 tracks] Otis Rush. Ann Arbor Blues & Jazz Festival 1972 (Atlantic SD 2-502 [LP]). Ann Arbor, 10 Sep 1972 [one track on anthology] Otis Rush: Screamin' and cryin' (Black and Blue 33.516 [LP] = Black & Blue BB 516-2 = Evidence ECD 26014-2 with two added tracks). Paris, 26 Nov 1974 Scotty and The Oasis Band (Carlis-Hutchins CHP-11882 [single]). Chicago?, 1982 Percy Strother: The highway is my home (Black Magic CD 9030). April 1994-Jan 1995 [on some tracks] Hubert Sumlin: Kings of Chicago blues vol. 2 (Vogue 30175 [LP]). Chicago, 20 Jan 1971 Sunnyland Slim: Worried about my baby (Black & Blue 33.558 [LP]). Paris, 1974 Nora Jean Wallace (Leric 1141985 [single]). Chicago?, 1986? [prob. Dawkins on this] --Boundary (ID N7vb6E+O6ZFXFpgpVLt+xg)-- ========================================================================= Date: Thu, 16 Nov 1995 05:02:29 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - November 16th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ARDOIN, ALPHONSE "BOIS SEC" (acc/zydeco) b. 1916-1116, DURALDE, LA BURNS, STAN Z. (dj/WINS) d. 1990-1116, NEW YORK CITY, NY 63 CLAY, FRANCIS (d/MUDDY WATERS) b. 1923-1116, ROCK ISLAND, IL COKER, CHARLES "DOLO" (p) b. 1927-1116, HARTFORD, CT DICKENSON, VIC (tbn) d. 1984-1116, NEW YORK CITY, NY 78 HANDY, W. C. SR. (cnt) b. 1873-1116, FLORENCE, AL HOOPII, SOL (SOLOMON KAAIAI HOOPII) (g) d. 1953-1116, SEATTLE, WA 51 JOHNSON, GLADYS (p) d. 1974-1116, SAN JUANPUERTO RICO 49 LEADBITTER, MIKE(founder:BLUES UNLIMITED) d. 1974-1116, LONDON, UK 32 LOVETT, WINFRED "BLUE"(of THE MANHATTANS) b. 1943-1116, MACON, GA MURPHY, ROSE "CHEE CHEE" (p) d. 1989-1116, QUEENS, NY 76 PENN, DAN [WALLACE D. PENNINGTON] (songw) b. 1941-1116, VERNON, AL PHILLIPS, BREWER (g/HOUND DOG TAYLOR) b. 1924-1116, COITA, MS ROBINSON, RALPH(tuba/BLIND JOHN CAMPBELL) b. 1885-1116, FRANKLIN, TN RYANES, JOHN (of THE MONOTONES) b. 1940-1116, NEWARK, NJ SMITH, DAN J. REV. (hca) d. 1994-1116, BRONX, NY 83 STONE, JESSE A. (awesome prod/arr/songw) b. 1901-1116, ATCHISON, KS SUMLIN, HUBERT (g/HOWLIN' WOLF) b. 1931-1116, GREENWOOD, MS TRICE, RICHARD (LITTLE BOY FULLER) (g) b. 1917-1116, HILLSBOROUGH, NC TURNER, JOHNNY (g/TESTAMENT REC) b. 1934-1116, ALTHEIMER, AR WATKINS, HARVEY (lead/CANTON SPIRITUALS) d. 1994-1116, JACKSON, MS 64 WRIGHT,O.V.[OVERTON VERTIS WRIGHT JR.](v) d. 1980-1116, MOBILE, AL 41 ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 16 Nov 1995 16:36:49 -0200 Reply-To: Hudson Carvalho Bianchinni From: Hudson Carvalho Bianchinni Subject: Re: Junior Wells in Oxford, MS Dec. 2 Comments: To: Tom Freeland In-Reply-To: <951115101734_107097660@emout06.mail.aol.com> On Wed, 15 Nov 1995, Tom Freeland wrote: > Saturday, Dec. 2nd Junior Wells will be at Proud Larrys, a small club just > off the Square in Oxford, MS. The place holds legal capacity of about 150. > I'll be there; any blues list folks who wants information or help with > tickets let me know. Usual disclaimer: I have no formal connection with the > club; my brother used to work there and I'm friends with the folks who own > it. > > Tom Freeland > Hi Tom,if you`ll be there in the show,please tell me about present JW`s blues style:autentic blues or funk(pseudo)blues? Thanks,Hudson "Everyday,everyday,I have the blues" ========================================================================= Date: Thu, 16 Nov 1995 05:13:00 PST Reply-To: Meridith Farnworth From: Meridith Farnworth Subject: Re: Voodoo Woman >I thought I heard a song on the radiooo coming into work called Voodoo >Woman sung by Keri Leigh. Can anyoone tell me which CD this is on? >-thanks -john It's on the latest, called "Arrival". I haven't heard the whole CD, have just only heard the Voodoo Woman cut, in addition to one called "Florida Sunset". Both are played somewhat regularly on the DMX music service :-) that I get via my cable company. --Meri ========================================================================= Date: Thu, 16 Nov 1995 11:14:27 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Live From Antibes (was Re: Blues Promotion In-Reply-To: <48dbq2$me6@news.doit.wisc.edu> On Wed, 15 Nov 1995, Art Schuna wrote: > In article <199511151247.HAA54954@tequesta.gate.net>, "P.W. Fenton" says: > > >You got to work hard to scrape up a copy of Freddie King Live in > >Antibes (damn, I had to win a contest!), > > PW - > > I've been searching high and low and STILL can't find this disc. I know > someone posted a European CD mail order source but then someone posted > that they backordered. Anybody have a clue? > > Art Schuna > At one time it was listed at CD Europe (telnet 199.35.15.100). I orderd it and after an interminable amount of time they finally said it was "unavailable". I check once in a while and it is no longer listed there. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [16/11/95 6:04 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 16 Nov 1995 11:16:03 GMT Reply-To: Tommy Jansson From: Tommy Jansson Organization: Uppsala university Subject: Re: Blues Promotion Comments: To: bit-listserv-blues-l@uunet.uu.net In article , ISTS024%UABDPO.BITNET@BROWNVM.brown.edu says... > >Before this thread gets into a black & white thing or an UNDESERVING trashing >of Eric Clapton. Lets use a better example. > >Jimmy Rogers Bluebird is excellent , then why in the world has Keb' Mo >outsold it about a million to one. Promotion & Marketing.... > >Why has Keb out sold Honeyboy , James Cotton, Jr. Wells.....Is Keb that much >better than them.....?????. Promotion and Marketing > >I'm using Keb as an example cause he is black and the performers you were >comparing to EC were black. So we need to keep it oranges and oranges otherwise >it sounds racist.... > >LW Why are white middleaged americans so afraid of speaking of racism? Racism is a big part of the american system and of course it make its marks on bluespromotion. Who are we kidding? Lord have mercy... ========================================================================= Date: Thu, 16 Nov 1995 07:28:03 CST Reply-To: William Shute From: William Shute Subject: six seconds of SP Leary...better than none! From: Bill Shute If anyone bothered to watch the Wed. edition of the CBS Morning Show to see the Hash Brown/Barrelhouse Chuck/SP Leary band live at Antone's, please don't get mad at me. If you didn't get to see it, the good news is that the band appeared in exciting live footage recorded at Antone's and were seen by millions on nationwide TV. The bad news is that they appeared for six seconds! In the final half hour, the focus was on barbecue and music in Austin. Joe Nick Patoski, evidently taking a break from his work on the "authorized" Selena biography, played the role of "Professional Texan" by showing Harry Smith and Paula Zahl how to serve and eat Texas barbecue. Patoski assumed the yokel pose associated with Jim Varney and Pa Kettle (but on a Texas level) to the hilt as he extolled the virtues of white bread w/ bbq and how it should be topped off with "jalapeno con big red" (an allusion to the song by JNP's longtime pal Joe King Carrasco, on Carrasco's first album on the San Antonio "Lisa" label). Was Joe Nick auditioning for his own sitcom? Hey, Bob Saget got his start on the CBS Morning Show. Anyone remember the Mariette Hartley days when this show first began, and they tried to pioneer live standup comedy at 7 am in between news and feature segments. Saget had that thankless job of slinging one-liners to people who hadn't yet had their first cup of morning coffee, and look where his career has gone?(Maybe Joe Nick was hoping that Stephen J. Cannell was watching and will cast him in the "texan" role in a 90s version of The A-Team? Or maybe Joe Nick can be cast in the Sonny Tufts role if anyone gets around to doing a remake of Cottonpickin' Chickenpickers???) Anyway, the feature segued into a discussion of the live music scene in Austin, with an interview with the guy who runs Threadgill's, an interview with the music critic of the Austin American-Statesman (or whatever it's called), and snippets of live footage from various clubs. One snippet was six seconds of Harmonica Todd, Barrelhouse Chuck, and SP Leary (Hash Brown wasn't on camera, tho he was audible). They were in fine form. They were not identified, nor was the venue identified. And, in another clip that was even shorter, REAL Austin music fans may have also spotted John, the drummer with The VAnguards, playing rubboard with some country musicians at some club I couldn't identify...he got about 3 seconds. More time was alloted to ass-level shots of college kids dancing at various places, and then that ole stalwart Jerry Jeff Walker was brought out to perform a few songs for the live audience for the broadcast. Well, it was nice to see Texas blues get some national exposure, if only for six seconds. After all, that may well be more blues content than in some episodes of the House Of Blues TV show. Bill Shute San Antonio, TX see you all at the "Heart of the Blues" benefit for Johnny Clyde Copeland sunday evening here in SA. Contact me for directions/details. If you are at the show, I'll be the guy taking pictures who looks like a white version of Mark McCuen (speaking of the CBS Morning Show). Let's hoist a few Red Stripes in honor of Johnny Clyde to the music of Texas Johnny Brown, WC Clark, or Barrence Whitfield! My blues pick of the week: LARRY GARNER"You Need To Live a Little" on Verve/Gitanes. I've had it for months, and it's still as exciting as ever. Reissue pick of the week: the amazing 3-cd set JOHN LEE HOOKER "Alternative Boogie" in the CApitol Blues Reissue series. QUIT ========================================================================= Date: Thu, 16 Nov 1995 07:56:12 CST Reply-To: ISTS024@UABDPO.BITNET Comments: RFC822 error: Invalid RFC822 field - "__________________________________________________________". Rest of header flushed. From: L W Subject: Re: Blues Promotion In-Reply-To: Message of Thu, 16 Nov 1995 11:16:03 GMT from I said that because EVERY SINGLE time I say something about race, some jerk will jump in my shit about it. So I was just pointing out that Keb' would be a better comparison. As everyone on blues-l (except newless clubeies) can attest I ain't afraid to discuss race..... "of course it makes marks on bluespromotion" What rock did you came out from under. John Hammond/Rory Block plays and SINGS circles areond Keb Mo and yet who's latest CD sold the most Keb's or John and Rory's....Did Johnny Winter's last recording even sell a third as many as Keb'....Why ?, Johnny is REAL white The facts say that MARKETING/PROMOTION works and race hasn't a damn thing to do with it...How many Grammy's has Johnny Winter won...? Rod Piazza...? Musselwhite....Now how many has T-Bone, BB King, Buddy Guy won.....? LW 'Tab Benoit didn't even win a grammy. WHITE and MARKETED" ========================================================================= Date: Thu, 16 Nov 1995 06:33:14 -0000 Reply-To: "J. Witteveen" From: "J. Witteveen" Subject: Re: Early Buddy Guy, et al. >In a previous message I wrote: > >>> - yet in the fifties guys like Buddy >>>Guy were big in the blues, while they were still in their >>>twenties...comments? ...and Dick Waterman responded: >This is clearly not so. When I met Buddy Guy in the mid-1960s, he was working >days as a Chevy mechanic and doing Chess session work at night. >He has a bunch of Chess 45s in his own name that had been placed in jukeboxes >on the South Side but that was the extent of his career. To say that he was >'big in blues' is absolutely untrue. >However, I'm totally supportive of your position that public appreciation of >blues artists is far too long in coming. Buddy did not receive his first >Grammy until he was past 55. >Dick Waterman And now, I respond: I was under the impression (from the liner notes of the Cobra box set as well as other sources) that Buddy Guy and Otis Rush had great popularity in blues circles when they were still young guys, and this is when they recorded some of their classic stuff (which are regarded as blues classics today, ie. Otis Rush's All your Love). Of course, this was before the blues crossed over in a major way, attracting a larger white audience... However, I am a relative newcomer to the blues, so I defer to the masters... :-) -Jim (hndful@uniserve.com) ========================================================================= Date: Thu, 16 Nov 1995 08:30:23 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Yazoo Recordings Question How is the sound quality on the Yazoo CD's, especially the Blind Lemon Jeff. and Charlie Patton....Is there alot of hiss and bacon frying noises...? LW ========================================================================= Date: Thu, 16 Nov 1995 09:54:50 -0500 Reply-To: Bob vanArsdall From: Bob vanArsdall Subject: Re: Roy Rogers and the "Delta" (?) Rhythm Kings JRush wrote: >Roy Rogers is from the San Francisco area. Chances are that's where the >band members originate also. (Local geography) Around the Bay area in California, "the Delta" is the Sacramento River delta east of Martinez which feeds into San Francisco Bay. I always thought the name of Roy's band was a Californicated play on words and geography. The Sacramento Delta also grows crawfish and has riverboats, though neither in the same capacity as the "real" Delta... Bob ========================================================================= Date: Thu, 16 Nov 1995 16:22:54 +0100 Reply-To: Peter Gallagher From: Peter Gallagher Subject: Re: home page netiquette Comments: To: leftwich@CLOUD9.NET In-Reply-To: from "James Leftwich" at Nov 15, 95 00:08:33 am Good luck with your Homepage! I don't think you need to inform someone, if you add a pointer to their site, but I hope you'll bear in mind that links to links to links ad infinitum can be very frustrating. What happens is that if you do a search for, say, "Blues", you end up with a hit-list of hundreds of peoples homepages all pointing to the same place. :-( In fact, this is becoming a serious problem, whereby the real information gets buried under references to it. I personally have no homepage, simply because (at the moment) I have nothing more to offer the net than other people have done in abundance). Just a thought regards, PeterG > > Hey, > > I'm starting up my home page and was wondering if I'm obligated to inform > site owners if I include them as a link on my page. If I'm using > some of someone's list of links do I need their permission? > > Back to blues programming... > > Jim Leftwich > leftwich@cloud9.net > "I'm on cloud9!" :) > > -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Thu, 16 Nov 1995 10:27:40 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Yazoo Recordings Question Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu In a message dated 95-11-16 09:48:08 EST, ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU (L W) writes: >How is the sound quality on the Yazoo CD's, especially the Blind Lemon Jeff. >and Charlie Patton....Is there alot of hiss and bacon frying noises...? When they were put out, the Yazoo LPs (that is, on vinyl) had a well-deserved reputation for very good sound under the circumstances-- for getting the best out of the old 78s. As I understand it, the CDs do not 'begin again' so are the same sound quality as the vinyl LPs. There are some more recent (expensive) technologies that some folks around here do not like that Yazoo does not use. Furthermore, they have some obvious disadavantages over major labels like Sony in getting the absolutely best source. Its my experience that compared to, say, European labels like Document or RST the sound is really good, but the sound on some of the major labels can be better. BUT this is all very relative!! The sound on some of the Charlie Patton and the Blind Lemon Jefferson goes way beyond bacon frying-- a couple of Patton's early recordings sound like they were recorded in a rain storm. Paramount, which recorded both, was notorious even in its day for using inferior materials in manufacturing its product (that's the bacon sound). And Jefferson started early on, in 1926, before some changes in technology improved things. The problem is that the *only* way to hear Jefferson is those noisy Paramount recordings, and the *only* way to hear Patton before 1934 is the Paramounts. And by '34, Patton had lost a bit. Finally, the only Patton I know on a 'major' label is the few Vocalion sides on some of the Sony compilations. While the sound is cleaner, those recordings don't have the power of his earlier work. I may have this wrong, but I think the rights to the Paramounts are in some sort of limbo, having never been properly purchased by anyone when the label died. So the answer is: on Patton (for the Paramounts) and Jefferson (for any of his recordings), yeah there is a lot of hiss and pop. Yazoo does about as well as anyone in fixing this problem, and better than anyone else that has put out this much of the material. You want to hear these recordings, and to do that you're going to have to put up with the noise. Tom Freeland ========================================================================= Date: Thu, 16 Nov 1995 10:34:53 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Sitting&Thinking-Eddy Clearwater. Comments: To: bit-listserv-blues-l@uunet.uu.net Another in the continuing followup to Bob Koester and Delmark. If it's not clear in the review - Came Up The Hard Way is one tooooo amazing a cut. EDDY CLEARWATER - Boogie My Blues Away (#DD 678) DELMARK RECORDS 4121 NORTH ROCKWELL CHICAGO, IL. 60618 Here is a set of sides from a bluesman everybody appreciates and this CD makes it perfectly clear why this is so. Eddy Clearwater is well versed in the blues and all of it's different turns. He is capable of great guitar work and delivers plenty of it here. He has a voice that cries the blues, or shouts the blues, or croons the blues - but always sings the blues. No doubt about it, Mr. Clearwater is honest, legitimate and a full cup of the blues. He also gets a great backup here from Mack Simmons on harmonica, Thomas Eckert on guitar, Bob Riedy on piano, Aron Burton on bass and Sam Lay on drums. All of the sides here are first timers on CD in the United States. The session was recorded in 1975 and produced by Ralph Bass, who was also responsible for the discovery of James Brown. Of interest is the fact that most of these cuts were laid down in single one day sessions. This is all honest material by the big blues giant Eddy Clearwater and some of his best works ever put down. MUDDY WATERS GOIN' TO RUN CLEAR / BOOGIE MY BLUES AWAY / CAME UP THE HARD WAY / BLUES AT THERESA'S / I DON'T KNOW WHY / TORE UP ALL THE TIME / REAL FINE WOMAN / MAYOR DALEY'S BLUES NY CD-Takes MUDDY WATERS GOIN' TO RUN CLEAR: A couple of gentle tugs on the strings set this side in motion. Eddy Clearwater follows in after the instruments take a few bars to set the stage. None of the classic playfulness of Eddy Clearwater here, but a rather solid Chicago blues introduction to what you will find is a must get CD. This side also features the fine harmonica of Mack Simmons who also gets his licks in on track 3 and Bob Riedy on piano who is featured throughout. This cut is six minutes plus of the real thing. BOOGIE MY BLUES AWAY: Here the beat turns up and boogies. A slip sliding cut with the fun side of Eddy Clearwater taking the fore. This side has a constant beat from the opening bars on through. Mr. Clearwater very smartly sings a bit and then turns the music over to the players, back and forth again, and again. This is a real jump tune and very well arranged. CAME UP THE HARD WAY: A stellar run on the guitar is the intro here and Eddy Clearwater gets darker and deeper and bluesier than I have ever heard him before. The tempo is heart wrenching. The sounds are deep and delicious. The singing is slow and pulling. This is blues at it's very best and very true to what we think of when we say "the blues". Mack Simmons' harmonica here is present but just as a touch in the background - a mysterious effect on a genuinely gripping cut. Once again Mr. Clearwater goes for six minutes plus and adds some of his best guitar work to this track. You may find yourself playing this side over several times before you're willing to give it up and go on to the next side. BLUES AT THERESA'S: Sam Lay on drums sets this side moving, followed by a cooking Aron Burton on bass and a fast fingered Mr. Clearwater on lead. This is a bit of a swing shuffle blues with a really powerful guitar centered. The heat of the guitar is subdued but the fire is evident. This is an all instrumental side that will capture your ears. A lot of music in a tight little cut. Very well done. I DON'T KNOW WHY: Eddy Clearwater turns to his crooning side. He holds out a soulier sound with a long worded vocal approach. The words are drawn and lengthened while Mr. Clearwater adds a bit of his shouter to it. This is a nice cheek-to-cheek listen to side and as a followup to Blues At Theresa's shows off the intelligent selection of music and musical order on this CD. TORE UP ALL THE TIME: This side opens as if it is going to be a mid to fast tempo song but within seconds Mr. Clearwater moves it on to a broody blues cut. It is a complex song in that there is a consistent undercurrent making you expect a faster pace to come but at every turn Eddy Clearwater pushes it back and holds the slow feeling to it. I like the tease inside this side and applaud Mr. Clearwater for this rendition. REAL FINE WOMAN: Now Eddy Clearwater lets the tempo rise. This is a very swinging side with a wealth of motion and a storm of instruments. It really shows off Mr. Clearwater's rich musical vocabulary and his variety on the guitar. MAYOR DALEY'S BLUES: As the CD opens it closes. A few plucks on the strings and Eddy Clearwater steps up to the plate. His voice here is set octaves louder and more brutal - blues and brutal. He's talking about his town of Chicago and he delivers a massive set of vocals. This is quite a closer to as I have said before "a go get CD". Eight cuts of some of the best Eddy Clearwater you will ever get the opportunity to relish. Reviewed By Barry Silverberg Copyright NY CD Blues - 1995 -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Thu, 16 Nov 1995 16:32:58 +0100 Reply-To: Peter Gallagher From: Peter Gallagher Subject: Re: Guy Forsyth NL tour dates? Comments: To: user05@xs4all.nl In-Reply-To: <199511152219.AA06599@xs1.xs4all.nl> from "Robert Paul Schwippert" at Nov 15, 95 11:19:51 pm Hey! Another xs4all'er on blues-l! Guy Forsyth is billed in the AUB Uitlijst for November as taking part in the Tribute To Little Walter, Paradiso, Wed. 22nd. Also in the Arena (amsterdam) on Wed 29th. Hope this helps, De Mazzel! ;-) PeterG > > Does anyone have the exact dates/venues for Guy Forsyth performing in > Holland next week? > I read he was playing in Paradiso the 22nd, but that didn't turn out to be > right. I think he was also playing at Het Paard in The Hague but dont know when. > All clues are welcome! > RP > > -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Thu, 16 Nov 1995 09:38:06 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Johnny Shines I can't seem to stop listening to Johnny Shines and the more I listen the more I'm convinced (I've been convinced for years) that he was one of the best delta slide players and singers ever. I think he lived under Robert Johnson's shadow and never got his due and the same thing could have happened to Robert Lockwood. I just can't stop listening to Johnny's playing and singing. His timing is great and he just nails me with his patience. IMHO that may be the hardest thing to "cop" from the masters. I hear tons of great players, but they are usually not as patient as the masters. I can do the licks and sing the songs, but DAMN their patience/restraint/phrasing or whatever that split-second that they wait before hitting that single "killer note" is called. LW ========================================================================= Date: Thu, 16 Nov 1995 15:58:15 GMT Reply-To: Tommy Jansson From: Tommy Jansson Organization: Uppsala university Subject: Re: Jimmy Dawkins disco Comments: To: bit-listserv-blues-l@uunet.uu.net In article <01HXPFUYGEXE9373FT@HHS.SE>, BIBGA@HHS.SE says... > >--Boundary (ID N7vb6E+O6ZFXFpgpVLt+xg) >Content-type: TEXT/PLAIN; CHARSET=3DUS-ASCII > >Tommy Jansson of Uppsala requested a Jimmy Dawkins disco. This, I hope,=20 is a >full listing of recordings in his own name. The list of records as a=20 sideman >may not be complete. I have included CD reissues of LPs as far as I know= =20 them; >there may be more. >Gorgen Antonsson, Stockholm > >JIMMY DAWKINS ALBUMS (in chronological order) > >Fast fingers (Delmark DS-623 [LP]). Chicago, 1969 > >All for business (Delmark DS-634 [LP] =3D Delmark DE-634 [CD] with 3 add= ed >tracks). Chicago, Oct-Nov 1971 > >Jimmy Dawkins (Vogue LDM 301 49 [LP]). Paris 1971 > >Tribute to Orange (Black & Blue 33.038 [LP; also issued as 33.538 &=20 33.556] >=3D Black & Blue 59.556-2 =3D Evidence ECD 26031-2 with added tracks fro= m=20 Black & >Blue 33.510). Toulouse (France), 30 Nov 1971 > >Transatlantic 770 (Excello 8024 =3D Sonet 758 =3D Contempo CLP 513 [LP])= .=20 London >1972 > >American Folk Blues Festival '72 (L+R LS 42.018 =3D Atlantic G 60036 [LP= ,=20 2 >tracks on anthology]). Munich, 26 Oct 1972 > >Montreux Blues Festival (Excello 28026 [LP; 8 tracks on anthology]).=20 Montreux >(Switzerland), 18 June 1972 > >Jimmy Dawkins-Big Voice Odum (Black & Blue 33.510 [LP; 5 of 10 tracks on >Evidence ECD 26031-2; see 30 Nov 1971 session above]) Paris, 26 Nov 1974 > >I want to know (MCM 900.290 [LP]). Chicago, 16 Oct 1975 > >Blisterstring (Delmark DS-641 [LP]). Chicago, 1976 > >Come back baby (MCM 900.295 [LP] =3D Storyville STCD 8035 with 4 added=20 tracks). >Chicago, 11 Nov 1976 > >Hot wire '81 (Isabel 900.508 [LP] =3D Evidence ECD 26043-2). Paris, 22=20 March 1981 > >Live! (Rumble RR 1003 [3 tracks on LP shared with Hip Linkchain]).=20 Champaign, >Ill., 1982? > >American Livin' Blues Festival (Paris Album C 3346/7 [LP; 4 tracks on >anthology]). Paris? 1983? > >Feel the blues (JSP 1093 [LP] =3D JSP CD 206 with 2 tracks added from=20 anthology >JSP 1097). Evanston, Ill., 1984 or 1985 > >All blues (JSP 1102). London, 1985 > >Blue ice (Platonic 001 =3D Evidence ECD 26064-2 [5 tracks; further title= s=20 by >Chicago Beau, and Icelandic group Vinir Dora]). Reykjavik, April 1991 > >Kant sheck dees bluze (Earwig 4920 CD =3D Blue Sting CD 024). Chicago, 1= 8=20 June >1991 > >Blues & pain (Ichiban DOG 9108-2). Atlanta, 1994? > >Ichiban blues at Christmas (Ichiban 1173-2 [one track on anthology]). >Atlanta?, 1994? > >B phur real (Ichiban DOG 9110-2). Atlanta, March-April 1995 > > >JIMMY DAWKINS AS SIDEMAN: >Clarence "Gatemouth" Brown: New Okie Dokie stomp (Black & Blue 33.033 =3D= =20 Black >& Blue 33.550 [LP]). Paris, 3 Dec 1971 >Chicago Beau: My ancestors (GBW 004). Chicago, 1991 or 1992 >Eddie Clearwater: Black night (MCM 900.296 [LP]); Eddie Clearwater, Fred >Below, Eddie Taylor MCM 900.305 [LP; with 4 tracks]). Chicago, 5 Nov=20 1976 >Cousin Joe: Bad luck blues. (Black & Blue 33.035 [LP; also issued as=20 33.549 & >33.583] =3D Black & Blue BB 035.2 =3D Evidence ECD 26046-2). Toulouse=20 (France), 30 > Nov 1971 >Queen Sylvia Embry (Leric LD 01338 =3D Leric 42083 [single]). Chicago?,=20 1983? >Queen Sylvia Embry: Midnight baby (L+R 42.057 [LP] =3D L+R CDLR 72003 =3D= =20 Evidence > ECD 26057-2 with 2 added tracks). Chicago, April 1983 >Jimmy Johnson: Ma Bea's rock (MCM 900.294 [LP, one side Jimmy J, the=20 other >Luther Johnson, without Dawkins]). Chicago, 15 Oct 1975 >Willie Kent (Blue Soul BS-22436 [single]. Chicago?, 1986? [poss. Dawkins= =20 or >Johnny B. Moore on this] >Shirley King: Jump through my keyhole (GBW GBW-007). Chicago, 21 April &= =20 12 >May 1992 >Andrew McMahon: Blueblood (Dharma DB 4401 [LP]). Chicago?, 1973? [on one >track only] >Andrew McMahon: Go get my baby (MCM 900.301 [LP]). Chicago, 8 & 10 Nov=20 1976 >[on four tracks] >Andrew "Big Voice" Odom: Going to California (MCM 900.297 [LP]).=20 Chicago, 28 >Oct 1976 >Peps Persson: The week Peps came to Chicago (Sonet SLPD 2532 =3D=20 SLPCD-2532). >Chicago, Spring 1972 [on 4 tracks] >Otis Rush. Ann Arbor Blues & Jazz Festival 1972 (Atlantic SD 2-502=20 [LP]). Ann >Arbor, 10 Sep 1972 [one track on anthology] >Otis Rush: Screamin' and cryin' (Black and Blue 33.516 [LP] =3D Black = &=20 Blue >BB 516-2 =3D Evidence ECD 26014-2 with two added tracks). Paris, 26 Nov=20 1974 >Scotty and The Oasis Band (Carlis-Hutchins CHP-11882 [single]).=20 Chicago?, 1982 >Percy Strother: The highway is my home (Black Magic CD 9030). April=20 1994-Jan >1995 [on some tracks] >Hubert Sumlin: Kings of Chicago blues vol. 2 (Vogue 30175 [LP]).=20 Chicago, 20 >Jan 1971 >Sunnyland Slim: Worried about my baby (Black & Blue 33.558 [LP]). Paris,= =20 1974 >Nora Jean Wallace (Leric 1141985 [single]). Chicago?, 1986? [prob.=20 Dawkins on >this] > >--Boundary (ID N7vb6E+O6ZFXFpgpVLt+xg)-- Thanks Gorgen. It was much more than I hoped for! But...I have a few=20 questions. Storyville(I think) has reissued MCM-tracks where Dawkins=20 share the bill with John Littlejohn. Is it just tracks from MCM.900.295? And I read in the newsletter from the swedish recordstore Smokestack=20 that Dawkins and the guitarist from Vinir Dora has made an album. Am I=20 right?.=20 But I=B4m speachless when I read your "Dawkins as a sideman" Tack gode Gu= d=20 g=F6r diskofiler!(That=B4s swedish folks...) ========================================================================= Date: Thu, 16 Nov 1995 16:02:32 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Subject: Re: Yazoo Recordings Question Comments: To: bit-listserv-blues-l@uunet.uu.net In article , L W says: > >How is the sound quality on the Yazoo CD's, especially the Blind Lemon Jeff. >and Charlie Patton....Is there alot of hiss and bacon frying noises...? Yes there is, but it's tolerable to my ears. If it really bothers you, turn down the treble on your receiver. But, I kind of like it...reminds me of breakfast, without the smell of bacon :-) The problem with these recordings was the fact that they were done by Paramount, a small label from Wisconsin, who used low-fi recording techniques and used a lot of filler in their shellac. Even decent lookings 78s have a lot of noise, or so I'm told. Yazoo does not use noise suppression devices (at least they don't claim to use them). In comparing Yazoo to Document for example, Document seems to turn down the treble frequencies on noisy pressings, Yazoo lets you decide whether to do that. Given the option, I'd rather be the one to decide. Art ========================================================================= Date: Thu, 16 Nov 1995 10:51:25 -0500 Reply-To: THesters From: THesters Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Blues Scales (For Slide???) Comments: To: bit-listserv-blues-l@uunet.uu.net I mean, I'm fifteen years old and trying to learn something about slide. I don't know if there really is a scale for slide, plus, I have never took phrasing classes, just chords. My music theory is sorry, I barelly can read guide lines. I can play some tunes with slide in open chords, but what I wanted to know if you, people who know everything about theory, could help me with some slide theory, because I just play with my "instincts". Alexandre de Santi ========================================================================= Date: Thu, 16 Nov 1995 11:32:00 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Organization: IQuest Internet Services Subject: Blues collection stats I've been here over a year now, and like some of yours, my collection has grown pretty steadily. Many albums have been aquired from you folks directly or from recommendations/reviews. It's just now getting to where I need to start keeping track of the collection.While I don't want to attach any statistical significance to these numbers - since in all likelyhood this is a comparitively small collection for an individual on a list such as this- I wonder how other collections compare. I welcome your comments and observations. Blues only LP's, cassettes, and CD's purchased 190 Blues only CD's , cassettes, and copies given to me 8 Total number of artists represented by entire albums 68 White artists represented ( 29.41 %) 20 Dead artists (50%) 34 Alive artists (50%) 34 Active artists (still doing 12 shows/yr as far as I know) 23 Female artist albums (9.1%) 18 Albums recorded in the 1990's (14.6%) 29 Pre-WWII recordings (5%) 10 Country blues from '60's rediscovery era ( 9.6%) 19 Piano based blues albums (6.1%) 12 Albums with harmonica player band leaders (5%) 10 Whole albums by black artists; all blues styles (82.3%) 163 Various artist *published* compilations (8.1%) 16 Albums which highlight "hot" electric guitar (27.3%) 54 RJ Bauman 68 ========================================================================= Date: Thu, 16 Nov 1995 10:14:49 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Blues Scales (For Slide???) In-Reply-To: Message of Thu, 16 Nov 1995 10:51:25 -0500 from On Thu, 16 Nov 1995 10:51:25 -0500 THesters said: > I mean, I'm fifteen years old and trying to learn something >about slide. I don't know if there really is a scale for slide, plus, I >have never took phrasing classes, just chords. My music theory is sorry, I >barelly can read guide lines. I can play some tunes with slide in open >chords, but what I wanted to know if you, people who know everything about >theory, could help me with some slide theory, because I just play with my >"instincts". I don't know much about theory (don't know much about the French I took :-)) Here's someting. Open G or A tuning (example in G) this may not be THE SCALE, but D_________10 12_______ (bottom string) play in this area and wiggle B_________10 12_______ your HAND not your FINGER to G___________11 12_______ get nice vibrato. When playing D_________10 12_______ the 4th chord use this scale G___________11_12_______ at the 5th fret instead of the D_________10___12_______ 12th (ie 3-5, 3-5, 4-5.etc) 5th chord (5-7, 5-7...etc) Some chord forms (same tuning as above) 4th chord (C7or D7) D___________|____ B___1_______|_5__ I prefer to fret where the asterik is just cause I like the G________3*_|_5__ sound better than where the & is....(actually the 7th ) D_____2_____|_5__ G________3&_|_5__ or bar at the third sort of like this, throw that pinky out D___________|____ there on the 7th, 8th..etc while playing use upstrokes and downstrokes 5th (E or D) D______3*___|____ I like to use that asterik fret alot sometimes pulling off B_1_________|_7__ while stumming...Once again use that pinky some when fretin G____2______|_7__ at the 7th. D___________|_7__ G___________|_7__ D___________|____ Play them hard and intense, snap the strings against the fretboard. Slap the fretboard, play muted strings, hit the heel of your picking hand against the guitar while you play, DAMPEN THEM STRINGS. Play it like you love it. There are more chord forms that are more fun than stomping baby chickens, but I ain't got time to key them in. One thing is for sure, you will get alot of responses cause everybody is going to correct me :-) LW 'with humble-ness' ========================================================================= Date: Thu, 16 Nov 1995 11:21:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Re: Early Buddy Guy, et al. Comments: To: hndful@UNISERVE.COM >I was under the impression (from the liner notes of the Cobra box set as >well as other sources) that Buddy Guy and Otis Rush had great popularity in >blues circles when they were still young guys, So - I'm wondering - how big were theses "blues circles" in the 40's and 50's. Muddy Waters' sister told him when he arrived in Chicago that people weren't interested in "that old stuff you play ' or something to that effect. Yet Muddy was relatively successful on his home turf on Chicago until the whites discovered him. How big - percentage-wise - I am wondering - was the population of African-American Chicagoans (or in other urban centers) who dug and supported the blues in the 40's and 50's. Was it a majority? - a small percentage? compared with others of the same ethnic background?? -Bonnie ========================================================================= Date: Thu, 16 Nov 1995 12:22:39 -0500 Reply-To: THesters From: THesters Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Blues Promotion Comments: To: bit-listserv-blues-l@uunet.uu.net I am one of those people who started listening the blues by buying "From the Cradle". Now I must have more than 60 blues albums (not bad for a fifteen year older). Alexandre de Santi ========================================================================= Date: Thu, 16 Nov 1995 12:37:39 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Early Buddy Guy, et al. Comments: To: hndful@uniserve.com I hope that this is no thread in the making but it surely is not worth the effort. The young Buddy Guy was never a club-hopping kind of guy who was eager to take his guitar and play gigs every night. He was (at that time) happily married with a growing family and content to work as a Chevrolet mechanic during the day and do Chess sessions at night. No question that his own 45s from that period were (still are) brilliant stuff and "My Time After While," "When My Left Eye Jumps" and "Stone Crazy" certainly stand up very well after all these years. My only point was that he did not have any particular interest in playing out of town gigs and he did an occasional local date only to supplement his day job. I visited him at the garage about 1966 or so and he was working on a car with his hands below an engine block that was suspended by a thin chain hoist. I knew that I had to convince him to seriously consider a music career before disaster struck some day. >>>However, I am a relative newcomer to the blues, so I defer >>>to the masters... :-) Gimme a break! Muddy Waters was a master. Duke Ellington was a master. The rest of us are just walking behind holding up the edges of their capes. Dick Waterman I looked out my window And what do you think I seen? My baby and another man In a long black limousine It's your time now, baby Going to be my time after while -Buddy Guy ========================================================================= Date: Thu, 16 Nov 1995 12:42:14 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Organization: IQuest Internet Services Subject: Re: Who likes the BLUES???? Comments: To: JukeFreak@AOL.COM =========only a couple of blues fans besides my computer buddies. What about it, folks? Are other blues fans like us? (Don't ask me "like" in what way...I don't even know!) Karen=========== A lot of the blues fans around here are what Living Blues calls "Biker Blues" fans. I wouldn't mind having a Harley in my garage, but I'm very unlike most who patronize the blues clubs here. ========================================================================= Date: Thu, 16 Nov 1995 10:22:38 -0800 Reply-To: Mark Gentry From: Mark Gentry Subject: Re: Blues Promotion Comments: cc: antones@Ebay.Sun.COM > From: "P.W. Fenton" > > Eric Clapton's (a.k.a Rich Little's)"From The Cradle" must be the > highest selling Blues album of all times. The sad part is that > record execs will probably look at it as the power of Clapton > instead of the power of the Blues. In this case, I think the extraordinary sales are due to the power of Clapton's fan base that he developed while playing rock. I'm not even a Clapton fan mind you. I do agree however that stronger marketing would result in selling a few million Dawkins cd's as you have suggested. It's a crying shame that it doesn't happen. I'm just not sure that we'd ever see sales match those of Clapton. I think there are two reasons for this. First, Clapton's rock fan base. I would guess plenty of his fans bought "From The Cradle" because it had Clapton's name on it, not because it was a blues cd. Secondly, Clapton has more rock influence in his blues playing which appeals to a wider audience then some of the blues legends. Unfortunately, I don't think we'll ever see blues reach the popularity that rock has enjoyed, even if the blues was marketed as you have suggested. I hope I'm wrong about this. Regardless, I don't see any blues musician building a fan base like Clapton's unless they draw from the rock audience too. My favorite analogy for the popularity of rock vs blues is the enormous popularity of action films. Movies with explosions, death and destruction, woven around very little story, are usually a smash at the box office. You know, that whole lowest common denominator thing. A movie that with a low budget that relies more heavily on a story line usually doesn't have a prayer in matching the box office take of an action film. I wish it wasn't so. Subtlety appears to be lost in our popular culture. Regards, Mark Gentry Btw, if Roy Rogers and the Delta Rhythm Kings really refers to the Sacramento River delta, that makes Los Lobos a southern rock band... Southern California that is... > What they won't realize is that > they could take Jimmy Dawkins (or any one of a hundred other guys) > give him half of E.C.'s production budget, make a PBS special about > his new album, make an MTV unplugged episode with him, grease all > the radio station wheels, supply free "exclusives" to Entertainment > Tonight, produce a few key music videos and GIVE them away to the > media, and you'd sell a few million Dawkins albums as well. > > Unlike many folks, I believe that the public has good taste. I think > if they got to hear all of what's out there, the real cream would > rise to the top. But Big Biz's disrespect for the public, > fear of the un-proven, and love of the "sure thing" will never allow > that to happen. > > On the other hand, the general public is lazy, and getting lazier > every day, which fits perfectly into what the media plans for them. > You got to work hard to scrape up a copy of Freddie King Live in > Antibes (damn, I had to win a contest!), but you can find E.C.'s > album at K-Mart directly opposite the plastic loafers. > > Please stop me.... somebody. It's one of them moooods. > > P.W. Fenton > Tampa, Florida > e-mail = pwfenton@gate.net > WWW = http://www.gate.net/~pwfenton ----- End Included Message ----- ========================================================================= Date: Thu, 16 Nov 1995 12:14:21 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: RL's Dream (novel) I'm sure someone has already mentioned RL's Dream, by Walter Mosley, I recently finished reading it and if you like fiction, it's a decent read. I wouldn't call it great or anything, but it's readable and has an old bluesman as one of the main characters. The bluesman (Soupspoon Wise) has frequent flashbacks of Robert Johnson and that time period. LW ========================================================================= Date: Thu, 16 Nov 1995 12:19:30 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Early Buddy Guy, et al. Comments: To: Dick Waterman In-Reply-To: <951116123737_24259242@emout05.mail.aol.com> Nice quotations and infro from Dick about Buddy. Of course, he didn't write "My Time After Awhile." He was covering Tiny Powell's version, which I think is credited to Bob Geddins and Ron Badger as composers, and basically reproducing Johnny Heartsman's guitar playing from the Powell version. To second what Dick W. said, while Otis Rush had some sort-of-hits at least on Cobra, Buddy's Artistic 45s didn't make a dent on the Richter Scale, and none of his Chess singles was a real hit either (until folks like Stevie Ray covered them). ========================================================================= Date: Thu, 16 Nov 1995 13:44:55 -0500 Reply-To: Neil Cassidy From: Neil Cassidy Subject: early Buddy Guy/Af-Amer population figures Comments to: Bonnie Kalmbach Bonnie While these figures may not be the type of stats you are looking for they nonetheless are incredibly revealing. The following appears in Nicholas Lemann's "The Promised Land:The Great Black Migration and how it Changed America". Lemann's book is wonderfully written and has the high praise of historians who are not musicologist's. For this reason I think it is all the more necessary for blues histiorians to read it and see what he has to say about the emerging transplanted culture of the south and west sides of Chicago. So, from Lemann: "The black population of Chicago grew from 44,000 in 1910 to 109,000 in1920, and then to 234,00 in 1930. A local commission on race relations reported that 50,000 black people had moved to Chicago from the Aouth during the eighteen months of the war." (p.16) "During the1940's the black populatio of Chicago increased by77 per cent. from278,000 to 492,000. In the 1950's it grew by another 65 per cent, to 813,000; at one point 2,200 black people were moving to Chicago every week. By 1960, Chicago had more than half a million more black residents than it had had twenty years earlier, and black migrants from the South were still coming in tremendous numbers."(p.70) Lemann's book is also worth the read because the families he traces to Chicago are all from Clarksdale. The description of the lives in the story creates vivid images of Delta life. Lemann, Nicholas. "The Promised Land: The Great Black Migration and How it Changed America", New York: Vantage Books, 1991. 408 pages. Happy reading Neil Cassidy ========================================================================= Date: Thu, 16 Nov 1995 14:12:04 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: JT's "Steamroller Blues", Hey Come on now! :) Okay, 20 people have mailed me that the song is on this album or that, but nobody knows the lyrics off hand? Not even the first verse? C'mon you guys! :) :) Don't force me to wing it! :) Hmmmmm. maybe save this one for after a few visits with Mr. Jack. [heh-heh] Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 16 Nov 1995 13:11:44 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: JT's "Steamroller Blues", Hey Come on now! :) In-Reply-To: Message of Thu, 16 Nov 1995 14:12:04 -0500 from On Thu, 16 Nov 1995 14:12:04 -0500 Rick Miller said: >Don't force me to wing it! :) Hmmmmm. maybe save this one for after a few >visits with Mr. Jack. [heh-heh] I know you are kidding, of course, but since you mentioned it. I used to always drink whiskey before I play, but the last few times I drank beer, I've come to the conclusion that whiskey is bad for your performance.(the audience should drink lots of whiskey, b4 I play, however) Well I'm Steamroller Baby and I'm bound to roll all over you (2x) I'm gonna inject your soul with some sweet rhythm and blues Well I'm a cement mixer baby, I'm gonna churn. Oh well I give up, hey how 'bout: Whenever I see your smiling face I have to smile myself, because I Love you, Whenever you gimme that funny little pout it turns me inside out, there's something about you baby, I don't know. Isn't it amazing a man like me can feel this way LW 'excuse me while I PUKE" ========================================================================= Date: Thu, 16 Nov 1995 14:29:40 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Mr. Fenton's (et al) lament. Hmmmmm. I dunno about this one guys. Lemme play devil's advocate for a minute with you here. I'm not necessarily convinced that Cradle's popularity is just t the blues hitting a mark, so much as it is, to a good extent, Clapton is a marketable guy. I'm not sure that EC's promotion budget applied to a black artist would do the same thing for him/her. I refuse to play the race card on this one. I really think this has a lot to do with the individual. I'm not sure Dawkins(was it?) with the same bucks would sell as well. And I don't but the argument that Stevie Ray, Clapton, etc. sell because they're white. The only reason I say this is that we know that there are black artists in other genres of music, rap, hip-hop, soul, R&B, rock, who are every bit or even huge-er than EC. I don't think race is the ticket. ANd for sure the big budget promo helps, but you gotta have a marketable *individual*. Clapton is that. But so is Michael Jackson, Smokey Robinson, Sade, Whitney Houston, and hey, for that matter, BB King. Paul, I'm not disagreeing with you necessarily, just tossing this out for your digestion, in a most friendly kinda way. :) Submitted for your perusal, Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 16 Nov 1995 14:35:10 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: LW's "Blues Promotion" Good points on the Jimmy Rogers v. Keb Mo, oranges v. oranges thing. I hadn't read this far in the mail when I responded to Paul and the group. Cool. Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 16 Nov 1995 14:41:17 -0800 Reply-To: Dale Peace From: Dale Peace Subject: concert info? Hi... I'm a big fan of Rory Block's. Unfortunately, I live in the panhandle of Florida in an area that rarely gets any concerts that are not country-oriented. We occasionally get a blues artist or two, but its very rare. Does anyone know where I can get a list of Rory Block's concert dates for the southeast? thanks... dp -- *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* * Dale Peace - Computer Programmer/Analyst (904) 922-6044 * College Center for Library Automation FAX (904) 922-6431 * 1238 Blountstown Highway SUNCOM 292-6431 * Tallahassee, Florida 32304 * *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* A violin teacher was asked the secret to his success in motivating students. He answered that there were three things a teacher needed to foster in a student. Talent, enthusiasm and determination. If you take a little talent and encourage it you build enthusiasm. Enthusiasm builds confidence that you can be the best. Confidence creates determination that you can overcome anything. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Thu, 16 Nov 1995 14:44:22 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Blues Promotion On 16 Nov 95, Mark Gentry had this to say... > too. My favorite analogy for the popularity of rock vs blues is the enormous > popularity of action films. Movies with explosions, death and destruction, > woven around very little story, are usually a smash at the box office. > You know, that whole lowest common denominator thing. A movie that with a > low budget that relies more heavily on a story line usually doesn't have > a prayer in matching the box office take of an action film. I wish it wasn't > so. Subtlety appears to be lost in our popular culture. I don't feel so negative about it. Your favorite analogy (cited by others here as well) is somewhat faulty. Movies with action, explosions, and mayhem are successful because they are great fun to watch and provide a catharsis. I refuse to take the elitist stance that says what appeals to the most people represents the lowest common denominator. I refuse to have such disrespect for my innocent neighbors. The second part doesn't hold water either when you consider a film like "Clerks" that was made by students in their spare time financed with credit cards, and doesn't contain a single explosion or car chase. It was wildly successful because it was entertaining. People enjoyed it. Likewise, enjoyment of Blues requires no sophistication, or special knowledge. It's music that is enjoyed by both math professors and sanitation workers. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 16 Nov 1995 14:59:20 -0500 Reply-To: Patti Bowman From: Patti Bowman Subject: Re: Who likes the BLUES???? Roger said: >>>BLUES-L is just a microcosm of the rest of society, So Karen said: >No, here I disagree. We are not like the rest of society. We have computers >and the time and resources to use them online. I don't believe the majority >of society does. I've always wondered whether we were representative of the >the total group of blues fans. I live in a very small town, and I've met >only a couple of blues fans besides my computer buddies. What about it, >folks? Are other blues fans like us? (Don't ask me "like" in what way...I >don't even know!) Believe it or not there are people like us in almost every genre of music. I belong to quite a few music lists. On grunge-l there is the debate over true and innnovative alternative bands vs. copycats. On AJ-list there is the debate over jazz vs. acid jazz On the Funky list they argue old-school vs. new school. Music evokes passion and deep emotion. Or it doesn't. That's where the opinions come in. Our passions are not the same. Thank god! Long live diversity. Patti ========================================================================= Date: Thu, 16 Nov 1995 13:46:17 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: New Delta-TUNE (nonsense) New from Blueco, the company that brought you the Metal-Matic, brings you the revolutionary DELTA-TUNE.... Have you always wanted to play like Son House, Muddy Waters, Robert Johnson and other delta masters...? Well now YOU CAN, That's right YOU can play like the delta masters. The DELTA-TUNE provides you with the neccessary equipiment and SECRET knowledge of the OPEN TUNINGS used by the masters. You can tune your guitar in the same mysterious open tunings used by ROBERT JOHNSON !!!! You've tried and tried to play like Muddy Waters, without success, but now with DELTA-TUNE YOU CAN DO IT !!!!!. Unlike conventional tunings used by people everywhere these SECRET OPEN TUNINGS are virtually unknown to some players. YOU CAN EVEN USE THEM TO PLAY SLIDE GUITAR (slide not included) Amaze your friends with your knowledge and DELTA SKILL. The DELTA-TUNE looks like an ordinary chromatic tuner, but with BLUECO'S detailed instructions it becomes a revolutionary tuning device. Order yours today send 79.95 to BLUECO USUCKER AVE DAMNFOOL IL. LW 'sorry switched coffee brands :-)' btw: Sad, but you could probally sell a few hundred of these critters. ========================================================================= Date: Thu, 16 Nov 1995 14:45:57 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: BB King Up Close (fwd) Comments: To: Mark Gentry In-Reply-To: <9511152322.AA23893@spartan1.EBay.Sun.COM> Mark, I can't argue with spending money to avoid anarchy. The problem is we spend more than we should and end up with fewer blues CD's:) Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Thu, 16 Nov 1995 14:56:54 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Patience (was Re: Johnny Shines) Comments: To: L W In-Reply-To: LW, Funny that you mention timing. The opening act for BB King on Sunday, who's name I've forgotten (Dick Shurman, any idea), is some up and comer who has a CD coming out on Pointblank. He played some absolutely sizzling guitar, but seemed to lack the touch and timing of a great one. Naturally, this could come in time, but it's frustrating sometimes to see a player hitting all the right notes, but too many of them or not at the right time. Overall they were a solid, if not sensational, opening act. Rob PS I'm sure whoever it was really appeciates the above anonymous plug:) Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Thu, 16 Nov 1995 11:56:00 -0800 Reply-To: Richard Norton From: Richard Norton Organization: Fullerton College, CA Subject: Thank you All I would just like to take a momment and thank all of you on blues-l for your support of behalf of myself and my band. Music is a wonderful thing to share, and having a wonderful vehicle such as this group makes things alot easier. We have a resposiblity to ourselves and our communities to share our love and knowledge of this great music. I have always been of the opinion that money is the result and not the cause, meaning that if I thought that I was going to get rich playing this type of music I would have been better off doing some thing else. That however is not the case. It has been some 20+ years now and my commiment and resolve is stronger than ever. I realize that Blues music and musicians will probably never achieve the level of commercial success that it deserves, that is not the point. What I think is important is to do something you care about and are commited to. I can recall a time that if you admitted to being a blues musician you were scoffed and ridiculed, my how times have changed. Let us not labor over the fact that everyone will not get the message, fact is they won't. Let us nuture this great music and support those that have gone to great personal hardship to make sure that it will survive and grow. This is our responsibility yours and mine. Forgive me for going on about this, it's just that instead of laboring over such trite issues as who should or should not be recieveing recognition we should celebrate the music itself. Thanks for your time and I ivite you to check out my homepage on the Blue Highway. Best Regards Richard Norton The Richard Norton Band ======================================================================== Fullerton College claims no responsibility to the opinion expressed above (This is an automatic stamp from our Email system and not from the user.) ======================================================================== ========================================================================= Date: Thu, 16 Nov 1995 16:18:37 EST5EDT Reply-To: Irv Griffith From: Irv Griffith Organization: McGill University Subject: Champion Jack Dupree Does anyone know how I could get the video (VHS) of Jack Dupree and King Curtis at the Montreaux Jazz Festival of 1972 (approximately). ****************************************** *** *** Irv Griffith *** Senior Project Manager *** Information Systems Resources *** McGill University *** 845 Sherbrooke Street west *** Montreal, Quebec *** Canada H3A 2T5 *** *** Tel: (514) 398-5023 *** Fax: (514) 398-4758 *** Internet: IRV@UMS1.LAN.MCGILL.CA *** ****************************************** ========================================================================= Date: Thu, 16 Nov 1995 15:19:57 -0600 Reply-To: "Alice E. Brown" From: "Alice E. Brown" Subject: Re: concert info? Comments: To: Dale Peace In-Reply-To: <9511161441.ZM6751@198.078.022.201> I don't about concert info, but I read in the TV Guide that our local PBS affiliate is broadcasting Austin City Limits this weekend with Rory Block and Joan Baez. I've been lucky enough to see her perform live; she is in- credible. I hope comes your way soon. Alice On Thu, 16 Nov 1995, Dale Peace wrote: > Hi... > > I'm a big fan of Rory Block's. Unfortunately, I live in the panhandle of Florida > in an area that rarely gets any concerts that are not country-oriented. We > occasionally get a blues artist or two, but its very rare. > > Does anyone know where I can get a list of Rory Block's concert dates for the > southeast? > > thanks... > > dp > > -- > *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* > * Dale Peace - Computer Programmer/Analyst (904) 922-6044 > * College Center for Library Automation FAX (904) 922-6431 > * 1238 Blountstown Highway SUNCOM 292-6431 > * Tallahassee, Florida 32304 > * > *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* > A violin teacher was asked the secret to his success in motivating students. He > answered that there were three things a teacher needed to foster in a student. > Talent, enthusiasm and determination. If you take a little talent and encourage > it you build enthusiasm. Enthusiasm builds confidence that you can be the best. > Confidence creates determination that you can overcome anything. > *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* > ========================================================================= Date: Thu, 16 Nov 1995 21:41:21 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: S. N. SHURE DIES AT 93 Re: Miking an acoustic guitar/dobro: Help Comments: To: bit-listserv-blues-l@uunet.uu.net Since SHURE microphones are being mentioned, maybe everyone would like to know that S. N. Shure died October 17, 1995, Chicago, IL. Does anyone know his full date of birth. eRIC (THE DATE MAN) ========================================================================= Date: Thu, 16 Nov 1995 15:48:24 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: S.P. Leary A short addendum to Bill Shute's post on the S.P. Leary/Hash Brown and friends package that recently played Austin, San Antonio, and Dallas. I got to see the show at the Blue Cat in Big D on Saturday November 11 and I think we had more fun than Bill did. Hash Brown had arranged for the Mayor to declare S.P. Leary Day in Dallas and they presented S.P. with the proclamation just before his first set. He was beaming from ear to ear. He also had several family members in the audience (nieces and nephews and their families, I think) and it was the first time they had seen him perform. He told us he had not played in his old home town since the 60's. The club was standing room only so I suspect they may try this again some day. At least I hope so. Don O. ========================================================================= Date: Thu, 16 Nov 1995 15:50:03 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: memphis blues fans Anybody out there in Blues-L land in the Memphis area and frequent Beale Street? Please e-mail me privately. Don O. don.o@chrysalis.org ========================================================================= Date: Thu, 16 Nov 1995 16:17:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Re: early Buddy Guy/Af-Amer population figures Comments: To: ncassidy@CAPITAL.EDU Thanks for the info, Neil. I guess I'll have to pick up that book again; I got bogged down in the early chapters that referred to the Great Society. I remember as a little kid driving to Chicago in the 50's with my parents sitting in the back seat with my little brothers. I had never seen a city that large and was mightily impressed. We drove by the train station and there was an enormous number of black people outside who looked like they were waiting for whom- or whatever. I remember my mother remarking that there were so many more "colored people" in Chicago than when she was a girl. Many years later I thought, "Boy, I bet Muddy and Walter and Jimmy and Spann were playing somewhere that night". My parents probably wouldn't have taken me if we *did* know who they were. But I'll bet my grandfather would - he used to go to Chicago and Detroit to hear music in speakeasies and be the only white person in the place - so I was told long after he died. -Bonnie ========================================================================= Date: Thu, 16 Nov 1995 17:31:02 -0500 Reply-To: LvrofLove From: LvrofLove Organization: America Online, Inc. (1-800-827-6364) Subject: saffire & the uppety blues women Comments: To: bit-listserv-blues-l@uunet.uu.net Can anyone tell me what the home page for them is.. the home page I have is not working.. thanx ========================================================================= Date: Thu, 16 Nov 1995 17:36:13 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Your Welcome (was Thank You All) Comments: To: richard_norton@BBS.FULLCOLL.EDU On 16 Nov 95, Richard Norton had this to say... > I would just like to take a momment and thank all of you on blues-l for > your support of behalf of myself and my band. Music is a wonderful thing > to share, and having a wonderful vehicle such as this group makes things > alot easier. We have a resposiblity to ourselves and our communities to > share our love and knowledge of this great music. I have always been of > the opinion that money is the result and not the cause, meaning that if > I thought that I was going to get rich playing this type of music I > would have been better off doing some thing else. That however is not > the case. It has been some 20+ years now and my commiment and resolve is > stronger than ever. I realize that Blues music and musicians will > probably never achieve the level of commercial success that it deserves, > that is not the point. What I think is important is to do something you > care about and are commited to. I can recall a time that if you admitted > to being a blues musician you were scoffed and ridiculed, my how times > have changed. > > Let us not labor over the fact that everyone will not get the message, > fact is they won't. Let us nuture this great music and support those > that have gone to great personal hardship to make sure that it will > survive and grow. This is our responsibility yours and mine. > > Forgive me for going on about this, it's just that instead of laboring > over such trite issues as who should or should not be recieveing > recognition we should celebrate the music itself. Richard, Those are very nice sentiments, and I'm sure we all share them and appreciate you sharing them with us, however I think you have misinterpreted something here. No one has been "laboring over such trite issues as who should or should not recieve recognition". We were discussing whether or not Blues recordings could would sell as much as pop records if they had the promotional resources behind them that most pop stars had. It was a fairly interesting and worthwhile discussion, in my opinion, not at all "trite". I always thought that trite meant filled with worn out, boring, and meaningless platitudes. ========================================================================= Date: Thu, 16 Nov 1995 16:42:39 -0500 Reply-To: David Stafford From: David Stafford Organization: University of Texas Health Science Center at San Antonio Subject: Digest of Blues-L Can you tell is there a Digest of Blues-L ========================================================================= Date: Fri, 17 Nov 1995 01:00:39 +0200 Reply-To: T P Uschanov From: T P Uschanov Subject: Re: Digest of Blues-L Comments: To: David Stafford In-Reply-To: <01HXPUPI6H1U004QM4@uthscsa.edu> On Thu, 16 Nov 1995, David Stafford wrote: > Can you tell is there a Digest of Blues-L Mail to the bitnet address listserv@brownvm the command SET BLUES-L MAIL DIGEST and there is. T P Uschanov (Mr), University of Helsinki, Finland, European Union. (GEEK CODE 2.1) GP/H d++@ H s-:+ !g>++ p1 !au a- w+++(+) v- C+ US+ L+ 3 E N++ K-- W+ M(+) V -po+(--) Y t- !5 !j R- G'' !tv b+++ !D(--) B e+$ u+++(*) h+(*) f(+) !r n---->+ !y(*) ========================================================================= Date: Thu, 16 Nov 1995 17:56:00 EST Reply-To: edward c liu From: edward c liu Subject: S&T: Magic Sam _Black Magic_ Howdy all, The next _NYCD Blues_ review for Magic Sam's _Black Magic_. Many of the observations may seem obvious to everybody else on the list, but I hadn't heard any Magic Sam except for his live _Magic Touch_ album before I did this review. -- Ed Edward C. Liu | "If nobody thinks for they self, edwick@cc.bellcore.com | Who thinks for everybody else? | -- Dr. John, "Lissen" The opinions in this message are mine and not Bellcore's. Really! *------------------------------cut heer------------------------------* MAGIC SAM BLUES BAND / BLACK MAGIC (DELMARK DD-620) DELMARK RECORDS 4121 NORTH ROCKWELL CHICAGO IL 60618 Every generation of blues musicians seems to have one artist who was taken from us far too soon. The only thing you can do when you listen to their recordings is shake your head and wonder, "What if?" Listening to these recordings is always a bittersweet experience, for while you may marvel at the depth and power of the recordings, you are also saddened to realize how little recognition the performer received in his or her lifetime, and you can only dream of what they could have done with more time. Between Robert Johnson and Stevie Ray Vaughan, there was Magic Sam. Magic Sam, Buddy Guy, and Otis Rush are often invoked as the triad which upped the ante on blues guitar playing, and Magic Sam is often named as a seminal influence by many guitar players. This disc will make you understand why, although it will also make you realize that there is much, much more to Magic Sam than instrumental virtuosity. He was a tremendous vocalist as well, and he more than lived up to his name, for his music manages to have more than a little magic of its own. I Just Want A Little Bit / What Have I Done Wrong / Easy, Baby / You Belong To Me / It's All Your Fault / I Have The Same Old Blues / You Don't Love Me Baby / San-Ho-Zay / Stop! You're Hurting Me / Keep Loving Me Baby NYCD-Takes: I Just Want A Little Bit: This disc opens up with a quick, uptempo riff-rocker. However, what impresses most is not the guitar playing, but Magic Sam's formidable vocal ability. This track also shows Magic Sam's soul roots through in the vocal delivery and use of sax fills. A terrific sax solo in the middle by Eddie Shaw is icing on the cake. What Have I Done Wrong: Another strong soul-blues. Magic Sam shows off some tremendously effective singing vibrato in his singing on this track. Like the first track, this one tends to showcase his vocals more than his guitar playing; Magic Sam doesn't take anything like a solo until the very end, where he does a call-and-response with his guitar and his voice. Easy, Baby: Magic Sam throttles back for a slow blues burn. The vocals smoulder, showcasing Magic Sam's vocal vibrato again. More nice sax fills from Eddie Shaw, as well as nice use of reverb in Magic Sam's amplifier. This is one of those very blues which sounds simple on the surface, but is tremendously difficult to do properly. Magic Sam makes it seem like a piece of cake. You Belong To Me: Some chunky rhythm chords open this uptempo rocker, and continue throughout the song. The vocals are shouted with confidence, again showing off the soul roots of these blues. The solo is spartan -- lean, but tough and full of muscle. You may think you've heard it before, but that's because probably everybody after Magic Sam ripped it off from him. It's All Your Fault: Another hard-hitting slow blues, with a lead-in solo that packs a wallop. More great fill-in riffs are provided by Eddie Shaw on sax, as well as by Lafayette Leake on piano. Again, Magic Sam shows off his terrific vibrato in his vocals, and the guitar part complements his voice perfectly. I Have The Same Old Blues: A Freddie King-esque shuffle, featuring excellent chunky rhythm guitar playing and sax fills from Eddie Shaw. Magic Sam mixes the guitar trickery (how does he get that "waterdrop" effect, anyway?) with great, straight-ahead single-note soloing. You Don't Love Me Baby: The band takes this one quick and loose, with wonderful Magic Sam vocals. The style of the whole track is very easygoing and laid-back without being lethargic. The band just makes it sound so EASY. If the only version of this song you've ever heard was the cover by the Allman Brothers, you NEED to hear this track. San-Ho-Zay: A flawless, high-octane version of the Freddie King classic. The band is extremely tight, but this is Magic Sam's show all the way. No impressive vocals on this track, but Magic Sam doesn't need any; his guitar can do all the talking he needs. The sense of pacing in his playing should be put in textbooks. If you think you've heard all the "blues scale" has to offer on the guitar, give a listen here. Stop! You're Hurting Me: This sizzling slow blues finds a mean and dirty groove and stays there. Magic Sam's strongly delivered vocal lines, which seem to crack at exactly the right places, contrast nicely with Eddie Shaw's saxophone licks. Magic Sam really digs deep for the vocal lines, and the guitar solo absolutely stings with its intensity. Keep Loving Me Baby: This quick shuffle closes out this disc. There's a terrific guitar-voice call-and-response, as well as great guitar and saxophone interplay. The rhythm section really shines on this track, providing a strong base for Magic Sam and Eddie Shaw to riff away. Reviewed by Edward C. Liu Copyright 1995 NY CD Blues ========================================================================= Date: Fri, 17 Nov 1995 00:45:52 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Free Bathwater Drinking Straws to the Men Comments: To: bit-listserv-blues-l@uunet.uu.net Now that I've got your attention....... A friend of mine (who shall remain nameless) brought back a poster for a blues show in Memphis that she "found" on the street to give to me. At the bottom it states - "Free Bathwater Drinking Straws to the Men". My questions are: What am I missing here? Is this some strange sort of sexual fetish thing? What makes bathwater drinking straws different from your standard variety? Why only "to the Men", don't women also have a need for these? I know the leader of the Japanese cult group that gassed people was known for selling his bathwater to cult members for their ingestion (it was said to have healing properties). Is there some medicinal value of this? Art "Clueless guy just curious in Madison" Schuna ***************************** OBLIGATORY BLUES CONTENT********************** Shirley Brown headline this show at the Club Paradise on East Georgia St in Memphis. Others on the bill included J. Blackfoot, Blues Boy Willie, and Ollie Nightingale. What can anyone tell me about these other artists? Any recommended recordings? ========================================================================= Date: Thu, 16 Nov 1995 20:02:56 -0500 Reply-To: KGIBSON743@AOL.COM From: Kevin Gibson Subject: Kinsey Report I'm looking for a Kinsey Report release thats blusey not rocky any suggestions? ========================================================================= Date: Thu, 16 Nov 1995 19:18:00 CST Reply-To: Paul Garon From: Paul Garon Subject: Re: Early Buddy Guy, et al. Bonnie, some of the answers you want can be found in Michael Haralambos, RIGHT ON: FROM BLUES TO SOUL IN BLACK AMERICA, which I think DaCapo has reissued. Mike Rowe's CHICAGO BREAKDOWN (now CHICAGO BLUES in the US) has some data, too. If you think about what black radio was playing in those days, and what the *best*-selling records were: be it Wynonie Harris or whatever, you can get an idea of what people were listening to when they weren't listening to blues, and how many weren't buying blues. Always the majority. Or to turn it around soit sounds like your question, blues buyers seemed to be in the minority in the black record buying community, except in cases of blues songs that actually charted, things like JUKE or the occasional Jimmy Reed. I think a lot of it depended on what city you were in, too. I remember in the early 1960s I would occasionally buy 78s from black families in Louisville; jump and shouters predominated, with lots of early BB King. Second in blues popularity was T-Bone. I rarely found Otis, Buddy Guy, anything like that, but there was lots of Fats Domino everywhere. There may have been more Chess in Chicago, but there wasn't much in Louisville, as I recall. I worked in a black record shop for awhile in those days--this was the time of PLEASE MR POSTMAN and DUKE OF EARL--and a blues record sale was a real rarity (unless it was to me.) But of course now we're talking about 1960s blues sales, and that's something else again. Hope this helps a little. > >How big - percentage-wise - I am wondering - was the population of >African-American Chicagoans (or in other urban centers) who dug and supported >the blues in the 40's and 50's. Was it a majority? - a small percentage? >compared with others of the same ethnic background?? > > -Bonnie > ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email or postal mail or visit us at http://www.abaa-booknet.com/alldlrs/mw/60657bea.html. We also have catalogs available by ftp at ftp.mcs.com/mcsnet.users/beasley. _______________________________________|______________________________________ ========================================================================= Date: Thu, 16 Nov 1995 20:32:43 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Who likes the BLUES???? RJBauman said: >>A lot of the blues fans around here are what Living Blues calls ">>Biker Blues" fans. I wouldn't mind having a Harley in my garage, >>but I'm very unlike most who patronize the blues clubs here. I've only been to blues clubs in Chicago, and most of the people there are younger, in their 20's, and seem to be there for other reasons besides to see the musicians. In fact, last February I went to Legends to see Jimmy Rogers and got there early so that I could get a table in front. Just before JR went on, a large group of noisy folks crowded in right in front of us. I must have expressed my displeasure somehow, because the young woman turned to me and asked, "Oh! Are you here for the music?" I just wished they would have gone somewhere else. In general, I'd have to say that there does seem to be a variety of different people in the clubs (also, a lot of tourists). The only place I've seen what might be considered "Biker Blues" fans was at a Buddy Guy concert...leather, tattoos, and bandannas, right? They kept yelling, "Play 'Free Bird'!" Karen ========================================================================= Date: Thu, 16 Nov 1995 20:32:57 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Early Buddy Guy, et al. Dick Waterman said this about Buddy Guy: >I visited him at the garage about 1966 or so and he was working on a car with >his hands below an engine block that was suspended by a thin chain hoist. I >knew that I had to convince him to seriously consider a music career before >disaster struck some day. Dick, Hadn't Buddy done considerable studio work by 1966? With Eddie Boyd and Sonny Boy Williamson and Little Walter, to name a few? (I'm sure there's a whole lot more I can't remember right now!) And what about the European tour, 1965? Did these gigs pay so poorly? Or did Buddy just really have no interest in playing professionally full-time? Yikes, the more I think about those hands poised under an engine block....{shudder...} Karen ========================================================================= Date: Thu, 16 Nov 1995 18:28:16 -0000 Reply-To: "J. Witteveen" From: "J. Witteveen" Subject: Re: Free Bathwater Drinking Straws to the Men >What am I missing here? Is this some strange sort of XXXXXX fetish thing? >What makes bathwater drinking straws different from your standard variety? >Why only "to the Men", don't women also have a need for these? > >I know the leader of the Japanese cult group that gassed people was known >for selling his bathwater to cult members for their ingestion (it was said >to have healing properties). Is there some medicinal value of this? > >Art "Clueless guy just curious in Madison" Schuna Ollie Nightingale has an album titled `I'll Drink My Baby's Bathwater' (or something to that effect), with a very interesting cover shot of him sitting on the edge of the tub, which is inhabited by an attractive member of the opposite sex. -Jim (hndful@uniserve.com) ========================================================================= Date: Thu, 16 Nov 1995 19:47:47 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: JT's "Steamroller Blues", Hey Come on now! :) On Thu, 16 Nov 1995 13:11:44 CST, LW wrote >I know you are kidding, of course, but since you mentioned it. I used to always >drink whiskey before I play, but the last few times I drank beer, I've come to >the conclusion that whiskey is bad for your performance.(the audience should >drink lots of whiskey, b4 I play, however) My philosophy is to play play to audiences who are drunker than I am. I usually don't drink before a gig. However, there have been times when by the end of a gig the audience and I have reached parity :-) Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 16 Nov 1995 20:38:46 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Free Bathwater Drinking Straws to the Men Comments: To: "J. Witteveen" J. Witteveen wrote: > Ollie Nightingale has an album titled `I'll Drink My Baby's Bathwater' (or something to that effect), with a very interesting cover shot of him sitting on the edge of the tub, which is inhabited by an attractive member of the opposite sex. Well, another great blues mystery solved! Many thanks--I liberated that selfsame poster from a telephone pole in Memphis (I hasten to add, only *after* the gig was already over) and it's always nice to have these esoteric puzzles explained. Mary Katherine ========================================================================= Date: Fri, 17 Nov 1995 00:10:49 -0500 Reply-To: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA From: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA Subject: Re: Scott Wenzel I am mystified by this. I have sent Ed a separate message via Pine to explain how my connection (and therefore my reading and posting) works to this listserv. Essentially, I read Blues-L at work via Lotus Notes. The address you see at the top is my Lotus Notes mail ID. Our Notes server connects to the CompuServe Lotus Notes Information Service, which has a process running which scans selected newsgroups and listservs and converts the postings to Lotus Notes records, which I then download and retrieve. I use this same method for many other newsgroups and listservs, none of whom have ever reported this problem. If other bluesellers on AOL can verify that this problem does or does not occur, I will stop posting through Notes and use this only for reading... Thanks! Scott Visit That Blues Music Page at The Weightless Dog: http://www.charm.net/~turtle/blues.html _____ Reply Separator _____ Author: BLUZMANED @ AOL.COM ("Bluzman Ed@Aol.Com.") @ INTERNET Received: 11/15/95 02:42:07 PM Subject: Scott Wenzel Anytime there has been a post to Blues-l from Scott, I have not been able to read it as my reader gives me an application error and shuts down my AOL program. The exact message is WAOL caused a stack fault in module MANAGER.AOL at 000F:009A. I do not have a complete e-mail address for Scott as a result of this, so I can't mail him directly. His postings always do this, and I've never had it happen on any others. Has anyone else experienced this? It would not be a great concern normally, but one of his posts is a reply to one of mine. I am going to consult AOL on line help to see if I can solve this, but your comments are also welcome Thanks, and BLUZ! Bluzman Ed aka Ed Tremewan ========================================================================= Date: Fri, 17 Nov 1995 00:25:38 -0500 Reply-To: THesters From: THesters Organization: America Online, Inc. (1-800-827-6364) Subject: Re: BB King Up Close (fwd) Comments: To: bit-listserv-blues-l@uunet.uu.net I saw B.B. King too a couple of monyhs ago and it was fantastic, by far the best thing I was part of in my life. He is a big ol' fella. Lucille souded so good, and his voice, and it isn't a loud concert, like rock concerts, you can hear yourself saying "O-H M-Y G-O-D!". If somebody has a chance to see B.B. King playing, even tough you are not a blues fan, don't miss it. About the pick throuing and autograph session, he gave his bracelets and necklaces too! He IS the King of the Blues! Alexandre de Santi ========================================================================= Date: Fri, 17 Nov 1995 00:57:54 -0500 Reply-To: THesters From: THesters Organization: America Online, Inc. (1-800-827-6364) Subject: Blues Concerts in January Comments: To: bit-listserv-blues-l@uunet.uu.net Does someone some real good blues concerts that are happening in January? I want cities like New Orleans, Menphis, Nashville, St. Louis, Chicago, Philadelphia, Washington D.C., Boston and New York. And some tips to get the tickets. Thanks, Alexandre de Santi ========================================================================= Date: Fri, 17 Nov 1995 01:09:11 -0500 Reply-To: BLUEDOO From: BLUEDOO Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Willie's Guitars (Limited Blues Content) Comments: To: bit-listserv-blues-l@uunet.uu.net If YOU like the guitar it's worth $450.00 to you maybe, but as far as resale HMMMM???? A good archtop has a lot of important features, the two most important are playability and tone. If you know what you like than you like it, so buy it after checking to see taht that is the going price and that the particular instrument is in good condition. If you don't know how to judge then you will have to euther rely on your local dealer or buy the books and educate yourself. hope this helps, ========================================================================= Date: Thu, 16 Nov 1995 22:30:06 -0800 Reply-To: Garry Segal From: Garry Segal Subject: That "Thing"/Timing LW and others recently referred to the great timing and space *before* the killer note or vocal phrase of a blues master. I think its called soul, and everbodys got it.... Some can let it out better than others, regardless of race, thats all. Garry BlueSngr@ix.netcom.com Moodswingerpage http://www.island.net/~blues/BlueSngr.html ========================================================================= Date: Fri, 17 Nov 1995 08:58:19 GMT Reply-To: "John P. Willis" From: "John P. Willis" Organization: Case Western Reserve University, Cleveland, OH (USA) Subject: Re: early Buddy Guy/Af-Amer population figures In a previous article, ncassidy@CAPITAL.EDU (Neil Cassidy) says: >Comments to: Bonnie Kalmbach > >Bonnie >While these figures may not be the type of stats you are looking for they > nonetheless are incredibly revealing. The following appears in Nicholas > Lemann's >"The Promised Land:The Great Black Migration and how it Changed America". The subjects and focus of this book were made into a TV docimentary that aired last Winter. It and the book were very well done. Remember, thosescenes of the wolf and Muddy performing? Delta blues became urban chicago blues because of the large Mississippi audoience that came into existence. The route was that of the Illinois Central lines [tracks]. Iam wondering ehat kind of blues we foind elsewhere in locations with large Delta populations such as some Iowa cities. Does anyone know? John Willis ========================================================================= Date: Fri, 17 Nov 1995 19:57:37 +0900 Reply-To: MIE SENOH From: MIE SENOH Subject: Re: 1940s Mercury Sessions Box Set Hi! I could get to Mercury Box Set last night. My number is 16088/20000. It was \12000(about$120). expensive a little... I like especially Julia Lee, Jay Mcshann, Eddie Clenhead Vinson. (Of course, I like all of them in box) Julia Lee & her playboys'LP was my favorite one. Real?Jazz fan is not interested in JUMP MUSIC, and what is called Blues fan is the same. Japanese have a tendency to avoid it. But We find to the only jump band MITSUYOSHI AZUMA & THE SWINGIN'BOPPERS in Japan. I've heard that thier CD had popularity in Spain Blues chart. In any case, Jump music is great!!! Mie Senoh(micro@kiwi.co.jp) ========================================================================= Date: Fri, 17 Nov 1995 12:00:42 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Kinsey Report In-Reply-To: <951116200255_108517460@mail06.mail.aol.com> On Thu, 16 Nov 1995, Kevin Gibson wrote: > I'm looking for a Kinsey Report release thats blusey not rocky any > suggestions? > IMHO the only one that comes close is their first "Edge of the City" You are better off getting any of Big Daddy's with them on it. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [17/11/95 6:49 AM] "The eagle flies on friday..." ========================================================================= Date: Fri, 17 Nov 1995 07:50:26 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - November 17th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BIHARI, JULES(co-founder:MODERN/RPM/FLAIR d. 1984-1117, LOS ANGELES, CA 72 BRADSHAW, EVANS (p) d. 1978-1117, MEMPHIS, TN 45 CRIPPEN, KATIE (v/BLACK SWAN REC) b. 1895-1117, PHILADELPHIA, PA DEBERRY, JIMMY (g/WALTER HORTON/SUN REC) b. 1911-1117, CRUMROD, AR DEVOE, RONALD (of NEW EDITION) b. 1967-1117, NJ FULBRIGHT, RICHARD W. (b) d. 1962-1117, NEW YORK CITY, NY 61 GOULD, WALTER S. "ONE-LEG SHADOW" (p) d. 1958-1117, ALBANY, NY 83 JACKSON, LOUVETTE (v/SPIVEY REC) b. 1945-1117, MERIDIAN, MS JOHNSON, JAMES P. (awesome p) d. 1955-1117, NEW YORK CITY, NY 61 MR. JELLY BELLY[MIKE GORDON](v/SAVOY REC) d. 1988-1117, BOSTON, MA 65 NIXON, ELMORE (p/SIW REC) b. 1933-1117, CROWLEY, LA OWENS, JACK (g/TESTAMENT/WOLF REC) b. 1904-1117, BENTONIA, MS PREER, EVELYN T. (v/CLARENCE WILLIAMS) d. 1932-1117, LOS ANGELES, CA 37 STEWART-BAXTER, DERRICK (author) d. 1992-1117, BRIGHTON, UK 81 TOMASELLO, PAUL (b/ROOMFUL OF BLUES) b. 1951-1117, BOSTON, MA ------------------------------------------------------------------------------- ========================================================================= Date: Fri, 17 Nov 1995 07:28:07 -0500 Reply-To: BBGInc@AOL.COM From: BBGInc@AOL.COM Subject: Ft. Lauderdale blues ... I am heading south to Ft. Lauderdale for TGiving (Wed - Sun). Any blues down there that anybody knows of? Please email me any info. Thanks, Andy ========================================================================= Date: Fri, 17 Nov 1995 08:07:41 -0500 Reply-To: Fretman6@AOL.COM From: "J.B. Eanes" Subject: Who's at RIBCO? Could someone from the Quad Cities area give me a run down on what's been happening and what's coming up,blueswise at Rock Island Brewing Company? I have seen some great shows there and plan on coming back into the area soon and kinda wonder who's been there (so I can sulk over who I missed) and who's coming. Thanks, J.B. ========================================================================= Date: Fri, 17 Nov 1995 09:10:40 -0500 Reply-To: Mark Blass From: Mark Blass Subject: Peter Welding Comments: cc: leblanc@dao.nrc.ca Bluezellers/eRIC, As eRIC knows, I've been a friend of Peter Welding's sister Mary Anne for over twenty years. I've never met Peter, but was expecting to see him at Mary Anne's wedding next month. Mary Anne just called me to say that Peter Welding died this morning at 2:33 AM PST from a massive heart attack, two days after his 60th birthday, and one day after his fabulous tribute was published on BLUES-L. I had just dropped off a copy of eRIC's tribute at Mary Anne's house last night. She said that she expected the family to have a memorial service in California and, possibly, a later one in Pennsylvania. I'm sure his family will appreciate every word of that tribute. Hopefully, parts of the tribute will be included in that service. Sorry to be the bearer..... Regards, MB _______ _______ ______ __ __ ______ _____ _______ _______ _______ | | | _ | __ \ |/ | | __ \ |_| _ | __| __| | | | < < | __ < | |__ |__ | |__|_|__|___|___|___|__|__|\__| |______/_______|___|___|_______|_______| MARK BLASS - ALLENTOWN, PA - blassms@ttown.apci.com - OPINIONS MY OWN ========================================================================= Date: Fri, 17 Nov 1995 08:10:27 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Who likes the BLUES???? In-Reply-To: Message of Thu, 16 Nov 1995 20:32:43 -0500 from On Thu, 16 Nov 1995 20:32:43 -0500 Karen Hanson said: > In general, I'd have to say that there does seem to be a variety of >different people in the clubs (also, a lot of tourists). The only place I've >seen what might be considered "Biker Blues" fans was at a Buddy Guy >concert...leather, tattoos, and bandannas, right? They kept yelling, "Play >'Free Bird'!" I think that's an appropiate thing to say at a Buddy Guy show, I mean hell he plays some Cream and I wouldn't be suprised if he played a little Freebrid Be careful on the biker thing, some of my best friends are bikers and they are as good of people as anyone I've ever met. PERIOD. One of them is one of the most respected Low-Vision professional in the contry, but a hippie biker LW 'I actually suprised Buddy didn't play freebird, you knoiw inbetween his SRV, JImI and EC imitations.... ========================================================================= Date: Fri, 17 Nov 1995 08:19:44 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Peter Welding In-Reply-To: Message of Fri, 17 Nov 1995 09:10:40 -0500 from On Fri, 17 Nov 1995 09:10:40 -0500 Mark Blass said: > >Mary Anne just called me to say that Peter Welding died this morning at >2:33 AM PST from a massive heart attack, two days after his 60th >birthday, and one day after his fabulous tribute was published on BLUES-L. DAMN IT....SHIT .... That was the first interview I ever did and I called and talked to him several times after that.......DAMMIT I mourn his death and I'm no longer in a good mood..... Shit , sorry but I was crazy about him LW 'didn't even get to finish my damn coffee' ========================================================================= Date: Fri, 17 Nov 1995 08:25:00 CST Reply-To: Paul Garon From: Paul Garon Subject: Re: Early Buddy Guy, et al. > Yikes, the more I think about those hands poised under an engine >block....{shudder...} > >Karen Speaking of those hands: It must have been c. 1970 when I went to a Chicago North Side club to hear Buddy Guy (Mother Blues, maybe). Very early in the show, or maybe during set up, he cut his left hand somewhat badly, and couldn't play. I was deeply (and silently) disappointed since I was a big fan of his guitar work. After sitting out the first two numbers, Buddy came back up to the stand with his guitar, and tried to play anyway. There was blood on the guitar and all over his hand and he had to stop. I was amazed at such dedication. I don't even remember what happened the rest of the evening, but I was very impressed. Paul Garon ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email or postal mail or visit us at http://www.abaa-booknet.com/alldlrs/mw/60657bea.html. We also have catalogs available by ftp at ftp.mcs.com/mcsnet.users/beasley. _______________________________________|______________________________________ ========================================================================= Date: Fri, 17 Nov 1995 08:31:33 -0600 Reply-To: Ronald.Fitch@UNI.EDU From: "Ronald W. Fitch" Subject: Re: Live From Antibes > says: >> >> >You got to work hard to scrape up a copy of Freddie King Live in >> >Antibes (damn, I had to win a contest!), >> >> PW - >> >> I've been searching high and low and STILL can't find this disc. I know >> someone posted a European CD mail order source but then someone posted >> that they backordered. Anybody have a clue? >> >> Art Schuna >> > > At one time it was listed at CD Europe (telnet 199.35.15.100). >I orderd it and after an interminable amount of time they >finally said it was "unavailable". I check once in a while >and it is no longer listed there. > >phertel@cmc.doe.ca > OR bv808@freenet.carleton.ca I've been after that one for more than two years now. I've ordered it a couple of times from Rounder, CDEurope, and CDConnection only to have them cancel the orders because of availability (or lack of, I should say). I've even begged the European members of this list for assistance to no avail. Ron Fitch University of Northern Iowa ========================================================================= Date: Fri, 17 Nov 1995 08:35:30 -0600 Reply-To: Ronald.Fitch@UNI.EDU From: "Ronald W. Fitch" Subject: SRV Austin City Limits tribute Earlier this year, I read of a SRV tribute with Buddy Guy, Jimmie Vaughan, Eric Clapton, etc., taped on the Austin City Limits stage. Will this thing ever be aired or will it go straight to video? Always curious, Ron Fitch University of Northern Iowa ========================================================================= Date: Fri, 17 Nov 1995 09:00:22 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Pete Welding..HELP Date: Fri, 17 Nov 95 08:48:28 CST From: ISTS024@UABDPO Subject: Pete Welding To: BLUES-L@BROWNVM ======================================================================= One more thing I would like for US on BLUES_L to pruchase a "reef" or flowers to show our sympathy and respect to IMHO someone that all blues fans owe a debt of gratitude. Since I'm nowhere near the burial site, I would like for someone in the area to oversee this. I will start it with a 5 dollar donation and more if I have to. If no else is interested I'll pay for the whole damn thing. Thanks and if you live "In the area" would you please helps us get the reef or flowers to the appropiate place.....Any money that you have to spend to do it, I will gladly reimburse you....I'm honest and wouldn't tell you I would if I wouldn't....Someone please help Blues-L show OUR respect LW "LET US KNOW IF YOU CAN" ======================================================================= ========================================================================= Date: Fri, 17 Nov 1995 09:07:51 -0600 Reply-To: James Foster From: James Foster Subject: Re: SRV Austin City Limits tribute Comments: To: Ronald.Fitch@UNI.EDU At 8:35 AM 11/17/95, Ronald W. Fitch wrote: >Earlier this year, I read of a SRV tribute with Buddy Guy, Jimmie Vaughan, Eric >Clapton, etc., taped on the Austin City Limits stage. Will this thing ever be >aired or will it go straight to video? > >Always curious, > >Ron Fitch >University of Northern Iowa Ron, The specifics on what will happen with this show (i.e. PBS airing, videotape, CD release) are VERY far from being settled. The last news I heard was that nothing would come of this until at least summer of 1996. James Foster ========================================================================= Date: Fri, 17 Nov 1995 09:14:39 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Live From Antibes In-Reply-To: Message of Fri, 17 Nov 1995 08:31:33 -0600 from JFTR: I would probally be willing to trade my CD of Live At Antibes for some pre-war blues....I said probally and since it is hard to find or out-of-print I'd be glad to make anyone a tape copy, normally I wouldn't but since it is one of those that can't be found, I see no harm in offering to do this. (If you disagree with my offer, feel free to tell me I'm wrong) It's a great CD and one time I considered it to be one of the best I ever heard but I'm not so sure anymore....If you have something to offer like a Pre-CBS Strat don't hesitate....:-) LW "PROBALLY" ========================================================================= Date: Fri, 17 Nov 1995 11:25:50 -0500 Reply-To: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM From: Jim Smith Subject: John Mooney I just want to put a plug in for the John Mooney CD "Travelin On". It was recorded in 1991 and was originally released on the German CrossCut Label. It's been re-released on the BlueRocket label and really shows John at his best - Live. I've been a fan since a friend took me to one of his shows in NO and have caught his show whenever he comes to Pgh. He's an excellent slide guitarist, but many of his previous studio albums suffered from over production. Hopefully his upcoming House of Blues release will also capture the raw energy of his live performance. Jim Smith ========================================================================= Date: Fri, 17 Nov 1995 10:36:21 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Recording - How Can I OK. I'm trying to record myself for the blues-byte tape and a demo tape. I don't have the equipment to do so. I have an old TEAC deck that has two mic in inputs and I have two "sub-par" mics. I have a boombox also. So with my limted equipment, I don't think I'm able to record anyting that sounds decent. I have contributed stuff to the Acoustic Tape that was around a few months ago and an ALLMUSIC tape a couple of years ago. One time I used one of the many 4trackers I've owned and the other time a boombox. I was not pleased with the sound either time. So any suggestions...., if I don't get a decent sound quality I won't be contributing to Blues Bytes (not that anyone cares, except my wife) LW ========================================================================= Date: Fri, 17 Nov 1995 08:53:33 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Pete Welding..HELP Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu You wrote: > >Date: Fri, 17 Nov 95 08:48:28 CST >From: ISTS024@UABDPO >Subject: Pete Welding >To: BLUES-L@BROWNVM >======================================================================= = >One more thing I would like for US on BLUES_L to pruchase a "reef" or flowers>to show our sympathy and respect to IMHO someone that all blues fans owe a>debt of gratitude. >Since I'm nowhere near the burial site, I would like for someone in the area>to oversee this. >I will start it with a 5 dollar donation and more if I have to. If no else>is interested I'll pay for the whole damn thing. >Thanks and if you live "In the area" would you please helps us get the reef >or flowers to the appropiate place.....Any money that you have to spend to>do it, I will gladly reimburse you....I'm honest and wouldn't tell you I>would if I wouldn't....Someone please help Blues-L show OUR respect> >LW "LET US KNOW IF YOU CAN" I am going to the memorial service for Pete; at the moment his widow Darlene plans a memorial service rather than a funeral and it MAY actually be tomorrow, Saturday. If that is the case I don't see how there is time to do anything other than have me pay for and send a floral tribute and then anyone on blues-l who wants to can reimburse me for a portion of it. Does this fit with what you wanted, LW? Mary Katherine ========================================================================= Date: Fri, 17 Nov 1995 10:58:49 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Pete Welding..HELP In-Reply-To: Message of Fri, 17 Nov 1995 08:53:33 -0800 from On Fri, 17 Nov 1995 08:53:33 -0800 Mary Katherine Aldin said: > >I am going to the memorial service for Pete; at the moment his widow >Darlene plans a memorial service rather than a funeral and it MAY >actually be tomorrow, Saturday. If that is the case I don't see how >there is time to do anything other than have me pay for and send a >floral tribute and then anyone on blues-l who wants to can reimburse me >for a portion of it. Does this fit with what you wanted, LW? That will work for me, several people have sent me pirvate mail saying they will contribute. So if that's OK with everyone else, it's GREAT with me. Could you post to the group the snail mail address to send the money for reimbursement....Thanks LW ========================================================================= Date: Fri, 17 Nov 1995 09:22:11 -0800 Reply-To: Lianne McNeil From: Lianne McNeil Subject: Blues Marketing Hi, I'm coming out from under my rock of "being too busy," to read the Blues-L again, and found this discussion that I wanted to make some comments related to: > "of course it makes marks on bluespromotion" What rock did you came out from > under. John Hammond/Rory Block plays and SINGS circles areond Keb Mo and yet > who's latest CD sold the most Keb's or John and Rory's....Did Johnny Winter's > last recording even sell a third as many as Keb'....Why ?, Johnny is REAL white > > The facts say that MARKETING/PROMOTION works and race hasn't a damn thing to > do with it...How many Grammy's has Johnny Winter won...? Rod Piazza...? > Musselwhite....Now how many has T-Bone, BB King, Buddy Guy won.....? > > LW 'Tab Benoit didn't even win a grammy. WHITE and MARKETED" One thing I noticed about both the Clapton and Keb Mo albums, is that I was able to find them in my local (mainstream) discount shopping store (i.e. Target/Walmart/etc.). AND on sale for $9.98! Most other blues albums that I've bought, I've had to search out, at specialty/record stores. (At full price, of course, unless they happened to be in the clearance bins.) And whether this next has any bearing on marketing, or not, I don't know... but Keb Mo happens to be my favorite ablum in my blues collection (currently around 30 cds) and my Johnny Winter album is the WORST one in my collection. (This is not to dis Johnny Winter, whom I'm sure has some good stuff; but this album was a cheapie, and probably contains some of his worst cuts -- I'd give it away if it didn't take too much effort!) Keb Mo, on the other hand, has a pleasant voice, the guitar work sounds good, and the album is smooth. I can mix it into my cd rotation at home without hearing grumbles from my teenagers, when playing my favorite cd from Muddy Waters is sure to bring complaints. The rest of what I want to say is only tangientially related: The reason I bought Clapton's "From the Cradle" is because I knew it was blues, and it was on sale. (So far, it's the only Clapton album we own.) An anecdote -- we were shopping in a record store, and some nice blues was playing over the intercom, so my husband asked which album was playing. The reply was Tom Petty, "Wildflowers," so we dutifully bought the album. Only to find when we got home, that there were no blues on it! Later we were in another store and heard the blues again. This time the answer was "From the Cradle," by Eric Clapton. Before he could buy the album, I quickly pointed out that we already owned it. Bwahaha! Lianne McNeil > From: L W > Subject: Re: Blues Promotion > In-Reply-To: Message of Thu, 16 Nov 1995 11:16:03 GMT from > -- +:+:+:+:+:+:+:+:+:+:+:+:+:+:+:+:+:+:+:+:+:+:+:+:+:+:+:+:+:+:+:+:+:+:+ Lianne or Jim McNeil jamesm@hevanet.com "Lord help the fool who said, 'You'd better quit while you're ahead.' A dreamer born is a hero bred, on earth and up in heaven." -- MCC ========================================================================= Date: Fri, 17 Nov 1995 18:23:53 +0100 Reply-To: Konsolidacni banka From: Konsolidacni banka Prague 17.11.95 Hi friends, I am looking for music industry contacts in Europe. Particulary agents, managers, music clubs that are working with pop, rock, folk, and R&B bands. I would appreciate any advice on who is publishing mailing lists, reference books, or " Yellow Book " of Pop music similar to "Down Beat's" Music Industry. Thank's for your time, I'll be looking forward to your reply. Contact: Bob Houda e-mail: kobp@ms.anet.cz ========================================================================= Date: Fri, 17 Nov 1995 12:28:40 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Free Bathwater Drinking Straws to the Men Comments: To: aschuna@vms2.macc.wisc.edu In a message dated 95-11-17 07:29:13 EST, aschuna@VMS2.MACC.WISC.EDU (Art Schuna) writes: > >Shirley Brown headline this show at the Club Paradise on East Georgia St in >Memphis. Others on the bill included J. Blackfoot, Blues Boy Willie, and >Ollie Nightingale. What can anyone tell me about these other artists? Any >recommended recordings? > J Blackfoot was one of the members of the Soul Children, which was Stax' proposed placement for Sam & Dave as a production project for Dave Porter and Isaac Hayes. IMHO this never panned out, possibly as a result of Isaac Hayes' involvement in other interests, like his own career. The Soul Children are much present on the 2nd and 3rd Stax boxes. I've seen J Blackfoot perform as a substitute Dave with Sam Moore; he was great. Tom Freeland ========================================================================= Date: Fri, 17 Nov 1995 12:34:46 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Pete Welding..HELP Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu In a message dated 95-11-17 12:12:03 EST, ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU (L W) writes: >On Fri, 17 Nov 1995 08:53:33 -0800 Mary Katherine Aldin said: >> >>I am going to the memorial service for Pete; at the moment his widow >>Darlene plans a memorial service rather than a funeral and it MAY >>actually be tomorrow, Saturday. If that is the case I don't see how >>there is time to do anything other than have me pay for and send a >>floral tribute and then anyone on blues-l who wants to can reimburse me >>for a portion of it. Does this fit with what you wanted, LW? > >That will work for me, several people have sent me pirvate mail saying they >will contribute. So if that's OK with everyone else, it's GREAT with me. >Could you post to the group the snail mail address to send the money for >reimbursement....Thanks Mary Katherine, I will make up the difference in whatever else anyone on the list does not contribute. Tom Freeland ========================================================================= Date: Fri, 17 Nov 1995 12:57:35 -0500 Reply-To: HugeSmall@AOL.COM From: Boyd Small Subject: B. Small/Mel Soloman in Boise Hey all, Just thought I'd mention that Mel Soloman and myself are going to do The Blues Bouquet in Boise , Idaho this weekend. Mel Soloman , by the way, is a former singing member of Hank Ballard and The Midnighters. Mel is a true 'Blues Shouter' and I'm lucky to have him as a permanent member in my band . He is also singing a few tracks on my upcoming CD due out in early 1996. See you in Boise! ========================================================================= Date: Fri, 17 Nov 1995 11:59:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Pete Welding I am shocked and very sad. I had always hoped to meet him one day. Pete Welding is irreplaceable. He leaves an outstanding legacy of work to educate, entertain, and inspire future generations. -Bonnie ========================================================================= Date: Fri, 17 Nov 1995 10:03:58 -0800 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: What ever happened to... What ever happened to Bob Riedy? I remember him being on about a zillion recordings to come out of Chicago in the 70s / 80s. Is he still with us and inactive or ...? Joe ========================================================================= Date: Fri, 17 Nov 1995 10:24:52 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Flowers for Pete Welding's funeral Could I get a QUICK consensus from the group on how you want the card with the flowers to read? Or how it should be signed? Mary Katherine ========================================================================= Date: Fri, 17 Nov 1995 15:03:32 GMT Reply-To: sylviap@cartermill.com From: "sylviap@cartermill.com" Subject: Finding out blues Comments: To: BLUES-L@BROWNVM.BROWN.EDU. DEAR BLUESY PEOPLE, I am finding out the pleasure of listening blues with more attention than before and it is simply marvellous. I have always been in love with blues but not enough to talk about it with poetry. YOu know I also found out that every time people ask me to sing I instinctively sing in English blues. I can picture myself singing and I see a person really concerned by this music. So now thanks to the Web, CDs and good book I started to study this music. I love soul, I love rythm&blues and my dream would be to visit Louisiana and Chicago and sing in a afro-american church Gospel. I hope once I could realise my dream!!!! I will talk about that for a long!!!! In one of my song I sing "....Why am I so white with a so black soul..... I thank GOd for this beautiful gift Why am I so white with a so black soul" Well dear bluesy people, could tell me what are the best book to study Blues? What singers would you advise to start to listen blues carefully (a part the more known singers)? Could someone tell me what is the exact name of the instrument (maybe of wood before but now in metal) players put on their chest scrathing with their finger with maybe someting on the top or their fingers? Thank you very much LOve SYlvia ========================================================================= Date: Fri, 17 Nov 1995 10:55:14 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Recording - How Can I Comments: To: BLUES-L@BROWNVM.BROWN.EDU. >OK. I'm trying to record myself for the blues-byte tape and a demo tape. > >I don't have the equipment to do so. I have an old TEAC deck that has two >mic in inputs and I have two "sub-par" mics. I have a boombox also. > >So with my limted equipment, I don't think I'm able to record anyting that >sounds decent. > >I have contributed stuff to the Acoustic Tape that was around a few months >ago and an ALLMUSIC tape a couple of years ago. One time I used one of the >many 4trackers I've owned and the other time a boombox. I was not pleased >with the sound either time. > >So any suggestions...., if I don't get a decent sound quality I won't be >contributing to Blues Bytes (not that anyone cares, except my wife) Leonard, We would LOVE to hear your stuff, but break down and spend a few lousy bucks (15-25$/hour) and go to a local studio. You can IGNORE the equipment, ignore running the mixer, and play music. When I record myself, I have a friend come over and run the gear in my studio. I cannot make good music while running equipment.... good luck Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Fri, 17 Nov 1995 10:57:38 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: PETER WELDING DIES AT 60 Comments: To: BluesHvn@aol.com Blues-L(and) : As everyone knows by now, Peter John Welding died this morning, two days after this 60th. birtdate. Those of you who want a complete copy of the BLUES-L Tribute, email me privately & I'll send it along. I hope everyone in BLUES-L(and) takes a moment & remembers how life is very precious. One day you're hear, next day you're gone. eRIC ========================================================================= Date: Fri, 17 Nov 1995 18:50:47 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Re: Peter Welding Comments: To: bit-listserv-blues-l@nac.no Jeez, this is so sad. Welding was one of those who got the whole thing going thirty years ago.Without him and a handful of others, well, this thing would never have got going, B&R, BU and the rest wouldn't be in existance. I am lost for words, for once. These things are so tragic. Tony. ========================================================================= Date: Fri, 17 Nov 1995 14:02:35 -0500 Reply-To: David Goldstein From: David Goldstein Subject: Blues Song I have written a blues song that I believe is worth developing, but I have no idea how to shape it or put music to it. Anyone interested? ========================================================================= Date: Fri, 17 Nov 1995 15:20:09 -0500 Reply-To: PrePhoto From: PrePhoto Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Free Bathwater Drinking Straws to the Men Comments: To: bit-listserv-blues-l@uunet.uu.net That sounds like an adjunct to the old pickup line *Darlin, Id just love a vial of your bathwater... * ========================================================================= Date: Fri, 17 Nov 1995 15:23:00 EST Reply-To: edward c liu From: edward c liu Subject: NYC Club Dates Pointer Howdy all, The latest New York City Club Dates Pointer is available for the months of November and December. To receive it, send e-mail to me at: edwick@cc.bellcore.com with a subject line of "NYC CLUB DATES". Starting with this issue of the New York City Club Dates Listing, we will be expanding our view of the world to include the Stanhope House, New Jersey's premier blues club. So, I guess this should probably be the New York City and Area club dates pointer. Thank you for your support! -- Ed Edward C. Liu | "If nobody thinks for they self, edwick@cc.bellcore.com | Who thinks for everybody else? | -- Dr. John, "Lissen" The opinions in this message are mine and not Bellcore's. Really! ========================================================================= Date: Fri, 17 Nov 1995 12:38:02 -0800 Reply-To: Jim Ervin From: Jim Ervin Subject: Angel South Angel South began his career in Houston, Texas. After playing guitar with B.J. Thomas and Edgar Winter, Angel moved on to join a band called "Chase" as the lead guitarist. He played so well that articles were written specifically about his outlandish performances. His contributions to the group helped in the creation of two hit albums for Columbia and the winning of a Grammy. Angel is now a solo artist, playing throughout the mid-west. His reputation as a renown blues guitarist is spreading. Angel's latest album release can be seen and heard at: http://www.iuma.com/Warrior/html/Angel.html Thank you for your attention. "Keep the blues alive!" Brad Chiet for Warrior Records ========================================================================= Date: Fri, 17 Nov 1995 13:30:46 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Contributions for Pete Welding's flowers Per LW's suggestion I am going to go ahead and write something appropriate for the card and sign it likewise. When I get it all sorted out I will post what I do to the list. Regarding contributions, I have no idea yet how much the floral arrangement will cost. I am waiting to hear from Darlene (Mrs. Welding) or Bruce Bromberg exactly when/where the service will be held before ordering them. So there's no big rush about sending me any money. After it's all over I will let the list know what I spent, and if anyone wants to send anything that's fine. I have known Pete for over three decades, (longer than some 'zellers have been alive!) and I too respected his work very much. This is very hard on all of us in the blues community. I am *very* glad that Eric's fine tribute ran while Pete was still with us--a perfect example of saluting folks while they are here to enjoy it, rather than saying flowery things about them only after they have gone. Mary Katherine ========================================================================= Date: Fri, 17 Nov 1995 16:44:30 -0400 Reply-To: Cliff Warnken From: Cliff Warnken Subject: Peter Welding What a shock. I can't even think of the lyric right now, all I hear is Johnny Young singing "Goodbye Pete", to a good man leaving who will be missed. CLiff Warnken ========================================================================= Date: Fri, 17 Nov 1995 16:53:20 -0500 Reply-To: Johny Bravo From: Johny Bravo Organization: University of Oregon Subject: Re: Blues Promotion Comments: To: bit-listserv-blues-l@uunet.uu.net > There is, however, the other side of the coin. If money goes >in quality goes down because every fly by night and marginal >yahoo tries for the gravy (and remember if its crap you can >sell it at a higher profit margin) like flies on dead meat. > I desparately want the Blues to survive but am deathly >afraid it will become "popular". Elitist? You bet. Popularity is the best thing that could happen for Blues. It may generate some crap but it is easy enough to avoid buying it. At the same time an increase in the popularity of Blues would get more good musicans into studios. I think almost everyone can think of a local band or musican who can really play but seems doomed to playing local bars. There is a guy in my town who may be one of the last of the itinerant blues men. He is a local legend and will probably never get recorded. ========================================================================= Date: Fri, 17 Nov 1995 14:02:42 -0800 Reply-To: Karen Johnson From: Karen Johnson Subject: Columbia House Dear Blues-L participants, Some months ago a list of all Columbia House blues titles with catalog numbers was posted. I had saved it and even used it, but now I can't find the copy I thought I had saved. Could someone please send it to me again? Thank you so much. KJ in SF ========================================================================= Date: Fri, 17 Nov 1995 17:09:38 -0500 Reply-To: Johny Bravo From: Johny Bravo Organization: University of Oregon Subject: Re: Blues scales Comments: To: bit-listserv-blues-l@uunet.uu.net >On 14 Nov 95, THesters had this to say: >> I'm tired of playing in diatonic scales, please e-mail me or just >> answer this message in the newsgroup for something diferent. Diatonic >> blues scales accepted. And if someone knows something diferent scales to >> play with silde, I would be glad. As far as slide scales go there are none, you just use regular scales. The real trick to playing slide is the technical aspects. Once you get that down it's rather easy. As far as blues scales go anything can be played in a blues context. It's easy to get bogged down in minor pent. and forget major scales, natural/harmonic/melodic minor etc. Also, don't forget intervals and arpeggios:-) ========================================================================= Date: Fri, 17 Nov 1995 16:48:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Pete Welding's flowers >Could I get a QUICK consensus from the group on how you want the card >with the flowers to read? Or how it should be signed? > >Mary Katherine I would say something like - with deep appreciation for his role in preserving for future generations a very unique and beautiful aspect of American culture which otherwise would have been lost - this wording is a bit clunky and can be improved upon... -Bonnie ========================================================================= Date: Fri, 17 Nov 1995 17:58:04 -0500 Reply-To: SAVBLUES From: SAVBLUES Organization: America Online, Inc. (1-800-827-6364) Subject: Need info on Shuggie Otis. Is he still playing ? Comments: To: bit-listserv-blues-l@uunet.uu.net Looking to make contact with Shuggie Otis To see if he is still playing and would like to be invited to play at the 1996 Springing the Blues Festival in Jacksonville Beach Florida on April 12-14. Contact ASAP savblues@aol.com Thanks for anyone's help. ========================================================================= Date: Fri, 17 Nov 1995 15:30:00 PST Reply-To: Gary Joneson From: Gary Joneson Subject: Pete Welding The Pete Welding tribute that eRIC post is now on the WWW for those with WEB access. The URL is: http://www.island.net/~blues/pwelding.html God bless you Mr Welding and THANK YOU. Gary ========================================================================= Date: Fri, 17 Nov 1995 15:06:49 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Pete Welding tribute Well, it now appears that Pete's service is *not* going to be tomorrow, but sometime next week (most likely one of the weekdays before Thanksgiving) and it may be held at Capitol Records, though that is not certain yet. But what this *does* mean is that now there is time for anyone who wishes to, to compose her/his own tribute to Pete and email it to me, and I will print them all out and give them to his wife. If Pete's work meant something to any of you on the list and you want to say so, just send it to me by private email. I'll see that it gets to the service. I already have Eric's tribute, fowarded to me by Tom Freeland while I was away, which I can copy and give her as well, so you don't need to forward that again. I will still do the flowers and a card from the list as a whole, but if anyone wants to make an individual statement, try to get it to me over the weekend or by Monday if you can. Mary Katherine ========================================================================= Date: Fri, 17 Nov 1995 18:43:18 -0500 Reply-To: "Daryl F. Bernard" From: "Daryl F. Bernard" Subject: Re: Columbia House Comments: To: Karen Johnson In-Reply-To: <199511172202.OAA08393@jeeves.usfca.edu> On Fri, 17 Nov 1995, Karen Johnson wrote: > Dear Blues-L participants, > > Some months ago a list of all Columbia House blues titles with catalog > numbers was posted. I had saved it and even used it, but now I can't find > the copy I thought I had saved. Could someone please send it to me again? > Thank you so much. > > KJ in SF > Ditto for me as well....I am new to this list (only a couple days now) but am greatly enjoying the discussions. I too would like a copy of Columbia House's blues titles w/numbers. I have built up the better portion of my rather extensive (my wife says "excessive") CD collection thru Columbia, BMG and Spring Street - but there are ALWAYS more CDs I need. Thanks Daryl dbernard@tardis.svsu.edu ========================================================================= Date: Fri, 17 Nov 1995 17:38:36 -0500 Reply-To: SAVBLUES From: SAVBLUES Organization: America Online, Inc. (1-800-827-6364) Subject: Shuggie Otis Comments: To: bit-listserv-blues-l@uunet.uu.net Help ! I am looking for info on Shuggie Otis. I just heard his CD, " Shuggie Otis plays the Blues." It was cut when he was 15 yrs old back in 1970. It is fantastic ! Is he still playing the blues ? If so, Where ? Does anyone know how I can contact him? I am interested in inviting him to play at the 1996 Springing the Blues Festival in Jacksonville Beach Florida. Thanks in advance for your help. ========================================================================= Date: Fri, 17 Nov 1995 07:49:27 -0800 Reply-To: "Linda L." From: "Linda L." Organization: CSU, Sacramento Subject: Kenny Wayne Shepherd vs. Chris Duarte Comments: To: bit-listserv-blues-l@uunet.uu.net Is it just me, or did anyone else notice that 'Ledbetter Heights' off of Kenny's new disk and 'C-Butt Rock' off of Chris's new disk sound quite similar? According to the cd covers, KWS wrote Ledbetter Heights and CD wrote C-Butt rock. -- Linda L. sac62628@saclink.csus.edu ========================================================================= Date: Fri, 17 Nov 1995 20:17:53 -0500 Reply-To: SJeffcote@AOL.COM From: "Scott E. Jeffcote" Subject: Re: Larry Garner on JSP Comments: To: cmd5@cornell.edu Both of his albums on JSP are excellent. I know Larry personally, and I've told him before that I still like those two albums the best. The Double Dues album is great and has some good songs. On the Too Blues album it has his version of "Love Her With A Feeling" - about a 10 minute song. It also has the song that started Larry off - "DogHouse Blues". This is the song that he won the Lucille Award on for best song. All of his albums are great - it is hard to say which to buy, I'd say just toss a coin on it. Larry has already completed work on his next album - no name as of yet. I have been able to hear it. It is going to be one of if not his best. It has Larry McCray on it with him. Be on the lookout for his song "Juke Joint Woman" which he wrote one night at Tabby's Blues Box here in Baton Rouge. Hope this helps some. ========================================================================= Date: Fri, 17 Nov 1995 20:51:01 -0500 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: Re: Peter Welding In a message dated 95-11-17 09:46:31 EST, Mark Blass wrote: >Mary Anne just called me to say that Peter Welding died this morning at >2:33 AM PST from a massive heart attack, two days after his 60th >birthday, and one day after his fabulous tribute was published on BLUES-L. > > =============================================================== I read my incoming mail, and wrote responses to many, until I hit this message. Now I am stunned and numb. I do not know what to say. I never met Pete Welding, but I feel as if I had known him for many years by way of the recordings he has made, and the words he has written. The blues world, no, the world, has lost an important and well respected man. He will be missed by the many who knew and loved him, as well as by those of us who knew him only by his work. I had the opportunity to write a tribute to Pete, but put it off because I thought I was "too busy to do it right now". At this moment I am somewhat ashamed of myself, and Memphis Slim's admonition, "Send Me Flowers While I'm Living" keeps churning through my brain. Rest In Peace, Pete. Ed ========================================================================= Date: Fri, 17 Nov 1995 21:34:42 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: saffire & the uppety blues women > > Subject: saffire & the uppety blues women > Can anyone tell me what the home page for them is.. the home page I have > is not working.. thanxIt's at http://www.onewdesign.com/saffire/ Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Fri, 17 Nov 1995 21:34:42 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Free Bathwater Drinking Straws to the Men > > Subject: Re: Free Bathwater Drinking Straws to the Men > That sounds like an adjunct to the old pickup line > *Darlin, Id just love a vial of your bathwater... * I'm reminded of a very old British movie -- Cary Grant's first, if I remember right -- in which one aged Cockney lady insults another by saying: "You drink your own bathwater." And the reply comes: "You drink other people's." Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Fri, 17 Nov 1995 21:59:35 -0500 Reply-To: Greg Hermanns From: Greg Hermanns Subject: Blues in Switzerland Can any fellow blues-ler clue me in to any blues clubs in Zurich or and 'special' music stores? I'll be there 1st week of Dec. then again the last week-Dec 27-28. I notice PeterG keeps us apprised of goings on in The Netherlands and I know we have other connections across the pond. ;'{) Thanks Greg Hermanns gregfh@tso.cin.ix.net ========================================================================= Date: Sat, 18 Nov 1995 00:31:58 -0500 Reply-To: SEUFER From: SEUFER Organization: America Online, Inc. (1-800-827-6364) Subject: HOWLIN FOR WOLF TABS Comments: To: bit-listserv-blues-l@uunet.uu.net IM HOWLIN FOR WOLF TABS SO IF THERES A BODY OUT THERE THAT COULD SHARE TABS THAT WOULD BE GREAT THANKS ========================================================================= Date: Sat, 18 Nov 1995 05:52:34 GMT Reply-To: blueslvr@sirius.com From: "Roy W. Forgy" Subject: New Release I just received the following announcement from HIGHTONE RECORDS since this is one of my favorite local LA Blues bands I would recommend it to all. quoted; james armstrong SLEEPING WITH A STRANGER Produced by Bruce Bromberg Occasionally, a new light shines in the blues world. HighTone flips the switch with the debut release by Los Angeles singer/guitarist James Armstrong. Sleeping With A Stranger signals the arrival of a dynamic new talent in this traditional form Though a young bluesman, James Armstrong has grown naturally into his style. His father was a jazz guitarist and his mother a blues singer. In addition, he grew up under the influence of his father's friend, Irving Ashby, the long-time Los Angeles studio player. Other influences include Jimi Hendrix, Albert King and Albert Collins. Sleeping With A Stranger is a result of many months of groundwork with HighTone producer Bruce Bromberg (Robert Cray, Joe Lewis Walker). Featured tracks include "The Devil's Livin' There" (a comment on the life in Los Angeles) and "Sleeping With A Stranger". These and other tunes combine to showcase the range of James Armstrong's talents, from soulful singing to biting blues guitar to fine songwriting. The blues light shines. HighTone 8068 Hightone Records 220 4th St. #101 Oakland, CA 94607 ========================================================================= Date: Fri, 17 Nov 1995 14:15:18 -0800 Reply-To: Douglas Edward Smith From: Douglas Edward Smith Organization: Stanford University, CA 94305, USA Subject: Unplugged Blues Collections Comments: To: bit-listserv-blues-l@uunet.uu.net I just listened to Buddy Guy and Junior Wells "Alone and Acoustic", a 1981 recording now distributed by Alligator. WOW !! It's amazing stuff. This CD by all rights should occupy a larger space next to Claptons Unplugged album on the shelf. Can anybody recommend other awsome acoustic blues collections? Doug ========================================================================= Date: Fri, 17 Nov 1995 15:23:02 -0800 Reply-To: "Linda L." From: "Linda L." Organization: CSU, Sacramento Subject: Living Blues Review: Tab Benoit Comments: To: bit-listserv-blues-l@uunet.uu.net We just got our new issue of Living Blues magazine and were rather shocked to see a pretty harsh review of Tab Benoit's latest: Standing By the Bank. Living Blues says Tab's "guitar playing is as derivative and unfocused as his vocals are forgettable". Wow. We are big Tab fans and think he is hot shit. Does anybody agree with this review??? certainly not us. We've just started getting this magazine and were happy to see so many reviews, but now we're not sure whether or not to trust them. Any comments? Rob and LInda -- Linda L. sac62628@saclink.csus.edu ========================================================================= Date: Sat, 18 Nov 1995 07:53:14 GMT Reply-To: BRG From: BRG Organization: Information Resources and Technology Subject: Re: Fab T-birds Comments: To: bit-listserv-blues-l@uunet.uu.net Far as I know, they ain't never been the T-Birds without Kim Wilson. I think Kid is still on guitar. Fran on drums. Preston"pinkie" not with 'em. Would like to know what he's up to these days. I wouldn't miss 'em! BRG ========================================================================= Date: Sat, 18 Nov 1995 08:28:48 GMT Reply-To: George Erroude From: George Erroude Organization: OSD, Inc. Subject: Hot Tuna Has any one in this group listened to what this group has been doing blues wise lately.. I would be very interested in your opinions.. If curious there is lots of info on their current projects at a web site... Web Crawl for Hot Tuna Page.. you may be surprised at what they have done with the Piedmont style of Blues Guitar ========================================================================= Date: Sat, 18 Nov 1995 00:43:02 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Who is Ali Farka Toure? ON Mon, 13 Nov 1995 15:03:05, Paul Deeds wrote, >Ali Farka Toure is an musician from Mali who plays guitar and other >stringed instruments. He has three albums out that I know of: > > Ali Farka Toure - 1987 > The Source - 1990 > Talking Timbuktu - 1994 > (not entirely sure about the years) Add "The River" (1990) and "West African Blues" to the list. Sorry for being a little behind in my e-mail. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sat, 18 Nov 1995 10:29:31 +0100 Reply-To: michel levay From: michel levay Subject: Jo-Ann Kelly Hi, Bonnie Kalmbach told me that you could help me to find the solution of this question. Some years ago, I listened on a radio a tune performed by Jo-Ann Kelly (sister of Blues Band Dave Kelly). It was the Memphis Minnie tune "Me and my chauffeur blues". I was unable the trace any information about this tune (support, date, record data, etc.) I shall be very pleased to receive any information. Thanks for your cooperation and regards. Michel ========================================================================= Date: Sat, 18 Nov 1995 11:54:52 GMT Reply-To: 100713.1501@COMPUSERVE.COM From: Ian Cole <100713.1501@COMPUSERVE.COM> Organization: CompuServe Incorporated Subject: John lee Hooker tab needed Comments: To: bit-listserv-blues-l@uunet.uu.net Can anybody out there in blues land tell me if John brought out a book/tab to accompany his Chill Out cd. Also is there any material still avialable on Ry Cooder,maybe it's just my bad luck but I feel us slide guys are starved of good material/tabs Ian Cole ========================================================================= Date: Sat, 18 Nov 1995 07:56:03 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Re: saffire & the uppety blues women Comments: To: bit-listserv-blues-l@uunet.uu.net Here are 3 you can try, the first is the one Suzanne has done, the second is Alligator's site and the last Ann Rabson's page. Cat http://www.onewdesign.com/saffire/ http://www.visualradio.com/vrtour2/al/al1.html http://dcwi.com/~rabson/Welcome.html ========================================================================= Date: Sat, 18 Nov 1995 09:43:41 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Organization: IQuest Internet Services Subject: Re: Living Blues Review: Tab Benoit Comments: To: "Linda L." =============Bank. Living Blues says Tab's "guitar playing is as derivative and unfocused as his vocals are forgettable". Wow. We are big Tab fans and think he is hot shit. Does anybody agree with this review??? certainly not us.============= Don't do this to yourself. LB is a great magazine. You're letting your own allegiences obstruct your objectivity----- and you're probably taking the review a little too personally. You're going to see lots of others that get your dander up if you don't look at it as just one person's opinion. True, Tab's guitar work is nothing revoltionary, and his voice while very good does not stand above a lot of others. The reviewers comments are not that damning, really, just honest. I personally still think he is a very good guitar player (hope he does more acoustic though) and I really enjoy his voice. For a lot of us, Tab Benoit hits the spot just right. I would strongly recommend that if you liked either of his other CD's that you get this one also. You will not be dissappointed. If you didn't really like his originals on Nice And Warm and What I live For (several of which I personally think sre outstanding) then this one won't change your mind. RJ Bauman (big Tab fan and think he is hot shit, too :-) ) ========================================================================= Date: Sat, 18 Nov 1995 09:49:31 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Organization: IQuest Internet Services Subject: Re: Unplugged Blues Collections Comments: To: Douglas Edward Smith Well if the "Alone and Acoustic" is good enough company for EC unplugged, how about the Kiss one put one out a couple weeks ago. It makes me want to jump up and down on the couch and set stuff on fire. :-) :-) :-) > I just listened to Buddy Guy and Junior Wells "Alone and Acoustic", > a 1981 recording now distributed by Alligator. WOW !! It's amazing > stuff. This CD by all rights should occupy a larger space next to > Claptons Unplugged album on the shelf. > > Can anybody recommend other awsome acoustic blues collections? > > Doug > > ========================================================================= Date: Sat, 18 Nov 1995 07:07:34 -0000 Reply-To: "J. Witteveen" From: "J. Witteveen" Subject: Xing (no blues content) Hi Bluezellers! My apologies for posting this to the entire list, but I lost the original message I received somewhere in the mass of messages in my Blues-L mailbox. To the person who asked about Xing, it's an internet helper application that allows you to view video and hear audio live over the internet (the name of the program is Stramworks). Xing mpeg player can be downloaded at the following site: ftp://xmission.com/pub/users/a/adm/software/mpgaudio.exe -Jim (hndful@uniserve.com) (not associated or employed with Xing, Streamworks...just someone who spends _way_ to much time on the net!) ========================================================================= Date: Sat, 18 Nov 1995 15:25:49 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Re: PETER WELDING DIES AT 60 Comments: To: bit-listserv-blues-l@moderators.uu.net Tony Burke, B&R Magazine, Bedford, UK Eric, Thanks for the info on Pete. I already mailed you personally. This is very sad. Just 60! It's a bastard. All the years I read those sleevenotes of his, quoted his research in articles and reviews in B&R and in other magazines. I never wrote to him or knew him, but this is like a reletive dying. After this who gives monkeys about some of the rubbish that is appearing on Blues-L? Tony ========================================================================= Date: Sat, 18 Nov 1995 11:01:51 -0500 Reply-To: Ken Boon Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Ken Boon Organization: home fan Subject: Re: Old farts vs Young bucks Comments: To: "J. Witteveen" The only answer is that the blues is no longer a mainstream music - Elvis & rock & roll supplanted Muddy & the blues - I'm in Toronto,Canada - there are only about 6 clubs here that support the blues - but on a "sad" note - Jimmy Rogers was in town in mid September - & his show was nowhere near sold out - but when he was here in March - the place was packed - elbow room only - go figure!! However, Saffire, the Uppity blues women played 2 sold out shows - but Luther Allison played to an enthusiastic audience on Nov 1 at RPM - but to only about 300 people & this man performed for 3 stright hours no break!! Incredible - there does seem to be any pat answer as to "acceptance". I am still waiting for Carey Belle to show up et al. ========================================================================= Date: Sat, 18 Nov 1995 11:02:13 -0500 Reply-To: Ken Boon Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Ken Boon Organization: home fan Subject: Re: Old farts vs Young bucks Comments: To: "J. Witteveen" The only answer is that the blues is no longer a mainstream music - Elvis & rock & roll supplanted Muddy & the blues - I'm in Toronto,Canada - there are only about 6 clubs here that support the blues - but on a "sad" note - Jimmy Rogers was in town in mid September - & his show was nowhere near sold out - but when he was here in March - the place was packed - elbow room only - go figure!! However, Saffire, the Uppity blues women played 2 sold out shows - but Luther Allison played to an enthusiastic audience on Nov 1 at RPM - but to only about 300 people & this man performed for 3 stright hours no break!! Incredible - there does seem to be any pat answer as to "acceptance". I am still waiting for Carey Belle to show up et al. ========================================================================= Date: Sat, 18 Nov 1995 11:43:42 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Blues-Link Web Site Now here's a guy with too much time on his hands! I just found a web site with what must be every blues-related page in the world! It's at http://transport.com/~firm/bluzlink.html It's searchable, too. So, I guess I can retire now. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Sat, 18 Nov 1995 12:56:10 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Who likes the BLUES???? Roger Struve wrote: "I love BLUES-L, and i love bluesellers with two exceptions..." Oh,, go on, Roger...tell us WHO; I'm a Cancer, and I'll break down in tears if I'm one of 'em! - Richard the Elder ========================================================================= Date: Sat, 18 Nov 1995 13:28:20 EST Reply-To: Joseph Leichter From: Joseph Leichter Subject: Re: Unplugged Blues Collections One of my all-time faves is "Buddy and the Juniors" = Buddy Guy, Junior Wells a nd Junior Mance (piano)...the opening Buddy riffs to "Talkin' bout Women" are.. simply frightening...as is Well's harp...IMHO its miles above "Alone and Acoust ic" (uh, oh trouble with word wrap again!) ========================================================================= Date: Sat, 18 Nov 1995 12:46:57 MEX Reply-To: AUDI06@IPN9021.IPN.MX From: Saul Sanchez ok 32FCAF ========================================================================= Date: Sat, 18 Nov 1995 13:05:45 MEX Reply-To: IGUTIERR@IPN9021.IPN.MX From: Elvira Gutierrez OK 76FF11 ========================================================================= Date: Sat, 18 Nov 1995 15:47:44 +1000 Reply-To: "J. P. Couch" From: "J. P. Couch" Organization: InfiNet Subject: Syndicated Blues radio show Comments: To: bit-listserv-blues-l@uunet.uu.net Any Blues head/s out there interested in helping produce a one hour syndicated Blues radio show ( please, serious replies only )? Reply to: fatcrab@infi.net ========================================================================= Date: Sat, 18 Nov 1995 20:08:55 GMT Reply-To: Ray Stiles From: Ray Stiles Organization: University of Minnesota, Twin Cities Subject: Ted Hawkins Help I am looking for some help in locating the Ted Hawkins record/cd/tape called "On the Boardwalk, the Venice Beach tapes" 1986 (American Activities). Does anyone know where I can locate a copy? And if it is available on CD? Also, does anyone know more about his life and music. I have his three other CD's and really enjoy his singing. His voice grabs your (kind of cross between, Otis Redding, Sam Cooke and who knows who else). Thanks, Ray ========================================================================= Date: Sat, 18 Nov 1995 20:20:31 GMT Reply-To: Ray Stiles From: Ray Stiles Organization: University of Minnesota, Twin Cities Subject: Re: Unplugged Blues Collections A great one is the self titled Keb Mo! Ray ========================================================================= Date: Sat, 18 Nov 1995 20:33:26 GMT Reply-To: Ray Stiles From: Ray Stiles Organization: University of Minnesota, Twin Cities Subject: Re: Old farts vs Young bucks Comments: To: kboon@ILAP.COM Cary Bell was in St. Paul last month for a good show, but there was only several hundred people. I will be seeing Jimmy Rogers tonight at the same place and don't expect to see too many more. It's a shame. Although Junior Wells did draw more poeple recently. Can you help me. I'm not sure how to use this newsgroup? What do you need to do to read the articles and respond and also what do the numbers (3) mean after the titles? Thanks, Ray ========================================================================= Date: Sat, 18 Nov 1995 17:33:55 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Blues Promotion >Popularity is the best thing that could happen for Blues. It may generate >some crap but it is easy enough to avoid buying it. At the same time an >increase in the popularity of Blues would get more good musicans into studios. I'm not sure I agree with this...I keep thinking of the country music boon that has occurred in the last decade. I really don't know much about country music, but do you *really* think the increased popularity has brought about an increase in quality? I guess I'm thinking there might be an "Achy Breaky Blues" looming somewhere in the future.... Karen ========================================================================= Date: Sat, 18 Nov 1995 17:38:24 -0500 Reply-To: KCTAPER From: KCTAPER Organization: America Online, Inc. (1-800-827-6364) Subject: Robert Jr, Lockwood on cover of FREE TIMES Comments: To: bit-listserv-blues-l@uunet.uu.net The current issue of FREE TIMES features a lengthy story on blues legend Robert Jr. Lockwood. A great photo graces the cover. The article goes in depth into his relationship with Robert Johnson. I have several extra copies that I will sell to appreciative fans. E-mail KCTAPER@aol.com for details. ========================================================================= Date: Fri, 17 Nov 1995 17:39:54 -0500 Reply-To: "J.F. Bronowich" From: "J.F. Bronowich" Subject: Re: Kinsey Report -- [ From: J.F. Bronowich * EMC.Ver #2.5.02 ] -- Pat Hertel wrote: > > On Thu, 16 Nov 1995, Kevin Gibson wrote: > > > I'm looking for a Kinsey Report release thats blusey not rocky any > > suggestions? > > > > IMHO the only one that comes close is their first "Edge of the City" > You are better off getting any of Big Daddy's with them on it. I agree. Big daddy is THE MAN! They are great live, too. Donald Kinsey is one of the best guitarists I have ever seen -- he's very skilled and very versatile, which is why they lean to the Jazz side. B.D.K. and the Kinsey Reprt were the first blues band I ever saw in Chicago. It was like something out of a film -- I walked into BLUES etc. and as my foot entered the door they slammed into "Mannish Boy". I thought I'd never need to hear that song again, but it was phenominal. I never got to see Muddy, so it was the next best thing. Big Daddy's got loads of stage presence. I believe he was a pal of Muddy's, and the influence it obvious (right down to the slide). I don't think he started playing blues until later in life. Anyone know? Any how, they're in town (NYC) tonight, and maybe now I'll go. =Joe= ========================================================================= Date: Sat, 18 Nov 1995 17:15:27 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: guitar shorty Shorty played J&J Blues bar in Fort Worth last night and blew me away for the umpteenth time. Don't EVER miss this guy and his fabulous band if they come to your town. They hit grooves so deep it makes the Tonga Trench look like a rut. His new CD is due out in January on Blacktop. Don O. ========================================================================= Date: Sat, 18 Nov 1995 18:35:45 -0500 Reply-To: JIMBLUE1@AOL.COM From: Jim Armstrong Subject: Re: Living Blues Review: Tab Benoit Comments: To: saclink62628@csus.edu I'm a big {if you ever see me, you'll agree ;-)} fan of his too, but I liked this lastest one less that the other two. It's still gets a lot of play here, as mediocre Tab is still pretty good. Jim Armstrong PS: I'm sure LW got quite excited when he read THAT review. ========================================================================= Date: Sat, 18 Nov 1995 15:39:00 PST Reply-To: Doug Cox From: Doug Cox Subject: Slide guitar insructional video I am pleased to announce the release of my first intructional video on slide guitar in open E tuning. This video is 40 minutes long and deals with slide technique, damping, single note licks and chords and the basic I IV V progression. It sells for 24.95 Canadian funds plus shipping and handling. It is available (VISA only) by calling 1-800-475-6988 or e-mail me for more details! Doug Cox http://www.islandnet.com/~dobro Doug Cox http://www.islandnet.com/~dobro ========================================================================= Date: Sat, 18 Nov 1995 21:40:30 -0500 Reply-To: "Daryl F. Bernard" From: "Daryl F. Bernard" Subject: Re: Unplugged Blues Collections Comments: To: Ray Stiles In-Reply-To: On Sat, 18 Nov 1995, Ray Stiles wrote: > A great one is the self titled Keb Mo! > Ray > I concur--a completely enjoyable listen, from beginning to end. The second track "Tell Everybody I know" is pure joy. Kevin also does a couple Robert Johnson covers, most notable "Come In My Kitchen" Excellent. Daryl (dbernard@tardis.svsu.edu) ========================================================================= Date: Sat, 18 Nov 1995 22:13:15 -0500 Reply-To: DJones4708@AOL.COM From: Douglass W Jones Subject: radio e-mail I'm looking for e-mail addresses of radio stations around the world to help get airplay for a few indie releases. please e-mail me at DJones4708@aol.com thanks for your help DJ ========================================================================= Date: Sat, 18 Nov 1995 22:35:28 -0500 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: Going No Mail I am going no mail for a week, while I go visit one of my favorite places on this earth. Memphis and Beale Street here I come. Planning to meet several of our Memphis area zellers while there. See y'all next weekend. BLUZ! Bluzman Ed aka Ed Tremewan ========================================================================= Date: Sun, 19 Nov 1995 00:23:18 UT Reply-To: kevin boyle From: kevin boyle Subject: Re: Blues Promotion >Popularity is the best thing that could happen for Blues. It may generate >some crap but it is easy enough to avoid buying it. At the same time an >increase in the popularity of Blues would get more good musicans into studios. >I'm not sure I agree with this...I keep thinking of the country music boon >that has occurred in the last decade. I really don't know much about country >music, but do you *really* think the increased popularity has brought about >an increase in quality? I guess I'm thinking there might be an "Achy Breaky >Blues" looming somewhere in the future.... I lived in Nashville for about a year, and there were a LOT of fantastic players in that city. I think it is a magnet for great musicians, and if country music was not as popular as it is, they would be going elsewhere. I'm not a fan of today's country music, but I can listen to some of it only for the session players cooking in the background. The blues is different, though. It can never be contorted into something that has mass appeal, because once you start watering it down, it ceases to be the blues. Kevin Boyle sourdust@msn.com ========================================================================= Date: Sun, 19 Nov 1995 01:53:13 -0500 Reply-To: SokolowMus@AOL.COM From: Fred Sokolow Subject: Re: HOWLIN FOR WOLF TABS Comments: To: SEUFER@aol.com I collaborated with another fellow on a book of a dozen Wolf Tabs which will probably be available in January from Hal Leonard Pub. or from me...you can Email me if you want details. Great stuff (or as Wolf said in Goin Down Slow, Great Googly Moogly!)...Fred S. ========================================================================= Date: Sun, 19 Nov 1995 08:45:10 GMT Reply-To: AND Books From: AND Books Organization: Ripco Internet BBS, Chicago Subject: MISSISSIPPI HEAT @ SBIN Just returned from a great MH concert at the Madison Oyster Bar in South Bend, IN. The place was packed with folks from Warsaw, Syracuse, Elkhart, Plymouth. One couple admitted that they never heard or saw blues before, they were Rockers, but both whistled and clapped at the noise like old-timers. Another, have followed MH since local DJ "Ole Harve" has played them on his 3-days/week "Blues Revue" show on local WVPE-FM show. The OB was packed. We waited 1-2 hours to spot an empty table, while Dietra Farr cooed her "Mean Ole World". The dance floor remained forever crowded. South Bend Blues folks were present in full force. The $6 cover did not slow down our enthusiasm. We cheered at Bob Stroger's train song, James Wheeler's lead guitar licks, Pierre Lacouque's marveluous harp/vocal leads; Alan Kirk's steady beat; Billy Flynn's guitar work. It was all stunning! To realize that these folks actually trekked to South Bend, IN for a gig was an ultimate expression of the blues, and it's magnetism to it's audience. Mississippi Heat always demands respect and participation from it's audiemce, and we, here in South Bend complied to the max. The bad news is that the next time we can see/hear MH will be in Chicago, om December 14th at LEGENDS, and December 15-16th at JAYS (933 N State) why don't we all go there and hear the blues again! gosh i love Dietra Farr's voice! ========================================================================= Date: Sun, 19 Nov 1995 00:58:01 -0800 Reply-To: John Childress From: John Childress Subject: It Hurts Me Too ?? On the Eric Clapton CD "From The Cradle" the author is listed as Elmore James. On the Kenny Neal CD "Hoodoo Moon" the author of the same song is listed as Whittaker. Is that Hudson Whittaker? Who did write this classic? Thanks. John ========================================================================= Date: Sun, 19 Nov 1995 02:13:38 -0800 Reply-To: bluesdj@HALCYON.COM From: Roberta Penn Subject: Re: Kenny Neal In-Reply-To: <199511190503.AAA13430@listserv.brown.edu> Kenny Neal played a great set at the Paramount Theatre Saturday night, opening for Steve Miller. In addition to lots of his own material he did a killer version of "I'm A Bluesman," weaving in bits of blues classics like "Little Red Rooster." His singing was great, as was his guitar and harmonica playing. At one point he used the mic stand as a slide for his guitar. Then he came back during Steve Miller's encore and played a lap steel. Then he went down and sat in with local biker bluesman David Brewer in a club, playing his lap steel and harmonica. As for Steve Miller's blues set.....it was kinda boring because everything was so tight. And the band all wore headsets that fed back the sound from the board, kinda cutting them off from the audience. So it was a rock show more than a blues one. ========================================================================= Date: Sun, 19 Nov 1995 12:11:46 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Re: Ted Hawkins Help Comments: To: bit-listserv-blues-l@moderators.uu.net Yep! he's dead. You can still get the Venice Beach tapes from Red Lick and a number of blues retail outlets and mail order companies. He was very popular in the UK for a while and promoted by professionall northerner, UK broacaster and radio personality Andy Kershaw. He lived in Bridlington in North Yorkshire for some time and toured the UK regulaly until he got turfed out of the UK for....... Well, lets say something unfortunate and distasteful. In fact not much was printed in the press about why he got kicked out. But there ya go. TB ========================================================================= Date: Sun, 19 Nov 1995 12:04:28 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Re: Jo-Ann Kelly Comments: To: bit-listserv-blues-l@moderators.uu.net Memphis Minnie with Little Son Joe on guitar, unknown string bass. Me and My Chauffeur Blues Recorded May 21st, 1941, Okeh 06288 Easiest place to get it try I Ain't No Bad Girl, Portrait RK44072 TB or did you want the Jo Ann Kelly version? ========================================================================= Date: Thu, 16 Nov 1995 11:18:03 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Crabbing--Vague Blues Content Greetings. I have returned from two weeks of vacation in the Bay Area, San Francisco. I *tried* to set BLUES-L to NOMAIL while I was gone, but came back to 800+ messages. From the looks of things, the only messages NOT getting through to me are personal e-mails. For anyone sending personal e-mails my way...I have *no* idea what's going on. I could make unkind comments about the individuals who work in our MIS department, but they'll probably read them and make this work. I have two e-mail addresses here at work you can try: shannon_oconnor@kdc.com or shannon_oconnor@swpco.com. If neither of those work, e-mail me at home at SJOblues@aol.com. If I haven't responded to your personal e-mail, it's because I didn't receive it. Really! I'm not angry at anyone!! :) That's the crabbing part...I don't know what's not working with e-mail. BLUES-L, Internet. And I'm frustrated about not knowing. Now, vague blues content. While in the SF area, I visited several blues clubs to hear various bands. What amazed me about the bands I saw were the number of people in them! I'm used to blues bands consisting of 3, maybe 4 people. These California bands were crowds! The *smallest* group I saw contained 4 people. Brief reviews: Fourth Street Tavern in San Rafael, the band was Buddy Owens. Not a bad guitar player, but his solos went on w-a-y too long. And he was l-o-u-d. And I personally don't consider "Hang on Sloopy" and "Louie Louie" to be blues....but not a bad band, really. Cool bar. A microbrewery in Sunnyvale, I think, had a band called Red House. There were a bunch of people in this band. Keyboard, bass, guitar, drums, sax/flute, harp, and vocalist. Short sets, not much variety in what they performed, but entertaining. (Too many yuppies in the audience, though!) Saw the Mark Castro band at J.J.'s in San Jose. They had *three* percussionists....a drummer and two bongo players. Plus two guitarists, bass, drums, keyboard. The night I was there they were having sound problems, which was frustrating and angering the musicians. The group I admit to liking best was a San Jose-based group called the Board of Directors. Saw them in Fremont at a great place called the Irvington Monument Saloon. When I walked in and saw yet another LARGE band--guitar, bass, drums, trumpet, saxophone--I was prepared to flee. But I stuck it out, and these guys (although they all look to be about 25 years old) were FUN! They're a bit slick and their lyrics are kind of clunky, but they are a tight unit and good performers. Tried and failed to find blues in Berkeley, and the friend I was staying with didn't want to fight traffic in San Francisco to visit any clubs there. I was just has happy with the outskirts, myself. Shannon ========================================================================= Date: Sun, 19 Nov 1995 08:47:18 -0600 Reply-To: Bennett Pearce From: Bennett Pearce Organization: UAB Pediatric Cardiology Subject: Re: Piano bob & snowman Comments: To: bit-listserv-blues-l@uunet.uu.net In article <9511151152.0GO5K00@infoexch.miami.fl.us>, laurie.forti@INFOEXCH.MIAMI.FL.US wrote: > PIANO BOB & THE SNOWMAN are a guitar/vocalist and piano duo who play > mostly in the older, pre-War, Barrelhouse and Blues styles. Sounds Good. Are there any recordings available? -- Bennett Pearce ========================================================================= Date: Fri, 17 Nov 1995 13:33:25 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Biker Blues Fans In defense or observation of biker blues fans....there are quite a few of 'em here in Cincinnati. Not biker-wannabes, either....true, actual dyed-in-the-leather bikers. And keeping in mind that I'm a born-and-bred New Englander (implying more than a bit of that "proper manners," uptight, by-the-book upbringing), I have to say that the vast majority of these folks are some of the nicest, most genuine people I've met. I feel safer in a crowd of bikers in a (blues) bar than I do in a crowd of yuppies. Their appreciation and knowledge of the music is thorough, they always have a good time, they're not out to impress anyone, and they are enthusiastic, gregarious dancers. Really. :) Shannon ========================================================================= Date: Sun, 19 Nov 1995 10:46:06 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Blues Promotion Kevin said: >>The blues is different, >>though. It can never be contorted into something that has mass appeal, >>because once you start watering it down, it ceases to be the blues. Exactly! So those who are anxious to spread the popularity of the blues--which I believe can only be done by altering it to appeal to the masses--are not helping the genre in the least. I don't know much about the music business itself, but do you think that the big chain blues clubs (we won't mention House of Anything), are helping the musicians who are trying to get a foothold? From what I hear (please tell me if this is wrong), many smaller clubs are going out of business as soon as a fast-food-blues opens up in the vicinity. Isn't that one of the reasons given for the closing of the Muddy Waters club in NOLA? And I have been to the HOB there...it's difficult to find a blues band on the schedule. And if you don't think the blues IS being "watered down"--just listen to the background music of any of a dozen TV commercials currently airing. Is this really the blues? I don't know...it's something akin to comic-book Shakespeare...you get the general idea, but not the true flavor. Karen ========================================================================= Date: Sun, 19 Nov 1995 10:46:08 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: It Hurts Me Too ?? John asks: >>On the Eric Clapton CD "From The Cradle" the author is listed as Elmore >>James. On the Kenny Neal CD "Hoodoo Moon" the author of the same song >>is listed as Whittaker. Is that Hudson Whittaker? Who did write this >>classic? Let's add to the confusion. I have a recording by Big Bill Broonzy of "It Hurts Me, Too" (also titled "When Things Go Wrong). The date on the album is 1957, which I believe pre-dates James's recording by a couple of years. I can't find a listing of the writer, though. Could it be one of those more-or-less traditional songs that, as each musician adds or makes changes, becomes "his" song? Karen It Puzzles Me, Too... ========================================================================= Date: Sun, 19 Nov 1995 11:17:46 -0500 Reply-To: THesters From: THesters Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Blues Promotion Comments: To: bit-listserv-blues-l@uunet.uu.net You can say racism or whatever, but what I think the word here is promotion. A lot of people that I know like those blues on comercials, but they don't "know" what to buy. You don't hear blues very often on radio. You don't see any great bluesmen giving an interview in any great magazine, even guitar magazines. The truth is that the names of the great blues musicians don't appear anywhere. Someone said that rock, country, classical, etc.., listeners like the blues, but they are still rock and classical listeners, they still prefer to buy rock and classical albuns. The people don't know blues musicians, they just know B.B. King. When I used to like other music styles, I liked the blues but I didn't know what to buy, I didn't know the names. Then one day I bought "From the Cradle", I liked it a lot, and inside of it, I had the names. I don't think I am the only one who did that. I think that's a good sign, let everybody make Eric Clapton richier, if that's the price we have to pay to see the blues big as it is. AS o?o - "We are in a mission from God". ========================================================================= Date: Sun, 19 Nov 1995 16:30:26 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: PETER WELDING DIES AT 60 Comments: To: bit-listserv-blues-l@uunet.uu.net Last night a magic moment occurred to me that I would like to share with those on the list (at least as best as I can). I had to hop in my car and run an errand around 8:30 PM. Bonnie Kalmbach's "Two For the Blues" radio show was on. She was doing a tribute to Pete Welding that included a sampling of those great Testament label recordings as well as information about the man, some of which I remembered from the tribute done. I got back home just as she was playing JB Hutto. I got out of the car to go in the house. The neighborhood was very quiet except all of a sudden, I heard JB fade in and out on a crisp wintery night in Madison as a car drove by on the cross street about a quarter block from my home. The driver had the car window open and JB was cranking. I listened intently as the music faded into the night. It truly was a magical moment and I will remember it for some time. What are the odds of this random event happening? It really made me think about Pete Welding as what he meant to me and all the fans of the blues out there. I want to thank Bonnie, the anonymous driver but most of all I want to thank Pete for making it possible. May he rest in peace. Art Schuna ========================================================================= Date: Sun, 19 Nov 1995 11:52:04 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Re: It Hurts Me Too ?? Comments: To: faro1@ix.netcom.com In-Reply-To: <199511190858.AAA26926@ix10.ix.netcom.com> from "John Childress" at Nov 19, 95 00:58:01 am According to John Childress: > > On the Eric Clapton CD "From The Cradle" the author is listed as Elmore > James. On the Kenny Neal CD "Hoodoo Moon" the author of the same song > is listed as Whittaker. Is that Hudson Whittaker? Who did write this > classic? > Thanks. > John > Hudson Whittaker is none other than the great Tampa Red...As far as I know, Tampa Red was the first to record the song...According to my records, he first cut this song in 1940, but he may have done it earlier, I don't know. -Peter ========================================================================= Date: Sun, 19 Nov 1995 09:56:31 -0700 Reply-To: Bruce Stovel From: Bruce Stovel Subject: It Hurts Me Too This song was first recorded by Tampa Red in 1940 (Tampa's real name was Hudson Whitaker). On the other hand, Elmore's version (of 1957) is the best known and the one that just about everyone who covers the song uses as a source. ========================================================================= Date: Sun, 19 Nov 1995 10:51:42 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: Live From Antibes Comments: To: "Ronald W. Fitch" In-Reply-To: <01HXQRNTUB1E925Y6U@uni.edu> I've had it!! There are obviously a bunch of us trying to hunt this down. I am gonna talk to a guy whom I know that runs a store that specializes in imports and bootlegs (spare me the sermon). He may have enough overseas contacts. Does anyone have catalog information etc. I will post the results of my inquiry. Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Sun, 19 Nov 1995 10:56:13 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: PETER WELDING DIES AT 60 Comments: To: Eric LeBlanc-CISTI In-Reply-To: <9511171857.AA27174@dao.nrc.ca> Eric, Plese send me a copy of the Pete Welding tribute. A couple not-net friends want to see it and i need to print it out. I foolishly deleted it. Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Sun, 19 Nov 1995 12:13:12 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Riffin Rick unplugged (my own review) Did it. :) It went really, really well, but it was not exactly what I had originally envisioned. My incredible drummer showed up ready to play and totally changed the nature of the aforementioned gig. SO instead of a really quite acoustic 2 man, guitar & harp thingy, he set up a stripped down drum kit, just snare, bass and high-hat, and played mostly brushes, and I plugged in my big FAT Ibanez archtop (Abe, you listenin?) and we did a jazz trio kinda thing where we brought everything way, WAY down and I dunno, it was like we were in some way cool club in The Village playing to a bunch of groovy hep cats, jazzin and jivin to these way layed back blues. :) It was SO different than that big, uptempo, Chicago sound that we usually kick out, which is really driven by the boom, boom of the bass line. At first, I was uncomfortable with the sound, to have the drums and no bass line to fill was a little un-nerving to me, a guitar guy. But again, I have to credit my incredibly experienced and profes- sional drummer who really got me into the right groove, the right head space to play and use the room created by no-bass to really stretch out, musically, to not fear the quiet spots where all there was was the quiet, jazzy hiss off his brushes circling around the snare drum, and my voice. He was right, there was all this room. It was a GREAT experience to play this way! I'm still comin' down. :) I am more in love with my '75 Ibanez 2355 archtop than I was before. It gave me the absolute ideal tone for this bare bones, coffeehouse gig. Really fat tone, very jazzy sound, even though I was playin' blues. I did do several acoustic numbers with the Shure SM57 miking the dobro and Yamaha dreadnought, and that worked fabulously. Very pleased with that sound as well. Only thing was though, even in a small club(coffeehouse) I wish we had used monitors so I could have gotten some sound back at me. It's amazing how you can be playing an acoustic instrument, sitting in your lap (oh yeah, to add to the bare bones effect, I played sitting on a stool) and not be able to hear it. Even with the whole thing brought WAY down, with drums in one ear and amped harp in the other, acoustic guitars just don't cut thru it. SO the audience could hear the miked guitars just fine, but I couldn't. Next time, monitors. That's all for now guys! Ron, if you like to b.s. some more about the particulars, gimme a shout. Look out New Jersey for the Hurricanes unplugged! :) Riffin Rick (((( oo-) /- It's 3 o'clock in the morning and all the pretty women are gone. F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Sun, 19 Nov 1995 09:26:42 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Billboard blues chart, week of 11/25/95 Here is the Billboard Magazine blues chart for the week of November 25, 1995. * = chart debut 1. Greatest Hits/Stevie Ray Vaughan & Double Trouble 2. Ledbetter Heights/Kenny Wayne Shepherd * 3. From The Cradle/Eric Clapton 4. Handful of Blues/Robben Ford & the Blue Line 5. Some Rainy Morning/Robert Cray 6. Cover to Cover/The Jeff Healey Band 7. Blues/Jimi Hendrix 8. Keb' Mo'/Keb' Mo' 9. Turn It On, Turn It Up/Roomful of Blues 10. Chill Out/John Lee Hooker 11. Essential Blues/Various Artists 12. Blue Streak/Luther Allison 13. Live '92-'93/Albert Collins & the Icebreakers 14. Texas Sugar/Strat Magik/Chris Duarte Group 15. Sad Street/Bobby "Blue" Bland ========================================================================= Date: Sun, 19 Nov 1995 13:51:10 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - November 19th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BROOKS, LEON BIG (hca/ALLIGATOR REC) b. 1933-1119,nSUNFLOWER, MS CAIN, CHRIS (g/BLIND PIG REC) b. 1955-1119, SAN JOSE, CA CRISS, WILLIAM "SONNY" (asax/ssax) d. 1977-1119, LOS ANGELES, CA 50 FALCON, JOSEPH C. (acc/cajun) d. 1965-1119, CROWLEY, LA 65 GREEN, BUD (songw/FLAT FOOT FLOOGIE) b. 1897-1119, AUSTRIA GREENLEE, BOB (b/prod/KINGSNAKE REC) b. 1944-1119, DAYTON BEACH, FL GUEST, ANNETTE (of FIRST CHOICE) b. 1954-1119, CHESTER, PA HOGG, WILLIE ANDERSON "SMOKEY" (g/SPIVEY) b. 1908-1119, CENTERVILLE, TX JOHNSON, FREDERIC "KEG" (tbn/MILLINDER) b. 1908-1119, DALLAS, TX JONES, JOHNNIE LITTLE (p/ELMORE JAMES) d. 1964-1119, CHICAGO, IL 40 KING, EARL CONNELLY (v/KING REC) b. 1929-1119, PHILADELPHIA, PA KNOX, ROBERT B. SR. (dj) d. 1988-1119, PHILADELPHIA, PA 74 LEVINE, DAVID "CROW"(g/owner: RE-BOP REC) d. 1993-1119, MONTPELIER, VT 46 MILLER, WILBERT (of BUCKWHEAT ZYDECO) b. 1957-1119, PORT ARTHUR, TX MOORE, WARREN "PETE" (of THE MIRACLES) b. 1939-1119, DETROIT, MI STEPIN FETCHIT [LINCOLN T. M. A. PERRY]v d. 1985-1119, WOODLAND HILLS, CA 83 STRAYHORN, BILLY (p/arr) b. 1915-1119, DAYTON, OH SUNDAY, WILLIAM ASHLEY "BILLY" (gospel) b. 1862-1119, AMES, IA VERNON, MIKE (prod/BLUE HORIZON) b. 1944-1119, HARROW, UK ------------------------------------------------------------------------------- ========================================================================= Date: Sun, 19 Nov 1995 18:06:17 UT Reply-To: kevin boyle From: kevin boyle Subject: Re: Blues Promotion "Exactly! So those who are anxious to spread the popularity of the blues--which I believe can only be done by altering it to appeal to the masses--are not helping the genre in the least. And if you don't think the blues IS being "watered down"--just listen to the background music of any of a dozen TV commercials currently airing. " Yes, I have heard "The Bathroom Mildew Blues" or something on a TV commercial. I love this country. The whole popularity idea is weird to begin with. I've played in many blues bands over the years, good ones and bad ones. Before this resurgence, we could be playing great stuff, but it was tough getting gigs. Since we are all slaves to the music, however, it didn't really matter. Then I worked in a band in New York for a time that was awful. We played nothing but fast 1-4-5 shuffles all night, no variation, no nothing. The count before every song was "shuffle-A-3-4" or "shuffle-E-3-4." But all of a sudden, the blues was "in," so I was working 5 nights a week. We just happened to have an aggressive, hustling, untalented frontman, who capitalized on the situation. He sucked, but the rest of the players were talented, hard-working musicians. I quit, because I was getting smashed every night. It was very depressing. So to those for whom the blues is the latest fad, God bless you. A lot of good players are getting work, and sometimes eating and paying the rent takes precedent over "helping the genre." This is not to say that I disagree with you. You obviously care deeply about the music, and that is rare. These fans will move on to the next fad eventually. The music remains. If the blues can survive Led Zepelin, it can survive anything. Kevin Boyle sourdust@msn.com ========================================================================= Date: Sun, 19 Nov 1995 14:18:19 -0500 Reply-To: HippieLady@AOL.COM From: Beverly Howell Subject: Re: BLUES-L Digest - 17 Nov 1995 to 18 Nov 1995 In a message dated 95-11-19 00:07:31 EST, you write: >Date: Sat, 18 Nov 1995 07:53:14 GMT >From: BRG >Subject: Re: Fab T-birds > >Far as I know, they ain't never been the T-Birds without Kim Wilson. I >think Kid is still on guitar. Fran on drums. Preston"pinkie" not with 'em. >Would like to know what he's up to these days. >I wouldn't miss 'em! BRG, Kim is with the TBirds on tour as we speak, promoting their new release on Private Music, "ROLL OF THE DICE" (0100582130-2). They were just on CBS Good Morning last Tuesday morning, Live from San Antonio, they then got on a plane and flew directly to Louisville, KY for a show here Tuesday night. They put on a GREAT!!!! show and Kim and the guys are obviously havin' a blast. I just had Kim as my guest on BLUES CHAT on America Online, on October 17th; if any of y'all want the transcript from that chat drop me an email and I'll send it to ya....Kim's office had put me and my hubby on guest list for this show, and I have to tell you we not only boogied our butts off at the show, we had a BLAST sharing Budweisers w/Kim, and the guys after the show on their bus. I took photos .... both stage shows and shots on the bus...that I should be getting back this Wednesday, if I got any good ones I'll let y'all know and I'll scan em and share w/whoever wants em. Warm Regards, Beverly Producer/Host Blues Chat via America Online Ah, I love those Texas Blues Guys..... ========================================================================= Date: Sun, 19 Nov 1995 22:08:56 +0100 Reply-To: Niels Peter Jxrgensen From: Niels Peter Jxrgensen Subject: Discography William Clarke Somebody asked about a discography of William Clarke. I found one= highlighting the early work of William Clarke- here it is: William Clarke (Voc/hca) with: Hollywood Fats (gtr.) - Garth Beckington (gtr.) - John Detherage= (pno.) Mike Downey (bgtr.) - Johnny Dominguez (dms.) =20 Los Angeles 1977 - Hittin=B4 Heavy -Good Time GTS 1003 *(1) - Diggin=B4my potatoes - - Blues Afterwhile - - Next to me - - Keep on lovin=B4 on her - - Come on Baby - - Keep it to yourself - - Hard times - - So all alone - Los Angeles 1979 (all tracks with various musicians) - Give me back that wig - Hittin=B4 Heavy 1002 *(2) - Steady - - - Blowin=B4 my nuts - - - Gina=B4s Groove - - - Feel Like a King - - Los Angeles 1982 - 52 Cards in a deck - Shoe Sl 101 Torrance, Ca. 1983 - Give me mine now - Watch Dog 1005/Rivera=20 RR 502 *(3) - She=B4s gone - - - Lookin=B4 for trouble - - - No Lie - - - She=B4s Dynamite - - - Can=B4t you hear me callin=B4 - - The Pleaser - - - Bite again. bite again - ?, Ca. 1983 - Willies Walk - Watch Dog 1005 - Diggin=B4my potatoes - ?, Ca. 1983 - West coast walk - Rivera RR 502 - Ice cream man - Album Titles:=20 (1) - Hittin=B4 Heavy (2) - Blues from Los Angeles (3) - Can=B4t you hear me callin=B4 Niels P. J=F8rgensen ========================================================================= Date: Sun, 19 Nov 1995 22:16:21 +0100 Reply-To: Niels Peter Jxrgensen From: Niels Peter Jxrgensen Subject: William Clarke Does anybody out there know about what or how William Clarke is doing=20 at the moment? To me it seem=B4s like he just had faded away, at least from europe. I know he had an extremely bad performance at the UNNA BLUES Festival in=20 Autummm =B494, obviously caused by health problems. Thanks for answering. Niels P. J=F8rgensen ========================================================================= Date: Sun, 19 Nov 1995 19:31:40 -0500 Reply-To: Johny Bravo From: Johny Bravo Organization: University of Oregon Subject: Re: Blues Promotion Comments: To: bit-listserv-blues-l@uunet.uu.net The blues is different, >though. It can never be contorted into something that has mass appeal, >because once you start watering it down, it ceases to be the blues. >Kevin Boyle >sourdust@msn.com There is no doubt that one can't water down blues without destroying it, but I don't think you need to water down blues to make it more appealing. The real problem is not with the music it is with how the music is viewed by the masses. Recent musical trends have shown that even sub-par music can be sold with the proper marketing. Just think what marketing could do for great music (i.e. the blues). I love the blues and would hate to see an explosion of cookie cutter corporate blues, but at the same time I am hesitant to just say that the blues can never be popular and nobody should even try. I don't think that gives enough credit to blues lovers and non-blues lovers alike, but that's just my opinion, and what do I know? ========================================================================= Date: Sun, 19 Nov 1995 19:37:10 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: Returned mail: Host unknown (Name server: brownvm.edu.brown: host not found) Maybe Bill Dahl was having a bad hair day! He called Tab's guitar playing "derivative and unfocused" then in another review he called Chris Cains guitar playing as "exhibits obvious stylistic debts." Tab IS hot shit (IMHO), although I expected a greater effort from Standing On The Bank and was somewhat disappointed with the album. Don't put too much thought into reviews, its just someone else's opinion and thats all. I think I'll listen to Nice and Warm now! Beef Stew WHUS Radio >******************************************************************** > >>We just got our new issue of Living Blues magazine and were rather shocked >>to see a pretty harsh review of Tab Benoit's latest: Standing By the >>Bank. Living Blues says Tab's "guitar playing is as derivative and >>unfocused as his vocals are forgettable". >> >>Wow. We are big Tab fans and think he is hot shit. Does anybody agree >>with this review??? certainly not us. >> >>We've just started getting this magazine and were happy to see so many >>reviews, but now we're not sure whether or not to trust them. Any >>comments? >> >>Rob and LInda >> >>-- >>Linda L. >>sac62628@saclink.csus.edu >> >> > > ========================================================================= Date: Sun, 19 Nov 1995 17:51:45 PST Reply-To: mail06702@pop.net From: "(Dave Ruthenberg)" Subject: Detroit Blues Radio Hi - I was just wondering if anybody out there can provide a complete listing of Detroit area Blues radio programs. Thanks. Dave ========================================================================= Date: Sun, 19 Nov 1995 19:07:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Re: Blues Promotion Comments: To: JukeFreak@AOL.COM >And if you don't think the blues IS being "watered down"--just listen to the >background music of any of a dozen TV commercials currently airing. Is this >really the blues? I don't know...it's something akin to comic-book >Shakespeare...you get the general idea, but not the true flavor. I agree and I'm disappointed that real working blues musicians aren't used for these commercials - instead they seem to be generic studio musicians who can play a few standard, and usually, passionless blues phrases. Now I'm thinking is it for this that some of us have labored 20 years in the vineyard trying to bring greater recognition to the blues?? -Bonnie ========================================================================= Date: Sun, 19 Nov 1995 17:28:22 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Blues Promotion On Sun, 19 Nov 1995 11:17:46, As wrote > You can say racism or whatever, but what I think the word here >is promotion. A lot of people that I know like those blues on comercials, >but they don't "know" what to buy. You don't hear blues very often on >radio. You don't see any great bluesmen giving an interview in any great >magazine, even guitar magazines. The truth is that the names of the great >blues musicians don't appear anywhere. I've always though that Guitar Player has given a fair and balanced coverage to all types of music, especially the Blues. I just went just went through all of the 1995 issues and heres the Blues content. January - Article on Nathan Caliveri and another on "Missippi Blues Today" which featured Junior Kimbough, RL Burnside, Lonnie Pitchford and others. There is also an article on the stles of Grant Green and Kenny Burrell, two of the Bluesiest Jazzers ever. February - Article on Luther Allison as well as short pieces on Son Seals and Duke Robillard March - No real blues content. April - Articles on WC Clark and Sonny Landreth with a lesson on Michael Bloomfield's style. May - Short pices on Ronnie Earl, Debbie Davies and Henry Qualls. June - Article and lesson on Clapton's influences. Short piece on John Lee Hooker. July - Article on Jeff Healey and Los Lobos. August - T-Bone Walker on the cover! Article on his life and examples of his style. Articles on Freddie King, Junior Kimbough and John Mayall talks about the Blues Breakers guitarists. September - Hendrix on the cover with Billy Cox talking about Hendrix' Blues influences. Article on Bill Perry and a short piece on Coco Montoya. Should I also mention an article on the Moody Blues ;-) Sorry. I couldn't resist. October - Article on Blind Blake. Short pieces on Dave Thompson and Rory Gallagher. November - Short piece on Phillip Walker. December - Article on Ben Harper. Guitar Player is about guitar. It is not a Blues magazine. However, it has devoted a lot of articles over the years to the Blues. John Lee Hooker, BB King, Buddy Guy, Muddy Waters, Robert Johnson and so on have all been covered more than once. As you can see some issue have a greater Blues content than others. When GP cpvers the Blues it always does a great job. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Mon, 20 Nov 1995 01:52:56 GMT Reply-To: "A.C. Brockton" From: "A.C. Brockton" Organization: Primenet Subject: Son Seals Comments: To: bit-listserv-blues-l@uunet.uu.net Just bought the CD Midnight Son. Wow! Any recommendations on other CD's by Seals... And is he still playing? ================================================================= Andrew Brockton http://www.primenet.com/~brock "I got to take the bitter with the sweet." ---- James Oden, as sung by Muddy Waters ================================================================= ========================================================================= Date: Mon, 20 Nov 1995 01:44:02 GMT Reply-To: "A.C. Brockton" From: "A.C. Brockton" Organization: Primenet Subject: Re: It Hurts Me Too ?? Comments: To: bit-listserv-blues-l@uunet.uu.net For what it's worth... I have an Elmore James collection that credits this song to Mel London, a producer. The John Mayall compilation London Blues also credits London. Seems that blues writing credits are a game of who claimed it first... ========================================================================= Date: Sun, 19 Nov 1995 19:02:03 PST Reply-To: "D. ALLEN SIMPSON" From: "D. ALLEN SIMPSON" Subject: This week's blues on TV Weds 1/22 - Blues Traveller (Tonight Show... yeah, yeah, not "really" blues) Fri 11/24 - Taj Mahal (Stephanie Miller show, syndicated, so check local listings) Doug S. ========================================================================= Date: Mon, 20 Nov 1995 05:05:44 +0200 Reply-To: T P Uschanov From: T P Uschanov Subject: Re: It Hurts Me Too ?? Comments: To: "A.C. Brockton" In-Reply-To: <48omh2$oui@nnrp3.news.primenet.com> On Mon, 20 Nov 1995, A.C. Brockton wrote: > For what it's worth... > > I have an Elmore James collection that credits this song to Mel London, > a producer. My Japanese P-Vine CD edition of the old Buddah/Cobblestone LP 'South Side Blues,' including all of Elmore's and Eddie Taylor's killer fifties Chief/Vee-Jay sides, credits E. James. > Seems that blues writing credits are a game of who claimed it first... Proudhon was right... T P Uschanov (Mr), University of Helsinki, Finland, European Union. tuschano@cc.helsinki.fi ---- http://www.helsinki.fi/~tuschano/ "Property is theft." (Pierre-Joseph Proudhon) ========================================================================= Date: Sun, 19 Nov 1995 23:11:53 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Reviews, Bill Dahl > Maybe Bill Dahl was having a bad hair day! > > He called Tab's guitar playing "derivative and unfocused" > then in another review he called Chris Cains guitar playing as > "exhibits obvious stylistic debts." I have never paid much attention to Tab Benoit or Chris Cain. But I do have one rule I follow faithfully -- if Bill Dahl pans it, it is probably worth listening to. I can't begin to count the number of times he has given negative reviews to artists and recordings I like a lot. I don't know what he's good at ... but it isn't reviewing blues. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Sun, 19 Nov 1995 23:19:26 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Son Seals Yes, Son Seals is still playing regularly in the Chicago area; in fact, I just saw him last weekend. His band, the Chicago Fire, is a wonderful group of musicians! As well as guitars & drums, there's one guy who plays trumpet & flugelhorn and another who plays sax, clarinet & flute. Good variety of music; I enjoyed it very much. Karen ========================================================================= Date: Mon, 20 Nov 1995 01:22:15 -0400 Reply-To: Claudio Caponi MARNR From: Claudio Caponi MARNR Subject: Hidden Gem I know I am rather late on this thread, but I couldn't let this pass without mentioning a CD that I've never seen mentioned on blues-l: Carol Fran featuring Clarence Hollimon Women in (E)motion Festival T&M 108 Recorded at Schauburg, Bremen, 21/8/93 Lonesome Road/Stormy Monday/Daddy Daddy/Peeping And Hiding/Sunny/ Ain't Nobody Business/You Don't Know Me/Darktown Strutters Ball/ Every Day Is Not The Same/Cry Me A River/All Of Me/Fine Brown Frame/ Ain't Misbheavin'/Amazing Grace/ I found this wonderful 67' of great music in an african-american music store near the train station of Geneva 4 months ago, and even if the price was painful (30 $!) it's been by far my best buy in quite some time. It's Carol Fran on piano and vocals (sorry, VOCALS) and Clarence on his wonderful jazzy guitar recorded live, playing in a relaxed atmosphere to a very sympathetic audience. The song list may sound as being a series of covers of blues and jazz standards, but when you hear these two artists reinventing 'All of me', or J.Reed's 'Baby, what you want me to do' (Peeping and Hiding in the track list), or using "Cry me a river' as their good-bye piece (a 7 minutes long one), the term 'cover' is even offensive... Another highlight is a 6' version of Sunny, which starts with a delightful work by Clarence and when you think this is going to be the only instrumental of the set (and a great showcase for Mr. Hollimon at that!), almost four minutes into the song Carol enters with a grumbling "Ahhh, Sunny" which gives me the 'chill' just to think of it... BTW, why is this song so familiar to me? Was it a pop hit in the 60s'/70s'? I vaguely remember disliking it because it was repeated incessantly on the radio. The credits on the CD say 'Bobby Hebb', which doesn't ring a bell. Before posting this, I checked various online stores, including import ones, but could not found any reference to this gem. So, you'll have to do with the phone and fax of T&M in Bremen, Germany: Tel: (49-421)-74956 Fax: (49-421)-78870 To paraphrase Uncle eRIC, this is a Phone (or Fax), don't walk, don't even stop thinking of the international phone charges, CD!!! ccaponi@dino.conicit.ve | Claudio Caponi | I've had my fun... Ministerio del Ambiente | Caracas - Venezuela | Otis Spann ========================================================================= Date: Mon, 20 Nov 1995 01:26:44 -0400 Reply-To: Claudio Caponi MARNR From: Claudio Caponi MARNR Subject: Little Sammy Davis Yesterday I heard on a blues radio show (Nothin' but the blues - KLON, 88.1 Long Beach Public Air) which can be heard in Venezuela through the Galaxy 5 Satellite, a song from the new CD (debut?) of Little Sammy Davis, "I ain't lyin'", a new release from Delmark. It was quite impressive. I think I never saw him mentioned on blues-l. Could you give me some more info on him and the CD? TIA ccaponi@dino.conicit.ve | Claudio Caponi | I've had my fun... Ministerio del Ambiente | Caracas - Venezuela | Otis Spann ========================================================================= Date: Mon, 20 Nov 1995 08:35:07 GMT Reply-To: Tommy Jansson From: Tommy Jansson Organization: Uppsala university Subject: Re: Unplugged Blues Collections Comments: To: bit-listserv-blues-l@uunet.uu.net In article <48j1hm$4lq@elaine12.Stanford.EDU>, des@LELAND.STANFORD.EDU says... > >I just listened to Buddy Guy and Junior Wells "Alone and Acoustic", >a 1981 recording now distributed by Alligator. WOW !! It's amazing >stuff. This CD by all rights should occupy a larger space next to >Claptons Unplugged album on the shelf. > >Can anybody recommend other awsome acoustic blues collections? > >Doug ABOUT ACOUSTIC BLUES You got Yazoo, Document and Columbia recordlabels. The blues was unplugged long before MTV. Go back to the roots and be happy! ========================================================================= Date: Mon, 20 Nov 1995 05:02:35 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - November 20th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ALLMAN, DUANE [HOWARD DUANE ALLMAN] (g) b. 1946-1120, NASHVILLE, TN BEST, CLIFTON "SKEETER" (g) b. 1914-1120, KINSTON, NC BLACKFOOT,J.(JOHN COLBERT)(SOUL CHILDREN) b. 1946-1120, GREENVILLE, MS CHARITY, PERNELL (g/TRIX REC) b. 1920-1120, WAVERLY, VA HOLMES, MILTON (of THE HOLMES BROS) b. 1953-1120, RICHMOND, VA KOENIG, LESTER (founder:CONTEMPORARY REC) d. 1977-1120, LOS ANGELES, CA 58 MARTIN, SALLIE (v/gospel/songw) b. 1895-1120, PITTFIELD, GA PHILLIPS, EARL (d/VEE JAY REC) d. 1990-1120, CHICAGO, IL 70 PLATER, BOBBY (asax/BASIE/BRADSHAW) d. 1982-1120, LAKE TAHOE, NV 68 STOVALL, DON (asax/SAM PRICE) d. 1970-1120, NEW YORK CITY, NY 56 WALSH, JOE (:) [JOSEPH FIDLER WALSH] b. 1947-1120, WICHITA, KS ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 20 Nov 1995 01:30:45 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: Stan Ruffo Productions Subject: Re: Syndicated Blues radio show Comments: To: bit-listserv-blues-l@uunet.uu.net JP, As a matter of fact...that sounds like a good idea. What sort of help do you have in mind? Stan -- Stan Ruffo Productions steamin@valleynet.com 800 N. Ben Maddox Way http://www.valleynet.com/~steamin Suite 2200 209/625-6049 Visalia, CA 93292 ========================================================================= Date: Mon, 20 Nov 1995 01:42:26 -0800 Reply-To: bluesdj@HALCYON.COM From: Roberta Penn Subject: Re: Seattle Blues Playlist In-Reply-To: <199511200505.AAA02804@listserv.brown.edu> SEATTLE BLUES 11/19/95 JOE LOUIS WALKER BLUESIFYIN' VERVE KAREN CARROLL GOIN' DOWN SLOW DELMARK BULLMOOSE JACKSON WHY DON'T YOU HAUL... RHINO RORY BLOCK I LET MY DADDY DO THAT ROUNDER ROLLING STONES LOVE IN VAIN VIRGIN LURIE BELL/BIG TIME SARAH YR WILD AIN'T WILD ENUF DEL JIMMY WITHERSPOON PLAYFUL BABY STONY PLAIN TERRY EVANS NASTY DOLL AUDIOQ. COLIN JAMES STANDIN' ON THE EDGE WEA TAMPA RED SUGAR MAMA BLUES COLUM. BONNIE RAITT KOKOMO MEDLEY WEA TOO SLIM & TAILDRAGGERS BLUE GUITAR BURNSIDE ALBERT COLLINS TOO MANY DIRTY DISHES ALLIG. ROOSEVELT SYKES ALL MY MONEY'S GONE SMITHS. LUTHER ALLISON CHERRY RED WINE ALLIG. JOE TURNER CHERRY RED RHINO ANDERS OSBORNE BLAME IT ON A FEW OKEH MEM SHANNON ODE BENNY HILL/TAXI CAB HANNIBAL JOHN HIATT OLD HABITS A&M TRUDY LYNN JUST A LITTLE BIT ICHIBAN TAJ MAHAL BLUES AIN'T NOTHIN' PRIVATE PETE JOHNSON DEATH RAY BOOGIE MILAN/HOTCLUB JOHNNY GUITAR WATSON GANGSTER OF LOVE DRIVE METERS CISSY STRUT RHINO ========================================================================= Date: Mon, 20 Nov 1995 06:09:41 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: New CD find "Blues Men 2 CD Set" CDC 9077 Label - Lester Recording Catalog (LRC) >From the collection of Jazz producer Sonny Lester a double CD of live recordings all dating from the 1960s. Imagine you could attend a concert where you got to hear T-Bone Walker play Stormy Monday, where you got to hear Victoria Spivey sing T.B. Blues accompanied by Otis Spann, Ransom Knowling, and Willie Smith, where you got to hear Eddie "Cleanhead" Vinson play "I Had A Dream", or Johnny Shines sing "Fat Mama" backed up by Sunnyland Slim, Willie Dixon, and Clifton James, or that whole team backing up John Lee Hooker, or Muddy & Otis teaming up on "Rolling Stone", or Lonnie Johnson singing and playing solo electric guitar "Another Night To Cry" That's what you get, along with barely enough liner notes to figure out what you are listening to. Imagine a boogie woogie jam with Sunnyland, Shines, and WILLIE DIXON TAKING A BASS SOLO. This little set is just too cool and it only cost me $15 P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Mon, 20 Nov 1995 11:14:46 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Old farts vs Young bucks In-Reply-To: On Sat, 18 Nov 1995, Ray Stiles wrote: > Cary Bell was in St. Paul last month for a good show, but there > was only several hundred people. I will be seeing Jimmy Rogers ^^^^ Say what!? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [20/11/95 6:11 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 20 Nov 1995 11:13:13 GMT Reply-To: Scott Barretta From: Scott Barretta Organization: Lund University Subject: Re: Ted Hawkins Help Comments: To: bit-listserv-blues-l@uunet.uu.net Another Ted Hawkins CD was released this year consisting of recordings Kershaw made both in LA and at the BBC studios in London. It is called TED HAWKINS: THE KERSHAW SESSIONS and is on the BBC WORLDWIDE/ STRANGEROOTS LTD label (#006). There are 17 tracks on the CD, which were recorded between 1986-89, all solo acoustic. If you are into Ted Hawkins I would strongly recommend this recording. ========================================================================= Date: Mon, 20 Nov 1995 12:28:06 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: New CD find >"Blues Men 2 CD Set" CDC 9077 Label - Lester Recording Catalog (LRC) > >>From the collection of Jazz producer Sonny Lester a double CD of live >recordings all dating from the 1960s. > >Imagine you could attend a concert where you got to hear T-Bone >Walker play Stormy Monday, where you got to hear Victoria Spivey >sing T.B. Blues accompanied by Otis Spann, Ransom Knowling, and >Willie Smith, where you got to hear Eddie "Cleanhead" Vinson play "I >Had A Dream", or Johnny Shines sing "Fat Mama" backed up by >Sunnyland Slim, Willie Dixon, and Clifton James, or that whole team >backing up John Lee Hooker, or Muddy & Otis teaming up on "Rolling >Stone", or Lonnie Johnson singing and playing solo electric guitar >"Another Night To Cry" > >That's what you get, along with barely enough liner notes to figure >out what you are listening to. > >Imagine a boogie woogie jam with Sunnyland, Shines, and WILLIE DIXON >TAKING A BASS SOLO. > >This little set is just too cool and it only cost me $15 > Yes! This sounds great. I bought a nice Muddy-CD on LRC. Low-key live recordings (from the 60-s I guess) with a lot of guitar in open G. And a question: On the cover is a listing of releases and it includes one with Junior Parker. Does anybody know anything about this one. I Would love to get the live recordings he did with Jimmy Mcgriff on CD. Mr Bo Carlsson ========================================================================= Date: Mon, 20 Nov 1995 12:36:08 +0100 Reply-To: BIBGA@HHS.SE From: BIBGA@HHS.SE Subject: Re: Jimmy Dawkins disco --Boundary (ID LiOonqUCawNAjip6LWhC1w) Content-type: TEXT/PLAIN; CHARSET=US-ASCII I thought someone would spot my mistake... but as nobody did, I'll have to rectify it myself! When compiling the Dawkins disco last week, it never occured to me that he could have done session work before his debut LP... which, of course, was exactly what he did! The items listed below were all mentioned in John Fishel's notes to the first LP. Fishel also says Dawkins recorded with Koko Taylor, but he isn't to be found in the Taylor section of Blues records 1943-1970, vol. 2. There are a few sessions with unknown or uncertain personnel, though - maybe he fits in there somewhere? Well, here's Dawkins as sideman 1967-1969. Greetings, Gorgen Antonsson, Stockholm Luther Allison: Love me mama (Delmark DS-625 [LP]). Chicago, 25 June 1969 [on four tracks] Carey Bell: Carey Bell's blues harp (Delmark DS-622 [LP] = DE-622 [CD] with five tracks added). Chicago 1969 [on four tracks on LP, unknown how many more on CD] George "Wild Child" Butler. Jewel sessions, Chicago, 1967, and 15 Nov 1968, which produced six tracks; first collected on Polydor (UK) LP 2941 066, and later on Open up baby (Charly CRB 1104 [LP]) George "Wild Child" Butler. (Mercury LP 61293 = Black Magic CD 9015 with one track added). Chicago, 11 Nov 1969 Sleepy John Estes: Electric sleep (Delmark DS-619 [LP] = DD-619 [CD] with two tracks added). Chicago, Nov 1969 Johnny Young. (Arhoolie LP 1037). Chicago, 27 Nov 1967. All but two of the LP tracks are on Chicago blues (Arhoolie CD-325). --Boundary (ID LiOonqUCawNAjip6LWhC1w)-- ========================================================================= Date: Mon, 20 Nov 1995 12:12:26 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Back Alley John It seems Back Alley John has a new CD out ... Anyone in western Canada want to do a CD swap? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [20/11/95 7:11 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 20 Nov 1995 07:44:30 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Living Blues Review: Tab Benoit In-Reply-To: Message of Sat, 18 Nov 1995 09:43:41 +0000 from On Sat, 18 Nov 1995 09:43:41 +0000 R.J. Bauman said: >=============Bank. Living Blues says Tab's "guitar playing is as derivative >and >unfocused as his vocals are forgettable". >Wow. We are big Tab fans and think he is hot shit. Does anybody agree >with this review??? certainly not us.============= > >Don't do this to yourself. LB is a great magazine. I don't think Tab is anywhere close to hot shit, I like him and he's nice, but hot shit he ain't. Keep in mind a review is the reviewer's opinion, you have yours and they have theirs......... LW " I Like his voice and his recent CD' >comments are not that damning, really, just honest. > > I personally still think he is a very good guitar player (hope he does more >acoustic > though) and I really enjoy his voice. For a lot of us, Tab Benoit hits the >spot >just right. > >I would strongly recommend that if you liked either of his other CD's >that you get this one also. You will not be dissappointed. If you >didn't really like his originals on Nice And Warm and What I live For >(several of which I personally think sre outstanding) then this one >won't change your mind. > >RJ Bauman (big Tab fan and think he is hot shit, too :-) ) ========================================================================= Date: Mon, 20 Nov 1995 07:51:57 -0600 Reply-To: James Foster From: James Foster Subject: Re: Ted Hawkins Help Comments: To: Ray Stiles At 8:08 PM 11/18/95, Ray Stiles wrote: >I am looking for some help in locating the Ted Hawkins >record/cd/tape called "On the Boardwalk, the Venice Beach tapes" >1986 (American Activities). Does anyone know where I can locate >a copy? And if it is available on CD? > There is a New re-release of some solo material that Ted recorded in the mid-80s now out on the Evidence label. This material is all solo, much like is concerts, and - I believe - the material that amde up the Venice Beach album that has been a collector's album for many years. This Evidence re-issue is widely available and will expose the power of Ted's playing and singing to more folks. Enjoy... James Foster ========================================================================= Date: Mon, 20 Nov 1995 07:53:44 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Pete Welding Tribute JFTR: My interview with Mr Welding that appeared with Erics's tribute is copyrighted....Please respect that.... THANKS LW ========================================================================= Date: Mon, 20 Nov 1995 09:01:25 -0500 Reply-To: David Goldstein From: David Goldstein Subject: Kung Fu Blues So there was this episode of Kung Fu last week where the old guy is a master blues piano player as well as an expert axe man. Some old blues guy's daughter is being exploited by some manipulative record industry types, one of which uses violence to keep his musicians. The daughter neglects her daddy for the industry but eventually Kung Fu man helps her see the error of her ways. She sings Blues Before Sunrise just like E.C. did. Pretty amazing stuff. ========================================================================= Date: Mon, 20 Nov 1995 15:17:38 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Good/Sad Feelings Hi You'll, Just came back from something which was a very enjoyable weekend in Utrecht for the Blues Estafette to discover the news of Pete Welding's death. Too sad... Was it "only" due to the recent Blues-L tribute, I don't know, nevertheless, Pete Welding was one of the major discussion topic in my car while Joseph Brems (good friend/also-brother-in-law/collector/pre-war blues specialist/writer...) and I were driving to Utrecht for the BluesEstafette. We discussed his numerous written contributions we knew of (and Joseph knows a lot of them...), discussed the records he produced ... After a very short night (morning) of sleep, I spend part of my afternoon listening to the great anthology "Ramblin'on My Mind" he produced for Milestone while simultaneously re-reading the Testament history he wrote for Blues World in the early 70's... now I see these mails... Too sad... Jean-Pierre P.S. It was nevertheless a great day in Utrecht last saturday, ... clearly most of the persons there in backstage, press/writers/scholars, were not aware of Pete Welding's death, including David Evans with which we spook a while about several subjects including the Testament reissues! I'll post something about Utrecht later this week. ========================================================================= Date: Mon, 20 Nov 1995 09:27:09 EST Reply-To: "CATHI N." From: "CATHI N." Subject: Back Hello good friends...I have missed you! I'm back from my "tour" of Ireland, England, and Scotland. Didn't get to do the actual tour (anyone planning on doing serious business with RoadRunner Tours should probably talk to me), but had a great time...got over to England and Scotland....got to play a lot, make friends, etc. As soon as we got back to America, we ran down to Texas to mix my CD -- which I am happy to say (dag gone it -- I'm tickled pink) is mixed and ready to go. Contract negotiations with a label are tricky, however, and so I had to resign myself to missing the Xmas deadline for release. Looks very much, now, as if I'll be waiting 'til March to let this one out (NO ONE has money in January and February). Sigh. But hey...it's done and I'm really looking forward to having a life! I've been back awhile, but my work was so far behind I needed a shovel just to get in the door. Sternly restricted myself from signing up on the list(s) again until I had that at least shuffled. DONE! So here I am. Hope I haven't missed anything really good...except more news about LW's sweet wife! P.S. Met Don O. in Texas, who took us out -- treated us like royalty and tortured me on radio. Had a blast...he's tops. Cathi N. ========================================================================= Date: Mon, 20 Nov 1995 08:39:10 -0600 Reply-To: James Foster From: James Foster Subject: OTIS CLAY...SOUL MAN Comments: cc: WSHUTE@ACCDVM.ACCD.EDU OTIS CLAY SOUL MAN: LIVE IN JAPAN Bullseye Blues Since the mid-60s through the present day, Otis Clay has been - and remains - one of the greatest soul singers in American music. From his work with Rick Hall in Muscle Shoals to his classic sides for Willie Mitchell at the legendary Hi studio in Memphis to his latest 90's work, Clay has consistantly turned out the best in 'deep soul'. In the early 1980's Clay hooked up again with the Hi Rhythm section and some excellent Chicago horn players and delivered a live show in Tokyo, Japan. Lucky for us someone had the foresight to record this show. Originally issued on Jim O'Neal's fine Rooster Blues label this show was re-released on CD by Bullseye. This is an absolutley stunning album of music performed by a group of musicians who have a certain innate ability to hook into each others' groove. Of special interest on this album is Clay and the band's "vamping" on nearly every song (this might be a bit much for some folks, but I love this stuff): the breaking down of the song into a few key chords, which are played over and over, along with certain vocal segments, then built back up into the full complement of players and notes. Of REALLY special note is the version of Jackie Moore's classic "Precious, Precious", which extends out over 13 MINUTES, with some absolutely bizaare and stunning and wonderful organ playing by the incomparable Charles Hodges...this is a masterpeice! So, that's the basics: this is a great soul album that exposes elements of the idiom not present on studio recordings. DO yourself a favor and listen to this album! Happy holidays! James Foster ========================================================================= Date: Mon, 20 Nov 1995 09:36:21 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Unplugged Blues Collections Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *> I just listened to Buddy Guy and Junior Wells "Alone and Acoustic", *> a 1981 recording now distributed by Alligator. WOW !! It's amazing *> stuff. This CD by all rights should occupy a larger space next to *> Claptons Unplugged album on the shelf. *> *> Can anybody recommend other awsome acoustic blues collections? Anything by John Cephas and Phil Wiggins, John Jackson or Mance Libscomb. ========================================================================= Date: Mon, 20 Nov 1995 08:50:51 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: It Hurts Me Too ?? Tampa Red wrote it as "When Things Go Wrong With You". Elmore James recorded it (twice, I think) as "It Hurts Me Too" and popularized it. Mel London, who owned the Chief record label for which Elmore first recorded it, appropriated writer's credit for himself. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Mon, 20 Nov 1995 09:37:33 CST Reply-To: William Shute From: William Shute Subject: SA Copeland Benefit a smash! From: Bill Shute Thanks to all who helped with, publicized, and/or attended last night's phenomenal "Heart of the Blues" benefit for Johnny Clyde Copeland! When I left at 2 am, I had already seen 8 hours of music, and as I left tenorsax-man and vclist Albert Garcia of Billy's Super Unleaded Blues Band took the stage and said that the party was far from over, so who knows how long it went on. I got up at 5 rather than my usual 4 this morning, but it was a very special night, and probably the best San Antonio blues event of the year...on a par with the Anniversary and Birthday shows up at Antone's. Billy's Super Unleaded band are one of the best "house" bands I've ever seen, with the aforementioned Mr. Garcia playing in the best Tex-Mex R&B tradition, and the great Eddie Polenco (of Eddie and the All-Nighters) wailing yet subtle on his gtr. Throughout the night, various permutations of this band (and let's don't forget Ray Szymizk (sp?) on keyboards and accordion, which leant a combination zydeco/conjunto flavor to the proceedings)and other local musicians supported the out-of-town acts and they fit like a glove. What a testimony to the quality of local San Antonio talent. Where can I begin? Keri Leigh, though I'm not the biggest fan of her writings, is certainly a dynamite performer who, as they used to say in Tin Pan Alley, knows how to "sell a song," and her gtr-man Mark Lyons was transcendent on the National Steel gtr. 15 year old Jake Andrews, from Austin, was quite a pleasant surprise. NOT a Stevie Ray or Chris Duarte wannabe, he has a solid, exciting, no-bulls**t style, and at the end of the night was asked to join Texas Johnny Brown and Joe Guitar Hughes onstage for a three-gtr showdown, which was for me as close to an orgasm as music gets. Also in the youngster dept. was a young lady also in her teens whom I have seen with her mom at many shows around town...but I didn't know she played. Catherine Denise is another name to watch. She was depped to play rhythm gtr for Texas Johnny Brown and more than held her own in such a demanding role--in fact, Johnny obviously became a huge fan of Cathy Denise as I am. I took a photo of Ms. Denise playing alongside TJB, trading licks with him, and I'll give it to her when I see her again. Texas Johnny Brown (by the way, he says that Teddy Reynolds is doing fine and should be playing in the band again in Dec.!!!) proved once again what a master of timing and tension he is on the gtr, and his warm and witty persona as always had the audience on their feet. As for the "climax" of the evening, Joe Guitar Hughes I have NEVER seen in such fine form. Minus the lousy 2nd gtrist he had for his last SA show, he had Eddie Polenco playing rhythm, and Joe was simply ON FIRE. Beginning with his classic arrangement of Big Boss Man and leading into a set of his most popular live songs, including a number of originals, Mr. Hughes was animated, possessed, WIRED... choose your own label. For a guy who from a distance comes off as a tough, sullen, "badass" type as you observe him, he really opens up like a flower exposed to sunlight when he takes the stage. He too is a master of timing, works a number of little tricks into each set, and had the thin 1 am Sunday Night crowd on their feet almost the whole time. Actually, I can't remember a show at this venue that had the audience so galvanized.That Joe Hughes is without a US label presentlyis a crime--not only is he among the best live performers in Texas Blues...or anyone's blues...but his last two Euro-only albums have been among the best of their respective years of release. What a shame Houston is ignored by most everyone, and too often taken for granted by folks who live there...it has to be one of America's four or five greatest blues towns. Also a shame that it was given short shrift in that "Texas Blues" piece in Living Blues a while back. I can't list all the fine performers who played and played well. It was an evening to enjoy, not to analyze. (Only Jimmy Spacek and DJ Stone truly sucked-- let's send Spacek back to the hills with a Hefty bag full of pot and hope he doesn't find his way back home... as for DJ Stone, the only memorable thing about him was that he bought $100 in raffle tickets which meant that those of us who bought a reasonable number didn't win anything...his acoustic set belonged on an urban street with a tip-hat and an audience of winos). I hope a lot of money was raised for Mr. Copeland. Once again, the blues community shows that it indeed has a heart. Anyone interested in getting ACTION pics of Joe "Guitar" Hughes, please contact me via private-e-mail. I haven't yet had my film developed, but I know I must have gotten some fine shots of him and I'll make some extra copies as a holiday present for blues-l-ers who are Joe Hughes fans. I can only afford so many extra prints and so much postage, so get in touch ASAP if you want one. If I have too many requests, I'll use some arbitrary measure to decide who gets them. I'm going back into blues-l hibernation again, so let me wish you all HAPPY HOLIDAYS in advance. I still read and respond to private e-mail, so please get in touch anytime. Finally, my children and I had the privilege of meeting and spending an evening with blues-l's Cathi Norton and the Cooler Kings' Stuart Norton a few weeks ago (Cathi was in Austin to record an album), and they are some of the kindest and most interesting folks I've met. Cathi radiates the same charm in person she does in her posts (if not MORE in person), and Stuart is not only a SUPER blues-person, but his Cooler Kings CD is red-hot and should be in every collection. Bill Shute San Antonio, TX ps, Denise, that %$#*$@% AOL is driving me up the wall!!! I came to work today to find THREE messages to you were bounced back. Do you still check your alternate e-mail addresses? May I use one? pps, to my friend Mats in Sweden. Please get back in touch...I have something for you I want to send. ppps, did anyone catch the Dynamic Duo (Blues Boy Hubbard/Matthew Robinson) with The Jets (from Austin, TX) in Holland or anywhere else on their Euro tour? pppps, what's the word on this new Omar Shariff album that's so contro- versial? ppppps, kudos to Alligator for signing Long John Hunter. It almost takes the taste of Corky Siegel's Chamber Blues and of Dave Hole out of my mouth. Almost... REALLY lookin' forward to Billy Boy Arnold's new one on Alligator due in early '96. pppppps, great to see Jody Williams given a nice writeup in LB. He has always been a fave of mine and I treasure his few solo recordings reished on Red Lightnin and Relic. You can't blame him for being so pissed off at the music business that he doesn't want to get back in it. ppppppps, the recent reviews of Mamie Smith and Ethel Waters reissues in LB and BR were quite a disappointment. These ladies are TOWERING figures in 20th Century Af-Am music--yet they get brief, uncomprehending write-offs which basically say "this isn't blues" as if "Blues" is some kind of "seal of approval" we give female artists who resemble Bessie Smith or Ma Rainey. How tragic that these dilettantes cannot see music as a spectrum, where various elements are combined in different ways and in different proportions in a conscious manner by artists who know what they are doing. It's almost like the Stalinist days of US COmmunism where artworks had to tow a rigid party line to be labelled "Marxist" and if they had the slightest deviation were written off as "bourgeois." Read Richard Wright's AMERICAN HUNGER sometime to see what that's like. Meet the new boss, same as the old boss... "five minutes on the hour, every hour on the hour... five minutes set aside for missing you... Five minutes of the latest blues" Warren Smith ========================================================================= Date: Mon, 20 Nov 1995 10:01:16 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Houston Blues history Recently there was a Living Blues special on Texas Blues. If I recall correctly, the focus on Houston was on the Zydeco scene there and the blues scene got little coverage. With Duke/Peacock, Bill Quinn's Gold Star label, and all the great artists based out of Houston, I was wondering if there had been a "history" of Houston Blues written. Seems such a shame if there isn't. Hey, maybe that's the career change out of scientific research that I might need! ;-) Thoughts, suggestions? -Jeff (sold a bill of goods by NSF and NIH...) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / As I was riding across the Mississippi \ / I stopped there and I cried. \( No use for a man to keep a mighty river All dammed up inside. -Joe Ely ========================================================================= Date: Mon, 20 Nov 1995 10:41:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: LUTHER ALLISON IS GOD? I was just in the States for a week and got Blue Streak which I had been greatly looking forward to picking up. Much of it is a lot of fun indeed, as I suppose you know, how about that opening track?! I would add that I don't really care for the "soul" or "R&B" or "blues-influenced" portions (whatever you care to call them), though. I mean, I guess they're fine for what they are, I just didn't really want to hear them. There ain't much of it, of course, and mostly the CD is wonderful IMHO. I was tempted to pick up another Allison item (I've only got Blue Streak), "Soul Fixin' Man" (I think that's the title), but then I thought maybe I'd better hold back. I was thinking I had read on the List that Soul Fixin' Man in particular was more of the "soul" or whatever. Is that right? Is there such a thing as a good L. Allison CD that is nuthin' but the blues? Oh, and listen: does everybody think this guy is terrific or are there some dissenters or maybe nitpicks, etc. Just wondering what is the consensus. Thanks for all responses and everyone have a great Monday! Oh, one more thing: Could someone remind me what address to send a no-mail request to? When I came back I had 700 messages. The command is um, SET BLUES-L NOMAIL I think, isn't it? Cheers from everyone's very favorite place, Joe in Moscow J.E._Downey@bakermck.com ========================================================================= Date: Mon, 20 Nov 1995 11:08:12 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Biker Blues fan, + and - 's. I have to concur ALMOST entirely with Shannon's and other folks favorable depiction of biker blues fans. There are some "minuses" to real, down and dirty bikers though, and this is just my personal experience, so please don't flame away at me. For the last year or so, my band's gig calendar had a heavy, steady diet of a club in northern Connecticut that is a biker bar. Not just any bikers, these are Hell's Angels. All of 'em, even the owner/manager were dyed-in-the leather, "colors" flying Angels. They loved us there. We were the de-facto house band for months and months. We had fun there performing too, but there was always the uneasy anticipation that a fight could break out at any time, because these folks were "on the edge" all the time. Unbelievably drunk and/or stoned, and often ARMED! This is not the coolest of combinations. It always surprised us that we played there for such a long time and actually only saw three knock down drag-em-out fights there, and the first two were between WOMEN! The final straw that put us out of there, for now anyway, was a fight that started as we were packing up at the end of the night, between two guys, who refused to call it quits when dragged apart several times, and then escalated to a brawl between maybe 8 to 10 guys, and ended up on stage where we were breaking down our gear. One guy had a big huge table over his head, ready to be tossed at a guy wielding a pool cue like a friggin' ninja. This was way too f-ing scary for us. No weapons (conventional) were drawn, but our lives and thousands of dollars of equipment were seriously at risk. We scrambled with guitars and amps while a melee of bodies crashed in on our monitors and mike stands. Not pretty. Anyway, this and the fact that the owner who is a coke dealer/user started putting OUR PAY up his nose and then started trying to stiff us out of our earnings with sad excuses (though the bar was packed) like we didn't draw enuff of a crowd......was enough to say, hey, you don't wanna take care of business after we provide you with 4 hours of good entertainment, then we can't do business with you. So long biker bar. Too bad, mostly they were good people diggin' blues. Just my experience... Riffin Rick (((( oo-) /- ps. I know "Angels" don't represent bikers as a whole, this is just our experience with some of them. F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Mon, 20 Nov 1995 11:11:18 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: It Hurts Me Too ?? Comments: To: williams@heme.medicine.wisc.edu In a message dated 95-11-20 10:05:53 EST, WILLIAMS@heme.medicine.wisc.edu (Eliot Williams) writes: >Tampa Red wrote it as "When Things Go Wrong With You". Elmore James >recorded it (twice, I think) as "It Hurts Me Too" and popularized it. >Mel London, who owned the Chief record label for which Elmore first >recorded it, appropriated writer's credit for himself. EW >Eliot Williams That's close. He recorded it twice; the first time for Chief, with a song writing credit of James, Marshall (not London). Unless Marshall is a psuedonym for London, he didn't share credit. The first was recorded in Chicago in 1957 and released on Chief. The 2nd time, he recorded it for Enjoy in 1963 in New York, and the song writing credit was James, Robinson, the later being Bobby Robinson, who signed James. Both of these versions are available on the Charly "Elmore James: King of the Slide Guitar" set, which, with the Island Elmore James set contain all Elmore James' recordings. Anyone trying to sort out Elmore James discography (with multiple recordings of same or similar songs over years for multiple labels, and with many collections released utterly devoid of discographical information) should view these two as a godsend-- here they all are, confirmable, in two places, with recording information. I tried to sort this all out in the vinyl days and am not sure I ever did, but now, thanks to these two boxes, anyone can. The Charly box is obviously another Charly bootleg; it contains all the Chess sides. Given MCA/Chess' diligent pursuit of Charly (and the fact that CD distributors seem to have quit carrying these boxes) I am not sure whether it is available any more. Tom Freeland ========================================================================= Date: Mon, 20 Nov 1995 08:06:03 -0800 Reply-To: TGB From: TGB Subject: Re: Son Seals Comments: To: "A.C. Brockton" In-Reply-To: <48on1o$oui@nnrp3.news.primenet.com> On Mon, 20 Nov 1995, A.C. Brockton wrote: > Just bought the CD Midnight Son. Wow! > > Any recommendations on other CD's by Seals... And is he still playing? > > ================================================================= > Andrew Brockton http://www.primenet.com/~brock > "I got to take the bitter with the sweet." > ---- James Oden, as sung by Muddy Waters > ================================================================= > His twop best are "Chicago Fire" and "Bad Axe" - MHO, of course ========================================================================= Date: Mon, 20 Nov 1995 10:40:43 -0600 Reply-To: David L Eidler From: David L Eidler Subject: Blues clubs in Corpus Christi, Texas In-Reply-To: <177E0BEF@MHS> Yo Blues Lovers from way down yonder in New Orleans! I'll be heading to Corpus Christi tomorrow night for the holiday, and I'll be there through the weekend. Does anyone know of the Blues venues around there? I'd appreciate any information available. Thanks! Red Beans and Ricely Yours, (to quote Louie Armstrong) David Eidler dle01@www.gnofn.org ========================================================================= Date: Mon, 20 Nov 1995 10:42:42 -0600 Reply-To: James Foster From: James Foster Subject: Re: Houston Blues history Comments: To: Jeff Seale Jeff, For some good info on the history of the Houston blues scene take a look at: (1) the Houston section of Alan Govenar's book "Meeting The Blues"; (2) "Duke/Peacock Records : An illustrated history with discography" by Galen Gart and Roy C. Ames; (3) Govenar's picture book "Early Years of Rhythm & Blues: Focus on Houston". This volumes will get anyone started on better understanding what Bill Shute rightfully described as an underappreciated city of great music and culture. James Foster "who is now regretful that he didn't haul himself down to San Antonio to catch the Copeland benefit" ========================================================================= Date: Mon, 20 Nov 1995 18:51:39 +0200 Reply-To: J A Maree From: J A Maree Subject: Good morning blues,from South Africa Hello all, Just signed on to the list,and enjoy your discussions very much.We dont have too much of a live blues scene out here,unfortunately,+ envy you all your clubs,venues,etc. Mostly we import (that is,a friend + I do) heavily on CD from Roots + Rhythm, as well as from Document in Austria,and have a fairly extensive collection after a few years.Preference is for pre-1960 acoustic blues + mostly Delta material/singers,though some of the 50's Chicago stuff (Wolf,Muddy,Elmore,etc) is tremendous. We plan to visit the Delta soon,are there still some good juke joints out there? Jean Maree + Garth Pickard at: MAREEJA@ALPHA.UNISA.AC.ZA ========================================================================= Date: Mon, 20 Nov 1995 15:50:27 EST Reply-To: Jim Miller From: Jim Miller Subject: Tab Benoit Comments: To: BLUES-L I bought Tab Benoit's most recent CD. I couldn't even get through one listening. More power to those of you who see "hot shit" written all over his music. My opinion is just take out the word hot ..... Oh well, you get the picture. If anyone would like to make a CD trade for some hot shit I would be more than glad to let go of this CD. Thank god we don't all agree what is good blues. It makes for a little diversity. Plus we may not have to end up with recordings that we can't get rid of. ========================================================================= Date: Mon, 20 Nov 1995 17:55:30 GMT Reply-To: "Robert J. Dewar" From: "Robert J. Dewar" Organization: The National Capital FreeNet, Ottawa, Ontario, Canada Subject: Piano Red? Can anyone out there give me any info on this artist? I borrowed a CD from my local library with his name on it and just about NO other info on him.Any help with discography, bio, career etc. would be appreciated. Yours in the blues Robert J Dewar ========================================================================= Date: Mon, 20 Nov 1995 10:27:07 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Updated info re Pete Welding tribute There have been some more developments in the matter of the memorial service for Pete Welding. It will take place at the Capiiol Records bullding in Hollywood, on EITHER Nov. 27 or 28 or Dec. 2. Waiting for confirmation. Larry Cohn (SONY) and Bruce Bromberg (HighTone) are assisting in the coordination of the service along with Pete's friend and ex-co-worker at Capitol, Ken Kahn. They are also organizing a full page ad to run in a future issue of Billboard Magazine in memory of Pete, and I am asking Living Blues to run a similar ad for free, soon as I can get camera ready copy from Capitol's NYC art department. Anyone wishing to send personal tributes or reminiscences of Pete to be read at the service can email them to me (thanks to those who have already done so) and I will see that they get there. Please try to have them to me this week sometime. Re FLOWERS: Darlene Welding says that Capitol is going to give a huge wreath of flowers for the memorial, and the urn with Pete's ashes will be present (sitting right on top of a speaker, I hope!). She wonders whether anyone wishing to make a memorial contribution in Pete's name might, instead of sending additional flowers, be willing to send a donation in Pete's memory to assist their son Robert Welding with his college education. Those of you who were going to contribute a small sum towards flowers might therefore think about this as a more practical alternative. It does not need to be a large amount; anything you can send will be helpful. If you want to do this: make the check payable to ROBERT WELDING, mark the memo line IN MEMORY OF PETE WELDING, and snail the check to me at: Mrs. Mary Katherine Aldim Post Office Box 2407 Hollywood CA 90078 USA If you are sending money from outside the USA can you please make it an IMO? You can include any personal note to Darlene and Robert Welding with your check, but do *not* send your tributes for the service by mail, send them to me by email, as all the cards and envelopes will be taken home by Darlele from the service and only opened afterward. Any questions, email me privately. Mary Katherine ========================================================================= Date: Mon, 20 Nov 1995 12:25:41 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Tab Benoit In-Reply-To: Message of Mon, 20 Nov 1995 15:50:27 EST from On Mon, 20 Nov 1995 15:50:27 EST Jim Miller said: > I bought Tab Benoit's most recent CD. I couldn't even get through one >listening. More power to those of you who see "hot shit" written all over his >music. My opinion is just take out the word hot ..... Oh well, you get the >picture. If anyone would like to make a CD trade for some hot shit I would be I like this CD and his Nice and Warm CD. I do not like his live show, because of too much guitar. There are cuts on the recent one that are better left alone (ie: Albert King tunes)...I think his singing is good and the Willie Nelson duet is terrible. The worst thing I've heard in along time was an electric version of "See That My Grave Is Kept Clean"....I will not mention the artist and the rest of the CD may be a matserpiece, but that one song was all I could take and not all of it....It was terrible TO ME, However the artist can intepret the tune as he sees fit, it's none of my business... Tab is a good guy and whether you like his music or not, as a person he's as nice (and humble) as they come. We need more like him. LW ========================================================================= Date: Mon, 20 Nov 1995 14:12:55 -0500 Reply-To: BluesRevue From: BluesRevue Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Son Seals Comments: To: bit-listserv-blues-l@uunet.uu.net Thought I'd put in my two cents worth and a bit of trivia . . . Son Seals is playing hotter than ever . . . and the guy on the trumpet is Dan Rabinovitz, the Assistant District Attorney for Cook County . . . great chops and a super guy . . .! Bob Vorel ========================================================================= Date: Mon, 20 Nov 1995 19:10:48 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: BLUES & RHYTHM XMAS ISSUE OUT NEXT WEEK Comments: To: bit-listserv-blues-l@nac.no OK, for those who cant wait, the Christmas Issue of B&R (105) will be out next week in time for those readers outside of the UK to have their mitts on it before the holiday period and to avoid the usual Xmas postal jam-up. So whats in it? Well, an interview with Little Sam Davis for starters. Conducted by Doug Price and Paul Secor, this is the first major interview Sammy has ever given and comes complete with photos and label shots of one of his rare Rockin 78s and the Trix 45. Secondly, there is a superb feature on the pioneering Bronze Label by Ed Pickering and Jim Dawson including rare label shots and other items. The feature is based on an interview with Leroy Hurte owner of the label and tells the story of how he came to issue the ORIGINAL Cecil Gant I Wonder and Joe Liggins The Honeydripper. Thirdly, Alan Balfour previews Guido Van Rijns forthcoming book Roosevelts Blues, which will be available in late 96 or early 97. The book traces the history of Blues & Gospel recordings about FDR and other US Presidents. Fourthly, Chris Smith pays tribute to Brownie McGhee at 80 with an overview of currently available CDs and whatsmore Chris reckons he may have found Brownies first ever recording, cut before the normally accepted recording debut. PLUS: Chris Millar at the Fresno Blues Festival; Obits on Dr. Hepcat and Big Dee Irwin; Letters, Gospel Records Updates; Blues Records Updates and Giant review section. Now aint that better than yet again reading about Buddy Guy or a second rate band pretending to be a blues outfit? Yeah, damn right it is! ========================================================================= Date: Mon, 20 Nov 1995 19:38:47 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: no blues contetnt ...just BLUES-L I think the following might help a few of you: There are various commands you can sent to the listserver to get information back or, for example set yourself to NOMAIL. All commands must be sent to "listserv@brownvm.brown.edu" NOT, REPEAT,NOT to BLUES-L@BROWNVM.BROWN.EDU! You can get a full set of all possible commands by sending HELP You can check your status (eg after trying to set NOMAIL) by: QUERY BLUES-L You can do a string search on everyone's address on the list: (eg. if you forget someone's address) SCAN BLUES-L string ****Hint**** - Remove your e-mail signature, the server will try to read it as a command. You don't need to capitalize either. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [20/11/95 14:25 PM] "They call it stormy monday..." ========================================================================= Date: Mon, 20 Nov 1995 15:06:26 -0500 Reply-To: RAHalonen@AOL.COM From: Reeann Halonen Subject: Re: Seattle Blues Playlist Comments: To: bluesdj@halcyon.com I sure would like to hear some Fat James and see some more support for many local Blues artists. ========================================================================= Date: Mon, 20 Nov 1995 17:27:00 EST Reply-To: edward c liu From: edward c liu Subject: S&T: J.B. Hutto's _Hawk Squat_ Howdy all, Continuing NYCD Blues' tribute to Delmark records, our review for J.B. Hutto's _Hawk Squat_ album. -- Ed Edward C. Liu | "If nobody thinks for they self, edwick@cc.bellcore.com | Who thinks for everybody else? | -- Dr. John, "Lissen" The opinions in this message are mine and not Bellcore's. Really! *------------------------------cut heer------------------------------* J.B. HUTTO & HIS HAWKS / HAWK SQUAT (DELMARK DD-617) DELMARK RECORDS 4121 NORTH ROCKWELL CHICAGO, IL 60616 There are some guitar players who manage to bring a light, airy, truly ethereal quality to their playing. The guitar transforms in their hands from a mere implement made of steel and wood to an overwhelming fount of emotion. Their fingers are like five tiny angels, dancing lightly on the strings and bringing forth images of heaven. The tremendous depth and breadth of expression can simply bring tears to your eyes. J.B. Hutto is not one of these guitar players. J.B. Hutto is a guitar player whose explosive slide guitar slams into you like a truck. He's a performer that you play on your stereo really, really loud. This album should come with a label that says, "FLAMMABLE." It is a disc you play for the sheer, raw, primal power that will erupt from your speakers. If you're not careful, it may set your stereo on fire. Speak My Mind / If You Change Your Mind / Too Much Pride / What Can You Get Outside That You Can't Get At Home / The Same Mistake Twice / 20% Alcohol / Hip-Shakin' / The Feeling Is Gone / Notoriety Woman / Too Late / Send Her Home To Me / Hawk Squat NYCD-Takes Speak My Mind: J.B. kicks off this CD with a straight-ahead slide rocker based around the Elmore James "Dust My Broom" lick. The band has enough energy to power New York for a week, especially the rock solid rhythm section of Junior Pettis and Frank Kirkland on bass and drums, respectively. If You Change Your Mind: A tough piano lead-in by guest Sunnyland Slim lets you know what you're in for on this slower track. Over a bed of terrific piano work by Sunnyland, J.B. belts out a masterful vocal performance that lets you know he means business. Of course, there's plenty of vintage J.B. slide work to be found here. Too Much Pride: J.B. continues with the slower groove on this sizzler that features the added bonus of Maurice McIntyre's saxophone. The band is just a shade more restrained on this track, but they've still got kick to spare. Dave Myers provides some great bass playing, and J.B. and Sunnyland play off each other flawlessly. What Can You Get Outside That You Can't Get At Home: This up-tempo shuffle is sharp enough to shave on. Led on by J.B.'s powerful vocals and slashing slide work, the band takes off the kid gloves and hits hard. There's some especially nice, driving drumming work by Frank Kirkland. Turn this one way up!! The Same Mistake Twice: A hard-edged lead in by J.B. and Sunnyland lead you into another slow mega-groove. There's even more primal power to J.B.'s vocals on this track, and he lets Sunnyland and Maurice take the spotlight with the fill-ins between the words. You also realize how well J.B.'s slide work complements his vocals. 20% Alcohol: A swinging shuffle/boogie which, at times, evokes images of John Lee Hooker. J.B. eases off on some of his vocal intensity, but his singing still has plenty of punch. He keeps his guitar work mostly to the background on this track, letting the rest of the band show off (especially that thumping bass drum). Hip-Shakin': Some very Hawaiian-sounding slide guitar riffs open this track. If you're not hip-shakin' to this track, you don't have a pulse. Again, the rhythm section really excels on this track, driving the band hard. J.B. shows some amazing restraint on the slide work, reserving his enthusiasm for his vocals. The Feeling Is Gone: Perhaps the most inappropriately named track on this disc -- the feeling certainly ain't gone here. This slow, smokey groove highlights how well J.B.'s wailing vocals match his slide style. Sunnyland Slim gets some wonderful tone out of the organ. This is the kind of track that shows you what must have resulted when Delta players first started plugging in their instruments. Notoriety Woman: This faster shuffle will make the hairs on the back of your neck stand up, only to get cut down by J.B.'s razor-sharp, Spartan slide licks. Again, Sunnyland provides some great piano fill-ins and trades off wonderfully with J.B. during the solo. Too Late: Subtlety goes out the window on this track. J.B. pulls no punches as he shouts and wails his way through this smoker. Again, his poignant vocals complement the down-and-dirty slide work. Lee Jackson, given the daunting task of playing 2nd guitar to J.B., holds his own exceptionally well. Send Her Home To Me: Sunnyland Slim opens it up with a tremendously soulful organ intro, which leads into J.B.'s plaintive cries to the Lord for mercy. This is the voice of a man suffering. The band members cue off each other perfectly; J.B., Sunnyland, and Maurice McIntyre each manage to show off in solo riffs without stepping on each others' parts. Hawk Squat: Damn the torpedoes, full speed ahead! Just when you thought you knew how much energy this band put out, they show you what high-energy is really about. Every member of the band gets a chance to shine on this instrumental, even though J.B.'s solo is limited to the intro and you can't understand a word of his color commentary. If the first track could power New York for a week, this one could keep it going for months. Reviewed by Edward C. Liu Copyright 1995 NY CD Blues ========================================================================= Date: Mon, 20 Nov 1995 22:34:23 -0000 Reply-To: kenpeace@acer.u-net.com From: Ken Peace Organization: Acer Laboratories and Science / Down at Antone's Subject: Re: New Delta-TUNE (nonsense) Comments: To: bit-listserv-blues-l@uunet.uu.net >New from Blueco, the company that brought you the Metal-Matic, brings you >the revolutionary DELTA-TUNE.... Thenks for cheering up my rather dull day. May I handle the UK franchise? Ken ========================================================================= Date: Tue, 21 Nov 1995 10:08:52 +1100 Reply-To: Daniel Bruce From: Daniel Bruce Subject: Re: S&T: J.B. Hutto's _Hawk Squat_ Comments: To: edwick@CC.BELLCORE.COM In-Reply-To: <199511202234.AA09116@bulkrate.cc.bellcore.com> from "edward c liu" at Nov 20, 95 05:27:00 pm > > Howdy all, > > Continuing NYCD Blues' tribute to Delmark records, our review for > J.B. Hutto's _Hawk Squat_ album. > > -- Ed > Edward C. Liu | "If nobody thinks for they self, > edwick@cc.bellcore.com | Who thinks for everybody else? > | -- Dr. John, "Lissen" > The opinions in this message are mine and not Bellcore's. Really! > *------------------------------cut heer------------------------------* > J.B. HUTTO & HIS HAWKS / HAWK SQUAT (DELMARK DD-617) > DELMARK RECORDS 4121 NORTH ROCKWELL CHICAGO, IL 60616 > > There are some guitar players who manage to bring a light, airy, truly > ethereal quality to their playing. The guitar transforms in their hands > from a mere implement made of steel and wood to an overwhelming fount of > emotion. Their fingers are like five tiny angels, dancing lightly on > the strings and bringing forth images of heaven. The tremendous depth > and breadth of expression can simply bring tears to your eyes. > > J.B. Hutto is not one of these guitar players. J.B. Hutto is a guitar > player whose explosive slide guitar slams into you like a truck. He's a > performer that you play on your stereo really, really loud. This album > should come with a label that says, "FLAMMABLE." It is a disc you play > for the sheer, raw, primal power that will erupt from your speakers. If > you're not careful, it may set your stereo on fire. > > Reviewed by Edward C. Liu > Copyright 1995 NY CD Blues > Yeah! Yeah! Yeah! I picked up a vinyl copy of this album a couple of weeks ago at a record fair here in Sydney, and I was blown away. Excellent album. Get it or get a life!!!!!! -- Daniel Bruce | Genasys II Pty Ltd, Sydney, Australia | "Born under a bad sign, been down since I began to crawl | If it wasn't for Bad Luck, Wouldn't have no luck at all" | Albert King | Internet: danielb@g2syd.genasys.com.au ========================================================================= Date: Tue, 21 Nov 1995 01:58:03 GMT Reply-To: Ray Stiles From: Ray Stiles Organization: University of Minnesota, Twin Cities Subject: Re: Old farts vs Young bucks Well the Jimmy Rogers show was real nice, but again there were less then a few hundred people,if even that, there. I really enjoyed his son's guitar playing and they were both real nice about signing my CD's. I recognized Jimmy Lane when I walked in, he was sitting by himself. He said they were pretty worn out from touring right now, but they still put on a great show. Jimmy Rogers was visiting with an old frined, Mojo Bufod before the show, so I talked to him at the break. Ray ========================================================================= Date: Tue, 21 Nov 1995 02:02:07 GMT Reply-To: Ray Stiles From: Ray Stiles Organization: University of Minnesota, Twin Cities Subject: Re: Ted Hawkins Help Comments: To: tony@BLUESTB.DEMON.CO.UK TB, Where can I get ahold of Red Lick and other places you mentioned that still have copies of the Venice Beach Tapes? I understand that some of those recordings might be on the new Evidence CD, I'll have to a copy as soon as I find it to see. I wonder where I can get more info on his life. Sounds like he had plenty of trouble (I heard he spent time in prison in the mid 80's, but don't know what for). Ray ========================================================================= Date: Tue, 21 Nov 1995 02:05:35 GMT Reply-To: Ray Stiles From: Ray Stiles Organization: University of Minnesota, Twin Cities Subject: Re: Ted Hawkins Help Comments: To: soc_sba@PMAIL.LDC.LU.SE Thanks! But where can I get a copy of this CD you mentioned (Ted Hawkins: The Kershaw Sessions)? I heard there is an Evidence CD just out that contains some of the Venice Beach Tapes but haven't found it yet. And yes I am a TH fan, I have three of his CD's and really enjoy his singing. Some voice! Ray ========================================================================= Date: Tue, 21 Nov 1995 02:08:57 GMT Reply-To: Ray Stiles From: Ray Stiles Organization: University of Minnesota, Twin Cities Subject: Re: Syndicated Blues radio show Comments: To: fatcrab@INFI.NET Tell me more. I have been thinking about this for some time. There is a public radio station in Minneapolis that does this type of programming and my daughter is working at the University of MN AM radio station and plans to putting together a Blues show sometime next year. Ray ========================================================================= Date: Tue, 21 Nov 1995 02:13:04 GMT Reply-To: Ray Stiles From: Ray Stiles Organization: University of Minnesota, Twin Cities Subject: Re: Jimmy Dawkins disco Comments: To: BIBGA@HHS.SE He also recently did some work on Percy Strother's new CD, The Highway is My Home. I saw both of them in Minneapolis/St. Paul last month. Some real fine music. Ray ========================================================================= Date: Tue, 21 Nov 1995 02:15:51 GMT Reply-To: Ray Stiles From: Ray Stiles Organization: University of Minnesota, Twin Cities Subject: Re: Ted Hawkins Help James, Thanks for this info on the new Evidence CD. I also heard of another in a post here today called Ted Hawkins: The Kershaw Sessions (UK I think) and wonder if they are the same or other cuts? I sure would like to find both of these CD's as well as the original record from 1986!! Ray ========================================================================= Date: Mon, 20 Nov 1995 22:12:57 -0500 Reply-To: Brian Rice From: Brian Rice Subject: Re: Detroit Blues Radio Comments: To: Dave Ruthenberg In-Reply-To: Here's a list of a few radio shows i listen to, though I make no pretense to completeness. WDET-FM 101.9 Robert Jones - Blues from the Lowlands 10am -12:00pm Sat. Famous Coachman - 2:00am Sunday WCBN-FM 88.3 Nothing but the Blues 3:00 pm - 6:00pm Saturday Yazoo City Calling - 2:00pm Monday WEMU-FM 89.1 Big City Blues Cruise 3:00pm - 6:00pm Sunday -Brian (Ann Arbor, MI - the home of Otis Spann Memorial Field) ========================================================================= Date: Tue, 21 Nov 1995 01:05:03 -0400 Reply-To: Mike Gilbert From: Mike Gilbert Subject: Life gits tedious, don't it? This ended up in my mail from another list. I'd love to hear/read the rest of this sometime. Water in the well's gettin' lower and lower, Caint take a bath for six months more! Life gits tedious, don't it? Hound dog's howlin' so forlorn, Laziest dog that ever was born! He's howlin' 'cause he alayin' on a thorn, An' he's jist too tired t' move over! Life gits tedious, don't it? Mike G. gilbertm@fox.nstn.ca ========================================================================= Date: Tue, 21 Nov 1995 00:50:11 -0500 Reply-To: Angus Jax From: Angus Jax Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Luther Allison on Conan O'Brien Comments: To: bit-listserv-blues-l@uunet.uu.net Glad to hear Luther's getting some big-time national recognition. Sorry I missed the show. ========================================================================= Date: Tue, 21 Nov 1995 06:55:49 UT Reply-To: kevin boyle From: kevin boyle Subject: Re: Life gits tedious, don't it? This ended up in my mail from another list. I'd love to hear/read the rest of this sometime. Water in the well's gettin' lower and lower, Caint take a bath for six months more! Life gits tedious, don't it? Hound dog's howlin' so forlorn, Laziest dog that ever was born! He's howlin' 'cause he alayin' on a thorn, An' he's jist too tired t' move over! Life gits tedious, don't it? I don't have it any longer, but that song can be found on a Doc Watson double album, on Vanguard records. I think it's "Doc Watson in Concert." Kevin Boyle sourdust@msn.com ========================================================================= Date: Tue, 21 Nov 1995 05:00:12 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - November 21st Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ANDERSON, JIMMY (hca/EXCELLO REC) b. 1934-1121, NATCHEZ, MS DOUGLAS, K. C. (g/BLUESVILLE REC) b. 1913-1121, SHARON, MS DR. JOHN[MALCOLM JOHN REBENNACK JR.](p/g) b. 1940-1121, NEW ORLEANS, LA GLENN, LLOYD C. (p/LOWELL FULSON) b. 1909-1121, SAN ANTONIO, TX GREER, JOHN MARSHALL"BIG"(tsax/MILLINDER) b. 1923-1121, HOT SPRINGS, AR HAWKINS, COLEMAN (truly awesome tsax) b. 1901-1121, ST. JOSEPH, MO HUME, BOB (BLUES-L MEMBER) b. 1954-1121, PERTH, AUSTRALIA JORDAN, LEROY "LONNIE" (p/WAR) b. 1948-1121, SAN DIEGO, CA LAWSON, LB (g/SUN REC) b. 1929-1121 LOVE, ANDREW(tsax/MEMPHIS HORNS/STAX REC) b. 1942-1121, MEMPHIS, TN MORRIS, JOE (tpt/FAYE ADAMS) d. 1958-1121, PHOENIX, AZ 36 MOUZON, ALPHONSE (p/d) b. 1948-1121, CHARLESTON, SC PORTER, DAVID (v/songw/STAX REC) b. 1941-1121, MEMPHIS, TN RAM, SAMUEL "BUCK" (songw/PLATTERS) b. 1907-1121, CHICAGO, IL STORY, NAT (tbn/MILLINDER) d. 1968-1121, EVANSVILLE, IN 63 ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 21 Nov 1995 06:43:47 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Sitting&Thinking-Jimmy Dawkins. I lost my news connection for a while but have found a way around it - so here goes. Some more in the followup to Bob Koester and Delmark from NY CD Blues. JIMMY DAWKINS - All For Business (Delmark DELMARK RECORDS 4121 NORTH ROCKWELL CHICAGO, IL 60616 1971 was a very good year. That's the year Jimmy Dawkins put next to him the likes of Otis Rush and Big Voice Odom for a set of killer blues. Alongside this triumvirate of blues masters we hear the tenor sax of Jim Conley, the piano and organ of Sonny Thompson, the bass of Ernest Gatewood and the drums of Robert Crowder and Charles Hicks. Not bad for a non-leap year. What's on tap is the front and center guitar of Jimmy Dawkins, one of the Windy City's hottest. Adding to the parade is the huge voice of Big Voice Odom who as you will hear is so rightly named. And last but not least the amazing Otis Rush. In fact one of the best pieces on this entire CD is an Otis Rush one. Now let's get on with the music. ALL FOR BUSINESS / COTTON COUNTRY / MOON MAN / DOWN SO LONG / WELFARE BLUES / HAVING SUCH A HARD TIME / SWEET HOME CHICAGO / BORN IN POVERTY / JAMMIN' WITH OTIS / HIPPIES PLAYGROUND / MOON MAN NYCD-Takes ALL FOR BUSINESS: A couple of drums raps, a tenor sax backdrop and a squeal on the guitar open this CD. This is a heart tugging composition right from the gitgo. Jimmy Dawkins' guitar is as razor sharp as ever and the pace is a crawl and a drag, taking your soul to new lows. At just over a minute in Big Voice Odom shows his wares - and rich they are. This man is gifted with a clear, warm and huge set of chops that make right sense for his being here on this collection. The blues is superb as the blend of guitar and vocals fills the stage. Stark and gripping blues. COTTON COUNTRY: Here we get a quick paced electric boogie woogie with plenty of electric accoutrements. The guitars are all high rigged for sound and the pacing is furious. The full complement of instruments is present here and each one of them is evident. This side is one straight instrumental blowout and it ranges for 8 minutes plus - AMAZING MUSIC from all angles. At just over four minutes a new treat gets up - Jimmy Dawkins starts talking to the audience while the musicians keep blazing, but just as you think a vocal section is going to be cut in the instruments resurface and the full instrumental flavor is back. Sonny Thompson is heaven in the background. MOON MAN: This cut has a definite jazz feel carried on by the fronted sax work of Jim Conley. The finger picking on the guitar is set back a bit for the entire opening until Big Voice hits the stage. He barrels in and changes the song's character from jazz to blues in a very smooth transition. Big Voice and Jim Conley steal this one as a blaring duet. DOWN SO LONG: The drum and the bass setup this side for the changeover from Big Voice to Jimmy Dawkins on vocals. Jimmy is a much sweeter vocalist. He is a dreamy singer with just the right amount of husky overtones and mellow fruit. He happens to be one of my favorite bluesmen ever - from these sides all the way up to his most recent and for sure his exceptional work on his great CD Kant Sheck Dees Bluze. This set, being a 1971 studio production certainly gave the inklings of what he would add to the blues in the coming years. Once again bravo to Delmark and Bob Koester for seeing the light when it first was lit. WELFARE BLUES: Jimmy returns the singing to Big Voice Odom but puts his razor sharp fingers back to the strings. The pace here is slow and Big Voice takes the lead perfectly. This song is about welfare. A lot for many of America's forgotten, where the blues was born. The guitar here is truly stinging. HAVING SUCH A HARD TIME: This cut is a bit of a mid-tempo blues runaround. The background of the sax and other instruments hold a dancey tempo while the front of guitar and vocals play against it in a slower mode. It is a rather rich and complex arrangement that offers up a big dose of music, way beyond just a blues delivery. SWEET HOME CHICAGO: You can't do the blues without Sweet Home Chicago and this one is a nice original rendition. Very electric and full of some very hearty organwork. It's a long version - well over 7 minutes and 100 proof instrumental. A rather gutsy way to treat this cover and well appreciated. BORN IN POVERTY: This is the sad side of the blues. A heart wrenching cut with great instrumentation. The hornwork and the organ are both particularly strong and the guitar is fierce while Big Voice Odom pounds out his delivery. This may be the best side to play first. You will get a strong listen, to the full range that is captured on this CD. KILLER BLUES from start to finish - for another 7 minute plus extravaganza. JAMMIN' WITH OTIS: Here comes my favorite - 8 minutes and 45 seconds of in your face Otis Rush. The picking as would be expected is impeccable, but the real treat is the face to face encounter between Otis on guitar and Jim Conley on sax. This is a ferocious battle of the giants. Jim Conley is loud and vibrant and comes at Otis full blazing. In the back listen to Sonny Thompson's powerful organ sounds during this great back and forth. This is the cut that makes the cost of the CD seem a pittance. HIPPIES PLAYGROUND: Jimmy Dawkins takes back the vocals on a good followup tune to the last. It has a funky feel with a lot of fun to its pacing. It is a broad mix of the instruments in a Dawkins special. Also this is a nice showcase for the razor guitarwork of Jimmy Dawkins. MOON MAN: This alternate take is an interesting way to round out a powerhouse CD. The honking sax is pulled from the opening and the guitar gets the front, although believe me at the two minute mark you will not be cheated of any of Jim Conley's magic. I found myself going back and forth between this take and cut 3 just to feel the changes. Big Voice Odom once again takes on the lyrics in what you will find to be a very strong CD closer. Reviewed By Barry Silverberg Copyright NY CD Blues - 1995 NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Tue, 21 Nov 1995 06:50:43 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Sitting&Thinking-Little Milton. LITTLE MILTON / Live At Westville Prison (Delmark #DE 681) DELMARK RECORDS 4121 NORTH ROCKWELL CHICAGO, IL. 60618 Little Milton Campbell is a household name and this CD clearly shows why. He is a full rounded musician and every song or genre he touches comes off wonderfully. He is blue when it counts and soulful the balance. These sides were part of a show held inside Westville Prison for the inmates in 1983 and they give a good view of what each of Little Milton's attractions are. The first set of sides, tracks 1 through 5, were played before the male population at the prison. Tracks 6, 7 and 8 were then done for the female inmates. What you will notice is the very sensitive performer's side to Little Milton as you listen to the sets change as the audience varies. He picks his songs carefully and the men are held breathless while the women rave. This is the real Milton Campbell, live or on disc, he delivers what his fans want. Also of note on this CD is the consummate accompaniment of Lucky Peterson And The All Stars. The group features Ricky Earl on guitar, Frank McClure on bass, Tony Brown on drums and almost on a par with Little Milton, the great Lucky Peterson on keyboards. Oft-times the question arose, should this CD be gotten because Little Milton is on it or because Lucky is there. With such a question to answer the buying of this CD becomes quite easy. I'D RATHER DRINK MUDDY WATER / EIGHT MEN, FOUR WOMEN / FRIEND OF MINE / MEDLEY / BAD LUCK / YOU'RE THE ONE / LOVING YOU / THAT'S HOW STRONG MY LOVE IS NY CD-Takes I'D RATHER DRINK MUDDY WATER: A quick intro by the emcee and a classic little entrance riff take Mr. Milton Campbell right onto the stage. This side has a full dose of instruments and a quick little pace to it . It is a good musical intro for the band and sort of a warmup tune for what's to come. You won't believe the finger work here of Lucky Peterson though. At just under three minutes in he takes over. He is certainly perfectly picked and well placed to side Milton. His spot runs almost to the end of this cut and is really aces up. EIGHT MEN, FOUR WOMEN: The guitar and the hard driven, hard pounding keyboard of Lucky Peterson set up this side. Although this was my favorite song to the entire disc, I had the enviable difficulty of deciding who stole the show. Was it Lucky Peterson or was it Little Milton Campbell? I declared the contest a tie and spent the next 3 1/2 hours just listening to this one cut - over, and over, and over, until I was full. Little Milton takes this O.V. Wright cover to new heights. He offers up everything from quick sung fills to shouted rounds to low vocal breakaways and then back to his screaming soul driven yells. This cut has plenty of soul, an abundance of blues and a heavy dose of in your face Little Milton style songmanship. But don't forget to keep your ears pealed for Lucky Peterson. He's there throughout and offers a boatload of fine organ runs. I am putting this one side and with it this whole disc at the top of my list of recommended gets. FRIEND OF MINE: The beat is hot and the singing moves. Just a great dose of Milton Campbell. This is a dance tune, done right up Milton's alley. He penned this side and kicks it both on the vocals and the guitar. Oh by the way - did I mention Mr. Lucky Peterson on this track - yes he's there and yes wondrous AGAIN. MEDLEY: Little Milton now takes 7 songs that he made famous and weaves a tale of love lost, love cheated, hearts broken and a man and the blues. It opens with a very blue guitar to How Could You Do It To Me. The story further unfolds into his version of Part Time Love and then Somebody's Sleeping In My Bed and I Got To Love Somebody's Baby. Here he captures the betrayal and the getting even. The final three sides start with his pain on Walking The Back Streets And Crying and lead to his looking for a love in Little Bluebird, from whom he asks for a song. Finally Drowning On Dry Land raps up this tight told medley. BAD LUCK: Little Milton's guitar work here is frisky and fresh, played right into the mic for this last song to the male inmates. At just under 1 minute in, his overcast vocals get the front. A backup by Lucky Peterson once again adds some flair and zip here, but Milton is stellar on his guitar throughout this side. Lots of at the top playing. This side showcases Little Milton's axe thoroughly. YOU'RE THE ONE: Milton now turns to the lady's and the venue changes dramatically. He cuts down and soft and cuddly. This side is right to their hearts. In fact the three sides that are played for the women are all love songs, whereas the men got the blues. Milton's voice here is straight and tight. Very musical and very gentle, with only a small handful of his signature bellows. LOVING YOU: The pacing is up on this self penned side. Milton gets to rocking on a rhythm and blues driven side that moves at a well structured mid to fast tempo. His vocals, though still a bit overcast are now rounded and sweeter. Lucky Peterson is again there with great runs on the keyboards. THAT'S HOW STRONG MY LOVE IS: For 8 minutes Little Milton takes the lady's hearts. For the opening he talks right to them. He gives them reason to scream - and scream they do. Next a little hit on the organ and Milton opens up right into the song. Very softly sung and close to the mic. He is doing a genuine love song and brings the whole range of heartfelt emotions to it. The down and dirty smokey vocals here are captivating. The backup voices fit well and for a long slow emotional hit of Mr. Campbell's soul side this cut will do it for you. The songs had to be done in 2 sets since the inmates were segregated, yet the overall production of this CD runs smooth from start to finish. This is a very highly recommended addition for your collection. Reviewed By Barry Silverberg Copyright NY CD Blues - 1995 NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Tue, 21 Nov 1995 08:31:06 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Xmas Ideas, Please My wonderful family has asked me to prepare a list of CDs I'd like to have, for them to use as a guide to Christmas shopping. So I'm asking for blues-l help. If you were making a short list of the best recent blues CDs (with a bias towards soul blues, and the blues/R&B of the 50s and 60s) which ones would you choose? All suggestions gratefully accepted. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Tue, 21 Nov 1995 08:31:06 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Life gits tedious, don't it? This song was recorded by Doc Watson, on his Live album, I think on Vanguard, back in the 1960s. > This ended up in my mail from another list. I'd love to hear/read > the rest of this sometime. > > Water in the well's gettin' lower and lower, > Caint take a bath for six months more! > Life gits tedious, don't it? > > Hound dog's howlin' so forlorn, > Laziest dog that ever was born! > He's howlin' 'cause he alayin' on a thorn, > An' he's jist too tired t' move over! > Life gits tedious, don't it? > > Mike G. > gilbertm@fox.nstn.ca > Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Tue, 21 Nov 1995 08:33:08 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0541 From: "DUTTWEILER.J" Subject: Muddy Waters & Bob Margolin TO: Internet FROM: DUTTWEILER.J@GOMAIL SUBJECT: Muddy Waters & Bob Margolin No matter what you may think about Blues Revue - and I'll state up front I think its a great magazine - you should appreciate the fact that Bob Margolin takes the legacy of Muddy Waters seriously and communicates that in his writings. The Dec/Jan issue of Blues Revue (No.20) has some great articles on Muddy and Bob Margolin's personal reminiscences are both enlightening and touching. Muddy was "the Man," and if you don't believe that or haven't really ex- posed yourself to "the Man" and his music, go pick up a copy of BR today and find out what you've been missing Thanks, Bob, for a great issue Jon (who's has no connection to BR whatsoever) Duttweiler ========================================================================= Date: Tue, 21 Nov 1995 08:35:08 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0543 From: "DUTTWEILER.J" Subject: Muddy Waters & Bob Margolin Comments: To: BluesRevue@aol.com Date: Tuesday, 21 November 1995 8:34am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Muddy Waters & Bob Margolin --------------------------( Forwarded letter 1 follows )--------------------- TO: Internet FROM: DUTTWEILER.J@GOMAIL SUBJECT: Muddy Waters & Bob Margolin No matter what you may think about Blues Revue - and I'll state up front I think its a great magazine - you should appreciate the fact that Bob Margolin takes the legacy of Muddy Waters seriously and communicates that in his writings. The Dec/Jan issue of Blues Revue (No.20) has some great articles on Muddy and Bob Margolin's personal reminiscences are both enlightening and touching. Muddy was "the Man," and if you don't believe that or haven't really ex- posed yourself to "the Man" and his music, go pick up a copy of BR today and find out what you've been missing Thanks, Bob, for a great issue Jon (who's has no connection to BR whatsoever) Duttweiler ========================================================================= Date: Tue, 21 Nov 1995 07:14:00 -0600 Reply-To: "timothy (t.b.) bosley" From: "timothy (t.b.) bosley" Subject: Capitol Reissues Concerning the recent Capitol reissues and others with similar packaging........can anyone recommend a good method for removing the notes from the packaging w/o tearing the back page off? ========================================================================= Date: Tue, 21 Nov 1995 07:14:00 -0600 Reply-To: "timothy (t.b.) bosley" From: "timothy (t.b.) bosley" Subject: Queen Victoria Recently picked up Woman Blues!, OBCCD-566-2 (BV 1054), and was wondering about the availability of "Idle Hours" and "Songs We Taught Your Mother". For those of you that are fans.....how are the Document CDs? ========================================================================= Date: Tue, 21 Nov 1995 14:34:28 GMT Reply-To: ehrlich@WORLD.STD.COM From: Stuart Ehrlich Organization: The World Public Access UNIX, Brookline, MA Subject: ISO: Blues in the Florida panhandle Any recommended places to hear some blues in the Florda panhandle area? ========================================================================= Date: Tue, 21 Nov 1995 15:18:35 GMT Reply-To: Richard Cotenas From: Richard Cotenas Organization: California State University Sacramento Subject: Re: Blues scales Comments: To: bit-listserv-blues-l@uunet.uu.net Johny Bravo (YourUserID@OREGON.UOREGON.EDU) wrote: : >On 14 Nov 95, THesters had this to say: : >> I'm tired of playing in diatonic scales, please e-mail me or just : >> answer this message in the newsgroup for something diferent. Diatonic : >> blues scales accepted. And if someone knows something diferent scales to : >> play with silde, I would be glad. : As far as slide scales go there are none, you just use regular scales. The : real trick to playing slide is the technical aspects. Once you get that down : it's rather easy. As far as blues scales go anything can be played in a blues : context. It's easy to get bogged down in minor pent. and forget major scales, : natural/harmonic/melodic minor etc. Also, don't forget intervals and : arpeggios:-) Don't forget TONE. Tone is very important. Ry Cooder can play one note with that tone he uses, and it beats a hundred from Duane Allman, who uses the same tone on his slide solos as he does on his regular lead. -- Richard Cotenas Calif. State Univ., Sacramento Library, Acquisitions Unit (916) 278-6951 ========================================================================= Date: Tue, 21 Nov 1995 07:54:59 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Queen Victoria Timothy Bosley wrote: > >Recently picked up Woman Blues!, OBCCD-566-2 (BV 1054), and was wondering about the availability of "Idle Hours">and "Songs We Taught Your Mother". For those of you that>are fans.....how are the Document CDs? > The sound quality is okay; not terrific, but not nearly as awful as most bootlegs. Perfectly listenable, if that's what you wanted to know. Mary Katherine ========================================================================= Date: Tue, 21 Nov 1995 16:20:52 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: New Cds .. and hard disk blues Hi you all, Well, it seems this is going to be a strange period. While I had finished preparing a long review detailed of Utrecht Estafette + 2 Cd reviews + a lot of other things for my work (such as finishing the slides of a paper I will present tomorrow abroad), my hard disk decided to die ... and there was nothing to do, nothin to recover..... I lost everything and as always it happens in a period where you've been too busy to think of doing a back-up of your latest productions... So here I'm again with a new hard disk, but that's almost all. I've to go though all these flops, ... ..... "1000 X MERDE" like we say in french. Nevertheless, given that I won't be able to send you the CD reviews before a couple (at least) of days, I just wanted to inform you that SWINGMASTER have finally decided to publish something on CD. And they started with someone who's now (finally after so many years of touring and recording) quite popular among "real" blues fans, that is R.L. Burnside, with a wonderfull CD R.L.BURNSIDE 'MISSISSIPPI HILL COUNTRY BLUES ' CD 2201 : more than 57 minutes of firstclass solo, material taken from his two excellent LPs from the 80's plus 3 cuts from 1967 (for those who had these two great LPs there's 3 unissues!). I'll post a more detailed review soon, but if you get the chance to run cross this Cd., jump on it!! Another piece you should also not miss if you're intersted in REAL authentic country blues are the productions/recordings of mostly East Coast country blues done by Tim Duffy (remeber his interesting articles in Living Blues a few years ago) on his MUSIC MAKER CDs (see the great reviews in a recent BLUES & RHYTHM) and especially the superb CAME SO FAR (MMCD 1294) Anthology featuring among other Guitar Gabriel (=Nyles Jones), J.W. Waren, John Lee Zeegler (spelled here Zeiglar, who was in Utrecht last week), Big Boy Henry, ... just to mention those who're a known for their recordings. Great CD. Highly recommended! Ok, that's all for today. I have to continue reinstalling everything on my machine... Jean-Pierre Urbain ========================================================================= Date: Tue, 21 Nov 1995 10:57:25 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this very day On Nov. 21, 1877, inventor Thomas A. Edison announced the invention of his phonograph, which he called a "talking machine", and thus the road was paved for all of us to go broke buying recordings. ========================================================================= Date: Tue, 21 Nov 1995 12:29:50 PST Reply-To: L McCaffrey From: L McCaffrey Subject: Music in Chicago Does anyone know who's playing in Chicago in December. I'll be going there, and want to see some great blues. Any help is appreciated. Thanks, Luke ------------------------------------------------------------------------------ L McCaffrey ========================================================================= Date: Tue, 21 Nov 1995 13:25:21 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: looking for an old record of Sonny Terry (fwd) I got this email this afternoon and thought maybe someone on blues-l could help him. Please e-mail him if you know the Sonny Terry lp, to which he is referring. Tom In another time and place, Yves Beaufays said: > > Hello, > Im looking for an old record of Sonny Terry, but I dont have a lot of > informations, I guess you could help me > this record was released before 1973 > the color print on cover in silver with a portrait of Sonny Terry in > Black with big dots. Its all I can remember > Does anyone remember the title ? Does this record exist on CD > > Thanks for your answer. I much appreciate > > Regards > > Yves Beaufays > scripto@skynet.be > > > > ----------------------------------------------------------------------------- My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Tue, 21 Nov 1995 13:18:06 -0500 Reply-To: "Abe W. Mathews" From: "Abe W. Mathews" Subject: Re: Riffin Rick unplugged (my own review) Comments: To: MILLER@SCI.WFBR.EDU In-Reply-To: <01HXTR8Y752A002VKF@SCI.WFBR.EDU> from "Rick Miller" at Nov 19, 95 12:13:12 pm Rick worites: > I plugged in my big FAT Ibanez archtop (Abe, you listenin?) Yes, and jealous as hell, thank you very much. :) > But again, I have to credit my incredibly experienced and profes- > sional drummer who really got me into the right groove, the right head space > to play and use the room created by no-bass to really stretch out, musically, > to not fear the quiet spots where all there was was the quiet, jazzy hiss off > his brushes circling around the snare drum, and my voice. He was right, there > was all this room. It was a GREAT experience to play this way! I'm still > comin' down. :) A good drummer can make all of the difference in the world. I've played with quite a few, and the one I play with now is by far the tastiest drummer I've ever heard. Brushes make a *great* change to some worn out tunes. We do "Route 66" and "Summertime" as slow blues, with those brushes going, and it's amazing. As a guitar player, those are the songs you live for. Wide open spaces, with an underlying support from the drummer, and you're free to do whatever you want. I have new respect for drummers now. > I am more in love with my '75 Ibanez 2355 archtop than I was before. It gave > me the absolute ideal tone for this bare bones, coffeehouse gig. Really fat > tone, very jazzy sound, even though I was playin' blues. Yeah, yeah. Bite me, you gloating bastage! ;-) > I wish we had used monitors so > I could have gotten some sound back at me. It's amazing how you can be playing > an acoustic instrument, sitting in your lap (oh yeah, to add to the bare bones > effect, I played sitting on a stool) and not be able to hear it. Even with > the whole thing brought WAY down, with drums in one ear and amped harp in the > other, acoustic guitars just don't cut thru it. SO the audience could hear > the miked guitars just fine, but I couldn't. Next time, monitors. My advice: Try to find a HotSpot monitor. I used to work professional sound, and *lots* of musicians (piano players, especially) loved these things. Just a little tiny thing, either in a powered or an unpowered version. Not great for precise sound reproduction, but good enough to allow you to hear yourself in the mix. I've seen people mount them on their microphone stands, pointing up and back so they are not in the pickup pattern, but they are still loud enough to hear. I've never used one myself (I've never been in a band that could afford monitors, period), but you might want to look into them. Good luck Abe awmathew@mtu.edu ========================================================================= Date: Tue, 21 Nov 1995 10:45:31 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: LEGACY/SONY 57713: THE MILLS BROTHERS - FOUR BOYS AND A GUITAR: THE ESSENTIAL Comments: To: BluesHvn@aol.com "There was a matinee idol at WLW (radio) named Seger Ellis. He was a friend of one of Duke Ellington's road managers, named Bob Stevens." ~ Harry Mills (of The Mills Brothers) This review is dedicated to Seger Ellis (1904-1995) who discovered The Mills Brothers. Vocalist/pianist/arranger Seger Pillot Ellis was born Monday, July 04, 1904, Houston, TX., and while working at Cincinnati's WLW radio, he arranged for The Mills Brothers to meet Thomas G. "Tommy" Rockwell (1901-1958) (founder of General Artists Corp (GAC)) who arranged for them to meet Jack Kapp. Ellis' own recordings are quite rare, recording over 100 sides, some featuring (jazz) artists like Joe Venuti, Dorsey Brothers, Eddie Lang, Mannie Klein, Muggsy Spanier, Irene Taylor (his wife) and Louis Armstrong. The award-winning 1994 set, SONY/LEGACY 57176 : Louis Armstrong - Portrait Of The Artist As A Young Man 1923-1934, a 4CD set & the single best collection of Pops' early sides, contains one vocal by Ellis, "To Be In Love". Ellis' earliest sides (for Victor,'25) are solo piano blues like "Prairie Blues", "Sentimental Blues". Segar Pillot Ellis died Friday, September 29, 1995, Houston, TX., at the age of 91. LEGACY/SONY 57713: THE MILLS BROTHERS - FOUR BOYS AND A GUITAR: THE ESSENTIAL ============================================================================= JOHN CHARLES MILLS JR. bass/gtr b. 1910/Feb/11, PIQUA, OH d. 1936/Jan/24, BELLEFONTAINE, OH HERBERT MILLS tenor/harmony b. 1912/Apr/02, PIQUA, OH d. 1989/Apr/12, LAS VEGAS, NV HARRY F. MILLS baritone/lead b. 1913/Aug/19, PIQUA, OH d. 1982/Jun/28, LOS ANGELES, CA DONALD F. MILLS tenor/lead b. 1915/Apr/29, PIQUA, OH JACK KAPP producer b. 1901/Jun/15, CHICAGO, IL d. 1949/Mar/25, NEW YORK CITY, NY This collection of John H. & Ethel Mills' four sons (John, Herbert, Harry & Donald) is a joy & with John R. T. Davies handling the transfer, you now have as good a collection of their 1931-1934 Brunswick Recordings as you'll ever get. If I have one criticism, it's that it should have been a 2CD set! All born & raised in the small town of Piqua, OH., they would take their music around the world - some of us even believe they started what is now called "vocalese". These 18 early sides are some of their first recordings, and to add variety to this set, LEGACY has included a few tracks with guest stars Bing Crosby, Duke Ellington Orch, Cab Calloway & Don Redman Orch. In all, 14 tracks feature just the sons with guitar and their patent "vocal" instrument imitations - "No musical instruments or mechanical devices on this recording other than one guitar" is what the original record label read. Stellar tracks include "Fiddlin' Joe", "Jungle Fever", "Bugle Call Rag", "Shine" (featuring Bing Crosby), the previously unissued "My Little Grass Shack In Kealkekua, Hawaii", and "Rockin' Chair" which may just be the first vocal group recording featuring a talking bridge. JSP CD collectors of their complete recordings should note that this set also contains one new alternate take. On Friday, January 24/1936, John Charles Mills Jr. died at his mother's home in Bellefontaine, OH., nearly breaking up the group as he was not only their bass singer, "voice tuba" & guitarist but also their all important arranger. He was replaced by their father, John H. Mills Sr., and guitarist Allen Norman Brown, resulting in a change of sound & direction. Today, Donald Mills is 80 years old & the only living member, occasionally touring with his son as MILLS BROTHER & SON! Run, Don't Walk - Don't Even Stop For The Red Light! Highly Recommended, especially to fans of the "jive rhythm groups" like The Spirits Of Rhythm, Cats & The Fiddle, Five Red Caps, etc. Contents : (Total Time = 51 min.) 1. Dinah (tk A) (w/Bing Crosby) - 2. Shine (w/Bing Crosby) - 3. I heard - 4. How'm I Doin', Hey-Hey - 5. Rockin' Chair - 6. Chinatown, My Chinatown - 7. Sweet Sue, Just You - 8. St. Louis Blues - 9. Bugle Call Rag - 10. Dirt Dishing Daisy (tk A) - 11. Diga, Diga Doo (w/Duke Ellington Orch) - 12. Doin' The New Low Down (w/Cab Calloway & Don Redman Orch) - 13. Fiddlin' Joe - 14. Swing It, Sister - 15. Jungle Fever - 16. Put On Your Old Grey Bonnet - 17. Sleepy Head - 18. My Little Grass Shack In Kealkekua, Hawaii (test pressing) Note : (1) Bill "Bojangles" Robinson's "Doin' The New Low Down" was also recorded at the same time (& with Don Redman Orch). It is available on LEGACY C2K 53407 : STARS OF THE APOLLO (2CD) (2) This Mills Brothers set is part of Legacy's new "Art Deco Series". Check for the complete series. ========================================================================= Date: Tue, 21 Nov 1995 17:07:37 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Rick's harp guy steps in sh*t, comes up rosey! You guys will love this. Pat, my harp guy meets this old guy on the loading dock at work the other day, they get to talkin' blues. Old guy says, yeah I used to play back in the 50's and 60's but not anymore. So Pat mentions that he's on this "Tone Quest" as we've discussed here on -L, and he's lookin' for that "certain" old amp. Old guy says he's got this beater old Ampeg practice amp from the early 60's collectng dust, I sell it to ya for $25. Now Pat, being a most champeen scrounger-upper is always lookin' for these bargoons, and happily accepts. The guy says heck, I'll throw in my old guitar as well. Pat is happier yet. Pat, who NEVER would bother Riffin Rick in the lab at work, and always calls religiously ONLY at 7 pm each night, when he knows he'll disturb my dinner :( ...calls me nearly hysterical at 2:30 this afternoon, disturbing instead, my delicate experiment. "WHY?! Why, for Chrissakes are you buggin me at the lab, it's the middle of the afternoon!", I jokingly scream at him. "Rick, he couldn't find the amp, so he gave me the guitar for free and said he was sorry." "YEAH? and.......and? "Rick, the guitar.......it's a 1960 Gibson ES 125." "It's mint, except for a finish crack on the back of the headstock." "I'll let ya play it." [heh-heh-heh-heh!] :) Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 21 Nov 1995 17:11:13 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Xmas Ideas, Please Comments: To: Ian Angus In-Reply-To: <9511210802.aa27618@admin.dis.on.ca> On Tue, 21 Nov 1995, Ian Angus wrote: > My wonderful family has asked me to prepare a list of CDs I'd like > to have, for them to use as a guide to Christmas shopping. > So I'm asking for blues-l help. If you were making a short list of > the best recent blues CDs (with a bias towards soul blues, and > the blues/R&B of the 50s and 60s) which ones would you choose? Ian (and anyone else), If you're somewhat adventurous try a new voice-Ernie Johnson. As best as I can tell this is his first substantial release & it's on Waldoxy (#2812) so you know it's coming from 1 of the labels more apt to deliver solid soul blues. The CD is named In The Mood. He's right down the road w/Bobby Bland & Little Milton. He treats his lyrics with some nice vocal changes as well as a big delivery. Possible influences are Sam Cooke as well as James Brown (at least to my ears). There are as you'd expect from Waldoxy - plenty of instruments and backup vocals to round out the songs. NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Tue, 21 Nov 1995 16:23:06 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: dfw area only If you're not in the DFW area, please ignore this. I only post this to the entire list because every time I do this I end up meeting one or two new Blues-L lurkers. I think there must be 12 to 15 DFW area Blues-L'ers. This Saturday November 25 at Blue Cat Blues SONNY RHODES AND THE TEXAS TWISTERS I can't ever remember Sonny playing Dallas before so this is an event you do not want to miss. He is an outstanding lap style slide player with some wonderful original songs. He is making the trip all the way from New Jersey so the least y'all can do is come on down to Deep Ellum to see him. I'll be the big, tall gomer with the camera. The Blue Cat is at 2617 Commerce near Good Latimer. I hope to see ALL you DFW blues-L'ers out there! Don O. not associated with the Blue Cat or Sonny Rhodes but I'll be there grinnin' just the same ========================================================================= Date: Tue, 21 Nov 1995 22:53:45 UT Reply-To: kevin boyle From: kevin boyle Subject: Tribute to Sonny Boy Here's one I think I'm going to pass on..... the Boston Pops is doing a tribute to the music of Sonny Boy Williamson tonight (Tuesday) on PBS. ========================================================================= Date: Tue, 21 Nov 1995 17:36:50 -0500 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: It Hurts Me Too Comments: To: Karen Hanson In-Reply-To: <951119104607_110778878@mail06.mail.aol.com> On Sun, 19 Nov 1995, Karen Hanson wrote: > John asks: > > >>On the Eric Clapton CD "From The Cradle" the author is listed as Elmore > >>James. On the Kenny Neal CD "Hoodoo Moon" the author of the same song > >>is listed as Whittaker. Is that Hudson Whittaker? Who did write this > >>classic? > > Let's add to the confusion. I have a recording by Big Bill Broonzy of "It > Hurts Me, Too" (also titled "When Things Go Wrong). The date on the album is > 1957, which I believe pre-dates James's recording by a couple of years. I > can't find a listing of the writer, though. Could it be one of those > more-or-less traditional songs that, as each musician adds or makes changes, > becomes "his" song? Not at all. "It Hurts Me Too" was written by Hudson Woodbridge, also known as Hudson Whittaker, best known as Tampa Red, the Guitar Wizard. He first recorded the song with that title on May 10, 1940. He recorded it again as "When Things Go Wrong With You" on March 24, 1949. It has since been recorded by Big Bill Broonzy, Elmore James and countless others. Broonzy himself acknowledges the fact that it is a Tampa Red original in his book "Big Bill Blues". Tampa Red was a genius at guitar-playing and songwriting. It's about time that people who enjoy his songs realize that they are his. His best known compositions include: "Sweet Little Angel", "Don't You Lie To Me", "Anna Lou" (made popular by Robert Nighthawk as "Annie Lee"), and "She Wants to Sell My Monkey". Pen & Brenda Bogert Louisville KY ========================================================================= Date: Tue, 21 Nov 1995 17:54:09 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: ernie johnson > From: Barry Silverberg > Ian (and anyone else), If you're somewhat adventurous try a new > voice-Ernie Johnson. As best as I can tell this is his first substantial > release & it's on Waldoxy (#2812) Ernie also has two CD's out on Stan Lewis' Paula and Ronn labels: "It's Party Time" Paula #PCD-9004 "Just in Time" recently released on CD, I have Lp # LPS 8001 Ernie's "It's Party Time" CD had a minor regional hit on R&B radio with his version of Otis Redding's "Dreams to remember". He is also a good songwriter and does mostly original material. If you like soul/blues Ernie Johnson is for you. Smokin Joe Kubek plays on one of the tracks on "Just in Time". Don O. ========================================================================= Date: Tue, 21 Nov 1995 15:55:38 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Psychedelic Blooz Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Hi Everybody! After watching the recent R n R documentary on PBS (the segment about the blues' impact in England) I remembered how much I *hated* the "LSD as enlightened consciousness" religion we were spoonfed by the counter-culture poo-bahs back then. The documentary made a comment about Jimi having taken the "Mississippi mud" to Venus, and some of the tunes they played certainly sounded that way. Now I love Hendrix, but I really love his earlier stuff (like the Live at Winterland CD) a lot more than a lot of his later stuff. I don't think that the blues really travel to Venus very well, personally. About the time my friends were doing acid and listening to stuff like "Sgt' Peppers", I was discovering BB's "Live at the Regal", and going to see Sonny and Brownie. The real root, the real blues provided an alternative world view, a connection with a healthy, vibrant culture that has done enormous good in my life. Do any of you feel the same way? Someone asked George Harrison recently what the greatest point in his life was. And he responded with "taking acid". After that, he said, the music turned from "pop" into "good music". I could not disagree more. What do you think? Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Tue, 21 Nov 1995 19:19:46 -0500 Reply-To: USBLUE5@AOL.COM From: "Gordon, Rich" Subject: Re: Son Seals Comments: To: brock@primenet.com Son Seals will be appearing at the Silver Moon Blues Oasis and Eatery in Darien, Wi this Wednesday Night November 22nd...more info at 414-724-5400. It's blues in the cornfield for over 6 years and going strong. Rich Gordon ========================================================================= Date: Tue, 21 Nov 1995 20:47:13 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Web Blues Radio For you web browsers using RealAudio and/or Internet Wave, I found an interesting link today to ADTEK Web Radio at: http://www.adtek.com/audio/ They've got three or four pretty fun and interesting "radio" shows about (mostly early Chicago) blues in both of the aforementioned formats. The sound sucks, of course, but it is blues on the web like never before. Nope, I'm not affiliated with ADTEK (whoever they are) or any of those newfangled technologies. But -- pssst -- I do have an idea where you might be able to do a little Christmas shopping this year. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Tue, 21 Nov 1995 22:57:09 -0500 Reply-To: JIMBLUE1@AOL.COM From: Jim Armstrong Subject: Re: Son Seals Comments: To: brock@primenet.com In a message dated 95-11-19 21:04:09 EST, brock@PRIMENET.COM (A.C. Brockton) writes: >Any recommendations on other CD's by Seals... Bad Axe. ========================================================================= Date: Tue, 21 Nov 1995 22:57:30 -0500 Reply-To: JIMBLUE1@AOL.COM From: Jim Armstrong Subject: Re: LUTHER ALLISON IS GOD? Comments: To: /G=J.E./S=Downey/@bmmoscow.bmck.sprint.com If you ever get the chance to see him live, DO SO. I got to see him twice this year, and he was nothing short of incredible. Truely a highlight of my blues festival going, this or any year. Jim Armstrong ========================================================================= Date: Thu, 23 Nov 1995 01:59:04 GMT Reply-To: Andrew Gregg From: Andrew Gregg Organization: Department of Primary Industry Subject: Re: Recording - How Can I >I have contributed stuff to the Acoustic Tape that was around a few months >ago and an ALLMUSIC tape a couple of years ago. One time I used one of the >many 4trackers I've owned and the other time a boombox. I was not pleased >with the sound either time. I dont consider myself to be an Eddie Kramer when it comes to sound recording, but I get album quality acoustic sounds with my tascam 4 track. Dont limit yourself to one miking style or track. I generally use an sm57 and a Realistic PZM (the 57 pointing from the fron of the sound hole angled to the rear & the PZM - a great cheap solution for acoustic recording - directly on the top of the guitar). I even (excuse the language) _process_ a little to make it jump out & a little fatter. ********************************************************************** * Andrew Gregg * * * Dept of Primary * I see angels on Ariels * * Industry * in leather & chrome * * ooOO00OOoo * Swooping down from heaven * * Email : * to carry me home * * mpagregg@aries.dpi.tas.gov.au * * * * - Richard Thompson * ********************************************************************** ========================================================================= Date: Wed, 22 Nov 1995 07:42:36 GMT Reply-To: bluesdj@HALCYON.COM From: Roberta Penn Organization: Northwest Nexus Inc. Subject: biker blues Comments: To: bit-listserv-blues-l@uunet.uu.net Seattle has it's own biker blues band, the David Brewer Band, and bikers come out in droves to see them, but it's usually very cool, certainly not any worse than the folks who got thrown out of the Steve Miller show this past weekend. ========================================================================= Date: Wed, 22 Nov 1995 07:49:17 GMT Reply-To: bluesdj@HALCYON.COM From: Roberta Penn Organization: Northwest Nexus Inc. Subject: Taj Mahal Comments: To: bit-listserv-blues-l@uunet.uu.net Taj Mahal is playing Jazz Alley this week, solo and his opening set tonight was great. He played the piano and the dobro, covering material from "Dancing the Blues," Etta Baker, Eliz. Cotton, Robert Johnson, Elmore James and others. I did an interview with him for Seattle Blues and he played a tape of his upcoming release (Private Music, sometime in Feb. or March) in the car. It sounded great, lots of reworkings of classics like "Lonely Avenue" and "Oooh Pooh Pa Dooh" (sp?). He has a band playing with him and Bonnie Raitt is on at least one cut. ========================================================================= Date: Wed, 22 Nov 1995 05:04:11 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - November 22nd Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BARRETT, ASTON "FAMILY MAN" (:) b. 1946-1122, KINGSTON, JAMICA BODDIE, DON O'MAR (prod/HI REC) b. 1944-1122, ST. LOUIS, MO CALDWELL, STEVE (of THE ORLONS) b. 1942-1122, PHILADELPHIA, PA CARMICHAEL, HOAGY (p/songw) b. 1899-1122, BLOOMINGTON, IN GRAHAM, DAVEY (g/KICKING MULE REC) b. 1940-1122, LEICESTER, UK GUY, FRED (g/ELLINGTON) d. 1971-1122, CHICAGO, IL 72 HENDERSON, HORACE W. (p) b. 1904-1122, CUTHBERT, GA HUTCHINSON, LESLIE "JIVES" (tpt) d. 1959-1122, WEETING, UK 53 JACKSON, GRADY "FATS"(tsax/BLACK TOP REC) b. 1927-1122, ASHEVILLE, NC JOHNSON, L. V. (g/ICHIBAN REC) d. 1994-1122, CHICAGO, IL 45 KENNEDY, JOHN F. (president) d. 1963-1122, DALLAS, TX 46 LOWE, BERNIE (co-owner:CAMEO-PARKWAY REC) b. 1917-1122, PHILADELPHIA, PA MOORE, ALEX "WHISTLING" (p) b. 1899-1122, DALLAS, TX MOORE, WILLIAM "RAGTIME MILLIONAIRE" (g) d. 1951-1122, WARRENTON, VA 58 MORGAN, STANLEY W. (g/THE INK SPOTS) d. 1989-1122, HONOLULU, HI 76 REED, ROBERT (of SPIRIT OF MEMPHIS QT) d. 1993-1122, MEMPHIS, TN 76 RIVERS, BOYD (g/L&R REC) d. 1993-1122, JACKSON, MS 58 STREHLI, ANGELA (v/ANTONES/ROUNDER) b. 1945-1122, LUBBOCK, TX TEMPLE, JOHNNIE (g) d. 1968-1122, JACKSON, MS 62 VANZANDT, STEVE "MIAMI" (:) b. 1950-1122, ASBURY PARK, NJ ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 22 Nov 1995 07:40:43 -0500 Reply-To: SwtesTaboo From: SwtesTaboo Organization: America Online, Inc. (1-800-827-6364) Subject: NJ's Premier Blues Club Comments: To: bit-listserv-blues-l@uunet.uu.net ......................THE STANHOPE HOUSE 201 347 0458 Wednesday Nov. 22 - Blue Sparks.. Stanhope House Records. Jump Swing Blues. Friday Nov. 24 - Billy Hector & the Fairlanes.. Rockin' blues Saturday Nov. 25 - Crescent City Maulers.. High energy Jump Swing dance music. Friday Dec. 1 - Big Mike & the Perpetrators.. Chicago Blues.. CD release party Saturday Dec. 2 - LEE "SHOT" WILLIAMS... sings Big Time Chicago Blues with a powerful mix of Blues and Soul. He has worked with Big & Little Smokey Smothers, Earl Hooker, Little Milton and B.B. King. Sunday Dec. 3 - Stanhope House open JAM Friday Dec. 8 - Steve Guyger... Chicago Blues Harmonica player. Formerly with the Jimmy Rogers Band. Saturday Dec. 9 - Loup Garou... Zydeco! Zydeco! Zydeco! Friday Dec. 15 - A.L. James & spare change... Rockin' Blues Saturday Dec. 16 - MAGIC DICK & JAY GEILS.... "Bluestime" Chicago Blues.. back by popular demand.. tickets on sale NOW!!!! Friday Dec. 22 - Oxford Blues... Blues & Boogie Woogie Piano Saturday Dec. 23 - Stanhope House Christmas Party.. NO COVER.. Door Prizes.. with Lady Blue & the Tramps Friday Dec. 29 - Roadside Louie & the Dusters.. Chicago Blues Saturday Dec. 30 - Billy Hector & the Fairlanes... Rockin' Blues Sunday Dec. 31 - New Years Eve Party.. with Blue Sparks ========================================================================= Date: Wed, 22 Nov 1995 13:21:11 GMT Reply-To: Tommy Jansson From: Tommy Jansson Organization: Uppsala university Subject: Re: Son Seals Comments: To: bit-listserv-blues-l@uunet.uu.net In article <48on1o$oui@nnrp3.news.primenet.com>, brock@PRIMENET.COM says... > >Just bought the CD Midnight Son. Wow! > >Any recommendations on other CD's by Seals... And is he still playing? > >================================================================= >Andrew Brockton http://www.primenet.com/~brock > "I got to take the bitter with the sweet." > ---- James Oden, as sung by Muddy Waters >================================================================= Any recommendations.... Yes! All his Alligatoralbums und the livecassette on B.L.U.E.S. Personally, I like his first album best.,Raw lowdown blues. Your love is like a cancer. What song. What guitarsound. What a band! ========================================================================= Date: Wed, 22 Nov 1995 08:28:08 -0500 Reply-To: "Abe W. Mathews" From: "Abe W. Mathews" Subject: Re: Psychedelic Blooz In-Reply-To: <9511212355.AA07362@ helix.lasierra.edu> from "Don Cicchetti" at Nov 21, 95 03:55:38 pm Don says: > About the time my friends were doing acid and > listening to stuff like "Sgt' Peppers", I was discovering BB's "Live at the > Regal", and going to see Sonny and Brownie. > > The real root, the real blues provided an alternative world view, a > connection with a healthy, vibrant culture that has done enormous good in > my life. > > Do any of you feel the same way? > > Someone asked George Harrison recently what the greatest point in his life > was. And he responded with "taking acid". After that, he said, the > music turned from "pop" into "good music". > > I could not disagree more. Well, for 2 years, I was the only non-user in a blues/classic rock band. The rest of the members used more or less daily. One of the members was introduced to pot by his parents when he was 12, and religiously smoked down every day with his parents until he left for college, as a family gathering. He was so hooked that he had a very difficult time playing his instrument without smoking beforehand. This went on before gigs, during set breaks, and after gigs. All of our band meetings looked like turkish hash shops from all of the smoke, and the strange music. Aside from opening my eyes to just how prevalent drug use of all kinds was (I came from a small town), the use also made me realize how important it was for me to *NOT* take part in these little hippiefests. Normally after copping a good buzz before the gig on whatever they could score, our songs started getting longer. It was nothing for us to to a 15 minute version of "Crossroads" or "Fire on the Mountain" (With all of it's 2 chords!). We would start losing people from the crowd in droves. When I would complain, I would hear "The Dead do it," or "You just don't get it, because you're not smoking down with us." Well, I'm sorry. If it takes getting high to enjoy a 7-8 minute feedback guitar solo, I don't think that it's worth it. I eventually quit, not just for the drug use, but for a multitude of other reasons, like wanting to play more blues. The rest of the band now moved out to California, and from what I hear is attracting a decent following playing what they call "Jam-oriented" rock. More power too them. Bottom line: If you need to use a chemical to enjoy your own music more, think of what the members of the audience who are *not* using the chemicals are going through. That being said, I like some of the psycidelic music, like Hendrix, but not much. I've never understood the fascination with the Doors, late Beatles, or Zepplin. Stepping down from the soapbox- Abe awmathew@mtu.edu ========================================================================= Date: Wed, 22 Nov 1995 13:33:42 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Albert King poster? The first AK I ever bought was a double LP called "Masterworks", which is why it was not the last AK I ever bought :). When you open up the album there is a portrait picture of AK and Lucy which is the most drop-dead beautiful picture I have ever seen of AK. Would anyone know if they ever made a poster of it or where I might begin to look? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [22/11/95 8:29 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 22 Nov 1995 09:04:30 -0500 Reply-To: "Daryl F. Bernard" From: "Daryl F. Bernard" Subject: Re: Psychedelic Blooz Comments: To: "Abe W. Mathews" In-Reply-To: <199511221328.IAA05541@metlab1.my.mtu.edu> In response to the question of mind-altering substances enhancing appreciation of certain form of music, I can only comment from person experience; thus I will. I started getting into rock n roll around the eighth-ninth grade, about the same time I started experimenting with substance use. May be a coincidence, I can't say for sure. I do know that we never went to a concert without getting major-league stoned. Although I experimented with LSD, crystal T, and several different sorts of pill-based narcotics, I never really enjoyed them. Marijuana, however, was a different story-I consumed mass quantities daily. All the while music had become a very important part of my life. We would sit around getting all toked up and grooving to the sounds of the Allman Brothers, Van Halen, Seger, Yes, REO, AC/DC, Hendrix, etc. and at other times attempt to interpret the various meanings in lyrics by the Doors, Black Sabbath, Led Zeppelin, Pink Floyd, Zappa, and other tripped out music. I remember the very first time I heard Floyd's "Comfortably Numb" a freind and I had just finished an entire gram of hash. It is impossible for me to hear that song, to this day, without fealing nearly as stoned as I was during that first listening. Music is still a very important part of my life (just ask my wife, who seems to think that my 480+ CD collection is "excessive"!), but I only partake of the herb very occasionally anymore. I canjam to Jimi or Stevie of Buddy or Zep at the drop of a hat, no 'enhancements' required. However, on the rare occasion that I do partake, the music does seem to take on another realm, as if it becomes the absolute center of my being. By the way, a bottle of cheap wine and the Doors first album brings on nearly the same feeling. Go figure. At any rate, in summation I don't think that marijuana or any other mind-altering drug is required to completely absorb oneself into musci (music can be quite mind-altering all on it's own). However, having said that, I believe that it has definitely opened me up to music in a deeper, strange way, that perhaps one who has never sampled hemp cannot understand. (This is NOT to say that I recommend sampling, I DO NOT!) Finally---I'd just like to say--PEACE Daryl (dbernard@tardis.svsu.edu) ========================================================================= Date: Wed, 22 Nov 1995 08:02:20 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Muddy Waters & Bob Margolin In-Reply-To: Message of Tue, 21 Nov 1995 08:35:08 GMT from On Tue, 21 Nov 1995 08:35:08 GMT DUTTWEILER.J said: > No matter what you may think about Blues Revue - and I'll state up > front I think its a great magazine - you should appreciate the fact > that Bob Margolin takes the legacy of Muddy Waters seriously and > communicates that in his writings. The Dec/Jan issue of Blues Revue > (No.20) has some great articles on Muddy and Bob Margolin's > personal reminiscences are both enlightening and touching. Muddy > was "the Man," and if you don't believe that or haven't really ex- > posed yourself to "the Man" and his music, go pick up a copy of > BR today and find out what you've been missing What I found funny was an early issue of BR(Q at the time) and Margolin was talking about Living Blues and his "problems" witht their policy. He went on to say that Living Blues interviewed him and all they wanted to know was about MUDDY. He seemed sort of offended. I don't ever recall reading a Bob Margolin article , where he himself doesn't talk mostly about MUDDY. I think he was being very hypocritical and I think his only claim to fame is that he played with MUDDY...Just MHO LW ========================================================================= Date: Wed, 22 Nov 1995 08:51:49 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: More on Hokum Anyone suggest a Hokum CD....??? How is the Yazoo Hokum material. I guess Hokum was the predecessor to Western Swing... What other types of blues are obvious predecessors to other types of music Thanks LW ========================================================================= Date: Wed, 22 Nov 1995 09:52:02 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Lyrics for a Blues Memorial Help requested: I'm putting together our Greater Cincinnati Blues Society newsletter, and included is a tribute to our recently departed local elder blues statesman, Pigmeat Jarrett. Can someon give me an idea for a few lines of a blues song lyric that would be appropriate? "Appropriate" meaning relating to having lived a long life, moving on, gotta go, etc., etc. (Please include soongwriter info.) I'm probably not expressing this question well. It's early in the morning and I have a deadline. Help! Thanks!!! Shannon ========================================================================= Date: Wed, 22 Nov 1995 10:13:10 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0811 From: "DUTTWEILER.J" Subject: Re: Muddy Waters & Bob Margolin Date: Wednesday, 22 November 1995 10:12am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: Muddy Waters & Bob Margolin In-Reply-To: The letter of Wednesday, 22 November 1995 9:47am ET I confess to never having listened to Margolin's solo music - so I was not offering this as a tribute to him, but rather to the insights given into a man who is arguably *the* GIANT of the blues. All of us go through periods where we resent being known as an "appendage" to someone else rather than recognized for our own accomplishments (e.g. Robert Lockwood being constantly asked about Robert Johnson; or on a mundane level a woman being known as "so and so's wife.") Not to defend Margolin, not being acquainted with the article LW mentions, but I try to give people benefit of the doubt - as we get older our perspectives change. Whatever you think about Margolin, he always lifts up Muddy with the greatest respect, and I appreciate that ========================================================================= Date: Wed, 22 Nov 1995 10:27:55 -0500 Reply-To: Matth54041@AOL.COM From: Matthew Collins Subject: Re: Psychedelic Blooz Comments: To: dbernard@tardis.svsu.edu Is this discussion about people who play music for a living, or people who listen to music as a hobby? Regards, Mitch Collins ========================================================================= Date: Wed, 22 Nov 1995 09:19:36 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Muddy Waters & Bob Margolin In-Reply-To: Message of Wed, 22 Nov 1995 10:13:10 GMT from On Wed, 22 Nov 1995 10:13:10 GMT DUTTWEILER.J said: > >I confess to never having listened to Margolin's solo music - so I was not >offering this as a tribute to him, but rather to the insights given into a man >who is arguably *the* GIANT of the blues. All of us go through periods where >we resent being known as an "appendage" to someone else rather than recognized >for our own accomplishments (e.g. Robert Lockwood being constantly asked about >Robert Johnson; or on a mundane level a woman being known as "so and so's >wife.") Not to defend Margolin, not being acquainted with the article LW I didn't mean to sound like Margolin needed defending, I don't think he does. The thing with Lockwood is, he doesn't particulary like being asked about Robert Johnson all the time. Margolin seems to keep playing the 'Muddy card" instead of just being Bob Margolin. I think others such as Jimmy Rogers, James Cotton and tons of others who played with Muddy, stand on their own merits. They don't always bring up playing with Muddy, they stand on their own. I don't mean to be knocking Bob Margolin, so don't take it that way.... Margolin plays cirlces around me and he has my respect. I just get tired of him apparently living off the "Muddy Card"..... I have no doubt it's a great article. I think he writes that in every issue of BR...? LW 'of course I could be wrong' ========================================================================= Date: Wed, 22 Nov 1995 10:38:31 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Xmas Ideas, Please Comments: To: bit-listserv-blues-l@uunet.uu.net In article <9511210802.aa27618@admin.dis.on.ca>, Ian Angus writes: >So I'm asking for blues-l help. If you were making a short list of >the best recent blues CDs (with a bias towards soul blues, and >the blues/R&B of the 50s and 60s) which ones would you choose? > > It may not be the best you've ever heard but you might want to put John Ellison on the list...he just came out with "the very best of John Ellison and the Soul Brothers Six." It has his newer releases from the last cd (Welcome Back), "Love Don't Get Better Than This" and "Early Morning Lover" along with his songs from the late 60s to mid 70s. "Some Kind Of Wonderful" is by far my favorite on the cd, as far as I'm concerned no one does that song the way the Soul Brothers Six do. There's another one, it's by Little Buster & the Soul Brothers but I can't find the cd to give you the name...someone mentioned a while ago and might repost the info for you. ========================================================================= Date: Wed, 22 Nov 1995 10:46:22 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: happy thanksgiving Air a-gittin' cool an coolah, Frost a-comin' in de night, Hicka' nuts an' wa'nuts fallin', 'Possum keepin' out o'sight. Tu'key struttin' in the ba'nya'd, Nary step so proud ez his; Keep on struttin', Mistah Tu'key, Yo' do' know whut time it is. ... Choppin' suet in de kitchen, Stonin' raisins in de hall, Beef a-cookin' fu' de mince meat, Spices groun' -- I smell 'em all. Look hyeah, Tu'key, stop dat gobblin', You ain' luned de sense ob feah, You ol' fool, yo' naik's in dangah, Do' you know Thanksgibbin's hyeah? (From Paul Laurence Dunbar, "Signs of the Times") Happy Thanksgiving. Dave Prychitko ========================================================================= Date: Wed, 22 Nov 1995 10:56:17 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Xmas Ideas, Please Comments: To: CATBAUER@aol.com In a message dated 95-11-22 10:52:52 EST, catbauer@AOL.COM (CATBAUER) writes: > >There's another one, it's by Little Buster & the Soul Brothers but I can't >find the cd to give you the name...someone mentioned a while ago and might >repost the info for you. Little Buster and the Soul Brothers, RIght On Time!, Bullseye Blues CD BB 9562. Its really good! Tom Freeland ========================================================================= Date: Wed, 22 Nov 1995 10:58:29 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: George Harrison, drugs and "good" music. Comments: To: dcicchet@vega.lasierra.edu Don, I'm with you,man. It's often the perception of the acid-tripping musician that their music is suddenly better, deeper, more meaningful. I suppose this is because the hallucinogens allow some mental walls to fall and opiates get you feeling really dandy. But in reality, I think it's just perception. Maybe, must maybe, the Beatles are the exception to this. Some of their stoned-out stuff changed the face of music forever. But if you track the careers of most musicians carrying a monkey around, the stuff from those years often just bites, big time, unless there was someone looking over them making sure they were relatively sober at recording sessions. Of course, Keith Richards is another exception to every rule written, so maybe I'm just blowing a lot of hot air here. Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 22 Nov 1995 10:04:16 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: George Harrison, drugs and "good" music. In-Reply-To: Message of Wed, 22 Nov 1995 10:58:29 -0500 from On Wed, 22 Nov 1995 10:58:29 -0500 Rick Miller said: >of their stoned-out stuff changed the face of music forever. But if you track >the careers of most musicians carrying a monkey around, the stuff from those >years often just bites, big time, unless there was someone looking over them >making sure they were relatively sober at recording sessions. The sessions that stick in my mind is Layla Sessions and SRV's Texas Flood CDs in both cases the muscians were "wacked out" and the music was GREAT (IMHO). I have an old issue of musician and it is on drugs and creativty and almost every artists said anything but marijuania is detrimental to their playing and creativity. Most of them admitted that smoking herb, helped their playing and creativity. They said something about breaking down inhibitions or something like that. LW >F.J.(Rick)Miller >Senior Research Assistant, >& Marine Facilities Manager >Worcester Foundation for Biomedical Research >"Miller@Sci.WFBR.Edu" >*************************************************************************** ========================================================================= Date: Wed, 22 Nov 1995 14:54:42 EST Reply-To: Jim Miller From: Jim Miller Subject: Drugs and Music Comments: To: BLUES-L I hesitate to get into any discusion about drugs and music or about drugs and anything. The hysteria surrounding this topic has dropped the level of discourse to that of a Bullfrog mating session. If x doesn't enjoy drugs then no one else will either. If x destroys themselves on drugs then we must treat everyone else as children and spank them soundly if they are caught with the stuff. All drugs are equally bad and we don't need no scientific education to prove that point and other such drivel. I really don't care if you can listen to music or play music without the use of drugs or with the use of drugs because such a discussion will eventually result in some overgeneralized moralistic crap or some idiotic social engineering scheme which generally involves jail time. If you see yourself as drug free when it comes to music , good for you. I've been potty trained since I was 2 years old but I don't see the need to share it with anyone. I don't need to sound harsh here but I am trying to make a point. What could be an interesting discussion has been clouded up with so much cliche ridden garbage that rational discourse is almost impossible. But go ahead with this thread and prove me wrong -maybe this group is capable of transcending the hysteria! ========================================================================= Date: Wed, 22 Nov 1995 11:30:07 -0500 Reply-To: Gary Wentworth From: Gary Wentworth Organization: PWGSC Subject: Re: Fab T-birds Comments: To: bit-listserv-blues-l@uunet.uu.net Kim and the T-birds are playing in Ottawa, Ontario, Canada at Barrymore's in the next little while. An article in the Ottawa Citizen quotes Kim as saying the band is ready and hot and the show could lead to all-out warfare. The BAND HAS SOMETHING TO PROVE AND WE'RE ABOUT TO FIND OUT WHAT IT IS! Should be a barnburner!! In article <48k3da$6sp@nic-nac.CSU.net>, brg2@AXE.HUMBOLDT.EDU says... > >Far as I know, they ain't never been the T-Birds without Kim Wilson. I >think Kid is still on guitar. Fran on drums. Preston"pinkie" not with 'em. >Would like to know what he's up to these days. >I wouldn't miss 'em! >BRG ========================================================================= Date: Wed, 22 Nov 1995 09:22:01 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Psychedelic Blooz Abe says >Bottom line: If you need to use a chemical to enjoy your own music more, >think of what the members of the audience who are *not* using the >chemicals are going through. > >That being said, I like some of the psycidelic music, like Hendrix, but >not much. I've never understood the fascination with the Doors, late >Beatles, or Zepplin. I make it a policy of never drinking before I play live (a beer or two) is ok. I know that I can't play near as well drunk as when I'm sober. Drinking definatly doesn't open the doors of creativity. I have had friends who used to think that they played better stoned. I confess of having jammed a few times after sharing a joint. Playing the one song for 45 minutes may sound great when you are high but I agree with Abe that the audience needs to be considered. Thank God no-one was listening. I think it's easy to get caught in the "I need to be drunk/stoned to play/listen to music." If you are going to play live then stay off the booze or whatever. I feel that you'll do a better show. To deny that the music of the Beatles, Hendrix, Zeppelin, The Doors etc. wasn't influenced by drugs is just plain stupid. All of these bands have released some quite embarassing material that seemd to be influenced by excessive intake of mind altering substances. Led Zep's concert video "The Song Remains the Same" is just plain bad. There is also a lot of sub-par Hendrix floating around as well (though most of it was released after his death). Yet these bands have realeased some of the greatest music ever. I recently listened to "Seargant Pepper" the other day for the first time in awhile. The album is amazing. The transformation in writing from "I wanna Hold Your Hand" to "A Day in the Life" is stunning. Hendrix' playing on "Machine Gun" (Band of Gypsys) is, bold statement following, the greatest statement by a rock guitarist ever. There is an interview where SRV mentions Albert King telling him that there is a time and place to get high. The gig ain't one of them. I agree. The best music is the music that gets to you without needing the enhancement of chemicals. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Wed, 22 Nov 1995 17:55:28 GMT Reply-To: AND Books From: AND Books Organization: Ripco Internet BBS, Chicago Subject: Re: Music in Chicago MISSISSIPPI HEAT w. Dietra Farr will be at LEGENDS on Dec 14th and at JAY'S (N State) on Dec 15-16th L McCaffrey (LMCCAFFR@SCIENCE.WATSTAR.UWATERLOO.CA) wrote: : Does anyone know who's playing in Chicago in December. I'll be going : there, and want to see some great blues. Any help is appreciated. : Thanks, : Luke : ------------------------------------------------------------------------------ : L McCaffrey ========================================================================= Date: Wed, 22 Nov 1995 12:56:00 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: happy thanksgiving Comments: To: prychitk@OSWEGO.OSWEGO.EDU On 22 Nov 95, David L. Prychitko had this to say... > Look hyeah, Tu'key, stop dat gobblin', > You ain' luned de sense ob feah, > You ol' fool, yo' naik's in dangah, > Do' you know Thanksgibbin's hyeah? > Happy Thanksgiving. > > Dave Prychitko You should try "Pegasus Mail" it has a built in spell checker. What are you doing? Sharing a Thanksgiving song... or making fun of someone's pronunciation? P.W. (Sorry, I tried, but I couldn't stop myself. I find shit like this REALLY tacky) ========================================================================= Date: Wed, 22 Nov 1995 13:01:29 -0500 Reply-To: James Leftwich From: James Leftwich Subject: John Mooney hey, For those of you who posted and/or are interested in John Mooney, I've been informed that his CD on the House of Blues label is finished and will be released in April 1996. Jim ========================================================================= Date: Wed, 22 Nov 1995 10:01:43 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Drugs and Music Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Jim Miller said: (edit edit) >I don't need >to sound harsh here but I am trying to make a point. What could be an >interesting discussion has been clouded up with so much cliche ridden garbage >that rational discourse is almost impossible. But go ahead with this thread and >prove me wrong >-maybe this group is capable of transcending the hysteria! >From what I see, this group has already produced some really thoughtful responses, and no one has gotten hysterical. It's a great crowd on the ol blues-l list. Let me narrow the scope a bit. IMO, 1. The blues is rooted in daily life, love, the struggle for equality, and many other things that have nothing to do with the experience of taking psychedelics. It is rooted in CULTURE, not perception, in experience, not inner knowledge, in relationships, not inner exploration. 2. When this perspective, this outgoing, sociable, gregarious viewpoint, is lost and psychedelia is substituted the music inevitably changes. It is my opinion that it changes very much for the worse. I think that the blues was almost lost during those years that people thought you could tear the roots of the music out of the earth, out of the social interaction it was born in, and "take it to venus". In short, I don't think the blues can BE about drug experiences (which are intensely personal, and tend to turn inward) without losing it's soul. And indeed, for me, finding the real blues artists that were still playing in the '60's and going to black church services, were experiences that took me out of my "self" out of my own perceptions and into a new culture, a new set of relationships. 3. I do not remember a single stoned (grass or otherwise) band playing what I call "Blooz" (blues cliches, warped into psychedelic rock) that really moved me, that really put the blues across. Man, did any of you see BB in the sixties? Compare THAT show to Canned Heat, and even the later Hendrix. I saw Jimi in 1970, in San Diego 3 months before he died. I sat on the stage, 5 feet from him. Listen, I LOVE Hendrix, absolutely love him. Yet even my cherished memories of that show do not compare to his (much earlier) "Live at Winterland" or the "Live at the BBC" disc. When he was so much more rootsy and connected to the blues. So, I guess I am saying that the blues is not *about* what is in your mind while you take drugs, what you see on LSD, or how mellow *you* are on grass/hash. In short, it is not about *you* at all. It is about *US*.... There may be musical styles that are beneficial when stoned. I don't know. But I don't think the Blues is one of them. Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Wed, 22 Nov 1995 12:11:27 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Blues & Drugs On Traditional Delta Blues, Johnny Shines does the tune "Pet Rabbit" , which is about drugs. I have a NEW friend who is a recovering crack addict and I'm there as support for him. I'm not only for support, I'm also going to beat him with a tire tool if I find out he's doing it again (seriously).... Anyway, he relates to the blues music more than ANYONE I'VE EVER TURNED ON TO THE BLUES...PERIOD. He's suffered a great deal and really enjoys the blues. I think he's going to be OK. LW 'not telling anyone what to do' ========================================================================= Date: Wed, 22 Nov 1995 13:20:13 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0890 From: "DUTTWEILER.J" Subject: Re: Psychedelic Blooz Date: Wednesday, 22 November 1995 1:19pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: Psychedelic Blooz In-Reply-To: The letter of Wednesday, 22 November 1995 12:59pm ET I think the correlation of drug use with the increasing sophistication and/or artistic creativity exhibited by rock groups in the sixties is at best an over simplification. Having gone through the whole "mind expanding through drugs" bit, I found generally the only people who think they are somehow "better" on drugs are those who are on them. (How many of you remember feeling totally in control of an automobile while tripping? Kind of scares you to think back on that, doesn't it?) I think groups like the Beatles' music improved because they individuals themselves matured and moved beyond the simplistic themes that captivate the very young. As society as a whole began to ask deeper questions of itself, as the teenagers of the day matured, so the music of that culture matured and stretched itself. Did the drugs play a part? Probably, but I would guess that far more musical projects were sabotaged by drug use then enhanced by it. IMO, very *little* of the most "psychedelic" music of the period actually stands the test of time. Jon (drugs don't make you better, they just make you *think* your better) Duttweiler ========================================================================= Date: Wed, 22 Nov 1995 13:12:24 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Drugs and Music Comments: To: JMILLER%A1.SPEEDY.mrouter@SHAWNEE.EDU On 22 Nov 95, Jim Miller had this to say... > I hesitate to get into any discusion about drugs and music or about drugs and > anything. The hysteria surrounding this topic has dropped the level of discourse > to that of a Bullfrog mating session. If x doesn't enjoy drugs then no one else > will either. If x destroys themselves on drugs then we must treat everyone else > as children and spank them soundly if they are caught with the stuff. All drugs > are equally bad and we don't need no scientific education to prove that point > and other such drivel. > I really don't care if you can listen to music or play music without the use > of drugs or with the use of drugs because such a discussion will eventually > result in some overgeneralized moralistic crap or some idiotic social > engineering scheme which generally involves jail time. If you see yourself as > drug free when it comes to music , good for you. I've been potty trained since I > was 2 years old but I don't see the need to share it with anyone. I don't need > to sound harsh here but I am trying to make a point. What could be an > interesting discussion has been clouded up with so much cliche ridden garbage > that rational discourse is almost impossible. But go ahead with this thread and > prove me wrong > -maybe this group is capable of transcending the hysteria! This would seem to be the perfect opportunity then for you to show us how this subject should be handled rationally, and intelligently. We await your wisdom. ========================================================================= Date: Wed, 22 Nov 1995 13:40:09 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Sonny Boy Williamson(s): two or more? A point of confusion between a friend and me: We know there are two Sonny Boys on record, the first being John Lee Williamson, the second and more legendary Aleck "Rice" Miller. My friend is fairly sure he saw yet another Sonny Boy Williamson in performance in St. Paul, MN, 2 years ago. Is there another one out there still working? Could it be another Sonny Boy with a different last name? I have no idea. Thanks friends, and have a good Thanksgiving holiday! Riffin Rick (((( oo-) /- ....I've got LOTS to be thankful for F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 22 Nov 1995 13:41:57 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: happy thanksgiving Comments: To: "P.W. Fenton" In-Reply-To: <199511221758.MAA73343@tequesta.gate.net> On Wed, 22 Nov 1995, P.W. Fenton wrote: > On 22 Nov 95, David L. Prychitko had this to say... > > > Look hyeah, Tu'key, stop dat gobblin', > > You ain' luned de sense ob feah, > > You ol' fool, yo' naik's in dangah, > > Do' you know Thanksgibbin's hyeah? > > > Happy Thanksgiving. > > > > Dave Prychitko > > You should try "Pegasus Mail" it has a built in spell checker. > > What are you doing? Sharing a Thanksgiving song... or making fun of > someone's pronunciation? > > P.W. (Sorry, I tried, but I couldn't stop myself. I find shit like > this REALLY tacky) Well, P.W., you cut my reference to the author of this poem, Paul Laurence, Dunbar, from his poem called "Signs of the Times." This "shit" as you called it was reproduced exactly as originally published. Obviously you don't know who Dunbar is -- he's arguably one of the best American poets of the turn of the century. He lived from 1872-1906, and was the son of of former slaves. Dunbar popularized negro dialect poetry, and he can be said to have founded such a school. May I suggest, P.W., that you learn a bit more about this "shit" by resorting to the following: Paul Laurence Dunbar, LYRICS OF LOWLY LIFE, originally published in 1896 and republished by Citadel Press in 1984, with an introduction by William Dean Howells. Paul Laurence Dunbar, POEMS OF CABIN AND FIELD, originally published in 1899 and republished by AMS Press in 1972. James Weldon Johnson, editor with preface and critical notes, THE BOOK OF AMERICAN NEGRO POETRY, originally published in 1922 and republished by HBJ in 1969. Perhaps then you may learn a little more of the historical roots of this blues music that we all know and love. Happy Thanksgiving again -- even to you, P.W. Dave Prychitko ========================================================================= Date: Wed, 22 Nov 1995 13:28:18 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re: Drugs and Music Comments: To: Jim Miller Come on, Jim...give us a little break. Maybe I haven't received all the e-mails yet on this subject, but I have yet to read any cliche-ridden hysteria. When I've seen is a handful of thoughtful, PERSONAL opinions. I haven't read any sermons or sanctimonious judgements from anyone. I can recount my personal experiences without judging anyone else's preferences. I think it's very much an individual choice. I enjoy music, can get *inside* music, can be transported by music, (as a listener or a player) without drugs or alcohol. If I choose to alter my mind, my enjoyment (or performance) suffers. My focus shifts from the music to the high, and the music becomes secondary. What a waste of good music. (But a good way to tolerate mediocre or bad music!) And I can say that I quickly become impatient and bored with self-indulgent music; and a lot of players who become more focused on themselves as they indulge in substances, play self-indulgent music. Boring. I suspect most people on this list, especially the ones who play music, will have some interesting insights into this subject. Drop you shields a bit and read what they have to say. Shannon ______________________________ Reply Separator _________________________________ Subject: Drugs and Music Author: Jim Miller at INTERNET_TP Date: 11/22/95 12:27 PM I hesitate to get into any discusion about drugs and music or about drugs and anything. The hysteria surrounding this topic has dropped the level of discourse to that of a Bullfrog mating session. If x doesn't enjoy drugs then no one else will either. If x destroys themselves on drugs then we must treat everyone else as children and spank them soundly if they are caught with the stuff. All drugs are equally bad and we don't need no scientific education to prove that point and other such drivel. I really don't care if you can listen to music or play music without the use of drugs or with the use of drugs because such a discussion will eventually result in some overgeneralized moralistic crap or some idiotic social engineering scheme which generally involves jail time. If you see yourself as drug free when it comes to music , good for you. I've been potty trained since I was 2 years old but I don't see the need to share it with anyone. I don't need to sound harsh here but I am trying to make a point. What could be an interesting discussion has been clouded up with so much cliche ridden garbage that rational discourse is almost impossible. But go ahead with this thread and prove me wrong -maybe this group is capable of transcending the hysteria! ========================================================================= Date: Wed, 22 Nov 1995 11:05:04 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Drugs and Music Comments: To: BLUES-L@BROWNVM.BROWN.EDU. This got butched, so I am re-sending it Jim Miller said: (edit edit) >I don't need >to sound harsh here but I am trying to make a point. What could be an >interesting discussion has been clouded up with so much cliche ridden garbage >that rational discourse is almost impossible. But go ahead with this thread and >prove me wrong >-maybe this group is capable of transcending the hysteria! >From what I see, this group has already produced some really thoughtful responses, and no one has gotten hysterical. It's a great crowd on the ol blues-l list. Let me narrow the scope a bit. IMO, 1. The blues is rooted in daily life, love, the struggle for equality, and many other things that have nothing to do with the experience of taking psychedelics. It is rooted in CULTURE, not perception, in experience, not inner knowledge, in relationships, not inner exploration. 2. When this perspective, this outgoing, sociable, gregarious viewpoint, is lost and psychedelia is substituted the music inevitably changes. It is my opinion that it changes very much for the worse. I think that the blues was almost lost during those years that people thought you could tear the roots of the music out of the earth, out of the social interaction it was born in, and "take it to venus". In short, I don't think the blues can BE about drug experiences (which are intensely personal, and tend to turn inward) without losing it's soul. And indeed, for me, finding the real blues artists that were still playing in the '60's and going to black church services, were experiences that took me out of my "self" out of my own perceptions and into a new culture, a new set of relationships. 3. I do not remember a single stoned (grass or otherwise) band playing what I call "Blooz" (blues cliches, warped into psychedelic rock) that really moved me, that really put the blues across. Man, did any of you see BB in the sixties? Compare THAT show to Canned Heat, and even the later Hendrix. I saw Jimi in 1970, in San Diego 3 months before he died. I sat on the stage, 5 feet from him. Listen, I LOVE Hendrix, absolutely love him. Yet even my cherished memories of that show do not compare to his (much earlier) "Live at Winterland" or the "Live at the BBC" disc. When he was so much more rootsy and connected to the blues. So, I guess I am saying that the blues is not *about* what is in your mind while you take drugs, what you see on LSD, or how mellow *you* are on grass/hash. In short, it is not about *you* at all. It is about *US*.... There may be musical styles that are beneficial when stoned. I don't know. But I don't think the Blues is one of them. Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Wed, 22 Nov 1995 14:08:51 -0500 Reply-To: Gary Wentworth From: Gary Wentworth Organization: PWGSC Subject: Re: SRV Austin City Limits tribute Comments: To: bit-listserv-blues-l@uunet.uu.net Didn't see that one but around the same time (?) there was a special with Buddy Guy & Clapton on muchmusic, I think that was pretty good. At least for MM standards anyway. Saw Buddy earlier this year at a blues festival here in Ottawa along with John Mayall, Kim Simmonds and Luther Allison. Had a good time. See ya, Gary In article <01HXQRVU1A7C925Y6U@uni.edu>, Ronald.Fitch@UNI.EDU says... > >Earlier this year, I read of a SRV tribute with Buddy Guy, Jimmie Vaughan, Eric >Clapton, etc., taped on the Austin City Limits stage. Will this thing ever be >aired or will it go straight to video? > >Always curious, > >Ron Fitch >University of Northern Iowa ========================================================================= Date: Wed, 22 Nov 1995 14:11:19 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: (Fwd) Re: happy thanksgiving > On Wed, 22 Nov 1995, P.W. Fenton wrote: > > > On 22 Nov 95, David L. Prychitko had this to say... > > > > > Look hyeah, Tu'key, stop dat gobblin', > > > You ain' luned de sense ob feah, > > > You ol' fool, yo' naik's in dangah, > > > Do' you know Thanksgibbin's hyeah? > > > > > Happy Thanksgiving. > > > > > > Dave Prychitko > > > > You should try "Pegasus Mail" it has a built in spell checker. > > > > What are you doing? Sharing a Thanksgiving song... or making fun of > > someone's pronunciation? > > > > P.W. (Sorry, I tried, but I couldn't stop myself. I find shit like > > this REALLY tacky) > > Well, P.W., you cut my reference to the author of this poem, Paul > Laurence, Dunbar, from his poem called "Signs of the Times." This "shit" > as you called it was reproduced exactly as originally published. > > Obviously you don't know who Dunbar is -- he's arguably one of the best > American poets of the turn of the century. He lived from 1872-1906, and > was the son of of former slaves. Dunbar popularized negro dialect > poetry, and he can be said to have founded such a school. > Well perhaps I let my emotions get the best of me when I used an impolite word like "shit" to describe how I felt about this "stuff". This stuff, regardless of authorship, I find objectionable. Similarly, I object to the use of the word "nigger", even when it's being used by blacks on blacks. If Mr. Dunbar "is arguably one of the best American poets of the turn of the century", I'll be the person that makes the word "arguably" necessary. The school he founded should have been closed a long time ago. Misspelling ordinary English words is not dialect. Neither is a local accent. Just my feelings. I sincerely wish you a happy Thanksgiving as well. P.W. Fenton Tampa, Florida Please visit my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 22 Nov 1995 14:20:33 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Soul Blues - more Johnson's. Another great GET is Syl Johnson's, Back In The Game. How could I have forgotten this Johnson. Yes the Ernie J is a great get and so is the Syl. As the name implies - Syl is BACK IN THE GAME. This one if you don't have it should be way up on your list too. NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Wed, 22 Nov 1995 17:39:58 GMT Reply-To: hynes_g@IRISH-TIMES.IE From: Graham Hynes Subject: Some info and gossip.... Hi All, Well im back from my trip to Texas. All i can say is i can't wait to get back!!!!. I got to see a lot of good bands (Robben Ford, The Fab t-birds, John Mayall, Luther Allison, Hash Brown and Sam Myers!! at a jam in Dallas, Mike Morgan, Jim Suhler to name but a few great acts). I also have to say that i met some of the nicest people around (Don O.) in particular was such a great guy..( I hope he makes it over here some time!!!!!), unfortunately could'nt meet everyone but thanks for all info etc!!!. Anyway just a bit of news, Rory Gallagher's record company have announced they will be releasing a new album shortly. Seemingly Rory had been working on it on and off for the last couple of years and was almost finished putting it together. More info when i get it. Also a street in France has been named "Rue Rory Gallagher" in honour of the man. It is the first time a street has been named after a musician. His mother and Brother Donal (who was also his manager) were present at the launch. There was a bit of controversy over it , especially here in Ireland (were still waiting on some sort of commemerative!). Finally, if there are any Bluezeller's going to the Carey Bell gig in Mannys Car Wash, New York, there will be friends of mine guesting with him. They are the Mary Stokes band, and they are very big over here in Ireland. They will also be playing in Glastonbury Irish Club, Connetticut on the 24th Nov and Black Eyed Sallys in Hartford, Connetticut on the 30th Nov. If any of you do get to see them please say hello for me. They are a Chicago blues style band with a touch of Irish in them (and i don't mean the Guinness :-)!!. They have performed with a lot of great acts over the years including Johnny Copeland, Carey Bell (2 years ago), Bo Diddley, Johnny Mars, Byther Smith, to name but a few. Well thats all from me for now (you'll be glad to hear :-)!!!). Graham. ========================================================================= Date: Wed, 22 Nov 1995 14:27:14 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0913 From: "DUTTWEILER.J" Subject: Christmas Blues Date: Wednesday, 22 November 1995 2:26pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Christmas Blues Amidst the amazing, to me at least, proliferation of "Christmas Blues" compilations, can any recommend an offering they think is top notch? I've seen adds for Alligator, Bullseye, Pointblank and (I think) Antone's. Anyone familiar with these, or others, that you would recommend? Thanks Jon (I want some Christmas Blues ) Duttweiler ========================================================================= Date: Wed, 22 Nov 1995 14:30:43 -0600 Reply-To: Roger Struve From: Roger Struve Subject: George Harrison, drugs and "good" music. -Reply There was quite a thread on rec.music.makers.acoustic.guitar in the newsgroups on this one a few months ago. I'm quite opinionated on this particular subject as i truly believe that the revolution in music that occurred during the 60's was the direct result of the expansion of conciousness that was a result of drug intake by the general young population (including musicians) at the time. Take, for example, the year 1967 (the summer of love). Jimi Hendrix came out with Are you Experienced?, Buffalo Springfield came out with For What It's Worth, Jefferson Airplane came out with Surrealistic Pillow (still in my mind one of the most fabulous and in some ways one of the most beautiful rock music albums ever heard....listen to Jorma Kaukonen's Embryonic Journey), the Doors (name taken from Alduous Huxley's Doors of Perception....a short but highly interesting book about mescaline tripping (the active ingredient of peyote buttons--yes there are probably other active alkaloids contained therein, as well as poisons too, but the main ingredient responsible for the psychoactivity is mescaline) came out with "the Doors". All of this ultimately came about as a result of the Beatles being turned on to marijuana by Bob Dylan. The results of this drug intake can be heard, i believe if i am remembering rightly so here, in that one song on was it Revolver or Rubber Soul, i forget, so anyway, that song (which name i can't recall at the moment) had some lyrics in it......"this is not dying"....the end of that song is actually the beginning of the first song on Sgt. Pepper's Lonely Hearts Club Band....still considered the greatest album ever produced, and almost considered holy in England. It was the first time that music was solely for "listening to". It created a revolution. The Beatles with their cutesy haircuts got such a negative reaction from millions of American parents when they appeared on Ed Sullivan, that good children everywhere, as they are wont to be, immediately latched on to a harmless way to really piss off mom and dad. The rest is history. One thing led to another.... Never doubt for a second that the drugs were at the bottom of it all. Without that "new way of looking" or, as Donovan Leitch sang in his first album Fairytale, "you see with eyes you've not used yet", that drugs provided, people would still be clinging to their narrow traditional ways of looking at things (albeit there is always a "gradual" change taking place in society) but nothing as abrupt and powerful and so encompassing as what transpired in those days. If you did not live through those days, you missed something that i personally will never forget, nor will i ever let go of the dream of the whole world in love that was shared worldwide by flower children and hippies everywhere. People on drugs started looking around at the status quo, at the materialistic thing that some people had it, and a lot of people didn't, and thought, hey, this is not right....the civil rights movement gained momentum from this consciousness, America was changed forever (and i still think big brother is getting even with us "yuppies" for balking at the system, and "almost" bringing it down forever.) Expanded conciousness also took a look at war, and Vietnam became the controversy of a lifetime. I still believe that we ended that war because of the young people back at home, who for the most part, were stoned. (And i hold nothing against those who did fight in Vietnam...hey they thought it was a lousy war too for the most part as far as i can figure from what i read)...and while i'm thinking about it, this last week i drove by the Ft. Snelling graveyard on the way to the HHH airport in Minneapolis, and tears came to my eyes at the departed laying there in those neat rows and rows of white headstones. Two days later, i see the same thing in the movie Purple Haze, which really is a good representation of what was going on in those heady days. I still cry for the 55,000+ dead men casualties of Vietnam (and hardly ever mentioned, the near 60,000 dead men from the Korean war) and all 12 of the women who died in Vietnam. And let us not forget that drugs have been responsible throughout the ages for great literature and art. While it is debatable that Edgar Allen Poe was really an opium addict (supposedly a false rumour started by his detractors), i frankly find it hard to believe that his bizarre tales were not drug influenced. Look at Friedrich Nietzche, man that guy was loaded all the time, and was obsessive about when and what and where he ate and slept, and everything else. Look at Electric Ladyland. Jimi not only sang it, he played (i think i remember reading this somewhere) every instrument on the album, and he dropped several tabs of lysergic acid diethylamide 25 and mixed the whole thing too! Look at Timothy Leary who ordered (quite legally) and entire ounce of pure LSD from Sandoz Pharmaceuticals in Switzerland. Tell me he hasn't had some influence and it was due to his drug intake. Look at Ginsberg (the poet), Dylan, Donovan, the pre-60's Beatniks (who arguably may have really been the start of the then upcoming revolution)...their "reefers" and coffeehouses were rather unique at the time were they not? Look at Led Zeppelin. Now i know that there have been flame wars about these guys, but hey, do you REALLY think they were that close to the album design, and the credits and stuff? Man, they were doing the music, and many other people were responsible for all that detail work. I don't hold it against Led Zeppelin that they didn't credit some blues men for their songs. Just for some mind thought here, did Robert Johnson credit any of the people whose songs he stole? There is a CD out called, i think, the Roots of Robert Johnson. It is very easy to see the influence that these precursor bluesmen had on RJ. Anyway, i think Son House is the TRUE King of the Delta Blues, and has NEVER received the credit he deserved. Hell, he taught RJ how to play guitar. Am i remembering right here that Son House did walking blues and/or preaching blues before RJ? (DICK WATERMAN>>>>HELP ME OUT HERE). And BTW, didn't almost ALL original bluesmen drink heavily? Alcohol is a drug too. Do you think that a lot of these blues would have come out without the alcohol helping a bit? I don't think so really. Black people were pretty intimidated in those days. The alcohol released a lot of their inhibitions, and besides, they were just trying to have some fun....just like any human beings, including us bluesellers. OK, so this is probably not a flawless pontification on my part....but my emotional attachment to those days, and these previous posts, perhaps keeps me from sacrosanct objectivity here. So forgive me those who may be offended by one thing or another i may have stated....but try to see the message. I'm out of here for 4 days, and i wish you all a most wonderful thanksgiving. We really do have a lot to be thankful for, and a lot of what we are thankful for came about because of widespread consumption of psychoactive substances. ddr ========================================================================= Date: Wed, 22 Nov 1995 13:46:29 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Drugs and Music Comments: To: Don Cicchetti In-Reply-To: <9511221802.AA15950@ helix.lasierra.edu> On Wed, 22 Nov 1995, Don Cicchetti wrote: > 2. When this perspective, this outgoing, sociable, gregarious viewpoint, > is lost and psychedelia is substituted the music inevitably changes. It > is my opinion that it changes very much for the worse. I think that the > blues was almost lost during those years that people thought you could tear > the roots of the music out of the earth, out of the social interaction it > was born in, and "take it to venus". In short, I don't think the blues > can BE about drug experiences (which are intensely personal, and tend to > turn inward) without losing it's soul. Someone correct me if I'm wrong. Isn't Spoonful (the Wolf) a reference to drugs? How bad they can mess you up perhaps? Just curious and probably not related to this thread... -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / As I was riding across the Mississippi \ / I stopped there and I cried. \( No use for a man to keep a mighty river All dammed up inside. -Joe Ely ========================================================================= Date: Wed, 22 Nov 1995 14:59:19 EST Reply-To: Keith_Smaniotto_at_AOS500@ADMIN.TC.FAA.GOV From: Keith Smaniotto Subject: Indy blues does anyone know of any clubs in Indianapolis? I will be in the area from Dec 1 - 11. Thanx Keith ========================================================================= Date: Wed, 22 Nov 1995 19:01:06 EST Reply-To: Jim Miller From: Jim Miller Subject: Drugs and Music Comments: To: BLUES-L When I made my little statement I simply was expressing the fear that I had that this thread would result in typical emotion drenched drivel that almost always is produced when this topic is introduced. I did say I hoped this group would transcend such crap. It has and I am surprised. As for my supposed wisdom I would simply ask the following questions. 1. Can drug use enhance the auditory experience better than the actual playing experience? 2. If a certain % of the population experiences addiction problems is there a certain % of the population where creativity is enhanced? 3. This thread already has introduced the interesting idea that perhaps certain styles of music don't jell with drug use at all. 4. Does drug use enhance creativiy ( or listening experience) only at the start of one's use vs. later when you might just be burnt out? 5. Is being straight Always better for the music experience at all times for all people? 6. Is the cost always worse than the benefits? Or as Keith Richards once said "Is it just an occupational hazard? 7. We tend to define the drug problem in terms of those who are destroyed by it. What % of those are moderate users and is their music experience ( playing or listening ) enhanced or not enhanced? Is there an optimal level of use? 8. And of course all of the above questions involve the idea that we need to differentiate betwee drugs. I believe this list has moved beyond the simplistic notion that drugs are bad, bad ,bad or good,good , good. The world rarely conforms to simplistic ideology. Of course if there was a drug that had millons of Americans staring blankly into space for an average of 4 hours a day it would be instantly declared illegal. We have it already , it's called TV. ========================================================================= Date: Wed, 22 Nov 1995 20:33:34 GMT Reply-To: Bryan Askew From: Bryan Askew Organization: The University of North Carolina at Greensboro Subject: Harmonica: different types. Comments: To: bit-listserv-blues-l@uunet.uu.net I'm interested in learning about some of the different types of harmonicas used by the greats. Not just brands, but different models. The only ones I own are Marine Bands...sort of your basic harmonica. I know there are different types--larger ones, kinds with a little button you push to shift notes, etc. Can someone explain some of the other kinds of harmonicas I might want to look into? -- +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+- Bryan Askew | Computing Consultant | "Whenever I feel the urge to Department of Client Services | exercise, I lie down until Computing and Information Systems | it passes away." University of North Carolina at Greensboro | Bryan_Askew@uncg.edu | --Mark Twain http://www.uncg.edu/~askewb/ | +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+- ========================================================================= Date: Wed, 22 Nov 1995 16:33:23 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: Drugs and Music Comments: To: dcicchet@LASIERRA.EDU In-Reply-To: <9511221802.AA15950@ helix.lasierra.edu> from "Don Cicchetti" at Nov 22, 95 10:01:43 am Don C. wrote: > 1. The blues is rooted in daily life, love, the struggle for equality, and > many other things that have nothing to do with the experience of taking > psychedelics. It is rooted in CULTURE, not perception, in experience, not > inner knowledge, in relationships, not inner exploration. This much I agree with 100%. I'm personally not interested in hearing people's experiences with altered perceptions because I want to hear their experiences in the real world. > So, I guess I am saying that the blues is not *about* what is in your mind > while you take drugs, what you see on LSD, or how mellow *you* are on > grass/hash. Ok, I'm still with you. > In short, it is not about *you* at all. > It is about *US*.... I can't agree with this point. I'd say it's a safe bet that over 95% of pre-1970 blues (and I only make this distinction because I'm not very familiar with post-1970 blues) are in the first person. We all feel anger, frustration, lust, and all the other emotions conveyed in a good blues tune. But, to my perception, every great blues singer has been singing about his or her own personal experiences. Some of these experiences (say, racial oppression) may have been shared by others, but the great blues singers generally didn't sing from beyond the scope of their own feelings. -Rob ========================================================================= Date: Wed, 22 Nov 1995 14:41:14 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: Re: XMAS IDEAS, PLEASE For a FINE soul/blues fix check out Nolan Struck and King Edward's Brother to Brother CD on Paula (#9007). It will be on my top 10 for 1995. The song "How Do You Want Your Thrill" is a classic. 8 of the tunes feature Nolan on vocals and 7 feature his brother King Edward. There are 7 original tunes by the brothers or their producer Bob Jones. You can call Paula Records direct at 1-800-446-2865. Don O. not associated inc. ========================================================================= Date: Wed, 22 Nov 1995 14:57:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re[2]: LUTHER ALLISON IS GOD? Shannon O'Connor and Jim Armstrong were the only takers on this non-thread! I'm a little surprised, like, maybe my breath is bad or something! Looking forward to Friday cuz there's some live unknowns in town to play the blues; I'll keep my fingers crossed! Joe in Moscow J.E._Downey@bakermck.com ========================================================================= Date: Wed, 22 Nov 1995 17:01:57 -0500 Reply-To: 00LCSPECTOR@BSUVC.BSU.EDU From: Lee Spector <00lcspector@BSUVC.BSU.EDU> Subject: Christmas gifts Might I suggest the James Carr compilation or the OV Wright compilation. Stuff like this may never come again. Lee Lee C. Spector Department of Economics Ball State University ========================================================================= Date: Wed, 22 Nov 1995 17:23:27 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Blues Estafette I'm back from the Blues Estafette in Utrecht, Holland regarded by many as the finest blues event in the world. It is always much heralded in the European blues press but receives scant attention in America. Estafette producer Jaap Hinkriks has been producing this event for many years. Each year he travels to the US and, with the assistance of a network of blues experts here, selects the finest roots blues acts he can find. Some have never played outside their local black community, some have never recorded. Jaap is superb at digging up acts who recorded a few times many years ago and have been inactive or at least invisible ever since. These he combines with a few well known headline acts into a twelve hour two stage blues marathon at the Vredenburg Musiccentrum, a state of the art concert facility that hosts jazz, classical and other genres the rest of the year. This years Blues Estafette headlined Keb Mo and Tyrone Davis, but also included Sugar Pie DeSanto, Cookie and the Cupcakes (I could only catch their soundcheck but they were superb, Huey Thiery the original Cookie,Shelton Dunaway, 90% of the original fifties group and five! horns.) The Excello Legends (Earl Gains, Rosco Shelton and Clifford Curry), Jimmy Beasely, Levi Willimas and the Low End Memphis Blues Band, The Dynamic Duo (Blues Boy Hubbbard and Matthew Robinson out of Austin, TX), Little Cooper and the Drifters who recorded in St. Louis in the fifties and have a wonderful new CD out on Black Magic, Miss Lavelle White out of Houston, Jack Owens from Bentonia, MS, and closing the show at two AM, Ray Sharpe of Linda Lu fame. I am honored to have brought Big Clara McDaniel and the Magnatones (the fifth act I have brought there from St. Louis.) I don't want to toot my own horn too loudly but Clara and the band did an excellent job and received an encore. Perhaps Jean-Pierre Urbain or some of the crew from Blues & Rhythm who were there would care to offer further comments. The backstage highlight came when Jack Owens asked to play Keb Mo's National steel. Keb brought it over and sat listening reverently to Jack play as thirty photographers converged to catch the torch-passing symbolism of the moment. After a few songs from Jack he passed the guitar back to Keb who treated all present to a delightful private show. Jaap Hindriks has built a reputation for his event that even though you may not have heard of half or more of the acts on the bill, you know you will be treated to superb authentic blues, and the event sells out well in advance every year. The accomodations, soundgear, food, pay etc. are all great. The artists are truly treated like royalty. Jaap prides himself on bringing American blues acts to Europe for the first time, and the opportunity often serves as a stepping stone to boost their careers over there. Oddly or not so oddly, once they have played Europe a few times they then become marketable in the US. This certainly proved to be the case for Big Bad Smitty when he went in '91. Kudo's then to Jaap Hindricks and the Blues Estafette for immeasureable service to the preservation and continuation of the real blues. ========================================================================= Date: Wed, 22 Nov 1995 14:15:55 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: SONY/LEGACY'S RHYTHM & SOUL SERIES : T.S.O.P Comments: To: BluesHvn@aol.com Today Bernie Lowe would have been 78 years old. In many ways he was a father of "The Sound of Phildelphia" (T.S.O.P.), the term often used to describe the Philadelphia International Label, in particular the Kennth Gamble-Leon Huff productions recorded at Joe Tarsia' Sigma Studios. Gamble, Huff & Tarsia (as well as Thom Bell, Bobby Martin, Norman Harris, Bobby Eli, etc.) all worked for Bernie Lowe & Kal Mann's Cameo-Parkway Label - the same label that had (dance) hits like "The Twist" (Chubby Checker, '60), "The Bristol Stomp" (The Dovells,'61), "The Wah-Watusi" (Orlons,'61), "The Mash Potato Time" (Dee Dee Sharpe,'62), etc. Along with Berry Gordy's Gordy-Tamla Records, Florence Greenberg's Scepter/Wand Records, (and some say Jim Stewart-Mae Axton's Stax/Volt Records), Cameo-Parkway was a pioneer in having pop success with Black artists. With Joe Tarsia behind the board, Sigma Studios (now located where Cameo/Parkway's Rec-O-Art Studio was), recorded much of the best in early 70s soul music - recordings by The Manhattans (w/Gerald Alston), The Intruders (w/Little Sonny Brown), Harold Melvin & The Bluenotes, The O'Jays, Billy Paul, etc. The new installment in Legacy's Rhythm & Soul Series - see discography below - has ample proof how successful this sound was, with the following Top 10 R&B hits (all recorded at Sigma) - most of which also had pop success - included in this series : "Cowboys To Girls" (The Intruders,'68), "Don't Take Your Love" (The Manhattans,'74) "I'll Always Love My Mama" (The Intruders,'73), "I Kinda Miss You" (The Manhattans,'76) "I Want To Know Your Name" (The Intruders,73), "It Feels So Good To Be Loved So Bad" (The Manhattans,'77) "Kiss And Say Goodbye" (The Manhattans,'76) "Love Is Like A Baseball Game" (The Intruders,'68) "Sexy" (MFSB,'75) "T.S.O.P. (The Sound Of Philadelphia)" (MFSB,'74) "There's No Me Without You" (The Manhattans,'73) "Together" (The Intruders,'67) "When We Get Married" (The Intruders,'70) The musicianship on these records is quite outstanding. With Leon Huff (gospel piano), Leonard Anthony "Lenny" Pakula (organ), Vincent "Vince" Montana Jr. (vibes) and the award winning rhythm section of Earl Young- Ronnie Baker-Norman Harris (who were just inducted into The Philadephia Walk of Fame in Jun'95, along with The Delfonics), you have a nucleus of a band that was a match to the best at Stax or Motown Records. The MFSB CD is a good example of what to expect, with tracks like Sir Mack Rice-Johnnie Taylor's "Cheaper To Keep Her" and Pakula's arrangement of The O'Jay's "Back Stabbers" being highlights of this set. Like Cameo- Parkway, Phildalephia Internation Records also allied themselves with a powerful DJ & TV, Don Cornelius's SOUL TRAIN, which is celebrating it's 25th Anniversary this year (while Cameo-Parkway connected with Dick Clark's AMERICAN BANDSTAND). The "AM I BLACK ENOUGH FOR YOU" is a sampler featuring artists like Billy Paul, Sly & The Family Stone, Isley Brothers, The O'Jays, MFSB, The Intruders, Harold Melvin & The Blue Notes, Bunny Sigler, and The Jacksons, with songs that "represents the coming to consciousness of a culture, a people and the regard in which they held themselves, and each other." Tracks like "Keep Smilin" (Bunny Sigler), "Don't Call Me Brother" (The O'Jays), "Thank You For Talkin' To Me Africa" (Sly Stone) are just few examples that bring it all home. Surprisingly, Leo Sacks (the compiler) did not include The Intriders' "(How Can) A Nice Girl Like You (Fall In Love With A Black Guy Like Me)" - but it is included in The Intruders' CD. For the record, songwriter and co-founder of CAMEO-PARKWAY Records, BERNIE LOWE was born Bernard Lowenthal, Thursday, November 22, 1917, Philadelphia, PA., and died Wednesday, September 1, 1993, Wyncote, PA. He & his partner Kal Mann (b. 1917/MAY/06, Philadelphia, PA.) were inducted into The Philadelphia Walk Of Fame in April 1993. Today, their one-time accountant Allen Klein (of ABKCO Records) owns the Cameo-Parkway catalog & has yet to (even) licensed the masters. So oldies fan, beware of imitations! Discography =========== LEGACY CD 64662 : MANHATTANS - KISS AND SAY GOODBYE - BEST OF LEGACY CD 66688 : INTRUDERS - COWBOYS TO GIRLS - BEST OF LEGACY CD 66689 : MFSB - LOVE IS THE MESSAGE - BEST OF LEGACY CD 67105 : VARIOUS - AM I BLACK ENOUGH FOR YOU ========================================================================= Date: Wed, 22 Nov 1995 23:15:41 GMT Reply-To: Ted Weber From: Ted Weber Organization: Amps n More BBS Subject: Re: Indy blues Comments: To: bit-listserv-blues-l@uunet.uu.net In article <9510228170.AA817081634@admin.tc.faa.gov>, Keith Smaniotto wrote: > does anyone know of any clubs in Indianapolis? I will be in the area > from Dec 1 - 11. The Slippery Noodle Inn on South Meridian, a couple blocks south of the circle. Ted ========================================================================= Date: Wed, 22 Nov 1995 21:53:29 GMT Reply-To: mckenzie@ipcs.demon.co.uk From: "Ian K. Mckenzie" Subject: Re: Life gits tedious, don't it? Comments: To: bit-listserv-blues-l@nac.no Mike Gilbert wrote: > This ended up in my mail from another list. I'd love to hear/read >the rest of this sometime. > >Water in the well's gettin' lower and lower, >Caint take a bath for six months more! >Life gits tedious, don't it? > >Hound dog's howlin' so forlorn, >Laziest dog that ever was born! >He's howlin' 'cause he alayin' on a thorn, >An' he's jist too tired t' move over! >Life gits tedious, don't it? The original of this song (?) was recorded by Carson Robison and his Pleasant Valley Boys (MGM 10224-a) (No date- I've got an orginal 78) The full lyric goes like this. Open the door the flies swarm in Close the door and I'm sweatin' agin Walk too fast and I crack my shin Life gits tejus dont it. Water in the well's gettin' lower and lower, Cain't take a bath for six months more! But its been said and its true I'm sure Too much bathin'll weaken yuh. My old mule I think he's sick Jabbed him in the rump with a pin on a stick That old critter won't even kick There's somethin' cockeyed somewhere Hound dog's howlin' all forlorn, Laziest dog that ever was born! He's howlin' 'cause he sittin' on a thorn, An' he's jist durn lazy t' move over! Troubles and and taxes Debts and woes All life's problems - so it goes And now I'm a gittin' a cold in my nose Life gits tasteless dont it Open the door the flies swarm in Close the door and I'm sweatin' agin Walk too fast and I crack my shin Life gits tejus don't it. *********************************************** Ian K. McKenzie University of Portsmouth England ************************************************** ========================================================================= Date: Wed, 22 Nov 1995 22:41:05 GMT Reply-To: Steve Franz From: Steve Franz Organization: Primal Art Subject: Re: It Hurts Me Too ?? Comments: To: bit-listserv-blues-l@uunet.uu.net In article <48omh2$oui@nnrp3.news.primenet.com>, "A.C. Brockton" wrote: > For what it's worth... > > I have an Elmore James collection that credits this song to Mel London, > a producer. > > The John Mayall compilation London Blues also credits London. > > Seems that blues writing credits are a game of who claimed it first... fyi, the writer's credit on the *original* label of my 78 copy of Chief 7004, "It Hurts Me Too" by Elmore James and His Broomdusters, the credit goes to Mel London. And also fyi, yes, Tampa Red did record it first. In fact, he liked it so much, he recorded it twice (1940 and 1949, I believe). just thought you'd like to know. Steve Franz Compiler and editor of "Elmore James: The Ultimate Guide to the Master of the Slide" ========================================================================= Date: Wed, 22 Nov 1995 22:54:17 UT Reply-To: kevin boyle From: kevin boyle Subject: Re: Blues scales : >> I'm tired of playing in diatonic scales, Diatonic : >> blues scales accepted. And if someone knows something diferent scales to : >> play with silde, I would be glad. : real trick to playing slide is the technical aspects. Once you get that down : it's rather easy. As far as blues scales go anything can be played in a blues : context. It's easy to get bogged down in minor pent. and forget major scales, : natural/harmonic/melodic minor etc. Also, don't forget intervals and : arpeggios:-) Forget you ever heard the words diatonic, pentatonic, harmonic/melodic and all that jive. Playing slide is the most elemental thing you can do with a guitar, aside from beating on it. Just sing the notes to yourself and locate them with your slide. All other considerations, like tone and finesse, will develop. It's not technique, it's feel. If you practice scales and arpeggios first, you'll sound like another pedestrian imitator. You can't make a science out of playing blues slide, unless your goal is to sound like Duane Allman or someone. I doubt Muddy sat around wondering what diatonic scales to practice, so why should you? K Boyle ========================================================================= Date: Wed, 22 Nov 1995 18:39:08 -0500 Reply-To: USBLUE5@AOL.COM From: "Gordon, Rich" Subject: Re: Biker Blues fan, + and - 's. Comments: To: MILLER@sci.wfbr.edu I play in the Basement Blues Band and our favorite gig is The Two Wheel Inn...these are serious Angels and Henchmen and they love us....They treat us very well and it's always a great time for all. Rich Gordon ========================================================================= Date: Wed, 22 Nov 1995 23:54:36 GMT Reply-To: boydroid@teleport.com From: Boyd Martin Organization: Teleport - Portland's Public Access (503) 220-1016 Subject: Sonny Terry CD? Comments: To: bit-listserv-blues-l@uunet.uu.net Hello I'm writing you because I'm looking for an old record of Sonny Terry. It was released before 1973 and the cover was in silver color with a portrait of Sonny Terry printed in black with big dots. It's all I can remember. It's not a lot May be you can help me ? Does this record exist on CD ? Many Thanks for your help Yves Beaufays scripto@skynet.be ========================================================================= Date: Wed, 22 Nov 1995 23:19:07 UT Reply-To: kevin boyle From: kevin boyle Subject: Little Buster > >There's another one, it's by Little Buster & the Soul Brothers but I can't >find the cd to give you the name...someone mentioned a while ago and might >repost the info for you. Little Buster and the Soul Brothers, RIght On Time!, Bullseye Blues CD BB 9562. Its really good! Tom Freeland I used to play with Little Buster up in Long Island, can anyone tell me if he is still in NY? I had no idea he had recorded. That man was the most powerful singer I ever heard, awesome guitar. He played everything in some kind of open F tuning, if I remember right. K Boyle sourdust@msn.com ========================================================================= Date: Wed, 22 Nov 1995 19:08:27 -0500 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: Spoonful Comments: To: Jeff Seale In-Reply-To: On Wed, 22 Nov 1995, Jeff Seale wrote: > Someone correct me if I'm wrong. Isn't Spoonful (the Wolf) a reference > to drugs? How bad they can mess you up perhaps? Not quite. Mississippi John Hurt sang a song with the line "I love my baby by the lovin' spoonful." That lyric inspired John Sebastian and company to name their band. The "spoonful" in these instances refers to ejaculate -- not heroin. Brenda Bogert Louisville KY ========================================================================= Date: Wed, 22 Nov 1995 18:31:13 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Harmonica: different types. Comments: To: Bryan Askew > From: Bryan Askew > I'm interested in learning about some of the different types of > harmonicas used by the greats. Not just brands, but different models. > The only ones I own are Marine Bands...sort of your basic harmonica. I > know there are different types--larger ones, kinds with a little button > you push to shift notes, etc. For all intents and purposes there are only two kinds of harmonica used to play blues - diatonic harps like the Marine Band with major-key tuning, and chromatic harps (the kind with the "little button", although the button is rarely used when playing blues). There are many other models out there (eg, minor-key harps and a variety of other specialized tunings, harps with multiple sets of reeds, bass harps, etc) but these are rarely if ever used for blues. Marine Bands and plastic-bodied diatonics like the Lee Oskar or the Hohner Golden Melody are probably the most widely used blues harps. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Thu, 23 Nov 1995 02:51:19 GMT Reply-To: Dave Gotwisner From: Dave Gotwisner Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: Sonny Boy Williamson(s): two or more? In article <01HXY1PLLE4I003C7F@sci.wfbr.edu>, Rick Miller wrote: >A point of confusion between a friend and me: We know there are two Sonny Boys >on record, the first being John Lee Williamson, the second and more legendary >Aleck "Rice" Miller. My friend is fairly sure he saw yet another Sonny Boy >Williamson in performance in St. Paul, MN, 2 years ago. Is there another one >out there still working? Could it be another Sonny Boy with a different last >name? I have no idea. > >Thanks friends, and have a good Thanksgiving holiday! > >Riffin Rick (((( I am working from memory here (I am at work, the book is at home), but Blues Records (which is a list of a lot of blues albums by artist, through about 1970) lists 3 or 4 different Sonny Boy Williamsons who had recorded by then. Since they attempted to combine artists when they performed under different names into one person in the book (such as Big Walter Horton, Shakey Horton, and Mumbles Horton all being listed together), they probably are different S.B. Williamsons. Now there may also be more that have recorded since then. There are also several other people who have used "Sonny Boy" as a nickname since then also. -- "I am an invisible man. No, I am not a spook like those who haunted Edgar Allan Poe; nor am I one of your Hollywood-movie ectoplasms. I am a man of substance, of flesh and bone, fiber and liquids -- and I might even be said to possess a mind. I am invisible, understand, simply because people refuse to see me. Like the bodiless heads you see sometimes in circus sideshows, it is as though I have been surrounded by mirrors of hard, distorting glass. When they approach me they see only my surroundings, themselves, or figments of their imagination -- indeed, everything and anything except me." -- Ralph Ellison (from the Invisible Man) ========================================================================= Date: Wed, 22 Nov 1995 23:22:05 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Blues Video/Film I am aware of some of the blues video available, especially the fine Ulman films available through Shanachie, of artists such as Lightnin' Hopkins, Bukka White and Son House. I've got a bit of Muddy Waters, Howlin' Wolf and Freddy King. The two artists I've not seen available anywhere are Jimmy Reed and Elmore James. Are any of you aware of the existance or commercial availability of visual material on either of these artists? I believe this question raises a greater one. There are many other now-deceased artists I would love to have seen. Where is the film? Are the owners sitting on it waiting for higher prices? in fear of royalty disputes not having signed releases? Will we get to see any of it in our lifetimes? Much of the early rock and roll I grew up with has been exhibited on PBS and elsewhere but in the area of blues there are tremendous gaps. Does anyone know of out of the way sources? Does anyone have a theory on why this is so, or perhaps what we as a group might be able to do about it? Joel Slotnikoff | BLUES WORLD e-mag Box 21652 | http://www.inlink.com/~joelslot St. Louis, MO 63109 | articles, images, reviews, (314) 647-2447 | 78rpm record auction joelslot@inlink.com | blueslinks ========================================================================= Date: Wed, 22 Nov 1995 20:20:53 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: James "Sparky" Rucker I'm listening to the '85 American Folk Blues Festival CD, and most of it is pretty bad, except from James "Sparky" Rucker. Good acoustic slide, interesting vocals, clever lyrics. He's on another AFBF CD, too--1983, I think. Anyway, I don't think I've ever seen/heard him anyplace else. Anybody know the story on this guy? Karen ========================================================================= Date: Thu, 23 Nov 1995 04:45:38 GMT Reply-To: Jim Colegrove From: Jim Colegrove Organization: DFWNet -- Public Internet Access Subject: Re: Spoonful Comments: To: bit-listserv-blues-l@uunet.uu.net Brenda Bogert wrote: >On Wed, 22 Nov 1995, Jeff Seale wrote: > >> Someone correct me if I'm wrong. Isn't Spoonful (the Wolf) a reference >> to drugs? How bad they can mess you up perhaps? > >Not quite. Mississippi John Hurt sang a song with the line "I love my >baby by the lovin' spoonful." That lyric inspired John Sebastian and >company to name their band. The "spoonful" in these instances refers to >ejaculate -- not heroin. > >Brenda Bogert >Louisville KY Charlie Patton, one of Wolf's early mentors, recorded "A Spoonful Blues" in 1929. I got the impression from that song that it was about the meaningless things in life that humans seem to covet over the truly enlightening. Or maybe it's just about dope. ========================================================================= Date: Thu, 23 Nov 1995 00:55:50 -0500 Reply-To: JIMBLUE1@AOL.COM From: Jim Armstrong Subject: Re: Muddy Waters & Bob Margolin Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu In a message dated 95-11-22 09:23:24 EST, ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU (L W) writes: >. I think he >was being very hypocritical and I think his only claim to fame is that he >played with MUDDY...Just MHO LW Maybe his biggest claim to fame, but only? He does have a couple of releases out; I think those qualify as claims to fame. Jim Armstrong ========================================================================= Date: Wed, 22 Nov 1995 23:57:29 -0700 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: Christmas Blues Comments: To: "DUTTWEILER.J" In-Reply-To: This may be a bit far afield, but the Christmas recording put together by Phil Spector is a lot of fun. Not too bluzy, but as an alternative to Bing Crosby's "White Christmas" it is a breath of fresh air. Jay Watterworth CU Boulder On Wed, 22 Nov 1995, DUTTWEILER.J wrote: > Date: Wednesday, 22 November 1995 2:26pm ET > To: Internet > From: DUTTWEILER.J@GOMAIL > Subject: Christmas Blues > > > > Amidst the amazing, to me at least, proliferation of "Christmas Blues" > compilations, can any recommend an offering they think is top notch? I've seen > adds for Alligator, Bullseye, Pointblank and (I think) Antone's. Anyone > familiar with these, or others, that you would recommend? Thanks > > Jon (I want some Christmas Blues ) Duttweiler > ========================================================================= Date: Thu, 23 Nov 1995 05:16:27 -0800 Reply-To: Richard Del Grosso From: Richard Del Grosso Subject: Re: James "Sparky" Rucker Comments: To: Karen Hanson In-Reply-To: <951122202053_31316851@emout05.mail.aol.com> Karen, I've known Sparky for a long time. He is a great playe, singer, and storyteller. He is a student of history, and he presents great programs in the history of African-Americans, especially the period post Civil War.He has a powerful guitar style and an extremely powerful voice. Because he has stayed with the acoustic blues, he has had to work folk festivals instead of blues, but he really should be heard at blues festivals.Someday blues promoters will recognize that there are more different players than the BB King clones and start offereing audiences the opportunity to hear other great performers. Rich DelGrosso Blues Revue On Wed, 22 Nov 1995, Karen Hanson wrote: > I'm listening to the '85 American Folk Blues Festival CD, and most of it is > pretty bad, except from James "Sparky" Rucker. Good acoustic slide, > interesting vocals, clever lyrics. He's on another AFBF CD, too--1983, I > think. Anyway, I don't think I've ever seen/heard him anyplace else. > Anybody know the story on this guy? > > Karen > ========================================================================= Date: Thu, 23 Nov 1995 09:28:36 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - November 23rd HAPPY THANKSGIVING ================== Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ACUFF, ROY CLAXTON (FATHER OF COUNTRY MUS)b. 1992-1123, NASHVILLE, TN 89 BURNSIDE, R. L. (g/FAT POSSUM REC) b. 1926-1123, HARMAN TOWN, MS COCOMO JO (JOSEPH BARTHELEMY) (1-man band)d. 1990-1123, NEW ORLEANS, LA 77 DAVIS, JOHN "BIG" (of SEA IS. SINGERS) d. 1972-1123, HARRINGTON-FORT 69 EVERETT, BETTY (v/VEE JAY REC) b. 1939-1123, GREENWOOD, MS GAY, HARRY (g/TARTER & GAY) b. 1904-1123, GATE CITY, VA GLENN, TYREE (tbn/BUDDY TATE) b. 1912-1123, CORSICANA, TX LANE, MARY (v) b. 1935-1123, CLARENDON, AR LITTLE MIKE(MICHAEL MARKOWITZ)(g/BLIND PIGb. 1955-1123, QUEENS, NY LYNNE, GLORIA (v) b. 1931-1123, NEW YORK CITY, NY MILES, LUKE "LONG GONE" (g) d. 1987-1123, LOS ANGELES, CA 62 PETERSEN, HOLGER (prod/owner:STONY PLAIN) b. 1949-1123, PELLWORM IS.GERMANY PORTER, KING (JAMES A. POPE) (v/tpt) b. 1916-1123, BESSEMER, AL REIG, TEDDY (prod/SAVOY REC) b. 1918-1123, HARLEM, NY SHAW, BERNARD (sax/BIG JAY MCNEELY) d. 1959-1123, SAN FRANCISCO, CA 22 SMITH, AL (prod/songw/REED/HOOKER) b. 1923-1123, BOLIVAR CTY, MS SWANGIN, THOMAS O. (sax) b. 1918-1123, NEWARK, NJ WILLIAMS, L. D. (tsax/JAMES BROWN) d. 1994-1123, LOS ANGELES, CA 70 ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 23 Nov 1995 13:59:09 GMT Reply-To: Scott Barretta From: Scott Barretta Organization: Lund University Subject: ain't just hippies getting stoned Comments: To: bit-listserv-blues-l@uunet.uu.net The talk here seems to suggest that stoned musicians somehow began in 1967, ex comparing performances by Canned Heat and BB King. If we take being stoned as a negative criteria for analyzing music I guess we have to throw out the work of Louis Armstrong and many other jazz and blues greats. Check out Mezzrow's book for some good documentation of how widespread toking up was. gimme champagne when I'm thirsty, reefer when I wants to get high ========================================================================= Date: Thu, 23 Nov 1995 09:52:49 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Paul Laurence Dunbar >>This stuff, regardless of authorship, I find objectionable. >>Similarly, I object to the use of the word "nigger", even when it's >>being used by blacks on blacks. If Mr. Dunbar "is arguably one of >>the best American poets of the turn of the century", I'll be the >>person that makes the word "arguably" necessary. The school he >>founded should have been closed a long time ago. Misspelling >>ordinary English words is not dialect. Neither is a local accent. Sorry, your opinion is your opinion, but I'm afraid most literary scholars would disagree with you here. Dunbar's "misspellings" were an attempt to reproduce the speech he heard from his people--his family, his friends, his loved ones. He did not use the dialect--and it IS dialect--because of ignorance or disrespect. Instead, it's a proud affirmation of his identity. Dunbar was one of the first American poets, Black or White, to speak out against discrimination and oppression. You might be familiar with his most well-known poem, "Sympathy," which begins, "I know why the caged bird sings..." (Recognize it now?) Dunbar's poems are rich with symbolism, imagery, and a melodic sense of rhythm and sound. His use of dialect in some of them is entirely appropriate. Karen ========================================================================= Date: Thu, 23 Nov 1995 10:29:02 CST Reply-To: JBards From: JBards Subject: Re: Blues Video/Film Comments: To: Joel Slotnikoff My friend Scott Dirks is the producer of a blues radio series in Chicago and also harp player for a local group called the Ice Cream Men: he's been on search for Little Walter film for a long time, and apparently there's not much out there. I know he'd appreciate any help the blues-ellers might offer. -jim _______________________________________________________________________________ Subject: Blues Video/Film From: Joel Slotnikoff at INTERNET-SH Date: 11/22/95 10:56 PM I am aware of some of the blues video available, especially the fine Ulman films available through Shanachie, of artists such as Lightnin' Hopkins, Bukka White and Son House. I've got a bit of Muddy Waters, Howlin' Wolf and Freddy King. The two artists I've not seen available anywhere are Jimmy Reed and Elmore James. Are any of you aware of the existance or commercial availability of visual material on either of these artists? I believe this question raises a greater one. There are many other now-deceased artists I would love to have seen. Where is the film? Are the owners sitting on it waiting for higher prices? in fear of royalty disputes not having signed releases? Will we get to see any of it in our lifetimes? Much of the early rock and roll I grew up with has been exhibited on PBS and elsewhere but in the area of blues there are tremendous gaps. Does anyone know of out of the way sources? Does anyone have a theory on why this is so, or perhaps what we as a group might be able to do about it? Joel Slotnikoff | BLUES WORLD e-mag Box 21652 | http://www.inlink.com/~joelslot St. Louis, MO 63109 | articles, images, reviews, (314) 647-2447 | 78rpm record auction joelslot@inlink.com | blueslinks ========================================================================= Date: Thu, 23 Nov 1995 16:36:43 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Re: Blues Estafette Let me SECOND Joel's emotion 1000 times. What could I say more! I do indeed think the Utrecht BLUES ESTAFETTE is the most interesting blues festival I know of and Jaap (a truely nice person in addition) does a truely wonderfull work for the blues. I hope to send some more details on Utrecht as early as I can (that means when I've finished dealing with my hard-disk problems) but I just want to say that Big Clara was indeed first class, a great show in the small hall (ask to the B&R folks...). ========================================================================= Date: Thu, 23 Nov 1995 11:45:46 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: George Harrison, drugs and "good" music. -Reply Comments: To: roger.lew.struve@medtronic.com Early on the Thanksgiving morning of Novermber 23rd, I was reading Roger Struve's post and suddenly see: >>>(DICK >>>WATERMAN>>>>HELP ME OUT HERE). One again, Waterman was scrolling and reading. . .scrolling and reading . . and MY NAME suddenly jumps up at me !!! Scared the sh*t out of me. Whew! Yes . . . Son House recorded "Preaching Blues' and "Walking Blues" in 1930. Johnson did them about six or seven years later. The Son House version of "Walking Blues" was not found until less than 10 years ago when it turned up as an unknown test pressing prior to the documented session songs. As far as blues men (and women) drinking, in those days it was hard to come by the money for 'store bought' whiskey so everyone knew someone who mixes 'white lightning' in a backyard still. Of course, there was Sterno, more comonly known as 'canned heat,' which was the beverage du jour of blues great Tommy Johnson. A Happy Thanksgiving to all and I must remind myself not to read any long posts until I am into my second cup of coffee . . . Dick Waterman ========================================================================= Date: Thu, 23 Nov 1995 11:51:10 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Sitting&Thinking-Yank Rachell. Comments: To: bit-listserv-blues-l@uunet.uu.net By special request and still as part of NY CD Blues' follow- up on eRIC's great Delmark & Bob Koester tribute (also under threat of verbal attack :) -are you listening) here's 1 more - YANK RACHELL - Chicago Style (DD #649) DELMARK RECORDS 4121 NORTH ROCKWELL CHICAGO, IL 60616 DEPRESSION BLUES / ROLL ME OVER BABY / CHECK UP ON MY BABY / EARLY IN THE MORNING / DIVING DUCK / LET ME TANGLE IN YOUR VINES / I DON'T BELIEVE YOU LOVE ME NO MORE / GOING TO ST. LOUIS / SUGAR MAMA NYCD Short Takes The blues is built on the backs of many great musicians and many great combinations. Yank Rachell fits the bill many times over. He is an old timer who has infused the blues from way back. His historic recordings with two other blues treasures bears witness to his legacy - Hammie Nixon and Sleepy John Estes. By the way Delmark has been generous enough to record these artists as well. What sets Yank apart from many other bluesmen firstly - is his choice of instrument. Who else do you know who plays the blues on a mandolin? Secondly - it's his original, authentic, down home sounds. He has the grit and gravel that often identifies a blues singer and his instrumentation is straight to the bone blues. This set has the added and updated effects of a full electrified band. Guitar, drums, bass and yes an amplified mandolin - quite a concept to consider. Listen to the quick finger takes by Mr. Rachell on tunes exemplified by Roll Me Over Baby and you'll experience the mastery of the music he makes. He sends out a fast and furious staccato series of picks that roll together into a perfect blend. Listen to each cut and hear the vocals that make so much of the blues blue. Check Up On My Baby opens up with another side to this set - the sweet homespun sounds of the acoustic guitar. It's a nice, easy lopey side that you might just sit back, with a beer in hand, and listen to one sunshiny Tennessee afternoon - which is the home that Yank came from. On the up side are tunes like Early In The Morning. A real barn dance shuffling tune or a traditional house party cut. Listen to the call and return here and get a feel for what the rural south offered for years and years to its inhabitants. Real fun dance music played swing shuffle by a homey set of happy go lucky minstrels. Yank Rachell was one such music maker. Also in this set is the classic classic - Diving Duck, that as Yank proclaims was the first record he made (along with Sleepy John Estes). It's a mid paced shuffle tune that is all mandolin. In addition Yank here ups the vocals and gets higher and more fronted - almost face in the mic singing. This is clearly a personal favorite to Yank, as you will witness in his bold singing and strong mandolin work. On songs like Let Me Tangle In Your Vines the sexual allusions are right there as in so many other classic blues tunes and on a cut like I Don't Believe You Anymore the name of the CD becomes meaningful - it is updated and not so rural. The effects of the Chicago blues and other fast paced and electrified movements has touched even the down home pro of Yank Rachell. Although he never leaves his roots very far behind, he has moved with the times rather than being left behind. This CD is crystal clear in its sound and should be listed as a must own album. Reviewed By Barry Silverberg Copyright NY CD Blues - 1995 -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Thu, 23 Nov 1995 08:56:26 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Little Walter video Re the question about Little Walter video, I have only ever seen one, and it is about 8-10 minutes long, video only, no audio. It is not available to the public for sale or reproduction as far as I know. It was taken on an old super-8 home movie camera, in Chicago, in about 1962 (--??--I could be off here) by Willie Dixon. I've never seen any video with audio of Walter in performance. Maybe ask Dick Shurman?? Jim O'Neal?? Mary Katherine ========================================================================= Date: Thu, 23 Nov 1995 13:05:17 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: Will The Circle Be Unbroken I just found the full lyrics to the old song "Will The Circle Be Unbroken" and I can't help but see a relation here with the traditional blues tune "Death Letter", variants of which have been recorded by Son House, Leadbelly, and others. In particular, I was reminded of Blind Willie McTell's 1949 recording of "On The Cooling Board", which is topically very similar to both "Death Letter" and "Will the Circle.." Does anyone know anything about the history of and relationship between these songs? I'll go through my old songbooks tonight and see if I can find anything... -Rob ps: here are the lyrics to "Circle". Verse 2 is paraphrased quite closely in McTell's "Cooling board" song, and verse 3 is remeninscent of Son House's "Death Letter": Will the Circle Be Unbroken Chorus: Will the circle be unbroken bye and bye, Lord, bye and bye. There's a better home a-waiting in the sky, Lord, in the sky. I was standing by my window on a cold and cloudy day when I saw that hearse come rolling for to carry my mother away. Lord, I told that undertaker undertaker please drive slow for this body that you're hauling Lord, I hate to see her go. I followed close behind her tried to hold up and be brave but I could not hide my sorrow when they laid her in the grave. I went home, my home was lonely Now my mother she has gone all my brothers, sisters crying what a home so sad and alone. ========================================================================= Date: Thu, 23 Nov 1995 09:08:20 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Service for Pete Welding 12/1 The service for Pete Welding will take place Friday evening Dec. 1 at 7 p.m. at the Capitol Records building in Hollywood. Anyone wishing to send a pesonal reminiscence or tribute to be read alound at the service please email it to me as soon as possible. Mary Katherine ========================================================================= Date: Thu, 23 Nov 1995 12:54:34 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Piano bob & snowman Pe> Reply-To: Bennett Pearce Pe> Subject: Re: Piano bob & snowman > PIANO BOB & THE SNOWMAN are a guitar/vocalist and piano duo who play > mostly in the older, pre-War, Barrelhouse and Blues styles. Pe> Sounds Good. Are there any recordings available? Yep, a tape. Contact Piano Bob at (305)663-9746, or write: Bob Wilder, 8325 SW 72 Ave #C-114, Miami FL 33143 ... "This world is alright, the people makes it bad..." Peetie Wheatstraw ========================================================================= Date: Thu, 23 Nov 1995 13:09:41 CST Reply-To: JBards From: JBards Subject: Re: Little Walter video Comments: To: Mary Katherine Aldin Thanks, Mary Katherine. I think I remember Scott mentioning this one, but I will forward it on to him, also. Isn't strange that as much as LW got around, there isn't more (any?) video of him? -Jim _______________________________________________________________________________ Subject: Little Walter video From: Mary Katherine Aldin at INTERNET-SH Date: 11/23/95 11:25 AM Re the question about Little Walter video, I have only ever seen one, and it is about 8-10 minutes long, video only, no audio. It is not available to the public for sale or reproduction as far as I know. It was taken on an old super-8 home movie camera, in Chicago, in about 1962 (--??--I could be off here) by Willie Dixon. I've never seen any video with audio of Walter in performance. Maybe ask Dick Shurman?? Jim O'Neal?? Mary Katherine ========================================================================= Date: Thu, 23 Nov 1995 13:34:46 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Sitting&Thinking-Yank Rachell. Comments: To: bsco@panix.com In a message dated 95-11-23 12:01:28 EST, someone asked (perhaps rhetorically): > What sets Yank apart from many other bluesmen firstly - is his > choice of instrument. Who else do you know who plays the blues > on a mandolin? Ummmm..... Howard Armstrong (Louie Bluie), Coley Jones, Charlie McCoy, Matthew Prater, Charlie Burse, there's got to be others......... Blues-with-mandolin, or that sort of string music is really great, and I highly recommend folks check it out, either in post-war recordings (Yank Rachell in various recordings, and Howard Armstrong) or prewar (Rachel with Estes, Coley Jones with the Dallas String Band, McCoy with his brother and various Chatmans, Burse with Memphis Jug Band). I recently got the Louie Bluie recordings with Calr Martin, Ted Bogan, and the Tennessee Chocolate Drops on Document DOCD 5229, with the 1941 Willie '61' Blackwell recordings. Great stuff. Does anyone know whether the Blue Goose Yank Rachell record is on CD yet? Tom Freeland ========================================================================= Date: Thu, 23 Nov 1995 18:48:26 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Paul Laurence Dunbar In-Reply-To: <951123095248_31786587@mail04.mail.aol.com> > >> P.W. Fenton opined: > >>This stuff, regardless of authorship, I find objectionable. > >>Similarly, I object to the use of the word "nigger", even when it's > >>being used by blacks on blacks. If Mr. Dunbar "is arguably one of > >>the best American poets of the turn of the century", I'll be the > >>person that makes the word "arguably" necessary. The school he > >>founded should have been closed a long time ago. Misspelling > >>ordinary English words is not dialect. Neither is a local accent. > On Thu, 23 Nov 1995, Karen Hanson shot back: > Sorry, your opinion is your opinion, but I'm afraid most literary scholars > would disagree with you here. Dunbar's "misspellings" were an attempt to etc ... While I can "see" what P.W. was saying I can't but think that he was being a little cranky on turkey day. Holidays have that effect on some people. :):) One can't really judge the mores of the turn of the century on the basis of todays standards. Imagine someone "reviving" the Amos and Andy show today. I truly believe they would be lynched. Yet the original is often played on the radio. There is an implicit acceptance of the times as they were ("good" or "bad" as that may be). phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [23/11/95 13:03 PM] "Thursday's always sad..." ========================================================================= Date: Thu, 23 Nov 1995 13:03:42 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Old at 27 Today while explaining how to hear inverted chords in our Ear training class today our insructor mentioned that the first two chords in the outro (the piano bit) during "Layla" are a I chord and then a one with a third in the bass. One of the students asked "Where in the song does it come in?" Joe (the instructor) said "The piano part. At the end." The student then replied "But it's an acoustic song." When I picked myself off the floor I realized that this guy didn't really know who Clapton was. The kid is in his early 20's. I don't know if that's a viable excuse or not but I was floored. A generation now knows "Layla" as the version on "Unplugged" This really scares me. To be honest, that acoustic version is nothing compared to the original. I've heard people play a T-Bone Walker style intro and someone listening has gone "Yeah! SRV!" I came close to hitting a guy who said that once. It really aggravates me. A lot of the music I listen was made well before I was born but is 27 considerd old now? Or is it a sign that the average person has no idea of the rich and varied histroty that Rock, Blues, Jazz etc. has. It scares me to consider this idea. It also scares me to consider that first one too:-) I know that by the time I was eighteen I knew who Robert Johnson, Albert King, T-Bone Walker etc. were. Comments? Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Fri, 24 Nov 1995 08:21:48 +1100 Reply-To: Daniel Bruce From: Daniel Bruce Subject: SRv Live in Austin Got the new SRv Video Live in Asutin yesterday and watched it last night. The first three songs are from a 1983 appearance on Austin City Limits, the next 6 are from a 1989 appearance. Tick Tock plays over the credits only but is listed on the tape as if it is a track from the live show. ( Gee, that pisses me off) Also after the live track is a compilation of images of Stevie Ray & other blues greats (Albert King, Collins, BB King, Jimi Hendrix , Leadbelly, T-Bone etc) Some of it is very old footage and as such quite interesting. Playing over therse images is Little Wing. I felt that the performance itself was not as good as The Live at the El Mocambo video. The very bluesy Leave my Little Girl Alone is no doubt the highlight of the tape. An excellent track. The stuff from 83 is good but stevie looks pale thin and tense. In 89 he looks much healthier (as you would expect) and seems much more relaxed. I always get the impression that a lot of Steveie's live playing is carbon copies of the recorded tracks. I have felt this listening to a number of bootlegs and also felt it on a number of tracks on this video. Anyway , a good video , however if you can only buy one Stevie Ray Video make it Live at the El Mocambo. -- Daniel Bruce | Genasys II Pty Ltd, Sydney, Australia | "Born under a bad sign, been down since I began to crawl | If it wasn't for Bad Luck, Wouldn't have no luck at all" | Albert King | Internet: danielb@g2syd.genasys.com.au ========================================================================= Date: Thu, 23 Nov 1995 17:08:45 -0500 Reply-To: kevin gibson From: kevin gibson Subject: change of e-mail address My new e-mail address is kgibson@voicenet.com please keep me subcribed to the list. Thank You! ========================================================================= Date: Thu, 23 Nov 1995 17:17:27 PST Reply-To: L McCaffrey From: L McCaffrey Subject: Re: Old at 27 Comments: To: Shaun T Cronin In-Reply-To: <199511232108.NAA17458@wavenet.com> On Thu, 23 Nov 1995, Shaun T Cronin wrote: > Today while explaining how to hear inverted chords in our Ear training > class today our insructor mentioned that the first two chords in the outro > (the piano bit) during "Layla" are a I chord and then a one with a third in > the bass. > > One of the students asked "Where in the song does it come in?" Joe (the > instructor) said "The piano part. At the end." The student then replied > "But it's an acoustic song." When I picked myself off the floor I realized > that this guy didn't really know who Clapton was. The kid is in his early > 20's. I don't know if that's a viable excuse or not but I was floored. A > generation now knows "Layla" as the version on "Unplugged" This really > scares me. To be honest, that acoustic version is nothing compared to the > original. I've heard people play a T-Bone Walker style intro and someone > listening has gone "Yeah! SRV!" I came close to hitting a guy who said that > once. It really aggravates me. > > A lot of the music I listen was made well before I was born but is 27 > considerd old now? Or is it a sign that the average person has no idea of > the rich and varied histroty that Rock, Blues, Jazz etc. has. It scares me > to consider this idea. It also scares me to consider that first one too:-) > I know that by the time I was eighteen I knew who Robert Johnson, Albert > King, T-Bone Walker etc. were. > > Comments? > > Shaun > > Shaun Cronin 'The Blues is what exists between a man and a > shaun@wavenet.com woman.' Son House and John Lee Hooker. > > Don't worry, there's no reason to be scared. I'm only 19 and knew of the REAL Layla, long before the unplugged version came along. Although... some of my friends only knew the unplugged version, they were surprised to hear the earlier one. It's true that SRV and similar artists seem to be more popular with the younger blues lovers (just my own personal experiences) but I always give credit where it is due. I am familiar with T-bone, Albert, and my favorites include Robert Johnson and an old LP of Snooks Eglin. I hope I gave some confidence back to everyone. There still are young blues lovers that are aware of history. Luke ------------------------------------------------------------------------------ L McCaffrey ========================================================================= Date: Fri, 24 Nov 1995 00:52:01 GMT Reply-To: Weidel From: Weidel Organization: n Subject: Re: Paul Laurence Dunbar Comments: To: bit-listserv-blues-l@cs.washington.edu In article <951123095248_31786587@mail04.mail.aol.com>, JukeFreak@AOL.COM wrote: If Mr. Dunbar "is arguably one of > >>the best American poets of the turn of the century", I'll be the > >>person that makes the word "arguably" necessary. Karen replied: He did not use the dialect--and it IS dialect--because of > ignorance or disrespect. Instead, it's a proud affirmation of his identity. > Dunbar was one of the first American poets, Black or White, to speak out > against discrimination and oppression. You might be familiar with his most > well-known poem, "Sympathy," which begins, "I know why the caged bird > sings.. While many critics argued that Dunbar's dialect pieces reinforce negative racial stereotypes, they were necessary to his being published at all. Dunbar himself said, "__ I am tired of dialect, but the magazines aren't. Every time I send them something else, they write back asking for dialect. __" This frustrated Dunbar, whose goal was to be a great poet, not a great black poet. He saw the dialect poems as a way for a black poet to be published . He gave the publishers what they wanted, and was able to "smuggle in" some of his serious work like "Sympathy" and "Ode to Ethiopia." If he didn't supply the dialect poems, he would not have been heard at all. I realize this is a little literary for Blues-L, but I am hooked on both. Bob ========================================================================= Date: Thu, 23 Nov 1995 16:09:18 GMT Reply-To: Dave_J._Herda@infozone.telluride.co.us From: "Dave J. Herda" Organization: InfoZone Telluride Co (970)-728-0472 Subject: Re: Old at 27 Comments: To: shaun@WAVENET.COM Hey pal, why don't you get a clue and lay off the people in your class who might not be as "smart" as you. More people are following the blues today than they have in a very long time. Have you ever thought that the reason these people might be in the class is partially to learn about the musicians. Why don't you use your knowledge as a tool, instead of letting it promote your ignorance. Instead of laughing at or wanting to hit someone, why don't you spread some of your "vast wealth of musical expertise". If you took a few seconds and told these people who some of the musicians were and what they stood for, everyone would be a little bit better off. Just a suggestion, why don't you try it! Plow Man ========================================================================= Date: Thu, 23 Nov 1995 19:18:43 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Old at 27 Luke wrote: > Don't worry, there's no reason to be scared. I'm only 19 and knew of >the REAL Layla, long before the unplugged version came along. Although... >some of my friends only knew the unplugged version, they were surprised to >hear the earlier one. It's true that SRV and similar artists seem to be >more popular with the younger blues lovers (just my own personal >experiences) but I always give credit where it is due. I am familiar with >T-bone, Albert, and my favorites include Robert Johnson and an old LP of >Snooks Eglin. I hope I gave some confidence back to everyone. There >still are young blues lovers that are aware of history. Great reply Luke. It;s good to see someone doing their "history homework". Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 23 Nov 1995 23:31:41 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Pollstar is Back! The Pollstar tour database is back up on the Web at: http://www.pollstar.com/search.htm *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Thu, 23 Nov 1995 23:40:39 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Fwd: Re: Old at 27 --------------------- Forwarded message: Subj: Re: Old at 27 Date: 95-11-23 18:03:00 EST From: Jinxblues To: shaun@wavenet.com On Thanksgiving Day, Shaun T. Cronin wrote: >>>A lot of the music I listen was made well before I was born >>>but is 27 >>>considerd old now? Someone once told me that "3" is a mystic number and the most mystic of all was 3 to the third power (i.e. 27). There is the belief that at 27 you will start down the path that will determine the rest of your life. I met Mississippi John Hurt when I was 27 and it changed my life forever. I knew that I was going to be a part of whatever world this man lived in. If he was the muse that I had to follow, I picked a pretty good one. I don't know if you are old at 27. I know that Richard Flohil ("Richard The Elder") and I ("Richard The Younger") are three score plus and still enjoy the movement of a poker chip and a shapely hip. Mister Clapton, a lad of merely 50, can still stir me with "Layla," of course, but there is also a time in a man's life that reponds to him singing, "I turned out the light and said, 'My darling, you are wonderful tonight.'" Yes, Shaun, there is more to life than guitar solos and CD collections . . . Dick Waterman ========================================================================= Date: Thu, 23 Nov 1995 23:48:25 -0500 Reply-To: PaliGap69@AOL.COM From: "(christopher Jones)" Subject: Re: Old at 27 Comments: To: shaun@wavenet.com Well I am 21, and most of the music I enjoy is from before my time, but I know what you are saying. A lot of people my age don't know about any of the stuff you mentioned (i.e the Roots of music) all they are aware of is what has happened in the past 10 years, or what is going on now. I like blues, jazz and some "classic rock" (for lack of a better term). I got into that stuff from listening to more recent artists; Stevie Ray Vaughan got me into Albert King/ the blues is a good example. While you are 6 years older than me, that's not that big of a difference; my sister is 16 and although she like a lot of the shitty bands of the current music scene, she also enjoys the Beatles, Doors, Hendrix and a few older groups. Chris ========================================================================= Date: Fri, 24 Nov 1995 05:11:56 GMT Reply-To: "Mark A. Johnson" From: "Mark A. Johnson" Organization: Netcom Subject: Re: Christmas gifts Comments: To: bit-listserv-blues-l@uunet.uu.net If you're buying for someone who would like some seminal blues in better sound than you might imagine, two recommendations. Howlin' Wolf's Real Folk Blues on beautifully remastered gold CD (MUCH better than the other Chess CD Wolf reissues); and Buddy Guy's I Was Walking Through The Woods on gorgeous 180-gram virgin vinyl. Both by MCA, both very expensive, both worth every penny. -- Mark Johnson ========================================================================= Date: Thu, 23 Nov 1995 22:42:50 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Little Walter video Comments: To: Mary Katherine Aldin In-Reply-To: <199511231656.IAA13524@ix4.ix.netcom.com> I think Mary Katherine may be referring to one of Sam Lay's 8mm home movies, which I've heard about but never seen. As she says, no sound. I don't know anyone who's successfully tracked down any Walter videos, including a documentary crew which tried pretty hard several years ago. Europe seems like the best bet, since audio exists of a couple songs Walter taped in a German TV studio during the 1967 American Folk Blues Festival. ========================================================================= Date: Fri, 24 Nov 1995 00:25:21 -0500 Reply-To: "Daryl F. Bernard" From: "Daryl F. Bernard" Subject: Never too OLD! Regrading the "am I considered old" discussion, let me just say, as it must have been said a ten-thousand times before, 'old' is a state of mind. BB and Buddy seem awfully young to me, when they've got that six-string in their hand, they might as well be ageless. In August of 1994 I attended the Woodstock festival in Saugerties, NY. At the age of 31 I was definitely in the minority, most attendees were 20ish. But I had a fantastic time, age being no barrier. People from at least three different generations, with varied musical tastes, were able to get along in complete harmony under 'difficult' circumstances. (although, when it was all over, my weary body indeed did not FEEL too young!) At any rate-I say stay young as long as you can, you've got the rest of your life to be old! Daryl (dbernard@tardis.svsu.edu) ========================================================================= Date: Thu, 23 Nov 1995 22:11:28 -0800 Reply-To: Garry Segal From: Garry Segal Subject: Taj On TV Comments: cc: Harp-L@garply.com Did anyone catch Taj Mahal on some late night talk show Thanksgiving night ? He played a funky blues I think "Blues Aint Nothin'" was the name. Pretty good for TV. He got to stretch out on harp and played and sang through the same mic. Good example of Taj having such good control over the tone of the harp he didnt need a special set up. Great vocals too! Garry Moodswingerpage http://www.island.net/~blues/BlueSngr.html ========================================================================= Date: Fri, 24 Nov 1995 10:18:50 +0200 Reply-To: xatzakis iason From: xatzakis iason Subject: DROPOUT Comments: cc: 1@zeus.central.ntua.gr R 24.11.95 I request to be erased from the mailing list-unfortunately, I never have the time to read the messages and they keep piling up in the mailbox! e-mail :nm94001@central.ntua.gr thank you ========================================================================= Date: Fri, 24 Nov 1995 09:24:49 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Sparky Rucker ... Blue Goose ... If you can find it somewhere, I consider James Sparky Rucker's JUNE APPAL LP as a very enjoyable example of his music (JUNE APPAL 17 Cold and Lonesome on A TRain). W.r.t. Tom's question about Yank Rachell's superb Blue Goose LP, I'm almost certain that these Blue Goose albums have not yet been reissued on CD. Some of the Blue Goose LP's can (from time to time) still be found in records shops over here in Europe at decent prices (for European standards, that means around 20$-25$). You could try SWINGMASTER in Holland where I picked up very recently the (excellent) Blue Goose LP from SHIRLEY GRIFFITH. They don't have a list but can answer you if you ask specific things. When I bought this one I saw they still had some others great Blue Goose stuff including the Thomas Shaw, Sam Chatmon, Larry Johnson .. Swingmaster, Kruitlaan 21, 9711 TW Groningen, Netherlands. Tel/fax: +31-50- 3124020. Jean-Pierre Urbain P.S. Not affiliated or related to Swingmaster at all. This is just a piece of info! ========================================================================= Date: Fri, 24 Nov 1995 13:36:21 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: CD REview: Jesse Thomas on Topcat/IMP CD JESSETHOMAS "BLUE GOOSE BLUES" Top Cat/IMP Records IMP 704 Blue Goose Blues / behind Close Doors / Lookin' for that Woman / Jack of Diamonds / Boogie Woogie / Zetetter Blues / Guess I'll Walk Alone / Merry Christman / Your Ways and Actions / Gumbo / Bessie Lavon / All the Stuff / Another Friend like Me / Call Me / Blues Goose Blues. Jesse Thomas, who died in Shreveport last August at the age of 87 or 84 (depending on the source), was best known for his Blue Goose Blues recorded back in 1929 for Victor. Jesse Thomas was however much more than that, he was a true but often forgotten early innovator. His personal history and career shows us how an accomplished and innovative guitarist he was. Influencing both directly (and indirectly through Lafayette Thomas) numerous guitar players, Jesse Thomas remained quite active through the decades, adapting his repertoire and his music in the late 40's early 50's, playing R&B, blending jazz and blues, and finally still playing "Blue Goose Blues" on electric guitar in the early 90's! Jesse Thomas could play in almost all "styles", from solo to band setting. This CD, recorded "without overdub" and produced by fellow Richard Chalk, is Jesse Thomas last effort before his ultimate death. Although one had expected the musical abilities of Jesse Thomas to be seriously affected and diminished by a series of strokes he suffered in the last part of his life, this set is a real enjoyable surprise. Nine out of the 16 tracks present Jesse Thomas playing "traditional blues" in a semi-acoustic band setting including the excellent Steve James on guitar, Chris Clark on bass, Tyrone Starks on drums and Dennis Cavalier piano and Paul Harrington on harp. This set opens on a 1994 version of Blue Goose Blues. Steve James is very efficient, as are the remaining members of the band, and the mood is unpretentious and relaxed. From the 7 remaining cuts, four originals are performed in duo with guitar player Dan Garner who travelled and played regularly with him over the last ten years. These are naturally also the most intimates cuts of the album, those where his old age are the most apparent. Not to say that Jesse Thomas has lost his musical abilities, but there's simply something difficult to describe which emanates from these sides: Jesse Thomas doesn't play many notes, but the one he plays are the good ones!. The original 1929 "Blue Goose Blues" closes a very nice and enjoyable tribute to this great influential bluesman. Jean-Pierre Urbain P.S. I don't think that this CD has been published yet in the US. ========================================================================= Date: Fri, 24 Nov 1995 08:39:46 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Detroit Blues Radio Blues-L subscriber Brian Rice recently listed his fave blues shows in the Detroit market. May I suggest he also listens to Saturday Night Blues, carried on the Canadian public network (CBC AM; Michigan people should get it out of Windsor, Ontario) each Saturday Night from 11.05 p.m. to 1,00 a.m. The host is Holger Petersen, who also runs Stony Plain Records (yes, yes, yes, I DO work for them!); any show that uses a Walter Horton instrumental for its theme can't be all bad! Of course, other fans along the world's longest undefended border (blah blah blah) might also be able to receive the show, too. Petersen always features a wide variety of blues artists known only to Canajuns, which might be refreshing for those of you south of here. Given the constant attentions of predatory right-wing governments up here, the fact that the CBC still exists at all is cause for wonderment, but it does, and this show is a good reason why it should.-Richard the Elder ========================================================================= Date: Fri, 24 Nov 1995 09:25:14 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - November 23rd RETAIL ORGY DAY =============== Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BENHAM, JIM (owner: PALO ALTO REC) b. 1935-1124, JOLIET, IL BEST, PETE (:) (d) b. 1941-1124, MADRAS, INDIA BROWN, J.T."NATURE BOY"(tsax/ELMORE JAMES)d. 1969-1124, CHICAGO, IL 59 CHALOFF, SERGE (bsax) b. 1923-1124, BOSTON, MA COLLINS, ALBERT (g) d. 1993-1124, LAS VEGAS, NV 61 DAVIS, BILL "WILD" (o/p/arr/LOUIS JORDAN) b. 1918-1124, GLASGOW, MO DUKE OF IRON [CECIL ANDERSON] (g/songw) d. 1968-1124, JAMICA, L.I., NY 62 DUNN, DONALD"DUCK" (b/BOOKER T./STAX REC) b. 1941-1124, MEMPHIS, TN GARRETT, ROBERT "BUD" (g/EXCELLO REC) d. 1987-1124, FREE HALL, TN 71 HENDERSON, ROSA DESCHAMPS (v) b. 1896-1124, HENDERSON, KY IRISH, GEORGE (sax/arr/CALLOWAY) d. 1959-1124, BOSTON, MA 49 JACKSON, WAYNE(tpt/MEMPHIS HORNS/STAX REC)b. 1942-1124, WEST MEMPHIS, AR JOPLIN, SCOTT (p) b. 1868-1124, BOWIE CTY, TX LOUIS, ANITA (of THE SOUL CHILDREN) b. 1949-1124, MEMPHIS, TN PAYTON, EARL (hca) b. 1923-1124, PINE BLUFF, AR PICKENS, EDWIN GOODWIN "BUSTER" (p) d. 1964-1124, HOUSTON, TX 48 SILVER, ABNER (songw) d. 1966-1124, NEW YORK CITY, NY 66 STOCKTON, LES (BLUES-L MEMBER) b. 1955-1124, HOUSTON, TX TEE, RICHARD [RICHARD E. TEN-RYK](p/prod) b. 1943-1124, BROOKLYN, NY TURNER, JOE BIG (v/songw) d. 1985-1124, INGLEWOOD, CA 74 TYSON, JUNE (v) d. 1992-1124, PHILDELPHIA, PA 56 WILSON, DICK (tsax/ANDY KIRK) d. 1941-1124, NEW YORK CITY, NY 30 WILSON, TEDDY (p) b. 1912-1124, AUSTIN, TX ------------------------------------------------------------------------------- ========================================================================= Date: Fri, 24 Nov 1995 10:01:36 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: I'll show ya scary! On Thanksgiving Day, Shaun T. Cronin wrote that he thought a twenty year old believing the acoustic version of Layla was the only version, was scary. Aparently he has no idea what scary is. My wife is blasting Christmas carols at 9 AM on November 23rd. Now THAT'S scary! P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 24 Nov 1995 08:49:20 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Elmore James video While we're on the subject of blues greats rarely seen on film, I think someone asked recently about Elmore James. I seem to remember (possibly during the recent PBS broadcast of the BBC rock documentary but I'm not sure) seeing a grainy film snippet of Elmore, apparently playing at full throttle but unfortunately without sound. Am I imagining this or does it exist? Does it (or any other film of him) have sound? EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Fri, 24 Nov 1995 16:10:32 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Info request: Vance Kelly and Jimmie Lee Robinson Again, I'm trying to get in touch with these two musicians for Pierre Degeneffe who's organising the annual SPRING BLUES FESTIVAL over here in Belgium. If someone knows how to get in touch with them (if Dick's out there he should be able to help me...) Pierre would really appreciate to hear it. Address/ph/fax wellcome (Private E-mail please). Thanks a lot Jean-Pierre ========================================================================= Date: Fri, 24 Nov 1995 10:30:53 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Re: Elmore James video In-Reply-To: <1F834087EC8@heme.medicine.wisc.edu> from "Eliot Williams" at Nov 24, 95 08:49:20 am I've also read that a film short was made of Elmore to be played at movie theatres, but, alas, it appears to have been destroyed. Although, what Eliot may have seen, could have been from this short. -Peter According to Eliot Williams: > > While we're on the subject of blues greats rarely seen on film, I > think someone asked recently about Elmore James. I seem to remember > (possibly during the recent PBS broadcast of the BBC rock > documentary but I'm not sure) seeing a grainy film snippet of Elmore, > apparently playing at full throttle but unfortunately without sound. > Am I imagining this or does it exist? Does it (or any other film of > him) have sound? EW > > Eliot Williams > University of Wisconsin Medical School > ecwillms@macc.wisc.edu > ========================================================================= Date: Fri, 24 Nov 1995 09:51:45 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Junior Walker dead My paper this morning had a little snippet announcing the death of Junior Walker yesterday (11-23-95) in Battle Creek, Michigan. Everyone will remember him as the leader of Jr. Walker and the All Stars (Shotgun). -j. ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / As I was riding across the Mississippi \ / I stopped there and I cried. \( No use for a man to keep a mighty river All dammed up inside. -Joe Ely ========================================================================= Date: Fri, 24 Nov 1995 10:58:56 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Little Walter on Film Like Scott Dirks and some other researchers, I've also searched for film of Little Walter, but to no avail. I had heard of Sam Lay's private 8mm silent film, and I've heard of BBC footage that was destroyed. People have mentioned a German TV appearance, but apparently the film for that has disappeared as well. One story (perhaps apocryphal) I've heard is that a CBS film crew went to do a story on the Chicago blues scene just after Delmark released Junior Wells' great "Hoodoo Man Blues" LP. The crew wanted to film Junior Wells playing, but he didn't show up at the club he was scheduled to play. Little Walter showed up instead, but the crew wanted to film Junior so they packed up and left... :< You know, for all the celluloid that has been wasted on lousy 50s & 60s teeny-bopper groups, it's a real tragedy that so many blues greats weren't captured on film in their prime. During the 30s and 40s, a lot of the great black big band/jazz performers were filmed (e.g. Ellington, Basie, Calloway, etc.), but the rougher sounds and images of urban and rural blues performers, were completely ignored by filmmakers. It's too bad the Lomaxes or John Hammond, Sr. couldn't have taken a film crew along with them as they searched the south for blues talent. But, at that time, regardless of race, most performers of American "folk" music were ignored by filmmakers...whether Appalachian hillbilly musicians, Cajun perfomers, Delta bluesmen, or even popular (among Blacks) urban Blues performers like Tampa Red or Big Bill Broonzy. It's a real shame. -Peter ========================================================================= Date: Fri, 24 Nov 1995 16:00:32 GMT Reply-To: blueslvr@sirius.com From: "Roy W. Forgy" Subject: Re: I'll show ya scary! Comments: To: pwfenton@GATE.NET In-Reply-To: <199511241416.JAA49377@tequesta.gate.net> On Fri, 24 Nov 1995 10:01:36 +0000, you wrote: >-On Thanksgiving Day, Shaun T. Cronin wrote that he thought a >-twenty year old believing the acoustic version of Layla was the >-only version, was scary. Aparently he has no idea what scary is. My >-wife is blasting Christmas carols at 9 AM on November 23rd. Now >-THAT'S scary! snip One question PW, Are they Blues Christmas Carols? Could be worse I suppose they could be Alvin and the Chipmunks. Roy W. Forgy (blueslvr@sirius.com) Pacifica, CA Please note the new E-Mail address. ========================================================================= Date: Fri, 24 Nov 1995 17:07:10 GMT Reply-To: Patrik_Urbansson@online.idg.se From: Patrik Urbansson Organization: IDG Online, Stockholm, Sweden Subject: Mr. Bo & The Nightcats I'm not the right man for this, but I'll give it a try anyway. Last night Crossroads Blues Society had the pleasure of having Mr. Bo & The Nightcats as our guests at our monthly Thursday blues at the club Hardy's. For those of you who's not aware of it, Mr. Bo & the Nightcats are the best bluesband (together with Chicago Express) in Sweden. As I understand they will contribute to the Blues-L tape. Oh boy! You're in for a big surprise. They will blow your socks off. Nightcats are pure BLUES in the Chicago westside tradition (mostly). Their performance last night was dynamite. Mr. Bo's guitar playing is..............(what can I say, I can't find the words for it) and his singing is superb, very soulful. The drummer Jimmy Ingvarsson is probably the best blues drummers I've heard, he got some magic sticks. When they played their own song "Boogie Woogie Wonder Boy" the small audience (too small) almost tore the place down. Their version of "Cold, Cold Feeling" was superb, with some exquisite guitar playing from Mr. Bo. The final song "Rock Me Baby" was great and made me dance home. One of the best blues performance I've heard!!!! CD recommendations for you who wants to try some Swedish blues ( if you can find the CD's): Nightcats: Tune In the Blues (Last Buzz-8003) Sven Zetterberg & Chicago Express: Permanently Blue (Amigo AMCD 2030) more southern soul than blues on this record Patrik ========================================================================= Date: Fri, 24 Nov 1995 13:39:20 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: I'll show ya scary! Comments: To: blueslvr@SIRIUS.COM On 24 Nov 95, Roy W. Forgy had this to say: > On Fri, 24 Nov 1995 10:01:36 +0000, you wrote: > > >-On Thanksgiving Day, Shaun T. Cronin wrote that he thought a > >-twenty year old believing the acoustic version of Layla was the > >-only version, was scary. Aparently he has no idea what scary is. My > >-wife is blasting Christmas carols at 9 AM on November 23rd. Now > >-THAT'S scary! > snip > > One question PW, Are they Blues Christmas Carols? > They weren't. But eventually she put on the Alligator Christmas collection in an attempt to quiet my protests. It worked. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 24 Nov 1995 13:39:20 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Little Walter on Film Comments: To: pw7e@POE.ACC.VIRGINIA.EDU On 24 Nov 95, Peter Welch had this to say: > You know, for all the celluloid that has been wasted on lousy > 50s & 60s teeny-bopper groups, it's a real tragedy that so many blues > greats weren't captured on film in their prime. During the 30s > and 40s, a lot of the great black big band/jazz performers were > filmed (e.g. Ellington, Basie, Calloway, etc.), but the rougher > sounds and images of urban and rural blues performers, were completely ignored > by filmmakers. It's too bad the Lomaxes or John Hammond, Sr. > couldn't have taken a film crew along with them as they > searched the south for blues talent. But, at that time, > regardless of race, most performers of American "folk" music were ignored by > filmmakers...whether Appalachian hillbilly musicians, Cajun > perfomers, Delta bluesmen, or even popular (among Blacks) urban > Blues performers like Tampa Red or Big Bill Broonzy. It's a > real shame. A big part of the problem that most folks don't realize is that this is more a problem of LOST rather than never filmed footage. Much of what was filmed, and not carefully preserved or recopied, has simply decomposed. Both the early celluloid film, which was very flammable, and it's replacement, cellulose acetate film, decompose after a relatively brief period of time. Film that wasn't well maintained is now gone forever. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 24 Nov 1995 13:43:30 -0500 Reply-To: "Ruth F. Parrish" From: "Ruth F. Parrish" Subject: I got them lowdown Jingle Cat blues Regarding the scariness of 20-year-old ignorance about the REAL version of "Layla" and the equal scariness of ignorance about what kind of music SHOULD be played during the holidays: 1. Probably most 20-year-old and younger people think the acoustic version of "Layla" is the only version. that's not scary as much as it is pathetic. All we can do is feel sorry for them and play the real version at every opportunity. Kids these days,what do they know?! 2. thank goodness they're coming out with all those fantastic blues Christmas CDS. I haven't been to my local Tower Records yet this holiday season, but last year I think they had about 10 different compilations. (Too bad they only sell 'em at Christmas when I don't have any money. That REALLY gives me the blues!) 3. It could have been worse. At least PW's wife wasn't listening to "Jingle Cats." 4. If you're into blues and you're thinking about getting married, marry a bluesician -- like I did the SECOND time :) 5. This has inspired me to start making up a quiz for blueslovers against which prospective mates can be tested. Anyone who wants to help me with this project and improve the quality of life for blueslovers all over the world (and indeed, to better the entire human race), please let me know. ========================================================================= Date: Fri, 24 Nov 1995 12:54:44 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Old at 27 At 3:03 PM 11/23/95, Shaun T Cronin wrote: >A lot of the music I listen was made well before I was born but is 27 >considerd old now? Or is it a sign that the average person has no idea of >the rich and varied histroty that Rock, Blues, Jazz etc. has. The average person doesn't believe that anything existed before he / she was born.... David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Fri, 24 Nov 1995 10:49:02 GMT Reply-To: Dave_J._Herda@infozone.telluride.co.us From: "Dave J. Herda" Organization: InfoZone Telluride Co (970)-728-0472 Subject: Re: Blues Christmas Music? Help, I host a blues show in Telluride, CO and I need some ideas for christmas music to play on my show and at home. Besides the classic Elvis x-mas music, what other blues stuff is out there? Thanks Plow Man ========================================================================= Date: Fri, 24 Nov 1995 14:45:54 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Little Walter on Film Comments: To: pwfenton@gate.net In an earlier post, someone suggested that Little Walter might have been filmed in Europe during the 1967 American Folk Blues Festival. I'd like to say that I agree with this opinion. I had mentioned the same thing to Karen Hanson (the aptly name "JUKEFREAK") several weeks ago in Chicago. I had booked Son House and Skip James on that package and there was one day set aside for television. It was done in the afternoon which would indicate that it was taped and not done live. The promoter of the tour was Lipmann-Rau (i.e. Horst Lipmann & Fritz Rau) of Frankfurt-am-Main and I assume they are still in business because their L&R label is still functioning. This would appear to be a solid lead. Obviously, 1967 was before video cassette recorders were common but perhaps the televison station has the original tapes in their archives. Let's dream that maybe they have all of the footage beyond what was actually broadcast. Dick Waterman ========================================================================= Date: Fri, 24 Nov 1995 19:45:29 GMT Reply-To: mckenzie@ipcs.demon.co.uk From: "Ian K. Mckenzie" Subject: Re: Paul Laurence Dunbar Comments: To: bit-listserv-blues-l@moderators.uu.net Weidel wrote: >In article <951123095248_31786587@mail04.mail.aol.com>, JukeFreak@AOL.COM wrote: > > If Mr. Dunbar "is arguably one of >> >>the best American poets of the turn of the century", I'll be the >> >>person that makes the word "arguably" necessary. > >Karen replied: > >While many critics argued that Dunbar's dialect pieces reinforce negative >racial stereotypes, they were necessary to his being published at all. >Dunbar himself said, "__ I am tired of dialect, but the magazines aren't. >Every time I send them something else, they write back asking for dialect. >__" >This frustrated Dunbar, whose goal was to be a great poet, not a great >black poet. He saw the dialect poems as a way for a black poet to be >published . He gave the publishers what they wanted, and was able to >"smuggle in" some of his serious work like "Sympathy" and "Ode to >Ethiopia." If he didn't supply the dialect poems, he would not have been >heard at all. Sounds as though Dunbar was a victim of racism with regard to his poetry rather than the writer of racist poetry. *********************************************** Ian K. McKenzie University of Portsmouth England ************************************************** ========================================================================= Date: Fri, 24 Nov 1995 15:27:33 -0500 Reply-To: Oded Maron From: Oded Maron Subject: Junior Wells and Ronnie Earl - at the HOB I went to the 3rd anniversary show at the HOB in Cambridge last night to see Junior Wells and Ronnie Earl. I was kind of worried since Junior has gotten a lot of bad reviews on this list. Well, it wasn't as bad as people were saying, but... The show started with Junior's band (3 horns, 2 guitars, keyboard, etc) warming up, and then Junior came out all pimped and pompadoured (check out the cover of LB from a few months ago - only in bright green instead of purple). He definitely had flashes of brilliance - his tone was great and his singing (when he concentrated on the words) was very emotional. Unfortunately, he had trouble finishing his thoughts. I don't think that he once finished a complete chorus either singing or on the harmonica. Instead, he preferred making loud clicking sounds with his tongue. I prefer my music to be expressed a different way, but Junior mostly seemed to rely on the clicking for getting his message across. There were a few places where the old Junior shone, but they were only flashes. Afterwards, Ronnie came on and gave his usual great set. Ronnie and the broadcasters are definitely the best live blues band out there, maybe along with Rod Piazza. Junior joined Ronnie for 4 tunes, and that was really what I was waiting for. I hoped that the broadcasters would back Junior for the whole show since that seemed to bring out the best in the older performer (for example, their live CD with Jimmy Rogers and their shows with Earl King). Junior was much more on the ball with Ronnie backing him, doing straight blues tunes (Stormy Monday, Hoodoo man blues) and actually playing whole verses on the harmonica. Overall, it was good to see Junior once, but I probably wouldn't pay $23 to see him again. Oded ========================================================================= Date: Fri, 24 Nov 1995 12:54:50 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: EVIDENCE 28000 : TED HAWKINS - SONGS FROM VENICE BEACH Comments: To: BluesHvn@aol.com EVIDENCE 28000 : TED HAWKINS - SONGS FROM VENICE BEACH ============================================================================= THEODORE HAWKINS. JR. b. 1936/OCT/28, LAKESHORE, MS d. 1995/JAN/01, LOS ANGELES, CA Here we have 14 of the 27 tracks that the late singer/songwriter/guitarist Ted Hawkins recorded in Nashville in September 1985. First released on the U.K. American Activities Label (Brave #2, Brave #6), this is the first time this material has been issued on a North American label. The compilers have chosen well (leaving out the folk-type material like "Country Roads", "San Francisco", "Green Green Grass Of Home", etc.), including instead three songs by his mentor Sam Cooke ("Having A Party", "Good Times", "Somebody Have Mercy"), a few R&B standards like Bobby Bland's "Share Your Love With Me", Curtis Mayfield & The Impressions' "Gypsy Woman", Brook Benton's "I Got What I Wanted" (another of his influences), Marvin Gaye's #1 R&B hit "Too Busy Thinking About My Baby", Eddie Kendricks & The Temptations' #1 R&B hit "Just My Imagination (Running Away With Me)", Bobby Moore & The Rhythm Aces' "Searching For My Love", and best of all (it alone is worth the price of admission), Garnet Mimms & The Enchanters 1964 masterpiece "Quiet Place". If you're a fan of acoustic music with a little soul ala Solomon Burke-Sam Cooke, you'll enjoy this CD. Excellent notes by Thom Jurek. Other solo/acoustic EVIDENCE CDs (* not all solo or acoustic) ================================ EVIDENCE 26004 : JOHN LEE HOOKER - GET BACK HOME (el. gtr. only) EVIDENCE 26020 : ROBERT JR. LOCKWOOD - PLAYS ROBERT AND ROBERT (12-string g) *EVIDENCE 26024 : EDDIE BURNS - DETROIT (4 acoustic cuts) EVIDENCE 26039 : HONEYBOY EDWARDS - WHITE WINDOWS *EVIDENCE 26045 : HUBERT SUMLIN - MY GUITAR & ME EVIDENCE 26047 : LUTHER JOHNSON - ON THE ROAD AGAIN (el. gtr. only) EVIDENCE 26050 : CEPHAS & WIGGINS - SWEET BITTER BLUES *EVIDENCE 26052 : HUBERT SUMLIN-WILLIE DIXON-SUNNYLAND SLIM - BLUES ANYTIME! EVIDENCE 26056 : BLIND JOHN DAVIS (piano only) EVIDENCE 26062 : BIG BILL BROONZY - BLACK, BROWN AND WHITE EVIDENCE 26066 : SUNNYLAND SLIM - SUNNYLAND TRAIN (piano only) EVIDENCE 26068 : J. B. LENOIR - VIETNAM BLUES - THE COMPLETE L & R RECORDINGS *EVIDENCE 26071 : SONNY BOY WILLIAMSON - IN EUROPE (2 acoustic cuts) *EVIDENCE 26100 : VARIOUS - AMERICAN FOLK BLUES FESTIVAL 1962-1965 (5CD) ========================================================================= Date: Fri, 24 Nov 1995 15:26:37 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: etc. 1. Otis Clay was in town on November 10th. Soul Man put on an unbelievable show. One of the best shows I've seen in long time. The bar owner was literaly forced to run them off the stage - they played well after the bar closing time. Got a chance to talk to Soul Man and his band - great bunch of guys - oups, sorry, and ladies too - female bass player and keyboard-trumpet player kicked ass. 2. Spent 10 days after that show in SF Bay area. Visited Arhoolie's Downhome record store in El Currito, bought few CDs, and got from them Arhoolie's 35th anniversary poster. Got some blues in "Blues" bar on Lombard street, and some ladies took away my middle age blues on a ranch near Carson City (Nevada). 3. Smokey Wilson is playing Spanky's (Quad Cities) tomorrow night. 4. Big Daddy Kinsey and Kinsey Report are playing Gunnerz (Iowa City) on December 2nd - Johnson County Blues Society's First Anniversary Celebration. Ranko ========================================================================= Date: Fri, 24 Nov 1995 19:38:58 +0000 Reply-To: Byron Foulger From: Byron Foulger Subject: Re: Blues Estafette Joel Slotnikoff wrote 22nd re Utrecht '95. As B&R's main poster to this= newsgroup, Tony Burke, couldn't get there because of work, I'll pass on= some comments: Yes, Utrecht is superbly organised, full 100%, or 105 % marks if possible,= on this, to Jaap and all concerned, can't praise them enough. The 'only'= problem is that with two acts performing at the same time some tough= decisions have to made, and acts can be missed. I understand that it's a= way of getting more of joe public into the building, if only the main stage= was used, the crowd would have to be less, and there may be financial= restraints, or so I'm told. Can't really comment on the way it's covered in= US or the comparison to US festivals, I can only say that in comparison to= UK festivals, there is NO comparison, it blows them away. Sorry to Colne,= Gloucester, Burnley etc., but that's the way it is. It's only the second= year the B&R 'team' have been, but as long as the artist roster continues= to be of such high standard we'll be back. A full report and pix are expected to be in B&R 106 (all being well, out in= January 1996), and I for one can't wait to be reminded of Big Clara & the= Magnetones (the event of the decade for me!), thanks Joel for insisting I= didn't miss that one, it meant only seeing part of Cookie & Cupcakes' set,= which was as superb as Joel's said, but it was worth it!. Other highlights= were as said, Jack Owens (I missed the Keb Mo/Owens meeting, you can't be= in two places at once, never mind three when backstage is included!), his= spot was described as a religious experience, Sugar Pie and Levi Williams,= but all acts had something going for them. I've been deliberately quiet on the 'EC' lately, partly due to my computer= being down for about a month, but I've got to say it after this weekend:= 'EC at RAH?, don't make me laugh'. Byron ========================================================================= Date: Fri, 24 Nov 1995 23:29:20 GMT Reply-To: Nate Goldshlag From: Nate Goldshlag Organization: The Internet Access Company Subject: Re: Junior Wells and Ronnie Earl - at the HOB Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199511242027.PAA04574@fiber-bits.ai.mit.edu>, Oded Maron wrote: > Overall, it was good to see Junior once, but I probably wouldn't pay > $23 to see him again. If you didn't pay the House of Blues rip-off prices, you wouldn't be paying $23. Nate ---------------------------------------------------------------- Nate Goldshlag "People ask me why I don't get fat nate@reflection.com it's cause I like to dance like that. I eat as much as I can hold Cambridge, MA and go out and do the zydeco." -- Marcia Ball ========================================================================= Date: Sat, 25 Nov 1995 00:58:01 GMT Reply-To: David Goldstein From: David Goldstein Organization: IPOF Subject: Re: Drugs and Music Comments: To: bit-listserv-blues-l@uunet.uu.net While I am not a blues musician, I have classical training and have played the french horn for many years. The few times that I have been stoned while playing, my wind would last roughly 1/10 as long but I felt that during that time, my perception of the quality of the music is that it was transcendent. Of course, I did not ask anyone else what they thought. In addition, I play tennis well, and the times that I have been stoned while playing tennis, the tennis seemed to be at a much higher level until my breath went. I have also done some writing while stoned, and it was largely gibberish. I am not a trained writer. So, my opinion is that drugs can create the perception of enhanced performance in myself doing things that I do well already. However, I would rather maintain a good level of performance for a longer period of time than flame out after a short brilliant interlude. Maybe others take the opposite stance (Jim Morrison, Janis Joplin, etc.) ========================================================================= Date: Fri, 24 Nov 1995 19:51:17 -0700 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: Little Walter on Film Comments: To: "P.W. Fenton" In-Reply-To: <199511241754.MAA36962@tequesta.gate.net> On Fri, 24 Nov 1995, P.W. Fenton wrote: K> A big part of the problem that most folks don't realize is that this > is more a problem of LOST rather than never filmed footage. Much of > what was filmed, and not carefully preserved or recopied, has simply > decomposed. Both the early celluloid film, which was very flammable, > and it's replacement, cellulose acetate film, decompose after a > relatively brief period of time. Film that wasn't well maintained is > now gone forever. Unfortunately I understand this is true for video and audio tape as well. This is something the tape industry (Scotch/3M?) knew about but didn't bother to inform us until recently. Many tape archives have been lost. Jay Watterworth CU Boulder ========================================================================= Date: Fri, 24 Nov 1995 23:20:23 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Little Walter on Film Comments: To: Jinxblues@AOL.COM On 24 Nov 95, Dick Waterman had this to say: > In an earlier post, someone suggested that Little Walter might have been > filmed in Europe during the 1967 American Folk Blues Festival. > I'd like to say that I agree with this opinion. I had mentioned the same > thing to Karen Hanson (the aptly name "JUKEFREAK") several weeks ago in > Chicago. :::snip::: > This would appear to be a solid lead. Obviously, 1967 was before video > cassette recorders were common but perhaps the televison station has the > original tapes in their archives. Let's dream that maybe they have all of the > footage beyond what was actually broadcast. > Dick Waterman Like the decomposing of movie film, this is another short sighted tragedy in the making. Many of these early 2 inch wide video tapes are preserved and carefully stored. The machines to play them, however, are not. A few years ago the video tape of Mary Martin's performance as "Peter Pan" was restored and converted to digital. Besides some stretching and deterioration of the original tape to contend with, restorers were faced with having to buy the remains of several old and inoperable 2 inch Ampex machines and stripping them down so they could build a single working model. Even after finally building a machine that could handle the old recording it had to be transferred a small bit at a time so that the playback machine could be cleaned and realigned constantly. I'm not sure the money could be raised for similar restoration projects involving the old blues masters. I promise if I win the Florida lottery I'll finance some of this sort of restoration. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 24 Nov 1995 19:45:29 -0000 Reply-To: "J. Witteveen" From: "J. Witteveen" Subject: Re: ticket prices Nate wrote: >If you didn't pay the House of Blues rip-off prices (to see Junior Wells), you wouldn't be paying $23. Junior played at Richards on Richards several months ago, and the ticket price was very similar, so it isn't just an HOB ripoff... I didn't go (but not because of the price - if a show is worth seeing, I'd pay 23.00 (Canadian $$$ :-)-but that's still a bargain compared to, say, seeing the Rolling Stones or Pink Floyd at a stadium where the sound is a jumble of mush and the performers look like pinpricks on the horizon. John Hammond played at the same place a month ago, and the price was about fifteen bucks (...and I didn't see him either! :-( ). Best deal of all - seeing Pinetop Perkins twice at the Yale for five bucks - one of the most fun shows I've seen. On a related note, just out of curiosity, how much is a performer like Pinetop payed for a night's work? Do they get a portion of liquor sales or a straight fee? I was thinking about this, because 250 people at five bucks a pop isn't a heck of a lot of money when you factor in travel costs, etc. Anybody know? -Jim (hndful@uniserve.com) ========================================================================= Date: Fri, 24 Nov 1995 23:52:21 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Drugs and Music Comments: To: dgoldst@IPOF.FLA.NET This thread reminds me of the joke: Q. What did one "Dead Head" say to the other after running out of drugs? A. "Man! This music sucks!" P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sat, 25 Nov 1995 00:03:54 -0600 Reply-To: Scott Berman From: Scott Berman Subject: New Robert Nighthawk CD? On CD-NOW, they list a new CD by Robert Nighthawk and Wampus Cats called "Toasting the Blues". Does anyone know what this is and if it's any good? Also, the reviewer, Bill Wynn I think, for CD-NOW, says that "The Complete Works of Robert McCullum 1937-40" has some great slide work on it. I thought someone on BLUES-L said that Nighthawk (McCullum) learned how to play slide after these recording were made? What's the truth here? Lastly, does anyone know if Pearl is ever going to reissue "Bricks in My Pillow" on CD or when MCA/Chess is going to reissue the album "Sweet Black Angel? (The latter is listed a unavailable.) Thanks, Scott P.S. Please respond to me and not the list. Thanks. _______________________________________________________________ Dr. Scott Berman bermansj@sluvca.slu.edu Department of Philosophy Office (314) 977-3160 St. Louis University Fax (314) 977-3874 St. Louis, MO 63103 U.S.A. ========================================================================= Date: Sat, 25 Nov 1995 01:38:37 EST Reply-To: MR TERRY W SPRING From: MR TERRY W SPRING Subject: Little Walter Video I know of two or three small market TV stations in the northwest that still use 2 inch tape machines on air. They don't make tape for them any more though. A station I used to work for was able to sell theirs, but not for much. I have heard of people not being able to give them away and hauling them to the land fill. ========================================================================= Date: Sat, 25 Nov 1995 01:51:11 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Re: Little Walter on Film Dick Waterman writes about the possible existance of Skip, Son and Walter footage: >The promoter of the tour was Lipmann-Rau (i.e. Horst Lipmann & Fritz Rau) of >Frankfurt-am-Main and I assume they are still in business because their L&R >label is still functioning. In the spirit of my original post, does anyone on Blues-L know Lipmann or Rau personally to make an inquiry/plea to them? I have long suspected that European sources might have filmed the American acts brought over by L&R or others. Joel Slotnikoff ========================================================================= Date: Sat, 25 Nov 1995 02:15:11 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Blues film and video - degradation In response to the recent posts about degradation: Gene Rosenthal of Adelphi/GENES did extensive filming of blues artists in about 1969 (Big Joe, Johnny Shines, Walter Horton, many others) and I got to see some of the footage again about two years ago and there was no degradation problem. I know the problem can be real, but I believe it takes longer than the twenty five years elapsed since the sixties (depending on storage conditions.) I don't believe this is the main reason for the lack of footage available. Hand held video was not an everyday thing back then, but some footage was shot and I believe most of it still exists if the owners had the desire and the right outlet to let it out. A few choice samples of Rosenthal's footage were leased to Mississippi Educational Television for a documentary they did, the name of which escapes me at the moment, hosted by a younger BB King and I believe now available commercially. Joel Slotnikoff ========================================================================= Date: Sat, 25 Nov 1995 09:06:10 -0500 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: Back on the "L" Hello everyone! I'm back from my trip to Memphis, (cut short by a family emergency, everything O.K. now), and looking fforwrd to reading Blues-L again! fforwrd? What kind of word is that? I guess I should stop typing with my toes. Did I miss anything important while I was gone? BLUZ! Bluzman Ed aka Ed Tremewan ========================================================================= Date: Sat, 25 Nov 1995 09:44:27 -0500 Reply-To: Robert Rutter From: Robert Rutter Subject: Re: LUTHER ALLISON IS GOD? Comments: To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM Previously on blues-l, BMMOSCOW.BMCK.SPRINT.COM!/G=J.E./S=Downey/ said: |I was tempted to pick up another Allison item (I've only got Blue |Streak), "Soul Fixin' Man" (I think that's the title), but then I |thought maybe I'd better hold back. I was thinking I had read on the |List that Soul Fixin' Man in particular was more of the "soul" or |whatever. Is that right? Is there such a thing as a good L. Allison |CD that is nuthin' but the blues? Oh, and listen: does everybody |think this guy is terrific or are there some dissenters or maybe |nitpicks, etc. Just wondering what is the consensus. I picked up "Soul Fixin' Man" a couple of weeks ago. It's not "pure blues" but it is definitely *pure enjoyment*. Allison starts out the album with a well executed blues standard in the well worn Alligator Records style. He then proceeds to twist and turn, providing a varied and entertaining collection of tunes featuring a stellar performance. Highly recommended. Cheers, -- Robert Rutter | While money can't buy happiness, it gives you | rjr@sparks.empath.on.ca | the freedom to choose your own form of misery | ========================================================================= Date: Sat, 25 Nov 1995 11:24:35 -0500 Reply-To: Chantiel@AOL.COM From: Leslie Camp Subject: Re Paul Laurence Dunbar Some of my old college professors would argue that victims of racism, and those who have other sorrowful experiences, often make the best writers. ========================================================================= Date: Sat, 25 Nov 1995 16:57:00 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Sonny Boy Williamson(s): two or more? Comments: To: bit-listserv-blues-l@uunet.uu.net In article Dave Gotwisner writes: >Date: Thu, 23 Nov 1995 02:51:19 GMT >From: Dave Gotwisner >Subject: Re: Sonny Boy Williamson(s): two or more? >In article <01HXY1PLLE4I003C7F@sci.wfbr.edu>, >Rick Miller wrote: >>A point of confusion between a friend and me: We know there are two Sonny Boys >>on record, the first being John Lee Williamson, the second and more legendary >>Aleck "Rice" Miller. My friend is fairly sure he saw yet another Sonny Boy >>Williamson in performance in St. Paul, MN, 2 years ago. Is there another one >>out there still working? Could it be another Sonny Boy with a different last >>name? I have no idea. At the Chicago Blues Festival this summer I saw Eugene Powell, a guitar player in his late 80s (I think). He used to go by the name of Sonny Boy Nelson and recorded tunes in 1936 (available on Wolf CD WSE 109, "Louisiana Blues"). He apparently has or will be recording with the group he played with at the Festival, the New Africa String Band. His early recordings would mean he beat Sonny Boy I to disc by 1 year. So would that make Sonny Boy I really Sonny Boy II and SB II - SB III? Art Schuna ========================================================================= Date: Sat, 25 Nov 1995 17:12:37 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Little Walter on Film Comments: To: bit-listserv-blues-l@uunet.uu.net In article <951124144553_115444630@emout06.mail.aol.com> Dick Waterman writes: >Date: Fri, 24 Nov 1995 14:45:54 -0500 >From: Dick Waterman >Subject: Re: Little Walter on Film >I had booked Son House and Skip James on that package and there was one day >set aside for television. It was done in the afternoon which would indicate >that it was taped and not done live. >The promoter of the tour was Lipmann-Rau (i.e. Horst Lipmann & Fritz Rau) of >Frankfurt-am-Main and I assume they are still in business because their L&R >label is still functioning. Speaking of this, the latest issue of Goldmine magazine (the one with Boy George with a blue head on the cover!!) mentions that company called A.R.I. Q. Footage from Florida has a film of a 1964 club performance featuring Howlin' Wolf, Son House, Bukka White and Skip James. It's believed to be the only existing footage of James. Doesn't say when, where or if this will be released. Does anyone know? If it does come out could someone post this to the list. Also of blues interest in this issue which is very short on blues news it mentioned that Evidence is releasing a 5 CD box set, "American Folk Blues Festival 1962-65" featuring live European festival recordings of Muddy, Wolf, Hooker, Willie Dixon, Buddy Guy, Big Mama Thornton, etc. I assume this is a reissue of the L+R recordings but does anyone out there know for sure? I haven't seen this in the stores yet. Art Schuna ========================================================================= Date: Sat, 25 Nov 1995 10:55:59 -0600 Reply-To: "Carlos A. Gonzalez Huerta" From: "Carlos A. Gonzalez Huerta" Subject: information Comments: cc: ajose@docs.ccs.conacyt.mx I WANT NOW BLUES ========================================================================= Date: Sat, 25 Nov 1995 21:42:36 GMT Reply-To: blueslvr@sirius.com From: "Roy W. Forgy" Subject: Re: Chicago Blues Web Site Fwded In rec.music.bluenote.blues, joel@nitescape.com (Joel Haugen) wrote: >-If you'd like to know who's playing where in Chicago, check out my >-new Blues in Chicago web site. The URL is: >- >-http://nitescape.com >- >-In addition to a list of the major clubs, I have schedules for all the >-clubs, which are searchable by date and act. >- >-I'd appreciate feedback and comments on this site. Ideally, I'd like >-to gain more direct involvement and support from the clubs themselves. >-The more positive feedback I receive, the better chance I have to gain >-their support and keep this site going. I especially need to know if >-a site like this will make any difference in whether or how often >-people visit the clubs. >- >-Also, for those of you who maintain blues pages, I'd appreciate it if >-you could add a link to my page on your page. >- >-Thanks. >- >-Joel Haugen >-joel@nitescape.com >- >- ========================================================================= Date: Sat, 25 Nov 1995 17:30:38 -0500 Reply-To: MONTAUCK@AOL.COM From: "Daniel F. Becker" Subject: Help me find a tune Some years ago heard a stinging blues called "My Heart Attacked Me" on the Highway 69 radio out of Miss. ANyone know the artist? Been looking for years. This new member would appreciate it. MONTAUCK ========================================================================= Date: Sat, 25 Nov 1995 18:38:16 -0500 Reply-To: Niles Frantz From: Niles Frantz Organization: Megaweb Subject: Re: New Robert Nighthawk CD? Comments: To: bit-listserv-blues-l@uunet.uu.net In article Scott Berman wrote: >On CD-NOW, they list a new CD by Robert Nighthawk and Wampus > Cats called >"Toasting the Blues". Does anyone know what this is and if > it's any good? > This is NOT by the slide guitar player, but by a harmonica player, from Memphis I believe, that has adopted his name. I have not heard it and connot comment on its quality. Niles A loop is a loop is a loop. ========================================================================= Date: Sat, 25 Nov 1995 18:24:00 CST Reply-To: Paul Garon From: Paul Garon Subject: Re: Old at 27 >One of the students asked "Where in the song does it come in?" Joe (the >instructor) said "The piano part. At the end." The student then replied >"But it's an acoustic song." When I picked myself off the floor I realized >that this guy didn't really know who Clapton was. The kid is in his early >20's. I don't know if that's a viable excuse or not but I was floored. A >generation now knows "Layla" as the version on "Unplugged" This really >scares me. Well, you know, to each his own. It would never occur to ME that knowing EC session data was germane to blues, but we've seen that we ALL feel differently about THAT subject. Somehow I don't find it upsetting, not like I would if he thought EC wrote "Hoochie Coochie Man" or something. Or... A 30-year old friend (I know, "over the hill" already) wanted to borrow some blues CDs just to "get into it", and I mentioned I could loan him a Bessie Smith. "Who?" he said. He'd never even heard the name. Now THAT'S depressing! Paul Garon ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email or postal mail or visit us at http://www.abaa-booknet.com/alldlrs/mw/60657bea.html. We also have catalogs available by ftp at ftp.mcs.com/mcsnet.users/beasley. _______________________________________|______________________________________ ========================================================================= Date: Sat, 25 Nov 1995 20:04:49 -0500 Reply-To: HugeSmall@AOL.COM From: Boyd Small Subject: Re: ticket prices Comments: To: hndful@uniserve.com >... how much is a performer like >Pinetop payed for a night's work? >I was thinking about this, because 250 people at five bucks >a pop isn't a heck of a lot of money when you factor in travel >costs, etc. >Anybody know? In my experience, Pinetop is payed a flat fee. I played with Pinetop, Hubert Sumlin and Jimmy Rogers at Portland, Oregon's "Waterfront Blues Festival" for Pinetop's 80th birthday (1991?). I don't want to say exactly how much it was but I can say it was nothing EVEN CLOSE to how much most people who attend these type of shows think that the performers are getting. To tell you how little money blues performers such as myself recieve for playing with these Blues legends is downright embarrassing. So next time any of you go to a blues club and debate at the door with your friends whether or not to pay the outrageous price of FIVE WHOLE DOLLARS to see a local blues act think about the last time you lined up around the block at a movie theatre to pay $7 to line the pockets of a bunch of Hollywood flakes, or $30 a month for cable TV, or $20 to fill your gas tank, or $7 for a Long Island Iced Tea, or $3 for a pack of smokes, or $6 to rent a movie, or $10 to call your mom in New York, REALIZE that you are debating the FUTURE of LIVE MUSIC or moreover THE FUTURE OF ART IN OUR CENTURY and shut up, SHUCK OUT THE FIVE BUCKS, go in and have the best time you've had in YEARS!!!!!! ========================================================================= Date: Sun, 26 Nov 1995 03:01:49 GMT Reply-To: blueslvr@sirius.com From: "Roy W. Forgy" Subject: Baywatch Nights Watched it for the first time tonight, really dumb but boy did it have the blues. Blues theme song blues tracks thru out and ended with guest star Nathan Calavari jamming with BB King. Guess I will have to put up with the story line just to see who else they have on. Roy W. Forgy (blueslvr@sirius.com) Pacifica, CA Please note the new E-Mail address. ========================================================================= Date: Sat, 25 Nov 1995 22:30:37 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Xmas Ideas, Please Comments: To: bit-listserv-blues-l@uunet.uu.net Here are a few suggestions. Art Schuna ========================================================================= Date: Sat, 25 Nov 1995 23:20:45 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: A Christmas Wish List A week or so ago I asked for blues-l suggestions of CDs I should put on my Christmas list, and I expressed a bias towards soul blues. As always, bluezellers responded enthusiastically. Thank you everyone. In case anyone else is looking for ideas, I've compiled all of the suggestions below. I've only listed each CD once, even though several werementioned often. Other than that, the list is in the order I received it. Now if I can just convince Santa to stick up a music store ... Al Green. "Your Heart is in Good Hands." Little Buster and the Soul Brothers. "Right on Time" James Brown "Messing With the Blues" (2 CDs) Robben Ford. "Handful of Blues." Shirley Brown. "Diva of Soul" "The Hi Rhythm and Blues Years." (3 CDs) "The Stax/Volt Singles vol 1." (9 CDs) Keb Mo: "Keb Mo" Eric Clapton. "From the Cradle" Chris Duarte Group: "Texas Sugar Strat Majik" Billy Boy Arnold. "Eldorado Cadillac" Ernie Johnson. "In The Mood." EC Scott. "Come Get Your Love" John Ellison. "The very best of John Ellison and the Soul Brothers Six." Syl Johnson. "Back In The Game." Nolan Struck and King Edward. "Brother to Brother" James Carr. compilation OV Wright. compilation. Robert Ward. "Fear No Evil" James Brown. "Live At The Apollo". Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Sun, 26 Nov 1995 04:19:08 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Xmas Ideas, Please Comments: To: bit-listserv-blues-l@uunet.uu.net Sorry for the previously posted screw up - my newsreader has been doing strange things tonight. This will be the third attempt at posting this. Ian Angus was looking for soul blues and blues/R&B suggestions. Here's a few of my favorites in the past year: Soul Blues 1. Lee Shot Williams - Cold Shot (Black Magic 9029 2. Percy Strother - The Highway Is My Home (Black Magic 9030) 3. Percy Strother - A Good Woman I s Hard to Find (Blue Moon or Blue Loon 012) the label changed names within the last year). 4. Mighty Sam McClain - Give It Up To Love (AudioQuest 1015) this came out in 1993 but I just discovered it this year. Since its a small label, I'm betting most don't have it. 5. Roscoe Shelton - Roscoe Shelton Sings (Excello/AVI 3007) 6. James Carr - The Essential James CArr (Razor & Tie RE2060) 50s & 60s Blues 1. Little Walter - Blues With A Feeling (MCA/Chess CHD2-9357) - even if you own the "complete" Charly box, there are 9 tunes on this 2 disc set you don' t have. Also, as pointed out by Dick Shurman, many of the Charly tracks from this set had to use bootleg LPs as source material - why not get the recordings from the masters? 2. AVI/Excello reissues - Slim Harpo - "The Excello Collection" (2001), Lightnin' Slim - "I'm Evil" (3002), Lazy Lester - "I Hear You Knockin' " ( 3003). Also the various artists sets "Dark Clouds Rollin' " (3008) - a nice overview of the label, especially for someone unfamiliar with the artists as it is kind of a best of set, and Blues Hangover (2002) a collection of some of the more obscure Excello artists. 3. The Capitol reissue series - I particularly like the Mississippi Fred McDowell, T-Bone Walker, John Lee Hooker, Sonny Terry and Lil' Son Jackson sets. 50s & 60s R&B 1. The Savoy reissue series. Ravens "Old Man River" (SV-0260) and " Rarities" (SV-0261) - this is one of the few vocal groups in which the bass takes lead most of the time. With a voice like Jimmy Ricks', you can understand why. Also Big Joe Turner "Have No Fear, Big Joe Turner is Here" ( SV-0265) and Johnny Otis - The Original Johnny Otis Show (SV-0266) are excellent. They are each a few tracks short of the previous double LP issues these originally come from. If you want these tracks you'll need the Billy Eckstine/Big Joe Turner/Johnny Otis Completer Disc (SV-0278). Big Maybelle's Candy SV-0262 is also worth looking finding. 2. Golden Era of Doo Wops:REd Robin Part 1 (7079), Part 2 (7080) and Bobby' s Boogie - Bebop, Blues & Sanctification (7092) are 3 Relic discs that collect nearly the entire catalog of one of Bobby Robinson's first labels. He was an excellent judge of talent and these are definitely worth finding. 3. The Aladdin Records Story (EMI E2 30883) - 2 discs covering one of the finest early R&B labels. Well that about sums it up. Ian, I hope you've been VERY good this past year so that Santa will bring you a pile of new CDs. Art Schuna ========================================================================= Date: Sun, 26 Nov 1995 04:23:26 GMT Reply-To: BRG From: BRG Organization: Information Resources and Technology Subject: Re: Rick's harp guy steps in sh*t, comes up rosey! Comments: To: bit-listserv-blues-l@uunet.uu.net Wow, sounds like a nice find(1960 gibson es125). While I hate to be judgemental, or question ethics here, I feel I must relate a story that happened to me. When I was young I always admired my grandfather's old guns. One was a "mint" condition Winchester 30/30 made around 1910 and the other was a Browning 12 gaugemade around 1940. He lost it a little(or alot) and forgot that he promised to give me first shot at them when he tired of hunting. A guy found out that he had them, and gramps sold them both together for $150. They were worth probably $1200 more than that in money. Beyond that I would have liked to keep them in the family and handed them down myself. Gramps slipped up, that's alright, they were his to do as he chose, My other gramps is an antique dealer. When he took me to an estate sale in Portland as an early teen he showed me what ethics were all about. Realizing that many of the items were grossly underpriced and that the widowed woman had no family. My gramps went around and provided wholesale prices for the elderly woman. He told me later that it is o.k. to make a good profit, but stealing from uninformed people was wrong. I was proud. I've bought a few guitars, and have friends that have darn near stolen guitars from attics. Since an elderly gentlman was involved that might not apreciate the value of such a guitar, I would hope that he was made aware of its "approximate" value before he gave it away. I might be wrong, and will no doubt hear about it. I guess business ethics are up to each individual and the surrounding circumstances. I feel that we need to give older folks a break sometimes. They lived in a different time...a time that produced music and culture that we all enjoy to this day and will forever. They often aren't real well off financially or physically/mentally. I don't mean this to be the sermon that it apears to be. I guess reading your post just sort of struck a nostalgic chord. IMHO BRG ========================================================================= Date: Sun, 26 Nov 1995 00:44:55 -0500 Reply-To: ConnorRay From: ConnorRay Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Blues Christmas Music? Comments: To: bit-listserv-blues-l@uunet.uu.net Hey One of my favorites is James Brown CD called "Santa's Got A Brand New Bag" it's got some good blues! It's on Rhino Records (R2- 70194). Enjoy Steve Krase ConnorRay@aol.com "Well I don't know how it happens but it always does!" Jerry Lightfoot ========================================================================= Date: Sat, 25 Nov 1995 22:39:55 -0000 Reply-To: "J. Witteveen" From: "J. Witteveen" Subject: Re: ticket prices Boyd Small wrote: ... next time any of you go to a >blues club and debate at the door with your friends whether or not to pay the >outrageous price of FIVE WHOLE DOLLARS to see a local blues act think about >the last time you lined up around the block at a movie theatre to pay $7 to >line the pockets of a bunch of Hollywood flakes, or $30 a month for cable TV, >or $20 to fill your gas tank, or $7 for a Long Island Iced Tea, or $3 for a >pack of smokes, or $6 to rent a movie, or $10 to call your mom in New York, >REALIZE that you are debating the FUTURE of LIVE MUSIC or moreover THE FUTURE >OF ART IN OUR CENTURY and shut up, SHUCK OUT THE FIVE BUCKS, go in and have >the best time you've had in YEARS!!!!!! I say Amen to that! For five bucks (plus the cost of a beer...or three :-), you get an excellent night of up close and personal entertainment - really the way music was meant to be heard - in a club where you can actually talk to the performer after the show, have a genuine blast, and at times be in the presence of greatness (and really good-ness!) I wasn't complaining about the cost!!! Compared to the cost of seeing a couple of lousy sports teams in Vancouver play a half-hearted game (about sixty bucks per person, plus parking and about forty bucks for a lukewarm beer), it's the bargain of the century to support your local bluesician. -Jim (hndful@uniserve.com) ========================================================================= Date: Sun, 26 Nov 1995 06:58:35 -0500 Reply-To: HugeSmall@AOL.COM From: Boyd Small Subject: Re: ticket prices Comments: To: hndful@uniserve.com >For five bucks (plus the cost of a beer...or three :-), >you get an excellent night of up close and personal >entertainment - really >the way music was meant to be heard - in a club where you >can actually talk >to the performer after the show, have a genuine blast, and at >times be in >the presence of greatness (and really good-ness!) I wasn't >complaining >about the cost!!! Compared to the cost of seeing a couple of >lousy sports >teams in Vancouver play a half-hearted game (about sixty >bucks per person, >plus parking and about forty bucks for a lukewarm beer), it's >the bargain of >the century to support your local bluesician. >-Jim (hndful@uniserve.com) Sorry Jim- I knew you weren't complaining about the price. I guess I just had to blow off a little steam. And while I'm blowing off steam I want to relate another message to any and all club musicians who might read it. I just heard another story about a band undercutting another band's price for playing a gig. Just so they could make a few bucks (very few) they sold out their own colleagues and in the process set a new low standard for how much a band will play for at that particular club on those particular nights. WAKE UP FELLAS!!! You're only cutting your own throats by undercutting another band. I know it's a free enterprise system we're working in here and all, but there are a lot of clubs out there and to be so lazy and just look where someone else is working and swipe the gig by playing for less money is despicable. And it only makes your not-so-good-situation worse in the long run. Take pride in what you do for a living. If you can't find enough gigs to fill your calendar don't look to someone else's calendar for help. Think about turning a club that doesn't currently offer live music into another venue for yourself and other bands to work in. If you use a little ingenuity and put on a good show it can be a winning situation for everyone involved, the club owners, the patrons, and musicians alike. OK- I'm done. HUGE ========================================================================= Date: Sun, 26 Nov 1995 07:03:33 -0500 Reply-To: HugeSmall@AOL.COM From: Boyd Small Subject: Re: ticket prices > In my experience, Pinetop is payed a flat fee. I played with >Pinetop, Hubert Sumlin and Jimmy Rogers at Portland, >Oregon's "Waterfront Blues Festival" for Pinetop's 80th >birthday ... Uh... I think it was his 70th birthday. 60th? ========================================================================= Date: Sun, 26 Nov 1995 09:41:03 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - November 26th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BRADSHAW, MYRON "TINY" (v/KING REC) d. 1958-1126, CINCINNATI, OH 53 CROTHERS, BENJAMIN SHERMAN "SCATMAN" (v) d. 1986-1126, VAN NUYS, CA 76 HILL, BEVERLY JEAN (v) d. 1978-1126, DETROIT, MI 40 HOLLON, KENNY (tsax/LOUIS JORDAN) b. 1909-1126, BROOKLYN, NY JOHNSON, ROBERT "B.J." (hca) b. 1905-1126, KANSAS CITY, MO LEAVY, HOSEA (g) b. 1927-1126, ALTHEIMER, AR MACMUNN, RICHARD F. X. (owner: ESSEX REC) d. 1959-1126, BOSTON, MA 61 MAYS, CURLEY (g) b. 1938-1126, MAXIE, LA MCDANIEL, CLARA "BIG" (v/p) b. 1948-1126, PONTIAC, MI MCVIE, JOHN (b/MAYALL/FLEETWOOD MAC) b. 1945-1126, LONDON, UK MELROSE, FRANK (KANSAS CITY FRANK) (p) b. 1907-1126, SUMNER, IL MIMMS, GARNET (v/CRY BABY/THE ENCHANTERS) b. 1933-1126, ASHTON, W. VA MUGALIAN, STEVE (d/JOHNNIE DYER) b. 1953-1126, CHICAGO, IL NEFF, PAT GOVERNOR (pardoned LEADBELLY) b. 1871-1126, MCGREGOR, TX TERRELL, JEAN (of THE SUPREMES) b. 1944-1126, TX TURNER, TINA [ANNA MAE BULLOCK] (v/IKE) b. 1939-1126, BROWNSVILLE, TN ------------------------------------------------------------------------------- ========================================================================= Date: Sun, 26 Nov 1995 10:11:31 -0500 Reply-To: JDowns8204@AOL.COM From: John Dow Subject: Re: Best acoustic slide players today?? Comments: To: jbards@mail-sh.lsumc.edu Please tell me who your favorite acoustic slide players are .(current performers) Which recordings do you reccommend? Thank You ========================================================================= Date: Sun, 26 Nov 1995 10:20:51 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Muddy Waters & Bob Margolin Comments: To: bit-listserv-blues-l@uunet.uu.net In article , L W writes: > I don't ever recall reading a Bob Margolin >article , where he himself doesn't talk mostly about MUDDY. I think he >was being very hypocritical and I think his only claim to fame is that he >played with MUDDY...Just MHO LW Last Saturday night, I had the pleasure of meeting Bob Margolin and hearing his trio play at Blues City Cafe on Beale Street. Not only is Bob a genuine guy with a great sense of humor, he is also a versatile guitarist. His set included rockabilly, soul, boogie blues and just a touch of Muddy, for old times' sake. The crowd was rather light on the street that night, and the few people who were out were divided between Chris Cain at B.B.'s and Bob at Blues City, but I saw some of the finest blues guitarists in Memphis, plus Chris during his break, out to hear Margolin. Believe me, a good time was had by all. Some artists whose only claim to fame is having played with Muddy, as LW asserts, might rest on their laurels and stick with the past in their repertoires. Bob seems willing to experiment and grow with the times. I think of Muddy Waters' bands as graduate schools of the blues. Most of the artists that I can recall have gone on to strong solo careers. Also, a buck says LW hasn't seen Margolin live. Denise ========================================================================= Date: Sun, 26 Nov 1995 15:34:28 GMT Reply-To: Steve Leigh From: Steve Leigh Organization: a Digital Internet AlphaServer Site Subject: Re: Best acoustic slide players today?? Comments: To: bit-listserv-blues-l@uunet.uu.net John Dow wrote: >Please tell me who your favorite acoustic slide players are .(current >performers) >Which recordings do you reccommend? Thank You Definitely check out Johnny Winter. In my opinion, one of the best steel-bodied acoustic players today and in the past. --Steve ========================================================================= Date: Sun, 26 Nov 1995 11:03:44 CST Reply-To: JBards From: JBards Subject: Re[2]: Best acoustic slide players today?? Comments: To: JDowns8204@AOL.COM Acoustic, electric, it doesn't matter: there's Ry Cooder /and then/ there's everyone else. -jim _______________________________________________________________________________ Subject: Re: Best acoustic slide players today?? From: JDowns8204@AOL.COM at INTERNET-SH Date: 11/26/95 9:41 AM Please tell me who your favorite acoustic slide players are .(current performers) Which recordings do you reccommend? Thank You ========================================================================= Date: Sun, 26 Nov 1995 11:11:19 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Drugs and Music Comments: To: bit-listserv-blues-l@uunet.uu.net Dear Folks, The ghost of Wolf tells me he was talking about sex. Honest. Don't read too much into the blues. Simple emotions in a complex matrix. Denise ========================================================================= Date: Sun, 26 Nov 1995 10:22:31 -0600 Reply-To: Tom Kraft From: Tom Kraft Subject: Alvin Lee, Mance Lipscomb Last Sunday, while on a 400 miles trip from north Texas to my home in south Texas, I was listening to a few of my old Ten Years After tapes. I thought to myself, "Self, you should gather all your TYA releases and make a tape of only blues selections." Thinking this was a good idea, I stored it in my memory (which is short) for later action. Then friday I just happened to be browsing the Lightnin' Hopkins section of my local CD retailer, when I run accross a release titled ALVIN LEE & TEN YEARS AFTER: PURE BLUES. This is a '95 compilation of Alvin's selected blues numbers from TYA and his solo stuff. Being a great TYA fan (the first album I ever owned was ROCK & ROLL MUSIC TO THE WORLD), I was and still am elated. A couple of the cuts give me give me chills. If you are a Alvin Lee fan like myself, this is highly recomended. I never would have looked in the TYA bin, so some higher power must have placed it in the LH bin for me. I also purchaced LIGHTNIN' HOPKINS: LONESOME LIFE. I don't believe there is a bad Lightnin' release. Is there? On the same trip I purchased JOHN HAMMOND: SOLO. This action was influenced by the raves and review section of Blues-L. I put a lot of credence in suggestions that are made on the list. Ya'll know ya'lls blues. Thanks. MANCE LIPSCOMB: TEXAS BLUES GUITAR also made it to my outbasket. I like it. What ML releases are are a must have? Help me please. Good Day Tom Kraft ========================================================================= Date: Sun, 26 Nov 1995 11:25:14 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Sitting&Thinking-Yank Rachell. Comments: To: bit-listserv-blues-l@uunet.uu.net In article <4928pu$l2n@panix.com>, Barry Silverberg writes: > Who else do you know who plays the blues > on a mandolin? Johnny Young played electric blues mandolin. Check out his stuff, if you can find it. Very good. Denise ========================================================================= Date: Sun, 26 Nov 1995 12:17:04 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Old at 27 Comments: To: beasley@MCS.COM On 25 Nov 95, Paul Garon had this to say: > Well, you know, to each his own. It would never occur to ME that knowing EC > session data was germane to blues, but we've seen that we ALL feel > differently about THAT subject. Somehow I don't find it upsetting, not like > I would if he thought EC wrote "Hoochie Coochie Man" or something. Or... > > A 30-year old friend (I know, "over the hill" already) wanted to borrow some > blues CDs just to "get into it", and I mentioned I could loan him a Bessie > Smith. > > "Who?" he said. He'd never even heard the name. > > Now THAT'S depressing! On the other hand, I just had a very rewarding and reassuring experience. A weekend ago I visited my daughter in Tallahassee. She was there to finish up some final business with F.S.U., and to visit with her girlfriend, Assunta. My wife and I made the 5 hour drive to Assunta's, taking advantage of the fact that our daughter would be over a thousand miles closer than where she's living now (Maine). Shortly after our arrival, Assunta (about 26 years old), told me that she loved to listen to Blues but didn't know anything about what she should buy to start a collection. Being a cynic, I figured that what she meant by "Blues" was probably more of the Rock variety. I went out to my car and brought back all my traveling cassettes to play for her in an effort to gauge her preferences. To my delight she preferred a broad spectrum from raw delta, to Chicago Blues. And responded extremely enthusiastically to the "Masters" like Muddy, Otis Spann, BB, Lightnin' Hopkins, Little Walter, etc. She told me she had been saving up money to start a decent Blues CD collection and asked me to help her spend it, by picking CDs out for her, based on what I now knew she liked. We went to a nice shop with a real good Blues section and I began to select stuff for her. (It was very hard not to select it ALL). I concentrated on compilations that would give her a solid introduction and not break the bank. There were a couple of single artist CDs she insisted on, based on selections of mine that she heard. She HAD to have BB King and Bobby Bland live at the Copa. After shelling out cash for about 16 CDs (boy, was I jealous) we returned to her apartment for an evening of listening. It was a joy to see a neophyte going nuts over the classics. Here was a young person listening to a wide variety of Blues recordings for the first time in her life, and showing all the preferences of someone who might be called a "purist". I'm sure she would have a difficult time defining the Blues (who wouldn't?), but she was doing an awfully good job of nailing it with her taste. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 26 Nov 1995 10:37:53 -0600 Reply-To: Tom Kraft From: Tom Kraft Subject: Slide strings (little blues) Guitar Players, There was a discussion a while back about prefered strings for Nationals. I've got a Alvarez dreadnought that I'm gonna try to learn to play slide on. What is the recomended or prefered strings? Now I've got steel 10s on it. Thanks in advance Tom ========================================================================= Date: Sun, 26 Nov 1995 09:24:31 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Slide strings (little blues) Comments: To: Tom Kraft Tom Kraft wrote: >I've got a Alvarez dreadnought that I'm gonna try to learn to play slide on. What is the recomended or prefered strings? Now I've got steel 10s on it. You want to go up to at least a 13 on the top string, about a 16 second string (i.e. a medium set, at least)--but you want to be careful not to warp your neck or rip the bridge off the face of the guitar by using strings that are *too* heavy. If fret rattle is a problem, you may want to consider raising your saddle slightly, but before you undertake any construction projects start by using heavier strings. A 10 is useless for slide playing. FYI, Dobro players usually start with a 14 top but that might be too much tension for your guitar. Mary Katherine ========================================================================= Date: Sun, 26 Nov 1995 18:07:12 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Robert Nighthawk and etc Comments: To: bit-listserv-blues-l@uunet.uu.net A few days ago someone posted some questions about Robert Nighthawk. One of the questions asked whether RN played slide guitar on his earliest recordings. I listened to Robert Lee McCoy, Complete Recorded Works 1937-40 (Wolf WBCD-002) this AM and he does play slide on a few numbers but is not a major part of his technique on these recordings. Certainly nothing like what you hear in his 50s recordings. Sonny Boy Williamson I backs him on harmonica on most of these recordings. You'll also find Robert on the first disc of the Sonny Boy Williamson Complete Recorded Works series ( Document DOCD 5055) - about half of this disc has McCoy backing SBW. Some additional info from the liner notes - McCoy was his mother's maiden name. Robert McCollum/McCoy/Nighthawk learned to play the guitar from Houston Stackhouse at age 21. One of the songs is titled "Prowling Nighthawk" probably led to his name change, it was the song he was most known by from his contemporaries in this period. Another question was concerning the future of the Pearl label and whether these will be issued on CD. According to the latest Rhythm & News catalog published by the Jazz Record Mart I got yesterday, Pearl will be phased out but Delmark will reissue these probably some time after 1996. Delmark still has about 15 or so titles on the Delmark label to reissue on CD. In the meantime, Sleepy John Estes - "Brownsville Blues" has been deleted and JT Brown - "Windy City Boogie" and "Harmonica Blues Kings" (both on Pearl LPs) are on the endangered list. Other interesting news from Delmark - Apollo reissues of Wynonie Harris - "Everybody's Boogie" (#683); Blue Lu, Wee Bea and Baby Dee, 3 blues women on the Apollo label will also have a release titled "Don't You Feel My Leg" (#684) are to be released in early 1996. Other reissues in the works include Tab Smith, The Blazes with Floyd McDaniel, and Harry "The Hipster" Gibson are in the works. Art Schuna ========================================================================= Date: Sun, 26 Nov 1995 13:23:34 CST Reply-To: JBards From: JBards Subject: Re[2]: Slide strings (little blues) Comments: To: Mary Katherine Aldin MK's absolutely right, although the tuning you use may relieve some of the stress on the neck, also. In an open D tuning, for example, you'vee got 4 of 6 strings a full step lower than the standard E guitar tuning. -Jim _______________________________________________________________________________ Subject: Re: Slide strings (little blues) From: Mary Katherine Aldin at INTERNET-SH Date: 11/26/95 11:48 AM Tom Kraft wrote: >I've got a Alvarez dreadnought that I'm gonna try to learn to play slide on. What is the recomended or prefered strings? Now I've got steel 10s on it. You want to go up to at least a 13 on the top string, about a 16 second string (i.e. a medium set, at least)--but you want to be careful not to warp your neck or rip the bridge off the face of the guitar by using strings that are *too* heavy. If fret rattle is a problem, you may want to consider raising your saddle slightly, but before you undertake any construction projects start by using heavier strings. A 10 is useless for slide playing. FYI, Dobro players usually start with a 14 top but that might be too much tension for your guitar. Mary Katherine ========================================================================= Date: Sun, 26 Nov 1995 13:40:21 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Who Owns The Blues? The Arts and Leisure section of today's (Sunday's) New York Times contains a feature lead article entitled "Who Owns The Blues" that members of Blues-L will assuredly find interesting. Joel Slotnikoff ========================================================================= Date: Sun, 26 Nov 1995 13:48:16 -0500 Reply-To: Msbeale From: Msbeale Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Albert King poster? Comments: To: bit-listserv-blues-l@uunet.uu.net In another place and time Pat Hertel wrote: >The first AK I ever bought was a double LP called >"Masterworks", which is why it was not the last AK >I ever bought :). When you open up the album there >is a portrait picture of AK and Lucy which is the >most drop-dead beautiful picture I have ever seen >of AK. Would anyone know if they ever made a poster >of it or where I might begin to look? I don't know if they ever made a poster, but thanks for the tip...now I've got to get out and find the LP. I'll keep you posted. (no pun intended :) ms beale st. "I ain't lyin'!" -Albert King ========================================================================= Date: Sun, 26 Nov 1995 19:29:31 GMT Reply-To: Brent bluett From: Brent bluett Organization: Boston University Subject: Earl Hooker Comments: To: bit-listserv-blues-l@uunet.uu.net -- I just heard some Earl Hooker songs on the radio and have had no luck in tracking them down. They are: Blues For Dancers Two Bugs in a Rug The Foxtrot Does anyone know where I can find them? Thank you Brent -- ========================================================================= Date: Sun, 26 Nov 1995 13:03:55 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: blues clubs in atlantic Canada Back from two weeks of vacation in Nova Scotia and New Brunswick. The beer was great and I even managed to find a couple of blues clubs. If anyone ever gets to Halifax, which is a beautiful city in it's own right, check out "Your Father's Mustache" on Quinpool Road. Usually have live bands and mostly blues. Every Saturday from 1400 to 1800 a blues band fronted by Joe Murphy is there. Great spot. Nice location, good food and excellent selection of beer. If you happen to find your self in Moncton, New Brunswick check out "Groucho's" on Mountain Road. They occasionally have blues. First time ZI ever heard a Muddy song in French!!. Another good bar in a pretty boring town. Gary .......... Gary Constantine >> gconstan@ccinet.ab.ca << If hard work were such a wonderful thing, surely the rich would have kept it for themselves. ========================================================================= Date: Sun, 26 Nov 1995 15:46:29 -0500 Reply-To: USBLUE5@AOL.COM From: "Gordon, Rich" Subject: Re: Sonny Boy Williamson(s): two or more? Comments: To: aschuna@vms2.macc.wisc.edu On December 30, 1990, The Recycled Blues Revue happened at the Metro Centre in Rockford, IL. Those appearing were The Basement Blues Band, B.B. Odom, Johnny Dollar, Willie Buck Blues Band featuring Sunshine Rose, Sonny Boy Williamson, Jr., Betty Everett with J.W.Williams and the Chi-town Hustlers and Sugar Blue. I took this list off a t-shirt. I remember this Sonny Boy being about mid 50's and very stylish in a white suit. Maybe he's the one you're talking about. Rich Gordon WXRX 104.9 FM Rockford,IL ========================================================================= Date: Sun, 26 Nov 1995 16:09:14 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: That NY Times Story today The feature story on the front of today's Sunday times is as interesting for what it gets wrong as what it gets right. Its headed "Who Owns The Blues." One interesting little irony-- following the jump page is an article titled: "A Still-Stompin', Still-Fildllin' 70-Year-Ole" about the 70th anniversary of the Grand Ole Opry. No mention in that article about who owns the Opry (which pays performers scale), much less note of the fact that the Opry owners even own Bill Monroe's home place now.... BUT back to the blues story. There's a performance photo of noted blues performers Tom Jones and Dwight Yoakum at the L.A. HOB. There's a photo of a drawing by folk artists Bill Traylor (labelled a painter, he drew but did not paint) and one of the Robert Johnson photos (credited, of course, to LaVere). There's a Birney Imes photo of a juke joint, and the story says that Imes' book JUKE JOINT (although the article gets the title wrong), given to Isaac Tigert by Bill Ferris, provided Tigert the inspiration for the interior design in the various HOBS. The article does note that the HOB is also heavily involved in buying and collecting African American folk art, an area where the art business buys work from artists in the hundred-dollar range and then resells them for ten or more times that. It quotes at length Tigert's (INMHO patently false and racist) rationalization that preservation of the blues has required white intervention, and note that white interest in blues revival has "left out those artists who still had black audiences." quoting Francis Davis. It has this to say about Alan Lomax: "Mr. Davis criticizes folklorists like Alan Lomax, who visited prisons to find traditional songs, while ignoring individual innovators nearby like Charley Patton. 'They went into it with the wrong mindset -- a noble one but wrong.' There are critical things to be said of Mr. Lomax, but this seems wildly off-beam. In the first place, when Lomax went down there, Patton was dead. In the second place, Lomax *sought* one of the great innovators (Robert Johnson) and *found* three other greats and recorded them (Muddy Waters, Son House, and Bukka White, the last in prison). This statement is both wrong and unfair. The next paragraph ties the criticism to Steve Calt and Gayle Dean Wardlow (who gets the honorific Ms. Oops!) and their book about Patton. This is far from the only thing wrong in that book, much of which consists of ill-considered side-swipes at people only marginally relevant to a biography of Patton. There's a note that Robert Johnson played "Tumbling Tumbleweed" and Memphis Minnie played the Woody Woodpecker theme. I would *love* to know the original source for that one! The article closes nicely with the W.C. Handy story about how he discovered "the beauty of primitive music." Its not as little noticed a story as the article claims. I'd like to hear what Dick Waterman has to say about the articles statement that Arthur Crudup "recieved nothing" from Elvis' recording of "That's All Right." Didn't you fix that, Dick? Or was that other recordings of other Crudup songs? Anyway, its an interesting story. What do ya'll think? Tom Freeland ========================================================================= Date: Sun, 26 Nov 1995 16:23:34 -0500 Reply-To: Bill Adkins From: Bill Adkins Subject: Help find a blues prodigy I saw a 16 year old blues/rock prodigy on TV yesterday and they didn't give his last name. I can't find anything on him at Tower Records. Please help. First name was Joe or Joey. The show I saw was filmed in Memphis last year, I think. The piece included him with Danny Gatton. talking, not playing. Gatton, humbly, said that he's a lot like he was at 16, but better. It also included BB King among others. Joe began playing at 5 and plays sort of a mixture of Gatton, SRV, Jimmy Thackery style. I think his band included Berry Oakley, Jr (son of Allman Bros. Bassist) & Miles davis, Jr (?). Joey Really can play his ass off. It was very scary. If anyone knows who this kid is and what he's doing, where he's playing and if he has recorded send me a message as soon as possible. Thanks, BA ========================================================================= Date: Sun, 26 Nov 1995 16:50:43 EST Reply-To: William Pollak From: William Pollak Subject: GIG ANNOUNCEMENT (Balt.): Billy Price Band w/Bill Kirchen The Billy Price Band will be at the 8x10 club in Baltimore this Friday, Dec. 1. Bill Kirchen, former guitarist with Commander Cody and the Lost Planet Airmen, will be our special guest for the evening. Send me email if you want more details. Bill Pollak, aka Billy Price email: wp@sei.cmu.edu Software Engineering Institute Carnegie Mellon University Pittsburgh, PA 15213-3890 ========================================================================= Date: Sun, 26 Nov 1995 17:01:54 EST Reply-To: William Pollak From: William Pollak Subject: Best 10 releases of 1995 On WYEP-FM, where I host The Soul Show, we distribute a list of all the deejays' top 10 lists to our subscribers. I always enjoy reading these, so I'm posting mine to this list and inviting others to do the same. You may notice that many of the discs on my list were reviewed this year by some of the knowledgable folks on blues-l. Despite the noise and volume of messages, blues-l is still my greatest source of information about blues and blues-related music. Here's my list: 1. Bobby Blue Bland - Sad Street - Malaco 2. Shirley Brown - Diva of Soul - Malaco 3. Bobby Byrd - Bobby Byrd Got Soul: the Best of - Polydor 4. Sam Cooke - Sam Cooke's Night Beat - Abkco 5. Al Green - Your Heart's In Good Hands - MCA 6. Hightower Brothers - Best of - AVI/Nashboro 7. Syl Johnson - Back in the Game - Delmark 8. Various Artists - Hi Times: Hi Records, the R&B Years - Right Stuff/Hi 9. Billy Vera and Judy Clay - Featuring Storybook Children and Greatest Love - Ichiban 10. Johnny "Guitar" Watson - Bow Wow - Wilma Bill P. Bill Pollak, Technical Communication Carnegie Mellon U., Software Engineering Institute Pittsburgh, PA 15213-3890 email: wp@sei.cmu.edu ========================================================================= Date: Sun, 26 Nov 1995 17:15:52 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Xmas Ideas, Please Art wrote: > > Well that about sums it up. Ian, I hope you've been VERY good this past > year so that Santa will bring you a pile of new CDs. > ME TOO! Thanks for a great list, Art. Now to drive my family crazy... Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Sun, 26 Nov 1995 14:16:43 PST Reply-To: "D. ALLEN SIMPSON" From: "D. ALLEN SIMPSON" Subject: Blues Stuff This Week on TV MOnday night, check local listings this is an independently produced show: The 1995 Clio Awards (yeah, the commericials awards show...), featuring Jimmy Johnson, James Brown (I have no idea why, though) PBS: check local listings, may already have aired on the east coast: "Curves, Contours, and Bodyhorns" (a 1 hr. special on the Fender Stratocaster, which I assume must have some blues content) Doug S. ========================================================================= Date: Sun, 26 Nov 1995 17:34:18 -0500 Reply-To: Niles Frantz From: Niles Frantz Organization: Megaweb Subject: Re: Best acoustic slide players today?? Comments: To: bit-listserv-blues-l@uunet.uu.net In article <49a17g$13g@ns1.moran.com> Steve Leigh wrote: >John Dow wrote: > >>Please tell me who your favorite acoustic slide players are > .(current >>performers) >>Which recordings do you reccommend? Thank You > With a little digging, you can find a CD called "Just A Dream" by Diamond Jim Greene on a label called Black Magic from the Netherlands. It has some wonderful acoustic blues, slide and otherwise. Greene is from Chicago, but spent some time playing in Washington DC and on the west coast. Now he's back in Chicago. His mentor is John Cephas of Cephas and Wiggins, and apparent influences are Skip James, East Coast ragtime blues, plus some remnants of his electric days. The album includes covers of Tommy Johnson, Skip James, Tampa Red, Bill Broonzy and others. For older stuff, Yazoo Records has collections of acoustic slide guitar. Also look for albums of Tampa Red, Son House and Kokomo Arnold. Good luck Niles A loop is a loop is a loop. ========================================================================= Date: Sun, 26 Nov 1995 17:55:36 -0500 Reply-To: Msbeale From: Msbeale Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Dick Waterman Charms Chicago Comments: To: bit-listserv-blues-l@uunet.uu.net What a lovely account of your magical evening with Dick Waterman. I felt like I was there with you all. Dick Waterman is a great guy and IMHO a National Treasure. I could go on and on about all the stuff he's seen and done......and not even scratch the surface. Dick Waterman IS a walking encyclopedia on blues music. I think it's safe to say he's seen it all. BUT- I can't say that he's ever bought my dinner! ms beale st. "I ain't lyin'!" -Albert King ========================================================================= Date: Sun, 26 Nov 1995 17:14:21 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Blues-L FAQ - Administrative THE BLUES-L FAQ LIST - ADMINISTRATIVE PORTION List Owner - Alan Rollins (blzlynx@nexus.polaris.net) Compiled by David Silberberg (davidis@interaccess.com Last modified October 12, 1995 CONTENTS: 1. What is this FAQ List 2. What is Blues-L 3. How to Receive Blues-L 4. To Subscribe, Unsubscribe, and Other Listserv Commands 5. The Newsgroup Mirror 1. What is this FAQ List? This is a list of Frequently Asked Questions to the Blues-L mailing list and newsgroup mirror. The purpose of this FAQ is to inform newcomers to our community, and to refresh the memories of long-time members, about various aspects of Blues-L, both in terms of administration (subscription information, listserv commands, guidelines, etc.) and content (controversies, definitions, etc.) Please read this FAQ before posting any messages to the newsgroup or mail list. 2. What is Blues-L? Blues-L is a mail list with a newsgroup mirror devoted to the discussion of the Blues in all of its forms - from predecessors of blues music to contemporary performers. Discussions have been very wide-ranging, branching into a variety of topics, but always should include a definite, direct connection to the Blues. Subscribers and contributors include professional musicians, producers, radio programmers, and authors as well as average, everyday lovers of the music. The mail list was created by Jake Haller at Brown University. The current list owner is Alan Rollins. If you should have any technical problems with receiving or posting to the list, and you require human intervention, send a message to blues-l-request@brownvm.brown.edu. Please explain your problem clearly, including the steps you have already taken to solve the problem. Currently, over 750 people (from countries all over the world) subscribe to the mail list, and countless others read the list through the newsgroup mirror. 3. How to receive Blues-L Blues-L can be read, and posted to, either by subscribing to the mail list (thus receiving the messages as e-mail) or by reading the newsgroup. Either way, you will be receiving all of the messages, and have the ability to post your responses / questions / opinions. You should choose your method based on your internet connection: some people find it easier to read e-mail messages, some find it easier to read newsgroups. This is a high-volume group: usually, 50 to 100 messages are posted each day. The choice is yours, but we strongly urge you to subscribe to the mail list: if you wish to receive the list through the newsgroup, you can set the mail list to NOMAIL (instructions are below). At some point, the owner may take the list "private", meaning that only subscribers (including NOMAIL) subscribers) to the mail list will be able to post. To post a message to the list through e-mail, send the message to blues-l@brownvm.brown.edu This is the list address. 4. To subscribe, unsubscribe, and other listserv commands The following commands should be sent to: listserv@brownvm.brown.edu. DO NOT SEND THEM TO THE LIST ADDRESS, which would cause you request to be sent to the entire list and newsgroup without causing the listserv to act on your command. The subject line should be blank, and the message content should be as follows: TO SUBSCRIBE: SUBSCRIBE BLUES-L TO UNSUBSCRIBE: SIGNOFF BLUES-L TO SET YOUR RECEIVING METHODS: The default method is to receive individual e-mail messages for each message sent to the list. The digest format sends you one e-mail message each day containing all of the messages sent to the list since the last day's digest. This is a long document. To set the list to digest format, send the command to listserv@brownvm.brown.edu, no subject, message: SET BLUES-L dig The index format sends you a daily index of messages sent to the list. The index contains the poster of the message, the subject line, and the size of the message. To set the list to index, send the command to listserv@brownvm.brown.edu, no subject, message: SET BLUES-L index To retrieve a particular message that you wish to read, you will have send send a message to blues-l-request@brownvm.brown.edu. When you set this option, the listserv will send you detailed instructions on how to use it. TO TEMPORARILY STOP MAIL FROM THE LIST FOR A FEW DAYS, WITHOUT UNSUBSCRIBING, or to subscribe to the list and read the newsgroup instead, send a message to listserv@brownvm.brown.edu, no subject, with the message: SET BLUES-L nomail To resume receiving mail, send the message: SET BLUES-L mail Please remember, any subscription request should be sent to listserv@brownvm.brown.edu. You will receive a complete list of listserv commands by sending a message to the listserv, with no subject, and the message: HELP. 5. The Newsgroup Due to the high volume on this list, and the fact that many subscribers prefer to receive newsgroups rather than e-mail, David Pimmel led the way in initiating a Blues-L Newsgroup. This newsgroup mirrors the activities of the Blues-L mail list. The address of the newsgroup is: bit.listserv.blues-l If you are a newsgroup reader, you have all of the privileges and responsibilities of mail-list subscribers: you get all messages, and may post to the newsgroup. All of your messages will be read by list subscribers and newsgroup readers. If you are posting through a newsreader, there is a chance that your message will not appear in the group. This is most likely due to an incorrect setting for the moderator in the news software. The correct address is blues-l@brownvm.brown.edu. Check with your local system administrator if this seems to be a problem. In the meantime, you can always contribute via direct e-mail to the above address. ========================================================================= Date: Sun, 26 Nov 1995 17:14:27 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Blues-L FAQ - Etiquette THE BLUES-L FAQ ETIQUETTE AND GUIDELINES PORTION List Owner - Alan Rollins (blzlynx@nexus.polaris.net) Compiled by David Silberberg (davidis@davidis@interaccess.com) Last Modified October 12, 1995 Any additions, suggestions, or corrections should be mailed to David Silberberg (davidis@interaccess.com) CONTENTS: 1. General Etiquette 2. Announcing Personal Appearances 3. Announcing National Act Appearances 4. Selling Stuff on Blues-L 5. Appropriate Blues-L Topics This is the etiquette and guidelines portion of the Blues-L FAQ. PLEASE READ IT BEFORE POSTING ANY MESSAGE TO THE LIST / NEWSGROUP. Blues-L is not censored in any way. All messages will be posted to the list. But this is a list devoted to discussion of the blues, and this is a community of blues-lovers and people interested in the form. Over 750 people, from all over the world, subscribe to the mail list; countless others read the newsgroup without subscribing. We you will follow these simple guidelines, so that Blues-L will be a happier, friendlier place to be. 1. General Etiquette A. Remember that PEOPLE will be reading your post. Not everyone will agree with your views, but they are people with valid opinions. Base your arguments on what has been said, not on who you think the sender is. Don't get personal - let your argument speak for itself. B. Mr. Pimmel has structured the list so that your mail readers / newsgroup readers automatic "reply" feature will address your response to the individual poster of the message. This is to remind us to think whether or not we wish to respond to the entire list (certainly completely appropriate if you think you comments will interest the entire list), or to the individual poster of the message you are responding to. C. Avoid posting "I agree" or "Great Post" or "Me Too" messages to the entire list. This is a waste of resources. If you wish to send this kind of message, please send it to the individual you are complementing. D. Avoid posting messages without any useful contents. This includes messages containing only snide remarks to a previous poster, etc. It also includes message where you say "Sorry, no blues content". If there is no blues content, do not send the message to the list. E. Commercial messages should not be posted to the list. (However, see below for guidelines concerning personal appearances by musicians who are members of the blues-l community.) F. If a topic (or musician, etc.) has been extensively discussed recently, hold off on bringing it (him / her) up again. Let another topic get some time on the list. G. Remember the distinction between posting to the list (where everyone sees it) and posting to an individual privately. Think about the universality of your message: if you think many (if not most) people on the list would find your message interesting and informative, please post it to the list. If your message would be of interest to only one or two people, send it to them privately. H. Please pay attention to your "subject line": make sure it accurately reflects the contents of your message. If you have changed the subject during your response to a previous post, please change your subject line. I. When responding to a previous post, it is acceptable - and often necessary - to quote a few lines from that previous post, to remind readers of what you are referring to. But quote only as much as is necessary to make clear what you are responding to. J. Above all, use common sense and consider the feelings of others. Treat others as you would wish them to treat you. We know that sounds like church - but it is good advice. 2. ANNOUNCING PERSONAL APPEARANCES It is appropriate to announce your personal appearances on the list, with certain restrictions. Many people on our list are interesting in seeing other members perform. However, frequent (weekly?) announcements that you will be playing in such and such places is going too far. Please remember, this is a global list: most people will not be able to swing by the corner pub for your Friday night set even if they want to. With that in mind: A. Perhaps you could post a message bi-monthly, introducing yourself, the style of music you play, and the general geographic area you play in. Request private responses from people who would be interesting in receiving your "gig list". These would most likely be people who would realistically be able to attend your performances, and would be the people you would most like to reach with your message. B. E-mail the information only to those people. C. If your situation changes, and you get some bookings in a new location, then please post this information to the entire list. 3. ANNOUNCING NATIONAL ACT APPEARANCES Announcing "national touring acts" is appropriate to the list, because it gives readers a way of seeing who is on the road and who will be appearing in their area. Of course, the list members would be interested in your attending such shows, and reviewing them on the list. 4. SELLING STUFF ON THE LIST Do not use the list to sell CD's, tapes, or other merchandise for profit. Doing so may be illegal, so DO NOT DO IT. 5. APPROPRIATE BLUES-L TOPICS This is an uncensored list. All messages will be posted to the list, so please adhere to these simple guidelines: Any topic relating to the blues - the music, performers, books, cultural aspects, history, technical music discussions, reviews, opinions, facts - if it relates to the blues, it is appropriate for Blues-L. This is a terrific list: many members have some kind of professional relationship to the music - musicians, producers, authors, radio programmers, etc. Someone here can answer almost any question you may have - and any information you may wish to transmit will be gratefully accepted by our community. But please - make sure your facts, opinions, and other comments relate to the blues. ========================================================================= Date: Sun, 26 Nov 1995 17:35:50 -0600 Reply-To: Tom Kraft From: Tom Kraft Subject: Re: Earl Hooker Comments: To: Brent bluett At 07:29 PM 11/26/95 GMT, you wrote: >-- >I just heard some Earl Hooker songs on the radio and have had no luck >in tracking them down. They are: > Blues For Dancers > Two Bugs in a Rug Might this be "Two Bugs and a Roach"? Starts off "Hey! Earl Hooker" "Yeah Man" "Where you been so long, man?" "Down at 1919 West Taylor" "What you doing there, man" "Getting ridda bugs like this..........." (proceeds to get down)? If that's it. It is on the album of the same name. I couldn't find the other selections you mentioned. I may be wrong on my previous guess also. Let us know if you find out. I for one would be interested in another EH album. Tom ========================================================================= Date: Sun, 26 Nov 1995 19:30:40 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Christmas Shopping - Top Tens (LONG). Comments: To: bit-listserv-blues-l@uunet.uu.net Following Bill Pollak's nice invitation here goes - These are my some of my top picks for Christmas getting. They aren't necessarily 1995 releases but they are CDs new to me in '95 and ones I have thoroughly enjoyed and I'm still enjoying. I have others, but since I had readily available these reviews and could communicate my enthusiasm these are the ones I chose. SUGAR BLUE - IN YOUR EYES (ALLIGATOR #4831) ALLIGATOR RECORDS BOX 60234 CHICAGO, IL 60660 If you are looking for good music, look no further. Sugar Blue offers up on this CD a full range of what he's best at - ferocious, personal and deeply felt harmonica work along with his visionary view of music. Sugar Blue does not sit down and turn cover after cover. He plays music that's moving and original and his style corroborates his intentions. He has written 9 of the 10 sides on this CD and the final cut, which is his only cover here, is a tribute tune turned into Mr. Sugar Blue's own. As a writer, I always have the decision to make, of how I will approach each new review. Sometimes I listen and pass and sometimes I comment, but on this CD by Sugar Blue I have to be a reporter. Here is the man that gave his harp over to one of the best CD's ever cut, Too Wet To Plow with Johnny Shines. Then he went on to play with the Rolling Stones. The he cut Blue Blazes. Sugar Blue is not someone you decide if you like or not - you listen to him to find out where he says music is going. Thank you Sugar Blue for the music, and thank you Bruce Iglauer for giving this modern architect of the times a free reign to play his piece. ================================================================= ================================================================= OTIS RUSH - SO MANY ROADS (#DE 643) DELMARK RECORDS 4121 NORTH ROCKWELL CHICAGO, IL. 60618 Little need be said to introduce this CD except for five things - it's Otis Rush, it's Jimmy Johnson, it's Sylvester Bones, it's Tyrone Centuray and IT'S LIVE. ================================================================= ================================================================= BUDDY GUY / D.J. PLAY MY BLUES (JSP #256) JSP RECORDS P. O. BOX 1584 LONDON N3 3NW ENGLAND To say that you will not be disappointed by this CD is an understatement. Buddy Guy's earlier works seem pale in comparison to what's here and his later works lack the depth and fire of these sides. This is a deep, dark and brooding session. The best set Buddy Guy has EVER DONE. You will find him layers deep on these cuts. He reaches down vocally and instrumentally into places his earlier works had only hinted at and his later works missed. He is able to bring in some of his early Chess sound but really he is standing on the shoulders of his prior release of Stone Crazy. Until hearing this CD I personally felt that Stone Crazy was the best Mr. Guy ever offered and came from his most personal and touching period. I was half right. This is without a doubt his best period but this CD is his very best output - EVER. This CD finds every cut over 4 1/2 minutes with 6 of them over 5 minutes each. JSP has let Mr. Guy rip and HE DOES. ================================================================= ================================================================= JIMMY DAWKINS - All For Business (#DD 634) DELMARK RECORDS 4121 NORTH ROCKWELL CHICAGO, IL 60616 1971 was a very good year. That's the year Jimmy Dawkins put next to him the likes of Otis Rush and Big Voice Odom for a set of killer blues. Alongside this triumvirate of blues masters we hear the tenor sax of Jim Conley, the piano and organ of Sonny Thompson, the bass of Ernest Gatewood and the drums of Robert Crowder and Charles Hicks. Not bad for a non-leap year. What's on tap is the front and center guitar of Jimmy Dawkins, one of the Windy City's hottest. Adding to the parade is the huge voice of Big Voice Odom who as you will hear is so rightly named. And last but not least the amazing Otis Rush. In fact one of the best pieces on this entire CD is an Otis Rush one. Now let's get on with the music. ================================================================= ================================================================= LARRY GARNER / Too Blues (JSP #249) JSP RECORDS P. O. BOX 1584 LONDON N3 3NW ENGLAND Larry Garner's name does not appear in most of the blues anthologies. There's very little written about him, but all of a sudden everybody's talking about this extraordinary bluesman. Now they are proclaiming him an original and wonderful song writer - with all of the requisite blues skills to go with it. Where did he come from and what made him a star? Firstly let's not forget that without a label to cut your blues and a dedicated person to push your blues, you are going nowhere. John Steadman was such a champion and once again came to the head of the class in getting Mr. Larry Garner out there. This is his second JSP release and may be his best. His first has garnered him innumerable praise and the tradition continues. ================================================================= ================================================================= VALERIE WELLINGTON - MILLION DOLLAR $ECRET (ROOSTER 2619) ROOSTER BLUES RECORDS 232 SUNFLOWER AVE. CLARKSDALE, MS. 38614 I can honestly say that everyone should own a copy of this brilliant, beautiful and moving CD. The sad part to this CD is that Ms. Wellington died several years ago at the very early age of 33. We have lost, what probably would have become, a legend in the blues. Valerie Wellington was a cross between Billie Holiday and Janis Joplin. She could sing her heart out and roll your soul. This woman would have been a star and a headliner in any period of the blues. She is also more than just a blues treasure even though her song selection is the blues - she is a singer without equal. This album is a stellar mix of covers and original tunes. Her version of Cold Cold Feeling left me breathless. She also wails a blowout cover of Bad Avenue. And don't think covers are her forte. She wrote 4 original sides to this CD and her closeout with Voodoo Blues is blues at its best. This last cut is easily as good a side as her Cold Cold Feeling. As if this is not enough to recommend her, take a look at her co- musicians on this CD. Magic Slim and John Primer on guitars, Johnny Littlejohn on slide, Sunnyland Slim on piano, Billy Branch on harmonica, Nick Holt on bass and Nate Applewhite and Casey Jones on drums. Enough said. Miss Wellington had a penchant and a gift for rolling her voice over and bringing the words out from a deep place very few singers ever touch. They all dream of getting there but Ms. Wellington did it - over and over and over. She made music that would touch the angels. She was powerful. She was soulful. She was amazing to listen to. She is a major addition to the history of the blues and the history of music. It really doesn't matter if you are a blues fan or not. If you listen to music at all - this CD is a must get and a must get now. You will be more than pleased every second that you spend with Ms. Wellington. I can't say anymore than I already have to give you a proper look at this CD and the fact that you must own it. For now let me say - Valerie Wellington and Million Dollar $ecret will totally fill you up. ================================================================= ================================================================= JIMMY DAVIS - Maxwell Street (Wolf 120.857) WOLF RECORDS P.O. BOX 375 A-1120 VIENNA AUSTRIA When you drop this CD in your player you'll be transported to another place. You'll think it's also another time, but beware, the time is now. Jimmy Davis has been around, although there are not many fans who know him by name. When he was 14 years old he started his musical journey by teaching himself the guitar. Then over the years he became connected with the likes of Silas Green, John Lee Hooker, David King, Eddie Porkchop Hines and then Peter Welding who found him playing the streets and was the first to record this true Maxwell Street musician. On this set Jimmy is joined by Lester Davenport on harmonica and Kansas City Red and Timothy Taylor on drums. Buckle up, you are in for a treat. The freshness and visceral rawness of Jimmy's music will take you right to that corner that he calls his own. ================================================================= ================================================================= VANCE KELLY - Call Me (Wolf 120.877) WOLF RECORDS P.O. BOX 375 A-1120 VIENNA, AUSTRIA Vance Kelly is a young man with a mission. His being young of course is open to one's point of view, but the mission is clear. He is out to set the blues world on fire. This is a terrific set of big tunes that mixes everything from Johnny Taylor to McKinley Mitchell to A.C. Reed and Bobby Bland, right up and right through six self penned original sides. Vance even throws in the classic Junior Parker title, Drivein' Wheel. With the above lineup, and the fire and sensitivity of Vance Kelly, what else do you need to prompt you to get up and take a listen to this wonderful CD. Well here's a few more sparks to drive your engine - John Primer on guitar, Eddie Shaw on sax, Erskine Johnson on keyboards, Johnny Reed and Nick Holt and Lee Johnson on bass, Rick King on drums and David Honeyboy on harmonica. There's even Joan Baby and Robert Kelly on backup vocals. I'd say that this venue should have your ears perked and your soul ready - so here goes. ================================================================= ================================================================= JIMMY DAWKINS - KANT SHECK DEES BLUZE (EARWIG - #4920CD) EARWIG 2406 W. LUNT AVENUE CHICAGO, IL 60645 This is a must have CD by a must hear bluesman. The cover cut alone is worth the price of admission - many times over. Jimmy Dawkins is a very accomplished bluesman. He is also a ferocious guitar player. He attacks his guitar with an unending barrage of great electric blues yet he is capable and shows us a sweeter side as well. On vocals he goes from the deep and the sublime to the rockin' and drivin' and then back to the softer soul and rhythm of the blues. It's a real pleasure listening to this versatility - but BEWARE - Jimmy Dawkins will come at you from all sides loaded. He proffers an incredible range of sounds. He literally walks his guitar from a bellow and a roar to the eerie hold he generates like a razor blade on a chalk board. Adding to this picture of a great bluesman, Mr. Dawkins has written 11 of the 13 sides here. Listen to this CD by putting it in the carousel and punching in 05. Now sit back and take nine minutes to experience the blazing ferocity that the blues can be and the enormous prowess of Jimmy Dawkins. This is Kant Sheck Dees Bluze and it makes a powerful introduction to the music of this extraordinary master. Now start the CD over and be prepared for a treat. Cut one opens with Mr. Dawkins' electrifying guitar and the beautiful piano work of Professor Eddie Lusk. It is a great sampler to the versatility of Mr. Dawkins that will come. The next two cuts are a solid hit of blues and soul and lead up to Norma Jean Wallace on A Love Like That. This is dance music, very R&B and showing off the deep bass range of Ms. Wallace's voice. Towards the end of this cut Ms. Wallace nicely belies some gospel roots. This is a VERY GOOD music cut. Now comes the thriller and Mr. Dawkins has the killer. Kant Sheck Dees Bluze is nothing less than extraordinary. The gut feeling, the raw emotion, the incredible pulling of every note and the precise expression of each word generates the real deep down blues that we wait for. If one single modern cut had to be added to the historical repertoire that we call the blues - this one is it. The CD now turns to an instrumental that will make your feet move. It also is a great showcase for the guitar talents of Mr. Billy Flynn set against some more wonderful pianowork. More big blues follow and lead up to Wes Cide Bluze. Another cut featuring the big guitar front and center. An electric Chicago sound masterfully mixed with an older and grittier blues. Both are perfectly blended and the transitions flow smoothly - the mastery of Jimmy Dawkins at his best. Gotta Hold On is the closer and what a way to end a CD. A wonderful religious cut. This piece is full of soul and highly charged. You can feel the vibrato in Mr. Dawkins throat as he bends the lyrics or be lulled away by his rhythm and soul. This is clearly not gospel, maybe it's church, but definitely it's religion. To end this side the instruments fade, Mr. Dawkins' vocals rise and the cut ends - TERRIFIC. ================================================================= ================================================================= PERCY MAYFIELD - LIVE (WINNER #445) WINNER P.O. BOX 151095 SAN RAFAEL, CA 94915 This CD is about music - plain and simple. It's full from the opening bars to the closing ones with an exceptional set of musicians and the big voice and style of Percy Mayfield. I think the reviews of each cut will speak for the entire CD so here I want to acknowledge the talent playing. Percy Mayfield - vocals and piano on track 11; Mark Naftalin - piano and organ on track 11; Dr. Wild Willie Moore - saxophone; Pee Wee Crayton, Bob Murray and Ron Thompson - guitars; Julien Vaught and Bobbie Webb - saxophones; Leonard Gill, Henry Oden, Francis Rocco Prestia and Ted Wysinger - basses; Fred Casey, Francis Clay, Kelvin Dixon and Gary Silva - Drums; Mark Naftalin - producer. ================================================================= ================================================================= -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Sun, 26 Nov 1995 20:15:04 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Earl Hooker On November 26th, Brent bluett asked: >>>>>I just heard some Earl Hooker songs on the radio >>>>>and have had no luck >>>>>in tracking them down. They are: > Blues For Dancers > Two Bugs in a Rug > The Foxtrot Just a long trek down memory lane, but I think they are from a Blue Thumb album (1970s era) called "Two Bugs and a Roach." Earl played the double-neck guitar, No doubt about it, the man could flat out play. Also did swing, jazz and some very authentic shitkicker country in the bars of Iowa and rural Illinois. Dick Waterman ========================================================================= Date: Sun, 26 Nov 1995 20:27:22 EST Reply-To: Lesley Hooton From: Lesley Hooton Subject: Thanks To Gary Constantine > From vef.village.ca!hermes.csd.unb.ca!mailserv.mta.ca!bjhtn Sun Nov 26 19:46:25 1995 > Received: from vef.village.ca by villtor.village.ca id aa20383; > 26 Nov 95 19:46 EST > Received: from hermes.csd.unb.ca by vef.village.ca id aa14266; > 26 Nov 95 19:43 EST > Received: from mailserv.mta.ca by unb.ca (8.6.12/950414-15:35) > id UAA03365; Sun, 26 Nov 1995 20:50:28 -0400 > Received: from [138.73.15.216] by mailserv.mta.ca; (5.65/1.1.8.2/09Sep94-0117PM) > id AA10395; Sun, 26 Nov 1995 20:57:44 -0400 > Date: Sun, 26 Nov 1995 20:57:44 -0400 > Message-Id: <9511270057.AA10395@mailserv.mta.ca> > X-Sender: bjhtn@mailserv.mta.ca > X-Mailer: Windows Eudora Version 1.4.4 > Mime-Version: 1.0 > Content-Type: text/plain; charset="us-ascii" > To: leslhoot@village.ca > From: Brent J Hooton > Subject: Thanks to Gary Constantine! > > Howdy all! > > I'd like to extend thanks again to Gary Constantine. I won the Peter Green > "Little Dreamers" CD he had the contest for recently, and it just arrived > here in the mail a few days ago. > > It's certainly not the best blues record I've heard (go for Colin James & > The Little Big Band as possibly the best of the many recent "retro"-type > discs), but it certainly is a good record with its merits. While I found > the first couple of tracks somewhat disinteresting, Born Under A Bad Sign > brought it back up and it continued good after that. > > Unfortunately, there isn't much info inside. It does list the songwriters > (most of them are originals) but none of the performers. It sounds mostly > drums/bass/organ oriented, with some guitar and harp as well. > > Anyways, thanks again to Gary! > > Brent Hooton > Mt. Allison University - B.Mus. > Sackville, NB Canada (incidentally, remarkably close to Moncton, where the > forementioned Mr. Constantine was out visiting.) > ========================================================================= Date: Sun, 26 Nov 1995 19:50:53 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: sonny rhodes I had the EXTREME pleasure of seeing Sonny Rhodes at the Blue Cat in Dallas last night. What a great show. Purple turban and lap style slide guitar go great together. Sonny told me this is the first time he had played Big D since the Zanzibar in the late 50's. I don't think it will be that long again. The crowd was small, but enthusiastic, and club owner Doug Henry was so taken with the band he vowed to have them back no matter how many people showed up. I vowed to personally push, pull, or drag another 20 people with me next time, even if I have to hire Guido the enforcer to do it. I'll tell 'em it's for their own good, and it will be. Johnny Copeland's keyboard player was with the band (Floyd Phillips is his name, I think) and he gave me an update on Johnny (as he's heard it). He says while Johnny's waiting for his new heart, they hope to put together a light touring schedule. Johnny is really itching to play. Now I just know there's a couple of other Blues-L'ers that are going to give a brief review of the show. You know who you are. De-lurk for a change! Don O. ========================================================================= Date: Sun, 26 Nov 1995 21:51:06 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: That NY Times Story today Considering that many threads are created on slim premises, I hope that everyone will take the time to read this article. "The New York Times" is easily accessed online and this article (which prints out to seven pages) makes an intelligent attempt to determine how a growing chain of clubs (i.e. House Of Blues) fits into the overall presentation of this musical genre. At the very least, we must recognize that the most influencial newspaper in the United States made it the lead article in its Sunday Art's section. There is plenty to chew on here and, hopefully, different readers will come away with varying impressions this will lead to dialog and discussion. My major complaints were the careless asumption that Gayle Dean Wardlow is a woman's name and that, in citing an example of pop musicans who have played House Of Blues, they used Bonnie Raitt's name. She has refused all booking attempts from HOB because she knows that her appearance there might be assumed to validate them as being an authentic blues venue. I believe that she got onstage at the Los Angeles House Of Blues and did one song at a benefit which, technically, gives them the right to say that she has performed there. One point made in the article is a view that I share with Arhoolie's Chris Strachwitz; the assumption that black music influenced white imitators but that it never flowed back the other way is nonsense. Howling Wolf loved Jimmy Rodgers ('Singing Brakeman,' not Muddy's guitarist) and Skip James performed Hogie Carmichael's "Lazy Bones" and there are countless other examples. Anyway, there is some real meat on the bone here. I hope that you will take the time to check it out. This could lead to some intelligent discourse beyond the basic "Isaac is a pig and we should boycott HOB!" Dick Waterman ========================================================================= Date: Sun, 26 Nov 1995 19:34:29 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Lefty Dizz I don't remeber who wrote the post but awhile ago, someone mentioned that fans of wild and raunchy Chicago Blues might want to check out Lefty Dizz. I went down to the Virgin Megastore today in West Hollywood and lo and behold there was a Lefty Dizz CD there. I decided that my credit card still could absorb more damage and bought the CD. I got home, put it on and the opening guitar lick took the top of my head off. It's a great CD. Wild, raucous and full of fun. The spirit of Hound Dog Taylor runs throughout the album. I reccomend to anyone who likes their Blues raw. And thanks to whoever posted the original message concerning Lefty. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sun, 26 Nov 1995 22:36:53 -0500 Reply-To: Bill Adkins From: Bill Adkins Subject: Re: Earl Hooker >>>>>I just heard some Earl Hooker songs on the radio >>>>>and have had no luck >>>>>in tracking them down. They are: > Blues For Dancers > Two Bugs in a Rug > The Foxtrot See if this helps I looked through my collection and found one Earl Hooker Album, "Two Bugs and A Roach" on Arhoolie Records (#F 1044). Recorded at Sound Studios, Chicago, Ill in 1968. Earl Hooker Born Clarksdale, Mississippi on January 15, 1930; raised in Chicago Cousin to John Lee Hooker and Joe Hinton "Two Bugs and a Roach" Songlist: Anna Lee* Off The Hook Love Ain't A Plaything* You Don't Want Me Two Bugs and a Roach* Wah Wah Blues* You Don't Love Me Earl Hooker Blues Musicians: Earl Hooker: guitar & vocals Geno Skaggs: Bass Joe Willie Perkins: piano & organ Levi Warren: drums Williams: drums* Fred Roulette: steel guitar Andrew "BB Jr" Odom: vocal on "Love Ain't a Plaything" Carey Bell: vocal & harmonica on "Love Ain't a Plaything" Louis Myers: harmonica on "Anna Lee" ========================================================================= Date: Sun, 26 Nov 1995 22:50:46 -0500 Reply-To: Bill Adkins From: Bill Adkins Subject: Re: Earl Hooker Almost Forgot, The Nighthawks recorded "Two Bugs and a Roach" with Pinetop Perkins and Bob Margolin on their "Jacks & Kings - Full House" (not "Jacks & Kings"; be careful). Credits on the album indicate that it is a "traditional" song. Nighthawks Jacks & Kings - Full House Adelphi Records: AD 4125 PO Box 288 Silver Spring, Maryland 20907 PS I'm not sure Adelphi is still around, but I think you can still get the album if you're interested. ========================================================================= Date: Mon, 27 Nov 1995 03:50:18 GMT Reply-To: Windmill Pottery From: Windmill Pottery Organization: Northwest Nexus Inc. Subject: Re: Slide strings (little blues) Comments: To: bit-listserv-blues-l@uunet.uu.net I play a National Style O and a 1930 steel bodied Triolian and the guages I prefer are (from Hi E to Low E): E .013-.014, B .017-.018, G .026 (unwound if you can find them), D .035, A .045, E .056. I usually use D'Addario phos/bronze but that's a personal preference. Good Luck. Adios for now, Michael L. Madsen - Blaine, Wash. Tom Kraft writes: >Guitar Players, >There was a discussion a while back about prefered strings for Nationals. >I've got a Alvarez dreadnought that I'm gonna try to learn to play slide on. >What is the recomended or prefered strings? Now I've got steel 10s on it. >Thanks in advance >Tom -- Adios for now, Michael L. Madsen - Blaine, Washington "Take it easy but take it." Woodie Guthrie ========================================================================= Date: Sun, 26 Nov 1995 23:56:13 -0500 Reply-To: James Leftwich From: James Leftwich Subject: HOB in NY Does anyone know what happened to the House of Blues they were building at Union Square? Jim ========================================================================= Date: Sun, 26 Nov 1995 23:52:04 -0600 Reply-To: Joe Aldrich From: Joe Aldrich Subject: Sonny Rhodes in Dallas NEVER AGAIN will I miss a show recommended by Don O. I was a bit skeptical about seeing Sonny Rhodes live, due to some of the acts I'd seen showcasing some of the blues "senior statesmen". But Sonny definitely had something say, and it was eloquently stated in stinging slide and gritty vocals. Each set opened with the band playing a couple of instrumentals before Sonny ascended the stage. First set he started with a strat-type guitar (no slide) and did a couple of tunes that were just warm ups. As the evening progressed, off came the strat, out came the chair, and there Sonny proceeded to give a lesson in lap steel blues. Puctutating his solos with multioctave slides well beyond the fretboard kept the crowd awaiting his every lick and turn of phrase. Sonny's other guitar man played right in the pocket with complimentary (not overpowering) fills and rhythm and also led the band. The keyboard man was excellent (although at times the house sound system lost the keyboard in the mix) and the rhythm section was rock solid. These guys looked like they really had fun! A great night of tunes played by a master. Heartily recommended! Joe Aldrich (jaldrich@conlne.com) ========================================================================= Date: Mon, 27 Nov 1995 00:49:38 -0500 Reply-To: CTCYBERJAZ@AOL.COM From: Connecticut Cyber Jazz Subject: CT CYBER JAZZ Comments: To: dixielandjazz-d@islandnet.com THIS IS A ONE TIME MAILING TO THIS LIST, JUST LOOKING FOR INTERESTED SUBSCRIBERS... ------------------------------------------------------ ~~ VOLUME 1 /*\ ISSUE 4 /*\ NOVEMBER 26, 1995 ~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ HAPPY HOLIDAYS FROM: ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ CCCCCCCCC CCCCCCCCCC JJJJJJJJJJJJJJ CC C CC C JJJ CC CC JJ CC ONNECTICUT CC YBER JJ AZZ CC CC JJ CC C CC C JJ JJ CCCCCCCCC CCCCCCCCCC JJJJJJJJJJJ "THE MAILING LIST" TO SUBMIT POSTS SEND TO: CTCyberJaz@aol.com (SUBJECT: POSTS) List Owners: Kevin (kmreed@gnn.com) Randy (CTWriter@eworld.com) +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ LIST OWNERS NOTE: HAPPY (LATE) THANKSGIVING, I was hoping to send out this weeks list on Thanksgiving Eve (?) but I was sick so I was unable to. Sorry, I hope you will all take this as a late Thanksgiving present from me. ADDITIONS: I have added New Jersey to the listings for all our New Jersey Members. Also, During the Holiday Season I am going to post Holiday Musical Events even if they aren't jazz. So in other words, I will be going a little off topic with the postings during the Holiday Season. The list is growing very fast, we now have about 250 subscribers. If anyone goes to see a jazz event/show please write up a review and send it to us (SUBJECT: REVIEWS). Your participation is what helps make CCJ grow, and we are growing. If there is anyone that reads CCJ that is from another state other than New York, Connecticut or New Jersey please send me email at kmreed@gnn.com. I will expand the list to include information for your state. I am currently looking into moving the list to another service so I can send out BLIND CCs. I have just become a member of GNN and am researching the possibilities. In addition, I am talking with some other networks. I will get back to you, until then you will have to deal with all the names at the top of the mailing. (SORRY) HELP WANTED: This list is getting a little hard for two people to handle, we need help. Looking for people to compile Reviews, Charts, and TV/RADIO listings. These Jobs include looking through magazines, TV Guide, etc. No pay, but it's actually really fun. Please post CCJ Mailings anywhere. Sorry my note is so long, and sorry the list is so long (hopefully you can find some good information from it). HAPPY HOLIDAYS!!!!! -KMR P.S. Club owners please send along your entertainment scehedules to: CTCyberJaz@aol.com (subject: POSTS), or Connecticut Cyber Jazz, Post Office Box 3129, Stony Creek, CT 06405-1729. ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ _______________________________________________________________________ >>CONCERTS/CLUBS/PERFORMANCES<< CONNECTICUT ___________________________________________ IMPROVISATIONAL MUSIC, Monday, November 27, 1995: @ 8PM Featuring Feetmusic BT & M's Chicken and Rib House, 66 Ferry Street, Middletown Sponsored by The Buttonwood Tree Donation $2.00 For information call: 347-4957 or (800) 218-0012 "A CHRISTMAS CAROL" Friday, December 1, 1995 Puppet House Theatre, 128 Thimble Island Road, Stony Creek (Branford) Admission $6, $5 children and seniors For additional information call: 931-6326 "THE MAGIC TOY SHOP" (performance) Saturday, December 2, 1995: 7:30 PM Performed by the Starship Dance Theater Guilford Community Center, Guilford Tickets: 410, $8 seniors and children under 12. For information call: (203) 453-6920 "A CHRISTMAS CAROL" Saturday, December 2, 1995 Puppet House Theatre, 128 Thimble Island Road, Stony Creek (Branford) Admission $6, $5 children and seniors For additional information call: 931-6326 MESSIAH Saturday, December 2, 1995: 3 PM & Sunday, December 3, 1995: 3 PM Presented by: Cappella Cantorum under the direction of Barry B Asch. Program features a professional orchestra, guest soloists Marth Oneppo, Martha King, Ben Davidson, Kenneth Holton and the 120-voice chorus. John Winthrop Junior High, Route 80, Deep River Tickets $15, $12 seniors and students (Reception included) For information call: 860-434-0261 or 245-4397 "THE MAGIC TOY SHOP" (performance) Sunday, December 3, 1995: 4:00 PM Performed by the Starship Dance Theater Guilford Community Center, Guilford Tickets: 410, $8 seniors and children under 12. For information call: (203) 453-6920 CHRISTMAS PARTY Sunday, December 3, 1995 The Branford Historical Society presents decorated rooms lit by candlelight. Entertainment is the Branford High School Music Makers. (Editor's Note: Great musical Group) Harrison House, 124 Main Street, Branford For information call: 203 488-3270 "A CHRISTMAS CAROL" Sunday, December 3, 1995 Puppet House Theatre, 128 Thimble Island Road, Stony Creek (Branford) Admission $6, $5 children and seniors For additional information call: 931-6326 "A CHRISTMAS CAROL" Friday, December 8, 1995 Puppet House Theatre, 128 Thimble Island Road, Stony Creek (Branford) Admission $6, $5 children and seniors For additional information call: 931-6326 "A CHRISTMAS CAROL" Saturday, December 9, 1995 Puppet House Theatre, 128 Thimble Island Road, Stony Creek (Branford) Admission $6, $5 children and seniors For additional information call: 931-6326 "A CHRISTMAS CAROL" Sunday, December 10, 1995 Puppet House Theatre, 128 Thimble Island Road, Stony Creek (Branford) Admission $6, $5 children and seniors For additional information call: 931-6326 "MESSIAH" Friday, December 15, 1995 Under the direction of David Geier First Congregational Church on the Green, Branford For information call: (203) 481-9780 "A CHRISTMAS CAROL" Friday, December 15, 1995 Puppet House Theatre, 128 Thimble Island Road, Stony Creek (Branford) Admission $6, $5 children and seniors For additional information call: 931-6326 "A CHRISTMAS CAROL" Saturday, December 16, 1995 Puppet House Theatre, 128 Thimble Island Road, Stony Creek (Branford) Admission $6, $5 children and seniors For additional information call: 931-6326 CHRISTMAS PAGENT Sunday, December 24, 1995: 5:30 PM Pageant with Christmas Eve Family service and carol singing. First Congregational Church, Madison Admission Free For information call: (203) 245-2739 NEW YORK _____________________________________________ RUTH BROWN, Thru December 9th, 1995 Rainbow & Stars, 30 Rockefeller Plaza (65th Fl) For information call (212) 632-500 HIRAM BULLOCK & WILL LEE, November 29, 1995 Manny's Car Wash, 1558 3rd Avenue (between 87th & 88th) For information call (212) 269-2583 MATT "GUITAR" MURPHY, November 20, 1995 Manny's Car Wash, 1558 3rd Avenue (between 87th & 88th) For information call (212) 269-2583 ERIC BURDON / CANNED HEAT, December 7, 1995 Tramps, 51 W 21st St (between 5th & 6th) For information call (212) 727-7788 KEB' MO'/RORY BLOCK, December 9, 1995 The Bottom Line, 15 W 4th Street (at Mercer) For more information call (212) 228-6300 MICHAEL HILL'S BLUES MOB, December 21, 1995 Terra Blues, 149 Bleeker Street For information Call (212) 777-7776 BIG JACK JOHNSON, January 4, 1996 Terra Blues, 149 Bleeker Street For information Call (212) 777-7776 NEW JERSEY (New to the list for our New Jersey Readers) _____________________________________________ BIG MIKE & THE PERPETRATORS, December 1, 1995 Stanhope House (don't have all the information on this venue, will hopefully have it for next post) For information Call: 201 347 0458 LEE "SHOT" WILLIAMS, December 2, 1995 Stanhope House (don't have all the information on this venue, will hopefully have it for next post) For information Call: 201 347 0458 STEVE GUYGER, December 8, 1995 Stanhope House (don't have all the information on this venue, will hopefully have it for next post) For information Call: 201 347 0458 LOUP GAROU, December 9, 1995 Stanhope House (don't have all the information on this venue, will hopefully have it for next post) For information Call: 201 347 0458 A.L. JAMES & SPARE CHANGE, December 15, 1995 Stanhope House (don't have all the information on this venue, will hopefully have it for next post) For information Call: 201 347 0458 MAGIC DICK / JAY GEILS -- BLUES TIME, December 16, 1995 Stanhope House (don't have all the information on this venue, will hopefully have it for next post) For information Call: 201 347 0458 OXFORD BLUES, December 22, 1995 Stanhope House (don't have all the information on this venue, will hopefully have it for next post) For information Call: 201 347 0458 STANHOPE HOUSE CHRISTMAS PARTY - LADY BLUE & THE TRAMPS, December 23, 1995 Stanhope House (don't have all the information on this venue, will hopefully have it for next post) For information Call: 201 347 0458 ROADSIDE LOUIE & THE DUSTERS, December 29, 1995 Stanhope House (don't have all the information on this venue, will hopefully have it for next post) For information Call: 201 347 0458 BILLY HECTOR & THE FAIRLANES, December 30, 1995 Stanhope House (don't have all the information on this venue, will hopefully have it for next post) For information Call: 201 347 0458 NEW YEAR'S EVE PARTY -- BLUE SPARKS, December 31, 1995 Stanhope House (don't have all the information on this venue, will hopefully have it for next post) For information Call: 201 347 0458 ________________________________________________________________________ >>ON GOING<< CONNECTICUT _________________________________ SAND HILL PLAZA CONTINUING JAZZ SERIES Located at the Gazebo in the Mall Section of the Sand Hill Plaza Route 25 South, Newtown, CT The series continues every Friday night, 7 - 10 PM. Scheduled to appear are: Dec 1 - Harold Danko (keyboards) & Rich Perry Dec 8 - Joe McWilliams (keyboards) and Bill C. Francis (alto) Dec 15 - Jeff McGill (keyboards) Dec 22 - Ali Ryerson (flute) & Ken Blinko (guitar) for the "Chrstmas Party" *BRANFORD CHORALE Seeking singers: S, A, T, B - No auditions necessary. Rehearsals: Mondays, 7:30 P.M. @ Francis Walsh Intermediate School, 185 Damascus Road, Branford, CT For information call: (203) 488-8680 *COMMUNITY MUSIC SCHOOL Private and ensemble lessons for children and adults on all instruments and voice. Spencer's Corner, Main Street, Centerbrook For information call: (203) 767-0026 *TABOR COMMUNITY ARTS CENTER 45 Tabor Drive, Branford Classes in Improvisation and Vocal and Instrumental Instruction - traditional, Suzuki, and Jazz. Also classes in Dance, Drama, and Art. For Information Call (203) 488-5668 *GALVANIZED JAZZ BAND, Appearing weekly every Sunday Bill Millers, Route 1, Branford For Information Call: (203) 453-5916 *BILL'S SEAFOOD JAZZ ALLSTARS, Fridays, 7:30 to 11:30p.m. Bill's Seafood, Route 1 at the Singing Bridge, Westbrook. "A big band sound" For Information Call: (203) 399-7224 *1917 JAZZ BAND Saturdays, 7:30 to 11:30p.m. Bill's Seafood, Route 1 at the Singing Bridge, Westbrook. For Information Call: (203) 399-7224 *JAZZ RIVERBOAT CRUISE 7:00 PM to 12:30 AM Featuring Kitty Kathryn and Her Band and the Kunle Mwanga Quartet Leaving from Camelot Cruises dock, Haddam aboard the Deep River Navigation Company cruise ship Cross Rip. Sponsored by The Buttonwood Tree. Tickets $25.00 For Informaiton Call: (203) 347-4957 or (800) 218-0012 NEW YORK ____________________________________ SUNDAY: OPEN MIKE BLUES JAMS: Manny's Car Wash & Chicago B.L.U.E.S. MONDAY: OPEN MIKE BLUES JAMS: Koyote Kate's TUESDAY: BLUES JAM SESSION: Hell's Kitchen Bar and Grill ________________________________________________________________________ >>BLUES/JAZZ ON RADIO/TV<< Daily: 3:00 PM - 4:00 PM, Blues Hour, 88.3 FM WBGO (Newark) Thursdays: 6:00 PM - 7:00 PM, Blues Alley, 91.9 FM WNTI Fridays: 8:00 PM - 9:00 PM, Portraits in Blue, 88.3 FM WBGO (Newark) 12:00 AM - 1:00 AM, Live at the House of Blues, WTBS (TV) Saturdays: 7:00 AM - 8:00 AM, Portraits in Blue Rebroadcast, 88.3 FM WBGO (Newark) 1:00 PM - 2:00 PM, Bluestage, 88.3 FM WBGO (Newark) 4:00 PM - 6:00 PM, Something Inside of Me, 89.9 FM 12:00 AM - 1:00 AM, Live at the House of Blues, WTBS (TV) 2:00 AM - ??, All-Blues Show, 90.7 FM WFUV Sunday: 8:00 AM - 10:00 AM, Amazing Grace (Gospel), 89.9 FM 5:00 PM - 8:00 PM, The Dangerous Rock & Roll Show, 91.9 FM WNTI 8:00 PM - 10:00 PM, Rockin' the Blues w/ Dave Provost, 105.5 FM WDHA _________________________________________________________________________ >>UPCOMING JAZZ EVENTS AROUND THE WORLD<< (PLEASE SEND IN ANY POSTS YOU MAY HAVE) _________________________________________________________________________ >>THE BILLBOARD MAGAZINE CHARTS<< Here is the Billboard Magazine blues chart for the week of November 25, 1995. * = chart debut 1. Greatest Hits/Stevie Ray Vaughan & Double Trouble 2. Ledbetter Heights/Kenny Wayne Shepherd * 3. From The Cradle/Eric Clapton 4. Handful of Blues/Robben Ford & the Blue Line 5. Some Rainy Morning/Robert Cray 6. Cover to Cover/The Jeff Healey Band 7. Blues/Jimi Hendrix 8. Keb' Mo'/Keb' Mo' 9. Turn It On, Turn It Up/Roomful of Blues 10. Chill Out/John Lee Hooker 11. Essential Blues/Various Artists 12. Blue Streak/Luther Allison 13. Live '92-'93/Albert Collins & the Icebreakers 14. Texas Sugar/Strat Magik/Chris Duarte Group 15. Sad Street/Bobby "Blue" Bland _________________________________________________________________________ >>REVIEWS<< (DON'T FORGET, WE NEED YOUR HELP WITH THE REVIEWS. IF ANY OF YOU GO TO SEE ANY TYPE OF SHOW, PLEASE WRITE A SHORT REVIEW AND SEND IT ALONG.) ________________________________________________________________________ >>JAZZ (and other) VENUES<< CONNECTICUT--- *Allegra's Cafe, 538 Boston Post Road, Orange: 203-795-6985 *Alley Cat, 212 Crown Street, New Haven: 203-776-PURR *Andriana's, 519 Boston Post Road, Old Saybrook, 203-388-0408 *Artspace, 70 Audubon Street, New Haven: 203-772-2377 *Aunt Chilada's, 3931 Whitney Avenue, Hamden: 203-230---4640 *Bank St. Roadhouse, 36 Bank St., New London: 860-443-8280 *Bar, 254 Crown Street, New Haven: 495-8924 *Bill's Seafood, Boston Post Road, Westbrook: 399-7224 *Cafe Diesel, 944 State Street, New Haven: 203-776-2135 *Cafe Nine, 250 State Street (at Crown), New Haven: 789-8281 *Common Grounds, 1096 Main Street, Branford: 203-488-BEAN *Miche Mache, 2635 Long Ridge Road, Stamford: 203-322-2953 *Shubert Performing Arts Center, New Haven: 800-955-5566 *Thataway Cafe, 409 Greenwich Avenue, Greenwich: 203-622-0947 *Toad's Place, 300 York Street, New Haven: 203-624-0033 *Tune Inn, 29 Center Street, New Haven: 203-772-4310 *Violets, 261 Main Street, Stamford: 203-316-0278 NEW YORK--- *A.K.A., 77 W. Houston St. at Wooster St.; 212-673-7325 *BIRDLAND, 2745 Broadway at 105th St.; 212-749-2228 *BLUE NOTE, 131 W. Third St. near Sixth Ave.; 212-475-8592 *BOTTOM LINE THE, 15 W 4th St. at Mercer); 212-228-6300 *BRADLEY'S, 70 University Pl. at 11th St.; 212-228-6440 *CARLYLE HOTEL, Madison Ave. at 76th St.; 212-744-1600 *CHICAGO B.L.U.E.S., 73 8th Ave between 13th & 14th; 212-924--9755 *FAST FOLK CAFE, 41 N. Moore St; 212-274-1636 *FAT TUESDAY'S, 190 Third Ave. at 17th St.; 212-533-7900 *FEZ, in Time Cafe, 380 Lafayette St., between Great Jones and E. 4th Streets; 212-533-7000 *FIVE SPOT, 4 W. 31st St., between Broadway and Fifth Ave.; 212-631-0100 *FIFTY SEVEN FIFTY SEVEN, 57 E. 57th St., between Park and Madison Avenues; 212-758-5757 *HELL'S KITCHEN BAR AND GRILL, 754 9th Ave.; 212-246-4417 *IRIDIUM, 44 W. 63d St. at Columbus Ave.; 212-582-2121 *IRVING PLAZA, 17 Irving Place at 15th Street; 212-777-6800 *KNICKERBOCKER, 33 University Pl. at Ninth St.; 212-228-8490 *KNITTING FACTORY, 47 E. Houston St., near Mulberry St.; 212-219-3055 *KOYOTE KATE'S, 307 W 47th St; 212-956-1091 *LA FAMILLE, 2017 Fifth Ave., at 125th St.; 212-534-9909 *LE MADELEINE, 403 W. 43d St. between Ninth and 10th Avenues; 212-246-2993 *MANNY'S CAR WASH, 1558 3rd Ave. between 87th & 88th; 212-369-2583 *METROPOLIS, 31 Union Square West between 16th and 17th Streets; 212-675-2300 *MICHAEL'S PUB, 211 E. 55th St. between Second and Third Avenues; 212-758-2272 *NEW MUSIC CAFE, 380 Canal St., at W. Broadway; 212-941-1019 *RAINBOW & STARS, 30 Rockefeller Plaza (65th Floor); 212-632-5000 *RED BLAZER TOO, 349 W. 46th St. between Eighth and Ninth Avenues; 212-262-3112 *SWEET BASIL, 88 Seventh Ave. South, at Bleecker St.; 212-242-1785 *TAVERN ON THE GREEN, Central Park West at 67th St.; 212-873-3200 *TERRA BLUES, 149 Bleeker Street; 212-777-7776 *TRAMPS, 51 W 21st St. between 5th & 6th; 212-727-7788 *VILLAGE VANGUARD, 178 Seventh Ave. South, at 11th St.; 212-255-4037 *ZINNO, 126 W. 13th St. between Sixth and Seventh Avenues; 212-924-5182 NEW JERSEY--- *THE STANHOPE HOUSE; 201 347 0458 SAN FRANCISCO--- *John Patrick's, 1813 Park St., Alameda, CA (510)522-5105 *Ashkenaz, 1317 San Pablo Ave., Berkeley, CA (510)525-5054 *Blake's, 2367 Telegraph Ave. Berkeley, CA (510)848-0886 *Starry Plough, 3101 Shattuck Ave., Berkeley, CA (510)841-2082 *19 Broadway, 17 Broadway, Fairfax, CA (415)459-1091 *Club Kaos, 39148 State St., Fremont, CA (510)792-6500 *Irvington Monument, 4000 Bay St., Fremont, CA (510) *Sweetwater, 153 Throckmorton, Mill Valley, CA (415)388-2820 *A & C Club, 1950 San Pablo Ave., Oakland, CA (510)893-4100 *Bosn's Locker, 5817 Shattuck Ave., Oakland, CA (510)652-1520 *Eli's Mile High Club, 3629 Martin Luther King Jr. Way, Oakland, CA (510)655-6661 *Fifth Amendment, 3255 Lakeshore Avenue, Oakland, CA (510)832-3242 *Pacific Coast Brewery, Oakland, CA *Yoshi's Nitespot, 6030 Claremont, Oakland, CA (510)652-9200 *Station House, Point Reyes, CA *The Hopyard, 3015 Hopyard Road, Pleasanton, CA (510)426-9600 *Pleasanton Hotel, 855 Main St., Pleasanton, CA (510)846-8106 *BLUES, 2125 Lombard, San Francisco, CA (415)771-BLUE *Biscuits & Blues, 401 Mason, San Francisco, CA (415)292-BLUE *Lou's Pier 47, 300 Jefferson, San Francisco, CA (415)771-0377 *Saloon, 1232 Grant, San Francisco, CA (415)989-7666 *Slim's, 333 11th St, San Francisco, CA (415)621-3330 *Blues On B, Barley And Hops, 201 B St., San Mateo, CA (415)348-7808 *C.S. Riffs, 150 S. Winchester Blvd., San Jose, CA (408)866-0511 *JJ's Blues Downtown, 14 S. Second St., San Jose, CA (408)286-3066 *JJ's Blues Lounge, 3439 Stevens Creek Blvd., San Jose, CA(408)243-6441 *Fourth Street Tavern, San Rafael, CA *Moe's Alley Blues Club, 1535 Commercial Way, Santa Cruz, CA (408)479-1854 *Ideal Bar & Grill, 106 Beach St.,Santa Cruz, CA (408)423-5271 *Margaritaville, Sausalito, CA *Murphy's Law,135 S. Murphy Ave.,Sunnyvale, CA (408)736-3822 _________________________________________________________________________ >>FAN CLUB ADDRESSES<< (Owners Note: If anyone has addresses of artists please pass them along.) *Paula Abdul Fan Club, 14755 Ventura Blvd., #1-710, Sherman Oaks, CA 91403 *Janet Jackson, C/O Friends of Janet, P.O. Box 802013, Santa Clarita, CT 91380-2013 *Lenny Kravitz, 14755 Venture Blvd. #1710, Sherman Oaks, CA 90211 *The Rolling Stones, Beggars Banquet, P.O. Box 61152, New York NY 10128 *Tina Turner, P.O. Box AA, Broek Op Langedijk, Netherlands *UB40, P.O. Box 177, Birmingham, England B55RJ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +++++++++++++++++++++++++++++ + + CONNECTICUT CYBER JAZZ + + + + CTCYBERJAZ@aol.com + + +++++++++++++++++++++++++++++ For posts use the subject heading "POST" For venue posts use the subject heading "VENUES" For questions use the subject heading "QUESTION" To subscribe to the list use the subject heading "SUBSCRIBE (your email address)" To unsubscribe to the list use the subject heading "UNSUBSCRIBE (your email address)" +++end ========================================================================= Date: Sun, 26 Nov 1995 21:53:09 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Alan Lomax--update anyone? I just heard that Alan Lomax has had another stroke. Can anyone in New York call his office Monday and post an update re his condition to the list? Many thanks, Mary Katherine ========================================================================= Date: Mon, 27 Nov 1995 02:04:21 -0400 Reply-To: Mike Gilbert From: Mike Gilbert Subject: Bonnie Raitt on PBS I was just checking out the PBS site and found the following: Bonnie Raitt: Road Tested, An "In The Spotlight Special" With special guests Bruce Hornsby, Kim Wilson, Bryan Adams, Jackson Browne, Charles Brown and Ruth Brown. Tues. 11/28 10:00-11:30pm ET Thought it might be of interest. Mike gilbertm@fox.nstn.ca ========================================================================= Date: Mon, 27 Nov 1995 02:01:49 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Answer: Help find a blues prodigy The Group is Bloodline and the lead guitarist is Smokin Joe Bonamassa. The group also includes: Erin Davis (Miles' son) on drums Waylon Krieger (Robbie's son) on guitar Berry Oakley Jr (Berry's son) Lou Sergreti on keyboards We interviewed them at a radio station I used to work at and they are a great bunch of young talents. You can also find Smokin' Joe playing on the Guitar for the Homeless CD. Their sound is largely a gritty Rock'n Roll and Texas Blues mix. They have been touring extensively. This is the band that when they first got together, the lead vocalist was Sammy Hagar's (Van Halen) son. Through all the family heritages is why the group is called Bloodline Beef Stew WCCC 107 FM - Hartford, CT ****************************** is basically why/Rockon bass >I saw a 16 year old blues/rock prodigy on TV yesterday and they didn't give >his last name. I can't find anything on him at Tower Records. Please help. >First name was Joe or Joey. The show I saw was filmed in Memphis last >year, I think. The piece included him with Danny Gatton. talking, not >playing. Gatton, humbly, said that he's a lot like he was at 16, but >better. It also included BB King among others. Joe began playing at 5 and >plays sort of a mixture of Gatton, SRV, Jimmy Thackery style. I think his >band included Berry Oakley, Jr (son of Allman Bros. Bassist) & Miles davis, >Jr (?). Joey Really can play his ass off. It was very scary. If anyone >knows who this kid is and what he's doing, where he's playing and if he has >recorded send me a message as soon as possible. > >Thanks, >BA > > ========================================================================= Date: Sun, 26 Nov 1995 16:43:32 -0700 Reply-To: Bruce Stovel From: Bruce Stovel Subject: Junior Walker dies Somebody posted a notice on Friday that Junior Walker died Thursday. I was hoping to read more about it on the list, but since nothing seems to be forthcoming, here's the article that appeared in the Edmonton Jornal Friday: Battle Creek, Michigan (Associated Press) Junior Walker, one of Motown's premier saxophonists in the 1960s and the leader of Junior Walker and the All Stars, died Thursday of cancer. Walker was born Autry De Walt, Jr, in Blytheville, Arkansas, in 1942. He was famous for his alto sax and had hits such as "How Sweet It Is" and "These Eyes" with the All Stars. Walker recently toured with The Four Tops, The Temptations, and other Motown stars, said Willie Woods of the All Stars. Walker had been ill the past two years. "When he got back (from the Motown tour) he had lost the strength in his legs," Woods said. "He never really came back to where he could walk again." This story doesn't mention Junior's signature song and classic, "Shotgun," nor other big hits such as "What Does It Take," "Hi Heel Sneakers" or "Do the Boomerang." It might have mentioned his old-time R & B showmanship--he and the All Stars did synchronized moves while playing, 360-degree turns, etc. Junior and the All Stars were to be one of the acts performing on the 2,000-passengers Blues Cruise of the eastern Caribbean that sets sail in three weeks (December 16-23). The cruise is sold out already: I wonder if anyone will be taking their place? ========================================================================= Date: Sun, 26 Nov 1995 16:06:05 -0700 Reply-To: Bruce Stovel From: Bruce Stovel Subject: earl hooker One of the Hooker songs you heard was one of his most famous--and personally revealing--"Two Bugs and a Roach," about Earl's treatments for TB (which he died from not long after recording this piece. It;s the title track of his album on Arhoolie. ========================================================================= Date: Sun, 26 Nov 1995 16:04:03 -0700 Reply-To: Bruce Stovel From: Bruce Stovel Subject: blues on TV PLUS--according to the TV listings out here in the northwest, the Bonnie Raitt hour-and-a-half special Road Tested" (the visual version of her new 2-CD release) will be shown on PBS Tuesday night, the 28th. ========================================================================= Date: Mon, 27 Nov 1995 09:19:12 GMT Reply-To: bluesdj@HALCYON.COM From: Roberta Penn Organization: Northwest Nexus Inc. Subject: Seattle Blues & Taj Mahal Comments: To: bit-listserv-blues-l@uunet.uu.net SEATTLE BLUES 11/26/95 DETROIT JUNIOR BOOGIE BLUES BLUE SUIT MELVIN TAYLOR TEQUILA EVIDENCE DR. JOHN WITCHY RED GRP SISTA MONICA BABY BOOMER THUNDER. RAITT/CHAS & RUTH BROWN NEVER MAKE YR. MOVE .. CAP. MARK MAY ALL ON THE BLUES ICEHOUSE BOBBY RUSH ONE MONKEY DON'T STOP.. WALDOXY RORY GALLAGHER DON'T START ME TALKIN' IRS CURTIS JONES LONESOME BEDROOM BLUES BLUESV. EDDIE LEE JONES YONDER GO OLD BLK. DOG TESTA. BUDDY GUY FEELS LIKE RAIN SILVER. KAREN CARROLL DOWNHOME BLUES DELMARK TAJ MAHAL STRUT PRIVATE TAJ MAHAL CANDY MAN COLUMBIA TAJ MAHAL RAILROAD BILL LIVE IN STUDIO TAJ MAHAL BACON FAT COLUMBIA TED HAWKINS JUST MY IMAGINATION EVIDENCE The second half of the show was Taj Mahal with his guitar talking and playing. Of note to blues fans everywhere, Taj has done a couple of pilots for BET for a blues show with him as host. And he's working on a play with Bob Weir of the Grateful Dead and David Murray, the jazz saxophonist. He also said he like to cut back on his touring. ========================================================================= Date: Mon, 27 Nov 1995 09:27:57 GMT Reply-To: bluesdj@HALCYON.COM From: Roberta Penn Organization: Northwest Nexus Inc. Subject: NY Times blues Comments: To: bit-listserv-blues-l@uunet.uu.net I was glad to see the blues story in the NY Times, but I wonder why he singled out the HOB? What about radio? There are all these AAA fand Americana stations that say they play the blues in regular rotation but most of their blues cuts are from players like Anders Osborne, Tab Benoit or Chris Duarte. Not to take anything away from these players, but its definitely a white wash when artists like Luther Allison, Joe Louis Walker (the AAA I work for does play Joe Louis, Buddy Guy, Cray and the music director is considering some others) have great music out there that doesn't make it on to the radio. I also agree with Dick Waterman that there has been an exchange between black and white artists....nearly all of the southern soul-blues singers have covered country tunes, like Bobby Bland and Little Milton. And I understand Etta James is going to do a country record for her next release. ========================================================================= Date: Mon, 27 Nov 1995 11:45:20 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Earl Hooker In-Reply-To: <951126201503_34721319@emout05.mail.aol.com> On Sun, 26 Nov 1995, Dick Waterman wrote: > On November 26th, Brent bluett asked: > > >>>>>I just heard some Earl Hooker songs on the radio >>>>>and have had no > luck > >>>>>in tracking them down. They are: > > Blues For Dancers > > Two Bugs in a Rug > > The Foxtrot > > Just a long trek down memory lane, but I think they are from a Blue Thumb > album (1970s era) called "Two Bugs and a Roach." > Earl played the double-neck guitar, No doubt about it, the man could flat out > play. Also did swing, jazz and some very authentic shitkicker country in the > bars of Iowa and rural Illinois. > Dick Waterman > I don't think it's "Two Bugs and a Roach." Least ways,even assuming 'Two Bugs in a Rug' is really 'Two Bugs and a Roach' the other songs mentioned are not on this album. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [27/11/95 6:22 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 27 Nov 1995 06:53:09 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - November 27th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BRECKER, RANDY (of THE BRECKER BROS) b. 1945-1127, PHILADELPHIA, PA BISHOP, JOE (tpt) b. 1907-1127, MONTICELLO, AR CASTELL, MICHELLE (v) b. 1945-1127, NORTHWOOD, UK ERTEGUN, NESUHI(prod/co-founder:ATLANTIC) b. 1917-1127, ISTANBUL, TURKEY HENDRIX, JIMI [JAMES MARSHALL HENDRIX](g) b. 1942-1127, SEATTLE, WA JACKSON, AL JR. (d/prod/BOOKER T./STAX) b. 1935-1127, MEMPHIS, TN JOSEPH, JOHN "PAPA" (b) b. 1877-1127, ST. JAMES PARISH LA SMITH, HARRY (prod/FOLKWAYS' ANTH OF ..) d. 1991-1127, NEW YORK CITY, NY 68 SOUTH, EDDIE (vln) b. 1904-1127, LOUISIANA, MO ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 27 Nov 1995 08:39:12 -0500 Reply-To: Bob vanArsdall From: Bob vanArsdall Subject: Joe Simon On the recent Thanksgiving vacation I travelled through southern Alabama on the way to Mississippi. Around Greenville AL, I heard this announcement on the radio (I'm paraphrasing): "From Detroit, former blues singer Joe Simon, now a sanctified gospel minister, will be conducting a free service of prayer and music at ..." - somewhere in Greenville AL this week. I remember Simon from the r&b charts in the 60's. Can anyone catch me up on his career since then? Incidentally, this unknown radio station was great company for about 60 miles. A solid r&b show of mostly Malaco artists - great driving music... Bob ========================================================================= Date: Mon, 27 Nov 1995 07:59:12 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Muddy Waters & Bob Margolin In-Reply-To: Message of Sun, 26 Nov 1995 10:20:51 -0500 from On Sun, 26 Nov 1995 10:20:51 -0500 DeniseTapp said: >I think of Muddy Waters' bands as graduate schools of the blues. Most of >the artists that I can recall have gone on to strong solo careers. > >Also, a buck says LW hasn't seen Margolin live. I have, but wasn't interested enough to stay through the whole show. I've heard that I missed the blues portion of his show because I left too early. Oh well win some lose some LW ========================================================================= Date: Mon, 27 Nov 1995 08:22:56 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Earl Hooker Comments: To: Brent bluett In-Reply-To: <49af6r$quf@news.bu.edu> Blues For Dancers is on a Red Lightnin' anthology CD that's a year or two old; my mind is drawing a blank. Two Bugs In A Rug and Fox Trot are from Hooker's Cuca album which was also issued on Red Lightnin' and on a U.S. label by Al Smith; it's not on CD as far as I know. ========================================================================= Date: Mon, 27 Nov 1995 09:55:33 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: Best acoustic slide players today?? Comments: To: John Dow Steve James is great! His CD "Two Track Mind" won some kind of award (please forgive my ignorance, I don't remember what it was). Also Scott Ainslie, one of the world's authorities on Robert Johnson, has just released his first solo CD. It's available from Cattail Music, 119 West Seeman Street, Durham NC 27701 for $15 plus $1 shipping. I attended a workshop Scott gave about a year ago. He's amazing! ______________________________ Reply Separator _________________________________ Subject: Re: Best acoustic slide players today?? Author: John Dow at Internet Date: 11/26/95 10:11 AM Please tell me who your favorite acoustic slide players are .(current performers) Which recordings do you reccommend? Thank You ========================================================================= Date: Mon, 27 Nov 1995 09:06:35 -0600 Reply-To: Marlin Penner From: Marlin Penner Organization: Blue Sky FreeNet of Manitoba Inc. Subject: steel slides(?) Comments: To: bit-listserv-blues-l@uunet.uu.net Hello all. I'm looking for a steel slide that fits on the finger so you don't have to play slide on your lap. All I can find here in Winnipeg, Manitoba, Canada is the little ones you hold or glass and ceramic ones. I'd like to get one for my roomate. I tried out the idea with a big socket piece but I would like to get some a bit more functional than that if possible. Any suggestions? Thanks. Marlin Penner emr658@freenet.mb.ca (204) 269 6535 ========================================================================= Date: Mon, 27 Nov 1995 09:57:05 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: Best acoustic slide players today?? Comments: To: Steve Leigh I would also vote for Johnny Winter. Which reminds me that Dave Hole does some nice acoustic slide, although most of his stuff is electric. ========================================================================= Date: Mon, 27 Nov 1995 10:08:11 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: Muddy Waters & Bob Margolin Comments: To: DeniseTapp Johnny Winter talks about Muddy Waters a lot too. Johnny can certainly hold his own with a guitar. Hey, if I played with Muddy, I'd talk about it too! ______________________________ Reply Separator _________________________________ Subject: Re: Muddy Waters & Bob Margolin Author: DeniseTapp at Internet Date: 11/26/95 10:20 AM In article , L W writes: > I don't ever recall reading a Bob Margolin >article , where he himself doesn't talk mostly about MUDDY. I think he >was being very hypocritical and I think his only claim to fame is that he >played with MUDDY...Just MHO LW Last Saturday night, I had the pleasure of meeting Bob Margolin and hearing his trio play at Blues City Cafe on Beale Street. Not only is Bob a genuine guy with a great sense of humor, he is also a versatile guitarist. His set included rockabilly, soul, boogie blues and just a touch of Muddy, for old times' sake. The crowd was rather light on the street that night, and the few people who were out were divided between Chris Cain at B.B.'s and Bob at Blues City, but I saw some of the finest blues guitarists in Memphis, plus Chris during his break, out to hear Margolin. Believe me, a good time was had by all. Some artists whose only claim to fame is having played with Muddy, as LW asserts, might rest on their laurels and stick with the past in their repertoires. Bob seems willing to experiment and grow with the times. I think of Muddy Waters' bands as graduate schools of the blues. Most of the artists that I can recall have gone on to strong solo careers. Also, a buck says LW hasn't seen Margolin live. Denise ========================================================================= Date: Mon, 27 Nov 1995 09:27:31 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Earl Hooker > > Blues For Dancers > > Two Bugs in a Rug > > The Foxtrot I have an album entitled "There's a Fungus Among Us", a 1972 Red Lightnin' release of material originally recorded for the Cuca label right here in Wisconsin, that contains "The Foxtrot" and "Two Bugs in a Rug". EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Mon, 27 Nov 1995 09:29:00 CST Reply-To: Paul Garon From: Paul Garon Subject: Earl Hooker I have Earl Hooker's "Two Bugs and a Roach" on an Arhoolie CD of the same name, CD-324, includes 14 cuts, over an hour playing time, from two Arhoolie vinyl LP's. Nice stuff. ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email or postal mail or visit us at http://www.abaa-booknet.com/alldlrs/mw/60657bea.html. We also have catalogs available by ftp at ftp.mcs.com/mcsnet.users/beasley. _______________________________________|______________________________________ ========================================================================= Date: Mon, 27 Nov 1995 09:29:00 CST Reply-To: Paul Garon From: Paul Garon Subject: NY Times 1. Dick, how about the online address for the New York Times? I ran out to all the stands around here, but by the time I got there, they were sold out. 2. Now how to say this without seeming confrontational. The only result will be people will say, "Geeez, that Garon, he can't even be non-confrontational when he tries!" But anyway, here goes! You say, and now another poster has joined you, >One point made in the article is a view that I share with Arhoolie's Chris >Strachwitz; the assumption that black music influenced white imitators but >that it never flowed back the other way is nonsense. Howling Wolf loved >Jimmy >Rodgers ('Singing Brakeman,' not Muddy's guitarist) and Skip James >performed >Hogie Carmichael's "Lazy Bones" and there are countless other examples. Like Minnie's Woody Woodpecker even. But, who thinks "it never flowed back the other way"? I thought everyone knew that it did! So much so that this is hardly "a view shared with Chris." I mean, isn't the backward flow simply a *fact,* about which Tony Russell wrote a whole (or 1/2) book, BLACKS, WHITES AND BLUES in 1970, and to which Paul Oliver gives considerable attention in SONGSTERS AND SAINTS? I agree with you that many people probably don't know these things (yet), but is that all you're saying? I guess I'm only disagreeing with the idea that this is a minority "opinion", but acting as if it is politicizes it nicely. It's true that this direction of flow is less emphasized, but that is really *another* social and political question which I'm trying not to comment on. Also, if this subject is of interest, the fact the blues singers had pop songs in their repertoires isn't really analogous to "the black influence on white music" wherein the whole content of the white music in question is shot through with black devices, styles, etc. The analogy of Skip James doing "Lazy Bones" seems to me to match with a white Vegas lounge singer doing "C C Rider" and "Got My Mojo Working". More fascinating, I think, are the cases where black blues artists perform blues pieces that are shot through with white nuances, where white style really infiltrates the black blues performance. The song that first leaps to mind is the Mississippi Sheiks doing "Yodelin' Fiddlin' Blues," an extremely blatant borrowing from Jimmy Rogers. I like this example, especially, since Jimmy Rogers borrowed so much of his style from blacks to begin with! Wheels within wheels. Paul G. ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email or postal mail or visit us at http://www.abaa-booknet.com/alldlrs/mw/60657bea.html. We also have catalogs available by ftp at ftp.mcs.com/mcsnet.users/beasley. _______________________________________|______________________________________ ========================================================================= Date: Mon, 27 Nov 1995 09:29:00 CST Reply-To: Paul Garon From: Paul Garon Subject: Woody Woodpecker Illustration 42 in WOMAN WITH GUITAR: MEMPHIS MINNIE'S BLUES includes shows a song list that was found among Minnie's papers. One of the songs on this list, all of which is pop stuff, is "Woody Woodpecker". This may be the source of that notion, or it could be from Del Ray's ACOUSTIC GUITAR cover story on Minnie. It's interesting about that song sheet. Every "expert" I talked to--and I talked to a lot of them--thought that the list "just had to be" Minnie's nightclub playlist. I couldn't decide, but eventually we were swayed by critical opinion. Nonetheless, every musician friend of Minnie's we talked to, like Big Lucky Carter or Brewer Phillips, had never heard Minnie do anything but blues. Is the resolution the fact that she played pop songs in sophisticated clubs and blues with her down home friends, like we said in the book? I don't know. A part of me still thinks she never did the pop stuff, and the play list is simply an "unexplained" paper found amongst her papers. Sigh... Paul Garon ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email or postal mail or visit us at http://www.abaa-booknet.com/alldlrs/mw/60657bea.html. We also have catalogs available by ftp at ftp.mcs.com/mcsnet.users/beasley. _______________________________________|______________________________________ ========================================================================= Date: Mon, 27 Nov 1995 10:37:32 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Re[2]: Best acoustic slide players today?? Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, lca/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=lca#a#fenix1#f#dol-esa#f#gov@s1boca.corp.wrgrace.com There's a guy in DC called Robert Lighthouse who plays guitar and harp and sings, and is one of the best local slide players. He usually plays an acoustic with a pickup which he plays through an amp, so I don't know if that really counts as "acoustic." Also Sam Mitchell, who I believe is still in Copenhagen (last time I saw his name on this list someone was asking where he was), is someone you should hear if you get a chance. -Steve ========================================================================= Date: Mon, 27 Nov 1995 10:51:53 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Gift of Gibson ES125 and "ethics". Comments: To: brg2@AXE.HUMBOLDT.EDU BRG, Howdy! I completely agree with you on the idea of receiving a gift of this value, as my harp guy Pat did, and the possibility that the donor of the gift may not know the value of his gift, etc. I personally can relate with your shotgun analogy too, being a hunter myself. Anyway, yeah, you're right about this. Turns out, the old guy on the loading dock that Pat was b.s.-ing with is one of the VPs at Xerox and has money to blow, and actually knew very well what the street value of the guitar was, and that's why he wanted to make it a special gift to Pat, a true blues dude, who would really and truly appreciate the gift for the sake of giving. Cool eh? Pat bought him a carton of smokes and a bottle just to return the "good will" and the guy was insulted. He sat Pat down and told him "look, I appreciate your gesture, but understand that I GAVE you the guitar because I know how much you will enjoy it and cherish it. I didn't want anything in return from you." Then they sat and smoked and talked blues out on the dock. Ah, ya gotta love those "human interest" stories. :) Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Mon, 27 Nov 1995 10:46:52 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Upcoming DC Blues Society Events Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, lca/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=lca#a#fenix1#f#dol-esa#f#gov@s1boca.corp.wrgrace.com >From the DC Blues Society homepage (http://intelus.com:80/DCBlues/): The Society's third annual Holiday Party takes place this year Saturday, December 2, from 9:00 P.M. to 1:00 A.M. at the Departmental Progressive Club in Alexandria, Virginia. Music will be provided by vocalist O.C. Nunn and his band. Bill Wax ... will sift through his collection for some blues holiday music. Of course there will be plenty of opportunity for people to jam. So bring your friends, your instruments and dancing shoes. Admission to the Holiday Party is free. Other than beer and set-ups, which are sold at the club, you can bring your own refreshments and snack tray for your table or to share. The Departmental Progressive Club is located at 411 Gibbon Street. Parking is available on the street and also at the Safeway lot across from the Club. If you were at last year's party, you do not need to be coaxed to get you there again. If you missed last year's party, don't do it again. It was a wonderful time! Hope you can join us. Also, the next free blues jam will be Sunday, December 3 at Food For Thought ( 1738 Connecticut Ave. NW, (202) 797-1095) from four until eight PM. If you plan to go to the jam to perform please try to arrive early and sign up. We have had some problems with overcrowding in the past which we are trying to solve by better organization and planning. For more information call the DC Blues Society hotline at (202) 828-3028. -Steve ========================================================================= Date: Mon, 27 Nov 1995 10:53:31 -0500 Reply-To: Erica Wissolik From: Erica Wissolik Subject: Austin City Limits `96 schedule Found this on the PBS homepage - >>>>>>>>>>>>>>Beginning January 13, 1996 9:00 p.m. ET (check local listings) AUSTIN CITY LIMITS launches its 1996 season with performances by music's most influential, popular and distinctive performers of the past, present and future. From B.B. King to Joe Ely, Merle Haggard to Pam Tillis, AUSTIN CITY LIMITS' 21st season delivers music from all parts of America's unique musical heritage. The 13-part series airs on PBS Saturdays, beginning January 13, 1996, 9:00 p.m. ET. "Cheers to AUSTIN CITY LIMITS", wrote "TV Guide" in January 1995. "PBS's LIMITS stands alone as one of television's most enduring popular music shows." "Although AUSTIN CITY LIMITS may have once been regarded as a program that caters to country music, it has always featured a smorgasbord of genres and artists," writes the "Dallas Morning News". With music from blues to southern rock, AUSTIN CITY LIMITS' new season on PBS knows no musical boundaries. AUSTIN CITY LIMITS leaps into its new season with performances by two country musicians who represent the best their genre has to offer. One of the few true living legends in music today, Merle Haggard kicks off the season premiere on January 13, performing hits from his four-decade career and singles from his newest album, "No Time To Cry". Following Haggard is country music's hottest female vocalist, Grammy Award-winner Alison Krauss & Union Station. Krauss' sixth album, "Now That I've Found You: A Collection", rocked both country and adult album alternative radio last year with hit singles "Now That I've Found You," "Oh, Atlanta" and "When You Say Nothing At All." On January 20, Grammy Award-winner John Prine jump-starts his fourth AUSTIN CITY LIMITS appearance with songs from his newest release, "Lost Dogs & Mixed Blessings". Once hailed as the next Bob Dylan, the music veteran and accomplished songwriter continues to earn acclaim from fans, fellow musicians and critics alike. His 1991 release, "The Missing Years", earned a Grammy for Best Contemporary Folk Recording. Following Prine on January 20 is the hot, hip music of Oregon native Todd Snider, whose debut release, "Songs for The Daily Planet", caught the ears of listeners nationwide in 1994. His tongue-in-cheek assessment of the Seattle music machine, "Talkin' Seattle Grunge Rock Blues," established him as a premier songwriter of wit and intelligence. This performance of his unique brand of bluesy folk rock brings the crowd to its feet, roaring and cheering. The Austin-based, Grammy Award-winning Asleep at The Wheel celebrates 25 years of tribute to western swing on AUSTIN CITY LIMITS on January 27. Special guests include Willie Nelson, young country hit-makers Tracy Byrd and Wade Hayes, multiplatinum artist Charlie Daniels and roadhouse bluesman Delbert McClinton. Together they turn out swing classics "Ida Red" and "Milkcow Blues." The AUSTIN CITY LIMITS celebration also reunites former Asleep At The Wheel band members, commemorating their unique role in America's musical heritage. The King of the Blues, B.B. King, returns to AUSTIN CITY LIMITS on February 3. Taped shortly after his 70th birthday, King's performance catches him in his prime, performing blues classics and music from his newest release, "B.B. & Friends". AUSTIN CITY LIMITS captures the blues legend's dazzling technical artistry and his love of and devotion to the power of song. Mixing blues, jazz, swing and pop into his own distinctive style, King defines a genre and proves once again he's one of the finest musicians of this century. AUSTIN CITY LIMITS is distributed in *Stereo Surround Sound*. ========================================================================= Date: Mon, 27 Nov 1995 11:00:21 -0500 Reply-To: "Abe W. Mathews" From: "Abe W. Mathews" Subject: Re: steel slides(?) In-Reply-To: from "Marlin Penner" at Nov 27, 95 09:06:35 am Marlin- > Hello all. I'm looking for a steel slide that fits on the finger so you > don't have to play slide on your lap. All I can find here in Winnipeg, > Manitoba, Canada is the little ones you hold or glass and ceramic ones. > I'd like to get one for my roomate. I tried out the idea with a big > socket piece but I would like to get some a bit more functional than that > if possible. Any suggestions? Thanks. My first slide was a piece of pipe that I got for free from a plumbing shop. I just went into the store, and asked them if they had any short pieces of pipe laying around that would fit on my ring finger. When I told them why, they thought it was neat, and refused my money. They cut a pipe remnant to fit, and ground out the burrs on the inside for me as well. Give it a try! I'd expect that even if they wanted money, it'd still be cheaper than buying a slide from the store, or even a good socket. That being said, 3 slides later, I still can't play slide to save my life. YMMV. Abe awmathew@mtu.edu ========================================================================= Date: Mon, 27 Nov 1995 11:03:01 -0500 Reply-To: Leo Aspiras From: Leo Aspiras Subject: Questions for The List Hi all: This weekend, i was with a pretty knowledgable individual on blues subjects/trivia, and during our conversations he revealed the following information: 1) The Jackie Brentson/Ike Turner collaboration of Rockett 88 (which i think some have labelled the first rock & roll hit) was actually written by James Cotton. He apparently did not copyright it so either Brentson or Turner took credit. 2) Pinetop Perkins showed Ike Turner how to play the piano. Apparently, he was Ike's drummer. This seems odd to me because i have always viewed Pinetop as a piano player (opened up for him and the Legendary Blues Band back in the early 80's). But maby not so odd when you consider that Son Seals started out as a drummer and has switched to guitar. This is probably true of some other blues musicians. Anyway, does anybody out there know anything about these factoids.....just curious???? Thanks, Leo 'The Scatman' Aspiras from d.c. ========================================================================= Date: Mon, 27 Nov 1995 10:05:43 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: steel slides(?) In-Reply-To: Message of Mon, 27 Nov 1995 11:00:21 -0500 from On Mon, 27 Nov 1995 11:00:21 -0500 Abe W. Mathews said: > >My first slide was a piece of pipe that I got for free from a plumbing >shop. I just went into the store, and asked them if they had any short >pieces of pipe laying around that would fit on my ring finger. When I >told them why, they thought it was neat, and refused my money. They cut >a pipe remnant to fit, and ground out the burrs on the inside for me as >well. Give it a try! I'd expect that even if they wanted money, it'd >still be cheaper than buying a slide from the store, or even a good >socket. I used to use a craftsman deepwell socket, but I took a spark plug socket to a friend who has severe machinery and he cut it down to be about hlf size so it doesn't cover my whole finger. I prefer it over any I've tried. I like the half size over the deep well which covered my entire finger LW ========================================================================= Date: Mon, 27 Nov 1995 11:13:44 EWT Reply-To: "CATHI N." From: "CATHI N." Subject: Gary-European tour Hi...Gary's about to hit Europe...hope you can catch him. Date Location 11/30 Essegum Blues............Brussels, Belgium 12/1 Lantaarn ................Hellendorn, The Netherlands 12/2 Roadhouse Rheda ........ Weidenbrook, Germany 12/5 Rotown.................. Rotterdam, The Netherlands 12/6 McFrits Philips......... Eindhoven, The Netherlands 12/7 Tros Sesjun Laren....... (Live Radio) The Netherlands 12/8 Oosterpoort............. Groningen, Netherlands 12/9 Hanehof................. Geleen, Netherlands 12/10 O'42.................... Nijmegan, Netherlands 12/11 Club Scheuer ........... Villingen, Germany 12/12 Golden Krone ........... Darmstadt, Germany 12/13 New Morning ............ Paris, France 12/14 Bluesclub .............. Toulouse, France 12/15 Criketer ............... Bordeaux, France 12/16 Boerderij .............. Zoetermeer, Netherlands 12/17 Arena .................. Amsterdam, Netherlands Blow hard Gary.... Cathi N. ========================================================================= Date: Mon, 27 Nov 1995 11:19:24 EWT Reply-To: "CATHI N." From: "CATHI N." Subject: Skip James Talked to Skip in Austin this month. He says he's about to put out a new album to be called "Art and Grit" -- can't wait. Cathi N. ========================================================================= Date: Mon, 27 Nov 1995 09:35:06 -0700 Reply-To: Jeff Birk From: Jeff Birk Subject: DMX anyone? I was at a friends last night and was introduced to Digital Music Express (DMX). I'm sure most of you have heard of this or may even have it. I was in *heaven.* This is a non-inturuption "radio station" of about 30 different music types (via your cable tv provider) from gospel to heavy metal to classical, whatever. Naturally, I went straight for the blues channel. I was quite impressed with the music, but the best part by far is that they provide you with a "remote control DJ." At any time, you can hit a button which will display the song title, album title, artist, and a couple of other things about the current song being played. I can't say how exiting it was to be over the "crap, this is a great song, I wish I knew who it was" syndrome. I'm planning on calling my satellite dish provider to see if I can get hooked up. Any comments, suggestions, or critiques of zellers who already have this service? I find it pretty exciting. Jeff (and boy is it snowing here in Utah today) ========================================================================= Date: Mon, 27 Nov 1995 11:36:36 -0500 Reply-To: hhardy@BCONNEX.NET From: Hugh Hardy Subject: steel slides(?) <---- Begin Forwarded Message ----> Date: Mon, 27 Nov 1995 09:06:35 -0600 Reply-To: Marlin Penner From: Marlin Penner Subject: steel slides(?) To: Multiple recipients of list BLUES-L Hello all. I'm looking for a steel slide that fits on the finger so you don't have to play slide on your lap. All I can find here in Winnipeg, Manitoba, Canada is the little ones you hold or glass and ceramic ones. I'd like to get one for my roomate. I tried out the idea with a big socket piece but I would like to get some a bit more functional than that if possible. Any suggestions? Thanks. Marlin Penner emr658@freenet.mb.ca (204) 269 6535 <---- End Forwarded Message ----> Marlin, the solution is simple...move! It is impossible to play slide in Winnipeg Manitoba :-)> Although Colin James and Big Dave Maclean might disagree!! Your local music store should have something or they can contact Jim Dunlop Co. which has every type of slide known to man. As far as a steel socket not being practical...Muddy would disagree :-)> Regards, Hugh Hardy near Toronto ========================================================================= Date: Mon, 27 Nov 1995 09:44:55 -0700 Reply-To: Bruce Stovel From: Bruce Stovel Subject: HOB Two items regarding House of Blues: The New York club has been put on hold while they explore the possibility of setting up the club at another venue. That is what the publicist in New York told me a couple of weeks ago. Construction won't start until 1996. The New York Times article (which I have yet to read) remainds me of an anecdote. Rick Holmstrom and Johnny were in town last summer shortly after the House of Blues club opened in L.A. At that time they spoke to the booking agent who agreed to book them--for a token fee. He explained that this would give them exposure. Rick said his reply was, "People are dying all over the world from exposure." Whether true or not, it's a great line. ========================================================================= Date: Mon, 27 Nov 1995 11:08:28 -0600 Reply-To: aditya kapil From: aditya kapil Subject: Freddie King Question!! Could anyone tell me when and how Freddie King died? Thanks, Adit. ========================================================================= Date: Mon, 27 Nov 1995 11:03:50 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: NY Times blues To me, the most interesting part of the article was the following: >A typical presentation on the blues would suggest links that run from the rap >of Snoop Doggy Dogg to the funk of George Clinton to the soul of James Brown >before reaching the blues. > >This perspective reflects an endorsement of a new blues scholarship that >replaces the folklorist emphasis on shared forms and verses. The new approach >stresses instead the individuality and professionalism of blues creators. > >The conflict can become intense. Davis criticizes folklorists like Alan >Lomax, who visited prisons to find traditional songs, while ignoring >individual innovators nearby like Charley Patton. ``They went into it with >the wrong mindset - a noble one but wrong,'' he says. > >In their biography of Patton, Stephen Calt and Gayle Dean Wardlaw attack the >folklorist view and argue that the greatest blues singers were professional >artists, not folk craftsmen. Calt and Ms. Wardlaw maintain that implicit in >the folklorists' argument is a suggestion that black culture was incapable of >producing powerful individual artists. They contend that such a point of view >is at best condescending and at worst racist. > >nn >Originality, of course, is a value found more in modern art than in earlier >art forms. Even the blues masters never minded borrowing; almost every >bluesman took a whack at standards like ``Delta Blues,'' and performers often >resorted to a vocabulary of ``floating verses'' as lyrical boilerplate. > >Patton cannibalized his own songs, and the Chicago bluesman Elmore James >built his entire career on an electrified version of Robert Johnson's >acoustic rendition of ``Dust My Broom,'' already an established tune in the >Delta by the 30s. > >But if there was a different sense of ownership in the blues, it also served >record companies to foster it. Stories of exploited blues artists are well >known. In the 30s, Patton received about $2 per song for the rights to each. >When Elvis Presley recorded Arthur (Big Boy) Crudup's ``That's All Right,'' >Crudup received nothing. > >In his ``History of the Blues,'' Davis argues that the music was ``shaped as >much by the marketplace as by folk tradition.'' The new school rejects the >image of the blues evolving in isolation, maintaining that the marketplace >included other forms of music. > >He notes that Johnson performed the cowboy number ``Tumbling Tumbleweed'' and >that Memphis Minnie played the Woody Woodpecker theme. > >Nor, the new school argues, have the blues ever quite fit the folk image of a >stabile, unchanging art. The movement of the blues from the South to Northern >cities changed - literally electrified - the music. > This goes back to the "noble savage" concept and the perceived (at least by me and a couple of other 'zellers) paternalism of Lomax in his book. David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Mon, 27 Nov 1995 11:15:14 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Re: Skip james > > Talked to Skip in Austin this month. He says he's about to put out a new album > to be called "Art and Grit" -- can't wait. > > > Cathi N. > I think it was not Skip James - he lives in Mississippi - I think you talked to Lightin' Hopkins. Ranko ========================================================================= Date: Mon, 27 Nov 1995 09:45:25 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: HAPPY (delated) BIRTHDAY, BIG CLARA MCDANIEL Comments: To: BluesHvn@aol.com Big Clara McDaniel was born Friday, November 26, 1948, Pontiac, MI. Joel Slotnikoff has kindly allowed me to post this profile on Ms. McDaniel which is avaliable from his Web site . I've also extracted a few comments concerning her recent performance at Blues Estafette (Holland). She hasn't recorded her own CD yet, but I'm sure that day will come soon. "I am honored to have brought Big Clara McDaniel and the Magnatones (the fifth act I have brought there from St. Louis.) I don't want to toot my own horn too loudly but Clara and the band did an excellent job and received an encore. Perhaps Jean-Pierre Urbain or some of the crew from Blues & Rhythm who were there would care to offer further comments." ~ Joel Slotnikoff "I hope to send some more details on Utrecht as early as I can (that means when I've finished dealing with my hard-disk problems) but I just want to say that Big Clara was indeed first class, a great show in the small hall (ask to the B&R folks...)." ~ Jean-Pierre "Young Man" Urbain "A full report and pix are expected to be in B&R 106 (all being well, out in January 1996), and I for one can't wait to be reminded of Big Clara & the Magnetones (the event of the decade for me!), thanks Joel for insisting I didn't miss that one..." ~ Byron Foulger , "Blues & Rhythm : The Gospel Truth" "Clara McDaniel was born in Pontiac, Michigan into a large musical family that included her uncle Dusty Brown who recorded for Parrot in the fifties. She grew up singing and playing piano in church, and listening to the blues at home. As a teenager she began hanging out, dancing, and singing at St. Louis clubs like the Dynaflow at Glasgow and Cass where she heard Ike and Tina, the Caravan at Garrison and Franklin where she worked with Big George and Big Bad Smitty, and Ned Love's in East St. Louis where she sang with Albert King. This was the beginning of a long relationship with Albert. Clara toured the South with him, playing Little Rock and Marianna, Arkansas, and Mound Bayou, Tunica, Belzona and Yazoo City in Mississippi. Back in St. Louis, Clara managed Albert's fleet of taxicabs. She hung out with Little Milton, David Dee, Eugene and Curtis Neal, Charles Drain and Little Willie Richardson, all the while soaking up the blues music around her. For the past fifteen years she has held two jobs and raised a family, always playing out on weekends for the love of the music. She played Sadie's Personality on Union with Tommy Bankhead, Georgia's, the Starlight, Miss Whitt's, Spinks', the Blue Swan, and Spraggin's Hacienda. Clara's huge repetoire includes lots of hard blues; Muddy Waters, Howlin' Wolf, and her favorite, Elmore James, but also extends to classic rhythm and blues and deep soul, Percy Sledge, Otis Redding, Aretha, O.V. Wright, Bobby Bland and Denise LaSalle. Her crack band includes her husband, Abram (Falstaff) Foster on keyboards, veteran St. Louis guitarist Bennie Smith, drummer Rayburn Hayes, sax great Erskine Ogelsby and bass player Sharon Foehner." ~ Joel Slotnikoff ========================================================================= Date: Mon, 27 Nov 1995 12:47:05 -0500 Reply-To: Erica Wissolik From: Erica Wissolik Subject: Questions for The List -Reply >>> Leo Aspiras 11/27/95 11:03am >>> 1) The Jackie Brentson/Ike Turner collaboration of Rockett 88 (which i think some have labelled the first rock & roll hit) was actually written by James Cotton. He apparently did not copyright it so either Brentson or Turner took credit. >>>>>>>>>>>>>>. When you take the tour of Sun Studios, one of the first things they tell you is that Sam Phillips made the first recording of a rock n' roll record - Rocket 88 by Jackie Brentson and His Delta Cats. ========================================================================= Date: Mon, 27 Nov 1995 12:59:10 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: DMX anyone? Comments: To: Jeff Birk In-Reply-To: Definite thumbs up for DMX. I've had it for a month or so and it's wonderful...it complements my blues education (with Blues-L) quite well. You can't beat the price either. I paid $29.95 for 6 months and no start up charge...easy to install as well. Only downside is that the remote "DJ" sometimes doesn't function. Great sound quality too! Contact your cable company. Jim On Mon, 27 Nov 1995, Jeff Birk wrote: > I was at a friends last night and was introduced to Digital Music Express > (DMX). I'm sure most of you have heard of this or may even have it. I > was in *heaven.* This is a non-inturuption "radio station" of about 30 > different music types (via your cable tv provider) from gospel to heavy > metal to classical, whatever. Naturally, I went straight for the blues > channel. I was quite impressed with the music, but the best part by far > is that they provide you with a "remote control DJ." At any time, you can > hit a button which will display the song title, album title, artist, and a > couple of other things about the current song being played. I can't say > how exiting it was to be over the "crap, this is a great song, I wish I > knew who it was" syndrome. I'm planning on calling my satellite dish > provider to see if I can get hooked up. > > Any comments, suggestions, or critiques of zellers who already have > this service? I find it pretty exciting. > > Jeff (and boy is it snowing here in Utah today) > ========================================================================= Date: Mon, 27 Nov 1995 13:03:45 -0500 Reply-To: SFDBLUES@AOL.COM From: Steve Fay Subject: Leadbelly How is Leadbelly's last sessions recording? Is this worth investing some money in? Is it all solo? Sound qaulity etc. Thanks, ========================================================================= Date: Mon, 27 Nov 1995 10:04:59 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: I'll show ya scary! Comments: To: BLUES-L@BROWNVM.BROWN.EDU. PW said: >On Thanksgiving Day, Shaun T. Cronin wrote that he thought a >twenty year old believing the acoustic version of Layla was the >only version, was scary. Aparently he has no idea what scary is. My >wife is blasting Christmas carols at 9 AM on November 23rd. Now >THAT'S scary! Nah, That's not scary... Having a very famous musician walk into the booth you are trying amps out in, someone whose stuff you HATE, never want to hear again, will leave the room if their tunes come on... ya know? And having to force yourself to be nice, because you're a professional, and you know that only silly/ignorant --members of the general public-- do dumb stuff like telling the guy that his stuff is **REALLY STUPID DERIVATIVE, TUNELESS, GARBAGE** but you WANT to, you really do... But no, you're nice, you're a pro, and you even chat with him for a while.... And you are rewarded for your professionalism and courtesy, by getting his stupid "big hit" repeating in your head (does that happen to you? where you can't get a song out of your head?) for two hours afterwards.... And you want to boot the bugga' down a flight of stairs... THAT'S scary.... all true too... Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Mon, 27 Nov 1995 14:02:31 -0500 Reply-To: hhardy@BCONNEX.NET From: Hugh Hardy Subject: Freddie King Question O.K. ...let's see... "what is ...1976 and pancreatitis" Please note that the answer is in the form of a question! :-)> Hugh Hardy ========================================================================= Date: Mon, 27 Nov 1995 12:09:12 -0700 Reply-To: Jessica Jones From: Jessica Jones Subject: Re: BLUES-L Digest - 22 Nov 1995 to 23 Nov 1995 In-Reply-To: <199511240503.AAA18786@listserv.brown.edu> Yea, tell it like it is Karen Hanson. Before people presume to condesend, it would be good if they would investigate what they are talkin' about. jessica ========================================================================= Date: Mon, 27 Nov 1995 18:18:30 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Re: Freddie King Question!! Comments: To: bit-listserv-blues-l@nac.no Heart failure, December 28th, 1976 in Dallas. Age 43. The same age as me...gulp! TB ========================================================================= Date: Mon, 27 Nov 1995 11:12:01 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Spreading the Word on Mad Max Comments: To: David Silberberg Are there any deejays, club owners or others who are interested in a demo tape of my fiance, "Mad" Max Vadi? He's an excellent blues guitarist and also plays some classic rock. His band is covering Clapton, Hendrix, Smokin' Joe Kubek, etc. He does a version of "Ball & Chain" that will blow you away. Let me know if you're interested, tapes will be first-come, first serve. Mad Max plays Mondays at the Full Moon Saloon in Baltimore and has been written up in the "Baltimore Sun." Check him out if you get a chance. ========================================================================= Date: Mon, 27 Nov 1995 13:27:53 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Tommy Dorsey Does anyone know if "Georgia Tom" Tommy Dorsey wrote a really famous gospel song, or was it the "other" Tommy Dorsey... I can't recall the title of the tune, but it's a standard gospel tune thanks LW ========================================================================= Date: Mon, 27 Nov 1995 14:35:27 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: steel slides(?) Comments: To: hhardy@bconnex.net On November 27, Martin Penner asked: >>>Hello all. I'm looking for a steel slide that fits on the >>>finger so you >>>don't have to play slide on your lap. All I can find >>>here in Winnipeg, >>>Manitoba, Canada is the little ones you hold or glass and ceramic ones. >>>I'd like to get one for my roomate. I tried out the >>>idea with a big >>>socket piece but I would like to get some a bit more >>>functional than that >>>if possible. Any suggestions? Thanks. The Son House Technique of Slide Selection (are you reading, Rob Hutten?) is now going to be revealed to the public for the very first time. Mister House and I would walk into a hardware store and go to the back where copper plumbing pipes laid in great length. He would move along inserting his ring finger (left hand) into one after the other until he found the exact size that fit perfectly. Then we would call the clerk over to complete the purchase. "How many feet would you like? the man would ask. "Oh, about three inches will be fine," we would reply. NOTE: It is important to get a rasp file and round off the inner edge where the pipe has been cut or else you will have Bleeding Finger Syndrome. We would buy a bunch at one time and Mister House would occasionally give away a copper slide to fans who came backstage. Dick Waterman ========================================================================= Date: Mon, 27 Nov 1995 14:13:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Robert Nighthawk I knew that Robert Nighthawk had played harp before picking up slide guitar. I read this on Pete Welding's liner notes for his Nighthawk recording. (BTW Houston Stackhouse taught him guitar). But this weekend I read in "Nothin' But the Blues" that Nighthawk was quite a good harp player and played with his cousins Charlie and (Kansas) Joe McCoy. -Bonnie who has both "Two Bugs and a Roach" and "Two Bugs in a Rug" by Earl Hooker. ========================================================================= Date: Mon, 27 Nov 1995 15:19:28 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Bartender's Bop Playlist Every year for the last 10 or 12 I have brought in the Holiday season with a show with songs about food. I have close to 100 songs that I can use in the show so it changes every year. Here is this year's Food Show: Title Group Year Label -------------------- -------------------- ---- -------------- Everybody Eats When Calloway, Cab 47 CBS They Come To My House Frim Fram Sauce, The Fitzgerald, Ella 46 GRD Potato Chips Gaillard, Slim 53 Verve Alligator Meat Otis, Johnny 48 Juke Box Lil Patootie Pie Fitzgerald, Ella 45 GRD Dig This Menu Please Rodney, Red 52 OKeh One Potato Three Peppers 49 Krazy Kat Pickin A Rib Jones Boy Sing Band 37 Clanka Lanka Alabama BBQ Ink Spots 37 Conifer Saturday Night Fish Jordan, Louis 49 MCA Fry Steak and Potatoes Bryant, Willie 35 Jazz Archives Chicken Ain't Nothin Calloway, Cab 40 CBS But A Bird Beans and Cornbread Jordan, Louis 49 MCA I Like Bananas Bryant, Willie 49 Jazz Archives Because They Have No Bones Gimme A Pound O Hunter, Ivory Joe 50 Route 66 Ground Round Hog Maw and Cabbage Rhodes, Todd 52 Jukebox Lil Slaw Hungry Man Jordan, Louis 49 Jukebox Lil Shake Shake Milburn, Amos 56 Aladdin Dumplin Dumplin Day, Margie 56 Mr R&B Hold Tight (Want Waller, Fats 39 RCA/BMG Some Seafood) Hot Dog Powell, Chris 49 OKeh Monkey Hips and Rice Five Royales 54 Official Tootsie Roll Dominoes King Keep On Eatin Memphis Minnie 38 Legacy Kidney Stew Vinson, Eddie 46 Saxophonograph Too Much Jelly Roll Dixon, Floyd 51 Route 66 I Ate The Wrong Part Jenkins, Gus Diving Duck She Cooks Me Cabbage Dupree, Champion King Jack Candy Big Maybelle 56 Savoy Last Meal, The Hurricane Harry 56 Edsel Greasy Chicken Williams, Andre 58 Fortune Hamburger Song, The Moore, Bobby 66 Checker French Fried Milburn, Amos 56 Route 66 Potatoes and Ketchup Purple Stew Harris, Thurston 58 Aladdin Roast Possum Carter Brothers Charly Do You Want It Lee, Julia 45 Juke Box Lil ----------------------------------------------------------------------------- My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Mon, 27 Nov 1995 13:43:46 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: steel slides(?) Comments: To: "Abe W. Mathews" I read in an old issue of Blues Review that Johnny Winter uses copper pipe because his fingers are unusually long and thin, and it's the only thing that he's comfortable with. I've used copper and it's okay but I think brass is better. It's real heavy though and takes some getting used to. There is a company that sells brass slides through the mail. Anybody know what I'm talking about? If not I can probably dig up the name of the company. ______________________________ Reply Separator _________________________________ Subject: Re: steel slides(?) Author: "Abe W. Mathews" at Internet Date: 11/27/95 11:00 AM Marlin- > Hello all. I'm looking for a steel slide that fits on the finger so you > don't have to play slide on your lap. All I can find here in Winnipeg, > Manitoba, Canada is the little ones you hold or glass and ceramic ones. > I'd like to get one for my roomate. I tried out the idea with a big > socket piece but I would like to get some a bit more functional than that > if possible. Any suggestions? Thanks. My first slide was a piece of pipe that I got for free from a plumbing shop. I just went into the store, and asked them if they had any short pieces of pipe laying around that would fit on my ring finger. When I told them why, they thought it was neat, and refused my money. They cut a pipe remnant to fit, and ground out the burrs on the inside for me as well. Give it a try! I'd expect that even if they wanted money, it'd still be cheaper than buying a slide from the store, or even a good socket. That being said, 3 slides later, I still can't play slide to save my life. YMMV. Abe awmathew@mtu.edu ========================================================================= Date: Mon, 27 Nov 1995 14:21:44 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Blues in Seattle, 12/1 to 12/4 I'll be in Seattle next weekend and would like to find some blues acts (Friday through Monday nights). Anyone have a schedule who could give me some pointers? Thanks. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Mon, 27 Nov 1995 15:03:27 -0600 Reply-To: aditya kapil From: aditya kapil Subject: Freddie King's Demise Thanks for the replys. Everyone agrees on the year-1976. We do have a variety of ailments as cause of death, though. Adit. ========================================================================= Date: Mon, 27 Nov 1995 16:12:17 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Re: Tommy Dorsey Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu In-Reply-To: from "L W" at Nov 27, 95 01:27:53 pm In another time and place, L W said: > > Does anyone know if "Georgia Tom" Tommy Dorsey wrote a really famous gospel > song, or was it the "other" Tommy Dorsey... > > I can't recall the title of the tune, but it's a standard gospel tune LW, Thomas A Dorsey was the father of modern gospel. He recorded with Ma Rainey in the twenties. Tommy Dorsey is no relation, thank goodness. :) Tom ----------------------------------------------------------------------------- My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Mon, 27 Nov 1995 21:14:57 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: CARTER BROTHERS Re: Bartender's Bop Playlist Comments: To: bit-listserv-blues-l@uunet.uu.net Purple Stew Harris, Thurston 58 Aladdin Roast Possum Carter Brothers Charly Do You Want It Lee, Julia 45 Juke Box Lil I WAS JUST TALKING THIS WEEKEND TO ANDY GRIGG (OF WESTCOAST BLUES REVIEW) & HE TELLS ME THAT HE HAS FOUND THE "CARTER BROTHERS" - ALL 3 ARE ALIVE & WELL LIVING IN CALIFORNIA. eRIC ========================================================================= Date: Mon, 27 Nov 1995 16:10:06 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Johnny Copeland @ Tornado Alley 12/2/95 Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com This Saturday (Dec. 2) Texas blues guitar legend Johnny Copeland will be at Tornado Alley (11319 Elkin Street, 301-929-0795) in Wheaton, Maryland. It should be a great show. I believe it is his first DC area appearance since his health problems. My band, The Kingfish, will be opening for Mr. Copeland that night (something I'm very excited about!). -Steve ========================================================================= Date: Mon, 27 Nov 1995 21:05:51 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: BO DIDDLEY BIOGRAPHY OUT THURSDAY Comments: To: bit-listserv-blues-l@moderators.uu.net For all of you oldies who remember back in the early 70's when George White used to write to Blues Unlimited, Shout etc begging for info on the Diddler for his *forthcoming* biography of the man with the square guitar, well, he called tonight and told me it will be out Thursady, this week!! Published by Castle Communications Price 9.99!!! Hope it's been worth waiting these 20 odd years for! Tony Burke ========================================================================= Date: Mon, 27 Nov 1995 19:28:22 EST Reply-To: Jim Miller From: Jim Miller Subject: Lomax Comments: To: BLUES-L I find the discussion about blues being folk vs. blues being a commercial music quite fascinationg. I may be wrong on this but doesn't Lomax say in his most recent book that his main interest was not so much in recording what we call blues but rather recording those types of music which blues developed out of. In fact he seemed to imply (I don't have the book with me right now) that blues was a little too commercial for him at that time. His main interest (in terms of blues) was field hollers, work songs and prison songs. For you guitar players out there who are debating the merits of scales(theory) what you need to do is get a good CD of field hollers and try to imitate this on guitar. You will get an invaluable lesson on microtones and the vocal quality of the music. As for theory I think Indian music theory has a lot more to offer the blues player in terms of analysis than Western based theory. ========================================================================= Date: Mon, 27 Nov 1995 16:43:06 -0500 Reply-To: PARRISHR From: PARRISHR Subject: What is the Blues Tune at the End of Ren & Stimpy? Does anyone know what the blues instrumental is that they play at the end of Ren & Stimpy? It sounds like Albert Collins a little. ========================================================================= Date: Mon, 27 Nov 1995 16:47:27 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: Best acoustic slide players today?? Comments: To: Steve Leigh Wait, no one said anything about Rory Block! She's a FABULOUS acoustic player! Ruth "who says females can't play guitar?" Parrish ========================================================================= Date: Mon, 27 Nov 1995 15:37:22 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Tommy Dorsey Comments: To: L W In-Reply-To: It was Georgia Tom Dorsey who composed "Precious Lord" and achieved great eminence in the gospel field. ========================================================================= Date: Mon, 27 Nov 1995 18:06:34 CST Reply-To: JBards From: JBards Subject: Re: Freddie King Question Comments: To: hhardy@BCONNEX.NET Was it pancreatitis? I thought it was a heart attack. -JIm _______________________________________________________________________________ Subject: Freddie King Question From: hhardy@BCONNEX.NET at INTERNET-SH Date: 11/27/95 4:49 PM O.K. ...let's see... "what is ...1976 and pancreatitis" Please note that the answer is in the form of a question! :-)> Hugh Hardy ========================================================================= Date: Mon, 27 Nov 1995 15:02:00 PST Reply-To: Doug Cox From: Doug Cox Subject: best acoustic slide players Ken Hamm is Canada's best National/slide guitarist...check out his home page at http://www.islandnet.com/~dobro/khamm.html Doug Cox http://www.islandnet.com/~dobro ========================================================================= Date: Tue, 28 Nov 1995 20:02:08 GMT Reply-To: Andrew Gregg From: Andrew Gregg Organization: Department of Primary Industry Subject: Re: Best acoustic slide players today?? In article <951126101131_34215883@emout04.mail.aol.com>, John Dow wrote: >Please tell me who your favorite acoustic slide players are .(current >performers) >Which recordings do you reccommend? Thank You An Australian by the name of Jeff Lang plays quite awesome slide. His two current offerings are superb! ********************************************************************** * Andrew Gregg * * * Dept of Primary * I see angels on Ariels * * Industry * in leather & chrome * * ooOO00OOoo * Swooping down from heaven * * Email : * to carry me home * * mpagregg@aries.dpi.tas.gov.au * * * * - Richard Thompson * ********************************************************************** ========================================================================= Date: Mon, 27 Nov 1995 18:17:24 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Tommy Dorsey Comments: To: rshurman@ccs.nslsilus.org As Dick Shurman has noted, Thomas A. Dorsey wrote "Precious Lord, Take My Hand." It was the favorite spritual of Dr. Martin Luther King, Jr. and Mr. Dorsey was asked by the family to conduct the singing of the song at Dr. King's funeral. Thomas Dorsey lived a very long and productive life. His death was not well noted because - and I may be off by a day or two - I believe that he died almost the same day as Justice Thurgood Marshall and the attention of the African-American community was concentrated on that loss. Dick Waterman ========================================================================= Date: Mon, 27 Nov 1995 18:26:09 -0500 Reply-To: MAGross@AOL.COM From: "Michael A. Gross" Subject: "Louis Collins" question Does anyone know the origin of the ballad, "Louis Collins?" I think it's a Mississippi John Hurt composition, but I've also heard a Frank Stokes version. Michael Gross ========================================================================= Date: Mon, 27 Nov 1995 18:54:08 -0500 Reply-To: David Ott From: David Ott Subject: Joe Louis Walker Just purchased Joe Louis Walker's "Blues of the Month Club," which was recorded earlier this year - I liked his vocals and guitar work - the songs were an ecletic mixture. Would appreciate any comments on his earlier works and recommendations for future purchases. Thanks. Dave Ott ========================================================================= Date: Mon, 27 Nov 1995 19:20:25 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Re: Larry Garner on JSP Comments: To: bit-listserv-blues-l@uunet.uu.net Charles d'Orban (cmd5@CORNELL.EDU) wrote: : I very much enjoyed Larry Garner's recent album "You need to live a little" : and now I'm wondering about checking out his 2 releases on the JSP label. : Which one should I start with? One of them is called "Double dues"; can't : remember the title of the other one, maybe its "Too blues" (???) Charles - hope this helps. They are both small wonders. You wouldn't go wrong with either. ======================================================================= ======================================================================= LARRY GARNER - DOUBLE DUES (JSP #244) JSP RECORDS P. O. BOX 1584 LONDON N3 3NW ENGLAND Larry Garner is one of the most consistent new artists on the blues scene. I say new because he has been overlooked for quite a long time until, as usual, John Stedman and JSP were thoughful enough to get him recorded. I won't recommend this CD over his other JSP. I will recommend, however, that you purchase both. Once you've heard Mr. Garner, you'll want everything he does. SCARED OF YOU / NO FREE RIDES / BUSTER / SHUT IT DOWN / DREAMING AGAIN / THE TAXMAN / BROKE BLUESMAN / TALE SPREADERS / CALIFORNIA SISTER / PAST 23 NY CD-Takes SCARED OF YOU: This CD opens up with a wealth of music. A little marching band beat, a guitar riff and then a big harmonica run. Larry Garner then steps up to the plate and his sweet vocals take over. Here he has a very driving beat set inside a souly-blues tune. Very nice vocals from an upcoming blues artist whose importance is evident. Terry Dockery on the harmonica is exceptional and Larry Garner's guitar is very hot. They play each other off quite nicely and set a perfect backdrop to Mr. Garner's voice. NO FREE RIDES: Here the guitar cries the opening bars and the drums and harmonica follow suit. A deep, dark and broody cut. This is the blues - and Larry Garner's voice adds the soul. His sound and playing here are right in the tradition of the great Robert Cray. I'd love to see these two giants play in a face-to- face. This is a very touching and moving cut. One of the best sides I've listened to in a long time. Amazing music from start to finish. This cut also features all of the instruments up front and center stage. Very well produced and arranged. You'll probably hit replay a couple of times before you move on to the next cut. BUSTER: This side has a different set of musicians backing Mr. Larry Garner. From the opening bars it's evident that jazz here is the underpinning. Marc Adams, Oscar Davis, Ronnie Houston, Frank Mitchell and Spencer Williams all combine to offer up a well played side. This is another very musical cut that should be listened to carefully. It gives us a sneak peek into what Larry Garner can offer and the multi sides he brings to the table. Now that he has his second CD out and everyone is raving - where were the fans when he and JSP started the journey. SHUT IT DOWN: Listen as Larry Garner opens up on his fine guitar. This is good picking and leads into a talky vocal cut. Larry Garner as storyteller is this sides venue. A nice piece and yet still another side to recommend this big bluesman. This side is right in the style of T-Bone Walker and John Lee Hooker and Phillip Walker. Very back porch and very pleasing. Listen to the words as well. A modern day tale of the blues - setting Larry Garner right in the center of today's blues-stream. A wonderful 9 minute cruise that never stops being wonderful. DREAMING AGAIN: Some more soft tones in a laid back country taste. Mr. Garner sings this side full of heart and with plenty of motion. Here he just glides along and takes you over - BEAUTIFUL. Listen to the rapup on this side as Mr. Garner takes from the best roots of soul and R&B to offer us some original and tasty sounds. THE TAXMAN: Now the pace is up and the big guitar of Larry Garner leads us off. This side is a more rocking cut and moves out at a mid pace tempo - a nice side in a great CD. Once again Mr. Garner is backed by his jazzier ensemble and the tune belies the roots. Very strong harmonica work by Oscar Davis. BROKE BLUESMAN: Here we have some more brooding blues. A lot of finger picking by Larry Garner makes for a great intro. The pace here is slow, lopey and capturing. Once again Oscar Davis on harmonica blows up a storm - a gentle storm - a gentle blues' storm. This is another long cut that gives Mr. Garner plenty of time to pull the song and make it all it can be. TALE SPREADERS: Here we come back to a mid paced blues side. A very strong original cut done perfectly. CALIFORNIA SISTER: The drums and bass here are the front sounds and the harmonica begins with a single note cut in that is delicious. Another modern day Larry Garner special. Pay particular attention to what Mr. Garner is singing - he's not forgetting the past but his music and lyrics are today's cry and today's music. This cut deserves a thorough listen to. PAST 23: This CD ends on a whole different sound from Mr. Larry Garner and backup. It is quicker paced and features an up tempo dancing beat. It is more mainstream than the rest of this CD and I hope that Mr. Garner continues this tradition in his future works. Songs like this will help a working bluesman get the due he deserves - and Larry Garner deserves plenty. This is a sweet man with a sweet voice, a strong guitar and a sense of music and rhythm that keeps you listening for more. Reviewed By Barry Silverberg Copyright NY CD Blues - 1995 ================================================================= ================================================================= LARRY GARNER / Too Blues (JSP #249) JSP RECORDS P. O. BOX 1584 LONDON N3 3NW ENGLAND Larry Garner's name does not appear in most of the blues anthologies. There's very little written about him, but all of a sudden everybody's talking about this extraordinary bluesman. Now they are proclaiming him an original and wonderful song writer - with all of the requisite blues skills to go with it. Where did he come from and what made him a star? Firstly let's not forget that without a label to cut your blues and a dedicated person to push your blues, you are going nowhere. John Steadman was such a champion and once again came to the head of the class in getting Mr. Larry Garner out there. This is his second JSP release and may be his best. His first has garnered him innumerable praise and the tradition continues. SHAK BULLY / DOG HOUSE BLUES / DON'T DISH IT OUT / THOUGHT I HAD THE BLUES / MR. & MRS. PAIN / KLEPTOMANIAC / BORN TO SANG THE BLUES / SHE SHOULD'VE BEEN BACK / LOVE HER WITH A FEELING / SOMEBODY NY CD-Takes SHAK BULLY: Shak Bully is cool moving blues. It's well in the vein of artists like Lucky Peterson and Joe Louis Walker but with an added shot of grit. It has a solid jazz underpinning with a sure footing in the blues. The guitar is straight in your face and the vocals are right there as well. It also has a downhome feel to it. DOG HOUSE BLUES: Here the guitar gets ravaging. Sharp noted and penetrating with a rumble in its tone. Larry can sure bend those strings and this cut shows it off dramatically. Once again the poetry of Mr. Garner is spoken in words just as a piece of the prior cut had his story telling style evidenced. Nicely placed on this side is the organ of Darryl Jefferson. At a little over 4 minutes in you will get a double dose of Darryl Jefferson's keyboard, followed by a wolf's wail on the guitar by Larry Garner. A major musical duet to round out a major cut. DON'T DISH IT OUT: The flavor hits the pepper. Larry Garner ups the tempo on a rocker of a side. This is New Orleans with plenty of big time piano, the roots from which Mr. Garner came. THOUGHT I HAD THE BLUES: The disc now turns to a toe tapping side full of husky vocals. It's a mid paced piece with lots of sax by Frank Mitchell. The singing style is cut between song and story telling and captures the reason people are praising Mr. Garner. MR. & MRS. PAIN: A quick run on the piano followed by another piercing guitar set of licks opens this blues tune. The deep and delicious feel of the blues is right there - you can almost touch it and cut it with a knife. The vocals here are somber, and show off the writing skills of Larry. Listen close to the words and get a real taste of his poetry. This is a marvelously written piece of contemporary blues. KLEPTOMANIAC: A fast tune with all of the instruments in on the play. The sax is right up front here as are the drums. Also of note are the words - an ode to a kleptomaniac, what a concept. Gutsy and unusual. BORN TO SANG THE BLUES: Larry Garner here fattens his guitar sound and slows down the pace. His string picking is acoustic and Joe Hunter on bass gets some front here. This is a classic country blues side done by a modern day wonder. There is also some nice slide work to recommend this side over and over. SHE SHOULD'VE BEEN BACK: This cut opened like a Texas country tune. Then the music moved to the soul side of the spectrum and then I was lost. The magic here was indefinable for me. I could not place it but I sure enjoyed it. It was very sweet and nicely sung. It reminded me of a great R&B but it had something extra. It still eludes me but the pleasure does not. This side saw the player three times before I was willing to give it up and go on. It is awesome and beautiful. Drop it in your player, hit 8 and sit back for some mind blowing blues. LOVE HER WITH A FEELING: Larry Garner doesn't play around - he plays straight ahead. He takes this side and tears the soul out from it. It is a great rendition worthy of this entire set and at 9 1/2 minutes there's plenty of room to fill it up. It has a Lightnin' Hopkins on the spot story telling quality to it - but it bears Mr. Garner's mark directly. Nice organ work and some very innovative vocal riffs round it out. SOMEBODY: Following a 9+ minute cut Larry Garner now takes on a 7+ minute side that starts out as a solid instrumental. At a tad under 3 minutes Mr. Garner starts to discuss this song and surely his whole body of work. He says that many folks won't call this the blues, but rather will pigeon hole it as contemporary music. Now he answers the forever boding question, "What is the Blues"? His answer is simply if the shoe fits wear it and points to all the places that the blues can be found. Then at 5 minutes, when he begins to sing, the sound does turn blue and his case is made. He has turned a jazz based instrumental into a blues side and he may be defining for us where he's headed musically. Keep your eyes and ears open because there's a lot more coming from Mr. Larry Garner. Reviewed By Barry Silverberg Copyright NY CD Blues - 1995 ================================================================= ================================================================= -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Mon, 27 Nov 1995 18:33:45 -0600 Reply-To: Tom Kraft From: Tom Kraft Subject: Re: DMX anyone? Comments: To: James Leftwich At 12:59 PM 11/27/95 -0500, you wrote: >Definite thumbs up for DMX. I've had it for a month or so and it's >wonderful...it complements my blues education (with Blues-L) quite well. >You can't beat the price either. I paid $29.95 for 6 months and no start >up charge...easy to install as well. Only downside is that the remote "DJ" >sometimes doesn't function. Great sound quality too! Contact your cable >company. > >Jim Does it plug into your stereo or your TV? I'm wondering about fidelity. Tom Kraft ========================================================================= Date: Mon, 27 Nov 1995 18:03:56 -0600 Reply-To: Bruce Pech From: Bruce Pech Subject: Best Acoustic Slide Guitarist(s) 1. Technical Virtuosos Bob Brozman, Ry Cooder 2. Blues w/ a feelin' John Hammond 3. When he puts down his Firebird and picks up a National Johnny Winter 4. Good listening (in no particular order) Steve James, Paul Rishell, Sam Mitchell, Robert Lucas, Mark Lyons (Keri Leigh's guitarist), Paul Geremia, Catfish Keith, Mary Flower, Hans Thessink, Rory Block (although she's a newcomer to slide), Terry Garland, Lonnie Pitchford 5. Up and coming Corey Harris (a young African- American whose no-frills style reminds me of Johnny Shines) Bruce Pech Boulder, CO ========================================================================= Date: Mon, 27 Nov 1995 20:51:19 -0500 Reply-To: Td guitar From: Td guitar Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Who is Ali Farka Toure? Comments: To: bit-listserv-blues-l@uunet.uu.net Ali Farka Toure is a West African Blues Man. I am not sure about the reference but I have two of his albums. He made an album with Ry Cooder that is excellent. The other one, THE SOURCE is also excellent. The vocals are all in French, and on some of the cuts he plays other instruments. Primarily, he backs himself up with either an electric, or acoustic guitar and there is a strong African rythm played on the accompanying percussion instruments. Some of the cuts do stray into more African sounding music, however, he has his own blues sound and even is accompanied by other American blues men on occasion. ========================================================================= Date: Tue, 28 Nov 1995 01:57:48 GMT Reply-To: Gavin Henderson From: Gavin Henderson Organization: University of California, Davis Subject: Clubs in SF Bay Area? Comments: To: bit-listserv-blues-l@uunet.uu.net I was curious if anybody knew of any good blues clubs in the San Francisco Bay Area. Any replys are appreciated. Thanks in advance, Gavin Henderson ========================================================================= Date: Mon, 27 Nov 1995 19:45:38 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: That NY Times Story today Comments: To: Dick Waterman In-Reply-To: <951126215105_34833005@mail06.mail.aol.com> Mr. Waterman wrote: This could lead to some intelligent discourse beyond the basic "Isaac is a pig and we should boycott HOB!" - - - --- - - - - - - - - - - - - - - - - - - - - - -- - - - -- Puh-leeze! The last thing we need around here is intelligent discourse! extra-big :) I now return you to your regular programming... Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like ========================================================================= Date: Tue, 28 Nov 1995 14:04:46 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Mr Brewer Saw that Brewer Phillips had recorded for Delmark and got a bit surprised. He toured Sweden a while ago and was quite rusty. He said that he rarely played back home (he had thick white tape on his fingers). He didn t hang out in the clubs much but tried to catch BB King Whenever possible. Well how is he doing? Are these new recordings or old? Mr Bo ========================================================================= Date: Tue, 28 Nov 1995 13:59:53 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Woody Woodpecker > Paul Garon said >Is the resolution the fact that she played pop songs in sophisticated clubs >and blues with her down home friends, like we said in the book? I don't >know. A part of me still thinks she never did the pop stuff, and the play >list is simply an "unexplained" paper found amongst her papers. Sigh... Maybe you can ask mr Brewer if he ever saw Memphis Minnie use a set list. Mr Bo ========================================================================= Date: Tue, 28 Nov 1995 07:57:34 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Re[2]: Best acoustic slide players today?? -Reply HI, But by Rory's own mouth, she is NOT a great slide player, and actually does very little slide work on stage save for Terraplane Blues. ddr ========================================================================= Date: Tue, 28 Nov 1995 05:32:10 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: Irek Dudek IREK DUDEK SYMPHONIC BLUES A NEW VISION OF BLUES RUF RECORDS RRCD 9.01299 While on vacation in Europe I picked up the above CD in Germany. The liner notes are very scant, but any blues band that has 6 violins, cello and contra bass as well as the usual keyboards, drums, guitar and harp is something very different. This is traditional blues written for an orchestra. An excellent album of 11 tracks of which 9 are written by Dudek. The live album was recorded at The Subway in Cologne Germany in April 1994. The problem is a familiar one, in that the liner notes contain only what I have just outlined. I'm hoping that some 'zeller has heard of this artist and can give me some more biographical information. Thanx, Gary ............. Gary Constantine >> gconstan@ccinet.ab.ca << If hard work were such a wonderful thing, surely the rich would have kept it for themselves. ========================================================================= Date: Tue, 28 Nov 1995 04:56:08 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - November 28th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BENNETT, WAYNE (g/BLAND/DUKE REC) d. 1992-1128, NEW ORLEANS, LA 58 BLUES BOY WILLIE (WILLIAM MCFALLS) (v/ICHIb. 1946-1128, MEMPHIS, TN BRITTON, JOE (tbn) b. 1903-1128, BIRMINGHAM, AL CHANNEL, BRUCE (v/MERCURY REC) b. 1940-1128, JACKSONVILLE, TX COLEMAN, GEORGE (d/ARHOOLIE REC) b. 1923-1128, HAINES, FL DAVIS, SAM LITTLE (hca) b. 1928-1128, WINONA, MS ENNIS, ETHEL (v) b. 1932-1128, BALTIMORE, MD FOUNTAIN, CLARENCE (lead/BLIND BOYS OF AL)b. 1929-1128, TYLER, AL GORDY, BERRY JR. (III)(founder:MOTOWN REC)b. 1929-1128, DETROIT, MI GREAVES, R. B. (v) b. 1944-1128, GEORGETOWN,B.GUIANA JENKINS, CARROLL L. (g) d. 1986-1128, KANSAS CITY, MO 59 LIGHTFOOT, ALEXANDER "PAPA GEORGE" (hca) d. 1971-1128, NATCHEZ, MS 47 SHAFFER, PAUL (kybds) b. 1949-1128, THUNDER BAY,ONTARIO WRIGHT, RICHARD (author) d. 1960-1128, PARIS, FRANCE 52 ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 28 Nov 1995 00:16:21 -0800 Reply-To: Jef Jaisun From: Jef Jaisun Subject: Sonny Boy an actor??? Whoa baby! Somebody clear this one up, please. A couple nights ago I was watching an old flic on TV, called "Take A Letter, Darling." It must have been early to mid 1940's, starring Rosalind Russell, Fred McMurray and McDonald Carey. Part of the set was supposed to be in Charleston, SC, so there were black "servants" in the cast. When the credits rolled there was this: Mickey Dowling..........................Sonny Boy Williamson I just about fell off my couch. The next day I grabbed a pictorial blues book at Barnes and Noble with a later-in-life photo of Sonny Boy in it, and darned if it didn't look like an older version of the guy in the movie. Can anybody confirm SBW did acting? And if so, how'd he end up in Hollywood? ============================================================================ Jef Jaisun eljefe@netcom.com ============================================================================ ========================================================================= Date: Tue, 28 Nov 1995 02:44:51 -0500 Reply-To: Tremolux From: Tremolux Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Clubs in SF Bay Area? Comments: To: bit-listserv-blues-l@uunet.uu.net There's a few. Try Blues on B, in the basement of the Barley and Hopps brewery-resturant, corner of 2nd and B Streets in San Mateo (great beer!). Irvington Monument in Fremont sometimes has Blues. JJs Blues Lounge on Stevens Creek in San Jose has Blues. There's occasionally a Blues show at Slim's in the SoMa area of San Fran. Lyon's Brewery in Dublin, and Stoddard's Brewery in Sunnyvale have Blues. Your best bet is to catch the blues shows on the local FM stations and listen for the club schedules. Regards ========================================================================= Date: Mon, 27 Nov 1995 23:08:00 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: I'll show ya scary! Don wrote: >And you are rewarded for your professionalism and courtesy, by getting his >stupid "big hit" repeating in your head (does that happen to you? where you >can't get a song out of your head?) for two hours afterwards.... And you >want to boot the bugga' down a flight of stairs... > >THAT'S scary.... > > >all true too... > >Don The scary thought I just had are the songs that you like but are afraid to admit that you do to anyone but your closest friends. For musicians it is the songs that you have actually played but are afraid to admit so. I will confess to being fond of the "Manamana Song." I have even sat down and worked out most of it on guitar. Don't even ask me why. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Tue, 28 Nov 1995 01:05:52 EST Reply-To: MR TERRY W SPRING From: MR TERRY W SPRING Subject: DMX DMX is a box which hooks up to your stereo. Quality is excellent, near to CD's. Some cable systems offer a competitor called Music Choice instead. They say at some point there will be a button on the remote to automatically order the CD. Sounds pretty dangerous to me. The DMX blues channel plays ag good variety of different kinds (and vintages) of blues. ========================================================================= Date: Mon, 27 Nov 1995 23:19:18 -0500 Reply-To: Gary Boudreaux From: Gary Boudreaux Organization: Macintosh Consulting Services Subject: Re: Freddie King Question!! Comments: To: bit-listserv-blues-l@uunet.uu.net >Could anyone tell me when and how Freddie King died? He died in Dallas on December 28, 1976. I don't remember the actual cause of death, but it was of natural causes. ========================================================================= Date: Tue, 28 Nov 1995 01:08:53 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: best accoustic slide players today Gotta throw Kelly Joe Phelps name in the ring. His Burnside release Lead Me On knocked me out. His singing and songwriting are strong but it's his slide playing that really gets him over. He fingerpicks the guitar a la Leo Kottke, flat in his lap a la Son House. He's almost as glassy smooth as Martin Simpson (another fine accoustic slide player I don't recall anyone mentioning) but with a little edge hear and there that gives him a little more of the Delta grit that pleases my ear. I hear he's traveling around opening for BB King which must mean something and I also hear six majors are bidding for his next record which also must mean something. Joel Slotnikoff ========================================================================= Date: Mon, 27 Nov 1995 23:41:40 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: DMX anyone? Comments: To: Tom Kraft In-Reply-To: <199511280033.SAA13535@etex.electrotex.com> You splice the cable to your TV and it hooks into your receiver. Digital sound. Jim ========================================================================= Date: Mon, 27 Nov 1995 23:40:00 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: DMX anyone? Comments: To: Tom Kraft In-Reply-To: <199511280033.SAA13535@etex.electrotex.com> You splice the cable to your TV and it hooks into your receiver. Digital sound. Jim On Mon, 27 Nov 1995, Tom Kraft wrote: > At 12:59 PM 11/27/95 -0500, you wrote: > >Definite thumbs up for DMX. I've had it for a month or so and it's > >wonderful...it complements my blues education (with Blues-L) quite well. > >You can't beat the price either. I paid $29.95 for 6 months and no start > >up charge...easy to install as well. Only downside is that the remote "DJ" > >sometimes doesn't function. Great sound quality too! Contact your cable > >company. > > > >Jim > > > Does it plug into your stereo or your TV? I'm wondering about fidelity. > > Tom Kraft > > ========================================================================= Date: Mon, 27 Nov 1995 20:21:59 -0800 Reply-To: TLKnox@EWORLD.COM From: Terry Knox Subject: FYI To those on the west coast wanting to read the NY Times article (currently being discussed on the list) "Who Owns the Blues...", the article is reprinted in the Orange County Register (California) Sunday Nov. 26 edition, Show section page 39. ========================================================================= Date: Mon, 27 Nov 1995 20:12:57 -0800 Reply-To: TLKnox@EWORLD.COM From: Terry Knox Subject: Need a Title I keep hearing bits a pieces from a recording I would like to have. The artists are Jimmy Rogers(?) with Ronnie Earl and the Broadcasters. I think it was recorded live somewhere in Europe (Germany?). Anyone know the name of this CD? ========================================================================= Date: Mon, 27 Nov 1995 21:26:00 PST Reply-To: Meridith Farnworth From: Meridith Farnworth Subject: Re: DMX anyone? >Does it plug into your stereo or your TV? I'm wondering about fidelity. A splitter goes onto the cable, before the tv, then it runs to your cd player and the dmx box. I've had the service since May and am still enjoying it. The quality (both content and fidelity) is superb! I got the six months for $29.95 deal, too. --Meri, keeping mine tuned to Channel 30, all the time! ========================================================================= Date: Mon, 27 Nov 1995 17:42:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Otis Rush >From looking at the jackets and all, it doesn't take a goddam genius to figure out that this wonderful musician has had some bumps along the road. The hype says that he had a number of hits in the 50s, at least some self-composed. I have Lost in the Blues, theoretically a 1991 release on Alligator, but on closer inspection actually a 1977 recording to which some delightful keyboard work was more recently added. It doesn't look like he recorded much between 1977 and 1991. More recently, I have the very solid 1994 "Ain't Enough Comin' In" on Quicksilver/Polygram. The gut-wrenching rendition of As the Years Go Passing By, complete with the haunting, muted brass of Joe Sublett, Marty Grebb, and Darrell Leonard, keeps me up into the small hours starry-eyed. Obviously, though he has faced some demons, Otis was in top shape as recently as 1994. Can we hope to hear more of this man, of whom Luther Allison supposedly said, "I'll put Otis next to any guitar player or vocalist[.]" Any chance of hearing Otis in Chicago some time? If so, what's the air fare these days from Moscow to Chicago with a Saturday stay-over? Seriously, whatever my fellow bluezellers have to say about Otis Rush (good, bad, or just informative) I would really love to hear. As always, you all have my thanks and very fond wishes. Snowing tonight, Joe in Moscow J.E._Downey@bakermck.com ========================================================================= Date: Mon, 27 Nov 1995 20:00:25 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: Joe Louis Walker Comments: To: David Ott In-Reply-To: David, You really can't go wrong with JLW. I have recently appointed myself his biggest fan. I can recommend JLW, The Gift and Blue Soul, but I understand Live at Slims is stunning. It will soon be joining my collection. Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Mon, 27 Nov 1995 19:45:38 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: That NY Times Story today Comments: To: Dick Waterman In-Reply-To: <951126215105_34833005@mail06.mail.aol.com> Mr. Waterman wrote: This could lead to some intelligent discourse beyond the basic "Isaac is a pig and we should boycott HOB!" - - - --- - - - - - - - - - - - - - - - - - - - - - -- - - - -- Puh-leeze! The last thing we need around here is intelligent discourse! extra-big :) I now return you to your regular programming... Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Tue, 28 Nov 1995 09:42:57 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Buddy Guy 1979-1981 I'd like to second Barry's praise of Buddy Guy's DJ PLAY MY BLUES (JSP). I, too, held out his STONE CRAZY! (ALLIGATOR) as his best effort until I heard this one. Both capture Buddy's essence. And they're both different, too: STONE CRAZY! is wilder, even hair-raising. DJ is a bit mellower and reflective, yet equally brilliant. Now, throw in his live set from the same time period, LIVE AT THE CHECKERBOARD LOUNGE - 1979 (JSP) and you have the whole package... stand the three CD cases up side by side and you have a triptych. (His LIVE CD is very good. But there's someone in the audience who just doesn't shut up throughout the performance. It gets just a little annoying to this listener (and, I think, to Buddy, too).) Buddy Guy fans shouldn't pass up any of these releases. Dave Prychitko Blues 101, 88.9 FM WNYO-Oswego home page http://www.oswego.edu/~prychitk/ (Ya, I broke down and thought I'd give it a try. Please drop by and let me know what you think.) ========================================================================= Date: Tue, 28 Nov 1995 14:21:48 +0100 Reply-To: Bas Buesink From: Bas Buesink Organization: De Omroep Subject: please help! new Melvin Taylor album Comments: To: bit-listserv-blues-l@uunet.uu.net Hi all, Can anyone tell me if rumours I've heard about a -relatively- new Melvin Taylor album are true? Someone told me among other things that a brilliant cover version of the late great Stevie Ray's 'Texas Flood' was on this album. Can anyone give me title and label/company of the cd, and maybe wether or not the album will be released in Europe (Holland)?? Thanx! Bas (Bas.Buesink@nos.nl) ========================================================================= Date: Tue, 28 Nov 1995 09:49:03 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born / died / 11/29 BORN: BICKERT, ED ( EDWARD ISAAC BICKERT ) BORN:11 29 1932 HOCHFIELD, MANITOBA, CANADA OCCUPATION:GUITAR STYLE:JAZZ / BIG BAND BLONS, HARRY BORN:1911 ST. PAUL, MN DIED: CAN ANYONE TELL ME ? OCCUPATION:CLARINET / LEADER STYLE:TRAD / JAZZ COE, TONY ( ANTHONY GEORGE ) BORN:1934 CANTERBURY, ENGLAND OCCUPATION:ALTO SAX / CLARINET STYLE: JAZZ / POP DONALDSON, BUDDY ( ROBERT STANLEY ) BORN:1922 BOSTON, MS DIED:07 02 1971 NEW YORK, NY AGE:49 OCCUPATION:DRUMMER STYLE:JAZZ / BIG BAND HART, BILLY ( WILLIAM ) BORN:1940 WASHINGTON OCCUPATION:DRUMMER STYLE:JAZZ JERDE, CURTIS BORN:1939 SISSETON, SD OCCUPATION: BASS / TUBA STYLE:TRAD / JAZZ / BIG BAND MANGIONE, CHUCK BORN:1940 ROCHESTER, NY OCCUPATION:TRUMPET / FLUGELHORN / LEADER STYLE:JAZZ / POP / BIG BAND MAYALL, JOHN BORN:1933 MANCHESTER, ENGLAND OCCUPATION:KEYBOARD / SINGER / HARMONICA STYLE:BLUES / ROCK McCOY, FREDDIE ( FREDRICK ALLAN ) BORN:1932 NEW YORK, NY OCCUPATION: VIBES STYLE:JAZZ MCINTYRE, HAL BORN:1914 CROMWELL, CT DIED:05 05 1959 HOLLYWOOD , CA AGE:45 OCCUPATION:ALTO SAX / LEADER STYLE: BIG BAND NUSSBAUM, ADAM BORN:1955 NEW YORK, NY OCCUPATION:DRUMMER STYLE:JAZZ WHITE, MICHAE BORN:1954 NEW ORLEANS, LA OCCUPATION: CLARINET STYLE:JAZZ DIED ALLEN, CHARLIE 1972 CHICAGO, IL AGE: 64 OCCUPATION:TRUMPET STYLE:JAZZ / BIG BAND JOHNSON, DINK ( OLLIE, OLIVER ) 1954 PORTLAND, OR AGE:62 OCCUPATION: PIANO / CLARINET / DRUMMER STYLE:JAZZ / BIG BAND PONS, ARTHUR 1973 NEW ORLEANS, LA AGE:59 OCCUPATION:GUITAR STYLE:TRAD / JAZZ PLEASE IF YOU CAN ADD SOMEONE TO MY FILE E-MAIL ME shuffle@ic.mankato.mn.us Henry Busse Jr. Bio's for over 2500 major players in the Artform We call Jazz on file. ========================================================================= Date: Tue, 28 Nov 1995 10:45:41 -0500 Reply-To: MAGross@AOL.COM From: "Michael A. Gross" Subject: Re: Skip james Comments: To: rvujosev@ccad.uiowa.edu > Talked to Skip in Austin this month. He says he's about > to put out a new album to be called "Art and Grit" -- can't > wait. > > Cathi N. > > I think it was not Skip James - he lives in Mississippi - > I think you talked to Lightin' Hopkins. > > Ranko Or possibly Steve James? Michael ========================================================================= Date: Tue, 28 Nov 1995 10:40:15 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[3]: Best acoustic slide players today?? -Reply Comments: To: Roger Struve Her recordings are fabulous! I would KILL to play slide like her! Who does Rory think IS a great slide player? ______________________________ Reply Separator _________________________________ Subject: Re[2]: Best acoustic slide players today?? -Reply Author: Roger Struve at Internet Date: 11/28/95 7:57 AM HI, But by Rory's own mouth, she is NOT a great slide player, and actually does very little slide work on stage save for Terraplane Blues. ddr ========================================================================= Date: Tue, 28 Nov 1995 10:52:47 -0500 Reply-To: BluesRevue From: BluesRevue Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Re[2]: Best acoustic slide players today?? Comments: To: bit-listserv-blues-l@uunet.uu.net And if you like the sound of Blind Willie McTell or Tampa Red, then Paul Geremia is absolutely one ofthe best fingerpickers and 12 string slide players alive . . . although not as well known as some of the others mentioned. Of course, John Hammond, Robert Lucas, Bob Brozman (for sheer techinical ability-he's a monster), Lonnie Pitchford . . . to name just a few Bob Vorel, Publisher Blues Revue Magazine Free CD and subscript info: email BluesRevue@aol.com ========================================================================= Date: Tue, 28 Nov 1995 10:55:24 EWT Reply-To: "CATHI N." From: "CATHI N." Subject: Okay...okay! Okay...I confess it...I admit it... I'm always calling Steve James, Skip James.... It never fails. I even called Steve, Skip to his face...he just laughed and said "I wish...." But it's STEVE I saw in Austin...STEVE who is going to put out an album called "Art and Grit," and who plays, BTW, incredibly well. I told my husband about this tip of the slung on the net and he just said "They should be glad you weren't talking to Elmore...." Sorry folks...you caught me red-handed... Cathi N. ========================================================================= Date: Tue, 28 Nov 1995 11:01:16 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Rick's blues: Losin' my drummer :( It was bound to happen. I knew this diamond that fell in my lap couldn't last too long. My pro drummer and long time NYC session man Paul got the "call" this past week... An old friend in New York just got signed to a major label and needs Paul to work on his upcoming CD and tour. Two more gigs with me and he's outa central Massachusetts and back to the Apple. I am truly, truly blue. I don't know the details yet, but remember the name Paul Richards, fellow 'zellers. He'll be coming to a city near you soon. I am WAY down today. Can a grown man cry in cyberspace? :'( Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 28 Nov 1995 11:08:27 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re: Clubs in SF Bay Area? Comments: To: Gavin Henderson I was just out there on vacation earlier this month. The best clubs I visited were JJ's in San Jose (on Stevens Creek Blvd.) and the Irvington Monument Saloon in Fremont. Stoddard's in Sunnyvale is a microbrewery and was too full of yuppies for my comfort level. I never went to any clubs in San Francisco itself. The 4th Street Tavern in San Rafael was a good place, too, although the band I saw there that night wasn't too impressive. (In other words, they were BORING.) The group I saw at the Irvington Monument Saloon were called the Board of Directors. They were a lot of fun...stayed all night to see them. They're based in San Jose. Shannon ______________________________ Reply Separator _________________________________ Subject: Clubs in SF Bay Area? Author: Gavin Henderson at INTERNET_TP Date: 11/27/95 9:39 PM I was curious if anybody knew of any good blues clubs in the San Francisco Bay Area. Any replys are appreciated. Thanks in advance, Gavin Henderson ========================================================================= Date: Tue, 28 Nov 1995 16:35:42 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Need a Title In-Reply-To: <951127201255_19331264@hp1.online.apple.com> On Mon, 27 Nov 1995, Terry Knox wrote: > I keep hearing bits a pieces from a recording I would like to have. The > artists are Jimmy Rogers(?) with Ronnie Earl and the Broadcasters. I think > it was recorded live somewhere in Europe (Germany?). Anyone know the name of > this CD? > Blues Guitar Virtuoso Live in Europe - on the Bullseye label phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [28/11/95 11:33 AM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 28 Nov 1995 11:51:42 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Re[2]: Best acoustic slide players today?? Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com There is one I forgot: Ben Andrews, from DC. Great slide player and singer. He also does a great Blind Willie McTell on the 12 string. -Steve ========================================================================= Date: Tue, 28 Nov 1995 11:57:18 -0600 Reply-To: Roger Struve From: Roger Struve Subject: best accoustic slide players today -Reply Actually, Martin Simpson's slide playing doesn't seem to me to compare with Bob Brozman. Since receiving and viewing several tapes of Mr. Brozman (including a duet between he and Martin Simpson) i am both impressed and awed at his slide ability. He uses only National style guitars, which i find a double plus! This is not to say that Martin Simpson is one of the most accomplished guitarists i've ever heard. Some of his songs are hauntingly beautiful, and his technique is flawless. He does things that i've seen no one else ever do, including some harmonic stuff which is incredible. Of course, to us hearing impaired, i can always turn up the TV to hear it, but i've found duplicating it a bit difficult, as others can hear me doing it, but i can't! Sort of makes it hard to do it convincingly if one is unable to assuage what's actually coming out of the phenomenon. ddr ========================================================================= Date: Tue, 28 Nov 1995 11:55:06 -0500 Reply-To: C2MXBOY@FRE.TOWSON.EDU From: Kevin Boyle Subject: Re: Blues Promotion (& somebody stole my name!) This has gotta be a Blues-L first - two Kevin Boyle's, man thats scary! Goes to show that anything can happen to you, if you live long enough. Anyway, my ideal of blues promotion on my radio show is to play some songs that are outside of the blues mainstream ie.. blues rock or whatever to attract the attention of our mainly college audience. I figure if I attract the attention of our mainly college audience. I figure if I can use other music as a "hook" to draw them in and keep their attention, they are more open to the traditional forms of blues. This follows in my belief that nobody ever intentionally fell in love with blues, Blues slowly sneaks up on you and grabs your soul and shakes you. Once it does, there ain't no lettin' go. Keepin' da Blues alive Kevin B. ========================================================================= Date: Tue, 28 Nov 1995 11:01:16 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Blues Promotion/Kenny Sheppard I stopped at a bunch of different cd stores and some had NO blues, EXCEPT every single solitary store had the new Kenny Wayne Sheppard...I was looking for Blind Wille Johnson or Blind Lemon....Didn't even come close, but all had the Kenny Wayne Sheppard....I see a ton of marketing for this guy. I'm impressed that a youngun would cover Aberdeen....hmmm LW ========================================================================= Date: Tue, 28 Nov 1995 11:59:13 -0500 Reply-To: Neil Cassidy From: Neil Cassidy Subject: Thomas A. Dorsey Comments to: LW LW I really hate to give undocumented info but as I was following the TA Dorsey thread I thought that saomeone else would bring it up. Well, here goes. Check out the connection between Dorsey and Tampa Red. I believe they recorded together before Thomas 'saw the light.' happy hunting Neil Cassidy ========================================================================= Date: Tue, 28 Nov 1995 12:07:50 -0500 Reply-To: SwtesTaboo From: SwtesTaboo Organization: America Online, Inc. (1-800-827-6364) Subject: need address Comments: To: bit-listserv-blues-l@uunet.uu.net Does anyone know the Pollstar web site? ========================================================================= Date: Tue, 28 Nov 1995 10:37:49 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Mr Brewer Comments: To: Bo Carlsson In-Reply-To: I did the notes for Brewer Phillips' Delmark project, which is now due out in January. Even he admits it doesn't have all the edge of his work with Hound Dog (he told me "I ain't the man I was twenty years ago") but it certainly has a lot of nice moments and reminds me overall of a '50s Sun session. A real highlight is the piano work and vocals of Aaron Moore, a real bluesman who sounds like a mix of Roosevelt Sykes, Memphis Slim and Jr. Parker. The rhythm section was Willie Black and Huckleberry Hound and they're solid as usual. The sessions were done this past June. ========================================================================= Date: Tue, 28 Nov 1995 11:06:55 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Thomas A. Dorsey In-Reply-To: Message of Tue, 28 Nov 1995 11:59:13 -0500 from On Tue, 28 Nov 1995 11:59:13 -0500 Neil Cassidy said: >Comments to: LW > >LW >I really hate to give undocumented info but as I was following the TA Dorsey >thread I thought that saomeone else would bring it up. Well, here goes. > >Check out the connection between Dorsey and Tampa Red. I believe they recorded >together before Thomas 'saw the light.' Absolutely, they were one of the Hokum Boys "bands" I think several groups used that name. I have plenty of Ga. Tom and Tampa Red. I just ordered five CD's from Yazoo and those two are one a couple of them LW ========================================================================= Date: Tue, 28 Nov 1995 12:11:05 -0500 Reply-To: TabbMan@AOL.COM From: John Moore Subject: Re: Robert Nighthawk Comments: To: KALMBACH@macc.wisc.edu Theres is a Robert Nighthawk II,he's a blues harp player from memphis.He took the name as a tribute to the original Robert Nighhawk.I have a Memphis Sheiks c.d. with Robert II,and Delta Joe Sanders.They play some nice delta blues covers as well as some originals.If im not mistaken they have a new cd coming out ========================================================================= Date: Tue, 28 Nov 1995 10:41:22 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: please help! new Melvin Taylor album Comments: To: Bas Buesink In-Reply-To: You're referring to "Melvin Taylor & the Slack Band," newly released on Evidence. It's new recordings produced by John Snyder with Melvin and his regular rhythm section. I don't think Evidence issues stuff in Holland, so you'll have to track down the U.S. issue. It does have a version of "Texas Flood." I can't say that Stevie Ray Vaughan's influence is my favorite part of Melvin's playing (though it does relate to the recent thread on white influences on black musicians), but I will say that Melvin has been playing this wild and flashy ever since I used to see him as a teenager in the mid-'70s. ========================================================================= Date: Tue, 28 Nov 1995 12:21:00 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Otis Rush Comments: To: /G=J.E./S=Downey/@bmmoscow.bmck.sprint.com Otis has four or five tracks of Volume 2 of "Chicago, the Blues Today" originally issued on Vaguard Records about 1965. The three albums were produced by Sam Charters. It is available in CD reissue via Vanguard/Welk. The instrumental of "Everything's Going to Work out Fine" should be a training piece for every guitarist. After Otis, there are incredible tracks by Homesick James and his "Baby, Please Set a Date" makes you wonder why he has remained so underappreciated. Dick Waterman ========================================================================= Date: Tue, 28 Nov 1995 10:52:12 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Otis Rush Comments: To: "J.E. Downey" In-Reply-To: <"Mon Nov 27 17:42:39 199503*/G=J.E./S=Downey/O=BMMOSCOW/PRMD=BMCK/ADMD=TELEMAIL/C=US/"@MHS> The next chance to hear Otis in Chicago is at B.L.U.E.S. Etcetera on December 30. He's planning his next project with/for Silvertone, but as of ten days ago there's no specific schedule for it yet. He does have a nice song on guitarist Shinsuke Kikuta's new CD "They Call Me Shun" on the Japanese King label. Shun (he pronounces it "Shaun") now lives in Chicago and has worked with Jr. Wells (who does a nice acoustic "Come On In This House" on Shun's CD), J.W. Williams and others, and put together the recent Tribute To Magic Sam on Japanese King. Otis did sessions for Rooster Blues in 1986 and 1989 but they remain unissued; he redid some of the same songs (Ain't Enough Comin' In, My Jug & I, If I Had Any Sense I'd Go Back Home) for his last CD. He played well as a sideman on Rooster's 45 by Abb Locke and 2nd Eddy Clearwater LP; the other recordings from those "lost" years are all live, like "Tops" on Blind Pig and "Live In Japan 1986" on P-Vine (and soon Sequel, I think). Otis continues to be in the same superb form he was in at the 1995 Chicago Blues Festival and in a good, stable, substance-free frame of mind; the only question continues to be his somewhat precarious health, but he seems recovered from his September foot and eye surgery. ========================================================================= Date: Tue, 28 Nov 1995 12:41:56 -0500 Reply-To: BAJammin From: BAJammin Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Blues Promotion Comments: To: bit-listserv-blues-l@uunet.uu.net In article <25111919071310@vms2.macc.wisc.edu>, Bonnie Kalmbach writes: >>And if you don't think the blues IS being "watered down"--just listen to the >>background music of any of a dozen TV commercials currently airing. Is this >>really the blues? I don't know...it's something akin to comic-book >>Shakespeare...you get the general idea, but not the true flavor. > > >I agree and I'm disappointed that real working blues musicians aren't >used for these commercials - instead they seem to be generic studio >musicians who can play a few standard, and usually, passionless >blues phrases. Now I'm thinking is it for this that some of us have >labored 20 years in the vineyard trying to bring greater recognition >to the blues?? Is doing commercials going to be the pinnacle of success for 'real working musicians'?:-) B.B. has an m&m commercial and Ray Charles' Pepsi comm's are great. But no self respecting blues lover will ever look to commercials for great blues. Research, record collecting, live performances, and supporting your local bluesperson is what keeps the blues alive. And even if the blues acheives the commercial success of country music, keep in mind that there are still numerous hot very traditional country acts out there not line dancing. The downside of the record business is overproduced mainstreamism. The upside is we can still go back to the 1920's or 30's if we want to and listen to Robert Johnson's blues. ========================================================================= Date: Tue, 28 Nov 1995 12:42:23 -0500 Reply-To: BAJammin From: BAJammin Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Blues Scales (For Slide???) Comments: To: bit-listserv-blues-l@uunet.uu.net In article <9511160453.AA6322@CServe-Hub2.inhouse.compuserve.com>, >> I mean, I'm fifteen years old and trying to learn something >> about slide. I don't know if there really is a scale for slide, plus, I >> have never took phrasing classes, just chords. My music theory is sorry, I >> barelly can read guide lines. I can play some tunes with slide in open >> chords, but what I wanted to know if you, people who know everything about >> theory, could help me with some slide theory, because I just play with my >> "instincts". >> >> Alexandre de Santi Alexandre, these are good questions. If I may make two humble suggestions. 1:-) Take a music theory class at your high school or somewhere you can. Don't expect it to be about the blues 'cause it's not. Just learn the theory and you can apply it later. You got lots o' time!:-) 2:-) Check out the Bottleneck Blues Guitar Classics compilation available on the Yazoo record label for some very challenging and hot stuff to learn to play. Keep up the good work! Bill ========================================================================= Date: Tue, 28 Nov 1995 12:41:17 -0500 Reply-To: BAJammin From: BAJammin Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Miking an acoustic guitar/dobro: Help please Comments: To: bit-listserv-blues-l@uunet.uu.net In article <01HXMP6WYA5A0027V3@SCI.WFBR.EDU>, Rick Miller writes: >Can someone with experience give me some info re: these mikes? Like, yes, >it's >a good choice, or no, you won't notice the difference from the SM58. I've used these mikes for years with good results.SM58 for vocals and SM57 for my flat top and mandolin. Yes, blues mandolin. They've paid for themselves many times over. Bill ========================================================================= Date: Tue, 28 Nov 1995 12:42:37 -0500 Reply-To: BAJammin From: BAJammin Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Willie's Guitars (Limited Blues Content) Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199511151449.JAA05907@snickers.mm.mtu.edu>, "Abe W. Mathews" writes: >Or should I just bite the >bullet, and save up for a real Gibson? Also, the neck was thinner and >narrower than I am used to. Are all Gibson-style archtops like this? I >liked the guitar, and liked the sound, but the neck would take some >getting used to. I don't know if the heretiges are worth all that $$$$$$$$. I've played some old Gibson arch tops that my heart simply ached for but could not possess at the time. These are just humble opinions and not much advice. But, I will say this. Don't get used to a thin neck. Hold out for one that really fits in your hand right. When you get used to THAT neck you'll be much happier. Happy hunting. Bill ========================================================================= Date: Tue, 28 Nov 1995 11:38:41 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: He cut a deal I was sitting around the fire with a fellow musician (assuming I am one) and he told me he has seen the "eyes" twice in his window. The first time he freaked out and went for a drive. The second time he talked to the "eyes" (they were bright yellow, btw) and he said what do I do. So now he is waiting for his "Johnson-like-talent" to kick-in. I told him the story of Robert Johnsn studying guitar with Ike Zinnerman (sp) during his supposed crossroads time. I think that really hurt him, he really thought RJ cut a deal. I think my friend was drunk and talking to some cat on his roof or sumpin. I explained that if you could cut a deal, then someone like "RONCO" would market it on late night TV...... Have you ever seen the "eyes".....Oh yeah he was on his second bottle of Jagermiester (sp) :-) LW 'Practice is the only way , there are no deals or shortcuts" ========================================================================= Date: Tue, 28 Nov 1995 17:45:20 GMT Reply-To: blueslvr@sirius.com From: "Roy W. Forgy" Subject: Re: need address Comments: To: swtestaboo@AOL.COM In-Reply-To: <49ffl6$k95@newsbf02.news.aol.com> On Tue, 28 Nov 1995 12:07:50 -0500, you wrote: ]:->Does anyone know the Pollstar web site? ]:-> http://www.pollstar.com Roy W. Forgy (blueslvr@sirius.com) Pacifica, CA Please note the new E-Mail address. ========================================================================= Date: Tue, 28 Nov 1995 09:58:25 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Promoting my first Blues Show Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Here at La Sierra, I do a lot of live sound and recording. This year, no one on the event committee had any idea of who to bring to campus. So I piped up with a couple of suggestions. Well, we couldn't get Los Lobos, (can't afford 'em) and Ladysmith Black Mambazo is not touring right now.. and yadda yadda. I thought: "there must be a less famous group that is still really good that we can get". Then I remembered Earl. Earl is a wonderful singer and guitar player who I met at the NAMM show a couple years ago. He has one of the best blues/soul voices I have ever heard. Somewhere between Otis Redding, Freddie King, and Sam Cooke.... I have seen him and his band several times in a club out in Santa Monica, and the place is always mobbed. So I gave him a ring, and we worked out a price, and here we are. We will open the show with 50 minutes of "The Gary Shiebler Band"; an adult contemporary act that has a new CD out. So there should be something for everyone. I have learned so much about what it takes to promote these things, how many loose ends have to be tied down, how many details have to be attended to, maps drawn, stage plots received, publications contacted, flyers distributed etc etc etc. It's fun, but a lot of work. I gained a new respect for the promotion side of the biz. Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Tue, 28 Nov 1995 17:59:43 GMT Reply-To: cnotes@CNOTES.COM From: Mike Corso Organization: C NOTES INTERACTIVE Subject: World AIDS Day Blues Giveaway! Comments: To: bit-listserv-blues-l@uunet.uu.net CNI Telecom is giving away free CDs in recognition and support of World AIDS Day, December 1st. Every new customer who switches to CNI Telecom's flat rate long distance service (13.9 cents per minute--up to 60% less than the rates charged by the Big 3 long distance companies) before December 1 will receive their choice of Simply Red's latest _Life_, Emmylou Harris' stunning _Wrecking Ball_, Tracy Chapman's delightful _New Beginning_, _The Best of Excello Records_ (classic blues music), or an exceptional 8-song sampler from Atlantic Jazz featuring the latest releases by saxophonist Gerald Albright and keyboardist Bob Mamet. CNI Telecom is an independent communications firm (serving commercial and residential telephone users) that has made special arrangements with several outstanding discount long distance companies on behalf of the internet community. CNI Telecom's mission is to provide its customers with low-cost, high-quality long distance service while, at the same time, support various nonprofit organizations working in the areas of Peace, Human Rights, the Environment, Campaign Finance Reform, AIDS Research and other health-related and social services. Towards that end, each year CNI donates 2% of its gross revenues (that is, the company will make the donation whether or not it earns a profit) to several nonprofit organizations. TO SWITCH YOUR LONG DISTANCE SERVICE TO CNI TELECOM/PNG AND RECEIVE YOUR CD: 1. Complete the simple form on our web page (http://www.cnotes.com/telecom/cnitelpage.html) OR..... 2. Send a blank message to longdistance@cnotes.com (you will then receive a sign-up form in your email box). Mike Corso CNI Telecom <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> C NOTES INTERACTIVE ----------------------> http://www.cnotes.com Online Music Marketing Web Page Design Independent Communications Consultant <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> ========================================================================= Date: Tue, 28 Nov 1995 10:20:48 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: The end of "Drugs" Comments: To: BLUES-L@BROWNVM.BROWN.EDU. As a closing comment on the drugs and music thing, I would like to thank you all for your comments. We have certainly proven that this group can discuss this issue without going hysterical, and flaming each other. I remain staunchly anti-drug, and believe that those very things used as support for "chemical consciousness" (the "wonderful 60's" being the first one in line) may be more appropriately used as arguments -against- drugs. That the "almighty self" that has become such a religion in our culture, was assisted in it's rise to prominence by the ideas and follies of that era. The world is a vastly worse place now than it was before the '60's, the time when the "chemical consciousness" idea became prominent in our culture. Obviously, you cannot blame all of our societal changes on drugs, but I have to ask if they helped or hurt. To me the answer is clear. Millions of vital, intelligent, educated young people were looking at the colors in their heads, while once-in-a-generation opportunites to actually change our world slipped by them. Now, all they want is a nice white subdivision to live in, and a minivan. I fear for the children of that generation. Yet some of us will disagree, and that is inevitable. Nonetheless we respect each other. The rest of our culture should do so well. I am very glad that the day of "psychedelic blooz" has passed however! Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Tue, 28 Nov 1995 18:24:46 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: need address In-Reply-To: <49ffl6$k95@newsbf02.news.aol.com> On Tue, 28 Nov 1995, SwtesTaboo wrote: > Does anyone know the Pollstar web site? > http://www.pollstar.com/search.htm phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [28/11/95 13:22 PM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 28 Nov 1995 13:43:40 -0500 Reply-To: KellyMezz@AOL.COM From: Kelly Mezzanatto Subject: Re: Clubs in SF Bay Area? Try Lou's in San Francisco. Great music and lots of fun. ========================================================================= Date: Tue, 28 Nov 1995 13:59:11 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: More Who Owns The Blues? Tom Freeland wrote this: ------- It has this to say about Alan Lomax: "Mr. Davis criticizes folklorists like Alan Lomax, who visited prisons to find traditional songs, while ignoring individual innovators nearby like Charley Patton. 'They went into it with the wrong mindset -- a noble one but wrong.' There are critical things to be said of Mr. Lomax, but this seems wildly off-beam. In the first place, when Lomax went down there, Patton was dead. ------- I'm writing this: Even more incredible is that the article's author is PHIL Patton, who also wrote "Blues For Cousin Charlie" for Esquire Magazine in October 1990 -- in which he makes the case that he might be RELATED to Charley Patton. All in all, though, I think "Who Owns The Blues?" is an important and necessary piece of work. I only wish he would've pointed out that for every Isaac Tigrett there's a Dick Waterman. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Wed, 29 Nov 1995 20:40:17 +0000 Reply-To: john.kuzemka@NT.COM From: john.kuzemka@NT.COM Organization: Nortel Subject: Re: DMX anyone? Comments: To: bit-listserv-blues-l@uunet.uu.net Tom Kraft wrote: > >Does it plug into your stereo or your TV? I'm wondering about fidelity. > >Tom Kraft It takes input from your CATV coax via splitter and it outputs to your CD input on your reciever/ amplifier.Your CD player also goes= through the DMX box. It is absolutely CD quality Hi-Fidelity! I love it! jk ========================================================================= Date: Wed, 29 Nov 1995 15:24:43 -0500 Reply-To: BAJammin From: BAJammin Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Definition of "gig" (no blues content) Comments: To: bit-listserv-blues-l@uunet.uu.net Steve, Just my humble opinion, but, I believe the word goes way back in the Euromusic tradition. Maybe as far as the rennaissance. Johann S. Bach (post rennaissance, baroque period) for ex. wrote numerous dance suites constisting of several short dance pieces each. Sarabande, allemende, bouree', double, >>>------->GIGUE<--------<<< and others would be contained in one suite. Ever hear of an Irish jig? I think, among working musicians somewhere along the way, 'gigue' just became synonymous with 'dance'. Playing a dance became playing a gig which found its way around. The expression isn't limited to blues performances, I don't think. Anyway, this is just my pet theory on the subject. Hope that sheds some vibes on it for ya. Bill Adams ========================================================================= Date: Wed, 29 Nov 1995 15:24:43 -0500 Reply-To: BAJammin From: BAJammin Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Corey Harris Comments: To: bit-listserv-blues-l@uunet.uu.net I just bought Corey's Alligator CD release, 'Between Night and Day'. It's a very nice collection of Bukka White, Estes, Patton, Johnson & others including two originals. Great slide and fret guitar playing. Very expressive singer. What more can I say? Bill ========================================================================= Date: Wed, 29 Nov 1995 15:27:52 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Randy Chortkoff Can anyone put me in touch with Randy Chortkoff who produces an annual Little Walter tribute concert in Los Angeles? Thanks, Joel Slotnikoff ========================================================================= Date: Wed, 29 Nov 1995 15:07:57 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Guitar lessons wanted (maybe) Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I'm thinking of taking up guitar again, and if I do I want to find a good teacher. Before I started playing harp I learned a little guitar, and I still fool around with it a little. Whenever I pick up a guitar and play a few notes I enjoy it and I'd like to get better. I want to learn Lightnin' Hopkins style and possibly open and standard tuning slide. Can anyone recommend any good teachers in the DC area? I'd be willing to trade harp lessons for guitar lessons if anyone is interested. -Steve ========================================================================= Date: Wed, 29 Nov 1995 14:22:04 -0500 Reply-To: TabbMan@AOL.COM From: John Moore Subject: Beat Daddy's Does any one know anything about the Beat Daddys?I come upon a cd with out any cover or liner notes,and its a good c.d. ========================================================================= Date: Wed, 29 Nov 1995 13:52:57 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: Spreading the Word on Mad Max Max's web page is at http://intelus.com/dcblues/madmax.html ______________________________ Reply Separator _________________________________ Subject: Re: Spreading the Word on Mad Max Author: "Terry L. Odor" at Internet Date: 11/28/95 5:56 PM ======================================================= Are there any deejays, club owners or others who are interested in a demo tape of my fiance, "Mad" Max Vadi? He's an excellent blues guitarist and also plays some classic rock. His band is covering Clapton, Hendrix, Smokin' Joe Kubek, etc. He does a version of "Ball & Chain" that will blow you away. Let me know if you're interested, tapes will be first-come, first serve. ======================================================= I have this tape....and I have to tell you...Mad Max is a monster! Check this guy out...it's well worth it. Terry http://www.teleport.com/~tlo/ (updated 10/28/95) ========================================================================= Date: Wed, 29 Nov 1995 13:43:42 -0500 Reply-To: "http://www.cnotes.com" From: "http://www.cnotes.com" Subject: World AIDS Day Blues Giveaway! CNI Telecom is giving away free CDs in recognition and support of World AIDS Day, December 1st. Every new customer who switches to CNI Telecom's flat rate long distance service (13.9 cents per minute--up to 60% less than the rates charged by the Big 3 long distance companies) before December 1 will receive their choice of Simply Red's latest _Life_, Emmylou Harris' stunning _Wrecking Ball_, Tracy Chapman's delightful _New Beginning_, _The Best of Excello Records_ (classic blues music), or an exceptional 8-song sampler from Atlantic Jazz featuring the latest releases by saxophonist Gerald Albright and keyboardist Bob Mamet. CNI Telecom is an independent communications firm (serving commercial and residential telephone users) that has made special arrangements with several outstanding discount long distance companies on behalf of the internet community. CNI Telecom's mission is to provide its customers with low-cost, high-quality long distance service while, at the same time, support various nonprofit organizations working in the areas of Peace, Human Rights, the Environment, Campaign Finance Reform, AIDS Research and other health-related and social services. Towards that end, each year CNI donates 2% of its gross revenues (that is, the company will make the donation whether or not it earns a profit) to several nonprofit organizations. TO SWITCH YOUR LONG DISTANCE SERVICE TO CNI TELECOM/PNG AND RECEIVE YOUR CD: 1. Complete the simple form on our web page (http://www.cnotes.com/telecom/cnitelpage.html) OR..... 2. Send a blank message to longdistance@cnotes.com (you will then receive a sign-up form in your email box). Mike Corso CNI Telecom <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> Join CNI Telecom, a discount long distance company in support of Peace, Human Rights, the Environment, Campaign Finance Reform, and the fight against AIDS. Info--email: longdistance@cnotes.com http://www.cnotes.com/telecom/cnitelpage.html ========================================================================= Date: Wed, 29 Nov 1995 12:28:46 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Bob Marley Suggestions Looking to cut my teeth on my first Marley. Which is the "best" CD for the new fan? David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Wed, 29 Nov 1995 12:23:48 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Blues Revue Xmas Issue !! I just saw the Christmas Issue of Blues Revue and it looks like a great issue. I didn't have much time, but it has what appears to be an extensive article on Muddy and articles on Otis Spann & Little Walter. I saw a picture of Johnnie Billington and the "kids" with an article about Blues Education (I think). There is also a nice (longer than usual) blues guitar lesson by blues guitar guru Rich Delgrosso...Look for the classic Muddy "Santa" picture on the cover I gotta to go back and buy it, it looks like a really good issue. THANKS BOB LW 'giving credit where it's due' ========================================================================= Date: Wed, 29 Nov 1995 16:43:02 GMT Reply-To: Mike Stefano From: Mike Stefano Organization: Queen's University Subject: acoustic slide Check out any Johnny Winter Stuff. Also, Bob Brozman is a master of several different styles and plays ONLY National Steel guitars. His "Truckload Full of Blues" is great. ========================================================================= Date: Wed, 29 Nov 1995 13:36:42 +0100 Reply-To: Thomas Gutberlet From: Thomas Gutberlet Subject: Mel Bay adress needed I would be glad if anybody can give the detailed adress of MEL BAY PUBLICATIONS in order to buy some of their fine guiatr instruction books. Thanks a lot, Thomas ========================================================================= Date: Wed, 29 Nov 1995 11:18:35 GMT Reply-To: Steve Leigh From: Steve Leigh Organization: a Digital Internet AlphaServer Site Subject: Bob Brozman? Comments: To: bit-listserv-blues-l@uunet.uu.net Does anyone know how to get ahold of Bob Brozman here on the internet? Need his e-mail address if someone can help. Thanks. ========================================================================= Date: Wed, 29 Nov 1995 05:29:42 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - November 29th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- CAVALIERE, FELIX A. (of THE RASCALS) b. 1942-1129, NEW YORK CITY, NY EDWARDS, CHUCK (g/DUKE REC) b. 1927-1129, PHILADELPHIA, PA HEGAMIN, LUCILLE NELSON (v) b. 1894-1129, MACON, GA JOHNSON, OLIVER "DINK" (p/d/cl) d. 1954-1129, PORTLAND, OR 62 JONES, ALBENNIE (v/SAVOY/NATIONAL REC) b. 1914-1129, GULFPORT, MS JORDAN, RONNY (g) b. 1962-1129, LONDON, UK LEVINE, DUKE (g/DARING REC) b. 1961-1129, WORCESTER, MA MAYALL, JOHN BRUMWELL (g/hca) b. 1933-1129, MACCLESFIELD, UK OUTCALT, JAMES "CHIPPIE" (tbn/BRADSHAW) b. 1912-1129, NEWARK, NJ PERRILLIAT, NAT (tsax) b. 1936-1129, NEW ORLEANS, LA WHITBURN, JOEL (author/BILLBOARD CHARTS) b. 1939-1129, MENOMONEE FALLS, WI ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 29 Nov 1995 08:59:27 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Need a Title Comments: To: Pat Hertel >On Mon, 27 Nov 1995, Terry Knox wrote: > >> I keep hearing bits a pieces from a recording I would like to have. The >> artists are Jimmy Rogers(?) with Ronnie Earl and the Broadcasters. I think >> it was recorded live somewhere in Europe (Germany?). Anyone know the name of >> this CD? >> > > Blues Guitar Virtuoso Live in Europe - on the Bullseye label No This is not the record with Rogers & Earl together. It,s Earls own (exellent) CD recorded at the same time. Bo ========================================================================= Date: Wed, 29 Nov 1995 08:29:40 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Freddie King Question!! >>>Could anyone tell me when and how Freddie King died? >> >>He died in Dallas on December 28, 1976. I don't remember >>the actual cause of death, but it was of natural causes. > Well, I always heard it was heart failure. But one can also put together the resent threads of "Bluesmens health status" and "drugs in blues". A fellow musician explained Freddie Kings early death: "He drank whiskey like a fool". That and cigarettes almost seems like natural causes among our heroes. Mr Bo ========================================================================= Date: Wed, 29 Nov 1995 05:28:25 GMT Reply-To: Dave Perkins From: Dave Perkins Organization: CTS Network Services Subject: WHATS THE NAME OF THE RECORD..... Comments: To: bit-listserv-blues-l@uunet.uu.net This is my 1st time here and was wondering if anyone can help me find the name of a tape or CD by Joe Louis Walker...The song I heard was "Bluesafied" or "Bluesarefine" something that sounds like that,,, I heard it off the radio and the guy said it to quick to get the name of the song but the name of the CD was something like Blues of the Month club... Does anyone know what the true name of the song and what tape or CD to buy in order to get that song...It was a live version and it really sounded great... Any help will be very greatly appreciated...Please e-mail though cause Im not on here alot... Dave in San Diego ========================================================================= Date: Wed, 29 Nov 1995 05:26:44 GMT Reply-To: "John P. Willis" From: "John P. Willis" Organization: State University of New York At Buffalo, NY (USA) Subject: Thomas Dorsey the greatest Thomas Dorsey wrote "Precious Lord" and what has become the classic religious song for many country singers, "Peace in the Valley". He must be viewd a a hymn writer and not ofjust African-American gospel songs When he toured Europe in the fifties, people in the protestant churches there already knew of and were singing his songs, he told us in interviews. John Willis -- ========================================================================= Date: Wed, 29 Nov 1995 04:42:42 GMT Reply-To: "A.C. Brockton" From: "A.C. Brockton" Organization: Primenet Subject: Re: What is the Blues Tune at the End of Ren & Stimpy? Howlin' Wolf... Comments: To: bit-listserv-blues-l@uunet.uu.net In article <0ba311b0@vitro.com>, PARRISHR@VITRO.COM says... > > Does anyone know what the blues instrumental is that they play at the > end of Ren & Stimpy? It sounds like Albert Collins a little. I belive it's derived a combination of two Howling Wolf tunes, "Ooh Baby, Hold Me" and "Killing Floor", both on the Real Folk Blues CD. ================================================================= Andrew Brockton http://www.primenet.com/~brock "I got to take the bitter with the sweet." ---- James Oden, as sung by Muddy Waters ================================================================= ========================================================================= Date: Wed, 29 Nov 1995 04:35:01 GMT Reply-To: Windmill Pottery From: Windmill Pottery Organization: Northwest Nexus Inc. Subject: test-don't read Comments: To: bit-listserv-blues-l@uunet.uu.net did this get through? -- Adios for now, Michael L. Madsen - Blaine, Washington "Take it easy but take it." Woodie Guthrie ========================================================================= Date: Wed, 29 Nov 1995 04:28:09 GMT Reply-To: Jim Colegrove From: Jim Colegrove Organization: DFWNet -- Public Internet Access Subject: Re: Skip james Comments: To: bit-listserv-blues-l@uunet.uu.net It has been recorded that Skip James died October 3, 1969. ========================================================================= Date: Tue, 28 Nov 1995 23:06:06 -0500 Reply-To: Ted Dames From: Ted Dames Subject: Toru Oki Sorry to use the list for a small segment of the posters BUT,..... a gentleman from Japan and I had a short cyber-conversation and I deleted his e-mail address. Hey, check out his old bavck-up band The Nighthawks in your country from December 3rd to the 23rd. If you need more details please e-mail me. Everyone else...thanks for the forum. bandana@fast.net is Ted Dames AKA A. Pepperhead owner/sauce maker and resident bon vivant at: Bandana's Serious Pepper Products located in sub-tropical Southeast PA. "Say WHAT?"- Smokie Wilson ========================================================================= Date: Tue, 28 Nov 1995 17:43:47 GMT Reply-To: Dave_J._Herda@infozone.telluride.co.us From: "Dave J. Herda" Organization: InfoZone Telluride Co (970)-728-0472 Subject: Re: Quality Blues Promotion (& somebody stole my name!) Comments: To: C2MXBOY@FRE.TOWSON.EDU Pretty good idea K.B. I sometimesplay other stuff on my show as well, but I usually try to play stuff that could possibly have some type of tie to the blues. For example, I play G.Love and Special Sauce sometimes. Blues Music, Bye Bye Baby, and Cornbread Kelly highly recommends Small Fish. The first is on the G's self titled album and the secon two are on Coast To Coast Motel. Both albums can be found on the Okeh label. Check em out and groove to bluesy funk/hip hop. "Top notch my boy........top notch!" Plowman ========================================================================= Date: Tue, 28 Nov 1995 17:26:06 GMT Reply-To: Dave_J._Herda@infozone.telluride.co.us From: "Dave J. Herda" Organization: InfoZone Telluride Co (970)-728-0472 Subject: Re: Joe Louis Walker Comments: To: dott@isnet.is.bgsm.edu Great choice for a disk Dave. Another good Joe Louis disk is Live at Slims (I think it is volume 1). His guitar is scorching and there is a killer version of I Didn't Know. It's definitely worth checkin it out! Keep On Playin Those Blues---DH ========================================================================= Date: Mon, 27 Nov 1995 21:15:20 -0500 Reply-To: "J.F. Bronowich" From: "J.F. Bronowich" Subject: Can anyone tell me about Tad Robinson? -- [ From: J.F. Bronowich * EMC.Ver #2.5.02 ] -- I have some Dave Specter recordings on compilaiton albums that feature a vocalist named Tad Robinson. He sounds incredible! Anyone have info on him ? Does he record elsewhere? Thanks! =Joe= ========================================================================= Date: Tue, 28 Nov 1995 17:56:36 +0000 Reply-To: "Terry L. Odor" Comments: Authenticated sender is From: "Terry L. Odor" Subject: Re: Spreading the Word on Mad Max Comments: cc: PARRISHR ======================================================= Are there any deejays, club owners or others who are interested in a demo tape of my fiance, "Mad" Max Vadi? He's an excellent blues guitarist and also plays some classic rock. His band is covering Clapton, Hendrix, Smokin' Joe Kubek, etc. He does a version of "Ball & Chain" that will blow you away. Let me know if you're interested, tapes will be first-come, first serve. ======================================================= I have this tape....and I have to tell you...Mad Max is a monster! Check this guy out...it's well worth it. Terry http://www.teleport.com/~tlo/ (updated 10/28/95) ========================================================================= Date: Tue, 28 Nov 1995 21:04:10 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: Buddy Guy 1979-1981 Comments: To: Barry Silverberg In-Reply-To: Barry Silverberg wrote: > Now for the $64,000.00 question (BG fans and others). Anybody > out there (Dave especially since I am assuming you're like me > a BGDH (Buddy Guy Die Hard)) have a take on BG's Breaking Out > CD on JSP. It's a ferocious mix of electric effects etc. and Unfortunately I don't have a take on BREAKING OUT, 'cause I haven't heard it yet. I'd love to hear some folks try to answer this 64 thousand dollar question -- but no cheating, please. Dave Prychitko Blues 101 88.9 FM WNYO-Oswego http://www.oswego.edu/~prychitk/ ========================================================================= Date: Wed, 29 Nov 1995 21:48:26 GMT Reply-To: Andrew Gregg From: Andrew Gregg Organization: Department of Primary Industry Subject: Re: Biker Blues fan, + and - 's. In article <951122183907_31216295@emout05.mail.aol.com>, "Gordon, Rich" wrote: >I play in the Basement Blues Band and our favorite gig is The Two Wheel >Inn...these are serious Angels and Henchmen and they love us....They treat us >very well and it's always a great time for all. Ive found that bikers are o.k on the whole and that the wannabee bikers are the trouble-causing assholes. I used to work with a biker & his friends were all great, well-meaning guys. ********************************************************************** * Andrew Gregg * * * Dept of Primary * I see angels on Ariels * * Industry * in leather & chrome * * ooOO00OOoo * Swooping down from heaven * * Email : * to carry me home * * mpagregg@aries.dpi.tas.gov.au * * * * - Richard Thompson * ********************************************************************** ========================================================================= Date: Tue, 28 Nov 1995 19:43:16 -0500 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: Questions for The List Comments: To: Leo Aspiras In-Reply-To: <199511271604.LAA11722@fenix2> On Mon, 27 Nov 1995, Leo Aspiras wrote: > Hi all: > > This weekend, i was with a pretty knowledgable individual on blues > subjects/trivia, and during our conversations he revealed the following > information: > > 2) Pinetop Perkins showed Ike Turner how to play the piano. Apparently, he > was Ike's drummer. This seems odd to me because i have always viewed > Pinetop as a piano player (opened up for him and the Legendary Blues Band > back in the early 80's). But maby not so odd when you consider that > Son Seals started out as a drummer and has switched to guitar. This is > probably true of some other blues musicians. > > Anyway, does anybody out there know anything about these factoids.....just > curious???? Ike Turner was a child prodigy. He claims to have taught himself to play piano at the age of 6. The biographical info that I have on Pinetop states that he plays piano and guitar, but not drums. I did find that Ike's drummer (unnamed in this account) was the one who gave Annie Mae Bullock (later known as Tina Turner) her first opportunity to sing with his band. Brenda Bogert Louisville KY ========================================================================= ========================================================================= ========================================================================= Date: Thu, 30 Nov 1995 13:21:39 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: HAPPY BIRTHDAY, BROWNIE MCGHEE pt. 3 of 4 : B&R feature con't/1st Recording? Comments: To: BluesHvn@aol.com Comments: cc: Knight1@aol.com, tony@bluestb.demon.co.uk Published in BLUES & RHYTHM : THE GOSPEL TRUTH (issue #105, December 1995). For subscription information to B&R, email or visit Gary Joneson's KING BISCUIT TIME Web site, under the Blues Publication section for more details. A WHOLESALE DEALIN' PAPA - BROWNIE McGHEE AT 80 by Chris Smith continued .... The R&B material was recorded while McGhee's folk-blues career was beginning (the excellent Dan Burley CD reviewed elsewhere in this issue dates from 1946), and he evidently saw no incongruity. Now that Lonnie Johnson in spongebag trousers graces the cover of Nothing But The Blues, it may be time for other smoothies to be favourably reassessed - and Brownie can be a lot earthier than Lonnie! In the course of preliminary work on a Terry/McGhee discography, I've found myself doing just such a reassessment. In the process, another problem arises, one implied in the title of this piece: McGhee made a hell of a lot of records, and multiple versions of the same numbers, and only a discographer would want to listen to them all. Having done so, even an enthusiast is forced to concede that Brownie may have been more important as part of blues history than as a blues musician, but even so, there are many moments of great pleasure in his recordings aimed at the white audience, and with that in mind, I'll make some recommendations. A good beginning is Kip Lornell's compilation, The Folkways Years (Smithsonian-Folkways SF 40034), which can't be bettered as an overview of Brownie's sessions for Moe Asch. This may lead on to the original Folkways albums, which are available on cassette from the Smithsonian. I'd particularly recommend the two volumes of Traditional Blues (02421 and 02422), whose repertoire is drawn from Brownie's memories of the blues in Tennessee and from a book of transcriptions by Joachim Berendt! The concept sounds artificial, but it works well. Some of these tapes are of 10 LPs, and therefore have very short playing time for the $10.95 plus shipping you pay. One such is Get On Board (32028), a raucous set of songster numbers by McGhee, Terry and maracas player/vocal bass Coyal McMahan, but its great fun. Sonny and Brownie cut extensively for Bluesville in the early sixties, and the resulting LPs have been put on CD, unchanged on the medium-priced OBC, or as twofers on Fantasy (Ace in the UK). Highly recommended is Brownie's Blues (OBCCD-505-2), with Terry, and one Bennie Foster on second guitar. I think this is a pseudonym for Stick McGhee - Pete Welding's notes drop a strong hint to that effect. This is a very swinging, creative session, including a terrific Jump Little Children . Of the twofers, Back To New Orleans (Ace CDCH 372) couples Bluesville LPs 1002 and 1033, and has impeccably tasteful yet propulsive drumming by Roy Haynes on half the tracks. The material cut by Terry and McGhee in 1960 for Capitol, sometimes with Lightnin Hopkins and Big Joe Williams, has been extensively reissued, most recently on Capitol 8 29376 2, which I think is better than Neil Slaven's review in B&R 103 would have you believe; Neil and I must agree to disagree about the value, and the effects, of professionalism and suavity. Beware, though, of Blowin The Fuses on Collectables, whose 13 tracks from these sessions include no fewer than three songs twice! Other items to look out for: The Best Of Brownie McGhee (Storyville STCD 8014), made in 1971, is perhaps not the best, but its very good; as always there are a number of re-recordings of familiar songs, but there's an intriguing Tennessee Blues, on which Brownie both plays guitar and overdubs piano. He plays a little piano, too, on The 1958 London Sessions (Sequel NEX CD 120), but the piano honours on that go to British jazzman Dave Lee. At this session, Terry and McGhee recut a number of the songs they'd done for the little New York labels in their R&B days; it was their first trip abroad, and they sound more enthusiastic and hungry than was often the case in later years. From later years, Rainy Day, recorded for Blue Labor, but available as Rhino R2 71295, shows some weakening of the McGhee vocal cords, but teams him with a good band including Sugar Blue, Louisiana Red, and a tremendous rhythm section in Alex Blake (bass) and Brian Brake (drums). There are lively remakes of Christin(a) and brother Sticks big hit, Wine Sporty Orty, and even a fresh-sounding Walk On, with second vocals by label owner (and Leadbelly's nephew-in-law) Jim Robinson. Brownie McGhee's last CD so far is 1985s Facts Of Life (Blue RockIt BRCD 104) with the Robben Ford Band. The voice is definitely feeling it's age on this one, but the Ford brothers and Mark Hummel supply backing that's both sympathetic and energetic, and it's not a CD to reject out of hand. If you don't hear it, you'll never know what Lo Mo Cra De is about, after all. Since then, Brownie has done little, apart from appearing in Angel Heart, where he proved not to be much of an actor, and met an on-screen fate not suitable for a family magazine. Officially retired and working on his autobiography, he nevertheless made a well received appearance at the 1995 Chicago Blues Festival where this article began. There aren't so many blues singers around who have recommended recordings at the extreme ends of a 45 year period. Let's wish him a happy birthday, and give the best of those records a spin. They're worth it. In the same issue : B&R #105 ================= BROWNIE'S FIRST RECORDING? by Chris Smith Precious Lord by Brother George and His Sanctified Singers is said to have been recorded on 19 June 1940 at a Blind Boy Fuller session, and the personnel is given by B&GR as Fuller, guitar, Sonny Terry, harmonica, and Bull City Red, vocal/washboard. Bruce Bastin pointed out the presence of a second harmonica, aurally Jordan Webb, in Red River Blues, but there seemed to me to be another problem, in that the singers dignified clearly articulated, rather stiff baritone sounds nothing like Bull City Red. Then it dawned on me: if Jordan Webb, who was Brownie McGhees harp player at the time, was present at the session, it seems logical that McGhee should have been too. J.B. Long, having just begun to manage McGhee and Webb, would have wanted OKeh to audition them, the more so, perhaps, since Fuller was very ill by this time. The matrix number of Precious Lord is WC-3154; 3150 to 3153 by Charlie Spand were made the previous day, and I suspect that 3154 was also cut on 18 June, before the Fuller session, and without his knowledge. The singing on Precious Lord is lower pitched and less relaxed than we are used to from McGhee, but this is explicable by a combination of the sacred song text and debut nerves. Guido van Rijn, who had research questions of his own to ask Brownie, kindly offered to make enquiries on my behalf. I quote from Guidos letter to me: I asked if he ever recorded with Blind Boy Fuller. No, he had never been in the same studio with Fuller. I next played him Precious Lord and he was amazed. It was definitely Fuller on guitar and McGhee himself singing. Brownie laughed loudly: this was really impossible, someone had doctored two recordings. This was perhaps not the best way to frame the question, but the fact remains that Brownie recognises himself singing on Precious Lord. Obviously, the recording can't have been doctored as he suggested, and since Brownie insists that he never recorded with Fuller, the presumptive lineup becomes: McGhee, vocal/guitar, Terry and Webb, harmonicas, and Red, washboard, making this both the first Brownie McGhee record, and the first Sonny Terry and Brownie McGhee record. pt. 1 : HAPPY BIRTHDAY, BROWNIE MCGHEE pt. 1 pt. 2 : HAPPY BIRTHDAY, BROWNIE MCGHEE pt. 2 : BLUES & RHYTHM feature pt. 4 : HAPPY BIRTHDAY, BROWNIE MCGHEE pt. 4 : CD DISCOGRAPHY ========================================================================= Date: Thu, 30 Nov 1995 15:20:02 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Lightnin Complete Prestige I was in the local cd store last week and picked up the first 3 cds from the Lightnin Hopkins Complete Prestige/Bluesville box set for $14.99. I was surprised to see this set of 3cds outside of the box set. Have they been marketed separately? It's much cheaper than the complete box, but it sucks not having the booklet or any documentation about the recordings. Also picked up the Arhooli release Lightnin! for $6 NEW! -Jeff (you can never get too much Lightnin!) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Thu, 30 Nov 1995 12:49:40 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Where is everybody? I have gotten no email from blues-l since noon yesterday. Are we there? Mary Katherine ========================================================================= Date: Thu, 30 Nov 1995 15:38:15 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0143 From: "DUTTWEILER.J" Subject: No mail TO: Internet FROM: DUTTWEILER.J@GOMAIL SUBJECT: No mail Okay, now *I'm* one of the poor sapps not receiving any mail from my beloved Blues-L. Is it just me, or has the list been having problems? Jon (fretting and wondering) Duttweiler ========================================================================= Date: Thu, 30 Nov 1995 13:32:08 -0700 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: Bob Marley Suggestions Comments: To: David Silberberg In-Reply-To: <199511291828.MAA14525@thymaster.interaccess.com> CATCH A FIRE. Great sides with the original band. I actually have the lp which opens like a Zippo lighter. The "Legend" cd is good as is the double live set ("Babaylon By Bus"?). You might also want to check out Peter Tosh's "Legalize It". Good luck! Jay Watterworth CU Boulder On Wed, 29 Nov 1995, David Silberberg wrote: > Looking to cut my teeth on my first Marley. > > Which is the "best" CD for the new fan? > > > David Silberberg Woman I love has two teeth > davidis@interaccess.com Solid Gold > Got a lien on my body > Mortgage on my soul > > Johnny Shines > ========================================================================= Date: Thu, 30 Nov 1995 19:10:55 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Re: WHATS THE NAME OF THE RECORD..... Comments: To: bit-listserv-blues-l@moderators.uu.net Its called Bluesifyin' from the Blues Of The Month Club CD on Gitanes Jazz, (well thats the Euro/UK label anyway). Well worth getting, in fact everything by JLW is worth checking out. TB ========================================================================= Date: Thu, 30 Nov 1995 12:17:49 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: HAPPY BIRTHDAY, BROWNIE MCGHEE pt. 2 of 4 : B&R feature Comments: To: BluesHvn@aol.com Comments: cc: LKnight1@aol.com, tony@bluestb.demon.co.uk Published in BLUES & RHYTHM : THE GOSPEL TRUTH (issue #105, December 1995). For subscription information to B&R, email or visit Gary Joneson's KING BISCUIT TIME Web site, under the Blues Publication section for more details. A WHOLESALE DEALIN' PAPA - BROWNIE McGHEE AT 80 by Chris Smith Eighty years ago the blues harvest had a good vintage, as the 1995 Chicago Blues Festival noted in making its theme the class of 15: MCAs recent tie-in CD features Muddy Waters, Robert Lockwood, Honeyboy Edwards, Memphis Slim, Johnny Shines and Willie Dixon. Also on board are Wynonie Harris (born 1913, but what the hell) and Brownie McGhee. It's sad, if not surprising, that most of those names are now dead, and it's also sad that while Lockwood and Edwards get their full share of attention from the blues media, Brownie McGhee is often overlooked, and sometimes slighted when he is noticed. Until he needed a passport in 1958, Brownie himself thought that his date of birth was 30 November 1914, and indeed he celebrated his 80th birthday last year; but the official records say 1915, so enabling us to note the anniversary a second time. This article looks back over a very long career of performing and recording, and tries to point readers in the direction of a few recordings that may provoke a reassessment of Walter Brown McGhees talents. The obvious place to begin is the Columbia Legacy double CD (475700 2), which contains all (or perhaps not quite all - see sidebar) of Brownies OKeh/Columbia recordings, alternate takes, unissued sides and all. Blues lovers will be forever in Larry Cohn's debt for this release, although I suspect that few of them will want to play all 41 tracks on the trot. They are the work of a youngster who was already much more than the Blind Boy Fuller #2 that OKeh wanted to market: Brownie was already a strong songwriter, with a fluent guitar style and a clear, confident delivery. Heard at length, these early sides can blend into each other, but they are obviously the work of an up and coming musician. It's impossible to discuss Brownie McGhee without mentioning Sonny Terry, whose harmonica had replaced that of Jordan Webb by 1942; they had successful separate careers as both name artists and accompanists, but Sonny and Brownie were for years inseparable in the minds of blues fans. They don't seem to have been close friends: Kent Cooper overheard a bitter argument in 1968 about the split of a fee for a concert that happened in 1940! Nevertheless, together they had a drawing power that they didn't possess apart. By the time the duo split up in 1982, they were like a couple stuck in a bad marriage: there's a CD of a 1980 gig in Germany (I deliberately omit details), which shows how bad things had got, with Terry playing across McGhees singing, and McGhee playing in impossible keys for Terry. In their prime, though, they were a live act to reckon with: try At The 2nd Fret (OBCCD-561-2), cut in Philadelphia in 1962, to hear them as a flawless team, supporting and pushing each other, and manipulating the audience with a careful mix of jokes and charm. In the rediscovery era of the sixties, Terry and McGhee seemed old hat, the sort of thing that appealed to - yuk! - jazzers. They were also not the new blues fans idea of a blues singer. Brownie, in particular, was articulate, almost cultivated in his diction; on live recordings, he sometimes sounds like Duke Ellington when he addresses the audience. One of Brownie's best songs was called Living With The Blues, but like Big Bill Broonzy, he seemed to be presenting, rather than living, the blues - and like Broonzy, he fell out of favour when the ideal blues singer became either a demon-haunted illiterate who had come straight from the bottomlands onto the stage, or a ferociously amplified Chicagoan with an all-electric band rampaging behind him. I exaggerate, of course, but so did those who reacted against McGhee's so-called folk-blues. The folk-blues phobics were usually unaware that in the forties and fifties McGhee had pursued a successful career in New York making tough R&B recordings that were aimed squarely at black purchasers. With electric guitar, saxes, and rocking piano, these are a fine body of work, and Brownie was not without his share of hits: the suave My Fault, with Hal Singer on tenor, was a massive seller, and the romping Baseball Boogie spawned follow-ups in New Baseball Boogie and Robbie Doby Boogie, in praise of black players Jackie Robinson and Larry Doby. Bruce Bastin has made the case for Brownie's recordings from this era both in print - see Red River Blues - and on disc: Travelin Man CD 04 and Krazy Kat CD 08 (a Jack Dupree record with McGhee prominent in accompaniment) should not be missed. Other CDs in this vein are Climbin Up (Savoy Jazz SV-0256) and Hometown Blues (Columbia Legacy JK/T 53625), which contains recordings made for Bob Shad's Sittin In With. There's as yet no sign of a CD transfer for the brilliant Jumpin The Blues (Savoy LP 1204), but we can hope. There's still plenty of good stuff unreissued, too, like the amazing Christine (Harlem 2323). ... continued in next posting pt. 1 : HAPPY BIRTHDAY, BROWNIE MCGHEE pt. 1 pt. 3 : HAPPY BIRTHDAY, BROWNIE MCGHEE pt. 3 : BLUES & RHYTHM feature con't pt. 4 : HAPPY BIRTHDAY, BROWNIE MCGHEE pt. 4 : CD DISCOGRAPHY ========================================================================= Date: Thu, 30 Nov 1995 18:19:22 -0500 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: Bob Marley Suggestions Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199511291828.MAA14525@thymaster.interaccess.com> David Silberberg writes: >Looking to cut my teeth on my first Marley. >Which is the "best" CD for the new fan? There is a "best of" collection called Legend that is very good. Contains his more accessible (commercial) work and is a good starting point. I personally love the album that was recorded live in London (can't think of title - maybe "Live in London" ?? :-) ) ========================================================================= Date: Thu, 30 Nov 1995 14:05:55 -0500 Reply-To: Leo Aspiras From: Leo Aspiras Subject: Oh i Wonder-Wonder (not blues related) Hello out there: The network gods have chosen to reassign us new addresses. I signed off of the list and then re-subscribed with my new address. Today (the 30th), i have not received any posts. If anybody reads this post, i would be grateful for a personal reply to see if this new *&%#*^g is working....... thank you, leo 'the scatman' aspiras from d.c. but temporarily ozoned...... ========================================================================= Date: Thu, 30 Nov 1995 13:54:21 EST Reply-To: george morales From: george morales Organization: TEMPLE UNIVERSITY Subject: tampa florida blues? a friend is staying in tampa, florida from dec 1 thru dec 8. can anyone suggest any places to see some blues performers or good rib joints? if those questions can't be answered, any suggestions on where to drink some cold beer? thanks in advance george +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ | | | GEORGE MORALES GEORGEM@TEMPLEVM | | COMPUTER AND INFORMATION SERVICES GEORGEM@VM.TEMPLE.EDU | | TEMPLE UNIVERSITY (215)204-6866 | | | +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Thu, 30 Nov 1995 10:55:18 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: HAPPY BIRTHDAY, BROWNIE MCGHEE pt. 1 of 4 Comments: To: BluesHvn@aol.com Comments: cc: LKnight1@aol.com, tony@bluestb.demon.co.uk WALTER BROWN "BROWNIE" MCGHEE was born Tuesday, November 30, 1915, Knoxville, TN. "Probably the most underrated, or at least underappreciated, bluesman on the planet, Brownie McGhee is a master musician whose most familiar recordings have for some time been out of vogue with current tastes in blues. The same music that made Brownie and his partner Sonny Terry a hot item during the boom years of folk music now tends to be dismissed as too smooth and folksy for contemporary fans, not raw enough for country blues aficionados, and not hard-hitting enough for the more electric-oriented crowd. While perhaps the folk-blues routine was overdone, it is still a disservice to dismiss Brownie McGhee and his music, for he has written and recorded many fine blues in a variety of styles since his recording career began in 1940. For ears not attuned to the folk idiom, McGhee's 40s output as the Piedmont successor to Blind Boy Fuller, the early postwar electric guitar combo sides from New York, and various post-Sonny Terry albums with different bands will all provide different and sometimes surprising perspectives; for the folk/blues fan, the Terry-McGhee collaborations still set the standard." ~ Jim O'Neal, ALL-MUSIC GUIDE "Brownie McGhee was among the last generation of blues musicians with deep country and traditional ties that maintained some level of popularity into the '50s. The onslaught of electrified, urban blues would change the music's direction and result in many Delta and country artists losing stature among the genre's core constituency. But McGhee managed to continue working, both with longtime musicaL companion Sonny Terry, and as a solo act." ~Ron Wynn, ALL-MUSIC GUIDE I've asked Tony Burke , editor of BLUES & RHYTHM : THE GOSPEL TRUTH, if he would share with us the recent Brownie McGhee tribute published in the lastest issue of BLUES & RHYTHM #105 (December 1995). For subscription information to B&R, email or visit Gary Joneson's KING BISCUIT TIME Web site, under the Blues Publication section for more details. As for details concerning Brownie's The B.I.T. Foundation (Blues Is Truth), a non-profit organization "devoted to the blues and will support music students with scholarships, musicians and researchers of the blues with a variety programs", Leslie Ann Knight , his biographer, will be glad to email you details. While you're at it, ask Leslie about the new Australia CD featuring Brownie McGhee & The Elmer Lee Thomas Blues Revue. pt. 2 : HAPPY BIRTHDAY, BROWNIE MCGHEE pt. 2 : BLUES & RHYTHM feature pt. 3 : HAPPY BIRTHDAY, BROWNIE MCGHEE pt. 3 : BLUES & RHYTHM feature con't pt. 4 : HAPPY BIRTHDAY, BROWNIE MCGHEE pt. 4 : CD DISCOGRAPHY ========================================================================= Date: Thu, 30 Nov 1995 18:12:09 GMT Reply-To: Paul L Pearson From: Paul L Pearson Organization: Iowa State University, Ames, Iowa Subject: Chrids Duarte in Ames, IA correction Comments: To: bit-listserv-blues-l@uunet.uu.net Chris Duarte Group will be in Ames on the 8th of December, not the 9th as I had originally posted. Thanks to whoever corrected me. Just so happens, this is the night o f my Ph.D. defense, so it should be a fun one. -- Paul L. "Pro" Pearson President, Kurt Rambis Fan Club (unofficial) Ames, IA Chapter ========================================================================= Date: Thu, 30 Nov 1995 10:02:53 -0800 Reply-To: mikel@oz.net From: Mike Lempriere Subject: "Blues Palace"? Hey folks, anyone know who does a song titled "Blues Palace"? And does Shawn Colvin (sp?) do backup vocals on it? Please respond to me (mikel@oz.net), not the list. ========================================================================= Date: Thu, 30 Nov 1995 12:59:14 EST Reply-To: levyt@RL.AF.MIL From: Toby Levy Subject: Smokin Joe Bonamassa The latest issue of the Syracuse New Times has an article about the group Bloodline FIRING Smokin Joe Bonamassa. The 18 year old is not happy. "It was kind of tricky, how it went down," Bonamssa said, " They told me everybody wanted to go their separate ways, so they just let me be under the impression that the whole group was breaking up." The keyboardist Lou Secreti said he wanted to get into "more of a Ninties sound, a bit more grungy." Good riddance to Bloodline. Come back to the blues all the way Smokin Joe! Toby ========================================================================= Date: Thu, 30 Nov 1995 18:16:52 -0100 Reply-To: Egger Urs MSM IS CH From: Egger Urs MSM IS CH Subject: UNSUBSCRIBE Sorry to write this to the list, but I cannot stop or cancel the subscription with the normal LISTSERV commands because it tells me I am not subscribed to the Blues-L under this address. I enjoyed reading the blues-l and will be back in the future. Urs ========================================================================= Date: Thu, 30 Nov 1995 10:50:33 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Don't Start Me Talking - Lyrics Anyone have the lyrics to Don't Start Me Talking....? Is Sonny Boy saying: Jack gave his wife three dollars to go get some MARGARINE ?????? Sorry I'm posting so much, but ti doesn't matter, it doesn't appear to be going anywhere LW ========================================================================= Date: Thu, 30 Nov 1995 09:57:16 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Johnny Winter Nothing But The Blues My cd doesn;t have the liner notes and I'm wondering if the second guitar on Bladie Mae is "former Muddy sideman" Bob Margolin. Also I can hear Muddy's influence in Johnny's slide playing, but what other influences does Johnny have....both slide and regular playing. Great CD....Was this recording made while Johnny was still a "rock star" was this his first Blue Sky recording.....??? How many other artists can you think of that were MAJOR rock stars and left it all behind to do BLUES. AS I recall Johnny was one of/or THE highest paid artists that Columbia has ever signed when he was first signed to the label. I think that's pretty interesting becuase he has stayed with non-mainstream labels, except for the Winter Of 88 (my leats favorite JW, by far) I think his Nothing But The Blues and EC's From The Cradle bring forth a good comparison. I'm not looking for MORE trashing of EC, just thought it could be an interesting comparison.... LW btw: I have a job interview today and if it's offered, money is right and ..etc I could become a FORMER 'ELLER....I don't know the money value I'd put on remaining an 'ELLER, but it will certianly be considered as a helluva current benefit that I WILL NOT have at the other job..... ========================================================================= Date: Thu, 30 Nov 1995 09:47:04 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Bob Marley Suggestions Lot's of replies to my request for Marley suggestions - thanks to all of you. For any other interested 'zellers, the consensus seems to be the "Legend - Best Of" album for beginners like me - altho "Exodus" also got a few votes. Lot's of reggae fans here, apparently.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Thu, 30 Nov 1995 08:53:00 -0600 Reply-To: "timothy (t.b.) bosley" From: "timothy (t.b.) bosley" Subject: Re: Bob Marley Suggestions In message "Bob Marley Suggestions", David Silberberg writes: >Looking to cut my teeth on my first Marley. > >Which is the "best" CD for the new fan? > I would recommend that you start with LEGEND which is a greatest hits collection. If you find you like it, then go out and get the 4CD set SONGS OF FREEDOM. You won't be disappointed. ========================================================================= Date: Thu, 30 Nov 1995 10:35:02 -0500 Reply-To: Michael Case From: Michael Case Organization: Downs Rachlin & Martin Subject: Freddie King's cause of death My handy Rolling Stone Encyclopedia of Rock 'n Roll (1983 Ed.), p. 259, states: "...three days after a Christmas show in Dallas, he died of heart failure, a bloodclot and internal bleeding from ulcers." I submit that the ulcers were brought on by the relationship of man and woman, i.e., The Blues. M. Case ========================================================================= Date: Thu, 30 Nov 1995 08:50:52 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Sing Out current issue The current issue of Sing Out (or is it Sing IN) has two good articles one on Brownie Maghee that IMHO is GREAT. The Alan Lomax article is not extensive enough to cover the Lomaxes. The Brownie was just great, I learned alot about him....I recommend it LW ========================================================================= Date: Thu, 30 Nov 1995 10:52:37 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: lap-style slide (was: best acoustic slide players today) Of Kelly joe Phelps, Joel S. wrote: > He fingerpicks the guitar a la Leo Kottke, flat in his lap a la Son House. I don't think Son The Mighty ever played lap style slide. Maybe Dick can confirm this. I've recently starting playing a lot of lap-style slide - for one, it's much easier on my arms. I've read that black guitarists picked up the technique in the 'teens from Hawaiian players on display at some Worlds Fair. Booker White played some stuff lap-style - I think all his post-1940 songs in open-G tuning were done this way (a la "Poor Boy"). I'm pretty sure his 1937-1940 open-G recordings ("Fixin' to Die" for one) was played with the guitar held in the normal position. Calt insists that Charley Patton played all his religious material with the guitar on his lap, but the only evidence he offers is that the "high notes" Patton reaches would necessitate this technique. >From what I can hear on the recordings, it could be done either way. Leadbelly definitely played slide on his lap, as did Casey Bill Weldon. I've seen a picture of Eugene Powell playing lap slide, too. I can't offhand think of an example of lap-style playing in open-D tuning - does anyone out there know of anyone who does this? -Rob ========================================================================= Date: Thu, 30 Nov 1995 09:10:35 -0500 Reply-To: DBOW From: DBOW Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Mel Bay adress needed Comments: To: bit-listserv-blues-l@uunet.uu.net Thomas, Mel Bay Publications is at: 4 Industrial Park Pacific Mo. 63069-0066 Good Luck, Dan ========================================================================= Date: Thu, 30 Nov 1995 07:42:35 EST Reply-To: levyt@RL.AF.MIL From: Toby Levy Subject: Anson and Sam's Sins I have been slowly listening to the eight items I ordered from the Blacktop super sale as discussed on the Blues List a couple of months ago. I took the wrapper off the last one yesterday and unknowingly I had saved the best for last. It was Sins by Anson Fundferburgh and the Rockets featuring Sam Myers. This album is a simple joy from beginning to end. I opened up my Big Book of Blues to look up Sam Myers and found that Sins had won the handy award for best blues recording of 1988 and the Rockets with Sam Myer won best blues band that year. I hate "best of" awards, but it certainly was nice to stumble across this gem seven years after the fact. Oh, and by the way Sam Myers played with Elmore James in the 50s. He's a great singer and a fine harp player. Toby ========================================================================= Date: Thu, 30 Nov 1995 07:03:41 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric Le Blanc's Blues Dates - November 30th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BARNES, J. J. (v/RIC-TIC/GROOVESVILLE) b. 1943-1130, DETROIT, MI BOWEN, JIMMY (prod/BUDDY KNOX) b. 1937-1130, SANTA RITA, NM CLARK, DICK [RICHARD WAGSTAFF CLARK] (dj) b. 1929-1130, MOUNT VERNON, NY DUKE, DOUG (OVIDIO FERNANDEZ) (p) d. 1973-1130, ROCHESTER, NY 53 DYANI, JOHNNY MBIZO (b) b. 1945-1130, E. LONDON,S. AFRICA GILBERT, LAFAYETTE "SHORTY"(b/EDDIE SHAW) b. 1951-1130, LENA, MS HOFFMAN, ABBIE (:) b. 1936-1130, WORCESTER, MA INGRAM, LUTHER THOMAS (v) b. 1944-1130, JACKSON, TN JOHNSON, EARL (of THE JIVE BOMBERS) b. 1932-1130, NEW YORK CITY, NY KUBEK JOE SMOKIN' (g/BULLSEYE BLUES) b. 1956-1130, GROVE CITY, PA LYONS, LEO (b/TEN YEARS AFTER) b. 1944-1130, BEDFORDSHIRE, UK MAXWELL ST. JIMMY DAVIS (g) b. 1925-1130, VANCE, MS MCGHEE, BROWNIE [WALTER BROWN MCGHEE] b. 1915-1130, KNOXVILLE, TN MOORE, BOB (b/prod/MONUMENT REC) b. 1932-1130, NASHVILLE, TN MORGAN, MIKE (g/THE CRAWL/BLACK TOP REC) b. 1959-1130, DALLAS, TX NIGHTHAWK, ROBERT[ROBERT LEE MCCOLLUM](g) b. 1909-1130, HELENA, AR OTIS, SHUGGIE [JOHN VELIOTES JR.] (g) b. 1953-1130, LOS ANGELES, CA PARKS, GORDON SR. (SHAFT) b. 1912-1130, FORT SCOTT, KS POINTER, JUNE (of THE POINTER SISTERS) b. 1954-1130, OAKLAND, CA REDMAN, DON (asax/arr) d. 1964-1130, NEW YORK CITY, NY 64 ROUSE, CHARLIE (tsax) d. 1988-1130, SEATTLE, WA 63 WALKER, GEORGE "CHICKEN" (g/d) d. 1986-1130, MEMPHIS, TN 49 ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 30 Nov 1995 07:04:43 -0500 Reply-To: HugeSmall@AOL.COM From: Boyd Small Subject: J. Shines Meets R. Johnson I just thought I'd share this part of an interview done by a Blues Player/DJ named Mike Russo @ 1973 with Johnny Shines in Mike's Portland, Or. home. I don't think anyone else has ever heard it before. I aquired a collection of tapes by Mike when I bought a reel-to-reel afew years ago. Check it out: Mike Russo- I wanted to ask you some questions about Robert Johnson for a few minutes. Everybody..everybody.. I know you played with him for a few years and there's not much information about him. Uh, everybody's always asking uh, I guess he died when he was pretty young, 20 years old or 21.. Johnny Shines- He was older than that cause I was better than that and he was about 3 years older than me. M.R.- How'd you meet him? J.S.- I met him in Helena Arkansas by a Boy named Emmit Owen. I was playin in Hughs see...[interview is briefly interrupted] Uh... I was playin with Emmet Owens. I think let me see we's playin in Whychyle [Whitehall, Arkansas?] I think... Yeh we's playin in [Whitehall]. And at that time we was playin and goin round y'couldn't hear yourself so everybody thought I was good but hell me I was just learnin, see, they didn't know that. I could sing like hell you know but a... my playin y'know wasn't sufficient y'know so... Emmet Owen wanted me to meet Robert ...y'know... cut Robert's hair. Robert you see was supposed to be one of the best y'know. He was makin' a few records and things then y'know... That was a famous ol' dude y'know ...so , we quit workin our place and went way over down there to Arkansas man just to meet Robert. Well I wanted to meet Robert. I figured I could learn somthin' from the guy. See him and Owen don't know this. See I'm playin everything him and Owen are playin. I'm playin everything that uh Piano Slim play. [interview is interrupted once again] But uh, gettin back to Robert. We went down there. Robert happened to be at home. Well at that time he was living with Robert Junior's mother you know.And uh Robert Junior was followin' his Step-dad. So uh, we went in. He spoke and everything y'know. Started off a good friendship right then y' know but uh... Robert was a fella that didn't like to be with No-Body. He didn't like no one. I mean so far as him runnin with someone he was by his self all the time.Alone . That was him alone. I mean he'd play with you for a while but thats all. You know... The time to go would come he'd go his way and you'd go your way. But um..After that I struck up a friendship with Robert, I kept foolin round with him till, got to the place where he wanted to be in my presence. And everybody, that struck everybody as odd, cause he never wanted to be with nobody. M.R.- He probably thought of you as a friend. J.S.- Maybe. But um... I would go where he was workin at y'know different places. Usually I'd end up gettin' a job right down the street from him or right across the street from him or next door to him or somethin you know. And then somtimes a guy would have both of us. You'd play a while, he'd play a while you know.It was alright with Robert you know. And uh, 'last one evenin' when I went home one night or I don't know just before day I guess. I was playin that night you know. I come in that mornin' before day and uh...the girl in the place where I ate at she says uh...I ate a big sand[wich].. she says uh.. There's a guy in your room right there. I says My room? 'Says well ya! I says well what sorta lookin guy is it? She says uh its a skinny guy uh, all drawed up and everything. And I says aw hell that's Robert no doubt about it. I says but it can't be cause Robert don't live here and uh... this cat been duckin me and everything you know. I went and sho' enough its Robert right there on my bed asleep. So I spoke to him and we sit there and talked. Said he was hangin' around for a while. So the next day he was layin' round there on the street, we went in to the place where I ate. I bought him dinner. We ate and we started to playin' and it turned out he had a job there that night. We both was workin that night. He was workin one place and I was workin another. And he stayed round there about a month. At last one night we was sposed to went to work. He left out and I thought he was goin to work. But he didn't. He went somewhere else. I saw him again he was in Memphis. M.R.- Loner all right. When was that? . About what year was that? J.S.- Oh that was 'long about '36, '37. M.R.- What did he look like? There aren't many pictures of him around. J.S.- No but he kinda featured like Buddy Guy. You've seen Buddy Guy. He featured Buddy Guy. Long face, short nose. M.R.- I know you do some of his songs. Terraplane and uh... J.S.- Ya, boy I tell ya. ========================================================================= Date: Thu, 30 Nov 1995 03:39:25 -0500 Reply-To: MaryA NBP From: MaryA NBP Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Sitting&Thinking-Yank Rachell. Comments: To: bit-listserv-blues-l@uunet.uu.net I had to design a t-shirt to be given away to participants in this year's 4th Annual New England Blues Conference. The Conference was a free-form study group encompassing musicians, blues society folk, record label execs, club owners, etc. etc. held back in June. I used what I thought was a pretty appropriate quote on my design- Yank Rachell's line from Little Sarah: "If a man don't never study, aww, you wouldn't have no blues" Our main topic that day evolved into education and blues-in-the-schools programs! Mary Melodee ========================================================================= Date: Thu, 30 Nov 1995 03:33:07 -0500 Reply-To: MaryA NBP From: MaryA NBP Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Need a Title Comments: To: bit-listserv-blues-l@uunet.uu.net On Mon, 27 Nov 1995, Terry Knox wrote: > I keep hearing bits a pieces from a recording I would like to have. The > artists are Jimmy Rogers(?) with Ronnie Earl and the Broadcasters. I think > it was recorded live somewhere in Europe (Germany?). Anyone know the name of > this CD? > On Tuesday 11/28 Pat Hertel replied: > Blues Guitar Virtuoso Live in Europe - on the Bullseye label More likely could be "Jimmy Rogers w/Ronnie Earl & The Broadcasters" (Self Titled) Recorded live at the Breminale Festival, Bremen Germany 6/7/91- On Bullseye. Mary Melodee ========================================================================= Date: Wed, 29 Nov 1995 23:54:30 -0500 Reply-To: Garywayner From: Garywayner Organization: America Online, Inc. (1-800-827-6364) Subject: Re: SRV Austin City Limits tribute Comments: To: bit-listserv-blues-l@uunet.uu.net the SRV family is still negotiating the release of the filmed get-together from the KLRU studio effort ( this consisted of Cray, Guy, Clapton and Jimmie Vaughn). The real good show would be the benefit they all performed at the following nite.. good gaud did buddy give those guys a lesson in playing...it was fantastic ========================================================================= Date: Thu, 30 Nov 1995 00:12:12 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: acoustic slide Tonight on our show (Blue Soul -- CKLN 88.1, Toronto) our guests were Suzie Vinnick and Rick Fines, who did some fine live acoustic blues. Which reminded me that I should contribute to this thread and point out that Rick Fines is an excellent acoustic slide player. He's done three CDs as part of his regular acoustic trio, Jackson Delta. You'll probably have trouble finding them outside of Canada, since they are independent releases, but I recommend them highly to anyone who likes acoustic blues, with or without slide. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Thu, 30 Nov 1995 00:27:59 -0400 Reply-To: Mike Gilbert From: Mike Gilbert Subject: Re: Biker Blues fan, + and - 's. The GREAT GONZO, Hunter S. Thompson, did a gig with the Angels and it was good...till he almost got stomped on! >I play in the Basement Blues Band and our favorite gig is The Two Wheel >Inn...these are serious Angels and Henchmen and they love us....They reat us very well and it's always a great time for all. > >Ive found that bikers are o.k on the whole and that the wannabee bikers are >the trouble-causing assholes. I used to work with a biker & his friends were >all great, well-meaning guys. > Mike G. gilbertm@fox.nstn.ca ========================================================================= Date: Wed, 29 Nov 1995 22:17:13 -0500 Reply-To: RNeum1717 From: RNeum1717 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Living Blues Review: Tab Benoit Comments: To: bit-listserv-blues-l@uunet.uu.net a good friend of mine writes for them on a regular basis. from what i've heard most of the people connected to the magazine are real decent and love the blues. there are however, those who consider themselves "purists." they have their heads up their asses are more concerned with spouting off about how much they know. they think that they have to "inform" the ignorant public. i'd be wary of reviews. just enjoy the articles. ========================================================================= Date: Wed, 29 Nov 1995 22:11:30 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Help find a blues prodigy Comments: To: bit-listserv-blues-l@uunet.uu.net I'm almost sure it's Joey Bonamasso. He's no longer with the group Bloodline (they do have a cd) after touring with them this year (he had to take a day off the tour to pick up his high school diploma) so maybe he'll do some recording on his own.Not sure where you are but he lives in Upstate NY so maybe he'll be out and about soon... ========================================================================= Date: Thu, 30 Nov 1995 03:07:22 GMT Reply-To: Ron Levine From: Ron Levine Organization: Cyber Access Subject: Muddy Waters: Gold Collection question Comments: To: bit-listserv-blues-l@uunet.uu.net The compilation CD "Gold Collection" from Muddy Waters has a song called "I Got to Find My Baby." It's the grittiest, rawest thing I've heard from him. I don't have much Muddy, and I was wondering if anyone could tell me if this recording was taken from a released LP, and if so, which one it is. I'd love to hear more really raw stuff like this. If there's any other really raw sounding old blues that you'd recommend, I'd like to hear about that also. Please email if possible, I don't check this group very often. Thanks! Ron ========================================================================= Date: Wed, 29 Nov 1995 22:00:48 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: F. King and Christmas I was at Osco and picked up this cheapie cassette called Rhythm and Blues and Christmas. There are two songs by Freddy King, "Christmas Tears" and "I Hear Jingle Bells." Of course, there's no information about the songs, so I was wondering: Where did they come from? When were they recorded? Any other info? Btw, the tape also has Charles Brown and Lowell Fulson, among others, including Hank Ballard, whom I had never heard before, but liked on this tape.... Karen ========================================================================= Date: Wed, 29 Nov 1995 21:54:10 -0500 Reply-To: rew4@PSU.EDU From: Ross Whitwam Subject: Re: Bob Marley Suggestions Comments: To: blues-l%brownvm.BITNET@psuvm.psu.edu A lot of people would suggest _Legend_, because it's a "greatest hits" package. Every song on it is a gem, that's for sure, but I tend to shy away from such things as a rule. Songs tend to sound better to my ears in their original context, i.e., on the album on which they first appeared. That said, I'll contradict myself and recommend _Songs of Freedom_, the 3-CD box set that came out a couple of years ago. It's a broad overview, starting from his earliest pre-Rasta recordings (Marley hits the bullseye on his very first song, "One More Cup of Coffee") and moving chronologically through his entire career. And because the songs are arranged chronologically, they tend to flow together better than the typical greatest hits mish mosh. Once you've listened through it several times, you can get an idea of which phase of his career you want to pursue next. As an overview, as an introduction, as a completion to an already extensive collection, it's just the best. It's more expensive than _Legend_, obviously, but Marley was one of those artists who gives you value for every penny you spend. Ross Whitwam rew4@psu.edu Dept. Biochem + Molec Biology Penn State University >Looking to cut my teeth on my first Marley. > >Which is the "best" CD for the new fan? > > >David Silberberg Woman I love has two teeth >davidis@interaccess.com Solid Gold > Got a lien on my body > Mortgage on my soul > > Johnny Shines ========================================================================= Date: Wed, 29 Nov 1995 21:50:58 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Blues film and video - degradation Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199511250648.AAA15461@vulcan.inlink.com>, Joel Slotnikoff writes: >In response to the recent posts about degradation: Gene Rosenthal of >Adelphi/GENES did extensive filming of blues artists in about 1969 (Big >Joe, Johnny Shines, Walter Horton, many others) and I got to see some of >the footage again about two years ago and there was no degradation problem. >I know the problem can be real, but I believe it takes longer than the >twenty five years elapsed since the sixties (depending on storage >conditions.) I don't believe this is the main reason for the lack of >footage available. > >Hand held video was not an everyday thing back then, but some footage was >shot and I believe most of it still exists if the owners had the desire and >the right outlet to let it out. A few choice samples of Rosenthal's footage >were leased to Mississippi Educational Television for a documentary they >did, the name of which escapes me at the moment, hosted by a younger BB >King and I believe now available commercially. > >Joel Slotnikoff > > The documentary which Joel refers to is "Good Morning Blues", which was released in 1978 (I think.) About one third of the live footage used in the documentary, as well as footage used in recent releases from Vestapol, came from Rosenthal's films made in 1969. During two long trips that year, Gene and a camera crew recorded many of the surviving blues artists in a variety of settings, including private homes (e.g., Little Bro Montgomery's in Chicago), hotel rooms and rented houses in Chicago, St. Louis, East St. Louis, Memphis and the Delta. Also captured were portions of the 1969 Chicago Blues Festival and all of the 1969 Memphis Country Blues Festival. Most of the film is still quite good, but it will take hundreds of thousands of dollars to sync it to the audio tapes and transfer it to a usable format, which is why you haven't seen most of it. The 1969 Memphis Country Blues Festival was also taped by PBS/NET, but, they were using early video cameras which were useful only during daylight hours, and since then, the tape has been destroyed by time. A later video tape of the First Beale Street Music Festival of 1977, done using the best available equipment (and which I have referenced on the list in months past), is still in excellent shape, but it languishes in storage because the partners who recorded the festival cannot manage to cooperate with one another for its release and distribution. This is, in my opinion, the reason much of the good footage of early blues artists lies unattended. I'm going to risk a bit here by offering a personal opinion based on observation: Many of the people who were involved with the rediscovery of the old blues artists harbor ancient grievances among themselves which have prevented the release of a number of valuable works of art. Until these guys stop terrorizing each other and putting lawyers' kids through college, we, the fans, will miss out on a lot. The terrific new technologies, which can restore old film and tape, are pitted in a race against time and against the "I'll do nothing if it might benefit you" attitudes of the owners of these treasures. Contrary to many of the principals' opinions, nobody is sitting on "the Mother Lode" with this footage, but everybody stands to lose if substantial portions of our cultural heritage are allowed to wither away. End of sermon. I tend to get a little worked up over this one. Denise ========================================================================= Date: Thu, 30 Nov 1995 02:34:20 GMT Reply-To: Rennie Selkirk From: Rennie Selkirk Organization: NASA-Ames Research Center Subject: Re: Skip james Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199511271715.LAA24396@picasso.ccad.uiowa.edu> Ranko Vujosevic writes: >> >> Talked to Skip in Austin this month. He says he's about to put out a new > album ... > > I think it was not Skip James - he lives in Mississippi - I think you > talked to Lightin' Hopkins. > Hey, you know I had dinner last week with Charley Patten. After the meal he saddled up his brown mare and rode on down that dirt road. Said he wanted to catch Tommy Johnson playing down at Friar's Point, or somewhere like that.... H.J.Boogie ========================================================================= Date: Wed, 29 Nov 1995 19:48:54 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Can anyone tell me about Tad Robinson? Comments: To: "J.F. Bronowich" In-Reply-To: <199511290216.VAA02990@metric.inch.com> On Mon, 27 Nov 1995, J.F. Bronowich wrote: > -- [ From: J.F. Bronowich * EMC.Ver #2.5.02 ] -- > I have some Dave Specter recordings on compilaiton albums that feature a > vocalist named Tad Robinson. He sounds incredible! Anyone have info on him > ? Does he record elsewhere? > Thanks! > =Joe= He's on Delmark. Has several releases fronted and I believe several as a co-artist. NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Wed, 29 Nov 1995 16:32:18 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Freddie King Question!! Comments: To: BLUES-L@BROWNVM.BROWN.EDU. >>>>Could anyone tell me when and how Freddie King died? >>> >>>He died in Dallas on December 28, 1976. I don't remember >>>the actual cause of death, but it was of natural causes. >> >Well, I always heard it was heart failure. But one can also put together >the resent threads of "Bluesmens health status" and "drugs in blues". A >fellow musician explained Freddie Kings early death: "He drank whiskey like >a fool". That and cigarettes almost seems like natural causes among our >heroes. >Mr Bo Ever since this came up, I have been trying to remember the facts surrounding Freddie's death, and I can't. What I do remember is that it was a condition that was not reconized or treated in a timely manner, and if a doctor had been on the ball he would not have died. I remember being really ticked off at the pointless nature of his death, and don't think it was a case of excess or booze or drugs at all. Hope I can remember the source for these facts... Anyone know the facts here? Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Thu, 30 Nov 1995 00:29:50 GMT Reply-To: "A.C. Brockton" From: "A.C. Brockton" Organization: Primenet Subject: Re: Joe Louis Walker Comments: To: bit-listserv-blues-l@uunet.uu.net Check out JLW, the album preceding Blues of the Month Club. Not quite as eclectic, but still highlights his versatile guitar skills. More slide, as well. Personally, I don't know that you can go wrong with any Walker CD. ================================================================= Andrew Brockton http://www.primenet.com/~brock "I got to take the bitter with the sweet." ---- James Oden, as sung by Muddy Waters ================================================================= ========================================================================= Date: Thu, 30 Nov 1995 00:20:15 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Need a Title Comments: To: bit-listserv-blues-l@uunet.uu.net >>On Mon, 27 Nov 1995, Terry Knox wrote: >> >>> I keep hearing bits a pieces from a recording I would like to have. The >>> artists are Jimmy Rogers(?) with Ronnie Earl and the Broadcasters. I think >>> it was recorded live somewhere in Europe (Germany?). Anyone know the name of >>> this CD? Your looking for "Jimmy Rogers with Ronnie Earl and the Broadcasters", Bullseyes Blues CD BB9544. Recorded live at the Breminale Festival, Bremen, Germany June 7, 1991. It opens with 3 Ronnie Earl tracks followed by 9 tracks by Jimmy Rogers Backed by Ronnie Earl & the Broadcasters. Art Schuna ========================================================================= Date: Wed, 29 Nov 1995 16:56:10 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Steel slides(?) Aw> Subject: Re: steel slides(?) > Hello all. I'm looking for a steel slide that fits on the finger so you > don't have to play slide on your lap. Maybe the first thing to learn is to call them 'bottlenecks' in respect for the guys that invented the style. 'Slide guitar' might be more accurate when used to describe Hawaiian guitar, cowboy steel guitar, and other styles where all 6 strings are slid upon. Bottleneck guitar, named because those guys used to cut off the neck of a bottle, fire-polish it and use it on, usually, the little finger of the fretting hand, is _much_ more sophisticated that real 'slide' techniques because four fingers are left free for chording. Fretting chords, however, is impossible with _real_ slide guitar. There are several options for making a metal bottleneck, depending on your finger size. Copper tubing of various stock diameters can be easily cut and dressed by anyone. Plumbing supply houses (or Home Depot) will carry several sizes of pipe couplings in various diameters: these are short pieces of pipe that are threaded on the inside. Now, these threads are pretty uncomfortable on the finger, so one can go to a machine shop and have them machine out the inside. They can also polish the outside to a smooth finish. If you really want to get fancy, get stainless steel or brass couplings. Different materials will have a different sound. Specialty supply houses that support machine shops and laboratories sell various sizes of tubing made of various materials, such as copper, brass, and glass. Unfortunately, tubing tends to have very thin walls, so doesn't produce a good sound. Small Parts, 1(800)220-4242 will send a catalog. Long, or 'deep', socket wrench sockets are an inexpensive way out, are available in both metric and inch sizes so it should be very easy to find one that fits, they have relatively thick walls so produce a decent sound, they are very smooth as purchased, and the square shank end can be easily cut off by a machine shop to get rid of the top-heavy feel. Or one could spend countless hours scribing _real_ bottlenecks with a file or sharpening stone, heat and tap them, or heat and quench them in water, hoping that one will eventually break off cleanly, and then file and fire-polish the cut end. Fortunately, most current long neck bottles are not particularly straight, so will present some opportunities for single string work that is somewhat difficult with long straight bottlenecks. Short, straight ones can also be used for single string work. ... "Have you seen the world lately, I mean _really_ seen it??" Duckman --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Thu, 30 Nov 1995 11:04:08 +1100 Reply-To: Daniel Bruce From: Daniel Bruce Subject: Re: Blues Revue Xmas Issue !! Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU In-Reply-To: from "L W" at Nov 29, 95 12:23:48 pm > > I just saw the Christmas Issue of Blues Revue and it looks like a great issue. > I didn't have much time, but it has what appears to be an extensive article on > Muddy and articles on Otis Spann & Little Walter. I saw a picture of Johnnie > Billington and the "kids" with an article about Blues Education (I think). > There is also a nice (longer than usual) blues guitar lesson by blues guitar > guru Rich Delgrosso...Look for the classic Muddy "Santa" picture on the cover > > I gotta to go back and buy it, it looks like a really good issue. > THANKS BOB > > LW 'giving credit where it's due' > let me add my voice to that. I got it recently and read it from cover to cover. Great articles, great reviews all round excellent read. The muddy stories are fantastic, a real insight. -- Daniel Bruce | Genasys II Pty Ltd, Sydney, Australia | "Born under a bad sign, been down since I began to crawl | If it wasn't for Bad Luck, Wouldn't have no luck at all" | Albert King | Internet: danielb@g2syd.genasys.com.au ========================================================================= Date: Wed, 29 Nov 1995 23:48:45 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Re: Mel Bay adress needed Comments: To: bit-listserv-blues-l@uunet.uu.net I would email Dan Bowden, author of instruction books on Mance Lipscomb & Lightnin' Hopkins. His email is : DBOW@AOL.COM eRIC ========================================================================= Date: Tue, 28 Nov 1995 13:59:11 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: More Who Owns The Blues? Tom Freeland wrote this: ------- It has this to say about Alan Lomax: "Mr. Davis criticizes folklorists like Alan Lomax, who visited prisons to find traditional songs, while ignoring individual innovators nearby like Charley Patton. 'They went into it with the wrong mindset -- a noble one but wrong.' There are critical things to be said of Mr. Lomax, but this seems wildly off-beam. In the first place, when Lomax went down there, Patton was dead. ------- I'm writing this: Even more incredible is that the article's author is PHIL Patton, who also wrote "Blues For Cousin Charlie" for Esquire Magazine in October 1990 -- in which he makes the case that he might be RELATED to Charley Patton. All in all, though, I think "Who Owns The Blues?" is an important and necessary piece of work. I only wish he would've pointed out that for every Isaac Tigrett there's a Dick Waterman. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Tue, 28 Nov 1995 14:02:02 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Blues Promotion (& somebody stole my name!) Comments: To: C2MXBOY@FRE.TOWSON.EDU On 28 Nov 95, Kevin Boyle had this to say... > This follows in my belief that nobody ever intentionally fell in love > with blues, Blues slowly sneaks up on you and grabs your soul and > shakes you. Once it does, there ain't no lettin' go. Sounds like a PERSONAL experience, 'cause it's nothing like mine. The Blues were natural to me. I can't remember ever hearing them for the first time. They were just part of me. How about everybody else? Did you AQUIRE a taste for the Blues? P.W. Fenton Tampa, Florida Please visit my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 28 Nov 1995 14:33:18 CST Reply-To: JBards From: JBards Subject: Re: Promoting my first Blues Show Comments: To: Don Cicchetti Yeah, but Earl who? -Jim Who Wonders _______________________________________________________________________________ Subject: Promoting my first Blues Show From: Don Cicchetti at INTERNET-SH Date: 11/28/95 12:55 PM Here at La Sierra, I do a lot of live sound and recording. This year, no one on the event committee had any idea of who to bring to campus. So I piped up with a couple of suggestions. Well, we couldn't get Los Lobos, (can't afford 'em) and Ladysmith Black Mambazo is not touring right now.. and yadda yadda. I thought: "there must be a less famous group that is still really good that we can get". Then I remembered Earl. Earl is a wonderful singer and guitar player who I met at the NAMM show a couple years ago. He has one of the best blues/soul voices I have ever heard. Somewhere between Otis Redding, Freddie King, and Sam Cooke.... I have seen him and his band several times in a club out in Santa Monica, and the place is always mobbed. So I gave him a ring, and we worked out a price, and here we are. We will open the show with 50 minutes of "The Gary Shiebler Band"; an adult contemporary act that has a new CD out. So there should be something for everyone. I have learned so much about what it takes to promote these things, how many loose ends have to be tied down, how many details have to be attended to, maps drawn, stage plots received, publications contacted, flyers distributed etc etc etc. It's fun, but a lot of work. I gained a new respect for the promotion side of the biz. Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Tue, 28 Nov 1995 14:30:05 -0500 Reply-To: cnotes@CNOTES.COM From: Mike Corso Organization: C NOTES INTERACTIVE Subject: World AIDS Day/Best of Excello Giveaway! CNI Telecom is giving away free CDs in recognition and support of World AIDS Day, December 1st. Every new customer who switches to CNI Telecom's flat rate long distance service (13.9 cents per minute--up to 60% less than the rates charged by the Big 3 long distance companies) before December 1 will receive their choice of Simply Red's latest _Life_, Emmylou Harris' stunning _Wrecking Ball_, Tracy Chapman's delightful _New Beginning_, _The Best of Excello Records_ (classic blues music), or an exceptional 8-song sampler from Atlantic Jazz featuring the latest releases by saxophonist Gerald Albright and keyboardist Bob Mamet. CNI Telecom is an independent communications firm (serving commercial and residential telephone users) that has made special arrangements with several outstanding discount long distance companies on behalf of the internet community. CNI Telecom's mission is to provide its customers with low-cost, high-quality long distance service while, at the same time, support various nonprofit organizations working in the areas of Peace, Human Rights, the Environment, Campaign Finance Reform, AIDS Research and other health-related and social services. Towards that end, each year CNI donates 2% of its gross revenues (that is, the company will make the donation whether or not it earns a profit) to several nonprofit organizations. TO SWITCH YOUR LONG DISTANCE SERVICE TO CNI TELECOM/PNG AND RECEIVE YOUR CD: 1. Complete the simple form on our web page (http://www.cnotes.com/telecom/cnitelpage.html) OR..... 2. Send a blank message to longdistance@cnotes.com (you will then receive a sign-up form in your email box). Peace, Mike Corso CNI <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> Join CNI Telecom, a discount long distance company in support of Peace, Human Rights, the Environment, Campaign Finance Reform, and the fight against AIDS. Info--email: longdistance@cnotes.com http://www.cnotes.com/telecom/cnitelpage.html ========================================================================= Date: Tue, 28 Nov 1995 14:33:08 -0500 Reply-To: JIMBLUE1@AOL.COM From: Jim Armstrong Subject: Re: DMX anyone? Comments: To: JBirk@vinca.com In a message dated 95-11-28 09:29:17 EST, JBirk@VINCA.COM (Jeff Birk) writes: > I can't say >how exiting it was to be over the "crap, this is a great song, I wish I >knew who it was" syndrome. I'm planning on calling my satellite dish >provider to see if I can get hooked up. > >Any comments, suggestions, or critiques of zellers who already have >this service? I find it pretty exciting. I have it, and you're right on the money about it. I just had a birthday, and I was able to tell people which CDs to get me. Knowing the song title, artist and CD name is a great help. I wouldn't have got Larry Garner, Finus Tasby and some others. I've got it on all the time, and it's driving my son nuts {he says I listen so much because I'm trying to get him to go away to college :-) }. Jim Armstrong PS-You do need a reciever to use it. ========================================================================= Date: Tue, 28 Nov 1995 14:33:11 -0500 Reply-To: JIMBLUE1@AOL.COM From: Jim Armstrong Subject: Re: Otis Rush Comments: To: /G=J.E./S=Downey/@bmmoscow.bmck.sprint.com In a message dated 95-11-28 10:34:55 EST, /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM (J.E. Downey) writes: >Seriously, whatever my fellow bluezellers have to say about Otis Rush >(good, bad, or just informative) I would really love to hear. I don't want to sound repetitious, but one of my favorite memories is of last June 3, at the Chicago Blues Festival, with Luther Allison and Otis Rush back to back. What a night that was! As far as I'm concerned, there isn't anyone any better, equal perhaps, but not better. Jim Armstrong ========================================================================= Date: Tue, 28 Nov 1995 14:55:13 -0500 Reply-To: BluesRevue From: BluesRevue Organization: America Online, Inc. (1-800-827-6364) Subject: Re: please help! new Melvin Taylor album Comments: To: bit-listserv-blues-l@uunet.uu.net If you can't find Melvin's new album you can always write to Evidence Music directly at: 1100 E. Hector Street, Suite 392, Conshohoken, PA 19428 USA. I highly recommend this album . . . it has some of the best and most inovative guitar playing that I"ve heard in a while, if not some of the flashiest. Blues Revue also has a profile on Melvin coming out in our next issue, due out by mid January . . . . Bob Vorel, publisher Blues Revue Subscription and free CD info: BluesRevue@aol.com ========================================================================= Date: Tue, 28 Nov 1995 14:58:32 -0500 Reply-To: BluesRevue From: BluesRevue Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Otis Rush Comments: To: bit-listserv-blues-l@uunet.uu.net This all sounds so very gratuitous, but the Otis Rush fans will want to know that Otis is featured on the cover of the next issue of Blues Revue, with an extensive and extremely in-depth interview . . . in fact, according to his manager, the longest interview that Otis has done in 20 years. Bob Vorel, publisher Blues Revue subscrip and free CD info: BluesRevue@aol.com ========================================================================= Date: Tue, 28 Nov 1995 14:02:36 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Devil as "Dan" Mance Lipscomb sometimes refers to the devil as "Dan"..... Where did the name "Dan" for the devil come from, anyone know Have you ever heard "Dan" used in that manner Thanks LW ========================================================================= Date: Tue, 28 Nov 1995 15:47:36 -0500 Reply-To: "Abe W. Mathews" From: "Abe W. Mathews" Subject: Re: He cut a deal In-Reply-To: from "L W" at Nov 28, 95 11:38:41 am LW writes: > I was sitting around the fire with a fellow musician (assuming I am one) Now here's a troll. LW, if you aren't a musician yet, then neither is P.W. And I don't want to be the one who has to tell P-Dub that he can't play any more, do you? > Have you ever seen the "eyes".....Oh yeah he was on his second bottle of > Jagermiester (sp) :-) Second bottle? Damn, I'm surprized he could see at all, much less see a pair of "eyes". Sheesh! I have seen my cat's yellow eyes flash at me across a dark room, though. Does that mean I'll get better, too? > LW 'Practice is the only way , there are no deals or shortcuts" Unless you buy one of those "Play any song you want" capo/automatic chord thingies. Then again, you could just play slide. :) Abe awmathew@mtu.edu ========================================================================= Date: Tue, 28 Nov 1995 15:55:00 EST Reply-To: george morales From: george morales Organization: TEMPLE UNIVERSITY Subject: tampa fl blues a buddy of mine is going to tampa, fl on fri dec 1.he will be vacationing with his girlfriend until dec 8.any suggestions on places to catch some blues or good bars to check out? thanks, george +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ | | | GEORGE MORALES GEORGEM@TEMPLEVM | | COMPUTER AND INFORMATION SERVICES GEORGEM@VM.TEMPLE.EDU | | TEMPLE UNIVERSITY (215)204-6866 | | | +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Tue, 28 Nov 1995 16:10:24 -0500 Reply-To: Linda Rebecca Rash From: Linda Rebecca Rash Organization: Emory University Subject: HOWLING WOLF Comments: To: bit-listserv-blues-l@uunet.uu.net Does anyone know if there is any video or film of Howling Wolf? Please email me if you can help. Thanks -- Linda Rash Phone: 404-727-6879 Emory University Libraries Internet: liblrr@emuvm1.bitnet Atlanta, Georgia ========================================================================= Date: Tue, 28 Nov 1995 16:23:49 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: a test this is a test. I sent a post on "Buddy Guy 1979-81" today and never seen it appear. Did anyone get it? Dave Prychitko ========================================================================= Date: Tue, 28 Nov 1995 13:45:17 PST Reply-To: Lee Olsen From: Lee Olsen Subject: Appaloosa Has anyone heard of the album/band Appaloosa, I believe Al Cooper was involved? ========================================================================= Date: Tue, 28 Nov 1995 16:54:23 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Buddy Guy 1979-1981 Comments: To: "David L. Prychitko" In-Reply-To: On Tue, 28 Nov 1995, David L. Prychitko wrote: > I'd like to second Barry's praise of Buddy Guy's DJ PLAY MY BLUES (JSP). I, > too, held out his STONE CRAZY! (ALLIGATOR) as his best effort until I heard > this one. Both capture Buddy's essence. And they're both different, too: > STONE CRAZY! is wilder, even hair-raising. DJ is a bit mellower and > reflective, yet equally brilliant. Now, throw in his live set from the same > time period, LIVE AT THE CHECKERBOARD LOUNGE - 1979 (JSP) and you have > the whole package... stand the three CD cases up side by side and you have > a triptych. Agree 100%. I would have included the Checkerboard selection in my top ten but I did not want to skew the picks with JSP's material (although John certainly deserves as much skew as is possible). Now for the $64,000.00 question (BG fans and others). Anybody out there (Dave especially since I am assuming you're like me a BGDH (Buddy Guy Die Hard)) have a take on BG's Breaking Out CD on JSP. It's a ferocious mix of electric effects etc. and I'm just about to put the peddle to the metal and review this one - so input is appreciated. My 1st take is a question not an answer - what drove him to this session. What was crawling upstairs to have this set come out. Not a knock in any way - rather a genuine inquisition into what took BG's soul and had him play this. Certainly all of the chatter about his Jimi H etc. cuts in his shows is foreshown by this CD so he's no way kidding when he says I CAN PLAY LIKE ____________. The Scooter NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Tue, 28 Nov 1995 17:08:02 -0500 Reply-To: JGllo From: JGllo Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Thomas A. Dorsey Comments: To: bit-listserv-blues-l@uunet.uu.net Folks interested in Thomas Dorsey should rent the film "Say Amen, Somebody." Coincidentally, I rented it this past weekend! What a treat. You would be hard pressed not to "Jump for Jesus" no matter your spiritual inclinations. Play this through your stereo speakers LOUD. The film focuses on Dorsey and Willa Mae Ford Smith and is a marvellous experience. ========================================================================= Date: Tue, 28 Nov 1995 17:20:32 -0500 Reply-To: JGllo From: JGllo Organization: America Online, Inc. (1-800-827-6364) Subject: Re: ain't just hippies getting stoned Comments: To: bit-listserv-blues-l@uunet.uu.net Really...anybody ever check out any Cab Calloway video? If he wasn't stoned and/or coked up I'll give you your money back. ========================================================================= Date: Tue, 28 Nov 1995 17:44:10 EST Reply-To: Robert Crocker From: Robert Crocker Subject: Earl Hooker The Earl Hooker album on the Cuca label, (out of Sauk City Wisconsin!) previously referred to here must indeed be a collector's item. Cut in 1963, it was rereleased on the ABC Bluesway label in 1973 under the title "Do You Remember the Great Earl Hooker". Cuts include Two Bugs in a Rug and Foxtrot, as well as covers of Walkin' the Floor Over You, (THERE'S your country influence!) Hold On I'm Coming, Off the Hook and Dust My Broom. Blues for Dancers isn't there, however. RC ========================================================================= Date: Tue, 28 Nov 1995 18:41:00 EST Reply-To: edward c liu From: edward c liu Subject: Re: That NY Times Story today Dick Waterman wrote: >One point made in the article is a view that I share with Arhoolie's Chris >Strachwitz; the assumption that black music influenced white imitators but >that it never flowed back the other way is nonsense. This reminds me -- I caught a track off of Bobby Bland's new album over Thanks-for-giving -- it was a cover of a Rod Stewart song (I think it was "Tonight's the Night"). Another data point against the assumption Doc Waterman mentioned above. The article also mentioned that the PBS series _The History of the Blues_ (for which Mr. Francis Davis' text is the companion volume) is due to air some time next year, and that the NYC House of Blues was currently scheduled to open sometime next year as well, along with the Chicago one. Last thing I found noteworthy was that the article mentioned (and had a photo of) a Real Live Juke Joint down south named the "Purple Rain Cafe"(?), which was named after the movie and soundtrack by the Artist Formerly Known As Prince. Brought back memories about the, ah, heated discussion over TAFKAP on BLUES-L last year. -- Ed Edward C. Liu | "If nobody thinks for they self, edwick@cc.bellcore.com | Who thinks for everybody else? | -- Dr. John, "Lissen" The opinions in this message are mine and not Bellcore's. Really! ========================================================================= Date: Tue, 28 Nov 1995 19:43:16 -0500 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: Questions for The List Comments: To: Leo Aspiras In-Reply-To: <199511271604.LAA11722@fenix2> On Mon, 27 Nov 1995, Leo Aspiras wrote: > Hi all: > > This weekend, i was with a pretty knowledgable individual on blues > subjects/trivia, and during our conversations he revealed the following > information: > > 2) Pinetop Perkins showed Ike Turner how to play the piano. Apparently, he > was Ike's drummer. This seems odd to me because i have always viewed > Pinetop as a piano player (opened up for him and the Legendary Blues Band > back in the early 80's). But maby not so odd when you consider that > Son Seals started out as a drummer and has switched to guitar. This is > probably true of some other blues musicians. > > Anyway, does anybody out there know anything about these factoids.....just > curious???? Ike Turner was a child prodigy. He claims to have taught himself to play piano at the age of 6. The biographical info that I have on Pinetop states that he plays piano and guitar, but not drums. I did find that Ike's drummer (unnamed in this account) was the one who gave Annie Mae Bullock (later known as Tina Turner) her first opportunity to sing with his band. Brenda Bogert Louisville KY ========================================================================= Date: Thu, 30 Nov 1995 17:34:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: He cut a deal/Eyes in the Window To: IN%"ISTS024%UABDPO.BITNET@brownvm.brown.edu",KALMBACH Subject: RE: He cut a deal >I was sitting around the fire with a fellow musician (assuming I am one) >and he told me he has seen the "eyes" twice in his window. The first time he >freaked out and went for a drive. The second time he talked to the "eyes" >(they were bright yellow, btw) and he said what do I do. So now he is waiting >for his "Johnson-like-talent" to kick-in. I told him the story of Robert Johnsn >studying guitar with Ike Zinnerman (sp) during his supposed crossroads time. >I think that really hurt him, he really thought RJ cut a deal. I think my >friend was drunk and talking to some cat on his roof or sumpin. One dark night many years ago, I was feeding my toddler son in his highchair in our breakfast nook. The highchair was facing the window; I was facing the lad, back to the window - the bottom half of which was covered by cafe curtains. Suddenly he pointed to the top half of the window saying: "Big Doggie, Mommy, Big Doggie!!". To peer into that high window and look over the top half of the curtains - who or whatever it was would have had to have been at least eight feet tall. I never turned around.... -Bonnie ========================================================================= Date: Mon, 27 Nov 1995 05:29:01 GMT Reply-To: steve waggoner From: steve waggoner Organization: University of Chicago -- Networking Services Subject: Re: Lefty Dizz Shaun T Cronin wrote: >I don't remeber who wrote the post but awhile ago, someone mentioned that >fans of wild and raunchy Chicago Blues might want to check out Lefty Dizz. >I went down to the Virgin Megastore today in West Hollywood and lo and >behold there was a Lefty Dizz CD there. I decided that my credit card still >could absorb more damage and bought the CD. I got home, put it on and the >opening guitar lick took the top of my head off. It's a great CD. Wild, >raucous and full of fun. The spirit of Hound Dog Taylor runs throughout the >album. I reccomend to anyone who likes their Blues raw. And thanks to >whoever posted the original message concerning Lefty. >Shaun >Shaun Cronin 'The Blues is what exists between a man and a >shaun@wavenet.com woman.' Son House and John Lee Hooker. You may have heard that Lefty Dizz died earlier this year. Chicago lost another one of its Blues treasures. Hold on to that CD my friend. ========================================================================= Date: Thu, 30 Nov 1995 18:51:19 -0500 Reply-To: "Daryl F. Bernard" From: "Daryl F. Bernard" Subject: Re: Where is everybody? Comments: To: Mary Katherine Aldin In-Reply-To: <199511302049.MAA09090@ix7.ix.netcom.com> On Thu, 30 Nov 1995, Mary Katherine Aldin wrote: > I have gotten no email from blues-l since noon yesterday. Are we > there? > > Mary Katherine > Karen - my blues-L mail has also diminished to a mere trickle (from a veritable flood a week or two ago). Awfully quiet out there. Daryl ========================================================================= Date: Thu, 30 Nov 1995 18:53:20 -0500 Reply-To: LazyLester@AOL.COM From: Richard Trawinski Subject: BOB MARLEY ? Fortunately aside from loving the blues, I also enjoy reggae. The best Bob Marley CD to get would be LEGEND. When you get into it more you can start getting the other and very plitical CD's. Music Soothes The Savage Beast Rick ========================================================================= Date: Fri, 1 Dec 1995 00:37:03 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: F. King and Christmas Comments: To: bit-listserv-blues-l@uunet.uu.net In article <951129220045_38799614@emout04.mail.aol.com> Karen Hanson writes: >I was at Osco and picked up this cheapie cassette called Rhythm and Blues and >Christmas. There are two songs by Freddy King, "Christmas Tears" and "I Hear >Jingle Bells." Of course, there's no information about the songs, so I was >wondering: Where did they come from? When were they recorded? Any other >info? These were released on a Federal label 45 and also King LP 5012. Both were recorded in 1961. Sonny Thompson is on piano, Fred Jordan guitar, Bill Willis bass, Phillip Paul drums. They were recroded in Cincinnati. Art Schuna ========================================================================= Date: Thu, 30 Nov 1995 18:38:53 -0600 Reply-To: Stephen Douglas Powers From: Stephen Douglas Powers Subject: R.L.Burnside and JR.Kimbrough I am new to this list. Has anyone out there seen R.L. Burnside and JR.> Kimbrough lately? I live in Mississippi, so I see them often, but I was wondering if anyone else had.. ========================================================================= Date: Thu, 30 Nov 1995 19:39:14 PST Reply-To: mail06702@pop.net From: "(Dave Ruthenberg)" Subject: Re: No mail Comments: To: "DUTTWEILER.J" Jon - Don't feel like the lone ranger on this one. I think the list is having some problems. I have received a grand total of six e-mail messages from Blues-L. Dave ========================================================================= Date: Thu, 30 Nov 1995 21:02:06 -0500 Reply-To: Brian Rice From: Brian Rice Subject: Re: R.L.Burnside and JR.Kimbrough Comments: To: Stephen Douglas Powers In-Reply-To: I was all set to see them at last fall at the Ann Arbor Blues & Jazz Festival, but they didn't show up. Damn! -Brian (Ann Arbor, MI - the home of Otis Spann Memorial Field) On Thu, 30 Nov 1995, Stephen Douglas Powers wrote: > I am new to this list. Has anyone out there seen R.L. Burnside and JR.> > Kimbrough lately? I live in Mississippi, so I see them often, but I was > wondering if anyone else had.. > ========================================================================= Date: Thu, 30 Nov 1995 20:00:06 -0800 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Amps. (not blues related) I have fallen in love with the new FENDER SUPER amp This is the greatest new amp I have played next to a dumble. If anyone has any info on this amp ar suggestions for other amps I would like to hear what you think. I know am selling a 70s Bassman And an 88 THE TWIN amp to buy this super amp. It is basically a copy of a super reverb with some added perks, but the tone. The tone Isaac ========================================================================= Date: Fri, 1 Dec 1995 00:24:30 -0500 Reply-To: Jinxblues From: Jinxblues Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Blues film and video - degradation Comments: To: bit-listserv-blues-l@uunet.uu.net On November 30th, Denise Tapp wrote: >>>I'm going to risk a bit here by offering a personal opinion based on >>>bservation: Many of the people who were involved with the >>>rediscovery of >>>the old blues artists harbor ancient grievances among themselves which >>>have prevented the release of a number of valuable works of art. Until >>>these guys stop terrorizing each other and putting lawyers' kids >>>through >>>college, we, the fans, will miss out on a lot. Since I was involved in the rediscovery of blues musicians and worked with many of them back in the 1960s, there might be an assumption that perhaps Denise was including me within that grouping. Just for the record: I took no footage, own no footage, control no footage and have no dialog with anyone who does. Quite the opposite, many of the videos that you see on sale of the artists with whom I worked are bootlegs purloined from university vaults and sold with no regard to artist/writer/publishing royalties. Dick Waterman dick waterman jinxblues@aol.com ========================================================================= Date: Thu, 30 Nov 1995 14:34:48 -0800 Reply-To: "Linda L." From: "Linda L." Organization: CSU, Sacramento Subject: SRV-In His Own Words Comments: To: bit-listserv-blues-l@uunet.uu.net One of our local radio stations did a two hour Stevie special that included interviews as well as SRV music. The show was called "In His Own Words". At the end they said that the program has been released on CD by Epic records. Is anyone familiar with this? Does the CD include interviews only, or does include the music as well? Is the CD readily available? We haven't seen it, but then we haven't really been looking since we just found out about it. Rob and Linda -- Linda L. sac62628@saclink.csus.edu ========================================================================= Date: Fri, 1 Dec 1995 00:02:02 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Freddie King Question!! Doc Cicchetti wrote: >Ever since this came up, I have been trying to remember the facts >surrounding Freddie's death, and I can't. What I do remember is that it>was a condition that was not reconized or treated in a timely manner, and>if a doctor had been on the ball he would not have died. I remember being>really ticked off at the pointless nature of his death, and don't think it>was a case of excess or booze or drugs at all. Hope I can remember the>source for these facts... Freddie King's obituary in Living Blues Magazine (Issue 33, Page 7) states: ".....heart failure, a blood clot, and internal bleeding from ulcers caused his death." Mary Katherine ========================================================================= Date: Fri, 1 Dec 1995 09:06:07 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Blues Promotion (& somebody stole my name!) Comments: To: "P.W. Fenton" >On 28 Nov 95, Kevin Boyle had this to say... > >> This follows in my belief that nobody ever intentionally fell in love >> with blues, Blues slowly sneaks up on you and grabs your soul and >> shakes you. Once it does, there ain't no lettin' go. How about everybody >else? Did you AQUIRE a taste for the Blues? > >P.W. Fenton Nope I was interested in a girl and she told me she liked blues - so I looked it up and a slide intro from Muddy Waters changed my life! That ELECTRIC guitar sounded like a sirene - I just had to follow the sound and Im still on the track Mr Bo ========================================================================= Date: Fri, 1 Dec 1995 00:04:27 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Muddy Waters: Gold Collection question Comments: To: Ron Levine Ron Levine wrote: > >The compilation CD "Gold Collection" from Muddy Waters has a song called "I Got to Find My Baby." It's the grittiest, rawest thing I've heard from>him. I don't have much Muddy, and I was wondering if anyone could tell me>if this recording was taken from a released LP, and if so, which one it>is. I'd love to hear more really raw stuff like this. I Got To Find My Baby is one a double CD on MCA Records called Muddy Waters: One More Mile. Mary Katherine disclaimer: guess who compiled and annotated it? ========================================================================= Date: Fri, 1 Dec 1995 02:16:56 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: sam myers > From: Toby Levy > Oh, and by the way Sam Myers played with Elmore James in the 50s. > He's a great singer and a fine harp player. He's also a real character. He lives in Dallas and when they're not out on the road he shows up at ALL the local blues jams. I know of one case, where after weeks on the road, he asked to be dropped off at the Greenville Bar and Grill jam without even going home first. I saw him hanging out on Monday night at Schooners (with the Terraplane Blues Band) where he changed his song Wild Cherry to Wild Kerry in honor of the waitress whose name is Kerry. Much whooping, hollering, and gratuitous butt shaking ensued. BTW Sam played DRUMS with Elmore on several sessions. Anson was in the studio with the Terraplane band on Tuesday helping to produce their demo tape. You'll hear more of that band and guitarist Holland K. Smith. Don O. ========================================================================= Date: Fri, 1 Dec 1995 02:34:31 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: dfw only if you're outside the DFW area please ignore. THE hot show this evening (12/1/95) is at the Blue Cat blues club at 2617 Commerce street in Dallas. Henry Qualls Big Al Dupree and The Hash Brown Band All on one stage. Supposedly, Henry will open as a duo with Hash Brown, the band will join them, then Hash and the band will support Big Al on piano and sax, then the Hash Brown Band will close things out. Should be VERY interesting as Big Al and Henry are about as diverse a pair of blues men as I can think of. Sort of like having Charles Brown and Lightnin Hopkins on the same show. See ya there after I get done with my radio show. Don O. not associated Ltd. ========================================================================= Date: Fri, 1 Dec 1995 03:47:07 -0500 Reply-To: BAJammin From: BAJammin Organization: America Online, Inc. (1-800-827-6364) Subject: An antique record care pro in house? Comments: To: bit-listserv-blues-l@uunet.uu.net A friend of mine just returned from his hometown with an Edison cylinder player in working condition and a box of cylinders many of which are in pretty fair condition. There is much dirt and grime in the grooves and I was hoping to get some good tips on how to clean these gems up before we get down to the business of playing through them. It would be great to find the earliest blues recording ever in amongst them but that's not likely. It's mostly old-time music (of which I'm a fan) and marching band music I think. If any of the record collectors out there have restorative experience to share we'd like to here from you soon either posted here or by email. Thanx. Bill ========================================================================= Date: Fri, 1 Dec 1995 05:37:02 GMT Reply-To: boydroid@teleport.com From: Boyd Martin Organization: Teleport - Portland's Public Access (503) 220-1016 Subject: Oregon/Washington Venues Comments: To: bit-listserv-blues-l@uunet.uu.net See my directory of Oregon/Washington live music venues: http://www.teleport.com/~boydroid/orwaven.htm It is slanted toward blues, although many genres are represented. It's handy also for any itinerant musicians in need of last-minute gig locations... Keep posted on any updated information... Boyd ========================================================================= Date: Fri, 1 Dec 1995 10:13:03 +0100 Reply-To: Colette Louw ZA From: Colette Louw ZA Subject: Question ? Hello Has anyone out there heard of a collaboration between BB King and Abdullah Ibrahim (supposedly recorded in new York)?? Colette Johannesburg, South Africa ========================================================================= Date: Fri, 1 Dec 1995 10:31:20 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Blues Promotion (& somebody stole my name!) >On 28 Nov 95, Kevin Boyle had this to say... > >> This follows in my belief that nobody ever intentionally fell in love >> with blues, Blues slowly sneaks up on you and grabs your soul and >> shakes you. Once it does, there ain't no lettin' go. > >Sounds like a PERSONAL experience, 'cause it's nothing like mine. >The Blues were natural to me. I can't remember ever hearing them for >the first time. They were just part of me. How about everybody >else? Did you AQUIRE a taste for the Blues? > >P.W. Fenton Nope I was interested in a girl and she told me she liked blues - so I looked it up and a slide intro from Muddy Waters changed my life! That ELECTRIC guitar sounded like a sirene - I just had to follow the sound and Im still on the track Mr Bo ========================================================================= Date: Fri, 1 Dec 1995 04:33:08 -0500 Reply-To: BluesBeats@AOL.COM From: Joseph Jordan Subject: Bay Area Blues Beat 12/95 Hi Blues-L Friends, Here is my monthly compendium of blues info regarding the San Francisco Bay Area. I write this column for the monthly Southland Blues out of Long Beach, California. Hopefully you'll like a little of what you read, however, if enough people think that Blues-L is an inappropriate posting place for this, I'll gladly stop this practice. By the way, the column is edited solely by me and all opinions are my humble ones. Just thought many of you might enjoy it...hope so anyway. Happy New Year and best blues regards from San Francisco. For inclusion in the December 1995 issue of Southland Blues Bay Area Blues Beat by Joseph Jordan INDY BLUES YEAR IN REVIEW Hello and happy holidays, blues brothers and sisters! Hope the last "five long years" of this century will bring you and your loved ones, peace, love and happiness. I'd like to tell you about several independent and engaging blues recordings I've really enjoyed. All were released over the past year, in case you might not have been hipped to 'em yet. All have ties to my neck of the woods and I feel are deserving of your attention. In no particular order, here we go! The Paul Butterfield Blues Band / "Strawberry Jam" on Winner Records. An electrifying live portrait of the legendary and massively-influential band in its prime ('66 to '68.) Features superb musicians at the peak of their artistry. A Chicago blues-lovers "Desert Island Disc." Lovingly produced by original keyboardist with the group, Bay Area bluesman Mark Naftalin. For info (and a free catalog,) contact: (1-800-411-Winner.) "Luther Tucker and the Ford Blues " on Blue Rockit' Records / (707-485-8308.) The late, great Chicago/Marin County blues vocalist / guitarist in his last studio sessions and live recording. Unfinished, raw, powerful and full of Luther's astonishing blues promise. Chris Cobb / "C.C.'s Blues" on Pacifica Records / (415-355-9545.) One of the most popular figures on the San Francisco scene, Cobb has produced a recording of original compositions that display, in full strength, his lead-guitar prowess and impassioned vocals. Johnny Mars / "Stateside" on MM&K Recordings / (800-376-6277.) This former Bay Arean, now an ex-patriot in England, shows his prowess and pushing-the-boundary inventiveness on blues harmonica. Nothing quite like his playing I know of, except possibly for Sugar Blue. Worth checking out for those interested in the continual musical development and apparently unlimited possibilities of the "Mississippi Saxophone." Chris Cain / "Somewhere Along The Way" on Blind Pig Records / (415-550-6484.) A major figure here for years. Cain's writing, singing and B.B. King-influenced guitar-playing continue to mature as well as delight his many fans. Both in music and artistry, this is a wonderful blues recording. I bet it'll be on your player for weeks before you'll be able to take it off. The extremely soulful and way-undersung Cain has been ready to break out big for years. Hope this'll be the one to do it for him. Produced by Patrick Ford Sasha Smith / "Straight Up" on Buck n' Bronx Music / (707-433-7212.) An astonishingly-deep, keyboard instrumental, blues debut-recording from a "soon-to-be-big artist" who is all of fourteen-years old! Much more on this wonder-kid and major Sebastopolian-in-the-works in my January '96 column. Billy Dunn and BluesWay / "My Feet is Achin" on MIOB Records / (510-653-6462.) Sweet soul-blues from a popular vocalist/keyboardist on the East Bay scene. Provides a smooth, late-night vibe, crawling with sensuality. This one's especially for the ladies, and the guys that like to be with them. John "Broadway" Tucker & The Broadway Band / "Mostly You" on Messaround Records / (408-384-2609.) This band is somewhat of a South-Bay institution, having existed since 1980. Their first recording is a horn-drenched, genuinely upbeat, 60-minute romp of carousing jump-blues and potent R&B. The Mississippi-born Tucker spent much of his formative musical years in Memphis and it shows. In cut after cut, he displays his ferocious vocal chops and presents a potent band that kicks hell out of both familiar R&B covers and enjoyable originals. Anthony Paule - "Big Guitar" on Blue Dot Records (415-665-3091.) My favorite release of the year from a Northern California musician, and one of my top-ten of the year, period. Guitarist-vocalist Paule has struck blues gold in his first effort. Truly, a stunningly-good long-player that could compete with any blues-debut nationwide. It's blues you can use. Take two listens and call me in the morning. E.C. Scott - "Come Get Your Love" on Blind Pig (415-550-6484.) With the release of this terrific debut from a remarkable blues diva, America can take notice there's a new, big-time player on the scene. Smoky, sultry and oozing with experience, sensuality and humor, this blues and R&B woman knows exactly who she is and what she's doing. You should get it sooner than quick can get ready. Other greater Bay Area musicians with current releases well worth checking out: Red Beans and Rice / "Nothin' But The Blues" on White Wolf / (408-384-2609.) Soul Drivers - "Tight White Dress" on BluesTime (415-454-4308.) Sista Monica - "Get Out My Way" on Mo Muscle (408-425-3192.) Lady Bianca "Best Kept Secret" on TelArc Records. (TelArc a/v at larger stores) Harmonica Slim - "Back Bottom Blues" on Trix (212-873-2020.) Mick Martin & the Blues Rockers / "Got To Play The Blues" Blues Rock Records/ (916-348-1955.) Hope you'll have fun checking more than a few of these out. In the meantime, thanks for reading, stay safe and see you, further on up the road in '96! ========================================================================= Date: Fri, 1 Dec 1995 05:23:19 -0500 Reply-To: HugeSmall@AOL.COM From: Boyd Small Subject: Re: Questions/Pinetop on drums Comments: To: bogert@iglou.com >The biographical info that I have on Pinetop >states that he plays piano and guitar, but not drums. In passing Hubert Sumlin told me that Pinetop plays drums. Although I never heard him myself. I'll bet he does. Huge ========================================================================= Date: Fri, 1 Dec 1995 05:38:34 -0500 Reply-To: HugeSmall@AOL.COM From: Boyd Small Subject: Re: Don't Start Me Talking - Lyrics Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu >Is Sonny Boy saying: Jack gave his wife three dollars to go get >some >MARGARINE ? I believe it's : 'Jack gave his wife three dollars to go to the Market' or something close to that. But the argument I've heard most about that song is about the line: 'I'm goin to the beauty shop to get [my head sock (or socked)] [my head massaged]. Ive even heard some other words sung there when people are covering that song but I'm still not sure what the actual words are. Anyone really sure? Boyd ========================================================================= Date: Fri, 1 Dec 1995 05:50:39 -0500 Reply-To: HugeSmall@AOL.COM From: Boyd Small Subject: U otta Readit J. Shines/ R. Johnson I realize that alot of my posts have had little or no blues content or Ive been fuming or something. And I apologize for that and I promise NO MORE. But you really should read the little excerpt that I transcribed from a @1973 Johnny Shines interview and posted. It's the J. Shines meets R. Johnson post. I think it sheds a little light on Robert Johnson's age. And I think it even sheds more light on Robert Johnson's personality. And if nothing else it's an interesting story about two blues icons that I don't think anyone has ever heard before. Check it out! Sincerely, Boyd ========================================================================= Date: Fri, 1 Dec 1995 07:46:46 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - December 1st Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- AILEY, ALVIN JR. (dancer/BLUES SUITE) d. 1989-1201, NEW YORK CITY, NY 58 BALDWIN, JAMES ARTHUR (author) d. 1987-1201, ST. PAUL DE VENCE 63 BROWN, JOYCE (p/arr) b. 1920-1201, NEW YORK CITY, NY DENSMORE, JOHN PAUL (:0 (of DOORS) b. 1944-1201, SANTA MONICA, CA DORSEY, LEE (v/songw) d. 1986-1201, NEW ORLEANS, LA 59 HUNTER, LURLEAN (v/LES HITE) b. 1928-1201, CLARKSDALE, MS JORDAN, TAFT (tpt) d. 1981-1201, NEW YORK CITY, NY 66 LYONS, JIMMY (asax) b. 1933-1201, JERSEY CITY, NJ MAGIC SAM [SAMUEL GENE MAGHETT] (g) d. 1969-1201, CHICAGO, IL 32 NAPIER, SIMON(co-founder:BLUES UNLIMITED) d. 1990-1201, COODEN, UK 51 NELSON, SANDY (d) b. 1938-1201, SANTA MONICA, CA PASTORIUS, JOHN FRANCIS "JACO" (b) b. 1951-1201, NORRISTOWN, PA PAUL, BILLY (PAUL WILLIAMS) (v) b. 1934-1201, PHILADELPHIA, PA PRYMUS, KENNY (d/BEASLEY/FULSON/CRAYTON) b. 1928-1201, KANSAS CITY, MO PRYOR, RICHARD (:) b. 1940-1201, PEORIA, IL RAWLS, LOU (LOUIS ALLEN RAWLS) (v) b. 1936-1201, CHICAGO, IL STANLEY, CARTER GLEN (of THE STANLEY BROS)d. 1966-1201, BRISTOL, TN 41 UZZELL, JAMES (of THE CORSAIRS) b. 1940-1201, LA GRANGE, NC ------------------------------------------------------------------------------- ========================================================================= Date: Fri, 1 Dec 1995 07:28:16 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Columbia House Blues [LONG]. Comments: To: bit-listserv-blues-l@uunet.uu.net To the best of my knowledge the following is a complete list of blues titles available through Columbia House. It is posted on a strictly voluntary basis by me. I am in no way affilliated with them. I have begun a very nice collection of blues CD's through Columbia House and simply want to share my findings. If anyone is interested in the various offers they make there are FAQ's etc. available on that. This is merely a list of what can be gotten from them (sorry for the truncations). I will repost this list on a regular basis - monthly. If you have any questions, flames, comments, additions, etc. e-mail me bsco@panix.com. I would be particularly grateful to know if there is anything I have left out and will certainly include it in my next post. Also if you plan to order from this list I recommend you recheck the ordering #'s as I am sure I have made some typing errors. I accept no responsibility for wrong names, titles etc., however I have done my best to be as accurate as I could. ARTIST ORDER# TITLE LABEL Ammons Albert 101881 Master of Boogi Mila Louis Armstrong 101840 Blueberry Hill Mila Lavern Baker 414839 Lavern Baker Atlantic/Jazz Beausoleil 389825 Bayou Boogie Rounder Elvin Bishop 482125 Tulsa Shuffle Epic/Legacy Bobby "Blue" Bl 478677 Years of Tears Malaco Bobby "Blue" Bl 484576 Turn on Your Mca Bobby Bland 404137 Midnight Run Malaco Bobby Bland 431601 Portrait of Blu Malaco Bobby Bland 452144 Two Steps from Mca James Booker 489914 Resurrection of Rounder Charles Brown 452177 Driftin' Blues Emi Charles Brown 489781 Just a Lucky So Bull Clarence "Gatem 472290 Standing My Gro Alligator Big Bill Broonz 447201 Good Time Tonig Columbia/Legacy Lonnie Brooks 472282 Turn on the Nig Alligator Ruth Brown 434886 Fine and Mellow Fantasy Clarence Carter 485359 Snatchin it Bac Rhino Boozoo Chavis 100503 Boozoo, That's Rounder Clifton Chenier 452128 Bayou Blues Specialty Clifton Chenier 472308 I'm Here Alligator Collins/Cray/Co 472332 Showdown! Alligator Albert Collins 472316 Ice Pickin' Alligator Albert Collins 472324 Cold Snap Alligator Johnny Copeland 460782 Flyin' High Gitanes Johnny Copeland 481788 Catch up with Verve Johnny Copeland 489856 Texas Twister Rounder James Cotton 101378 Living the Blue Verve James Cotton 462150 Cut You Loose! Vanguard Cotton/Wells/Be 472340 Harp Attack Alligator Blind Gary Davi 485367 Harlem Street Fantasy Bo Diddley 408955 Chess Box Chess Bo Diddley 429126 Rare and Well D Chess Willie Dixon 380113 the Chess Box Chess Willie Dixon 447219 Big Three Trio Columbia/Legacy Willie Dixon 465625 I Am the Blues Columbia/Legacy Champion Jack D 458661 New Orleans Bar Columbia/Legacy Champion Jack D 485326 Blues from the Atlantic Aretha Franklin 358804 Sings the Blues Columbia Blind Boy Fulle 447235 East Coast Columbia/Legacy Lowell Fulson 446906 Hung down Head Chess Buddy Guy 110171 Slippin' in Silvertone Buddy Guy 434373 Damn Right Silvertone Buddy Guy 440602 Complete Chess Chess Buddy Guy 457234 Feels like Rain Silvertone Buddy Guy 462143 a Man and the Vanguard Buddy Guy 462168 My Time after Vanguard Buddy Guy 472357 Stone Crazy Alligator Buddy Guy & Jun 441238 Buddy Guy Rhino Buddy Guy & Jun 472365 Alone & Acousti Alligator Slim Harpo 462077 Best of Slim Rhino Ted Hawkins 484519 the next Hundre Dgc Hound Dog Taylo 485375 Hound Dog Taylo Alligator Holmes Brothers 489880 Soul Street Rounder John Lee Hooker 407080 Real Folk Blues Chess John Lee Hooker 438333 Detroit Special Atco John Lee Hooker 440305 Best of John Ho Mca John Lee Hooker 462176 Plays & Sings Chess John Lee Hooker 472126 Graveyard Blues Specialty Lightnin' Hopki 460790 it's a Sin to Gitanes Son House 447193 Father of the D Columbia/Legacy Howlin' Wolf 400499 London Sessions Chess Howlin' Wolf 415745 Real Folk Blues Chess Howlin' Wolf 440438 Chess Box Chess Howlin' Wolf 485342 Change My Way Chess Mississippi Joh 379826 Best/M.j.hurt Vanguard Etta James 379685 Second Time Chess Etta James 380154 7 Year Itch Island Etta James 452250 Right Time Elektra Etta James 461699 Essential Etta Chess Etta James 485334 Etta James Rock Chess Elmore James 462085 Dust My Broom Rhino Elmore James & 472142 Whose Muddy Sho Chess Blind Willie Jo 458745 Complete Record Columbia/Legacy Johnnie Johnson 427344 Johhnie B. Bad Elektra/Nonesuch Lonnie Johnson 446831 Steppin' on Columbia/Legacy Lonnie Johnson 482117 Stompin' at the Columbia/Legacy Pete Johnson 101857 King of Boogie Mila Robert Johnson 414888 Complete Record Columbia Keb Mo 482430 Keb Mo Okep Albert King 102228 the Best of Alb Stax Albert King 446914 King of the Blu Atlantic Albert King 452169 I'll Pay the Stax B.b. King 209668 Live at Regal Mca B.b. King 379776 Best of Bb King Mca B.b. King 421354 Live at the Grp B.b. King 440628 Lucille Mca B.b. King 448084 King of the Mca B.b. King 463505 Blues Summit Mca Sleepy Labeef 100446 Strange Things Rounder Booker T. Laury 489898 Nothin' but the Bull Leadbelly 428524 King of the 12- Columbia/Legacy Leadbelly 489724 Nobody Knows Th Rounder Furry Lewis 485383 Shake 'Em on Fantasy Smiley Lewis 472134 Best of Smiley Emi Lil'ed and the 472373 What You See Alligator Lonnie Mack 472381 Strike Like Lightni Alligator Little Milton 101295 Welcome to the Chess Little Milton 408708 Too Much Pain Malaco Little Milton 486399 I'm a Gambler Malaco Little Walter 446849 Best of Little Chess Little Walter 461707 Essential Littl Chess Lonnie Mack Wit 472381 Strike like Alligator Delbert Mcclint 472399 Live from Austi Alligator Mcghee Brownie 482067 Complete Browni Columbia/Legacy Blind Willie Mc 472159 Atlanta 12-Stri Atlantic Blind Willie Mc 482075 the Definitive Columbia/Legacy Memphis Minnie 379800 I Ain't No Bad Portrait Memphis Minnie 447227 Hoodo Lady: Columbia/Legacy Jelly Roll Mort 462119 Mr. Jelly Lord Rhino Charlie Musselw 472407 Ace of Harps Alligator Nathan and the 100735 Zydeco Live Rounder Shuggie Otis 482141 Shuggie's Boogi Epic/Legacy Junior Parker 485318 Junior's Blues Duke Dan Penn 480061 Do Right Man Sibh Pinetop Perkins 461194 Portrait of a Omega Lucky Peterson 460774 I'm Ready Gitanes Lucky Peterson 479782 Beyond Cool Verve Professor Longh 452110 New Orleans Pia Atlantic Professor Longh 472415 Crwfish Fiesta Alligator Tampa Red 482091 the Guitar Wiza Columbia/Legacy Jimmy Reed 366534 Compact Command Motown Zachary Richard 100768 Mardi Gras Mamb Rounder Jimmy Rogers 446880 Chicago Bound Chess Roy Rogers 111559 Slide Zone Li Roomful of Blue 100255 First Album Varr Otis Rush 437004 Mourning in the Atlantic Saffire - the U 472423 the Uppity Blue Alligator Johnny Shines 102236 Hey Ba-Ba-Re Bo Rounder Bessie Smith 383430 Bessie Smith Columbia/Jazz Bessie Smith 421388 Complete Vol. 1 Epic/Legacy Bessie Smith 428532 Complete Vol. 2 Columbia/Legacy Bessie Smith 458703 Complete Vol. 4 Columbia/Legacy Bessie Smith 449561 Complete Vol. 3 Columbia/Legacy Son Seals 472431 Midnight Son Alligator Otis Spann 485391 Blues Never Die Fantasy Taj Mahal 447177 Taj's Blues Columbia/Legacy Taj Mahal 467019 Dancing the Blu Private Music Koko Taylor 429142 What it Takes Chess Koko Taylor 452151 Koko Taylor Chess Koko Taylor 472449 Queen of the Bl Alligator Sonny Terry 102202 Sonny Is King Fantasy Sister Rosetta 101865 Live at the Hot Mila Irma Thomas 100289 Simply the Best Rounder Big Mama Thorto 472118 Hound Dog/Peaco Mca Big Joe Turner 474494 Jumpin' with Ic Emi James Blood Ulm 472977 Blues Preacher Columbia Various Artists 100305 Modern New Orle Rounder Various Artists 100321 Mardi Gras Part Rounder Various Artists 101899 Le Hot Club De Mila Various Artists 352591 Atl.blues:piano Atlantic Various Artists 352609 Atl.blues:guita Atlantic Various Artists 352617 Atl.blues:vocal Atlantic Various Artists 352625 Atl.blues:chica Atlantic Various Artists 353656 Atl.blues Atlantic Various Artists 378414 Best of the Chi Vanguard Various Artists 378422 Great Blues Men Vanguard Various Artists 378430 Blues Vol.1 Chess Various Artists 378448 Blues Vol.2 Chess Various Artists 378455 Blues Vol.3 Chess Various Artists 378463 Best of Chess B Chess Various Artists 378471 Best of Chess B Chess Various Artists 421230 Great Blues Epic/Legacy Various Artists 421347 Legends of Columbia Various Artists 421362 Slide Guitar Columbia Various Artists 421370 News & the Blue Columbia Various Artists 421396 Raunchy Busines Epic/Legacy Various Artists 428557 Legends of the Columbia/Legacy Various Artists 442285 Roots of Rhythm Columbia Various Artists 446864 Drop down Mama Chess Various Artists 447151 Roots N' Blues Columbia/Legacy Various Artists 447243 Cajun: 1929-39 Columbia/Legacy Various Artists 453498 Chess Blues Box Chess Various Artists 458711 Slide Guitar Columbia/Legacy Various Artists 458828 Cobra Records Capricorn Various Artists 462028 Okeh R&B Story Epic/Legacy Various Artists 462127 Blues with a Vanguard Various Artists 472472 20th Ann. Coll. Alligator Various Artists 474577 Feelin' the Blu Grp Various Artists 475756 20th Ann. Tour Alligator Various Artists 477877 Stone Rock Blue Chess Various Artists 482109 Cajun Dance Columbia/Legacy Various Artists 486860 Swingtime Story Capricorn Joe Louis Walke 484915 Jlw (With Branf Verve T-Bone Walker 427815 Complete Imperi Emi T-Bone Walker 446856 T-Bone Blues Atlantic Walter "Wolfman 489740 Wolf at the Doo Rounder Muddy Waters 400481 London Muddy Chess Muddy Waters 402966 Chess Box Chess Muddy Waters 407932 Best of Muddy W Chess Muddy Waters 415760 Real Folk Blues Chess Muddy Waters 447169 Blue Sky Epic/Legacy Muddy Waters 461723 Complete Planta Chess Katie Webster 472456 the Swamp Boogi Alligator Junior Wells 462135 it's My Life Vanguard Bukka White 482083 the Complete Bu Columbia/Legacy Artie Blues Boy 486498 Different Shade Wald Sonny Boy Willi 415752 Real Folk Blues Chess Sonny Boy Willi 461715 Essential Sonny Chess Johnny Winter 472464 Guitar Slinger Alligator Sonny Boy Willi 446872 down and out Chess Jimmy Witherspo 485409 Evenin' Blues Fantasy O.v. Wright 472167 Soul of O.v. Wr Mca Buckwheat Zydec 100487 Waitin' for My Rounder Buckwheat Zydec 101204 5 Card Stud Island Bo Diddley 362475 Go Bo Diddley Chess Bo Diddley 379677 Bo Diddley Chess B.b. King 429134 Live "Now Appea Mca Denise La Salle 404020 Wher it Hurts Malaco Denise La Salle 412874 Still Trapped Malaco Leadbelly 379792 Leadbelly Columbia Bessie Smith 449561 Complete Record Columbia/Legacy Various Artists 363911 Best of Chess B Chess Various Artists 404079 Blues Is Alrig Malaco Various Artists 404087 Blues Is Alrig Malaco Various Artists 404129 Blues Is Alriv Malaco Various Artists 421248 Preachin' the Epic/Legacy Various Artists 428441 Good Time Blues Columbia/Legacy Various Artists 458695 White Country Columbia/Legacy Muddy Waters 379834 More Real Folk Chess Denny Freeman 433037 Blues Cruise Amazing Keri Leigh & Th 433052 Blue Devil Blue Amazing Gary Primich 433029 Gary Primich Amazing Stevie Ray Vaugha 446765 In the Beginning Epic Stevie Ray Vaugha 429258 The Sky Is Crying Epic Stevie Ray Vaugha 411306 Vaughn Bros. Family Epic Stevie Ray Vaugha 382374 In Step Epic Stevie Ray Vaugha 351148 Live Alive Epic Stevie Ray Vaugha 338483 Soul To Soul Epic Stevie Ray Vaugha 326694 Couldn't Stand The Epic Stevie Ray Vaugha 321158 Texas Flood Epic Elmore James 455758 King Of The Slide G Capricorn Elmore James 446898 Let's Cut It-The Be Flair Big Joe Turner 402305 Greatest Hits Atlantic/Jazz ***Thanks to Jim McGlynn for these 4 new additions*** Big Joe Turner 113100 I've Been To Kansas MCA Various 476440 The Gospel Sound Big Maybelle 489732 Okeh Sessions Legacy Meters 100362 Look-A-Py-Py Rounder ***More new ones*** Joe Turner 117408 The Trumpet Kings M Pablo Junior Wells 122655 Everybody's Gettin Telarc Jimmie Vaughan 466821 Strange Pleasure Epic ***More new ones*** DANNY GATTON 458505 CRUISN' DEUCES ELEKTRA JOHNNY COPELAND 481788 CATCH UP WITH THE BL VERVE MEMPHIS SLIM 129023 RAINING THE BLUES FANTASY TINSLEY ELLIS 128058 STORM WARNING ALLIGATOR SUNNYLAND SLIM 117747 SLIM'S SHOUT CAPITOL FRANKIE LEE SIMS 129031 LUCY MAE BLUES SPECIALTY SMOKIN' JOE KUBEK 128082 CRYIN' FOR THE MOON BULLSEYE JAMES COTTON 126953 BEST OF THE VERVE YE VERVE JEFF HEALEY BAND 375873 SEE THE LIGHT ARISTA LITTLE CHARLIE AND 128066 STRAIGHT UP ALLIGATOR POPPA CHUBBY 120469 BOOTY AND THE BEAST OKEH LITTLE AXE 100982 THE WOLF THAT HOUSE OKEH -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Fri, 1 Dec 1995 13:41:14 GMT Reply-To: gordon smith From: gordon smith Organization: Hamilton-Wentworth FreeNet, Ontario, Canada. Subject: Re: Johnny Winter Nothing But The Blues Comments: To: bit-listserv-blues-l@uunet.uu.net L W (ISTS024%UABDPO.BITNET@BROWNVM.brown.edu) wrote: : My cd doesn;t have the liner notes and I'm wondering if the second guitar : on Bladie Mae is "former Muddy sideman" Bob Margolin. Yes it is. PERSONNEL Johnny Winter- Vocals, Electric guitar, metal body acoustiic guitar. Muddy Waters- vocals James Cotton-Harp Pine Top Perkins- Piano Bob Margolin- electric guitar Charles Calmese- electric bass Willie Smith- drums -- _______________________________________________________ GORDON ROBERT SMITH DUNDAS, ONTARIO, CANADA http://www.freenet.hamilton.on.ca/~aa637/Profile.html ------------------------------------------------------- ========================================================================= Date: Fri, 1 Dec 1995 07:56:54 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Chrids Duarte in Ames, IA correction In-Reply-To: Message of Thu, 30 Nov 1995 18:12:09 GMT from On Thu, 30 Nov 1995 18:12:09 GMT Paul L Pearson said: >Chris Duarte Group will be in Ames on the 8th of December, not the 9th >as I had originally posted. Thanks to whoever corrected me. > >Just so happens, this is the night o f my Ph.D. defense, so it should be >a fun one. At a friends house over the Thanksgiving holiday, I was gazing at all the pictures on their wall. I noticed a funny looking guy in a SKIRT/KILT and I assumed he was a Red Hot Chili Critter. I asked someone, who is into radio music, and she said no that's Chris Durate (or is that Chrissie :-)) She said he later traded his skirt for a sweatshirt...Oh well Muddy wore a Santa Claus cap. It doesn't matter what you wear it's how you play LW ========================================================================= Date: Fri, 1 Dec 1995 08:01:18 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Living Blues Review: Tab Benoit In-Reply-To: Message of Wed, 29 Nov 1995 22:17:13 -0500 from On Wed, 29 Nov 1995 22:17:13 -0500 RNeum1717 said: >a good friend of mine writes for them on a regular basis. from what i've >heard >most of the people connected to the magazine are real decent and love >the blues. there are however, those who consider themselves "purists." >they have >their heads up their asses are more concerned with spouting off about how >much they know. they think that they have to "inform" the ignorant public. >i'd be >wary of reviews. just enjoy the articles. I read several of Bill Dahl's reviews (the reviewer in question) I noticed he was equally harsh on James Cotton's Living The Blues and heaped much praise on Mark Hummels Married to The Blues....So the above most certianly doesn't apply to Mr. Dahl. A purist would have also trashed Hummel...Wouldn't he... I disagree with alot of his review of Tab's new one, but that's his opinion and just because it doesn't match yours is no reason to imply that he puts his head where you said...... LW ' I love the reviews ' ========================================================================= Date: Fri, 1 Dec 1995 09:58:28 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Steel slides(?) Comments: To: laurie.forti@INFOEXCH.MIAMI.FL.US Laurie, In a recent post, where you lectured some guy for saying he was trying to find a "steel slide" when, according to you, he should have said - steel bottleneck, you twice referred to something you called "fire polishing". I wonder if you could tell us what that is, and how to do it. P.W. Fenton On 29 November Laurie Forti had this to say... > > Hello all. I'm looking for a steel slide that fits on the finger so you > > don't have to play slide on your lap. > Maybe the first thing to learn is to call them 'bottlenecks' in >respect for the guys that invented the style. > Bottleneck guitar, named because those guys used to cut off the >neck of a bottle, fire-polish it and use it on, usually, the little >finger of the fretting hand..... > Or one could spend countless hours scribing _real_ bottlenecks with >a file or sharpening stone, heat and tap them, or heat and quench them >in water, hoping that one will eventually break off cleanly, and then >file and fire-polish the cut end. ========================================================================= Date: Fri, 1 Dec 1995 09:58:29 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Bluesellers losing access Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU On 30 Nov 95, L W had this to say: > btw: I have a job interview today and if it's offered, money is right and ..etc > I could become a FORMER 'ELLER....I don't know the money value I'd put on > remaining an 'ELLER, but it will certianly be considered as a helluva current > benefit that I WILL NOT have at the other job..... Jeez... for less than 20 bucks a month anybody with a PC and a modem can be an 'eller. What's the deal with these folks (not just you, LW) who leave a job that had an internet connection, and can't figure out how to get back on? P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 1 Dec 1995 15:22:51 +0100 Reply-To: Peter Gallagher From: Peter Gallagher Subject: Re: Questions/Pinetop on drums Comments: To: HugeSmall@AOL.COM In-Reply-To: <951201052318_121868681@mail02.mail.aol.com> from "Boyd Small" at Dec 1, 95 05:23:19 am At the Blues Estafette recently, Pinetop played piano. He seemed a little too frail to play drums, at least, given his current age/health. He was well-known as one of Muddy's piano players and he was always RIGHT on the button. I never heard of him playing drums - interesting. regards, PeterG "gonna take Pinetop with me though"-- Muddy (ad lib, Down in Florida) > > >The biographical info that I have on Pinetop > >states that he plays piano and guitar, but not drums. > In passing Hubert Sumlin told me that Pinetop plays drums. Although I never > heard him myself. I'll bet he does. > Huge > > -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Fri, 1 Dec 1995 09:25:03 -0500 Reply-To: David Goldstein From: David Goldstein Subject: Sonny Boy in Cinema The actor's name was actually Sonny Boy Williams. He has credits in three movies: Take A Letter, Darling (1942) with Fred MacMurray Hold Back The Dawn (1941) The Old Swimming Hole (1941) I do not know if this is the Sonny Boy Williamson of blues fame. ========================================================================= Date: Fri, 1 Dec 1995 09:38:05 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: Steel slides(?) Comments: To: "P.W. Fenton" You can just as easily smooth a bottleneck by grinding the broken end on a concrete sidewalk. (That was in a slide article I think in "Guitar Player" magazine.) Or just put the whole bottle on your finger like Danny Gatton used to. ========================================================================= Date: Fri, 1 Dec 1995 09:42:53 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Johnny Winter Nothing But The Blues Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, ISTS024/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=ISTS024#p#UABDPO#f#BITNET#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com Nothing But The Blues is my favorite Johnny Winter album so far (there are still quite a few I haven't heard). "TV Mama" is one of the best acoustic slide pieces ever recorded, and Cotton's harp is red hot on this album! Plus it's nice to hear Johnny and muddy share the vocals on "Walking Through the Park." -Steve ========================================================================= Date: Fri, 1 Dec 1995 09:45:51 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: ain't just hippies getting stoned Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, jgllo/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=jgllo#a#AOL#f#COM@s1boca.corp.wrgrace.com *Really...anybody ever check out any Cab Calloway video? If he wasn't *stoned and/or coked up I'll give you your money back. * Actually, I remember an article abour him after he died. One of the things the articlementioned is that he had a few songs about drugs but he didn't use drugs himself, and would fire any band members who were caught using drugs or drinking on the job. -Steve ========================================================================= Date: Fri, 1 Dec 1995 10:07:27 -0500 Reply-To: TabbMan@AOL.COM From: John Moore Subject: Re: Lefty Dizz Comments: To: swaggon@babies.bsd.uchicago.edu i remember seeing Lefty Dizz play in the 70's and early 80's.His shows were allways a party.I never had the fortune of seeing Hound Dog Taylor,but i do feel fortunate in being able to see Lefty.Can someone tell me if i remember correctly ,but didnt he play a right handed guitar upside down but not change the strings.So infact he played upside down. ========================================================================= Date: Fri, 1 Dec 1995 09:15:21 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Crossroads - White Blues From the 60's Anyone familar with the SET. I lost the booklet/notes many. many years ago I seem to recall Glover/ Hoerner or whoever they are on there. I'm curious to the set that includeds Hangman, Rent Party Rag (sounds like Country Joe and The Fish). Who wrote BLACK BETTY and when was it FIRST recorded LW ========================================================================= Date: Fri, 1 Dec 1995 10:27:55 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Otis, Luther, and EDDIE C.! Comments: To: Jim Armstrong In-Reply-To: <951128143309_36867071@emout06.mail.aol.com> > I don't want to sound repetitious, but one of my favorite memories is of last > June 3, at the Chicago Blues Festival, with Luther Allison and Otis Rush back > to back. What a night that was! As far as I'm concerned, there isn't anyone > any better, equal perhaps, but not better. > Jim Armstrong The repetition is well deserved. But you know what, NOBODY has mentioned Eddie C. Campbell! Personally, I was thrilled to see him play at the CBF, both during his own set and ALSO on stage with Otis and Luther. Of course, he took up the role of a sideman during that great set (and perhaps rightly so... his style and heavy reverb wouldn't match the intensity of Luther), but what a reunion nevertheless. I know it's been out for a while, but is anyone interested in me posting a brief review of Eddie C. Campbell's THAT'S WHEN I KNOW (Blind Pig)? One of my favorite releases of the past year (and a half). Dave Prychitko Blues 101, WNYO-Oswego http://www.oswego.edu/~prychitk/Blues101.html for playlists and blues reviews. ========================================================================= Date: Fri, 1 Dec 1995 10:47:22 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: Lefty Dizz Comments: To: John Moore In-Reply-To: <951201100725_121983975@emout06.mail.aol.com> On Fri, 1 Dec 1995, John Moore wrote: > feel fortunate in being able to see Lefty.Can someone tell me if i remember > correctly ,but didnt he play a right handed guitar upside down but not change > the strings.So infact he played upside down. Yes. Many left-handed folks do it (i.e., play conventionally-strung guitar) including Eddie Clearwater and Otis Rush. Now, I've heard some claim that Otis's unique sound is in fact caused by his being a lefty and bending the strings on right-strung guitar, which implies a right-hander can't get the same tonal effect on a right-strung guitar. But, to be honest, I can't see how that ultimately matters. Are the physics really that different? Dave Prychitko (maybe that's why I've been playing rhythm guitar for twenty years [since I was ten] and left the leads to the other guys in the garage) ========================================================================= Date: Fri, 1 Dec 1995 11:12:28 -0500 Reply-To: SFDBLUES@AOL.COM From: Steve Fay Subject: Song writing credits I am sure this subject has been hotly discussed before on this list, but since I am relatively new to the list I thought I would ask. I do not understand how it is determined who gets song writing credit for songs. Example, Robert Johnson's Walking Blues or Sweet Home Chicago has him listed as the writer. These songs were of course performed earlier.For example, Son House recording a variation on Walking Blues as early as 1930. Rock Island Line as performed by Johnny Cash has him as the author, but I have a copy of Leadbelly singing it much earlier. Are these people given credit because of a knew arrangment and the original authors were never known? Also, when a rock band covers a blues song many times the writer is not listed but "traditional" is given. Could somebody discuss this subject and have any of these songwriting credits found there way into the courts? ========================================================================= Date: Fri, 1 Dec 1995 11:25:00 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: Blues Promotion (& somebody stole my name!) Comments: To: Bo Carlsson It's genetic. You either have a blues gene or you don't. If you have the blues gene, it gets activated the first time you hear it. Even if you're too young to remember at the time. :) ______________________________ Reply Separator _________________________________ Subject: Re: Blues Promotion (& somebody stole my name!) Author: Bo Carlsson at Internet Date: 12/1/95 10:31 AM >On 28 Nov 95, Kevin Boyle had this to say... > >> This follows in my belief that nobody ever intentionally fell in love >> with blues, Blues slowly sneaks up on you and grabs your soul and >> shakes you. Once it does, there ain't no lettin' go. > >Sounds like a PERSONAL experience, 'cause it's nothing like mine. >The Blues were natural to me. I can't remember ever hearing them for >the first time. They were just part of me. How about everybody >else? Did you AQUIRE a taste for the Blues? > >P.W. Fenton Nope I was interested in a girl and she told me she liked blues - so I looked it up and a slide intro from Muddy Waters changed my life! That ELECTRIC guitar sounded like a sirene - I just had to follow the sound and Im still on the track Mr Bo ========================================================================= Date: Fri, 1 Dec 1995 10:25:35 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Delta Blues Museum OFFER I got a flyer from the DBM with this offer: A new Regal Dobro with case and lots of DBM merchandise (slide, picks, cap, shirt...etc) and it is all packed in genuine Miss Delta Cotton :-).....The whole she-bang for 499.00 That's a good deal, if you want more info lemme know LW ========================================================================= Date: Fri, 1 Dec 1995 10:28:22 +0000 Reply-To: toulouse Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: toulouse Organization: CommNet Inc. Subject: Re: Beat Daddy's Comments: To: TabbMan@AOL.COM John Moore wrote: > > Does any one know anything about the Beat Daddys?I come upon a cd with out > any cover or liner notes,and its a good c.d. Here is what I know about the Beat Daddys. They are from Evansville (or Evanston), Indiana. They did 2 records, (I believe) for Malaco label Waldoxy. The big guy in the band who wrote a lot of the tunes, (I can't remember his name) is no longer in the band. The lead guitarist, (who is very good), can't remember his name either, is still carrying the band, but I do not know if it is under the Beat Daddy's name. I think they may have changed it. Peace, toulouse@comm.net ========================================================================= Date: Fri, 1 Dec 1995 08:47:01 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Amps. (not blues related) Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Isaac said: >I have fallen in love with the new > >FENDER SUPER >amp > >This is the greatest new amp I have played next to a dumble. >If anyone has any info on this amp ar suggestions for other amps >I would like to hear what you think. > >I know am selling a 70s Bassman And an 88 THE TWIN amp to buy this super >amp. >It is basically a copy of a super reverb with some added perks, but the tone. >The tone I've heard these are nice. I really like the Matchless DC-30 enormously, and the Matchless HC-30/4-12 combination even better. I sold a hot-rodded 4-10 Bassman, and a hot-rodded Blues Deluxe (and still needed more money) to buy one of these. You might also ask Jbards about his new Victoria Vintage (it's lots cheaper than Matchless and he loves it). That's one I want to hear as well. good luck btw, the best tube amps ever made are being made right now. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Fri, 1 Dec 1995 08:52:26 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Promoting my first Blues Show Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Jim asked: >Yeah, but Earl who? I'm a goof. Earl Alexander & Buffalo soldier. I think they are only known out here in El Lay area. I have a standing offer to record them for free.... He is so good. Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Fri, 1 Dec 1995 12:09:56 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Devil as "Dan" Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu On December 1, LW wrote: >>>Mance Lipscomb sometimes refers to the devil as "Dan"..... >>>Where did the name "Dan" for the devil come from, anyone >>>know >>>Have you ever heard "Dan" used in that manner >>>Thanks I guess that Mance knew the devil better than the rest of us. If you don't know him personally, I think you have to call him "Mister Quayle." Dick Waterman ========================================================================= Date: Fri, 1 Dec 1995 09:18:51 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: HAPPY BIRTHDAY, BROWNIE MCGHEE pt. 4 of 4 : CD DISCOGRAPHY Comments: To: BluesHvn@aol.com Comments: cc: LKnight1@aol.com, tony@bluestb.demon.co.uk I'd like to thank Leslie Ann Knight for her help with this CD Discography. She tells me that Brownie's latest CD "Brownie's Blues" is available from Bob McKinnon, Goldstar Associates, P.O. Box 161, Gymea, 2227, N.S.W., Australia Tel: 011 61 2 521-6566 ; Fax 011 61 2 521-6277. According to the Newsletter of The Sydney Blues Society, The Blues Times #39 (Nov 1995), the editor Joe Macneil had this to say about the CD : "We've had a listen to the album tonight while doing the newsletter. We can thoroughly recommend this CD for all fans of acoustic Blues. The harmonica playing is first rate and Brownie is still as great as ever. Buy and enjoy!" SELECTED CD DISCOGRAPHY : BROWNIE MCGHEE ======================= A & M CD 829 : BROWNIE MCGHEE/SONNY TERRY - SONNY & BROWNIE ACE (UK) CD 502 : STICK MCGHEE & HIS SPO-DEE-O-DEE BUDDIES (2 Brownie) BESCOL CD 368 : BROWNIE MCGHEE/SONNY TERRY - GIANTS OF THE BLUES BLUE ROCK-IT CD 104 : BROWNIE MCGHEE - FACTS OF LIFE CAPITOL 2CD 29376 : VARIOUS - REDISCOVERED BLUES (w/Hopkins,Big Joe,Terry) CASTLE CD 120 : BROWNIE MCGHEE/SONNY TERRY - 1958 LONDON SESSIONS CHARLY CD 1109 : BROWNIE MCGHEE/SONNY TERRY - DRINKING IN THE BLUES COLLECTABLES CD 5171 : BROWNIE MCGHEE/SONNY TERRY - 1958 LONDON SESSIONS DCC DCZ CD 1081 : VARIOUS - HOPKINS/MCGHEE/TERRY - BLUES HOOT DRIVE CD 41005 : BROWNIE MCGHEE/SONNY TERRY - PO' BOYS FANTASY OBC CD 536 : BROWNIE MCGHEE/SONNY TERRY - AT SUGAR HILL FANTASY OBC CD 541 : BROWNIE MCGHEE/SONNY TERRY - JUST A CLOSER WALK WITH.. FANTASY OBC CD 561 : BROWNIE MCGHEE/SONNY TERRY - AT THE 2ND FRET FANTASY OBC CD 505 : BROWNIE MCGHEE - BROWNIE'S BLUES FANTASY CD 24708 : BROWNIE MCGHEE/SONNY TERRY - BACK TO NEW ORLEANS FANTASY CD 24721 : BROWNIE MCGHEE/SONNY TERRY - MIDNIGHT SPECIAL FANTASY CD 24723 : BROWNIE MCGHEE/SONNY TERRY - CALIFORNIA BLUES GOLDSTAR ASSOCIATES : BROWNIE MCGHEE & ELMER LEE THOMAS BLUES REVUE LEGACY CD 368 : BROWNIE MCGHEE/SONNY TERRY - GIANTS OF THE BLUES MAINSTREAN CD 902 : BROWNIE MCGHEE/SONNY TERRY - HOMETOWN BLUES MCA CD 3373 : VARIOUS - THE CLASS OF 15 (2 Brownie & Terry) MOBILE FIDEL CD 641 : BROWNIE MCGHEE/SONNY TERRY - SONNY & BROWNIE RHINO CD 70665 : VARIOUS - A TRIBUTE TO LEADBELLY RHINO CD 71295 : BROWNIE MCGHEE - RAINY DAY (Blue Labor/Tomato set) SAVOY JAZZ CD 256 : BROWNIE MCGHEE/SONNY TERRY - CLIMBIN' UP SEQUEL CD 120 : BROWNIE MCGHEE/SONNY TERRY - 1958 LONDON SESSIONS SMITHSONIAN CD 40011 : BROWNIE MCGHEE/SONNY TERRY SMITHSONIAN CD 40034 : BROWNIE MCGHEE - FOLKWAYS YEARS 1945-59 SONY 2CD 52933 : BROWNIE MCGHEE - COMPLETE (Okeh Recordings) (2CD) SONY CD 53625 : BROWNIE MCGHEE/SONNY TERRY - HOMETOWN BLUES STORYVILLE CD 8005 : BROWNIE MCGHEE/SONNY TERRY - VOL. 5 - BLUES MASTERS TOMATO CD269610 : BROWNIE MCGHEE - RAINY DAY TRAVELIN' MAN CD 4 : BROWNIE MCGHEE - 1944-55 pt. 1 : HAPPY BIRTHDAY, BROWNIE MCGHEE pt. 1 pt. 2 : HAPPY BIRTHDAY, BROWNIE MCGHEE pt. 2 : BLUES & RHYTHM feature pt. 3 : HAPPY BIRTHDAY, BROWNIE MCGHEE pt. 3 : BLUES & RHYTHM feature con't ========================================================================= Date: Fri, 1 Dec 1995 17:31:36 GMT Reply-To: Tommy Jansson From: Tommy Jansson Organization: Uppsala university Subject: Otis Grand Tour Comments: To: bit-listserv-blues-l@uunet.uu.net Otis Grand is coming to Sweden next week. Does anyone know what band he tours with? ========================================================================= Date: Fri, 1 Dec 1995 11:40:10 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Song writing credits Comments: To: Steve Fay In-Reply-To: <951201111225_122033583@mail04.mail.aol.com> Since Dick Shurman said he wasn't going to say this anymore after the last time it was questioned, I'll say it. ;-) [paraphrasing] The artists may not and are probably not the people who are responsible for this information. Look to the producers or other such people. -Jeff (writer of Let the Good Times Roll) ;-) ;-) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Fri, 1 Dec 1995 10:01:18 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Crossroads - White Blues From the 60's Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu L.W. wrote: > >Anyone familar with the SET. I lost the booklet/notes many. many years ago >I seem to recall Glover/ Hoerner or whoever they are on there. >>I'm curious to the set that includeds Hangman, Rent Party Rag (sounds like Country Joe and The Fish). >Who wrote BLACK BETTY and when was it FIRST recorded > Crossroads, White Blues From the 60s was a box set on Elektra Records. i think it's out of print now. It contains fourteen tracks by Koerner, Ray & Glover (one whole LP), two of which are Hangman and Rent Party Rag. Did you want a listing of *all* the titles? Or just to know whether those two were indeed on there? They are. The 2nd LP has tracks by Dave Van Ronk, Geoff Muldaur, Mark Spoelstra, Danny Kalb, Al Kooper, Tom Rush, The Lovin Spoonful, and Eric Clapton & the Powerhouse. The third LP is entirely by The Paul Butterfield Blues Band, eleven tracks, I think all taken from their first Elektra LP. Black Betty was sung by Leadbelly; far as I know his recorded version is earliest, but there's probably someone out there who can correct me if not. Mary Katherine (I can hear them all saying, what does *she* know about white blues in the 60s? In fact, not much, but she has a record collection!) ========================================================================= Date: Fri, 1 Dec 1995 13:21:07 -0500 Reply-To: HugeSmall@AOL.COM From: Boyd Small Subject: Re: Lefty Dizz Comments: To: prychitk@oswego.oswego.edu >Now, I've heard some claim that Otis's unique sound is in fact >caused by >his being a lefty and bending the strings on right-strung >guitar, which >implies a right-hander can't get the same tonal effect on a >right-strung >guitar. But, to be honest, I can't see how that ultimately >matters. Are >the physics really that different? IMHO a right hander can get any sound a left hander can and visa-versa. It's just that it's not likely that a right hander would come across that sound on their own without trying. Boyd ========================================================================= Date: Fri, 1 Dec 1995 13:47:16 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: attn: Toronto Bluesellers I got the following e-mail this afternoon. Are there any Toronto blueszellers that can help this kid out? Tom In another time and place, duviner@io.org said: > > Hello, > My name is Gabriel Friedman. I am grade ten student in > Toronto, Ontario, Canada. I have been assigned an oral history > project. I chose to do it on the blues. I have to find 3-4 > knowledgeable people to interview on the subject. The problem is > that I have had great difficulty finding them. Here's where I need > your help. I need you to hook me up with some people in Toronto > ASAP. I apreciate your help, please e-mail me back. > > e-mail:duviner@io.org > > Thanks, > Gabe > ----------------------------------------------------------------------------- My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Fri, 1 Dec 1995 13:46:52 -0500 Reply-To: David Goldstein From: David Goldstein Subject: Returned messages I just received an email regarding an undeliverable message. It seems that each time a message is sent to blues-l, it gets distributed to each member of blues-l. If a member's address no longer exists, you get an undeliverable message message. Is there anyway to turn this off? ========================================================================= Date: Fri, 1 Dec 1995 13:08:38 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Biker Blues fan, + and - 's. At 12:27 AM 11/30/95 -0400, Mike Gilbert wrote: > The GREAT GONZO, Hunter S. Thompson, did a gig with the Angels and >it was good...till he almost got stomped on! > >>I play in the Basement Blues Band and our favorite gig is The Two Wheel >>Inn...these are serious Angels and Henchmen and they love us....They reat >us very well and it's always a great time for all. >> >>Ive found that bikers are o.k on the whole and that the wannabee bikers are >>the trouble-causing assholes. I used to work with a biker & his friends were >>all great, well-meaning guys. >> All things considered, including the many favorable messages about bikers in this thread, tho, and maybe only in retrospect (altho I doubt it), but it doesn't seem like it ever could have been a good idea to have Angels doing security for music festivals like Altamount or acid tests at Esalen.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Fri, 1 Dec 1995 10:43:09 -0700 Reply-To: Jeff Birk From: Jeff Birk Subject: Re: Blues Promotion (& somebody stole my name!) -Reply >>How about everybody else? Did you AQUIRE a taste for the Blues? I'm a late bloomer, 29 years old and really started getting into blues only 6 months ago (what a shame). Started buying all the SRV I could get a year ago, then 6 months ago bought the Alligator 20th year anniversary double CD and the rest is history. I usually buy 4 CDs a month (well, I try to do only that, let's put it that way) and over the past 6 months it's been pretty much nothing but blues. Albert Collins, John Hammond, Buddy Guy, Luther Allison, and I've got a LONG way to go. I'm looking forward to delving into Robert Johnson, Muddy Waters, Howlin' Wolf, BB King, etc. Can you believe I don't have any of these guys CDs yet? (Please forgive me fellow zellers, I am but a blues infant compared to many of you). I've saved many of your posts about artists whom I plan to look into very soon. I appreciate all the reviews and recommendations. This is a great list. Jeff ========================================================================= Date: Fri, 1 Dec 1995 10:48:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Freddie King's cause of death I was told by someone who knew him that Freddie's health was further impaired by the belief that his current label, Shelter, was about to drop him. -Bonnie ========================================================================= Date: Fri, 1 Dec 1995 14:50:19 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Song writing credits Comments: To: SFDBLUES@aol.com On December 1, Steve Fay asked: >>>Also, when a rock >>>band covers a blues song many times the writer is not listed >>>but >>>"traditional" is given. Could somebody discuss this subject >>>and have any of >>>these songwriting credits found there way into the courts? People steal writer/publishing royalties for the same reason that men (and women) climb Mount Everest: "Because it is there . . . . ." Do you remember what 'Deep Throat" told Woodward & Bernstein? "Follow the money . . . . ." In the old days, people stole songs because they thought they wouldn't get caught. The bookkeeping was shoddy and the copywriting process was lax. But songs are stolen now because the people know that litigation is lengthy, expensive and it will come down to my hired gun "expert witness" testifying against your hired gun "expert witness." The National Rhythm & Blues Foundation has lawyers doing Pro Bono work in this area. The blues world seems to be far behind but, of course, we are dealing with songs that were being sung prior to the invention of recording technology. It is simplistic to point fingers at executives, producers, engineers, artists, etc. I could make the point that Son House's "Preaching Blues" predates the Robert Johnson, Arthur Crudup's "Rock Me, Baby" was before BB King's version, etc. It just depends on how deep into legal proceedings you want to go. While we are on this subject, this list seems to enjoy 'claptonbashing' as some level of national sport. I can tell you that EC is an absolute thoroughbred on the bone when it comes to honoring his mentors. He has chosen to lead by example instead of sitting on the sidelines counting his money. You may not like what he does or how he does it, but Clapton has taken a leadership role in identifying song writers. His record label is then legally committed to paying the statutory rate to the publisher of record. (This post comes to you from the manager of the late Skip James who received Cream's "I'm So Glad" royalties while he was dying of cancer because Mr. Clapton, Mr. Baker and Mr. Bruce refused Atlantic Records suggestion that they copyright the song as a new arrangement.) Dick Waterman ========================================================================= Date: Fri, 1 Dec 1995 12:00:16 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: JR. WALKER, MOTOWN ASTIST, DIES AT 64 (NOT 53) Comments: To: BluesHvn@aol.com After a little bit of calling around, I was able to confirm JR. WALKER's year of birth. Most - actually all obits & reference books I've read - indicate that he was born in 1942 (one says 1938). It seems that the bio sheet from MOTOWN, "THE SOUND OF YOUNG AMERICA", was off by 11 years! I've also used the JR. abbreviation as his recordings never used the term Junior. I'd like to thank Tony Burke, as the obit below is based on his early draft for publication in Blues & Rhythm. If you haven't subscribed to Blues & Rhythm, may I recommend you do. I've include the subscription details at the end of the obit. JR. WALKER (1931-1995) "I am just into making a joyful noise. We make a wind blow them blues clean to Monday. It's Saturday night now, ain't it? And if you'll excuse me, I got a job to do." ~ Jr. Walker talking to Gerri Hirshey As was widely reported in the national and music press former Motown saxman Jr. Walker died from cancer on Thursday, November 23rd, 1995, Battle Creek, Michigan. Jr. Walker's playing influenced a younger generation of sax blowers notably David Sanborn, Clarence Clemons, Jim Horn, Lenny Pickett (of Tower of Power) and in particular, the gospel saxophonist Vernard Johnson. He was born Autry DeWalt II in Blytheville, Arkansas on Sunday June 14th, 1931 (not 1942), he took his stage name from his step-father. With a sax style modelled on the giants of 40s and 50s R&B giants like Gene Ammons, Clifford Scott, Lee Allen, King Curtis, Sam "The Man" Taylor, Illinois Jacquet & Earl Bostic (although he claimed (to me) Boots Randolph was his favourite artist), Jr. formed a band called The Jumping Jacks (sometimes also called The Sticks Nix Band, after drummer Billy "Sticks" Nix) with guitarist Willie Woods in South Bend, Indiana. During this time, he also moved to St. Louis and played with Memphis Slim, Chuck Berry & joined Albert King's band. By 1961 he and Woods along with Vic Thomas on organ and (the late) James Graves on drums turned professional, recording a one-off for Joseph Von Battle's Von label as The All-Stars, and finally changing their name to Jr. Walker and The All-Stars. Drawn to the attention of Harvey Fuqua, then running his own Harvey and Tri-Phi labels in Detroit, by Johnny Bristol, Walker's first 3 Harvey recordings made little impression on the R&B charts, except "Cleo's Mood", a wonderful variation on Otis Rush's Cobra recording "All Your Love". During this time they also recorded behind other Harvey artists like Harvey & Ann, The Five Quails, and Loe & Joe. However, once he was transferred to the Motown Soul subsidiary by Berry Gordy, a string of hits followed; "Shotgun", a vocal duet with Willie Woods, recorded an after-thought when their (ex-Jumping Jacks) singer Fred Paton was a no-show, formed part of the soundtrack for the mid 60s and became the prototype for his many other 45s and album tracks, "Shake And Fingerpop", "Cleo's Back" (1965) ; the dance anthem "(I'm A) Road Runner" and "How Sweet It Is" (1966), "Come See About Me" (1967), and "Hip City" (1968) all featured his distinctive sax playing coupled with a unique good time feel that the band captured on disc. As an aside, James Brown fans should note that "Papa's Got A Brand New Bag" is a variation on "Tally Ho", tune from Jr. Walker's first album. Most of his recordings featuring The All-Stars in fact featured many of Motown's house musicians (The Funk Brothers), including Earl Van Dyke, Benny Benjamin, James Jamerson and Robert White - who have sadly all passed away & nearly forgotten today. Seventies hits included "Way Back Home", "Walk In The Night" and "Take Me Girl, I'm Ready", which developed a mellower feel first demonstrated on "What Does It Take" (1969) with producer/friend Johnny Bristol on harmony vocals & guitarist Robert White. Unlike most Motown artists Walker kept a downhome style. During the late 70s (he left Motown in 1978, returning briefly in 1983), he recorded for Norman Whitfield's label and in the 1981, Walker was featured on the pop hit "Urgent" by Foreigner. Jr. also acted and recorded as "The Swanky Modes" with Sam (of Sam & Dave) Moore for the 1988 Island Records movie soundtrack to the film "Tapeheads". He was still playing shows up until recently, and featuring in a number of Motown revival shows with his son (Autry DeWalt III) on vocals & drums. On March 2, 1995, the Washington-D.C.-based Rhythm & Blues Foundation included him in their 6th Annual Awards presentation. According to Willie Woods, Walker was beginning to show signs of his illiness about 2 years ago, and after a recent tour with The Four Tops & The Temptations, he returned very weak, with next to no strength in his legs. He was also preparing to sign a new record contact. "Nothing But Soul: The Singles 1962-1983," a 40-song collection released in 1994, is the single best source for Jr. Walker's music - Ben Edwards' notes are excellent & were used this obit. JR. WALKER is survived by 9 sons (Tevin Mixon, Autry, Charles, Kevin, Timothy, Derek, Dennis, Lloyd and Kenneth Dewalt); 4 daughters (Beverly, Pamela, Angela and Jasmineka Dewalt); 22 grandchildren, and 4 great-grandchildren. He is also survived by his mother, Marie Walker. Services were held on November 28 at the Second Missionary Baptist Church, with burial following in Oak Hill Cemetery, Battle Creek, MI. With thanks to Tony Burke , Editor/Blues & Rhythm : The Gospel Truth. For subscription information, email or visit Gary Joneson's KING BISCUIT TIME Web site, under the Blues Publication section for more details. Selected CD Discography : ======================= MOTOWN 8512 : JUNIOR WALKER & THE ALL-STARS - MOTOWN LEGENDS MOTOWN 530402 : JUNIOR WALKER & THE ALL-STARS - HOME COCKIN' MOTOWN 635141 : JUNIOR WALKER & THE ALL-STARS - SHOTGUN MOTOWN 635208 : JUNIOR WALKER & THE ALL-STARS - GREATEST HITS MOTOWN 635297 : JUNIOR WALKER & THE ALL-STARS - ALL THE GREAT HITS MOTOWN 636270 : JUNIOR WALKER & THE ALL-STARS - NOTHING BUT SOUL : SINGLES (2CD) ========================================================================= Date: Fri, 1 Dec 1995 15:00:07 -0500 Reply-To: "Robert Greer c/o CUNY 212/346-8452 (fax 8453)" From: "Robert Greer c/o CUNY 212/346-8452 (fax 8453)" Register Robert Greer CUNY 212 / 346-8452 (fax 8453) ========================================================================= Date: Fri, 1 Dec 1995 15:00:20 -0500 Reply-To: "Robert Greer c/o CUNY 212/346-8452 (fax 8453)" From: "Robert Greer c/o CUNY 212/346-8452 (fax 8453)" Register Robert Greer CUNY 212 / 346-8452 (fax 8453) Options: Ack Log Long NoteBook Blues-L Date: none From: Robert Greer c/o CUNY 212/346-8452 (fax 8453) Greer at BMACADM To: Blues Music List Blues-L at BrownVM Subscribe $$$$$$$$$$$$$$$$ Robert Greer CUNY 212 / 346-8452 (fax 8453) ========================================================================= Date: Fri, 1 Dec 1995 15:02:09 -0500 Reply-To: "Robert Greer c/o CUNY 212/346-8452 (fax 8453)" From: "Robert Greer c/o CUNY 212/346-8452 (fax 8453)" Register Robert Greer CUNY 212 / 346-8452 (fax 8453) Options: Ack Log Long NoteBook Blues-L Date: none From: Robert Greer c/o CUNY 212/346-8452 (fax 8453) Greer at BMACADM To: Blues Music List Blues-L at BrownVM Set Blues-L Digest ========================================================================= Date: Fri, 1 Dec 1995 15:11:22 EST Reply-To: george morales From: george morales Organization: TEMPLE UNIVERSITY Subject: Re: tampa fl blues thanks to those who made suggestions on where to see blues in tampa i have forwarded them to my buddy hope the weather is better than the gray skies here in phila george +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ | | | GEORGE MORALES GEORGEM@TEMPLEVM | | COMPUTER AND INFORMATION SERVICES GEORGEM@VM.TEMPLE.EDU | | TEMPLE UNIVERSITY (215)204-6866 | | | +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Fri, 1 Dec 1995 15:19:45 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Blues film and video - degradation Comments: To: bit-listserv-blues-l@uunet.uu.net In a message dated 95-11-30 22:37:14 EST, jinxblues@aol.com writes: >Since I was involved in the rediscovery of blues musicians and worked with >many of them back in the 1960s, there might be an assumption that perhaps >Denise was including me within that grouping. >Just for the record: I took no footage, own no footage, control no footage >and have no dialog with anyone who does. For clarification, and I am sorry that I was too vague in my original post, I would never include Dick Waterman in any grouping of petty, proprietary folks. He's one of the most generous and sincere people I've had the pleasure of knowing, and his love of the blues and its artists is genuine. At the recent King Biscuit Boy Festival, I happened to get a wonderful photo of Robert Jr. Lockwood embracing Dick. My picture taking skills are still developing, but the subjects reflected an immeasurable amount of mutual respect and affection, which even my unsteady camera could not miss. No, Dick Waterman is on the A list, definitely. Among other of the rediscoverers, some have been hunted down and sued for releasing old material; others are afraid to release certain treasures because someone out there might have some type of 30 year old claim over the material. Since there's no communication between these disparate parties, nothing is accomplished. In his original post, Joel Slotnikoff suggested that film degradation was not the only possibility for the apparent loss of certain treasures for public enjoyment. I agree with Joel, and I'm sure that Dick would agree also, that rivalries and personality conflicts have overridden sound business sense and the best interests of the artists many times over. Denise ========================================================================= Date: Fri, 1 Dec 1995 14:26:06 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Top Ten Pet Peeves of Blond Female Slide Guitarists Comments: To: "Terry L. Odor" , steve.levine@corp.wrgrace.com Hope no one minds if I blow off a little steam. P.S. This is all true, I swear. Top Ten Pet Peeves of Blond Female Slide Guitarists: 10. Hair so long you have to play your guitar down by your knees like ZZTop 9. People who say, "hey, look, a girl playing slide electric guitar! It must be Bonnie Raitt!" 8. People who ask if you think you'll ever remarry since losing Kurt Cobain so tragically 7. "Hey, Baby, slide on THIS!" 6. People who think you're a waitress and get mad when you won't take away their empty beer mugs 5. People who say, "awww, look, a girl playing guitar, isn't that CUTE?!" 4. Fishnet stockings getting caught on your whammy bar 3. Roadies who claim they hurt their backs moving your gear and ask you to kiss it and make it all better 2. Guys who try to make you drop your slide so they can watch you bend over to pick it up AND THE #1 PET PEEVE OF BLOND FEMALE SLIDE GUITARISTS.... 1. Putting your flatpick between your teeth "just for a minute," then accidentally dropping it in your brassiere THANK YOU -- Ruth Parrish, rhythm/slide guitarist for Heart of Blues ========================================================================= Date: Fri, 1 Dec 1995 14:43:33 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Top Ten Pet Peeves of Blond Female Slide Guitarists In-Reply-To: Message of Fri, 1 Dec 1995 14:26:06 -0500 from On Fri, 1 Dec 1995 14:26:06 -0500 PARRISHR said: > 7. "Hey, Baby, slide on THIS!" > 4. Fishnet stockings getting caught on your whammy bar No offense, but if you are wearing fishnet stockings, I may be inclined to invoke number 7 Of course I'm kidding,.....I would never say that. LW ========================================================================= Date: Fri, 1 Dec 1995 16:57:29 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Lefty and Upside Down Comments: To: prychitk@OSWEGO.OSWEGO.EDU On 1 Dec 95, David L. Prychitko had this to say: > Yes. Many left-handed folks do it (i.e., play conventionally-strung guitar) > including Eddie Clearwater and Otis Rush. > > Now, I've heard some claim that Otis's unique sound is in fact caused by > his being a lefty and bending the strings on right-strung guitar, which > implies a right-hander can't get the same tonal effect on a right-strung > guitar. But, to be honest, I can't see how that ultimately matters. Are > the physics really that different? There's an enormous difference in the way the fingers fret and bend the strings. Playing a conventional guitar, where you push to bend, most of the pressure is applied toward the direction of the bend, and very little force is necessary pressing the string to the fretboard. In playing upside down, where you must pull to bend, much more squeezing force against the fretboard must be used to keep the string you are bending from slipping out from under your finger. That puts much more meat in contact with the strings, and it changes tone. Added to that is the fact that when you bend one string far and the string next to it not as far and strike them both, you wind up with a totally different interval between the two notes depending on whether you are pushing, like most of us, or pulling like Otis Rush. It is impossible to match those intervals in the opposite direction. Otis Rush has an instructional video out in which he is paired with Arlen Roth who has an ego the size of Kansas. It's great fun to watch Arlen trying to do those two note bends and never realizing, (or maybe never admitting), that he just couldn't match them. About the only way they could be done by a conventional player would be by reaching over the top of the neck and pulling strings up. However, this only explains a small part of Otis Rush's unique sound, the rest comes from his unique genius and talent. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 1 Dec 1995 16:57:29 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Devil as "Dan" Comments: To: Jinxblues@AOL.COM On 1 Dec 95, Dick Waterman had this to say: > On December 1, LW wrote: > I guess that Mance knew the devil better than the rest of us. > If you don't know him personally, I think you have to call him "Mister > Quayle." > > Dick Waterman Waterman, I'm gonna send you the doctor bill. I think I hurt myself laughing. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 1 Dec 1995 16:57:30 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: So what's the deal with Eric's Dates? Recently several people have asked me basically... What's the deal with Eric's Blues Dates? Why do you post them every day? So, the last time I answered, I saved part of the reply and shall post it right here in case anyone else is wondering the same thing. As for Eric's Dates.... Eric, like many of us, was running out of spare time in his life and stopped putting the dates out on a daily basis, and instead started sending out a whole months worth at once. I found that while I was saving the new monthly versions, I was no longer looking at them every day. I missed the daily reminder in the morning email. So I figured a lot of other folks must miss the daily version as well. So I began snipping each days out and RE-posting them to the list. Eric eventually told me how much he appreciated this, and began sending the monthly version to just me. So I snip a new day out every morning (or NEARLY every morning) and post it to the list. Eric still does all the work of maintaining that wonderful database. It's not as selfless an act as it might appear. I started doing it as a way to force myself to read the monthy version on a daily basis like I used to. I try to rig the posts so that any reply goes to Eric, by adding a "Reply To:" field with Eric's address in it. So far that has been working just fine, and nobody's additions or corrections have come to me. That's the whole story. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 1 Dec 1995 16:57:30 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Song writing credits Comments: To: SFDBLUES@AOL.COM On 1 Dec 95, Steve Fay had this to say: > I am sure this subject has been hotly discussed before on this list, but > since I am relatively new to the list I thought I would ask. I do not > understand how it is determined who gets song writing credit for songs. > Example, Robert Johnson's Walking Blues or Sweet Home Chicago has him listed > as the writer. These songs were of course performed earlier.For example, Son > House recording a variation on Walking Blues as early as 1930. Rock Island > Line as performed by Johnny Cash has him as the author, but I have a copy of > Leadbelly singing it much earlier. Are these people given credit because of a > knew arrangment and the original authors were never known? Also, when a rock > band covers a blues song many times the writer is not listed but > "traditional" is given. Could somebody discuss this subject and have any of > these songwriting credits found there way into the courts? It's sort of complicated in that there is really not a single answer to any of those questions. Legally, the person who is listed on the copyright registration as a song's writer owns half of it, and the publisher if one exists (and that could be the same person) owns the other half. (The writer owns it all if there is no publisher) Rights to the composition, of any kind, are theirs to sell. Frequently that "legal ownership" has nothing to do with what gets printed on liner notes. Likewise, what's written in the liner notes means nothing legally. A credit is simply that. The publisher giving recognition to the writer. If the "credit" given on a recording is incorrect, it is simply that... incorrect, and has now bearing on ownership. Aside from that, many old Blues songs were written by one person and never registered with the copyright office. According to copyright law they are still the legal "owner" of the copyright. However, if someone comes along and REGISTERS a copyright for that song in a different name, it becomes very hard to prove in court that you are the original writer and therefore owner of the song in question. When you register a copyright you are basically providing yourself with a very simple way to prove ownership should the need arise. But the registration itself is not legally necessary. Legally, the moment a song exists it's copyright belongs to it's creator. You don't even have to write that little "c" in a circle any more legally. It's done now out of tradition (since it was required at one time). Traditionally, (no pun intended) the word "traditional" was used in a credit to indicate the following - "I do not own this composition, and I have been unable to find out who does." While you are required legally to pay royalties to a writer, monitoring who uses your song is the responsibility of the writer. Simply writing "traditional" in the credits does not release you from the responsibility of paying royalties should ownership be claimed by someone later. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 1 Dec 1995 16:17:00 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: Top Ten Pet Peeves of Blond Female Slide Guitarists Oh, LW, it's all so Freudian. But then, sometimes a bottleneck is just a bottleneck.... It's too cold for the fishnets right now. They're packed away with the Chaka Khan fur halter top right now :) Ruth ______________________________ Reply Separator _________________________________ Subject: Re: Top Ten Pet Peeves of Blond Female Slide Guitarists Author: L W at Internet Date: 12/1/95 2:43 PM On Fri, 1 Dec 1995 14:26:06 -0500 PARRISHR said: > 7. "Hey, Baby, slide on THIS!" > 4. Fishnet stockings getting caught on your whammy bar No offense, but if you are wearing fishnet stockings, I may be inclined to invoke number 7 Of course I'm kidding,.....I would never say that. LW ========================================================================= Date: Fri, 1 Dec 1995 15:21:27 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Johnny Shines info I write for a magazine called "The Alabama Musician", the upcoming issue is dedicated to Johnny Shines. I will be interviewing some folks who were close to Johnny. I know that some of you (you know who you are) have had some involvment with Johnny in the past. I would like to include your stories and ancedotes in this tribute, so I'm asking those of you who have some first hand experiences with Johnny to share them with me, so I can include them PRIVATE MAIL, of course..... Thanks LW ========================================================================= Date: Fri, 1 Dec 1995 16:28:54 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: To honor Mister King Comments: cc: StroppyLas@aol.com I thought about not posting this because it might strike some as name-dropping. Well, I'll just take the barbs because it is of genuine news value. Bonnie Raitt dropped me a note to thank me for a photograph I had given her. She said that she is flying to Washington this weeekend to narrate the BB King segment of the Kennedy Center Honors Tribute. She was proud that having a little industry clout gave her the right to pick her own musicians to honor Mister King. It will be telecast in December and I'm sure that she hopes that even if you don't care for her brand of blues, you will enjoy the network exposure for Etta James and Joe Louis Walker. (Flames to me on this one. I did not consult with Ms. Raitt before making the post.) Dick Waterman ========================================================================= Date: Fri, 1 Dec 1995 10:16:07 GMT Reply-To: Dave_J._Herda@infozone.telluride.co.us From: "Dave J. Herda" Organization: InfoZone Telluride Co (970)-728-0472 Subject: Re: Blues Promotion (& somebody stole my name!) Comments: To: pwfenton@GATE.NET I new what the blues was, but never really had an interest in them until a night in May '92. I was just finishing up my second year of college at the University of Iowa. It was a Thrusday night and I was psyched because me and a few of my good friends had tickets to see Blues Traveller playing outside of the school's union. The other act was a guy I had heard of but never listend too. His name was Buddy Guy. Needless to say, I started out a bit dissappointed because Blues Traveller came out first (I thought they would be the headline) but the show they put on blew my mind. Afterwards, I prepared myself for a letdown with this Buddy Guy character--boy was I in for a shock. Buddy took the stage and whipped the crowd into a frenzy like no performer I had ever seen. I was mesmerized by his scorching guitar licks and his relationship with the crowd. If Blues Traveller blew my mind then Buddy absolutely melted my brain. To this day, that show is the best I have ever seen and ever since that show, I've been addicted to the blues! ========================================================================= Date: Fri, 1 Dec 1995 17:51:14 CST Reply-To: JBards From: JBards Subject: Re: Lefty and Upside Down Comments: To: "P.W. Fenton" I think perhaps this whole discussion misses much of the point as far it pertains to the ability of "righty" players to sound like the lefties who play upside down. There are so many small nuances of style and technique that create the overall sound of the great guitarists that I think handedness would rank pretty far down the list of relevant variables. I remember somebody- I think it was David Gilmour- talking about Jeff Beck coming into the studio, picking up Gilmour's old Tele, plugging into Gilmour's rig, and sounding...just like Jeff Beck. I've heard this said over and over again, and I think it pertains to this discussion, also. With regard to the Rush/Roth comparison, I doubt Arlen would find it very easy to sound much like Otis regardless of differences in their hand preferences. -Jim _______________________________________________________________________________ Subject: Lefty and Upside Down From: "P.W. Fenton" at INTERNET-SH Date: 12/1/95 4:24 PM On 1 Dec 95, David L. Prychitko had this to say: > Yes. Many left-handed folks do it (i.e., play conventionally-strung guitar) > including Eddie Clearwater and Otis Rush. > > Now, I've heard some claim that Otis's unique sound is in fact caused by > his being a lefty and bending the strings on right-strung guitar, which > implies a right-hander can't get the same tonal effect on a right-strung > guitar. But, to be honest, I can't see how that ultimately matters. Are > the physics really that different? There's an enormous difference in the way the fingers fret and bend the strings. Playing a conventional guitar, where you push to bend, most of the pressure is applied toward the direction of the bend, and very little force is necessary pressing the string to the fretboard. In playing upside down, where you must pull to bend, much more squeezing force against the fretboard must be used to keep the string you are bending from slipping out from under your finger. That puts much more meat in contact with the strings, and it changes tone. Added to that is the fact that when you bend one string far and the string next to it not as far and strike them both, you wind up with a totally different interval between the two notes depending on whether you are pushing, like most of us, or pulling like Otis Rush. It is impossible to match those intervals in the opposite direction. Otis Rush has an instructional video out in which he is paired with Arlen Roth who has an ego the size of Kansas. It's great fun to watch Arlen trying to do those two note bends and never realizing, (or maybe never admitting), that he just couldn't match them. About the only way they could be done by a conventional player would be by reaching over the top of the neck and pulling strings up. However, this only explains a small part of Otis Rush's unique sound, the rest comes from his unique genius and talent. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 1 Dec 1995 15:00:04 PST Reply-To: mmccourt@ACUSON.COM From: Mike McCourt Subject: Re: Biker Blues fan, + and - 's. David Silberberg wrote: >All things considered, >it >doesn't seem like it ever could have been a good idea to have Angels >doing >security for music festivals like Altamount or acid tests at Esalen.... Having been at Altamont, one scene that sticks out in my mind is the image of a school bus sitting about half way back and to the right of the stage in a crowd of 200,000 plus. Sitting on top of that bus for hours were a bunch of 'Angels' throwing full cans of beer into the crowd towards the front of the stage. I always wondered how many people were hit in the back of the head by a can thrown 30 or 40 yards. These guys probably figured they were doing people a favor by throwing them beer. I still blame the Stones for the scene that took place that day. Another perspective; my favorite gig we do is at a biker bar in a little town of Sunol on Sunday afternoons every once-in-a-while. We always get fed and the crowd is never anything but totally friendly and appreciative. And the bikes they ride are beeeeeyyouttiifull! Mike ========================================================================= Date: Fri, 1 Dec 1995 23:04:56 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: Sonny Boy in Cinema David Goldstein (dgoldst@IPOF.FLA.NET) wrote: : The actor's name was actually Sonny Boy Williams. He has credits in three : movies: : Take A Letter, Darling (1942) with Fred MacMurray : Hold Back The Dawn (1941) : The Old Swimming Hole (1941) : I do not know if this is the Sonny Boy Williamson of blues fame. The plot thickens. I mean, how many SBW's could have been running around in show biz those days? I may have to rent those flics and see if he's playing the harp in any of them. Jef Jaisun -- eljefe@netcom.com ========================================================================= Date: Fri, 1 Dec 1995 16:37:48 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Lefty Guitarists Comments: To: "David L. Prychitko" In-Reply-To: Even Otis says that pulling instead of pushing when he bends strings gives him a different sound than a righthander. Of course you can compensate, but there is a difference. Also in having closer access to the low vs. high strings because of coming at the neck from the opposite side with his fretting hand, having the harmonics reversed from strumming up and down vs. a righty (he has to strum in a different direction to get the "low to high" layering of a chord that righties are used to hearing from down strokes). And with a righty guitar, a lefty also has to worry about a single cutaway body being backward and having the volume and tone controls getting in the way all the time. (Otis used to change his sound accidentally often by inadvertsently bumping the knobs with his left wrist of forearm; thank goodness he finally got his lefty 355 fixed up so he feels comfortable with it.) It's not that one way is clearly better; there are definitely tradeoffs. I find it much easier to understand what he's doing by watching him because he just flips the guitar instead of restringing. But there ARE real differences. ========================================================================= Date: Fri, 1 Dec 1995 16:40:44 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Freddie King's cause of death Comments: To: Bonnie Kalmbach In-Reply-To: <25120110482335@vms2.macc.wisc.edu> Freddie had been gone from Shelter for years before his death; his last several studio efforts were for RSO. Most people I know attribute his death to the general effects of living a fast, full, hard life. Eerily, a year before his death, he toured Australia with Hound Dog Taylor and Duster Bennett-- all of whom dies within the next year or two following the tour. ========================================================================= Date: Fri, 1 Dec 1995 16:48:04 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Earl Hooker Comments: To: Robert Crocker In-Reply-To: <9511281744.aa01502@villtor.village.ca> Blues For Dancers is on Boss Men (Red Lightnin' RLCD 0092). The Cuca LP was issued in '69. More Cuca material (including all the vocals; the Cuca LP was all-instrumental) is on the LP/CD Play Your Guitar, Mr. Hooker! issued by Black Magic and licensed by Black Top. Cuca also issued at least a couple Hooker 45s during the '60s. Once I played some of the Hooker Cuca stuff where he switches between sliding and fretting for Roy Buchanan, and Roy told me he thought it was the best guitar playing he'd heard. Maybe hyperbole, but impressive praise nonetheless. ========================================================================= Date: Fri, 1 Dec 1995 18:12:07 CST Reply-To: JBards From: JBards Subject: Re: To honor Mister King Comments: To: Jinxblues@AOL.COM Thanks, it sounds like a wonderful show and I never miss an opportunity to see and hear the lovely Ms. Raitt. The latest live CD is quite good, BTW. Loved "Burning Down the House". -Jim _______________________________________________________________________________ Subject: To honor Mister King From: Jinxblues@AOL.COM at INTERNET-SH Date: 12/1/95 5:07 PM I thought about not posting this because it might strike some as name-dropping. Well, I'll just take the barbs because it is of genuine news value. Bonnie Raitt dropped me a note to thank me for a photograph I had given her. She said that she is flying to Washington this weeekend to narrate the BB King segment of the Kennedy Center Honors Tribute. She was proud that having a little industry clout gave her the right to pick her own musicians to honor Mister King. It will be telecast in December and I'm sure that she hopes that even if you don't care for her brand of blues, you will enjoy the network exposure for Etta James and Joe Louis Walker. (Flames to me on this one. I did not consult with Ms. Raitt before making the post.) Dick Waterman ========================================================================= Date: Fri, 1 Dec 1995 18:32:43 -0500 Reply-To: "r.d. tebby" From: "r.d. tebby" Subject: Re: So what's the deal with Eric's Dates? Comments: To: "P.W. Fenton" In-Reply-To: <199512012113.QAA40963@tequesta.gate.net> I want to thank P.W. and eRIC for the daily dates. I'm sure a lot of other bluezellers appreciate them, too. FWIW, that is the only post I'm GUARANTEED to read each day. When the mail is heavy I delete a lot of notes unread, but not these. Thank-you both again for the good work! rdt ========================================================================= Date: Fri, 1 Dec 1995 09:59:11 GMT Reply-To: Dave_J._Herda@infozone.telluride.co.us From: "Dave J. Herda" Organization: InfoZone Telluride Co (970)-728-0472 Subject: Re: R.L.Burnside and JR.Kimbrough Comments: To: spowers@SUNSET.BACKBONE.OLEMISS.EDU Saw R.L. this past summer and he was absolutely AMAZING. He was playing at the Riverbank Blues Fest in Iowa City, IA. Unfortunately Junior was sick and couldn't make the show but R.L. was about all I could handle. After the show, R.L. and Paul "Wine" Jones came onto The Blues Explosion which Cornbread Kelly and I were hosting. R.L. was a great interview and then him and Paul wailed through an incredible tune. It was quite a day (from what I can remember). If anyone has the chance to see R.L. don't miss out--take advantage of one of the most powerful and exciting blues artists around today! ========================================================================= Date: Sat, 2 Dec 1995 01:21:10 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Blues Promotion (& somebody stole my name!) Comments: To: bit-listserv-blues-l@uunet.uu.net In article Bo Carlsson writes: >I was interested in a girl and she told me she liked blues - so I looked it >up and a slide intro from Muddy Waters changed my life! That ELECTRIC >guitar sounded like a sirene - I just had to follow the sound and Im still >on the track Yes, but Bo, are you with the SAME WOMAN??? ;-) Art Schuna ========================================================================= Date: Sat, 2 Dec 1995 01:31:28 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: An antique record care pro in house? Comments: To: bit-listserv-blues-l@uunet.uu.net In article <49mfeb$fse@newsbf02.news.aol.com> BAJammin writes: > A friend of mine just returned from his hometown with an Edison >cylinder player in working condition and a box of cylinders many of which >are in pretty fair condition. There is much dirt and grime in the grooves >and I was hoping to get some good tips on how to clean these gems up >before we get down to the business of playing through them. I haven't had the opportunity to clean cylinders but have cleaned a number of 78s over the years. I use a solution of a wetting agent called PhotoFlo - it's made by Kodak for processing prints. It makes water more wet- keeps it from beading and spreads more evenly across the surface. Also, it drains more completely after you allow it to dry. You use one capful/pint of fluid. Available at photo stores that sell developing supplies. An alternative is a few drops of a mild dish detergent (like Ivory) in a similar volume of water. If you use too much it may spot. You can either use a soft cloth or I will sometimes use a soft bristle tooth brush if you think there is a lot of grime in the groove you need to loosen up. Brush gently. Rinse with water and blot dry with a soft clean cloth. For discs, I use a Nitty Gritty vacuum cleaning machine to remove the liquid, but that would be difficult for cylinders. Art Schuna ========================================================================= Date: Fri, 1 Dec 1995 21:15:12 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Fwd: Re: Song writing credits --------------------- Forwarded message: Subj: Re: Song writing credits Date: 95-12-01 14:50:24 EST From: Jinxblues To: SFDBLUES,BLUES-L@brownvm.brown.edu On December 1, Steve Fay asked: >>>Also, when a rock >>>band covers a blues song many times the writer is not listed >>>but >>>"traditional" is given. Could somebody discuss this subject >>>and have any of >>>these songwriting credits found there way into the courts? People steal writer/publishing royalties for the same reason that men (and women) climb Mount Everest: "Because it is there . . . . ." Do you remember what 'Deep Throat" told Woodward & Bernstein? "Follow the money . . . . ." In the old days, people stole songs because they thought they wouldn't get caught. The bookkeeping was shoddy and the copywriting process was lax. But songs are stolen now because the people know that litigation is lengthy, expensive and it will come down to my hired gun "expert witness" testifying against your hired gun "expert witness." The National Rhythm & Blues Foundation has lawyers doing Pro Bono work in this area. The blues world seems to be far behind but, of course, we are dealing with songs that were being sung prior to the invention of recording technology. It is simplistic to point fingers at executives, producers, engineers, artists, etc. I could make the point that Son House's "Preaching Blues" predates the Robert Johnson, Arthur Crudup's "Rock Me, Baby" was before BB King's version, etc. It just depends on how deep into legal proceedings you want to go. While we are on this subject, this list seems to enjoy 'claptonbashing' as some level of national sport. I can tell you that EC is an absolute thoroughbred on the bone when it comes to honoring his mentors. He has chosen to lead by example instead of sitting on the sidelines counting his money. You may not like what he does or how he does it, but Clapton has taken a leadership role in identifying song writers. His record label is then legally committed to paying the statutory rate to the publisher of record. (This post comes to you from the manager of the late Skip James who received Cream's "I'm So Glad" royalties while he was dying of cancer because Mr. Clapton, Mr. Baker and Mr. Bruce refused Atlantic Records suggestion that they copyright the song as a new arrangement.) Dick Waterman ========================================================================= Date: Sat, 2 Dec 1995 02:33:21 GMT Reply-To: Jim Colegrove From: Jim Colegrove Organization: DFWNet -- Public Internet Access Subject: Re: Don't Start Me Talking - Lyrics Comments: To: bit-listserv-blues-l@uunet.uu.net I thought it was "Jack gave his wife two dollars go downtown get some market" ========================================================================= Date: Fri, 1 Dec 1995 22:00:42 -0500 Reply-To: HugeSmall@AOL.COM From: Boyd Small Subject: Re: Lefty and Upside Down Comments: To: jbards@mail-sh.lsumc.edu > I remember somebody- I think it was David >Gilmour- talking about Jeff Beck coming into the studio, >picking up Gilmour's >old Tele, plugging into Gilmour's rig, and sounding...just like >Jeff Beck. This is very true. Each of the guitarists Ive played with sound very much the same when they pick up an acoustic as when they play electric. Most of their 'sound' is in their hands. But I think P.W. Fenton made a very valid point about the differences between 'pushing' to bend the strings as opposed to 'pulling' to bend. The point left out of his post was the fact that some lefties restring the guitar and use a different neck so the strings are in the same position as a right handed guitar and some just flip it over. So really the difference isn't right handed compared to left. It's whether or not the high pitched (smaller) strings are on the top or on the bottom. So theoretically right handers could restring their guitar and use a different neck so the little strings are on the top to get the same sound as a person who just flipped it over. However I know of none who do. Boyd ========================================================================= Date: Fri, 1 Dec 1995 19:26:12 -0800 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Re: Blues Promotion (& somebody stole my name!) -Reply Comments: To: Jeff Birk In-Reply-To: On Fri, 1 Dec 1995, Jeff Birk wrote: > >>How about everybody else? Did you AQUIRE a taste for the Blues? My first blues experience I remember was at the age of 6 or 7 My mom was teaching me piano and I got somewhat advanced so she got a teacher. I first learned a Boogie-woogie baseline that I still use to this day, I also remember playing over blues changes around the same time on guitar. The first blues record I remember hearing was Muddies Folksinger album. I think that the blues is something that can be an aquired taste but most of the players I know, that play blues well, have a somewhat innate feel for the stuff. I know some musicians with impecable taste that cant play to save there lives so I dont think that playing has to do with taste. personnally I think that good music is good music and aquiring the taste for a certain style is similiar to aquiring a taste for asparagus. you like it or you dont. (bad analogy I know) Isaac ========================================================================= Date: Fri, 1 Dec 1995 22:50:30 -0500 Reply-To: Neil Cassidy From: Neil Cassidy Subject: Re: songwriting credits comments to: Dick waterman as in your post >>>While we are on this subject, this list seems to enjoy 'claptonbashing' as >>>some level of national sport. I can tell you that EC is an absolute >>>thoroughbred on the bone when it comes to honoring his mentors. He has chosen >>>to lead by example instead of sitting on the sidelines counting his money. I think Clapton (all music aside here) has repeatedly shown by example, Mr. Waterman's example being a classic. Clapton has at critical points in his life changed course for what seem to be artistic or creative/philosophical reasons. He has never, to my knowledge, made money, fame or media overtly influence his decision. Bravo Dick, Bravo Eric. Neil Cassidy ========================================================================= Date: Fri, 1 Dec 1995 23:23:17 -0500 Reply-To: Jordan Barrett Kessler From: Jordan Barrett Kessler Organization: Columbia University Subject: Re: Soul Festival Comments: To: bit-listserv-blues-l@uunet.uu.net In-Reply-To: <95Nov16.182818-0000_pst.30733-1+34@haven.uniserve.com> Hello! This message is just to let everyone know that WKCR-FM New York, a commercial-free, University-affiliated radio station will be broadcasting 54 straight hours of Soul music from Friday, December 1st at 6PM until Sunday December 3rd at midnight. WKCR broadcasts at 89.9 FM from the World Trade Center, so people in New York, New Jersey, Connecticutt, Long Island, and parts of Pennsylvania should be able to check it out. If anyone has questions about this festival, or questions about WKCR-FM's soul and blues programming, please feel free to e-mail me. Hope everyone enjoys the music. --Jordan Kessler jbk1@Columbia.edu ========================================================================= Date: Fri, 1 Dec 1995 18:01:29 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Re: please help! new Melvin Taylor album Comments: To: bit-listserv-blues-l@uunet.uu.net I SECOND THAT EMOTION. >From BluesRevue Newsgroups: bit.listserv.blues-l Date: Tue, 28 Nov 1995 14:55:13 -0500 Subject: Re: please help! new Melvin Taylor album If you can't find Melvin's new album you can always write to Evidence Music directly at: 1100 E. Hector Street, Suite 392, Conshohoken, PA 19428 USA. I highly recommend this album . . . it has some of the best and most inovative guitar playing that I"ve heard in a while, if not some of the flashiest. Blues Revue also has a profile on Melvin coming out in our next issue, due out by mid January . . . . Bob Vorel, publisher Blues Revue Subscription and free CD info: BluesRevue@aol.com ========================================================================= Date: Fri, 1 Dec 1995 23:40:33 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Don't Start Me Talking - Lyrics Comments: To: Coolg@dfw.net First of all, I think that it is "Don't Start Me (To) Talking:" Anyway, why not just play the song for someone who knew Sonny Boy, knows the song and understands what he is saying? Try Robert Lockwood. Try Junior Wells. Try Pinetop Perkins. Seems to be a much simpler way of doing it (Or were you not looking for a simpler way?). Dick Waterman ========================================================================= Date: Fri, 1 Dec 1995 23:29:53 -0500 Reply-To: Greg Hermanns From: Greg Hermanns Subject: Re: Johnny Winter Nothin' But the Blues LW asked about J.W.'s 1977 album Nothin' But the Blues: Bob Margolin IS the second guitar, the ablum came out in 1977, but I believe Muddy Waters-Hard Again came out earlier in 1977 also on Blue Sky and featuring J.Winter. ========================================================================= Date: Fri, 1 Dec 1995 23:16:10 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Re: R.L.Burnside and JR.Kimbrough > > Saw R.L. this past summer and he was absolutely AMAZING. He was playing at > the Riverbank Blues Fest in Iowa City, IA. Unfortunately Junior was sick and > couldn't make the show but R.L. was about all I could handle. After the > show, R.L. and Paul "Wine" Jones came onto The Blues Explosion which > Cornbread Kelly and I were hosting. R.L. was a great interview and then him > and Paul wailed through an incredible tune. It was quite a day (from what I > can remember). If anyone has the chance to see R.L. don't miss out--take > advantage of one of the most powerful and exciting blues artists around > today! > That tune was "Someday Baby." Cornbread made a copy for me, and it is a killer version of one of my favorite blues songs - only second to the version by Maxwell Street Jimmy Davis. Too bad you left Iowa City. Cornbread and I plan to bring R.L and Kenny Brown for an acoustic gig. Won't tell you when -:) Ranko ========================================================================= Date: Sat, 2 Dec 1995 05:21:22 GMT Reply-To: emdrprac@DIRECT.CA From: emdrprac@DIRECT.CA Organization: Internet Direct Subject: Re: Freddie King Question!! Comments: To: bit-listserv-blues-l@uunet.uu.net >Freddie King's obituary in Living Blues Magazine (Issue 33, Page 7) >states: >".....heart failure, a blood clot, and internal bleeding from ulcers >caused his death." I can't help but speculate that Freddie's diet and lifestyle contributed to his untimely death. I met F.K. twice in the early 70's, and both times was amazed at his intake of greasy food (mass amounts!) and booze (bourbon!) - naturally, this was some time before we all started being conscious of cholesterol, fat, etc...... A sad loss, indeed. Roger B. ========================================================================= Date: Sat, 2 Dec 1995 00:27:24 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Report to blues-l re Pete Welding tribute Just got home (midnight PST) from the tribute to Pete Welding and as promised am sending a report to the list. You were all there in spirit, as every single tribute I got by email from blues-lers was read aloud at the tribute. They were then given to Darlene Welding to keep. At 7 p.m. Capitol Records' Studio A began to fill and by 7:30 it was quite crowded. Among Pete's many friends and colleagues in the music industry who were present were Chris Strachwitz of Arhoolie, Larry Cohn of Sony Legacy, Andy McKaie of MCA, blues writers Neil Slaven and Keith Briggs from the UK, Billy Vera and Mark Humphrey. Others, like Johnny Otis, Shuggie Otis, Frank Scott, Bruce Bromberg and Wayne Watkins, who could not be present, sent written tributes which were read aloud. Darlene Welding spoke at the beginning, and Pete's sons Robert and Raymond and his sister Betty also spoke (and it was unintentionally hilarious to see Pete's sister, who is a Roman Catholic nun, get up to speak; it was like seeing Pete dressed in a nun's habit. They look exactly alike, and there were several giggles from the crowd.) The evening was filled with tributes from people who respected his life's work and/or loved him as a person, and so there were many heartfelt speeched made, most of them quite funny, as Pete had great sense of humor and everyone really got into telling "Pete stories". After the tribute ended, a bunch of us who are old friends went to a local Thai restaurant to continue telling "Pete stories" and talk about the blues in general over dinner. Chris Strachwitz, Mark Humphrey, Andy McKaie, Larry Cohn, Keith Briggs, Neil Slaven, Kirk Silsbee, Billy Vera and myself got into "record collectors brag mode" and spent a couple of hours visiting together, finally breaking up 1/2 hour after the restaurant had officially closed. We are going to get together again tomorrow for more of the same, and Sunday we are all going to a big record collectors' swap meet near here to fight each other for the best 78s. Strachwitz won the battle for the dinner check, pointing out that current country star Alan Jackson was really buying us dinner in Pete's memory, because Chris' publishing company owns a song Jackson recently had a big hit on, "Mercury Blues". Let me tell you our resolution in Pete's memory: Everyone who spoke at the tribute mentioned how shocked and stunned they were at his sudden unexpected death from a massive heart attack. For all of us it was a real wake up call. We promised each other to look after ourselves and each other better in the future, to not keep putting off visits (Larry Cohn and I have not had lunch together in months although we live in the same city, so guess what we're doing *this coming* Tuesday?), but instead to really make the effort to see each other and talk to each other more often. Strachwitz pointed out that he was the oldest person at the table, and that he had been putting off drving to L.A. (from his home in Berkeley) for months, thinking he would get around to it "some day"---so he ended up coming here for a funeral for one of the people he meant to visit months ago but never did. We are all going to try to have fewer "some days" and more "nows". I recommend that all you blues-lers who have been putting things off, whether it's visits to family, friends or calls you haven't made: think about all the folks you keep meaning to get in touch with, and do it NOW. While you can. Quit saying things like "we really must get together soon" and do it. There will be a full obituary, which will include Larry Cohn and Bruce Bromberg's tributes, in the next issue of Living Blues Magazine. Mary Katherine ========================================================================= Date: Sat, 2 Dec 1995 08:55:37 GMT Reply-To: tdevit3@ibm.net From: tdevit3@IBM.NET Subject: Re: Lefty Dizz Comments: To: bit-listserv-blues-l@uunet.uu.net In , steve waggoner writes: >Shaun T Cronin wrote: > >>I don't remeber who wrote the post but awhile ago, someone mentioned that >>fans of wild and raunchy Chicago Blues might want to check out Lefty Dizz. > I don't know which CD you are referring to, but JSP 259 'Ain't it nice to be loved' is ferocious. ========================================================================= Date: Sat, 2 Dec 1995 08:58:05 GMT Reply-To: tdevit3@ibm.net From: tdevit3@IBM.NET Subject: Re: F. King and Christmas Comments: To: bit-listserv-blues-l@uunet.uu.net In <951129220045_38799614@emout04.mail.aol.com>, Karen Hanson writes: >I was at Osco and picked up this cheapie cassette called Rhythm and Blues and >Christmas. There are two songs by Freddy King, "Christmas Tears" and "I Hear >Jingle Bells." Of course, there's no information about the songs, so I was >wondering: Where did they come from? When were they recorded? Any other >info? >Btw, the tape also has Charles Brown and Lowell Fulson, among others, >including Hank Ballard, whom I had never heard before, but liked on this >tape.... > >Karen I believe they were together on a King single...Jingle has great guitar. ========================================================================= Date: Sat, 2 Dec 1995 10:27:26 +0000 Reply-To: Byron Foulger From: Byron Foulger Subject: Johnny Winter Re LW posting on Johnny Winter (carefully leaving out any trashing of EC, and not sure if there was any original thread): My vinyl copy of Nothing But The Blues lists personnel as Winter, vcls & 'everything', Muddy vcls, James Cotton Harp, Pine Top Perkins pno, Margolin gtr, Charles Calmese bs, Willie Smith dms. I doesn't say on what trax, but .... Remember tho' in his very early days back in Texas, Johnny was very influenced by 'real' blues, recorded as Johnny & Jammers amongst other names, for labels like 'D' etc. There's currently a CD out in UK covering some of this early stuff, i.e the 'original' GRT album, pretty good and authentic. Byron Byron ========================================================================= Date: Sat, 2 Dec 1995 09:37:33 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - December 2nd Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ASCH, MOSES (founder: FOLKWAYS REC) b. 1905-1202, WARSAW, POLAND BERSON, JOE (hca/JIMMY ROGERS) d. 1988-1202, CHICAGO, IL 30 BLUE, S. DAVID (g) d. 1982-1202, NEW YORK CITY, NY 41 BRYANT, JAMES (p/JIMMY JOHNSON) d. 1988-1202, LOWELL, IN 32 CRAWFORD, JESSE (o) b. 1895-1202, WOODLAND, CA DAVENPORT, CHARLES "COW COW" (p) d. 1955-1202, CLEVELAND, OH 61 ESSIG, DAVID ROBERTSHAW (g) b. 1945-1202, FREDERICK, MD EXUM, LARRY (b/FENTON ROBINSON) d. 1988-1202, LOWELL, IN 43 FLYNN, FRED (p/cl/BESSIE SMITH) d. 1980-1202, CHICAGO, IL 75 KELLY, WYNTON (p) b. 1931-1202, JAMAICA, BWI KING, SONNY (asax) d. 1983-1202, PORTLAND, OR 52 MARABLE, FATE (p) b. 1890-1202, PADUCAH, KY RUSSELL, GENE(p/YOUNG-HOLT TRIO/3 SOUNDS) b. 1932-1202, LOS ANGELES, CA SMITH, HOMER (of THE SOUTHERNAIRES/DECCA)b. 1902-1202, FLORENCE, AL SMITH, JOE (tpt/BESSIE SMITH) d. 1937-1202, NEW YORK CITY, NY 35 STAPLES, ROEBUCK "POPS" (of THE STAPLES) b. 1914-1202, WINONA, MS TERVALON, CLEMENT (tbn/BESSIE SMITH) d. 1989-1202, NEW ORLEANS, LA 74 WALKER, ROGER DALE (of BUCKWHEAT ZYDECO) b. 1953-1202, KEOKUK, IA WALTON, MERCY DEE (p) d. 1962-1202, MURPHYS, CA 47 ------------------------------------------------------------------------------- ========================================================================= Date: Sat, 2 Dec 1995 09:57:40 -0500 Reply-To: Ken Boon Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Ken Boon Organization: home fan Subject: Re: best acoustic slide players Comments: To: Doug Cox How about Kelly Joe Phelps being in the list - very good slide acoustic man - godd recording - "Lead Me On" !! ========================================================================= Date: Sat, 2 Dec 1995 10:02:26 -0500 Reply-To: Ken Boon Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Ken Boon Organization: home fan Subject: Re: Need a Title Comments: To: TLKnox@EWORLD.COM Sorry - I cannot recall the title - however I read a review of this recording in either "West Coast blues Review" - or "Living Blues" earlier this year - there was also an article on Jimmy Rogers recording "Feeling Good" - produced by Rod Piazza - and an advertisement for Jimmy Rogers "Blue Bird" recording - I cannot find the magazine - I must have loaned it out & not got it back - It was a live recording made in Germany & the reviewer claimed that Jimmy's performances were the best on the CD - hope this helps you! Ken Boon ========================================================================= Date: Sat, 2 Dec 1995 10:02:11 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Organization: IQuest Internet Services Subject: Re: Blues Promotion (& somebody stole my name!) Comments: To: pwfenton@GATE.NET ==============Sounds like a PERSONAL experience, 'cause it's nothing like mine. The Blues were natural to me. I can't remember ever hearing them for the first time. They were just part of me. How about everybody else? Did you AQUIRE a taste for the Blues? P.W. Fenton Tampa, Florida Please visit my Blues web page at http://www.gate.net/~pwfenton===================== I knew the sound and style of music that was so moving to me, but the word blues was a foreign term where I grew up. I didn't know what this music was called, actually. That was very frustrating. Imagine inquiring about slide guitar players in a record store (when they sold records and 8 tracks) and being handed a Joe Walsh album! I would guess the love for blues was born in me, but wasn't allowed to germinate into anything until I found a box of records under the bins in a record store in Lafayette, Indiana in 1983. I do believe one of the first ones I ever bought was Johnny Winter's "Nothing But The Blues." It was also the last Johnny Winter album I ever got, but that's another story. RJ Bauman ( JW's voice is like fingernails on a chalkboard to me) ========================================================================= Date: Sat, 2 Dec 1995 11:30:18 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Doing it for the first time . . . I have been reluctant about putting my photographs on a web page but I have agreed to try one as an experiment. An art supply store convinced me just to see if there was a market for it. So go and take a look. It is the only picture ever taken of Son House, Skip James and Mississippi John Hurt together. I think that this constitutes some degree of 'advertising on Blues-L' but no one will reach into your pocket if you just go and visit. Http://www.watervalley.net/users/ anewt/turnrowpress/index.html Dick Waterman ========================================================================= Date: Sat, 2 Dec 1995 17:03:51 GMT Reply-To: ynot@io.org From: Tony Burns Organization: Internex Online, Toronto, Ontario, Canada (416 363 3783) Subject: Re: attn: Toronto Bluesellers Comments: To: bit-listserv-blues-l@mail.uu.net In <199512011847.NAA60255@poe.acc.Virginia.EDU>, Tom Morgan writes: >I got the following e-mail this afternoon. Are there any Toronto >blueszellers that can help this kid out? > I've sent him information on how to contact the Toronto Blues Society. Tony Burns ========================================================================= Date: Sat, 2 Dec 1995 18:07:47 GMT Reply-To: Pattman From: Pattman Organization: InterLog Internet Services Subject: Anthony Gomes and the Black Cat Bones Comments: To: bit-listserv-blues-l@uunet.uu.net ANTHONY GOMES AND THE BLACK CAT BONES Anthony Gomes: Guitar and Vocals Patt Lepore: Drums Frank Medved: Bass Contact: Voice: 905-896-4811 E-mail:pattman@interlog.com Anthony Gomes and the Black Cat Bones, an urban blues trio based out of Toronto Canada, seasons molten Memphis funk with a generous helping of Texas sting. "I would describe our sound as uptempo goodtime rockin' blues," exclaims Gomes, "if blues is the facts of life, then on stage we live life to the fullest! Blues ain't just about cryin' about your woman, you know. We don't play the music 'cause we're blue, we play it 'cause it puts a smile on everybody's face and gets them rockin'." The band, fronted by guitarist/singer Anthony Gomes, is rounded out by drummer Patt "Dr. Shuffle" Lepore, and Frank Medved and bass. The group, notorious for energetic live performances which include renditions of blues standards as well as some originals, is not adverse to jamming 'till the wee hours of the morning. "We simply love the music - it's our life," asserts Lepore, "if it wasnn't for that, I'd have a tough time getting out of bed in the morning." How did the band come together? Gomes asserts that Buddy Guy's "Left My Blues in San Francisco" had a monumental impact on the band's sound. "That record changed my life. For me that's how blues was supposed to sound, harmonically and musically, and the singing and guitar playing on it are simply killer. B.B. King and Albert Collins are also tremedous influences on my style." The attainment of this musical vision and the finalization of the group's line up only took one phone call. "Anthony knew that I had played in a blues band, so he called me up and asked if I knew drummers who would want to play in a group with him," laughs Lepore, "I told him,'hey, man, what about me?" Patt immediately knew that Medved, a colleage from Humber College Music Department and former band mate, would be excited about the project. "Once we got together," recalls Medved, "it was like magic. Everything gelled from the word go! I still get chills thinking about how well we fit together." The group is currently performing throughout the Golden Horseshoe area. "We're getting really good crowds and with every show we have converted many new faces to the BLACK CAT BONE experience," exclaims Medved. Aside from performing, the band is currently writing and arranging material for an early summer album release which will include both original material and reworked versions of classic songs. Gomes contends that, "the greatest thing about covering blues is that you can inject your own originality into the compositions without sacrificing the audience's familiarity with the music." Although audiences will have to wait until the summer to get their hands an recorded material, they can catch "all nine lives and the blues vibes" by getting down and dirty with the band in concert. ========================================================================= Date: Sat, 2 Dec 1995 18:23:10 GMT Reply-To: Jim Farris From: Jim Farris Organization: Netcom Subject: Re: To honor Mister King Comments: To: bit-listserv-blues-l@uunet.uu.net Where is the Kennedy Center Honors Tribute you speak of going to be shown? On PBS? Any idea of when in December it will be shown? I wouldn't want to miss it. Also, I would like to announce it on my radio show. Jammin' Jim Farris KKUP 91.5 FM South San Francisco Bay Area Dick Waterman wrote: >I thought about not posting this because it might strike some as >name-dropping. Well, I'll just take the barbs because it is of genuine news >value. >Bonnie Raitt dropped me a note to thank me for a photograph I had given her. >She said that she is flying to Washington this weeekend to narrate the BB >King segment of the Kennedy Center Honors Tribute. >She was proud that having a little industry clout gave her the right to pick >her own musicians to honor Mister King. >It will be telecast in December and I'm sure that she hopes that even if you >don't care for her brand of blues, you will enjoy the network exposure for >Etta James and Joe Louis Walker. >(Flames to me on this one. I did not consult with Ms. Raitt before making the >post.) >Dick Waterman ========================================================================= Date: Sat, 2 Dec 1995 12:30:53 -0700 Reply-To: Dan Bryan Hallin <111931@EF.PVC.MARICOPA.EDU> From: Dan Bryan Hallin <111931@EF.PVC.MARICOPA.EDU> OK 2D214E ========================================================================= Date: Sat, 2 Dec 1995 18:21:00 CST Reply-To: Paul Garon From: Paul Garon Subject: Re: Sonny Boy in Cinema >The actor's name was actually Sonny Boy Williams. He has credits in three >movies: > >Take A Letter, Darling (1942) with Fred MacMurray >Hold Back The Dawn (1941) >The Old Swimming Hole (1941) > Almost certainly this was NOT John Lee Williamson (Sonny Boy Williamson #1) or "Rice Miller" (Sonny Boy Williamson #2). There was a Sonny Boy Williams (note the shorter name) who recorded for the Decca 8000 series, the Sepia series I believe they called it. While the 7000 series was for Race Records in general, the 8000 series was for more sophisticated singers, jazz influenced popish singers, etc. My guess is that it was probably Sonny Boy Williams. Oddly, neither he nor the film(s) in question are listed in Meeker's JAZZ IN THE MOVIES, a book that is usually pretty inclusive. The only thing mentioned there is under Sonny Boy Williamson and it's the movie GROUPIES, listed only because a pop group does an SBW song! Paul Garon ========================================================================= Date: Sat, 2 Dec 1995 20:37:07 -0500 Reply-To: "Daryl F. Bernard" From: "Daryl F. Bernard" Subject: Re: How about everybody else..... Comments: To: Jeff Birk In-Reply-To: Did you acquire a taste for the blues? Well....personally....... Like all good stone-heads growing up in the 70's, I was weaned on the traditional brand of turn-it-up-real-loud-rock-n-roll. Concerts and the latest hot album were staples of the day. I believe the seeds for eventually loving the blues were planted by the music I loved: Led Zeppelin, ZZ Top, Allman Brothers, Lynyrd Skynyrd, Hendrix, Seger, REO Speedwagon, the Doors, Black Sabbath, the Guess Who, Pink Floyd, Blue Oyster Cult, Deep Purple, AC/DC, Van Halen, Nugent, Clapton, on and on (I really could go on and on!). These bands, unbeknownst to me, were so fundamentaly rooted in the blues, that my blues indoctrination was well under way.... A few fond memories: 1) being at a Bob Seger show opened up by first, Mitch Ryder (pretty cool), then the Rockets, from Detroit as well. During the Rockets set, the singer said something like "we're gonna play a little blues for ya, the blues never hurt nobody" to which my buddy shouted "never helped anybody either!" haha, we laughed (we didn't even have a clue!) 2) Pat Travers introducing "Boom Boom" as an "old, boogie, woogie, rhythm and blues number called Boom Boom Out Goes the Lights" (once again, it didn't sink in). 3) Cleaning the garage one night, listening to a public radio blues program for the first time, and hearing Muddy Waters do Foghat's "I Just Wanna Make Love To You." I then realized it must be the other way around (starting to put it all together, finally!). 4) Realizing that much of the stuff that George Thorogood was doing was blues standards that were written, in many cases, well before rock n roll was even a thought (things were getting much clearer now!) Well, to make a long story a bit shorter, it HAS become clear to me where rock and roll came from where it gets it's energy, and what the driving force behind it all is: the BLUES! My extensive rock collection of CDs now includes the entire SRV catolog, BB King, Muddy Waters, Buddy Guy, Albert King, Robert Johnson, Son House, Memphis Slim, Chris Cain, Studabaker John, Pinetop Perkins, Butterfield Blues Band, Keb Mo, Popa Chubby, E.C. Scott, John Lee Hooker, John Mayall's Bluesbreakers, Eddie Taylor, Willie "big eyes" Smith, Mississipi John Hurt, Tinsley Ellis, James Cotton, and numerous collections, compilations, and label samplers. My favorite blues artist is local guitarist/singer Larry McCray. Larry is a great guy, a great singer of the blues, and one incredible player! He has two discs out, both on Pointblank, and you would do yourself a great favor by checking them out: Larry McCray, _Ambition_, 1990 Pointblank/Charisma (2-91388) Larry McCray, _Delta Hurricane_, Pointblank/Charisma (97784 2) (if anyone has heard of Larry and digs his blues, let me know!) Even in rock and roll my preference now leans toward the more blues-based side of rock: SRV, Chris Duarte, Ian Moore, the Doors, Blues Traveler, Allman Brothers, Hendrix, etc. "The Blues has got a hold of me...I believe I'm gettin' dizzy!" ZZ Top My Head's In Mississippi Daryl ========================================================================= Date: Fri, 1 Dec 1995 22:17:46 -0500 Reply-To: "J.F. Bronowich" From: "J.F. Bronowich" Subject: How's the New Ronnie Earl album? -- [ From: J.F. Bronowich * EMC.Ver #2.5.02 ] -- What are people's opinions of the new Ronnie Earl album? I noticed it's all instrumental, and it mentiones something about being "jazzy' on the liner notes. I'll be picking it up anyway, just want to know what everyone thinks. =Joe= ========================================================================= Date: Sat, 2 Dec 1995 22:25:29 -0500 Reply-To: JIMBLUE1@AOL.COM From: Jim Armstrong Subject: Re: Otis, Luther, and EDDIE C.! Comments: To: prychitk@oswego.oswego.edu >But you know what, NOBODY has mentioned Eddie C. Campbell! Personally, I >was thrilled to see him play at the CBF, both during his own set and ALSO >on stage with Otis and Luther. I didn't forget about him. To be honest, I did forget his name. That's why I didn't metion him in that posting. That was why it was such a great night. Three great west side bluesmen in a row, that makes for a little slice of heaven. Jim Armstrong ========================================================================= Date: Sat, 2 Dec 1995 22:33:16 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Big Jack Johnson/HOB Comments: To: bit-listserv-blues-l@uunet.uu.net Last night I saw a short clip of Big Jack Johnson on the HOB. I wonder if he played at the club also, does anyone know? Cat ========================================================================= Date: Sat, 2 Dec 1995 21:31:03 -0800 Reply-To: Randy Dull From: Randy Dull Subject: add to mail list Please add me to your mailing list, as long as it is free. ========================================================================= Date: Sun, 3 Dec 1995 05:44:59 GMT Reply-To: Walter J Winkler From: Walter J Winkler Organization: LazyDaz Subject: SRV; Austin City Limits, retrospective Comments: To: bit-listserv-blues-l@uunet.uu.net Hi Ya'll, Be'in awhile. I watched the Austin City Limits Retrospective of SRV tonight and I was wondering if anyone could tell me what the name (and info) of the last instrumental was. He used the phrase, "for all you who are sufferin." Thanx ya'll. ========================================================================= Date: Sun, 3 Dec 1995 01:01:05 -0500 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: WFBE Blue Highway Playlist 12/2/95 I had no special theme tonight. Just a mixed bag of the Blues! WFBE Blue Highway Playlist, Dec. 2, 1995. With Guest Host Ed Tremewan Song Album Artist Label 9 to 10 PM Cherry Red Big Bad & Blue Big Joe Turner Rhino/Atlantic No Rollin' Blues Gotcha Barkin Bill Delmark Roam & Ramble American Blues Jimmy Witherspoon/Howard Scott Avenue Jazz Memo Blues Feel So Good Andrew "Big Voice" Odum Evidence Movin On Movin On Jay Owens Atlantic Mean Mistreater Mama Blues Before Sunrise Leroy Carr Portrait Its All Your Fault Black Magic Magic Sam Blues Band Delmark The Things I Used To Do My Feeling for the Blues Freddie King Atlantic Black Cat Bone The Blues Don't Lie Kelly Richie Kelly Richie Spirit Past, Present, and Future Aron Burton Earwig Hound Dog Man Strike Like Lighning Lonnie Mack Alligator 10pm to 11pm Goin To Brownsville It Came From Memphis Furry Lewis Upstart Shake Your Money Maker They Walk Among Us Mudboy and the Nuetrons Koch She Wolf It Came From Memphis Jesse Mae Hemphill Upstart Messin' With The Kid Live in Montreaux Buddy Guy/Junior Wells Evidence Mr Jelly Roll Baker Otis Spann's Chicago Blues Otis Spann Testament Title Track Ain't It Nice To Be Loved Lefty Dizz JSP Should I Wait Serious Luther Allison Blind Pig Sonny's Blues L.I.V.E Sonny Moorman & the Dogs 706 Records Too Soon To Tell Them Update Blues Lowell Fulsom Bullseye Parole Blues Sittin Here Wonderin Louisiana Red Earwig Sun Is Shinin 88th Street Blues Smokey Wilson Blind Pig Cow Cow Blues Roots -n-Blues disc 1 Cow Cow Davenport/Dora Carr Columbia Legacy 11pm to Midnight Bluebird Had My Fun Karen Caroll Delmark If You Be My Baby Sweetheart Of The Blues Bonnie Lee Delmark Yonder Come The Blues Old, New, Borrowed, Blue Saffire The Uppity Blues Women Alligator Help Me Relish Joan Osbourne Mercury Hope in a Hopeless World Red Blooded Blues Pops Staples Arsenal Giving Mama And Papa The Blues Baby's Back Jesse "Wild Bill" Austin Roesch Coffee Break Blues Vocal Dynamite Grady "Fats" Jackson Black Top Conductor Blues Maxwell Street Alley Blues Big John Wrencher Blue Sting Cold Cold Feeling Upside George Bedard /Kingpins Schoolkids Don't Let Your Right Hand... Keep It To Our Selves Sonny Boy Williamson Alligator Cow Cow Blues (exit Theme) Blue Ivory Mr. B Blind Pig BLUZ! Bluesman Ed aka Ed Tremewan ========================================================================= Date: Sun, 3 Dec 1995 00:20:38 -0800 Reply-To: John Childress From: John Childress Subject: Barkin' Bill Smith I just picked up a cd with Barkin' Bill Smith, Dave Spector and Ronnie Earl. Loaded with lots of good blues, but who is Barkin' Bill? Anyone know how he got that name or is that too obvious? Thanks, John ========================================================================= Date: Sun, 3 Dec 1995 00:30:38 -0800 Reply-To: bluesdj@HALCYON.COM From: Roberta Penn Subject: Re: Big Jack Johnson & HOB In-Reply-To: <199512030503.AAA25938@listserv.brown.edu> Jack will be one of the artists on the HOB label, which Private music will be promoting and distributing. ========================================================================= Date: Sun, 3 Dec 1995 09:22:59 -0000 Reply-To: kenpeace@ACER.U-NET.COM From: Ken Peace Organization: Acer Laboratories and Science / Down at Antone's Subject: UK Blues Gigs Comments: To: bit-listserv-blues-l@uunet.uu.net Blues fans from the UK may wish to come and see my band Down at Antone's at the following gigs in December. Dec 6th Hartley's Wine Bar, Liverpool Dec 8th The Garricks, Flixton, Manchester Dec 9th The Stoneyhurst, Blackburn Wed 13th Oscar's Bar, Bury Fri 15th Northwich Blues Festival Sat 23rd The Lamb, Preston Sun 24th The George, Accrington Sun 31st The Mailcoach, Newark on Trent All free admission except for the latter. Come and say hello. Ken ------------------------------------------------------------------------------ Ken Peace Down at Antone's kenpeace@acer.u-net.com Red Hot Texas Blues Chester, UK Swinging 'n' Shuffling in the U.K. ========================================================================= Date: Sun, 3 Dec 1995 10:14:56 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - December 3rd Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BARRETT, DELOIS (of BARRETT SINGERS) b. 1926-1203, CHICAGO, IL BOCAGE, PETER E. (cornet) d. 1967-1203, NEW ORLEANS, LA 80 BOSWELL, CONNIE (of THE BOSWELL SISTERS) b. 1907-1203, KANSAS CITY, MO DAVIS, GUSSIE LORD (afro-amer songw) b. 1863-1203, CINCINNATI, OH DELMORE, RABON (of THE DELMORE BROS) b. 1910-1203, ELKMONT, AL FORD, CLARENCE (tsax/bsax/FATS DOMINO) b. 1929-1203, NEW ORLEANS, LA HOPKINS, SAMMY LITTLE (p) b. 1917-1203, PLAQUEMINE, LA NICHOLS, HERBIE (p) b. 1919-1203, NEW YORK CITY, NY OSBOURNE, OZZY (:) b. 1948-1203, BIRMINGHAM, UK PORKCHOP [EDDIE HINES] (d) d. 1977-1203, CHICAGO, IL 79 SHIRLEY, JIMMY (g) d. 1989-1203, HARLEM, NY 76 STILL, WILLIAM GRANT (arr) d. 1978-1203, LOS ANGELES, CA 83 SUGGS, DOUG (p) b. 1894-1203, ST. LOUIS, MO ------------------------------------------------------------------------------- ========================================================================= Date: Sun, 3 Dec 1995 10:55:10 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: UK Blues Gigs Comments: To: kenpeace@ACER.U-NET.COM On 3 Dec 95, Ken Peace had this to say: > Blues fans from the UK may wish to come and see my > band Down at Antone's at the following gigs in December. It took me about eight reads of that sentence before I understood it. I kept thinking.. "Why does he expect fans from the UK to show up at Antone's? Do most Brits go to Texas in December?" You need to change that name. How about changing it to... "Opening for BB King"? P.W. > > Dec 6th Hartley's Wine Bar, Liverpool > Dec 8th The Garricks, Flixton, Manchester > Dec 9th The Stoneyhurst, Blackburn > Wed 13th Oscar's Bar, Bury > Fri 15th Northwich Blues Festival > Sat 23rd The Lamb, Preston > Sun 24th The George, Accrington > Sun 31st The Mailcoach, Newark on Trent > > All free admission except for the latter. Come and say hello. > > Ken > ------------------------------------------------------------------------------ > Ken Peace Down at Antone's > kenpeace@acer.u-net.com Red Hot Texas Blues > Chester, UK Swinging 'n' Shuffling in the U.K. ========================================================================= Date: Sun, 3 Dec 1995 10:55:10 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Rare and Historic Pic I made the visit. Every Delta Blues fan should. Dick Waterman's photo of Son House, Skip James, and Mississippi John Hurt, looking like a bunch of college drinking buddys, is a must see. Makes you real jealous of the folks who were there. I might even have to buy a print as a Christmas present. Who'd realize if I wrapped it and put it under the tree with my own name on it? In case you didn't save it, the URL is: http://www.watervalley.net/users/anewt/turnrowpress/index.html (psssst...shhhh, don't tell Waterman but, if you are using netscape, clicking on the picture with the right mouse button will allow you to save the .gif file for yourself. It's not as good as a print, but it's free.:^) P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 3 Dec 1995 11:04:22 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: New Blues-ler with a Subscription Problem The only way I can help this guy is to send this to the whole list. Sorry... Stan Ruffo wrote to me about not being able to subscribe. I just want Stan to know that the problem seems to be at his end. My replies to him at bounce back with a User Unknown message from his system. Stan needs to check that out with his internet provider. Here is the exact error message. Maybe it will help your provider. The original message was received at Sun, 3 Dec 1995 09:31:12 -0500 from root@tequesta.gate.net [199.227.0.12] ----- The following addresses had delivery problems ----- (unrecoverable error) ----- Transcript of session follows ----- ... while talking to sierra.valleynet.com.: >>> RCPT To: <<< 550 ... User unknown 550 ... User unknown ---------------------------------------------------------------- P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sat, 2 Dec 1995 10:36:58 -0500 Reply-To: "J.F. Bronowich" From: "J.F. Bronowich" Subject: Re: Song writing credits -- [ From: J.F. Bronowich * EMC.Ver #2.5.02 ] -- Interesting info. This has probably been asked before, but what about Led Zeppelin claiming songwriting credits on Howlin' Wolf and Wille Dixon songs? (Lemon Song, etc.) Has that ever been challenged? I don't purchase their records for that very reason! But my girlfreind wants the boxed set for Christmas, so... Also, how can I get more info on the foundation? Thanks! =Joe= Dick Waterman Wrote: >(This post comes to you from the manager of the late Skip James who received >Cream's "I'm So Glad" royalties while he was dying of cancer because Mr. >Clapton, Mr. Baker and Mr. Bruce refused Atlantic Records suggestion that >they copyright the song as a new arrangement.) ========================================================================= Date: Sun, 3 Dec 1995 08:36:08 GMT Reply-To: "John P. Willis" From: "John P. Willis" Organization: State University of New York At Buffalo, NY (USA) Subject: Re: Don't Start Me Talking - Lyrics In a previous article, HugeSmall@AOL.COM (Boyd Small) says: >>Is Sonny Boy saying: Jack gave his wife three dollars to go get >some >>MARGARINE ? "to get some market"-- an Africanism- meaning to go shopping esp for food; also," to make market" [do the shoping]. "to get my hair a 'ssage"- SB2 here has the woman say either "get my hair a massage or a cossage". Black beauty shops in the South often sold flowers for the hair esp during the 30's and 40's. John Willis > I believe it's : 'Jack gave his wife three dollars to go to the Market' or >something close to that. But the argument I've heard most about that song is >about the line: 'I'm goin to the beauty shop to get [my head sock (or >socked)] [my head massaged]. Ive even heard some other words sung there when >people are covering that song but I'm still not sure what the actual words >are. Anyone really sure? >Boyd > -- ========================================================================= Date: Sun, 3 Dec 1995 13:32:46 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: How we got to the blues The first blues record I heard was Bessie Smith-a 78 called In the House (I think-it's long gone) backed with the 7 Gallon Jug Band on a tune called Wipe It Off (which I remember much better). I was a big Louis Armstrong fan, loved trad jazz-I was raised in the UK- and in those days three or four record companies each put out two 78s a month in various jazz series, indiscriminately mixing local jazz bands like Humphrey Lyttleton, Chris Barber, The Saints, Ken Colyer, George Melly and dozens more with Louis, Jelly Roll Morton, Duke Ellington, and whoever else. There was almost no discographical information back then (late '40s) so we just got the stuff nlind and followed it. I got everything on the Brunswick label, and the first country blues 78 I heard was Sleepy John Estes' Down South Blues b/w Drop Down Mama. Couldn't understand a word of it, but loved the feel and the sound! I still love my British trad jazz-and I recommend a marvellous book about that era called Owning Up by a singer called George Melly, who is still active (in his mid-70's now, I think)-it is one of the funniest books I've ever read (and re-read at least half a dozen times). It's still in print in the UK, and you should try to find a copy to learn about a different era, a different country, and a different music indelibly connected to the blues. Years later, in Canada, a friend and I promoted Sleepy John Estes in Toronto (through the wonderful Bob Koester), and I later brought George Melly and his band (led by the redoubtable trumpet player and writer John Chilton) in for a hilarious week of gigs at a Toronto club-worth a few more stories, but at another time! -Richard the Elder ========================================================================= Date: Sun, 3 Dec 1995 19:51:23 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: Top Ten Pet Peeves of Blond Female Slide Guitarists I vote for this one. Of course, this has also been known to happen to glam-rock guys. Thankyuhvurrymuch. ============================================================================ Jef Jaisun eljefe@netcom.com "I'm a fool for your stockings." (Hey, ask Cathi Norton.) ============================================================================ -- eljefe@netcom.com ========================================================================= Date: Sun, 3 Dec 1995 19:59:24 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: JR. WALKER, MOTOWN ASTIST, DIES AT 64 (NOT 53) Eric LeBlanc-CISTI (leblanc@DAO.NRC.CA) wrote: : After a little bit of calling around, I was able to confirm JR. WALKER's year : of birth. Most - actually all obits & reference books I've read - indicate : that he was born in 1942 (one says 1938). It seems that the bio sheet from : MOTOWN, "THE SOUND OF YOUNG AMERICA", was off by 11 years! I've also used the : JR. abbreviation as his recordings never used the term Junior. Thanks, Eric. I was having a hard time believing Jr. was only four years older than me. I would add to the list of players influenced by him the name of Phil Kenzie, who played with Al Stewart's band in the 70's. (Those are his solos on Year of the Cat and Song on the Radio.) Kenzie really tore it up at a show here in '78. Backstage after the show I asked him if he'd been woodshedding in Jr. Walker's attic. Jef Jaisun -- eljefe@netcom.com ========================================================================= Date: Sun, 3 Dec 1995 20:06:34 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: UK Blues Gigs P.W. Fenton (pwfenton@GATE.NET) wrote: : On 3 Dec 95, Ken Peace had this to say: : > Blues fans from the UK may wish to come and see my : > band Down at Antone's at the following gigs in December. : It took me about eight reads of that sentence before I understood it. : I kept thinking.. "Why does he expect fans from the UK to show up at : Antone's? Do most Brits go to Texas in December?" : You need to change that name. How about changing it to... "Opening : for BB King"? Well, it can't be "Opening for B.B. King," cuz B.B. is playing Hawaii on New Years Eve. That's a long way from Newark-on-Trent. ;) Jef Jaisun -- eljefe@netcom.com ========================================================================= Date: Sun, 3 Dec 1995 17:56:13 -0500 Reply-To: Wayne Ross From: Wayne Ross Subject: Blues at R&R Hall of Fame Last month I had the opportunity to visit the Rock & Roll Hall of Fame in Cleveland and thought I'd report back on the treatment the blues receive. I really didn't know what to expect as we approached the R&RHOF and Museum, the building is very impressive and sits hard against Lake Erie; there is a rock garden out front, with rock-shaped speakers blaring,what else, rock music! Fortunately that was the cheeziest part of the museum. When you enter the main exhibit hall downstairs you have the opportunity to view a two-part film on the history of rock and roll. The first film, titled "Mystery Train," is an excellent representation of the roots of rock--that is the blues. The film, without narration, presents the contrasts between African-American and while cultures in the USA during the first half of this century by using film/tv clips/photographs. The film opens with the Stones doing "Love in Vain" and includes the music and pictures of: Robert Johnson ("Crossroads"); Sonny Terry and Brownie McGee playing with Woody Guthrie; Leadbelly; Robert Nighthawk and more. The second part of the film jumps to the present, eschewing roots. In the main exhibt hall downstairs, there are a number of interactive exhibits. The first is a series of listening booths (that can accomodate about 10 or so standees) with a touch-activated computer screen and big stereo sound. The screen gives you about twenty different musical styles to choose from (e.g., R & B, soul, alternative, hard rock, metal, etc.). Select a style and screen presents 3 or 4 artists of that style. You select your artist preference and you get a video clip, a song and (most importantly) pictures of two or three artists that were influential to the artist you selected. For example, for the Rolling Stones, Muddy Waters and Robert Johnson show up as influences. Touch on the "influence" and you get a sample of the "original" doing a tune that morphs into the tune by the artist representing the style you chose to begin with. It's pretty cool!! My daughter (10 years old) and I stayed in this spot for a long time. The blues were very well represented as an influence on most styles of rock. There is another bank of about ten computers that allow you to pick a decade ('20s-90's) and get a selection of about 100 songs per decade. Slip on the headphones (two/computer) and listen to the tunes and get detailed information on the songs, artists, chart positions, record cover art, etc. The final bank of computers in the main exhibit hall allows you to access a video encyclopedia of artists and get text-info and video clips of music biz/artists commenting on the particular artist you choose. I remember a very interesting commentary by BB King about T-Bone Walker. Still in the main exhibit hall, there are display cases on various music scenes, including: Memphis, New Orleans, San Francisco, Detroit, etc. The Memphis and New Orleans displays have much of interest to blues fans. There are also a couple of display cases about styles rather than particular scenes. There's a huge R & B display and a good, but smaller display on the blues. The blues display includes concert posters for Big Mama Thorton, Muddy Waters and Freddie King/Johnny Copeland (from Mary Katherine Alden's collection). Guitars galore, including: Muddy Waters (Fender Telecaster);Lowell Fulson (acoustic); Elmore James (a 1948 National); T-Bone Walker (Gibson Barney Kessel); Jimmy Reed (Ariel); Blind Gary Davis (Gibson); Howlin' Wolf; and the most amazing of all Bo Diddley's home-made box guitar made in his high school shop class. The blues display also included items like: Howlin' Wolf's pork pie hat, pick, Marine Band Harmonica, and the suitcase he used to keep his money in! You'll see John Hammond's tape recorder and notebook; an autographed copy of Muddy's "I Can't Be Satisfied" (78); and a collection of album covers. The blues are treated with great respect and have a fairly prominent place in the R&RHOF. Early R & B artists and blues-based rockers like Little Richard, Chuck Berry, etc. are very prominent. Much of the museum has an "MTV" ambience--loud and chaotic, but the HOF is very reverential, dark and subdued. Pictures of HOF inductee are projected on small LCD screens with brief quotes on each inductee's significance. We spent an entire afternoon at the HOF and could have spent more time. Most days the "Rock Hall" as the call it in Cleveland closes at 5:30pm. It stays open late (9:00pm?) on Wednesday's. The Rock Hall uses a timed-admission process, so you need to call in advance for tickets or you may have to wait to get in. If you're visiting on Saturday be sure to call in advance. It's worth the visit!! Downtown Cleveland's been transformed in past years, there are lot's of good restaurants, clubs etc. so you can have good time on the shores of Lake Erie, really! ========================================================================= Date: Sun, 3 Dec 1995 19:19:00 -0500 Reply-To: David Youngberg From: David Youngberg Subject: Re: Song writing credits >Interesting info. This has probably been asked before, but what about Led >Zeppelin claiming songwriting credits on Howlin' Wolf and Wille Dixon songs? > (Lemon Song, etc.) Has that ever been challenged? A Much Music (Canada's answer to MTV) special called Robert Plant: Now And Zep (1991) provides some insight into this question: Plant (Toronto, March 1988): "I spent, all my career, trying to vary what I do. In fact, from the Band Of Joy, before I was chosen to be the singer in the Yardbirds, I always tried to change and vary my music. I used to steal from somebody, borrow from somebody else, to create something I really enjoyed, and when I teamed up with Page, with Led Zeppelin, we constantly tried to search, in fact I'd look at some old interview. . . but always looking to change, to modify, and bring in new, new affectations to our music. Cut to a clip of Zep playing "Whole Lotta Love," then to an audio clip of Willie Dixon's "You Need Love." Willie Dixon (July 1989): "Well my kids had knew about it all the time, but they thought it was all in my name in the first place. But when they found out it wasn't, that's when uh, my kids began to squawk, and (unintelligible) daddy, they don't have your name on it, and I thought they was kiddin'. Because they had did other songs that they had, that they had put my name on, which was mine, and I know they had. I knew this was words of my song, but I didn't know what had happened to it." At this point, a character generated graphic scrolls across the screen bottom: "In 1985, Willie Dixon successfully sued Led Zeppelin over "Whole Lotta Love." Plant: "By the time we got to doing "Whole Lotta Love" (sniffs, appearing slightly uncomfortable), we were still living in the land of fog where we thought this-this song, it's Page's riff, the chorus is ours, and I just sang those lines of the verse, so I thought (snaps fingers), you know, a nik, stole it, and, quite rightly, we should have given the guy credit and we didn't, you know, and (clears throat) there was some conversation at the time about it, I mean it's-it's uh... Interviewer: "He got the credit on other things..." Plant: "Yah. It's not a very virtuous situation when you do, when you're obviously leaning on the blues so heavily, but, uh, you know, conversations took place, and what happpened happened, and I'm really glad that it turned out the way it did now." Apologies to Much Music for blatant theft of intellectual property, but they weren't your words to copyright in the first place, were they? =============================== Dave Youngberg davidy@cdx.net =============================== ========================================================================= Date: Mon, 4 Dec 1995 00:45:11 GMT Reply-To: Daniel Levin From: Daniel Levin Organization: McGill University Computing Centre Subject: Muddy Waters albums Comments: To: bit-listserv-blues-l@uunet.uu.net Im sorta new around here, but I was wondering if anyone could recommend their favorite Muddy Waters albums, I shopping around to get some more... Thanx! Dan "Aint nobody, ever gonna steal my jelly roll!" -Taj Mahal ========================================================================= Date: Sun, 3 Dec 1995 17:32:12 PST Reply-To: "D. ALLEN SIMPSON" From: "D. ALLEN SIMPSON" Subject: Blues This Week on TV Weds., 12/6 - NBC Today Show: Bonnie & John Raitt (music is usually in the last hour, usually about 20 or 15 mins. to the end of the hour, or less) In the L.A. area, KCET, Ch. 28: Tues., 12/5: Bonnie Raitt-Road Tested (yeah, it finally got to the west coast) Rnb related stuff: Mon. 12/11 - Letterman (CBS): Al Green Doug S. ========================================================================= Date: Sun, 3 Dec 1995 20:47:15 -0500 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Blues Promotion Comments: To: bit-listserv-blues-l@uunet.uu.net Well, it has taken me a long time to find you guys (and gals!). I am seeking a professional career as a blues singer. It is difficult to know where to go or just how to star, any suggestions?? thanks Lea ========================================================================= Date: Sun, 3 Dec 1995 19:52:26 -0600 Reply-To: Tom Kraft From: Tom Kraft Subject: Re: Muddy Waters albums Comments: To: Daniel Levin Dan, Two on Blue Sky, "Hard Again" & "Muddy 'Mississippi' Waters Live". Chess box. "Folk Singer/Muddy Does Big Bill Broonzy". Enjoy. Tom Kraft At 12:45 AM 12/4/95 GMT, you wrote: >Im sorta new around here, but I was wondering if anyone could recommend their favorite Muddy Waters albums, I shopping around to >get some more... > >Thanx! >Dan > >"Aint nobody, ever gonna steal my jelly roll!" > > -Taj Mahal > > ========================================================================= Date: Mon, 4 Dec 1995 02:00:48 GMT Reply-To: Jim Farris From: Jim Farris Organization: Netcom Subject: Re: Doing it for the first time . . . Comments: To: bit-listserv-blues-l@uunet.uu.net Cool photo! I just wish that I'd been there to see it myself. Jammin' Jim Farris KKUP 91.5 FM Dick Waterman wrote: >I have been reluctant about putting my photographs on a web page but I have >agreed to try one as an experiment. An art supply store convinced me just to >see if there was a market for it. So go and take a look. It is the only >picture ever taken of Son House, Skip James and Mississippi John Hurt >together. >I think that this constitutes some degree of 'advertising on Blues-L' but no >one will reach into your pocket if you just go and visit. > Http://www.watervalley.net/users/ > anewt/turnrowpress/index.html > >Dick Waterman ========================================================================= Date: Mon, 4 Dec 1995 02:26:23 GMT Reply-To: Jim Farris From: Jim Farris Organization: Netcom Subject: Re: How about everybody else..... Comments: To: bit-listserv-blues-l@uunet.uu.net Hi Daryl, I'm a Blues DJ from California. The Blues took me by surprise, too, but it was Steppenwolf and the Rolling Stones that got me interested. Like Robert Johnson's "Love in Vain" performed by the Stones. . . "Daryl F. Bernard" wrote: >Did you acquire a taste for the blues? > >I believe the seeds for eventually loving the blues were planted by the >music I loved: Led Zeppelin, ZZ Top, Allman Brothers, Lynyrd Skynyrd, >Hendrix, Seger, REO Speedwagon, the Doors, Black Sabbath, the Guess Who, >Pink Floyd, Blue Oyster Cult, Deep Purple, AC/DC, Van Halen, Nugent, >Clapton, on and on (I really could go on and on!). > That sounds about like my record collection. Only mine includes Steppenwolf and SRC the old Michigan gang. > >My favorite blues artist is local guitarist/singer Larry McCray. Larry is >a great guy, a great singer of the blues, and one incredible player! Is he from Bay City? Does SVSC stand for Saginaw Valley State University? I'm from Bay City originally. I went to SVSU. That's my old stomping grounds. >He >has two discs out, both on Pointblank, and you would do yourself a great >favor by checking them out: > > Larry McCray, _Ambition_, 1990 Pointblank/Charisma (2-91388) > Larry McCray, _Delta Hurricane_, Pointblank/Charisma (97784 2) > >(if anyone has heard of Larry and digs his blues, let me know!) > Every time I've been back to visit, I hear about Larry McCray. I'll be flying into Tri-City Airport on Dec. 19th. Do you know where Larry will be performing around that time? I'd like to finally see him perform. Jammin' Jim Farris KKUP 91.5 FM South San Francisco Bay Area ========================================================================= Date: Mon, 4 Dec 1995 00:47:44 -0500 Reply-To: Patti Bowman From: Patti Bowman Subject: Player Wanted This appeared on the CMC list so I thought i'd pass it along..... -Patti **************************************** >From: cmc@cs.uwp.edu (cmc mailing list) >Subject: Player Wanted > >------------------------------------------------------------------------------ >To remove yourself from this list, send a message to majordomo@cs.uwp.edu >that says: 'unsubscribe cmc' in the body of the message. >------------------------------------------------------------------------------ >Really-From: zebra@getnet.com (steve veloudos) > > >Lead Guitarist and Bass Wanted: >Established Cover/original blues rock band in Phoenix, Arizona replacing a >few members. We plan on recording and giging in Arizona some $$$ involved. >Must sing backups and have experience. Email to zebra@get.com or call >(602)280-9907. > ========================================================================= Date: Mon, 4 Dec 1995 01:29:37 -0500 Reply-To: Greg Hermanns From: Greg Hermanns Subject: John Hammond in Dayton Just saw John Hammond (Jr) in Dayton at the Canal Street Tavern. Great place for a master musician and performer like Hammond. If you care for anything on any of his past or present albums(vinyl,CD) you'll love seeing THE MAN in person. He IS a 'one man band'. The crowd of 150 -200 people had an amazing time listening to and getting into John Hammond perform. He puts sooo much expression into every song and everyone in the audience feels it! I saw John live 5 years ago in New Orleans at the Jazz Fest and he had the same intensity in his performance. He whips his guitar into a frenzy and blows harp along with that and somehow manages to sing too.>!@#!! Like I said starting out,if you like his recordings...that's what you'll hear in concert. He's also quite a personable guy, talking with him after the gig he told about his new CD, which he and Duke Robillard produced featuring Charlie Musselwhite, Duke, Mr. B (Mark Braun from Detroit-excellent boogie-woogie/ragtime piano) and some vocals from N.Y.'s Susan Terrell??. It's was recorded in March, originally due out in August but pushed back to January 96. I'll be the first in my neighborhood with a copy. Just can't say enough good things about John Hammond. He's in Indy, tonight Monday,Dec 4 at the Slippery Noodle. RJ had better make sure he gets he butt over there to see, hear and talk to him. Fun to see was at the end of the second set john tossed afinger pick to someone's young(13-14)year old son who was sitting next to the stage. Greg Hermanns gregfh@tso.cin.ix.net Re:the usual disclaimer:not affiliated with Canal Street Tavern or John Hammond other than being a fellow human who loves the BLUES. ========================================================================= Date: Mon, 4 Dec 1995 07:23:44 GMT Reply-To: Greg O'Beirne From: Greg O'Beirne Organization: The University of Western Australia Subject: Howlin' Wolf's Smokestack Lightning :) Comments: To: bit-listserv-blues-l@munnari.oz.au Hello fellow blues lovers :) I recently transcribed some of the riffs for this great song, and I was wondering if any of the guitarists on this list would like to check it, offer suggestions, corrections etc... :) It can be found at your local OLGA, or at the following web page: http://www.uwa.edu.au/student/gobeirne/Wolf.html Cheers, -- Greg O'Beirne gobeirne@tartarus.uwa.edu.au http://www.uwa.edu.au/student/gobeirne/ Guitar: http://www.uwa.edu.au/student/gobeirne/Transcriptions.html ========================================================================= Date: Sun, 3 Dec 1995 23:54:33 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: History Lesson It's started again. I was talking to a friend tonight who is a pianist and is getting into the Blues. She currently listens to SRV and Ramsey Lewis. She said that she is getting into Robben Ford. I told her to go and buy a few CD's. She said "OK." I said "Pick up some Muddy Waters while you are there." Her reply was that "Robben does it for me. I'm not sure if I really like the old stuff." That's when we got started. My opinion was that if you really want to play the Blues then you got to know the old stuff. There is some great Blues piano on the early Muddy Waters albums (courtesy of Otis Spann I think). I then went into my "Too many people think the Blues began and ended with SRV" rave. She reponded with "SRV get's people interested in the Blues. What's wrong with that?" (Good question, I thought). My response was "But that's were it stops. I bet if you played Albert King to certain people they would say, "Hey! He's ripped off SRV"". Well maybe someone would say that. Maybe. Somewhere. OK. I think that I was ranting a little at that stage. Anyway the upshot was that I said that I believe that to play the Blues you have to be familair with all periods. Not just the modern stuff. It helps put the music in better perspective. Then she told me some gossip and we dicussed the status of our respective romantic lives. I'm not really up on Blues piano. Could someone kindly list the albums and artists that are considered essential regarding Blues piano. It would help my Blues education and hopefully get my friend turned on to the classic Blues as well. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sun, 3 Dec 1995 23:54:38 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: How I Found the Blues The first band that made an impact on me was AC/DC. I had a vague inkling that they were Blues influence but I had no idea of what the Blues was. My next hero was Hendrix. Songs like "Red House" and "Bleeding Heart" (from the "The Jimi Hendrix Concerts") led me a little deeper into the Blues. Looking at the songwriting credits on Clapton and SRV albums, reading interviews with the aforemetioned discussing their roots, led me to pick up some BB King (I think my first actual Blues purchase) and Robert Johnson. Now Blues albums were hard to come by in rural Australia so it wasn't until moved to Japan 5 years ago (I was there for 4 years) that my Blues collection exploded. The availability of CD's over there is staggering. A lot of hard to find classics are everywhere. Now I'm in the States and the situation is the same. A trip to Tower is something I do sparingly as I know that I'll buy something. Money is a little short at the moment but if I a Blues CD I don't have then I have an argument with myself as if to buy it or not. I usually lose (you work that one out). Being on Blues-L helps tremendously as I get turned onto artists I may never of encountered. Everyday, I get deeper and deeper into the Blues. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Mon, 4 Dec 1995 05:01:11 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - December 4th Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- DAVIS, LARRY (g/TEXAS FLOOD) b. 1936-1204, KANSAS CITY, MO DELMORE, RABON (of THE DELMORE BROS) d. 1952-1204, ATHENS, AL 42 DORSEY, LEE (v/songw) b. 1926-1204, NEW ORLEANS, LA FOLKS, L. SCOTT (arr) b. 1955-1204, NEW YORK CITY, NY HALL, JIM (g) b. 1930-1204, BUFFALO, NY JACQUET, RUSSELL (tpt/ILLINOIS JACQUET) b. 1917-1204, ST. MARTINVILLE, LA KING, JIMMY LITTLE [MANUEL GALES] (g) b. 1968-1204, MEMPHIS, TN LASTIE, MELVIN C. (tpt) d. 1972-1204, NEW ORLEANS, LA 42 MEDINA, FLACO (b/JOHNNIE DYER) b. 1948-1204, TORRENCE, CA QUINN, BILL (founder: GOLD STAR REC) d. 1975-1204, HOUSTON, TX 72 RODGERS, SONNY [OLIVER LEE RODGERS] (g) b. 1939-1204, HUGHES, AR ST. JULIAN, EDDIE (of BUCKWHEAT ZYDECO) b. 1846-1204, LAFAYETTE, LA ZAPPA, FRANK (g/songw) d. 1993-1204, LOS ANGELES, CA 52 ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 4 Dec 1995 04:50:03 -0500 Reply-To: Tremolux From: Tremolux Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Amps. (not blues related) Comments: To: bit-listserv-blues-l@uunet.uu.net You'll be swearing at yourself for buying that new Super the first time you need to have it serviced, which may not be too far in the future. Those new Fenders are made inexpensively, with somewhat cheap parts and tubes. The Super has one giant circuit board inside, and all the tube sockets are mounted to it. When you open up the chassis, all you see is the bottom of the board. Taking it out so you can get to any of the components requires dismantling the whole damn thing. Servicing this amp is VERY labor intensive and expensive. Just trying to optimize the bias on the output tubes is a total nightmare. Frankly, this amp is a mess. Servicing this amp may end up being so expensive, that it may actually be cheaper to throw it away and buy a new one. Personally, I think you should keep looking. Give me a real Super Reverb any day. Regards. ========================================================================= Date: Mon, 4 Dec 1995 04:50:07 -0500 Reply-To: Tremolux From: Tremolux Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Amps. (not blues related) Comments: To: bit-listserv-blues-l@uunet.uu.net >>>btw, the best tube amps ever made are being made right now. I beg to differ. The quality of currently manufactured tubes is poor in comparison to what was available 20 years ago. All the new amps are loaded with bullshit like effects loops, high gain, shannel switching, etc.... all of which kill tone. I'll take a tube amp form the 50s or 60s any day over ANY new amp, including the boutique stuff. ========================================================================= Date: Mon, 4 Dec 1995 05:00:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re: Muddy Waters albums "Sorta new around here" bluezeller Dan asked for Muddy recommendations. When I was sort new around here just more than a year ago I probed the same topic, including what was Muddy's best. Only a few votes came in for the best, but as I recall, the recording most mentioned for that honor was the roiling, absolutely indispensable "Hard Again." "Miss. Muddy Waters Live" is sort of a companion piece, and one should not be caught dead without both of them on hand IMHO. Some folks have a soft spot for the raw authenticity of "Rare and Unissued," and a real delight for the connossieur is, of course, the two-CD treasure "One More Mile," both of these latter being less (dare I say it) jumpin' than the two mentioned first above. Thanks to LW for pushing me to buy "One More Mile", and very special thanks to Mary Katherine for making it feasible to begin with. Great Muddy hairdos in there, too, Mr. Dapper himself! A very interesting change of pace is "Trouble No More" from the late 50s, very polished and slick studio work for Muddy as we know him, and a real glimpse into another era. "Folk Singer" and "Sings Bill Broonzy" are adored by purists, and are very different indeed from say, the power and drive of "Hard Again." I came by accident upon a real treat, "Live at Newport," which has tracks by B.B., Big Mama Thornton, and some humorous and very enjoyable stuff by MW. I also have "I'm Ready", which is post-Hard Again and very nice, but definitely not as strong. There are supposedly two real stinkers to watch out for I am told, "The London Sessions," and I forget the other, though it could be "Electric Mud." I haven't yet given "Muddy and the Wolf" a proper listen, though I like the version of Long Distance Call on "Live at Newport" better. If there is other essential Muddy out there, I too would very much like to hear about it! Where's my credit card?! Joe in Moscow J.E._Downey@bakermck.com "MUDDY WATERS!!! Another mule's been kickin' in your stall!" -M. Morganfield ========================================================================= Date: Mon, 4 Dec 1995 05:36:00 -0800 Reply-To: "Bonn, Bob" From: "Bonn, Bob" Subject: Seeking Snooks Eaglin CD and info...... You know how there's one track in a million that you really like, one track that expresses some deep down feeling inside, and you can't get a copy for love or for money? Well, I heard Snooks Eaglin singing "Who's lovin' you tonight" on a sampler, last year and was bowled over with the essential, basic playing, the emotive lyrics and amazing presentation. It's the best blues track I think I've ever heard. Then I lost the tape (it was "borrowed" from my car, along with the tape player etc...) Now I find that the only recording of that track is out of print. Aparantly it's on the album "Legacy of the Blues" Vol 2, the Catalogue number is SMT CD 625 (I think). I've tried all the main music stores in the UK with no luck. I managed to find and buy other Snooks CDs, but not with that track. I'd really appreciate some help with this, and any information on Snooks Eaglin. All I have is a scanty reference on a Blues encylopedia CD and a shorter note on a music CD. Please reply direct to bonnb@xxeupo13.hou.xwh.bp.com especially if you know how I can get a copy of that track :-) Thanks, Bob. ========================================================================= Date: Mon, 4 Dec 1995 07:57:13 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: History Lesson Comments: To: Shaun T Cronin In-Reply-To: <199512040759.XAA20168@wavenet.com> Shaun, Here's what I own (I have editted out a few as either redundant or not a very good example). There is a relatively new sampler out also, Wolf-Piano Blues, that covers a good number of styles and offers a lot of good piano listening for the money as well. This CD may be the best crash course for anyone in listening to a variety of piano in a short concentrated spot-here's the info on it Wolf #120.102 Best of Piano Blues: Chicago: Little Brother Montgomery, Sunnyland Slim, Eddie Boyd, Pinetop Perkins, Big Moose Walker, Jimmy Walker. New Orleans: Al Broussard Louisiana: Hnery Gray Memphis: Mose Vinson, Booker T. Laury St. Louis: Henry Townsend, Piano Slim Cincinnati: Bif Joe Duskin Texas: Robert Shaw, Charles Brown West Coast: Jimmy McCracklin *** my favorites AMMONS, ALBERT / Master of Boogie (Milan) BOOKER, JAMES / Resurrection Of The Bayou Maharajah (Rounder)*** BOYD, EDDIE / Sad Day (Blues Collection)*** BOYD, EDDIE / Five Long Years (L&R) DUPREE, CHAMPION JACK / Blues From The Gutter (Atlantic) DUPREE, CHAMPION JACK / Live At Burnley (JSP)*** DUSKIN, BIG JOE / Cincinnati Stomp (Arhoolie) FERGUSON, H BOMB / Wiggin' Out (Earwig) JOHNSON, JOHNNIE / Johnnie B. Bad (Elektra) JOHNSON, PETE / KING OF BOOGIE (Milan) LAURY, BOOKER T. / Nothin' But The Blues (Bullseye) LITTLEFIELD, LITTLE WILLIE / Paris streetlights (Blues Collection)*** LONGHAIR, PROFESSOR / New Orleans Piano (Atlantic) LONGHAIR, PROFESSOR / Crawfish Fiesta (Alligator) PIANO LONGHAIR, PROFESSOR / The London Concert (JSP)*** MABON, WILLIE / I Don't Know (Wolf) MACEO, BIG / King of Chicago Blues Piano (Arhoolie) MANCE, JUNIOR / Smokey Blues (JSP) MCSHANN, JAY / Best of Friends (JSP #224) MOORE, ALEX / From North Dallas to the East Side (Arhoolie) MORTON, JELLY ROLL / Kansas City Stomp (Rounder) RED, PIANO / Atlanta Bounce (Arhoolie) RUSSELL, LUIS / 1929-30 (JSP) SHARRIFF, OMAR / The Raven (Arhoolie)*** SHAW, ROBERT / Ma Grinder (Arhoolie) SLIM, SUNNYLAND / Live At The D.C. Blues Society (Jazz Heritage)*** SPANN, OTIS / Blues Never Die (Fantasy) SPANN, OTIS / Otis Spann's Chicago Blues (Testament) SYKES, ROOSEVELT / Hard Drivin' Blues (Delmark)*** SYKES, ROOSEVELT / 1931 - 1941 (Wolf) SYKES, ROOSEVELT / Rock It (Wolf WBJ004)*** WALKER, JOHNNY BIG MOOSE / Swear to Tell the Truth (JSP) WALTON, MERCY DEE / Troublesome Mind (Arhoolie)*** Hope this helps. NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Mon, 4 Dec 1995 08:24:16 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Sue Foley vs Muddy Waters I'm NOT trashing Sue Foley on this: We received Sue's press kit and it said "Clifford Antone was so impressed with Sue Foley's uncanny resemblance to Muddy Waters in style and sound that he immediately sent her a plane ticket to Texas' Ok I've seen Sue Foley once and have heard her first CD....AM I MISSING SUMPIN does anyone else think that anything she does reminds them of MUDDY WATERS in the least...Ok she does play a Tele...... Free Sue Foley posters/press photo to the first private response unless other wise they go in the fireplace LW ========================================================================= Date: Mon, 4 Dec 1995 09:44:33 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Johnny "Guitar" Watson and Jimmy Vaughan Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I recently picked up the Johnny "Guitar" Watson cd "Three Hours Past Midnight" (great cd btw, I wish I got this one years ago!), and I noticed a strong similarity betwen Watson's and Jimmy Vaughan's guitar playing. I'm just wondering how strong an influence Watson's playing was on Vaughan. I know that both Vuaghan brothers were heavily influenced by Texas guitar masters like Albert Collins and Freddie King but Vaughan's playing sound a lot like Watson's. Anyway, I'd strongly recommend "Three Hours Past Midnight" for any blues guitar fan. -Steve ========================================================================= Date: Mon, 4 Dec 1995 10:21:57 -0500 Reply-To: hhardy@BCONNEX.NET From: Hugh Hardy Subject: Re: UK Blues Gigs <---- Begin Forwarded Message ----> Date: Sun, 3 Dec 1995 20:06:34 GMT Reply-To: Jef Jaisun From: Jef Jaisun Subject: Re: UK Blues Gigs To: Multiple recipients of list BLUES-L P.W. Fenton (pwfenton@GATE.NET) wrote: : On 3 Dec 95, Ken Peace had this to say: : > Blues fans from the UK may wish to come and see my : > band Down at Antone's at the following gigs in December. : It took me about eight reads of that sentence before I understood it. : I kept thinking.. "Why does he expect fans from the UK to show up at : Antone's? Do most Brits go to Texas in December?" : You need to change that name. How about changing it to... "Opening : for BB King"? Well, it can't be "Opening for B.B. King," cuz B.B. is playing Hawaii on New Years Eve. That's a long way from Newark-on-Trent. ;) Jef Jaisun -- eljefe@netcom.com Please come and see my band At The White House on December 23rd. :-)> Hugh H. <---- End Forwarded Message ----> ========================================================================= Date: Mon, 4 Dec 1995 15:20:05 +0000 Reply-To: Andy Humberston From: Andy Humberston Subject: Stevie Ray Vaughan Mailing List Texas Flood Mailing List ------------------------ The mailing list dedicated to the discussion of issues relating to Stevie Ray Vaughan. -------------------------------- Quote from Steve Toney - TexasFlood List Member "Stevie Ray Vaughan, classed as an inspiration and leader of the 80's blues-based band - Stevie Ray Vaughan and Double Trouble. Born and bred in the Texas tradition of high-energy blues guitarists, Vaughan is destined to go down in musical history as one of the all-time great guitarists. Combining the influences of such greats as Buddy Guy, Lonnie Mack, Albert King, BB King, and his older brother Jimmie Vaughan, Vaughan's style was aggressive, powerful and undeniable. Tragically, at the age of 35, Vaughan's life was cut short in a 1990 helicopter crash. Vaughan will be forever remembered as one of the most influential musicians of his generation." -------------------------------- If you wish to subscribe to the list, you should send mail to: texasflood-request@dmu.ac.uk with a BLANK Subject line, and the body text: subscribe If you experience problems, please mail me. - - - - - - - - - - - - - - - - - - - - - - - - - - Andy Humberston | Voice: +44 116 2551551 ext. 8175 TexasFlood List Owner | Fax: +44 116 2577169 De Montfort University, Leicester, UK | EMail: iah@dmu.ac.uk - - - - - - - - - - - - - - - - - - - - - - - - - - http://www.dmu.ac.uk/~iah/srv -- - - - - - - - - - - - - - - - - - - - - - - - - - - Andy Humberston | Voice: +44 116 2551551 ext. 8175 Networking & Communications Group | Fax: +44 116 2577169 De Montfort University, Leicester, UK | EMail: iah@dmu.ac.uk - - - - - - - - - - - - - - - - - - - - - - - - - - URL: http://www.dmu.ac.uk/~iah ========================================================================= Date: Mon, 4 Dec 1995 15:25:36 GMT Reply-To: Andy Humberston From: Andy Humberston Organization: De Montfort University, Leicester, UK Subject: Stevie Ray Vaughan Mailing List Comments: To: bit-listserv-blues-l@uunet.uu.net Texas Flood Mailing List ------------------------ The mailing list dedicated to the discussion of issues relating to Stevie Ray Vaughan. -------------------------------- Quote from Steve Toney - TexasFlood List Member "Stevie Ray Vaughan, classed as an inspiration and leader of the 80's blues-based band - Stevie Ray Vaughan and Double Trouble. Born and bred in the Texas tradition of high-energy blues guitarists, Vaughan is destined to go down in musical history as one of the all-time great guitarists. Combining the influences of such greats as Buddy Guy, Lonnie Mack, Albert King, BB King, and his older brother Jimmie Vaughan, Vaughan's style was aggressive, powerful and undeniable. Tragically, at the age of 35, Vaughan's life was cut short in a 1990 helicopter crash. Vaughan will be forever remembered as one of the most influential musicians of his generation." -------------------------------- If you wish to subscribe to the list, you should send mail to: texasflood-request@dmu.ac.uk with a BLANK Subject line, and the body text: subscribe If you experience problems, please mail me. - - - - - - - - - - - - - - - - - - - - - - - - - - Andy Humberston | Voice: +44 116 2551551 ext. 8175 TexasFlood List Owner | Fax: +44 116 2577169 De Montfort University, Leicester, UK | EMail: iah@dmu.ac.uk - - - - - - - - - - - - - - - - - - - - - - - - - - http://www.dmu.ac.uk/~iah/srv -- ------------------------------------------------------------------ | Andy Humberston, Network Support, De Montfort University, UK | | Tel: +44 116 2551551 ext 8175 Fax: +44 116 2577170 | | EMail: iah@dmu.ac.uk | ------------------------------------------------------------------ | S t a n d a r d D i s c l a i m e r s A p p l y | ------------------------------------------------------------------ ========================================================================= Date: Mon, 4 Dec 1995 10:17:22 -0500 Reply-To: David Goldstein From: David Goldstein Subject: Muddy Waters Favorites The Best of Muddy Waters Hard Again (w/Johnny Winter/gtr/producer) I believe Muddy claimed these were his two favorite albums. There is an outstanding article in Blues Revue this month. ========================================================================= Date: Mon, 4 Dec 1995 10:41:11 -0500 Reply-To: bob unger From: bob unger Subject: BluesBytes - The Tape The deadline for submissions to the 3rd Blues-l compilation tape - BluesBytes - has passed and I am now moving on to part 2 - compiling the tape. I have received LOTS of material. More than enough for the 100 minutes of tape all this will be compiled on. I want to thank all the artists who sent me their stuff - Smokin!!! I would guesstimate that about 70 percent is band music and the remaining 30 percent is solo acoustic - well, almost...Mike Heidenberg play's some excellent solo electric slide. And, dont forget, we also have an original tune with words and music (and inspiration) written by a few 'zellers - "My Wife Went To Chicago". But please dont think that I'm singling these tunes out - ALL of the material is top notch stuff and ... well, y'all will be hearing it for yourself soon enough.... I still dont have a price to give y'all yet, but I cant really see it costing more than $5 a tape - that include's the price of the cassette and the envelope and postage. As soon as I have the completed tape, I'll be checking with some commercial duplicating houses and I should have a definite price then. Hopefully, I can have all this done by Xmas .... but please dont stomp on me if it takes longer....I'm trying, folks! In the next few weeks, I'll post the details on how to order a copy of - "BluesBytes - Music from Blues-l" .... BU bob@sun.bnkst.edu ========================================================================= Date: Mon, 4 Dec 1995 16:41:58 +0100 Reply-To: Peter Gallagher From: Peter Gallagher Subject: Muddy Waters Favorite I hope nobody has mentioned it already, but for my money there isn't a Muddy Album comes anywhere NEAR "Muddy 'Mississippi" Waters (live) regards, PeterG -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Mon, 4 Dec 1995 10:46:27 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Freddie King death (concencus?) This past weekend on my local blues show (Worcester area) host Mark Edmonds was playing some Freddie and said that FK had died as a result of internal bleeding and blood clots, a condition that he'd been carrying around and had not gotten any treatment for. I think this concurs with some of the other info we've read here on Blues-L, including Mary Katherine's authoritative diagnosis. :) :) Do we have an official concensus on this now? Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Mon, 4 Dec 1995 10:52:21 -0500 Reply-To: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM From: Jim Smith Subject: Freddie King CD Question Can someone provide info (track list/date) on the Freddie King CD "Mojo Blues" on the Collectables label? Jim Smith smith_jb@atc.alcoa.com ========================================================================= Date: Mon, 4 Dec 1995 10:56:41 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Sam Myers, what a character! I've got to agree with Don O on this one! I've seen Sweet Sam several times with Anson in several places across the country and each time I'm in awe and amazed by his smoothness and suave manner with the ladies in attendance and working the bar. He's just too cool. It's great to see him plunk down on a bar stool between sets and women just fall all over him. :) Then all of a sudden a tune on the jukebox will move him and he'll grab some babe and sashay out onto the dance floor and strut. Mind you, for those of you who are not familiar with Sam, this is a guy who can barely see out of his one "good" eye, and is not exactly a lithe Spring chicken. He is just too cool! :) Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Mon, 4 Dec 1995 11:07:20 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Delta Blues Museum info Comments: To: ISTS024 Howdy LW, Does the museum have an 800 number I can call to get their catalogs or to get on some kind of a mailing list? It might be fun to pick up some of this merchandise from the delta and give it to blues-loving friends for Christmas. I posted this to the list as well 'cuz sometimes the server at UAB bounces my direct posts back at me. Thanks, Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Mon, 4 Dec 1995 11:18:14 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: Steel slides(?) Comments: To: Laurie Forti I'm not sure why one would insist on calling a slide a "bottleneck" unless one is using an actual bottleneck. I have been playing slide and hanging out with slide players for YEARS. I never heard anyone refer to a metal slide as a "bottleneck." In my neck of the woods (DC/Baltimore), all the slide players I know (myself included) call anything we use to play slide guitar a "slide." How 'bout y'all? Jim Dunlop makes slides of all types (brass, chrome, glass and ceramic, my personal favorite). They can be ordered through the mail. I will post the address when I find it unless someone else posts it before I do. Why go to all the trouble of cutting pipe etc. when you can order one that's ready to go? P.S. I wear the slide on my ring finger. I have built up the muscles in my pinkie so I can use it to fret with, but I have a lot more control with the slide by wearing it on the larger ring finger. (Since I'm a female, my fingers are smaller and shorter than most men's, so I have to compensate.) It is not impossible to fret chords in open tuning. It's just DIFFERENT. ______________________________ Reply Separator _________________________________ Subject: Steel slides(?) Author: Laurie Forti at Internet Date: 11/29/95 4:56 PM Aw> Subject: Re: steel slides(?) > Hello all. I'm looking for a steel slide that fits on the finger so you > don't have to play slide on your lap. Maybe the first thing to learn is to call them 'bottlenecks' in respect for the guys that invented the style. 'Slide guitar' might be more accurate when used to describe Hawaiian guitar, cowboy steel guitar, and other styles where all 6 strings are slid upon. Bottleneck guitar, named because those guys used to cut off the neck of a bottle, fire-polish it and use it on, usually, the little finger of the fretting hand, is _much_ more sophisticated that real 'slide' techniques because four fingers are left free for chording. Fretting chords, however, is impossible with _real_ slide guitar. There are several options for making a metal bottleneck, depending on your finger size. Copper tubing of various stock diameters can be easily cut and dressed by anyone. Plumbing supply houses (or Home Depot) will carry several sizes of pipe couplings in various diameters: these are short pieces of pipe that are threaded on the inside. Now, these threads are pretty uncomfortable on the finger, so one can go to a machine shop and have them machine out the inside. They can also polish the outside to a smooth finish. If you really want to get fancy, get stainless steel or brass couplings. Different materials will have a different sound. Specialty supply houses that support machine shops and laboratories sell various sizes of tubing made of various materials, such as copper, brass, and glass. Unfortunately, tubing tends to have very thin walls, so doesn't produce a good sound. Small Parts, 1(800)220-4242 will send a catalog. Long, or 'deep', socket wrench sockets are an inexpensive way out, are available in both metric and inch sizes so it should be very easy to find one that fits, they have relatively thick walls so produce a decent sound, they are very smooth as purchased, and the square shank end can be easily cut off by a machine shop to get rid of the top-heavy feel. Or one could spend countless hours scribing _real_ bottlenecks with a file or sharpening stone, heat and tap them, or heat and quench them in water, hoping that one will eventually break off cleanly, and then file and fire-polish the cut end. Fortunately, most current long neck bottles are not particularly straight, so will present some opportunities for single string work that is somewhat difficult with long straight bottlenecks. Short, straight ones can also be used for single string work. ... "Have you seen the world lately, I mean _really_ seen it??" Duckman --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Mon, 4 Dec 1995 10:39:05 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Steel slides(?) In-Reply-To: Message of Mon, 4 Dec 1995 11:18:14 -0500 from On Mon, 4 Dec 1995 11:18:14 -0500 PARRISHR said: > I'm not sure why one would insist on calling a slide a "bottleneck" > unless one is using an actual bottleneck. I have been playing slide > and hanging out with slide players for YEARS. I never heard anyone IMHO it has to do with the style. If you are playing delta blues with a slide regardless of the slide material, you are playing bottleneck slide. PERIOD It's like saying just because you aren't using the same guitar (ie PRS over a Kay) they you aren't playing traditianl blues.. Bottleneck slide refers to the style not the material > It is not impossible to fret chords in open tuning. > It's just DIFFERENT. IMHO it is essiential to fret chords in open tunings, it's pretty easy and like standard tuning the chords are all over the fretboard LW 'ImVHO' >Author: Laurie Forti at Internet >Date: 11/29/95 4:56 PM > > > Aw> Subject: Re: steel slides(?) > > > Hello all. I'm looking for a steel slide that fits on the finger so you > > don't have to play slide on your lap. > Maybe the first thing to learn is to call them 'bottlenecks' in >respect for the guys that invented the style. 'Slide guitar' might be >more accurate when used to describe Hawaiian guitar, cowboy steel >guitar, and other styles where all 6 strings are slid upon. > Bottleneck guitar, named because those guys used to cut off the >neck of a bottle, fire-polish it and use it on, usually, the little >finger of the fretting hand, is _much_ more sophisticated that real >'slide' techniques because four fingers are left free for chording. >Fretting chords, however, is impossible with _real_ slide guitar. > There are several options for making a metal bottleneck, depending >on your finger size. > Copper tubing of various stock diameters can be easily cut and >dressed by anyone. > Plumbing supply houses (or Home Depot) will carry several sizes of >pipe couplings in various diameters: these are short pieces of pipe >that are threaded on the inside. Now, these threads are pretty >uncomfortable on the finger, so one can go to a machine shop and have >them machine out the inside. They can also polish the outside to a >smooth finish. If you really want to get fancy, get stainless steel >or brass couplings. Different materials will have a different sound. > Specialty supply houses that support machine shops and >laboratories sell various sizes of tubing made of various materials, >such as copper, brass, and glass. Unfortunately, tubing tends to have >very thin walls, so doesn't produce a good sound. Small Parts, >1(800)220-4242 will send a catalog. > Long, or 'deep', socket wrench sockets are an inexpensive way out, >are available in both metric and inch sizes so it should be very easy >to find one that fits, they have relatively thick walls so produce a >decent sound, they are very smooth as purchased, and the square shank >end can be easily cut off by a machine shop to get rid of the >top-heavy feel. > Or one could spend countless hours scribing _real_ bottlenecks with >a file or sharpening stone, heat and tap them, or heat and quench them >in water, hoping that one will eventually break off cleanly, and then >file and fire-polish the cut end. Fortunately, most current long neck >bottles are not particularly straight, so will present some >opportunities for single string work that is somewhat difficult with >long straight bottlenecks. Short, straight ones can also be used for >single string work. > > >... "Have you seen the world lately, I mean _really_ seen it??" Duckman > >--- > ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Mon, 4 Dec 1995 10:26:06 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Johnny "Guitar" Watson and Jimmy Vaughan Comments: To: Steve Levine In-Reply-To: When I saw Jimmie Vaughan over Labor Day weekend, it struck me that Johnny "Guitar" Watson (about whom Etta James raves frequently in her excellent autobiography, as she should since he was one of the biggest influences on her vocal style) is more of an influence on Jimmie than ever. It's much more noticeable now that he's on his own than it was when he was playing in the T-Birds. Watson's also a big influence on Duke Robillard, Ronnie Earl and many others and was a longtime friend and hero of Frank Zappa. The alternate take of "Three Hours Past Midnight" is the one on the Ace (UK) and Virgin (US) CDs and it's pretty hot, but the original (which doesn't have any hesitations in the intro; that's the quickest way to tell them apart) is even better, about as good as guitar blues got or gets. It's on the Kent "California Blues" LP from years ago and on the P-Vine 2-CD set of the complete Watson RPM recordings. If I remember right, Etta refers to Watson in her book as "the most advanced musician of his time." ========================================================================= Date: Mon, 4 Dec 1995 09:03:01 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Amps. (not blues related) Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Someone named "Tremolux" (say what?) said: >>>>btw, the best tube amps ever made are being made right now. > >I beg to differ. The quality of currently manufactured tubes is poor in >comparison to what was available 20 years ago. All the new amps are >loaded with bullshit like effects loops, high gain, shannel switching, >etc.... all of which kill tone. I'll take a tube amp form the 50s or 60s >any day over ANY new amp, including the boutique stuff. Well, you're right about the tubes, dontcha hate those sino power tubes that come with so many Fenders? The russian stuff isn't bad, and is getting better IMO. Ok, As someone who was there, and actually remembers what those old amps sounded like when new, let me make the following points: 1. What we have left today from that period, and what we consider "great amp tone" are a very few examples from that era. 2. There were very few amp techs back then who could do a decent bias, let alone do a good mod. (you want me to DISCONNECT THE FEEDBACK LOOP??) So you were stuck with what you got from the factory, and some got great, and some got lousy. Today, there are good techs everywhere, and even (with a some massaging) my Fender 410 reissue was able to really sound great, as good as many old originals (not as good as all old originals of course) and way better than most orignals were when new. It's simple, If you could go back through time, and get a bunch of these revered old amps and bring them back and compare them, you would find A Matchless DC-30 would be better than 999 out 1000 new Vox AC-30s. (When I first heard a DC-30, I said, "The Beatles would have killed for one of these"!) A Victoria Vintage/Kendrick etc 410 Bassman would be better than almost all the Fenders A crappy old Silverface Deluxe or Princeton, properly setup by a modern tech (Tim Pinnel does mine) would be better than any blackface original when it was new, and most of the old ones too. As far as channel switching/FX loops etc, I don't use 'em, my amps don't have 'em. FX loops can be done right, and not degrade the tone, I have heard it done, but I don't need one. As far as high gain goes, fine, I like lower gain amps too, BUT you've written off entire genres of music by writing off high gain amps. That's your right, but that is not about amps any more. I am not a metal guy, but playing a Mesa Dual-Rectifier Solo head/Stack or a good VHT, could almost make me one, if I didn't feel so silly playing that music! There's no right/wrong in this, and everyone is entitled to their opinion, but I would tell musicians to go to "Music Store Row" in El Lay or NYC for that matter, Demo and price a new DC-30, Kendrick, Victoria Vintage, etc etc, and then demo and price an original 410 bassman, blackface Deluxe, Super etc etc. I'll go with the new ones every time. The old ones are such over-rated *gouge-items for yup collectors* that the glorious tone and power of the best of today's amps easily wins for me, and I bet it would for most players. regards Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Mon, 4 Dec 1995 12:06:11 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: Blues Promotion Comments: To: LeaGil I've found it helpful to have a band :) Seriously, join your local blues society and go to their jams. That's how I started out. Six months later I had my first paying gig ($3, which was way more than I deserved) Now I have my own band. You're a female, I take it? Speaking as a female, I think females have a slightly easier time getting into blues bands (assuming you have a professional attitude and a modicum of talent) because proportionally there are few of us. People who have never heard you will come just out of curiosity. But there is a flip side; I will forward you my list of "Top Ten Pet Peeves of Blond Female Slide Guitarists" offline. ______________________________ Reply Separator _________________________________ Subject: Re: Blues Promotion Author: LeaGil at Internet Date: 12/3/95 8:47 PM Well, it has taken me a long time to find you guys (and gals!). I am seeking a professional career as a blues singer. It is difficult to know where to go or just how to star, any suggestions?? thanks Lea ========================================================================= Date: Mon, 4 Dec 1995 11:59:46 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Don Henley's Christmas Blues--LBC Every year at this time I hear a song by the Eagles--it's definitely Don Henley's voice (I could never miss it!)--entitled something like "Please Come Home for Christmas." It has a bluesy feel to it (please don't flame me or go into a 500-message exchange on why the Eagles are NOT the blues). I thought I had all the Eagles' recordings, but I can't seem to find this song. Can anyone tell me on what recording this song exists? I probably should call the radio station next time I hear it. That's what I always tell everyone else to do. But I heard it in my car yesterday, and I don't have a car phone, and the DJ did say, "that's a bluesy Don Henley and the Eagles there for you..." So that's my plea. Can anyone help? Thanks!! Shannon ========================================================================= Date: Mon, 4 Dec 1995 12:18:51 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: Sue Foley vs Muddy Waters Comments: To: L W No, you're not missing anything. Sue Foley is a HECK of a guitar player but nothing of hers that I've heard resembles Muddy Waters in the slightest. When I hear her CDs she's got sort of a Jeff Healey sound or maybe Albert King. "A Little Mixed Up About You" sounds kinda like Carl Perkins or maybe Jimmy Reed. But NOT Muddy Waters. P.S. I'll take the poster. I need it for inspiration. Thanks, Ruth ______________________________ Reply Separator _________________________________ Subject: Sue Foley vs Muddy Waters Author: L W at Internet Date: 12/4/95 8:24 AM I'm NOT trashing Sue Foley on this: We received Sue's press kit and it said "Clifford Antone was so impressed with Sue Foley's uncanny resemblance to Muddy Waters in style and sound that he immediately sent her a plane ticket to Texas' Ok I've seen Sue Foley once and have heard her first CD....AM I MISSING SUMPIN does anyone else think that anything she does reminds them of MUDDY WATERS in the least...Ok she does play a Tele...... Free Sue Foley posters/press photo to the first private response unless other wise they go in the fireplace LW ========================================================================= Date: Mon, 4 Dec 1995 11:27:22 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Don Henley's Christmas Blues--LBC In-Reply-To: Message of Mon, 4 Dec 1995 11:59:46 EST from On Mon, 4 Dec 1995 11:59:46 EST shannon oconnor said: > Every year at this time I hear a song by the Eagles--it's definitely > Don Henley's voice (I could never miss it!)--entitled something like > "Please Come Home for Christmas." It has a bluesy feel to it (please > don't flame me or go into a 500-message exchange on why the Eagles are > NOT the blues). I thought I had all the Eagles' recordings, but I IT IS ON CHARLES BROWN'S RECORDING THE WRITER AND OWNER ?!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!! LW 'ain't no damn Don henley tune' > bluesy Don Henley and the Eagles there for you..." > > So that's my plea. Can anyone help? Thanks!! > > Shannon ========================================================================= Date: Mon, 4 Dec 1995 13:38:41 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: Steel slides(?) In-Reply-To: <0c31fb10@vitro.com> from "PARRISHR" at Dec 4, 95 11:18:14 am > Long, or 'deep', socket wrench sockets are an inexpensive way out, > are available in both metric and inch sizes so it should be very easy > to find one that fits, they have relatively thick walls so produce a > decent sound, they are very smooth as purchased, and the square shank > end can be easily cut off by a machine shop to get rid of the > top-heavy feel. This weekend I bought a Mastercraft 3/4" deep well socket, which is darn near perfect except for a small incised ring about 1/8th in. from the shank end. I'm paranoid about losing my main slide which was machined by a friend from a block of brass, so this makes a good "party slide" - one I can take out of the house without fear of losing it. $5 bucks Canajun, and infinitely replacable. I've never had much luck making my own bottlenecks - one or two usuable slides out of six or eight tries. -Rob ========================================================================= Date: Mon, 4 Dec 1995 09:42:07 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Live Show! Review Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Hi Everybody! Well, as I said last week, I promoted my first Blues show here at good ol' La Sierra U. this weekend. (The student association also helped with promotion) The headliner was "Earl Alexander and Buffalo Soldier". Earl, and most of his band are originally from Chicago. They live in Los Angeles now and are regulars at Carvelles in Santa Monica. They have also played most of the other blues venues in L.A. To put it briefly, they brought the house down. What a great show! They played a range of material (I was running sound, so I couldn't take notes on the tunes). To me the stand-out tune was Little Milton's "Bluebird". Earl said that he used to sneak into clubs in Chicago when he was underage to hear Milton, and that performing the song is his tribute to him. What a version he did. Tremendous dynamics, amazing musicianship, vocals I only dream of.... yes I was knocked out. When Earl took his guitar solo, he fell to his knees at the front of the stage, and played his heart out with a beautiful singing tone and style somewhere between BB and SRV. The crowd of college kids and faculty gave him a standing ovation. A bunch of kids in grunge clothes went home blues fans last night. What more can we ask for? I must add that the musicianship of Earl and his band is of the highest caliber. Earl himself can play guitar almost as well as he sings, and he is the best singer (who is not already very famous) that I have heard in many years. The keyboard player, Eric (ET to you) consistently got ovations in the middle of songs with his horn fills, powerful piano playing, and cranked B3 organ sounds. Leroy, the biggest, coolest, bass player in L.A. in his tux, and six-string bass, gave a whole years worth of bass lessons in one night. Leroy is so good on bass, so powerful, so musical, so funny, that he must have gotten ten ovations just for himself. He just played the daylights out of that bass, period. Peter, the drummer, was right in the pocket, strong, emotional, with a jazzy yet powerful feel. Wonderful, I wish every one of you could have been there. Many blues bands today are so serious, so intent, that they forget that this music is part of a rich culture, full of humor, intelligence, and community. Last night, we remembered. Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Mon, 4 Dec 1995 11:52:23 CST Reply-To: JBards From: JBards Subject: Re[2]: Amps. (not blues related) Comments: To: Tremolux I beg to differ with your difference. I have three amps right now- a 66'Bassman, a new Victoria 3x10" Bandmaster type and a restored 52 Tweed Pro. The quality and detail of the construction of the Victoria is better than anything else I've ever seen, and I've also had Princetons, Pros, Deluxe Reverbs and Concert amps from the 60s as well as reissue Bassman. While It is true that the mass produced new amps do not hold a candle to the to hand-wired amps of earlier years, it is also true that the new so-called botique amps in many cases- at least the ones I have experience with, which include Dr. Z's amps and Dave Funk's line as welll as the Victoria- exceed the quality of the older amps in design and construction. This is not true, however, for the newer series of Fender amps, which still use a lot of pcv boards and other shortcuts, and do not have the attention to quality control of the amps I mentioned above. It's true that a lot of the tubes manufactured today do not compare well with the old tubes, granted ( except certain of the Sovteks which are really improving rapidly). But what's the point? All tubes wear out and have to be replaced, so if you put new tubes in an old Fender you've still got the same problem. And in addition, we all search for and squirrel away our hordes of new old stock tubes- my Victoria comes equipped with old Tesla and JAN GE's, if I remember correctly. Hope this helps clarify a few facts- Jim _______________________________________________________________________________ Subject: Re: Amps. (not blues related) From: Tremolux at INTERNET-SH Date: 12/4/95 4:23 AM >>>btw, the best tube amps ever made are being made right now. I beg to differ. The quality of currently manufactured tubes is poor in comparison to what was available 20 years ago. All the new amps are loaded with bullshit like effects loops, high gain, shannel switching, etc.... all of which kill tone. I'll take a tube amp form the 50s or 60s any day over ANY new amp, including the boutique stuff. ========================================================================= Date: Mon, 4 Dec 1995 12:04:31 -0800 Reply-To: Chris Pearson From: Chris Pearson Subject: history lesson My "reply" function is fagowied so I hope someone knows I am responding ========================================================================= Date: Mon, 4 Dec 1995 12:25:31 -0800 Reply-To: Chris Pearson From: Chris Pearson Subject: history lesson My "reply" function is AFU so I hope someone realizes this is a response to Shaun who was talking about some babe who liked Robben Ford and he said something like you should listen to Muddy Waters. I can understand where she is coming from. Everyone who plays a guitar is influenced by someone. Always has and always will be that way. We all usually start out wanting to play exactly like the guy on the record. Usually we find that we can't make it sound exactly like it sounds on the record so we fake it and it turns into my version of the lick. Thiisn't exactly where I wanted to go with this but bear with me. The latest breed of guitar players will play circles around anything that the old guys can do. Guys like Robben Ford, Larry Carlton, Robert Cray, Buddy Guy, heck, I've even heard some local players, really master their instrument and I would rather listen to them than some poorly recorded, out of tune, technically uninspiring player simply because he was an influence on somebody. Give the legends there due, but listen to what makes you squirm in your chair. Chris ========================================================================= Date: Mon, 4 Dec 1995 13:32:30 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Blues Access off the Web? Looks to me that Blues Access Magazine has departed their web site at http://www.interactive.line.com/blues/bluesaccess/.tic.index.html If you know where they've gone -- if anywhere -- could you let me know? In other Web news, it's astounding how many new blues sites are coming online these days -- and I do mean days! The growth is indeed exponential. Here are just a few in just the past week: Maxwell Street Blues Home Sweet Home Page: A tribute to Chicago's Maxwell Street at: http://homepage.interaccess.com/~mar/maxwell/maxblu.html Michael Furstner's Jazclass: Blues and jazz tutorials with sheet music and sounds at: http://www.ozemail.com.au/~jazclass/ And, yes, you must see Dick Waterman's photo of Son House, Skip James and John Hurt at Turnrow Press: http://www.watervalley.net/users/anewt/turnrowpress/index.html Please, sir. May we have some more? *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Mon, 4 Dec 1995 10:41:05 PST Reply-To: mmccourt@ACUSON.COM From: Mike McCourt Subject: Re: Blues This Week on TV "D. ALLEN SIMPSON" wrote: >Weds., 12/6 - NBC Today Show: Bonnie & John Raitt (music is usually in >the last hour, usually about 20 or 15 mins. to the end of the hour, or >less) >Doug S. I don't know what the Today show has planned but I heard an interview John Raitt the other night on NPR (public radio). John has a new album out called something like "The Legend of John Raitt". This is definitely NOT blues. Bonnie appears on a few cuts and they did duets of tunes from Broadway shows for which John is well known. It was very well done (Bonnie has such a beautiful voice she sounds good singing anything) but should contain a Low Blues Content warning label. I would expect the show to focus on the new album. Mike ========================================================================= Date: Mon, 4 Dec 1995 14:03:52 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Radio Playlist Here's the playlist from last Friday's edition of "Nothin' But the Blues" on WTJU FM 91.1, Charlottesville, Virginia: I'm Trying to Make London My Home: Sonny Boy Williamson (In Europe; Evidence CD) Goin' Back to Natchez: Papa George Lightfoot (Goin' Back to the Natchez Trace; Ace CD) The Blues Had a Baby: Brownie McGhee (Blues is Truth; Blue Labor LP) Jump Little Children: Brownie McGhee (Brownie's Blues; OBC/Prestige/Bluesville CD) Confusion: Sonny Terry & Brownie McGhee (Preachin' the Blues; Folkways LP) Door to Success: Brownie McGhee (Brownie's Blues; OBC/Prestige/Bluesville CD) Guitar Highway: Sonny Terry & Brownie McGhee (Preachin' the Blues; Folkways LP) Rum Cola Papa: Brownie McGhee (1944-1955; Travelin' Man CD) Tee-Nah-Nah: Brownie McGhee w/Vann Walls (Sticks McGhee: Drinkin' Wine Spo-Dee-O-Dee; Crown Prince LP) Need Someone to Love Me: Brownie McGhee (1944-1955; Travelin' Man CD) Roby-Doby Boogie: Brownie McGhee (Jumpin' the Blues; Savoy Jazz LP) Walk On: Brownie McGhee (Blues is Truth; Blue Labor LP) Sweet Black Angel: Robert Nighthawk (Black Angel Blues; Chess(UK) LP) Take it Easy, Baby: Robert Nighthawk (Live on Maxwell Street; Rounder CD) Maxwell Street Medley: Robert Nighthawk (Live on Maxwell Street; Rounder CD) Hush Hush: Jimmy Reed (Got Me Dizzy; Charly LP) Talkin' Woman: Albert Collins (Live '92-'93; Pointblank CD) TV Light: Smokin' Joe Kubek Band (Texas Cadillac; Bullseye Blues CD) Izabella: Jimi Hendrix (The Essential Jimi Hendrix; Reprise CD) I Have the Same Old Blues: Magic Sam (Black Magic; Delmark CD) Feelin' Good: Ike & Tina Turner Revue (Live; United Superior LP) The Love of My Man: Ike & Tina Turner Revue (Live; United Superior LP) Goodbye, So Long: Ike & Tina Turner (The Soul of Ike & Tina Turner; United Superior LP) A Fool in Love: Ike & Tina Turner (River Deep, Mountain High; A&M LP) You Belong to Me: Magic Sam (Give Me Time; Delmark CD) I Can't Get Next to You: Al Green (Compact Command Classics; Motown CD) Same Old Fishin' Hole: Blues Boy Willie (Be-Who?; Ichiban LP) Sonny Boy's Harmonica Blues: Sonny Boy Williamson (In Europe; Evidence CD) -PSW ========================================================================= Date: Mon, 4 Dec 1995 13:49:16 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: Blues Access off the Web? Comments: To: Curtis Hewston D.C. Blues Society home page: http://intelus.com/dcblues/ Look for my fiance, Mad Max, under the "Local Band Web Pages" Ruth ______________________________ Reply Separator _________________________________ Subject: Blues Access off the Web? Author: Curtis Hewston at Internet Date: 12/4/95 1:32 PM Looks to me that Blues Access Magazine has departed their web site at http://www.interactive.line.com/blues/bluesaccess/.tic.index.html If you know where they've gone -- if anywhere -- could you let me know? In other Web news, it's astounding how many new blues sites are coming online these days -- and I do mean days! The growth is indeed exponential. Here are just a few in just the past week: Maxwell Street Blues Home Sweet Home Page: A tribute to Chicago's Maxwell Street at: http://homepage.interaccess.com/~mar/maxwell/maxblu.html Michael Furstner's Jazclass: Blues and jazz tutorials with sheet music and sounds at: http://www.ozemail.com.au/~jazclass/ And, yes, you must see Dick Waterman's photo of Son House, Skip James and John Hurt at Turnrow Press: http://www.watervalley.net/users/anewt/turnrowpress/index.html Please, sir. May we have some more? *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Mon, 4 Dec 1995 13:21:22 CST Reply-To: JBards From: JBards Subject: Re: history lesson Comments: To: Chris Pearson "Fagoweid"???? Say what? J? _______________________________________________________________________________ Subject: history lesson From: Chris Pearson at INTERNET-SH Date: 12/4/95 1:07 PM My "reply" function is fagowied so I hope someone knows I am responding ========================================================================= Date: Mon, 4 Dec 1995 15:35:35 -0500 Reply-To: Jessica Sowin From: Jessica Sowin Subject: Re: HAPPY BIRTHDAY, BROWNIE MCGHEE Parts 1-4 Comments: cc: Larry Cohn Dear Blues-L: I am posting these comments on behalf of Larry Cohn. His e-mail address is larry_cohn@sonymusic.com if you'd like to respond to him privately. >Re: Chris Smith's article about Brownie McGhee, I strongly disagree about the following. >Contrary to what Chris has provided, I truly believe that Brownie was a fully evolved >artist at the time he recorded for us and subsequent years of recording will certainly >bear me out. > >Additionally, the album referred to on Storyville (his solo effort) is, to my mind, hands >down the worst effort he ever recorded. > >Best, > >Larry Cohn Thanks, Jessica Legacy ========================================================================= Date: Mon, 4 Dec 1995 20:50:31 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: BLUES REVUE Re: Blues Access off the Web? Comments: To: bit-listserv-blues-l@uunet.uu.net Someone send me which has BLUES REVUE available. eRIC ========================================================================= Date: Mon, 4 Dec 1995 16:10:53 -0500 Reply-To: RhythmShrk@AOL.COM From: Bernie Clarke Subject: Washington, DC Thursday Night Comments: To: Harp-l@garply.com I've got some business in DC Fri, so I was wondering what's the best thing going on Thursday night in the Capital? Jams or shows? I could use a cruise director. Thanks Bernie Clarke ========================================================================= Date: Mon, 4 Dec 1995 16:30:36 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: Washington, DC Thursday Night Comments: To: Bernie Clarke If you have WWW access, check the DC Blues Society's home page. http://intelus.com/dcblues/ They've got the most up-to-date information on what's happening. If you don't have access, let me know and I'll relay the information. ______________________________ Reply Separator _________________________________ Subject: Washington, DC Thursday Night Author: Bernie Clarke at Internet Date: 12/4/95 4:10 PM I've got some business in DC Fri, so I was wondering what's the best thing going on Thursday night in the Capital? Jams or shows? I could use a cruise director. Thanks Bernie Clarke ========================================================================= Date: Mon, 4 Dec 1995 17:08:23 -0500 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: History Lesson Comments: To: Shaun T Cronin In-Reply-To: <199512040759.XAA20168@wavenet.com> On Sun, 3 Dec 1995, Shaun T Cronin wrote: > I'm not really up on Blues piano. Could someone kindly list the albums and > artists that are considered essential regarding Blues piano. It would help > my Blues education and hopefully get my friend turned on to the classic > Blues as well. > Without a doubt: Grinder Man Blues: Masters of the Blues Piano (RCA/BMG 2098-4-R) This excellent album features Little Brother Montgomery, Memphis Slim and Bog Maceo Merriweather. It's worth the price for Big Maceo's "Worried Life Blues", "Texas Stomp", "Kid Man Blues" and "Chicago Breakdown". Pen & Brenda Bogert Louisville KY ========================================================================= Date: Mon, 4 Dec 1995 17:18:15 -0500 Reply-To: Mark Richard Siegel From: Mark Richard Siegel Subject: SRV, Austin City Limits I think that the instrumental you heard was probably "Riviera Paradise" which is the last song on "In Step". I have a live version of that song and he dedicates in to all of the people in the world that may be suffering. ========================================================================= Date: Mon, 4 Dec 1995 17:33:05 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Sitting&Thinking-U.P.Wilson. Comments: To: bit-listserv-blues-l@uunet.uu.net U.P. WILSON - Live At Schooner's Dallas (Wolf 120.630) WOLF RECORDS P.O. BOX 375 A-1120 VIENNA AUSTRIA This recording is packed full of solid music. There's some unbelievable guitar licks and great smokey overcast vocals. A quick look at the register shows TuTu Jones, Herb Abs and Tyrone Starks rounding out a nice three piece behind U.P. Wilson. They also get their own front on cut 9, the superior rendition of The Thrill Is Gone. All tolled you should not be without this CD in your collection for a number of reasons, so here's my list. The session is live, the music is original, the power is penetrating and the musicians are living and are sure to be the leaders in where the blues is going. I assume that was the door closing I heard, as you headed down to the neighborhood CD shack. Smart choice. YOU'RE THE ONE I CHOOSE / CROSS ROADS / MY BABY'S GOT A BLACK CAT BONE / THAT'S YOUR WOMAN / MY BABY'S MIND / ONE HAND BOOGIE / HOLD ME, BABY / ONE HAND BLUES / THE THRILL IS GONE NY CD Takes YOU'RE THE ONE I CHOOSE: U.P. Wilson signs this CD right up front. His signature is deep, mean edged, shrill kickin' blues. This cut features a ton of razor blade guitar work and each lick is ferocious. The playing here is not all hell bent and fury but rather moaning, driving and heart tugging. Set this up against his tortured timing and overcast vocals, and the makings are in place for some not-too-humble-pie. This is real blues, played live and unadulterated right in your face. CROSS ROADS: U.P. now takes a crack at a Robert Johnson classic. He dives into it full blast ahead. This is far removed from the easy delivery of Mr. Johnson - this is blazing Texas blues. As you listen to this side make note of the fire in the fingers as this rendition runs full throttle. U.P. has made this one his own and set his mark squarely to this powerhouse rendition. MY BABY'S GOT A BLACK CAT BONE: Here we have 1 of 7 U.P. Wilson original sides. The pacing here is slow and the guitar is played with a single note pick over pick attack, sending electric shocks into the air. This cut is full of long musical interludes with a bare minimum of vocals. The hands here are the stealer, listen for the number of notes this man can pack into a run. He has lightning rods below his knuckles and truly makes the most of them. THAT'S YOUR WOMAN: This is a fast paced shuffle on down tune. The guitar still is quick tempered, but not as mean and down as on the preceding sides. This cut will move your shoulders, your hips and anything else not held firmly in place. MY BABY'S MIND: U.P. tends to write long blistering blues eulogies and this one is no exception. This will take you down to where the devil met the minister, and for many a moment leave you there. 10+ minutes of hard sinister blues with heavy doses of electric and innovative guitar work. If the rest of this album hasn't made you a believer - this cut will. ONE HAND BOOGIE: In case you didn't know it, U.P. Wilson is well known for playing his Stratocaster with just one hand. So if you assumed that the title belies the playing you are right. I guess you're also trying to figure out, since you're not there live and sitting at Schooner's watching the show, how he does it. How can he make that much music with just one hand. Don't worry too much - U.P. and the band is a far better place for your attention right now as this cut unwinds. HOLD ME, BABY: This tune was played either right before the band took a break or just after they returned to the stage. It starts out with that classic intro the band and instruments feel and then leads into some cooler guitar licks from U.P. and a much brighter and bigger staged vocal style. On this side he sings right into the mic and his Strat is there once again playing that very fine accompaniment. This is a very musical side with the musicians and the instruments clear and well placed. ONE HAND BLUES: Once again the title indicates that we're about to be treated to another one-hander. Listen to U.P. slide those fingers up and down the strings. If this is a one-hander I have to admit this is quite an accomplishment. U.P. cracks us some apocryphal playing here and I easily recommend this as your first play cut. THE THRILL IS GONE: A very generous way to end a CD. The song was written by none other than Mr. B.B. King and the playing and vocals are turned over fully to the band. Obviously U.P. is well aware that he's not alone in his music. Another hotshot from Texas, TuTu Jones, gets the guitarwork and vocals here with Herb Abs on bass and Tyrone Starks hammering the drums. TuTu Jones' style here is much higher in the register than U.P.'s and his vocals also range up there. If you like U.P. Wilson you will equally like TuTu, and I'm sure you'll be looking for more from both of them. Don't worry though, they are both hot now and will be recording plenty. Reviewed by Barry Silverberg Copyright NY CD Blues - 1995 -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Mon, 4 Dec 1995 17:36:14 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: CD's To Trade Comments: To: bit-listserv-blues-l@uunet.uu.net Ernie Johnson - In The Mood Bobby Blue Bland - Sad Street Little Milton - Greatest Hits (new one) -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Mon, 4 Dec 1995 16:13:34 EST Reply-To: Ian Sumpter From: Ian Sumpter Subject: Re: Canadian Columbia House Blues List A couple of days ago someone thoughfully sent out a list of blues CDs for sale at the American Columbia House music club. Has such a beast been put together for Columbia House in Canada?, as I noticed that the order numbers are different. Such a compiliation would be really helpful. And what about the same for BMG? They call it story monday......... ========================================================================= Date: Tue, 5 Dec 1995 12:07:12 +1100 Reply-To: James Chase From: James Chase Subject: Longhair, Booker Hi all, just a couple of self-serving questions about New Orleans piano and the guys above: 1. Is there any pre-70's Professor Longhair stuff available on CD other than _New Orleans Piano_? NOP is good but doesn't seem to collect up later early Longhair. 2. I've heard (and reheard and reheard) James Booker's live set on _Resurrection of the Bayou Maharajah_ . Is this as good as Booker gets? I haven't heard anything else by him & I'd appreciate being pointed at anything of this quality elsewhere. Cheers, James Chase Philosophy Program RSSS Australian National University Canberra ACT 0200 ========================================================================= Date: Mon, 4 Dec 1995 20:26:51 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Muddy Waters albums Joe in Moscow asks: >If there is other essential Muddy out there, I too would very much >like to hear about it! You didn't mention The Best of Muddy Waters. I don't know if all those songs are on another album also; I'm not very good at titles and I don't have all the Muddy there is. But if there's an essential Muddy album, or an essential blues album for that matter, this has got to be it! In fact, The Best of Muddy Waters is my answer to another current thread. I did not acquire a taste for the blues. I think I always liked the sound, but I didn't know what it was. It was more of a discovery process for me. A few years ago I went on a search for that sound--I found it when I bought The Best of Muddy. And yes, my immediate reaction was "Omigod, who is that on harp? This guy is INCREDIBLE!" (Feel free to tease me now; everyone does!) But this single tape led me also to Jimmy Rogers, Otis Spann, and Walter Horton, as well as to Little Walter (who subsequently led me to Robert Lockwood, Louis Myers, Luther Tucker, etc.). The whole thing's still an exciting journey of discovery for me! Karen ========================================================================= Date: Mon, 4 Dec 1995 21:01:42 -0500 Reply-To: MONTAUCK@AOL.COM From: "Daniel F. Becker" Subject: Help me find an artist and recording I am searching for a tune and artist I heard years ago on radio. Name of the tune was "My Heart Attacked Me" Someone told the artist might me named Davis. Maybe Honey Davis. Sang like Johnny Winter and had a great guitar backup. Help me please! ========================================================================= Date: Mon, 4 Dec 1995 22:02:40 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Smithsonian Folkways Does anybody have a web or email address for Smithsonian Folkways? And does anyone know if they service non-commerical radio stations? I see that they have a recent release titled "The Voice of Langston Hughes." They must have other interesting stuff! Thanks in advance. Dave Prychitko Blues 101, WNYO-Oswego http://www.oswego.edu/~prychitk/Blues101.html for reviews and playlists "Robert Johnson? Hell ya, I ran with Bobby back in the 30s!" ========================================================================= Date: Mon, 4 Dec 1995 22:53:03 -0500 Reply-To: BillBishmn@AOL.COM From: BillBishmn@AOL.COM Subject: info Please Send me info on different blue related sites please. Best Regards, BillBishmn@aol.com ========================================================================= Date: Mon, 4 Dec 1995 21:02:57 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: history lesson On Mon, 4 Dec 1995 12:25, Chris wrote; >My "reply" function is AFU so I hope someone realizes this is a response >to Shaun who was talking about some babe who liked Robben Ford and he >said something like you should listen to Muddy Waters. >I can understand where she is coming from. Everyone who plays a guitar >is influenced by someone. Actually, she is a keyboardist. >Always has and always will be that way. We all usually start out wanting to >>play exactly like the guy on the record.Usually we find that we can't make it >>sound exactly like it sounds on the record so we fake it and it turns into my >>version of the lick. Thiisn't exactly where I wanted to go with this but bear >>with me. So far I agree. >The latest breed >of guitar players will play circles around anything that the old guys >can do. Guys like Robben Ford, Larry Carlton, Robert Cray, Buddy Guy, >heck, I've even heard some local players, really master their instrument >and I would rather listen to them than some poorly recorded, out of tune, >technically uninspiring player simply because he was an influence on >somebody. Whoah, hold on here. So you are dismissing Albert King, BB King, Freddie King, T-Bone Walker, Magic Sam, Gatemouth Brown, Alber Collins etc just like that? Robben Ford is a great player but to say he is better that someone because of his technical ability is ludicrous to the extreme. Buddy Guy is not a technical virtuoso. He is as sloppy as hell. But for him it works. It is the feeling that he is going for. Technically uninspiring? BB has the ability to hit you with just one note, as did Albert. That is beyond technique. If that doesn't inspire you then you are probably dead. It is something else. I put up with the "A guitarist has great technique therefore he is a better than B guitarist who has less technique" all the time at MI. Few guitarists try and concentrate on melody and note choices in their solos. It is usually "dweedly-dweedly-dee" (to qoute Zappa). Those guys didn't need technique to say what they had to say. One of the best compiliments I've had about my guitar playing is that while I rarely ever bend in tune, it still sounds good (I think it's something I picked up from Buddy Guy and Albert King. Trying to find the notes that lay between the frets). I rather play a solo where I made mistakes going for something than to play something that while perfect, never really said anything. I don't want to detract for the guitarits you mentioned. They are great players and I listen to them as well. Bad recordings with out-of-tune instruments are some of the only links to soem great musicians. It is a tribute to those musicians' music that it is able to transcend those limitations and inspire a lot of people. >Give the legends there due, but listen to what makes you squirm in your >chair. True but that doesn't mean you can dismiss the works of the greats because it doesn't meet today's so called technical standards. BTW, those of you who answer my queries about Blues pianists, thanks. I passed them onto my friend who was quite pleased. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Mon, 4 Dec 1995 21:37:10 -0800 Reply-To: bluesdj@HALCYON.COM From: Roberta Penn Subject: Re: Seattle Blues Playlist 12/2/95 In-Reply-To: <199512040516.AAA17595@listserv.brown.edu> LOWELL FULSON I WANNA SPEND XMAS WITH YOU VIRGIN BB KING THE THRILL IS GONE MCA BETTY EVERETT WHO WILL NEXT FOOL BE FANTASY LUTHER ALLISON MOVE FROM THE 'HOOD ALLIG. CHAS. BROWN MERRY X-MAS BABY EMI. MARIA MULDAUR DON'T YOU FEEL MY LEG BLK.TOP MICROWAVE DAVE & NUKES PAY BO DIDDLEY ICEHOUSE BUTCH THOMPSON ST. JAMES INFIRMARY DARING SONNY LANDREATH PINEGROVE BLUES ICEHOUSE JB HUTTO TOO MUCH ALCOHOL WOLF SLIM HARPO I GOT LOVE IF YOU WANT IT RHINO FURRY LEWIS SHAKE 'EM ON DOWN BLUESV. ROBT. CRAY MOAN MERCURY TOO SLIM & TAILDRAGGERS BLUE GUITAR BURNSIDE JEFF BECK HI-HEEL SNEAKERS EPIC DAN PENN CRY LIKE A MAN SIRE LURRIE BELL LURRIE'S COOL GROOVE DELMARK PHIL GUY TINA NU JSP SOUTHERN CULTURE ON SKIDS NITTY GRITTY DGC TERRY EVANS DOWN IN MISS. AUDIO. PINETOP PERKINS KIDNEY STEW BLUES EARWIG LOS LOBOS LONELY AVENUE RHINO MISS. FRED MCDOWELL KOKOMO ME BABY CAPITOL FAB. T-BIRDS MEAN LOVE PRIVATE LARRY GARNER RATS & ROACHES IN MY KIT. VERVE ANSON FUNDERBURG/SAM MYERS SAM'S X-MAS BLUES BLK TOP ========================================================================= Date: Mon, 4 Dec 1995 21:44:22 -0800 Reply-To: Chris Adams From: Chris Adams Subject: Re: Smithsonian Folkways Comments: To: "David L. Prychitko" In-Reply-To: The web site for Smithsonian recordings is: http://www.si.edu/products/shopmall/records/blueart1.htm To go directly to blues-related recordings: http://www.si.edu/products/shopmall/records/start.htm Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us On Mon, 4 Dec 1995, David L. Prychitko wrote: > Does anybody have a web or email address for Smithsonian Folkways? And > does anyone know if they service non-commerical radio stations? > > I see that they have a recent release titled "The Voice of Langston > Hughes." They must have other interesting stuff! > > Thanks in advance. > > Dave Prychitko > Blues 101, WNYO-Oswego > http://www.oswego.edu/~prychitk/Blues101.html for reviews and playlists > > "Robert Johnson? Hell ya, I ran with Bobby back in the 30s!" > ========================================================================= Date: Mon, 4 Dec 1995 16:12:33 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Kennedy Center Honors for BB last Night (lifted from Rueters) Actor Sidney Poitier, blues guitarist B.B. King, playwright Neil Simon, singer Marilyn Horne and choreographer Jacques d'Amboise had an audience with President Clinton Sunday. At a White House reception, Clinton honored the five performers for their contribution to the arts. Poitier and company were recipients of the Kennedy Center Honors, an annual event that celebrates the best in American talent. Louis Gossett Jr, Steve Martin, James Earl Jones and Bonnie Raitt and other stars joined a host of Washington celebrities at the reception and at a salute to the honorees at the Kennedy Center for the Performing Arts. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 5 Dec 1995 10:19:42 +0100 Reply-To: Peter Gallagher From: Peter Gallagher Subject: Rory Gallagher WEB-PAGE! I recently discovered that there's a web-page decdicated to the late great Rory Gallagher. The URL is ... http://www.hut.fi/~khagelbe/rory.html This is a very new but already very complete set of links - complete with TABS, discography, tributes from magazines, artists, interviews - the works! Beware that there's a lot more in there than at first meets the eye - by quickly checking the "what's new on this page", I discovered for example that Rory had guested with Albert King.... the link to the site in Germany is also not to be missed. For old fans, this site will be a pleasure to visit. Hopefully, for those unacquanited with RG, this site might tempt you to check out the music of one of the worlds most dedicated and talented musicians.... Rest in Peace regards, PeterG ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Tue, 5 Dec 1995 09:18:42 GMT Reply-To: tdevit3@ibm.net From: tdevit3@IBM.NET Subject: Re: F. King and Christmas Comments: To: bit-listserv-blues-l@uunet.uu.net In <49p4et$1kls@news-s01.ny.us.ibm.net>, tdevit3@IBM.NET writes: >In <951129220045_38799614@emout04.mail.aol.com>, Karen Hanson > writes: >>I believe they were together on a King single...Jingle has great guitar. Wrong!...Federal of course. ========================================================================= Date: Tue, 5 Dec 1995 05:30:06 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - December 4th Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- AMMONS, ALBERT C. (p/boogie woogie) d. 1949-1205, CHICAGO, IL 42 BROWN, JOHN HENRY "BUBBA" (g/p/FLYRIGHT) b. 1902-1205, BRANDON, MS CALE, J. J. [JEAN JACQUES CALE] b. 1938-1205, OKLAHOMA CITY, OK CLEVELAND, JAMES L. REV. (p/songw) b. 1931-1205, CHICAGO, IL DAILY, HAROLD "PAPPY"(founder:STARDAY REC)d. 1987-1205, HOUSTON, TX 85 DORHAM, KENNY (tpt) d. 1972-1205, NEW YORK CITY, NY 48 EDWARDS, SUSIE H.(of BUTTERBEANS & SUSIE) d. 1963-1205, CHICAGO, IL 67 FIELDS, CARL DONNELL "KANSAS" (d) b. 1915-1205, CHAPMAN, KS GIUDICE, ELAINE "COOKIE" (v) d. 1987-1205, WYNCOTE, PA 41 HARDMAN, BILL (tpt/BRADSHAW) d. 1990-1205, PARIS, FRANCE 57 HEARD, EUGENE "FATS" (d) d. 1987-1205, CLEVELAND, OH 64 HEYWOOD, EDDIE JR. (p) b. 1915-1205, ATLANTA, GA HUFF, LUTHER HENRY (g/TRUMPET REC) b. 1910-1205, FANNIN, MS JAMES, LARRY E. "FAT LARRY" (d) d. 1987-1205, PHILDELPHIA, PA 38 JOHNSON, JAMES "STUMP" (p) d. 1969-1205, ST. LOUIS, MO 67 KIRK, ROLAND T. "RAHSAAN" (reeds) d. 1977-1205, BLOOMINGTON, IN 41 LASTIE, DAVID (tsax) d. 1987-1205, NEW ORLEANS, LA 53 LITTLE RICHARD [RICHARD WAYNE PENNIMAN]p b. 1932-1205, MACON, GA LYONS, WILLIE JAMES (g/PETER DAMES) b. 1938-1205, AL MACGREGOR, C. P. "CHICK" (transcriptions) d. 1968-1205, HOLLYWOOD, CA 71 PATE, JOHNNY (b/arr/CURTIS MAYFIELD) b. 1923-1205, CHICAGO HEIGHTS, IL SIMMONDS, KIM (g/SAVOY BROWN) b. 1947-1205, NEWBRIDGE, WALES TYLER, ALVIN "RED" (tsax/bsax) b. 1925-1205, NEW ORLEANS, LA WILLIAMSON,SONNY BOY#2[ALECK RICE MILLER] b. 1899-1205, GLENDORA, MS ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 5 Dec 1995 07:15:38 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Organization: IQuest Internet Services Subject: John Hammond in Indianapolis Man, I wish it weren't a week night! John Hammond was truly outstanding last night. I was very proud to see the Slippery Noodle jammed to see him, and he was impressive. Better than in Memphis last May. He had a real Robert Johnson jones going, and broke an unusual (for an acoustic player in general) number of strings. Those at our table agreed he's one of the rare musicians who can get your feet tapping just tuning up! I wish I had more time to review the show , but my new day gig doesn't afford that luxury. Thanks to Greg Hermanns for cementing the idea that this was not a show to miss!! Oh yeah, Yank Rachell showed up, but it was going on midnight and we didn't see him play. He did bring his axe, though. I guess I'll have to wait 'til 12/10/95 at 9pm at the World Mardi Gras Lounge to see him when he appears at a benefit thrown by Saffire, The Uppity Blues Women. Yours bluely, RJ Bauman ========================================================================= Date: Tue, 5 Dec 1995 14:57:25 +0200 Reply-To: T P Uschanov From: T P Uschanov Subject: Re: F. King and Christmas Comments: To: tdevit3@ibm.net In-Reply-To: <4a12pi$1vcg@news-s01.ny.us.ibm.net> On Tue, 5 Dec 1995 tdevit3@ibm.net wrote: > >>I believe they were together on a King single...Jingle has great guitar. > Wrong!...Federal of course. Well, within another language game it is of course a King single... T P Uschanov (Mr), University of Helsinki, Finland, European Union. tuschano@cc.helsinki.fi ---- http://www.helsinki.fi/~tuschano/ "Property is theft." (Pierre-Joseph Proudhon) ========================================================================= Date: Tue, 5 Dec 1995 08:02:31 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Re: Smithsonian Folkways Comments: To: prychitk@oswego.oswego.edu In-Reply-To: from "David L. Prychitko" at Dec 4, 95 10:02:40 pm In another time and place, David L. Prychitko said: > > Does anybody have a web or email address for Smithsonian Folkways? And > does anyone know if they service non-commerical radio stations? I have a link to Smithsonian Folkways on my mega-list of record labels on the web, sorry I don't have it in front of me or I would give you the URL. :) Our station does get some service from them, though not all their stuff. I would suggest you order it from them and tell them who you are. They charge about $5 a CD to radio stations and that's a GOOD deal. > > I see that they have a recent release titled "The Voice of Langston > Hughes." They must have other interesting stuff! I have that on order and can't wait for its arrival. Tom ----------------------------------------------------------------------------- My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Tue, 5 Dec 1995 08:05:24 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Why today is such an important day On Dec. 5, 1933, national Prohibition came to an end as Utah became the 36th state to ratify the 21st Amendment to the Constitution, repealing the 18th Amendment. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 5 Dec 1995 15:30:44 +0200 Reply-To: T P Uschanov From: T P Uschanov Subject: Re: Longhair, Booker Comments: To: James Chase In-Reply-To: <9512050104.AA09814@coombs.anu.edu.au> On Tue, 5 Dec 1995, James Chase wrote: > 1. Is there any pre-70's Professor Longhair stuff available on CD > other than _New Orleans Piano_? NOP is good but doesn't seem to collect up > later early Longhair. I've had the 2-CD set "'fess - a Professor Longhair Anthology" (Rhino R2 71502) for a month and I must say it's godly, besides being as comprehensive as possible (a page's worth of licencing information). T P Uschanov (Mr), University of Helsinki, Finland, European Union. tuschano@cc.helsinki.fi ---- http://www.helsinki.fi/~tuschano/ "Property is theft." (Pierre-Joseph Proudhon) ========================================================================= Date: Mon, 4 Dec 1995 13:26:14 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Slap The Clerk A young lady in the record store was looking for jazz christmas music, I butted in and suggested Charles Brown Cool Christmas Blues. The clerk said oh he does that old stuff.. I let him know right away that he had no clue contrary to the ad for the Modern Blues (or whatever it's called) I would rather have your grandma's blues collection LW ========================================================================= Date: Mon, 4 Dec 1995 14:22:00 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Patton, House & Brown I'm confused on these three and the Delta Blues. I THINK almost every thing I've read seems to credit Patton with being the first. He had to have gotten his stuff from someone, so: Who was Patton's influence. I read last night in an older article, where Son House said Willie Brown was "two guitar players better than Patton"....Since marketing wasn't as big a factor (or was it ?) in those days, then how come Wille Brown is not called something like 'Founder Of the Delta Blues" or something close to that. I got my Yazoo CD's friday and ever since Patton hit the player, Blind Lemon and the Hokum stuff will have to wait a while. I was blown completely away by Patton's big voice and guitar playing. I never really realized that Bukka was doing Patton all this time. Incredible stuff. "Bird Nest Bound" really moved me when he does that descending (?.. I guess) rhythm lick on every other verse it floored me. I figured it out (at least my version of it :-))....I'm afraid to listen to Blind Lemon, cause Patton already makes me want to give up playing guitar.....He lives up to the hype It's certainly not casual listening music.. LW ========================================================================= Date: Tue, 5 Dec 1995 08:50:29 EST Reply-To: TSCHANZ@VM.TEMPLE.EDU From: "William R. Tschanz" Organization: TEMPLE UNIVERSITY Subject: Wa Wa WAtson? I recall Hearing Mr. Watson on some early Herbe Hancock alblums. (late 70's) A master of the wa wa pedal. ____________________________________________________ | > | WILLIAM R. TSCHANZ TSCHANZ@VM.TEMPLE.EDU > | CIVIL ENGINEERING WRTSCHANZ@AOL.COM > | TEMPLE UNIVERSITY ----------- > |___________________________________________________> ========================================================================= Date: Tue, 5 Dec 1995 10:18:11 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: history lesson In-Reply-To: <199512041822.MAA21690@longview.rapidramp.com> from "Chris Pearson" at Dec 4, 95 12:25:31 pm > The latest breed of guitar players will play circles around anything > that the old guys can do. they'll play faster, I'll grant you that. > Guys like Robben Ford, Larry Carlton, Robert Cray, Buddy Guy, heck, > I've even heard some local players, really master their instrument How many of them master the art of the song? Cray, yes, he's brilliant. Buddy... he's done some great tunes. I've never heard anything by Ford or Carlton that stuck with me for more than five minutes. They're both amazing guitarists, but... > and I would rather listen to them than some poorly recorded, out of > tune, technically uninspiring player simply because he was an > influence on somebody. As far as being poorly recorded: If the music is good, it'll survive the hisses and pops of an old 78. I'd rather hear a scratchy recording of a great performance than a hi-fi digital recording of a lame one. And if you want technique, listen to Blind Willie Johnson, Skip James and Eugene Powell, and then dare call them "technically uninspiring". If I can get my fingers around "I'm So Glad" before I croak, I'll die contented :-) > Give the legends there due, but listen to what makes you squirm in your > chair. For some of us, these legends do make us squirm in our chairs. It's rare for me to hear a modern player (mind you, I haven't heard them all) that moves me like Booker White or Fred McDowell. There is more to to a moving performance than technical proficiency on the instrument. I'm not trying to convert anyone here - you should listen to what moves you, and if the older generation of musicians don't move you, then that's fine. However, you should know that most of these blues giants deserve that title for more than their historical relevence. -Rob ========================================================================= Date: Tue, 5 Dec 1995 09:25:24 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: Smithsonian Folkways Comments: cc: prychitk@OSWEGO.OSWEGO.EDU Dave Prychitko said: >Does anybody have a web or email address for Smithsonian Folkways? And >does anyone know if they service non-commerical radio stations? > >I see that they have a recent release titled "The Voice of Langston >Hughes." They must have other interesting stuff! Smithsonian Folkways blues collection is at: http://www.si.edu/products/shopmall/records/blueart1.htm and they do have a lot more neat stuff. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Tue, 5 Dec 1995 09:38:27 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Bouncebacks & Error messages Those annoying "Message undeliverable - user not defined" messages we've all been getting lately after every post should go away now. I got Alan to delete the account that was sending us all those. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 5 Dec 1995 10:11:21 -0500 Reply-To: Patti Bowman From: Patti Bowman Subject: scientific project (fwd) Comments: To: deadhead@fishnet.net >IMPORTANT NOTE: DO NOT HIT "Answer" or "reply" -- instead, >please reply >directly to: imbau@conncoll.edu >********************************************************** >Hi. My name is Ian Bauer. I am an 19-year-old freshman at >Connecticut College. I am doing a science project that will attempt >to demonstrate the scope and reach of the Internet by >gauging how many messages I can receive in one week period > >Please send a brief message (even just one word, like >"Hi") to my e-mail account: < imbau@conncoll.edu > between >November 30, and December 6. > >I would also very much appreciate it if you could forward >THIS message to as many people and groups as you know online so >they can send me messages, too! > >Thank you very, very much, > Ian Bauer > ========================================================================= Date: Tue, 5 Dec 1995 10:31:45 -0500 Reply-To: bob unger From: bob unger Subject: amp & tube question Hope y'all will forgive for asking this. I'm asking for a friend who doesn't know where else to turn to. He's a guitar player with an old Univox amp and the tube's finally blew. Does anybody know where he can get hold of an RCA tube, 6AQ5-A or an equivalent tube....also, is Univox still in existence? Thank's y'all........ BU bob@sun.bnkst.edu ========================================================================= Date: Tue, 5 Dec 1995 09:19:52 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: History Lesson Don't know how this one got started, but I would like to add my penny. I have just about everything the Ford Brothers have recorded, I've seen Robben Ford (and would like to see him again). I just bought a Chet Atkins cd and recently saw him with the symphony. I really like Steely Dan.....etc I think they are all fine players and I like to LISTEN to them. I do not think any of them are in Muddy, Charlie Patton, ALbert King, Freddie King...etc league when it comes to blues. You have to keep in mind blues is an expression, of a feeling, not a demonstration of skill. Larry Carlton is GREAT no boubt adout it, but it takes him many more notes to get his message across. I can listen to Son House sing acapella, "John The Revalator" and get more out of it than Robben Ford's playing. I'm a Robben Ford fan and have been for a long, long time, but I'm telling you what moves ME. There is a reason Robben Ford covered the early guys on his new recording. If you will notice the early guys are covered thousands of times more than Larry Carlton is covered. There is a reason and if you listen and just let the music carry you, you will realize why. It is nothing that can be explained, you have to discover it on your own. I've seen Steve Morse and I've seen Robert Lockwood I'd take Lockwood anyday and chances are Steve Morse would love to see him also Just my penny IMHO no offense intended, but I'm sure I'll get private mail calling me a purist...It's a daily thing, doesn't matter that I own all those Ford Brothers recordings....They will still call me a purist....Go figure LW ========================================================================= Date: Tue, 5 Dec 1995 11:03:08 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Tremolux amp opinion, etc. Hmmmmmmm. Tremolux and Don C. seem to be at odds here on the virtues of old versus new amps. YOu guys both seem to know what you're talking about, so what's an amp neophyte and budding young musician (not me, obviously :) supposed to do? Here's what I did...I brought my Les Paul along with me and played it through a couple dozen different amps that were in my price range. When I narrowed down the ones that gave me the tone and features I wanted, then I looked at quality and reputation, warranty, serviceability and the dealer's reputation. In the end I bought the Fender Blues DeVille 410 (the original version) because it fit all the above criteria, plus, tonally, it's new and it's old. It has a lot of th the sound/tone of an old Bassman, but a lot of nifty modern features. It's easily serviced, and fits me and my style to a T. Bingo. It's no different than buying a guitar. Buy what feels good, new or old, and works for you under all the criteria you can judge it by. Submitted for your approval.... Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 5 Dec 1995 10:03:06 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Job Interview Question (blues content) I was interviewing last week in a room with 7 or 8 managers and head of personnel. One of the managers looked at me and out of the blue :-) said "Do you play a musical instrument" .....After looking around for Alan Funt I said "Why did you ask that"...He asked the others to raise their hands if they played a musical instrument. He went on to say that studies indicate that 90% (i think he said 90) of really brilliant technical people were artists or musicians.....I've never heard that, but of course I said "Yeah I read that also".....:-) Anyone ever heard that before. Then the interview went way downhill we started talking about musicians we knew....Interesting LW ========================================================================= Date: Tue, 5 Dec 1995 10:57:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Friday night in London? And that ain't London, Ontario, neither! Anybody got any reports of anything worth hearing? Could meet you there (or not), too. Never met even one bluezeller in person, BTW! Last time (bout a month ago) I found some place with two F names. Firth and Frock, or Frish and Firth, or I dunno what the heck it was but I sure did enjoy myself. Brewed their own beer, too! Yum! Joe in Moscow (but in London on Friday!!) J.E._Downey@bakermck.com ========================================================================= Date: Tue, 5 Dec 1995 08:21:21 PST Reply-To: Lee Olsen From: Lee Olsen Subject: Re[2]: history lesson Comments: To: Rob Hutten I am a fledgling blues fan so take my response in kind. My study of blues music so far has lead me to the following theisis: Blind Blake and Mike Bloomfield are the absolute masters of the blues. Blind blake's humorous, satirical and emotional lyrics coupled with perfectly intonated vocals all on a foundation of elegantly crafted guitar compositions stand above any other blues artists. Mike Bloomfield's work refleted the right note, the right tone and the right tempo everytime. Other artists seem to me to be journeyman relative to these two masters. Robert Johnson, John Hurt, Elmore James, Otis Rush, B.B. King, Mick Taylor and Roy Buchanan are all extaordinary blues musicians but for me they don't seem to bring all the pieces together in the near perfect composition that Blake and Bloomfield do. regards Lee Olsen ______________________________ Reply Separator _________________________________ Subject: Re: history lesson Author: Rob Hutten at SMTP Date: 12/5/95 6:24 AM > The latest breed of guitar players will play circles around anything > that the old guys can do. they'll play faster, I'll grant you that. > Guys like Robben Ford, Larry Carlton, Robert Cray, Buddy Guy, heck, > I've even heard some local players, really master their instrument How many of them master the art of the song? Cray, yes, he's brilliant. Buddy... he's done some great tunes. I've never heard anything by Ford or Carlton that stuck with me for more than five minutes. They're both amazing guitarists, but... > and I would rather listen to them than some poorly recorded, out of > tune, technically uninspiring player simply because he was an > influence on somebody. As far as being poorly recorded: If the music is good, it'll survive the hisses and pops of an old 78. I'd rather hear a scratchy recording of a great performance than a hi-fi digital recording of a lame one. And if you want technique, listen to Blind Willie Johnson, Skip James and Eugene Powell, and then dare call them "technically uninspiring". If I can get my fingers around "I'm So Glad" before I croak, I'll die contented :-) > Give the legends there due, but listen to what makes you squirm in your > chair. For some of us, these legends do make us squirm in our chairs. It's rare for me to hear a modern player (mind you, I haven't heard them all) that moves me like Booker White or Fred McDowell. There is more to to a moving performance than technical proficiency on the instrument. I'm not trying to convert anyone here - you should listen to what moves you, and if the older generation of musicians don't move you, then that's fine. However, you should know that most of these blues giants deserve that title for more than their historical relevence. -Rob ========================================================================= Date: Tue, 5 Dec 1995 10:35:36 CST Reply-To: JBards From: JBards Subject: Re: amp & tube question Comments: To: bob unger The best bet in my experience is Antique Electronic Supply, in Tempe, Arizona. Their number is 602-820-5411. I've found them to be extremely knowledgable and well-stocked and if they don't have it, it's probably going to be a tough find. -Jim _______________________________________________________________________________ Subject: amp & tube question From: bob unger at INTERNET-SH Date: 12/5/95 10:30 AM Hope y'all will forgive for asking this. I'm asking for a friend who doesn't know where else to turn to. He's a guitar player with an old Univox amp and the tube's finally blew. Does anybody know where he can get hold of an RCA tube, 6AQ5-A or an equivalent tube....also, is Univox still in existence? Thank's y'all........ BU bob@sun.bnkst.edu ========================================================================= Date: Tue, 5 Dec 1995 11:23:34 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: History Lesson Comments: To: L W I feel like LW does pretty much, that is I like the new stuff but comparing Robben Ford to someone like Robert Johnson or Lightnin' Hopkins is like comparing apples to oranges. You got your Robben Ford/Stevie Ray Vaughn rockin' blues, then you got your old-timey field holler/delta blues. Muddy Waters and Willie Dixon are somewhere in the middle. My band plays it all, new AND old (not well, but we try). There are reasons Robert Johnson is on CD, and they're not the same reasons Robben Ford is on CD. I'll make a deal with you all, and this is the only way to resolve this dispute. On this day 50 years from now, we'll take a poll and see how many bluesicians know who Robben Ford et al. are compared to those who know who Muddy Waters, Robert Johnson and Elmore James et al. are. (I believe people will still remember SRV and Eric Clapton.) So mark your calendars! ========================================================================= Date: Tue, 5 Dec 1995 11:29:55 EST Reply-To: Bill Hill From: Bill Hill Subject: Newbie Ramblings/How I Got Into the Blues Greetings Blues-ellers, I just found this mailing list about two weeks ago, and have been reading with great interest! My own knowledge (and blues record collection) are limited, and I am truly amazed at some of the info being passed around on this list. Like many people on this list, I suspect, I was first turned towards the blues through rock-n-roll -- Clapton, the Stones, SRV, etc. My first real experience of the blues that I remember was watching the Band's concert film "The Last Waltz," which features Muddy Waters doing a fine rendition of "Mannish Boy." After that, I went out and bought a Muddy album (Hard Again, as luck would have it), and a copy of John Lee Hooker's Greatest Hits on Crescendo Records. The rest, as they say.............. Anyway, my problem is that I don't really know many other folks in my area (Delaware) who are into the blues, nor can I find any blues radio stations. So, I am trying to figure out what would be good additions to my CD collection. I currently have a lot of Muddy & JLHooker, some Howlin' Wolf, Hound Dog Taylor, Robert Johnson, & Robert Cray. Any recommendations? After reading the list, I'm pondering some Buddy Guy (ideas?), Lefty Dizz, and maybe BB King Live at the Regal. I'm wondering, has the list ever compiled a list of "essential" albums? You know, ten or so albums that no self-respecting blues-eller should be without? (Hey, Christmas is coming 8) ) I'm sure a consensus would be impossible, but I imagine at least a few things would be on a lot of people's lists. Well, I've rambled on long enough for my first post. Thanks! Bill Hill BHill@state.de.us ========================================================================= Date: Tue, 5 Dec 1995 11:33:31 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: Tremolux amp opinion, etc. Comments: To: Rick Miller Hi Rick -- I'm still working on that tape of Max for you. Max and I have had this discussion many times. Max plays a custom-made strat-style guitar out of an old Acoustic amp chained to a Bassman head. He gets a real rich, full tone similar to Bobby Parker, who plays out of an Ampeg together with (I think) a Fender Twin Reverb. Scientifically speaking, an amp is a signal-processing tool. Different amps for different jobs; you may need more than one to get "the" tone. The biggest problem Max and I see is people don't know how to use the settings on their amps. The bottom line is, if you want a real clean, clear tone like BB King, get a vintage Fender. (I don't know what he plays out of, but that's the tone). If you want to add some distortion, get a distortion effects pedal. Personally, I use a little Crate amp because it doesn't sound too bad, it was cheap and most important, I can carry it by myself. :) - Ruth ______________________________ Reply Separator _________________________________ Subject: Tremolux amp opinion, etc. Author: Rick Miller at Internet Date: 12/5/95 11:03 AM Hmmmmmmm. Tremolux and Don C. seem to be at odds here on the virtues of old versus new amps. YOu guys both seem to know what you're talking about, so what's an amp neophyte and budding young musician (not me, obviously :) supposed to do? Here's what I did...I brought my Les Paul along with me and played it through a couple dozen different amps that were in my price range. When I narrowed down the ones that gave me the tone and features I wanted, then I looked at quality and reputation, warranty, serviceability and the dealer's reputation. In the end I bought the Fender Blues DeVille 410 (the original version) because it fit all the above criteria, plus, tonally, it's new and it's old. It has a lot of th the sound/tone of an old Bassman, but a lot of nifty modern features. It's easily serviced, and fits me and my style to a T. Bingo. It's no different than buying a guitar. Buy what feels good, new or old, and works for you under all the criteria you can judge it by. Submitted for your approval.... Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 5 Dec 1995 11:42:22 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: Job Interview Question (blues content) Comments: To: L W I know several brilliant, technically excellent musicians including myself :) with degrees in computer science. They're all engineers. I also know brilliant musicians who dropped out of high school. I also know engineers ______________________________ Reply Separator _________________________________ Subject: Job Interview Question (blues content) Author: L W at Internet Date: 12/5/95 10:03 AM I was interviewing last week in a room with 7 or 8 managers and head of personnel. One of the managers looked at me and out of the blue :-) said "Do you play a musical instrument" .....After looking around for Alan Funt I said "Why did you ask that"...He asked the others to raise their hands if they played a musical instrument. He went on to say that studies indicate that 90% (i think he said 90) of really brilliant technical people were artists or musicians.....I've never heard that, but of course I said "Yeah I read that also".....:-) Anyone ever heard that before. Then the interview went way downhill we started talking about musicians we knew....Interesting LW ========================================================================= Date: Tue, 5 Dec 1995 11:48:00 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: Job Interview Question (blues content) Comments: To: L W .... Sorry, I accidentally pushed SEND before I finished my thought. (THere I go, acting like a blond again. I hate it when that happens.) As I was saying, I also know a lot of engineers who don't know diddly-squat about music. I once interviewed for a job where they asked me if I sang or played piano or anything (the implication being that's the only thing women can do musically). I told them I played guitar in a blues band. They didn't believe me. But that's okay, I didn't want that job anyway! :) -- Ruth (FYI, I'm an engineer.) ______________________________ Reply Separator _________________________________ Subject: Job Interview Question (blues content) Author: L W at Internet Date: 12/5/95 10:03 AM I was interviewing last week in a room with 7 or 8 managers and head of personnel. One of the managers looked at me and out of the blue :-) said "Do you play a musical instrument" .....After looking around for Alan Funt I said "Why did you ask that"...He asked the others to raise their hands if they played a musical instrument. He went on to say that studies indicate that 90% (i think he said 90) of really brilliant technical people were artists or musicians.....I've never heard that, but of course I said "Yeah I read that also".....:-) Anyone ever heard that before. Then the interview went way downhill we started talking about musicians we knew....Interesting LW ========================================================================= Date: Tue, 5 Dec 1995 09:09:55 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: KANSAS FIELDS, DRUMMER, DIES AT 79 Comments: To: BluesHvn@aol.com Pioneer jazz & blues drummer KANSAS FIELDS has died. Carl Donnell Fields was born Sunday, December 5, 1915, Chapman, KS., and started playing drums in the 1930s with local chicago bands, including the legendary trumpeter King Kolax (aka William Little) (1940). During this time, he sat in with all young boppers like Charlie Parker, Dizzy Gillespie, Roy Eldridge, as well as old timers like Sydney Bechet & Mezz Mezzrow. He began recording (for Decca) in 1949, first with Sammy Price's trio, backing up gospel divas Sister Rosetta Tharpe & Marie Knight, then on with Dizzy Gillespie's Dee Gee label (1951). These Dee Gee recordings contain the then-unknown John Coltrane as well as the wonderful guitarist Kenny Burrell. FIELDS then recorded with tenor saxman Budd Johnson for the obscure Faith label - recordings that also contain an obscure (but great) 21-year old tenor saxman Charlie Singleton. Soon after these sides, Budd Johnson would join Atlantic Records as their musical arranger & be part of the 'big beat' that would change the music scene forever. As for FIELDS, he then recorded for the NY-based Hi-Lo label (1952), backing up Emmett Davis on "Rippin' and Runnin'", and tenor saxman Ike Quebec on "Kiss Of Fire". See Galen Gart's FIRST PRESSING for 1952 for more detail about this period, FIELDS' last time in the USA as he would soon move to Paris (France), remaining in Europe until his move back to Chicago in 1964. During his stay in Europe, he was recorded extensively with mostly jazz players (including on Bud Powell's next to last recording) but blues fans should note that he did record behind Big Bill Broonzy (Columbia 10", 1956), Memphis Slim (Vogue,'62) and trumpet-vocalist Taps Miller (Ronnex,'53). KANSAS FIELDS died Thursday, August 3, 1995, Chicago, IL. His last recording (I believe) was on DELMARK 671 : FLOYD MCDANIEL - LET YOUR HAIR DOWN, where he's heard on 6 tracks including remakes of The Four Blazes' "Mary Jo" & "Raggedy Ride", T-Bone Walker's "West Side Baby" & "Let Your Hair Down", and "Beale Street Baby". (DELMARK is expected to reissued the original Four Blazes' United Recordings sometime in 1996.) If there's a heaven for drummers, he's joining a legion of friends that include (are you ready for this list!) : Fred Below (1926-1988), Tommy Bedford (1905-1994), Wallace Bishop (1906-1986), Ed Blackwell (1929-1992), Art Blakey (1919-1990), "Big" Sid Catlett (1910-1951), Cozy Cole (1909-1981), "Tenoo" Coleman (1929-1973), "Baby" Dodds (1898-1959), Al Duncan (1927-1995), "Sticks" Evans (1923-1994), "Sonny" Greer (1903-1982), J. C. Heard (1917-1988), "Jump" Jackson (1917-1985), Oliver Jackson (1933-1994), "Papa" Jo Jones (1911-1995), Kansas City Red (1926-1991), Frank Kirkland (1927-1973), Freddie Kohlman (1915-1990), Gene Krupa (1909-1973), "Popee" Lastie (1938-1980), "Baby" Lovett (1895-1989), Freddie Moore (1900-1992), Odie Payne (1926-1989), "Sonny" Payne (1926-1979), Earl Phillips (1920-1990), Judge Riley (1909-1977), "Red" Saunders (1912-1981), "Baby" Seal(s) (19??-1970) Michael Silva (1925-1990), Billy Stepney (1930-1968), Chick Webb (1909-1939), "Doc" West (1915-1951), "Hungary" Williams (1935-1986), "Rough Dried" Williams (1922-1988) Phillip Wilson (1941-1992), Sam Woodyard (1925-1988), "Scotch Mist" Wright (1932-1990), ========================================================================= Date: Tue, 5 Dec 1995 09:31:11 PST Reply-To: mmccourt@ACUSON.COM From: Mike McCourt Subject: Re: Job Interview Question (blues content) ISTS024%UABDPO.BITNET@brownvm.brown.edu wrote: >He went on to say that studies >indicate >that 90% (i think he said 90) of really brilliant technical people were >artists >or musicians.....I've never heard that, but of course I said "Yeah I >read that >also".....:-) Anyone ever heard that before. Then the interview went >way >downhill we started talking about musicians we knew....Interesting >LW I haven't heard is stated quite like that, but I have been told many times during interviews and discussions with other business people that musicians possess some special qualities. They are supposed to be good "systems thinkers", which I take to mean they understand how systems work and behave, because of their understanding (usually) of the music "system". We were interviewing people at my job where the Test Engineering Manager and I play music together and we were considering adding a requirement that the applicant play saxophone. Not because of any esoteric qualities he might have for the job, but because we both play quitar and wanted to play with a saxophone player. The musician who interviewed you obviously considered himself a brilliant technical person. Mike ========================================================================= Date: Tue, 5 Dec 1995 12:49:54 -0500 Reply-To: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA From: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA Subject: Re: Don't Start Me Talking - Lyrics Goin' down to Rose's... Stop at Fannie Mae's... Tell Fannie what I heard her boyfriend say Don't start me talkin'... I'll tell everything I know I'm gonna break up this signifyin' Cause somebody got to go. Jack give his wife two dollars [to go downtown] And get some market Gits out on the streets Old George stopped her. He knocked her down And blacked her eye She gits back home Tell her husband a lie Don't start me talkin'... I'll tell everything I know I'm gonna break up this signifyin' Cause somebody got to go. She borrowed some money To go the beauty shop He honked his horn She began to stop Says "take me baby, Around the block. I'm going to the beauty shop -" "- Why, babe?" "To get my hair a 'ssage," Don't start me talkin'... I'll tell everything I know I'm gonna break up this signifyin' Cause somebody got to go. For a short sample of the original recording, stop by That Blues Music Page at The Weightless Dog: http://www.charm.net/~turtle Turtle _____ Reply Separator _____ Author: ae861 @ Freenet.Buffalo.EDU ("John P. Willis") @ INTERNET Received: 12/03/95 08:36:08 AM Subject: Re: Don't Start Me Talking - Lyrics In a previous article, HugeSmall@AOL.COM (Boyd Small) says: >>Is Sonny Boy saying: Jack gave his wife three dollars to go get >some >>MARGARINE ? "to get some market"-- an Africanism- meaning to go shopping esp for food; also," to make market" [do the shoping]. "to get my hair a 'ssage"- SB2 here has the woman say either "get my hair a massage or a cossage". Black beauty shops in the South often sold flowers for the hair esp during the 30's and 40's. John Willis > I believe it's : 'Jack gave his wife three dollars to go to the Market' or >something close to that. But the argument I've heard most about that song is >about the line: 'I'm goin to the beauty shop to get [my head sock (or >socked)] [my head massaged]. Ive even heard some other words sung there when >people are covering that song but I'm still not sure what the actual words >are. Anyone really sure? >Boyd > -- ========================================================================= Date: Tue, 5 Dec 1995 12:50:04 -0500 Reply-To: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA From: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA Subject: Re: History Lesson We've had threads like this recently, but here we go... <> Otis Spann, Pinetop Perkins, Little Brother Montgomery. All great, and all a little different. <> Substitute Clapton in there, too... yes, they get the blues a new audience, but it's kind of in the lap of the audience to go find the roots for themselves. A lot of people on this list would love it if EC or (when he was alive) SRV had done a whole set of nothing but Elmore James tunes and Lightnin' Hopkins and Robert Johnson, but blues is kind of like cocaine. You have to ease into it, because if you get the real pure stuff without working up to it it'll make your nose bleed. <> I think so. Clapton has become something of a sage at the styles and sounds of earlier days, but he doesn't play as much of it as you'd guess he could. Remember the lineage: Clapton and the British rockers grew up listening to Chicago blues, since the records were fairly available in Britain in the later 50s and into the 60s. They then went back one generation and discovered Robert Johnson, Big Bill Broonzy, and the other 30s bluesmen. This is where "Crossroads" and such appeared. "Crossroads" is actually just a jumpier, uptempo version of Robert Johnson's original recording, and readily identifiable. And Led Zeppelin? "When The Levee Breaks" was a Big Bill Broonzy piece, but there's no way you're gonna get Jimmy Page to play it the way Big Bill played it. <> For piano, I really, really like the Bluesville reissue of Memphis Slim's "Steady Rolling Blues," available on CD. Depending on what style you're looking at, there are mountains of recordings to listen to. For straight-ahead electric blues, listen to Otis Spann (his Cryin' Time CD is fairly easy to find). For a 50s jump style, listen to Amos Milburn. For the later 50s, a more laid-back style, with hints of the older styles, Roosevelt Sykes and Pinetop Perkins. There's always Professor Longhair (his later stuff had a much more distinct zydeco flavor) For 30s stomp and boogie, find Pete Johnson, Jimmy Yancey and Albert Ammons and Meade Lux Lewis. There are zillions of things out there. You might also want to get the Atlantic sampler, "Atlantic Blues: P iano" which has little bits of everything. Turtle ========================================================================= Date: Tue, 5 Dec 1995 12:50:10 -0500 Reply-To: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA From: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA Subject: Re: Don Henley's Christmas Blues--LBC Skip the Eagles, get the original Charles Brown recording, which he did somewhere around 1954 (correct me if I'm wrong on this, folks). He's re-recorded it a million times since, but the original is very worthwhile. Everybody and their brother has covered it (including the Eagles). Look in your local record chain in the Christmas section, and they're likely to have at least one Charles Brown Christmas CD. Now, folks: did Chuck Berry also cover this? I seem to remember that he did but cannot find a recording of it in the literally dozens of Christmas CDs I have... Turtle _____ Reply Separator _____ Author: shannon_oconnor @ SWPCO.COM (shannon oconnor) @ INTERNET Received: 12/04/95 11:59:46 AM Subject: Don Henley's Christmas Blues--LBC Every year at this time I hear a song by the Eagles--it's definitely Don Henley's voice (I could never miss it!)--entitled something like "Please Come Home for Christmas." It has a bluesy feel to it (please don't flame me or go into a 500-message exchange on why the Eagles are NOT the blues). I thought I had all the Eagles' recordings, but I can't seem to find this song. Can anyone tell me on what recording this song exists? I probably should call the radio station next time I hear it. That's what I always tell everyone else to do. But I heard it in my car yesterday, and I don't have a car phone, and the DJ did say, "that's a bluesy Don Henley and the Eagles there for you..." So that's my plea. Can anyone help? Thanks!! Shannon ========================================================================= Date: Tue, 5 Dec 1995 12:50:19 -0500 Reply-To: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA From: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA Subject: Re: Blues Access off the Web? For those of you who have visited before, I've done a lot more work on the tour of Chicago electric blues on That Blues Music Page at The Weightless Dog: http://www.charm.net/~turtle Some images, lots of samples, links to everywhere important. Stop by if you get a chance... Turtle ========================================================================= Date: Tue, 5 Dec 1995 18:01:38 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: History Lesson In-Reply-To: On Tue, 5 Dec 1995, L W wrote: > > There is a reason Robben Ford covered the early guys on his new recording. If > you will notice the early guys are covered thousands of times more than Larry > Carlton is covered. There is a reason and if you listen and just let the music > I have Larry Carlton mostly on vinyl and he is primarily a jazz guitarist The argument that ANY "early" guy is covered more than a new guy seems rather obvious because of the time factor alone (so I don't get it) How do you "cover" a jazz instrumentalist like Carlton (in the way you mean it) in any event. BTW I really like his earlier stuff when he was playing an ES-335. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [5/12/95 12:45 AM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 5 Dec 1995 12:09:00 CST Reply-To: Paul Garon From: Paul Garon Subject: Re: history lesson >The latest breed >of guitar players will play circles around anything that the old guys >can do. Guys like Robben Ford, Larry Carlton, Robert Cray, Buddy Guy, >heck, I've even heard some local players, really master their instrument >and I would rather listen to them than some poorly recorded, out of tune, >technically uninspiring player simply because he was an influence on >somebody. >Chris Now, Chris, be nice . Not too many great players were influenced by poorly recorded, out of tune, technically uninspiring players! Also, Buddy Guy's been toiling in the vineyards for decades, but now he's a new guy? I think you're counting him as one, but the truth is Cray may be new, but Buddy may not be, and I'm not sure Cray can play circles around Buddy. If he does, are the circles as interesting? That does dampen the thesis, though. Seriously, the Buddy Guy-type style grew out of a chain that goes back through B.B., T-Bone, Django (try playing circles around him with any five guitarists of your choice), Eddie Lang, Lonnie Johnson, all of whom were techno-superbs, not uninspiring players. It's true that a lot of new guys are morbidly preoccupied with flash, fast runs, high screeches and "playing circles around" people, a phrase Muddy Waters himself used to characterize them, perhaps with more than a little irony, but each of us has to decide whether a preoccupation with "playing circles" is good or bad. Interesting phrase, that. I once asked Mike Bloomfield if he knew the work of Lafayette Thomas (this was in the 1960s, sometime, and I'd just heard Thomas backing up Little Brother Montgomery on Prestige); he said, "I can play rings around him." Sigh.... Paul Garon ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email or postal mail or visit us at http://www.abaa-booknet.com/alldlrs/mw/60657bea.html. We also have catalogs available by ftp at ftp.mcs.com/mcsnet.users/beasley. _______________________________________|______________________________________ ========================================================================= Date: Tue, 5 Dec 1995 12:09:00 CST Reply-To: Paul Garon From: Paul Garon Subject: Re: F. King and Christmas > Karen Hanson >> writes: >>>I believe they were together on a King single...Jingle has great guitar. Somebody else writes >Wrong!...Federal of course. > Federal was owned by King, though. Paul Garon ========================================================================= Date: Tue, 5 Dec 1995 10:24:55 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Tremolux amp opinion, etc. Comments: To: BLUES-L@BROWNVM.BROWN.EDU. The Riffmeister said: >Here's what I did...I brought my Les Paul along with me and played it through >a couple dozen different amps that were in my price range. When I narrowed >down >the ones that gave me the tone and features I wanted, then I looked at quality >and reputation, warranty, serviceability and the dealer's reputation. In the >end I bought the Fender Blues DeVille 410 (the original version) because it fit >all the above criteria, plus, tonally, it's new and it's old. It has a lot of >th >the sound/tone of an old Bassman, but a lot of nifty modern features. It's >easily serviced, and fits me and my style to a T. Bingo. It's no different >than buying a guitar. Buy what feels good, new or old, and works for you >under all the criteria you can judge it by. Absolutely! you bought what works for you. Musicians don't "have religion" about what amp you "have" to own. They use their ears. I hate Peavey solid state amps, and Earl Alexander used one Saturday night, and blew the crowd all the way to Catalina...... You gots to have perspective. thanks Rick Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Tue, 5 Dec 1995 13:11:45 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: history lesson Comments: To: Shaun T Cronin At the risk of sounding like a feminist harpie, referring to a woman here as "some babe" is inappropriate. Chris, you're a smart guy, I'm sure you have plenty of non-derogatory terms for females. Someone e-mail Chris a copy of my "Top Ten Pet Peeves of Blond Female Slide Guitarists." Thanks, Ruth Parrish (Guitar-Playing Babe) ______________________________ Reply Separator _________________________________ Subject: Re: history lesson Author: Shaun T Cronin at Internet Date: 12/4/95 9:02 PM On Mon, 4 Dec 1995 12:25, Chris wrote; >My "reply" function is AFU so I hope someone realizes this is a response >to Shaun who was talking about some babe who liked Robben Ford and he >said something like you should listen to Muddy Waters. >I can understand where she is coming from. Everyone who plays a guitar >is influenced by someone. Actually, she is a keyboardist. >Always has and always will be that way. We all usually start out wanting to >>play exactly like the guy on the record.Usually we find that we can't make it >>sound exactly like it sounds on the record so we fake it and it turns into my >>version of the lick. Thiisn't exactly where I wanted to go with this but bear >>with me. So far I agree. >The latest breed >of guitar players will play circles around anything that the old guys >can do. Guys like Robben Ford, Larry Carlton, Robert Cray, Buddy Guy, >heck, I've even heard some local players, really master their instrument >and I would rather listen to them than some poorly recorded, out of tune, >technically uninspiring player simply because he was an influence on >somebody. Whoah, hold on here. So you are dismissing Albert King, BB King, Freddie King, T-Bone Walker, Magic Sam, Gatemouth Brown, Alber Collins etc just like that? Robben Ford is a great player but to say he is better that someone because of his technical ability is ludicrous to the extreme. Buddy Guy is not a technical virtuoso. He is as sloppy as hell. But for him it works. It is the feeling that he is going for. Technically uninspiring? BB has the ability to hit you with just one note, as did Albert. That is beyond technique. If that doesn't inspire you then you are probably dead. It is something else. I put up with the "A guitarist has great technique therefore he is a better than B guitarist who has less technique" all the time at MI. Few guitarists try and concentrate on melody and note choices in their solos. It is usually "dweedly-dweedly-dee" (to qoute Zappa). Those guys didn't need technique to say what they had to say. One of the best compiliments I've had about my guitar playing is that while I rarely ever bend in tune, it still sounds good (I think it's something I picked up from Buddy Guy and Albert King. Trying to find the notes that lay between the frets). I rather play a solo where I made mistakes going for something than to play something that while perfect, never really said anything. I don't want to detract for the guitarits you mentioned. They are great players and I listen to them as well. Bad recordings with out-of-tune instruments are some of the only links to soem great musicians. It is a tribute to those musicians' music that it is able to transcend those limitations and inspire a lot of people. >Give the legends there due, but listen to what makes you squirm in your >chair. True but that doesn't mean you can dismiss the works of the greats because it doesn't meet today's so called technical standards. BTW, those of you who answer my queries about Blues pianists, thanks. I passed them onto my friend who was quite pleased. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Tue, 5 Dec 1995 12:26:39 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: History Lesson In-Reply-To: Message of Tue, 5 Dec 1995 12:50:04 -0500 from On Tue, 5 Dec 1995 12:50:04 -0500 Scott Wenzel/DSES/DIRM/OIM/DCS/SSA said: >identifiable. And Led Zeppelin? "When The Levee Breaks" was a Big Bill >Broonzy piece, but there's no way you're gonna get Jimmy Page to play it the >way Big Bill played it. That's a Memphis Minnie tune..... LW ========================================================================= Date: Tue, 5 Dec 1995 13:31:15 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: Steel slides(?) Comments: To: L W LW: Thank you for the clarification on bottleneck slide terminology. LW is right, that STYLE of playing is called bottleneck slide. As far as I know, the sliding utensil is still just called a slide. Also thank you for the backing on fretting in open tuning. It is definitely essential to fret chords in open tuning. Obviously the chord pattern is different and you have to learn it. ______________________________ Reply Separator _________________________________ Subject: Re: Steel slides(?) Author: L W at Internet Date: 12/4/95 10:39 AM On Mon, 4 Dec 1995 11:18:14 -0500 PARRISHR said: > I'm not sure why one would insist on calling a slide a "bottleneck" > unless one is using an actual bottleneck. I have been playing slide > and hanging out with slide players for YEARS. I never heard anyone IMHO it has to do with the style. If you are playing delta blues with a slide regardless of the slide material, you are playing bottleneck slide. PERIOD It's like saying just because you aren't using the same guitar (ie PRS over a Kay) they you aren't playing traditianl blues.. Bottleneck slide refers to the style not the material > It is not impossible to fret chords in open tuning. > It's just DIFFERENT. IMHO it is essiential to fret chords in open tunings, it's pretty easy and like standard tuning the chords are all over the fretboard LW 'ImVHO' >Author: Laurie Forti at Internet >Date: 11/29/95 4:56 PM > > > Aw> Subject: Re: steel slides(?) > > > Hello all. I'm looking for a steel slide that fits on the finger so you > > don't have to play slide on your lap. > Maybe the first thing to learn is to call them 'bottlenecks' in >respect for the guys that invented the style. 'Slide guitar' might be >more accurate when used to describe Hawaiian guitar, cowboy steel >guitar, and other styles where all 6 strings are slid upon. > Bottleneck guitar, named because those guys used to cut off the >neck of a bottle, fire-polish it and use it on, usually, the little >finger of the fretting hand, is _much_ more sophisticated that real >'slide' techniques because four fingers are left free for chording. >Fretting chords, however, is impossible with _real_ slide guitar. > There are several options for making a metal bottleneck, depending >on your finger size. > Copper tubing of various stock diameters can be easily cut and >dressed by anyone. > Plumbing supply houses (or Home Depot) will carry several sizes of >pipe couplings in various diameters: these are short pieces of pipe >that are threaded on the inside. Now, these threads are pretty >uncomfortable on the finger, so one can go to a machine shop and have >them machine out the inside. They can also polish the outside to a >smooth finish. If you really want to get fancy, get stainless steel >or brass couplings. Different materials will have a different sound. > Specialty supply houses that support machine shops and >laboratories sell various sizes of tubing made of various materials, >such as copper, brass, and glass. Unfortunately, tubing tends to have >very thin walls, so doesn't produce a good sound. Small Parts, >1(800)220-4242 will send a catalog. > Long, or 'deep', socket wrench sockets are an inexpensive way out, >are available in both metric and inch sizes so it should be very easy >to find one that fits, they have relatively thick walls so produce a >decent sound, they are very smooth as purchased, and the square shank >end can be easily cut off by a machine shop to get rid of the >top-heavy feel. > Or one could spend countless hours scribing _real_ bottlenecks with >a file or sharpening stone, heat and tap them, or heat and quench them >in water, hoping that one will eventually break off cleanly, and then >file and fire-polish the cut end. Fortunately, most current long neck >bottles are not particularly straight, so will present some >opportunities for single string work that is somewhat difficult with >long straight bottlenecks. Short, straight ones can also be used for >single string work. > > >... "Have you seen the world lately, I mean _really_ seen it??" Duckman > >--- > ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Tue, 5 Dec 1995 18:53:48 +0000 Reply-To: "Tony.OConnor" From: "Tony.OConnor" Subject: Folkways - Inserts I've just bought the Joseph Spence - The Complete Folways Recordings CD on Smithsonian/Folkways. It's the only Smithsonian/Folkways CD I've seen which doesn't have a songsheet/info insert. Am I missing it ? (There are several pages of info in the CD cover-booklet, but not the usual detailed songlist). Surely it couldn't be the only recording where it was thought unneccesary to provide lyrics due to the 'fragmentary' nature of Joe's singing ! :-) :-) Anyone else got the CD ? -- ------------------------------------------------------------------ _/_/_/ Tony O'Connor, | tony.oconnor@ucg.ie \_\_\_ _/_/_/ Dept Biochemistry, | \_\_\_ _/_/_/ University College, | Fax:+353-91-25700/35391 \_\_\_ _/_/_/ Galway, Ireland. | Phone:+353-91-24411 Ext:2431 \_\_\_ ------------------------------------------------------------------ ========================================================================= Date: Tue, 5 Dec 1995 11:33:16 EST Reply-To: Ian Sumpter From: Ian Sumpter Subject: Re: Canadian Colubia House Blues List A couple days ago someone thoughtfully sent out a list of blues CDs for sale at the American Columbia House music club. Has such a list been compiled for Colubia House in Canada?, as I noticed that the item numbers are different. Such a listing would be really helpful. And what about the same for BMG music club? ========================================================================= Date: Tue, 5 Dec 1995 12:55:53 CST Reply-To: JBards From: JBards Subject: Re[2]: Tremolux amp opinion, etc. Comments: To: PARRISHR BB prefers a Lab Series amp, which is basically a Fender Twin copy, as you said, very loud, very clean. He totally cranks the amp volume, and controls the overall volume from the guitar , and I think that has to influence his tone. He says he turns all the bass off on the guitar tone controls, but from his special tone, I would have thought it was the treble that was turned down about 3/ 4s....go figgure. -Jim _______________________________________________________________________________ Subject: Re: Tremolux amp opinion, etc. From: PARRISHR at INTERNET-SH Date: 12/5/95 12:25 PM Hi Rick -- I'm still working on that tape of Max for you. Max and I have had this discussion many times. Max plays a custom-made strat-style guitar out of an old Acoustic amp chained to a Bassman head. He gets a real rich, full tone similar to Bobby Parker, who plays out of an Ampeg together with (I think) a Fender Twin Reverb. Scientifically speaking, an amp is a signal-processing tool. Different amps for different jobs; you may need more than one to get "the" tone. The biggest problem Max and I see is people don't know how to use the settings on their amps. The bottom line is, if you want a real clean, clear tone like BB King, get a vintage Fender. (I don't know what he plays out of, but that's the tone). If you want to add some distortion, get a distortion effects pedal. Personally, I use a little Crate amp because it doesn't sound too bad, it was cheap and most important, I can carry it by myself. :) - Ruth ______________________________ Reply Separator _________________________________ Subject: Tremolux amp opinion, etc. Author: Rick Miller at Internet Date: 12/5/95 11:03 AM Hmmmmmmm. Tremolux and Don C. seem to be at odds here on the virtues of old versus new amps. YOu guys both seem to know what you're talking about, so what's an amp neophyte and budding young musician (not me, obviously :) supposed to do? Here's what I did...I brought my Les Paul along with me and played it through a couple dozen different amps that were in my price range. When I narrowed down the ones that gave me the tone and features I wanted, then I looked at quality and reputation, warranty, serviceability and the dealer's reputation. In the end I bought the Fender Blues DeVille 410 (the original version) because it fit all the above criteria, plus, tonally, it's new and it's old. It has a lot of th the sound/tone of an old Bassman, but a lot of nifty modern features. It's easily serviced, and fits me and my style to a T. Bingo. It's no different than buying a guitar. Buy what feels good, new or old, and works for you under all the criteria you can judge it by. Submitted for your approval.... Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 5 Dec 1995 13:06:33 CST Reply-To: JBards From: JBards Subject: Re[2]: Job Interview Question (blues content) Comments: To: mmccourt@ACUSON.COM I didn't catch the origin of this thread, so forgive me for butting in out of context. I don't know who was interviewing for what originally, but to pursue this line of discussion you have to explore a little bit the different kind sof intelligence that are out there. In general, intelligence divides up into verbal/analytical and spatial/ quanitative. All of us have some of both, and like handedness, a lot of us may be stronger in one area than the other. I'm high in verbal/analytical, pretty mediocre on the spatial/quantitative/mathematical side of life. The verbal types tend to be lit teachers, lawyers, etc..people who use verbal contructs to organize and navigate the external world. The spatial peole are good three- dimensional thinkers, and are good at seeing spatial relationships. They can read maps easily, grasp higher order math more easily, ..they're the mechanics and surgeons and computer specialists. I tend to think that musicians are higher on the spatial/quantitative side, because musci is basically very mathematical on it's technical end- you have to understand the relationship among notes, essentially. Maybe that's why the interviewer was drawing a connection between musicians and technicians- it requires the same type of intelligence for organizing and quantifying abstract data. Just a thought- Jim _______________________________________________________________________________ Subject: Re: Job Interview Question (blues content) From: mmccourt@ACUSON.COM at INTERNET-SH Date: 12/5/95 12:36 PM ISTS024%UABDPO.BITNET@brownvm.brown.edu wrote: >He went on to say that studies >indicate >that 90% (i think he said 90) of really brilliant technical people were >artists >or musicians.....I've never heard that, but of course I said "Yeah I >read that >also".....:-) Anyone ever heard that before. Then the interview went >way >downhill we started talking about musicians we knew....Interesting >LW I haven't heard is stated quite like that, but I have been told many times during interviews and discussions with other business people that musicians possess some special qualities. They are supposed to be good "systems thinkers", which I take to mean they understand how systems work and behave, because of their understanding (usually) of the music "system". We were interviewing people at my job where the Test Engineering Manager and I play music together and we were considering adding a requirement that the applicant play saxophone. Not because of any esoteric qualities he might have for the job, but because we both play quitar and wanted to play with a saxophone player. The musician who interviewed you obviously considered himself a brilliant technical person. Mike ========================================================================= Date: Tue, 5 Dec 1995 13:31:42 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Buddy Holly Page I know it isn't exactly blues, but I know lots of you are interested in my hometown boy, Buddy Holly. There is a city of Lubbock page about the soon to be built Buddy Holly Museum with pictures from the exhibits as well as some history. Check it out (especially you Art Schuna!) The address is http://204.49.131.2/lubbock/bhmuseum.htm -Jeff (it's about time!) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Tue, 5 Dec 1995 14:15:36 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[3]: Tremolux amp opinion, etc. Comments: To: JBards Jim: Listen to BB again closely. The treble is boosted but it's filtered or something to cut the shrillness. - Ruth (Psychic Amp-Predicting Engineer Babe) ______________________________ Reply Separator _________________________________ Subject: Re[2]: Tremolux amp opinion, etc. Author: "JBards" at Internet Date: 12/5/95 12:55 PM BB prefers a Lab Series amp, which is basically a Fender Twin copy, as you said, very loud, very clean. He totally cranks the amp volume, and controls the overall volume from the guitar , and I think that has to influence his tone. He says he turns all the bass off on the guitar tone controls, but from his special tone, I would have thought it was the treble that was turned down about 3/ 4s....go figgure. -Jim _______________________________________________________________________________ Subject: Re: Tremolux amp opinion, etc. From: PARRISHR at INTERNET-SH Date: 12/5/95 12:25 PM Hi Rick -- I'm still working on that tape of Max for you. Max and I have had this discussion many times. Max plays a custom-made strat-style guitar out of an old Acoustic amp chained to a Bassman head. He gets a real rich, full tone similar to Bobby Parker, who plays out of an Ampeg together with (I think) a Fender Twin Reverb. Scientifically speaking, an amp is a signal-processing tool. Different amps for different jobs; you may need more than one to get "the" tone. The biggest problem Max and I see is people don't know how to use the settings on their amps. The bottom line is, if you want a real clean, clear tone like BB King, get a vintage Fender. (I don't know what he plays out of, but that's the tone). If you want to add some distortion, get a distortion effects pedal. Personally, I use a little Crate amp because it doesn't sound too bad, it was cheap and most important, I can carry it by myself. :) - Ruth ______________________________ Reply Separator _________________________________ Subject: Tremolux amp opinion, etc. Author: Rick Miller at Internet Date: 12/5/95 11:03 AM Hmmmmmmm. Tremolux and Don C. seem to be at odds here on the virtues of old versus new amps. YOu guys both seem to know what you're talking about, so what's an amp neophyte and budding young musician (not me, obviously :) supposed to do? Here's what I did...I brought my Les Paul along with me and played it through a couple dozen different amps that were in my price range. When I narrowed down the ones that gave me the tone and features I wanted, then I looked at quality and reputation, warranty, serviceability and the dealer's reputation. In the end I bought the Fender Blues DeVille 410 (the original version) because it fit all the above criteria, plus, tonally, it's new and it's old. It has a lot of th the sound/tone of an old Bassman, but a lot of nifty modern features. It's easily serviced, and fits me and my style to a T. Bingo. It's no different than buying a guitar. Buy what feels good, new or old, and works for you under all the criteria you can judge it by. Submitted for your approval.... Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 5 Dec 1995 14:49:32 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Help name Blues show The radio station I work for just informed me, that on the first Sunday night in January, I'll be going on the air with a two hour Blues show. I need a cool, catchy and commercially oriented name for the show. Keep in mind that the station is a 50,000 watt "rock" station and I'll be programming "rock" style Blues. There are no prizes, but if someone comes up with a name that blows me away and I use it, I can prob'ly get a few CD's to ya. Thanks in advance for your help. Beef Stew ************************************************************* ========================================================================= Date: Tue, 5 Dec 1995 13:44:35 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: History Lesson At 11:23 AM 12/5/95 -0500, PARRISHR wrote: > I'll make a deal with you all, and this is the only way to resolve > this dispute. On this day 50 years from now, we'll take a poll and > see how many bluesicians know who Robben Ford et al. are compared to > those who know who Muddy Waters, Robert Johnson and Elmore James et > al. are. (I believe people will still remember SRV and Eric Clapton.) > So mark your calendars! > > Bad example, I think: it seems like you're comparing the average contemporary performer (Ford) with the best of the blues musicians of the past. Take a poll today: of all of the blues musicians who recorded (not just played) during the thirties, how many do we know and still listen to today? How many deserve to be heard today? Only the best should live on thru the ages - most performers, today and yesterday, put on a good show, don't really "deserve" to live on - and I don't think that would be more true today than yesterday. David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Tue, 5 Dec 1995 15:01:08 -0500 Reply-To: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM From: Jim Smith Subject: Re: History Lesson In-Reply-To: You can hear Memphis Minnie's version, along with alot of other originals that the rockers ripped-off on the Yazoo release "Roots of Rock". Jim Smith >On Tue, 5 Dec 1995 12:50:04 -0500 Scott Wenzel/DSES/DIRM/OIM/DCS/SSA said: >>identifiable. And Led Zeppelin? "When The Levee Breaks" was a Big Bill >>Broonzy piece, but there's no way you're gonna get Jimmy Page to play it the >>way Big Bill played it. > >That's a Memphis Minnie tune..... > >LW > ========================================================================= Date: Tue, 5 Dec 1995 12:15:59 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Re[2]: Tremolux amp opinion, etc. Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Ruth said: > I don't care if BB King Himself used a Peavey amp, I wouldn't use it. > It's too shrill. Unless I decided to metamorphose into a female Eddie > Van Halen. Which is doubtful -- I don't like playing to the kind of > crowd that kind of music attracts. Dear Ruth, Eddie plays a 5150 Peavey stack. It is indeed a tube amplifier, not like the solid state Peavey that Earl played. Earl's amp was not shrill, and while my Matchless would have smoked it in any side by side comparison, the audience wasn't there to hear amp shootouts, they were there to hear Earl. He's so good, it wouldn't surprise me to have a bunch of silly amp-dweebs running around sometime in the future trying to buy "Vintage Peavey Solid State Amps". Of course, I will turn Earl on to some better amps one of these days, but he may stay with his Peavey, and that's fine too. It's in him, not the amp, where the magic is found. That doesn't mean the amp isn't important, but it puts things back in perspective. Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Tue, 5 Dec 1995 15:20:01 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: My amp's bigger'n your amp Comments: To: jbards@MAIL-SH.LSUMC.EDU On 5 Dec 95, JBards had this to say... > BB prefers a Lab Series amp, which is basically a Fender Twin copy, as you said, > very loud, very clean. He totally cranks the amp volume, and controls the > overall volume from the guitar , and I think that has to influence his tone. He > says he turns all the bass off on the guitar tone controls, but from his special > tone, I would have thought it was the treble that was turned down about 3/ > 4s....go figgure. Go figure some more. The Lab Series BB uses is 100 percent solid state, and therefore has nothing to do with a Fender Twin. BB has used twins though. Basically, BB get's BB's tone out of anything he plugs into. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 5 Dec 1995 15:20:00 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: History Lesson David -- I agree with you, the best of each era will live on for posterity. I don't think you understood what I was saying. I am not comparing Robert Johnson to Robben Ford by any means. Someone else said Robben Ford was better than ANY of the old guys so I used RJ as an example to prove that you CANNOT compare them. BTW, you answered your own question about the poll -- bad recordings from the '30's have no reason to survive. -- Ruth "has some good ideas sometimes -- for a girl" ______________________________ Reply Separator _________________________________ Subject: Re: History Lesson Author: David Silberberg at Internet Date: 12/5/95 1:44 PM At 11:23 AM 12/5/95 -0500, PARRISHR wrote: > I'll make a deal with you all, and this is the only way to resolve > this dispute. On this day 50 years from now, we'll take a poll and > see how many bluesicians know who Robben Ford et al. are compared to > those who know who Muddy Waters, Robert Johnson and Elmore James et > al. are. (I believe people will still remember SRV and Eric Clapton.) > So mark your calendars! > > Bad example, I think: it seems like you're comparing the average contemporary performer (Ford) with the best of the blues musicians of the past. Take a poll today: of all of the blues musicians who recorded (not just played) during the thirties, how many do we know and still listen to today? How many deserve to be heard today? Only the best should live on thru the ages - most performers, today and yesterday, put on a good show, don't really "deserve" to live on - and I don't think that would be more true today than yesterday. David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Tue, 5 Dec 1995 15:26:56 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: Help name Blues show Comments: To: Stew Crossen I think you should call it "Beef Stew's Blond Female Slide Guitarist Showcase." If you have trouble producing a playlist, I might be able to help you out :) Ruth ______________________________ Reply Separator _________________________________ Subject: Help name Blues show Author: Stew Crossen at Internet Date: 12/5/95 2:49 PM The radio station I work for just informed me, that on the first Sunday night in January, I'll be going on the air with a two hour Blues show. I need a cool, catchy and commercially oriented name for the show. Keep in mind that the station is a 50,000 watt "rock" station and I'll be programming "rock" style Blues. There are no prizes, but if someone comes up with a name that blows me away and I use it, I can prob'ly get a few CD's to ya. Thanks in advance for your help. Beef Stew ************************************************************* ========================================================================= Date: Tue, 5 Dec 1995 14:49:54 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Help name Blues show In-Reply-To: Message of Tue, 5 Dec 1995 15:26:56 -0500 from On Tue, 5 Dec 1995 15:26:56 -0500 PARRISHR said: >I think you should call it >"Beef Stew's Blond Female Slide Guitarist Showcase." >If you have trouble producing a playlist, I might be able to help you out :) I think you mean "Beef Stew's Blond BABE Slide Guitar-ette Showcase" LW 'of she knows I'm kiddin' >Author: Stew Crossen at Internet >Date: 12/5/95 2:49 PM > > >The radio station I work for just informed me, that on the >first Sunday night in January, I'll be going on the air with >a two hour Blues show. > >I need a cool, catchy and commercially oriented name for the show. > >Keep in mind that the station is a 50,000 watt "rock" station and >I'll be programming "rock" style Blues. > >There are no prizes, but if someone comes up with a name that blows >me away and I use it, I can prob'ly get a few CD's to ya. > >Thanks in advance for your help. > >Beef Stew >************************************************************* ========================================================================= Date: Tue, 5 Dec 1995 16:02:38 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[4]: Tremolux amp opinion, etc. Comments: To: Don Cicchetti Don -- I agree, the amp is only one component. Maybe that was his emergency amp or something. But (and anyone who has heard me play will agree) it is not going to HELP if I play out of a Peavey amp! :) So I am not going to try it. P.S. there is a very good blues guitarist in our area named Ed Scott who plays a Peavey GUITAR and makes it sound GREAT! -- Ruth "Guess Your Amp and Age in Dog-Years" ______________________________ Reply Separator _________________________________ Subject: Re: Re[2]: Tremolux amp opinion, etc. Author: Don Cicchetti at Internet Date: 12/5/95 12:15 PM Ruth said: > I don't care if BB King Himself used a Peavey amp, I wouldn't use it. > It's too shrill. Unless I decided to metamorphose into a female Eddie > Van Halen. Which is doubtful -- I don't like playing to the kind of > crowd that kind of music attracts. Dear Ruth, Eddie plays a 5150 Peavey stack. It is indeed a tube amplifier, not like the solid state Peavey that Earl played. Earl's amp was not shrill, and while my Matchless would have smoked it in any side by side comparison, the audience wasn't there to hear amp shootouts, they were there to hear Earl. He's so good, it wouldn't surprise me to have a bunch of silly amp-dweebs running around sometime in the future trying to buy "Vintage Peavey Solid State Amps". Of course, I will turn Earl on to some better amps one of these days, but he may stay with his Peavey, and that's fine too. It's in him, not the amp, where the magic is found. That doesn't mean the amp isn't important, but it puts things back in perspective. Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Tue, 5 Dec 1995 16:04:20 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: My amp's bigger'n your amp Comments: To: "P.W. Fenton" Then maybe BB's got special wiring in his pickups or a preamp or something. ______________________________ Reply Separator _________________________________ Subject: My amp's bigger'n your amp Author: "P.W. Fenton" at Internet Date: 12/5/95 3:20 PM On 5 Dec 95, JBards had this to say... > BB prefers a Lab Series amp, which is basically a Fender Twin copy, as you said , > very loud, very clean. He totally cranks the amp volume, and controls the > overall volume from the guitar , and I think that has to influence his tone. He > says he turns all the bass off on the guitar tone controls, but from his specia l > tone, I would have thought it was the treble that was turned down about 3/ > 4s....go figgure. Go figure some more. The Lab Series BB uses is 100 percent solid state, and therefore has nothing to do with a Fender Twin. BB has used twins though. Basically, BB get's BB's tone out of anything he plugs into. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 5 Dec 1995 15:04:03 CST Reply-To: JBards From: JBards Subject: Re: My amp's bigger'n your amp Comments: To: "P.W. Fenton" Yeah, I knew there was some more behind that that I'd forgotten. Didn't he move from a Fender Twin to a MusicMan when Leo was associated with that desighn, and then ended up somehow with the Lab Series? I'm glad I didn't say anything about tube compression with his sound....=) JIm _______________________________________________________________________________ Subject: My amp's bigger'n your amp From: "P.W. Fenton" at INTERNET-SH Date: 12/5/95 2:46 PM On 5 Dec 95, JBards had this to say... > BB prefers a Lab Series amp, which is basically a Fender Twin copy, as you said, > very loud, very clean. He totally cranks the amp volume, and controls the > overall volume from the guitar , and I think that has to influence his tone. He > says he turns all the bass off on the guitar tone controls, but from his special > tone, I would have thought it was the treble that was turned down about 3/ > 4s....go figgure. Go figure some more. The Lab Series BB uses is 100 percent solid state, and therefore has nothing to do with a Fender Twin. BB has used twins though. Basically, BB get's BB's tone out of anything he plugs into. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 5 Dec 1995 16:10:05 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Re[2]: Tremolux amp opinion, etc. Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *Earl's amp was not shrill, and while my Matchless would have smoked it in *any side by side comparison, the audience wasn't there to hear amp *shootouts, they were there to hear Earl. He's so good, it wouldn't *surprise me to have a bunch of silly amp-dweebs running around sometime in *the future trying to buy "Vintage Peavey Solid State Amps". *Of course, I will turn Earl on to some better amps one of these days, but *he may stay with his Peavey, and that's fine too. A lot of great players use solid state amps. When I saw Annie Raines recently she was playing harp through a portable Maxi Mouse amp. Billy Branch plays through a solid state amp and sounds great. I prefer tube amps myself, but in most cases the player is more imposrtant than the amp. -Steve ========================================================================= Date: Tue, 5 Dec 1995 13:22:04 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: SONY/LEGACY 64770 : CURTIS MAYFIELD'S CHICAGO SOUL Comments: To: BluesHvn@aol.com SONY/LEGACY 64770 : VARIOUS - CURTIS MAYFIELD'S CHICAGO SOUL ============================================================================== CURTIS LEE MAYFIELD II b. 1942/JUN/03, CHICAGO, IL I've always approached music as a collective collaboration of arrangers, engineers, musicians, producers, singers and song writers, and with this CD, Sony has compiled 18 tracks (co)-produced &/or written by Curtis Lee Mayfield, with arrangements by Arkansas-born Riley C. Hampton or Illinois-born Johnny Pate. Not since the 1982 2lp set "Okeh Soul" (Epic 37321) has Sony issued a various artists set devoted to Chicago Soul recordings of 1963/65 ; actually 9 of the tracks on this CD were included in the 2lp set. Arranger/tuba/bassist John W. Pate Sr. was born on Wednesday, December 5, 1923, Chicago Heights, IL., and first recorded (as a bassist) with baritone saxophonist Leo Parker (Chess,'51), and would go on to record with the awesome Black fiddler Eddie South ('52,'58), Earl Bostic ('58), Milt Buckner ('61), Bill Doggett ('57), Wynonie Harris ('64), Danny Overbea ('58), Staple Singers ('62), Tiny Topsy ('58), Carl Van Moon ('55), and as an arranger/producer, with Jimmy Witherspoon ('69 with Charlie Musselwhite) and B. B. King ('64-67), including his 1964 "Live At The Regal" album, the 1966 "Don't Answer The Door", and the 1967 "Paying The Cost To Be The Boss". He was also involved with the early career of Peabo Bryson. I should also mentioning that Pate recorded produced & arranged for lots of jazz players, including Stan Getz, J.C. Heard, Eddie Johnson, Wes Montgomery, James Moody and Jimmy Smith, including at least 6 albums under his own name, as well as an R&B hit, "Swinging Shepherd Blues" (Federal,'Dec56). As an arranger/producer, he also worked for ABC-Paramount & Curtom Records. Robert Pruter's 1991 book, CHICAGO SOUL (U of Illinois Press), is your best source if you want more details concerning Johnny Pate's R&B Soul productions. So what does this have to do with this CD. When Carl Davis was looking for an arranger for his Okeh productions, Johnny Pate was one of the arrangers he choose. Pate's trombone dominated brass arrangements, first heard on Mance Lance's May 1963 recording, "The Monkey Time" (included on this CD), was first recorded on Okeh, some 3 months before Curtis Mayfield & The Impressions' recording of "It's All Right". This is the sound most identified with Chicago Soul, and with this CD we have 10 primo examples of Johnny Pate's arrangements, including wonderful recordings by Billy Butler & The Enchanters/Chanters, Major Lance & The Opals. The other recordings - by Artistics, Gene Chandler & Walter Jackson - are arranged by Riley Hampton, including sides of one of my favorite Chicago Soul singers : Walter Jackson's "It's All Over" and "Funny (Not Much)". Legacy is planning a Walter Jackson set, and I'm one soul fan who can't wait for this CD. Confined to crutches, he was a soul singer's singer, and his Okeh Recordings are masterpieces. His death in 1983 at the age of 45 ended a career which began as a member of The Velvetones. If you need a reminder of the genius of Curtis Lee Mayfield, this is a CD for you. If you're just a fan of 60s soul music, this is a CD for you, and if you're a fan (like me), of arrangers, this is a CD for you. You can't miss with this CD. Run, don't walk, don't even stop for the red light! Contents: 1. The Opals (w/Rose Addison, lead) - You Can't Hurt Me No More 2. Walter Jackson - What Would You Do 3. Major Lance - I'm The One Who Love You 4.*Billy Butler & The Enchanters - I Can't Work No Longer 5. Gene Chandler - Gonna Be Good Time 6. Major Lance - The Monkey Time 7. Artistics (w/Marvin Smith, lead) - Patty Cake 8.*Billy Butler & The Enchanters - You're Gonna Be Sorry 9. Major Lance - Think Nothing About It 10.*Billy Butler & The Enchanters - Neverless (I Love You) 11. Walter Jackson - It's All Over 12. Billy Butler & The Enchanters - Found True Love (demo version) 13. Major Lance - You'll Want Me Back 14. Walter Jackson - That's What Mamma Say 15. Billy Butler & The Enchanters - Gotta Get Away 16. Walter Jackson - Funny (Not Much) 17. The Opals (w/Rose Addison, lead) - You're Gonna Be Sorry 18. Major Lance - Gonna Get Married * released as Billy Butler & The Chanters SONY/LEGACY'S RHYTHM & SOUL SERIES (to be continued) ================================== 48515 : ARETHA FRANKLIN - JAZZ TO SOUL (2CD) 92/07 48912 : VARIOUS - THE OKEH RHYTHM & BLUES STORY 1949-1957 (3CD) 93/07 52924 : BILL WITHERS - LEAN ON ME : THE BEST OF 94/08 53417 : BIG MAYBELLE - THE COMPLETE OKEH SESSIONS 1952-'55 94/08 53619 : CHUCK WILLIS - LET'S JUMP TONIGHT! THE BEST OF 1951-'56 94/08 57645 : CAB CALLOWAY - ARE YOU HEP TO THE JIVE? 94/08 57858 : THE ISLEY BROTHERS - FUNKY FAMILY 95/02 57860 : THE ISLEY BROTHERS - BEAUTIFUL BALLADS 94/08 64662 : THE MANHATTANS - KISS AND SAY GOODBYE, THE BEST OF 95/10 64770 : VARIOUS - CURTIS MAYFIELD'S CHICAGO SOUL 95/11 66112 : THE O'JAYS - GIVE THE PEOPLE WHAT THEY WANT 95/02 66114 : The O'JAYS - LOVE TRAIN : THE BEST OF 94/08 66115 : The O'JAYS - IN PHILADEPHIA 94/08 66116 : THE O'JAYS - LET ME MAKE LOVE TO YOU 95/01 66179 : VARIOUS ARTISTS - LOST SOUL 94/08 66201 : ARETHA FRANKLIN - UNFORGETTABLE : A TRIBUTE TO DINAH WASHINGTON 95/02 66338 : HAROLD MELVIN & THE BLUENOTES - BEST OF,FEATURING T.PENDERGRASS 95/02 66339 : PATTI LABELLE & LABELLE - BEST OF - LADY MARMALADE 95/02 66688 : THE INTRUDERS - COWBOYS TO GIRLS, THE BEST OF 95/10 66689 : MFSB - LOVE IS THE MESSAGE, THE BEST OF 95/10 66800 : THE TRENIERS - THEY ROCK! THEY ROLL! THEY SWING! THE BEST OF 95/02 66912 : VARIOUS - RHYTHM & SOUL REVUE 95/02 66913 : VARIOUS - FROM PHILLY WITH LOVE 95/01 66988 : MAJOR LANCE - EVERYBODY LOVES A GOOD TIME! THE BEST OF (2CD) 95/02 67105 : VARIOUS - AM I BLACK ENOUGH FOR YOU 95/10 soon : ERMA FRANKLIN - PIECE OF MY HEART, THE BEST OF soon soon : WALTER JACKSON - MY SHIP IS COMING IN, THE BEST OF soon ========================================================================= Date: Tue, 5 Dec 1995 15:16:31 CST Reply-To: JBards From: JBards Subject: Re: Help name Blues show Comments: To: Stew Crossen Where are you? It might make a difference... Jim _______________________________________________________________________________ Subject: Help name Blues show From: Stew Crossen at INTERNET-SH Date: 12/5/95 2:53 PM The radio station I work for just informed me, that on the first Sunday night in January, I'll be going on the air with a two hour Blues show. I need a cool, catchy and commercially oriented name for the show. Keep in mind that the station is a 50,000 watt "rock" station and I'll be programming "rock" style Blues. There are no prizes, but if someone comes up with a name that blows me away and I use it, I can prob'ly get a few CD's to ya. Thanks in advance for your help. Beef Stew ************************************************************* ========================================================================= Date: Tue, 5 Dec 1995 15:21:27 CST Reply-To: JBards From: JBards Subject: Re: Buddy Holly Page Comments: To: Jeff Seale I think maybe that line in the address should be "html" ?, anyway, I'm going to check it out now. -JIm _______________________________________________________________________________ Subject: Buddy Holly Page From: Jeff Seale at INTERNET-SH Date: 12/5/95 2:27 PM I know it isn't exactly blues, but I know lots of you are interested in my hometown boy, Buddy Holly. There is a city of Lubbock page about the soon to be built Buddy Holly Museum with pictures from the exhibits as well as some history. Check it out (especially you Art Schuna!) The address is http://204.49.131.2/lubbock/bhmuseum.htm -Jeff (it's about time!) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Tue, 5 Dec 1995 15:42:49 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Buddy Holly Page Comments: To: JBards In-Reply-To: <9511058182.AA818205784@mail-sh.lsumc.edu> On Tue, 5 Dec 1995, JBards wrote: > I think maybe that line in the address should be "html" ?, anyway, I'm going to > check it out now. Nope it is only .htm Using html won't work. > The address is http://204.49.131.2/lubbock/bhmuseum.htm ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Tue, 5 Dec 1995 16:41:16 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[4]: Tremolux amp opinion, etc. Comments: To: Steve Levine For those of us who physically can't carry a tube amp, solid-state is the difference between having and not having an amp at a gig. P.S. If anyone wants to lug a tube amp around for me I don't mind :) ______________________________ Reply Separator _________________________________ Subject: Re: Re[2]: Tremolux amp opinion, etc. Author: Steve Levine at Internet Date: 12/5/95 4:10 PM *Earl's amp was not shrill, and while my Matchless would have smoked it in *any side by side comparison, the audience wasn't there to hear amp *shootouts, they were there to hear Earl. He's so good, it wouldn't *surprise me to have a bunch of silly amp-dweebs running around sometime in *the future trying to buy "Vintage Peavey Solid State Amps". *Of course, I will turn Earl on to some better amps one of these days, but *he may stay with his Peavey, and that's fine too. A lot of great players use solid state amps. When I saw Annie Raines recently she was playing harp through a portable Maxi Mouse amp. Billy Branch plays through a solid state amp and sounds great. I prefer tube amps myself, but in most cases the player is more imposrtant than the amp. -Steve ========================================================================= Date: Tue, 5 Dec 1995 16:59:18 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: Buddy Holly Page Comments: To: JBards Hi Jim: An HTML file can end in either .htm or .html .htm is text-only format Take care -- Ruth "Software Enginette Babe" ______________________________ Reply Separator _________________________________ Subject: Re: Buddy Holly Page Author: JBards at Internet Date: 12/5/95 3:21 PM I think maybe that line in the address should be "html" ?, anyway, I'm going to check it out now. -JIm _______________________________________________________________________________ Subject: Buddy Holly Page From: Jeff Seale at INTERNET-SH Date: 12/5/95 2:27 PM I know it isn't exactly blues, but I know lots of you are interested in my hometown boy, Buddy Holly. There is a city of Lubbock page about the soon to be built Buddy Holly Museum with pictures from the exhibits as well as some history. Check it out (especially you Art Schuna!) The address is http://204.49.131.2/lubbock/bhmuseum.htm -Jeff (it's about time!) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Tue, 5 Dec 1995 17:07:46 -0500 Reply-To: Weidel From: Weidel Organization: ?? Subject: Johnny Copeland ; had been Re: sonny rhodes Comments: To: bit-listserv-blues-l@cs.washington.edu In article <9511261950.0RVSM02@chrysalis.org>, don.o@CHRYSALIS.ORG wrote: > Johnny Copeland's keyboard player was with the band (Floyd Phillips > is his > name, I think) and he gave me an update on Johnny (as he's heard > it). He says > while Johnny's waiting for his new heart, they hope to put together > a light > touring schedule. Johnny is really itching to play. > > Now I just know there's a couple of other Blues-L'ers that are going > to give a > brief review of the show. You know who you are. De-lurk for a > change! Don - I heard that Johnny's heart transplant is on hold and that he is responding very well to a new medication. In fact, I believe he just appeared at a club in Wilmington, Delaware. Bob ========================================================================= Date: Tue, 5 Dec 1995 16:27:58 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: bobby patterson Dallasite Bobby Patterson (How do you spell love, M-O-N-E-Y) has been at Audio Dallas studio cutting a new project with Lucky Peterson and band. They're shopping it. Should be a good 'un. Don O. ========================================================================= Date: Tue, 5 Dec 1995 18:14:30 -0500 Reply-To: ghost From: ghost Subject: the tape OK, when's the deadline for the 4th tape? (I'm just no good with deadlines.... ========================================================================= Date: Tue, 5 Dec 1995 15:21:15 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Re[4]: Tremolux amp opinion, etc. Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Ruth said: > For those of us who physically can't carry a tube amp, solid-state is > the difference between having and not having an amp at a gig. > P.S. If anyone wants to lug a tube amp around for me I don't mind :) Well... I'd offer, but my wife would beat me senseless.... ;-] Ok, come play Riverside, and I'll carry your amp... Just once though. What do you consider heavy? *Everyone* thinks a Twin is heavy, but do you think a Deluxe or a Princeton is too heavy? If not, there are some really nice, small tube amps out now that are much easier to carry. The opening act for the show I promoted last sunday used a very small Rivera combo that not only sounded great, but was very loud. I have a '70's Silverface Princeton (the vintage poo-bahs don't like these yet, so they are cheap) that my amp guy built up to include a Super output section, and a front end consisting of stuff from a 4-10 Bassman and a Vox AC-30. He put in a cool 12" speaker as well. Amazing amp, and under 800.00 (depending on what you pay for the old amp) Weighs about the same as a Deluxe Reverb. Don't forget the bottom line.. The only opinion that matters is yours. So if the solid state stuff works for you... don't even think twice. Just remember to put me on the guest list..... ;-] Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Tue, 5 Dec 1995 18:23:27 -0500 Reply-To: Charles d'Orban From: Charles d'Orban Subject: BROWNIE MCGHEE CD DISCOGRAPHY When I was 1st getting into the blues, one of my favourite records was a recording featuring Brownie McGhee, Sonny Terry and Big Bill Broonzy. They played a few things together and then did individual songs. I think that it was originally a radio broadcast from the late 50s and in between tracks Studs Terkel interviewed them, asking them about their recent trip to Europe. The vinyl version I knew in the UK was on the Xtra label. I believe that the Xtra label was used as the UK imprint of Folkways (licensed by Transatlantic). Does anyone know if this recording is now available on CD? Charles ========================================================================= Date: Tue, 5 Dec 1995 17:20:10 CST Reply-To: JBards From: JBards Subject: Re: Rory Gallagher WEB-PAGE! Comments: To: Peter Gallagher Many thanks, Peter, for pointing this out to us. It's really quite a neat site. I loved the "Virtual Pub". -Jim _______________________________________________________________________________ ========================================================================= Date: Tue, 5 Dec 1995 17:35:49 CST Reply-To: JBards From: JBards Subject: Re[5]: Tremolux amp opinion, etc. Comments: To: PARRISHR Ummm, have you ever thought of using a separate head/ cabinet type combo? -Jim PS- how is it you're associating weight with tube construction? Most of the weigh is in the transformers and speakers, particularly the latter in the case of the Twin and the Super. _______________________________________________________________________________ Subject: Re[4]: Tremolux amp opinion, etc. From: PARRISHR at INTERNET-SH Date: 12/5/95 5:28 PM For those of us who physically can't carry a tube amp, solid-state is the difference between having and not having an amp at a gig. P.S. If anyone wants to lug a tube amp around for me I don't mind :) ______________________________ Reply Separator _________________________________ Subject: Re: Re[2]: Tremolux amp opinion, etc. Author: Steve Levine at Internet Date: 12/5/95 4:10 PM *Earl's amp was not shrill, and while my Matchless would have smoked it in *any side by side comparison, the audience wasn't there to hear amp *shootouts, they were there to hear Earl. He's so good, it wouldn't *surprise me to have a bunch of silly amp-dweebs running around sometime in *the future trying to buy "Vintage Peavey Solid State Amps". *Of course, I will turn Earl on to some better amps one of these days, but *he may stay with his Peavey, and that's fine too. A lot of great players use solid state amps. When I saw Annie Raines recently she was playing harp through a portable Maxi Mouse amp. Billy Branch plays through a solid state amp and sounds great. I prefer tube amps myself, but in most cases the player is more imposrtant than the amp. -Steve ========================================================================= Date: Tue, 5 Dec 1995 18:03:36 -0800 Reply-To: Chris Pearson From: Chris Pearson Subject: history lesson This is fantastic! Shaun you were right, "It's started again." Once again ========================================================================= Date: Tue, 5 Dec 1995 16:14:32 CDT Reply-To: Mike Davis From: Mike Davis Organization: N.C.T.R. Subject: Johnny Winter I just finished listening to "Hey Where's your Brother" (excellent cd) and was wondering how Johnny Winter is. I haven't heard of him touring the last couple of years. So does anyone know what he's up to? And when can we expect another cd. Mr Shurman are you still out there? Thanks, Mike Davis ========================================================================= Date: Tue, 5 Dec 1995 16:28:00 -0600 Reply-To: "timothy (t.b.) bosley" From: "timothy (t.b.) bosley" Subject: Happy Birthday Robert Ealey Let me be the first to wish Robert Ealey a Happy Birthday. Tomorrow (Dec 6) will mark his 70th birthday. I had wanted to do something but knowing he would be over in Europe I put it on the back burner....and now there's really not any time to plan something for his return so maybe next year.... To the best of my knowledge, this is a complete discography. Discography : Robert Ealey ====================== Amazing LP 1004 : Robert Ealey - Robert Ealey at the Bluebird With the Juke Jumpers (out of print) TopCat CD 119201 : Various - Hot Rhythm & Cool Blues...Texas Style (1 Ealey) Taxim CD 10092 : Various - Truckin' My Blues Away (2 Ealey) TopCat CD 01942 : Robert Ealey - If You Need Me TopCat CD 03932 : Ealey/Jonas/Miller - Texas Bluesmen (6 Ealey) Lingo CD 74321282612*: Ealey/Jonas/Miller - Live In Berlin (6/7 Ealey) * Seems awfully long for a catalog number but that's what was on the packaging where the catalog number usually goes. Both the Taxim and Lingo discs are German. Thanks to Thomas Gutberlet for sending me _Live In Berlin_. The Taxim disc is in the same vein as the Hot Rhythms disc: an assortment of Texas bands. The Ealey tunes on that disc can be found on the TopCat discs. If anyone knows where I can obtain the Amazing LP, I would appreciate hearing from you. -- There's something inside the blues that makes people start wondering. - Robert Ealey ========================================================================= Date: Tue, 5 Dec 1995 18:24:50 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Re: History Lesson (fwd) > I feel like LW does pretty much, that is I like the new stuff but > comparing Robben Ford to someone like Robert Johnson or Lightnin' > Hopkins is like comparing apples to oranges. You got your Robben > Ford/Stevie Ray Vaughn rockin' blues, then you got your old-timey > field holler/delta blues. Muddy Waters and Willie Dixon are somewhere > in the middle. My band plays it all, new AND old (not well, but we > try). There are reasons Robert Johnson is on CD, and they're not the > same reasons Robben Ford is on CD. > I'll make a deal with you all, and this is the only way to resolve > this dispute. On this day 50 years from now, we'll take a poll and > see how many bluesicians know who Robben Ford et al. are compared to > those who know who Muddy Waters, Robert Johnson and Elmore James et > al. are. (I believe people will still remember SRV and Eric Clapton.) > So mark your calendars! Good idea Ruth. But I'll be 93 years old on poll day. Could we all meet at the Hip Replacement Surgery Recipients List? Bill Morgan ========================================================================= Date: Tue, 5 Dec 1995 19:10:22 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Johnny Winter Comments: To: Mike Davis In-Reply-To: <3517062308C@EFS.NCTR.FDA.GOV> Johnny Winter is doing much better. He's rehearsing regularly and hopes to do his first show since too long ago in a couple months. His label is just waiting for him to be ready to record. Since he self-admittedly plays to show off (he figured out at an early age that when you're skinny and can barely see, playing guitar is a logical way to strut your stuff), he's got to be feeling really good about himself and his music to do a great recording. Hopefully next year; we're all expecting him and me to be back in the studio for Pointblank, it's just a question of when, hopefully in '96. ========================================================================= Date: Tue, 5 Dec 1995 22:35:02 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: Buddy Holly Page Comments: To: Jeff Seale In-Reply-To: Jeff, I thought I heard something about a Buddy Holly tribute album. Have you heard anything? Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Wed, 6 Dec 1995 00:05:34 -0500 Reply-To: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA From: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA Subject: Getting to the blues I started out listening to the blues by being one of the first people in my high school to become aware of NBC's Saturday Night (as it was originally called, in October, 1975 - I saw the first shows). The Blues Brothers appeared one night, and I *did not know it was Belushi and Ackroyd*!! I went nuts trying to figure out who these funky white guys in the beat-up suits were. I thought maybe it was Belushi's brother or father or something. I later encountered a guy in college who had a copy of "Briefcase Full of Blues," and I listened to it. Now, remember, Dan and John were very good on those Blues Brothers recordings to credit earlier art as it were. So, when they did "Messin' With The Kid," and mentioned Junior Wells, I remembered it. I saw "The Blues Brothers" and went looking for stuff by this hard-core guy in the leisure suit at the Maxwell Street market, John Lee Hooker. A couple of weeks later I was in a used record store in East Lansing, Michigan, and found a copy of Junior Wells and Buddy Guy's excellent 1977 recording, "Drinkin' TNT and Smokin' Dynamite," on which Bill Wyman plays bass. Now, in those days, Blind Pig was in Michigan, in Brighton, Michigan. I wasn't having a particularly good year in 1981, and found this music, particularly the down-tempo version of "Hoodoo Man," on that record, particularly empathetic for my state of life. I started finding other blues records, simply by reading the liner notes on the records I had, making a note to find other things by the authors of those blues, and then repeating the process. Being given a few Mike Bloomfield tapes in the later 80s didn't hurt in this search, either. And hearing Muddy Waters' 1963 "Folk Singer" LP, also. Somewhere in there I discovered Chicago style and things were different after that. This wasn't just a style to listen to, it was a style OTHER people could listen to, and, more importantly, one that I could play and sound convincing playing. So, that's what I've specialized in. Fifteen years later, I have stacks and stacks of obscure things... things nobody ever heard of, recorded in holes in the wall in Detroit and Chicago and Memphis, and reissues of stuff that nobody ever heard of. I've wandered all over Chicago and Detroit and New Orleans and other places looking for the roots. I have a chunk of Chess Studios on my mantle. Videotape all over the place. And nowhere to put more CDs, so I guess I'll have to move. Turtle Visit That Blues Music Page at The Weightless Dog! http://www.charm.net/~turtle ========================================================================= Date: Wed, 6 Dec 1995 00:05:42 -0500 Reply-To: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA From: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA Subject: Getting to the blues I started out listening to the blues by being one of the first people in my high school to become aware of NBC's Saturday Night (as it was originally called, in October, 1975 - I saw the first shows). The Blues Brothers appeared one night, and I *did not know it was Belushi and Ackroyd*!! I went nuts trying to figure out who these funky white guys in the beat-up suits were. I thought maybe it was Belushi's brother or father or something. I later encountered a guy in college who had a copy of "Briefcase Full of Blues," and I listened to it. Now, remember, Dan and John were very good on those Blues Brothers recordings to credit earlier art as it were. So, when they did "Messin' With The Kid," and mentioned Junior Wells, I remembered it. I saw "The Blues Brothers" and went looking for stuff by this hard-core guy in the leisure suit at the Maxwell Street market, John Lee Hooker. A couple of weeks later I was in a used record store in East Lansing, Michigan, and found a copy of Junior Wells and Buddy Guy's excellent 1977 recording, "Drinkin' TNT and Smokin' Dynamite," on which Bill Wyman plays bass. Now, in those days, Blind Pig was in Michigan, in Brighton, Michigan. I wasn't having a particularly good year in 1981, and found this music, particularly the down-tempo version of "Hoodoo Man," on that record, particularly empathetic for my state of life. I started finding other blues records, simply by reading the liner notes on the records I had, making a note to find other things by the authors of those blues, and then repeating the process. Being given a few Mike Bloomfield tapes in the later 80s didn't hurt in this search, either. Somewhere in there I discovered Chicago style and things were different after that. This wasn't just a style to listen to, it was a style OTHER people could listen to, and, more importantly, one that I could play and sound convincing playing. So, that's what I've specialized in. Fifteen years later, I have stacks and stacks of obscure things... things nobody ever heard of, recorded in holes in the wall in Detroit and Chicago and Memphis, and reissues of stuff that nobody ever heard of. I've wandered all over Chicago and Detroit and New Orleans and other places looking for the roots. I have a chunk of Chess Studios on my mantle. Videotape all over the place. And nowhere to put more CDs, so I guess I'll have to move. Turtle Visit That Blues Music Page at The Weightless Dog! http://www.charm.net/~turtle ========================================================================= Date: Tue, 5 Dec 1995 22:04:19 -0800 Reply-To: michael madsen From: michael madsen Subject: test-ignore did this get through? Adios for now, Michael L. Madsen - Blaine, Washington "Take it easy but take it." Woodie Guthrie ========================================================================= Date: Wed, 6 Dec 1995 00:24:34 -0600 Reply-To: Chris Pearson From: Chris Pearson Subject: History Lesson Shaun!! Easy big fellow, steady now. I'm new at this. I didn't realize this was Blues-L Attack Net. You're sure making a big stretch between what I said and what you think I said! Upon reading your post again I think our problem lies in the intertwining of playing blues vs listening to blues. You said to play the blues you've got to know the old stuff. That's simply not true. If you had said to understand, or appreciate, or even comprehend the true socio/political ramifications of the blues I would agree that you should hear the old stuff. But just to play it? I don't think so. All you need is some feeling. The old guys were arguably better at expressing those feelings, but I think they did it more with there voices than with their instruments (Yes Mr Picky, I should have said instrument earlier). Every instrument player that I know, is constantly striving to express themselves better with their instrument. Whether it's the search for the Holy Grail TONE or simply, "How can I get to the five from here and have it sound cool?" I don't know, but I would think that your (darn, how can I put this and keep Ruth off my ass?)(I KNOW!!) female friend was wanting to hear Robben Ford because she liked him AND he has one of the coolest keyboard players around. I've never heard of anyone trying to steal licks from somebody they don't like. So where do you get off trying to tell her she can't play the blues un less she hears Muddy Waters?(How's that for stretch?) And come on Shaun, just because I didn't name every good guitar player that ever played doesn't mean I'm dismissing any of them. My premise remains that blues is about expression and the more mastery of your instrument and technique that you have the more you are able to express yourself. I guess it boils down to some people you like to hear express themselves and some you don't. I'm going to let the part about being dead slide, because anybody that brags about playing blues and not bending any strings has got to be one more boring guitar player. In the end it's all the same. Listen to what hits you in the heart. Chris ========================================================================= Date: Wed, 6 Dec 1995 01:01:39 -0600 Reply-To: Chris Pearson From: Chris Pearson Subject: nothing I wish this computer had tubes in it. At least it would sound better. Just testing some new software. ========================================================================= Date: Wed, 6 Dec 1995 07:23:30 GMT Reply-To: Jim Farris From: Jim Farris Organization: Netcom Subject: Re: Bouncebacks & Error messages Comments: To: bit-listserv-blues-l@uunet.uu.net Thanks, P.W. They were annoying. I'd never know whether my messages got posted or not. Jammin' Jim Farris KKUP 91.5 FM "P.W. Fenton" wrote: >Those annoying "Message undeliverable - user not defined" messages >we've all been getting lately after every post should go away now. I >got Alan to delete the account that was sending us all those. > > >P.W. Fenton >Tampa, Florida > >Check out my Blues web page at > http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 6 Dec 1995 07:03:48 GMT Reply-To: Robert Teeter From: Robert Teeter Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: Kennedy Center Honors for BB last Night P.W. Fenton (pwfenton@GATE.NET) wrote: : (lifted from Rueters) : Actor Sidney Poitier, blues guitarist B.B. King, playwright Neil : Simon, singer Marilyn Horne and choreographer Jacques d'Amboise had : an audience with President Clinton Sunday. At a White House : reception, Clinton honored the five performers for their contribution : to the arts. Poitier and company were recipients of the Kennedy : Center Honors, an annual event that celebrates the best in American : talent. Louis Gossett Jr, Steve Martin, James Earl Jones and Bonnie : Raitt and other stars joined a host of Washington celebrities at the : reception and at a salute to the honorees at the Kennedy Center for : the Performing Arts. Anybody know when this will be on TV? Thanks. -- Robert Teeter | "Ripeness is all." San Jose | -- Shakespeare rteeter@netcom.com | ========================================================================= Date: Wed, 6 Dec 1995 05:26:34 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - December 6th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ALAIMO, STEVE (g/b/songw/prod) b. 1939-1206, OMAHA, NB BARRY, LEN (lead/THE DOVELLS) b. 1942-1206, PHILADELPHIA, PA BEVERLY, FRANKIE (lead/THE MAZE) b. 1938-1206, PHILADELPHIA, PA CURTIS, MANN (EMANUEL MANNY KURTZ)(songw) d. 1984-1206, SAN FRANCISCO, CA 73 EALEY, ROBERT (v/TOPCAT REC) b. 1925-1206, TEXARKANA, TX GAYLE, ROZELLE I. (p/bsax/MODERN REC) d. 1986-1206, CHICAGO, IL 63 HARRIS, BILL (g/THE CLOVERS) d. 1988-1206, WASHINGTON, DC 63 LAMB, JOSEPH FRANCIS (p) b. 1877-1206, MONTCLAIR, NJ LEADBELLY [HUDDIE WILLIAM LEDBETTER] d. 1949-1206, NEW YORK CITY, NY 60 ORBISON, ROY [KELTON ORBISON] (g/sw) d. 1988-1206, HENDERSONVILLE, TN 52 PERETTI, HUGO (prod/HUGO & LUIGI) b. 1916-1206, NEW YORK CITY, NY PIERSON, EUGENE (g) b. 1934-1206, FORREST CITY, AR WADE, HAROLD "STEEP" (p/sax) d. 1953-1206, MONTREAL, QUEBEC 35 ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 6 Dec 1995 05:07:43 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: Johnny Copeland Johnny just played a club here about two weeks ago. His band played without him for the first set and Johnny joined them for a few songs in the second set. Not much of a show, really. Beef Stew **********************************************************8 >In article <9511261950.0RVSM02@chrysalis.org>, don.o@CHRYSALIS.ORG wrote: > > >> Johnny Copeland's keyboard player was with the band (Floyd Phillips >> is his >> name, I think) and he gave me an update on Johnny (as he's heard >> it). He says >> while Johnny's waiting for his new heart, they hope to put together >> a light >> touring schedule. Johnny is really itching to play. >> >> Now I just know there's a couple of other Blues-L'ers that are going >> to give a >> brief review of the show. You know who you are. De-lurk for a >> change! > >Don - > I heard that Johnny's heart transplant is on hold and that he is >responding very well to a new medication. In fact, I believe he just >appeared at a club in Wilmington, Delaware. > >Bob > > ========================================================================= Date: Wed, 6 Dec 1995 06:10:31 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: technical correction Comments: To: PARRISHR@VITRO.COM On 5 Dec 95, PARRISHR had this to say: > Hi Jim: > > An HTML file can end in either .htm or .html > .htm is text-only format > > Take care -- Ruth "Software Enginette Babe" Yo! enginette babe... you should know better. .htm is simply used by MSDOS machines because they can't write .html as a file extension. Both of them stand for the same thing... Hyper-Text Mark-up Language You can give a web page file any extension you like and it will work the same. It is just a naming convention. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Wed, 6 Dec 1995 05:37:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re: Help name Blues show Mr. Beef Stew, You mention that the show you will be hosting will be "rock-style blues." How rock-y will it be? If greatly so, I would title it, CHRIS DUARTE OVERPLAYS FOR YOUNG PEOPLE. Just an idea, Joe in Moscow ("you can throw some Zeppelin in of course, or do I have the wrong idea of this?") J.E._Downey@bakermck.com ========================================================================= Date: Wed, 6 Dec 1995 06:35:55 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: Help name Blues show Joe in Moscow wrote: Mr. Beef Stew, You mention that the show you will be hosting will be "rock-style blues." How rock-y will it be? If greatly so, I would title it, CHRIS DUARTE OVERPLAYS FOR YOUNG PEOPLE. Just an idea, Joe in Moscow ("you can throw some Zeppelin in of course, or do I have the wrong idea of this?") J.E._Downey@bakermck.com ****************************************************************** To which I respond: I only used the term "rock" style Blues because the station I work for has been a "rock" station for over 25 years. My intention is to programm a Blues show with music that I think our audience will react favorably to. I wouldn't play Led Zeppelin or Stevie Ray Vaughan because they're already played on our regular programming schedule. I feel that I would jeopardize the opportunity by going on a 50,000 watt commercial station and playing Son House or Charlie Patton right away, as much as I'd love to. A large part of my audience thinks that Eric Clapton invented the Blues. One night on my "rock" show, a caller requested some Blues. He asked for George Thorogood! I plan to play uptempo, electric, accessible type Blues, but not necessarily limited to Modern/Rock Blues Artists. By the way, I happen to like Chris Duarte! Thanks for all your help and great show name suggestions, Beef Stew ************************************************************ ========================================================================= Date: Wed, 6 Dec 1995 05:50:24 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: Paul Lamb & The King Snakes PAUL LAMB & THE KING SNAKES FINE CONDITION INDIGO RECORDINGS (IGOCD 2019) Managed to pick up this great CD in England. This is the stuff that blues lovers dreams are made of. Heavy Chicago harp based music. Truely a CD that should be in every blues lovers collection. A good mix of covers and originals. The liner notes are quite skimpy though. Can anyone fill me in on more information about the band? Are there anymore recordings available? Thanx, Gary ............... Gary Constantine >> gconstan@ccinet.ab.ca << If hard work were such a wonderful thing, surely the rich would have kept it for themselves. ========================================================================= Date: Wed, 6 Dec 1995 05:50:27 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: Blues 'N' Trouble BLUES 'N' TROUBLE BAG FOOL OF BOOGIE BARKIN' MAD (BAMCD 2) Another CD that I picked up in England. An excellent mix of Texas Swing, Chicago and country blues. A good mix of covers and originals. Unfortunately there is very little information in the liner notes. I believe the band is Scottish but I'm not positive. Anyone know more about them? Other CD's available? Thanx, GAry .......... Gary Constantine >> gconstan@ccinet.ab.ca << If hard work were such a wonderful thing, surely the rich would have kept it for themselves. ========================================================================= Date: Wed, 6 Dec 1995 08:03:10 -0500 Reply-To: Niles Frantz From: Niles Frantz Organization: Megaweb Subject: Larry Garner live in Chicago Comments: To: bit-listserv-blues-l@uunet.uu.net If Larry Garner plays in your town, GO! I heard him and his band perform last weekend at Rosa's on Chicago's west side. They were tight and funky, and performed songs from all three of Garner's CDs. Garner played very good guitar on his Gibson Firebird, backed by keyboards, bass and drums. Garner's vocals were clear and strong, just like on the albums, and he stretched out the songs by telling personal stories and talking to the audience. It was especially good to hear Larry Garner with his own group. I had heard him before with pickup bands, and they never captured his groove, a lot of which comes from bass lines he plays on guitar. Just comping chords and playing regular blues patterns behind Garner's songs didn't make it. Anyway, check out Larry Garner if he comes your way. Those of you who book bands - take a chance and have him at your club or festival. You will be pleased, and so will the crowds. Also, and pick up his CDs -- 2 on JSP and 1 on Verve. His first one on JSP, "Double Dues," is a great place to start. (This is an unsolicited testimonial.) Niles A loop is a loop is a loop. ========================================================================= Date: Wed, 6 Dec 1995 08:19:51 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On This Date - Bikers & the Blues In light of the recent thread I thought it might be interesting to note that on this day in 1969, a concert by the Rolling Stones at the Altamont Speedway in Livermore, Calif., was marred by the deaths of four people, including one who was stabbed by a Hell's Angel. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 6 Dec 1995 08:27:48 EST Reply-To: george morales From: george morales Organization: TEMPLE UNIVERSITY Subject: looking for ron kraemer sorry to post this to the entire list but i can't find ron kraemer's e-mail adddress. ron, i wanted to thank you for the howling wolf tape very impressive. george +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ | | | GEORGE MORALES GEORGEM@TEMPLEVM | | COMPUTER AND INFORMATION SERVICES GEORGEM@VM.TEMPLE.EDU | | TEMPLE UNIVERSITY (215)204-6866 | | | +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Wed, 6 Dec 1995 07:57:07 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Buddy Holly Page Comments: To: Rob Varak In-Reply-To: On Tue, 5 Dec 1995, Rob Varak wrote: > Jeff, > I thought I heard something about a Buddy Holly tribute album. > Have you heard anything? There is one scheduled for release any day now. I didn't see who plays on it, but I suspect that it will be pretty good. I'd be surprised if people like Joe Ely weren't on it. I think that I heard that Waylon Jennings has a cut. He played with Buddy's band on the last tour - gave up his seat to the Big Bopper... -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Wed, 6 Dec 1995 08:11:40 -0600 Reply-To: marie s phillips From: marie s phillips Subject: Re: Help name Blues show Comments: To: Stew Crossen In-Reply-To: <199512051949.OAA28266@orion.neca.com> How about "Stew's Blues"..kinda short and sweet... Marie On Tue, 5 Dec 1995, Stew Crossen wrote: > The radio station I work for just informed me, that on the > first Sunday night in January, I'll be going on the air with > a two hour Blues show. > > I need a cool, catchy and commercially oriented name for the show. > > Keep in mind that the station is a 50,000 watt "rock" station and > I'll be programming "rock" style Blues. > > There are no prizes, but if someone comes up with a name that blows > me away and I use it, I can prob'ly get a few CD's to ya. > > Thanks in advance for your help. > > Beef Stew > ************************************************************* > ========================================================================= Date: Wed, 6 Dec 1995 14:25:36 GMT Reply-To: Tommy Jansson From: Tommy Jansson Organization: Uppsala university Subject: Re: Ike Turner Comments: To: bit-listserv-blues-l@uunet.uu.net I=B4ve read and heard for a while that Ike Turner is thinking of a=20 bluescomeback, but nothing seems to happen. Are there any recordplans=20 scheduled for Ike? My dream is to see a reunion between Ike and Otis=20 Rush. Wouldn=B4t that be something! ========================================================================= Date: Wed, 6 Dec 1995 09:26:29 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Johnny Copeland Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com * I heard that Johnny's heart transplant is on hold and that he is *responding very well to a new medication. In fact, I believe he just *appeared at a club in Wilmington, Delaware. * Johnny was at Tornado Alley in Wheaton, MD, last Saturday and my band opened the show. His band played two or three instrumentals before he appeared on stage, guitar in hand to an enthusiastic audience. He played a wonderful set and his singing and guitar playing was just great. He really got into the performance, walking to the end of the stage and motioning towards the audience. Copeland certainly didn't seem to be a man who needed a major organ transplant. My favorite song of the set was "Cut Off My Right Arm." I didn't have time to stay for the second set (my ride was leaving - next time I'll drive!) but I did have a chance to talk to him backstage. He was very nice and friendly, and he had some nice things to say about my band. (he asked who the harp player was (me!), something I was pretty happy about). At the request of Curtis Hewston I told him that he has lots of fans all over the world who hope that he is around a long, long time to do what he does best, and he was very happy to hear that. I hope when they do the heart transplant they can find a heart as big and warm as the one he has now. -Steve ========================================================================= Date: Wed, 6 Dec 1995 09:48:53 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Bartender's Bop Playlist I went to a CD sale at my favorite record store over the weekend and picked up some dandy new (to me) reissues. If you are a lover of late sixties soul, then I highly recommend the new reissues of Mabel John, James Carr and Sweet Inspirations. Right now "Love Tornado" by Mabel John is a strong contender for the best reissued song I have heard this year. The Sweet Inspirations CD is also very very HOT!! Somehow I kept thinking of Billy Price, all through this show. :) Title Group Year Label -------------------- -------------------- ---- -------------- Stay Out of the John, Mabel Stax Kitchen You Don't Know It Carr, James 66 Razor and Tie But You Had Me Able Mabel John, Mabel Stax Blues Stay Away From Sweet Inspirations 67 Ichiban Me Long Ago Taylor, Ted 73 Ronn Nobody Knows the Cooke, Sam 63 ABKCO Trouble I've Seen Crying in the Rain Sweet Inspirations 69 Ichiban What Are They Doing Tharpe, Sister 61 ALA In Heaven Rosetta You've Got My Mind Carr, James 66 Razor and Tie Messed Up Maybe You'll Be DeSanto, Sugar Pie 60 Chess There Chained Sweet Inspirations 69 Ichiban What's The Use of Butler, Jerry 69 Mercury Breaking Up Love Tornado John, Mabel STAX Flash in the Pan Sweet Inspirations 69 Ichiban Pouring Water on a Carr, James 66 Razor and Tie Drowning Man Open House at my Taylor, Little 73 Ronn House pt1 Johnny You got Me Knockin Alexander, Arthur 73 Warner Open House at my Taylor, Little 73 Ronn House pt2 Johnny Why (Am I Treated So Sweet Inspirations 67 Ichiban Bad) Listen To The Angels Soul Stirrers 60 ABKCO Sing I Taught You How John, Mabel Stax Love Attack Carr, James 66 Razor and Tie Evidence Sweet Inspirations 70 Ichiban Man's Too Busy, The John, Mabel Stax This World Sweet Inspirations 70 Ichiban Gonna Send You Back Carr, James 67 Razor and Tie To Georgia Good Good Lovin Simms Twins 62 ABKCO Drop On In John, Mabel Stax Gotta Find Me A Sweet Inspirations 69 Ichiban Brand New Lover Gotta See If I Can Butler, Jerry 69 Mercury Get Momma To Come Back Home Don't Get Caught John, Mabel Ichiban Laughin and Clownin Cooke, Sam 63 ABKCO Mr John Alexander, Arthur 93 Electra Merry Christmas Brown, Charles 95 Bullseye Blues Baby, Please Come Home For Christmas ----------------------------------------------------------------------------- My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Wed, 6 Dec 1995 16:54:49 +0200 Reply-To: T P Uschanov From: T P Uschanov Subject: Hollies Just Not The Same Without Buddy... (FWD) ---------- Forwarded message ---------- Date: Fri, 1 Dec 1995 20:09:42 GMT From: David J. Coyle Newgroups: rec.music.beatles, alt.rock-n-roll.oldies Subject: Hollies Just Not The Same Without Buddy... For those of you who think the living Beatles reuniting with John Lennon by rearranging and adding their voices to his old demos was cool _or_ morbid, I submit the following information from the latest "Billboard" magazine regarding the forthcoming Buddy Holly tribute album. "notfadeaway: a tribute to buddy holly" will contain contemporary covers of Buddy Holly songs by groups like The Mavericks, Los Lobos, and others like Waylon Jennings (who was the bass player on the fateful Winter Dance Party tour of 1959). But the big news is that the tribute album has prompted the reunion of the original Hollies, complete with Graham Nash, who left the group to join Crosby, Stills and Nash in the late 60s. Not only that, but the Hollies will be the "back-up group" on a new version of "Peggy Sue Got Married," which Buddy Holly recorded in demo form in his New York apartment in 1959. This song has been overdubbed into several complete versions which have appeared on Buddy Holly compilations through the years, but this will mark the first time the Hollies, whose name was inspired by the late legend, have "collaborated" with the man himself. Reportedly, members of the Hollies (perhaps Allan Clarke) have composed a new instrumental and vocal arrangement for the song. According to the report, the 1959 demo, with Buddy Holly singing and playing acoustic guitar, was _slowed down_ "16 percent" to match the tempo and key of the new arrangement. I haven't seen a definite release date for this album, which is being released by MCA, but the implication is that it will be released in early 1996. I'm sure this will prompt a lot of comment among members of this newsgroup. Don't ask me any questions, I'm just passing along what I read. || DAVID J. COYLE / E-Mail: dc334491@oak.cats.ohiou.edu || || Diversified Communications / "Sunset doesn't last all evening..." || || Ohio University / --George Harrison, 1970 || ----------------------------------------------------------------------------- ========================================================================= Date: Wed, 6 Dec 1995 09:58:54 -0500 Reply-To: Kevin Canning From: Kevin Canning Subject: Re: Patton, House & Brown Comments: To: L W In-Reply-To: One possible explanation of Son House's comment that Willie Brown was "two guitar players better than Patton." I've known a few guitar players from a generation or two after Patton's. And often these players distinguish between those who played only or mostly open tunes and those that knew "professional chords". The guitar was actually a pretty new instrument to Patton and , say John Hurt's generation. Those that played guitar often used techniques and tunings from the banjo. Some players, however, learned chords in standard tuning. (From where? Minstrel shows? Other players?) On the Library of Congress recordings produced by Dick Spottswood, John Hurt refers to one of his songs as "a banjo tune". Knowing chords and playing in different keys in standard tuning distinguished the old fashioned from the new; the amateur from the professional. (I still hear older guys tease each other about "only knowing E chords, and/or open tunings.) Another badge of pride with older acoustic players is not using a capo or "choke". And if you don't want you tunes to sound too much alike, plus you don't cheat by using a "choke", you better know those "professional" chords. All this is just a guess. Of course, Charley Patton played open E, Spanish, and standard tunes in E and C - professional chords. Kevin ========================================================================= Date: Wed, 6 Dec 1995 10:02:59 -0500 Reply-To: Erica Wissolik From: Erica Wissolik Subject: Re: Buddy Holly Page -Reply There was another tribute to Buddy Holly that came out about 1986-87. I don't have it here with me now but I think it was called "Holly Days", it was a 2 record set and it included some well known and some underground rock n roll bands. Erica >>> Jeff Seale 12/06/95 08:57am >>> On Tue, 5 Dec 1995, Rob Varak wrote: > Jeff, > I thought I heard something about a Buddy Holly tribute album. > Have you heard anything? There is one scheduled for release any day now. I didn't see who plays on it, but I suspect that it will be pretty good. I'd be surprised if people like Joe Ely weren't on it. I think that I heard that Waylon Jennings has a cut. He played with Buddy's band on the last tour - gave up his seat to the Big Bopper... -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Wed, 6 Dec 1995 09:56:03 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re[2]: Don Henley's Christmas Blues--LBC The point is, I am a Don Henley fan and I *want* the Eagles/Don Henley version. And for everyone who told me "skip the Eages, they're inferior," thanks. Do I make an effort to insult your tastes? And just to add a little more fuel to the fire of inferiority, I heard another version of this same song last night...sung by John Bon Jovi. Shannon ______________________________ Reply Separator _________________________________ Subject: Re: Don Henley's Christmas Blues--LBC Author: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA at INTERNET_TP Date: 12/5/95 11:49 PM Skip the Eagles, get the original Charles Brown recording, which he did somewhere around 1954 (correct me if I'm wrong on this, folks). He's re-recorded it a million times since, but the original is very worthwhile. Everybody and their brother has covered it (including the Eagles). Look in your local record chain in the Christmas section, and they're likely to have at least one Charles Brown Christmas CD. Now, folks: did Chuck Berry also cover this? I seem to remember that he did but cannot find a recording of it in the literally dozens of Christmas CDs I have... Turtle _____ Reply Separator _____ Author: shannon_oconnor @ SWPCO.COM (shannon oconnor) @ INTERNET Received: 12/04/95 11:59:46 AM Subject: Don Henley's Christmas Blues--LBC Every year at this time I hear a song by the Eagles--it's definitely Don Henley's voice (I could never miss it!)--entitled something like "Please Come Home for Christmas." It has a bluesy feel to it (please don't flame me or go into a 500-message exchange on why the Eagles are NOT the blues). I thought I had all the Eagles' recordings, but I can't seem to find this song. Can anyone tell me on what recording this song exists? I probably should call the radio station next time I hear it. That's what I always tell everyone else to do. But I heard it in my car yesterday, and I don't have a car phone, and the DJ did say, "that's a bluesy Don Henley and the Eagles there for you..." So that's my plea. Can anyone help? Thanks!! Shannon ========================================================================= Date: Wed, 6 Dec 1995 09:11:49 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Re[2]: Don Henley's Christmas Blues--LBC In-Reply-To: Message of Wed, 6 Dec 1995 09:56:03 EST from On Wed, 6 Dec 1995 09:56:03 EST shannon oconnor said: > The point is, I am a Don Henley fan and I *want* the Eagles/Don Henley > version. > > And for everyone who told me "skip the Eages, they're inferior," > thanks. Do I make an effort to insult your tastes? > > And just to add a little more fuel to the fire of inferiority, I heard > another version of this same song last night...sung by John Bon Jovi. I don't think anyone said anything whatseoever that was derogatory about them Eagles. I think they (I know I was) were trying to be helpful in letting you know that Charles Brown's version is the original and defitnely the better version. You can not dispute that until you hear BOTH versions. I could care less if you want to hear the Eagles or the LEGEND Charles Brown, I was trying to be helpful. I can't imagine someone prefering the Eagles over the LEGENDARY Charles Brown. I mean would you recommend someone buy the CD that has a bunch of folks covering the Eagles (Common Thread..I think) or would you recommend they listen to the Eagles version before they say they prefer the others doing Eagle tunes..... As far as Bon Jovi doing the tune, GREAT more money in Charles Brown's pocket Keep in mind YOU asked a BLUES group about a song written by a blues legend What did you expect them to say LW "Why would I pay to see a bunch of old hippies do Jackson Browne covers" Willy Evans on the Eagles >______________________________ Reply Separator >_________________________________ >Subject: Re: Don Henley's Christmas Blues--LBC >Author: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA at INTERNET_TP >Date: 12/5/95 11:49 PM > > >Skip the Eagles, get the original Charles Brown recording, which he did >somewhere around 1954 (correct me if I'm wrong on this, folks). He's >re-recorded it a million times since, but the original is very worthwhile. >Everybody and their brother has covered it (including the Eagles). Look in >your local record chain in the Christmas section, and they're likely to have at >least one Charles Brown Christmas CD. > >Now, folks: did Chuck Berry also cover this? I seem to remember that he did >but cannot find a recording of it in the literally dozens of Christmas CDs I >have... > >Turtle > >_____ Reply Separator _____ >Author: shannon_oconnor @ SWPCO.COM (shannon oconnor) @ INTERNET >Received: 12/04/95 11:59:46 AM >Subject: Don Henley's Christmas Blues--LBC > > Every year at this time I hear a song by the Eagles--it's definitely > Don Henley's voice (I could never miss it!)--entitled something like > "Please Come Home for Christmas." It has a bluesy feel to it (please > don't flame me or go into a 500-message exchange on why the Eagles are > NOT the blues). I thought I had all the Eagles' recordings, but I > can't seem to find this song. Can anyone tell me on what recording > this song exists? > > I probably should call the radio station next time I hear it. That's > what I always tell everyone else to do. But I heard it in my car > yesterday, and I don't have a car phone, and the DJ did say, "that's a > bluesy Don Henley and the Eagles there for you..." > > So that's my plea. Can anyone help? Thanks!! > > Shannon ========================================================================= Date: Wed, 6 Dec 1995 09:33:34 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Favorite Testaments I got the Testament sampler the other day and it's great, as would be expected. I'd like to know your favorite Testament re-issues.... I'd like to know your opinion on the following: Johnny Turner & Blues With A Feeling (I think it's Johnny Turner)..The sampler has a great version of "Don't Start Me Talkin"....How is the rest of the CD... Blind Connie Williams (?)... The Testaments I have, I would say Otis Spann Chicago Blues or Fred McDowell Blues & Spirituals....I don't have the Amazing Grace with The Hunter Street Church, but it's on my list.... Thanks LW ========================================================================= Date: Wed, 6 Dec 1995 09:36:26 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: On This Date - Bikers & the Blues At 08:19 AM 12/6/95 -5, P.W. Fenton wrote: >In light of the recent thread I thought it might be interesting to >note that on this day in 1969, a concert by the Rolling Stones at >the Altamont Speedway in Livermore, Calif., was marred by the deaths >of four people, including one who was stabbed by a Hell's Angel. > Well documented in the film "Gimme Shelter", about the Stones US tour in 1969, leading up to (and including substantial time on) Altamont. David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Wed, 6 Dec 1995 09:55:57 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Hollies Just Not The Same Without Buddy... (FWD) Comments: To: T P Uschanov In-Reply-To: There was an album put out by the Hollies called Buddy Holly that was all covers of Buddy Holly material. It wasn't too bad, but it wasn't too great either. -Jeff (back to your regularly scheduled blues list) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Wed, 6 Dec 1995 11:10:49 EST Reply-To: Bill Hill From: Bill Hill Subject: Recent JLHooker Greetings blues-ellers, Many thanks to everyone who sent me suggestions on blues albums and Delaware area blues radio! My credit card yelped in pain as each message came in..... On a related note, I've been pondering picking up some recent JLeeHooker for a while -- "Chill Out," "The Healer," etc. Most of his music that I have is from the early 70's or earlier -- "Hooker -N- Heat," "Alone," & hit compilations from Rhino & Crescendo. How do his current recordings compare with the older stuff? One thing that's sort of put me off is the large number of guest stars that seem to be on each album. A lot of times, it seems to me that with different guest stars on each track, an album can sometimes devolve into a mish-mash -- plenty of "gee, it's neat to hear him playing with so-and-so," but overall, not that satisfying as an album. Am I offbase in relation to JLH? Thanks, Bill Hill BHill@state.de.us ========================================================================= Date: Wed, 6 Dec 1995 10:27:19 -0600 Reply-To: Bennett Pearce From: Bennett Pearce Organization: UAB Pediatric Cardiology Subject: Sam Myers Comments: To: bit-listserv-blues-l@uunet.uu.net There was a post recently that named a nightclub in the Dallas-Ft Worth area where Sam Myers frequently makes unscheduled appearances and jams with local musicians. I cannot find it on my server, anyone remember? -- Bennett Pearce ========================================================================= Date: Wed, 6 Dec 1995 11:01:51 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Favorite Testaments Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, ISTS024/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=ISTS024#p#UABDPO#f#BITNET#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *I'd like to know your favorite Testament re-issues.... Johnny Shines With Big Walter Horton Johnny Shines - Masters of Modern Blues Johnny Young and His Friends Otis Spann Chicago Blues Haven't heard a bad Testamant recording yet. I ordered JB Hutto and His Hawks (more Big Walter for me!!) today and I can't wait to get it. -Steve ========================================================================= Date: Wed, 6 Dec 1995 10:16:22 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Recent JLHooker In-Reply-To: Message of Wed, 6 Dec 1995 11:10:49 EST from On Wed, 6 Dec 1995 11:10:49 EST Bill Hill said: > >On a related note, I've been pondering picking up some recent JLeeHooker for >a while -- "Chill Out," "The Healer," etc. Most of his music that I have is >from the early 70's or earlier -- "Hooker -N- Heat," "Alone," & hit >compilations from Rhino & Crescendo. How do his current recordings compare >with the older stuff? > >One thing that's sort of put me off is the large number of guest stars that >seem to be on each album. A lot of times, it seems to me that with different >guest stars on each track, an album can sometimes devolve into a mish-mash -- >plenty of "gee, it's neat to hear him playing with so-and-so," but overall, >not that satisfying as an album. Am I offbase in relation to JLH? IMVHO John Lee Hooker does not need guest stars, especially guest stars that alter his music. If you like the thought of John Lee Hooker with congo drums and Carlos Santana (great player in the right setting) then by all means buy the Healer. I didn't care for it at all, it's not John Lee Hooker IMHO. I think it is sort of like Muddy's Electric Mud, whereas JLH is out of his element. It sold a lot and that's good for John Lee. Roy Rogers produced them and it's an updated JLH. LW 'of course JLH must like it cause he keeps doing it' ========================================================================= Date: Wed, 6 Dec 1995 11:30:20 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: That BB King tone, was: My amp's bigger'n your amp. :) AH! My fellow tone-heads, lest ye forget, BB plays that Gibson "Lucille", which has on its own merits, that tone (to some degree) regardless of amp and who's playing it. You see that big knob tucked in there besides the two tone/vol pots? That (I think) is called a Tonemaster or some such thing, (help here?) and I've played a Lucille off the rack many, many times (ooh, it's such fun!:) and when you dial that baby up, some of BB's tone is in there. It's an "active" drive of some kind, I think, though I may just be blowin' hot air. Pick one up at the store some time (if they let ya), you'll hear it. There's this clear, strong trebly tone with that characteristic nasal bite to it. You know why BB plays (helped design?) this axe. If you listen to some of his stuff from his Gibson ES335 days, and now the Lucille material, you can hear the difference. 'Course, BB could play a cereal box with a ruler taped to it and we'd all be diggin' it. :) Riffin Rick (((( oo-) /- "payin the cost, to be the boss...." F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 6 Dec 1995 10:29:48 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Favorite Testaments > > I'd like to know your favorite Testament re-issues.... > LW > "Traveling Through The Jungle" because it introduced me to something I knew little about - Fife and Drum Band Music. Close second and third: 2. Robert Nighthawk and Houston Stackhouse 3. Johnny Young Ranko ========================================================================= Date: Wed, 6 Dec 1995 11:22:00 EST Reply-To: edward c liu From: edward c liu Subject: Freddie King disc opinions? Howdy all, I've got a distinct lack of Freddie/Freddy King in my CD collection. During Christmas shopping last night, I was looking at discs to try and remedy this sad situation, so I was wondering what people thought of the following recordings: - The Rhino _Hideaway: The Best of Freddie King_ single-disc - The Capitol _Freddie King_ 2-CD set in their re-issue series. Before anybody recommends it, I have heard the _Freddie King 1934-1976_ (?) album (the one with guests George Terry and that skinny British fellow whose name escapes me right now =8^), and didn't like it much. Of course, at the time I heard it, I didn't like Robert Johnson much either, but I digress. Thanks muchly! -- Ed Edward C. Liu | "If nobody thinks for they self, edwick@cc.bellcore.com | Who thinks for everybody else? | -- Dr. John, "Lissen" The opinions in this message are mine and not Bellcore's. Really! ========================================================================= Date: Wed, 6 Dec 1995 10:38:11 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Freddie King disc opinions? In-Reply-To: Message of Wed, 6 Dec 1995 11:22:00 EST from Without hesitation, doubt and I will buy it back if not 100% satisifed FREDDY KING SINGS.....It is IMHO the best Freddie King available including the soon to be issued in the US (March is what I heard) Live At Antibes... It is Freddy's first album, I think LW ========================================================================= Date: Wed, 6 Dec 1995 11:47:49 -0500 Reply-To: Michael Case From: Michael Case Organization: Downs Rachlin & Martin Subject: Eagles LW writes (12/5/95): "I mean would you recommend someone buy the CD that has a bunch of folks covering the Eagles (Common Thread..I think) or would you recommend they listen to the Eagles version before they say they prefer the others doing Eagle tunes..." Of course one would have no rational basis for preferring latter-day versions to the originals when you haven't heard the originals (other than prejudice), but how many of us on this list have admitted their initiation into the Holy Order of the Blues by way of commercial "rip-offs" of antecedent material? Furthermore, "bad music from the 30's" just might be as valuable, say, "good" music from the 50's, or the 90's. Simply viewed in their historical contexts, early performances have a lot to teach us now. Actually, the Common Thread CD is very good, interesting variations on the familiar tunes. There's a similar Bob Wills tribute CD by modern country artists that's GREAT, and a Grateful Dead tribute ("Deadicated") that's also GREAT. The point is *recognizing* the contribution of the old-timer(s) on the new-timers' style, with respect and appreciation. If you think the Eagles were hippies covering Jackson Browne tunes, you're missing the technical superiority of the Eagles, the breadth of their aesthetic accomplishments, AND their place in the history of American music. Michael Case ========================================================================= Date: Wed, 6 Dec 1995 10:57:10 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[6]: Tremolux amp opinion, etc. Comments: To: Don Cicchetti Do you mean Riverside, CA? I'm in DC. I can carry a Deluxe or a Princeton. I can get a decent vintage Princeton for $300. But I just bought a little Crate amp new for $100. So I think I'll stick with that for now. Can you believe I'm frittering my amp money away on things like brakes for my car and food? ______________________________ Reply Separator _________________________________ Subject: Re: Re[4]: Tremolux amp opinion, etc. Author: Don Cicchetti at Internet Date: 12/5/95 3:21 PM Ruth said: > For those of us who physically can't carry a tube amp, solid-state is > the difference between having and not having an amp at a gig. > P.S. If anyone wants to lug a tube amp around for me I don't mind :) Well... I'd offer, but my wife would beat me senseless.... ;-] Ok, come play Riverside, and I'll carry your amp... Just once though. What do you consider heavy? *Everyone* thinks a Twin is heavy, but do you think a Deluxe or a Princeton is too heavy? If not, there are some really nice, small tube amps out now that are much easier to carry. The opening act for the show I promoted last sunday used a very small Rivera combo that not only sounded great, but was very loud. I have a '70's Silverface Princeton (the vintage poo-bahs don't like these yet, so they are cheap) that my amp guy built up to include a Super output section, and a front end consisting of stuff from a 4-10 Bassman and a Vox AC-30. He put in a cool 12" speaker as well. Amazing amp, and under 800.00 (depending on what you pay for the old amp) Weighs about the same as a Deluxe Reverb. Don't forget the bottom line.. The only opinion that matters is yours. So if the solid state stuff works for you... don't even think twice. Just remember to put me on the guest list..... ;-] Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Wed, 6 Dec 1995 09:21:15 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Johnny Winter Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Richard Shurman said: >Johnny Winter is doing much better. He's rehearsing regularly and hopes >to do his first show since too long ago in a couple months. His label is >just waiting for him to be ready to record. Since he self-admittedly >plays to show off (he figured out at an early age that when you're skinny >and can barely see, playing guitar is a logical way to strut your stuff), >he's got to be feeling really good about himself and his music to do a >great recording. Hopefully next year; we're all expecting him and me to >be back in the studio for Pointblank, it's just a question of when, >hopefully in '96. I like "Hey Where's Your Brother" a lot... I know he's been playing one of those little Erlewine "Lazer" guitars, and gets a cool tone, but what amps did he use on that album? He got some really nice sounds. Tell him we're pulling for him! Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Wed, 6 Dec 1995 11:39:34 +0000 Reply-To: toulouse Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: toulouse Organization: CommNet Inc. Subject: Re: That BB King tone, was: My amp's bigger'n your amp. :) Comments: To: MILLER@SCI.WFBR.EDU Rick Miller wrote: > > AH! My fellow tone-heads, lest ye forget, BB plays that Gibson "Lucille", which > has on its own merits, that tone (to some degree) regardless of amp and who's > playing it. You see that big knob tucked in there besides the two tone/vol > pots? That (I think) is called a Tonemaster or some such thing, (help here?) > and I've played a Lucille off the rack many, many times (ooh, it's such fun!:) > and when you dial that baby up, some of BB's tone is in there. It's an "active" > drive of some kind, I think, though I may just be blowin' hot air. > > Pick one up at the store some time (if they let ya), you'll hear it. There's > this clear, strong trebly tone with that characteristic nasal bite to it. You > know why BB plays (helped design?) this axe. If you listen to some of his stuff > from his Gibson ES335 days, and now the Lucille material, you can hear the > difference. 'Course, BB could play a cereal box with a ruler taped to it and > we'd all be diggin' it. :) > > Riffin Rick (((( Thanks for bringing that point up. I was gonna do it myself, then I saw your post. I don't know if Tonemaster is the name, but it is an active thing with I think 5 pre-sets. Yes, B.B. did help them with the design. I have lugged B.'s amp around a lot. Lab series 5 with Peavey Black Widows in it. Heavy Mother Fuya don't cha know. Backup is the same with JBL's. He,(actually Leon Warren, #2 guitar), sets volume on about 8, flattens the eq's, and goes. Never get to handle Lucille much, (that is Burnett's job. He is also the road manager/bus driver) they are very protective of her, and there's always 2 spares on the bus. B.B. is the coolest and the King. Peace. toulouse@comm.net ========================================================================= Date: Wed, 6 Dec 1995 12:41:48 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Re[2]: Don Henley's Christmas Blues--LBC Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU Shannon... how DARE you attempt to think for yourself without checking with LW to see what you needed to hear BEFORE you stated your desire. Don't you know that LW can't bear to see someone who's taste differs from his? ALWAYS check with LW to find out who you must check out before you can ask a simple @#$^%$ question like where can I find this Don Henley record!!!!!! On 6 Dec 95, L W had this to say... > I don't think anyone said anything whatseoever that was derogatory about them > Eagles. I think they (I know I was) were trying to be helpful in letting you > know that Charles Brown's version is the original and defitnely the better > version. You can not dispute that until you hear BOTH versions. I could care > less if you want to hear the Eagles or the LEGEND Charles Brown, I was trying > to be helpful. I can't imagine someone prefering the Eagles over the LEGENDARY > Charles Brown. I mean would you recommend someone buy the CD that has a bunch > of folks covering the Eagles (Common Thread..I think) or would you recommend > they listen to the Eagles version before they say they prefer the others doing > Eagle tunes..... > > As far as Bon Jovi doing the tune, GREAT more money in Charles Brown's pocket > > Keep in mind YOU asked a BLUES group about a song written by a blues legend > What did you expect them to say > > LW ========================================================================= Date: Wed, 6 Dec 1995 12:56:11 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Recent JLHooker Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU On 6 Dec 95, L W had this to say... > On Wed, 6 Dec 1995 11:10:49 EST Bill Hill said: > > > >On a related note, I've been pondering picking up some recent JLeeHooker for > >a while -- "Chill Out," "The Healer," etc. Most of his music that I have is > >from the early 70's or earlier -- "Hooker -N- Heat," "Alone," & hit > >compilations from Rhino & Crescendo. How do his current recordings compare > >with the older stuff? > > > >One thing that's sort of put me off is the large number of guest stars that > >seem to be on each album. A lot of times, it seems to me that with different > >guest stars on each track, an album can sometimes devolve into a mish-mash -- > >plenty of "gee, it's neat to hear him playing with so-and-so," but overall, > >not that satisfying as an album. Am I offbase in relation to JLH? > > IMVHO John Lee Hooker does not need guest stars, especially guest stars that > alter his music. If you like the thought of John Lee Hooker with congo drums > and Carlos Santana (great player in the right setting) then by all means buy > the Healer. I didn't care for it at all, it's not John Lee Hooker IMHO. > > I think it is sort of like Muddy's Electric Mud, whereas JLH is out of his > element. It sold a lot and that's good for John Lee. Roy Rogers produced them > and it's an updated JLH. > > LW 'of course JLH must like it cause he keeps doing it' Here's another little wake up call, LW. John Lee Hooker, CAN'T come close to playing like he used to. He CAN'T do it himself any more. An album full of guest stars enables a Blues giant like John Lee to put out an album that someone will listen to, and for which he'll have a PAY DAY!!!! I hope he does a few more before he dies. You would apparently be happier if he died BROKE BUT PURE!!!! As usual, LW, you are in need of expanding your attention beyond your nose, or is it your intention to keep John Lee from his Pay Day? P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 6 Dec 1995 13:05:20 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: That BB King tone, was: My amp's bigger'n your amp. :) Comments: To: MILLER@SCI.WFBR.EDU On 6 Dec 95, Rick Miller had this to say... > AH! My fellow tone-heads, lest ye forget, BB plays that Gibson "Lucille", which > has on its own merits, that tone (to some degree) regardless of amp and who's > playing it. You see that big knob tucked in there besides the two tone/vol > pots? That (I think) is called a Tonemaster or some such thing, (help here?) > and I've played a Lucille off the rack many, many times (ooh, it's such fun!:) > and when you dial that baby up, some of BB's tone is in there. It's an "active" > drive of some kind, I think, though I may just be blowin' hot air. > > Pick one up at the store some time (if they let ya), you'll hear it. There's > this clear, strong trebly tone with that characteristic nasal bite to it. You > know why BB plays (helped design?) this axe. If you listen to some of his stuff > from his Gibson ES335 days, and now the Lucille material, you can hear the > difference. 'Course, BB could play a cereal box with a ruler taped to it and > we'd all be diggin' it. :) That last statement contains the most truth. That big "chicken head" knob on his "Lucille" model is called "Vari-tone". BB hates it. He has never understood it, and leaves it at one setting all the time. BB did very little (if any) designing of the "Lucille" model 335 that he plays. As a matter of fact he alters all of the ones he gets from Gibson. He removes the little micro-tuners from the bridge because they catch on his sleeve when he plays. He uses a special wire to defeat the stereo output. I'm sure if he could get them free, and didn't have an endorsement deal for the "Lucille", he'd prefer a plain old 335. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 6 Dec 1995 12:07:45 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Re[2]: Don Henley's Christmas Blues--LBC In-Reply-To: Message of Wed, 6 Dec 1995 12:41:48 -5 from On Wed, 6 Dec 1995 12:41:48 -5 P.W. Fenton said: >Shannon... how DARE you attempt to think for yourself without >checking with LW to see what you needed to hear BEFORE you stated >your desire. Don't you know that LW can't bear to see someone who's >taste differs from his? ALWAYS check with LW to find out who you >must check out before you can ask a simple @#$^%$ question like where >can I find this Don Henley record!!!!!! Well put. I would think people would check with me, before going off thinking the know what they like, when in essence I am the only one who can tell you what YOU like....Some people have alot of nerve...Thanks for setting her straight LW 'do not let your tastes differ from mine.....understand' >> version. You can not dispute that until you hear BOTH versions. I could care >> less if you want to hear the Eagles or the LEGEND Charles Brown, I was trying >> to be helpful. I can't imagine someone prefering the Eagles over the >LEGENDARY >> Charles Brown. I mean would you recommend someone buy the CD that has a bunch >> of folks covering the Eagles (Common Thread..I think) or would you recommend >> they listen to the Eagles version before they say they prefer the others >doing >> Eagle tunes..... >> >> As far as Bon Jovi doing the tune, GREAT more money in Charles Brown's pocket >> >> Keep in mind YOU asked a BLUES group about a song written by a blues legend >> What did you expect them to say >> >> LW ========================================================================= Date: Wed, 6 Dec 1995 12:11:46 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Recent JLHooker In-Reply-To: Message of Wed, 6 Dec 1995 12:56:11 -5 from On Wed, 6 Dec 1995 12:56:11 -5 P.W. Fenton said: >> >> IMVHO John Lee Hooker does not need guest stars, especially guest stars that >> alter his music. If you like the thought of John Lee Hooker with congo drums >> and Carlos Santana (great player in the right setting) then by all means buy >> the Healer. I didn't care for it at all, it's not John Lee Hooker IMHO. >> >> I think it is sort of like Muddy's Electric Mud, whereas JLH is out of his >> element. It sold a lot and that's good for John Lee. Roy Rogers produced them >> and it's an updated JLH. >> >> LW 'of course JLH must like it cause he keeps doing it' > >Here's another little wake up call, LW. John Lee Hooker, CAN'T come >close to playing like he used to. He CAN'T do it himself any more. >An album full of guest stars enables a Blues giant like John Lee to >put out an album that someone will listen to, and for which he'll have >a PAY DAY!!!! I hope he does a few more before he dies. You would >apparently be happier if he died BROKE BUT PURE!!!! > >As usual, LW, you are in need of expanding your attention beyond your >nose, or is it your intention to keep John Lee from his Pay Day? > >P.W. Fenton >Tampa, Florida Paul, are you out of Prozac or something.... LW ========================================================================= Date: Wed, 6 Dec 1995 12:25:35 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Corey Harris ++ Johnny Winter I just bought the new Corey Harris, one thing I like about this CD is although he does plenty of covers, he doesn't attempt the note-for-note rendition. He does Corey Harris's versions and that's what it's all about. I've only heard bits and pieces of it, but that's what I gathered so far. I also listened to a Johnny Winter LP called Austin Texas. On the tune Bad Luck and Trouble, he plays mandolin, harmonica and National Steel. It sounds like some of the Testament stuff with the mandolin... Mr Shurman does Johnny ever play the harp and mandolin anymore..... LW ========================================================================= Date: Wed, 6 Dec 1995 13:22:06 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re: Eagles (and I found the song...) Comments: To: Michael Case Actually, the Common Thread CD is very good, interesting variations on the familiar tunes. There's a similar Bob Wills tribute CD by modern country artists that's GREAT, and a Grateful Dead tribute ("Deadicated") that's also GREAT. The point is *recognizing* the contribution of the old-timer(s) on the new-timers' style, with respect and appreciation. If you think the Eagles were hippies covering Jackson Browne tunes, you're missing the technical superiority of the Eagles, the breadth of their aesthetic accomplishments, AND their place in the history of American music. Michael Case Amen, Michael, and thank you. And yes, to answer a previous question, I WOULD recommend the "Common Threads" CD to anyone--I'm an Eagles fan of longstanding and I own it--because it contains good "covers" of Eagles songs AND because proceeds from sales of the CD go into Don Henley's "Save Walden Woods" project. My original question was one strictly seeking information on where I might find a copy of the Eagles version of a blues song. I specifically asked (in vain) that this not fall into a discussion of the merits of the Eagles. But I will argue, and will not be alone in doing so, that the Eagles made an important contribution to the history of American music. And to those of you who e-mailed me privately to say, "you know, I prefer the Eagles version of that song, too, and would like to find it, so keep me posted (yes, LW, there were SEVERAL folks with this opinion): It has been located and can be ordered through CD CONNECTION. http://ftp.cdconnection.com Or voice mail (408) 985-7905, Fax (408) 985-0464. Happy Holidays. Shannon ========================================================================= Date: Wed, 6 Dec 1995 11:36:30 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Favorite Testaments Comments: To: ISTS024/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=ISTS024#a#UABDPO#f#DPO#f#UAB#f#EDU@s1boca.corp.wrgrace.com, BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *Someone mentioned to me on several occasions that Big Walter was THE harp *player (more so than Little Walter), but Big Walter drank so much that his *output is not as good as others... * *What are your thoughts on that. I have no idea. I prefer Little Water and *Sonny Boy... Big Walter is my alltime favorite blues harp player, and probably my biggest influence. Some of his recordings are a bit off, but when he was hot, he was red hot! A lot of people say that Big Walter mainly had great tone, but he was also a very inventive and creative player. Listen to his accompaniment and solo on Jimmy Rogers' "Walking By Myself," or Big Walter's instrumental "Easy." His two Blind Pig albums (Fine Cuts and Can't Keep Loving You) are fantastic. I've read that Little Walter's biggest influence was the first Sonny Boy but after he heard Big Walter his style radically changed. Sonny Boy and Little Walter are also favorites of mine (and they, with Big Walter, make up the holy trinity of postwar Chicago blues harp), but Big Walter is the player I try to sound most like. -Steve ========================================================================= Date: Wed, 6 Dec 1995 10:45:05 -0800 Reply-To: James Carmin From: James Carmin Subject: Re: Favorite Testaments LW says: >I'd like to know your favorite Testament re-issues.... And mine are JOHNNY SHINES "Standing at the Crossroads" JOHNNY SHINES BAND "Masters of Modern Blues" "JOHNNY YOUNG & HIS FRIENDS" and that great LOUIS MYERS cd that I can't remember the name. Thanks Pete! James C. jcarmin@teleport.com ========================================================================= Date: Wed, 6 Dec 1995 14:13:39 -0500 Reply-To: FinNess@AOL.COM From: Sean Finnigan Subject: Unsubscribe Please take my name off of this subscription list. I am getting too much mail!!! Thanks. ========================================================================= Date: Wed, 6 Dec 1995 12:46:40 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: That BB King tone, was: My amp's bigger'n your amp. :) Comments: To: "P.W. Fenton" In-Reply-To: <199512061808.NAA54066@tequesta.gate.net> Those Varitone switches are a pain in the whatever IMHO. I have a 345 which also has one. They're six position and affect whether the pickups are in or out of phase. Although a few people use them judiciously to get a twangier sound than Gibson usually gives (like Mighty Joe Young when he was still playing; there's a great person for whom all of us should root, by the way), all I think they do is thin the sound and cut the volume. Supposedly every setting provides SOME impedance. A few years ago Tommy Reynolds (a good guitarist and bassist in Fort Worth) told me that someone in California made/makes a replacement which has a "bypass" position and avoids the loss of presence. Unfortunately, I don't have the info any more; maybe someone else does. Other than making a nice, warm, sustain-oriented axe sound like a poor imitation of a Tele, I'm not sure what the stock ones are good for. I know (as do Buddy, Cray, etc.) about the nice tones you can get from an out-of-phase Strat and I suppose the Varitone is a poor man's way to approximate what Peter Green and others have done by reversing the phasing on their Gibson pickups with wiring, but I don't think the Varitone effect measures up. ========================================================================= Date: Wed, 6 Dec 1995 12:53:41 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Corey Harris ++ Johnny Winter Comments: To: L W In-Reply-To: I haven't heard Johnny Winter play harp forever. He still has at least one (beautiful) mandolin, but our efforts to cut stuff with it have never yielded anything noteworthy, probably partly because he doesn't practice on it. Maybe someday... at least it provided me with material for a pun one night ten years ago. While we were working on "Serious Business," Johnny and Bruce Iglauer got in a nice one-sided argument-- Johnny asked Bruce how he should approach something, Bruce told him he just wanted him to be comfortable and Johnny said "Comfortable??? Who are you, Bruce Freud?" (Eventually he had to compose himself by slamming out a wild version of "Foxey Lady" which I still haven't forgiven the engineer for erasing even though I'm sure it's a mess.) The next night Johnny showed up with his mandolin so I told him "Well, last night we had Bruce Freud and tonight we have Johnny Jung." (Please don't spam me.) ========================================================================= Date: Wed, 6 Dec 1995 13:53:19 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Leo Aspiras SOS Comments: To: L W SORRY TO BE POSTING THIS MESSAGE TO THE ENTIRE LIST BUT I CAN'T REACH LEO ASPIRAS! LEO -- I'M SORRY YOU HAVEN'T GOTTEN MY REPLIES, I'VE SENT THEM ABOUT 437,629 TIMES. I DON'T KNOW WHAT'S WRONG. IF YOU WANT TO TALK TO ME DIRECTLY, E-MAIL ME YOUR PHONE NUMBER OR SOMETHING. I CAN'T MAKE IT NEXT TUESDAY, I'M GIGGING. I'LL TRY TO MAKE THE BENTZ STREET GIG ON THE 23RD. IF ANYONE KNOWS LEO, PLEASE TELL HIM I'M NOT IGNORING HIM, HIS E-MAIL APPLICATION IS IGNORING MY E-MAIL. THANKS, RUTH PARRISH ========================================================================= Date: Wed, 6 Dec 1995 14:42:50 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Eagles (and I found the song...) Comments: To: shannon_oconnor@SWPCO.COM On 6 Dec 95, shannon oconnor had this to say... > And to those of you who e-mailed me privately to say, "you know, I prefer the > Eagles version of that song, too, and would like to find it, so keep me posted > (yes, LW, there were SEVERAL folks with this opinion): It has been located and > can be ordered through CD CONNECTION. http://ftp.cdconnection.com Or voice > mail (408) 985-7905, Fax (408) 985-0464. > > Happy Holidays. > > Shannon Well what was it????? You tell us where we can buy it, but not WHAT to buy. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 6 Dec 1995 14:09:01 -0500 Reply-To: leddy@A1.POLICE.UPENN.EDU From: Gerald Leddy Subject: Henley's Christmas-LBC As a consistent lurker, I usually just read and learn but this has made it difficult for me to keep my `irish' to myself. I for one don't think anyone said anything against the Eagles, but I surely read an attitude that demeaned a person's preference and/or tastes for a song in favour of someone else's preference and/or tastes. Hell, the word LEGEND was used twice in the same paragraph; I know people that think the Eagles are legends. It sure seemed like someone was getting slammed, whether it was intentional or not. It started with someone asking a question about a song (something I see frequently here) and ended (?) with with some `purist' crap that could have been conveyed in an educational manner. Trying to keep the blues `pure' in this manner certainly seems a bit too narrow; what if no one ever did another cover, it would certainly restrict both personal interpretation and people like Blues-l from becoming aware of new artists. I guess that's why `Blues Jams' are so unpopular in local clubs. ;{- Sorry, but I DO feel better. Jerry. ========================================================================= Date: Wed, 6 Dec 1995 13:47:01 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Eagles (and I found the song...) In-Reply-To: Message of Wed, 6 Dec 1995 14:42:50 -5 from On Wed, 6 Dec 1995 14:42:50 -5 P.W. Fenton said: >On 6 Dec 95, shannon oconnor had this to say... > >> And to those of you who e-mailed me privately to say, "you know, I prefer the >> Eagles version of that song, too, and would like to find it, so keep me >posted >> (yes, LW, there were SEVERAL folks with this opinion): It has been located >and >> can be ordered through CD CONNECTION. http://ftp.cdconnection.com Or voice >> mail (408) 985-7905, Fax (408) 985-0464. >> >> Happy Holidays. >> >> Shannon > >Well what was it????? You tell us where we can buy it, but not WHAT >to buy. Also if you find that Eric Clapton song, Hideaway please let us know :-) Notice the smiley face and remember this thread next time FTC is discussed LW ========================================================================= Date: Wed, 6 Dec 1995 14:43:40 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re[2]: Eagles (and I found the song...) Comments: To: "P.W. Fenton" Sorry, P.W., it's a blonde thing.... (right, Ruth??) A friend here at work found it in CD Connection's on-line catalog. It's listed as a CD single. It's CD Connection's stock number ELE65922. It's on the Elektra label, and it's the Eagles, "Please Come Home for Christmas," backed with "Funky New Year." CD Connection's list price is $5.41. Now you know as much about it as I do. And to anyone who wants the Bon Jovi version...you're on your own. :) Shannon P.S. Don't anyone lecture me on how CD's are not "backed with" anything, since the songs are all on one side. *I know that.* (I'm blonde, but I'm not that blonde.) I'm just quoting from CD Connection's catalog. ______________________________ Reply Separator _________________________________ Subject: Re: Eagles (and I found the song...) Author: "P.W. Fenton" at INTERNET_TP Date: 12/6/95 2:47 PM Well what was it????? You tell us where we can buy it, but not WHAT to buy. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 6 Dec 1995 14:06:00 CST Reply-To: Paul Garon From: Paul Garon Subject: Re: Favorite Testaments >*I'd like to know your favorite Testament re-issues.... > I've always liked the Houston Stackhouse. His material here is a good view of how Tommy Johnson would sound with electricity and drums! (Ditto Big Boy Spires "Murmur Low") > >Haven't heard a bad Testamant recording yet. Don't go overboard; there's no silver lining that doesn't have a cloud . I remember when we heard that Peg Leg Howell had been rediscovered and recorded. We couldn't way to hear the tapes, and it was good news when we heard that Pete had signed to release them on Testament. I was working at Jazz Record Mart at the time, and we were talking about the tapes. "How are they," I asked. Pete said, "Let's just say that I can't wait to get that LP out.... THEN I can delete it." ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email or postal mail or visit us at http://www.abaa-booknet.com/alldlrs/mw/60657bea.html. We also have catalogs available by ftp at ftp.mcs.com/mcsnet.users/beasley. _______________________________________|______________________________________ ========================================================================= Date: Wed, 6 Dec 1995 14:01:33 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Re[2]: Eagles (and I found the song...) In-Reply-To: Message of Wed, 6 Dec 1995 14:43:40 EST from On Wed, 6 Dec 1995 14:43:40 EST shannon oconnor said: > Sorry, P.W., it's a blonde thing.... (right, Ruth??) > > A friend here at work found it in CD Connection's on-line catalog. > It's listed as a CD single. It's CD Connection's stock number Ok I will not make suggestions to anyone anymore, IF WE CAN STOP TALKING ABOUT THE EAGLES ON THE BLUES GROUP. I admit I WAS WRONG for trying to turn someone on to the blues, it will not happen again....I PROMISE (at least not on blues-l) Not an apology in the least, just saying I was wrong for promoting Charles Brown...... LW 'please take it to the Eagles list and lets get back to BLUES' btw: anymore private mail about the Eagles will not be read...PERIOD >_________________________________ >Subject: Re: Eagles (and I found the song...) >Author: "P.W. Fenton" at INTERNET_TP >Date: 12/6/95 2:47 PM > > > >Well what was it????? You tell us where we can buy it, but not WHAT >to buy. > >P.W. Fenton >Tampa, Florida > >Check out my Blues web page at > http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 6 Dec 1995 15:07:12 -0500 Reply-To: Michael Kaloyanides From: Michael Kaloyanides Subject: Re: Patton's influences Comments: To: L W In-Reply-To: If I remember my Blues history correctly, Patton's mentor or, at least, his predecessor was Charles(?) Sloan who I think also lived on Dockery's plantation. Apparently not much is known about Sloan. Any others with more information about Patton's predecessors? Michael G. Kaloyanides Department of Music & Sound Recording University of New Haven ========================================================================= Date: Wed, 6 Dec 1995 14:01:17 CST Reply-To: JBards From: JBards Subject: Re[2]: That BB King tone, was: My amp's bigger'n your amp. : Comments: To: "P.W. Fenton" Yeah, as a short aside, someone earlier referred to the Varitone as an active tone booster: it's not. It is a passive step-down resistor set up that actually removes tone, not boosts it. I've never known anyone who really likes it, and most tone-critical guitarists that find themselves with a 355 or 345 ( and in some rare cases, 335s) that has one have the wiring bypassed and are much happier with the "straight" tone. As for the "Lucille" model, the only major technological improvement ( or not) that I think BB had something to do with was closing the F-holes for increased resistance to feedback at high volume levels. And you're right, I never undertood why they replaced that perfectly good tune- a-matic bridge and stop tailpiece with that ugly, heavy-metalish microtuner setup. Ugh! -Jim, likes my 335/355 just the way it is. _______________________________________________________________________________ That last statement contains the most truth. That big "chicken head" knob on his "Lucille" model is called "Vari-tone". BB hates it. He has never understood it, and leaves it at one setting all the time. BB did very little (if any) designing of the "Lucille" model 335 that he plays. As a matter of fact he alters all of the ones he gets from Gibson. He removes the little micro-tuners from the bridge because they catch on his sleeve when he plays. He uses a special wire to defeat the stereo output. I'm sure if he could get them free, and didn't have an endorsement deal for the "Lucille", he'd prefer a plain old 335. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 6 Dec 1995 15:22:32 -0500 Reply-To: Mark Richard Siegel From: Mark Richard Siegel Subject: Buddy/Hendrix I've read that Buddy Guy has made claims that Hendrix got a lot of his style from him. He also claims that he was using distortion/effects long before Hendrix but his producers said that he should not use the effects. Has anyone else heard these rumors? If you can, please shed some light on this mystery. I find it hard to believe that Hendrix copied much of anyone. Mark ========================================================================= Date: Wed, 6 Dec 1995 11:02:23 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[6]: Tremolux amp opinion, etc. Comments: To: Don Cicchetti P.S. the best my guitar (a '65 Silvertone) ever sounded was through an old Vox amp. I don't know what model it was, but it had a solid wood cabinet. The tone was incredible, but it weighed a ton. Maybe two tons. If I had one of those old Vox amps, I would get a hydraulic lift thingie to get it to gigs. ______________________________ Reply Separator _________________________________ Subject: Re: Re[4]: Tremolux amp opinion, etc. Author: Don Cicchetti at Internet Date: 12/5/95 3:21 PM Ruth said: > For those of us who physically can't carry a tube amp, solid-state is > the difference between having and not having an amp at a gig. > P.S. If anyone wants to lug a tube amp around for me I don't mind :) Well... I'd offer, but my wife would beat me senseless.... ;-] Ok, come play Riverside, and I'll carry your amp... Just once though. What do you consider heavy? *Everyone* thinks a Twin is heavy, but do you think a Deluxe or a Princeton is too heavy? If not, there are some really nice, small tube amps out now that are much easier to carry. The opening act for the show I promoted last sunday used a very small Rivera combo that not only sounded great, but was very loud. I have a '70's Silverface Princeton (the vintage poo-bahs don't like these yet, so they are cheap) that my amp guy built up to include a Super output section, and a front end consisting of stuff from a 4-10 Bassman and a Vox AC-30. He put in a cool 12" speaker as well. Amazing amp, and under 800.00 (depending on what you pay for the old amp) Weighs about the same as a Deluxe Reverb. Don't forget the bottom line.. The only opinion that matters is yours. So if the solid state stuff works for you... don't even think twice. Just remember to put me on the guest list..... ;-] Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Wed, 6 Dec 1995 16:10:22 -0500 Reply-To: NancyD9 From: NancyD9 Organization: America Online, Inc. (1-800-827-6364) Subject: London blues Comments: To: bit-listserv-blues-l@uunet.uu.net I'm going to be be in London from Jan 8 to Jan 25. Are there any good blues clubs around? I'm staying in the Bloomsbury area. NancyD9@AOL.com ========================================================================= Date: Wed, 6 Dec 1995 21:11:19 GMT Reply-To: Kristie Stiles From: Kristie Stiles Organization: University of Minnesota, Twin Cities Subject: Re: Freddie King disc opinions? For his instrumentals get this 2 LP on one CD: It's called Freddy King Jut Pickin' (before he changed the spelling on his first name). I has both LP's Let's Hideaway and dance away and Freddy King Gives You A bonanza of instrumentals. Ray ========================================================================= Date: Wed, 6 Dec 1995 16:20:06 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Buddy/Hendrix Comments: To: Mark Richard Siegel In-Reply-To: On Wed, 6 Dec 1995, Mark Richard Siegel wrote: > I've read that Buddy Guy has made claims that Hendrix got a lot of his > style from him. He also claims that he was using distortion/effects long > before Hendrix but his producers said that he should not use the > effects. Has anyone else heard these rumors? If you can, please shed > some light on this mystery. I find it hard to believe that Hendrix copied > much of anyone. Mark, Stories abound of BG wanting to push the limits all the way back when he was cutting for Chess and the bros. said no. You can get a very good listen to of where BG might have headed on JSP CD215 Breaking Out. As one of my fellow NY CD Blues reviewers said to me - it's all electric man - it's all electric (not exactly para- phrased but in the ballpark). NYCDB now has almost every JSP CD reviewed - save this one. I'M WORKING ON IT! I'M WORKING ON IT! Also as far as I know this is one of the most controversial CD's out - someone please correct me if I am wrong. NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Wed, 6 Dec 1995 16:22:48 -0500 Reply-To: DJones4708@AOL.COM From: Douglass W Jones Subject: SHAMELESS INTRODUCTION I CAN DO ANYTHING YOU WANT, THE LYRICS YOU'VE BEEN LOOKING FOR TO COMPLETE YOUR SONG(S). E-MAIL ME C/O DJones4708@aol.com . SHAMELESSLY YOURS, DARRION ========================================================================= Date: Wed, 6 Dec 1995 15:17:06 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Henley's Christmas-LBC At 02:09 PM 12/6/95 -0500, Gerald Leddy wrote: I for one don't think anyone >said anything against the Eagles, but I surely read an attitude that >demeaned a person's preference and/or tastes for a song in favour of someone >else's preference and/or tastes. Hell, the word LEGEND was used twice in >the same paragraph; Now, I would swear that LW (the author of the original LEGEND message) put his smileys in that particular message somewhere.... Lighten up, people - it's almost Christmas.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Wed, 6 Dec 1995 15:25:58 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Henley's Christmas-LBC In-Reply-To: Message of Wed, 6 Dec 1995 15:17:06 -0600 from On Wed, 6 Dec 1995 15:17:06 -0600 David Silberberg said: >At 02:09 PM 12/6/95 -0500, Gerald Leddy wrote: >I for one don't think anyone >>said anything against the Eagles, but I surely read an attitude that >>demeaned a person's preference and/or tastes for a song in favour of someone >>else's preference and/or tastes. Hell, the word LEGEND was used twice in >>the same paragraph; > > >Now, I would swear that LW (the author of the original LEGEND message) put >his smileys in that particular message somewhere.... No smileys did i use. yes it's true I think Charles Brown is a legend and the only reason I said it twice was because I didn't have enough time to use it more. After all the shit that Clapton fans have had to put with on this group cause some PURISTS (why not everybody used it) don't think he's a blues man. It baffles the hell out of me, why someone can outright trash Eric Clapton and and get away with it. I recommended someone listen to the original version before buying a cover of the original and I get jumped on like crazy. I think had it been Eric Clapton instead of youknowho everbody would have trashed the original poster up and down. I'm outta here, good riddance I'm tired of being jumped on and called a purist. I don't need this shit anymore Merry Christmas (any version YOU LIKE)....see you around LW ========================================================================= Date: Wed, 6 Dec 1995 15:09:18 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Buddy/Hendrix Comments: To: Mark Richard Siegel In-Reply-To: You may find it hard to believe that Hendrix copied anyone but there are certainly traces of the many blues guitarists about whom he spoke glowingly like Buddy, Alberts King and Collins and Hubert Sumlin, not to mention Muddy and Elmore, in his playing. However, a lot of people think Buddy overplays the degree of his pull on Hendrix, and the liner notes to Hendrix's BLUES CD on MCA really bust him hard for it. In fact, maybe the notes go too far in the opposite direction, but maybe the writer was just tired of Buddy waving the Hendrix flag as he has. ========================================================================= Date: Wed, 6 Dec 1995 14:06:31 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Mr. Picky Again (WasRe: History Lesson) Mr Picky :-) respomds to Chris. >Shaun!! Easy big fellow, steady now. I'm new at this. I didn't realize this >was Blues-L Attack Net. You're sure making a big stretch between what I said >and what you think I said! Upon reading your post again I think our problem >lies in the intertwining of playing blues vs listening to blues. You said to >play the blues you've got to know the old stuff. That's simply not true. How can you play the Blues if you don't listen to the Blues? I also think that I'm speaking from the point of a Blues musican. If you go to a gig and someome wants to play a New Orleans style Blues knowing Robben Ford ain't going to help. Playing by youself or jamming with a few friends is a whole different thing. >you had said to understand, or appreciate, or even comprehend the true >socio/political ramifications of the blues I would agree that you should >hear the old stuff. But just to play it? I don't think so. All you need is >some feeling. The old guys were arguably better at expressing those >feelings, but I think they did it more with there voices than with their >instruments. I think we should define who these "old guys" are because I know that the guitar was an important part of the sound of Robert Johnson, Son House, Muddy Waters etc. >(Yes Mr Picky, I should have said instrument earlier). Every instrument player >that I know, is constantly striving to express themselves better with their >instrument. Whether it's the search for the Holy Grail TONE or simply, "How >can I get to the five from here and have it sound cool?" That is my constant struggle. >I don't know, but I would think that your (darn, how can I put this and keep >Ruth off my ass?)(I KNOW!!) female friend was wanting to hear Robben Ford >because she liked him AND he has one of the coolest keyboard players around. >I've never heard of anyone trying to steal licks from somebody they don't >like. So where do you get off trying to tell her she can't play the blues un >less she hears Muddy Waters?(How's that for stretch?) I said to her, "If you go to a Bles gig and someone want's to hear the piano play something along the lines of Otis Spann, what are you going to do?" >And come on Shaun, just because I didn't name every good guitar player that >ever played doesn't mean I'm dismissing any of them. My premise remains that >blues is about expression and the more mastery of your instrument and >technique that you have the more you are able to express yourself. I guess it >boils down to some people you like to hear express themselves and some you >don't. I know a lot of guys who have great technique, know the neck inside out and couldn't play the Blues to save their life. The best Blues players are the ones intimately familair with the style. Actually, everyone you mentioned has sat at the feet of the masters and let the Blues soak in. We all have to. >I'm going to let the part about being dead slide, because anybody that brags >about playing blues and not bending any strings has got to be one more boring >guitar player. I'm not sure what you mean here. I wasn't saying that you are dead, it was more of an opinion. I jsut don't quite get what this had to do with bending. I was referring to BB and Albert. Two of the greatest string benders ever. >In the end it's all the same. Listen to what hits you in the heart. I'm not sure if it's all the same. But you heart is where it should come from. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Wed, 6 Dec 1995 11:10:27 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: technical correction Comments: To: "P.W. Fenton" ...Another way of saying "text-only format," which is what I said. Thank you, Ruth ______________________________ Reply Separator _________________________________ Subject: technical correction Author: "P.W. Fenton" at Internet Date: 12/6/95 6:10 AM On 5 Dec 95, PARRISHR had this to say: > Hi Jim: > > An HTML file can end in either .htm or .html > .htm is text-only format > > Take care -- Ruth "Software Enginette Babe" Yo! enginette babe... you should know better. .htm is simply used by MSDOS machines because they can't write .html as a file extension. Both of them stand for the same thing... Hyper-Text Mark-up Language You can give a web page file any extension you like and it will work the same. It is just a naming convention. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Wed, 6 Dec 1995 16:57:02 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Re[2]: Eagles (and I found the song...) On 6 Dec 95, L W had this to say... > Ok I will not make suggestions to anyone anymore, IF WE CAN STOP TALKING ABOUT > THE EAGLES ON THE BLUES GROUP. > > I admit I WAS WRONG for trying to turn someone on to the blues, it will not > happen again....I PROMISE (at least not on blues-l) > > Not an apology in the least, just saying I was wrong for promoting Charles > Brown...... > > LW 'please take it to the Eagles list and lets get back to BLUES' > > btw: anymore private mail about the Eagles will not be read...PERIOD I might be wrong about this, but it would seem that the easiest way to end a thread about the Eagles would be not to add to it. Unless of course you need to have the last word on the subject, which would mean that there is at least one more post about the Eagles coming to Blues-l. If only LW knew the difference between "turning someone on to the Blues" or "promoting Charles Brown", and turning someone off by telling them they are wrong to want a cover by an artist they like, then he wouldn't have to swear anything off in a "non-apology". P.W. (The "W" is for my middle name. I'm not related) ========================================================================= Date: Wed, 6 Dec 1995 17:11:48 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Freddie King disc opinions? Accidentally deleted the original question....but I don't believe anyone's mentioned FREDDIE KING...IS A BLUES MASTER or MY FEELING FOR THE BLUES. My personal favorites. Karen ========================================================================= Date: Wed, 6 Dec 1995 17:12:58 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Favorite Testaments James C. said: >and that great LOUIS MYERS cd that I can't remember the name It's called I'M A SOUTHERN MAN and it's wonderful!!!! Karen ========================================================================= Date: Wed, 6 Dec 1995 17:31:54 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Favorite Testaments Comments: To: rvujosev@CCAD.UIOWA.EDU On 6 Dec 95, Ranko Vujosevic had this to say... > 2. Robert Nighthawk and Houston Stackhouse YES!!!! I'd like to find every scrap of Robert Nighthawk available. I think he should have been a lot "bigger" than he was. Can anyone tell me what is currently available on CD by Nighthawk? P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 6 Dec 1995 18:12:40 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Re[2]: Buddy Holly Page > An HTML file can end in either .htm or .html > .htm is text-only format Hate to be picky, but that's wrong. .html is the extension on UNIX servers .htm is for Windows and Windows NT servers. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Tue, 5 Dec 1995 18:34:01 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Muddy Waters albums If you are buying Muddy Waters, to my mind there are two essential collections The Muddy Waters Chess Box One More Mile After that -- Live at Newport. And I'm partial to the Muddy Waters cuts on "The Blues: A Real Summit Meeting" (Vanguard) but he is only part of that. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Wed, 6 Dec 1995 18:30:21 -0500 Reply-To: Michael Kaloyanides From: Michael Kaloyanides Subject: Charley Patton's Mentor I must make a correction to my previous post on Patton's mentor. His name was HENRY SLOAN, not Charles Sloan. Michael G. Kaloyanides Department of Music & Sound Recording University of New Haven ========================================================================= Date: Wed, 6 Dec 1995 17:39:02 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: FAVORITE TEST > From: L W > I'd like to know your favorite Testament re-issues.... Johnny Young and Friends, Testament CD 5003. Tunes like "Whoop it Up" and "I Got It" give meaning to the repeat setting on your CD machine. Don O. ========================================================================= Date: Thu, 7 Dec 1995 10:39:29 +22303754 Reply-To: David Blanken From: David Blanken Subject: Re: Favorite Testaments/Robert Nighthawk In-Reply-To: <199512062235.RAA52658@tequesta.gate.net> On Wed, 6 Dec 1995, P.W. Fenton wrote: > On 6 Dec 95, Ranko Vujosevic had this to say... > > > 2. Robert Nighthawk and Houston Stackhouse > > YES!!!! > > I'd like to find every scrap of Robert Nighthawk available. I think > he should have been a lot "bigger" than he was. I second that emotion!!! His slide work has been a huge inspiration to me. > Can anyone tell me what is currently available on CD by Nighthawk? You have to have "Live on Maxwell Street" on Rounder. Street recordings by Norman Dayron in the 1960's. The performances are loose and very easy- going and it's great to hear passers-by yell out encouragement. Carey Bell stops by to play the harp and the bass as well. A definite "run, don't walk" album. There is also "Drop down mama" on the Chess label. This compilation also has recordings by Johnny Shines, Honeyboy Edwards and others and is a superb sample of Chicago blues in the late 1940's/early 1950's. That's all I can think of at the moment. I'm sure there are more. Regards, -Dave- ----------------------------------------------------------------- David Blanken E-mail: D.Blanken@nla.gov.au Phone: +616 2621473 ----------------------------------------------------------------- ========================================================================= Date: Wed, 6 Dec 1995 17:59:49 -0600 Reply-To: Chris Pearson From: Chris Pearson Subject: Guitar players on the list I'd like to trade some cool rhythm progressions for some 12 bar. Let's send some of our favorites around and share what we know. Kind of an online jam. I guess so we can cover all areas of playing competence we'd need to keep it all strictly in chord symbols and not in something like Nashville Notation. We use it almost exclusively around my neck of the woods but I know not everyone does. Yes, I guess that means that on some of those cool juicy chords everybody plays and don't have a clue what they are called we'll have to dig out the chord book and figure them out. I'm working on my favorite now, I'll post it as soon as I'm done. Chris ========================================================================= Date: Wed, 6 Dec 1995 21:10:44 -0500 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: Favorite Testaments Comments: To: "P.W. Fenton" In-Reply-To: <199512062235.RAA52658@tequesta.gate.net> On Wed, 6 Dec 1995, P.W. Fenton wrote: > I'd like to find every scrap of Robert Nighthawk available. I think > he should have been a lot "bigger" than he was. > > Can anyone tell me what is currently available on CD by Nighthawk? Besides the two already mentioned, there is "Robert Lee McCoy (Robert Nighthawk) Complete Recorded Works in Chronological Order 1937-1940" on Wolf Records -- WBCD-002. Excellent music showcasing the talents of Nighthawk, Sonny Boy Williamson, Big Joe Williams, Walter Davis, Henry Townsend and Amanda Sortier. Outstanding liner notes by Paul Oliver. Pen & Brenda Bogert Louisville KY ========================================================================= Date: Wed, 6 Dec 1995 18:19:21 -0800 Reply-To: Mark Naftalin From: Mark Naftalin Subject: Announcing Mark Naftalin's homepage (411-Winner) Friends, Please visit 411-Winner (the Winner Info-Page) at . There you will find info on Winner Records, its releases and its artists (Paul Butterfield Blues Band, Percy Mayfield, Ron Thompson). You will also find information on me and my activities and an archive of blues-related -- and other -- materials. Thank you and all the best for the holidays and the new year. Mark Naftalin ========================================================================= Date: Wed, 6 Dec 1995 20:39:34 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Favorite Testaments Comments: To: "P.W. Fenton" > From: "P.W. Fenton" > I'd like to find every scrap of Robert Nighthawk available. I think > he should have been a lot "bigger" than he was. > > Can anyone tell me what is currently available on CD by Nighthawk? "Black Angel Blues" (Charly CD RED 29) contains 6 of his Chess & Aristocrat recordings along with 8 songs that were originally unissued. There are also 8 tracks by Sonny Boy I disciple Forest City Joe Pugh. An excellent CD. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Wed, 6 Dec 1995 19:19:21 PST Reply-To: "D. ALLEN SIMPSON" From: "D. ALLEN SIMPSON" Subject: www.musician.com I don't know if this WEbpage has been mentioned before or not. I just came across this week. It advertises itself as an online source for musicians of many different backgrounds, talents, attitudes, etc. to hook up for jamming, touring, teaching, et al. You fill out an online questionaire, which is added to a database. The database will be available for browsing in the end of Jan. The full address: http://www.musician.com Use full graphics or text-only WWW Doug S. ========================================================================= Date: Wed, 6 Dec 1995 21:49:53 -0600 Reply-To: Tom Kraft From: Tom Kraft Subject: Re: History Lesson Who's Robben Ford? I really don't know. Larry Carlton either. Tom Kraft ========================================================================= Date: Thu, 7 Dec 1995 00:03:13 -0500 Reply-To: Debbie64@AOL.COM From: Debbie Llamas Subject: unsubscribe Please take my name off the list. It's a great list but I'm getting too much mail. Thanks. ========================================================================= Date: Thu, 7 Dec 1995 00:25:00 EST Reply-To: BRENTS@CLEMSON.EDU From: "(Brent M. Smith)" Subject: HISTORY LESSONS...AGAIN?? Comments: To: blues-l%BROWNVM.BITNET@INTERBIT.UGA.EDU If i recall my history we have beat what the blues is into the ground! Almost all of us have our own definitions, and they are pretty much of a core belief (they are not easily changed, boy this education crap is really paying off). My opinion which is not as learned as say LW's or Mr. Waterman's is mine and nobody will change that. Let us drop the history lesson line....please. And if you must argue, argue off the list Gotta go. Research paper to write. good night to all brent ========================================================================= Date: Thu, 7 Dec 1995 05:23:55 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: That BB King tone, was: My amp's bigger'n your amp. :) You guys keep talking about "Lucille" as a 335. I thought it was a 355-stereo. Jef Jaisun -- eljefe@netcom.com ========================================================================= Date: Wed, 6 Dec 1995 21:45:40 -0000 Reply-To: "J. Witteveen" From: "J. Witteveen" Subject: Eagles... Hi all! I don't really have anything to add to this current war of words, but... LW, PW, SOC, etc... how do you find the time to post three responses in the same day??? -Jim 'not really a purist, but almost, and copying LW's closing remark in quotes habit' W. Hey, I just though of something - I'm JW! And I'm not related to PW _or_ LW!!! ========================================================================= Date: Thu, 7 Dec 1995 05:42:59 GMT Reply-To: Jim Farris Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Jim Farris Organization: New Age Documentation Subject: Elmer Lee Thomas Photo on WWW Comments: To: LKnight@aol.com Check out this cool photo of Elmer Lee Thomas playin' his dobro. He's from Oakland, CA. Here's the Web address: http://www.bluemooncomm.com/BABLS/elt0916.html Jammin' Jim Farris KKUP 91.5 FM South San Francisco Bay Area ========================================================================= Date: Wed, 6 Dec 1995 21:51:42 -0000 Reply-To: "J. Witteveen" From: "J. Witteveen" Subject: Re: Guitar players on the list Chris Pearson wrote: >I'd like to trade some cool rhythm progressions for some 12 bar. Let's >send some of our favorites around and share what we know. Kind of an >online jam. I guess so we can cover all areas of playing competence we'd >need to keep it all strictly in chord symbols and not in something like >Nashville Notation. I'd love to see this. As a guitar player for a mainly non-blues band (but a blues player wanna-be), I've had trouble trying to figure out blues rhythm guitar (I'm competent at the Jimmy Reed style, but anything else is a mystery to me). Rhythm seems to be underappreciated as the lead guitarist gets the glory, and books, videos, etc. on blues rhythm guitar are hard to come by. But without good, solid, and innovative rhythm guitar, a song is lost. So if anyone has any help or advice, I'd be most thankfuL! -JW 'this is my second post in the same day!' ========================================================================= Date: Thu, 7 Dec 1995 00:42:34 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Steel slides(?) Pa> I'm not sure why one would insist on calling a slide a Pa> "bottleneck" unless one is using an actual bottleneck. Apparently I was not clear the first time around. Bottleneck _style_, regardless of the material of construction, allows one to fret, chord, and do normal complex fingerwork associated with Blues (such as damping and hammering on and off) with the remaining four fingers. Using a 'slide', knife, bar, or other flat-on-the-lap technique does _not_ allow this refreshingly complex variety of effects. Therefore, because the range of effects is so great and substantially different between the two styles, different names _should_ be used for clarity of communication. This presupposes that some people actually want to communicate clearly. Pa> been playing slide and hanging out with slide players for YEARS. Pa> I never heard anyone refer to a metal slide as a "bottleneck." Pa> In my neck of the woods (DC/Baltimore), all the slide players I Pa> know (myself included) call anything we use to play slide guitar Pa> a "slide." Just shows how widespread the sloppy, ambiguous terminology is. Pa> It is not impossible to fret chords in open tuning. Pa> It's just DIFFERENT. Didn't say one can not fret chords in _open tuning_. Whoops, that's that pesky thing about communicating clearly again... Said one can not fret chords, or do the other special country Blues effects, whilst holding a four inch heavy metal Hawaiian type _slide_ in the left hand with all five fingers. Said one CAN fret chords in bottleneck style, while _not_ in real, conventional terminology 'slide' style. If, however, you or anyone else _can_ damp, chord, bend notes, and hammer on/off while gripping a heavy, cumbersome metal bar in their left hand with the guitar laying belly up on your lap, I'd certainly like to see that!! ... "Slippin' and a slidin', peepin' and a hidin'..." Little Richard --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Wed, 6 Dec 1995 16:58:28 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Re: Buddy/Hendrix In-Reply-To: from "Mark Richard Siegel" at Dec 6, 95 03:22:32 pm According to Mark Richard Siegel: > > I've read that Buddy Guy has made claims that Hendrix got a lot of his > style from him. He also claims that he was using distortion/effects long > before Hendrix but his producers said that he should not use the > effects. Has anyone else heard these rumors? If you can, please shed > some light on this mystery. I find it hard to believe > that Hendrix copied much of anyone. ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ Albert King, Buddy Guy, Eddie Jones, John Lee Hooker, Hubert Sumlin, etc. -P ========================================================================= Date: Thu, 7 Dec 1995 06:19:55 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: Hollies Just Not The Same Without Buddy... (FWD) T P Uschanov (tuschano@CC.HELSINKI.FI) wrote: : But the big news is that the tribute album has prompted the reunion of : the original Hollies, complete with Graham Nash, who left the group to : join Crosby, Stills and Nash in the late 60s. Not only that, but the : Hollies will be the "back-up group" on a new version of "Peggy Sue Got : Married," which Buddy Holly recorded in demo form in his New York : apartment in 1959. : Reportedly, members of the Hollies (perhaps Allan Clarke) have composed a : new instrumental and vocal arrangement for the song. According to the : report, the 1959 demo, with Buddy Holly singing and playing acoustic : guitar, was _slowed down_ "16 percent" to match the tempo and key of the : new arrangement. WEll, here's my comment. Natalie Cole gets a handful of Grammies for manufactured duets with her dead father. The Beatles top the charts 25 years after their break-up with a remanufactured demo by John Lennon, who's been dead for 15 years. The Hollies join their "mentor" Buddy Holly, in a remanufactured sing-a-long, slowed down 16 percent. Bound to be a smash, even though Holly's been dead nearly 37 years. Okay, now, these pairing are obvious. Let's have a little contest and see if we can come up something a bit more creative that justifies this kind of bogus techno-ripoff. Possible examples: *Actor Robert Wagner plays German composer Wagner, while Honus Wagner does voice-over. Suggested title: "Ghost Wagners in the Sky." *The Tampa Bay Bucs sing along with Red on the Tampa Red Songbook. *Robert Cray, Robert "Jr." Lockwood, and Robert Johnson re-unite as "The Bobs." *BB, Albert, & Freddie, "The King Brothers." *John Hammond, Jr. and John Hammond, Sr., sing and play "The Unreleased Billie Holiday Basement Tapes." *Sunnyland Slim, Guitar Slim, Memphis Slim, Slim Pickens and Boz Scaggs: "Live at Slim's '96." *Bessie Smith and Patti Smith: medley "Ebony and Ivory/I Need A Little Sugar In My Bowl" (Bessie is sped up 16% to keep up with Patti). *Tito Puente, Miami Sound Machine and the Memphis Jug Band: "Oye Como Blues." *John Hurt (actor) and Mississippi John Hurt duet, "Kiss of the Candy Man." *Whitney Houston, Cissy Houston, Thelma Houston, the Houston Philharmonic Orchestra and Hakeem Olajuwan join Lightnin' Hopkins on the blended remake of "Meet You At The Chicken Shack." (raised a fifth to keep up with Hakeem) ============================================================================ Jef Jaisun eljefe@netcom.com "Take your hands outta your pockets and turn on your love light." --Jerry Garcia & Bobby Bland: Together Again For The First Time ============================================================================ -- eljefe@netcom.com ========================================================================= Date: Thu, 7 Dec 1995 00:43:54 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: Favorite Testaments Comments: To: L W In-Reply-To: L W, You wrote... The Testaments I have, I would say Otis Spann Chicago Blues or Fred McDowell Blues & Spirituals....I don't have the Amazing Grace with The Hunter Street Church, but it's on my list.... - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Call it blues karma or something, but I happened to be sitting here studying and listening to the "Amazing Grace" album when I read your post. Move it up on your list, it's fantastic!! Wicked guitar, ragged but cool harmony and an excellent set list. Easily my favorite Testament recording. Rob(trying to make something positive out of my Sales final by exploring the outer realms of my cd collection. Gee, I forgot how good this Bootsy Collins CD is..." Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Wed, 6 Dec 1995 13:29:14 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Night Train Records One of the best, but more obscure, reissue blues & R&B labels I've found is the Night Train label. For the past few years, Night Train has been releasing some fantastic stuff from the vaults of the Swing Time / Down Beat label that had its heyday in the late 40s and early 50s in California. Most of this stuff is jumpin' small combo and big band West Coast blues (with, of course, a big Texas influence) & R&B, plus a lot of classy vocal work from folks such as Charles Brown, Jimmy Witherspoon & Lowell Fulson. This label is hard to track down, though...Occasionally you'll see Night Train stuff pop up in your local CD store, but you should snap it up when you do. >From looking around, here's a listing of Night Train issues I've come up with: Charles Brown: Snuff Dippin' Mama Night Train 7017 Charles Brown: Walkin' in Cicles Night Train 7024 Lowell Fulson: Back Home Blues Night Train 7001 Lowell Fulson: Everyday I Have the Blues Night Train 7007 Lowell Fulson: Sinner's Prayer Night Train 7011 Lloyd Glenn: Chica Boo Night Train 7009 Lloyd Glenn: Honky Tonk Blues Night Train 7002 Johnny Otis: Be-Bop Baby Blues Night Train 7003 Johnny Otis: Too Late to Holler Night Train 7006 Jimmy Witherspoon: Call My Baby Night Train 7004 Jimmy Witherspoon: Cold-Blooded Boogie Night Train 7008 Various Artists: Swing Time Shouters, Vol. 1 Night Train 7010 Various Artists: Swing Time Shouters, Vol. 2 Night Train 7014 Various Artists: Swing Time Sisters Night Train 7012 As a companion, I'd also recommend the Swing Time Story 2-CD boxed set on Warner/Capricorn records, and I'd recommend the 2-CD set of Ray Charles' Down Beat stuff called "Birth of a Legend" (I can't remember what label it's on right now). -Peter ========================================================================= Date: Wed, 6 Dec 1995 12:59:10 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Re: Freddie King disc opinions? Comments: To: edwick@cc.bellcore.com In-Reply-To: <199512061639.AA19628@bulkrate.cc.bellcore.com> from "edward c liu" at Dec 6, 95 11:22:00 am According to Ed: > > Howdy all, > > I've got a distinct lack of Freddie/Freddy King in my CD > collection. During Christmas shopping last night, I was looking > at discs to try and remedy this sad situation, so I was wondering > what people thought of the following recordings: > > - The Rhino _Hideaway: The Best of Freddie King_ single-disc > - The Capitol _Freddie King_ 2-CD set in their re-issue > series. Ed, the Rhino disc is a fine overview of Freddie's Federal stuff, plus a few later things and his 1st 2 recordings done in Chicago..this is by far his best material...The Capitol set, I'd personally stay away from, since I find his late 60s, early 70s stuff to be too rock-influenced, although there are some fine songs in there. As LW said, "Freddie King Sings" is a great disc, and if you like instrumentals, there's a CD reissue of his Federal all-instrumental LPs called "Let's Hide and Dance Away with Freddie King" (or something similar to that). These used to be available on the Modern Blues Recordings Label, but I have a feeling they are now out of print, but I might be wrong. Another good cross-section of his Federal material is on the British Ace label..."King of the Blues Guitar"...great sound on this. If you're budget-minded, you can find a King/Federal CD called "Freddie King, 17 Hits" for about $ 7.00 - 9.00...This is another solid cross-section of his Federal material, and it sounds good, too, considering it's a budget issue. I think the time has come for a 2-CD set of all of Freddie's Federal recordings...dream on. Hope this helps, Peter ========================================================================= Date: Wed, 6 Dec 1995 22:54:41 -0800 Reply-To: TLKnox@EWORLD.COM From: Terry Knox Subject: Need Info I was surfing the used bins the other day and found a series of CDs called the Le Hot Club De France archive series. They were priced right so I bought all 4 -- Big Bill Broonzy, Sister Rosetta Tharpe, Ethel Waters, and Memphis Slim. The liner notes are slim but they seem to be reissues of albums from the sixties or earlier. I would appreciate any info I can get on these recordings. Thanks, Terry :):). ========================================================================= Date: Thu, 7 Dec 1995 00:54:18 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: SHAMELESS INTRODUCTION Comments: To: Douglass W Jones In-Reply-To: <951206162245_46552671@mail02.mail.aol.com> Date: Wed, 6 Dec 1995 16:22:48 -0500 From: Douglass W Jones To: Multiple recipients of list BLUES-L Subject: SHAMELESS INTRODUCTION I CAN DO ANYTHING YOU WANT - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - Finally, somebody comes around to do my bidding!! Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Thu, 7 Dec 1995 07:13:53 GMT Reply-To: Jim Farris From: Jim Farris Organization: Netcom Subject: Re: Elmer Lee Thomas Photo on WWW Comments: To: bit-listserv-blues-l@uunet.uu.net There's also an interview with him conducted by Leslie Ann Knight, one of the KKUP Blues DJs that just celebrated ten years on the air! Jim Farris wrote: >Check out this cool photo of Elmer Lee Thomas playin' his dobro. He's >from Oakland, CA. Here's the Web address: > http://www.bluemooncomm.com/BABLS/elt0916.html > >Jammin' Jim Farris >KKUP 91.5 FM >South San Francisco Bay Area ========================================================================= Date: Thu, 7 Dec 1995 04:57:40 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - December 7th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BENNETT, BOYD (v/KING REC) b. 1924-1207, MUSCLE SHOALS, AL BEVEL, CHARLES (v/songw) b. 1938-1207, SWIFTON, MS BOYD, BILL (g/texas swing) d. 1977-1207, DALLAS, TX 67 BROWN, WILLIE LITTLE "HARPKILLER" (hca) d. 1981-1207, EAST ST. LOUIS, IL 59 CLARK, DEE (DELECTA CLARK JR.) (v/VEEJAY) d. 1990-1207, SMYRNA, GA 52 COGBILL, TOMMY (b) d. 1982-1207, NASHVILLE, TN 50 DARBY, IKE BIG (v/songw/prod) b. 1933-1207, PHILADELPHIA, MS DAVIS, JOHN BLIND (p) b. 1913-1207, HATTIESBURG, MS DYER, JOHNNIE (hca) b. 1938-1207, ROLLING FORK, MS GOLDMARK, PETER (father of the LP) d. 1977-1207, NEW YORK CITY, NY 71 GREY GHOST [ROOSEVELT THOMAS WILLIAMS](p) b. 1903-1207, TAYLOR, TX HANDY, W. C. JR. (promoter/songw) d. 1972-1207, NEW YORK CITY, NY 68 HILL, TEDDY (tsax) b. 1909-1207, BIRMINGHAM, AL JAMES, GEORGE (tsax/CLYDE BERNHARDT) b. 1906-1207, BEGGS, OK JOHNSON, MAGER (g) b. 1905-1207, CRYSTAL SPRINGS, MS KAPLAN, MORRY R. (owner: DANCELAND REC) b. 1910-1207, CHICAGO, IL MACLEAN, JEAN "SPIDER" (dj) d. 1990-1207, GARDEN GROVE, CA 62 MOORE, BILLY (p/arr/DELTA RHYTHM BOYS) b. 1917-1207, PARKERSBURG, W. VA PHILLIPS, SONNY (o/p) b. 1936-1207, MOBILE, AL PHIPPS, GENE (tsax/asax) b. 1927-1207, NEWARK, NJ PRIMA, LOUIS (v/tpt) b. 1911-1207, NEW ORLEANS, LA SCRUGGS, IRENE (v/PARAMOUNT) b. 1901-1207, MS SPACE, ANTHONY (kybds/JAMES COTTON) b. 1957-1207, CHICAGO, IL TAYLOR, RICHARD ALONZO(of THE MANHATTANS) d. 1987-1207, KANSAS CITY, KS 47 THEARD, SAM "SPO-DEE-O-DEE" (v/songw) d. 1982-1207, LOS ANGELES, CA 78 WAITS, TOM (:) b. 1949-1207, POMONA, CA ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 7 Dec 1995 09:18:23 +0000 Reply-To: rof From: rof Subject: Re: London blues Comments: To: NancyD9 In-Reply-To: Your message of "Wed, 06 Dec 1995 16:10:22 EST." <4a50ru$2gh@newsbf02.news.aol.com> In message <4a50ru$2gh@newsbf02.news.aol.com>, NancyD9 writes: > I'm going to be be in London from Jan 8 to Jan 25. Are there any good > blues clubs around? I'm staying in the Bloomsbury area. NancyD9@AOL.com Your best bet if you're staying in Bloomsbury is the "100 club" in Oxford Street (about 200 yards up on the same side from Virgin Megastore) which usually has the best British bands as well as visiting American acts and is only 10 minutes walk from Bloomsbury. Cheers, Rob ========================================================================= Date: Thu, 7 Dec 1995 09:23:56 GMT Reply-To: Jim Farris From: Jim Farris Organization: Netcom Subject: Re: Recent JLHooker Comments: To: bit-listserv-blues-l@uunet.uu.net Why don't you guys take John Lee's advice and chill out! He probably doesn't care if his Blues is pure or not. In fact, he'd probably laugh if you accused him of "selling out" and tell you that there's no difference between Blues and Rock N' Roll. He said that before he was popular. I think it was when he was playing with Canned Heat 25 years ago. (Was he selling out then, too?) Did you suddenly decide that he sold out because he is popular? In my opinion, his course hasn't changed much since 1948 when he cut "Boogie Chillun," the song that he ends every show with, TO THIS DAY! Whoever has the "pure Blues" cast the first stone. Jammin' Jim Farris KKUP 91.5 FM "P.W. Fenton" wrote: >On 6 Dec 95, L W had this to say... > >> On Wed, 6 Dec 1995 11:10:49 EST Bill Hill said: >> > >> >On a related note, I've been pondering picking up some recent JLeeHooker for >> >a while -- "Chill Out," "The Healer," etc. Most of his music that I have is >> >from the early 70's or earlier -- "Hooker -N- Heat," "Alone," & hit >> >compilations from Rhino & Crescendo. How do his current recordings compare >> >with the older stuff? >> > >> >One thing that's sort of put me off is the large number of guest stars that >> >seem to be on each album. A lot of times, it seems to me that with different >> >guest stars on each track, an album can sometimes devolve into a mish-mash -- >> >plenty of "gee, it's neat to hear him playing with so-and-so," but overall, >> >not that satisfying as an album. Am I offbase in relation to JLH? >> >> IMVHO John Lee Hooker does not need guest stars, especially guest stars that >> alter his music. If you like the thought of John Lee Hooker with congo drums >> and Carlos Santana (great player in the right setting) then by all means buy >> the Healer. I didn't care for it at all, it's not John Lee Hooker IMHO. >> >> I think it is sort of like Muddy's Electric Mud, whereas JLH is out of his >> element. It sold a lot and that's good for John Lee. Roy Rogers produced them >> and it's an updated JLH. >> >> LW 'of course JLH must like it cause he keeps doing it' ========================================================================= Date: Thu, 7 Dec 1995 10:43:26 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Recent JLHooker Comments: To: Jim Farris I must I admit I havn t bought his newer albums. But I have heard lots from them and liked them in many ways. One joy is to hear the Hook do Brook Bentons "Kiddio" with horns. He has often claimed that he can do straight stuff with set changes if he want to and here is the proof. A very nice performance.And I also think its hard for any professional to do the same thing over maybe a 50 year long career. I realy love early Hooker (and my favorites is on Speciality) but I honestly cant see myself buy 50 albums of solo Hooker. Mr Bo Brings the blues to you ========================================================================= Date: Thu, 7 Dec 1995 11:34:58 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Robert Nighthawk In-Reply-To: <199512062235.RAA52658@tequesta.gate.net> On Wed, 6 Dec 1995, P.W. Fenton wrote: > YES!!!! > > I'd like to find every scrap of Robert Nighthawk available. I think > he should have been a lot "bigger" than he was. > > Can anyone tell me what is currently available on CD by Nighthawk? CD Connection lists the following: RoU2022 +NIGHTHAWK*ROBERT & HIS F LIVE ON MAXWELL STREET 8.7/3 $13.49 &ROUNDER 6/91 iNE497 NIGHTHAWK*ROBERT & WAMPU TOASTING THE BLUES $14.20 INSIDE 11/95 Apropos Nighthawk (sort of) I have the vinyl "Bricks in My Pillow" (Pearl) which, from the time I bought it, is so warped as to be unplayable. Anyone know a good way to flatten it out? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [7/12/95 6:19 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 7 Dec 1995 11:04:13 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: BABY TATE - OBC REISSUE Hi, As some of you may have observed I've been absent from Blues-L over the last two weeks or so. Just had to stay home (where I don't have an internet connection) for some illness. Here I' m again. In fact, I took this opportunity to spend some time in my record collection and "rediscovered" many albums (I almost exclusively listened to rural/traditional stuff) I hadn't listen to since YEARS. It's always nice to get back to some of these albums. I won't start to mention all those that've been regularly on my turntable these last days (about 9h/day) but listening back to several LPs I really enjoyed rediscovering numerous musicians. Among these album I just want to mention a great Flyright (yes again :-) , I'm really a huge fan of what Bruce Bastin has done on his different labels) Anthology ANOTHER MAN DONE GONE (Flyright 528) which I bought in the early 80's featuring a bunch of very interesting more or less unknown East Coast country bluesmen. I hand't listen to this set since at least two years, although it features the great HENRY JOHNSON (JUMP on the CD reissue of his superb TRIX album), Bud Grant, Willie Moore and many others including Charles Henry BABY TATE. And this made me think that no one has yet (correct me if I'm wrong) mentioned the reissue of BABY TATE "SEE WHAT YOU DONE DONE"(PRESTIGE/BLUESVILLE 1072) which has on the Original Blues Classic CD the number 567 and came out already a few month ago. This is a really enjoyable album that I would like to recommend to everyone (and not only those interested in East coast country blues, 'cause they certainly already have it). It is moreover available at a very interesting price :-). Altough BABY TATE (01/28/1916, 08/17/72), had at least a 45 on TRIX (4502) - + some anthology stuff- I think this is the only existing full LP by this underrated East Coast bluesman, excellent guitar player influenced by Blind Boy Fuller -but to some extend also by Lightnin'Hopkins, in fact like many post WWII East Coast country bluesmen-. Altough he recorded this Prestige/Bluesville set in 1962, it was only in the early 70 that he was "rediscovered" by Bruce Bastin and Pete Lowry. At that time, while he was running TRIX in the Pete Lowry had enough material for an album, he even had chosen the LP number (TRIX LP 3313), but as far as I know this set was never released. I guess this was due to the fact that Pete Lowry found that the quality of the material he had recorded was not of the level of what Baby Tate actually could produce as he said " I know he could do three times more and a lot better" to Valerie Wilmer back in the early 70's (Interview in BLUES LINK, 3, Jan 1974). Surprisingly enough, Gerard HERZAFT in his "Encyclopedie du Blues" (I never saw the English edition thereof) mentions this TRIX album as Baby Tate's best set!! Was Gerard privileged enough to have a copy of this material? As anyone ever heard it?? Was it actually published (in which case I would be totally missing something) ?? I may have missed something but I don't remember having ever seen any mentioning of it in a magazine. If someone out there could confirm/correct/amplify this, don't hesitate, I would be pleased to hear it. .. and if someone has a copy of these recordings .... just let me know!! Jean-Pierre "Young Man" Urbain :-) P.S. Speaking about reissues does anyone out there knows if SHIRLEY GRIFFITH "SATURDAY BLUES" (Prestige/Bluesville 1087) has been reissued yet on CD? P.S.2. ... If someone has TRIX 45's to sell, ... here's my E-MAil address J.URBAIN@KE.RULIMLBURG.NL ========================================================================= Date: Thu, 7 Dec 1995 07:33:50 -0500 Reply-To: ess@JACOBUS.COM From: Mike Tash Subject: Bad Influence Web Site Here it is - the web page for the Bad Influence Band, one of DC's finest. Check it out!! ========================================================================= Date: Thu, 7 Dec 1995 05:48:03 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: Bo Diddley What do 'zellers think the is the best CD of Bo Diddly? (It's a gift) Does anyone know of a better version by some other artist of "Bring it to Jerome"? Thanx, Gary ............ Gary Constantine >> gconstan@ccinet.ab.ca << If hard work were such a wonderful thing, surely the rich would have kept it for themselves. ========================================================================= Date: Thu, 7 Dec 1995 08:05:34 -0500 Reply-To: ess@JACOBUS.COM From: Mike Tash Subject: Bad Influence Web Site Here it is - the web page for the Bad Influence Band, one of DC's finest. Check it out!! http://members.aol.com/badisblues/homepage.htm ========================================================================= Date: Thu, 7 Dec 1995 08:15:02 -0500 Reply-To: Niles Frantz From: Niles Frantz Organization: Megaweb Subject: Re: Favorite Testaments Comments: To: bit-listserv-blues-l@uunet.uu.net In article L W wrote: >I'd like to know your favorite Testament re-issues... The Jack Owens and Bud Spires album. Niles A loop is a loop is a loop. ========================================================================= Date: Thu, 7 Dec 1995 14:49:19 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Bo Diddley Comments: To: Gary Constantine > What do 'zellers think the is the best CD of Bo Diddly? (It's a gif= t) > > Does anyone know of a better version by some other artist of "Bring >it to Jerome"? > > Thanx, > > Gary ............ >Gary Constantine >> gconstan@ccinet.ab.ca << I m not shure but I think Eagles did a much tighter and generally better sounding version. :-) Bo ========================================================================= Date: Thu, 7 Dec 1995 14:05:05 +0000 Reply-To: rof From: rof Subject: Re: Robert Nighthawk Comments: To: Pat Hertel In-Reply-To: Your message of "Thu, 07 Dec 1995 11:34:58 GMT." In message , Pat Hertel writes: > On Wed, 6 Dec 1995, P.W. Fenton wrote: > > > YES!!!! > > > > I'd like to find every scrap of Robert Nighthawk available. I think > > he should have been a lot "bigger" than he was. > > > > Can anyone tell me what is currently available on CD by Nighthawk? > > CD Connection lists the following: > > > RoU2022 +NIGHTHAWK*ROBERT & HIS F LIVE ON MAXWELL STREET 8.7/3 > $13.49 &ROUNDER 6/91 > > iNE497 NIGHTHAWK*ROBERT & WAMPU TOASTING THE BLUES > $14.20 INSIDE 11/95 > > > Apropos Nighthawk (sort of) I have the vinyl "Bricks in My Pillow" > (Pearl) which, from the time I bought it, is so warped as to be > unplayable. Anyone know a good way to flatten it out? > > phertel@cmc.doe.ca > OR bv808@freenet.carleton.ca > Local Time [7/12/95 6:19 AM] > "Thursday's always sad..." Not sure about the CD reissues but the best collection of early Nighthawk on vinyl was the Wolf records "Complete recordings" (WSE 120-WSE 121) which I assume is now available on a Wolf or Document CD (Austrian company) Best wishes, Rob ========================================================================= Date: Thu, 7 Dec 1995 08:11:32 -0600 Reply-To: marie s phillips From: marie s phillips Subject: Re: Re[2]: Eagles (and I found the song...) Comments: To: "P.W. Fenton" In-Reply-To: <199512062200.RAA29888@tequesta.gate.net> PW, p-l-e-a-s-e give it a rest. Marie On Wed, 6 Dec 1995, P.W. Fenton wrote: > On 6 Dec 95, L W had this to say... > > > Ok I will not make suggestions to anyone anymore, IF WE CAN STOP TALKING ABOUT > > THE EAGLES ON THE BLUES GROUP. > > > > I admit I WAS WRONG for trying to turn someone on to the blues, it will not > > happen again....I PROMISE (at least not on blues-l) > > > > Not an apology in the least, just saying I was wrong for promoting Charles > > Brown...... > > > > LW 'please take it to the Eagles list and lets get back to BLUES' > > > > btw: anymore private mail about the Eagles will not be read...PERIOD > > I might be wrong about this, but it would seem that the easiest way > to end a thread about the Eagles would be not to add to it. Unless > of course you need to have the last word on the subject, which would > mean that there is at least one more post about the Eagles coming to > Blues-l. > > If only LW knew the difference between "turning someone on to the > Blues" or "promoting Charles Brown", and turning someone off by > telling them they are wrong to want a cover by an artist they like, > then he wouldn't have to swear anything off in a "non-apology". > > P.W. (The "W" is for my middle name. I'm not related) > ========================================================================= Date: Thu, 7 Dec 1995 09:14:12 EST Reply-To: george morales From: george morales Organization: TEMPLE UNIVERSITY Subject: james cotton blues on ESPN while i was brushing my teeth this morning i had espn on the tv and i heard the announcer going over college basketball highlights and a player named "James Cotton" had a good game and the network played a blues instrumental featuring harp and horns as the segment continued. i thought it was cool of the producer of the segment to make the tie-in +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ | | | GEORGE MORALES GEORGEM@TEMPLEVM | | COMPUTER AND INFORMATION SERVICES GEORGEM@VM.TEMPLE.EDU | | TEMPLE UNIVERSITY (215)204-6866 | | | +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Thu, 7 Dec 1995 09:40:53 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Robert Nighthawk Comments: To: rof In-Reply-To: <26768.818345105@osfb.aber.ac.uk> On Thu, 7 Dec 1995, rof wrote: > Not sure about the CD reissues but the best collection of early Nighthawk on > vinyl was the Wolf records "Complete recordings" (WSE 120-WSE 121) which I > assume is now available on a Wolf or Document CD (Austrian company) re: above - excel cutlist. some material very edgy, but the CD does give a terrific look-listen into R"LM"N. NIGHTHAWK, ROBERT "LEE MCCOY" / 1937-1940 (Wolf WB002) TOUGH LUCK LONESOME WORLD G-MAN DON'T MISTREAT YOUR WOMAN PROWLING NIGHT-HAWK SWEET PEPPER MAMA MY FRIEND HAS FORSAKEN ME MEAN BLACK CAT BRICKYARD MAMIE LEE TAKE IT EASY, BABY I HAVE SPENT MY BONUS CNA EVERY DAY AND NIGHT OL' MOSE YOU'RE ALL I'VE GOT TO LIVE FOR SHE'S GOT WHAT IT TAKES NEXT DOOR NEIGHBOR BIG APPLE BLUES FREIGHT TRAIN BLUES GOOD GAMBLIN' GONNA KEEP IT FOR MY DADDY NEVER LEAVE ME MAMA DON'T ALLOW ME TO STAY OUT ALL NIGHT FRIAR'S POINT BLUES NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Thu, 7 Dec 1995 06:50:04 -0000 Reply-To: "J. Witteveen" From: "J. Witteveen" Subject: Re: Bring It To Jerome In another time and place, somebody wrote: >> Does anyone know of a better version by some other artist of "Bring >>it to Jerome"? And Bo responded: >I m not shure but I think Eagles did a much tighter and generally better >sounding version. :-) I hate to disagree with you, but I think the definitive version of this song was performed by the Partridge Family (a bonus track on their box set). It beats the Brady Bunch version by a mile, although Shawn Cassidy's interpretation is close. :-) -Jim ========================================================================= Date: Thu, 7 Dec 1995 08:35:57 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Night Train Records Comments: To: Peter Welch In-Reply-To: <199512061829.NAA122065@poe.acc.Virginia.EDU> The 2-CD Ray Charles set is on Ebony. Night Train is doing some very nice work with vintage west coast stuff, but picky me does have two problems with some of it: 1) The amount of overlap between their recent output and the issues of several years ago by Glenn, Fulson and Spoon particularly and 2) they don't always seem to know what they have, particularly with Fulson where their info about titles and alternates is scrambled; for example, I think they call Guitar Shuffle (which isn't exactly obscure; it was a hit) Day Is Passing On or something, and that's not their only such mistake. Their stuff is well worth grabbing (I've gotten as many as I can find), but realize that it's a discographer's nightmare (not helped by sketchy notes) and people with the first batch of Night Train CDs should probably compare tracks with the new ones before spending money if budgets are tight (as they usually are). ========================================================================= Date: Thu, 7 Dec 1995 10:00:56 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: Buddy/Hendrix Comments: To: Richard Shurman The Hendrix:Blues CD is one of my crowd's favorite and most-listened-to CDs. If you think Hendrix isn't a bluesman, this CD should change your mind. ______________________________ Reply Separator _________________________________ Subject: Re: Buddy/Hendrix Author: Richard Shurman at Internet Date: 12/6/95 3:09 PM You may find it hard to believe that Hendrix copied anyone but there are certainly traces of the many blues guitarists about whom he spoke glowingly like Buddy, Alberts King and Collins and Hubert Sumlin, not to mention Muddy and Elmore, in his playing. However, a lot of people think Buddy overplays the degree of his pull on Hendrix, and the liner notes to Hendrix's BLUES CD on MCA really bust him hard for it. In fact, maybe the notes go too far in the opposite direction, but maybe the writer was just tired of Buddy waving the Hendrix flag as he has. ========================================================================= Date: Thu, 7 Dec 1995 15:34:21 GMT Reply-To: Richard Cotenas From: Richard Cotenas Organization: California State University Sacramento Subject: Re: Blues 'N' Trouble Comments: To: bit-listserv-blues-l@uunet.uu.net Gary, The only thing I know about Blues'n'Trouble is that Ian Stewart, the Stones' road manager and occasional pianist, played piano on one of their records. Sorry, I don't know which one, but Stewart died in 1986, so if the CD you have was recorded prior to 1986, Stewart may be the pianist. Sorry I can't help more. Gary Constantine (gconstan@CCINET.AB.CA) wrote: : BLUES 'N' TROUBLE : BAG FOOL OF BOOGIE : BARKIN' MAD (BAMCD 2) : Another CD that I picked up in England. An excellent mix of Texas : Swing, Chicago and country blues. A good mix of covers and originals. : Unfortunately there is very little information in the liner notes. I believe : the band is Scottish but I'm not positive. : Anyone know more about them? Other CD's available? : Thanx, : GAry .......... -- Richard Cotenas Calif. State Univ., Sacramento ========================================================================= Date: Thu, 7 Dec 1995 09:50:49 -0600 Reply-To: Matthew W Johnson From: Matthew W Johnson Subject: Re: Buddy/Hendrix Comments: To: Peter Welch In-Reply-To: <199512062158.QAA133735@poe.acc.Virginia.EDU> On Wed, 6 Dec 1995, Peter Welch wrote: > According to Mark Richard Siegel: > > > > I've read that Buddy Guy has made claims that Hendrix got a lot of his > > style from him. He also claims that he was using distortion/effects long > > before Hendrix but his producers said that he should not use the > > effects. Has anyone else heard these rumors? If you can, please shed > > some light on this mystery. I find it hard to believe > > that Hendrix copied much of anyone. > ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ > > Albert King, Buddy Guy, Eddie Jones, John Lee Hooker, Hubert > Sumlin, etc. > > -P > Don't you think all of this is kind of stupid? I mean, what artist out there wasn't influenced by another? There isn't a note that hasn't been played; everybody's just revamping old stuff. So, sure, Hendrix got his style from the blues and the artists that make the blues, but who cares?! Goldenfreak ========================================================================= Date: Thu, 7 Dec 1995 09:07:48 EST Reply-To: Ian Sumpter From: Ian Sumpter Subject: Re: Magic Sam Hell, I've been on the Blues_L listing for a week and I haven't heard a word about Magic Sam.....I'm ashamed. The eagle flies on Thursday..... ========================================================================= Date: Thu, 7 Dec 1995 17:18:45 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Magic Sam Comments: To: Ian Sumpter > Hell, I've been on the Blues_L listing for a week and I haven't heard > a word about Magic Sam.....I'm ashamed. > > The eagle flies on Thursday..... Hey, Dont you dare mention that bird around here. Bo Diddleydaddy (Sorry, couldnt resist - promise not to do it again) ========================================================================= Date: Thu, 7 Dec 1995 08:28:13 -0800 Reply-To: Chris Adams From: Chris Adams Subject: Re: Night Train Records Comments: To: Peter Welch In-Reply-To: <199512061829.NAA122065@poe.acc.Virginia.EDU> Roots and Rhythm carries the entire Night Train catalog. Most everyone has heard of this mail order company, so I won't give the specifics. One note- our own eRIC Leblanc is now a reviewer for the Roots and Rhythm newsletter. Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us On Wed, 6 Dec 1995, Peter Welch wrote: > One of the best, but more obscure, reissue blues & R&B labels > I've found is the Night Train label. > > For the past few years, Night Train has been releasing some > fantastic stuff from the vaults of the Swing Time / Down Beat > label that had its heyday in the late 40s and early 50s in > California. Most of this stuff is jumpin' small combo and big > band West Coast blues (with, of course, a big Texas influence) & R&B, > plus a lot of classy vocal work from folks such as > Charles Brown, Jimmy Witherspoon & Lowell Fulson. > > This label is hard to track down, though...Occasionally you'll > see Night Train stuff pop up in your local CD store, but you > should snap it up when you do. > > >From looking around, here's a listing of Night Train issues > I've come up with: > > Charles Brown: Snuff Dippin' Mama Night Train 7017 > Charles Brown: Walkin' in Cicles Night Train 7024 > Lowell Fulson: Back Home Blues Night Train 7001 > Lowell Fulson: Everyday I Have the Blues Night Train 7007 > Lowell Fulson: Sinner's Prayer Night Train 7011 > Lloyd Glenn: Chica Boo Night Train 7009 > Lloyd Glenn: Honky Tonk Blues Night Train 7002 > Johnny Otis: Be-Bop Baby Blues Night Train 7003 > Johnny Otis: Too Late to Holler Night Train 7006 > Jimmy Witherspoon: Call My Baby Night Train 7004 > Jimmy Witherspoon: Cold-Blooded Boogie Night Train 7008 > > Various Artists: Swing Time Shouters, Vol. 1 Night Train 7010 > Various Artists: Swing Time Shouters, Vol. 2 Night Train 7014 > Various Artists: Swing Time Sisters Night Train 7012 > > > As a companion, I'd also recommend the Swing Time Story 2-CD > boxed set on Warner/Capricorn records, and I'd recommend the > 2-CD set of Ray Charles' Down Beat stuff called "Birth of a > Legend" (I can't remember what label it's on right now). > > > -Peter > ========================================================================= Date: Thu, 7 Dec 1995 10:26:51 -0600 Reply-To: Dave Daubard From: Dave Daubard Subject: Blues cruise Playlist 12/1/95 artist------------song------------------release------------label------- Rod Piazza Rockin' robin/Itty bitty Harp burn black Top John Hammond That Nasty Swing Trouble No More Virgin " " Trouble Blues " " " " Otis Grand SRV(My Mood Too) He Knows the Blues Sequel Lowell Fulson Night Owl Everyday I Have the Blues Night Train Willie Smith Hard Times Bag Full of blues Blind Pig Elvin Bishop Gimme Some of that $ Ace in the HOle ALCD Nappy Brown Jack the Rabbit Tore Up " Lowell Fulson Too Soon to Tell Them Update Blues Bullseye Otis Rush Chittlins Con Carne So Many Roads Live Delmark Scott Henderson Smelly Ol' Dog Blues Dog Party Mesa Buddy Guy & Jr. Wells-Big Boat Alone & Acoustic Alligator John Brim Old Time Boogie The Ice Cream Man Tone-Cool Phil Guy Professor's Boogie Tina Nu JSP Big Daddy Kinsey-Nothing's Too Good For My Baby-Ramblin'Man- Verve Tony Z The Blues That was Waiting For Me-Get down with the blues-Tone-Cool Big Daddy Kinsey-Tippin' On In Ramblin' Man Verve Jay Owens Title Tune Movin' On Code Blue Mem Shannon If This Ain't the Blues Cab Driver's Blues Rhykodisc John Hammond-No Money Down Big City Blues Vanguard Mississippi Heat-Don't Dare Call Thunder in My Heart Sabena Prof. Eddie Lusk-Stormy Monday Professor's Strut ? Bugs Henderson-Foreplay That's The Truth Flat Canyon Rec Luther Allison-Cherry Red Blue streak Alligator Delbert McClinton- Go On I'm With You Curb Bob Brozman-Never Hit the Same Place Twice-A Truckload Of blues-Rounder 2 Bobs & a Babe-Statesboro Blues- 2 Bobs & a Babe Hot Fudge Little Milton- Friend of Mine Live at westville Prison-Delmark Johnny Adams-You Can Make it if you Try-I won't Cry Rounder Davell Crawford-Lovey Dovey Let Them Talk Rounder Tyrone Davis Big Cat Something's Mighty Wrong-Ichiban J. Cole- Giving It Up For Your Love- Live at blind pig Jam 11/27/95 Muddy Waters-Hoochie, Coochie Man One More Mile Chess Lloyd Jones-Got to get you off my Mind-Trouble Monkey Audioquest Paul"Wine"Jones-Gotto Go Home Mule Fat Possum Big Daddy Kinsy-title tune Ramblin' Man Verve ========================================================================= Date: Thu, 7 Dec 1995 10:59:43 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: Mr. Picky Again (WasRe: History Lesson) Comments: To: Shaun T Cronin Hi Shaun, regarding your argument that one can't play blues without going to the original source, I would certainly agree that a musician who wants to imitate another musician without considering early influences will be somewhat one-dimensional. For example, I know several Steve Ray Vaughn wannabes who can play a real good imitation of "Pride & Joy" but can't play "Come On Part 3" or "Lenny" because they aren't considering Jimi Hendrix's influence on SRV. Likewise, I know guitarists who can do a pretty good version of "Stone Free" but they can't play "Hear My Train A-Comin'" because they aren't considering "the old guys'" influence on Hendrix. So there you have it. ========================================================================= Date: Thu, 7 Dec 1995 11:50:00 EST Reply-To: edward c liu From: edward c liu Subject: NYC Club Dates Pointer Howdy all, The latest New York City Club Dates Pointer is available for the month of December. To receive it, send e-mail to me at: edwick@cc.bellcore.com with a subject line of "NYC CLUB DATES". Thank you for your support! -- Ed Edward C. Liu | "If nobody thinks for they self, edwick@cc.bellcore.com | Who thinks for everybody else? | -- Dr. John, "Lissen" The opinions in this message are mine and not Bellcore's. Really! ========================================================================= Date: Thu, 7 Dec 1995 10:56:40 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Re: Magic Sam > > Hell, I've been on the Blues_L listing for a week and I haven't heard > a word about Magic Sam.....I'm ashamed. > > The eagle flies on Thursday..... > Magic who? ========================================================================= Date: Thu, 7 Dec 1995 09:55:03 EST Reply-To: Ian Sumpter From: Ian Sumpter Subject: Re: F. King discs What is the general consensus on Freddie's CD "Taking Care of Business"? ========================================================================= Date: Thu, 7 Dec 1995 11:03:18 -0600 Reply-To: tbeabout@UTDALLAS.EDU From: tbeabout@UTDALLAS.EDU Organization: The University of Texas at Dallas Subject: Re: Steel slides, Part Dueax Comments: To: bit-listserv-blues-l@ncar.ucar.edu PARRISHR (PARRISHR@VITRO.COM) wrote: >not sure why one would insist on calling a slide a "bottleneck" unless >one is using an actual bottleneck. Since I'm a female, my fingers are >smaller and shorter than most men's, so I have to compensate. It's just >DIFFERENT. I don't care what ya call it. I don't care who plays it. All I know is there is never enuff of it played on the air waves. At least in DFW. In particular, delta slide blues. -- _________________________ & I still haven't found what I'm looking for - U2 ========================================================================= Date: Thu, 7 Dec 1995 12:16:36 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Muddy, Brass, and Blues I've heard that Muddy Waters' "Muddy, Brass, and Blues" (1966) release is atrocious. Is it as bad as the critics claim? Does anyone here have it, and continue to listen to it? Dave Prychitko Blues 101, 88.9FM, WNYO-Oswego http://www.oswego.edu/~prychitk/Blues101.html for reviews and playlists ========================================================================= Date: Thu, 7 Dec 1995 10:44:54 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: History Lesson Chris: thank you for being genderly sensitive. I don't know about other musicians, but all the really good blues guitarists I know listen to everything they can get their hands on, old and new. Their attitude is, maybe I'll hear something I can use, maybe I won't, but I won't know for sure until I LISTEN to it. I think you're right, if you're a musician and you're actively playing you're going to listen to music differently than a non-musician. I even listen differently depending on what I want to get from the song. sometimes I'm more interested in the rhythm, sometimes I'm more interested in the vocals, sometimes the bass line is what fascinates me. P.S. I'm sure I will get a ton of arguments about this, but I don't think it's really possible to play blues guitar leads without bending the strings. ______________________________ Reply Separator _________________________________ Subject: History Lesson Author: Chris Pearson at Internet Date: 12/6/95 12:24 AM Shaun!! Easy big fellow, steady now. I'm new at this. I didn't realize this was Blues-L Attack Net. You're sure making a big stretch between what I said and what you think I said! Upon reading your post again I think our problem lies in the intertwining of playing blues vs listening to blues. You said to play the blues you've got to know the old stuff. That's simply not true. If you had said to understand, or appreciate, or even comprehend the true socio/political ramifications of the blues I would agree that you should hear the old stuff. But just to play it? I don't think so. All you need is some feeling. The old guys were arguably better at expressing those feelings, but I think they did it more with there voices than with their instruments (Yes Mr Picky, I should have said instrument earlier). Every instrument player that I know, is constantly striving to express themselves better with their instrument. Whether it's the search for the Holy Grail TONE or simply, "How can I get to the five from here and have it sound cool?" I don't know, but I would think that your (darn, how can I put this and keep Ruth off my ass?)(I KNOW!!) female friend was wanting to hear Robben Ford because she liked him AND he has one of the coolest keyboard players around. I've never heard of anyone trying to steal licks from somebody they don't like. So where do you get off trying to tell her she can't play the blues un less she hears Muddy Waters?(How's that for stretch?) And come on Shaun, just because I didn't name every good guitar player that ever played doesn't mean I'm dismissing any of them. My premise remains that blues is about expression and the more mastery of your instrument and technique that you have the more you are able to express yourself. I guess it boils down to some people you like to hear express themselves and some you don't. I'm going to let the part about being dead slide, because anybody that brags about playing blues and not bending any strings has got to be one more boring guitar player. In the end it's all the same. Listen to what hits you in the heart. Chris ========================================================================= Date: Thu, 7 Dec 1995 12:27:42 -0500 Reply-To: David Ott From: David Ott Subject: Freddy King CD? > Edward Liu asks about Freddy King CDs - specifically about the Rhino > single-disc and Capitol 2-CD set. Ed, I have the Rhino CD and as is usual with that label the compilation is excellent - full CD with good sound. Can't comment on the other selection. Dave Ott ========================================================================= Date: Thu, 7 Dec 1995 12:42:39 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: Magic Sam Comments: To: Ranko Vujosevic In-Reply-To: <199512071656.KAA19008@picasso.ccad.uiowa.edu> > > Hell, I've been on the Blues_L listing for a week and I haven't heard > > a word about Magic Sam.....I'm ashamed. > > > > The eagle flies on Thursday..... > > Magic who? Odakle si ti?! - Magic Slim, Ranko. Magic Slim. Razumes? Do videnja, Dave Prychitko ========================================================================= Date: Thu, 7 Dec 1995 09:45:11 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Billboard blues chart 12/9/95 This is the Billboard Magazine blues chart for December 9, 1995. Reminder, this is not a weekly chart, it's every other week. 1. Greatest Hits/Stevie Ray Vaughan & Double Trouble 2. Ledbetter Heights/Kenny Wayne Shepherd 3. From The Cradle/Eric Clapton 4. Handful of Blues/Robben Ford & the Blue Line 5. Blues/Jimi Hendrix 6. Some Rainy Morning/Robert Cray 7. Cover to Cover/The Jeff Healey Band 8. Keb' Mo'/Keb' Mo' 9. Chill Out/John Lee Hooker 10. Turn It On,Turn It Up/Roomful of Blues 11. Sad Street/Bobby Blue Bland 12. Essential Blues/Various Artists (House of Blues Records) 13. Live '92-'93/Albert Collins & the Ice Breakers 14. Deep Blue: 25 Years of Blues On Rounder Records 15. Standing On The Bank/Tab Benoit Mary Katherine ========================================================================= Date: Thu, 7 Dec 1995 12:40:27 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: Steel slides, Part Dueax Comments: To: tbeabout@UTDALLAS.EDU I'm with you, "DFW," so I'm just gonna shut up and play some slide. Check out your homeboy Smokin' Joe Kubek when he's in town, if you haven't already. He's a fabulous slide guitarist. ______________________________ Reply Separator _________________________________ Subject: Re: Steel slides, Part Dueax Author: tbeabout@UTDALLAS.EDU at Internet Date: 12/7/95 11:03 AM PARRISHR (PARRISHR@VITRO.COM) wrote: >not sure why one would insist on calling a slide a "bottleneck" unless >one is using an actual bottleneck. Since I'm a female, my fingers are >smaller and shorter than most men's, so I have to compensate. It's just >DIFFERENT. I don't care what ya call it. I don't care who plays it. All I know is there is never enuff of it played on the air waves. At least in DFW. In particular, delta slide blues. -- _________________________ & I still haven't found what I'm looking for - U2 ========================================================================= Date: Thu, 7 Dec 1995 09:57:26 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Muddy, Brass, and Blues David L. Prychitko wrote: > >I've heard that Muddy Waters' "Muddy, Brass, and Blues" (1966) release is>atrocious. Is it as bad as the critics claim? Does anyone here have it, and >continue to listen to it? > I think it's awful. Fortunately for posterity, the basic tracks (lead guitar, rhythm guitar, bass, drums, harp) were recorded on different tracks, on different days, in different studios and I think even in different countries than the horns, which were overdubbed (very badly) a day or two after the original sessions, on separate channels. This means that they can be stripped off and the remaining music is intact. This has been done a couple times by MCA, with fairly good results. "Corrina Corrina" on the Muddy box set on MCA/Chess and another track (boy am I losing it, I can't remember which one, but it's indicated on the track listing) on "One More Mile." So if you want to hear what the tracks sounded like without the horns, try these two. But I do agree that "Muddy, Brass & Blues" is not one of the finer moments in blues history. On the other hand, it's not his worst either. You want worst? Listen to his version of "She'll Be Comin' Around the Mountain" from 1963. Muddy's own commentary on this recording is unprintable on a family list. Mary Katherine ========================================================================= Date: Thu, 7 Dec 1995 11:53:00 CST Reply-To: "Wsiaki, Bill" From: "Wsiaki, Bill" Subject: B.B. PLAYING A CEREAL BOX Yesterday Riffin Rick mentioned something that B.B. King could probably sound good playing a cereal box with a ruler attached to it. Actually the idea, although quite funny, isn't that farfetched. In the 1970's, a British guitar maker modified a Les Paul copy into something that looks perhaps a bit more sophisticated than what Rick suggested. However the body is (or looks like) a box of Kellogg's Corn Flakes. The headstock even has a small rooster and the Kellogg's logo. It was created for Simon Nicol of Fairport Convention. Bill Wsiaki WSIAKI@BLDGEDUC.LAN1.UMANITOBA.CA ========================================================================= Date: Thu, 7 Dec 1995 10:04:00 -0800 Reply-To: NED_KRAFT@HP0000.DESK.HP.COM From: Ned Kraft Subject: yank/old/drugs... New job and CD production's got me runnin' but I can't bring myself to delete the blues-l digest (at least I got up to 12/1). Yank Rachell - Barry didn't mention that he played extensively with Sonny Boy Williamson in his Chicago Style review. The - James "Yank" Rachell complete works are great (IMO) - 2 volumes on Wolf (volume 2 is my fav.). Excellent harp/guitar/mandolin interplay recorded between 1934 and 1941. Old at 27 - Dick, do you have to wait until 3 to the 4th power before changing again? BTW, I began harpin' at 27. You're only young once, but you have a lifetime to be immature. Drugs - if it weren't for alcohol and weed I wouldn't be playing in a band today. I must admit I don't get high when I play gigs or in the studio, but as my old psychology teacher said - "If you're high now, get high before the tests - if you learn in one state you retain better in the same state" Beat Daddys info? - someone asked - if you want info send me note. X-mas recommendations: I'll second Barry's recommendation of the Percy Mayfield Winner CD and recommend Darryl Nulisch and Texas Heat - Business as Usual (I have a couple copies to trade). Sorry for the fragmentation. Keep cool, Dirty Ned Hoosier Daddy ========================================================================= Date: Thu, 7 Dec 1995 10:14:21 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Gearheads and Musical Skills Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Hi Everybody! The recent amp discussions got me thinking. In the most recent issue of "Guitar Shop" (the ultimate gearhead magazine) the editor wrote a good editorial about how all these great guitar players he has met were all really into their sound, and knew a lot about equipment. He specifically disputed the idea that "it's all in your hands" (while allowing that if it is not in your hands, the gear won't help) since all these great players were gearheads. Here's what I have found. I've spent years getting my sound dialed in, (remember, I am a recording engineer, so I am genetically predisposed to this!) saved money, bought guitars, bought amps, sold amps, bought other amps, sold those, bought more... etc Now, I can pull out the red Les Paul and plug into the Matchless 4-12 rig and get tones that will grab you and shake you, I can pull out the black strat and get chimey clean tones to die for, or the white Eb one and do SRV's tone all day, and I even have a strat 12 string now... yikes! bloody living room looks like a music store (and there's more, but it already sounds like I'm bragging so enuf already!) the point is that I spent all that time on my sound and technique, and it worked, it sounds wonderful..... But you know what? I neglected what I really needed to work on, which is finishing my tunes, learning to write lyrics, and learning to sing. Now I am in hell trying to burnish long dormant skills so all this killer gear will mean something! Also, I've noticed that an awful lot of gearheads go real quiet when you change the subject to any of the following: *theory *composition *arranging *vocal skills *lyric writing So here's my question boys and girls, (musicians especially). Is getting "the tone to die for" a passion with you? Is that pursuit a substitute for musical growth for you? (it has been for me) Do you think it is possible to be obsessed with your gear without neglecting your musicianship? I am going to do whatever I have to do to finish my tunes and get a demo done. what about you? Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Thu, 7 Dec 1995 13:16:02 -0500 Reply-To: Michael Case From: Michael Case Organization: Downs Rachlin & Martin Subject: What Makes Me Blue Ruthie: "P.S. I'm sure I will get a ton of arguments about this, but I don't think it's really possible to play blues guitar leads without bending the strings." Is the converse true? (i.e., bend a string and you're playing a "blues lead"?) How 'bout this one? All blues invokes (at least in passing) flatted third and seventh scale degrees? Is there a "blues tune" that don't have it? Mixolydially, Michael case ========================================================================= Date: Thu, 7 Dec 1995 13:10:17 EST Reply-To: shannon oconnor From: shannon oconnor Subject: That Same Thread, but I'm Stubborn... LW said: Ok I will not make suggestions to anyone anymore, IF WE CAN STOP TALKING ABOUT THE EAGLES ON THE BLUES GROUP. I admit I WAS WRONG for trying to turn someone on to the blues, it will not happen again....I PROMISE (at least not on blues-l) I suspect this won't be the last word on this subject... It is not your responsibility, LW, to turn anyone on to the blues. Especially me, since I've been a member of this list for quite a while now and I'm not ignorant of the music (as a matter of fact I'm extremely well-educated in music...at least that's what my college degrees tell me). Although I don't think it's necessary for anyone to trot out their credentials to participate on this list. My original post asked that this not get into a flame war or a discussion of the Eagles; it was strictly a request for information. Since I finally found the information I needed from a co-worker while several of you either attacked me privately and others squabbled publicly, well, I suppose it just gives me something to chuckle about in observance of human nature. All sorts of discussions go on on this list that keep my Delete key active, and others hold my attention all the way through. But I will actively speak out when anyone tries to "educate" me or belittle my tastes. I would NEVER do so to anyone, and expect the same respect. I don't know where your anti-Eagles knee-jerk reaction came from, LW. But if you want people to open their minds to the music you love, then you have to accept that that's a two-way street. Shannon P.S. I was discussing this situation with my friend Sonny last night (Cincinnati's BEST blues/rock guitarist) and he agreed that both the Eagles and Bon Jovi had done worthwhile covers of this excellent CHARLES BROWN original. While we were discussing this, over the Muzak at the restaurant came yet another version, performed by....Aaron Neville. And you know, it sounded darn good. And Sonny is going to start adding the song to his set list for the rest of the season. :) ========================================================================= Date: Thu, 7 Dec 1995 13:28:19 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Muddy, Brass, and Blues Comments: To: prychitk@OSWEGO.OSWEGO.EDU On 7 Dec 95, David L. Prychitko had this to say... > I've heard that Muddy Waters' "Muddy, Brass, and Blues" (1966) release is > atrocious. > > Is it as bad as the critics claim? Does anyone here have it, and > continue to listen to it? Actually, I'll have to get back to you with the correct title, but one of the Muddy CDs I own has material from the "Muddy, Brass, and Blues" album WITHOUT the added brass, and it ain't bad at all. It's my understanding that the brass was added AFTER the recordings were completed in a misguided attempt to beef up sales. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 7 Dec 1995 13:44:39 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: Muddy, Brass, and Blues Comments: To: Mary Katherine Aldin In-Reply-To: <199512071757.JAA27411@ix13.ix.netcom.com> I've heard Muddy's "That's Why I Don't Mind" on the Chess Blues Box (vol. 4), which I take it is a remixed (or should we now call it de-mixed) version from MB&B without the horns. Like P.W. said, this stuff isn't bad. All these sour reviews of MB&B will continue to keep me from buying it! But now I'm dying to hear Muddy's "She'll Be Comin' Round the Mountain"! Dave Prychitko ========================================================================= Date: Thu, 7 Dec 1995 13:44:27 -0500 Reply-To: Michael Case From: Michael Case Organization: Downs Rachlin & Martin Subject: Whole Lot a Shakin' "In the 1970's, a British guitar maker modified a Les Paul copy into something that looks perhaps a bit more sophisticated than what Rick suggested. However the body is (or looks like) a box of Kellogg's Corn Flakes. The headstock even has a small rooster and the Kellogg's logo." So what happens when you shake that thang? ========================================================================= Date: Thu, 7 Dec 1995 13:56:35 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Heeeeeeres Johnny! I just saw this on usenet. I don't know how accurate it is. > Johnny Winter will be performing at Tramps in NYC on January 31. > Opening acts are Bill Perry and Debbie Davies. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 7 Dec 1995 09:43:25 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: Steel slides(?) Well, Laurie, you sit here and blither on and on about terminology. I'm gonna shut up and go play the blues with my GLASS SLIDE. Ruth ___________________________ Reply Separator _________________________________ Subject: Steel slides(?) Author: Laurie Forti at Internet Date: 12/7/95 12:42 AM Pa> I'm not sure why one would insist on calling a slide a Pa> "bottleneck" unless one is using an actual bottleneck. Apparently I was not clear the first time around. Bottleneck _style_, regardless of the material of construction, allows one to fret, chord, and do normal complex fingerwork associated with Blues (such as damping and hammering on and off) with the remaining four fingers. Using a 'slide', knife, bar, or other flat-on-the-lap technique does _not_ allow this refreshingly complex variety of effects. Therefore, because the range of effects is so great and substantially different between the two styles, different names _should_ be used for clarity of communication. This presupposes that some people actually want to communicate clearly. Pa> been playing slide and hanging out with slide players for YEARS. Pa> I never heard anyone refer to a metal slide as a "bottleneck." Pa> In my neck of the woods (DC/Baltimore), all the slide players I Pa> know (myself included) call anything we use to play slide guitar Pa> a "slide." Just shows how widespread the sloppy, ambiguous terminology is. Pa> It is not impossible to fret chords in open tuning. Pa> It's just DIFFERENT. Didn't say one can not fret chords in _open tuning_. Whoops, that's that pesky thing about communicating clearly again... Said one can not fret chords, or do the other special country Blues effects, whilst holding a four inch heavy metal Hawaiian type _slide_ in the left hand with all five fingers. Said one CAN fret chords in bottleneck style, while _not_ in real, conventional terminology 'slide' style. If, however, you or anyone else _can_ damp, chord, bend notes, and hammer on/off while gripping a heavy, cumbersome metal bar in their left hand with the guitar laying belly up on your lap, I'd certainly like to see that!! ... "Slippin' and a slidin', peepin' and a hidin'..." Little Richard --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Thu, 7 Dec 1995 14:18:41 -0500 Reply-To: Philip and/or Carol Decker From: Philip and/or Carol Decker Organization: Net Sarasota Subject: Re: Hollies Just Not The Same Without Buddy... (FWD) Comments: To: bit-listserv-blues-l@uunet.uu.net In article Jef Jaisun writes: > Okay, now, these pairing are obvious. Let's have a little contest and see > if we can come up something a bit more creative that justifies this kind > of bogus techno-ripoff. Possible examples: > *John Hurt (actor) and Mississippi John Hurt duet, "Kiss of the Candy Man." William Hurt (actor), perhaps? PJD ========================================================================= Date: Thu, 7 Dec 1995 13:25:17 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Mr. Picky Again (WasRe: History Lesson) > For example, I know several Steve Ray Vaughn wannabes who can play a > real good imitation of "Pride & Joy" but can't play "Come On Part 3" > or "Lenny" because they aren't considering Jimi Hendrix's influence on > SRV. "Come On" was originally an Earl King song. It's never been clear to me which version SRV was more influenced by. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Thu, 7 Dec 1995 14:39:17 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Gearheads and Musical Skills On 7 Dec 95, Don Cicchetti had this to say... > Here's what I have found. I've spent years getting my sound dialed in, > (remember, I am a recording engineer, so I am genetically predisposed to > this!) saved money, bought guitars, bought amps, sold amps, bought other > amps, sold those, bought more... etc Now, I can pull out the red Les Paul > and plug into the Matchless 4-12 rig and get tones that will grab you and > shake you, I can pull out the black strat and get chimey clean tones to die > for, or the white Eb one and do SRV's tone all day, and I even have a strat > 12 string now... yikes! bloody living room looks like a music store > (and there's more, but it already sounds like I'm bragging so enuf > already!) the point is that I spent all that time on my sound and > technique, and it worked, it sounds wonderful..... > > But you know what? I neglected what I really needed to work on, which is > finishing my tunes, learning to write lyrics, and learning to sing. Now I > am in hell trying to burnish long dormant skills so all this killer gear > will mean something! > Also, I've noticed that an awful lot of gearheads go real quiet when you > change the subject to any of the following: > > *theory > > *composition > > *arranging > > *vocal skills > > *lyric writing > > > So here's my question boys and girls, (musicians especially). > > Is getting "the tone to die for" a passion with you? > > Is that pursuit a substitute for musical growth for you? (it has been for me) > > Do you think it is possible to be obsessed with your gear without > neglecting your musicianship? > > I am going to do whatever I have to do to finish my tunes and get a demo > done. what about you? Great thread, Don. I wish we could hear the answers of many famous players to this line of questions. I think I approach the Blues from the opposite end of the spectrum. I'm a guitar player who loves good guitars and amps and can get a little misty over some of them, but my perspective has always been from the point of view of a songwriter and singer. The Bluesmasters I like are all good singers and sellers of songs, before they are guitar players to me. The first time I ever payed real attention to the quality of my guitar and amp setup was just recently when I gave my guitar to a good friend of mine and went into the audience to listen to him jam with the band. Turns out I have a great sounding rig! On the other hand, and in dispute with your contention that it ain't in the hands, I recently saw Lucky's dad, James Peterson, on stage and he called me up and handed me his guitar. It sounded totally different in my hands, like a whole different guitar. Because of my orientation as singer and songwriter I think that cool gear has a different effect on me. A new guitar, or amp, or stompbox or something, might inspire me to write a whole slew of songs. Sometimes it even inspires me to practice, and maybe LEARN something new. As far as being obsessed with STUFF, I have found that virtually anyone I know that falls into that catagory usually falls into the "wannabe" catagory as well. Obviously there are always exceptions but that seems to hold true in my experience. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 7 Dec 1995 14:24:29 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: Gearheads and Musical Skills Comments: To: Don Cicchetti Hi Don, I'm responding to your questions for myself and my fiance, "Mad" Max, who is a full-time professional musician and (in my humble and completely objective opinion) the best blues guitarist in D.C. >Is getting "the tone to die for" a passion with you? We spend an almost disproportionate amount of time working on tone. In addition, you have to be able to get "the tone to die for" in any situation. Each club has its own unique acoustics and one must be able to adjust one's gear to still get THE tone. >Is that pursuit a substitute for musical growth for you? (it has been for me) No. You have to think in terms of, for lack of a better term at the moment, guitar gestalt. I have a full-time job so I can't spend as much time on this sort of thing as I like. So I pay real close attention to people who are not only technically proficient but have killer tone, ask them a lot of questions, and LISTEN to what they say. >Do you think it is possible to be obsessed with your gear without >neglecting your musicianship? Yes -- see answer to question above. >I am going to do whatever I have to do to finish my tunes and get a demo >done. what about you? Of course! Music is all about communication. If you don't share it with other people, it's really not much good :) Ruth ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Thu, 7 Dec 1995 15:09:27 -0500 Reply-To: DKenn335 From: DKenn335 Organization: America Online, Inc. (1-800-827-6364) Subject: Johnny Mars, European Harmonica Ace Comments: To: bit-listserv-blues-l@uunet.uu.net Johnny Mars is an American blues artist who has found a home and career living in London since 1972. He has become a concert and festival headliner all over Europe. We are now trying to introduce him to America. In 1994 we recorded and released STATESIDE his first American produced album. We got some airplay and attracted some attention, but still have not had a big break. Johnny will be back here in the States Feb through June '96. I would like to get him bookings in Chicago, Philly, New York, New Orleans, Memphis, etc., but have only had a little success in interesting agents. My name is Dan Kennedy. I'm Johnny's long time friend and de facto American contact, producer, agent. I'm new to the Net and Web and would appreciate any assistance. I have a great promo package on Johnny with bio and reviews, and will post it whereever I can I if I can figure out how to do it. I would appreciate any suggestions ========================================================================= Date: Thu, 7 Dec 1995 11:18:17 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: History Lesson (fwd) Bill -- that's cool, I'll be 83. Let me know what the e-mail address for the Hip Replacement Surgery List is :) -- Ruth "Guitar-Playin' Future Geezette" >____________________ > I'll make a deal with you all, and this is the only way to resolve > this dispute. On this day 50 years from now, we'll take a poll and > see how many bluesicians know who Robben Ford et al. are compared to > those who know who Muddy Waters, Robert Johnson and Elmore James et > al. are. (I believe people will still remember SRV and Eric Clapton.) > So mark your calendars! Good idea Ruth. But I'll be 93 years old on poll day. Could we all meet at the Hip Replacement Surgery Recipients List? Bill Morgan ========================================================================= Date: Thu, 7 Dec 1995 13:23:00 EST Reply-To: Ian Sumpter From: Ian Sumpter Subject: Guitar Amp Question In the early '70s I purchased a used guitar tube amp head (60watts?) manufactured by DYNACO, the same outfit which also sold built-it-yourself stereo amp kits. Over the years and several moves, I have misplaced the amp's schematics, Is this company still in business? and if they are, is there a service number in the Pacific NW that I can call to get a copy of the wiring schematics? ========================================================================= Date: Thu, 7 Dec 1995 12:33:45 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Gearheads and Musical Skills Comments: To: BLUES-L@BROWNVM.BROWN.EDU. PW said, >On the other hand, and in dispute with your contention that it ain't >in the hands, I recently saw Lucky's dad, James Peterson, on stage >and he called me up and handed me his guitar. It sounded totally >different in my hands, like a whole different guitar. I didn't say that it wasn't in the hands. I presented both the view that it's "all in the hands", and the view that "most great players are gearheads". These are not necessarily contradictory and may coexist in the same individual. That is, ___________ (fill in great player) could play a _____________ (fill in your choice of cardboard container or small appliance) and sound great. Ok, so at their next show, hand them a ________________ (see above) to play, and they may beat you with it, but surely will not play it. My point is that a lot of people obsess over gear because they are avoiding attaining the musical skills needed to fulfill their dreams. You never ever read great players writing letters to Guitar Player for instance, telling them off because they did or did not like a certain product... Yet "gearheads" do this all the time, and I think it is sometimes their subsitute for music... Yet really good players ARE usually very particular about their gear. Their musical goals are more focussed however. I'm not even trying to generalize about gearheads, but I have found this weakness in myself and was wondering if you all deal with this as well. >Because of my orientation as singer and songwriter I think that cool >gear has a different effect on me. A new guitar, or amp, or stompbox >or something, might inspire me to write a whole slew of songs. >Sometimes it even inspires me to practice, and maybe LEARN something >new. Me too. It has always been the music that was important to me. But when I ran into areas where it didn't come "naturally" i.e. singing, lyrics etc, I got deeper into my chops, and my sound and my gear instead, and now I STILL have to improve those neglected areas. thanks for the thought-provoking response! Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Thu, 7 Dec 1995 15:43:37 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: Mr. Picky Again (WasRe: History Lesson) Comments: To: Eliot Williams Eliot, please excuse me for not citing the original source of "Come On" but I couldn't remember it off the top of my head. You're absolutely right. I don't know either but I'm sure SRV heard both. Ruth ______________________________ Reply Separator _________________________________ Subject: Re: Mr. Picky Again (WasRe: History Lesson) Author: Eliot Williams at Internet Date: 12/7/95 1:25 PM > For example, I know several Steve Ray Vaughn wannabes who can play a > real good imitation of "Pride & Joy" but can't play "Come On Part 3" > or "Lenny" because they aren't considering Jimi Hendrix's influence on > SRV. "Come On" was originally an Earl King song. It's never been clear to me which version SRV was more influenced by. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Thu, 7 Dec 1995 14:48:45 -0600 Reply-To: Chris Pearson From: Chris Pearson Subject: Chord Progressions Well, here we go. This is a little jazzy thing I like. I stole some of it from a session piece in Guitar Player Magazine.(probably most of it.) I like to play it in C because I can walk it down and get a big G and F in the 9th and 10th bars. The C9ths can be done as 7ths. Also my chord book calls some of the chords as a flat. For instance the c#dim is called a Dflat dim. Since I don't think I have a flat key on this computer let's just call them sharps. I'm just going to lay out the chords kind of where they fall in the measure and you can apply the feel side of it however you like. Maybe someday Ruth will teach us all how to record on our computers and send it in a file. C9 Dm7 Cdim C9 C9 F9 1/ / / / 2/ / / / 3/ / / / 4/ / / / 5/ / / / F9 C9 Dm7 Em7 D#m7 Dm7 G Cm7 F 6/ / / / 7/ / / / 8/ / / / 9/ / / / 10/ / / / C C#dim D9 G13Flatted9 11/ / / / 12/ / / / and back to the top. ========================================================================= Date: Thu, 7 Dec 1995 16:02:12 -0400 Reply-To: SOO3713@ALPHA.CC.OBERLIN.EDU From: Owen Okie Subject: Mr. Downchild Anyone out there heard of Mr. Downchild? He's a Harmonica and "bottleneck" bluesman from England who lives in Cleavland. He made an apearance at my school with a band (the Houserockers) And they really rocked the house. He just released an album with Robert Lockwood Jr on it, and he told us Robert was interested in paying us a visit :) - Owen ========================================================================= Date: Thu, 7 Dec 1995 13:53:13 EST Reply-To: Ian Sumpter From: Ian Sumpter Subject: Re: Charly Label I recently read a CD review on a disc put out on the Charly label. The reviewer badmouthed the label and basically referred to it as a bootleg label company. What is the background of this company? I understand that they are the liscencee to the Chess label in the UK? I have had one bad experience with the label....I bought Magic Sam's "West Side Soul" thinking it was the same as the Delmark CD, but instead contained an entirely different song list. Pissed off or what...... Venting in Victoria....... ========================================================================= Date: Thu, 7 Dec 1995 16:18:48 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Doors blues? My lab partner and I are jammin to the 2 cd set "Best of the Doors" and Roadhouse Blues is on. Did they write this, or is it a cover? There are absolutely no credits of any kind anywhere in this set or on the discs. The song isn't really blues anyway, but now it's a point of curiosity. Thanks, Riffin Rick (((( oo-) /- "In the back of the roadhouse they've got someone to love." F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 7 Dec 1995 16:46:26 -0500 Reply-To: Tremolux From: Tremolux Organization: America Online, Inc. (1-800-827-6364) Subject: Re: amp & tube question Comments: To: bit-listserv-blues-l@uunet.uu.net You can probably get a 6AQ5 from Antique Electronics in Tempe, Arizona. Regards. ========================================================================= Date: Thu, 7 Dec 1995 14:53:41 -0700 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: Bo Diddley Comments: To: Gary Constantine In-Reply-To: <9512071248.AA22419@bach.ccinet.ab.ca> I think (a real trick these days) that Manfred Mann or one of the early invasion British groups had a version. Personally, I like Bo Diddley's. And, also personally, I would vote for any Bo Diddley CD. "Bo Diddley is a Gunslinger" nice. Jay Watterworth CU Boulder Thu, 7 Dec 1995, Gary Constantine wrote: > What do 'zellers think the is the best CD of Bo Diddly? (It's a gift) > > Does anyone know of a better version by some other artist of "Bring > it to Jerome"? > > Thanx, > > Gary ............ > Gary Constantine >> gconstan@ccinet.ab.ca << > > If hard work were such a wonderful thing, surely the rich > would have kept it for themselves. > ========================================================================= Date: Thu, 7 Dec 1995 15:00:01 -0700 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: Whole Lot a Shakin' Comments: To: Michael Case In-Reply-To: <1995Dec07.134200.1115.227395@DRM.COM> On Thu, 7 Dec 1995, Michael Case wrote: > "In the 1970's, a British > guitar maker modified a Les Paul copy into something that looks perhaps a > bit > more sophisticated than what Rick suggested. However the body is (or looks > like) a box of Kellogg's Corn Flakes. The headstock even has a small > rooster > and the Kellogg's logo." > > So what happens when you shake that thang? > Bo Diddley falls out. ========================================================================= Date: Thu, 7 Dec 1995 17:13:39 -0500 Reply-To: RLaMour From: RLaMour Organization: America Online, Inc. (1-800-827-6364) Subject: Re: sonny rhodes Comments: To: bit-listserv-blues-l@uunet.uu.net Anyone interested in booking Sonny, contact RNA Booking (512) 416-1300 or e-mail me.....Ronnie Narmour ========================================================================= Date: Thu, 7 Dec 1995 17:40:06 EST Reply-To: ron kraemer From: ron kraemer Subject: Another Tone question.... I read a post (I think by Ruth P.) that mentioned Bobby Parker's sound, saying that he goes through an Ampeg and possibly a Fender Twin hooked together. I saw Bobby Parker opening for Johnnie Johnson in Phila. a few months back, and really liked his sound. He was using an Ampeg and a Twin, but how are the two hooked together? I think I hear the same tone on Buddy Guy's "Please Don't Drive Me Away" on his Slippin' In CD. Sounds kinda like an octave pedal is being used (?), with a generous dose of funky, growling Blues. Or is it just the amp setup? Rather a vague description, I know. But, I'm outta here (work) in 10 minutes and the brain is fried. Thanks for the help. Ron ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters (and in another life....) Ron Kraemer and the Hurricanes ************************************************************ ========================================================================= Date: Thu, 7 Dec 1995 22:45:53 GMT Reply-To: Mitchell Drumm From: Mitchell Drumm Organization: Santa Rosa Junior College, Santa Rosa, CA Subject: Re: Life gits tedious, don't it? Comments: To: bit-listserv-blues-l@uunet.uu.net Ian Angus (ianangus@DIS.ON.CA) wrote: : This song was recorded by Doc Watson, on his Live album, : I think on Vanguard, back in the 1960s. : > This ended up in my mail from another list. I'd love to hear/read : > the rest of this sometime. : > : > Water in the well's gettin' lower and lower, : > Caint take a bath for six months more! : > Life gits tedious, don't it? : > : > Hound dog's howlin' so forlorn, : > Laziest dog that ever was born! : > He's howlin' 'cause he alayin' on a thorn, : > An' he's jist too tired t' move over! : > Life gits tedious, don't it? : > : > Mike G. : > gilbertm@fox.nstn.ca : > : Ian Angus : "Built for comfort, not for speed" if i am not mistaken, the song goes much farther back. I think Carson Robinson did a version in the forties, perhaps thirties. ========================================================================= Date: Thu, 7 Dec 1995 22:53:27 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Muddy, Brass, and Blues Comments: To: bit-listserv-blues-l@uunet.uu.net In , "David L. Prychitko" writes: >I've heard that Muddy Waters' "Muddy, Brass, and Blues" (1966) release is >atrocious. > >Is it as bad as the critics claim? Does anyone here have it, and >continue to listen to it? Its worse. I own it, and its right next to Surfin' With Bo Diddly. Tow of the most god-awful albums ever issued. Bad enough to be good, that is. I consider them the Plan 9 from Outer Space of blues. BBB - B.B. Bean bbbean@cris.com - ========================================================================= Date: Thu, 7 Dec 1995 18:36:04 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Muddy Waters albums Comments: To: Mary Katherine Aldin I wrote: >And I'm partial to the Muddy Waters cuts on "The Blues: >A Real Summit > Meeting" (Vanguard) but he is only part>of that. And then Mary Katherine wrote ... > Ian: although I'm a long time Muddy fan and although I occasionally > produce reissues for Vanguard, I have never heard of the record you > mention. Can you enlighten me any? If you think it's good enough to > go on your best of list, I'd really like to hear it! Many thanks, So I respond ... First, my aopoligies. I was working from memory, and I would have sworn that album was on Vanguard -- probably because I bought it in the 70s when Vanguard seemed to have a lock on the "two-fer" album format, which this one is in. Actually, however, "The Blues: A Real Summit Meeting" was released on Buddah Records in the US, and on Quality in Canada. It's BDS 5144-2. I'm pretty sure it has been reissued on CD, although the version I saw didn't have all the album tracks on it. It's a live album, recorded at Lincoln Center on June 29 1973. It features Big Mama Thornton, Jay McShann, Eddie Cleanhead Vinson, Arthurd Crudup, Lloyd Glenn, Muddy Waters, Gatemouth Brown and BB King. Muddy does three songs -- Long Distance Call, Where's My Woman Been, and Got My Mojo Workng. All three he rcorded many times, but these tracks -- especially Long Distance Call -- are to my mind among his best versions. Sorry for my confusion about the label, but I do like this album. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Thu, 7 Dec 1995 17:32:11 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Charly Label > From: Ian Sumpter > I recently read a CD review on a disc put out on the Charly label. > The reviewer badmouthed the label and basically referred to it as a > bootleg label company. What is the background of this company? I > understand that they are the liscencee to the Chess label in the UK? Charly obtained its Chess material via some not-entirely-kosher mechanism (I'm sure Richard Shurman or Mary Katherine can shed more light on this) and has been releasing it in various permutations for years. I've heard that one or more court rulings have gone against them in the last year or two so they may not be able to keep doing this. Nonetheless, most of their releases (the bogus "West Side Soul" being an exception) are of pretty good quality, and for quite a few years they were one of the best sources around for this and other reissued material. So there'll always be something of a soft spot in my heart for this label. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Fri, 8 Dec 1995 00:47:20 -0800 Reply-To: Ton Schomaker From: Ton Schomaker Organization: XS4ALL, networking for the masses Subject: lyrics Comments: To: bit-listserv-blues-l@relay1.uu.net I'm looking for lyrics of blues-oldies like "Dust my blues/broom" and "Going up the country" (Canned Heat). On which sites can I find these? Blues guitar player Ton Schomaker from Wageningen, Holland ========================================================================= Date: Thu, 7 Dec 1995 18:58:09 -0800 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Re: Longhair, Booker Comments: To: bit-listserv-blues-l@uunet.uu.net I do computer and mailing list consulting for the Professor Longhair Foundation here in New Orleans, and re: this thread, I'd like to point all lovers of Fess and Booker to: The Louisiana Music Factory 225 So. Peters St. New Orleans, LA 70116 phone: 504.523.1094 fax: 504.523-2345 Alas, no e-mail address as yet...but they do a mail order business. And no, I'm not affiliated with the Factory, but believe me, they are the *best* source in town for local music. Terrific stuff in stock, and will order about anything you could want. Nice people, too. For further info on Fess, you could check out the web site of the music group that recently purchased all the publishing rights to his music (and several other dead legends: Hendrix, Garcia, et al) at: http://www.i-site.com Long live Fess! Maggie Mortensen New Orleans USA ========================================================================= Date: Thu, 7 Dec 1995 20:48:18 -0600 Reply-To: Roger Scharbach From: Roger Scharbach Subject: Re: Mr. Downchild Comments: cc: SOO3713@ALPHA.CC.OBERLIN.EDU As far as I have known, Mr. Downchild is alive and well in Toronto Ontario! Yes he is the leader/harp/guitarist for the #1 Canadian Blues band. They have been around since I can remember (at least 15 albums) and he (Don Walsh) is still plugging away with much (although local) success. You may have heard his music a number of years back done by the Blues Brothers (I Got Everything I Need, Shotgun Blues among others) which were credited (and rightfully so!) to Don Walsh of the Downchild Blues Band. The name Downchild came from an early recording called 'Mr Downchild' by and I was first aware of it from an early recording done by Sonny Boy Williamson with the British Blues players Eric Clapton and the Yardbirds. By the way, the last CD by Downchild featuring the song 'I am Mr. Downchild' and is called 'Good Times Guaranteed' is highly recommended. -Roger At 16:02 07/12/95 -0400, you wrote: >Anyone out there heard of Mr. Downchild? >He's a Harmonica and "bottleneck" bluesman from England who lives in >Cleavland. He made an apearance at my school with a band (the Houserockers) >And they really rocked the house. He just released an album with Robert >Lockwood Jr on it, and he told us Robert was interested in paying us a visit >:) > - Owen > > ========================================================================= Date: Thu, 7 Dec 1995 21:18:29 -0500 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Sparky Rucker ... Blue Goose ... Comments: To: bit-listserv-blues-l@uunet.uu.net Sparky Ricker is great!! I had the opportunity to sing with him this summer. I wouldn't trade it for the world! Lea ========================================================================= Date: Thu, 7 Dec 1995 21:26:15 -0500 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Help! I want to sing "da blues!" Comments: To: bit-listserv-blues-l@uunet.uu.net First, thanks to all who replied to my very limited message earlier. I am a 30 year old African-American woman living in Baltimore. I have sang professionally for about 10 years, BUT I WANT TO SING BLUES MUSIC. If anyone can give me some advice on where to start (need demo?...manager?...musicians?) please write. ========================================================================= Date: Thu, 7 Dec 1995 23:07:14 -0500 Reply-To: "Joseph P. Cauffiel" From: "Joseph P. Cauffiel" Subject: Buddy Guy I am looking for any information on Buddy Guy, like e-mail address, web site, and his tour schedule. Thanks Joe ========================================================================= Date: Thu, 7 Dec 1995 22:13:51 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Heeeeeeres Johnny! Comments: To: "P.W. Fenton" In-Reply-To: <199512071859.NAA56868@tequesta.gate.net> The Jan. 31 gig is the one I was alluding to, though I'm surprised (but pleased) that it's being publicly announced this soon. Johnny's management has picked up Bill Perry (whose CD "Love Scars" will be issued on Pointblank in February) and Debbie Davies. ========================================================================= Date: Fri, 8 Dec 1995 00:50:42 -0500 Reply-To: JIMBLUE1@AOL.COM From: Jim Armstrong Subject: Re: Buddy/Hendrix Comments: To: rshurman@ccs.nslsilus.org In a message dated 95-12-06 16:44:54 EST, rshurman@CCS.NSLSILUS.ORG (Richard Shurman) writes: > and the liner notes to >Hendrix's BLUES CD on MCA really bust him hard for it. In fact, maybe >the notes go too far in the opposite direction, but maybe the writer was >just tired of Buddy waving the Hendrix flag as he has. The people involved with that project have been given their due in court, maybe the voodoo that Buddy and Jimi sang about had something to do with that. Never mess with a REAL mojo man. JA ========================================================================= Date: Thu, 7 Dec 1995 20:59:57 -0800 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: H.D.Taylor Web site??? Is there any site for Hound Dog Taylor? He is one of my Favorite, if not my all time favorite blues guit. If anyone has some interesting info or stories Lay 'em on me . could someone tell me all the albums he has made? Thank ya-ll I love Hound Dog, Isaac yeah ========================================================================= Date: Fri, 8 Dec 1995 06:59:18 GMT Reply-To: Jim Farris Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Jim Farris Organization: New Age Documentation Subject: Musician's Website Comments: To: dj@musician.com Hi dj, You have a great idea, and I liked what I saw on http://www.musician.com Many years ago, I wrote for a newspaper called Music Referral. Our paper had basically the same concept as your Website, but you've taken this concept many steps further using the Internet. I wrote a column for Music Referral that featured certain SF Bay Area jams and listed all of them. Have you thought about featuring a jam column? Jammin' Jim Farris KKUP 91.5 FM ========================================================================= Date: Fri, 8 Dec 1995 06:16:35 GMT Reply-To: Jim Farris From: Jim Farris Organization: Netcom Subject: Re: Announcing Mark Naftalin's homepage (411-Winner) Comments: To: bit-listserv-blues-l@uunet.uu.net Hi Mark, Excellent job on your Website. It really tells your story and what a story! Jammin' Jim Farris KKUP 91.5 FM Mark Naftalin wrote: >Friends, > > Please visit 411-Winner (the Winner Info-Page) at . > > There you will find info on Winner Records, its releases and its >artists (Paul Butterfield Blues Band, Percy Mayfield, Ron Thompson). You >will also find information on me and my activities and an archive of >blues-related -- and other -- materials. > > Thank you and all the best for the holidays and the new year. > >Mark Naftalin ========================================================================= Date: Fri, 8 Dec 1995 02:57:33 -0500 Reply-To: PianoMan96@AOL.COM From: Jerry Mangona Subject: Re: Longhair, Booker Comments: To: exarch@ux.accesscom.net Regarding: The Louisiana Music Factory 225 So. Peters St. New Orleans, LA 70116 phone: 504.523.1094 fax: 504.523-2345 Do you know if they have transcriptions of Harry Connick Jr.? I'm particularly interested in finding "Avalon" if anyone knows where I can get it Jerry PianoMan96@aol.com ========================================================================= Date: Fri, 8 Dec 1995 05:47:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Muddy, Brass, and Bad Tunes Mary Katherine tells us that some cacophonous "She'll Be Comin' Round the Mountain" recording by Muddy Waters in 1963 is his worst, eclipsing even Muddy, Brass, and Blues, and reviled unprintably even by Muddy himself. Mary Katherine should have a pretty good handle on this sort of thing, so maybe she (or some other knowledgable soul) could enlighten us as to whether this Comin' Round the Mountain is just the idiotic traditional ditty of the same name, or a whole album, and how on earth our beloved Muddy came first to record it and then to curse it. Joe in Moscow ("It just sounds like an interesting story, that's all") J.E._Downey@bakermck.com ========================================================================= Date: Fri, 8 Dec 1995 07:30:21 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - December 8th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ALLMAN, GREGG [GREGORY LENOIR ALLMAN] (p) b. 1947-1208, NASHVILLE, TN BACON, LOUIS (tpt/BESSIE SMITH) d. 1967-1208, NEW YORK CITY, NY 63 BOARD, JOHNNY (tsax/JOHNNY ACE/B.B. KING) b. 1919-1208, CHICAGO, IL BROWN, CLEO (p/DECCA REC) b. 1907-1208, KEMPER CTY, MS BUTLER, JERRY (v/IMPRESSIONS) b. 1939-1208, SUNFLOWER, MS CLAYTON, WILBUR "BUCK" (tpt/BASIE) d. 1991-1208, MANHATTAN, NY 80 DAVIS, SAMMY JR. (v) b. 1925-1208, NEW YORK CITY, NY HARTMAN, DAN(b/prod/EDGAR WINTER/J.BROWN) b. 1950-1208, HARRISBURG, PA HOLLYWOOD FATS (MICHAEL MANN) (g) d. 1986-1208, LOS ANGELES, CA 32 HORTON, WALTER BIG (hca) d. 1981-1208, CHICAGO, IL 63 JARRETT, JAMES "PIGMEAT" (p) b. 1899-1208, CORDELE, GA JOHNSON, HENRY "RUFE" (g/TRIX) b. 1908-1208, UNION, SC JONES, RICHARD M. (p/TROUBLE IN MIND) d. 1945-1208, CHICAGO, IL 53 LEE, JULIA (p/CAPITOL REC) d. 1958-1208, KANSAS CITY, MO 56 LENNON, JOHN WINSTON(g/songw/THE BEATLES) d. 1980-1208, NEW YORK CITY, NY 40 MILLS, JOHN SR. (of THE MILLS BROS) d. 1967-1208, BELLEFONTAINE, OH 85 MORRISON, JIM (of DOORS) b. 1943-1208, MELBOURNE, FL PANASSIE, HUGUES (pioneer discographer) d. 1974-1208, MONTAUBAN, FRANCE 62 RAMEY, GENE (b) d. 1984-1208, AUSTIN, TX 71 RHOAD, HERBERT "TOUBO"(of THE PRESUASIONS)d. 1988-1208, SACRAMENTO, CA 44 SMITH, JIMMY (organ) b. 1925-1208, NORRISTOWN, PA TITON, JEFF (author/BLUES-L MEMBER) b. 1943-1208, PROVIDENCE, RI WILLIAMS, WILLIE "ROUGH DRIED"(d/E.HOOKER)d. 1988-1208, CHICAGO, IL 66 ------------------------------------------------------------------------------- P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Thu, 7 Dec 1995 22:21:05 GMT Reply-To: Dave_J._Herda@infozone.telluride.co.us From: "Dave J. Herda" Organization: InfoZone Telluride Co (970)-728-0472 Subject: Re: Blues cruise Playlist 12/1/95 Comments: To: ddaubard@PRAIRIENET.ORG Paul"Wine"Jones-Gotto Go Home Mule Fat Possum Mem Shannon If This Ain't the Blues Cab Driver's Blues Rhykodisc Luther Allison-Cherry Red Blue streak Alligator Excellent playlist, the best I've seen on Blues-L in a couple of weeks. Gotta love that Paul Jones tune--he truly is the deacon of the blues. Can anybody out there do any better? Let's see your best playlists! Mr. Plow Head ========================================================================= Date: Fri, 8 Dec 1995 07:27:01 -0500 Reply-To: leddy@A1.POLICE.UPENN.EDU From: Gerald Leddy Subject: Sad news-No RiverBlues In a local paper I read where Festival Productions, those responsible for producing RiverBlues in Philly (as well as the Jambalaya Jam) for the Visitor's Bureau is backing out leaving the City to go it alone. The article states the City is looking at making ONE big festival on Memorial Day, but the idea of one blues-related festival is gone. The rep from the city Meryl Levitz, called RiverBlues `the problem child' of the two festivals. RiverBlues attracted "a narrower concert crowd, not a mainstream here-for-a-party crowd like you get at the Jam". [Now I've been at most of both, and I don't agree, smaller crowd perhaps, but surely as lively!!!]. A contributing facter is that Benson & Hedges dropped out after deciding it's market wasn't the blues audience {excuse us for not smoking} $110k gone from production costs. On the positive side, Levitz also lays some blame on local competition with the clubs that do cater to Blues. The Visitor's Bureau is intent in providing an American music festival of `some kind'..."We need a great big wonderful food and music party on the river-strong New Orleans, strong blues, strong pop, strong roots, strong American music-and that is what we intend to provide" says Meryl. I'll keep y'all posted. Jerry. ========================================================================= Date: Fri, 8 Dec 1995 08:42:07 -0500 Reply-To: Larry Corbett From: Larry Corbett Subject: Chord Progressions I've been fingerpicking my blues for so long I've forgotten how to play rhythm guitar...I would be very interested and very appreciaive of anyone who might be able to share some of this most important information and technique with me. Book recomendations, hand written chord progressions...anything..would be great. A list of blues chords would be nice...I can get a chord dictionary... Help me out of my slump...I need rhythm...I need roll...I need those chords to shake away my blues... Thanks Larry ========================================================================= Date: Fri, 8 Dec 1995 07:58:39 -0600 Reply-To: Bennett Pearce From: Bennett Pearce Organization: UAB Pediatric Cardiology Subject: Re Longhair, Booker Comments: To: bit-listserv-blues-l@uunet.uu.net I have heard these James Booker recordings: 1) Resection of Bayou Maharajeh-solo piano and vocal recording fron appearences at the Maple Leaf Bar, 2) Spiders on the Keys-solo piano from the same appearences, 3) Classified-studio recordings with local (New Orleans) musicians including John Vidachovich and Red Tyler. These are all available on CD. In addition, the only available CD recording of his classic organ single "Gonzo" is on a "Best of" compilation from Duke-Peacock records. There is a live recording of a Jazzfest appearance available as well. -- Bennett Pearce ========================================================================= Date: Fri, 8 Dec 1995 09:25:58 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: Muddy Waters albums Comments: To: Ian Angus In-Reply-To: <9512071812.aa19818@admin.dis.on.ca> On Thu, 7 Dec 1995, Ian Angus wrote: > Actually, however, "The Blues: A Real Summit Meeting" was released on > Buddah Records in the US, and on Quality in Canada. It's BDS 5144-2. > I'm pretty sure it has been reissued on CD, although the version I > saw didn't have all the album tracks on it. The Buddah version is called "Best of the Blues: A Summit Meeting" PCD-2-1205 > It's a live album, recorded at Lincoln Center on June 29 1973. It > features Big Mama Thornton, Jay McShann, Eddie Cleanhead Vinson, > Arthurd Crudup, Lloyd Glenn, Muddy Waters, Gatemouth Brown and BB > King. Muddy's tunes are fine here. So are three by Cleanhead: "They Call Me Mr. Cleanhead," "Hold it Right There," and "Back Door Blues." B.B.'s "Outside Help" is also good. You can find this CD cheap, often in the used bins. It's worth it. Dave Prychitko ========================================================================= Date: Fri, 8 Dec 1995 09:27:18 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: Doors blues? Comments: To: Rick Miller Of course they stole it. Someone help me out here. Was that a Robert Johnson tune? ______________________________ Reply Separator _________________________________ Subject: Doors blues? Author: Rick Miller at Internet Date: 12/7/95 4:18 PM My lab partner and I are jammin to the 2 cd set "Best of the Doors" and Roadhouse Blues is on. Did they write this, or is it a cover? There are absolutely no credits of any kind anywhere in this set or on the discs. The song isn't really blues anyway, but now it's a point of curiosity. Thanks, Riffin Rick (((( oo-) /- "In the back of the roadhouse they've got someone to love." F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 8 Dec 1995 09:37:50 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: Longhair, Booker Comments: To: Maggie Mortensen In-Reply-To: <30C7A9C1.5E0C@mailhost.accesscom.net> On Thu, 7 Dec 1995, Maggie Mortensen wrote: > I do computer and mailing list consulting for the Professor Longhair > Foundation here in New Orleans, and re: this thread, > I'd like to point all lovers of Fess and Booker to: > > The Louisiana Music Factory > 225 So. Peters St. > New Orleans, LA 70116 > phone: 504.523.1094 > fax: 504.523-2345 > > Alas, no e-mail address as yet...but they do a mail order business. > And no, I'm not affiliated with the Factory, but believe me, they are > the *best* source in town for local music. Terrific stuff in stock, > and will order about anything you could want. Nice people, too. I was at a conference in New Orleans Nov. 17th-20th, and I was on my way to meet some folks at the Central Grocery for a muffaletta (P.W.'s advice, posted months ago) when, walking past the Louisiana Music Factory, I heard none other than Little Freddy King jamming with his band in the back corner of the store. I jumped in for three or four songs... and let me tell you, it was the _best_ music I heard in the Crescent City that weekend. Everything else was a disappointment. Little Freddy, however, raised my spirits. The store itself has the best selection of Blues Cds (and vinyl) I've ever seen. Dave Prychitko ========================================================================= Date: Fri, 8 Dec 1995 09:40:30 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: Another Tone question.... Comments: To: ron kraemer Hi Ron, I think Bobby Parker just daisy-chains the Twin to the Ampeg. I wasn't sure who you thought was using the octave pedal, Bobby or Buddy. Bobby is a local native and good friend of our, and I've never seen him use pedals. Isn't that a great tone he gets with the Ampeg/Twin setup? ruth ______________________________ Reply Separator _________________________________ Subject: Another Tone question.... Author: ron kraemer at Internet Date: 12/7/95 5:40 PM I read a post (I think by Ruth P.) that mentioned Bobby Parker's sound, saying that he goes through an Ampeg and possibly a Fender Twin hooked together. I saw Bobby Parker opening for Johnnie Johnson in Phila. a few months back, and really liked his sound. He was using an Ampeg and a Twin, but how are the two hooked together? I think I hear the same tone on Buddy Guy's "Please Don't Drive Me Away" on his Slippin' In CD. Sounds kinda like an octave pedal is being used (?), with a generous dose of funky, growling Blues. Or is it just the amp setup? Rather a vague description, I know. But, I'm outta here (work) in 10 minutes and the brain is fried. Thanks for the help. Ron ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters (and in another life....) Ron Kraemer and the Hurricanes ************************************************************ ========================================================================= Date: Fri, 8 Dec 1995 09:43:30 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Earl Hooker/Sonny Boy Williamson I would like recommendations on Sonny boy williamson CDs. I would also like recommendations on Earl Hooker CDs, I especially like his instrumentals. Sorry if these questions have already been posted. I was so busy defending my right to play guitar DESPITE being a female, I wasn't paying attention. (I hate it when that happens) Ruth ========================================================================= Date: Fri, 8 Dec 1995 09:53:27 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: Help! I want to sing "da blues!" Lea, you need to meet people and make connections. I got started going to open mikes. Now, less than two years later, I have my own band. check out the Full Moon Saloon in Baltimore on Monday nights. My fiance, "Mad" Max, runs a really good open-mike there on Monday nights. Tell him Ruthie sent you :) ______________________________ Reply Separator _________________________________ Subject: Help! I want to sing "da blues!" Author: LeaGil at Internet Date: 12/7/95 9:26 PM First, thanks to all who replied to my very limited message earlier. I am a 30 year old African-American woman living in Baltimore. I have sang professionally for about 10 years, BUT I WANT TO SING BLUES MUSIC. If anyone can give me some advice on where to start (need demo?...manager?...musicians?) please write. ========================================================================= Date: Fri, 8 Dec 1995 09:57:11 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Bent-note Blues Did somebody claim, yesterday, that it is impossible to play _blues_ guitar without bending the strings? (I apologize for skimming quickly over these posts...) I thought about this half the night, it seems. So let's suppose somebody did indeed say that : ), just to keep me humoured a little longer. This claim seems true (barring the use of a slide, obviously) only if we _define_ the blues as the use of "bent" notes... or if we believe that the bent note is a necessary condition for something to be considered "blues." But if _that's_ true, then what are we to say of the piano? You can't bend notes on a piano (without opening it up and pushing on the wires). And surely we'd consider Sunnyland, Otis, and Pinetop -- among countless others -- as blues musicians. So it is surely possible to play blues _piano_ without bending notes. I'd say the same must therefore hold for the guitar. Perhaps, instead of a necessary condition, the bent note is a sufficient condition for the blues? No, that's even more absurd. Then every Slush out there who bends his strings (oops, that's Slash) could be said to be playing the blues. The bent or blue note may be a wonderful aspect of blues music, but it seems to me that it is neither necessary nor sufficient. Dave Prychitko Blues 101, 88.9FM, WNYO-Oswego http://www.oswego.edu/~prychitk/Blues101.html for reviews and playlists ========================================================================= Date: Fri, 8 Dec 1995 09:13:20 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Chord Progressions Comments: To: Larry Corbett In-Reply-To: <9512081342.AA27046@ursus1.ursus.maine.edu> On Fri, 8 Dec 1995, Larry Corbett wrote: > I've been fingerpicking my blues for so long I've forgotten how to play rhythm > guitar...I would be very interested and very appreciaive of anyone who might > be able to share some of this most important information and technique with I first started playing rockabilly type stuff - mostly Buddy Holly. That seems to have really helped my rhythm playing. Get the first Buddy Holly and the Crickets cd and play all the songs. The chord progressions are easy, but the timing is the trick. It helped me a lot. -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Fri, 8 Dec 1995 09:16:00 -0800 Reply-To: "Bonn, Bob" From: "Bonn, Bob" Subject: BBK & Larry Carlton All that talk about style, sound, BB King and Larry Carlton and the number of notes it takes to "say" something got me thinking about a track on an old album of Larry Carlton's called "Friends". On it, he plays "Blues for TJ" with BB, and they seem to take turn about playing the same phrases. I dug it out last night to listen to it again. One of them is playing raunchy, gritty growling riffs with feeling that comes up from his boots and the other is so silk smooth it makes your spine stretch 6" and your hair curl. There's not a lot of difference in the NUMBER of notes played but there's a universe of difference in what they're saying with those notes. Both are good. Now I suppose that BB is the gritty one and Larry is the smooth one but am I right? They can both play so many different feelings or moods. Does anyone know about that recording? If you haven't heard the track, try it, if only to hear two great interpretations side by side. P.S. Thanks for the help on the Snooks Eaglin recording. I've got leads to follow up in Australia, Finland and New Orleans. Bob. bonnb@xxeupo13.hou.xwh.bp.com ========================================================================= Date: Fri, 8 Dec 1995 10:20:11 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: Bent-note Blues Comments: To: "David L. Prychitko" David, you are right, once again I've got my guitar blinders on. I guess it's the "blue note" that makes it the blues. IMHO (and I'm sure I'll get lots of hate mail for saying this), guitar is a bluesier instrument than piano because of the ability to bend the strings. I played piano for years, then I switched to guitar strictly for that reason. Okay, for the sake of argument if you have a digital keyboard with one of those note-bending thingies you can bend the note, but it's digital. Gimme analog any day (which on the surface seems contradictory to the fact that I use a solid-state amp, but that's another issue) ______________________________ Reply Separator _________________________________ Subject: Bent-note Blues Author: "David L. Prychitko" at Internet Date: 12/8/95 9:57 AM Did somebody claim, yesterday, that it is impossible to play _blues_ guitar without bending the strings? (I apologize for skimming quickly over these posts...) I thought about this half the night, it seems. So let's suppose somebody did indeed say that : ), just to keep me humoured a little longer. This claim seems true (barring the use of a slide, obviously) only if we _define_ the blues as the use of "bent" notes... or if we believe that the bent note is a necessary condition for something to be considered "blues." But if _that's_ true, then what are we to say of the piano? You can't bend notes on a piano (without opening it up and pushing on the wires). And surely we'd consider Sunnyland, Otis, and Pinetop -- among countless others -- as blues musicians. So it is surely possible to play blues _piano_ without bending notes. I'd say the same must therefore hold for the guitar. Perhaps, instead of a necessary condition, the bent note is a sufficient condition for the blues? No, that's even more absurd. Then every Slush out there who bends his strings (oops, that's Slash) could be said to be playing the blues. The bent or blue note may be a wonderful aspect of blues music, but it seems to me that it is neither necessary nor sufficient. Dave Prychitko Blues 101, 88.9FM, WNYO-Oswego http://www.oswego.edu/~prychitk/Blues101.html for reviews and playlists ========================================================================= Date: Fri, 8 Dec 1995 10:22:52 -0500 Reply-To: M Hopper From: M Hopper Subject: Ronnie Earl Earlier this week someone asked about the new Ronnie Earl CD. I heard "Blues for Henry", a live recording from the CD, on the radio and immediately ran out to buy it. It was unavailable so I bought Test of Time. Another great CD with a wide variety of blues styles. ========================================================================= Date: Fri, 8 Dec 1995 15:23:53 GMT Reply-To: Richard Cotenas From: Richard Cotenas Organization: California State University Sacramento Subject: Re: Doors blues? Comments: To: bit-listserv-blues-l@uunet.uu.net Rick Miller (MILLER@SCI.WFBR.EDU) wrote: : My lab partner and I are jammin to the 2 cd set "Best of the Doors" and : Roadhouse Blues is on. Did they write this, or is it a cover? There are : absolutely no credits of any kind anywhere in this set or on the discs. : The song isn't really blues anyway, but now it's a point of curiosity. : Thanks, : Riffin Rick (((( : "In the back of the roadhouse : they've got someone to love." Sorry, but I believe that lyric is: "In back of the roadhouse they've got some bungalows." : F.J.(Rick)Miller -- Richard Cotenas Calif. State Univ., Sacramento ========================================================================= Date: Fri, 8 Dec 1995 10:40:28 -0500 Reply-To: hhardy@BCONNEX.NET From: Hugh Hardy Subject: Jeff Healey Question for you Americans... who do you hear about more in the U.S. - Jeff Healy or Colin James. What do you think of each one and their music? Thanks. Hugh Hardy near Toronto ========================================================================= Date: Fri, 8 Dec 1995 10:44:42 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Hendrix/Buddy Mark Siegel commented: I find it hard to believe that Hendrix copied much of anyone. Mark, you just need to listen some more. Really. :) For sure Hendrix style is unique as hell from the point of view when you hear the first 3 notes of anything he played, you know exactly who it is right away. But for someone with an ear that is more "educated" in blues riff-ology, especially those of us who are guitar players and are influenced (like Jimi was) by guys who were making their mark while Jimi was still just a twinkle in his dad's eye, it's really obvious whose licks Jimi incorporated into his own repertoire. Personally, I detect a LOT of Albert King, Hubert Sumlin and Buddy Guy for sure. Guys who listen to other artists probably hear a lot more than those few in Jimi's style. Play some Hendrix blues and ALbert King back to back, I guarantee you'll hear Albert ALL OVER Jimi's stuff. Enjoy the learning experience! :) Riffin Rick (big fan of Jimi AND Albert) F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 8 Dec 1995 07:43:23 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: reissuing bad Muddy Waters tracks Comments: To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM J.E. Downey wrote: > >Mary Katherine tells us that some cacophonous "She'll Be Comin' Round >the Mountain" recording by Muddy Waters in 1963 is his worst, >eclipsing even Muddy, Brass, and Blues, and reviled unprintably even >by Muddy himself. Mary Katherine should have a pretty good handle on >this sort of thing, so maybe she (or some other knowledgable soul) >could enlighten us as to whether this Comin' Round the Mountain is >just the idiotic traditional ditty of the same name, or a whole album, >and how on earth our beloved Muddy came first to record it and then to >curse it. Yes, it is the same song. It has a chorus of "she'll be coming round the mountain when she comes" and verses like "she'll be driving six white horses when she comes" etc. As to how he came to record it, IMHO Muddy never meant to record it at all. They were clearly just goofing around in the studio. Alas, the tape was running, and when the Japanese producers came to do their massive box set, their evident passion for completeness led to the dregs of the session reels being included along with the treasures. It's still embarrassingly bad. Now, I have a rule of thumb about producing reissues, which is: "Historically important garbage is still garbage" -- (Aldin's Theorem) I really don't think it does the artist, the label or the producer any good to release every scrap of music in the vaults just for the sake of "completeness" (or worse yet, just to fill up a CD to the length that label executives insist that it be so they can sell it at front line prices!). Outtakes are outtakes for a *reason*. They are usually *not* very good! There are some exceptions, of course--not everything Leonard Chess rejected was bad; in fact, it's just *because* some of Wolf's stuff couldn't pass the Chess litmus test that I *like* it! And some perfectly good tracks went unreleased only because there were just two sides to a 45, and they might have cut three or four things at a session.....But in most cases the things left behind in the vaults shoulda stayed there, and this Muddy track is a case in point. This discussion actually came up recently when listening to every scrap of Little Walter in preparation for the double CD of rarities that MCA just put out. In Andy McKaie's office, tapes are running: "But it's rare!" Andy says. "But it's awful," I respond. Three songs later: "Wow, that one's *never* been released," says Mary Katherine. "Ugh! And no wonder!" says Andy. And so forth. I know that there are some people who love blues *so* much that they want to own every scrap by their favorite artists. But selling garbage (even historically important garbage!) to the general public in the disguise of a "rarities" collection is really immoral. If the first record by Muddy Waters that a fan ever bought was one of those awful "live" bootlegs, with rotten sound quality, low-grade performances and no notes, that would be the *last* Muddy record that person ever bought, and *what* a loss that would be! Mary Katherine ========================================================================= Date: Fri, 8 Dec 1995 10:45:05 -0500 Reply-To: hhardy@BCONNEX.NET From: Hugh Hardy Subject: Jeff Healey A question for the Americans on the list... who do you hear more about in the U.S. - Jeff Healey or Colin James? Also, what is your feeling about each of these players as musicians and as artists (re: their material , career, etc.) Private E-mail is fine. Thanks, Hugh Hardy Near Toronto hhardy@bconnex.net ========================================================================= Date: Fri, 8 Dec 1995 15:44:47 GMT Reply-To: nns@NEWS.NMAA.ORG From: nns@NEWS.NMAA.ORG Subject: Moderated group posting Comments: To: bit-listserv-blues-l@uunet.uu.net Newsgroups: bit.listserv.blues-l Path: not-for-mail From: aldavis@nmaa.org (Anthony Davis) Subject: Re: Recent JLHooker Message-ID: <30c8679a.9692285@news.nmaa.org> Date: Fri, 08 Dec 1995 16:35:48 GMT References: X-Newsreader: Forte Agent .99c/16.141 Lines: 11 Hello Blues Fans. All this talk about recent John Lee Hooker got me thinking about something I heard on "Blues Stage" (NPR), done by Ruth Brown, last year. He was doing a set at Peabody's in Cleveland. I really liked the band with him and him too! The music had a lot of heavy bass drum kicks and well was very 'funky'! Has anyone heard this or maybe you were there?? Any CD out with this set on it?? Thanks.Tony ========================================================================= Date: Fri, 8 Dec 1995 11:44:33 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Xmas recommendation & related question If you are looking for an inexpensive gift for the fledgling Blueser I must recommend the most unlikely package I can imagine. It's a LaserLight Digital box set called "The Blues Box". For the price of little more than one CD you get FIVE compilation CDs - "Chicago Blues Bash", "Windy City Blues", "Chicago Blues Masters", "Midnight Blues", and "Blues Legends". These five CDs, all culled from the Delmark archives are pure Blues joy. Among the artists featured are Junior Wells, Big Joe Williams, J.B. Hutto, Jimmy Johnson, Mighty Joe Young, Otis Rush, Robert Jr. Lockwood, Roosevelt Sykes, Little Walter, Big Walter Horton, Robert Nighthawk, Sleepy John Estes, Memphis Slim, Magic Sam, Carey Bell, Arthur Crudup, Louis Meyers, and Luther Allison. The set's only failing is the miserable lack of liner notes. There are now about 20 Delmarks I'd like to buy if I only knew something about them. Which brings me to the question part of this post. There is a recording of Otis Rush LIVE doing "Every Day I Have The Blues" and it's A-1 prime Otis. Does anybody have any notion of what Delmark it is from, when & where it was recorded, and most importantly, is it available? P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 8 Dec 1995 08:58:09 EST Reply-To: Ian Sumpter From: Ian Sumpter Subject: "Gatemouth" Comments: To: blues-L@brownvm.brown.edu. Listened to Clarence "Gatemouth" Brown's Peacock recordings on the Rounder label this AM to work.....what can you say.... hey it's time to party... let's start the weekend now!!!!!!! Has anyone out there heard Gary Moore's new tribute CD to Peter Green, "Blues for Greenie". I was just wondering whether it was worth purchasing..... thanx... Have a good weekend everyone blues on! ========================================================================= Date: Fri, 8 Dec 1995 16:07:43 +0000 Reply-To: rof From: rof Subject: Re: "Gatemouth" Comments: To: Ian Sumpter In-Reply-To: Your message of "Fri, 08 Dec 1995 08:58:09 EST." <9511088184.AA818449336@smtp2.pch.gc.ca> In message <9511088184.AA818449336@smtp2.pch.gc.ca>, Ian Sumpter writes: > Listened to Clarence "Gatemouth" Brown's Peacock recordings on the > Rounder label this AM to work.....what can you say.... hey it's time > to party... let's start the weekend now!!!!!!! > > Has anyone out there heard Gary Moore's new tribute CD to Peter Green, > "Blues for Greenie". I was just wondering whether it was worth > purchasing..... thanx... > > Have a good weekend everyone > blues on! You're better off purchasing the Fleetwood Mac live at the BBC compilation which came out a month or two ago Rob ========================================================================= Date: Fri, 8 Dec 1995 11:07:24 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Re: Billboard blues chart 12/9/95 In-Reply-To: <199512071745.JAA28580@ix3.ix.netcom.com> from "Mary Katherine Aldin" at Dec 7, 95 09:45:11 am According to Mary Katherine Aldin: > > This is the Billboard Magazine blues chart for December 9, 1995. > Reminder, this is not a weekly chart, it's every other week. > > 1. Greatest Hits/Stevie Ray Vaughan & Double Trouble - SRV always sells. > 2. Ledbetter Heights/Kenny Wayne Shepherd - Blues/Rock Guitarist of the month club. > 3. From The Cradle/Eric Clapton - Yawn. > 4. Handful of Blues/Robben Ford & the Blue Line - Who needs to listen to the "old guys" when you've got Robben Ford <: > 5. Blues/Jimi Hendrix - See SRV > 6. Some Rainy Morning/Robert Cray - His worst. > 7. Cover to Cover/The Jeff Healey Band - Puhleeeze > 8. Keb' Mo'/Keb' Mo' - Better live than on disc. > 9. Chill Out/John Lee Hooker - At least some people have taste. > 10. Turn It On,Turn It Up/Roomful of Blues - Where's Ronnie Earl? > 11. Sad Street/Bobby Blue Bland - Blues great getting just rewards. > 12. Essential Blues/Various Artists (House of Blues Records) - The power of marketing. > 13. Live '92-'93/Albert Collins & the Ice Breakers - Can't go wrong here. > 14. Deep Blue: 25 Years of Blues On Rounder Records - Nice comp. > 15. Standing On The Bank/Tab Benoit - Bill Dahl's favorite. -P ========================================================================= Date: Fri, 8 Dec 1995 11:19:22 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Learning the craft vs. the "tonequest" Comments: To: dcicchet@vega.lasierra.edu Don, this is a great line of thought and should give all the musicians here on -L reason to pause and think. Personally, I'm really pleased that I've been lucky that I've been able to achieve the tone I like without spending years and (too many)thousands of dollars chasing down gear. But if I had the resources, I probably would keep dumping $$$$ into equipment. But as it is, I've really spent the last several years of my guitar playing life honing my chops and concentrating on playing with feeling. That probably sounds like an oxymoron, since you can't really "concentrate" on feeling. I guess what I mean is that I'm learning to let my hands express what I want my instrument to say. Phrases, textures, tone and spirit. In addition to my own personal schtick, for the last year and a half as the front man of my own solid, working blues band, there is so, SO much more to learn that is part of the craft. I've become the lead singer, which really does require concentration and practice, practice, practice. Especially if you've got no special gift at vox. Yeah, song writing too is an art. For me, lyrics that are really contrived sound bogus, but a song that really sounds for real like what the artist was feeling when he/she wrote it usually works and gets the audience involved and listening. I haven't abandoned a tonequest. Instead I'm working to get the best tone out of the stuff I've got, 'cuz it's all good gear. But there is so much more to master now, that I'm really putting my efforts into the sound of the band as a unit, including those skills that I personally need to spend time on. Good thread, Don! Have a good weekend all... Riffin Rick (((( oo-) /- It's 3 o'clock in the morning and all the pretty women are gone. F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 8 Dec 1995 10:32:59 -0600 Reply-To: Storm Bailey From: Storm Bailey Subject: Re: Muddy Waters albums (real summit) Ian wrote: >Actually, however, "The Blues: A Real Summit Meeting" was released on >Buddah Records in the US, and on Quality in Canada. It's BDS 5144-2. >I'm pretty sure it has been reissued on CD, although the version I >saw didn't have all the album tracks on it. > I found the CD version (SCD-4931) in a bargain bin somewhere...grabbed it because, like Ian, I really liked the LP when I came across it (but didn't buy it) years ago. Memory fails about all that is left off the CD, but I know Gatemouth Brown was on the LP and isn't on the CD. Something else about this Muddy thread: someone (sorry, don't remember) said that the London Sessions was a "stinker", but they also mentioned Howlin Wolf. There's a Muddy/Wolf London release (about which I agree) which seems to be leftovers from the London HW Sessions and the London MW Sessions on Chess--both of which I show my ignorance by confessing to like. Storm iss in 'im, it got to come out ========================================================================= Date: Fri, 8 Dec 1995 11:31:53 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Shannon, LW, and that whole deal... In a nutshell- The original request was regarding a bona fide blues tune, which happened to be performed by the Eagles. There was no discussion of the Eagles per se intended or implied. Blues-L was as good a forum as Eagles-L to make such a request for info. Blues is blues is blues. Don't matter who's playing it or whether or not they suit any person's taste. Let's not dump on each other so damned much. With respect, Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 8 Dec 1995 11:36:47 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Sun Blues Box? Has anyone heard any more about Charly (everyone's favorite bootleggers) re-issuing their Sun Blues boxed set on CD? Or is Charly even going to be in business now after the MCA judgment? Does anyone have the Bear Family "Sun Singles" box? I'd spring for this if it has all the alternate takes and unissued stuff that the Charly 9-LP set had on it? -Peter ========================================================================= Date: Fri, 8 Dec 1995 12:07:18 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Looking for Blues-lers in Charleston Any Blues-lers in Charleston, SC? I will be there on business next week. ========================================================================= Date: Fri, 8 Dec 1995 12:26:04 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Delmark Reviews. Comments: To: bit-listserv-blues-l@uunet.uu.net Saw a post recently re: Laserlight and a need for reviews of Delmarks CD's. We currently have about 30 of their CD's re- viewed. If enough people are interested, we can try and get the balance of the label done or as much as is possible, and post or make them available via e-mail. If you have an inte- rest please e-mail me with subject - Delmark Reviews and the body text - Interested To See Reviews. If enough are gotten we will try to take on the project. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Fri, 8 Dec 1995 12:35:20 EST Reply-To: Bill Hill From: Bill Hill Subject: Mississippi John Hurt Recommendations? Greetings, What would you folks recommend as a first purchase for Mississippi John Hurt? I've seen a Vanguard twofer "The Best of MJH" around -- is this good? Thanks, Bill Hill BHill@state.de.us ========================================================================= Date: Fri, 8 Dec 1995 12:52:08 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Sun Blues Box? Comments: To: pw7e@poe.acc.virginia.edu In a message dated 95-12-08 12:05:44 EST, pw7e@POE.ACC.VIRGINIA.EDU (Peter Welch) writes: >Does anyone have the Bear Family "Sun Singles" box? I'd spring >for this if it has all the alternate takes and unissued stuff >that the Charly 9-LP set had on it? "It" is 2 boxes so far (and not nearly done). They have the singles only, in catalog number. Box one gets you through all the Sun Elvis; box two presents the arrival of Jerry Lee Lewis, Johnny Cash, and Carl Perkins. Blues and R&B recorded at Memphis Recording Service is *not* comprehensively treated because so much of it was licensed elsewhere and not released on Sun at all. For instance, you don't get any Howlin' Wolf or "Rocket 88." There are no alternate takes and there is no unissued stuff. On the other hand, these boxes are really great. You get the wild mixture of things Sam Phillips was trying (from one man band blues to western swing to rythmn n blues etc. etc.) and then the invention of rockabilly. Each box has 4 cds and a great booklet, but (like everything else from Bear Family) they are very pricey. I highly recommend these boxes. And when combined with the 3 Stax boxes, you have a single-by-single history of Memphis music from the early 50s to the early 70s, in a form that (because it is complete for the two major labels there) lets you draw your own conclusions. And, as with the Stax box, it is amazing to hear the consistent level of quality they hit, once again making me wonder what other labels would hold up under this comprehensive treatment. Tom Freeland ========================================================================= Date: Fri, 8 Dec 1995 12:57:00 PST Reply-To: Michael R Jones From: Michael R Jones Subject: Looking for Blues ...hello blue musicians. I'm in the North Jersey area and currently playing in a top 40 (past and present) band. We gig out once or twice a month and it s fun, I have a good time with the band. They are all good musicians. One little problem, I need the blues, real blues. I play them (guitar - lead and rhythm) in the comfort of my little studio (the guest bed room). I want to share what I ve learned and gig with other blues musicians! Anyone in the area looking for a blue ax? Know of anyone looking? Thanking all in advance... michael@novadigm.com ========================================================================= Date: Fri, 8 Dec 1995 12:01:00 CST Reply-To: JBards From: JBards Subject: Re: Looking for Blues-lers in Charleston Comments: To: PARRISHR You'll be an hour away from Savannah, so if you have that much free time it might be worth a side trip to the Crossroads Blues bar, owned by my friend Dr. Bill Alpert. Dr. Jim _______________________________________________________________________________ Subject: Looking for Blues-lers in Charleston From: PARRISHR at INTERNET-SH Date: 12/8/95 11:52 AM Any Blues-lers in Charleston, SC? I will be there on business next week. ========================================================================= Date: Fri, 8 Dec 1995 13:17:24 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: reissuing bad Muddy Waters tracks On December 8, Mary Katherine Aldin wrote: >>>If the first record by Muddy Waters that a fan ever bought >>>was one of those awful >>>"live" bootlegs, with rotten sound quality, low-grade >>>performances and >>>no notes, that would be the *last* Muddy record that person >>>ever >>>bought, and *what* a loss that would be! This is really important stuff that she is saying here and everyone should pause a minute to appreciate what she is passing along, If Muddy Waters, a man with a lengthy and distinguished recording career, is plagued with mediocre material, than imagine the plight of the under-recorded artist who dies with very little material to be recommended? If opportunists see a chance to make some money with 'out takes' and poor quality sound checks, you can bet that stuff will soon be available on the market. Just imagine some new blues fans hearing the bottom of the barrel stuff on Magic Sam that came out after his death? He would quit on the artist right there and never know the greatness of "West Side Soul." Nowhere is it written that, just because you love the best work of a certain artist, that you have the right to have every note made available to you. The same standards that existed during an artist's lifetime should prevail after his death. Dick Waterman ========================================================================= Date: Fri, 8 Dec 1995 13:32:50 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Bad Chess Recordings Speaking of bad Chess recordings & overdubs, has anyone heard the dubbed chorus version of Little Walter's "My Babe" ....makes your skin crawl! Was that the Chess bros. idea or Willie Dixon's? -Peter ========================================================================= Date: Fri, 8 Dec 1995 18:27:46 GMT Reply-To: Patrik_Urbansson@online.idg.se From: Patrik Urbansson Organization: IDG Online, Stockholm, Sweden Subject: Re: Blues 'N' Trouble Comments: cc: Gconstan@CCINET.AB.CA Gary Constantine (gconstan@CCINET.AB.CA) wrote: : BLUES 'N' TROUBLE : BAG FOOL OF BOOGIE : BARKIN' MAD (BAMCD 2) : Another CD that I picked up in England. An excellent mix of Texas : Swing, Chicago and country blues. A good mix of covers and originals. : Unfortunately there is very little information in the liner notes. I believe : the band is Scottish but I'm not positive. : Anyone know more about them? Other CD's available? : Thanx, : GAry .......... I have one record with Blues 'N' Trouble called "Down to the shuffle" from 1991 on the Munich records label. It's pretty good with some very "British" blues. I believe they are from Edinburgh, Scotland. Patrik ========================================================================= Date: Fri, 8 Dec 1995 12:34:19 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Sun Blues Box? At 12:52 PM 12/8/95 -0500, Tom Freeland wrote: >I highly recommend these boxes. And when combined with the 3 Stax boxes, you >have a single-by-single history of Memphis music from the early 50s to the >early 70s, in a form that (because it is complete for the two major labels >there) lets you draw your own conclusions. And, as with the Stax box, it is >amazing to hear the consistent level of quality they hit, once again making >me wonder what other labels would hold up under this comprehensive treatment. > > > I think you would still need the Hy Records box set - to get all those Willie Mitchell / Al Green / Ann Peebles / Etc. stuff from that place and time. David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Fri, 8 Dec 1995 11:01:30 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Learning the craft vs. the "tonequest" Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Rick said, >Don, this is a great line of thought and should give all the musicians here >on -L reason to pause and think. Personally, I'm really pleased that I've >been lucky that I've been able to achieve the tone I like without spending >years and (too many)thousands of dollars chasing down gear. But if I had the >resources, I probably would keep dumping $$$$ into equipment. That's it! You get good tone, and are happy. I had good tone even back in the Fender Jag, and Hammond Organ amp days in high school.... But I always figured that the golden tone was just around the corner, so I sold my jeep and comissioned a custom amp.( at the age of 21, no less) It was a monster with 2 15's 100 watts, and dual preamps (sold state and tube, take your pick) sounded good, lugged that booger around for years... Of course I cut the Jag to pieces with new PU's, bridges, switches, paint, changed the body shape, and finally had a new body built for it... In 1981, I bought a custom strat, super expensive Barden PU's, hardtail bridge, etc etc, then a Mesa Boogie amp, and another custom guitar, and when I met Tom Anderson through a mutual friend, I changed over to his wonderful guitars and PU's. I bought a 4-10 bassman, a Blues Deluxe, a couple more custom amps, and finally a Matchless rig... (oh, I've left out a bunch of stuff here btw) But you know what? I *already had* the public (you know, those folks who buy records and come to shows?) saying "great tone, Don" in 1970 with the Jag and the Hammond..... Now, am I saying that I regret all that? Nope, it's how I got started as a recording engineer, and designing and installing even a small studio makes all that look pretty easy. BUT, as a musician I have to remind myself that the audience is much more moved by all of the following... your commitment to the music your sense of humor your great songs your expressive and beautiful guitar playing etc than they ever will be by the "tone to die for" ok? >But as it is, >I've really spent the last several years of my guitar playing life honing my >chops and concentrating on playing with feeling. That probably sounds like >an oxymoron, since you can't really "concentrate" on feeling. I guess what >I mean is that I'm learning to let my hands express what I want my instrument >to say. Phrases, textures, tone and spirit. You can concentrate on this. I do it by learning to listen to myself as I play. On a good night, the strings and the guitars and the pick and the amp all disappear, and I'm actually "playing" the melody! It's pure magic when that happens. Did a "second take" solo in the studio the other day... just nailed it by listening and going inside the melody, moving with it.. When the solo was over I said to myself "it ain't gonna get better that THAT tonight"... The engineer turned around and said "man, that had feeling for DAYS!" There's no mistaking that when it happens. You know it, the engineer knows it, and most importantly, the PUBLIC knows it. It never happens if you are obsessing about your gear (or the monitor mix either for that matter). >In addition to my own personal schtick, for the last year and a half as the >front man of my own solid, working blues band, there is so, SO much more to >learn that is part of the craft. I've become the lead singer, which really >does require concentration and practice, practice, practice. Especially if >you've got no special gift at vox. Yeah, song writing too is an art. For >me, lyrics that are really contrived sound bogus, but a song that really >sounds for real like what the artist was feeling when he/she wrote it usually >works and gets the audience involved and listening. Yeah, there's nothing worse than bad lyrics.... "Like a dog without a bone, and actor out on loan, riders on the storm" YIKES! cringe factor 9.5 or better!!! thanks Jimbo... >I haven't abandoned a tonequest. Instead I'm working to get the best tone out >of the stuff I've got, 'cuz it's all good gear. But there is so much more to >master now, that I'm really putting my efforts into the sound of the band as >a unit, including those skills that I personally need to spend time on. You got it Rick... Now I'm gonna go get it. thanks Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Fri, 8 Dec 1995 13:51:41 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re: Jeff Healey My answer would be Jeff Healey. I've probably seen Colin James' name on this list, but I have never heard any of his music. I thoroughly enjoy Jeff Healey and have been a fan since "See the Light." I finally saw him play live here in Cincinnati this past July. I stood right at the edge of the stage, six feet away from him, all night. He's excellent! Shannon ______________________________ Reply Separator _________________________________ Subject: Jeff Healey Author: hhardy@BCONNEX.NET at INTERNET_TP Date: 12/8/95 11:26 AM Question for you Americans... who do you hear about more in the U.S. - Jeff Healy or Colin James. What do you think of each one and their music? Thanks. Hugh Hardy near Toronto ========================================================================= Date: Fri, 8 Dec 1995 11:13:54 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: LLOYD LAMBERT, BASSIST, DIES AT 67 Comments: To: BluesHvn@aol.com I've just read in the recent Blues & Rhythm #105 (Christmas 1995) that another Guitar Slim bandmember has died, just 5 months after tenor saxophonist Charles Burbank. Bassist LLOYD JOSEPH LAMBERT was born Wednesday, July 04, 1928, Thibodeaux, LA. R&B fans will know his recordings with Roy Brown (King,'53), Ray Charles (Atlantic,'53), Lowell Fulson (Aladdin,'53), Guitar Slim (Specialty,'53-55; Acto,'56-57), Little Bubber (Imperial,'53), Little Richard (Specialty,'55), and Big Joe Turner (Atlantic,'53). His own 1955 Specialty recording session produced 2 wonderful singles, "King Cotton"/ "Heavy Sugar" and "Whistlin' Joe"/"Hop 'N' Jump", one side each is now available in the Fantasy/Specialty "Creole Kings Of New Orleans" sets (Specialty 2168 (v.1) and Specialty 7038 (v.2)). The late tenor saxophonist Joseph Henry Tillman (another Guitar Slim band- member) is featured on "Whistlin' Joe", a great R&B blowout instrumental. I should also mention that he did record as a jazzman, with trumpeter Wallace Davenport (My Jazz,'74), Earl Hines (Up,'75 with Davenport), trumpeter Thomas Jefferson (Maison Bourbon,'70), and (according to B&R item) very recently with the Danish Jazz Band. Next time you listen to the following records, given a listen to 'the things that he used to do' - one hell of great acoustic bass player, right up there with Frank Fields : "Don't Leave Me Baby" (Lowell Fulson) "Don't You Know" (Ray Charles), "Laughing But Crying" (Roy Brown) "Losing Hand" (Ray Charles) "Midnight Cannonball" (Big Joe Turner) "Runnin' Around" (Little Bubber), "The Things That I Used To Do" (Guitar Slim), "True Fine Mama" (Little Richard) LLOYD JOSEPH LAMBERT died at home on Tuesday, October 31, 1995, New Orleans, LA. Survivors include his wife, Pauline Lambert; a son, Lloyd Lambert Jr.; 4 daughters, Antoinette Adbullah, Lenora Frye, Anita Adams and Tanja Thomas; 2 brothers, Phamous and John Lambert; 12 grandchildren; and 3 great- grandchildren. The funeral was held on Friday, November 3, with burial in Moses Cemetery, Thibodaux, LA. For those who are keeping records, 1995 has not been a good year for bass players. Larry Gales (1936-1995), Lloyd Lambert (1928-1995), Sterling Morrison (1942-1995), Brad Lee Sexton (1947-1995) and Eddie Williams (1912-1995) have all died this year. p.s: I just received a note that LOU LEVY, founder of LEEDS MUSIC, was born December 3/1910, not November 29/1910. Correct the obit I posted. ========================================================================= Date: Fri, 8 Dec 1995 14:28:37 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: Learning the craft vs. the "tonequest" Comments: To: Don Cicchetti Don sez: >BUT, as a musician I have to remind myself that the audience is much more >moved by all of the following... >your commitment to the music >your sense of humor >your great songs >your expressive and beautiful guitar playing >etc >than they ever will be by the "tone to die for" ok? ....not to mention fishnet stockings.... Hey, I don't care why they come to my gigs, they're there and they're drinking. Cynically yours, Ruth :) ========================================================================= Date: Fri, 8 Dec 1995 11:45:26 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Re[2]: Learning the craft vs. the "tonequest" Comments: To: BLUES-L@BROWNVM.BROWN.EDU. > Don sez: >>BUT, as a musician I have to remind myself that the audience is much more >>moved by all of the following... >>your commitment to the music >>your sense of humor >>your great songs >>your expressive and beautiful guitar playing >>etc >>than they ever will be by the "tone to die for" ok? Ruth said: >....not to mention fishnet stockings.... >Hey, I don't care why they come to my gigs, they're there and they're drinking. >Cynically yours, Ruth :) Careful Ruth... Remember cynicism = death, in the blues, and in any other form of great music. Thinking that the audience doesn't know that you are cynical towards them is as ill-advised as a guy thinking his date isn't on to him... They are, they know, and when the breaks stop coming and only the drunks are left in the crowd, remember... they *knew*. Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Fri, 8 Dec 1995 15:44:33 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: Favorite Testaments Comments: To: Niles@GNN.COM In-Reply-To: <4a6pdi$aa0@news-e1a.megaweb.com> from "Niles Frantz" at Dec 7, 95 08:15:02 am > >I'd like to know your favorite Testament re-issues... > > The Jack Owens and Bud Spires album. Damn straight. I'm listening to it right now. I've been having a Jack Week - the cd has hardly left my player. When I'm down in the dumps, there are few therapies better than dumping myself in The Comfy Chair and playing "Can't See, Baby" at top volume. "I love my baby, tell the world I do sometimes I b'lieve my black gal love me too..." -Rob ========================================================================= Date: Fri, 8 Dec 1995 14:50:00 EST Reply-To: BRENTS@CLEMSON.EDU From: "(Brent M. Smith)" Subject: Leigh l'il Queen Comments: To: blues-l%BROWNVM.BITNET@INTERBIT.UGA.EDU Has anybody heard of her?? I heard her in a small production movie the other day and would like to hear more. I think she is from the Big Easy. brent ========================================================================= Date: Fri, 8 Dec 1995 14:52:07 -0500 Reply-To: "Abe W. Mathews" From: "Abe W. Mathews" Subject: Re: Gearheads and Musical Skills In-Reply-To: <9512071814.AA08387@ helix.lasierra.edu> from "Don Cicchetti" at Dec 7, 95 10:14:21 am Don asks: > So here's my question boys and girls, (musicians especially). > > Is getting "the tone to die for" a passion with you? Yes and no. I prefer "workable tone." I am active in other styles of music besides the blues, and each type (in my mind, at least) seems to take a certain tone. A country clean tone is different from a jazz clean tone, which is also different from a ballad clean tone, which is also different from a blues clean tone. Sure, a lot of it comes from the approach and the fingers, but I have tried to find versatile equipment to inspire me to play well in a certain style (hence 3 electrics, soon to be 4). I have found no single piece of equipment that will have "tone to die for" in every musical style. But I have found stuff that works well, and sounds fantastic in many different genres. > Is that pursuit a substitute for musical growth for you? (it has been for me) Once again, yes and no. When I started playing, I figured that I couldn't play heavy metal unless I sounded exactly like ____________. (C'mon, now. You don't expect me to make it *that* easy for y'all to pick on me.) Over time I've come to realize that I sound like myself, whatever I'm playing. That being said, I *express* differently on a strat than I do on a PRS, or on a hollowbody. Also, when I began, the level of lessons available from magazines (Guitar Player in particular) was so advanced, that it was easier to fall into the mentality of "gear will make you better" than it was to try to learn to construct diminished chords from the Lydian mode over a Dominant 7th...... Get it? One thing I have found is that my "gearhead" mentality has given me a body of knowledge that others find valuable. I get my jazz lessons for free, because my teacher trusts my judgement in equipment, and trades musical knowledge for the knowledge of gear. He has also remarked several times that he wished he had my ability to approach an amplifier or piece of gear, and find a good sound out of it that fits in with the type of music I want to play. So my "gearheading" (Or, as my lovely wife calls it, "guitarding") has been good for something over the years. > Do you think it is possible to be obsessed with your gear without > neglecting your musicianship? Yes, definitely. The guitar is a musical tool. New technology that comes out for the instrument is also a tool. It would be impossible to use feedback on an unamplified acoustic. The electric guitar was a technological advance (IMHO), and feedback is a new type of musical expression available due to the use of that technology. I see guitar synths, new pickups, the Parker Fly, and other innovations as new brushes to paint with. That being said, there comes a point when you have to realize that the gear is just a tool, no more. Being able to make cool sounds from a guitar with a vibrator (Don't laugh, Reeves Gabrels has made a career out of it) is neat, but what if it doesn't express my feelings? The tools have to be somewhat transparent in order to let your own personality through. Also, you have to be competent enough to play any instrument and make it sound decent. Case in point, while I was still dating my wife, I went to her family reunion: "So you're a guitar player," says her grandfather, "Suzie, go get that guitar I bought for you at the garage sale, so Abe here can show us what he can do!" They brought out a rusted stringed instrument, beat to hell and made out of something not unlike cardboard. The strings had to be 3" off the frets, and there's the whole family looking at me, watching to see how well I could play. I did it, and I though it was bad, but everyone else liked it. Either that, or they made my wife marry me out of sympathy. :) But I learned a lesson. You can't always count on having the perfect compressor, or chorus, or amp, or guitar, or whatever, to make you sound great. It has to come from the heart, first. > I am going to do whatever I have to do to finish my tunes and get a demo > done. what about you? I'm going to keep taking jazz lessons, try to start writing some of my own music, keep playing with my band, try to get some more gigs with other people, and generally pine away for mor guitars and amps. :) Am I making any sense at all? Abe awmathew@mtu.edu ========================================================================= Date: Fri, 8 Dec 1995 15:00:06 EST Reply-To: george morales From: george morales Organization: TEMPLE UNIVERSITY Subject: mountain stage radio i just heard that on this weekend's mountain stage(radio program on public radio) will feature Luther Allison, Blind Boys of Alabama and Mighty Sam McClain.In the Phila, PA area it will be broadcast on WXPN 88.5 at a special time 10 pm sunday 12/17/95 i think the program is nationally broadcast on various public radio stations +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ | | | GEORGE MORALES GEORGEM@TEMPLEVM | | COMPUTER AND INFORMATION SERVICES GEORGEM@VM.TEMPLE.EDU | | TEMPLE UNIVERSITY (215)204-6866 | | | +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Fri, 8 Dec 1995 14:07:54 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: reissuing bad Muddy Waters tracks At 07:43 AM 12/8/95 -0800, Mary Katherine Aldin wrote: > >Now, I have a rule of thumb about producing reissues, which is: > >"Historically important garbage is still garbage" -- (Aldin's Theorem) > >I really don't think it does the artist, the label or the producer any >good to release every scrap of music in the vaults just for the sake of >"completeness" (or worse yet, just to fill up a CD to the length that >label executives insist that it be so they can sell it at front line >prices!). Outtakes are outtakes for a *reason*. They are usually >*not* very good! There are some exceptions, of course--not everything >Leonard Chess rejected was bad; in fact, it's just *because* some of >Wolf's stuff couldn't pass the Chess litmus test that I *like* it! And >some perfectly good tracks went unreleased only because there were just >two sides to a 45, and they might have cut three or four things at a >session.....But in most cases the things left behind in the vaults >shoulda stayed there, and this Muddy track is a case in point. > I'm with Mary Katherine - and it leads to my only criticism of terrific reissue labels like Mosaic or Baer Family: they include too many alternate takes in the name of completeness. Probably 40% of the music on the Mosaic T-Bone Walker is alternate takes - some of which are interesting, most of which are only very slightly diferent from (than?) the ultimately issued release. I was driving my 14 year old daughter and some of her friends someplace, and they were talking about buying the new Beatles anthology set, which I think is all alternate takes, outtakes, and interviews. As unobtrusively as I could (if you have teenage daughters, you'll understand what I mean) I suggested that they buy the original album reissues instead. Even for seasoned Beatle fans, it may be interested to hear how "Day in the Life" went from an accoustic version to the final "Sgt. Pepper" version, but how many times can you listen to it? Yes, there was a reason some of this stuff didn't make the final cut.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Fri, 8 Dec 1995 14:20:44 -0600 Reply-To: tbeabout@UTDALLAS.EDU From: tbeabout@UTDALLAS.EDU Organization: The University of Texas at Dallas Subject: Re3: the craft vs. the "tonequest" Comments: To: bit-listserv-blues-l@ncar.ucar.edu > ....not to mention fishnet stockings.... > Hey, I don't care why they come to my gigs, they're there and they're drinking. > Cynically yours, Ruth :) Which leads back to what I said in the thread about slides: I don't care who does it, just play it. But in typical male pig fashion, I must admit to there is nothing that can be sexier than a babe playing the blues. Fishnet or not. -- _________________________ & I still haven't found what I'm looking for - U2 ========================================================================= Date: Fri, 8 Dec 1995 15:20:00 EST Reply-To: edward c liu From: edward c liu Subject: B.B. King and Slash??!??!? Howdy all, Just visited the Gibson home page "What's New" section, and found an entire page (with images and everything) dedicated to B.B. King's 70th birthday bash in Memphis. Includes pictures of the new Northwest Airlines "Lucille" airplane and a few venues in Memphis. (Oddly enough, they seem to be kind of short on pictures of B.B. himself, grumble grumble). They had a comment in the last paragraph about B.B. sharing the stage with Slash (of Guns N' Poses and Slash's Snakepit). The very thought sends shivers down my spine, but hey...B.B. can play with whoever the hell he wants to. They also have a link with selected articles from Blues Revue, which will apparently have some articles on the Gibson web site as well. URLs are: for the B.B. Birthday Bash stuff for Blues Revue Happy surfing all! -- Ed Edward C. Liu | "If nobody thinks for they self, edwick@cc.bellcore.com | Who thinks for everybody else? | -- Dr. John, "Lissen" The opinions in this message are mine and not Bellcore's. Really! ========================================================================= Date: Fri, 8 Dec 1995 15:39:24 EST Reply-To: "Mr. Troy Kelley" From: "Mr. Troy Kelley" Subject: SRV invented what? I'll just through this one out here and see what happens. I have seen so many SRV clones lately it is amazing. There is this new kid Kenny Wayne Shepard, who is some 18 year old guy who, at least from his album, is playing SRV licks almost verbatum. I also saw Chris Duarte who I think has a lot of SRV licks as well. Then last night at a local bar in Baltimore I saw Duffy something-or-other and the Manhattan Blues Express - or something like that. And this guy was an SRV clone. He had the SRV axe (fender custom shop) the amp set up, the Ibanez tube scremer the hat and even the guitar strap. This got me thinking. I guess SRV invented a blues guitar style. You really don't see this kind of style before SRV was around, and now it is everywhere. And by style - I guess I mean tone. The fat strings, tuned down a half step, the tube screamer, the vibrolux or super amps. I mean no one really sounded like SRV before SRV. Sure Hendrix would tune a half step down occasionally, but he didn't sound like SRV most of the time. Buddy Guy played a strat like Stevie, but I dont think he used the fat strings or tuned a half step down. BB and Fredie Kind both played other guitars besides strats most of the time. SRV's big influence Albert King didn't play a strat either - in fact he played left handed upside down guitar - which is a unique style in itself. So I guess SRV invented a blues guitar tone/style that is going to be with us for awhile. Troy ========================================================================= Date: Fri, 8 Dec 1995 15:49:17 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Leigh l'il Queen Comments: To: BRENTS@clemson.edu >>>Has anybody heard of her?? I heard her in a small >>>production movie >>>the other day and would like to hear more. I think she is >>>from the >>>Big Easy. Her name is Leigh Harris and she is indeed from New Orleans. She had a band called Little Queenie and the Percolators which featured keyboardist John Magnie, now of "the subdudes." The woman can flat out sing but has never been able to get it done right in the studio. She will remind you of Tracey Nelson, which is certainly intended to be a compliment. I don't think she comes out of N.O. very much but she is definitely worth a visit to where she is playing if you get down there. Dick Waterman ========================================================================= Date: Fri, 8 Dec 1995 16:00:35 EST Reply-To: Robert Crocker From: Robert Crocker Subject: Otis Rush PW wrote about Otis Rush and his live version of "Every Day I Have the Blues". This may be found on Delmark's 1978 release "SO MANY ROADS" (DS 643). My recollection is that at the time, no one knew quite what to make of it. Backed by Jimmy Johnson, also on guitar, Sylvester Boines on bass, and Tyrone Centuray on drums, this live recording was made over the course of two concerts in Japan, July 20 and 29, 1975. Track listing: Will My Woman Be Home Tonight (Blue Guitar) Every Day I Have the Blues I Can't Quit You Baby Crosscut Saw Looking Back (Take a Look Behind) All Your Love I Miss Loving So Many Roads Gambler's Blues Three Times a Fool The notes tell us that the album, less "Crosscut Saw", was previously released in Japan on Trio LP #PA-3086. My copy of "So Many Roads" is on vinyl. Though I've never seen it on CD, it may well exist in that format. I hope you don't end up paying import prices for a Japanese pressing! Robo in Mississauga ========================================================================= Date: Fri, 8 Dec 1995 16:11:27 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Blues 101 playlist (WNYO-Oswego) Thought I'd send along a sample playlist (from last Saturday)... featured lots of new releases. I'll also post tomorrow's playlist as well. All future ones will appear on my web page. Playlist for Saturday, December 2, 1995 _________________________________________________________________ ----------9:00am 1. Buddy Guy, DJ Play My Blues (DJ PLAY MY BLUES, JSP) 2. Eddie Rasberry, Cold, Cold Chicago (MISSISSIPPI BURNING BLUES 2, Mardi Gras) 3. Charlie Musselwhite, Stingaree (IN MY TIME, Alligator) 4. Zydeco Hurricanes, I Woke Up This Morning (ZYDECO HURRICANES, Mardi Gras) 5. Little Milton, I'd Rather Drink Muddy Water (LIVE AT WESTVILLE PRISON, Delmark) 6. Little Milton, Eight Men, Four Women (LIVE AT WESTVILLE PRISON, Delmark) 7. Little Milton, Loving You (LIVE AT WESTVILLE PRISON, Delmark) 8. Gary Primich, Red Top (MR. FREEZE, Flying Fish) 9. Smokey Wilson, 88th Street Blues (88th STREET BLUES, Blind Pig) 10. Koerner, Ray, & Glover, It's All Right (BLUES, RAGS, and HOLLERS, Red House) 11. Jesse "Wild Bill" Austin, You've Got to Hurt Before You Heal (BABY'S BACK, Roesch Records) ------10:00am 1. Eddie C. Campbell, Santa's Messin with the Kid (BLUE YULE, Rhino) 2. Sonny Terry, Sonny's Whoopin the Doop (WHOOPIN, Alligator) [[request]] 3. Bobby Rush, One Monkey Don't Stop No Show (ONE MONKEY DON'T STOP NO SHOW, Waldoxy) 4. Bobby Rush, Blues With a Feeling (ONE MONKEY DON'T STOP NO SHOW, Waldoxy) 5. Albert King, Sweet Fingers (FUNKY LONDON, Stax) 6. Professor Longhair, Hey Now Baby (ROCK N ROLL GUMBO, Dancing Cat) 7. Charlie Sayles, Hey Joe (I GOT SOMETHING TO SAY, JSP) 8. Pinetop Perkins, For You My Love (PINETOP PERKINS WITH THE BLUE ICE BAND, Earwig) 9. Pinetop Perkins, Just Keep on Drinking (PINETOP PERKINS WITH THE BLUE ICE BAND, Earwig) 10. Willie "Big Eyes" Smith, Tell Me Mama (BAG FULL OF BLUES, Blind Pig) 11. Willie "Big Eyes" Smith, Hard Times (BAG FULL OF BLUES, Blind Pig) 12. Roosevelt Dean, I'm Gonna Leave Here (I DON'T WANNA LEAVE YOU, Z-K Records) 13. Artie "Blues Boy" White, I'd Rather be Blind, Crippled and Crazy (DIFFERENT SHADES OF BLUE, Waldoxy) ----------11:00am 1. Robert Ward, Black Bottom (BLACK BOTTOM, Black Top) 2. R.L. Burnside, Fireman Ring the Bell (TOO BAD JIM, Fat Possum) 3. Corey Harris, Roots Woman (Alligator) 4. Big Jack Johnson, Jingle Bell Boogie (BLUE YULE, Rhino) 5. Ellen McIlwaine, Danger Zone (THE REAL/EVERYBODY NEEDS IT, Stony Plain) 6. Ellen McIlwaine, Crawling Kingsnake (THE REAL/EVERYBODY NEEDS IT, Stony Plain) 7. Ellen McIlwaine, Born Under a Bad Sign (THE REAL/EVERYBODY NEEDS IT, Stony Plain) 8. Snooks Eaglin, Aw'Some Funk (SOUL'S EDGE, Black Top) 9. Johnny Winter, Mean Town Blues (SLIDE GUITAR CLASSICS, Rhino) 10. Big Jack Johnson, Daddy, When is Mamma Coming Home? (DADDY, WHEN IS MAMMA COMING HOME?, Earwig) 11. Walter Shakey Horton, Joe Chicago (WALTER SHAKEY HORTON with HOT COTTAGE, Stony Plain) 12. Elvin Bishop, Fooled Around and Fell in Love (instr.) (ACE IN THE HOLE, Alligator) _________________________________________________________________ Dave Prychitko Blues 101, 88.9FM, WNYO-Oswego http://www.oswego.edu/~prychitk/Blues101.html for reviews and playlists ========================================================================= Date: Fri, 8 Dec 1995 16:15:30 -0500 Reply-To: Michael Case From: Michael Case Organization: Downs Rachlin & Martin Subject: SRV Style The tone's all in the Magic Hat ========================================================================= Date: Fri, 8 Dec 1995 16:20:01 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: SRV invented what? Comments: To: "Mr. Troy Kelley" Hi Troy. That would be Duffy Kesling. I know Duffy well. And I'm glad someone else besides me brought this up. Are you sure you really want to get me started on Duffy? No? Okay, here goes. First of all, Duffy plays a lot of SRV licks, and does a nice job on some of it. But then the song extends into 45 minutes of Duffy solos. If you notice, he pays no attention whatsoever to what the rest of the band is doing, so the whole show is Duffy Kesling Strokes His Ego. Isn't it funny the way Duffy hides behind the SRV gadgets? Okay, so he can play "Pride & Joy." But he can't play "Lenny" or any of the more sophisticated SRV stuff because (and this is directly from Duffy's mouth) you don't need to know Hendrix to play Stevie Ray. Heck, Duffy can't even play "The Telephone Song" because he doesn't know how to use a wah-wah pedal. But he's popular because a lot of people in Baltimore think if you play a couple of Stevie Ray Vaughn tunes you're a genius or something. I recommend that you catch my fiance, "Mad" Max, at the Full Moon in Baltimore on Monday nights if you want to hear a REAL blues guitar player. P.S. this is not to slander Duffy, this is just my educated musical opinion. ______________________________ Reply Separator _________________________________ Subject: SRV invented what? Author: "Mr. Troy Kelley" at Internet Date: 12/8/95 3:39 PM I'll just through this one out here and see what happens. I have seen so many SRV clones lately it is amazing. There is this new kid Kenny Wayne Shepard, who is some 18 year old guy who, at least from his album, is playing SRV licks almost verbatum. I also saw Chris Duarte who I think has a lot of SRV licks as well. Then last night at a local bar in Baltimore I saw Duffy something-or-other and the Manhattan Blues Express - or something like that. And this guy was an SRV clone. He had the SRV axe (fender custom shop) the amp set up, the Ibanez tube scremer the hat and even the guitar strap. This got me thinking. I guess SRV invented a blues guitar style. You really don't see this kind of style before SRV was around, and now it is everywhere. And by style - I guess I mean tone. The fat strings, tuned down a half step, the tube screamer, the vibrolux or super amps. I mean no one really sounded like SRV before SRV. Sure Hendrix would tune a half step down occasionally, but he didn't sound like SRV most of the time. Buddy Guy played a strat like Stevie, but I dont think he used the fat strings or tuned a half step down. BB and Fredie Kind both played other guitars besides strats most of the time. SRV's big influence Albert King didn't play a strat either - in fact he played left handed upside down guitar - which is a unique style in itself. So I guess SRV invented a blues guitar tone/style that is going to be with us for awhile. Troy ========================================================================= Date: Fri, 8 Dec 1995 16:49:10 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Otis Rush Comments: To: Robert Crocker In-Reply-To: <9512081600.aa01559@villtor.village.ca> On Fri, 8 Dec 1995, Robert Crocker wrote: > PW wrote about Otis Rush and his live version of "Every Day I Have the Blues". > This may be found on Delmark's 1978 release "SO MANY ROADS" (DS 643). My > recollection is that at the time, no one knew quite what to make of it. > Track listing: Will My Woman Be Home Tonight (Blue Guitar) > My copy of "So Many Roads" is on vinyl. Though I've never seen it on CD, it > may well exist in that format. I hope you don't end up paying import prices > for a Japanese pressing! ON CD Delmark #DE 643 Added Cuts LP Cuts Introduction Will My Woman Be Home Tonight > Every Day I Have the Blues > I Can't Quit You Baby > Crosscut Saw > Looking Back (Take a Look Behind) Chitlins Con Carne I've Got News For You Mean Old World > All Your Love I Miss Loving > So Many Roads > Gambler's Blues > Three Times a Fool NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Fri, 8 Dec 1995 13:52:00 PST Reply-To: Gary Joneson From: Gary Joneson Subject: Delta Snake December issue of The Delta Snake Blues News is now online at: http://www.island.net/~blues/snake.html Gary ========================================================================= Date: Fri, 8 Dec 1995 16:53:21 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Sun Blues Box? Comments: To: davidis@interaccess.com In a message dated 95-12-08 14:26:41 EST, davidis@INTERACCESS.COM (David Silberberg) writes: >At 12:52 PM 12/8/95 -0500, Tom Freeland wrote: > >>I highly recommend these boxes. And when combined with the 3 Stax boxes, >you >>have a single-by-single history of Memphis music from the early 50s to the >>early 70s, in a form that (because it is complete for the two major labels >>there) lets you draw your own conclusions. And, as with the Stax box, it is >>amazing to hear the consistent level of quality they hit, once again making >>me wonder what other labels would hold up under this comprehensive >treatment. > >I think you would still need the Hy Records box set - to get all those >Willie Mitchell / Al Green / Ann Peebles / Etc. stuff from that place and >time. > I was thinking about that box as I was writing the post and thought these things: (a) It isn't complete; (b) even as such, it is far from consistent, although of astonishing quality at its peak; and (c) it involves a label that drifted from one thing to another through its career (sort of from being a 2nd string Sun to being a 2nd string Stax?) and not the same sort of consistent "story" you find with Sun and Stax. Yes, to have the full picture, you need Hi. And you also need some feel for what went on at American and other studios (King Curtis' "Memphis Soul Stew" is not even in the aforementioned boxes), and pictures of the 'rock' side of Stax at Ardent (Big Star, for instance). BUT the basic story is clear from the Sun and Stax boxes. Tom Freeland ========================================================================= Date: Fri, 8 Dec 1995 16:57:52 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Organization: IQuest Internet Services Subject: Re: Jeff Healey I hear both of them some, but not a lot, on rock stations. I liked Healey's first album "See The Light", but it wasn't sold under the pretense of being a blues album, even though it has a great version of Hideaway on it. Then along came "Cover to Cover " and all the news before the release was that it was blues. There are three blues tunes on it and one of them is a Beatles tune and this album still is categorized by Billboard as a blues album. Atleast for the purposes of the blues charts. This blues chart is not that credible to me because it is so top heavy with rockers playing blues. I like rock music, too and always will, but the blues is on a slippery slope with all the exposure being rock blues and not enough roots blues. RJ Bauman ========================================================================= Date: Fri, 8 Dec 1995 17:06:00 -0500 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Baltimore and DC Folks... Comments: To: bit-listserv-blues-l@uunet.uu.net Does anyone have a comprehensive list of open mike nights in the B-more/DC area. And is anyone looking for a female blues singer? Thanks Lea ========================================================================= Date: Fri, 8 Dec 1995 17:14:41 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: SRV invented what? Comments: To: "Mr. Troy Kelley" Now that I have had my Rant Du Jour about Duffy Kesling, I will argue that SRV's tone is not unique and doesn't really have anything to do with the Strat. We just had a discussion about getting "the" tone here yesterday. I think most of us agreed BB King would still sound like BB King if he were playing a guitar made out of a ruler taped to a cereal box. Who says you can't do a pretty good SRV on a Les Paul? I would argue that SRV's style is a combination Hendrix/BB King/Albert King/Freddie King. If anyone started that style, I would argue that Hendrix did. (Listen to Hendrix: Blues; I think you'll see what I mean.) The tone can easily be achieved with a Strat/Fender Twin Reverb setup. ______________________________ Reply Separator _________________________________ Subject: SRV invented what? Author: "Mr. Troy Kelley" at Internet Date: 12/8/95 3:39 PM I'll just through this one out here and see what happens. I have seen so many SRV clones lately it is amazing. There is this new kid Kenny Wayne Shepard, who is some 18 year old guy who, at least from his album, is playing SRV licks almost verbatum. I also saw Chris Duarte who I think has a lot of SRV licks as well. Then last night at a local bar in Baltimore I saw Duffy something-or-other and the Manhattan Blues Express - or something like that. And this guy was an SRV clone. He had the SRV axe (fender custom shop) the amp set up, the Ibanez tube scremer the hat and even the guitar strap. This got me thinking. I guess SRV invented a blues guitar style. You really don't see this kind of style before SRV was around, and now it is everywhere. And by style - I guess I mean tone. The fat strings, tuned down a half step, the tube screamer, the vibrolux or super amps. I mean no one really sounded like SRV before SRV. Sure Hendrix would tune a half step down occasionally, but he didn't sound like SRV most of the time. Buddy Guy played a strat like Stevie, but I dont think he used the fat strings or tuned a half step down. BB and Fredie Kind both played other guitars besides strats most of the time. SRV's big influence Albert King didn't play a strat either - in fact he played left handed upside down guitar - which is a unique style in itself. So I guess SRV invented a blues guitar tone/style that is going to be with us for awhile. Troy ========================================================================= Date: Fri, 8 Dec 1995 17:18:00 PST Reply-To: Michael R Jones From: Michael R Jones Subject: SRV Style The tone's all in the Magic Hat ....and that fat guitar neck, those fat strings, those fat strong finters, those fat "Texas Special" pick-ups, that fat tube screamer... ========================================================================= Date: Fri, 8 Dec 1995 17:27:52 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: Baltimore and DC Folks... Comments: To: LeaGil Hi Lea, Check out the DC Blues Society's web page if you have WWW access. The URL is http://intelus.com/dcblues/ Or you can call them (202-828-3028) and ask them to send you a sample newsletter -- all the jams are listed in there. It's mostly for DC but Baltimore is in there too. You might want to check at the Full Moon Saloon and see if they know anything about the Baltimore Blues Society. ruth ______________________________ Reply Separator _________________________________ Subject: Baltimore and DC Folks... Author: LeaGil at Internet Date: 12/8/95 5:06 PM Does anyone have a comprehensive list of open mike nights in the B-more/DC area. And is anyone looking for a female blues singer? Thanks Lea ========================================================================= Date: Fri, 8 Dec 1995 16:56:38 -0600 Reply-To: William A Morgan From: William A Morgan Subject: Re: Leigh l'il Queen Comments: To: "Brent M. Smith" In-Reply-To: Brent, Yeah, Leigh "Little Queenie" Harris is from New Orleans. In fact, she may live in my neighborhood. I just saw her the other day down the block. I've seen her a few times on stage. She does a variety of music -- all kind of rootsy. One of her earlier bands was a band called the percolators, and it included two (or three?) guys currently in the subdudes. I've never seen Little Queenie play with the same band twice. Once she played with most of the members of The Continental Drifters. Once I saw her play with guitarist Phil DeGruy at a wedding reception, and the last time I saw her, she sang with a gifted assemblage of jazz musicians in a stage tribute to James Booker at the New Orleans Contemporary Arts Center. She's very unpredictable. Bill Morgan ========================================================================= Date: Fri, 8 Dec 1995 17:59:51 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Bad Chess Recordings Peter asks: >Speaking of bad Chess recordings & overdubs, has anyone heard >the dubbed chorus version of Little Walter's "My Babe" >....makes your skin crawl! Was that the Chess bros. idea or >Willie Dixon's? Don't know this...Where is it? Who's on it? Tell me more! Karen ========================================================================= Date: Fri, 8 Dec 1995 18:05:09 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: Mississippi John Hurt Recommendations? Comments: cc: BHill@state.de.us Bill Hill said: >What would you folks recommend as a first purchase for Mississippi John Hurt? >I've seen a Vanguard twofer "The Best of MJH" around -- is this good? Bill, I've been listening to this one for the last two days. Yes, it's excellent -- folksy and quaint. It has 21 cuts, and the total time is nearly 70 minutes (despite what the CD says -- 60:54). It was recorded live at Oberlin College (Ohio) in 1965, and the sound quality is very good. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Fri, 8 Dec 1995 15:02:44 -0800 Reply-To: Al Handa From: Al Handa Comments: To: alias@well.com ANNOUNCEMENT: Dec 95 Delta Snake Blues News The December 95 Delta Snake Blues News is now available on the rec.music.bluenote and rec.music.bluenote.blues usenet groups, on the IslandNet WWW Page of Gary Joneston, CIS Blues Library, and other sources as listing in the Snake. You can get it by email if you desire, although be advised that it's a 50K file. This issue features an essay on Butterfield's East-West recording, a feature on Clapton's Back To The Cradle, and reviews on Ron Thompson and John Lee Hooker. Al Handa ========================================================================= Date: Fri, 8 Dec 1995 18:01:51 -0500 Reply-To: Bob vanArsdall From: Bob vanArsdall Subject: Re: Leigh l'il Queen Brent asked: > >>>>Has anybody heard of her?? I heard her in a small >>>production movie and Dick W replied: > >Her name is Leigh Harris and she is indeed from New Orleans. She had a band >called Little Queenie and the Percolators which featured keyboardist John >Magnie, now of "the subdudes." >The woman can flat out sing but has never been able to get it done right in >the studio. She will remind you of Tracey Nelson, which is certainly intended >to be a compliment. >I don't think she comes out of N.O. very much but she is definitely worth a >visit to where she is playing if you get down there. She plays in bars frequently in and around NO, and has at least 2-3 CD's out, but they are out of print (I believe). For a very interesting taste of her voice and some interesting NO jazz/blues/funk, try an album called Ron Cuccia and the Jazz Poetry Group which has Little Queenie all over it. There is a GREAT song on it named "My Darlin' New Orleans" which in true city-speak comes out as "My Dawlin' New Awlins". Bob ========================================================================= Date: Fri, 8 Dec 1995 18:22:27 -0500 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: Doors blues? Comments: To: Rick Miller In-Reply-To: <01HYJ5VSXRR6004QCG@SCI.WFBR.EDU> On Thu, 7 Dec 1995, Rick Miller wrote: > My lab partner and I are jammin to the 2 cd set "Best of the Doors" and > Roadhouse Blues is on. Did they write this, or is it a cover? There are > absolutely no credits of any kind anywhere in this set or on the discs. > The song isn't really blues anyway, but now it's a point of curiosity. > The credit on Morrison Hotel is "Morrison/Doors". On American Prayer it is "James Douglas Morrison Publishing and Doors Music Co." I think it is a Morrison original. Brenda Bogert Louisville KY ========================================================================= Date: Fri, 8 Dec 1995 17:57:51 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Leigh l'il Queen I agree with Dick W. that Ms. Harris is worth seeing/hearing. I've heard her several times at the N.O. Jazz Fest and was wowed every time. I think the first time (around '84) she was with a group called Little Queenie and the Skin Twins; I don't think I've ever seen her with the same band or supporting cast twice. I saw her on the House of Blues TV show a month or so ago, so maybe she's finally getting some well-deserved national attention. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Fri, 8 Dec 1995 17:13:03 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Re: Leigh l'il Queen Comments: To: BRENTS@clemson.edu In-Reply-To: from "owner-blues-l@BROWNVM.BROWN.EDU" at Dec 8, 95 02:50:00 pm In another time and place, owner-blues-l@BROWNVM.BROWN.EDU said: > > Has anybody heard of her?? I heard her in a small production movie > the other day and would like to hear more. I think she is from the > Big Easy. Brent, Little Queenie is from New Orleans. She can put on a good show and she can put on a piss poor show depending on how her chemical balance is that day. :) Tom ----------------------------------------------------------------------------- My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Fri, 8 Dec 1995 12:56:08 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Earl Hooker/Sonny Boy Williamson Comments: To: PARRISHR@VITRO.COM On 8 Dec 95, PARRISHR had this to say: > I would like recommendations on Sonny boy williamson CDs. Yo Ruthie... Two recommendations. First one may be hard to get. It's called "Sonny Boy Williamson, The Chess Years", it's got the Chess label on it's 4 CDs but it's actually a Charly import. It's got 89 of Sonny Boy's Chess cuts. It's in a compact double CD box with very good liner notes. The second may be his last album, and may be his best album. "Keep It To Ourselves" - Alligator ALCD 4787 I features Sonny Boy and Matt Murphy. It was recorded in Denmark in 1963 (2 years before his death). He plays un-amplified and reveals where harp tone really comes from. It's a truely wonderful album that allows you to feel what about 50 years of practice can do for you. This would be on my "desert island list". P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 8 Dec 1995 17:01:19 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Sun Blues Box? Comments: To: Peter Welch Peter Welch wrote: > >Has anyone heard any more about Charly (everyone's favorite >bootleggers) re-issuing their Sun Blues boxed set on CD? Or is >Charly even going to be in business now after the MCA judgment? The answer is, yes. Neil Slaven is doing new liner notes, and the new CD box will have MORE blues tracks than the LP box (208 tracks, or thereabouts) BUT don't get rid of your vinyl--Charly is deleting all the gospel tracks that were on the LP box. Mary Katherine ========================================================================= Date: Sat, 9 Dec 1995 01:12:09 GMT Reply-To: Steve Leigh From: Steve Leigh Organization: a Digital Internet AlphaServer Site Subject: Re: Buddy Guy Comments: To: bit-listserv-blues-l@uunet.uu.net "Joseph P. Cauffiel" wrote: >I am looking for any information on Buddy Guy, like e-mail address, web >site, and his tour schedule. >Thanks >Joe Joe, I don't know about an e-mail address but Buddy is playing 14 nights in January at his club, Legends, in Chicago. Am going to be there on the 6th. Third year in a row for myself and a few friends. Should be a great time. Any other's going? --Steve ========================================================================= Date: Fri, 8 Dec 1995 21:18:23 UNDEFINED Reply-To: zoom From: zoom Organization: MindSpring Enterprises Subject: Re: SRV invented what? Comments: To: bit-listserv-blues-l@uunet.uu.net and unfortunatly for us, they all fall woefully short in trying to get the sound don't they....oh sure they're good in the own right but c'mon SRV...be for real!! >So I guess SRV invented a blues guitar tone/style that is going to>be with us for awhile. >Troy absolutely, and I'm thanking SRV everyday for it!!! Zoom! ========================================================================= Date: Fri, 8 Dec 1995 21:26:59 -0500 Reply-To: Jranz From: Jranz Organization: America Online, Inc. (1-800-827-6364) Subject: Biker Scum Radio Comments: To: bit-listserv-blues-l@uunet.uu.net Biker Scum Radio is ready to start the 6th year of broadcasting and continue to accept tapes and CDs of all blues artists looking for airtime. We play all music submitted. Biker Scum Radio Bx 16 Endicott, NY 13761 ========================================================================= Date: Sat, 9 Dec 1995 04:26:40 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Robert Nighthawk Comments: To: bit-listserv-blues-l@uunet.uu.net In article Pat Hertel writes: > RoU2022 +NIGHTHAWK*ROBERT & HIS F LIVE ON MAXWELL STREET 8.7/3 > $13.49 &ROUNDER 6/91 > iNE497 NIGHTHAWK*ROBERT & WAMPU TOASTING THE BLUES > $14.20 INSIDE 11/95 I think I read a post to the list that these 2 are not the same artists. The one (I think) PW is looking for is the "Live on Maxwell Street". Also don't forget the Testament issue with Houston Stackhouse. > Apropos Nighthawk (sort of) I have the vinyl "Bricks in My Pillow" >(Pearl) which, from the time I bought it, is so warped as to be >unplayable. Anyone know a good way to flatten it out? I've read elsewhere on the Usenet where people have been successful using 2 sheets of plate glass, putting the record between them and setting them out in the sun which heats the record and the weight of the glass will press out the warp. Be careful you don't leave it out in the sun too long. Oh, and don't try it in Madison WI on a day in which the wind chills are 40 below 0 degrees which they're predicting for tomorrow. :-) I must admit I've never tried the technique. Another possible approach is to call the Jazz Record Mart (312-222-1467). Although "Bricks On My Pillow" is out of stock and not likely to be released on CD until after 1996, they had a few in a bin of overstock LPs last time I was there. They had the LP without cover (i.e. plain white cover) for less than $3. Then you could simply throw out your warped copy. Art Schuna ========================================================================= Date: Fri, 8 Dec 1995 23:31:30 -0700 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: Muddy, Brass, and Blues Comments: To: Barry Bean In-Reply-To: <4a7r97$2mg@spectator.cris.com> On Thu, 7 Dec 1995, Barry Bean wrote: > In , "David L. Prychitko" writes: > >I've heard that Muddy Waters' "Muddy, Brass, and Blues" (1966) release is > >atrocious. > > > >Is it as bad as the critics claim? Does anyone here have it, and > >continue to listen to it? > > Its worse. I own it, and its right next to Surfin' With Bo Diddly. Tow of the most god-awful albums ever issued. Bad enough to be good, that is. I consider them the Plan 9 from Outer Space of blues. > > BBB I have a copy of "Bo Diddley's Beach Party" which I must have mentioned here before. It has an excellent version of "Roadrunner", complete with the classic run-the-pick-up-the-length-of-the-string sound. It has a couple other tasty tunes. Jay Watterworth CU Boulder > > - > B.B. Bean bbbean@cris.com > - > ========================================================================= Date: Fri, 8 Dec 1995 23:39:49 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: SRV invented what? >Now that I have had my Rant Du Jour about Duffy Kesling, I will argue that >SRV's >tone is not unique and doesn't really have anything to do with the Strat. I disagree. A lot of SRV's sound is pure Strat (IMHO). However, there are certain parts of SRV's tone that no-one will ever achieve because no-one has his heart and hands. >We just had a discussion about getting "the" tone here yesterday. >I think most of us agreed BB King would still sound like BB King if he were >playing a guitar made out of a ruler taped to a cereal box. >Who says you can't do a pretty good SRV on a Les Paul? I would. Certain stylistic parts of SRV's style would work but the overall tone wouldn't be there. >I would argue that SRV's style is a combination Hendrix/BB King/Albert >King/Freddie King. If anyone started that style, I would argue that Hendrix >did. (Listen to Hendrix: Blues; I think you'll see what I mean.) >The tone can easily be achieved with a Strat/Fender Twin Reverb setup. I am actually listening the "Hendrix:Blues" as I write this. As for your impressions on SRV's style they are right on. Don't forget Buddy Guy as well. Cheers, Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Fri, 8 Dec 1995 23:39:55 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Hendrix/Buddy As Riffin' Rick says; >Personally, I detect a LOT of Albert King, Hubert Sumlin and Buddy Guy for >sure. >Guys who listen to other artists probably hear a lot more than those few in >Jimi's style. In this thread about Hendrix' influences why hasn't anyone mentioned Curtis Mayfield? A huge influence of Hendrix' rhytm playing. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Fri, 8 Dec 1995 23:40:00 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Doors blues? >Of course they stole it. Someone help me out here. Was that a Robert Johnson >tune? What do you mean by "of course they stole it"? Anyway. I'm sure it was an original. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Fri, 8 Dec 1995 23:40:05 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Mr Picky Returns(WasRe: Mr. Picky Again) OK. I finally have time to catch up on some e-mail (I am still way behind, though) > Hi Shaun, regarding your argument that one can't play blues without > going to the original source, I would certainly agree that a musician > who wants to imitate another musician without considering early > influences will be somewhat one-dimensional. I agree totally. I think that is the problem of the SRV clones. I know that they are popular and it makes me sad. I'd rather hear someone trying to be themselves. It is more fun. Sure you influences will show through but try and mold them into something new instead of repeating someone else. > For example, I know several Steve Ray Vaughn wannabes who can play a > real good imitation of "Pride & Joy" but can't play "Come On Part 3" > or "Lenny" because they aren't considering Jimi Hendrix's influence on > SRV. Likewise, I know guitarists who can do a pretty good version of > "Stone Free" but they can't play "Hear My Train A-Comin'" because they > aren't considering "the old guys'" influence on Hendrix. > So there you have it. I think that SRV's version of "Come On" owed a lot to Hendrix (IMHO) as well. BTW, the conversation that started this thread has continues, with other participants so when I get around to it (wishful thinking on my behalf) I'll give you the next installment. There were some quite good points made. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sat, 9 Dec 1995 02:41:19 -0500 Reply-To: JRush11279 From: JRush11279 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Help name Blues show Comments: To: bit-listserv-blues-l@uunet.uu.net Since you are going to be focusing on rock blues, how about Mother and Child Reunion, as a reference to "the blues had a baby and they named it rock and roll". ========================================================================= Date: Sat, 9 Dec 1995 08:38:16 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - December 9th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ARMATRADING, JOAN (g/songw) b. 1950-1209, ST. KITTS, BWI BRICKLEY, SHIRLEY (lead/THE ORLONS) b. 1944-1209, PHILADELPHIA, PA BYRD, DONALD (tpt) b. 1932-1209, DETROIT, MI DANKO, RICK (of THE BAND) b. 1943-1209, SIMCOE, ONTARIO FOXX, REDD [JOHN ELROY SANFORD] (v/SAVOY) b. 1922-1209, ST. LOUIS, MO GRAVES, ROOSEVELT (g/PARAMOUNT REC) b. 1909-1209, SUMMERLAND, MS GRIFFIN, R. L. (hca/BLACK GRAPE REC) b. 1939-1209, TX HILL, JESSIE (v/OOH POO PAH DOO) b. 1932-1209, NEW ORLEANS, LA JACKSON, CALVIN (p) d. 1985-1209, ENCINITAS, CA 66 JEFFERSON, CARTER (tsax) d. 1993-1209, KRACKOW, POLAND 49 JONES, OLLIE (lead/BLENDERS/CUES) b. 1929-1209, PHILADELPHIA, PA LOGG, WILL "SMOKEY" (g/hca/GILA MONSTER) b. 1952-1209, TX OWENS, JIMMY (tpt/B. B. KING) b. 1943-1209, NEW YORK CITY, NY POLKA DOT SLIM [MONROE VINCENT] (g) b. 1919-1209, WOODVILLE, MS POWELL, WILLIAM (of THE O'JAYS) b. 1941-1209, CANTON, OH RAY, EUGENE "TEXAS" (hca/LAURIE REC) d. 1993-1209, ELECTRA, TX 56 STARR, BOB [CARL TATE] (v/songw) b. 1932-1209, BLYTHEVILLE, AR STRAIN, SAMMY (of THE O'JAYS) b. 1941-1209, BROOKLYN, NY THOMPSON, JOE (vln) b. 1918-1209, MEBANE, NC TIL, SONNY (lead/THE ORIOLES) d. 1981-1209, BALTIMORE, MD 56 WELLS, JUNIOR [AMOS WELLS BLAKEMORE](hca) b. 1934-1209, WEST MEMPHIS, AR WHITESELL, RICK (author/editor/GOLDMINE) b. 1955-1209, POUGHKEEPSIE, NY ------------------------------------------------------------------------------- ========================================================================= Date: Sat, 9 Dec 1995 08:47:19 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: HOB Jinx After my radio show Friday night I went down to Schooners to catch Mike Morgan and the Crawl. A friend of mine laughed and pointed to the TV set over the bar as HOB TV flickered on silently with their usual list of non-blues artists. I chuckled and returned my attention to the band. Later on I happened to glance up again and there, in living color, was old Jinxblues himself. Pixie and Dixieblues were not to be seen, but apparantly the snippet was about Son House. Suddenly I was wishing for the sound. Hey, what did I miss? Or did I have too much of my favorite beverage? Oh, and for the guy looking for Sam Myers, he was hanging out for awhile, so, unless they leave for the road on Saturday or Sunday, you can almost certainly catch Sam at the Schooners jam on Sunday and Monday night. Don O. Dallas ========================================================================= Date: Sat, 9 Dec 1995 14:52:27 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Bo Diddley Comments: To: bit-listserv-blues-l@uunet.uu.net In article <9512071248.AA22419@bach.ccinet.ab.ca> Gary Constantine writes: > What do 'zellers think the is the best CD of Bo Diddly? (It's a gift) I would suggest the disc, Bo Diddley/Go Bo Diddley (MCA CHD 5904). This combines his first 2 LPs. There are 24 tracks total, including Bring It To Jerome. He never got better than this (IMHO). Art Schuna ========================================================================= Date: Sat, 9 Dec 1995 15:14:18 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Earl Hooker/Sonny Boy Williamson Comments: To: bit-listserv-blues-l@uunet.uu.net In article <0c84fc60@vitro.com> PARRISHR writes: > I would also like recommendations on Earl Hooker CDs, I especially > like his instrumentals. I would start with the Arhoolie release, Two Bugs and a Roach. Art Schuna ========================================================================= Date: Sat, 9 Dec 1995 15:30:05 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Xmas recommendation & related question Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199512081600.LAA42677@tequesta.gate.net> "P.W. Fenton" writes: >Subject: Xmas recommendation & related question >If you are looking for an inexpensive gift for the fledgling Blueser >I must recommend the most unlikely package I can imagine. It's a >LaserLight Digital box set called "The Blues Box". This set is a real bargain based on the titles I've seen on the box. It's a good overview of the Delmark label. The price can't be beat. My only problem with it (and the reason I never picked it up) is that I already own most of the material. For someone new to the label, a better sampler could not be found. >Which brings me to the question part of this post. There is a >recording of Otis Rush LIVE doing "Every Day I Have The Blues" and >it's A-1 prime Otis. Does anybody have any notion of what Delmark it is >from, when & where it was recorded, and most importantly, is it >available? Rush's "So Many Roads:Live in Concert" (DE-643) was reissued on CD just this year and has the song, Everyday I Have the Blues. It was recorded in Hihiya Park, Tokyo July 20 & 29, 1975. It includes Jimmy Johnson on rhythm guitar, Sylvester Boines - bass, and Tyrone Centuray - drums. Art Schuna ========================================================================= Date: Sat, 9 Dec 1995 10:43:13 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Earl Hooker/Sonny Boy Williamson Comments: To: pwfenton@gate.net In a message dated 95-12-08 20:09:52 EST, pwfenton@GATE.NET (P.W. Fenton) writes: >Two recommendations. First one may be hard to get. It's called >"Sonny Boy Williamson, The Chess Years", it's got the Chess label on >it's 4 CDs but it's actually a Charly import. It's got 89 of Sonny >Boy's Chess cuts. It's in a compact double CD box with very good >liner notes. According to my-brother-with-the-record-store, the pipeline is drying up on those Charly Chess bootlegs; they are becoming hard to get from distributors. You might be able to find that one, any more P.W. I guess alternatively this is a warning to those who see them and want them: Get 'em while you can. Tom Freeland ========================================================================= Date: Sat, 9 Dec 1995 10:43:57 -0600 Reply-To: Mark Gobeyn From: Mark Gobeyn Subject: BW Johnson, BBQ Bob Sitting here waiting to give my last final exam with nothing better to do. So I thought I'd ask if there's anybody out there who could provide brief reviews (including sound quality) of the following: The Complete Recordings of Blind Willie Johnson (Sony); Barbecue Bob, Chocolate to the Bone (Yazoo) Many thanks, mark (who's damned cold in Peoria) ========================================================================= Date: Sat, 9 Dec 1995 17:27:20 GMT Reply-To: Jarl Petersson Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Jarl Petersson Organization: IKEA Subject: (no subject) Comments: To: Dave@mailgate.ikea.se, Jensen@mailgate.ikea.se mmmmmmmmmmmmmmmmmmmmmmmm ========================================================================= Date: Sat, 9 Dec 1995 09:02:41 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: BW Johnson, BBQ Bob Comments: To: Mark Gobeyn Mark Gobeyn wrote: > >Sitting here waiting to give my last final exam with nothing better >to do. So I thought I'd ask if there's anybody out there who could >provide brief reviews (including sound quality) of the following: > >The Complete Recordings of Blind Willie Johnson (Sony); Absolutely essential. Haunting music, very good sound, excellent liner notes. Get it. >Barbecue Bob, Chocolate to the Bone (Yazoo) Also wonderful, and essential because (at least in the US) it's all there is. Some of us have the old Agram box set (if you can call it a box set, with *one* LP and a booklet!) but it's long gone, and this is the only US CD release on him. I particularly like the title song and "Mississippi Heavy Water Blues". Get it, get it, get it. Mary Katherine ========================================================================= Date: Sat, 9 Dec 1995 12:55:05 -0500 Reply-To: hhardy@BCONNEX.NET From: Hugh Hardy Subject: Jeff Healey Thanks to everyone who responded to my question about Healey VS James. I had the pleasure of reviewing Jeff Healey the other night at a local club for a music mag. But my preferrence is for Colin James. Check out either the "Little Big Band" album (loads of horns, swing feel) or "Bad Habits"(in your face soul/blues) for a treat. Hugh Hardy ========================================================================= Date: Sat, 9 Dec 1995 11:57:21 -0600 Reply-To: Tom Kraft From: Tom Kraft Subject: Help me with Dr. John BluListers, I recently purchased Charles Brown's ALL MY LIFE, Bullseye Blues CD BB 9501. Great by the way. On this release Dr. John helps out with piano and vocals. While listening to track #7 "A Virus Called The Blues" I noticed the awesome voice of DJ and realized the only exposure I've had to it was some top forty hit in the Seventies called "Smiling something.....". Where do I start and what are your favorites? Thanks in advance. Tom Kraft ========================================================================= Date: Sat, 9 Dec 1995 13:24:48 -0500 Reply-To: Ari Eisinger From: Ari Eisinger Organization: Voicenet - Internet Access (800)835-5710 Subject: Re: Mississippi John Hurt Recommendations? Comments: To: bit-listserv-blues-l@uunet.uu.net In article , Bill Hill wrote: >Greetings, > >What would you folks recommend as a first purchase for Mississippi John Hurt? > I've seen a Vanguard twofer "The Best of MJH" around -- is this good? > >Thanks, >Bill Hill >BHill@state.de.us I love _Mississippi John Hurt: 1928 Sessions_ on the Yazoo label. It's got my favorite John Hurt tune, "Frankie" (Frankie and Albert) on it, as well as other gems. ARI EISINGER ==Blues and Ragtime Guitarist and Singer== ==Guitar Teacher== ==(610) 259-6688== ========================================================================= Date: Sat, 9 Dec 1995 14:06:15 -0500 Reply-To: Wayne Ross From: Wayne Ross Subject: Re: Earl Hooker/Sonny Boy Williamson Comments: To: PARRISHR In-Reply-To: <0c84fc60@vitro.com> For Sonny Boy Williamson I like: KING BISCUIT TIME (Arhoolie)--includes 4 or 5 tracks from one of his radio shows--great stuff. ESSENTIAL SBW (Chess)--is a two cd/tape set that covers lots of ground. The studio banter before the take of "Little Village" is is great. Can't go wrong with either of these. Wayne Ross On Fri, 8 Dec 1995, PARRISHR wrote: > I would like recommendations on Sonny boy williamson CDs. > I would also like recommendations on Earl Hooker CDs, I especially > like his instrumentals. > Sorry if these questions have already been posted. > I was so busy defending my right to play guitar DESPITE > being a female, I wasn't paying attention. > (I hate it when that happens) > Ruth > ========================================================================= Date: Sat, 9 Dec 1995 14:13:52 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Help me with Dr. John Comments: To: redox245@electrotex.com In a message dated 95-12-09 13:20:59 EST, redox245@ELECTROTEX.COM (Tom Kraft) writes: >I recently purchased Charles Brown's ALL MY LIFE, Bullseye Blues CD BB 9501. >Great by the way. On this release Dr. John helps out with piano and vocals. >While listening to track #7 "A Virus Called The Blues" I noticed the awesome >voice of DJ and realized the only exposure I've had to it was some top forty >hit in the Seventies called "Smiling something.....". Where do I start and >what are your favorites? Thanks in advance. Without doubt with the album GUMBO. It is a tribute to New Orleans R&B, and is a wonderful album with awesome musicianship. Tom Freeland ========================================================================= Date: Sat, 9 Dec 1995 13:31:49 -0600 Reply-To: William A Morgan From: William A Morgan Subject: Re: Help me with Dr. John Comments: To: Tom Kraft In-Reply-To: <199512091757.LAA16165@etex.electrotex.com> Tom, I would recommend two early releases _Gris-Gris_ and _Gumbo_, recorded in 1968 abd 1972, respectively. He was better known as Dr. John, the Night Tripper in those days. One of his vocal influences was Jessie Hill, but he was influenced by many New Orleans musicians, not the least of which was Professor Longhair. Of his later releases, I am partial to _Goin' Back to New Orleans_. It makes a fine history of and tribute to New Orleans (and Louisiana) music. There are songs inspired by or written by such varied artists as classical composer Louis Gottschalk, jazz musicians Buddy Bolden and Jelly Roll Morton. And there is a Mardi Gras Indian tune, a Huddie Ledbetter song, and of course some Fats Domino and Professor Longhair. The CD also has a great supporting cast including the late great Danny Barker, the Nevilles, Clyde Kerr, Alvin "Red" Tyler, Al Hirt, and Pete Fountain. This CD would make a fine Christmas gift, especially for someone who would like an introduction to New Orleans music. Bill Morgan On Sat, 9 Dec 1995, Tom Kraft wrote: > BluListers, > > I recently purchased Charles Brown's ALL MY LIFE, Bullseye Blues CD BB 9501. > Great by the way. On this release Dr. John helps out with piano and vocals. > While listening to track #7 "A Virus Called The Blues" I noticed the awesome > voice of DJ and realized the only exposure I've had to it was some top forty > hit in the Seventies called "Smiling something.....". Where do I start and > what are your favorites? Thanks in advance. > > Tom Kraft > ========================================================================= Date: Sat, 9 Dec 1995 14:47:30 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Another Blues 101 playlist (WNYO-Oswego) Here's today's playlist. The DJ who was supposed to follow me at noon slept late, so my show added an extra half hour. I won't post any more lists to Blues-L. But future lists and reviews will be provided on the web: http://www.oswego.edu/~prychitk/Blues101.html Playlist for Saturday, December 9, 1995 _________________________________________________________________ ----------9:00am 1. T-Bone Walker, Blue Mood (THE COMPLETE IMPERIAL RECORDINGS, 1950-1954; EMI) 2. E.C. Scott, The Forecast Calls for Blues (COME GET YOUR LOVE; Blind Pig) 3. James Harman, Cut to the Chase (BLACK & BLUE; Black Top) 4. Jimmy Johnson, Cold, Cold Feeling (BAR ROOM PREACHER; Alligator) 5. Muddy Waters, Same Thing (THE REAL FOLK BLUES; Chess/MCA) 6. Left Hand Frank, Come Home Darling (LIVING CHICAGO BLUES, I; Alligator) 7. Little Sammy Davis, Sammy's Shuffle (I AIN'T LYING; Delmark) 8. Paul Geremia, She Can Move it Just Right (GAMBLIN' WOMAN BLUES; Red House) 9. Keri Leigh, Get Up (ARRIVAL; Waldoxy) 10. Howlin' Wolf, Evil (CHESS BLUES Box; Chess/MCA) 11. Bobby Parker, Man's Gotta Do What a Man's Gotta Do (SHINE ME UP; Black Top) 12. Bobby Parker, Wild Thing (SHINE ME UP; Black Top) 13. Bobby Parker, Skeezer (SHINE ME UP; Black Top) 14. Downchild Blues Band, Annie's Got a Sister (GOOD TIMES GUARENTEED; Blue Wave) 15. Johnny Winter, Memory Pain (SECOND WINTER; Columbia) [[request]] ----------10:00am 1. Koko Taylor, Sure Had a Wonderful Time Last Night (FROM THE HEART OF A WOMAN; Alligator) 2. Artie "Blues Boy" White, I'm Gonna Marry My Mother in Law (DIFFERENT SHADES OF BLUE; Waldoxy) 3. Otis Spann, Marie (CHICAGO/THE BLUES/TODAY! vol. 1; Vanguard) 4. Eddie Taylor, Peach Tree Blues (TESTAMENT RECORDS SAMPLER; Testament) 5. Smokey Wilson, Dimples (88th STREET BLUES; Blind Pig) 6. Grady Gaines and the Texas Upsetters, Grady and Santa is Coming to Town (BLUES, MISTLETOE, & SANTA'S LITTLE HELPER; Black Top) 7. Louis Myers, Bottom of the Harp (EARWIG 16th ANNIVERSARY SAMPLER; Earwig) 8. Lurrie Bell, Sweet Daddy Rest in Peace (MERCURIAL SON; Delmark) 9. Lurrie Bell, Lurrie's Cool Groove (MERCURIAL SON; Delmark) 10. Lurrie Bell, West Side Woman (MERCURIAL SON; Delmark) 11. Carey Bell, Jawbreaker (DEEP DOWN; Alligator) 12. Gatemouth Brown, Frosty (TEXAS SWING; Rounder) 13. B.B. King and Lowell Fulson, Little By Little (BLUES SUMMIT; MCA) 14. Bill Kirchen, Santa! Don't Pass Me By (BLUES, MISTLETOE, & SANTA'S LITTLE HELPER; Black Top) ----------11:00am 1. Jesse "Wild Bill" Austin, Fat Back of Georgia (BABY'S BACK; Roesch) 2. Charlie Sayles, Funky Sound (I GOT SOMETHING TO SAY; JSP) 3. Magic Slim and The Teardrops, Mama - Talk to Your Daughter (RAW MAGIC; Alligator) 4. Johnny Turner & Blues With a Feeling, Don't Start Me to Talking (TESTAMENT RECORDS SAMPLER; Testament) 5. Steve Guyger, Come Home Baby (LIVE AT THE DINOSAUR; Remedy) 6. Steve Guyger, What Have I Done (LIVE AT THE DINOSAUR; Remedy) 7. Steve Guyger, Step Back (LIVE AT THE DINOSAUR; Remedy) 8. Roosevelt Dean, Somebody Told Me (I DON'T WANNA LEAVE YOU; Z-K Records) 9. Rick Holmstrom, Sleigh Ride (BLUES, MISTLETOE, & SANTA'S LITTLE HELPER; Black Top) 10. Big Mike Griffin, Satisfied (SITTIN HERE WITH NOTHING; Waldoxy) 11. Chris Cain, Skeletons in Her Closet (SOMEWHERE ALONG THE WAY; Blind Pig) 12. Buddy Guy, Good News (DJ PLAY MY BLUES; JSP) 13. Ernie Johnson, Cold This Winter (IN THE MOOD; Waldoxy) 14. Robert Ward, Meat Off the Bone (BLACK BOTTOM; Black Top) ----------12:00noon 1. Ellen McIlwaine, Higher Ground (THE REAL/EVERYBODY NEEDS IT; Stony Plain) 2. Dave Thompson, I'm Having it So Hard (LITTLE DAVE AND BIG LOVE; Fat Possum) 3. Eddie C. Campbell, Sleep (THAT'S WHEN I KNOW; Blind Pig) 4. Albert King, Cold Feet (KING OF THE BLUES GUITAR; Atlantic) 5. Detroit Junior, If I Hadn't Been High (ALLIGATOR 20th ANNIVERSARY COLLECTION; Alligator) 6. Bob Margolin, Maybe the Hippies Were RIght (MY BLUES & MY GUITAR; Alligator) 7. Little Sammy Davis, I Ain't Lyin (I AIN'T LYIN; Delmark) 8. Roy Buchanan, Hawaiian Punch (WHEN A GUITAR PLAYS THE BLUES; Alligator) _________________________________________________________________ Southside Dave Prychitko ========================================================================= Date: Sat, 9 Dec 1995 19:50:41 GMT Reply-To: Richard Cotenas From: Richard Cotenas Organization: California State University Sacramento Subject: Re: reissuing bad Muddy Waters tracks Comments: To: bit-listserv-blues-l@uunet.uu.net Mary Katherine Aldin (mkaldin@IX.NETCOM.COM) wrote: : "Historically important garbage is still garbage" -- (Aldin's Theorem) : Outtakes are outtakes for a *reason*. They are usually *not* very good!. : But in most cases the things left behind in the vaults : shoulda stayed there, and this Muddy track is a case in point. : But selling garbage (even historically important garbage!) to the : general public in the disguise of a "rarities" collection is really : immoral. : Mary Katherine There is another perspective which all of the responses to this post missed, and it is hinted at in this last quote from the post: there is something to be learned from these recordings. The scholar --the biographer, musicologist, or sociologist--can learn something from the fact that an artist performed a particular song in a par- ticular way at a particular place and time. As long as these sorts of recordings are not misrepresented--"sold to the general public as 'rarities'"--they should be available to researchers. -- Richard Cotenas Calif. State Univ., Sacramento Library, Acquisitions Unit ========================================================================= Date: Sat, 9 Dec 1995 14:08:52 -0600 Reply-To: William A Morgan From: William A Morgan Subject: The Little Buster Bandwagon After hearing a few recommendations for Little Buster and the Soul Brothers, I bought the _Right on Time_ CD last night. I full-heartedly nod approval on this one -- soul is the main dish with a side helping of blues. I'll be looking for more Little Buster. This CD was released this year on the Bullseye Blues label. A great Christmas gift. Anyone know if he has any other recordings? Bill Morgan ========================================================================= Date: Sat, 9 Dec 1995 15:33:23 -0500 Reply-To: Robert Rubino From: Robert Rubino Subject: Little Buster and the Soul Brothers? Hope any of you Long Island, NY blues-l'ers may be able to help... I'm looking for a list of where Little Buster will be playing. Any help is greatly appreciated. Thanks in advance. Rob. rubino@li.net ========================================================================= Date: Sat, 9 Dec 1995 15:38:22 -0500 Reply-To: Robert Rubino From: Robert Rubino Subject: Re: The Little Buster Bandwagon In-Reply-To: from "William A Morgan" at Dec 9, 95 02:08:52 pm > > After hearing a few recommendations for Little Buster and the > Soul Brothers, I bought the _Right on Time_ CD last night. I full-heartedly > nod approval on this one -- soul is the main dish with a side helping of > blues. > I'll be looking for more Little Buster. This CD was released this year > on the Bullseye Blues label. A great Christmas gift. Anyone know if he > has any other recordings? > > Bill Morgan > I know Right on Time is the first album. I don't know of any other work that he might appear on. But I agree, the CD definitly gets a big nod from me as well ( I just picked up the album also ). Rob. rubino@li.net ========================================================================= Date: Sat, 9 Dec 1995 14:46:56 -0500 Reply-To: Wayne Ross From: Wayne Ross Subject: Re: Help me with Dr. John Comments: To: Tom Kraft In-Reply-To: <199512091757.LAA16165@etex.electrotex.com> My favorite is GOIN' BACK TO NEW ORLEANS (Warner Brothers). Dr. John gets back to his roots and explores all types of Nawlins music--jazz, blues, second line rhythms, etc. Excellent. (Won a Grammy for Best Traditional Blues Album in 1993, for whatever that's worth.) THE DR. JOHN ANTHOLOGY: MOS' SCOCIOUS is a two cd set from Rhino that covers his career from his early days (Ronnie and the Delinquents/Morgus & The 3 Gouls) through his pyschadelic L.A. period to his covers of standards on 1989's IN A SENTIMENTAL MOOD. Great liner notes too. I liked his funky-spaced-out dance music on TELEVISION (MCA/GRP). Also check out DR. JOHN PLAYS MAC REBENNACK (Clean Cuts), just the Doctor and his piano. Wayne Ross On Sat, 9 Dec 1995, Tom Kraft wrote: > BluListers, > > I recently purchased Charles Brown's ALL MY LIFE, Bullseye Blues CD BB 9501. > Great by the way. On this release Dr. John helps out with piano and vocals. > While listening to track #7 "A Virus Called The Blues" I noticed the awesome > voice of DJ and realized the only exposure I've had to it was some top forty > hit in the Seventies called "Smiling something.....". Where do I start and > what are your favorites? Thanks in advance. > > Tom Kraft > ========================================================================= Date: Sat, 9 Dec 1995 14:08:10 -0500 Reply-To: Wayne Ross From: Wayne Ross Subject: Re: Jeff Healey Comments: To: Hugh Hardy In-Reply-To: <199512081540.KAA27519@nic.bconnex.net> Jeff Healey by a long shot. Wayne Ross On Fri, 8 Dec 1995, Hugh Hardy wrote: > Question for you Americans... who do you hear about more in the U.S. - Jeff > Healy or Colin James. What do you think of each one and their music? Thanks. > > Hugh Hardy > near Toronto > ========================================================================= Date: Sat, 9 Dec 1995 17:15:32 -0500 Reply-To: Greg Hermanns From: Greg Hermanns Subject: Re: EAGLES (not) Shannon O'Connor failed to mention she is actively involved in the Greater Cincinnati Blues Society & an instrumental part of the production (along with Kitty Carson) of the Cincinnati Blues Festival. Girlfriend knows her blues. P.S. I think the Monkees actually had the best one; above and beyond The Partridge Family and The Brady Bunch (not to take anything away from Shawn Cassidy!) Greg H. ========================================================================= Date: Sat, 9 Dec 1995 23:10:44 GMT Reply-To: Paul L Pearson From: Paul L Pearson Organization: Iowa State University, Ames, Iowa Subject: Re: SRV invented what? Comments: To: bit-listserv-blues-l@uunet.uu.net In zoom writes: >and unfortunatly for us, they all fall woefully short in trying to get the >sound don't they....oh sure they're good in the own right but c'mon >SRV...be for real!! >>So I guess SRV invented a blues guitar tone/style that is >going to>be with us for awhile. >>Troy >absolutely, and I'm thanking SRV everyday for it!!! >Zoom! Personally, to continue on this thread of SRV clones, I'm opposed to comparing Duarte to SRV or to calling him a clone of SRV. Duarte is not SRV (of course) but he does play a style similar to that of SRV. SRV, however, was not Chris Duarte either. Duarte's jazz influences, experiences, personality and energy come through his playing and sometimes as things that SRV probably wouldn't or couldn't have done muscially. BTW, I just saw Duarte last night at People's in Ames as my celebration for passing my Ph.D. defense. He and John and Frosty were en fuego, but he was playing at his second volume-too fucking loud. Luckily I had ear protection provided. I finally gave up after awhile and went with the pain because I kept missing the added Duarte dimensions because of the cheap earplugs. 99999999999 My crappy old Teisco guitar is also worth something now. Chris and john both signed it to "Dr. Pro". -- Paul L. "Pro" Pearson, Ph.D. President, Kurt Rambis Fan Club (unofficial) Ames, IA Chapter ========================================================================= Date: Sat, 9 Dec 1995 18:17:48 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Buddy Guy Steve wrote: >I don't know about an e-mail address but Buddy is playing 14 >nights in January at his club, Legends, in Chicago. >Am going to be there on the 6th. Third year in a row for myself and a >few friends. >Should be a great time. Any other's going? I'll be there the 13th. Second year in a row for me. I'm curious to see if he's made any changes since then. Also, I'm curious about who the opening bands are. Have you heard? Last year I saw Larry McCray. karen ========================================================================= Date: Sat, 9 Dec 1995 18:24:07 -0500 Reply-To: ErnieE3685@AOL.COM From: Ernie Earnest Subject: Roadhouse Blues/ Lonnie Mack The credits on the orginal LP liner notes state Roadhouse Blues (4:04) ( Morrison/The Doors ) elswhere in the notes it states that the great Lonnie Mack played bass on two of the LP cuts Roadhouse blues and Maggie M'Gill ========================================================================= Date: Sat, 9 Dec 1995 23:27:41 GMT Reply-To: Jacob Resneck From: Jacob Resneck Organization: Santa Rosa Junior College, Santa Rosa, CA Subject: Otis Span question Comments: To: bit-listserv-blues-l@uunet.uu.net I was wondering if the great blues piano player Otis Span is still with us, and if so, has he released anything in recent years? -- jresneck@nermal.santarosa.edu ========================================================================= Date: Sun, 10 Dec 1995 00:03:16 GMT Reply-To: Jim Farris From: Jim Farris Organization: Netcom Subject: Jam Guide by Jammin' Jim Comments: To: bit-listserv-blues-l@uunet.uu.net Musicians and Fellow Blues Lovers, Does anyone know where there are any good Blues jams around? When I wrote about music, I knew where all of them were. If you have any information about Blues jams, please post a reply. For those of you who don't know, a jam is an informal session at a club or private house where musicians from different bands get together and jam. Many musicians find jams helpful because they can try new things in a less serious environment. Benefits and special shows can be used as examples of jams because they usually take on an "all-star" jam format. Jammin' Jim Farris KKUP 91.5 FM ========================================================================= Date: Sat, 9 Dec 1995 19:32:15 -0500 Reply-To: "Joseph P. Cauffiel" From: "Joseph P. Cauffiel" Subject: Buddy Guy >karen said >I'll be there the 13th. Second year in a row for me. I'm curious to see if >he's made any changes since then. Also, I'm curious about who the opening >bands are. Have you heard? Last year I saw Larry McCray. I live neer Philadelphia and I can aford $300.00 to fly out there. So, could you please keep me advised of when he might be touring around here. I have only two Buddy Guy albums: "Damn Right, I've Got The Blues", and "'Drinkin' TNT 'N' Smokin' Dynamite'". I would like to get more and I am interested in what others have. Thanks Joe ========================================================================= Date: Sun, 10 Dec 1995 00:29:45 GMT Reply-To: Jim Farris From: Jim Farris Organization: Netcom Subject: Seeking Blues Jams Comments: To: bit-listserv-blues-l@uunet.uu.net Does anyone know where there are any good Blues jams? If you have any information at all, please post a reply. For those of you who don't know, a jam is an informal session at a club or private house where musicians from different bands get together and jam. Many musicians find jams helpful because they can try new things in a less serious environment. Benefits and special shows can be used as examples of jams because they usually take on an "all-star" jam format. Jammin' Jim Farris KKUP 91.5 FM ========================================================================= Date: Sun, 10 Dec 1995 00:51:13 GMT Reply-To: Jim Farris From: Jim Farris Organization: Netcom Subject: Re: Biker Blues fan, + and - 's. Comments: To: bit-listserv-blues-l@uunet.uu.net David Silberberg wrote: >All things considered, including the many favorable messages about bikers in >this thread, tho, and maybe only in retrospect (altho I doubt it), but it >doesn't seem like it ever could have been a good idea to have Angels doing >security for music festivals like Altamount or acid tests at Esalen.... David is now talkin' about some serious Blues. Of course, from what Sonny Barger (then president of the Hells Angels) said in a phone interview (presented in the movie "Gimme Shelter"), the Angels were not actually hired to "do security" at Altamont. I won't quote what he said in the interview because I wouldn't want to misquote him. I would suggest that David be careful when describing past events, especially with regard to the Angels. They are sticklers for accurate historical accounts and will set the record straight if they feel that they have been wronged. Jammin' Jim Farris Blues DJ ========================================================================= Date: Sat, 9 Dec 1995 20:09:18 -0500 Reply-To: ErnieE3685@AOL.COM From: Ernie Earnest Subject: Roadhouse Blues liner notes state Roadhouse Blues (4:04) ( Morrison/The Doors ) elswhere in the notes it states that the great Lonnie Mack played bass on two of the LP cuts Roadhouse Blues and Maggie M'Gill ========================================================================= Date: Sun, 10 Dec 1995 01:09:34 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Buddy Guy In-Reply-To: <199512100032.TAA10540@ns1.net-gate.com> On Sat, 9 Dec 1995, Joseph P. Cauffiel wrote: > I have only two Buddy Guy albums: "Damn Right, I've Got The Blues", and > "'Drinkin' TNT 'N' Smokin' Dynamite'". I would like to get more and I am > interested in what others have. If you don't buy any other BG recording you MUST get "Stone Crazy" If there are no AMENS out there I will eat my hat :):) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [9/12/95 20:04 PM] "Saturday I go out to play..." ========================================================================= Date: Sat, 9 Dec 1995 20:15:02 -0500 Reply-To: Brian Rice From: Brian Rice Subject: Re: Otis Span question Comments: To: Jacob Resneck In-Reply-To: <4ad61d$f6i@floyd.santarosa.edu> Sadly, Otis died of cancer on April 24, 1970. He was just barely 40 years old. -Brian (Ann Arbor, MI - the home of Otis Spann Memorial Field) On Sat, 9 Dec 1995, Jacob Resneck wrote: > I was wondering if the great blues piano player Otis Span is still with us, > and if so, has he released anything in recent years? > > -- > jresneck@nermal.santarosa.edu > ========================================================================= Date: Sat, 9 Dec 1995 21:23:33 -0500 Reply-To: "Daryl F. Bernard" From: "Daryl F. Bernard" Subject: Re: Buddy Guy Comments: To: "Joseph P. Cauffiel" In-Reply-To: <199512100032.TAA10540@ns1.net-gate.com> > >karen said > > >I'll be there the 13th. Second year in a row for me. I'm curious to see > if >he's made any changes since then. Also, I'm curious about who the > opening >bands are. Have you heard? Last year I saw Larry McCray. Great to hear someone else on blues-L mention my main man Larry McCray. Larry is my favorite blues artist - a man who loves life and people, who can sing the blues from his gut and play guitar from his very soul! One of the nicest people you will ever meet. *Please* do yourself a favor and check out his releases on PointBlank/Charisma: _Ambition_ (1990) and _Delta Hurricane_ (1993) Both are excellent. Looking forward to another release upcoming. Last time I talked to Larry (this past July at a Blues Festival) he said they had been in the studio, but didn't like the result, so they decided to start over; so something should be coming soon (I hope!). Every once in a while he stops by the local "rock" station (which has kinda adopted him and plays his blues despite the rock format) and he just sits in the studio for an hour or so in the morning playing impromptu tunes live on an acoustic guitar, in between chatting with the djs and the regular airplay. Really cool! CHECK HIM OUT! Daryl ========================================================================= Date: Sun, 10 Dec 1995 02:50:02 -0500 Reply-To: JIMBLUE1@AOL.COM From: Jim Armstrong Subject: Re: Buddy Guy Comments: To: jcauffiel@net-gate.com In a message dated 95-12-09 19:31:33 EST, jcauffiel@NET-GATE.COM (Joseph P. Cauffiel) writes: >I have only two Buddy Guy albums: "Damn Right, I've Got The Blues", and >"'Drinkin' TNT 'N' Smokin' Dynamite'". I would like to get more and I am >interested in what others have. > > I have Slippin' In, which I enjoy. Also, I used to have A Man And The Blues, but I can't find it, and it's been so long since I've heard it I can't give an opinion on it. Jim Armstrong ========================================================================= Date: Sun, 10 Dec 1995 02:50:08 -0500 Reply-To: JIMBLUE1@AOL.COM From: Jim Armstrong Subject: Larry McCray Comments: To: dbernard@tardis.svsu.edu In a message dated 95-12-09 21:28:33 EST, dbernard@TARDIS.SVSU.EDU (Daryl F. Bernard) writes: >Great to hear someone else on blues-L mention my main man Larry McCray. It's good to hear someone else who likes Larry McCray. No one seems to know him around here. As a matter of fact, the local used CD place had his CD's in the jazz bins.I hope he'll have another release out soon. Jim Armstrong ========================================================================= Date: Sun, 10 Dec 1995 03:33:06 -0500 Reply-To: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA From: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA Subject: Re: Doors blues? It could be termed a blues. Though it doesn't follow the expected 12-bar layout, neither does a lot of John Lee Hooker or a ton of rural Delta blues of the 1920s and 1930s. They wrote it. Most Doors albums, as originally released, were simply credited "All Music by THE DOORS." One album, The Soft Parade, I believe, had individual writer's credits, but Morrison Hotel did not. Turtle _____ Reply Separator _____ Author: MILLER @ SCI.WFBR.EDU (Rick Miller) @ INTERNET Received: 12/07/95 04:18:48 PM Subject: Doors blues? My lab partner and I are jammin to the 2 cd set "Best of the Doors" and Roadhouse Blues is on. Did they write this, or is it a cover? There are absolutely no credits of any kind anywhere in this set or on the discs. The song isn't really blues anyway, but now it's a point of curiosity. Thanks, Riffin Rick (((( oo-) /- "In the back of the roadhouse they've got someone to love." F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Sun, 10 Dec 1995 02:29:07 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Subject: Re: Otis Span question My reference (Enclopedia Of The Blues - Gerard Herzhaft) suggests that Otis Spann died of a heart attack in 1970. Stan >Sadly, Otis died of cancer on April 24, 1970. He was just barely 40 >years old. > >-Brian (Ann Arbor, MI - the home of Otis Spann Memorial Field) > > >On Sat, 9 Dec 1995, Jacob Resneck wrote: > >> I was wondering if the great blues piano player Otis Span is still with us, >> and if so, has he released anything in recent years? >> >> -- >> jresneck@nermal.santarosa.edu >> > > HAPPY HOLIDAYS! Stan Ruffo Productions http://www.valleynet.com/~steamin steamin@valleynet.com (209) 625-6049 ========================================================================= Date: Sun, 10 Dec 1995 08:57:30 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Organization: IQuest Internet Services Subject: Re: EAGLES (not) Comments: To: Greg Hermanns =============Shannon O'Connor failed to mention she is actively involved in the Greater Cincinnati Blues Society & an instrumental part of the production (along with Kitty Carson) of the Cincinnati Blues Festival. Girlfriend knows her blues.=============== May I add my endosement of this great blues society. Their festival was a blast last year. Go, Shannon, Go................. RJ Bauman ========================================================================= Date: Sun, 10 Dec 1995 10:02:02 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - December 10th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- CALDWELL, RONALD (kybds/THE BAR-KAYS) d. 1967-1210, LAKE MONONA, WI 19 CLEAVES, JESSICA(ofFRIENDS OF DISTINCTION)b. 1948-1210, BEVERLY HILLS, CA CRANSHAW, BOB (b) b. 1932-1210, EVANSTON, IL CUNNINGHAM, CARL (d/THE BAR-KAYS) d. 1967-1210, LAKE MONONA, WI 18 GUITAR SLIM [EDDIE LEE JONES] (g) b. 1926-1210, GREENWOOD, MS HAYES, LINDA [BERTHA WILLIAMS] (v) b. 1923-1210, LINDEN, NJ JOHNSON, L. J.[LOUIS MAURICE JOHNSON] (g) b. 1950-1210, CHICAGO, IL JONES, EDDIE "ONE-STRING" (1000-string g) b. 1926-1210, JONES, PHALON (sax/THE BAR-KAYS) d. 1967-1210, LAKE MONONA, WI 18 KING, JAMES (g/THE BAR-KAYS) d. 1967-1210, LAKE MONONA, WI 18 LAVERGNE, LEE (owner: LANOR REC) b. 1932-1210, CHURCH POINT, LA NANCE, RAY (cnt/vln/ELLINGTON) b. 1913-1210, CHICAGO, IL O'NEAL, EDWARD VAZON JR. (of O'NEAL TWINS)d. 1990-1210, CHESTERFIELD, MO 53 PARRISH, AVERY (p/AFTER HOURS) d. 1959-1210, NEW YORK CITY, NY 42 PINDER, GENEVA (of THE PINDER FAMILY) b. 1931-1210, SMALL HOPE, ANDROS REDDING, OTIS RAY II (g/songw/VOLT REC) d. 1967-1210, LAKE MONONA, WI 26 STEINBERG, D. M. (publisher:RECORD WORLD)d. 1988-1210, LIVINGSTON, NJ 82 STEWART, LEROY ELLIOTT "SLAM" (b) d. 1987-1210, BINGHAMPTON, NJ 73 TAVARES, RALPH (of THE TAVARES) b. 1948-1210, CAPE VERDE IS., TRICE, WILLIE (g/TRIX REC) d. 1976-1210, DURHAM, NC 66 ------------------------------------------------------------------------------- ========================================================================= Date: Sun, 10 Dec 1995 09:32:14 -0600 Reply-To: William A Morgan From: William A Morgan Subject: Holiday things to do in N.O. Here are some possibilities for blues-lers requesting information (notably Shaun and Karen, I believe) about goings on in New Orleans between December 20 and December 30. This is a short list that mostly reflects my taste and experiences; please take a look at the Offbeat Magazine Web Page at //www.neosoft.com/~offbeat for a more complete list. When you arrive, pick up a copy of Gambit Magazine and the Friday Times-Picayune for the tabloid insert "Lagniappe" for updated information. Also, there are several restaurants in the city that offer a traditional Creole Christmas meal called the "Reveillon". I recommend the Reveillon experience if you can handle the expense. I don't have a list of restaurants that have a Reveillon menu. I do know that The Gumbo Shop at 630 South Peter offers one of the most reasonably priced Reveillons, and it also is quite good. The list below does not include many French Quarter clubs. I didn't include any of the places on Bourbon Street, although some blues and R&B can be found there at the Absinthe Bar, the Olde Opera House, and Rhythms. Performers at those places remain relatively static. Bryan Lee and the Jump Street Five play regularly at the Absinthe Bar. Willie Lockett and the Blues Krewe play frequently at Rythms. And Jose Francois & Toast of New Orleans do the houseband chores at the Old Opera House -- this band allowed blues-l brother Leo Aspiras to sit in for a number when he visited last summer. I should caution you that having more than a couple of beers at the Bourbon St. clubs could leave you in Chapter 11. Contact me using personal e-mail if you'd like to try to get together during your stay or if you need additional information. My e-mail addresses are wmorga@bigeasy.com and wam01@www.gnofn.org. Here are the club listings: Dec. 20 House of Blues - Terrence Simien and the Maillet Playboys Tipitina's - Professor Longhair Birthday celebration with special guests Margaritaville - Coco Robicheaux and Kenny Holladay Le Bons Temps Roule - Sunpie Barnes and the Louisiana Sunspots Mid-City Bowling Lanes - Creole Zydeco Farmers Dec. 21 House of Blues - John Mooney and Bluesiana Margaritaville - Eddie Bo and Smoky Greenwell's Blues Gnus Buffa's Lounge - Walter "Wolfman" Washington Maple Leaf - John Mooney (solo) Mid-City Bowling lanes - Geno Delafose Dec. 22 Tipitina's - The Joe Cool Davis Gospel Show Checkpoint Charlie - Coco Robicheaux Donna's Bar and Grill - Soul Rebels Brass Band Le Bon Temps Roule - Luther Kent Maple Leaf - Rockin' Dopsie Jr. and the Zydeco Twisters Mid-City Bowling Lanes - Marva Wright Dec. 23 Tipitina's - Dr. John The Howlin' Wolf - Dash Rip Rock presents the World's Worst Band Contest Mermaid Lounge - N.O. Klezmer All-Stars (Nevilles' drummer Willie Hall also plays with this Klezmer band) Mid-City Lanes - Snooks Eaglin w/George Porter Jr. Dec 24 House of Blues - Gospel Brunch with the Outreach Community Choir Little People's Place - Kermit Ruffins Treme Music Hall - Soul Rebels Brass Band Blue Jackal Bar - Ironing Board Sam's Gospel Brunch Check Point Charlie - Mike Anderson Blues Jam (BYOI - Bring Your Own Instrument) Dec 25 Donna's Bar and Grill - Kermit Ruffins and the BBQ Swingers Treme Music Hall - Rebirth Brass Band Dec 26 House of Blues - The Meters (better known as The Funky Meters in N.O.) Blue Jackal Bar - Walter "Wolfman" Washington and Marva Wright Maple Leaf - Rebirth Brass Band Margaritaville - Tommy Ridgley Snug Harbor - Steve Masakowski Dec. 27 Tipitina's - Buckwheat Zydeco House of Blues - The Meters Margaritaville - Coco Robicheaux and Kenny Holladay Maple Leaf - John Mooney (solo) Mid-City Bowling Lanes - Steve Riley and the Mamou Playboys Snug Harbor - Delfeayo Marsalis Dec. 28 House of Blues - The Fabulous Thunderbirds Blue Jackal - Ironing Board Sam and the Blue Jackal All-Stars Maple Leaf - Marva Wright Mid-City Lanes - Boozoo Chavis Vaughan'S - Kermit Ruffins and the BBQ Swingers Dec. 29 House of Blues - Swamp Stomp with Wayne Toups and Zydecajun, Nathan and the Zydeco Cha Chas, and the Bluebirds Margaritaville - Eddie Bo and Rosie Ledet and the Zydeco Playboys Snug Harbor - Johnny Adams and David Torkanowsky Blue Jackal - J. Monque 'D Le Bons Temps Roule - Luther Kent Maple Leaf - Rockin' Dopsie Jr. and the Zydeco Twisters Mid-City Lanes - George Porter Jr. and Runnin' Pardners Dec. 30 House of Blues - Luther Kent's Big Band Blues and R&B Revue Margaritaville - Eddie Bo and Marva Wright Blue Jackal - Ben Haygarden and the 8-balls Cafe Brasil - The Iguanas The Dragon Den - N.O. Klezmer All-Stars Le Bon Temps Roule - Merritt and the Bloodhounds Maple Leaf - Walter "Wolfman" Washington Patout's Cajun Corner - Bruce "Sunpie" Barnes and the Louisiana Sunspots Snug Harbor - Nicholas Payton Sextet *I only wish that I had some financial interest in at least one of the businesses mentioned above.* *********** Bill Morgan ========================================================================= Date: Sun, 10 Dec 1995 08:10:39 -0800 Reply-To: Richard Del Grosso From: Richard Del Grosso Subject: Re: Otis Span question Comments: To: Stan Ruffo In-Reply-To: <199512101029.CAA29836@sierra.valleynet.com> Stan, Maureen DelGrosso researched the life of Otis Spann carefully and extensively, and she believes that Spann died of cancer as Brian reported. Check the recent issue of Blues Revue for her article on Spann. Rich DelGrosso ========================================================================= Date: Sun, 10 Dec 1995 08:15:53 -0800 Reply-To: Richard Del Grosso From: Richard Del Grosso Subject: Ellen McIlwaine Anybody know the whereabouts of Ellen McIlwaine? She is a singer/guitarist who recorded for Polydor, United Artists, Blind Pig, etc., circa 1972-88. Thanks Rich DelGrosso Blues Revue ========================================================================= Date: Sun, 10 Dec 1995 11:23:20 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Muddy, Brass, and Blues Dave Prychitko says he's heard Muddy, Brass and Blues is "atrocious". Not true...It's not Muddy's best album, but he only made one truly atrocious record, Electric Mud. And that's worth having (on vinyl) for the marvellous foldout photo. - Richard the Elder ========================================================================= Date: Sun, 10 Dec 1995 11:23:27 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Otis Span question Jacob Resneck wants to know whether Otis "Span" is still with us. In fact, no. In spirit, most definitely yes. But this post raises a question I've asked before: At what point does one lose patience with well-meaning neophytes who ask questions that are simply obvious? Jacob's posting his query from something called the Santa Rosa Junior College-does this centre of higher learning have a library, perhaps? Maybe a quick check in any dictionary of pop/jazz/blues music might be possible? Maybe a glance at the sleeve notes of an Otis "Span" record? Maybe a conversation with another blues fan? My point is that old-fashioned repositories of information(books, records, people) can answer this sort of question faster and in more detail than can the internet. And young Jacob wouldn't have to parade his lamentable ignorance-and we wouldn't have to waste time responding to it! Oh, well. -Richard the Elder. ========================================================================= Date: Sun, 10 Dec 1995 11:44:05 -0500 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: WFBE Blue Highway Playlist 12/09/95 WFBE Blue Highway Playlist, Dec. 9, 1995. With Hosts David Boyd and Ed Tremewan. Song Album Artist Label 9 to 10 PM Messin' With The Kid Better Off With The Blues Junior Wells TelArc How Blue Can You Get Live At The Bad habit Bad Influence Wildchild One More Gallon Of gasoline Swamp Opera Two Slim/Taildraggers Burnside Goin Down To Main Street Muddy Waters Woodstock Album Muddy Waters Chess/MCA 61 Highway Between Midnight And Day Corey Harris Alligator Don't Trow Your Love on Me... Melvin Taylor/Slack Band Melvin Taylor/Slack Band Evidence Six Bar City Sleeping With A Stranger James Armstrong Hightone Treat Her Right LIVE Sonny Moorman & The Dogs 706 Records Aberdeen Ledbetter Heights Kenny Wayne Shepard Giant Pride and Joy Blues Masters Vol 9 Stevie Ray Vaughan Rhino Don't Start Talking Used Guitars Randy Volin & Sonic Blues Randy Volin V-8 Ford Used Guitars Randy Volin & Sonic Blues Randy Volin 10pm to 11pm Hound Dog Unchained Celinda Pink Celinda Pink LOng Distance Call Open All Night The Nighthawks Genes Born Under A Bad Sign Force Of Nature Koko Taylor Alligator Alligator Eatin' Dog No Looking Back Clarence "Gatemouth" Brown Alligator Highwayman Trouble Time Tinsley Ellis Alligator Danger Zone In The Danger Zone Son Seals Alligator Bad Bitch Return Of The Thin Man Noble Watts Alligator Just The Kind Of Man.... Mighty Fine Dancin' Mike Morgan & the Crawl Black Top My Feet Jumped Salty Rockin My Blues Away Washboard Sam Bluebird Fool In Heah Blues And Pain Jimmy Dawkins Wild Dog 11pm to midnight Nosey Woman Swings The Blues Big AL Dupree Dallas Blues Society I Ain't Lyin' I Aint Lyin Little Sammy Davis Delmark Don't Let The Same Dog.... Somewhere Along The Way Chris Cain Blind Pig Love In The Light Live At B B Kingss Radio Kings Icehouse I'm Your Santa Christmas Collection Lil Ed & Blues Imperials Alligator Blue House Blue House Marcia Ball Rounder Baby's Home To Stay Babys Backl Jesse "Wild Bill" Austin Roesch Blues All Around Me Mercurial Son Lurrie Bell Delmark Look On Yonders Wall Pinetop Perkins/Blue Ice Band Pine Top Perkins Earwig Big Legged Woman Blues In Paridise Backstreet Wa Nui Christmas in Paradise Blues Mistletoe, & Santas Little Helper Mike Morgan & The Crawl Black Top Lost The Will Comin'atcha... Live Johnny Neel & The Last Word Big Mo If I Hadn't Been High Liv. Chicago Blues Vol 1 Detroit Junior Alligator Cow Cow Blues (exit theme) Blue Ivory Mr. B Blind Pig ================================================================= BLUZ! Bluzman Ed aka Ed Tremewan ========================================================================= Date: Sun, 10 Dec 1995 09:04:22 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Otis Span question Richard Flohil wrote: > >Jacob Resneck wants to know whether Otis "Span" is still with us. In fact,>no. In spirit, most definitely yes. But this post raises a question I've asked before: At what point>does one lose patience with well-meaning neophytes who ask questions that>are simply obvious? Jacob's posting his query from>something called the Santa Rosa Junior College-does this centre of higher>learning have a library, perhaps? Maybe a quick check in any dictionary of>pop/jazz/blues music might be possible? Maybe a glance at the sleeve notes>of an Otis "Span" record? Maybe a conversation with another blues fan?> My point is that old-fashioned repositories of information(books,>records, people) can answer this sort of question faster and in more detail>than can the internet. And young Jacob wouldn't have to parade his>lamentable ignorance-and we wouldn't have to waste time responding to it! I guess it's a question of tolerance level for each individual. Anyone who considers it a waste of time to respond can just click that Ignore (or Delete) button and keep on sailing. Those of us with a greater level of patience or tolerance or whatever you want to call it can answer the questions of anyone who sincerely wants to learn about blues. I'm frequently grateful for the collective knowledge of this group, which has been of great assistance to me in my own work, and am glad that so many folks on it are patient enough to help me when there are questions *I* can't answer--so I try to answer questions for others when I can do so, to "pass it on," as we used to say when were were children. Books are great, and I use them a lot, but when you're *really* new you're clueless where to begin. There are, believe it or not, still people out there who've never heard of my friend Neil Slaven and his wonderful discography. So I will try to be patient, and those of like mind can do the same, and those not, not, and once again this list will have something for everybody. (Having made that speech, I will no doubt be caught issuing my *own* grumbles the next time I am on deadline and somebody writes me a three page long private email telling me their life story and wanting to know ALL about Muddy Waters because his music is so relevant to their personal life! Sigh. Do I look perfect? Hah!) Mary Katherine ========================================================================= Date: Sun, 10 Dec 1995 12:08:36 -0500 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Looking for music..... Comments: To: bit-listserv-blues-l@uunet.uu.net Hey, is there any written sheet music for "Let the Good Times Roll," "I Ain't Never Loved A Man (Aretha)" and "Evil Gal Blues?" And do any of you folks know who originally sang "Evil Gal Blues?" Thanks so much! Lea ========================================================================= Date: Sun, 10 Dec 1995 10:37:34 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Otis Spann question Comments: To: Richard Del Grosso In-Reply-To: If you (re)read Peter Guralnick's description in his book Feel Like Going Home of his visit with Spann shortly before Spann's death, it's much more consistent with cancer than a heart attack. (By the way, Maureen did a nice job on her article, but seems to have swallowed whole the mythology about Spann's boxing prowess and military career. For a start, it's impossible to be "a professional Golden Gloves boxer" since the Golden Gloves is an amateur competition.) ========================================================================= Date: Sun, 10 Dec 1995 12:20:09 -0500 Reply-To: Saint Bob From: Saint Bob Subject: Re: Larry McRay >>I'll be there the 13th. Second year in a row for me. I'm curious to see >> if he's made any changes since then. Also, I'm curious about who the >> opening bands are. Have you heard? Last year I saw Larry McCray. > >Great to hear someone else on blues-L mention my main man Larry McCray. >Larry is my favorite blues artist - a man who loves life and people, who >can sing the blues from his gut and play guitar from his very soul! One >of the nicest people you will ever meet. > >*Please* do yourself a favor and check out his releases on >PointBlank/Charisma: > >_Ambition_ (1990) and _Delta Hurricane_ (1993) > >Both are excellent. Looking forward to another release upcoming. Last >time I talked to Larry (this past July at a Blues Festival) he said they >had been in the studio, but didn't like the result, so they decided to >start over; so something should be coming soon (I hope!). > >Every once in a while he stops by the local "rock" station (which has >kinda adopted him and plays his blues despite the rock format) and he >just sits in the studio for an hour or so in the morning playing >impromptu tunes live on an acoustic guitar, in between chatting with the >djs and the regular airplay. Really cool! I caught Larry the night after thanksgiving at BB King's club in Memphis. That was a hot night, let me tell you. My girlfriend is more of a music snob than I am, which is saying a lot, but we were right up in front, grinnin' and dancin', half the night. She's not as into the blues as I am, but she'll remember that night (and the tattoos we got down the street) for a long time. Larry's awesome, and he had some talented players with him, too. Wish I knew their names. ========================================================================= Date: Sun, 10 Dec 1995 12:21:53 -0500 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Blues Standards (or Singing 101!)...Any suggestions? Comments: To: bit-listserv-blues-l@uunet.uu.net OK, Thanks for all the great advice about starting a career as a Blues Singer. What are some of the "standards" that female blues singers should know before even thinking avout hitting an open mike night? I know songs like "Stormy Monday," Dr. FeelGood, etc... If someone yells out a popular song, I sure as hell would like to know it! :) Thanks a lot Lea Gilmore ========================================================================= Date: Sun, 10 Dec 1995 12:35:50 EST Reply-To: William Pollak From: William Pollak Subject: Playlist, THE SOUL SHOW (WYEP-FM, Pittsburgh) Since a lot of folks have been posting playlists lately, I thought I'd post mine from yesterday. The Soul Show is on every other Saturday from 2-5 on WYEP-FM (91.3) in Pittsburgh. Bill Pollak, aka Billy Price email: wp@sei.cmu.edu ***** Livin' For You - Al Green Think - Lyn Collins (The Female Preacher) Soul Deep - Clarence Carter A House Ain't No Home Without a Woman - Otis Clay Chained and Bound - Otis Redding Til the Morning Comes - Peggy Scott & Jo Jo Benson Bustin' Loose - Chuck Brown & the Soul Searchers Love Tornado - Mable John (Thanks to Tom Morgan) End of the Rainbow - Little Milton Coldest Days of My Live - Chi-lites Shackin' Up - Barbara Mason Woman to Woman - Shirley Brown >From His Woman to You - Barbara Mason Man to Woman - Lonnie Youngblood It Ain't No Fun - Shirley Brown You Ain't Woman Enough to Take My Man - Shirley Brown Something You Got - Tyrone Davis Can I Change My Mind - Tyrone Davis Rainy Night in Georgia - Otis Rush Have You Been Making Out OK? - Quiet Elegance Have You Been Making Out OK? - Al Green Love Is a Beautiful Thing - Al Green Natural Woman - Aretha Franklin Heavenly Choir - Canton Spirituals (thanks to Lee Spector) Try a Little Tenderness - Otis Redding Skinny Little White Girl - Latimore Are You Lonely For Me - Freddie Scott The Jam - Graham Central Station Walk On In - Brenda and the Tabulations Wake Up Fool - Masqueraders I Made it Over - Sunset Travelers feat. O.V. Wright Born All Over - O.V. Wright I Love You More Than Words Can Say - Otis Redding 4:59 A.M. - Little Milton Cry to Me - Loleatta Holloway I'm Comin' Home - Otis Redding Precious Precious - Otis Clay Eee Tee - Denise LaSalle Loneliness Hurts - Bobby Bland And I Love Him - Jeam Plum I'm Through Trying to Prove My Love to You - Bobby Womack Your Time to Cry - Joe Simon Everybody Knows About My Good Thing - Little Johnny Taylor As the Years Go Passing By - Albert King ========================================================================= Date: Sun, 10 Dec 1995 09:27:26 GMT Reply-To: Dave_J._Herda@infozone.telluride.co.us From: "Dave J. Herda" Organization: InfoZone Telluride Co (970)-728-0472 Subject: Re: Buddy Guy Comments: To: phertel@CMC.DOE.CA If you don't buy any other BG recording you MUST get "Stone Crazy" If there are no AMENS out there I will eat my hat :):) Ahmen, Ahmen, Ahmen. Stone Crazy is one of the hottest things I have ever heard. There has been some serious talk on blue-L about two other Guy albums entitled DJ Play my Blues and Breakin Out. They both have been compared to Stone Crazy but until my dire financial situation takes a turn for the better I won't be able to comment on those. I will tell you and everyone else out there that Stone Crazy is, "Top notch my boy.....Top notch." The first song, I think I smell a rat, is worth the price of the album alone and it only gets better. D ========================================================================= Date: Sun, 10 Dec 1995 12:07:45 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Biker Blues fan, + and - 's. At 6:51 PM 12/9/95, Jim Farris wrote: >Of course, from what Sonny Barger (then president of the Hells Angels) >said in a phone interview (presented in the movie "Gimme Shelter"), >the Angels were not actually hired to "do security" at Altamont. > >I won't quote what he said in the interview because I wouldn't want to >misquote him. > >I would suggest that David be careful when describing past events, >especially with regard to the Angels. They are sticklers for accurate >historical accounts and will set the record straight if they feel that >they have been wronged. Mr. Ferris - I am willing - and eager - to learn: please set the record straight - what WERE they hired to do at Altamont? David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Sun, 10 Dec 1995 10:12:47 GMT Reply-To: Dave_J._Herda@infozone.telluride.co.us From: "Dave J. Herda" Organization: InfoZone Telluride Co (970)-728-0472 Subject: Re: Holiday things to do in N.O. Comments: To: wam01@WWW.GNOFN.ORG Dec. 23 Tipitina's - Dr. John The Howlin' Wolf - Dash Rip Rock presents the World's Worst Band Contest Mermaid Lounge - N.O. Klezmer All-Stars (Nevilles' drummer Willie Hall also plays with this Klezmer What is The Howlin' Wolf? If it is a blues club (like it sounds like) why is this the only listing they have in your multi day listings of blues shows? I would like to know more about this place and how much blues is performed there. Thanks for the help and keep on playin those blues! Peace--D "Hoaky religions and ancient weapons are no match for a good blaster at your side!" 'H. Solo '78..........Was he so wrong? ========================================================================= Date: Sun, 10 Dec 1995 11:14:15 -0000 Reply-To: "J. Witteveen" From: "J. Witteveen" Subject: Re: Earl Hooker/Sonny Boy Williamson Ruth asked for recommendations on Sonny boy williamson CDs. Me personal favorite Sonny Boy II (Rice Miller) cd is the Alligator re-release called Clownin' With the World, which is composed of eight tracks by Sonny Boy and eight tracks by Willie Love, a fantastic pianist. According to the liner notes, all the SBW tracks were unreleased, so if you've got any greatest hits packages or what have you, this one won't repeat songs (except for variations on a theme, similar tunes, etc.) So with this disk you get a double whammy - Sonny Boy Williamson's great work, as well as some great Willie Love tracks. -Jim (hndful@uniserve.com) ========================================================================= Date: Sun, 10 Dec 1995 13:29:05 -0600 Reply-To: William A Morgan From: William A Morgan Subject: HOWLIN' WOLF, the club; blues not Comments: To: "Dave J. Herda" In-Reply-To: <261152733.112610310@infozone.telluride.co.us> Contrary to the name, THE HOWLIN' WOLF, this club features mostly alternative music. I have no explanation for the name. Bill On 10 Dec 1995, Dave J. Herda wrote: > Dec. 23 > Tipitina's - Dr. John > The Howlin' Wolf - Dash Rip Rock presents the World's Worst Band Contest > Mermaid Lounge - N.O. Klezmer All-Stars (Nevilles' drummer Willie Hall > also plays with this Klezmer > > > What is The Howlin' Wolf? If it is a blues club (like it sounds like) why is > this the only listing they have in your multi day listings of blues shows? I > would like to know more about this place and how much blues is performed > there. Thanks for the help and keep on playin those blues! > > > > Peace--D > > > > > "Hoaky religions and ancient weapons are no match for a good blaster at your > side!" 'H. Solo '78..........Was he so wrong? > ========================================================================= Date: Sun, 10 Dec 1995 14:47:16 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Organization: IQuest Internet Services Subject: Re: Buddy Guy Comments: To: Dave_J._Herda@INFOZONE.TELLURIDE.CO.US I have almost everything ever recorded by Buddy, and while I enjoy Stone Crazy and D.J. Play My Blues, I like the swinging, racous "Left My Blues In San Francisco" the best of all. This is a great "period" piece, IMO. Does any body else get into this one? Buddy has said that he really wants to go back out on the road with some horns like he did with the splendid "This Is Buddy Guy" , although his current tack would indicate otherwise. Geez, when IS that live set with G.E Smith's SNL band coming out, anyway???? It's been in the can for over a year now, right? RJ Bauman ========================================================================= Date: Sun, 10 Dec 1995 14:11:30 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Year's Best Louisiana Music The December issue of Offbeat Magazine features record ratings with a very brief review of all 1995 records made by music artists with a Louisiana connection (please be aware that some of these artists are transplants to Louisiana, such as Alex Chilton; and others no longer live here, such as Wynton Marsalis). Notice the ratings scale below. I only list those recordings from the three star level up, starting with the top-rated albums. Also, the list includes all types of music. Do with it what you will: use as a gift guide, compare notes or delete on sight. Usual disclaimers apply, I have no business ties with anyone. Bill Morgan ***** Indispensible. Couldn't be better **** Highly recommended. Not Perfect, but very few are. *** Solid effort ** Flawed. For hardcore fans of the artist only. * Don't bother. NR Not Rated ***** Roy Brown - THE COMPLETE IMPERIAL RECORDINGS - Capitol Snooks Eaglin - THE COMPLETE IMPERIAL RECORDINGS - Capitol ****1/2 The Meters - FUNKIFY YOUR LIFE: THE METERS ANTHOLOGY - Rhino Steve Riley and the Mamou Playboys - LA TOUSSAINT - Rounder Various Artists (Sugar Boy Crawford, Clifton Chenier, Bobby Charles, Eddie Bo, etc.) - CHESS NEW ORLEANS - Chess/MCA **** The Cox Family - BEYOND THE CITY - Rounder Treme Brass Band - GIMME MY MONEY BACK - Arhoolie Johnny Adams - THE VERDICT - Rounder Louis Armstrong and His Orchestra - VOLUME III, POCKETFUL OF DREAMS - Decca/GRP/MCA Beausoleil - VINTAGE BEAUSOLEIL - Music of the World Better Than Ezra - DELUXE - Elektra Terence Blanchard - ORIGINAL ORCHESTRAL SCORE FROM THE MOTION PICTURE CLOCKERS - Columbia Clarence Gatemouth Brown - THE MAN - Verve/Polygram Snooks Eaglin - SOUL EDGE - Black Top Larry Garner - YOU NEED TO LIVE A LITTLE - Verve Corey Harris - BETWEEN MIDNIGHT AND DAY - Alligator Beau Jocque - GIT IT, BEAU JOCQUE! - Rounder Records Leroy Jones - MO' CREAM FROM THE CROP - Noptee/Columbia Kermit Ruffins - THE BIG BUTTER & EGG MAN - Justice Various Artists (Gina Forsyth, Anders Osborne and Theresa Anderson, Mike West, etc.) - LIVE AT THE NEUTRAL GROUND - Neutral Ground Coffeehouse Various Artists - MORE CAJUN MUSIC AND ZYDECO - Rounder Records Walter "Wolfman" Washington - BLUE MOON RISING - Tune Records Todd Westbrook - BY THE QUARTER MOON'S LIGHT - Westco Records Mark Whitfield - 7TH AVENUE STROLL - Verve ***1/2 Wessell Anderson, Brian Blade, Peter Martin, Nicholas Payton, Christopher Thomas - NEW ORLEANS COLLECTIVE - Evidence Bagdaddies - BORROWED BONES - Y-NO's Records Balfa Toujours - A VIELLE TERRE HAUTE - Swallow The Bingemen - THE BINGEMEN - Muthafunti Music Scott Black - SCOTT BLACK'S HOT HORNS - Good Time Jazz C.J. Chenier - TOO MUCH FUN - Alligator Records Alex Chilton - A MAN CALLED DESTRUCTION - Ardent Octa Clark - YOU CAN'T WRONG IF YOU PLAY IT RIGHT - Field Span Music Davell Crawford - LET THEM TALK - Rounder Deadeye Dick - WHIRL - Ichiban Phil DeGruy - INNUENDO OUT THE OTHER - NYC Records Dr. John - AFTERGLOW - Blue Thumb/GRP Dukes of Dixieland - BOB CATS REMEMBERED: A SALUTE TO BOB CROSBY - Leisure Jazz James Hall - MY LOVE, SEX AND SPIRIT - Endangered Beau Jocque - BEAU JOCQUE"S NURSERY RHYME - Beau Jocque Music Narvin Kimball - NARVIN KIMBALL & FRIENDS - Albany Records Little Freddie King - SWAMP BOOGIE - Orleans Records Sonny Landreth - SOUTH OF I-10 - Zoo Bryan Lee - HEAT SEEKING MISSILE - Justin Time Jerry Lee Lewis - YOUNG BLOOD - Sire Phillip Manuel - HEART TO HEART - Turnipseed Music Ellis Marsalis - A NIGHT AT SNUG HARBOR, NEW ORLEANS - Evidence Wynton Marsalis with Ellis Marsalis - JOE COOL'S BLUES - Columbia Steve Masakowski - DIRECT AXEcess - Blue Note D.L. Menard - D.L. Menard's Cajun Memories - Swallow Records Nathan and the Zydeco Cha-Chas featuring Michael Doucet - Creole Crossroads - Rounder Olympia Brass Band - NEW ORLEANS JAZZ PRESERVATION - Mardi Gras Records Anders Osborne - WHICH WAY TO HERE - Sony/Okeh Nicholas Payton - FROM THE MOMENT - Verve Tommy Ridgley - SINCE THE BLUES BEGAN - Black Top Mem Shannon - A CAB DRIVER'S BLUES - Hannibal/Rykodisc Silver Leaf Band - JELLY's BEST JAM - Good Time Jazz Records John Sinclair & His Blues Scholars - FULL MOON NIGHT - Total Energy Records Swingin' Haymakers - FOR RENT - Circle Records Timothea - GOIN' HOME TO MAMA - Blue Soul Records Various Artists (Cajun, Zydeco, R&B) - LOUISIANA SPICE - Rounder Johnny Vidacovich - MYSTERY STREET - Jamb Music Mike West - INTERSTATE 10 - Quark Records *** Brint Anderson - HOMAGE TO ELMORE - Tomato Tab Benoit - STANDING ON THE BANK - Justice Roy Carrier & the Night Rockers - ZYDECO STROKIN' - Lanot/Paula Records Dash Rip Rock - GET YOU SOME OF ME - Sector 2 Evil Nurse Sheila! - EVIL NURSE SHEILA! - Spinning Toe-Hold Records Bob Folse - FUEGO - Lyons Street Records Frankie Ford - HOT & LONELY - Ace Records Keith Frank - MOVIN' ON UP - Maison de Soul The Gaturs - WASTED - Funky Delicacies Smoky Greenwell - SMOKE ALARM - Greenwell Records Fred LeBlanc - DAMMIT - no label listed Rosie Ledet - SWEET BROWN SUGAR - Maison de Soul Los Babies del Meregue - AY QUE VACILON - Brownsville Productions Magnolia Sisters - PRENDS COURAGE - Arhoolie Merritt Doggins & the Bloodhounds - BLUES OLS & NEW - Shortstack Records Raymond Anthony Myles - A TASTE OF HEAVEN - Honey Darling Records Mystikal - MIND OF MYSTIKAL - Big Boy Records/Jive Records Ivan Neville - THANKS - Iguana Records Ed Peterson - THE HAINT - Delmark Project NIM - A TOWER OF BABEL - Project NIM Records The Radiators - NEW DARK AGES - W.A.R.? Records Kenny Wayne Shepherd - LEDBETTER HEIGHTS - Giant Records Nolan Struck & King Edward - BROTHER TO BROTHER - Paula Records Wayne Toups & Zydecajun - BACK TO THE BAYOU - Swallow Various Artists (Janet Lynn, Lavelle Trivette, and Marc Adams) - SINGERS - IMI Records Ed Volker - LOST RADIO HOUR - Croaker Records Victoria Williams - THIS MOMENT IN TORONTO WITH THE LOOSE BAND - Mammoth/Atlantic Marva Wright - I STILL HAVEN"T FOUND WHAT I'M LOOKING FOR - AIM Records ========================================================================= Date: Sun, 10 Dec 1995 14:17:18 -0500 Reply-To: OffBeat From: OffBeat Subject: Re: Holiday things to do in N.O. Comments: To: Dave_J._Herda@INFOZONE.TELLURIDE.CO.US At 10:12 AM 12/10/95 GMT, Dave J. Herda wrote: >What is The Howlin' Wolf? If it is a blues club (like it sounds like) why is >this the only listing they have in your multi day listings of blues shows? I >would like to know more about this place and how much blues is performed >there. Thanks for the help and keep on playin those blues! Generally, music clubs in New Orleans are much less genre-specific than clubs in other cities, to my experience. There is blues played at the Howlin' Wolf, like most clubs in New Orleans. However, I wouldn't consider the Wolf a blues club. Actually most of the bands they book fit more into the college progressive/alternative rock category. Catch ya on the rebound, --Alex Oliver, New Media Consultant, OffBeat Magazine offbeat@praline.no.NeoSoft.com OR harpua@praline.no.NeoSoft.com OffBeat's home page: http://www.neosoft.com/~offbeat ========================================================================= Date: Sun, 10 Dec 1995 16:35:40 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Otis Span question Comments: To: rflohil@INFORAMP.NET Apparently Richard the cranky was born with all his knowledge and never asked anybody a "simply obvious" question. Old man Flohil suggests that Jacob maybe take up his quest in "a conversation with another Blues fan." Most of the members of Blues-L would qualify for that definition, and most of them are quite willing to share "the obvious" with a newcomer, so I contend that Jacob came to the right place. Unfortunately, he happened upon us at a time when at least one member was ready to parade his lamentable intolerance before the rest of us. Jacob... don't ever be afraid to ask a question of someone who might know more than you. That's how you learn. On 10 Dec 95, Richard Flohil had this to say: > Jacob Resneck wants to know whether Otis "Span" is still with us. In fact, > no. In spirit, most definitely yes. > But this post raises a question I've asked before: At what point > does one lose patience with well-meaning neophytes who ask questions that > are simply obvious? Jacob's posting his query from > something called the Santa Rosa Junior College-does this centre of higher > learning have a library, perhaps? Maybe a quick check in any dictionary of > pop/jazz/blues music might be possible? Maybe a glance at the sleeve notes > of an Otis "Span" record? Maybe a conversation with another blues fan? > My point is that old-fashioned repositories of information(books, > records, people) can answer this sort of question faster and in more detail > than can the internet. And young Jacob wouldn't have to parade his > lamentable ignorance-and we wouldn't have to waste time responding to it! > Oh, well. -Richard the Elder. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 10 Dec 1995 15:05:46 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: LARRY MCCRAY > >Great to hear someone else on blues-L mention my main man Larry > >McCray. > It's good to hear someone else who likes Larry McCray. No one seems > to know > him around here. As a matter of fact, the local used CD place had > his CD's in > the jazz bins.I hope he'll have another release out soon. He is a wonderful live performer, but I don't think his CDs are as interesting. His studio efforts have always seemed to be over-produced for my tastes. Just my opinion Don O. ========================================================================= Date: Sun, 10 Dec 1995 15:05:48 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: dave mackenzie I had a chance to see Dave last night at a club called Muddy Waters in Dallas last night. (We're lucky to have a blues club that specializes in acoustic blues). What an incredibly talented guy. Four hours of great solo acoustic blues and National slide. He has dozens of wonderful original songs, REAL SONGS, and in between he filled in with Bo Carter, Hank Ballard, Sleepy John Estes, Blind Blake, Furry Lewis, and the obligatory Robert Johnson. This guy is a MAJOR talent, and that's not a phrase I throw around lightly. I have probably seen 70 or 80 live blues shows this year and this was in the top 2 or 3. Just one guy with a 1930 (or 32) National and no Marshall amps. He's not a guitar terror, like Bob Brozman, just a great original songwriter that can play really well. Sam Myers and his running buddy Joe Jonas were hanging out at the gig. Dave will be in Corpus Christi Dec 14 and Galveston Dec 15 & 16, then back home to Nashville. If you're around there, go, enjoy. He has 2 self produced CDs I have hyped on here before, but his live show was even better. E-mail at adiebaby@aol.com for more info, but don't expect an answer till they get back later this month. Don O. not associated esq. ========================================================================= Date: Sun, 10 Dec 1995 15:05:52 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: lonnie mack/roadhouse > Subject: Failed mail > > ===== transcript follows ===== > > Unknown host address brownvm.brown.edu > > ===== Unsent message follows ==== > From don.o Sun, 10 Dec 95 03:15:50 -0600 remote from chrysalis.org > Received: by chrysalis.org > id 04L2T06L Sun, 10 Dec 95 03:15:50 -0600 > From: don.o@chrysalis.org > Message-ID: <9512100315.04L2T06@chrysalis.org> > Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas > X-Mailer: TBBS/TIGER v1.0 > Date: Sun, 10 Dec 95 03:15:50 -0600 > Subject: ROADHOUSE BLUES/ LONNIE MACK > To: blues-l@brownvm.brown.edu > > > From: Ernie Earnest > The credits on the orginal LP liner notes state > Roadhouse Blues (4:04) > ( Morrison/The Doors ) > > elswhere in the notes > it states that the great > Lonnie Mack played bass > on two of the LP cuts > Roadhouse blues and > Maggie M'Gill There's a nice interview with Lonnie Mack in the current issue of the SRV fan club newsletter where he talks about that and other obscurities he has appeared on. Info at srvclub@aol.com. Don O. not associated Ltd. ========================================================================= Date: Sun, 10 Dec 1995 15:20:26 -0600 Reply-To: Justin Zitler From: Justin Zitler Subject: Professor Longhair Comments: cc: d1@i-site.com Hello! I'm new to the net, so please excuse any unintentional breaches of Internet etiquette I might commit. Having been turned on to the resurgence of interest in Professor Longhair, I thought it appropriate to introduce myself and SongByrd, Inc. I am the attorney for SongByrd, which is the family corporation that owns and manages the estates of Henry Roeland Byrd, p/k/a Professor Longhair, and his deceased widow, Alice Walton Byrd. The president of the Board is Rev. Alexander E. Byrd, Fess' son, with whom you can also communicate at the SongByrd e-mail address. He doesn't have his home mailbox set up yet. Our accountant is Alan Godchaux, whose Songbyrd mailbox is being set up at my law office next week. Our music publisher is the Don Williams Music Group, located on the web at "I-site.com" Current projects ya'll may be interested in include the "FESS'TIVAL" concert series at Tipitina's, which began Wed. Oct 18, and continues through Wed. Dec.20. Fess' birthday is Dec.19, but we will celebrate it Wed. nite Dec. 20 at TIP'S. Jerry Brock of the Louisiana Music Factory will bring the cake. The sidemen we've pulled together are Alvin "Red" Tyler and Tony Digradi on sax, Jon Vidacovich on drums, Alfred "Uganda" Roberts on congas, Julius Farmer and David Lee Watson on bass, and Leo Williams on guitar. No one can replace Byrd, but we've had Marcia Ball, Eddie Bo, Tommy Ridgely, Mark Adams, David Torkanowsky, Cindy Chen, Lenny McDaniels, withe Davelle Crawdord on Dec. 13. Tom Worrell is the musical director. Also, a tribute album is in development, as is a film project, songbooks,and an upcoming release of long-awaited Montreaux masters. I know this is too long, so if anyone has any questions re: Byrd, the asociation with the Foundation, specific releases, Tipitina's, etc., please e-mail the above address. If I don't have the answer, I'll do my best to find out who does. Thank you. Justin Zitler 2833 Napoleon Ave. New Orleans, LA 70115 (504) 897-0886 Email: Songbyrd@Communique.net ========================================================================= Date: Sun, 10 Dec 1995 13:28:00 +0000 Reply-To: "Terry L. Odor" Comments: Authenticated sender is From: "Terry L. Odor" Subject: Re: HOB Jinx ======================================================= up again and there, in living color, was old Jinxblues himself. Pixie and Dixieblues were not to be seen, but apparantly the snippet was about Son House. Suddenly I was wishing for the sound. Hey, what did I miss? Or did I have too much of my favorite beverage? ====================================================== I saw this too....flipping through the channels and saw HOB....then there he was...Mr. Waterman. Terry http://www.teleport.com/~tlo/ (updated 10/28/95) ========================================================================= Date: Sun, 10 Dec 1995 21:32:10 GMT Reply-To: Falkbergsskolan From: Falkbergsskolan Organization: - Subject: Re: Sonny Boy in Cinema Comments: To: bit-listserv-blues-l@sunet.se > >Sonny Boy Williamson No 2, made a film with at least three songs while he was on tour in Sweden with the American Folk Blues Festival 1962. He played with a Swedish bass-player called Sture Nordin. The film is very good, and is owned by a Swedish record company called Sonet. The film was done by Sam Charters. Pelle Leuf, Sweden. ========================================================================= Date: Sun, 10 Dec 1995 13:36:19 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Subject: Re: Otis Span question Comments: cc: Richard Del Grosso Rich, and fellow Blues-lers, I stand corrected regarding Otis Spann's cause of death. It would appear by the number of posts citing other sources, that Mr. Spann passed away due to cancer. I receive a number of great blues and harp related magazines. One I have been meaning to pursue is Blues Revue. Would you be kind enough to provide contact info for it. Thanks in advance. Stan At 08:10 AM 12/10/95 -0800, you wrote: >Stan, > > Maureen DelGrosso researched the life of Otis Spann carefully and >extensively, and she believes that Spann died of cancer as Brian >reported. Check the recent issue of Blues Revue for her article on Spann. > >Rich DelGrosso > > HAPPY HOLIDAYS! Stan Ruffo Productions http://www.valleynet.com/~steamin steamin@valleynet.com (209) 625-6049 ========================================================================= Date: Sun, 10 Dec 1995 17:28:48 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Otis Spa(h)n question Comments: To: pwfenton@gate.net Shouldnt we just tell him that all is-he-still-with-us questions are handled by Uncle Eric, our own in-house obit page? Another answer to Richard-the-Elder's gripe (with which I have some sympathy but ultimately disagree) is that almost invariably an 'obvious' question leads to at least some serious discussion about the musician or (at least) some biographical detail; in this instance reference to a Blues Revue piece, and mention of some controversy about how Spahn died (its amazing that there is not a consensus cause of death for someone who died that recently). Would Richard-the-Elder complain if we turn it into a discussion about Spahn? Or should Richard-the-Elder have recommended a good paperback general blues reference? And wouldnt he rather an obvious question about Spahn than an obvious question about Eric Clapton? Tom "in rhetorical question mode" Freeland ========================================================================= Date: Sun, 10 Dec 1995 17:57:42 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Holiday things to do in N.O. >Here are some possibilities for blues-lers requesting information >(notably Shaun and Karen, I believe) about goings on in New Orleans >between December 20 and December 30. Great list...thanks, Bill! And btw, Midcity Bowling Lanes??? No kidding??? Gosh, all we have around here in bowling alleys are jukeboxes. Freezing cold and can't wait to head south, karen ========================================================================= Date: Sun, 10 Dec 1995 19:10:39 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: Ellen McIlwaine Rich wrote: >Anybody know the whereabouts of Ellen McIlwaine? She is a >singer/guitarist who recorded for Polydor, United Artists, Blind Pig, >etc., circa 1972-88. > >Thanks > >Rich DelGrosso >Blues Revue **************************************************** Ellen played a local Blues club here last Spring. I had an interview set up for our station, but I ended up working on the air, so I missed the opportunity to chat with her. Maybe the club owner knows how to contact her. If it's important, I could check with him. Beef Stew ******************************************************* ========================================================================= Date: Sun, 10 Dec 1995 18:24:44 -0600 Reply-To: William A Morgan From: William A Morgan Subject: Re: Otis Spa(h)n question Comments: To: Tom Freeland In-Reply-To: <951210172817_129844982@emout05.mail.aol.com> I had simply attributed Richard the Elder's intolerance to all that charred meat in his diet and a deficiency of dietary fiber. But now Tom's response creates some doubt about the spelling of Otis' surname, which I thought was Spann. I'm having visions of a blues singing southpaw from the Milwaukee Braves. Tom, is there something to the Spahn spelling, or is your vision deteriorating like mine? Bill Morgan On Sun, 10 Dec 1995, Tom Freeland wrote: > Shouldnt we just tell him that all is-he-still-with-us questions are handled > by Uncle Eric, our own in-house obit page? > > Another answer to Richard-the-Elder's gripe (with which I have some sympathy > but ultimately disagree) is that almost invariably an 'obvious' question > leads to at least some serious discussion about the musician or (at least) > some biographical detail; in this instance reference to a Blues Revue piece, > and mention of some controversy about how Spahn died (its amazing that there > is not a consensus cause of death for someone who died that recently). Would > Richard-the-Elder complain if we turn it into a discussion about Spahn? Or > should Richard-the-Elder have recommended a good paperback general blues > reference? And wouldnt he rather an obvious question about Spahn than an > obvious question about Eric Clapton? > > Tom "in rhetorical question mode" Freeland > ========================================================================= Date: Sun, 10 Dec 1995 21:10:00 -0500 Reply-To: Stephanie Manna From: Stephanie Manna Subject: Mai Cramer/WGBH I remember seeing a homepage for Mai Cramer of Boston a DJ and involved in the blues scene. I can't find it...help please. ========================================================================= Date: Sun, 10 Dec 1995 21:17:55 EST Reply-To: Joseph Leichter From: Joseph Leichter Subject: Re: Otis Span question I'll be in NY the week of Dec 21 and would like to know what blues acts are playing that week...or should I only make posts like this to this list after subscribing to the New York Times, checking with my school's library (yes, we *do* have one), and exhausting all other avenues of research?...Jesus H. Christ if a person can't ask about Spann on this list , where the hell *else* can he? ========================================================================= Date: Mon, 11 Dec 1995 02:51:15 GMT Reply-To: "dstamm@postoffice.ptd.net" From: "dstamm@postoffice.ptd.net" Organization: ProLog - PenTeleData, Inc. Subject: Coco Montoya Comments: To: bit-listserv-blues-l@uunet.uu.net Hi Blues Lovers, Just bought a great CD. It's "Gotta Mind To Travel" by Coco Montoya. For those who don't know him, he was a drummer, who meant Albert Collins.(the late, great blues guitarist). Collins taught him how to play blues guitar. He then played for years for John Mayhall. Now with his solo album out, it's a blues "gotta have"CD. As a guitarist, I saw Coco on Austin City Limits....he's fantastic Dave ========================================================================= Date: Sun, 10 Dec 1995 22:04:06 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Otis Spa(h)n question Comments: To: wam01@www.gnofn.org In a message dated 95-12-10 19:51:28 EST, wam01@WWW.GNOFN.ORG (William A Morgan) writes: > >Tom, is there something to the Spahn spelling, or is your vision >deteriorating like mine? YOU ARE RIGHT AND I AM WRONG. There. Should that finish it? I hope? Tom ========================================================================= Date: Sun, 10 Dec 1995 21:20:58 -0600 Reply-To: Tom Kraft From: Tom Kraft Subject: Re: Buddy Guy Comments: To: JIMBLUE1@AOL.COM At 02:50 AM 12/10/95 -0500, you wrote: >In a message dated 95-12-09 19:31:33 EST, jcauffiel@NET-GATE.COM (Joseph P. >Cauffiel) writes: > >>I have only two Buddy Guy albums: "Damn Right, I've Got The Blues", and >>"'Drinkin' TNT 'N' Smokin' Dynamite'". I would like to get more and I am >>interested in what others have. >> >> > >I have Slippin' In, which I enjoy. Also, I used to have A Man And The Blues, >but I can't find it, and it's been so long since I've heard it I can't give >an opinion on it. > Jim Armstrong > A Man and The Blues is one of my favorites and I've got a lot of 'em. Stone Crazy is another must have. Enjoy Tom Kraft ========================================================================= Date: Sun, 10 Dec 1995 21:29:33 -0600 Reply-To: Tom Kraft From: Tom Kraft Subject: Re: Buddy Guy Comments: To: rjbauman@iquest.net At 02:47 PM 12/10/95 +0000, you wrote: >I have almost everything ever recorded by Buddy, and while I enjoy >Stone Crazy and D.J. Play My Blues, I like the swinging, racous "Left >My Blues In San Francisco" the best of all. This is a great "period" >piece, IMO. > >Does any body else get into this one? Yeah R.J., Track #7, She Suits Me To A Tee, takes the cake on this album. It always gets me a hopping. Someday when I get good on the guitar I'm gonna learn that riff. Thanks for bringing it up. Tom Kraft ========================================================================= Date: Sun, 10 Dec 1995 22:33:12 -0500 Reply-To: "Daryl F. Bernard" From: "Daryl F. Bernard" Subject: Re: Coco Montoya Comments: To: "dstamm@postoffice.ptd.net" In-Reply-To: <4ag6b3$gpg@ns2.ptd.net> On Mon, 11 Dec 1995, dstamm@postoffice.ptd.net wrote: > Hi Blues Lovers, >Just bought a great CD. It's "Gotta Mind To Travel" by Coco Montoya > Now with his solo album out, it's a blues "gotta have"CD. As a guitarist, I saw Coco on > Austin City Limits....he's fantastic > Dave I agree with Dave - this CD is really great. Has a very down-home groove feeling to it. Seems to come straight from the heart. It is available on Blind Pig records. Also appearing on the album are John Mayall and Albert Collins. In fact, the liner says "THIS ALBUM IS DEDICATED TO THE MASTER OF THE TELECASTER, ALBERT COLLINS. I LOVE YOU, DAD." Obviously some pretty tight feelings there between Coco and A.C. Daryl ========================================================================= Date: Sun, 10 Dec 1995 23:31:26 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: I Love This Disc HOW BLUE CAN YOU GET? -- Great Blues Vocals In The Jazz Tradition (Bluebird, BMG, RCA, 1989) I found this disc in a bargain bin about a year ago, and it's been getting richer and richer with every playing. It's got 19 wonderfully obscure cuts that make the digital transition very nicely. Leonard Feather and Ed Michel produced the reissue, and Feather wrote the excellent liner notes, as well as several of the songs. LEADBELLY, "Good Morning Blues" -- a perfect intro to this jazz-inclined disc, recorded in New York in 1940 with Alan Lomax. LOUIS ARMSTRONG, "Back O'Town Blues" -- recorded live in New York in 1947. Jack Teagarden does a very bluesy trombone solo. At one point, Armstrong tells a drunk heckler "Shut up, boy!" JACK TEAGARDEN, "St. Louis Blues" -- also recorded in New York in 1947, two months before the above with most of the same band members. Teagarden does a verse of vocals on this one. MILDRED BAILEY, "That Ain't Right" -- wih the Ellis Larkins Trio, also recorded in New York in 1947. What a sweet voice! LONNIE JOHNSON, "Crowing Rooster Blues" -- recorded in Chicago in 1941. Lil Armstrong (Louis' second wife) accompanies on piano. TEDDY BUNN, "Evil Man's Blues" -- recorded in New York in 1940 with the Hot Lips Page Trio. This version precedes Dinah Washington's and all the rest. LIL GREEN, "Why Don't You Do Right" -- recorded in Chicago in 1941. Big Bill Broonzy accompanies her mournful vocals. WINGY MANONE, "Corrine Corrina" -- recorded in New York in 1939, it's classic swing. He wails on the trumpet, and Feather writes that he had only one arm! FATS WALLER, "Bessie, Bessie, Bessie" -- recorded in New York in 1941, only Fats Waller could do the vocals on this one. MAXINE SULLIVAN, "St. Louis Blues" -- recorded in New York in 1938, this is a most elegant, beautifully sung version. Buddy Rich is the drummer; he was just 20 at the time. JOHNNY MOORE'S THREE BLAZERS, "How Blue Can You Get?" -- recorded in New York in 1949, I didn't know that Leonard Feather wrote this song! Billy Valentine's distinctive vocals make this one, but it's also wonderfully arranged with Valentine's piano and Oscar Moore's electric guitar. This is the first recorded version of this song, before Louis Jordan's, then B.B. King's. BILLY ECKSTINE, "Stormy Monday Blues" -- recorded in New York in 1942, Earl Hines accompanies his sweet vocals on the piano. This is a big-band sound, with "Shorts" McConnell doing the trumpet solo. LITTLE RICHARD, "Taxi Blues" -- Yes, Little Richard! He was just 15 when he cut this jump blues ditty in Atlanta in 1951. Leonard Feather wrote this one, too, and it launched Little Richard's career, and maybe rock 'n' roll. He's just on the verge of "Tutti, Frutti." RUBY SMITH, "Port Wine Blues" -- recorded in New York in 1947, she sounds like Bessie Smith. Her real name was Ruby Walker, but she was Bessie Smith's niece and in fact represented Bessie at John Hammond's 1938 "Spirituals to Swing" concert. JIMMY RUSHING, "Brand New Wagon" -- another big-band sound recorded with Count Basie and His Orchestra in Hollywood in 1947. ERNESTINE "TINY" DAVIS, "The Tiny Boogie" -- more great big-band swing, recorded in New York in 1946. She was the bandleader (International Sweethearts of Rhythm) and trumpeter. JOE WILLIAMS, "Rocks In My Bed" -- recorded in New York in 1963 with Jimmy Jones and His Orchestra, Duke Ellington wrote this one. Williams is wry, like Lou Rawls. HELEN HUMES, "I Sing The Blues" -- recorded in Hollywood in 1958 with Red Norvo and His Orchestra, she brings such a sweet and gentle sound to this excellent arrangement. HOT LIPS PAGE TRIO, "Just Another Woman" -- recorded in New York in 1940, Page plays the mellophone on this one. Leonard Feather wrote it and accompanies on the piano. "I had a gal. Her name was Louise. At first she was hot, then she started to freeze." So anyway, I hope you can find this one. It's become one of my favorites. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Sun, 10 Dec 1995 23:12:31 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: Re: LARRY MCRAY > Larry's awesome, and he had some talented players with him, > too. Wish I knew their names. Last time I saw Larry, Noel Neal (one of Raful's many talented kids) was on bass. He's one of the few bass players that I would go just to see HIM play. Don O. ========================================================================= Date: Sun, 10 Dec 1995 21:37:24 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Luther Allison Add me to the growing list of Luther Allsion fans. I picked up "Blue Streak" yesterday. It is an amazing Blues album. After 10 seconds of listening to the first track at a listening post in Tower there was no hesitation about buying it. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sun, 10 Dec 1995 04:30:00 -0800 Reply-To: Richard Norton From: Richard Norton Organization: Fullerton College, CA Subject: QUESTION AND INFO BLUES-L Hi everyone, Need some info on a couple of items; 1. Does anyone out there know the website address for Rory Gallagher ? 2. How do I get my home page included on the Blue-L shopping mall ? 3. If anyone would like to get a free subscription on " HOW TO TURN YOUR MUSIC INTO CASH ", please check out my home page as listed below. Thanks in advance, and HAPPY HOLIDAYS TO YOU ALL!!!!!!! Richard Norton The Richard Norton Band e-mail( richard-norton@fullcoll.edu ) website http//www.fullcoll.edu/communit/rich_nor/home.htm Tessa * 1st 2.00 #3726 * 1st things 1st...nothing can be easier than that! ======================================================================== Fullerton College claims no responsibility to the opinion expressed above (This is an automatic stamp from our Email system and not from the user.) ======================================================================== ========================================================================= Date: Sun, 10 Dec 1995 21:44:59 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Holiday things to do in N.O. Bill, Thanks for the info. Much appreciated. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Mon, 11 Dec 1995 06:20:50 GMT Reply-To: "James L. Kirchmer" From: "James L. Kirchmer" Organization: Seanet Online Services, Seattle WA Subject: Buddy Guy mystery tape(live show) Hi - I'm wondering if there's someone out there who would know the date and place of an unlabeled Buddy Guy show I got recently... The tape is one hour long, and was broadcast sometime in '93 on WXRT in Chicago. It was NOT a LIVE broadcast, I don't think. Oh- and the broadcast was not longer than one hour, I assume. Anyways, I also know it was a "Budweiser concert", whatever that means..... The setlist is: Mary had a little lamb, Damn right I got the blues, Messin' with the Blues, Mustang Sally, Been mistreated, Hoochie Koochie Man, Got my mojo workin'..... ****Please send a CC to my email address Thanks for any help on this! I look forward to subscribin' soon! ========================================================================= Date: Mon, 11 Dec 1995 06:26:53 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: Hollies Just Not The Same Without Buddy... (FWD) Philip and/or Carol Decker (pandc.decker@NETSRQ.COM) wrote: : > *John Hurt (actor) and Mississippi John Hurt duet, "Kiss of the Candy Man." : William Hurt (actor), perhaps? Uhhhhhh....yup. Sorry, I was thinking William Hurt while channeling John Heard. And seeing James Woods in my mind. ;) So whazzup with everyone else? Nobody can come up with a Live Dead duet? ============================================================================ Jef Jaisun eljefe@netcom.com "Slippin' In To New Years" - Buddy Guy plays Guy Lombardo ============================================================================ -- ========================================================================= Date: Mon, 11 Dec 1995 01:48:59 EST Reply-To: MR TERRY W SPRING From: MR TERRY W SPRING Subject: Ellen McIlwane Stoney Plain Records in Canada has reissued at least one and possibly more of her old albums. I don't know if she is still playing or touring. ========================================================================= Date: Mon, 11 Dec 1995 07:19:12 -5 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - December 11th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BARBOUR, DAVID M. (g) d. 1965-1211, MALIBU, CA 53 BROWN, ANDREW (g/ALLIGATOR REC) d. 1985-1211, HARVEY, IL 48 BUCHANAN, CHARLES (manager:SAVOY BALLROOM)d. 1984-1211, NEW Y, AR 86 COOKE, SAM (g/songw/SOUL STIRRERS) d. 1964-1211, LOS ANGELES, CA 33 GREENE, JIM "DIAMOND" (g/BLACK MAGIC REC) b. 1951-1211, CHICAGO, IL JACKSON, JERMAINE LAJAUNE(of THE JACKSONS)b. 1954-1211, GARY, IN JOHNSON, EDDIE (tsax/LOUIS JORDAN) b. 1920-1211, NAPOLEONVILLE, LA JONES, BOOKER T. (of BOOKER T. & MGs) b. 1944-1211, MEMPHIS, TN JONES, DARRYL (b/ROLLING STONES) b. 1961-1211, CHICAGO, IL KIRK, ANDY (leader/CLOUDS OF JOY) d. 1992-1211, HARLEM, NY 94 LUCAS, BILL LAZY (p) d. 1982-1211, MINNEAPOLIS, MN 64 MAYE, ARTHUR LEE (lead/THE CROWNS) b. 1934-1211, TUSCALOOSA, AL PRADO, PEREZ [DAMASO PEREZ PRADO] (mambo) b. 1916-1211, MATANZAS, CUBA SHABALALA, HEADMAN (of LADYSMITH BLACK M) d. 1991-1211, DURBAN, S. AFRICA 46 SIMS, MARVIN L. (songw/prod) b. 1944-1211, SEDALIA, MO SPELLMAN, BENNY (v/FORTUNE TELLER) b. 1931-1211, PENSACOLA, FL THORNTON, WILLIE MAE "BIG MAMA" (d/hca) b. 1926-1211, MONTGOMERY, AL TYNER, MCCOY (p/COLTRANE) b. 1938-1211, PHILADELPHIA, PA ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 11 Dec 1995 08:16:25 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Historical Blues on this day On Dec. 11, 1936, Britain's King Edward VIII abdicated the throne in order to marry American divorcee Wallis Warfield Simpson. King Eddie had it baaaad. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 11 Dec 1995 14:31:00 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Historical Blues on this day Comments: To: "P.W. Fenton" >On Dec. 11, 1936, Britain's King Edward VIII abdicated the throne in >order to marry American divorcee Wallis Warfield Simpson. King Eddie >had it baaaad. > >P.W. Fenton >Tampa, Florida > >Check out my Blues web page at > http://www.gate.net/~pwfenton Was Wallis Simpson in any way related to THE Bart Simpson who recorded Born Under a Bad Sign with BB King on guitar? I have only seen her in B&W, so I don t know if she was yellow. But you seem to be shure her prince was blue? Bo ========================================================================= Date: Fri, 8 Dec 1995 17:46:09 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: Another Tone question.... Comments: To: ron kraemer Okay, I finally got an answer on Bobby Parker's setup. Ron Kraemer said he saw Bobby play out of an Ampeg hooked up to a Fender Twin, which is what I thought I saw him playing out of last time I saw him which was about 3 months ago. Max, a good friend of Bobby's, says Bobby's normal setup is to run the guitar through a rackmounted distortion/reverb unit which is then plugged into the Ampeg. Channel 2 of the distortion unit goes into a 100-Watt Peavey Rione (sp?) Ruth ______________________________ Reply Separator _________________________________ Subject: Another Tone question.... Author: ron kraemer at Internet Date: 12/7/95 5:40 PM I read a post (I think by Ruth P.) that mentioned Bobby Parker's sound, saying that he goes through an Ampeg and possibly a Fender Twin hooked together. I saw Bobby Parker opening for Johnnie Johnson in Phila. a few months back, and really liked his sound. He was using an Ampeg and a Twin, but how are the two hooked together? I think I hear the same tone on Buddy Guy's "Please Don't Drive Me Away" on his Slippin' In CD. Sounds kinda like an octave pedal is being used (?), with a generous dose of funky, growling Blues. Or is it just the amp setup? Rather a vague description, I know. But, I'm outta here (work) in 10 minutes and the brain is fried. Thanks for the help. Ron ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters (and in another life....) Ron Kraemer and the Hurricanes ************************************************************ ========================================================================= Date: Mon, 11 Dec 1995 08:02:11 -0600 Reply-To: James Foster From: James Foster Subject: THE BEST OF ARTHUR CONLEY Now that the indefatigable Bill Shute is temporarily - I hope - off this list, I will try to pick up where he left off in promoting the OUTSTANDING "Southern Soul" series on the Ichiban/Soul Classics label. These releases, some of which are "budget" priced, have been steadily flowing from the good folks at Ichiban over the past year. For excellent reviews of some of these releases, particularly the fine discs featuring Doris Troy, the Sweet Inspirations, and Barbara Lynn,, look no further than Shute's reviews posted to the blues-l on 6-2-95, 6-16-95, and 10-2-95. Included in the recent batch of releases is the long awaited release of Arthur Conley's material for the Atco label as well as earlier material for the Atco-distributed Jotis label and a couple of sides for Rick Hall's infamous Fame Studios in Muscle Shoals. Conley, as so many singers of his generation, was deeply influenced by Sam Cooke and Otis Redding, who was later to serve as Conley's manager. Conley's albums released on Atco - "Sweet Soul Music", "Shake, Rattle & Roll", "Soul Directions", and "More Sweet Soul" - are mined heavily for this Ichiban compilation, a first-ever CD retrospective of Conley's work. Spanning the period from 1965 to 1970 this CD shows an artist with an amazing amount of energy, talent and SOUL. In fact, Peter Guralnick calls "Sweet Soul Music" a "better album than Sam Cooke ever put out in his lifetime"...fine praise indeed. Conley currently lives in Europe and assisted in this compilation, including ironing out the timing of when he and his ido, Otis, began to work together. Interesting stuff. Footage of Conley performing his classic single "Sweet Soul Music" appeared in the recent 10-part PBS documentary on the history of rock 'n roll. Do yourself a holiday favor and pick up this fine release on Ichiban, appropriately called "Sweet Soul Music: The Best Of Arthur Conley" (Ichiban/Soul Classics 2105). Happy holidays... James Foster ========================================================================= Date: Mon, 11 Dec 1995 09:32:38 -0500 Reply-To: BAJammin From: BAJammin Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Guitar Tunings Comments: To: bit-listserv-blues-l@uunet.uu.net In article <951028120300_78522072@emout04.mail.aol.com>, Karen Hanson writes in response to Gregg's comment about regional variations: >Hawaiian slack key >guitar music. It's beautiful acoustic, mostly instrumental, stuff, both >6-string and 12-string. Here are some of the tunings as listed on the liner >notes: > >C Wahine -- C G D G B D >G Old Mauna Loa -- D G D E G D >B flat Wahine -- F Bflat D F A D >C Mauna Loa -- C G C G A F >Are these tunings familiar to anyone? I'm not a Hawaiian guitarist so I can't say I'm real familiar with any of these tunings, but my interest was sparked to reread the liners to my Hawaiian Guitar Hot Shots (Yazoo L-10055) and Roy Smeck (Yazoo 1052) albums. I didn't find the above tunings listed there but some interesting others I did find: Open A E A E A C# E and A C# E A C# E Open A7 (used on Roy Smeck's rendition of My Little Grass Shack) G A E A C# E G6 Tuning G B E G B D Stack-O-Lee blues played in F# using G tuning a half step flat D G D G B D. Hawaiian slack key guitar music has had a profound influence upon the blues, swing, country etc. It is noted that 'the original "slack key" guitarists were ranch hands who had taken up the guitar in emulation of the Spanish and Mexican vaqueros who came to Hawaii in the 1830's. Dozens of native tunings were developed... To offset the buzzing of the lowered bass strings the raised nut was invented. The National Steel Guitars of the 1920's were similarly outfitted.' Those regional variations are what make it all worthwhile. :) Bill Adams ========================================================================= Date: Mon, 11 Dec 1995 09:32:42 -0500 Reply-To: Niles Frantz From: Niles Frantz Organization: Megaweb Subject: Re: Buddy Guy Comments: To: bit-listserv-blues-l@uunet.uu.net In article <951209181747_49464598@emout05.mail.aol.com> Karen Hanson wrote: >Steve wrote: > >>I don't know about an e-mail address but Buddy is playing 14 >>nights in January at his club, Legends, in Chicago. >>Am going to be there on the 6th. Third year in a row for > myself and a few friends. Should be a great time. Any >other's going? > >I'll be there the 13th. Second year in a row for me. I'm > curious to see if he's made any changes since then. Also, >I'm curious about who the opening bands are. Have you heard? > Last year I saw Larry McCray. > >karen I'm going on the first night, Jan 4. I called Legends to see if there were going to be any special shows, such as last year's acoustic night with Johnnie Johnson and Lonnie Brooks. They said that nothing like that was planned as of yet. Niles A loop is a loop is a loop. ========================================================================= Date: Mon, 11 Dec 1995 09:42:22 -0500 Reply-To: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM From: Jim Smith Subject: Re: Mississippi John Hurt Recommendations? Comments: To: BHill@STATE.DE.US In-Reply-To: The vanguard "Best of..." is a good set. I would also recommend the 2 CD set from Genes CD "The Memorial Anthology". Along with a concert it also contains a 20 min. interview with John Hurt conducted by Pete Seeger. Jim Smith >Greetings, > >What would you folks recommend as a first purchase for Mississippi John Hurt? > I've seen a Vanguard twofer "The Best of MJH" around -- is this good? > >Thanks, >Bill Hill >BHill@state.de.us > ========================================================================= Date: Mon, 11 Dec 1995 09:42:01 -0500 Reply-To: BAJammin From: BAJammin Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Neophyte Questions Comments: To: bit-listserv-blues-l@uunet.uu.net I would LOVE to hear a review of a Big Bill Broonzy show. The Young Big Bill Broonzy release on Yazoo has been a favorite of mine for nearly two decades. 8^) Bill Adams ========================================================================= Date: Mon, 11 Dec 1995 14:45:55 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Mel Brown (Nyaa nyaa nya nyaa nyaaa) Saw Mel Brown (ex of Ausin TX) last Friday in Ottawa. What a talented player just so smooooth and easy going. He seems to enjoy playing so much I swear he would do it for nothing. He also has this technique where he seems to "bounce" off of his strings, I can't quite figure out how he does it or how to better describe it. A fine keyboard player too. They have his "Silent Partners" out on CD and he said he will be coming out with a new one in February. Mel Brown, he used to live in Austin but he's OURS now ........ Nyaa nyaa nya nyaa nyaaa :):):) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [11/12/95 9:37 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 11 Dec 1995 14:55:56 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: And Another Tone question.... In-Reply-To: <0cc36dc0@vitro.com> Since we have this thread going ... How does Jimmy Dawkins get his? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [11/12/95 9:54 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 11 Dec 1995 09:56:26 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Ellen McIlwaine review Given the recent Ellen McIlwaine posts, I thought I'd pass this along. I myself asked about her a month or two ago on this list. Ellen McIlwaine: The Real / Everybody Needs It (Stony Plain) _________________________________________________________________ * EVERYBODY NEEDS IT: I Want Wacha Got / Say a Single Word / * Everybody Needs It / Come Sit Down and Tell Me / Danger Zone / * Nothing Left to be Desired / Regretting Blues / Hang On to a Dream / * Cure My Blues / Keep On / THE REAL ELLEN McILWAINE: Higher Ground / * Lazy Day / He The Richmond / Up in Heaven Shouting / I'm So Glad / * Blueberry Hill / The Secret in This Ladies Heart / Virginia Creeper/ * 30-Piece Band / Crawling Kingsnake / Down So Low / Let's Go Down * to the Ocean / Born Under a Bad Sign / Let Me Be I'm a latecomer. I first heard Ellen McIlwaine a month or two ago on Holger Peterson's Saturday Night Blues, a radio program broadcast over the CBC, and something of an equivalent to Hockey Night in Canada for blues fans. It took just one song to turn this Yankee into a fan of Calgary-based McIlwaine. The song -- a cover of Albert King's Born Under A Bad Sign -- combines simply, yet energetically, McIlwaine's scat-like vocals with her wonderfully rhythmic guitar playing. Hooked, I was destined to track down her records for myself. And what a way to do it: The Stony Plain label has recently reissued two of McIlwaine's best-selling (though lately impossible to find) albums on one CD, titled The Real/Everybody Needs It. The Real Ellen McIlwaine, originally released in 1975 by Kot'ai Music, features McIlwaine in front of Montreal's Ville Emard Blues Band, while her Everybody Needs It, released in 1982 by Blind Pig (and winning that year's NAIRD award for Best Rock Album) features bassist Jack Bruce. Look at the tracks above -- this reissue is loaded with music. But just what kind of music is this? Eclectic. There's something here, among the twenty three cuts, to please all but the impenetrable blues purist. While most of her originals border on seventies-style folk-rock, McIlwaine's bluesiest on the Mayfield, Hooker, Nelson, and King covers. Johnny "Guitar" Watson's "Nothing Left to be Desired," Jack Bruce's "Regretting Blues," the spiritual "Up in Heaven Shouting/I'm So Glad," and McIlwaine's own "30-piece Band" also catch attention. Her cover of Stevie Wonder's "Higher Ground" is the best I've heard: only Ellen's voice and a low end, wah-inflected guitar. Iconoclastic. McIlwaine plays piano influenced by Professor Longhair. Her guitar playing and her voice were directly influenced by Jimi Hendrix (who used to sit in on her Cafe au GoGo sets in the mid 60s). Indeed, her voice becomes something of an instrument itself, like in scat. She plays a respectable slide, in many cases slagging it to provide a near-warped edge to some of her songs. But it's her punchy rhythm that really moves this reviewer. Psychedelic. Okay, well, let's not go overboard here. The Real has a folky 70s psychedelia to it, one much closer to, say, Leon Russell's Carney (remember that one?!), than to the over-the-top acid rock of most others. A couple well-placed surprises keep you tuned in and turned on. This is fun music. Eclectic, iconoclastic, and practically scat-chedelic, there is probably no better introduction to Ellen McIlwaine than The Real/Everybody Needs It. Thanks to Stony Plain, we Yankees may soon begin to catch on to one of Canada's best kept secrets. Dave Prychitko http://www.oswego.edu/~prychitk/Blues101.html for more reviews. (I'm not affiliated; just enthusiastic) ========================================================================= Date: Mon, 11 Dec 1995 09:59:22 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: McIlwain's address... In response to a question as to her wherabouts: Ellen McIlwaine Music P.O. Box 611, Station M Calgary, Alberta Canada T2P 2J2 (as mentioned on her "The Real/Everybody Needs It" reissue (1995)). Dave Prychitko ========================================================================= Date: Mon, 11 Dec 1995 14:54:54 +0000 Reply-To: rof From: rof Subject: Re: Mississippi John Hurt Recommendations? Comments: To: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM In-Reply-To: Your message of "Mon, 11 Dec 1995 09:42:22 EST." In message , Jim Smith writes: > The vanguard "Best of..." is a good set. I would also recommend the 2 CD > set from Genes CD "The Memorial Anthology". Along with a concert it also > contains a 20 min. interview with John Hurt conducted by Pete Seeger. > > Jim Smith > > > > >Greetings, > > > >What would you folks recommend as a first purchase for Mississippi John Hurt > ? > > I've seen a Vanguard twofer "The Best of MJH" around -- is this good? > > > >Thanks, > >Bill Hill > >BHill@state.de.us Why not try the album on Yazoo for 1920s recordings Rob ========================================================================= Date: Mon, 11 Dec 1995 08:50:10 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Buddy Guy mystery tape(live show) Comments: To: "James L. Kirchmer" In-Reply-To: <4agik2$o61@kaleka.seanet.com> I think the Buddy Guy tape in question was recorded at the Vic Theater in Chicago; WXRT has broadcast that set a couple times. XRT airs "Budweiser UnConcerts" every Sunday night and a lot of blues shows have been included over the past two decades. ========================================================================= Date: Mon, 11 Dec 1995 16:32:20 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: And Another Tone question.... Pat Hertel asked: >> Since we have this thread going ... How does Jimmy Dawkins >>get his? >> > He uses an old Marshall head with (I think) an Acoustic cabinett. I did some gigs with him in Sweden and brought a Fender Twin and he wasnt really happy with that so we rented a marshall instead. A lot of his tone comes from the way he handles his big ol stereo Gibson though. One funny point - his guitar was strung in the most odd way. I would say that his high E, Bb and G was the same gauge and then he had those BIG plain basstrings. He had a tuning problem on soundcheck and then we changed some strings for him and he liked it much better. Well rather, he just didn t care what strings he had and if we wanted to change them it was OK with him. He sometimes said that he wanted a heavy sound with weight in each note and thats why he switched from a Jaguar to the Gibson. Thats also why he prefers Marshalls. Mr Bo ========================================================================= Date: Mon, 11 Dec 1995 10:52:29 -0500 Reply-To: TabbMan@AOL.COM From: John Moore Subject: x-mas blues Its that time of the year again.Im searching for Christmas Blues.I have the Alligator release"Christmas Collection" with KOKO,Lil Ed,Charlie Musselwhite etc... but need more.Any know of any good Christmas blues albums? ========================================================================= Date: Mon, 11 Dec 1995 10:53:19 -0500 Reply-To: SwtesTaboo From: SwtesTaboo Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Roadhouse Blues Comments: To: bit-listserv-blues-l@uunet.uu.net Mentioning Lonnie Mack.. He played my club a little more than a year ago.. what an excellent musician and friendly man to talk to... him and I had many long conversations that night about him playing with Jim Morrison and also about Jim's death. ========================================================================= Date: Mon, 11 Dec 1995 10:55:14 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Good starter guitar? Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I have a question that I hope hasn't been asked too many times before. If it has, please forgive my ignorance - I'll go to the public library next time. :-) But I think that I can get a good answer from the list. I've been seriously considering getting back into playing guitar. I've managed to find a teacher who is willing to trade guitar lessons for harp lessons. I want to buy a decent used acoustic for $200 or less. What would you guitar players recommend for a good, inexpensive guitar to learn on? Also, what music shops in the DC area would you recommend to shop for one? (I already tried Atomic and Big Al's, and I'll probably go to Chuck Levin's next). I'd appreciate any recommendations. Thanks, Steve ========================================================================= Date: Mon, 11 Dec 1995 10:22:23 -0600 Reply-To: Dave Daubard From: Dave Daubard Subject: Blues Cruise Playlist 12/8/95 Artist-------------Title--------------Release-------------Label------ Rod Piazza---rockin'robin(theme)-----Harp Burn-- Black Top Jay Owens- Workin' Man- Movin' On- Code Blue Joe Louis Walker-Bluesifyin'- Blues of the Month Club- Verve Billy Branch-title tune-The Blues Keep Following Me Around- " Big Daddy/Kinsey Report-Stayed Away too Long-Ramblin' Man- " Corey Harris-Keep Your Lamp Trimmed-Between Midnight & Day-Alligator Rue Davis-What Becomes of the Broken Hearted-Honey Pue- Kon-cord Snooks Eaglin'-Dizzy Miss Lizzy- Teasin' You- Black Top Johnny Dyer-Guitar boogie Shuffle Twist-Listen Up- " " Billy Boy Arnold-Lowdown Thing or Two-Eldorado Cadillac- Alligator Little Milton-Eight Men, Four women-Live at Westville Prison-Delmark Mark Hummel-Trial by Fire- Married to the Blues- Flying Fish Lee McBee -Call Me- "44" Red Hot Records Cooler Kings-I've Got Love- Looks Like Trouble- Slippery Noodle Smokey Wilson-title tune- 88th St. Blues- Blind Pig Ray Charles-You Are My Sunshine- It's a Blues Thing- Monad Esther Phillips-You Must be Crazy-" " " " " " " Long John Blues- " " " " " " " Jelly, Jelly, Jelly " " " " " Leon Redbone- Frosty the Snowman- Christmas Island- August Records " " Let It Snow- " " " " Charles Wilson-Slow Down, Lowdown Kind of Love-It's Sweet on the Back St-Ecko James Cotton- The Creeper- Best of the Verve Years- Verve Gary Primich- I'm the One- Mr. Freeze- Flying Fish Night Hawks- Madison Blues- Open All Night- Genes Joe Guitar Hughes-title tune-Texas Guitar Slinger- Bullseye Jay Owens-I Heard You Love the Blues-Movin' On- Code Blue Luther Tucker-Cha Cha La Tucker-Luther Tucker/Ford blues band-blue rocket Kenny Wayne- Blues Love Theme- Alive & Loose- Blues Roots Rec. Joe Guitar Hughes-My Baby Told Me-Texas Guitar Slinger- Bullseye Clayton Love-Worried Life Blues- Blues Come Home- Monad Jerry McCain-Courtin' in a Cadillac-That's What they Want- AVI the Crawl-The Blues Have come My Way-Full Moon Over Dallas-Black Top Robt.NighthawkII-Wampus Boogie- Toastin' the Blues- Inside Memphis Pinetop Perkins-Look on Yonder Wall-Pinetop/Blue Ice Band- Earwig Big Daddy/Kinsey Report-It's Over-Ramblin' Man- Verve Sunnyland Slim-Goin' Down Slow-Sunnyland Train- Evidence Elvin Bishop- Blue Flame- Ace in the Hole- Alligator ========================================================================= Date: Mon, 11 Dec 1995 10:52:38 -0600 Reply-To: Tom Kraft From: Tom Kraft Subject: Re: QUESTION AND INFO BLUES-L Comments: To: Richard Norton At 04:30 AM 12/10/95 -0800, you wrote: >Hi everyone, > >Need some info on a couple of items; > >1. Does anyone out there know the website address for Rory Gallagher ? > It's http://www.hut.fi/~khagelbe/rory.html. Enjoy Tom Kraft ========================================================================= Date: Mon, 11 Dec 1995 09:11:53 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: BLACK MAGIC 9032 : "DIAMOND" JIM GREENE - JUST A DREAM Comments: To: BluesHvn@aol.com BLACK MAGIC 9032 : "DIAMOND" JIM GREENE - JUST A DREAM ============================================================================= JAMES GREENE b. 1951/DEC/11, CHICAGO, IL In the last year or two, quite a few young Afro-Americans - Eric Bibb (b.1951), Guy Davis (b.1956), Corey Harris (b.1969), Keb'Mo (b.1951), Lonnie Pitchford (b.1955) - are reaching back to early acoustic blues, and with this CD, "Diamond" Jim Greene joins this select group. His interpretations of prewar titles like "Booger Rooger Blues" (Blind Lemon Jefferson), "Canned Heat Blues" (Tommy Johnson), "Kind Hearted Woman" (Robert Johnson), and "Just A Dream" (Big Bill Broonzy) are very telling of someone who is determined to make his versions unique and not just copies of the orginals. He succeeds admirably, especially on his versions of "Cypress Grove", "Devil Got My Woman" and "Hard Time Killin' Floor", three of Skip James' original 1931 compositions. Thirteen of the tracks feature his national steel guitar - especially effective on "John Henry" - with harmonicat Keith Dunn joining him on 5 tracks including Peg Leg Howell's "Skin Game Blues" and the Tampa Red instrumental "You Got To Reap What You Sow". Also included are versions of more contemporary material like Lonnie Mack's "Oreo Cookie Blues" (originally recorded with the help of Stevie Ray Vaughan) and Johnny Winter's "Blady Mae". With this his first CD, I'm sure we're going to hear more from "Diamond" Jim Greene. Happy Birthday, "Diamond" Jim Greene! Personnel : "Diamond" Jim Greene, vocals, national gtr, 6-string gtr (3,15), 12-string gtr (6) Keith Dunn, harmonica (1,5,8,10,13) Willem van Dullemen, national gtr (8,16), 6-string gtr (11), 12-string gtr (5), Recorded in May 1995, Gravendeel, Holland Producers : Gerard Robs & Kees van Wijngaarden Contents : (Total Time : 54 minutes). 1. Hard Time KIllin' Floor - 2. Guitar Man - 3. This Old House 4. Skin Game Blues - 5. Just A Dream - 6. Canned Heat Blues - 7. Blady Mae - 8. Oreo Cookie Blues - 9. Cypress Grove - 10. You Got To Reap What You Sow - 11. Booger Rooger Blues - 12. She Don't Know - 13. Window Payne Blues - 14. Devil Got My Woman - 15. Kind Hearted Woman - 16. John Henry ========================================================================= Date: Mon, 11 Dec 1995 12:45:50 -0500 Reply-To: SJeffcote@AOL.COM From: "Scott E. Jeffcote" Subject: Re: Larry McRay Comments: To: stbob@krylon.org If yall like Larry wait until you get to hear him on the yet to be released Larry Garner album. Larry G let me hear it a while back. It will probably be out next year. Last I heard one of the band members of Larry McCrays was one of the Neal brothers - I believe it is Donnell on bass. Hope this helps. ========================================================================= Date: Mon, 11 Dec 1995 11:48:00 CST Reply-To: "Wsiaki, Bill" From: "Wsiaki, Bill" Subject: RICHARD THE ELDER On Dec. 10 Richard the Old One wrote "My point is that old fashioned repositories of information ...can answer this sort of question faster" It seems that Richard hasn't caught on that we are now in the electronic information age where more research is shifting to on-line sources, Blues-L included. Bill Wsiaki St. Paul's College Library WSIAKI@BLDGEDUC.LAN1.UMANITOBA.CA ========================================================================= Date: Mon, 11 Dec 1995 12:54:50 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: Good starter guitar? Comments: To: Steve Levine Hi Steve, Atomic music, as you have probably already found out, doesn't have a very good selection of acoustic guitars. Chuck Levin's has some beautiful ones and they're not too expensive. You might want to check some pawn shops and the Washington Post classifieds also. Ruth ______________________________ Reply Separator _________________________________ Subject: Good starter guitar? Author: Steve Levine at Internet Date: 12/11/95 10:55 AM I have a question that I hope hasn't been asked too many times before. If it has, please forgive my ignorance - I'll go to the public library next time. :-) But I think that I can get a good answer from the list. I've been seriously considering getting back into playing guitar. I've managed to find a teacher who is willing to trade guitar lessons for harp lessons. I want to buy a decent used acoustic for $200 or less. What would you guitar players recommend for a good, inexpensive guitar to learn on? Also, what music shops in the DC area would you recommend to shop for one? (I already tried Atomic and Big Al's, and I'll probably go to Chuck Levin's next). I'd appreciate any recommendations. Thanks, Steve ========================================================================= Date: Mon, 11 Dec 1995 13:02:45 -0500 Reply-To: Wayne Ross From: Wayne Ross Subject: Re: x-mas blues Comments: To: John Moore In-Reply-To: <951211105227_69777350@mail04.mail.aol.com> Blueseye Blues has a new Christmas collection that's enjoyable: Charles Brown, Little Jimmie King, Luther Johnson, Michelle "Evil Gal" Willson, and much more. If you don't have Charles Brown's COOL CHRISTMAS BLUES get it. My all time favorite xmas album. Wayne Ross On Mon, 11 Dec 1995, John Moore wrote: > Its that time of the year again.Im searching for Christmas Blues.I have the > Alligator release"Christmas Collection" with KOKO,Lil Ed,Charlie Musselwhite > etc... but need more.Any know of any good Christmas blues albums? > ========================================================================= Date: Mon, 11 Dec 1995 13:11:46 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: Doors blues? Comments: To: Shaun T Cronin Maybe I was being a little snotty saying "of course they stole it." It is similar enough to an old old blues tune that I can't think of right now that if it wasn't stolen it was heavily borrowed from. (of course you can say that about a lot of songs) I promise I will find the source of "Roadhouse Blues" in my copious (ha ha) free time. Ruth ______________________________ Reply Separator _________________________________ Subject: Re: Doors blues? Author: Shaun T Cronin at Internet Date: 12/8/95 11:40 PM >Of course they stole it. Someone help me out here. Was that a Robert Johnson >tune? What do you mean by "of course they stole it"? Anyway. I'm sure it was an original. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Mon, 11 Dec 1995 13:24:06 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: SRV invented what? Comments: To: Shaun T Cronin Shaun, you're right, of course Buddy Guy was a big influence on SRV. I stick to my original argument that it doesn't matter what guitar you play on, if you are just talking about a straight guitar/amp setup (minus effects), and I'll tell you why: There is a wonderful country blues guitarist here in D.C. named Warner Williams. He sounds a lot like Steve James, if you know who Steve is. Usually he plays on an acoustic guitar. Sometimes he shows up at someone else's gig not to play but just to listen. Invariably the guitarist in the band knows him and asks him to play. So he'll play the lead guitarist's guitar no matter what it is. Whether "Mr. Warner" is playing a Strat through a Peavey amp or an acoustic guitar, he is unmistakably "Mr. Warner." Because it's the unique way he plays. ______________________________ Reply Separator _________________________________ Subject: Re: SRV invented what? Author: Shaun T Cronin at Internet Date: 12/8/95 11:39 PM >Now that I have had my Rant Du Jour about Duffy Kesling, I will argue that >SRV's >tone is not unique and doesn't really have anything to do with the Strat. I disagree. A lot of SRV's sound is pure Strat (IMHO). However, there are certain parts of SRV's tone that no-one will ever achieve because no-one has his heart and hands. >We just had a discussion about getting "the" tone here yesterday. >I think most of us agreed BB King would still sound like BB King if he were >playing a guitar made out of a ruler taped to a cereal box. >Who says you can't do a pretty good SRV on a Les Paul? I would. Certain stylistic parts of SRV's style would work but the overall tone wouldn't be there. >I would argue that SRV's style is a combination Hendrix/BB King/Albert >King/Freddie King. If anyone started that style, I would argue that Hendrix >did. (Listen to Hendrix: Blues; I think you'll see what I mean.) >The tone can easily be achieved with a Strat/Fender Twin Reverb setup. I am actually listening the "Hendrix:Blues" as I write this. As for your impressions on SRV's style they are right on. Don't forget Buddy Guy as well. Cheers, Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Mon, 11 Dec 1995 13:54:51 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: Jam Guide by Jammin' Jim Comments: To: Jim Farris JIM -- do you mean in your area or just in general? If you mean in your area, please let us know where you are. If you mean in general, there are three guitarists in our house; one also plays drums, keyboard, bass and harmonica. There's jamming at our house almost 24 hours a day. Y'all come :) Ruth ______________________________ Reply Separator _________________________________ Subject: Jam Guide by Jammin' Jim Author: Jim Farris at Internet Date: 12/10/95 12:03 AM Musicians and Fellow Blues Lovers, Does anyone know where there are any good Blues jams around? When I wrote about music, I knew where all of them were. If you have any information about Blues jams, please post a reply. For those of you who don't know, a jam is an informal session at a club or private house where musicians from different bands get together and jam. Many musicians find jams helpful because they can try new things in a less serious environment. Benefits and special shows can be used as examples of jams because they usually take on an "all-star" jam format. Jammin' Jim Farris KKUP 91.5 FM ========================================================================= Date: Mon, 11 Dec 1995 13:57:12 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: E-mail Blues My mail server was "down" all morning and I'm not certain what happened to mail I THOUGHT I was sending this A.M. I haven't recieved any Blues-L posts either, so I apologize in advance for posting Eric's Blues Dates again today. I just want to make sure they get posted. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 11 Dec 1995 15:00:45 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: Fred Below About Fred Below... Is it pronounced like "below" (accent on the 2nd syllable) or "bellow" (accent on the 1st)? Paul Oliver (in _Story_Of_The_Blues_) spells it with two Ls, while everyone else seems to agree on one L. I've always pronounced it to rhyme with "hello", but does anyone know for sure? Sorry if this has been asked before... -Rob ========================================================================= Date: Mon, 11 Dec 1995 14:00:30 -5 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - Dec 11th repost Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BARBOUR, DAVID M. (g) d. 1965-1211, MALIBU, CA 53 BROWN, ANDREW (g/ALLIGATOR REC) d. 1985-1211, HARVEY, IL 48 BUCHANAN, CHARLES (manager:SAVOY BALLROOM)d. 1984-1211, NEW Y, AR 86 COOKE, SAM (g/songw/SOUL STIRRERS) d. 1964-1211, LOS ANGELES, CA 33 JACKSON, JERMAINE LAJAUNE(of THE JACKSONS)b. 1954-1211, GARY, IN JOHNSON, EDDIE (tsax/LOUIS JORDAN) b. 1920-1211, NAPOLEONVILLE, LA JONES, BOOKER T. (of BOOKER T. & MGs) b. 1944-1211, MEMPHIS, TN JONES, DARRYL (b/ROLLING STONES) b. 1961-1211, CHICAGO, IL KIRK, ANDY (leader/CLOUDS OF JOY) d. 1992-1211, HARLEM, NY 94 LUCAS, BILL LAZY (p) d. 1982-1211, MINNEAPOLIS, MN 64 MAYE, ARTHUR LEE (lead/THE CROWNS) b. 1934-1211, TUSCALOOSA, AL PRADO, PEREZ [DAMASO PEREZ PRADO] (mambo) b. 1916-1211, MATANZAS, CUBA SHABALALA, HEADMAN (of LADYSMITH BLACK M) d. 1991-1211, DURBAN, S. AFRICA 46 SIMS, MARVIN L. (songw/prod) b. 1944-1211, SEDALIA, MO SPELLMAN, BENNY (v/FORTUNE TELLER) b. 1931-1211, PENSACOLA, FL THORNTON, WILLIE MAE "BIG MAMA" (d/hca) b. 1926-1211, MONTGOMERY, AL TYNER, MCCOY (p/COLTRANE) b. 1938-1211, PHILADELPHIA, PA ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 11 Dec 1995 19:24:37 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Re: Ellen McIlwane Comments: To: bit-listserv-blues-l@uunet.uu.net STONY PLAIN 1213 : ELLEN MCILWAINE - THE REAL / EVERYBODY NEEDS IT contains her first 2 albums. eRIC In article XMVC66B@prodigy.com, MR TERRY W SPRING writes: > Stoney Plain Records in Canada has reissued at least one and possibly more > of her old albums. I don't know if she is still playing or touring. ========================================================================= Date: Mon, 11 Dec 1995 14:20:23 EDT Reply-To: NATE SHEPARD From: NATE SHEPARD Organization: Mt. Abraham Union High School Subject: I want in Hello, My name is Nate Shepard, and I would really in truely like to gain any information on the blues that you could send me. I am an avid listener of the blues and a true blues enthusiast. I'm not sure how to word this, but I would like to be a part of your blues associates. Thank you. ========================================================================= Date: Mon, 11 Dec 1995 14:30:50 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Big Walter and the Blues Bros. I saw the Blues Brothers movie for the nth time yesterday, and I noticed (for the first time) some of the guys backing John Lee Hooker in the Maxwell Street scene: Pinetop Perkins on piano, Big Walter on harp, Calvin Jones on bass (who was on the other guitar??). One of my favorite scenes. Fun movie. Dave Prychitko "Let's get the hell outta here." ---- Joliet Jake P.S.: I'm sitting in my home office upstairs looking out the window and see only a sheet of white; Oswego's getting a classic lake effect "whiteout." Love it! ========================================================================= Date: Mon, 11 Dec 1995 11:33:32 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: Re: Playlist, THE SOUL SHOW (WYEP-FM, Pittsburgh) Comments: To: BluesHvn@aol.com Comments: cc: wp@SEI.CMU.EDU Bill, Now, that's more like it! "Coldest Days of My Live", "Can I Change My Mind" (with the Mighty Joe Young on lead gtr!), "I'm Comin' Home" - now's a program waiting for. What a great mix. eRIC Since a lot of folks have been posting playlists lately, I thought I'd post mine from yesterday. The Soul Show is on every other Saturday from 2-5 on WYEP-FM (91.3) in Pittsburgh. Bill Pollak, aka Billy Price email: wp@sei.cmu.edu ***** Livin' For You - Al Green Think - Lyn Collins (The Female Preacher) Soul Deep - Clarence Carter A House Ain't No Home Without a Woman - Otis Clay Chained and Bound - Otis Redding Til the Morning Comes - Peggy Scott & Jo Jo Benson Bustin' Loose - Chuck Brown & the Soul Searchers Love Tornado - Mable John (Thanks to Tom Morgan) End of the Rainbow - Little Milton Coldest Days of My Live - Chi-lites Shackin' Up - Barbara Mason Woman to Woman - Shirley Brown >From His Woman to You - Barbara Mason Man to Woman - Lonnie Youngblood It Ain't No Fun - Shirley Brown You Ain't Woman Enough to Take My Man - Shirley Brown Something You Got - Tyrone Davis Can I Change My Mind - Tyrone Davis Rainy Night in Georgia - Otis Rush Have You Been Making Out OK? - Quiet Elegance Have You Been Making Out OK? - Al Green Love Is a Beautiful Thing - Al Green Natural Woman - Aretha Franklin Heavenly Choir - Canton Spirituals (thanks to Lee Spector) Try a Little Tenderness - Otis Redding Skinny Little White Girl - Latimore Are You Lonely For Me - Freddie Scott The Jam - Graham Central Station Walk On In - Brenda and the Tabulations Wake Up Fool - Masqueraders I Made it Over - Sunset Travelers feat. O.V. Wright Born All Over - O.V. Wright I Love You More Than Words Can Say - Otis Redding 4:59 A.M. - Little Milton Cry to Me - Loleatta Holloway I'm Comin' Home - Otis Redding Precious Precious - Otis Clay Eee Tee - Denise LaSalle Loneliness Hurts - Bobby Bland And I Love Him - Jeam Plum I'm Through Trying to Prove My Love to You - Bobby Womack Your Time to Cry - Joe Simon Everybody Knows About My Good Thing - Little Johnny Taylor As the Years Go Passing By - Albert King ========================================================================= Date: Mon, 11 Dec 1995 20:37:52 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Big Walter and the Blues Bros. Comments: To: "David L. Prychitko" >I saw the Blues Brothers movie for the nth time yesterday, and I noticed >(for the first time) some of the guys backing John Lee Hooker in the >Maxwell Street scene: Pinetop Perkins on piano, Big Walter on harp, >Calvin Jones on bass (who was on the other guitar??). One of my favorite >scenes. Fun movie. > >Dave Prychitko "Let's get the hell outta here." > ---- Joliet Jake > >P.S.: I'm sitting in my home office upstairs looking out the window >and see only a sheet of white; Oswego's getting a classic lake effect >"whiteout." Love it! The other guitarist looks like Luther "guitar" Johnson. Makes you wonder if they recorded more songs dosn t it? Mr Bo ========================================================================= Date: Mon, 11 Dec 1995 14:38:59 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: and Big Eyes, too Almost forgot -- that was Willie "Big Eyes" Smith on drums (in the Blues Bros. movie). I enjoy his new "Bag Full of Blues" release (Blind Pig). Dave ========================================================================= Date: Mon, 11 Dec 1995 19:42:39 GMT Reply-To: Jim Farris From: Jim Farris Subject: Re: Jam Guide by Jammin' Jim Comments: To: PARRISHR I was looking for jams in general. I would like to check out the ones in the SF Bay Area though. I will list all jams for which I have information. On Mon, 11 Dec 1995 13:54:51 -0500, you wrote: > >JIM -- do you mean in your area or just in general? >If you mean in your area, please let us know where you are. >If you mean in general, there are three guitarists in our house; one also plays >drums, keyboard, bass and harmonica. There's jamming at our house almost 24 >hours a day. Y'all come :) Ruth, do you really want the entire population of Blues-L to come to your house? If so, post your address. (I hope you have enough beer and hors d'ourves.) Jammin' Jim Farris KKUP 91.5 FM ========================================================================= Date: Mon, 11 Dec 1995 14:40:35 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: And Another Tone question.... Comments: To: Bo Carlsson Max uses the Marshall/Acoustic setup sometime. Anyone who heard him knows that's a totally awesome tone. Ruth ______________________________ Reply Separator _________________________________ Subject: Re: And Another Tone question.... Author: Bo Carlsson at Internet Date: 12/11/95 4:32 PM Pat Hertel asked: >> Since we have this thread going ... How does Jimmy Dawkins >>get his? >> > He uses an old Marshall head with (I think) an Acoustic cabinett. I did some gigs with him in Sweden and brought a Fender Twin and he wasnt really happy with that so we rented a marshall instead. A lot of his tone comes from the way he handles his big ol stereo Gibson though. One funny point - his guitar was strung in the most odd way. I would say that his high E, Bb and G was the same gauge and then he had those BIG plain basstrings. He had a tuning problem on soundcheck and then we changed some strings for him and he liked it much better. Well rather, he just didn t care what strings he had and if we wanted to change them it was OK with him. He sometimes said that he wanted a heavy sound with weight in each note and thats why he switched from a Jaguar to the Gibson. Thats also why he prefers Marshalls. Mr Bo ========================================================================= Date: Mon, 11 Dec 1995 14:41:40 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: x-mas blues Comments: To: John Moore The new Bullseye Records blues album is real good. I also like "Blue Yule" a lot. Is that Chess records? Ruth ______________________________ Reply Separator _________________________________ Subject: x-mas blues Author: John Moore at Internet Date: 12/11/95 10:52 AM Its that time of the year again.Im searching for Christmas Blues.I have the Alligator release"Christmas Collection" with KOKO,Lil Ed,Charlie Musselwhite etc... but need more.Any know of any good Christmas blues albums? ========================================================================= Date: Mon, 11 Dec 1995 19:46:31 GMT Reply-To: Jim Farris From: Jim Farris Subject: Re: Seeking Blues Jams Comments: To: SwtesTaboo Hi SwtesTaboo, On Mon, 11 Dec 1995 10:51:12 -0500, you wrote: >The Stanhope House.. NJ's Premier Blues Club.. has an open mike usually >once a month Do you have any more specific information, ie date, time, directions, etc? Jammin' Jim Farris KKUP 91.5 FM ========================================================================= Date: Mon, 11 Dec 1995 14:53:07 -0500 Reply-To: Charles d'Orban From: Charles d'Orban >From: Robert Crocker >Subject: Otis Rush > >PW wrote about Otis Rush and his live version of "Every Day I Have the Blues". >This may be found on Delmark's 1978 release "SO MANY ROADS" (DS 643). My >recollection is that at the time, no one knew quite what to make of it. As mentioned, Delmark have recently put ths out on CD with extra tracks. Its one of my current favourites and I would highly recommend it. Great guitar tone too IMHO, even though he often seems to be on the verge of feedback a lot of the time. Charles ========================================================================= Date: Mon, 11 Dec 1995 20:06:38 -0100 Reply-To: Pete & Theresa MUNGALL From: Pete & Theresa MUNGALL Organization: Taynet Subject: "Blues, Rags and Hollers" Comments: To: bit-listserv-blues-l@pipex.net In the early sixties I was a young sailor in the Merchant Navy(UK). During a visit to Savannah in the US I first found, what was to me, an amazing record shop - amazing because that style of store with its huge and varied collections did not exist where I came from and it was in there I discovered Blues records. Compared with the US our wages were not good, but I bought 3 records including a set of chain gang songs on a semi-transparent red vinyl record. But to the point - The other two records were called RBlues, Rags and HollersS and RLots More Blues, Rags and HollersS (I think on the Electra label) sung/played by a white trio whose names I cannot remember, but I think included RSnakerS Ray and RSpiderS someone. In my late middle-age I rue the parties where I lost/gave away/had stolen my records and would be grateful if anyone could help my reminisances and give me any information on these records and musicians. Yours aye Pete Mungall ========================================================================= Date: Mon, 11 Dec 1995 13:37:16 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Fred Below Comments: To: Rob Hutten In-Reply-To: <199512111900.AA00639@dragon.acadiau.ca> I knew Fred Below well. He was a great person (and drummer) who was very sociable. He usually had his camera with him at clubs, and told us young whippersnappers about some great places to eat on the south side. His name was spelled with one "l" and pronounced "BEE-low." ========================================================================= Date: Mon, 11 Dec 1995 14:21:00 CDT Reply-To: Dave Kneifl From: Dave Kneifl Organization: University of Wisconsin-Extension Subject: Re: Blues Dates 12/10 Comments: To: leblanc@dao.nrc.ca > Here's a few dates (b. born, d. death) for today. If you have > corrections/additions, let me know at leblanc@dao.nrc.ca. > > ------------------------------------------------------------------------------- > artist notes/full name yyyy-mmdd, city/county state age > ------------------------------------------------------------------------------- > CALDWELL, RONALD (kybds/THE BAR-KAYS) d. 1967-1210, LAKE MONONA, WI 19 > CUNNINGHAM, CARL (d/THE BAR-KAYS) d. 1967-1210, LAKE MONONA > REDDING, OTIS RAY II (g/songw/VOLT REC) d. 1967-1210, LAKE MONONA :-) Of, course, Lake Monona is not the name of a city. It is a lake within the Madison city limits. There is a plaque by the water's edge in their memory. DK Madison, WI ========================================================================= Date: Mon, 11 Dec 1995 15:42:01 -0500 Reply-To: Stephanie Manna From: Stephanie Manna Subject: James Peterson reviews\tour dates I would like to see some reviews of James Peterson's live performance from fellow Ls. To those unfamiliar..Luckys dad, with a CD on the Waldoxy/Malaco label,"Don't Let the Devil Ride". I manage and book him. Tell me your favorite blues club in your area. I'll put you on the guestlist when he performs there. I can never get enough clubs in my books and plenty are unknown to me. Presently, he's been touring the eastern half of the U.S.A. and I plan to head west in 96 with his touring. Dec.13,14 he's @ Chicago B.L.U.E.S. in NYC, Dec 16 @ Jaysons in South Belmar,NJ, and Ribbitz Rock & Roll Cafe,(formerly Decades) on Dec 17 in Pittsburg,Pa. and then heads south to homebase,St.Petersburg,Fl. Dec.22,23 @ Traders,Lakeland,Fl and Dec.29,30 @ Bluesship,Ybor City,Fl. ========================================================================= Date: Mon, 11 Dec 1995 13:01:52 -0000 Reply-To: "J. Witteveen" From: "J. Witteveen" Subject: Re: Fred Below >About Fred Below... > >Is it pronounced like "below" (accent on the 2nd syllable) or >"bellow" (accent on the 1st)? Paul Oliver (in _Story_Of_The_Blues_) >spells it with two Ls, while everyone else seems to agree on one L. >I've always pronounced it to rhyme with "hello", but does anyone know Well, according to Buddy Guy (not that I've discussed it with him personally, but he mentions it on his instructional guitar video), it's pronounced Bee'-Lo (accent on the first syllable). This brings to mind another question - how to you pronounce Magic Sam's last name? Is it Majjet, or Maggit? Aah, the challenges to being on Blues -L.... -Jim :-) ========================================================================= Date: Mon, 11 Dec 1995 13:12:00 PST Reply-To: Gary Joneson From: Gary Joneson Subject: Re: "Blues, Rags and Hollers" >The other two records were called RBlues, Rags and HollersS and RLots More >Blues, Rags and HollersS (I think on the Electra label) sung/played by a >Ray and RSpiderS someone. Dave "Snake" Ray, Tony "Little Sun" Glover, "Spider" John Koerner Blues, Rags & Hollers Red House RHR CD76 This is a reissue of the 1963 Elektra album Gary BluesWEB (King Biscuit Time) http://www.island.net/~blues/ ========================================================================= Date: Mon, 11 Dec 1995 21:10:00 GMT Reply-To: nns@NEWS.SISNA.COM From: nns@NEWS.SISNA.COM Subject: Moderated group posting Comments: To: bit-listserv-blues-l@uunet.uu.net Newsgroups: bit.listserv.blues-l Path: not-for-mail From: tbower@sisna.com (Tom Bower) Subject: Re: Help me with Dr. John Message-ID: Date: Mon, 11 Dec 1995 22:16:53 GMT References: <199512091757.LAA16165@etex.electrotex.com> X-Newsreader: Forte Free Agent 1.0.82 Lines: 26 X-Info: Source Internet Services Tom Kraft wrote: >BluListers, >I recently purchased Charles Brown's ALL MY LIFE, Bullseye Blues CD BB 9501. >Great by the way. On this release Dr. John helps out with piano and vocals. >While listening to track #7 "A Virus Called The Blues" I noticed the awesome >voice of DJ and realized the only exposure I've had to it was some top forty >hit in the Seventies called "Smiling something.....". Where do I start and >what are your favorites? Thanks in advance. >Tom Kraft Hey Tom...are you in for a treat. Dr. John and his New Orleans/Blues predecessors have laid down some of the best blues available. It is a genre of music not to be missed. Two must-haves are 'Dr. John Plays Mac Rebennack' and 'The Brightest Smile in Town' . I'm a blues piano collector and student and these would be on my 'desert island' list. For bio information check his book 'Under a Hoodoo Moon' ...very interesting read. If you want to dive in deep..check out 'Professor Longhair' and 'James Booker'...a couple of shoulders that Dr. John stands on. Send me some Email if you want more info. Tom ========================================================================= Date: Mon, 11 Dec 1995 13:38:15 -0800 Reply-To: Jeffrey Frankle From: Jeffrey Frankle Subject: Christmas Collections I need some solid xmas tips: Let me hear your top three picks for xmas '95 gifts Also, any good Christmas Blues Collections (Bullseye, Black Top, Alligator etc.) Jeff Frankle bookspac@ix.netcom.com ========================================================================= Date: Mon, 11 Dec 1995 16:29:41 -0500 Reply-To: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM From: Jim Smith Subject: Re: "Blues, Rags and Hollers" Comments: To: p&tmungall@TAYNET.CO.UK In-Reply-To: "Blues , Rags and Hollers" was recorded by "Spider" John Koerner,David Ray and Tony Glover and has been reissued just recently on CD on the Red House Label. John Koerner has also released a couple of solo efforts, most notably "Nobody Knows the Trouble I've Seen" and has been doing some touring. >In the early sixties I was a young sailor in the Merchant Navy(UK). During >a visit to Savannah in the US I first found, what was to me, an amazing >record shop - amazing because that style of store with its huge and varied >collections did not exist where I came from and it was in there I >discovered Blues records. Compared with the US our wages were not good, but >I bought 3 records including a set of chain gang songs on a >semi-transparent red vinyl record. > >But to the point - >The other two records were called RBlues, Rags and HollersS and RLots More >Blues, Rags and HollersS (I think on the Electra label) sung/played by a >white trio whose names I cannot remember, but I think included RSnakerS >Ray and RSpiderS someone. > >In my late middle-age I rue the parties where I lost/gave away/had stolen >my records and would be grateful if anyone could help my reminisances and >give me any information on these records and musicians. > >Yours aye >Pete Mungall > ========================================================================= Date: Mon, 11 Dec 1995 15:45:33 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Magic Sam Comments: To: "J. Witteveen" In-Reply-To: <95Dec11.130155pst.30748-1+320@haven.uniserve.com> It's MAD-jett. ========================================================================= Date: Mon, 11 Dec 1995 16:25:55 -0600 Reply-To: Tom Kraft From: Tom Kraft Subject: Re: Fred Below Comments: To: Rob Hutten At 03:00 PM 12/11/95 -0400, you wrote: >About Fred Below... > >Is it pronounced like "below" (accent on the 2nd syllable) or >"bellow" (accent on the 1st)? Paul Oliver (in _Story_Of_The_Blues_) >spells it with two Ls, while everyone else seems to agree on one L. >I've always pronounced it to rhyme with "hello", but does anyone know >for sure? > >Sorry if this has been asked before... > >-Rob > > Rob, I've got a Buddy Guy video (don't remember which one), where Buddy pronounced it like "below" (accent on the 2nd syllable). This stood out in my mind because I've always thought it was "bellow" (accent on the 1st). Tom ========================================================================= Date: Mon, 11 Dec 1995 14:30:18 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: "Blues, Rags and Hollers" Comments: To: Pete & Theresa MUNGALL You wrote: >The other two records were called RBlues, Rags and HollersS and RLots More>Blues, Rags and HollersS (I think on the Electra label) sung/played by a>white trio whose names I cannot remember, but I think included RSnakerS>Ray and RSpiderS someone.>In my late middle-age I rue the parties where I lost/gave away/had stolen>my records and would be grateful if anyone could help my reminisances and>give me any information on these records and musicians. They were on Elektra (not Electra) Records The group name was Koerner, Ray & Glover The albums were Blues, Rags & Hollers >and< More Blues Rags & Hollers The musicians were "Spider" John Koerner, Dave "Snaker" Ray and Tony "Little Sun" Glover. All three are still alive, all three still somewhat musically active though not together as a group, Koerner the most so. Mary Katherine ========================================================================= Date: Mon, 11 Dec 1995 17:31:54 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Blues in NYC 22-29 December I'm sure someone has at their figertips a list of all that is happening and Blue in the NYC area between the 22nd and 29th of December. I would love to receive that list, as I will be freezing my Floridian bum off in NYC during that period. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 11 Dec 1995 15:08:43 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Andrew Brown...Underappreciated talent In-Reply-To: <199512111904.OAA15170@osceola.gate.net> from "P.W. Fenton" at Dec 11, 95 02:00:30 pm According to P.W. Fenton: > > Here's a few dates (b. born, d. death) for today. If you have any > corrections/additions, let me know at leblanc@dao.nrc.ca. > > ------------------------------------------------------------------------------- > artist notes/full name yyyy-mmdd, city/county state age > ------------------------------------------------------------------------------- > BROWN, ANDREW (g/ALLIGATOR REC) d. 1985-1211, HARVEY, IL 48 ^^^^^^^^^^^^^ Here's a guy who left us too early...An underrated and underrecorded talent... I recently got copies of his two Double Trouble LPs, plus a couple of singles from the 60s...I understand Black Magic will be reissuing his Double Trouble stuff on CD...hopefully that will bring his name to more blues fans. -Peter ========================================================================= Date: Mon, 11 Dec 1995 17:35:37 -0500 Reply-To: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA From: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA Subject: Re: Baltimore and DC Folks... Ummm... the Full Moon Saloon on Aliceanna Street in Fells Point (Baltimore) used to have jams early on in the week (Tuesday/Wednesday). Alas, they ain't in the phone book, but Baltimore City Paper will give you the rundown on what's going on there. Turtle _____ Reply Separator _____ Author: PARRISHR @ VITRO.COM @ INTERNET Received: 12/08/95 05:27:52 PM Subject: Re: Baltimore and DC Folks... Hi Lea, Check out the DC Blues Society's web page if you have WWW access. The URL is http://intelus.com/dcblues/ Or you can call them (202-828-3028) and ask them to send you a sample newsletter -- all the jams are listed in there. It's mostly for DC but Baltimore is in there too. You might want to check at the Full Moon Saloon and see if they know anything about the Baltimore Blues Society. ruth ______________________________ Reply Separator _________________________________ Subject: Baltimore and DC Folks... Author: LeaGil at Internet Date: 12/8/95 5:06 PM Does anyone have a comprehensive list of open mike nights in the B-more/DC area. And is anyone looking for a female blues singer? Thanks Lea ========================================================================= Date: Mon, 11 Dec 1995 17:35:42 -0500 Reply-To: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA From: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA Subject: Re: Xmas recommendation & related question I gave someone this very box last year, and I agree, for most of us who probably have a lot of this stuff already, it's of limited interest, but for indoctrinating someone into the blues, this is an excellent place to start. Sort of giving someone the boxed set of the Beethoven nine symphonies (I did that once, too). Turtle _____ Reply Separator _____ Author: aschuna @ VMS2.MACC.WISC.EDU (Art Schuna) @ INTERNET Received: 12/09/95 03:30:05 PM Subject: Re: Xmas recommendation & related question In article <199512081600.LAA42677@tequesta.gate.net> "P.W. Fenton" writes: >Subject: Xmas recommendation & related question >If you are looking for an inexpensive gift for the fledgling Blueser >I must recommend the most unlikely package I can imagine. It's a >LaserLight Digital box set called "The Blues Box". This set is a real bargain based on the titles I've seen on the box. It's a good overview of the Delmark label. The price can't be beat. My only problem with it (and the reason I never picked it up) is that I already own most of the material. For someone new to the label, a better sampler could not be found. ========================================================================= Date: Mon, 11 Dec 1995 17:35:50 -0500 Reply-To: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA From: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA Subject: Re: Seeking Blues Jams I have a link to a nationwide listing of jams, both blues and other "lesser" forms of music (g), on That Blues Music Page at The Weightless Dog: http://www.charm.net/~turtle Thanks... Turtle _____ Reply Separator _____ Author: jfarris @ IX.NETCOM.COM (Jim Farris) @ INTERNET Received: 12/10/95 12:29:45 AM Subject: Seeking Blues Jams Does anyone know where there are any good Blues jams? If you have any information at all, please post a reply. For those of you who don't know, a jam is an informal session at a club or private house where musicians from different bands get together and jam. Many musicians find jams helpful because they can try new things in a less serious environment. Benefits and special shows can be used as examples of jams because they usually take on an "all-star" jam format. Jammin' Jim Farris KKUP 91.5 FM ========================================================================= Date: Mon, 11 Dec 1995 17:35:56 -0500 Reply-To: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA From: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA Subject: Re: Sonny Boy in Cinema Is that the same Samuel Charters who did "The Blues." There's an LP of the soundtrack for that film that exists (I have a copy) but I have never been able to find that film... any suggestions? Turtle _____ Reply Separator _____ Author: m-8615 @ MAILBOX.SWIPNET.SE (Falkbergsskolan) @ INTERNET Received: 12/10/95 09:32:10 PM Subject: Re: Sonny Boy in Cinema > >Sonny Boy Williamson No 2, made a film with at least three songs while he was on tour in Sweden with the American Folk Blues Festival 1962. He played with a Swedish bass-player called Sture Nordin. The film is very good, and is owned by a Swedish record company called Sonet. The film was done by Sam Charters. Pelle Leuf, Sweden. ========================================================================= Date: Mon, 11 Dec 1995 14:39:32 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Fred Below Willie Dixon always pronounced Fred Below's last name Bee-low, accent on the Bee. Mary Katherine ========================================================================= Date: Mon, 11 Dec 1995 18:09:22 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Sitting & Thinking-Phillips & Harvey. BREWER PHILLIPS & TED HARVEY - Good House Rockin' (Wolf 120.608) WOLF RECORDS P.O. BOX 375 A-1120 VIENNA AUSTRIA From the backseat of Hound Dog Taylor's band to their own front seat these two blues musicians deliver 19 cuts that form a circle view of the music they made, the tradition they came form and the current status of their bluesmanship. A full CD of two almost overlooked bluesmen. IN THE EVENING / KITCHEN SINK BOOGIE / FANNY'S BLUES / I'M GONNA FIND MY BABY / CRAZY 'BOUT YOU BABY / SOUTH SIDE BLUES / NO LUCK BLUES / HIGHWAY BLUES / HELLO PRETTY BABY / INGLESIDE BOOGIE / COTTON SACK / MAMA TALK TO YOUR DAUGHTER / YOU DON'T HAVE TO GO / BOOGIE CHILLEN / SWEET HOME CHICAGO / THAT'S ALL RIGHT / KANSAS CITY / KITCHEN SINK BOOGIE / LUNCH BUCKET BLUES NY CD Takes IN THE EVENING: The opening cut here is a slowly paced tune containing some razor edge vocals. Brewer is a big, smokey, back porch groaner with a definitely well appreciated blues rasp. His squealing guitar also fills out this mean piece of the blues. KITCHEN SINK BOOGIE: This cut is a swinging instrumental that's full out and fast paced. Brewer takes this one on with his quick fingered guitar attacks and makes that piece of wood sing. FANNY'S BLUES: The band now moves on to an acoustic side with some strong slide work. Again the singing reaches back down into those very deep moany vocals that Brewer consistently delivers. There is a definite strong Robert Johnson feel here that is neither forced nor phony - but very believable. I'M GONNA FIND MY BABY: More slidework, bordering on the evil side of that instruments capabilities with Brewer still overcast and conveying the blues from his guts. CRAZY 'BOUT YOU BABY: Here the guitar gets big and fat with Brewer following suit in his singing. In counterpoint to the vocals Brewer takes a heavy shot with a long mid register guitar solo set right in the middle of this side. A very solid and well done tune. SOUTH SIDE BLUES: This is the 2nd instrumental so far. The guitar gets down and bassy and holds the ground well. Mr. Steve Plair on 2nd guitar lays up right behind Brewer on this one forming a strong guitar duet. NO LUCK BLUES: It sounds like stroll time with this heavy grit and gravel vocal piece. Brewer takes his lowest vocal attack yet and the guitar sets right behind him, in a fine backing. There is a little perk in the guitar that every once in a while sneaks out its head until just over 1 minute in, when Brewer finally lets loose with an easy high flurry on the axe. HIGHWAY BLUES: This is a strong drum side with milder vocals by Brewer - that are never sweet but always funk driven. Brewer is also easy on the guitar here and lets Ted take the glory. The drums for sure hold the stage throughout this side. HELLO PRETTY BABY: Nicely sung and played easy with a definite pointer to get out on the dance floor and strut a bit. Lots of strong drums and plenty of Brewer's vocals round out a good side for listening and of course dancing. INGLESIDE BOOGIE: Very complex guitar playing with the drums played on the tin and the clacking of the second guitar's wood a strong second piece. This combination takes a simple four piece band and gives it a much larger musical stage. This side could easily have been many pieces up there and you'd never know it. This cut is truly a masterful side. COTTON SACK: The gritty vocals steal this one. Everything is secondary to the set of chops Brewer unleashes on this one. As you listen you'll understand why I recommend this as your first play side. MAMA TALK TO YOUR DAUGHTER: A J.B. Lenoir side done true to it's composers intent and meaning. Not a flaw on this one and a great big piece of the blues played straight on. YOU DON'T HAVE TO GO: The audience is right there howling to open this cut. Like the last side, recorded live in Vienna, the sound is a bit lost in what might have been an open air setting but the pacing and the strength are there. Some great guitar licks fill out the balance of this cut. BOOGIE CHILLEN: Following the last tune, a Jimmy Reed side, the band now takes on John Lee Hooker. They run it in a style that's truly their own and you would be hard pressed to know it was the original. Overall, a very free wheeling rendition, very much a strong and innovative piece. SWEET HOME CHICAGO: Next up it's Robert Johnson's classic with the amazing J.B. Hutto adding the slide effects. He was one of the best and here struts the real stuff. This side skyrockets. THAT'S ALL RIGHT: This is the fifth in a blues eulogy to the masters. This one is Jimmy Rogers'. It's taken very slow paced and drawing - nice from all sides. KANSAS CITY: Before Brewer and Ted close this fine set with 2 good original sides they go to this traditional tune to show off the strengths of Ted Harvey's drum work. He's the strong front on this definite power driven tune with all pushing licks and hard driving singing making for another powerful side. KITCHEN SINK BOOGIE: This is take 2 to Brewer's original which was played as cut 2 before. It's a very bright side with lots of strong guitar that's both quick tempered and quick fingered in its attack to this number. LUNCH BUCKET BLUES: The closer is a haunting side, with brilliance all around. Brewer comes on quite nasty in his singing and fiercer in his guitarwork. The drums here are heavy handed and never take a back seat. This side shows off the real meat of Brewer Phillips and Ted Harvey - hard, attack driven blues. Reviewed by Barry Silverberg Copyright NY CD Blues - 1995 NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Mon, 11 Dec 1995 17:14:35 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: THE BEST OF ARTHUR CONLEY Thanks to James Foster for his review. This is indeed a very fine disc. I'd like to mention that it includes "Let's Go Steady", the B-side of the "Sweet Soul Music" 45 that Peter Guralnick lists as one of the 10 all-time great forgotten soul records. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Mon, 11 Dec 1995 18:21:37 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Christmas cd jacket photo. Hey all, I just now walked in the door with two, blues cds for Christmas to play whilst we trim our tree tonight. I got (on LW's outspoken recommenda- tion) :) Charles Brown's "Cool Christmas Blues" and a compilation called "Blue Yule" on Rhino, 1991. The jacket photo on Blue Yule has what I'm sure is a photo of a young BB King in vest and tie, playing a sunburst ES 335, but there is no BB King on this album. Can anyone verify that this is BB? Funny that they would use him and not put one of his tunes on the cd. It's gotta be him. oh, and he's smoking a butt, Robert JOhnson style. Thanks! Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Mon, 11 Dec 1995 17:17:33 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: Buddy Guy Comments: To: "R.J. Bauman" In-Reply-To: R.J. Bauman inquired: Geez, when IS that live set with G.E Smith's SNL band coming out, anyway???? It's been in the can for over a year now, right? - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - ...Don't START me to talkin'! I have been bitching and moaning about this since May of 94 when I saw him record the damn thing. Last I heard was that he said on some Aussie radio show that it'd be out in the spring. Any bets??? Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Mon, 11 Dec 1995 17:21:11 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: Year's Best Louisiana Music Comments: To: Bill Morgan In-Reply-To: Bill Morgan wrote: Snooks Eaglin - THE COMPLETE IMPERIAL RECORDINGS - Capitol - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Anybody have a brief review or a few thoughts on this? Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Mon, 11 Dec 1995 17:23:33 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: LARRY MCCRAY Comments: To: Don O In-Reply-To: <9512101505.0L7GZ01@chrysalis.org> Don O wrote the following about Mr. McCray: He is a wonderful live performer, but I don't think his CDs are as interesting. His studio efforts have always seemed to be over-produced for my tastes. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - I second THAT emotion. I have yet to hear an album that catches him in the form I've seen live. Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Mon, 11 Dec 1995 17:32:39 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: Buddy Guy mystery tape(live show) Comments: To: "James L. Kirchmer" In-Reply-To: <4agik2$o61@kaleka.seanet.com> I believe that is a show recorded at the Vic theater in the Winter of 1993. I was at the show and it was fantastic. It was his first major Chicago gig after a European tour and he really seemed glad to be home. Just to tie up some threads, Larry McCray was the opener. Rob PS If they didn't edit "Stormy Monday" out you can hear me howl "Make T-Bone Howl" about 1/2 way through!! PPS my other great memory from that show is Buddy mentioning how great it used to be to see Little Walter at the 708 and Theresa's b/c of all the great players who would show up to jam. Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke On Mon, 11 Dec 1995, James L. Kirchmer wrote: > Hi - > I'm wondering if there's someone out there who would know the > date and place of an unlabeled Buddy Guy show I got recently... > The tape is one hour long, and was broadcast sometime in '93 > on WXRT in Chicago. It was NOT a LIVE broadcast, I don't think. > Oh- and the broadcast was not longer than one hour, I assume. > Anyways, I also know it was a "Budweiser concert", whatever > that means..... > The setlist is: Mary had a little lamb, Damn right I got the > blues, Messin' with the Blues, Mustang Sally, Been mistreated, > Hoochie Koochie Man, Got my mojo workin'..... > ****Please send a CC to my email address > Thanks for any help on this! I look forward to subscribin' soon! > ========================================================================= Date: Tue, 12 Dec 1995 00:39:51 GMT Reply-To: Steve Leigh From: Steve Leigh Organization: a Digital Internet AlphaServer Site Subject: Re: Buddy Guy Comments: To: bit-listserv-blues-l@uunet.uu.net "R.J. Bauman" wrote: >Geez, when IS that live set with G.E Smith's SNL band coming out, >anyway???? It's been in the can for over a year now, right? Yeah, I wish they'd release it. I was at Legends when they recorded the performance. Been waiting too long. --Steve ========================================================================= Date: Mon, 11 Dec 1995 19:58:48 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Mississippi John Hurt Recommendations? Comments: To: bit-listserv-blues-l@uunet.uu.net Don't miss the Genes/Blues Vault double CD "John Hurt: Memorial Anthology." (GCD 9906/7) The material was recorded live at DC's Ontario Place Coffee House and at The Blues House in 1964 and includes a wonderful interview of Mr. Hurt (the most beloved of all bluesmen) by Pete Seeger. Denise ========================================================================= Date: Mon, 11 Dec 1995 20:21:41 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Blue Yule pictures (B.B. King, J.L.H.) Yea, that has to be B.B. King on the cover. The liner details don't provide any photo credits. Also, strangely enough, it appears to me that they have a picture of John Lee Hooker (page 7 of the notes) but the caption "Lightening [sic] Hopkins" underneath. Kinda gives you the feeling that Rhino through this one together really quickly for the Christmas season (back in 1991, its release year). ========================================================================= Date: Mon, 11 Dec 1995 20:43:09 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Hollies Just Not The Same Without Buddy... (FWD) Comments: To: eljefe@netcom.com On Monday, December 11, Jef Jaisun wrote : >>>: > *John Hurt (actor) and Mississippi John Hurt duet, "Kiss of >>>the Candy Man." >>>: William Hurt (actor), perhaps? >>>Uhhhhhh....yup. Sorry, I was thinking William Hurt while >>>channeling John >>>Heard. And seeing James Woods in my mind. ;) No, you had it right the first time and didn't realize it. John Hurt (actor) is correct. At another place and another time, I will tell you the story of when I loaned a phonograph and the records of Mississippi John Hurt to movie actor John Hurt to listen to for five hour every morning when he was being put into makeup to play "The Elephant Man." He wrote me a wonderful personal note when shooting was completed and signed it "English John Hurt." Dick Waterman ========================================================================= Date: Mon, 11 Dec 1995 20:43:29 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Fred Below Comments: To: redox245@electrotex.com >>>At 03:00 PM 12/11/95 -0400, you wrote: >>>>About Fred Below... > >>>>Is it pronounced like "below" (accent on the 2nd syllable) or >>>>"bellow" (accent on the 1st)? Paul Oliver (in >>>_Story_Of_The_Blues_) >>>spells it with two Ls, while everyone else seems to agree on >>>one L. >>>>I've always pronounced it to rhyme with "hello", but does >>>anyone know >>>>for sure? His name was pronounced "BEE lo," as if you would rhyme is with 'kilo.' Dick Waterman ========================================================================= Date: Mon, 11 Dec 1995 21:32:45 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Cold Weather Music? SUGGESTIONS WANTED I'm putting together the playlist for next week's Blue Soul show. (CKLN, 88.1, Toronto, Wed 8-10pm) Mostly of it will be a Christmas show. But because has been so very cold and snowy here lately (setting all-time records for November, I'm told) I want to do a set or two of songs about cold weather. And I'm finding that there aren't very many in the blues/r&b/soul tradition, at least not in my collection. Albert Collins used lots of cold titles, but they were instrumentals, so they don't do the job. Here's what I've got to date: Deanna Bogart: Cold Outside Dutch Mason or Sonny Boy Williamson: Nine Below Zero Theresa Malenfont: Early Frost Muddy Waters: Cold Up North Louis Jordan & Ella Fitzgerald: Baby It's Cold Outside Any suggestions for others? Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Mon, 11 Dec 1995 18:17:31 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Re[2]: Doors blues? > Maybe I was being a little snotty saying "of course they stole it." > It is similar enough to an old old blues tune that I can't think of > right now that if it wasn't stolen it was heavily borrowed from. > (of course you can say that about a lot of songs) > I promise I will find the source of "Roadhouse Blues" in my copious (ha >ha) free time. >Ruth It's quite possible that a real song was inspiration for "Roadhouse Blues". Lyrically, IMHO, the song is all Jim Morrison. The structure of the song deviates a little from the standard 12 bar format. But then there are thousands of blues tunes that aren't 12 bars. Anyway, I think that it is an original song. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Mon, 11 Dec 1995 18:19:50 -0800 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: live Roy Buchanan album on Charly? Comments: To: bit-listserv-blues-l@cs.washington.edu Hi all; I recently saw reference to a live album of Roy Buchanan's on the Charly label. It certainly doesn't exist in my part of Seattle. Can anyone tell me anything about this record? Is it a repackaging of Livestock? Thanks, Adrian Spidle PS: Fun to see this newsgroup for the first time in a month; familiar names w/ familiar things to say and all that... ========================================================================= Date: Mon, 11 Dec 1995 21:22:09 -0500 Reply-To: Gwkahn From: Gwkahn Organization: America Online, Inc. (1-800-827-6364) Subject: Re: best accoustic slide players today Comments: To: bit-listserv-blues-l@uunet.uu.net I'm new here (preface to explain stupidity): have you heard Guy Forsyth? He's an old friend of mine from KC and just released a cd on Antone's called Needle Gun. Available from better stores. Both acoustic and electric, and some of the best harp around, though I'm biased. I'd love to get recommendations of small-label "future greats" (or friends of posters) that I could buy. ========================================================================= Date: Mon, 11 Dec 1995 20:45:57 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: live Roy Buchanan album on Charly? Comments: To: Adrian Spidle In-Reply-To: The Charly Roy Buchanan CD is a boot (as are a bunch of other recent Charly live releases). It doesn't indicate the source, but judging by the material, it sounds like '85 or a bit later. It's definitely not "Livestock" or the Snakestretchers. Now if they'd just release "Live In Japan" on CD... ========================================================================= Date: Mon, 11 Dec 1995 21:50:53 -0600 Reply-To: Tom Kraft From: Tom Kraft Subject: Re: Fred Below At 04:25 PM 12/11/95 -0600, you wrote: >At 03:00 PM 12/11/95 -0400, you wrote: >>About Fred Below... >> >>Is it pronounced like "below" (accent on the 2nd syllable) or >>"bellow" (accent on the 1st)? Paul Oliver (in _Story_Of_The_Blues_) >>spells it with two Ls, while everyone else seems to agree on one L. >>I've always pronounced it to rhyme with "hello", but does anyone know >>for sure? >> >>Sorry if this has been asked before... >> >>-Rob >> >> > >Rob, > >I've got a Buddy Guy video (don't remember which one), where Buddy >pronounced it like "below" (accent on the 2nd syllable). This stood out in >my mind because I've always thought it was "bellow" (accent on the 1st). > >Tom > Correction: I have that reversed. Accent on first syllable. Bee low. ========================================================================= Date: Mon, 11 Dec 1995 20:32:06 GMT Reply-To: Dave_J._Herda@infozone.telluride.co.us From: "Dave J. Herda" Organization: InfoZone Telluride Co (970)-728-0472 Subject: Re: Blues Dates 12/10 Comments: To: KNEIFL@ADMIN.UWEX.EDU What happened to these guys? How did they die? > Here's a few dates (b. born, d. death) for today. If you have > corrections/additions, let me know at leblanc@dao.nrc.ca. > > ------------------------------------------------------------------------------- > artist notes/full name yyyy-mmdd, city/county state age > ------------------------------------------------------------------------------- > CALDWELL, RONALD (kybds/THE BAR-KAYS) d. 1967-1210, LAKE MONONA, WI 19 > CUNNINGHAM, CARL (d/THE BAR-KAYS) d. 1967-1210, LAKE MONONA > REDDING, OTIS RAY II (g/songw/VOLT REC) d. 1967-1210, LAKE MONONA :-) Of, course, Lake Monona is not the name of a city. It is a lake within the Madison city limits. There is a plaque by the water's edge in their memory. DK Madison, WI ========================================================================= Date: Tue, 12 Dec 1995 00:20:39 -0600 Reply-To: David Witzany From: David Witzany Subject: Christmas picks >From what I've seen, you can't go wrong with albums on Blacktop this Christmas. Among others, Phillip Walker's "Working Girl Blues" is great, and their Christmas album ("Mistletoe, Blues, and Santa's Little Helper", or some such) is the best new Christmas album I've heard. --David Witzany witzany@uiuc.edu (Univ. of IL, Champaign) ......one of Nature's bounds checkers ========================================================================= Date: Tue, 12 Dec 1995 01:34:28 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Re: HOB Jinx/What's the Point? Comments: To: bit-listserv-blues-l@uunet.uu.net To Don and Terry and the rest of the list, I hope that mentioning Jinxblues' taped appearance on an HOB program during a Son House segment is not a case of "guilt by association." I can only assume that you threw it out there to see who would bite. And guess what? I bite. For starters, Dick has excellent judgment and possesses experience in this field that far exceeds that of most of us. So if he chooses to ENHANCE an HOB segment, there's a very good reason for it. And it ain't cash, folks. It's the music. Then--and I do hate to bore you by beating the same old drum but every-so-often it seems necessary--Isaac Tigrett (HOB Founder and Principal) IS NOT the Devil Incarnate. I have looked at him closely on many occasions, and there are no sixes, as in 666, imprinted on his body. He's a charming, intelligent and generous guy, who will, I repeat myself, do something very meaningful for the blues in the near future or my name is not Denise Tapp ========================================================================= Date: Mon, 11 Dec 1995 20:43:51 -0600 Reply-To: Scott Berman From: Scott Berman Subject: No More CD's? A friend of mine just told me that as of next year, nothing will be issued on CD. Apparently, there is another format which will replace CD's. Is this true? Thanks, Scott _______________________________________________________ Dr. Scott Berman bermansj@sluvca.slu.edu Department of Philosophy OFFICE (314) 977-3160 St. Louis University FAX (314) 977-3874 St. Louis, MO 63103 ========================================================================= Date: Tue, 12 Dec 1995 10:42:40 +0200 Reply-To: xatzakis iason From: xatzakis iason Subject: UNSUBSCRIBE Comments: cc: 1@zeus.central.ntua.gr R Sorry to write this here-no time unfortunately for this great list-will be back i.x. ========================================================================= Date: Tue, 12 Dec 1995 09:10:20 +0000 Reply-To: rof From: rof Subject: Re: "Blues, Rags and Hollers" Comments: To: Mary Katherine Aldin In-Reply-To: Your message of "Mon, 11 Dec 1995 14:30:18 PST." <199512112230.OAA13596@ix6.ix.netcom.com> In message <199512112230.OAA13596@ix6.ix.netcom.com>, Mary Katherine Aldin writes: > You wrote: > > >The other two records were called RBlues, Rags and HollersS and RLots > More>Blues, Rags and HollersS (I think on the Electra label) > sung/played by a>white trio whose names I cannot remember, but I think > included RSnakerS>Ray and RSpiderS someone.>In my late middle-age I rue > the parties where I lost/gave away/had stolen>my records and would be > grateful if anyone could help my reminisances and>give me any > information on these records and musicians. > > They were on Elektra (not Electra) Records > The group name was Koerner, Ray & Glover > The albums were Blues, Rags & Hollers >and< More Blues Rags & Hollers > The musicians were "Spider" John Koerner, Dave "Snaker" Ray and Tony > "Little Sun" Glover. All three are still alive, all three still > somewhat musically active though not together as a group, Koerner the > most so. The first album has been reissued recently on CD on Red House Records (RHR CD 76)> Rob Ford ========================================================================= Date: Tue, 12 Dec 1995 04:55:23 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - December 12th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BAILEY, MILDRED RINKER (v) d. 1951-1212, POUGHKEEPSIE, NY 44 BAREFIELD, EDDIE (asax/PAUL GAYTEN) b. 1909-1212, SCANDIA, IA BETTS, DICKEY (g/THE ALLMAN BROS) b. 1943-1212, W. PALM BEACH, FL BULLIET, JIM (founder: BULLET REC) d. 1988-1212, NASHVILLE, TN 79 CHENIER, CLIFTON (acc/KING OF ZYDECO) d. 1987-1212, LAFAYETTE, LA 62 DALLAS, LEROY (g) b. 1920-1212, MOBILE, AL DAVIS, BERT E. "LADYBIRD"(asax/TINY DAVIS)b. 1923-1212, SAN ANTONIO, TX JAMES, DICK [RICHARD L. VAPNICK] (DJM REC)b. 1920-1212, LONDON, UK KEYES, LAURENCE "88" (p) b. 1914-1212, KANSAS CITY, KS LOMAX, JOHN A. JR. (folklorist) d. 1974-1212, HOUSTON, TX 67 LONESOME SUNDOWN [CORNELIUS GREEN] (g) b. 1928-1212, DONALDSONVILLE, LA MARMAROSA, MICHAEL "DODO" (p) b. 1925-1212, PITTSBURGH, PA RICH, CHARLIE (p/songw) b. 1932-1212, COLT, AR ROSS, RONNIE (bsax/LOU REED) d. 1991-1212, LONDON, UK 58 SHEILA E. [SHEILA ESCOVEDO] (d) b. 1959-1212, SAN FRANCISCO, CA SINATRA, FRANK [FRANCIS ALBERT SINATRA]v b. 1915-1212, HOBOKEN, NJ SMITH, WILLIAM C. (gospel) d. 1967-1212, SUFFERN, NY 52 STEWART, IAN (p/ROLLING STONES) d. 1985-1212, LONDON, UK 47 STOVALL, DON (asax/SAMMY PRICE) b. 1913-1212, ST. LOUIS, MO WARWICK, DIONNE [MARIE DIONNE WARRICK] v b. 1940-1212, EAST ORANGE, NJ WASHINGTON, GROVER JR. (asax/ssax) b. 1943-1212, BUFFALO, NY WESTON, JOHN "SO BLUE" (hca/FAT POSSUM RECb. 1927-1212, HELENA, AR WILLIAMS, JOE [JOSEPH GOREED] (v/BASIE) b. 1918-1212, CORDELE, GA WILLIAMS, TONY (d/MILES DAVIS) b. 1945-1212, CHICAGO, IL WILLIS, WILLIE (g/SOUL STAFF REC) b. 1932-1212, TX ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 12 Dec 1995 03:24:24 -0800 Reply-To: boogienation@EARTHLINK.NET From: Richard Hillier Subject: John Lee Hooker The King of the Boogie is now here on this list. ========================================================================= Date: Tue, 12 Dec 1995 11:30:40 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Cold Weather Music? In-Reply-To: <9512112108.aa09817@admin.dis.on.ca> It may not sound in keeping with the titles you have listed but listen to the lyrics Tab Benoit - "Nice and Warm" is on the money :) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [12/12/95 6:10 AM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 12 Dec 1995 11:36:16 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Cold Weather Music? In-Reply-To: <9512112108.aa09817@admin.dis.on.ca> On Mon, 11 Dec 1995, Ian Angus wrote: > Albert Collins used lots of cold titles, but they were instrumentals, > so they don't do the job. Here's what I've got to date: > There is one that he does in which he sings about winter in Chicago and makes that sounds of his car (not) starting. I THINK it's "Snowed In" (on the Frostbite album). phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [12/12/95 6:10 AM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 12 Dec 1995 22:28:31 +1100 Reply-To: Peter Schwenke From: Peter Schwenke Subject: LOCAL: Sydney Blues Society Christmas Jam Comments: To: Blues List While on the topic of Blues Jams, the Sydney Blues Society is hosting their Christmas Jam at the Rose of Australia Hotel, Erskineville. Bring your own instruments. House band, amps, drums and professional PA provided. There will also be some food. Sunday 17th December Rose of Australia Erskineville 1-9:30pm! Normally this event is held on the last Sunday of the month between 4 and 9:30. ... Peter ========================================================================= Date: Tue, 12 Dec 1995 06:46:56 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: No More CD's? Comments: To: Scott Berman In-Reply-To: On Mon, 11 Dec 1995, Scott Berman wrote: > A friend of mine just told me that as of next year, nothing will be issued > on CD. Apparently, there is another format which will replace CD's. Is > this true? Your friend is probably referring to the new CD standard that is being developed (or already developed) by Sony, Philips, and the rest of the electronics industry. However, it will be backwards compatible with todays CDs so that the players can play all that we currently own. IT WILL still be a CD format only it will hold a lot more info on a disc and be able to include movies and film and lots more goodies on a single CD. I think that to assume it will replace CD's as we currently know them within a year is not accurate unless the players start out in price at some unusually cheapo dollar amount. Remember, the media can only be played if the player is in the hands of the public in mass. I also do not think that the industry will drop CD's again as we know them for quite some time - they'd lose enormous volumes of sales to those people (most of the universe) who don't have the new players. It seems to be a positive step for delivering music, movies, info & whatever - but a ways off as a universal media for everyone. NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Tue, 12 Dec 1995 06:59:02 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: More: LARRY MCCRAY Yeah Man! I've seen Larry a play live a couple of times and he is certainly a super guitarist and he makes himself right at home in the clubs by hanging out before/during/after his gig, talking to everyone. He's incredibly cheerful and talkative. As a drummer of some 30 years, I am quick to add that I believe that Larrys brother Steve is an absolutely fantastic drummer. He makes Larry's band flow so smoothly its incredible. Check out Living Blues #120 (The 25th Anniversary Edition, page 60) for a very good article on Larry Beef Stew ******************************************************************** >Don O wrote the following about Mr. McCray: >He is a wonderful live performer, but I don't think his CDs are as >interesting. > His studio efforts have always seemed to be over-produced for my tastes. >- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - > I second THAT emotion. I have yet to hear an album that catches >him in the form I've seen live. > > Rob > >Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu >LaGrange, Il USA >"Giving money and power to government is like > giving whiskey and car keys to teenage boys"--P.J. O'Rourke > > ========================================================================= Date: Tue, 12 Dec 1995 08:40:23 EST Reply-To: levyt@RL.AF.MIL From: Toby Levy Subject: How big is your music collection? An article in Thursday's New York Times: "It's best to think of Bob James and his Archive of Contemporary Music as the Noah and the ark of the record industry. Since 1986 Mr. James has been collecting two copies of every released recording, amassing more than 450,000 CDs and LPs...In January, the archive plans to gather its collection, stored in five different places in New York and Ohio, and move them into the new building [54 White Street in TriBeCa]. Mr. James said he hoped to turn part of the space into a center for music-appreciation and a gallery. He said he hoped to make the archive more accessible to the public. At the moment, it is used primarilly by the music, publishing and film industries. Individulas may use the archive by paying an annual membership fee. For information: (212) 226-6967." Soooo...the next time your spouse complains about all the music you are stuffing into your living quarters, just mention the Archive of Contemporary Music, and say your collection has a long way to go! Toby ========================================================================= Date: Tue, 12 Dec 1995 08:47:05 -0500 Reply-To: C L Buchanan From: C L Buchanan Subject: Piano Blues I have a question for all you blues lovers...... My mother has been playing piano for around 30 years. All of it has been gospel music(gospel groups, church, etc...) She can read music but prefers to play by ear. She can listen to something and sit down at the piano and play it almost perfect immediately. She shocked me a few weeks ago by saying she was tired of the being locked into the same old style and wanted to learn to play the blues. I think the interest is coming from both of her brothers being heavy into blues guitar. Anyway, I would like to get her some good piano blues cd's for Christmas. Keep in mind that she will probably end up playing along with her brothers. Does anyone have any suggestions? Chad aj202@ctc.cummins.com ========================================================================= Date: Tue, 12 Dec 1995 08:01:39 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: John Lee Hooker Comments: To: Richard Hillier In-Reply-To: <199512121124.DAA14877@iceland.it.earthlink.net> On Tue, 12 Dec 1995, Richard Hillier wrote: > The King of the Boogie is now here on this list. A couple of questions for Mr. Hooker: 1) Did he ever record anything with Lightnin Hopkins other than the stuff recently released on Verve/Gitanes (Its a Sin to Be Rich) ? 2) Some people on this list don't understand Mr. Hooker's use of guests on his recent cds (i.e. Carlos Santana). For the record, I ain't one of 'em. Can he tell those people why he chose to include guests and why he chose the ones that he did? Thanks and welcome to the list! -Jeff (I suppose you must be a manager or something?) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Tue, 12 Dec 1995 09:04:44 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Cold Weather Music? Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, ianangus/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=ianangus#a#DIS#f#ON#f#CA@s1boca.corp.wrgrace.com *Deanna Bogart: Cold Outside * *Dutch Mason or Sonny Boy Williamson: Nine Below Zero * *Theresa Malenfont: Early Frost * *Muddy Waters: Cold Up North * *Louis Jordan & Ella Fitzgerald: Baby It's Cold Outside * *Any suggestions for others? BB King - Cold, Cold Feeling Johnny Shines? - So Cold in Vietnam ========================================================================= Date: Tue, 12 Dec 1995 15:26:22 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Cold Weather Music? >>*Deanna Bogart: Cold Outside >>* >>*Dutch Mason or Sonny Boy Williamson: Nine Below Zero >>* >>*Theresa Malenfont: Early Frost >>* >>*Muddy Waters: Cold Up North >>* >>*Louis Jordan & Ella Fitzgerald: Baby It's Cold Outside >>* >>*Any suggestions for others? >> >>BB King - Cold, Cold Feeling >>Johnny Shines? - So Cold in Vietnam > If anyone listen to all this stuff the result must be: Dyin with the flu: Albert Collins Bo :-) ========================================================================= Date: Tue, 12 Dec 1995 08:25:38 -0600 Reply-To: James Foster From: James Foster Subject: Southern Soul, Excello-style Comments: cc: WSHUTE@ACCDVM.ACCD.EDU As has been promoted on this list in the last year much of the laid-back swampy blues of such Louisiana greats as Silas Hogan, Slim Harpo and Lonesome Sundown, to name a few, were originally issued on the Excello label and are now being re-issued in stellar form on CD. The history of the Excello label is fascinating (see Eric LeBlanc's fine posts to blues-l on Jay Crowley and the Excello label as well as John Broven's fine book "South to Lousiana"). A recent compilation, first issued in England on Ace and available domestically on Excello, focuses its attention on the amazing "southern soul" sounds of this dynamite label. Called, appropriately, "The Heart Of Southern Soul: From Nashville To Memphis And Muscle Shoals" (Excello CD 3012), this CD features 24 amazing songs, cut by many folks that you never heard of! If you are afan of deep, southern soul artists like James Carr or O.V. Wright then you shuold not hesitate in seeking this disc out. This is the "real" stuff! One listen to Kip Anderson's "I Went Off And Cried" is all you will need. The CD comes with good notes by Pete Nickols, editor of "Vintage Soul" magazine. James Foster ========================================================================= Date: Tue, 12 Dec 1995 08:21:59 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Guitar Chat..Silvertone I just bought a Silvertone with the lipstick PU and amp in case. The amp reminds me of an old Tweed Champ I had, at least the overdriven tone is similar, but not near as much volume. I think the guitar works great for slide it's going to be fun. The funny thing is, it was in a VERY small pawn shop in my neighborhood. It is like brand new, it still has Silvertone tubes in the amp, so it wasn't played very much, else they'd have been lone gone So who made Silvertone tubes.....( I know the guitar is a Dano', but tubes ?) Thanks LW 'private e-mail please' ========================================================================= Date: Tue, 12 Dec 1995 09:32:31 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: Baltimore and DC Folks... Comments: To: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA AS I HAVE SAID SEVERAL TIMES HEREIN, MAX RUNS THE OPEN-MIKE AT THE FULL MOON ON MONDAYS. THE TUESDAY NIGHT JAM IS STILL GOING ON AS FAR AS I KNOW. I HAVE A COPY OF THE SCHEDULE AT HOME. I'LL POST IT LATER THIS WEEK. Ruth ______________________________ Reply Separator _________________________________ Subject: Re: Baltimore and DC Folks... Author: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA at Internet Date: 12/11/95 5:35 PM Ummm... the Full Moon Saloon on Aliceanna Street in Fells Point (Baltimore) used to have jams early on in the week (Tuesday/Wednesday). Alas, they ain't in the phone book, but Baltimore City Paper will give you the rundown on what's going on there. Turtle _____ Reply Separator _____ Author: PARRISHR @ VITRO.COM @ INTERNET Received: 12/08/95 05:27:52 PM Subject: Re: Baltimore and DC Folks... Hi Lea, Check out the DC Blues Society's web page if you have WWW access. The URL is http://intelus.com/dcblues/ Or you can call them (202-828-3028) and ask them to send you a sample newsletter -- all the jams are listed in there. It's mostly for DC but Baltimore is in there too. You might want to check at the Full Moon Saloon and see if they know anything about the Baltimore Blues Society. ruth ______________________________ Reply Separator _________________________________ Subject: Baltimore and DC Folks... Author: LeaGil at Internet Date: 12/8/95 5:06 PM Does anyone have a comprehensive list of open mike nights in the B-more/DC area. And is anyone looking for a female blues singer? Thanks Lea ========================================================================= Date: Tue, 12 Dec 1995 09:47:55 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: Cold Weather Music? Comments: To: Ian Angus In-Reply-To: <9512112108.aa09817@admin.dis.on.ca> On Mon, 11 Dec 1995, Ian Angus wrote: > SUGGESTIONS WANTED > > I'm putting together the playlist for next week's Blue Soul show. > (CKLN, 88.1, Toronto, Wed 8-10pm) Mostly of it will be a > Christmas show. > > But because has been so very cold and snowy here lately (setting > all-time records for November, I'm told) I want to do a set or two > of songs about cold weather. And I'm finding that there aren't very "Cold This Winter", Ernie Johnson (IN THE MOOD; Waldoxy) "Cold, Cold Chicago", Eddie Raspberry (MISSISSIPPI BURNING BLUES v.2; Mardi Gras) "Dark Was the Night, Cold Was the Ground", Blind Willie Johnson (SLIDE GUITAR CLASSICS; Rhino) "Stranded" Gatemouth Brown (TEXAS SWING; Rounder) (If I recall that's about snow) "Cold Tile Floor", James Harman (BLACK & BLUE; Black Top) "Are You Losing Your Mind?", Buddy Guy (STONE CRAZY; Alligator). If I recall, that's the one where his woman sneaks off with another guy behind a big "hunk of snow". "Cold, Cold Feeling" T-Bone Walker (COMPLETE IMPERIAL RECORDINGS; EMI) and also by Jimmy Johnson (BAR ROOM PREACHER; Alligator). Okay, not really about cold weather, but still useable. Dave Prychitko ========================================================================= Date: Tue, 12 Dec 1995 09:58:32 -0500 Reply-To: Philip and/or Carol Decker From: Philip and/or Carol Decker Organization: Net Sarasota Subject: Re: Buddy Guy mystery tape(live show) Comments: To: bit-listserv-blues-l@uunet.uu.net In article Rob Varak writes: >I believe that is a show recorded at the Vic theater in the Winter of >1993. I was at the show and it was fantastic. It was his first major >Chicago gig after a European tour and he really seemed glad to be home. >Just to tie up some threads, Larry McCray was the opener. >PS If they didn't edit "Stormy Monday" out you can hear me howl "Make >T-Bone Howl" about 1/2 way through!! Rob, You wouldn't also happen to be the drunk asshole who screamed throughout "Lenny" on SRV's "Live at the El Mocambo" per chance? PJD ========================================================================= Date: Tue, 12 Dec 1995 14:58:50 +0000 Reply-To: "David J. Wallace" From: "David J. Wallace" Subject: David's Top 10 CDs of the Year December time folks, end of another year, and about time I posted something. Here's my list of CDs I've discovered this year and liked. They're not all new releases, just discs I've come accross and liked. So in no particular order here goes: Lowell Fulson: 'Its a good day' Rounder CD2088: - Mr Fulson in a relaxed mood revisiting his early sound in places, and mixing it with his newer sound. Esther Phillips: 'Confessin the Blues' Sequel RSACD 807 - First six tracks are against a glorious 'Jazz Orchestra' in 1976, the rest recorded live in the 70s in LA. Calvin Owens: 'Thats Your Booty', Coast to Coast CTC 0203.- Calvin Owens dream continues with his latest release. It KICKS! Otis Clay and Archie Bell contribute vocals, as does Ruby Wilson, the wife of BB King's former bus driver believe it or not - and she can sing, I mean really sing! Magic Sam: 'West Side Soul' Charly CDBM 29 - Silly choice of title, but the early Sam Maghett searching for his sound is almost as entertaining as the real 'West Side Soul'. Albert Collins: Live 92-93 'VPBCD 27' - need I say anymore? Walter Wolfman Washington: 'Out of the Dark' Rounder CD2068. The final Wolfman record I bought to complete the set, Big scale funking around, good material, good vocals. Enjoyed it a whole lot. Jimmy Witherspoon 'The Blues, The Whole Blues and Nothing But the Blues'. Indigo ICD 2001,- Spoon in relaxed mode, growling through some good new material, produced by Mike Vernon. Nice one this. Otis Grand 'Nothing Else Matters' - Sequel 272 - BB King said 'You play like I used to'. I second that motion. This is a killer CD, Otis plays like a man possessed and Curtis Salgado doesn't sing too bad either. A goodun. Charles Brown: 'These Blues' Verve 314 523 022 - The consumate late night piano blues album, proclamed the sticker on the front of the CD in Rasputin's Pleasant Hill store. So I bought it, and yup, the sticker was right. Mr Brown tinkles his way through some new ones and some standards. Otis Rush: 'The Classic Recordings' Charly CD217, Finally I got some early Rush. now I now what the fuss is about - Boom! and an eleventh hour addition, couldn't let it go without further comment: Joe Louis Walker: Blues of the Month Club: Verve 527-999: I refer you to my earlier review, save to say WOW! Thanks, and a merry Christmas to y'all. David ********************************************************** For mail filtering purposes and fast attention, please place one of the following in the SUBJECT line of your message: If it is related to the Department of TRP: 'TRP' If it is related to Airline/Aircraft Business: 'AIR' If it is personal or a priority matter 'PER' Other text can follow. Thank You! ********************************************************** ========================================================================= Date: Tue, 12 Dec 1995 10:03:59 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Otis Span question Wonderful E mail from one and all because once again I niggled about the uses of the Blues Line and, in fact, the internet as a whole. Mary Katherine was, as always, reasoned and sensible and sympathetic. Somebody called Wayne Ross sent me a furious private E-mail (my very first flame!) telling me to shut up and get a life. In fact, I do have a very busy life, thanks a lot, and I'm getting on with it quite nicely. What Wayne, and several others, seem to miss is the point-Waterman once told me on the net that people don't understand subtlety, and he was right. The point, simply, is that the net is a dumb place to ask dumb questions. If you are ignorant-and everybody is at one time or other about something or other-and you want to know more, read a book, buy a record, go to a library, talk to friends, etc. I can imagine young Jacob (who started all this by asking who Otis Span was) sitting at home, and he hears someone mention Otis. So instead of doing any of the logical things listed in the previous paragraph, he noodles away on his keyboard and asks you and I and everybody else on the blues line who he is. Personally, I think that's a dumb question to ask a panel of people most of whom know whereof they speak and what they listen to. The point I'm trying to make, while I'm trying to get a life, is that this is not a forum for neophytes, and the internet is not a very good place to get basic information. Books, libraries, record stores, etc. are much better. Meanwhile, I hope Jacob does find out more about Otis Spann (who, incidentally, I knew slightly), and learns to enjoy and cherish the music he made. And I hope, while he's in learning mode, that he'll discover better ways of learning than the internet. Duh, do you know anything about a singer I've just heard of called Robert Jonson? Yours, tongue somewhat in cheek-Richard the Elder ========================================================================= Date: Tue, 12 Dec 1995 10:04:16 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Re Blues Rags & Hollers Actually, Spider John Koerner's solo album was called "Nobody Knows the Trouble I've BEEN" - a delicious pun and one of the best album titles of the year! - Richard the Elder ========================================================================= Date: Tue, 12 Dec 1995 10:02:13 -0500 Reply-To: "Munson, Bill" From: "Munson, Bill" Subject: Savoy Records - The Three Playmates I'm interested in the Three Playmates on Savoy (1957). Does anybody out there know if any of their three 45s have been reissued in any form? Thanks, Bill Munson bmunson@itac.ca ========================================================================= Date: Tue, 12 Dec 1995 10:07:52 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: Guitar Chat..Silvertone Comments: To: L W LW -- I have one of those too, except my Silvertone has two lipstick PUs. It's a FANTASTIC slide guitar, isn't it? It's so resonant. I have the case with the built-in amp too. Silvertones were made by Sears. So the tubes are from wherever Sears got tubes from in the '60's. The only thing I didn't like about the silvertone was the tuning pegs - they kept slipping, especially when I played in open D tuning. So I put locking tuning pegs on it and now it's fine. P.S. The rest of you don't laugh, it's a great guitar. Someone offered me $500 for it in Memphis about a year ago. ______________________________ Reply Separator _________________________________ Subject: Guitar Chat..Silvertone Author: L W at Internet Date: 12/12/95 8:21 AM I just bought a Silvertone with the lipstick PU and amp in case. The amp reminds me of an old Tweed Champ I had, at least the overdriven tone is similar, but not near as much volume. I think the guitar works great for slide it's going to be fun. The funny thing is, it was in a VERY small pawn shop in my neighborhood. It is like brand new, it still has Silvertone tubes in the amp, so it wasn't played very much, else they'd have been lone gone So who made Silvertone tubes.....( I know the guitar is a Dano', but tubes ?) Thanks LW 'private e-mail please' ========================================================================= Date: Tue, 12 Dec 1995 09:02:56 CDT Reply-To: Dave Kneifl From: Dave Kneifl Organization: University of Wisconsin-Extension Subject: Re: Piano Blues Comments: To: aj202@CTCDBS.CTC.CUMMINS.COM Pinetop Perkins - Pinetop's Boogie (Antones) > I have a question for all you blues lovers...... > > My mother has been playing piano for around 30 years. > All of it has been gospel music(gospel groups, church, etc...) > She can read music but prefers to play by ear. She can listen > to something and sit down at the piano and play it almost perfect > immediately. > > She shocked me a few weeks ago by saying she was tired of the > being locked into the same old style and wanted to learn to > play the blues. I think the interest is coming from both of > her brothers being heavy into blues guitar. > > Anyway, I would like to get her some good piano blues cd's for > Christmas. Keep in mind that she will probably end up playing > along with her brothers. Does anyone have any suggestions? > > > Chad > > aj202@ctc.cummins.com > Dave Kneifl Program Assistant UW Extension Independent Learning Ever stop to think, and forget to start again? ========================================================================= Date: Tue, 12 Dec 1995 10:08:50 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Cold Weather Music? Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com Another one that's sort of appropriate :) John Brim - Ice Cream Man ========================================================================= Date: Tue, 12 Dec 1995 15:23:39 +0000 Reply-To: "David J. Wallace" From: "David J. Wallace" Subject: David's Top 10 CDs of the Year Think this got lost in cyberspace first time around December time folks, end of another year, and about time I posted something. Here's my list of CDs I've discovered this year and liked. They're not all new releases, just discs I've come accross and liked. So in no particular order here goes: Lowell Fulson: 'Its a good day' Rounder CD2088: - Mr Fulson in a relaxed mood revisiting his early sound in places, and mixing it with his newer sound. Esther Phillips: 'Confessin the Blues' Sequel RSACD 807 - First six tracks are against a glorious 'Jazz Orchestra' in 1976, the rest recorded live in the 70s in LA. Calvin Owens: 'Thats Your Booty', Coast to Coast CTC 0203.- Calvin Owens dream continues with his latest release. It KICKS! Otis Clay and Archie Bell contribute vocals, as does Ruby Wilson, the wife of BB King's former bus driver believe it or not - and she can sing, I mean really sing! Magic Sam: 'West Side Soul' Charly CDBM 29 - Silly choice of title, but the early Sam Maghett searching for his sound is almost as entertaining as the real 'West Side Soul'. Albert Collins: Live 92-93 'VPBCD 27' - need I say anymore? Walter Wolfman Washington: 'Out of the Dark' Rounder CD2068. The final Wolfman record I bought to complete the set, Big scale funking around, good material, good vocals. Enjoyed it a whole lot. Jimmy Witherspoon 'The Blues, The Whole Blues and Nothing But the Blues'. Indigo ICD 2001,- Spoon in relaxed mode, growling through some good new material, produced by Mike Vernon. Nice one this. Otis Grand 'Nothing Else Matters' - Sequel 272 - BB King said 'You play like I used to'. I second that motion. This is a killer CD, Otis plays like a man possessed and Curtis Salgado doesn't sing too bad either. A goodun. Charles Brown: 'These Blues' Verve 314 523 022 - The consumate late night piano blues album, proclamed the sticker on the front of the CD in Rasputin's Pleasant Hill store. So I bought it, and yup, the sticker was right. Mr Brown tinkles his way through some new ones and some standards. Otis Rush: 'The Classic Recordings' Charly CD217, Finally I got some early Rush. now I now what the fuss is about - Boom! and an eleventh hour addition, couldn't let it go without further comment: Joe Louis Walker: Blues of the Month Club: Verve 527-999: I refer you to my earlier review, save to say WOW! Thanks, and a merry Christmas to y'all. David ********************************************************** For mail filtering purposes and fast attention, please place one of the following in the SUBJECT line of your message: If it is related to the Department of TRP: 'TRP' If it is related to Airline/Aircraft Business: 'AIR' If it is personal or a priority matter 'PER' Other text can follow. Thank You! ********************************************************** ========================================================================= Date: Tue, 12 Dec 1995 09:33:03 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Piano Blues Comments: To: C L Buchanan In-Reply-To: <9512121347.AA23049@ctcsunhap.cummins.com> Otis Spann's Chicago Blues recently reissued on Testament cd. This may be the best blues cd ever recorded! -Jeff (in my biased opinion) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Tue, 12 Dec 1995 15:40:48 +0000 Reply-To: "Tony.OConnor" From: "Tony.OConnor" Subject: A.King - Stax I just saw a new Albert King 'Best-Of' on Stax. Has anyone heard this. I've been waiting to get the Ultimate Colection on Rhino but the Stax material looks good. Would it cover most of his best material ? Thanks, Tony. ========================================================================= Date: Tue, 12 Dec 1995 15:43:21 +0000 Reply-To: "Tony.OConnor" From: "Tony.OConnor" Subject: Capitol Blues-Art Postcards The artwork from the covers of the new Capitol blues collection can be sent as postcards. Check it out at http://www.caprec.com/Blues/ Tony. ========================================================================= Date: Tue, 12 Dec 1995 10:43:34 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Good used guitars Comments: To: Steve.Levine@Corp.wrgrace.com Steve, there are lots of nice guitars out there to choose from, but my personal faves are the Yamaha acoustics. Yeah, I know...they're Japanese, but brand new they're a good buy, nice quality and tone. Brandy new you can get a good one for under $400, and a good used one shouldn't be hard to find for $200. I have a 12 string model...ummmmmm...G360 (?) that's about 20 years old, has been thru a major house fire where the case literally was burned away around the guitar, and has now been case-less thru hot and cold, wet and dry for umpty-nine years and still plays and sounds great. I prefer the big jumbo-bodied models. Big, fat, warm tone. I play mine with just 6 strings on it. Call me goofy, but I like that extra wide neck for acoustic blues. :) Play it out at gigs, miked, all the time. Works great. My personal un-favorite, especially as a starter, is anything by Ovation. No flames please, this is just personal opinion, and I been playin' close to thirty'yeay years, but I have not picked up an Ovation that I was comfortable with. Can't sit down with that round-back thingy, it just slides out of your lap. Jeez, I HATE that. Not tickled with the tone or necks either. All I can picture is the Wilson sisters from Heart in lacey flowing robes and Ovation guitars and I wanna hurl. Just my opinion. No offense, Ovation players. Honest :) Riffin Rick -I bite my tongue and prepare for a tongue lashing from Ovation players.... (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 12 Dec 1995 10:48:03 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Big Book of Blues Robert Santelli's THE BIG BOOK OF BLUES (Penguin, 1993) is a nice single reference source on bluespeople and music. 491 pages, $15.95 ($19.99 Canadian). And you can carry it wherever you go (heck, I don't do this, but you can even take it to the clubs and have your favorite performers autograph the entries about them). Take it crawdaddin,' fishin', whatever you like. Much better than a computer. The book does have a couple faults, as Mary Katherine noted in her review (LIVING BLUES, Oct. 1994), but, for the price, it's a deal. Under more than two feet of fresh power, I remain Dave Prychitko ========================================================================= Date: Tue, 12 Dec 1995 10:59:41 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Fat Tone question I have seen Riffin Rick's band "Gate Street" several times over the last year or so, and he's got this great warm, fat, almost jazzy tone that's very reminiscent of Duke Robillard, but with the single note vibrato of BB and Albert King, that he gets out of his various Gibson guitars. How's he do that? ;) F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 12 Dec 1995 10:40:55 -0600 Reply-To: James E Akenson From: James E Akenson Subject: TFS Call For Proposals The Tennessee Folklore Society Call for Proposals and Announcement of 1996 Annual Meeting The Tennessee Folklore Society will hold its annual meeting on Saturday, 9 November 1996 at Belmont University in Nashville, Tennessee. Proposals dealing with all aspects of folklore are encouraged. Each proposal should include: Title, abstract of 100 words, and the name and complete mailing address(es) of presenter(s). Please include telephone, fax, and e-mail address. Presenters will be expected to register for the conference. No form of financial remuneration is available. Proposals should be submitted by Monday, 30 June 1996 to: Dr. Charles K. Wolfe Tennessee Folklore Society Box 201 Middle Tennessee State University Murfreesboro, TN 37132 Proposals May Be E-Mailed to: CWolfe@frank.mtsu.edu. ========================================================================= Date: Tue, 12 Dec 1995 11:46:02 -0500 Reply-To: SJeffcote@AOL.COM From: "Scott E. Jeffcote" Subject: Playlist for "The Juke Joint" (KLSU 91.1 FM) This is for the show on 12-11-95 First Hour: Albert King Watermelon Man (opening song) Kenny Neal Christmas Time in the Country Albert Collins Cold, Cold Feeling Big Joe Williams I been wrong, but I'll be right Z.Z. Hill I'm a bluesman Big Mama Thornton Spoonful Guitar Kelly Count the Days I'm Gone Big Leon Brooks Thirteen Years in Prison Koko Taylor Insane Asylum Lazy Lester Bloodstains on the Wall Rod Piazza Murder in the 1st Degree Robert Cray Id rather be a wino Slim Harpo Blues Hangover Joe Louis Walker The Gift 2nd Hour: R.L. Burnside In the Ghetto Larry Garner Rats and Roaches Son Seals Lonesome Christmas Bobby Bland Touch of the Blues Elvin Killerbee Repossesion Blues Johnny Copeland Down on Bended Knees Magic Slim You can't lose what you never had Otis Spann My home is in the delta John Lee Hooker Boogie Everywhere I Go Lonnie Brooks Don't take advantage of me Howlin Wolf Committ a Crime Gatemouth Brown/Roy Clark The Drifter 3rd Hour: B.B. King Midnight Believer Charles Brown Merry Christmas Baby Billy Branch Grown Men Cry Elmore James It hurts me too Snooks Eaglin You give me nothin but the blues Fred McDowell 61 Highway Little Walter Mellow Down Easy Otis Clay A Nickel and a Nail Silas Hogan Out and Down Blues Jerry McCain Love Makin Showdown Willie Cobbs Goin to Mississippi Pinetop Perkins Look on Yonders Wall Son Seals Last Night (show closer) ========================================================================= Date: Tue, 12 Dec 1995 11:44:14 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: The Flohil question (was the Otis Spann Question) Comments: To: rflohil@INFORAMP.NET On 12 Dec 95, Richard Flohil had this to say... > The point, simply, is that the net is a dumb place to ask > dumb questions. If you are ignorant-and everybody is at one time or > other about something or other-and you want to know more, read a > book, buy a record, go to a library, talk to friends, etc. The point, Richard, is that the internet is a place where things like Blues-L exist. A thing like a group of people with a specialized (and in many cases intense) interest, is a PERFECT place to ask a question relating to that specialty. The point that YOU choose to miss is that you were simply rude to the young man asking the question. You unnecessarily put HIM down. > I can imagine young Jacob (who started all this by asking who Otis > Span was) sitting at home, and he hears someone mention Otis. So > instead of doing any of the logical things listed in the previous > paragraph, he noodles away on his keyboard and asks you and I and > everybody else on the blues line who he is. Personally, I think > that's a dumb question to ask a panel of people most of whom know > whereof they speak and what they listen to. First of all, you SHOULD remember (and WOULD if you cared, more about the facts and less about defending a bad position) Jacob asked if Otis Spann was still alive, not who he was. Otis Spann was someone he enjoyed and wanted to hear more of. As someone who's life has been saturated in the Blues for many years, perhaps it's hard for you to realize how difficult it is for the beginner to find information about the Blues. For you and I it may be the most important thing in our lives, but for the general public, interest is pretty damn thin. > The point I'm trying to > make, while I'm trying to get a life, is that this is not a forum > for neophytes, and the internet is not a very good place to get > basic information. This, contrary to you wishes, is a forum for anyone with with access a modem and a computer, and not something YOU are going to define by decree. It just doesn't work that way. Hey... if you don't want to be bothered with sharing your vast knowledge and experience with the uninformed, that's fine. But you don't have to jump on somebody for asking US for help. This forum belongs to more than a thousand people, most of whom would be happy to answer a neophyte's question. I'd be willing to bet that Richard Waterman warnings to you about the perils of the internet, included a description of how easily an innocent net-neophyte could get his cyber-head torched... something you so aptly demonstrated for us in your flame of Jacob. What would be appropriate for you now, instead of digging a deeper hole with your defense of an indefensible position, would be a simple apology to Jacob for your rudeness as publicly as your put-down of him. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 12 Dec 1995 17:30:53 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Re: "Blues, Rags and Hollers" Comments: To: bit-listserv-blues-l@uunet.uu.net You're in luck! RED HOUSE is now issuing these albums on CD. The 1st album is now out on RED HOUSE CD 76 : BLUES, RAGS & HOLLER. By the way, RED HOUSE has gone back to the original album which has a few extra tracks. The ELEKTRA album was a reissue! The sound quality is simply amazing, and when you consider it was recorded in March 1963, that's quite a statement. eRIC ========================================================================= Date: Tue, 12 Dec 1995 17:34:17 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Re: Mississippi John Hurt Recommendations? Comments: To: bit-listserv-blues-l@uunet.uu.net I SECOND THAT EMOTION. WHILE YOU'RE AT IT DON'T MISS THE BUKKA WHITE, SKUP JAMES & HOUSTON STACKHOUSE CDs on GENES/BLUES VAULT. eRIC In article cc5@newsbf02.news.aol.com, DeniseTapp writes: > Don't miss the Genes/Blues Vault double CD "John Hurt: Memorial > Anthology." (GCD 9906/7) The material was recorded live at DC's Ontario > Place Coffee House and at The Blues House in 1964 and includes a wonderful > interview of Mr. Hurt (the most beloved of all bluesmen) by Pete Seeger. > > Denise ========================================================================= Date: Tue, 12 Dec 1995 11:53:16 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: Buddy Guy mystery tape(live show) Comments: To: Philip and/or Carol Decker In-Reply-To: I'm also the guy who is always standing right next to you howling "Freebird" all night long. Rob "Lighten up Francis" Stripes Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke On Tue, 12 Dec 1995, Philip and/or Carol Decker wrote: > In article > Rob Varak writes: > > >I believe that is a show recorded at the Vic theater in the Winter of > >1993. I was at the show and it was fantastic. It was his first major > >Chicago gig after a European tour and he really seemed glad to be home. > >Just to tie up some threads, Larry McCray was the opener. > > >PS If they didn't edit "Stormy Monday" out you can hear me howl "Make > >T-Bone Howl" about 1/2 way through!! > > Rob, > > You wouldn't also happen to be the drunk asshole who screamed > throughout "Lenny" on SRV's "Live at the El Mocambo" per chance? > > PJD > ========================================================================= Date: Tue, 12 Dec 1995 13:08:21 -0500 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: When was Live at the Regal recorded? Comments: To: bit-listserv-blues-l@uunet.uu.net I just got a reissue of this B.B. King classic that has no liner notes. Any info will be appreciated. ========================================================================= Date: Tue, 12 Dec 1995 13:44:26 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: It's a Richard-Richard Thing . . . Well, I see that Richjard the Elder has unleashed the hounds of hell upon his head again. I suspect that Mr. Flohil knows that he took it a bit too far when he adminished the new member who inquired about Otis Spann. I'm not going to dwell on this and, hopefully, this is a threadless matter. In a world of people who know how to 'talk it;' but haven't a clue about how to 'walk it,' Mr. Flohil is just the opposite. He is too blunt, too acerbic, too opinionated and much too crusty for this medium of communication. On the other hand, he booked Son House at the Masiposa Folk Festival because he wanted the real Delta blues to be heard there; he brought a little know Chicago session guitarist named Buddy Guy to Canada for his firs gigs; he organized a Lonnie Johnson benefit at Massey Hall in Toronto; and the list of wonderous accomploishments is far too lengthy to be listed here. Mr. Flohil may well be faulted for not pausing often enought to remember, "That was then, this is now." He was blessed - as I was - to live in a time when a folk festival would have Son House, Booker White, Rev. Gary Davis and Robert Pete Williams and a weekend in Chicago gave you a chance to see Muddy, Wolf and J.B. Hutto strut their stuff. Each of you is certainly entitled to feel that Mr. Flohil overreacted. His point that "Blues Knowledge 101" should not be taught on the Blues-L is perhaps a somewhat cavalier on his part because he has personally known most of the men and women discussed here. If the texture of our personalities has been described as 'the warp and the woof,' then perhaps Mr. Flohil is a bit more warped and contains a bit too much woof. Nevertheless, our friendship is a Richard-Richard thing that has stood the test of time, good women, bad food and magnificent music. So let this be the end of it . . and I'm going about my day depressed because Eric's list of births/deaths reminded me that my friend Ian Stewart died 10 years ago today. Dick Waterman A/K/A Richard The Younger ========================================================================= Date: Tue, 12 Dec 1995 12:46:48 -0600 Reply-To: James Foster From: James Foster Subject: Re: When was Live at the Regal recorded? Comments: To: Dennis Miele At 1:08 PM 12/12/95, Dennis Miele wrote: >I just got a reissue of this B.B. King classic that has no liner notes. Any >info will be appreciated. This fabulous album was recorded in 1964. Enjoy! James ========================================================================= Date: Tue, 12 Dec 1995 13:43:41 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: The Freebird Phenom Comments: To: robbiev@INTERACCESS.COM On 12 Dec 95, Rob Varak had this to say... > I'm also the guy who is always standing right next to you howling > "Freebird" all night long. > I played a private party this past Saturday night (fairly unusual for a band that plays only Blues) and a guest requested "Freebird". I told them I would, and proceded to play "T-Bone Shuffle" substituting this phrase... "There ain't nothing in the world a little "Freebird Shuffle" can't cure. I swore to them it was the only "Freebird" I knew ;^) P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 12 Dec 1995 13:50:27 -0500 Reply-To: Wayne Ross From: Wayne Ross Subject: Re: Otis Spann Question Just to set the record straight, I am forwarding the private e-mail I sent to Richard Flohil. It is a mild flame, however, I did not tell him to "shut up" nor was I "furious" as he claims in a recent post. The point of my message to "Richard the Elder" was that it is unnecessary to berate or humiliate someone (in this or any other context) because they ask a naive question. I would hope that this list would serve an educative function for folks that are just getting into the blues as well as for those folks that have much experience and knowledge. This is a tall order because whenever novices and experts are part of the same conversation frustrations are bound to occur (on everyone's part). As Mary Katherine and others have pointed out, the Blues-L shouldn't discourage novices from exploring the blues. IMVHO responses like the one "Richard the Elder" sent regarding the "Otis Spann question" are counter-productive. It seems to me that it would be more productive to answer the question and suggest some resources that the questioner might explore. (Perhaps the person has no knowledge of specific reference sources, books, etc. that they could turn to.) If the person follows the advice they'll be able to be more self-directed in their quest for information and less likely to post questions that some may judge as irritatingly naive. I've learned alot about the blues in my short time on the list. On rare occasions I've been in a position to comment on a topic or help someone answer a question. If this were an exclusive (monitored) list, where only posts judged to have sufficient "integrity" were listed, I'm sure there would be lots of folks (myself included) shut out of the conversation and the opportunity to learn about something important to them. IMVHO humiliation, condescension, purposeful misrepresentation and baiting do nothing to uplift the discourse. Wayne ---------- Forwarded message ---------- Date: Sun, 10 Dec 1995 14:12:12 -0500 (EST) From: Wayne Ross To: Richard Flohil Subject: Re: Otis Span question Why don't you just delete the message and get on with your life, then again, if you can take the time to humiliate someone for such a simple, albeit naive question, maybe you don't have one. Wayne Ross ========================================================================= Date: Tue, 12 Dec 1995 12:40:27 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Christmas CD purchases I just got two Charles Brown CD's on the King label. One is Charles Brown Sings Christmas Songs and was recorded when Charles was only 38. That's about 35 years ago and a long, long way from being outdated. The other is Charles Brown and Bill Doggett (sp) and it duplicates everything on the aforementioned CD. I don't need them both, I was going to get Chet Atkins East Tennessee Christmas, but I never made it to that particular store, after hearing Charles Brown. Incredible music & musician. Charles would be MY choice, for the ultimate blues show at Christmas time. LW ========================================================================= Date: Tue, 12 Dec 1995 12:49:19 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Cold Weather Music? "Cold Cold Heart" - Hank Williams (Sr., of course).... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Tue, 12 Dec 1995 14:04:48 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: The Freebird Phenom Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, pwfenton/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=pwfenton#a#GATE#f#NET@s1boca.corp.wrgrace.com *I played a private party this past Saturday night (fairly unusual for *a band that plays only Blues) and a guest requested "Freebird". I *told them I would, and proceded to play "T-Bone Shuffle" substituting *this phrase... "There ain't nothing in the world a little "Freebird *Shuffle" can't cure. I swore to them it was the only "Freebird" I *knew ;^) My friend Roger Edsall (great DC area harp player and singer) has a great response when someone yells "Freebird!" He says "You want some Freebird?" Then he gives whoever yelled it the finger and says "There you go - don't cost nothing!" :) ========================================================================= Date: Tue, 12 Dec 1995 20:10:53 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Cold Weather Music? "Snow is falling" by the young Ray Charles ========================================================================= Date: Tue, 12 Dec 1995 14:20:03 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: Buddy Guy mystery tape(live show) Comments: To: Rob Varak Oh yeah. I know you, Rob. Now cut it out :) ______________________________ Reply Separator _________________________________ Subject: Re: Buddy Guy mystery tape(live show) Author: Rob Varak at Internet Date: 12/12/95 11:53 AM I'm also the guy who is always standing right next to you howling "Freebird" all night long. Rob "Lighten up Francis" Stripes Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke On Tue, 12 Dec 1995, Philip and/or Carol Decker wrote: > In article > Rob Varak writes: > > >I believe that is a show recorded at the Vic theater in the Winter of > >1993. I was at the show and it was fantastic. It was his first major > >Chicago gig after a European tour and he really seemed glad to be home. > >Just to tie up some threads, Larry McCray was the opener. > > >PS If they didn't edit "Stormy Monday" out you can hear me howl "Make > >T-Bone Howl" about 1/2 way through!! > > Rob, > > You wouldn't also happen to be the drunk asshole who screamed > throughout "Lenny" on SRV's "Live at the El Mocambo" per chance? > > PJD > ========================================================================= Date: Tue, 12 Dec 1995 14:21:18 -0500 Reply-To: ILVA JYRKI T From: ILVA JYRKI T Organization: University of Helsinki Subject: Re: Savoy Records - The Three Playmates Bill Munson wrote: > I'm interested in the Three Playmates on Savoy (1957). Does > anybody out there know if any of their three 45s have been reissued > in any form? There's one track ("It Must Be Love") by the Playmates on the "Doowop Delights" LP (Savoy Jazz). I would guess that it's the same group. Jyrki Ilva Helsinki, Finland ========================================================================= Date: Tue, 12 Dec 1995 11:29:47 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Otis Span question Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Holy Cow! Flohil said: (read the post below, and think of how much time and effort went into it, and realize how silly it is to spend that time defining "dumb questions", when he could have been nice to the guy... and what that says, not about the nature of the list, but about Flohil's attitude....) (If you're gonna spend the time to write something to a neophyte... BE NICE or just delete the posts you think are "dumb"... this post is such jaded and cynical hypocricy) THE NET IS A *GREAT* PLACE (here on Blues-L at least) TO ASK DUMB QUESTIONS... So get over it already, ok Richard?? jeez louise. >Wonderful E mail from one and all because once again I niggled about the >uses of the Blues Line and, in fact, the internet as a whole. Mary >Katherine was, as always, reasoned and sensible and sympathetic. Somebody >called Wayne Ross sent me a furious private E-mail (my very first flame!) >telling me to shut up and get a life. > In fact, I do have a very busy life, thanks a lot, and I'm getting >on with it quite nicely. What Wayne, and several others, seem to miss is >the point-Waterman once told me on the net that people don't understand >subtlety, and he was right. > The point, simply, is that the net is a dumb place to ask dumb >questions. If you are ignorant-and everybody is at one time or other about >something or other-and you want to know more, read a book, buy a record, go >to a library, talk to friends, etc. > I can imagine young Jacob (who started all this by asking who Otis >Span was) sitting at home, and he hears someone mention Otis. So instead of >doing any of the logical things listed in the previous paragraph, he >noodles away on his keyboard and asks you and I and everybody else on the >blues line who he is. Personally, I think that's a dumb question to ask a >panel of people most of whom know whereof they speak and what they listen >to. > The point I'm trying to make, while I'm trying to get a life, is >that this is not a forum for neophytes, and the internet is not a very good >place to get basic information. Books, libraries, record stores, etc. are >much better. > Meanwhile, I hope Jacob does find out more about Otis Spann (who, >incidentally, I knew slightly), and learns to enjoy and cherish the music >he made. And I hope, while he's in learning mode, that he'll discover >better ways of learning than the internet. > Duh, do you know anything about a singer I've just heard of called >Robert Jonson? > Yours, tongue somewhat in cheek-Richard the Elder Duh, I'm SO much smarter than YOU are!!! Watch, I'll do my little "Superior Dance" now! Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Tue, 12 Dec 1995 11:29:39 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Re: Piano Blues In-Reply-To: from "Jeff Seale" at Dec 12, 95 09:33:03 am According to Jeff Seale: > > Otis Spann's Chicago Blues recently reissued on Testament cd. This > may be the best blues cd ever recorded! > > -Jeff (in my biased opinion) Who's Otis Spann? -P ========================================================================= Date: Tue, 12 Dec 1995 14:56:15 -0500 Reply-To: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM From: Jim Smith Subject: Genes CDs (was Re: Mississippi John Hurt Recommendations?) In-Reply-To: <4akeep$5ja@googol.bctel.net> Genes CD had promised a release of some previuosly unreleased Gary Davis material. The last I heard it was to be out in '95. Anyone know anything else? Jim Smith >I SECOND THAT EMOTION. WHILE YOU'RE AT IT DON'T MISS THE >BUKKA WHITE, SKUP JAMES & HOUSTON STACKHOUSE CDs on >GENES/BLUES VAULT. > > eRIC > >In article cc5@newsbf02.news.aol.com, DeniseTapp writes: >> Don't miss the Genes/Blues Vault double CD "John Hurt: Memorial >> Anthology." (GCD 9906/7) The material was recorded live at DC's Ontario >> Place Coffee House and at The Blues House in 1964 and includes a wonderful >> interview of Mr. Hurt (the most beloved of all bluesmen) by Pete Seeger. >> >> Denise > ========================================================================= Date: Tue, 12 Dec 1995 15:14:39 EST Reply-To: Joseph Leichter From: Joseph Leichter Subject: Re: Otis Span question >Holy cow! Flohil said (rest deleted) Who's Flohil? ========================================================================= Date: Tue, 12 Dec 1995 14:40:42 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: It's a Richard-Richard Thing . . . Comments: To: Dick Waterman In-Reply-To: <951212134423_70962196@emout05.mail.aol.com> On Tue, 12 Dec 1995, Dick Waterman wrote: > On the other hand, he booked Son House at the Masiposa Folk Festival because > he wanted the real Delta blues to be heard there; he brought a little know > Chicago session guitarist named Buddy Guy to Canada for his firs gigs; he > organized a Lonnie Johnson benefit at Massey Hall in Toronto; and the list of > wonderous accomploishments is far too lengthy to be listed here. > Mr. Flohil may well be faulted for not pausing often enought to remember, > "That was then, this is now." He was blessed - as I was - to live in a time > when a folk festival would have Son House, Booker White, Rev. Gary Davis and > Robert Pete Williams and a weekend in Chicago gave you a chance to see Muddy, > Wolf and J.B. Hutto strut their stuff. And he should be thanked for those things that he did. However, this doesn't give him the right to govern what people ask on this list in his apparently ever-present condescending manner. Maybe he should learn what I also had to learn the hard way: liberal use of the delete key makes this place a much nicer place. Dick Shurman has done much to support and nurture the blues, but you don't see him ripping on a newbie because they don't know how to pronounce Magic Sam's last name. -Jeff (I learned all those internet lessons the hard way - ask VT) ;-) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Tue, 12 Dec 1995 14:47:07 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Re: Piano Blues > > According to Jeff Seale: > > > > Otis Spann's Chicago Blues recently reissued on Testament cd. This > > may be the best blues cd ever recorded! > > > > -Jeff (in my biased opinion) > > > Who's Otis Spann? > > > > -P > Peter, Jeff made a mistake. I guess he meant to say Johnny Otis, who is Otis Clay's brother, although one is black and the other is white - but I guess in blues we are all one race - aren't we??? Otis Spann never existed. It is just a myth, with origins in halucinations of Chicago bluesman in 60's and 70's due to heavy drinking. Muddy Waters would get drank, start playing and singing and start halucinating about hearing piano back-up. He would call that man "Otis Spann." "I'm so drunk I can hear Otis Spann playing," he would say and that was one of the most popular phrases in drank-jargon among bluesmen at that time. So i suggest that we don't mislead people that are "new in blues" by posting false information, but only post the truth and only the truth. Ranko ========================================================================= Date: Tue, 12 Dec 1995 16:13:17 -0500 Reply-To: Andrew Patrick Dillon From: Andrew Patrick Dillon Subject: -blues for greeny/da perterson/blues-l help In-Reply-To: <199512120510.AAA28350@roatan.ucs.indiana.edu> Couple of quickies - to the person who mentioned Moor'es Blues for Greeny cd - I have, I like it, and I'm not a metalhead. He's unpopular in these parts but judge for yourself. He describes it as his first real blues album. Enough said. Lucky Peterson's father came this way 3 months or so ago to play two nights at a dive outside of town. Sad to say only 9 of us were in attendance the night I was there but he and his band played on, he came out into the audience, sat in front of me and played his heart out. He even went walkabouts in the car park (radio-mic) and played to the passing traffic. Lovely evening, lovely music, worth seeing. BLUES-L help - am going on holidays and want to set this to no mail. Unfortunately everytime I write to the listserv it tells me I am not a subscriber to blues-l (!).....this presumably is a fucntion of my status as a digest reader but can anyone help out here? Do I have to set myself to receive mail in non-digest form first and then set no mail...or what? (and don't tell me to go look it up in a book...please...:) Andy p.s. - the rory gallagher www site address won't let me in....anyone else have this problem? ========================================================================= Date: Tue, 12 Dec 1995 21:18:31 GMT Reply-To: Mike Stefano From: Mike Stefano Organization: Queen's University Subject: Here's Johnny! Thank God he's back. Too far away for me to go see and hear, but just knowing Johnny's Jammin' is enough for now. Can't wait for the new album he'll hopefully do in '96 and the inevitable tour to follow? Glad to hear that Debbie Davies is with Johnny's management too. Not too many good female blues player out there right now - get 'em to sign Joanna Connors too! Apologies to Rory Block - I mean ELECTRIC blues players. ========================================================================= Date: Tue, 12 Dec 1995 16:38:11 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: Here's Johnny! Comments: To: Mike Stefano Yo, Mike, how do you define "good female blues players?" Ruth "Female Slide Guitarist From Hell" ______________________________ Reply Separator _________________________________ Subject: Here's Johnny! Author: Mike Stefano at Internet Date: 12/12/95 9:18 PM Thank God he's back. Too far away for me to go see and hear, but just knowing Johnny's Jammin' is enough for now. Can't wait for the new album he'll hopefully do in '96 and the inevitable tour to follow? Glad to hear that Debbie Davies is with Johnny's management too. Not too many good female blues player out there right now - get 'em to sign Joanna Connors too! Apologies to Rory Block - I mean ELECTRIC blues players. ========================================================================= Date: Tue, 12 Dec 1995 16:42:56 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Piano Blues Comments: To: rvujosev@CCAD.UIOWA.EDU "I'm so drunk I can hear Otis Spann playing" - Ranko Vujosevic, 1995 I swear I'm gonna yell that out at my New Years Eve gig. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 12 Dec 1995 16:42:10 EST Reply-To: Robert Crocker From: Robert Crocker Subject: Roy Buchanan on Charly I too purchased Roy Buchanan "Live" on Charly, suspecting that it was a boot but pleased with the low low price. (It was $5.99 Canadian, if I recall correctly, which is about a cup of coffee in US funds!) Anyway, it's almost certainly recorded late in his career, since there's so much Alligator stuff on it. I had hoped that Dick Shurman might be able to shed some light on this -- thanks, Dick! It's frustrating when the people who just might know some of this information tell us so little -- like the date(s) of the concert and who all's in the band. The disc is allegedly licensed from J.R.B. Productions, and I wondered if Dick would know whether or not J.R.B. is Judy Buchanan. RC ========================================================================= Date: Tue, 12 Dec 1995 17:03:38 -0500 Reply-To: Michael Case From: Michael Case Organization: Downs Rachlin & Martin Subject: Otis, going up "Who's Otis Spann?" not a who, it's a what and what it is is an "Otis spanner", here in the U.S. known as an elevator wrench matches elevator shoes Elwoo ========================================================================= Date: Tue, 12 Dec 1995 16:00:58 CST Reply-To: JBards From: JBards Subject: Re: It's a Richard-Richard Thing . . . Comments: To: Jinxblues@AOL.COM Gee, Dick, I have to disagree. I'm sure that Mr. Flohil deserves a lot of credit for all he ahs done for the blues in his neck of the woods, and perhaps for a broader influence in the development of the American marketplace, but this is the internet and the blues board, and the conditions are entirely different. This is a matter of simple courtesy and social grace. -Jim _______________________________________________________________________________ Subject: It's a Richard-Richard Thing . . . From: Jinxblues@AOL.COM at INTERNET-SH Date: 12/12/95 3:48 PM Well, I see that Richjard the Elder has unleashed the hounds of hell upon his head again. I suspect that Mr. Flohil knows that he took it a bit too far when he adminished the new member who inquired about Otis Spann. I'm not going to dwell on this and, hopefully, this is a threadless matter. In a world of people who know how to 'talk it;' but haven't a clue about how to 'walk it,' Mr. Flohil is just the opposite. He is too blunt, too acerbic, too opinionated and much too crusty for this medium of communication. On the other hand, he booked Son House at the Masiposa Folk Festival because he wanted the real Delta blues to be heard there; he brought a little know Chicago session guitarist named Buddy Guy to Canada for his firs gigs; he organized a Lonnie Johnson benefit at Massey Hall in Toronto; and the list of wonderous accomploishments is far too lengthy to be listed here. Mr. Flohil may well be faulted for not pausing often enought to remember, "That was then, this is now." He was blessed - as I was - to live in a time when a folk festival would have Son House, Booker White, Rev. Gary Davis and Robert Pete Williams and a weekend in Chicago gave you a chance to see Muddy, Wolf and J.B. Hutto strut their stuff. Each of you is certainly entitled to feel that Mr. Flohil overreacted. His point that "Blues Knowledge 101" should not be taught on the Blues-L is perhaps a somewhat cavalier on his part because he has personally known most of the men and women discussed here. If the texture of our personalities has been described as 'the warp and the woof,' then perhaps Mr. Flohil is a bit more warped and contains a bit too much woof. Nevertheless, our friendship is a Richard-Richard thing that has stood the test of time, good women, bad food and magnificent music. So let this be the end of it . . and I'm going about my day depressed because Eric's list of births/deaths reminded me that my friend Ian Stewart died 10 years ago today. Dick Waterman A/K/A Richard The Younger ========================================================================= Date: Tue, 12 Dec 1995 16:13:58 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Here's Johnny! > Thank God he's back. Too far away for me to go see and hear, but just knowing > Johnny's Jammin' is enough for now. Can't wait for the new album he'll > hopefully do in '96 and the inevitable tour to follow? Glad to hear that > Debbie Davies is with Johnny's management too. Not too many good female blues > player out there right now - get 'em to sign Joanna Connors too! Apologies to > Rory Block - I mean ELECTRIC blues players. > I was only waiting for you to mentioned Sue Foley and Kerry Leigh and was ready to demolish my computer. BTW, is there any place for black "good female blues players" in your heart? I love the last Rory Block album. Debbie, Joanna, Kerry and Sue on my CD player only over my dead body!!!!! I would rather listen to ex-hooker Candye Kane ("Knockout" on Antone's) than those four anytime!!!!!!! Paul, here is another one for your for New Year Eve's gig: "Come to our gig - we promise no white female will play electric blues!" Ranko ========================================================================= Date: Tue, 12 Dec 1995 17:16:51 EST Reply-To: Robert Crocker From: Robert Crocker Subject: Fave Buddy Guy Maybe it's just because Christmas is coming up, but lately the coolest (!) thing has been happening.... I post a comment on an old favourite LP with a comment to the effect that I don't know whether it's on CD or not, and someone writes back to say, oh yes and it's got all these bonus tracks now. So here goes -- my favourite Buddy Guy record was always the live one on Vanguard called "This is Buddy Guy!" It's really a disc for sixties soul lovers as much as anyone else, with an emotion-laden version of "Fever" and swing-out horns on "Knock on Wood". Anyone else dig this one? RC in Mississauga and waiting for the rest of the concert ========================================================================= Date: Tue, 12 Dec 1995 17:39:23 -0500 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: When was Live at the Regal recorded? Comments: To: Dennis Miele In-Reply-To: On Tue, 12 Dec 1995, Dennis Miele wrote: > I just got a reissue of this B.B. King classic that has no liner notes. Any > info will be appreciated. > November 21, 1964. The performers, besides B. B., are Kenny Sands (trumpet), Johnny Board & Bobby Forte (tenor sax), Duke Jethro (organ), Leo Lauchie (bass), and Sonny Freeman (drums). Pen & Brenda Bogert Louisville KY ========================================================================= Date: Tue, 12 Dec 1995 17:43:29 -0500 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: Evil Gal Blues Comments: To: LeaGil In-Reply-To: <4af46k$pk3@newsbf02.news.aol.com> On Sun, 10 Dec 1995, LeaGil wrote: > Do any of > you folks know who originally sang "Evil Gal Blues?" > Thanks so much! > > Lea > It was written by Lionel Hampton and Leonard Feather and was first recorded by Dinah Washington in 1943 when she was vocalist with Hampton's band. Pen & Brenda Bogert Louisville KY ========================================================================= Date: Tue, 12 Dec 1995 18:01:52 -0500 Reply-To: ROBERT CRAFTON From: ROBERT CRAFTON Subject: slide tone; Bonnie Raitt I was wondering if any of the slide-playing members of this list could tell me anything about Bonnie Raitt's setup. Her slide tone is nice and ballsy. I'm using a '62 reissue U.S. made strat with EMG pickups though a '65 Fender Bandmaster, with 2 12-inch celestion G-70's, but I just can't seem to get that tone. I'm sure that a lot of that sound is in her technique, but I'm still curious about her equipment. Thanks, Crafty ========================================================================= Date: Tue, 12 Dec 1995 23:02:52 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: The Freebird Phenom Comments: To: bit-listserv-blues-l@uunet.uu.net In <199512121847.NAA98740@tequesta.gate.net>, "P.W. Fenton" writes: >On 12 Dec 95, Rob Varak had this to say... > >> I'm also the guy who is always standing right next to you howling >> "Freebird" all night long. A band I used to work with kept a little ditty called Stairway to Purple Freebird handy for when the frat boys were on the prowl and calling for their (apparently) favorite tunes. The band I'm with now typically gets 5-10 requests a night for Proud Mary and Mustang Sally, so I'm thinking of penning a Mustang Mary/Proud Sally anthem. BBB - B.B. Bean bbbean@cris.com - ========================================================================= Date: Tue, 12 Dec 1995 18:29:03 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: The Flohil question I think people should be kinder to Richard Flohil. After all, he's new to the net, and, as his recent post shows, the Internet is a great place to express opinions few other people share. :-) Actually, Richard, I think the key point is that Blues-l, unlike any other blues society, is wide open to experts and neophytes alike. Some of the profound comments may be written by newcomers who just had an insight -- and some of the dumbest questions come from oldtimers like me who happen to have unexpected gaps in their knowledge. The appropriate response to questions one doesn't care to answer is ... the delete key. If no one cares to answer, then it really was a dumb question. But probably someone will take the time, and, as in the Athenian agora, knowledge will be passed on orally (only here its by keyboard). Personally, I agree that books are the best place to start seeking information. And in my experience, asking questions on the Internet can produce as much misinformation as fact. But we don't all learn the same way, and Blues-l can offer other paths to wisdom. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Tue, 12 Dec 1995 18:58:36 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: The Flohill Question I'm only getting bits of this thread (since I read from a lousy newsgroup server), but I think I've seen enough of it to make one point. It's "easy to be hard" on the Internet. I have to remind myself of that every day. Those who don't get this fundamental concept -- THERE'S the newbie for ya! I'm glad this blues god wasn't around back when I asked for a list of musicians from Mississippi! *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Tue, 12 Dec 1995 18:56:26 -0500 Reply-To: Philip and/or Carol Decker From: Philip and/or Carol Decker Organization: Net Sarasota Subject: Re: No More CD's? Comments: To: bit-listserv-blues-l@uunet.uu.net In article Dr. Scott Berman writes: > A friend of mine just told me that as of next year, > nothing will be issued on CD. Apparently, there is > another format which will replace CD's. Is this true? Dr., With friends like that you definitely don't need enemies. PJD ========================================================================= Date: Tue, 12 Dec 1995 13:04:57 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Radio Playlist Here's the playlist from last Friday's edition of "Nothin' But the Blues" on WTJU-FM 91.1, Charlottesville, Virginia. This past week, I played stuff from some of my favorite CD reissues from 1995. Take it Easy, Baby: Sonny Boy Williamson II (In Europe - Evidence CD) Brand New House: Otis Spann (Down to Earth - MCA CD) I Don't Know: Sonny Boy Williamson II (In Europe - Evidence CD) Nobody Knows Chicago Like I Do: Otis Spann (Down to Earth - MCA CD) My Sometimes Baby: Eddie Taylor (Long Way from Home - Blind Pig CD) Everyday I Have the Blues: Otis Rush (So Many Roads - Delmark CD) You're Gonna Look for Me: Eddie Taylor (Long Way from Home - Blind Pig CD) Good Woman Blues: Leroy Carr (Hurry Down Sunshine - Indigo CD) Dices #2: Big Chief Ellis (Big Chief Ellis - Trix CD) You Done Lost Your Good Thing Now: Georgia White (Trouble in Mind - EPM CD) Mama-Less Rag: Larry Johnson & John Hammond (Midnight Hour Blues - Biograph CD) 47th Street Jive: Roosevelt Sykes (Blues by Roosevelt "The Honey Dripper" Sykes - Smithsonia/Folkways CD) Wimmin' from Coast to Coast - Brownie McGhee, Lightnin' Hopkins, Big Joe Williams & Sonny Terry (Rumble & Scratch - Capitol CD) Whoopin' the Blues: Sonny Terry (Whoopin' the Blues; Capitol CD) Meet Me Down in Froggy Bottom: Fred McDowell (This Ain't No Rock-n-Roll - Arhoolie CD) Highway 51: Homesick James (Got to Move - Trix CD) Standing at the Crossroads: Smokey Wilson (88th St. Blues - Blind Pig CD) Come Back, Baby: Little Walter (Blues with a Feeling - MCA/Chess CD) That's What They Want: Jerry McCain (That's What They Want, The Best of... - AVI/Excello CD) Thunderbird: Little Walter (Blues with a Feeling - MCA/Chess CD) Soul Feet: George Smith (No Time for Jive - Blue Horizon CD) The Coach's Better Days: James Cotton (Best of the Verve Years - Verve CD) I Had My Fun: Little Walter (Blues with a Feeling - MCA/Chess CD) Courtin' in a Cadillac: Jerry McCain (That's What They Want, The Best of... - AVI/Excello CD) I'm Gonna Buy Me a Train Ticket: Carey Bell (Carey Bell's Blues Harp - Delmark CD) You're My Best Poker Hand (Alt.) - T-Bone Walker (The Complete Capitol/B&W Recordings - Capitol CD) Mean Old World: T-Bone Walker (The Complete Capitol/B&W Recordings - Capitol CD) Shead Had to Let Me Down: T-Bone Walker (The Complete Capitol/B&W Recordings - Capitol CD) -Peter ========================================================================= Date: Tue, 12 Dec 1995 19:14:04 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: A.King - Stax >I just saw a new Albert King 'Best-Of' on Stax. Has anyone heard this. >I've been waiting to get the Ultimate Colection on Rhino but the Stax >material looks good. Would it cover most of his best material ? Tony, Interesting you should ask this, as this very CD is sitting on my computer table right now (although I'm listening to Otis Rush). I only had bits & pieces of Albert King, so I got this, thinking it would be a good sampler. It only left me hungry for more. I'm wondering if the Ultimate Collection might be a better choice, also. And a good starting point...? I mean, why waste your time & money on The Best of... if The Ultimate... is better? Is it? Karen ========================================================================= Date: Tue, 12 Dec 1995 19:14:07 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: The Freebird Phenom BBB said... >A band I used to work with kept a little ditty called Stairway >to Purple Freebird handy for when the frat boys were on the >prowl and calling for their (apparently) favorite tunes. >The band I'm with now typically gets 5-10 requests a night >for Proud Mary and Mustang Sally, so I'm thinking of penning a >Mustang Mary/Proud Sally anthem. That's great, BB! What do you do about the "play Red House" requests? Karen ========================================================================= Date: Tue, 12 Dec 1995 18:57:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Cold Weather Blues Big Maceo and Lightnin' Slim both recorded a "Wintertime Blues". -Bonnie ========================================================================= Date: Tue, 12 Dec 1995 19:02:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Kip Anderson A recent compilation, first issued in England on Ace and >available domestically on Excello, focuses its attention on the amazing >"southern soul" sounds of this dynamite label. Called, appropriately, "The >Heart Of Southern Soul: From Nashville To Memphis And Muscle Shoals" >(Excello CD 3012), this CD features 24 amazing songs, cut by many folks >that you never heard of! If you are afan of deep, southern soul artists >like James Carr or O.V. Wright then you shuold not hesitate in seeking this >disc out. This is the "real" stuff! One listen to Kip Anderson's "I Went >Off And Cried" is all you will need. The CD comes with good notes by Pete >Nickols, editor of "Vintage Soul" magazine. > > >James Foster I have a Kip Anderson album on Ichiban "A Dog Don't Wear No Shoes" plus a couple of cuts by him on Ichiban Blues at Christmas vol.2 and 3. There is usually some fine gospel piano behind his voice - it is Kip playing? (He does a lot of humorous tunes BTW). -Bonnie ========================================================================= Date: Tue, 12 Dec 1995 17:36:51 -0800 Reply-To: Eugene Wan From: Eugene Wan Organization: University of Washington Subject: Etta James Comments: To: bit-listserv-blues-l@cs.washington.edu I am looking for good CD's by Etta James and other female blues singers. Can anyone recommend one? ========================================================================= Date: Tue, 12 Dec 1995 19:05:24 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Roy Buchanan on Charly Comments: To: Robert Crocker In-Reply-To: <9512121642.aa09018@villtor.village.ca> I'm not sure who J.R.B. is. It would be nice if it was Judy Buchanan. She's negotiating a possible live release with a U.S. label; there's also a guy in S.F. named Alan Scheflin who is The Fount Of All Things Roy. He has a written biography/discography and has assembled vast amounts of live and studio tapes of Roy in hopes of compiling an anthology, but hasn't gotten any serious interest. Maybe someday! ========================================================================= Date: Tue, 12 Dec 1995 10:57:51 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Cold Weather Song "Wintertime Blues" - Lester Williams -P ========================================================================= Date: Tue, 12 Dec 1995 20:42:10 -0500 Reply-To: David Youngberg From: David Youngberg Subject: Cold Weather Music? >But because has been so very cold and snowy here lately (setting >all-time records for November, I'm told) I want to do a set or two >of songs about cold weather. How about T-Bone Walker's "Cold, Cold Feeling"? (EMI Blues Series #E2 96737) ========================================================================= Date: Tue, 12 Dec 1995 20:38:58 -0600 Reply-To: "Alice E. Brown" From: "Alice E. Brown" Subject: Re: Larry McRay Comments: To: "Scott E. Jeffcote" In-Reply-To: <951211124549_69869303@emout04.mail.aol.com> The bass player's name is Noel. Larry's brother plays drums for the band. When I saw Larry in October he mentioned he was looking for a new record label. Alice On Mon, 11 Dec 1995, Scott E. Jeffcote wrote: > If yall like Larry wait until you get to hear him on the yet to be released > Larry Garner album. Larry G let me hear it a while back. It will probably > be out next year. > > Last I heard one of the band members of Larry McCrays was one of the Neal > brothers - I believe it is Donnell on bass. > > Hope this helps. > ========================================================================= Date: Wed, 13 Dec 1995 13:56:58 +1100 Reply-To: Daniel Bruce From: Daniel Bruce Subject: T-Bone Walker - Feelin' good T-Bone Walker - Feelin' Good I picked this CD up the other day at 1/3rd new price. It was recorded in Paris in the late sixties and is really good. The backing is quite jazzy but T-bone is in fine form. he also plays piano on the disk. The opening is him playing piano and then he says 'My name is T-Bone Walker, and that means I don't play nothing but the blues.' I thought this was great. Anyway, its on Polydor and i would recommend it to you. -- Daniel Bruce | Genasys II Pty Ltd, Sydney, Australia | "Born under a bad sign, been down since I began to crawl | If it wasn't for Bad Luck, Wouldn't have no luck at all" | Albert King | Internet: danielb@g2syd.genasys.com.au ========================================================================= Date: Tue, 12 Dec 1995 21:03:43 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: Christmas CD purchases Comments: To: L W In-Reply-To: LW, This is kinda weird, but I am listening to the Chet Atkins right now, and I just took out the Charles Brown w/Bill Doggett. Have I ever told you you have good taste? BTW, I like that Charles Brown even better than Cool Xmas Blues b/c I think "Merry Xmas Baby" and "Please Come Home" are better on the older disc. Rob (who's wondering if it's possible to learn Sales Transactions in 24 hrs:() Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke On Tue, 12 Dec 1995, L W wrote: > I just got two Charles Brown CD's on the King label. One is Charles Brown > Sings Christmas Songs and was recorded when Charles was only 38. That's about > 35 years ago and a long, long way from being outdated. The other is Charles > Brown and Bill Doggett (sp) and it duplicates everything on the aforementioned > CD. I don't need them both, I was going to get Chet Atkins East Tennessee > Christmas, but I never made it to that particular store, after hearing Charles > Brown. Incredible music & musician. > > Charles would be MY choice, for the ultimate blues show at Christmas time. > > LW > ========================================================================= Date: Tue, 12 Dec 1995 21:05:53 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: The Freebird Phenom Comments: To: Steve Levine In-Reply-To: <9B0CBABD@MHS> Not to capitalize on my own thread, but... There was a band I used to see in college that responded to "Freebird" calls by saying "No. Free 'train" and then busting into crazy free-jazz jams. Idon't know if they thought it up themselves or stole the idea, but it was pretty cool, even if the crowd had no idea what was going on. Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Tue, 12 Dec 1995 22:18:25 -0500 Reply-To: ROSEBUDUS@AOL.COM From: Rosebud Agency Subject: In John Lee Hooker's Defense On Wednesday, December 6th, the following was posted: >> IMVHO John Lee Hooker does not need guest stars, especially guest stars that >> alter his music. If you like the thought of John Lee Hooker with congo drums >> and Carlos Santana (great player in the right setting) then by all means buy >> the Healer. I didn't care for it at all, it's not John Lee Hooker IMHO. >> >> I think it is sort of like Muddy's Electric Mud, whereas JLH is out of his >> element. It sold a lot and that's good for John Lee. Roy Rogers produced them >> and it's an updated JLH. >> >> LW 'of course JLH must like it cause he keeps doing it' > >Here's another little wake up call, LW. John Lee Hooker, CAN'T come >close to playing like he used to. He CAN'T do it himself any more. >An album full of guest stars enables a Blues giant like John Lee to >put out an album that someone will listen to, and for which he'll have >a PAY DAY!!!! I hope he does a few more before he dies. You would >apparently be happier if he died BROKE BUT PURE!!!! > >As usual, LW, you are in need of expanding your attention beyond your >nose, or is it your intention to keep John Lee from his Pay Day? > >P.W. Fenton >Tampa, Florida Paul, are you out of Prozac or something.... LW ------------------------------ Dear Bluezellers, It's unfortunate that opinions about what other people feel John Lee Hooker should do in the studio can lead to such bitterness. You can aim your arrows about John Lee Hooker's latest recordings at me if you like. Before you shoot please allow me to explain the circumstances. I had been representing John Lee as his booking agent (The Rosebud Agency) for about 11 years as of 1987. We handled more than just bookings as John had no manager at the time. On separate occasions but very close time-wise I received calls from Carlos Santana and George Thorogood stating basically the same request--if John Lee has any plans to do any recording in the near future, I'd love to be a part of it. FYI, Carlos had recently been showing up at every local John Lee gig that he could and sitting in. George Thorogood had idolized John for years, spent some time with him and almost always recorded at least one Hooker song on each of his records. In the meantime, Van Morrison, who has been a friend of John's for the last few decades had indicated that he would like to produce a record for John and John asked me to discuss it with him. As it turned out, Van was unable to get involved at the time but it was clear that these people really loved John and were eager to collaborate with him. I discussed with John the idea of recording with some of his old friends for part of a record and approaching the balance of the record with the concept of recording him in an acoustic or near acoustic setting with the straight forward production that so many of his fans had been missing for so long. I knew that Bonnie Raitt was a dear friend and admirer of John's and she was wholeheartedly into the concept. Los Lobos were also big fans of John's and the feeling was mutual. Robert Cray's first US tours were somewhat on John's coattails and they were very good friends. I am not a musician or producer and I needed to find someone who could handle that role that John Lee could feel comfortable with. John is one of the warmest people in the world but he has had every imaginable problem in his recording career and would not be comfortable working with anyone who tried to tell him how to play his music. With John's permission I contacted Roy Rogers, who had been John's guitarist and de facto road manager at one point with regard to handling production chores. John and I trusted and respected Roy and he understood and appreciated the concept for the record so we made plans to move forward. I financed everything and coordinated most of the special guests while Roy coordinated the actual sessions and sidemen. Each of the guests was given the opportunity to choose whatever song they would like to record with John. While there are a lot of complaints about pairing John Lee with stars it should also be noted that The Healer featured John Lee solo on national steel and solo again on twelve string--the archivists can check and see if that's ever been done before. I don't think so. And I know John hadn't been recorded solo for the preceding decade or two. These are in addition to a duet with George Thorogood and a beautiful quiet "My Dream" with the Canned Heat rhythm section. It should also be noted that Charlie Musselwhite,Canned Heat and even Bonnie Raitt were without record deals when we recorded these sides. Many more successful artists (who did not have the personal or musical connection to him) have wanted to record with John in the past few years but we passed on those offers while recording with many artists who were much less successful commercially. These pairings were not the result of a marketing plan to get the highest visibility. These are John's friends and people whose music he admires very much whether or not blues purists agree with him. Which brings up another point-no one gets John to do anything he doesn't want to. No evil producer or manager or record label forced John into a pairing with the concept of selling more records. Music is subjective and never is any one project likely to please everyone. Personally I expected even more flak than we got for these records. (We got a much better response than Dylan at Newport.) These records were made to show John in a more natural setting than he had enjoyed for years and also to accomodate the eagerness that both John and his friends, both famous and unknown, had to play with each other. We feel we've not only succeeded in that goal but have had greater commercial success than almost anyone suspected. Certainly more than the record companies expected. I felt we had a very strong record musically and commercially but it took me about two years to find buyers for this project. In the end, we took a fee that was a fraction of what we felt it was worth. Silvertone Records passed on releasing the record in the US so as not to be stereotyped as a blues company with their first release here (later of course signing John Mayall, Zakiya Hooker, Coco Montoya and Buddy Guy to name a few). All of the major US labels passed but I felt the project's potential required the distribution might of a major - which we eventually got via Chameleon's deal with EMI. (Chameleon had initially passed but came back with an offer with the idea that they could tie the record in with their re-release of John's VeeJay material which they'd recently secured.) In addition to the personal success and satisfaction John Lee has achieved with these records, many of the labels that refused to sign John have now begun their own blues labels or begun distributing others. The special guest concept has now been copied ad nauseum (not that it was entirely original but it was a somewhat new concept in the blues) and abused by artists seeking guests more for name value than musical credibility or compatibility not to mention real friends who admire each other's music. While John Lee's next release, Mr. Lucky, had a host of guests this was a result of the positive experience John had in making The Healer and the fact that a lot of other good friends really wanted to share the experience as well. In recent years we have been consciously trying to do work that emphasizes John more exclusively but the fact is that many of John's friends are also his favorite musicians who just happen to be famous. (Things could be worse.) Look more closely at the musician credits and you'll also find names you have never seen anywhere else. These are also John's friends as opposed to the top studio sidemen he could easily attract and afford. And by the way, the addition of famous names does not automatically guarantee huge record sales. There were many factors in the success of John Lee's recent recording career (not the least of which was the early and more adventurous VH-1 giving heavy airplay to three consecutive videos from The Healer). I assure you though that the addition of major names did not automatically make it sell-even the record companies weren't buying that. As one of many examples, Silvertone Records, who released John's Healer and Mr. Lucky records in Europe to great success, also released a record in the same period by a great artist by the name of Brendan Croker (how many of you ever heard the record?) featuring Mark Knopfler of Dire Straits, Eric Clapton and Tanita Tikarim all of whom were very successful in Europe at the time. A very good record by an excellent artist on the same label with major guests but it was barely noticed on a commercial level. FYI, Carlos Santana produced the sessions John Lee did with Carlos not Roy Rogers. Thanks for your time - hope the above sheds some light on John Lee's recent career - I'd also say that being so sure about what John Lee Hooker is and isn't able to do in these and future days is very similar to what the record labels said about his commercial potential as they passed on him in 1988-you never can tell. flame if you must but excuse me if I can't reply immediately "You can't judge a book by looking at the cover" & "It don't make sense if you can't make peace" Willie Dixon Mike Kappus ========================================================================= Date: Tue, 12 Dec 1995 19:25:07 -0000 Reply-To: "J. Witteveen" From: "J. Witteveen" Subject: Re: It's a Richard-Richard Thing . . . Jeff wrote the following: >Dick Shurman has done much to support and nurture the blues, but you >don't see him ripping on a newbie because they don't know how to >pronounce Magic Sam's last name. Firstly, I'm the `newbie' who asked the question (while responding to another question on name pronunciation, which brought this one to mind). I'm not exactly a newby...I know who Magic Sam is, I know his Cobra stuff and his Delmark releases (West Side Soul being on my top five blues albums list), but I have never actually heard his full name said aloud - I've read it in blues mags, reviews, et al, but I can't recall ever hearing Magic Sam on the radio (which is another topic for another thread!). And since I'm doing an internet blues show (using Iwave technology you can pick it up) on SDF-Net Community Radio, and I wanted to use his full name, I thought I'd look even more foolish if I said `And now, a great track from Magic Sam Maggot', than by asking a dumb question to the list. Not a problem....just wanted to set the record straight! :-) By the way, thanks to Mr Shurman for answering the question as well as others I've posed on the list - your expertise and patience are much appreciated. As for Mr. Flohil, I've corresponded with him on other matters (those being the state of Canadian government, which will give anyone the blues!), and he's been very polite and thoughtful to me. This amazes me since, here I am, a redneck conservative from Western Canada talking politics with a wooly liberal from Ontario (all you Canadians will understand, I'm sure :-) ), and we remained civil! Back to your regularly scheduled program... -Jim (hndful@uniserve.com) `Since LW is back, I've decided to stop calling myself JW in his honour'. ========================================================================= Date: Tue, 12 Dec 1995 21:24:01 -0600 Reply-To: Chris Pearson From: Chris Pearson Subject: Guitar players on List I'm still waiting for progressions from ya'll. Has anybody tried the one I posted? I hope it wasn't too simple and ya'll are ignoring me.(: Chris Pearson ========================================================================= Date: Tue, 12 Dec 1995 21:34:32 -0600 Reply-To: Chris Pearson From: Chris Pearson Subject: Atlantic Blues: Piano The first person to e-mail me a physical address, ie snail mail, will receive absolutely free, a reissue of the Atlantic Blues: Piano CD. Only played once. This CD features Jimmy Yancey, Little Brother Montgomery, Jack Dupree, Professor Longhair, Vann Walls, Joe Turner, Jay McShann, Meade Lux Lewis, Ray Charles, Floyd Dixon, Johnn Brown, Dr. John, and last Willie Mabon. This is far to primitive and rudimentary for my taste. I'm sure someone on this list will love it. Chris ========================================================================= Date: Tue, 12 Dec 1995 21:20:09 +0000 Reply-To: boogienation@earthlink.net Comments: Authenticated sender is From: Boogie Nation Subject: JOHN LEE HOOKER We are new to this mailing list. We have direct communication and interaction with John Lee Hooker. We will post some interesting info about him taken from Boogie Nation News, a newsletter exclusively about him. His music is expecially important for the world and we have a great writer here who has thorough knowledge on the healing potential of his music. Best Wishes, Richard Hillier BOOGIE NATION boogienation@earthlink.net ========================================================================= Date: Tue, 12 Dec 1995 22:28:59 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Guitar players on List >I'm still waiting for progressions from ya'll. Has anybody tried the one >I posted? I hope it wasn't too simple and ya'll are ignoring me.(: > Chris Pearson Sorry Chris. Could you send me a copy, please. I can't seem to find it. I have been a little busy lately and still have quite a few messages to sift through (I can't bear to just delete them). I look at Chris' progression, sift through the ragged interiors of my mind and give you all one of my own. OK, one that I stole from someone, sometime. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Tue, 12 Dec 1995 22:29:03 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Luther Allison Again If you liked "Blue Streak" then you have no excuse not to pick up "Soul Fixin' Man" Yes, temptation got the better of me and I pciked it up today. Am listening to it right now on a rainy LA evening. (Yes. It does rain here). With Luther Allison, the blues is in good hands. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Tue, 12 Dec 1995 22:29:08 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Etta James >I am looking for good CD's by Etta James and other female blues singers. >Can anyone recommend one? I just picked up Etta James' "Time after Time" for my mom for Christmas. She asked for something bluesy. Knowing that Hound Dog Taylor is not her taste I decided on Etta. Before I put it in the package to send to Oz it somehow found it's way onto my CD player (funny how those things happen). The album is all jazz standards with the blues just oozing through it. A good late night album. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Wed, 13 Dec 1995 01:37:23 -0500 Reply-To: SokolowMus@AOL.COM From: Fred Sokolow Subject: Re: dave mackenzie Comments: To: don.o@chrysalis.org Yeah, Dave is great, really knows his stuff & writes great tunes. I played a lot of gigs with him when he was living in Los Angeles. He has a great line...maybe he put it in a song...where he's singing in a club and a member of the audience comes up to him & asks "Were those real songs you were singing, or did you just make them up?"...Fred S. ========================================================================= Date: Wed, 13 Dec 1995 01:45:11 -0500 Reply-To: SokolowMus@AOL.COM From: Fred Sokolow Subject: Re: Fred Below Comments: To: redox245@electrotex.com I think it's bee-loh...Fred S. ========================================================================= Date: Wed, 13 Dec 1995 08:23:23 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Fave Buddy Guy >>Maybe it's just because Christmas is coming up, but lately the coolest (!) >>thing has been happening.... I post a comment on an old favourite LP with a >>comment to the effect that I don't know whether it's on CD or not, and someone >>writes back to say, oh yes and it's got all these bonus tracks now. >> >>So here goes -- my favourite Buddy Guy record was always the live one on >>Vanguard called "This is Buddy Guy!" It's really a disc for sixties soul >>lovers as much as anyone else, with an emotion-laden version of "Fever" and >>swing-out horns on "Knock on Wood". >> >>Anyone else dig this one? >> >>RC in Mississauga and waiting for the rest of the concert > Yea, I always loved that one, like the solo on Let me Love You. I can also tell that Stevie Ray Vaughan liked it. I heard a live recording where he says "Lets get back to the blues" and my guess is he got it from this record. Bo ========================================================================= Date: Wed, 13 Dec 1995 05:12:53 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - December 13th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ADLER, LOU (prod/songw/co-founder: A&M) b. 1933-1213, CHICAGO, IL BELL, LURRIE [LURRIE BELL HARRINGTON] (g) b. 1958-1213, CHICAGO, IL BENNETT, WAYNE (g/BLAND/DUKE REC) b. 1933-1213, SULPHER, OK BROWN, MARSHALL RICHARD (tbn) d. 1983-1213, NEW YORK CITY, NY 62 DAVIS, JACKIE (o/LOUIS JORDAN) b. 1920-1213, JACKSONVILLE, FL DOBY, LARRY (R&B song title) b. 1924-1213, CAMDEN, SC DOCTOR DADDY-O [VERNON WINSLOW] (dj) d. 1993-1213, NEW ORLEANS, LA 82 GREER, WILLIAM "SONNY" (d/ELLINGTON) b. 1903-1213, LONG BEACH, NJ HAYNES, GEORGE "TIGER" (g/THREE FLAMES) b. 1914-1213, ST.CROIX, VIRGIN IS MARKHAM, DEWEY "PIGMEAT" (comedy/CHESS) d. 1981-1213, BRONX, NY 77 NUGENT, TED (:) b. 1948-1213, DETROIT, MI PEMBERTON, BILL (b) d. 1984-1213, NEW YORK CITY, NY 66 PETERSON, JUDGE KENNETH "LUCKY" (g/kybds) b. 1964-1213, BUFFALO, NY TAYLOR, QUEEN BEE (of QUEEN BEE'S LOUNGE) d. 1974-1213, CHICAGO, IL -- TERRELL, MINOR "T-BONE" JR. (g) b. 1954-1213 WALKER, JOE (g/acc/zydeco) b. 1944-1213, LAFAYETTE, LA YOUNG, TOMMY SCOTT (gospel) b. 1943-1213, BLAIR, SC ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 13 Dec 1995 09:50:39 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: The Freebird Phenom Rob Varak (robbiev@INTERACCESS.COM) wrote: : Not to capitalize on my own thread, but... There was a band I used to : see in college that responded to "Freebird" calls by saying "No. Free : 'train" and then busting into crazy free-jazz jams. Idon't know if they : thought it up themselves or stole the idea, but it was pretty cool, even : if the crowd had no idea what was going on. So you probably mean Free Trane (as in John Coltrane). ;) ============================================================================ Jef Jaisun eljefe@netcom.com ============================================================================ -- ========================================================================= Date: Wed, 13 Dec 1995 11:37:12 MET Reply-To: robbd@VYGER.ENET.DEC.COM From: robbd@VYGER.ENET.DEC.COM Subject: Blues Collection magazine Comments: To: "blues-l@brownvm.brown.edu"@vbormc.vbo.dec.com Anyone in the U.K. know when the next issue of this is due out? The last one I got was Eddie Boyd (#58 in a series of 90), and that was at least three weeks ago - here's hoping it hasn't gone bust!?! Thanks a lot, - Dougie ========================================================================= Date: Wed, 13 Dec 1995 12:01:00 GMT Reply-To: Mr G M Smith From: Mr G M Smith Subject: Bonnie's Sound; HW Box Set To the person whose name I forget,as I understand the following are factors in Bonnie Raitt's slide tone... Glass slide,plastic/celluloid fingerpicks and use of a compressor to smooth it all out and get that "swelling" effect. This last was an idea she got from Lowell George and I suspect has more than a little to do with Ry Cooder's too. I think the BR signature Strat features Texas Special PU's. I've played Strats with EMG's as you say you have,and find them far too "polite". My Good Lady Wife,in response to my Xmas list has been trying to find the Howling Wolf Chess Box Set only to be told that it's only available on import from Australia! Shurely shome mishtake! Can anybody help me regarding the availability of such an item in the UK? Our record chain stores are bloody grim when it comes to anything non-top 40. Welcome to JLH's representatives. I personally LOVED the stuff with the guests,not being one of those who cares to see the Blues preserved in aspic. Do please shake The Great Man's hand for me and tell him to take care of himself. Oh, and if Mr Waterman should run into the lovely and talented Bonnie Raitt over the hols,grab the mistltoe and pass a big sloppy kiss on from a long standing English fan. A rotten job,I know,but someone has to do it. Yours, Garry Smith. ========================================================================= Date: Wed, 13 Dec 1995 11:35:26 GMT Reply-To: Steve Leigh From: Steve Leigh Organization: a Digital Internet AlphaServer Site Subject: Re: Buddy Guy Comments: To: bit-listserv-blues-l@uunet.uu.net Karen Hanson wrote: >I'll be there the 13th. Second year in a row for me. I'm curious to see if >he's made any changes since then. Also, I'm curious about who the opening >bands are. Have you heard? Last year I saw Larry McCray. I have no idea who's opening this year. Last year we saw Howard and the White Boys. They did a SUPER job. --Steve ========================================================================= Date: Wed, 13 Dec 1995 11:48:09 +0000 Reply-To: rof From: rof Subject: Re: Bonnie's Sound; HW Box Set Comments: To: Mr G M Smith In-Reply-To: Your message of "Wed, 13 Dec 1995 12:01:00 GMT." <24834.199512131123@mailhub.ggr.co.uk> In message <24834.199512131123@mailhub.ggr.co.uk>, Mr G M Smith writes: > To the person whose name I forget,as I understand the following > are factors in Bonnie Raitt's slide tone... > Glass slide,plastic/celluloid fingerpicks and use of a compressor > to smooth it all out and get that "swelling" effect. This last was an idea > she got from Lowell George and I suspect has more than a little to do with > Ry Cooder's too. I think the BR signature Strat features Texas Special > PU's. I've played Strats with EMG's as you say you have,and find them far > too "polite". > My Good Lady Wife,in response to my Xmas list has been trying to > find the Howling Wolf Chess Box Set only to be told that it's only > available on import from Australia! Shurely shome mishtake! Can anybody > help me regarding the availability of such an item in the UK? Our record > chain stores are bloody grim when it comes to anything non-top 40. > Welcome to JLH's representatives. I personally LOVED the stuff with > the guests,not being one of those who cares to see the Blues preserved in > aspic. Do please shake The Great Man's hand for me and tell him to take > care of himself. > Oh, and if Mr Waterman should run into the lovely and talented > Bonnie Raitt over the hols,grab the mistltoe and pass a big sloppy kiss on > from a long standing English fan. A rotten job,I know,but someone has to > do it. > Yours, > Garry Smith. Try Red Lick records mail order, Porthmadog, Gwynedd, Wales if you can't find Howling Wolf box-set in the shops as they definitely have it. Cheers, Rob ========================================================================= Date: Wed, 13 Dec 1995 14:58:06 +0400 Reply-To: "Henrik R. Lassen" From: "Henrik R. Lassen" Subject: Re: Freebird Phenomenon Comments: To: BLUES-L%BROWNVM.BITNET@SEARN.SUNET.SE A couple of days ago Jeff and Jef brought up the complex problems (ethically as well as, sad to say, aesthetically speaking) of live artists collaborating with dead ones. It seems to me the following coupling would satisfy more than a few people: *Deceased and surviving members of Lynyrd Skynyrd and the Beatles (Free as a Freebird). Or, how about (obligatory blues content): Son House & Oral Roberts (Preaching Blues). ======== Henrik Lassen ======== ==== Odense, Denmark ==== "If I leave here tomorrow, Would you still remember me? For I must be travelling on now, there's too many places I've got to see..." ========================================================================= Date: Wed, 13 Dec 1995 13:06:45 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Etta James In-Reply-To: On Tue, 12 Dec 1995, Eugene Wan wrote: > I am looking for good CD's by Etta James and other female blues singers. > Can anyone recommend one? > Maybe it's just me, but I have this thing for Big Maybelle. That voice probably cooked more than one set of speakers in its time. try "The Complete Okeh Session 1952-55" phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [13/12/95 7:49 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 13 Dec 1995 09:04:57 -0500 Reply-To: hhardy@BCONNEX.NET From: Hugh Hardy Subject: Re: No More CD's? In-Reply-To: The problem with formats is that they can only move as fast as peoples willingness to spend money on the new format. They can't move as fast as the technology. ========================================================================= Date: Wed, 13 Dec 1995 08:19:39 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Buddy Guy & Freebird I wonder why Buddy leaves out Freebird....He could say 'hey I can do Cream and then he could say how bout Skynrd then break in to Freebird'....give him time he probally hasn't thought of it yet..... LW 'INMarrogantpuristassholerudecluelessO' ========================================================================= Date: Wed, 13 Dec 1995 09:07:18 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: The Freebird Phenom Comments: To: Barry Bean I just found out we have to play Freebird at our New Year's Eve gig, ARRRRRGH! Oh well, at least I get to play the slide part. ______________________________ Reply Separator _________________________________ Subject: Re: The Freebird Phenom Author: Barry Bean at Internet Date: 12/12/95 11:02 PM In <199512121847.NAA98740@tequesta.gate.net>, "P.W. Fenton" w rites: >On 12 Dec 95, Rob Varak had this to say... > >> I'm also the guy who is always standing right next to you howling >> "Freebird" all night long. A band I used to work with kept a little ditty called Stairway to Purple Freebird handy for when the frat boys were on the prowl and calling for their (apparently ) favorite tunes. The band I'm with now typically gets 5-10 requests a night for Proud Mary and Mus tang Sally, so I'm thinking of penning a Mustang Mary/Proud Sally anthem. BBB - B.B. Bean bbbean@cris.com - ========================================================================= Date: Wed, 13 Dec 1995 09:15:14 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: Guitar players on List Comments: To: Chris Pearson Chris, I liked your progressions, what I saw of them. I'll try 'em as soon as I wade through all my e-mail.... Ruth :) ______________________________ Reply Separator _________________________________ Subject: Guitar players on List Author: Chris Pearson at Internet Date: 12/12/95 9:24 PM I'm still waiting for progressions from ya'll. Has anybody tried the one I posted? I hope it wasn't too simple and ya'll are ignoring me.(: Chris Pearson ========================================================================= Date: Wed, 13 Dec 1995 08:28:47 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Cold Weather Blues Both Big Maceo and Lightnin' Slim recorded songs titled "Wintertime Blues". I've also got an R&B side by someone named Jessie Mae titled "Don't Freeze On Me". EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Wed, 13 Dec 1995 08:42:43 CST6CDT Reply-To: SOXTON@CHE2.CHE.UMN.EDU From: Sara Oxton Organization: University of Minnesota Subject: Re: Kip Anderson I too have discovered the rapture of Kip Anderson. Two of singles that I absolutely love are "Without a Woman" and "How Do You Make Me Love You Like I Do." I have them as singles and on a compilation album with Willie Walker. I'm not exactly sure when they were recorded, but they're definitely pre-Ichiban. Sara By the way, is Bill Shute out there somewhere? Please email me privately. Thanks. > I have a Kip Anderson album on Ichiban "A Dog Don't Wear No Shoes" > plus a couple of cuts by him on Ichiban Blues at Christmas vol.2 and 3. >There is usually some fine gospel piano behind his voice - it is Kip >playing? (He does a lot of humorous tunes BTW). > > -Bonnie > ========================================================================= Date: Wed, 13 Dec 1995 09:44:00 EST Reply-To: "ANDRE J.M. PREVOS" From: "ANDRE J.M. PREVOS" Subject: Books vs. Internet I have read the exchanges on the "Otis Spann" thread and would like add a few comments. First, like Mr. Flohil, I am not a US-born blues fan. Second, I began with records in the mid-1960s since blues books in French were non-existent and blues books in English were very hard to come by. I also read the much renowned _Blues Unlimited_ during all these years however. Third, once in the US (in the mid-70s) I got to buying books about blues and have not stopped since. There have been two consequences to this new endeavour: 1)I have bought fewer records/cds (less money left) and 2)I have started a "parallel career"of book reviewer for _Soul Bag_ the French blues magazine (published non-stop since 1968). It is now evident that I have been on *both* sides of that fence and have enjoyed *both* sides. Call me names, call me crazy, call me a loony Frog, flame me if you want but, even though I thought that Mr. Flohil was a bit curt, I believe that anyone seriously into blues should read books and/or magazines (now available everywhere) in order to create a good grounding for blues appreciation. Andre JM Prevos (no, no, I'm not gonna say anything about the Quebec referendum!!!) ========================================================================= Date: Wed, 13 Dec 1995 14:50:32 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: The Freebird Phenom Comments: To: bit-listserv-blues-l@uunet.uu.net In <951212191406_71266298@emout04.mail.aol.com>, Karen Hanson writes: >That's great, BB! What do you do about the "play Red House" requests? Tell 'em its in the fifth set right after Stormy Monday. - B.B. Bean bbbean@cris.com - ========================================================================= Date: Wed, 13 Dec 1995 09:59:20 -0500 Reply-To: Wayne Ross From: Wayne Ross Subject: Re: Etta James Comments: To: Eugene Wan In-Reply-To: The ESSENTIAL ETTA JAMES is a double cd on Chess that is great. It has Etta doing a wide variety of material from her tough talkin' mama stance to some wonderfully soulful and gut-wrenching soul-blues. "All I Could Do Was Cry" is soooo powerful! There are a few tracks of Etta cast as the vexed teenager, but these are only a minor distraction. Wayne Ross On Tue, 12 Dec 1995, Eugene Wan wrote: > I am looking for good CD's by Etta James and other female blues singers. > Can anyone recommend one? > ========================================================================= Date: Wed, 13 Dec 1995 08:59:53 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Year's Best Louisiana Music Comments: To: Rob Varak > From: Rob Varak > Snooks Eaglin - THE COMPLETE IMPERIAL RECORDINGS - Capitol > - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - > Anybody have a brief review or a few thoughts on this? This is a great collection. Singer/guitarist Fird "Snooks" Eaglin is a New Orleans legend, and one of the few you can still find playing around that city on a fairly regular basis. He got his start in a local group called the Flamingoes, which also included Allen Toussaint, and was a sideman on a number of recordings in the 50s (most notably Sugarboy Crawford's classic "Jockomo"). He also worked as a street musician, where he developed a huge repertoire that got him known as "the human jukebox". Folklorist Harry Oster heard him play and arranged for him to cut an LP (on Folkways if my memory serves me, the original being something of a collector's item) in the late 50s. This got him enough attention to land a contract with Imperial, where the sides on this collection were recorded in the early 60s. Most of the songs are either covers or were written by Dave Bartholemew, and Eaglin is backed by some of New Orleans' finest, including pianist James Booker. The material ranges from straight-ahead blues to jumping R&B to pop, but they all have Snooks' signature on them. As I recall there are about 50 tunes on these discs, with very few clunkers and more than a few absolute gems. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Wed, 13 Dec 1995 10:01:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re[2]: No More CD's? Unsigned tells us that the problem with formats (e.g., CDs vs. DAT) is that changes therein don't keep pace with the available technology, but are limited by people's finite willingness to change formats, which willingness is associated with their financial situations. A forthright, if radical solution would be to remove the people from the whole equation, and just have a utopian, sealed audiosphere of ever-improving formats unhampered by human frailty and unburdened by the tedious whims of human choice. The formats would have to be self-replicating and self-redesigning and enhancing, and the up-front cost would admittedly be staggering. But after the initial investment, we could require the formats to finance their own further development and evolution and at that point, I say, screw 'em. They're on their own, and who needs 'em anyway? We'd all just be down at some disreputable bar room listenin' to some no-account down home blues. Joe in Moscow ("Every other record or two. . .") J.E._Downey@bakermck.com ========================================================================= Date: Wed, 13 Dec 1995 10:24:01 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Just what _is_ the story with Wolf? I have here Wolf Records' 1995 catalogue, and I tell you, it looks mighty impressive. They have one "series" after another (I haven't figured out their numbering system): here's Bumble Bee Slim, Washboard Sam, Blind Blake, and many others. Their Chicago releases include tracks by Little Wolf Jr. (Little Howlin' Wolf ?), Dave Myers, Detroit Junior, Taildragger (! -- did he get sentenced?), and so on. They have a Hound Dog Taylor and the Houserockers cd; they have a Giants of Country Guitar cd that features half a dozen cuts by R.L. Burnside, among others. I own one (among an incredible number) of their Magic Slim releases, and I find it satisfying. Barry posted a couple strong reviews of the Phillips-Harvey and Kelly releases. But is the catalogue, overall, really as good as it looks? I'd really appreciate a short history of the Wolf label -- how they managed to put together such a collection of releases, and the _general_ quality of the product. A big thank you in advance... Dave Prychitko http://www.oswego.edu/~prychitk/Blues101.html for reviews and playlists ========================================================================= Date: Wed, 13 Dec 1995 10:29:12 -0500 Reply-To: Wayne Ross From: Wayne Ross Subject: Re: Books vs. Internet Comments: To: "ANDRE J.M. PREVOS" In-Reply-To: I don't think anyone responding to this thread was saying that the internet could take the place of books, magazines, etc. in developing a deep understanding of the blues (or anything else for that matter). I believe point was that the internet, this list in particular, is like a conversational community and that a certain level of tolerance and respect should be afforded all the folks participating in the conversation. As I mentioned earlier, this list is a great place for getting information on all kinds of source material-cyber and traditional. Wayne Ross On Wed, 13 Dec 1995, ANDRE J.M. PREVOS wrote: > I have read the exchanges on the "Otis Spann" thread and would like > add a few comments. > First, like Mr. Flohil, I am not a US-born blues fan. > Second, I began with records in the mid-1960s since blues books > in French were non-existent and blues books in English were > very hard to come by. I also read the much renowned _Blues > Unlimited_ during all these years however. > Third, once in the US (in the mid-70s) I got to buying books > about blues and have not stopped since. There have been > two consequences to this new endeavour: 1)I have bought > fewer records/cds (less money left) and 2)I have started > a "parallel career"of book reviewer for _Soul Bag_ the > French blues magazine (published non-stop since 1968). > It is now evident that I have been on *both* sides of > that fence and have enjoyed *both* sides. > Call me names, call me crazy, call me a loony Frog, > flame me if you want but, even though I thought that > Mr. Flohil was a bit curt, I believe that anyone > seriously into blues should read books and/or magazines > (now available everywhere) in order to create a good > grounding for blues appreciation. > Andre JM Prevos > (no, no, I'm not gonna say anything about the Quebec > referendum!!!) > ========================================================================= Date: Wed, 13 Dec 1995 10:35:53 -0500 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: The Freebird Phenom Comments: To: bit-listserv-blues-l@uunet.uu.net In article <4al1ms$omm@spectator.cris.com> Barry Bean writes: >The band I'm with now typically gets 5-10 requests a night for Proud Mary and > Mustang Sally, so I'm thinking of penning a Mustang Mary/Proud Sally anthem. On the great TV show "Night Music' that David Sanborn hosted some years back, Tracey Nelson performed a version of Proud Mary that was slow and Bluesy/R&B-ish with a great little piano lick and a really low-down funky beat. The tune was totally transformed. By band played that version in clubs for several years. ========================================================================= Date: Wed, 13 Dec 1995 10:37:28 -0500 Reply-To: "Abe W. Mathews" From: "Abe W. Mathews" Subject: Re: The Freebird Phenom Comments: To: bbbean@cris.com In-Reply-To: <4amp7o$ojl@spectator.cris.com> from "Barry Bean" at Dec 13, 95 02:50:32 pm bbbean@cris.com writes: > > In <951212191406_71266298@emout04.mail.aol.com>, Karen Hanson writes: > > >That's great, BB! What do you do about the "play Red House" requests? > > Tell 'em its in the fifth set right after Stormy Monday. Is that right before "American Pie" and "The Reek of the Edmund Fitzgerald?" Those have to be my two absolute least favorite requests! Abe awmathew@mtu.edu ========================================================================= Date: Wed, 13 Dec 1995 10:46:03 -0500 Reply-To: Wayne Ross From: Wayne Ross Subject: Little Sammy Davis This morning on the nationally syndicated radio show "Imus in the Morning" Little Sammy Davis was singing and playing (harp) the blues. Delmark just recently released Little Sammy's first album, I AIN'T LYIN' (Delmark 682). Davis recorded some with Earl Hooker and as a sideman on a few of Eddie Kirkland's Trix sides, but has never recorded as a leader. Davis has been based in upstate New York (Poughkeepsie) for a while now. On the Imus show I heard him do two tunes live (he may have done more): "Play Me Like a Fool" and the hilarious "You So Ughly." Fred Scribner was backing him on guitar. Davis is a pretty good harp player and while his voice is a little be shakey he sings and plays with a lot of verve (especially considering he's 67 years old). Imus, (who BTW loves the blues and uses blues instrumentals quite often as bridges from commercials and he plays Delbert McClinton tunes all the time), also played a track from the album. I believe the title was "When I Leave (Do the Jerk)," a smooth soul number with an excellent sounding band. Wayne Ross ========================================================================= Date: Wed, 13 Dec 1995 07:56:50 +0000 Reply-To: "Terry L. Odor" Comments: Authenticated sender is From: "Terry L. Odor" Subject: Re: It's a Richard-Richard Thing . . . ======================================================== -Jeff (I learned all those internet lessons the hard way - ask VT) ;-) ======================================================== Whatever happened to VT...and Raj? Terry http://www.teleport.com/~tlo/ (updated 10/28/95) ========================================================================= Date: Wed, 13 Dec 1995 09:45:36 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Al Cook on Wolf Label Someone mentioned the Wolf label and I have no info on that. I would like to mention that I had company and we listened to the very impressive Al Cook recording "Victrola Blues" on the Wolf label. I showed him where Al is called "White King Of The Black Blues" naturally, like myself, he scoffed at that. After we listened and were 100% blown away. He agreed and I think I agree also. I honestly believe of all the folks I've heard, that Al Cook is probally the "White King Of The Black Blues" The reason I agree is he covers every single blues style on the CD and does them so very well....Keep in mind I did not come up with the term "Black Blues" it was on a card that came with the CD...So flame AL Cook's people, not me LW 'IMAAPO' btw: IF anyone has any info on another Al Cook cd...lemme know ========================================================================= Date: Wed, 13 Dec 1995 11:02:41 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Piano blues suggestions Comments: To: aj202@ctc.cummins.com Get her some Charles Brown on Bullseye Blues label. His Cool Christmas Blues album is wonderful. He also has on Bullseye: All My Life Someone To Love Just a Lucky So-And-So. LW could tell you which of these is the "good" stuff. Riffin Rick (a new CB fan) (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 13 Dec 1995 11:23:33 -0600 Reply-To: David L Eidler From: David L Eidler Subject: Re: Just what _is_ the story with Wolf? Comments: To: "David L. Prychitko" In-Reply-To: Hi David, Here's the story, from the business end, of WOLF Records, a relatively typical small independent blues label from Vienna, Austria. Currently, Hannes & Andrea Folterbauer are the label. I licensed a master recording by a very good New Orleans blues artist, J.MONQUE'D, to WOLF almost 2 years ago. WOLF did a beautiful job on packaging with a 12 page booklet. Like most good little blues labels, WOLF has been forced to turn out more and more albums at an increasingly fast pace over the last few years, to keep up with the giant glut of blues releases. This means the small staff pays less and less time to each release. This translates into more mistakes, and the mistakes receive less time. The blues was a hobby for a number of young people in Vienna a number of years ago. Out of this grew WOLF. Now, they have hundreds of titles, yet their staff has grown very little. Take their American distributor, ROUNDER, or some form of ROUNDER distribution. ROUNDER imports HUNDREDS of small European labels, and there is no promotion money provided by anyone. This means all these good little European labels sell very, very CDs in the US. And by the total sales, very few in Europe. MONQUE'D has sold half of all the CDs the label has sold, according to the WOLF royalty statement. Let's talk about artist royalties. Now WOLF has good, good intentions, but actions always speak louder. MONQUE'D is waiting for his first royalty check, which was due 8 months ago. When MONQUE'D ordered 300 CDs to sell from the bandstand, WOLF promised him 10% free (30 CDs) for promotional purposes. WOLF has tried to pass off the CDs as his royalties! They have sent 2 letters stating this! None of this is evil, or malicious. WOLF is swamped, and they just cannot keep up with the volume of details! MONQUE'D has his second master tape ready. We've advising him to issue it himself. Regards and happy holidays to blues aficionados worldwide!! David Eidler SCT International P.O. Box 50966 New Orleans, LA 70150 504 822 2344 504 822 6583 FAX email dle01@gnofn.org ========================================================================= Date: Wed, 13 Dec 1995 12:27:27 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Al Cook on Wolf Label Comments: To: L W In-Reply-To: Was Victrola Blues the name of the CD or a cut on the CD. I just got Al Cook 50th Anniversary Birthday Album and I don't find that cut on it. The CD I possess also made me a belie- ver in Mr. Cook. The genuine article and a full round house CD also on Wolf (unless we are talking about the same CD). Definitely one of the best CD's I have heard in a long time, along with Wolf's Garstenauer CD (another white musician who can really play the blues and plucks a monstrous guitar). On Wed, 13 Dec 1995, L W wrote: > Someone mentioned the Wolf label and I have no info on that. I would like to > mention that I had company and we listened to the very impressive Al Cook > recording "Victrola Blues" on the Wolf label. > btw: IF anyone has any info on another Al Cook cd...lemme know NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Wed, 13 Dec 1995 12:42:12 -0500 Reply-To: 00LCSPECTOR@BSUVC.BSU.EDU From: "Lee C. Spector" <00lcspector@BSUVC.BSU.EDU> Subject: Heart of Southern Soul I want to echo James Foster's comments concerning Excello's Heart of Southern Soul album. Great stuff. I must add, however, that he missed the best tune, in my opinion, on the album. Eugene Kemp's Power is Gone might just be the greatest song that no one has ever heard. Excello's companion disc, Uptown Down South is also excellent. Lee Lee C. Spector Department of Economics Ball State University ========================================================================= Date: Wed, 13 Dec 1995 11:59:56 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Photo, Drawing, Copyrights, Royalties If a drawing BASED on a copyrighted photo of a deceased bluesman was used on a T-shirt, would permission have to be obtained from the photgrapher and the bluesman's estate....I know it would be proper to do so, but is it legal to do it without permission from either of the above....THANKS LW 'private mail, please' ========================================================================= Date: Wed, 13 Dec 1995 11:47:29 +0000 Reply-To: boogienation@earthlink.net Comments: Authenticated sender is From: Boogie Nation Subject: JOHN LEE HOOKER Comments: To: Joel Slotnikoff > You guys got a web page? Do you come out in print form? Just a concept? Let > me know, I'm curious. > Dear Joel, Yes we are working on a web page at this moment. It will be sponsored by the House of Blues and it will be the official web for John Lee Hooker. We will let you know when it is ready. We publish a quarterly newsletter called Boogie Nation News. This is in print form and is mailed to John Lee fans around the world. Our first advertisement for our company still appears on John Lee's "Chill Out" CD (small print in the back on the liner notes). We also have a little catalog of products since we are the merchandise company for the King of the Boogie himself. Our address is: Boogie Nation 4067 Hardwick St. #263 Lakewood, CA 90712 My intention is not to 'plug' our company on this mailing list but sinced you asked, the above address is where you can get a free sample issue of Boogie Nation News and our latest catalog. Look for some of our articles on this list. We are in direct interaction with John Lee Hooker on a daily basis so we try to write on the 'insider' side of things...giving you a taste of life with the Boogie Man. Best Wishes, Richard Hillier BOOGIE NATION ========================================================================= Date: Wed, 13 Dec 1995 11:47:29 +0000 Reply-To: boogienation@earthlink.net Comments: Authenticated sender is From: Boogie Nation Subject: John Lee Hooker/Boogie Nation Article 6 BOOGIE NATION NEWS ARTICLE Issue 2 Article 6 "One Bourbon, One Scotch, One Beer Video Shoot" -------------------------------------------------------------------- "...last call for alcohol." This is what filled the air over and throughout the East Los Angeles warehouse/industrial district. No it wasn't a bartender with a megaphone or loudspeaker. And it wasn't a hobo having a heavenly dream while sleeping on the street. Along with the words and the pulsating beat, the bassey bounce of music carried the sounds of a legendary musician all the way through the smog up to the clouds. To the unsuspecting business owners, warehouse workers and factory people...they had just been blessed with the Boogie Man spreading his funk and moves throughout their neighborhood. The stage was set early in the morning and production began long before John Lee Hooker ever arrived. But this wasn't an indoor stage with heavy silk curtains. This was an outdoor stage complete with real pavement cracks, brick walls, old furniture and stray dogs. With the assortment of extras, production people (with egos), cameras, lights and electrical equipment, this stage was ready for the main man. "One Bourbon, One Scotch, One Beer" is a song that has endured the test of time since it was written decades ago. It is the ultimate description of an event that happens daily in the world; your love walks out on you and you drown your pain and sorrow with alcohol. This is so common of an event (drowningthat it almost seems like a requirement when your lover leaves you. After years on audio only, this timeless song now gets it's first shot on film. It's about time. What's a better sight than flipping to the music channel and seeing the King Of Funk moving his moves and dancing his dance? I was the lucky one since I drove the Hook to the shoot and saw the man do his groove before the cameras. We left Long Beach around noon and headed north to the smoggy city of Los Angeles; about a 40 minute drive. Upon arriving at the old warehouse district of Los Angeles, the tall red brick warehouse, which was the backdrop for his video, was all prepared by the production crew -- dirty clothes hanging on a line from a far up window, old crates piled up around the sidewalk, old soda bottles, an old amp and a great big old chair for John Lee to sit in on the sidewalk. Sorry, no photos... I forgot my camera. With decades of singing this song, it was a breeze for him to lip sync. I spent most of my time to the side leaning against his gold trimmed, black Cadillac and watching the time go by as they took shot after shot, footage after footage. The piped in sound system echoed the song over and over and over at least 10 times. The more footage you have the more you can work with (I guess). The friendly hired police came a chatted with me between traffic control and told me of his family trips to the Great Wall of China. "Next year we all go to Egypt; the whole family, about 22 of us." I learned that protecting the Hook, directing traffic and showing off the nice California Highway Patrol motorcycle uniform pays more than the average day on duty. "These extra gigs pay good and usually we get nice catered food. You get to meet interesting people and it's always fun to see what the celebrities are like off camera." The other cop got to be in the video (at least the semifinal version I saw). At least I didn't have to stand around the whole time like the cops. Whenever John Lee wanted to visit the men's room, I had to drive him to a nearby business for their bathroom facilities since the warehouse was not equipped. The business owner thought it was amusing; he didn't know who John Lee Hooker was but he probably heard the bass beat of the music throughout the afternoon as the business continued to trade on the textile market (like stocks but fabric). These video shoots are always well prepared. Everyone knows that John likes to do his stuff and get back home in time to watch the ball game. His video shoots are much like when he is in the studio -- in and out fast. He says he does the job from his heart so it doesn't take him long. Much of the footage needed without John was filmed before he arrived and continued after he left. He remarked when he saw the semifinal version, as the video depicted a what looked like a beautiful Claudia Schiffer look alike, "I didn't see her there...they should of had her there when I was shooting." The version I saw also caught a quick glimpse of a German shepherd trotting in the foreground across the screen. Was this the work of a trained movie dog making its owner an easy $100? No, this was a stray dog that was walking along the street. John Lee was sitting on the sidewalk right in front of the warehouse with the crew filming him across the street; you know getting that long shot. This stray dog just merrily walks along the blocked off street right in front the of camera John Lee and continues off into the depths of industrial LA. It only took a second and all eyes were more or less just making sure the dog didn't head towards John. The film was still rolling and now a stray dog somewhere made its video debut with the King of the Boogie and kept right on going! With the kicking beat of the music along with the professional job of the crew and the magical grace of the Man, this video is sure to be a winner. But you won't find this video in your local music store. It's for promotional use only (video shows, record stores, and where ever else it's need). Contact your favorite music video channel and request this video. I can't give you any guarantees but maybe they'll play it. We wish we could sell it to you but the record company is very strict (even though most people on our mailing list would gladly give them some money to see the videos that John Lee Hooker puts out). Maybe when I'm in that warehouse district again I snap a shot of the building for a future issue. It won't be the same but at least you can see where God touched. M.S. -------------------------------------------------------------------------- ========================================================================= Date: Wed, 13 Dec 1995 12:05:22 +0000 Reply-To: boogienation@earthlink.net Comments: Authenticated sender is From: Boogie Nation Subject: John Lee Hooker - Boogie Chillen Part One Boogie Nation News article Issue 1 BOOGIE CHILLEN PART ONE "A rare look at the healing potential of John Lee Hooker's music." ----------------------------------------------------------------- John Lee Hooker's music is known as the "roots of modern music". He describes his music like the roots of a tree that extends down into the Earth. The branches of the tree are the music variations of his blues. They are called jazz, pop, soul, rhythm & blues, rap, country, etc. They all stem from his roots music yet this is kept generally repressed from music lovers. A sign of this repression can be found when you look at the Grammy Awards. The Blues category is still not awarded during the main show. It is awarded at a prior function and then presented via video tape during the main ceremony Another example can be found in Billboard Magazine. The Blues Top-15 chart has never been feature until this summer '95 (and don't tell me that Rhythm & Blues counts as Blues). Blues started it all but you'll rarely read that anywhere. John Lee Hooker often describes his music as "healing" music. There is a healing effect when you release pain and suffering within you via his music. If his music gets you crying or his Boogie gets you pumping, then you can feel this healing process working. The Blues comes directly from Africa; a continent with many secrets and the keeper of many wondrous keys of knowledge. Most music of African foundation has a very strong spiritual/healing chord running through it. Some say that the Blues, the real Blues, stems from three main tribes in Africa: the Wolof, the Fula, and the Mandingo tribes. The amazing powerfulness of John Lee Hooker's songs (that each of you feel in a different way) comes directly from his heart and this can best be seen when he is in the studio. He doesn't put his music down on paper or retrieve it from musical notation. Any sheet music that you may come across was transcribed by ear by someone else. His music comes from the heart and is spontaneous! He'll be sitting there, he'll start playing 'out of the blue', and his music will come out through his fingers, through his voice and through his feet with such perfection and ease. I've witnessed it many times. In one take (one time) he will have expressed and written a beautiful song that will leave your mouth hanging open in awe; just like that. Presto! This is not only just a sign of a natural ability. To me this is genius, even magical (or as some say, shamanistic). In just a couple of days he can write enough songs to fill a CD and more; whereas the majority of musicians these days spend days or weeks working on just one song. He believes it has to be spontaneous; not planned out too much. You can feel the effect when you listen to his music and you can see why he can manipulate your heart and emotions with just his voice, guitar and feet. And to top it off, John Lee Hooker never practices during his time off. In fact, I have never seen him practice. He just tunes his guitar and his art comes out. Even if he calls a friend to leave a birthday song on their answering machine, it's still comes out like a Monet painting of pure expression and beauty. But what's all this have to do with healing and where will it all go. Well John Lee Hooker's music holds a very special key. Every note he sings is a reflection of life itself and his technique is amply suited to this role of depicting life. His voice recreates a world of laughter and pain, mockery and praise; and it throws open the gates of time to reveal a glimpse of the future. It is the future of his music which will be the most profound. For John Lee Hooker's music has the great potential to heal and elevate the Earth. There are places in India, and other Eastern places, that use his music to heal and to calm and open the Heart. This isn't some abstract concept. The notes, vibrations, tones, and rhythms found within his music have that capacity to stimulate and effect physical and nonphysical bodily structures. His music creates the ultimate geometry that is conducive to healing and feeling and experiencing Music and sounds have the power to get rid of all the diseases within the human body. It has been proven and it is known; but it is not talked about much. The cures have to do with frequencies, harmonics (the relationship between tones), geometry and more. If John Lee Hooker's music is harnessed in the correct way, it could be the vehicle for mass healing. But you have to know how to harness it and this is what my specialty is. The physical effect of sound has a tremendous influence on the body. The whole mechanics of the body are all moved by the power of vibration. The human body is a living resonator for sound and an understanding of sound and its effect upon the body can give you tremendous power to heal and other nifty skills that few possess. One new field in human healing with sound is called "sonic entrainment". This utilizes an entrainment frequency of about 1.45hz (called a Tri-Thalamic Entrainment Format) to create entrainment (getting in synch) between the hypothalamus, pituitary and pineal centers of the brain. This opens the doors to the rest of the body. But there are many new fields of healing via music. Boogie Chillen will touch mainly upon the less discussed ones; natural healing through sound vs electronic created sounds for healing. The Earth is also a natural resonator of sound. In fact, sound is the key to healing the planet and moving all life to new levels. The ancients knew a tremendous amount about sound and tones and they knew a tremendous amount about the Earth. They built every ancient temple, site, stone structure along and interconnected by an invisible grid network of "lines" that surrounds the planet. In modern times, few know of this grid of energy lines. The ancient people had great knowledge in this field and it's connection with sound simply because they go hand in hand. Their knowledge of the Earth has not been lost, it's just kept hidden from modern times because of it's potential. The things you'll read in the issues to come will shed some LIGHT on some of these ancient secrets. Best of all, it's all connected with John Lee Hooker! As a boy, I always found an affinity for his music. His Boogies always left me with a feeling of peace and exhilaration and it is not surprising that I have dedicated most of my life to harnessing his music. Since his music is the roots, it has an important connection with the Earth. His music is open for all to use and benefit from, depending how far you are willing and know how to take it. I hope that these articles (Boogie Chillen) will give you a little knowledge that you can put to use. No one has ever studied the full potential of his music until now. People have been working with ideas but the Big Picture has been lacking. This is what you'll learn in these articles and what you'll see happen in the future. After all, as John Lee says in Chill Out, "Things are gonna change"... AMARGI ---------------------------------------------------------------- ========================================================================= Date: Wed, 13 Dec 1995 18:36:07 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Re: Little Sammy Davis Comments: To: bit-listserv-blues-l@moderators.uu.net Great to hear you like the new Sam Davis CD wayne, but you are wrong to suggest Sammy never recorded as leader. Try his four sides for Rockin', cut in Miami in 1953 and two sides (with four still unissued) sides cut for Trix in 1971. Sam Davis's is a fine artist and it is great he has been re-discovered. Just a plug, Sammy is also the cover feature in B&R 105. TB ========================================================================= Date: Wed, 13 Dec 1995 19:17:47 GMT Reply-To: Rob MacTurk From: rmacturk@CPCUG.ORG Organization: Gallaudet University, Washington, DC Subject: Street Dreams Comments: To: bit-listserv-blues-l@uunet.uu.net About 3 weeks ago I caught the tail-end of a piece on NPR about street blues musicans in Chicago. Someone evidently recorded a bunch of them in situ and released it under the title of "Street Dreams." Naturally, all I have is the album title and am wondering if someone help me locate a copy. TIA Rob **************************************************************** Robert H. MacTurk, Ph.D. rhmacturk@gallua.gallaudet.edu Research Scientist rhmactur@gallux.gallaudet.edu Gallaudet University rmacturk@cpcug.org 800 Florida Ave, NE (V/TTY) 202-651-5206 Washington, DC 20002 (FAX) 202-651-5458 **************************************************************** ========================================================================= Date: Wed, 13 Dec 1995 11:17:04 -0800 Reply-To: Jennifer Baldwin From: Jennifer Baldwin Subject: Re: It's a Richard-Richard Thing . . . Comments: To: Jeff Seale In-Reply-To: Where is VT anyway? On Tue, 12 Dec 1995, Jeff Seale wrote: > > -Jeff (I learned all those internet lessons the hard way - ask VT) ;-) > > ****************************************************************************** > __ Jeff Seale > | |___ University of Texas Health Sciences Center @ San Antonio > ___|* | EMail seale@bioc02.uthscsa.edu > \ | > \/\ / I told my love my last goodbye, > \ / my very, very last goodbye. > \( I hang my head and the tears just cry. > I'm a thousand miles from home. -Joe Ely > > > > ========================================================================= Date: Wed, 13 Dec 1995 13:34:15 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Eric LeBlanc's Blues Dates - December 13th At 05:12 AM 12/13/95 +0000, P.W. Fenton wrote: >Here's a few dates (b. born, d. death) for today. If you have any >corrections/additions, let me know at leblanc@dao.nrc.ca. > >------------------------------------------------------------------------------- >artist notes/full name yyyy-mmdd, city/county state age >------------------------------------------------------------------------------- >DOBY, LARRY (R&B song title) b. 1924-1213, CAMDEN, SC First black baseball player in the American League, 1948 (I think). David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Wed, 13 Dec 1995 15:14:21 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: David Eidler & J. Monque'D Comments: To: David L Eidler In-Reply-To: Excellent CD - I was surprised and pleased when it hit the changer. Upbeat, fun and original with some real good harp playing. re: some private mail I sent-Wolf has a potpuori of material so all tastes can get satisfied. Living/known, living/unknown and dead/known. Pick as you will there's a lot there to go through. NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Wed, 13 Dec 1995 15:18:57 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Concern for JLH Comments: To: boogienation@earthlink.net On 13 Dec 95, Boogie Nation had this to say... > The ancients knew a tremendous > amount about sound and tones and they knew a tremendous > amount about the Earth. They built every ancient temple, site, > stone structure along and interconnected by an invisible grid > network of "lines" that surrounds the planet. In modern times, > few know of this grid of energy lines. The ancient people had > great knowledge in this field and it's connection with sound > simply because they go hand in hand. Their knowledge of > the Earth has not been lost, it's just kept hidden from modern > times because of it's potential. The things you'll read in the > issues to come will shed some LIGHT on some of these ancient > secrets. Best of all, it's all connected with John Lee Hooker! Is John Lee's money being spent on this stuff? Does he have any family to look out for him? Maybe somebody from Rosebud can tell us what connection (if any) this "boogienation" stuff has with John Lee. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 13 Dec 1995 15:41:39 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Photo, Drawing, Copyrights, Royalties Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu On December 13, the often abreviated but never duplicated LW wrote: >>>If a drawing BASED on a copyrighted photo of a deceased >>>bluesman was used >>>on a T-shirt, would permission have to be obtained from the >>>photgrapher >>>and the bluesman's estate....I know it would be proper to do >>>so, but is it >>>legal to do it without permission from either of the >>>above....THANKS It simply is a matter of a 'recognizable image.' If you take one of my photographs of, let's say, Son House and screen that onto a shirt, and I can bring the negative from which the original print was made into court, you are in big trouble. Since there are only two known images of Robert Johnson and they are both protected by copyright by Steve LeVere, he thus can control all merchandising of those images. If you cannot identify the source of the original artwork, you must make a 'good faith effort' to locate the photographer. After that, it is safer to assign a royalty to some escrow account in case the original artist ever comes forward. Too confusing? Come talk to Jinx and I'll walk you through it . . . Dick Waterman ========================================================================= Date: Wed, 13 Dec 1995 20:49:00 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Re: When was Live at the Regal recorded? Comments: To: bit-listserv-blues-l@uunet.uu.net The other important person (I would say, as important as B. B. KING) when it came to B. B. KING's LIVE AT THE REGAL is the producer, Johnny Pate. Current producers like Clifford Antone, Scott Billington, Michael Frank, Bob Greenlee, Bruce Iglauer, Dick Shurman, Mike Vernon, etc. etc. make all the difference, in my opinion. It's always been part of the equation when it comes to the success of an artist. Never under estimate a producer. In article 100000@iglou, Brenda Bogert writes: > On Tue, 12 Dec 1995, Dennis Miele wrote: > > > I just got a reissue of this B.B. King classic that has no liner notes. Any > > info will be appreciated. > > > November 21, 1964. The performers, besides B. B., are Kenny Sands > (trumpet), Johnny Board & Bobby Forte (tenor sax), Duke Jethro (organ), > Leo Lauchie (bass), and Sonny Freeman (drums). > > Pen & Brenda Bogert > Louisville KY ========================================================================= Date: Wed, 13 Dec 1995 17:04:04 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Robert Shelton Dies (limited blues content) The Folk Music News group just noted the death of Robert Shelton, pop music critic for "The New York Times" during the 1958-1968 period. He became enbittered by the musicbiz process in this country and moved to a modest section of London where he died last week, little known and hardly remembered. With the coming of pop television, late night hosts, MTV, VH-1, music videos, gifs and the commonplace useage of music and images flipping through space, we might pause to recall a time when print journalism was the big dog out on the street. Shelton is probably best remembered for writing a rave review of Bob Dylan that Columbia reprinted on the back of an album. Shelton's power was so awesome that he could launch a career with a single paragraph. Shelton didn't get much blues in New york City but he was a regular at The Gaslite, Gerde's Folk City, The Bitter End, etc. He also covered every Newport Folk Festival and, in his own way, did some fine writing to further the careers of Josh White, Son House, John Hurt and many others. There are still some fine writers covering blues in daily newspapers (i.e. Steve Morse, Bob Hilburn, Larry Nager, Phil Elwood, Bill Dahl, etc.) and we should never underestimate their value to this music that we love. Dick Waterman See, I told you it had limited blues content . . . ========================================================================= Date: Thu, 14 Dec 1995 19:03:20 GMT Reply-To: Andrew Gregg From: Andrew Gregg Organization: Department of Primary Industry Subject: Re: Doors blues? >The credit on Morrison Hotel is "Morrison/Doors". On American Prayer it >is "James Douglas Morrison Publishing and Doors Music Co." Right. And LEd Zep wrote 'Nobody's fault but mine'. Sure >I think it is a Morrison original. Its a Willie Dixon tune. ********************************************************************** * Andrew Gregg * * * Dept of Primary * I see angels on Ariels * * Industry * in leather & chrome * * ooOO00OOoo * Swooping down from heaven * * Email : * to carry me home * * mpagregg@aries.dpi.tas.gov.au * * * * - Richard Thompson * ********************************************************************** ========================================================================= Date: Wed, 13 Dec 1995 15:25:20 -0500 Reply-To: Peter Welch From: Peter Welch Subject: What a load of Boogie... In-Reply-To: <199512131859.KAA18210@iceland.it.earthlink.net> from "Boogie Nation" at Dec 13, 95 12:05:22 pm According to Boogie Nation: [100-zillion paragraphs to say that JLH's music will make you feel good]....can't argue with that, but .... > > This utilizes an entrainment > frequency of about 1.45hz (called a Tri-Thalamic > Entrainment Format) to create entrainment (getting in synch) > between the hypothalamus, pituitary and pineal centers of the > brain. This opens the doors to the rest of the body. But there > are many new fields of healing via music. Boogie Chillen > will touch mainly upon the less discussed ones; natural > healing through sound vs electronic created sounds for > healing. > Whoah, grasshopper!!!.....Huh?!!!! > The Earth is also a natural resonator of sound. > In fact, sound is the key to healing the planet and moving > all life to new levels. The ancients knew a tremendous > amount about sound and tones and they knew a tremendous > amount about the Earth. They built every ancient temple, site, > stone structure along and interconnected by an invisible grid > network of "lines" that surrounds the planet. In modern times, > few know of this grid of energy lines. The ancient people had > great knowledge in this field and it's connection with sound > simply because they go hand in hand. Their knowledge of > the Earth has not been lost, it's just kept hidden from modern > times because of it's potential. The things you'll read in the > issues to come will shed some LIGHT on some of these ancient > secrets. Best of all, it's all connected with John Lee Hooker! > Boogie Chillun!!! > As a boy, I always found an affinity for his music. His > Boogies always left me with a feeling of peace and exhilaration > and it is not surprising that I have dedicated most of my life to > harnessing his music. Since his music is the roots, it has an > important connection with the Earth. His music is open for > all to use and benefit from, depending how far you are > willing and know how to take it. I hope that these articles > (Boogie Chillen) will give you a little knowledge that you > can put to use. No one has ever studied the full potential > of his music until now. People have been working with > ideas but the Big Picture has been lacking. > This is what you'll learn in these articles and what you'll see > happen in the future. After all, as John Lee says in Chill Out, > "Things are gonna change". "Mama told papa, let that boy boogie-woogie.." -P ========================================================================= Date: Wed, 13 Dec 1995 17:42:18 -0500 Reply-To: Sanjay Rajan From: Sanjay Rajan Subject: FACTUAL_JLH???? Comments: cc: kobita rajan Hey fellow blues-lovers: Boogienation wrote: >>>>>>>>> >>>>>>>>> >>>>>>>>> >>>>>>>>> Well John Lee Hooker's music holds a very special key. Every note he sings is a reflection of life itself and his technique is amply suited to this role of depicting life. His voice recreates a world of laughter and pain, mockery and praise; and it throws open the gates of time to reveal a glimpse of the future. It is the future of his music which will be the most profound. For John Lee Hooker's music has the great potential to heal and elevate the Earth. There are places in India, and other Eastern places, that use his music to heal and to calm and open the Heart. This isn't some abstract concept. The notes, vibrations, tones, and rhythms found within his music have that capacity to stimulate and effect physical and nonphysical bodily structures. His music creates the ultimate geometry that is conducive to healing and feeling and experiencing >>>>>>>>> >>>>>>>>> >>>>>>>>> >>>>>>>>> >>>>>>>>> Geee.....I love John Lee Hooker's music and agree about their healing soothing effect.... But his music being used in India for this..... Gimme a break....will ya!! I am originally from India and have travelled far and wide within that big nation.... Now, can u let me know which place in India does this.... If not be a bit more factual..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-($)^($)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ Blues by NITE, Cool by Day!! +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Wed, 13 Dec 1995 17:51:58 -0500 Reply-To: Sanjay Rajan From: Sanjay Rajan Subject: MALI_BLUES!!! Hi fellow blues-lovers: I am relatively new to this newsgroup. But not to Blues.... I was wondering if folks are aware of ALI FARKA TOURE, singer from Mali whose albums The Source Talking Timbuktu (Grammy Award winner last year for best World Music) really take to the roots -- straight from Africa. Does anybody know of his concert/club schedules [not necessarily in US alone] I know he was in Boston at Johnny D's about a year... And I missed the chance of seeing him +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-($)^($)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ Surrealism ? I AM Surrealism - Salvador Dali +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Wed, 13 Dec 1995 16:01:44 -0000 Reply-To: "J. Witteveen" From: "J. Witteveen" Subject: Re: Concern for JLH >On 13 Dec 95, Boogie Nation had this to say... > >> The ancients knew a tremendous >> amount about sound and tones and they knew a tremendous >> amount about the Earth. They built every ancient temple, site, >> stone structure along and interconnected by an invisible grid >> network of "lines" that surrounds the planet. In modern times, >> few know of this grid of energy lines. The ancient people had >> great knowledge in this field and it's connection with sound >> simply because they go hand in hand. Their knowledge of >> the Earth has not been lost, it's just kept hidden from modern >> times because of it's potential. The things you'll read in the >> issues to come will shed some LIGHT on some of these ancient >> secrets. Best of all, it's all connected with John Lee Hooker! All that can be added to this piece of wisdom is that John Lee's music has a good beat...and you can dance to it! It's also great to listen to while coiffing a few cold ones with friends... Jim (hndful@uniserve.com) Boom Boom Boom Boom ========================================================================= Date: Thu, 14 Dec 1995 00:10:59 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: John Lee Hooker/Boogie Nation Article 6 Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199512131842.KAA17111@iceland.it.earthlink.net> Boogie Nation writes: >"One Bourbon, One Scotch, One Beer" is a song that >has endured the test of time since it was written decades >ago. Yes, even more decades ago than Hooker's version. Amos Milburn recorded this in 1953 as "One Scotch, One Bourbon, One Beer" Hooker's version was recorded in 1966 with just the order of drinks interchanged - he claimed writer's credit for this!! All in all, some pretty mystical stuff from the boogie nation. "Let that boy boogie woogie, because it's in him, and it's got to come out"...indeed!! Art Schuna ========================================================================= Date: Wed, 13 Dec 1995 19:26:30 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Organization: IQuest Internet Services Subject: Saffire- The Uppity Blues Women benefit for Yank Before my memory goes completely, I wanted to pass along a few notes on the benefit show given by Saffire - The Uppity Blues Women for Yank Rachell and the Blues Society of Indiana. Firstly, the venue was impressive. The World Mardis Gras, located on the entertainment floor called "America Live" in the brand new Circle Centre Mall in downtown Indianapolis, is only a couple of blocks from the Slippery Noodle and has been featuring a good portion of quailty blues on it's schedule in it's first month. And if it isn't as intimate and storied as the Slippery Noodle Inn, it's got one thing SNI does not---- excellent food (from the Big Easy which shares it's space). There is a generously sized stage built into a corner and the room is large enough to hold bigger audiences comfortably. The music? It was even better than expected. Yank was highly energetic and played with greater confidence than I'd seen in the last year. Although he was fighting a cold, he appeared to really be enjoying himself. He was playing a brand new Gibson "Flat Iron" electric mandolin ("got it just for havin' my picture took") and really put it to a test, I'll tell you! He even insisted on playing a couple of extra numbers once the lights went down from his sceduled set And again, his "Steppin' Out Band" provided a terrific updated Chicago style backing. If anybody out there is looking for a great bass player who can sing like an angel (in the black gospel tradition) they would certainly be impressed with Sheena, Yank's grand-daughter. As for Saffire, well, they just killed as usual. Shame on me for forgetting the name of the bass/mandolin player, but she was every bit as uppity as Gaye and Ann!!! (yes, Meri, I got your greeting to Gaye and Ann and yes they returned them heartily!) They played several tunes from an up-coming CD and all were well recieved. My wife really loved them and we bought one of everything they had at their promotion table!! The turn out was good so I think we made out ok, but I don't know who's idea it was to funnel some of the proceeds from Yank back to the blues society. I thought that was a little tacky, but Lord knows for all the work the board members put in to try to stage a first class festival every year on a shoe string budget, they need all the help they can get. Happy Holidays!! RJ Bauman ========================================================================= Date: Wed, 13 Dec 1995 19:29:02 -0500 Reply-To: SJeffcote@AOL.COM From: "Scott E. Jeffcote" Subject: For Luther Allison Fans Have any of you heard the recordings made in 1979 by Luther for Rumble Records. I came across these the other day. I would highly recommend them to any true Luther fans. They were recorded at The Other Side in Peoria, Illinois. Luther Allison - Vocals and Guitar Kenny Arnold - Drums Mike Allen - Alto Sax Kenny Berdoll - Bass Sid Wingfield - Keyboards "Power Wire Blues" 1. Dust My Broom 2. Ive got Worries 3. You Don't Love Me 4. Going Down (tribute to Freddie) 5. Im Gonna Leave You Alone 6. Sweet Home Chicago "Gonna Be A Live One In Here Tonight" 1. Strokes 2. Your Gonna Need Me 3. Your Upset Me Baby 4. Movin On Up 5. The Thrill Is Gone 6. Cat Blues 7. Messin With the Kid Let me know what you think about these if you have heard them. "I've Got Rats and Roaches in My Kitchen" ---- Silas Hogan SJ ========================================================================= Date: Wed, 13 Dec 1995 18:23:21 +0000 Reply-To: boogienation@earthlink.net Comments: Authenticated sender is From: Boogie Nation Subject: Boogie Nation respond about concern Comments: To: pwfenton@GATE.NET > Is John Lee's money being spent on this stuff? Does he have any > family to look out for him? Maybe somebody from Rosebud can tell us > what connection (if any) this "boogienation" stuff has with John Lee. > > P.W. Fenton > Tampa, Florida > John Lee Hooker's money is NOT being spent on the healing studies as covered in our article 'Boogie Chillen Part 1'. The article is solely the opinion of the writer, Amargi, who has devoted much of his time to music healing via John Lee Hookers music. John Lee's family is very protective of him and no worry should be instilled (I can't even imagine why you would worry in the first place). I am one of the partners of Boogie Nation and I am also the step-son to the blues man himself so I have the best intentions at heart for my step-father. Boogie Nation is not connected with John Lee's management, Rosebud, in any way. We simply take care of Mr. Hooker's mail order merchandise and we publish this newsletter. Sorry if this post of Boogie Chillen worried you. We do not want to cause any sparks. Perhaps we will just not post the more enlightening articles that we publish and stick to posting the gig reviews and such. Best Wishes, Richard Hillier BOOGIE NATION ========================================================================= Date: Wed, 13 Dec 1995 18:53:14 +0000 Reply-To: boogienation@earthlink.net Comments: Authenticated sender is From: Boogie Nation Subject: John Lee Hooker Blues-L Contest We thought we would add a little contest for all these blues lists subscribers. If you can answer the following question correctly, we will randomly select a name/e-mail from all the correct entries. The prize: An autographed limited edition print of John Lee Hooker. (11 x 14 inches in size, black & white lithographed print personally signed by John Lee Hooker). Only 475 of this close up shot of John Lee were printed. It comes with a certificate of authenticity and is valued at $50. Only one of you can win, so don't be disappointed if your name isn't drawn. The question is: ----------------------------- What song from John Lee Hooker's album, 'Free Beer and Chicken' features a blues violin. ----------------------------- We will send the second place winner a John Lee Hooker baseball cap. It's black (wool) with blue and grey embroidered lettering with large initials JLH and his name on top of the initials. It's open to all but the we'll draw the names on December 22nd, 1995 so get your answer in by the 21st. You can e-mail it to: boogienation@earthlink.net Best Wishes, Richard Hillier BOOGIE NATION ========================================================================= Date: Wed, 13 Dec 1995 18:53:14 +0000 Reply-To: boogienation@earthlink.net Comments: Authenticated sender is From: Boogie Nation Subject: Boogie Nation News Issue 2 Welcome First page of Boogie Nation News Issue 2 cover photo of John Lee Hooker in the studio with Canned Heat's drummer, Fido -------------------------------------------------------------------- Welcome to the second issue of our quickly growing newsletter about the Boogie Man. This is a very special edition since John Lee celebrated his 75th birthday on August 22nd. Happy Birthday Hook Man! May you have many, many more till the end of time! Thank you for all the response we received from our Summer '95 issue. We received letters from subscribers all over the world. Look for some of them in this issue's Reader's Forum. Please keep those letters coming! Our friends, family and you - the worldwide readers - have given us great support, wonderful thoughts and wished success towards this newsletter. Our adversaries and those who are jealous of us were quick to point out our faults and only our faults. Criticism helps us grow into a finer publication and compliments keep us motivated! Thanks for both. Mr. Hooker enjoyed last issue's Boogie Chillen. He said it was "like a poem; flows just like my music...beautiful. Make sure you tell them that I'm the originator of the Boogie." I wondered if it was the words of the article that flowed or its meaning. Anyhow, this issue's Boogie Chillen will continue in the discovery of how his music heals. Boogie Days is an extra grand feature this issue since we cover John Lee's 75th birthday. His record company gave him a great barbeque. The Hook's house was filled to the brim while everyone sang "Happy Birthday" to a birthday boy and a candle-topped peach cobbler. Even a few radio contest winners got to come. Check out the exclusive photos of the birthday boy and his friends. What a fun day everyone had! We have made a few changes in this issue regarding what we said we would cover. Boogie Nation headquarters is a very busy place and since we are around Mr. Hooker almost every day, his needs always come first. The missing articles will appear in future issues. Mr. Hooker has decided not to sell his Mercedes 560 XL but we have included a picture of it in this issue. Unfortunately, we cannot include a photo of his Cadillac because it was stolen in August and "stripped to the bone". But hold tight, the Cadillac is now recovered. It is almost restored and will be featured in the next issue. Cookin' With the Hook features a vegetarian recipe. We have added four more pages to this issue and made sure there are plenty of photos. We also reveal last issue's contest winner of the autographed Chill Out poster. Be sure to try and answer this issue's question in time, in order to win the call of a lifetime-- hearing Mr. Hooker at the other end of your phone. We are now creating the very first Official John Lee Hooker Web Page on the Internet. We will let you know the details by the time the next issue comes out. Also be sure to look for our new products! May the Blues be with you always! -The Editors ---------------------------------------------------------------------- ========================================================================= Date: Wed, 13 Dec 1995 21:10:48 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Books vs. Internet >I believe point was that the internet, this list in particular, is like a >conversational community and that a certain level of tolerance and respect >should be afforded all the folks participating in the conversation. I've been holding off responding to this thread--seeing as I *am* new around here--and well aware that I'm a little leaguer playing in a big-league arena--But, nobody has mentioned this yet: Some of us live in little, teeny, tiny hick towns where access to information about the blues (and a lot of other things) is sorely limited. Sure, we have a library, but the reference books are at least a decade old, and there are hardly any books about music in general, let alone the blues. The stores don't carry blues magazines and after three years of looking, I have yet to find another blues fan living in this town. When I first began pursuing this interest, I had no clue as to where to look. If it had not been for some kind, patient guidance from a few online friends, I'd still be stumbling around in the dark. They answered my questions (despite my ignorance), gave me advice, corrected me when I was wrong, told me my opinions were full of shit if they were--but always with kindness, respect, and a sense of humor. This is the least--and the most important--thing we can give to a fellow human being. I'm sorry if I sound preachy; I only mean to express an opinion. And, I'm sorry if my questions have annoyed anyone. (Just hit delete when you see my name.) Nevertheless, I would really, truly, like to know, as I sit here examining the liner to Louis Myers's I'm a Southern Man, whatever happened to Fred Robinson .... Is it safe to ask? Karen ========================================================================= Date: Wed, 13 Dec 1995 21:27:19 -0500 Reply-To: GDKimball From: GDKimball Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Good Starter Guitar Comments: To: bit-listserv-blues-l@uunet.uu.net There is a guitar group for acoustic players (rec.music.makers.guitar.acoustic) that often has questions about starter guitars. There are people on this newsgroup who play country blues. You should specify what style you want to play if you post (flatpicking, fingerstyle, etc.) One guitar that is often mentioned in the $300 range is the Seagull, which I believe is made in Canada. Most country blues folks seem to prefer orchestra style guitars (in the Martin line these are the "O" style instruments), but the dreadnaught style instruments are more typical of what you find in most shops. They have larger bodies with a different shape, and are preferred by strummers and flatpickers. I don't know if Sigma (Martin's "B" line) makes an "O" style guitar, but the dreadnaughts I''ve played were pretty decent. Sometimes you can find Stellas and other early guitars that are good for blues at a resonable price. Unfortunately, guitar prices are pretty inflated. I have a 000-16 Martin and a National Delphi and both cost me more than I care to think about, but both are also excellent instruments. Gregg in Richmond ========================================================================= Date: Thu, 14 Dec 1995 13:53:53 +22303754 Reply-To: David Blanken From: David Blanken Subject: Freddy Robinson (was Re: Books vs. Internet) In-Reply-To: <951213211031_53521746@mail04.mail.aol.com> On Wed, 13 Dec 1995, Karen Hanson wrote: > Nevertheless, I would really, truly, like to know, as I sit here > examining the liner to Louis Myers's I'm a Southern Man, whatever happened to > Fred Robinson .... Is it safe to ask? Karen, How DARE you ask such a stupid, obvious question!!!! Freddy Robinson now goes by the name of Abu Talib and has a new release out called, I believe, "The Real Thing At Last" on the Son Pat Co. label. It received quite a good review in Living Blues magazine. Maybe someone on the list can supply an address for Son Pat and/or a review of this CD? Regards, -Dave- ========================================================================= Date: Wed, 13 Dec 1995 22:01:26 -0500 Reply-To: bob unger From: bob unger Subject: Plea to the listowner - Alan Rollins Mr. Rollins.... I might have re-read the blues-l faq, but it seems to me the the editor's of Boogie Nation should not be FORCING their newsletter on us. There are well over 1,000 people on this list and I'm sure there are some who are interested in what Boogie Nation has to say, but I'll bet every f***ing thing I own that the majority do not want this rhetoric forced on our eyeballs. Blues-l is, I believe, a forum to *DISCUSS* all thing's relevant to blues music. A newsletter about an individual artist is and his accomplishments is all well and good...but it should be SUBSCRIBED to! It should not be FORCE-READ to everybody on the list. I know, I know... if you dont want to read it, hit the delete key...well, Jesus F***ing Christ! does that mean we can all start a newsletter about our favorite artist and spam the list with it???? To me, Boogie Nation is spamming Blues-l..... Mr. Hillier, I am not attacking you and your idea....I am saying that your idea doesn't seem to fit the guidelines of blues-l. I think you would find more satisfied customers if you started JLH-L. BU bob@sun.bnkst.edu ========================================================================= Date: Thu, 14 Dec 1995 12:36:34 +0900 Reply-To: "R.St. Pierre" From: "R.St. Pierre" Subject: Stevie Ray Vaughn Hey Bluesters, What are your reccos for Stievie Ray Vaughn? I'm making an effort to fill in some of the gaps in my blues CD collection and currently have none of his. The Saint saint@shoin.ac.jp ========================================================================= Date: Wed, 13 Dec 1995 15:04:28 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Jimmy Rogers Chess Recordings Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com Can anyone tell me if there are any compilations of Jimmy Rogers' Chess sides besides Chicago Bound? I have heard some of the Chess singles that are not on Chicago Bound on radio shows, so I knwo they're out there. Has someone besides MCA put out a collection of these sides? ========================================================================= Date: Thu, 14 Dec 1995 05:59:28 GMT Reply-To: Craig Edmundson From: Craig Edmundson Organization: Synergy Communication Inc. Subject: Re: Buddy Guy & Freebird-IMAPARCO Comments: To: bit-listserv-blues-l@uunet.uu.net L W wrote: >LW 'INMarrogantpuristassholerudecluelessO' No offense, but I think you left out the "H".... ------------------------------ Craig L. Edmundson cedmundson@nfinity.nfinity.com ========================================================================= Date: Thu, 14 Dec 1995 00:03:51 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: John Lee Hooker/Boogie Nation Article 6 Comments: To: Boogie Nation In-Reply-To: <199512131842.KAA17111@iceland.it.earthlink.net> Man, these guys _really_ take their John Lee seriously. Whew! Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Thu, 14 Dec 1995 01:13:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re: Plea to the listowner - Alan Rollins This is always a very sensitive issue on the usually polite List, but IMH and respectful O, BU is absolutely right, this boogie nation stuff is way out of control and should not be on the List. If someone has a comment about blues, great, but article after article about JLH, now accompanied by some kind of contest is not appropriate. So, IMHO, best wishes to JLH and the boogie nation people, but please take the promo elsewhere. Please do comment, please don't publish. And PULL--EAZZE let's not have some "how dare he say that" response to this without due consideration of the issue. If my good 'zellers really feel this stuff should be on here in apparent violation of the administrative guidelines, let's be sure they've read the curious boogie nation ponderings before racing to defend them. Again, its just MHO. Joe in Russia (boogie empire) J.E._Downey@bakermck.com ========================================================================= Date: Wed, 13 Dec 1995 23:18:24 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: Re: Boogie Nation respond about concern Comments: To: boogienation@EARTHLINK.NET >> Is John Lee's money being spent on this stuff? Does he have any >> family to look out for him? Maybe somebody from Rosebud can tell us >> what connection (if any) this "boogienation" stuff has with John Lee. >> >> P.W. Fenton >> Tampa, Florida >> > (TEXT DELETED) >Sorry if this post of Boogie Chillen worried you. We do not want to >cause any sparks. Perhaps we will just not post the more >enlightening articles that we publish and stick to posting the gig >reviews and such. I for one do not share Mr. Fenton's views and want to see Boogie Chillen posted in it's entirety on Blues-L Gary ............ Gary Constantine >> gconstan@ccinet.ab.ca << If hard work were such a wonderful thing, surely the rich would have kept it for themselves. ========================================================================= Date: Wed, 13 Dec 1995 23:18:33 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: Kenneth Rexroth???? Caught the last 5 minutes of a radio show about KENNETH REXROTH(I think that was his name!). The part that I heard had this guy reciting beat poetry to a blues instrumental. Sounded a lot like B.B. King on the guitar but I never did find out. Does anyone have any information about this artist? Alive? Dead? CD's available? Have I even got the name right? Any biographical information would be appreciated. Thanx, Gary ........... Gary Constantine >> gconstan@ccinet.ab.ca << If hard work were such a wonderful thing, surely the rich would have kept it for themselves. ========================================================================= Date: Thu, 14 Dec 1995 01:47:09 -0500 Reply-To: Sanjay Rajan From: Sanjay Rajan Subject: BOOGIE_WOOGIE!! Well.... Gee....My second day in this group and I got the BoogieNation BLUES.... ;) ;) ;) +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-($)^($)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ Surrealism ? I AM Surrealism - Salvador Dali +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Thu, 14 Dec 1995 01:16:46 +0000 Reply-To: boogienation@earthlink.net Comments: Authenticated sender is From: Boogie Nation Subject: Boogie Chillen Part 2 with diagrams Comments: To: Gary Constantine Dear Gary, We would be happy to give you Part 2 of 'Boogie Chillen' written by Amargi. We've been getting too many flames for our Part 1 post so I will direct Part 2 to you only until we feel it is 'safe' to post it on the list. Part 2 has some drawings to go along with it. What format do you support so we can know how best to send it to you? Best Wishes, Richard Boogie Nation ========================================================================= Date: Thu, 14 Dec 1995 00:30:58 +0000 Reply-To: boogienation@earthlink.net Comments: Authenticated sender is From: Boogie Nation Subject: Re: Boogie Nation respond to plea to get us off. Comments: To: bob@SUN.BNKST.EDU Dear Bob, We here at Boogie Nation are not trying to force our newsletter 'down your throats'. We thought that any John Lee Hooker lovers would be interested in reading at little about what the Boogie Man is up to. We are in close interaction with this Blues legend and we felt it would be a nice gesture to offer some 'insider' information on John Lee Hooker's present life. The reason why we posted a couple of our newsletter articles is because our writing is how we are telling his fans just what he's up to. If we could talk on the phone and chat about the things he is up to, then we would do this. The later is not possible of course so we try to encapsulate our experiences with John Lee Hooker through these articles. We didn't have to post these and we have never wanted to 'spam' this list as you mentioned. We've only been on this list for about ONE day. And more people are upset by our presence than welcoming the chance to learn about and interact with the originator of the Boogie. We also posted the couple articles to encourage discussion about this blues legend. I guess you would rather just listen to his music on your own rather than take this opportunity to understand or ask questions about what life is really like for John Lee. Starting a JLH-L sounds like a good idea Bob, but we are new to this and have don't know how to start a list. Since there are some who are welcoming us here, I would politely suggest that maybe you delete our posts when you see the sign of 'Boogie Nation' in the subject or e-mail address. If our new presence still seems to rock the boat (for some strange reason beyond my belief), then we will be happy to unsubscribe to this list as quickly as we got on it. Maybe I've got the whole idea of this Blues-L wrong. Best Wishes, Richard Hillier Boogie Nation ========================================================================= Date: Thu, 14 Dec 1995 05:31:38 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - December 14th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BAILEY, DEFORD (hca) b. 1899-1214, BELLWOOD, TN BANGS, LESTER (critic/author) b. 1948-1214, ESCONDIDO, CA BIRDSONG, JOSEPHINE (gospel) d. 1981-1214, LOS ANGELES, CA 59 BUCKNER, TED (asax/TODD RHODES) b. 1913-1214, ST. LOUIS, MO CASSEUS, FRANTZ GABRIEL (g) b. 1921-1214, PORT-AU-ORINCEHAITI CROUCH, STANLEY (d/author/critic) b. 1945-1214, LOS ANGELES, CA DAVIS, MARTHA (p) b. 1917-1214, WICHITA, KS HALL,FREDERICK DOUGLASS(DELTA RHYTHM BOYS)b. 1898-1214, ATLANTA, GA JOHNSON, ALBERT J. "BUDD" (tsax) b. 1910-1214, DALLAS, TX JONES, LINDLEY "SPIKE" (:) b. 1911-1214, LONG BEACH, CA MCNEIR, RONNIE (v/MOTOWN) b. 1949-1214, CAMDEN, AL MELROSE, LESTER (pioneer a&r/prod) b. 1891-1214, OLNEY, IL MOORE, JUNE "CURLEY" (v/HUEY PIANO SMITH) d. 1985-1214, NEW ORLEANS, LA 51 NEWBORN, PHINEAS JR. (p) b. 1931-1214, WHITEVILLE, TN OWSLEY, WILLIAM (g) b. 1903-1214, GALESBURG, IL PAYNE, CECIL MCKENZIE (bsax) b. 1922-1214, BROOKLYN, NY ROLONTZ, BOB (prod/a&r/GROOVE/RCA) b. 1920-1214, PHILADELPHIA, PA RYANES, WARREN (of THE MONTONES) b. 1937-1214, NEWARK, NJ SURRELL, MAURICE (of WILLIAMS BROS) b. 1954-1214, MS TERRY, CLARK (tpt) b. 1920-1214, ST. LOUIS, MO VINCENT-WILSON, JOYCE (of DAWN) b. 1946-1214, DETROIT, MI WASHINGTON, DINAH [RUTH LEE JONES] (p) d. 1963-1214, DETROIT, MI 39 WILLIAMS, JIMMY (g/BLUZBLASTERS) b. 1962-1214, SC WRIGHT, LEO (asax) b. 1933-1214, WICHITA FALLS, TX ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 14 Dec 1995 04:54:33 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Collecting Blues Web Sites If you have a Blues related Web site, I would like to know about it. Please send private e-mail to: BFSTEW@NECA.COM Thanks to all, ****************************** * Beef Stew * * WCCC 107 FM * * 243 South Whitney Street * * Hartford, CT 06105 * * 860.233.4426 * * fm107wccc@aol.com * ****************************** ========================================================================= Date: Thu, 14 Dec 1995 06:13:13 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Books vs. Internet Comments: To: JukeFreak@AOL.COM On 13 Dec 95, Karen Hanson had this to say: > I've been holding off responding to this thread--seeing as I *am* new around > here--and well aware that I'm a little leaguer playing in a big-league > arena--But, nobody has mentioned this yet: Some of us live in little, teeny, > tiny hick towns where access to information about the blues (and a lot of > other things) is sorely limited. Sure, we have a library, but the reference > books are at least a decade old, and there are hardly any books about music > in general, let alone the blues. Excellent point, Karen. Tampa wouldn't be described as a "teeny tiny hick town", but the same problem exists here. In fact I'm sure that the largest collection of books in the Tampa area relating to the Blues is the one in my living room. There is only one place in about a 60 mile radius that sells Living Blues or Blues Review. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Thu, 14 Dec 1995 06:23:05 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Boogie Nation respond about concern Comments: To: gconstan@CCINET.AB.CA On 13 Dec 95, Gary Constantine had this to say: > > I for one do not share Mr. Fenton's views and want to see Boogie > Chillen posted in it's entirety on Blues-L > > Gary Gary, I know John Lee is getting on in years, but do you really think he was around when the ancients set up their musical grid system through his sychronized pituitary? P.W. ========================================================================= Date: Thu, 14 Dec 1995 06:42:04 -0500 Reply-To: BAJammin From: BAJammin Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Band Name Needed Comments: To: bit-listserv-blues-l@uunet.uu.net In article , Steve Levine writes: >Once again I'm asking my fellow bluesellers to help me come up with a >name for a band. This band is a mostly traditional Delta and Chicago >blues band (with some jump and r&b thrown in), with lots of slide >guitar (open tunings) and harp. We cover Robert Johnson, Fred McDowell, >Blind Boy Fuller, Little Walter, Muddy, Snooks Eaglin, Roy Brown, Big >Walter, Elmore James, etc. The lineup is acoustic (but lightly >amplified) guitar, upright bass, harp, drums and vocals. We sometimes >work as a duo, sometimes as a trio, and sometimes as a four piece. I don't think 32-20 is TOO obscure. How 'bout The Dead Shrimp Blues Band. I like your lineup and source material, Steve. If you're ever performing in the central Va. area please post me a notice at BAJammin@AOL.com. Bill Adams ========================================================================= Date: Thu, 14 Dec 1995 06:42:33 -0500 Reply-To: BAJammin From: BAJammin Organization: America Online, Inc. (1-800-827-6364) Subject: Re: subscrition Comments: To: bit-listserv-blues-l@uunet.uu.net In article <0099875C.C3C5EE00.145@vax.sbu.ac.uk>, disilvs@VAX.SBU.AC.UK writes: >hi guys !!! >tell me more about your newsgroup >thanks Well, you wanted to know about the newsgroup so I'll tell you my impressions of it. First of all I've only been on it for a couple of months so I'm also relatively new. As you can see from your first post anything is open to debate. You don't need to know alot about the blues to be here but if you're not INTERESTED in the blues you could be lost. :-) If you ARE interested , then this is a great place to share your knowledge and pick others brains about whatever you want to know. (About the blues, that is) With 750 subscribers ( correct me if I'm wrong:) there's blues artists, DJs, collectors, etc. Somebody has a good respectful reply to anything asked or posted. It's been fun for me so far. Stick around. Bill ========================================================================= Date: Thu, 14 Dec 1995 06:52:17 -0500 Reply-To: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA From: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA Subject: Re: Cold Weather Music? In addition to "Nine Below Zero," I'd suggest Sonny Boy Williamson's "Lonesome Cabin." The title doesn't match, but it does contain the lines... "That room is so small I can't even put up no cookin' stove, That room was small, so small... That I can't even put up no cookin' stove, But you can tell from the weather That's so cold, so cold outdoors..." It's on a Charly compilation of some of his Chess releases... don't have the catalogue number right here. There's a John Lee Hooker track I have somewhere that talks about the cold, and I'll have to figure out which one that is. Turtle _____ Reply Separator _____ Author: ianangus @ DIS.ON.CA (Ian Angus) @ INTERNET Received: 12/11/95 09:32:45 PM Subject: Cold Weather Music? SUGGESTIONS WANTED I'm putting together the playlist for next week's Blue Soul show. (CKLN, 88.1, Toronto, Wed 8-10pm) Mostly of it will be a Christmas show. But because has been so very cold and snowy here lately (setting all-time records for November, I'm told) I want to do a set or two of songs about cold weather. And I'm finding that there aren't very many in the blues/r&b/soul tradition, at least not in my collection. Albert Collins used lots of cold titles, but they were instrumentals, so they don't do the job. Here's what I've got to date: Deanna Bogart: Cold Outside Dutch Mason or Sonny Boy Williamson: Nine Below Zero Theresa Malenfont: Early Frost Muddy Waters: Cold Up North Louis Jordan & Ella Fitzgerald: Baby It's Cold Outside Any suggestions for others? Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Thu, 14 Dec 1995 11:57:34 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: For Luther Allison Fans In-Reply-To: <951213192900_72211061@mail04.mail.aol.com> On Wed, 13 Dec 1995, Scott E. Jeffcote wrote: > Have any of you heard the recordings made in 1979 by Luther for Rumble > Records. I came across these the other day. I would highly recommend them > to any true Luther fans. They were recorded at The Other Side in Peoria, > Illinois. > > > "Power Wire Blues" > > "Gonna Be A Live One In Here Tonight" > > Let me know what you think about these if you have heard them. > I have "Power Wire Blues" on vinyl (I don't think its "Rumble" though). It sort of turned me off to Luther Allison for a long time. The musicianship is, well, let's be euphemistic and call it "raw". So in that res[ect it is "For Luther Allison Fans" Having heard the "new" Luther Allison in the past few years I do approach "Power Wire Blues" with a different ear and don't think its as bad as when I first heard it ... but it is for fans. I don't think it will make any converts. I think he has come a long way. He blows me away these days. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [14/12/95 6:34 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 14 Dec 1995 12:23:14 +0000 Reply-To: "David J. Wallace" From: "David J. Wallace" Subject: Re: cold weather music? The last track on Albert Collins 'Frostbite' ALCD4719, is all about a cold Chicago winter. Embarrassingly, I can't remember the title, even tho' I played it last night. David ********************************************************** For mail filtering purposes and fast attention, please place one of the following in the SUBJECT line of your message: If it is related to the Department of TRP: 'TRP' If it is related to Airline/Aircraft Business: 'AIR' If it is personal or a priority matter 'PER' Other text can follow. Thank You! ********************************************************** ========================================================================= Date: Thu, 14 Dec 1995 07:37:14 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Plea to the listowner - Alan Rollins -Reply Hey Everybody, I must admit that i am somewhat surprised (having been kept off blues-l against my will for almost 3 weeks by a very misbehaved server at this end) to return just yesterday and get to read about this newest addition to BLUES-L reading....ref: Boogie Chillun. I suspect there probably isn't much interest in this stuff by most BLUESellers myself....BUT, hey guys, do what i'm doing, DELETE IT. Pow pow pow pow. ddr ========================================================================= Date: Thu, 14 Dec 1995 12:40:21 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Boogie Nation fracas I haven't got too much of a problem with BN since they aren't really flooding BLUES-L or anything and I don't see anything in the "rules" aginst them per se. But, having said that I do believe that any provider such as that should offer their stuff via a "subscription" and/or a web page. It's sort of netiquette. It's not BN that I fear, it's BN and all the BNs that will follow. It would alter the nature of the list that we have all (sniff) come to love (exit sobbing quietly). phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [14/12/95 7:32 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 14 Dec 1995 08:44:55 -0700 Reply-To: John Wigmore From: John Wigmore Organization: Triangle Internet Company Subject: Re: Stevie Ray Vaughn Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199512140336.MAA11207@icis.shoin.ac.jp>, "R.St. Pierre" wrote: > Hey Bluesters, > > What are your reccos for Stievie Ray Vaughn? I'm > making an effort to fill in some of the gaps in > my blues CD collection and currently have none > of his. > > The Saint > saint@shoin.ac.jp I suggest you get all of them. They all represent different times in his life. Sony has just released Stevie's greatest hits. Try that out first. The linear notes will tell you which album the songs came from. ========================================================================= Date: Thu, 14 Dec 1995 08:44:22 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Boogie Nation fracas Comments: To: phertel@CMC.DOE.CA On 14 Dec 95, Pat Hertel had this to say... > I haven't got too much of a problem with BN since they aren't > really flooding BLUES-L or anything and I don't see anything in the > "rules" aginst them per se. But, having said that I do believe that > any provider such as that should offer their stuff via a > "subscription" and/or a web page. It's sort of netiquette. It's not > BN that I fear, it's BN and all the BNs that will follow. It would > alter the nature of the list that we have all (sniff) come to love > (exit sobbing quietly). I pretty much agree with Pat. If we have a new member who's main interest is John Lee Hooker... so be it. John Lee sure is Blues, so I see that as appropriate. If it gets boring to me, it's a mouse click from the trash can. What I'm not so sure about is the mystical snake oil psycho-babble baloney being posted. If that is going to be a major part of Boogie Nation's posts then I'm not too sure it's entirely appropriate for the list. Not too much Blues content in "Tri-Thalamic Entrainment" regardless of their claims that John Lee is a divine conduit. If they want to promote JLH T-Shirts, ball caps and, autographed photos that's fine with me if the money goes to John Lee. I'm sure if we heard that John Lee was down on his luck and needed some dough, we'd be selling T-shirts for him ourselves. I don't want to lose sight of the FACT that John Lee is a national treasure. On a more personal note, I sincerely hope that every Blues-Ler would regard information that only "the ancients" (whoever they are) and AMARGI knows about, with a healthy dose of skepticism. If these secrets are being "kept hidden from modern times because of it's potential", then they probably should be kept hidden from Blues-L as well. (In my opinion). P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 14 Dec 1995 13:47:03 GMT Reply-To: Joe Yusko From: Joe Yusko Organization: Express Access Online Communications, Greenbelt, MD USA Subject: Muddy Waters Search Comments: To: bit-listserv-blues-l@uunet.uu.net Hi there everyone. I'm looking for an album for my father who swears up and down that he at one time owned it, someting to the effect of "Electric Mud". I've checked the computer listing at the record stores and found nothing. Maybe it's an import? Any ideas? Thanks, Joe-- ---------------------------------- --------------------------- Systems Technician Pittsburgher stuck in the Automated Weather Source DC Metro area. RIP Jerry. 2-5 Metropolitan Court Web Page Design @ low $$$. Gaithersburg, MD 20878 Send collectibles to me. ========================================================================= Date: Thu, 14 Dec 1995 10:11:20 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: Books vs. Internet In-Reply-To: <951213211031_53521746@mail04.mail.aol.com> from "Karen Hanson" at Dec 13, 95 09:10:48 pm > But, nobody has mentioned this yet: Some of us live in little, teeny, > tiny hick towns where access to information about the blues (and a lot of > other things) is sorely limited. Exactly - the net is a great way to hear about books, cds, etc that I'd never happen across living out here in Nova Scotia. If it weren't for subscriptions, mail order, and the internet, I wouldn't be able to spend all my disposible income on books and cds like I do :-) -Rob ps: Speaking of mail order, I just got David Evan's _Tommy_Johnson_ book from Beasley books (Thanks Paul & Beth!). Read about a third of it last night, and I'm really enjoying it. A nice companion to _Big_Road_Blues_. I highly recommend both books, but good luck finding the Tommy Johnson one - it's out of print, and I don't think it was ever available on this continent... thank goodness for places like Beasley! ========================================================================= Date: Thu, 14 Dec 1995 14:14:00 GMT Reply-To: Patrik_Urbansson@online.idg.se From: Patrik Urbansson Organization: IDG Online, Stockholm, Sweden Subject: Re: Etta James Etta James "Rocks the House" is essential in every blues collection (IMHO). Recorded live 1963 with great sound. Listen to the first track "Something Got a Hold On Me" and you will understand why the record is called Etta James Rocks the House. Another favorite of mine is Irma Thomas "Down at the Muscle Shoals", recommended without hesitation. Patrik On Tue, 12 Dec 1995, Eugene Wan wrote: > I am looking for good CD's by Etta James and other female blues singers. > Can anyone recommend one? > ========================================================================= Date: Thu, 14 Dec 1995 09:36:47 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: Concern for JLH Comments: To: "J. Witteveen" You said: >>All that can be added to this piece of wisdom is that John Lee's music has a >>good beat...and you can dance to it! It's also great to listen to while >>coiffing a few cold ones with friends... >>Jim (hndful@uniserve.com) You mean "quaffing." Unless you are going to put the beer on your head. Ruth Parrish, former English major ========================================================================= Date: Thu, 14 Dec 1995 10:40:05 -0400 Reply-To: Mike Gilbert From: Mike Gilbert Subject: Cold Winter Music? One of my favorites is "Snowed In" off of Albert Collins' FROSTBITE. I can identify with trudgin' through snow when my car wouldn't start. Mike Gilbert gilbertm@fox.nstn.ca ========================================================================= Date: Thu, 14 Dec 1995 09:39:44 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: Saffire- The Uppity Blues Women benefit for Yank And speaking of "good female blues players," how could we possibly forget to mention Saffire? They're all excellent musicians. ______________________________ Reply Separator _________________________________ Subject: Saffire- The Uppity Blues Women benefit for Yank Author: "R.J. Bauman" at Internet Date: 12/13/95 7:26 PM Before my memory goes completely, I wanted to pass along a few notes on the benefit show given by Saffire - The Uppity Blues Women for Yank Rachell and the Blues Society of Indiana. Firstly, the venue was impressive. The World Mardis Gras, located on the enterta inment floor called "America Live" in the brand new Circle Centre Mall in downtown Indianapolis, is only a couple of blocks from the Slippery Noodle and has been featuring a good portion of quailty blues on it's schedule in it's first month. And if it isn't as intimate and storied as the Slippery Noodle Inn, it's got one thing SNI does not---- excellent food (from the Big Easy which shares it's space). There is a generously sized stage built into a corner and the room is large enoug h to hold bigger audiences comfortably. The music? It was even better than expected. Yank was highly energetic and played with greater confidence than I'd seen in the last year. Although he wa s fighting a cold, he appeared to really be enjoying himself. He was playing a brand new Gibson "Flat Iron" electric mandolin ("got it just for havin' my picture took") and really put it to a test, I'll tell you! He even insisted on playing a couple of extra numbers once the lights went down from his sceduled set And again, his "Steppin' Out Band" provided a terrific updated Chicago style backing. If anybody out there is looking for a great bass player who can sing like an angel (in the black gospel tradition) they would certainly be impressed with Sheena, Yank's grand-daughter. As for Saffire, well, they just killed as usual. Shame on me for forgetting the name of the bass/mandolin player, but she was every bit as uppity as Gaye and Ann!!! (yes, Meri, I got your greeting to Gaye and Ann and yes they returned them heartily!) They played several tunes from an up-coming CD and all were well recieved. My wife really loved them and we bought one of everything they had at their promotion table!! The turn out was good so I think we made out ok, but I don't know who's idea it was to funnel some of the proceeds from Yank back to the blues society. I thought that was a little tacky, but Lord knows for all the work the board members put in to try to stage a first class festival every year on a shoe string budget, they need all the help they can get. Happy Holidays!! RJ Bauman ========================================================================= Date: Thu, 14 Dec 1995 09:44:03 -0500 Reply-To: Bob vanArsdall From: Bob vanArsdall Subject: Re: Kenneth Rexroth???? Gary asked: > Caught the last 5 minutes of a radio show about KENNETH REXROTH(I >think that was his name!). The part that I heard had this guy reciting beat >poetry to a blues instrumental. Sounded a lot like B.B. King on the guitar >but I never did find out. Does anyone have any information about this >artist? Alive? Dead? CD's available? Have I even got the name right? Any >biographical information would be appreciated. Kenneth Rexroth was a poet in the Bay Area of California who became a sort of elder statesman for a lot of the Beats. He was older and a lot more traditional than Ginsburg, Corso, and Gary Snyder; many of his poems are based on translations. Where the Beats were really out on their own, Rexroth formed a link with the universities through his classical training and references. He died in the early 80's, if I remember correctly. City Lights Books has a number of his works still in print. I don't know of the show you're talking about, but the music/poetry combination was a staple of the SF area from the 50's on. There are CD's of Kerouac reading with jazz behind him, and a good number of Ferlinghetti and Ginsburg. Mostly, they were jazz backings; I'm not aware of many blues. Bob ========================================================================= Date: Thu, 14 Dec 1995 06:50:27 -0000 Reply-To: James Witteveen From: James Witteveen Subject: Re: Boogie Nation fracas >On a more personal note, I sincerely hope that every Blues-Ler would >regard information that only "the ancients" (whoever they are) and >AMARGI knows about, with a healthy dose of skepticism. If these >secrets are being "kept hidden from modern times because of it's >potential", then they probably should be kept hidden from Blues-L as >well. (In my opinion). I agree wholeheartedly with P.W. on this. If people really believe in this psychobabble, then buy a book by Deepak Chopra. All I know is that I love John Lee Hooker and his music, I couldn't care less what it does to my hypothalamus, and these conspiracy theories should maybe be kept on alt.theory.conspiracy (or whatever :-) ) I do know that if I play `The Motor City's Burning' really loud (and that's a great tune to crank up to high volume) my dog starts to howl, though... -Jim (hndful@uniserve.com) IMHO ========================================================================= Date: Thu, 14 Dec 1995 08:44:01 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Speaking of Otis After reading a Honey Piazza interview (older Blues Revue women issue) and she said Otis was the best there ever was and ever shall be. She then mentions Otis Spann Is The Blues, is THE blues piano recording and of course I've heard many people say that. So I put it on last night to refresh my memory and lawd, lawd, lawd it is extraordinary....Otis In The Dark is an encylopedia of blues piano, the other instrumental Great Northen Stomp is also incredible. Then add Jr. Lockwood singing on some tunes and playing behind Otis on the tunes Otis sings and you get the picture..... Someone was aking about piano blues CD's to get, well (IMAAPO) Otis Spann Is The Blues is the FIRST (probally should be the last so you will listen to the others some :-)) LW ========================================================================= Date: Thu, 14 Dec 1995 09:53:43 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: Boogie Nation respond to plea to get us off. Comments: To: Boogie Nation DEAR MR. HILLIER: I RESPECTFULLY SUGGEST YOU CONSIDER TARGETING YOUR AUDIENCE A LITTLE MORE EFFICIENTLY. FOR EXAMPLE, YOU COULD ADVERTISE THE AVAILABILITY OF YOUR INFORMATION AND HAVE PEOPLE E-MAIL YOU PRIVATELY TO GET IT. THAT WAY YOU AVOID INUNDATING THE LIST WITH POSTINGS. OR SIMPLY CONSOLIDATE YOUR POSTINGS INTO ONE AND POST IT PERIODICALLY. I THINK MOST PEOPLE ON THIS LIST WOULD AGREE IT'S NOT NECESSARY FOR YOU TO UNSUBSCRIBE. I THINK YOU JUST NEED TO FIND A MORE EFFICIENT WAY TO COMMUNICATE. Ruth Parrish, Problem-Solving Consultant to the Stars :) ______________________________ Reply Separator _________________________________ Subject: Re: Boogie Nation respond to plea to get us off. Author: Boogie Nation at Internet Date: 12/14/95 12:30 AM Dear Bob, We here at Boogie Nation are not trying to force our newsletter 'down your throats'. We thought that any John Lee Hooker lovers would be interested in reading at little about what the Boogie Man is up to. We are in close interaction with this Blues legend and we felt it would be a nice gesture to offer some 'insider' information on John Lee Hooker's present life. The reason why we posted a couple of our newsletter articles is because our writing is how we are telling his fans just what he's up to. If we could talk on the phone and chat about the things he is up to, then we would do this. The later is not possible of course so we try to encapsulate our experiences with John Lee Hooker through these articles. We didn't have to post these and we have never wanted to 'spam' this list as you mentioned. We've only been on this list for about ONE day. And more people are upset by our presence than welcoming the chance to learn about and interact with the originator of the Boogie. We also posted the couple articles to encourage discussion about this blues legend. I guess you would rather just listen to his music on your own rather than take this opportunity to understand or ask questions about what life is really like for John Lee. Starting a JLH-L sounds like a good idea Bob, but we are new to this and have don't know how to start a list. Since there are some who are welcoming us here, I would politely suggest that maybe you delete our posts when you see the sign of 'Boogie Nation' in the subject or e-mail address. If our new presence still seems to rock the boat (for some strange reason beyond my belief), then we will be happy to unsubscribe to this list as quickly as we got on it. Maybe I've got the whole idea of this Blues-L wrong. Best Wishes, Richard Hillier Boogie Nation ========================================================================= Date: Thu, 14 Dec 1995 09:58:48 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: Stevie Ray Vaughn Comments: To: John Wigmore I agree, all of SRV's CDs are good. Also there is a SRV e-mail list but I don't remember where it is. If anyone knows the Internet address for the SRV e-mail list, would you please send it to John. ______________________________ Reply Separator _________________________________ Subject: Re: Stevie Ray Vaughn Author: John Wigmore at Internet Date: 12/14/95 8:44 AM In article <199512140336.MAA11207@icis.shoin.ac.jp>, "R.St. Pierre" wrote: > Hey Bluesters, > > What are your reccos for Stievie Ray Vaughn? I'm > making an effort to fill in some of the gaps in > my blues CD collection and currently have none > of his. > > The Saint > saint@shoin.ac.jp I suggest you get all of them. They all represent different times in his life. Sony has just released Stevie's greatest hits. Try that out first. The linear notes will tell you which album the songs came from. ========================================================================= Date: Thu, 14 Dec 1995 10:00:59 -0500 Reply-To: Michael Case From: Michael Case Organization: Downs Rachlin & Martin Subject: Boogie Notion delete delete delete delete Look, I LOVE John Lee Hooker's music, but I'll put my oar in with many others that promotional material is inappropriate for this list. I'd rather know what JLH's favorite color is, or how he feels about playing with this or that artist than being swamped with this God-raving stuff. If JLH is into this mystical stuff, I'd rather read a quote from him on his beliefs about the power of music. If you're getting all this flak after one day, maybe you should sit back and lurk the list awhile to get the feel for it. I'm sure there's a lot of questions y'all could answer - why don't you wait until they're asked? Here's the first question: does *John Lee Hooker* believe that a loud electric guitar riff vibrating the cosmos has greater healing power than, say, a D6 bulldozer pushing 10 cubic yards of dirt? M. Case ========================================================================= Date: Thu, 14 Dec 1995 07:07:02 -0800 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Re: Concern for JLH Comments: To: bit-listserv-blues-l@cs.washington.edu In-Reply-To: <95Dec13.160149pst.30752-1+37@haven.uniserve.com> On Wed, 13 Dec 1995, J. Witteveen wrote: > coiffing a few cold ones with friends... ^^^^^^^^ Is this the word for what they do when they make a little foam shamrock in the head of my guiness? A (quaffing coffee at the moment) > > Jim (hndful@uniserve.com) > > Boom Boom Boom Boom > > ========================================================================= Date: Thu, 14 Dec 1995 15:10:52 GMT Reply-To: Steven Hirsch From: Steven Hirsch Organization: National Agricultural Library Subject: Re: Sonny Boy in Cinema Comments: To: bit-listserv-blues-l@uunet.uu.net In article <4afjkq$8h5@mn5.swip.net>, Falkbergsskolan wrote: >> >Sonny Boy Williamson No 2, made a film with at least three songs >while he was on tour in Sweden with the American Folk Blues Festival >1962. He played with a Swedish bass-player called Sture Nordin. The >film is very good, and is owned by a Swedish record company called >Sonet. The film was done by Sam Charters. >Pelle Leuf, Sweden. There's a new video biography of the Band that features live film of Sonny Boy. It looked like it could have come from this film. I haven't had time to check the credits yet to see where the footage came from. Steve Hirsch ========================================================================= Date: Thu, 14 Dec 1995 10:10:56 EST Reply-To: "Eric C. Shoaf" From: "Eric C. Shoaf" Subject: ATTN: John Hammond Collectors When I wrote about the "Little Big Man" soundtrack, on which JH does all the solo acoustic stuff, several of you asked me where I got it and some didn't believe it existed. There is a copy for sale in the latest Goldmine mag- mine magazine. Private email and I'll give you the guy's address. Eric_Shoaf@Brown.edu ========================================================================= Date: Thu, 14 Dec 1995 10:18:40 -0500 Reply-To: PrePhoto From: PrePhoto Organization: America Online, Inc. (1-800-827-6364) Subject: Re: The Freebird Phenom Comments: To: bit-listserv-blues-l@uunet.uu.net If anybody ever runs into Rev. Billy C. Wirtz, ask him if he still does *Stairway to Freebird* Hearing it will certainly put a new slant on your day. DP ========================================================================= Date: Thu, 14 Dec 1995 10:23:55 -0500 Reply-To: Michael Case From: Michael Case Organization: Downs Rachlin & Martin Subject: Best Use of a Beer Ruth writes: "You mean 'quaffing'. Unless you are going to put the beer on your head." I think he means coiffing. It invites the cosmic rays of pure boogie into the mind and heart as the inviolable juices commune with your head, instigating the much-sought-after "head buzz" known only to the ancients, pushing their shopping carts and howling at the passing traffic... M. Case ========================================================================= Date: Thu, 14 Dec 1995 10:32:26 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Doors Blues? Confused. Comments: To: mpagregg@ARIES.DPI.TAS.GOV.AU Andrew, Hold on now. Now I'm confused. I'm the one who started this request thread for who wrote the Doors' "Roadhouse Blues", since my cd liner notes have no credits on them. Anyway, Ruth P. and I bandied-about the idea that it might be a re-hashed version of a Robert Johnson tune, but a quick peek into the RJ collection showed it's not his. LOTS of people responded that the credits on other albums say Doors/Morrison. **AND***we have it from the horse's mouth, that horse being Lonnie Mack, that it IS INDEED a Morrison original. That seemed like case-closed to me. Okay, so why do you say it's a Willie Dixon tune? What album is it on? I'm really curious now. Thanks! Riffin Rick (((( oo-) /- Well, it's snowing in New England all of the telephone lines are down. ;) F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 14 Dec 1995 10:37:38 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Boogie Chillun, Earth sounds, granola crunch, WHAT? (no blues) ;) if a planet farts in the universe but there's no one around ......ummmmmmmmm... ..does it still smell? oy! Riffin Rick (sorry) F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 14 Dec 1995 10:46:59 -0500 Reply-To: Wayne Ross From: Wayne Ross Subject: Re: Plea to the listowner - Alan Rollins Comments: To: bob unger In-Reply-To: <199512140301.WAA05572@sun.bnkst.edu> Yes! Yes! Yes! On Wed, 13 Dec 1995, bob unger wrote: > Mr. Rollins.... > I might have re-read the blues-l faq, but it seems to me the the editor's > of Boogie Nation should not be FORCING their newsletter on us. There > are well over 1,000 people on this list and I'm sure there are some who > are interested in what Boogie Nation has to say, but I'll bet every > f***ing thing I own that the majority do not want this rhetoric forced on > our eyeballs. Blues-l is, I believe, a forum to *DISCUSS* all thing's > relevant to blues music. A newsletter about an individual artist is and > his accomplishments is all well and good...but it should be SUBSCRIBED to! > It should not be FORCE-READ to everybody on the list. I know, I know... > if you dont want to read it, hit the delete key...well, Jesus F***ing Christ! > does that mean we can all start a newsletter about our favorite artist and > spam the list with it???? To me, Boogie Nation is spamming Blues-l..... > > Mr. Hillier, I am not attacking you and your idea....I am saying that your > idea doesn't seem to fit the guidelines of blues-l. I think you would > find more satisfied customers if you started JLH-L. > > BU > bob@sun.bnkst.edu > ========================================================================= Date: Thu, 14 Dec 1995 10:39:57 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: Best Use of a Beer Comments: To: Michael Case Mike -- I can't understand that Boogie Nation stuff when I'm SOBER! Ruth ______________________________ Reply Separator _________________________________ Subject: Best Use of a Beer Author: Michael Case at Internet Date: 12/14/95 10:23 AM Ruth writes: "You mean 'quaffing'. Unless you are going to put the beer on your head." I think he means coiffing. It invites the cosmic rays of pure boogie into the mind and heart as the inviolable juices commune with your head, instigating the much-sought-after "head buzz" known only to the ancients, pushing their shopping carts and howling at the passing traffic... M. Case ========================================================================= Date: Thu, 14 Dec 1995 10:58:52 -0500 Reply-To: Philip and/or Carol Decker From: Philip and/or Carol Decker Organization: Net Sarasota Subject: Re: Stevie Ray Vaughn Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199512140336.MAA11207@icis.shoin.ac.jp> "R.St. Pierre" writes: >What are your reccos for Stievie Ray Vaughn? I'm >making an effort to fill in some of the gaps in >my blues CD collection and currently have none >of his. Texas Flood Couldn't Stand the Weather In Step PJD ========================================================================= Date: Thu, 14 Dec 1995 10:21:51 -0600 Reply-To: Storm Bailey From: Storm Bailey Subject: Re: Boogie Chillun, Earth sounds, granola crunch, WHAT? (no blues) ;) > >Riffin Rick > >(sorry) > Rick, most folks recognize your reference to the philosophy of Bishop Berkeley, who said that 'to be is to be perceived' leading to all sorts of talk about lonely trees falling down without a sound if no one's around... Fewer people know that, in addition to being an influential philosopher, Berkeley tried to make a go at selling _tarwater_ for its medicinal value. I suppose this shows that being pretty good at epistemology doesn't make one an expert on patent medicine, any more than being pretty good at the boogie.... On the other hand, maybe if I drank more tarwater I'd have as much hair on top of my head as I have hanging down my back. Storm -- going for that Ben Franklin coiff ========================================================================= Date: Thu, 14 Dec 1995 11:12:38 -0500 Reply-To: Michael Case From: Michael Case Organization: Downs Rachlin & Martin Subject: John Lee Hooker Review This from the Rocklist (server: ROCKLIST@KENTVM.KENT.EDU) - someone's picks of the best of '95: "John Lee Hooker. _Alternative Boogie: Early Studio Recordings 1948-1952_. Capitol. While Miles Davis was busy making Cool Jazz recordings at New York's trendy Birdland club (see above) John Lee Hooker was hanging out at United Sound studio in Detroit laying down some of the nastiest, most compelling boogie and blues ever recorded. John Lee Hooker is just plain evil. A good place to go looking for where Billy Gibbons, Eric Clapton, Stevie Ray Vaughn and even Jimi Hendrix picked up their 'trademark' licks." "Just plain evil", eh? Case ========================================================================= Date: Thu, 14 Dec 1995 11:18:13 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Cat Music My boss is into feline metaphors ("there's more than one way to skin a cat," "that client is a different breed of cat," etc.), and I would like to make a tape of cat songs for her. Anyone have any recommendations on blues songs containing references to cats? I would also like to post this questions to the general music list, so I would appreciate it if someone would send me the address for that list. Thanks, Ruth ========================================================================= Date: Thu, 14 Dec 1995 11:22:34 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Name for a band Woop there it is! Who was it recently looking for a good name for his band? I got one, and it ties together a couple of loose screws... (ahem)..I' mean.. threads.... "The Ancients" I can see the add now Come see "THE ANCIENTS" Show time and location known only to them. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 14 Dec 1995 08:25:52 -0800 Reply-To: Karen Johnson From: Karen Johnson Subject: Johnny Guitar Watson Greetings, Recently, Richard Shurman brought up the topic of Johnny Guitar Watson. I saw him recently at the Henry J. Kaiser Convention Center in Oakland California. He was part of a show called Heavyweights of the Blues with Little Milton, Bobby Bland and Clarence Carter. It was a wonderful evening overall and Johnny Guitar Watson is a great entertainer with great style (fine looking white suit and that Gangster of Love hat). He really rocked the house and had many of the ladies in the audience clamoring at the edge of the stage. It was a huge house too (probably not really the ideal blues venue) capable of holding 7000. The show wasn't sold out but it was more that half full and the crowd was at least 95% African American (which I mention to indicate that there is still a strong market for blues in this community--a concept which has received some speculation in the past. Seeing him in person was a real fulfillment of a goal for me (as much as I love Bobby and Milton I have seen them both several times) and I was not disappointed. Clearly Johnny Guitar Watson has influenced many other musicians who are revered by people on this list. I strongly recommend that you take or make the opportunity to see him and support his work. Regrettably, I missed Little Milton that evening. He opened the show and we were stuck in some unexpected traffic. Bobby Bland was his usual reliable incomparable self. Despite recent reports of health problems, he sure sounded good to me. He did utilize a stool much of the time though. The other surprise of the night was Clarence Carter. He closed the show and I had no idea how enormously popular he is. The audience was on their feet from the time he came on stage. He has some very bawdy lyrics and patter. I had a little difficulty trying to repeat and explain some of things that caused enormous crowd reaction to one of my companions for whom English is not a first language. Carter has been a prolific song writer and has a real kind of "country" (not meant to be pejorative) demeanor. I don't know if this show is on the road, but if it comes to your town, by all means go. KJ in SF ========================================================================= Date: Thu, 14 Dec 1995 17:04:02 +0000 Reply-To: rof From: rof Subject: Re: Cat Music Comments: To: PARRISHR In-Reply-To: Your message of "Thu, 14 Dec 1995 11:18:13 EST." <0d04e810@vitro.com> In message <0d04e810@vitro.com>, PARRISHR writes: > My boss is into feline metaphors ("there's more than one way to skin a > cat," "that client is a different breed of cat," etc.), and I would > like to make a tape of cat songs for her. Anyone have any > recommendations on blues songs containing references to cats? I would > also like to post this questions to the general music list, so I would > appreciate it if someone would send me the address for that list. > Thanks, Ruth Hi Ruth, Starting off how about Bo Carter's "Pussy Cat Blues" ========================================================================= Date: Thu, 14 Dec 1995 12:01:54 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Cat Music Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, PARRISHR/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=PARRISHR#a#VITRO#f#COM@s1boca.corp.wrgrace.com * My boss is into feline metaphors ("there's more than one way to skin a * cat," "that client is a different breed of cat," etc.), and I would * like to make a tape of cat songs for her. Anyone have any * recommendations on blues songs containing references to cats? Carl Perkins - Put Your Cat Clothes On (The Nighthawks do a nice cover on their latest live album) Joe Hill Louis - Tiger Man (and check out Kim Wilson's version on his first solo album) Johnny Copeland? - Black Cat Bone Charlie Musselwhite - Catwalk (although it's an instrumental) Little Charlie & The Nightcats (appropriate band!) - Eyes Like a Cat Jelly Roll Morton - Tiger Rag Stray Cats - Stray Cat Strut ========================================================================= Date: Thu, 14 Dec 1995 12:33:45 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Re: Cat Music Comments: To: PARRISHR@vitro.com In-Reply-To: <0d04e810@vitro.com> from "PARRISHR" at Dec 14, 95 11:18:13 am In another time and place, PARRISHR said: > > My boss is into feline metaphors ("there's more than one way to skin a > cat," "that client is a different breed of cat," etc.), and I would > like to make a tape of cat songs for her. Anyone have any > recommendations on blues songs containing references to cats? I would Some of these are about cats and some are about swing cats, take a look: Title Group -------------------- -------------------- At The Swing Cats Jordan, Louis Ball Bearcat Thomas, Rufus Cat Music Bartholomew, Dave Cat Squirrel Dr Ross Cat You Been Messin Johnson, Lonnie Around Copy Cat Cadillacs Mud Cat's Blues Sugar Ray One Black Cat Jackson, John Pussy Cat Rag Old South Quartet Scat You Cats Lee, Julia That Cat Is High Ink Spots There's A Dead Cat Harris, Peppermint On The Line Three Cool Cats Coasters Three Ways To Skin A Clearwater, Eddy Cat We The Cats Shall Calloway, Cab Hep You ----------------------------------------------------------------------------- My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Thu, 14 Dec 1995 12:46:05 EST Reply-To: Lesley Hooton From: Lesley Hooton Subject: Re: Cat Music Hmmm... I don't know how easy it would be to find nowadays, but the soundtrack album for "The Aristocats" (a Disney animated film from I think 1970) has 8 cat songs. Some of them are pretty cheesy, but "Everybody Wants To Be A Cat" (because a cat's the only cat / who knows where it's at....) is pretty good. And Louis Prima does one number ("That Darn Cat"). Perhaps a little closer to the jazz side, but okay. Now only to track it down.... good luck! Brent Hooton ========================================================================= Date: Thu, 14 Dec 1995 12:59:20 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Cat Music Comments: To: PARRISHR@VITRO.COM On 14 Dec 95, PARRISHR had this to say... > My boss is into feline metaphors ("there's more than one way to skin a > cat," "that client is a different breed of cat," etc.), and I would > like to make a tape of cat songs for her. Anyone have any > recommendations on blues songs containing references to cats? I would > also like to post this questions to the general music list, so I would > appreciate it if someone would send me the address for that list. > Thanks, Ruth First one that comes to mind is "I Ain't Superstitious" written by Willie Dixon, recorded by Howlin' Wolf... "Well, I ain't superstitious, but a black cat just crossed my trail"... repeated several times in it. Black Cat Bone is another one. "I believe my baby's got a Black Cat Bone, everything I try seems to turn out wrong" Coolest version is on "Showdown" produced by our own Dick Shurman, on Alligator with Robert Cray, Albert Collins, and Johnny Copeland Then there's Alley Cat..... Oh my gosh...am I playing a wedding? P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 14 Dec 1995 18:03:07 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Re: ATTN: John Hammond Collectors Comments: To: bit-listserv-blues-l@uunet.uu.net I'vew had this album for years & you should know that it's mostly talking (not by Hammond) with so little music that it's not worth the price. The music is really only in the brackgroud. It's not like a RY COODER soundtrack eRIC In article 95121410124320@BROWNVM.BROWN.EDU, "Eric C. Shoaf" writes: > When I wrote about the "Little Big Man" soundtrack, on which JH does all the > solo acoustic stuff, several of you asked me where I got it and some didn't > believe it existed. There is a copy for sale in the latest Goldmine mag- > mine magazine. Private email and I'll give you the guy's address. > > > Eric_Shoaf@Brown.edu ========================================================================= Date: Thu, 14 Dec 1995 18:17:52 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Re: Robert Shelton Dies (limited blues content Comments: To: bit-listserv-blues-l@uunet.uu.net Thanks you Dick for saying it so well. For the record, ROBERT SHELTON (born Robert Shapiro) was born June 28, 1926, NYC and died just 3 days ago, on Monday, December 11, London. He was 69. In the early 60s, if you were interested in music other than Bobby Vee etc., you read Robert Shelton's articles in NYTimes. eRIC (THE DATE MAN) ========================================================================= Date: Thu, 14 Dec 1995 13:18:27 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: Best Use of a Beer Just for the record. I believe that 'quaffing' refers to what a cat does with a fur ball. As in "my cat quaffed up a fur ball. Beef Stew ******************************************************* > Mike -- I can't understand that Boogie Nation stuff when I'm SOBER! > Ruth > > >______________________________ Reply Separator _________________________________ >Subject: Best Use of a Beer >Author: Michael Case at Internet >Date: 12/14/95 10:23 AM > > >Ruth writes: > >"You mean 'quaffing'. Unless you are going to put the beer on your head." > >I think he means coiffing. It invites the cosmic rays of pure boogie into >the mind and heart as the inviolable juices commune with your head, >instigating the much-sought-after "head buzz" known only to the ancients, >pushing their shopping carts and howling at the passing traffic... > >M. Case > > ========================================================================= Date: Thu, 14 Dec 1995 10:29:52 -0700 Reply-To: David Orange From: David Orange Organization: UNLV Biological Sciences Subject: Re: Stevie Ray Vaughn (long) Comments: To: bit-listserv-blues-l@uunet.uu.net In article , John Wigmore wrote: > In article <199512140336.MAA11207@icis.shoin.ac.jp>, "R.St. Pierre" > wrote: > > > Hey Bluesters, > > > > What are your reccos for Stievie Ray Vaughn? I'm > > making an effort to fill in some of the gaps in > > my blues CD collection and currently have none > > of his. > > > > The Saint > > saint@shoin.ac.jp > > > I suggest you get all of them. They all represent different times in his > life. Sony has just released Stevie's greatest hits. Try that out first. > The linear notes will tell you which album the songs came from. Not bad, but a post is cheaper than spending 100 bucks on a bunch of CDs off the bat. Therefore, I'd like to add some background as to style and timing and my own very humble personal opinions (commercial only): 1. Texas Flood. A 'quickie' cut in about a week when the Bowie gig fell through. SRV had played on Bowie's 'Lets Dance' and was to tour. SRV wanted to open w/ Double Trouble. Bowie's managers didn't want an opening act to interfere w/ the complex staging used on the tour. As for TF itself: Has a 'live' feel to it, gets most of the early trademark tunes on vinyl. My faves: The smoldering fuse buildup of 'Texas Flood', the hell-for-leather of 'Rude Mood', the soulfullness of 'Pride and Joy', the lyrical instrumental 'Lenny' 2. Couldn't Stand the Weather: A much more polished album than TF. Still the soul comes through. Again, my faves: 'Cold Shot' (Then I've always been a *huge* W.C. Clark fan), the title cut, the funky rhythm of 'Stan's Swang' (T-Bird's Fran Christina guesting in, I believe). Of note is the Hendrix cover of 'Voodo Chile'. Everyone knew that SRV would eventually put a Hendrix tune on vinyl, question is which one. 'Red House', too traditional. 'Little Wing': SRV did this well, but the reference could just as well be Clapton. 'Voodoo Chile': Completely over the top, that noone would *dream* of covering. Covered endlessly since SRV's version. SRV's version worked, especially live, w/ a stack of amps. 3. Soul to Soul: Not my fave, folks. Horns added to the mix. Reese Wynans on keys. SRV took some chances here, and formulated the basis of his 'later' sound. Still, the mix is poor, and Tommy and Chris get buried in the mix. So I respect the direction, but (again very much IMHO) can't really recommend it as a starter album 4. Live Alive: Good material, great recording. Problem: Doesn't sound 'live' I mean (IMHO, IMHO) Texas Flood sounds more live/over the top to me. Again, circumstances. SRV's drug problems possibly getting out of hand here. All he could do to stay focused. Also, his dad, was dying of cancer. So the album turned more into a tribute to Big Jim than a real celebration of SRV's blues. Still, the version of 'Willie the Wimp' (By Bill Carter) is nice. My least favorite SRV. Then again, I was lucky to see SRV and DT in concert venues large and small, so I have the memories and don't need the vinyl. Your tastes may vary. 5. In Step: A triumphant comeback. A little preachy, but good material and the soul, passion come through. Good recording. No particular favorites, but overall an excellent job. 6. Sky is Crying: A compilation of good cuts that never quite made it. Definitely good product, *not* outtakes and half-assed demos. These have more of a 'live in the studio' feel than the other albums (especially when compared to 'live alive'). Not the best starter, but worthwhile. So what's the upshot here. Well, I'm not a critic, I don't know SRV's tunings. I'm a fan, who was fortunate to follow SRV before and after the hype. If I had to pick a starter album, I'd go with either Texas Flood or Couldn't Stand the Weather, but could also recommend In Step. I realize this is a bit long, but I thought I'd offer more feedback than 'get 'em all', justified as this advice actually is. Also, I don't think artistic vision is reduced to a sampler approach and (again IMHO) regard recommending samplers as a bit of a cop-out. Regards, David -- ->:) David Orange Send Email to: orange@nevada.edu ******************** ========================================================================= Date: Thu, 14 Dec 1995 13:40:20 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: COMMERCIAL RADIO BLUES HOSTS If you are one of the chosen few that hosts a Blues show on a Commercial radio station, I would like to hear from you, private e-mail, please. Who What Where When How Long Wattage Market size Sponsors Future Thanks, Beef Stew WCCCC Radio Hartford, CT 860-233-4426 personal e-mail: bfstew@neca.com station e-mail: fm107wccc@aol.com ************************************************ ========================================================================= Date: Thu, 14 Dec 1995 18:51:56 GMT Reply-To: David Goldstein From: David Goldstein Organization: IPOF Subject: CD's to Trade Comments: To: bit-listserv-blues-l@uunet.uu.net Want to trade the following: SRV In Step SRV Family Style Joanna Connor Believe It Charles "Gatemouth" Brown San Antonio BallBuster The Best of Slim Harpo Little Jimmy King & The Memphis Soul Survivors Want: Lil Son Jackson J.B. Lenoir Mississippi John Hurt David Malone JL Burnside Terry & McGhee or comparable stuff ========================================================================= Date: Thu, 14 Dec 1995 12:39:40 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Eric LeBlanc's Blues Dates - December 14th >JONES, LINDLEY "SPIKE" (:) b. 1911-1214, LONG BEACH, CA Certainly not blues, but may have been the funniest musician ever: if you get a chance, look at one of the old "soundies" of him, or films (kinescopes, I would guess) of his TV show - witty lyric parodies, slapstick, funny noises - a true genius, IMO. David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Thu, 14 Dec 1995 14:01:53 -0500 Reply-To: MAGross@AOL.COM From: "Michael A. Gross" Subject: Re: Cat Music Comments: To: PARRISHR@vitro.com Ruth wrote: > My boss is into feline metaphors ("there's more than > one way to skin a cat," "that client is a different > breed of cat," etc.) . . . . and I would > like to make a tape of cat songs for her. "The Ballad of Cat Ballou" "(I Cat Get No) Satisfaction" ========================================================================= Date: Thu, 14 Dec 1995 14:12:07 -0500 Reply-To: Michael Case From: Michael Case Organization: Downs Rachlin & Martin Subject: Spike Jones on the Box I can't stand the way he sings, but I love to hear him talk ========================================================================= Date: Thu, 14 Dec 1995 19:25:35 GMT Reply-To: blueslvr@sirius.com From: "Roy W. Forgy" Subject: Re: Best Use of a Beer Comments: To: Stew Crossen In-Reply-To: <199512141818.NAA14635@orion.neca.com> On Thu, 14 Dec 1995 13:18:27 -0500, you wrote: ]:->Just for the record. ]:-> ]:->I believe that 'quaffing' refers to what a cat does with a fur ball. Actually Webster agrees with Mike, Quaff= To drink Heartily ]:-> ]:->As in "my cat quaffed up a fur ball. ]:-> ]:->Beef Stew ]:->******************************************************* ]:->> Mike -- I can't understand that Boogie Nation stuff when I'm SOBER! ]:->> Ruth ]:->> ]:->> ]:->>______________________________ Reply Separator ]:->_________________________________ ]:->>Subject: Best Use of a Beer ]:->>Author: Michael Case at Internet ]:->>Date: 12/14/95 10:23 AM ]:->> ]:->> ]:->>Ruth writes: ]:->> ]:->>"You mean 'quaffing'. Unless you are going to put the beer on your head." ]:->> ]:->>I think he means coiffing. It invites the cosmic rays of pure boogie into ]:->>the mind and heart as the inviolable juices commune with your head, ]:->>instigating the much-sought-after "head buzz" known only to the ancients, ]:->>pushing their shopping carts and howling at the passing traffic... ]:->> ]:->>M. Case ]:->> ]:->> ]:-> Roy W. Forgy (blueslvr@sirius.com) Pacifica, CA Please note the new E-Mail address. ========================================================================= Date: Thu, 14 Dec 1995 14:25:29 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: Best Use of a Beer Comments: To: Stew Crossen Stew, you're right. I should have said, "unless you are going to pour it on your CAT's head" Ruth ______________________________ Reply Separator _________________________________ Subject: Re: Best Use of a Beer Author: Stew Crossen at Internet Date: 12/14/95 1:18 PM Just for the record. I believe that 'quaffing' refers to what a cat does with a fur ball. As in "my cat quaffed up a fur ball. Beef Stew ******************************************************* > Mike -- I can't understand that Boogie Nation stuff when I'm SOBER! > Ruth > > >______________________________ Reply Separator _________________________________ >Subject: Best Use of a Beer >Author: Michael Case at Internet >Date: 12/14/95 10:23 AM > > >Ruth writes: > >"You mean 'quaffing'. Unless you are going to put the beer on your head." > >I think he means coiffing. It invites the cosmic rays of pure boogie into >the mind and heart as the inviolable juices commune with your head, >instigating the much-sought-after "head buzz" known only to the ancients, >pushing their shopping carts and howling at the passing traffic... > >M. Case > > ========================================================================= Date: Thu, 14 Dec 1995 14:40:33 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: Best Use of a Beer Um, 'scuse me, Roy, but I think you're confused. I was the one who first publicly pointed out that the correct grammatical term was "quaff." Michael was the one who used "coiff." However, I think it is safe to say "quaff" can have more than one meaning. Our half-Persian cat has quaffed up many a furball in his day. So next time, Roy, take better notes, glue two John Lee Hooker CDs to your head and call me in the morning :) Ruth ______________________________ Reply Separator _________________________________ Subject: Re: Best Use of a Beer Author: "Roy W. Forgy" at Internet Date: 12/14/95 7:25 PM On Thu, 14 Dec 1995 13:18:27 -0500, you wrote: ]:->Just for the record. ]:-> ]:->I believe that 'quaffing' refers to what a cat does with a fur ball. Actually Webster agrees with Mike, Quaff= To drink Heartily ]:-> ]:->As in "my cat quaffed up a fur ball. ]:-> ]:->Beef Stew ]:->******************************************************* ]:->> Mike -- I can't understand that Boogie Nation stuff when I'm SOBER! ]:->> Ruth ]:->> ]:->> ]:->>______________________________ Reply Separator ]:->_________________________________ ]:->>Subject: Best Use of a Beer ]:->>Author: Michael Case at Internet ]:->>Date: 12/14/95 10:23 AM ]:->> ]:->> ]:->>Ruth writes: ]:->> ]:->>"You mean 'quaffing'. Unless you are going to put the beer on your head." ]:->> ]:->>I think he means coiffing. It invites the cosmic rays of pure boogie into ]:->>the mind and heart as the inviolable juices commune with your head, ]:->>instigating the much-sought-after "head buzz" known only to the ancients, ]:->>pushing their shopping carts and howling at the passing traffic... ]:->> ]:->>M. Case ]:->> ]:->> ]:-> Roy W. Forgy (blueslvr@sirius.com) Pacifica, CA Please note the new E-Mail address. ========================================================================= Date: Thu, 14 Dec 1995 13:06:35 +0000 Reply-To: boogienation@earthlink.net Comments: Authenticated sender is From: Boogie Nation Subject: John Lee Hooker Pizza Did you know that John Lee Hooker has a pizza named after him? It's called the 'Boogie Man Pizza' and he personally commissioned a local Long Beach, CA to carry his name on their vegetarian pizza. We won't tell you the name of the restaurant since we will get flamed for 'making a plug'. Here is how it came to be in a nutshell: Since I work for Mr. Hooker, he often sends me out to grab him some food to eat. Usually it's something to snack on since he has his own chef that takes care of his meals. Last summer '95 he frequently had a craving for pizza and so I would run out to the nearby family owned pizza restaurant to fetch him is favorite vegetarian personal size pizza (he is not a vegetartian but he likes their vegge pizza). It didn't take long for the restaurant owner to find out that John Lee Hooker himself was ordering his pizza. The owner happens to be a big fan so I told him that he could meet John Lee if he wanted to. A few weeks later when Mr. Hooker was craving another pizza, the owner delivered the pizza himself and met the Hook. The owner jokingly mentioned calling it the 'Boogie Man Pizza' and John Lee actually thought it was a nice idea. Mr. Hooker does not receive any money for this nor never will (the restaurant doesn't even advertise the fact of their star-status slices). It's just a little personal thing he did and bring up conversation at the restaurant of usually "Yeah I heard John Lee Hooker lived in this city." Richard ========================================================================= Date: Thu, 14 Dec 1995 13:06:35 +0000 Reply-To: boogienation@earthlink.net Comments: Authenticated sender is From: Boogie Nation Subject: John Lee Hooker Touring Comments: To: SOO3713@alpha.CC.OBERLIN.EDU > I'm interested in your continues presence on this list. Thouhg I've very > sceptible about much of the things you have said in the earticle, I am > a fan of JLH and wish to have an oppurtunity to hear about him. > Also, as a very new (and realativle young) blues fan I have never had > the oppurtunity to see a legend in concert and any info you could > provide that would help me is much appreciated. Actually I have seen > Gatemouth Brown and AC Reed who are somewhat legenedary. > > Thanks > Owen Dear Owen, Mr. Hooker has now officially retired from touring. He still does the odd appearance here and there especially for a worthwhile benefit (however he tends to stick to his home state of California). We will let you know if he does plan to appear in your city or if he decides to start touring again. Mr. Hooker has certainly not retired from writing music though. And he speaks of a new CD plan in the near future. He has so many unused cuts or songs from he previous 'Chill Out' sessions (and from earlier) and he will probably a couple with a new line up. These unused ('sitting on the shelf') songs are great; I have heard many of them as well has had the opportunity to be there during the recording of some. Even though this is not about touring...recently his music has appeared on the FOX Network show 'Strange Luck'. One episode played "Chill Out" in its entirety and the previous show before that played a few minutes of "Mr. Lucky". John Lee also did a Pepsi commercial that is now being aired in the NorthWest US. Boogie Nation will be writing an article about this shoot at Paramount Studios since we drove the Boogie Man there. We will post it later on this Blues-L. Richard H. ========================================================================= Date: Thu, 14 Dec 1995 15:07:32 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: A pioneer musician . . . Some of you may have skipped right over this one in today's listings from eRIC: >>>BAILEY, DEFORD (hca) b. 1899-1214, >>>BELLWOOD, TN He was the first "Negro" to take the stage at the Grand Old Opry and he played harmonica behind dozens of country music legends for many years. Because of racism, he was never recognized with official Opry membership status during his lifetime but Deford Bailey is now a member of the Country Music Hall of Fame. He was a genuine pioneer in his field and should be recognized for his accomplishments. Dick Waterman ========================================================================= Date: Thu, 14 Dec 1995 10:49:00 -0500 Reply-To: Steven H Bard +1 +1 201 386 7384 From: Steven H Bard +1 +1 201 386 7384 Subject: Mississippi John Hurt Question Hi Folks, I recently found a MJH CD called "In Concert" on Magnum Music (CDBM-083). It lists the recording date as 1965 at Oberlin (sp?) College. I also have "The Best of MJH" on Vanguard which was also recorded in 1965 at Oberlin College. There are about 10 (out of 21) songs that overlap both CDs but the timings are different (albeit only about 10 to 20 seconds in most cases). Does anyone know if these are recordings from two different dates or two shows on the same date or even, from the same show? Thanks for your help. Regards, Steve Bard shb@fuwutai.att.com BTW, I enjoy yet another version of "Please Come Home For Christmas" by the Insight. The Insight had Johnny and Edgar Winter as members; they recorded this version in 1965 (I think). ========================================================================= Date: Thu, 14 Dec 1995 13:20:49 +0000 Reply-To: boogienation@earthlink.net Comments: Authenticated sender is From: Boogie Nation Subject: Boogie Nation Muddy Water Search Comments: To: jyusko@AWS.COM > Hi there everyone. I'm looking for an album for my father who swears up > and down that he at one time owned it, someting to the effect of > "Electric Mud". I've checked the computer listing at the record stores > and found nothing. Maybe it's an import? Any ideas? > > Thanks, > Boogie Nation tried to check this out for you. "Electric Mud" was released a few years ago on the 'Charlie' label in Europe but it was discontinued because MCA would not bring it into the US. Therefore it is not available in the US (as far as we know). We have many contacts worldwide and I will let you know if we dig up a copy of it for you. Maybe somebody has some better info that would help We have the address for Charlie somewhere here...we'll try to dig it up from our files. Richard H. Boogie Nation ========================================================================= Date: Thu, 14 Dec 1995 15:12:15 -0500 Reply-To: Sanjay Rajan From: Sanjay Rajan Subject: COOOOL.... First, I had the "Boogie Nation" Blues..... Now, I have the "Quaffing" Blues......... Gee, I am getting my fill of the BLUES.... ;) ;) ;) ;) ;) ;) +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-($)^($)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ Surrealism ? I AM Surrealism - Salvador Dali +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Thu, 14 Dec 1995 15:18:15 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0424 From: "DUTTWEILER.J" Subject: Wolf Records Comments: To: bsco@PANIX.COM Date: Thursday, 14 December 1995 3:18pm ET To: GO-MAIN.BSCO@DOASMAIN.SNADS, Internet From: DUTTWEILER.J@GOMAIL Subject: Wolf Records In-Reply-To: The letter of Wednesday, 13 December 1995 4:02pm ET Do you, or anyone on the list, have a recommendation for the best source for obtaining Wolf releases at a "reasonable" price. The places I've talked to don't carry their releases as a matter of course and want to charge a fee for special ordering. There are several Wolf releases I'm interested in (e.g. U. P. Wilson and their Magic Slim catalog), but have been unable to locate a reasonable outlet as yet. Any help out there? Jon (the UN-"Wolf"man) Duttweiler ========================================================================= Date: Thu, 14 Dec 1995 14:26:47 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Dear Boogie Nation How is Archie and Tobias Henderson doing...aka Bigtime. Are they still together and touring. Tobias was at one time a blues-eller, before going on tour with Archie. Just curious how "Nephew Hook" and Tobias are doing. LW ========================================================================= Date: Thu, 14 Dec 1995 15:32:34 -0500 Reply-To: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA From: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA Subject: Re: Atlantic Blues: Piano I'd agree that the styles are not current (it is, after all, a compilation of recordings of considerable historic and musical interest from the last 40 or 50 years) but I can't imagine any sensible musician thinking of Papa Yancey, Little Brother Montgomery, Meade Lux and Fess as "rudimentary." My high school chorus teacher's piano playing was "rudimentary," but "Yancey Special" and certainly nothing Champion Jack ever did could ever be termed "rudimentary" or "primitive." If it's complexity for complexity's sake you want, I'd suggest locating some early Chick Corea/Return To Forever reissues, Ornette Coleman or perhaps Steve Reich. Or Esquivel. I'd pipe up for the CD, but I've already got the whole box set, as well as a stack of other stuff by most of the people on it. Turtle _____ Reply Separator _____ Author: chrisp @ RAPIDRAMP.COM (Chris Pearson) @ INTERNET Received: 12/12/95 09:34:32 PM Subject: Atlantic Blues: Piano The first person to e-mail me a physical address, ie snail mail, will receive absolutely free, a reissue of the Atlantic Blues: Piano CD. Only played once. This CD features Jimmy Yancey, Little Brother Montgomery, Jack Dupree, Professor Longhair, Vann Walls, Joe Turner, Jay McShann, Meade Lux Lewis, Ray Charles, Floyd Dixon, Johnn Brown, Dr. John, and last Willie Mabon. This is far to primitive and rudimentary for my taste. I'm sure someone on this list will love it. Chris ========================================================================= Date: Thu, 14 Dec 1995 15:32:44 -0500 Reply-To: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA From: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA Subject: Re: What a load of Boogie... > > This utilizes an entrainment > frequency of about 1.45hz (called a Tri-Thalamic > Entrainment Format) to create entrainment (getting in synch) > between the hypothalamus, pituitary and pineal centers of the > brain. This opens the doors to the rest of the body. But there > are many new fields of healing via music. Boogie Chillen > will touch mainly upon the less discussed ones; natural > healing through sound vs electronic created sounds for > healing. > Uh... to test this out, I sampled a 20-second section of "Whiskey And Women," and digitally slowed it to 1/200 of its original speed. I then piped it the resulting hour and ten minutes of 1.4hz to 1.6hz sound through the subwoofer at about 80% output (approx. 250 watts RMS). Far from opening the doors of the rest of the body, it blew doors open all over my house and shit started falling off shelves and the mantelpiece. One of my neighbors called to make sure the furnace hadn't let go. > The Earth is also a natural resonator of sound. > In fact, sound is the key to healing the planet and moving > all life to new levels. The ancients knew a tremendous > amount about sound and tones and they knew a tremendous > amount about the Earth. They built every ancient temple, site, > stone structure along and interconnected by an invisible grid > network of "lines" that surrounds the planet. In modern times, > few know of this grid of energy lines. The ancient people had > great knowledge in this field and it's connection with sound > simply because they go hand in hand. Their knowledge of > the Earth has not been lost, it's just kept hidden from modern > times because of it's potential. The things you'll read in the > issues to come will shed some LIGHT on some of these ancient > secrets. Best of all, it's all connected with John Lee Hooker! > I don't know if the rest of the earth resonated, but the windows in my house sure did. They started to rattle loudly and the cats got scared and ran and hid in the bathtub. Far from dealing with ancient peoples, the shock waves probably woke the dead in the cemetery over in Kemptown. > As a boy, I always found an affinity for his music. His > Boogies always left me with a feeling of peace and exhilaration > and it is not surprising that I have dedicated most of my life to > harnessing his music. Since his music is the roots, it has an > important connection with the Earth. His music is open for > all to use and benefit from, depending how far you are > willing and know how to take it. I hope that these articles > (Boogie Chillen) will give you a little knowledge that you > can put to use. No one has ever studied the full potential > of his music until now. People have been working with > ideas but the Big Picture has been lacking. > This is what you'll learn in these articles and what you'll see > happen in the future. After all, as John Lee says in Chill Out, > "Things are gonna change". Well, things have changed for me. I now have a gigantic mess to clean up. As far as harnessing his music, I think we could use the method I've described and harness his music to pull stumps, dig trenches, and remove disused buildings from the inner city. Turtle ========================================================================= Date: Thu, 14 Dec 1995 16:35:46 -0400 Reply-To: Mike Gilbert From: Mike Gilbert Subject: Re: Stevie Ray Vaughan Mailing List Consider it done. >I agree, all of SRV's CDs are good. Also there is a SRV e-mail list but I don't >remember where it is. If anyone knows the Internet address for the SRV e-mail >list, would you please send it to John. > >______________________________ Reply Separator _________________________________ >Subject: Re: Stevie Ray Vaughn >Author: John Wigmore at Internet >Date: 12/14/95 8:44 AM > > >In article <199512140336.MAA11207@icis.shoin.ac.jp>, "R.St. Pierre" > wrote: > >> Hey Bluesters, >> >> What are your reccos for Stievie Ray Vaughn? I'm >> making an effort to fill in some of the gaps in >> my blues CD collection and currently have none >> of his. >> >> The Saint >> saint@shoin.ac.jp > > >I suggest you get all of them. They all represent different times in his >life. Sony has just released Stevie's greatest hits. Try that out first. >The linear notes will tell you which album the songs came from. > > Mike Gilbert gilbertm@fox.nstn.ca ========================================================================= Date: Thu, 14 Dec 1995 14:35:39 CST Reply-To: JBards From: JBards Subject: Re[3]: Best Use of a Beer Comments: To: PARRISHR I suppose if you can quaff down a beer there's no reason why you can't quaff up a hairball, is there? _Jim _______________________________________________________________________________ Subject: Re[2]: Best Use of a Beer From: PARRISHR at INTERNET-SH Date: 12/14/95 2:27 PM Um, 'scuse me, Roy, but I think you're confused. I was the one who first publicly pointed out that the correct grammatical term was "quaff." Michael was the one who used "coiff." However, I think it is safe to say "quaff" can have more than one meaning. Our half-Persian cat has quaffed up many a furball in his day. So next time, Roy, take better notes, glue two John Lee Hooker CDs to your head and call me in the morning :) Ruth ______________________________ Reply Separator _________________________________ Subject: Re: Best Use of a Beer Author: "Roy W. Forgy" at Internet Date: 12/14/95 7:25 PM On Thu, 14 Dec 1995 13:18:27 -0500, you wrote: ]:->Just for the record. ]:-> ]:->I believe that 'quaffing' refers to what a cat does with a fur ball. Actually Webster agrees with Mike, Quaff= To drink Heartily ]:-> ]:->As in "my cat quaffed up a fur ball. ]:-> ]:->Beef Stew ]:->******************************************************* ]:->> Mike -- I can't understand that Boogie Nation stuff when I'm SOBER! ]:->> Ruth ]:->> ]:->> ]:->>______________________________ Reply Separator ]:->_________________________________ ]:->>Subject: Best Use of a Beer ]:->>Author: Michael Case at Internet ]:->>Date: 12/14/95 10:23 AM ]:->> ]:->> ]:->>Ruth writes: ]:->> ]:->>"You mean 'quaffing'. Unless you are going to put the beer on your head." ]:->> ]:->>I think he means coiffing. It invites the cosmic rays of pure boogie into ]:->>the mind and heart as the inviolable juices commune with your head, ]:->>instigating the much-sought-after "head buzz" known only to the ancients, ]:->>pushing their shopping carts and howling at the passing traffic... ]:->> ]:->>M. Case ]:->> ]:->> ]:-> Roy W. Forgy (blueslvr@sirius.com) Pacifica, CA Please note the new E-Mail address. ========================================================================= Date: Tue, 12 Dec 1995 15:13:28 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Freebird And Rob was probably the guy standing next to me at the edge of the stage at a Jeff Healey concert yelling "Give me a pick please I want a pick I just want a pick one pick please I play the guitar please Jeff a pick throw me a pick just one please I want a pick" constantly through everything. If he hadn't been bigger than me, I would've decked him. (The pick pleader, not Healey.) Shannon P.S. I'm 5'3". Everyone's bigger than me. Haven't decked anyone in ages. ========================================================================= Date: Thu, 14 Dec 1995 15:29:31 -0500 Reply-To: Skip Montanaro From: Skip Montanaro Subject: Submitting raw tour itineraries to Musi-Cal... Comments: To: folk_music@nysernet.org, bgrass-l@ukcc.uky.edu, folkvenu@psuvm.psu.edu, funky-music-request@mit.edu, phredd@mcs.com, jpop-request@ferkel.ucsb.edu, kiwimusic-request@mit.edu, mugreene@merlin.nlu.edu, themusic@iglou.com, editors@kspace.com, info@hos.com, scan-indie-request@lysator.liu.se, racer-records@netcom.com, dionf@ere.umontreal.ca, brian@hyperreal.com, seraves@american.edu, socal-raves@ucsd.edu, stasia@mit.edu, uk-dance@tqmcomms.co.uk, raver909@telerama.lm.com, ausrave-request@student.adelaide.edu.au, gajarsky@pilot.njin.net, riverock@halcyon.com, breaks-owner@xmission.com, brass-request@geomag.gly.fsu.edu, ballroom-request@mitvma.mit.edu, community-music@mpd.tandem.com, njh@smsltd.demon.co.uk, owner-andino@lvande.us.net, jarvis@psych.toronto.edu, dcraves@american.edu, leebay@ix.netcom.com, wipeout@dhp.com, Fan-Julie@Musique.org, tjw+@pitt.edu, mtnraves-owner@xmission.com, abennett@hyperreal.com, NE-RAVES-Request@UMDD.UMD.EDU, nm-list-owner@xmission.com Comments: cc: bob@dolphin.automatrix.com In my never-ending attempt to find easier ways for people to submit concert, tour and festival listings to Musi-Cal (and to confuse you with the bewildering array of submission options...) I've added yet another way to submit concert itineraries to Musi-Cal. I think this may be the easiest yet. I'm sending this note to a much broader audience than usual (only to list owners where possible, so they can use their discretion about forwarding it to their lists), since I believe it opens up the possibility for just about anybody who has used email or Usenet to distribute concert or festival information previously to submit such information to Musi-Cal. For those of you have have never seen Musi-Cal, there is some contact information at the end of the message. This is a one-time mailing from me about this subject. If you I can followup with an introductory message about Musi-Cal. This note is long enough as it is, however. You can now post tour itineraries to Musi-Cal by sending them as email to itinerary@calendar.com. This mechanism should be useful for people who don't have the time to manage the other Musi-Cal submission mechanisms themselves and who don't have access to a Web or FTP server to make raw itineraries available for my fetchtour software. The itinerary alias is intended to be a place for people to submit itineraries on a repetitive basis, not just once, because it involves some up-front work on my part the first time I receive an itinerary for an artist. The requirements for the message formats are pretty flexible, but there are a few: * Events should be listed one-per-line * Events should be in a "well-delimited" format (see below) amenable to input as raw data to the Musi-Cal Slicer-Dicer. * The subject and email address in the From: field must always be the same for different versions of the same artist's itinerary, typically the name of the performer(s) and the sender's address, respectively. * The format of the data must stay the same across multiple submissions. Also, if I've never heard of the performer you are submitting for (that is a *very* good possibility - I don't claim to be any sort of omniscient musical aficionado) you should give me a few keywords in the first message you send me that describe the type of music the artist plays, or submit static information about that artist using the Web form at http://www.calendar.com/concerts/addstatic.shtml The definition of "well-delimited" is purposely a bit vague. In general, I need to be able to build a pattern that identifies the various fields (date, city, state, venue and so forth) in the entry. Something like 102995BerkeleyCAFreight&Salvage isn't properly delimited, although most people can probably read it. I'm getting pretty good at automatically massaging itineraries into a form suitable for the Musi-Cal Slicer-Dicer. One rule you must adhere to closely though is that fields that can contain white space must not be separated from the next field in the line by white space. For instance, the following is good: San Francisco, CA but the following is bad: San Francisco CA The pattern matcher will gobble up the " CA" as part of the city name because city names can contain white space. Here is an example well-formatted item for a Joan Osborne date that occurred back in October: 10/12 Norfolk, VA (8pm) Naro Theater If you are used to posting itineraries in tabular format (nicely lined up in columns) with only white space between the fields I may be able to massage it into a form I can use, but I may ask you for some changes in the input. How does itinerary@calendar.com work? It's magic... :-) Well, not really. The first time you send an itinerary to the itinerary alias its subject/email combination won't be recognized and the message will be forwarded to me. I will then build the necessary framework for input to the fetchtour software. That and subsequent mailings with the same subject from the same person will get processed automagically by fetchtour. I will contact you if I have trouble with your input. Note: If you choose to use this method of submitting events to Musi-Cal you will be set up as the reviewer of the output. You will get two to four mail messages in reply to a single itinerary. The first will identify all the items that were automatically submitted to the calendar. Normally, you can just scan that and delete it. There may be situations where it is obvious that a particular gig has been missed by the pattern matcher, however. If that happens and you can't figure out why, just let me know. The second message will be a confirmation of the automatic additions. Again, scan and delete for the most part. The third message, if necessary, will identify Slicer-Dicer output that wasn't automatically submitted because warnings or errors were generated. You should fix the generated add commands (and if necessary, your raw itinerary data) and submit them yourself or contact me if you have problems. After you submit the corrections you will receive a confirmation of those additions. One common problem people outside the US will have is that I have very little latitude/longitude data to verify non-US cities. I use a lat/long check for city/state or city/country combinations as a way to flag possible misspellings. If I begin to get a lot of input from outside the US I will just suppress the lat/long check for non-US cities as a short-term workaround. Ideally, I'd like a good online source of global lat/long data. If you have any ideas, let me know. Even small amounts of data would be useful to augment the 400-500 non-US cities I have. (In contrast, I have 138,000 US place name lat/longs thanks to a cheap database available from the USGS...) If all the various confirmation replies get to be a problem for people, I will modify the Slicer-Dicer so the additions it makes on your behalf won't generate a response. That will reduce the number of reply messages by one, but the others (direct output of the Slicer-Dicer and confirmation of add commands you submit) will still be necessary so you can check for mistakes. For those unfamiliar with Musi-Cal, here's a quick overview of the various ways you can submit items to Musi-Cal: * Use the Web form at * Send multi-line add commands to concerts@calendar.com * Use the crude Slicer-Dicer interface on the Web at * Send Slicer-Dicer commands to concerts@calendar.com * Make raw itineraries available on the Web or via anonymous FTP * Send raw itineraries to itinerary@calendar.com To learn more about Musi-Cal, visit us on the Web or send email to concerts@calendar.com with a message body of help Thanks for your time. As always, if you have any questions, please let me know. My mailbox is always open. -- Skip Montanaro skip@calendar.com (518)372-5583 Musi-Cal: http://www.calendar.com/concerts/ or mailto:concerts@calendar.com Internet Conference Calendar: http://www.calendar.com/conferences/ >>> ZLDF: http://www.netresponse.com/zldf <<< ========================================================================= Date: Thu, 14 Dec 1995 16:00:24 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: The really boogie .... In-Reply-To: <199512142001.MAA23074@iceland.it.earthlink.net> On Thu, 14 Dec 1995, Boogie Nation wrote: > Did you know that John Lee Hooker has a pizza named after him? > It's called the 'Boogie Man Pizza' and he personally commissioned a > local Long Beach, CA to carry his name on their vegetarian pizza. We > won't tell you the name of the restaurant since we will get flamed > for 'making a plug'. Looks like we've all been boogied. Remember a few months ago the clown who hooked everyone's nerve and then disappeared in 10 days (the AOL or whatever timelimit) .. WELL HERE'S JOHNNY. Just a similar wolf in similar sheep's clothing. Unless you believe of course that John Lee Hooker goes around licensing pizza pies. Once again - the less time spent on this, the faster the fool goes away. They do have trouble living without being fed, so dontfeedem. NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Thu, 14 Dec 1995 13:00:11 -0800 Reply-To: Mark Naftalin From: Mark Naftalin Subject: Sonny Boy Williamson lyrics As I was catching up with some blues-l browsing yesterday evening I came across the question about the lyrics to Sonny Boy Williamson's "Don't Start Me Talking." I always thought the line in question was "...to get her hair sot," where "sot" was a colloquial, perhaps personal, form of the verb "to set." Mark Naftalin ========================================================================= Date: Thu, 14 Dec 1995 16:08:07 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: What a load of Boogie... Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *> This utilizes an entrainment *> frequency of about 1.45hz (called a Tri-Thalamic *> Entrainment Format) to create entrainment (getting in synch) *> between the hypothalamus, pituitary and pineal centers of the *> brain. This opens the doors to the rest of the body. But there *> are many new fields of healing via music. Boogie Chillen *> will touch mainly upon the less discussed ones; natural *> healing through sound vs electronic created sounds for *> healing. *> * *Uh... to test this out, I sampled a 20-second section of "Whiskey And Women," *and digitally slowed it to 1/200 of its original speed. I then piped it the *resulting hour and ten minutes of 1.4hz to 1.6hz sound through the subwoofer at *about 80% output (approx. 250 watts RMS). Far from opening the doors of the *rest of the body, it blew doors open all over my house and shit started falling *off shelves and the mantelpiece. One of my neighbors called to make sure the *furnace hadn't let go. I remember folklorist Barry Pearson telling a story about meeting JLH when I was taking a folklore class with him. He told the class that Hooker was in DC to receive an award. He met Hooker in the lobby of one of those domed, high-ceilinged Smithsonian buildings. Apparently, between Hookers natural resonance and the echo from the building the tape he made of the interview was so distorted he couldn't use it and he could barely understand a word he said! I though then that he had a powerful voice. :) ========================================================================= Date: Thu, 14 Dec 1995 13:13:40 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Jimmy Rogers Chess Recordings Comments: To: Steve.Levine@CORP.WRGRACE.COM Steve Levine wrote: > >Can anyone tell me if there are any compilations of Jimmy Rogers' Chess sides besides Chicago Bound? I have heard some of the Chess singles that are not on Chicago Bound on radio shows, so I knwo they're out there. Has someone besides MCA put out a collection of these sides? Sometime in late 1996 MCA will release two double CDs: The Complete Jimmy Rogers Chess Recordings and The Complete Loweel Fulson Chess Recordings. Mary Katherine ========================================================================= Date: Thu, 14 Dec 1995 16:14:34 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: BoogieNation and the Guy Who Hated Muddy (RANT) Comments: To: boogienation@earthlink.net Ok, folks, is this going to be like the guy who hated Muddy Waters who, in the Spring, started bombarding us with offensive posts (and, if I recall, was quite proud he had once had a beer with John Lee Hooker.... and claimed he could relay to us Hookers opinions about lots of things.... hmmmm)? Like that in the sense that THESE PEOPLE WILL GROW TIRED AND LEAVE. The delete button works ok for the occasional subject I find uninteresting (SRV, say. I don't care, but lotsa people do think its blues.....) BUT THIS FORUM SHOULD NOT BE USED TO MAIL PROMOTIONAL MATERIAL, NEWSLETTERS, OR OTHER SIMILAR CRAP. Whoever suggested that "boogienation" could solicit responses and then go away WAS RIGHT. BOOGIENATION SHOULD NOT BE ALLOWED TO BECOME AN UNWANTED PARASITE UPON THIS LISTSERVER. Get your own listserver for your own mailing list, fellows, and GO AWAY. Who was it complaining about questions about Ottis Spann???????? Tom Freeland ========================================================================= Date: Thu, 14 Dec 1995 14:50:22 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Boogie Nation Muddy Water Search Comments: To: Boogie Nation In-Reply-To: <199512142015.MAA24203@iceland.it.earthlink.net> It's Charly, not Charlie Records. They're on the run and their issue of Electric Mud is officially a bootleg according to court rulings. The LP was originally issued on Chess in '68 and is considered by most people to be Muddy's worst LP in a walk, a failed attempt to be psychedleic by people who didn't have a good understanding of what that really meant. The best thing about it was the booklet included with lots of photos of Muddy getting his process done. I'd be surprised if MCA has this very high on their list of priorities for reissue, but you could possibly find a used LP of it fairly cheap without too much trouble. If the person wants it for sentimental reasons, it's worth pursuing, but if the person just wants a taste of Muddy, pretty much anything else by him is better. ========================================================================= Date: Thu, 14 Dec 1995 14:52:15 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Wolf Records Comments: To: "DUTTWEILER.J" In-Reply-To: Wolf has Rounder distribution in the U.S. and good representation in Tower stores; they even do promotions with Tower. For mail order, maybe Roundup Records in Cambridge MA is the best source because of the Rounder tie-in, but they really aren't that hard to find. ========================================================================= Date: Thu, 14 Dec 1995 15:14:25 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: Freebird Comments: To: shannon oconnor In-Reply-To: <9511128188.AA818810855@smtpgate.swpco.com> Shannon wrote: And Rob was probably the guy standing next to me at the edge of the stage at a Jeff Healey concert yelling "Give me a pick please I want a pick I just want a pick one pick please I play the guitar please Jeff a pick throw me a pick just one please I want a pick" constantly through everything. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Umm, before this goes any further, let me point out that I assumed this identity as a joke. I don't really make a point of being obnoxious at shows. It was merely a satirical device. I just figured I'd better say something in case people thought I was serious. You know how irony and subtelty play on the net. So before my rep gets trounced any more, let it be known: I don't holler "freebird", "play Layla", throw flowers, beg for picks or call for SRV tunes at Buddy Guy shows. Rob (who has been known to holler an affirmation or two now and then) PS One time I did holler at a show was at a Li'l Ed show in Champaign a couple years back. They were doing "Louisiana Blues", and at the appropriate time and from the foot of the stage, I hollered "Aw, take me witcha when you go". To this day it's the best reaction I ever got from a band on stage. Li'l Ed's smile was priceless. Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Thu, 14 Dec 1995 09:40:51 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re[2]: EAGLES (not) and the Cincy Blues Fest! Comments: To: rjbauman@iquest.net Thanks to Greg H. and RJ for the personal testimonials about my contributions to the Cincinnati Blues Society and Festival. Since our "little" blues fest here in River City (which headlined the incredible LUTHER ALLISON in '95) has been getting rave reviews, let me announce that our 1996 festival has been scheduled for July 12, 13, & 14. Mark your calendars and come on in to Cincinnati for three days of FREE blues on the riverfront. I'll keep you-all posted on the line-up as the performers are selected and confirmed. (That's the next step in this long, convoluted, insane, festival-planning process.) Shannon ______________________________ Reply Separator _________________________________ Subject: Re: EAGLES (not) Author: rjbauman@iquest.net at INTERNET_TP Date: 12/10/95 9:28 AM =============Shannon O'Connor failed to mention she is actively involved in the Greater Cincinnati Blues Society & an instrumental part of the production (along with Kitty Carson) of the Cincinnati Blues Festival. Girlfriend knows her blues.=============== May I add my endosement of this great blues society. Their festival was a blast last year. Go, Shannon, Go................. RJ Bauman ========================================================================= Date: Thu, 14 Dec 1995 16:29:29 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Dear Boogie Nation Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU On 14 Dec 95, L W had this to say... > How is Archie and Tobias Henderson doing...aka Bigtime. Are they still together > and touring. Tobias was at one time a blues-eller, before going on tour with > Archie. Tobias, who now bills himself as T.W. Henderson, bought a house, and now lives in Ireland. He is still a working musician. P.W. ========================================================================= Date: Thu, 14 Dec 1995 15:02:00 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Re[3]: Best Use of a Beer/Quaff/Coiff/Cough Cough... Comments: To: JBards In-Reply-To: <9511148189.AA818980568@mail-sh.lsumc.edu> Obviously "quaff" (which my cats too have done enough times to give me ample expertise) and "coiff" (which I don't have enough hair left to develop expertise about except by reading the "Electric Mud" booklet) are connected (by invisible lines circling the planet) to "quiff," the small shock of hair which barrelhouse pianists used to sport above their foreheads. (See Oliver's Story Of The Blues for a picture.) ========================================================================= Date: Thu, 14 Dec 1995 13:33:21 -0800 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Re: What a load of Boogie... Comments: To: bit-listserv-blues-l@cs.washington.edu In-Reply-To: <9512142033.AA6297@CServe-Hub3.inhouse.compuserve.com> I'm still wiping coffee off my monitor after losing it while reading this one! On Thu, 14 Dec 1995, Scott Wenzel/DSES/DIRM/OIM/DCS/SSA wrote: > > > > This utilizes an entrainment > > frequency of about 1.45hz (called a Tri-Thalamic > > Entrainment Format) to create entrainment (getting in synch) > > between the hypothalamus, pituitary and pineal centers of the > > brain. This opens the doors to the rest of the body. But there > > are many new fields of healing via music. Boogie Chillen > > will touch mainly upon the less discussed ones; natural > > healing through sound vs electronic created sounds for > > healing. > > > > Uh... to test this out, I sampled a 20-second section of "Whiskey And Women," > and digitally slowed it to 1/200 of its original speed. I then piped it the > resulting hour and ten minutes of 1.4hz to 1.6hz sound through the subwoofer at > about 80% output (approx. 250 watts RMS). Far from opening the doors of the > rest of the body, it blew doors open all over my house and shit started falling > off shelves and the mantelpiece. One of my neighbors called to make sure the > furnace hadn't let go. > > > The Earth is also a natural resonator of sound. > > In fact, sound is the key to healing the planet and moving > > all life to new levels. The ancients knew a tremendous > > amount about sound and tones and they knew a tremendous > > amount about the Earth. They built every ancient temple, site, > > stone structure along and interconnected by an invisible grid > > network of "lines" that surrounds the planet. In modern times, > > few know of this grid of energy lines. The ancient people had > > great knowledge in this field and it's connection with sound > > simply because they go hand in hand. Their knowledge of > > the Earth has not been lost, it's just kept hidden from modern > > times because of it's potential. The things you'll read in the > > issues to come will shed some LIGHT on some of these ancient > > secrets. Best of all, it's all connected with John Lee Hooker! > > > > I don't know if the rest of the earth resonated, but the windows in my house > sure did. They started to rattle loudly and the cats got scared and ran and > hid in the bathtub. Far from dealing with ancient peoples, the shock waves > probably woke the dead in the cemetery over in Kemptown. > > > > As a boy, I always found an affinity for his music. His > > Boogies always left me with a feeling of peace and exhilaration > > and it is not surprising that I have dedicated most of my life to > > harnessing his music. Since his music is the roots, it has an > > important connection with the Earth. His music is open for > > all to use and benefit from, depending how far you are > > willing and know how to take it. I hope that these articles > > (Boogie Chillen) will give you a little knowledge that you > > can put to use. No one has ever studied the full potential > > of his music until now. People have been working with > > ideas but the Big Picture has been lacking. > > This is what you'll learn in these articles and what you'll see > > happen in the future. After all, as John Lee says in Chill Out, > > "Things are gonna change". > > Well, things have changed for me. I now have a gigantic mess to clean up. As > far as harnessing his music, I think we could use the method I've described and > harness his music to pull stumps, dig trenches, and remove disused buildings > from the inner city. > > Turtle > > ========================================================================= Date: Thu, 14 Dec 1995 11:19:45 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Test Gee, I wonder where all my pithy e-mails are going.... ========================================================================= Date: Thu, 14 Dec 1995 15:42:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Cat Blues/Jimmy Rogers Ma Rainey recorded a "Black Cat/Hoot Owl Blues" - or was that the other way around "HootOwl/Black Cat..." It starts off with somebody yowling like a cat on a fence. Did anyone mention Wolf's "I aint superstitious, black cat just crossed my trail...". ** On to Jimmy Rogers - there was a Chess double LP some years ago. Some really great stuff and little if any duplication of "Chicago Bound". I really hope Mary Katherine gets the go ahead to put this one out on CD. An ice storm last night in Mad-Town. I couldn't carry the TV up the steps into the new house - it had to sit in the car all night. -Bonnie the K. ========================================================================= Date: Thu, 14 Dec 1995 17:02:32 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Electric Mud, Muddy, Charly, Wolf etc. tied up. As the subject says here's a little tidbit to tie up a few recent threads (well not really to tie them up but to join their basics into a single perhaps coherent post -- huh!). Very good Muddy Waters CD - On Wolf #120.200 1965 - 1973 Live Recordings with Carey Bell, Pinetop Perkins, Luther Johnson Jr, Sammy Law- horn, Willie Smith, Pee wee Madison, Sonny Wimberly, Jerry Portnoy, Calvin Jones and Bob Margolin. And now for my ignorance. I have listened to some MW, and as I read everyone's praise of him and his slidework etc., I was a little taken back since I did not have those proph- etic and awe inspiring moments. Well Barry boy the Scooter finally got his dose from this CD and now I join the ranks of the rest who know a god when they hear one. Here's the cut list in case anyone is interested: Rock Me Going Slow Down Blow Wind Long Distance Call Walkin' Thru The Park Honey Bee Trouble No More Hoochie Coochie Man Howling Wolf Baby Please Don't Go The Scooter (now The Scooter-and-A Believer) NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Thu, 14 Dec 1995 16:04:16 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Charly Records 1. I guess court ruling against Charly is the reason I recently bought their Buddy Guy, Otis Rush/Albert King, and Billy Boy Arnold issues for $0.99 each. I still love most their Arthur Crudup's "Mean Ol' Frisco." 2. Just got in mail copies of new John Hammond and Duke Robillard releases. First impressions: 1. John Hammond: There is lots of good music, harp playing, and emotions to make up for his lousy vocals. 2. Duke Robilard: As long as he stays with his "bluesy side" I love it; less I love his "jazzy side." Albums will be released on January 27th 1996. Ranko ========================================================================= Date: Thu, 14 Dec 1995 14:04:59 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: 10TH ANNIVERSARY PROGRAM Comments: To: BluesHvn@aol.com A few people have asked me if I would post the log to a program I host every week. As yesterday was the 520th program (10 years!), I've decided to post it. Except for requests and tributes, I feature only new CD releases received at the station. eRIC ---------------------------------------------------------------------------- | 10th YEAR, PROGRAM #520 : "LET THE GOOD TIMES ROLL" - 13/DEC/95 | | --------------------------------------------------------------------- | B LLOYD LAMBERT (b. 1928/JUL/04, THIBODEAUX, LA) R L (d. 1995/OCT/31, NEW ORLEANS, LA) (67) | U 'n E 10TH ANNIVERSARY PROGRAM | S B | | |b/d=born/died on this day| | --------------------------- GOSPEL 'n SOUL & ROCK 'n ROLL ----------------- | ARTIST SONG TITLE DISTRIBUTOR YYMM ---------------------------------------------------------------------------- ARDOIN, AMEDE MADAME ATCHEN w/DENNIS MCGHEE ARHOOLIE CD 2912 ARMSTRONG, JAMES THE DEVIL'S LIVIN' THERE BROMBERG prod HIGHTONE CD 95 ARNOLD, BILLY BOY BABY JANE w/JODY WILLIAMS HIGHTONE CD 6606 AUSTIN R&B CHRISTMAS WINTER WONDERLAND / FAB T-BIRDS SONY CD 83 bBELL, LURRIE SMOKIN' DYNAMITE / CAREY BELL JSP CD 89 bBENNETT, WAYNE gtr STORMY MONDAY BLUES / BOBBY BLAND MCA CD 6109 BLUE THUMB STORY BREEZIN' (inst) / GABOR SZABO & B.WOMACK GRP CD 7109 BLUESIANA HURRICANE BIG FINE HUNK OF WOMAN w/RUFUS THOMAS SHANACHIECD 9503 BOTTLENECK BLUES DUST MY BROOM / JOHN LITTLEJOHN HIGHTONE CD 7008 BYRNES, JIM IF I EVER CRIED STONY PL CD 95 CHICAGO BLUES @ HOME TRAIN FARE HOME / BOB MYERS HIGHTONE CD 7602 COVINGTON, ROBERT I WANT TO THANK YOU EVIDENCE CD 8312 EARWIG RECORDS 16TH I'M GONNA BUILD / LITTLE BRO MONTGOMERY EARWIG CD 7609 FLOWER, MARY WALKING BLUES w/STEVE JAMES RESOUNDINCD 93 HAWKINS, DALE MY BABE w/ROY BUCHANAN MCA CD 58 HAWKINS, TED HAVING A PARTY SAM COOKE song EVIDENCE CD 8509 HELFER, ERWIN FRINGE BENEFIT w/WILLIE DIXON HIGHTONE CD 64 HOWLIN' WOLF YOU TURN SLICK ON ME MCA CD 7308 INTRUDERS I WANNA KNOW YOUR NAME w/SAM BROWN SONY CD 7310 LAMBERT, LLOYD bass DON'T LEAVE ME BABY / LOWELL FULSON EMI CD 5310 LAMBERT, LLOYD bass DON'T YOU KNOW / RAY CHARLES ATLANTIC CD 5312 LAMBERT, LLOYD bass HEAVY SUGAR (inst) w/JOE TILLMAN FANTASY CD 5504 LAMBERT, LLOYD bass THINGS THAT I USED TO DO / GUITAR SLIM FANTASY CD 5310 LAMBERT, LLOYD bass TRUE FINE MAMA / LITTLE RICHARD FANTASY CD 5511 LAMBERT, LLOYD bass WHISTLIN' JOE (inst) w/JOE TILLMAN FANTASY CD 5504 LIGHTFOOT, JERRY NIGHT TRAIN FROM OAKLAND w/ESSENTIALS CONNORRAYCD 95 LITTLE WALTER FAST BOOGIE (inst) w/WILLIE DIXON MCA CD 5301 LOUISIANA RED STELLA BLUES EARWIG CD 82 MANHATTANS I KINDA MISS YOU w/GERALD ALSTON SONY CD 7610 MAYFIELD, CURTIS CHI I CAN'T WORK NO LONGER / BILLY BUTLER SONY CD 6501 MILLS BROTHERS GLORIA w/DONALD MILLS MCA CD 4809 MYERS, LOUIS SOUTHBOUND TRAIN HIGHTONE CD 7803 NIGHTHAWK, ROBERT BLACK ANGEL BLUES w/JOHN WRENCHER HIGHTONE CD 6410 O, TONY BLUES BAND TOP OF THE BLUES (inst) DELUGE CD 95 OTIS, JOHNNY SHOW GOOD ROCKIN' TONIGHT (inst) / ROY BROWN SONY CD 7009 bPETERSON, LUCKY DON'T CLOUD UP ON ME POLYGRAM CD 92 PRIME CHOPS V. 3 DON'T LET THE SAME DOG ... / CHRIS CAIN BLIND PIGCD 95 PRIMICH, GARY ROUTE 90 CLARENCE GARLOW song FLYING FICD 95 SHAW, THOMAS STOCKING FEET BLUES LEMON JEFFERSONsong HIGHTONE CD 7211 SLY & FAMILY STONE WHAT WOULD I DO SONY CD 67 SOUND OF THE DELTA ANNIE MAE / RUSS LOGAN HIGHTONE CD 63/5 TAYLOR, EDDIE GOIN' DOWN SLOW w/LOUIS MYERS BLIND PIGCD 7712 TAYLOR, MELVIN DEPRESSION BLUES EVIDENCE CD 9503 THEY SING PRAISES SAID I WASN'T GONNA TELL / ABYSSINIAN .. SONY CD 6004 TRAVELING TH' JUNGLE EMMALINE, TAKE YOUR TIME w/SID HEMPHILL HIGHTONE CD 4208 VAUGHAN, STEVIE RAY LITTLE WING SONY CD 91 WILLIAMS, JOE BIG ANNIE MAE w/JIMMY BROWN HIGHTONE CD 64 WILSON, SMOKEY DIMPLES ROD PIAZZA prod BLIND PIGCD 83 ---------------------------------------------------------------------------- ========================================================================= Date: Thu, 14 Dec 1995 22:21:35 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Subject: Re: Cat Music Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199512141802.NAA106633@tequesta.gate.net>, "P.W. Fenton" says: > >Black Cat Bone is another one. "I believe my baby's got a Black Cat >Bone, everything I try seems to turn out wrong" Coolest version is >on "Showdown" Or you could consider the original done by Barbecue Bob (I think he's the artist anyway). Art Schuna ========================================================================= Date: Thu, 14 Dec 1995 15:26:59 +0000 Reply-To: boogienation@earthlink.net Comments: Authenticated sender is From: Boogie Nation Subject: Re: The really boogie Flame.... > Looks like we've all been boogied. Remember a few months ago > the clown who hooked everyone's nerve and then disappeared in > 10 days (the AOL or whatever timelimit) .. WELL HERE'S JOHNNY. > Just a similar wolf in similar sheep's clothing. > > Unless you believe of course that John Lee Hooker goes around > licensing pizza pies. > > Once again - the less time spent on this, the faster the fool > goes away. They do have trouble living without being fed, so > dontfeedem. > > NY CD Blues > Definitive In-Depth Blues Reviews > c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 > e-mail bsco@panix.com > Why do you criticize us (and us includes John Lee Hooker)? We thought that you blues lovers might want to read some interesting things about the Boogie Man. I am his step-son from his 3rd marriage. I write these words from our office inside of John Lee Hooker's own home in Southern California. John Lee knows how hard it can be for his fans to get information about him (information other than publicity stuff). I guess you don't know enough about the blues to realize the importance of John Lee Hooker's music to the world, to the blues, and to America. If you did, then perhaps you would want to learn about this man and his life and what he is really like. Richard H. ========================================================================= Date: Thu, 14 Dec 1995 15:06:36 +0000 Reply-To: boogienation@earthlink.net Comments: Authenticated sender is From: Boogie Nation Subject: Re: Dear Boogie Nation Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU > How is Archie and Tobias Henderson doing...aka Bigtime. Are they still together > and touring. Tobias was at one time a blues-eller, before going on tour with > Archie. > > Just curious how "Nephew Hook" and Tobias are doing. Hi, Tobias and Archie (John Lee's nephew for those who don't know) were touring in Europe for a few months. I think they rented a villa or something in Ireland for the duration of their stay. Unfortunately, the band broke up because of 'personal differences'. As for Tobias, I have no idea what he is doing. Archie is still John Lee's personal chef and has a catering business on the side. He is also working with another group and is probably laying down some tracks as I write. John Lee' house in Northern California had experienced a few power outages because of the recent storm. John Lee sent Archie out to get some portable generators for the house (to keep the meat frozen in the deep freeze and keep the tv on for John). Are you a friend of them? If you don't have the address you can write to Archie and ask him himself how things are going - Archie Hooker c/o Boogie Nation, P.O. Box 6022-263, Lakewood, CA 90714. We would be happy to forward the letter to him. Archie still makes killer peach cobbler for John Lee. Would you like the recipe? Richard H. Boogie Nation ========================================================================= Date: Thu, 14 Dec 1995 17:34:04 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Mississippi John Hurt Question Comments: To: shb@fuwutai.att.com >>>I recently found a MJH CD called "In Concert" on Magnum >>>Music (CDBM-083). >>>It lists the recording date as 1965 at Oberlin (sp?) College. I >>>also >>>have "The Best of MJH" on Vanguard which was also >>>recorded in 1965 >>>at Oberlin College. This is a distasteful story so I will go through it one time and then be finished with it. First of all, the year is wrong. It was 1966, not 1965. I was driving John Hurt AND SON HOUSE to some Ohio dates. They played several schools including Oberlin College on April 15th and University of Cincinnati on April 16th. They each played about 45 minutes and then after a short intermission, each came back for a second 45 minute set. About a year or more later, Vanguard Records released the John Hurt two record set. I was furious and told Vanguard president Maynard Solomon that it was a bootleg taken off of the sound board because no recording was allowed. Maynard refused to tell me from whom he obtained the tape and pointed out that he was legally entitled to release John Hurt material and had no obligation other than to pay proper royalties to the Hurt estate. What nagged at me was knowing that whoever bootlegged John had also bootlegged Son House as well. It took over 20 years for the tapes to finally surface but a "Son House at Oberlin" finally came out a few years ago; no money, no royalties, no publishing, no nothing. OK, got it? This may be a insignificant post to people who merely collect music for private enjoyment but every professional out there lives with the apprehension that somone will take a master copy right off the sound board. Dick Waterman ========================================================================= Date: Thu, 14 Dec 1995 16:36:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: WOLF Records This summer I received a WOLF sampler which stated that *Bayside* was now to be their distributor in the USA. Does anyone have any current information to the contrary. WOLf recordings can be found moderately priced at Tower Records and on the CD.Connection. -Bonnie ========================================================================= Date: Thu, 14 Dec 1995 15:06:37 PST Reply-To: mmccourt@ACUSON.COM From: Mike McCourt Subject: Re: Plea to the listowner - Alan Rollins What are you afraid of? How can continual jokes about beer and hairdos, and a constant barrage of messages that should be sent to individuals privately have more right to be posted to Blues-L than information (and opinions) about legitimate blues? Nobody is forcing anything on anyone's eyeballs. As unbelievable as it may seem, some people are INTERESTED in what they have to say. I find it kind of fun and refreshing reading after all the inane posting that seems to predominate here. Don't read it if you don't like it. Mike ______________________________ Reply Separator _________________________________ Subject: Re: Plea to the listowner - Alan Rollins Author: Wayne Ross at ccUnix Date: 12/14/95 2:31 PM Yes! Yes! Yes! On Wed, 13 Dec 1995, bob unger wrote: >There > are well over 1,000 people on this list and I'm sure there are some who > are interested in what Boogie Nation has to say, but I'll bet every > f***ing thing I own that the majority do not want this rhetoric forced on > our eyeballs. Blues-l is, I believe, a forum to *DISCUSS* all thing's > relevant to blues music. A newsletter about an individual artist is and > his accomplishments is all well and good...but it should be SUBSCRIBED to! > It should not be FORCE-READ to everybody on the list. I know, I know... > if you dont want to read it, hit the delete key...well, Jesus F***ing Christ! > does that mean we can all start a newsletter about our favorite artist and > spam the list with it???? To me, Boogie Nation is spamming Blues-l..... > > Mr. Hillier, I am not attacking you and your idea....I am saying that your > idea doesn't seem to fit the guidelines of blues-l. I think you would > find more satisfied customers if you started JLH-L. > > BU > bob@sun.bnkst.edu > ========================================================================= Date: Thu, 14 Dec 1995 18:02:23 -0500 Reply-To: DoyleE847@AOL.COM From: Doyle Ertwine Subject: Eric Claptons Guitar String I have in my possession a guitar string that was broken by Eric Clapton during his last concert in the Detroit area. It is the bottom "E" string. Eric broke it while playing "Blues Before Sunrise." He pulled the broken string out thru the bridge of his guitar and tossed it towards the first row of seats. My nephew was there in the first row and caught the string. I am now accepting bids on this string. It will be sold to the highest bidder. -Doyle Ertwine ========================================================================= Date: Thu, 14 Dec 1995 15:29:35 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Eric Claptons Guitar String Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Doyle said: >I have in my possession a guitar string that was broken by Eric Clapton >during his last concert in the Detroit area. >It is the bottom "E" string. Eric broke it while playing "Blues Before >Sunrise." He pulled the broken string out thru the bridge of his guitar and >tossed it towards the first row of seats. My nephew was there in the first >row and caught the string. > >I am now accepting bids on this string. It will be sold to the highest >bidder. Hee heee ha ha ha ha ha oh that's funny! har har har hoooo he he he he ohh ohhh ahhhh MERCY! best one I've heard all day.... Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Thu, 14 Dec 1995 14:46:55 -0800 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Re: Eric Claptons Guitar String (no blues contnt) Comments: To: Doyle Ertwine In-Reply-To: <951214180222_90419559@mail06.mail.aol.com> I will offer 1,000 $ or how about we trade for my Robert Johnson string collection? On Thu, 14 Dec 1995, Doyle Ertwine wrote: > I have in my possession a guitar string that was broken by Eric Clapton > during his last concert in the Detroit area. > It is the bottom "E" string. Eric broke it while playing "Blues Before > Sunrise." He pulled the broken string out thru the bridge of his guitar and > tossed it towards the first row of seats. My nephew was there in the first > row and caught the string. > > I am now accepting bids on this string. It will be sold to the highest > bidder. > > -Doyle Ertwine > ========================================================================= Date: Thu, 14 Dec 1995 18:37:45 -0500 Reply-To: rew4@PSU.EDU From: Ross Whitwam Subject: Re: Boogie Nation Muddy Water Search Comments: To: BLUES-L%BROWNVM.BITNET@psuvm.psu.edu Richard Shurman wrote: >It's Charly, not Charlie Records. They're on the run and their issue of >Electric Mud is officially a bootleg according to court rulings. The LP >was originally issued on Chess in '68 and is considered by most people to >be Muddy's worst LP in a walk, a failed attempt to be psychedleic by >people who didn't have a good understanding of what that really meant. Uh, so there were actually some *good* psychedelic albums? :) (Well, ok, maybe that first Jimi Hendrix album was pretty good -- for *hippie* music :) But seriously, what exactly was done to make it "psychedelic"? Trippy guitar solos & weird noises? That's really all that pops into my mind when I try to imagine cliched psychedelia sounds. And where these elements added *after* Muddy did his stuff, the way the horns were grafted onto the _Brass and Blues_ album? Ross Whitwam rew4@psu.edu Dept. Biochem + Molec Biology Penn State University who really *is* just joking and honestly doesn't want to initiate a flame war about how 60's rock roolz, man. :) ========================================================================= Date: Thu, 14 Dec 1995 18:46:44 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Eric Claptons Guitar String Comments: To: Doyle Ertwine In-Reply-To: <951214180222_90419559@mail06.mail.aol.com> Aren't we lucky - 2 boogie nations in one week. Yowser. BTW I am stupid enough to followup this post I hope no one else is as stupid as me or we'll have another set of great blankblues as a week's reading. On Thu, 14 Dec 1995, Doyle Ertwine wrote: > I have in my possession a guitar string that was broken by Eric Clapton > during his last concert in the Detroit area. > It is the bottom "E" string. Eric broke it while playing "Blues Before > Sunrise." He pulled the broken string out thru the bridge of his guitar and > tossed it towards the first row of seats. My nephew was there in the first > row and caught the string. > I am now accepting bids on this string. It will be sold to the highest > bidder. NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Thu, 14 Dec 1995 18:50:00 PST Reply-To: Meridith Farnworth From: Meridith Farnworth Subject: Re: BoogieNation and the Guy Who Hated Muddy (RANT) um, who's John Lee Hooker? --Meri, damn tired of using my Delete key... ========================================================================= Date: Thu, 14 Dec 1995 18:57:31 -0500 Reply-To: DoyleE847@AOL.COM From: Doyle Ertwine Subject: Eric Clapton Guitar String To the person wanting to know what brand of string it is: I can't tell, but it appears to be a pretty good quality string. -Doyle Ertwine ========================================================================= Date: Thu, 14 Dec 1995 19:32:45 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: Eric Claptons Guitar String Doyle Ertwine wrote: I have in my possession a guitar string that was broken by Eric Clapton during his last concert in the Detroit area. It is the bottom "E" string. Eric broke it while playing "Blues Before Sunrise." He pulled the broken string out thru the bridge of his guitar and tossed it towards the first row of seats. My nephew was there in the first row and caught the string. I am now accepting bids on this string. It will be sold to the highest bidder. -Doyle Ertwine ************************************************************************ This a joke, right? Beef Stew ************************************************************************ ========================================================================= Date: Thu, 14 Dec 1995 19:35:58 -0500 Reply-To: HugeSmall@AOL.COM From: Boyd Small Subject: Re: Sonny Boy Williamson lyrics Comments: To: wpc@netcom.com >As I was catching up with some blues-l browsing yesterday >evening I came >across the question about the lyrics to Sonny Boy >Williamson's "Don't >Start Me Talking." I always thought the line in question was >"...to get >her hair sot," where "sot" was a colloquial, perhaps personal, >form of >the verb "to set." >Mark Naftalin Interesting variation. The explanation the person that thought it was " ...to get my head sock [or socked]" had was that some folks had their hair done with a sock on their head. I found that quite amusing. I tend to go with "... to get my hair [or head] 'ssage [massaged]". Huge ========================================================================= Date: Thu, 14 Dec 1995 19:41:35 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: Best Use of a Beer It was a joke, a joke. Beef Stew ******************************* >On Thu, 14 Dec 1995 13:18:27 -0500, you wrote: > >]:->Just for the record. >]:-> >]:->I believe that 'quaffing' refers to what a cat does with a fur ball. > >Actually Webster agrees with Mike, Quaff= To drink Heartily > >]:-> >]:->As in "my cat quaffed up a fur ball. >]:-> >]:->Beef Stew >]:->******************************************************* >]:->> Mike -- I can't understand that Boogie Nation stuff when I'm SOBER! >]:->> Ruth >]:->> >]:->> >]:->>______________________________ Reply Separator >]:->_________________________________ >]:->>Subject: Best Use of a Beer >]:->>Author: Michael Case at Internet >]:->>Date: 12/14/95 10:23 AM >]:->> >]:->> >]:->>Ruth writes: >]:->> >]:->>"You mean 'quaffing'. Unless you are going to put the beer on your head." >]:->> >]:->>I think he means coiffing. It invites the cosmic rays of pure boogie into >]:->>the mind and heart as the inviolable juices commune with your head, >]:->>instigating the much-sought-after "head buzz" known only to the ancients, >]:->>pushing their shopping carts and howling at the passing traffic... >]:->> >]:->>M. Case >]:->> >]:->> >]:-> > > >Roy W. Forgy (blueslvr@sirius.com) >Pacifica, CA > >Please note the new E-Mail address. > > ========================================================================= Date: Thu, 14 Dec 1995 19:45:12 EST Reply-To: Robert Crocker From: Robert Crocker Subject: Cosmic Boogie Aw, c'mon Boogie Nation. Keep posting the newsletter. (Assuming it won't be EVERY day!) I think it's a scream. And if I run out of patience with it, well, it wouldn't be the first unread message I deleted off BLUES-L. Awaiting enlightenment in the frozen wastes, Robo ========================================================================= Date: Thu, 14 Dec 1995 19:59:51 -0500 Reply-To: DoyleE847@AOL.COM From: Doyle Ertwine Subject: Re: Eric Clapton Guitar String Some of you people are poking fun at my attempt to sell this string, but it's no laughing matter. This string is going to be a true blues artifact someday. I'm trying to conduct some square business out here...please be serious. P.S.-- FYI, I got hold of a Johnny Winter thumb pick back in '89 and made a nice little peace of change off of it and the guy who bought it has a blues artifact that is going to increase in value over the years. -Doyle Ertwine ========================================================================= Date: Thu, 14 Dec 1995 16:30:00 -0500 Reply-To: Steven H Bard +1 +1 201 386 7384 From: Steven H Bard +1 +1 201 386 7384 Subject: Melvin Taylor Those folks interested in Melvin Taylor's new release should also check out his earlier release on Evidence. It's "Blues On The Run" on Evidence (ECD 26041-2) and was recorded on April 8, 1982 at the Red Label Recording Studio, Winnetka-Chicago. It features Johnny Dollar on rhythm guitar, Big Moose Walker on piano, Willie Love on bass guitar, and Casey Jones on drums. A fine release. Steve Bard shb@fuwutai.att.com ========================================================================= Date: Thu, 14 Dec 1995 20:15:14 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Eric Claptons Guitar String Comments: To: DoyleE847@aol.com >>>I am now accepting bids on this string. It will be sold to the >>>highest >>>bidder. I'll bid if Eric signs it . . . maybe with a teensie weensie little needle point pen. And it 'must' be legible too . . . Dick Waterman (who now wishes he had saved every string that Son House broke while roaring through "Death Letter") ========================================================================= Date: Thu, 14 Dec 1995 19:30:30 -0600 Reply-To: "J.L. McClure" From: "J.L. McClure" Subject: Memphis/New Orleans My wife and I will be spending our first childless Christmas in 20 years (part sad, part glad) in New Orleans. If anyone has any info on food and/or music it would be greatly appreciated. We're stopping in Memphis on Friday, 12/22, in time for barbeque and blues. Then we'll be in N.O. 12/23-26. And returning through Memphis and/or St. Louis (depending on mood and weather) 12/27-28. Any suggestions from this list will be taken seriously. Thanks. J.L. McClure ========================================================================= Date: Thu, 14 Dec 1995 20:52:40 -0500 Reply-To: "Daryl F. Bernard" From: "Daryl F. Bernard" Subject: Re: Eric Claptons Guitar String In-Reply-To: <9512142330.AA04528@ helix.lasierra.edu> On Thu, 14 Dec 1995, Don Cicchetti wrote: > Doyle said: > > >I have in my possession a guitar string that was broken by Eric Clapton > >during his last concert in the Detroit area. > >It is the bottom "E" string. Eric broke it while playing "Blues Before > >Sunrise." He pulled the broken string out thru the bridge of his guitar and > >tossed it towards the first row of seats. My nephew was there in the first > >row and caught the string. > > > >I am now accepting bids on this string. It will be sold to the > >highest bidder. Yeah...RIGHT! As if.........nevermind. Um...how do I say this politely...um..er.......no thanks. Daryl ========================================================================= Date: Thu, 14 Dec 1995 18:07:49 PST Reply-To: mmccourt@ACUSON.COM From: Mike McCourt Subject: Re: The really boogie Flame.... Comments: To: boogienation@EARTHLINK.NET Please, just ignore the criticism and keep posting. If you try to answer the flames it only serves to add fuel to the fire. So far I haven't heard a legitimate complaint yet. There is support and interest for your stuff; those of us who want to read it will, the others will get tired and read other things. Mike ______________________________ Reply Separator _________________________________ Subject: Re: The really boogie Flame.... Author: boogienation@EARTHLINK.NET at ccUnix Date: 12/14/95 3:30 PM Why do you criticize us (and us includes John Lee Hooker)? We thought that you blues lovers might want to read some interesting things about the Boogie Man. I am his step-son from his 3rd marriage. I write these words from our office inside of John Lee Hooker's own home in Southern California. John Lee knows how hard it can be for his fans to get information about him (information other than publicity stuff). I guess you don't know enough about the blues to realize the importance of John Lee Hooker's music to the world, to the blues, and to America. If you did, then perhaps you would want to learn about this man and his life and what he is really like. Richard H. ========================================================================= Date: Thu, 14 Dec 1995 21:00:41 PST Reply-To: mail06702@pop.net From: "(Dave Ruthenberg)" Subject: Alligator mail Name: Dave Ruthenberg E-mail: mail06702@pop.net Date: 12-14-95 Time: 9:00 pm EST Just wondering if anybody out there knows of an e-mail address for Alligator Records - or if one even exists. Thanks, Dave ========================================================================= Date: Thu, 14 Dec 1995 21:05:22 -0500 Reply-To: "Daryl F. Bernard" From: "Daryl F. Bernard" Subject: Re: Eric Clapton Guitar String Comments: To: Doyle Ertwine In-Reply-To: <951214195950_90527146@mail04.mail.aol.com> On Thu, 14 Dec 1995, Doyle Ertwine wrote: > Some of you people are poking fun at my attempt to sell this string, but it's > no laughing matter. This string is going to be a true blues artifact > someday. I'm trying to conduct some square business out here...please be > serious. > P.S.-- FYI, I got hold of a Johnny Winter thumb pick back in '89 and made a > nice little peace of change off of it and the guy who bought it has a blues > artifact that is going to increase in value over the years. > -Doyle > Ertwine > Sorry - no fun poking intended on my part. It's just that I enjoy the MUSIC. It's the music I groove to, and the music that grooves in me. Not a broken string or a pick or hendrix' old pants (for sale by someone right now on the hey-joe list!). I don't care how much my cd collection is worth. I don't care to have a piece of nostalgia or collectable simply for it's monetary value. I don't care to "make a nice little piece of change off" the blues, or off anybody else. And I don't think thats what the intent of this list is (I could be wrong). Just my opinion, tho.... "Peace and Happiness" (jimi hendrix, woodstock, 1969) Daryl ========================================================================= Date: Thu, 14 Dec 1995 21:06:42 PST Reply-To: mail06702@pop.net From: "(Dave Ruthenberg)" Subject: Re: Boogie Pizza All I can say is that since the appearance of "Boogie Nation" my delete key is getting one helluva workout. Dave ========================================================================= Date: Thu, 14 Dec 1995 20:12:53 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Eric Clapton Guitar String Comments: To: Doyle Ertwine In-Reply-To: <951214195950_90527146@mail04.mail.aol.com> On Thu, 14 Dec 1995, Doyle Ertwine wrote: > Some of you people are poking fun at my attempt to sell this string, but it's > no laughing matter. This string is going to be a true blues artifact > someday. I'm trying to conduct some square business out here...please be > serious. Well, if you had read the FAQ before you tried this bullshit, you would have seen that this kind of crap is not well liked around here. Maybe Barry Switzer will buy it. -Jeff (tired of deleting beer and gear posts, so I flamed EC) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Thu, 14 Dec 1995 21:49:09 -0500 Reply-To: Johny Bravo From: Johny Bravo Organization: University of Oregon Subject: Re: Boogie Nation fracas Comments: To: bit-listserv-blues-l@uunet.uu.net >On a more personal note, I sincerely hope that every Blues-Ler would >regard information that only "the ancients" (whoever they are) and >AMARGI knows about, with a healthy dose of skepticism. If these >secrets are being "kept hidden from modern times because of it's >potential", then they probably should be kept hidden from Blues-L as >well. (In my opinion). >P.W. Fenton >Tampa, Florida I don't know about this, the last time I played "One Burbon, One Scotch, One Beer" an image of Christ appeared in a tortilla in my refrigetator:-) ========================================================================= Date: Thu, 14 Dec 1995 19:53:50 +0000 Reply-To: boogienation@earthlink.net Comments: Authenticated sender is From: Boogie Nation Subject: John Lee Hooker's RockWalk Induction RockWalk Induction, Los Angeles -------------------------------------------------------------- Sunset Boulevard. Renowned for its glamour, nightclubs, and hookers, it houses many hot spots, such as The House of Blues. Now the most sought after hooker can be found here. John Lee Hooker, that is. The "Hook" set his handprints and signature in stone February 24, 1995 at Hollywood's Rock Walk. Rock Walk is located just outside of the big Guitar Center store in Los Angeles, California. Many musicians have been given the honor to reside as legends here. Rock Walk awards are "... dedicated to those individuals who have made significant and everlasting contributions to the world of music." And John Lee definitely fits that profile. As Mr. Hooker's limousine pulls up to the Guitar Center, he sees the entire sidewalk crawling with fans, television cameras and journalists. Some are even trying to peer inside the limousine window. One on looker shouts, "It's Bonnie Raitt!"... but he is quite mistaken. For Bonnie has already arrived and is waiting to greet John Lee when he comes through the door. "Where's Bonnie?" These are the first words that escape John Lee's mouth as he enters what looks like a lounge room through the back door. The room has a couch, chairs, table, and what looks like soon to be a food buffet. Directly across from the back door is a table where John Lee will set his hands in stone. The substance is a dark black color, looking almost like rubbery tar or asphalt. The Boogie Man is in all his glory. He is surrounded by some of his favorite people (Bonnie Raitt, John Hammond, George Thorogood, and ) and he is being honored for his musical genius. As he sits and chats with his friends, I begin to wonder if he is excited because of the award or more excited to see his friends. Camera's are frantically flashing as journalists throw out their questions to be answered by John Lee and his friends. They joke and laugh with each other until someone motions that it is time for the Boogie Man to get his hands dirty. Mr. Hooker will set his hands in the squishy glob not once, but twice. This is in case Southern California encounters another "shaker" and the first set of handprints gets destroyed. John Lee jokingly twists his hands so that his fingers are all entwined when he is asked to place his hands in the glob. Everyone laughs and cheers him on. He finally presses his hands in the clay. What an impression! He wipes his hands off and gets ready to do it again. The press reassembles outside of the Guitar center, while John Lee and his friends wait inside the store for their cue. There are many speeches given in the Boogie Man's honor by his friends and admirers. He receives a special acknowledgment from the mayor of Los Angeles as well as his Rock Walk award. As the speeches are being read, John Lee an Bonnie Raitt keep us entertained behind the scenes with their jokes and comments. Finally John Lee makes his final impression on the crowd. After setting his hands in stone a second time, Dr. Hook is whisked away to yet another interview and photo shoot. This photo shoot takes place in the hall of collectors guitars at the back of the Guitar Center store. The walls in this room are covered with guitars ranging in price from $5000 to over $30,000. It makes you not want to move or breathe in case one of the guitars gets damaged by your movements. After the interview, John Lee signs a few autographs and grabs a plate of chicken for the drive home. He is escorted back to his limousine and says those famous words again, "...Let's go." During the ride back , John Lee sees a homeless man on the street and decides to help him out. The limo stops at a traffic light and John Lee rolls down the limo window and hands the man his plate of chicken. "God bless you", replies the man in a state of shock as the black and gold limo pulls away. He is not the only man who John Lee fed that evening. The Boogie Man took us to his favorite smorgasbord, Arnolds, and treated us to dinner. As Bonnie Raitt so perfectly exclaimed earlier that day, of all the hookers here on Sunset -- John Lee is definitely the best. M.S. --------------------------------------------------------------------------- ========================================================================= Date: Thu, 14 Dec 1995 19:53:49 +0000 Reply-To: boogienation@earthlink.net Comments: Authenticated sender is From: Boogie Nation Subject: John Lee Hooker's cat 'Fluffy' Hey, how about this..I won't call this one of our articles and then maybe the flames will stop. Consider this a day in the life of John Lee Hooker's cat! ---------------------------------------------------------------------------- "Roll, roll, roll, roll, Fluffy roll!" These are the words coming from a deep voice that you might hear if you are walking by the John Lee Hooker house. You know who the deep voice belongs to. And Fluffy is the name of his cat. But why would you hear these words on the street near the house? Well almost everyday, Mr. Hooker takes a stroll down the front walk of his Southern California home. He likes to look at his limo parked out front, look down the street at his neighbor's homes and just enjoy the quietness of his neighborhood. When he does this, the people in the nearby homes sometimes notice. This is nothing new to them. They don't go out and ask him for autographs. But one set of eyes watching him cannot resist the temptation to walk up to the Boogie Man to say 'Hello'. These eyes, of course, are the eyes of John Lee Hooker's cat, Fluffy. Fluffy likes to sit on the roof or on the side fence and watch the joggers go by, the birds fly around, the UPS trucks pull up to the house, and the journalists and film crews that often swarm the house. He's in the perfect spot to watch the house and he always notices when Mr. Hooker takes his stroll. Fluffy jumps down from where he is sitting and runs to the feet of the man who feeds him. Fluffy hits the ground, stretches and rolls over and over and over and Mr. Hooker's words fill the air (and believe me, you can hear John Lee's voice down the street). Fluffy is a long-haired, tabby cat with grey and white colorings. He has lived at Mr. Hooker's Southern California home for the last 2 years. Before that he was living at the Hook's home in Northern California (near San Francisco). Fluffy had the run of the Northern California home until John Lee moved a big German Shepherd in. Fluffy is a cat from the local shelter and had to go under hopitalization during his first Christmas at the Hooker home due to bad health. Fluffy recovered quickly and found a way to live with a dog. Fluffy just hung out in one room and travelled in and out the window where he began his life as an outdoor cat. When Mr. Hooker bought his new home in Southern California, it was decided that Fluffy was to move to the new house since it was large, empty and had a great assortment of trees & shrubs to play in. Now Fluffy has settled and made his mark in the neighborhood as the tough cat that lives in the grey corner house. Fluffy is a lot like John Lee Hooker. They both like to show off (but won't admit it). They both like to lounge around and doze off frequently during the day. They both like to impress the women. Mr. Hooker will show off his collection of music videos or let his friends drive his flashy cars. Fluffy will run up and down the trees outside (especially when Boogie Nation News Editor, Melissa, comes to Mr. Hooker's house). Fluffy likes to show off how he can climb trees without front claws. Fluffy spends most of his days sleeping and leaves the night for action. He has his assortment of neighborhood girl cats that he visits at night or he invites them over to eat his food. Life at the Southern California Hooker house was generally quiet for the first year and a half....until another kitty (Cleo) and later another German Shepherd (Chill) moved in. Fluffy ran away for a couple days when Mr. Hooker got Chill from the local animal shelter but now Fluffy stays away and tries to tolerate the dog. Cleo is now Fluffy's best friend and he has shown Cleo the ropes of the neighborhood. Being John Lee Hooker's main cat is a hard job. Everybody wanting your paw print. Photo shoots for all the cat magazines. Guest speaking at the local fish market to the other cats. One thing for sure, Fluffy knows how to strut his stuff and still have time to clean himself (cause he knows he'll get a bath in the laundry tub if he doesn't clean himself). Fluffy has welcomed journalists from all over the world, shared his raw liver to his female cat friends, rolled to the command of John Lee Hooker and last week we found bird feathers all over the front lawn..Fluffy's attack no doubt. John Lee sings in Crawling Kingsnake how he himself is the ruler of his den. But in reality, Fluffy is ruler of the Hooker Palace. R.H. ------------------------------------------------------------------- ========================================================================= Date: Thu, 14 Dec 1995 19:12:21 -0000 Reply-To: James Witteveen From: James Witteveen Subject: Re: The really boogie Flame.... >Please, just ignore the criticism and keep posting. If you try to answer the >flames it only serves to add fuel to the fire. So far I haven't heard a >legitimate complaint yet. There is support and interest for your stuff; those of >us who want to read it will, the others will get tired and read other things. > >Mike I hate to add to this mess, but comments like `Mr. Silverberg doesn't know enough about the blues to know John Lee Hooker' are ridiculous (judging from the excellent, informative postings I've read in the last few months). Pretty damn rude, too. Now if that isn't a legitimate complaint I don't know what is. Anyone who makes comments like these without having read much of Blues-L deserves all the flames he gets. Serves You Right to Suffer! -Jim (hndful@uniserve.com) ========================================================================= Date: Thu, 14 Dec 1995 20:20:18 +0000 Reply-To: boogienation@earthlink.net Comments: Authenticated sender is From: Boogie Nation Subject: Boogie Chillen images Who ever wants the images for Boogie Chillen Part 1, let us know and we'll e-mail it to you. 2 - ancient earth grid for global resonance 1- JLH light rays Richard H. ========================================================================= Date: Thu, 14 Dec 1995 22:19:57 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Organization: IQuest Internet Services Subject: Re: Etta James Comments: To: Eugene Wan I think I'm on the verge of breaking the blues-l record for plugging one single CD, but here goes............... ETTA JAMES ROCK'S THE HOUSE RJ Bauman (I guarantee it) ========================================================================= Date: Thu, 14 Dec 1995 22:38:15 -0500 Reply-To: DoyleE847@AOL.COM From: Doyle Ertwine Subject: Making Money From The Blues Someone out here suggested that "making a nice little piece of change" off of the blues is somehow not acceptable. Well I'll tell you what....Blues performers don't play their music up on stage for free, they do it for a "nice little piece of change", the "nicer" the better. Money is the bottom line in any industry...and that includes the music industry. A lot of money has been made in the past off of the blues and there is a lot of money going to be made for a lot of people in the future because of the blues. FYI--I have a personal mailing address for Johnny Winter and have corresponded with him. He had no problem with me making some money off of his thumb pick. In fact he got a kick out of it. I doubt Eric would have a problem with it either. -Doyle Ertwine ========================================================================= Date: Thu, 14 Dec 1995 19:52:36 -0800 Reply-To: michael madsen From: michael madsen Subject: Son House unmarked grave? Did I read right last week sometime, I forget who posted it, that Son House was buried in an unmarked grave. If this is the case, does anyone know where it is or who can be contacted to provide a proper headstone. Does he have any family or friends who might be contacted? I ain't no rich man or no rich man's son, but I'm sure as hell willing to buy a headstone and have it engraved in any fashion that the family/friends of such a great man would like. When I read that post, I couldn't believe that one of, if not THE greatest bluesman of all times could be laid to rest with so little consideration of what he was and what he passed on to the world. Of course, there's always a chance that that was the way he wanted it, if so, can someone pass on the postal address to Heaven to I can send one of my National's up his way. Adios for now, Michael L. Madsen - Blaine, Washington "Take it easy but take it." Woodie Guthrie ========================================================================= Date: Thu, 14 Dec 1995 22:46:25 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Boogie Nation fracas >>>I don't know about this, the last time I played "One Burbon, >>>One Scotch, One >>>Beer" an image of Christ appeared in a tortilla in my >>>refrigetator:-) Since I'm Jewish, I got the Moses tortilla instead . . . ========================================================================= Date: Thu, 14 Dec 1995 23:50:16 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: John Lee Hooker/Boogie Nation Article 6 Art wrote: > Yes, even more decades ago than Hooker's version. Amos Milburn recorded > this in 1953 as "One Scotch, One Bourbon, One Beer" Hooker's version was > recorded in 1966 with just the order of drinks interchanged - he claimed > writer's credit for this!! > This has puzzled me for a while. On recent reissues of Hooker's song, credit is given to the author of the Milburn song. But try playing the two songs back-to-back -- they are VERY different. The Hooker song sounds as though he vaguely remembered the Milburn song, and proceeded to make up a new one -- different words and melody, but similar title. So when and why did the songwriting credit change? Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Thu, 14 Dec 1995 23:50:16 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Weird Problem For the last two days, every message I get from Blues-L has the last two or three characters truncated. Is anyone else having this problem. If so, let's fix the server. If not, can anyone recommend a therapi Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Thu, 14 Dec 1995 23:22:36 -0500 Reply-To: Sanjay Rajan From: Sanjay Rajan Subject: WHAT_THE... hell is going on here in the blues newsgroup.... first i had the boogie nation blues then i had the quaffy blues then came the eric clapton guitar string blues now i have the fluffy blues..... BLUES_ANYONE!!!!!!!! +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-($)^($)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ Surrealism ? I AM Surrealism - Salvador Dali +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Thu, 14 Dec 1995 23:42:29 -0500 Reply-To: SJeffcote@AOL.COM From: "Scott E. Jeffcote" Subject: Re: Memphis/New Orleans Comments: To: jmcclure@blue.weeg.uiowa.edu I would recommend you go to B.B's on Beale for the Catfish and Mississippi Mud Pie. While in New Orleans - pickup a copy of Offbeat Magazine or visit their WWW site for a listing of when everyone is playing. I would recommend that you find a car and come to Lafayette on Christmas night for Buckwheat Zydeco at El Sido's. Is FUN an understatement for this event??? "I've got rats and roaches in my Kitchen"---- Silas Hogan sj ========================================================================= Date: Thu, 14 Dec 1995 20:59:29 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Weird Problem/different weird problem Comments: To: Ian Angus Ian Angus wrote: > >For the last two days, every message I get from Blues-L has >the last two or three characters truncated. Is anyone else having >this problem. No, but here's a different problem: for the last week or more, I have been getting answers posted to questions BEFORE I recieve the original questions. So I get a header like Re: Mississippi John Hurt question before I get the original post. This is truly confusing. But I seem to have all my characters, so to speak. Mary Katherine ========================================================================= Date: Fri, 15 Dec 1995 00:04:32 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Son House unmarked grave? Comments: To: mmadsen@az.com On December 15, Michael Madsen asked: >>>Did I read right last week sometime, I forget who posted it, >>>that Son >>>House was buried in an unmarked grave. OK, let me nip this sucker right quick before any thread even DREAMS of beginning: On a different blues news group, some one asked when Son House died and where he is buried. The next response was "In an unmarked grave." I immediately posted right after that with corrected information but you, Michael, must have gotten in there before I did. Son House's funeral was on October 24, 1988, at Mayflower Baptist Church (Detroit) and he was buried in Mt. Hazel Cemetary (Detroit). There is a small simple gravestone that lists the specifics of his birth and death dates. Members of the Detroit Blues Society hope to built a memorial park with a statue of Mr. House in the likeness of a photograph that I donated to them. Mrs. (Evie) House is still alive and living with her daughter. She will have a bit of financial ease in her final years because I was recently able to get Sony Music (formerly Columbia Records) to pay royalties on the 1992 CD reissue of "Father of the Folk Blues." OK? Are we clear on this one? Now please go back to quaffing beer, fighting that boogie nation guy, or picking Etta James records. Dick Waterman ========================================================================= Date: Thu, 14 Dec 1995 21:27:51 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: complaints to Rosebud re Boogie nation Blues-l folks: A very nice person sent me an email earlier today, to report that for some reason he cannot figure out, he is getting a number of email complaints re the Boogie Nation posts to this list. This person's email address is Rosebud@aol.com The correct address for John Lee Hooker's management and agency, Mike Kappus at The Rosebud Agency, is Rosebud1@aol.com Note the numeral 1 in there! Since I had myself been sending email to this incorrect address recently, to discuss other matters with Mike Kappus, the nice person tossed it back into my lap and I thought I had better pass it on. He was very good humored about it and did NOT flame anybody. Just asked nicely if we could all change our address books, as he knows nothing about John Lee Hooker OR this Boogie Nation matter. Mary Katherine ========================================================================= Date: Fri, 15 Dec 1995 00:47:22 -0500 Reply-To: bob unger From: bob unger Subject: Boogie Nation...huh???? Dear Blueseller's.... Last night, I might have gotten carried away with my somewhat harsh words about the intentions of Boogie Nation. I have appolgized to Mr. Hillier in the use of my language but still expressed my opinion that I feel the content of Boogie Nation seems to be of an "infomercial" nature. Ok, over and done with, I expressed my opinion..yada, yada, yada......and he explained his side.....of wanting to pass on information about JLH to people who are interested about a living blues legend. Great, I agree with that concept.....but information about "Fluffy"....."Boogie Pizza".. Is this the stuff we want to know in detail about? A sentence or two would have been sufficient, but a 10 paragraph story on the antic's of Fluffy???....and the pizza man????? Huh??????? I hope I'm wrong, but I got a sneakin'suspicion that we're being taken for a ride here.... Mr. Hillier, I guess I just dont understand all the "cute and funny little tales" that you're posting. I understand that you want to express a human and warm side....but so far all I've read is "medicinal virtues, animal stories and funny human nature stories" but is this all you have to say about JLH?....I just feel that your relagating a blues legend to appearing on America's Funniest Video's....I'm sorry, I just dont understand what you're trying to tell us about JLH....... BU bob@sun.bnkst.edu ========================================================================= Date: Thu, 14 Dec 1995 21:57:43 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Plea to the listowner - Alan Rollins -Reply I've been a tad busy again but I have some time so I'll throw my two cents into the ring (anyone here play two-up?). I agree with Roger that if you don't like it then delete. Most of the non-blues stuff, like the recent thread about cats, beer and hairballs should be taken in the spirit of the participants. A little fun. If you don't want to have fun then don't read it. Threads like that are only a minor percentage of the volume of mail that makes up Blues-L. Lighten up a little, it's Christmas. As for Boogie Nation. It is a little out there. I mean JLH's cat!?! Maybe we could ask JLH about the cat, beer, hairballs and qauffing. Anyway back to my experiment using a JLH CD, a cat with hairballs and a 6-pack. Shaun >Hey Everybody, > >I must admit that i am somewhat surprised (having been kept off blues-l >against my will for almost 3 weeks by a very misbehaved server at this end) >to return just yesterday and get to read about this newest addition to >BLUES-L reading....ref: Boogie Chillun. > >I suspect there probably isn't much interest in this stuff by most >BLUESellers myself....BUT, hey guys, do what i'm doing, DELETE IT. > >Pow pow pow pow. > >ddr Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 14 Dec 1995 21:57:48 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: John Lee Hooker's RockWalk Induction I was there when JLH was inducted into the Rock Walk. I don't remember feeling any mystical vibrations emanating from the Earth. Apart from the usual LA vibrations. Sure where a lot of girls, however, dressed in very little clothing, standing on the corners, talking to guys in cars. I'm not sure what they were doing but I think they needed a lift somewhere because they would get in the cars with the guys and drive off. At least that's what I think was happening. Shaun "Not as innocent as he can appear. It all depends on the situation" Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Fri, 15 Dec 1995 00:59:56 EST Reply-To: Joseph Leichter From: Joseph Leichter Subject: Re: Eric Clapton Guitar String Is the Clapton string autographed ;-)...if not , I'll wait for the limited edition collector plates to come out ("while not *every* plate will increase in value..") Till then, I 'll follow what must have been John Lee Hooker's advice CAVEAT EMPTOR.......(roughly translated .."there's a sucker born every minute...") ========================================================================= Date: Fri, 15 Dec 1995 02:30:39 -0500 Reply-To: JIMBLUE1@AOL.COM From: Jim Armstrong Subject: Re: Eric Clapton Guitar String Comments: To: DoyleE847@aol.com In a message dated 95-12-14 20:09:04 EST, DoyleE847@AOL.COM (Doyle Ertwine) writes: >This string is going to be a true blues artifact >someday. Why? I thought it was from Clapton? Jim Armstrong ========================================================================= Date: Fri, 15 Dec 1995 02:30:45 -0500 Reply-To: JIMBLUE1@AOL.COM From: Jim Armstrong Subject: Re: Weird Problem/different weird problem Comments: To: mkaldin@ix.netcom.com In a message dated 95-12-15 00:03:42 EST, mkaldin@IX.NETCOM.COM (Mary Katherine Aldin) writes: >No, but here's a different problem: for the last week or more, I have >been getting answers posted to questions BEFORE I recieve the original >questions. So I get a header like > >Re: Mississippi John Hurt question > >before I get the original post. This is truly confusing I've been having this problem all along. It gets confusing when you answer the posting, as the poster gets a copy of the message added to the list. So I'm answering the answerer, instead of the original. Jim Armstrong ========================================================================= Date: Fri, 15 Dec 1995 01:23:22 +0000 Reply-To: boogienation@earthlink.net Comments: Authenticated sender is From: Boogie Nation Subject: BOOGIE NATION OUTTA HERE! - Bye This group has been totally rude to us. We were never trying to give our business a plug on this Blues-L. Business wise, this list is too small for us to waste our time trying to generate business. Why would we try to 'pitch' our stuff on this tiny list compared to having our address that is on Mr. Hooker's "Chill Out" CD liner notes that is sold worldwide by the hundreds of thousands? An opportunity to get a peek at John Lee's life as he is living it now is a rare opportunity. Yeah, an article about his cat or a his own pizza named after him might seem lame. But how often can you get a view at a daily event in John Lee's life (and not an event that revolves around a publicity session)? We are right in the dead center of his life here; as I said before we work right out of his house! We share the same bathrooms. The possibilities for you all to learn about this man in this unique way through the internet is one of the great benefits of having all of you connected this way. You could of directed questions to John Lee, we would of been happy to privately e-mail you rare photos, and when John Lee is sitting 30 feet away from me in our living room...this is as close as many of you will get to this ledgendary artist because many of you live in different countries. There is no point for us to waste our time deleting flames. Most e-mail programs show the e-mail address before you open the message. You could of just deleted us from your lives while the others who appreciate our presence slowly get to know us and then sieze the opportunity to ask John questions through us. As for 'Boogie Chillen', the article is a rare view of just why John Lee Hooker's music is so healing. 'Boogie Chillen' is written in multiple parts and can be read as a source of information by a person who really devots his life to studing John's music in a rare way. I guess in 'Boogie Chillen' 4 when Amargi writes of using Nikola Tesla's Earth Grid broadcast technology to engulf your city with John Lee Hooker's Boogie (music that literally comes down from the skies and surrounds the entire population)....yeah, this is would either too far fetched and wacko to you or it would be one of the most important events to hit your consciousness. We are best not to volunteer these articles I realize now. We've only been on this Blues-L for two days. Is this how you welcome newcomers and teach them how to best use this list? I received 16 flames for the article I wrote about regarding when I took John Lee to the video shoot for 'One Bourbon, One Scotch, One Beer'. This is unnecessary. And I don't want John Lee to think that we are causing problem with his company.... so we get your hint and we will leave. This Blues-L is very good for information regarding the blues. The more blues knowledge that is available and exchanged on this list is making it more well rounded and thus a great melting pot of various blues opinions, ideas, concepts, resources and thinking. Our addition would of added to this just as much as your presence on this list. Richard Boogie Nation ========================================================================= Date: Fri, 15 Dec 1995 02:35:00 -0800 Reply-To: "Bonn, Bob" From: "Bonn, Bob" Subject: Sonet Records Could someone please give me the address for Sonet Records, either e-mail or snail-mail. I've tried a net search but come up with nothing. Thanks. Bob (in cold, wet, dark, Aberdeen, Scotland. I don't need blues about cold weather....I got 'em. Anyone who poured beer over their head here would die from exposure. I want some swaying palm tree, sand in the toes blues.) bonnb@xxeupo13.hou.xwh.bp.com ========================================================================= Date: Fri, 15 Dec 1995 03:43:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: BOOGEY OUT HERE!! If there is one timeless truth of the List, it is that whenever anyone claims something is inappropriate for the List, such opinion is immediately flamed by defenders of the Poster. This is the immutable truth, both a strength and a weakness, and yet we do have rules. One rule is that regular commercial posts are not allowed. Another is that selling is not allowed as it may be illegal. If you don't believe me, check it out. Yet Boogie Nation, when it is not spreading offensive stereotypes about India "and other Eastern places" (?!) which our new 'zeller Sanjay rightly finds objectionable as a native Indian . . . when it is not doing that, Boogie Nation informs us that it "takes care of Mr. Hooker's mail order merchandise." And it exhorts us "Also, be sure to look for our new products." This is commercial, it is sales, and it needs to be off the List. Moreover, the whole deal is infomercial in nature, pure and simple, and it should not be offered in this format. It's not really a close call, either. And it is absolutely no answer whatsoever to say, "why don't you just delete it." This stuff is in violation of the rules and purpose of the List, and it needs to be off, period. If people want access to it, access is READILY available, but should not be available on the List. Even "the ancients" discovered that the world works better when you have rules. We have rules. And it is not the case that the rules do not apply just because people leap forward and say, "I think Boogie Nation should be on." If there is an overall willingness to change the rules, then they will get changed. And infomercials will be allowed, and we'll all maybe learn how to lose weight the way they ancients did at 1.45 Mhz through their hyperthalmus, and we can buy the whole cassette series about it, via very special offer. ("NOW, how much would you pay?") Until the rules are changed, though, it is unfair NOT to uphold them, and Bluezellers have a right to expect that they be honored. How weak we would be if we were to say, "yes, we have these rules but if someone feels they should be ignored, who are we to question their view?" And yeah, I know, we all violate the rules a little bit once in a while. We all jay-walk. The programme of organized infomercials complete with fun contest is different, however, and we have a right either to (i) have the rules reconsidered, or (ii) get this stuff off our List. So let's please do one or the other, now. Sorry to be so serious, my good friends. I hope you all hear some really inspiring blues this weekend! Joe in Moscow ("It also seems JLH don't need the dough w/his 560 SL & Caddie") J.E._Downey@bakermck.com ========================================================================= Date: Fri, 15 Dec 1995 07:37:18 -0500 Reply-To: Clint.Pulley@CCIW.CA From: Clint Pulley Subject: Blues Humour Things have been getting rather heavy ;) on Blues-L lately so I'm going to try and start a lighter topic. Blues songs often contain richly humourous passages (I won't spoil this by lecturing on the value of laughing at adversity). Who, having had the pleasure of seeing B.B. King live, will ever forget the sight of B.B., hand on hip, singing "I gave you seven children, and now you want to give them back!". One of my all-time favourites is from Jimmie Rodgers, the Singing Brakeman, who wrote "She rubbed my back with alcohol to try to cure my cough (x2) Well I like to broke my neck trying to lick the alcohol off" I last heard this over 30 years ago so I can't recall the song title or the rest of the song but that verse has stuck in my memory. Does anyone else have any humourous favorites? Clint -- Clint Pulley, Head of Computer Services National Water Research Institute, Environment Canada (905) 336-4930 Canada Centre for Inland Waters, Burlington, Ontario Minds are like parachutes. They only function when they are open. -James Dewar ========================================================================= Date: Fri, 15 Dec 1995 07:46:16 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: BOOGIE NATION OUTTA HERE! - Bye In-Reply-To: <199512150817.AAA21327@iceland.it.earthlink.net> > house! We share the same bathrooms. Now there's some credentials! Dave Prychitko (Who actually feels a bit sorry for this pest) ========================================================================= Date: Fri, 15 Dec 1995 08:34:44 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Dates - December 15th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ALLEN, ED (tpt) b. 1897-1215, NASHVILLE, TN BEAL, EDDIE (p) d. 1984-1215, LOS ANGELES, CA 74 BELVIN, JESSE L. (v/songw) b. 1932-1215, SAN ANTONIO, TX BIRDSONG, CINDY (v/BLUEBELLES/SUPREMES) b. 1939-1215, CAMDEN, NJ BOARD, JOHNNY (tsax/JOHNNY ACE/B.B. KING) d. 1989-1215, OAK PARK, IL 70 BRATHWAITE, WAYNE ANTON M. (b/prod/songw) d. 1991-1215, NEW YORK CITY, NY 32 BRENSTON, JACKIE(sax/ROCKET 88/IKE TURNER)d. 1979-1215, MEMPHIS, TN 45 BUTLER, BILLY (g/BILL DOGGETT) b. 1924-1215, PHILADELPHIA, PA FREED, ALAN (dj) b. 1921-1215, SALEM, OH GRAUER, BILL (co-founder: RIVERSIDE REC) d. 1963-1215, NEW YORK CITY, NY 41 HAMMEL, MARK (hca/FLYING FISH REC) b. 1955-1215, NEW HAVEN, CT HAMMOND, JOHN SR. (a&r/prod/COLUMBIA REC) b. 1910-1215, NEW YORK CITY, NY JONES, SAM (b) d. 1982-1215, NEW YORK CITY, NY 58 KAPLAN, BRUCE (founder: FLYING FISH REC) d. 1992-1215, CHICAGO, IL 47 MOORE, RUSSELL "BIG CHIEF" (tbn) d. 1983-1215, NYACK, NY 71 MOORE, BILLIE MAC "TINY" (mand) d. 1987-1215, JACKPOT, NV 67 ODOM, ANDREW "B. B." "VOICE" (v/DAWKINS) b. 1936-1215, DENHAM SPRINGS, LA PERKINS, BARNEY (rec eng/prod) d. 1993-1215, LOS ANGELES, CA 48 RAY, HARRY MILTON(of RAY,GOODMAN & BROWN) b. 1946-1215, HACKENSACK, NJ RICHMOND, DANNIE (d/MINGUS) b. 1935-1215, NEW YORK CITY, NY ROBBINS, JACK (of ROBBINS MUSIC/BIG 3) d. 1959-1215, NEW YORK CITY, NY 65 ROSE, AL (author/STORYVILLE/EUBIE BLAKE) d. 1993-1215, NEW ORLEANS, LA 77 SHAPIRO, NAT (author/prom) d. 1983-1215, NEW YORK CITY, NY 61 TURNER, NAT [NATHANIEL MOORE] (v) d. 1985-1215, LITTLE ROCK, AR 46 WALLER, THOMAS WRIGHT "FATS" (p/songw) d. 1943-1215, KANSAS CITY, MO 39 ------------------------------------------------------------------------------- ========================================================================= Date: Fri, 15 Dec 1995 07:51:43 CDT Reply-To: Dave Kneifl From: Dave Kneifl Organization: University of Wisconsin-Extension Subject: Re: Weird Problem/different weird problem > > No, but here's a different problem: for the last week or more, I have > been getting answers posted to questions BEFORE I recieve the original > questions. So I get a header like > > Re: Mississippi John Hurt question > > before I get the original post. This is truly confusing. But I seem > to have all my characters, so to speak. > I'm still somewhat of a novice, but... If you mean they just APPEAR out of order, I see this occasionally also. I think it has to do with messages coming from all different time zones. If your program sorts the messages by the date and time they were SENT as mine does, sometimes a response from, say, California, will appear earlier on your list of messages than the original question from, say, New York. They should still be arriving in the correct order. If, on the other hand, you mean the responses are actually ARRIVING before the original questions, then I have no explanation. DK Dave Kneifl Program Assistant UW Extension Independent Learning Ever stop to think, and forget to start again? ========================================================================= Date: Fri, 15 Dec 1995 09:56:18 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: Skip James' piano recordings I consider Skip James' 1931 piano blues among the greatest I've ever heard. It's frightening to think that he developed such proficiency and expressiveness on the instrument without even owning one until late in life. (That is, if Calt can be believed...) Does anyone know if he recorded anything on piano during the sixties? Flame away if this is a stupid questions - I can take it. Thanks, -Rob ========================================================================= Date: Fri, 15 Dec 1995 07:49:59 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Eric's string & JLH's Pizza First of all why in the world would someone pay for a broken string, I don't care who broke it. Heck I'll sell you a brand new unbroken set of the same brand of strings that Eric Clapton uses. AS far as having a personal mail address to Johnny Winter, who cares. I talk to his producer all the time :-) The JLH is ridiculous, who cares that you buy his pizza or share his toliet We at blues-l have out share of "famous" people as members and I'm not impressed that you pee in the same place as JLH. I have not resubscribed to blues-l, but with the recent appearance of Boogie Nation and the used string dealer (ambitious guy) are more than adequate replacements for my presence. I think I'll stay off the list. I still read it, but it makes it hard to reply to stuff, hence a lot less flames and name calling.... I was at a JLH show and the stage hand said hey you want JLH's pick, I said sure. It was a Fender Medium, which I don't recall JLH using a flatpick but it served me well, unitl I lost it. I always like to get thier picks so I don't have to buy any. I don't know about Johnny's thumbpick, since they come in different sizes it may not fit my thumb. I would have no other use for it except to keep me from having to buy one.... LW 'I have four broken strings and I'll sell them cheap' ========================================================================= Date: Fri, 15 Dec 1995 14:06:55 +0000 Reply-To: rof From: rof Subject: Re: Skip James' piano recordings Comments: To: Rob Hutten In-Reply-To: Your message of "Fri, 15 Dec 1995 09:56:18 -0400." <199512151356.AA24940@dragon.acadiau.ca> In message <199512151356.AA24940@dragon.acadiau.ca>, Rob Hutten writes: > I consider Skip James' 1931 piano blues among the greatest I've ever > heard. It's frightening to think that he developed such proficiency > and expressiveness on the instrument without even owning one until > late in life. (That is, if Calt can be believed...) > > Does anyone know if he recorded anything on piano during the sixties? > > Flame away if this is a stupid questions - I can take it. > > Thanks, > -Rob I seem to remember there's two or three tracks on 'Devil got my woman' on Vanguard recorded around 1965 where he uses piano. Cheers Rob ========================================================================= Date: Fri, 15 Dec 1995 14:09:49 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Subject: Re: Wolf Records Comments: To: bit-listserv-blues-l@uunet.uu.net In article , Richard Shurman says: > >Wolf has Rounder distribution in the U.S. and good representation in >Tower stores; they even do promotions with Tower. For mail order, maybe >Roundup Records in Cambridge MA is the best source because of the >Rounder tie-in, but they really aren't that hard to find. You might also try Tower Mail Order - call 1-800-ASK-TOWER. I've used them once or twice with prompt reply. You need to know artist and title when you call them. I have a sampler at home that gives address for a catalog of titles. I'll try to post that when I get home. Art Schuna P.S. I picked up the Vance Kelly Wolf CD at Tower last time I was there for $11 and some change on sale. Not only that, but they threw in a free sampler of Wolf releases. ========================================================================= Date: Fri, 15 Dec 1995 10:00:27 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Legalities? Comments: To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM On Fri Dec 15 03:43:33, J.E._Downey@bakermck.com had this to say: > we do have rules. One rule is that regular commercial posts are not > allowed. Another is that selling is not allowed as it may be illegal. > If you don't believe me, check it out. I am not debating any of the issues surounding Boogie Nation's posts on Blues-l. Joe's post just brought to mind another issue that I have wondered about. I have seen it suggested several times by people on this list that selling is, or may be, illegal. However, I've never heard of any actual laws governinng this, nor any evidence of enforcement. The World Wide Web must be 80% advertising of some sort, and Netscape is working very hard at providing a means for secure credit card transactions via the internet. Where does anyone get the idea that selling is illegal? P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 15 Dec 1995 09:18:43 -0500 Reply-To: Kathe Grant From: Kathe Grant Subject: good CD's by Etta James and other female blues singers I'm a real fan of Dinah Washington myself. Unfortunately, I can't recommend any particular CD's since I've only recently "discovered" her. If anyone out there has any favorites, do tell, do tell! Kathe "There comes a time when you must let yourself go and feel the music run into your veins. While the drums beat and the guitar wails, a feeling of fury takes control of your mind and body, and soon there is nothing but soul. So as I see it, control is just a formality that limits our boundries of flow." _ Anonymous ========================================================================= Date: Fri, 15 Dec 1995 06:26:59 -0800 Reply-To: Michael Hewitt From: Michael Hewitt Subject: Re: Blues Humour Comments: To: Clint.Pulley@CCIW.CA At 7:37 AM 12/15/95, Clint Pulley wrote: >Things have been getting rather heavy ;) on Blues-L lately so I'm going to >try and start a lighter topic. > >Blues songs often contain richly humourous passages (I won't spoil this by >lecturing on the value of laughing at adversity). Who, having had the >pleasure of seeing B.B. King live, will ever forget the sight of B.B., hand >on hip, singing >"I gave you seven children, and now you want to give them back!". > >One of my all-time favourites is from Jimmie Rodgers, the Singing Brakeman, >who wrote >"She rubbed my back with alcohol to try to cure my cough (x2) > Well I like to broke my neck trying to lick the alcohol off" > >I last heard this over 30 years ago so I can't recall the song title or >the rest of the song but that verse has stuck in my memory. > >Does anyone else have any humourous favorites? Awhile back I heard Johnny Nitro at Lou's in San Francisco singing: "I've got trouble...trouble in my life I'm having trouble with my girl friend...that trouble is my wife." Struck me as very humorous...but then I AM divorced : / Michael Hewitt mhewitt@telis.org Region 7 Telementor MDH1953@aol.com California Technology Project 209-667-5903 X34 Troutbusters - Modesto, CA Fax 209-667-7628 "Flyfishing for trout is the closest thing to Heaven on Earth." - M. Hewitt "Nobody loves me but my mother, and she could be jivin' too." _ B.B. King ========================================================================= Date: Fri, 15 Dec 1995 09:28:21 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Eric Claptons Guitar String Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I don't have any blues memrobelia to sell, but I have shaken the hands of many great blues musicians. Let's see, I've shaken hands with Jr. Wells, Rod Piazza, Johnny Copeland (twice!), Carey Bell, Ann Rabson, Robert Lockwood, William Clarke, John Cephas, Phil Wiggins, John Hammond, John Jackson, Archie Edwards, Paul Rishel, Annie Raines, James Cotton and many more. Since I'm right-handed I can't cut off my hand and sell it, but I can do the next best thing. l can photocopy my hand and sell it to the highest bidder - I can even fax it to you today. This is a once in a lifetime oppurtunity - you can show your grandchildren the photocopy of the hand that shook the hand of all these great musicians! :-) -Steve ps - I also have a hampster named "Scruffy" that was once owned by BB King's mailman's nephew. ========================================================================= Date: Fri, 15 Dec 1995 08:35:09 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Making Money From The Blues Comments: To: Doyle Ertwine In-Reply-To: <951214223741_73304951@emout05.mail.aol.com> On Thu, 14 Dec 1995, Doyle Ertwine wrote: > Someone out here suggested that "making a nice little piece of change" off > of the blues is somehow not acceptable. Well I'll tell you what....Blues > performers don't play their music up on stage for free, they do it for a > "nice little piece of change", the "nicer" the > better. Money is the bottom line in any industry...and that includes the > music industry. A lot of money has been made in the past off of the blues > and there is a lot of money going to be made for a lot of people in the > future because of the blues. You are right on all points. HOWEVER, the "rules" of this list explicitly say that instances like yours are NOT for this list. You can sell whatever you like that is blues related, just NOT ON THIS LIST. > FYI--I have a personal mailing address for Johnny Winter and have > corresponded with him. He had no problem with me making some money off of > his thumb pick. In fact he got a kick out of it. > I doubt Eric would have a problem with it either. He probably wouldn't. I've go tno problem with you making your money as long as you don't use this list to advertise. I've got a string I broke a while back. I'm gonna be famous someday. I'll take bids by private email. ;-) -Jeff (10 free hours again...) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Fri, 15 Dec 1995 08:40:15 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: BOOGIE NATION OUTTA HERE! - Bye Comments: To: Boogie Nation In-Reply-To: <199512150817.AAA21327@iceland.it.earthlink.net> We don't mind your being here as long as you stick to blues. There's so much we'd like to know about John Lee - stuff that is much more important than some stinkin pizza story or the daily ritual of his cat. If I posted to the list the details of my sick Afghan Hound - I'd get the crap flamed outta me too. I asked two specific blues related questions of you and all I got was "John Lee's busy right now, but I'll pass them along." If you'd stick to real blues stuff instead of this off-the-wall peripheral rubbish, we'd *love* to have you here. Think about the purpose of this list that you joined. If you want to continue that other stuff, there are people out there who can help you start boogienation-l. Just ask. -Jeff (Boom boom boom BOOM) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Fri, 15 Dec 1995 09:35:09 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Skip James' piano recordings Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, rof/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=rof#a#ABER#f#AC#f#UK@s1boca.corp.wrgrace.com * *I seem to remember there's two or three tracks on 'Devil got my woman' *on Vanguard recorded around 1965 where he uses piano. * I think there are also some piano tracks on "Skip James Today," the other Skip James Vanguard recording. ========================================================================= Date: Fri, 15 Dec 1995 06:49:02 -0000 Reply-To: James Witteveen From: James Witteveen Subject: Re: Blues Humour >Does anyone else have any humourous favorites? > >Clint I must say that one of my favorite blues song titles is `Is You Ever Seen A One-Eyed Woman Cry' by Earl Hooker. I read somewhere (I think it was an Issue of Living Blues) that someone does a version of this song with the words Is you ever seen a cross-eyed woman cry The tears just roll on down her back. Great song (not terribly politically correct, though) with a great title! -Jim (hndful@uniserve.com) ========================================================================= Date: Fri, 15 Dec 1995 16:59:53 +0200 Reply-To: Jouni Ilari Hyyti{inen From: Jouni Ilari Hyyti{inen Subject: Re: Eric Claptons Guitar String Comments: To: Steve Levine In-Reply-To: Weell, In the last summer in Roots and river blues festival, Rovaniemi Funland I forgot my Notodden Blues Festival Umbrella to Honeyboy Edwards hotel room. I got the item back in the next day, so I have an umbrella who has spent a night with Honeyboy.... Any offers... Jouni ========================================================================= Date: Fri, 15 Dec 1995 10:00:30 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Skip James' piano recordings Comments: To: rob.hutten@acadiau.ca In a message dated 95-12-15 08:59:05 EST, rob.hutten@ACADIAU.CA (Rob Hutten) writes: > >I consider Skip James' 1931 piano blues among the greatest I've ever >heard. It's frightening to think that he developed such proficiency >and expressiveness on the instrument without even owning one until >late in life. (That is, if Calt can be believed...) > >Does anyone know if he recorded anything on piano during the sixties? There are piano tracks of both of the Vanguard albums SKIP JAMES TODAY! and DEVIL GOT MY WOMAN. I highly recommend both. Tom Freeland ========================================================================= Date: Fri, 15 Dec 1995 15:04:25 +0000 Reply-To: Roadrunner Tour Management From: Roadrunner Tour Management Subject: Archie Lee Hooker & T.W. Henderson >> How is Archie and Tobias Henderson doing...aka Bigtime. Are they still together >> and touring. Tobias was at one time a blues-eller, before going on tour with >> Archie. >> >>Just curious how "Nephew Hook" and Tobias are doing. >Hi, >Tobias and Archie (John Lee's nephew for those who don't know) were >touring in Europe for a few months. I think they rented a villa or >something in Ireland for the duration of their stay. Unfortunately, >the band broke up because of 'personal differences'. As for Tobias, >I have no idea what he is doing. Well, I'm the guy who rented the villa :-) for the band. They did very well over here in Europe until Tobias W. Henderson lost it a bit. In fact, he pissed the band members off so much , that one after the other went back to the states. I hope Archie is doing fine now. Only got a message from him on my answering machine this morning. Sorry I missed him. Tobias is still over here in Ireland preaching - and criticising every other musician but himself. It's a petty realy as he his a very talented singer but has a serious problem. I can't see him staying here much longer as he makes himself too many enemies including me (I'm his agent) Well, I wish them all good luck anyway!!! Cheers Carsten "R O A D R U N N E R T O U R M A N A G E M E N T" <<<< KEEPING THE BLUES ALIVE >>>> 141 Tirellan Heights Galway / Ireland Tel.&Fax: +353 95 35976 Mobile: +353 88 619758 ========================================================================= Date: Fri, 15 Dec 1995 09:03:06 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Humor tunes I like Ga Tom Dorsey & Tampa Red (one of the many versions of the Hokum Boys) doing "Caught Us Doing It" (hey, hey, caught us doing it, hey, hey, hey) I also like "Please Warm My Weiner" off of the cd by the same title on Yazoo LW 'diggin that Hokum stuff" OH yeah: Memphis Minnie's Bananna Man is funny also ========================================================================= Date: Fri, 15 Dec 1995 10:08:48 -0500 Reply-To: Sanjay Rajan From: Sanjay Rajan Subject: WHAT_A_RELIEF!!! BoogieNation is outta here.... LETS TALK SOME BLUES NOW!! EVENT VENUE > MANCHESTERS CRAFTSMENS' GUILD, PITTSBURGH, PA TIME > LAST NITE, 1930-2200 hrs EST MUSIC > JAZZ + BLUES ARTISTS > Marian McPartland Trio[Jazz] Jimmy McGriff/Hank Crawford Quartet[Blues] What a fantasic nite of JAZZ and BLUES it was..... The 75 year old frail looking Marian McPartland and her trio were great with there piano standards covers of Mary Lo Williams, Billy Strayhorn and others... The Second half was a foot stomping riot of fantasic Organ blues of Jimmy McGriff, cool saxaphone playing of Hank Crawford, big man Don Williams on the drums, and Wayne Boyd strumming on the guitar was par excellence. Honestly, speaking I had not heard of this Quartet before, and was pleasantly surprised by the fantasic jamming session... Footnote > MCG has been doing a great job promoting and keeping Jazz alive in Pittsburgh. They have also been putting out historic recording of Jazz/Blues greats who perform at MCG. Blues lovers, I believe many of you perhaps also follow whats going on in the Jazz scene, so might wanna check these 2 groups out if they are gonna be in your area..... Both the group will continue to play at MCG, Pittsburgh, today, tomorrow evenings and Sunday afternoon, so if any of you are around the Pitt area, get out and get some BLUES+JAZZ......for its the best way to keep them alive +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-($)^($)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ BLUES by Nite, COOOL by Day!!! +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Fri, 15 Dec 1995 10:19:59 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: EC's Guitar String - No Blues Content Check this out: I know a guy whose sister works with a woman whose brother knows a guy who dated a girl whose uncle played piano in a band where the drummer once bumped into a singer who said she knew a guy who picked up a cigarette butt that Eric Clapton threw on the ground outside of the New Haven Coliseum back in 1968! Imagine what that's worth today? ****************************** * Beef Stew * * WCCC 107 FM * * 243 South Whitney Street * * Hartford, CT 06105 * * 860.233.4426 * * fm107wccc@aol.com * ****************************** ========================================================================= Date: Fri, 15 Dec 1995 10:28:03 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Happy Holidays No Paul Laurence Dunbar quotes this time (though they abound). Instead, simply a "Happy Holidays" to all on Blues-L. Going offline for a couple weeks. Yours, Southside Dave Prychitko Blues 101/WNYO-Oswego http://www.oswego.edu/~prychitk/Blues101.html for playlists and reviews "Love without the blues is impossible; blues without love is indefensible." ------------------------------------------- I just thoughta that ========================================================================= Date: Fri, 15 Dec 1995 09:39:00 CST Reply-To: "Wsiaki, Bill" From: "Wsiaki, Bill" Subject: Guitar pickups Guitar people, For some time now I've pondered changing the mini humbuckers on my Les Paul Deluxe. I was considering P-90's or P-100's reissue pickups but now I have an opportunity to get original 1950's P-90's for about $75 each. Is the price good? Might they not be made as well as the new ones? Thanks, Bill Wsiaki WSIAKI@BLDGEDUC.LAN1.UMANITOBA.CA ========================================================================= Date: Fri, 15 Dec 1995 10:29:34 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Get Muddy A Band Suppose Muddy came back and needed a band. Since his band at one time was considered by some as the best Chicago Blues Band, it would be important to get him a good backing band. So what other musicians would you put in "his" band, it can not be anyone who has already played with him... It's a supid question, but it's tough to find the "right" musicians (living musicians of course) LW 'I have a cat named Furry Lewis...' ========================================================================= Date: Fri, 15 Dec 1995 11:31:46 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: EC's e-string sale. Comments: To: DoyleE847@AOL.COM Doyle, You know, you're probably right in that EC's string may be of some collectible value some day to someone, but no offense, really, but this list is definitely NOT the place to hawk such things. Mostly you'll get laughs and piss people off here. There are a couple of reasons for this. Probably the biggest is that folks here take their blues seriously, and therefore their ARTISTS seriously, and are defensive about the fact that bluesmen (not EC obviously) have never really gotten their due yet people feed off them and make money on them or their names with no royalty ro percentage having gone to the artist, Many blues artists died destitute, but today their record companies may be making more money on their work than ever in their lifetimes. Clapton is obviously wealthy beyond imagination, but to me, it's offensive to try and sell his garbage for personal profit. The other big reason you'll get ridicule from the folks on Blues-L is that while I think most of us here recognize Clapton's talent and enormous success many here really don't recognize him as a bluesman and will sneer at you trying to sell a guitar string from someone who may not be considered of any great import to the blues world. If you were selling one of Rice Miller's old harps (which should be in a museum anyway) you might get someone's attention. Basically, Blues-L is a place for serious and good natured discussion of blues both historical and contemporary, and we are loathe to being offered the sale of anything, significant or not, strictly for personal profit, without some contribution toward the benefit and advancement of blues as an artform. Someone will buy that e-string, but I'll bet it won't be a Blues-L'er. To quote Mr. Barnum, "a sucker's born every minute." Riffin Rick (((( oo-) /- ....and a Clapton admirer, to boot. F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 15 Dec 1995 11:42:08 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Skip James' piano recordings Comments: To: rob.hutten@acadiau.ca I know that Gene Rosenthal (i.e. Gene's Records) has a huge amount of Skip James on piano done about 1964-1965. I think that he intends to bring it forward. I have excellent live recordings of Skip from about 1966 or so and I'll get mine out sooner or later. I recall that he does other people's material such as Leroy Carr's "How Long" and Hogey Carmichael's "Lazy Bones." We used three mikes across the piano's sound board and two booms for vocals. The recording qualty is excellent and his humourous comments show that he was not the dour melancholy person as depicted. Dick Waterman ========================================================================= Date: Fri, 15 Dec 1995 11:04:47 -0600 Reply-To: "Alice E. Brown" From: "Alice E. Brown" Subject: Blues in Miami I'm going to be in Miami between December 27 to the 31 and I'm wanting to get information on blues clubs and who's playing there during that time. Any help would be appreciated. Thanks, Alice ========================================================================= Date: Fri, 15 Dec 1995 12:17:38 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Cat songs and beer bottles. The best cat song I know is Hop Wilson's "My Woman Has A Black Cat Bone" (Hop Wilson and His Buddies: Steel Guitar Flash on [English] ACE.) Hop was from Houston and played *scorching* blues slide on a PEDAL STEEL. A while back there was a "hidden gems" thread, and Hop Wilson was never mentioned. Should have been. And speaking of scorching slide guitar, there's a fellow here in St. Louis named Bobby Nickeson, doesn't play out much these days, who would play superb slide with a beer bottle (the thick end!) over the top of the neck! all the way up to the bridge. Great use for a beer bottle! (Then he'd go out in the audience and ask a lady to give him something, ANYTHING, out of her purse, and he'd play slide with whatever she handed him! Joel Slotnikoff | BLUES WORLD e-mag Box 21652 | http://www.inlink.com/~joelslot St. Louis, MO 63109 | articles, images, reviews, (314) 647-2447 | 78rpm record auction joelslot@inlink.com | blueslinks ========================================================================= Date: Fri, 15 Dec 1995 10:59:09 CST Reply-To: JBards From: JBards Subject: Re: Guitar pickups-little blues content Comments: To: "Wsiaki, Bill" That's an excellent price. You might want to provide some additional shielding- wrap the lower section of the pickup with copper foil/tape - before you install them, but otherwise even though I ike the mini-humbuckers a lot I think you'll be pleased. -Jim _______________________________________________________________________________ Subject: Guitar pickups From: "Wsiaki, Bill" at INTERNET-SH Date: 12/15/95 10:09 AM Guitar people, For some time now I've pondered changing the mini humbuckers on my Les Paul Deluxe. I was considering P-90's or P-100's reissue pickups but now I have an opportunity to get original 1950's P-90's for about $75 each. Is the price good? Might they not be made as well as the new ones? Thanks, Bill Wsiaki WSIAKI@BLDGEDUC.LAN1.UMANITOBA.CA ========================================================================= Date: Fri, 15 Dec 1995 11:02:45 CST Reply-To: JBards From: JBards Subject: Re[2]: Eric Clapton Guitar String Comments: To: DoyleE847@AOL.COM Arrrgghhhhh, you've been watching too much Regis and KathyLee....this is really pathetic. -J _______________________________________________________________________________ Subject: Re: Eric Clapton Guitar String From: DoyleE847@AOL.COM at INTERNET-SH Date: 12/14/95 7:40 PM Some of you people are poking fun at my attempt to sell this string, but it's no laughing matter. This string is going to be a true blues artifact someday. I'm trying to conduct some square business out here...please be serious. P.S.-- FYI, I got hold of a Johnny Winter thumb pick back in '89 and made a nice little peace of change off of it and the guy who bought it has a blues artifact that is going to increase in value over the years. -Doyle Ertwine ========================================================================= Date: Fri, 15 Dec 1995 12:12:04 -0500 Reply-To: Charles d'Orban From: Charles d'Orban Subject: Black Cat Bone PW Fenton said: >Black Cat Bone is another one. "I believe my baby's got a Black Cat >Bone, everything I try seems to turn out wrong" Coolest version is >on "Showdown" produced by our own Dick Shurman, on Alligator with >Robert Cray, Albert Collins, and Johnny Copeland I'm afraid that I have to disagree. Check out Lonesome Sundown's version with Philip Walker on rhythm guitar. Charles ========================================================================= Date: Fri, 15 Dec 1995 11:11:08 CST Reply-To: JBards From: JBards Subject: Re: Memphis/New Orleans/Little Blues Content Comments: To: "J.L. McClure" As far as music, I'd recommend seeing what's playing at Tipitina's, Muddy Waters, the Hard Rock, The House of Blues, and other less regular places like the Midtown Bowling Alley ( actually quite a good venue). Folks in town that you can have a near-sure bet for a good show are The Neville Brothers ( and any of them Nevilles in any combination) Anders Osborne and/or Theresa Andersen; John Mooney and Blusiana; J'Monque D and his Blues Band; the Radiators; Little Feat; others- I'm not sure who's in town right now. For food, although it's really hard to get a bad meal in N'awlins, I recommend Galatoire's (traditional N.O, style) Commander's Palace ( ditto) Emerile's; NOLA's ( great for lunch if you're in the Quarter) Mr. B's Bistro (ditto) Brightsen's ( way uptown, great fish) and my very, very favorite is Geautreau's ( may be spelled Geautreaux's, anyway, ask for "Go-Troz") which I think is the best restaurant in town on any given night. Jim in Shreveport, LA. _______________________________________________________________________________ Subject: Memphis/New Orleans From: "J.L. McClure" at INTERNET-SH Date: 12/14/95 8:02 PM My wife and I will be spending our first childless Christmas in 20 years (part sad, part glad) in New Orleans. If anyone has any info on food and/or music it would be greatly appreciated. We're stopping in Memphis on Friday, 12/22, in time for barbeque and blues. Then we'll be in N.O. 12/23-26. And returning through Memphis and/or St. Louis (depending on mood and weather) 12/27-28. Any suggestions from this list will be taken seriously. Thanks. J.L. McClure ========================================================================= Date: Fri, 15 Dec 1995 09:16:32 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Eric Clapton Guitar String Comments: To: BLUES-L@BROWNVM.BROWN.EDU. >Some of you people are poking fun at my attempt to sell this string, but it's >no laughing matter. This string is going to be a true blues artifact >someday. I'm trying to conduct some square business out here...please be >serious. >P.S.-- FYI, I got hold of a Johnny Winter thumb pick back in '89 and made a >nice little peace of change off of it and the guy who bought it has a blues >artifact that is going to increase in value over the years. > -Doyle >Ertwine ha ha ha heeee hoooooo har har hardy har har.... and *I* once made some serious "peace" of change with an old pair of Jimi's undies.... Don't ask how I proved they were his... Oh yeah, I have a string from Charlie Christian, a actual *thumb* of Wes's, and Bird's ole' mouthpiece, not to mention Freddie King's favorite capo... Take your pick (so to speak) only **10,000.00** each!!! Such a deal.... DC oh and BTW, slick, THIS LIST IS NOT HERE FOR YOU TO CONDUCT BUSINESS ON!! ========================================================================= Date: Fri, 15 Dec 1995 12:35:33 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Skip James piano blues Adelphi/GENES is preparing to release an entire CD of Skip James piano blues! ========================================================================= Date: Fri, 15 Dec 1995 17:48:20 GMT Reply-To: Richard Cotenas From: Richard Cotenas Organization: California State University Sacramento Subject: Re: Blues Humour Comments: To: bit-listserv-blues-l@uunet.uu.net : >Does anyone else have any humourous favorites? : > : >Clint One of my favorites is Chuck Berry's "No money down", recorded in Dec. 1955 with Willie Dixon, Otis Spann, and Eddie Hardy. I can picture the arrogant salesman coming out, thinking he's got a rube on his hands, as he says: "Son, trade in your Ford, and I'll put you in a car, that'll eat up the road. Just tell me what you want, and sign that line. I'll have it brought out to you, in an hours' time." and I can see the blood leaving his face as Chuck launches into his list of everything he wants "Mister, I want a yellow, 4-door, convertible DeVille, with... You can actually feel the advantage change from the salesman to the customer. Everyone who has ever dealt with a car salesman has gotta enjoy imagining this guy collapsing in a heap as Chuck finishes his list. Another interesting thing about this song is that it's the same stop-time accompaniment as Muddy Water's "Hootchie cootchie man" and Bo Diddley's "I'm a man", but while Waters sings about "black cat bones" and "John the conquoroos"--southern, rural African-American folklore--and Bo Diddley sings about urban African-American concerns, Chuck Berry is singing about something with which all Americans can identify. -- Richard Cotenas Calif. State Univ., Sacramento ========================================================================= Date: Fri, 15 Dec 1995 12:56:00 -0500 Reply-To: Paul Deeds From: Paul Deeds Subject: Re: Son House unmarked grave? In-Reply-To: On Thu, 14 Dec 1995, michael madsen wrote: > Did I read right last week sometime, I forget who posted it, that Son > House was buried in an unmarked grave. If this is the case, does anyone > know where it is or who can be contacted to provide a proper headstone. > Does he have any family or friends who might be contacted? I ain't no > rich man or no rich man's son, but I'm sure as hell willing to buy a > headstone and have it engraved in any fashion that the family/friends of > such a great man would like. When I read that post, I couldn't believe > that one of, if not THE greatest bluesman of all times could be laid to > rest with so little consideration of what he was and what he passed on to > the world. Of course, there's always a chance that that was the way he > wanted it, if so, can someone pass on the postal address to Heaven to I > can send one of my National's up his way. I believe he is buried in a cemetary in or around Dearborn, Michigan (I can't recall the name of the cemetary). This Summer the Detroit Blues Society was raising funds to build a Son House Memorial Park in Detroit, that was going to consist of a small gazebo (large enough for a small band to perform in) and a statue of Son House playing a national steel guitar. I am at school in Boston, but I have more information about that effort at home in Detroit that I will try and post when I get for the holidays. Paul Deeds ========================================================================= Date: Fri, 15 Dec 1995 11:23:20 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Cat songs and beer bottles. Comments: To: Joel Slotnikoff In-Reply-To: <199512151706.LAA14268@vulcan.inlink.com> There's another pretty cool two-part "Black Cat Bone" on 45 by Jimmy Johnson (the same L.A. guy who did the original "Don't Answer The Door"), a different song than the Hop Wilson/"Showdown" one. The same Jimmy Johnson also did the original "Special Built Woman" which was covered by Phillip Walker on his recent and excellent Black Top CD. ========================================================================= Date: Fri, 15 Dec 1995 13:05:35 -0500 Reply-To: Paul Deeds From: Paul Deeds Subject: Re: BW Johnson, BBQ Bob In-Reply-To: <199512091643.KAA14414@bradley.bradley.edu> On Sat, 9 Dec 1995, Mark Gobeyn wrote: > provide brief reviews (including sound quality) of the following: > > The Complete Recordings of Blind Willie Johnson (Sony); The complete recordings of one of the greatest slide guitar players ever. In my opinion an indispensable part of any music collection. Lyrically the songs are gospel, but the guitar playing is definitely blues. The sound quality is remarkably good for the era of the recordings (late 1920s). Paul Deeds ========================================================================= Date: Fri, 15 Dec 1995 10:10:32 -0000 Reply-To: James Witteveen From: James Witteveen Subject: Re: Skip James' piano recordings Dick Waterman wrote: The recording qualty is excellent and his humourous comments show that he (being One Skip James) was not the dour melancholy person as depicted. I was going to comment on that when I saw the fabulous picture of Skip James on the website - Mr.James is smiling and seems to be having a good time! Now, this wouldn't seem surprising for most people,I'm sure, but given the qualities of his music that I've heard (being the 1931 recordings), and certain things I've read, one would be lead to think that `dour' and `melancholy' were an understatement. I'm So Glad to see it (sorry, had to say it), and the picture, by the way, is superb! -Jim (hndful@uniserve.com) ========================================================================= Date: Fri, 15 Dec 1995 13:19:42 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Not all picks are equal So some guy on the Blues-L got a thumb pick from Johnny Winter. Well, I figure that Johnny has been playing for over 30 years and, bless his heart, I hope he gets 30 more. But if someone were to come forward and prove that he had a thumb pick that belonged to some blues giant, that might get me a bit interested. And now I am looking at my poster of Robert Johnson, dressed so fine in his natty suit with one leg crossed over the other. And what's that on his right thumb? Now THAT, ladies and gentlemen, is a thumb pick worth having . . . . . Dick Waterman ========================================================================= Date: Fri, 15 Dec 1995 12:19:37 EST Reply-To: KCARLSON@WHQPC4.ETN.COM From: KCARLSON@WHQPC4.ETN.COM Subject: Boogie Nation, Joe Louis Walker I have to say, reading the stuff from Boogie Nation, I can't help feeling like I'm being sold something! Apparently they are using John Lee Hooker as a "hook" for blues fans...eventually to sell something or preach something (same as selling). But that's not what I read Blues-L for...I've gotten some great suggestions for new (to me) Blues music to listen to. The last one I got was Joe Louis Walker - Blues of the Month Club...it's fantastic! Especially the 3rd cut; I could listen to it over and over. Anybody...what's the next Joe Louis Walker I should get? ========================================================================= Date: Fri, 15 Dec 1995 18:46:45 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Test In-Reply-To: <9511148189.AA818969703@smtpgate.swpco.com> On Thu, 14 Dec 1995, shannon oconnor wrote: > Gee, I wonder where all my pithy e-mails are going.... > Their being "quaffed" by the servr I imagine .... phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [15/12/95 13:36 PM] "The eagle flies on friday..." ========================================================================= Date: Fri, 15 Dec 1995 18:53:38 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Eric Claptons Cat In-Reply-To: <199512150032.TAA03405@orion.neca.com> I am in posession of a hairball that was quaffed up by Eric Clapton's Cat and I puting it up for bid. I will also entertain bids on th cat's gonads which I got (fresh) when it was "fixed". phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [15/12/95 13:36 PM] "The eagle flies on friday..." ========================================================================= Date: Fri, 15 Dec 1995 15:21:13 -0500 Reply-To: hhardy@BCONNEX.NET From: Hugh Hardy Subject: Clapton's E-string Coincidently, I have a number of broken high E strings used by Eric Clapton. They are $65 each and supplies are excellent. Add $10 if you want a broken E string signed by EC! :-)> Hugh Hardy ========================================================================= Date: Fri, 15 Dec 1995 15:37:35 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: A tale of two Bobs I found this in the Bob Dylan news group and thought you might find it interesting: QUOTE Subject: I'm tired/Robert Johnson is dead From: wmobley@hubcap.clemson.edu (Christopher Mobley) Date: 14 Dec 95 19:33:26 GMT Message-ID: Hello, Couldn't sleep last night, was listning to Robert Johnson, when I heard a line that reminded me of a Dylan line I wrote it down. Thought someone might be interested. RJ:"The blues is a low down aching heart disease, ??? killing me by degrees" (Preaching the Blues) BD:"Horseplay and disease is killing me by degrees" (Where are You Tonight?) RJ:"I can tell the wind is ???, leaves trmbling on the tree" (Hellhound On My Trail) BD:"Far past the frozen leaves, the haunted frightened trees" (Mr. Tambourine Man) RJ:"Let's put our heads together, whooh fair brown, then we can make our ??? money gree" (Little Queen of Spades) BD:"He should have stayed where his money was green" (Where are You Tonight? RJ:"She is a little queen of spades, and the men will not let her be" (Little Queen of Spades) BD:"Well, I return to the queen of spades, and talk with my chambermaid" (I Want You) RJ:"All my love's in vain" (Love in Vain) BD:"Is your love in vain?) (Is Your Love In Vain) RJ:"I have pains in my heart, they have taken my appettite" (Stones In My Passway) BD:"I gained some recognition, but I lost my appettite" (Tough Mama) RJ:"You can squeeze my lemon until the juice runs down my leg" (Traveling Riverside Blues) BD:"I bit into the root of forbidden fruit, with the juice running down my leg" (Where are You Tonight?) RJ:"I don't want no woman, wants every downtown man she meets" (I Believe I'll Dust My Broom) BD:"who don't make herself up to make every man her friend" (Need A Woman) RJ:"You better come on in my kitchen, its going to be raining outdoors" (Come On In My Kitohen" BD:"I feel the breatchen)a storm, there's something I got to do tonight you go inside and stay warm" (Tight Connection To My Heart) RJ:"I'm gonna ??? your hood mama, 'm bound to check you oil" RJ:"I'm gonna??? your hood mama, I'm bound to check your oil" (Terraplane Blues) BD:"If you need your oil changed, I'll do it for you free" (Dirty World) RJ:"Mr. Highway Man, please don't block the road" (Terraplane Blues) BD:"Don't stand in the doorway, don't block up the hall...your old road is rapidly fadding, please get out of the new one..." (The Times They Are-A-Changin) RJ:"Woke up this morning, felt around for my shoes" (Walking Blues) BD:"Woke up this morning, there were tears in my bed" (George Jackson) OK, thats it. I know some of these are reaches probably, and I'm sure I've missed some obvious ones. If anyone has anything to add (or possibly can fill in the missing Johnson lyrics) I'd be interested. Let me say that I am no expert in the blues. Most of my knowledge has come from what I've heard on Public Radio. I happened to find the Robert Johnson set for $10 a year ago. BTW-my first introduction to the blues was on early James Taylor records! I don't know what that means. Christopher Mobley Dept. of Electrical Engineering Clemson University UNQUOTE Dick Waterman ========================================================================= Date: Fri, 15 Dec 1995 20:50:51 GMT Reply-To: ynot@io.org From: Tony Burns Organization: Internex Online, Toronto, Ontario, Canada (416 363 3783) Subject: Re: Piano Blues Comments: To: bit-listserv-blues-l@mail.uu.net In <9512121347.AA23049@ctcsunhap.cummins.com>, C L Buchanan writes: > >Anyway, I would like to get her some good piano blues cd's for >Christmas. Keep in mind that she will probably end up playing >along with her brothers. Does anyone have any suggestions? Katie Webster - Two Fisted Mamma Tony Burns | ynot@io.org | http://www.io.org/~ynot/ [Home page - Canadian Masters Windsurfing, Jughead, Greenbank Folk Music Society, Toronto Blues Society, ...] ========================================================================= Date: Fri, 15 Dec 1995 16:08:41 -0500 Reply-To: FinNess@AOL.COM From: Sean Finnigan Subject: UNSUBSCRIBE FROM LIST Please, please help me. I want to get off this list and haven't been able to figure out how. I went to the listserv, but I guess I was doing something wrong and I'm still on it. Not that I'm not a fan of the blues--I am. But I get entirely too much mail and I cannot possibly read it all. Please unsubscribe me from this list or tell me how to do it. THanks!! ========================================================================= Date: Fri, 15 Dec 1995 16:30:40 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: Blues Humour Comments: To: Clint Pulley My favorite is "The Tupperware Song" by syndicated columnist Dave Barry (who by the way is a huge blues aficionado). He wrote the song for a Tupperware party he and his college roommates gave. They invited "the kind of guys whose refrigerators contain only 3 C batteries and a quart of transmission fluid." They livened things up by getting a keg of beer, which actually turned out to be a good marketing tool because by the end of the evening the guys were buying cake transporters. Anyway, it's a standard 12-bar that goes like this: "some folks use wax paper, some use Reynolds wrap some use a plastic baggie to cover up the gap you can use anything to keep your goodies from the air but nothing works as well as that good old Tupperware...." and the ending goes: "and I hope that when I die [stop] Tupperware makes caskets too" -- Ruth ______________________________ Reply Separator _________________________________ Subject: Blues Humour Author: Clint Pulley at Internet Date: 12/15/95 7:37 AM Things have been getting rather heavy ;) on Blues-L lately so I'm going to try and start a lighter topic. Blues songs often contain richly humourous passages (I won't spoil this by lecturing on the value of laughing at adversity). Who, having had the pleasure of seeing B.B. King live, will ever forget the sight of B.B., hand on hip, singing "I gave you seven children, and now you want to give them back!". One of my all-time favourites is from Jimmie Rodgers, the Singing Brakeman, who wrote "She rubbed my back with alcohol to try to cure my cough (x2) Well I like to broke my neck trying to lick the alcohol off" I last heard this over 30 years ago so I can't recall the song title or the rest of the song but that verse has stuck in my memory. Does anyone else have any humourous favorites? Clint -- Clint Pulley, Head of Computer Services National Water Research Institute, Environment Canada (905) 336-4930 Canada Centre for Inland Waters, Burlington, Ontario Minds are like parachutes. They only function when they are open. -James Dewar ========================================================================= Date: Fri, 15 Dec 1995 16:43:24 -0600 Reply-To: Roger Scharbach From: Roger Scharbach Subject: Lookin for Hammond Just wondering if anyone out there can help me find a particular cd. Years back (probably close to 20) I had a record by John Hammond called 'Source Point'. If my memory is still with me, it was a green album cover with a picture of a bumble bee or something like that, and one of the songs on it was called 'Got Love if You Want it'. I heard a recent release of his with the same song, but it just wasn't the same. Since then I have been looking for a replacement (if that's possible - a CD). I don't know if it is on CD, but thought maybe someone out there might know. I would appreciate any info on this subject, feel free to e-mail, or answer through the list. Thanking you all in advance Roger e-mail scharbr@soonet.ca ========================================================================= Date: Fri, 15 Dec 1995 15:33:43 CST Reply-To: JBards From: JBards Subject: Re: Clapton's G-string Comments: To: hhardy@BCONNEX.NET Unbeknownst to many, Eric went through a period after John Mayall and Cream when he was a little, shall we say, "confused", and attempted to earn a living as an exotic dancer in Soho. He was dismal failure at this particular enterprise, since he had no original moves, a lousy sense of rythm, and refused to exercise and stay in shape, constantly breaking the management-supplied G-strings. I have, through a unique source, attained a near-inehaustible supply of these broken Clapton G strings ( Eric did, to his credit, practice almost indefatigably) and will be happy to trade them for piece of mind. -Jim _______________________________________________________________________________ Subject: Clapton's E-string From: hhardy@BCONNEX.NET at INTERNET-SH Date: 12/15/95 2:52 PM Coincidently, I have a number of broken high E strings used by Eric Clapton. They are $65 each and supplies are excellent. Add $10 if you want a broken E string signed by EC! :-)> Hugh Hardy ========================================================================= Date: Fri, 15 Dec 1995 16:49:01 -0100 Reply-To: Andrew Dillon From: Andrew Dillon Subject: unsubscribed Bye all and thanks for a couple of great years - I'll raise one bourbon, one scotch and a lot of guiness in honour of the list but I really don't want to keep reading this all day. Andy Indiana University ========================================================================= Date: Fri, 15 Dec 1995 16:10:02 +0000 Reply-To: toulouse Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: toulouse Organization: CommNet Inc. Subject: Re: BOOGIE NATION OUTTA HERE! - Bye Comments: To: boogienation@earthlink.net Boogie Nation wrote: (edited somewhat) > This group has been totally rude to us. We were never trying to give > our business a plug on this Blues-L. > An opportunity to get a peek at John Lee's life as he is living it > now is a rare opportunity. > > The possibilities for you all to learn about this man in this unique way > through the internet is one of the great benefits of having > all of you connected this way. You could of directed questions to > John Lee, we would of been happy to privately e-mail you rare photos, and > when John Lee is sitting 30 feet away from me in our living > room...this is as close as many of you will get to this ledgendary > artist because many of you live in different countries. > There is no point for us to waste our time deleting flames. Most > e-mail programs show the e-mail address before you open the message. > You could of just deleted us from your lives while the others who > appreciate our presence slowly get to know us and then sieze the > opportunity to ask John questions through us. > > We've only been on this Blues-L for two days. Is this how you > welcome newcomers and teach them how to best use this list? I > received 16 flames for the article I wrote about regarding when I took John Lee > to the video shoot for 'One Bourbon, One Scotch, One Beer'. This is > unnecessary. And I don't want John Lee to think that we are causing > problem with his company.... so we get your hint and we will leave. > > This Blues-L is very good for information regarding the > blues. The more blues knowledge that is available and exchanged on > this list is making it more well rounded and thus a great melting pot > of various blues opinions, ideas, concepts, resources and thinking. > Our addition would of added to this just as much as your presence on > this list. > > Richard > Boogie Nation Very aptly put Richard. I use a newsgroup browser to view Blues-L, if there is something that looks like a waste of time or of no interest to me , I pass it up. Everyone has that option. I did not see whatever it was that caused the flame reaction, but based on some of the wasted space I have seen in newsgroups, it can't warrant any disconcern. Just like someone will bitch about me posting such a large quote, but hey, if you don't have the original for reference, you would not know what in the hell this was about, now would you? Bottom line is this, everyone has the right to say what they please. Particularly if it relates to the Blues, right? Even if there is an ever so slight reference to marketing, (which is no reference to this particular example), so what? As long as it is not a blatant spam, does it really hurt anyone? Personally, I think that Boogie Nation should not be effected by the opinions and statements of whomever taking whatever stand it is they present. I believe they are a legitimate organization and have the right to post anything they like, particularly something pertaining to a blues legend such as John Lee Hooker. Hell, even if they were trying to sell something, it might be something I would want to buy. Stick around Boogie Nation, don't let the whiners get you down. You do have something to contribute. peace. toulouse@comm.net ========================================================================= Date: Fri, 15 Dec 1995 17:21:14 -0500 Reply-To: Jessica Sowin From: Jessica Sowin Subject: ANNOUNCEMENT: Legacy's Roots N' Blues Series / Upcoming Releases Hi, Everyone: It is with great pleasure that I pass along the official press release for the next wave of titles in our Roots N' Blues Series. Of course, Uncle eRIC will review them for you when they're available, so you don't have to take our word for it. :::8.) LEGACY'S AWARD WINNING ROOTS N' BLUES SERIES CONTINUES TO ASTOUND WITH ITS LATEST RELEASE OF HISTORICAL BLUES RECORDINGS 5 New Titles Feature Final Chapter of Bessie Smith's Complete Recordings, Josh White, Emmett Miller, 'Booze & the Blues,' and 'Messed Up In Love And Other Tales Of Woe' In-store February 6, 1996 New York, December 11, 1995 - She is known as the "Empress of the Blues." She is the greatest blues voice of the 20th century. She is Bessie Smith. Columbia/Legacy raised the curtain on her saga with The Complete Recordings Vol. 1 box set in 1991 to great critical acclaim. Now, this, the fifth and final chapter of Bessie's entire Columbia output of "The Empress of The Blues," concludes the chronological journey through her recorded history in the grandest of style. Bessie Smith - The Complete Recordings Vol. 5, The Final Chapter (C2K 57546) not only includes Bessie's remaining 6 issued Columbia and OKeh tracks, but also 5 rare alternate takes plus the complete St. Louis Blues soundtrack and a second disc of over 70 minutes of personal intimate reflections by Bessie's niece and confidante, Ruby Smith. The music is breathtaking and includes performances with such prominent musicians as Clarence Williams, Jack Teagarden, Chu Berry, Benny Goodman, Coleman Hawkins, Louis Armstrong, Fletcher Henderson, and others. Ruby's riveting stories are, by far, the most revealing, remarkable accounts of the artist and times imaginable. Be forewarned: Bessie's music is hot; Ruby's tales hotter. The former lead-boy to various blind street singers, Josh White is presented on Blues Singer, 1932-1936 (CK 67001) when he was a hard-edged country blues artist -- without a doubt one of the best. Emmett Miller - The Minstrel Man From Georgia (CK 66999) is sure evidence of this dynamic performer's inspiration on the likes of Jimmie Rodgers, Bob Wills, Hank Williams (who learned "Lovesick Blues" from an early Miller record) and, more recently Merle Haggard and Leon Redbone. Finally, certain to stir up some emotions in every blues fan's head and heart, are two various artist compilations. Booze And The Blues (CK 67002) is a spirited collection of traditional numbers by some of the best-known and best-kept secrets of the era of prohibition. A rousing collection of classic and rare heartache-inspired blues, Messed Up In Love And Other Tales Of Woe (JK 52831) features 16 of the bluest kind of blues. The reputation of the Roots N' Blues series is renowned among blues aficionados and has become the standard for definitive historical blues. Great care is taken in the task of revisiting and restoring this music to never-before-imagined sonic heights. All have been digitally mastered, and come complete with extensive liner notes and attractive packaging. This current crop represents the same integrity and attention to detail. Thanks for letting us post here. Jessica Legacy ========================================================================= Date: Fri, 15 Dec 1995 17:49:37 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Blues Humour Clint asks: >Does anyone else have any humourous favorites? Jimmy Rogers, "Monkey-Faced Woman" (from Ludella) The woman I I'm in love with, boy, she takes my appetite (x2) She's the most beautiful little thing, people, I've ever seen in my sight She's got a face like a monkey, hair like a Jezebell [I think]... See, if you could tell by that, I would know my woman anywhere She has got pretty smooth skin, just like an elephant hide ... If you should ever see here, oh boy, you'd know I ain't lyin.' ...I *think* that's why he's saying. What a great use of irony! If he's saying something else (why are lyrics so garbled sometimes?), then I've sure been having fun with my own imagination! Karen ========================================================================= Date: Fri, 15 Dec 1995 17:49:39 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Humor tunes LW, digging the Hokum stuff, said: >I like Ga Tom Dorsey & Tampa Red (one of the many versions of the Hokum Boys) >doing "Caught Us Doing It" (hey, hey, caught us doing it, hey, hey, hey) >I also like "Please Warm My Weiner" off of the cd by the same title on Yazoo I agree! Great fun! Not only Bo Carter ("My Pencil Won't Write Anymore"; "Banana in Your Fruit Basket"), but also Lil Johnson ("My Stove's in Good Condition"). Both are on a CD I have called Raunchy Business: Hot Nuts & Lollypups. Also hilarious is Big Bill Broonzy's"Terrible Operation Blues" (not on the same CD). Speaking of Broonzy, someone mentioned "Pussycat Blues"....Broonzy does a great duet with Jane Lucas (actually Victoria Spivey, I've been told) where she actually meows. The first time I played it my dog went crazy looking for a cat! (Don't worry...no Fluffy stories...no EC G-string stories--oops, I mean E-string....might go for pizza and beer later, though....) Karen ========================================================================= Date: Fri, 15 Dec 1995 16:46:10 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: good CD's by Etta James and other female blues singers Comments: To: Kathe Grant "Dinah Washington Sings the Blues" is EXCELLENT! Ruth ______________________________ Reply Separator _________________________________ Subject: good CD's by Etta James and other female blues singers Author: Kathe Grant at Internet Date: 12/15/95 9:18 AM I'm a real fan of Dinah Washington myself. Unfortunately, I can't recommend any particular CD's since I've only recently "discovered" her. If anyone out there has any favorites, do tell, do tell! Kathe "There comes a time when you must let yourself go and feel the music run into your veins. While the drums beat and the guitar wails, a feeling of fury takes control of your mind and body, and soon there is nothing but soul. So as I see it, control is just a formality that limits our boundries of flow." _ Anonymous ========================================================================= Date: Fri, 15 Dec 1995 15:02:20 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: HIGHTONE 8068 : JAMES ARMSTRONG - SLEEPING WITH A STRANGER Comments: To: BluesHvn@aol.com Comments: cc: mercergrp@aol.com HIGHTONE 8068 : JAMES ARMSTRONG - SLEEPING WITH A STRANGER ============================================================================= JAMES ALVIN ARMSTRONG b. 1957/APR/22, LOS ANGELES, CA BRUCE BROMBERG b. 1941/OCT/31, CHICAGO, IL I've been meaning to review this set since receiving it last month. With Bruce Bromberg producing, and just the general high quality of HIGHTONE releases, I'm not surprised that I like this James Armstrong CD. All the songs are original, with 9 co-written with Armstrong. His guitar style is very much his own. His mentor was the legendary guitarist Irving C. Ashby (1920-1987), who's own R&B recordings on Enterprise (1946, w/Bumps Myers) and Imperial/Knight (1957/8 w/Plas Johnson) still await reissue. You can also here Ashby on recordings of Nat "King" Cole (he replaced Oscar Moore in 1947-1950), Ernie Freeman, Howard McGhee (w/Jack McVea) and Lester Young. For years James Armstrong played around the Los Angeles area, playing behind bluesmen like Big Joe Turner, Albert Collins & CoCo Montoya. He first recorded with Mama Roo, who's 1990 self-titled GNP/Crescendo CD is still available. If you're a fan of the Bruce Bromberg/Hightone Sound as heard on the early Robert Cray, Phillip Walker, Joe Louis Walker releases, this CD is for you. I especially like "Six Bar City", "(They Call It The City Of Angels But I Believe) The Devil's Livin' There", "Wrong Address" and "Hard, Hard Blues", a song that Muddy Waters would certainly call a stone blues. James Alvin Armstrong is here to stay, and with his kind of voice, I hope they include a nice horn section on the next CD; and dare I suggest, a male vocal group on a few tracks. I'd like to thank Robert Pierce Mercer for helping me out with this review. Personnel : James Armstrong (v/gtr) ; Jimi Stewart (keybds) ; Leroy Hall (b) ; Quentin Dennard (d) ; Bruce Bromberg (producer) Contents : (Total Time: 48 minutes) 1. Sleeping With A Stranger - 2. From Time To Time - 3. Hard, Hard Blues - 4. Midnight Again - 5. Baby's Catwalkin' - 6. The Devil's Livin' There - 7. Don't Kiss And Tell - 8. Wrong Address - 9. Six Bar City - 10. Away From Home - 11. That Kind Of Feeling - 12. Devil's Moon ========================================================================= Date: Fri, 15 Dec 1995 17:13:22 -0600 Reply-To: William A Morgan From: William A Morgan Subject: Re: Memphis/New Orleans/Little Blues Content In-Reply-To: <9511158190.AA819054616@mail-sh.lsumc.edu> Jim makes some very good choices. All of the restaurant recommendations are excellent. Just a couple of corrections. Muddy Waters (the music club) closed in June, I believe. We don't yet know what the new owners are going to do with the place. It was a fine little club. Also, to my knowledge, The Hard Rock Cafe only has live music on special occasions, usually private parties or fundraisers. Finally, the bowling alley is called Mid-City Lanes, and dorky as it may seem, is indeed a great music showcase. They've been featuring lots of zydeco artists lately, and more recently have branched out into recording, I believe in conjunction with Rounder Records. Bill On Fri, 15 Dec 1995, JBards wrote: > As far as music, I'd recommend seeing what's playing at Tipitina's, Muddy > Waters, the Hard Rock, The House of Blues, and other less regular places like > the Midtown Bowling Alley ( actually quite a good venue). Folks in town that you > can have a near-sure bet for a good show are The Neville Brothers ( and any of > them Nevilles in any combination) Anders Osborne and/or Theresa Andersen; John > Mooney and Blusiana; J'Monque D and his Blues Band; the Radiators; Little Feat; > others- I'm not sure who's in town right now. > For food, although it's really hard to get a bad meal in N'awlins, I recommend > Galatoire's (traditional N.O, style) Commander's Palace ( ditto) Emerile's; > NOLA's ( great for lunch if you're in the Quarter) Mr. B's Bistro (ditto) > Brightsen's ( way uptown, great fish) and my very, very favorite is Geautreau's > ( may be spelled Geautreaux's, anyway, ask for "Go-Troz") which I think is the > best restaurant in town on any given night. > Jim in Shreveport, LA. > _______________________________________________________________________________ > Subject: Memphis/New Orleans > From: "J.L. McClure" at INTERNET-SH > Date: 12/14/95 8:02 PM > > My wife and I will be spending our first childless Christmas in 20 years > (part sad, part glad) in New Orleans. If anyone has any info on food and/or > music it would be greatly appreciated. We're stopping in Memphis on Friday, > 12/22, in time for barbeque and blues. Then we'll be in N.O. 12/23-26. And > returning through Memphis and/or St. Louis (depending on mood and weather) > 12/27-28. Any suggestions from this list will be taken seriously. Thanks. > > J.L. McClure > ========================================================================= Date: Sat, 16 Dec 1995 00:36:34 -0800 Reply-To: Ton Schomaker From: Ton Schomaker Organization: XS4ALL, networking for the masses Subject: (no subject) Comments: To: bit-listserv-blues-l@relay1.uu.net please show me some interesting sites of original blues lyrics. TS ========================================================================= Date: Fri, 15 Dec 1995 23:47:52 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Wolf Records Comments: To: bit-listserv-blues-l@uunet.uu.net In article "DUTTWEILER.J" writes: >Date: Thu, 14 Dec 1995 15:18:15 GMT >From: "DUTTWEILER.J" >Subject: Wolf Records >Date: Thursday, 14 December 1995 3:18pm ET >To: GO-MAIN.BSCO@DOASMAIN.SNADS, Internet >From: DUTTWEILER.J@GOMAIL >Subject: Wolf Records >In-Reply-To: The letter of Wednesday, 13 December 1995 4:02pm ET >Do you, or anyone on the list, have a recommendation for the best source for >obtaining Wolf releases at a "reasonable" price. The places I've talked to >don't carry their releases as a matter of course and want to charge a fee for >special ordering. There are several Wolf releases I'm interested in (e.g. U. >P. Wilson and their Magic Slim catalog), but have been unable to locate a >reasonable outlet as yet. Any help out there? The address for a Wolf catalog is Bayside Distribution, 2609 Del Monte St, W. Sacramento, CA 95691. Phone 1-800-525-5709 or 1-916-373-2511. I'm not sure if they sell directly to the public or just distribute to stores ( probably the latter). In addition to the Tower mail order (in case you aren't near a store) at 1-800-ASK-TOWER, the Atomic Beat catalog lists a number of Wolf CDs. They can be reached at 310-556-1144 or by email at atomicbeat@aol.com. They produce a very interesting catalog. The catalog only lists a portion of their total output. Wolf CDs in their most recent list are $14.98. I particularly like the Magic Slim Zoo Bar Collection, Vols 1-3, and the Chicago Blues Sessions series. The latter series includes a bunch of Chicago artists who don't have a lot of recordings on other labels but deserve attention. You might look for Johnnie B. Moore, Vance Kelly, John Primer, Willie Kent -"Live In Chicago at B.L.U.E.S., and there are also a number of other Magic Slims in this series. The Hound Dog TAylor and J.B. Hutto on Wolf that I have heard on the Wolf label are live recordings that are pretty raw sounding but really kick butt. Hope this helps. Art Schuna ========================================================================= Date: Fri, 15 Dec 1995 16:15:11 PST Reply-To: mmccourt@ACUSON.COM From: Mike McCourt Subject: Re: BOOGIE NATION OUTTA HERE! - Bye Comments: To: toulouse I totally agree but it looks like it's too late, the boogie guy left. The list ends up being the loser here. The whiners have won. Mike ______________________________ Reply Separator _________________________________ Subject: Re: BOOGIE NATION OUTTA HERE! - Bye Author: toulouse at ccUnix Date: 12/15/95 3:01 PM Stick around Boogie Nation, don't let the whiners get you down. You do have something to contribute. peace. toulouse@comm.net ========================================================================= Date: Sat, 16 Dec 1995 00:09:40 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: good CD's by Etta James and other female blues singers Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199512151418.JAA11770@hugi.cs.cornell.edu> Kathe Grant writes: >Date: Fri, 15 Dec 1995 09:18:43 -0500 >From: Kathe Grant >Subject: good CD's by Etta James and other female blues singers >I'm a real fan of Dinah Washington myself. Unfortunately, I can't >recommend any particular CD's since I've only recently "discovered" her. >If anyone out there has any favorites, do tell, do tell! Look for the Complete Mercury Recordings series - start with Vol. 1, the most bluesy of the bunch. This covers 1946-49. There are 3 CDs/volume - 7 volumes in all. You might find that by the time you get to the song, "What A Difference a Day Makes", you might quit buying these (Vol. 6 - 1958) unless your into a more pop sound. This was such a huge hit for Dinah, that Mercury thought all of her recordings should sound like this. It may have made her more popular to the general public, but less interesting to blues lovers. Also consider buying the Apollo label recordings available on a Delmark CD (Mellow Mama #451) which immediately preceded the Mercury years. Art Schuna ========================================================================= Date: Sat, 16 Dec 1995 00:20:06 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: A tale of two Bobs Comments: To: bit-listserv-blues-l@uunet.uu.net In article <951215153706_55235861@emout05.mail.aol.com> Dick Waterman writes: >Subject: I'm tired/Robert Johnson is dead >From: wmobley@hubcap.clemson.edu (Christopher Mobley) >RJ:"Woke up this morning, felt around for my shoes" (Walking Blues) >BD:"Woke up this morning, there were tears in my bed" (George Jackson) Here's another interesting variation - the Butterfield Blues Band on "East- West" sing "Woke up this morning, LOOKED around for my shoes". Either Paul woke up a lot later in the morning the Robert or with electricity that Robert probably didn't have in rural America didn't have the luxury of turning on the light. Art Schuna ========================================================================= Date: Sat, 16 Dec 1995 00:24:17 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: ANNOUNCEMENT: Legacy's Roots N' Blues Series / Upcoming Releases Comments: To: bit-listserv-blues-l@uunet.uu.net In article <9512152110.AA7351@worldcom-45.worldcom.com> Jessica Sowin writes: >5 New Titles Feature Final Chapter of Bessie Smith's Complete Recordings, Josh>White, >Emmett Miller, Good, I was wondering if I would ever complete my Bessie Smith "Complete Recordings" ;-) Could anyone provide further info on Emmett Miller? Art Schuna ========================================================================= Date: Fri, 15 Dec 1995 18:31:52 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Lookin for Hammond Comments: To: Roger Scharbach > From: Roger Scharbach > Just wondering if anyone out there can help me find a particular cd. Years > back (probably close to 20) I had a record by John Hammond called 'Source > Point'. If my memory is still with me, it was a green album cover with a > picture of a bumble bee or something like that, and one of the songs on it > was called 'Got Love if You Want it'. I heard a recent release of his with > the same song, but it just wasn't the same. Since then I have been looking > for a replacement (if that's possible - a CD). I don't know if it is on CD, > but thought maybe someone out there might know. As I recall this was released in the late 70s on Columbia. (My copy's at home so I'm not 100% sure of this.) I've never seen it on CD but it does turn up in used record stores from time to time. I especially liked his covers of Slim Harpo's "Got love if you want it" and the Staple Singers classic "I'm goin' home". EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Fri, 15 Dec 1995 20:28:45 -0500 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: Memphis Slim/Roosevelt Sykes I recently aquired an LP (Olympic Records 7136), titled Memphis Slim with Roosevelt Sykes: Memphis Blues. It contains these tracks; Side One: Mr. Sykes Blues, Eagle Rock, Miss Ida Bee, Going Down Slow, M and S Boogie SideTwo: 44Blues, Soft and Mellow, The Churnin Man, 47th Street Boogie, MNO Blues, Roosevelt Daddy's Blues There is no discographical info. Does anyone know when and where this was recorded? Also, I've been told that there was an earlier release of these same cuts, only with Slim and the Honeydripper talking about each song before and/or after they did it. Anyone know anything about this? Thanks in advance, and BLUZ! Bluzman Ed aka Ed Tremewan ========================================================================= Date: Fri, 15 Dec 1995 20:52:44 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Weird Problem/different weird problem > > No, but here's a different problem: for the last week or more, I have > > been getting answers posted to questions BEFORE I recieve the original > > questions. This kind of problem is inherent in the Internet's basic structure -- it delivers messages by whatever route is available at any given time, and it can happen -- often does -- that Message #1 takes longer to arrive than Message #2. So that could be the explanation. On the other hand, it could be that your email reader is set to sort incoming mail by reverse date. That happened yo me once -- totally confusing until I reset it. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Fri, 15 Dec 1995 20:52:44 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Blues Humour My favorite is Steve Goodman: My Baby came to me this mornin, She said Babe I'm kind of confused If me and BB KIng was both drowning Which one would you choose? I said Baby I said Bay-ay-be I said Bay-ay-ay-ay-by I ain't never heard you sing no blues! Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Fri, 15 Dec 1995 23:55:05 EST Reply-To: Jim Miller From: Jim Miller Subject: PATHETIC Comments: To: BLUES-L Unfortunately my system was down during the great boogie nation debates. Although I didn't buy the new age stuff I found it a rather interesting reaction to this music that we say we love. Obviously the "how -you -should -react-to the blues" police on this list found this not a proper interpretation and gutted the guy. After over two years on this list I found this reaction to be the most pathetic example of a thread I've ever had to witness on this usually stellar list. " Call the list owner...their selling stuff...my little finger is hurting from the delete key..." If you want to control something that bad why don't you get a small pet? The next time our police go on a crusade I suggest that those of us who at least want to give someone a chance to explore a quirkier side of the blues bombard that individual with messages that they continue on despite the abuse. We get enough of this authoritarian crap in our everyday lives. Pleeeeese flame me , at least I'll get a chuckle out of you folks trying to explain your blues and internet rules and how I just don't have a clue and how I'm just so......................ZZZZZZZZZZZZZZZZZ. ========================================================================= Date: Fri, 15 Dec 1995 20:43:03 -0500 Reply-To: ROSEBUDUS@AOL.COM From: Rosebud Agency Subject: From John Lee Hooker's Management Given the flames I didn't want to mention Boogie Nation in the reference line and be deleted immediately. I'm writing in response to requests to explain Boogie Nation and its relationship to John Lee Hooker. For background, I have been John Lee Hooker's agent since 1976 and manager since the late 1980's. In spite of the announcement by Boogie Nation that "The King of Boogie is now here on this list." John Lee was entirely unaware that he was being represented on this list in any matter until I advised him. We have both been trying to get Richard Hillier on the phone the past 24 hours with no success. John Lee, who is not literate, did allow Richard Hillier to start a newsletter about him. After numerous concerns expressed by myself and others close to John Lee, the second version included the disclaimer "that the peronal opinions expressed in Boogie Nation news are the opinions of the writers and are not necessarily the opinions of John Lee Hooker, his management, record company, immediate family, extended family, friends, pets, hatmaker, or anyone else associated with John Lee Hooker. All show and event reviews are the personal opinions of the writers only." FYI, Richard Hillier's mother was once married to John Lee Hooker and Richard and John Lee met only after John Lee and Richard's mother divorced. Richard lives in a home that John Lee owns in Southern California but is currently selling. Mr. Hooker currently resides primarily in Northern California. Richard did get permission directly from John Lee to sell merchandise. There are two other firms in the US and one in England that are also licensed to sell different types of John Lee Hooker merchandise. Thanks to those who have expressed concern about Mr. Hooker's living circumstances. Mr. Hooker is in by far the best financial situation of his entire life so there is no need to sell T-shirts on his behalf but thanks for the sentiment. With reference to Mr. Hooker's belief in the "psychobabble" described in Boogie Nation, be assured that he does not subscribe to it and, for the record, neither do I. I perfectly understand the irritation of many Bluezellers at the extent and content of these posts and only ask that you please judge John Lee Hooker by his music and his own person if you know him. Thank you. Mike Kappus, The Rosebud Agency ========================================================================= Date: Fri, 15 Dec 1995 21:09:29 -0500 Reply-To: "Joseph P. Cauffiel" From: "Joseph P. Cauffiel" Subject: Thanks for Buddy Guy Info Thanks to everybody for their Buddy Guy suggestions. Please keep me informed of any tour dates. I will continue to lurk this list. Thanks Joseph ========================================================================= Date: Fri, 15 Dec 1995 21:51:00 -0500 Reply-To: Fontella From: Fontella Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Muddy Waters Search Comments: To: bit-listserv-blues-l@uunet.uu.net Electric Mud--Your father is right. And it is fantastic.. I have it on vinyl Cadet/Concept 1968. Believe it or not, it came with a booklet that showed Muddy getting his hair done on rollers. Don't know if it's come out on CD. **** I'm looking for an album for my father who swears up and down that he at one time owned it, someting to the effect of "Electric Mud". I've checked the computer listing at the record stores and found nothing. Maybe it's an import? Any ideas? ========================================================================= Date: Fri, 15 Dec 1995 21:59:12 -0500 Reply-To: DoyleE847@AOL.COM From: Doyle Ertwine Subject: JLH/Doyle Ertwine You people out here have treated me with about the same respect that you gave to John Lee Hooker's house boy (aka "Boogienation"). It's no wonder he left. I'm seriously considering leaving this list also. -Doyle Ertwine ========================================================================= Date: Fri, 15 Dec 1995 21:18:05 -0600 Reply-To: ".\\ark \\'atkins" From: ".\\ark \\'atkins" Subject: Stevie Ray Vaughan > As for TF itself: Has a 'live' feel to it, gets most of the early >trademark tunes on vinyl. My faves: Texas Flood had a live feel because it was a live album. It was recorded live in Jackson Browne's home studio. The only overdub was to fix a place where Stevie broke a string. Most of the songs were first takes. I'm pretty sure it was recorded in only a couple of days because Jackson's generosity only went so far. >4. Live Alive: Good material, great recording. Problem: Doesn't sound >'live' I mean (IMHO, IMHO) Texas Flood sounds more live/over the top to >me. > Then again, I was lucky to >see SRV and DT in concert venues large and small, so I have the memories >and don't need the vinyl. Your tastes may vary. This one should be avoided in my opinion. It was a rush job between tours and just before his collapse, and it suffered accordingly. Most of the boots I've heard are far better. >5. In Step: A triumphant comeback. A little preachy, but good material >and the soul, passion come through. Good recording. No particular >favorites, but overall an excellent job. Preachy? Maybe, but at least the sentiments were genuine and heart-felt. Sorta like his playing. This one and Texas Flood are like bookends to a great career. >6. Sky is Crying: A compilation of good cuts that never quite made it. >Definitely good product, *not* outtakes and half-assed demos. These have >more of a 'live in the studio' feel than the other albums (especially when >compared to 'live alive'). Not the best starter, but worthwhile. You read my mind! >I realize this is a bit long, but I thought I'd offer more feedback than >'get 'em all', justified as this advice actually is. Your assessment is very good (maybe I think that because it pretty much parallels my own :). What bootlegs would you recommend? /----------------------- -=[ .\\ark \\'atkins ]=- -------------------\ | . | | markw@telepath.com . | | mark.watkins@hotelcal.com . |\/| ----_ | | 1:147/3101 . =(--)=_____ \ | | . c___ (______/ | \--------------------------------------------------------------------/ ========================================================================= Date: Fri, 15 Dec 1995 23:45:30 +0000 Reply-To: boogienation@earthlink.net Comments: Authenticated sender is From: Boogie Nation Subject: the other BN partner Blues-L didn't set on fire We are sorry if we offended anyone with our articles, that was not our intent. In case there was any misunderstanding, we were not attempting to convince you that Mr. Hooker was on-line himself --- we were just expressing our thoughts about him as many of you do everyday on the inernet. When we stated that "The Boogie Man is Here", we were just saying that we are close enough to him that we could forward some of your questions directly to him to answer. Thanks to Mr. Kappus for his concerns about Mr. Hooker. This is the final post. Melissa M. Smith - John Lee's soon to be daughter-in-law (yes, he does know) ========================================================================= Date: Sat, 16 Dec 1995 03:36:23 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Memphis Slim/Roosevelt Sykes Comments: To: BLUZMANED@AOL.COM On 15 Dec 95, Bluzman Ed@Aol.Com. had this to say: > I recently aquired an LP (Olympic Records 7136), titled Memphis Slim with > Roosevelt Sykes: Memphis Blues. > > It contains these tracks; > Side One: Mr. Sykes Blues, Eagle Rock, Miss Ida Bee, Going Down Slow, M and S > Boogie > SideTwo: 44Blues, Soft and Mellow, The Churnin Man, 47th Street Boogie, MNO > Blues, Roosevelt Daddy's Blues > > There is no discographical info. Does anyone know when and where this was > recorded? > Also, I've been told that there was an earlier release of these same cuts, > only with Slim and the Honeydripper talking about each song before and/or > after they did it. Anyone know anything about this? > > Thanks in advance, and BLUZ! > > Bluzman Ed > aka Ed Tremewan One of my favorite CDs. It's available in the form you speak of (with the back and forth banter before each song) on "Parisian Blues - Memphis Slim" Emarcy Records (a German import). The first eleven cuts feature Memphis Slim & Roosevelt Sykes playing together (rare for piano players like these), and the second eleven cuts Slim plays with Buddy Guy and Junior Wells' band. The first half was recorded in Paris in December of 1970, and the second half was recorded in Herouville, France September 1970 The notes imply that Slim, Guy, Wells, Phil Guy, and A.C. Reed were touring with the Rolling Stones at the time. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sat, 16 Dec 1995 03:36:24 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric Le Blanc's Blues Dates - December 16th Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ABERCROMBIE, JOHN L. (g) b. 1944-1216, PORT CHESTER, NY BOINES, SYLVESTER "PIGGY BACK"(b/DAWKINS) d. 1992-1216, CHICAGO, IL 61 CALLOWAY, BLANCHE D. (v/bandleader) d. 1978-1216, BALTIMORE, MD 76 DELANEY, TOM (p) d. 1963-1216, BALTIMORE, MD 74 FORD, ROBBEN LEE (g/CHARLES FORD) b. 1951-1216, WOODLAKE, CA GIBBONS, BILLY (g/ZZ TOP) b. 1949-1216, HOUSTON, TX HAMMOND, JOHNNY (o) b. 1933-1216, LOUISVILLE, KY MCCARY, MICHAEL (of BOYZ II MEN) b. 1972-1216, PHILADELPHIA, PA PACE, CHARLES HENRY (of THE PACE JUBILEE) d. 1963-1216, PITTSBURGH, PA 77 RANKIN, SYLVESTER (g) b. 1932-1216, EVERGREEN, AL RAZAF, ANDY (afro-amer songw) b. 1905-1216, WASHINGTON, DC SINGLETON, SHELBY S. JR.(prod/owns'SUN RECb. 1931-1216, WASKOM, TX SMITH, CHARLES EDWARD (prod/FOLKWAYS) d. 1970-1216, NEW YORK CITY, NY 66 SUGAR BLUE (JAMES WHITING) (hca) b. 1949-1216, HARLEM, NY SYLVESTER [SYLVESTER JAMES] (v) d. 1988-1216, SAN FRANCISCO, CA 42 WHEELER, GOLDEN "BIG" (hca/DELMARK REC) b. 1929-1216, BEACONTON, GA ------------------------------------------------------------------------------- ========================================================================= Date: Sat, 16 Dec 1995 03:55:30 -0500 Reply-To: ErikDit@AOL.COM From: Erik Dithmer Subject: Piano Blues Just picked up, what I think, is a pretty rare CD. In fact after reading here for a month I haven't heard any mention of these people: Johnny Jones and Billy Boy Arnold. A quote on the cover from Otis Spann-"My favorite piano player... he beat me at my own game." It is an Alligator release--ALCD 4717. It is a bunch of fun--old stuff recordedlive in Chicago in 1963. Some greta liner notes info. Dit ========================================================================= Date: Sat, 16 Dec 1995 02:02:04 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: Sorry, but I need help!!! I realize that folks have been talking about Xmas blues music for the last couple of weeks, and I have to admit that I have been using my delete key every time I saw the subject pop up. Now however I have been put into a situation where I have to observe the festivities, (which is something I have never done). If I have to listen to 4 days of traditional music I know that I will go out of my mind!. I am begging then that some of you will give me a list of 6 or 7 BLUES related CD's that I can purchase to interspace with the assortment of traditional crap that I know I am going to be subjected to. Your help will be greatly appreciated...... I don't suppose there is any Hannukkah blues music is there? Thanx for your help........ Gary ........... Gary Constantine >> gconstan@ccinet.ab.ca << If hard work were such a wonderful thing, surely the rich would have kept it for themselves. ========================================================================= Date: Sat, 16 Dec 1995 02:45:42 -0800 Reply-To: Richard Del Grosso From: Richard Del Grosso Subject: Re: Son House unmarked grave? Comments: To: michael madsen In-Reply-To: Michael, Son House is buried in Detroit. I know the good folks in the Detroit Blues Society are working on a fitting memorial. I don't know if the grave has a marker at this time. Rich On Thu, 14 Dec 1995, michael madsen wrote: > Did I read right last week sometime, I forget who posted it, that Son > House was buried in an unmarked grave. If this is the case, does anyone > know where it is or who can be contacted to provide a proper headstone. > Does he have any family or friends who might be contacted? I ain't no > rich man or no rich man's son, but I'm sure as hell willing to buy a > headstone and have it engraved in any fashion that the family/friends of > such a great man would like. When I read that post, I couldn't believe > that one of, if not THE greatest bluesman of all times could be laid to > rest with so little consideration of what he was and what he passed on to > the world. Of course, there's always a chance that that was the way he > wanted it, if so, can someone pass on the postal address to Heaven to I > can send one of my National's up his way. > > Adios for now, > Michael L. Madsen - Blaine, Washington > > "Take it easy but take it." Woodie Guthrie > ========================================================================= Date: Sat, 16 Dec 1995 06:08:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Request Luth Allison Euro. dates It's not that I want to have a date WITH Luther, I just wanna see the big guy! I know these dates were posted a while ago and, aw' shucks, folks, I feel like a down right heel for askin' again, but maybe they've been updated since then. Private e-mail fine, or either way. *You* decide, my gentle bluezeller(s). *You* have the power of the internet right in your very hands! J.E._Downey@bakermck.com Joe in fabulous, sun-drenched Moscow ("It's a cold, cold feelin'. It feels like ice around my heart!" -- A. Collins) ========================================================================= Date: Sat, 16 Dec 1995 06:17:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Request DC, Balt inf. Dec. 27 Any good blues playing in the area, broadly conceived, on the 27th? I know Danny Morris is playing one of those nights, but I've seen Danny about five times and it's not exactly straight blues anyway, now is it? I don't suppose Leo (the Scatman) Aspiras is playing with DAVE SHERMAN AND THE NIGHTCRAWLERS that night any place? And where's Jimmy Thackery when I need him? Meteors, maybe? Thanks for any responses (private, yes?) J.E._Downey@bakermck.com Blue Joe in Red Russia ("don't worry I'll be back here in plenty of time to bring in the New Year Russian style") Saturday I go out to play . . . ========================================================================= Date: Sat, 16 Dec 1995 12:28:52 GMT Reply-To: Jim Farris From: Jim Farris Organization: Netcom Subject: Re: From John Lee Hooker's Management Comments: To: bit-listserv-blues-l@uunet.uu.net Thanks Mike, I'm glad that someone finally set the record straight. Rosebud Agency wrote: >In spite of the announcement by Boogie Nation that "The King of Boogie is now >here on this list." John Lee was entirely unaware that he was being >represented on this list in any matter until I advised him.... I knew something was fishy when a posting said that John Lee was on the L. He definitely isn't into computers. Jammin' Jim Farris KKUP 91.5 FM ========================================================================= Date: Sat, 16 Dec 1995 07:31:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re: PATHETIC Well, PATHETIC is kind of a strong word, and "authoritarian crap" has kind of stern ring to it as well, I suppose. Did you not at least enjoy the reportage of biblical figures appearing on tortillas in the fridge to the tune of One Bourbon, One Scotch, and One Beer? J.E._Downey@bakermck.com Joe in Moscow ("whooa, Grasshopper!!") ========================================================================= Date: Sat, 16 Dec 1995 08:50:19 EST Reply-To: Robert Crocker From: Robert Crocker Subject: Re: Slim & Sykes Further to PW's post: The LP was originally released on the Barclay label and was in general distribution for a time in Canada at least. It's a double LP with Slim and Sykes on the first disc, (the notes say that Memphis Slim's piano is heard on the left channel, while Roosevelt Sykes is on the right,) and Slim backed by an all-star band on the second. Buddy Guy, by the way, is twice listed as "Buggy Guy", a fact which may amuse some of his detractors! It was called "Memphis Slim -- Old Times, New Times". This album is a classic and well worth looking for in whatever format. Since the ubiquitous Dick Waterman has his name on this one too, he may wish to comment. One Memphis Slim disc that I've completely lost track of to the point that I've forgotten the title had a photo of Slim on the cover with a meal in front of him on a table. Everything was blue with the exception, if memory serves, of the white and yolk of a cracked hard-boiled egg. It was probably called some variation of "How Blue Can You Get?" or some such. Does anyone recall anything about this one? Thanks, Robo ========================================================================= Date: Sat, 16 Dec 1995 09:14:13 -0500 Reply-To: DBHertzog From: DBHertzog Organization: America Online, Inc. (1-800-827-6364) Subject: Re: EC's Guitar String - No Blues Content Comments: To: bit-listserv-blues-l@uunet.uu.net Since no one wants to make a serious offer, I will bid 2 cents. DBH ========================================================================= Date: Sat, 16 Dec 1995 09:47:58 -0500 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Guy Davis.... Comments: To: bit-listserv-blues-l@uunet.uu.net Have any of you blues people heard Guy Davis? He is a fabulous guitar and harp player ...and he can sing too! I met him last summer and had the opportunity to sing "Stormy Monday" with him on guitar. It was definitely something I will never forget. He is also the son of Ossie Davis and Ruby Dee, but he is so talented in his own right. Treat yourself - Buy his CD's Lea ========================================================================= Date: Sat, 16 Dec 1995 10:08:36 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Guy Davis.... Lea said, concerning Guy Davis: >Have any of you blues people heard Guy Davis? He is a fabulous guitar and >harp player ...and he can sing too! I've heard a few comments about him for the last few months, but they didn't mean anything until I actually heard him! WOW! What a voice! He were listening to the DMX and my husband and I practically tripped over each other going for the remote to see who it was! I forget what the name of his CD is.......(somebody will tell us) but it's definitely on my wish list! Karen ========================================================================= Date: Sat, 16 Dec 1995 10:51:41 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Organization: Union Federal Savings Bank Subject: Re: For Luther Allison Fans Comments: To: SJeffcote@AOL.COM ==============Luther Allison - Vocals and Guitar Kenny Arnold - Drums Mike Allen - Alto Sax Kenny Berdoll - Bass Sid Wingfield - Keyboards "Gonna Be A Live One In Here Tonight" 1. Strokes 2. Your Gonna Need Me 3. Your Upset Me Baby 4. Movin On Up 5. The Thrill Is Gone 6. Cat Blues 7. Messin With the Kid Let me know what you think about these if you have heard them.======== Why this album has not been re-issued onto CD is beyond reason, IMO. It is a GREAT set. This is vintage Luther Allison during a tremendous BB King influenced period. This ranks with Son Seals' "Live and Burning" ( "Live at The Regal" in incomparable). One caveat, though. The companion "Power Wire Blues" is not as good. RJ Bauman ========================================================================= Date: Sat, 16 Dec 1995 16:04:24 GMT Reply-To: Richard Cotenas From: Richard Cotenas Organization: California State University Sacramento Subject: Re: Black Cat Bone Comments: To: bit-listserv-blues-l@uunet.uu.net Charles d'Orban (cmd5@CORNELL.EDU) wrote: : PW Fenton said: : >Black Cat Bone is another one. "I believe my baby's got a Black Cat : >Bone, everything I try seems to turn out wrong" Coolest version is : >on "Showdown" produced by our own Dick Shurman, on Alligator with : >Robert Cray, Albert Collins, and Johnny Copeland : I'm afraid that I have to disagree. Check out Lonesome Sundown's version : with Philip Walker on rhythm guitar. : Charles There is a good version of "Black cat bone" on an LP I found in a used record shop. The LP title is "Panther City Blues" and the artist is Jim Colgrove. I had never heard of him before seeing this LP, but I bought it because the pianist on the LP is Jeff Gutcheon, who has a couple of good rock/blues/country piano instruction books out, and I wanted to see if he could practice what he preached. He can, and the rest of the band are good, as well. Another good thing is that most of the songs are covers of great songs that I hadn't heard before--'til then, I thought all electric blues was recorded in Chicago by Leonard Chess 8-}! Anyone else know anything about these guys, other recordings, that kinda stuff? -- Richard Cotenas Calif. State Univ., Sacramento ========================================================================= Date: Sat, 16 Dec 1995 08:23:59 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Piano Blues Erik Ditmar wrote: > >Just picked up, what I think, is a pretty rare CD. In fact after reading>here for a month I haven't heard any mention of these people: Johnny Jones>and Billy Boy Arnold. A quote on the cover from Otis Spann-"My favorite>piano player... he beat me at my own game." It is an Alligator release--ALCD>4717. Generally speaking, Alligator CDs are not considered rare. But yes, this is a very good one. >It is a bunch of fun--old stuff recordedlive in Chicago in 1963. Some greta >liner notes info. > It originally came out as an Alligator LP some years back and was then reissued onto CD when the formats changed over. It should be readily available in any record store that has a deep enough blues section, or can certainly be ordered. Mary Katherine ========================================================================= Date: Sat, 16 Dec 1995 11:10:43 -0600 Reply-To: "K. Kelly" From: "K. Kelly" Subject: Please post Billboards Top 10/15 Could someone please post the most recent Billboard top10 (or is it 15?) Blues albums APAP? TIA! Cornbread ========================================================================= Date: Fri, 15 Dec 1995 12:11:45 -0500 Reply-To: "J.F. Bronowich" From: "J.F. Bronowich" Comments: To: "ROSEBUDUS@AOL.COM" -- [ From: J.F. Bronowich * EMC.Ver #2.5.02 ] -- Mike Kappus, The Rosebud Agency wrote: >>> [edits] ...and only ask that you please judge John Lee Hooker by his music...[edits]<<< Don't worry. I'm sure that's all most Blues-l readers care about. Nothing else matters! =Joe= ========================================================================= Date: Sat, 16 Dec 1995 12:14:59 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Memphis Slim/Roosevelt Sykes Comments: To: pwfenton@gate.net On December 16, PW Fenton, the Squire of Tampa, said: >>> The first eleven >>>cuts feature Memphis Slim & Roosevelt Sykes playing >>>together (rare >>>for piano players like these), and the second eleven cuts Slim >>>plays >>>with Buddy Guy and Junior Wells' band. The first half was >>>recorded >>>in Paris in December of 1970, and the second half was >>>recorded in >>>Herouville, France September 1970 >>>The notes imply that Slim, Guy, Wells, Phil Guy, and A.C. >>>Reed were >>>touring with the Rolling Stones at the time. I'm not going to hunt through paperwork over a quarter century old so I'll wing this one from memory. The Buddy Guy & Junior Wells Band opend a European tour for The Rolling Stones in 1970. We played three nights in Paris somewhere around September 16-18th or something close to that. I recall we did the sessions the day that Jimi Hendrix died if that helps those who need precise documentation. It was done for the Barclay label and produced by a man named Dominique Tarle (tar LAY). On a side note, Eric Clapton came on stage to play with the band one of the nights in Paris. In the dressing room after the show, he urged Atlantic president Ahmet Ertugen to sign Buddy & Junior to a label deal. We arranged a contract shortly after that with the end product being Miami sessions that resulted in a pretty bad album. Dick Waterman ========================================================================= Date: Sat, 16 Dec 1995 09:18:06 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Please post Billboards Top 10/15 Cornbread wrote: > >Could someone please post the most recent Billboard top10 (or is it 15?) >Blues albums APAP? TIA! > Billboard's blues chart is a Top 15, and I will post it later today, as soon as I get the magazine. It hits my local newsstand on Saturdays around noon (it's only 9:30 a.m. here now, so there's no point in rushing out), and when I go out to do my regular mail run I always pick it up and post the results. Mary Katherine ========================================================================= Date: Sat, 16 Dec 1995 10:57:36 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Black Cat Bone Comments: To: Richard Cotenas In-Reply-To: <4auqm8$opp@news.csus.edu> I'm glad someone mentioned Jim "Cool Groove" Colegrove and "Panther City Blues." That (very good) LP of Texas blues was basically a foreunner to the LPs that followed by the Juke Jumpers, essentially the same band, from Fort Worth. Co-led by Colegrove and guitarist and occasional vocalist Sumter Bruton and later featuring sax maniac Johnny Reno, the Jumpers were one of the best Texas blues bands of the '80s. (Sumter has a nice new CD out which he shares with pianist-vocalist Mike Price and runs the store Record Town in Fort Worth.) Most of the band is still active separately around DFW; keyboard player Craig Simecheck did some touring with Anson over the last several years as did bassist Jim Milan. Maybe this point isn't worth debating, but when the T-Birds were receiving their first major hype as a "Texas blues band" (even though it soon got to a point where none of them was from Texas and their music owed more to Chicago and the Gulf Coast), the Jumpers actually had a lot sounder musical and personal Texas credentials. Unfortunately, their first couple of HOT LPs on Amazing never got too much notice and they were going in a more commercial direction by the time Rounder picked up "Jumper Cables," and they didn't do too much national touring. But all their recordings are well worth finding or a re-listening. ========================================================================= Date: Sat, 16 Dec 1995 18:06:01 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Re: BW Johnson, BBQ Bob Comments: To: bit-listserv-blues-l@uunet.uu.net I SECOND THAT EMOTION. 4 TIMES! THE BLIND WILLIE JOHNSON SET ALSO WON AN AWARD IN FRANCE, THE PRESTIGIOUS "GRAND PRIX DU DISC" AWARD. IF YOU'RE A FAN OF SLIDE GUITAR, IT BELONGS IN EVERYONE'S CD COLLECTION. eRIC In article 100000@forte, Paul Deeds writes: > On Sat, 9 Dec 1995, Mark Gobeyn wrote: > > provide brief reviews (including sound quality) of the following: > > > > The Complete Recordings of Blind Willie Johnson (Sony); > > The complete recordings of one of the greatest slide guitar players ever. > In my opinion an indispensable part of any music collection. Lyrically > the songs are gospel, but the guitar playing is definitely blues. The sound > quality is remarkably good for the era of the recordings (late 1920s). > > Paul Deeds ========================================================================= Date: Fri, 15 Dec 1995 12:05:00 -0500 Reply-To: Steven H Bard +1 +1 201 386 7384 From: Steven H Bard +1 +1 201 386 7384 Subject: Re: Etta James >On Tue, 12 Dec 1995, Eugene Wan wrote: >> I am looking for good CD's by Etta James and other female blues singers. >> Can anyone recommend one? >> >On Wed, 13 Dec 1995, Pat Hertel wrote: > > Maybe it's just me, but I have this thing for Big Maybelle. > That voice probably cooked more than one set of speakers > in its time. try "The Complete Okeh Session 1952-55" I'd like to second and third Pat's comment. The other night I loaded my 5 disk changer with female blues singer's CDs and put it on shuffle. When Big Maybelle's "Complete Okeh Sessions" disk came on it scared me; she had a voice that meant business. Steve Bard shb@fuwutai.att.com ========================================================================= Date: Sat, 16 Dec 1995 14:11:15 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Eric LeBlanc's Blues Date posts As of December 21st I will no longer be able to re-post Eric's Blues Dates each morning. If someone else is interested in taking this task on, they should contact Eric at: leblanc@dao.nrc.ca I enjoyed reposting it to the list on a daily basis while I could. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sat, 16 Dec 1995 16:33:48 -0500 Reply-To: DoyleE847@AOL.COM From: Doyle Ertwine Subject: Re: JLH/Doyle Ertwine Comments: To: JukeFreak@aol.com >>"most of us are not idiots. -Karen" Yeah, and most of you don't have an Eric Clapton guitar string either. -Doyle Ertwine ========================================================================= Date: Sat, 16 Dec 1995 16:46:58 -0500 Reply-To: DoyleE847@AOL.COM From: Doyle Ertwine Subject: New Blues List!! I am going to be putting together a new Blues mailing list. It will be called the "Doyle Ertwine Nothin' But The Blues List." I believe this list has gotten stale and its members are too pigeon holed into a very narrow interpretation of what the blues is and what belongs on the list. The blues out here in cyberspace needs some fresh blood and a shot in the arm and I, Doyle Ertwine, am just the guy to accomplish this. My list will cover all aspects of the blues and will not be narrow minded in its interpretation of blues content. I need to know if I can count on some of you true blues afficionados to subscribe to this new list. I can probably have it up and running by no later than February. Take care folks. -Doyle Ertwine ========================================================================= Date: Sat, 16 Dec 1995 16:37:51 EST Reply-To: ron kraemer From: ron kraemer Subject: Going No-mail Going "no-mail" til after the Holidays. Crunch time at work with the year-end stuff, and I'm still a few weeks behind in my Digests! Have a joyous Holiday season and a safe New Year, one and all. And thanks! I've learned so much from this list over the past year or so, and it's opened me up to all kinds of terrific Blues. Ron P.S. I've "met", and even met face-to-face, some very down-to-earth, cool people from this List, and that's a Good Thing. :) P.S.S. Watch for my buddy Paul Plumeri's debut CD, "Bishop of the Blues", coming out in early '96. Private e-mail for details. P.S.S.S. My band is doing great! Gigging in the New Year about 6x/month, and maybe more. From 1 little starting gig this past August!! As Maxwell Smart would say..... "And...Loving it." ************************************************************ Ron Kraemer rkraemer@ets.org "Well, WELL, Well!" (And, in another life... Muddy Waters Ron Kraemer and the Hurricanes ************************************************************ ========================================================================= Date: Sat, 16 Dec 1995 17:25:23 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: Guy Davis.... Comments: To: Karen Hanson In-Reply-To: <951216100834_91856778@emout05.mail.aol.com> I must concur with the accolades for Mr. Davis. I had the pleasure of seeing him onstage playing, singing, and telling stories. A very gifted man he is. I think of him in the same vein as Taj Mahal. He certainly knows where the music comes from and what it means. Go see him! For those in the NYC area, he plays regularly in the Village at Terra Blues. Jim On Sat, 16 Dec 1995, Karen Hanson wrote: > Lea said, concerning Guy Davis: > > >Have any of you blues people heard Guy Davis? He is a fabulous guitar and > >harp player ...and he can sing too! > > I've heard a few comments about him for the last few months, but they didn't > mean anything until I actually heard him! WOW! What a voice! He were > listening to the DMX and my husband and I practically tripped over each other > going for the remote to see who it was! I forget what the name of his CD > is.......(somebody will tell us) > but it's definitely on my wish list! > > Karen > ========================================================================= Date: Sat, 16 Dec 1995 14:34:17 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: PAUL FOSTER, OF THE SOUL STIRRERS, DIES AT 75 Comments: To: BluesHvn@aol.com The Rev. Paul Foster Sr., former tenor/baritone singer with the Soul Stirrers, died Sunday, August 20, 1995, Vallejo, CA. He was born July 12, 1920, Shreveport, LA. After WW II, he settled in Oakland, joining The Rising Stars, recording for Pacific Records, and Bob Geddins' Big Town & Cavatone Labels. By 1949, Foster had returned to Houston, joining Wilmer "Little Axe" Broadnax as co-lead of The Golden Echoes, recording for Art Rupe's Specialty Records (available on Specialty 7034) and Jack Lauderdale's Swing Time Records. Paul Foster then replaced James Heywood Medlock in the Soul Stirrers, remaining with them for 13 years. Paul Foster's beautiful low tenor/strong baritone lead were the perfect checkmate to the Soul Stirrers' many lead singers : R.H. Harris, Sam Cooke, Johnnie Taylor and Jimmy Outler. These 'dual' leads were the model for the 60s' soulmen like Sam & Dave - so Stax fans take note. Specialty 7052 I particularly recommend as we have here 28 tracks featuring Sam Cooke, 12 of which are duets with Paul Foster. His 1950 (acappella) dual leads with R. H. Harris are on Specialty 7013, and his solo leads & duets with Johnnie Taylor are on Specialty 7040. And finally, in what is the only live recording of Sam Cooke & The Soul Stirrers, we have Specialty 7045, were Foster nearly steals the show from Sam Cooke on their 8 minute version of "Be With Me Jesus". Their 1959-1963 SAR Recordings are now on ABKCO 2231 : Sam Cooke's SAR Records Story. For more details concerning their recordings, I suggest GOSPEL RECORDS 1943-1969 : A BLACK MUSIC DISCOGRAPHY by Cedric Hayes & Bob Laughton. In 1965, Paul Foster was called to the ministry, pastoring the Union Baptist Church, Vallejo, CA. until his retirement a few years ago. His son, Paul Foster Jr., is continuing on the tradition. The Soul Stirrers were inducted into The Rock & Roll Hall Of Fame on January 18, 1989. I'd like to thank Galen Gart's series, FIRST PRESSINGS : THE HISTORY OF RHYTHM & BLUES (which includes gospel) for help with this obituary. For the record, 1995 deaths in gospel music include : Doris Mae Akers (1923-1995), Cassietta Baker George (1929-1995), Raymond Rasberry (1930-1995), Carl M. Story (1916-1995), Vernell Garnett Townsend (1931-1995), and Bill Woodruff (1929-1995). References : GOSPEL RECORDS 1943-1969 : A BLACK MUSIC DISCOGRAPHY / by Cedric Hayes & Bob Laughton. 2 Volumes. (available now from Roots & Rhythm at a new low price. Email for details) FIRST PRESSINGS : THE HISTORY OF RHYTHM & BLUES (available from Big Nickel Publications, P.O. BOX 157, MILFORD, NH. 03055) CD DISCOGRAPHY ========================================================================= ABKCO 2231 : VARIOUS - SAM COOKE'S SAR RECORDS STORY 1959-1966 ACE (UK) 280 : SAM COOKE & THE SOUL STIRRERS - IN THE BEGINNING SPECIALTY 2119 : TWO SIDES OF SAM COOKE SPECIALTY 7009 : SAM COOKE WITH THE SOUL STIRRERS SPECIALTY 7013 : SOUL STIRRERS - SHINE ON ME SPECIALTY 7031 : SOUL STIRRERS - JESUS GAVE ME WATER SPECIALTY 7034 : THE DETROITERS / THE GOLDEN ECHOES - OLD TIME RELIGION SPECIALTY 7040 : SOUL STIRRERS - HEAVEN IS MY HOME (w/Johnnie Taylor) SPECIALTY 7045 : GREAT 1955 SHRINE CONCERT (3 Soul Stirrers tracks) SPECIALTY 7052 : SOUL STIRRERS - LAST MILE OF THE WAY ========================================================================= Date: Sat, 16 Dec 1995 16:40:24 -0600 Reply-To: William A Morgan From: William A Morgan Subject: Blues-l schism Comments: To: Doyle Ertwine In-Reply-To: <951216164658_92103561@emout06.mail.aol.com> Don't let the screen door hit you where the Good Lord split you. Bill Morgan On Sat, 16 Dec 1995, Doyle Ertwine wrote: > I am going to be putting together a new Blues mailing list. It will be > called the "Doyle Ertwine Nothin' But The Blues List." > I believe this list has gotten stale and its members are too pigeon holed > into a very narrow interpretation of what the blues is and what belongs on > the list. > The blues out here in cyberspace needs some fresh blood and a shot in the arm > and I, Doyle Ertwine, am just the guy to accomplish this. > My list will cover all aspects of the blues and will not be narrow minded in > its interpretation of blues content. > I need to know if I can count on some of you true blues afficionados to > subscribe to this new list. I can probably have it up and running by no > later than February. Take care folks. > > -Doyle > Ertwine > ========================================================================= Date: Sat, 16 Dec 1995 17:51:34 -0500 Reply-To: ELMO95@AOL.COM From: Patrick LeBlanc Subject: Re: Elmore James and agent Otis Ealey in Atlanta For the past three years I have been trying to put together the pieces of the puzzle to the life story of Elmore James. Recently, my research has lead me to surprising information and uncovered facts concerning the late slide guitar player from Richland, (Holmes County),Mississippi (there are two townships of Richland in Mississippi). I'm in need of any information on Otis Ealey, a gentleman in Atlanta, who represented Elmore James for numerous years as a booking agent, beginning in 1954. If anyone on the list could provide me with additional details or leads on Mr. Ealey, I would appreciate an e-mail to ELMO95@aol.com. Thank you for your assistance. Cheers, Patrick LeBlanc ========================================================================= Date: Sat, 16 Dec 1995 17:10:55 -0600 Reply-To: Chris Pearson From: Chris Pearson Subject: Re: New Blues List!! Count me in! How about just calling it the non-purist blues list? Most of the people here are well-intentioned and very nice folks but seem to be a trifle intolerant of anyone who does not accept their particular view of the blues as gospel. Anyway, I'm going to stick around here till you get yours up. There's a lot to learn here, you just have to be real careful about what you say. Chris >I am going to be putting together a new Blues mailing list. It will be >called the "Doyle Ertwine Nothin' But The Blues List." >I believe this list has gotten stale and its members are too pigeon holed >into a very narrow interpretation of what the blues is and what belongs on >the list. >The blues out here in cyberspace needs some fresh blood and a shot in the arm >and I, Doyle Ertwine, am just the guy to accomplish this. >My list will cover all aspects of the blues and will not be narrow minded in >its interpretation of blues content. >I need to know if I can count on some of you true blues afficionados to >subscribe to this new list. I can probably have it up and running by no >later than February. Take care folks. > > -Doyle >Ertwine > > ========================================================================= Date: Sat, 16 Dec 1995 16:04:57 -0000 Reply-To: James Witteveen From: James Witteveen Subject: Re: New Blues List!! >I am going to be putting together a new Blues mailing list. It will be >called the "Doyle Ertwine Nothin' But The Blues List." See ya Doyle. It's been good to read your single post. Remember, when talking to yourself (on your new list), you're only crazy if you start to reply. -Jim (hndful@uniserve.com) ========================================================================= Date: Sat, 16 Dec 1995 19:13:05 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Elmore James and agent Otis Ealey in Atlanta Comments: To: Patrick LeBlanc In-Reply-To: <951216175133_56148755@mail06.mail.aol.com> You may want to get in touch with Ichiban Records. They have a recording artist Theodis Ealey + his brother and this may be a lead to bear fruit. Sorry but the CD is out right now, or I'd provide more info. Hope it helps. On Sat, 16 Dec 1995, Patrick LeBlanc wrote: > For the past three years I have been trying to put together the pieces of the > puzzle to the life story of Elmore James. Recently, my research has lead me > to surprising information and uncovered facts concerning the late slide > guitar player from Richland, (Holmes County),Mississippi (there are two > townships of Richland in Mississippi). I'm in need of any information on > Otis Ealey, a gentleman in Atlanta, who represented Elmore James for numerous > years as a booking agent, beginning in 1954. If anyone on the list could > provide me with additional details or leads on Mr. Ealey, I would appreciate > an e-mail to ELMO95@aol.com. > > Thank you for your assistance. > > Cheers, > > > > Patrick LeBlanc > NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Sat, 16 Dec 1995 19:17:01 -0500 Reply-To: JIMBLUE1@AOL.COM From: Jim Armstrong Subject: Blues Cruises Does anyone have any info on any of the Blues Cruises Going out this winter? If so, could you contact me? Thanks Jim Armstrong ========================================================================= Date: Sat, 16 Dec 1995 18:42:31 CST Reply-To: JBards From: JBards Subject: Re[2]: Leigh l'il Queen Comments: To: William A Morgan Bill, you're right- earlier I mistakenly associated Lil' Queenie with the Radiators...Radiators, Percolators, get it? I love this memory thing that happens with the aging process. Didn't know about the connection with the Subdudes- have seen them a few times on Austin City Limits and such and have always been impressed. -Jim _______________________________________________________________________________ Subject: Re: Leigh l'il Queen From: William A Morgan at INTERNET-SH Date: 12/16/95 12:25 PM Brent, Yeah, Leigh "Little Queenie" Harris is from New Orleans. In fact, she may live in my neighborhood. I just saw her the other day down the block. I've seen her a few times on stage. She does a variety of music -- all kind of rootsy. One of her earlier bands was a band called the percolators, and it included two (or three?) guys currently in the subdudes. I've never seen Little Queenie play with the same band twice. Once she played with most of the members of The Continental Drifters. Once I saw her play with guitarist Phil DeGruy at a wedding reception, and the last time I saw her, she sang with a gifted assemblage of jazz musicians in a stage tribute to James Booker at the New Orleans Contemporary Arts Center. She's very unpredictable. Bill Morgan ========================================================================= Date: Sat, 16 Dec 1995 18:49:48 CST Reply-To: JBards From: JBards Subject: Re: Blues-l schism Comments: To: William A Morgan Indeed, and before you go, be advised that "narrowminded" is one word or two words separated by a hyphen, as in "narrow-minded". But it is good to know that you are just the guy to accomplish that. Happy trails. -jim _______________________________________________________________________________ Subject: Blues-l schism From: William A Morgan at INTERNET-SH Date: 12/16/95 5:00 PM Don't let the screen door hit you where the Good Lord split you. Bill Morgan On Sat, 16 Dec 1995, Doyle Ertwine wrote: > I am going to be putting together a new Blues mailing list. It will be > called the "Doyle Ertwine Nothin' But The Blues List." > I believe this list has gotten stale and its members are too pigeon holed > into a very narrow interpretation of what the blues is and what belongs on > the list. > The blues out here in cyberspace needs some fresh blood and a shot in the arm > and I, Doyle Ertwine, am just the guy to accomplish this. > My list will cover all aspects of the blues and will not be narrow minded in > its interpretation of blues content. > I need to know if I can count on some of you true blues afficionados to > subscribe to this new list. I can probably have it up and running by no > later than February. Take care folks. > > -Doyle > Ertwine > ========================================================================= Date: Sat, 16 Dec 1995 20:01:41 -0500 Reply-To: JIMBLUE1@AOL.COM From: Jim Armstrong Subject: Re: Weird Problem/different weird problem Comments: To: KNEIFL@admin.uwex.edu In a message dated 95-12-15 08:57:01 EST, KNEIFL@ADMIN.UWEX.EDU (Dave Kneifl) writes: >If, on the other hand, you mean the responses are actually ARRIVING >before the original questions, then I have no explanation. > > Mine arrive later. I'll download the mail, and the re: messages are there, and later that day the original comes in. Jim Armstrong ========================================================================= Date: Sat, 16 Dec 1995 20:01:48 -0500 Reply-To: JIMBLUE1@AOL.COM From: Jim Armstrong Subject: Boogie Nation Comments: To: boogienation@earthlink.net In a message dated 95-12-15 03:53:32 EST, /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM (J.E. Downey) writes: >This is commercial, it is sales, and it needs to be off >the List. I agree that we don't want commercial appeals all over Blues-L. The way it was handled, however, was pretty rude. If the guy had been told to keep the blatant sales pitches out, and just tell how to receive this info, I wouldn't have a big problem. But he was instantly branded a crackpot and worse by people who didn't understand some of his messages or didn't care about some of his stories. After all, there is some validity to some of the mumbo-jumbo. There are studies in the U.S. as well as abroad that show that music does have healing qualities, and some of his stories about JLH were of some interest to shmoes like me who do like to hear about little tidbits like the JLH pizza. I daresay that if Dick Waterman had told us of a Son House pizza many of the people who were acting the fool would have been interested too. It was pretty sad to see the hysteria that took over this list for awhile {PLEAS to the listserver,etc}. In the future, I hope people can be a little more calm about disagreements amongst the list participants, and rules and customs can be pointed out without going for a pound of flesh. Thanks for reading this. I hope it makes some sense, and doesn't sound over preachy. Jim Armstrong ========================================================================= Date: Sat, 16 Dec 1995 20:36:54 -0500 Reply-To: MrBales@AOL.COM From: Denver Bales Subject: Muddy Waters Question Can anyone tell me anything about the CD "The London Muddy Waters Sessions." When was it recorded and who played on it? Was it a good project? Thanks. -Denver Bales ========================================================================= Date: Sat, 16 Dec 1995 21:57:06 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Dumb question I know I'm gonna kick myself for never figuring it out myself, but would someone tell me what the frequently used closing "TIA" stands for. Answer privately so there isn't twenty public posts making me feel stupid, instead of just this one. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sat, 16 Dec 1995 21:52:23 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Boogie Nation Comments: To: JIMBLUE1@aol.com >>>I daresay that if Dick Waterman had told us of a Son House >>>pizza many of the >>>people who were acting the fool would have been interested >>>too. Oh, great . ..so now Dick Waterman has become the common denominator of this list and the who/what factor in determing "Bozo." I have never said that I was smarter, more intelligent or particlarly observant. I have just been around for more years than most of you and had the opportunity to be 'up close and personal' with some very talented people. I stayed out of the Boogie Nation controversy but, if pressed for an opinion, I guess that I felt that some people were intolerant and venomous. It might have been better to let Mike Kappus (John Lee Hooker's most excellent agent/confidant) take Richard Hillier aside and explain that he was coming on too strong and perhaps rein him in a bit. I made a fool of myself on this list when I chided someone who entered with the greeting "Hi, guys." It turned out that English is not his first language and I embarassed myself very badly. I learned a lesson right there and, fortunately for me, he accepted my apology and we are now regularly posting notes to each other. There is an old adage that says, "If you don't like the message, don't kill the messenger." I thought that much of what Mr. Hillier wrote was New Age psychobabble. However, I don't think he should have banished from the room because we felt his rhetoric would somehow 'taint' our image of John Lee Hooker. Is everyone now thoroughly bored with me? Good . . . now I don't have to tell you the story about Son House & The Empire State Express Pizza . . . . . Dick Waterman ========================================================================= Date: Sat, 16 Dec 1995 22:39:04 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Cold weather songs/Willie "Big Eyes" Smith Don't know if this is still of interest, but to the person who was looking for cold weather songs....Here's one I found today on a CD called Bag Full of Blues by Willie "Big Eyes" Smith. the songs is called "Reap What You Sow" and contains lyrics like this: "This winter baby, gonna be ice and snow..." and "Remember last winter, you drove me from your door, I had to lie down, it was in the ice and snow..." For those of you who like Chicago-style blues, you must check out this CD! Smith wrote (or co-wrote) seven of the songs on it, including the one above. Kim Wilson and Pinetop Perkins are "guests." Karen ========================================================================= Date: Sun, 17 Dec 1995 04:04:49 GMT Reply-To: David Goldstein From: David Goldstein Organization: IPOF Subject: Re: Etta James Comments: To: bit-listserv-blues-l@uunet.uu.net "R.J. Bauman" wrote: >I think I'm on the verge of breaking the blues-l record for plugging >one single CD, but here goes............... > > > >ETTA JAMES ROCK'S THE HOUSE > > > >RJ Bauman (I guarantee it) Just got it from the Columbia House Blues subscription service. Equivalent in quality to BB's "Live At The Regal" in my opinion. ========================================================================= Date: Sun, 17 Dec 1995 04:17:22 GMT Reply-To: David Goldstein From: David Goldstein Organization: IPOF Subject: Re: Weird Problem Comments: To: bit-listserv-blues-l@uunet.uu.net Ian Angus wrote: >For the last two days, every message I get from Blues-L has >the last two or three characters truncated. Is anyone else having >this problem. > >If so, let's fix the server. > >If not, can anyone recommend a therapi > >Ian Angus >"Built for comfort, not for speed" Well, I have not had that probl ========================================================================= Date: Sun, 17 Dec 1995 04:24:39 GMT Reply-To: David Goldstein From: David Goldstein Organization: IPOF Subject: Blues Humor Comments: To: bit-listserv-blues-l@uunet.uu.net Lonnie Johnson "Mean Old Bedbug Blues" has a good one: Man a bedbug is evil. he don't mean me no good (2) He's thinks that he's a woodpecker and take me for a chunk of wood. Bedbug big as a Jackass will bite you and stand and grin (2) And drink up all the bedbug poison then come back and bite you agin. ========================================================================= Date: Sun, 17 Dec 1995 04:25:45 GMT Reply-To: David Goldstein From: David Goldstein Organization: IPOF Subject: Re: BOOGIE NATION OUTTA HERE! - Bye Comments: To: bit-listserv-blues-l@uunet.uu.net "David L. Prychitko" wrote: >> house! We share the same bathrooms. > >Now there's some credentials! > >Dave Prychitko >(Who actually feels a bit sorry for this pest) My Question is, who's paying for the toilet paper? ========================================================================= Date: Sat, 16 Dec 1995 23:51:00 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: jim colegrove > From: Richard Cotenas > There is a good version of "Black cat bone" on an LP I found in a > used record shop. The LP title is "Panther City Blues" and the > artist > is Jim Colgrove. I had never heard of him before seeing this LP > Anyone else know anything about these guys, other recordings, > that kinda stuff? He's one of the Fort Worth blues boys. Played with the Juke Jumpers (with Sumter Bruton) for quite awhile. They had 3 albums out on Amazing Records and one on Rounder associated Varrick. The Juke Jumpers were a big (7-8 pieces) band doing mainly jump and swing style blues tunes. They don't get together much any more. Simple economics as usual. Roomful seems to be just about the only big jump and swing style band that can keep it going. I think Colegrove is still in Fort Worth but I don't know what he's up to. For what it's worth, my favorite "Black Cat Bone" is Hop Wilson's. Don O. ========================================================================= Date: Sat, 16 Dec 1995 23:51:07 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: doyle bramhall There is now an officially sanctioned Doyle Bramhall fan club. If you're interested, send me a private e-mail and I'll send you the details. Don O. certified Doylehead ========================================================================= Date: Sun, 17 Dec 1995 01:31:16 -0500 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: WFBE Blue Highway Playlist 12-16-95 Tonight we played new music, requests, and stuff we just wanted to hear ourselves. =============================================================== WFBE Blue Highway Playlist, Dec. 16, 1995. With Hosts David Boyd and Ed Tremewan Artist Album Song Label 9 to 10 PM Radio Kings Live at B B Kings How Long Icehouse Mark May &the Agitators Call On The Blues You Can Call On The Blues Icehouse Blind Mississippi Morris You Know I Like That Second Hand Store Icehouse Robert Nighthawk/Wampus Cats Toasting The Blues Mellow Down Easy Inside Sounds Randy Volin/Sonic Blues Used Guitars Side Winder Randy Volin Memphis Sheiks Title Track Diamond in the Bluff Inside Sounds Sonny Boy Williamson Blue Yule Santa Claus Rhino Downchild Blues Band Good Times Guaranteed Dusty Road Blue Wave Celinda Pink Unchained Found Me A Backdoor Man Celinda Pink Jimmy Witherspoon Spoon's Blues Christmas Blues Stony Plain John Mooney and Bluesiana Travelin' On Kind Hearted Woman Crosscut Records Luther Tucker /Ford Blues Band Worried Life Blues Blue Rock-it Records 10 to 11pm Kid Ramos Two Hands, One Heart You Don't Love Me Black Top Joe Guitar Hughes Texas Guitar Slinger Bystanders Bullseye Jay Owens Movin' On I'm Gone Code Blue Sonny Moorman /Dogs L.I.V.E. Baby What You Want Me.... 706 Records Big Joe Williams Merry Christmas Baby Christmas Blues Paula Records Jerry Lightfoot/Essentials Burning Desire Who's Been Talkin' Connor Ray Records Otis Spann Otis Spann's Chicago Blues Lovin'You Testament John Hammond Jr John Hammond I Got A Letter This Morning Rounder Catfish Keith Cherry Ball Deep Sea Moan Fish Tail Records Jimmy Dawkins Blues and Pain Lonely Guitar Man Wild Dog Blues 11pm to midnight Rory Block When A Woman Gets..... Rowdy Blues Rounder Denise Lasalle Still Bad No Supervision Malaco Marva Wright Marvalous Drivin'Wheel Mardi Gras Sue Foley Without A Warning Hooker Thing Antones Cotton & Bogert Santa Is A Bluesman Christmas Time Blues Rollin' & Tumblin' Records Melvin Taylor 'N' The Slack Band Talkin' To Anna Mae Evidence Smokehouse Title Track Cadillac in The Swamp King Snake Robben Ford/Blue Line Mystic Mile Misdirected Blues Strech Records James Solberg See That My Grave ..... Bad Love Atomic Theory Jesse Austin/Maydy Myles Baby's Back I'll Cry Tomorrow Roesch Records Little Sammy Davis I Ain't Lyin' Play Me For A Fool Delmark Cow Cow Blues (exit theme) Blue Ivory Mr. B Blind Pig =============================================================== BLUZ! Bluzman Ed aka Ed Tremewan ========================================================================= Date: Sun, 17 Dec 1995 00:21:57 -0700 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: Eric LeBlanc's Blues Date posts Comments: To: "P.W. Fenton" In-Reply-To: <199512161828.NAA119120@tequesta.gate.net> First, I would like to publicly thank PW and eRIC for this wonderful font of information. I particularly liked the elaborations we would get once in a while, the bio and discography of many individuals I was unfamiliar with until they appeared on Blues-L. A job well done. Second, what's wrong? Why are these postings disappearing? Perplexed in the snowless Rockies, Jay Watterworth CU Boulder On Sat, 16 Dec 1995, P.W. Fenton wrote: > As of December 21st I will no longer be able to re-post Eric's Blues > Dates each morning. If someone else is interested in taking this > task on, they should contact Eric at: leblanc@dao.nrc.ca > > I enjoyed reposting it to the list on a daily basis while I could. > > P.W. Fenton > Tampa, Florida > email - pwfenton@gate.net > WWW - http://www.gate.net/~pwfenton/ > ========================================================================= Date: Sun, 17 Dec 1995 00:24:23 -0700 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: New Blues List!! Comments: To: Doyle Ertwine In-Reply-To: <951216164658_92103561@emout06.mail.aol.com> I'll join for a genuine guitar string once broken in a fit of passion by none other than Eric Clapton. Hey, I would even take the short part. Jay Watterworth CU Boulder On Sat, 16 Dec 1995, Doyle Ertwine wrote: > I am going to be putting together a new Blues mailing list. It will be > called the "Doyle Ertwine Nothin' But The Blues List." > I believe this list has gotten stale and its members are too pigeon holed > into a very narrow interpretation of what the blues is and what belongs on > the list. > The blues out here in cyberspace needs some fresh blood and a shot in the arm > and I, Doyle Ertwine, am just the guy to accomplish this. > My list will cover all aspects of the blues and will not be narrow minded in > its interpretation of blues content. > I need to know if I can count on some of you true blues afficionados to > subscribe to this new list. I can probably have it up and running by no > later than February. Take care folks. > > -Doyle > Ertwine > ========================================================================= Date: Sun, 17 Dec 1995 08:28:02 GMT Reply-To: emdrprac@DIRECT.CA Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: emdrprac@DIRECT.CA Organization: Internet Direct Subject: Re: Jimmy Rogers Chess Recordings Comments: To: Steve.Levine@CORP.WRGRACE.COM Try "That's All Right" - Chess CD RED 16 - It has 24 good tracks - unfortunately, there is about 3/4ths of "Chicago Bound" on there too, but it's still a good compilation. - Roger Brant ========================================================================= Date: Sun, 17 Dec 1995 09:09:52 GMT Reply-To: emdrprac@DIRECT.CA Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: emdrprac@DIRECT.CA Organization: Internet Direct Subject: Re: CLUTTER Comments: To: mjc@DRM.COM How about saving your "humor" for some more appropriate forum?- There's enough clutter on this newsgroup. STICK TO THE BLUES, O.K.? ========================================================================= Date: Sun, 17 Dec 1995 03:53:10 -0600 Reply-To: Chris Pearson From: Chris Pearson Subject: Re: CLUTTER How about you kissing my ass until your face turns blue? OK? This is too much!! Sorry Ruth. Chris >How about saving your "humor" for some more appropriate forum?- There's >enough clutter on this newsgroup. STICK TO THE BLUES, O.K.? > > ========================================================================= Date: Sun, 17 Dec 1995 11:23:46 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: Photo, Drawing, Copyrights, Royalties Dick Waterman (Jinxblues@AOL.COM) wrote: : On December 13, the often abreviated but never duplicated LW wrote: : >>>If a drawing BASED on a copyrighted photo of a deceased >>>bluesman was : used : >>>on a T-shirt, would permission have to be obtained from the : >>>photgrapher : >>>and the bluesman's estate....I know it would be proper to do >>>so, but is : it : >>>legal to do it without permission from either of the >>>above....THANKS : It simply is a matter of a 'recognizable image.' If you take one of my : photographs of, let's say, Son House and screen that onto a shirt, and I can : bring the negative from which the original print was made into court, you are : in big trouble. : Since there are only two known images of Robert Johnson and they are both : protected by copyright by Steve LeVere, he thus can control all merchandising : of those images. : If you cannot identify the source of the original artwork, you must make a : 'good faith effort' to locate the photographer. After that, it is safer to : assign a royalty to some escrow account in case the original artist ever : comes forward. : Too confusing? Come talk to Jinx and I'll walk you through it . . . : Dick Waterman Of course, there are still grey areas. Five years ago I took a poster down from my wall and had some t-shirts printed up from it. The poster was from a 1968 gig promoted by a friend of mine I hadn't seen or talked to in over 20 years. The photo art used as the basis for the poster illustration was adapted from a photo taken by another friend I hadn't seen in nearly that long. And the image on the photo was Muddy Waters holding hands with Big Mama Thornton. When I took the poster in to my silkscreener, I changed the format somewhat to fit what I wanted the shirt to look like. That included a new border frame and an outline border of Muddy and Big Mama. Then I had part of the neg reversed so I could print it in white on a black shirt. In short, by the time I was done I had substantially altered the poster art, which had already altered the original photo. Was I obliged to pay royalties to anyone? Probably not. But here's how I handled it. I got in touch with my old photographer friend, told him what I was up to, and asked if he had any objections or wanted a royalty. He laughed, and said, "Just send me a shirt." Two years ago, I did a show in Berkeley with a bunch of the old '60s folk/blues crowd, including the 1968 concert promoter friend. When I handed him a couple t-shirts with his old poster (adapted by me) on them, he just about wet his pants in surprise. He didn't care about royalties (and he probably didn't have a claim, either). He was just elated that I had thought enough of him to do the shirts and bring him a few. Then I managed, through someone who frequents this list, to track down Big Mama Thornton's surviving sister. Even though I probably don't owe Big Mama's estate royalties, I write her sister a check whenever I've sold enough shirts to make it worth her while. And I pay at more than twice the standard royalty rate. It's only been my inability to track down Muddy's family that has prevented me from doing the same with them. (And no, I'm not about to hand a check over to some big corporate entity, who will then hand it to some corporate attorney, etc., so don't forward me any of that kind of information.) In my estimation, I might owe the photographer something. He no doubt sold or licensed his original photo to my promoter friend. But that photo image has evolved several times since then, so the lines of obligation are blurred. (I'm a photographer myself, so I do pay close attention to things like this.) As for the artists depicted, I don't really care what the legal eagles would say; as someone who idolized Big Mama and Muddy, I feel morally and spiritually obligated to them. I met and photographed them several times myself. They signed photos of mine for me. They were always kind to me, and taught me one hell of a lot about the Blues. Not all the royalties I could pay on a few t-shirts could ever repay what those two people have given me. In the final analysis, this is another chapter in the debate over intellectual property rights. The advent of computer imaging, scanning and easy access to previously restricted material has spawned a raging debate over who owns what. If I sell a photo to a magazine and someone who buys the magazine scans my image into his computer, then dinks with the image, do I still own the rights? Does he owe me money? Photo credit? If you download an image off the net, and use it to make money, do you owe royalties to the originator of the art? Big questions. There are as yet no definitive answers. ============================================================================ Jef Jaisun eljefe@netcom.com ============================================================================ -- ========================================================================= Date: Sun, 17 Dec 1995 11:40:46 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: What a load of Boogie... : *> This utilizes an entrainment : *> frequency of about 1.45hz (called a Tri-Thalamic : *> Entrainment Format) to create entrainment (getting in synch) : *> between the hypothalamus, pituitary and pineal centers of the : *> brain. This opens the doors to the rest of the body. But there : *> are many new fields of healing via music. Boogie Chillen : *> will touch mainly upon the less discussed ones; natural : *> healing through sound vs electronic created sounds for : *> healing. : *> : * : *Uh... to test this out, I sampled a 20-second section of "Whiskey And Women," : *and digitally slowed it to 1/200 of its original speed. I then piped it the : *resulting hour and ten minutes of 1.4hz to 1.6hz sound through the : subwoofer at : *about 80% output (approx. 250 watts RMS). Far from opening the doors of the : *rest of the body, it blew doors open all over my house and shit : started falling : *off shelves and the mantelpiece. One of my neighbors called to make sure the : *furnace hadn't let go. Uh, 1.45 hz??? Does anybody have any idea how loooooooooooooooooooong that wave would be? Is this the same frequency Scripps is using in the ocean off Half Moon Bay, CA to see if they can detect shifting temperatures in the water? Look, the standard longwave radio band is 100-150 KILOherz. The U.S. Navy's Jim Creek facility in Arlington, WA (state) broadcasts to submarines on 1.6 Khz. AC electricity is 50-60 hz. Nothing personal there, Captain Kilocycle, but if you posted your 1.45 hz stuff in rec.radio.broadcasting or in some electrical engineering room, you'd have your license to practice revoked. Of course, there are a lot of people out there who dial up their psychic friends for $3.99 a minute. Me, I'd rather be dancing. ============================================================================ Jef Jaisun eljefe@netcom.com ============================================================================ -- ========================================================================= Date: Sun, 17 Dec 1995 11:57:07 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: FACTUAL_JLH???? Sanjay Rajan (srn@FORMTEK.COM) wrote: : Hey fellow blues-lovers: : Boogienation wrote: : There are places in India, and other Eastern places, : that use his music to heal and to calm and open the Heart. : This isn't some abstract concept. The notes, vibrations, tones, : and rhythms found within his music have that capacity to : stimulate and effect physical and nonphysical bodily structures. : His music creates the ultimate geometry that is conducive : to healing and feeling and experiencing : >>>>>>>>> : Geee.....I love John Lee Hooker's music and agree about : their healing soothing effect.... : But his music being used in India for this..... : Gimme a break....will ya!! : I am originally from India and have travelled far and wide : within that big nation.... : Now, can u let me know which place in India does this.... : If not be a bit more factual..... I'm with Sanjay on this one. Cuz I've never been to India But I've been to local ashrams Some of those guys were just hustlin' Or maybe smokin' too much ganja But never lookin' To John Lee Hookin' For nirvana... I keep seeing that scene in Close Encounters flash before my eyes. Francois Truffaut finds thousands of people chanting "boom boom boom boom," and he sez, "D'ou est-ce que cette sonne arrive?" And all the chanters point towards Los Angeles. :) How-how-how-how. ============================================================================ Jef Jaisun eljefe@netcom.com ============================================================================ -- ========================================================================= Date: Sun, 17 Dec 1995 12:09:59 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: Spike Jones on the Box Michael Case (mjc@DRM.COM) wrote: : I can't stand the way he sings, but I love to hear him talk We've got Richard Pryor on the video. ============================================================================ Jef Jaisun eljefe@netcom.com ============================================================================ -- ========================================================================= Date: Sun, 17 Dec 1995 12:19:23 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: Eric Clapton Guitar String Doyle Ertwine (DoyleE847@AOL.COM) wrote: : To the person wanting to know what brand of string it is: : I can't tell, but it appears to be a pretty good quality string. Is it black or white? And how can you possibly be old enough to have "a nephew?" ============================================================================ Jef Jaisun eljefe@netcom.com ============================================================================ -- ========================================================================= Date: Sun, 17 Dec 1995 12:47:03 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Hooker Stamp from Tanzania Honest, you guys, this one's for real. A couple weeks ago I heard an ad for a Jerry Garcia stamp on KGO radio (San Francisco). Weird enough at three in the morning, but hey--it was a toll free number, so I called. they sent me a catalog. The catalog contains stamps issued by some places you've never heard of, countries (?) like Abkhazia and Eastdale Island, Scotland. This is way deep into boomer music nostalgia stuff at inflated prices (no doubt to keep the economies of these places running).Lots of stamps with the Beatles, John Lennon, Jimi, Garcia, Elvis... and mass Woodstock stuff issued by Guyana!!! (What, no Jonestown Kool-Aid Test stamps?) But here's the pertinent info for those of you philatelically absorbed: "John Lee Hooker from Tanzania... One Oversized (doesn't say how big that is) JLH stamp...$9.00 same, cancelled First day of issue...............9.00" The stamp is illustrated in black and white, shows Hooker standing in some kind of scenic Tanzanian forest (?). No guitar. Carries the copyright "1995 John Lee Hooker" in the lower corner, and is apparently part of a licensed set conceived by CarlosSantana (so it says), who even has his own stamp(!). What can I tell ya? The company is called Westminster Stamp Gallery, they're in Foxboro, MA, and they give the following info: e-mail: stamps@westmin.win.net http://www.webcasting.com/stamps 1-800-966-2544 Needless to say, I have nothing to do with this company or this concept. I just wanna know where the f***ing B.B. King stamp is! ============================================================================ Jef Jaisun eljefe@netcom.com ============================================================================ -- ========================================================================= Date: Sun, 17 Dec 1995 09:24:52 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Blues Date - December 17th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BEVILLE, ROSS H.(father of FM stereo radiob. 1910-1217, BETHESDA, MD BOOKER, JAMES CARROLL III (p) b. 1939-1217, NEW ORLEANS, LA BOOKER, WALTER M. JR. (b) b. 1933-1217, PRAIRIE VIEW, TX BURGH, STEVE (g/prod) b. 1950-1217, TRENTON, NJ BUTTERFIELD, PAUL (hca) b. 1942-1217, CHICAGO, IL GEARING, FRANCIS YVONNE (lead/GLORIES) b. 1944-1217, DAYTONA BEACH, FL HUTCHINSON, WANDA (of THE EMOTIONS) b. 1951-1217, CHICAGO, IL JONES, LITTLE SONNY [JOHNNY JONES] (v) d. 1989-1217, NEW ORLEANS, LA 58 KENDRICKS, EDDIE (lead/THE TEMPTATIONS) b. 1939-1217, UNION SPRINGS, AL MARTIN, TOM (founder : GAC Agency) d. 1962-1217, NEW YORK CITY, NY 58 NEVILLE, ART LANON JR. (p/METERS) b. 1937-1217, NEW ORLEANS, LA OLIVER, MELVIN "SY" (arr/tbn/LUNCEFORD) b. 1910-1217, BATTLE CREEK, MI RED, SONNY [SYLVESTER KYNER] (asax) b. 1932-1217, DETROIT, MI SISSLE, NOBLE LEE (songw/EUBIE BLAKE) d. 1975-1217, TAMPA, FL 86 TAYLOR, THEODORE "HOUND DOG" (g) d. 1975-1217, CHICAGO, IL 60 TERRY, COOPER [VERL COOPER JR.] (hca) d. 1993-1217, ANTIOCH, CA 44 TOWNSEND, IRVING J. (prod/COLUMBIA) d. 1981-1217, SANTA YNEZ, CA 61 WILLIAMS, JOE BIG [JOE LEE WILLIAMS] (g) d. 1982-1217, MACON, GA 79 ------------------------------------------------------------------------------- ========================================================================= Date: Sun, 17 Dec 1995 08:45:23 -0500 Reply-To: Neil Cassidy From: Neil Cassidy Subject: Muddy Waters' London sessions Comments to:Denver Bales The London Muddy Waters Sessions recorded 12/4,7,&8/71 at IBC Studios, London Muddy-vocals and slide Sam Longhorn- Gtr Rory gallagher-gtr Carey Bell Harrington- harmonica Rick Grech-bass Steve Winwood-piano or organ Georgie Fortune (Georgie Fame)-Piano or organ Mitch Mitchell-drums Herbie Lovell-drums Rosetta Hightower-vocal Ernie Royal-tpt Joe Newman-tpt Garnett Brown-tbn Seldon (sic?) Powell-tenor sax produced by Ian Green and Esmond Edwards mixed at Electric ladyland, NY,NY originally released as Chess CH-60013 and later on cd by MCA as CHD-9298 the songs are: Blind Man Blues Key to the Highway Young Fashioned Ways I'm Gonna Move to the Outskirts of town Who's Gonna Be Your Sweet Man When I'm Gone? Walkin' Blues I'm Ready Sad Sad DAy I Don't Know Why oops that's Sam Lawhorn on gtr ========================================================================= Date: Sun, 17 Dec 1995 10:13:13 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: That T.I.A. thingy I woke up to no less than a dozen private message telling me that TIA stood for "Thanks In Advance" (I say that so the person who wrote me and said they also didn't know, now knows.) My thanks to all of you. The most entertaining reply came from Chris Pearson and here it is: > The ancients actually started using it years ago. But the true > meaning has been lost until now. Many people erroneously use it in > a closing line after having asked a favor or for information > thinking that it means Thanks In Advance. More knowledgable people > immediately recognize it as the capitalized spelling of aunt in > Spanish, or the acronym for Tango Is Awesome. So there you have it, > feel free to spread this info liberally. And to the person who will no doubt send me a flame for posting this instead of sticking to the Blues.... TIA P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 17 Dec 1995 11:43:10 -0500 Reply-To: Aloock49@AOL.COM From: Aloock49@AOL.COM Subject: business opportunity Comments: To: cedar-info@cedar.univie.ac.at, rdinfo@matimop.org.il, gen@stubbs.ucop.edu, adorf@eso.org, Laura@editorial.com, hhh@mit.edu, webmaster@sun.com, habran@latino.sscnet.ucla.ed, ngls@igc.apc.org, efarwell@igc.apc.org, gst@gnosys.svle.ma.us, leavitt@ubvmsb.cc.buffalo.edu, gopher@tamu.edu, akazawa@who.ch, ednet@nic.umass.edu, jack@12net.org, jmurra@psg.com, info@wwire.net, jwisdom@gnu.ai.mit.edu, occ@msen.com, cards@tanstaafl.uchicago.edu, gunther.maier@wu-wien.ac.at, mcgee@epsilon.eecs.nwu.edu, info@sura.net, virus-l@ibml.cc.lehigh.edu, lindner@boombox.mocro.umn.edu, //hierarchy-group-name@cs.utexas.edu, aacis-l@bgu.edu, ABC@cwi.nl, postmaster@english-server.hss.cmu, marrm@clemson.clemson.edu, accri-l@uabdpo.dpo.uab.edu, ced@qucdn.queensu.ca, act-up-request@world.std.com, active-l@mizzou1.missouri.edu, amend2-info@cs.colorado.edu, ar-news@think.com, ar-talk@think.com, freedom@idbsu.idbsu.edu, afallis@silver.sdsmt.edu, qn@queernet.org, ADA-Law@vm1.nodak.edu, Ada-sw@wsmr-simtel20.army.mil, add-parents@mv.mv.com, adlted-l%ureginal.BITNET@pucc.princeton.edu, adoptees@ucsd.edu, adoption@think.com, adv-eli@loa.disca.utfsm.cl, adv-elo@loa.disca.itfsm.cl, apc-open@compu.com --PART.BOUNDARY.0.487.emout04.mail.aol.com.819218589 Content-ID: <0_487_819218589@emout04.mail.aol.com.48850> Content-type: text/plain EARN $ 3,000.-- PER WEEK and more from your home with a computer, modem, telefon and/or fax. 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Nearly 85% of your customers speak and write English. Because we can't control your business, you will get the full margin. We give you the appropriate tools. To purchase our program you have to invest $ 30.-- upfront plus $ 5,-- for shipping and handling. That's about 1% of the profit you can make on your first car deal. All following profits are yours. Payment: Cash or money order Send $ 35;-- in cash or money order and your address to: EXPAN Corporation l704 Westland Rd Cheyenne, WY 82001 U.S.A. Everybody has a chance in his life; the question is who takes it. Ask yourself! Would you buy a new car for about 70% the price? If your answer is yes-become our partner and jump in a fortune! --PART.BOUNDARY.0.487.emout04.mail.aol.com.819218589 Content-ID: <0_487_819218589@emout04.mail.aol.com.48851> Content-type: text/plain; name="BUS.TXT" Content-Transfer-Encoding: quoted-printable =0D =0D EARN $ 3,000.-- PER WEEK =0D and more from your home with a computer, modem, telefon and/or fax. Start part-time and still retain in the security of your present position= =2E This proven turnkey business an individual or a couple can run. If you purchase our business program, including complete ads and the addresses of the main and most successful ad carriers, you will join a l00 million people-market in car-selling at = a 70% price level. Make the plunge and we link you to our know how! You obtain the full information about the procedures for reaching potential customers. Learn how to built= a lifetime income. There will always be a huge price difference for new cars between the US = and overseas due to a different standard of living. We give you the opportuni= ty to take your share of the european market. You start where the price gap is biggest and the money is strongest-in Germany. The programm is in plain English and your ad's are in german languare. If= there is any need of translation we will provide it with $ 3,-- per page, though, ther= e's almost no requirement. Nearly 85% of your customers speak and write English. =0D Because we can't control your business, you will get the full margin. We = give you the appropriate tools. To purchase our program you have to invest $ 30.-- upf= ront plus $ 5,-- for shipping and handling. =0D That's about 1% of the profit you can make on your first car deal. All following profits are yours. =0D Payment: Cash or money order =0D Send $ 35;-- in cash or money order and your address to: = EXPAN Corporation l704 Westland Rd Cheyenne, WY 82001 U.S.A. =0D Everybody has a chance in his life; the question is who takes it. Ask yourself! Would you buy a new car for about 70% the price? If your answer is yes-become our partner and jump in a fortune! --PART.BOUNDARY.0.487.emout04.mail.aol.com.819218589-- ========================================================================= Date: Sun, 17 Dec 1995 09:44:37 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Screaming Blue Messiahs OK, this is almost Blues related but I'm trying to track down a CD of the Screaming Blue Messiah's last album, "Totally Religious". If anyone can help please let me know. The SBM's were an English band that was popular in the late eighties. They were a volatile mixuture of Blues, Rockabilly, Country, 50's rock, Punk and American car culture. The SBM's are not for the faint hearted.They were loud and raw but undeniably rooted in the blues and R&B. So if anyone can help please let me know. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sun, 17 Dec 1995 14:52:22 -0500 Reply-To: "Andrew C. Hornback" From: "Andrew C. Hornback" Subject: Lightning Charlie and The Upsetters I was just wondering if anyone out there has heard of Lightning Charlie and the Upsetters... I've got one of their albums, off of Hip Shake Records (I believe it's their own label, but I'm not sure), and it's real good. It was recorded in 94, at Hip Shake in High Point, NC. I'm from Johnson City, TN (Home of East Tennessee State Univ.), and I was just wonderinf if anyone's heard of them outside of this area... their style isn't exactly what I would consider classic blues, but it's not sell-out, make a fast buck blues either... --- Andy ----------------------------------------------------------------- The Blue Max - 1988 Dodge Shadow - 112,000+ miles Project: Blackbird - 1971 Plymouth RoadRunner - 440+ ci of raw power -------------------------------------------------------------------------- Dallas Cowboys = 10-4 | San Francisco 49ers = 10-4 Don't even start with me about that... ========================================================================= Date: Sun, 17 Dec 1995 12:53:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: New Blues List!! >>On Sat, 16 Dec 1995, Doyle Ertwine wrote: >> I believe this list has gotten stale and its members are too pigeon holed >> into a very narrow interpretation of what the blues is and what belongs on >> the list. Narrow!? Narrow!!?? -- I thought this list was all over the map!! It'll be intersting to see what a "broader" interpretation of the blues might be. -Bonnie (who tries to be nice...) ========================================================================= Date: Sun, 17 Dec 1995 14:33:08 -0500 Reply-To: JIMBLUE1@AOL.COM From: Jim Armstrong Subject: An Apology to Mr. Waterman Comments: To: Jinxblues@aol.com In a message dated 95-12-16 21:52:23 EST, you write: << Oh, great . ..so now Dick Waterman has become the common denominator of this list and the who/what factor in determing "Bozo." I have never said that I was smarter, more intelligent or particlarly observant. I have just been around for more years than most of you and had the opportunity to be 'up close and personal' with some very talented people. >> I didn't mean to put you in the middle of anything. I wasn't knocking you at all, only pointing out the, dare I say, elitism of some on this list. I love reading stories of first hand contacts with blues men, especially the older men who I have never and probably will never get to meet. It makes me feel as if I know a little more about them. A few months ago I read an column written by Bob Margolin in which he tells of Muddy Waters meeting Robert Johnson's sister, who shows him pictures of RJ, which were not in general circulation at the time, and Muddy's response to the meeting. It was a wonderful story, and painted a beautiful picture of Muddy Waters that would not be otherwise seen by the rest of us. For me, those are treasured slices of the life of a great bluesman. So Dick, please accept my apology for anything I said that disturbed you. I for one would like to see more postings from you and Mr. Shurman, and anyone else with something to share with folks like me, who do appriciate your experience and graciousness. Jim Armstrong ========================================================================= Date: Sun, 17 Dec 1995 14:45:03 -0500 Reply-To: JIMBLUE1@AOL.COM From: Jim Armstrong Subject: Blues Cruise I'm not sure this got posted before. If it did, sorry about repeating myself. Does anyone have any info on the Blues Cruises going out this winter? If so, could you let me know? Thanks Jim Armstrong ========================================================================= Date: Sun, 17 Dec 1995 14:34:35 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: Re: PHOTO, DRAWING, COPYRIGHT Following Jef Jaison's nice post on this issue I'd like to add another story of "doing the right thing". A friend of mine in Austin, Bill Arthur Jones, is almost as big a Freddie King freak as I am. Several years ago, he decided he wanted to have a t-shirt of the famous Jim Franklin painting of Freddie that used to hang in the Armadillo World Headquarters. The painting, at that time, was hanging in Antone's Record Store in Austin, so it was easily available. He searched for and found the original artist and arranged royalty payments. He contacted the Freddie King estate and arranged royalty payments with them as well. Only then did he go down to the record store, photograph the painting, and start the silk screening process. In the end he ended up with a beautiful shirt, a clear conscience, no legal problems, and ended up making several new friends in the process. A few months ago, blues-l'er Grahm Hynes came through DFW on a visit from Ireland. One of his favorite Austin purchases was one of Bill's Freddie shirts, which are now available in the Antone's Record Store. I guess the moral of the story is just do what you know is right and everything will work out fine. BTW, the Big Mama and Muddy T-shirt that Jef was talking about is really fine! Don O. ========================================================================= Date: Sun, 17 Dec 1995 21:46:17 +0100 Reply-To: Peter Gallagher From: Peter Gallagher Subject: Re: Muddy Waters Question Comments: To: MrBales@AOL.COM In-Reply-To: <951216203653_92309769@mail02.mail.aol.com> from "Denver Bales" at Dec 16, 95 08:36:54 pm The general opinion is that it is FAR from anything like his best. Even my hero the late great Rory Gallagher guested on it and I still found it a dull CD. Give that one a miss - and I'm a Muddy, fan, believe me. regards, PeterG > Can anyone tell me anything about the CD "The London Muddy Waters Sessions." > > When was it recorded and who played on it? Was it a good project? > Thanks. > -Denver Bales > > -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Sat, 16 Dec 1995 17:04:04 -0500 Reply-To: "J.F. Bronowich" From: "J.F. Bronowich" Subject: EC's Guitar String - No Blues Content -- [ From: J.F. Bronowich * EMC.Ver #2.5.02 ] -- Stew Crossen Wrote >>>>I know a guy whose sister works with a woman whose brother knows a guy who dated a girl whose uncle played piano in a band where the drummer once bumped into a singer who said she knew a guy who picked up a cigarette butt that Eric Clapton threw on the ground outside of the New Haven Coliseum back in 1968! Imagine what that's worth today?<<<<< A LOT! Because that's a VINTAGE cigarette butt. Marlboro's have never been the same since CBS took over! I'll up the bidding to a third cent. =Joe= ========================================================================= Date: Mon, 18 Dec 1995 19:12:29 GMT Reply-To: Andrew Gregg From: Andrew Gregg Organization: Department of Primary Industry Subject: Re: Buddy Guy & Freebird-IMAPARCO In article <4aoeg0$4q4@legba.synergy.net>, Craig Edmundson wrote: >L W wrote: > >>LW 'INMarrogantpuristassholerudecluelessO' > >No offense, but I think you left out the "H".... > >------------------------------ >Craig L. Edmundson >cedmundson@nfinity.nfinity.com Craig does have a point here...........but there is an 'H' in asshole! ********************************************************************** * Andrew Gregg * * * Dept of Primary * I see angels on Ariels * * Industry * in leather & chrome * * ooOO00OOoo * Swooping down from heaven * * Email : * to carry me home * * mpagregg@aries.dpi.tas.gov.au * * * * - Richard Thompson * ********************************************************************** ========================================================================= Date: Sun, 17 Dec 1995 17:41:38 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Otis Span, Net etiquette, libraries, etc. Phew, am I ever glad all this Boogie Nation stuff came up! - Richard the Elder ========================================================================= Date: Sun, 17 Dec 1995 18:34:12 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Re: Leigh l'il Queen I attended a Christmas party last night, for which the music was provided by Leigh "Little Queenie" Harris. She was backed by an all acoustic six-piece band. I had the opportunity to talk to Leigh between sets. She told me that her previous albums are no longer available in record stores, but she has recorded a new album that should be out soon (she didn't say when) on the Gert Town label. The band that was backing her for the party will also be on the recording along with some of her favorite local musicians. Leigh still plays with a variety of musicians. She said that she also sings with a choir. I asked Leigh in which movie she had a part (I had forgotten seeing her in a movie until a blues-ler mentioned it). In fact she was in two movies (both John Sayles films): PASSION FISH and EIGHT MEN OUT. Bill Morgan ========================================================================= Date: Sun, 17 Dec 1995 19:22:35 -0500 Reply-To: DBHertzog From: DBHertzog Organization: America Online, Inc. (1-800-827-6364) Subject: Re: EC's Guitar String - No Blues Content Comments: To: bit-listserv-blues-l@uunet.uu.net I'm maxed out at 4 cents. ========================================================================= Date: Sun, 17 Dec 1995 19:00:45 -0600 Reply-To: David Silberberg From: David Silberberg Subject: FAQ - Administrative Portion THE BLUES-L FAQ LIST - ADMINISTRATIVE PORTION List Owner - Alan Rollins (blzlynx@nexus.polaris.net) Compiled by David Silberberg (davidis@interaccess.com Last modified December 15, 1995 CONTENTS: 1. What is this FAQ List 2. What is Blues-L 3. How to Receive Blues-L 4. To Subscribe, Unsubscribe, and Other Listserv Commands 5. The Newsgroup Mirror 1. What is this FAQ List? This is a list of Frequently Asked Questions to the Blues-L mailing list and newsgroup mirror. The purpose of this FAQ is to inform newcomers to our community, and to refresh the memories of long-time members, about various aspects of Blues-L, both in terms of administration (subscription information, listserv commands, guidelines, etc.) and content (controversies, definitions, etc.) Please read this FAQ before posting any messages to the newsgroup or mail list. 2. What is Blues-L? Blues-L is a mail list with a newsgroup mirror devoted to the discussion of the Blues in all of its forms - from predecessors of blues music to contemporary performers. Discussions have been very wide-ranging, branching into a variety of topics, but always should include a definite, direct connection to the Blues. Subscribers and contributors include professional musicians, producers, radio programmers, and authors as well as average, everyday lovers of the music. The mail list was created by Jake Haller at Brown University. The current list owner is Alan Rollins. If you should have any technical problems with receiving or posting to the list, and you require human intervention, send a message to blues-l-request@brownvm.brown.edu. Please explain your problem clearly, including the steps you have already taken to solve the problem. Currently, over 1300 people (from countries all over the world) subscribe to the mail list, and countless others read the list through the newsgroup mirror. 3. How to receive Blues-L Blues-L can be read, and posted to, either by subscribing to the mail list (thus receiving the messages as e-mail) or by reading the newsgroup. Either way, you will be receiving all of the messages, and have the ability to post your responses / questions / opinions. You should choose your method based on your internet connection: some people find it easier to read e-mail messages, some find it easier to read newsgroups. This is a high-volume group: usually, 50 to 100 messages are posted each day. The choice is yours, but we strongly urge you to subscribe to the mail list: if you wish to receive the list through the newsgroup, you can set the mail list to NOMAIL (instructions are below). At some point, the owner may take the list "private", meaning that only subscribers (including NOMAIL) subscribers) to the mail list will be able to post. To post a message to the list through e-mail, send the message to blues-l@brownvm.brown.edu This is the list address. 4. To subscribe, unsubscribe, and other listserv commands The following commands should be sent to: listserv@brownvm.brown.edu. DO NOT SEND THEM TO THE LIST ADDRESS, which would cause you request to be sent to the entire list and newsgroup without causing the listserv to act on your command. The subject line should be blank, and the message content should be as follows: TO SUBSCRIBE: SUBSCRIBE BLUES-L TO UNSUBSCRIBE: SIGNOFF BLUES-L TO SET YOUR RECEIVING METHODS: The default method is to receive individual e-mail messages for each message sent to the list. The digest format sends you one e-mail message each day containing all of the messages sent to the list since the last day's digest. This is a long document. To set the list to digest format, send the command to listserv@brownvm.brown.edu, no subject, message: SET BLUES-L dig The index format sends you a daily index of messages sent to the list. The index contains the poster of the message, the subject line, and the size of the message. To set the list to index, send the command to listserv@brownvm.brown.edu, no subject, message: SET BLUES-L index To retrieve a particular message that you wish to read, you will have send send a message to blues-l-request@brownvm.brown.edu. When you set this option, the listserv will send you detailed instructions on how to use it. TO TEMPORARILY STOP MAIL FROM THE LIST FOR A FEW DAYS, WITHOUT UNSUBSCRIBING, or to subscribe to the list and read the newsgroup instead, send a message to listserv@brownvm.brown.edu, no subject, with the message: SET BLUES-L nomail To resume receiving mail, send the message: SET BLUES-L mail Please remember, any subscription request should be sent to listserv@brownvm.brown.edu. You will receive a complete list of listserv commands by sending a message to the listserv, with no subject, and the message: HELP. 5. The Newsgroup Due to the high volume on this list, and the fact that many subscribers prefer to receive newsgroups rather than e-mail, David Pimmel led the way in initiating a Blues-L Newsgroup. This newsgroup mirrors the activities of the Blues-L mail list. The address of the newsgroup is: bit.listserv.blues-l If you are a newsgroup reader, you have all of the privileges and responsibilities of mail-list subscribers: you get all messages, and may post to the newsgroup. All of your messages will be read by list subscribers and newsgroup readers. If you are posting through a newsreader, there is a chance that your message will not appear in the group. This is most likely due to an incorrect setting for the moderator in the news software. The correct address is blues-l@brownvm.brown.edu. Check with your local system administrator if this seems to be a problem. In the meantime, you can always contribute via direct e-mail to the above address. ========================================================================= Date: Sun, 17 Dec 1995 19:00:52 -0600 Reply-To: David Silberberg From: David Silberberg Subject: FAQ - Etiquette Portion THE BLUES-L FAQ ETIQUETTE AND GUIDELINES PORTION List Owner - Alan Rollins (blzlynx@nexus.polaris.net) Compiled by David Silberberg (davidis@davidis@interaccess.com) Last Modified October 12, 1995 Any additions, suggestions, or corrections should be mailed to David Silberberg (davidis@interaccess.com) CONTENTS: 1. General Etiquette 2. Announcing Personal Appearances 3. Announcing National Act Appearances 4. Selling Stuff on Blues-L 5. Appropriate Blues-L Topics This is the etiquette and guidelines portion of the Blues-L FAQ. PLEASE READ IT BEFORE POSTING ANY MESSAGE TO THE LIST / NEWSGROUP. Blues-L is not censored in any way. All messages will be posted to the list. But this is a list devoted to discussion of the blues, and this is a community of blues-lovers and people interested in the form. Over 750 people, from all over the world, subscribe to the mail list; countless others read the newsgroup without subscribing. We you will follow these simple guidelines, so that Blues-L will be a happier, friendlier place to be. 1. General Etiquette A. Remember that PEOPLE will be reading your post. Not everyone will agree with your views, but they are people with valid opinions. Base your arguments on what has been said, not on who you think the sender is. Don't get personal - let your argument speak for itself. B. Mr. Pimmel has structured the list so that your mail readers / newsgroup readers automatic "reply" feature will address your response to the individual poster of the message. This is to remind us to think whether or not we wish to respond to the entire list (certainly completely appropriate if you think you comments will interest the entire list), or to the individual poster of the message you are responding to. C. Avoid posting "I agree" or "Great Post" or "Me Too" messages to the entire list. This is a waste of resources. If you wish to send this kind of message, please send it to the individual you are complementing. D. Avoid posting messages without any useful contents. This includes messages containing only snide remarks to a previous poster, etc. It also includes message where you say "Sorry, no blues content". If there is no blues content, do not send the message to the list. E. Commercial messages should not be posted to the list. (However, see below for guidelines concerning personal appearances by musicians who are members of the blues-l community.) F. If a topic (or musician, etc.) has been extensively discussed recently, hold off on bringing it (him / her) up again. Let another topic get some time on the list. G. Remember the distinction between posting to the list (where everyone sees it) and posting to an individual privately. Think about the universality of your message: if you think many (if not most) people on the list would find your message interesting and informative, please post it to the list. If your message would be of interest to only one or two people, send it to them privately. H. Please pay attention to your "subject line": make sure it accurately reflects the contents of your message. If you have changed the subject during your response to a previous post, please change your subject line. I. When responding to a previous post, it is acceptable - and often necessary - to quote a few lines from that previous post, to remind readers of what you are referring to. But quote only as much as is necessary to make clear what you are responding to. J. Above all, use common sense and consider the feelings of others. Treat others as you would wish them to treat you. We know that sounds like church - but it is good advice. 2. ANNOUNCING PERSONAL APPEARANCES It is appropriate to announce your personal appearances on the list, with certain restrictions. Many people on our list are interesting in seeing other members perform. However, frequent (weekly?) announcements that you will be playing in such and such places is going too far. Please remember, this is a global list: most people will not be able to swing by the corner pub for your Friday night set even if they want to. With that in mind: A. Perhaps you could post a message bi-monthly, introducing yourself, the style of music you play, and the general geographic area you play in. Request private responses from people who would be interesting in receiving your "gig list". These would most likely be people who would realistically be able to attend your performances, and would be the people you would most like to reach with your message. B. E-mail the information only to those people. C. If your situation changes, and you get some bookings in a new location, then please post this information to the entire list. 3. ANNOUNCING NATIONAL ACT APPEARANCES Announcing "national touring acts" is appropriate to the list, because it gives readers a way of seeing who is on the road and who will be appearing in their area. Of course, the list members would be interested in your attending such shows, and reviewing them on the list. 4. SELLING STUFF ON THE LIST Do not use the list to sell CD's, tapes, or other merchandise for profit. Doing so may be illegal, so DO NOT DO IT. 5. APPROPRIATE BLUES-L TOPICS This is an uncensored list. All messages will be posted to the list, so please adhere to these simple guidelines: Any topic relating to the blues - the music, performers, books, cultural aspects, history, technical music discussions, reviews, opinions, facts - if it relates to the blues, it is appropriate for Blues-L. This is a terrific list: many members have some kind of professional relationship to the music - musicians, producers, authors, radio programmers, etc. Someone here can answer almost any question you may have - and any information you may wish to transmit will be gratefully accepted by our community. But please - make sure your facts, opinions, and other comments relate to the blues. ========================================================================= Date: Sun, 17 Dec 1995 20:45:06 -0500 Reply-To: BAJammin From: BAJammin Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Tunings Comments: To: bit-listserv-blues-l@uunet.uu.net In article <46uq9s$fe9@omni.voicenet.com>, Ari Eisinger writes: >> More interesting, what is called Open D really is the strings >>tuned to an E chord, and then lowered a whole note so the tonic is >>then D. That is, Open D is really a down-tuned E chord. >> >> That is, from bottom up: >> >>Standard: E A D G B E >>Fingered E: E B E G# B E >>Drop all one note: D A D F# A D >> >> If one wanted music 'theory' to be logical, one would expect that >>open D tuning would be tuned to a D chord, but that would be asking >>for too much. > >A guitar that is in open D tuning _is_ tuned to a D chord. There is no >point to first tuning to an E chord and then tuning all the strings a >whole step down as you've described. This accomplishes the amazing feat >of adjusting nine strings on a six-string guitar (first three, then six)! >It is much easier just to tune the first, second, third and sixth strings >down to the notes you want, thus adjusting only four strings. Yes, it is tuned to 'a' D chord. And theory is indeed logical. If the guitar were tuned to 'the' D chord (F# A D A D F#), as I think Laurie meant, then, the guitar would be open to a whole new set of licks. |8^) Bill Adams ========================================================================= Date: Mon, 18 Dec 1995 01:55:56 GMT Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: Otis Span, Net etiquette, libraries, etc. On Sun, 17 Dec 1995 17:41:38 -0500, you wrote: >Phew, am I ever glad all this Boogie Nation stuff came up! - Richard the Elder Actually, I was thinking all along that it was a Richard-and-Richard production! *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Mon, 18 Dec 1995 02:35:27 GMT Reply-To: emdrprac@DIRECT.CA From: emdrprac@DIRECT.CA Organization: Internet Direct Subject: Re: CLUTTER\Etiquette Portion Comments: To: bit-listserv-blues-l@uunet.uu.net I only posted my comment on CLUTTER to respond to the growing # of "goofy" (and totally NON-BLUES RELATED) posts that we are seeing on this group. Read Section "D" of the Etiquette FAQ to get my meaning. ========================================================================= Date: Sun, 17 Dec 1995 22:01:57 -0500 Reply-To: Msbeale From: Msbeale Organization: America Online, Inc. (1-800-827-6364) Subject: Re: A.King - Stax Comments: To: bit-listserv-blues-l@uunet.uu.net >I just saw a new Albert King 'Best-Of' on Stax. Has anyone heard this. >I've been waiting to get the Ultimate Colection on Rhino but the Stax >material looks good. Would it cover most of his best material ? >Thanks, >Tony. I haven't got the Stax "Best of" stuff yet...actually haven't been in a record store to check out ANYTHING lately. If it's "The Best of Albert King" #60005, it's been out for awhile. I'll research the story about Albert driving a Caddilac through the front doors of Stax after an apparent dispute, and post it to the list. That'll be an interesting thread. Doesn't surprise me that all these reissues are coming out now that Albert's gone. Hard to believe it will have been 3 years on December 21. Wonder who's getting the royalty checks. :( But, back to the original post... I do have "The Ultimate Collection" on Rhino. And despite my feelings about where the money's going, I highly recommend it. Pretty good cross section of Albert's best recordings and it spans many different phases of his career. I believe that "Lonsome" was one of Albert's first records, or at least one of the first that sold in any numbers. He told me it sold about 150,000 copies (pretty good for a blues record in the late 50's) and that he made a whopping $14. Now, before anybody flames me for something they might know, that I don't....let me just say in my defense that I am simply repeating what Albert King told me. And sometimes Albert could bend the truth, like he bent a string. No disrepect intended there either. One of my favorite tunes in the set is C.O.D., which I don't think is available on any other CD. I think it really kicks,and I especially love the horns on it. The set also contains "The Very Thought of You" which really showcases Albert's ability to absolutely *KILL* a ballad. In addition to being a great guitarist, Albert had a voice that was way under-rated, IMHO. All together the set contains 24 tunes, but the real jewel is the 50 page booklet that is a compilation by Bill Greensmith, who did an OUTSTANDING job, again IMHO. Contains some great photos, too. I think this 2 record set is a great addition to any Albert King fan's collection. I also think that Rhino should send me a sales commission check. ;) ms beale st. "I ain't lyin'!" -Albert King ========================================================================= Date: Sun, 17 Dec 1995 19:34:56 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: The Billboard Chart saga Why have I not posted this week's Billboard Blues chart as usual? Because there's been some kind of distribution snafu here in Hollywood (of all places for it to go haywire!) and *none* of the local newsstands ever got their delivery of the magazine on Satrday, nor did it turn up today (Sunday). Tomorrow I'll call the magazine's office, sort it out, and perhaps get someone there to fax me the blues chart so I can post it. Sorry about the delay, but it ain't my fault. (Sidebar: that was the name of a bluegrass instrumental I heard some years ago: "The San Andreas Quickstep, or, It Ain't My Fault".) Faultlessly yours , Mary Katherine ========================================================================= Date: Sun, 17 Dec 1995 23:54:03 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: BOOGIE NATION OUTTA HERE! - Bye Comments: To: Boogie Nation In-Reply-To: <199512150817.AAA21327@iceland.it.earthlink.net> Senor Boojie wrote: as I said before we work right out of his house! We share the same bathrooms. ________^^^^^^^^^^^^^^^^^^^^^^^^^^^^__________________________________________ A true sign of a man's stature! Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Mon, 18 Dec 1995 00:00:45 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: Legalities? (no blues delete at will) Comments: To: "P.W. Fenton" In-Reply-To: <199512151417.JAA42977@tequesta.gate.net> Mr. Fenton, disregarded the current trend and actually posted something thoughtful, saying: Where does anyone get the idea that selling is illegal? _____________________________________________________________________________ It isn't, obviously, illegal to sell on net. However, I've been studying law and the internet for about 2years, and I have come to one (yes, only one) absolute conclusion. The culture of the net hates capitalism, despite the fact that in many circumstances it's captialism that has given them the net. There's no logic. If anyone can explain this, let me know. Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Mon, 18 Dec 1995 00:07:08 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: Get Muddy A Band Comments: To: L W In-Reply-To: Guitar: Rick Estrin and John Mooney Bass: Greg Rzab Harp: Rod Piazza or Charlie Musslewhite Drums: ??? Anything Else: David Hidalgo (From Los Lobos) Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Mon, 18 Dec 1995 00:11:06 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: Boogie Nation, Joe Louis Walker Comments: To: KCARLSON@WHQPC4.ETN.COM In-Reply-To: <0000iskscoye.0000ecywsauo@vines.etn.com> .what's the next Joe Louis Walker I should get? ____________________________________________________________________________ I'd recomend JLW or either of the Live at Slim's albums. I don't think the man has made a bad album yet, so you should be safe with whatever you get. Rob (quickly becoming the JLW booster club) Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Mon, 18 Dec 1995 00:24:54 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: New Blues List!! Comments: To: Doyle Ertwine In-Reply-To: <951216164658_92103561@emout06.mail.aol.com> Ummm... OK Mr. Ertwine. Let me know, and I'll take my Edsel to school after work at the USFL. I'll crack open a "New Coke", turn on Ishtar, power up my Tandy computer and sign up. Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Mon, 18 Dec 1995 07:48:33 GMT Reply-To: caradoc@neta.com From: John Groseclose Organization: SPFA (Save Porn for Americans) Subject: FREE SEX PICTURES & VIDEOS Comments: To: bit-listserv-blues-l@uunet.uu.net Thousands of the most sexually explicit, erotic photos and AVI files ever digitized, absolutely free, culled from the worlds sexiest BBS's. Join my free mailing list for a complete index of each available file, and where to download it from. Simply send "request list" message to: caradoc@neta.com. ========================================================================= Date: Mon, 18 Dec 1995 06:57:29 GMT Reply-To: "John P. Willis" From: "John P. Willis" Organization: State University of New York At Buffalo, NY (USA) Subject: Re: New Blues List!! In a previous article, DoyleE847@AOL.COM (Doyle Ertwine) says: >I am going to be putting together a new Blues mailing list. It will be >called the "Doyle Ertwine Nothin' But The Blues List." >I believe this list has gotten stale and its members are too pigeon holed well, you will not be tge first who has gotten pissed off and then attempted to start a newlist. Maybe, you should know that it will be very difficult to do . you certainly cannot do it as a newsgroup in usenet. It would porbably be seen as a squandering of good bandwidth. Do you expect us to take you seriously about the Ec guitar stgring?? You must be a green kid. I am finding that many problerms here are due to age stratification on the list. It is a generational thing. Now I CANNOT get off for this guitar string. Some folks don't have the collectors' or antiquarian instinct. John Willis -- ========================================================================= Date: Mon, 18 Dec 1995 02:13:05 -0500 Reply-To: SokolowMus@AOL.COM From: Fred Sokolow Subject: Re: Cat Music Comments: To: PARRISHR@vitro.com Cats are referred to in Little Red Rooster and I Aint Superstitious, and of course lots of rockabilly tunes have cats in them but referring to people as cats...except Stray Cat Strut by the Stray Cats which really is about a cat...there was also a Stones tune I think called Stray Cat Blues, in the 60s...Fred S. ========================================================================= Date: Mon, 18 Dec 1995 02:22:35 -0500 Reply-To: SokolowMus@AOL.COM From: Fred Sokolow Subject: Re: Eric Claptons Guitar String Comments: To: DoyleE847@aol.com The fact that someone would sell someone else's garbage is bizarre but the idea that someone would buy it (and the hero worship that implies) is scarey to me. Anyone else feel this way? Fred S. ========================================================================= Date: Mon, 18 Dec 1995 02:51:28 -0500 Reply-To: SokolowMus@AOL.COM From: Fred Sokolow Subject: E.C.'s healing hairball pizza Comments: To: hhardy@bconnex.net I know of a pizza place here in LA that uses hairballs from Eric Clapton's cat as an ingredient. This pizza has the power to heal ...the blues vibrations transmitted from EC to the cat to the pizza eater cause the latter to resonate sympathetically with universal healing vibrations that cure all kinds of ailments...I will sell the address and name of said pizza parlor to the highest bidder. Maybe it's just the time of year, but this list has never been weirder. ========================================================================= Date: Mon, 18 Dec 1995 00:07:49 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Future of the Blues Just some thoughts. Last night I went down to Santa Monica to see a popular local Blues/Rock band. After the show my friend and I were talking about the band. The guitarist had great tone and there were a few good songs. My friend made the comment that while the band was good, they were really only relying on the same old blues/rock grooves without anything new. That got me thinking about the current crop of blues artist. It seems one camp is firmly rooted in the SRV school. There are so many clones out there now it's amazing. SRV had a signature tone. One that kills me everytine I hear it. When I hear a clone on the radio though I go "Wow! He nailed the tone!" but then I feel uneasy. SRV is gone. I don't want to hear someone sounding like him. Where is your own soul? I heard Kenny Wayne Sheppard's "Ledbetter Heights" today. The kid is amazing for a 17 year old player. Man, I wish I could of been that good at 17. However, I couldn't listen to the whole thing as I got bored of hearing SRV after SRV. I know that Kenny has listened to the Masters but it is yet to show through. Great songs but what is acheived but imitating someone else? The kid is only 17 so he has a lot of time to grow and I wish him well but there are a lot of others who should know better. I was pleasantly surprised after hearing Melvyn Taylor's version of "Texas Flood." There is a little of SRV there but a whole lot else is going on. He is trying to get his own thing going. It is so much better to hear a guitarist influenced by SRV use that as a stepping stone to other things than stay in the one spot. So what am I getting at here? Wish I knew. The popularity of the blues is quite high at the moment (isn't it?). However, there isn't really someone riding high on the charts at the moment as did SRV and Robert Cray back in the eighties. Clapton (aaargh, how could you mention that name!) had a major hit with "From the Cradle" but let's not go back into whipping Eric with our Tour souvenier G-strings. Blues has a great future. People like Joe Louis Walker and Luther Allison are starting to enjoy the sucess they deserve. I quite like the way Robben Ford is trying to advance the harmonic vocabulary of the Blues. So I leave it to the rest of you. What is the future if the blues? who is most likely to involve? Who (if anyone) is going to be the nest big thing? Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Mon, 18 Dec 1995 00:07:59 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: FREE SEX PICTURES & VIDEOS Aaahh, you could say this is 'blue' related. If people want to see this fine but what the hell is it doing here. Anyway, I'm going to send a friendly e-mail message to this guy suggesting that he not do this again. The odd non-blues related post is ok but this is a lit too far. Shaun >Thousands of the most sexually explicit, erotic photos and AVI files >ever digitized, absolutely free, culled from the worlds sexiest BBS's. >Join my free mailing list for a complete index of each available file, >and where to download it from. > >Simply send "request list" message to: >caradoc@neta.com. Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Mon, 18 Dec 1995 03:29:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re[2]: Get Muddy A Band How about Otis Rush for guitar? Or is he too slow and not the right style, or even possibly is this "beneath" Otis who himself sings so well? I suppose blues drummers is a tough one, eh? Joe in Moscow (This, of course, just IMH elitist venomous authoritarian but-not-myself-name-calling O) J.E._Downey@bakermck.com ========================================================================= Date: Mon, 18 Dec 1995 08:46:38 GMT Reply-To: marc@az.vub.ac.be From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Brownie & Leadbelly Comments: To: bit-listserv-blues-l@Belgium.EU.net On a brandnew bought cd ( the Brownie Mc Ghee recordings at OKeh/Columbia ), I was a bit surprised to see a photograph in the booklet showing Brownie Mc Ghee and Leadbelly playing together at, what it looks to me, a private party. Did they ever record anything together ? When/where was this picture taken ? Just very curious, embee. ========================================================================= Date: Mon, 18 Dec 1995 10:01:02 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: CD REVIEW: R.L.BURNSIDE on SWINGMASTER Last december 8th, I did sent a few mails to Blues-L and to sonme list members, ... but apparently they never arrivd !! I've been abroad untill this weekend but they've apparently not been included in Blues-L. So I'll just send them again. If you -by chance- already received it, sorry for the duplication. R.L.BURNSIDE MISSISSIPPI HILL COUNTRY BLUES Swingmaster CD 2201 Yeah, Swingmaster finally decided to start publishing CDs ! I've more than once mentioned here on Blues-L how interesting I find all the LPs that were published on this Dutch label in the 80's. I was thus very pleased to see that Leo Bruin had started his Swingmaster Cd series with R.L. Burnside. Burnside he is now -finally- known in the States thanks to his recent Fat Possum CDs and the Arhoolie reissue of the 1967 recordings he did for Georges Mitchell. Like it sometimes happen(s/ed), Burnside had not to wait these albums to be recognised here in Europe, especially and in The Netherlands where he toured almost yearly (sometimes even more) since 1980 and has always been treated the way an artist like him had to be. I remember seeing for Burnside for the first time at the Blues Estafette in Utrecht in 1982 (If I remember well) and that was around the same period that I bought his first excellent Swingmaster LP 2001 (which was followed years later by a second excellent LP). Both LPs are out of print now and this CD is a selection of both tracks from both albums + 3 unissued cuts. It is really a wellcome release and constitutes some of his best solo recodings. BTW, the others -except the Arhoolie tracks- are not easy to find. You find nothing less than 19 songs recorded in 1980, 1982 and 1984 as well as 3 songs from the 1967 session (not on the Arhoolie CD). The music is superb, R.L.Burnside is here playing solo and delivers his unique blues mixing the inlfuence of his teacher Ranie Burnette with the sound of Fred McDowell, the highly rythmic sound of Mississippin Hill country bluestyle, to produce a music which is totally marked by Rule's personnality! And yes, we have great versions -maybe the best he recorded solo- of Jumper On the Line, Miss Maybelle, Caol Black Mattie... I might be really biased, but this is a RUN DON'T WALK album, 57 minutes of unalduterated blues! A real pleasure especially for ALL those who don't have the Swingmaster LPs (even if you have these, the sound is great and there are 3 unissued cuts.. that was enough for to buy this set!). For the US bluezellers not familiar with Swingmaster products, I just want to let you know that these are high quality recordings, nothing in common with too rapidly done sessions or bad quality field recodings! Leo Bruin is anextremely knowledgeable person and a true country blues lover, you'll hear it from the quality of this set! Whether they will continue producing CDs will obviously depend on how well this one sells! I know they have still unissued recordings by Henry TOWSEND (I think that the second CD planned in this series might well be a Townsend set containing songs from both the publihsed LP + unissues) and enough material for a full length CD by James SON THOMAS including unissues, as well ..... well many other things (including I hop'e Cd reissues of J.W.Warren with maybe some unissues?). So if you want to have a chance to hear these things you know what you have to do. Swingmaster has a mail-order service from which you can directly obtain these albums (they also have some Videos including a R.L.Burnside/Johnny Woods one): SWINGMASTER KRUITLAAN 21 9711 TW GRONINGEN THE NETHERLANDS Tel/FAX: +31-50-3124020 US bluezellers might also try by calling ERWIN MUSIC in South Carolina. Gary Erwin was distributing the Swingmaster LPs in the US (I even think that they still have a number of these available): Gary Erwin / Erwin Music 52 1/2 Wentworth Street Charleston, South Carolina 29401 Tel 803-722 3263 Fax 803-762 9124 Jean-Pierre "Young Man" Urbain P.S. Not related/affiliation or whatever ... just a Burnside/Swingmaster addict. ========================================================================= Date: Mon, 18 Dec 1995 10:08:25 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: CD REVIEW: CAME SO FAR. Var. Artists (Music Maker) CAME SO FAR Various Artists MUSIC MAKERS RECORDINGS MMCD1294 featuring: Bishop and Marie Manning, Captain Luke, John Lee Zeiglar, J.W.Warren, Rufus McKenzie, Macavine Hayes, Lucille Lindsey, Guitar Gabriel, Samuel Turner Stevens, Big Boy Henry, Pernell King. Altough this anthology received a very good review by Robert Tilling in Blues and Rhythm (my prefered mag btw) 104, I thought I could second Tilling's enthousiasm for the bluezellers who are not -yet, hopefully- B&R subscribers. This is the type of anthology that deserves to receive the support of this list! "Come So Far" is effectively an excellent anthology of traditional blues and gospel musicians recorded by musician/producer/folklorist/researcher Tim Duffy over the recent years. During his numerous fields trips in North Carolina he met numerous artists and recorded them in the fields, in their homes, living rooms, ... I guess that most of the names featured on this CD will sound virtually unknown outside the too small circle of obscure country blues fanatics. Some of these artists were nevertheless discussed and presented in the different articles Duffy wrote for Living Blues in 1993 (issues 107/108) like the surprising singer Captain Luke with an incredible voice. Some other are a bit more wellknown for their previous recordings like J.W.Warren who recorded for Georges Mitchell in 1982 (see his great Swingmaster LP -OK, you must know by now that he's one of my favorite traditional musician), or John Lee Zeiglar (he appeared in Utrecht recently under the name John Lee Zeigler) which appeared on a Flyright Georgia Blues anthology if I remember well. The two most wellknown figures being naturally Guitar Gabriel (i.e. Nyles Jones) and Big Boy Henry (check out his recent own NEW MOON CD I reviewed here a few months ago) certainly one of the best traditional Carolina blues singer around. There are however some other extremely interesting musicians on this anthology and my personnal favorite discovery of this album appears to be BISHOP MANNING (and his wife Marie Manning) playing here some energic Piedmont guitar (on the classic "Questionnaire Blues") while Marie Manning possesses powerful vocals. Bishop Manning, who "is a former bluesman who has converted his music to songs in praise of the Lods" (dixit the notes) -see also a recent article by Axel Kustner in Juke Blues- also sings and plays harmonica on a stunning "Gospel Train". In fact this is the really type of anthology that would need a track by track review as virtually all songs are worth discussing in length. I will just mention that Guitar Gabriel plays a nice short cut with Lucille Lindsey (I'd really like to hear more from her profound vocals) recorded in a convalescent home where Lucille Lindsey lives; or with his half-brother Pernell King. J.W.Warren (from which we have a superb photo on the cover) present a -too short- version of a story song he recorded for Mitchell in 1982 "The Escape of Corrinna" which is here entitled "Have You Seen Corinna?" with his personnal and superb -IMHO- slide sound which he apparently gets from, using an old jack-knife. All in all, I cannot recommend enough this excellent CD and congratulate Tim Diffy for his work as producer (The sound quality is ABSOLUTELY GREAT and wonderfull, and he brought some very efficient musician to accompagny several artists), researcher (He rediscovered Guitar Gabriel and brought him back on the US and European scenes) and musician (he plays some very nice piedmont style guitar behind Captain Luke, Macavine Hayes -BTW with a asthonishing "Goodbye Johnny Be Good!"-, Big Boy Henry and Guitar Gabriel). The CD comes with nice sleeves notes containing lyric transcriptions and illustrated by some great photos among others by Tim Diffy and Axel Kustner (he really has done some of the most beautiful photos of traditional musicians that were made in the last 15 years!). While many people nowadays identify country blues with Keb Mo or Correy Harris (two artists that I like very much, this is not the point here) or some other white country blues revivalist (the list is too long to enumerate) it is really a pleasure to see CD like this published on the market in 1995. It is NEVER too late to discover these older generation musicians playing and performing some sincere, unpretentious and REAL traditional music. They have always played and lived their music outside the lights of some kind of revivalism/fashion. So don't hesitate, order this set directly from: MUSIC MAKER RECORDINGS 41 East 62nd Street NEW YORK, NY 10021 Tel 212-2074016 Fax 212-2074434 you'll moreover contribute to the financial assistance of traditional musicians in need since a substantial portion of each CD is donated to Music Maker Relief Foundation Inc in Pinnacle, North Carolina. And while you're at it you can also get the GUITAR GABRIEL CD (MMCD1294) and the other Music Maker Anthology A LIVING PAST which is now available at a normal price. Some of you might remember that Tim did intially publish this set accompanied with a large-format booklet, ... It was then sold at 100$ which was in fact nothing but a donation to Music Maker Relief. I hope to be able to review these two set this week here on Blues-L. I really want to thank and congratulate Timothy Duffy for his work and I hope we will all hear more from his projects in the future (one of these being a new CD from ETTA BAKER) and why not see Algia Mae Hinton one day on his anhtologies. Jean-Pierre "Young Man" Urbain P.S. For Europeans: I bought my copies from CROSSROADS BLUES RECORDS, Kelverstraat 146, 7311 SM Appeldoorn, Holland (Fax: +55-214757/Tel +55- 787817). The Music Maker are distributed Europe by ALL BLUE RECORD SERVICE (Tel/FAX +32-51-72 29 54). Good news!! P.S.2. Not affiliated/related, ... to any of these. but I do really believe that THIS is the type of project that we ALL have to support NOW and not wait years before discovering this work! ========================================================================= Date: Mon, 18 Dec 1995 05:26:36 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Blues Date December 18th 1995 Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BROOKS, LONNIE [LEE BAKER JR.] (g/sw) b. 1933-1218, DUBUISSON, LA CHANDLER, BRYAN "CHAS" (b/THE ANIMALS) b. 1948-1218, NEWCASTLE TYME, UK CRAYTON, CONNIE "PEE WEE" (g/MODERN REC) b. 1914-1218, LIBERTY HILL, TX ESPOSITO, NICK (g/J.A.P.H) d. 1966-1218, LAS VEGAS, NV 52 GALBRAITH, BARRY (g) b. 1919-1218, PITTSBURGH, PA GITLER, IRA (author/prod/PRESTIGE REC) b. 1928-1218, NY GREEN, AL B. (talent manager) d. 1957-1218, NEW YORK CITY, NY -- HAGANS, ROBERT "BUDDY" (tsax/FATS DOMINO) b. 1922-1218, BOGALUSA, LA HENDERSON, FLETCHER H. (p/arr) b. 1897-1218, CUTHBERT, GA JAM-A-DITTY [J. CIRT GILL JR.] (dj) d. 1960-1218, GREENSBORO, NC 48 JIMENEZ, SANTIAGO "DON" (acc/tex-mex) d. 1984-1218, SAN ANTONIO, TX 71 KIMBALL, JEANETTE S. (p) b. 1908-1218, PASS CHRISTIAN, MS KOLAX, KING [WILLIAM LITTLE] (tpt) d. 1991-1218, CHICAGO, IL 80 LAND, HAROLD (tsax) b. 1928-1218, HOUSTON, TX LUCIE, LAWRENCE (g) b. 1907-1218, EMPORIA, VA MILLER, CLARENCE "BIG" (v/tbn) b. 1922-1218, SIOUX CITY, IA NOLEN, JIMMY (g/JOHNNY OTIS/JAMES BROWN) d. 1983-1218, ATLANTA, GA 49 PIAZZA, ROD (hca/MIGHTY FLYERS) b. 1947-1218, RIVERSIDE, CA RICHARDS, KEITH (g/ROLLING STONES) b. 1943-1218, DARTFORD, UK RICHARDSON, C. C. (g) b. 1918-1218, SUMTER, SC SCRUGGS, IRENE (v) b. 1901-1218, MS SMITH, LEO (tpt) b. 1941-1218, LELAND, MS STEARNS, MARSHALL WINSLOW (author) d. 1966-1218, KEY WEST, FL 58 VINSON, EDDIE "CLEANHEAD" (asax) b. 1917-1218, HOUSTON, TX ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 18 Dec 1995 06:02:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re[2]: Muddy Waters Search Just passing along some conventional wisdom re: Electric Mud. I don't seem to have the incoming message, so hope this isn't repetitive. As has been recently restated on the List, the conventional wisdom is that Electric Mud is basically a stinker, down there with other alleged losers like Muddy, Brass & Blues, and the London Sessions, the accursed trio. (These are supposedly undercut in quality only by "She'll be coming round the mountain" single, which Muddy apparently never even meant to record but the machine was running, according to Mary Katherine's recent, thoughtful remarks on the subject.) I know nothing of these things personally, having taken the conventional wisdom at its word. Wish you the best of luck, whatever you decide! Just the conventional wisdom, not even MH elitist, venomous, authoritarian, pathetic, but-didn't-sink-to-name-calling O. Joe in Moscow J.E._Downey@bakermck.com P.S. Needless to say, if you don't own Mississipi Muddy Waters Live or Hard Again, fly, don't run, to get them! ========================================================================= Date: Mon, 18 Dec 1995 07:44:28 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Organization: Union Federal Savings Bank Subject: Re: New Blues List!! Comments: To: DoyleE847@AOL.COM ================I believe this list has gotten stale and its members are too pigeon holed My list will cover all aspects of the blues and will not be narrow minded in its interpretation of blues content. I need to know if I can count on some of you true blues afficionados to subscribe to this new list. I can probably have it up and running by no later than February. Take care folks. -Doyle Ertwine================= I don't mean to tell you how to construct your new blues list, Doyle, but if I were building, say, a new wardrobe and the only fabric I had was from my old stale wardrobe I would not be able to accomplish my goal. You see I already admit that my old clothes are so stout and the seams sewn together so tightly that to take them apart would ruin the fabric. I would recommend you "accessorise" the old wardrobe by bringing in new elements to liven up the old wardrobe (e.g. new subscribers) I've been here only 13 months but I can tell you that my vision/interpretation of the blues has expanded ten fold in that time, and I have learned some valueable life lessons in patience, tolerance, and the pleasures of diversity and difference of opinion that the structure of this group requires. Good luck. You can probably count me in, but I'll still be the same guy I am on blues-l. Too, I'm guessing that the volume of mail between both groups will be pretty much the same as it is now. So I guess if less is more for some people, selecting only one group would help somewhat with the mail volume problem. RJ Bauman ========================================================================= Date: Mon, 18 Dec 1995 07:41:22 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this here day On this here day in 1865, the 13th Amendment to the U.S. Constitution, abolishing slavery, was declared in effect. ========================================================================= Date: Mon, 18 Dec 1995 08:47:59 -0400 Reply-To: Mike Gilbert From: Mike Gilbert Subject: Merry Christmas Merry Christmas, everyone, I've got to sign off for a couple of weeks and head north to snow country. Take care. Mike Gilbert gilbertm@fox.nstn.ca ========================================================================= Date: Mon, 18 Dec 1995 09:24:51 EST Reply-To: "CATHI N." From: "CATHI N." Subject: Hammond interview (long) Hello all. I've been greatly entertained with your hijinks lately. Thought you might like to read a little interview with John Hammond. (Now you blues police take it easy on me okay?) Cathi N. STILL COOL By Cathi Norton Oh lo, these many years ago, I was greatly excited to be invited to a John Hammond concert on Prince Edward Island. I'd begun to notice him as rare performer able to get to the heart of something when he played blues. He threw everything he had into it. Besides,... he was cool. He didn't disappoint, first playing solo and then bringing out two older, black gents who'd been around long enough to really know how. What a trio! A short party afterwards in a hotel bar made the evening just about perfect; we didn't want to stop. So John said goodnight and we all went up to Charles Otis's (the drummer's) room, where he told us stories until we thought we might expire from laughter. It was an amazing night. Two billion light years from home and the scene has shifted dramatically. Several are the Hammond recordings in my case at home, though lost in the Little Walter, Lenoir, Hopkins, Memphis Minnie and Muddy (oh, Muddy!) stacks. Time to see what's up. John Hammond came through Indiana in early December, playing Indy's Slippery Noodle and then the Bluebird in Bloomington. He still didn't drag much equipment -- just two guitars and a harp rack, but played with the same passion and abandon I'd remembered, inciting the audience to shouts with his soulful moaning of "My Turn After Awhile," and "Drop Down Mama" among other great tunes. After an exciting first set, he was able to spend a little time with Yank Rachel, Indy's mandolin blues great, who'd come down to visit. I caught up with John at a quieter moment, in Bloomington, the following day. He obliged me with an interview, and indeed was generous in every respect. Oh dear, a gentleman. Cathi: Well, first -- welcome! You're moving through quickly, but it's good to see you. John: My life is complicated in the sense that I work just about every night and travel just about every day. Cathi: How long have you been doing this now? John: Thirty-four years. Cathi: Well, I'm supposed to ask you if you have a hellhound on your trail. John: (Laughs)..No, I wouldn't say that... I have a real inspiration to play and I get a lot of energy from the audiences I play for. I actually enjoy traveling and meeting new people and playing new places -- and old places too! I keep coming back (laughs). Cathi: Yes, well, I wanted to tell you that the first time I saw you in Canada, it was great! But one thing that stuck with me for years, was your demeanor under stress. After the concert, they "couldn't find" your check. But you didn't get upset....rattled; you just sat down calmly and said "That's fine...I'll wait." It was really late and just about everything that could have gone wrong that night, had. Yet you were very collected about the whole thing. Remembering that helped me through many difficult gig situations later. John: Well, I've played so many gigs, you know. I've learned, mostly the hard way, that patience is usually the best way for things to get done and for things to go your way eventually. I've been very persistent in my career and you know, I can relate to nightclubs, concerts and festivals -- this and that. It's really incredibly difficult to put things together like that and make it run right. And I do the best I can to play my show.... Cathi: You like to play solo for the most part, yes? John: Yeah, I guess. I don't know. I mean...because it's less expensive to travel solo than with a band, I'm able to get around a lot easier. But there are some clubs that only want to have bands. Cathi: As far as recording though, didn't you just do an album? John: I did...I just recorded with Duke Robillard, who co-produced the album with me and plays on it. He's one of the finest guys I've ever met -- a great guitar player, great singer, great arranger. He really knows blues inside and out. Cathi: Yeah, he's a great player. John: He's a great guy too. Cathi: So what's the album called? John: It's called "Found True Love." Cathi: And it's on Virgin records? John: Point Blank...Virgin, yes. Cathi: I wanted to ask you about your playing. It's hard not to notice your aggressive attack. You break a lot of strings and... John: I don't like to break strings (laughter)....! Cathi: Well (laughs)...it's interesting how percussive your attack is. John: Yes! Cathi: And your foot, of course, adds percussion. I wonder, too -- I noticed that you wear a thumbpick, and... John: Fingerpick. Cathi: ..and fingerpick. And you slap your pickguard with those fingerpicks on the beat... John: I do..I do. Cathi: Is that a matter of ... John: It just happens. I play by inspiration more than by technical grace...(laughter). I taught myself how to play and worked out ways to make sounds that I think sound right, and I guess it isn't the standard way of playing. It's the way I've gotten by. Cathi: Well, you play harp as well. Have you done that from the beginning? John: Yeah, I saw a Jimmy Reed concert in 1959. I thought that was the coolest thing I ever saw: a guy playing the harmonica AND the guitar. It just inspired me. Cathi: So how does it work with the neck rack? Is it less satisfying playing harp with a rack than if you were holding it? John: Well, it's harder to get the tone right. You know, you really have to work at it to get that fat sound that I like. Maybe one day I'll get it right, I don't know. Cathi: (Laughs). Seems like you're doing pretty well! John: I have a good time trying. Cathi: Your singing...I'm enormously interested in that. Your approach to your music is so involved. You are so involved with the sound of it. All the parts of your show -- guitar, harp, vocals -- wouldn't necessarily stand out alone, but something powerful happens when you throw yourself headlong at them. Is it like a total thing that just comes out of you?.... John: Yes!! I don't know how to explain it, so I won't. But it's not only involved, but "evolved" too. I've been... The longer you do something, the better you get at it. There's some early recordings I've made that I wince when I hear what I sounded like then. You know, I've worked really hard at what I do, trying to get better -- especially my vocals. To me, vocals are the key to any blues song -- the words and the vocal. And you have to be able to put them across in a way that makes sense, you know? Cathi: Yes I do know. John: So I've worked very hard at that. Cathi: It seems to me that musicians go through different stages of music they like. Like electric blues, and then into other things, like country folk blues, etc. Do you go through changes like that, or do you pretty much stick to the style you're in? John: Um...blues is such a vast world of styles and areas, like delta blues, Chicago blues, Piedmont blues, Texas blues -- whatever. There're subtle variations, you know, and stylistic subtleties to the music. I've tried to incorporate different styles into my show, but basically it's me and the way I do it. But I hope that an audience can discern the differences between the songs and say "oooh, that sounds a little different, I wonder where that's from? Or how that came to be?" I mean, I've heard so many great blues artists over the years -- live and on record -- and I just savor those differences in approach and style. Cathi: Yes, there are a lot of real students of those different styles, who appreciate those slight variations. I like the fact that you seem to approach everything from the John Hammond point of view. John: Well, that's all I know basically (laughs). Cathi: We were talking about Steve James. Have you been doing some work with him? John: I have...I've worked a lot of gigs with Steve. He's a good friend and a guy I admire tremendously. Cathi: Did he try to kill you with hot peppers yet? John: (Laughter)...No! Not yet. Oh...Steve is a great player. Man that guy knows about the blues history...the history of Texas blues -- he knows a lot of stuff. Well...not just Texas blues, but blues in general! He's a wonderful guy. Cathi: I just learned he opened for Son House! I didn't know that. John: I didn't know that either! Cathi: Well, how do you find your music? How do you decide which things you'd like to do? Does that just change from time to time? John: Well, I've listened to, and heard, so many songs over the years, you know. I've recorded over 200 songs I guess, and I know lots more that I haven't ever recorded, so I've got a wealth of stuff to fall back on. When I go into the studio to record, I always look for tunes that I haven't done before -- ones that are new to me that I get inspiration from, to do my way. Cathi: What do you want from the next 20 years John? More of the same? John: Yeah...more of the same and better (laughs)! You know things have begun to open up for me a little bit. I've done TV show here and there and had a little wider exposure. I'm with a really terrific record label now that really likes what I do, and I've had a chance to record with some wonderful musicians who have bolstered my career in a lot of terrific ways. I've recorded with John lee Hooker.... And J.J. Cale produced my last two LPs, which was just like a really thrilling thing for me to work with a guy like that. Cathi: He's got such a great rhythm sense. John: Aw...he's a very DEEP guy. And he's become a very good friend, and I admire him a lot. Cathi: He was always the person I've hoped my career might follow: somebody who is really good, but not so famous that he can't walk down the street, you know? John: He's on his OWN terms! Cathi: I love it. And I'm glad to see things are going well for you too. John: Yes! I'm also with the best agency that I could ever imagine there being, that I've been with now, for 19 years. And I've been able to really expand my horizons with them -- the Rosebud Agency. And all of those little support things that you need as an artist have fallen into place very nicely for me. I mean, it takes a lot of work to go out there and do it, but I've been having a good time doing it. Cathi: That's good...that's the thing. Thanks John, I really appreciate your style! John: (Laughs) It's a pleasure Cathi....nice to see you again. Good interview! Blueslovers....John Hammond's still cool. ========================================================================= Date: Mon, 18 Dec 1995 06:46:46 -0000 Reply-To: James Witteveen From: James Witteveen Subject: Re: New Blues List!! John Willis wrote: I am finding that many >problerms here are due to age stratification on the list. It is a >generational thing. Now I CANNOT get off for this guitar string. I'm not sure what you mean by age stratification - I'm 24 and I love the list. And I'm sure there's a lot more young people on the list who love the blues and love the list. Other than a couple of people, I have no idea how old most people are that post here. I don't really see a problem. If you've got problems with things that are discussed, just speak up and let your opinions be known! I notice that a lot of the complaints come from people who never (or almost never) post to the list. -Jim (hndful@uniserve.com) ========================================================================= Date: Mon, 18 Dec 1995 06:56:39 -0000 Reply-To: James Witteveen From: James Witteveen Subject: Hero Worship (was EC's guitar string) Fred Sokolow wrote: The fact that someone would sell someone else's garbage is bizarre but the >idea that someone would buy it (and the hero worship that implies) is scarey >to me. Anyone else feel this way? Excellent point. I admire a lot of the performers that are discussed here for their musicianship, their ability to tell a story and touch my heart with their songs. But I really can't consider them heroes in the true sense of the word. However, in the prevailing culture of the day, popular musicians, entertainers, actors, and sports stars are considered to be heroes by many people, while true heroes are undervalued and oftentimes ignored...how many people have heard of people like Jaime Escalante (sp.)? -Jim (feeling a little philosphical this morning) (hndful@uniserve.com) ========================================================================= Date: Mon, 18 Dec 1995 09:55:09 -0500 Reply-To: RhythmShrk@AOL.COM From: Bernie Clarke Subject: Re: Get Muddy A Band In a message dated 95-12-18 01:18:49 EST, you write: >Guitar: Rick Estrin and John Mooney >Bass: Greg Rzab >Harp: Rod Piazza or Charlie Musslewhite >Drums: ??? >Anything Else: David Hidalgo (From Los Lobos) > >Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu >LaGrange, Il USA >"Giving money and power to government is like > giving whiskey and car keys to teenage boys"--P.J. O'Rourke > > > So when's Rick learning to play guitar? I think (at least I hope you are thinking of Charlie Baty - the guitar player in Little Charlie and the Nightcats). BC ========================================================================= Date: Mon, 18 Dec 1995 10:17:02 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Hanukah Blues? Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com Well, it's that time of year again for all of us non-Christian folks to celebrate our big end of the year holiday. There has been a lot of talk about Christmas blues (the only Christmas music I can stand, besides the barking dogs doing "Jingle Bells" ;). I wonder if anyone has ever recorded a Hanukah blues song? Maybe Bob Margolin and Jerry Portnoy can get together and record one. (maybe a blues version of the Dreidel song?) I've had a couple of ideas for Hanukah blues songs. I'll try to write a couple of verses down and post them to the list later (I have eight days to do this). Happy Hanukah everyone, Steve Levine ========================================================================= Date: Mon, 18 Dec 1995 07:36:53 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Brownie & Leadbelly Marc wrote: > >On a brandnew bought cd ( the Brownie Mc Ghee recordings at OKeh/Columbia ),>I was a bit surprised to see a photograph in the booklet showing>Brownie Mc Ghee and Leadbelly playing together at, what it looks to me,>a private party.>Did they ever record anything together ? When/where was this picture taken ? Brownie McGhee (and Sonny Terry) and Leadbelly were part of a close musical circle (which also at times included Josh White and Woody Guthrie) in New York City in the early Forties. The three (McGhee, Terry, Leadbelly) first recorded together in 1942, a session for the Library of Congress in Washington DC. I don't have the CD in front of me so don't know when/where the phot was taken to which you're referring. Larry Cohn is usually pretty good about photo credits/captions; nothing listed in the back of the booklet? Mary Katherine ========================================================================= Date: Mon, 18 Dec 1995 08:29:00 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Billboard Blues Chart for week of 12/23/95 Herewith (after many travails heretofore enumerated) the Billboard Magazine blues chart for the week of December 23, 1995. 1. Stevie Ray Vaughan & Double Trouble/Greatest Hits 2. Kenny Wayne Shepherd/Ledbetter Heights 3. Eric Clapton/From The Cradle 4. Robben Ford & The Blue Line/Handful of Blues 5. Jimi Hendrix/Blues 6. Robert Cray/Some Rainy Morning 7. Charles Brown/Cool Christmas Blues 8. The Jeff Healey Band/Cover to Cover 9. Keb' Mo'/Keb' Mo' 10. John Lee Hooker/Chill Out 11. Various Artists/Red Blooded Blues 12. Various Artists/Essential Blues 13. Luther Allison/Blue Streak 14. Roomful of Blues/Turn It On, Turn It Up 15. ZZ Top/One Foot In The Blues Mary Katherine ========================================================================= Date: Mon, 18 Dec 1995 11:48:41 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: John Lee Hooker's flatpick No WAY!!!! *I* use a Fender medium!!!!!!!!! This.....this is just way too cool. Cosmic even. (nudge and a wink to LW) Riffin Rick (((( oo-) /- PS. question.....what do you guys think, out there, is the Boogie Nation stuff for real? Is this guy really sitting there, a few feet from JLH and is the MAN himself really into all this cosmic vibration stuff, or are we being had. It's so easy to lie in cyberspace. F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Mon, 18 Dec 1995 11:55:38 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: Hero Worship (was EC's guitar string) Comments: To: James Witteveen What I wanna know is, what does one DO with a broken guitar string that happened to be owned by a rather well-known musician? When the owner of the string dies, his family will throw it out, cuz they don't care. So what's the point? I can hear him: "It will be worth a lot of money someday." It's merely a way of rationalizing being a packrat. (Anyone who wants to know what Freud said about packrats, e-mail me privately.) The more stuff you have, the bigger place you need to live, the more insurance you need, and the more stuff you have to lose and which might get lost or stolen. My attitude is, "when in doubt, throw it out." Besides, who wants to waste time drooling over a broken old guitar string when you could actually spend the time PLAYING guitar? (But I'm a blond, what do I know?) - Ruth (who gets by fine with two guitars and two amplifiers and is feeling very psychoanalytic today) ______________________________ Reply Separator _________________________________ Subject: Hero Worship (was EC's guitar string) Author: James Witteveen at Internet Date: 12/18/95 6:56 AM Fred Sokolow wrote: The fact that someone would sell someone else's garbage is bizarre but the >idea that someone would buy it (and the hero worship that implies) is scarey >to me. Anyone else feel this way? Excellent point. I admire a lot of the performers that are discussed here for their musicianship, their ability to tell a story and touch my heart with their songs. But I really can't consider them heroes in the true sense of the word. However, in the prevailing culture of the day, popular musicians, entertainers, actors, and sports stars are considered to be heroes by many people, while true heroes are undervalued and oftentimes ignored...how many people have heard of people like Jaime Escalante (sp.)? -Jim (feeling a little philosphical this morning) (hndful@uniserve.com) ========================================================================= Date: Mon, 18 Dec 1995 11:06:28 -0600 Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: Re: The Freebird Phenom Comments: cc: prephoto@AOL.COM He still does; I saw him the other night! Nuri >If anybody ever runs into Rev. Billy C. Wirtz, ask him if he still does >*Stairway to Freebird* Hearing it will certainly put a new slant on your >day. >DP > > ========================================================================= Date: Mon, 18 Dec 1995 08:29:57 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: A new blues group !!!! I think that's a great idea Mr Doyle (I hope that name was right)...I think there needs to be another group without all these elitist , snobbish , purists who are narrow minded and think that folks like Madonna can't do blues. I hope you get tons of people subscribing (espcially used string dealers) and leave blues-l "twistin in the wind" with nothing to talk about but blues, just pure blues. I think that's what blues-l deserves, they made their bed let them lie in it....When you get that group up and running with refugees from blues-l PLEASE lemme know, so I can resubscribe to blues-l and enjoy it again... Thanks LW 'a very PROUD elitist, snob, purist and 'expletive deleted' btw: I have no idea what a purist is to be honest. Someone called me a purist for listening to Charles Brown...If that's a purist, then call me SNOW ========================================================================= Date: Mon, 18 Dec 1995 12:29:13 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Several subjects that have been buiilding up! Let's settle a few things right now! 1. The only guitar strings worth having are John Hammond's! There are plenty of them too! I am the proud owner of two (2) of them. They are NOT for sale. I am not ( i hope) a looney, or a scarey person (as someone else described garbage collectors). They serve as little momentos to me of a time and place that were special to me, that's all. I love the blues,. and blues related times ARE special times to me. Of course, everyone knows that i am a BIG fan (both literally and figuratively) of John Hammond's. I personally believe that in 50 or 100 or even 200 years, people will look back on this era as one of the most IMPORTANT in the evolution of the blues. I do believe that John Hammond will be thought of as one of, if not THE, most important bluesperson's of all time. Even though some critics say John does nothing original, and therefore is NOT as important as say, Robt. Johnson. Whoa, hold on there! Robt. Johnson did little that was original, but he still remains a mysterious icon to many. All he did, was interpret mostly other people's songs, in a new way that was very special. Same thing, btw, that JH does! No one anywhere does what John does. AND he was the first to do it in the 60's, when no one else was doing blues. Or reviving blues. How many people on this list, would not like to say they KNEW Robt. Johnson? Or owned a string that Robt. Johnson broke? I do not believe thinking like this or "collecting" JH's garbage is a scary thing. BTW, i have passed up the chance to own many more broken strings, Two seems fine to me! 2. I said it once before, and i'll repeat myself. This list shows intolerance sometimes for views held outside of the conventional. For instance, I personally thought that there could be no way that an aged gentleman like JLH could be truly associated with Boogie Nation. Call it male intuition. BUT the important thing was: He had as much right as anyone on this list to post on this list. In America, it's called freedom of speech. Every blueseller has the same right. IN contrast, every blueseller has the right to use DELETE as often as he/she chooses. NO ONE has the right to tell SOMEONE else on this list that they don't belong here unless that person/persons is violating the "charter" for this list. As an example, posting an ad for porno surely violates the list rules. Posting psycho babble about a bluesman is appropriate use of the list as far as i am concerned. (Even though i thot it a bunch of "garbage".) One who is into that stuff has the right to post about it since it IS blues related. I read about two of the posts, and deleted all the rest....well, almost all of the rest....curiosity made me watch and read about the "drama" as it evolved. i also delete almost every post on this list because, as someone described it to me, it seems an endless discussion about White/Black, You're wrong/I'm right, uncle Eric is THE Greatest/No he's not, Let's hear it for SRV. The trouble with humanity is a matter of conformance. Everyone is insecure. They all want reinforcement of their views so as to make/delude us into thinking our lives are on the correct path. This is a result, in my opinion, of being found to be on this ball of stardust hurtling through space unknown, with no "instructions" on why we are here, where we came from, where ALL of this came from, and the purpose behind us being here. In that state of confusion, it is admittedly sometimes/most of the time hard to decide what to believe in, and what to do with one's life. After all, in the 15 billion years of the universe (estimate only), our time on earth is but an angstrom in length compared to that timeline. Tends to make it rather seemingly important to believe in something and hope for the reinforcement that everyone else thinks the same way. (there seems to be security in numbers). A good example of people believing in something and wanting all to believe the same, is the movie, Midnight Express. When the American walks the "wrong" way around the prayer tower. 3. CANORTON writes one helluva an interview! Let's hear it for Cathi! 4. Thanks to all for your tolerance about my post. I wish you all Merry Xmas and all that. 5. My stomach, otherwise known as EF Hutton, is growling. I listen! ddr ========================================================================= Date: Mon, 18 Dec 1995 17:41:28 GMT Reply-To: Nate Goldshlag From: Nate Goldshlag Organization: The Internet Access Company Subject: Re: The Billboard Chart saga Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199512180334.TAA05821@ix4.ix.netcom.com>, Mary Katherine Aldin wrote: > Why have I not posted this week's Billboard Blues chart as usual? Are the Billboard charts somewhere on the World Wide Web? Nate ---------------------------------------------------------------- Nate Goldshlag "People ask me why I don't get fat nate@reflection.com it's cause I like to dance like that. I eat as much as I can hold Cambridge, MA and go out and do the zydeco." -- Marcia Ball ========================================================================= Date: Mon, 18 Dec 1995 12:56:25 -0500 Reply-To: Ed Mezynski From: Ed Mezynski Subject: Re: boogie/claptonsstring/clutter... To all the little blue boys and girls: What ever happened to peace on earth and good will to all blues persons? Happy Holiday of Choice, ed mezynski ========================================================================= Date: Mon, 18 Dec 1995 12:49:21 -0500 Reply-To: Sanjay Rajan From: Sanjay Rajan Subject: BIG_BAND_BLUES!! In the wee hours of this morn', I was listening to Steve Cushing's BLUES BEFORE SUNRISE on NPR... He mentioned BIG BAND BLUES, blues played big band style and JIMMY SIMMING [not very sure of this name...] This I believe was popular in early 60s. Anybody got more info of BIG BAND BLUES.... TIA +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-($)^($)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ Surrealism ? I AM Surrealism - Salvador Dali +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Mon, 18 Dec 1995 18:08:31 GMT Reply-To: blueslvr@sirius.com From: "Roy W. Forgy" Subject: Re: Bluescast Bluestrack In rec.music.bluenote.blues, Robb Hyde wrote: ]:->Here it is. Compiled from Blues DJ's around the nation- - - ]:-> ]:->Bluescast Bluestrack for 1st Half of December 1995 ]:-> ]:->Top 10 Blues Albums ]:-> ]:-> 1.Blue Streak, Luther Allison, Alligator ]:-> 2.Them Update Blues, Lowel Fulsom, Bullseye ]:-> 3.Ace In The Hole, Elvin Bishop, Alligator ]:-> 4.Gary Primach, Mr. Freeze, Flying Fish ]:-> 5.Somewhere Along The Way, Chris Cain, Blind Pig ]:-> 6.Turn It On, Turn It Up, Roomful of Blues, Bullseye ]:-> 7.Eldorado Cadillac, Billy Boy Arnold, Alligator ]:-> 8.Live '92-'93, Albert Collins, Pointblank ]:-> 9.Sittin' Here Wonderin', Louisiana Red, Earwig ]:-> 10.Cab Driver's Blues, Mem Shannon, Rhykodisc ]:-> ]:-> ]:->Five Top New Tracks ]:-> ]:-> 1.Gimme Some of That Money, Elvin Bishop, Ace In The Hole ]:-> 2.If This Ain't the Blues, Mem Shannon, Cab Driver's Blues ]:-> 3.Mr. Freeze, Gary Primach, Mr. Freeze ]:-> 4.Ain't Got You, Billy Boy Arnold, Eldorado Cadillac ]:-> 5.Too Soo to Tell, Lowell Fulsom, Them Update Blues ]:-> ]:-> ]:->If you'd like to submit your playlist, send it to: ]:-> ]:->robbhyde@cannet.com ]:-> ]:->Next Deadline is December 31, 1995 thought this was a better list than Billboards ========================================================================= Date: Mon, 18 Dec 1995 12:05:13 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: Get Muddy A Band Comments: To: Bernie Clarke In-Reply-To: <951218095508_93364619@emout04.mail.aol.com> Bernie Clarke properly corrected my guitar entry. I meant Charlie of course. It was late. Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke On Mon, 18 Dec 1995, Bernie Clarke wrote: > In a message dated 95-12-18 01:18:49 EST, you write: > > >Guitar: Rick Estrin and John Mooney > >Bass: Greg Rzab > >Harp: Rod Piazza or Charlie Musslewhite > >Drums: ??? > >Anything Else: David Hidalgo (From Los Lobos) > > > >Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu > >LaGrange, Il USA > >"Giving money and power to government is like > > giving whiskey and car keys to teenage boys"--P.J. O'Rourke > > > > > > > So when's Rick learning to play guitar? I think (at least I hope you are > thinking of Charlie Baty - the guitar player in Little Charlie and the > Nightcats). > > BC > ========================================================================= Date: Mon, 18 Dec 1995 18:19:15 GMT Reply-To: Steven Hirsch From: Steven Hirsch Organization: National Agricultural Library Subject: Re: Sonny Boy in Cinema Comments: To: bit-listserv-blues-l@uunet.uu.net On Sun, 17 Dec 1995, Roger Brant wrote: > Could you post/and/or e-mail to me the details of this video (company name, etc., any info on how to find it...) > > Thanks! I'd love to see Sonny Boy on film!! > > Roger (in Vancouver, Canada) I just loaned it to a friend last night, so I don't have it at hand. It's on ABC Home Video and was reviewed about a month ago in Entertainment Weekly (don't know if you get that magazine in Canada). It's not extended footage of Sonny Boy, just an excerpt that shows him playing with 2 white guys in the background, one on string bass and one on acoustic guitar. I did look at the credits on Saturday and couldn't tell where they got the footage. Some of the more interesting footage is an interview with Carl Perkins on how rough it was playing the rockabilly circuit in the 50s. He favored Gibson solid body guitars because if he had to hit a rowdy spectator with one, they wouldn't break and he could go right back to playing. Steve Hirsch ========================================================================= Date: Mon, 18 Dec 1995 10:22:43 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Hero Worship (was EC's guitar string) Comments: To: BLUES-L@BROWNVM.BROWN.EDU. James said, >Excellent point. I admire a lot of the performers that are discussed here >for their musicianship, their ability to tell a story and touch my heart >with their songs. But I really can't consider them heroes in the true sense >of the word. However, in the prevailing culture of the day, popular >musicians, entertainers, actors, and sports stars are considered to be >heroes by many people, while true heroes are undervalued and oftentimes >ignored...how many people have heard of people like Jaime Escalante (sp.)? Excellent point! You know, I went to a fabulous jazz concert at the Ellington Society's wing-ding back in 1991. The highlight was a set with Louis Bellson on drums. Well, I'm standing offstage waiting for Louis to come one, (all of the good seats were taken by then) and Louis walks up, stands next to me, gives me a big grin! I smiled back, and I just had that feeling, you know? he is going to play his butt off. So he gets up on those big double drums and proceeds to lift the roof off of the place. When finished, he gets a standing ovation... What a player! Because he was nice to me, I felt like I could approach him, so I went up to the stage and asked him for one of his drumsticks. He said sure!, and gave me both of the ones he had just done his solo with!, shook my hand, boy, what a nice guy! Those sticks are in my living room now, and you know what, they are not about hero worship, they are part of my memories, part of my life. You can't have them, not for ANY price. They are not about "celebrity" they are about my life, and Louis' life and how they crossed paths for a couple of minutes in 1991.... It is the CONNECTION that makes these things valuable, the personal connection, the memory. All that is lost when we sell these things. Then, they just become more stupid hustle and greed. YOU WANT RELICS? GO FIND YOUR OWN DAMN RELICS!! Go to a show, make a friend, make a memory. Don't try to sell me your stuff OK? Because when you do, it loses all value. Someday I will tell my little girl who Louis was, and I will give her the sticks, show her all the dings on them, tell her about how Louis played that night.... That will mean something... She won't sell them. BTW, I sat on the stage to see Hendrix in San Diego on his final tour. He broke a string.... I gave it to a girl I was with... She was cute and funny, I hope she still has it. No regrets, not even a little bit... It's just a damn string...... Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Mon, 18 Dec 1995 18:50:45 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Subject: Re: BIG_BAND_BLUES!! Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199512181756.MAA20783@mirage.formtek.com>, Sanjay Rajan says: > > > In the wee hours of this morn', I was listening to > Steve Cushing's BLUES BEFORE SUNRISE on NPR... > He mentioned BIG BAND BLUES, blues played big band > style and JIMMY SIMMING [not very sure of this name...] Your probably looking for Jimmy Rushing, also known as "Mr Five By Five" because he was about as wide as he was tall. He was the vocalist for Count Basie's band for a time and that could very well be what you heard. He sang in the Blues Shouter style popular in the 40s and early 50s. If I remember correctly, he got his start in Kansas City. Art Schuna ========================================================================= Date: Mon, 18 Dec 1995 11:16:05 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: A TRIBUTE TO EDDIE VINSON : MR. CLEANHEAD (PART 1 OF 3) Comments: To: BluesHvn@aol.com (I pre-posted this tribute on the weekend but it looks like it's lost in a cyberspace blues-hole. Sorry if this is a duplication.) EDDIE "CLEANHEAD" VINSON TRIBUTE (part 1 of 3) Alto saxophonist & singer EDDIE "CLEANHEAD" VINSON was born Tuesday, December 18, 1917, Houston, TX. "Folks call me Mr. Cleanhead, 'cause my head is bald on top (2x) Every week I save a dollar, when I walk by the barber shop" ~ "Cleanhead Blues" (Mercury, 1946) "Cleanhead" Eddie Vinson combined bop and blues vocals in a completely unique manner. Influenced by Johnny Hodges, Vinson's alto sax work with its spiraling lines, intense tone and forceful sound were delivered with a searing intensity. His blues singing had a jagged, animated edge but also a tender underpinning, and was performed with a mix of earthy humor and resigned irony. The actual composer of both "Tune Up" and "Four" (Miles Davis was wrongly credited) Vinson performed his bop/blues hybrid from the '30s to the '80s. He joined Arnett Cobb and Illinois Jacquet in Chester Boone's big band one year after he'd begun playing alto sax. He stayed in the band from 1935 until 1941, while it changed leaders to Milt Larkin in 1936 and Floyd Ray in 1940. Vinson toured the South with blues vocalists Big Bill Broonzy and Lil Green, then went to New York, joining Cootie Williams' band. He had a huge hit in 1944 with "Cherry Red Blues." He recorded with Williams' band on Okeh, Hit and Capitol. Vinson led a big band in 1946 and 1947, and septet with John Coltrane, Red Garland and Johnny Coles in 1948. There were sessions with Mercury and King in the late '40s and early '50s, then later for such labels as Bethlehem, Riverside, Delmark and BluesWay. He kept working and recording, but didn't enjoy renewed popularity until 1969, when a European tour with Jay McShann and recording of "Wee Baby Blues" alerted old and new generations about Vinson. This band also recorded for Black and Blue. Vinson played and recorded frequently in the '70s and '80s, working with Count Basie, Johnny Otis, Arnett Cobb and Buddy Tate, even Roomful of Blues. He did sessions in the '70s and '80s for Muse, Fantasy, Circle and Pablo. Vinson's playing strongly influenced Cannonball Adderley; a healthy amount of Vinson dates are available on CD, much of the Muse and Pablo, as well as material on Black & Blue, Delmark, Fantasy, Bluebird and Landmark. ~ Ron Wynn, All-Music Guide EDDIE "CLEANHEAD " VINSON died Saturday, July 02, 1988, Los Angeles, CA. He was survived his wife of 51 years, Bernice; and 3 daughters, 5 grand-children and one great-grandchild. part 2 of 3 : THE MERCURY SESSIONS part 3 of 3 : THE MERCURY SESSIONS CON'T/SELECTIVE CD DISCOGRAPHY ========================================================================= Date: Mon, 18 Dec 1995 13:18:06 -0600 Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: SICK and TIRED Friends, Since joining this discussion group a few months ago, I have noticed a trend in which some people like to dwell on a subject for a long time; and frankly, I am SICK and TIRED of this. I've read messages on 'who's music is it', 'who performed this first', 'black blues', 'white blues', 'items for sale'... Take, for example, the Boogie Nation issue. I have read more messages from people's opinion on this matter than messages from the Boogie Nation itself! In other words, a lot of times it is not messages from the likes of the Boogie Nation that will cause many to drop out of this list, but the (never-ending) comments on the subject that will. I'ld like to think of this group as an avenue in which we can communicate ideas and thoughts, exchange information, or better our knowledge of the blues, be it by reading an article on the life or accomplishments of a blues person, or by learning of a newly released CD, or obtaining a web page of a blues site. So, if someone wants to sell (or buy anything), print a newsletter article, or give his opinion on a matter, it's OK.. LET IT BE! With email you have a choice; and that is: Read part of a message, all of it, or none of it! Of course there's always the...DELETE key. In summary: 1. This is not about WHITE or BLACK, it's about the BLUES. 2. Most blues artists (white, black, foreign, rocking or traditional) have contributed somewhat to the blues (from Robert Johnson, Muddy Waters, and Lightning Hopkins, to Stevie Ray Vaughn, Eric Clapton, or Ronnie Earl). So ACCEPT IT! Don't waste time over who's blues is it, who did it first, who did it better... All these people have worked hard on providing us with great music..MUSIC! So, please let's utilize this great technological advancement called email and make it work to our advantage, not against us. Recpectfully, Nuri Nuri, Host/Producer "Off the Clock" blues show, 90.1FM - KPFT, Houston ========================================================================= Date: Mon, 18 Dec 1995 11:34:59 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: MR. BO, DETROIT BLUESMAN, DIES AT 63 Comments: To: BluesHvn@aol.com MR. BO [LOUIS BO COLLINS] b. 1932/APR/07, INDIANOLA, MS d. 1995/SEP/19, DETROIT, MI Here's an obit on MR. BO that will appear in BLues & Rhythm #106. You'll notice RELIC LP 8003 : THREE SHADES OF BLUES is mentioned in the text - it has just been made available as RELIC CD 7110. And according to the recent Living Blues, MR. BO did record in the spring of 1995 & did a recent Detroit TV ad! eRIC LOUIS COLLINS aka MR. BO ======================== Rein Wisse of Block Magazine rang B&R with the sad news of the death of the Detroit bluesman Louis Collins, known professionally as Mr. Bo. It appears that Collins died on September 19th, 1995, in Detroit but there was little coverage in the specialist press and the usual sources of information. Born in Indianola, Mississippi in 1932, Collins, like his brother, the bandleader Mac Collins became a stalwart of the Detroit blues scene during the barren days of the 1960s and dissapointingly he made few appearances on record, save for a handful of rare 45s. Collins left Mississippi in 1946, first moving to Chicago, then to Baldwin, Michigan in 1951, before settling in Detroit. Once in Detroit he played gigs with John Lee Hooker, Eddie Burns, Little Sonny Willis and Boogie Woogie Red, however he did not make it onto wax until 1959 when he signed with Johnnie Mae Mathews Northern label cutting Im leaving This Town/Times Hard (Northern 3731), supported by his brother Mac on bass. Four sides that were originally unissued and waxed for Lupine at the turn of the decade eventually turned up on the vinyl album Three Shades of Blues (Relic 8003)*, which also featured material by Eddie Kirkland and Bennie McCain and The Ohio Untouchables. It is also rumoured that Collins may have cut with Little Joe Blue, and Bobo Jenkins around this time. He also waxed one 45 for Reel Records, Heartache And Trouble/Calipso Blues (sic) (Reel 222). By the mid Sixties he had signed to Big D Records, a record label owned by local businessman Diamond Jim Riley who appeared to have a stranglehold on Mr. Bo's career. He issued three 45s by Mr. Bo and further sides followed on the Diamond Jim label. This association ended in 1971 when Riley was killed in a Detroit bar. Collins issued a 45 in 1972 on his own Gold Top label which was sold at his gigs. Like Little Joe Blue, Mr. Bo was notably influenced by BB King (and often dubbed by blues critics as a second rate BB King), Mr. Bo appeared, with Mac Collins band, as part of a Detroit blues package show at the 1973 Ann Arbor Blues And Jazz Festival (see review section). In B&R 51, (April 1990) in a feature on the current scene in Detroit there was talk of Blues Factory Records cutting an album with Mr. Bo, but nothing more was heard. He made a welcome visit to Europe in 1993 when he played Utrecht and in Juke Blues 30, Jonothan Varjabedian produced a fine article and interview with Collins. Sadly under recorded, Mr. Bo was one of the blues artists who kept the blues scene alive in the Motor City for over three decades. It would be interesting to find out if he ever did cut that album for Blues Factory. Tony Burke ========================================================================= Date: Mon, 18 Dec 1995 14:49:30 -0500 Reply-To: 00LCSPECTOR@BSUVC.BSU.EDU From: "Lee C. Spector" <00lcspector@BSUVC.BSU.EDU> Subject: Big band blues If you want someone who is in between big and little band blues (whatever the heck that means), you might try Calvin Owens' True Blue. He has a new album out as well with Otis Clay on some cuts, but it just hasn't gotten to the US for some reason. Lee Lee C. Spector Department of Economics ========================================================================= Date: Mon, 18 Dec 1995 12:01:17 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: SICK and TIRED ...whew! Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Nuri said, edit edit >In summary: >1. This is not about WHITE or BLACK, it's about the BLUES. >2. Most blues artists (white, black, foreign, rocking or traditional) have >contributed somewhat to the blues (from Robert Johnson, Muddy Waters, and >Lightning Hopkins, to Stevie Ray Vaughn, Eric Clapton, or Ronnie Earl). So >ACCEPT IT! Don't waste time over who's blues is it, who did it first, who >did it better... All these people have worked hard on providing us with >great music..MUSIC! > >So, please let's utilize this great technological advancement called email >and make it work to our advantage, not against us. First, relax, ok... stop yelling, and spend a little time learning where the people are at on this list before making so many judgements about them. Couple points: 1. Boogie Nation was just about disowned by JLH's management. They were clearly out of line, both in using John's name so egregiously, and in proseltyzing (sp?) the group for their ummm unique cosmological views. People felt hustled, people sensed something was not right. Those people were correct, and while they were not very patient with Hillier, they had him nailed pretty accurately so don't be too critical. This is NOT a "chat room" where phony people with CB handles for names can come to make up a world of their own choosing. The people on this list are knowledgable and will expect you to be honest and not hustle them. They are the nicest bunch in the world if you are straight with them. 2. Don't even START with the "This is not about WHITE or BLACK, it's about the BLUES." crap on THIS list. While many have contributed, and anyone can play the blues, it is ESSENTIAL to remember "who did it first". Who was/is best is opinion, who did it first is not. The blues is an African-American artform, to deny this, is not only historically false, but is suspect philosophically. As Paul Garon has noted, there HAS been white appropriation of this music, too often without even giving credit or showing gratitude.... (we'll leave the limp blimp out of this) Whites have been welcomed into the blues by the founders, and have contributed greatly. But some of the little weenies want to pretend they invented it, and deny what they owe to the founders. Those musical frauds are rightfully pilloried on this list. Do not pretend you can extract this music from its cultural roots without killing it. You cannot. So don't get sick and tired quite so quickly, ok? Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Mon, 18 Dec 1995 14:30:07 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: SICK and TIRED Comments: To: "Nuri A. Nuri" In-Reply-To: <199512181918.NAA19352@uuneo.neosoft.com> On Mon, 18 Dec 1995, Nuri A. Nuri wrote: [multiple posting stuff deleted] Exactly! That's why the FAQ says that if you ignore a topic, it will go away sooner. > In summary: > 1. This is not about WHITE or BLACK, it's about the BLUES. As a purist-in-training ;-) ;-) I have to disagree here. There are those (and I am one) who feel that the blues evolved from the Black culture and to remove the blues from its context removes some of the meaning. Therefore, discussions of culture and background are also a vital part of the list. So, if you're not into the CULTURAL aspects of the blues, hit the 'd' key as well. -Jeff (Blues-L P.I.T.) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Mon, 18 Dec 1995 12:40:11 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: A TRIBUTE TO EDDIE VINSON : MR. CLEANHEAD (PART 2 OF 3) (MERCURY RECORDS) Comments: To: BluesHvn@aol.com EDDIE "CLEANHEAD" VINSON TRIBUTE (part 2 of 3) The recent 7CD boxset, POLYGRAM 525 609 : BLUES, BOOGIE, & BOP - THE 1940S MERCURY SESSIONS, contains an 80 page booklet & for the first time Eddie Vinson's complete 1940s Mercury sessions (his 1954/55 sessions are not included) - arguable his best recordings, sides that show not only how fine a musician he was, but also how much he used humor in his music. The jazz magazine Metronome, as early as 1943, called him "The Stepin Fetchit of the Blues", and it's this side of his music that I always look for when I listen to his recordings. His very first vocal - "When My Baby Left Me" (with Cootie Williams' Orch.,) is now available on Sony/Legacy CD 53407 : Stars Of The Apollo & is performed in a 'Doctor Clayton' style, another blues artist that should be approached for humor. Lorenzo Thomas' notes to these] Mercury recordings says it best when he writes that "Unlike music of the late Fifties and Sixties that was created for a newly defined teenage market, jump jazz and blues songs were intended to amuse adults - and those trying to act grown up". Songs like "Luxury Tax Blues" (w/trumpter Clark Terry) is just the type of material that would have the audience identifying with the lyrics. And what about "Railroad Porter's Blues", a title he would perform until the 1980s & a perfect 'dance-party' song that would leave his audience screaming for more. And, let's not forget the instrumentals, as he was one hell of a sax player - "Friday Fishfry" & "Shavetail" are just 2 examples of the 'Bop' side of his music. Old time collectors should note that 7 Mercury tracks were included on the 1989 Polygram CD 838-243 : Mercury R&B Years (1946-1962) set, and 23 tracks were on the Trip, Official and Saxophonograph vinyl labels, now long deleted. Thirteen are unissued or new to reissue. I've compared the discographies in Blues & Rhythm #20 (June 1986, by Dave Penny & Tony Burke) & the enclosed booklet (by Kiyoshi Koyama) with THE MERCURY LABELS : A DISCOGRAPHY V. 1 : THE 1945-1956 ERA / Compiled by Michel Ruppli and Ed Novitsky (Greenwood Press, December 1993), the single best source when it comes to Mercury Records. I'll be reviewing this important discography on January 11, Berle Adams' 79th birthdate. Adams was co-founder of Mercury Records, a label that first started up in 1945. This label is one of two independent labels (the other being Capitol Records) formed in the 1940s that is now considered a major (it is part of Polygram Group of labels). The variety of artists they recorded is truly outstanding (the discography is in 5 volumes, with over 4000 pages!), and with this new Polygram set and the proposed "Mercury Blues Story" (four 2CD sets) in 1996, all blues fans are in for a surprise. part 3 of 3 : THE MERCURY SESSIONS CON'T/SELECTIVE CD DISCOGRAPHY ========================================================================= Date: Mon, 18 Dec 1995 14:41:27 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: MR. BO, DETROIT BLUESMAN, DIES AT 63 Comments: To: Eric LeBlanc-CISTI In-Reply-To: <9512181934.AA14314@dao.nrc.ca> Mr. Bo never did the Blues Factory session, but cut a whole CD worth of material within the last year for someone in Toledo who is trying to place it. He also has one cut on the live CD of the Detroit Blues set at Ann Arbor '73 on Schoolkids. ========================================================================= Date: Mon, 18 Dec 1995 16:20:53 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: BIG_BAND_BLUES!! Comments: To: aaschuna@facstaff.wisc.edu On December 18, Art Schuna wrote: In article <199512181756.MAA20783@mirage.formtek.com>, Sanjay Rajan says: > > > In the wee hours of this morn', I was listening to > Steve Cushing's BLUES BEFORE SUNRISE on NPR... > He mentioned BIG BAND BLUES, blues played big band > style and JIMMY SIMMING [not very sure of this name...] >>>Your probably looking for Jimmy Rushing, also known as "Mr >>>Five By Five" >>>because he was about as wide as he was tall. He was the >>>vocalist for >>>Count Basie's band for a time and that could very well be >>>what you heard. >>>He sang in the Blues Shouter style popular in the 40s and >>>early 50s. If I >>>remember correctly, he got his start in Kansas City. Art is probably right that it must have been Jimmy Rushing that you heard. It should be remembered that Rushing was honored by the US Postal Service with a commemorative stamp (along with Muddy, Wolf, Bessie, etc.) last year. If you like big band music from the Swing Era, the Government has four more stamps coming in 1996. These will honor Tommy & Jimmy Dorsey, Glenn Miller, Benny Goodman and Count Basie. Dick Waterman ========================================================================= Date: Mon, 18 Dec 1995 13:27:58 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: A TRIBUTE TO EDDIE VINSON : MR. CLEANHEAD (PART 3 OF 3) (DISCOGRAPHY) Comments: To: BluesHvn@aol.com EDDIE "CLEANHEAD" VINSON TRIBUTE (part 3 of 3) After consulting with the Billboard issues for 1945 and Record Research (where Novitsky's original research was published), I've noticed a few corrections when it comes to Eddie Vinson's Mercury sessions that I'll just summarize (as it'll only make sense if you have the set & the Mercury Label discography) : 1) most important is that Eddie Vinson signed with Mercury Records on November 10/1945, issuing Mercury 8003 about a week later. So, correct all discographies to read his first Mercury session as early November/1945. 2) As per Ruppli & Novitsky, Mercury 2030/2031 were acquired from Ben Bart's Hub label (formed on May 14, 1945), AND since Eddie Vinson left Cootie Williams Orchestra in early September, opening on October 15 at the Rhumboogie with his own orchestra & Ben Bart's Universal Attraction handling the bookings, I suggest Mercury 2030/2031 were recorded in October/1945. Reference : ========= The Mercury Labels: A Discography (Five Volumes) ------------------------------------------------ Compiled by Michel Ruppli and Ed Novitsky. Greenwood Publishing Group, 88 Post Road West, Box 5007, Westport, CT.06881-5007. Toll-Free: 1-800-225-5800; Tel: 203-226-3571 ; Fax : 203-222-1502 ; Web Site SELECTIVE CD DISCOGRAPHY ======================== BLACK LION 760188 : EDDIE 'CLEANHEAD' VINSON - JAMMIN' THE BLUES DELMARK 631 : EDDIE 'CLEANHEAD' VINSON - KIDNEY STEW IS FINE FANTASY OJC 868 : EDDIE 'CLEANHEAD' VINSON - I WANT A LITTLE GIRL (Riverside) FANTASY 9647 : ETTA JAMES/EDDIE VINSON - BLUES IN THE NIGHT FANTASY 9655 : ETTA JAMES/EDDIE VINSON - BLUES IN THE NIGHT - LATE SHOW JSP 223 : EDDIE 'CLEANHEAD' VINSON - MEAT'S TOO HIGH JSP 253 : EDDIE 'CLEANHEAD' VINSON - MEAT'S TOO HIGH/FUN IN LONDON KING 634 : BATTLE OF THE BLUES V. 3 : VINSON/JIMMY WITHERSPOON KING 668 : BATTLE OF THE BLUES V. 4 : VINSON/ROY BROWN/WYNONIE HARRIS LANDMARK 1309 : EDDIE 'CLEANHEAD' VINSON - CLEANHEAD & CANNONBALL MUSE 5116 : EDDIE 'CLEANHEAD' VINSON - CLEAN MACHINE MUSE 5208 : EDDIE 'CLEANHEAD' VINSON - LIVE AT SANDY'S MUSE 5282 : EDDIE 'CLEANHEAD' VINSON - AND ROOMFUL OF BLUES MUSE 5310 : EDDIE 'CLEANHEAD' VINSON - SINGS THE BLUES ONE WAY 22169 : EDDIE 'CLEANHEAD' VINSON - CHERRY RED PABLO 2310927 : OSCAR PETERSON/HARRY EDISON/EDDIE VINSON POLYGRAM 525 517 : VARIOUS - BLUES BOOGIE & BOP - BEST OF THE 1940S .... POLYGRAM 525 609 : BLUES, BOOGIE, & BOP - THE 1940S MERCURY SESSIONS (7CD) POLYGRAM 838 243 : VARIOUS - MERCURY R&B (1946-1962) (2CD) SONY/LEGACY 53407 : VARIOUS - STARS OF THE APOLLO (2CD) SOUTHLAND 29 : EDDIE 'CLEANHEAD' VINSON - KIDNEY STEW ========================================================================= Date: Tue, 19 Dec 1995 08:37:13 +22303754 Reply-To: David Blanken From: David Blanken Subject: Re: Get Muddy A Band In-Reply-To: <951218095508_93364619@emout04.mail.aol.com> On Mon, 18 Dec 1995, Bernie Clarke wrote: > In a message dated 95-12-18 01:18:49 EST, you write: > > >Guitar: Rick Estrin and John Mooney > > > >Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu > >LaGrange, Il USA > >"Giving money and power to government is like > > giving whiskey and car keys to teenage boys"--P.J. O'Rourke > > > > > > > So when's Rick learning to play guitar? I think (at least I hope you are > thinking of Charlie Baty - the guitar player in Little Charlie and the > Nightcats). > > BC Actually, Rick can play guitar quite well. When the Nightcats toured here (Australia) last year, Little Charlie whipped out a harp and played a slow blues to die for. Rick Estrin just shrugged his shoulders and picked up Charlies guitar and proceeded to get way down in the alley. Needless to say, the crowd was floored! He played in an early Muddy style (fingerpicked, electric delta blues) which is probably why Rob thought he would be a good choice to play in Muddy's "comeback" band. :-) -Dave- ========================================================================= Date: Mon, 18 Dec 1995 15:07:36 +0000 Reply-To: boogienation@earthlink.net Comments: Authenticated sender is From: Boogie Nation Subject: Richard Hillier > Perhaps the "other BN partner" should have been reading the posts. How > were we misunderstanding Richard when he said he was 30 feet from > John Lee. Or when he told us how they used the same bathroom. He > didn't say "John Lee used to live here". He didn't say "I use a > bathroom that John Lee used to use when he lived here". Richard's > intent clearly was to deceive. > You leave me no choice but to defend my finance. Yes John Lee's house is for sale but he didn't 'used' to live here. John Lee usually comes down every two weeks or so spending equal time in Northern California and Southern California. His house has been on the market for about a month and a half so he has been up north while for the last month or so while they show the house. This does not mean he used to live here. If he were to go on tour for 5 months does that mean that he no longer is living in his house? Richard's intent was not to deceive but to give a rare look at his step-father's life. Richard moved from Vancouver to help care for his step-father and look after his home. Out of ALL the people in John Lee's life, he trusted Richard to watch over his cars, his beautiful home, his awards, and everything else he owns in Southern California. When John Lee is down, Richard is the one who John Lee calls wanting a glass of water and something to snack on in the middle of the night. Richard is the one who drives him to the gigs or shoots. Richard is the one who reads him the mail. Richard is the one who sits at the end of his bed and talks to him if he cannot sleep. I'm tired of my finace getting bashed. Sure Richard did not go about the proper way of posting our articles. But our newsetter is a great attempt to really give John Lee's fans a taste of was life is like for the Boogie Man with articles, photos, etc from OUR point of view and way of expressing it (just like a movie gets reviewed in many ways in different magazines and newspapers). If we were trying to sell this newsletter on you then Richard wouldn't of posted them. But I guess whatever Rosebud says sticks and John Lee Hooker's love and bond towards Richard and I ends up in the trash. Melissa ========================================================================= Date: Mon, 18 Dec 1995 15:07:56 -0700 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: FREE SEX PICTURES & VIDEOS Comments: To: John Groseclose In-Reply-To: <4b32n9$3uq@news-e1a.megaweb.com> Is this the new blues list? Perplexed in the Rockies, Jay Watterworth CU Boulder On Mon, 18 Dec 1995, John Groseclose wrote: > Thousands of the most sexually explicit, erotic photos and AVI files > ever digitized, absolutely free, culled from the worlds sexiest BBS's. > Join my free mailing list for a complete index of each available file, > and where to download it from. > > Simply send "request list" message to: > caradoc@neta.com. > ========================================================================= Date: Mon, 18 Dec 1995 16:16:07 -0600 Reply-To: "Norman W. Mangum" From: "Norman W. Mangum" Subject: Dave MacKenzie Don O. posted an interesting review of Dave MacKenzie last week. Dave was down in Galveston this past weekend, so I got a chance to check him out. If you're into acoustic blues (ala John Hammond), you need to see this guy perform. He plays solo, does almost entirely original stuff, about 90% done with slide on a National. Very good voice, very good lyrics, very good guitar playing. Most of his tunes have a humorous slant. Due to Galveston being fogged in (about 1/8 mile visiblity), the paying customers consisted mostly of my wife and I. There was a stray dog there also (seriously), but I don't think he paid the $2 cover. We got to the Acoustic Cafe while the juke box was still playing, and left when Dave gave up at 1:30 or so. He's a very talented and totally dedicated musician who's worth going out of the way to see. I bought both of his CD's from him on the spot - "Rats In My Bedroom" and "Slender Man Blues" (released on Hey Baby! Records, P.O. Box 150081, Nashville, TN 37215). He's one of the most entertaining guys I've seen in a long time. If you get the chance to see him, don't pass it up.... ========================================================================= Date: Mon, 18 Dec 1995 17:15:10 -0500 Reply-To: Ncta From: Ncta Organization: America Online, Inc. (1-800-827-6364) Subject: Echoes of Africa-East Coast Tour Comments: To: bit-listserv-blues-l@uunet.uu.net Echoes of Africa A National Tour Exploring the African-Folk Origins of American Popular Music and Dance The Echoes of Africa tour offers a glimpse of the African origins of American popular music and dance. Songs, rhythmic traditions and Gullah stories from the Georgia Sea Islands and Piedmont blues from Virginia are juxtaposed against kora (harp) playing and drumming from West Africa and modern tap, a 20th century popular music dance form that evolved from the African juba dance. Featured performers are: SenegaleseJalie, kora player and drummer Djimo Kouyate; Premier Piedmont Blues performers John Cephas and Phil Wiggins; Philadelphia's tap master LaVaughn Robinson; and "The Georgia Sea Island Singers" Frankie and Doug Quimby. Date Sponsor/Venue Performance Time For Additional Info. CALL: 2/1/96 State Theater 10:00 am/8:00 pm BOX OFFICE 15 Livingston Ave. 908-246-7469 New Brunswick, NJ 08901 2/2/96 The Concert Society at Maryland 8:00 pm BOX OFFICE University Of Maryland 301-403-4240 University College Inn & Conference Center Auditorium Adelphi Rd. at University Blvd. 2/3/96 International House 8:00 pm INT'L HOUSE Hopkinson Hall 215-387-5125 Philadelphia, PA 2/4/96 Montgomery Co. Community College 3:00 pm BOX OFFICE Science Center Theater 215-641-6645 340 Dekalb Pike Blue Bell, PA 19422-0758 2/5/96 State Theater 8:00 pm BOX OFFICE 109 West State Street 607-273-2781 Ithaca, NY 14850 2/8/96 Eau Claire Regional Arts Center 7:30 pm BOX OFFICE 201 S. Barstow Street 715-832-2878 Eau Claire, WI 54702 2/9/96 Grand Opera House 10:00 am BOX OFFICE 100 High Avenue 414-424-2355 Oshkosh, WI 54902-1004 Univ. of W., Oshkosh 12:40 pm Musical Hall 2/10/96 The Field Museum 8:00 pm Old Town School 909 Armitage at Lake Shore of Music Chicago, IL 60614 312-525-7793 2/15/96 E.J. Thomas Hall 7:30 pm BOX OFFICE University of Akron Akron, OH 44325-0501 2/18/96 Cottingham Theater 5:00 pm Let's Share, Inc. Columbia College 803-786-7907 1301 Columbia College Dr. Columbia, SC 29203 2/21/96 Tubman African American Museum 3:00 pm BOX OFFICE 340 Walnut St. 912-743-8544 Macon, GA 31201 Grand Opera House 7:00 pm BOX OFFICE 651 Mulberry St. 912-752-4177 Macon, GA 32101 2/25/96 George E. Ohr Arts Center 3:00 pm Ohr Center 136 G.E. Ohr St. 601-374-5547 Biloxi, MS 39530 2/26/96 Saenger Theater 8:00 pm BOX OFFICE 416 Reynoir Blvd. 601-435-6291 Biloxi, MS 39530 ========================================================================= Date: Mon, 18 Dec 1995 15:49:32 -0700 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: SICK and TIRED Comments: To: "Nuri A. Nuri" In-Reply-To: <199512181918.NAA19352@uuneo.neosoft.com> It is like sitting around with your friends and just talking. Anything that comes up is OK. Who needs a Mother to tell us what to or not to say? Here is another one, just like the other ones, wasting space and time to tell us not to waste space and time. Next time you buy a computer, get one with a delete key. Am I missing something? Jay Watterworth CU Boulder On Mon, 18 Dec 1995, Nuri A. Nuri wrote: > Friends, > > Since joining this discussion group a few months ago, I have noticed a trend > in which some people like to dwell on a subject for a long time; and > frankly, I am SICK and TIRED of this. I've read messages on 'who's music is > it', 'who performed this first', 'black blues', 'white blues', 'items for > sale'... > > Take, for example, the Boogie Nation issue. I have read more messages from > people's opinion on this matter than messages from the Boogie Nation itself! > In other words, a lot of times it is not messages from the likes of the > Boogie Nation that will cause many to drop out of this list, but the > (never-ending) comments on the subject that will. > > I'ld like to think of this group as an avenue in which we can communicate > ideas and thoughts, exchange information, or better our knowledge of the > blues, be it by reading an article on the life or accomplishments of a blues > person, or by learning of a newly released CD, or obtaining a web page of a > blues site. So, if someone wants to sell (or buy anything), print a > newsletter article, or give his opinion on a matter, it's OK.. LET IT BE! > With email you have a choice; and that is: Read part of a message, all of > it, or none of it! Of course there's always the...DELETE key. > > In summary: > 1. This is not about WHITE or BLACK, it's about the BLUES. > 2. Most blues artists (white, black, foreign, rocking or traditional) have > contributed somewhat to the blues (from Robert Johnson, Muddy Waters, and > Lightning Hopkins, to Stevie Ray Vaughn, Eric Clapton, or Ronnie Earl). So > ACCEPT IT! Don't waste time over who's blues is it, who did it first, who > did it better... All these people have worked hard on providing us with > great music..MUSIC! > > So, please let's utilize this great technological advancement called email > and make it work to our advantage, not against us. > > Recpectfully, > Nuri Nuri, Host/Producer > "Off the Clock" blues show, 90.1FM - KPFT, Houston > ========================================================================= Date: Mon, 18 Dec 1995 15:41:58 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Richard Hillier Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Melissa said: > You leave me no choice but to defend my finance. okay.... You want start with dueling Mastercards at 20 paces or what?? > Richard's intent was not to deceive but to give a rare look at his > step-father's life. Then he should have been a whole lot more forthcoming and coherent. > Richard moved from Vancouver to help > care for his step-father and look after his home. Out of ALL the people in >John > Lee's life, he trusted Richard to watch over his cars, his beautiful home, > his awards, and everything else he owns in Southern California. When > John Lee is down, Richard is the one who John Lee calls wanting a glass of > water and something to snack on in the middle of the night. > Richard is the one who drives him to the gigs or shoots. Richard is > the one who reads him the mail. Richard is the one who sits at the > end of his bed and talks to him if he cannot sleep. I'm tired of my > finace getting bashed. Finace.... isn't that the Italian lawn bowling game? Who is bashing that? Oh, and BTW, lots of us are interested in Richard's stories, we really are. But he didn't start with stories. He started by hustling us, preaching to us, then retreated to stories when he was called on it. I really wish he had started with these things that we all care about. He has exhibited a really awful attitude towards this list from day one IMO. > Sure Richard did not go about the proper way of posting > our articles. But our newsetter is a great attempt to really give John > Lee's fans a taste of was life is like for the Boogie Man with > articles, photos, etc from OUR point of view and way of expressing it > (just like a movie gets reviewed in many ways in different magazines and > newspapers). If we were trying to sell this newsletter on you then > Richard wouldn't of posted them. Then why did it seem so much like an infomercial instead of a newsletter? > But I guess whatever Rosebud says sticks and John Lee Hooker's love > and bond towards Richard and I ends up in the trash. Rosebud has behaved in a professional and informative manner... "Boogie Nation" has not. That is why they have credibility and you don't. Maybe yours and JLH's love for each other simply doesn't belong in the public eye... Have you considered that? Didn't Elvis have people like this surrounding him as well?? Scary stuff... Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Mon, 18 Dec 1995 18:30:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: "not about black and white" Following is a diatribe from a crabby person who's has been sleeping on a @@***!! FUTON for a week and every muscle is aching fit-to-kill. My bed arrives on Thursday, thank heaven. "Nuri A. Nuri" wrote: " This is not about WHITE or BLACK, it's about the BLUES" I don't agree!! Dammit! : It always makes me mad to see this - because for over twenty years I have promoted black blues musicians. While there are so many more of them, it is the Claptons, the Winters, the Vaughans, who get the big bucks and the recognition. Today in my town, just two and a half hours from Chicago, the clubs are full of local white blues bands while many great and talented black Chicago musicians often sit home on weekends. When I win the lottery and open my club, things are gonna change. We're gonna have Willie Kent, Johnny B. Moore, Lee "Shot" Willaims, Otis Clay, Cicero Blake, Byther Smith, etc. instead of "Muskie Mike and the Mad Dogs from Mars". I don't happen to believe Nuri's statement - it's just his opinion *NOT* an ETERNAL TRUTH. He may be speaking for many, but he is definitely not speaking for me! I do like a few white musicians, but they are very special cases; they have and can demonstrate empathy with the culture that created this music. It *IS*, in my view, a BLACK music that *some* people other than black can play well. To me, blues is just as black as funk, soul, R&B, hip-hop, gospel, etc. I thought of another example to try to make the case that it is the CULTURE, not the skin color, not the pigmentation that makes a person or group's music special: Take the case of Bluegrass music. All (as far as I know) of the musicians are the SAME COLOR: White/Caucasian. Your best players will come from the American Appalachian mountain region where they heard the music from birth and learned from their parents, grandparents, friend and neighbors. There will be culutural nuances in their style that bands composed entirely of people from Des Moines,Iowa or Stuttgart, Germany - to grab a few geographic names out of the hat -just aint gonna have, unless they posess extraordinary empathy. Fans of this music who listen to it for a long time and have a good ear, are going to gravitate toward and be chiefly satisfied by the musicians with roots in that mountain music. And here's another thing - I was once heavily into classical music. I liked all the Russian composers (their stuff is pretty emotional too) but the first time I ever heard a Russian symphony played by a Russian orchestra - it was a revelation - I heard things I never heard before. So as Don said, culture can't be given short shrift. So - this is my OPINION and my PREFERENCE and the way I see it: please don't make blanket statements for ME! I don't agree and I suspect some others - more diplomatic than I - feel the same way. feeling grinchy in Mad-City, Bonnie ========================================================================= Date: Mon, 18 Dec 1995 18:36:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Mr. Bo I saw "Mr. Bo" at long last in Toledo a few years ago. not only did his guitar sound a lot like B.B.'s, but his voice was so close it wasn't easy to tell the difference at first hearing. -BK ========================================================================= Date: Mon, 18 Dec 1995 20:16:24 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Blue Soul Christmas Playlist Here's the playlist for the Christmas edition of Blue Soul -- Toronto, CKLN 88.1 FM, Wednesday December 20, 8pm-10pm. If you're in the area, please listen in. My favorite feature in this list: 3 very different recordings of Merry Christmas Baby, played back-to-back, and later, two very different versions of White Christmas. As always, this playlist is subject to change, basedsolely on the whims of the host (me). (Thanks to everyone who sent suggesations for cold weather songs ... it's warmed up a bit, so I'll save them for later in the winter.) Chuck Berry: Run Rudolph Run. The Moonglows: Hey Santa Claus. Oscar McLollie: Dig that Crazy Santa Claus. Mabel Scott: Boogie Woogie Santa Claus. Charles Brown: Boogie Woogie Santa Claus. Charles Brown: Merry Christmas Baby. Otis Redding: Merry Christmas Baby. Ike & Tina Turner: Merry Christmas Baby. Jimmy Witherspoon: Christmas Blues. Julia Lee: Christmas Spirit. Johnny Winter: Please Come Home for Christmas. Lloyd Glenn: Christmas Celebration. Earth Kitt: Santa Baby. Pearl Bailey: Five Pound Box of Money. William Clarke: Please Let Me Be Your Santa Claus. Tinsley Ellis: Santa Claus Wants Some Lovin. Sonny Boy Williamson: Santa Claus. The Martels: Rockin Santa Claus. Johnn Otis/Little Esther: Christmas Greetings/Faraway Christmas Blues. Earl King: Santa Don't Let Me Down. Huey Piano Smith: Silent Night. Staple Singers: Who Took the Merry Out of Christmas. The Drifters: White Christmas. Otis Redding: White Christmas. Jack Dupree: Freedom. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Mon, 18 Dec 1995 19:12:35 -0800 Reply-To: Maggie Mortensen Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Maggie Mortensen Organization: Exarch Services Subject: Please don't delete! NOT a flame! Comments: To: boogienation@earthlink.net Melissa: As a new subscriber to Blues-L, I for one am very sorry to hear that this was your last post. I came in on the tail end of this controversy, and only saw the last few messages, so I don't really know what the allegedly offensive material was, but as a rabid JLH fan, I can't imagine that there would be *anything* posted about the esteemed Mr. Hooker that I would NOT be interested in. I do computer consulting for a jazz organization, and I routinely post information to relevant music newsgroups about their upcoming gigs all over the country, and not once has anyone ever responded with anything but enthusiasm about the fact that I do this--and certainly a press release about musicians' gigs should be considered "marketing". Shouldn't we all assume that readers of music newsgroups would be more interested than anyone else in the comings/goings/doings of the musicians discussed? I'm emailing this to you as well as posting to Blues-L in hopes that you have the wherewithall to pass along to JHL that he is THE reason I became interested in authentic blues music at all; I think he is the greatest blues musician ever, living or dead, and that his last two CDs show that he is still at the absolute peak of his power....may he live to be two hundred and may be continue to thrill us all as he does today! Many thanks and warm regards to you both-- Maggie Mortensen New Orleans USA PS: ...and please let me know if you switch your allegiance to another blues group (such as rec.music.bluenote.blues) so that I can catch up with you there! ========================================================================= Date: Mon, 18 Dec 1995 17:31:26 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: "not about black and white" Comments: To: BLUES-L@BROWNVM.BROWN.EDU. >"Nuri A. Nuri" wrote: >" This is not about WHITE or BLACK, it's about the BLUES" Bonnie said: >I don't agree!! Dammit! : > >It always makes me mad to see this - because for over twenty years >I have promoted black blues musicians. While there are so many >more of them, it is the Claptons, the Winters, the Vaughans, who get the >big bucks and the recognition. Today in my town, just two and a half hours >from Chicago, the clubs are full of local white blues bands while many great >and talented black Chicago musicians often sit home on weekends. When I >win the lottery and open my club, things are gonna change. We're gonna have >Willie Kent, Johnny B. Moore, Lee "Shot" Willaims, Otis Clay, Cicero >Blake, Byther Smith, etc. instead of "Muskie Mike and the Mad Dogs from Mars". Bonnie, I couldn't agree more. there's room for both, but not at the expense of the culture that created it. >I don't happen to believe Nuri's statement - it's just his opinion *NOT* >an ETERNAL TRUTH. He may be speaking for many, but he is definitely not >speaking for me! I do like a few white musicians, but they are very special >cases; they have and can demonstrate empathy with the culture that >created this music. It *IS*, in my view, a BLACK music that *some* people >other than black can play well. To me, blues is just as black as funk, soul, >R&B, hip-hop, gospel, etc. I couldn't play blues worth a damn till I saw BB, Sonny and Brownie, and went to CHURCH! You know, real church... There is nothing like a black church with a great choir and preacher to find out if you have a heart or not, and if you do, you WILL be moved. You ain't gonna get it by listening to SRV or EC, et al, even though I love Stevie to death. HE would tell you to get back to the Alberts, to Freddie, to BB to Buddy, and the "old guys" who started it all. Not to Led Zep or someone. And even Jimi would've pointed you back to the founders. God help us if we ever forget this. >I thought of another example to try to make the case that it is the >CULTURE, not the skin color, not the pigmentation that makes a person or >group's music special: > >Take the case of Bluegrass music. All (as far as I know) of the musicians are >the SAME COLOR: White/Caucasian. Your best players will come from the >American Appalachian mountain region where they heard the music from birth and >learned from their parents, grandparents, friend and neighbors. There will >be culutural nuances in their style that bands composed entirely of >people from Des Moines,Iowa or Stuttgart, Germany - to grab a few geographic >names out of the hat -just aint gonna have, unless they posess extraordinary >empathy. Fans of this music who listen to it for a long time and have a >good ear, are going to gravitate toward and be chiefly satisfied by >the musicians with roots in that mountain music. Well the theory is good, but I *have* to tell you about one of my friends named Curtis Wright. Curtis is black and has won the CA banjo competition several times and placed second a bunch more. He is a SCARY banjo player. So powerful and so musical it's just amazing. One of the top ten in the world IMO.... BTW, he pulled out my dobro and took that big ole right thumb, and blew me away with a great delta blues thing... I've known him for years and never heard him do that! I've played in bluegrass bands with him, and never heard him do that! Personally, I think the guy is descended from African royalty somewhere. What I saw in him was that enormous heart, that empathy, and he was able to draw on his rural heritage with pride and play that banjo. I think you can play things outside of your own culture, but only AFTER they become part of you. Then it IS your culture. But you cannot go put on a hat and shades and be a "bluesman", that's for sure. >And here's another thing - I was once heavily into classical music. >I liked all the Russian composers (their stuff is pretty emotional too) >but the first time I ever heard a Russian symphony played by a Russian >orchestra - it was a revelation - I heard things I never heard before. That's for sure. And get rid of that dang futon! Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Tue, 19 Dec 1995 01:54:55 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Sorry, but I need help!!! Comments: To: bit-listserv-blues-l@uunet.uu.net In article <9512160902.AA06014@bach.ccinet.ab.ca> Gary Constantine writes: >I realize that folks have been talking about Xmas blues music for the last >couple of weeks, and I have to admit that I have been using my delete key >every time I saw the subject pop up. In addition to those suggestions you've deleted (e.g. Charles Brown's "Cool Christmas Blues", the recent Black Top Blues comp), Rhino's Doo Wop Christmas (R2 71057) and one of the strangest, yet most interesting variety of music may be found on "Christmas Party With Eddie G." (Columbia CK46919). There are a few blues tunes on here including Rufus Thomas, "I'll Be Your Sant Claus", Fab Thunderbirds ""Merry Christmas Darling", Huey Piano Smith "All I Want For Christmas (Is A Little Bit of Music)" interspersed with the 3 Stooges, Eddie Lawrence (The Old Philosopher) and other humorous bits. Snap it up if you can find it. Art Schuna ========================================================================= Date: Mon, 18 Dec 1995 20:53:42 -0500 Reply-To: "Alan C. Rollins" From: "Alan C. Rollins" Subject: Son House Headstone I would be interested in Blues-L taking on helping to get a headstone for Son House or any other artist we can verify as deserving. There is a group out of Missippi (actually it is one man in New Jersey who is an accountant) which does this regularly. I am just thinking we might help out via the people we know and/or with money. There are also the many who are not getting a square deal on their contracts and even lack of contracts. We as the lovers of Blues could get involved in shedding some light on these situations hoping that we can move mountains just a little in the favor of these artists who deserve better. Just a thought of the season. Merry Merry to you all and to all of yours a Happy Happy. ACR ========================================================================= Date: Mon, 18 Dec 1995 18:08:52 -0800 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Mardi Gras Indians Comments: To: bit-listserv-blues-l@cs.washington.edu Hi all; OK, it's not quite blues, and it's not quite seasonal, but I'm at a loss for where to find more info on Mardi Gras Indians, their music and origins; I just plowed through the brand new 2 story Barnes and Noble (best blues "library" in Seattle that I've found so far) and the closest I could come was Dr. John's autobiography. Can someone please point me toward sources that I might at least ask a bookstore to order? Thanks, Adrian ========================================================================= Date: Tue, 19 Dec 1995 13:57:17 +22303754 Reply-To: David Blanken From: David Blanken Subject: Xmas blues Hi, everybody! I was my local record bar a couple of days ago where I bought Vols. 1 and 2 of "Ichiban blues at Christmas". These 2 CD's are blues tunes with Xmas themes by artists signed to the Ichiban record label (Jerry McCain, Chick Willis, Gary B.B. Coleman, Trudy Lynn, William Bell, Drink Small etc). They are great records with a good mix of shuffles, slow blues and ballads. I hadn't heard anybody mention these earlier in the thread. Does anybody have these and what do they think of them? Regards, Dave ========================================================================= Date: Mon, 18 Dec 1995 22:29:03 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Sitting&Thinking-Jimmy Johnson. Come visit the new home of NY CD Blues http://www.island.net/~blues/nycd.html JIMMY JOHNSON - Johnson's Whacks (#DD 644) DELMARK RECORDS 4121 NORTH ROCKWELL CHICAGO, IL 60616 I like to call Jimmy Johnson an impresario. He certainly has the credentials. Moreso, he's got the juice. These 10 cuts form a good look at one of Chicago's premier bluesmen. Backing Mr. Johnson is a stellar cast. Carl Snyder on piano, Ike Anderson on bass, Dino Alvarez on drums, Rico McFarland on rhythm and Jerry Wilson on tenor sax. Each musician gives you reason to listen for them, and together they play out a set of very solid blues. Jimmy Johnson's sound is a very distinctive sound. No one can copy his shrill, raunchy vocals and his guitar is easy to pinpoint. He likes to play his axe at the head of the strings and match his voice with a high ranging quick finger picking pace. Generally his energy is high and often explosive. He can cut a shuffle or a solid floor-dancing tune just as easy as he pours his heart into a deep brooding cut. This CD gives the full range of his playing. THE TWELVE BAR BLUES / ASHES IN MY ASHTRAY / I STAND ALONE / SLAMMING DOORS / TAKE FIVE / STRANGE HOW I MISS YOU / POOR BOY'S DREAM / I NEED SOME EASY MONEY / DRIVIN' NAILS IN MY COFFIN / JOCKEY SPORTS NYCD-Takes THE TWELVE BAR BLUES: Twelve Bar Blues is a dance tune - quick paced and musical. It features all of the instruments quite clearly. The sax runs and piano riffs are nicely accented while Jimmy plays some scorching front and center guitar work. He definitely is low down on the neck for much of this piece. Carl Snyder gets a very nice fronted solo that is just plain good piano. A nice way to start out a very good CD. ASHES IN MY ASHTRAY: As I said, Mr. Johnson is just as comfortable in the dark blues as he is in the flying tunes. Here he gets sad and broody and takes his guitar tones down a couple of notches. This is a classic another man blues side. Dino Alvarez pounds some strong accompaniment here to the single note picking style, set with some wah-wah overtones, by Jimmy Johnson. I STAND ALONE: A very complex opening here by Jimmy Johnson sets up this cut. It is a strong hearted blues tune with a mildly set pacing - not slow and dark, nor is it hopping. Jimmy's vocals here account for 90% of the sound and well done. The closing bars pit Carl Snyder right up against the mic. SLAMMING DOORS: Jerry Wilson sits right behind Mr. Johnson here in a very musical cut. All throughout this side that sax is right there. This side also features a long solo guitar by Jimmy that is played right down the middle - serious blues without any squealing or excess of bass. TAKE FIVE: A sweet little cut that has Jimmy Johnson telling the audience that they are taking a break. Interesting and playful since this is a studio session. It does however turn out to be a jazzy instrumental that is rather luscious. Jimmy's guitar is fatter than on most of the other cuts and swoops to the beat. This is really a band side with no special solo breakouts. It is a great break if they were in a club that I was attending. Strongly recommended to listen to. STRANGE HOW I MISS YOU: Jimmy Johnson is back at the dark end of the blues. Slowly the song unfolds with plenty of Mr. Johnson's squealing guitar. At a tad under one minute he breaks the instrumental with a classic sounding Jimmy Johnson vocal. This side follows up nicely to the pacing and style of Take Five that preceded it - pointing to the nice production qualities of this CD and the intelligent selection of song order. POOR BOY'S DREAM: The pace now rises. This is the first funk side to this CD. It has a quick shuffle base and a break neck pacing. Even Mr. Johnson's vocals are running the race. As a standout addition there is a nice solo played by Jerry Wilson on his tenor sax. This solo also provides a nice jazz root to this cut. I like the mix of funk and swing and jazz here a lot. I believe you will too. This is a far cry from straight ahead blues and shows off the range Mr. Johnson has. I NEED SOME EASY MONEY: Once again it all slows down. Jimmy is talking the blues - singing his need for easy money. His vocals here are the most stretching on this CD. The cut features a very strong blues to R&B crossover that is both rare for Mr. Johnson and also makes one wonder why he does not do more of it. This is the sweetest and lyrically most beautiful side to this whole set. Certainly make this your first play cut. DRIVIN' NAILS IN MY COFFIN: This song is a cowboy tune played wayout Texas style. I have certainly never heard Jimmy Johnson do this kind of music before but taking the overall range of song selection on this CD it is very obvious that Jimmy Johnson is out looking to show off a lot of his range and a lot of his talents. Like many other bluesman Mr. Johnson handles the western sound quite well. JOCKEY SPORTS: To close out this set the band takes on a hard pounding beat driven side. Obviously the drums and the bass are in your face - and rightly so. Mr. Johnson sings this one pretty straight ahead with a fine set of solos on the piano, the guitar and the drums as fills being lyrics. A great send off to a big CD. Reviewed By Barry Silverberg Copyright NY CD Blues - 1995 http://www.island.net/~blues/nycd.html NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Mon, 18 Dec 1995 22:22:24 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Blue Soul Christmas Playlist At 2:16 PM 12/18/95, Ian Angus wrote: >The Drifters: White Christmas. >Otis Redding: White Christmas. Two questions here: 1 - The Drifters "White Christmas" (which I dearly love) is, I think, an almost exact cover of the Dominoes "WC", which, I think, is an almost exact cover of the Ravens (?) "WC". Who sang lead on the Dominoes version? Was it Jackie Wilson? (This is a question from someone on alt.r&r.oldies.) 2 - Where is this? Is it on the Stax singles box set? David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Mon, 18 Dec 1995 20:24:04 -0000 Reply-To: James Witteveen From: James Witteveen Subject: Re: Sitting&Thinking-Jimmy Johnson. > I like to call Jimmy Johnson an impresario. He certainly has the > credentials. Moreso, he's got the juice. These 10 cuts form a > good look at one of Chicago's premier bluesmen. Backing Mr. > Johnson is a stellar cast. Carl Snyder on piano, Ike Anderson on > bass, Dino Alvarez on drums, Rico McFarland on rhythm and Jerry > Wilson on tenor sax. Each musician gives you reason to listen > for them, and together they play out a set of very solid blues. What follows is a positive review of `Johnson's Whacks' by Barry Silverberg ... My reply: This is amazing! I was going to post a note to the list tonight about this album - I just bought it over the weekend on the strength of hearing `I Need Some Easy Money' on the Delmark sampler disk. This is one of my favorite recent purchases - I love the voice, the guitar, the excellent lyrics, and the inventive melodies. I was going to ask what other Bluezellers thought about this one, and if anyone has any recommendations of his other work. This is a great one. -Jim (hndful@uniserve.com) ========================================================================= Date: Mon, 18 Dec 1995 23:24:33 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Son House Headstone Comments: To: blzlynx@polaris.net >>>I would be interested in Blues-L taking on helping to get a >>>headstone for >>>Son House or any other artist we can verify as deserving. Alan: Since you are the list owner, you should be reading the messages that are being posted. This matter has already been dealt with over a week ago. Son House HAS a headstone. It is already in place and the Detroit Blues Society is working toward creating a memorial park for music events in a section of the cemetary that will be named in Mister House's memory. I am familar with Skip Henderson (of New Jersey) and the fine work that he does in maintaining grave sites. If anyone is inclined toward donating to his Mount Zion organization, I will provide his address and 501(c) Federal ID number. Have a happy holiday season . . You understand, Alan? Son House HAS a headstone already. Dick Waterman ========================================================================= Date: Tue, 19 Dec 1995 00:36:16 -0500 Reply-To: Philip and/or Carol Decker From: Philip and/or Carol Decker Organization: Net Sarasota Subject: Re: Son House Headstone Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199512190153.UAA22793@polaris.net> "Alan C. Rollins" writes: >I would be interested in Blues-L taking on helping to get a headstone for >Son House or any other artist we can verify as deserving. There is a group >out of Missippi (actually it is one man in New Jersey who is an accountant) >which does this regularly. I am just thinking we might help out via the >people we know and/or with money. Unfortunately this is the kind of situation where con artists flourish. Independent auditing becomes essential to atract hesitant donors. >There are also the many who are not getting a square deal on their contracts >and even lack of contracts. We as the lovers of Blues could get involved in >shedding some light on these situations hoping that we can move mountains >just a little in the favor of these artists who deserve better. This has more promise, I think. A database of recordings which flags those for which the artist(s) (or their estate or heirs) receive no royalties, would be quite useful in building one's collection. PJD ========================================================================= Date: Mon, 18 Dec 1995 21:57:58 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: "not about black and white" All I can say about the opinions expressed by Bonnie and Don is that I agree totally. Yes, that's all. Except for the disparaging remarks about futons. Hey, I have one and I think think that they are ok. Not great but I have no probelms with them. I slept on worse. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Mon, 18 Dec 1995 22:05:05 -0800 Reply-To: TLKnox@EWORLD.COM From: Terry Knox Subject: Re: FREE SEX PICTURES & VIDEOS (no blues) In times past this type of material was considered "blue". I am giving the sender of this message the benefit of the doubt in assuming this posting was based on the title of the our list not it's content. However. I think, the owner of our list should have a word with this person. Just my 2 cents. Terry :-). ----------------------------- Begin Original Text ----------------------------- On Mon, 18 Dec 1995, John Groseclose wrote: > Thousands of the most sexually explicit, erotic photos and AVI files > ever digitized, absolutely free, culled from the worlds sexiest BBS's. > Join my free mailing list for a complete index of each available file, > and where to download it from. > ----------------------------- End Original Text ----------------------------- ========================================================================= Date: Tue, 19 Dec 1995 08:39:31 +0100 Reply-To: BIBGA@HHS.SE From: BIBGA@HHS.SE Subject: Re: Brownie McGhee & Leadbelly --Boundary (ID 2rgf2FIEIBY3f/uFCC5WRQ) Content-type: TEXT/PLAIN; CHARSET=US-ASCII As Mary Katherine Aldin pointed out, both Brownie McGhee and Leadbelly were part of the "folk music scene" in New York in the 40s. Read more about their friendship in Charles Wolfe's and Kip Lornell's excellent The life and legend of Leadbelly (New York: Harper Collins, 1992). The photo; based solely on the posture of the people in the picture, and on the stuffed book shelves in the background [who's prejudiced, me?! :*)], I'd say it's the home of one of the white folks in the picture, Alan Lomax perhaps? Recordings together. The discography in Wolfe/Lornell has "T.B. blues", recorded for Library of Congress in May 1942 (with Brownie and Sonny Terry). [This was reissued on Document DLP-612 not on CD yet as far as I know ("T.B." on Rounder CD 1099 is the Aug 23, 1940 recording).] Brownie was also on a ca June 1946 Disc session (Disc was a pre-dator of Folkways) which produced five titles. None of these are available on CD as yet, I believe, but may turn up if Document continues their series of Leadbelly's studio recordings (four volumes as yet; these tracks ought to be on the next). Greetings from Gorgen Antonsson, Stockholm --Boundary (ID 2rgf2FIEIBY3f/uFCC5WRQ)-- ========================================================================= Date: Tue, 19 Dec 1995 03:20:14 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Brownie McGhee & Leadbelly Comments: To: BIBGA@hhs.se Leslie Knight (with us as LKNIGHT1) has been interviewing Brownie extensively for his autobiography. Since his memory is excellent and she will also be aided by Brownie's paperwork going back over 50 years, this will give blues fans and music historians a rare view of a well-spent and varied life. Dick Waterman ========================================================================= Date: Tue, 19 Dec 1995 03:52:23 -0500 Reply-To: Sharon3257@AOL.COM From: Sharon Lewis Subject: Midwest Blues on Radio??? Where can I hear blues (and when) in KC on radio. I know on Mondays on 103.3 FM from 12-1pm. There used to be a station on Sunday afternoons.....but I can't find it anymore!!! I mean the "Down-Home" blues.....you know? ========================================================================= Date: Tue, 19 Dec 1995 09:53:48 MET Reply-To: robbd@VYGER.ENET.DEC.COM From: robbd@VYGER.ENET.DEC.COM Subject: Rounder Records Comments: To: "blues-l@brownvm.brown.edu"@vbormc.vbo.dec.com Can anyone give me a brief rundown of what's on the recently-released "25 Years Of Rounder Records" 9-CD set? Is there any overlap with the double-disk budget sets they issued on blues/bluegrass/folk/louisiana music? Sorry for asking here, but I couldn't find anything on their web page. Thanks a lot, - Dougie ========================================================================= Date: Tue, 19 Dec 1995 05:04:31 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Blues Date December 19th 1995 Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BRITT, GARY (v/NASHBORO REC) d. 1971-1219, BISCOE, NC -- CARLISLE, BILL (g/CARLISLE BROS) b. 1908-1219, WAKEFIELD, KY DUPREE, CORNELL L. (g/KING CURTIS) b. 1942-1219, FORT WORTH, TX HOLMES, WENDELL (g/p/lead v/HOLMES BROS) b. 1943-1219, PLAINFIELD, NJ JONES, FLOYD (g) d. 1989-1219, CHICAGO, IL 72 LEE, ALVIN (g/TEN YEARS AFTER) b. 1944-1219, NOTTINGHAM, UK OCHS, PHIL (:) (g/songw) b. 1940-1219, EL PASO, TX PEAGLER, CURTIS (asax/BASIE/RAY CHARLES) d. 1992-1219, BEVERLY HILLS, CA 63 PIAF, EDITH GIOVANNA GASSION (:) (v) b. 1915-1219, PARIS, FRANCE PROFESSOR LONGHAIR [HENRY ROELAND BYRD](p)b. 1918-1219, BOGALUSA, LA SIMMONS, WALTER "SIMTEC" (g/WYLIE DIXON) b. 1944-1219, CHICAGO, IL TIMMONS, BOBBY (p/RIVERSIDE REC) b. 1935-1219, PHILADELPHIA, PA WHITE, MAURICE (of RADIANTS/EARTH WIND F) b. 1941-1219, MEMPHIS, TN WILLIAMS, CASCO (arr/g/JAMES P. JOHNSON) d. 1973-1219, HARLEM, NY 79 ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 19 Dec 1995 10:01:04 GMT Reply-To: Tommy Jansson From: Tommy Jansson Organization: Uppsala university Subject: Re: FREE SEX PICTURES & VIDEOS (no blues) Comments: To: bit-listserv-blues-l@uunet.uu.net In article <951218220504_20796840@hp1.online.apple.com>,=20 TLKnox@EWORLD.COM says... > >In times past this type of material was considered "blue". I am giving=20 the >sender of this message the benefit of the doubt in assuming this posting= =20 was >based on the title of the our list not it's content. However. I think,=20 the >owner of our list should have a word with this person. Just my 2 cents. > Terry :-). > >----------------------------- Begin Original Text >----------------------------- > >On Mon, 18 Dec 1995, John Groseclose wrote: > >> Thousands of the most sexually explicit, erotic photos and AVI files >> ever digitized, absolutely free, culled from the worlds sexiest BBS's. >> Join my free mailing list for a complete index of each available file, >> and where to download it from. >> >----------------------------- End Original Text=20 ----------------------------- At first I didin=B4t understand the bluesconnection, but after I read you= r=20 meesage I got the blues... ========================================================================= Date: Tue, 19 Dec 1995 06:09:42 -0500 Reply-To: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA From: Scott Wenzel/DSES/DIRM/OIM/DCS/SSA Subject: Re: Blues Humour I've been trying to explain this to my wife, how blues can be a hell of a lot of fun and be wry and ironic at the same time. She thought for a while that it was just a bunch of depressed old balck guys singing off-key about their dogs dying and stuff, and it's been quite a bit of effort to convince her otherwise. Of great help in this effort are things like Muddy's recording of "Bus Driver Blues," which I know you can find on his "Hard Again" CD... "My baby run off with da bus driver... And ya know that don' seem right... He used ta give her rides in the daytime... Now she gives him rides all night." Turtle _____ Reply Separator _____ Author: Clint.Pulley @ CCIW.CA (Clint Pulley) @ INTERNET Received: 12/15/95 07:37:18 AM Subject: Blues Humour Things have been getting rather heavy ;) on Blues-L lately so I'm going to try and start a lighter topic. Blues songs often contain richly humourous passages (I won't spoil this by lecturing on the value of laughing at adversity). Who, having had the pleasure of seeing B.B. King live, will ever forget the sight of B.B., hand on hip, singing "I gave you seven children, and now you want to give them back!". One of my all-time favourites is from Jimmie Rodgers, the Singing Brakeman, who wrote "She rubbed my back with alcohol to try to cure my cough (x2) Well I like to broke my neck trying to lick the alcohol off" I last heard this over 30 years ago so I can't recall the song title or the rest of the song but that verse has stuck in my memory. Does anyone else have any humourous favorites? Clint -- Clint Pulley, Head of Computer Services National Water Research Institute, Environment Canada (905) 336-4930 Canada Centre for Inland Waters, Burlington, Ontario Minds are like parachutes. They only function when they are open. -James Dewar ========================================================================= Date: Tue, 19 Dec 1995 10:50:42 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: BLUES GAZETTE ISSUE No1 is out.. Last October I announced the creation a new Blues publication in ENGLISH which was planned to come out in december. Given the numerous private mails I received after this info I just thought I had to pass this information on Blues-L. Take his as an INFO and not as a commercial advertisment please! Blues Gazette is a non-profit project. BLUES GAZETTE 1st issue is out now. A4 sized, 72 pages, B&W Quarterly publication. Cover: Little mokey Smother Contents: - Interviews/profiles Deitra Farr (by Mick Rainsford) James Pee Wee Thomas (by Mick Raisford) Eddie Burks (by Norman Darwen) Roscoe Chenier (Larry Benicewicz) Berbie Pearl and harmonica fats (Mick Rainsford) -Articles: (Larry benicewicz') Louisiana Travelogue California Bay Are Blues News (by Maria Bainer) The Amen Corner (by Robert Sacre) (len Kunstadt) NY page Blues News from Blegium (by Jacques Depoorter) Bruce Iglauer's wedding (Robert Sacre) Zydeco .. (Robert sacre) -More than 70 CD/LP/cassettes reviews (by Jacques Depooerter, Mick Rainsford, Maria Bainer, Robert Sacre, Norman Darwen, Tania Dick and myself) - review of Career Dicography Vol3 - Some Blues News compiled by myself To give an idea of the policy of Jacques Depoorter (editor/publisher of Blues Gazette) I quote from his Editor's Note "Blues Gazette is devoted to all kinds of Blues and related styles such as Gospel, Soul and Jazz. It is also our intention to cover historical, social and other backgrounds of the music. We are not going to discuss the "Can a white man play the blues"-theme. Our vision is that blues is an African- American art form, so we will concentrate on African -American artists, but whenever we feel that someone not belonging to that category os worth your attention we fee free to feature him/her as well. Occasionally, other interesting venacular musics such as Cajun or Tex-Max may be covered too. English is not the native language of some of us (including myself) but as it is understood by almost everyone with a slight interest in Blues, it was a natural choice to publish the magazine in Emglish. Jacques Depoorter- Editor" Price: BEF 220 sample issue in Europe BEF 260/ 9 US$ outside Europe (Airmail) Subscrption: Europe BEF 800 for 4 issues Outside BEF 1050/35$ (Airmail) Payment IMO, Eurocheque. For more info, mails, ... JACQUES DEPOORTER / BLUES GAZETTE 22 Franciscuslaan B.9112 SINAAI BELGIUm Tel +32-3-772 52 98 (evening) or send ma an E-mail J.URBAIN@KE.RULIMBURG.NL Next issue will come out in march. The result for a first issue is nice and I found it interesting and informative to read -excpet my own reviews that I naturally already knew....:- ) (Bluezellers will directly see two typos concerning the age and date of death of Pete Welding. These were included -I just called Jhacques to inform him of Welding's death- as a very last minute info while the material was already at the printing company ...), altough Jacques was bit disappointed by the quality of the Photos which was not up to the quality the printing company had promised. He informed me yesteeday by phone that the problems are nevertheless already fixed for the next issue. Jean-Pierre "Young Man" Urbain ========================================================================= Date: Tue, 19 Dec 1995 13:12:25 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Black White Blue (long diatribe) I am hesitant to get into this Black vs White argument but some reason must prevail :) That the blues found it's origin amongst the black population of by-gone times in the U.S. is an inarguable fact. I believe that the "SICK AND TIRED" poster was not implicitly disputing that. I believe he was, more-or-less trying to say "Its the music stupid". Some will argue that one can't appreciate the music WITHOUT being aware of its roots. I cannot find an argument to refute this view, but I cannot necessarily ascribe to it. I just can't say for sure. I do think that to cling to this view too religiously is to deny the intinsic value of Blues music, what it does to/for you irrelevant of all the trappings. Frustration was expressed that the likes of EC get the recognition whereas many Black musicians toil in anonimity. There are many explanations for this. To deny that racism is not, at least, a part of this would be rather disingenuous to say the least. But, to say it is the whole answer is also IMHO a gross overstatement. EC for example is only a recent (re)convert to the Blues. In the interim he went for mass appeal. If he has such a large following it is not because he is playing the blues, it's because he has fans who would snap up his records if he was playing klezmer music. As to recognition, the likes of B.B. King and John Lee Hooker et al aren't exactly chopped liver. There are many Black musicians who's non-fame is beyond me to understand, Jimmy Dawkins, Byther Smith and others. Marketing has to be part of it, I just don't know. If there is one thing I believe it's this. Blues is music of Black origin but it is not Black music. You could argue that it WAS Black music or "race" music in the past, but IMHO this no longer holds. As "SICK AND TIRED" initimated it is "BLUE", more correctly it is HUMAN music. The public face of the Blues will, with time, become increasingly White. Not because of racism, more the opposite. Statistics will do it. Black America is 10%-12% (am I right?) of the total. While this number is not inconsiderable, even if it were double shear numbers make the outcome almost inevitable. Demographics also seem to indicate that, whereas White America (and Europe for that matter) continues to embrace the blues, Black America, at least, a significant part of it, rejects it because of negative connotations assigned to it from the past. While it will lose it's Black face, it will not be transformed into White music. It is music, period. "public domain". Wynton Marsalis is not the jazz player he is because he is Black. It's because of his intrinsic understanding and "feel" for music in general. He has had great success in classical music and, as far as I know, has never been to Vienna :). As to the recognition of the Black blues greats, I don't care if the plebes and the unwashed don't acknowledge them, I have a low regard of the Bay Watch viewing masses. I revere them. WE revere them. That that doesn't translate into "Big Bucks" is one of the inequities we see around us every day. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [19/12/95 8:03 AM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 19 Dec 1995 08:35:08 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Re: Mardi Gras Indians Comments: To: spidle@fish.washington.edu In-Reply-To: from "Adrian Spidle" at Dec 18, 95 06:08:52 pm In another time and place, Adrian Spidle said: > > Hi all; > > OK, it's not quite blues, and it's not quite seasonal, but I'm at a loss > for where to find more info on Mardi Gras Indians, their music and > origins; I just plowed through the brand new 2 story Barnes and Noble > (best blues "library" in Seattle that I've found so far) and the closest I > could come was Dr. John's autobiography. > > Can someone please point me toward sources that I might at least ask a > bookstore to order? Try "Up From The Cradle of Jazz" by Jason Berry, Jonathan Foose and Tad Jones or "Mardi Gras Indians" by Michael Smith. Tom ----------------------------------------------------------------------------- My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Tue, 19 Dec 1995 08:01:14 -0600 Reply-To: James Foster From: James Foster Subject: Re: Mardi Gras Indians Comments: To: Adrian Spidle At 6:08 PM 12/18/95, Adrian Spidle wrote: >Hi all; > >OK, it's not quite blues, and it's not quite seasonal, but I'm at a loss >for where to find more info on Mardi Gras Indians, their music and >origins; I just plowed through the brand new 2 story Barnes and Noble >(best blues "library" in Seattle that I've found so far) and the closest I >could come was Dr. John's autobiography. > >Can someone please point me toward sources that I might at least ask a >bookstore to order? > >Thanks, > >Adrian Adrian, Try to locate a copy of Michael P. Smith's book "Spirit world: pattern in the expressive folk culture of African-American New Orleans". Smith is a fine photographer-ethnographer who has developed a strong relationship with many aspects of New Orleans culture, including the Indians. He has been given access to events and situations - and sensitively documented them through his photographs - that serve to enlighten all of us. He has a couple other books out which might be helpful. Also, there are sources of information on the Indian culture on the back cover of a couple of Rounder lps. James Foster jfoster@sedl.org ========================================================================= Date: Tue, 19 Dec 1995 07:06:28 -0700 Reply-To: Jessica Jones From: Jessica Jones Subject: Re: Muddy's Band In-Reply-To: <199512190512.AAA18997@listserv.brown.edu> The drummer has got to be Ray "Killer" Allison. No question in my mind. jessica ========================================================================= Date: Tue, 19 Dec 1995 09:06:32 -0500 Reply-To: Bob vanArsdall From: Bob vanArsdall Subject: Re: Richard Hillier Melissa said, about BN's Richard: > You leave me no choice but to defend my finance. > end of his bed and talks to him if he cannot sleep. I'm tired of my > finace getting bashed. Is this mistyped or a true Freudian slip? You be the judge.... Bob ========================================================================= Date: Tue, 19 Dec 1995 09:06:36 -0500 Reply-To: Bob vanArsdall From: Bob vanArsdall Subject: Re: Mardi Gras Indians Adrian asked: >OK, it's not quite blues, and it's not quite seasonal, but I'm at a loss >for where to find more info on Mardi Gras Indians, their music and >origins; I just plowed through the brand new 2 story Barnes and Noble I don't know of any authoritative works soley on the Indians, but there is a chapter on both them and the Zulus in Gumbo Ya-Ya: Folktales of Louisiana, Lyle Saxon, E. Dreyer, and R. Tallant, directors, Pelican Press, Gretna LA 1991. It is a republication of a 1945 WPA project which collected stories and folktales from south Louisiana. Also recommended: recordings by - The Wild Tchopitoulas - Mango Records - (backed up by the Neville Bros); the Wild Magnolias, also Mango; Super Sunday Shootout, the Mardi Gras Indians. Of some interest may be that Jelly Roll Morton's Library of Congress recordings have him singing some songs which he heard from the Indians growing up in New Orleans, things with phrases like "jockomo feena-hey" and "hey pocky-way", and using the Indian ranks of "Spy-Boy" and "Big Chief". Many of the songs appear to have been passed down almost unchanged since the 1870's and constitute an oral history of sorts. Bob ========================================================================= Date: Sun, 17 Dec 1995 11:06:14 EST Reply-To: "David A. Pimmel" <103300.3331@COMPUSERVE.COM> From: "David A. Pimmel" <103300.3331@COMPUSERVE.COM> Subject: Johnny Copeland, and return First, yes, I am finally back on line. I hadn't realized how much I missed BLUES-L. It is good to be back and good to still see many familiar names on the posts. Anyway, those who know me shouldn't be surprised by the subject of my first message. :) Anyway, back in March/April when Copeland first went into the hosipital I sent a note expressing my best wishes. Yesterday I received a handwritten thank you from Copeland and his family. It is so nice to see yet another example of this man's enourmous genorisity. Here's hoping we have many, many more years to enjoy his music. David Pimmel {yes that, David Pimmel} {yes, the former list owner} 103300,3331@compuserve.com ========================================================================= Date: Tue, 19 Dec 1995 10:01:17 -0500 Reply-To: JIMBLUE1@AOL.COM From: Jim Armstrong Subject: Re: E.C.'s healing hairball pizza Comments: To: SokolowMus@aol.com In a message dated 95-12-18 02:52:57 EST, SokolowMus@AOL.COM (Fred Sokolow) writes: >Maybe it's just the time of year, but this list has never been weirder. > > > Yes it has! Send for my free catalog for more info! Jim Armstrong {sorry Fred, I couldn't help myself} ========================================================================= Date: Tue, 19 Dec 1995 15:46:38 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Music Maker Recordings: GUITAR GABRIEL As a follow-up of the superb "CAME SO FAR" anthology I reviewed earlier this week I just want to mention the existence of a very nice set (I probably won't have time to review it this week and I take two weeks hollidays afterwards, so I just wanted to say at least something before 1996): GUITAR GABRIEL Volume One Music Maker Recordings MMCD0494 which I listened to a lot since I received it friday. Those who know Nyles Jones' music (through it's earlier recodings) will certainly appreciate but they might be surprised by some tunes lying somewhere in hetween ballads, early century jazz, story telling, .... This is not the same as the work that was available earlier on Tape (Karibu) and is a surprinsignly charming and almost moving set of traditional, blues, ballads, ... Don't expect highly technical East Coast country blues stuff or well performed country blues or as we often hear from revivalist musicians, .. it's something else that is worth trying. Pure and charismatic music from the deep soul! A strange album in the sense that it's something I don't want to share with other people when I listen to it, I need to be alone, isolated.... strange but great. It's something almost personnal between Guitar Gabriel and THE listener ... listen to "Blues for Dorothy" and you'll understand what I mean. Again, congratulation to researcher/folklorist/musician/producer Timothy Duffy, who plays guitar on several cuts, for this set! This is the type of document/material I really like to hear ... BTW, the anhology A LIVING PAST is now also available at normal price (Music Maker MMCD 9401) and features field recordings of Guitar Gabriel, Preston Fulp, Captain Luke, Bog Boy Henry, Willa mae Buckner, Macavine hayes, Samuel Turner Stevens, Luccille Lindsey. Great East Coast fields recordings well worth checking out, altough I would first start with the superb CAME SO FAR (MMCD 1294) anthology (IMHO) which is really one of the best country blues albums published this year! For me a Run Don't Walk album for all country blues fans. Jean-Pierre "Young Man" Urbain MUSIC MAKER RECORDINGS 41 East 62nd Street NEW YORK, NY 10021 Tel 212-2074016 Fax 212-2074434 P.S.1.Distributed in Europe by ALL BLUE RECORD SERVICE (Tel/FAX +32-51-72 29 54). P.S.2. Not affiliated/related, .... but, again, THIS is the type of project that we ALL have to support NOW! And for those who are not convinced by this review, they should check out the review by Robert Tilling in the Blues and Rhythm magazine 104. ========================================================================= Date: Tue, 19 Dec 1995 10:24:03 -0500 Reply-To: Ken Ficara From: Ken Ficara Subject: Fats Domino Does Fats still perform? I'm casting around for a trip to take in February, and I'd love to go see him (especially in New Orleans). Does anyone know if and where he's playing, or where I could get info on his dates? thanks Ken ========================================================================= Date: Tue, 12 Dec 1995 17:54:02 CST Reply-To: JBards From: JBards Subject: Re: Here's Johnny! Comments: To: Ranko Vujosevic Uh, oh. This poresents somewhat of a target-rich environment for response, but I believe I'll leave it to Ms. Parrish. -Jim _______________________________________________________________________________ Subject: Here's Johnny! From: Ranko Vujosevic at INTERNET-SH Date: 12/12/95 4:58 PM > Thank God he's back. Too far away for me to go see and hear, but just knowing > Johnny's Jammin' is enough for now. Can't wait for the new album he'll > hopefully do in '96 and the inevitable tour to follow? Glad to hear that > Debbie Davies is with Johnny's management too. Not too many good female blues > player out there right now - get 'em to sign Joanna Connors too! Apologies to > Rory Block - I mean ELECTRIC blues players. > I was only waiting for you to mentioned Sue Foley and Kerry Leigh and was ready to demolish my computer. BTW, is there any place for black "good female blues players" in your heart? I love the last Rory Block album. Debbie, Joanna, Kerry and Sue on my CD player only over my dead body!!!!! I would rather listen to ex-hooker Candye Kane ("Knockout" on Antone's) than those four anytime!!!!!!! Paul, here is another one for your for New Year Eve's gig: "Come to our gig - we promise no white female will play electric blues!" Ranko ========================================================================= Date: Tue, 19 Dec 1995 10:52:36 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: A Game (was Re: Black and White or something like that) Here's a game. At the end of this post is a list of 50 blues men and women. They are not a ranking or heirarchy; it is fifty names I came up with, sitting here, one after the other. They are all black. The game is: Name a white musician who has contributed more to the blues than *any one of these.* Or, alternatively, name 3 or 4 (or 5, or with some 12) "signature" songs for the individuals below. Name a comparable performance by a white musician. Some of you may advance particular favorites as comparable, which on some personal version of the list of blues greats might then include, what, one? two? white performers. I would bet that any consensus list of 20-30 blues greats put together by people generally familiar with the music would include none of those personal favorites, but rather would be built from the list that follows. This is not a manner of purism or some form of snobbery. In any art form, the great artists are the ones who create something that shows an individual and personal voice. Technical mastery can have a role *but it is not either necessary or sufficient.* The musicians who have such an individual and personal voice are pretty much exclusively African Americans. This has not coincidentally to do with the origins of blues in black culture. Ripping this music from its cultural context is, in effect, a form of lie that ignores its history *and* its power as art. And, to my ear, this is true today, too. The blues musicians who have an individual voice are still black ones. Just take some of the names regularly mentioned on this list: Otis Rush, Jack Johnson, Junior Kimbrough, Luther Allison, for instance. Before dismissing me as a purist (what the hell is that, anyway? Someone who listens to just black blues? I listen to soul, r&b, country, rock, ragtime, and listen to that music played be individuals of a number of races and nationalities. Am I a 'country' purist because I prefer the Carter Family to Dwight Yoakum?). I am not saying that white musicians have not and cannot take important elements from blues to make something of their own. I can name dozens, going as far back as Jimmie Rodgers and forward to still-active rock musicians. What I am saying is that great artists are the ones who make something individual, and that *without exception* those have been blacks in the area of blues music. I suspect that if you asked any white nominees if their contribution is comparable, they would readily acknowledge that it isn't. This would not be not false modesty; it is fact. (and this list could be extended and still hold) Tom Freeland (bracing myself): Here's the list: 1. Muddy Waters 2. Howlin' Wolf 3. Charley Patton 4. Otis Rush 5. B. B. King 6. Tommy Johnson 7. Robert Johnson 8. Willie Dixon 9. Little Walter 10. Sonny Boy Williamson II 11. Sonny Boy Williamson I 12. Tampa Red 13. Willie McTell 14. John Hurt 15. Blind Lemon Jefferson 16. Elmore James 17. Bukka White 18. Robert Wilkins 19. T. Bone Walker 20. Son House 21. Yank Rachel 22. Will Shade (Memphis Jug Band) 23. Gus Cannon 24. Kokomo Arnold 25. Frank Stokes 26. Skip James 27. Lowell Fulson 28. Jimmy Rogers 29. Junior Parker 30. Walter Vinson (Mississippi Shieks) 31. Otis Spann 32. John Lee Hooker 33. Bessie Smith 34. Memphis Minnie 35. Ma Rainey 36. John Hurt 37. Blind Boy Fuller 38. Johnny Shines 39. Robert Lockwood 40. Buddy Guy 41. Junior Wells 42. John Estes 43. Lightnin' Hopkins 44. Tommy McLennan 45. Robert Petway 46. Bo Carter 47. Robert Nighthawk 48. Etta James 49. William Harris 50. Fred McDowell ========================================================================= Date: Tue, 19 Dec 1995 11:09:28 +0600 Reply-To: Rage 'n Records From: Rage 'n Records Subject: Humor/Pat Godwin Check out the bluesy Tom Waitsish " I got Dumped For Christmas on Pat Godwin's Reindeer Games. Vince ========================================================================= Date: Tue, 19 Dec 1995 09:46:01 -0600 Reply-To: Doll From: Doll Organization: Ala Carte Entertainment Subject: KOKO TAYLOR'S CHICAGO BLUES Comments: To: bit-listserv-blues-l@uunet.uu.net Hey gang, join me for what could be the best Blues New Years in town!=20 Koko Taylor's is having Dace Specter and Lynwood Slim along with Lurrie C Bell perform for the big New Year's Celebration! These acts will rock th= e night up to the countdown. Admission is $12, by far one of the best deal= s in the chicagoland area. Come visit me and my gang as we rock new year's at Chicago's hottest blues experience. Steve Flu=E9t. ========================================================================= Date: Tue, 19 Dec 1995 16:07:09 GMT Reply-To: mckenzie@ipcs.demon.co.uk From: "Ian K. Mckenzie" Subject: Re: New Blues List!! In-Reply-To: <199512162310.RAA05671@longview.rapidramp.com> Chris Pearson wrote: >the people here are well-intentioned and very nice folks but seem to be a >trifle intolerant of anyone who does not accept their particular view of the >blues as gospel. The blues as gospel?! Huh? IM *********************************************** Ian K. McKenzie University of Portsmouth England ************************************************** ========================================================================= Date: Tue, 19 Dec 1995 10:26:08 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: A game...black/white How 'bout this as part of Tom's game. Out of all the 50 great musicians he mentioned (did he mention WC Handy ? )...None of them copyrighted the FIRST blues tune. It was a White man. So if you consider the first copyrighted blues tune a significant achievement , then the first siginificant achievement was by a white guy...Interesting Shocking confession: I would rather hear/see SRV, than Buddy Guy ot Luther Alison. Having seen all three, I honestly say that. You can say SRV was blues rock and you're right. So are the other two and SRV NEVER covered a Cream tune at least not the few times I saw him. I think blues WAS a black thing. You may not think you have to study the culture to understand the music and you may be right. Have you ever read just the last few chapters of a book and thought you understood it all. Then how can you hear the most recent chapter of the blues and understand it, without hearing the beginning....It's like coming in on the last 15 minutes of a movie.... The reason I said "WAS" and not 'IS": It has to do with generations. I would prefer to hear WHITE Anson over BLACK Robert Cray anyday. I won't even touch Keb' Mo, Corey Harris, Sugar Blue vs John Hammond, Rory Block and Musselwhite So I'm saying the blues that I love is from an older generation, when the blues was something they lived and not something they got into after hearing Vernon Reid or Cream. (not that that is bad, just stating my preference) If I were to name my top 95 purchases, there's one white artist and he would be the ONLY artist that was not from the older generation. It's a generation thing to ME. It's no longer a race based music, it's no longer AS GOOD either LW 'all the above is IMAAPO' Singers are not judged by how white they sound, but how black they sound Taj Mahal ========================================================================= Date: Tue, 19 Dec 1995 17:57:01 +0100 Reply-To: Thomas Gutberlet From: Thomas Gutberlet Subject: Guitar Crusher web-side Guitar Crusher aka Sidney Shelby can be reached directly via a new web-side, which offers a biography, a discography of his work and, if updated, his current tour dates. The web-side is within a media project in Berlin and it can be reached via the following adress: http://www.zweitehand.de/viktoria/bands/crusher Unfortunately currently there is no picture of Crusher included. Thomas ========================================================================= Date: Tue, 19 Dec 1995 10:55:59 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Understanding Blues We mentioned that the Culture "begat" the blues, BUT gospel music in alot of ways "begat" the blues. So it would seem in order to understand the blues, you must understand early black gospel music..... I don't know ????? Whatch ya'll think LW ========================================================================= Date: Tue, 19 Dec 1995 09:27:08 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: A game...black/white L.W. wrote: > >How 'bout this as part of Tom's game. Out of all the 50 great musicians he >mentioned (did he mention WC Handy ? )...None of them copyrighted the FIRST>blues tune. It was a White man. So if you consider the first copyrighted blues>tune a significant achievement , then the first siginificant achievement was>by a white guy...Interesting > Mary Katherine says: Oh no! *Tell* me L.W. didn't really say that! If the "first blues tune," (whatever he may be referring to as the first) was *copyrighted* by a white man, isn't that just one of the earliest examples of the black blues culture getting ripped off by a white exploiter? So *what* if a white guy knew more about the business end of things, and copyrighted a song that he got from a black artist? Surely this is not justified conduct? Surely L.W. doesn't mean that it is a significant achievement to be the first white person to officially steal a blues song from the black culture?? Tell me I am misinterpreting this post, PLEEZE. Btw I knew as soon as I read Tom Freeland's game idea that it was going to be a can of worms which I *thought* I would best stay out of. But I really want clarification on L.W.'s answer. Gives me the shivers. Brrrr! Mary Katherine ========================================================================= Date: Tue, 19 Dec 1995 17:41:06 GMT Reply-To: Michael Twomey From: Michael Twomey Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: What a load of Boogie... Jef Jaisun (eljefe@NETCOM.COM) wrote: : Uh, 1.45 hz??? Does anybody have any idea how loooooooooooooooooooong : that wave would be? Is this the same frequency Scripps is using in the : ocean off Half Moon Bay, CA to see if they can detect shifting : temperatures in the water? As sound, it is possible that you could produce 1.45 Hz, 1 Hz ... whatever you want. In this range it is called infrasonic sound. Most advanced nations have investigated this for use as a weapon. I never heard of it's use for healing. The post that you referenced, Jef, was a well-written humor piece. But as far as weapons, in the 60's the French made a device called a vortex whistle for producing sound around 2 Hz. It took up most of one floor of a brick building, after all the wavelength of 2Hz sound is (1180/2)=590 feet! They turned it on once. The building collapsed. That was the end of that. Sounds in this frequency range could certainly cause internal parts of the human body to move, but to what end? Some other poster mentioned psycho babble and until there are some controlled studies that's all it seems to be. But rest assured that there are sounds in this frequency range, they are just way outside of the human hearing range. However this sound can be sensed. I had a piece of lab test equipment once that produced sound in this frequency range. About 50 watts of 2Hz sound would cause people to find some reason to leave my lab. They couldn't 'hear' the sound, but they didn't want to be in the same room with it and would leave at the first excuse. Mike ========================================================================= Date: Tue, 19 Dec 1995 09:43:37 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: A TRIBUTE TO PROFESSOR LONGHAIR (part 1 of 2) Comments: To: BluesHvn@aol.com Legendary New Orleans pianist, singer & songwriter Henry Roeland "Roy" Byrd (aka PROFESSOR LONGHAIR) was born on Thursday, December 19, 1918, Bogalusa, LA. "Professor Longhair began his musical career as a street entertainer in the early 30s. By the late 40s he was playing piano, leading small combos with arcane names such as the Four Hairs Combo and Professor Longhair & his Shuffling Hungarians. He worked as part of Dave Bartholomew's big band in 1949, then began a series of recordings for various labels, including Star Talent, Mercury, and Atlantic. For the next 20 years Professor Longhair continued to record for obscure labels but remained on the fringes of the New Orleans scene, forced to supplement his meager earnings from music with odd day jobs. In 1971 he re-created the Four Hairs Combo for an appearance at the New Orleans Jazz & Heritage Festival. This inaugurated the comeback phase of his musical career and attracted the interest of a small but dedicated cadre of college students who undertook his rehabilitation as part of a burgeoning roots revival. As he stated, "I'm a little rowdy with my playing," and the synthesis he developed of calypso and rhumba rhythms, boogie-woogie, and street-parade music became the basis for young groups like the Neville Brothers and the Radiators as they sought to translate their own respective musical visions of the New Orleans "good time" heritage. Despite his often unorthodox approach, Fess remained true to the essence of New Orleans music in never straying too far from the basic maxims of "feeling, freedom, and fun." At the time of his death in 1980, he was the most popular and revered musician in New Orleans. His passing left a vacuum in the city's longstanding piano traditions, seemingly closing the book on an illustrious musical heritage." ~ Bruce Boyd Raeburn, All-Music Guide PROFESSOR LONGHAIR died Wednesday, January 30, 1980, New Orleans, LA. He was inducted into the W. C. Handy Blues Hall Of Fame on November 16, 1981, and into the Rock & Roll Hall Of Fame on January 15, 1992. part 2 : Discography ========================================================================= Date: Tue, 19 Dec 1995 11:59:50 -0600 Reply-To: Storm Bailey From: Storm Bailey Subject: _Your_ blues roots This is a question for the musicians on the list. It occurred to me as I was sitting in yet another grade school/middle school band recital this week. (I have 5 kids; now, over half are getting past beginner...) Did _you_ start out your musical life playing 'Hot Cross Buns' out of tune in a gym full of parents? Did you get anything useful out of it? How did you get from there to doing/playing whatever you are now? This may seem to have low blues content, and if so I apologize--but here's why I think not: first, those of you who speak up are, among other things, blues players; and second, blues music has--as has been aptly pointed out in the current "black/white" thread--deep cultural roots which are quite different from many of our own. If it is to continue and expand, doesn't there have to be a way in? I want those doors open, if possible, for my kids. (They can, of course, do what they want musically, I'm just trying to get them what they need to do it.) Thanks in advance, I really am interested in what y'all have to say about this. Storm ========================================================================= Date: Tue, 19 Dec 1995 13:16:36 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: A game...black/white Comments: To: lw In a message dated 95-12-19 12:01:46 EST, ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU (L W) writes: << How 'bout this as part of Tom's game. Out of all the 50 great musicians he mentioned (did he mention WC Handy ? )...None of them copyrighted the FIRST blues tune. It was a White man. So if you consider the first copyrighted blues tune a significant achievement , then the first siginificant achievement was by a white guy...Interesting >> Copyrighting the first blues tune was a milestone, of sorts, that also reflected the way in which white musicians (or businessmen?) have been able to co-opt black music. But co-opting early is not much different from co-opting late, except for the points someone earns for being observant. The advantage whites have in our culture often got them there 'firstest" but not with the "mostest." Is there a blues fan on this list who wouldnt give up that piece of sheet music LW mentioned to hear the cylinder recording Gus Cannon claimed to have made in the nineteen teens? And this is not just true for blues: is there a jazz fan on this list who wouldnt give up *every* recording of the Original Dixieland Jazz Band for one side by Buddy Bolden? Tom Freeland ========================================================================= Date: Tue, 19 Dec 1995 12:07:00 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Copyright & more game playing I'm not sure if the tune that was first copyrighted and whether or not it was stolen. I understand what Mary Katherine is saying, but before I pass judgement on the fellow, I have to re-read it. I do understand that the only thing in the world that a copyright is for, is the "bidness" side of the music Here's another white man that contributed and WE ALL have benefited from his endeavors (I don't know if he was 100% honest)....But of course the Lomax(s) John and Alan.....Would we have the WONDERFUL Library Of Congress recordings without those two....?? The work they did was not easy, the tape machine was bulky/heavy. It was not easy work. If I recall John Lomax was paid a dollar a year for his services and Alan worked for the LBC many years before he actually became an offical employee. I have no idea if they ripped anyone off, I've heard they did, I just can remember exactly what I heard. Anyway they did something for the blues and whether or not they detracted from the blues or bluesmen, I have no idea... LW 'most active unscusbribed 'eller :-)' While we are here: I see an ad for the T-shirt that says "If you don't dig the blues you got a hole in your soul"...with Ferris ? (Blues Doctor) as being credited with making that statement. I'm doubting he was THE ONE who made that We all know ALbert King, did he rip off Ferris or is it ther other....... ANYONE KNOW FOR SURE ???? ========================================================================= Date: Tue, 19 Dec 1995 12:27:17 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Patton really black ??? Was Charley(ie) Patton really black.....? I've heard that his parents were of different races. In THE picture, he doesn't appear real black..... I don't know LW "I just want to play in Tom's game" All of the other 'ellers used to laugh and call him names, they never let LW play in any blues-l games....(sorry) ========================================================================= Date: Tue, 19 Dec 1995 10:33:58 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: A TRIBUTE TO EDDIE VINSON : MR. CLEANHEAD (PART 3 OF 3) Comments: To: BluesHvn@aol.com After consulting with the Billboard issues for 1945 & Record Research (where Novitsky's original research was published), I've noticed a few corrections when it comes to Eddie Vinson's Mercury sessions that I'll just summarize (as it'll only make sense if you have the set & the Mercury Label discography) : 1) most important is that Eddie Vinson signed with Mercury Records on November 10/1945, issuing Mercury 8003 about a week later. So, correct all discographies to read his first Mercury session as early November/1945. 2) As per Ruppli & Novitsky, Mercury 2030/2031 were acquired from Ben Bart's Hub label (formed on May 14, 1945), AND since Eddie Vinson left Cootie Williams Orchestra in early September, opening on October 15 at the Rhumboogie with his own orchestra & Ben Bart's Universal Attraction handling the bookings, I suggest Mercury 2030/2031 were recorded in October/1945. Reference : ========= The Mercury Labels: A Discography (Five Volumes) ------------------------------------------------ Compiled by Michel Ruppli and Ed Novitsky. Greenwood Publishing Group, 88 Post Road West, Box 5007, Westport, CT.06881-5007. Toll-Free: 1-800-225-5800; Tel: 203-226-3571 ; Fax : 203-222-1502 ; Web Site SELECTIVE CD DISCOGRAPHY ======================== BLACK LION 760188 : EDDIE 'CLEANHEAD' VINSON - JAMMIN' THE BLUES DELMARK 631 : EDDIE 'CLEANHEAD' VINSON - KIDNEY STEW IS FINE FANTASY OJC 868 : EDDIE 'CLEANHEAD' VINSON - I WANT A LITTLE GIRL (Riverside) FANTASY 9647 : ETTA JAMES/EDDIE VINSON - BLUES IN THE NIGHT FANTASY 9655 : ETTA JAMES/EDDIE VINSON - BLUES IN THE NIGHT - LATE SHOW JSP 223 : EDDIE 'CLEANHEAD' VINSON - MEAT'S TOO HIGH JSP 253 : EDDIE 'CLEANHEAD' VINSON - MEAT'S TOO HIGH/FUN IN LONDON KING 634 : BATTLE OF THE BLUES V. 3 : VINSON/JIMMY WITHERSPOON KING 668 : BATTLE OF THE BLUES V. 4 : VINSON/ROY BROWN/WYNONIE HARRIS LANDMARK 1309 : EDDIE 'CLEANHEAD' VINSON - CLEANHEAD & CANNONBALL MUSE 5116 : EDDIE 'CLEANHEAD' VINSON - CLEAN MACHINE MUSE 5208 : EDDIE 'CLEANHEAD' VINSON - LIVE AT SANDY'S MUSE 5282 : EDDIE 'CLEANHEAD' VINSON - AND ROOMFUL OF BLUES MUSE 5310 : EDDIE 'CLEANHEAD' VINSON - SINGS THE BLUES ONE WAY 22169 : EDDIE 'CLEANHEAD' VINSON - CHERRY RED PABLO 2310927 : OSCAR PETERSON/HARRY EDISON/EDDIE VINSON POLYGRAM 525 517 : VARIOUS - BLUES BOOGIE & BOP - BEST OF THE 1940S .... POLYGRAM 525 609 : BLUES, BOOGIE, & BOP - THE 1940S MERCURY SESSIONS (7CD) POLYGRAM 838 243 : VARIOUS - MERCURY R&B (1946-1962) (2CD) SONY/LEGACY 53407 : VARIOUS - STARS OF THE APOLLO (2CD) SOUTHLAND 29 : EDDIE 'CLEANHEAD' VINSON - KIDNEY STEW ========================================================================= Date: Tue, 19 Dec 1995 13:36:00 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: A game...black/white Despite the narrower perspective of what came before and after, I really like this statement by LW: > You may not think you have to study the culture to understand the > music and you may be right. Have you ever read just the last few > chapters of a book and thought you understood it all. Then how can > you hear the most recent chapter of the blues and understand it, > without hearing the beginning....It's like coming in on the last 15 > minutes of a movie.... It's the clearest and simplest explanation I've heard yet for the need to examine history and culture. I'm glad he left the list ;-) P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 19 Dec 1995 13:36:01 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Understanding Blues Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU On 19 Dec 95, L W had this to say... > We mentioned that the Culture "begat" the blues, BUT gospel music in alot > of ways "begat" the blues. > > So it would seem in order to understand the blues, you must understand early > black gospel music..... > > I don't know ????? Whatch ya'll think I really think they are branches of the same tree, and not one coming after another. I think they grew out of the exact same source, at the same time. For me, as a singer, Black Gospel is extremely important to my developement as a Blues artist. Modern Blues, perhaps as a result of white influence, has drifted away from the "song" and more towards the guitar histrionics. For me, a better education in SINGING the Blues can be found in contemporary Black Gospel music, than in contemporary Blues. In Black Gospel the MESSAGE is still the most important aspect, whereas in the Blues the MEDIUM (or the instrument) has become most important (so to speak). It's very frustrating to me. If I could put together what I feel would be the best possible Blues band for what I would like to be doing, it would be nearly all Black Gospel musicians. Unfortunately, and this is the frustrating part, most of the time that's IMPOSSIBLE. People with religious devotions usually reject the Blues, and will have no part of it. Woe is me. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 19 Dec 1995 13:40:00 EST Reply-To: BRENTS@CLEMSON.EDU From: "(Brent M. Smith)" Subject: MY TAKE ON THIS B/W CRAP!! Comments: To: blues-l%BROWNVM.BITNET@INTERBIT.UGA.EDU First, when I am relaxing, listening to my blues it does not occur to me that, "Hey I am listening to a black man." Nor do I think "This white man can really sing". Rather, I think, "Man this sounds so good, I wish my girl were here right now." My point is what does it matter what color the person is if I like the *&^*(*ing music?? Second, I don't know if you people are so into your monitors that you missing out on what is going on in the real world. Racism is everwhere and spreading. Why, on such a civilized list do we need to create more rifts?? Third, black or white, the music is there. Be thankful for that. All this is really silly. brent ========================================================================= Date: Tue, 19 Dec 1995 12:35:48 CST Reply-To: JBards From: JBards Subject: Re[2]: Here's Johnny! Geez, this IS weird... I sent this one back on the 12th....... Jim, who apparently can't spell "presents" _______________________________________________________________________________ Subject: Re: Here's Johnny! From: JBards at INTERNET-SH Date: 12/19/95 12:28 PM Uh, oh. This poresents somewhat of a target-rich environment for response, but I believe I'll leave it to Ms. Parrish. -Jim _______________________________________________________________________________ Subject: Here's Johnny! From: Ranko Vujosevic at INTERNET-SH Date: 12/12/95 4:58 PM > Thank God he's back. Too far away for me to go see and hear, but just knowing > Johnny's Jammin' is enough for now. Can't wait for the new album he'll > hopefully do in '96 and the inevitable tour to follow? Glad to hear that > Debbie Davies is with Johnny's management too. Not too many good female blues > player out there right now - get 'em to sign Joanna Connors too! Apologies to > Rory Block - I mean ELECTRIC blues players. > I was only waiting for you to mentioned Sue Foley and Kerry Leigh and was ready to demolish my computer. BTW, is there any place for black "good female blues players" in your heart? I love the last Rory Block album. Debbie, Joanna, Kerry and Sue on my CD player only over my dead body!!!!! I would rather listen to ex-hooker Candye Kane ("Knockout" on Antone's) than those four anytime!!!!!!! Paul, here is another one for your for New Year Eve's gig: "Come to our gig - we promise no white female will play electric blues!" Ranko ========================================================================= Date: Tue, 19 Dec 1995 13:36:11 -0500 Reply-To: "Abe W. Mathews" From: "Abe W. Mathews" Subject: Re: What a load of Boogie... In-Reply-To: from "Michael Twomey" at Dec 19, 95 05:41:06 pm Mike wrote: > However this sound can be sensed. I had a piece of lab test equipment once > that produced sound in this frequency range. About 50 watts of 2Hz sound > would cause people to find some reason to leave my lab. They couldn't > 'hear' the sound, but they didn't want to be in the same room with it > and would leave at the first excuse. I heard a story about the transmitter used for ELF submarine transmissions. As I recall, it operates at like 6 hz. The transmitter is in Northern MI (I'm told). Anyway, as the story goes, a bunch of bigwigs in the military were touring that facility one day. Personnel are not allowed in the transmitter room while a transmission is in progress. Supposedly, while the generals were touring the transmitter, a young officer started a transmission, not knowing the tour was in progress. Rumor has it that the frequency caused the sphincter muscles of everyone in the room to relax uncontrolably, with the forseeable result. :) So I think I can safely say that this theory about 1.45 hz is definitely full of shit. :) Abe awmathew@mtu.edu ========================================================================= Date: Tue, 19 Dec 1995 13:56:23 -0500 Reply-To: JIMBLUE1@AOL.COM From: Jim Armstrong Subject: Re: Black White Blue (long diatribe) Comments: To: phertel@cmc.doe.ca In a message dated 95-12-19 08:14:31 EST, phertel@CMC.DOE.CA (Pat Hertel) writes: > If there is one thing I believe it's this. Blues >is music of Black origin but it is not Black music. >You could argue that it WAS Black music or "race" >music in the past, but IMHO this no longer holds. >As "SICK AND TIRED" initimated it is "BLUE", more >correctly it is HUMAN music. You hit it right on the head. It is music that comes from the heart, and is put there by the experiences one lives through. Yes, the great African-American bluesmen deserve better than they are getting, but I don't think that racism is the whole reason for this. Kids of all races don't hear much blues music, but they do hear a lot of Clapton, SRV,etc. Once they read where EC says Buddy Guy is the best, or SRV say that he got his licks from Albert King, they listen and quite often become fans of these bluesmen. The blues does change as time goes on just as any art form does. Let's take the past, appreciate it, listen to it, and turn others on to it. No matter who plays the blues in the future, it will change. Listen to Michael Hill or Vasti Jackson; their blues sound a lot different than those African-American bluesmen from the past. Jim Armstrong ========================================================================= Date: Tue, 19 Dec 1995 13:51:48 -0500 Reply-To: Sanjay Rajan From: Sanjay Rajan Subject: REV.DWIGHT_MOORE_BLUES!! may be someone has actuaaly posted this info before... any info i can get about Rev. Dwight Moore's contribution to the blues.... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-($)^($)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ Surrealism ? I AM Surrealism - Salvador Dali +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Tue, 19 Dec 1995 13:59:41 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: the game, the Lomaxes, a hole in the soul, and newts In a message dated 95-12-19 13:42:00 EST, you write: >Here's another white man that contributed and WE ALL have benefited from his >endeavors (I don't know if he was 100% honest)....But of course the Lomax(s) >John and Alan.....Would we have the WONDERFUL Library Of Congress recordings >without those two....?? My list was musicians, not producers or background figures. It did not include Ralph Peer, the Lomaxes, or lots of others who were important to recording blues. >While we are here: I see an ad for the T-shirt that says "If you don't dig >the blues you got a hole in your soul"...with Ferris ? (Blues Doctor) as being >credited with making that statement. I'm doubting he was THE ONE who made >that We all know ALbert King, did he rip off Ferris or is it ther other....... > >ANYONE KNOW FOR SURE ???? Um, surely Bill isnt claiming he originated that? He used to say it, regularly, as a part of his radio show on Mississippi Public Radio, which I think started in the early 80s, well after Albert King recorded a song containing the phrase ("Cold Feet" I think?). David Nelson does the show now; when Ferris started doing it, you had the (unintentional) humorous effect of a professorial voice (very UNradio) trying to act radio-cool. To paraphrase the Monty Python character who said he'd been turned into a newt, he "got better." The programming was *always* great..... That's little n newt, the amphibian. Tom Freeland ========================================================================= Date: Tue, 19 Dec 1995 14:00:27 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Understanding Blues Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com PW says: *On 19 Dec 95, L W had this to say... * *> We mentioned that the Culture "begat" the blues, BUT gospel music in alot *> of ways "begat" the blues. *> *> So it would seem in order to understand the blues, you must understand early *> black gospel music..... *> *> I don't know ????? Whatch ya'll think * *I really think they are branches of the same tree, and not one *coming after another. I think they grew out of the exact same *source, at the same time. Folklorist Barry Pearson describes blues and gospel as being "Two sides of the same coin." That is the best definition I've heard, and the way I understand and perceive it. -Steve ========================================================================= Date: Tue, 19 Dec 1995 14:06:35 -0500 Reply-To: Sanjay Rajan From: Sanjay Rajan Subject: 'ZELLERS_??? Being relatively new to this newsgroup, I was wondering what's the story behind the BLUESZELLERS word... or is it BLUES ZELLERS ??? Is it defined in the dictionary ;) +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-($)^($)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ Surrealism ? I AM Surrealism - Salvador Dali +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Tue, 19 Dec 1995 11:11:34 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: A TRIBUTE TO PROFESSOR LONGHAIR (part 2 of 2) (Discography) Comments: To: BluesHvn@aol.com PROFESSOR LONGHAIR's earliest recordings (for Atlantic,Mercury,Star Talent) are now available on CD. Though released between March-August 1950 as by ROY BYRD & HIS BLUES JUMPERS, the Mercury Recordings were recorded in 1949 (August 19, September 8), a few months before the November-issued Star Talent sides which are believed to be his first recordings. The Mercury recordings may just be his first recordings. No matter, these Mercury sides are the roots of New Orleans R&B music - just give a listen to "Between Night And Day" and the Billboard R&B hit, "Bald Head". By the way, according to Ruppli & Novitsky's Mercury Discography Vol.1: The 1945-1956 Era, the Bear Family album 15308 of a few years ago (still available?) contains 4 extra alternate takes not included in the new 7CD set, BLUES BOOGIE & BOP - 1940s MERCURY SESSIONS. By the way, Joel Whitburn's excellent book TOP R&B SINGLES 1942- 1988 will be updated in 1996 to cover up to 1995! CD-ROM versions of Whitburn's books (with sound bites!) is also being worked on. References : ========== The Mercury Labels: A Discography (Five Volumes) / Compiled by Michel Ruppli and Ed Novitsky. Greenwood Publishing Group, 88 Post Road West, Box 5007, Westport, CT.06881-5007. Toll-Free: 1-800-225-5800; Tel: 203-226-3571 ; Fax: 203-222-1502 ; Web Site Joel Whitburn's Top R&B Singles 1942-1988 / Record Research Inc., P. O. Box 200, Menomonee Falls, WI. 53052-0200 Tel: 414-251-5408/Fax: 414-251-9452 CD DISCOGRAPHY ============== ALLIGATOR 4718 PROFESSOR LONGHAIR - CRAWFISH FIESTA ATLANTIC 7225 PROFESSOR LONGHAIR - NEW ORLEANS PIANO BLUES '49 BLUE MOON T94 PROFESSOR LONGHAIR - BIG EASY COLLECTABLES 5506 PROFESSOR LONGHAIR - LIVE - LIKE YOU LIKE HIM! DANCING CAT 3006 PROFESSOR LONGHAIR - ROCK 'N' ROLL GUMBO JSP 202 PROFESSOR LONGHAIR - COMPLETE LONDON CONCERT NEW ROSE 5097 PROFESSOR LONGHAIR - LIVE IN GERMANY NIGHTHAWK 108 PROFESSOR LONGHAIR - MARDI GRAS IN NEW ORLEANS '49-57 ONE WAY 56844 PROFESSOR LONGHAIR - LIVE ON THE QUEEN MARY OVERTURE 34501 PROFESSOR LONGHAIR FDN - PRESENTS PIANO NIGHT AT TIPITINA'S POLYGRAM 525 517 VARIOUS - BLUES BOOGIE & BOP - BEST OF THE 1940s MERCURY.. POLYGRAM 525 609 VARIOUS - BLUES BOOGIE & BOP - 1940s MERCURY SESSIONS (7CD) POLYGRAM 838 243 VARIOUS - MERCURY R&B (1946-1962) (2CD) (4 cuts) RHINO 70736 PROFESSOR LONGHAIR - MARDI GRAS IN BATON ROUGE RHINO 71446 PROFESSOR LONGHAIR - BIG CHIEF RHINO 71447 PROFESSOR LONGHAIR - RUM & COKE RHINO 71502 PROFESSOR LONGHAIR - 'FESS - ANTHOLOGY (2CD) ROUNDER 2057 PROFESSOR LONGHAIR - HOUSE PARTY ========================================================================= Date: Tue, 19 Dec 1995 11:17:04 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: MY TAKE ON THIS B/W CRAP!! Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Brent said: >First, when I am relaxing, listening to my blues it does not occur to me >that, "Hey I am listening to a black man." Nor do I think "This white >man can really sing". Rather, I think, "Man this sounds so good, I wish >my girl were here right now." So what? What does your personal enjoyment of *any* type of music have to do with this issue?? This is not about what the public listens to and what they feel while listening. This is about what *blues musicians* owe their tradition and the founders, and the culture it came from. Listen to whatever you want.... But when the limp blimp rips off Muddy NOTE PER NOTE, and refuses to acknowledge it, and refuses to honor those who invented what they are cashing in on, expect them to be called on it on this list! SRV had the class to ALWAYS point fans back to the source, and he always honored that source. Just as you cannot "americanize" Karatedo or Aikido because *you* are personally uncomfortable with Japanese culture, without tearing the very soul out of it, you cannot pretend that the blues is race-neutral without doing the same. "It's just the music, man" Gimme a break ok? Join the real world and learn something! >My point is what does it matter what color the person is if I like the >*&^*(*ing music?? It doesn't, and no one cares what you like, enjoy yourself. *But* you must actually participate in the CULTURE and tradition of the blues to join the blues community of which this list is a part. >Second, I don't know if you people are so into your monitors that you >missing out on what is going on in the real world. Racism is everwhere >and spreading. Why, on such a civilized list do we need to create more >rifts?? Who created a rift here?? Sounds like you did if you ask me, and anyway, if telling the truth creates a rift... then we can become the "rifts r us" list for all I care, because we WILL tell the truth. sorry. >Third, black or white, the music is there. Be thankful for that. All >this is really silly. Except for YOUR part of course.... Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Tue, 19 Dec 1995 14:12:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Got me this KOKO TAYLOR CD!!! And good lordy, what fun this is! Koko Taylor -- I Got What it Takes No senior citizen was she in 1975, captured here on Alligator records. The only other Koko disc (lotsa fun indeed but different) I got is Audience with the Queen, live dontcha know and at LW's insistence! Anyway, without hesitation I recommend I Got What it Takes. What a voice, what raw exuberance! Is all the Koko stuff like this, or should I just call myself, Mr. Lucky? (Like a pig, though, I probably bought the one and only copy in Moscow, so if you happen to be here in this frozen neo-communist capital, you may need to order it). Your good pal, Joe in Moscow J.E._Downey@bakermck.com ========================================================================= Date: Tue, 19 Dec 1995 14:30:10 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Re: A game...black/white -Reply Dear Mary Katherine, It is my understanding that the first blues tune was written by Mr. Handy, and he did not steal it from anyone. He was actually someone who was white who was doing what he could to encourage and distribute the music that was going on, giving credit due where credit was due, as i understand it. I really don't like this reverse racism stuff. It is a case of two wrongs making a right. That is a falacy of a philosophy in my opinion. I respect your right to have opinions that differ from my own, especially since we have never enjoyed that "diet coke" yet together. I hope that you can respect my opinions, which i try to base on fact not emotional cultural perspectives. A similar situation occurred during the time of Mozart i believe, in that all opera was Italian. But Mozart wished to employ the cultural language of German, i believe it was, and was met with stiff opposition from the "purists" of the day. Now, opera is conducted in many languages, and it is no longer a matter of discussing the cultural roots of opera as Italian. Yet, operatic performances are judged solely on the content and vocal timber, etc., of the performer. Even the race of the performer is not taken into account. This, i believe, is true of most music that has been around for some time. It is probably in 200 years the same thing that will happen to the "blues". I believe this is the only fair way that anything can be judged. Actually, from a purely empirical argument perspective, it can be presented that without white involvement in bringing the slaves (who were for the most part captured by coastal Black tribes scouring the interior regions of Africa for their less respected more primitive tribal cousins and sold by the Black coastal tribes to Portugese traders, who then arranged delivery to White plantation owners---who incidentally percentage wise made up a small fraction of the White race at the time, albeit with the complacency of that White constituent, who incidentally condoned the mass slaughter of Native Americans in California in the 1800's, which incidentally is chronicled very well by the Yazoo video of Ishi, the last surviving Yahi Native American) that provided the environment for the birth of the blues. Incidentally, without the Middle European White religious music of the day, the blues may not have evolved either. This is speculation on my part, but not too hard to imagine happening. I mean no offense to anyone or any race. I am merely repeating facts about the historical perspective of those days. My heart is torn by the horrible treatment that many races have suffered, and still are suffering at the hands of another. Bosnian atrocities come immediately to mind. Spanish Inquisition is another form of discrimination and horror, as is the English torture chambers, the Salem witchhunts, the massacre of Native Americans, the Chinese treatment of the Tibetans, the atrocities committed by the Dalai Lama of olden days where limbs were cut off of fellow Tibetans and preserved as back scratchers and such, the Japanese horrors committed against captured Americans during WWII and the rape of Korea and Manchuria also, the Nazi treatment of almost any race that was not Aryan, it goes on and on and on and on and on...... ddr ========================================================================= Date: Tue, 19 Dec 1995 14:55:11 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Jimmy Spruill Anyone know if "Wild" Jimmy Spruill still alive? This morning I was listening to some Wilbert Harrison stuff and I realized again how cool Spruill's guitar sound was...talk about wild guitar. -P ========================================================================= Date: Tue, 19 Dec 1995 14:57:38 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Copyright & more game playing Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU On 19 Dec 95, L W had this to say (in just ONE 20 line post)... "I'm not sure..." "I have to re-read it." "I don't know if he was..." "I have no idea if they..." "I just can remember exactly what I heard." "Anyway they did something for the blues..." "I have no idea..." "ANYONE KNOW FOR SURE ????" > LW 'most active unscusbribed 'eller :-)' ========================================================================= Date: Tue, 19 Dec 1995 14:17:11 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Re: A game...black/white -Reply Forgive me my stupidity, but I have to ask this: If a white person says "White people can't play blues," is that a reverse racism?????????? Ranko "Worried Reverse Racist" ========================================================================= Date: Tue, 19 Dec 1995 15:20:00 EST Reply-To: edward c liu From: edward c liu Subject: Re: Hanukah Blues? Howdy all, Steve Levine wrote: >Well, it's that time of year again for all of us non-Christian folks to >celebrate our big end of the year holiday. There has been a lot of talk >about Christmas blues (the only Christmas music I can stand, besides >the barking dogs doing "Jingle Bells" ;). I wonder if anyone has ever >recorded a Hanukah blues song? Hah! There ARE benefits to being an electronic packrat. This is a sheaf of posts to the list which popped up last year when P.W. asked the same question: *------------------------------cut heer------------------------------* Date: Mon, 28 Nov 1994 07:05:14 -0800 From: Cooperative Computer Services Subject: Re: Stump the Bluezellers Believe it or not, around 1980 Roy Buchanan's then manager Steve Simenowitz recorded a 45 and LP of what he called "The Jewish Blues" with Roy playing guitar on two versions each of two songs, both of which are in Hebrew. Needless to say, they're extremely rare. On Sun, 27 Nov 1994, Paul Fenton wrote: > I am booked for a private "Holiday" party December 10th and would like to do > some "Holiday" Blues songs. There are plenty of Christmas Blues tunes to > choose from, but I have never heard a Hanukkah Blues tune, or any kind of > Jewish Blues for that matter. Anyone have a clue? > > ,,, > (o o) > -----oOOo--(_)--oOOo----- > | Paul Fenton | > ------------------------- > | pfenton@delphi.com | > ------------------------- > ------------------------------ Date: Mon, 28 Nov 1994 12:39:03 -0500 From: steelpenny Subject: Jewish blues In today's digest, Paul Fenton wrote: =========================================================================== I am booked for a private "Holiday" party December 10th and would like to do some "Holiday" Blues songs. There are plenty of Christmas Blues tunes to choose from, but I have never heard a Hanukkah Blues tune, or any kind of Jewish Blues for that matter. Anyone have a clue? =========================================================================== I've not come across any. "Two Jews Blues" songlist doesn't seem to have any Jewish-oriented cuts. Two Jews Blues -- Barry Goldberg Date: 1969 The All-Music Guide Tracks: .. 1) YOU'RE STILL MY BABY 2) THAT'S ALL RIGHT (MAMA) 3) MAXWELL STREET SHUFFLE 4) BLUES FOR BARRY &... 5) JIMI THE FOX 6) A LIGHTER BLUE 7) ON THE ROAD AGAIN 8) TWICE A MAN 9) SPIRIT OF TRANE ONE WAY RECORDS 7676 27672 Mark Blass/blassms@ttown.apci.com | THIS IS STRICTLY MY OPINION. IT PROBABLY Allentown, Pennsylvania | DISAGREES WITH THAT OF THE DOMAIN OWNER. ------------------------------ Date: Mon, 28 Nov 1994 23:05:52 -0500 From: DavidIS@AOL.COM Subject: Re: Stump the Bluezellers The only thing I can think of would be some Kinky Friedman: more country than blues, but may have something there. Can't think of anything specific. David Silberberg davidis@aol.com *------------------------------cut heer------------------------------* You think these pickings are lean, try being a Buddhist this time of year. We don't have no stinkin' holiday this time of year (jeez, I better shut up before someone picks up on that keyword and blasts me for posting that New Age crap to the list =8^). -- Ed Edward C. Liu | "If nobody thinks for they self, edwick@cc.bellcore.com | Who thinks for everybody else? | -- Dr. John, "Lissen" The opinions in this message are mine and not Bellcore's. Really! ========================================================================= Date: Tue, 19 Dec 1995 12:33:36 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Understanding Blues Earlier today LW also wrote: >We mentioned that the Culture "begat" the blues, BUT gospel music in alot >of ways "begat" the blues. > >So it would seem in order to understand the blues, you must understand early >black gospel music..... > >I don't know ????? Whatch ya'll think Right on. You could also throw in the field hollers, prison work songs and spirituals that also formed the basis of the blues. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Tue, 19 Dec 1995 12:33:30 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: A game...black/white Earlier today LW wrote: >Shocking confession: I would rather hear/see SRV, than Buddy Guy ot Luther >Alison. Having seen all three, I honestly say that. You can say SRV was blues >rock and you're right. So are the other two and SRV NEVER covered a Cream tune >at least not the few times I saw him. I'm not sure if I understand this right but are you stating that because SRV never covered Cream he is better that Buddy and Luther because they did? I never knew it was a crimne for a blues artist to cover a rock tune. I will concede Buddy Guy being blues/rock but from what I've heard Luther Allison is a stone cold blues player. >I think blues WAS a black thing. You may not think you have to study the >culture to understand the music and you may be right. Have you ever read just >the last few chapters of a book and thought you understood it all. Then how >can you hear the most recent chapter of the blues and understand it, without >hearing the beginning....It's like coming in on the last 15 minutes of a >movie.... I agree. But this is similar to a point I have made repeatedly on Blues-L about people not knowing their history so I'll leave it at that. >The reason I said "WAS" and not 'IS": It has to do with generations. I would >prefer to hear WHITE Anson over BLACK Robert Cray anyday. I won't even touch >Keb' Mo, Corey Harris, Sugar Blue vs John Hammond, Rory Block and Musselwhite > >So I'm saying the blues that I love is from an older generation, when the blues >was something they lived and not something they got into after hearing Vernon >Reid or Cream. (not that that is bad, just stating my preference) > >If I were to name my top 95 purchases, there's one white artist and he would be >the ONLY artist that was not from the older generation. It's a generation thing >to ME. It's no longer a race based music, it's no longer AS GOOD either I don't think any music is really race based anymore. The boundaries are blurring and thank God. There was a time when it was "forbidden" for blacks to play rock but the advent of Living Colour helped change all that. Music is starting to cross the boundaries which is what music should do. I disagree that the blues isn't as good. When I listen to Luther Allsion, RL Burnside, Lonnie Pitchford, Robben Ford, Ronnie Earl (and there are a whole lot more) I hear the blues in good hands. They mat not have the stature or history of Muddy Waters or BB King but all these artists are making great contributions to the the blues and are spreading the word. They are changing with the times and advancing with the times. If Muddy Waters had't followed the times we'd all be still playing acoustic Delta blues. Shaun (all IMHO) Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Tue, 19 Dec 1995 15:35:47 -0600 Reply-To: Roger Struve From: Roger Struve Subject: _Your_ blues roots -Reply Well, this is going back a-ways. I was 4 years old and i was next door at Rodney Strauss' Grandmother's house where his mother Alice had left him for a few years....i don't remember why. Anyways, he says, one day "you'll never guess what my big brother (19) sonny has", so i said "i give up" and he ran upstairs and brought down this odd looking suitcase kind of thing and said "we can't take it out, but we can play with it still in the case", and he opened it up, and it was red and had strings and we banged away on it like i suppose early imitators of Liberace, although we were quite ignorant of Liberace or his significance at the time. He told me what it was, but i couldn't remember the name. So i ran back home and said "I want one of those" and described it as best i could, making those same arm motions that Rodney and I and employed. One week later, i was the disappointed owner of a 100 dollar used piano. I said that's not it, you could see the strings. And mom said "you mean a guitar" and i went nuts and said "that's it, that's the word Rodney used".... "well", mom said, "that's what we thought you meant, but we felt this would be better for you". Ahhhhhh, my first encounter with what's good and not good for me. I found out in subsequent years that whatever in my mind was good for me, was NEVER good in ethel's eyes. Not to be distracted....i started learning to play piano, maturing into classical stuff. I played at school starting in 1st grade recitals, individual performances or groups of performers, but never in the school band situation. I felt by the time i was 18 or 19, that i could make a piano sound more like a guitar than anyone i knew. It was a LONG way from sounding like a guitar, but it introduced me to the 12 bar blues format through the learning of a song called "big Blue Boogie" or something like that. It wasn't until i was 42 that i finally faced my immortality in a severe car accident which i luckily survived (happened a year or so before...but realizations and actions sometimes have a time frame between them)....so that's how i became delta doc roger. ddr ========================================================================= Date: Tue, 19 Dec 1995 12:43:10 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: A game...black/white -Reply Comments: To: Roger Struve Delta Doc Roger wrote: > > >It is my understanding that the first blues tune was written by Mr. Handy,>and he did not steal it from anyone. He was actually someone who was white>who was doing what he could to encourage and distribute the music that was>going on, giving credit due where credit was due, as i understand it. So Mary Katherine, not wishing to contradict anyone but UNABLE to let this pass without a , says: Gosh, Roger, what'cha been smoking?? W.C. Handy was *not* white! Really. Honest. Take my word for it. You may not think much of my abilities as a folklorist, a journalist, a researcher or a liner note writer but I *do* know the difference between blakc people and white people , and I promise you that W.C. Handy was an eminent *black* songwriter. I'd bet you a Diet Coke on it.... Mary Katherine ========================================================================= Date: Tue, 19 Dec 1995 15:44:04 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: _Your_ blues roots Comments: To: Storm Bailey Hi Storm, I have been in music ever since I can remember. My mom is an opera singer, and she taught me to play piano and read music when I was like 5 years old. By the time I was about 8 we were singing Mozart duets a capella. I started playing violin when I was 9 or 10. My father bought me a classical guitar when I was 12, and I taught myself to play classical guitar. At various times in my life I have also played viola in a string quartet and chamber orchestra, drums, flute, glockenspiel and probably other stuff, I can't remember it all. I switched to electric guitar a couple of years ago when I stopped caring that other people thought it was unladylike. Guitar is still my favorite instrument, with drums a close second. (And let me tell you, when I first started playing violin, even I couldn't stand to listen to myself practice!) After two years, I am a fair rhythm/slide guitarist and am working on my vocals. I think all my musical training has been helpful, especially learning to read music. From the piano and drum lessons I now have a virtual metronome in my brain, and I can keep rhythm unusually well considering the short time I've been playing. P.S. I learned blues from my mom's gospel-singer friends when I was a little tiny kid. P.P.S. my daughter plays piano pretty good after 6 months of lessons, and my son is in his school chorus. ______________________________ Reply Separator _________________________________ Subject: _Your_ blues roots Author: Storm Bailey at Internet Date: 12/19/95 11:59 AM This is a question for the musicians on the list. It occurred to me as I was sitting in yet another grade school/middle school band recital this week. (I have 5 kids; now, over half are getting past beginner...) Did _you_ start out your musical life playing 'Hot Cross Buns' out of tune in a gym full of parents? Did you get anything useful out of it? How did you get from there to doing/playing whatever you are now? This may seem to have low blues content, and if so I apologize--but here's why I think not: first, those of you who speak up are, among other things, blues players; and second, blues music has--as has been aptly pointed out in the current "black/white" thread--deep cultural roots which are quite different from many of our own. If it is to continue and expand, doesn't there have to be a way in? I want those doors open, if possible, for my kids. (They can, of course, do what they want musically, I'm just trying to get them what they need to do it.) Thanks in advance, I really am interested in what y'all have to say about this. Storm ========================================================================= Date: Tue, 19 Dec 1995 15:45:21 -0600 Reply-To: Roger Struve From: Roger Struve Subject: I GOOFED No excuses, but i was concentrating on the message, and substituted Mr. Handy's name in for the white guy who first copyrighted a song, whose name i now cannot summon. I stand by the rest of the post.... what a clarabelle i feel at this precise moment. ddr ========================================================================= Date: Tue, 19 Dec 1995 20:48:42 GMT Reply-To: Craig Edmundson Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Craig Edmundson Organization: University of Nebraska Medical Center Subject: Re: In John Lee Hooker's Defense Comments: To: ROSEBUDUS@AOL.COM Dear Mr. Kappus, Thank you for your post concerning Mr. Hooker and the circumstances regarding "The Healer." It was fascinating reading, and a warm tribute to the man and his friends. Sincerely, Craig Edmundson ------------------------------ Craig L. Edmundson cedmundson@netserv.unmc.edu cedmundson@nfinity.nfinity.com ========================================================================= Date: Tue, 19 Dec 1995 15:54:52 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Re: A game...black/white -Reply -Reply I screwed up royal...and of course you are right...i meant well, and there's no excuse. I will now remove myself from the list, as suitable action for the depravity of my emotional outburst. ddr ========================================================================= Date: Tue, 19 Dec 1995 16:05:05 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: No one more deserving . . . In reading the births/deaths for today, I noted that today would have been Edith Piaf's 80th birthday. She is a member of that famous "Class of 1915" with Muddy Waters, Willie Dixon, Johnny Shines, Memphis Slim, Josh White, Robert Lockwood, Honeyboy Edwards and so many others. It is ironic that she shares that birth year with Billie Holiday, another great "Sister of the Broken Heart." There are good and bad things about getting older but one of the advantages is to be able to look back and simply say, "I saw Piaf . . . . ." She did it like Son House did it. No tricks,. No props. No gimmicks. No artifacts. No fancy lighting. Just a woman in a plain black dress standing under a single spotlight and putting her heart and soul out there for you. Sleep well, little sparrow. There is no one more deserving to be here than you. Dick Waterman ========================================================================= Date: Tue, 19 Dec 1995 16:06:42 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: A game...black/white -Reply Comments: To: roger.lew.struve@medtronic.com In a message dated 95-12-19 15:07:03 EST, you write: >It is my understanding that the first blues tune was written by Mr. Handy, >and he did not steal it from anyone. He was actually someone who was white Um. What?? I think this would have come as surprise to Mr. Handy. >I really don't like this reverse racism stuff. It is a case of two wrongs >making a right. That is a falacy of a philosophy in my opinion. I respect >your right to have opinions that differ from my own... I don't know who you are accusing of racism, reverse or whatever. It is an absolute abiding fact that blues creators are and have been black. This may change. It could be that blues will go the way of ragtime (a wonderful museum piece, but with little new added since the 20s) or jazz (a living and integrated form albiet created in the black community and preponderantly the product of that community), or it could stay the way it has been-- a music whose creators have been black. Factually, actually, and (as near as I can tell) undisputably. Saying someone is a racist for asserting this *fact* is an ad hominem attack, and not an answer. And, by asserting that the essential point of my game (its thesis, if you will) is a *fact* I am saying that it is not an opinion or a philosphy. Argue whether it is a fact if you want to, but you don't advance an argument by calling someone a new. >Actually, from a purely empirical argument perspective, it can be presented >that without white involvement in bringing the slaves.... Ok, the white contribution to blues was enslavement. Brought 'em here and gave 'em something about which they could sing the blues. I'll agree with that. Tom Freeland ========================================================================= Date: Tue, 19 Dec 1995 13:10:41 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: A game...black/white -Reply Comments: To: BLUES-L@BROWNVM.BROWN.EDU. > Forgive me my stupidity, but I have to ask this: > > If a white person says "White people can't play blues," > is that a reverse racism?????????? > > > Ranko "Worried Reverse Racist" *Who the heck SAID this???* This is where the discussion goes awry, nearly every time. Someone tries to simplify respect for the founders and their culture into "White people can't play blues,"... What a crock... Do you believe this Ranko? Can you name ONE person on this list who believes this? I can't... So lets give this line a rest OK?? Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Tue, 19 Dec 1995 16:13:40 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: A game...black/white -Reply Comments: To: roger.lew.struve@MEDTRONIC.COM This is gonna be too easy On 19 Dec 95, Roger Struve had this to say... > It is my understanding that the first blues tune was written by Mr. Handy, > and he did not steal it from anyone. He was actually someone who was white > who was doing what he could to encourage and distribute the music that was > going on, giving credit due where credit was due, as i understand it. > I hope that you can respect my opinions, which i try to base on fact not > emotional cultural perspectives. What facts are you talking about? The FACT that W.C. Handy was BLACK or your apparent OPINION that he was white? You see, if you were sure of your facts, you would have known Handy's race, and then you could have at least SUSPECTED that Mary Katherine wasn't talking about Handy. Then you might have researched your facts. Your knowledge of the history of opera is equally sketchy. This makes it hard to deal with your facts. > Actually, from a purely empirical argument perspective, it can be > presented that without white involvement in bringing the slaves > (who were for the most part captured by coastal Black tribes > scouring the interior regions of Africa for their less respected > more primitive tribal cousins and sold by the Black coastal tribes > to Portugese traders, who then arranged delivery to White > plantation owners---who incidentally percentage wise made up a > small fraction of the White race at the time, albeit with the > complacency of that White constituent, who incidentally condoned > the mass slaughter of Native Americans in California in the 1800's, > which incidentally is chronicled very well by the Yazoo video of > Ishi, the last surviving Yahi Native American) that provided the > environment for the birth of the blues. I think I passed out waiting for that sentence to end, but when I came to, I found what I expected at the end. What giant ones you have. I thought only LW would say something so... so... loopy. > I mean no offense to anyone or any race. I am merely repeating facts > about the historical perspective of those days. To say that white men went to Africa to get black slaves to sell to other white men in America would be something you could call a fact. To say that therefore, the Blues owes it's existance to white oppression is an opinion. (and a rather loopy one) P.W. ========================================================================= Date: Tue, 19 Dec 1995 16:19:06 -0500 Reply-To: "Daryl F. Bernard" From: "Daryl F. Bernard" Subject: Re: A game...black/white Comments: To: Shaun T Cronin In-Reply-To: <199512192038.MAA10908@wavenet.com> On Tue, 19 Dec 1995, Shaun T Cronin wrote: > I don't think any music is really race based anymore. The boundaries are > blurring and thank God. There was a time when it was "forbidden" for blacks > to play rock but the advent of Living Colour helped change all that. Music > is starting to cross the boundaries which is what music should do. Be thankful indeed. But are we forgetting perhaps the greatest "rock" guitarist of all time? I know it's been nearly 30 years since _Are You Experienced?_ (in my opinion the single greatest album in rock history) but please let us acknowledge Jimi Hendrix (over Living Colour) as one of the best "boundary crossers." While we're at it, where would the rock guitar be without Chuck Berry? And one of my favorite rock bassists and lead-men, the late Phil Lynott of Thin Lizzy. I just wanted to point out the obvious: that while there have not been *alot* of black players in "rock" history, Living Colour was not the first and moreso, NOT the most important. "peace and happiness" (jimi hendrix, woodstock, 1969) Daryl ========================================================================= Date: Tue, 19 Dec 1995 21:22:58 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: _Your_ blues roots Comments: To: bit-listserv-blues-l@uunet.uu.net In , Storm Bailey writes: >This is a question for the musicians on the list. It occurred to >me as I was sitting in yet another grade school/middle school >band recital this week. (I have 5 kids; now, over half are getting >past beginner...) > >Did _you_ start out your musical life playing 'Hot Cross Buns' >out of tune in a gym full of parents? Did you get anything useful >out of it? How did you get from there to doing/playing whatever >you are now? As a matter of fact I did. I got started with a combinmation of piano lesons at age 6 and the assortment of various toy bamboo flutes, recorders, xylophones, etc. that I received every holiday/birthday/trip. Although my professional experience has been on saxophone, harmonica, and jug (yes, jug), my early piano training laid the foundation for everything else I've done musically. I can't point a finger at the point when I got interested in blues, because I grew up with the music. My mother is a bg blues fan, we had friends who played, and an awful lot of the gospel I heard at tent revivals ond on the radio could easily have passed for blues. But when I got serious about playing, I still found that my experience and training with music fundamentals (dare I say theory?) made it easier to pick up the harmonica and try to work out melodies and improvisations. To this day, when someone says "G# minor", I immediately have an image of the chord on the piano, although my lessons stopped when I was 9, and I've only played sporadically since. So keep those kids in lessons and band, no matter how whitebread the music is. If they've got the music in them, and want to express it, they'll be well down the road having a good musical vocabulary. Even if they don't (and not everyone is destined to be a musician), those early experiences with hot cross buns will help them appreciate it when they see or hear REAL music. BBB - B.B. Bean bbbean@cris.com - ========================================================================= Date: Tue, 19 Dec 1995 15:01:13 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Jimmy Spruill Comments: To: Peter Welch In-Reply-To: <199512191955.OAA124559@poe.acc.Virginia.EDU> Wild Jimmy Spruill (or "Spurrill" as I've seen it sometimes lately) is indeed still alive and working around New York City, sometimes in a package with New York blues veterans Larry Dale and Rosco Gordon. He and Larry Dale each have recent self-produced cassettes. Sorry I don't have contact information. ========================================================================= Date: Tue, 19 Dec 1995 16:34:10 -0500 Reply-To: "Abe W. Mathews" From: "Abe W. Mathews" Subject: Re: _Your_ blues roots In-Reply-To: from "Storm Bailey" at Dec 19, 95 11:59:50 am Storm Bailey writes: > Did _you_ start out your musical life playing 'Hot Cross Buns' > out of tune in a gym full of parents? Did you get anything useful > out of it? How did you get from there to doing/playing whatever > you are now? When I was 7, my parents bought an upright piano. It was my first exposure to a musical instrument. The first night we had it, I stayed up until about 12:00 or so, until I had figured out the melody to some Beach Boys tune or another. I was hooked. Then I took my first lesson. And found out that the teacher didn't give a damn what I had learned to play by myself, she only wanted to hear me play "My Dog Has Fleas" with proper hand position, in proper time, not looking at my fingers, etc. Before long, as soon as my mother dropped me off at the end of my teacher's driveway, I would take a dishtowel I had hid in my backpack, wrap it around my arm and neck, and tell the teacher I had sprained my arm, so I couldn't do the right hand-left hand coordination exercises that day. Course, one day I put the sling on the wrong arm, the teacher caught it, and then I caught it, too, once I got home. I think I had lessons for 2 years. Then, when I was 10, I wanted to play tenor sax in the school band. When I first got it, I played *constantly*. I learned the melody to "Star Wars" by ear. Then I had some lessons, and found out that the teacher didn't want to hear what I learned by ear, he wanted me to play "Twinkle, twinkle, little star." With proper hand position, and proper breath technique, etc. I lasted another 2 years (which my parents still point out was just long enough for them to completely pay for the sax), and then I started conveniently "forgetting" my sax at home. So much for the sax. Then when I was 14, I watched my cousin get hit on by a girl I had been trying to get to dance with me all night. We were at a wedding, and my cousin had just sat in with the band. He was a guitar player. The next day, at my house, my cousin pulled out a resonator guitar, and started playing amusing songs for the gathered family. I had been trying to impress people with my BASIC programs I had written on the computer, but no one would pay any attention to me. Everyone listened to every single note my cousin played. I HAD TO HAVE ONE. That Christmas, I was at my uncle's house, and I knew he used to play guitar. I asked him how much a guitar cost, because I had gotten $50 for Christmas from my grandparents, and was going to buy my own. He told me that they were free, and he'd give me his old one. The next question I asked was: "Do I have to take lessons to learn how to play it?" His response was that it was better if I didn't, and he also gave me a "Learn to play guitar with the Ventures" album and book. I never had a lesson on the guitar until the last couple of years. I never tried to apply anything I learned on the sax, or the piano, to the guitar. Now, I can't read music on the guitar. And I wish I could. I'm trying to get closer every day, and taking lessons for it. However, this time, my teacher is using Socratic method. No lessons until I have a specific question. So sometimes I take lessons 2 times a month, sometimes I go for 4 months without a single lesson. It's worked well for me. The upside is that I have a well developed ear. I can fit in with most progressions, and come up with something interesting to play. Anyway, this is getting far too long. Thanks for having the stamina to read this far. :) Abe awmathew@mtu.edu ========================================================================= Date: Tue, 19 Dec 1995 15:34:27 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Delta Doc's erorr If everybody that made mistakes got off the list, then Mr. Fenton would be the only one on blues-l. So realize you are not perfect and keep on posting LW 'aka: Paul Fenton's idol' btw: Charlie Patton was playing rock n roll long before Jimi, Chuck or Vernon. The only difference is Alan Freed wasn't around then. ========================================================================= Date: Tue, 19 Dec 1995 21:44:49 GMT Reply-To: Joe Mama From: Joe Mama Organization: Noogie Nation Subject: Re: 'ZELLERS_??? Comments: To: brown-lists-blues-l@cocoa.brown.edu In article , Sanjay Rajan wrote: > Being relatively new to this newsgroup, I was wondering > what's the story behind the BLUESZELLERS word... > or is it BLUES ZELLERS ??? > Is it defined in the dictionary ;) > Errrrr.its from the name of the list "blues-l" plus the ending "er", for "one who"....so we get "blues-l-er" or "bluezeller", when pronounced phonetically..then again,it could be the ancient Mayan pronunciation of the sounds that emanate from John Lee Hooker's hypothalmus...;-) ========================================================================= Date: Tue, 19 Dec 1995 14:13:37 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Tom's game Hey, thanks to Tom Freeland! Although you might not have intended to, (or maybe you did....), you sure got us off the Boogie Nation nonsense in record time! Mary Katherine ========================================================================= Date: Tue, 19 Dec 1995 16:28:21 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Hanukah Blues? > > Steve Levine wrote: >>Well, it's that time of year again for all of us non-Christian folks to >>celebrate our big end of the year holiday. There has been a lot of talk >>about Christmas blues (the only Christmas music I can stand, besides >>the barking dogs doing "Jingle Bells" ;). I wonder if anyone has ever >>recorded a Hanukah blues song? > > Not a Chanukah song, but didn't the Ravens (or some other Black vocal group in the late forties / early fifties) record a song called "Mazel"? David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Tue, 19 Dec 1995 16:28:24 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: No one more deserving . . . At 04:05 PM 12/19/95 -0500, Dick Waterman wrote: >In reading the births/deaths for today, I noted that today would have been >Edith Piaf's 80th birthday. Snip / Snip >There are good and bad things about getting older but one of the advantages >is to be able to look back and simply say, "I saw Piaf . . . . ." >She did it like Son House did it. No tricks,. No props. No gimmicks. No >artifacts. No fancy lighting. Just a woman in a plain black dress standing >under a single spotlight and putting her heart and soul out there for you. >Sleep well, little sparrow. There is no one more deserving to be here than >you. > I remember when I was about 10 - back in the fifties - my parents went on a cruise, stopping at various Caribbean islands, etc. My father came back from the cruise just raving about this woman just as Dick does above - a "tiny little thing" coming out in a plain black dress, just singing simple songs in French. I don't know why that stuck in my mind - although the recordings of her that I have heard have been stunning.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Tue, 19 Dec 1995 17:32:58 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Music Roots Storm -- I have a degree in Music Education and play woodwinds (mainly saxophone and flute), piano, guitar, some percussion, sing, and am learning to play bass guitar. I'm not a working musician, but I spend most of my free time with musicians and feel some kinship with the species. To answer your questions: Did _you_ start out your musical life playing 'Hot Cross Buns' out of tune in a gym full of parents? Did you get anything useful out of it? How did you get from there to doing/playing whatever you are now? Yes, I did start out exactly that way. On a plastic recorder they called a "flute-o-phone." We also played triangles and tambourines and maracas. In addition to "Hot Cross Buns," we played "Three Blind Mice," "Twinkle, Twinkle, Little Star," "Three Craw Sat Upon a Log," and various other elementary school hits. I've also been in school and community choirs and choruses since the dawn of time. Yes, I did get something useful out of it...learning to play with other musicians, learning to listen and follow direction, learning an appreciation and knowledge of music. Music was integrated into my life from the very beginning. I started playing saxophone in fourth grade (when we chose band instruments). I played in elementary school band, high school band, high school jazz band, community bands, college ensembles, bands, chamber groups, civic orchestra... I started guitar in 10th grade, and helped to pay my way through college as a folkie singer/songwriter. All the way along I learned--both directly and indirectly--discipline, theory, history, ensemble playing, listening... Music was just another language to learn and experiment with, like English. When I graduated from High School, I was musician (and artist) of the year in my senior class. It still amazes me when people tell me they never learned to read music or play an instrument. It was expected, it was part of the curriculum, like Math, Social Studies, English, etc. Music isn't my career. I have degrees in Music Ed. and Clinical Psychology and considered going into Music Therapy, but got sidetracked after college into travelling, then my interests shifted more to writing, and I'm now an editor. But music is still an important part of my life, as is language, and I can't imagine not picking up a guitar to express or entertain myself any more than I can't imagine not picking up a pen or sitting in front of a word processor to express myself through writing. My parents never pushed music lessons on me (well, there was a rebellious period there when I refused to go to saxophone lessons for a while, around 6th grade, I think), but they made music available. I'm not a perfectionist, and I'm not good enough to be a solo player or a studio musician or anything like that. I think music should be fun, and should be enjoyable, both individually and as a group experience. It's sharing and communication. So I would say encourage your kids, listen to them, and if they want a guitar or a flute or a trumpet or a drum kit, get it for them (even if it's a used one...my family didn't have much money and all my 'first' instruments were second-hand or out of the Montgomery Ward catalog). And let them know what you enjoy, too! My father played Dixieland banjo and harmonica; I used to enjoy sitting out on the lawn with him in the summer and listening to him play. My mother played the radio and stereo...I grew up mostly with big-band music (Glenn Miller, Tommy Dorsey) and crooners like Nat King Cole and Bing Crosby. That was my parents' music. I was a folkie, into Simon & Garfunkel, Arlo Guthrie, James Taylor, Carly Simon, and pop, Elton John, The Guess Who, Barry Manilow (*wince*), etc. My interest in the blues has developed as I've become older (30something), as I'm drawn more towards traditional-based music (I'm also a major Celtic music fan). Let your kids explore. Share your interests with them. Just as you teach them to speak and communicate (and shudder at their age group's in-speak), do the same with music. It's that easy! :) Shannon ========================================================================= Date: Tue, 19 Dec 1995 16:53:27 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Hanukah Blues? Comments: To: edwick@CC.BELLCORE.COM On 19 Dec 95, edward c liu had this to say... > Hah! There ARE benefits to being an electronic packrat. This is > a sheaf of posts to the list which popped up last year when P.W. asked > the same question: Man, all the dust on that stuff made me sneeze. What else you got in that black bag Professor Marvel? You gotta have one whale of a disk drive ;-) P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 19 Dec 1995 18:25:17 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Blue Soul Christmas Playlist > 1 - The Drifters "White Christmas" (which I dearly love) is, I think, an > almost exact cover of the Dominoes "WC", which, I think, is an almost exact > cover of the Ravens (?) "WC". Who sang lead on the Dominoes version? Was > it Jackie Wilson? (This is a question from someone on alt.r&r.oldies.) That I don't know ... I don't have the Dominoes version > 2 - Where is this? Is it on the Stax singles box set? Otis Reddings White Christmas is on the OTIS! boxed set. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Tue, 19 Dec 1995 18:25:17 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: 'ZELLERS_??? > Being relatively new to this newsgroup, I was wondering > what's the story behind the BLUESZELLERS word... > or is it BLUES ZELLERS ??? > Is it defined in the dictionary ;) The newsgroup you are reading is a mirror of a mailing list called blues-l -- it stands for blues-list. A couple of years back, someone transformed "blues-l-ers" into bluezellers , and the name stuck. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Tue, 19 Dec 1995 18:25:17 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Black White Blue It's inevitable. Every three or four months, sure as the goddess made little green apples, someone on blues-l will write "It's not about race, it's about music," and sit back as if they've just delivered the tablets from the mountain. And several other people will jump in and explain why that statement is pure nonsense, which it is. And some other deep thinker will say that anyone who thinks blues comes from black culture is "reverse racism." And so on. Remember the joke about the lifers in prison who sat around saying numbers, like "29," and everyone would laugh? They'd been in so long that they knew all the jokes, so they had numbered them for convenience. Blues-l should have a similar feature. Then, the next time someone says "Blues isn't black music, it's HUMAN music," I could just shout "49!" and be done with it. Ian (Grinchier than Bonnie tonight) Angus ========================================================================= Date: Tue, 19 Dec 1995 18:12:58 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Tom's game (black.... white..... ) The game I proposed this morning was really simple: I listed 50 black musicians and suggested they were major creators and major artists of blues; I asked that those who argued that the music was mot particular to blacks simply propose a white addition and who they would strike from the list, in favor of that particular name. I hoped for an explanation of these selections. With the sole exception of LW, who attempted to use sleight of hand (he said that Charley Patton doesnt look black to him, so there IS a white on your list. Clever try, LW. Patton had a substantial amount of Indian blood. More directly responding: Patton was evermore the product of the Mississippi Delta's black community, and black by any definition then and now. LW also proposed the Lomaxes, who I suggested did not qualify because I was talking about the creators, that is, musicians), no one played my game. Some folks ranted and raved about racism, to which I say PLEASE STOP. I won't call you names if you stop calling other folks names (me included). This isnt racism; answer me instead of firing at me and others with name-calling. In any event, I return to my assertion: The blues is a product of the black community. Its creators and its great artists have been exclusively black. I hold up my list-of-50 and ask "If I am wrong, who would you eliminate from the list to include which white musician. Suggest someone and explain why" This seemed to me a reasoned way to approach this issue. And, as PW Fenton pointed out, the list could be extended. What about: Lonnie Johnson; Blind Blake; Johnny Jones; Sunnyland Slim; Kansas Joe McCoy. Tom Freeland ========================================================================= Date: Tue, 19 Dec 1995 18:15:41 -0500 Reply-To: HippieLady@AOL.COM From: Beverly Howell Subject: CHRISTMAS MESSAGES... If any of y'all would like to send a personal "Happy Holidays" message to any of the folks listed below, I will be more than happy to forward them on your behalf. I will be printing all the emails I receive, sorting them, and faxing them THIS COMING FRIDAY AFTERNOON, (12/22) so please get them to me as soon as you can. Please put the name of the person you're writing to in the Subject line and send to me directly instead of posting to the mailing list or I may miss it. (HippieLady@aol.com) or (BevBlues@iglou.com) Jimmie Vaughan Doyle Bramhall, Sr. or Jr. Tommy Shannon Chris Layton Reese Wynans Malford Milligan David Grissom David Holt Kim Wilson and members of the Fabulous Thunderbirds Lonnie Mack (these will be printed and mailed, he won't get them til after the holidays) Antone's Staff (the club) I cannot promise a response, but I will promise they will be forwarded. Please DO NOT expect me to forward email to Jimmie, Tommy, Chris, etc., asking about videos, asking Stevie questions, etc. I started forwarding Christmas email messages to these folks two years ago because there were members of America Online that asked me to do so, and I am more than happy to, but if anyone should choose to write a nasty letter I also reserve the right to not to send it. If you think this is unfair, you can also flame me at the above email addresses, where your letter will be promptly read and filed in my fireplace. Warmest Regards and Christmas Hugs to you all, Beverly Producer/Host "Blues Chat" and Board Host, Blues Music Message Center AOL, Inc. ========================================================================= Date: Tue, 19 Dec 1995 17:18:07 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: Re: JIMMY SPRUILL > From: Richard Shurman > > Wild Jimmy Spruill (or "Spurrill" as I've seen it sometimes lately) > is > indeed still alive and working around New York City, sometimes in a > package with New York blues veterans Larry Dale and Rosco Gordon. > He and > Larry Dale each have recent self-produced cassettes. Can someone in NYC track Jimmy Spruill down and see if he is selling his self-produced cassettes? I'd sure like to buy one or would gladly trade with a NYC blues-l'er Don O. ========================================================================= Date: Tue, 19 Dec 1995 18:22:18 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Luther Allison "stone cold blues player" Comments: To: Shaun T Cronin In-Reply-To: <199512192038.MAA10908@wavenet.com> On Tue, 19 Dec 1995, Shaun T Cronin wrote: > I'm not sure if I understand this right but are you stating that because > SRV never covered Cream he is better that Buddy and Luther because they > did? I never knew it was a crimne for a blues artist to cover a rock tune. > I will concede Buddy Guy being blues/rock but from what I've heard Luther > Allison is a stone cold blues player. My guess is that from Mr. Allison we will be hearing a lot more blues/rock as some people will call it. If he stays with Alli- gator and I hope he does I truly believe that he will get great exposure and look to play to larger audiences. Hence there's a need to go more rock to get the crowds. His last 2 outings are both on Alligator and both are stupendous slowly the crawl will be to more electricity - more rock/blues - more exposure - more money - more etc. AND FOR SURE LUTHER DESERVES EVERY BIT OF IT and with Alligator and Bruce Iglauer the possibilites are there for him. I also bet that as Luther makes it - more & more people will be giving him and his music the I HATE IT crapola. Just watch and see if the Scooter's crystal ball ain't right. I just remembered, forgot where I saw it but the mags are as we speak starting to pan him ...... I guess they'd all like Luther to go back in time, live in Europe and have the good old US pay him no respect ... not me. I have the same feelings about Sugar Blue and I've said it many times over - he is a $%(&% genius on the harp and no matter what he plays or what direction he takes that can never be taken away from him - another Alligator-man I absolutely love. NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Wed, 20 Dec 1995 01:57:24 +0200 Reply-To: T P Uschanov From: T P Uschanov Subject: Re: JIMMY SPRUILL Comments: To: Don O In-Reply-To: <9512191718.0OB0X00@chrysalis.org> On Tue, 19 Dec 1995, Don O wrote: > > Wild Jimmy Spruill (or "Spurrill" as I've seen it sometimes lately) > > is > > indeed still alive and working around New York City, sometimes in a > > package with New York blues veterans Larry Dale and Rosco Gordon. > > He and > > Larry Dale each have recent self-produced cassettes. > > Can someone in NYC track Jimmy Spruill down and see if he is selling his > self-produced cassettes? I'd sure like to buy one or would gladly trade with a > NYC blues-l'er Me too! T P Uschanov (Mr), University of Helsinki, Finland, European Union. tuschano@cc.helsinki.fi ---- http://www.helsinki.fi/~tuschano/ "Property is theft." (Pierre-Joseph Proudhon) ========================================================================= Date: Tue, 19 Dec 1995 19:19:00 -0500 Reply-To: FLAMINAMY1@AOL.COM From: David Mandelbaum Subject: Jimmy Spruill "Wild" Jimmy Spruill plays with Bob Gaddy, Larry Dale and the Houserockers. They will be appearing Dec. 23rd at Dan Lynch, 221 2nd Ave., NYC, without Bob Gaddy, who is in Japan til after the 1st. I intend to be there. Guess I'll wear my Blues-l T-shirt. Anyone interested in obtaining Jimmy's or Larry's tapes, or inquiring about the band please e-mail me privately. Happy Holidays. David ========================================================================= Date: Tue, 19 Dec 1995 19:28:34 -0500 Reply-To: Jonny Meister From: Jonny Meister Subject: Observations of a new Blues-eller I have been lurking on this list for a few days now, and I suppose it's time to chime in-- but I don't intend to write in my every thought and whim... my first observation of the list is that there is a HELL OF A LOT of VOLUME here...... I personally am not looking for endless arguments/ opinion exchanges a la talk radio...I am looking for information. I'll resist the very strong temptation to discuss the white/black issue...I've got my own strong feelings about it, but let's use the list for spreading info about the music instead of vain efforts to persuade others that our opinions are the right ones. Can it be agreed that blues came from black roots, has enjoyed a long popularity with white people, is the main ingredient in the recipe that yielded rock'n'roll, has a significant life of its own outside of rock'n'roll....and let's leave it at that? There is something to be said for restraint and brevity!! I have hosted The Blues Show on WXPN in Philadelphia, Saturday nights, for the past eighteen years (88.5FM Philadelphia, 90.5FM Baltimore/Annapolis, 104.9FM Allentown/Bethlehem, 88.1FM Harrisburg). I am interested in info on other radio shows, and am particularly interested in info on Blind Lemon Jefferson. Why is there so little of it? Lemon was arguably the most influential blues musician of all (to other blues people). He sold very well, unlike Robert Johnson (who finally hit the charts more than a half-century after he died). Everyone listened to his records. The most memorable line in "Love In Vain" (about the train with the red and blue lights behind) is from Jefferson's "Dry Southern Blues". Arthur Crudup's "That's All Right" comes from a verse in Jefferson's "That Black Snake Moan". There are many recollections of meeting Jefferson, some obviously apocryphal-- guys who sat on his knee as kids in the late 1930's, years after he died.... Who was he? Was his name really "Lemon", or was it a nickname? Where are his descendants? Have birth/death certificates ever been found for him? What happened to his unissued Okeh sides? Could they perhaps exist somewhere? Where in fact did he travel? Supposedly Paul Oliver and others did lots of Texas research in the '60's that hasn't been published. Maybe there is some info on Lemon. Maybe there are more pictures than the one and only one we know of. Who was this guy who is the very personification of country blues? "Project Jefferson" should be launched to find out what we can about this crucially important, yet hardly-known figure in the history of our music! -Jonny Meister ========================================================================= Date: Wed, 20 Dec 1995 00:37:12 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: Mardi Gras Indians : Adrian asked: : >OK, it's not quite blues, and it's not quite seasonal, but I'm at a loss : >for where to find more info on Mardi Gras Indians, their music and : >origins; I just plowed through the brand new 2 story Barnes and Noble Michael P. Smith also has a great book called "Mardi Gras Indians," published in 1994. This is the one you want. Tons of stories and great photos. Smith's books are published by Pelican Publishing Company, 1101 Monroe Street, Gretna, LA 70053. (And for those guys at Barnes and Noble, U-Village branch :) ... it's ISBN 0-88289-896-5.) ============================================================================ Jef Jaisun eljefe@netcom.com ============================================================================ -- ========================================================================= Date: Tue, 19 Dec 1995 20:04:21 -0500 Reply-To: ROSEBUDUS@AOL.COM From: Rosebud Agency Subject: Hooker Stamp from Tanzania On Sunday, December 17, Jef Jaisun wrote: The stamp is illustrated in black and white, shows Hooker standing in some kind of scenic Tanzanian forest (?). No guitar. Carries the copyright "1995 John Lee Hooker" in the lower corner, and is apparently part of a licensed set conceived by CarlosSantana (so it says), who even has his own stamp(!). ------------------------------ First of all, allow me to confess commercial involvement, as JLH's manager, with the sale of these stamps (or however one appropriately confesses on the list) but I thought you might like the background on these. The stamp is oversized--just about 5 in. by 5 in. and, outside of collector sales would presumably only be usable on larger packages. What motivated me to post was the comment about JLH in a Tanzanian forest. The photo is actually from his photo session for Chill Out by noted photographer, Anton Corbijn. The background of a snow covered area with trees was actually a huge canvas sheet used for background scenery. The shoot was done in Hollywood inside a warehouse for such scenic backgrounds on a warm LA day. The wonders of LA-neither Tanzania nor the great white north. Once again "You can't judge a book by looking at the cover" Willie Dixon Mike Kappus ========================================================================= Date: Tue, 19 Dec 1995 20:39:17 -0500 Reply-To: Niles Frantz From: Niles Frantz Organization: Megaweb Subject: Re: Boogie Nation, Joe Louis Walker Comments: To: bit-listserv-blues-l@uunet.uu.net In article <0000iskscoye.0000ecywsauo@vines.etn.com> KCARLSON wrote: >Anybody...what's the next Joe Louis Walker I should get? The Gift, Hightone 8012 or Live At Slim's, Volume 1, Hightone 8025. Niles A loop is a loop is a loop. ========================================================================= Date: Tue, 19 Dec 1995 20:44:08 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: No one more deserving . . . Thanks to his well-deserved status, Richard Waterman (the Younger) has certainly earned the right to explain to the Blues Line just why Edith Piaf was so wonderful; I never had the chance to see her, but one can tell just a little of her passion in her recordings. There may not be much blues content here, but I suspect that most blues fans do enjoy other kinds of music; I'd be fascinated to know which NON-blues artists some of you dig, and why. To start this,among my many faves are Louis Armstrong (well, that WAS blues!), John Prine, Guy Clark, Mary Chapin Carpenter, Loreena McKennitt (well, I work for her!), Jimmy Rushing, Humphrey Lyttelton, and has anyone heard the Holmes Brothers (and, boy, are they blues!). What they have in common is the heart, the soul, the passion and the lyrical power of the best blues artists, even though the roots may often be entirely different. In the interest of widening folks' tastes... Richard the Elder ========================================================================= Date: Wed, 20 Dec 1995 01:00:39 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: Hanukah Blues? Steve Levine (Steve.Levine@CORP.WRGRACE.COM) wrote: : Well, it's that time of year again for all of us non-Christian folks to : celebrate our big end of the year holiday. There has been a lot of talk : about Christmas blues (the only Christmas music I can stand, besides : the barking dogs doing "Jingle Bells" ;). I wonder if anyone has ever : recorded a Hanukah blues song? The guy you need to chase down is Allan Lieberman, who recorded, among other Sherman-esque parodies, "Thank God I'm A Jewish Boy." I think he's out of Chicago. If anyone's done a Chanukkah [yeah, big boy--it's got a C where I come from! :) ] blues, it would most likely be him. I'd suggest searching the folk lists, rec.music.dementia and some of the Jewish newsgroups. ============================================================================ Jef Jaisun eljefe@netcom.com ============================================================================ -- ========================================================================= Date: Tue, 19 Dec 1995 20:13:49 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: No one more deserving . . . At 7:44 PM 12/19/95, Richard Flohil wrote: >There may not be much blues content here, but I suspect that most >blues fans do enjoy other kinds of music; I'd be fascinated to know which >NON-blues artists some of you dig, and why. Contemporary - Emmylou Harris Others - Hank Williams, Sr. and Jimmy Rodgers (America's Blue Yodeler). Don't know why, exactly, but these are long time non-blues favorites of mine. A new-found favorite is Bob Marley. The best of his stuff seems to somehow float above this Earth....like "No Woman No Cry" and "Sun is Shining". David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Tue, 19 Dec 1995 20:15:36 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Hanukah Blues? Comments: To: Jef Jaisun At 7:00 PM 12/19/95, Jef Jaisun wrote: >The guy you need to chase down is Allan Lieberman, who recorded, among >other Sherman-esque parodies, "Thank God I'm A Jewish Boy." I think he's >out of Chicago. Or Kinky Freedman, when he's not writing mystery novels.... David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Wed, 20 Dec 1995 13:18:36 GMT Reply-To: Ben Rheinberger From: Ben Rheinberger Subject: Help an Australian Please help out an Australian Blues fanatic! The first Blues song I ever heard changed my life but I have never been able to find it again. I am hoping that somebody knows who it is by, what it is called and how I can get hold of it. It is in a style similar to Big Bill Broonzy (it may even be him) and it goes something like this: I gotta find me a big fat woman yeah She's gotta weigh 355 pounds I gotta find me a big fat woman yeah She's gotta weigh 355 pounds She's gotta have a head like a pumpkin Knees like squash All mushy 'round the middle and Oh my Gosh! I gotta find me a big fat woman yeah She's gotta weigh 355 pounds... I know it sounds wierd to some poeple that a song like this can change your life, but I know you will understand! If you cannot help me I would appreciate another link to somebody who could. Thanks! _________________________________________ Ben Rheinberger Recreation Research Officer Tasmanian Parks and Wildlife Service 134 Macquarie St HOBART Tas 7000 Australia Ph AUS (002) 33 6047 _________________________________________ ========================================================================= Date: Tue, 19 Dec 1995 21:50:35 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Tom's game Shaun said: >If Muddy >Waters hadn't followed the times we'd all be still playing acoustic Delta >blues. I'm not sure that would be so bad, either.... Only half-kidding, Karen Btw, Tom Freeland, I like your list! :) ========================================================================= Date: Tue, 19 Dec 1995 19:05:33 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Luther Allison "stone cold blues player" On Tue, 19 Dec 1995, Barry Silverberg wrote: > My guess is that from Mr. Allison we will be hearing a lot more > blues/rock as some people will call it. If he stays with Alli- > gator and I hope he does I truly believe that he will get great > exposure and look to play to larger audiences. Hence there's a > need to go more rock to get the crowds. His last 2 outings are > both on Alligator and both are stupendous slowly the crawl will > be to more electricity - more rock/blues - more exposure - more > money - more etc. AND FOR SURE LUTHER DESERVES EVERY BIT OF IT > and with Alligator and Bruce Iglauer the possibilites are there > for him. And good luck to Luther as well. > I also bet that as Luther makes it - more & more people will be > giving him and his music the I HATE IT crapola. Just watch and > see if the Scooter's crystal ball ain't right. > > I just remembered, forgot where I saw it but the mags are as we > speak starting to pan him ...... I guess they'd all like Luther > to go back in time, live in Europe and have the good old US pay > him no respect ... not me. I have the same feelings about Sugar > Blue and I've said it many times over - he is a $%(&% genius on > the harp and no matter what he plays or what direction he takes > that can never be taken away from him - another Alligator-man I > absolutely love. What is it with people (critics especially)? They complain about artists not getting their due and when they do the same people are the first ones to start knocking them down. A lot of people who are critics these days seem to have no real love or understanding of the music they are reviewing and seem to think that reviewing someone consists of finding the weak points and attacking them. The strengths get nary a mention. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Tue, 19 Dec 1995 19:05:38 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: A game...black/white On Tue, 19 Dec 1995, Daryl F. Benard wrote: >Be thankful indeed. But are we forgetting perhaps the greatest "rock" >guitarist of all time? I know it's been nearly 30 years since _Are You >Experienced?_ (in my opinion the single greatest album in rock history) >but please let us acknowledge Jimi Hendrix (over Living Colour) as one of >the best "boundary crossers." I was referring to more recent examples though forgetting Hendrix on this issue is an almost unpardonable sin. I remmeber when Living Colour broke there was quite a bit of crap bandied around concerning the rights of blacks to play rock. It was as if everyone had forgotten Hendrix, Chuck, Little Richard and Phil Lynott as you mentioned. >While we're at it, where would the rock guitar be without Chuck Berry? > >And one of my favorite rock bassists and lead-men, the late Phil Lynott >of Thin Lizzy. > >I just wanted to point out the obvious: that while there have not been >*alot* of black players in "rock" history, Living Colour was not the >first and moreso, NOT the most important. I agree. As I said before they were one of the most recent bands to "crossover" The point is that when Living Colour did a lot of people found it quite strange to have a black band playing rock. It was as it the previous 30 years of Rock hadn't happened. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Tue, 19 Dec 1995 19:05:43 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Merry Christmas As I'm going no-mail later on tonight (off to New Orleans tomorrow for a week) this is my last chance to wish everyone on Blues-L a safe and Merry Christmas. New Age Boogiers, EC G-stringers, raging purists and all the other ranters and ravers make this a fun place to be. Peace and goodwill to you all. Cheers, Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Tue, 19 Dec 1995 21:07:56 -0600 Reply-To: William A Morgan From: William A Morgan Subject: Re: No one more deserving . . . In-Reply-To: Richard the Elder's great choices inspire me to listen to the Guy Clark records in my vinyl stash from the 'new country' phase of my life. One of my favorites from that same period is James Talley, an artist influenced by Bob Wills (among others) and inspired by the plight of farmers, coal miners and an assortment of working people. Talley's music captures the spirit of the blues in a country package. Two of my favorite jazz musicians -- Ella Fitzgerald and Lester Young make the most sensuous music on the planet. Just thinking about their music makes me amorous. Excuse me. Bill On Tue, 19 Dec 1995, Richard Flohil wrote: > Thanks to his well-deserved status, Richard Waterman (the Younger) has > certainly earned the right to explain to the Blues Line just why Edith Piaf > was so wonderful; I never had the chance to see her, but one can tell just > a little of her passion in her recordings. > There may not be much blues content here, but I suspect that most > blues fans do enjoy other kinds of music; I'd be fascinated to know which > NON-blues artists some of you dig, and why. > To start this,among my many faves are Louis Armstrong (well, that > WAS blues!), John Prine, Guy Clark, Mary Chapin Carpenter, Loreena > McKennitt (well, I work for her!), Jimmy Rushing, Humphrey Lyttelton, and > has anyone heard the Holmes Brothers (and, boy, are they blues!). What they > have in common is the heart, the soul, the passion and the lyrical power of > the best blues artists, even though the roots may often be entirely > different. > In the interest of widening folks' tastes... > Richard the Elder > ========================================================================= Date: Tue, 19 Dec 1995 22:19:21 -0500 Reply-To: Sanjay Rajan From: Sanjay Rajan Subject: THANKS_'ZELLERS!! To all BLUEZELLERS..... Now I know what I am, a true Blues-L-eller aka BLUEZELLER.... Thanks everyone, who made me one ;) +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-($)^($)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ Surrealism ? I AM Surrealism - Salvador Dali +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Tue, 19 Dec 1995 20:00:25 -0000 Reply-To: James Witteveen From: James Witteveen Subject: Re: No one more deserving . . . Richard the Elder wrote: > There may not be much blues content here, but I suspect that most >blues fans do enjoy other kinds of music; I'd be fascinated to know which >NON-blues artists some of you dig, and why. The Chieftains (on Long Black Veil, The Foggy Dew is one of my favorite non blues tunes) Bob Dylan - especially Bringing it all back home, and his more overtly Christian stuff Neil Young - ceaselessly inventive, never boring Van Morrison - especially his early stuff (with Them, as well as Moondance...) The Hothouse Flowers - upbeat, positive, beautiful... Midnight Oil Dire Straits - great songwriting, great guitar, great voice The Beach Boys (yes, I said the Beach Boys!) - great harmonies, fun songs, and Brian Wilson is the best pop songwriter ever. Then of course, there's gospel (Five Blind Boys of Alabama...), '50's rock, some bluesier jazz (Jimmy Smith), CCR... more than my CD budget will allow!!! -Jim (hndful@uniserve.com) ========================================================================= Date: Tue, 19 Dec 1995 20:13:58 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Tom's game Karen said: >Shaun said: > >>If Muddy >>Waters hadn't followed the times we'd all be still playing acoustic Delta >>blues. > >I'm not sure that would be so bad, either.... Neither do I but I'm sure glad he went electric. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Tue, 19 Dec 1995 20:23:18 -0000 Reply-To: James Witteveen From: James Witteveen Subject: Black/White... Hi there Bluezellers! Well, it's interesting how things come full circle. When I joined this list several months ago, LW, Michael Suffern (where did he go, anyway?), and several others were discussing this black/white/purist/rock/blues... issue, and I check my box tonight, and find it overloaded with discussion on the same issue. I'd like to comment, but my problem is figuring out how to do it without looking like a babbling idiot...:-) Anyways, here goes, for better or worse... I think, to truly understand the blues, you _have_ to delve into the history. And I only wish we would have studied history like this in highschool! Knowing the conditions that the blues evolved out of only increased my appreciation for the blues and what it's all about. It's a black musical form (like jazz, gospel, and even rap), and as such, in my personal opinion, there are not too many white players who can immerse themselves in the music like many black artists. yes, this is a massive generalization - I, too, prefer John Hammond, Robert Lucas, and (gasp) Stevie Ray Vaughn's blues over that of Sugar Blue, Lucky Peterson, Robert Cray... but on the whole, my music collection shows that. An example - I love Roy Rogers - he's a fantastic player, decent songwriter, and not a bad singer. But he just doesn't _grab_ me like Skip James, Son House, Champion Jack Dupree, Otis Rush do. I don't know...maybe it's the fact that I know a lot about the lives of the aforementioned black artists and where they're coming from (sort of)...or maybe I'm completely out to lunch here. Be that as it may, I highly recommend to _every_ blues fan to read `Deep Blues' by Robert Palmer and subscribe to `Living Blues' Magazine and see what it does to your perception of the music. I just say Thank God that we no longer have the divisions of the past to separate cultures, and hope that things improve more, racially... and we can hope that, if PW and LW come into close contact neither of them gets arrested for assault! :-) -Jim (hndful@uniserve.com) ========================================================================= Date: Wed, 20 Dec 1995 00:02:57 -0500 Reply-To: Wayne Ross From: Wayne Ross Subject: Re: No one more deserving . . . Comments: To: Richard Flohil In-Reply-To: On Tue, 19 Dec 1995, Richard Flohil wrote: > There may not be much blues content here, but I suspect that most > blues fans do enjoy other kinds of music; I'd be fascinated to know which > NON-blues artists some of you dig, and why. GRAM PARSONS--American Cosmic Music DWIGHT YOAKAM--the one who really fulfilled Parson's goal, he's from the hills of Kentucky like both sides of my family, his lyrics are about love and loss, he's not afraid to let his influences show--Stax/Volt, The Beatles as well as BUCK OWENS. MILES DAVIS--What can you say...one of the all time greats of music, period. ROBBIE ROBERTSON BOB MARLEY kd lang--Purest voice since... PATSY CLINE--all those songs in the box set are so formulatic, but she makes them sound fantastic JAMES BROWN--but, that's pretty close to blues Wayne ========================================================================= Date: Wed, 20 Dec 1995 00:04:48 PST Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Re: A game...black/white Well, it's good to see that some things never change, i.e., the colors in this topic. ;-) The content looks to be a bit mellower than the last round before I took a break. Mike [ home work ] [ http://www.xnet.com/~msuffern/soundtravels.html ] [ The Blues&Travel Site, Blues Guides, Festivals, ] [ Eric Clapton @ Royal Albert Hall, London tour ] ------------------------------------------------- [ Above all, play what your heart tells you to... ] [ As you learn, your heart will have more to say. ] ========================================================================= Date: Wed, 20 Dec 1995 00:37:40 -0500 Reply-To: Sanjay Rajan From: Sanjay Rajan Subject: NON_BLUES_INTEREST!! Richard the Elder wrote: > There may not be much blues content here, but I suspect that most >blues fans do enjoy other kinds of music; I'd be fascinated to know which >NON-blues artists some of you dig, and why. U asked for it so here goes.... Rock ----> Pink Floyd [No words to describe them....except Ummagamma Ummagamma Ummagamma Ummagamma...] Dire Straits [Fantasic steel guitar playing by Mark Knoppler Great lyrics.....Just a nice easy feel....] World Music/New Age -------------------> Ali Farka Toure [Takes one to the roots of Blues...Ali is from Mali,Africa and sings in 11 languages, plays the electric/acoustic guitar/6 string banjo/ njarka among others......Earlier, I had posted regarding getting his tour schedule but apparently not many Bluezeller dig him. But I say check him out] Toots Thielemans [Brazilian composer who plays the Harmonica and is well known in the Jazz circuit too...] Enya [Her vocal harmonies are magical and takes one into altogether a different plane of thinking ;)] Ladysmith Black Mambasa [probably the best acappella group, from South Africa] Folk ----> Chris Smither [Although he plays a lot of bluesy tunes, I think he is better known in the folk circuit. Great acoustic stuff and great lyrics too] Fusion ------> Shakti [Guitarist John McGlaughin, violinist L Shankar, Zakir Hussain on the tabla, came together for a brief 3 albums that are the unequalled epitome of Fusion] Antigravity [Warren Senders and his band still play live in the Boston area....Great live Fusion] Ravi Shankar [well known Indian Sitar player is arguably one of the world's best musicians has played with almost every other musician] BossaNova Jazz --------------> Antonio Carlos Jobim [Only got to here him only lately and I love his compositions. "The girl from Ipenema" is his best] The above genres of music should be enough for now, I guess ;) ;) +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-($)^($)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ Surrealism ? I AM Surrealism - Salvador Dali +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Tue, 19 Dec 1995 23:17:34 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Larry Dale/Jimmy Spruill cassettes In case their upcoming gig doesn't yield the tapes people want, I got my Jimmy Spruill one from Stackhouse. It's called "Featuring Get Lost Jimmy." Larry Dale's is called "Penny Pinchin' Blues." Maybe Stackhouse has it too. You may want to give them a call at 601-627-2209. If nothing else, their newsletter is the most humorous by far of any blues mail order service, plus they do have a lot of obscure goodies. ========================================================================= Date: Tue, 19 Dec 1995 22:06:36 -0800 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Re: No one more deserving . . . Comments: To: bit-listserv-blues-l@cs.washington.edu In-Reply-To: How about: Peter Tosh Webb Wilder Steve Earle Guy Clark Jerry Jeff Walker Treat Her Right and spinoff Morphine Bob Marley Hank Williams Sr AND Jr Warren Zevon Ray Anderson Bennie Wallace Richard Thompson Grateful Dead There. Adrian ========================================================================= Date: Wed, 20 Dec 1995 06:46:42 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Radar Labs 23 Subject: Red River Radio Blues Comments: To: bit-listserv-blues-l@uunet.uu.net OK, I've lurked for a week, and I read the FAQ, so now I am happy to introduce myself:) My name is Kevan Smith, and I'm an announcer for the Red River Radio Network (http://www.rlabs.com/kdaq/). I do a Blues show on Tuesdays and Fridays. Here's some of the material I played yesterday: Charles Wilson/It's Sweet on the Backstreet Bill Coday/Get Your Lies Straight Ollie Nightingale/Cafe Woman Magic Slim/Gravel Road Koko Taylor/Stop Watching Your Enemies Roy Dunn/Everything I Get A Hold To Lightning Hopkins/Mr. Charlie I'm posting because I'm relatively new to playing the blues on radio. I'm well-grounded in blues music theory, and I know plenty of contemporary blues and R&B artists, but, as far as the old-timers go, I'm not that familiar with their best songs. If you could e-mail me your favorite songs by the old bluesmen, I'd be much appreciative. I would also like to play more blues women on my show, but I only know of a few, so if you could recommend some, I'd be grateful for that as well. Red River Radio is based in Shreveport, La., which was the home of Huddie Ledbetter, Jesse Thomas and many other blues performers. The blues is alive and thriving here today, also, and it's some of the most popular programming on our stations. I thank you for your time. WebTech: We Love Christmas! WWW Production: HTML and CGI http://www.rlabs.com/webtech/ Java Enabled cuthulu@prysm.net ========================================================================= Date: Tue, 19 Dec 1995 23:21:47 -0800 Reply-To: Garry Segal From: Garry Segal Subject: Toms Game Wait a minute, the 50 black artists names cannot be replaced by whites because whites were not the originators/masters as we all agree.C'mon , I dont think anyone on the list thinks that whites were among the originators/masters. The whole point seems to be that every great white player was inspired/influenced by a black artist. That aint news! Does that make their music less important/good? With few exceptions, white blues artists give credit where credit is due. When a young black player cops some blues licks he is following a tradition a white is appropriating an entire culture? Ripoffs in music, blues and otherwise are not always drawn on racial lines,Don Robey etc. There were/are sleazeballs of all colors ready to burn the unsuspecting artist at many turns. Everyone should know as much history as they can. Blues is ONE of the great contributions of the African American people to this country (along with contributions to science/medicine etc) but to me the blindfold test says alot. If you can tell the race of someone just by listening, does it matter? To me the big racial story in the blues is the major cooperation between blacks and whites (artists/engineers/songwriters/managers/DJs/promoters/etc) that created a "sum is greater than its parts" global explosion/acceptance of blues music. Garry "too many ///'s" S. ========================================================================= Date: Wed, 20 Dec 1995 02:31:12 -0500 Reply-To: JIMBLUE1@AOL.COM From: Jim Armstrong Subject: Re: A game...black/white Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu In a message dated 95-12-19 11:43:20 EST, ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU (L W) writes: >I think blues WAS a black thing. > >The reason I said "WAS" and not 'IS": It has to do with generations. I would >prefer to hear WHITE Anson over BLACK Robert Cray anyday. Talk about scary. I agree with LW on this. Jim Armstrong ========================================================================= Date: Wed, 20 Dec 1995 02:31:18 -0500 Reply-To: JIMBLUE1@AOL.COM From: Jim Armstrong Subject: Re: A Game (was Re: Black and White or something like that) Comments: To: Skipjames@aol.com In a message dated 95-12-19 10:59:50 EST, Skipjames@AOL.COM (Tom Freeland) writes: > This has not >coincidentally to do with the origins of blues in black culture. I have a question. What, for the basis of this arguement, is "black culture"? The names on the list are nearly all people who became who spent their early years in the South, in rural areas. Furthermore, nearly all were born at least 50 years ago. Is this a regional culture, or a generational effect? Jim Armstrong ========================================================================= Date: Wed, 20 Dec 1995 04:04:58 -0500 Reply-To: Sanjay Rajan From: Sanjay Rajan Subject: PRE_WAR_RECORDINGS!! I was net-surfing and got to know about the Lomax's Library of Congress recordings.... Are these available on CDs.... Any other Pre War Recordings of Blues that may be available on CDs TIA +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-($)^($)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ Surrealism ? I AM Surrealism - Salvador Dali +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Wed, 20 Dec 1995 05:26:55 +0000 Reply-To: leblanc@dao.nrc.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Blues Date December 20th 1995 Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. HAPPY HOLIDAYS! JOYEUSES FETES! ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BURSE, CHARLIE (g/MEMPHIS JUG BAND) d. 1965-1220, MEMPHIS, TN 64 COLOMBY, BOBBY (of BLOOD SWEAT & TEARS) b. 1944-1220, NY COUSIN JOE (PLEASANT JOSEPH) (p/g/songw) b. 1907-1220, WALLACE, LA DARIN, BOBBY [WALDEN R. CASSOTO](v/somgw) d. 1973-1220, LOS ANGELES, CA 37 ELLIS, WILBERT "BIG CHIEF" (p/TRIX REC) d. 1977-1220, BIRMINGHAM, AL 63 HARDEE, JOHN "BIG BADD" (tsax) b. 1918-1220, CORSICANA CTY, TX HARE, AUBURN "PAT" (g) b. 1930-1220, CHERRY VALLEY, AR HUNTER, CHRIS (d/COOL BLUE STEEL) b. 1969-1220, TX KENNEDY, JESSE "TINY" (v/BRADSHAW) b. 1925-1220, CHATTANOOGA, TN KREFETZ, LOU (founder of THE CLOVERS) d. 1981-1220, BALTIMORE, MD 74 LAW, DON (prod/a&r/ROBERT JOHNSON) d. 1982-1220, LA MARQUE, TX 80 PAGE, WALTER SYLVESTER (b/BASIE) d. 1957-1220, NEW YORK CITY, NY 57 ROSS, STEVEN JAY (ceo/TIME-WARNER INC) d. 1992-1220, LOS ANGELES, CA 65 STEVENS, E. F. JR.(co-founder: DECCA REC) d. 1945-1220 -- TOLIVER, JUANITA D. (viola) b. 1951-1220, PITTSBURGH, PA TOWNS, EFREM (of THE DIRTY DOZEN) b. 1960-1220, QUEENS, NY WASHINGTON, WALTER "WOLFMAN" (g) b. 1943-1220, NEW ORLEANS, LA WESTON, KIM [AGATHA NATHALIE WESTON] (v) b. 1939-1220, DETROIT, MI ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 20 Dec 1995 11:28:45 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Black White Blue In-Reply-To: <9512191801.aa09080@admin.dis.on.ca> On Tue, 19 Dec 1995, Ian Angus wrote: > > Remember the joke about the lifers in prison who sat around saying > numbers, like "29," and everyone would laugh? They'd been in so long > that they knew all the jokes, so they had numbered them for > convenience. > > Blues-l should have a similar feature. Then, the next time someone > says "Blues isn't black music, it's HUMAN music," I could just shout > "49!" and be done with it. > > Ian (Grinchier than Bonnie tonight) Angus > To which I can only reply .... 50! phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [20/12/95 6:27 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 20 Dec 1995 14:24:58 +0100 Reply-To: PAUL JOORMANN From: PAUL JOORMANN Subject: Re: Blues-humour: Mississ. John Hurt Mississippi John Hurt has a song "Chicken". Don't know from which album / on CD, but from memory it goes something like this: C is a way to begin H is the next letter in I am the third C is a .... (can't quite figure this one out - any help ?) K is a-fillin' in E is near the N C-H-I-C-K-E-N, that's the way to spell: chicken ! Enjoy the blues! Paul Joormann CRI, instituut voor telecommunicatie institute for telecommunication en computerdienstverlening and computer services Rijksuniversiteit Leiden Leiden University, The Netherlands Postbus 9512 2300 RA Leiden Niels Bohrweg 1 2333 CA Leiden kamer 120 tel: (071-527)7020 fax: (071-527)6967 e-mail: Joormann@CRI.LeidenUniv.NL ICP@CRI.LeidenUniv.NL ]]] [[[ ]]] "Remember to smile, [[[ ]]] makes everyone else wonder what you've been up to..." [[[ ]]] (some dj on 'Big-L' -- 1965-'67) [[[ ]]] ;-{) [[[ ========================================================================= Date: Wed, 20 Dec 1995 14:34:33 +0100 Reply-To: PAUL JOORMANN From: PAUL JOORMANN Subject: Re: Blues-humour: King Biscuit Boy In some song King Biscuit Boy has great blues-humour-lines like: "You said you'd take out the carbage can Instead you took out the garbage man!" I heard this song just once years ago on the radio and still remember these lines. Which song? - I don't know... King Biscuit Boy? - who is he / is this group ? I only know that there was a great harp-player on the song and that in the fifties there was a commercial radio-show 'King Biscuit time' in which several artists performed... Could anyone out there give any information on K.B.B. ? Paul Joormann CRI, instituut voor telecommunicatie institute for telecommunication en computerdienstverlening and computer services Rijksuniversiteit Leiden Leiden University, The Netherlands Postbus 9512 2300 RA Leiden Niels Bohrweg 1 2333 CA Leiden kamer 120 tel: (071-527)7020 fax: (071-527)6967 e-mail: Joormann@CRI.LeidenUniv.NL ICP@CRI.LeidenUniv.NL ]]] [[[ ]]] "Remember to smile, [[[ ]]] makes everyone else wonder what you've been up to..." [[[ ]]] (some dj on 'Big-L' -- 1965-'67) [[[ ]]] ;-{) [[[ ========================================================================= Date: Wed, 20 Dec 1995 08:42:28 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Music Roots Congratulations to Shannon O'Connor for her reasoned, encouraging post urging that we do the best we can to involve younger people (our kids, or, in my case, having failed at that, my grandchildren!) in learning to play. Today, as more and more people who run our educational systems think things like music are "frills" that must be sacrificed to "cut the deficit" we have to do what we can to ensure that music-of whatever kind-is part of the basic educational curriculum, as is writing, reading and 'rithmatic. My biggest regret is that I never learned to play (except very bad trad jazz trumpet); on the other hand, I have to admit that I wouldn't know WHAT to play-jazz, country, rock and roll, blues. On the other hand, I bless my music teacher who insisted that jazz was "cannibal music", thus ensuring that bloody-minded people like me rushed off to explore why it made him so pissed off, and discovered such richness....Richard the Elder. ========================================================================= Date: Wed, 20 Dec 1995 08:41:54 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: A Game (was Re: Black and White or something like that) Comments: To: Skipjames@AOL.COM 51. Roosevelt Sykes 52. Memphis Slim 53. Pinetop Perkins 54. Professor Longhair 55. Lonnie Johnson 56. Bessie Mae "Big Mama" Thornton 57. Victoria Spivey 58. Charles Brown 59. Dave "Honeyboy" Edwards 60. Mance Lipscomb 61. Furry Lewis 62. Sonny Terry 63. Brownie McGhee (sp?) 64. Walter Horton 65. James Cotton 66. Albert Collins 67. Albert King 68. Freddie King 69. Eddie "Cleanhead" Vinson 70. Clarence "Gatemouth" Brown 71. Bobby "Blue" Bland 72. Little Milton 73. Roy Brown 74. Hubert Sumlin 75. Big Joe Williams 76. Ike Turner 77. Jimmy Witherspoon 78. Jimmy Rushing 79. Big Bill Broonzy I know I said 50, but I'm old, and I'm doing this from my head. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 20 Dec 1995 08:04:50 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Tom's List I didn't actually read Tom's list, so I have to ask: Was Ma Rainey, Bessie Smith, Memphis Minnie,.....ie WOMEN included....? If yes, GREAT, If NO WHY NOT.... Do we sometimes look at the blues culture as a total Black Male thang and exlcude the MANY great black women who contributed.... The "classic" blues women, were among the first to record blues and in their heyday were far more popular than their male counterpart Not to mention that Minnie beat Big Bill Broonzy in a talent/headcuttin contest How could Memphis Minnie be left off of the list...... I didn't mean offense to Luther Allison, I enjoyed his show, but TO ME it was rock/blues (or close)....I'd go see Luther again real quick. LW 'not as bad a guy as some of you think' ========================================================================= Date: Wed, 20 Dec 1995 09:12:50 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this very day On this very day in 1879, Thomas A. Edison showed the world his incandescent light bulb at Menlo Park, N.J., thus giving birth to the "How many _______ does it take to screw in a light bulb" jokes. Today, nearly all Blues clubs use incandescent lighting. (great tie in, huh?) P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 20 Dec 1995 09:21:01 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: The earliest blues Just to add to the discussion of early blues and what was the name of the white guy who copyrighted the first blues. Here is a brief excerpt from my entry on the blues for the African American Volume of the Dictionary of Twentieth Century Culture which will be published in the Spring. --- The first written account of the blues was in 1898 when folklorist John Jacob Niles told of a medicine show shouter and moaner named Ophelia Simpson singing "Black Alfalfa's Jailhouse Shouting Blues." Published in September and October of 1912, the first blues were the "Baby Seals Blues" by Artie Matthews,"Dallas Blues" by Hart Wand and W.C. Handy's "Memphis Blues." --- Now we all know the story of the song "Mr Crump" turning into the "Memphis Blues" and how the words to the Memphis Blues were added by a white guy named George Norton. There is a whole lot to this story and if you are interested please read Handy's biography or for an on-line version, come visit my homepage for an article about Handy, that many old time zeller's will remember. :) Tom ----------------------------------------------------------------------------- My Jazz and Blues Homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Wed, 20 Dec 1995 08:38:37 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Bessie Mae Big Mama Thornton ??? While reading Mr. Fenton's additions to Tom's list, I came across a new artist "Bessie Mae Big Mama Thornton"....I'm curious if she's related to "Willie Mae Thornton" better known as Big Mama Thornton.....Just curious LW ========================================================================= Date: Wed, 20 Dec 1995 09:47:44 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: PRE_WAR_RECORDINGS!! Comments: To: srn@formtek.com In a message dated 95-12-20 04:38:00 EST, srn@FORMTEK.COM (Sanjay Rajan) writes: > I was net-surfing and got to know about the Lomax's Library of > Congress recordings.... > Are these available on CDs.... > Any other Pre War Recordings of Blues that may be available on CDs > TIA Should we refer this question to Richard the Elder? Pre War recordings of blues are available in hundreds of CDs. One Austrian label (Document) is re-releasing ALL of them in one gigantic series. Several U.S. labels have active reissue programs, some of other labels' production (Yazoo), and some of their own or acquired labels (Sony). Check out anything of Yazoo's and Sony's Roots and Blues series. BMG has released in the past Victor / Bluebird stuff and has either just started or is about to start a new reissue program. The Library of Congress recordings are available a number of different ways. Those made by Muddy Waters have been reissued as a group (THE COMPLETE PLANTATION RECORDINGS) by Chess MCA. It is essential. There is an entire collection of Lomax's recordings on a box set. The Earwig label has Honeyboy Edwards' recordings by Lomax on single CD with other stuff. Tom Freeland ========================================================================= Date: Wed, 20 Dec 1995 14:55:24 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Jewish Christmas blues Okay so it's not exactly blues. I lied. Shoot me. But .... Heard a klezmer version of "Deck the Halls" : "Shlep the halls with rolls of chalha" :):) I am informed that chalha is some kind of "eggbread". phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [20/12/95 9:52 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 20 Dec 1995 09:57:38 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: A Game (was Re: Black and White or something like that) Comments: To: pwfenton@gate.net In a message dated 95-12-20 08:45:13 EST, pwfenton@gate.net (P.W. Fenton) writes: >63. Brownie McGhee (sp?) >64. Walter Horton >65. James Cotton >66. Albert Collins >67. Albert King >68. Freddie King >69. Eddie "Cleanhead" Vinson >70. Clarence "Gatemouth" Brown >71. Bobby "Blue" Bland >72. Little Milton >73. Roy Brown >74. Hubert Sumlin >75. Big Joe Williams >76. Ike Turner >77. Jimmy Witherspoon >78. Jimmy Rushing >79. Big Bill Broonzy > >I know I said 50, but I'm old, and I'm doing this from my head Is that how you put in Brownie McGhee and left off Sonny Terry? There is no doubt you could get to 100 just flipping through the pages of a blues reference book. Tom Freeland ========================================================================= Date: Wed, 20 Dec 1995 09:59:07 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Blues-humour: Mississ. John Hurt Comments: To: P.H.L.Joormann@cri.leidenuniv.nl In a message dated 95-12-20 08:45:30 EST, P.H.L.Joormann@CRI.LEIDENUNIV.NL (PAUL JOORMANN) writes: >Mississippi John Hurt has a song "Chicken". Don't know from which album >/ on CD, but from memory it goes something like this: > > I dont know where else you could find it, but its on the Vanguard BEST OF JOHN HURT, a record that is a (bootlegged!) recording of a concert at Oberlin College. Tom Freeland ========================================================================= Date: Wed, 20 Dec 1995 10:02:25 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Tom's List Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu In a message dated 95-12-20 09:29:36 EST, ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU (L W) writes: >I didn't actually read Tom's list, so I have to ask: Was Ma Rainey, Bessie >Smith, Memphis Minnie,.....ie WOMEN included....? If yes, GREAT, If NO >WHY NOT.... Yes, all three. PARTICULARLY Memphis Minnie. Tom Freeland didnt read my list?? : ( ========================================================================= Date: Wed, 20 Dec 1995 10:10:29 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Musical beginnings As I have documented here before, at age 6, I appeared in a real live professional minstrel show (my dad was what they called an "end man" in minstrel parlance), singing "(Mama's Little Baby Loves) Shortnin' Bread" while sitting on my father's knee. At age 7 a man, much like the character in "The Music Man" came to our house selling music lessons for $1.00 per hour. He told my parents (who really couldn't afford a dollar a week) that he wanted to give me a test. First I sang a song for him, which I believe was "Put another nickel in, In the nickelodian". He then had me place my hands palm down on the coffee table and asked me to pick up only whatever finger he pointed to. After I performed this little trick, the man announced to my parents that I would make an excellent accordion player. My mother asked me if I would like to play accordion. I said "No, I want to play guitar." I had only days ago been mesmerized by Elvis Presley on a 9 inch picture tube. The man said that his testing had indicated I would be better at the accordion. I wouldn't budge. The man left and I never got lessons. 30 years later I learned from my dad that he and my mother had arranged the whole charade, including the aptitude test. They had met the man at church. Accordion was the ONLY thing he played. Unbeknownst to me, my dad had an accordion in the attic that he had bought when he was stationed in Europe during the war. The plan failed because of Elvis Presley's appearance on Jackie Gleason's summer replacement show. It took me another 7 years to save up $45 for a guitar. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 20 Dec 1995 10:17:36 EST Reply-To: "CATHI N." From: "CATHI N." Subject: Surrender Surrender, all ye recalcitrants.....surrender unto muliplication. Cease and desist sweet bluzers...this ill-savored division...black, white, blue, red, purple. I lost my color chart. Cathi N. ========================================================================= Date: Wed, 20 Dec 1995 10:24:20 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: A Game (was Re: Black and White or something like that) Comments: To: Skipjames@aol.com On 20 Dec 95, Skipjames@aol.com had this to say... > In a message dated 95-12-20 08:45:13 EST, pwfenton@gate.net (P.W. Fenton) > writes: > > >63. Brownie McGhee (sp?) > >64. Walter Horton > >65. James Cotton > >66. Albert Collins > >67. Albert King > >68. Freddie King > >69. Eddie "Cleanhead" Vinson > >70. Clarence "Gatemouth" Brown > >71. Bobby "Blue" Bland > >72. Little Milton > >73. Roy Brown > >74. Hubert Sumlin > >75. Big Joe Williams > >76. Ike Turner > >77. Jimmy Witherspoon > >78. Jimmy Rushing > >79. Big Bill Broonzy > > > >I know I said 50, but I'm old, and I'm doing this from my head > > Is that how you put in Brownie McGhee and left off Sonny Terry? There is no > doubt you could get to 100 just flipping through the pages of a blues > reference book. You left him off, Tom, not me. He was number 62 just ahead of Brownie (where he belongs!) Don't know why you chopped off the first twelve, unless you just want to make an old guy THINK he left out Sonny. Well I got as far as 79 without anything but this foggy old brain. Which suprises me, as bad at remembering peoples names as I am. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 20 Dec 1995 09:42:37 CST Reply-To: William Shute From: William Shute Subject: holiday blues message From: Bill Shute With so many fine releases out this year, I'd like to mention again (I reviewed 2/3 of these on blues-l earlier this year) some ones that have really connected with me. Some may be technically l994 releases, but they didn't reach me or weren't widely available until l995. So here's my top 10 of favorite (i'd certainly not be arrogant enough to say "best") NEW blues recordings. I won't even attempt a top 10 of reissues--I could do a top 20 of document releases alone! I would also recommend you check out Bill Pollak/Billy Price's fine soul-blues top 10 of a few weeks ago. in no particular order-- JIMMY DAWKINS B Phur Real (Ichiban) JOE GUITAR HUGHES Texas Guitar Slinger (Me & My) THE HASH BROWN BAND Rollin Blues (Browntone) new LARRY GARNER album on Verve/Gitanes GUY FORSYTH BAND Needle Gun (Antone's) LEE 'SHOT' WILLIAMS Cold Shot (Black Magic) LOWELL FULSON Them Update Blues (Bullseye Blues) JOHN MAYALL Spinning Coin (Silvertone) LITTLE BUSTER AND THE SOUL BROTHERS Right On Time (Bullseye Blues) various artists "Black Top Blues Costume Party" These ten items are my personal favorites from among the hundreds of new blues albums I've heard this year (although there are surely many SUPER albums that I haven't heard yet, the price of CDs being what it is!-- I'd be interested in seeing what someone like Barry S., who hears almost everything, would choose). Not only has each album really SATISFIED me on many levels, but I can imagine listening to each one ten years or twenty years from now and being just as satisfied. >From my perspective "outside the blues loop" I feel that l995 has been a banner year for the blues...relatively speaking! I can't remember a year when so many fine new releases came out, when so many neglected greats were back on the scene both recording and performing, when so many people profess to be blues fans (and ALL are welcome as far as I'm concerned, whether or not they've heard of any Stony Plain recording artists, or if all they know is that they like Stevie Ray and wonder about hearing the originals of some songs he covered), when so many QUALITY reissues have come out. One could probably also say that this has been a bad year for the blues if one chose to focus on the negative--artists are still starving or living in squalor, bands/artists are still being ripped off, independent labels still have a hard time getting exposure and getting paid, commercialized faux-blues projects (WE know who/what they are!) are siphoning off some of OUR audience and projecting a skewed picture of the blues,too many people in the blues community (NOT the musicians and fans, I should point out!!!) are out to establish "camps" and to bash the "others" than to do anything positive. But at least this juvenile internecine warfare is a sign that there's increased activity. Other areas of my life have taken centerstage the last few months, so I have only been able to sample blues-l since October and have only posted a few messages since then(and thanks to Marcia G. for posting my review of the Rosie Flores/Wanda Jackson show on rockabilly-l), mostly about the wonderful Johnny Clyde Copeland benefit on Nov. l9th. Everyone down here seems to be occupied with the REAL blues of daily living these last few months. Still, when I look at my friends, workmates, acquaintances, etc., the blues (music, that is) seems to have found a place in their busy lives and has been both enjoyable and theraputic for them. It's unrealistic to expect everyone to become super-fans on the level of most blues-l-ers, but most of us try to do our part in spreading the word...so that now a number of my workmates and non-music-based friends are checking the concert listings in the paperand looking in the "blues" section at the record store. Most every blues-l-er I've met seems to be doing that among his/her circle of friends too, and that's certainly good news. Happy holidays to all fellow blues-l-ers, and especially to pals such as Denise, Sara (I'm still alive!),Jeff and Tanya, Bruce and Ronda, James and Cynthia, Dana, Henrik, Mats, Jean-Pierre, Barry, Scatman, Bruce in Canada, Don O., Shannon (I'm anxiously awaiting album #2 from Sonny, Shannon!), Marcia, Bill P., Cathi and Stuart, Jyrki, Steve, John, Roger , and all others who have shared their knowledge, sense of good taste, and warm personalities with me via blues-l (and in many cases, eventually in person). I will not be accessible by computer again until Jan. 8 (you can send something--I just won't get it until then!), but if anyone has a burning need to contact me...or is going to be in the San Antonio/Austin area...call my voice mail at work (good 24 hrs day/7 days week) at 210 733 2524 and leave a message. I'll check every couple of days, even when I'm off. Of course, to me, the greatest Christmas album of all time is the Booker T. & The MG's IN THE CHRISTMAS SPIRIT album, but there's one other I'd like to plug that's been REALLY popular with the folks I've played it for and loaned it to. In l994, Fats Domino issued a NEW album of Christmas material on "The Right Stuff" label (a Capitol subsidiary, they also had a new album of Dion Christmas material, which I haven't heard), called Christmas is a Special Day (or something like that). While some purists might scoff at the use of electric piano and synth, it's still inimitably FATS,that deliciously lazy voice and that funky keyboard work, and he has adjusted well to the 90s marketplace. How great it is to have him back recording NEW material--heck, if anyone's recording career and performing career has been dedicated to spreading PURE JOY, it's Fats Domino. It's not an album to sit and listen to analytically, but put it on with others around and you'll find that they will be movin' to it and will start talking about how much they love Fats Domino. Holiday greetings to Fats Domino and family! (you know, it was the 4-CD Domino box on US-EMI that made me break down and get a CD player finally!!!) Most of all, holiday greetings and love to M.A.B., who makes every day a holiday. Bill Shute San Antonio, TX ========================================================================= Date: Wed, 20 Dec 1995 10:02:00 -0800 Reply-To: "Bonn, Bob" From: "Bonn, Bob" Subject: Introducing Kids (notalota Blues) Mute or not? I made a promise when my daughter was born... whatever she showed an interest in I would encourage and join in... who knows, I might learn something. When she was six, her ambition was to play all the different instruments in the World. We settled on a guitar to start with. "Daddy plays one so it can't be that hard". Finding one to fit those little fingers was a challange, but she plugged away for a few months then got bored. At seven it was the recorder, as recommended by her school for any kid with an interest in music. That didn't last a month. When she was 8 we got a synthesizer. (I wanted one to program with backing tracks for blues practice sessions.) She loved playing with the voices but hated learning to play music on it. At 9 she started violin. That went pretty well until we got to the fiddly bits (no pun intended). The ear was there but the control wasn't so she got frustrated that she couldn't hit the right notes all the time. You parents out there know the average child's response to the advice "All it takes is a little practice". At 10 she's taken up the trumpet. She's doing OK. After six weeks she's playing good notes, recognisable tunes and sight reading the music. She's found the instrument to suit her. I'm pleased of course, but why did it have to be one with no volume control? Now she INSISTS on practicing for 15 minutes every night and I remember my promise, bite my lip and go help her. Perhaps some of you horn players out there could advise me on whether a mute is a good or bad thing. I've heard both, that while you can blow harder to get clear notes, it makes finding the notes trickier for a beginner. As for her tastes in music: the Blues is OK (sort of reluctantly, but Dad likes it), anything from the 60's to the early 90's rock is "Dreadful old POP MUSIC". Classical is a bore, with the possible exception of Marsallis blowing baroque (He's a really versatile player, a possible lead in from here to get Jenny into to Jazz and Blues). TIA Bob. bonnb@xxeupo13.hou.xwh.bp.com ========================================================================= Date: Wed, 20 Dec 1995 08:07:31 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES Dec. 21st Blues Dates note: Today was the last day that P.W. Fenton sent out eRIC's BLUES DATES so I'm taking on the task of distributing eRIC huge and wonderful database of dates. Thanks Paul for keeping it going, and THANKS eRIC for putting so much into this! James C. -------------------------------------------------------------------------------- Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. HAPPY HOLIDAYS! JOYEUSES FETES! ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BAKER, DAVE (tbn/arr) b. 1931-1221, INDIANAPOLIS, IN BARBEE, RUDY (v/gospel) d. 1988-1221, LOS ANGELES, CA 84 CRAWFORD, BENNIE ROSS "HANK" (sax) b. 1934-1221, MEMPHIS, TN CREATORE, LUIGI (prod/HUGO & LUIGI) b. 1920-1221, NEW YORK CITY, NY DARR, JEROME (g) b. 1910-1221, BALTIMORE, MD EMERSON, BILLY "THE KID" (p/SUN REC) b. 1925-1221, TARPON SPRINGS, FL FRANCIS, DAVID "PANAMA" (d) b. 1918-1221, MIAMI, FL FUQUA, CHARLIE (of THE INK SPOTS) d. 1971-1221, NEW HAVEN, CT 60 GIBSON, CLIFFORD (g/VICTOR REC) d. 1963-1221, ST. LOUIS, MO 62 HARMONICA SLIM [TRAVIS L. BLAYLOCK] (hca) b. 1934-1221, DOUGLASSVILLE, TX HARVEY, TED (d/HUTTO/HOUND DOG) b. 1930-1221, CHICAGO, IL KING, ALBERT [ALBERT NELSON] (g) d. 1992-1221, MEMPHIS, TN 69 MCCRAE, GWEN (v/GEORGE MCCRAE) b. 1943-1221, PENSACOLA, FL PAYNE, TREVOR WINSTON (p/gospel) b. 1948-1221, BLACK ROCK,BARBADOS REVEL, HARRY (songw) b. 1905-1221, LONDON, UK SCOTT, JEROME (b/BUDDY SCOTT) d. 1982-1221, CHICAGO, IL 27 THOMAS, CARLA (v/STAX REC) b. 1942-1221, MEMPHIS, TN TREADWELL, GEORGE M. (tpt/THE DRIFTERS) b. 1919-1221, NEW ROCHELLE, NY TURNER, BUCK (THE BLACK ACE) (steel g) b. 1905-1221, HUGHES SPRINGS, TX VITALE-PAULE, ANTHONY (g/JOHNNY NOCTURNE) b. 1956-1221, DURBAN, S. AFRICA WHEATSTRAW, PEETIE [WILLIAM BUNCH] (p) b. 1902-1221, RIPLEY, TN WHEATSTRAW, PEETIE [WILLIAM BUNCH] (p) d. 1941-1221, EAST ST. LOUIS, IL 39 WRIGHT, BETTY (v) b. 1953-1221, MIAMI, FL ZAPPA, FRANK (g/songw) b. 1940-1221, BALTIMORE, MD ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 20 Dec 1995 10:04:37 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Your picks for 1995 I'd be real curious to see SOME your favorite CD's you purchased in 1995 LW ========================================================================= Date: Wed, 20 Dec 1995 10:07:44 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Jewish Christmas blues Comments: To: Pat Hertel In-Reply-To: Haven't you ever heard of "field chalhas?" (That's the blues context.) Some good ones were recorded by "Big Matzo" Thornton. ========================================================================= Date: Wed, 20 Dec 1995 11:52:36 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Blues-humour: Mississ. John Hurt Comments: To: P.H.L.Joormann@cri.leidenuniv.nl On December 20, Paul Joormann wrote: >>> C is a way to begin >>> H is the next letter in >>>I am the third >>>C is a .... (can't quite figure this one out - any help ?) >>>K is a-fillin' in >>> E is near the >>> N >>> C-H-I-C-K-E-N, that's the way to spell: chicken "C is for to season the bird" Dick Waterman ========================================================================= Date: Wed, 20 Dec 1995 12:13:41 -0500 Reply-To: Nate Goldshlag From: Nate Goldshlag Organization: The Internet Access Company Subject: Re: Rounder Records Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199512190850.JAA24758@vbormc.vbo.dec.com>, robbd@VYGER.ENET.DEC.COM wrote: > Can anyone give me a brief rundown of what's on the recently-released > "25 Years Of Rounder Records" 9-CD set? > > Is there any overlap with the double-disk budget sets they issued on > blues/bluegrass/folk/louisiana music? > The 9 CD set includes the double Louisiana, Blues, Bluegrass, and Folk releases plus a bonus disk. Nate ---------------------------------------------------------------- Nate Goldshlag "People ask me why I don't get fat nate@reflection.com it's cause I like to dance like that. I eat as much as I can hold Cambridge, MA and go out and do the zydeco." -- Marcia Ball ========================================================================= Date: Wed, 20 Dec 1995 12:17:28 -0500 Reply-To: JIMBLUE1@AOL.COM From: Jim Armstrong Subject: Re: Toms Game Comments: To: bluesngr@ix.netcom.com In a message dated 95-12-20 02:25:00 EST, bluesngr@IX.NETCOM.COM (Garry Segal) writes: > Wait a minute, the 50 black artists names cannot be replaced by >whites because whites were not the originators/masters as we all >agree.C'mon , I dont think anyone on the list thinks that whites were >among the originators/masters. The whole point seems to be that every >great white player was inspired/influenced by a black artist. That aint >news! Does that make their music less important/good? With few >exceptions, white blues artists give credit where credit is due. When a >young black player cops some blues licks he is following a tradition a >white is appropriating an entire culture? Ripoffs in music, blues and >otherwise are not always drawn on racial lines,Don Robey etc. There >were/are sleazeballs of all colors ready to burn the unsuspecting >artist at many turns. > > Everyone should know as much history as they can. Blues is ONE of the >great contributions of the African American people to this country >(along with contributions to science/medicine etc) but to me the >blindfold test says alot. If you can tell the race of someone just by >listening, does it matter? > > >Garry "too many ///'s" S. > > Wonderfully put. I think I'll just keep my mouth shut from now on, as there are many people out there who say the same thing a lot better than I do. Jim Armstrong ========================================================================= Date: Wed, 20 Dec 1995 12:37:45 -0500 Reply-To: JIMBLUE1@AOL.COM From: Jim Armstrong Subject: Re: holiday blues message Comments: To: WSHUTE@accdvm.accd.edu In a message dated 95-12-20 11:07:30 EST, WSHUTE@ACCDVM.ACCD.EDU (William Shute) writes: >new LARRY GARNER album on Verve/Gitanes You Need To Live A Little-Larry Garner ========================================================================= Date: Wed, 20 Dec 1995 12:50:31 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: eRIC's BLUES DATES Dec. 21st Comments: To: jcarmin@TELEPORT.COM On 20 Dec 95, James Carmin had this to say... > Blues Dates note: > > Today was the last day that P.W. Fenton sent out eRIC's BLUES DATES so I'm > taking on the task of distributing eRIC huge and wonderful database of > dates. Thanks Paul for keeping it going, and THANKS eRIC for putting so > much into this! and thank you James for keeping it going on a daily basis. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 20 Dec 1995 17:54:52 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Subject: Re: eRIC's BLUES DATES Dec. 21st Comments: To: bit-listserv-blues-l@uunet.uu.net >From eRIC's Blues Dates: >WHEATSTRAW, PEETIE [WILLIAM BUNCH] (p) b. 1902-1221, RIPLEY, TN >WHEATSTRAW, PEETIE [WILLIAM BUNCH] (p) d. 1941-1221, EAST ST. LOUIS, IL 39 What, born and died on the same day of the year? What's the odds of that? One in 365 I guess....Well, Well, Well. Sorry for the wells but I just couldn't resist. Art Schuna ========================================================================= Date: Wed, 20 Dec 1995 12:23:47 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Parental Advisory I was wondering if there is any other blues cd, apart from Sonny Boy Williamson's "Bummer Road," that has PARENTAL ADVISORY - Explicit Lyrics sticker on it?????? Ranko ========================================================================= Date: Wed, 20 Dec 1995 18:39:48 GMT Reply-To: tom bengaff From: tom bengaff Subject: Acoustic Blues Who are some performers of acoustic guitar blues preferably Delta or Jug Band styles? ========================================================================= Date: Wed, 20 Dec 1995 14:08:00 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Parental Advisory On 20 Dec 95, Ranko Vujosevic had this to say... > I was wondering if there is any other blues cd, apart from > Sonny Boy Williamson's "Bummer Road," that has > PARENTAL ADVISORY - Explicit Lyrics sticker on it?????? > > Ranko The Roots 'n' Blues "Hot Nuts and Lollipops" CD had one on it. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 20 Dec 1995 14:30:43 -0500 Reply-To: bob unger From: bob unger Subject: what's the consensus I dont want to ruffle any feather's right now - we ALL seem to be a bit ...uh..."picky" right now (not excluding myself) But I'm just wondering if it is still acceptable to post tour schedules here. I have the tour dates for the next couple of months for Satan and Adam ..... I'm just wondering if I should post 'em or ask for private inquiries to those who are interested..... BU bob@sun.bnkst.edu ========================================================================= Date: Wed, 20 Dec 1995 13:31:21 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Jewish Christmas blues Comments: To: Richard Shurman At 10:07 AM 12/20/95 -0600, Richard Shurman wrote: >Haven't you ever heard of "field chalhas?" (That's the blues context.) >Some good ones were recorded by "Big Matzo" Thornton. > > Jeez - is this guy REALLY in the music business? :-) David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Wed, 20 Dec 1995 14:41:09 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Sitting&Thinking-Jimmy Johnson. Comments: To: James Witteveen In-Reply-To: <95Dec18.202408pst.30732-1+537@haven.uniserve.com> On Mon, 18 Dec 1995, James Witteveen wrote: > This is amazing! I was going to post a note to the list tonight about this > album - I just bought it over the weekend on the strength of hearing `I Need > Some Easy Money' on the Delmark sampler disk. This is one of my favorite > recent purchases - I love the voice, the guitar, the excellent lyrics, and > the inventive melodies. I was going to ask what other Bluezellers thought > about this one, and if anyone has any recommendations of his other work. > This is a great one. Jim, Another nice disc by JJ is Bar Room Preacher. He does a stellar version of Cold, Cold Feeling + 8 other aces up ditties. Also he does my favorite by him, Chicken Head - which he dedicated to me the night I went to see him at Chicago Blues in NYC. On another note - the absolute best Cold Cold feeling for me has to be Valerie Wellington's. Shivers everytime I play it. NY CD Blues Now at http://www.island.net/~blues/nycd.html Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Wed, 20 Dec 1995 14:53:23 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: what's the consensus Comments: To: bob unger In-Reply-To: <199512201930.OAA19579@sun.bnkst.edu> On Wed, 20 Dec 1995, bob unger wrote: > I dont want to ruffle any feather's right now - we ALL seem to be a bit > ...uh..."picky" right now (not excluding myself) But I'm just wondering if > it is still acceptable to post tour schedules here. I have the tour dates > for the next couple of months for Satan and Adam ..... I'm just wondering if I > should post 'em or ask for private inquiries to those who are interested..... Of course it's ok to post it, just use a subject line like Boogie Nation or Boogie Pizza or Black and White. This way everyone will certainly read it, everyone will say they didn't and then the six week-500 post followup will ensue and they'll get the best cover- age possible. (Couldn't resist :) but hey I say post it). Flames to me not Bob please. NY CD Blues Now at http://www.island.net/~blues/nycd.html Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Wed, 20 Dec 1995 14:59:25 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: what's the consensus Comments: To: bob@SUN.BNKST.EDU On 20 Dec 95, bob unger had this to say... > I dont want to ruffle any feather's right now - we ALL seem to be a bit > ...uh..."picky" right now (not excluding myself) But I'm just wondering if > it is still acceptable to post tour schedules here. I have the tour dates > for the next couple of months for Satan and Adam ..... I'm just wondering if I > should post 'em or ask for private inquiries to those who are interested..... I say post 'em if you got 'em. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 20 Dec 1995 15:30:06 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Bartender's Bop Playlist Here's the Christmas Show. I wish everyone on the list a Happy Holiday Season and may next year prove to be even more exciting here on blues-l. :) Title Group Year Label -------------------- -------------------- ---- ---------- Boogie Woogie Santa Scott, Mabel King Claus Trim Your Tree Butler, Jimmy 54 Savoy Christmas Dreams Moore, Johnny King Christmas Carol, A Lehrer, Tom 54 Rhino Five Pound Box of Bailey, Pearl Rhino Money Blue Holiday Brown, Charles 94 Rounder No More Pretty Piazza, Rod 95 Blacktop Presents Who took the Merry Staples Singers Rhino Out of Christams Yulesville Byrnes, Ed 59 Rhino BeBop Santa Claus Gonzales, Babs 55 Rhino Mambo Santa Mambo Enchanters 56 MCA We Wanna See Santa Greer, Big John 54 Rhino Do the Mambo Christmas Eve on the Ortego, Hasa 78 Swallow Big Bayou Monster's Holiday Pickett, Bobby 73 Rhino Green Christmas Freberg, Stan 58 Rhino Santa Done Got Hip Marquees 59 Rhino Santa Claus go Brown, James 68 Rhino Straight To The Ghetto Winter Wonderland Frankllin, Aretha 64 Rhino Christmas in the Marquees 59 Rhino Congo Let's Make Christmas Brown, Charles 66 Rhino Mean Something This Year Merry Christmas Baby Turner, Ike & Tina 65 Rhino Christmas in Jail Youngster, The 56 Rhino Rockin Around The Lee, Brenda 58 Rhino Christmas Tree Rock and Roll Guitar Preston, Johnny 60 Rhino Run Rudolph Run Berry, Chuck 58 Rhino Christmas Dragnet Freberg, Stan 53 Rhino Frosty the Snowman Redbone, Leon 89 Private I Want To Spend Dabney, Debby 56 Savoy Christmas With Elvis Jingle Bells Drag Three Stooges Rhino Big Fat Santa is Batiste, Milton 92 Mardi Gras Coming To Town Joe's Christmas Big Joe & the 95 Blacktop Salutations Dynaflows ----------------------------------------------------------------------------- My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Wed, 20 Dec 1995 12:39:45 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: JR. WALKER'S REAL NAME (14 JUN 1931 - 23 NOV 1995) Comments: To: BluesHvn@aol.com From JET December 11, 1995 p. 58 ================================ "Born Oscar G. Mixon, he chose the name Autry DeWalt Jr. as an adult and used the stage name Junior Walker as an entertainer" eRIC ========================================================================= Date: Wed, 20 Dec 1995 15:49:36 -0500 Reply-To: bob unger From: bob unger Subject: Satan and Adam - by consensus -Thanks folks! SATAN AND ADAM Remember to please check the venue for confirmation before you go: 1/6 New York, NY - Terra Blues 1/12 New York, NY - Terra Blues 1/13 Mt. Vernon, NY - The Bayou 1/14 State College, PA - Cafe 210 West 1/19 Portland, ME - Morganfield's 1/20 Portsmouth, NH - The Press Room 1/27 (in the Poconos) - Big Boulder Ski Resort 1/29 Williamsport, PA - Franco's 2/10 New York, NY - Terra Blues 2/16 Washington, DC - Folk Alliance Showcase 3/30 Philadelphia, PA - The North Star Bar 4/13 Portsmouth, NH - The Press Room BU bob@sun.bnkst.edu ========================================================================= Date: Wed, 20 Dec 1995 16:08:17 -0500 Reply-To: "Joseph P. Cauffiel" From: "Joseph P. Cauffiel" Subject: To -Jonny Meister To Jonny Meister, Thank goodness you finally join the list. I rely enjoy your blues show. I have been luking in the background at this informative group. I noticed that several radio blues programs post their play list and I was hoping you would too. Thanks Jonny and 'XPN' Joseph ========================================================================= Date: Wed, 20 Dec 1995 17:30:29 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Our survey says! what's the consensus I have no problem with tour dates, gigs, new releases and the like, as long as it's not Megadeath's tour dates! What could the harm be in letting people know who, when and where? Beef Stew WCCC Radio ************************************************************************** "i heard somebody up the street, lately been packin' a gun, so the folks next door got scared, declared they gon' buy themselves one." "Gun" Preacher Boy & The Natural Blues ========================================================================= Date: Wed, 20 Dec 1995 17:21:47 -0800 Reply-To: Gail McIntosh From: Gail McIntosh Subject: Rounder Records In-Reply-To: <199512200507.AAA18897@listserv.brown.edu> >on Tues, 19 Dec, robbd@VYGER.ENET.DEC.COM wrote: > > Can anyone give me a brief rundown of what's on the recently-released >"25 Years Of Rounder Records" 9-CD set? >Is there any overlap with the double-disk budget sets they issued on >blues/bluegrass/folk/louisiana music? >Sorry for asking here, but I couldn't find anything on their web page. >Thanks a lot, >- Dougie Thanks for the inquiry. I'm the new Direct Marketing Coordinator at Rounder Records and I've been lurking on BLUES-L for a couple of weeks now. As a fan of the blues, I look forward to participating in various discussions, not just of Rounder recordings. For the time being, since you're question is so Rounder-specific, I will attempt to phrase my response without label hype. The nine CD's which comprise our box set, The Real Music Box: 25 Years of Rounder Records, are, indeed, the four double-disc genre samplers which are also available individually, and a bonus disc. Specifically that is, Louisiana Spice (dbl disc of LA, Cajun, & zydeco music), Hills of Home (dbl disc of folk music), Deep Blue (dbl disc of blues), Hand Picked (dbl disc of bluegrass), and a single bonus disc which includes various ecclectic cuts (from George Pegram to The Blazers, Brave Combo to Joseph Spence, etc). I will be happy to email you privately the track listing for any or all of the aforementioned discs but it sounds like you are already quite aware of these releases. Sorry you were not able to access this information on the Rounder web site. Our IS dept will have the web site caught up to date by Friday. ___________________________________________________________ ___________________________________________________________ gailm@rounder.com One Camp St. Cambridge, MA 02140 http://harp.rounder.com or gopher harp.rounder.com ___________________________________________________________ ___________________________________________________________ ========================================================================= Date: Wed, 20 Dec 1995 17:38:21 -0500 Reply-To: Sanjay Rajan From: Sanjay Rajan Subject: BILLBOARD'S_BLUES_LISTING!! Someone asked for the WWW page to get Top 15 Billboard Blues Listing.... This list is updated every Monday and is available @ http://www.vivanet.com/~blues/news.html Happy Net-surfing and Blues by Nite Cool by Day!!! +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-($)^($)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ Surrealism ? I AM Surrealism - Salvador Dali +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Wed, 20 Dec 1995 17:45:15 -0500 Reply-To: Sanjay Rajan From: Sanjay Rajan Subject: KEB_MO' Any info about Keb Mo' and as to how his self titled album is.. I see he is winner of WC Handy Award for Best Country/Acoustic Blues Album of the year... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-($)^($)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ Surrealism ? I AM Surrealism - Salvador Dali +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Thu, 21 Dec 1995 09:55:07 +22303754 Reply-To: David Blanken From: David Blanken Subject: Re: Your picks for 1995 In-Reply-To: On Wed, 20 Dec 1995, L W wrote: > I'd be real curious to see SOME your favorite CD's you purchased in 1995 > > LW In no particular order (heck, some weren't even released in 1995, but ...): Jimmy Rogers - Bluebird (Analogue Recordings) Fred McDowell - Mississippi Fred McDowell (Arhoolie) Louis Myers - I'm a Southern Man (Testament) Muddy Waters - One More Mile (Chess/MCA) Little Walter - Blues with a Feeling (Chess/MCA) Deep Blues - Soundtrack (Anxious) Various artists - Mississippi delta blues from the 1960's (2 vols) (Arhoolie) Ronnie Earl - Blues guitar virtuoso live in Europe (Bullseye Blues) Bukka White - The complete ... (Sony/Legacy) Various artists - Hard times : LA blues anthology (Black Magic) And a whole bunch of other stuff that doesn't immediately spring to mind. It's been a good year for blues releases, particularly reissues (the Testament reissues are priceless, as are the Chess collectables series). Let's hope 1996 continues the trend! Merry Christmas to one and all and have a happy and safe holiday! Regards, Dave ----------------------------------------------------------------- David Blanken E-mail: D.Blanken@nla.gov.au Phone: +616 2621473 ----------------------------------------------------------------- ========================================================================= Date: Wed, 20 Dec 1995 16:18:18 -0700 Reply-To: Jeff Birk From: Jeff Birk Subject: Your picks for 1995 -Reply James Cotton-Best of the Verve Years Albert Collins-Live '92-'93 Jeff Birk ps - I'm hoping to get Albert King "The Ultimate Collection" for xmas. Although this wasn't released in 1995 (I think) I'm sure it will be one of my favorites to close out '95. ========================================================================= Date: Wed, 20 Dec 1995 23:25:06 GMT Reply-To: blueslvr@sirius.com From: "Roy W. Forgy" Subject: Re: Your picks for 1995 -Reply In-Reply-To: Albert Collins-Live '92-'93 as anything by Albert Collins has to be in my collection and James Armstrong, Sleeping with a Stranger If you haven't heard it you should. Roy W. Forgy (blueslvr@sirius.com) Pacifica, CA Please note the new E-Mail address. ========================================================================= Date: Wed, 20 Dec 1995 15:30:30 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Bah..... Humbug! Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Just kidding! ;-] **MERRY CHRISTMAS TO ALL YOU BLUES-L COOL GUYS, AND BLUES HONEYS** Wish I could take you all to Legends, buy you some ribs, and a real cold one while we have a big jam session... Don Cicchetti ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Wed, 20 Dec 1995 15:47:57 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Query to list re: BILLBOARD'S_BLUES_LISTING!! Sanjay wote: > > Someone asked for the WWW page to get Top 15 Billboard > Blues Listing.... > This list is updated every Monday and is > available @ > http://www.vivanet.com/~blues/news.html If the Billboard Blues Chart is actually now available at this site (but it can't be updated *weekly*, since the chart is only published once every two weeks), shall I *stop* posting the chart to blues-l, figuring that those who are interested in seeing it will go get it when they want to, or shall I *continue* to post them? Majority rules, as my children used to say when they were little. Mary Katherine ========================================================================= Date: Wed, 20 Dec 1995 19:08:26 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Your picks for 1995 Comments: To: David Blanken In-Reply-To: 1995 was a good year - some old ones new to me, some new ones new to me, some new ones old to me - but all gotten this year and well enjoyed. ** = more-better-gooder. BTW some of these are reviewed on our web site (see at end of post) and some will be there soon. We are adding reviews re- gularly so if we don't get the reviews up here on bluesl they will be available at the site. Also re: an early thread on Wolf. In February we will have up hopefully 20 or 30 Wolf cut-by-cut reviews. January is going to be Audioquest month - for those of you that don't know the label check it out, a small, new, solid and heavily committed label with great output. They caught my heart right away. And March is one of my fav labels - JSP. We should have at least 1/2 of their output up and reviewed by March. BTW #2 - the Willie Neal Johnson CD is amazing. Gospel mixed blues roots with plenty of get-a-witness. And here's quite a late entry The Silver Cross Story** (Wolf)-1960's gospel with the feel and listen of all the 60's-70's accappella group mu- sic. I am stuck at the moment to explain this genre of music so the reference above is the best I can do - sorry. Anyways it's a serious extravaganza by gospel groups, that only cut a side or two or three all out of the Boston area. BOSTON BLACKIE & OTIS SMOTHERS / Chicago Blues Vol. 1 (Wolf) JAMES BOOKER / Resurrection Of The Bayou Maharajah (Rounder) **EDDY CLEARWATER / Boogie My Blues Away (Delmark) **AL COOK / The White King Of Black Blues (Wolf) **JIMMY DAVIS / Maxwell Street (Wolf 120.857) JIMMY DAWKINS / Kant Sheck Dees Blues (Earwig) **CHAMPION JACK DUPREE / Live At Burnley (JSP) **RONNIE EARL / Still River (Audioquest 1018) BUDDY GUY / Alone And Acoustic (Alligator) **BUDDY GUY / D.J. Play My Blues (JSP) BUDDY GUY / Live At The Checkerboard Lounge (JSP) LIGHTNIN' HOPKINS / Sittin' In With (Mainstream) HOMESICK JAMES & SNOOKY PRYOR / Sad & Lonesome (Wolf 120.409) LUTHER JOHNSON / Lonesome In My Bedroom (Evidence) LUTHER JOHNSON JR. / Luther's Blues (Evidence) **WILLIE NEAL JOHNSON / The Country Boy Goes Home (Malaco) VANCE KELLY / Call Me (Wolf 120.877) PROFESSOR LONGHAIR / The London Concert (JSP) **DOUG MACLEOD / Come to Find (Audioquest 1027) **JOE TURNER / The Trumpet Kings Meet Joe Turner (Jazz Classics) **VALERIE WELLINGTON / Million Dollar Secret (Rooster) U.P. WILSON / Live At Schooner's Dallas (Wolf 120.630) NY CD Blues Now at http://www.island.net/~blues/nycd.html Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Wed, 20 Dec 1995 19:22:17 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Organization: Union Federal Savings Bank Subject: BB King Record Collectable I have a line on an original 1961 Crown stereo LP release of B.B. King's "King Of The Blues" on red clear vinyl. It is selling for $49.99 nut is is only in average condition. Could anyone tell me if this is a worthy collectable at this price??? I'd really appreciate your help. I want it for the sake of a prize item of one of my favorite artists --- not to watch go up in value and sell it. Mery Christmas!!!! RJ Bauman ========================================================================= Date: Wed, 20 Dec 1995 19:23:50 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Jewish Christmas blues Comments: To: rshurman@ccs.nslsilus.org On December 20, 1995, Dick Shurman wrote: >>>Haven't you ever heard of "field chalhas?" (That's the blues >>>context.) >>>Some good ones were recorded by "Big Matzo" Thornton. Well, I cannot speak for other Jewish people on this list, but I have never felt that I had to have the blues myself. I feel that it is my function to serve as a 'carrier' and infect others. Dick Waterman ========================================================================= Date: Thu, 21 Dec 1995 01:01:31 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: BB King Record Collectable Comments: To: bit-listserv-blues-l@uunet.uu.net In article "R.J. Bauman" writes: >I have a line on an original 1961 Crown stereo LP release of B.B. >King's "King Of The Blues" on red clear vinyl. It is selling for >$49.99 nut is is only in average condition. >Could anyone tell me if this is a worthy collectable at this price??? Goldmine's price guide to collectable records list the red vinyl "King of The Blues" at $100 in mint condition and $40 in VG+. M- means virtually perfect. VG+ just minor scuffs, should not affect play. Colored vinyl is a lot harder to judge than black. Also, Crown pressings were notoriously noisy even when they look good. One final warning, compared to prices I find in stores, Goldmine's guide tends to be a bit pricey. But, on the other hand, a red vinyl "King of the Blues" is a pretty uncommon piece.... Hope this helps. Art Schuna ========================================================================= Date: Wed, 20 Dec 1995 20:21:15 PST Reply-To: mail06702@pop.net From: "(Dave Ruthenberg)" Subject: FW: Query to list re: BILLBOARD'S_BLUES_LISTING!! Mary Katherine - I would certainly prefer that you continue to post the chart to the list, if it is not a problem for yourself. It's kind of like one-stop shopping! Regards, Dave ========================================================================= Date: Wed, 20 Dec 1995 20:42:38 -0500 Reply-To: FLAMINAMY1@AOL.COM From: David Mandelbaum Subject: Jimmy Spruill/Larry Dale tapes Both Jimmy and Larry have tapes available on: Skillet Records 1366 Gold Ave. Memphis, TN 38106 "Get Lost" Jimmy refers to the harp player on Jimmy's record, and as far as I know both Jimmy's and Larry's were self-produced on Jimmy's eight track at his home in the Bronx. Also, Larry Dale plays guitar on Champion Jack Dupree's "Blues From the Gutter" on Atlantic records. Wonderful album. David ========================================================================= Date: Wed, 20 Dec 1995 21:01:40 EST Reply-To: William Pollak From: William Pollak Subject: Al Green (was: Your picks for 1995) In-Reply-To: Your message of "20 Dec 95 10:04:00." LW wrote >I'd be real curious to see SOME your favorite CD's you purchased in 1995 Not strictly a blues CD, but close enough that I think I can get away with raving about it on this list: I can't remember the last time I've been so stuck on anything the way I am on Al Green's new CD on MCA, Your Heart's in Good Hands. It's his first secular album since the late 1970s, it has slick, contemporary production, and it's getting the big push from MCA. Nevertheless, with only a couple of exceptions the songs are true to the form, spirit, and feeling of his great work on Hi Records of Memphis. I simply can't get it out of my CD player, and the songs are jangling around in my head constantly, a different one every day. What a phenomenal artist Al Green is! Bill P. ========================================================================= Date: Wed, 20 Dec 1995 21:46:22 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: BB King Record Collectable > I have a line on an original 1961 Crown stereo LP release of B.B. > King's "King Of The Blues" on red clear vinyl. It is selling for > $49.99 nut is is only in average condition. > > Could anyone tell me if this is a worthy collectable at this price??? > I want it for the sake of a prize item of one of my favorite artists --- not to watch go up in value and > sell it. If you're not buying it as an investment, and don't have another way to get it for less, then the only way to answer that question is to decide if it's worth $50 to *you*. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Wed, 20 Dec 1995 22:53:41 -0500 Reply-To: Wayne Ross From: Wayne Ross Subject: Re: Your picks for 1995 Comments: To: L W In-Reply-To: On Wed, 20 Dec 1995, L W wrote: > I'd be real curious to see SOME your favorite CD's you purchased in 1995 10 Favorites of 1995 (no particular order) ROBERT WARD, Black Bottom (Black Top) LITTLE BUSTER AND THE SOUL BROTHERS, Right On Time (Bullseye Blues) TOMMY RIDGLEY, Since the Blues Began (Black Top) LUTHER ALLISON, Blue Streak (Alligator) JAMES COTTON, Best of the Verve Years (Verve) THE GOSPEL HUMMINGBIRDS, Taking Flight (Blind Pig) BLIND BOYS OF ALABAMA, I Brought Him With Me (House of Blues) JOE LOUIS WALKER, Blues of the Month Club (Verve) SONNY LANDRETH, South of I-10 (Zoo Entertainment) THE IGUANAS, Nuevo Boogaloo (Margaritaville) ========================================================================= Date: Wed, 20 Dec 1995 19:57:29 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Hi all. I was taking another look at `Deep Blues' by Robert Palmer last night, and something caught my eye - it mentions that Robert Johnson played as far north as Ontario, Canada in his travels. Does anybody know anything about this? I highly doubt (as a matter of fact I'm pretty sure) that anyone on this list actually _saw_ him, but I'm wondering if anyone knows where this info was gleaned from, and what kind of places he would have played in, if ya know! Thanks -Jim (hndful@uniserve.com) ========================================================================= Date: Wed, 20 Dec 1995 23:09:44 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Non-blues faves How about: Ry Cooder John Hiatt The Replacements early R.E.M. Hoodoo Gurus Guadalcanal Diary The Long Riders the Byrds the Ramones the Clash Lou Reed Los Lobos Husker Du CCR Jim Leftwich ========================================================================= Date: Wed, 20 Dec 1995 23:11:46 -0500 Reply-To: Wayne Ross From: Wayne Ross Subject: Re: Query to list re: BILLBOARD'S_BLUES_LISTING!! Comments: To: Mary Katherine Aldin In-Reply-To: <199512202347.PAA11473@ix10.ix.netcom.com> Please keep posting Billboard's Blues Top 15 on the Blues-L Thanks Wayne On Wed, 20 Dec 1995, Mary Katherine Aldin wrote: > Sanjay wote: > > > > Someone asked for the WWW page to get Top 15 Billboard > > Blues Listing.... > > This list is updated every Monday and is > > available @ > > http://www.vivanet.com/~blues/news.html > > If the Billboard Blues Chart is actually now available at this site > (but it can't be updated *weekly*, since the chart is only published > once every two weeks), shall I *stop* posting the chart to blues-l, > figuring that those who are interested in seeing it will go get it when > they want to, or shall I *continue* to post them? Majority rules, as > my children used to say when they were little. > > Mary Katherine > ========================================================================= Date: Wed, 20 Dec 1995 23:24:19 -0500 Reply-To: Sanjay Rajan From: Sanjay Rajan Subject: BILLBOARD'BLUES_LISTING!! > > Someone asked for the WWW page to get Top 15 Billboard > > Blues Listing.... > > This list is updated every Monday and is > > available @ > > http://www.vivanet.com/~blues/news.html > > If the Billboard Blues Chart is actually now available at this site > (but it can't be updated *weekly*, since the chart is only published > once every two weeks), shall I *stop* posting the chart to blues-l, > figuring that those who are interested in seeing it will go get it when > they want to, or shall I *continue* to post them? Majority rules, as > my children used to say when they were little. > > Mary Katherine > Hi Mary............ I goofed...Yeah its once every other Monday. Thanks for the correction. I feel there may be people out there who do not have access to the WWW so I vote for your posting of the list to continue. Have a nice holidays!! +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-($)^($)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ Surrealism ? I AM Surrealism - Salvador Dali +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Wed, 20 Dec 1995 23:38:31 -0500 Reply-To: BAJammin From: BAJammin Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Re[2]: Best acoustic slide players today?? Comments: To: bit-listserv-blues-l@uunet.uu.net Here's another vote for Rory Block! And most outstanding live performer. I hpoe she comes back to Charlottesvile soon. :-) Bill Adams ========================================================================= Date: Wed, 20 Dec 1995 23:50:06 -0500 Reply-To: Sanjay Rajan From: Sanjay Rajan Subject: BLUES_BEFORE_SUNRISE!! Would anybody tell me what the introductory song to Steve Cushing's BLUES BEFORE SUNRISE on NPR is.... TIA +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-($)^($)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ Surrealism ? I AM Surrealism - Salvador Dali +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Wed, 20 Dec 1995 22:59:27 GMT Reply-To: Kurt Derbyshire From: Kurt Derbyshire Organization: Queensland Department of Primary Industries Subject: Re: cold weather blues (was Sonet Records) In article <30D14FB0@txpci6.hou.xwh.bp.com>, bonnb@XXEUPO13.HOU.XWH.BP.COM says... >Bob >(in cold, wet, dark, Aberdeen, Scotland. I don't need blues about cold >weather....I got 'em. Anyone who poured beer over their head here would die >from exposure. I want some swaying palm tree, sand in the toes blues.) >bonnb@xxeupo13.hou.xwh.bp.com You should come here then. It was 40 degrees C (about 105 F) yesterday and feels even hotter today, and the palm trees grow like weeds! Kurt (in hot, humid, tropical Cairns, Australia, waiting for the wet season rains...) ========================================================================= Date: Thu, 21 Dec 1995 00:01:04 -0500 Reply-To: Sanjay Rajan From: Sanjay Rajan Subject: KEB'_MO' Yeah.... I got a chance to listen to Keb' Mo' self titled album tonite @ Borders Books & Music.... Its a great album and is a must for Acoustic Blues lovers. Another album I got a chance to listen to is the late Ted Hawkins "The Next Hundred Years" Ted's husky voice seems to convey a lot of pathos. Recommend both for BLUEZELLERS... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-($)^($)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ Surrealism ? I AM Surrealism - Salvador Dali +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Thu, 21 Dec 1995 00:23:17 -0500 Reply-To: JIMBLUE1@AOL.COM From: Jim Armstrong Subject: Re: Jewish Christmas blues In a message dated 95-12-20 19:25:34 EST, Jinxblues@AOL.COM (Dick Waterman) writes: >. I feel that it is my function to >serve as a 'carrier' and infect others. Is LW back on the list using Dick's computer? ========================================================================= Date: Thu, 21 Dec 1995 00:27:06 EST Reply-To: Joseph Leichter From: Joseph Leichter Subject: Re: Jewish Christmas blues Is LW *really* Leonard Watkins??? Strange, i don't remember the "old" LW having a brown.edu adress...did I miss something??? Is someone forging email?? ========================================================================= Date: Wed, 20 Dec 1995 21:43:49 -0500 Reply-To: Stan Ruffo From: Stan Ruffo Subject: Direct Marketing Coordinator Comments: To: Gail McIntosh Gail, I am normally a blues-l lurker myself. I'm glad you chimed in. So what does the Direct Marketing Coordinator do? Stan -- HAPPY HOLIDAYS from "Blues On Tap" KIOO Visalia, CA steamin@valleynet.com (209) 625-6049 http://www.valleynet.com/~steamin ========================================================================= Date: Thu, 21 Dec 1995 01:04:44 -0500 Reply-To: s060772@AIX1.UOTTAWA.CA From: Hosni Jaidane Subject: enjoy these jokes (fwd) Comments: To: hbhajla@csi.uottawa.ca, rinkke , Line Lykke-Meyer Nielsen , HAMMAMI N , HAJER KHEDHER , khaled zribi , Kammoun Jalel , BAYAR H , Hichem Ben Fredj , KHALEF CHERIF , MOLKA BEL CADHI , Aref Meddeb ---------- Forwarded message ---------- Date: Tue, 19 Dec 1995 13:58:13 -0500 (EST) From: Mourad Daami To: Mohammed Hosni Jaidane , Sulian BEN-HAMED , Keith@mcrlab.uottawa.ca Subject: salam, enjoy these jokes (fwd) Hi everyone, Enjoy your laughing! -> -> -> -> At the cocktail party, one woman said to another, "Aren't you -> wearing your wedding ring on the wrong finger?" The other replied, -> "Yes I am, I married the wrong man." -> -> -> Man is incomplete until he is married. Then he is really finished. -> -> -> A happy marriage is a matter of give and take; the husband gives -> and the wife takes. -> -> -> Marriage is an institution in which a man loses his bachelor's -> -> A little boy asked his father, "Daddy, how much does it cost to -> get married?" And the father replied, "I don't know, son, I'm -> still paying for it." -> -> -> Young Son: Is it true, Dad, I heard that in some parts of Africa a -> man doesn't know his wife until he marries her? -> Dad: That happens in most countries, son. -> -> -> Then there was a man who said, "I never knew what real happiness -> was until I got married; and then it was too late. -> -> -> When a newly married man looks happy we know why. But when a -> ten-year married man looks happy - we wonder why. -> -> -> Married life is very frustrating. In the first year of marriage, -> the man speaks and the woman listens. In the second year, -> the woman speaks and the man listens. In the third year, they -> both speak and the neighbours listen. -> -> -> After a quarrel, a wife said to her husband, "You know, I was -> a fool when I married you." And the husband replied, "Yes, dear, -> but I was in love and didn't notice it." -> -> -> It doesn't matter how often a married man changes his job, -> he still ends up with the same boss. -> -> -> A man inserted an 'ad' in the classifieds: "Wife wanted". Next -> day he received a hundred letters. They all said the same thing: -> "You can have mine." -> -> -> When a man opens the door of his car for his wife, you can be sure -> of one thing: either the car is new or the wife. -> -> -> A perfect wife is one who helps the husband with the dishes. -> -> A woman was telling her friend , "It is I who made my husband a -> millionaire." -> "And what was he before you married him." Asked the friend. -> The woman replied, " A multi-millionaire". -> hosni ========================================================================= Date: Wed, 20 Dec 1995 23:06:54 -0500 Reply-To: Stan Ruffo From: Stan Ruffo Subject: Paul Rishell and Annie Raines I just received a copy of Swear To Tell The Truth on Tone Cool Records. Ronnie Earl and Annie Raines make guest appearances on this CD. And as Ronnie Earl indicates in the liner notes, "playing with Paul is playing with an embodiment of tradition-he is tradition". And Annie Raines flat gave me goose bumps with her performance in track number 6, Every Night About This Time. Consider adding this one to your collection, or catching them at the following: PAUL RISHELL & LITTLE ANNIE RAINES 12/22 Portsmouth, NH - The Press Room 12/31 Warwick, RI - Radisson Airport Hotel (band) NOTE: All gigs are duos unless otherwise indicated Stan Ruffo -- HAPPY HOLIDAYS from "Blues On Tap" KIOO Visalia, CA steamin@valleynet.com (209) 625-6049 http://www.valleynet.com/~steamin ========================================================================= Date: Thu, 21 Dec 1995 01:12:58 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: HOLIDAY BLUES MESSAGE > From: William Shute > > With so many fine releases out this year, I'd like to mention again > some ones that > have really connected with me. snip > JOE GUITAR HUGHES Texas Guitar Slinger (Me & My) This one is now easily available in the U.S.A. on Bullseye. No need to spend the extra import bucks for the Me and My recording. One of my favorites of the year, too. Don O. ========================================================================= Date: Thu, 21 Dec 1995 02:07:10 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: BB King Record Collectable Comments: To: williams@heme.medicine.wisc.edu >>>If you're not buying it as an investment, and don't have >>>another way >>>to get it for less, then the only way to answer that question >>>is to >>>decide if it's worth $50 to *you*. EW >>>Eliot Williams >>>University of Wisconsin Medical School >>>ecwillms@macc.wisc.edu I agree with Eliot on this one. If you think you can afford it and you walk around with it on your mind . . go for it. Dick Waterman ========================================================================= Date: Thu, 21 Dec 1995 04:07:18 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Bob in The Big Apple? Comments: To: hndful@uniserve.com On December 20, Jim Witteveen wrote: >>>Hi all. I was taking another look at `Deep Blues' by Robert Palmer last night, and something caught my eye - it mentions that Robert Johnson played as far north as Ontario, Canada in his travels. Does anybody know anything >>>about this? I had heard several versions of his being in the New York City and New Jersey area playing 'rent parties' in the mid-1930s. I have this vision of people having a good time jamming and someone saying, "You play that guitar pretty good, Robert. That's Tom Waller over there on piano but we all call him 'Fats.' Hey, Fats! This here is Robert Johnson. He just come into town from Mississippi." Well, as Bob Dylan once sang, "I'll let you be in my dream if I can be in yours . . . . . " Dick Waterman ========================================================================= Date: Wed, 20 Dec 1995 17:27:12 -0600 Reply-To: Eric Johnson From: Eric Johnson Subject: Re: _Your_ blues roots Did _you_ start out your musical life playing 'Hot Cross Buns' out of tune in a gym full of parents? Did you get anything useful out of it? How did you get from there to doing/playing whatever you are now? I may seem a little young to most of the recipients on this list (I just = recently turned 21) But I will tell my story non-the-less. =20 I am working towards becoming a musician/sound designer/artist. I am = presently not employed as such (I sell computers) But will be in the = future (I hope:) I grew up with music. My parents listened to a lot of = the Folk and Pop greats of the 60s and 70s ie... Simon and Garfunkel, = John Denver, Elton John etc... And I had other close relatives who were = heavy into other types of music. Non were really pro-musicians but most = of them sang or else played the stereo extensively. I began singing in = church and the likes at around 3-4 years old. But some of the most = influential were the days of the Flutophone. Elementary school music, = IMHO, is very important. Not necessarily to teach kids to become = musicians, but to at least give them the opportunity to decide. Music = is a very big part of culture. Not just western culture but world wide. = Most of the American generations allowed it to determine the clothes = they wear/wore, the things they did on the weekend etc etc... This = isn't to say that it completely reroutes all development and morals, but = it does play a large influence on their lives. I feel that had I not = been exposed to so many different types of music, I would be a = dramatically different person today. There has been a lot of argument = in other list servers that I am in on the whole Nature/Nurture debate. = I feel that I have talents in music, but because of my musically = nurturing environment, I developed into a much broader and deeper = individual. Blues established a good part of that. I apologize for my windy response, to answer the question, Yes I did. -Eric Johnson ========================================================================= Date: Wed, 20 Dec 1995 17:47:54 -0600 Reply-To: Eric Johnson From: Eric Johnson Subject: Re: Several subjects that have been building up! IN contrast, every blueseller has the right to use DELETE as often as he/she chooses. NO ONE has the right to tell SOMEONE else on this list that they don't belong here unless that person/persons is violating the "charter" for this list. As an example, posting an ad for porno surely violates the list rules. Hey, I just wanted to pipe up (again) and say Hey! It's not a matter of = freedom of speech, I am a musician and artist, I support it all the way. = Sometimes it falls into a matter of respect. All I ask of the members = of this group is this: That they respect the opinions of other zellers That they respect the internet as a medium, that is very rapidly = becoming over populated so that millions of terabytes of bandwidth and = disk space are being consumed. And that they respect me and the likes of me who have to suffer through = 15 minutes of downloading Blues-L only to find that 65% of it is stuff = that I would want to delete. I love this list, don't get me wrong, but there have been a many times = that I have thought about losing it just because it eats up my time = while I'm waiting to download it at a meager 14.4kbps. I'd just appreciate it if everyone would think b/4 they reply and argue = who is the greatest or who is the most influential or whatever. I could = care less about list rules or whatever someone wants to post, so long as = the same thing isn't repeated 25 times. Thank you for letting me vent. If anyone wants to flame me, or argue = with me, please mail me instead of the list, so that we don't blow all = off the topic for another week. -EJ ========================================================================= Date: Thu, 21 Dec 1995 11:19:29 +0100 Reply-To: Peter Gallagher From: Peter Gallagher Subject: More RORY GALLAGHER news... I was using the new search-engine from Digital Equipment and i tried 'rory gallagher' as a search... The response was "1 to 10 of about 5000 web-pages" (!) Among the first few links was a page with tributes to Rory from the HotPress magazine... http://www.iol.ie/hotpress/archive/iss13951/rorytrib.htm I highly recommend a trip to this page to all "old" fans and to anyone looking for some insight into RG. There are touching quotes from many including various U2 members, Gary Moore, Jeff Beck, Slash,etc etc. Probably the most touching quote for me was from Donal, Rory's brother and manager, when he quoted a line from one of Rory's own songs: "I'll admit you're gone when I think I'm able" regards, PeterG ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Thu, 21 Dec 1995 13:02:30 +0100 Reply-To: Peter Gallagher From: Peter Gallagher Subject: Re: 'ZELLERS_??? Comments: To: ianangus@DIS.ON.CA In-Reply-To: <9512191801.aa09076@admin.dis.on.ca> from "Ian Angus" at Dec 19, 95 06:25:17 pm Geez, Ian, my only claim to fame and you didn't give me any credit for it! :-) :-) ragards, PeterG > > Being relatively new to this newsgroup, I was wondering > > what's the story behind the BLUESZELLERS word... > > or is it BLUES ZELLERS ??? > > Is it defined in the dictionary ;) > > The newsgroup you are reading is a mirror of a mailing list > called blues-l -- it stands for blues-list. > > A couple of years back, someone transformed "blues-l-ers" > into bluezellers , and the name stuck. > > Ian Angus > "Built for comfort, not for speed" > > -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Thu, 21 Dec 1995 08:09:08 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: (Fwd) Re: 'ZELLERS_??? I wrote .... > > The newsgroup you are reading is a mirror of a mailing list > called blues-l -- it stands for blues-list. > > A couple of years back, someone transformed "blues-l-ers" > into bluezellers , and the name stuck. I should of course have mentioned that it was Peter Gallagher, who participates from Amsterdam, who made this significant contribution to the bkues vocabulary. (Thanks for reminding me, Peter.) :-) Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Thu, 21 Dec 1995 07:52:50 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: BILLBOARD'S_BLUES_LISTING!! Comments: To: mkaldin@IX.NETCOM.COM On 20 Dec 95, Mary Katherine Aldin had this to say... > Sanjay wote: > > > > Someone asked for the WWW page to get Top 15 Billboard > > Blues Listing.... > > This list is updated every Monday and is > > available @ > > http://www.vivanet.com/~blues/news.html > > If the Billboard Blues Chart is actually now available at this site > (but it can't be updated *weekly*, since the chart is only published > once every two weeks), shall I *stop* posting the chart to blues-l, > figuring that those who are interested in seeing it will go get it when > they want to, or shall I *continue* to post them? Majority rules, as > my children used to say when they were little. > > Mary Katherine Well not everyone who has e-mail access to this list, also has access to the world wide web. In other words, your listing may be the only one that some Blues-Lers can read. Plus for all I know, Curtis Hewston, (who's page that is), may be getting them from your posts too. That's a rather expensive magazine for anyone who is not in the music business. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 21 Dec 1995 07:04:35 -0600 Reply-To: "Norman W. Mangum" From: "Norman W. Mangum" Subject: Re: KEB_MO' > From: Sanjay Rajan > > Any info about Keb Mo' and as to how his self titled album is.. > I see he is winner of WC Handy Award for Best Country/Acoustic > Blues Album of the year... I'm an acoustic/roots blues fan, and I'd rate the Keb' Mo' album as the best that I found in the past year. Every tune on it is solid; this gut has definitely listened to Taj Mahal. You need the CD. ========================================================================= Date: Thu, 21 Dec 1995 07:32:36 -0600 Reply-To: ASHBURNT@TEN-NASH.TEN.K12.TN.US From: Terry Ashburn Subject: Re: Introducing Kids (notalota Blues) Comments: To: "Bonn, Bob" In-Reply-To: <30D84FFE@txpci6.hou.xwh.bp.com> Bob, As a Elementary Band/Music teacher for 15 years, bite your lip, get some ear plugs or headphones and forget the mute!! Let her blow! BTW, it great that Dad is letting her try all these instruments but try to get her to stick with this one. When she learns it well she will probably return to the 'first loves' and try them again (guitar, keyboard, maybe even violin). Keep encouraging her Dad! Terry Happy "Blues" Holiday Everyone ========================================================================= Date: Thu, 21 Dec 1995 13:51:01 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: (Fwd) Re: 'ZELLERS_??? In-Reply-To: <9512210745.aa02482@admin.dis.on.ca> On Thu, 21 Dec 1995, Ian Angus wrote: > > I should of course have mentioned that it was > Peter Gallagher, who participates from Amsterdam, who > made this significant contribution to the > bkues vocabulary. > Where does that put him on Tom Freelands list of 50 :):) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [21/12/95 8:49 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 21 Dec 1995 08:58:28 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: No one more deserving . . . Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *> There may not be much blues content here, but I suspect that most *>blues fans do enjoy other kinds of music; I'd be fascinated to know which *>NON-blues artists some of you dig, and why. Bob Dylan, Pink Floyd, Hank Williams, Nat King Cole, Toots Thielemans, Dick Dale, Larry Adler, Charlie Parker, Thelonius Monk, Sorry About Your Daughter (my step brother's band :), Jimmie Rodgers. This thread reminds me of that non-alcoholic beer commercial that claims it's what Beer lovers drink when they're not drinking beer. So, I guess it's what blues lovers listen to when they're not listening to blues. :) ========================================================================= Date: Thu, 21 Dec 1995 09:03:55 -0500 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: The earliest blues Comments: To: Tom Morgan In-Reply-To: <199512201421.JAA10700@poe.acc.Virginia.EDU> On Wed, 20 Dec 1995, Tom Morgan wrote: > Just to add to the discussion of early blues and what was the name of the > white guy who copyrighted the first blues. Here is a brief excerpt from > my entry on the blues for the African American Volume of the Dictionary of > Twentieth Century Culture which will be published in the Spring. > --- > The first written account of the blues was in 1898 when > folklorist John Jacob Niles told of a medicine show shouter and moaner > named Ophelia Simpson singing "Black Alfalfa's Jailhouse Shouting Blues." John Jacob Niles was an amateur folklorist who was born in Louisville in 1892. His account of Ophelia Simpson was not written until 1930, when it appeared in the October 1930 issue of THE MUSICAL QUARTERLY. He was recalling what his father told him when he was only 6 years old. I am researching Louisville's blues history and have tried to document Niles' story. So far I have found that an African-American woman named Ophelia Simpson did live in Louisville in the 1890's. The rest of Niles' story -- that she performed in a local medicine show, killed her husband and served time in the local jail (not necessarily in that order!) -- has yet to be proven. Pen Bogert Louisville KY ========================================================================= Date: Thu, 21 Dec 1995 09:10:05 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: NON_BLUES_INTEREST!! Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, srn/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=srn#a#FORMTEK#f#COM@s1boca.corp.wrgrace.com * Toots Thielemans [Brazilian composer who plays the Harmonica and * is well known in the Jazz circuit too...] Actually, Toots is Belgian but he has done a couple of Brazilian jazz albums. He is also a guitar player and whistler. ========================================================================= Date: Thu, 21 Dec 1995 09:17:06 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Re: The earliest blues Comments: To: Brenda Bogert In-Reply-To: from "Brenda Bogert" at Dec 21, 95 09:03:55 am In another time and place, Brenda Bogert said: > > On Wed, 20 Dec 1995, Tom Morgan wrote: > > > folklorist John Jacob Niles told of a medicine show shouter and moaner > > named Ophelia Simpson singing "Black Alfalfa's Jailhouse Shouting Blues." > > John Jacob Niles was an amateur folklorist who was born in Louisville in > 1892. His account of Ophelia Simpson was not written until 1930, when it > appeared in the October 1930 issue of THE MUSICAL QUARTERLY. He was > recalling what his father told him when he was only 6 years old. I would say he had an excellent memory to not only remember the singer's name but also the song. :) > I am researching Louisville's blues history and have tried to document > Niles' story. So far I have found that an African-American woman named > Ophelia Simpson did live in Louisville in the 1890's. The rest of Niles' Thank you Pen, I'm very glad for the additional information about Niles and early Louisville blues. Please share with all of us how your research turns out about Ophelia Simpson. /\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/ The NEW ADDRESS for my Jazz and Blues Web Site is: http://www.redlt.com/tom/home.html Free-lance writer//Program Director WTJU 91.1//Internet Consultant ========================================================================= Date: Thu, 21 Dec 1995 09:35:05 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Billboard Chart Idea Examining the Billboard's charts for December 23rd I noticed some things. The top 100 overall album list contains only ONE of the albums appearing on the Top 15 Blues Album chart. SRV's Greatest Hit's, which is number 98 on the main list is the only one. The rest are all past 100 and may not be on the album chart at all. So I'm thinking, it probably only takes sales in the hundreds to get an album on the Blues Chart for two weeks. So a little light blows out over my head. I think, gee we have over a thousand Blues-Lers on this list. WE COULD PUT SOMEBODY ON THAT LIST. It would have to be someone with national distribution who's sales would be picked up by Billboard. We could take a Blues-Ler like say, Cathi Norton, who's album is just about to be released and CONSPIRE to all go out one week and buy it. It probably wouldn't take the entire membership to put her on the charts. If the numbers would be feasible, (I don't know, for instance, what the number #15 Blues album actually had as sales for 2 weeks), I would LOVE to participate in such a conspiracy. Mary Katherine, do you have a way of finding out the #15 ,per unit, sales figures were for the last charting period? or anyone else? P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 21 Dec 1995 15:44:43 +0100 Reply-To: Peter Gallagher From: Peter Gallagher Subject: Re: (Fwd) Re: 'ZELLERS_??? Comments: To: phertel@CMC.DOE.CA In-Reply-To: from "Pat Hertel" at Dec 21, 95 01:51:01 pm Ha-haaa! nice one Pat! :-) Nice to see some good humour again on the list :) But to answer your question.... it puts me somewhere below JLH's cat's hairball! :-) :-) regards, PeterG (Come back Jim Hartac, all is forgiven... :-) :-) ) > On Thu, 21 Dec 1995, Ian Angus wrote: > > > > > I should of course have mentioned that it was > > Peter Gallagher, who participates from Amsterdam, who > > made this significant contribution to the > > bkues vocabulary. > > > > Where does that put him on Tom Freelands list > of 50 :):) > > > phertel@cmc.doe.ca > OR bv808@freenet.carleton.ca > Local Time [21/12/95 8:49 AM] > "Thursday's always sad..." > > -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Thu, 21 Dec 1995 06:48:12 -0800 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Re: Your picks for 1995 Comments: To: bit-listserv-blues-l@cs.washington.edu Well, I'm not sure if any of these were actually released in 95 but that's when I bought 'em and am still getting a lot of mileage from them: James Brown-CD of JB Cephas and Wiggins-Bluesmen (Chesky) Thackery and Mooney-Sideways in Paradise (Blind Pig) Pops Staples-Peace to the Neighborhood (Pointblank) Dr. John-Goin' Back to New Orleans (Warner Bros) ========================================================================= Date: Thu, 21 Dec 1995 09:51:56 -0500 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Blues and Bluegrass (long) Comments: To: Bonnie Kalmbach In-Reply-To: <25121818303944@vms2.macc.wisc.edu> On Mon, 18 Dec 1995, Bonnie Kalmbach wrote: >It *IS*, in my view, a BLACK music that *some* people > other than black can play well. To me, blues is just as black as funk, soul, > R&B, hip-hop, gospel, etc. > Great post! I agree wholeheartedly. Then you said: > I thought of another example to try to make the case that it is the > CULTURE, not the skin color, not the pigmentation that makes a person or > group's music special: > > Take the case of Bluegrass music. All (as far as I know) of the musicians are > the SAME COLOR: White/Caucasian. Your best players will come from the > American Appalachian mountain region where they heard the music from birth and > learned from their parents, grandparents, friend and neighbors. There will > be culutural nuances in their style that bands composed entirely of > people from Des Moines,Iowa or Stuttgart, Germany - to grab a few geographic > names out of the hat -just aint gonna have, unless they posess extraordinary > empathy. Fans of this music who listen to it for a long time and have a > good ear, are going to gravitate toward and be chiefly satisfied by > the musicians with roots in that mountain music. > Strange that you should mention one of Kentucky's major contributions to American cultural history (along with hemp, bourbon and cigarettes) -- bluegrass music. Bluegrass (as created by Bill Monroe) was not born in the mountains of Appalachia, but rather in the coal country of Western Kentucky. A seminal figure in the development of that music was an African-American guitar player named Arnold Shultz. He was born in 1886, the son of a former slave. At an early age, he learned to play the guitar and fiddle. When he was old enough to work in the mines, he got a job as a coal loader. He worked during the day and, in his spare time, he traveled around the area playing "hillbilly music" solo or with others. He played with such influential musicians as a young Bill Monroe, "Uncle" Pen Vandiver, and Kennedy Jones. Shultz was a "musicianer" -- better known for his intrumental abilities rather than his singing. He was also known for teaching others new chords and new ways to play. His distinctive style of fingerpicking involved picking out the lead while using his thumb to generate rhythm. This style, filtered through Kennedy Jones to Mose Rager and finally to Merle Travis, has become known as "Travis picking". Shultz played at many dances and house parties. He generally played with white musicians, but sometimes accompanied Walter Taylor, an African-American mandolin player who also worked in the mines. The two would travel around to coal camps and play for tips. Shultz played popular tunes as well as the blues. Witnesses to his playing have called him the "greatest guitarist who ever lived." Unfortunately he died in April 1931, of respiratory failure related to his work in the coal mines. Ralph Peer came to Louisville in late May/early June 1931 to record regional blues, country and gospel artists for the Victor label. Walter Taylor and his band made the trip from Western Kentucky to record "Do You Love Me Blues" and "Coal Camp Blues". Brenda Bogert Louisville KY ========================================================================= Date: Thu, 21 Dec 1995 16:00:20 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Guitar Gabriel These rapid note to answer a private mail I received yesterday (I unfortunately did delete it so that I cannot remember from who this was... was it you Art?) related to the MUSIC MAKER CD by GUITAR GABRIEL and which was asking how this compared with earlier Guiater Gabriel stuff. I you were talking of the (IMHO) superb Lp THE WELFARE BLUES recorded in 1970 (I have it on JAMBAYALA), well I have to warn you that the music is quit different on his recent music maker. The Hopkins touvh which was quite dominent on his 1970 album is not exactly here which is far more intimate. The material containe dis much more related to his Karibu stuff. A very charming deep country blues album with ballads, stories, intimate blues, some jazz. In any case really worth ckecking out for those who like this kind of atmosphere!! Jean-Pierre "Young Man" Urbain ========================================================================= Date: Thu, 21 Dec 1995 15:01:33 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Jewish Christmas blues Comments: To: bit-listserv-blues-l@uunet.uu.net In , Richard Shurman writes: >Haven't you ever heard of "field chalhas?" (That's the blues context.) >Some good ones were recorded by "Big Matzo" Thornton. Ouch! Ooooh. That's baaaaad. (Of course, I'm too much of a matzah man to say so in public) BBB - B.B. Bean bbbean@cris.com - ========================================================================= Date: Thu, 21 Dec 1995 10:02:08 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Non-Blues favorites > There may not be much blues content here, but I suspect that most > blues fans do enjoy other kinds of music; I'd be fascinated to > know which NON-blues artists some of you dig, and why. Crash Test Dummies - Fascinating lyrical and musical ideas. Attractively strange. And that voice. Bulgarian Women's Choir - I have about 6 different albums of this stuff. Bulgaria is evidently a country where ordinary people sing like angels. Complex, difficult and unusual harmonies. Bonnie Raitt - She can do no wrong. Ladysmith Black Mambazzo - Again the joy of singing. Mississippi Mass Choir - Not at all a religious person. Black Gospel is just about the most exciting music going (next to Blues) Zap Mama "Adventures in Afropea" - The voices (a capella) of 7 women from several different European and African cultures, singing in several languages. Like nothing you've heard. Gloria Estefan (sp?) - Just the new all Spanish, Big Latin Band album. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 21 Dec 1995 10:02:44 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Tampa Red I need recommendations of Tampa Red CDs. thanks! Ruth ========================================================================= Date: Thu, 21 Dec 1995 10:08:01 -0500 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Non-Blues Faves Comments: To: bit-listserv-blues-l@uunet.uu.net The Beatles Richard Thompson John Hiatt David Lindley Hank Williams Patsy Cline Dwight Yoakam Steely Dan Allman Bros. Little Feat Dylan Santana ========================================================================= Date: Thu, 21 Dec 1995 10:23:03 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Who Owns the Elvis (NO BLUES CONTENT) This afternoon on All Things Considered, there is going to be a story about the fact that the Elvis Estate and Graceland, Inc. (Or whatever they call it) are preparing to crack down on paintings of Elvis-as-black on velvet, saying it violates their ownership of the image..... Tom Freeland ========================================================================= Date: Thu, 21 Dec 1995 10:26:04 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Blues-humour: King Biscuit Boy Paul Joorman asked about King Biscuit Boy. His real name is Richard Newell, and he lives in Hamilton, Ontario (about 40 minutes from Toronto) and continues an active career as a fine harmonica player, an excellent singer, and a fair bandleader-all hampered only by some personal demons that makes for occasionally unstable live performances and too many no-shows. Newell began his career playing with Ronnie Hawkins, a transplanted Arkansas rockabilly player who moved to Canada so he could be a bigger fish in a smaller pond, soon left the band with some of the other players and, 25 years ago, formed a band called Crowbar, which became, in its day, a major Canadian rock act. In the years since he has recorded a number of albums for independent labels, one for Epic (produced by Alan Toussaint in New Orleans), and more recently for Blue Wave in the US (Stony Plain in Canada)-an excellent album called Urban Blues Re;Newell. Stony Plain has just reissued two of his early albums (Official Music and Gooduns), recorded in 71 and 72 for a small label in Canada called Daffodil (as well as the Crowbar album). The confusion with the King Biscuit Flour radio show out of Helena, Ark. is likely enough, despite the 1,000 miles between Helena and Hamilton Ontario. Newell got his nickname from Hawkinbs, who came from Arkansas and was familiar with the radio show-the blues content of the show and the blues content of Newell's music made for an obvious comparison. The Gooduns album, incidentally, was originally released in an imitation "flour sack" outer jacket, made of cloth, and carrying an imprint of the water tower in Helena. Hope all this helps; meanwhile, I'll once again admit my working relationship with Stony Plain, for whom I do publicity! - Richard the Elder. ========================================================================= Date: Thu, 21 Dec 1995 10:24:06 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: Paul Rishell and Annie Raines Comments: To: Stan Ruffo Paul and Annie made a guest appearance at the monthly DC Blues Society jam in November, thanks in large part to loyal Blueseller Steve Levine. They were terrific! I hope everyone gets a chance to see them. - Ruth ______________________________ Reply Separator _________________________________ Subject: Paul Rishell and Annie Raines Author: Stan Ruffo at Internet Date: 12/20/95 11:06 PM I just received a copy of Swear To Tell The Truth on Tone Cool Records. Ronnie Earl and Annie Raines make guest appearances on this CD. And as Ronnie Earl indicates in the liner notes, "playing with Paul is playing with an embodiment of tradition-he is tradition". And Annie Raines flat gave me goose bumps with her performance in track number 6, Every Night About This Time. Consider adding this one to your collection, or catching them at the following: PAUL RISHELL & LITTLE ANNIE RAINES 12/22 Portsmouth, NH - The Press Room 12/31 Warwick, RI - Radisson Airport Hotel (band) NOTE: All gigs are duos unless otherwise indicated Stan Ruffo -- HAPPY HOLIDAYS from "Blues On Tap" KIOO Visalia, CA steamin@valleynet.com (209) 625-6049 http://www.valleynet.com/~steamin ========================================================================= Date: Thu, 21 Dec 1995 10:31:06 -0500 Reply-To: RhythmShrk@AOL.COM From: Bernie Clarke Subject: Re: No one more deserving . . . Thermal noise of the molecules in my living room. BC ========================================================================= Date: Thu, 21 Dec 1995 07:32:39 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Billboard Chart Idea P.W. Fenton wrote: > >Mary Katherine, do you have a way of finding out the #15 ,per unit, >sales figures were for the last charting period? or anyone else? Hey P.W.: No, I don't. The only thing I know about Billboard is that the last issue was a year-end double issue, and so it cost me twelve bucks to post the blues chart to the list! Best, Mary Katherine ========================================================================= Date: Thu, 21 Dec 1995 07:34:16 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: consensus re posting of Billboard blues chart Every single response I got asked that I continue to post the Billboard Magazine blues chart to blues-l. So I will. As my youngest son (18) says, "It's, like, no problem, or something." Mary Katherine ========================================================================= Date: Thu, 21 Dec 1995 10:38:10 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Top Ten Favorite Non-Blues Artists Comments: To: Steve Levine 1. Bach 2. Mozart (I also play classical guitar) 3. Benny Goodman 4. Queen 5. Steely Dan 6. Jimi Hendrix (also one of my favorite blues artists) 7. Peter Gabriel 8. Danny Gatton 9. The Bobs (superior a capella singing, they do an incredible version of "White Room") 10. Alanis Morissette ______________________________ Reply Separator _________________________________ Subject: Re: No one more deserving . . . Author: Steve Levine at Internet Date: 12/21/95 8:58 AM *> There may not be much blues content here, but I suspect that most *>blues fans do enjoy other kinds of music; I'd be fascinated to know which *>NON-blues artists some of you dig, and why. Bob Dylan, Pink Floyd, Hank Williams, Nat King Cole, Toots Thielemans, Dick Dale, Larry Adler, Charlie Parker, Thelonius Monk, Sorry About Your Daughter (my step brother's band :), Jimmie Rodgers. This thread reminds me of that non-alcoholic beer commercial that claims it's what Beer lovers drink when they're not drinking beer. So, I guess it's what blues lovers listen to when they're not listening to blues. :) ========================================================================= Date: Thu, 21 Dec 1995 09:45:38 -0600 Reply-To: "Norman W. Mangum" From: "Norman W. Mangum" Subject: Re: Who Owns the Elvis (NO BLUES CONTENT) > From: Tom Freeland > This afternoon on All Things Considered, there is going to be a story about > the fact that the Elvis Estate and Graceland, Inc. (Or whatever they call it) > are preparing to crack down on paintings of Elvis-as-black on velvet, saying > it violates their ownership of the image..... Yeah - basicly, the estate, which belongs to Lisa Marie, is controlled by Priscilla, who is the guardian. They recently cracked down on the velvet Elvis paintings. Seems like they used to be on every street corner (at least here in Houston). Now, you cannot find one (as if you were really looking for one...) Actually, I suspect that, as collectibles, they are becoming somewhat valuable. There is a club here called the "Velvet Elvis", which has the chairs acutally upholtered with velvet Elvis paintings. The club is *not* an Elvis shrine, but rather a shrine to American tackiness. It's actually pretty cool - you can't go in without grinning! I recall a recent new article here saying something to the effect that Elvis Presley Enterprises (Priscilla) had the club a bit worried. Seems that EPE owns all rights to the Elvis Presley name and all Elvis likenesses, and that they are rabidly pursuing it. I'm sure that there's actually some legal scumsuckers behind it all.... ========================================================================= Date: Thu, 21 Dec 1995 10:33:24 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Non-Blues Favorites U2 Dougie MacLean Melissa Etheridge kd lang The Chieftains Eric Clapton ;) Eagles Don Henley Manhattan Transfer Paul Simon Mandy Patinkin Van Morrison ========================================================================= Date: Thu, 21 Dec 1995 11:06:18 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Harp mike trick + blues anecdote. Hi guys. Here are a couple of interesting tidbits I thought you'd all enjoy while taking a respite from the Black v. White discussion for the holidays. :) Last night at rehearsal, my harp guy Pat shows up with this nifty, tiny little cordless Shure lapel mike (model #389w, I think). And he proceeds to tell me how he's been goofin' with it all day in the interest of working it into our live act. If you know Pat, you realize right away the great importance of this possibility...Pat is EVERYWHERE when he plays live, left and right, in the crowd , behind the drummer, standing on the monitors, on his knees sliding or scram- bling between his bandmates testifying. :) He's quite animated and inspiring, but mind you, til now, all limited by his cord length. AH! No mo'. This dinky little mike was MADE for somebody like him! Tone? Tone, you ask? Man, this mike, because of its ability to get snug way inside his palm blows the doors off of his Astatic and his Shure bullet mike. He can get far more of the funky growl and nasty tone becasue this thing is only about 5/8 inch in diameter, and gives him WAY more of the necessary hand cupping around mike and harp to deliver that TONE. You know the one. What a find! On the technical side, he just plugs the base antenna right into the input jack on his Fender BLues Deluxe, and wears the remote unit (smaller than a Walkman radio) on his belt under his suit jacket, with the tiny wire coming up under the jacket and emerging wherever is convenient. And as for range, at one point he went upstairs and was at the other end of the house scolding one of the kids for spilling something on the sofa, and we heard the whole thing through his amp, including the kid's back-talk. :) Now for a blues anecdote, also courtesy of Pat. We were listening to Pat regaling us with his old days in Chicago after we'd closed up rehearsal for the night, and he got our attention when he said with humility that he had sat in with Junior Wells once back in the 70's. Seems JW had a record-release party at a Chicago area record store and there was a stage set up in the store where Junior was playing off and on throughout the day. He spotted Pat in his typical blues garb (black on black, with beret) playing along in the small crowd there and asked him up on stage. I guess they traded solos back and forth for a whole set, after which Junior got the crowd to applaud Pat's playing, and he told Pat (off mike) that he played a hell of a harp for a white boy in the Chicago suburbs. :) Great story, eh? Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 21 Dec 1995 16:12:46 GMT Reply-To: Nate Goldshlag From: Nate Goldshlag Organization: The Internet Access Company Subject: Re: BILLBOARD'S_BLUES_LISTING!! Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199512202245.RAA06705@mirage.formtek.com>, Sanjay Rajan wrote: > Someone asked for the WWW page to get Top 15 Billboard > Blues Listing.... > This list is updated every Monday and is > available @ > http://www.vivanet.com/~blues/news.html Are the other Billboard charts available somewhere? Nate ---------------------------------------------------------------- Nate Goldshlag "People ask me why I don't get fat nate@reflection.com it's cause I like to dance like that. I eat as much as I can hold Cambridge, MA and go out and do the zydeco." -- Marcia Ball ========================================================================= Date: Thu, 21 Dec 1995 09:13:14 EST Reply-To: Ian Sumpter From: Ian Sumpter Subject: XMAS Blues book purchases Two questions for y'all: 1) Has anyone out there read the 3 book below? I thought I might purchase them for myself for XMAS (Hey, who deserves it more!!!). C. Keil "Urban Blues" S. Charters "Blues Makers" J. Obrecht "Blues Guitar" 2) Are you having a white Xmas where you live? Thanx, ian ========================================================================= Date: Thu, 21 Dec 1995 11:17:14 -0500 Reply-To: "Munson, Bill" From: "Munson, Bill" Subject: King Biscuit Boy > P.H.L.Joormann@CRI.LEIDENUNIV.NL wrote: >In some song King Biscuit Boy has great blues-humour-lines like: > "You said you'd take out the carbage can / Instead you took out the >garbage man!" >I heard this song just once years ago on the radio and still remember >these lines. >Which song? - I don't know... >King Biscuit Boy? - who is he / is this group ? >I only know that there was a great harp-player on the song >Could anyone out there give any information on K.B.B. ? I believe the song is "You Done Tore Your Playhouse Down" from King Biscuit Boy's second LP, "Gooduns". KBB is really Richard Newell, from Hamilton Ontario. "Gooduns" and its predecessor, "Official Music" were done for Daffodil Records in Canada in `70 and `71, and have just been issued by Stony Plain on CD. Backing on both albums is by the group Crowbar (or brilliant alumni thereof, including Rick Bell of Janis Joplin's Full Tilt Boogie and now the Band, and Larry Atamanuik of Sea Train). Stony Plain has also just reissued Crowbar's estimable "Bad Manors" album. KBB went on to record a third solo LP for Epic, then rejoined Ronnie Hawkins (on whose first Atlantic LP he'd played - with Duane Allman et al) for a year or so. Then an 12-inch EP fronting the group without Hawkins - Son Richard and the Chicken Hawks I think, then "Mouth of Steel" and "aka Richard Newell" albums, then last year's, "Urban Blues Renewal" (which was praised in "Blues and Rhythm" magazine from the UK). Did I mention that the great harp player was/is Biscuit himself? Best bets, in my opinion, are the "Official Music" and "Gooduns" reissues, mainly due to the strength of the backing musicians - Crowbar was an amazing band. Biscuit completists will want to get the sad Electric Flag last gasp, "American Music Band", the impressive Biscuit-and-a-guy-from-Crowbar `reunion' 45, "Call Me a Cab" / "Blue Light Boogie", and many other bits and pieces. ========================================================================= Date: Thu, 21 Dec 1995 11:23:26 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: KEB_MO' Comments: To: "Norman W. Mangum" In-Reply-To: <9512211304.AA04999@homer.rsoc.rockwell.com> On Thu, 21 Dec 1995, Norman W. Mangum wrote: > I'm an acoustic/roots blues fan, and I'd rate the Keb' Mo' album as the best > that I found in the past year. Every tune on it is solid; this gut has > definitely listened to Taj Mahal. You need the CD. Agreed that the Keb is terrific - but on an equal footing with him is Doug MacLeod. His CD Come To Find (Audioquest 1027) is hands down a must get. He does a gospel based tune - Ain't No Grave that saw my player 10 times before I got to the next cut. The only thing not in Doug's favor is that when he lived in NY he was a Dodger fan. Not enough reason to pass his CD by, but certainly reason to suspect his innate sense of right & wrong. Also of note - he just came out of the studio where he cut his latest CD with Carey Bell. From what I have heard it portends to be a rather solid yet spartan two blues blowout - expect it around March. Will try to get our review on his first here in January. NY CD Blues Now at http://www.island.net/~blues/nycd.html Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Thu, 21 Dec 1995 11:00:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re[2]: KEB_MO' Despite all the lavish praise, I just wanted to mention that our partially estranged (and temporarily so I dearly hope) fellow traveller LW found this stuff, oh, maybe a bit uninspiring would be the word. Let's be sure not to have any unkind words pass due this post, my good friends and Bluezellers, I'm just passing along what I thought was an interesting alternative view. Like that guy VT used to do, so very many moons ago. J.E._Downey@bakermck.com Joe Downey (going no-mail for a week a few hours from now, your man in the blues capital of the former Soviet Union (and is that ever a sad, sad story). . , and to all a good night (in this time zone anyway)). ========================================================================= Date: Thu, 21 Dec 1995 09:07:09 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES Dec. 22nd Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. HAPPY HOLIDAYS! JOYEUSES FETES! ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BROOKS, DUDLEY ALONZO (p/ELVIS PRESLEY) b. 1913-1222, LOS ANGELES, CA GREEN, LIL [LILLIAN JOHNSON] (v) b. 1919-1222, CLARKSDALE, MS HARDY, SOLOMON "SPARROW" (g) b. 1929-1222 JENKINS, GUS [JARRONE PHAROAH] (p/songw) d. 1985-1222, INGLEWOOD, CA 54 JONES, REUNALD (tpt/BASIE) b. 1910-1222, INDIANAPOLIS, IN MILES, LENNY (v/SPECTER REC) b. 1934-1222, FORT WORTH, TX MISS RHAPSODY [VIOLA GERTRUDE WELLS] (v) d. 1984-1222, BELLEVILLE, NJ 82 RAINEY, GERTRUDE "MA" (v/PARAMOUNT REC) d. 1939-1222, ROME, GA 53 ROBINSON, ALVIN (g) b. 1937-1222, NEW ORLEANS, LA SMITH, BOSTON (p) d. 1989-1222, DALLAS, TX 82 WILSON, JOE LEE (p) b. 1935-1222, BRISTOW, OK WILSON, R. ELDER [ROMA WILSON] (hca) b. 1910-1222, HICKORY FLAT, MS ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 21 Dec 1995 11:05:17 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Who Owns the Elvis (NO BLUES CONTENT) Comments: To: "Norman W. Mangum" In-Reply-To: <9512211545.AA05385@homer.rsoc.rockwell.com> What does this do to Michael Jackson's plans for his next round of plastic surgery? ========================================================================= Date: Thu, 21 Dec 1995 12:42:18 EST Reply-To: apaul@CLIFF.WHOI.EDU From: Alora Paul Subject: Re[2]: KEB_MO' and other acoustic players of merit what say you all of kelly joe phelps? i've just been turned on to him and really enjoy his new record 'lead me on' - although i did find myself wanting him to kick it into high gear a bit and rock. it's a pretty mellow, not to be confused with tame, recording. i found just a little info on him on the web via burnside records out of oregon. acoustic slide player who plays dobro-style, 'with only a slide...no fretting involved'. our friends at dirty linen magazine called it "moving, gripping and immediate...truly emotional music, riding the tension between beauty and pain". i like that. and would concur. i'd like to know if anyone else knows of his music, what they think and if there's anything else out there by him. thanks and blissful holidays to ya'll. alora apaul@whoi.edu ______________________________ Reply Separator _________________________________ Subject: Re: KEB_MO' Author: Barry Silverberg at WHOInet_Post_Office Date: 12/21/95 12:10 PM On Thu, 21 Dec 1995, Norman W. Mangum wrote: > I'm an acoustic/roots blues fan, and I'd rate the Keb' Mo' album as the best > that I found in the past year. Every tune on it is solid; this gut has > definitely listened to Taj Mahal. You need the CD. Agreed that the Keb is terrific - but on an equal footing with him is Doug MacLeod. His CD Come To Find (Audioquest 1027) is hands down a must get. He does a gospel based tune - Ain't No Grave that saw my player 10 times before I got to the next cut. The only thing not in Doug's favor is that when he lived in NY he was a Dodger fan. Not enough reason to pass his CD by, but certainly reason to suspect his innate sense of right & wrong. Also of note - he just came out of the studio where he cut his latest CD with Carey Bell. From what I have heard it portends to be a rather solid yet spartan two blues blowout - expect it around March. Will try to get our review on his first here in January. NY CD Blues Now at http://www.island.net/~blues/nycd.html Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Thu, 21 Dec 1995 11:46:26 -0600 Reply-To: "Norman W. Mangum" From: "Norman W. Mangum" Subject: Re: Who Owns the Elvis (NO BLUES CONTENT) > What does this do to Michael Jackson's plans for his next round of > plastic surgery? I'm not sure he needs anything more than sideburns and another 150 pounds.... ========================================================================= Date: Thu, 21 Dec 1995 09:58:21 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Who Owns the Elvis (NO BLUES CONTENT) Comments: To: BLUES-L@BROWNVM.BROWN.EDU. >> What does this do to Michael Jackson's plans for his next round of >> plastic surgery? > >I'm not sure he needs anything more than sideburns and another 150 pounds.... He's a hunka-hunka burnin' plastic... thank you very much Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Thu, 21 Dec 1995 13:03:05 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Memphis Blues Archive label Anyone out there know the story on the Memphis Blues Archive label? They adopted a relatively ambitious release schedule this year, putting out some releases that look interesting but cover ground that has been relatively well plowed. I'm looking at a release called "Memphis Jug Band" (MA7019). It has 18 tracks, liner notes by Gregg Gordon, and lists as producer Richard James Hite, asst. Keith Soltys, exec. prod. Eddie Dattel, and engineer Rick Caughron, and thanks Bill Thompson for use of the 78s. Anyone know anything about the label? Or who these folks are? They show a Memphis PO Box..... One annoying feature: There is a photo of the Memphis Jug Band that's been around (its cropped, and I'm not home to compare to be sure, but I think I remember cropped out of it just out of the top of the photo on the brick wall behind them there is a Shlitz logo. They are all wearing grey pants with a black stripe, white shirts, and a beret). The credits say: "(c) 1993 Delta Haze Corp." Why do I think Delta Haze Corp. had nothing to do with the creation of this photo? Why do I detect the legacy of Steve Lavere in this credit? Tom Freeland ========================================================================= Date: Thu, 21 Dec 1995 10:12:58 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Memphis Blues Archive label Comments: To: Skipjames@AOL.COM You wrote: > >Anyone out there know the story on the Memphis Blues Archive label? They>adopted a relatively ambitious release schedule this year, putting out some>releases that look interesting but cover ground that has been relatively well>plowed. I'm looking at a release called "Memphis Jug Band" (MA7019). It has>18 tracks, liner notes by Gregg Gordon, and lists as producer Richard James>Hite, asst. Keith Soltys, exec. prod. Eddie Dattel, and engineer Rick>Caughron, and thanks Bill Thompson for use of the 78s.> >Anyone know anything about the label? Or who these folks are? They show a>Memphis PO Box..... photo credits say: "(c) 1993 Delta >Haze Corp." Why do I think Delta Haze Corp. had nothing to do with the >creation of this photo? Why do I detect the legacy of Steve Lavere in this >credit? Steve LaVere's name was mentioned in other capacities (not photo credits) on earlier Memphis Blues Archive products. Delta Haze is one of the several names under which he operates. Many on this list will recognize the name Richard James Hite as being that of the brother of he late Bob Hite of Canned Heat. Does anyone have documentation on whether Memphis Blues Archives, whether owned or partly owned by LaVere or not, pays artists royalties, songwriting royalties or publishing royalties to any of the artists whose music they reissue? Mary Katherine ========================================================================= Date: Thu, 21 Dec 1995 18:27:15 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Subject: Elder Roma Wilson (Re: eRIC's BLUES DATES Dec. 22nd Comments: To: bit-listserv-blues-l@uunet.uu.net >From eRIC's Blues dates: IWILSON, R. ELDER [ROMA WILSON] (hca) b. 1910-1222, HICKORY FLAT, MS >------------------------------------------------------------------------------- I've said it here before but thought it doesn't hurt to remind people. If you're a fan of blues (or more correctly, gospel with blues sounding) harmonica, you should check out the Elder Roma Wilson CD on Arhoolie, This Train. It is mostly solo harmonica with vocals by ERW. The exception is 4-5 tracks that were recorded in the 40s by Wilson and his sons. Very interesting stuff and unlike nearly everything else I own. Art Schuna ========================================================================= Date: Thu, 21 Dec 1995 18:28:45 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Subject: Re: Who Owns the Elvis (NO BLUES CONTENT) Comments: To: bit-listserv-blues-l@uunet.uu.net In article <951221102301_20628902@emout04.mail.aol.com>, Tom Freeland says: > >This afternoon on All Things Considered, there is going to be a story about >the fact that the Elvis Estate and Graceland, Inc. (Or whatever they call it) >are preparing to crack down on paintings of Elvis-as-black on velvet, saying >it violates their ownership of the image..... Damn! And I was just about to go out and buy one of those paintings! Art Schuna ========================================================================= Date: Thu, 21 Dec 1995 18:32:41 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Subject: Re: Paul Rishell and Annie Raines Comments: To: bit-listserv-blues-l@uunet.uu.net In article <0d97ca50@vitro.com>, PARRISHR says: > >Paul and Annie made a guest appearance at the monthly DC Blues Society jam in >November, thanks in large part to loyal Blueseller Steve Levine. They were >terrific! I hope everyone gets a chance to see them. - Ruth I saw them this summer at the Mississippi Valley Festival and have to agree with Ruth. At that time, they thought a new disc was coming out this Fall. I haven't seen it yet. Does anyone know anything about this? Art Schuna ========================================================================= Date: Thu, 21 Dec 1995 13:32:43 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Who Owns the Elvis (NO BLUES CONTENT) Comments: To: Skipjames@AOL.COM On 21 Dec 95, Tom Freeland had this to say... > This afternoon on All Things Considered, there is going to be a story about > the fact that the Elvis Estate and Graceland, Inc. (Or whatever they call it) > are preparing to crack down on paintings of Elvis-as-black on velvet, saying > it violates their ownership of the image..... > > Tom Freeland > I'm SURE you mean. Elvis ON black. Don't you? P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 21 Dec 1995 13:41:12 -0500 Reply-To: Sriram Dayanand From: Sriram Dayanand Subject: Help from Chicago bluezellers hi I am planning on being in Chicago from the 28th of Dec to the 2nd of January. I am totally new to the city and am looking for help on a couple of things... 1) Getting to a good blues joint for new year's eve (any pointers on whether I can reserve places in advance at Legend/Kingston mine/any other good spot). 2) Some pointers on some decent hotel accomadations in and around downtown Chicago... can any bluezeller with some tips/info please email me at sriram@aw.sgi.com any info will be deeply appreciated... =sriram= ******************************************************************** Sriram Dayanand email: sriram@aw.sgi.com Alias | Wavefront R&D Toronto, Canada Ph: (416) 362-8558 x314 ========================================================================= Date: Thu, 21 Dec 1995 10:42:50 -0800 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Re: Your picks for 1995 Here is my list: Billy Branch / The Blues Keep Following Me Around / Verve Sunnyland Slim / Chicago Jump / Evidence Carey Bell / Deep Down / Alligator Billy Boy Arnold / Back Where I Belong / Alligator Billy Branch / Mississippi Flashback / GBW Magic Slim & The Teardrops / Teardrops Blues Jam / Wolf Joe ========================================================================= Date: Thu, 21 Dec 1995 13:42:03 -0500 Reply-To: Ted Dames From: Ted Dames Subject: car turntables Comments: To: rjbauman@IQUEST.NET >Date: Tue, 14 Nov 1995 17:00:33 +0000 >From: "R.J. Bauman" >Subject: Re: Sitting&Thinking-Carey Bell > >================I've had this on vinyl for years, but since I installed a CD changer in the >car I very rarely get to listen to vinyl. =========== > > >Man, it's such a pain recuing a record in the car every time the tone >arm jumps off the tuntable when you hit a bump.. Maybe that's why those car >turntables never really caught on. > >RJ Bauman Man... no bullshit..I actually had an under the dash 45 record player back in the 60's. they mounted spring loaded upside down and you tuned them in on your AM radio. Somewhat like later FM tuners. Drove people nuts when they pulled up along side of you and asked,"Hey, what station is that on?" bandana@fast.net is Ted Dames AKA A. Pepperhead owner/sauce maker and resident bon vivant at: Bandana's Serious Pepper Products located in sub-tropical Southeast PA. "Say WHAT?"- Smokie Wilson ========================================================================= Date: Thu, 21 Dec 1995 18:40:53 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: Memphis Blues Archive label Tom Freeland (Skipjames@AOL.COM) wrote: : One annoying feature: There is a photo of the Memphis Jug Band that's been : around (its cropped, and I'm not home to compare to be sure, but I think I : remember cropped out of it just out of the top of the photo on the brick wall : behind them there is a Shlitz logo. They are all wearing grey pants with a : black stripe, white shirts, and a beret). The credits say: "(c) 1993 Delta : Haze Corp." Why do I think Delta Haze Corp. had nothing to do with the : creation of this photo? Why do I detect the legacy of Steve Lavere in this : credit? Hello, intellectual property rights issue. Jef -- ========================================================================= Date: Thu, 21 Dec 1995 12:37:46 CST Reply-To: JBards From: JBards Subject: Re: Non-Blues Faves Comments: To: Dennis Miele Chris Isaac Rodney Crowell Daniel Lanois EmmyLou Harris Marti Jones Mark Isham Robert Earl Keen Townes Van Zandt Chet Baker Joe Ely Leonard Cohen uhh, how much time do I have, how many choices? _______________________________________________________________________________ Subject: Non-Blues Faves From: Dennis Miele at INTERNET-SH Date: 12/21/95 11:57 AM The Beatles Richard Thompson John Hiatt David Lindley Hank Williams Patsy Cline Dwight Yoakam Steely Dan Allman Bros. Little Feat Dylan Santana ========================================================================= Date: Thu, 21 Dec 1995 18:55:33 GMT Reply-To: keith abel Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: keith abel Organization: jewel-paula records Subject: Blues Mosh Pit (No Kidding!) Comments: To: all@uunet.uu.net Whoa! I just returned from a 6 day road trip/video shoot with budding blues star Kenny Wayne Shepherd. I took a few days off from Jewel-Paula Records to do a segment of KWS's current tour in support of his Giant Records release "Ledbetter Heights." We boarded the good ship KWS (45 footer with dual tv/vcr and 10 disk changer) on Friday, Dec. 15 and headed to Dallas for a standing room only crowd. Kenny played the Eagle's (KEGL) b-day party and shared the bill with 3 modern (?) rock acts, all to benefit the Children's Cancer Fund. KWS played third and I experienced, what I believe to be, the blues world's 1st BLUES MOSH PIT! Yeah, believe it or not, the crowd of mostly 20 somethings were slam dancing and stage diving to the blues! Wild, wild, wild! After Kenny played about 65% of the crowd cleared out and we boarded the bus for Tyler, Texas' premier blues club Rick's In The Square. Rick's is always a kick and they are some of Kenny's fondest fans. The club sol out and was full by 6:00, Kenny went on at 11:00! What a riot! We then boarded the bus for a grueling 15, count 'em 15, hour bus ride to Mc Allen, Texas. I'm not sure but I think McAllen is actually in the southern hemisphere because it took forever to get there. Again a sell out! Billed as "the concert event of the year" and Kenny did not disappoint 'em, he blew the roof off the place! Then back to the bus for another 15 hours to New Orleans. The band sat in at the House Of Blues Monday at the Blues Jam and recieved a racious round of applause. Took Tuesday off and Wednessday headed to the Old Abinthe House Bar to shoot the video for "Deja Voodoo." Look for the video to be airing sometime after the first of the year, it should be very coooool!!! The Abisnthe House is the oldest bar in the US, Jean Lafitte and Marie Laveau are said to have met there and Mark Twain used to write in the A-bar. Bryan Lee the "Heat Seeking Missile" makes a cameo in the video. If you don't own any Bryan Lee, your collection is lacking!!! Check out his latest "Heat Seeking Missile" on Justin' Time Records or "Braille Daddy Blues" or "Memphis Bound." If you are in New Orleans check him out at the Abinthe House on Bourbon Street. Well, gotta go just wanted to let you know that the blues is still alive and well....west of the Mississippi! ========================================================================= Date: Thu, 21 Dec 1995 10:56:41 -0800 Reply-To: Chris Adams From: Chris Adams Subject: Re: Re[2]: KEB_MO' and other acoustic players of merit Comments: To: Alora Paul In-Reply-To: <9511218195.AA819578636@cliff.whoi.edu> I have posted numerous messages about Kelly Joe in the past. I have seen him a t least a dozen times here in Oregon. The interesting thing about him is that up until about 10 years ago, he was an avant-garde jazz bass player. He heard Fred McDowell and Bukka White, and he was hooked. His bass playing definitely has an influence on his playing. Supposedly, he recently spent some time in Southern California with some record producer, so we will see what happens. In the meantime, he is playing small clubs around the Portland-Salem area. Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us On Thu, 21 Dec 1995, Alora Paul wrote: > what say you all of kelly joe phelps? i've just been turned on to him > and really enjoy his new record 'lead me on' - although i did find > myself wanting him to kick it into high gear a bit and rock. it's a > pretty mellow, not to be confused with tame, recording. > > i found just a little info on him on the web via burnside records out > of oregon. acoustic slide player who plays dobro-style, 'with only a > slide...no fretting involved'. our friends at dirty linen magazine > called it "moving, gripping and immediate...truly emotional music, > riding the tension between beauty and pain". i like that. and would > concur. > > i'd like to know if anyone else knows of his music, what they think > and if there's anything else out there by him. > > thanks and blissful holidays to ya'll. > > alora > apaul@whoi.edu > > > > ______________________________ Reply Separator _________________________________ > Subject: Re: KEB_MO' > Author: Barry Silverberg at WHOInet_Post_Office > Date: 12/21/95 12:10 PM > > > > On Thu, 21 Dec 1995, Norman W. Mangum wrote: > > I'm an acoustic/roots blues fan, and I'd rate the Keb' Mo' album as the best > > that I found in the past year. Every tune on it is solid; this gut has > > definitely listened to Taj Mahal. You need the CD. > > Agreed that the Keb is terrific - but on an equal footing with > him is Doug MacLeod. His CD Come To Find (Audioquest 1027) is > hands down a must get. He does a gospel based tune - Ain't No > Grave that saw my player 10 times before I got to the next cut. > > The only thing not in Doug's favor is that when he lived in NY > he was a Dodger fan. Not enough reason to pass his CD by, but > certainly reason to suspect his innate sense of right & wrong. > > Also of note - he just came out of the studio where he cut his > latest CD with Carey Bell. From what I have heard it portends > to be a rather solid yet spartan two blues blowout - expect it > around March. Will try to get our review on his first here in > January. > > > NY CD Blues Now at http://www.island.net/~blues/nycd.html > Definitive In-Depth Blues Reviews > c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 > e-mail bsco@panix.com > ========================================================================= Date: Tue, 19 Dec 1995 23:23:46 EST Reply-To: "David A. Pimmel" <103300.3331@COMPUSERVE.COM> From: "David A. Pimmel" <103300.3331@COMPUSERVE.COM> Subject: James Armstrong Any opinions on James Armstrong? I've seen his CD around for the last few months and was wondering if anybody could make any recommendations on him or the disk. David Pimmel 103300,3331@compuserve.com ========================================================================= Date: Tue, 19 Dec 1995 23:23:48 EST Reply-To: "David A. Pimmel" <103300.3331@COMPUSERVE.COM> From: "David A. Pimmel" <103300.3331@COMPUSERVE.COM> Subject: LA for New Year's I will be in Los Angeles over New Year's. I feel a strong pull to be there, what with being in the Northwestern class of 1992. Anyway, my place to stay has fallen through, so I figure what the heck I'd try here. If any "ancient" BLUES-L members in the L.A. area are up for a houseguest on Dec. 30th, please drop me a line. I have managed scrounge up a place to stay the other nights of my trip. Oh and if anyone has a spare ticket to the Rose Bowl, let me know that as well. :) By "ancient", I do not mean to imply user age, but rather length on BLUES-L, i.e. people who actually remember when I was active on the list before this past summer. Hmmm, this message seem to be violating my owm etiquette rules of no blues content, so, umm, anyone want to fill me and the list in on what is going on in the L.A. blues scene these days. David Pimmel 103300,3331@compuserve.com ========================================================================= Date: Tue, 19 Dec 1995 23:23:52 EST Reply-To: "David A. Pimmel" <103300.3331@COMPUSERVE.COM> From: "David A. Pimmel" <103300.3331@COMPUSERVE.COM> Subject: Black, White, Blue Wouldn't you know it, I get back on the list, and the eternal topic pops up. I thought we settled this back when it first came up, way back on the first day of the list. Reading through some of the post, reminding myself why I stopped participating in this discussion long ago, I noticed the roots thread. What I found interesting was the mention of black choral gospel. This is a sound I am finding myself more and more drawn too. I'm finding that vocals are becoming the center of my listening. I spend more time listening to people like O.V. Wright, Little Milton, the Holmes Bros, and the Boys Choir of Harlem, than anything else. And while on the subject, I'd just like to put forth a whole-hearted endorsement of the Boys Choir CD, THE SOUND OF HOPE. Maybe it ain't blues by your definition, but it is a stunning musical piece. David Pimmel 103300,3331@compuserve.com ========================================================================= Date: Thu, 21 Dec 1995 11:11:21 -0800 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: The SOBs in San Mateo, CA Comments: To: harp-l@garply.com Last night I caught Billy Branch and the S.O.B.s at Blues on B in San Mateo, CA. The band consisted of Mose Rutues on drums, Nick Charles on bass, Carlos Johnson on guitar and Billy Branch on Mississippi Saxophone. As usual these guys were tearing up the place. A couple of notable items: 0. Billy and the S.O.B.s will be at Blues on B (Barley and Hops) in San Mateo from 12/21 - 12/23 and 12/27 - 12/31. If you are in the S.F. Bay Area, this will be the place to be for the next two weeks. (Actually Blues on B is always a nice place, the S.O.B.s just make it that much nicer. If you check 'em out, tell Billy you read about it here.) 1. Billy Branch has a beginner's harmonica instruction video out on the market. It was recently advertised in Blues Revue. It was produced by the same people who did the Gary Smith video. 2. Billy has been active in the studio again. A second album on Verve should be available in late Q1 CY96. 3. S.O.B. guitarist Carl Weathersby recorded his first album which will be available in Q1 CY96. 4. Got to meet Ned Kraft of blues-l (and harp-l). Ned is a nice guy and a good harmonica player / singer. He got to sit in with the S.O.B.s and played a nice version of "Help Me". Ned plays with a band called the Hoosier Daddys around the South Bay. If you get a chance, you should check 'em out. I have no financial interest in any of the above. Billy and company are a great bunch of guys and I like to see nice people prosper. He introduced me to the blues through his band back in the early 80's and I'd like to pay him back somehow. In a very good mood today, Joe ========================================================================= Date: Thu, 21 Dec 1995 13:47:55 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Re: Memphis Blues Archive label Comments: To: Skipjames@aol.com In-Reply-To: <951221130305_96306633@mail02.mail.aol.com> from "Tom Freeland" at Dec 21, 95 01:03:05 pm In another time and place, Tom Freeland said: > > Anyone out there know the story on the Memphis Blues Archive label? They > adopted a relatively ambitious release schedule this year, putting out some > releases that look interesting but cover ground that has been relatively well > plowed. I'm looking at a release called "Memphis Jug Band" (MA7019). It has > 18 tracks, liner notes by Gregg Gordon, and lists as producer Richard James > Hite, asst. Keith Soltys, exec. prod. Eddie Dattel, and engineer Rick > Caughron, and thanks Bill Thompson for use of the 78s. > > Anyone know anything about the label? Or who these folks are? They show a > Memphis PO Box..... Tom, I just got three new things from the Memphis Archives folks. An early blues women, a jazz piano and Isham Jones's Orchestra 1923-30. I have been in touch with Richard Hite and Keith Soltys by mail and think they are doing a great job. I especially love their WC Handy release of last year, it is roots blues at its best. They use many sheet music covers for their early releases which caught my eye as I have all of the ones they used in my collection (funny how they have used the ones that were published in my book :) ) Tom Morgan /\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/ The NEW ADDRESS for my Jazz and Blues Web Site is: http://www.redlt.com/tom/home.html Free-lance writer//Program Director WTJU 91.1//Internet Consultant ========================================================================= Date: Thu, 21 Dec 1995 11:04:30 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: 10TH ANNUAL ALL CHRISTMAS BLUES/GOSPEL/R&B SPECIAL Comments: To: BluesHvn@aol.com Here's the playlog for our annual CHRISTMAS SPECIAL. Have a wonderful holiday & I'll see you all on Jan 2nd. eRIC (THE DATE MAN) ---------------------------------------------------------------------------- | 10th YEAR, PROGRAM #521 : "LET THE GOOD TIMES ROLL" - 20/DEC/95 | | --------------------------------------------------------------------- | B R L 10TH ANNUAL ALL CHRISTMAS BLUES/GOSPEL/R&B SPECIAL | U 'n E "Have Yourself A Merry Little Christmas" | S (Ralph Blane 27/JUL/1914 - 13/NOV/1995) B | | --------------------------- GOSPEL 'n SOUL & ROCK 'n ROLL ----------------- | ARTIST SONG TITLE DISTRIBUTOR YYMM ---------------------------------------------------------------------------- AUSTIN R&B CHRISTMAS ROCKIN' WINTER WONDERLAND / FAB T-BIRDS SONY CD 83 BALLARD, HANK SANTA CLAUS IS COMING w/MIDNIGHTERS KING CD 6209 BELVIN, JESSE I WANT YOU WITH ME CHRISTMAS VIRGIN CD 5611 BENTON, BROOK THIS TIME OF THE YEAR POLYGRAM CD 5912 BLACK ACE SANTA CLAUS BLUES ARHOOLIE CD 6008 BLIND BLAKE LONESOME CHRISTMAS BLUES DOCUMENT CD 2909 BROWN, CHARLES MERRY CHRISTMAS, BABY w/JUSTIN ADAMS MOSAIC CD 5610 CHENIER, CLIFTON IT'S CHRISTMAS TIME w/ELMORE NIXON ARHOOLIE CD 6911 CIX BITS SEASON'S GREETINGS FANTASY10CD 7312 DOMINO, FATS I TOLD SANTA CLAUS w/HERB HARDESTY EMI CD 93 DAVIS, GARY REV. LITTLE BITY BABY (BORN IN BETHLEHEM) FANTASY CD 61 EMOTIONS WHAT DO THE LONELY DO AT CHRISTMAS FANTASY CD 7312 FIVE KEYS EVERY HEART IS HOME AT CHRITMAS EMI CD 5709 GONZALES, BABS BEBOP SANTA CLAUS CHARLY CD 55 HOPKINS, LIGHTNIN' SANTA RELIC CD 6011 JEFFERSON, LEMON BL CHRISTMAS EVE BLUES DOCUMENT CD 2808 JOHNNY & JON CHRISTMAS IN VIETNAM SONY CD 60s JOHNSON, LUTHER MERRY CHRISTMAS, BABY w/GORDON BEADLE ROUNDER CD 90 KING, ALBERT SANTA CLAUS WANTS SOME LOVIN' FANTASY CD 7412 LABELLE, PATTI FIRST NOEL w/BLUEBELLES RELIC CD 63 LIGGINS, JIMMY I WANT MY BABY FOR XMAS w/MAXWELL DAVIS FANTASY CD 5005 LITTLE ANTHONY CHRISTMAS SONG w/IMPERIALS LASERLIG CD 94 MCDOWELL, FRED I'M IN JAIL AGAIN (BRING ME A XMAS GIFT) HIGHTONE CD 6311 MILBURN, AMOS LET'S MAKE CHRISTMAS MERRY, BABY SEQUEL CD 4910 MILLS BROTHERS DADDY'S LITTLE GIRL (SPIRIT OF CHRISTMAS)MCA CD 5001 MILTON, ROY CHRISTMAS TIME BLUES w/WILLARD MCDANIEL FANTASY CD 5007 MOORE, GATEMOUTH CHRISTMAS BLUES SAVOY CD 4610 NIGHTHAWK, ROBERT MERRY CHRISTMAS BABY w/JOHN WRENCHER HIGHTONE CD 6410 PERSON, HOUSTON OUR FIRST CHRISTMAS MUSE CD 9408 PILGRIM TRAVELERS I'LL BE HOME FOR CHRITMAS FANTASY CD 5207 REDDING, OTIS MERRY CHRISTMAS, BABY ATLANTIC CD 6810 ROBINSON,SUGAR CHILE CHRISTMAS BOOGIE EMI CD 5001 SMITH, BESSIE AT THE CHRISTMAS BALL w/JOE SMITH SONY CBS CD 2511 SPENCE, JOSEPH SANTA CLAUS IS COMIN' TO TOWN ROUNDER CD 7211 SPIVEY, VICTORIA CHRISTMAS WITHOUT SANTA CLAUS FANTASY CD 6109 STAPLE SINGERS THERE WAS A STAR w/MAVIS STAPLES FANTASY CD 6207 THOMAS, IRMA OH, HOLY NIGHT w/SAMMY BERFECT ROUNDER CD 9310 THOMAS, JESSE XMAS CELEBRATION w/LLOYD GLENN DOCUMENT CD 5104 THOMAS, RUFUS I'LL BE YOUR SANTA BABY FANTASY CD 7312 TURNER, JOE BIG CHRISTMAS DATE BOOGIE w/PETE JOHNSON ARHOOLIE CD 4811 WHITE, BUKKA CHRISTMAS EVE BLUES ARHOOLIE CD 6906 WILLIAMS, MARION POOR LITTLE JESUS (BORN ON A CHRISTMAS) SHANACHIECD 74 WILLIAMSON, SB#2 SANTA CLAUS MCA CD 6004 WILLIS, CHICK ALL I WANT FOR CHRISTMAS IS TO LAY ... ICHIBAN CD 91 WILSON, HOP MERRY CHRISTMAS, DARLING w/ELMORE NIXON BULLSEYE CD 6111 WITHERSPOON, JIMMY CHRISTMAS BLUES w/DUKE ROBILLARD STONY PL CD 9412 ----------------------------------------------------------------------------- ========================================================================= Date: Thu, 21 Dec 1995 14:19:41 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: Billboard Chart Idea Comments: To: "P.W. Fenton" In-Reply-To: <199512211438.JAA119107@tequesta.gate.net> Billboard is on the WWW... http://www.billboard-online.com\ Jim ========================================================================= Date: Thu, 21 Dec 1995 11:25:48 -0800 Reply-To: Chris Adams From: Chris Adams Subject: 12 string blues players I am compiling a list of blues players that have played predominately on a 12 string guitar. I just started this list, but ones that come to mind are: Leadbelly Blind Willie McTell Barbecue Bob "Spider" John Koerner Doug McLeod Please make additions. Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us ========================================================================= Date: Thu, 21 Dec 1995 14:24:18 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Keb Mo album, reply: How is it? Personally, I like it. He's got a nice style that's refreshing in the ponderously electric blues 1990's. But don't do all the obvious comparisons that reviewers, critics and the occasional Blues-Ler would have you make with Robert Johnson or any number of acoustic delta-style blues. Listen to it for what it is and judge it on it's own merits. Keb's stuff is kinda tasty. Cheers! Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 21 Dec 1995 11:28:56 -0800 Reply-To: Chris Adams From: Chris Adams Subject: Re: car turntables Comments: To: Ted Dames In-Reply-To: <199512211842.NAA14559@ns.fast.net> Actually, I installed a regular turntable in my 57 Chevy. It made it a little difficult on dates as the turntable took up the whole front passengers side and the girl had to sit in the back. I guess that explains a few things. I'll leave it to y'all to imagine. Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us On Thu, 21 Dec 1995, Ted Dames wrote: > >Date: Tue, 14 Nov 1995 17:00:33 +0000 > >From: "R.J. Bauman" > >Subject: Re: Sitting&Thinking-Carey Bell > > > >================I've had this on vinyl for years, but since I installed a > CD changer in the > >car I very rarely get to listen to vinyl. =========== > > > > > >Man, it's such a pain recuing a record in the car every time the tone > >arm jumps off the tuntable when you hit a bump.. Maybe that's why those car > >turntables never really caught on. > > > >RJ Bauman > > > Man... no bullshit..I actually had an under the dash 45 record player back > in the 60's. they mounted spring loaded upside down and you tuned them in on > your AM radio. Somewhat like later FM tuners. Drove people nuts when they > pulled up along side of you and asked,"Hey, what station is that on?" > bandana@fast.net is Ted Dames AKA A. Pepperhead owner/sauce maker and > resident bon vivant at: > Bandana's Serious Pepper Products located in sub-tropical Southeast PA. > > "Say WHAT?"- Smokie Wilson > ========================================================================= Date: Thu, 21 Dec 1995 19:23:03 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Blues and Bluegrass (long) Comments: To: bit-listserv-blues-l@uunet.uu.net In , Brenda Bogert writes: >Strange that you should mention one of Kentucky's major contributions to >American cultural history (along with hemp, bourbon and cigarettes) -- >bluegrass music. Bluegrass (as created by Bill Monroe) was not born in >the mountains of Appalachia, but rather in the coal country of Western >Kentucky. A seminal figure in the development of that music was an >African-American guitar player named Arnold Shultz. He was born in 1886, >the son of a former slave. At an early age, he learned to play the >guitar and fiddle. When he was old enough to work in the mines, he got a >job as a coal loader. He worked during the day and, in his spare time, >he traveled around the area playing "hillbilly music" solo or with >others. Even a brief perusal of pre-war string band music will find that there was a tremendous flow of influence BOTH WAYS across the color line. Indeed, much of the early country and blues repertoires were remarkably similar. The Grand Old Opry was also a tremendous influence on many early (and current) blues performers, who would listem religiously to the WSM broadcast. Trying to define blues in terms of race is a simplistic analysis that ignores a tremendous array of cultural phenomena occuring in the first 1/2 of this century that also go a long way toward defining the genre. The introduction of the tractor, the growing auto industry in the North, the urbanization of American culture, the mass exodus from the rural South to the urban North, the continuing development of post slavery culture, changing rural-urban relationships, prohibition, the depression, immigrant culture, etc. all helped to create the environment that produced the blues. - B.B. Bean bbbean@cris.com - ========================================================================= Date: Thu, 21 Dec 1995 14:28:28 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Who Owns the Elvis (NO BLUES CONTENT) Comments: To: pwfenton@gate.net In a message dated 95-12-21 13:36:04 EST, you write: > >> This afternoon on All Things Considered, there is going to be a story about >> the fact that the Elvis Estate and Graceland, Inc. (Or whatever they call >it) >> are preparing to crack down on paintings of Elvis-as-black on velvet, >saying >> it violates their ownership of the image..... >> >> Tom Freeland >> > >I'm SURE you mean. Elvis ON black. Don't you? > > I heard the promotional spot for the story and SWEAR it said black Elvis (as in an Elvis in blackface) but maybe misunderstood. I guess we'll all know when ALL THINGS CONSIDERED runs this afternoon? Tom Freeland "I'll see you in the Spring when the birds begin to sing." Vol Stevens of the Memphis Jug Band (I'm in a jug band mood today) ========================================================================= Date: Thu, 21 Dec 1995 14:21:00 EST Reply-To: Robert Page From: Robert Page Subject: Albert King memories I was cleaning up the house last night while listening to several of my Albert King albums, recalling that today would make 4 years since Albert's death. I was to have seen Albert here in D.C. in February 1992 for about the 10th time when I learned of his passing. I was just thinking that it would be nice means of remembering Albert and his legacy to share some stories about our experiences in meeting or seeing Albert King. Bob Page ========================================================================= Date: Thu, 21 Dec 1995 14:39:06 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Who Owns the Elvis (NO BLUES CONTENT) Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *I heard the promotional spot for the story and SWEAR it said black Elvis (as *in an Elvis in blackface) but maybe misunderstood. I guess we'll all know *when ALL THINGS CONSIDERED runs this afternoon? Well, it's possible. There are black Elvis impersinaters. There is also a Mexican Elvis called "El Vez" and I have a Simpsons book that has a character called "Elveesh, The Turkish Elvis." ========================================================================= Date: Thu, 21 Dec 1995 14:45:06 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Sonny Boy does "Green Onions" Hey, last night on the radio I heard Sonny Boy Williamson doing a song which was the exact clone (predecessor???) of what I know as Booker T's "Green Onions", except this tune had lyrics. I don't know who wrote Onions or who did it first, but I know Booker T's version and Roy Buchanan's version and they're both instrumentals with the same groove and that classic organ riff. Can somebody identify this tune? And is it the riff-inspiration (and therefore predecessor) of Green Onions?? TIA (my first time using this acronym) :) Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 21 Dec 1995 14:49:28 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: 12 string blues players Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, chris/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=chris#a#SPARKIE#f#OSL#f#STATE#f#OR#f#US@s1boca.corp.wrgrace.com *I am compiling a list of blues players that have played predominately on *a 12 string guitar. I just started this list, but ones that come to mind *are: * *Leadbelly *Blind Willie McTell *Barbecue Bob *"Spider" John Koerner *Doug McLeod * *Please make additions. I think that Rev. Gary Davis played some 12 string. John Koerner actually played a seven stringed guitar, which was inspired by Big Joe Williams, who played a nine string. ========================================================================= Date: Thu, 21 Dec 1995 14:54:28 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: Who Owns the Elvis (NO BLUES CONTENT) Comments: To: Steve Levine Then of course there's Tortelvis, the Elvis-impersonating lead singer of Dread Zeppelin (a reggae band that covers Led Zeppelin). They do a reggae Elvis version of "All I Want For Christmas Is My Two Front Teeth." I swear this is all true. -- Ruth, who has an eclectic taste in music but prefers blues ______________________________ Reply Separator _________________________________ Subject: Re: Who Owns the Elvis (NO BLUES CONTENT) Author: Steve Levine at Internet Date: 12/21/95 2:39 PM *I heard the promotional spot for the story and SWEAR it said black Elvis (as *in an Elvis in blackface) but maybe misunderstood. I guess we'll all know *when ALL THINGS CONSIDERED runs this afternoon? Well, it's possible. There are black Elvis impersinaters. There is also a Mexican Elvis called "El Vez" and I have a Simpsons book that has a character called "Elveesh, The Turkish Elvis." ========================================================================= Date: Thu, 21 Dec 1995 12:33:05 -0800 Reply-To: Mark Gentry From: Mark Gentry Subject: Re: Non-Blues Faves Present ======= Big Sandy and the Fly Rite Boys Boozoo Chavis The Tailgators Los Lobos Flaco Jimenez Santiago Jimenez Mark Whitfield Brian Setzer Chris Isaac Lyle Lovett Junior Brown Kelly Willis Willie Nelson Crash Test Dummies Eric Johnson Asleep at the Wheel Gospel Hummingbirds Mighty Clouds of Joy Branford Marsalis Kermit Ruffin Rebirth Brass Band Duke Robillard swing cd's Past Recordings =============== Ella Fitzgerald Django Reinhardt Count Basie Duke Ellington John Coltrane Andrew Sisters Hank Williams Bob Wills Fats Domino Speedy West Patsy Cline Chet Atkins Les Paul Louis Armstrong Jimi Hendrix Regards, Mark Gentry ========================================================================= Date: Thu, 21 Dec 1995 14:49:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Playlists When people put radio playlists on Blues-L, could they if possible list the tunes in the *order* that they played them. I think how the tunes are arranged and segued is very important and the show is improved that much more. It doesn't always have to be by creating a theme - I rarely do because sometimes it takes away from the actual impression made by the music itself: the listener is perhaps unconsciously waiting for the next clever item on the list. But a deejay can work very creatively by placing succeeding cuts by: tempo, instrumentation, overall musical mood, as well as by content of lyrics and titles of tracks. As a matter of fact, you can take the same tracks and have two different people arrange them, or one arrange them and one just plays tunes as the mood strikes, and leave two very different impressions in listeners minds. -Bonnie ========================================================================= Date: Thu, 21 Dec 1995 15:55:52 -0500 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: Memphis Blues Archive label Comments: To: Tom Freeland In-Reply-To: <951221130305_96306633@mail02.mail.aol.com> On Thu, 21 Dec 1995, Tom Freeland wrote: > Anyone out there know the story on the Memphis Blues Archive label? They > adopted a relatively ambitious release schedule this year, putting out some > releases that look interesting but cover ground that has been relatively well > plowed. I'm looking at a release called "Memphis Jug Band" (MA7019). It has > 18 tracks, liner notes by Gregg Gordon, and lists as producer Richard James > Hite, asst. Keith Soltys, exec. prod. Eddie Dattel, and engineer Rick > Caughron, and thanks Bill Thompson for use of the 78s. > > One annoying feature: There is a photo of the Memphis Jug Band that's been > around (its cropped, and I'm not home to compare to be sure, but I think I > remember cropped out of it just out of the top of the photo on the brick wall > behind them there is a Shlitz logo. You are right about the cropping. The photo was the cover of 78 Quarterly No. 6. Above the band are the words "Schlitz Jug Band -- The Beer that Made Milwaukee Famous". The credits say that it was taken in 1928 and that it belongs to Richard James Hite, curator of the Memphis Music and Blues Museum. He also owns three of Furry Lewis' guitars along with his signed shone shine box, Gus Cannon's banjo, and a great photo of Frank Stokes. He sounds like quite a collector. Maybe he'd be willing to bid on the Eric Clapton E-string. Brenda Bogert Louisville KY ========================================================================= Date: Thu, 21 Dec 1995 22:00:02 +0100 Reply-To: Peter Gallagher From: Peter Gallagher Subject: Automatic FAQ for all newbies? Hi all "feller-zellers" :) I was just wondering if it might not be a bad idea to automatically send the FAQ to each new subscriber and/or post it more regularly, because .... I have to agree with Dave Pimmel and others... I try to be reasonably tolerant, and despite all the DELETE keys in the world, it's a bit of a drag when the same old worn-out debates do the rounds every couple of months and people get overheated about questions which are _simply_ neither black or white (pardon the pun) ;) - purely a matter of opinion and could go on forever. Of _course_ anyone who is new to the list is likely to bring up an old topic; and of _course_ they are entitled to discuss their opinions an _any_ topic. But it occurred to me that; a) I didn't read the blues-l FAQ until it showed up a few weeks after joining this (great) group, which was long before the mirrored newsgroup came into existence. b) I _probably_ made a darn fool of myself and probably caused a lot of "here we go again :-I " reactions from people when I first joined... Wouldn't be surprise if I asked: "anybody heard of Muddy Waters??" :-) :-) c) The topics which are most likely to get people all fired up and/or "do the regular rounds" are very well described in the FAQ, accompanied by very rational and reasonable conclusions as to what the general concensus on these topics is. d) It's about time I shut up! :-) regards (as always) and seasons greetings to all. PeterG "I'll admit you're gone when I think I'm able" -- Rory Gallagher. "(gulp) ...." -- me. -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Thu, 21 Dec 1995 16:13:52 -0500 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: Sonny Boy does "Green Onions" Comments: To: Rick Miller In-Reply-To: <01HZ2MHYAKAW000UHS@SCI.WFBR.EDU> On Thu, 21 Dec 1995, Rick Miller wrote: > Hey, last night on the radio I heard Sonny Boy Williamson doing a song > which was the exact clone (predecessor???) of what I know as Booker T's > "Green Onions", except this tune had lyrics. I don't know who wrote Onions > or who did it first, but I know Booker T's version and Roy Buchanan's version > and they're both instrumentals with the same groove and that classic organ > riff. > > Can somebody identify this tune? And is it the riff-inspiration (and therefore > predecessor) of Green Onions?? > I think that the song you heard is "Help Me". I don't know which came first. Booker T. & the MGs wrote and recorded "Green Onions" in 1962. Sonny Boy recorded "Help Me" in January 1963, but he also recorded a song in 1960 title "Somebody Help Me". Unfortunately I don't have a copy of the 1960 song to tell you if it is the same. Maybe someone else on the list does. Brenda Bogert Louisville KY ========================================================================= Date: Thu, 21 Dec 1995 16:22:18 -0500 Reply-To: C2MXBOY@FRE.TOWSON.EDU From: Kevin Boyle Subject: WFWM Christmas Blues Show Here's the list from my Tuesday Night Blue's Show, it even made this old scrooge get a lttle christmas spirit, will miracles never cease to exist! Lowell Fulson Lonesome Christmas Bullseye Smokin' Joe Kubek Poor Man's Xmas Bullseye Grady Gaines & Texas Upsetters Grady and Santa Is Comin' To Town Black Top William Clark Please Let Me Be Your Santa Clause Alligator Rod Piazza No More Pretty Presents Black Top Lil Ed & Blues Imperials I'm Your Santa Alligator John Prine Christmas In Prison Elvin Bishop Little Drummer Boy Alligator 3 Stooges Christmas Hold Up Big Joe & the Dynaflows Joe's Christmas Salutations Black Top Michelle "Evil" Gal Wilson 5 Pound Box of Money Bullseye (Wish we had Pearl Bailey's version!) Anson Funderburgh Young Girl's Drive Me Wild Black Top (at Christmas) Preston Shannon Band X-mas Blues Bullseye Robert Ward Wouldn't It Be A Merry Christmas Black Top Clarence Gatemouth Brown Christmas Alligator Rick Holstrom Sleigh Ride Black Top Bobby Parker Sandy Claw Stole My Woman Black Top Jimmy Dawkins Christmastime Blues Ichiban Saffire- Uppity Blues Women Single Parent Christmas Alligator Charles Brown Christmas Comes But Once A Year Bullseye Lonnie Brooks Christmas On The Bayou Alligator Johnny Winter Please Come Home For Christmas Pointblank BB King Christmas Celebration Pointblank Mark "Kaz" Kazanoff Blue Christmas Black Top and the Well-Hung Ornaments... Charlie Musselwhite Silent Night Alligator Jerry McCain I Wanna Be Your Santa Claus Ichiban Travis Haddix Santa Clause Got The Blues Ichiban Slim Fatz Southern Christmas Ichiban Bob Thompson Have Yourself A Merry Little Christmas Ichiban That's the show, the snow's still blowin' in Frostburg (It ain't called FROSTburg for nuthin') Til next time Keep the Blues Alive and Happy Holidays! Kevin B. ========================================================================= Date: Thu, 21 Dec 1995 21:24:54 GMT Reply-To: Anonymous IU Student From: Anonymous IU Student Organization: Indiana University Subject: Re: Sonny Boy does "Green Onions" Comments: To: bit-listserv-blues-l@uunet.uu.net The Sonny Boy tune you're thinking of is "Help Me." Not sure if this one came out before "Green Onions," I always thought it came after. This tune can be found on that great Chess comp. "The Essential SBW." ========================================================================= Date: Thu, 21 Dec 1995 15:47:47 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Sonny Boy does "Green Onions" Comments: To: Brenda Bogert In-Reply-To: "Somebody Help Me" is not the same Sonny Boy song as "Help Me." "Green Onions" came before "Help Me," but Sonny Boy and the powers at Chess sure had a good idea of where to go from there. Another pretty tough Chicago blues variant on "Green Onions" is Big Moose's 45 on Age with Earl Hooker on guitar, "The Bright Sound"/"Off The Hook," which is on some Hooker LPs and CDs. ========================================================================= Date: Fri, 22 Dec 1995 19:25:32 GMT Reply-To: Andrew Gregg From: Andrew Gregg Organization: Department of Primary Industry Subject: Re: JLH/Doyle Ertwine In article <951215215911_91542998@mail02.mail.aol.com>, Doyle Ertwine wrote: > You people out here have treated me with about the same respect that you >gave to John Lee Hooker's house boy (aka "Boogienation"). >It's no wonder he left. > I'm seriously considering leaving this list also. Although I may not be the only person to point this out, but the sale of a broken string post WAS a little stupid, Huh?? I realise that there are people who would love such a keepsake, but the moment I read your post I sensed that it would be (and I believe still is being) flamed. Your follow up was even greater flamebait (particularly the part about the great 'peace' of change). Far be for me to say, but......you kinda asked for it. ********************************************************************** * Andrew Gregg * * * Dept of Primary * I see angels on Ariels * * Industry * in leather & chrome * * ooOO00OOoo * Swooping down from heaven * * Email : * to carry me home * * mpagregg@aries.dpi.tas.gov.au * * * * - Richard Thompson * ********************************************************************** ========================================================================= Date: Thu, 21 Dec 1995 17:33:12 -0500 Reply-To: Joe From: Joe Subject: W.C. Handy winners I am wondering if previous years W.C. Handy awards are available anywhere on the net. The Blues Foundation in Tennessee was kind enough to send me last years list, but I can't very well ask them, "could you send me every years' awards list", so does anyone know if it is out there? Thanks in advance and Merry Christmas fellow Blues-L-ers! Joe Milon I can't help about the shape I'm in, can't sing, I ain't pretty and my legs are thin, but don't ask me what I think of you. I might not give the answer that you want me to. Oh well.-P. Green ========================================================================= Date: Thu, 21 Dec 1995 22:36:18 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Subject: Re: Who Owns the Elvis (NO BLUES CONTENT) Comments: To: bit-listserv-blues-l@uunet.uu.net In article , Steve Levine says: > >Well, it's possible. There are black Elvis impersinaters. There is also >a Mexican Elvis called "El Vez" and I have a Simpsons book that has a >character called "Elveesh, The Turkish Elvis." You also can't forget Dread Zeppelin, a group with an Elvis impersonator doing vocals. They cover Led Zeppelin tunes to a reggae beat. I wonder if Elvis Presley Enterprises will go after them. Never quite had the courage to pick up on this bands CDs.... Art Schuna ========================================================================= Date: Thu, 21 Dec 1995 17:49:54 -0500 Reply-To: Sanjay Rajan From: Sanjay Rajan Subject: CHICAGO_BLUEZ_SCENE!! Comments: To: sriram@AW.SGI.COM With regard to Sriram's query regarding Blues in Chicago.... I'd say.......... http://www.nitescape.com/chicago/blues... BLUEZ BY NITE.....KATZ BY DAY ;) ;) +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-($)^($)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ Surrealism ? I AM Surrealism - Salvador Dali +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Thu, 21 Dec 1995 17:58:00 EST Reply-To: edward c liu From: edward c liu Subject: Re: Parental Advisory Howdy all, Ranko Vujosevic wrote: > I was wondering if there is any other blues cd, apart from > Sonny Boy Williamson's "Bummer Road," that has > PARENTAL ADVISORY - Explicit Lyrics sticker on it?????? A story to lead in. One time I was browsing the blues section at a Nobody Beats the Wiz when a husband, wife, and 15-year-old daughter walked in. The hubby started browsing, and the daughter says to the father (with that scornful, disdainful, know-it-all tone that only teenagers can do well), "Jeez, daaaaaa-ddy, let's GO! This is just a bunch of OLD crap!" Mom shushed the child, as the father and I just sort of looked at each other and shrugged. So, the facetious answer to the question...there are no "Parental Advisory" lyrics on blues discs because no kids ever buy them, so the music industry doesn't bother listening to or labeling them. Not-so-facetious answer: There was a disc I saw once that was called "The Sissy Boy Blues" (?) that had a parental warning sticker on it. Wouldn't know the record label or anything else about the disc, except that I think it had to do with gay blues singers or gay blues songs. My guess is that the label people saw the topic and labeled it without even listening to the durn thing. ("OH my GOOOOOD!!!! HOMOSEXUALITY mentioned on a CD LABEL!!! It MUST be a NIGHTMARE of SEXUAL DEPRAVITY!!!! Put FOUR or FIVE labels on THAT disc!!!" =8^) Not-so-facetious answer #2: Phil Guy says "mother f***er" very clearly and very repeatedly on the last track of his _Tina Nu_ disc and I've never seen a label on it. The facetious answer may not be too far off the mark in this case. -- Ed Edward C. Liu | "If nobody thinks for they self, edwick@cc.bellcore.com | Who thinks for everybody else? | -- Dr. John, "Lissen" The opinions in this message are mine and not Bellcore's. Really! ========================================================================= Date: Thu, 21 Dec 1995 18:03:42 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: Albert King memories Comments: To: Robert Page In-Reply-To: <9512211921.AA21525@umsa.umd.edu> My favorite and only memory of Albert... I was visiting grandparents in Houston (Summer '91). Checked the paper and lo and behole big Albert King was in town. So I ventured alone to the show. The venue boasted an indoor and outdoor stage. Ian Moore opened up and was good along the SRV/Eric Johnson axis. He was quite load...too loud it turned out. After an hour or so Albert came out with his band. Almost instantly policeman took over stage. Complaining neighbors forced the show indoors. Ian came over the PA and announced "Albert is moving it indoors, he says he's too old for jail!" Anyway, the show was great even though we were all crowded into a tiny concert hall. And God was he huge! His guitar looked like a little ukelele in his hands. I've always regretted seeing him only once... BTW, What of ALbert's Stax recordings would be recommended? The best I've come across is _Years Gone By_. Jim ========================================================================= Date: Thu, 21 Dec 1995 15:18:13 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: CHICAGO_BLUEZ_SCENE!! Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Sanjay said: > With regard to Sriram's query regarding Blues in Chicago.... > I'd say.......... > http://www.nitescape.com/chicago/blues... Cool site! I couldn't get it though, until I dropped the four dots (....) at the end of the address. thanks, Sanjay Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Thu, 21 Dec 1995 15:23:40 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Green Onions Pee Wee Crayton always *swore* to me that he had come up with the original riff for Green Onions, but that by a circuitous route he himself could not recall it had made its way to Booker T, who fine-tuned and copyrighted it. In fairness, I also seem to recall that he was not always totally sober when he said this, but he did say it several times, with emphasis. Mary Katherine ========================================================================= Date: Thu, 21 Dec 1995 16:18:42 -0800 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: An Odd Story I thought I'd share this story which has only marginal blues content, but I thought someone else might get a kick out of it. I've been flying a lot lately and use it as an opportunity to listen to blues and other forms of music. Last week, I was on my was to Dallas via Denver from Oakland and I was listening to the best of Tyrone Davis on Rhino records. (Tyrone was the marginal relation to the blues.) We were about an 75 minutes into the flight and I had my eyes closed listening to the sweet sounds and all of a sudden I hear a notification come across what sounded like the PA system that we are beginning our descent for Chicago's O'Hare Int'l Arport and that we should fasten our seat belts and all the standard stuff. So I open my eyes and the seat belt sign is on. I thought that I had fallen asleep and it dawned on me that I was supposed to be headed for Denver and not Chicago. I panicked. I was thinking about how I could get from Chicago to Dallas. After this I looked at my boarding pass and realized I got on the correct plane headed for Denver. I listened to the same tune that was playing at the time and realized it was on the CD. Damn that digital sound. Happy holidays, Joe ========================================================================= Date: Fri, 22 Dec 1995 03:19:05 GMT Reply-To: James Farris From: James Farris Organization: Netcom Subject: 1.45 Hz Boogie (was Re: What a load of Boogie...) Comments: To: bit-listserv-blues-l@uunet.uu.net It's good to see that we've got some real engineers on the L. Now I don't feel quite so alone. I've heard the expression "Boogie Real Low," but a boogie at 1.45 Hz, now that's a low boogie! We'd definitely be "standin' on shakey ground." Jammin' Jim Farris KKUP 91.5 FM On Tue, 19 Dec 1995 17:41:06 GMT, Michael Twomey wrote: >Jef Jaisun (eljefe@NETCOM.COM) wrote: > >: Uh, 1.45 hz??? Does anybody have any idea how loooooooooooooooooooong >: that wave would be? Is this the same frequency Scripps is using in the >: ocean off Half Moon Bay, CA to see if they can detect shifting >: temperatures in the water? > >As sound, it is possible that you could produce 1.45 Hz, 1 Hz ... whatever >you want. In this range it is called infrasonic sound. Most advanced nations >have investigated this for use as a weapon. I never heard of it's use for >healing. The post that you referenced, Jef, was a well-written humor piece. > >But as far as weapons, in the 60's the French made a device called a vortex >whistle for producing sound around 2 Hz. It took up most of one floor of a >brick building, after all the wavelength of 2Hz sound is (1180/2)=590 feet! >They turned it on once. The building collapsed. That was the end of that. > >Sounds in this frequency range could certainly cause internal parts of >the human body to move, but to what end? > >Some other poster mentioned psycho babble and until there are some controlled >studies that's all it seems to be. But rest assured that there are sounds in >this frequency range, they are just way outside of the human hearing range. > >However this sound can be sensed. I had a piece of lab test equipment once >that produced sound in this frequency range. About 50 watts of 2Hz sound >would cause people to find some reason to leave my lab. They couldn't >'hear' the sound, but they didn't want to be in the same room with it >and would leave at the first excuse. > >Mike ========================================================================= Date: Fri, 22 Dec 1995 00:34:59 GMT Reply-To: Paul L Pearson From: Paul L Pearson Organization: Iowa State University, Ames, Iowa Subject: Thanks for the blues-I'm out of here Comments: To: bit-listserv-blues-l@uunet.uu.net I'm out of this place. I'm moving on, well, actually moving home and lsoing my net access. The insights and stories people have shared have been fun to read. Take care, Blues-L. "I'm walkin', Lord I don't have no place to go I'm walkin, I don't have no place to go Road that I'm travelling The road done got muddy and cold" -Highway is My Home, as done by Magic Slim -- Paul L. "Pro" Pearson, Ph.D. President, Kurt Rambis Fan Club (unofficial) Ames, IA Chapter ========================================================================= Date: Wed, 20 Dec 1995 19:41:55 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Organization: Union Federal Savings Bank Subject: Re: Your picks for 1995 Comments: To: David Blanken My favorites for this year include: Smokey Wilson "Smoke 'n Fire", "88th Street Blues" Luther Allison "Blue Streak" Robert Johnson super bit-mapped gold CD "King of The Delta Blues Singers" Rounder Records "Deep Blue" 2 CD set of 25 Years of Blues on Rounder Albert Collins and The Ice Breakers "Live 1992-1993" Otis Spann "Chicago Blues" BLUES CD OF THE YEAR Albert Collins and The Icebreakers "Live '92 - '93" OUTSTANDING BLUES VALUE Rounder's "Deep Blue" Merry Christmas! RJ Bauman ========================================================================= Date: Fri, 22 Dec 1995 01:18:10 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: JLH/Doyle Ertwine Doyle Ertwine (DoyleE847@AOL.COM) wrote: : You people out here have treated me with about the same respect that you : gave to John Lee Hooker's house boy (aka "Boogienation"). : It's no wonder he left. : I'm seriously considering leaving this list also. Indignation...the last refuge of the vanquished. or You come in here with a skull full of mush, and you leave thinking like a lawyer. or You walk in here with a hand fulla gimme, and a mouth fulla much obliged. or ...well, you know. What really are you doing in here besides trying to make a sale? ============================================================================ Jef Jaisun eljefe@netcom.com ============================================================================ -- ========================================================================= Date: Thu, 21 Dec 1995 21:05:33 -0500 Reply-To: C2MXBOY@FRE.TOWSON.EDU From: Kevin Boyle Subject: End of 1995 Blues Radio Show ??? School is finally over and I can actually Plan (sort of) my next show! I thought I would make a plea to the powers that be on Blue-L to see what you think. Are you fed up with end of year "Best of", top whatever or should I just go ahead and do the best blues of 1995?? If I do a best of 1995 (which I probably will) do I include only those CD's released in 1995, and should I include Re-issues like Eddy Clearwater, Otis Rush, Otis Spann, Eddie Taylor in the same category as Johnny Copeland, Buddy Guy, etc.. or should a make two seperate categories??? And, if ya wanna, you can let me know favorites are, I Know Albert Collin's "Live '92-'93 is gonna be there regardless! Now, back to your regularly scheduled programming. Peace, Kevin B. ========================================================================= Date: Fri, 22 Dec 1995 02:09:28 GMT Reply-To: Ari Eisinger From: Ari Eisinger Organization: Voicenet - Internet Access - (215)674-9290 Subject: Re: Tampa Red Comments: To: bit-listserv-blues-l@uunet.uu.net I like Tampa Red: Bottleneck Guitar 1928-1937 on the Yazoo label. He also does some fine work with Georgia Tom (later Thomas A.) Dorsey on Come On Mama Do That Dance, also on Yazoo. ARI EISINGER Blues and Ragtime Guitarist and Singer Guitar Teacher (610) 259-6688 ========================================================================= Date: Thu, 21 Dec 1995 22:56:58 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Seasons Greetings Right after I push the "send" key on this post I will be setting my Blues-L status to "nomail". I'll be gone for a weeks Christmas Vacation. I hope everyone has a wonderful holiday. I love you all, without exception. See ya soon. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Thu, 21 Dec 1995 21:54:38 -0600 Reply-To: Craig Edmundson From: Craig Edmundson Subject: Credits plea Today I purchased the Albert Collins re-issue, "The Complete Imperial Recordings." Immediately upon arriving home, both discs went into the CD changer. Soon I felt compelled to learn more about the sidemen on the recordings (especially the organist and horn section.) Imagine my dismay, chagrin, and sense of betrayal when I discovered that the producer had credited everyone involved BUT the session players. Would someone be kind enough to mail me the names of the artists who contributed to these recordings? Now for the plea: It is my understanding that several subscribers on this list have ties to the recording industry. To those individuals I respectfully ask: Please tell your peers that omitting the names of the session players from the credits is a slap in the face to the artitsts who give their time and talent to a project. Thank you. C ----------------------------------------------- Craig L. Edmundson cedmunds@netserv.unmc.edu cedmundson@nfinity.nfinity.com ========================================================================= Date: Thu, 21 Dec 1995 20:07:00 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Credits plea Comments: To: Craig Edmundson Craig Edmundson wrote: > >Today I purchased the Albert Collins re-issue, "The Complete Imperial >Recordings." Immediately upon arriving home, both discs went into the CD>changer. Soon I felt compelled to learn more about the sidemen on the>recordings (especially the organist and horn section.) Imagine my dismay,>chagrin, and sense of betrayal when I discovered that the producer had>credited everyone involved BUT the session players. Would someone be kind>enough to mail me the names of the artists who contributed to these recordings? >Now for the plea: It is my understanding that several subscribers on this>list have ties to the recording industry. To those individuals I >respectfully ask: Please tell your peers that omitting the names of the>session players from the credits is a slap in the face to the artitsts who>give their time and talent to a project. And Mary Katherine answers: As a producer/annotator of reissues, my take on this is: Craig is 100% right, the information *should always* be given. That said, let me point out that the Albert Collins sessions in question were conducted nearly three decades ago (1968 onward), and that the folks at Imperial who made these sides didn't know they were creating history (and most likely didn't care). In many cases the producers never bothered to write the musicians' names on the logs, or on the tape boxes, and so today their names are lost from sight. Along comes a reissue producer to put the Collins set together and she/he has no information to pass along. Nothing is known, discographies are blank, and alas the master is no longer with us to ask (and were he still alive, would he remember the names of musicians with whom he worked for a few hours thirty years ago?). The reissue producers I know and have worked with are usually painstakingly careful to list information about the sidemen where it is known; or where it's not known but guessed, it's given with the disclaimer "probably" before the musician's name. Of course there are some companies that don't or won't list *any* information. Charly, for instance, since it is a bootleg label and pays no royalties, never lists songwriter or publishing information on any of their releases. Today's contemporary blues record producers (Bromberg, Iglauer, Shurman) are well aware of the importance of listing *all* the musicians' names on their releases, and always do it, but way back when, producers weren't so aware of this and just didn't do it. So today you'll find that new blues recordings are well annotated, and reissues are sometimes less so. This is not meant to be a defence of those who don't include this information when they could, though! Mary Katherine ========================================================================= Date: Thu, 21 Dec 1995 23:21:39 -0500 Reply-To: jk From: jk Comments: To: bit-listserv-blues-l@uunet.uu.net Newsgroups: bit.listserv.blues-l Path: jk From: jk@ritz.mordor.com (jk) Subject: need help with artist, title Organization: Mordor International Date: Fri, 22 Dec 1995 04:21:37 GMT X-Newsreader: TIN [version 1.2 PL2] Message-ID: my boss is trying to find out the title/artist of a song which he heard in a bar but has very little information about. he describes it as blues/r and b, the singer is (probably) african american and has a "gravely" voice. the line he somewhat remembers is "...you're only lonely in your mind..." (although could also be "you're only lonely in your dreams") as i'm not a regular reader of this newsgroup, a response via e-mail would be greatly appreciated. thanks in advance jon jk@ritz.mordor.com ========================================================================= Date: Fri, 22 Dec 1995 07:28:21 GMT Reply-To: marc@az.vub.ac.be From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Billy Boy Arnold Comments: To: bit-listserv-blues-l@Belgium.EU.net Last night on a local radio station, I think I recognized Billy Boy singing a song that contains parts of "The dirty Dozen". At the end the deejay said it was on "his" new album, but didn't mention his name anymore. Is there a new BBA album, containing 'The dirty dozen' ? or am I wrong ? Who knows ? embee. ps. Best Xmas wishes to all of you ! ========================================================================= Date: Fri, 22 Dec 1995 02:29:38 -0500 Reply-To: JIMBLUE1@AOL.COM From: Jim Armstrong Subject: Re: James Armstrong Comments: To: 103300.3331@compuserve.com In a message dated 95-12-21 14:01:58 EST, 103300.3331@COMPUSERVE.COM (David A. Pimmel) writes: >Any opinions on James Armstrong? He's a great guy. Oh, you mean THAT James Armstrong. The other James Armstrong P.S. Does this mean I can't use my name on stage? ========================================================================= Date: Fri, 22 Dec 1995 09:58:21 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: LANGSTON HUGHES While walking yesterday in different second hand bookshops here in Town looking for a particular book I wanted to offer to my wife Xmas, I found some interesting books, among which I wanted to mention a particular one that should be of interest for all those who do not see blues strictly as a musical form, but more as a cultural paradigm. The one I want to say a few words about is simply entitled LANGSTON HUGHES in the "Voices in Poetry" series. text by S.L.Berry , 1994, p.45 ISBN 0-88682-616-0 Creative Education Inc, 123 South Broad Street, Mankato Minnesota 56001 It is hopefully not necessary to recall the intimate links between Lansgton Hughes (sometimes labeled a "Jazz Poet") and Afro-American music, and with this is mind I found it quite approapriate to be mentioned here. It is a very enjoyable book full of beautiful color illustrations, reproductions, photos, ... a simple but well written text relating Lansgton Hughes' life without too many details, but nevertheless by covering the most important parts of his life , from his childhood to his death in 1967, his stay in Mexico, trips to Africa, stay in Europe, .. with examples from his writtings and poems all over the 43 pages (many are taken form the wonderfull collection "The Weary Blues" from 1929) of this really nice book. Unlike Steve Tracy's important study "Langston Hughes and the Blues" (University of Illinois Press,1988), or Houston Baker Jr's "Blues, Ideology and Afro-American Literature" (University ofspecialized Chicago Press, 1984) this book is not a specialized historical/literal study of Langston Hughes and its links with AA music, it is simply a Tribute/portrait of a figure that anyone interested in African-American culture should discover. Jean-Pierre "youngman" Urbain P.S. I left the bookstore with many book (two Albert Murray -a lot of blues there-, a James Baldwin I was missing, Xam Wilson Cartier Be-Bop Re-Bop and this one ... but still nothing for my wife.. shame on me... I'll try to do better this afternoon) ========================================================================= Date: Fri, 22 Dec 1995 10:18:32 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Blues highlights from 1995 Hi you all, Like some other bluezellers, I will take two weeks off and will therefore only be back on january 8th. You can however still send me mails but I will only come to these after january 8th. Well although I'm not a fanatic of lists like the one that follows :-), let me, for my last mail of 1995, give some of my personal blues highlights from 95, some albums, reissues, festivals, readings... I just write this here from my office while I'm having a few minutes free so I don't have all the exact titles in mind and obviously some great things I really enjoyed this year might escape my mind, but I have to limit myself somewhere! Although I don't have these items here at the University, I'm almost sure that almost all of these were published in 1995. Given in no particular order! Some New productions ******************** MISSISSIPPI HEAT (VANDERLINDEN RECORDS) BUTLER TWINS (JSP) CAME SO FAR . Var Artists (MUSIC MAKER - Field recordings - East Coast country blues and gospel) MAGIC SLIM (WOLF) PAUL "WINE" JONES (FAT POSSUM) BIG AL DUPREE (DALLAS BLUES SOCIETY) ELDER ROMA WILSON (ARHOOLIE) HOUSTON STACKHOUSE (GENES- maybe a 94 product..) JESSE THOMAS (TOPCAT) PERCY STROTHER (BLACK MAGIC) LITTLE WHITT and BIG BO (VENT) LEE "SHOT" WILLIAMS (BLACK MAGIC) ... and THE ELECTRIC KINGS (MUSIC AND WORDS) (IMHO) maybe the best European blues band around! (ask to Bill Shute or to "embee" what they think of these guys) Some Reissues ************* - Allmost all the TESTAMENT/ADVENT stuff on Hightone (exception made of the Billy Boy set which is the only one I wouldn't have missed) - Absolutely >>ALL<< TRIX reissues (pers. fav: PEG LEG SAM, BIG CHIEF ELLIS, HENRY JOHNSON) - FRED McDOWELL on ROUNDER - The always great reissues from ARHOOLIE and DELMARK - LIL'SON JACKSON, T BONE (CAPITOL) - R.L.BURNSIDE (SWINGMASTER) see my recent review...superb! - BABY TATE, MEMPHIS WILLIE B. (OBC) - PATTON (YAZOO) - The EXCELLO stuff (on ACE over here in Europe) - and naturally the numerous DOCUMENT CDs... Some Festival/Concerts *********************** MISSISSIPPI HEAT with the lovely DEITRA FARR...one of the very best band around, superb musicians, great personnalities and incredibly nice human beens. Annual SPRING BLUES FESTIVAL in Ecaussinnes, Belgium (among other things for seeing Little Whitt and Big Bo with Micheal and Debbie...) BLUES ESTAFETTE, Utrecht, The Netherlands (seeing Jack Owens, Big Clara, and meeting too shortly "old man" Joel :-), .. yes eRic told me.... (private joke...) HENRY QUALLS with HASH BROWN (and meeting Chuck Nevitt) which were the (only) highlights for me of the HANDZAME BLUES FESTIVAL. Blues "readings" ***************** BLUES AND RHYTHM (maybe the best -IMHO- mag around...) CAREER DISCOGRAPHIES by BIll ROWE (great work!!- we should all support him and buy his publications) BLUES RECORDs 1943-1970 Vol2. TINTON's book. Blues "surprise" **************** My 8 years-old daughter arguing at school with her teacher about music and trying to convince her teacher that blues (created by "des monsieurs noirs d'Amerique" like she says) is the greatest music on earth and that... "Mouddy Water (that's how she pronounces it, with a French accent please!) is the father of "rock" (authentic story that happended a few weeks ago!)... and yes I am proud of my daughters... Mail order services which gave me the most satisfaction (Europe) ******************************************************* RED LICK (UK) and CROSSROADS BLUES RECORDS (The Netherlands) .. not affiliated just a really satisfied client.... and last but certainly not least BLUES-L and especially Bill, eRic, the "Richard"'s, Tony, Joel, Art, Marc, Timothy, Lee, Cliff, Bonnie, Don O, Ray, Mary Katherine, ... and all the others for being since a bit more than 20 months part of my (almost) daily blues meal.... I wish you all a happy new year and hope 1996 will be full of extraordinary blues experiences. I also hope for 96 that the REAL blues musicians/labels/magazines will receive their dues and that we won't have another -to me, IMHO- unjustified EC/FTC/"blues herzats" phenomenon... Jean-Pierre "Young Man" Urbain ========================================================================= Date: Fri, 22 Dec 1995 12:41:43 GMT Reply-To: jos potting From: jos potting Organization: Planet Internet Subject: Re: Muddy Waters Question Comments: To: bit-listserv-blues-l@uunet.uu.net Peter Gallagher wrote: >The general opinion is that it is FAR from anything like his best. Even >my hero the late great Rory Gallagher guested on it and I still found it >a dull CD. >Give that one a miss - and I'm a Muddy, fan, believe me. >regards,. >PeterG A lucky day, There are more Gallagher fans in this world and on the Internet. First time I heard of Rory Gallagher was when I was 15, sitting in my bedroom listening to the radio, hearing a man singing "Going too my hometown". I wanted to go with him! It was my first contact with the blues. I think you're right in your opinion of the London Session album of Muddy Waters. I think the only album in that serie with some good music on it is the sessionalbum of Howlin' Wolf. BTW thanks for the Rory-links JP jpottting@PI.net *** "You shouldn't fly too high in your selfish mood *** Because, you know, you're borned without a parachute!" *** Supersister *** ========================================================================= Date: Thu, 21 Dec 1995 23:44:14 EST Reply-To: "David A. Pimmel" <103300.3331@COMPUSERVE.COM> From: "David A. Pimmel" <103300.3331@COMPUSERVE.COM> Subject: Playlists Comments: To: Bonnie Kalmbach And hey, Bonnie knows what she is talking about here. I'm always a little disappointed when I tune into TWO FOR THE BLUES on WORT-FM in Madison, WI and Bonnie isn't hosting. Nothing against her able replacements but the show is just missing a little something. I think it is first her inestimatable weatlh of knowledge and interesting tidbits of info, and second I just don't think they do as good a job of picking the tunes to play and the order to play them. David Pimmel 103300,3331@compuserve.com ========================================================================= Date: Thu, 21 Dec 1995 23:44:16 EST Reply-To: "David A. Pimmel" <103300.3331@COMPUSERVE.COM> From: "David A. Pimmel" <103300.3331@COMPUSERVE.COM> Subject: Re: Non-Blues Faves Comments: To: Mark Gentry Another frequent topic, but one I still like contributing to. I've found that if I don't add variety in my listening even the best stuff seems to go a little stale. My current non-blues faves: 1. FIRST, always and forever, LOS LOBOS. In my obviously correct opinon, the best band working today. Pick up THE NEIGHBORHOOD or KIKO or JUST ANOTHER BAND FROM EAST L.A. and see the light. 2. BOYS CHOIR OF HARLEM, THE SOUND OF HOPE. This is another personal favorite. Wonderful harmony and vocals. Very uplifting and enjoyable. 3. HOOP DREAMS soundtrack. Funky and groovy. And the movie is outstanding if you haven't seen it yet. 4. Alanis Morrisette. Okay maybe it is a lot of hype, but for my money, I think she has a very expressive and interesting vocal styling. 5. Van Morrison. Has there been a more consitently excellent songwriter over the last 30 years? David Pimmel 103300,3331@compuserve.com {boy, I seem to be psoting alot, guess I got 4 months of pent up post to get out} ========================================================================= Date: Fri, 22 Dec 1995 07:41:00 EST Reply-To: Robert Page From: Robert Page Subject: Re: Albert King memories Comments: To: James Leftwich In-Reply-To: >My favorite and only memory of Albert... > >I was visiting grandparents in Houston (Summer '91). Checked the paper >and lo and behole big Albert King was in town. So I ventured alone to >the show. The venue boasted an indoor and outdoor stage. > >Ian Moore opened up and was good along the SRV/Eric Johnson axis. He was >quite load...too loud it turned out. After an hour or so Albert came out >with his band. Almost instantly policeman took over stage. > >Complaining neighbors forced the show indoors. Ian came over the PA and >announced "Albert is moving it indoors, he says he's too old for jail!" > >Anyway, the show was great even though we were all crowded into a tiny >concert hall. And God was he huge! His guitar looked like a little >ukelele in his hands. > >I've always regretted seeing him only once... > >BTW, What of ALbert's Stax recordings would be recommended? The best >I've come across is _Years Gone By_. > >Jim > I personally like Jammed Together (wtih Pop Staples and Steve Cropper) Live Wire Lovejoy Each is quite different from Years Gone By and special in some respect or another. Thanks Bob Page > ========================================================================= Date: Fri, 22 Dec 1995 08:18:15 -0500 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: Billy Boy Arnold Comments: To: marc@az.vub.ac.be In-Reply-To: <4bdmml$33e@rc1.vub.ac.be> On Fri, 22 Dec 1995, marc borms wrote: > Last night on a local radio station, I think I recognized Billy Boy singing > a song that contains parts of "The dirty Dozen". At the end the deejay > said it was on "his" new album, but didn't mention his name anymore. > > Is there a new BBA album, containing 'The dirty dozen' ? or am I wrong ? > Who knows ? > The album is Eldorado Cadillac and it is *excellent*!! The song is "Lovin' Mother For You", a cover of Roosevelt Sykes' "Dirty Mother For You (Don't You Know)". Brenda Bogert Louisville KY ========================================================================= Date: Fri, 22 Dec 1995 16:08:27 +0400 Reply-To: "Henrik R. Lassen" From: "Henrik R. Lassen" Subject: W.C. Clark surprise Comments: To: BLUES-L%BROWNVM.BITNET@SEARN.SUNET.SE While Christmas shopping I came across a second hand copy of W.C. Clark's *Heart of Gold* (Blacktop, 1993?), and decided that my tight budget could manage an extra eight dollars or so. Imagine my surprise when I got home and discovered that this was not only a good CD (I kind of suspected that), it was also an *autographed* CD! 'Tis the season to be jolly, indeed! ======== Henrik Lassen ======== ==== Odense, Denmark ==== "Folklore is meer dan midwinterhoornblazen, Sijtje Boes en de verkierzing van Prins Carnaval; volksverhalen en sagen worden echt niet alleen door bejaarde plattelandsbewoners verteld." Peter Burger, *De wraak van de kangoeroe*. ========================================================================= Date: Wed, 20 Dec 1995 23:20:41 EST Reply-To: "David A. Pimmel" <103300.3331@COMPUSERVE.COM> From: "David A. Pimmel" <103300.3331@COMPUSERVE.COM> Subject: KEB_MO' Comments: To: Sanjay Rajan The Keb' Mo CD is one of my favorites of the last year or so. It is all acoustic so if you hate that steer clear. However, I think you would be missing out on some real good playing. I saw him this past year at the Chicago BLues Fest and he was every bit as good live as he was on Memorex. David Pimmel 103300,3331@compuserve.com ========================================================================= Date: Fri, 22 Dec 1995 09:31:07 -0500 Reply-To: David Ott From: David Ott Subject: Tampa Red CDs? > Ruth asks about recommendations for Tampa Red CDs? Ruth, I have two Tampa Red CDs: 1) "Guitar Wizard" on the Columbia Roots & Blues series (CK 53235) - contains 17 recordings from 1928-34 with about half of them with Georgia Tom (i.e. Thomas Dorsey); and 2) "Tampa Red - Story of the guitar Wizard" on a French label (Blues Collection, EPM - 157892) - contains 24 selections from 1928-40 but only a few with Georgia Tom. The French CD has better sound because many of the selections were recorded later and would be a good "one" CD sample of Tampa Red's work. Would appreciate other recommendations from the list of other Tampa Red recordings. Dave Ott ========================================================================= Date: Fri, 22 Dec 1995 06:52:11 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: My Best Buys of 1995/Tony Joe White question Aah, the first day of winter and people are abandoning Blues-L in droves! Oh, well, I'll post my best buys of '95, although I don't think most of them were released in '95, and some are re-issues. Here goes... 1.El Dorado Cadillac - Billy Boy Arnold This one's even better than his previous album (which I also loved). Great arrangements, fabulous harp playing, and Loving Mother For You is about 7 minutes of pure fun. His vocals are better than ever. 2.Johnson's Whacks - Jimmy Johnson I just _love_ this album - great songwriting, great singing, and excellent guitar playing. 3.The Complete DJ Play My Blues Sessions - Buddy Guy My favorite Buddy album so far - worth buying if only for his version of Otis Rush's `All Your Love'. I can take or leave the Phil Guy tracks, though. 4.West Side Soul - Magic Sam I'm sure most of you have this one, but I just got it, and it's fantastic. 5.The Best of Tony Joe White - Tony Joe White This is a mixture of blues, soul, and country, featuring his best tracks from the early seventies. It includes Polk Salad Annie and Rainy Night in Georgia. I can't say enough good things about this album - the vocals, the horns, the songwriting...it may not be pure blues, but it's been the only thing playing in my car for the past two weeks straight. I don't know why I haven't heard more of his stuff, because these songs are _great!_ Does anybody know what his later stuff is like, and if he's still recording, and if so, where to find it? I want more! Well, Merry Christmas to all, and a safe and Happy New Year! -Jim (hndful@uniserve.com) ========================================================================= Date: Fri, 22 Dec 1995 09:52:24 -0500 Reply-To: Ed Mezynski From: Ed Mezynski Subject: holiday greetings His gig began one midnight clear This fat bluesman and all his deer He bends that note, sounds real cool His message is a Happy Yule He brings you peace and love and life Don't hand him back no hate and strife Save every flame for the old yule log Then you'll avoid the hellhound dog Opinions. Man we got a fleet You don't like mine, then please delete Accept another's point of view Tastes bad. Naw, it's good for you So this one's mine Thanks for your time The best to you And all you do >From Richard the Elder, to the youngest blues waif May you all remain happy and bluesy and safe Whatever your faith, celebrate as you choose May it be full of love, joy and lots of good blues ed mezynski ========================================================================= Date: Fri, 22 Dec 1995 10:21:09 -0500 Reply-To: hhardy@BCONNEX.NET From: Hugh Hardy Subject: Re: Albert King memories <---- Begin Forwarded Message ----> Date: Fri, 22 Dec 1995 07:41:00 EST Reply-To: Robert Page From: Robert Page Subject: Re: Albert King memories To: Multiple recipients of list BLUES-L >My favorite and only memory of Albert... > >I was visiting grandparents in Houston (Summer '91). Checked the paper >and lo and behole big Albert King was in town. So I ventured alone to >the show. The venue boasted an indoor and outdoor stage. > >Ian Moore opened up and was good along the SRV/Eric Johnson axis. He was >quite load...too loud it turned out. After an hour or so Albert came out >with his band. Almost instantly policeman took over stage. > >Complaining neighbors forced the show indoors. Ian came over the PA and >announced "Albert is moving it indoors, he says he's too old for jail!" > >Anyway, the show was great even though we were all crowded into a tiny >concert hall. And God was he huge! His guitar looked like a little >ukelele in his hands. > >I've always regretted seeing him only once... > >BTW, What of ALbert's Stax recordings would be recommended? The best >I've come across is _Years Gone By_. > >Jim > I personally like Jammed Together (wtih Pop Staples and Steve Cropper) Live Wire Lovejoy Each is quite different from Years Gone By and special in some respect or another. Thanks Bob Page > <---- End Forwarded Message ----> My absolute favourite Albert King is "I'll Play the Blues For You" a killer album (or CD). Hugh Hardy ========================================================================= Date: Fri, 22 Dec 1995 08:36:11 MST Reply-To: BBreen/AZ15K_P01/iac/us/mci/honeywell////@ZX400.IAC.HONEYWELL.COM From: Bill Breen Subject: Re: Your picks for 1995 Comments: To: blues-l/P01_#l#a#r#BROWNVM.BROWN.EDU/IACE/US/MCI/HONEYWELL////@zx400.iac.honeywell.com A few that come to mind immediately: Coco Montoya Gotta Mind to Travel Albert Collins Live 92-93 Luther Allison (Soul Fixin Man, Blue Streak) Buddy Guy Play My Blues, DJ (Remix) Dan Penn Do Right Man Guitar Shorty Topsy Turvy Ronnie Earl Language of the Soul/ Blues Guitar Virtuoso Mighty Sam McClain Big Mike Griffin Eddie C. Campbell Tha'ts When I Know Johnny Adams Room with a View of the Blues Tony Z Get Down with the Blues Have a great holiday!! --bill-- ---------- From: owner-blues-l To: BLUES-L; bbreen Subject: Your picks for 1995 Date: Wednesday, December 20, 1995 10:20AM DATE: Dec 20 10:12:47 1995 -07:00 relative to GMT IPMessageID: ?BLUES-L(p)95122011060598(a)BROWNVM.BROWN.EDU? FROM: BLUES-L AUTHORIZED: ISTS024 TO: BLUES-L BCC: bbreen SUBJECT: Your picks for 1995 REPLY TO: ISTS024 IMPORTANCE: normal PRIORITY: ---------------------------------------------------------------------------- -- I'd be real curious to see SOME your favorite CD's you purchased in 1995 LW ========================================================================= Date: Fri, 22 Dec 1995 11:03:36 -0600 Reply-To: Roger Scharbach From: Roger Scharbach Subject: Canadian Blues Bands I recently responded to someone regarding the Downchild Blues Band, and I stated emphatically that they were the #1 Blues band in Canada. I was stating my personal opinion of course, and I guess I was expecting some kind of response! If someone else stated that these guys were the '#1 blues band in Canada' I would start to think- is that right? How about the Powder Blues Band? how about King Bisquit Boy, how about Dutch Mason Blues Band, Morgan Davis, Colin James, Jeff Healy, well the list goes on and on. Of course I don't expect many 'other than Canadians' to know of these bands but I would be interested in hearing from you on your opinions. Is there anyone out there interested in the Canadian blues band scene? If so I would be glad to send you some solid blues music tapes , Just send me a blank cassette, include your receiving address I promise I'll return your tapes, Just try!! Any Takers? Send me an E-mail message and I'll give you an address to send a tape to! scharbr@soonet.ca ========================================================================= Date: Fri, 22 Dec 1995 10:59:21 -0500 Reply-To: Conqueroot From: Conqueroot Organization: America Online, Inc. (1-800-827-6364) Subject: Re: A game...black/white Comments: To: bit-listserv-blues-l@uunet.uu.net The only thing worse than a white boy playing the blues is one talking about the blues. As Buddy Guy would say "please don't tell me 'bout the blues". Conqueroot ========================================================================= Date: Fri, 22 Dec 1995 09:10:58 MST Reply-To: BBreen/AZ15K_P01/iac/us/mci/honeywell////@ZX400.IAC.HONEYWELL.COM From: Bill Breen Subject: Christmas came early! Comments: To: blues-l/P01_#l#a#r#BROWNVM.BROWN.EDU/IACE/US/MCI/HONEYWELL////@zx400.iac.honeywell.com Christmas came early for me....... We have relatives in for the holidays and my brother-in-law, who is also a music lover, arrived yesterday from Chicago. Whenever we get together we go on outings to used record stores in search of buried treasures (CD's on our want list!). Last night we took off on our first adventure to a couple of my favorite stores that are nearby. I had just been to both of them late last week so I figured I had already gleaned my stuff and the trip was more for him. So, I cruise into the blues section and I start through the alphabet. When I get to the K's I always check and move on, but no!, wait, heart be still----there it is Freddie King Live at Antibes 1974!! I try to stay calm as I make my purchase ($7.99) sure that I am going to be stopped -- don't they know what they have here! I take it home and listen to it on my new stereo system (another early gift from my wife!) Fantastic!! Merry Christmas to all -- especially to that special person who brought in this CD! --bill-- (listening to Freddie) ========================================================================= Date: Fri, 22 Dec 1995 11:08:00 EST Reply-To: edward c liu From: edward c liu Subject: NYC Area Club Dates Listing Howdy, This is the latest listing of blues/blues-ish appearances in the New York City area. This list is not exhaustive and no guarantees are made for accuracy. Check local venues to make sure shows are still on and for showtimes. I am not affiliated with any of these clubs. Do not use while operating heavy machinery =8^). This special edition of the NYC Club Dates is posted to BLUES-L since I've received a few requests for info for this holiday weekend. Hopefully some of the people who asked will get this, but.... If you would like to get the NYC Area Club Dates Listing regularly, or would like to remove yourself from the list, send e-mail to me at: edwick@cc.bellcore.com with a subject line of "NYC CLUB DATES" in it. Thanks! ******************************************************************** IN NEW YORK ******************************************************************** CHICAGO B.L.U.E.S. 73 8th Ave(bet. 13th & 14th) 212 924-9755 -------------------------------------------------------------------- Dec 22 - 23 James Cotton Dec 31 Junior Wells MANNY'S CAR WASH 1558 3rd Ave(bet. 87th & 88th) 212 369-2583 -------------------------------------------------------------------- Dec 23 Johnny Allen Dec 28 Bill Perry Dec 29 - 31 Little Mike & the Tornadoes TERRA BLUES 149 Bleeker St 212 777-7776 -------------------------------------------------------------------- Jan 4 Big Jack Johnson Jan 6 Satan & Adam Jan 12 Satan & Adam Feb 10 Satan & Adam TRAMPS 51 W 21st St(bet. 5th & 6th) 212 727-7788 -------------------------------------------------------------------- Dec 29 Delbert McClinton/Debbie Davies Dec 30 Johnny Copeland "plus special guest" Jan 31 Johnny Winter/Bill Perry/Debbie Davies ******************************************************************** IN NEW JERSEY ******************************************************************** STANHOPE HOUSE -------------------------------------------------------------------- Dec 22 Oxford Blues Dec 23 Stanhope House Christmas Party -- Lady Blue & the Tramps Dec 29 Roadside Louie & the Dusters Dec 30 Billy Hector & the Fairlanes Dec 31 New Year's Eve Party -- Blue Sparks REGULAR EVENTS -------------- Sunday: Open Blues Jams at Manny's Car Wash, Chicago B.L.U.E.S. Monday: Open Mike Blues Jam at Koyote Kate's (307 W 47th St, 212 956-1091) Tuesday: Blues Jam Session at Hell's Kitchen Bar and Grill (754 9th Ave, 212 246-4417) RADIO/TV -------- Daily: 3 - 4 PM, Blues Hour, 88.3 FM WBGO (Newark) Thursday: 6 - 7 PM, Blues Alley, 91.9 FM WNTI (sponsored by the Stanhope House) 8 - 9:30 PM, The Low Budget Blues Show, 88.7 Friday: 8 - 9 PM, Portraits in Blue, 88.3 FM WBGO 12:00 AM - 1:00 AM, Live at the House of Blues, WTBS Saturday: 7 - 8 AM, Portraits in Blue Rebroadcast, 88.3 FM WBGO 1 - 2 PM, Bluestage, 88.3 FM WBGO 4 - 6 PM, Something Inside of Me, 89.9 FM 12 AM - 1 AM, Live at the House of Blues, WTBS 2 AM - ??, All-blues show, 90.7 FM WFUV Sunday: 8 - 10 AM, Amazing Grace (Gospel), 89.9 FM 5 - 8 PM, The Dangerous Rock & Roll Show 91.9 FM WNTI (sponsored by the Stanhope House) 8 - 10 PM, Rockin' the Blues w/ Dave Provost 105.5 FM WDHA (sponsored by the Stanhope House) -- Ed Edward C. Liu | "If nobody thinks for they self, edwick@cc.bellcore.com | Who thinks for everybody else? | -- Dr. John, "Lissen" The opinions in this message are mine and not Bellcore's. Really! ========================================================================= Date: Fri, 22 Dec 1995 08:16:20 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES Dec. 23rd Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. HAPPY HOLIDAYS! JOYEUSES FETES! ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ALLEN, WALTER C. (author/HENDERSONIA) d. 1974-1223, POINT PLEASANT, NJ 54 BAKER, CHET (v/tpt) b. 1929-1223, YALE, OK BUTLER, TEDDY (g/TROYCE KEY) d. 1991-1223, OAKLAND, CA 52 CLAYTON, JENNIE MAE (v/MEMPHIS JUG BAND) d. 1964-1223, MEMPHIS, TN 70 DANIELS, JACK (founder: 4 BROTHERS REC) b. 1936-1223, CROSSETT, AR GILMORE, BOYD (g) d. 1976-1223, FRESNO, CA 66 HAZEL, EDDIE (g/FUNKADELIC) d. 1992-1223, PLAINFIELD, NJ 42 HILL, BILLY (songw) d. 1940-1223, BOSTON, MA 41 HILL, LILLIE MAE (v) d. 1985-1223, CLARKSDALE, MS 50 JAMES, CORNELIUS "PINOCCHIO" (v/BRADSHAW) b. 1927-1223, MACON, GA KING, B. J. (g) b. 1933-1223, MORGAN, FRANK (asax) b. 1933-1223, MINNEAPOLIS, MN NELSON, SONNY BOY [EUGENE POWELL] (g) b. 1908-1223, UTICA, MS ODOM, ANDREW "B. B." "VOICE" (v) d. 1991-1223, CHICAGO, IL 55 PHILLIPS, ESTHER (LITTLE ESTHER) (v) b. 1935-1223, GALVESTON, TX RECORD, EUGENE (lead/THE CHI-LITES) b. 1940-1223, CHICAGO, IL SIMS, HENRY "SON" (vln/CHARLEY PATTON) d. 1958-1223, MEMPHIS, TN 68 VANEATON, JIMMY (d) b. 1937-1223, MEMPHIS, TN WILLIAMS, ULYSSES KAE (dj) d. 1987-1223, PHILADELPHIA, PA 66 ------------------------------------------------------------------------------- ========================================================================= Date: Fri, 22 Dec 1995 11:02:05 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Holiday Greetings! Like many others, I'm going NOMAIL for a stretch of days and celebrating the end of the year and the holidays by not coming to work until January 2nd, 1996. I hope you all have peaceful, calm, magical, love-encrusted season. If anyone wants to talk to me during my absence, I can be reached via e-mail at home at SJOblues@aol.com. Otherwise, everyone behave yourself to the best of your ability, and I'll be back to annoy you in the new year. Happy, Happy Holidays!! Shannon ========================================================================= Date: Fri, 22 Dec 1995 11:47:41 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Seasons Greetings, All! Like many others, I'm taking a break -- I should be back on blues-l on December 28. Thanks to everyone who has made blues-l a great place to be this year -- even when I was frustrated or infuriated with some of the discussions, I always knew that there is no where else I'd rather be. Joy to everyone in this Winter Solstice season, however you may celebrate it. Love .... Ian Angus ========================================================================= Date: Fri, 22 Dec 1995 11:37:36 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Favs' from '95 Out of the albums that I've bought and ones that came into the radio station, here are some of my favorite issues and reissues from '95: 1. T-Bone Walker: The Complete Capitol/Black & White Recordings; Capitol 3 CD Set....Essential is an understatement. 2. Little Walter: Blues with a Feeling: MCA/Chess... 5 new gems, plus stuff that has never sounded this good. 3. George Smith: No Time for Jive: Columbia/Blue Horizon (Import)....Probably the most underrated influential bluesman (especially harp-blower). Great stuff done with Bacon Fat circa 1970. 4. Billy Branch: The Blues Keep Following Me Around: Verve/Gitanes...My favorite contemporary harpmaster...Traditional and modern at the same time (something Sugar Blue should learn when he's recording)...A lot of the credit for this album should also go to singer/guitarist Carl Weathersby. 5. Phillip Walker: Working Girl Blues; Black Top....The best in a line of fine albums from this underrated singer/guitarist...Classy mix of Texas, Louisiana & West Coast styles. Well chosen covers and well-written originals. 6. Jerry McCain: That's What They Want: The Best of Jerry McCain; AVI/Excello....At last, his Excello & demo tape stuff on CD...Amazingly raw and rockin' harp-driven blues & r&b, with some nice cheesy ballads thrown in the mix. 7. Carey Bell's Blues Harp; Delmark....Finally issued on disc. Carey's first album is a treat for Chicago harp lovers...Includes several bonus tracks as well...Love the chromatic stuff. 8. Lee McBee & The Passions: 44; Red Hot Records; Okay, I'm a sucker for traditionalist/revivalist-type stuff, but these guys do it as well as anyone...Great band, including A. Funderburgh & Kid Ramos on guitars...Yes! 9. Larry Garner: You Need to Live a Little; Verve/Gitanes...Probably the best contemporary blues songwriter gets his "major" label shot. His JSP albums might be better, but smart, witty songs & arrangements make this tough to pass up. 10. Smokey Wilson: 88th St. Blues; Blind Pig....Great reissue of Murray Bros. stuff done in early 80s w/Mighty Flyers...Smokey & the MFs...'nuff said. 11. Otis Spann: Down to Earth: The Bluesway Recordings; MCA....Some of Otis's best recordings...Great Chicago blues with expert backing from Muddy's (or Otis's <:) band. 12. Carey Bell: Deep Down; Alligator....Alligator's "Wall of Sound" production gets a little bit getting used to, but after that this is just solid Chicago harmonica blues... 13. John Lee Hooker: Chill Out; Pointblank...JLH's best in quite a while...No anchovies, no kitty litter, no subsonic frequencies, just the Hook with fewer friends this time...Less is more. 14. Lee "Shot" Williams: Sings Big Blues; Black Magic...Long-time Soul & Soul-blues vet. shows he's still got it...Expert backing band as well. 15. James Cotton: Best of the Verve Years; Verve...Good to see this stuff reissued. 60s blues & soul-blues from Chicago harpmaster...Hear what James sounded like when he had vocal chords left. 16. Albert Collins: Live '92/'93; Pointblank...Fine live set of Albert in top form...Makes you sad, though, that he had to leave us... 17. Johnny Dyer: Shake It!; Black Top...As I said, I'm a sucker for traditionalist stuff.... 18. Sonny Terry: Whoopin' the Blues; Capitol...Sonny's best "commercial" material. Some tough sides, including Brownie & Stick McGhee on guitar. 19. Leroy Carr: Hurry Down Sunshine; Indigo...Nice overview of hugely influential pre-war singer & piano player...Great guitar from Scrapper Blackwell...Sound good, too. 20. Otis Rush: So Many Roads: Live in Concert; Delmark...Otis is in solid form here...When Otis is in solid form, he's tough to beat. -P ========================================================================= Date: Fri, 22 Dec 1995 10:32:07 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: A game...black/white Comments: To: Conqueroot At 10:59 AM 12/22/95 -0500, Conqueroot wrote: >The only thing worse than a white boy playing the blues is one talking >about the blues. As Buddy Guy would say "please don't tell me 'bout the >blues". > > > Conqueroot > > Not to be obvious, but why are you here, then? David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Fri, 22 Dec 1995 16:47:37 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: A game...black/white Comments: To: bit-listserv-blues-l@uunet.uu.net In <4bekkp$cnn@newsbf02.news.aol.com>, Conqueroot writes: >The only thing worse than a white boy playing the blues is one talking >about the blues. As Buddy Guy would say "please don't tell me 'bout the >blues". You're trolling for flames, aren't you.... BBB - B.B. Bean bbbean@cris.com - ========================================================================= Date: Fri, 22 Dec 1995 12:13:44 -0500 Reply-To: "Abe W. Mathews" From: "Abe W. Mathews" Subject: Re: A game...black/white In-Reply-To: <4bekkp$cnn@newsbf02.news.aol.com> from "Conqueroot" at Dec 22, 95 10:59:21 am conqueroot@AOL.COM writes: > The only thing worse than a white boy playing the blues is one talking > about the blues. As Buddy Guy would say "please don't tell me 'bout the > blues". Wow! That's very understanding, kind, and polite of you! I only wish I had your decency and race-consciousness! And right before Christmas, too! And bringing in Buddy! Well, now. Has Buddy ever expressed a disdain for all white people? If so, please give me a direct quote. I would like to read that. Really, I would. All of this from an AOL user! Hard to believe! What, are your 10 free hours up soon? Thought you'd leave us a little flamewar for the holidays? Hope you've entertained yourself Abe awmathew@mtu.edu ========================================================================= Date: Fri, 22 Dec 1995 12:14:42 -0500 Reply-To: C2MXBOY@FRE.TOWSON.EDU From: Kevin Boyle Subject: Blues top ten 1995 & non-blues faves here's my 2cents not in any particular order Otis Rush So Many Roads Delmark Albert Collins Live '92-'93 Alligator Joe Louis Walker Blues of the Month Club Gitanes Eddie Taylor Long Way From Home Blind Pig Willie "Big Eyes" Smith Bag Full of Blues Blind Pig Jimmy Dawkins B Phur Real Ichiban Mighty Sam McClain Keep On Movin' audioquest Billy Boy Arnold Eldorado Cadillac Alligator James Harman Band Black & White Black Top Tom Principato In The Clouds Ichiban Jimmie Vaughan Strange Pleasure epic (O.K., so I can't count so good...) My Favorite purchases Albert Collins "Ice Pickin'" Alligator Hound Dog Taylor Beware Of The Dog Alligator Fred McDowell You Gotta Move Arhoolie Champion Jack Dupree Sings The Blues King Johnny Winter Serious Business Alligator And, since no one has named my Non-blues faves, here goes : Frank Zappa Jaco Pastorius King Crimson Michelle Shocked John Prine Leon Redbone Tom Waits Nat King Cole Louis Armstrong R. Carlos Nakai (Native American Flute Musician) Adrian Belew Pink Floyd I could go on for a longgg time, but I'll listen to anything with a good groove For what it's worth (Hello Mr. Soul), can't forget Neil can I? Happy Holidays Everyone!!! Kevin B. ========================================================================= Date: Fri, 22 Dec 1995 12:31:26 -0500 Reply-To: Joe From: Joe Subject: FAQs etc. Yesterday I posted about wanting a list of previous W.C. Handy award winners. After looking I HAVE IT. OOPS. Bob Vorel, publisher of Blues Review, was kind enough to put me in touch with the Blues Foundation and David Less (a great guy) sent me the list. Also I agree with Peter Gallaghers post about posting the FAQs for this group. I've been a subscriber for a while now, but don't have time to read it everyday and am not as well versed in the blues as many others. For these reason's I am reluctant to post. While I am posting, who are some little known or new electric blues guitarists like Melvin Taylor (who doesn't have the recognition he deserves)? See ya fellow zellers! Joe Milon I can't help about the shape I'm in, can't sing, I ain't pretty and my legs are thin, but don't ask me what I think of you. I might not give the answer that you want me to. Oh well.-P. Green ========================================================================= Date: Fri, 22 Dec 1995 17:48:56 GMT Reply-To: David Alan Hammel From: David Alan Hammel Organization: The University of Calgary Subject: Canadian Blues Bands Comments: To: bit-listserv-blues-l@uunet.uu.net I'd have to put my money on Big Sugar for the best in Canada--they work hard, tour everywhere, and sound phenomenal. Gord plays the guitar with an amazing heaviness and great sound. ========================================================================= Date: Fri, 22 Dec 1995 12:56:46 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: HOB on AOL (and Blues Revue too!) (Quote with minimal comment) >From America Online: "Experience the wonder of the House of Blues Online... your ultimate connection to the world of music and art. Particpate in live discussion with musical artists, exclusive contests, and HoB hosted events across the nation! Catch up on the latest blues news and reviews from Blues Revue Magazine and get the low-down on your favorite artists from our blues biography collection. If you work up an appetite visiting the dozens of web links we're showcasing, check out our Cajun-stye recipes and fun food facts, including a menu of House of Blues specialites. We've finished off this medly with an Outsider Art Gallery that will renew your faith in the American way." What was Deep Throat's advice to Woodward and Bernstein? Follow the money? Tom Freeland (having to REALLY RESTRAIN MYSELF to hold back comment on the last words of this one) ========================================================================= Date: Fri, 22 Dec 1995 13:14:43 -0500 Reply-To: "Abe W. Mathews" From: "Abe W. Mathews" Subject: Non-Blues Favorites Well, I suppose I can post mine. Now y'all have to promise not to laugh! In no particular order: Trip Shakespeare Stevie Ray Vaughan (The blues/not blues verdict's still out) John Pizzarelli Brian Setzer Santana Jellyfish Del Amitri Kenny Burrel Queensryche (yes, that's what I said) Wes Montgomery The Hellecasters ZZ top Abe awmathew@mtu.edu ========================================================================= Date: Fri, 22 Dec 1995 19:26:37 +0100 Reply-To: Peter Gallagher From: Peter Gallagher Subject: Re: Muddy Waters Question Comments: To: jpotting@PI.NET In-Reply-To: <4be927$a93@neptunus.pi.net> from "jos potting" at Dec 22, 95 12:41:43 pm Dag Jos :-) Indeed there are - and a few on the list, too! I don't know how long you're on th list, but if you do a web-search you can easily find the "official" Rory Gallagher web-page, too. (mail me if necessary - I posted it recently - don't have it to hand right now) Rory Gallagher got me into the blues too. While he didn't play _exclusively_ blues, he played a _lot_ of blues and I wish some more people on the list would do themselves a favour and buy either "Irish Tour 74" or "Live! in Europe" Strangely, the latter CD is slightly different as an American release and a really great track "in your town" is not on the American CD. A master of timimg, Rory could change the mood at the drop of a hat in a tune. I hope I'm not boring people with my endless rantings about RG, but he was one of the most energetic, whole-hearted, and at the same time _subtle_ guitarists I ever heard. Some people on the list have compared him to SRV, which IMHO is very unfair. RG often played very fast stuff but to my mind it was never "squash as many notes in there as possibel" of which Gary Moore has often been castigated.. (No offence to SRV or Gary Moore fans!) RG had a fluency which is very rare - his guitar playing always seemed to surprise but yet _fit_. As a feller-zeller once said "yeah - Rory scat-singing along to his play raised the hairs on my neck" (Was that you, Ron?). For many, the highlight of an RG concert was when he'd pick up that national and wham into some slide or picking or both. ANd that old battered strat sure bore some slide in it's day! Brrrrrrr.... hackles a-risin' ! :) I could go on and on and bore a lot of people even more , but dammit - RG was one of those few talented pople who could make a guitar TALK! best regards, PeterG "I'll admit you're gone when I think I'm able" -- RG > A lucky day, > There are more Gallagher fans in this world and on the Internet. > First time I heard of Rory Gallagher was when I was 15, sitting in my > bedroom listening to the radio, hearing a man singing "Going too my > hometown". I wanted to go with him! > > It was my first contact with the blues. > > I think you're right in your opinion of the London Session album of > Muddy Waters. I think the only album in that serie with some good > music on it is the sessionalbum of Howlin' Wolf. > > BTW thanks for the Rory-links > > JP > jpottting@PI.net > > *** "You shouldn't fly too high in your selfish mood > *** Because, you know, you're borned without a parachute!" > *** Supersister *** > > -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Fri, 22 Dec 1995 10:27:43 -0800 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Re: Who Owns the Elvis (NO BLUES CONTENT) Comments: To: rshurman@CCS.NSLSILUS.ORG Two things: 1. We had better start snapping up those velvet paintings of the dogs shooting pool. 2. The esteemed Mr. Shurman writes: >What does this do to Michael Jackson's plans for his next round of >plastic surgery? Joe comments: His wife already looks like Elvis cross dressing. How can anyone improve on that? If EPE should be suing anyone for diluting the image of the king, it should be the kid. Happy holidays, Joe ========================================================================= Date: Fri, 22 Dec 1995 13:23:38 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Yo! Leo SORRY TO POST THIS TO THE ENTIRE LIST, BUT IT'S THE ONLY WAY I CAN REACH LEO ASPIRAS LEO: PLEASE E-MAIL ME DIRECTIONS TO BENTZ STREET. SEE YOU TOMORROW NIGHT! Thanks, Ruth ========================================================================= Date: Fri, 22 Dec 1995 10:40:44 -0800 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Re: car turntables Chris writes: >Actually, I installed a regular turntable in my 57 Chevy. It made it a >little difficult on dates as the turntable took up the whole front >passengers side and the girl had to sit in the back. I guess that >explains a few things. I'll leave it to y'all to imagine This sounds like an easy way to get girls into the back seat, but I'll bet this thing skipped an awful lot. ;-) Joe ========================================================================= Date: Fri, 22 Dec 1995 13:23:07 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Non-Blues Favorites In no particular order: 1. Tom Waits (Yes, yes, yes!!!) 2. Dead Kennedy's 3. John Mellencamp 4. Van Morrison 5. 2-Pac Shakur 6. Dr Dre 7. George Clinton 8. Sonic Youth 9. Mojo Nixon 10. Red Hot Chilli Papers 11. Los Lobos 12. Drovers ... and many more... Ranko ps. I like Queensryche too, Abe! ========================================================================= Date: Fri, 22 Dec 1995 14:28:59 -0500 Reply-To: ar550@freenet.carleton.ca From: Patrick Beaudry Subject: Happy Holidays to all Happy holidays to all bluezellers. Thanks for a great year of info and stimulating (and not so stimulating) "debate". -- If you don't like the blues, you've got a hole in your soul... PAT BEAUDRY'S MIDWEEK BLUES / CHUO-FM89.1 / WEDNESDAYS AT 8 p.m. Ottawa, Ontario, Canada ========================================================================= Date: Fri, 22 Dec 1995 13:38:33 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Re: car turntables > This sounds like an easy way to get girls into the back seat, but > I'll bet this thing skipped an awful lot. ;-) > > Joe > Just wondering... What thing did you acteally have in mind Joe??? Worried Life Bluesman ========================================================================= Date: Fri, 22 Dec 1995 11:32:41 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: BLUES DATE : 1995 DEATHS Comments: To: BluesHvn@aol.com HAWKINS, TED (g/songw) d. 1995-0101, LOS ANGELES, CA 58 DUNCAN, AL (d/songw/CHESS REC) d. 1995-0103, LAS VEGAS, NV 67 GEORGE, CASSIETTA BAKER (of THE CARAVANS) d. 1995-0103, LOS ANGELES, CA 65 CLAY, JAMES (tsax) d. 1995-0106, DALLAS, TX 59 MCELROY, SOLLIE (lead/FLAMINGOS/MOROCCOS) d. 1995-0114, CHICAGO, IL 61 BASKERVILLE, CHARLES(of SHEP & LIMELITES) d. 1995-0118, NEW YORK CITY, NY 54 JAMES, GEORGE (tsax/CLYDE BERNHARDT) d. 1995-0130, COLUMBUS, OH 88 FODDRELL, TURNER (g/SWINGMASTER REC) d. 1995-0203, BLACKSBURG, VA 66 MAYWEATHER, GEORGE "EARRING" (hca/HUTTO) d. 1995-0212, BOSTON, MA 67 CORDELL, DENNY (prod/owner: SHELTER REC) d. 1995-0218, DUBLIN, IRELAND 51 WILLIAMS, EDDIE(b/JOHNNY MOORE/3 BLAZERS) d. 1995-0218, LOS ANGELES, CA 82 FRANKLIN, MELVIN (bass v/THE TEMPTATIONS) d. 1995-0223, LOS ANGELES, CA 52 JOHNSON, WILLIE (g/HOWLIN' WOLF) d. 1995-0226, CHICAGO, IL 71 WILSON, DELROY (v) d. 1995-0306, KINGSTON, JAMAICA 46 SUNNYLAND SLIM [ALBERT LUANDREW] (p) d. 1995-0317, CHICAGO, IL 87 DRAIN, CHARLES (v/THE TABS) d. 1995-0318, ST. LOUIS, MO 55 RAMSEY, FREDERIC JR.(prod/author/FOLKWAYS d. 1995-0318, PATERSON, NJ 80 INGRAM, RIPLEY L. (of THE FIVE KEYS) d. 1995-0323, NEWPORT NEWS, VA 65 LONG, JOEY (g) d. 1995-0324, HOUSTON, TX 63 CLAXTON, ROZELLE (p/arr/ERNIE FIELDS) d. 1995-0330, LAKE FOREST, IL 82 ROTHCHILD, PAUL (prod/BUTTERFIELD/JOPLIN) d. 1995-0330, LOS ANGELES, CA 59 CAMPBELL, MIFF (g/RIFF BROS/INK SPOTS) d. 1995-0402, INDIANAPOLIS, IN 89 MADISON, JOE (o/p) d. 1995-0402,?NIAGARA FALLS, NY 55 HEMPHILL, JULIUS (sax) b. 1995-0402, NEW YORK CITY, NY DICKINSON, KARL (g/UNCLE BONES BAND) d. 1995-0405, CLINTON, IO 44 FRECHE, EDWARD J. (g/NEVILLE BROTHERS) d. 1995-0406, NEW ORLEANS, LA 47 FLYING BLACK EAGLE (ANDREW LOGAN) (hca) d. 1995-0411, HUGHES, AR 74 TURNER, DANNY (asax/tsax) d. 1995-0414, NEW YORK CITY, NY 75 WHITAKER,HERBERT"KING"(tsax/FRANK MOTLEY) d. 1995-0419, TORONTO, ONTARIO 65 PULLEN, DON (p) d. 1995-0422, EAST ORANGE, NJ 53 LONESOME SUNDOWN [CORNELIUS GREEN] (g) d. 1995-0423, GONZALES, LA 66 HUNT, VAN ZULA CARTER (v/NOAH LEWIS) d. 1995-0504, MEMPHIS, TN 93 PAUL, CLARENCE (arr/prod/songw/MOTOWN) d. 1995-0506, LOS ANGELES, CA 67 TRUSS, LEONARD "RED" (v/THE STEELERS) d. 1995-0506, CHICAGO, IL 48 ROYAL, MARSHALL (asax) d. 1995-0509, LOS ANGELES, CA 82 PIMVILLE, DAMBUZA(lead/MANHATTAN BROTHERS)d. 1995-0517, SOUTH AFRICA 72 BURBANK, CHARLES (tsax/DAVE BARTHOLOMEW) d. 1995-0604, NEW ORLEANS, LA 67 WATKINS, LOVELACE (v) d. 1995-0611, LAS VEGAS, NV 57 GALLAGHER, RORY (g) d. 1995-0614, LONDON, UK 47 CAMRAS,MARVIN(FATHER OF MAGNETIC RECORDINGd. 1995-0623, GLENCOE, IL 79 GARDNER, SAMMY (1st DELMARK REC artist) d. 1995-0623, PENSACOLA, FL 69 KENNETH, PREZ "KIDD" (g) d. 1995-0627, CHICAGO, IL 61 HYMAN, PHYLISS (v) d. 1995-0630, NEW YORK CITY, NY 44 WOLFMAN JACK [ROBERT WESTON SMITH] (dj) d. 1995-0701, BELVIDERE, NC 57 SEXTON, BRAD LEE(b/LIT'CHARLIE/NIGHTCATS) d. 1995-0703, NEW PALTZ, NY 47 WOODRUFF,BILL(of SENSATIONAL NIGHTINGALES)d. 1995-0715, NEWCASTLE, DE 66 CLARK, DAVE (promoter/songw/MALACO REC) d. 1995-0722, MADISON, MS 86 KEYES, JIMMY (of THE CHORDS) d. 1995-0722, NEW YORK CITY, NY 65 MCDANIEL, FLOYD (g/DELMARK REC) d. 1995-0723, CHICAGO, IL 80 RICH, CHARLIE (p/songw) d. 1995-0725, HAMMOND, LA 62 AKERS, DORIS (v/gospel songw) d. 1995-0726, MINNEAPOLIS, MN 72 HINTON, EDWARD CRAIG "EDDIE" (g/p/songw) d. 1995-0728, BIRMINGHAM, AL 51 FONTENOT, CANRAY (vln/zydeco) d. 1995-0729, WELSH, LA 72 TALLEY, ROBERT L. "BOB" (p) d. 1995-0801, MEMPHIS, TN 75 FIELDS, CARL DONNELL "KANSAS" (d) b. 1995-0803, CHICAGO, IL 79 GARCIA, JERRY (g/GRATEFUL DEAD) d. 1995-0809, FOREST KNOLLS, CA 53 THOMAS, JESSE "BABYFACE" (g/songw) d. 1995-0813, SHREVEPORT, LA 84 BOWSER, ERBIE (p/T.D. BELL) d. 1995-0815, AUSTIN, TX 77 DEBARGE, ROBERT "BOBBY" (lead/THE SWITCH) d. 1995-0816, MANSFIELD, OH 39 DAVIS, BILL "WILD" (o/p/arr/LOUIS JORDAN) d. 1995-0817, MOORESTOWN, NJ 77 FOSTER, PAUL (co-lead/THE SOUL STIRRERS) d. 1995-0820, SHREVEPORT, LA 75 HUDMON, R. B. (v/ATLANTIC REC) d. 1995-0825, WEST POINT, GA 41 WHITE, RONNIE (of THE MIRACLES/MOTOWN) d. 1995-0826, DETROIT, MI 57 IRWIN, BIG DEE (songw/prod/PASTELS) d. 1995-0827, LAS VEGAS, NV 63 JARRETT, JAMES "PIGMEAT" (p) d. 1995-0905, CINCINNATI, OH 95 MITCHELL, LONNIE (acc/zydeco) d. 1995-0918, HOUSTON, TX 69 MR. BO [LOUIS BO COLLINS] (g) d. 1995-0919, DETROIT, MI 63 TOWNSEND, VERNELL (v/MRS. HENRY TOWNSEND) d. 1995-0921, ST. LOUIS, MO 64 LAURY, BOOKER T. (LAWRENCE LAURY) (p) d. 1995-0923, MEMPHIS, TN 81 JOHNSON, ALLEN (of THE MARCELS) d. 1995-0928, PITTSBURG, PA 55 ELLIS, SEGER PILLOT (p/MILLS BROS) d. 1995-0929, HOUSTON, TX 91 II, DAVID (sax/HIGHTONE REC) d. 1995-1001? CA -- MORGAN, WALTER "CRASH " (d/BIG SUGAR) d. 1995-1006, WATERLOO, IA 35 RASBERRY, RAYMOND (p/RASBERRY SINGERS) d. 1995-1020, LOS ANGELES, CA 65 ACORN, LOUIS (d/BOBBY PATTERSON) d. 1995-1029, SHREVEPORT, LA -- DR. HEPCAT [LAVADA DURST] (p) d. 1995-1031, AUSTIN, TX 82 LAMBERT, LLOYD (b/GUITAR SLIM/SPECIALTY) d. 1995-1031, NEW ORLEANS, LA 67 LEVY, LOU (founder: LEEDS MUSIC) d. 1995-1031, MANHATTAN, NY 84 GREENBERG, FLORENCE (founder: SCEPTER REC)d. 1995-1102, HACKENSACK, NJ 82 DANIELS, JERRY (g/INK SPOTS/BLUEBIRD REC) d. 1995-1107, INDIANAPOLIS, MN 79 JONES, JIMMY (b/PEGGY SCOTT-JOJO BENSON) d. 1995-1107, TEXAS CITY, TX 52 WHITE, MELVIN "SLAPPY" (mc/comedy) d. 1995-1107, BRIGANTINE, NJ 74 BERGERON, SHIRLEY (g/songw/LANOR REC) d. 1995-1119, CHURCH POINT, LA 62 SAM, AMBROSE (acc/zydeco) d. 1995-1122, LAWTELL, LA 76 WALKER, JR. [AUTREY DEWATT II](ts/MOTOWN) d. 1995-1123, BATTLE CREEK, MI 64 THIBODEAUX, AMBROSE (cajun) d. 1995-1125c LAFAYETTE, LA 92 ROBINSON, DARREN (v/FAT BOYS) d. 1995-1210, ROSEDALE, NY 28 SHELTON, ROBERT (critic) d. 1995-1211, BRIGHTON, UK 69 ========================================================================= Date: Fri, 22 Dec 1995 15:31:06 -0500 Reply-To: Mike Coch From: Mike Coch Subject: "Been wearin' my 44 so long" FAQ Greetings Im brand new to this list and to a good deal of the blues. Question: Van Morrison uses a Howlin' Wolf line "Been wearin' my 44 so long it makes my shoulders sore" on a recent live CD. It's been brought to my attention that the line goes back to an earlier works that Howlin' is referring to. Does anyone know the original source of the line? ========================================================================= Date: Fri, 22 Dec 1995 11:56:00 -0600 Reply-To: "timothy (t.b.) bosley" From: "timothy (t.b.) bosley" Subject: Re: Favs' from '95 In message "Favs' from '95", it was written: > >Out of the albums that I've bought and ones that came into the >radio station, here are some of my favorite issues and reissues >from '95: > >1. T-Bone Walker: The Complete Capitol/Black & White >Recordings; Capitol 3 CD Set....Essential is an understatement. > I've so far been reluctant to pick this one up. Two reasons: the arrangement and the packaging. I hate when a disc is laid out with the alternate takes immediately following the released takes (especially when there are so many of them). And I never liked the packaging. What in the world was Capitol thinking? Packaging aside, the Lil' Son Jackson is superb (even with the drop-out), though. ========================================================================= Date: Fri, 22 Dec 1995 16:25:42 -0500 Reply-To: BAJammin From: BAJammin Organization: America Online, Inc. (1-800-827-6364) Subject: Re: guitars Comments: To: bit-listserv-blues-l@uunet.uu.net I found a 1912 Gibson arch-top oval sound hole. Solid black, beautiful. It played great. Loud. The neck was wide and had the ''V' shape instead of rounded in the palm. I loved it! I borrowed it. I wanted to throw money. Alas, maturity beckons. My trusted excellent guitar repairman, Jay Darmstadter, said the seperation of the back from the sides was not repairable for any kind of a reasonable price and if I wanted to spend that kind of money why not commission a new copy of that guitar or a custom guitar to my own specs? Then I'd REALLY have a great guitar. c| 8< ) Right now I play a '53 Gibson 3/4 size flatop. Also a great guitar but I really love that bigger neck on the 1912. Oh yea blues content. It LOOKS like Big Bill's 1916 Concert Grand without the scrolls. I played Guitar Rag, From 4 Till Late, Long Tall Mama, Candy man Blues ( Mississippi John Hurt version), Mapleleaf Rag, Midnight Call Blues, Police Dog Blues, and others for days before I gave it back. Thanks. I feel better now. Billy A ========================================================================= Date: Fri, 22 Dec 1995 16:26:55 -0500 Reply-To: BAJammin From: BAJammin Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Gearheads and Musical Skills Comments: To: bit-listserv-blues-l@uunet.uu.net In article <19951207.131909.728017.NETNEWS@AUVM.AMERICAN.EDU>, Don Cicchetti writes: > I neglected what I really needed to work on, which is >finishing my tunes, learning to write lyrics, and learning to sing. Now I >am in hell trying to burnish long dormant skills so all this killer gear >will mean something! >Also, I've noticed that an awful lot of gearheads go real quiet when you >change the subject to any of the following: > >*theory > >*composition > >*arranging > >*vocal skills > >*lyric writing > > > More power to you Don. I just walked away from a 1912 Gibson archtop that I felt very passionate about. You know, it's alot less expensive to just work on the music than to be obsessing with gear all the time. :-) Bill Adams ========================================================================= Date: Fri, 22 Dec 1995 16:26:39 -0500 Reply-To: BAJammin From: BAJammin Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Job Interview Question (blues content) Comments: To: bit-listserv-blues-l@uunet.uu.net I HAVE heard that musicians do well in technical jobs from a personnel manager who gave a talk in a class I took once. Writing computer programs and arranging or composing music have a lot in common. Plus look at all the technical fun we have keeping all our snacky equipment alive gig after gig on a musicians budget..c|8<) BA PS This comment leaves the door wide open to arguements on the value of music theory. ========================================================================= Date: Fri, 22 Dec 1995 16:44:03 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: BLUES DATE : 1995 DEATHS Comments: To: Eric LeBlanc-CISTI In-Reply-To: <9512221932.AA08208@dao.nrc.ca> Wow...how sad...so many gone...as the first and second generation blues folks just keep getting older...perhaps next year's list will be even longer... My advice...catch them live while you can... Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" :) ========================================================================= Date: Fri, 22 Dec 1995 16:19:05 -0600 Reply-To: William A Morgan From: William A Morgan Subject: later blues kids I also am signing off until December 30 or so. I'm headed for Memphis tomorrow. Guess I'd better finish my Christmas shopping. Hope your holidays are full of the blues (the musical kind) and free of the blues (the hurtin' kind). Bill Morgan ========================================================================= Date: Sat, 23 Dec 1995 01:37:41 GMT Reply-To: Dave Gotwisner From: Dave Gotwisner Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: Hanukah Blues? In article <199512192228.QAA24698@thymaster.interaccess.com>, David Silberberg wrote: >Not a Chanukah song, but didn't the Ravens (or some other Black vocal group >in the late forties / early fifties) record a song called "Mazel"? Yes they did. I have it on a Savoy reissue (LP, not CD). From memory, I made the same assumption that Mazel relates to Mazel Tov. It doesn't. I don't remember the lyrics that well, but I doubt it had anything to do with Mazel being a yiddish word. -- "I am an invisible man. No, I am not a spook like those who haunted Edgar Allan Poe; nor am I one of your Hollywood-movie ectoplasms. I am a man of substance, of flesh and bone, fiber and liquids -- and I might even be said to possess a mind. I am invisible, understand, simply because people refuse to see me. Like the bodiless heads you see sometimes in circus sideshows, it is as though I have been surrounded by mirrors of hard, distorting glass. When they approach me they see only my surroundings, themselves, or figments of their imagination -- indeed, everything and anything except me." -- Ralph Ellison (from the Invisible Man) ========================================================================= Date: Fri, 22 Dec 1995 18:03:48 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Fwd: KR&G Am fowarding to the list the attached letter to me, only slightly edited, from Tony Glover of Koerner, Ray & Glover, which will answer previous posts re "what they're doing now" far better than I did! Mary Katherine ---- Begin Forwarded Message Hi just saw the BLUES-L exchange on Blues Rags& Hollers, where you mentioned that we're all alive and Koerner is most active... not quite true, tho John may be the most geographically visible. Dave & I have been playing a regular Thurs night gig at local bistro called Times Bar & Cafe (11th & Nicollet Mall) for FIVE years now (a land world record for on-going gig for us). Dave has just released on his own Big Wagon label a new cd called WHAT WAS THE QUESTION, featuring Three Bedroom Ramblers, a trio consisting of him on guitar and vocals, John Beach on keys and vocals with a drummer. They play blues, and New Orleans style jump-funk stuff, and work frequent weekend gigs. Dave also plays guitar on Tues with the Beach Blackburn band, a jazz-blues combo. We are planning another duo album for early-mid '96, and Im working on a solo track for a Patti Smith Tribute album in the works. John has just done some recording with horns in New Orleans, some original material for a spring album release. Warners has pulled plug on further Red House trio reissues. claiming they want to reserve material for future comps...ummm. yeah, I'm sure-- happy holidaze-- Tony Glover nadle001@gold.tc.umn.edu ========================================================================= Date: Sat, 23 Dec 1995 02:27:55 GMT Reply-To: David Goldstein From: David Goldstein Organization: IPOF Subject: Re: The Billboard Chart saga Comments: To: bit-listserv-blues-l@uunet.uu.net Mary Katherine Aldin wrote: >Why have I not posted this week's Billboard Blues chart as usual? >Because there's been some kind of distribution snafu here in Hollywood >(of all places for it to go haywire!) and *none* of the local >newsstands ever got their delivery of the magazine on Satrday, nor did >it turn up today (Sunday). As it turns out, the winter solstice, combined with the last of the uncooked furball pizzas, released an emanation that froze all the drive shafts of the magazine trucks while unleashing a snowstorm in the NY area and a miild earthquake in S.F. It makes me quite blue... Anyone that is going to get to see Johnny Copeland on Dec 30 in NYC has my undying envy. It makes me blue too... ========================================================================= Date: Fri, 22 Dec 1995 18:58:17 GMT Reply-To: Dave_J._Herda@infozone.telluride.co.us From: "Dave J. Herda" Organization: InfoZone Telluride Co (970)-728-0472 Subject: Re: Query to list re: BILLBOARD'S_BLUES_LISTING!! Comments: To: mkaldin@IX.NETCOM.COM If the Billboard Blues Chart is actually now available at this site (but it can't be updated *weekly*, since the chart is only published once every two weeks), shall I *stop* posting the chart to blues-l, figuring that those who are interested in seeing it will go get it when they want to, or shall I *continue* to post them? Majority rules, as my children used to say when they were little. Please keep posting them. There are plenty of us out here who don't have WWW access and really appreciate the information. Thanks Peace--D "Keep on playin those blues" ========================================================================= Date: Fri, 22 Dec 1995 19:12:18 -0500 Reply-To: Stan Ruffo From: Stan Ruffo Subject: Re: Playlists Comments: To: Bonnie Kalmbach Bonnie, I produce and host "Blues On Tap" in Visalia, CA on Sunday nights. Do you think the majority of the list members are interested in posts of blues program's playlists? If so, I would be happy to make a contribution. Stan -------- REPLY, Original message follows -------- Date: Thursday, 21-Dec-95 02:49 PM From: Bonnie Kalmbach \ Internet: (kalmbach@macc.wisc.edu) To: Multiple recipients of list BLUES-L \ Internet: (blues-l@brownvm.brown. edu) Subject: Playlists When people put radio playlists on Blues-L, could they if possible list the tunes in the *order* that they played them. I think how the tunes are arranged and segued is very important and the show is improved that much more. It doesn't always have to be by creating a theme - I rarely do because sometimes it takes away from the actual impression made by the music itself: the listener is perhaps unconsciously waiting for the next clever item on the list. But a deejay can work very creatively by placing succeeding cuts by: tempo, instrumentation, overall musical mood, as well as by content of lyrics and titles of tracks. As a matter of fact, you can take the same tracks and have two different people arrange them, or one arrange them and one just plays tunes as the mood strikes, and leave two very different impressions in listeners minds. -Bonnie -------- REPLY, End of original message -------- -- HAPPY HOLIDAYS from "Blues On Tap" KIOO Visalia, CA steamin@valleynet.com (209) 625-6049 http://www.valleynet.com/~steamin ========================================================================= Date: Fri, 22 Dec 1995 12:34:30 PDT Reply-To: us002838@INTERRAMP.COM From: us002838@INTERRAMP.COM Organization: PSI Public Usenet Link Subject: The Hem of the Garment (very long) Comments: To: bit-listserv-blues-l@uunet.uu.net The Hem of the Garment - Arne Brogger This post is un-provoked and is in response only to what I have observed during my "lurking" on this fine list. Some of you know me, most of you don't. So, for the latter, a small bit of background. I spent some 16 years an agent in the music business. During that time I represented a broad range of talent ranging from comedians to heavy metal artists, to virtually everything in between. I had the privilege to find, and help break, artists such as Suzanne Vega, Mary Chapin Carpenter, Megadeth and others. However, the accomplishment nearest and dearest, was my association with the Memphis Blues Caravan, which I helped co-found and proudly represented during its 9 year lifetime. The Caravan consisted of Furry Lewis, Bukka White, Hammy Nixon & Sleepy John Estes, Memphis Piano Red (John Williams), Joe Willie Wilkins and Huston Stackhouse & band, Memphis Ma Rainey, Sam Chatmon, Mose Vinson and others. In reading the many fine posts on this list, I have been struck by what seems to be an "age- based" perception of exactly who and what we are dealing with here. Speaking from the heights of 52 years (what happened...I must have blinked) I would like to imbue a bit of reality to what is treated on this list (in many respects, rightfully so) as an "Art Form". But the problem with The Art Form is that it makes abstract the subject (the artists who created this thing that we love), places them and their music in the petri dish of cold investigation, and ignores the ultimate humanity of both the artist and his work. These were guys who, for the most part, put their pants on one leg at a time, had the same needs and desires and hopes and dreams as any musician performing today and who were, in many cases, potentially dangerous men. The performing blues fraternity were not a bunch of choir boys, by any estimation. One need only look at the facial scars, the prison records and the weapons carried in pockets and boots, to know that this was no static group of Artistic Purveyors of a musical genre. These were people who LIVED life, often not too wisely, but with passion and joy. And while they did this, they made their living as performing musicians. Who happened to be performing the Blues. I would guess that if the members of the Caravan were in their teens or twenty's today, they would be stretching the envelope of Rap, Soul, Hip Hop and Pop. Blues was what they played, because Blues was what they knew. It found them, they didn't find it. What they did with it after they found it is what concerns us on this list. Granted that the opportunities afforded these artists were not by any means broad and that they had to fight against obstacles which we can only dimly appreciate. But, given the choice of being a Great Blues Musician or being a Famous and Rich Popular Artist, I am sure the latter would hold the most appeal. They were denied that choice. Therefore, given their vast talent, they became the former. Some time ago, I wrote some reminiscences of my years with the Caravan which were made available by Curtis Hewston on his excellent Blue Highway web site. I received an email from an old friend who had read the piece, and he said he found it interesting that my perspective was that of "wishing to touch the hem of the garment" while the musicians were just playing gigs. He had a good point. I think it is important to understand that playing the blues, like it or not, was a business. It was a business which afforded many perks and rewards. Many of these rewards were artistic, many were not. And those which were not fell, for the most part, in the "money for nothin' and the girls for free"category. As Muddy Waters once said to me regarding his choice of career "I made a lot more money driving a guitar than I ever did driving a tractor". And it also afforded the said Muddy the opportunity to explore and expose the soul of his talent in a way that operating a machine never could. Being who he was, he probably could not have done anything else. Being a performer also delivered a sense of satisfaction which one could never achieve through sitting on a tractor. To wit, standing back stage at the Kennedy Center after Muddy had performed to a sold out "boiled shirt" house full of Washington Gliteratti, I had the good fortune to overhear an aside from him spoken to no one in particular. The audience was going nuts. Uncharacteristically nuts, given who they were and how they were dressed. Muddy, gazing into the middle distance from the wings and listening to the roar, simply said "well... I guess I ripped them motherfuckers a new asshole". Being a Great Blues Musician had its rewards. So, where is this long (overly??) harangue going? I have noted the black vs white debates, the "this list is too elitist", the flames at "newbees" who have the temerity to ask the Stupid Question, to which I say this: What these guys did was perform for the enjoyment of their audience. If Art Happened along the way, so much the better. But reverence and awe were never a part of any performance they gave. People shouted and danced and expressed themselves. They applauded because of the unique ability of these artists to speak the secrets and truths felt by their audience. They gave voice, in a special and unique way, to the feelings shared by those who heard them. And they didn't care if that audience was black or white. The fact that the audience related to the truth and poetry of what they played, and how they played it, was what was important. There seems to be a lot of energy spent on discussions of "right and wrong" in the appreciation of this music and the artists who performed it. Com'on...It's saturday night, we just got paid. If the music sends AND moves us, great. But let's remember, it's the music, stupid. Arne Brogger us002838@interramp.com ========================================================================= Date: Sat, 23 Dec 1995 12:19:31 +0000 Reply-To: Roadrunner Tour Management From: Roadrunner Tour Management Subject: R.T.M. R.T.M. wishes all you BLUSE-L/overs merry X-mas and a happy new year!!! "R O A D R U N N E R T O U R M A N A G E M E N T" <<<< KEEPING THE BLUES ALIVE >>>> 141 Tirellan Heights Galway / Ireland Tel.&Fax: +353 95 35976 Mobile: +353 88 619758 E-Mail: roadrun@iol.ie http://www.iol.ie/~roadrun/index.html ========================================================================= Date: Sat, 23 Dec 1995 09:09:42 -0500 Reply-To: Bob vanArsdall From: Bob vanArsdall Subject: Re: Fwd: KR&G Mary Katherine relayed from Tony Glover: > Dave >& I have been playing a regular Thurs night gig at local bistro called >Times Bar & Cafe (11th & Nicollet Mall) for FIVE years now (a land >world record for on-going gig for us). Dave has just released on his >own Big Wagon label a new cd called WHAT WAS THE QUESTION, featuring Mary Katherine: Tony's post doesn't tell us what city is "local" for him. I'd love to be able to catch him and Dave Ray if I'm travelling through. But travelling through where? Minneapolis? Bob ========================================================================= Date: Sat, 23 Dec 1995 15:50:56 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Credits plea Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199512220354.VAA15148@nfinity.nfinity.com> Craig Edmundson writes: >Subject: Credits plea >Today I purchased the Albert Collins re-issue, "The Complete Imperial >Recordings." Immediately upon arriving home, both discs went into the CD >changer. Soon I felt compelled to learn more about the sidemen on the >recordings (especially the organist and horn section.) I checked Blues Records 1943-70, Vol. 1 thinking I'd be able to help you out here. Unfortunately they list his backing group as the frequently used blues sidemen, "Unknown". Art Schuna ========================================================================= Date: Sat, 23 Dec 1995 11:29:55 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: The Blue Highway Screen Saver I've made available for downloading a shareware screen saver (for Windows and Windows 95) called SlideShow 4.2. It displays images off your hard drive and comes with a lot of neat features. I've also zipped up 54 choice and original jpegs from my trip to New Orleans and the Delta last August. (Most of these you may have seen on The Delta Log, but 20 of them are new.) You'll need to register the screen saver with CMB Software ($14), but for every registration that comes from The Blue Highway, I get $2, which I'll donate to the Delta Blues Museum in Clarksdale. You can read all the details in a new area of The Blue Highway called "The Gutbucket": http://www.vivanet.com/~blues/gutbuck.html Enjoy. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Sat, 23 Dec 1995 16:32:39 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Picks of '95 Comments: To: bit-listserv-blues-l@uunet.uu.net Now that everyone's left the list for the Holiday, I thought it would be a good time to post this. After all, what else do you have to read here? Carey Bell - Heartaches & Pain (Delmark) - this has been the Year of Carey Bell what with an Alligator and 2 Delmark releases. That makes it a tough call to pick one, but I give a slight edge to this, his latest Delmark. Once you've tried this though, you'll probably go out and find the other two. Albert Collins - Live '92/'93 (Pointblank) - I would call this one Blues Disc of the Year. Need I say more? Memphis Willie B - I discovered MWB this year when I came across a used LP of "Introducing Memphis Willie B" for $5 on the Original Blues Classics ( Prestige/Bluesville) label. I was immediately impressed by this country style guitar/harmonica/vocalist one man show. I've since found that both this and his only other release, "Hard Working Man Blues" are now available on CD. James Carr - The Essential James Carr (Razor & Tie) - Hey, it's essential, what can I say? Magic Sam - Black Magic (Delmark) - I finally got around to getting this release this year when it was re-issued on CD. It made me seriously wonder why I waited so long. Percy Strother- Highway is My Home (Black Magic) - great vocals, great backing band. I've missed him live twice now in Madison, but vow to make it the next time he's in town. Lee Shot Williams - Cold Shot (Black Magic) - Another blues artist who deserves much wider recognition. I've posted here before about him so won't bore you with the details. Lil' Son Jackson - Complete Imperial Recordings (Capitol) - I could have done as well with maybe a little less than the "Complete", but hey, I'm greedy! T-Bone Walker - Capitol 3 disc set - sorry, I don't have the title, since I didn't buy this as I owned the Mosaic box which has all of these tunes. Since I know what's on it, if you don't own these tunes your blues collection has a serious deficiency. Tutu Jones - I'm For Real (JSP) - a great debut release by Tutu who has a terrific voice and knows his way around a guitar. I've been searching in vain for months for his guest appearance on the U.P. Wilson Wolf disc, which might have made this list if I'd found it. Little Walter - Blues With a Feeling - Collects some of the rarer LW sides. Better sound than the Charly box that has these and 5-6 tunes not in the Charly. I'll admit it, I own both. Larry Garner - You Need to Live a Little (verve) and Too Blues (JSP). Check these out, you won't be disappointed. Finally - the Testament reissue series - especially Robert Nighthawk/Houston Stackhouse, Otis Spann, Johnny Shines and Johnny Young. Well I've gone well beyond the 10 I thought I was going to list but it's been a great year for the blues and picking just a few becomes impossible. Happy Holidays to one and all and best wishes for the coming year. Art Schuna ========================================================================= Date: Sat, 23 Dec 1995 09:14:14 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Fwd: KR&G Comments: To: Bob vanArsdall You wrote: > >Mary Katherine relayed from Tony Glover: > >> Dave>& I have been playing a regular Thurs night gig at local bistro called>>Times Bar & Cafe (11th & Nicollet Mall) for FIVE years now (a land>>world record for on-going gig for us). Dave has just released on his>>own Big Wagon label a new cd called WHAT WAS THE QUESTION, featuring> >Mary Katherine: Tony's post doesn't tell us what city is "local" for him.>I'd love to be able to catch him and Dave Ray if I'm travelling through.>But travelling through where? Minneapolis? Bob: Would you believe I don't know? Tony, you monitoring this list? Come out, and let folks know *where* they can hear you! Avctually I realized the same thing when I read his post, but went ahead and forwarded it to the list anyway for the content. Come on Tony, where y'at? Mary Katherine ========================================================================= Date: Sat, 23 Dec 1995 09:32:57 -0800 Reply-To: James Carmin From: James Carmin Subject: SONNY BOY's Holiday's Greetings! As Sonny Boy Williamson was telling us on SANTA CLAUS: My baby was shopping yesterday, Said I'm going to buy what you need for Santy Claus. My baby was shopping yesterday, Said I'm going to buy what you need for Santy Claus. I'm going to take mine with me, but I'll leave yours in my dresser drawer. So that start me a ramblin', Lookin' in all of my baby dresser drawer. Whoa, that started me a ramblin', Lookin' all in my baby's dresser drawers. Tryin' to find out, what did she bought me for Santy Claus. When I pulled out the bottom dresser drawer, The landlady got mad and called the law. When I pulled out the bottom dresser drawer, The landlady got mad and called the law. I'm just tryin' to find, what did she bought me for Santy Claus. The police walked in and caught me on the shoulder, "What you doin' with your hand in that woman's dresser drawer?" I handed the police a letter my baby wrote me, Showing where should I find my Santy Claus. I just kept on pullin' out all of my baby's dresser drawer. I walked out with the police and the landlady, Said looked like the man done pulled out all the lady's dresser drawer. I walked out with the police and the landlady, lordy Said looked like the man done pulled out all the lady's dresser drawer. But he shouts out I got the letter to show the judge, The boy just tryin' to find his Santy Claus. (rec. April 1960, originally released on BUMMER ROAD [Chess 1536], but rereleased on the great BLUE YULE [Rhino R2 70568]). Happy Holiday's y'all! James C. jcarmin@teleport.com ========================================================================= Date: Sat, 23 Dec 1995 11:25:53 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: Re: car turntables (tesxt deleted) >Man... no bullshit..I actually had an under the dash 45 record player back >in the 60's. they mounted spring loaded upside down and you tuned them in on >your AM radio. Somewhat like later FM tuners. Drove people nuts when they >pulled up along side of you and asked,"Hey, what station is that on?" > bandana@fast.net is Ted Dames AKA A. Pepperhead owner/sauce maker and > resident bon vivant at: > Bandana's Serious Pepper Products located in sub-tropical Southeast PA. I also had a turntable in an old 62 Lincoln that I owned in the early seventies. The weird thing was that it was located in the shelf space in the rear window deck. Worked like a charm though even on bumpy country roads. It was the shits to change when you were driving though! (yes, I tried to do it on more than one occassion!!) Thanx for the memories.... Gary ........ Gary Constantine >> gconstan@ccinet.ab.ca << If hard work were such a wonderful thing, surely the rich would have kept it for themselves. ========================================================================= Date: Sat, 23 Dec 1995 11:25:58 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: Xmas Greetings It's been a great year for Blues-L and it's made life a lot nicer for me . I've corresponded with a lot of you and have been helped by even more. Have a great Christmas people . All the best in 96!!! Gary ........... Gary Constantine >> gconstan@ccinet.ab.ca << If hard work were such a wonderful thing, surely the rich would have kept it for themselves. ========================================================================= Date: Sat, 23 Dec 1995 13:39:11 -0500 Reply-To: 00LCSPECTOR@BSUVC.BSU.EDU From: "Lee C. Spector" <00lcspector@BSUVC.BSU.EDU> Subject: favs Two comments: 1. I'm surprised that no one has mentioned James Carr's The Essential James Carr on Razor and Tie as a favorite. 2. I'm also surprised (as you can tell I'm surprised quite a bit) the few number of people who have jazz artists as their favorite non-blues artists. 3. I'm not surprised however, that few have gospel artists on their list,aalthr although groups like the Canton spirituals are as blusey as one gets. 4. I'm also not suprised at this lousy typing job I've done. Lee lee C. Spector Department of Economics ========================================================================= Date: Sat, 23 Dec 1995 13:53:05 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: holiday greetings Comments: cc: mezynski@DG-RTP.DG.COM Richard the Elder was enormously flattered to be mentioned in Ed's delightful Christmas greetings. And it acted as a salutory reminder that greetings from here are overdue, too. To everyone who talks, discusses, suggests, criticizes,and even flames on this madcap, silly, bright, friendly, funny and enormously valued new medium called Blues-L, wherever on this tired old planet you are, please accept another Blues-L'ers very best wishes for warm, happy, family holidays. The last few months have been, for me, much richer because of this List, and this goes with personal thanks to everyone for contributing. Very best to you call, - Richard the Elder ========================================================================= Date: Sat, 23 Dec 1995 14:29:20 -0500 Reply-To: robert barclay From: robert barclay Subject: Re: KEB_MO' >> From: Sanjay Rajan >> >> Any info about Keb Mo' and as to how his self titled album is.. >> I see he is winner of WC Handy Award for Best Country/Acoustic >> Blues Album of the year... > >I'm an acoustic/roots blues fan, and I'd rate the Keb' Mo' album as the best >that I found in the past year. Every tune on it is solid; this gut has >definitely listened to Taj Mahal. You need the C > another great acoustic album is SPIRIT & THE BLUES by ERIC BIBB and NEEDED TIME. It is on the Swedish label Opus 3 cd 19401. happy listening. rb ========================================================================= Date: Sat, 23 Dec 1995 11:54:55 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES Dec. 24th Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. HAPPY HOLIDAYS! JOYEUSES FETES! ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ACE, BUDDY[JIMMY LEE LAND](v/JEWEL/PAULA) d. 1994-1226, WACO, TX 57 BARTHOLOMEW, DAVE(tpt/songw/awesome prod) b. 1920-1224, EDGARD, LA BRAMHALL, DOYLE JR. (g) b. 1968-1224, TX BRYANT, RAY (p) b. 1931-1224, PHILADELPHIA, PA CURB, MIKE (prod/CURB REC) b. 1944-1224, SAVANNAH, GA DANIEL, NATHAN(of DANELECTRO/SILVERTONEg) d. 1994-1224, HONOLULU, HI 82 DODDS, WARREN "BABY" (d) b. 1898-1224, NEW ORLEANS, LA EDWARDS, GORDON (kybd/PRETTY THINGS) b. 1946-1226, SOUTHPORT, UK EDWARDS, JOHN K. F. (of the JEMF/UCLA) d. 1960-1224, CREMORNE, AUSTRALIA 28 EDWARDS, STONEY (g/afro-amer C&W) b. 1929-1224, SEMINOLE, OK JOHNSON, EARNEST [LEE THOMAS JOHNSON] (b) d. 1982-1224, CHICAGO, IL 52 OSMENT, BILL (BLUES-L MEMBER) b. 1952-1224, KANSAS CITY, MO ROBINSON, ELI (tbn/BUDDY TATE) d. 1972-1224, NEW YORK CITY, NY 64 SHAW, WOODY (tpt) b. 1944-1224, LAURINBURG, NC SMITH, CLADYS "JABBO" (tpt) b. 1908-1224, PEMBROKE, GA WASHINGTON, ERNIE (p) d. 1979-1224, CHULA VISTA, CA 53 WOMACK, BOB (d/BRADSHAW/MILLINDER) d. 1958-1224, INDIANAPOLIS, IN 68 ------------------------------------------------------------------------------- ========================================================================= Date: Sat, 23 Dec 1995 14:50:08 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: SONNY BOY'S HOLIDAY'S GREETIN > From: James Carmin > As Sonny Boy Williamson was telling us on SANTA CLAUS: This is a great tune and one of my favorite blues Christmas songs. But you have to be careful. It is immediately followed by the infamous "Little Village" which, even back in olden times, was marked with "not suitable for airplay" (the old version of the parental advisory warning). I suspect playing that one on the radio would not put the FCC in the Christmas spirit. Don O. ========================================================================= Date: Sat, 23 Dec 1995 21:13:34 GMT Reply-To: Beckie Sansom From: Beckie Sansom Organization: The National Capital FreeNet Subject: Book Can anyone tell me where I can get the book "Searching for Robert Johnson" by Peter Guralnick.My local bookstores don`t seem to have a clue as to the publisher or anything. Thanks for any help you can offer. Robert J Dewar -- xBeckie Sansom Gloucester, Ontario ========================================================================= Date: Sun, 24 Dec 1995 00:55:00 GMT Reply-To: James Farris From: James Farris Organization: Netcom Subject: Re: New Blues List!! Comments: To: bit-listserv-blues-l@uunet.uu.net I will surely check out any new list that relates to the Blues, but I can't see how Doyle is going to make his newsgroup any different than Blues-L. On Sat, 16 Dec 1995 16:46:58 -0500, Doyle Ertwine wrote: >I am going to be putting together a new Blues mailing list. It will be >called the "Doyle Ertwine Nothin' But The Blues List." >I believe this list has gotten stale and its members are too pigeon holed >into a very narrow interpretation of what the blues is and what belongs on >the list. Everyone has their own opinion of what is Blues, and they are entitled to it. Are you going to ban them from the newsgroup? Anyway, who will determine what is Blues and what is not? >The blues out here in cyberspace needs some fresh blood and a shot in the arm >and I, Doyle Ertwine, am just the guy to accomplish this. >My list will cover all aspects of the blues and will not be narrow minded in >its interpretation of blues content. 1. I think that there is plenty of "fresh blood" on this list. (If you don't believe me, look at some of the "bloody" flames.) 2. Whose interpretation of the Blues are you going to use, and how can you say that whatever interpretation you use will not be viewed by someone as narrow. An interpretation might seem narrow to some and broad to others. We all have different interpretations of the Blues. This diversity gives the Blues strength. 3. If you think that Blues-L is narrow, why don't you post some messages that have a more broad-minded content. I have seen no attempts by the administrators of this list to restrict the free flow of opinions and interpretations of the Blues. (I sincerely hope that you do not intend any such restriction!) >I need to know if I can count on some of you true blues afficionados to >subscribe to this new list. I will participate in your list, but I don't know how much I will (or do) agree with your views. To conclude, I suggest that you rethink your basic premise for this proposed new Blues list, or you could easily end up with a list that has similar characteristics to those you are objecting to. Jammin' Jim Farris KKUP 91.5 FM ========================================================================= Date: Sun, 24 Dec 1995 00:55:01 GMT Reply-To: James Farris From: James Farris Organization: Netcom Subject: Merry Christmas & Happy New Year! Comments: To: bit-listserv-blues-l@uunet.uu.net Merry Christmas & a very Happy New Year to everyone on the L. You've made me laugh; you've made me cry; you've kept me informed. I look forward to seeing your posts in the coming year and responding to them in kind. See you on the L! Jammin' Jim Farris KKUP 91.5 FM ========================================================================= Date: Sun, 24 Dec 1995 00:55:03 GMT Reply-To: James Farris From: James Farris Organization: Netcom Subject: Boogie Nation & John Lee Hooker Comments: To: bit-listserv-blues-l@uunet.uu.net Richard, I think your "intentions" are very good, but I'm afraid that your good intentions have paved the way to "you know where." I also think that "some" of your ideas are good. The story that you have to tell should be told but not in the way you are telling it. You have an opportunity to tell John Lee's story from the personal aspect, an opportunity that few people have. With a little forethought, discretion, and the endorsement of John Lee's management, you could provide a much needed service to the Blues community. With a little effort and patience, you might be able to undo some of the damage you have done and go about accomplishing what you set out to do. Personally, I would love to see this because it is something that I tried many years ago to accomplish (unsuccessfully). I wish you, John Lee Hooker, and the rest of your family a very Merry Christmas and a Happy New Year! Jammin' Jim Farris Late Night City Blues KKUP 91.5 FM ========================================================================= Date: Sat, 23 Dec 1995 16:32:24 -0600 Reply-To: Birmingham From: Birmingham Subject: Re: Book Comments: To: Beckie Sansom In-Reply-To: According to Books In Print, Searching For Robert Johnson is published by Dutton (1989). Also the ISBN is 0-525-24801-3. You may also want to check your local public library. Hope this helps, good luck. Sean Birmingham On Sat, 23 Dec 1995, Beckie Sansom wrote: > Can anyone tell me where I can get the book "Searching for > Robert Johnson" by Peter Guralnick.My local bookstores don`t > seem to have a clue as to the publisher or anything. > Thanks for any help you can offer. > > Robert J Dewar > > > > > > > > > -- > xBeckie Sansom > Gloucester, Ontario > ========================================================================= Date: Sat, 23 Dec 1995 17:29:31 -0600 Reply-To: Chris Pearson From: Chris Pearson Subject: Re: The Hem of the Garment (very long) Shields up Scotty! Get us out of here Mr.Sulu. Intruder alert!! Intruder alert!! Mr. Brogger, what will it take for you to realize that this list is not about the enjoyment of the music? This list is to impress all with how many obscure recordings one has and how one can chastise another for not knowing who originally sang what where. If you are referred to as an elitist or purist you immediately deny that you even know the definition of the word ie. (Just what is a purist?, I don't even know what a purist is, etc) and then give a appropriately pious statement like, "If a purist is one who believes in truth, justice and the American way then yes, I'm unabashedly a purist and will wear the title proudly!!!" TADA. Keep those shields up, Arne, they've got a radar lock on your tail. Chris >The Hem of the Garment - Arne Brogger > > >This post is un-provoked and is in response only to what I have observed during >my "lurking" >on this fine list. Some of you know me, most of you don't. So, for the >latter, a small bit of >background. > >I spent some 16 years an agent in the music business. During that time I >represented a broad >range of talent ranging from comedians to heavy metal artists, to virtually >everything in >between. I had the privilege to find, and help break, artists such as Suzanne >Vega, Mary >Chapin Carpenter, Megadeth and others. However, the accomplishment nearest and >dearest, >was my association with the Memphis Blues Caravan, which I helped co-found and >proudly >represented during its 9 year lifetime. The Caravan consisted of Furry Lewis, >Bukka White, >Hammy Nixon & Sleepy John Estes, Memphis Piano Red (John Williams), Joe Willie >Wilkins >and Huston Stackhouse & band, Memphis Ma Rainey, Sam Chatmon, Mose Vinson and >others. > >In reading the many fine posts on this list, I have been struck by what seems >to be an "age- >based" perception of exactly who and what we are dealing with here. Speaking >from the >heights of 52 years (what happened...I must have blinked) I would like to imbue >a bit of >reality to what is treated on this list (in many respects, rightfully so) as an >"Art Form". But the problem >with The Art Form is that it makes abstract the subject (the artists who >created this thing that >we love), places them and their music in the petri dish of cold investigation, >and ignores the >ultimate humanity of both the artist and his work. > >These were guys who, for the most part, put their pants on one leg at a time, >had the same >needs and desires and hopes and dreams as any musician performing today and who >were, in >many cases, potentially dangerous men. The performing blues fraternity were >not a bunch of >choir boys, by any estimation. One need only look at the facial scars, the >prison records and >the weapons carried in pockets and boots, to know that this was no static group >of Artistic >Purveyors of a musical genre. These were people who LIVED life, often not too >wisely, but >with passion and joy. And while they did this, they made their living as >performing >musicians. Who happened to be performing the Blues. I would guess that if the >members of >the Caravan were in their teens or twenty's today, they would be stretching the >envelope of >Rap, Soul, Hip Hop and Pop. Blues was what they played, because Blues was what >they >knew. It found them, they didn't find it. What they did with it after they >found it is what >concerns us on this list. Granted that the opportunities afforded these >artists were not by any >means broad and that they had to fight against obstacles which we can only >dimly appreciate. >But, given the choice of being a Great Blues Musician or being a Famous and >Rich Popular >Artist, I am sure the latter would hold the most appeal. They were denied that >choice. >Therefore, given their vast talent, they became the former. > >Some time ago, I wrote some reminiscences of my years with the Caravan which >were made >available by Curtis Hewston on his excellent Blue Highway web site. I received >an email >from an old friend who had read the piece, and he said he found it interesting >that my >perspective was that of "wishing to touch the hem of the garment" while the >musicians were >just playing gigs. > >He had a good point. I think it is important to understand that playing the >blues, like it or >not, was a business. It was a business which afforded many perks and rewards. > Many of >these rewards were artistic, many were not. And those which were not fell, for >the most >part, in the "money for nothin' and the girls for free"category. As Muddy >Waters once said >to me regarding his choice of career "I made a lot more money driving a guitar >than I ever >did driving a tractor". And it also afforded the said Muddy the opportunity to >explore and >expose the soul of his talent in a way that operating a machine never could. >Being who he >was, he probably could not have done anything else. Being a performer also >delivered a >sense of satisfaction which one could never achieve through sitting on a >tractor. To wit, >standing back stage at the Kennedy Center after Muddy had performed to a sold >out "boiled >shirt" house full of Washington Gliteratti, I had the good fortune to overhear >an aside from >him spoken to no one in particular. The audience was going nuts. >Uncharacteristically nuts, >given who they were and how they were dressed. Muddy, gazing into the middle >distance >from the wings and listening to the roar, simply said "well... I guess I ripped >them >motherfuckers a new asshole". Being a Great Blues Musician had its rewards. > >So, where is this long (overly??) harangue going? > >I have noted the black vs white debates, the "this list is too elitist", the >flames at "newbees" >who have the temerity to ask the Stupid Question, to which I say this: What >these guys did >was perform for the enjoyment of their audience. If Art Happened along the >way, so much >the better. But reverence and awe were never a part of any performance they >gave. People >shouted and danced and expressed themselves. They applauded because of the >unique ability >of these artists to speak the secrets and truths felt by their audience. They >gave voice, in a >special and unique way, to the feelings shared by those who heard them. > >And they didn't care if that audience was black or white. The fact that the >audience related to >the truth and poetry of what they played, and how they played it, was what was >important. > >There seems to be a lot of energy spent on discussions of "right and wrong" in >the >appreciation of this music and the artists who performed it. Com'on...It's >saturday night, we >just got paid. If the music sends AND moves us, great. But let's remember, >it's the music, >stupid. > >Arne Brogger >us002838@interramp.com > > ========================================================================= Date: Sat, 23 Dec 1995 17:47:01 -0800 Reply-To: Chris Adams From: Chris Adams Subject: Re: Fwd: KR&G Comments: To: Mary Katherine Aldin In-Reply-To: <199512231714.JAA21976@ix6.ix.netcom.com> I talked with Dave Ray on the net a few months ago, and at the time he was based in Minneapolis and considering that they (KR & G) have been always been based there, I guess that they still are. I recently saw an ad for a video of the boys from yesteryear, but I have lost the info. Anyone else have it? Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us On Sat, 23 Dec 1995, Mary Katherine Aldin wrote: > You wrote: > > > >Mary Katherine relayed from Tony Glover: > > > >> Dave>& I have been playing a regular Thurs night gig at local bistro > called>>Times Bar & Cafe (11th & Nicollet Mall) for FIVE years now (a > land>>world record for on-going gig for us). Dave has just released on > his>>own Big Wagon label a new cd called WHAT WAS THE QUESTION, > featuring> > > >Mary Katherine: Tony's post doesn't tell us what city is "local" for > him.>I'd love to be able to catch him and Dave Ray if I'm travelling > through.>But travelling through where? Minneapolis? > > Bob: Would you believe I don't know? Tony, you monitoring this list? > Come out, and let folks know *where* they can hear you! Avctually I > realized the same thing when I read his post, but went ahead and > forwarded it to the list anyway for the content. Come on Tony, where > y'at? > > Mary Katherine > ========================================================================= Date: Sat, 23 Dec 1995 20:58:21 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Credits plea Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199512220354.VAA15148@nfinity.nfinity.com>, Craig Edmundson writes: >Now for the plea: It is my understanding that several subscribers on this >list have ties to the recording industry. To those individuals I >respectfully ask: Please tell your peers that omitting the names of the >session players from the credits is a slap in the face to the artitsts who >give their time and talent to a project. If I may add one more point to this thread, many times the engineer, accompanists, songwriters and other personnel are omitted from reissues and, especially, bootlegs, in the hope that royalties will not have to be paid. Or it's an attempt to disguise the year in which the recording was actually made, e.g., the artist was under contract to a certain company and had not fulfilled his obligations to Company A, when he cut a few sides for Company B. Company B issues the recording some time later and disguises anything that can pinpoint the date. I think the industry insiders will agree with some of this, at least. Happy Holidays, friends! Denise ========================================================================= Date: Sat, 23 Dec 1995 20:58:28 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Re: My Best Buys of 1995/Tony Joe White question Comments: To: bit-listserv-blues-l@uunet.uu.net In article <95Dec22.065223pst.30742-4+1343@haven.uniserve.com>, Jim Witteveen writes: >5.The Best of Tony Joe White - Tony Joe White > This is a mixture of blues, soul, and country, featuring his best tracks >from the early seventies. It includes Polk Salad Annie and Rainy Night in >Georgia. I can't say enough good things about this album - the vocals, the >horns, the songwriting...it may not be pure blues, but it's been the only >thing playing in my car for the past two weeks straight. I don't know why I >haven't heard more of his stuff, because these songs are _great!_ Does >anybody know what his later stuff is like, and if he's still recording, and >if so, where to find it? I want more! I spoke with Tony Joe White a few months ago. At that time, he advised me that his most recent three releases, which have sold really well in Europe and include "Lake Placid Blues", were soon to be released in this country by Priority. He was going to get back to me if this was not the case. Since I haven't heard from him yet, I'd say check with Priority. Denise ========================================================================= Date: Sun, 24 Dec 1995 00:12:34 -0500 Reply-To: BAJammin From: BAJammin Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Music theory/learning thread Comments: To: bit-listserv-blues-l@uunet.uu.net I've been following this theory vs feeling debate since I signed on to blues-l about two months ago and I can't hold back my humble opinions any longer. First I'd like to dispel the myth that if one learns theory one will not have feeling and will drop time trying to calculate what note to play. Music has many of the same attributes as a spoken language. (I'm not trying to say it's a universal language because it's not) one can learn speaking from hearing speech, use it and have alot to say or just talk a lot, but without learning to read and studying the details of language we'd be limited. Feeling isn't numbed by learning to think and communicate. It's enhanced by it. It's numbed by drugs and various forms of abuse. Another humble point I'd like to make is that musical instruments by design are very theoretical tools. There are reasons why they tune the way they do, frets go where they go and why there is a visual pattern (goemetrical) to a piano key board. Chords have names because they have structure. Simple and extended structure. A little theory goes a long way to just clarifying that structure and teaching a verbal language to use when it's so inconvenient to communicate to everybody by rote all the time. Talking a chord progression through once or twice is more efficient than trying to show someone a mess of fingerings they may or may not be accustomed to using. It's certainly true that if a player, even a good one, never listens to the blues he/she will never be a blues player. Playing by ear is an important skill that can't be learned from books. It is an ear practise that often the classically trained musician misses out on hence there are people who really can't play without sheet music. If they've never been curious about the obscure piano styles of the masters of improvisation enough to try to be ear musicians too, that's OK.They can hear music off the page which in itself is a very respectable talent. But why be only 1/3 talented? Playing by ear and playing by sheet music is only 2/3 of it. One doesn't have to know much music theory to play sheet music. Understanding chord strucure, harmonic motion, voice leading and all the other nuances of tension and texture in music (you can't cop that buying lots of glorious midi gear and such) is what bridges the gap between the other 2/3. It really does make reading music more interesting and it really does enhance one's ability to play by ear. So. Does anybody out there know of any great blues players who are also classically trained? I know of two offhand. Rory Block was quite an accomplished classical guitarist by the time she was twelve. She never seems to have any trouble at all deciding what note to play. Ray Charles studied music in that school for the blind he attended as a youngster. He played some Beethoven on a documentary I watched several years ago. Really nice. Bill Adams "Walkin' the Blues at 78 RPM" WTJU Charlottesville 91.1 FM ========================================================================= Date: Sun, 24 Dec 1995 05:33:48 GMT Reply-To: "Michael P. Henry" From: "Michael P. Henry" Organization: Your Organization Subject: New Blues Society Formed Comments: To: bit-listserv-blues-l@uunet.uu.net Calling all Blues Fans! The Napa Valley Blues Society is now a reality! Although we are in our infancy, we have some pretty high goals. One of these is starting a Blues in the Schools program in our local elementary schools. If anyone could give us ideas or information, or steer us in the right direction, it would be greatly appreciated. And if you would be inter- ested in membership, let us know! You can e-mail me at blues@community.net, or snail-mail us at: Napa Valley Blues Society P.O. Box 10603 Napa, CA 94581 Thanks in advance for any help, and keep the blues alive! Michael Henry President and Founder, Napa Valley Blues Society ========================================================================= Date: Sat, 23 Dec 1995 23:05:31 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES Dec. 25th Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. HAPPY HOLIDAYS! JOYEUSES FETES! ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ACE, JOHNNY [JOHN M. ALEXANDER JR.] (p) d. 1954-1225, HOUSTON, TX 25 ANDREWS, ERNIE (v) b. 1927-1225, PHILADELPHIA, PA BASCOMB, WILBUR "DUD" (tpt) d. 1972-1225, NEW YORK CITY, NY 56 BIG AMOS [AMOS PATTON] (hca/HI REC) b. 1921-1225 BLACKWELL, WILLIE "61" (p) b. 1905-1225 BROWN, LAWRENCE (p/PAUL ROBESON) d. 1972-1225, NEW YORK CITY, NY 79 CALLOWAY, CAB [CABELL CALLOWAY III] (v) b. 1907-1225, ROCHESTER, NY CARVER, WAYMAN A. (asax) b. 1905-1225, PORTSMOUTH, VA CUBER, RONNIE (bsax) b. 1941-1225, BROOKLYN, NY DAVIS, ED b. 1943-1225, DELMORE, ALTON (of THE DELMORE BROS) b. 1908-1225, ELKMONT, AL EDWARDS, JOHN (lead/THE SPINNERS) b. 1944-1225, ST. LOUIS, MO HARNEY, RICHARD "HACKSAW" (g) d. 1973-1225, JACKSON, MS 71 HORTON, BILLY (lead/THE SILOUETTES) b. 1929-1225, PHILADELPHIA, PA ISLEY, O'KELLY JR. (of THE ISLEY BROS) b. 1937-1225, CINCINNATI, OH JENKINS, SIDNEY "PAT" (tpt) b. 1914-1225, NORFOLK, VA JOHNSON, L. V. (g/ICHIBAN REC) b. 1948-1225,?CHICAGO, IL KENNER, CHRIS (v/songw) b. 1929-1225, KENNER, LA KING, CLARENCE M. (MOTOWN coach) d. 1992-1225, DETROIT, MI 81 LONG, J. B. (a&r/BLIND BOY FULLER) b. 1903-1225, MINT HILL, NC MANCHA, STEVE [CLYDE WILSON] (v) b. 1945-1225, WALHALL, SC MILLER, GENE "BOWLEGS" (tpt) d. 1987-1225, MEMPHIS, TN 54 MITCHELL, MCKINLEY (v) b. 1934-1225, JACKSON, MS MOORE, OSCAR FREDERIC (g/NAT KING COLE 3) b. 1916-1225, AUSTIN, TX ORY, KID (tbn) b. 1890-1225, LA PLACE, LA PAPPALARDI, FRANK (boogie woogie p) b. 1917-1225, PROVIDENCE, RI PULLEN, DON (p) b. 1941-1225, ROANOKE, VA REDDING, NOEL (b/HENDRIX) b. 1945-1225, FOLKESTONE, UK RHODES, GEORGE (p/arr/RAVENS/JOE THOMAS) d. 1985-1225, LOS ANGELES, CA 66 RIVERS, BOYD (g/L&R REC) b. 1934-1225, PICKENS, MS ROBINSON, JAMES "BAT THE HUMMING BIRD"(p) b. 1903-1225, ALGIERS, LA ROWE, LLOYD (g/TED TAYLOR) d. 1988-1225, LOS ANGELES, CA -- TARNOPOL, NAT (ceo/BRUNSWICK REC) d. 1987-1225, LAS VEGAS, NV 56 TARRANT, RABON (RAYBON) (v/d/JACK MCVEA) b. 1909-1225, ENNIS, TX TAYLOR, EDDIE (g) d. 1985-1225, CHICAGO, IL 62 VESTINE, HENRY CHARLES (g/CANNED HEAT) b. 1944-1225, WASHINGTON, DC WALKER, JOE LOUIS [LOUIS JOSEPH WALKER](g)b. 1949-1225, SAN FRANCISCO, CA WILSON, CLYDE (v/100 PROOF AGED IN SOUL) b. 1945-1225, WALHALLA, SC WOODS, CHRIS (asax/bsax/UNITED REC) b. 1925-1225, MEMPHIS, TN ------------------------------------------------------------------------------- ========================================================================= Date: Sun, 24 Dec 1995 00:07:03 -0700 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: No one more deserving . . . Comments: To: Richard Flohil In-Reply-To: Allison Krause. Her voice and instrument are ethereal. Her art is another one of those special indigenous United States forms. Lyle Lovett for the same reason. Tom Waits, same. Bob Dylan, also. Laurie Anderson, too. Tori Amos must be in there somewhere. Jay Watterworth CU Boulder On Tue, 19 Dec 1995, Richard Flohil wrote: > Thanks to his well-deserved status, Richard Waterman (the Younger) has > certainly earned the right to explain to the Blues Line just why Edith Piaf > was so wonderful; I never had the chance to see her, but one can tell just > a little of her passion in her recordings. > There may not be much blues content here, but I suspect that most > blues fans do enjoy other kinds of music; I'd be fascinated to know which > NON-blues artists some of you dig, and why. > To start this,among my many faves are Louis Armstrong (well, that > WAS blues!), John Prine, Guy Clark, Mary Chapin Carpenter, Loreena > McKennitt (well, I work for her!), Jimmy Rushing, Humphrey Lyttelton, and > has anyone heard the Holmes Brothers (and, boy, are they blues!). What they > have in common is the heart, the soul, the passion and the lyrical power of > the best blues artists, even though the roots may often be entirely > different. > In the interest of widening folks' tastes... > Richard the Elder > ========================================================================= Date: Sun, 24 Dec 1995 14:29:52 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Fwd: KR&G Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199512231714.JAA21976@ix6.ix.netcom.com> Mary Katherine Aldin writes: >Date: Sat, 23 Dec 1995 09:14:14 -0800 >From: Mary Katherine Aldin >Subject: Re: Fwd: KR&G >You wrote: >> >>Mary Katherine relayed from Tony Glover: >> >>> Dave>& I have been playing a regular Thurs night gig at local bistro >called>>Times Bar & Cafe (11th & Nicollet Mall) for FIVE years now (a >land>>world record for on-going gig for us). Dave has just released on >his>>own Big Wagon label a new cd called WHAT WAS THE QUESTION, >featuring> >>Mary Katherine: Tony's post doesn't tell us what city is "local" for >him.>I'd love to be able to catch him and Dave Ray if I'm travelling >through.>But travelling through where? Minneapolis? Nicollet Mall & 11th could only be Minneapolis. I saw Ray & Glover at a tent show in Bayfield a number of years ago - very entertaining. Also, if you like BR & G, look for the 2 duet CDs of Ray & Glover. The music is very similar. It's unfortunate that Red House will not be reissuing more of their early stuff, I fear that means a long time before more becomes available. Art Schuna ========================================================================= Date: Sun, 24 Dec 1995 09:28:30 CST Reply-To: JBards From: JBards Subject: Re: holiday greetings Comments: To: Richard Flohil I'd like to echo Richard the Elder's Christmas wishes, since I certainly can't improve on them. GIven the holiday metaphor, I see this list as one big revolving open cocktail party- conversations start and fade, you wander around the room picking up snatches of them and join in when you wish. There is no rule except the expectation of politeness and reasonably good taste. I have learned a lot, and greatly enjoyed the conversation here in the main room and all the side discussions it has generated also ( y'all know who you are). So that being said, Happy Holidays to one and all, and best wishes for a better 1996. Jim Bardsley _______________________________________________________________________________ Subject: holiday greetings From: Richard Flohil at INTERNET-SH Date: 12/23/95 1:06 PM Richard the Elder was enormously flattered to be mentioned in Ed's delightful Christmas greetings. And it acted as a salutory reminder that greetings from here are overdue, too. To everyone who talks, discusses, suggests, criticizes,and even flames on this madcap, silly, bright, friendly, funny and enormously valued new medium called Blues-L, wherever on this tired old planet you are, please accept another Blues-L'ers very best wishes for warm, happy, family holidays. The last few months have been, for me, much richer because of this List, and this goes with personal thanks to everyone for contributing. Very best to you call, - Richard the Elder ========================================================================= Date: Sun, 24 Dec 1995 16:36:44 GMT Reply-To: Pat and Bob Marovich From: choir Subject: Re: Book Comments: To: bit-listserv-blues-l@uunet.uu.net In article , Beckie Sansom says: > >Can anyone tell me where I can get the book "Searching for >Robert Johnson" by Peter Guralnick.My local bookstores don`t >seem to have a clue as to the publisher or anything. >Thanks for any help you can offer. > >Robert J Dewar > > >Robert, The book was published by Dutton, 1992. If you have no luck finding the book at Barnes and Noble or Borders, you might try writing Dutton directly at Penguin Books USA, Inc. 375 Hudson Street, New York, NY 10014 It's an excellent book and well worth the search! Bob Marovich choir@ibm.net > > > > > >-- >xBeckie Sansom >Gloucester, Ontario ========================================================================= Date: Sun, 24 Dec 1995 19:03:12 GMT Reply-To: Michael Twomey From: Michael Twomey Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: New Blues List!! James Witteveen (hndful@UNISERVE.COM) wrote: : >I am going to be putting together a new Blues mailing list. It will be : >called the "Doyle Ertwine Nothin' But The Blues List." James, Don't let all these old fogey's get to you. I think It's about time that there was a DENBBL for people with broader tastes than you see here. Perhaps you could have like, an album a week discussion. I think you should start with Yani, "Yani Does Music of 101 Strings at the Port Authority in Newark". Possibly followed by Preacher Boy, "The UNnatural Blues", Not to forget L. Welk's, "Blues Brother's Favorites". I think you'd be breaking new ground here, James. Perhaps some of the other more open-minded souls on the list could help you out with some possible threads for your new list. That way coming up with original thoughts would be not be as much of a strain for or your contributers. Best of luck with your new List, I hope you can get started at it right away. Mikekkk ========================================================================= Date: Sun, 24 Dec 1995 13:36:01 -0500 Reply-To: Stan Ruffo From: Stan Ruffo Subject: Re: holiday greetings Comments: To: JBards Jim, Merry "cotton pickin" Christmas! It's been a while, but I certainly remember you from the *P days with Paulette, Scott Dirks, and Jack Oudiz, whom I resently got reaquainted with when I played at the Sutter Street Saloon in Folsom, CA. I saw your name, and had to chime in, bro. All my best to you! At this point I'd like to say Merry, Merry Christmas to all on the list and my best wishes to all for a happy, healthy and prosperous new year! yours in the blues, Stan Ruffo -------- REPLY, Original message follows -------- Date: Sunday, 24-Dec-95 09:28 AM From: JBards \ Internet: (jbards@mail-sh.lsumc.edu) To: Multiple recipients of list BLUES-L \ Internet: (blues-l@brownvm.brown. edu) Subject: Re: holiday greetings I'd like to echo Richard the Elder's Christmas wishes, since I certainly can't improve on them. GIven the holiday metaphor, I see this list as one big revolving open cocktail party- conversations start and fade, you wander around the room picking up snatches of them and join in when you wish. There is no rule except the expectation of politeness and reasonably good taste. I have learned a lot, and greatly enjoyed the conversation here in the main room and all the side discussions it has generated also ( y'all know who you are) . So that being said, Happy Holidays to one and all, and best wishes for a better 1996. Jim Bardsley -------- REPLY, End of original message -------- -- Stan Ruffo from "Blues On Tap" KIOO Visalia, CA steamin@valleynet.com (209) 625-6049 http://www.valleynet.com/~steamin ========================================================================= Date: Sun, 24 Dec 1995 14:14:00 PST Reply-To: Gary Joneson From: Gary Joneson Subject: Holiday Greetings With John Lee Williamson in the CD player singing "Well it was on one Christmas morning, Peoples Christmas coming back again" I would like to wish one and all a Merry, Merry Christmas and best wishes for a happy, healthy and prosperous New Year! Gary BluesWEB CD Reviews Now Online http://www.island.net/~blues/nycd.html ========================================================================= Date: Sun, 24 Dec 1995 20:14:38 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Holiday Wishes .... To All. Now that I have finished Christmas eve dinner with my wife & the first round of presents have been gotten, I have decided to thank the place and the people that have added so much to my life and growth in the past many months. To all @ blues-l my special wishes for a year to end on a joyous & warm note, and for a year to begin with a puff and may that puff have a full breath of life, joy, energy, blues, imagination, health, prosperity and fulfillment of your dreams. I'd also like to let you all know a bit more of myself while this year comes to its close. I only became a blues fan re- cently, not for many years as so many of you have been. The collection of CD's I have amassed in this time has been tru- ly a labor of love and would not have even been possible w/o this list and many of you here. I never wrote a review bef- ore until I saw one here and thought I would like to try one for myself (maybe some of you remember my first apologetic & probably feeble review back here when). Much of my 1st posts felt as if in a vacuum until a few kind gentle blueslers had the thought to send me private e-mail and break that barrier of just having posts and responses to and from a list. Then some of you became friends through the net-ether (especially I want to send my love, my heart and my deepest joys to Ed & Toby who never met me yet joined in to get NY CD Blues going and succeeding). Many many of you hold special places for me but I won't fill the air here with it - privately I'm sure I will let you know if I haven't already. Once again I find myself writing more than maybe I should, & here it may not be so appropriate - so as my heart feels, my mouth says, thank you - god bless - and to a year of all you dream. Barry P.S. Hope you all will visit us at the web-site below. We've got some great things there for YOU. We'll have a new blues game going on with free CD's to giveaway and a number of la- bels have worked out deals with us so you will be able to go and order their CD's at a savings, + there will of course be tons of our reviews to read. Thanks again. NY CD Blues Now at http://www.island.net/~blues/nycd.html Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Sun, 24 Dec 1995 18:30:15 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: New Blues List!! A poor confused soul wrote this to me: >James, >Don't let all these old fogey's get to you. I think It's about time >that there was a DENBBL for people with broader tastes than you see >here. Perhaps you could have like, an album a week discussion. >I think you should start with Yani, "Yani Does Music of 101 Strings at >the Port Authority in Newark". Possibly followed by Preacher Boy, >"The UNnatural Blues", Not to forget L. Welk's, "Blues Brother's Favorites". >I think you'd be breaking new ground here, James. >Perhaps some of the other more open-minded souls on the list could >help you out with some possible threads for your new list. That way >coming up with original thoughts would be not be as much of a strain for or >your contributers. >Best of luck with your new List, I hope you can get started at it right away. >Mikekkk Now, not to ruin anyone's Christmas spirit or anything, but I WAS QUOTING!!! Check out who wrote the original message!!! It was Doyle Ertlwhine, not me! Happy Holidays, Bluezellers! -Jim (hndful@uniserve.com) :-) ========================================================================= Date: Mon, 25 Dec 1995 03:45:17 +0100 Reply-To: Jose Antonio Revilla Garcia From: Jose Antonio Revilla Garcia Subject: *PLEASE* DO HELP ME!!!!! Please, I'm desperately trying to subscribe Blues-L in a *DIGEST* basis, but I don't know what could I do.I'm an Spanish DJ and I have a radio program so I *NEED* to get connected to the list, but I can't get 50 messages separately a day, I'd like to get just ONE message full of other little ones, so PLEEEEEEEAAAAAASEEEEEEEEE, I NEEEEED YOUR HEEEEEEEEELP!!!!! *THANKS A LOT* See you! ;-) ------------------------------------------------------------------------------ Everyday I Have The Blues * Co-SysOp AUDIN-BBS: (942)-21.81.03. 22:00-10:00.Universidad de Cantabria.* * Miembro de ACCE: Asociacion Cantabra de Correo Electronico * ========================================================================= Date: Sun, 24 Dec 1995 22:26:24 -0600 Reply-To: Justin Zitler From: Justin Zitler Subject: Allison Miner passes away Blues lovers throughout the world may wish to join us here in New Orleans in mourning the passing of Allison Miner Saturday night, Dec.23. Allison was instrumental in producing the Jazzfest during its formative years, and largely responsible for managing Professor Longhair's comeback career. Funeral arrangements have not yet been announced ========================================================================= Date: Mon, 25 Dec 1995 00:33:12 -0500 Reply-To: Weidel From: Weidel Organization: ?? Subject: Re: Tampa Red Comments: To: bit-listserv-blues-l@cs.washington.edu In article <4bd40o$74p@news.voicenet.com>, Ari Eisinger wrote: > I like Tampa Red: Bottleneck Guitar 1928-1937 on the Yazoo label. He also does > some fine work with Georgia Tom (later Thomas A.) Dorsey on Come On Mama Do That > Dance, also on Yazoo. > > ARI EISINGER > Blues and Ragtime Guitarist and Singer > Guitar Teacher > (610) 259-6688 I still enjoy an old Bluebird 2 lp set, " Guitar Wizard " which features recordings by Tampa from 1934 -1953. Bob Weidel ========================================================================= Date: Mon, 25 Dec 1995 03:12:51 -0500 Reply-To: SokolowMus@AOL.COM From: Fred Sokolow Subject: FIELD CHALLAS Comments: To: rshurman@ccs.nslsilus.org The Hanukah blues thread ought to get together with the black/white thread...didn't Sonny Boy Williamson once say to Mike Bloomfield,"Funny, you don't look bluish?"...Fred S. ========================================================================= Date: Mon, 25 Dec 1995 03:23:14 -0500 Reply-To: SokolowMus@AOL.COM From: Fred Sokolow Subject: Re: Blues and Bluegrass (long) Comments: To: bogert@iglou.com This was a very informative post...As mentioned, Merle Travis learned from Ike Everly who learned from a black fingerpicker. Also Hank Williams learned a lot from a black blues singer, so did Carl Perkins and the list goes on...Fred S. ========================================================================= Date: Mon, 25 Dec 1995 08:21:22 EST Reply-To: Charlie Simpkins at USFPL027 UPSLCAS - FPLMX From: Charlie Simpkins at USFPL027 UPSLCAS - FPLMX Subject: I AM GOING NO MAIL, THANKS ============================================================================== ========================================================================= Date: Mon, 25 Dec 1995 20:29:57 +0700 Reply-To: "Peter E. Beal" From: "Peter E. Beal" Subject: Jewish Blues The conjunction of the blues and Jewish music has been mentioned here. Coincidently the International Herald Tribune carried an article in its Dec. 22nd issue describing the activities of Ben Sidran. After getting his Ph.D. in African American music he decided to get himself and his son back to their roots. So he convinced a foreign record company to give him a budget for a recording session which merged traditional Hebrew liturigal music and jazz. So Ben, who is described as a singer in the mold of Mose Allison and Hoagy Charmichael, rounded up a number of jazz musicians of Jewish extraction like Lee Konitz, Lew Soloff, Joshua Redman (whose mother is Jewish, making him a Jew under religious law), Mike Mainieri (an ancestor of whom had changed his name to escape persecution) and Randy Brecker to do overdubs on different numbers to Hebrew lyrics sung by him. The record, which is called "Life's a Lesson", is not distributed in the U.S. by a company so you have to get it from Ben himself at: Ben Sidran P.O. Box 2023 Madison WI 53701 Fax: (608) 251 1084 ========================================================================= Date: Mon, 25 Dec 1995 15:12:25 GMT Reply-To: jos potting From: jos potting Organization: Planet Internet Subject: faq and newby Comments: To: bit-listserv-blues-l@uunet.uu.net O.K. I'm a new reader of the blues-l, Yes, Expect questions asked never before (during 4 weeks i never read something about a man called BB King, he's playin' guitar I believe, You all never have heard of that guy?) No, I didn't see the FAQ on the blues-l, pity me, please help me. But seriously now, good day to you all, i hope to stay around on this list for a while and learn a lot of you, bluezellers. Question: I bought a cd off Little Willie Littlefield, 'Paris Streetlights', and wondered if anybody could give hints for other good albums. Jos jpottting@PI.net *** "You shouldn't fly too high in your selfish mood *** Because, you know, you're borned without a parachute!" *** Supersister *** ========================================================================= Date: Mon, 25 Dec 1995 16:08:32 GMT Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Pipeline USA Subject: Re: HOB on AOL (and Blues Revue too!) (Quote with minimal comment) Comments: To: bit-listserv-blues-l@uunet.uu.net On Dec 22, 1995 12:56:46 in article , 'Tom Freeland ' wrote: >From America Online: >including a menu of House of Blues specialites. We've finished off this medly >with an Outsider Art Gallery that will renew your faith in the American way." > >What was Deep Throat's advice to Woodward and Bernstein? Follow the money? > >Tom Freeland (having to REALLY RESTRAIN MYSELF to hold back comment on the >last words of this one) Sheesh...another affirmation of my decision to leave AOL for a direct Internet connection.... Who needs a "Reader's Digest" version of the blues? -- Maggie Mortensen Exarch Services New Orleans USA ========================================================================= Date: Mon, 25 Dec 1995 20:49:10 GMT Reply-To: James Farris From: James Farris Organization: Netcom Subject: Seeking SF Area Blues Jams Comments: To: bit-listserv-blues-l@uunet.uu.net Does anyone know where there are any good Blues San Francisco area Blues jams? If you have any information at all, please post a reply. For those of you who don't know, a jam is an informal session at a club or private house where musicians from different bands get together and jam. Many musicians find jams helpful because they can try new things in a less serious environment. Benefits and special shows can be used as examples of jams because they usually take on an "all-star" jam format. Jammin' Jim Farris KKUP 91.5 FM ========================================================================= Date: Mon, 25 Dec 1995 19:27:05 +0100 Reply-To: Rudi Vandermeiren From: Rudi Vandermeiren Subject: Merry Christmas - Happy New Year + "X" "XXX" "XXXXX" "GOD JUL" "BUON ANNO" "FELIZ NATAL" "JOYEUX NOEL" "VESELE VANOCE" "MELE KALIKIMAKA" "NODLAG SONA DHUIT" "BLWYDDYN NEWYDD DDA" """""""BOAS FESTAS""""""" "FELIZ NAVIDAD" "MERRY CHRISTMAS" "KALA CHRISTOUGENA" "VROLIJK KERSTFEEST" "FROHLICHE WEIHNACHTEN" "BUON NATALE-GODT NYTAR" "HUAN YING SHENG TAN CHIEH" "WESOLYCH SWIAT-SRETAN BOZIC" "MOADIM LESIMHA-LINKSMU KALEDU" "HAUSKAA JOULUA-AID SAID MOUBARK" """""""'N PRETTIG KERSTMIS""""""" "ONNZLLISTA UUTTA VUOTTA" "Z ROZHDESTYOM KHRYSTOVYM" "NADOLIG LLAWEN-GOTT NYTTSAR" "FELIC NADAL-GOJAN KRISTNASKON" "S NOVYM GODOM-FELIZ ANO NUEVO" "GLEDILEG JOL-NOELINIZ KUTLU OLSUM" "EEN GELUKKIG NIEUWJAAR-SRETAN BOSIC" "KRIHSTLINDJA GEZUAR-KALA CHRISTOUGENA" "SELAMAT HARI NATAL - LAHNINGU NAJU METU" """""""SARBATORI FERICITE-BUON ANNO""""""" "ZORIONEKO GABON-HRISTOS SE RODI" "BOLDOG KARACSONNY-VESELE VIANOCE " "MERRY CHRISTMAS AND HAPPY NEW YEAR" "ROOMSAID JOULU PUHI -KUNG HO SHENG TEN" "FELICES PASUAS - EIN GLUCKICHES NEUJAHR" "PRIECIGUS ZIEMAN SVETKUS SARBATORI VESLLE" "BONNE ANNEBLWYDDYN NEWYDD DDADRFELIZ NATAL" """"""""""""""""""""""""""""""""""""""""""""""""" XXXXX XXXXX XXXXX XXXXXXXXXXXXX Rudi Vandermeiren e-mail : Rudi.Vandermeiren@ping.be URL : http://www.ping.be/~ping0935 ========================================================================= Date: Mon, 25 Dec 1995 11:46:36 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES Dec. 26 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. HAPPY HOLIDAYS! JOYEUSES FETES! ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BELL, T. D. (g) b. 1922-1226, LEE CTY, MS CARLISLE, UNA MAE (p) b. 1915-1226, XENIA, OH CHOATES, HARRY(fiddle/CAJUN/GOLD STAR REC)b. 1922-1226, RAYNE, LA FAKIR, ABDUL "DUKE" (of THE FOUR TOPS) b. 1935-1226, DETROIT, MI FRANKLIN, CECIL REV. (v) d. 1989-1226, DETROIT, MI 49 GOLD, JACK (prod/a&r) d. 1992-1226, TUJUNGA 71 GOLD, MARTY (comp/a&r) b. 1915-1226, NEW YORK CITY, NY GORDON, GEORGE "FATS" (p) d. 1982-1226, NEWARK, NJ 66 LYONS, WILLIE JAMES (g) d. 1980-1226, CHICAGO, IL 42 NORRIS, AL (g/LUNCEFORD) d. 1974-1226, 66 PAULING, LOWMAN "PETE" JR. (g/5 ROYALES) d. 1973-1226, NEW YORK CITY, NY 47 PORTER, GEORGE JR. (b/METERS) b. 1947-1226, NEW ORLEANS, LA SCOFIELD, JOHN (g) b. 1951-1226, WILTON, CT SHORT, J. D. (g) b. 1902-1226, PORT GIBSON, MS SPECTOR, PHIL [HARVEY PHILLIP SPEKTOR] b. 1940-1226, BRONX, NY THOMPSON, LESLIE (tpt) d. 1987-1226, LONDON, UK 86 WILSON, QUINN B. (b/VEE JAY REC) b. 1908-1226, CHICAGO, IL ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 25 Dec 1995 13:02:04 -0700 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: favs Comments: To: "Lee C. Spector" <00lcspector@BSUVC.BSU.EDU> In-Reply-To: <01HZ5CZZBLDE8WW1PE@BSUVC.bsu.edu> On Sat, 23 Dec 1995, Lee C. Spector wrote: > > 2. I'm also surprised (as you can tell I'm surprised quite a bit) the > few number of people who have jazz artists as their favorite non-blues > artists. > Lee > > lee C. Spector > Department of Economics > My list would have been full of Jazz artists except for the fact (IMHO) that Miles Davis, John Coltrane, et al play blues as well as jazz. Happy Christmas, all! Jay Watterworth CU Boulder ========================================================================= Date: Mon, 25 Dec 1995 13:10:40 -0700 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: New Blues List!! Comments: To: Michael Twomey In-Reply-To: Perhaps Doyle could determine once and for all if EC is a bluesmd On Sun, 24 Dec 1995, Michael Twomey wrote: > James Witteveen (hndful@UNISERVE.COM) wrote: > : >I am going to be putting together a new Blues mailing list. It will be > : >called the "Doyle Ertwine Nothin' But The Blues List." > > > James, > Don't let all these old fogey's get to you. I think It's about time > that there was a DENBBL for people with broader tastes than you see > here. Perhaps you could have like, an album a week discussion. > I think you should start with Yani, "Yani Does Music of 101 Strings at > the Port Authority in Newark". Possibly followed by Preacher Boy, > "The UNnatural Blues", Not to forget L. Welk's, "Blues Brother's Favorites". > I think you'd be breaking new ground here, James. > Perhaps some of the other more open-minded souls on the list could > help you out with some possible threads for your new list. That way > coming up with original thoughts would be not be as much of a strain for or > your contributers. > Best of luck with your new List, I hope you can get started at it right away. > Mikekkk > ========================================================================= Date: Mon, 25 Dec 1995 15:32:04 PST Reply-To: "D. ALLEN SIMPSON" From: "D. ALLEN SIMPSON" Subject: Blues This Week On TV Weds., Dec. 27: CBS - 18th Annual Kennedy Center Honors: A Celebration of the Performing Arts- B.B. King (check local listings). of the Performing Arts- B.B. King (check local listings). ========================================================================= Date: Mon, 25 Dec 1995 18:52:27 -0500 Reply-To: Weidel From: Weidel Organization: ?? Subject: Re: To -Jonny Meister Comments: To: bit-listserv-blues-l@cs.washington.edu Jonny - Glad to hear you've joined the newsgroup. Too bad you couldn't have been here a while back. There was a real good thread on J.B.Lenoir and I remember he was one of your main men. You could have added a lot to it. Bob Weidel ========================================================================= Date: Mon, 25 Dec 1995 19:00:58 -0500 Reply-To: Weidel From: Weidel Organization: ?? Subject: Re: Sitting&Thinking-Jimmy Johnson. Comments: To: bit-listserv-blues-l@cs.washington.edu In article , Barry Silverberg wrote: - I just bought it over the weekend on the strength of hearing `I Need > > Some Easy Money' This is one of my favorite > > recent purchases > > > Another nice disc by JJ is Bar Room Preacher. I really enjoy both the discs mentioned here. Also, don't forget that Jimmy was selected to lead off the Alligator "Living Chicago Blues" series with four cuts on LCB Vol 1. (AL 7701) Bob Weidel ========================================================================= Date: Mon, 25 Dec 1995 19:05:55 -0500 Reply-To: Weidel From: Weidel Organization: ?? Subject: Re: Tampa Red Comments: To: bit-listserv-blues-l@cs.washington.edu In article <4bd40o$74p@news.voicenet.com>, Ari Eisinger wrote: > I like Tampa Red: Bottleneck Guitar 1928-1937 on the Yazoo label. He also does > some fine work with Georgia Tom (later Thomas A.) Dorsey on Come On Mama Do That > Dance, also on Yazoo. Ari - I'm still enjoying Tampa's 2 LP set on Bluebird, "Guitar Wizard." It features recordings from 1934 to 1953. Bob Weidel ========================================================================= Date: Tue, 26 Dec 1995 03:47:51 GMT Reply-To: James Farris From: James Farris Organization: Netcom Subject: Re: LARRY MCCRAY Comments: To: bit-listserv-blues-l@uunet.uu.net If you're anywhere near Lansing, Michigan on Thursday, Dec. 28th, Larry will be performing with Scott Allman's band at Roxy's out by I-96 in the Best Western motel complex. Jammin' Jim Farris KKUP 91.5 FM On Sun, 10 Dec 1995 15:05:46 -0600, Don O wrote: > > >Great to hear someone else on blues-L mention my main man Larry > > >McCray. > > > It's good to hear someone else who likes Larry McCray. No one seems > > to know > > him around here. As a matter of fact, the local used CD place had > > his CD's in > > the jazz bins.I hope he'll have another release out soon. > >He is a wonderful live performer, but I don't think his CDs are as interesting. > His studio efforts have always seemed to be over-produced for my tastes. > >Just my opinion >Don O. ========================================================================= Date: Tue, 26 Dec 1995 03:47:55 GMT Reply-To: James Farris From: James Farris Organization: Netcom Subject: Blues or Not Blues? Was: Non-blues faves Comments: To: bit-listserv-blues-l@uunet.uu.net I may be opening a can of worms, but I think that Ry Cooder and John Hiatt are Blues artists. What do you, my fellow Blues-Lers think? I hope that this starts a lively newsgroup discussion. Jammin' Jim Farris KKUP 91.5 FM On Wed, 20 Dec 1995 23:09:44 -0500, James Leftwich wrote: >How about: > >Ry Cooder >John Hiatt >The Replacements >early R.E.M. >Hoodoo Gurus >Guadalcanal Diary >The Long Riders >the Byrds >the Ramones >the Clash >Lou Reed >Los Lobos >Husker Du >CCR > >Jim Leftwich ========================================================================= Date: Tue, 26 Dec 1995 03:47:54 GMT Reply-To: James Farris From: James Farris Organization: Netcom Subject: John Lee Hooker Was: Please don't delete! NOT a flame! Comments: To: bit-listserv-blues-l@uunet.uu.net I think that what happened to Boogie Nation is very unfortunate because I feel that his story should be told. I think that Richard Hillier (aka Boogie Nation) has some good intentions (good ideas too!) Please help me encourage him to continue his efforts but to work with John Lee's management and this newsgroup instead of against it. Mike Kappus at the Rosebud Agency and others could have helped Mr. Hillier accomplish what he set out to do and avoid many of the painful flames that he endured if he would have only asked. There is a right way to post information to this newsgroup and a wrong way. If you post in the wrong way, you're almost gauranteed to get flamed. If you do it in the right way, the Blues-Lers will love you for posting this kind of up close and personal information. Jammin' Jim Farris KKUP 91.5 FM On Mon, 18 Dec 1995 19:12:35 -0800, Maggie Mortensen wrote: >Melissa: > >As a new subscriber to Blues-L, I for one am very sorry to hear that this was >your last post. I came in on the tail end of this controversy, and only saw >the last few messages, so I don't really know what the allegedly offensive >material was, but as a rabid JLH fan, I can't imagine that there would be >*anything* posted about the esteemed Mr. Hooker that I would NOT be >interested in. > >I do computer consulting for a jazz organization, and I routinely post >information to relevant music newsgroups about their upcoming gigs all over >the country, and not once has anyone ever responded with anything but >enthusiasm about the fact that I do this--and certainly a press release about >musicians' gigs should be considered "marketing". > >Shouldn't we all assume that readers of music newsgroups would be more >interested than anyone else in the comings/goings/doings of the musicians >discussed? > >I'm emailing this to you as well as posting to Blues-L in hopes that you have >the wherewithall to pass along to JHL that he is THE reason I became >interested in authentic blues music at all; I think he is the greatest blues >musician ever, living or dead, and that his last two CDs show that he is >still at the absolute peak of his power....may he live to be two hundred and >may be continue to thrill us all as he does today! > >Many thanks and warm regards to you both-- > >Maggie Mortensen >New Orleans USA > >PS: ...and please let me know if you switch your allegiance to another blues >group (such as rec.music.bluenote.blues) so that I can catch up with you >there! ========================================================================= Date: Tue, 26 Dec 1995 00:15:49 -0700 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: Blues or Not Blues? Was: Non-blues faves Comments: To: James Farris In-Reply-To: <4bngou$nqv@cloner2.ix.netcom.com> Personally, I enjoy both Ry Cooder and John Hiatt and have a number of recordings by each of these artists and one of them with Little Village. I feel that they are both sterling examples of American Song Stylists. I particularly enjoy the way Hiatt writes and performs his pictures of life in the US. His sense of humor is up to his sense of music. Ry Cooder is one of the finest guitarists I have heard and can interpert a song in a manner that makes it his own. He has ventured into a number of areas such as Tex-Mex and Soul rendering beautiful music that respects its integrity in a way that few other artists can match. They both do blues tunes, but I wouldn't call them blues artists; they do the blues artistically. For what it's worth on Christmas in the Rockies, Jay Watterworth CU Boulder On Tue, 26 Dec 1995, James Farris wrote: > I may be opening a can of worms, but I think that Ry Cooder and John > Hiatt are Blues artists. What do you, my fellow Blues-Lers think? > > I hope that this starts a lively newsgroup discussion. > > Jammin' Jim Farris > KKUP 91.5 FM > > On Wed, 20 Dec 1995 23:09:44 -0500, James Leftwich > wrote: > > >How about: > > > >Ry Cooder > >John Hiatt > >The Replacements > >early R.E.M. > >Hoodoo Gurus > >Guadalcanal Diary > >The Long Riders > >the Byrds > >the Ramones > >the Clash > >Lou Reed > >Los Lobos > >Husker Du > >CCR > > > >Jim Leftwich > ========================================================================= Date: Tue, 26 Dec 1995 02:38:01 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: John Ellison in Europe Comments: To: bit-listserv-blues-l@uunet.uu.net Just wondering if anyone has seen John Ellison during the last couple of weeks & how the shows are? ========================================================================= Date: Tue, 26 Dec 1995 07:41:04 GMT Reply-To: marc@az.vub.ac.be From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Brownie and Leadbelly Comments: To: bit-listserv-blues-l@Belgium.EU.net If you remember, a few days ago I posted a question about the Brownie and Leadbelly picture in the cd booklet "The complete recordings" of Brownie Mc Ghee. I've got some interesting info from Warwick Foster of Australia ( thanks ! ) and I like to forward it to all of you.... ---> I have a book (instructional, really) called Guitar Styles of Brownie McGee, which has a fairly detailed bio at the beginning. Here's a pertinent paragraph : "When I came to New York I had met everybody - Pete Seeger, Josh White, Lee hays, Betty Sanders, Woody Guthrie, Leadbelly. To tell you the truth I lived with these people, 'til I moved from them to Leadbelly's house. He lived in a place on 6th Avenue and 8th Street, in a big old loft. I lived with Lead for two tears, me and Sonny." <--- Who knows anything more about these NewYork sessions ? embee. ========================================================================= Date: Tue, 26 Dec 1995 04:45:38 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Sitting&Thinking-Phillip Walker. PHILLIP WALKER - BIG BLUES FROM TEXAS (JSP #248) JSP RECORDS P. O. BOX 1584 LONDON N3 3NW ENGLAND TEL: 44 181 346 8663 FAX: 44 181 346 8848 BOOKING - CONTACT JSP DRESSIN' TRASHY / YOUNG DEVIL / SHE'S GONE / BLUESMOBILE / BEATRICE, BEATRICE / DON'T LEAVE ME BABY / PLAY ME SOME BLUES / INSOMNIA / GOODIE TRAIN / SHE TORTURE ME / YOUR SO FINE / BIG BLUES FROM TEXAS NYCD Short Takes The guitar squeals high up on the register and Victor Walker takes a smooth cut at the lyrics. This is the setup for what's to come. The CD is a nice mix of classic Walker blues and some big jazz brought to the fore by the horn section. Mr. Walker is fully backed here. He has Otis Grand on guitars, Dan Quinton on Fender bass, Alan Premier on drums and percussion and Steve Diamond on piano and organ. In addition the Oh Gee Horns are featured. They are Peter Beck, Mike Hobart and Noel Norris - who bring the jazz to the set. Cut two for example is a nice slice of Texas blues with a short sweet set of guitar cuts and drums runs that punctuate the rendition and a number of jazz fills by the horns. She's Gone shows off the deep blues of Mr. Walker - big, bad and mean. The guitar cries and Phillip Walker moans. This is a wonderfully captivating tune with the great singing of Mr. Walker. The rest of the sides criss cross and straddle the lines of blues and jazz. Bluesmobile and Don't Leave Me Baby are strong jazz influenced pieces while Insomnia and Your So Fine add jump to the feel. The remaining five cuts are pretty straight ahead blues with three of them getting some pepper from the harmonica work of Buzz Brown. Goodie Train is a particularly interesting cut with an early traditional blues arrangement and Big Blues from Texas sums it all up - not just big blues but a big blues man. Reviewed By Barry Silverberg Copyright NY CD Blues - 1995 NY CD Blues Now at http://www.island.net/~blues/nycd.html Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Tue, 26 Dec 1995 13:01:48 GMT Reply-To: marc@az.vub.ac.be From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Re: James Armstrong Comments: To: bit-listserv-blues-l@Belgium.EU.net David A. Pimmel (103300.3331@COMPUSERVE.COM) wrote: : Any opinions on James Armstrong? I've seen his CD around for the last few : months and was wondering if anybody could make any recommendations on him or the : disk. Last summer, he saw him on the Belgium Rhythm and Blues Festival. Really not bad, but he didn't make me wild of enthusiasm... You 'd better ask "YoungMan" Jean-Pierre Urbain, he was standing close to me during Armstrong's set and he knows a lot more about this guy. embee. ========================================================================= Date: Tue, 26 Dec 1995 08:50:29 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: eRIC's BLUES DATES Dec. 26 In-Reply-To: <199512251946.LAA10172@desiree.teleport.com> >------------------------------------------------------------------------------- >artist notes/full name yyyy-mmdd, city/county state age >------------------------------------------------------------------------------- > BELL, T. D. (g) b. 1922-1226, LEE CTY, MS Happy Birthday to TD Bell. If you haven't yet, track down his Spindletop release, It's About Time with Erbie Bowser - WONDERFUL stuff. Also, if you're ever in the Austin area on Friday afternoon, check out TD and the Blues Specialists at the Continental Club happy hour 5:30-8:00. -Jeff (another satisfied fan) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Tue, 26 Dec 1995 10:06:04 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: Music theory/learning thread Comments: To: BAJammin Hi Bill, I would never be so egotistical as to say I will ever be a "great" blues artist, but I am a classically trained musician and not too terrible of a slide guitarist. Most of the "authentic" blues musicians I know are from rural areas where blues is the dominant musical genre. It's not that they wouldn't use that kind of training if they had it; they just never got it. I don't think my classical guitar training has hurt me as a blues musician -- in fact, it's helped my rhythm a lot. But I "turn off" my classical training when I play blues. Although I sight-read when I'm playing classical guitar or piano, I play BLUES guitar strictly by ear or by what other guitar players show me. ______________________________ Reply Separator _________________________________ Subject: Re: Music theory/learning thread Author: BAJammin at Internet Date: 12/24/95 12:12 AM I've been following this theory vs feeling debate since I signed on to blues-l about two months ago and I can't hold back my humble opinions any longer. First I'd like to dispel the myth that if one learns theory one will not have feeling and will drop time trying to calculate what note to play. Music has many of the same attributes as a spoken language. (I'm not trying to say it's a universal language because it's not) one can learn speaking from hearing speech, use it and have alot to say or just talk a lot, but without learning to read and studying the details of language we'd be limited. Feeling isn't numbed by learning to think and communicate. It's enhanced by it. It's numbed by drugs and various forms of abuse. Another humble point I'd like to make is that musical instruments by design are very theoretical tools. There are reasons why they tune the way they do, frets go where they go and why there is a visual pattern (goemetrical) to a piano key board. Chords have names because they have structure. Simple and extended structure. A little theory goes a long way to just clarifying that structure and teaching a verbal language to use when it's so inconvenient to communicate to everybody by rote all the time. Talking a chord progression through once or twice is more efficient than trying to show someone a mess of fingerings they may or may not be accustomed to using. It's certainly true that if a player, even a good one, never listens to the blues he/she will never be a blues player. Playing by ear is an important skill that can't be learned from books. It is an ear practise that often the classically trained musician misses out on hence there are people who really can't play without sheet music. If they've never been curious about the obscure piano styles of the masters of improvisation enough to try to be ear musicians too, that's OK.They can hear music off the page which in itself is a very respectable talent. But why be only 1/3 talented? Playing by ear and playing by sheet music is only 2/3 of it. One doesn't have to know much music theory to play sheet music. Understanding chord strucure, harmonic motion, voice leading and all the other nuances of tension and texture in music (you can't cop that buying lots of glorious midi gear and such) is what bridges the gap between the other 2/3. It really does make reading music more interesting and it really does enhance one's ability to play by ear. So. Does anybody out there know of any great blues players who are also classically trained? I know of two offhand. Rory Block was quite an accomplished classical guitarist by the time she was twelve. She never seems to have any trouble at all deciding what note to play. Ray Charles studied music in that school for the blind he attended as a youngster. He played some Beethoven on a documentary I watched several years ago. Really nice. Bill Adams "Walkin' the Blues at 78 RPM" WTJU Charlottesville 91.1 FM ========================================================================= Date: Tue, 26 Dec 1995 08:02:21 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES Dec. 27 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. HAPPY HOLIDAYS! JOYEUSES FETES! ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BRYANT, DAVE (b/CHARLES BROWN/JORDAN) b. 1921-1227, CHICAGO, IL CARMICHAEL, HOAGY (p/songw) d. 1981-1227, RANCHO MIRAGE, CA 82 CONTI, ROBERT JAMES (d) b. 1947-1227, BROOKLYN, NY FISHER, CARL (of VIBRATIONS/JAYHAWKS) b. 1939-1227, QUARDON, TX JACKSON, LEROY (b) d. 1985-1227, CHICAGO, IL 58 JEFFERSON, BLIND LEMON (g) d. 1929-1227c CHICAGO, IL 32 MAHER, JOHN (publisher: DOWNBEAT) d. 1968-1227, CHICAGO, IL -- MONK, T. S.[THELONIOUS SPHERE MONK III]d b. 1949-1227, NEW YORK CITY, NY MOORE, WINFIELD "SCOTTY" (g/ELVIS PRESLEY)b. 1931-1227, GADSDEN, TN MURPHY, MATT "GTR" (g) b. 1929-1227, SUNFLOWER, MS NELSON, TRACY (g) b. 1947-1227, MADISON, WI WESTBROOKS, WESLEY (dj) d. 1981-1227, DENVER, CO -- WILCOX, EDDIE (p) b. 1907-1227, METHOD, NC WOOD, MITCHELL "BOOTY" (tbn/BASIE) b. 1919-1227, WEEDOWEE, AL ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 27 Dec 1995 01:33:23 +0900 Reply-To: Shinya UNEBE From: Shinya UNEBE Subject: SELF-INTRODUCTION At first,thank you Mr.Joel Slotnikoff for having me this opportunity. Have you checked his internet site? http://www.inlink.com^joelslot MUST for all Blues fans&collecters!!! THE HISTORY------------------------------------------------- At age 15,I brought two old records at my local used record shop. Johnny Winter/Still alive and well&Fleetwood mac/English Rose was the records and I dig blues music since.That's history. Now 25,operating VOUTVILLE RECORDS MAIL ORDER domestically and selling Rock/Soul/Jazz LP and collecting Blues music. I'll buy your records for business and buy your collection for myself. My favorite collections are Lightnin' Hopkins/Lightnin Strikes on Herald lbl. LP and two SP records of ORA-NELLE lbl.(Very 1st record ing of Little Walter). I think here is not "Collecter show place",so I'd like you to help me finding most recent release('95) of JESSE THOMAS CD on his own Red River lbl.Where can I buy this CD? or should I ask for him??? Regards,SHINYA UNEBE ========================================================================= Date: Tue, 26 Dec 1995 10:41:09 -0600 Reply-To: Chris Pearson From: Chris Pearson Subject: Re: Blues or Not Blues? Was: Non-blues faves I think you have hit on something that has caused me considerable grief around here. The idea of being a blues artist and doing blues tunes. Some of my favorite blues tunes are not by "blues artists". I think this is why some folks on this list bristle at the mention of Eric Clapton, Robben Ford, Gary Moore, Larry Carlton, Jonathon Butler etc. Good point, Jay. I don't care who plays it if I like it! Chris >Personally, I enjoy both Ry Cooder and John Hiatt and have a number of >recordings by each of these artists and one of them with Little Village. >I feel that they are both sterling examples of American Song Stylists. I >particularly enjoy the way Hiatt writes and performs his pictures of >life in the US. His sense of humor is up to his sense of music. Ry >Cooder is one of the finest guitarists I have heard and can interpert a >song in a manner that makes it his own. He has ventured into a number of >areas such as Tex-Mex and Soul rendering beautiful music that respects >its integrity in a way that few other artists can match. >They both do blues tunes, but I wouldn't call them blues artists; they do >the blues artistically. >For what it's worth on Christmas in the Rockies, >Jay Watterworth >CU Boulder > >On Tue, 26 Dec 1995, James Farris wrote: > >> I may be opening a can of worms, but I think that Ry Cooder and John >> Hiatt are Blues artists. What do you, my fellow Blues-Lers think? >> >> I hope that this starts a lively newsgroup discussion. >> >> Jammin' Jim Farris >> KKUP 91.5 FM >> >> On Wed, 20 Dec 1995 23:09:44 -0500, James Leftwich >> wrote: >> >> >How about: >> > >> >Ry Cooder >> >John Hiatt >> >The Replacements >> >early R.E.M. >> >Hoodoo Gurus >> >Guadalcanal Diary >> >The Long Riders >> >the Byrds >> >the Ramones >> >the Clash >> >Lou Reed >> >Los Lobos >> >Husker Du >> >CCR >> > >> >Jim Leftwich >> > > ========================================================================= Date: Tue, 26 Dec 1995 11:58:10 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Blues Video on the Web So far as I know, these are the first blues videos on the Web. This page has nine QuickTime (.mov) clips from a unnamed (and yet to be released?) movie by Steve Brown. They feature Ramblin' Jack Elliot and Roy Rogers playing acoustic steel on a 30's-era railcar. (I guess they're playing the parts of hobos.) It's at: http://www.rockweb.com/artists/steve-brown/jack-roy-vid.html If you need to get the latest QuickTime or QuickTime for Windows, you can download it at: http://quicktime.apple.com/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Tue, 26 Dec 1995 12:18:26 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: counter --========================_7057932==_ Content-Type: text/plain; charset="us-ascii" Ben: The launch of the new pages is slated for Jan 1, and that would also be a great day to say "hits since....". Hope you can find me a counter this week. I'm going to attempt to attach a program I pulled down off a fairly neat page called A1's Cool Web Page: Goodies, Gismos 'N Gadgets, http://www.vir.com/~wyatt/cool.html called Netscape Defrost. Tell me what you think of it. 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Ylb$6%cGGiV,("Sc[a*fXi8F2m%M20&,mjf(LFHS@(X&,0U`pqJMmU-d%K G*lA%3 imU$$A[GjL#2&N!!AT[aF4*(eBK#R#YRBAHd+Y`DSeXqk'pHR0aYTM"YXk)d8MdC '- p*8Nrb,!dj*+3P)ICij25L4FI0Ike`Z(AC2E(`CjRK&52pXBQH"Tp62ffSHNRQ [iUN)jBErAJ" G*bq#a'iM566B)V"I)b[*RE6&j[mAL@[U60jCaVCq9ShDqa9SY5I 60DSCmSjYZ`4-9&bEIkHG` m2R@rKMMeY%1r(@m9LHXiMGS#qYUI6i*a22%J!J4LN HdhJrijQ&D3+Emp#j@&!+'e"(R!lacr8 5#9MK(!)bepaH-45X1ImA$5*BUH+@83+ dNCGDjClm[&m26$@iRUI8Ermh![p@I&ej[[i`)SRr! `!K)4K1CA4cBf&`C5"%C@C bEh0d)$!Z1@)b)-3!N!a!!%-!c`%X!*!$!3!!&CF!N!F@!*!$KJ! !!3$rN!3"!+b ccqbXXp!P!*!'4R3!N!BIi`#3#KC%S*m!!!%!N!-"&!#3!a3!N!-b6R8"BJ"1! -) !aJ$)!-S!ZJ#q!-`!cJ$5!,B!eJ#Z!,)56P0%C@CbEh0d-#ijBM)ZFfPd,J)!N!0 6594%8 dP8)3!!8dP84&0*9#%"!!#"!-m!N"+XXp&p!!!Jf3!!!8B",!%Z!6!"-J% d!6B"1!%k!6`"2J& !!8)"4!&'!8J"5J&-!8i"8!&5!93"9J&B!9S"A!&H!@!#2cm !!Mmr!!)r2`!#2cm!!Mmr!!)r2 `!#2cm!!Mmr!!)r2`!")!%L!5)"$3)[+J!#+Lm !!9`"+!%T!9X"A3&l!Ad"a`()!5X",3%U!*! $%!!V!!8"'!(f!*!'!`#3!`%!N!- "&!#3!a3!N!-b!Dfb'"S8!*!$(!!b!!"6CA4R!*!$#J!!r rm!N!3"VIR-d2-: --========================_7057932==_-- ========================================================================= Date: Tue, 26 Dec 1995 11:21:42 -0600 Reply-To: Doll From: Doll Organization: Ala Carte Entertainment Subject: KOKO TAYLOR'S CHICAGO BLUES Comments: To: bit-listserv-blues-l@uunet.uu.net Before I give you our January listings, I want to take the time out to thank all of you personally who have come to Koko's and made it one of th= e most happenning places in Chicago. It's your support and interest that make it work. Now, for your pleasure, the January listings.=20 DECEMBER Tuesday, December 26 MERLE PERKINS AND THE PERKOLATORS =20 Wednesday, December 27 MICHAEL COLEMAN AND THE BACKBREAKERS Thursday, December 28 SHIRLEY KING =20 Friday, December 29 BYTHER SMITH =20 Saturday, December 30 BARBARA LESHORE =20 NEW YEAR'S EVE DAVE SPECTER & LYNWOOD SLIM WITH LURRIE C. BELL =20 JANUARY Monday, January 1 THE LOVE MAKERS =20 Tuesday, January 2 LITTLE ED & DAVE WELD =20 Wednesday, January 3 FABULOUS FISHEADS =20 Thursday, January 4 LIZ MANVILLE w/ AARON BURTON BAND =20 Friday, January 5 CHIDECO ZYDECO, MARY LANE =20 Saturday, January 6 WILLIE KENT & THE GENTS/BONNIE LEE THE HIGH ROLLERS =20 Sunday, January 7 SUNDAY NIGHT JAM Monday January 8 DON GRIFFIN Tuesday January 9 MIKE PEAVY Wednesday, January 10 LITTLE MACK SIMMONS Thursday, January 11 JOAN BABY Friday, January 12 HOWARD & THE WHITE BOYS/GRADY FREEMAN and SEVENTH= SON Saturday, January 13 CASEY JONES/THE JOHN MCDONALD BAND Sunday, January 14 SUNDAY NIGHT JAM Monday, January 15 KEN SAYDAK Tuesday, January 16 EDDIE BURKS Wednesday January 17 LENDELL JONES Thursday, January 18 GLORIA HARDIMAN =20 Friday, January 19 CHARLIE LOVE/MELVA LEBLANC Saturday, January 20 TONY Z ON HIGH TONE/RUBY HARRIS Sunday, January 21 SUNDAY NIGHT JAM Monday, January 22 DELMARK WEEK: BARKIN' BILL Tuesday, January 23 DELMARK WEEK: BYTHER SMITH Wednesday, January 24 DELMARK WEEK: LURRIE C. BELL Thursday, January 25 DELMARK WEEK: KAREN CARROL Friday, January 26 DELMARK WEEK: DAVE SPECTER Saturday, January 27 DELMARK WEEK: TAD ROBINSON Sunday, January 28 SUNDAY NIGHT JAM Monday, January 29 J.B. RITCHIE Tuesday, January 30 J.W. WILLIAMS Wednesday, January 31 TRE & THE BLUE KNIGHTS FEBRUARY Thursday, February 1 LYNN JORDAN AND THE SHIVERS Friday, February 2 SAM LAY Saturday, February 3 ROWIS & LUCKETT Remember, all listings are subject to change. We welcome all responses, criticisms and comments and hope you have a good new year. Steven Flu=E9t, Office, Manager, Ala Carte Entertainment ========================================================================= Date: Tue, 26 Dec 1995 12:30:57 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Nomail not working? Hey all, and Happy Boxing Day, you Brits and Canuks! I set to NOMAIL and sent to the listserver just before the holiday and it's still sending. I even got the appropriate response from Brown acknowledging my subscription update. Is the computer asleep at the wheel? Happy New Year! Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 26 Dec 1995 12:08:24 -0700 Reply-To: Jeff Birk From: Jeff Birk Subject: Non-blues favs In no particular order: Rachmanioff Pat Metheney Yellowjackets Mozart Vangelis Jean-Michele Jarre Mars Lasar Van Halen (the David Lee Roth years) John Williams (not the guitarist) Rush Steely Dan .....just a small sampler.... Jeff ========================================================================= Date: Tue, 26 Dec 1995 14:30:57 -0500 Reply-To: RLaMour From: RLaMour Organization: America Online, Inc. (1-800-827-6364) Subject: Re: PHOTO, DRAWING, COPYRIGHT Comments: To: bit-listserv-blues-l@uunet.uu.net Bill and Kathy gave me one their Jim Franklin T-shirts a few years ago and it is one of the coolest ones I have...Freddy King playing his guitar with an armadillo shooting out of his bloody chest. Did anyone check out the prices of the old AWH and Antone's posters at the Armadillo Christmas Bizarre, this year. Memorabilia seems to be quite a lucrative hobby (Greatful Dead posters were going for $300). I worked many of the old Antone's shows in the 70's as a bartender there (Muddy, Clifton Chenier, Jimmy Reed, etc.) and wish I had more of the old posters now, but who can afford... Ronnie Narmour ========================================================================= Date: Tue, 26 Dec 1995 16:25:16 -0500 Reply-To: RLaMour From: RLaMour Organization: America Online, Inc. (1-800-827-6364) Subject: Duke/Peacock catalog Comments: To: bit-listserv-blues-l@uunet.uu.net Anyone know who now owns the Duke and Peacock catalog and how to get in touch with them? I represent Lavelle White and we want to record some of her old stuff. Ronnie Narmour ========================================================================= Date: Tue, 26 Dec 1995 17:10:22 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: TRIX info needed .... Does anyone have address, tel, FAX for TRIX Records. e-mail or post please. NY CD Blues Now at http://www.island.net/~blues/nycd.html Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Tue, 26 Dec 1995 17:59:58 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Re: "counter" post: Apologize! My error. Sorry to all those who received that post inadvertantly. I am not terribly familiar with the "nickname" function in Eudora and posted to the Blues-L list what was meant to go to the support tech at my server. I regret any inconvenience caused. However, it seems like a nifty piece of software and I hope it helps somebody. Again, my apologies, Joel ========================================================================= Date: Tue, 26 Dec 1995 23:10:06 GMT Reply-To: David Goldstein From: David Goldstein Organization: IPOF Subject: Norman Dayron??? Comments: To: bit-listserv-blues-l@uunet.uu.net I've recently purchased 2 CD's from this person's archive. They are: Robert Nighthawk - Live from Maxwell Street Rare Chicago Blues They are excellent, with high quality sound, and a varied playlist. Who is Norman Dayron? ========================================================================= Date: Tue, 26 Dec 1995 18:49:24 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Norman Dayron??? Comments: To: David Goldstein In-Reply-To: <4bpuf7$3gt@ipof1.fla.net> On Tue, 26 Dec 1995, David Goldstein wrote: > I've recently purchased 2 CD's from this person's archive. They are: > Robert Nighthawk - Live from Maxwell Street > Rare Chicago Blues > They are excellent, with high quality sound, and a varied playlist. > Who is Norman Dayron? David, Just curious - what does it mean to have purchased these CD's from someone's archive. I'm a bit confused since they can be bought in the stores (at the least the Nighthawk can). If archive means collection than I got my answer. NY CD Blues Now at http://www.island.net/~blues/nycd.html Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Tue, 26 Dec 1995 18:14:52 -0600 Reply-To: Todd Ehlers From: Todd Ehlers Subject: Race,Blues,Essentials ---Caution: long posting ahead--- I am new (one month) to the Blues-L list. I have a few points to make which I welcome reactions to, and one closing point I would like to suggest for an on-going thread. Toss it all if you wish. 1. Although I am new to Blues-L I am not new to blues. I have been enjoying blues "per se" for app. 3 years running. My musical whims have run the gamut from classical to punk (and I haven't given any up) but the blues are with me to stay. God, I love the blues. I swear in heaven they'll sing the blues. (Paradoxical, but God will find a way. If he's cool enough to create creatures who could create the blues, wouldn't the band in paradise be jamming?) 2. Can ANYone really be new to blues, at least anyone with good ears in American culture? Blues' children are the airwaves' rage: rock 'n' roll, rock, metal, rap, contemporary country, you name it: if a note falls flat on purpose, if a three chord progression is the root (to take two examples), then blues takes the nod. 3. If blues has a facet which makes its fans uneasy and even sometimes divisive, it is race. (If anyone disagrees, please post. At this time you are entitled to know more about me: I am white, male, 34, I have two daughters, I work in human services, and I live in a small town in southwest Wisconsin.) I propose this makes sense. More than that, it's what makes blues WORK. Racism in "Free-on-paper America" and the singular social conditions of black people after the Civil War (I haven't heard documentation of ante- bellum blues, but I concede they are there) were how the blues become what it is. If it hadn't been for racial division of the peculiarly American kind, the blues as we know it may never have grown to mother its many children and relative forms. Racism is part and parcel of blues. The paradox of the "land of the free" practicing separate but equal racial justice, of a nation which celebrated its liberty while systematically squashing it in its most visible citizens, of a country many hold to be among the most religious in history yet buried blacks in separate cemetery quarters perpendicular to white people as though salvation itself would be meted out to them differently--all this created the pain of the blues. To the everlasting glory of an oppressed people, music helped them cope with the madness. Music scholars can fill the blanks for me, but African musical traditions blended/mixed/gelled with America's to bring forth that blues sound. If the railyard picker Handy heard is a reference point from which began the "business of the blues" (just as phonographs became popular, a coincidence made in heaven!), the pain of American racism was still the inspiration. So: can white folks sing/play the blues? Let me put it this way: African American culture gets credit for the birth of the blues. But it does not end with their race, anymore than "Only the descendants of tin pan alley songwriters can write popular tunes," or "Only southern white men can sing or play rock 'n' roll." The child was born of the labor pains of oppression with the stern midwife of America, so its descendants are anyone who can call sadness their companion through a blues form. That said, I will venture an opinion that may at first seem to contradict all of what I said: I believe the best blues, by and large, is performed by African Americans. Are there any good white blues performers out there? The late Stevie Ray Vaughan was one. His "Texas Flood" and his covers of "Leave My Girl Alone" and "Tell Me Darlin'" (slow version) are every bit as powerful as any blues I have ever heard. Ever. 3. What CD collections would be ESSENTIAL to knowing how the blues developed since the 1920's? The recent boxed T-Bone Walker set comes to mind. BB King's 4-CD "King of the Blues" boxed set from MCA, 1992, is another. Hereafter I need help. Practical, untheoretical help. I'm guessing a Waters box set if it's out there, R. Johnson, Hooker, Jimmy Reed . . . now you guys can preach to me. Thanks a lot. I know that was a lot to swallow. Just barf it back if it wasn't worth the effort. Todd Ehlers Very white, very blue. ========================================================================= Date: Wed, 27 Dec 1995 00:28:49 GMT Reply-To: Michael Twomey From: Michael Twomey Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: New Blues List!! James Witteveen (hndful@UNISERVE.COM) wrote: : >I am going to be putting together a new Blues mailing list. It will be : >called the "Doyle Ertwine Nothin' But The Blues List." : See ya Doyle. It's been good to read your single post. Remember, when : talking to yourself (on your new list), you're only crazy if you start to : -Jim (hndful@uniserve.com) Thanks to all who let me know that Jim was the innocent one. Doyle was the flamebait. My reader (tin) confused me. Jim was a good sport about it. Thanks Jim. Mike ========================================================================= Date: Wed, 27 Dec 1995 00:46:13 GMT Reply-To: David Goldstein From: David Goldstein Organization: IPOF Subject: Re: Albert King memories Comments: To: bit-listserv-blues-l@uunet.uu.net Hugh Hardy wrote: ><---- Begin Forwarded Message ----> >Date: Fri, 22 Dec 1995 07:41:00 EST >Reply-To: Robert Page >From: Robert Page >Subject: Re: Albert King memories >To: Multiple recipients of list BLUES-L > >>My favorite and only memory of Albert... >> >>BTW, What of ALbert's Stax recordings would be recommended? The best >>I've come across is _Years Gone By_. >> >>Jim >> >I personally like > >Jammed Together (wtih Pop Staples and Steve Cropper) >Live Wire >Lovejoy > >Each is quite different from Years Gone By and special in some respect or >another. > >Thanks >Bob Page >> > > ><---- End Forwarded Message ----> > >My absolute favourite Albert King is "I'll Play the Blues For You" a killer >album (or CD). > > > ... blah blah blah ... The best I have come across, and I have 7 CD's by Albert are: Blues At Sunrise Blues At Sunset The Blues Don't Change all by Stax Born Under A Bad Sign MasterDisc Fit for a King! ========================================================================= Date: Tue, 26 Dec 1995 17:27:27 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Race,Blues,Essentials Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Todd said (long, well thought out post mostly edited) >So: can white folks sing/play the blues? Let me put it this way: African >American culture gets credit for the birth of the blues. But it does not >end with their race, anymore than "Only the descendants of tin pan alley >songwriters can write popular tunes," or "Only southern white men can >sing or play rock 'n' roll." The child was born of the labor pains of >oppression with the stern midwife of America, so its descendants are >anyone who can call sadness their companion through a blues form. Once again, I must re-focus this discussion. *No one* on this list has said that white people cannot play the blues! Someone privately posted me, that a certain blues-eller held that view, so I followed it up, and they DO NOT hold that view... I've never heard that statement, or anything like it, made here. So, *I say* that there are no blue-l members that hold such a view. if there are, please step forward and correct me. Until then, lets put this to rest. Why does this discussion keep returning to this ridiculous statement? Get it straight, get it clear: This discussion arose because someone said that "there is no black or white, only Blue", and others have said things to the effect that we should "just talk about the music". Statements that deny the crucial relationship to the music that the African American history and culture has had, that Todd eloquently described in his post. This discussion is about the relationship of that culture to a musical art form. Many of us (myself included) say that the Blues includes the culture that produced it. That the music is an expression of that culture, that while whites have been welcomed into that culture, they must be humble and gracious enough to acknowledge their roots and the debt they owe the founders. We say; you cannot learn the blues from Led Zep, we say you cannot even learn the blues from Stevie, we say you must learn from the founders, from their culture, if you expect to be convincing as a musician playing the blues. Others say that the blues *started* with the African American experience, but is now simply another musical form, open to any who want to participate, without any necessary connection to black culture. I say, that is a shallow perspective that reduces the blues to a bunch of scales and licks, and takes all the soul out of it. I liken it to what has happened in the Martial Arts in the US. Many Americans were uncomfortable with Asian culture and ways, and would not attend a traditional "Dojo". So non-asians opened schools where there was no bowing, where there was no silence and respect during class, no picture of Funakoshi-Sensei on the wall, where the students did not learn anything about the culture, history, and philosophy involved, where you got your next belt simply for showing up for three months and going through the motions. Some of them were even named "All American Karate" or some such nonsense. (kinda like All American Toyota, huh?)... Training under a really good asian teacher is *hard*, and will challenge many of your preconcieved notions, trust me. But every culture has something to offer ours, as we have something to offer theirs, and by "americanizing" everything we deny ourselves the opportunity to learn things that often we desperately NEED to learn. So go to black church, go to real blues clubs where the roots are still showing a bit, make friends, read "Rhythm Oil", go to the Delta Blues Museum, buy a Furry Lewis CD, a Sonny & Brownie, and a Robert Johnson along with your SRV and others. You cannot just "talk about the music, and leave race out of it" without making the blues another homogenized disney-experience with silly smirking white guys in shades and hats. And heaven knows we've got enough of those already. I guess it all depends on how *good* you really want to be. Me? I want to be the best. So I'm not too proud to admit what I owe a bunch of old (and some dead) black men and women. Of course some us will have to give up our prejudice to go to those places, and we will have to start treating black people as well as we treat whites.... now you gettin' with it son.. the blues, that is, it's about love and justice and humor. After all, isn't this whole discussion about some people's unwillingness to say something as simple as: "This music is from the African American experience, and I owe everything to the founders, and their tradition, and I am proud to be able to particpate in this art form". There, that wasn't so hard, was it? What's the problem? This music will die if we forget where it came from. I know Todd would agree with me on most of this, but I must keep the real issue at the center of this discussion. Anyone can play the blues, as long as they are willing to give it the love and respect it deserves. Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Tue, 26 Dec 1995 20:57:03 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Internet Blues Show Hi Bluezellers, hope you all had a good holiday season! A couple of months ago I sent out a note that my debut as dj of an internet blues show was upcoming - well, it's finally up and running! If you want to check it out, just go to: http://colossus.net/sdf-radio/ and you'll find my show `Heart and Soul', a weekly one-hour show where I play mostly blues, but also a bit of gospel and jazz. So check it out - you'll need to download an IWave Audio player or RealAudio player (they're available for free), and the sound is about the equivalent of AM radio, depending on your connection and speakers. I'm just a rank amateur as far as DJ'ing goes, but the music is good, and it's a lot of fun to do. It's a non-profit `community radio' type thing, with none of us getting paid, and for those who are concerned, all ASCAP and BMI royalties are being payed! Hope you like it. -Jim (hndful@uniserve.com) ========================================================================= Date: Wed, 27 Dec 1995 00:07:43 EST Reply-To: MB6254@ACSPR1.ACS.BROCKPORT.EDU From: Mark Baker Subject: blues I am new to the net, and currently living in Rochester New York. We have two great blues bands here. The first is Joe Beard and the Blues Union. Joe is an amazing singer, and his band smokes. He has a new album out on Rounder (I believe). BUy it. The second group is the Nightstalkers. They have a disc out, but you can only get it here as far as I know. They are hot! I had them play my wedding reception. Mark Baker ========================================================================= Date: Wed, 27 Dec 1995 02:34:16 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Norman Dayron, How 'bout it Dick? Eric? Norman Dayron's name appears on some of the finest blues recordings made in the city of Chicago. Could Dick or Eric or somebody please tell us some more about the man behind these recordings? Joel ========================================================================= Date: Wed, 27 Dec 1995 08:55:10 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Radar Labs 23 Subject: Homesick James Comments: To: bit-listserv-blues-l@uunet.uu.net I've just "discovered" Homesick James. I have two cd's of his from my radio show. I think he has an awesome voice, plays guitar very well, and is very funny. I like this guy! I'd be very interested in any biographical or discographic information anyone could share. WWW Production: HTML,CGI,JAVA http://www.rlabs.com/webtech/ "You clearly don't have a clue how HTML actually works." -- M. Brent Sleeper Kevan Smith -> cuthulu@prysm.net ========================================================================= Date: Wed, 27 Dec 1995 10:40:59 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Radar Labs 23 Subject: Playlist Comments: To: bit-listserv-blues-l@uunet.uu.net I don't want to post my play lists here, simply because they take up so much bandwidth. But you can see what I play on my blues show at http://www.rlabs.com/kdaq/ . Follow the Blues on Red River Radio link. You can also suggest material to me (please!), and I can send you more information about what I'm playing, if you want. I thank you for your time. WWW Production: HTML,CGI,JAVA http://www.rlabs.com/webtech/ "You clearly don't have a clue how HTML actually works." -- M. Brent Sleeper Kevan Smith -> cuthulu@prysm.net ========================================================================= Date: Wed, 27 Dec 1995 09:33:14 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Race,Blues,Essentials At 06:14 PM 12/26/95 -0600, Todd Ehlers wrote: > >of a country >many hold to be among the most religious in history yet buried blacks in >separate cemetery quarters perpendicular to white people as though >salvation itself would be meted out to them differently I have not heard of this particular form of segregation - burying African Americans perpendicular to whites - could some one please explain: Why this particular practice? What is the purpose of perpendicular? If, as I would assume, blacks were buried in separate cemetary quarters, how could they be buried perpendicular to whites? David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Wed, 27 Dec 1995 11:18:40 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Johnny Winter Fan Club Address I need the address for the Johnny Winter Fan Club. If you have it, please forward it to me. thanks, Ruth ========================================================================= Date: Wed, 27 Dec 1995 08:21:14 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Dec. 28 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. HAPPY HOLIDAYS! JOYEUSES FETES! ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ANDERSON, IVIE (v) d. 1949-1228, LOS ANGELES, CA 44 BO DIDDLEY [OTHA ELLAS BATES MCDANIEL](g) b. 1928-1228, MCCOMB, MS BROADNAX, WILMER "LITTLE AXE" (v gospel) b. 1916-1228, HOUSTON, TX BROWN, EDDIE J. "BONGO" (of MOTOWN REC) d. 1984-1228, LOS ANGELES, CA 52 BROWN, SAM (g) d. 1977-1228, BLOOMINGTON, IN 38 CARBO, LEONARD "CHICK" (of THE SPIDERS) b. 1927-1228, HOUMA, LA COMSTOCK, BOBBY (g) b. 1943-1228, ITHACA, NY CONNER, GENE "MIGHTY FLEA" (tbn/J. OTIS) b. 1930-1228, BIRMINGHAM, AL HALL, FREDERICK DOUGLASS (afro-amer songw)d. 1982-1228, ATLANTA, GA 84 HINES, EARL "FATHA" (p) b. 1905-1228, DUQUESNE, PA JESSIE, YOUNG [OBIE DONMELL JESSIE] (v) b. 1936-1228, LINCOLN MANOR, TX JOHNSON, HOWARD"SWAN"(asax/PANAMA FRANCIS d. 1991-1228, NEW YORK CITY, NY 83 KING, FREDDIE (g) d. 1976-1228, DALLAS, TX 42 KLINK, AL (tsax/IN THE MOOD) b. 1915-1228, DANBURY, CT LASTIE, WALTER "POPEE" (d/FATS DOMINO) d. 1980-1228, NEW ORLEANS, LA 42 MODELISTE, JOE "ZIGABOO" (d/METERS) b. 1948-1228, NEW ORLEANS, LA MR. SHORTSTUFF [JOHN WESLEY MACON] (g) d. 1973-1228, MACON, MS 50 NEVILLE, CHARLES (ssax/NEVILLE BROS) b. 1938-1228, NEW ORLEANS, LA O'LOUGHLIN, STANLEY "STASH" (p/BOSTIC) d. 1984-1228, NEWARK, NJ 60 OTIS, JOHNNY [JOHN VELIOTES SR.](d/vibes) b. 1921-1228, VALLEJO, CA PEG LEG SAM [ARTHUR JACKSON] (hca) b. 1911-1228, JONESBORO, SC SILVER, ABNER (songw) b. 1899-1228, NEW YORK CITY, NY WILLIAMS, BILLY (lead/THE CHARIOTEERS) b. 1910-1228, WACO, TX WILLIAMS, JESSE (g) d. 1982-1228, CHICAGO, IL 36 WINTER, EDGAR (p/asax) b. 1946-1228, BEAUMONT, TX ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 27 Dec 1995 08:51:53 -0600 Reply-To: Bruce Roberts From: Bruce Roberts Subject: T.D. BELL Happy Birthday to T.D. Bell. His birthday was yesterday. He's in his "mid 70's", that's the best I can get out of him. There was a birthday party for him friday afternoon at the Continental Club. I'd like to see him come out with a new CD sometime this year. He's do for one. Bruce Roberts Austin, TX ========================================================================= Date: Wed, 27 Dec 1995 10:19:10 -0500 Reply-To: Erica Wissolik From: Erica Wissolik Subject: Help finding an address - no blues, sorry Awhile back, I think I remember seeing the address for the Center for Southern Folk Art (or something like that... I can't remember the exact name but I do know that it sits at the corner of Beale & 2nd in Memphis) on this list. Could someone please post it again or send it to me directly? Or if anyone has any info on dealers or galleries who sell the Rev. Howard Finster's artwork, I'd appreciate those addresses and phone numbers as well. Thanks in advance. Erica ewissolik@crs.loc.gov ========================================================================= Date: Wed, 27 Dec 1995 11:33:44 -0500 Reply-To: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM From: Jim Smith Subject: Genes CD Gary Davis Release In-Reply-To: <4bpp7s$eub@newsbf02.news.aol.com> CDNow lists the GENES CD Gary Davis Release "O Glory" as being available 1/30/96. This porject has been in the works for about 3 years and is supposed to present unreleased performances. ========================================================================= Date: Wed, 27 Dec 1995 07:35:13 -0600 Reply-To: Todd Ehlers From: Todd Ehlers Subject: Re: race,blues,essentials I must have leaped before I looked! >*No one* on this list has said that white people cannot play the blues! >Someone privately posted me, that a certain blues-eller held that view, so >I followed it up, and they DO NOT hold that view... I've never heard that >statement, or anything like it, made here. When I first dropped into Blues-L I caught some of this going around. I made the mistake of believing this was an on-goin flame. I am sorry. I see the list fans make sure (to the best of your--and my!--ability) to see that such crap stays off this list. >We say; you cannot learn the blues from Led Zep, [nor] from Stevie, we say >you must learn from the founders, from their expect to be convincing as a >musician playing the blues. Amen. >Others say that the blues *started* with the African American experience. >I say, that is a shallow perspective that reduces the blues to a bunch of >scales and licks, and takes all the soul out of it. Superbly put. If my posting led one to believe I reduced it to scales and licks, again I apologize. >"This music is from the African American experience, and I owe everything >to the founders, and their tradition, and I am proud to be able to >particpate in this art form". > >I know Todd would agree with me on most of this, but I must keep the real >issue at the center of this discussion. > >Anyone can play the blues, as long as they are willing to give it the love >and respect it deserves. > >Don I agree with it _all_, Don. You've said it better, too. I wish I had written that small but essential word "respect" into my posting. That ends that. Now, how about more essentials for us weak in collections of the founders? I've got some spare Christmas cash waiting to turn from green to blue! Todd ========================================================================= Date: Wed, 27 Dec 1995 12:11:06 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Help finding an address - no blues, sorry Comments: To: EWISSOLIK@crs.loc.gov In a message dated 95-12-27 11:39:28 EST, EWISSOLIK@CRS.LOC.GOV (Erica Wissolik) writes: >Awhile back, I think I remember seeing the address for the Center for >Southern Folk Art (or something like that... I can't remember the exact >name but I do know that it sits at the corner of Beale & 2nd in Memphis) >on this list. Center for the Study of Southern Folklore 126 Beale Street Memphis TN 38103 1-901-525-3655 >Or if anyone has any >info on dealers or galleries who sell the Rev. Howard Finster's artwork, I'd >appreciate those addresses and phone numbers as well. The best source I know for folk art (including Howard Finster's work) is: Southside Gallery 150 Courthouse Square Oxford, MS 38655 (601) 234-9090 Their prices are reasonable (and a higher percentage is shared with the artists than with other folk art galleries). They sell work by Howard Finster, his son Roy, Sultan Rodgers (wood carver from Mississippi, now lives in Albany, NY) , Jimmy Lee Sudduth (a great 'mud' painter in Alabama), Mose Tolliver, R.A. Miller, and others. Disclaimer: Rod and Millie Moorhead (who own and operate the gallery) are old friends of mine. Tom Freeland ========================================================================= Date: Wed, 27 Dec 1995 12:25:29 -0500 Reply-To: SwtesTaboo From: SwtesTaboo Organization: America Online, Inc. (1-800-827-6364) Subject: NJ's Premier Blues Club Comments: To: bit-listserv-blues-l@uunet.uu.net .......................................THE STANHOPE HOUSE................................. Fri. Jan. 5 - Crescent City Maulers... high energy blues Sat. Jan. 6 - Little Mike & the Tornadoes... Little Mike is an artist who jumps back and forth over the line that separates blues and rock, and he plays the bejesus out of his harmonica wherever he lands Fri. Jan. 12 - Flamin' Amy and sweet potata... 5 piece all female blues band Sat. Jan. 13 - SNOOKY PRYOR... Legendary Harp Pioneer.. Born in 1921 in Mississippi, Snooky revolutionized the harp sound by playing thru a PA system, which created a "big" sound never before experienced. The sizzling sound of harmonica blues prevails today thanks to Snooky. Fri. Jan. 19 - Lady Blue and the Tramps... Sassy, soulful blues.. CD release party Sat. Jan. 20 - STEVE FERGUSON & the Midwest Creole Ensemble... Founder and original, and innovative lead guitarist from NRBQ. Flatpicking and finger pulling blues and roots rock guitar. Fri. Jan. 26 - Billy Hector... Rockin' blues Sat. Jan. 27 - BLUESMAN WILLIE, Yolanda and the deadheads... Foot stompin' party georgia blues Fri. Feb. 2 - LITTLE AL THOMAS & the crazy house band... Little Al was born in 1930 in chicago. An eclectic minded vocalist requires an equally versatile supporting cast and individual members of the band have performed with a virtual who's who of blues and rock artists.... chicago blues Sat. Feb. 3 - HOMESICK JAMES.. He's back and it's the CD release party of "Homesick James LIVE!" recorded at the Stanhope House on June 3, 1995. Born 1904 Homesick was a sideman to the legendary Elmore James. A slide guitar player extraordinaire who's style harkens back to the Delta field hollers. 1995 Handy Awards Nominee. Fri. Feb. 9 - Deborah Coleman - Passionate vocalist, writer and skilled guitarist. Sat. Feb. 10 - Terrance Simien & the mallet playboys.. Zydeco.... Fri. Feb. 16 - Mardi Gras party with the VooDudes Sat. Feb. 17 - SAFFIRE - The Uppity Blues Women.... Sun. Feb. 18 - Blue Sparks Fri. Feb. 23 - Billy hector... rockin' blues Sat. Feb. 24 - JOHNNY "CLYDE" COPELAND... ========================================================================= Date: Wed, 27 Dec 1995 15:01:15 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0747 From: "DUTTWEILER.J" Subject: CDs for Christmas Date: Wednesday, 27 December 1995 3:01pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: CDs for Christmas Christmas was very good to this Bluezeller blues CD wise. I recieved several CD's as gifts and, due to cash given (God bless parents who still give money to 40 year olds ) more are on the way. CD's I have gotten so far: Magic Slim - Chicago Blues Session Vol. 24 - Wolf Otis Rush - So Many Roads - Delmark Jimmy Dawkins - All For Business - Delmark Luther Allison - Blue Streak - Alligator Buddy Guy - DJ Play My Blues AND Live at the Checkerboard Lounge - JSP Living Chicago Blues Vol 2 - Alligator Howlin' Wolf - Ain't Goin' Down that Road (or something similar to that, don't have it in front of me) - Chess Not a bad one in the bunch Found a great online source for CD's, especially those usually hard to find in the stores, and at a great price: CDWorld. Don't have the URL handy, but will post if anyone wants it. Generally $3 off list price(e.g. all the JSP discs I've looked up are $11.77 a piece). Several more, as I wrote, coming from CD world including: Junior Wells - Hoodoo Man Blues - Delmark (I know, I *should* have had this by now but could never find it in stock) Magic Sam - Black Magic - Delmark (see above statement) Eddie Boyd w/Buddy Guy - Five Long Years - Evidence Willie Kent - Too Hurt To Cry - Delmark U. P. Wilson - Texas Tornado, etc. - JSP Tutu Jones - I'm For Real - JSP Otis Rush - Live in Europe - Evidence I feel like I've died and gone to blues heaven My one regret is they were out of stock of Little Milton - Live at Westville Prison, but hey, you can't have everything now, can you? I'd be interested in seeing what others actually received now that the hollidays are past (more or less). Any "diamonds in the rough" or sleepers? Jon (just crowing a little bit) Duttweiler ========================================================================= Date: Wed, 27 Dec 1995 15:31:46 EST Reply-To: MB6254@ACSPR1.ACS.BROCKPORT.EDU From: Mark Baker Subject: blues in Seattle To any Seattle people, I will be in the Jet City for New Year's Eve and want to hear some live blues. Any suggestions? Thanks, Mark ========================================================================= Date: Wed, 27 Dec 1995 13:02:46 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Whoops Sorry, wrong address. It means that I'm back and I hope that everyone had a safe a happy Christmas. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Wed, 27 Dec 1995 16:15:37 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Trix------->Muse------->Thanks To everybody who forwarded the info on Trix, thank you. I just got off the phone with them and their new address is 106 West 71st Street NYC 10023, they moved up the block so update your files. Note the addresses sent were 160 - the new number is 106 (confusing but accurate). NY CD Blues Now at http://www.island.net/~blues/nycd.html Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Wed, 27 Dec 1995 16:49:15 EST Reply-To: Doug Hinman From: Doug Hinman Subject: Spider John Koerner question Anybody out there possibly help me with some information about a recording by S pider John Koerner from the early to mid-60's. Possible title is: Good Luck Cha rm. Need to know what album it originally appeared on and if that is the proper title. First line is: If a black cat crossed your path dear woman, would you w alk along with me... Any clues welcome, thanks ========================================================================= Date: Wed, 27 Dec 1995 16:57:17 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: CDs for Christmas Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *I'd be interested in seeing what others actually received now that the *hollidays are past (more or less). Any "diamonds in the rough" or sleepers? * Well, my father brought me a copy of Harp Attack (which I already had on cassette) from Vienna, and Al Cook's new one (autographed by Mr. Cook) from Vienna. The Al Cook cd is very good, but the vocals are a little rough in some spots, and the liner notes are a bit pretentious sometimes. He looks a lot like President Clinton on the cover. (too bad he's not a sax player). :) -Steve ========================================================================= Date: Wed, 27 Dec 1995 15:14:00 PST Reply-To: Gary Joneson From: Gary Joneson Subject: Re: blues in Seattle Check out http://www.nwlink.com/~jetcity/ They have a listing for Sealttle and Pacific Northwest clubs. >To any Seattle people, >I will be in the Jet City for New Year's Eve and want to hear some live >blues. Any suggestions? Thanks, Mark Gary BluesWEB http://www.island.net/~blues/ ========================================================================= Date: Wed, 27 Dec 1995 20:30:14 -0500 Reply-To: Mike Coch From: Mike Coch Subject: Re: race,blues,essentials Comments: To: Todd Ehlers On Dec 27, 1995 07:35:13, 'Todd Ehlers ' wrote: >>We say; you cannot learn the blues from Led Zep, [nor] from Stevie, we say >>you must learn from the founders, from their expect to be convincing as a >>musician playing the blues. As someone who has "discovered" the blues from rock, it never fails to strike me when I listen to John Lee Hooker -- which I'm doing more and more of these days -- just how very heavily Zeppelin, The Doors, and so many others have taken from him. Great list, by the way. Mike ========================================================================= Date: Wed, 27 Dec 1995 20:45:34 -0800 Reply-To: JD From: JD Subject: (no subject) Comments: To: MB6254@ACSPR1.acs.brockport.edu The URL for CDWorld is: http://gate.cdworld.com/ Enjoy! ========================================================================= Date: Thu, 28 Dec 1995 00:23:23 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: CDs for Christmas I'd like to nominate Lis Angus for Blues Spouse of the Year. She doesn't even like most blues ... but my gifts from her included: Blues, Boogie and Bop: the 1940s Mercury Sessions (7 CDs) Roscoe Shelton Sings Hi Times: The Hi Records R&B Years (3) Nolan Struck & King Edward: Brother to Brother Little Walter: Blues With a Feeling (2) James Brown: Messin With the Blues (2) Little Milton: Welcome to the Club (2) Syl Johnson: Back in the Game Little Buster & the Soul Brothers: Right on Time! That's 20 disks in total! I expect to spend the rest of the week just listening to them. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Wed, 27 Dec 1995 22:25:39 PST Reply-To: "D. ALLEN SIMPSON" From: "D. ALLEN SIMPSON" Subject: BB King/Kenn. Ctr. Honors Show First off, congratulations to B.B. King for his well-deserved Kennedy Center Honor award... there he was being honored with Neil Simon and the likes! What a time for my VCR to go to the shop! The stage filled up with so much talent to say thanks & sing some of his work... Joe Louis Walker, Etta James, Bonnie Raitt, Joe Williams, Dr. John, oh gosh darn it, I like to save these things for properity's sake, and so I can enjoy them later on. Well, anyway, for those who missed it, it was too short, but quite enjoyable! Doug S. ========================================================================= Date: Thu, 28 Dec 1995 08:05:20 GMT Reply-To: Robert Teeter From: Robert Teeter Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: BB King/Kenn. Ctr. Honors Show D. ALLEN SIMPSON (dsimpson@BESTLA.CALSTATELA.EDU) wrote: : First off, congratulations to B.B. King for his well-deserved : Kennedy Center Honor award... there he was being honored with Neil : Simon and the likes! Very well deserved for B.B. : What a time for my VCR to go to the shop! The stage filled up : with so much talent to say thanks & sing some of his work... : Joe Louis Walker, Etta James, Bonnie Raitt, Joe Williams, Dr. John, : oh gosh darn it, I like to save these things for properity's sake, : and so I can enjoy them later on. Great group of people celebrating B. B.'s career. Many of them toured with him in the Summer 1994 tour, which I was lucky enough to catch. -- Robert Teeter | "Ripeness is all." San Jose | -- Shakespeare rteeter@netcom.com | ========================================================================= Date: Thu, 28 Dec 1995 08:48:27 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: CDs (and books) for Christmas The Mercury "radio set" box set (thanks PolyGram and David Farrell, editor of The Record, for whom I write) The Etta James biography The Dr. John biography Louis Armstrong / Best of Decca / The Singer Louis Armstrong / Best of Decca / The Composer (I got these last two for myself at Sam the Record Man in downtown Toronto for $7.99 (Canadian!) each-ya can't beat that!) - Richard the Elder ========================================================================= Date: Thu, 28 Dec 1995 09:07:18 -0500 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: NJ's Premier Blues Club Comments: To: bit-listserv-blues-l@uunet.uu.net In article <4brvi9$7us@newsbf02.news.aol.com> SwtesTaboo writes: >.......................................THE STANHOPE >HOUSE................................. >Fri. Jan. 26 - Billy Hector... Rockin' blues >Fri. Feb. 23 - Billy hector... rockin' blues I've known Billy for about twenty years and this guy is not to be missed! Extraordinary player, great slide work and a real entertainer with great storytelling ability - he's the real thing. I've comparison's of his playing to SRV, but he's no clone, I'd consider him more of a contemporary with similar influences, especially Hendrix. Check him out, you won't be sorry. ========================================================================= Date: Thu, 28 Dec 1995 09:35:19 -0500 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Books On Blueswomen - help! Comments: To: bit-listserv-blues-l@uunet.uu.net I am looking fro books written by or about women involved in blues music. Are there any mail-order places that specialize in Blues music? Thanks!!! Lea Gilmore - A "Lady singing the blues..." ========================================================================= Date: Thu, 28 Dec 1995 10:25:53 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: New CD Purchase I got Bo Carter "Twist It Babe" for myself for christmas and I really enjoy it. I think his "risque" lyrics take away from his guitar playing, I've heard a whole lot about his lyrics, but rarely have I seen his playing talked about. He's a really outstanding picker, sometimes he sounds like Furry Lewis (to my ears anyway). I got to get more Bo Carter and if you like hokum type (not all hokum) this is a good one.....Hope everyone had a GREAT Christmas and the upcoming year treats you the way you'd like to be treated....Back to lurking, which is very enjoyable, btw LW ========================================================================= Date: Thu, 28 Dec 1995 12:23:24 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Organization: IQuest Internet Services Subject: Is it time yet for another Blues-l Hall Of Fame Ballot? I've only been around through one of these, so forgive me if I've jumped the gun. I'm wondering if there is interest in a blues-l award ballot and blues-l HOF ballot for 1995 at this time. RJ Bauman (no luruking on this one, LW) ========================================================================= Date: Thu, 28 Dec 1995 11:06:38 MST Reply-To: BBreen/AZ15K_P01/iac/us/mci/honeywell////@ZX400.IAC.HONEYWELL.COM From: Bill Breen Subject: Re: CDs for Christmas Comments: To: blues-l/P01_#l#a#r#BROWNVM.BROWN.EDU/IACE/US/MCI/HONEYWELL////@zx400.iac.honeywell.com This really helped to make my Christmas merrier: Little Milton - Live at Westville Prison Little Buster & the Soul Brothers: Right on Time! Ernie Johnson It's Party time Clarence Carter Live with the Dr. and the surprise find of the year -- Freddie King- Live at Antibes!! plus some non-blues --Who- Tommy and Quadraphrenia regards -- --bill-- ---------- From: owner-blues-l To: BLUES-L; bbreen Subject: CDs for Christmas Date: Wednesday, December 27, 1995 2:09PM DATE: Dec 27 13:56:42 1995 -07:00 relative to GMT IPMessageID: ?GOMAIL.JONATXXX.564401150095361FGOMAIL(a)DOAS.STATE.GA.US? FROM: BLUES-L AUTHORIZED: JONATXXX TO: BLUES-L BCC: bbreen SUBJECT: CDs for Christmas REPLY TO: JONATXXX IMPORTANCE: normal PRIORITY: ---------------------------------------------------------------------------- -- Date: Wednesday, 27 December 1995 3:01pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: CDs for Christmas Christmas was very good to this Bluezeller blues CD wise. I recieved several CD's as gifts and, due to cash given (God bless parents who still give money to 40 year olds ) more are on the way. CD's I have gotten so far: Magic Slim - Chicago Blues Session Vol. 24 - Wolf Otis Rush - So Many Roads - Delmark Jimmy Dawkins - All For Business - Delmark Luther Allison - Blue Streak - Alligator Buddy Guy - DJ Play My Blues AND Live at the Checkerboard Lounge - JSP Living Chicago Blues Vol 2 - Alligator Howlin' Wolf - Ain't Goin' Down that Road (or something similar to that, don't have it in front of me) - Chess Not a bad one in the bunch Found a great online source for CD's, especially those usually hard to find in the stores, and at a great price: CDWorld. Don't have the URL handy, but will post if anyone wants it. Generally $3 off list price(e.g. all the JSP discs I've looked up are $11.77 a piece). Several more, as I wrote, coming from CD world including: Junior Wells - Hoodoo Man Blues - Delmark (I know, I *should* have had this by now but could never find it in stock) Magic Sam - Black Magic - Delmark (see above statement) Eddie Boyd w/Buddy Guy - Five Long Years - Evidence Willie Kent - Too Hurt To Cry - Delmark U. P. Wilson - Texas Tornado, etc. - JSP Tutu Jones - I'm For Real - JSP Otis Rush - Live in Europe - Evidence I feel like I've died and gone to blues heaven My one regret is they were out of stock of Little Milton - Live at Westville Prison, but hey, you can't have everything now, can you? I'd be interested in seeing what others actually received now that the hollidays are past (more or less). Any "diamonds in the rough" or sleepers? Jon (just crowing a little bit) Duttweiler ========================================================================= Date: Thu, 28 Dec 1995 10:42:29 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Dec. 29 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. HAPPY HOLIDAYS! JOYEUSES FETES! ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ASHBY, IRVING C. (g/NAT KING COLE TRIO) b. 1920-1229, SUMMERVILLE, MA BLEDSOE, JULES (gospel) b. 1898-1229, WACO, TX CALDWELL, ALBERT "HAPPY" (tsax/RUSHING) d. 1978-1229, ? NY 75 CARTER, GOREE (g) d. 1990-1229, HOUSTON, TX 59 DAVEY, ROBIN (b/THE HOAX) b. 1975-1229, WILTSHIRE, UK ELLIMAN, YVONNE (v) b. 1951-1229, HONOLULU, HI GARRY, TOMMY (hca/SLEEPY JOHN ESTES) b. 1913-1229, HENDERSON, FLETCHER H. (p/arr) d. 1952-1229, NEW YORK CITY, NY 55 HUMPHREY, WILLIE (cl) b. 1900-1229, NEW ORLEANS, LA JOHNSON, GEORGE (d/DOGGETT/WILLIS JACKSON)d. 1985-1229, TOLEDO, OH 54 JOHNSON, VIRGIL (lead/THE VELVETS) b. 1935-1229, ODESSA, TX KEISKER, MARION (assistant/of SUN REC) d. 1989-1229, MEMPHIS, TN 72 KENNETH, PREZ "KIDD" (g) b. 1933-1229, NEWTON, MS MANN, CHARLES (p) b. 1949-1229, ATLANTA, GA MORTON, BENNY (tbn) d. 1985-1229, NEW YORK CITY, NY 78 MOSLEY, LAWRENCE "SNUB" (reeds) b. 1905-1229, LITTLE ROCK, AR REYNOLDS, JACK BIG (g/hca) d. 1993-1229, TOLEDO, OH 72 SPICE, IRVING (founder: MOHAWK REC) d. 1980-1229, NEW YORK CITY, NY 65 SUMMERS, JERRY (of THE DOVELLS) b. 1942-1229, PHILADELPHIA, PA TANNER, EUGENE JR. (co-lead/5 ROYALES) d. 1994-1229, WINSTON-SALEM, NC 58 ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 28 Dec 1995 14:04:33 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: Rick Miller Subject: Hey, I said "NOMAIL"!! :( Can someone help me? I set Blues-L NOMAIL to the listserver before the holiday and I got the response saying YES my subscription had been successfully updated YET the stuff keeps piling in. Not that I don't love you guys out there on -L, but hey, I'll have a weeks worth of reading when I get back from holidays on the 3rd. Is there someone out there from the listserver who can just fix this without me being involved further. I'm really not HERE right now. Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 28 Dec 1995 13:25:15 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: CDs for Christmas My Chirstmass additions: 1. Larry Davis and Byther Smith "Blues Knights" (Evidence) I just LOVE these two guys - masters of SLOW blues. Beautiful songs and guitar solos with Maurice John Vaughn and A.C. Reed backing both of them (among others). Byther Smith's "I'm a Mad Man" on Bullseye Blues is one of my favorite Chicago blues albums of all time. 2. Johan Sebastian Bach (Those Preludes on harpsichord - forgot the full name) - 2 CD for $0.99. Not too big fan of classics music, but Bach is the only one I actually buy and listen to. 3. Power Rangers - The Movie - for my son!!! BTW, Ivan is 8 year old and a big blues fan, but I still cannot figure out why whenever I tell him to put a CD on he goes and picks up "The Essential Sonny Boy Williamson II" Chess collection. He says he likes it very much, and it makes me feel good since to me SBW II is the most important post-war bluesman. His second favorite is Otis Reading's "Best Of." Ranko ========================================================================= Date: Thu, 28 Dec 1995 21:12:05 +0100 Reply-To: Jose Antonio Revilla Garcia From: Jose Antonio Revilla Garcia Subject: Thanks and BLUES CD-ROM Well, first of all, I'd like to thank everybody who has helped me in order to subscribe in a digest basis.Thanks so much.:) I'm a Spanish DJ in a local FM Radio Station.I play mostly progressive and symphonic records, but what I *really* enjoy is Blues.I was knocked out 2 years ago when I saw my *FIRST* Blues concert, played by the huge Otis Grand Blues Band. I felt like I was having a "vision", you know...:) Since then, I listen Blues everyday, and I even bought an electric guitar so that perhaps one day I could play some fun....:)) I was also last summer at the *BEST CONCERT I'VE NEVER EVER BEEN*: Perhaps you'll guess it: it was in the San Sebastian Jazz Festival, here in Spain, and the man....Mr. B.B. King!!! I almost took his pick, but I was pushed, and it simply slipped....:-// Well, that's all for the moment.I'd like also to get in touch with some spanish subscribers...:-? See you! ;-) ------------------------------------------------------------------------------ Everyday I Have The Blues * Co-SysOp AUDIN-BBS: (942)-21.81.03. 22:00-10:00.Universidad de Cantabria.* * Miembro de ACCE: Asociacion Cantabra de Correo Electronico * ========================================================================= Date: Thu, 28 Dec 1995 21:15:11 +0100 Reply-To: Jose Antonio Revilla Garcia From: Jose Antonio Revilla Garcia Subject: BLUES CD-ROM Oh, sorry, I forgot to comment about a Blues CD-ROM: I've seen in an informatic magazine an ad about a Blues CD-ROM encyclopaedia..:-OOOOOOOO It said it covered more than 700 biographies, in addition it had hundreds of photographies and even video-clips, appart from an extract of the All Music Guide CD-ROM..:-? Anyone who has purchased it could advise us if it is really worth? Thanks again.:) See you! ;-) ------------------------------------------------------------------------------ Everyday I Have The Blues * Co-SysOp AUDIN-BBS: (942)-21.81.03. 22:00-10:00.Universidad de Cantabria.* * Miembro de ACCE: Asociacion Cantabra de Correo Electronico * ========================================================================= Date: Thu, 28 Dec 1995 15:26:15 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0894 From: "DUTTWEILER.J" Subject: Top 5 List TO: Internet FROM: DUTTWEILER.J@GOMAIL SUBJECT: Top 5 List Lest anyone think, despite all the talk of the blues in the mainstr eam press, that they *really* "get it," here is today's listing fro m the Atlanta Journal/Constitution of the "Top" Blues albums: 1. "G reatest Hits," SRV; 2. "Ledbetter Heights," Kenny Wayne Shepherd; 3 . "From the Cradle," EC; 4. "Handful of Blues," Robben Ford and the Blue Line; and 5. "Blues," Jimi Hendrix. Jon (in my cynic mode) Duttweiler ========================================================================= Date: Thu, 28 Dec 1995 20:04:11 -0500 Reply-To: PrePhoto From: PrePhoto Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Top 5 List Comments: To: bit-listserv-blues-l@uunet.uu.net Was this list composed by someone who has never eaten barbeque?? Looks like somebodys (read New York Times) syndicated year end filler. Best, Dave Prelosky ========================================================================= Date: Thu, 28 Dec 1995 20:31:43 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: BB King/Kennedy Ctr. Honors Can anyone tell me who the guitarist in the green suit is? Beef Stew ******************************************************************* >D. ALLEN SIMPSON (dsimpson@BESTLA.CALSTATELA.EDU) wrote: >: First off, congratulations to B.B. King for his well-deserved >: Kennedy Center Honor award... there he was being honored with Neil >: Simon and the likes! > > Very well deserved for B.B. > >: What a time for my VCR to go to the shop! The stage filled up >: with so much talent to say thanks & sing some of his work... >: Joe Louis Walker, Etta James, Bonnie Raitt, Joe Williams, Dr. John, >: oh gosh darn it, I like to save these things for properity's sake, >: and so I can enjoy them later on. > > Great group of people celebrating B. B.'s career. Many of them >toured with him in the Summer 1994 tour, which I was lucky enough to >catch. > >-- > Robert Teeter | "Ripeness is all." > San Jose | -- Shakespeare > rteeter@netcom.com | > > ========================================================================= Date: Thu, 28 Dec 1995 18:28:48 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Top 5 List On Thu, 28 Dec 1995 15:26:15 GMT, DUTTWEILER.J@GOMAIL wrote, > Lest anyone think, despite all the talk of the blues in the mainstr > eam press, that they *really* "get it," here is today's listing fro > m the Atlanta Journal/Constitution of the "Top" Blues albums: 1. "G > reatest Hits," SRV; 2. "Ledbetter Heights," Kenny Wayne Shepherd; 3 > . "From the Cradle," EC; 4. "Handful of Blues," Robben Ford and the > Blue Line; and 5. "Blues," Jimi Hendrix. > > Jon (in my cynic mode) Duttweiler I suppose that we could go into a discussion into what is a "blues" record. The list shows that the blues means SRV to a lot of people. The way things are going it might be an idea to create a new chart that deals with SRV clones only. Nothing against Kenny Wayne Shepherd but we do not need another clone. Let's hope he finds his own voice. I am glad to see Robben Ford in there. His new album is great. He is trying to push the blues forward while acknowledging the past.More power to him. The Clapton and Hendrix records where released quite awhile ago. Hmmm. The power of marketing. Still, it would be nice to see Joe Loius Walker, Luther Allison and a few other guys in there and staying there as well. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 28 Dec 1995 18:28:58 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: New Orleans Blues G'day, I got back from New Orleans and while I wish I could say I had a rip roaring time a bad cold and a cash-flow crisis laid me low for a lot of the time. I did a little bit of touristing and liked what I saw. It is a little different from LA, a very positive thing, but unfortunatley much the same in others. I mangaged to meet fellow Bluzeller, Bill Morgan while I was there. A pleasant few hours was spent drinking beer and talking the blues with Bill. I also managed to get one wild night on in the environs of Bourbon Street. People say the French Quarter is full of ghosts. Well, you could say that I was possessed by "spirits" that night but they weren't of the metaphysical kind. After that the niggling cough became a full blown cold and I wasn't up to doing much after that. Plus the weather was so cold. For almost the whole time the mercury found it hard to get above the high forties. So it wasn't the best of trips but I do want to go back. A liitle more money and a little better health would be conducive to a good time in New Orleans. Plus there are a heap of bars on Bourbon Street that I didn't get to :-) I did have the blues when I got home. A friend was trying to get tickets to see BB King on the 27th but they were sold out. Aaaargh! Anyway, I hope that everyone had a great Christmas and a Happy New Year to one and all. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 28 Dec 1995 18:29:03 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Top Blues Albums of 1995 Being the New Year and all I'd thought I'd throw in my picks for the blues albums released in 1995 that I enjoyed the most. The conditions where that the albums had to of been released in 1995. No exceptions. This left me with only 8 albums (a lot of the blues I bought were pre-1995 releases) so I threw in two non-blues albums that I listened to a lot. There are a few great 1995 releases that I haven't listened to yet (Joe Louis Walker, Melvyn Taylor etc.) therefore they weren't considered. Ordered alphabetically. 1. Luther Allison "Blue Streak" I've raved about this one before. It's a truly great album. 'nuff said. 2. Ronnie Earl "Blues Guitar Virtuoso Live in Europe" The title is a little suspect but it almost hits the mark. Ronnie Earl is dazzling on the album. 12 tracks, all instrumentals with wall to wall guitar. 3. Robben Ford and the Blue Line "A Handful of Blues" The first time I hear this I didn't like it. However, after the 2nd listen I became hooked. A great album of modern blues mixed with jazz and rock. 4. Junior Kimbrough "All Night Long" I love this music. The hypnotic intensisty of Junior's (and RL Burnside's) music is amazing. I can't get enough. 5. John Lee Hooker "Chill Out" While not as good as previous releases it is better that almost all the stuff being out out by guys only as third as old. Some deep blues here. 6. Magic Sam "The Late Great Magic Sam" A reissue of tracks cut in 1963-1964. A good look at Magic's development. I only hope that they'll release the 1969 concert the two lives cuts are from. 7. Stevie Ray Vaughan "Greatest Hits" I love SRV. It's the clones that irritate me. It still hurts to realize that he is gone. 8. Robert Ward "Black Bottom" A great album. This man's fusion of blues and R&B is so cool. His voice! his guitar! The songs! If you havn't heard Robert then check him out. 9.Junior Brown "Junior High" Junior is an amazing country guitarist/singer/songwriter.The collision ofHendrix and Bluegrass on "Sugarfoot Rag" is one of '95's funniest musical moments. 10. "Get Short" Soundtrack A great movie as well. Cute is the best way to describe the Jazz/Funk/Hip-Hop originals here. Booker T and the MG's can be found here as well. Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 28 Dec 1995 20:42:15 -0600 Reply-To: Todd Ehlers From: Todd Ehlers Subject: cemeteries I want to clarify a matter. Maybe someone else can help, too. Forgive a guy for diving into too much history, but it seems pertinent to this list. David Silverberg asked about my post "Race,Blues,Essentials"-- >>a country . . . [that] buried blacks in separate cemetery quarters >>perpendicular to white people > >I have not heard of this particular form of segregation - burying African >Americans perpendicular to whites - could some one please explain: > >Why this particular practice? What is the purpose of perpendicular? I recalled this practice from an excellent history course at UW-Madison named "The Age of Jefferson and Jackson," taught at the time by Thomas Sewell. He listed many ways in which the segregation between blacks and whites held sway in the ante-bellum South. This cemetery practice stood out for me because of how graphically it depicted the completeness of Southern segregation. From cradle to grave (inCLUDing the grave!) the white race was given every advantage, including symbolic "advantages," so to speak, as in this cemetery practice. Whites buried with blacks? No, the feeling went. So in municipal cemeteries "colored" sections were set aside for blacks, both slave and freedmen. Moreover, they were buried perpendicular to whites. That is, at right angles to the prevailing orientation of cemetery plots of whites. Therefore, if in Charleston whites in the city plot were buried in a north-south orientation, blacks were interred east-west. This might all have been the other way around, but that detail isn't essential here. I make this point to underscore how TOTAL segregation-- bordering on isolation--was in those times. The African Americans saw their lives prescribed for them in every way by written law and countless unwritten social "norms." Imagine their disgust--their blues, if you will--of knowing that the rulers of their destiny would toss a final insult at their humanity even after they had died. The purpose was meaningless, in any practical sense. But symbolically, it gave whites the final word on social structure. Their system was complete, and it was horrible. Todd E. ========================================================================= Date: Thu, 28 Dec 1995 19:06:52 -0800 Reply-To: title@INTERSERV.COM From: title@INTERSERV.COM What sort of a blues list is this? Is this for blues purists? Please bear with me. If I am not answering properly, or following form, please bear with me. I have not used the internet before. ========================================================================= Date: Fri, 29 Dec 1995 04:59:40 +0000 Reply-To: Roadrunner Tour Management From: Roadrunner Tour Management Subject: Seattle / David Brewer > >>To any Seattle people, >>I will be in the Jet City for New Year's Eve and want to hear some live >>blues. Any suggestions? Thanks, Mark Talking about Seattle; Seattle based David Brewer and Band are starting their European tour on December 29th. They will be around until mid-February. Check them out, *Shit hot*!!! You can get more details on David and his upcoming tour via a link on the home-page below which will be updated constantly! Happy New Year Cheers Carsten "R O A D R U N N E R T O U R M A N A G E M E N T" <<<< KEEPING THE BLUES ALIVE >>>> 141 Tirellan Heights Galway / Ireland Tel.&Fax: +353 95 35976 Mobile: +353 88 619758 E-Mail: roadrun@iol.ie http://www.iol.ie/~roadrun/index.html ========================================================================= Date: Fri, 29 Dec 1995 10:57:04 GMT Reply-To: santen@iinet.net.au From: santen@IINET.NET.AU Organization: iiNet Technologies Pty Ltd Subject: Re: Jewish Blues Comments: To: bit-listserv-blues-l@uunet.uu.net "Peter E. Beal" wrote: >The conjunction of the blues and Jewish music has been mentioned here. >Coincidently the International Herald Tribune carried an article in its >Dec. 22nd issue describing the activities of Ben Sidran. Thats all OK and may be positive - just as long as the fundamentalist zionists dont get it into their heads that the blues really originated in Israel (based on chants and psalms from the old testament, of course) and that it has been taken over in the last 100 years or so by various other races and religions! Ron Santen ========================================================================= Date: Fri, 29 Dec 1995 07:08:50 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Jewish Blues Comments: To: santen@iinet.net.au In-Reply-To: <4c0hjt$sbc@opera.iinet.net.au> On Fri, 29 Dec 1995 santen@iinet.net.au wrote: > "Peter E. Beal" wrote: > >The conjunction of the blues and Jewish music has been mentioned here. > >Coincidently the International Herald Tribune carried an article in its > >Dec. 22nd issue describing the activities of Ben Sidran. > > Thats all OK and may be positive - just as long as the fundamentalist > zionists dont get it into their heads that the blues really originated > in Israel (based on chants and psalms from the old testament, of > course) and that it has been taken over in the last 100 years or so by > various other races and religions! That would be pretty difficult since Israel has only been a state for about 50 years. However given the theory that the Jewish people (having very little to do with Zionism and/or Israel) were a black race there is a case for the blues be- ing a Jewish creation. NY CD Blues Now at http://www.island.net/~blues/nycd.html Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Sat, 30 Dec 1995 00:34:32 +1100 Reply-To: Warwick J Foster From: Warwick J Foster Subject: Hammond, Hector & Block Any suggestions for a first John Hammond CD? What about a Billy Hector? Finally Rory Block? Warwick Foster Newcastle, Australia ========================================================================= Date: Fri, 29 Dec 1995 09:41:30 -0500 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: Top 5 List Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199512290228.SAA12151@wavenet.com> Shaun T Cronin writes: >I suppose that we could go into a discussion into what is a "blues" record. >The list shows that the blues means SRV to a lot of people. The way things >are going it might be an idea to create a new chart that deals with SRV >clones only. Nothing against Kenny Wayne Shepherd but we do not need >another clone. Let's hope he finds his own voice. >I am glad to see Robben Ford in there. His new album is great. He is trying >to push the blues forward while acknowledging the past.More power to him. >The Clapton and Hendrix records where released quite awhile ago. Hmmm. The >power of marketing. Any criteria that dismisses SRV clones as non-Blues would have to do the same for Robben Ford. Although I love his playing, his style is still that Larry Carlton-fusion kinda thing. ========================================================================= Date: Fri, 29 Dec 1995 09:42:51 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: Jewish Blues Comments: To: santen@iinet.net.au Hi Ron, I think it's safe to say Jewish chants, songs, etc. are derived from other Middle Eastern music. You don't really think our ancestors made them up out of thin air, do you? - Ruth, J.A.P. slide guitarist ______________________________ Reply Separator _________________________________ Subject: Re: Jewish Blues Author: santen@iinet.net.au at Internet Date: 12/29/95 10:57 AM "Peter E. Beal" wrote: >The conjunction of the blues and Jewish music has been mentioned here. >Coincidently the International Herald Tribune carried an article in its >Dec. 22nd issue describing the activities of Ben Sidran. Thats all OK and may be positive - just as long as the fundamentalist zionists dont get it into their heads that the blues really originated in Israel (based on chants and psalms from the old testament, of course) and that it has been taken over in the last 100 years or so by various other races and religions! Ron Santen ========================================================================= Date: Fri, 29 Dec 1995 09:44:44 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: Hammond, Hector & Block Comments: To: Warwick J Foster The new Rory Block CD "When a Woman Gets the Blues" is FABULOUS! I've heard it's one of her best, if not THE best. FANTASTIC acoustic slide guitar work and powerful vocals. ______________________________ Reply Separator _________________________________ Subject: Hammond, Hector & Block Author: Warwick J Foster at Internet Date: 12/30/95 12:34 AM Any suggestions for a first John Hammond CD? What about a Billy Hector? Finally Rory Block? Warwick Foster Newcastle, Australia ========================================================================= Date: Fri, 29 Dec 1995 08:44:31 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: William Clark CD "Groove Time" I admit that I don't care for a lot of "newer" releases. They all tend to sound like the same ole stuff (at least to my household's ears), so I was expecting to not like William Clark "Groove Time". To make it really short my wife, myself and my harp playing friend sat around listening to the CD over and over with big ole southern grins....I think we all experienced mulitple "blue-asms"....Great player, who has listened to alot of Little Walter and sounds like he can play the slop (that's southern for "plays really well") out of the chromatic. It's the first time I've knowingly heard Kid Ramos and he's pretty good also. I suppose his other CD's are good: "Good Intentions" and "Blowin Like Hell" (I hope those are the right titles) LW ========================================================================= Date: Fri, 29 Dec 1995 17:02:16 +0200 Reply-To: Uniplus Radio From: Uniplus Radio Comments: To: wonderland@tcp.com, MLA-L@IUBVM.UCS.INDIANA.EDU, gabriel@ufsia.ac.be ********************* A T E N T I O N ********************* PLEASE DO NOT REPLY TO THIS MESSAGE BY E-MAIL ********************* A T E N T I O N ********************* I KNOW THIS IS NOT THE RIGHT PLACE TO POST ! B U T WANA BE A VOYEUR IN INTERNET ? YOU SHURE DO ! BUT DONT KNOW HOW, EH ? What are the advantages to be a voyeur. A voyeur is someone that can see, but is invisible for others. In E-Mail how can you be invisible when the adress is so explicite ? Is very simple; you should have an adress that is not explicite for anybody, got it ? How ? is very simple ! For one year service and for only 10$ (ten, yes ten bucks) you can have an anonym E-Mail address. If you receive mail on that ANONYM adress the special server reroutes the mail on your true address. Interesting Eh ? Only send 10$ (please no coins & US $ funds) in an envelope on address: Mihai ASGIAN Str. Bartok Bela Nr.4/19 4300 Tg.Mures ROMANIA include also a piece of paper with your E-Mail address. P.S. Read this and send it to all your friends. May the force be with you in 96! ========================================================================= Date: Fri, 29 Dec 1995 10:15:30 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: William Clark CD "Groove Time" Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, ISTS024/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=ISTS024#p#UABDPO#f#BITNET#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com LW writes: *I admit that I don't care for a lot of "newer" releases. They all tend to sound *like the same ole stuff (at least to my household's ears), so I was expecting *to not like William Clark "Groove Time". To make it really short my wife, *myself and my harp playing friend sat around listening to the CD over and *over with big ole southern grins....I think we all experienced mulitple *"blue-asms"....Great player, who has listened to alot of Little Walter and *sounds like he can play the slop (that's southern for "plays really well") *out of the chromatic. It's the first time I've knowingly heard Kid Ramos and *he's pretty good also. William Clarke is one of the best of the west coast fat-tones harp player/singers. I think that he's up there with Piazza, Hummel, Estrin, etc. He has a very recognizable sound and he's one of the best chromatic blues players on the west coast (I'd put him behind Paul deLay. He and deLay both use the slide on the chromatic but deLay uses it much more and has a much wider variety of styles and a more modern sound). He is also a hell of s singer. You mentioned Little Walter, who every modern blues harp player learned from. Clarke also learned directly from George "Harmonica" Smith, who also played with Muddy Waters and had a huge influence on the west coast blues harp sound (especially through his use of the chromatic). *I suppose his other CD's are good: "Good Intentions" and "Blowin Like Hell" *(I hope those are the right titles) I haven't heard "Blowin' Like Hell," but "Serious Intentions" is one of my favorite blues albums. Alex Shultz plays some great guitar on it. I think there are only two covers on "Serious Intentions," one being a very nice laid back version of "Work Song." (very different from Butterfield's version) So far, "Serious Intentions" is my favorite William Clarke recording. -Steve ========================================================================= Date: Fri, 29 Dec 1995 10:40:01 -0500 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: Hammond, Hector & Block Comments: To: bit-listserv-blues-l@uunet.uu.net In article <0e3ffa80@vitro.com> PARRISHR writes: >Any suggestions for a first John Hammond CD? What about a Billy Hector? >Finally Rory Block? >Warwick Foster >Newcastle, Australia Unfortunately, I don't think you'll find Hector's CD in the Land of OZ. At least not yet. ========================================================================= Date: Fri, 29 Dec 1995 07:49:52 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Fwd: KR&G VIDEO I thought perhaps Koerner Ray & Glover fans on the list might like to know about this video. Mary Katherine ---- Begin Forwarded Message Return-Path: Received: from gold.tc.umn.edu by ix2.ix.netcom.com (8.6.12/SMI-4.1/Netcom) id VAA08640; Thu, 28 Dec 1995 21:28:10 -0800 Received: from dialup-5-101.gw.umn.edu by gold.tc.umn.edu; Thu, 28 Dec 95 23:26:28 -0600 Date: Thu, 28 Dec 95 23:33:02 CST From: "nadle001@gold.tc.umn.edu" Message-Id: <93854.nadle001@gold.tc.umn.edu> X-Minuet-Version: Minuet1.0_Beta_16 X-POPMail-Charset: English To: mkaldin@ix.netcom.com Subject: KR&G VIDEO Hi I don't really monitor BLUES-L, but pertinent stuff does get eventually relayed to me... Someone asked about the video; it's called BLUES RAGS & HOLLERS, The Koerner Ray & Glover Story, originally issued 1986, now reissued in slightly altered form by Latch Lake Music Products, (800) 688-7502. Almost 2 hours, I refer to it as more than you want to know about KR&G... Stay well... Tony Glover ========================================================================= Date: Fri, 29 Dec 1995 10:48:37 -0500 Reply-To: Mike Coch From: Mike Coch Subject: Re: Jewish Blues Comments: To: santen@iinet.net.au On Dec 29, 1995 10:57:04, 'santen@iinet.net.au' wrote: >just as long as the fundamentalist zionists dont get it into their heads that >the blues really originated in Israel (based on chants and psalms from the old >testament, of course) In the spirit of fairness you should acknowledge that Job certainly had the blues. ========================================================================= Date: Fri, 29 Dec 1995 11:00:22 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Jewish Blues Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, beekman/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=beekman#a#PIPELINE#f#COM@s1boca.corp.wrgrace.com *In the spirit of fairness you should acknowledge that Job certainly had the *blues. * You could probably say that Jesus, the world's most famous and popular Jew, did too. -Steve (harp playing, non-practicing Jew) Levine ========================================================================= Date: Fri, 29 Dec 1995 09:17:05 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Dec. 30 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. HAPPY HOLIDAYS! JOYEUSES FETES! ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BERNS, BERT (prod/songw/BANG/SHOUT) d. 1967-1230, NEW YORK CITY, NY 38 BLANDON, RICHARD (lead/THE DUBS) d. 1991-1230, NEW YORK CITY, NY 57 BOINES, HOUSTON (g) b. 1918-1230, HAZLEHURST, MS BROWN, WILLIE LEE (g/CHARLEY PATTON) d. 1952-1230, TUNICA, MS 52 CONNER, LOYCE O. (v) d. 1978-1230, MEMPHIS, TN 54 GRAVES, ROOSEVELT BLIND (g/PARAMOUNT REC) d. 1962-1230, GULFPORT, MS 53 JASPER, CHRIS (keyb/ISLEY/JASPER/ISLEY) b. 1951-1230, CINCINNATI, OH JONES, JIMMY [JAMES HENRY JONES] (p) b. 1918-1230, MEMPHIS, TN MCMURRY, LILLIAN S. (founder:TRUMPET REC) b. 1921-1230, PURVIS, MS MCWILLIAMS, ELSIE (songw/JIMMIE RODGERS) d. 1985-1230, MERIDIAN, MS 89 MOTLEY, FRANK JR. (tpt/GOTHAM REC) b. 1923-1230, CHERAW, SC PAPPALARDI, FELIX (b/prod/arr/MOUNTAIN) b. 1939-1230, BRONX, NY PENZABENE, ROGER (songw/THE TEMPTATIONS) d. 1967-1230, DETROIT, MI -- RICHARD, JAMES "JESSE" (g) b. 1926-1230, MS SCHWARTZ, THORNEL (g) d. 1977-1230, PHILADELPHIA, PA 50 ST. LOUIS JIMMY[JAMES BURKE ODEN](v/songw d. 1977-1230, CHICAGO, IL 74 ------------------------------------------------------------------------------- ========================================================================= Date: Fri, 29 Dec 1995 09:18:10 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Dec. 31 Here's a few dates (b. born, d. death) for Sunday. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. HAPPY HOLIDAYS! JOYEUSES FETES! ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BELL, JIMMIE (p) d. 1987-1231, CHICAGO, IL 77 CARTER, GOREE (g) b. 1930-1231, HOUSTON, TX CAVANAUGH, DAVE "BIG" (tsax/prod) d. 1981-1231, TARZANA, CA 62 GEORGIA PEACH [CLARA HUDMAN] (gospel v) d. 1964-1231, NEW YORK CITY, NY 64 GREEN, DARREN (v) b. 1959-1231, WASHINGTON, DC JONES, JONAH [ROBERT ELLIOTT JONES] (tpt) b. 1908-1231, LOUISVILLE, KY KIRBY, JOHN (b) b. 1908-1231, BALTIMORE, MD MATTHEWS, JOHNNIE MAE (v/songw) b. 1934-1231, NEWARK, NJ MR. JELLY BELLY[MIKE GORDON](v/SAVOY REC) b. 1922-1231, SANTO DOMINGA NELSON, RICK (:) d. 1985-1231, DE KALB, TX 45 ODETTA [ODETTA HOLMES FELIOUS GORDON] (g) b. 1930-1231, BIRMINGHAM, AL PHILLIPS, WASHINGTON (dulceola/gospel) d. 1939-1231, AUSTIN, TX 49 RANKIN, OSCAR (CENTRAL AVENUE FIGHTER)(p/gd. 1990-1231, LOS ANGELES, CA -- SUMMER, DONNA [LA DONNA ADRIAN GAINES](v) b. 1948-1231, BOSTON, MA THOROGOOD, GEORGE (g) b. 1952-1231, WILMINGTON, DE WILLIAMS, ROBERT "PETE" (g) d. 1980-1231, ROSEDALE, LA 66 ------------------------------------------------------------------------------- ========================================================================= Date: Fri, 29 Dec 1995 09:19:03 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Jan. 1 Here's a few dates (b. born, d. death) for Monday. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- CAMRAS,MARVIN(FATHER OF MAGNETIC RECORDINGb. 1916-0101, CHICAGO, IL CARP, JEFF (hca/MUDDY WATERS) d. 1973-0101, PANAMA -- COLEMAN, GARY "BB" (prod/ICHIBAN REC) b. 1947-0101, PARIS, TX GAILLARD, BULEE "SLIM" (g/SLIM & SLAM) b. 1916-0101, SANTA CLARA, CUBA GRANDMASTER FLASH [JOSEPH SADDLER] (:) b. 1958-0101, BARBADOS HAWKINS, TED (g/songw) d. 1995-0101, LOS ANGELES, CA 58 JACKSON, JESSE (author/MAHALIA JACKSON) b. 1908-0101, COLUMBUS, OH JACKSON, MILT (vibes) b. 1923-0101, DETROIT, MI JOHNSON, HOWARD"SWAN"(asax/PANAMA FRANCIS b. 1908-0101, BOSTON, MA KOMARAN, RAJAH V. (BLUES-L MEMBER) b. 1953-0101, SINGAPORE, MALAYSIA KORNER, ALEXIS (g/BLUES INCORPORATED) d. 1984-0101, LONDON, UK 55 MCDONALD, JOE "COUNTRY" (g/songw) b. 1942-0101, EL MONTE, CA MULLICAN, AUBREY "MOON" (p) d. 1967-0101, BEAUMONT, TX 57 RAM, SAMUEL "BUCK" (prod/arr/songw) d. 1991-0101, LAS VEGAS, NV 83 RILEY, JUDGE L. (d/ARTHUR CRUDUP) b. 1909-0101, NEW ORLEANS, LA ROCKMAN, JOE (b/JEFF HEALEY BAND) b. 1957-0101, TORONTO, ONTARIO SHELBY, RICHARD 'BEAU' (g/CLAYTON LOVE) b. 1962-0101, INDIANOLO, MS STOKES, FRANK (g/PARAMOUNT/VICTOR REC) b. 1888-0101, WHITEHAVEN, TN WILLIAMS, HIRIAM "HANK" (g/songw) d. 1953-0101, OAK HILL, W. VA 29 YANCEY, MAMA [ESTELLA HARRIS] (v) b. 1896-0101, CAIRO, IL YOUNG, JOHNNY (g/mand) b. 1918-0101, VICKSBURG, MS ------------------------------------------------------------------------------- ========================================================================= Date: Fri, 29 Dec 1995 17:17:48 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Jewish Blues Comments: To: bit-listserv-blues-l@uunet.uu.net In <199512291548.KAA19701@pipe6.nyc.pipeline.com>, Mike Coch writes: >On Dec 29, 1995 10:57:04, 'santen@iinet.net.au' wrote: >>just as long as the fundamentalist zionists dont get it into their heads >that >>the blues really originated in Israel (based on chants and psalms from the >old >>testament, of course) > >In the spirit of fairness you should acknowledge that Job certainly had the >blues. Given that a great many of the blues' themes and structures are based on christian spirituals, and that christianity is based wholly on the hebraic tradition, then the blues are certainly derived from jewish culture BBB - B.B. Bean bbbean@cris.com http://www.cris.com/~Bbbean - ========================================================================= Date: Fri, 29 Dec 1995 17:13:41 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: Hero Worship (was EC's guitar string) PARRISHR (PARRISHR@VITRO.COM) wrote: : My attitude is, "when in doubt, throw it out." Wait! You're not saying I should chuck out this old autographed Muddy Waters 78, are you?! (I know...I should be playing guitar instead of records.) : (But I'm a blond, what do I know?) (I have a "blond default" setting in my DNA string. Let's talk! :) ) ============================================================================ Jef Jaisun eljefe@netcom.com ============================================================================ -- ========================================================================= Date: Fri, 29 Dec 1995 11:26:55 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Hammond, Hector & Block >Any suggestions for a first John Hammond CD? What about a Billy Hector? >Finally Rory Block? > >Warwick Foster >Newcastle, Australia Almost didn't read this message - >From the "Subject" line, thought it might be from a law firm, after me for something.... :-) David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Fri, 29 Dec 1995 11:26:58 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Jewish Blues At 6:08 AM 12/29/95, Barry Silverberg wrote: >That would be pretty difficult since Israel has only been a > state for about 50 years. However given the theory that the > Jewish people (having very little to do with Zionism and/or > Israel) were a black race there is a case for the blues be- > ing a Jewish creation. Don't the Rastfarians believe that Heille Salasse led one of the 12 tribes of Israel? David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Fri, 29 Dec 1995 11:26:15 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: Non-Blues favorites Comments: To: "P.W. Fenton" In-Reply-To: <199512211505.KAA142396@tequesta.gate.net> 1. 0(+> "The Gold Experience" 2. D'Angelo "Brown Sugar" 3. Bonnie Raitt "Road Tested" 4. Brand New Heavies "Brother Sister" 5. Various "Dead Presidents Soundtrack" Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Fri, 29 Dec 1995 17:22:17 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: Several subjects that have been buiilding up! Roger Struve (roger.lew.struve@MEDTRONIC.COM) wrote: : Let's settle a few things right now! etc...snip-snip Yo Doc! Drinkin' that Starbucks French Roast again, huh? Ya gotta cut it with something, or it'll give ya the blues for sure. :) ============================================================================ Jef Jaisun eljefe@netcom.com ============================================================================ -- ========================================================================= Date: Fri, 29 Dec 1995 12:58:37 -0500 Reply-To: ghost From: ghost Subject: Re: Top Blues Albums of 1995 >Date: Thu, 28 Dec 1995 18:29:03 0800 >Sender: Blues Music List >From: Shaun T Cronin >Subject: Top Blues Albums of 1995 >2. Ronnie Earl "Blues Guitar Virtuoso Live in Europe" >The title is a little suspect but it almost hits the mark. Ronnie Earl is >dazzling on the album. 12 tracks, all instrumentals with wall to wall >guitar. Before the record came out over here Earl was telling audiences its title & it was supposed to be some nice play-on-words, *not* "Blues Guitar Virtuoso etc". I think its safe to say that that title was the label's decision, not Earl's. (Its kind of a hard sell to live down, even though its every-word-of-it true. Its not a hard thing for Earl to live up to, however.) ========================================================================= Date: Fri, 29 Dec 1995 18:40:02 GMT Reply-To: emdrprac@DIRECT.CA From: emdrprac@DIRECT.CA Organization: Internet Direct Subject: (no subject) Comments: To: bit-listserv-blues-l@uunet.uu.net Does anyone recognize these lyrics... who did this tune, when, what label ,etc...? "When I get lucky, I'm gonna get me a fishtail Cadillac car" (2x) "Then I'll cruise by all you girls, just like I don't know who you are" "I'm gonna tease you - see if I don't, You want to ride, no, but you won't." "When I get Lucky......" etc. ========================================================================= Date: Fri, 29 Dec 1995 11:38:33 -0500 Reply-To: Stan Ruffo From: Stan Ruffo Subject: Re: William Clark CD "Groove Time" I like William Clarke a lot. I guess mainly because he has got a story to tell, and he's good at tellin' it. I even got an opportunity to play with his band a few years ago. He himself is a "good dude" (that's CA for nice, sharp, cool), and a hard worker. Groove Time could be his best effort yet. Blowin' Like Hell is may even be better, (it's a close call). While Serious Intentions, (I secured my signed copy directly from his wife), does not leave ME feeling "charged", it's still Bill Clarke. just my 2c Stan -------- REPLY, Original message follows -------- Date: Friday, 29-Dec-95 08:44 AM From: L W \ Internet: (ists024%uabdpo.bitnet@brownvm.brown.edu) To: Multiple recipients of list BLUES-L \ Internet: (blues-l@brownvm.brown.edu) Subject: William Clark CD "Groove Time" I admit that I don't care for a lot of "newer" releases. They all tend to sound like the same ole stuff (at least to my household's ears), so I was expecting to not like William Clark "Groove Time". To make it really short my wife, myself and my harp playing friend sat around listening to the CD over and over with big ole southern grins....I think we all experienced mulitple "blue-asms"....Great player, who has listened to alot of Little Walter and sounds like he can play the slop (that's southern for "plays really well") out of the chromatic. It's the first time I've knowingly heard Kid Ramos and he's pretty good also. I suppose his other CD's are good: "Good Intentions" and "Blowin Like Hell" (I hope those are the right titles) LW -------- REPLY, End of original message -------- -- Stan Ruffo from "Blues On Tap" KIOO Visalia, CA steamin@valleynet.com (209) 625-6049 http://www.valleynet.com/~steamin ========================================================================= Date: Fri, 29 Dec 1995 21:10:47 GMT Reply-To: Steven Hirsch From: Steven Hirsch Organization: National Agricultural Library Subject: Re: Musical beginnings Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199512201514.KAA128842@tequesta.gate.net>, "P.W. Fenton" wrote: >Unbeknownst to me, my dad had an accordion >in the attic that he had bought when he was stationed in Europe >during the war. The plan failed because of Elvis Presley's >appearance on Jackie Gleason's summer replacement show. It took me >another 7 years to save up $45 for a guitar. > >P.W. Fenton >Tampa, Florida Oh man, you missed out on playing the accordion! You could have been the next Clifton Chenier. There are plenty of guitarists, but how many rocking accordionists do you know? Steve (who thinks blues accordion is really cool) Hirsch ========================================================================= Date: Fri, 29 Dec 1995 16:19:51 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: (no subject) Comments: To: emdrprac@DIRECT.CA In-Reply-To: <4c1cm2$38b@grid.direct.ca> I think BB King recorded it early on in his career... Jim On Fri, 29 Dec 1995 emdrprac@DIRECT.CA wrote: > Does anyone recognize these lyrics... who did this tune, when, what > label ,etc...? > > "When I get lucky, I'm gonna get me a fishtail Cadillac car" (2x) > "Then I'll cruise by all you girls, just like I don't know who you are" > > "I'm gonna tease you - see if I don't, > You want to ride, no, but you won't." > > "When I get Lucky......" etc. > ========================================================================= Date: Fri, 29 Dec 1995 13:43:36 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Top 5 List On Fri, 29 Dec 1995 09:41:30, Dennis Miele wrote, >Any criteria that dismisses SRV clones as non-Blues would have to do the same >for Robben Ford. Although I love his playing, his style is still that Larry >Carlton-fusion kinda thing. Robben Ford has played fusion, he knows his fretboard but he is a blues artist. Ok, so he coverd a Cream tune on a previous album so the purists won't like him but "Handful of Blues" is more like a fistful. It is a great modern blues album. Also check out Jimmy Witherspoon and Robben Ford "Live". Robben's playing here is full of taste and restraint. A good lesson on how to play behind a vocalist. Mr. Witherspoon isn't all the bad either. Robben Ford deserves to be included in the ranks of modern blues artists. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Fri, 29 Dec 1995 17:41:20 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: (no subject) Comments: To: emdrprac@DIRECT.CA In-Reply-To: <4c1cm2$38b@grid.direct.ca> When I Get Lucky is by Floyd Dixon. Without checking, I think it's on the Atlantic Blues: Piano set. ========================================================================= Date: Fri, 29 Dec 1995 17:50:37 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: When I Get Lucky/Maxwell Street Jimmy 1. Floyd Dixon's "When I Get Lucky" is on the Atlantic LP "Blues Piano--Chicago Plus." (At least I had the label right!) 2. Sorry to announce that Chicago blues singer/guitarist Maxwell Street Jimmy Davis died yesterday. I don't know the details; apparently his girlfriend said he fell on the ice, but there may be more to it than that medically. Anyhow, one more old-timer is gone, and a pretty colorful one at that. His last recordings were on Wolf. ========================================================================= Date: Fri, 29 Dec 1995 19:45:07 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Organization: IQuest Internet Services Subject: Re: Jewish Blues Comments: To: Steve.Levine@CORP.WRGRACE.COM =============*In the spirit of fairness you should acknowledge that Job certainly had the *blues. * You could probably say that Jesus, the world's most famous and popular Jew, did too. -Steve (harp playing, non-practicing Jew) Levine============== Exscuse me for repeating this if somebody already mentioned it during this thread, but I'm pretty sure Michael Bloomfield was jewish. RJ Bauman ========================================================================= Date: Fri, 29 Dec 1995 19:54:34 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Maxwell Street Jimmy Davis ... I can't believe that he's gone. Amazing bluesman. He gave me some of my best listening hours. As a tribute I've just uploaded to our web page a review of his last CD on Wolf. I hope it gets read and his CD bought. This one is very high on the list of recommended Get-CD's. NY CD Blues Now at http://www.island.net/~blues/nycd.html Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Fri, 29 Dec 1995 21:44:28 -0500 Reply-To: DocSmiley@AOL.COM From: "Anand Giridharadas." Subject: Re: Top 5 List Comments: To: shaun@wavenet.com wasup yall ========================================================================= Date: Sat, 30 Dec 1995 01:34:30 GMT Reply-To: love@packet.net From: The Global Love Connection Organization: The Global Love Connection Subject: Happy New Year Comments: To: bit-listserv-blues-l@uunet.uu.net Happy New Year to you. I look forward to your friendship in the days ahead. Candy http://www.opennet.com/love/ ========================================================================= Date: Fri, 29 Dec 1995 22:30:33 -0500 Reply-To: Jordan Barrett Kessler From: Jordan Barrett Kessler Organization: Columbia University Subject: Re: Dr. King and Blues Comments: To: bit-listserv-blues-l@uunet.uu.net In-Reply-To: <4c295b$gr@siesta.packet.net> Hello everyone, If anybody knows of good blues or soul recordings that are directly influenced by Dr. Martin Luther King or mention him, please let me know about them. I'm planning a celebration of Dr. King on WKCR-FM New York (89.9). It will air on the holiday in his honor, January 15th. Thanks for your help and happy New Year. ---Jordan Kessler WKCR-FM 89.9 FM, New York jbk1@columbia.edu ========================================================================= Date: Sat, 30 Dec 1995 01:35:44 -0200 Reply-To: Paulo Gustavo Franklin de Abreu From: Paulo Gustavo Franklin de Abreu Subject: Sugestions / blues in NY Please, get type blues date 20 january 1996 - 15 fabruary 1996 cty New York , NY radius 25 miles end Regards Paulo Franklin ========================================================================= Date: Sat, 30 Dec 1995 05:55:43 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Countdown .... With 2 days left - just want to wish everyone a happy new year and a coming year full up with dreams and wishes fulfilled. NY CD Blues not at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg 77 Fulton St. 24C NY, NY 10038 bsco@panix.com ========================================================================= Date: Sat, 30 Dec 1995 08:51:33 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Signature correction ... just to let everyone know - I have been posting for 2 days and my signature file has said NY CD Blues not at etc. ^^^ it should have said NY CD Blues now at etc. ^^^ Sorry to waste the bandwidth but now that we have the reviews, the CD discounts and the Blues Scramble Game I thought it rat- her important to correct this error. Again - Happy New Year to All. NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg 77 Fulton St. 24C NY, NY 10038 bsco@panix.com ========================================================================= Date: Sat, 30 Dec 1995 14:51:18 GMT Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: Dr. King and Blues Comments: To: Jordan Barrett Kessler On Fri, 29 Dec 1995 22:30:33 -0500, you wrote: > If anybody knows of good blues or soul recordings that are >directly influenced by Dr. Martin Luther King or mention him ... Jordan, I think you'll find some nice cuts on Pops Staples latest (1994) "Father Father." I love this disc. The title cut is vaguely appropriate, but you'll definitely want to use "Why Am I Treated So Bad." There's even a picture of the Lorraine Motel in the insert. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Sat, 30 Dec 1995 11:22:12 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Dr. King and Blues Comments: To: curtis@MAGICNET.NET On 30 Dec 95, Curtis Hewston had this to say: > On Fri, 29 Dec 1995 22:30:33 -0500, you wrote: > > > If anybody knows of good blues or soul recordings that are > >directly influenced by Dr. Martin Luther King or mention him ... > > Jordan, I think you'll find some nice cuts on Pops Staples latest > (1994) "Father Father." I love this disc. The title cut is vaguely > appropriate, but you'll definitely want to use "Why Am I Treated So > Bad." There's even a picture of the Lorraine Motel in the insert. Having just returned from vacation (and "nomail") I don't know who asked the original question, or what answers have been posted besides Curtis', but I'd like to recommend a favorite. "Rare Chicago Blues, 1962 - 1968" - Bullseye CD BB9530, contains two tributes to Dr. King that were improvised live, according to the liner notes, by Otis Spann, in a Chicago church immediately following the assassination. "Hotel Lorraine", and "Blues For Martin Luther King" are among the most powerful recordings I have heard. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sat, 30 Dec 1995 11:05:00 -0600 Reply-To: "Ben S. Austin" From: "Ben S. Austin" Subject: Talking During Performances Hi Gang, I have been reading through some old Blues-L files that I saved and ran across a thread (back in September) about "Talking During Performances" and audience respect for performers and vice versa. LW. Paul Fenton, Dick Shurman, Shannon O'Connor, and others made some great points. But one small item was overlooked (either that or I missed it). I think the club management plays a very important role in creating and maintaining club atmosphere. Some clubs are oriented toward the music and some aren't. At the Bluebird Cafe in Nashville, the menus on each table have "Shhhhhhh!" printed in bold letters on the front. If you make a lot of noise in that place, someone from management will come over and ask you to hold it down. The same was true for the old Exit/In in Nashville. Once this is the known policy of the club, patrons will choose their entertainment on the basis of that policy. If I am going out on Saturday night to "raise hell," I know some great places for doing just that. And I know the place will be full of hell-raisers (usually including a band of hell-raisers on stage). But if I want to go out for a good evening of listening, I know some places which will be filled with serious music listeners and a good band which respects its music and its appreciative audience. As a former clubowner myself, I know that advertising a band for serious listeners coupled with an official announcement at the beginning of the performance is usually enough to set the mood for the evening. Then no one is surprised, or offended, if an occasional rowdy is asked to hush or leave. I recently attended an EMI songwriters' showcase at Douglas Corner in Nashville. Several of Nashville's top writers were performing in the round. It was advertised as such and preceded by an official announcement. The only sound I heard besides some great music was the applause of an appreciative audience. Ben Austin (one of the sociology guys) ========================================================================= Date: Sat, 30 Dec 1995 13:25:07 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Christmas in New York Well I'm back, and I'm hungry for Blues-L. New York was as cold as it was 18 years ago when I escaped. Several very warm things did happen though. One was my Dad's Franklin stove, which was my closest friend. Another involved my Dad as well. Dad got me singing lessons for Christmas... in the form of the TWO Mahalia Jackson "Columbia/Legacy" series box sets, and the Mahalia Jackson Christmas CD thrown in as a bonus. Very good singing lessons, indeed. Another highlight was the single most incredibly delicious pastrami on rye I have ever experienced. If you are ever in NYC for any reason, DON'T BOTHER WITH ANYTHING ELSE. Go straight to Katz's Deli at 205 Houston Street (1-800-4-HOTDOG) and buy ANY sandwich on their menu. Be prepared to weep and moan in ecstasy. Disclaimer... I have no financial relationship with Katz's Deli, nor am I Kosher in any way. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sat, 30 Dec 1995 10:44:11 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Billboard Magazine Blues Chart 1/6/96 By popular demand here is the BIllboard Magazine blues chart for the week of January 6, 1996. 1. Greatest Hits/Stevie Ray Vaughan & Double Trouble 2. Ledbetter Heights/Kenny Wayne Shepherd 3. From the Cradle/Eric Clapton 4. Blues/Jimi Hendrix 5. Some Rainy Morning/Robert Cray 6. Handful of Blues/Robben Ford & the Blue Line 7. Keb' Mo'/Keb' Mo' 8. Essential Blues/Various Artists (House of Blues Records) 9. Chill Out/John Lee Hooker 10. Cool Christmas Blues/Charles Brown 11. Cover to Cover/The Jeff Healey Band 12. Blue Streak/Luther Allison 13. Blues Fest: Modern Blues of the 90s/Various Artists (Rhino Records) 14. Texas Sugar/Strat Magik/Chris Duarte Group 15. Turn It On, Turn It Up/Roomful of Blues Mary Katherine ========================================================================= Date: Sat, 30 Dec 1995 18:04:35 -0500 Reply-To: Orange@GNN.COM From: Orange@GNN.COM Organization: Megaweb Subject: Pinetop's Boogie Comments: To: bit-listserv-blues-l@uunet.uu.net Came across a CD entitled "Pinetop's Boogie" which was (as I remember) a CD (red background) with a full shot of Pinetop sitting at the piano looking into the camera. My question: I particularly like boogie woogie piano blues, barrelhouse kind of stuff. What's on this CD? Slow blues, instrumentals, what? Anybody know? Anybody bought it? Orange@gnn.com ========================================================================= Date: Sat, 30 Dec 1995 18:21:51 -0500 Reply-To: Orange@GNN.COM From: Orange@GNN.COM Organization: Megaweb Subject: Anybody seen KEN SAJDAK? Comments: To: bit-listserv-blues-l@uunet.uu.net I've been trying to get ahold of an old friend of mine, Ken Sajdak, who used to play keyboards for Mighty Joe Young, Lonnie Brooks, etc. He was living in Chicago but I lost his number several years ago and can't seem to get it through directory assistance. Someone told me they thought he was still in Chicago playing in a band called Big Shoulders. Got any leads? Orange@gnn.com ========================================================================= Date: Sat, 30 Dec 1995 18:32:05 -0500 Reply-To: Orange@GNN.COM From: Orange@GNN.COM Organization: Megaweb Subject: Robben Ford Comments: To: bit-listserv-blues-l@uunet.uu.net Just a note to some of you who seem to have really enjoyed Robben's latest album. My own personal opinion is that while his playing is always phenomenal, the songs he chose were not. There IS an alternative, though: I came across another CD which just blew my pants OFF (OUCH! IT STILL HURTS!). It's called "Mark Ford with The Robben Ford Band". The songs/arrangements are wonderful! A really nice blend of different blues styles/sounds so that cut 1 doesn't sound like cut 3 or 4 or 10. Each song stands its ground. For harp players or enthusiasts, this is some of Mark's finest playing. He's taken his Butterfield influence and extended it far beyond what Butterfield was able to. There's a couple of jazz/blues jump tunes that feature harmonies with Robben's guitar and Mark's harp -- OOWWEEEE! In other words, my dear blues friends, if you can dig up this CD (on BLUE ROCK'IT Records, P.O. Box 383, Redwood Valley, CA 95470) I absolutely guarantee that you will tell others about it. It's just one of those small time efforts that didn't get the promotion a "Handful of Blues" album does. Check it out. I NO LIE! (and I get no kickbacks ....!) Lost in the blues ... Orange@gnn.com Orange@gnn.com ========================================================================= Date: Sat, 30 Dec 1995 18:32:45 -0500 Reply-To: Orange@GNN.COM From: Orange@GNN.COM Organization: Megaweb Subject: Re: Books On Blueswomen - help! Comments: To: bit-listserv-blues-l@uunet.uu.net Why don't you write one? It's about time somebody did. Orange@gnn.com ========================================================================= Date: Sat, 30 Dec 1995 18:39:25 -0500 Reply-To: DMcgo1369 From: DMcgo1369 Organization: America Online, Inc. (1-800-827-6364) Subject: Calvin Owens inquiry Comments: To: bit-listserv-blues-l@uunet.uu.net I recently purchased Calvin Owens' True Blue and I love it! Any other artists out there that are aimilar to this great jump blues and big band sound? Dennis McGough ========================================================================= Date: Sat, 30 Dec 1995 18:47:52 -0500 Reply-To: Orange@GNN.COM From: Orange@GNN.COM Organization: Megaweb Subject: Re: Muddy Waters Search Comments: To: bit-listserv-blues-l@uunet.uu.net There is an album by that name (Electric Mud) and it's one of the alltime worst pieces of crap you'll ever want to listen to. They thought, at the time, "wouldn't it be cool to take this basic Muddy Waters sound and jazz it up with some psychedelic guitars, wah-wah pedals, and special effects?" It really, REALLY, sucks. It's probably the most embarrassing thing Muddy ever did (publicly, that is). Orange@gnn.com Orange@gnn.com ========================================================================= Date: Sun, 31 Dec 1995 02:09:26 GMT Reply-To: emdrprac@DIRECT.CA From: emdrprac@DIRECT.CA Organization: Internet Direct Subject: Re: Canadian Blues Bands Comments: To: bit-listserv-blues-l@uunet.uu.net ...don't forget the great guitarist Amos Garrett, who does a fair amount of touring, particularily in Western Canada. ========================================================================= Date: Sun, 31 Dec 1995 21:11:11 +0900 Reply-To: "R.St. Pierre" From: "R.St. Pierre" Subject: John Hammond reccos Someone asked what would be a good first John Hammond CD and there are two great choices. I think the best is called simply John Hammond (Rounder CD 11532). It is excellently recorded and has plenty. It is just a few seconds less than 70 minutes. Alternatively, The Best of John Hammond (Vanguard VCD 11/12) is also good. I contains the best of what John did for Vanguard and thus contains much of his best early work. I also like very much HJohn Hammon's Country Blues (Vanguard 79198-2) which was recorded in 1965 and has only John accompanying himself on guitar and harmonica. Ron St. Pierre ========================================================================= Date: Sun, 31 Dec 1995 15:00:48 +0000 Reply-To: Roadrunner Tour Management From: Roadrunner Tour Management Subject: Happy New Year from R.T.M. Well, I'm off to the David Brewer gig to boogie into 1996. Have a good one yourself and happy new year to everyone on blues-l !!!!! Cheers Carsten "R O A D R U N N E R T O U R M A N A G E M E N T" <<<< KEEPING THE BLUES ALIVE >>>> 141 Tirellan Heights Galway / Ireland Tel.&Fax: +353 95 35976 Mobile: +353 88 619758 E-Mail: roadrun@iol.ie http://www.iol.ie/~roadrun/index.html ========================================================================= Date: Sun, 31 Dec 1995 12:48:08 -0600 Reply-To: Melanie Anton From: Melanie Anton Subject: Christmas CDs and cassettes I've been on this list for nearly two months now and I've decided to finally de-lurk. I knew I wouldn't get any blues as gifts for Christmas because no-one I know likes the blues, but when I was shopping I happened to see a CD called The Story of the Blues and it came with a book, and I had to get it! It's rougher than I'm used to because my traditional favorites have been Bonnie Raitt, Etta James, B.B. King and Robert Cray, but it's beginning to grow on me. My husband really likes it, and he's never liked listening to the blues before! Then my brother gave me a gift certificate for Camelot Music, and I went wild! I found two sets of collections--one was the Alligator Records 20th Anniversary Tour, and the other was Alligator Records 20th Anniversary Collection, and I'm in heaven! I had been looking for something that would feature a lot of different blues artists. So right now I'm listening to Lil' Ed and the Blues Imperials, Katie Webster, Elvin Bishop, Lonnie Brooks, and Koko Taylor. Now I have some great tapes to listen to besides the local blues radio show on KFAI every afternoon! So, Happy New Year everyone, and thanks for the great recommendations! Melanie Anton ========================================================================= Date: Sun, 31 Dec 1995 13:55:47 -0500 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: WFBE Blue Highway Playlist Here is the Blue Highway Playlist for 12/30/95. We had the opportunity to debut a brand new CD tonight. Len Bland, a Flint, MI. resident and longtime Bluesman, just released his latest recording "For Your Love" on Lucky Pride Label. Len got his start in the blues in Chicago during the 50's, with Lovie Lee, in a band called "The Sensationals" and has been playing his music throughout the mid-west ever since. E-mail me for ordering information and price.(Disclaimer: I have no commercial interest in this recording, but I am Mr. Blands booking and publicity manager) I have changed the format of the playlist to save bandwidth. Artist, Song, Album, Label 9pm-10pm Tony Z, Get Down With The Blues, Title Cut, Tone Cool John Mooney/Bluesiana, Phonograph Blues,Live, Crosscut Jimmy Witherspoon, Past 40 Blues, Spoon's Blues, Stony Plain Chris Cain, My Baby's Got It, Somewhere Along The Way, Blind Pig Mambo Brothers, Buzzin Like A Cheap TV, Night Owl, MDR Melvin Taylor, Depression Blues, 'N' The Slack Band, Evidence Champion Jack Dupree, Goin Down Slow, Blues From The Gutter, Atlantic Ruth Brown, I Ain't Got Nothin, Fine and Mellow, Fantasy Len Bland, Baby I Don't Know Why For Your Love Exactly Where Its At Uptown Blues, For Your Love, Lucky Pride 10pm to 11pm Byther Smith, I'm Broke, Blues Knights, Evidence Boogie Woogie Red, Blues For My Baby, Detroit After Hours, Trix JLH/Canned Heat, Goin Up The Country, Hooker & Heat, Rhino Robert Nighthawk/Wampus Cats, Wampus Boogie,Toastin The Blues,Inside Memphis Gatemouth Brown,Alligator Eatin Dog, No Lookin Back, Alligator Jerry Lightfoot/Essentials, You Can't Hurt Me, Burning Desire, Connor Ray Joe Guitar Hughes, U-Turn, Texas Guitar Slinger, Bullseye Mark May/Agitators, Sweet Shuffle Queen, Call on the Blues, Icehouse Mike Stockton, VooDoo Candles, Its My Soul, Azure The Nighthawks, Long Distance Call, Open All Night, Genes Bob Margolin, Drip Drop, MY Blues and My Guitar,Alligator Randy Volin/Sonic Blues, 44 Blues,Used Guitars, Volin 11pm to midnight (all girl set) Flamin Amy & Sweet Potata, I'd Rather Go Blind, Soul Kiss, Blue Frog Karen Carroll, Shakey Ground, Had My Fun, Delmark Kelly Richey Band, Black Cat Bone, The Blues Don't Lie,Richey (memorial set) Maxwell Street Jimmy, Alberta Two Trains Runnin Cryin Wont Make Me Stay, Takoma Blues, Takoma John Mayall, Fan The Flames, Spinning Coin, Silvertone Johnny Hoy/Bluefish, Close to You, Trollin The Hoochie, Tone Cool Little Milton, Friend Of Mine, Live At Westville Prison, Delmark ("big" set) Big Moose Walker, You Move Me, Rising Sun Collection, Just A Memory Records Big John Wrencher, Maxwell Street Alley Blues, Title cut, Blue Sting Big Al Dupree, Cherry Red, Swings The Blues, Dallas Blues Soc. Sneaky Pete/Dover Cooper, Auld Lang Syne, live in Studio A, WFBE 12-31-93 Happy Blue Year!!!!!! Ed ========================================================================= Date: Sun, 31 Dec 1995 11:03:29 -0500 Reply-To: NO LOVE From: NO LOVE Organization: America Online, Inc. (1-800-827-6364) Subject: Photos Comments: To: bit-listserv-blues-l@uunet.uu.net Hi All Blues Lovers ! Can Anyone tell me where I can find a large file source of Blues photos on the net ? nolove@aol.com ========================================================================= Date: Sun, 31 Dec 1995 15:02:28 -0500 Reply-To: Orange@NEWS-E2A.GNN.COM From: Orange@NEWS-E2A.GNN.COM Organization: GNN Subject: KEN SAJDAK FOUND: THANKS Comments: To: bit-listserv-blues-l@uunet.uu.net I located my friend, Ken. Thanks to all those who helped. Orange@gnn.com ========================================================================= Date: Sun, 31 Dec 1995 12:31:51 -0800 Reply-To: Joel Beeson From: Joel Beeson Subject: Alabama blues project Dear Friends of the Blues: I am a freelance photojournalist, with an MA from the University of Missouri School of Journalism and currently a doctoral student at the University of California, San Diego, in Communications (cultural studies). I have been doing ethnographic research with a grass-roots organization of African-American blues, gospel and other artists from an impoverished rural community in the Black Belt region of Alabama. This non-profit organization, the Rural Members Association (RMA), was founded in 1981 by bluesman (and former sharecropper), Willie King. The purpose of the RMA is to provide a vehicle for area residents to develop self-help and cooperative projects geared toward alleviating the burdens of poverty and unemployment. From its inception, the RMA has been particularly concerned with creating opportunities for young people - especially those at risk - to learn from their cultural roots and for the elders of the community to gain some economic and personal benefits from the traditional skills and artistic talents they have developed over many years. The RMA has been operated by a volunteer staff of board members and members-at-large; for more than 13 years, members have volunteered faithfully their services to the community - working with youth at risk to teach them rural blues and gospel; reading and writing letters for the elderly and infirm; and providing transportation, carpentry, electrical work and other vital services for low-income rural families. RMA President Willie King and other members are accomplished musicians who have taught and performed all over the South for little or no monetary compensation. They are profoundly committed to their rural lives, to their vision of community-building through strengthening local forms of African-American folk culture. This October, the RMA was awarded a Folklife Project Grant from the Alabama State Council on the Arts for startup of a Musical Roots and Survival Arts Project for fiscal 1996. The RMA was given renewed life by the award of this grant. In recent years, Willie King's health problems have forced him to cut back on the pace of his travel and performance schedule -- what little income he made from performances had kept the RMA afloat in lean times past. In addition, the landlord of the cultural center (a run-down crossroads country store next to which Willie's trailer sat) sold the land to a new tenant this past August, forcing Willie and the RMA to move. In response, a group of visual artists and musicians (myself also) organized a benefit concert at Sloss Furnaces in Birmingham that included an an educational exhibit and sale of black and white prints from my work on the RMA, and an art auction. We raised enough money to purchase 1.5 acres of land. The Magic City Blues Society has generously pledged to donate initial financing for a small cultural center/community performance/educational space for the RMA. The RMA plans to utilize the State Arts Council Grant as seed money to institute weekend and summer workshops to teach area youth the techniques, history and cultural traditions of blues, gospel, quilting and subsistence gardening skills developed in the local African-American community. The RMA hopes to provide monetary assistance for 12 local artisans to practice, perform and teach; to strengthen the role and survival of folk culture resources by educating 20-30 young people; and to document and celebrate a positive, complex narrative of African-American self-determination and survival. Next summer I will return to work on the project -- to document, through the medium of still photography and oral history, the activities of the RMA project and the cultural textures of the community. We are currently working to amplify this grant for the Music Roots and Survival Skills project for 1996. In addition, we need guitars, harmonicas and other equipment and supplies. We would appreciate any help, assistance or support in this matter. You may contact me on line at jbeeson@weber.ucsd.edu or by phone at (619) 457-7681, or write RMA President Willie King at Route 1, Box M147, Aliceville, AL 35442. Thank You! ========================================================================= Date: Sun, 31 Dec 1995 22:03:31 +0100 Reply-To: Jose Antonio Revilla Garcia From: Jose Antonio Revilla Garcia Subject: HALL OF FAME-INSTRUM-KEEP MSGS 3 questions: - I'd be very grateful if someone could e-mail me with some latest Blues-Hall of Fame listings. - I'm DJ at a local radio program, and I'm searching for names of *good* *exclusively instrumentals* blues bands.=A8Any sugerences? - And finally, I'd like to review hundred and hundred of messages which have been already posted to the list.=A8Is there any ftp site where all the Blues-l is keeped?=20 =20 Thanks so much.:) See you! ;-) ---------------------------------------------------------------------------= --- =09=09=09 Everyday I Have The Blues =20 * Co-SysOp AUDIN-BBS: (942)-21.81.03. 22:00-10:00.Universidad de Cantabria= .*=20 * Miembro de ACCE: Asociacion Cantabra de Correo Electronico * ========================================================================= Date: Sun, 31 Dec 1995 16:32:07 -0500 Reply-To: PrePhoto From: PrePhoto Organization: America Online, Inc. (1-800-827-6364) Subject: Out of print??? Comments: To: bit-listserv-blues-l@uunet.uu.net Has anybody ever seen *An Austin Rhythm and Blues Christmas* released on CD? Ive got the album, but its a family favorite and Id hate to wear it out... As somebody says, Walk tall, and stay loose Dave Prelosky ========================================================================= Date: Sun, 31 Dec 1995 16:32:39 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: John Hammond reccos Comments: To: "R.St. Pierre" , Peter Leftwich In-Reply-To: <199512311211.VAA21193@icis.shoin.ac.jp> Speaking of John Hammond...I had the pleasure of seeing him live Friday night... The gig was in Pawling, NY about an hour from White Plains or 1 1/2 hours from Manhattan at a place called Towne Crier Cafe (highly recommended for those in the NYC area). Martin Sexton, a singer/songwriter from Boston MA opened the show admirably with a 45 minute set. Excellent vocal range and tasteful guitar set the stage well for Mr. Hammond. Mr. Hammond came on stage with two guitars (one was a 1935 National Duolian) and used each equally throughout the evening. He covered a wide range of acoustic numbers supporting his supple guitar work with tasteful harmonica. What a ball of energy! Guitar picking, harmonica playing, foot stomping, and harrowing vocals. I only wish he would have regaled the audience a bit more...like introducing songs or telling stories of his relationships with the blues masters... He played virtually non-stop for 2 hours with increbile intensity. Hammond is a true legend...by all means buy his CDs...but be sure to catch him live if he comes your way... Jim PS Apparently, he has a new Duke Robillard-produced CD coming out in early Spring. ========================================================================= Date: Sun, 31 Dec 1995 21:07:18 -0500 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Sippie Wallace? Comments: To: bit-listserv-blues-l@uunet.uu.net I just got a GREAT CD by a classic blues singer named Sippe Wallace.It was recorded in 1982 when she was about 83. Bonnie Raitt even makes a guest appearance playing slide guitar and singing. I particularly like the song "Woman Be Wise." She reminds me of Alberta Hunter and Bessie Smith (Somewhat...). Does anyone know anything about her? I know that she was one of the 1920's blues "divas", but that is about it. Lea Gilmore Baltimore, MD ========================================================================= Date: Sun, 31 Dec 1995 21:44:37 -0500 Reply-To: David Goldstein From: David Goldstein Subject: Martin Luther King Songs 2 songs: Big Joe Turner - Martin Luther King Southside Everyday I Have The Blues Quicksilver Records Ronnie Earl & The Broadcasters - Blues for Martin Luther King Language of the Soul Bullseye Blues I have not listened to either. Found at CDNOW on internet. ========================================================================= Date: Sun, 31 Dec 1995 21:58:12 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Sippie Wallace? Comments: To: LeaGil@aol.com On New year's Eve, LeaGil wrote: >>>I just got a GREAT CD by a classic blues singer named Sippe >>>Wallace.It was >>>recorded in 1982 when she was about 83. Bonnie Raitt even >>>makes a guest >>>appearance playing slide guitar and singing. I particularly >>>like the song >>>"Woman Be Wise." She reminds me of Alberta Hunter and >>>Bessie Smith >>>(Somewhat...). >>>Does anyone know anything about her? I know that she was >>>one of the >>>1920's blues "divas", but that is about it. Good choice, LeaGil. . . Beulah "Sippie" Wallace was a member of the Thomas family and comes fom the music style called "Honkers & Shouters." (Note there is a great book by that title.) She recorded by in the mid-1920s with Louis Armstrong and continued to make records with Lonnie Johnson, Albert Aamons, Jim Kweskin Jug Band, Bonnie Raitt and others. She toured Europe with the American folk Blues Festival in the 1960s and while in Scandanavia, made an album on Storyville with Roosevelt Sykes and Little Brother Montgomery on piano. Bonnie Raitt bought the album in London a few years later and went on to record several songs from this album ("Women Be Wise," "You Got to Know How," "Mighty Tight Woman")> After she started her own career, Bonnie often took Sippie along as a Special Guest Star and they did duets together. The Storyville album was recently reissued in CD format by Alligator and it gets highest recommendations. Sippie serves as a terrific role model for women in blues because she was among the first women to insist on writing her own songs. Most women blues singers were merely vocalists for the men who wrote the songs. She was a terrific lady with sparkling humor and a great laugh. She died in Detroit on November 1, 1986, which was her 88th birthday. Dick Waterman ========================================================================= Date: Mon, 1 Jan 1996 07:10:52 CST Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Happy '96 friends Happy New Year's all. 1995 will be counted by the friends I've made on blues-l. Mike [ home work ] [ http://www.xnet.com/~msuffern/soundtravels.html ] [ The Blues&Travel Site, Blues Guides, Festivals, ] [ Eric Clapton @ Royal Albert Hall, London tour ] ------------------------------------------------- [ Above all, play what your heart tells you to... ] [ As you learn, your heart will have more to say. ] ========================================================================= Date: Mon, 1 Jan 1996 05:29:25 GMT Reply-To: emdrprac@DIRECT.CA From: emdrprac@DIRECT.CA Organization: Internet Direct Subject: Searching for Robert Johnson Comments: To: bit-listserv-blues-l@uunet.uu.net Someone was looking for the book, "Searching for Robert Johnson" By the time I looked it up at my local library (online), logged back on,... WHAT??? your message was gone ..... my, things move fast on my server!! Anyway, the book is: by Peter Guralnick New York, 1989 - DUTTON (83 pp) " A Dutton Obelisk book" ISBN # 0525248013 Happy New Year, all you Great Bluesers!! ========================================================================= Date: Mon, 1 Jan 1996 02:08:52 -0500 Reply-To: Rags From: Rags Subject: BEST_WISHES..... And happy new Year to all ..... May the bLues Live on...... peace on Earth... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-($)^($)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ Surrealism ? I AM Surrealism - Salvador Dali +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Mon, 1 Jan 1996 01:30:54 -0800 Reply-To: Garry Segal From: Garry Segal Subject: Thanks Blues L! Happy New Year to all on Blues L ! Special thanks to those DJs and websites who helped get the R&B sounds of my band GARRY AND THE MOODSWINGERS out into air/cyberspace . Ive enjoyed the sometimes wild threads and bizzare flame wars as well as several good yuks and cool info. Hope y'all get your kix in 96 ! Garry, and his merry band of Moodswingers webpage (thanks to Gary Joneson at Blues Web:-) http://www.island.net/~blues/BlueSngr.html email BlueSngr@ix.netcom.com ========================================================================= Date: Mon, 1 Jan 1996 05:10:34 -0500 Reply-To: BluesBeats@AOL.COM From: Joseph Jordan Subject: January 1996 Bay Area Blues Beat Hi Blues-Eller Brothers and Sisters, Here is the monthly column I write for the Long Beach-based monthly, Southland Blues, which by the way is subscription available by calling: 310-498-6942 or e-mailing SoBluesMag@aol.com. Cheers and Happy New Year. Joseph *************************** January 1996 Bay Area Blues Beat by Joseph Jordan SAN FRANCISCO: Hi friends. Happy blues new year from Northern California. Congratulations to all of us. We made it through another one! NEW KID ON THE BLUES BLOCK: There's huge charm and big music pouring out of an extremely young man from the lovely small town of Sebastopol in Sonoma County. Keyboardist (no vocals, yet) Sasha Smith is a fourteen year-old talent like nothing heard around these parts for years. This great music hope already has a sparkling, self-produced indy blues CD available named "Straight Up" and a can't miss, brighter-than-bright future ahead of him. Sasha's familiarity and obvious comfort with both blues and jazz forms, combined with his stunning individual style, rival that of musicians many, many years his senior. This incredibly-talented, yet marvelously humble teenager has already come to the attention of such blues greats as Buddy Guy, Charles Brown, Nick Gravenites, Nathan Cavalerri, Johnny Otis, Robert Jr. Lockwood and his adopted godfather, pianist Johnnie Johnson. Sasha's career is cared for and lovingly overseen by his bass-playing, co-producing dad, Claude. Like the best of prodigies, this musician's extraordinary talent allows the listener to overlook his diminutive stature and extremely youthful appearance and marvel at his formidable and compelling gifts. To reach the Smiths or order the CD through their Buck n' Bronx Music company, call: 707-887-9333 or e-mail them at BucknBronx@aol.com. Be the first on your blues block to check out this impressive youngblood. The wave of the future is starting to crest. BAY AREA BLUES BEAT ARTIST ON THE VERGE: Do you like your blues traditional? You'll soon be able to check out the enormously-talented, acoustic Delta stylings of deep-voiced, gentle-souled Alvin Youngblood Hart, who is just inches away from signing a major recording deal with Okeh/Sony. Hart is a gifted artist and massively-impressive acoustic guitarist who possesses an uncanny historical knowledge and perspective of blues music and history. He also is a burgeoning master of solo blues performance, very reminiscent of early Taj Mahal. This Oakland native is in his very early 30s (he was featured in Living Blues #120 in the "40 Under 40" article) and counts Marin County bluesman Joe Louis Walker as a friend and mentor. I feel it important to mention that Alvin is African-American and possesses a deep, deep affinity for the blues he plays. We are the richer for it. Keep your eye open and your ear out for him. INTERNET NOTE: For those of you connected to the internet, a most blues-wailing, world wide web site has been created by Marin County musician and computer blizzard, Tim Eschliman. Tim has his own very happening, successful roots and jump-blues quintet, Rhythmtown Jive, making waves on the Northern California club scene. The "Jive" have two terrific recordings available through the site, but that's just the beginning. You'll find links to a ton of blues sites, an eclectic jumping-off point called "Al's Favorites," plus some very cool, ever-changing graphics, music downloads and blues news. You can find Tim's Globe Record site at: http://www.microweb.com/globe. In future columns, I'll be providing more greater Bay Area artist, recording label, venue and music internet site addresses, all relating to the blues. Let's go surfin' now, everybody's learnin' how. Is there anything blues-related you want to know about in the Bay Area? If you have questions, news, views or blues for me, e-mail me directly at: bluesbeats@aol.com. See you next month. - END - ========================================================================= Date: Mon, 1 Jan 1996 15:31:52 GMT Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: January 1996 Bay Area Blues Beat Comments: To: BluesBeats@AOL.COM On Mon, 1 Jan 1996 05:10:34 -0500, Joseph Jordan wrote: >NEW KID ON THE BLUES BLOCK: There's huge charm and big music pouring out of >an extremely young man from the lovely small town of Sebastopol in Sonoma >County. Keyboardist (no vocals, yet) Sasha Smith is a fourteen year-old >talent like nothing heard around these parts for years. I've had a Sasha Smith page up at The Blue Highway for several months now, and I have heard his disc "Straight Up" in addition to a more recent demo tape. This kid is fantastic -- sophisticated well beyond his years! I guess that makes him a genuine prodigy. He and his dad are also very good people. You can see this page at http://www.vivanet.com/~blues/sasha.html and hear a 14-second wav sample. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Mon, 1 Jan 1996 11:04:58 -0500 Reply-To: David Goldstein From: David Goldstein Subject: Blues-L Archives The listserver for blues-l keeps a yearly archive filed by week. It is accessible by sending a message to listserv@brownvm.brown.edu: get blues-l The files are done weekly and take the form: logyrmow log - literal yr - year (94,95) mo - month (01,02) w - week (A,B,C,D,E) Not all months have 5 weeks, so D is the last week for most months. Happy reading! ========================================================================= Date: Mon, 1 Jan 1996 11:25:11 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Our thanks to Gary Joneson for .... Comments: cc: Gary Joneson I just want to thank Gary Jones at the BluesWeb for giving us a home for our reviews and more. You're gonna make '1996 a great year all around Gary - and for everybody he's at - http://www.island.net/~blues Give him your look see. NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! ========================================================================= Date: Mon, 1 Jan 1996 12:44:06 -0500 Reply-To: NashHead From: NashHead Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Acoustic Blues Comments: To: bit-listserv-blues-l@uunet.uu.net Kelly Joe Phelps. Lead Me On - Burnside label #BCD-0015-2 You might have to special order it...but it's worth the wait if you've been waiting decades to hear the real thing what's another week, right? This man is amazing! traditional and outstanding origional material..."one of these nights he'll sing you a song - make you weep and moan" ...fluid and flawless lap-style slide, picking bass, rhythm and melody so clean you'd think there were not one, but two guitars...and a sad smooth voice that will melt your heart and sooth your soul. M-E Baer ========================================================================= Date: Mon, 1 Jan 1996 12:35:00 PST Reply-To: Meridith Farnworth From: Meridith Farnworth Subject: Re: HALL OF FAME-INSTRUM-KEEP MSGS > - I'm DJ at a local radio program, and I'm searching for names of > *good* *exclusively instrumentals* blues bands.=A8Any sugerences? Ronnie Earl & The Broadcasters!! ========================================================================= Date: Mon, 1 Jan 1996 19:05:33 GMT Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Re: Christmas in New York Comments: To: bit-listserv-blues-l@uunet.uu.net "P.W. Fenton" wrote: >Another highlight was the single most incredibly delicious pastrami >on rye I have ever experienced. If you are ever in NYC for any >reason, DON'T BOTHER WITH ANYTHING ELSE. Go straight to Katz's Deli >at 205 Houston Street (1-800-4-HOTDOG) and buy ANY sandwich on their > ::::::wiping the drool off my keyboard::::::::::::: ========================================================================= Date: Mon, 1 Jan 1996 16:54:34 -0500 Reply-To: NashHead From: NashHead Organization: America Online, Inc. (1-800-827-6364) Subject: Re: *PLEASE* DO HELP ME!!!!! Comments: To: bit-listserv-blues-l@uunet.uu.net It is possible to receive the contents of this list as a "digest", a periodic collection of articles from the list traffic. After receiving your subscription confirmation, send the command SET BLUES-L DIGEST to LISTSERV@brownvm.brown.edu. Jose wrote: > Please, I'm desperately trying to subscribe Blues-L in a *DIGEST* basis, >but I don't know what could I do.I'm an Spanish DJ and I have a radio >program so I *NEED* to get connected to the list, but I can't get 50 >messages separately a day, I'd like to get just ONE message full of other >little ones, so PLEEEEEEEAAAAAASEEEEEEEEE, I NEEEEED YOUR >HEEEEEEEEELP!!!!! ========================================================================= Date: Mon, 1 Jan 1996 17:46:40 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Jan. 2 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ANDERSON, BOB (b) d. 1985-0102, CHICAGO, IL 50 CARTER, ANDREW 'SKIP' (dj) d. 1988-0102, FORT LAUDERDALE, FL -- CHURCHILL, CHICK (p/TEN YEARS AFTER) b. 1949-0102, FLINTSHIRE, UK DAVIS, RUTH (lead/THE DAVIS SISTERS) d. 1970-0102, PHILADELPHIA, PA 42 DELISA, LOUIS (owner:CLUB DELISA,CHICAGO) d. 1958-0102, ROCHESTER, MN 60 GARNER, ERROLL (p) d. 1977-0102, LOS ANGELES, CA 55 GOGA, JACK ALAN (songw/MOTOWN) b. 1944-0102, DETROIT, MI GREEN, BUD (songw) d. 1981-0102, YONKERS, NY 84 HEYWOOD, EDDIE JR. (p) d. 1989-0102, MIAMI BEACH, FL 73 JOHNSON, EDITH NORTH (p/OKEH REC) b. 1903-0102, ST. LOUIS, MO LACY, RUBIN REV. (g) b. 1901-0102, PELAHATCHIE, MS LYNCH, DAVID (of THE PLATTERS) d. 1981-0102, LONG BEACH, CA 51 PALMER, CLARENCE (lead/THE JIVE BOMBERS) b. 1919-0102, PAWTUCKET, RI PRYSOCK, ARTHUR (v/BUDDY JOHNSON) b. 1929-0102, GREENSBORO, NC SHEPPARD,SHELLY"CHICO"(of APOLLO THEATRE) d. 1984-0102, NEW YORK CITY, NY 55 SMOTHERS, ABE "LITTLE" (g) b. 1939-0102, TCHULA, MS SPECKLED RED [RUFUS G. PERRYMAN] d. 1973-0102, ST. LOUIS, MO 81 WASHINGTON, AARON GEORGE b. 1902-0102, WILLINGTON, SC WELLINGTON, VALERIE [VALERIE EILEEN HALL] d. 1993-0102, MAYWOOD, IL 33 WILLIAMS, J. MAYO "INK" (arr/prod) d. 1980-0102, CHICAGO, IL 85 ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 2 Jan 1996 02:17:41 GMT Reply-To: Troy Brackett <103172.2670@COMPUSERVE.COM> From: Troy Brackett <103172.2670@COMPUSERVE.COM> Organization: CompuServe, Inc. (1-800-689-0736) Subject: NEED ADDRESS HELP, PLEASE! Comments: To: bit-listserv-blues-l@uunet.uu.net I'm looking for mailing addresses for blues and jazz artists. If you have a good collection, please let me know via E-mail. If it's a good one, I will gladly trade you over 900 addresses for other music celebrities! Thanks, Troy -- If you are interested in obtaining mailing addresses for Over 1,500 TV and MOVIE STARS, or Over 900 MUSIC CELEBRITIES E-mail for more info. Use "LIST INFO" as Subject header. ========================================================================= Date: Tue, 2 Jan 1996 17:24:00 SIN Reply-To: leo samuel From: leo samuel Subject: ...no subject... Comments: To: BLUES-L@listserv.net USAGE leo@singtel.com begin 666 ATTRIBS.BND M0F5Y;VYD(%!A8VME9"!!='1R:6)U=&5S``8O,EAD*``````````````````` M```````````````````````````````````````````````````````````` M```````````````````````````````````````````````````````````` M`$QE;R!386UU96P````````````````````````````````````````````` M``````````````````````````````````!94$XV*VMA1'5K```````````` M````````0F5Y;VYD(%!R;W!R:65T87)Y($1A=&$:``````0`````````$``( M````````````````````````````365S From: Bruce Roberts Subject: Johnny Coupland Johnny Coupland was on the NBC Nightly News last night. They were doing a story on his artifical heart pump that he has while he's waiting for his transplant. He's looking good. They showed him on stage performing. His pump runs on a battery pack, which he has to change every six hours. It's good to see him doing well. Bruce Roberts Austin, TX ========================================================================= Date: Tue, 2 Jan 1996 14:11:10 GMT Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: Robert Johnson; Help me find him. Comments: To: "Fredrick P. Lackey" On Tue, 02 Jan 1996 00:32:30 -0500, Fredrick P. Lackey wrote: >The story is that of Robert Johnson. >Anyone who has information on this, be it fact or fiction, please send >it my way. Depending on what is sent to me, I will reward those who >send valuable information. Don't start me talkin'. I'll tell you everything I know ... Or you could just read Robert Palmer's "Deep Blues" and Steve LeVere's notes from "The Complete Recordings." That's all anybody knows. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Tue, 2 Jan 1996 09:36:34 -0800 Reply-To: steve.roberts@OCTEL.COM From: Steve Roberts Subject: Pigboy Who? Hey All - HNY and all that, fellow blues fans. I celebrated by dragging a large box of CDs-gone-cold (weird how they do that, huh?) to the local swapshop. As luck would have it, I walked out with a half a large box full of great stuff, mostly replacing LPs I bought (and probably damaged...) two decades ago. Always fun to see what's aged well and what hasn't. Anyhow, one of the discs I picked up is so good that I thought I better bring it to the List's attention: Check out the Butterfield Blues Band's "Resurrection of Pigboy Crabshaw." This 1989 recording is far and away the most fun I've had with my clothes on so far this year, and my favorite Butterfield & Co release to date. One thing bugs me, though. Who the hell was Pigboy Crabshaw? Mark N, (or anyone else who knows) PLEASE HELP! Thanx- S...who thinks it CAN be just the music, stupid, if that's all you want (how else do you explain Madonna?), but it's all a helluva lot more interesting if you look a little farther. ========================================================================= Date: Tue, 2 Jan 1996 10:38:15 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Talking during performances. I agree the club definitely should set the tone for how an audience should behave during a show. If you know up front that you're expected to be quiet while the show is on, then it's not a problem. The Old Vienna Kaffeehaus in Westboro, Mass. is set up this way. You are there to see a performance and are expected to respect your neighbors and the performer by piping down during the act. This is great for an acoustic show especially where all the nuances of vox and fingers-on-strings need to be heard. I have the problem in that we play bigger, louder clubs as a 4-piece electric band, and then in the middle of the night throw in a couple of miked dobro tunes that just don't cut the din and those nuances are lost. Without monitors, sometimes I can't even hear the guitar sitting in my own lap. I still like to do it though...love to show off. :) Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 2 Jan 1996 10:42:56 -0500 Reply-To: cmasenas@vnet.ibm.com From: "Charles J. Masenas" Organization: IBM Microelectronics Division, Burlington, VT. Subject: Re: Paul Rishell and Annie Raines Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199512210648.WAA26542@sierra.valleynet.com>, Stan Ruffo writes: > I just received a copy of Swear To Tell The Truth on Tone Cool Records. > Ronnie Earl and Annie Raines make guest appearances on this CD. And as > Ronnie Earl indicates in the liner notes, "playing with Paul is playing with > an embodiment of tradition-he is tradition". And Annie Raines flat gave me > goose bumps with her performance in track number 6, Every Night About This > Time. Paul Rishell is a blues veteran I admire. He is the man for fingerstyle blues. His songs are crafted to grab attention from a barroom audience. The cat can wail. His new CD was supposed to be out by Thanksgiving. I'm still waiting. -- ------- Regards, Charles J. Masenas ========================================================================= Date: Tue, 2 Jan 1996 15:59:12 GMT Reply-To: mrouan From: mrouan Organization: Stanford University Subject: Robert Cray: HEARNET Artist of the Month Comments: To: bit-listserv-blues-l@uunet.uu.net Robert Cray is the HEARNET Artist of the Month The giveaway is the new Cray CD "Some Rainy Morning" incl. Quicktime Movie of Cray! Check it out.. http://www.hearnet.com ========================================================================= Date: Tue, 2 Jan 1996 10:14:13 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Being social during performances I freaked the first time I played solo acoustic in front of people, everyone was talking. I almost walked off , because I felt no one was listeneing. I have since realized that LOTS of people go to clubs and see their friends and socalize some. That doesn't mean they aren't listening. I have found a way around it: The last couple of times I've played in front of people there have been a couple of tunes, where the crowd got very, very quite sort of like a classical guitarist playing. It's a really wierd feeling, but I fed off of it. I'm hesitant to credit my playing with grabbing their undivided attention, but that's what did it. So the talking no longer bothers me and when I'm able to get them very quiet, I really get off on it....I hardly ever play guitar anymore, though. I've got to get back to playing, I never thought I would go a week or so without playing. It has hurt my playing, really bad. LW ========================================================================= Date: Tue, 2 Jan 1996 08:27:57 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Jan. 3 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BAILEY, DEFORD JR. (hca) b. 1932-0103, NASHVILLE, TN BERRY, JOHN (of THE RAINBOWS) b. 1938-0103, ORANGEBURG, SC CAMPBELL, LUCIE E. (gospel songw) d. 1963-0103, NASHVILLE, TN 78 DUNCAN, AL (d/songw/CHESS REC) d. 1995-0103, LAS VEGAS, NV 67 GEORGE, CASSIETTA BAKER (of THE CARAVANS) d. 1995-0103, LOS ANGELES, CA 65 HOPKINS, JOEL (g/ARHOOLIE REC) b. 1904-0103, CENTERVILLE, TX JARVIS, CHARLES FELTON (prod/RCA) d. 1981-0103, NASHVILLE, TN 48 MCAULIFFE, LEON (steel g) b. 1917-0103, HOUSTON, TX MILBURN, AMOS [AMOS MILBURN JR.] d. 1980-0103, HOUSTON, TX 52 MINERVE, GEEZIL (asax/BUDDY JOHNSON) b. 1922-0103, HAVANA, CUBA OVERBEA, DANNY (g/CHESS REC) b. 1926-0103, PHILADELPHIA, PA ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 2 Jan 1996 11:25:00 EST Reply-To: edward c liu From: edward c liu Subject: S&T: Robert Lucas _Built For Comfort_ Howdy all, Happy New Year to one and all! January is Audioquest Month for NYCD Blues -- we will be posting one review of an Audioquest disc per week. Also, remember to check out the new home of NYCD Blues at the King Biscuit Time web site: New for '96: the Blues Scramble Game. Win FREE CDs!!!! -- Ed Edward C. Liu | "If nobody thinks for they self, edwick@cc.bellcore.com | Who thinks for everybody else? | -- Dr. John, "Lissen" The opinions in this message are mine and not Bellcore's. Really! *------------------------------cut heer------------------------------* ROBERT LUCAS / BUILT FOR COMFORT (AUDIOQUEST 1011) AUDIOQUEST P.O. BOX 3060 SAN CLEMENTE, CA 92674 TEL: 714-498-1977 FAX: 714-498-6223 BOOKING - BERKELEY GREEN MGT. 714-966-9042 Every so often, a musician comes along that leaves you slack-jawed. I'm not talking about the usual, "Wow these guys are good," kind of reaction. I'm talking about a real-live, mouth hanging open, staring-so-hard-its-rude kind of reaction. These kinds of musicians seem to be coming along less and less often these days, but Robert Lucas is gloriously, triumphantly, and most definitely one of them. You can hear ghosts whispering amongst themselves when he plays -- ghosts like Son House, Robert Johnson, Blind Willie Johnson, Elmore James, and Duane Allman. Robert has been hailed by blues talents as important as Willie Dixon and Robert Jr. Lockwood. He's equally at home with a full band as he is with just a beat-up old National steel. He's also equally at home in faster, uptempo rockers as he is with slower, grittier tracks. And in addition to being a terrific slide player, he's also an extremely gifted songwriter, contributing seven of this disc's twelve songs. Just make sure you have a friend along who can close your mouth for you when you're listening to the disc. Built For Comfort / Walking Blues / Ringing That Lonesome Bell / Just A Kid / Blues Man From LA / Hawaiian Boogie / My Home Is A Burning / Change, Change / Sleeping By Myself / I Miss You Baby / Talk To Me / Come On In My Kitchen NYCD Takes Built For Comfort: The tuba used for the bass line gives this Willie Dixon classic a wonderful Dixieland jazz feel. Robert's voice has just the right amount of rasp in it to make for some great blues vocals. Some nicely overdriven harp work is provided by Robert, while Steve F'dor bangs away on piano. Also, catch a load of Stephen Hodges' brush drum work. Immensely enjoyable and satisfying. Walking Blues: Robert takes up a National steel along with Kevin Doherty's 12-string to deliver a straight-ahead, no nonsense version of this Robert Johnson classic. The pounding, insistent bass work evokes Son House, and the solo that Robert takes is masterful. Again, the vocals are raspy and dirty and terrific. Ringing That Lonesome Bell: The first of the seven originals on this disc sounds like it could have been a cover of an old Mississippi Delta bluesman. Robert picks away furiously on this uptempo solo acoustic number. The fingerstyle guitar is flawless, the slide work is ethereal, and the tone he gets out of his National steel is to die for. Those who think that a white guy can't do this kind of blues will get severely educated with this track. Just A Kid: Another solo National steel blues, this one slower and grittier. The slide work and the vocals combined dig deep enough to hit water in the desert. He can hit these lonely, moaning slide notes that hit with palpable impact. Another great re-education track. Blues Man From LA: Another Lucas original where Robert returns to the full Dixieland-ish band from the first track for this uptempo track. In it, he pays tribute to his hometown of Los Angeles with some wonderful lyrics describing "John," the bluesman from LA. The electric slide work is electrifying, and the tuba is a real hoot. Grade A whiskey-and-good- time blues. Hawaiian Boogie: The band kicks into high gear for this uptempo Elmore James instrumental. The setup is minimal, with Robert's wicked-evil slide guitar backed by the boogie-barrelhouse piano of Steve F'dor. Words simply fail me, but I know Elmore must be proud as hell of Robert and the boys. My Home Is A Burning: Another Lucas original, this one singing the blues over the Rodney King riots in LA and their aftermath. The band provides a John Lee Hooker-ish mantra-riff in the background, while Robert and Steve trade off fill-in licks on guitar and piano. Robert also provides a dirty, Little Walter-ish harmonica interlude. A track that works on many different levels. Change, Change: The tempo picks up for this number where Robert provides slide licks over Kevin Doherty's 12-string rhythm. Another topical track, where Robert moans over "too much stress and strain these days." Some of it must have been relieved by Robert's cathartic slide work, though. Sleeping By Myself: Robert sings and blows harp over Steve F'dor's great piano backing. Robert's breathy vocals, wailing clean harp, and occasional heartbreaking moan are a perfect match for an original "my baby done me wrong" song. The sense of timing and use of vibrato in his vocal performances is superb -- on a par with Otis Rush. Destined for blues classic status. I Miss You Baby: A stunning and daring song, where Robert selectively double-tracks his falsetto vocals on top of his solo wood-body acoustic guitar. The combined effect is haunting, standing in stark contrast to any of the other tracks on this disc. The guitar work is tremendous. High notes plink away, with the occasional popped bass strings used for punctuation. Talk To Me: Robert busts out the electric again for a distorted, grungy, low-down-dirty, mean and nasty blues by Elmore James. It starts off quiet, with Robert picking some guitar notes that come out like growls. Eventually, the band kicks in with some fuel-injected, high-octane tough tough TOUGH backing over Robert's shouted vocals. You could barbecue ribs with the fire the band puts in this track. Come On In My Kitchen: The closing track is a slow, tension-filled rendition of Robert Johnson's classic done solo with a National steel. The moans Robert (Lucas) uses to lead into the song are mirrored perfectly on his guitar. You can hear the wind howling and the thunder beginning to roll in with this track and his vocals. A fine ending to a terrific album. Reviewed by Edward C. Liu Copyright 1996 NY CD Blues NY CD Blues at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! ========================================================================= Date: Tue, 2 Jan 1996 11:19:15 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Happy New Year! (No Blues Content...) Just wanted to wish everyone a Happy New Year! I've missed the interaction while I was set to NOMAIL for the holidays. Im back at work now, though, and came in to the news that our company president was fired. No big surprise, but the stress level is up a few notches again...what happens now?? Anyway, I hope everyone is happy and healthy and looking forward to a peaceful, successful, dreams-fulfilled sort of new year!! Shannon ========================================================================= Date: Tue, 2 Jan 1996 11:40:01 -0500 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: Pigboy Who? Comments: To: Steve Roberts In-Reply-To: <0e944ff0@corp.octel.com> On Tue, 2 Jan 1996, Steve Roberts wrote: > Check out the Butterfield Blues Band's "Resurrection of Pigboy > Crabshaw." This 1989 recording is far and away the most fun I've had > with my clothes on so far this year, and my favorite Butterfield & Co > release to date. > > One thing bugs me, though. Who the hell was Pigboy Crabshaw? Mark N, > (or anyone else who knows) PLEASE HELP! > "Pigboy Crabshaw" was an alias used by Elvin Bishop when he guest-starred on albums. Brenda Bogert Louisville KY ========================================================================= Date: Tue, 2 Jan 1996 12:14:37 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: James Montgomery alive & kickin' + another anecdote. Hello all. Good to be back on line for '96! Took my harp guy out on the 30th to the Plantation Club here in Wormtown to see the James Montgomery band. What a show for $5.oo!! I love this guy's style, as a performer, showman and bandleader, as well as terrific harp. It was great for Pat and me because basically they have the same set up as us playing in a club that we will soon be playing. That is, 4 man electric, harp, guitar, bass & drums, similar styles, similar equipment...and we were really interested in how they "managed" their sound so we could apply this to our band when we get there. Terrific show, btw, although they didn't play as much straight blues as I expected. Played a lot of funkified Chicago style stuff, some New Orleans style, some out & out Motown R&B. I really enjoyed the show, although Pat was lookin' for more straight blues. He is truly diehard. At the end of the show we introduced ourselves to JM and Pat complimented him on his harp playing, as Pat said "from one harp player to another", and JM says "oh yeah? you play?" and Pat gives him the spiel on our band, etc, and JM says "Oh man, you should've come backstage during the break and told us! You could have come up onstage and sat in!" Jeez! Hindsight, eh? In any case, he asked if we had our business cards or a flyer or something (of course we had both :) and he happile took them and folded them neatly in his pocket as he told us he frequently uses local bands to open up for him, he might give us a call. [heh-heh-heh] :) It always pays to make contacts, eh? He was parti- cularly interested because we are going to be playing that same club ourselves in the near future. Gotta like that. Bottom line, JM is back kickin ass, very tight and professional, great stage presence, and a nice guy to chat with. Go see him. NOW for more equipment update...remember a while back Pat fell into a freebie gift of a 1960 Gibson ES 125, which was supposed to include the guy's original amp? The amp has shown up. 1960 Ampeg "Jet" 30. Everything seems to be in great shape except a coupla blown tubes. It's in being re-tubed now. Come to find out, this is also considered to be a terrific little vintage amp and is among those coveted by those questing that "tone". So much so that Ampeg has recently re-issued it. Some people just know how to scrounge....... Riffin Rick (((( oo-) /- I been downhearted babe, ever since the day we met. F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 2 Jan 1996 17:28:27 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: NASHVILLE Comments: To: bit-listserv-blues-l@uunet.uu.net I'll be spending a few days in Nashville next week and need some ideas on blues and jazz hotspots to check out. I'm also on the lookout for a decent music store or sax shop. BBB - B.B. Bean bbbean@cris.com http://www.cris.com/~Bbbean - ========================================================================= Date: Tue, 2 Jan 1996 17:36:42 GMT Reply-To: Richard Cotenas From: Richard Cotenas Organization: California State University Sacramento Subject: Re: Sippie Wallace? Comments: To: bit-listserv-blues-l@uunet.uu.net LeaGil (leagil@AOL.COM) wrote: : I just got a GREAT CD by a classic blues singer named Sippe Wallace.It was : recorded in 1982 when she was about 83. Bonnie Raitt even makes a guest : appearance playing slide guitar and singing. I particularly like the song : "Woman Be Wise." She reminds me of Alberta Hunter and Bessie Smith : (Somewhat...). : Does anyone know anything about her? I know that she was one of the : 1920's blues "divas", but that is about it. : Lea Gilmore : Baltimore, MD She recorded with Otis Spann and the Jim Kweskin Jug Band sometime in the seventies, and this was released in 1983(?) as an LP by a company called Mountain Railroad Records, and just recently on CD by another company. -- Richard Cotenas Calif. State Univ., Sacramento ========================================================================= Date: Tue, 2 Jan 1996 12:50:22 -5 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Being social during performances Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU On 2 Jan 96, L W had this to say... > I freaked the first time I played solo acoustic in front of people, everyone > was talking. I almost walked off , because I felt no one was listeneing. I > have since realized that LOTS of people go to clubs and see their friends and > socalize some. That doesn't mean they aren't listening. > > I have found a way around it: The last couple of times I've played in front of > people there have been a couple of tunes, where the crowd got very, very quite > sort of like a classical guitarist playing. It's a really wierd feeling, but I > fed off of it. I'm hesitant to credit my playing with grabbing their undivided > attention, but that's what did it. So the talking no longer bothers me and when > I'm able to get them very quiet, I really get off on it....I hardly ever play > guitar anymore, though. I've got to get back to playing, I never thought I > would go a week or so without playing. It has hurt my playing, really bad. I was similarly disturbed by over a week's layoff due to my trip to NYC. Playing for New Year's Eve back in Tampa was rejuvinating. Happy New Year, and welcome back to the list. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 2 Jan 1996 13:21:28 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: New Years gigs and shows? Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com Happy "Blue" Year everyone. I hope you all had a good holiday and have a great 1996. Did anyone have any interesting gigs or go to any interesting shows? I played at First Night Annapolis this year. On New Year's Eve they fill Annapolis with performers at all kinds of venues, including on the streets and inside store window displays. I was playing in an acoustic duo in a store window. It was kind of like being a living mannequin! :) The interesting thing about it was we could barely see outside because of the internal lighting. It was like playing in front of a mirror. Also, the speakers were outside, so we couldn't hear our mix and we could barely hear the audience. But overall it was a lot of fun and it was the first completely acoustic gig I've done in a long time. -Steve ========================================================================= Date: Tue, 2 Jan 1996 12:26:39 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: Being social during performances Comments: To: L W If you play loud enough, they can't hear each other, so they have to stop talking! Seriously, though, I've seen really noisy, drunk crowds fall totally silent during Max's rendition of "House of the Rising Sun." It's absolutely spellbinding, and it's extremely gratifying for him. ______________________________ Reply Separator _________________________________ Subject: Being social during performances Author: L W at Internet Date: 1/2/96 10:14 AM I freaked the first time I played solo acoustic in front of people, everyone was talking. I almost walked off , because I felt no one was listeneing. I have since realized that LOTS of people go to clubs and see their friends and socalize some. That doesn't mean they aren't listening. I have found a way around it: The last couple of times I've played in front of people there have been a couple of tunes, where the crowd got very, very quite sort of like a classical guitarist playing. It's a really wierd feeling, but I fed off of it. I'm hesitant to credit my playing with grabbing their undivided attention, but that's what did it. So the talking no longer bothers me and when I'm able to get them very quiet, I really get off on it....I hardly ever play guitar anymore, though. I've got to get back to playing, I never thought I would go a week or so without playing. It has hurt my playing, really bad. LW ========================================================================= Date: Tue, 2 Jan 1996 12:36:45 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: Talking during performances. Comments: To: "" Hi Rick, we've found it works best to play the quieter stuff at the beginning of the show, that is if we really want to do that. If people are sticking around for an electric band, they probably don't wanna hear acoustic anyway. Too bad. I think musicians tend to forget that people in the audience are generally not musicians, they're there to party or dance or whatever, not to analyze the music inside and out the way WE do when we go to a show. ______________________________ Reply Separator _________________________________ Subject: Talking during performances. Author: "" at Internet Date: 1/2/96 10:38 AM I agree the club definitely should set the tone for how an audience should behave during a show. If you know up front that you're expected to be quiet while the show is on, then it's not a problem. The Old Vienna Kaffeehaus in Westboro, Mass. is set up this way. You are there to see a performance and are expected to respect your neighbors and the performer by piping down during the act. This is great for an acoustic show especially where all the nuances of vox and fingers-on-strings need to be heard. I have the problem in that we play bigger, louder clubs as a 4-piece electric band, and then in the middle of the night throw in a couple of miked dobro tunes that just don't cut the din and those nuances are lost. Without monitors, sometimes I can't even hear the guitar sitting in my own lap. I still like to do it though...love to show off. :) Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 2 Jan 1996 13:48:51 -0500 Reply-To: bob unger From: bob unger Subject: BluesBytes is completed! Well, folks, the 3rd blues-l compilation tape, BluesBytes, was completed over the holidays. We have 13 artists who contributed 22 songs and it all fit onto a 90 minute tape. As soon as it stop's snowing/slushing/raining and just being all around crappy here in NYC, I will be heading to the duplicator and having 100 copies made. ROb Hutten will be printing up the j-card inserts and hopefully I should have the tapes available too all who want them in the next week or two. My guesstimated cost will be between 4 and 5 bucks. This will cover the cost of the tape, the mailing envelope and the postage. I should be able to give you an exact price in the next few days. Now, I need to ask the guru's out there for some help before Rob print's up the j-cards....... Who is the writer of "I'm Going Upside Your Head" .... is it Mississippi Fred McDowell or Lighnin Hopkins Leo Aspiras group, Dave SHerman and the Nightcrawlers, cover Magic Sam's version of "Easy Baby" Anyone know who wrote that one? And, I believe there was some controversy around here a while ago, about who really wrote "Sweet Little Angel" Was it BB or not. So, if you want copy of this tape, after I post the exact cost (I aint making a dime...never planned too) all you have to do is, send me a check and your snail mail address and it'll be on the way. All the people who sent me a "Count Me In" message will be considered first with the remaining tapes mailed accordingly. BU bob@sun.bnkst.edu p.s. - If anybody want's a track listing of the tape, send me private e-mail. ========================================================================= Date: Tue, 2 Jan 1996 18:44:18 GMT Reply-To: JS From: JS Organization: The Wave Network Subject: FREDDIE KING - wanted Comments: To: bit-listserv-blues-l@uunet.uu.net Recently my entire collection of albums, singles, CD's and video of blues was stolen, including some private reel to reel tapes of Freddie King. If you are offered a large collection please E-Mail me and I will identify the items. In the meantime I am looking to replace my Freddie King stuff first. If you have any Freddie King albums, CD's, Videos, bootlegs or other memorabelia let me know what you want. Especially Live in Antibes Vol 1 & 2 Disqeu Blue & Black - French Live at Nancy Disqeu Blue & Black - French Live in Hamburg German radio broadcast Please E-Mail me Thanks - John Sellars ========================================================================= Date: Sun, 31 Dec 1995 22:38:18 GMT Reply-To: steve waggoner From: steve waggoner Organization: University of Chicago -- Academic Computing Services Subject: Blues Fan's Trip to Atlanta I'll be in Atlanta, GA from 1/18-21/96 and need advice on where to hear some Blues. I enjoy hard Blues; no "House of Blues" type performances please. Being from Chicago, I know sveral of the local acts travel to Atlanta on occasion to play at "Blind Willies". Any Atlanta Blues fans know who will be playing there these nights? Much thanks for any help. S.E.W. ========================================================================= Date: Tue, 2 Jan 1996 14:57:53 -0500 Reply-To: MK Sheffield From: MK Sheffield Subject: Re: Robert Johnson On Tue, 02 Jan 1996 00:32:30 -0500, Fredrick P. Lackey wrote: >The story is that of Robert Johnson. >Anyone who has information on this, be it fact or fiction, please send >it my way. Depending on what is sent to me, I will reward those who >send valuable information. (The first valuable info I think I could contribute to blues-l...thanks for the opportunity Fred!) Try to get the video, "The Search for Robert Johnson." It was shown on BRAVO awhile back, but you can probably order it from your favorite music store. Also contact chambers of commerce in the Mississippi Delta area. There are conflicting stories about gravesites and the crossroads in general...several Delta towns have their own version. Good luck. ========================================================================= Date: Tue, 2 Jan 1996 14:35:52 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Sippie Wallace Comments: To: LeaGil Hi Lea, I know "Woman Be Wise." That's a great song! Tell you what, Lea, learn it and we'll sing it at the DC Blues Society jam sometime! ========================================================================= Date: Tue, 2 Jan 1996 21:30:53 GMT Reply-To: Tim Wrobel From: Tim Wrobel Organization: Netcom Subject: Colletibles Comments: To: bit-listserv-blues-l@uunet.uu.net This is the first time I am attempting to post something so forgive me if I don't do it right. I am interested in getting my hands on some Blues collectibles, autographs, concert posters, cards, ticket stubs etc. I have NO idea how to get started. I already have some good autographs and brick-a-brack, photos, and the like, but I want more.... I NEED MORE!!! Any suggestions out there? T-bone chicago ========================================================================= Date: Tue, 2 Jan 1996 16:45:27 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Colletibles Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *This is the first time I am attempting to post something so forgive me if *I don't do it right. I am interested in getting my hands on some Blues *collectibles, autographs, concert posters, cards, ticket stubs etc. I *have NO idea how to get started. I already have some good autographs and *brick-a-brack, photos, and the like, but I want more.... I NEED MORE!!! *Any suggestions out there? I think I remember reading something about an Eric Clapton guitar string for sale a little while ago. :-) ========================================================================= Date: Tue, 2 Jan 1996 21:49:11 GMT Reply-To: "M.Peters" <76702.3352@COMPUSERVE.COM> From: "M.Peters" <76702.3352@COMPUSERVE.COM> Organization: Time Warner Subject: test test ========================================================================= Date: Tue, 2 Jan 1996 17:20:38 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: Colletibles Comments: To: Steve Levine **I am interested in getting my hands on some Blues **collectibles, autographs, concert posters, cards, ticket stubs etc. I **have NO idea how to get started. I already have some good autographs and **rick-a-brack, photos, and the like, but I want more.... I NEED MORE!!! **Any suggestions out there? *I think I remember reading something about an Eric Clapton guitar *string for sale a little while ago. :-) i'm selling my old fishnets $50 a pair. - Ruth, slide guitarist from hell ========================================================================= Date: Tue, 2 Jan 1996 14:17:25 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Article of interest to blues fans The January 1996 issue of the English magazine MOJO (available here in the States as an import) has an article of possible interest to those on this list. It is written by Greil Marcus, Cecil Brown and Nick Cave and is titled The Murder Mystery: Somewhere Sometime a Murder Took Place, The Real Story of Stagger Lee. It contains newspaper accounts of the original killing which inspired the song, and a discography of nearly fifty different recorded versions of the song as either Stagger Lee or Stack-O-Lee. Also of blues interest in the same issue: reviews of new releases by Paul Butterfield, SRV and James Harman, and the cover story asks fifty musicians to name their top 5 favorite releases of the year. John Lee Hooker is one of the 50 and his photo is on the cover along with several other musicians. Since this is not a "blues" magazine and since it is not readily available in the US I thought I would call it to the list's attention, since the article on Stagger Lee is well researched and very interesting. The magazine sells for $6.50 at a newsstand here in Hollywood, may vary slightly depending on where you are. Mary Katherine ========================================================================= Date: Tue, 2 Jan 1996 16:24:37 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Colletibles Comments: To: Tim Wrobel In-Reply-To: <4cc86d$d1j@ixnews8.ix.netcom.com> On Tue, 2 Jan 1996, Tim Wrobel wrote: > I am interested in getting my hands on some Blues > collectibles, autographs, concert posters, cards, ticket stubs etc. I > have NO idea how to get started. I already have some good autographs and > brick-a-brack, photos, and the like, but I want more.... I NEED MORE!!! > Any suggestions out there? There was some guy around here earlier wanting to sell Clapton's broken string. -Jeff (I think his 10 free hours expired...) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Tue, 2 Jan 1996 21:01:42 EST Reply-To: Jim Miller From: Jim Miller Subject: Blues/Culture Comments: To: BLUES-L One of the topics we have discussed over the years is the relevance of understanding Blues in terms of the context of the Black experience. Some on the list have basically said that "it's the music stupid , leave culture out of it" while others believe that any discussion of this music without relating it to the African-American experience is extremely shallow. If you observe different musical genres it is rather interesting to see how in some cases the music is interwined with a whole network of cutural beliefs and objects. In some cases the actual music is downplayed in reference to the cultural world that has formed around it. For example the punk movement (particularly in mid-70's Britain) obviously isn't just about the music. Fashion, attitude, political stance,slang,hairstyle and the attempt to eliminate the distance between performer and audience provide a context for this music. In fact ,unlike the blues, I really don't think the music could survive without at least some of this context. It seems to me that when a music first develops it not only comes from a certain cultural context but also generates one. I get a flavor of this when I read about and see pictures of early delta musicians or the Blues scene in Chicago in the 50's. Since the 60's the blues audience has shifted to a largely white audience and has even developed a more white oriented genre (blues rock) although many of the performers are still African American. The original cultural context is gone and the Blues-culture found within the African American community is dying away ( the Mississippi hill country being the most important exception) and what we have left basically is the music. The attempt by whites to sort of create a valid Blues culture for the most part has come off as rather silly. Just look at the advertisements in the Blues periodicals and see the stock shades and hats. I don't think we have a whole lot of room to criticize country acts for their incredibly stupid HAT act looks. Can a valid new Blues culture be created with the slang, fashion, attitude,song topics etc. that one finds in other music styles? Please don't get me wrong, I certainly don't mean that one has to be found, maybe the culture will always exist in the past while the music can be enjoyed without the context. It also may be true that blues will be valid as long as there is human misery but a general human condition is Not a culture. Russian peasants were extremely miserable in the 30's but they did not create the Blues. ========================================================================= Date: Tue, 2 Jan 1996 15:17:07 -0800 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Re: BluesBytes is completed! Comments: To: bit-listserv-blues-l@cs.washington.edu In-Reply-To: <199601021848.NAA24134@sun.bnkst.edu> Hi Bob; I'm still interested; in case I missed a step, are you going to post your snail address when the time comes? Adrian On Tue, 2 Jan 1996, bob unger wrote: > Well, folks, the 3rd blues-l compilation tape, BluesBytes, was completed over > the holidays. We have 13 artists who contributed 22 songs and it all fit > onto a 90 minute tape. As soon as it stop's snowing/slushing/raining and > just being all around crappy here in NYC, I will be heading to the duplicator > and having 100 copies made. ROb Hutten will be printing up the j-card inserts > and hopefully I should have the tapes available too all who want them in the > next week or two. My guesstimated cost will be between 4 and 5 bucks. This > will cover the cost of the tape, the mailing envelope and the postage. I > should be able to give you an exact price in the next few days. > > Now, I need to ask the guru's out there for some help before Rob print's > up the j-cards....... > > Who is the writer of "I'm Going Upside Your Head" .... is it Mississippi > Fred McDowell or Lighnin Hopkins > > Leo Aspiras group, Dave SHerman and the Nightcrawlers, cover Magic Sam's > version of "Easy Baby" Anyone know who wrote that one? > > And, I believe there was some controversy around here a while ago, about > who really wrote "Sweet Little Angel" Was it BB or not. > > > So, if you want copy of this tape, after I post the exact cost (I aint making > a dime...never planned too) all you have to do is, send me a check and your > snail mail address and it'll be on the way. All the people who sent me a > "Count Me In" message will be considered first with the remaining tapes > mailed accordingly. > > BU > bob@sun.bnkst.edu > > p.s. - If anybody want's a track listing of the tape, send me private e-mail. > > ========================================================================= Date: Tue, 2 Jan 1996 18:35:18 +0600 Reply-To: Rage 'n Records From: Rage 'n Records Subject: Midem Blues/96 Dear Blues List, I am headed to Canne, France for Midem the international music festival. I am interested in meeting other blues professionals in the areas of bookings/licenscing etcetera in the music business while in France. If you are attending please contact me and thank you for your time. ------------------------------------------------------------------ Vince Kershner President A&R vince@pobox.com IKON Records ikon@pobox.com 215 977 9777 CHECK OUT HOME PAGE http://pobox.com/rage/ ========================================================================= Date: Tue, 2 Jan 1996 18:41:23 -0500 Reply-To: Stephanie Manna From: Stephanie Manna Subject: James Peterson tour dates >----- Forwarded message (RFC822 mailer (LMail release 1.2a/1.8a) ) -----< >An error was detected while processing the enclosed message. A list of >the affected recipients follows. This list is in a special format that >allows software like LISTSERV to automatically take action on incorrect >addresses; you can safely ignore the numeric codes. > >--> Error description: >Error-For: LIST.SERVE@BROWNVM.BROWN.EDU >Alias: LIST.SERVE@BROWNVM.BITNET >Error-Code: 3 >Error-Text: No such local user. > >Error-End: One error reported. > >------------------------- Rejected message (34 lines) >------------------------- >Received: from mailout1.h1.usa.pipeline.com by BROWNVM.brown.edu >(IBM VM SMTP V2R2) with TCP; Tue, 02 Jan 96 18:33:01 EST >Received: from by mailout1.h1.usa.pipeline.com (8.6.9/2.1-PSINet/Pipeline) >id XAA28064; Tue, 2 Jan 1996 23:33:28 GMT >Received: by (5.0/8.6.9) id AA19403 for LIST.SERVE@BROWNVM.brown.edu; Tue, 2 >Jan 1996 18:33:10 -0500 >Date: Tue, 2 Jan 1996 18:33:10 -0500 >Message-Id: <9601022333.AA19403@> >To: >Subject: James Peterson Tour dates >From: bluemoon@usa.pipeline.com (Stephanie Manna) >X-Mailer: Pipeline USA v3.2.0 >content-length: 862 > >Here's James Peterson's upcoming tour dates: >Jan.11,The Cabstand,Tallahasse,Fl. >Jan.12,The Filling Station,Sheffield,Al. >Jan.13,The Kaffeklatch,Huntsville,Al. >Jan.14,Hueys,Memphis,Tn. >Jan.15,The Sandbar,Chatnaooga,Tn. >Jan.16,Tommys on Main,Cinncinatti,Oh. >Jan.17,OK Cafe,Marion,Oh. >Jan.18,Burbanks BBQ,Sharonville,Oh. >Jan.19,Old Bay Oyster,New Brunswich,N.J. >Jan.20, River St. Cafe, Plains,Pa. >Jan.24, Cafe 210, State College,Pa. >Jan.25, Top of the Rock,Reading,Pa. >Jan.26,27 Warm Daddys, Philadelphia,Pa. >Jan.29 BJ's on the Water,Ocean City,Md. >Jan.30 Crossroads,Savannah,Ga. > >Any writers or DJs interested in an interview, please email me. >Check out James Peterson's cover and interview with the King Bisquit Times >Magazine written by Don Wilcox. Look in Living Blues magazine January >issue for interview by Brett Bonner and photo spread. ========================================================================= Date: Tue, 2 Jan 1996 18:50:09 -0500 Reply-To: "Daryl F. Bernard" From: "Daryl F. Bernard" Subject: Re: Pigboy Who? Comments: To: Steve Roberts In-Reply-To: <0e944ff0@corp.octel.com> > > Check out the Butterfield Blues Band's "Resurrection of Pigboy > Crabshaw." This 1989 recording is far and away the most fun I've had > with my clothes on so far this year, and my favorite Butterfield & Co > release to date. > I have this release as well, and it is one of my favorites. However, I'm confused about one thing: the release date. The disc says "1989 Elektra/Asylum" but I was under the impression is was mid-60s or so release. Am I way off? It seems that sometimes, when a label re-releases a record originally put out on vinyl, they don't put the original rlease date but the re-release date. This is confusing to me, and frustrating - I want to know when it was ORIGINALLY released. Elektra /Asylum did the same thing with the Doors first (released in '67 but the disc says 1988), _Strange Days_ ('67 vs. 1985). But with _Morrison Hotel_, _Waiting for the Sun_, and _LA Woman_, they put the original release dates. Too make matters worse, on _The Soft Parade_ they note the year as 1975, which was ~6 years after it's actual release, but a good ten years or so BEFORE CDs. Go figure. So as not to think Elektra/Asylum cornered the market on this confusing habit, Columbia/CBS did the same thing with Janis Joplin's _I Got Dem Ol Kozmic Blues Again Mama_ released in '69, but noted as 1986 on the disc. Can someone in the know please explain to me why rec. companies do this? Daryl ========================================================================= Date: Tue, 2 Jan 1996 18:58:05 -0500 Reply-To: Yankvideo@AOL.COM From: Stephen Yankee Subject: Looking for Bryan Lee in N.O. I'm headed down to New Orleans for a conference week after next, and I understand my old pal Bryan Lee (white/guitar player/blind) gigs at House of Blues occasionally. Anyone know where I can get hold of him? He & I used to play together aeons ago in the Midwest and I haven't seen him for about 20 years. Appreciate the help if you can give it... Steve ========================================================================= Date: Tue, 2 Jan 1996 16:11:32 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Blues/Culture Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Jim Miller said: > One of the topics we have discussed over the years is the relevance of >understanding Blues in terms of the context of the Black experience. Some on >the >list have basically said that "it's the music stupid , leave culture out of it" >while others believe that any discussion of this music without relating it to >the African-American experience is extremely shallow. edit edit > Since the 60's the blues audience has shifted to a largely white audience >and >has even developed a more white oriented genre (blues rock) although many of >the >performers are still African American. The original cultural context is gone >and >the Blues-culture found within the African American community is dying away ( >the Mississippi hill country being the most important exception) and what we >have left basically is the music. I disagree with this. The culture lives! The cultural context is both implicit and explicit in the music itself. It is there in the history, it is there in the lyrics, it is there in the subject material, it is there in the rhythm and syncopation, it is there in the melody and harmony. African influences, african-American influences, and white inflences and structure. Just because Palestrina or Gabrieli dies, and hundreds of years pass, and atheists often sing their music, does not mean that they did not write church music. They DID, and if you expect to understand them, you must understand the reasons they wrote what they did, and the cultural context it appeared in. You may enjoy the music without understanding this, but if you expect to get inside the music, to be great at it, to really feel it, you MUST understand its background, all of it.... African-American culture cannot be stripped from the music, not matter how many whites play it. It is still an expression of their culture, and their experience in this country. For whites to appropriate it as their own "scene" while pretending that the history and roots of the music are irrelevant is so bogus, unfair, and dishonest it hardly is worth discussing. >The attempt by whites to sort of create a >valid Blues culture for the most part has come off as rather silly. Just look >at >the advertisements in the Blues periodicals and see the stock shades and hats. >I don't think we have a whole lot of room to criticize country acts for their >incredibly stupid HAT act looks. Once again, its whites trying to be hip, instead of having the guts to get inside the music, and its only authentic culture. > Can a valid new Blues culture be created with the slang, fashion, >attitude,song topics etc. that one finds in other music styles? No. But we can show the roots of blues culture, the authentic roots to the world because they are still valid. What the founders of this style said, what they desired is just as valid today as it was in 1935. That's why the music is such a perennial. >Please don't get >me wrong, I certainly don't mean that one has to be found, maybe the culture >will always exist in the past *All* trends are rooted and founded in the past. Everything builds on something else, and the emergence of genuinely "new" styles is extremely rare. To say that the blues culture only exists in the past, is to deny the wisdom and insight that has kept the music alive for all these years. Remember, Jesus, Lincoln, Buddy Holly, and Charlie Parker all existed in the past, and millions find them much smarter and more relevant *today* than the Bhagwan, Clinton, Green Day, and White Zombie. Does an art form (or belief system) die with the culture and the generation that produced it? You'll have a hard time convincing many people of that. > while the music can be enjoyed without the >context. It also may be true that blues will be valid as long as there is human >misery but a general human condition is Not a culture. Russian peasants were >extremely miserable in the 30's but they did not create the Blues. Once again you are assuming that the culture exists only in time, and dies with the founders. I see it as something we carry with us, and pass on to our children. You can go hear Palestrina and enjoy it, even if you're an atheist. But, you'll never enjoy it like a Christian..... WE maintain the culture of the Blues... WE point people back to the culture, WE welcome young blacks back to it (yes I see this, out here st least) WE remind the world that this art form is here, and what it means. The idea that one can "just talk about the music" without its culture, is the most dangerous threat to the Blues yet... To say >The original cultural context is gone and >the Blues-culture found within the African American community is dying away ( >the Mississippi hill country being the most important exception) and what we >have left basically is the music. is to abdicate *our* role as part of that living culture. I will not allow this to happen, and I hope you won't either. Copland is still relevant because he was so good, and spoke to humans on so many levels. So it is with the blues. Stevie Ray said he owed everything to the founders, he pointed people to them, not to himself, he reminded people of where the music came from. It is that generosity of spirit that made him a bluesman, not his damn guitar playing... Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Wed, 3 Jan 1996 11:46:45 GMT Reply-To: Ben Rheinberger From: Ben Rheinberger Subject: Re: Help an Australian/Blues changed my life A while ago I wrote: > Please help out an Australian Blues fanatic! The first Blues song I ever > heard changed my life but I have never been able to find it again. I am > hoping that somebody knows who it is by, what it is called and how I can > get hold of it. It is in a style similar to Big Bill Broonzy (it may even > be him) and it goes something like this: > > I gotta find me a big fat woman yeah > She's gotta weigh 355 pounds > I gotta find me a big fat woman yeah > She's gotta weigh 355 pounds > > She's gotta have a head like a pumpkin > Knees like squash > All mushy 'round the middle > and Oh my Gosh! > > I gotta find me a big fat woman yeah > She's gotta weigh 355 pounds... > > I know it sounds wierd to some poeple that a song like this can change your > life, but I know you will understand! If you cannot help me I would > appreciate another link to somebody who could. >Thanks! Then Peter Gallager wrote: >Hi Ben, >sorry I can't help you out with the song - I simply don't know. >However, I'm fascinated and curious as to how the song changed your life! >- did you sing it to some BBW (Big Beautiful Woman) to win her over? :-) >I hope you don't think I'm prying - I'm just curious... >Good luck in your search! (Sounds like a fun song!) >regards, >PeterG So now I am writing: All through school I thought I was very wierd. I never liked dances or parties, never felt comfortable. I did not know why I could never seem to get into parties like other people did. I think it damaged my self esteem and made it harder to get to know the opposite sex (in short - gave me the Blues!). Then one day I was listening to the radio in the car with my brother to what I later discovered was a Blues show. The music moved me so much it was incredible - like nothing I had ever heard before (I was about 17 years old). From there my brother and myself began to get into the Blues. I realised that there was nothing wrong with ME but with the music I had been subjected to all my life. I also took up the guitar and play the blues a bit too. Basically, I am a much happier and well adjusted person because of the Blues. What about other people's first experience of the Blues? It would be great to know some... See Ya _________________________________________ Ben Rheinberger Recreation Research Officer Tasmanian Parks and Wildlife Service 134 Macquarie St HOBART Tas 7000 Australia Ph AUS (002) 33 6047 _________________________________________ ========================================================================= Date: Wed, 3 Jan 1996 00:50:48 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: BluesBytes is completed! Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199601021848.NAA24134@sun.bnkst.edu> bob unger writes: >And, I believe there was some controversy around here a while ago, about >who really wrote "Sweet Little Angel" Was it BB or not. I think the answer on this one was Tampa Red - before the discussion I had always thought it was Robert Nighthawk but it definitely wasn't BB. Art Schuna ========================================================================= Date: Tue, 2 Jan 1996 19:56:57 -0500 Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Top Cat Records Comments: To: bit-listserv-blues-l@uunet.uu.net I read in the latest Goldmine that Black Top purchased the Top Cat Record masters. Does that mean Top Cat's out of business? That would be too bad if it's true. They were turning out some really nice Texas blues releases. I tried buying the Freddie King live CD from several sources without any luck. The article mentioned that Black Top will be releasing some live Freddie from the Top Cat masters in the next year or so. Hope they get to it soon! Art Schuna ========================================================================= Date: Tue, 2 Jan 1996 18:57:37 -0700 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: Pigboy Who? Comments: To: Steve Roberts In-Reply-To: <0e944ff0@corp.octel.com> I agree with your appreciation for The Butterfield Blues Band's "The Resurrection of Pigboy Crabshaw". It should be noted, however, that the CD was released in 1989. The lp came out in the late 60's. It was the first release after horns were added and after Michael Bloomfield left the band. Their first two recordings, "The Paul Butterfield Blues Band" and "East/West" are also now out on CD. If you want a hot, live release of both bands, Winner Records "Strawberry Jam" should please you. Released last year, it was culled from some live dates and miraculously brought to life by Mark Naftalin, the keyboardist. It will knock your socks off. Jay Watterworth CU Boulder On Tue, 2 Jan 1996, Steve Roberts wrote: > Hey All - > > HNY and all that, fellow blues fans. > > I celebrated by dragging a large box of CDs-gone-cold (weird how they > do that, huh?) to the local swapshop. As luck would have it, I walked > out with a half a large box full of great stuff, mostly replacing LPs > I bought (and probably damaged...) two decades ago. Always fun to see > what's aged well and what hasn't. > > Anyhow, one of the discs I picked up is so good that I thought I > better bring it to the List's attention: > > Check out the Butterfield Blues Band's "Resurrection of Pigboy > Crabshaw." This 1989 recording is far and away the most fun I've had > with my clothes on so far this year, and my favorite Butterfield & Co > release to date. > > One thing bugs me, though. Who the hell was Pigboy Crabshaw? Mark N, > (or anyone else who knows) PLEASE HELP! > > Thanx- > > S...who thinks it CAN be just the music, stupid, if that's all you > want (how else do you explain Madonna?), but it's all a helluva lot > more interesting if you look a little farther. > ========================================================================= Date: Tue, 2 Jan 1996 19:02:48 -0700 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: Colletibles Comments: To: Tim Wrobel In-Reply-To: <4cc86d$d1j@ixnews8.ix.netcom.com> You wanna nice broken guitar string that once knew EC's uncle? Stick around. Jay Watterworth CU Boulder On Tue, 2 Jan 1996, Tim Wrobel wrote: > This is the first time I am attempting to post something so forgive me if > I don't do it right. I am interested in getting my hands on some Blues > collectibles, autographs, concert posters, cards, ticket stubs etc. I > have NO idea how to get started. I already have some good autographs and > brick-a-brack, photos, and the like, but I want more.... I NEED MORE!!! > Any suggestions out there? > > T-bone > chicago > ========================================================================= Date: Wed, 3 Jan 1996 19:51:02 0800 Reply-To: "David W. Johnson" From: "David W. Johnson" Organization: Johnson Communications Subject: (no subject) Hi. I am researching an article on Booker T. White, whom I interviewed in the mid 1970s, shortly before his death. Does anyone have any personal contact with White she or he would like to share with a researcher/writer. If so, please contact me at johnscom@crocker.com Many thanks. Dave Johnson ========================================================================= Date: Tue, 2 Jan 1996 22:17:18 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Jinx takes the blame . . . I have been exchanging messages with Bob Unger about the coming BluesBytes, that eagerly anticipating musical project that will answer the question, "Does staring at a screen mean you can't play the blues?" Bob had suggested a price of four or five dollars but I told him that I feel that this is a great opportunity to come together as a musical community and raise some bucks for a worthy cause. So I told him that I feel that $10.00 was not out of line considering that it is a limited quantity of high quality music. (I figure that Cathi Norton is probably worth nine bucks all by herself.) So Jinx takes the blame for advising Bob that Blues-L members will forgive his initial pricing and agree to $10.00 with ALL of the profits being set aside for a specific charity to be determined later. Dick Waterman ========================================================================= Date: Tue, 2 Jan 1996 19:25:00 PST Reply-To: Gary Joneson From: Gary Joneson Subject: Re: Pigboy Who? For those that may be interested Mark Naftalins Winner Home page is at: http://www.bluespower.com/ >If you want a hot, live release of both bands, Winner Records "Strawberry >Jam" should please you. Released last year, it was culled from some live >dates and miraculously brought to life by Mark Naftalin, the Gary BluesWEB http://www.island.net/~blues/ ========================================================================= Date: Tue, 2 Jan 1996 23:33:36 -0500 Reply-To: "Daryl F. Bernard" From: "Daryl F. Bernard" Subject: Re: Jinx takes the blame . . . Comments: To: Dick Waterman In-Reply-To: <960102221715_30192431@emout04.mail.aol.com> On Tue, 2 Jan 1996, Dick Waterman wrote: > Bob had suggested a price of four or five dollars but I told him that I feel > that this is a great opportunity to come together as a musical community and > raise some bucks for a worthy cause. So I told him that I feel that $10.00 > was not out of line considering that it is a limited quantity of high quality > music. > > Dick Waterman > I for one would be plenty willing to pay $10 for such a project, providing the charity was a blues-related one. Any suggestions? Daryl ========================================================================= Date: Wed, 3 Jan 1996 00:12:38 -0500 Reply-To: robert barclay From: robert barclay Subject: Re: BluesBytes is completed! >In article <199601021848.NAA24134@sun.bnkst.edu> bob unger writes: > >>And, I believe there was some controversy around here a while ago, about >>who really wrote "Sweet Little Angel" Was it BB or not. > >I think the answer on this one was Tampa Red - before the discussion I had >always thought it was Robert Nighthawk but it definitely wasn't BB. > >Art Schu > My info says the above was by Tampa Red and originally called "Black Angel Blues". rb. ========================================================================= Date: Tue, 2 Jan 1996 21:38:27 -0800 Reply-To: Rob Johnston From: Rob Johnston Subject: please help.... Hi all, I have been an avid reader of the blues list for some time now and its been great...... but now its time to go and i can't find the door! So if this can do it, please unsubscribe me from this list.( a simple request, mon captain) And if this doesn't do it could someone out there drop me a line with the listserv address with an explanation on how to unsubscribe. tia. robj@direct.ca ========================================================================= Date: Tue, 2 Jan 1996 22:31:47 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Blues/Culture Don said: >I disagree with this. The culture lives! The cultural context is both >implicit and explicit in the music itself. It is there in the history, it >is there in the lyrics, it is there in the subject material, it is there in >the rhythm and syncopation, it is there in the melody and harmony. African >influences, african-American influences, and white inflences and structure. > > >Just because Palestrina or Gabrieli dies, and hundreds of years pass, and >atheists often sing their music, does not mean that they did not write >church music. They DID, and if you expect to understand them, you must >understand the reasons they wrote what they did, and the cultural context >it appeared in. You may enjoy the music without understanding this, but >if you expect to get inside the music, to be great at it, to really feel >it, you MUST understand its background, all of it.... > >African-American culture cannot be stripped from the music, not matter how >many whites play it. It is still an expression of their culture, and >their experience in this country. For whites to appropriate it as their >own "scene" while pretending that the history and roots of the music are >irrelevant is so bogus, unfair, and dishonest it hardly is worth >discussing. This reflects the ongoing "discussion" I'm having with my friend (yes, the one I was on about late last year) about whether you need to know and learn what Muddy Waters etc. all played. I say you have to be a competent blues player. There is no choice. She says why should you when other people have done it for you? I said that's not the point. ALL the great blues players have had a damn good knowledge of the Blues. They may have settled on a few particular players as primary influences but listened to all the blues the could get. They knew style inside out. . edit a bit. >But we can show the roots of blues culture, the authentic roots to the >world because they are still valid. What the founders of this style said, >what they desired is just as valid today as it was in 1935. That's why >the music is such a perennial. To me, the blues is as my signature says. It is rooted in the relationships between a men and and women. I think everyone can relate to this. All of my favourite blues songs reflect that. When I get the blues it is almost always over a woman. A lot of people think that the blues is a sad, depressing music. I disagree. The blues is about cartharthis (sp?). Getting out what ails you and having a good time doing it. When I was down about a woman the other night, Lefty Dizz sure cured me. The blues has touched upon many other topics as well. I enjoy these songs too. But if I was too choose a song list for a blues cover band there would be an underlying theme. There are also songs that I wouldn't cover because I havn't experience the emotions that underly the song. I could never sing "Mannish Boy". It was amusing to hear the white blues bands of the sixties cover but they had never lived it. When Muddy sings it, you KNOW he's been there and done it. But when Son House sings "but if you ever get lonesome, think of me sometime, because when I think of you I can't keep from crying" it parallels certain times in my life. edit a whole bit more >To say > >>The original cultural context is gone and >>the Blues-culture found within the African American community is dying away ( >>the Mississippi hill country being the most important exception) and what we >>have left basically is the music. > >is to abdicate *our* role as part of that living culture. I will not >allow this to happen, and I hope you won't either. > >Copland is still relevant because he was so good, and spoke to humans on so >many levels. So it is with the blues. > >Stevie Ray said he owed everything to the founders, he pointed people to >them, not to himself, he reminded people of where the music came from. It >is that generosity of spirit that made him a bluesman, not his damn guitar >playing... Which is why I people who listen to SRV but never really hear his message aggravate me so. You have to go back. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Wed, 3 Jan 1996 02:07:39 -0500 Reply-To: Frank Uhle From: Frank Uhle Subject: Johnny Copeland on CNN In-Reply-To: <199601020505.AAA01617@listserv.brown.edu> Just saw a 3 minute or so segment on CNN Headline News about Johnny Copeland's needing a heart transplant. It showed him playing live at a B.L.U.E.S. club, walking around the hospital, etc. It says he still plays out 3 or 4 nights a month. I missed the very beginning, so it was unclear how long he is being given to live before this situation becomes desperate. I sure hope he has the good fortune of David Crosby, who seemed to get a liver transplant soon after his plight became known via the media. Unfortunately, you just can't go around soliciting donors for a heart... (or a liver, for that matter). ========================================================================= Date: Wed, 3 Jan 1996 07:53:13 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Radar Labs 23 Subject: Red River Radio Comments: To: bit-listserv-blues-l@uunet.uu.net The Red River Radio Network (KDAQ - Shreveport, La.; KLSA - Alexandria, La.; KBSA - El Dorado, Ar.; KLDN - Lufkin, Tx.) is one of Louisiana's largest public radio networks. An NPR member network, we're on the web at http://www.rlabs.com/kdaq/ We play the best in classical music, blues, jazz, new age, big band, even some klezmer! And we carry lots of great NPR shows like Car Talk and Performance Today and A Prairie Home Companion. Our web site has beaucoup information about us, and a HUGE list of links to music and broadcasting sites on the web, plus some lagniappe (that's Louisiana talk for a little something extra). I thank you for your time. Kevan Smith cuthulu@prysm.net follow ups set for my mailbox ========================================================================= Date: Wed, 3 Jan 1996 08:47:53 GMT Reply-To: melodie@ibm.net From: melodie@IBM.NET Subject: MIDEM / Black Music Comments: To: bit-listserv-blues-l@uunet.uu.net We are getting ready, travelling to Cannes, France to take part of this years MIDEM again. Being specialiced in the distribution of "Black Music" in Switzerland, we are looking forward to meeting record label executives regarding the distribution of their music in Switzerland. Please forward all mail to: MELODIE@IBM.NET Music Center Z rich ========================================================================= Date: Wed, 3 Jan 1996 05:41:54 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Looking for Bryan Lee in N.O. Comments: To: Yankvideo@AOL.COM On 2 Jan 96, Stephen Yankee had this to say: > I'm headed down to New Orleans for a conference week after next, and I > understand my old pal Bryan Lee (white/guitar player/blind) gigs at House of > Blues occasionally. Anyone know where I can get hold of him? He & I used to > play together aeons ago in the Midwest and I haven't seen him for about 20 > years. Try the Old Absinthe House Bar on Bourbon St. He plays there on a regular basis. Sort of the "house band" for several years running. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Wed, 3 Jan 1996 11:08:41 +0100 Reply-To: Jan Baert From: Jan Baert Subject: Wishes Hello, blues lovers all over the world I am a 38 year old blues-lover from Belgium and i am new on this list. I play the guitar for a long period and i am trying to play some blues and jazz for a couple of years now. I hope to meet a lot of people on this list and to learn a lot. I wish you all a very happy bluesy newyear ! Jan Baert janbaert@glo.be ========================================================================= Date: Wed, 3 Jan 1996 09:41:15 GMT Reply-To: tdevit3@NEWS-S01.NY.US.IBM.NET From: tdevit3@NEWS-S01.NY.US.IBM.NET Subject: Re: Johnny Coupland Comments: To: bit-listserv-blues-l@uunet.uu.net Excellent Johnny C. CD Jungle Swing out on Verve/Gitanes..recorded exactly(!) one year ago in NYC ========================================================================= Date: Wed, 3 Jan 1996 02:15:07 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Subject: Re: Top Cat Records I have been trying to get in touch with Top Cat Records to see if I = could get service for "Blues On Tap". I found an email address that I = know worked but after several attempts with no response I gave up for = the time being. Probably too late now, guess I'll wait with you for = some Freddy... Stan ---------- From: Art Schuna[SMTP:aschuna@VMS2.MACC.WISC.EDU] Sent: Tuesday, January 02, 1996 4:56 PM To: Multiple recipients of list BLUES-L Subject: Top Cat Records I read in the latest Goldmine that Black Top purchased the Top Cat = Record masters. Does that mean Top Cat's out of business? That would be too = bad if it's true. They were turning out some really nice Texas blues = releases. I tried buying the Freddie King live CD from several sources without any luck. The article mentioned that Black Top will be releasing some live Freddie from the Top Cat masters in the next year or so. Hope they get = to it soon! Art Schuna ========================================================================= Date: Wed, 3 Jan 1996 12:38:49 +0200 Reply-To: T P Uschanov From: T P Uschanov Subject: Re: Colletibles Comments: To: Tim Wrobel In-Reply-To: <4cc86d$d1j@ixnews8.ix.netcom.com> On Tue, 2 Jan 1996, Tim Wrobel wrote: > This is the first time I am attempting to post something so forgive me if > I don't do it right. I am interested in getting my hands on some Blues > collectibles, autographs, concert posters, cards, ticket stubs etc. I > have NO idea how to get started. I already have some good autographs and > brick-a-brack, photos, and the like, but I want more.... I NEED MORE!!! > Any suggestions out there? Not to mention Eric Clapton guitar strings (tee hee hee), there is my _Record_ Collecting Resources WWW page that might be of use. At http://www.helsinki.fi/~tuschano/records.html. T P Uschanov (Mr), University of Helsinki, Finland, European Union. tuschano@cc.helsinki.fi ---- http://www.helsinki.fi/~tuschano/ "Property is theft." (Pierre-Joseph Proudhon) ========================================================================= Date: Wed, 3 Jan 1996 07:28:09 -0500 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: Pigboy Who? Comments: To: "Daryl F. Bernard" In-Reply-To: On Tue, 2 Jan 1996, Daryl F. Bernard wrote: > > > > Check out the Butterfield Blues Band's "Resurrection of Pigboy > > Crabshaw." This 1989 recording is far and away the most fun I've had > > with my clothes on so far this year, and my favorite Butterfield & Co > > release to date. > > > > I have this release as well, and it is one of my favorites. However, I'm > confused about one thing: the release date. The disc says "1989 > Elektra/Asylum" but I was under the impression is was mid-60s or so > release. Am I way off? It seems that sometimes, when a label re-releases > a record originally put out on vinyl, they don't put the original rlease > date but the re-release date. This is confusing to me, and frustrating - > I want to know when it was ORIGINALLY released. "The Resurrection of Pigboy Crabshaw" was originally issued on Elektra in 1968.** Brenda Bogert Louisville KY ========================================================================= Date: Wed, 3 Jan 1996 12:44:16 GMT Reply-To: "P.W. Fenton" From: "P.W. Fenton" Subject: Son House, Skip James, John Hurt In rec.music.bluenote.blues, Haniel Peterson wrote: >I just received a copy of a picture of House/James/Hurt that I ordered >by calling 1-800-567-4229. It is a simply fantatsic photo, well worth >the $35.00 I spent. I hope Mr. Waterman decides to publish his collection >of photos! I am in NO WAY connected with the Photograhy Shop in >Mississippi or Mr. Waterman. I am just a 2nd grade teacher in Kansas who >has loved the blues since I heard Mississippi John Hurt when I was 12 and >begged my father to buy me a Guild F-30 guitar so I could learn to finger >pick just like John. (My father did and so did I.) >If you have the spare change and want those three grinning beautiful >faces on your wall take my advice and place your order! >Happy New Year, >Nile Peterson >---------- >Haniel Peterson Email:pete6700@spacelink.msfc.nasa.gov I am forwarding this post to the list not because of any association with the Photography Shop or Dick Waterman, but because I owe it to all the widows after my unfortunate remarks about "gif" files that may have cost them millions of dollars. ;^) P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 3 Jan 1996 08:50:35 -0500 Reply-To: USBLUE5@AOL.COM From: "Gordon, Rich" Subject: Re: James Peterson tour dates Comments: To: bluemoon@usa.pipeline.com Don't miss James Peterson when he plays your area. He was in Rockford, IL recently and "smoked". If you looking for a good time, James is the man to see. IMHO. Rich Gordon WXRX 104.9 FM Rockford, IL ========================================================================= Date: Wed, 3 Jan 1996 09:09:12 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: The Blue Highway Screen Saver I posted this just before Christmas, so for all of you who missed it (and for those who didn't, sorry): --------------------------------- I've made available for downloading a shareware screen saver (for Windows and Windows 95) called SlideShow 4.2. It displays images off your hard drive and comes with a lot of neat features. I've also zipped up 54 choice and original jpegs from my trip to New Orleans and the Delta last August. (Most of these you may have seen on The Delta Log, but 20 of them are new.) You'll need to register the screen saver with CMB Software ($14), but for every registration that comes from The Blue Highway, I get $2, which I'll donate to the Delta Blues Museum in Clarksdale. You can read all the details in a new area of The Blue Highway called "The Gutbucket": http://www.vivanet.com/~blues/gutbuck.html Enjoy. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Wed, 3 Jan 1996 09:34:31 -0500 Reply-To: Stephanie Manna From: Stephanie Manna Subject: James Peterson's Homepage I should have mentioned James Peterson has a homepage when I posted his itinerary. He is listed under the Malaco/Waldoxy artists at:http://MISnet.com:80/malaco/blues/jpeterson ========================================================================= Date: Wed, 3 Jan 1996 09:30:43 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Jook Joint Saturday Night Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I recently got a flyer in the mail for a DC area blues event. Here it is: The Bluebird Blues Festival Presents Jook Joint Saturday Night February 10, 1995 Largo Student Center, Prince George's Community College $18 Performances by Warner Williams and The Hardway Connection Buffet includes: fried chicken, blackened catfish, barbecued ribs, collard greens, cornbread, apple and peach cobbler and lemonade. Tickets go on sale Jan. 8, 1996. Call 301-322-0853 for reservations. Wear your dancin' shoes! I'm not affiliated with PG Community College or The Bluebird Blues Festival, I'm just on their mailing list and enjoy their events. -Steve ========================================================================= Date: Wed, 3 Jan 1996 08:40:20 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Stagger Lee > From: Mary Katherine Aldin >... The Real Story of Stagger Lee. It contains newspaper accounts > of the original killing which inspired the song, and a discography of > nearly fifty different recorded versions of the song as either Stagger > Lee or Stack-O-Lee. They shoulda asked us about this - a while back Tom Morgan collected and posted a list of about 60 recorded versions of this song. 8-) EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Wed, 3 Jan 1996 10:00:35 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Fishnets on the WWW The D.C. Blues Society has created a web page for my Top Ten Pet Peeves. The URL is http://intelus.com/dcblues/mrsmax.html. For those of you who think I'm a figment of cyberspace, there is a hot link to a .gif file of me and my fishnets from my pet peeve page. - Ruth ========================================================================= Date: Wed, 3 Jan 1996 09:59:00 EST Reply-To: edward c liu From: edward c liu Subject: Best Shows of '95 Howdy all, Since we've already done the "best discs you bought in '95," I figured it's time for the "best live shows you went to in '95." My picks are: Feb 1 Taj Mahal/Sonny Landreth -- first time I'd ever seen Taj. Was NOT disappointed. Mar 11 Magic Dick/Jay Geils/Bluestime -- You may feel they're insufficiently blues, but MAN did they blow the roof off the Bottom Line! Apr 8 Bo Diddley & Debby Hastings Band/Wilson Pickett -- Had seen Bo before, so I knew what to expect. Was afraid Wilson Pickett had lost it -- hahahahahah. Shouldn't have worried. Jul 8 Bo Diddley, Jr Aug 1 Luther Allison -- It's all been said before. Sept 21 Hubert Sumlin -- First time seeing a living legend. Oct 26 Luther Allison -- See above Oct 29 John Hammond -- In the Museum of Natural History in NYC, underneath the big blue whale on the first floor. Vicious! Dec 9 Keb' Mo'/Rory Block -- Hadn't heard anything by either of these artists, except for maybe one track by Keb on the radio. Immensely enjoyable show. Other highlights -- meeting 2/3's of Saffire - The Uppity Blues Women at the Johnny Copeland benefit at Manny's Car Wash, getting Luther Allison's advice to Young And Aspiring Blues Guitar Players, and meeting various and sundry 'zellers at any or all of the above shows. Your turn. -- Ed Edward C. Liu | "If nobody thinks for they self, edwick@cc.bellcore.com | Who thinks for everybody else? | -- Dr. John, "Lissen" The opinions in this message are mine and not Bellcore's. Really! ========================================================================= Date: Wed, 3 Jan 1996 10:19:00 EST Reply-To: edward c liu From: edward c liu Subject: NYC Club Dates Pointer Howdy all, The latest New York City Club Dates Pointer is available for the month of January. To receive it, send e-mail to me at: edwick@cc.bellcore.com with a subject line of "NYC CLUB DATES". Thank you for your support! -- Ed Edward C. Liu | "If nobody thinks for they self, edwick@cc.bellcore.com | Who thinks for everybody else? | -- Dr. John, "Lissen" The opinions in this message are mine and not Bellcore's. Really! ========================================================================= Date: Wed, 3 Jan 1996 15:40:20 GMT Reply-To: marc@az.vub.ac.be From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Re: Non-Blues favorites Comments: To: bit-listserv-blues-l@Belgium.EU.net Mr P-Dub has quiet the same fascinations as I have.... P.W. Fenton (pwfenton@GATE.NET) wrote: : > There may not be much blues content here, but I suspect that most : > blues fans do enjoy other kinds of music; I'd be fascinated to : > know which NON-blues artists some of you dig, and why. : Bonnie Raitt - She can do no wrong. Indeed, she cannot do anything wrong. : Ladysmith Black Mambazzo - Again the joy of singing. Great voices... : Mississippi Mass Choir - Not at all a religious person. Black Gospel : is just about the most exciting music going (next to Blues) : Zap Mama "Adventures in Afropea" - The voices (a capella) of 7 women : from several different European and African cultures, singing in : several languages. Like nothing you've heard. Yes, and they're coming from BELGIUM !!! ( Am I a chauvinist ? ) My non-blues favorite : Marc Cohn : I love his two cd's very, very much. I've also heard he has no contract anymore... What happened to him ? Who knows anything more about what he's doing nowadays ? embee, the pianoman from belgium. ========================================================================= Date: Wed, 3 Jan 1996 15:44:33 GMT Reply-To: marc@az.vub.ac.be From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: BB King in Belgium Comments: To: bit-listserv-blues-l@Belgium.EU.net Coming soon in Belgium : Feb. 17th : Brussels Blues feat. Tab Benoit, Luther Allison... Lunatheater, Brussels Mar 4th : BB KING, Koningin Elisabethzaal, Antwerp Be there ! embee. ========================================================================= Date: Wed, 3 Jan 1996 08:41:13 CDT Reply-To: Mike Davis From: Mike Davis Organization: N.C.T.R. Subject: Alan Haynes Looking for any audio or video of Texas blues guitarist Alan Haynes. I have a list of both video and audio to trade inc.. SRV, Johnny Winter, Ian Moore, Chris Duarte, Robben Ford, Eric Johnson, Warren Haynes, Gov't Mule, Allman Bros, Tab Benoit, Eric Clapton etc... Respond email, mdavis@fdant.nctr.fda.gov Mike Davis ========================================================================= Date: Wed, 3 Jan 1996 10:48:53 -0500 Reply-To: bob unger From: bob unger Subject: BluesBytes for charity Well, folks, there's been a change in the reason for the existence of BluesBytes. It was first created to showcase the talents of bluezellers, to be enjoyed by all bluezellers who care to listen....now it has been suggested that we can do something more with the tape...we can donate all profits from the sale of the tape to a blues organization of our choosing. This was a great success when Marcia Grodsky did it with the blues-l t-shirts...The Delta Blues Museum recieved a check for over $1,000 donated by bluezellers interested in keeping the blues alive. Why stop there! Let's do it again..... So I'm setting the price of BluesBytes at $10 a copy. With 100 copies being made, that should generate a profit of approximately $600 to be donated to a blues organization of our choosing. Now all we have to do is decide which organization. Because Marcia's campaign was so succesful, I think we should follow the same guidelines in choosing which organization. If everybody would post to the list their choice for which organization, I can then narrow it down to the 3 most popular. When you send in your check, indicate which of the 3 you want to see get the donation. That should do it.... BluesBytes should be ready for mailing next week....so... Who would you like to see be the recipient of bluezellers generosity? BU bob@sun.bnkst.edu Bluezellers - putting their money where their mouth's are. ========================================================================= Date: Wed, 3 Jan 1996 10:48:11 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Best Shows of '95 Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com In no particular order: Billy Branch at Koko Taylor's - Best show I saw during the weekend of the Chicago Blues Festvial Kim Wilson at Tornado Alley - He's always great, and he was just amazing this time, with Rusty Zinn on guitar Robert Lockwood at the DC Blues Society Jam - What can I say? A living legend, playing just a few feet from me. Daryl Davis at The Full Moon Saloon - The first time I saw Daryl in a small club. It was like hearing Pinetop or Otis Spann live. Plus, sitting in was a lot of fun. Johnny Copeland at Tornado Alley - Another legend, in great shape despite serious health problems, and opening for him was the highlight of my music career (so far). ========================================================================= Date: Wed, 3 Jan 1996 15:52:12 GMT Reply-To: Hans L'Orange From: Hans L'Orange Organization: University of Colorado at Boulder Subject: Re: Looking for Bryan Lee in N.O. Comments: To: bit-listserv-blues-l@uunet.uu.net "P.W. Fenton" writes: >On 2 Jan 96, Stephen Yankee had this to say: >> I'm headed down to New Orleans for a conference week after next, and I >> understand my old pal Bryan Lee (white/guitar player/blind) gigs at House of >> Blues occasionally. Anyone know where I can get hold of him? He & I used to >> play together aeons ago in the Midwest and I haven't seen him for about 20 >> years. >Try the Old Absinthe House Bar on Bourbon St. He plays there on a >regular basis. Sort of the "house band" for several years running. And was just great the last time I was there. Went back several times on a trip there about a year ago. -- * * * * * * * * * * * * * * * * * * * * * * * * * * * Hans L'Orange - Hans.LOrange@Colorado.Edu - (303)492-8631 / 492-0996 fax * * Asst. Director - Planning and Inst. Research - Univ. of Colorado Boulder * * http://www.colorado.edu * ========================================================================= Date: Wed, 3 Jan 1996 10:57:07 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: CNN Article on Johnny Copeland Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I just found a new item on Johnny Copeland and his upcoming surgery on CNN's www site. The url is: http://www.cnn.com/SHOWBIZ/Music/9601/Copeland/index.html and it includes some soundbites and links to other sites with information about Copeland. ========================================================================= Date: Wed, 3 Jan 1996 10:19:42 -0600 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Blues Web Sites Does anyone have a list of Blues (or Blues related) Web sites? Thanks. Bruce Roberts Austin, TX ========================================================================= Date: Wed, 3 Jan 1996 11:39:34 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: Non-Blues favorites In-Reply-To: <4ce814$8nk@rc1.vub.ac.be> > There may not be much blues content here, but I suspect that most > blues fans do enjoy other kinds of music; I'd be fascinated to > know which NON-blues artists some of you dig, and why. Mine? A short list includes: THE MOODY BLUES (seen them half a dozen times; big fan of Justin Hayward... you know, Nights in White Satin, Tues. Afternoon, etc. Love to play along on my guitar). LES MCCANN (Got hooked with Compared to What -- someday someone will use that for a movie, just wait. Met him at the Syracuse Jazz Festival couple summers ago. Nice guy and lots of fun. With These Hands still encourages a tear or two.) GORDON LIGHTFOOT (seem to play him alot when I spend several weeks each summer at a cabin (we call it "camp") in the near-wilderness of Michigan's Upper Penninsula. Performed some of his stuff at open mikes and houseparties with my best pal Charlie Monterey from Detroit. Song For a Winter's Night is among my favorites.) SUN RA (I just dig Interplanetary Low Ways and Rocket Number Nine Take Off for the Planet Venus. Ra, you know, was from Mars....) Glad to be back. Southside Dave Prychitko Blues 101, 88.9 FM, WNYO-Oswego (upstate NY) http://www.oswego.edu/~prychitk/Blues101.html for playlists and reviews. ========================================================================= Date: Wed, 3 Jan 1996 10:39:46 CST Reply-To: ISTS024@UABDPO.BITNET From: Leonard Watkins Subject: Re: Non-Blues favorites In-Reply-To: Message of Wed, 3 Jan 1996 11:39:34 -0500 from Why not: CHET ATKINS Duanne Allman era Allman Bros John Hiatt Lyle Lovett Emmy Lou Harris Ry Cooder Lowell George era Little Feat Doc Watson Hank Crawford (I say jazz) Wes Montgomery Kenny Burrell LW 'just a few' ========================================================================= Date: Wed, 3 Jan 1996 08:45:23 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: BluesBytes for charity Comments: To: bob unger Bob Unger wrote: >Who would you like to see be the recipient of bluezellers generosity? The Blues Heaven Foundation The Delta Blues Museum Mary Katherine ========================================================================= Date: Wed, 3 Jan 1996 11:51:32 -0500 Reply-To: Sriram Dayanand From: Sriram Dayanand Subject: Sugar Blue (please....) hi I just got back from Chicago and I haven't caught up on the volumes of mail I have here. But one thing has been killing me for the last couple of days... I was at Lonnie Brooks show at Buddy Guy's Legends on New Years eve and halfway through the concert Lonnie announced that they had recieved news that Sugar Blue's band had been involved in an accident that night :-( He did not have any further news. He just said "Lets pray that everyon's OK" What happened ??? Is everything fine ????? I saw Sugar Blue just a month ago in Toronto and Lonnie's announcement almost ruined the rest of the party for me on New Years Eve. Somebody please tell me everythings fine and Sugar Blue and his band members are ALL safe ..... fingers crossed.... =sriram= ******************************************************************** Sriram Dayanand email: sriram@aw.sgi.com Alias | Wavefront R&D Toronto, Canada Ph: (416) 362-8558 x314 ========================================================================= Date: Wed, 3 Jan 1996 09:11:25 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Jan. 4 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BAREFIELD, EDDIE (asax/PAUL GAYTEN) d. 1991-0104, NEW YORK CITY, NY 81 BLAKE, SONNY [CLENNON LEE BLAKES] (hca) b. 1923-0104, DUNDEE, MS CARTER, CLARENCE (v/songw) b. 1936-0104, MONTGOMERY, AL CHADBOURNE, EUGENE (g) b. 1954-0104, MT. VERNON, NY CONLEY, ARTHUR (v) b. 1946-0104, ATLANTA, GA GRACE, TEDDY [STELLA CROWSON] (v) d. 1992-0104, LA MIRADA, CA 86 PATTERSON, FLOYD (boxer) b. 1935-0104, WACO, NC PEELE, CALVIN (d/TROYCE KEY) d. 1994-0104, FRESNO, CA SAYLES, CHARLIE (hca) b. 1948-0104, WOBURN, MA SHOAF, ERIC C. (BLUES-L MEMBER) b. 1957-0104, DUNN, NC VENSON, TENNER 'PLAYBOY' (d/SUN REC) b. 1913-0104, BELZONI, MS WRIGHT, LEO (asax/JIMMY WITHERSPOON) d. 1991-0104, VIENNA, AUSTRIA 57 ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 3 Jan 1996 12:12:40 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: BluesBytes for charity Comments: To: Mary Katherine Aldin I vote for the two Mary Katherine mentioned plus the Blues History Museum in Memphis ______________________________ Reply Separator _________________________________ Subject: Re: BluesBytes for charity Author: Mary Katherine Aldin at Internet Date: 1/3/96 8:45 AM Bob Unger wrote: >Who would you like to see be the recipient of bluezellers generosity? The Blues Heaven Foundation The Delta Blues Museum Mary Katherine ========================================================================= Date: Wed, 3 Jan 1996 12:17:10 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Best of 95 reissues Playlist Here is Monday's show. This show was dedicated to all the reissues that have come my way in 1995. There were also a few of my favorite new blues tunes from 1995 near the end of the show. My Christmas Day Gospel Show won't be posted here but you can find it tomorrow on my web site. Tom Title Group Year Label -------------------- -------------------- ---- ------------- Just For You Cooke, Sam 59 ABKCO I Idolize You Turner, Ike & Tina 60 EMI Rome (Wasn't Built Taylor, Johnnie 62 ABKCO in a Day) I Feel Like A Bradley, Mamie 57 EMI Million Tell the Truth Charles, Ray 59 Rhino Believe or Not Convay, Don 58 EMI I'm Movin On Charles, Ray 59 Rhino Trouble Up The Road Brensten, Jackie 59 EMI Good Good Lovin Simms Twins 62 ABKCO Keep Your Business Woods, Pearl 61 EMI To Yourself Marc Anthony's Buckley, Lord 51 Discovery Funeral Oration My Man Rockhead Carter, Eloise 61 EMI Listen to the Angels Soul Stirrers 60 ABKCO She Put the Hurt on Prince La La 61 EMI Me I've Got Love For Valentinos 64 ABKCO You Graveyard Blenders 62 EMI Jonah and the Whale Buckley, Lord 51 Discovery In My Tenement Shane, Jackie 63 EMI Please Don't Drive Cooke, Sam 63 ABKCO Me Away Count To Ten Martin, Derek 66 EMI That's the Way My Sweet Inspirations 69 Ichiban Baby Is I Gotta go Carr, James 66 Razor and Tie Fool's Paradise Cooke, Sam 63 ABKCO Bigger and Better John, Mabel Fantasy It's All Over Now Valentinos 64 ABKCO Loop De loop Soul sisters 64 EMI Healing in Her Hands Poppa Chubby 95 OKeh On and Off Bluesiana Hurricane 95 Schanachie I've Got Love on the Scott, EC 95 Blind Pig Line Brassy Bessie Little Georgie 94 Queen Bee Psycho Hendricks, Bobby 60 EMI Love Tornado John, Mabel Fantasy /\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/ The NEW ADDRESS for my Jazz and Blues Web Site is: http://redlt.com/tom/home.html Free-lance writer//Program Director WTJU 91.1//Internet Consultant ========================================================================= Date: Wed, 3 Jan 1996 11:33:16 CST6CDT Reply-To: SOXTON@CHE2.CHE.UMN.EDU From: Sara Oxton Organization: University of Minnesota Subject: Re: Best of '95 Well, I can't resist contributing my two cents worth, so here goes (in no particular order): 1. James Carr performs in the Twin Cities TWICE. Both shows sterling examples of gut wrenching soul from the undisputed master. I have been to the mountain.... 2. "Rock Mr. Blues" the new Big Nickel biography of Wynonie Harris. Bravo. 3. The Excello reissue series. Jay Miller was THE MAN and this series proves it. The Roscoe Shelton "Sings" release is a wonderful surprise to someone who was only familiar with his Sound Stage 7 material. 4. Ernie Johnson on Waldoxy. Is that you, Bobby Bland? 5. The Capitol Blues reissue series. Here in Minnesota, we love Snooks Eaglin. His Imperial sides were an unexpected bonus. Thank you Pete Welding. 6. The Butler Twins. Best thing to come out of Detroit since Eddie Burns. 7. Al Green is BACK! "Your Heart's In Good Hands" immediately tears to the top of the playlists and shows no signs of leaving. Love IS a beautiful thing. 8. Wanda Jackson and Ronnie Dawson come to town. Rockabilly becomes my new mantra and daily I wrestle with the urge to grow big hair and wear fringe... 9. "Black & White Blues" a collection of blues portraits by Minneapolis-based Marc Norberg is released. Release party brings Philadelphia Jerry Ricks to town. Wonderful book, wonderful artist. 10. The complete Capitol Recordings of the Nat King Cole Trio on Mosaic. 18 CDs of pure excellence. Now we wait for Illinois Jacquet in '96. Have a happy new year. Don't let your resolutions get the best of you. Sara ========================================================================= Date: Wed, 3 Jan 1996 12:34:53 -0500 Reply-To: Orange2@GNN.COM From: Somei Louie Organization: Megaweb Subject: NAME CHANGE ... Comments: To: bit-listserv-blues-l@uunet.uu.net I'm sorry for the inconvenience, but due to unusual circumstances my email name will be "ORANGE2" instead of "ORANGE" ... I've been corresponding with many of you lately and I don't want to lose the flow of our correspondence. Thanks. Blue to the bone, Orange2@gnn.com (Mike Meadors) Orange2@gnn.com ========================================================================= Date: Wed, 3 Jan 1996 10:05:56 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Re: Article of interest to blues fans Comments: To: mkaldin@ix.netcom.com In-Reply-To: <199601022217.OAA04103@ix10.ix.netcom.com> from "Mary Katherine Aldin" at Jan 2, 96 02:17:25 pm In another time and place, Mary Katherine Aldin said: > > The January 1996 issue of the English magazine MOJO (available here in > the States as an import) has an article of possible interest to those > on this list. It is written by Greil Marcus, Cecil Brown and Nick Cave > and is titled The Murder Mystery: Somewhere Sometime a Murder Took > Place, The Real Story of Stagger Lee. It contains newspaper accounts > of the original killing which inspired the song, and a discography of > nearly fifty different recorded versions of the song as either Stagger > Lee or Stack-O-Lee. Funny I just got mail yesterday from a friend who alerted me to the article but couldn't remember the name of the magazine. Now I just have to find a local bookstore that carries it. I have collected over 80 versions of Stagger Lee and I understand that there are close to 150 recorded versions. I have threatened to put my Stagger Lee titles on my web site for folks to look at. Now with a new year beginning, I'll have to make it a New Year's resolution. :) Thanks Mary Katherine for the info! Tom /\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/ The NEW ADDRESS for my Jazz and Blues Web Site is: http://redlt.com/tom/home.html Free-lance writer//Program Director WTJU 91.1//Internet Consultant ========================================================================= Date: Wed, 3 Jan 1996 18:06:11 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Polstar? Does anyone know what's (not) happening with Pollstar? I tried a similar service with "Musi-cal" (http://www.calendar.com/concerts/). As a test I asked for any blues artists within 20 miles of Chicago .... it found exactly none :):):) Increasing the radius to 100 miles got me a single listing. If anyone's interested, someone named Jim Henry is playing Napierville on 4 Feb. Are there any other Pollstar alternatives? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [3/1/96 13:01 PM] "Wednesday's worse..." ========================================================================= Date: Wed, 3 Jan 1996 13:21:41 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: NAME CHANGE ... Comments: To: Orange2@GNN.COM Comments: cc: Orange@GNN.COM On 3 Jan 96, Somei Louie had this to say... > I'm sorry for the inconvenience, but due to unusual circumstances > my email name will be "ORANGE2" instead of "ORANGE" ... I've been > corresponding with many of you lately and I don't want to lose the > flow of our correspondence. Thanks. > > Blue to the bone, > > > Orange2@gnn.com > (Mike Meadors) > Orange2@gnn.com > Just curious. Which is your real name... Mike Meadors or Somei Louie or maybe a third alternative? P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 3 Jan 1996 12:17:13 CST Reply-To: ISTS024@UABDPO.BITNET From: Leonard Watkins Subject: Favorite shows of 95 first and foremost: THE POB JAM, what a blast having Willy Evans, Micheal Baseflug, Craig Smoot, "Georgia" Tom (who was never heard from since ??), some locals and a drive-by sax player and of course two visits from the law. What a blast and POB II will be later this year (when it's warm). Charles Brown - Rory Block - RL Burnside - John Hammond - CHET ATKINS - Kenny Neal - Big Daddy and Kinseys - Othar and the Fife Band - The Stonegas Band - others that I forgot LW 'back on the list' POB JAM Flashback: ps: I'm sharing this (again): Willy Evans was asleep on the floor and Greg "Magic City Slim" Mayne was on the couch. Greg couldn't sleep because Willy snored somewhat, so he got up and put toliet paper in his ears. I woke up and crept into the kitchen to make coffee. Greg saw me, I said "good morning" and having forgot he put paper in his ears, Greg thought his hearing had been trashed by the music earlier that night. Guess you had to have been there and seen the panic in his face. ========================================================================= Date: Wed, 3 Jan 1996 13:37:25 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Radio Playlist Here's the playlist from last Friday's edition of "Nothin' But the Blues" on WTJU-FM 91.1, Charlottesville, Virginia: Watch Them Resolutions: Babs Gonzales (Shuckin' & Jivin'; Charly CD) Happy New Year Baby: Lem Tally w/Johnny Otis Orchestra (Barrelhouse Stomp; Jukebox Lil LP) Muddy Waters Goin' to Run Clear: Eddie Clearwater (Boogie My Blues Away; Delmark CD) ABC Blues: Boston Blackie (Chicago Blues Session, Vol. 1; Wolf CD) Blue Monday Hangover: Albert Collins (Frostbite; Alligator CD) Henry's Swing Club: John Lee Hooker (Graveyard Blues; Specialty CD) Feelin' Good: James Cotton (The Blues Never Die (Otis Spann); OBC CD) Love My Baby: Junior Parker (Mystery Train; Rounder CD) Boppin' the Blues: Carl Perkins (Original Sun Greatest Hits; Rhino CD) I Feel So Good: Magic Sam (The Magic Sam Legacy; Delmark LP) I Wanna Ramble: John Lee Hooker (The Early Years; Rhino/Tomato CD) Rock This House: Lowell Fulson (Back Home Blues; Night Train CD) Rock This House: Jimmy Rogers (Feelin' Good; Blind Pig CD) Have Myself a Ball: Little George Smith (Harmonica Ace; Virgin/Flair CD) I Feel So Good: Muddy Waters (The Complete Muddy Waters; Charly CD) Have a Good Time: Hollywood Fats Band (Rock This House; Black Top CD) Rockin' Daddy: Howlin' Wolf (The Complete Recordings; Charly CD) Good Rockin' Daddy: Etta James (R&B Dynamite; Virgin/Flair CD) A Slick Chick on the Mellow Side: Dinah Washington (First Issue; Verve CD) Mellow Chick Swing: Sonny Boy Williamson I (Complete Rec. Works, Vol. 5; Document CD) Peach Tree: Sonny Boy Williamson II (Real Folk Blues; MCA/Chess CD) Deacon's Party: Champion Jack Dupree (1945-1953; Krazy Kat CD) Let's Have a Party: Amos Milburn (The Best of Amos Milburn; EMI/Aladdin CD) Let's Get High: Rosco Gordon (Let's Get High; Charly CD) Let the Good Times Roll: Ray Charles (The Genius of Ray Charles; Atlantic CD) Bartender's Boogie: Roy Milton (Roy Milton & His Solid Senders; Specialty CD) All Nite Long: Johnny Otis (The Original Johnny Otis Show; Savoy CD) Who Snuck the Wine in the Gravy: Earl Bostic (Blows a Fuse; Charly CD) Looped: Joe Dyson (Ace Story, Vol. 2; Ace CD) Lemonade: Willis Jackson (Call of the Gators; Delmark CD) Water, Water: Effie Smith (Come On (Willie Egan); Relic CD) They Raided the Joint: Dan Burley (South Side Shake; Wolf CD) Saturday Night Fish Fry: Louis Jordan (The Best of Louis Jordan; MCA LP) Groove Juice Special: Slim Gaillard & Slam Stewart (Complete Recordings; Affinity CD) Jungle Juice: Stick McGhee (Highway of the Blues; Audio Lab CD) Boogie Twist: Lee McBee & The Passions (44; Red Hot Records CD) -Peter ========================================================================= Date: Wed, 3 Jan 1996 16:40:50 EST Reply-To: Jim Miller From: Jim Miller Subject: BLUES/CULTURE Comments: To: BLUES-L I appreciate Don Cicchetti's comments concerning Blues/Culture as being alive and well in the music that is being played today and I generally agree with the spirit of what he is saying but I would like to make some clarifications and ask a few questions. 1. As a student of history in general I certainly agree that nothing in culture is completely created out of thin air. The past is sedimented in the present. But this is certainly variable. There is a thread from Elvis to Nirvana but the transformation is certainly greater than from Robert Johnson to John Hammond. Rock culture is extremely dynamic with each new transformation of the music involving a whole constellation of cultural beliefs and artifacts. If I list punk, new wave, folk rock, grunge with each style one can imagine different slang, fashion, political stances and so forth intertwined with the actual playing of the music. The caravan that was the Grateful Dead was actually a traveling cultural complex which was a major part of the groups "live" popularity. I don't see this transformation happening in the Blues today. If you go into Wanda's bar and grill and here the local white blues band Johnny and the Smokers I just don't see any cultural constellation. You might see a lot of white people having a hell of a good time dancing to transformed African Rhthyms etc. and just plain feeling good. Hell , some of them might be able to pontificate on the history and the culture that produced the songs on the song list and help keep the memory alive but the dynamism that creates new slang and fashion is simply not there. 2. Is the white blues community simply a cultural carrier? If you say that the culture is implicit in the music are you saying that culture is more subtle than a fashion statement etc? If so ( and I do believe there is truth in this) then what do you mean when you say the culture is implicit and explicit in the music itself? What kind of culture is Johnny and the Smokers recreating at Wanda's Pub? If you ask the typical patron about their response you will probably get a typical "its just the music stupid!!!" kind of response. Believe me I beleive it is more than just the music but for argument sake I believe we need to be more specific about what we mean by culture. 3. A caveat. I believe that my appreciation of the music and my playing of the music is enriched by listening to earlier styles and understanding the tradition blues comes from. I don't buy the argument that music has to change (as rock continues to do so) or even has to be more than simply wonderful sounds that move me in some unexplained way. We don't have to have a contemporary blues fashion statement or slang or attitude or body gestures (as rap does) and if we wish to recreate a 1950's Chicago blues scene in some little dive in the middle of Nebraska why not? But I have to admit it would be nice if there could be at least a little interesting contemporary cultural scene somewhere in our genre involving more than just a new chord change. But I'll love this music just the same. ========================================================================= Date: Wed, 3 Jan 1996 12:38:48 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: 1996 W.C. Handy nominations (some of them) Just got in mail this morning 1996 W.C. Handy nominations. I'll share with you only blues albums - no time to type performers, sorry... * Contemporary Blues Album of the year 1. Dave Thompson - "Little dave and Big Love" 2. Joe Louis Walker - "Blues of the Month Club" 3. Albert Collins and Icebreakers - "Live '92-'93" 4. Luther Allison - "Blues Streak" 5. Coco Montoya - "Gotta Mind to Travel" * Traditional Blues Album of the Year 1. Billy Boy Arnold - "Eldorado Cadillac" 2. Smokey Wilson - "The Real Deal" 3. John Lee Hooker - 'Chill Out" 4. Louisiana Red - "Sittin' Here Wonderin'" 5. Paul "Wine" Jones - "Mule" * Acoustic Blues Album of the Year 1. Rory Block - 'When a Woman Gets the Blues" 2. Cory Harris - "Between Midnight and Day" 3. Paul Geremia - "Self Portrait in Blues" 4. Catfish Keith - "Fresh Catfish" 5. Howard Armstrong - "Louie Bluie" * Reissue Album of the Year 1. T-Bone Walker - "The Complete Capitol Recordings" 2. Ptis Rush - "Too Many Roads" 3. Otis Spann - "Down to Earth" 4. J.B. Lenoir - "Vietnam Blues 5. Little Walter - "Blues With a Feeling" Ranko ========================================================================= Date: Wed, 3 Jan 1996 19:39:32 +0100 Reply-To: Thomas Gutberlet From: Thomas Gutberlet Subject: blues women books someone recently asked about books on women in the blues. Yes there are some books on them e.g. the autobiography of Etta James or the book on Bessie Smith or B. Garon on Memphis Minnie. There is Alberta Hunters biography (if I remembere correctly), not to forget several books on Billie Holiday, furthermore there is a biography on Aretha Franklin, Janis Joplin, Mahalia Jackson and the book on ma Raney, not to forget all the articles in Living Blues on women like Koko Taylor or Ruth Brown or Katie Webster. To look for books on the internet I just found the following connection, where most on the books can be ordered http://www.scinet.com/~musicbk/blu/html The prices seem very reasonable and I am not connected with them. Best, Thomas ========================================================================= Date: Wed, 3 Jan 1996 09:59:00 -0600 Reply-To: "timothy (t.b.) bosley" From: "timothy (t.b.) bosley" Subject: Re: Top Cat Records Comments: cc: aschuna@vms2.macc.wisc.edu In message "Top Cat Records", Art Schuna wrote: >I read in the latest Goldmine that Black Top purchased the Top Cat Record >masters. Does that mean Top Cat's out of business? That would be too bad >if it's true. They were turning out some really nice Texas blues releases. >I tried buying the Freddie King live CD from several sources without any >luck. The article mentioned that Black Top will be releasing some live >Freddie from the Top Cat masters in the next year or so. Hope they get to >it soon! > I just got off the phone with Richard Chalk and he assures me that TopCat IS NOT OUT OF BUSINESS. In fact, he recently bought out his partner so he is the sole owner of TopCat. What they sold to Black Top was the masters of everything they had put out on (or prepared for) CD. Upcoming things to watch for: - still has 2 Freddie King masters from some '74 shows in NYC and NJ - masters from 4 '71 road shows featuring Muddy, Big Joe Turner, Big Mama Thornton, JB Hutto and George Harmonica Smith - will be recording Texas Blues Women (Lady Lotion, Javelin and a third still to be confirmed) Also a partner in Texas Blues Cafe (old Billy Blues) - BBQ and music on the weekends. Opening is Jan 13. Freddie King disc - Black Top will be releasing this in February (I think). TopCat has about 15 of them available. Jesse Thomas disc (Blue Goose Blues - released in France). TopCat has about 5 of them available. Don't know what Black Top's plans are. Discs are US$15. Shipping within the US is $2. Overseas shipping is $4. TopCat Records PO Box 670234 Dallas Texas 75367-0234 Phone (214) 484-4141 email: topcat@computek.net or blueman@computek.net Note: subscribes to blues-l thru "topcat" address so if you want to contact him thru e-mail, "blueman" is better - less likely to get overlooked. ========================================================================= Date: Wed, 3 Jan 1996 10:42:31 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Jinx takes the blame . . . Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Daryl said: >I for one would be plenty willing to pay $10 for such a project, >providing the charity was a blues-related one. Any suggestions? YEAH! The "Don needs one O' them BB King 355's really bad" Charitable Trust.... you betcha ;-] Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Wed, 3 Jan 1996 13:47:57 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: More on Johnny Copeland It's so great to hear that the news of Mr. Copeland's plight is making it to the national TV (international) media. I'd call it historic, even. What other ailing blues great has ever benefitted from such opportunity? It seems like a good time to post the following: Fortunately, Mr. Copeland does have health insurance. However, several fund-raising events were organized, especially in the New York City and Houston areas, to cover the payments, deductibles, co-payments, and medication costs, as well as the living expenses of Mr. Copeland's family while he is unable to work. A special fund has been established. Checks may be made out to "Johnny Copeland's Heart" and sent to Manny's Car Wash, 1558 Third Avenue, New York, NY 10128. Phone (212) 369-0789. Fax (212) 369-2423. Mr. Copeland's representatives would like to thank all the friends, fans, promoters, and musicians who have inquired about his condition and have sent along their wishes for a speedy and thorough recovery. Cards and inquiries may be directed to Mr. Copeland's manager, Holly Bullamore, P.O. Box 6775, Champaign, IL 61826. Phone (217) 355-5280. Fax (217) 355-5380. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Wed, 3 Jan 1996 12:38:34 -0600 Reply-To: Chris Pearson From: Chris Pearson Subject: Re: BluesBytes is completed! >In article <199601021848.NAA24134@sun.bnkst.edu> bob unger writes: > >>And, I believe there was some controversy around here a while ago, about >>who really wrote "Sweet Little Angel" Was it BB or not. > >I think the answer on this one was Tampa Red - before the discussion I had >always thought it was Robert Nighthawk but it definitely wasn't BB. > >Art Schuna > > Could a slight change in words make the song different enough to claim authorship? I've heard it several different ways. A K-tel Blues Classic tape says BB took this to #8 on the R&B list in 1956. It gives King/Taub for credits. Chris ========================================================================= Date: Wed, 3 Jan 1996 18:45:25 GMT Reply-To: Tim Wrobel From: Tim Wrobel Organization: Netcom Subject: Collectibles Comments: To: bit-listserv-blues-l@uunet.uu.net I can't thank you all enough for the overwhelming response! I'm so very interested in a guitar string from my favorite blues "legend", Eric Clapton. I just love all of his original work from back in the seventies. I'd be willing to pay upwards of $50,000 for this holy relic. Oh, and if anyone knows how might get an autographed harp from Huey Lewis feel free to call me directly at 1-800-BORN-YESTERDAY. ========================================================================= Date: Wed, 3 Jan 1996 12:47:42 CST Reply-To: JBards From: JBards Subject: Re: NASHVILLE Comments: To: bbbean@cris.com Lots of decent music stores in my old stomping grounds, Nashville. Gruhn's is a must for vintage guitars, if you have that interest. For jazz, MereBull's is the first place that comes to mind, but I'm sure there's more. If you get a chance to be around the Bluebird Cafe for writer's night, it's unbeatable. Best barbecue, in my humble ( NOT) opinon is at Mary's on Jackson Street over near Meharry Medical Center. Jim _______________________________________________________________________________ Subject: NASHVILLE From: bbbean@cris.com at INTERNET-SH Date: 1/2/96 12:20 PM I'll be spending a few days in Nashville next week and need some ideas on blues and jazz hotspots to check out. I'm also on the lookout for a decent music store or sax shop. BBB - B.B. Bean bbbean@cris.com http://www.cris.com/~Bbbean - ========================================================================= Date: Wed, 3 Jan 1996 18:51:56 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Subject: Re: Best Shows of '95 Comments: To: bit-listserv-blues-l@uunet.uu.net My choice would have to be Luther Allison followed by Otis Rush at the Chicago Blues Festival with the jam session including Luther, Otis and Eddie C. Campbell. One of the few shows this year that actually gave me chills listening to it. Art Schuna ========================================================================= Date: Wed, 3 Jan 1996 12:47:25 -0600 Reply-To: Chris Pearson From: Chris Pearson Subject: collectibles T-bone, do yourself a favor. Look elswhere. You'll get nothin but smartass remarks here concerning memorabilia etc. Beall St. in Memphis has all kinds of shops etc for blues fans. I don't know if they portray it as authentic or not. It's the coolest place I've ever been for blues. Chris ========================================================================= Date: Wed, 3 Jan 1996 13:58:11 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Chord progressions Ch> Maybe someday Ruth will teach us all how to record on our Ch> computers and send it in a file. Fortunately, we don't have to wait for Ruth. It's called MIDI (Musical Instrument Digital Interface) and for about $150 you get a card to insert in your computer that will interface your keyboard (or other MIDI instrument) to your computer and not only let you record and send musical files, but compose, edit, transpose keys, change timing, add tracks with different instruments, and even print out in standard notation. Voyetra 1(800)233-9377 and Music Quest 1(214)881-7408, among others, make these things and MQ has one that attaches to the parallel printer port of your laptop for easy use at gigs. You also can get MIDIScan, $299, from Musitek 1(800)676-8055 that, with a scanner, will scan sheet music into MIDI files for playback, editing, printing, etc. PianoScan, for $99, "is designed for piano, solo, and duet scores (up to 2 staves/system)." ... "Aren't we all following the same path of destruction?" seaQuest DSV --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Wed, 3 Jan 1996 13:58:01 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Bent-note blues Pa> David, you are right, once again I've got my guitar blinders on. Pa> I guess it's the "blue note" that makes it the blues. Pa> IMHO (and I'm sure I'll get lots of hate mail for Pa> saying this), guitar is a bluesier instrument than piano because Pa> of the ability to bend the strings. Pa> I played piano for years, then I switched to guitar strictly for that Pa> reason. Not 'hate mail', but perhaps different point of view mail?? The 'bent note', the 'blue note', is called 'glissando', and is defined by Webster as "a sliding effect achieved by sounding a series of adjacent notes in rapid succession as by running a finger over the white keys of a piano". [NOTE: Webster was not known as a Blues piano player!] [Wonder if those folks who insist on calling various other things "slides" will now coin the term: 'slide piano' to confuse things more??] This analog 'bending' of the frequencies/notes, instead of jumping in individual discrete notes, creates the effect that mimics the similar ability of the human voice. This frequent use of glissando is characteristic of Blues, Jazz, and Gospel, and Oriental music in general. Caucasian music plays only the "legitimate" notes, and is much more rigid, confining, and shallow as a result. On the piano, this bending effect is easily produced by sliding off a black key down to the adjoining white key to mimic the glissando effect of the bent string or human voice. The _perceived effect_ in the human brain is similar enough to make it a central effect in piano Blues. It is not so easy to roll up from a white note to a black, but it is possible. Other slight dissonances are used intentionally to produce this effect. In physics, we have the phenomena of 'beat notes', that is when two notes are sounded simultaneously, they produce two other notes: the sum and the difference of the original frequencies. The difference 'beat' note is _always_ between the original two, so provides the 'bend' between the two original notes. "Rolls", the playing of several very brief notes in a certain direction, also mimic the glissando effect. Listen to the bass line of 44/Vicksburg Blues for a rather vivid example. ... "A lack of information can kill you!" Babylon 5 --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Wed, 3 Jan 1996 14:38:37 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: Chord progressions Comments: To: Laurie Forti MIDI is a godsend. I was quite privileged to have the opportunity to assist my jazz bassist/composer friend Jim Pratt as recording engineer for his first CD (and my first recording credit) about three years ago. We used a MIDI setup on a Macintosh. I don't remember what the software was called, but it had a really neat GUI that looked a lot like my TASCAM PORTA1 control panel. I've heard MusicQuest is the best MIDI interface for guitar, but I haven't tried it. I would recommend trying several different MIDI packages to find what's compatible with your musical needs and your hardware. ______________________________ Reply Separator _________________________________ Subject: Chord progressions Author: Laurie Forti at Internet Date: 1/3/96 1:58 PM Ch> Maybe someday Ruth will teach us all how to record on our Ch> computers and send it in a file. Fortunately, we don't have to wait for Ruth. It's called MIDI (Musical Instrument Digital Interface) and for about $150 you get a card to insert in your computer that will interface your keyboard (or other MIDI instrument) to your computer and not only let you record and send musical files, but compose, edit, transpose keys, change timing, add tracks with different instruments, and even print out in standard notation. Voyetra 1(800)233-9377 and Music Quest 1(214)881-7408, among others, make these things and MQ has one that attaches to the parallel printer port of your laptop for easy use at gigs. You also can get MIDIScan, $299, from Musitek 1(800)676-8055 that, with a scanner, will scan sheet music into MIDI files for playback, editing, printing, etc. PianoScan, for $99, "is designed for piano, solo, and duet scores (up to 2 staves/system)." ... "Aren't we all following the same path of destruction?" seaQuest DSV --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Wed, 3 Jan 1996 13:58:33 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Otis span question Rf> The point, simply, is that the net is a dumb place to ask dumb Rf> questions. There are NO dumb questions, just dumb people who denigrate others solely because their level of 'expertise' does not match their own. It is totally guaranteed that at some point in their lives NONE of the self-made Blues gurus here had heard of Otis Spann. At some point NONE of us had even heard that Blues existed. So let's think of the newbies as ourselves, just starting out. Rf> If you are ignorant-and everybody is at one time or other Rf> about something or other-and you want to know more, read a book, buy a Rf> record, go to a library, talk to friends, etc. If you were sincere about this 'recommendation', then perhaps you could have provided a complete bibliography of the obviously quite extensive list of books written about Otis, and their publishers' contact information, perhaps with a little review of each. I admit I've been a bit out of touch with the current Blues reissue and book hysteria for several years, or is it decades, just how many books are currently available on Otis Spann?? Where can I get them?? Are we really supposed to believe that every library in the civilized world has all those books on Otis?? Rf> I can imagine young Jacob (who started all this by asking who Rf> Otis Span[sic] was) sitting at home, and he hears someone mention Otis. Again, you find it necessary to denigrate 'young' Jacob by calling him 'young', perhaps because we elders do not need to respect our juniors?? Perhaps, he is really 'old' Jacob, who has just discovered a fascinating form of music for the first time in his life?? I'm sure that many more than myself find it rather insightful into your personality and indicative of the depth of sincerity of your interest in both Blues and its artists that you castigate a newbie for not knowing who Otis Spann is, yet you, esteemed Blues Guru, do not even know how to spell Spann's name!! Perhaps a trip to your local Blues Library would be of benefit to you also?? Rf> So instead of Rf> doing any of the logical things listed in the previous paragraph, How many 'friends' know anything about Spann? None of mine do. How many libraries have books on Spann?? How many local record stores carry Spann's music, and what additional information can they provide. The good ol' days of the Blues freak behind the counter with encyclopedic knowledge of Blues trivia are either long gone, or they never existed. There just ain't that many Bob Koesters to go around. Rf> Personally, I think that's a dumb question to Rf> ask a panel of people most of whom know whereof they speak and what Rf> they listen to. Let me get this straight. It's dumb to ask a sincere question about Blues in a Blues-oriented list where 'most' 'know whereof they speak'?? Perhaps he should have been redirected to the Lawrence Welk list?? Rf> ... is that this is not a forum for neophytes, ... Sez who, other than you?? If we self-made, and oh-so-distinguished 'experts' refuse to share our expertise with others not so knowledgeable, then what is the purpose of the list?? To sit around and wallow in our mutual expertise?? My impression, and correct me (gently) if I simply don't get it, is that the purpose of these damn lists is communication of information. Rf> ... and the internet is not a very good Rf> place to get basic information. Books, libraries, record stores, etc. Rf> are much better. Hmm.... I guess that means that all the hype about the Internet making libraries obsolete is just promotional poobah?? P.S.: this ain't _the_ Internet, this is just e-mail. Rf> Duh, do you know anything about a singer I've just heard of Rf> called Robert Jonson? Another problem with spelling?? [Note and possible apology to Blues-l. If Richard the Abrasive has been properly castigated for his impolite public behavior and this is just repetitive, I apologize. I have been out of the country for about 10 days and didn't want to wait till I've read the several megs of mush awaiting me before responding, lest the incident slip away into cyberdeath.] ... Don't never drive a stranger from your door, he may be your best friend, you don't know. ... "A teacher can be taught by a good student!" Cain/Kung Fu --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Wed, 3 Jan 1996 19:58:29 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: My Web Page - Ignore at will Comments: To: bit-listserv-blues-l@uunet.uu.net Just a note to alert you that I've joined the incredibly trendy world of WWW page owners and published a web page. Like most new pages, its undergoing constant revisions, and there is more to come, but at present there are several links and resources that may be of intereste to blues fans. I've also included a serial chart for dating Buescher, Conn, and Selmer saxophones. You might make a note to check it from time to time. I eventually intend to post a collection of my published reviews and columns, along with sound clips from the materials reviewed. http://www.cris.com/~Bbbean/ BBB - B.B. Bean bbbean@cris.com http://www.cris.com/~Bbbean - ========================================================================= Date: Wed, 3 Jan 1996 15:03:09 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Sweet Little Angel While giving credit to B.B. King and J.Taub for "Sweet Little Angel", may not be morally correct, it is LEGALLY correct. The ONLY copyright registered with the Library of Congress belongs to them. "Sweet Little Angel" was registered by Riley B. King, and Jules Taub (AKA Jules Bihari) on August 29th 1956, and renewed on December 3rd, 1984 While I was browsing, I also looked up "Sell My Monkey" which belongs solely to B.B. King and Songs of Lucille Publishing since 1983. It appears that before B.B. recorded it in an album that year, it had never been copyrighted. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 3 Jan 1996 12:09:34 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: BLUES/CULTURE Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Jim Miller said: (edit edit) > 1. As a student of history in general I certainly agree that nothing in >culture is completely created out of thin air. The past is sedimented in the >present. But this is certainly variable. There is a thread from Elvis to >Nirvana >but the transformation is certainly greater than from Robert Johnson to John >Hammond. Rock culture is extremely dynamic with each new transformation of the >music involving a whole constellation of cultural beliefs and artifacts. If I >list punk, new wave, folk rock, grunge with each style one can imagine >different >slang, fashion, political stances and so forth intertwined with the actual >playing of the music. The caravan that was the Grateful Dead was actually a >traveling cultural complex which was a major part of the groups "live" >popularity. And it is the shallowness and artifice of much of "rock culture" (there's an oxymoron for ya....) that brings so many people into the blues in the first place. Why assume that the blues too, must follow the same impulse to make everything a "style" or a "trend"... It is the depth and the culture that makes it so meaningful for many of us. The connection from Elvis to Nirvana is merely one of Irony and poses, statements, and "acting out" about *fame* and the media, not one of musical connections or worldview. A more complete connection could be drawn between say, Marshall Crenshaw and Buddy Holly, or Los Lobos and Muddy, Ritchie Valens, Ray Charles, and Flaco Jimenez. Most rock culture has ended up in the cul-de-sac of permenent irony, and nihlism, and a desperate clinging to "hipness" that is so contrived that you have to be 17 to not see it... Oh, and of course, there's the contrived naughtiness and commodified "rage" and manipulative outrageousness that make the rock culture SO endearing.... Blues culture NEVER WAS about any of that. It was about life, love, humor, dignity, and courage. Those things are more needed than ever. So, I say, you can apply the blues, and it's worldview and message to contemporary culture with wonderful results, as long as it doesn't become "it's just the music man..." and lose it's content. > I don't see this transformation happening in the Blues today. If you go >into Wanda's bar and grill and here the local white blues band Johnny and the >Smokers I just don't see any cultural constellation. You might see a lot of >white people having a hell of a good time dancing to transformed African >Rhthyms >etc. and just plain feeling good. Hell , some of them might be able to >pontificate on the history and the culture that produced the songs on the song >list and help keep the memory alive but the dynamism that creates new slang and >fashion is simply not there. All true, and good points Jim... Sellin' beer is sellin' beer, and blues artists are often hired to do just that. BUT, you cannot transmit the stories of the Blues if you don't know them yourself, or the owner tells you to shutup and play... I saw Guitar Shorty, (over 50% black audience BTW), and he tells stories! he gets the crowd involved, it's like going to church in many ways. You can't just eat your dinner and treat it as background music. And the crowd knew what he was doing and responded mightily. When I saw Earl Alexander at Carvells in Santa Monica, he was doing mostly classic rock, and soul stuff (I'va had enough "Mustang Sally" for the next ten years ok??), so when we had him here at La Sierra, I told him to dig deep, and give the crowd "blues lessons"! He told them about growing up in Chicago, and sneaking into clubs, and about Little Milton, and how much he meant to him. Earl dedicated "Little Bluebird" to Milton, and brought the damn house down!, one of the finest blues performances I have ever seen. How in the world is Johnny going to do that if he was playing Allman Bros. covers last week? So I have to question whether Johnny is really a blues artist, or perhaps is not being allowed to be a blues artist, rather than question the rich blues culture. How often do you get to see *rock* artists communicate, tell stories, reach people with something besides shallow poses? It does happen, but it is rare. I have seen Los Lobos do it, and Laurie Anderson, and several others. Don't mistake trends and haircuts for actual culture. > 2. Is the white blues community simply a cultural carrier? Yes, to some extent, but it's not simple, it's not a putdown, and we do contribute to it, and maintain it as well. >If you say that >the culture is implicit in the music are you saying that culture is more subtle >than a fashion statement etc? If so ( and I do believe there is truth in this) >then what do you mean when you say the culture is implicit and explicit in the >music itself? It's like watching a great black choir on TV... There is something there, in the music that moves you, that pulls you in. Unless you actually believe that "TV is life" you may even get the urge to go to a great black church, and see what it is all about. There you will find the 75% that was missing on TV; the audience, and the presence of the choir in the room with you! You will be swept up in the singing and participation and genuine commitment to the music, the message, and the "family" that the music is actually about. You will know something when you leave that you did not know before. It's there, in the music, and in the culture, all tied up together. >What kind of culture is Johnny and the Smokers recreating at >Wanda's Pub? I wanna drink, I wanna get laid, rock on dude!, play Freebird!!!... and not much else. >If you ask the typical patron about their response you will >probably get a typical "its just the music stupid!!!" kind of response. Believe >me I beleive it is more than just the music but for argument sake I believe we >need to be more specific about what we mean by culture. Well for many, that's enough. I hesitate to put them down, but that's not enough for me, and not for most of us that are more than just casual fans or out for a night at the bar. The culture is the community, the history, the traditions, and the connection between us, and all of that. When "blues" is merely noise to sell beer by, there is no culture, so he would be right in his assertion that it's "just the music stupid", though I might debate who the "stupid" really applies to! (edit) >if we >wish to recreate a 1950's Chicago blues scene in some little dive in the >middle >of Nebraska why not? Absolutely... It's gotta beat another Wanda's or a Denny's!! >But I have to admit it would be nice if there could >be at least a little interesting contemporary cultural scene somewhere in our >genre involving more than just a new chord change. But I'll love this music >just the same. Me too... I hope to do just that with my album. I'd like to "say" the same things the old guys said in a new way, and point my comments at the silly world we live in... To take the message of love, dignity, humor, and courage, to the streets of the shallowest, stupidest time in US history.... (well, it's *still* not as bad as the 70's....) I'd like to get folks to shut their tv off for a bit and come out to the show, and learn what a culture actually is. But then, I'm an optimist.... Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Wed, 3 Jan 1996 14:20:45 CST Reply-To: ISTS024@UABDPO.BITNET From: Leonard Watkins Subject: Blues-l Awards Anyone interested in being in charge of the BLUES-L AWARDS. We can nominate albums and artists of the year....acoustic & electric... I am in no way interested in doing it, but I'll participate if someone else would like to do the "work" LW ========================================================================= Date: Wed, 3 Jan 1996 15:50:27 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Otis span question Comments: To: laurie.forti@INFOEXCH.MIAMI.FL.US On 3 Jan 96, Laurie Forti had this to say... > [Note and possible apology to Blues-l. > If Richard the Abrasive has been properly castigated for his impolite > public behavior and this is just repetitive, I apologize. I have been > out of the country for about 10 days and didn't want to wait till I've > read the several megs of mush awaiting me before responding, lest the > incident slip away into cyberdeath.] One of the pitfalls of commiting a faux pas in cyberspace is that it takes on a life of it's own. Long after the sinner repents, it continues to piss off new readers. So it is with Richard the Elder's remarks to "young Jacob". Many chastised him, and only his closest friends attempted even half hearted support. It got so bad that a few of us started provocative topics just to take the heat off of him. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 3 Jan 1996 16:31:38 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: colletibles To: T-Bone (if he hasn't stopped reading these responses yet): Beasley Books handles some blues autographs, and autographs and other collectibles are sometimes offered in Vintage Jazz and Blues Mart magazine. Both of these are accessible through my web page. And to Blues-L in general: I know the EC guitar string episode was funny and has caused lots of reasonably well deserved sarcasm, but honestly, don't many of you collect records, posters, program books, photographs or other memorobelia. I gather many on here are players themselves and may not get into this area (hopefully people will be collecting your memorobelia some day) but is T-Bone's querry that off-base? Is collecting somehow politically incorrect these days? On the Net? or otherwise? Joel Joel Slotnikoff | BLUES WORLD e-mag Box 21652 | http://www.inlink.com/~joelslot St. Louis, MO 63109 | articles, images, reviews, TEL (314) 647-2447 | 78rpm record auction, blueslinks FAX (314) 647-2497 | Blues & Rhythm: The Gospel Truth, joelslot@inlink.com | Vintage Jazz Mart homepages ========================================================================= Date: Wed, 3 Jan 1996 16:28:21 -0500 Reply-To: Stephanie Manna From: Stephanie Manna Subject: Bobby Blue Bland opening act My artist was asked to open for Bobby Blue Bland on Jan.14, and is unavailable to do the date...I told the club owner I would post the job on BluesL to see if anyone is available that day to open for Mr.Bland. The date is in Tampa,Fl. Email me if you know of an artist available to open the show. Stephanie Manna : bluemoon@usa.pipeline.com ========================================================================= Date: Wed, 3 Jan 1996 16:05:01 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Bent-note blues At 01:58 PM 1/3/96 -0500, Laurie Forti wrote: > > This frequent use of glissando is >characteristic of Blues, Jazz, and Gospel, and Oriental music in >general. Caucasian music plays only the "legitimate" notes, and is >much more rigid, confining, and shallow as a result. > I am not a musician, nor do I have any background in music theory, but: Instead of "Caucasian music", shouldn't we be saying "Western European Music"? Seems to me (and I may be wrong) that Eastern European music uses some approximation of "glissando". Also, does playing only the legitimate notes really make this music more rigid, confining, and shallow? Any more than, say, the basic twelve bar format makes the blues more rigid, confining, and shallow? David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Wed, 3 Jan 1996 16:06:26 -0600 Reply-To: Chris Pearson From: Chris Pearson Subject: Re: Blues/Culture >This reflects the ongoing "discussion" I'm having with my friend (yes, the >one I was on about late last year) about whether you need to know and learn >what Muddy Waters etc. all played. I say you have to be a competent blues >player. There is no choice. She says why should you when other people have >done it for you? I said that's not the point. ALL the great blues players >have had a damn good knowledge of the Blues. They may have settled on a f WHy would all great blues players have a damn good knowledge of the blues? According to many here they are the blues. Whatever they did was the "blues" They were all just copying like everybody else. But I'll bet you never heard one player say to his audience, "I got this from Joe Blow and I think it really sucks and I know ya'll hate it but he was a legend so here it is." >>Stevie Ray said he owed everything to the founders, he pointed people to >>them, not to himself, he reminded people of where the music came from. It >>is that generosity of spirit that made him a bluesman, not his damn guitar >>playing... > So, Don, when is the "generosity of spirit" coming out in a boxed set? I would imagine right after they quit selling books with tablature of every- thing he ever played and videos of all his concerts. And there's the small matter of Fender discontinuing his SRV strat. I suppose when all that happens he'll be remembered for his generosity of spirit. I remember reading an article where he claimed that Bugs Henderson was one of his biggest influences. He said Bugs taught him to play with taste and not play every note he knew in every lead ride. Now Bugs is a killer blues player from my neck of the woods. But not hardly a legend. >Which is why I people who listen to SRV but never really hear his message >aggravate me so. You have to go back. > And finally, why would you allow yourself to become aggravated at people who listen to SRV and simply love his music? Maybe with all this 'angst' you should listen to Nirvana or something. You're taking something as simple, sweet and beautiful as the blues and making it too hard. Chris >Shaun > >Shaun Cronin 'The Blues is what exists between a man and a >shaun@wavenet.com woman.' Son House and John Lee Hooker. > > ========================================================================= Date: Wed, 3 Jan 1996 16:19:44 -0600 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: Bent-note blues Comments: To: davidis@INTERACCESS.COM In-Reply-To: <199601032205.QAA10100@thymaster.interaccess.com> from "David Silberberg" at Jan 3, 96 04:05:01 pm In an earlier message, David Silberberg said: ] Instead of "Caucasian music", shouldn't we be saying "Western European ] Music"? Excellent point, especially since (pedantic mode) "caucasian" really refers to folks from the Caucasus mountains -- inhabitants of Ukraine, Georgia, etc. ;) Seriously, it's one thing to refer to the geographic/cultural roots of music, and another to assign it a color. Look at the number of talented classical musicians who are black; look at the number of white boys who've played with B.B., Muddy, and others. ] Also, does playing only the legitimate notes really make this music more ] rigid, confining, and shallow? Any more than, say, the basic twelve bar ] format makes the blues more rigid, confining, and shallow? I've sure never found Bach or Tchaikovsky to be rigid or shallow... -- * Billy Chambless | billy@cast.msstate.edu | voice: 601-688-7608 * Mississippi State University Center for Air-Sea Technology * To attain knowledge, add something every day. * To attain wisdom, remove something every day. -- Lao-tse ========================================================================= Date: Wed, 3 Jan 1996 17:19:40 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: colletibles Comments: To: joelslot@INLINK.COM On 3 Jan 96, Joel Slotnikoff had this to say... > And to Blues-L in general: I know the EC guitar string episode was funny > and has caused lots of reasonably well deserved sarcasm, but honestly, > don't many of you collect records, posters, program books, photographs or > other memorobelia. I gather many on here are players themselves and may not > get into this area (hopefully people will be collecting your memorobelia > some day) but is T-Bone's > querry that off-base? Is collecting somehow politically incorrect these days? > On the Net? or otherwise? I don't think that people were necessarily getting on T-Bone's case, I just think that a few people seized the opportunity to get one more zinger in there about the guitar string guy. I'd bet we all are collectors in some way, and even have silly (to others) mementos that mean a lot to us. As Joel knows all too well, I just spent a foolish amount of money to buy a Chess 78. All I plan to do with it is mount it in a frame with a poster and stare at it from time to time, when I'm in one of my "I can't believe all the things I missed out on when I was younger" moods. I have a guitar pick that a certain musician handed me that I CARRY IN MY WALLET like it was a baby picture or something. I could go on. We all like to keep stuff that reminds us of a time, a place, an experience. On the other hand, we all like to crack a good joke at somebody else's expense too, when we get the chance. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 3 Jan 1996 22:50:58 GMT Reply-To: Kurt Derbyshire From: Kurt Derbyshire Organization: Queensland Department of Primary Industries Subject: Re: HALL OF FAME-INSTRUM-KEEP MSGS In article , revillaj@CCAIX3.UNICAN.ES says... > >- I'm DJ at a local radio program, and I'm searching for names of *good* *exclusively instrumentals* blues bands.=A8Any sugerences? > Ronnie Earl & the Broadcasters last three albums (Still River, Language Of The Soul and Blues Guitar Virtuoso Live In Europe) are all instrumental. Kurt Derbyshire derbysk@ensis.nth.dpi.qld.gov.au derbysk@cnscrm001.prose.dpi.qld.gov.au ========================================================================= Date: Wed, 3 Jan 1996 14:53:13 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Blues/Culture Comments: To: BLUES-L@BROWNVM.BROWN.EDU. I said previously: >>>Stevie Ray said he owed everything to the founders, he pointed people to >>>them, not to himself, he reminded people of where the music came from. It >>>is that generosity of spirit that made him a bluesman, not his damn guitar >>>playing... Chris Pearson said: >So, Don, when is the "generosity of spirit" coming out in a boxed set? Right after his book on Zen Cooking with Garlic, probably..... As I and others have said before, the public can enjoy the music for any reason they want; thay don't have to understand anything. This list is about the blues community, and we care very much about understanding. The reasons SRV transends his clones are many, but among them are his respect and acquiantence with the greats. Albert King did not let just anyone jam with him, he DID let Stevie... Do you think it was because Stevie was a hot player?? edit edit (stuff about guitars and tab books being sold and discontinued) >I suppose when all that happens >he'll be remembered for his generosity of spirit. I never said he would be remembered for that. Why do you misquote me? I said: "It is that generosity of spirit that made him a bluesman, not his damn guitar playing..." That does not mean I am *predicting what he will be remembered for*, it means I am saying what influences and ideas informed his view of the music, and deeply influenced his playing. It is what helped make his playing emotionally convincing. Hope this clarifies it for you. >I remember reading an article where he claimed that Bugs Henderson was one >of his biggest influences. He said Bugs taught him to play with taste and not >play every note he knew in every lead ride. Now Bugs is a killer blues player >from my neck of the woods. But not hardly a legend. Yeah, and I am influenced by Benny Goodman.... Ever hear of him? Shaun said: >>Which is why I people who listen to SRV but never really hear his message >>aggravate me so. You have to go back. Chris Pearson responded: >And finally, why would you allow yourself to become aggravated at people >who listen to SRV and simply love his music? Because Shaun is a *musician*. You could have learned this if you had asked him, he's a nice chap. Musicians want fans to understand more than simple likes/dislikes and Beavis & Butthead "that sucks" musicology..... How would a classical musician feel if all people would listen to is Yanni??? Wouldn't he want them to pull out some Mozart or Debussy? At least now and then? You bet! So Shaun would love to see some of these SRV fans pull out some Freddie King now and then.... Sounds good to me. >Maybe with all this 'angst' >you should listen to Nirvana or something. You're taking something as >simple, sweet and beautiful as the blues and making it too hard. And maybe with all this somewhat strained cleverness you should listen to Primus.... Pull out your guitar (you DO play don't you??) play a "simple" slow blues solo that makes everyone in the room shiver.... Go ahead, you can do it! Remember it's just "simple, sweet, and beautiful".... What utter bollocks... Remember how many great players have said that "a well played slow blues solo, may be the most difficult piece of music to play on earth".... Oh yeah, Chris, if you don't play, that's fine! But find out who you are talking to before you put them down, ok? Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Wed, 3 Jan 1996 17:03:37 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: Re: TOP CAT RECORDS > From: "timothy (t.b.) bosley" > Upcoming things to watch for: > - will be recording Texas Blues Women (Lady Lotion, Javelin > and a third still to be confirmed) Last I heard, the third was Wanda King, oldest daughter of Freddie King and a dang fine blues singer! I hope they can make that work. Lady Lotion is a daughter of Topcat artist Curly Barefoot Miller. Maybe Richard Chalk can give us an update as things progress. Don O. ========================================================================= Date: Wed, 3 Jan 1996 17:03:43 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: johnny copeland > Excellent Johnny C. CD Jungle Swing out on Verve/Gitanes..recorded > exactly(!) one year ago in NYC Is this out in the U.S. yet or just in Europe? Their U.S releases seem to lag by 6 or 8 months. Don O. ========================================================================= Date: Wed, 3 Jan 1996 18:07:33 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Best Shows of '95 I want anyone out there who has accused me of being a purist to PLEASE NOTE THE ENTRIES ON THIS LIST. Purist what? Only 5 "best of" this year: 1. John Cale (with string quartet and pedal steel guitarist), Howlin' Wolfs in New Orleans no question. One of the 10 best shows I have *ever* seen, without doubt. 2. P-Funk, week prior to Mardi Gras, Tip's in New Orleans The funk mob played 2 nights in a row, a single FIVE HOUR SET each night. I caught the 2nd night, which was amazing. The combination of Tips, New Orleans, a Mardi Gras crowd, and P-Funk has to be seen and heard. They're coming back this year, too (and playing a show that week at SW Louisiana University at which the Dirty Dozens Brass Band and George Porter will open) 3. Irma Thomas at the Lion's Den in New Orleans in June She still has it, absolutely, and has for years been as good a soul singer as there is. This is hearing her in her living room. 4. Al Green's birthday show at Willie Mitchell's club in Memphis in April. 5. R.L. Burnside at Proud Larrys in Oxford that night in the summer sometime-- took my 11 year old son, who stood between the monitors, shook R.L.'s hand (R.L. is, among other things, very cool in greeting kids), and said "THAT WAS SO COOL!!! I'VE GOT TO HAVE AN ELECTRIC GUITAR!!" He does now. Sentiment may weigh just a little in this one, folks. Honorable Mentions: Sonic Youth at the Omni New Daisy in Memphis. Warm up acts among the worst I've ever seen and a crowd that seemed to be one immense black-haired tobacco bonfire prevent this from being a complete favorite Junior Brown at Proud Larrys in Oxford. He ROCKED. Country guitar boogie weirdness. David Lindley at Proud Larrys in Oxford. Not quite as good as his show there in 1994, but still very good. May have been the fault of the crowd, which was not as attentive. The trip to Junior Kimbroughs with the Norweigian blues tourists in August. I didnt get to go to Clarksdale, but this was a pretty good substitute. Dr. John at Memphis in May may have been, but I couldnt deal with the sea of mud to completely appreciate it. And the other time I got to see Irma Thomas this year (in Feb.) and Al Green (in May). Tom Freeland ========================================================================= Date: Wed, 3 Jan 1996 15:37:39 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: 1996 Grammy Nominations The 1996 Grammy Award nominations are being anoounced tomorrow (Thursday) morning at a press conference here in L.A. at 8:45 PST. I am attending this press conference, and will post the nominations in the blues categories, as well as those in other traditional music categories, to this list as soon thereafter as I can. You might start looking for the post after about 10:30 a.m. PST. Mary Katherine ========================================================================= Date: Wed, 3 Jan 1996 19:28:16 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Otis Span question Comments: cc: laurie.forti@INFOEXCH.MIAMI.FL.US Yes, Laurie Forti, I WAS properly castigated by one and all for being snippy (snappy?) with the innocent who asked about Otis Span, and you've done a superlative job of adding to the ugliness, just when everyone else (even me!) had got over it. Anyway, welcome back to the country; I hope you enjoy all the correspondence from Boogie Nation, and I hope you have a lovely new year. May the force of the internet and your superior knowledge be with you. And if you really need a list of books that might include Otis Spann references and might be found in most (many?) libraries, I'll send it along. Meanwhile, it's interesting to note that the person who started all this (I think his name was Noah) has never been heard from again. Either I frightened him away - surely he wasn't THAT sensitive? - or his query was, as I suspected, was as carelessly made as was his spelling. Okay, campers, can we forget this now, and go back to being nice to each other? Love to y'all in the spirit of what we all hope will be a better year. Richard the Elder (a.k.a. Richard the Agressive) ========================================================================= Date: Wed, 3 Jan 1996 19:50:24 -0500 Reply-To: Mike Coch From: Mike Coch Subject: Son House recommendations Who's got any? ========================================================================= Date: Wed, 3 Jan 1996 20:11:45 -0500 Reply-To: "Daryl F. Bernard" From: "Daryl F. Bernard" Subject: Re: colletibles Comments: To: Joel Slotnikoff In-Reply-To: <199601032118.PAA08711@vulcan.inlink.com> In response to Joel's question, I must 'fess up. I've been carrying this baggage of (slight) guilt since last summer. I guess I just need a few folks to say what I did was OK. Here goes... Went to a local blues festival at an area park last August where my *favorite* blues man (as I've said before!) Larry McCray was headlining (the show also included locals TNT Blues Band and Blues Controversy along with Popa Chubby). During Popa Chubby's set I ran into a couple long-time friends who are good pals with Larry and have been saying they were going to introduce me to him...So Jo said "hey do you wanna meet Larry" and I said "sure" so we headed to the back-off stage area. A cop stopped us but Jo and Sam said we were with Larry or whatever and soon we were back there with his band and (large!) family. Well, I got to meet Larry (what a VERY nice man) and we talked for several minutes and then some other folks started to talk to Larry so we were just standing there, and I happened to notice on the ground about 15 feet away what appeared to be a backstage pass on the ground. So I kind of moseyed (sp?) over and nonchalantly bent over, picked it up and slid it into my pocket, thinking to myself "I might be able to use this later...cool!" So anyway, went back over, talked to Larry a bit more, and then headed back out to the concert area. After a bit I went into one of the port-o-jons and pulled the pass out of my pocket, and was I surprised to find out that the pass belonged to none other than Larry himself, having been signed by him like all the others were signed by their wearer. Well, at first I thought of heading back and returning it to him, but then I figured what the hell does HE need it for? He's headlining this show in his hometown, he certainly doesn't need a backstage pass, and this would make an excellent momento of a great concert by my favorite blues men. So I stuck it back into my pocket. Today it hangs in my CD cabinet, and to this day I wonder if I should have returned it to him. Maybe next time I see him I'll let him know where his pass dissapeared to! "Freedom is just another word for nothin' left to lose" as sung by Janis Daryl On Wed, 3 Jan 1996, Joel Slotnikoff wrote: > > And to Blues-L in general: I know the EC guitar string episode was funny > and has caused lots of reasonably well deserved sarcasm, but honestly, > don't many of you collect records, posters, program books, photographs or > other memorobelia. Is collecting somehow politically incorrect these days? > On the Net? or otherwise? > > Joel ========================================================================= Date: Wed, 3 Jan 1996 20:42:01 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Non-Blues favorites I've been away for Christmas...I'm not sure what started this topic...BUT, has anybody visited the web page called Similarities Engine? It's http://www.webcom.com/~se You type in the titles and artists of your five favorite albums and in a day or two they e-mail you a list of other albums you might like. So--I typed in Little Walter, Muddy Waters, Jimmy Rogers, Louis Myers, and Big Joe Williams. They recommended Metallica, Peter Gabriel, Pink Floyd, and Jane's Addiction. Where's the logic here? A little closer-to-the-target recommendations were John Coltrane, Miles Davis, Jimi Hendrix, and the Rolling Stones' Sticky Fingers (actually my favorite Stones album). I don't recall there being a blues artist on the list. Karen ========================================================================= Date: Wed, 3 Jan 1996 20:36:00 PST Reply-To: Meridith Farnworth From: Meridith Farnworth Subject: Re: Best Shows of '95 hhhhmmmm, trying to think back.... In the first place, I can assure you all that I didn't see a BAD show all year! But if I were backed into a corner to narrow down the selections... 1. most definitely Kenny Neal at the Wellfleet Beachcomber...just a little place, right on the ocean here on Cape Cod, which is usually a Blues Wasteland!! There were only 50...ok, MAYBE 75 people there. That band cooked! 2. the whole Beale Street festival (can i say that?), the high points of which were Rufus Thomas and (of course ;-)) Saffire 3. Hubert Sumlin, Billy Boy Arnold, Calvin Jones, Willie Smith and Dave Maxwell at HoB Cambridge...where, I might add those fellows had the extreme pleasure of meeting *me*....er, um...I mean I had the extreme pleasure of meeting them... 4. naturally, I have to mention the multiple times I was lucky enough to spend the evening with Greg Piccolo and Heavy Juice...shameless plugs for my pals, but a good time is guaranteed! ok, that would be my top four.... --Meri mfarn@fibusa.com ========================================================================= Date: Wed, 3 Jan 1996 18:23:43 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Article of interest to blues fans Comments: To: Jonny Meister Jonny Meister wrote: > >Mary Katherine, > >Can you e-mail me the address for Mojo? (I hope they have an e-mail address too.) I cannot locate it anywhere here, and I am sure the article about Stagger Lee will soon be gone. As this is the fifth or sixth request I have had for this info I am doing what I should have done in the first place, posting it to the list. Here is the address & etc. for Mojo magazine. They do *not* seem to have an email address; none is listed in the staff box. Mojo Magazine Mappin House 4 Winsley Street London W1N 7AR England Telephone 0171 436-1515 Fax 0171 637-4925 Reminder, the issue in question is January 1996. Mary Katherine ========================================================================= Date: Wed, 3 Jan 1996 20:32:54 -0600 Reply-To: Keith Castleberry From: Keith Castleberry Subject: Re : non Blues favorites OK, for my first answer to the Blues-L (help me out if I make mistakes, here) : Non-Blues Favorites from LA (lower Alabama) ALL TIME FAVORITES : Marshall Tucker Band Poco Blues Rodeo Jayhawks Grand Funk Railroad (yes, I did say Grand Funk) Chris Hillman (anything, any band he is in.) Also, for reference, I host a blues show on the local station, WYDH 105.9 FM (The Blues Cruise). I just wanted to put in my two bits here to say how much I have enjoyed reading notes from all ya'll on the blues. Lets spread the word. Thanks, Keith Castleberry ========================================================================= Date: Wed, 3 Jan 1996 18:43:52 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Favorite live shows of 1995 I was on the road a lot this year, meaning I saw a lot of good music elsewhere and missed a lot of good shows here in town. A few of my favorites, and not all are blues: Irma Thomas at the Lion's Den in New Orleans. She was stunning, sang her heart out to a crowd of (by actual count) twelve people. Junior Brown at Proud Larry's in Oxford, MS. Lots of fun, a terrific showman and a guitarist with a sense of humor. The Blues Heaven Foundation Tribute to Willie Dixon. This one was here in L.A., and if truth be told the soundcheck in the afternoon was as good as the show that night and a lot looser. Robert Lockwood, Little Milton, Kenny Neal (playing a lap steel), John Hammond, Keb' Mo' and Cash McCall were just a few of the many great performers I saw all in one day/night. Jeff Davis at a showcase at the Folk Alliance Festival in Portland. A traditional singer with a vast repertoire, and a skilled banjo, concertina and guitar player; I sat on the floor (my bones were creaking, but as Jeff pointed out, at least they were creaking in the right key) and greatly enjoyed every minute. At another showcase at the same conference I saw Kate Brislin and Jody Stecher perform old time tunes, country songs, folk music and bluegrass. They are just superb. Ralph Stanley & The Clinch Mountain Boys at McCabe's here in town. This stuff sends chills up my spine. Pure mountain music, the loneliest sound in the world. Ralph had a busted paw or something, so he was carrying a banjo player instead of playing himself, but it was still a great show. I'm going to see him again in about a month. Can't wait. Debashish Battacharya and Subhankar Bannerjee at UCLA. Incredible young Hindustani slide guitar player, uses a custom built guitar with 28 strings (only 9 of which he actually plays--the rest as sympathetic strings, like those on a sitar, which resound in harmony when the main strings are touched) and a tabla virtuoso. They seemed to read each other's minds. Most of the concert was classical Indian music, although I may have been one of only two people in the room who noticed when he inserted eight bars of "Sleepwalk" into the middle of a raga... A few other great live music moments; I can't actually remember whether these were 95 or 94 but no matter. The Tuvan Throat Singers. They played a free concert at the same park in Pasadena where the Rose Parade floats are parked for post-parade viewing. Truly awesome vocal ability; they can sing more than one note at a time. To hear one man stand alone on the stage and sing first two notes and then THREE notes at the same time (in harmony with himself) is scary. I kept looking for the guy hidden behind the curtain, but no. They have recordings out, but of course it's always less impressive to hear such things on a record because one constantly thinks of recording studio "tricks" and there were obviously none when I saw them live. Joe Louis Walker. What a knockout live performer he is. Saw him a couple times this past year and he was always right on. This is too long already. Time to stop. Mary Katherine ========================================================================= Date: Wed, 3 Jan 1996 21:49:57 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Non-Blues favorites Comments: To: JukeFreak@aol.com the similarities engine (and its weird results) were a running joke on the Richard Thompson mailing list last fall. One thing that we learned is that the engine (which adjusts itself based on prior queries) is really sensitive-- after a while, we could see responses to the posts that had been made from R-Thompson. Or perhaps there were not too many folks out there sending Fairport Convention albums to that web page. Tom Freeland ========================================================================= Date: Wed, 3 Jan 1996 22:08:00 CST Reply-To: topcat@COMPUTEK.NET From: "" Subject: Re: Top Cat Records Comments: To: Art Schuna THIS IS TO OFICIALLY NOTIFY THE WHOLE WORLD THAT TOPCAT RECORDS IS NOT OUT OF BUSINESS! We will release over the next year more unreleased Freddie King from shows he did in New Jersey and New York in 1974, unreleased Muddy Waters, Big Mama Thornton, Big Joe Turner, J.B. Hutto and George "Harmonica" Smith from a road show they did together in 1971. VERY good stuff. Great sound quality. Recorded on the state-of-the-art (at the time, 1971) MCA recording truck. 8 track fully mixable. We will also release a record entitled "Texas Blueswomen" with 3 BIG singers from north Texas. We also look to release a record or two of blues artists relatively unknown outside of Texas, but great nonetheless. So, PLEASE SPREAD THE WORD. TopCat Records is NOT, repeat NOT, out of business. Thanks very much and Keep Them Blues Alive 'n Kickin'!!! Richard Chalk TopCat Records Message from Art Schuna... To: Multiple recipients of list BLUES-L I read in the latest Goldmine that Black Top purchased the Top Cat Record masters. Does that mean Top Cat's out of business? That would be too bad if it's true. They were turning out some really nice Texas blues releases. I tried buying the Freddie King live CD from several sources without any luck. The article mentioned that Black Top will be releasing some live Freddie from the Top Cat masters in the next year or so. Hope they get to it soon! Art Schuna <---- End Included Message ----> ========================================================================= Date: Wed, 3 Jan 1996 19:59:15 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Bent-note blues Caucasian music plays only the "legitimate" notes, and is >much more rigid, confining, and shallow as a result. Huh??? Celtic music is shallow? The Bulgarian Women's Choir is shallow? Get a grip! [Wonder if those folks who insist on calling various other things "slides" will now coin the term: 'slide piano' to confuse things more??] Geez, really stuck on this slide thing, aren't we! It's only been several months since that topic came and went! -Jim (who's been known to play slide guitar with a lighter when his glass slide isn't handy). ========================================================================= Date: Wed, 3 Jan 1996 20:34:11 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Blues/Culture First of all, I would like to thank Don for sort of 'replying on my behalf'. He pretty much said all that I would. But that's never stopped me before (thanks mate). Chris said: >WHy would all great blues players have a damn good knowledge of the blues? >According to many here they are the blues. Whatever they did was the "blues" >They were all just copying like everybody else. But I'll bet you never >heard one player say to his audience, "I got this from Joe Blow and I think >it really sucks and I know ya'll hate it but he was a legend so here it is." I bet you never will either. Some blues artists were originals. The founding fathers if you like. But the ones who came after knew that. Muddy Waters started off as a player of Delta Style blues. He had to learn that form somewhere. Soon he was in Chicago and things were never the same. BB King has an encyclopedic knowledge of the blues. Of what came before him and what has happened since. Buudy Guy knows a hell of a lot about the blues. A lot more than most people realize. He knows his roots. Sure, all these guys started copying someone early on. But they soon developed their own style and extended the form. I can't think of a decent blues artist who didn't have a damn good knowledge of the music. You may not like everyone but to call yourself a blues player and yet not be able to recognize a Muddy Wayers tune when you hear it is just not on. >>Which is why I people who listen to SRV but never really hear his message >>aggravate me so. You have to go back. >> >And finally, why would you allow yourself to become aggravated at people >who listen to SRV and simply love his music? Maybe with all this 'angst' >you should listen to Nirvana or something. You're taking something as >simple, sweet and beautiful as the blues and making it too hard. >Chris I have no problems with people who love SRV and his music. I love SRV to death. The problems I have are the people who think that SRV is the be all and end all of blues. The clones who cop his stuff, never extend the style, who never listen to his message and then claim they play the blues. He was great but he wasn't the greatest. BTW, for 'angst'as much as Nirvana wrote great songs, Husker Du are much better listening when you are in the angst frame of mind. Actually, a good rollicking Hound Dog Taylor album helps as well. And Don helped out with: >>And finally, why would you allow yourself to become aggravated at people >>who listen to SRV and simply love his music? >Because Shaun is a *musician*. You could have learned this if you had >asked him, he's a nice chap. Musicians want fans to understand more than >simple likes/dislikes and Beavis & Butthead "that sucks" musicology..... I agree. Especially the 'nice chap' bit :-). Seriously, how non-musicians react to music is frustrating. Rejecting something because it's not fashionable, it's enjoyed by a certain group of a population therefore I must not like it (or like it if it's trendy) is, dare I say it, immature. There is a lot of good music out there. Whether it be blues, rap, jazz, pop, country etc. I never listen/not listen to music because of trends, demographics or what radio or MTV tells me. It if like it then that's all I need to know. The other side is that musicians tend to get caught up in the techinical aspect of music. A good example is "How can you listen to that?!? It's sloppy, out of tune and only three chords. How?!?" This reflects a few people attitude towards stuff like Hound Dog Taylor, Lefty Dizz etc. The point is that while the the arguments may be true, the music transcends those points entirely. It's the soul at the end. >Remember how many great players have said that "a well played slow blues >solo, may be the most difficult piece of music to play on earth".... Hear, hear. BTW, Chris. I hope to post some cool chord progression by the end of the week. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Wed, 3 Jan 1996 20:34:22 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Son House recommendations Mike wrote: >Who's got any? Personally, anything. I think that the two most common recordings are the recently re-release by Capital (?) of a 1970 London concert and the 1964 (?) recordings he made for Columbia. Both are excellent IMHO. I also have the "Complete Library of Congress Sessions 1941-1942" from Travelin' Man (An english company) and "The Oberlin College Concert" which is on King Bee records. The Oberlin concert also features an introduction by some guy called Dick Waterman. Whoever he is. :-) :-) :-) It's all amazing stuff. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 4 Jan 1996 00:12:38 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Jinx takes the blame . . . Jinx wrote: > Bob had suggested a price of four or five dollars but I told him that I feel > that this is a great opportunity to come together as a musical community and > raise some bucks for a worthy cause. So I told him that I feel that $10.00 > was not out of line considering that it is a limited quantity of high quality > music. > (I figure that Cathi Norton is probably worth nine bucks all by herself.) > So Jinx takes the blame for advising Bob that Blues-L members will forgive > his initial pricing and agree to $10.00 with ALL of the profits being set > aside for a specific charity to be determined later. I absolutely agree with Dick on this. I would pay $10 for the tape anyway -- and will do so even more eagerly if the excess money goes to the R&B Foundation or some comparable organization. Raise the price, Bob! Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Thu, 4 Jan 1996 00:12:38 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: BluesBytes for charity > BluesBytes should be ready for mailing next week....so... > > Who would you like to see be the recipient of bluezellers generosity? The Rhythm & Blues Foundation gets money into the hands of LIVING R&B veterans who need it. I'll support giving money to them. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Wed, 3 Jan 1996 14:03:37 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Blues Calendar Giveaway Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I received two copies of the 1996 Blues calendar (the one put together by Steven Lavere, mostly with his photos) for Hanukah. I'd like to give one to some lucky blueseller. I put together a blues quiz. If you want the calendar, you have until this Friday (Jan. 5) to answer as many questions as possible. Please respond directly to me, not to the list. Any answers to the list will be ignored and the poster will be disqualified. Whoever gets the most right wins. If there is a tie I will put together some tie breaking questions. Good luck! -Steve 1. Who wrote "Hit The Road, Jack"? 2. What spiritual is Willie Dixon s "My Babe" based on? 3. Name three famous blues guitarists who started out on harmonica. 4. What instruments did Jesse "The Lone Cat" Fuller play? 5. Who was Lightnin Hopkins harmonica playing cousin? 6. Which Walter Horton instrumental is considered to be one of the best amplified blues harp instrumentals, and what song was it based on? 7. What was Professor Longhair s real name? 8. Who played second guitar on the original version of Otis Rush s "All Your Love (I Miss Loving)"? 9. What Skip James song was covered by Cream? 10. Who wrote"It Hurts Me Too"? ========================================================================= Date: Wed, 3 Jan 1996 21:57:12 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Re: Best Shows of '95 Here are my six favorite performances for 1995 and a few honorable mentions: 1. BOOKER AND BLACK - This was a multimedia event at the New Orleans Contemporary Arts Center and a tribute to pianist James Booker and jazz drummer James Black -- maybe the most poignant show I ever attended. The tribute was in two parts: the first to James Booker and the second to James Black. Musical performers were Leigh Harris, Larry Sieberth, Troy Davis, Tony Dagradi, Mary Bonnette, and James Singleton. Ron Cuccia delivered one poetry reading in each part. The Booker segment was moving, but the tribute to James Black was spellbinding. The ending was an especially touching composition by bassist James Singleton called Black Leaves. Drummer Troy Davis provided the drive, then left the stage after leaving a velvet sizzle on the cymbals -- an ending to an evening I'll never forget. 2. LUTHER ALLISON at the Baton Rouge Blues Festival. It's all true; he is more powerful than a locomotive. I lost about ten pounds just watching him work -- a non-stop, riveting performance. 3. R. L. BURNSIDE at the New Orleans Jazz and Heritage Festival. This was my first brush with R.L. Burnside. He played under one of the tents at the fairgrounds -- I'd swear it was swaying; everyone under it was. This was like a flashback to the time I saw Muddy Waters. Once again, I was in the presence of greatness. 4. BOOKER T. AND THE MGs at the New Orleans Jazz and Heritage Festival (night concert). The records don't begin to capture the essence of this ensemble. I had wanted to see these guys for years -- hope they come back this year, but either by themselves or billed with someone other than Gladys Knight (in what seemed like a Vegas Revue -- one giant medley). 5. ROBERT LOCKWOOD JR. at the King Biscuit Blues Festival in Helena, Arkansas. Just the supporting cast would have made this performance at least an honorable mention. The band could have played anything. And the presence of Lockwood and the setting on the flanks of the Mississippi Delta and Crowley's Ridge added that special magic. A wonderfully understated performance. 6. THERESA ANDERSON at the New Orleans Jazz and Heritage Festival. One of the most pleasant surprises of Jazzfest. I knew she looked great, and I knew how well her voice complemented Anders Osborne's, but I didn't anticipate her performance as a jazz singer to be so captivating. And she had the foresight to surround herself with some of the city's best musician's, each of whom complemented one another (The fit of her sun dress added something to her performance as well). Honorable mention: Anders Osborne and the Subdudes at Tipitina's during the first weekend of Jazzfest, Long John Hunter at the Baton Rouge Blues Festival, Otis Clay at the King Biscuit Blues Festival in Helena, Snooks Eaglin at Bugsy's in New Orleans, Dr. John at HOB benefit for Children's Hospital in New Orleans, and Leo Aspiras who gave the best performance by a blues-ler when he sat in on bass at the Old Opera House on Bourbon Street for a rendition of SISSY STRUT. Bill From: The Big Easy ========================================================================= Date: Thu, 4 Jan 1996 00:54:42 -0500 Reply-To: Orange2@GNN.COM From: Somei Louie Subject: Re: Non-Blues favorites Comments: To: JukeFreak@AOL.COM These non-blues artists I automatically buy: Lou Reed Warren Zevon Neil Young Junior Brown John Hiatt Mason Ruffner Dave Edmunds Webb Wilder (The idol of idle youth) Larry McMurtrey Steve Stills Richard X. Heyman >X-State: 3 >X-Total-length: 2109 >Received: from listserv.brown.edu (listserv.brown.edu [128.148.128.155]) by > mail-e1b.gnn.com(8.7.1/8.6.9) with SMTP id UAA28164 for > ; Wed, 3 Jan 199620:45:34 -0500 (EST) >Received: from stanley.cis.Brown.EDU (stanley.cis.brown.edu > [128.148.128.155]) bylistserv.brown.edu (8.6.10/8.6.10) with SMTP id > UAA15893; Wed, 3 Jan 1996 20:42:51 -0500 >Received: from BROWNVM.BROWN.EDU by BROWNVM.BROWN.EDU (LISTSERVrelease > 1.8b) > with NJE id 9805 for BLUES-L@BROWNVM.BROWN.EDU; Wed, 3 Jan 1996 > 20:39:52 -0500 >Received: from BROWNVM (NJE origin SMTP@BROWNVM) byBROWNVM.BROWN.EDU (LMail > V1.2a/1.8a) with BSMTP id 8611; Wed, 3 Jan 1996 20:39:52 -0500 >Received: from emout04.mail.aol.com by BROWNVM.brown.edu (IBM VM SMTP V2R2) > with TCP; Wed, 03 Jan 96 20:39:51 EST >Received: by emout04.mail.aol.com (8.6.12/8.6.12) id UAA02328 for > BLUES-L@brownvm.brown.edu; Wed, 3 Jan 1996 20:42:01 -0500 >X-UIDL: 820731030.000 >Message-ID: <960103204201_105809306@emout04.mail.aol.com> >Date: Wed, 3 Jan 1996 20:42:01 -0500 >Reply-To: JukeFreak@AOL.COM >Sender: Blues Music List >From: Karen Hanson >Subject: Re: Non-Blues favorites >To: Multiple recipients of list BLUES-L > >I've been away for Christmas...I'm not sure what started this topic...BUT, >has anybody visited the web page called Similarities Engine? It's >http://www.webcom.com/~se You type in the titles and artists of your five >favorite albums and in a day or two they e-mail you a list of other albums >you might like. So--I typed in Little Walter, Muddy Waters, Jimmy Rogers, >Louis Myers, and Big Joe Williams. They recommended Metallica, Peter >Gabriel, Pink Floyd, and Jane's Addiction. Where's the logic here? A litt >le >closer-to-the-target recommendations were John Coltrane, Miles Davis, Jimi >Hendrix, and the Rolling Stones' Sticky Fingers (actually my favorite > Stones >album). I don't recall there being a blues artist on the list. > >Karen Orange2@gnn.com ========================================================================= Date: Thu, 4 Jan 1996 01:08:44 EST Reply-To: Joseph Leichter From: Joseph Leichter Subject: Re: Top Cat Records I've also been trying to get in contact with topcat..but to no avail...I heard a rumor that they released live Freddie tapes from his NYC appearancces in 73 or 74..is this true...???ld any ========================================================================= Date: Wed, 3 Jan 1996 23:26:02 -0700 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: colletibles Comments: To: Joel Slotnikoff In-Reply-To: <199601032118.PAA08711@vulcan.inlink.com> As one who made a rude remark to T-Bone, I am sorry. I did not mean to offend you. You just missed a very humorous thread (IMHO) regarding the sacred relic that was offered for sale a short while ago. I, too, support collecting. A while ago I picked up a couple lps including Mink DeVille's "Sportin' Life". So, yeah, I go out on a limb for my fetishes. I mean, I am carrying around crates of lps, even going so far as to buy a new turntable, that are probably certifed aniques. But, I laugh at myself, too. Welcome to Blues-L, T-Bone. (If EC broke as many strings as John Hammond, they wouldn't be worth so much.) Jay Watterworth CU Boulder On Wed, 3 Jan 1996, Joel Slotnikoff wrote: > To: T-Bone (if he hasn't stopped reading these responses yet): Beasley > Books handles some blues autographs, and autographs and other collectibles > are > sometimes offered in Vintage Jazz and Blues Mart magazine. Both of these > are accessible through my web page. > > And to Blues-L in general: I know the EC guitar string episode was funny > and has caused lots of reasonably well deserved sarcasm, but honestly, > don't many of you collect records, posters, program books, photographs or > other memorobelia. I gather many on here are players themselves and may not > get into this area (hopefully people will be collecting your memorobelia > some day) but is T-Bone's > querry that off-base? Is collecting somehow politically incorrect these days? > On the Net? or otherwise? > > Joel > > > Joel Slotnikoff | BLUES WORLD e-mag > Box 21652 | http://www.inlink.com/~joelslot > St. Louis, MO 63109 | articles, images, reviews, > TEL (314) 647-2447 | 78rpm record auction, blueslinks > FAX (314) 647-2497 | Blues & Rhythm: The Gospel Truth, > joelslot@inlink.com | Vintage Jazz Mart homepages > ========================================================================= Date: Wed, 3 Jan 1996 23:00:04 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Speaking of Gospel music... Good to see gospel get a mention or two on the list lately! I picked up a couple of Various Artists gospel compilations over the weekend, and I absolutely love 'em and recommend them to all bluezellers who haven't got much gospel in their collection. 1. The Gospel Sound (Columbia 1994) - This includes some amazing tracks by Blind Willie Johnson, who ranks at or near the top of my list of country blues/gospel originals - Motherless Children, Let your Light Shine on Me, Nobody's fault but mine, and If I had my Way - classics one and all! Powerful voice, great guitar, excellent lyrics, chilling and touching heartfelt music! It also includes several tracks by Mahalia Jackson (causing open-mouthed wonder and chills), the Staple Singers, and my new favorite song of all time - Said I Wasn't Gonna Tell Nobody by the Abyssinian Baptist Gospel Choir - if this one doesn't give you shivers up and down your spine you gotta get yourself checked (I wish the organist at our church would give this one a few listens every Sunday morning to get himself psyched up before the service!) This is a double cd set, and I highly recommend it.Highly! 2. Gospel At Newport (Vanguard 1995) - This one's produced and annotated by someone named Mary Katherine Aldin. It includes tracks by more well-known gospel groups like the Swan Silvertones, the Dixie Hummingbirds, and the Staple(s) Singers (what is it, the Staples or the Staple???), as well as an excellent version of John The Revelator by Son House, Samson and Delilah by Rev.Gary Davis, and some more obscure (to me anyway) artists like Bessie Jones and Janie Hunter, and a very strange track by Joseph Spence, a Bahamian guitarist who kind of growls his way through songs. Has anyone heard anything else by him? This is the first I've heard, and it sounds, well, interesting... All in all, this is an excellent release, and another one I recommend! -Jim (hndful@uniserve.com) ========================================================================= Date: Thu, 4 Jan 1996 08:23:13 GMT Reply-To: marc@az.vub.ac.be From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: 29 Ways Comments: To: bit-listserv-blues-l@Belgium.EU.net Last night, I listened again to one of my 'almost-non-blues' favourites, Marc Cohn, and stood still at his IMHO very good interpretation of Willie Dixon's '29 ways'. Who else did ever cover this song ? embee. ========================================================================= Date: Thu, 4 Jan 1996 12:23:46 +0200 Reply-To: T P Uschanov From: T P Uschanov Subject: Re: 29 Ways Comments: To: marc@aznet1.vub.ac.be In-Reply-To: <4cg2ph$ppd@rc1.vub.ac.be> On Thu, 4 Jan 1996, marc borms wrote: > Last night, I listened again to one of my 'almost-non-blues' favourites, > Marc Cohn, and stood still at his IMHO very good interpretation > of Willie Dixon's '29 ways'. > > Who else did ever cover this song ? Margie Evans, at least. T P Uschanov (Mr), University of Helsinki, Finland, European Union. tuschano@cc.helsinki.fi ---- http://www.helsinki.fi/~tuschano/ "Property is theft." (Pierre-Joseph Proudhon) ========================================================================= Date: Thu, 4 Jan 1996 01:52:15 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Subject: Re: Chord progressions MIDI.... WAS my principal method for working out arrangements for = practice.....it has since become my LIVE backup band. Guitarist, Martin = Pugh, formerly of Steamhammer and Armegeddon, Rod Stewart, etc., has = been my constant performing companion for almost two years. We use = Cakewalk Pro for Windows in an IBM ThinkPad 486/33 with a KEY interface, = U220, Spectrum Bass, and Sound Canvas. =20 We have used this system at clubs, restaurants, festivals, (hey wait a = minute....we havn't done TV), well just about everything else, and the = most common comment is: "How do you do that?" It is a kick... Stan (and his .02)=20 ---------- From: PARRISHR[SMTP:PARRISHR@VITRO.COM] Sent: Wednesday, January 03, 1996 11:38 AM To: Multiple recipients of list BLUES-L Subject: Re: Chord progressions MIDI is a godsend. I was quite privileged to have the opportunity = to assist my jazz bassist/composer friend Jim Pratt as recording = engineer for his first CD (and my first recording credit) about three years ago. We used a MIDI setup on a Macintosh. I don't remember what = the software was called, but it had a really neat GUI that looked a lot like my TASCAM PORTA1 control panel. I've heard MusicQuest is the best MIDI interface for guitar, but I haven't tried it. I would recommend trying several different MIDI packages to find what's compatible with your musical needs and your hardware. ______________________________ Reply Separator = _________________________________ Subject: Chord progressions Author: Laurie Forti at Internet Date: 1/3/96 1:58 PM Ch> Maybe someday Ruth will teach us all how to record on our Ch> computers and send it in a file. Fortunately, we don't have to wait for Ruth. It's called MIDI (Musical Instrument Digital Interface) and for about $150 you get a card to insert in your computer that will interface your keyboard (or other MIDI instrument) to your computer and not only let you record and send musical files, but compose, edit, transpose keys, change timing, add tracks with different instruments, and even print out in standard notation. Voyetra 1(800)233-9377 and Music Quest 1(214)881-7408, among others, make these things and MQ has one that attaches to the parallel printer port of your laptop for easy use at gigs. You also can get MIDIScan, $299, from Musitek 1(800)676-8055 that, with a scanner, will scan sheet music into MIDI files for playback, editing, printing, etc. PianoScan, for $99, "is designed for piano, solo, and duet scores (up to 2 staves/system)." ... "Aren't we all following the same path of destruction?" seaQuest = DSV --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Thu, 4 Jan 1996 12:28:24 +0200 Reply-To: T P Uschanov From: T P Uschanov Subject: Re: collectibles Comments: To: Chris Pearson In-Reply-To: <199601031847.MAA03436@longview.rapidramp.com> On Wed, 3 Jan 1996, Chris Pearson wrote: > T-bone, do yourself a favor. Look elswhere. You'll get nothin but smartass > remarks here concerning memorabilia etc. I dissent. At least _my_ remark wasn't like that. T P Uschanov (Mr), University of Helsinki, Finland, European Union. tuschano@cc.helsinki.fi ---- http://www.helsinki.fi/~tuschano/ "Property is theft." (Pierre-Joseph Proudhon) ========================================================================= Date: Thu, 4 Jan 1996 12:36:37 +0200 Reply-To: T P Uschanov From: T P Uschanov Subject: Re: collectibles In-Reply-To: On Thu, 4 Jan 1996, T P Uschanov wrote: > On Wed, 3 Jan 1996, Chris Pearson wrote: > > T-bone, do yourself a favor. Look elswhere. You'll get nothin but smartass > > remarks here concerning memorabilia etc. > > I dissent. At least _my_ remark wasn't like that. And before I get commented, let me add that I'm not implying all the others were... T P Uschanov (Mr), University of Helsinki, Finland, European Union. tuschano@cc.helsinki.fi ---- http://www.helsinki.fi/~tuschano/ "Property is theft." (Pierre-Joseph Proudhon) ========================================================================= Date: Thu, 4 Jan 1996 10:50:57 +0000 Reply-To: ROBERT FORD From: ROBERT FORD Subject: Re: 29 Ways Comments: To: marc@aznet1.vub.ac.be In-Reply-To: Your message of "Thu, 04 Jan 1996 08:23:13 GMT." <4cg2ph$ppd@rc1.vub.ac.be> In message <4cg2ph$ppd@rc1.vub.ac.be>, marc borms writes: > Last night, I listened again to one of my 'almost-non-blues' favourites, > Marc Cohn, and stood still at his IMHO very good interpretation > of Willie Dixon's '29 ways'. > > Who else did ever cover this song ? > > > embee. There's a version on King Biscuit Boy (Richard Newell) 'Gooduns released on Paramount in 1971 Rob. ========================================================================= Date: Thu, 4 Jan 1996 06:09:23 EST Reply-To: "CATHI N." From: "CATHI N." Subject: Bluesbytes Hi y'all. I 'preciate Unger's efforts on bluesbytes...he always seems to be contributing something nice to the list (first t-shirt designs, now tapes, then....????). Thank you Bob for all you do. As for Waterman's suggestion of a $10 price-tag ("I figure Cathi Norton is probably worth nine bucks all by herself.") -- oh, the pressure. I'll get him back. Cathi N. ========================================================================= Date: Thu, 4 Jan 1996 11:25:47 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Top Cat Records In-Reply-To: On Thu, 4 Jan 1996, Joseph Leichter wrote: > I've also been trying to get in contact with topcat..but to no avail...I > heard a rumor that they released live Freddie tapes from his NYC appearancces > in 73 or 74..is this true...???ld any > TOPCAT RECORDS, P. O. BOX 670234, DALLAS, TX 75367-0234 tel/fax: (214) 484-4141 e-mail: topcat@computek.net www: http://www.computek.net/topcat www: http://www.texasblues.com/topcat phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [4/1/96 6:09 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 4 Jan 1996 11:28:51 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: 29 Ways In-Reply-To: <4cg2ph$ppd@rc1.vub.ac.be> On Thu, 4 Jan 1996, marc borms wrote: > Last night, I listened again to one of my 'almost-non-blues' favourites, > Marc Cohn, and stood still at his IMHO very good interpretation > of Willie Dixon's '29 ways'. > > Who else did ever cover this song ? > > > embee. > Johnny Littlejohn on " When Your Best Friend Turns Their Back On You" for one anyway. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [4/1/96 6:09 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 4 Jan 1996 11:32:20 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Luther Allison Can anybody tell me about a LA CD called "A Time"? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [4/1/96 6:31 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 4 Jan 1996 07:08:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: 1996 Grammies-Taken Seriously? Just wondering further to Mary Katherine's kind posting: how seriously or unseriously do people who make some or all of their living recording/performing/producing blues records take blues grammies? The grammies overall have been reviled since their wacky inception as loopy, hopelessly commercial, unrepresentative, and in a general way, stupid. I wonder if it is any different for certain individual categories, the blues being the case in point. Not knowing, I can imagine that some categories might be more informed than others. And overall the grammies might have gotten better in recent years (and what vast room indeed they would have had for improvement!); I long ago dismissed the whole thing so I wouldn't know. On the other hand, one could imagine that it might not be important if the Grammies are smart or dumb, they could be very dumb indeed but still be quite important to the performers/labels/producer-type folks. Which is it, I wonder, and/or what other thoughts might you have on this, gentle bluezellers? Thanks for your thoughts! Joe in Freezing Moscow J.E._Downey@bakermck.com "It was NINE BELOW ZERO!!! And she put me down for another man!" M. Morganfield ========================================================================= Date: Tue, 2 Jan 1996 10:55:58 EST Reply-To: lugao@INFOSERV.AX.APC.ORG From: lugao@INFOSERV.AX.APC.ORG Organization: InfoServe BBS Ltda. Subject: Music Hello, i`m Ricardo from Brazil, and i love Blues. I play guitar and i would like , you send me files of blues.(music with chords and notes). I would like a lot! If you need something about my country, you can send me a mail. Thanks, Ricardo Lugao. ========================================================================= Date: Thu, 4 Jan 1996 07:48:43 -0500 Reply-To: "Abe W. Mathews" From: "Abe W. Mathews" Subject: Re: colletibles In-Reply-To: <199601032223.RAA21794@osceola.gate.net> from "P.W. Fenton" at Jan 3, 96 05:19:40 pm P-Dub wrote: > I have a guitar pick that a certain musician > handed me that I CARRY IN MY WALLET like it was a baby picture or > something. You still carrying that pick I gave you around? Geez, P.W., give it up! It's only a Fender Medium, and I only used it to play "Tore Down" (written by the great Eric Clapton) once! Can I have my pick back? :) > On the other hand, we all like to crack a good joke at somebody else's > expense too, when we get the chance. You're right! I feel much better now, thanks. Abe awmathew@mtu.edu ========================================================================= Date: Thu, 4 Jan 1996 07:50:39 -0500 Reply-To: Orange2@GNN.COM From: Somei Louie Subject: Muddy Waters song? Comments: To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM I'm probably wrong, so I'll apologize now for taking up your time ... butt ... at the end of Joe Downey's message was the tag "... NINE BELOW ZERO ..." accredited to Muddy Waters. I thought Sonny Boy Williamson at least sang that song. Did Muddy write it? Please enlighten me! Best wishes, Orange2@gnn.com (Mike Meadors) Orange2@gnn.com ========================================================================= Date: Thu, 4 Jan 1996 07:55:37 -0500 Reply-To: Orange2@GNN.COM From: Somei Louie Subject: Re: colletibles Comments: To: awmathew@MTU.EDU What a day for confusion ... in your message you wrote that "Tore Down" was written by Eric Clapton. Am I wrong or didn't someone else write the song? Just wondering ... Orange@gnn.com (Mike Meadors) Orange2@gnn.com ========================================================================= Date: Thu, 4 Jan 1996 13:41:03 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: FYI I have been keeping up a list of blues record labels on the BLUES_L "shed" and have been slowly adding phone/fax/e-mail and www info. If anyone has additions, corrections etc. please e-mail me. Also if you want a copy I can e-mail that. (It is 693 lines/35233 characters right now) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [4/1/96 8:33 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 4 Jan 1996 08:50:52 EST Reply-To: apaul@CLIFF.WHOI.EDU From: Alora Paul Subject: Re: 1996 Grammies-Taken Seriously? well here's an honest answer for you. although i am dismayed at what comes out on top in most categories - and even how some things end up in certain categories - remember jethro tull in heavy metal a couple years back? certain artists do end up getting some much deserved credit. i too have maligned them to be commercial, rigged, and trite. but you know what? i sure wouldn't mind having one of my own in my trophy case. well alright, i don't have a trophy case, but i'd sure have one built if one came my way. genuinely interested in seeing what other blues-l folks think. alora feeling mother nature's icy fingers 'round my neck too in the frozen northeast...like living in a scene from dr. freakin' zhivago. ========================================================================= Date: Thu, 4 Jan 1996 09:00:41 -0500 Reply-To: Orange2@GNN.COM From: Somei Louie Subject: Re: 1996 Grammies-Taken Seriously? Comments: To: apaul@CLIFF.WHOI.EDU I imagine the Grammies are taken seriously by the winners ... but, in reality, every year in every awards presentation, whether it be the Oscars or the Black Achievement Awards, you ALWAYS hear the winner and say to yourself ... "WHAT?!!" ... try remembering last year's winner ... or the year before ... basically it's a nice promotional tool for the artist "GRAMMY AWARD WINNING ..." blah, blah. Let's not forget ... business is business ... If I was any bluer you'd have to call me Midnight, Orange2@gnn.com (Mike Meadors) > Orange2@gnn.com ========================================================================= Date: Thu, 4 Jan 1996 14:07:50 GMT Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: Polstar? Comments: To: Pat Hertel On Wed, 3 Jan 1996 18:06:11 +0000, you wrote: > Does anyone know what's (not) happening with Pollstar? They were up again very briefly a few weeks ago at a new location (http:/www.pollstar.com), but then nada. Last time I got through they did have a note about technical problems. > I tried a similar service with "Musi-cal" Ugh. This one used to be better! If you're interested in Chicago specifically, try "Blues in Chicago" at: http://www.nitescape.com/chicago/blues but at the moment, I can't connect there either! *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Thu, 4 Jan 1996 15:27:44 +0100 Reply-To: Peter Gallagher From: Peter Gallagher Subject: Re: 29 Ways Comments: To: marc@az.vub.ac.be In-Reply-To: <4cg2ph$ppd@rc1.vub.ac.be> from "marc borms" at Jan 4, 96 08:23:13 am Hi Marc! The Blues Band did a cover of "29 ways". Great band in their early days! You and other 'zellers should check them out; try their album "Ready". grtz, PeterG > > Last night, I listened again to one of my 'almost-non-blues' favourites, > Marc Cohn, and stood still at his IMHO very good interpretation > of Willie Dixon's '29 ways'. > > Who else did ever cover this song ? > > > embee. > > -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Thu, 4 Jan 1996 09:26:01 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: DC Blues Society Jam Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com The next free DC Blues Society blues jam will be on this Sunday, Jan. 7, at Food For Thought (1738 Connecticut Ave. NW) from four - eight PM. All musicians are welcome to perform. There is no cover and DC Blues Society members get a 10% discount on food and drink. For more information call the DC Blues Society at (202) 828-3028. ========================================================================= Date: Thu, 4 Jan 1996 09:28:36 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: Non-Blues favorites Comments: To: Karen Hanson Whoah, Karen, what a frightening experience! Sounds like what I gather computer dating is like: you tell them what you're looking for, they plug it in, ignore what you said and give you the losers that no one else will have. (well, that's not entirely true, I love Peter Gabriel but there's nothing bluesy about his music whatsoever). Sounds like they just threw in the kitchen sink with your request. The blues stuff probably killed their database. - Ruth, building a blues search engine in my copious (haha) free time ______________________________ Reply Separator _________________________________ Subject: Re: Non-Blues favorites Author: Karen Hanson at Internet Date: 1/3/96 8:42 PM I've been away for Christmas...I'm not sure what started this topic...BUT, has anybody visited the web page called Similarities Engine? It's http://www.webcom.com/~se You type in the titles and artists of your five favorite albums and in a day or two they e-mail you a list of other albums you might like. So--I typed in Little Walter, Muddy Waters, Jimmy Rogers, Louis Myers, and Big Joe Williams. They recommended Metallica, Peter Gabriel, Pink Floyd, and Jane's Addiction. Where's the logic here? A little closer-to-the-target recommendations were John Coltrane, Miles Davis, Jimi Hendrix, and the Rolling Stones' Sticky Fingers (actually my favorite Stones album). I don't recall there being a blues artist on the list. Karen ========================================================================= Date: Thu, 4 Jan 1996 08:37:42 CST Reply-To: ISTS024@UABDPO.BITNET From: Leonard Watkins Subject: Serious Grammys I personally, take the Grammys as serious as I do the Handys. Which is not very serious. I think marketing/popularity is what both awards are based on and that's not always accurate. I could care less about either award, I think the only difference is the Handys have more blues awards. No offense to the Handy voters on the list. This is just MY opinion LW ========================================================================= Date: Thu, 4 Jan 1996 10:33:38 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: 1996 Grammies-Taken Seriously? Comments: To: apaul@CLIFF.WHOI.EDU On 4 Jan 96, Alora Paul had this to say: > i too have maligned them to be commercial, rigged, and trite. > but you know what? i sure wouldn't mind having one of my own in my > trophy case. well alright, i don't have a trophy case, but i'd sure > have one built if one came my way. > > genuinely interested in seeing what other blues-l folks think. I think they are great, and I've agreed with them as often as I have scratched my head in wonder. I think "commercial" as a criticism is way off base though. If they were "commercial" you would agree with them more. (The Beatles never won one... how's that commercial?). I think the main problem has been the narrowness of the nominating commitee, and the voting body. They need to get some broader musical representation involved in the nominating process, and a larger and more diverse voting membership. It's like asking the Royal Family to vote on who makes the best frozen dinner... they just don't know any better. In fairness, I must say it has improved in this regard steadily over the past ten years or so. Just ask Dick Shurman how well they did in 1985 ;-) P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Thu, 4 Jan 1996 07:06:01 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Speaking of Gospel music... Comments: To: Jim Witteveen Jim Witteveen wrote: >2. Gospel At Newport (Vanguard 1995) - This one's produced and annotated by>someone named Mary Katherine Aldin. It includes tracks by more well-known>gospel groups like the Swan Silvertones, the Dixie Hummingbirds, and the>Staple(s) Singers (what is it, the Staples or the Staple???), Far as I know, the family last name is Staples with an s. The artists are referred to as Mavis Staples, Pops Staples, etc. so I figure it's the Staples Singers. as well as an >excellent version of John The Revelator by Son House, Samson and Delilah by >Rev.Gary Davis, and some more obscure (to me anyway) artists like Bessie >Jones and Janie Hunter, FYI, both Bessie Jones and Janie Hunter were from the Georgia Sea Islands, members of groups The Georgia Sea Island Singers (Bessie) and the Moving Star Hall Singers (Janie) (Moving Star Hall being the name of their church) and a very strange track by Joseph Spence, a >Bahamian guitarist who kind of growls his way through songs. Has anyone >heard anything else by him? This is the first I've heard, and it sounds,>well, interesting... Spence was sort of musically eccentric, to say the least. Fortunately, for someone so relatively obscure he has LOTS of CDs out. I'd recommend: Happy All The Time : Hannibal CD 4419 Good Morning Mr. Walker (mostly live) : Arhoolie 349 Jospeh Spence and the Pindar Family, The Spring of 65 : Rounder 2114 any of these is a good starter set, then if you like it (and he IS an acquired taste, which not everyone has acquired, but I *love* him) you can go on from there. Mary Katherine ========================================================================= Date: Thu, 4 Jan 1996 07:17:40 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: 1996 Grammies-Taken Seriously? Comments: To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM Joe in Moscow wrote: > >Just wondering further to Mary Katherine's kind posting: how >seriously or unseriously do people who make some or all of their >living recording/performing/producing blues records take blues >grammies? > >The grammies overall have been reviled since their wacky inception >as loopy, hopelessly commercial, unrepresentative, and in a general >way, stupid. I wonder if it is any different for certain individual >categories, the blues being the case in point. Not knowing, I can >imagine that some categories might be more informed than others. And >overall the grammies might have gotten better in recent years (and >what vast room indeed they would have had for improvement!); I long >ago dismissed the whole thing so I wouldn't know. > >On the other hand, one could imagine that it might not be important if >the Grammies are smart or dumb, they could be very dumb indeed but >still be quite important to the performers/labels/producer-type folks. >Which is it, I wonder, and/or what other thoughts might you have on >this, gentle bluezellers? Answering for myself only: they mean nothing, nothing, nothing, *unless you win one.* A blues (or folk, or bluegrass) artist who wins a Grammy Award has increased visibility, increased record selling potential, can increase her or his performing fees, at least temporarily, and gets a measure of respect and "being taken seriously" by the NON-traditional music world (most are already respected within their own genre). They also are good leverage in future bargaining for record deals (well, her/his last one won a Grammy...) For non-performers, they mean other things. As a reissue producer and annotator, the award means (besides bookcase and wall decorations) that I too can get a bit more respect (and maybe money? Hah!) from major megabuck record corporations when I am trying to "sell" them on the idea of doing a particular reissue (again: well, the one she did for so-and-so won a Grammy, maybe we should let her try). This can only be good for the music. And in closing, to put it in its proper perspective: upon the occasion of my most recent Grammy nomination, my youngest daughter (age 25) interrupted my gentle glow of pride with "Yeah, mom, but aren't these the same people who voted for Milli Vanilli?". One ego, punctured as only one's children know how to do. Sigh. Mary Katherine ========================================================================= Date: Thu, 4 Jan 1996 10:20:07 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Johnny C________d ? sp? Okay you guys, which is it? Copeland? or Coupland? Or are there two of them? Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 4 Jan 1996 07:21:13 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: 1996 Grammy Nominations Comments: To: Orange2@gnn.com Orange2 wrote: > >MK: > >Exactly who votes for the blues categories? > >Mike Meadors >Orange2@gnn.com Everyone who is a voting member of NARAS can nominate and vote in the blues category, as for all other categories except crafts fields which are NOMINATED by committees but then VOTED on by all. Am posting this reply to the list for everyone's information: good question, glad you asked. Mary Katherine ========================================================================= Date: Thu, 4 Jan 1996 10:24:43 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Best Show of '95 Admittedly, I didn't get out much this past year because nearly every weekend I *WAS* the entertainment, but among the shows I got to see this year, my top two are: Wilbur & The Dukes James Montgomery Band both seen at the fashionable Plantation Club right here in Worcester, Mass. Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 4 Jan 1996 09:31:01 CST Reply-To: ISTS024@UABDPO.BITNET From: Leonard Watkins Subject: Albert King's Influence Who influenced Albert King.....? I listened to Stevie Ray the other night and I don't care what anybody says he was GREAT. Absolutely fabulous, I don't listen to him much, but when I do I am moved. That's what it's all about, for ME LW ========================================================================= Date: Thu, 4 Jan 1996 11:28:18 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Serious Grammys On 4 Jan 96, Leonard Watkins had this to say: > I personally, take the Grammys as serious as I do the Handys. Which is not > very serious. I think marketing/popularity is what both awards are based on > and that's not always accurate. I could care less about either award, I think > the only difference is the Handys have more blues awards. Not always accurate? I can't think of anything MORE accurate than asking people who they like and counting the results. That would be both accurate and objective. On the other hand, If you or I handed out awards, it would be completely SUBjective, and not at all an ACCURATE representation of the tastes of the population (or even of Blues-L). I really object to the inherent implication that what most people like somehow (and therefore) lacks quality. > No offense to the Handy voters on the list. This is just MY opinion Ahhh.. the traditional apology/disclaimer. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Thu, 4 Jan 1996 10:50:00 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: Albert King's Influence Comments: To: Leonard Watkins Hi LW, I don't think anyone is disputing that Stevie Ray was great, we just get tired of hearing that he was God 387,491 times a day. Not only was he brilliant in the technical sense, he was an extremely innovative artist. I am always moved by him too when I listen to him. Also I get tired of the SRV clones who don't understand or care about who HE was influenced by. At the risk of sounding like a fathead, I can always tell whether a guitarist has explored Stevie Ray's influences by the way they play his stuff. The ones who don't understand what he was all about have a very one-dimensional sound. Love Stevie Ray, hate the strict clones -- Ruth ______________________________ Reply Separator _________________________________ Subject: Albert King's Influence Author: Leonard Watkins at Internet Date: 1/4/96 9:31 AM Who influenced Albert King.....? I listened to Stevie Ray the other night and I don't care what anybody says he was GREAT. Absolutely fabulous, I don't listen to him much, but when I do I am moved. That's what it's all about, for ME LW ========================================================================= Date: Thu, 4 Jan 1996 10:47:57 -0500 Reply-To: Nancy Worthington From: Nancy Worthington Subject: Hard to find blues record by Sasha Smith I'm looking for a record/CD/Cassette by Sasha Smith called Straight Up. My uncle asked me to find it for him because he couldn't find it in Oklahoma. I can't find it in Houston, can't find it in CDNow or CDWorld. I thought I had seen Goldmine online once, but can't find it now. Anyone know where it is, or another source to search for hard to find blues stuff. Any help will be greatly appreciated. Thanks, Nancy ========================================================================= Date: Thu, 4 Jan 1996 11:37:15 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Johnny C________d ? sp? Comments: To: MILLER@SCI.WFBR.EDU On 4 Jan 96, Rick Miller had this to say: > Okay you guys, which is it? Copeland? or Coupland? Or are there two of them? I'd say that most of us noticed the "Coupland" misspelling and just let it slide for a change. But it's definitely "Copeland" P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Thu, 4 Jan 1996 10:58:20 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Speaking of Gospel music... Comments: To: hndful@uniserve.com In a message dated 96-01-04 09:39:58 EST, hndful@UNISERVE.COM (Jim Witteveen) writes: >Joseph Spence, a >Bahamian guitarist who kind of growls his way through songs. Has anyone >heard anything else by him? This is the first I've heard, and it sounds, >well, interesting Joseph Spence is HIGHLY RECOMMENDED (and QUITE weird). There are a number of recordings out there, both on collections and on his own. He does a version of "Will The Circle Be Unbroken" in which he couldnt quite remember the words and sings "Will The Serpent Be Unbroken" and growls and mumbles his way through the song from there. Tom Freeland ========================================================================= Date: Thu, 4 Jan 1996 10:07:51 -0600 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: Johnny C________d ? sp? > Okay you guys, which is it? Copeland? or Coupland? Or are there two of them? This is my fault. I sent out a message early this week about him being on the NBC Nightly News. But I made the mistake of sending it while my caffeine levels were dangerously low. The correct spelling is Copeland. Bruce Roberts Austin, TX ========================================================================= Date: Thu, 4 Jan 1996 10:08:07 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: FREDDIE KING - wanted Comments: To: JS In-Reply-To: <4cc0hh$39k@news.wavenet.com> On Tue, 2 Jan 1996, JS wrote: > Live in Antibes Vol 1 & 2 Disqeu Blue & Black - French OK, I thought someone would have asked by now... I have a Live at Antibes cd, but it has no mention to a volume number. Is there more than one volume? -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Thu, 4 Jan 1996 11:50:33 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: 1996 Grammies-Taken Seriously? Comments: To: mkaldin@IX.NETCOM.COM On 4 Jan 96, Mary Katherine Aldin had this to say: > And in closing, to put it in its proper perspective: upon the occasion > of my most recent Grammy nomination, my youngest daughter (age 25) > interrupted my gentle glow of pride with "Yeah, mom, but aren't these > the same people who voted for Milli Vanilli?". One ego, punctured as > only one's children know how to do. Sigh. On the other hand, Milli Vanilli sold truckloads of records to people your daughters age, who liked them just fine until the scam was exposed. Of it's kind, it was an excellent album. Only NOW, after the fact, is it fashionable to put them down. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Thu, 4 Jan 1996 10:35:16 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Speaking of Gospel music... > From: Mary Katherine Aldin >...Staple(s) Singers (what is it, the Staples or the > Staple???), > > Far as I know, the family last name is Staples with an s. The artists > are referred to as Mavis Staples, Pops Staples, etc. so I figure it's > the Staples Singers. I've always wondered about this. All of their records list them as The Staple Singers. I'm guessing that's because it's easier to say than "Staples Singers". EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Thu, 4 Jan 1996 11:57:22 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Looking for Tracey Milton! Hi again zellers. If anybody knows the cyber-whereabouts of Blues-Ler Tracey Milton in Lowell, Massachusetts please drop me a private line. I know she's changed jobs and may have disappeared from the e-world. Gonna be playing up her way at The Underground in Lowell and would be nice to see her. Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 4 Jan 1996 11:41:47 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Milli Vanilli, and Just Who is the Artist, Anyway? ______________________________ Reply Separator _________________________________ Subject: Re: 1996 Grammies-Taken Seriously? Author: "P.W. Fenton" at INTERNET_TP Date: 1/4/96 11:51 AM On the other hand, Milli Vanilli sold truckloads of records to people your daughters age, who liked them just fine until the scam was exposed. Of it's kind, it was an excellent album. Only NOW, after the fact, is it fashionable to put them down. ------------------------------------------------------------------ And obviously SOMEBODY created and performed the music. Just because the two handsome young men who called themselves Milli Vanilli were misrepresented as the "artists" doesn't mean that some craft didn't go into the music's creation, as well into the creation of their image. In our media-driven day and age, where do we draw the line when defining "performance art"? I work in publishing, I sometimes work on books that have an author's recognized name on them that are not even reviewed by, never mind WRITTEN by, the author listed on the cover. That doesn't mean the books aren't accurate and worthwhile in content. I think this is a grey area. Would welcome other observations and opinions. Shannon ========================================================================= Date: Thu, 4 Jan 1996 16:59:58 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Serious Grammys In-Reply-To: <199601041548.KAA09058@osceola.gate.net> On Thu, 4 Jan 1996, P.W. Fenton wrote: > Not always accurate? I can't think of anything MORE accurate than > asking people who they like and counting the results. That would be > both accurate and objective. On the other hand, If you or I handed > out awards, it would be completely SUBjective, and not at all an > ACCURATE representation of the tastes of the population (or even of > Blues-L). I really object to the inherent implication that what > most people like somehow (and therefore) lacks quality. > I am at variance with that objection, in that, what the majority of people choose does imply quality either. Quality IS largely SUBjective. Sales figures may reflect taste, but, whether that taste is "good" or "bad" .....? The Handys aren't quite rep by pop anyway. The list from which you get to choose is limited (by whom?) and there are no "write ins". phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [4/1/96 11:49 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 4 Jan 1996 09:06:11 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Jan. 5 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ADAMS, JOHNNY [LATHAN JOHN ADAMS] (v) b. 1932-0105, NEW ORLEANS, LA BROWN, JOHN (b/GARRY & MOODSWINGERS) b. 1952-0105, LUBBOCK, TX COTTEN, ELIZABETH "LIBBA" (g) b. 1893-0105, CHAPEL HILL, NC KELLY, JO-ANN (g) b. 1944-0105, STREATHAM,LONDON,UK KING, SAM (g) b. 1951-0105, OAKLAND, CA MALONE, GEORGE (of THE MONTONES) b. 1940-0105, NEWARK, NJ MINGUS, CHARLIE (b) d. 1979-0105, CUERNAVACA, MEXICO PHILLIPS, SAM C. (founder : SUN REC) b. 1923-0105, FLORENCE, AL PRYOR, JIM (keybds/LARRY GARNER) b. 1971-0105, CHICAGO, IL SCOTT, CECIL (tsax) d. 1964-0105, NEW YORK CITY, NY 58 SIMS, GERALD (g/arr/songw) b. 1940-0105, CHICAGO, IL SOLOMON, MAYNARD (founder : VANGUARD REC) b. 1930-0105, NEW YORK CITY, NY THOMAS, ERNEST 'TABBY' (g) b. 1929-0105, BATON ROUGE, LA THOMAS, GRADY (of FUNKADELIC) b. 1941-0105, NEWARK, NJ ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 4 Jan 1996 17:29:06 +0100 Reply-To: Peter Gallagher From: Peter Gallagher Subject: Joseph Spence The only track I ever heard of Joseph Spence was live; he seemed to have forgotten the words, but just mad a jingle out of a mumble and carried on unperturbed. He was laughing all the time and obviously didn't care about having forgotten the lyrics. The audience caught on to what he was up to and he more or less had a good laugh at his own expense! As a result of this his rapport with the audience was excellent. I'd love to see the guy live sometime. Thanks to Mary Katherine for the discography! Regards, Mumble-mumble :-) ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Thu, 4 Jan 1996 12:19:34 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: Milli Vanilli (ingredients: blues-free sarcasm) Comments: To: shannon oconnor The true identity of Milli Vanilli has been a closely guarded secret for years. But since Shannon is a close personal friend of mine, I'll share the secret with all of you. Get ready now, hold on to your seats: Milli Vanilli was really . . . Don Henley and Joe Walsh. Now you all will be able to sleep at night. (Shannon, you know I love you, right?) - Ruth ______________________________ Reply Separator _________________________________ Subject: Milli Vanilli, and Just Who is the Artist, Anyway? Author: shannon oconnor at Internet Date: 1/4/96 11:41 AM ______________________________ Reply Separator _________________________________ Subject: Re: 1996 Grammies-Taken Seriously? Author: "P.W. Fenton" at INTERNET_TP Date: 1/4/96 11:51 AM On the other hand, Milli Vanilli sold truckloads of records to people your daughters age, who liked them just fine until the scam was exposed. Of it's kind, it was an excellent album. Only NOW, after the fact, is it fashionable to put them down. ------------------------------------------------------------------ And obviously SOMEBODY created and performed the music. Just because the two handsome young men who called themselves Milli Vanilli were misrepresented as the "artists" doesn't mean that some craft didn't go into the music's creation, as well into the creation of their image. In our media-driven day and age, where do we draw the line when defining "performance art"? I work in publishing, I sometimes work on books that have an author's recognized name on them that are not even reviewed by, never mind WRITTEN by, the author listed on the cover. That doesn't mean the books aren't accurate and worthwhile in content. I think this is a grey area. Would welcome other observations and opinions. Shannon ========================================================================= Date: Thu, 4 Jan 1996 10:07:00 -0600 Reply-To: "timothy (t.b.) bosley" From: "timothy (t.b.) bosley" Subject: Lightnin' Query I have a couple of questions..... 1. Rhino (72173) recently reissued California Mudslide (& Earthquake) as Los Angeles Blues. Ace (546) reissued Cal. Mudslide in '94. I've not seen the Ace release but was wondering if anyone knows if there is any difference in the track listings between the two releases and which has better sound quality. And while I'm thinking about it, why'd they have to change the name? Why not reissue it as California Mudslide.....? 2. P-Vine has a Complete Gold Star Sessions release. Is there any difference between this and the 2 volumes on Arhoolie? Also, I thought Chris S. had an exclusive arrangement for the Gold Star recordings....what's up with that? ;-) ========================================================================= Date: Thu, 4 Jan 1996 11:37:19 -0600 Reply-To: Chris Pearson From: Chris Pearson Subject: Re: Jinx takes the blame . . . Yeah, like this bunch will be able to agree on a charity!! Ten bucks is fine with me but why not put it toward the production of the next tape.(IF) This may sound terribly unPC but there is really nothing wrong with making money on something that you have labored on. Chris >I have been exchanging messages with Bob Unger about the coming BluesBytes, >that eagerly anticipating musical project that will answer the question, >"Does staring at a screen mean you can't play the blues?" >Bob had suggested a price of four or five dollars but I told him that I feel >that this is a great opportunity to come together as a musical community and >raise some bucks for a worthy cause. So I told him that I feel that $10.00 >was not out of line considering that it is a limited quantity of high quality >music. >(I figure that Cathi Norton is probably worth nine bucks all by herself.) >So Jinx takes the blame for advising Bob that Blues-L members will forgive >his initial pricing and agree to $10.00 with ALL of the profits being set >aside for a specific charity to be determined later. > >Dick Waterman > > ========================================================================= Date: Thu, 4 Jan 1996 09:58:28 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Albert King's Influence To:PARRISHR From:shaun@wavenet.com (Shaun T Cronin) Subject:Re: Albert King's Influence > Hi LW, I don't think anyone is disputing that Stevie Ray was great, we > just get tired of hearing that he was God 387,491 times a day. > Not only was he brilliant in the technical sense, he was an extremely > innovative artist. I am always moved by him too when I listen to him > Also I get tired of the SRV clones who don't understand or care about > who HE was influenced by. At the risk of sounding like a fathead, I > can always tell whether a guitarist has explored Stevie Ray's > influences by the way they play his stuff. The ones who don't > understand what he was all about have a very one-dimensional sound. > Love Stevie Ray, hate the strict clones -- Ruth > No you ain't a fathead. It's what I've been raving about as well. It's easy to hear those who have never gone beyond SRV. And it still aggravates me. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 4 Jan 1996 12:51:57 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Blues/Culture Comments: To: shaun@wavenet.com On January 4, Shaun T. Cronin wrote: >>>I have no problems with people who love SRV and his music. >>>I love SRV to >>>death. The problems I have are the people who think that >>>SRV is the be all >>>and end all of blues I have stayed out of this "Blues/Culture" debate but Shaun's quote is so terrific that I wanted to bring it to the surface a second time. The second and third generation blues musicians that I admire the most are those who provide knowledge about their sources, either through concert introductions or album notes. They don't HAVE to do it. They feel their role is to 'carry it on' and make sure that the originators are respected. Eric Clapton, Bonnie Raitt, John Hammond, Kim Wilson and many others regards themselves as doorways into the past. Their music is saying, "This is what I love to do. If there is something here that pleases you, go back to the original source and hear that version." Stevie Ray Vaughn took the music that he loved and fused it with his own originality and the technology available to him for contemporary presentation. However, don't think for one minute that he wouldn't be the first to acknowledge Freddy King, Lightning Hopkins and others that influences him. Any musician who masters a robotic imitation of SRV guitar techniques is not playing the blues. They are just copping a lick . . Big difference. Dick Waterman ========================================================================= Date: Thu, 4 Jan 1996 12:53:14 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Speaking of Gospel music... Comments: To: hndful@uniserve.com On January 4, 1996, Jim Witteveen wrote: >>>and a very strange track by Joseph Spence, a >>>Bahamian guitarist who kind of growls his way through >>>songs. Has anyone >>>heard anything else by him? This is the first I've heard, and >>>it sounds, >>>well, interesting... Joseph Spence's music can be heard of various Bahamian collections done on Folkways. In addition, Chris Strachwitz and I coproduced a Spence album from recordings done in this country in the early 1970s. It is now available on CD format from Arhoolie. He's not an 'easy listen' but it's rewarding if you stay with it. Dick Waterman ========================================================================= Date: Thu, 4 Jan 1996 12:56:31 -0500 Reply-To: Skip Montanaro From: Skip Montanaro Subject: Musi-Cal's lack of blues content (was: Pollstar?) Pat Hertel wrote: I tried a similar service with "Musi-cal" (http://www.calendar.com/concerts/). As a test I asked for any blues artists within 20 miles of Chicago .... it found exactly none :):):) Increasing the radius to 100 miles got me a single listing. If anyone's interested, someone named Jim Henry is playing Napierville on 4 Feb. As the developer and maintainer of Musi-Cal I feel like I should respond to Pat's note. Musi-Cal relies heavily on submissions from the net for content. From a technical standpoint it is essentially a one-man show at this point. I do all the software development, clean up warts that creep into the database, cajole people to submit stuff, and do a fair amount of data submission myself. I do feel my time is best spent working on the infrastructure of the calendar and convincing other people to submit stuff they have rather than converting data myself. Event though I'm likely to be better at converting and submitting data than anyone else, I'm still just a single person. My time is better spent trying to amplify other peoples' efforts and doing things nobody else can do. To that end, I have recently added several new features that should make submitting data to Musi-Cal more easier and more worthwhile. There are two new submission mechanisms available, one that lets us grab data from Web and FTP sites and convert it automatically, another that lets us convert data sent by email. We also have a static information database for storing and displaying genres and URLs for artists, venues and cities. Getting data for the calendar is more challenging than you might imagine. For each source, I have to find out it exists, contact the owner of the data for approval to use it, figure out how to get it from them in a consistent format and on a regular basis, then whine occasionally to keep the data coming. It's harder than you might imagine, especially when you consider we are offering free publicity to organizations with concerts to promote. If you've got data you can submit by one of our mechanisms, you will short-circuit much of the time and effort required for me to do the work. Those first two items (finding sources and getting approval) are very time-consuming. I have been collecting pointers to various blues-related Web sites in anticipation of an assault on the blues tour data that is out there. I intend to be chasing down as many of those as I can in the next few weeks to beef up the admittedly sparse blues content. After that, I'll be tackling festivals, with summertime festival season just around the corner. As for Pollstar's status, we've also noticed that their site has been unavailable for several weeks. If you want to find out first-hand, call 1-800-344-7383 (or 209-224-2631 from California or outside the US/Canada) and ask Jay Smith what's cookin'. Skip Montanaro skip@calendar.com (518)372-5583 Musi-Cal: http://www.calendar.com/concerts/ or mailto:concerts@calendar.com Internet Conference Calendar: http://www.calendar.com/conferences/ >>> ZLDF: http://www.netresponse.com/zldf <<< ========================================================================= Date: Thu, 4 Jan 1996 09:58:45 -0800 Reply-To: Mary Katherine Aldin Comments: RFC822 error: TO field duplicated. Last occurrence was retained. Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Mary Katherine Aldin Subject: The Nominees are: 1996 Grammy Awards Comments: To: folkdj-l@psuvm.psu.edu I am cross posting this to several lists and to save time am posting several categories at once, including some that may not pertain to a particular list. I am only posting those categories which I feel are of interest to fans of traditional rootsmusic. The others will be listed in tomorrow's paper. Mary Katherine Best Female Country Vocal Performance: Baby Now That I've Found You/Alison Krauss You Don't Even Know Who I Am/Patty Loveless Safe In The Arms of Love/Martina McBride Mi Vida Loca (My Crazy Life)/Pam Tillis Any Man of Mine/Shania Twain Best Country Collaboration with Vocals: All My Loving/Suzy Boguss & Chet Atkins A Good Year for the Roses/George Jones & Alan Jackson On My Own/Reba McEntire with Trisha Yearwood, Martina McBride & Linda Davis I Will Always Love You/Dolly Parton & Vince Gill Somewhere In The Vicinity of the Heart/Shenandoah & Alison Krauss Best Country Instrumental Performance: Hightower/Asleep At the Wheel Sally Goodin/Byron Berline with Earl Scruggs & Bill Monroe Chesseballs in Cowtown/Bela Fleck Cal Walk/Flaco Jiminez & Lee Roy Parnell Thunder Road/Sugarfoot Rag/Doc Watson Best Bluegrass Album: Fiddle & A Song/Byron Berline Beyond The City/The Cox Family Moonlighter/Claire Lynch $35 and a Dream/Rose Maddox Unleashed/Nashville Bluegrass Band Best Southern Gospel, Country Gospel or Bluegrass Gospel Album: One Summer Evening Live/Bruce Carroll Someday/Crystal Gayle A Gospel Gathering/Ralph Stanley & Joe Isaacs At The Feet of God/Jerry & Tammy Sullivan Amazing Grace: A Country Salute To Gospel/Various Artists Best Traditional Blues Album: Charles Brown's Cool Christmas Blues/Charles Brown Them Update Blues/Lowell Fulson Chill Out/John Lee Hooker The Last Real Texas Blues Band Featuring Doug Sahm/Same Turn It on Turn It Up/Roomful of Blues Best Contemporary Blues Album: The Man/Clarence Gatemouth Brown Live 92-93/Albert Collins & The Icebreakers Some Rainy Morning/Robert Cray Slippin' In/Buddy Guy Blue Night/Percy Sledge Best Traditional Folk Album: While Passing Along This Way/Norman & Nancy Blake South Coast/Rambling Jack Elliott Then and Now/Ali Akbar Khan The Oak & The Laurel/Laurie Lewis & Tom Rozum >From Another Time & Place/Dave Van Ronk Best Contemporary Folk Album: The Long Black Veil/The Chieftans MTV Unplugged/Bob Dylan Train A-Comin'/Steve Earle Wrecking Ball/Emmylou Harris Lost Dogs & Mixed Blessings/John Prine My fingers are tired. The rest are mostly pop, rock etc. Don't flame me if you disagree with any of these, I'm only the typist! Mary Katherine ========================================================================= Date: Thu, 4 Jan 1996 16:52:37 EST Reply-To: Jim Miller From: Jim Miller Subject: SRV clones Comments: To: BLUES-L Since we have been (for the most part) critical of SRV clones I for one would like to know who are the clones out there versus those artists who are simply influenced by SRV but have actually done something creative with this style? For example, is Chris Duarte a clone or is he someone in the SRV "school" who is actually adding something? ========================================================================= Date: Thu, 4 Jan 1996 12:03:50 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: eRIC's BLUES DATES: Jan. 5 Comments: To: James Carmin In-Reply-To: <199601041706.JAA05779@desiree.teleport.com> On Thu, 4 Jan 1996, James Carmin wrote: > ------------------------------------------------------------------------------- > artist notes/full name yyyy-mmdd, city/county state age > ------------------------------------------------------------------------------- > BROWN, JOHN (b/GARRY & MOODSWINGERS) b. 1952-0105, LUBBOCK, TX Is this Blues-L's own Garry & the Moodswingers? And to think, another Lubbock boy on Blues-L (well, sort of). Happy B-day. -Jeff (another flatlander) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Thu, 4 Jan 1996 13:10:47 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: SRV clones Comments: To: Jim Miller My personal, totally unbiased opinion: Chris Duarte: SRV clone (boring) Duffy Kesling: SRV clone (45-minute solos -- totally boring) "Mad" Max Vadi (who just happens to be my fiance): innovative bluesy/rock guitarist in the spirit of SRV, Johnny Winter and Jimi Hendrix, never get tired of listening to him play even when he wakes me up at 3:00 a.m. to show me a really cool new chord progression he just figured out. ______________________________ Reply Separator _________________________________ Subject: SRV clones Author: Jim Miller at Internet Date: 1/4/96 4:52 PM Since we have been (for the most part) critical of SRV clones I for one would like to know who are the clones out there versus those artists who are simply influenced by SRV but have actually done something creative with this style? For example, is Chris Duarte a clone or is he someone in the SRV "school" who is actually adding something? ========================================================================= Date: Thu, 4 Jan 1996 10:10:34 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Joseph Spence Comments: To: Peter Gallagher Peter Gallagher wrote: > >The only track I ever heard of Joseph Spence was live; he seemed to have>forgotten the words, but just mad a jingle out of a mumble and carried on>unperturbed. > >He was laughing all the time and obviously didn't care about having >forgotten the lyrics. The audience caught on to what he was up to and he>more or less had a good laugh at his own expense!>As a result of this his rapport with the audience was excellent. >I'd love to see the guy live sometime. > Well, alas, no one will ever see him live any more, in this world. He passed, a long time ago. But he was great fun live, unless you sat in the front two rows. In between grumbles there was always a fair amount of spitting, and those in the front rows needed rain gear! (Ask Dick Waterman!) Mary Katherine ========================================================================= Date: Thu, 4 Jan 1996 10:18:31 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Son House recommendations > "The Oberlin College Concert" which is on King Bee >records. The Oberlin concert also features an introduction by some guy >called Dick Waterman. Whoever he is. :-) :-) :-) It seems that after I wrote this I found out that the recording in question may be unauthorized and the Dick Waterman feels strongly about royalties being paid where due (which I wholly agree with) and doesn't. So if I have offended Dick Waterman or anyone else by mentioning this record I'm sorry. Ouch. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 4 Jan 1996 13:11:55 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Columbia House info for members. Comments: To: bit-listserv-blues-l@uunet.uu.net If you don't get it in the mail call them at 800-457-0500. Current deal is buy 1 at full price get 1 FREE and all the rest you want at $2.99 for single CD's and $4.99 for 2 CD- sets. Yes they have The Robert Johnson & the Blind Willie Johnson 2 CD sets for $4.99 each (+S&H). Relevant to some of the talk here lately on Joe Louis Walker they have both of his CD's JLW and Blues of the Month Club now, for $2.99 each. No I am not affiliated, but since I have helped join quite a number of zellers thought this good info to have. -- NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 4 Jan 1996 13:12:04 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re[2]: Milli Vanilli (ingredients: blues-free sarcasm) Comments: To: PARRISHR Hey HEY!!! Friends or no friends, Ruth, when you start insulting Mr. Henley you're spoutin' fightin' words!!! Besides, had Henley been involved, the music would've been a LOT better! :) :) :) :) (Many grins...just kidding!!!!!!!!!!!!!!!!) Shannon ______________________________ Reply Separator _________________________________ Subject: Re: Milli Vanilli (ingredients: blues-free sarcasm) Author: PARRISHR@vitro.com (PARRISHR) at INTERNET_TP Date: 1/4/96 12:31 PM The true identity of Milli Vanilli has been a closely guarded secret for years. But since Shannon is a close personal friend of mine, I'll share the secret with all of you. Get ready now, hold on to your seats: Milli Vanilli was really . . . Don Henley and Joe Walsh. Now you all will be able to sleep at night. (Shannon, you know I love you, right?) - Ruth ______________________________ Reply Separator _________________________________ Subject: Milli Vanilli, and Just Who is the Artist, Anyway? Author: shannon oconnor at Internet Date: 1/4/96 11:41 AM ______________________________ Reply Separator _________________________________ Subject: Re: 1996 Grammies-Taken Seriously? Author: "P.W. Fenton" at INTERNET_TP Date: 1/4/96 11:51 AM On the other hand, Milli Vanilli sold truckloads of records to people your daughters age, who liked them just fine until the scam was exposed. Of it's kind, it was an excellent album. Only NOW, after the fact, is it fashionable to put them down. ------------------------------------------------------------------ And obviously SOMEBODY created and performed the music. Just because the two handsome young men who called themselves Milli Vanilli were misrepresented as the "artists" doesn't mean that some craft didn't go into the music's creation, as well into the creation of their image. In our media-driven day and age, where do we draw the line when defining "performance art"? I work in publishing, I sometimes work on books that have an author's recognized name on them that are not even reviewed by, never mind WRITTEN by, the author listed on the cover. That doesn't mean the books aren't accurate and worthwhile in content. I think this is a grey area. Would welcome other observations and opinions. Shannon ========================================================================= Date: Thu, 4 Jan 1996 13:13:29 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Milwaukee Blues? I'm going to be in Milwaukee this weekend. Any good blues clubs, shows, or acts I shouldn't miss? Shannon ========================================================================= Date: Thu, 4 Jan 1996 13:32:00 -0500 Reply-To: cmasenas@vnet.ibm.com From: "Charles J. Masenas" Organization: IBM Microelectronics Division, Burlington, VT. Subject: Re: Joseph Spence Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199601041629.AA21246@xs1.xs4all.nl>, Peter Gallagher writes: > He was laughing all the time and obviously didn't care about having > forgotten the lyrics. The audience caught on to what he was up to and he > more or less had a good laugh at his own expense! > As a result of this his rapport with the audience was excellent. > > I'd love to see the guy live sometime. Joseph passed away a few years ago. His songs were covered by Ry Cooder and David Lindley among others. In a poll including Chet Atkins and Doc Watkins as participants, an album of Joseph's was cited most often as influential among guitarists. His style was from his native Bahama and was highly eccentric. You can't listen to his guitar playing, laughing, and grunting without feeling happy inside. He did gospel with his wife's family singing but don't file him under blues. -- ------- Regards, Charles J. Masenas ========================================================================= Date: Thu, 4 Jan 1996 13:43:46 -0500 Reply-To: James Leftwich From: James Leftwich Subject: blues calendar Can anyone recommend a good calendar with blues photos and dates? Where can I get it? Jim ========================================================================= Date: Thu, 4 Jan 1996 10:50:30 -0800 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Re: The Nominees are: 1996 Grammy Awards Comments: To: bit-listserv-blues-l@cs.washington.edu In-Reply-To: <199601041758.JAA19775@ix5.ix.netcom.com> Best traditional folk album nominee: Train-a-comin by Steve Earle I can't remember the last time I bought a new album and liked it as much as this one. Best record I've heard in *years*. And I'm sure there's some blues content in that record somewhere. Adrian ========================================================================= Date: Thu, 4 Jan 1996 14:20:27 -0500 Reply-To: Sriram Dayanand From: Sriram Dayanand Subject: Sugar Blue again.. hi I sent out this message yesterday to blues-l BUT the digest I got today was truncated to just a few messages even though the list at the top had lots of stuff listed (including this mail) So here I go trying to post it again. If you already got it please excuse the duplication... ---------------------------------------------------------- I just got back from Chicago and I haven't caught up on the volumes of mail I have here. But one thing has been killing me for the last couple of days... I was at Lonnie Brooks show at Buddy Guy's Legends on New Years eve and halfway through the concert Lonnie announced that they had recieved news that Sugar Blue's band had been involved in an accident that night :-( He did not have any further news. He just said "Lets pray that everyon's OK" What happened ??? Is everything fine ????? I saw Sugar Blue just a month ago in Toronto and Lonnie's announcement almost ruined the rest of the party for me on New Years Eve. Somebody please tell me everythings fine and Sugar Blue and his band members are ALL safe ..... fingers crossed.... ---------------------------------------------------------- thanx, =sriram= ******************************************************************** Sriram Dayanand email: sriram@aw.sgi.com Alias | Wavefront R&D Toronto, Canada Ph: (416) 362-8558 x314 ========================================================================= Date: Thu, 4 Jan 1996 15:15:35 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: 29 Ways > Last night, I listened again to one of my 'almost-non-blues' favourites, > Marc Cohn, and stood still at his IMHO very good interpretation > of Willie Dixon's '29 ways'. > > Who else did ever cover this song ? For my money, Koko Taylor did the best version, better than Dixon's own. I also have a strange version done by Big Joe Turner. It's live, I think at a festival somewhere, and he obviously didn't know all the words -- makes up some pretty good ones, though. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Thu, 4 Jan 1996 13:59:34 -0600 Reply-To: Dave Daubard From: Dave Daubard Subject: Re: Sugar Blue again.. Comments: To: Sriram Dayanand In-Reply-To: <199601041920.OAA12425@jasmine.alias.com> Sugar & band are OK. The vehicle is totalled. They were on their way back from Ann Arbor to Chicago. ========================================================================= Date: Thu, 4 Jan 1996 14:11:25 -0600 Reply-To: Dave Daubard From: Dave Daubard Subject: Lee McBee Lee has a band together that is going on the road starting in March. They are headed to Texas first. He was really excited about getting out on the road. If you want Lee to play in your town & can steer him in the right direction, call him at 913-842-5473.-just a big fan "Swingin' Dave" ========================================================================= Date: Thu, 4 Jan 1996 15:13:28 -0500 Reply-To: Oded Maron From: Oded Maron Subject: Tony Z (was: KOKO TAYLOR'S CHICAGO BLUES) In-Reply-To: Doll's message of Tue, 26 Dec 1995 11:21:42 -0600 >From Koko Taylor's club in Chicago - listing for January: Saturday, January 20 TONY Z ON HIGH TONE/RUBY HARRIS I would definitely recommend this show to any blues/jazz lovers in the Chicago area. I saw him with Barnard Purdie and Houston Person in Boston, and it was one of the best shows of 1995 for me. They simply cooked. Oded ========================================================================= Date: Thu, 4 Jan 1996 12:27:21 GMT Reply-To: marc@az.vub.ac.be From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Re: Best Shows of '95 Comments: To: bit-listserv-blues-l@Belgium.EU.net Been to many shows, only mention the very best : Jul 16. Keb'Mo' on the Belgium Rhythm and Blues Festival Best 'newcomer' ever heard, I think. The Electric Kings on the Belgium Rhythm and Blues Festival Like Jean-Pierre Urbain mentioned a few days ago : the very best European bluesband for the moment. Nov 5(?). the same 'Electric Kings' as opener of the Muddy Waters Tribute in 'Het Poorthuis' in Peer, Belgium. The Muddy Waters Tribute with Carey Bell, Bob Margolin and last but not least Pinetop Perkins where I had the chance ( thanks to the Electric Kings guitarist ) to meet Pinetop himself. embee. ========================================================================= Date: Thu, 4 Jan 1996 14:45:15 -0600 Reply-To: Dave Daubard From: Dave Daubard Subject: Re: Canadian Blues Bands Comments: To: emdrprac@DIRECT.CA In-Reply-To: <4c4rcm$10k@grid.direct.ca> I would like to add Nigel Mack & the Blues Attack from Vancouver to the category of fine blues from north of the border. Nigel's nearing the completion of his 1st CD. We are looking foward for Nigel's 3rd tour of the states this year. Great slide & harp from Nigel.-"Swingin' Dave" ========================================================================= Date: Thu, 4 Jan 1996 15:55:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re: Muddy Waters song? Orange2 has the temerity to question my attribution of NINE BELOW ZERO to Muddy Waters, raising the absurd suggestion that the tune was written by Sonny Boy Williamson, and without even saying WHICH SBW he is referring to! I can only say, my good bluezellers, there is a pestilence upon this List when my word on such a thing becomes questioned by the likes of Orange2. I will acknowledge that my copy of Muddy "Mississippi" Waters Live also diabolically credits "S.B. Williamson" as the author, but I can only attribute this to the work of a Russian agent working under deep cover for Orange2 and his fiendish organization. And if you think of it, with a name like Orange2, it's not really surprising that his operatives would have infiltrated my apartment and altered the credits, now is it?! Ever vigilant, Joe in freezing Moscow J.E._Downey@bakermck.com ("Got a cold, cold feeling. It's just like ice around my heart!" [I think Albert Collins at least performed this one but I'm waiting for Orange2 to show his hand before I commit myself on it.] "Orange Alert!" - The Prisoner) ========================================================================= Date: Thu, 4 Jan 1996 16:10:32 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[3]: SRV clones Comments: To: JBards Hi Jim, I'm sure you won't mind my forwarding this to the list since that was your original intention anyway. I would have called Joe Kubek a Stevie clone 10 years ago -- Joe's cut on Doyle Bramhall's CD "Bird Nest On The Ground" from 1985 is like a Reader's Digest Condensed version of Stevie Ray. And that's certainly understandable -- Joe and Stevie were close friends. However, Joe had clearly risen above clonosity by the time his first CD "The Axe Man" came out ('90-91). He's much more fluid and clean-sounding than Stevie, and he plays a hell of a slide guitar. And Joe does not try to cop Stevie's look onstage either -- another mark of clonosity ("hello, the tone does NOT originate from the hat!") - Ruth ______________________________ Reply Separator _________________________________ Subject: Re[2]: SRV clones Author: "JBards" at Internet Date: 1/4/96 2:36 PM Woops, I meant to hit "reply all", but c'est la vis: anyway, shouldn't Smokin Joe be in this group too, as a stylist very much in the school of SRV? That is not to say that I don't think Joe stands on his own- he does- but he's the closest thing around. -Jim _______________________________________________________________________________ Subject: Re: SRV clones From: PARRISHR at INTERNET-SH Date: 1/4/96 12:41 PM My personal, totally unbiased opinion: Chris Duarte: SRV clone (boring) Duffy Kesling: SRV clone (45-minute solos -- totally boring) "Mad" Max Vadi (who just happens to be my fiance): innovative bluesy/rock guitarist in the spirit of SRV, Johnny Winter and Jimi Hendrix, never get tired of listening to him play even when he wakes me up at 3:00 a.m. to show me a really cool new chord progression he just figured out. ______________________________ Reply Separator _________________________________ Subject: SRV clones Author: Jim Miller at Internet Date: 1/4/96 4:52 PM Since we have been (for the most part) critical of SRV clones I for one would like to know who are the clones out there versus those artists who are simply influenced by SRV but have actually done something creative with this style? For example, is Chris Duarte a clone or is he someone in the SRV "school" who is actually adding something? ========================================================================= Date: Thu, 4 Jan 1996 15:45:01 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Big Maybelle Went this morning to visit a newly opened CD store. While searching their blues section I found Big Maybelle's "Complete OKeh Sessions." I did not know much about her, but I instantly remembered that a Blues-Ler mentioned her mighty voice. Since I am a sucker for black blues woman voices, I bought it! And what a collection this is!!! 26 songs of pure beauty. I haven't had fun listening a blues CD in a long time. Well at least since yesterday, after listening to newest Paul Geremia. If you want to find out wher Koko Taylor and Katie Webster are coming from - BUY THIS CD - YOU'LL LOVE IT!!!!!! Ranko ========================================================================= Date: Thu, 4 Jan 1996 17:08:26 -0500 Reply-To: Orange2@GNN.COM From: Somei Louie Subject: Re: Muddy Waters song? Comments: To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM Recently, someone accused me of being a spy. It is clear that, with reference to my being a spy or in any way having connection with the CIA, FBI, FDA, GOP, NFL, 4-H Club, Sam's Club, Club Med, Mickey Mouse Club, Deal-A-Meal Plan, or FHFMM (Future HAIR CLUB for MEN Member), any such claim (as made by a certain dissident in this newsgroup) is laughable. . I am as I have always been ... a tourist in Bluesland. I'm not here to gather any trade secrets nor overthrow the newsgroup. I have a patriotic duty to the bluesmen who preceded me to make sure that the facts stay the facts. The next time certain individuals make erroneous statements re: the authorship of songs, I must speak out. To remain silent would be an act of cowardice. My nickname was was slandered, too. By the way, my nickname, "Orange2", comes from an old Latin term, "Orangitis bluelickuli" which translates -- "he who likes alligator shoes, Jack Daniels and a little bit o' Dust My Broom." With my slide over my heart and my eyes pointed toward the sun, Commander Orange2 Blues Mountie and Sargeant of the Secret Blues Police Badge #2BLU Orange2@gnn.com ========================================================================= Date: Thu, 4 Jan 1996 16:25:04 -0600 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: SRV CLONES Interesting - when SRV first started to make a name for himself I knew several people who said he was a Jimi Hendrix clone. I would image that every musician starts out by imitating someone and then develop their own style. Bruce Roberts Austin, TX ========================================================================= Date: Thu, 4 Jan 1996 17:34:41 -0500 Reply-To: Orange2@GNN.COM From: Somei Louie Subject: Re: NINE BELOW ZERO Comments: To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM Just for the benefit of a certain person who was unclear about the authorship of the song "Nine Below Zero". I spent a few hours researching its origins and here's what I found. The song was originally written by Willy "Cauliflower Head" Thomas, in 1937. Willy was a struggling piano teacher who couldn't understand why his students were progressing so slowly. After someone explained to Willy that more sound could be produced by pressing down the piano keys rather than blowing into them, he went on to open his own music school. The song was written Orange2@gnn.com ========================================================================= Date: Thu, 4 Jan 1996 17:41:41 +0600 Reply-To: Rage 'n Records From: Rage 'n Records Subject: I vote for Grammys I am a voting member for the Grammys and yes I share the same frustrations as you all when I see Milli Vanilli and Jethro Tull problems but I also realize that you have to get involved if you want to make change. The Tull thing was because there were alot of older academy members who thought his music was heavy. I ma not hear to take sides so don't shoot the messenger! Milli Vanilli, who knows, why don't we blame the millions of people who bought the music. Once word got out tot eh Grammy people that they didn't sing on the record the award was taken away from them. I mean the academy could have kept quiet, but instead they chose to take it on the chin and publicly remove the award. Again, I am not on the commities, its just that I had the same questions that you all did and I investigated the facts and drew my own conclusions. As far as rigging or palying favorites it can't happen. Each voting member is assigned a numbered ballot by Deloit & Touche and can only vote once and is registered. What can happen, just like in any election is politics. For instance A&M says to Epic hey "if I vote for you will you vote for me" Anyway I just thought that I would share some insight with you all. Kindest Regards, ------------------------------------------------------------------ Vince Kershner President A&R vince@pobox.com IKON Records ikon@pobox.com 215 977 7779 CHECK OUT HOME PAGE http://pobox.com/rage/ ========================================================================= Date: Thu, 4 Jan 1996 17:36:42 -0500 Reply-To: Orange2@GNN.COM From: Somei Louie Subject: Re: SRV clones Comments: To: JMILLER%A1.SPEEDY.mrouter@SHAWNEE.EDU With regard to SRV clones, let's not forget how many Little Walter clones are blowing across the stages of the world's blues clubs. I understand that it would be cool if everyone had their own voice, butt it don't always float down the river in that direction. I like Colin James (old stuff) even though I know where he's coming from. Hey, can you play well enough to be considered a clone? I think it's saying SOMETHING for a person to be good enough to get even a cursory comparison. Of course, what's really scary, is a guy I met a couple of years ago who got up to play with us. He copied the clothes, walk, rig and EVERY mannerism of SRV. EVERY MOVE. It was like Rich Little does SRV. Unfortunately, he forgot that SRV was also a talented guitarist (one fact he inadvertently forgot to add to his impersonation). On the other hand, the world is a much richer place due to the vast numbers of Elvis impersonators. What would the world be without them? So, the bottom line as I see it is this: If you are an Elvis impersonator, you are doing wonders for mankind. If you are Bruce Willis, you still can't play harp. If you are SRV, you're deceased. If you copy SRV, I don't really care, but just don't ask to sit in with my band. Captain Orange2 Blues Inspector Enforcer of the Holy Moly Orange2@gnn.com ========================================================================= Date: Thu, 4 Jan 1996 14:57:00 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: SRV clones Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Speaking of clones.... I saw Randy Hansen (tireless Hendrix clone) at the NAMM show last year demoing the "Jimi Hendrix" (yes it's now a brand name) line of guitar pedals.... yikes! He was back in the booth the second day as well, and in the exact same set of (now somewhat wrinkled) clothes... I stayed on the other side of the aisle... Weird world ain't it? Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Thu, 4 Jan 1996 18:28:22 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Article of interest to blues fans I can't recommend Mojo highly enough to people who haven't discovered it yet. When I asked recently if people on the list would list their non-blues favourites (and I will report on the results of that in a day or so!) I was struck by the range of "grown up" music of all kinds we all seem to like. Mojo covers blues quite a lot, but also, in its relatively short history, Pink Floyd, the Bonzo Dog Band, Neil Young, k.d. lang, Capt. Beefheart, Zappa (a superb obituary issue) and many, many more. Excllent writing, fine graphics, and a dry British sense of humour (but not as snide as its sister magazine, which is called, simply, Q); serious fans who like a wide variety of music will enjoyb it a lot. I'm off out to buy the January issue right now! Richard the Elder ========================================================================= Date: Thu, 4 Jan 1996 18:38:44 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Serious Grammys/Handys >I personally, take the Grammys as serious as I do the Handys. I've never quite understood the categories. I've asked before online, but nobody's answered. Does anybody here know what criteria they used to classify something as "traditional" or "contemporary"? Just wondering... karen ========================================================================= Date: Thu, 4 Jan 1996 18:39:03 -0500 Reply-To: Orange2@GNN.COM From: Somei Louie Subject: Re: NINE BELOW ZERO I apologize for the other NINE BELOW ZERO paragraph. I began it and inadvertently hit send before it was completed. You get the idea. Doctor Orangelove >X-State: 3 >X-Total-length: 2127 >Received: from listserv.brown.edu (listserv.brown.edu [128.148.128.155]) > by mail-e1b.gnn.com(8.7.1/8.6.9) with SMTP id RAA03143 for > ; Thu, 4 Jan 199617:42:46 -0500 (EST) >Received: from stanley.cis.Brown.EDU (stanley.cis.brown.edu > [128.148.128.155]) bylistserv.brown.edu (8.6.10/8.6.10) with SMTP id > RAA08607; Thu, 4 Jan 1996 17:39:03 -0500 >Received: from BROWNVM.BROWN.EDU by BROWNVM.BROWN.EDU (LISTSERVrelease > 1.8b) > with NJE id 6082 for BLUES-L@BROWNVM.BROWN.EDU; Thu, 4 Jan 1996 > 17:34:41 -0500 >Received: from BROWNVM (NJE origin SMTP@BROWNVM) byBROWNVM.BROWN.EDU (LMail > V1.2a/1.8a) with BSMTP id 5877; Thu, 4 Jan 1996 17:34:40 -0500 >Received: from mail-e1a.gnn.com by BROWNVM.brown.edu (IBM VM SMTP V2R2) > with > TCP; Thu, 04 Jan 96 17:34:39 EST >Received: from www-4-169.gnn.com. (www-4-169.gnn.com [205.188.4.169]) by > mail-e1a.gnn.com (8.7.1/8.6.9) with SMTP id RAA03097; Thu, 4 Jan > 1996 > 17:36:36 -0500 (EST) >X-UIDL: 820798532.001 >X-Mailer: GNNmessenger 1.2 >Mime-Version: 1.0 >Content-Type: text/plain; charset="us-ascii" >Message-ID: <199601042236.RAA03097@mail-e1a.gnn.com> >Date: Thu, 4 Jan 1996 17:34:41 -0500 >Reply-To: Orange2@GNN.COM >Sender: Blues Music List >From: Somei Louie >Subject: Re: NINE BELOW ZERO >Comments: To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM >To: Multiple recipients of list BLUES-L > >Just for the benefit of a certain person who was unclear about the >authorship of the song "Nine Below Zero". I spent a few hours >researching its origins and here's what I found. > >The song was originally written by Willy "Cauliflower Head" Thomas, >in 1937. Willy was a struggling piano teacher who couldn't >understand why his students were progressing so slowly. After >someone explained to Willy that more sound could be produced by >pressing down the piano keys rather than blowing into them, he went >on to open his own music school. The song was written >Orange2@gnn.com Orange2@gnn.com ========================================================================= Date: Thu, 4 Jan 1996 16:02:27 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: SRV clones How can I let this go without adding my 2 cents. Here in LA we have Texas Flood which covers SRV. The guitarist not only does SRV but he also looks and talks like SRV. The resembalance is amazing. And also boring. After 20 minutes of "Look at me, I'm SRV" it was like "So. Big Deal. Can you do anything original?" I was outta there. Kenny Wayne Shepard is also too way into SRV for his own indentity to shine through yet. Given that he is only 19 he may break out of the clones and do something. I hope he does. A related issue is the discussion about whether you need to listen to the greats to be able to the play the blues. Well I'm getting into Latin music. Do you think I'll be a competent Latin player if all I listened to was Santana? As our Latin teacher (very fine guitarist in his own right) said today "You need to beg, borrow and steal as many records as you can get. The only way you will be able to play Latin is immerse yourself in the music." He then used learing blues as an example. "If you wan to play blues you need to listen to Muddy Waters, BB King, Albert King etc. and listen to and learn the differances in styles. It's the only way .Latin is the same. You must know thw music." So its off the try and find as much Latin as I can. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 4 Jan 1996 19:03:21 -0500 Reply-To: Orange2@GNN.COM From: Somei Louie Subject: Re: Serious Grammys/Handys Comments: To: JukeFreak@AOL.COM I'm no expert, for sure, but to me here's the distinction between traditional and contemporary: Traditional: Liked by hard core fans, based on the roots of a musical style, has no chance in hell of making any money for the artists or anybody else Contemporary: Hey! Can make some real cash! Will probably show up on a late night info-commercial in a package CD "Hits of ..." Dick Clark speaks highly of it. You'll soon hear a Muzak version of it on your elevator. Hootie and the Blowfish will cover it. Bill Clinton will ask the band to play it at the next White House party. MTV will consider it for airplay, but unless it has these words, " ... I'm a gangsta, bust it, baby", it'll never make the rotation. VH-1 will make its artist the Artist of the Month and will produce a video about it with lots of cool crooked, angled strobed camera shots. Oliver Stone will discover that there was a conspiracy to change the words to the song and do a major film about it. My mother will hum it in the car when she goes to get Saturday morning donuts ... etc. I know this is my own interpretation, and I'm probably wrong, but don't hate me. Just smile and nod knowingly, mumbling "That poor fellow" when I pass you on the street. If it wasn't the called the blues, they'd call it something else, or maybe not, Orange2@gnn.com Orange2@gnn.com ========================================================================= Date: Fri, 5 Jan 1996 00:28:38 GMT Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: Hard to find blues record by Sasha Smith Comments: To: Nancy Worthington On Thu, 4 Jan 1996 10:47:57 -0500, you wrote: >I'm looking for a record/CD/Cassette by Sasha Smith called Straight Up. Nancy, it's on the independent Buck 'n' Bronx label. You can e-mail them at bucknbronx@aol.com or phone (707) 887-9333. If you're web browsing come by: http://www.vivanet.com/~blues/sasha.html for more about the disc and this great young talent. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Thu, 4 Jan 1996 18:54:45 -0500 Reply-To: Robert Rutter From: Robert Rutter Subject: Re: Albert King's Influence Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu Previously on blues-l, ISTS024%UABDPO.BITNET said: | |Who influenced Albert King.....? | |I listened to Stevie Ray the other night and I don't care what anybody says |he was GREAT. Absolutely fabulous, I don't listen to him much, but when I do |I am moved. That's what it's all about, for ME |LW Speaking of SRV... I watched the PBS Austin City Limits SRV Tribute last weekend... And developed a much higher level of respect for the man's work. If you have the opportunity to see it, this is an excellent show. Cheers, -- Robert Rutter | While money can't buy happiness, it gives you | rjr@sparks.empath.on.ca | the freedom to choose your own form of misery | ========================================================================= Date: Thu, 4 Jan 1996 18:25:05 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: Best Shows of '95 Comments: To: Art Schuna In-Reply-To: <4cej8c$1070@news.doit.wisc.edu> Art, Good choice. Where else could you have seen middle-aged black ladies look at me like they thought I was completely bonkers (which I was, of course)? I'd have to cast my vote for that jam as well, with nods to the following as well: BB King at the Cubby Bear Rod Piazza at Legends Keb Mo' w/ Robert Lockwood and Dave Myers Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke On Wed, 3 Jan 1996, Art Schuna wrote: > My choice would have to be Luther Allison followed by Otis Rush at the > Chicago Blues Festival with the jam session including Luther, Otis and > Eddie C. Campbell. One of the few shows this year that actually gave me > chills listening to it. > > Art Schuna > ========================================================================= Date: Fri, 5 Jan 1996 00:38:22 GMT Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: blues calendar Comments: To: James Leftwich On Thu, 4 Jan 1996 13:43:46 -0500, you wrote: >Can anyone recommend a good calendar with blues photos and dates? Where >can I get it? http://www.vivanet.com/~blues/stuff.html or call Blues Stuff at (800) Blues-11. It's got Steve LaVere's photos and plenty of dates. Very xcellent. $10.95. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Thu, 4 Jan 1996 20:33:43 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Serious Grammys/Handys Comments: To: Orange2@GNN.COM On 4 Jan 96, Orange2@GNN.COM had this to say: > I'm no expert, for sure, but to me here's the distinction between > traditional and contemporary: > > Traditional: Liked by hard core fans, based on the roots of a > musical style, has no chance in hell of making any money for the > artists or anybody else > > Contemporary: Hey! Can make some real cash! Will probably show > up on a late night info-commercial in a package CD "Hits of ..." > Dick Clark speaks highly of it. You'll soon hear a Muzak version > of it on your elevator. Hootie and the Blowfish will cover it. > Bill Clinton will ask the band to play it at the next White House > party. MTV will consider it for airplay, but unless it has these > words, " ... I'm a gangsta, bust it, baby", it'll never make the > rotation. VH-1 will make its artist the Artist of the Month and > will produce a video about it with lots of cool crooked, angled > strobed camera shots. Oliver Stone will discover that there was a > conspiracy to change the words to the song and do a major film > about it. My mother will hum it in the car when she goes to get > Saturday morning donuts ... etc. > > I know this is my own interpretation, and I'm probably wrong, but > don't hate me. Just smile and nod knowingly, mumbling "That poor > fellow" when I pass you on the street. > > If it wasn't the called the blues, they'd call it something else, > or maybe not, Does your mommy know you are using the computer, Orange? P.W. Fenton Tampa, Florida Visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Thu, 4 Jan 1996 20:05:29 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Guitar Lessons by E-mail I'm passing this on from my new Australian web bud Michael Furstner, who operates "Michael Furstner's Jazclass" (jazz and blues tutorials) at: http://www.ozemail.com.au/~jazclass/ ------------------------------------ I will conduct a free course on 'Chords Basics' by Email throught 'Spectrum the Virtual University' (in California). This is a non profit organisation running free lessons on a wide range of topics. They have 50,000 students in 120 countries. They have only recently come onto the net (sponsored by the software company 'Quarterdeck'). Chords Basics will be a 2 semester course, one lesson each fortnight, 10 lessons in total. Anyone who wishes to receive this course should enrol on the Spectrum website on http://horizons.org/campus/ Last time I visited their site they were still in preparation. But they should be ready to go shortly. ------------------------------------ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Thu, 4 Jan 1996 20:23:01 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Highway 61 on PBS I just received this press release kinda anonymously. Man, I'm there! (Sorry for the ALL CAPS. They ain't mine.) ------------------------------------ "GREAT DRIVES" -- THURSDAY NIGHT -- FEBRUARY 1st -- 8:00PM EST -- ON PBS "GREAT DRIVES" IS A FIVE PART MINI-SERIES, AIRING FIVE CONSECUTIVE THURSDAY NIGHTS AT 8:00PM EST, BEGINNING FEBRUARY 1st. EACH HOUR WILL FEATURE A DIFFERENT U.S. HIGHWAY WITH A NEW HOST EACH WEEK SERVING AS ITS GUIDE. "HIGHWAY 61" IS THE PREMIERE INSTALLMENT AND IS HOSTED BY LEVON HELM OF THE LEGENDARY GROUP, "THE BAND". LEVON TAKES US FROM MEMPHIS, TN TO NEW ORLEANS, LA. ALONG THE WAY HE VISITS BEALE STREET IN MEMPHIS; THE CASINOS OF TUNICA MISSISSIPPI; CLARKSDALE, MISS., THE HOME OF THE BLUES; THE CIVIL WAR SITES OF VICKSBURG; THE SWAMPS OF LOUISIANA; THE FRENCH QUARTER AND GARDEN DISTRICTS OF NEW ORLEANS, AS WELL AS THE FAMOUS DEW DROP INN. SPECIAL GUESTS INCLUDE: HISTORIAN, SHELBY FOOTE (THE CIVIL WAR); NOTED AUTHOR, EUDORA WELTY; WRITER, WILLIE MORRIS; BLUES LEGEND, JAMES COTTON; MUSICIAN, VASSER CLEMENS; AND THE O'LANDA DRAPER GOSPEL CHOIR. THE EPISODE KICKS OFF WITH LEVON RECORDING A ROCKING VERSION OF BOB DYLAN'S "HIGHWAY 61, REVISITED" AT THE INFAMOUS SAM PHILLIPS STUDIO IN MEMPHIS. THE OTHER SHOWS FEATURE: ROBERT TOWNSEND (ROUTE 66); TERI GARR (PACIFIC COAST HIGHWAY); GRAHAM GREENE (HIGHWAY 93); AND MARIA CONCHITA ALONSA (FLORIDA'S HIGHWAY A1A). ----------------------------------- *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Thu, 4 Jan 1996 20:36:17 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: "The Promised Land" Rebroadcast Comments: cc: jdieter@fs1.psy.emory.edu Sheesh, and I've just lifted this from a note on rec...blues. (Computers and coffee don't mix!) ---------------------- The Discovery Channel will be rebroadcasting a series called "The Promised Land" January 22-26 at 9:00 a.m. ET/PT The 5-part documentary is "about the migration of African Americans from the rural South to Chicago between 1940 and 1970... ---------------------- *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Thu, 4 Jan 1996 20:54:50 -0500 Reply-To: Orange2@GNN.COM From: Somei Louie Organization: Megaweb Subject: Red Devils Comments: To: bit-listserv-blues-l@uunet.uu.net Anybody out in the LA area know what happened to the band Red Devils? They produced one CD and I haven't heard from them since. My brother who lives out there said he thinks they've regrouped. Any more Red Devils CD's or video out there I don't know about? Thanks ... Orange@gnn.com ========================================================================= Date: Wed, 3 Jan 1996 22:16:38 -0500 Reply-To: "J.F. Bronowich" From: "J.F. Bronowich" Subject: Re: Best Shows of '95 -- [ From: J.F. Bronowich * EMC.Ver #2.5.02 ] -- edward c liu wrote: > Sept 21 Hubert Sumlin -- First time seeing a living legend. I was at that show, at Terra Blues, and I must admit, even though I had been looking forward to it for _weeks_, I was very disappointed. Hubert had the worst back up band I had ever seen (except for that keyboard player, who was amazing). Most of them seemed to be quite out of it, although I won't speculate as to why. Above all, Hubert's guitar style is very subtle and soft (he doesn't use a pick) and the band played right over the top of him most of the time! It actually depressed me, and from the very subdued response of the crowd (who were obvious fans, and went nuts when Hubert referred to Howlin Wolf, whom he called "this man" and "this fella") I got the impression other people felt the same. Did you like the show itself, or was it just seeing Hubert, which. I admit, was worth it, but I don't know if I'll go again. The best blues show I saw all year was on the next to last day of '95: Otis Rush at Blues Etc. in Chicago. Third time seeing Otis this year, and definitely the best: probably because it was in Chicago! He always amazes me -- I swear he has the best tone of any guitarist alive. If there was any doubt before, he is now firmly my favorite. Go see Otis, if you haven't yet! =Joe= ========================================================================= Date: Wed, 3 Jan 1996 22:23:37 -0500 Reply-To: "J.F. Bronowich" From: "J.F. Bronowich" Subject: Collectibles (no EC guitar string content) -- [ From: J.F. Bronowich * EMC.Ver #2.5.02 ] -- Some items actually would be of interest to _me_. Specifically, old cards and posters advertising blues shows. Originals or repros. You know the ones, with the lineups for the shows listed in big, black, sans-serif type, and little else. I've always thought that those things were very beautiful in their simplicity. Anyone know where I can get some? NY, Chicago or mail order preferred. Someone suggested the Music Mart at the DePaul center in Chicago, but I could't get there this trip. Anyone know? =Joe= ========================================================================= Date: Thu, 4 Jan 1996 22:59:19 -0500 Reply-To: Renato154@AOL.COM From: Renato Tonelli Subject: Re: Son House recommendations Comments: To: beekman@pipeline.com Anything and evrything you can find by Son House is recommended. Renato Tonelli ========================================================================= Date: Thu, 4 Jan 1996 22:00:20 -0600 Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: Blues Calendar Comments: cc: leftwich@CLOUD9.NET The Tuscon Blues Society has a nice calendar. It is $10 and can be obtained by writing to: Tuscon Blues Society P.O. Box 30672 Tuscon, AZ 85751 (520) 570-7955 Hope this helps! Nuri Nuri ========================================================================= Date: Thu, 4 Jan 1996 23:05:57 -0500 Reply-To: Orange2@GNN.COM From: Somei Louie Organization: Megaweb Subject: Boogie Woogie Piano? Comments: To: bit-listserv-blues-l@uunet.uu.net Anyone have any suggestions? I'd like to find a great boogie woogie piano CD, something with barrelhouse blues/boogie on it THROUGHOUT. Maybe even a solo effort. Little if any slower blues tunes. Vocals are not important, either. I just want to be able to really hear the piano and what the player is doing with both hands. I'd like to find something that really moves. Any ideas? Or do any of you piano players know of any particular instructional video which addresses this kind of style? Left hand is paramount in this kind of playing, heavy boogie bass lines. ?????? Thanks for any suggestions you might come up with! Teaching my little fingers to play, Orange2@gnn.com Orange2@gnn.com ========================================================================= Date: Thu, 4 Jan 1996 22:00:03 -0700 Reply-To: "H.R. Sarkissian" From: "H.R. Sarkissian" Organization: Primenet Subject: Coco Montoya & other Blues dates - pls help Comments: To: bit-listserv-blues-l@uunet.uu.net Greetings! I'm looking for WWW resources for finding blues performance dates and other info. Specifically, at this time I would like to find out if Coco Montoya is performing in the L.A. area (missed his gig at BBKings on New Year's Eve). Thanks to all who respond in advance, and have a great 1996! H.R. Sarkissian ========================================================================= Date: Fri, 5 Jan 1996 08:40:15 0800 Reply-To: "David W. Johnson" From: "David W. Johnson" Organization: Johnson Communications Subject: Booker T. White replies Thanks for a couple of responses to my query about personal contact with the late Booker T. White. Future responses are welcome. As I mentioned, I am researching an article on White. Dave ========================================================================= Date: Fri, 5 Jan 1996 00:07:48 -0600 Reply-To: Dave Daubard From: Dave Daubard Subject: Johnny Copeland The "Jungle Swing" CD is scheduled to be released in the states in the 2nd quarter(April?). It has been declared "Blues Album of the Year" by the French Nat'l Academy of Jazz and by "Soul Bag & Jazzman" according to Holly (Johnny's agent). ========================================================================= Date: Fri, 5 Jan 1996 01:32:31 EST Reply-To: Joseph Leichter From: Joseph Leichter Subject: Re: FREDDIE KING - wanted Hmmmmm as far as I know its FK live in *Nancy* that's a two -volume set (with an incredible "Sweet Home CHicago")..not "Antibes"...but if I'm wrong, and there is a companion CD to Antibes, someone,anyone, *please* tell me whhere I can get a copy! ========================================================================= Date: Thu, 4 Jan 1996 23:34:03 -0800 Reply-To: alleycat@scn.org From: SCN User Subject: Babe Stoval There was a great blues singer and guitarist by that name in New Orleans who I saw in 1964 in a small performance space. Does anyway know if any of his recordings (I know there were some) are available on CD? Much Thanks. ========================================================================= Date: Thu, 4 Jan 1996 23:35:05 -0800 Reply-To: Michael Hewitt From: Michael Hewitt Subject: Re: SRV CLONES Comments: To: Bruce Roberts Bruce Roberts wrote: > > Interesting - when SRV first started to make a name for himself I knew > several people who said he was a Jimi Hendrix clone. I would image that > every musician starts out by imitating someone and then develop their > own style. > > Bruce Roberts > Austin, TX Hmmmm...was just listening to a new (to me) Chris Duarte Group CD, _Texas Sugar/Strat Magik_, and I began thinking about how SRVish he sounded...and then began to notice many nuances reminicient of Hendrix. So the next step was to put on some Stevie...and shore nuff...there were shades of Hendrix. So who possibly influenced Hendrix? ; ) (Look out thread...here we come!) -- Michael Hewitt Hilmar High School mhewitt@telis.org 7807 N. Lander Ave. Troutbusters Hilmar CA 95324 Modesto CA 209-667-5903 ex 34 "Flyfishing for trout is the closet thing to Heaven on Earth." - M. Hewitt "Nobody loves me but my mother, and she could be jivin too." - B. B. King ========================================================================= Date: Thu, 4 Jan 1996 23:52:11 -0800 Reply-To: Michael Hewitt From: Michael Hewitt Subject: Re: SRV/Hendrix clones BTW, I was just kidding about wanting to know Hendrix's influences...PLEASE don't anyone take that seriously. (Issued with respect to SRV, Jimi & founding blues fathers, mothers, sisters, brothers, uncles, aunts, sons, daughters, as well as fishnet stocking-wearing, slide-guitar-playing, pick-dropping blonds and EC-guitar string collectors.) Did I forget anyone? ========================================================================= Date: Fri, 5 Jan 1996 07:29:46 GMT Reply-To: marc@az.vub.ac.be From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Re: BluesBytes for charity Comments: To: bit-listserv-blues-l@Belgium.EU.net : Bob Unger wrote: : >Who would you like to see be the recipient of bluezellers generosity? Brownie Mc Ghee's foundation ? ( forgot the name ...) embee. ========================================================================= Date: Fri, 5 Jan 1996 07:42:35 GMT Reply-To: marc@az.vub.ac.be From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Brownie & Sonny Comments: To: bit-listserv-blues-l@Belgium.EU.net On a CD, recently listened to, I read that this cd called 'Sonny Terry and Brownie Mc Ghee' originally was released on Fantasy on 2 different records : Sonny Terry and Brownie Mc Ghee Fantasy 3254 Blues and Shouts Fantasy 3317 The recordings were made in March 1957 in Berkeley's Jenny Lind Hall. The rest of the recordings made that day were spirituals released on Fantasy as : "Just a closer walk with thee". My question : Are these recordings available on CD ? embee ps. These recordings are part of my 'alone-on-an-island-for-the-rest-of-days-rescue-kit' ! ========================================================================= Date: Fri, 5 Jan 1996 03:34:58 -0500 Reply-To: OJack12659 From: OJack12659 Organization: America Online, Inc. (1-800-827-6364) Subject: BRONZEVILLE"RHYTHM & BLUES CHICAGO HISTORY Comments: To: bit-listserv-blues-l@uunet.uu.net FOR SALE BOOK $ 6.95 ========================================================================= Date: Fri, 5 Jan 1996 00:07:00 GMT Reply-To: sylviap@cartermill.com From: "sylviap@cartermill.com" Subject: Re: Help Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Hello bluesy people, I am trying to contact a big Italian R&B singer. Yes it seems strange but when you are used to work with people as Memphis Horns, Miles, Beck, Cocker, Randy Jackson, Clapton, Salomon Burke, ect.... and above all white, European, Italian, (A white, European, Italian singing this music! Never mind) you can think it is a good reference. WHy I ask your help? Because I know he is very involved in blues, he loves this music so as everyone of you here love blues you may know how I could contact him. He is in Italy at the moment but he has a lot of friends in USA. It is very important and urgent for me. All the existing ways available are a good way for me to get this information! So I would aprreciate a lot if you could help me. I precise that I love blues too, I fell this music in my blood, and always tell that before being Silvia I was African. I am white with a black soul GOd save the blues and bless you Best wishes Silvia ========================================================================= Date: Fri, 5 Jan 1996 10:49:43 +0100 Reply-To: Peter Gallagher From: Peter Gallagher Subject: Re: Booker T. White research Comments: To: johnscom@CROCKER.COM In-Reply-To: <199601050538.AAA19571@rmc1.crocker.com> from "David W. Johnson" at Jan 5, 96 08:40:15 am Dave, the CD "Memphis Hotshot's" is (apart from e VERY enjoyable album), a good source of info on Booker. The notes are quite extensive and give some insight into his interest in an "electric" band. The CD in question was a sort of cross between an experiment and his long-standing desire to play electric and with backing. Any existing fans of Booker's are ( as I've said before ) advised to check it out. As a great fan of Booker's I would be very interested in a copy of your eventual article. I'm sure others on bluezelle would, too! If it doesn't prejudice your copyright's etc. perhaps you'd consider posting it to the group? It could be a very useful contribution and a profile of a great artist. It would be greatly appreciated. regards, PeterG "I was so sad that mornin' my appetitte weren't nowhere to be found an' I jus' threw my head in my hands" -- Booker T. White Dave said: > Thanks for a couple of responses to my query about personal contact with > the late Booker T. White. Future responses are welcome. As I mentioned, > I am researching an article on White. > > Dave > > -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Fri, 5 Jan 1996 09:54:23 +0000 Reply-To: rof From: rof Subject: Re: Babe Stoval Comments: To: alleycat@scn.org In-Reply-To: Your message of "Thu, 04 Jan 1996 23:34:03 PST." <199601050734.XAA02338@scn.org> In message <199601050734.XAA02338@scn.org>, SCN User writes: > There was a great blues singer and guitarist by that name in New Orleans > who I saw in 1964 in a small performance space. > > Does anyway know if any of his recordings (I know there were some) are > available on CD? > > Much Thanks. I think the last time anything was reissued was around 1990 on Flyright (UK co. based in Bexhill, Sussex). As far as I know nothing has been released on CD though. Rob ========================================================================= Date: Fri, 5 Jan 1996 05:06:28 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Boogie Woogie Piano? Comments: To: Somei Louie In-Reply-To: <4ci871$d23@news-e1a.megaweb.com> On Thu, 4 Jan 1996, Somei Louie wrote: > Anyone have any suggestions? I'd like to find a great boogie > woogie piano CD, something with barrelhouse blues/boogie on it > THROUGHOUT. Maybe even a solo effort. Little if any slower blues Very nice CD and just out - Big Joe Duskin, Down The Road A Piece (Wolf #120.713). Just Big Joe, his piano and Michael Strasser on drums. I have not listened to the whole of it, but from the first few cuts very good sound quality and yes you have barrelhouse boogie. NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Fri, 5 Jan 1996 14:24:37 +0200 Reply-To: Jouni Ilari Hyyti{inen From: Jouni Ilari Hyyti{inen Subject: Re: Non-Blues favorites Comments: To: "David L. Prychitko" In-Reply-To: I don't mention my Jazz (From Sarah Vaughn to David Murray),Soul (Donny Hathaway to Linda Jones) ,Funk (Clinton et al to Meters),Gospel (Sister Rosetta Tharpe to Larnelle ) favorites, because too much names that I should remember now but.... (= a possibility to endless humilation=> face slamming , hard). 1) Frank Sinatra. The last one. 2) Dean Martin. Adios Dino, "I didn't drop a bit". 3) Qhuang (???) brothers from China. A memory (names forgotten) of a real beautiful music. 4) Zap Mama. of course. 5) Jerry Jeff Walker. I remeber when I sang "up against the wall..." to an Okie exchange student... Matthew Winslow, where ever you are, cheers. 6) Willie Nelson. Mamas don't...+My heroes...+his version of "Allways on my mind" 7) Tapio Rautavaara. Finnish icon. 8) Reijo Taipale. also. 9) L Shankar, Better than Ravi. 10) The women singers in most of the Indian or Hongkong soundtracks. 11) Spike Jones. I really love to see new Spikish figure with an ambition to make jokes and gags about guitar heroes... 12) Harpo Marx (maybe Chico was the best musician but...) 13) Oliver Hardy (he was a great singer too) 14) The nameless circus bands from my childhood nostalgia... 15) Stravinsky. the only classical hope in this list. 16) Machito. Afro Cuban music at it's best. 17) Huun-Huur-Tu. A Tuvan (in the neighbourhood of Mongolia) throat singer group. The friends of Blind Willie Johnson,check out this group and style. 18) Christy Moore. Powerful and intensive Irish singer. Jouni ========================================================================= Date: Fri, 5 Jan 1996 08:03:52 -0500 Reply-To: RLaMour From: RLaMour Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Blues Calendar Comments: To: bit-listserv-blues-l@uunet.uu.net This is a great calendar with a wonderful picture of Lavelle White gracing the January page. Lots of great blues going on in Tuscon and Phoenix with very strong blues societies. Congradulations on a first class calendar. Keep up the good work! ========================================================================= Date: Fri, 5 Jan 1996 08:40:10 -0500 Reply-To: USBLUE5@AOL.COM From: "Gordon, Rich" Subject: Sunday Night Blues on WXRX 104.9 FM Rockford, IL The Sunday Night Blues on WXRX 104.9 FM is now moving to 10pm. Beginning January 14, the show will be 2 hours long from 10pm to Midnite. Thanks to everyone who called. You made a difference. Thanks for supporting the Blues in the Rockford area. Rich Gordon ========================================================================= Date: Fri, 5 Jan 1996 09:31:45 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Grammy Process There was some interesting info in todays local newspaper about the Grammys. The article said there were 7500 NARAS members. Starting this year, the award process goes like this. All members nominate their choice in the major catagories. A 25 member panel (no word on how the panel is selected) then takes this large list of nominees and decides on 5 nominees in each catagory. The president of NARAS, Micheal Greene, said he instructed this year's panel to "totally eliminate publicity ...and pick the best". The entire 7500 members then gets to pick a winner from the 5 nominees. Another interesting note... to this point, the musical artist that has received more Grammy awards than any other individual (or group) is classical conductor Sir Georg Solti (Who I believe now conducts the Chicago Symphony). P.W. Fenton Tampa, Florida Visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 5 Jan 1996 08:04:04 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Boogie Woogie Piano? Comments: To: Somei Louie In-Reply-To: <4ci871$d23@news-e1a.megaweb.com> On Thu, 4 Jan 1996, Somei Louie wrote: > Anyone have any suggestions? I'd like to find a great boogie > woogie piano CD, something with barrelhouse blues/boogie on it > THROUGHOUT. Maybe even a solo effort. Little if any slower blues > tunes. Vocals are not important, either. I just want to be able > to really hear the piano and what the player is doing with both > hands. Robert Shaw, Ma Grinder, on the Arhoolie label. It is one boogie-in' CD. -Jeff (maybe I shouldn't have said, Boogie) ;-) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Fri, 5 Jan 1996 08:23:08 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Collectibles (no EC guitar string content) Comments: To: "J.F. Bronowich" In-Reply-To: <199601050328.WAA21727@metric.inch.com> I've never seen any old posters at the DePaul Music Mart. There was an article a few months ago in Goldmine about poster collecting. Your best bets are probably ads in specialist magazines and occasionally mail order sources; unfortunately, most of the mail sources I've seen jack the prices up ridiculously. The incredible poster collection (Chris Strachwitz's) is one more good reason to visit Down Home Music in El Cerrito, Cal. Village Music in Marin County also has great memorabilia on display. Bob Koester also has lots of great Chicago posters but doesn't have a display-- too bad. ========================================================================= Date: Fri, 5 Jan 1996 08:37:45 -0600 Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: Re: Boogie Woogie Piano? Comments: cc: Orange2@GNN.COM Hello, Try Pinetop Perkins "Pinetop's Boogie Woogie" or anything by him. Also, try Katie Webster, Johnny Johnson, and Sunnyland Slim. Hope this helps! Nuri Nuri >Anyone have any suggestions? I'd like to find a great boogie >woogie piano CD, something with barrelhouse blues/boogie on it >THROUGHOUT. Maybe even a solo effort. Little if any slower blues >tunes. Vocals are not important, either. I just want to be able >to really hear the piano and what the player is doing with both >hands. > >I'd like to find something that really moves. Any ideas? Or do >any of you piano players know of any particular instructional video >which addresses this kind of style? Left hand is paramount in this >kind of playing, heavy boogie bass lines. ?????? > >Thanks for any suggestions you might come up with! > >Teaching my little fingers to play, > >Orange2@gnn.com > > >Orange2@gnn.com > > ========================================================================= Date: Fri, 5 Jan 1996 14:35:50 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Serious Grammys/Handys Comments: To: bit-listserv-blues-l@uunet.uu.net In <960104183828_106689123@emout06.mail.aol.com>, Karen Hanson writes: >>I personally, take the Grammys as serious as I do the Handys. > >I've never quite understood the categories. I've asked before online, but >nobody's answered. Does anybody here know what criteria they used to >classify something as "traditional" or "contemporary"? Just wondering... Well, I had the rare privilidge of working with Peter Lee and Dick Waterman to define these very terms for the Handys when we revamped the process in 1990 or so, and while the exact terminology escapes me, we basically defined traditional as blues styles first popularized in the 1940s and 1950s. The thought at the time was that artists like Koko Taylo and Charles Brown who have stayed true to their form for decades would fall in this category. Contemporary blues were considered to be blues styles popularized in the 1960s on, and showing a rock and roll influence. In the past couple of years, the balloting commitee has adeed a host of other categories, equally vague in definition to the point that I seriously wonder who decides what they mean. Some of their additions have been well thought out and much needed- the soul/blues catetgory comes to mind. But I have REAL problems with categories for crossover artist and comeback album of the year. Both of these categories are seem to me to be based on something other than the music in question and have potentially insulting/controversial connotations. In particular the crossover category bothers me. It'll be fine for the next three years while they give awards to Eric, Bonnie, and ZZ Top, but what about the 4th year? BBB - B.B. Bean bbbean@cris.com http://www.cris.com/~Bbbean - ========================================================================= Date: Fri, 5 Jan 1996 09:48:55 -0800 Reply-To: steve.roberts@OCTEL.COM From: Steve Roberts Subject: SRV, Pros and Posers, more A couple of delayed reactions from BLUES-L DIGEST land... On the (latest) SRV thread: I've never been much of a SRV fan, despite (or, perhaps because of?) his early billing as a Jimi reincarnate. I found myself reconsidering, though, the night before last when I caught about half an hour of a taped SRV performance on late-late night TV (musta been about 4:30 am). The part I saw was all material unfamiliar to me (meaning not one of Stevie's top 40 hits or his V-Chil' cover), performed with just a bass player and a drummer in what looked like an outdoor amphitheater. It was very, very tasty - particularly a slow number that I found to be much different than anything I'd heard from Mr. V in the past. So, now my mind's re-opened. I'll not call myself a fan - yet - but I'm ready to hear more. Also...in yesterday's digest Shannon said: >>I sometimes work on books that have an author's recognized name on >>them that are not even reviewed by, never mind WRITTEN by, the >>author listed on the cover. That doesn't mean the books aren't >>accurate and worthwhile in content. I think this is a grey area. >>Would welcome other observations and opinions. As former senior editor of a respectable publishing firm (was that an oxymoron?), I have seen this phenomenon many times. Now that I've moved on, I frequently find myself on the flip side of the formula: I'm the guy who actually writes the stuff someone else gets credit for (the pro behind Milli Vanilli, if you will, a.k.a hired pen, mercenary, literary whore, whatever. I'm proud to be all that, and more). It's a nice place to be. I get all the advantages (cash, for one, and the respect of those who know my work) without any of the annoying overhead (like having to hang out with suits). And the "Milli" whose name appears on the cover? Frankly, in most cases I prefer satisfaction and anonymity to the so-called "author's" hollow fame. Of course, I publish the stuff that has real meaning to me under my own name, and won't touch work I find reprehensible (be it socially, politically or morally), under any name. I imagine there's musicians on the list that can make pretty parallel statements; i.e., doing top 40 in a studio and performing the Blues live. ========================================================================= Date: Fri, 5 Jan 1996 10:03:49 -0500 Reply-To: BMTallman@AOL.COM From: Bonnie Tallman Subject: KOKO TAYLOR'S CHICAGO BLUES) Rumor has it Sam Lay is scheduled at Koko Taylor's Club on Friday Feb. 2. This show is an absolute MUST!!! Besides being 100% class and a gentleman in everyway - Sam is a legend of the blues - check out the Fathers and Sons album! Although Sam is known for holdin' the beat for countless notable artists in the sixties (Howlin Wolf, Muddy Waters, Bob Dylan, Paul Butterfield Blues Band ) he is a soulful vocalist and showman - he sometimes even gives a rare guitar performance. ========================================================================= Date: Fri, 5 Jan 1996 10:05:16 -0500 Reply-To: David Goldstein From: David Goldstein Subject: Re: 29 Ways Paul Simon did his own version, added a few ways. ========================================================================= Date: Fri, 5 Jan 1996 10:06:25 -0500 Reply-To: David Goldstein From: David Goldstein Subject: Re: Instrumental Only Albums Truckin' With Albert Collins is pretty good. ========================================================================= Date: Fri, 5 Jan 1996 10:08:51 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: SRV CLONES Yes, Bruce, I heard that about Stevie too, and I heard people say that about Max as well when I first met him. We already agreed that Joe Kubek was categorized as a Stevie clone many years ago. I think my criteria for SRV clones include a de rigeur Stevie hat, Ibanez tube screamer, that stevie-looking strat, and refusal to play anything but SRV and possibly Freddie King and Eric Clapton covers. Ruth ______________________________ Reply Separator _________________________________ Subject: Re: SRV CLONES Author: Bruce Roberts at Internet Date: 1/4/96 4:25 PM Interesting - when SRV first started to make a name for himself I knew several people who said he was a Jimi Hendrix clone. I would image that every musician starts out by imitating someone and then develop their own style. Bruce Roberts Austin, TX ========================================================================= Date: Fri, 5 Jan 1996 10:13:37 -0500 Reply-To: David Goldstein From: David Goldstein Subject: Johnny C______d? sp? I believe he was referring to the composer of Appalachian Spring. ========================================================================= Date: Fri, 5 Jan 1996 10:24:28 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Hendrix Influences Comments: To: Michael Hewitt Michael -- check out the Hendrix Blues album -- the liner notes are a thesaurus of Hendrix influences, must be at least 50 of 'em. Plus it's a really great album! Ruth ========================================================================= Date: Fri, 5 Jan 1996 07:28:42 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Babe Stoval Comments: To: alleycat@scn.org You wrote: > >There was a great blues singer and guitarist by that name in New Orleans>who I saw in 1964 in a small performance space. > >Does anyway know if any of his recordings (I know there were some) are >available on CD? > No, they are not. There are a number of them on LP, but nothing has made its way onto CD as yet. He was a wonderful performer, I too saw him performing on the street (in Jackson Square) in New Orleans toward the end of his life, but I had first come upon his music during the Sixties, when he performed at the Ash Grove. He was a definite personality, and quite intimidating. I am not sure who owns his stuff now, to approach about reissuing it; most of the tracks I have by him are on live compilations. Good idea, though; I'll do some looking-up when I get a chance. Btw his name was spelled Stovall (like the plantation), not Stoval. Mary Katherine ========================================================================= Date: Fri, 5 Jan 1996 09:28:48 CST Reply-To: ISTS024@UABDPO.BITNET From: Leonard Watkins Subject: Instrumental Only CD DUKE LEVINE - COUNTRY SOUL GUITAR.....Outstanding and a great variety of styles It's on Mason-Daring Records and if soulful/tasteful guitar moves you, then grab a suitcase.... LW ========================================================================= Date: Fri, 5 Jan 1996 10:47:49 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Grammys To continue a line of thought by our comrade Joe Downey in Moscow, this morning on Good Morning America my sweetheart Joan Lunden was discussing the nominees with a music critic from VH-1 who follows (tracks) trends and how the Grammys go, and he said basically although the committee has gone out on a limb abit this year, in terms of nominating some "non-mainstream, fringe" artists, his bets were that they they would lose, up against more ho-hum pop artists. Example, Mariah Carey is up against Alanis Morissette, who IMHO just blows the doors off almost any female artist in pop or new rock. But Mariah is the sure bet to win, just on popularity factor. He said that conventional wisdom is that the Grammys award success, but how that success is measured or perceived is where the rub is. No matter what, I think these awards mean a lot to those who receive them. How could you not be thankful for this kind of public recognition for your work? Even the most jaded artist records songs to be heard by as many people as possible, right? Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 5 Jan 1996 10:37:10 -0500 Reply-To: David Goldstein From: David Goldstein Subject: Re: Fishnet Stockings Actually, there are links to two gif's, but they are the same one. I'd like to see the whammy bar that caught her stockings. Anyway, I used PhotoShop to undress her, and to paraphrase junior, "you better run, don't let (me) catch you..." ========================================================================= Date: Fri, 5 Jan 1996 11:34:33 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Johnny C______d? sp? Comments: To: dgoldst@IPOF.FLA.NET On 5 Jan 96, David Goldstein had this to say: > I believe he was referring to the composer of Appalachian Spring. > Nope. That's Aaron C O P L A N D (still no "u") I believe the author of the misspelling cleard this up already. P.W. Fenton Tampa, Florida Visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 5 Jan 1996 10:56:18 -0500 Reply-To: TabbMan@AOL.COM From: John Moore Subject: Re: Best Shows of '95 Comments: To: marc@aznet1.vub.ac.be my .02 #1 Hopefest 95/Park West,Chicago.....Kinsey Report w/ Big Daddy,Junior Wells,Koko Taylor,Billy Branch and the S.O.B.,Bo Diddly #2 Rod Piazza and the Mighty Flyers/Buddy Guys,Chicago ========================================================================= Date: Fri, 5 Jan 1996 10:59:01 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: Fishnet Stockings Comments: To: David Goldstein David, you don't really want to chase me. Unless you WANT a Hendrix-style guitar player widely known as Mad Max after you. I think most people would agree that's not a good idea. ______________________________ Reply Separator _________________________________ Subject: Re: Fishnet Stockings Author: David Goldstein at Internet Date: 1/5/96 10:37 AM Actually, there are links to two gif's, but they are the same one. I'd like to see the whammy bar that caught her stockings. Anyway, I used PhotoShop to undress her, and to paraphrase junior, "you better run, don't let (me) catch you..." ========================================================================= Date: Fri, 5 Jan 1996 10:26:49 CST Reply-To: JBards From: JBards Subject: Clone Theory Comments: To: PARRISHR What interests me about the really dedicated clones, like Randy Hanson, is the motivation for investing that much energy and talent trying to be someone else. Surely if they tried as hard and just tried tro express their on musical vision, they'd be just as or more successful. There's something inherently sick about making a full time occupation out of trying to be someone else. -Jim _______________________________________________________________________________ Subject: Re[2]: SRV CLONES From: PARRISHR at INTERNET-SH Date: 1/5/96 9:57 AM Yes, Bruce, I heard that about Stevie too, and I heard people say that about Max as well when I first met him. We already agreed that Joe Kubek was categorized as a Stevie clone many years ago. I think my criteria for SRV clones include a de rigeur Stevie hat, Ibanez tube screamer, that stevie-looking strat, and refusal to play anything but SRV and possibly Freddie King and Eric Clapton covers. Ruth ______________________________ Reply Separator _________________________________ Subject: Re: SRV CLONES Author: Bruce Roberts at Internet Date: 1/4/96 4:25 PM Interesting - when SRV first started to make a name for himself I knew several people who said he was a Jimi Hendrix clone. I would image that every musician starts out by imitating someone and then develop their own style. Bruce Roberts Austin, TX ========================================================================= Date: Fri, 5 Jan 1996 11:40:00 EST Reply-To: "ANDRE J.M. PREVOS" From: "ANDRE J.M. PREVOS" Subject: Copeland vs Coupland Just my own $.02. COPELAND would be for those into blues as in Johnny Copeland COUPLAND would be for those into the Generation X deal, as in _Generation X_ (title of Coupland's book). Flames will have to be read after I return from the URBC #4 (no I am not asociated with the URBC, except that I paid my fare to be on the boat!!). As for the Freddie King's "Live in Antibes", they are on the Black & Blue label (a French label created by Monestier in Bordeaux in the 1960s). I will go nomail later today. So long, Andre JM Prevos Penn State --Worthington Scranton Campus ========================================================================= Date: Fri, 5 Jan 1996 16:43:03 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Johnny C______d? sp? In-Reply-To: <199601051555.KAA26422@osceola.gate.net> On Fri, 5 Jan 1996, P.W. Fenton wrote: > On 5 Jan 96, David Goldstein had this to say: > > > I believe he was referring to the composer of Appalachian Spring. > > > Nope. That's Aaron C O P L A N D (still no "u") > > I believe the author of the misspelling cleard this up already. But still with an E as in C O P E L A N D :):):) ain't it always the way :):):) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [5/1/96 11:38 AM] "The eagle flies on friday..." ========================================================================= Date: Fri, 5 Jan 1996 11:51:32 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: SRV Clones - The Next Elvis Impersonators? Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I don't mean any disrespect to the late great Mr. Vaughan, but all of this talk of SRV clones has gotten me thinking about the future. Maybe, with the popularity of Vaughan's style and the growing mainstream popularity of the blues, SRV will become a huge popular icon and there will be as many SRV clones as Elvis impersonators. Masses of devoted fans from all over the world will make pilgrimages to Austin and then fly to Vegas to see SRV clones (one in every major hotel) perform. What's next - black velvet paintings of SRV? Theories that he's still alive? (I could've sworn I saw him at Burger King a couple of days ago!) Saint Stevie? ========================================================================= Date: Fri, 5 Jan 1996 12:02:38 -0500 Reply-To: Orange2@GNN.COM From: Somei Louie Subject: Re: Collectibles (Down Home Music) Comments: To: rshurman@CCS.NSLSILUS.ORG Does Down Home Music have a catalog? Email? Etc.? Thanks. >X-State: 3 >X-Total-length: 2172 >Received: from listserv.brown.edu (listserv.brown.edu [128.148.128.155]) > by mail-e1b.gnn.com(8.7.1/8.6.9) with SMTP id JAA03640 for > ; Fri, 5 Jan 1996 09:29:53-0500 (EST) >Received: from stanley.cis.Brown.EDU (stanley.cis.brown.edu > [128.148.128.155]) bylistserv.brown.edu (8.6.10/8.6.10) with SMTP id > JAA23053; Fri, 5 Jan 1996 09:24:25 -0500 >Received: from BROWNVM.BROWN.EDU by BROWNVM.BROWN.EDU (LISTSERVrelease > 1.8b) > with NJE id 1916 for BLUES-L@BROWNVM.BROWN.EDU; Fri, 5 Jan 1996 > 09:21:18 -0500 >Received: from BROWNVM (NJE origin SMTP@BROWNVM) byBROWNVM.BROWN.EDU (LMail > V1.2a/1.8a) with BSMTP id 3118; Fri, 5 Jan 1996 09:21:18 -0500 >Received: from ccs.nslsilus.org by BROWNVM.brown.edu (IBM VM SMTP V2R2) > with > TCP; Fri, 05 Jan 96 09:21:16 EST >Received: by ccs.nslsilus.org (5.65/1.35) id AA21152; Fri, 5 Jan 96 > 08:23:10 > -0600 >X-UIDL: 820860845.002 >Mime-Version: 1.0 >Content-Type: TEXT/PLAIN; charset=US-ASCII >Message-ID: > >Date: Fri, 5 Jan 1996 08:23:08 -0600 >Reply-To: Richard Shurman >Sender: Blues Music List >From: Richard Shurman >Subject: Re: Collectibles (no EC guitar string content) >Comments: To: "J.F. Bronowich" >To: Multiple recipients of list BLUES-L >In-Reply-To: <199601050328.WAA21727@metric.inch.com> > >I've never seen any old posters at the DePaul Music Mart. There was an >article a few months ago in Goldmine about poster collecting. Your best >bets are probably ads in specialist magazines and occasionally mail order >sources; unfortunately, most of the mail sources I've seen jack the >prices up ridiculously. > The incredible poster collection (Chris Strachwitz's) is one more >good reason to visit Down Home Music in El Cerrito, Cal. Village Music >in Marin County also has great memorabilia on display. Bob Koester also >has lots of great Chicago posters but doesn't have a display-- too bad. Orange2@gnn.com ========================================================================= Date: Fri, 5 Jan 1996 11:53:53 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re: Clone Theory Comments: To: JBards Imitation is the sincerest form of flattery. ______________________________ Reply Separator _________________________________ Subject: Clone Theory Author: JBards at INTERNET_TP Date: 1/5/96 12:07 PM What interests me about the really dedicated clones, like Randy Hanson, is the motivation for investing that much energy and talent trying to be someone else. Surely if they tried as hard and just tried tro express their on musical vision, they'd be just as or more successful. There's something inherently sick about making a full time occupation out of trying to be someone else. -Jim _______________________________________________________________________________ Subject: Re[2]: SRV CLONES From: PARRISHR at INTERNET-SH Date: 1/5/96 9:57 AM Yes, Bruce, I heard that about Stevie too, and I heard people say that about Max as well when I first met him. We already agreed that Joe Kubek was categorized as a Stevie clone many years ago. I think my criteria for SRV clones include a de rigeur Stevie hat, Ibanez tube screamer, that stevie-looking strat, and refusal to play anything but SRV and possibly Freddie King and Eric Clapton covers. Ruth ______________________________ Reply Separator _________________________________ Subject: Re: SRV CLONES Author: Bruce Roberts at Internet Date: 1/4/96 4:25 PM Interesting - when SRV first started to make a name for himself I knew several people who said he was a Jimi Hendrix clone. I would image that every musician starts out by imitating someone and then develop their own style. Bruce Roberts Austin, TX ========================================================================= Date: Fri, 5 Jan 1996 11:15:04 -0600 Reply-To: Keith Castleberry From: Keith Castleberry Subject: Essential Blues I have heard through the grapevine that there is an Essential Blues II coming out soon. I would like to ask the group for feedback as to your personal "Essential Blues" top twenty. I would like to use this feedback for my radio show. Thanks. Thanks, Keith Castleberry ========================================================================= Date: Thu, 4 Jan 1996 11:24:24 -0600 Reply-To: George McClellan From: George McClellan Subject: Re: 1996 Grammies-Taken Seriously? ON Jan. 4th Joe wrote, "Just wondering further to Mary Katherine's kind posting: how seriously or unseriously do people who make some or all of their living recording/performing/producing blues records take blues grammies?" I have the privelage of sharing friendships with a number of prominent blues artists and recording industry folks, and they take the Grammy awards very seriously. They value them not as a commentary on the quality of their work, but rather as important assests in the ongoing effort to bring attention (and commercial success) to the blues. George Chicago ========================================================================= Date: Fri, 5 Jan 1996 12:15:17 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: Clone Theory Comments: To: shannon oconnor For the artist, yes, Shannon. For the rest of us, imitation can be the largest source of annoyance! ______________________________ Reply Separator _________________________________ Subject: Re: Clone Theory Author: shannon oconnor at Internet Date: 1/5/96 11:53 AM Imitation is the sincerest form of flattery. ______________________________ Reply Separator _________________________________ Subject: Clone Theory Author: JBards at INTERNET_TP Date: 1/5/96 12:07 PM What interests me about the really dedicated clones, like Randy Hanson, is the motivation for investing that much energy and talent trying to be someone else. Surely if they tried as hard and just tried tro express their on musical vision, they'd be just as or more successful. There's something inherently sick about making a full time occupation out of trying to be someone else. -Jim _______________________________________________________________________________ Subject: Re[2]: SRV CLONES From: PARRISHR at INTERNET-SH Date: 1/5/96 9:57 AM Yes, Bruce, I heard that about Stevie too, and I heard people say that about Max as well when I first met him. We already agreed that Joe Kubek was categorized as a Stevie clone many years ago. I think my criteria for SRV clones include a de rigeur Stevie hat, Ibanez tube screamer, that stevie-looking strat, and refusal to play anything but SRV and possibly Freddie King and Eric Clapton covers. Ruth ______________________________ Reply Separator _________________________________ Subject: Re: SRV CLONES Author: Bruce Roberts at Internet Date: 1/4/96 4:25 PM Interesting - when SRV first started to make a name for himself I knew several people who said he was a Jimi Hendrix clone. I would image that every musician starts out by imitating someone and then develop their own style. Bruce Roberts Austin, TX ========================================================================= Date: Fri, 5 Jan 1996 13:06:05 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Always the way? Comments: To: phertel@CMC.DOE.CA On 5 Jan 96, Pat Hertel had this to say: > On Fri, 5 Jan 1996, P.W. Fenton wrote: > > > On 5 Jan 96, David Goldstein had this to say: > > > > > I believe he was referring to the composer of Appalachian Spring. > > > > > Nope. That's Aaron C O P L A N D (still no "u") > > > > I believe the author of the misspelling cleard this up already. > > But still with an E as in C O P E L A N D :):):) > > ain't it always the way :):):) > > phertel@cmc.doe.ca > OR bv808@freenet.carleton.ca > Local Time [5/1/96 11:38 AM] > "The eagle flies on friday..." Pat... I'm sorry to spoil your glee, but there is no "E" in Aaron Copland's name. So it isn't ALWAYS the way... it just is now. P.W. Fenton Tampa, Florida Visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 5 Jan 1996 12:34:12 -0500 Reply-To: Orange2@GNN.COM From: Somei Louie Subject: Re: Clone Theory Comments: To: shannon_oconnor@SWPCO.COM Now that this "Clone Theory" has seemingly gathered a lot of momentum on Blues-L, I think I'll take this opportunity to announce that I am now going to begin to pattern my life after Dick Waterman, who seems to be a real popular guy here on the Blues-L network. I plan to dress like him, write like him, and speak like him. Although I've never seen nor met him makes no difference -- it's the obsession that counts. I will soon be mounting a new one-man play, "Dick Waterman: A Living Tribute" in which I, of course, will play the title role. I plan to tour Europe and the southern tip of Rhode Island with my new stage presentation "Watermania". A new book by Simon & Shuster will be published, "Hey, Finally I'm a Popular Guy: My Life as Dick Waterman." Oliver Stone will soon be courting me to sell him rights to my story so he can prove the "Clone Theory" ("Yes, it's true ... there were TWO Dick Waterman's on the internet that day ...) So, if once in a while you see me at a book store autographing books with the initials "D.W.", it's only because I'm in character. It's tough being yourself, Orange@gnn.com (Dick, I mean, Mike Meadors) > Orange2@gnn.com ========================================================================= Date: Fri, 5 Jan 1996 09:38:47 -0800 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Re: Best Shows of '95 Comments: To: bit-listserv-blues-l@cs.washington.edu In-Reply-To: <960105105616_107273791@mail06.mail.aol.com> Seattle Bumbershoot Fest: Los Lobos, Jimmie Dale Gilmore, Dr John Big Daddy Kinsey and The Kinsey Report Webb Wilder (last of the full grown men) editorial: the Kinsey Report has been a favorite act of mine for a long time but otherwise it's been a slow year for live blues out here... Adrian ========================================================================= Date: Fri, 5 Jan 1996 12:38:43 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Clones: Intentional vs. Unintentional Comments: To: Steve Levine What does it mean if you sound like someone else when you're not trying? I've heard recordings of my slide playing that sound eerily like Elmore James, although it beats me how I can sound like Elmore James playing a '65 Silvertone out of a Crate amp.....distortion set at 8....playing "Free Bird"....not even thinking about Elmore James.... To paraphrase Jessica Rabbit: "I'm not bad, I'm just .giffed that way." Ruth ========================================================================= Date: Fri, 5 Jan 1996 11:40:21 CST Reply-To: JBards From: JBards Subject: Re[2]: Clone Theory Comments: To: shannon oconnor Yes, but hile it may an amusing little conceit, it's a bad choice for a full- time occupation. -Jim _______________________________________________________________________________ Subject: Re: Clone Theory From: "shannon oconnor" at INTERNET-SH Date: 1/5/96 11:53 AM Imitation is the sincerest form of flattery. ______________________________ Reply Separator _________________________________ Subject: Clone Theory Author: JBards at INTERNET_TP Date: 1/5/96 12:07 PM What interests me about the really dedicated clones, like Randy Hanson, is the motivation for investing that much energy and talent trying to be someone else. Surely if they tried as hard and just tried tro express their on musical vision, they'd be just as or more successful. There's something inherently sick about making a full time occupation out of trying to be someone else. -Jim _______________________________________________________________________________ Subject: Re[2]: SRV CLONES From: PARRISHR at INTERNET-SH Date: 1/5/96 9:57 AM Yes, Bruce, I heard that about Stevie too, and I heard people say that about Max as well when I first met him. We already agreed that Joe Kubek was categorized as a Stevie clone many years ago. I think my criteria for SRV clones include a de rigeur Stevie hat, Ibanez tube screamer, that stevie-looking strat, and refusal to play anything but SRV and possibly Freddie King and Eric Clapton covers. Ruth ______________________________ Reply Separator _________________________________ Subject: Re: SRV CLONES Author: Bruce Roberts at Internet Date: 1/4/96 4:25 PM Interesting - when SRV first started to make a name for himself I knew several people who said he was a Jimi Hendrix clone. I would image that every musician starts out by imitating someone and then develop their own style. Bruce Roberts Austin, TX ========================================================================= Date: Fri, 5 Jan 1996 10:55:12 -0600 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: Re[2]: Fishnet Stockings Comments: To: PARRISHR@VITRO.COM In-Reply-To: <0ed4b590@vitro.com> from "PARRISHR" at Jan 5, 96 10:59:01 am In an earlier message, PARRISHR said: ] David, you don't really want to chase me. ] Unless you WANT a Hendrix-style guitar player widely known as Mad Max ] after you. I think most people would agree that's not a good idea. Ouch! The thought of a flaming Stratocaster upside the head... -- * Billy Chambless | billy@cast.msstate.edu | voice: 601-688-7608 * Mississippi State University Center for Air-Sea Technology ========================================================================= Date: Fri, 5 Jan 1996 19:03:26 +0100 Reply-To: Rudi Vandermeiren From: Rudi Vandermeiren Subject: Re: Red Devils If these are the same Red Devils : there is a nice live album called 'King King'. Rudi Vdm. At 20:54 4-01-96 -0500, you wrote: >Anybody out in the LA area know what happened to the band Red >Devils? They produced one CD and I haven't heard from them since. >My brother who lives out there said he thinks they've regrouped. >Any more Red Devils CD's or video out there I don't know about? > >Thanks ... > >Orange@gnn.com > > ========================================================================= Date: Fri, 5 Jan 1996 13:17:02 -0500 Reply-To: MK Sheffield From: MK Sheffield Subject: SRV Clones In reply to Steve Levine (an incredible harp player, btw) and SRV "sightings": On December 24, 1995; I know for a fact that was Stevie trying to wrestle the last "Tiny Tunes Guitar" out of a grandmother's hand at Toys R Us. mk ========================================================================= Date: Fri, 5 Jan 1996 10:26:27 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: CONFESSIONS OF A SPENCE-OHOLIC : JOSEPH SPENCE'S MUSIC (part 1 of 6) Comments: To: BluesHvn@aol.com Since I'm a SPENCEoholic, I think I should jump in here & repost an tribute I posted way back in August 1994, this time all cut up into 6 parts. I've updated the discography, including the awesome 1994 GREEN LINNET CD 3095 : OUT ON THE ROLLING SEA, a tribute CD to the music of Joseph Spence & Edith Spence Pinder. The music is performed by various artists, all done in the unique 'Spence' style. The 'Spenced' up version of PEOPLE GET READY (the Curtis Mayfield composition) has to heard! And if you let the last cut on the CD run on for a minute or so (!), you'll hear our main man perform. A very touching tribute & a CD I often suggest if you want to know what all the fuss is about. 1995 saw 2 new CDs containing new Joseph Spence music. The Vanguard CD 77014 : GOSPEL AT NEWPORT (FOLK FESTIVAL), which I'm ashamed to say I haven't heard yet (the station did not receive a copy), and ROUNDER CD 5035 : KNEELING DOWN INSIDE THE GATE - a CD I'll be including in my best picks for 1995. It was compiled and recorded by Peter K. Siegel , sometime poster on BLUES-L - that's if he can find time away from his Henry Street Records label. Siegel was the first Director of the Nonesuch Explorer Series and has been a Producer for Elektra Records, the A&R Director of Polydor, and the Executive Director of The Ethnic Folk Arts Center. He has produced award-winning albums by dozens of traditional musicians including the great guitarists Joseph Spence and Roy Buchanan, and the celebrated singers Hazel Dickens and Paul Siebel. If you enjoy World musics, check on this label (distributed by Rounder Records). Peter, by the way, tells me that the Nonesuch 'THE REAL BAHAMAS' albums maybe on CD by spring '96. Note, he says maybe. Enjoy the tribute to JOSEPH SPENCE. He was one of a kind. eRIC ========================================================================= Date: Fri, 5 Jan 1996 12:17:19 CST Reply-To: ISTS024@UABDPO.BITNET From: Leonard Watkins Subject: Clones - Randy H. I haven't listened to enough of the so-called "clones" that have been mentioned but from what I've gathered from the clone discussion is: I could not tell the difference in Durate and SRV nor could the difference be distinguished between Randy Hansen (sp) and Jimi. I think that is what a clone is....right. Now if there is a difference that can be heard, then Durate must have a little of himself in his music as does Hansen, otherwise we would not be able to tell them apart from the ones they are clones of.....Right or wrong....Is it not true that inept imitation is the seed of originality..... Take a side by side listen to Albert King's "Personal Manager" and SRV's Texas Flood. LW ========================================================================= Date: Fri, 5 Jan 1996 12:30:52 EST Reply-To: KCARLSON@VINES.ETN.COM From: Keith Carlson Subject: Fishnets on the WWW I did check out the Top Ten Pet Peeves of Blond Female Slide Guitarists, and linked .gif, and I believe there is only one fitting comment: Hubba-hubba! (or maybe Va-va-va-voom!). Seriously...do you dress like that when you play? It's gotta be difficult for a lot of guys to quit staring and giving your playing a serious listen. krc ========================================================================= Date: Fri, 5 Jan 1996 13:27:03 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Another Clone View... Okay, so we don't like the SRV wanna-be's, the guys who wear the hats and wardrobe and use the same gear and copy the licks and so on. And I agree that every artist should make some attempt to bring their own voice and soul to their performance. That's what artistic expression should be. But how do we feel, then, about the audiences that come to see a band and sit there impatiently through quality original material and start yelling, "Play Clapton!" "Play Stevie Ray!" "Lynyrd Skynyrd!!" "Know any Bob Seger??" "Stop boring us!" Etc. And when the band gives up (sometimes with very thinkly veiled anger) and plays Clapton/SRV/Seger/ZZ Top/ etc., but puts their own interpretation on the songs (they don't play the Robert Johnson version of "Crossroads" OR the Clapton version, but their own individual version), the audience ranks on them for that, too. "That's not how Stevie Ray played it! Play it like Stevie Ray!!" There are audiences out there that WANT the clones. I don't have a lot of respect for them, but I acknowledge that they exist. (Gee, I feel the same way about cockroaches...) Shannon ========================================================================= Date: Fri, 5 Jan 1996 13:46:47 -0500 Reply-To: Bob vanArsdall From: Bob vanArsdall Subject: Re: Babe Stovall Comments: cc: alleycat@scn.org alleycat asked: >Does anyway know if any of his recordings (I know there were some) are >available on CD? I saw him touring with the American Folk Blues Festival in Europe in 1969. I don't have the CD from that year, but he may appear on that compilation. He was a real showman and crowd-pleaser, doing the old play-behind-the-head trick. But he was grey-headed then, and I took him to be in his late 60's at the time. When did he die? Bob ========================================================================= Date: Fri, 5 Jan 1996 12:38:36 EST Reply-To: KCARLSON@VINES.ETN.COM From: Keith Carlson Subject: Crossroads legend Does anyone know the whole story of the "crossroads legend"? ...or know where I could read it? I was reading the liner notes from "Jimi Hendrix :Blues", and the writer mentioned an old blues legend where the musician meets the devil out at a rural crossroads and trades his soul for the musical talent he is later famous for. That's about all there was..I'm thinking there's got to be more to it. Apparently several blues musicians have claimed to have this happen to them. (":Blues" is excellent. I never did give Hendrix's music much of a chance, but before this I'd heard only the rock stuff (Foxy Lady, etc...). Now, after getting into more Blues the last couple of years this CD really hit the spot. I'd recommend it to anyone who came more from a rock background and is getting into blues through SRV, etc.) krc ========================================================================= Date: Fri, 5 Jan 1996 13:49:19 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: Clones - Randy H. Comments: To: Leonard Watkins Hi LW, I think the consensus is that the clones try to impersonate their respective idols similar to the way an Elvis impersonator does Elvis. Some are better than others. The bad ones are caricatures of themselves. I don't think "Texas Flood" sounds anything like that Freddie King song, but that's just my opinion. Ruth ______________________________ Reply Separator _________________________________ Subject: Clones - Randy H. Author: Leonard Watkins at Internet Date: 1/5/96 12:17 PM I haven't listened to enough of the so-called "clones" that have been mentioned but from what I've gathered from the clone discussion is: I could not tell the difference in Durate and SRV nor could the difference be distinguished between Randy Hansen (sp) and Jimi. I think that is what a clone is....right. Now if there is a difference that can be heard, then Durate must have a little of himself in his music as does Hansen, otherwise we would not be able to tell them apart from the ones they are clones of.....Right or wrong....Is it not true that inept imitation is the seed of originality..... Take a side by side listen to Albert King's "Personal Manager" and SRV's Texas Flood. LW ========================================================================= Date: Fri, 5 Jan 1996 13:56:23 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: Another Clone View... Comments: To: shannon oconnor Well, we want to please our audience. In my band we make a serious effort to learn any song that is seriously requested more than twice. Unless we hate it. Then we just say we don't know it and don't have time to learn it :) ______________________________ Reply Separator _________________________________ Subject: Another Clone View... Author: shannon oconnor at Internet Date: 1/5/96 1:27 PM Okay, so we don't like the SRV wanna-be's, the guys who wear the hats and wardrobe and use the same gear and copy the licks and so on. And I agree that every artist should make some attempt to bring their own voice and soul to their performance. That's what artistic expression should be. But how do we feel, then, about the audiences that come to see a band and sit there impatiently through quality original material and start yelling, "Play Clapton!" "Play Stevie Ray!" "Lynyrd Skynyrd!!" "Know any Bob Seger??" "Stop boring us!" Etc. And when the band gives up (sometimes with very thinkly veiled anger) and plays Clapton/SRV/Seger/ZZ Top/ etc., but puts their own interpretation on the songs (they don't play the Robert Johnson version of "Crossroads" OR the Clapton version, but their own individual version), the audience ranks on them for that, too. "That's not how Stevie Ray played it! Play it like Stevie Ray!!" There are audiences out there that WANT the clones. I don't have a lot of respect for them, but I acknowledge that they exist. (Gee, I feel the same way about cockroaches...) Shannon ========================================================================= Date: Fri, 5 Jan 1996 14:03:13 -0500 Reply-To: Sriram Dayanand From: Sriram Dayanand Subject: A.C. Reed I first saw A.C. Reed and his band the Spark-plugs at the Silver Dollar blues bar in Toronto about a year ago. I had never heard of him before this and I just took the blurb in the newspaper on face value and decided to check this Chicago blues-man out. Of course, the idea of blues sax-man had always been an enticing and intriguing concept to me. You see, I am a sax freak.. On reaching the bar, we saw this guy tinkering with a saxophone on stage - and then it hit me, he was the guy in the photograph posted outside. It was A.C himself. The manager of the bar stopped by to chat with us and mentioned in passing that A.C was close to 70 years old. I was really dumb-struck by this. Playing a sax at 70 would be quite a feat I thought. A.C wandered around, chatting with people and we (my wife, a couple of friends and myself) smiled and said hi to him. Half an hour later, a guy got on stage and introduced him in glowing terms, listing some of his achievements etc. I was already hyped up. After a couple of blistering blues standards from his band, the MAN himself took the stage and something happened to me right then and there. Honestly, it was one of those defining moments in all my years of listening to music. His whole persona, his blistering sax work, his devilish sense of humour - EVERYTHING just seemed to be perfect. This was one of those sublime events you always hope for in a live show. And they don't come by that often and that easily. Especially when you are listening to a person's music for the first time. I think I just went nuts for the next 4 hours - yes 4 hours. During the break I went up to him - shook his hand and stammered out something about what an amazing show it had been so far. He was very gracious and patient while I spoke and even said "There's more to come, son!". Oh by the way, I was wearing a T-shirt withe the prism from Pink Floyd's Dark Side of the Moon. Little did I know what this would do later on... In the second set, as he started with his song "I'm in the Wrong business", he just killed the crowd with a hilarious shpiel about the music business and how the blues had done him in. And he spent the whole time using Pink Floyd as the example of corporate music big businesses. He kept pointing his finger at me and laughing - most people didn't realize that I was wearing that T-shirt but I had tears streaming down my face as he did this. Not only did I enjoy the music - I almost died laughing that nite. After this, my wife and I were fans for life. I don't remember having this much fun in a long time and we promised ourselves we would never miss a chance to see this living treasure of the blues ever. Well last week we got to re-live the magic at no less than in his own backyard - at the Kingston Mines in Chicago. And, needless to say, it was just another kick-ass performance as usual. This man never ceases to amaze me.. So the point of this long story ? I dunno, I just wanted to share the deep admiration respect and special place this legend will always have in my heart for life. He just symbolizes the best of what I look for in the blues. Here's hoping he continues to make more magic for years and years to come... =sriram= ******************************************************************** Sriram Dayanand email: sriram@aw.sgi.com Alias | Wavefront R&D Toronto, Canada Ph: (416) 362-8558 x314 ========================================================================= Date: Fri, 5 Jan 1996 11:15:56 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Another Clone View... Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Shannon said: > But how do we feel, then, about the audiences that come to see a band > and sit there impatiently through quality original material and start > yelling, "Play Clapton!" "Play Stevie Ray!" "Lynyrd Skynyrd!!" > "Know any Bob Seger??" "Stop boring us!" Etc. And when the band > gives up (sometimes with very thinkly veiled anger) and plays > Clapton/SRV/Seger/ZZ Top/ etc., but puts their own interpretation on > the songs (they don't play the Robert Johnson version of "Crossroads" > OR the Clapton version, but their own individual version), the > audience ranks on them for that, too. "That's not how Stevie Ray > played it! Play it like Stevie Ray!!" > > There are audiences out there that WANT the clones. I don't have a > lot of respect for them, but I acknowledge that they exist. (Gee, I > feel the same way about cockroaches...) Well, once again, there's music, and then there's selling beer for people. Sometimes though, the band does not have good presence, and appear happy and confident on stage. Bands that really play well, and like performing, and make a connection with the crowd, rarely get a lot of this stuff. Sometimes, no one wants to be the front-person, and so the crowd takes over! There has to be a commanding presence on stage if you expect people's attention. Yet sometimes you still get this stuff. Someone who is sufficiently motivated (shall we say) can usually control it, but not always. Just remember; how much are they paying you? Is it enough to take a bunch of crap for? Do you really want this career? Then deal with it. Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Fri, 5 Jan 1996 14:21:06 -0500 Reply-To: bob unger From: bob unger Subject: looking for Leo Sorry for the non blues content but Leo Aspiras e-mail address doesn't seem to be working - Leo...are you still out there? Write if you are... bob@sun.bnkst.edu BU p.s. - well, Leo's on BluesBytes....so there's the blues content!!!! ========================================================================= Date: Fri, 5 Jan 1996 11:22:41 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: CONFESSIONS OF A SPENCE-OHOLIC : JOSEPH SPENCE'S MUSIC (part 2 of 6) Comments: To: BluesHvn@aol.com JOSEPH SPENCE was born Wednesday, August 03, 1910, Small Hope, Andros Island, Bahamas. Here's two tributes to this master folk musician & a few reviews : He taught himself to play the guitar as a boy and he carried it with him all the time, even when sailing away for weeks out on "The Mud", a sponge bed area west of Andros. He grew up fishing, sponging and farming during the heyday of the "Rhyming Anthems", a great Bahamian vocal music tradition that inspired him to create his own style. His repertoire also included hymns from the predominant Baptist and Anglican churches, gospel songs, waltzes, quadrilles and Bahamian tunes. By the early 30s the sponges were virtually extinct and Spence moved to Nassau where he worked on various construction jobs until he became a mason carpenter. He married Louise Wilson in 1937 and in 1944 the couple went on "The Contract", a government programme to ease field shortage during the war, picking fruit and vegetables all across the South Eastern United States for two years. Sure enough Spence heard and adapted American tunes of the day like "Comin' in on a wing and a prayer". (Golden Gate Quartet/ Okeh 6713). Building and fixing homes around Nassau kept him busy for many years but he could always be found playing his guitar at wakes, church meetings, dances or at the dock surrounded by a crowd. The sloops were pulled along the dock close to one another as in the sponging days but they were now loaded with crawfish, turtle and conch. Among the fisherman "rhyming" to his guitar was Frederick McQueen with whom he grew up in Andros. Spence always felt sorry that they didn't "catch him on record" at that time!... It was not until 1958 that he was first recorded, when Sam Charters and Ann Danberg Charters found him unexpectedly in Fresh Creek during their stay in Andros. These fabulous recordings were soon issued on Folkways and made him a legend in his own time. Some folk music enthusiasts travelled call the way to the Bahamas to find out if he was real! Elektra released a great album "Happy All The Time", recorded at his house in Nassau by Fritz Richmond in 1964. Pete Seeger found Spence playing at the dock one year later and persuaded him to appear in a series of concerts held by the Newport Folk Festival. Then Jody Stecher and Pete Siegel came down in 1965 as well and they recorded him with the Pinder Family. These beautiful and spirited tracks featuring Spence's sister and her family singing can be heard on "The Real Bahamas" vols. 1 & 2 on Nonesuch. Ever since their childhood in Andros "Jenny" sang with her brother and she joined him on that trip to New York in 1965. On the "Real Bahamas" cuts she can be heard singing lead, while her husband Raymond sang bass and their daughter Geneva sang high harmony... ========================================================================= Date: Fri, 5 Jan 1996 13:30:48 -0600 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: Another Clone View... Comments: To: dcicchet@LASIERRA.EDU In-Reply-To: <9601051916.AA07185@ helix.lasierra.edu> from "Don Cicchetti" at Jan 5, 96 11:15:56 am In an earlier message, Don Cicchetti said: ] Well, once again, there's music, and then there's selling beer for people. Can I get an "AMEN!"? ] Sometimes, no one wants to be the front-person, and so the crowd takes ] over! There has to be a commanding presence on stage if you expect people's ] attention. Now that's an excellent point. I've seen bands that are pretty good musically, but don't have a real presence or direction onstage. It can be sad. Of course, these are the ones who take a looooooong time between songs, too. ] Just remember; how much are they paying you? Is it enough to take a bunch ] of crap for? Do you really want this career? Then deal with it. Been there, done that, went out and got a day job. Of course, _now_ I'm thinking the same thoughts about the day job!! ;) -- * Billy Chambless | billy@cast.msstate.edu | voice: 601-688-7608 * Mississippi State University Center for Air-Sea Technology * To attain knowledge, add something every day. * To attain wisdom, remove something every day. -- Lao-tse ========================================================================= Date: Fri, 5 Jan 1996 14:33:04 -0500 Reply-To: "Abe W. Mathews" From: "Abe W. Mathews" Subject: Re: SRV Clones In-Reply-To: <199601051817.NAA07275@cennet.mc.peachnet.edu> from "MK Sheffield" at Jan 5, 96 01:17:02 pm mk, lead singer for the Wooly Blues Band, writes: > In reply to Steve Levine (an incredible harp player, btw) and SRV "sightings": > > On December 24, 1995; I know for a fact that was Stevie trying to wrestle > the last "Tiny Tunes Guitar" out of a grandmother's hand at Toys R Us. DAMN!!! I got one of those as a gag gift for Christmas! Does that mean that if I play it, I'm an impersonator? Sheeeeeeit! I suppose the sunburst strat, bad hat, cowboy boots, and peacock tatoo help the image a little....:) Abe awmathew@mtu.edu ========================================================================= Date: Fri, 5 Jan 1996 14:34:28 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: looking for Leo Comments: To: bob unger LEO: SEE, I"M NOT THE ONLY ONE YOUR E-MAIL WON'T TALK TO! Ruth ______________________________ Reply Separator _________________________________ Subject: looking for Leo Author: bob unger at Internet Date: 1/5/96 2:21 PM Sorry for the non blues content but Leo Aspiras e-mail address doesn't seem to be working - Leo...are you still out there? Write if you are... bob@sun.bnkst.edu BU p.s. - well, Leo's on BluesBytes....so there's the blues content!!!! ========================================================================= Date: Fri, 5 Jan 1996 14:42:00 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Fishnets on the WWW Part II I have received several complaints from people who can't access my .gif file because they aren't hooked up to the WWW (like it's MY fault they live in the Stone Age or something). I don't own the picture -- it's property of the DC Blues Society. Which gives me a really cool fundraising idea: For all those people who don't have WWW access and for anyone else who's interested, I think you should send an e-mail to Bob Gray, the president of the DC Blues Society, suggesting that posters be made out of it and my Top Ten List. All proceeds will go to the DC Blues Society. ========================================================================= Date: Fri, 5 Jan 1996 14:10:18 -0800 Reply-To: Gail McIntosh From: Gail McIntosh Subject: Re: Tony Z In-Reply-To: <199601050503.AAA15810@listserv.brown.edu> >From: Oded Maron >Subject: Tony Z (was: KOKO TAYLOR'S CHICAGO BLUES) >From Koko Taylor's club in Chicago - listing for January: >Saturday, January 20 TONY Z ON HIGH TONE/RUBY HARRIS >I would definitely recommend this show to any blues/jazz lovers in the >Chicago area. I saw him with Barnard Purdie and Houston Person in >Boston, and it was one of the best shows of 1995 for me. They simply >cooked. Couldn't agree more with Oded. Tony Z's gig in Boston was absolutely one of the best of '95. Those bad boys can get a groove going like nobody else. Tony Z doesn't tour very often so catch him while you can. Is the the club listing refering to Tony Z on High Tone? Tony Z records for Tone-Cool. Perhaps I'm misreading their statement. ========================================================================= Date: Fri, 5 Jan 1996 13:46:46 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Clone Theory Comments: To: JBards In-Reply-To: <9600058208.AA820866307@mail-sh.lsumc.edu> I remember 25 years ago (despite all odds) being part of a conversation in Pepper's Lounge with a hard core b.B. King stylist who was worried because his weight was 4 lbs. different than B.B.'s. ========================================================================= Date: Fri, 5 Jan 1996 19:47:27 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Fishnet Stockings Comments: To: bit-listserv-blues-l@uunet.uu.net In <199601051537.KAA26250@ipof.fla.net>, David Goldstein writes: >Actually, there are links to two gif's, but they are the >same one. I'd like to see the whammy bar that caught her >stockings. I felt a little cheated at getting only one gif. I had hoped we'd get a good one of her actually playing (although its one snazzy photo!). BBB - B.B. Bean bbbean@cris.com http://www.cris.com/~Bbbean - ========================================================================= Date: Fri, 5 Jan 1996 13:54:21 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Collectibles (Down Home Music) Comments: To: Orange2@gnn.com In-Reply-To: <199601051704.MAA19356@mail-e1a.gnn.com> Down Home Music is just a retail store and, as far as I know, doesn't publish a catalog. (They leave that to Roots & Rhythm.) It's just a good store to visit, at 10341(?)San Pablo Avenue in El Cerrito CA. ========================================================================= Date: Fri, 5 Jan 1996 15:00:27 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: SRV clones/Hendrix clone hisself? HI guys, I'm like a lot of you, as I read this discussion, who truly adores SRV's stuff, listen to it regularly and am moved by it, but really am turned off my imitators. The low-point of the James Montgomery show I caught last week was when he brought up (twice) a young local guitar-slinger who proceeded to competently do a couple of SRV tunes, by the numbers. Many in the crowd just really dug it, but to me it was so totally bland and contrived sounding. I was really turned off. Having seen Stevie himself a couple of times, I just would not pay to see an SRV imitator, and I won't play SRV myself onstage. It just pales in comparison. I dunno, maybe it's a musician/guitar-player thing, but I'd feel sacrilegious (sp?) doing it. Bruce Roberts brought up an interesting point in that many immediately make the comparison that SRV himself was a Hendrix clone, becasue surely Stevie covered a couple of Jimi songs like nobody else could. Astonishingly well. But if you really listen to SRV doing his own stuff or covers (not Jimi stuff), like for instance on the early 1980 radio recording "SRV, In The Beginning", man there is no trace of Hendrix cloning here whatsoever. This is pure, unadulterated Stevie doing that Strat scratchin', Texas-shuffle boogie that pretty much nailed down his guitar hero status for many of us. I've listened to it three times this afternoon. :) Have a good weekend all. Riffin Rick (((( oo-) /- " .......yeah, I'm a love struck baby..." F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 5 Jan 1996 15:09:25 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Stack O'Lee in MOJO magazine I just got the article from MOJO that was recommended here the other day. This article is absolutely fascinating for anyone interested in the history of the blues, and is a truly remarkable piece of research. *It includes a reproduction of the St. Louis newspaper story of the murder of Billy Lions* from the day after "Stack" Lee Sheldon shot Lyons. And the newspaper story conforms to the ballad in remarkable detail-- "When his victim fell to the floor Sheldon took his hat from the hand of the wounded man and cooly walked away." And the timing of the article in MOJO? Stack Lee Sheldon shot Billy Lyons on 12/27/95, a hundred years ago last month. Tom Freeland ========================================================================= Date: Fri, 5 Jan 1996 14:20:32 CST Reply-To: ISTS024@UABDPO.BITNET From: Leonard Watkins Subject: Is Jimmy Thackery a clone Jimmy Thackery, If I remember correctly he covers some SRV and some Jimi, but somehow has been left out of the clone discussion...IS he a clone or an imitator or neither.... I have no opinion on Thackery, I'm just asking If someone does Texas Flood are they covering Stevie or Larry Davis....? Anyone dig Juanita Williams...? I've lost ALL motivation for playing, longest I've went without really playing in 20 years. I can't seem to get it back, but heavy doses of Son House, Robert Johnson, Johnny Shines and Charlie Patton are on the agenda this weekend. I got to motivated again....hopefully this weekend. LW ========================================================================= Date: Fri, 5 Jan 1996 12:32:14 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: CONFESSIONS OF A SPENCE-OHOLIC : JOSEPH SPENCE'S MUSIC (part 3 of 6) Comments: To: BluesHvn@aol.com "Lay down brother Spence, won't you lay and take your rest Lay your head upon your Saviour's breast I love you but Jesus love you best I bid you goodnight, goodnight, goodnight..." All the while supporting himself with his masonry and carpentry work in Nassau, Spence made further appearances at concerts and festivals throughout the United States in 1967 playing at the Ash Grove and spending some time with Taj Mahal in California. The Arhoolie CD and part of the Rounder CD "Living on the Hallelujah Side" captured his mood in Cambridge on his last two visits in 1971 and '72. While staying in Boston he met Ry Cooder who had worshipped him for years!... In 1972 Joseph Spence became employed as a nightwatchman at the Oakesfield Primary School and during the day he could be found playing checkers at the barbershop on Bluehill Road. Hardly ever noticed around the tourist area of downtown Nassau, he was very much part of the scene 'over the hill'. He could always be seen riding his bicycle with a guitar strapped on his back. People hailed him all the time and he would stop and entertain them for a while, laughing heartily at his own unpredictable turns and melodic variations! Spence was truly a phenomenon. He let himself get physically involved in the music while he provided a syncopated vocal background that enchanced his performance even more. His arrangements and uncanny sense of timing, and the sheer intensity of his playing, punctuated with humming and grunting, are a unique extension of the "Rhyming Anthem" tradition. (Guy Droussart, Musical Tradition No. 4 (1985)) Born on the island of Andrus in the Bahamas, Spence created an idiosyncratic (and inimitable) guitar style rife with percussive and improvisatory vamps around staid hymns and such "square" standards as "Coming in on a Wing and a Prayer." He was a folk guitarist's Thelonious Monk, and his growling vocal counterpoint and surprising inventions are one of folk music's great delights. (Mark A. Humphrey, All-Music Guide Biography) ========================================================================= Date: Thu, 7 Dec 1995 10:11:12 EST Reply-To: shannon oconnor From: shannon oconnor Subject: That Same Thread, but I'm Stubborn... Comments: To: ISTS024@UABDPO.BITNET LW said: Ok I will not make suggestions to anyone anymore, IF WE CAN STOP TALKING ABOUT THE EAGLES ON THE BLUES GROUP. I admit I WAS WRONG for trying to turn someone on to the blues, it will not happen again....I PROMISE (at least not on blues-l) I suspect this won't be the last word on this subject... It is not your responsibility, LW, to turn anyone on to the blues. Especially me, since I've been a member of this list for quite a while now and I'm not ignorant of the music (as a matter of fact I'm extremely well-educated in music...at least that's what my college degrees tell me). Although I don't think it's necessary for anyone to trot out their credentials to participate on this list. My original post asked that this not get into a flame war or a discussion of the Eagles; it was strictly a request for information. Since I finally found the information I needed from a co-worker while several of you either attacked me privately and others squabbled publicly, well, I suppose it just gives me something to chuckle about in observance of human nature. All sorts of discussions go on on this list that keep my Delete key active, and others hold my attention all the way through. But I will actively speak out when anyone tries to "educate" me or belittle my tastes. I would NEVER do so to anyone, and expect the same respect. I don't know where your anti-Eagles knee-jerk reaction came from, LW. But if you want people to open their minds to the music you love, then you have to accept that that's a two-way street. Shannon P.S. I was discussing this situation with my friend Sonny last night (Cincinnati's BEST blues/rock guitarist) and he agreed that both the Eagles and Bon Jovi had done worthwhile covers of this excellent CHARLES BROWN original. While we were discussing this, over the Muzak at the restaurant came yet another version, performed by....Aaron Neville. And you know, it sounded darn good. And Sonny is going to start adding the song to his set list for the rest of the season. :) ========================================================================= Date: Fri, 5 Jan 1996 15:38:07 -0500 Reply-To: Erica Wissolik From: Erica Wissolik Subject: Re: looking for Leo -Reply Well... I got thru yesterday and he responded but maybe because of the furloughs - he has since disappeared into "non-essential land". I thought he was "essential" but that may have changed. Erica ========================================================================= Date: Fri, 5 Jan 1996 14:38:51 -0600 Reply-To: Chris Pearson From: Chris Pearson Subject: Re: Clones: Intentional vs. Unintentional I've often wondered the same thing. I think it's because every note and combination of notes has already been played, somewhere,sometime. What kills me is when your not trying to get something and you get something and can't for your life figure out how you did it, and you never can get it again. > What does it mean if you sound like someone else when you're not > trying? I've heard recordings of my slide playing that sound eerily > like Elmore James, although it beats me how I can sound like Elmore > James playing a '65 Silvertone out of a Crate amp.....distortion set > at 8....playing "Free Bird"....not even thinking about Elmore > James.... > > To paraphrase Jessica Rabbit: > "I'm not bad, I'm just .giffed that way." > > Ruth > > ========================================================================= Date: Fri, 5 Jan 1996 14:47:08 -0600 Reply-To: Chris Pearson From: Chris Pearson Subject: SRV clones Chris Duarte; I believe he's an Austin boy. He's got big SRV but a little busier. Kenny Wayne Shepherd; He's the only one I've heard that is blatantly SRV, and Lord do we hear it in East Texas being close to Shreveport. But like Shaun says, he's young, and he is good. Oh that someone would mention me and SRV in the same breath, and not be saying," He's definitely not SRV." Chris ========================================================================= Date: Fri, 5 Jan 1996 14:57:10 -0600 Reply-To: Chris Pearson From: Chris Pearson Subject: Re: Crossroads legend I'd check out the movie Crossroads w/Ralph Machio (?)etal. One variation of the story. Some interesting history if it's true. The worst part is Stevie Vai. Pretty cool blues stuff. Kind of a "Devil Went Down to Georgia" type deal. Chris > Does anyone know the whole story of the "crossroads legend"? ...or >know where I could read it? > > I was reading the liner notes from "Jimi Hendrix :Blues", and the >writer mentioned an old blues legend where the musician meets the devil out >at a rural crossroads and trades his soul for the musical talent he is later >famous for. That's about all there was..I'm thinking there's got to be more >to it. Apparently several blues musicians have claimed to have this happen >to them. > > (":Blues" is excellent. I never did give Hendrix's music much of a >chance, but before this I'd heard only the rock stuff (Foxy Lady, etc...). >Now, after getting into more Blues the last couple of years this CD really >hit the spot. I'd recommend it to anyone who came more from a rock >background and is getting into blues through SRV, etc.) > >krc > > ========================================================================= Date: Fri, 5 Jan 1996 16:05:25 -0500 Reply-To: mba tempaccount From: mba tempaccount Subject: artists looking for opinions on great blues guitarists ========================================================================= Date: Fri, 5 Jan 1996 21:34:20 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Radar Labs 23 Subject: Re: Crossroads legend Comments: To: bit-listserv-blues-l@uunet.uu.net On Fri, 5 Jan 1996 12:38:36 EST, Keith Carlson wrote: : Does anyone know the whole story of the "crossroads legend"? ...or :know where I could read it? : : I was reading the liner notes from "Jimi Hendrix :Blues", and the :writer mentioned an old blues legend where the musician meets the devil out :at a rural crossroads and trades his soul for the musical talent he is later :famous for. That's about all there was..I'm thinking there's got to be more :to it. Apparently several blues musicians have claimed to have this happen :to them. That is pretty much all there is to the legend. There are a few supporting notes. 1) It may be from the voodo tradition, with the devil replacing Papa Legba, who likes crossroads. 2) Rural crossroads in the south were given great significance. Often a cemetary is located at one. 3) Crossroads are mightly lonely, scary places at night. Kevan Smith http://www.rlabs.com ========================================================================= Date: Fri, 5 Jan 1996 14:34:38 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: blues calendar I would like to purchase a blues calendar. Anyone have an address and a price? Thanx, Gary .......... Gary Constantine >> gconstan@ccinet.ab.ca << If hard work were such a wonderful thing, surely the rich would have kept it for themselves. ========================================================================= Date: Fri, 5 Jan 1996 16:25:58 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Weird Internet Stuff Happenin'!! Some of you are now receiving e-mails I sent last month. This phenomena also resulted in the Eagles thread post that just appeared on BLUES-L. I'm not doing this, honest. Don't be surprised, and PLEASE PLEASE PLEASE let's not get into that eagles business again. Hit the Delete key and go on with your lives! Shannon ========================================================================= Date: Fri, 5 Jan 1996 15:48:23 -0600 Reply-To: Tom Kraft From: Tom Kraft Subject: Re: Clones - Randy H. Comments: To: PARRISHR At 01:49 PM 1/5/96 -0500, you wrote: > themselves. I don't think "Texas Flood" sounds anything like that > Freddie King song, but that's just my opinion. > Ruth > > Albert King, Ruth, Albert King. :) Tom Kraft ========================================================================= Date: Fri, 5 Jan 1996 16:46:25 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Blues Calendar Giveaway Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I thought I had a winner, but I got one more contestatnt, so I'm going to extend the deadline to Monday at noon (eastern standard time). Good luck! -Steve ========================================================================= Date: Fri, 5 Jan 1996 13:54:42 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: CONFESSIONS OF A SPENCE-OHOLIC : JOSEPH SPENCE'S MUSIC (part 4 of 6) Comments: To: BluesHvn@aol.com JOSEPH SPENCE died on Sunday, March 18, 1984, at his home "Louise Cottage", Nassau, New Providence Island, Bahamas. He was survived by his wife, Louise; 1 brother, Fred Spence; 4 sisters-in-law, Hilda Wilson, Eva Wilson, Lee Wilson and Leta Brown; and numerous relatives and friends. He was buried at the Woodlawn Gardens, Nassau. I first corresponded with Guy Droussart, friend of Joseph Spence and his official biographer, in the early 80s, after answering a request he had for the ELEKTRA album. Guy Droussart was born on May 4, 1949 in Antwerp, Belgium, and grew up partly in Africa. Since 1971, he has made Zurich his home. This ELEKTRA album is now on CD (HANNIBAL CD 4419) and should be in everyone's CD collection by now. IT'S NOT! What are you waiting for? Guy & I would later trade tapes, especially the Ry Cooder 'acoustic radio ranch' programs & I've also been privileged to hear some of Guy's private tapes of Spence's music. In time I'm sure these recording will find the light of day, especially his unique piano playing. Rounder CD 2096 comes from these tapes. Spence/Pinder's music has been covered by Ry Cooder, Grateful Dead, Incrediable String Band, Jody Stecher, Aaron Neville, Kate & Anna McGarriagle, Davey Graham and all the artist on GREEN LINNET CD 3095 : OUT ON THE ROLLING SEA which includes Taj Mahal, Dave Grisman, etc. etc. For years, the National Public Radio Network would end their Sunday night programming with "I bid you Goodnight", and for at least the last 10 years, I've include his awesome bent version of "Santa Claus Is Comin' To Town" on our annual radio Christmas special. Then there's his 'wierd' version of "Will the SERPENT Be Unbroken!" As soon as Guy Droussart's book on Joseph Spence comes out, BLUES-L will be the first to know about it. ========================================================================= Date: Fri, 5 Jan 1996 16:04:26 -0600 Reply-To: Tom Kraft From: Tom Kraft Subject: Re: SRV clones/Hendrix clone hisself? At 03:00 PM 1/5/96 -0500, Rick Miller wrote: >HI guys, > >Bruce Roberts brought up an interesting point in that many immediately make >the comparison that SRV himself was a Hendrix clone, becasue surely Stevie >covered a couple of Jimi songs like nobody else could. Astonishingly well. >But if you really listen to SRV doing his own stuff or covers (not Jimi stuff), >like for instance on the early 1980 radio recording "SRV, In The Beginning", >man there is no trace of Hendrix cloning here whatsoever. This is pure, >unadulterated Stevie doing that Strat scratchin', Texas-shuffle boogie that >pretty much nailed down his guitar hero status for many of us. I've listened >to it three times this afternoon. :) > >Have a good weekend all. > > >Riffin Rick > Maybe Stevie was a Hubert Sumlin clone. Great CD, by the way. Tom Kraft ========================================================================= Date: Fri, 5 Jan 1996 16:09:43 -0600 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Omar and the Howlers Omar and the Howlers have a new CD out on Watermelon Records called "World Wide Open". I'm looking forward to this after their last one, "Muddy Springs Road". Hey if your looking for some non-clone music, get a copy of "Muddy Springs Road". It gets my vote for the most underappreciated Blues CD of '95. Bruce Roberts Austin, TX ========================================================================= Date: Fri, 5 Jan 1996 16:14:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re[2]: Clones - Randy H. I don't think Personal Manager sounds anything like the B.B. King song, not to mention Little Jimmy King. J.E._Downey@bakermck.com ========================================================================= Date: Fri, 5 Jan 1996 15:23:45 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re[2]: Clone Theory Comments: To: Richard Shurman Ah, there's the word we've all been looking for...stylist! Those are the people who go beyond borrowing a style and crossover into the spooky realm. Thanks, Richard! ______________________________ Reply Separator _________________________________ Subject: Re: Clone Theory Author: Richard Shurman at INTERNET_TP Date: 1/5/96 3:39 PM I remember 25 years ago (despite all odds) being part of a conversation in Pepper's Lounge with a hard core b.B. King stylist who was worried because his weight was 4 lbs. different than B.B.'s. ========================================================================= Date: Fri, 5 Jan 1996 22:33:14 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Re: Babe Stovall Comments: To: bit-listserv-blues-l@uunet.uu.net JEWELL "BABE" STOVALL b. 1907-1014, TYLERTON, MS d. 1974-0921, NEW ORLEANS, LA ========================================================================= Date: Fri, 5 Jan 1996 17:40:48 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[3]: Clones - Randy H. Comments: To: "J.E. Downey" HAHAHA!!! Or Martin Luther King. "There you go, Ruth, acting like a blond again." - my mom (no offense to Karen or Shannon) ______________________________ Reply Separator _________________________________ Subject: Re[2]: Clones - Randy H. Author: "J.E. Downey" at Internet Date: 1/5/96 4:14 PM I don't think Personal Manager sounds anything like the B.B. King song, not to mention Little Jimmy King. J.E._Downey@bakermck.com ========================================================================= Date: Fri, 5 Jan 1996 16:47:53 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: SRV & Albert OK Ruth and anyone else who cares, listen to Albert King doing Answer to Laundromat Blues and see if Stevie didn't cop his intro note for note from Albert. This isn't a commentary on Stevie or Albert or anyone else. It's just interesting when you say to yourself, "I've heard *that* before!" -Jeff (can I recommend Little Milton - Welcome to the Club"? AWESOME!) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Fri, 5 Jan 1996 17:56:14 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Looking for Stew Crossen Stew -- I need some info about your show! - Ruth If anyone has Stew's e-mail address, please forward it to me. Thanks! ========================================================================= Date: Fri, 5 Jan 1996 17:56:42 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Serious Grammys/Handys >The thought at the time was that artists like Koko Taylo and Charles Brown who >have stayed true to their form for decades would fall in this category. >Contemporary blues were considered to be blues styles popularized in the 1960s >on, and showing a rock and roll influence. Thanks, BBB. That helps. I was hoping I hadn't asked another one of those "stupid questions." I knew it couldn't be based on age or longevity ("Gatemouth" Brown)! As I looked over the nominations, though, I could see that the contemporary artists were rather guitar-heavy, so the rock influence makes sense. I'm wondering how many "traditional" artists will be left in a few years. (Emphasis on *wondering*--not intended as an editorial comment--I just truly don't know.) Karen Sheesh...you need a disclaimer for everything around here! ========================================================================= Date: Fri, 5 Jan 1996 17:55:27 -0500 Reply-To: "Alan C. Rollins" From: "Alan C. Rollins" Got a post from Tony Burke which I thought we should go ahead and post as a subscriber's unabashed advertisement. We have all watched Joel's WWW-site grow and become an example of what the Internet can be. Good luck to them both, Joel and Tony. tony@bluestb.demon.co.uk> > >>BLUES & RHYTHM'S NEW WEB SITE ANNOUNCED >> >>Blues & Rhythm, The Gospel Truth Magazine, Europe's leading specialist Blues, >>R&B and Gospel magazine has a brand new web-site courtesy of Joel Slotnikoff. >> >>Joel's Blues World site is the host of the Blues & Rhythm Home page. >> >>To find B&R's Home Page go to URL : http://www.inlink.com/~joelslot and click >>on the B&R logo. >> >>You will find Articles, Reviews and News from Blues & Rhythm Magazine. Also >>available is information on how to subscribe to B&R, Back Issues etc. >> >>The B&R Home Page is maintained by Joel Slotnikoff and additional and updated >>material will be developed and added to the Web site over the coming weeks and >>months. >> >>Commenting on this development B&R editor Tony Burke said: "We are absolutely >>delighted to be associated with Joel's Blues World e-mag and we hope that >>B&R's involvement will mean that the Blues World web site will attract even >>more users." >> >>"It is not our intention to re-produce each new issue of B&R electronically on >>the Web, but we hope the B&R Home Page will complement the printed version >>which has recently passed it's 100th issue and 10th year." >> >>Blues World is also the host to VJM (Vintage Jazz Mart) one of the worlds >>oldest jazz and blues exchange magazines, featuring sales and auction lists >>from around the world offering jazz and blues 78's, albums and memorabila. > > > > ACR ========================================================================= Date: Fri, 5 Jan 1996 18:06:49 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Revamping Material/Anti-Clone Public Service Announcement For those of you who are musicians, if you want to play a cover and want to do something different with the song, how do you approach it? Some songs seem to have a personality all their own and demand to be played like the original no matter how motivated you are to revamp it. Like "Free Bird" -- would it be possible to redo it in a different, unique way and have it sound good? I would argue no, the personality of the song demands you play it pretty much like the original. (although I bet The Dickies would do a really great punk-rock version) Other songs seem to lend themselves very well to adaptation. At the risk of bragging, my band does a really laid-back, jazzy version of "Little Wing" that I like as much as the Hendrix and Clapton versions. We didn't even think about doing it that way, it just happened. ========================================================================= Date: Fri, 5 Jan 1996 19:00:41 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Dumb claim to fame (Was: Grammies) MY LEAST PROFOUND CLAIM TO FAME -- NO BLUES CONTENT Posted because Riffin Rick wrote .... > pop artists. Example, Mariah Carey is up against Alanis Morissette, who IMHO > just blows the doors off almost any female artist in pop or new rock. But Alanis Morissette went to my high school in Ottawa. Unfortunately, she started about 25 years after I graduated .... Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Wed, 13 Dec 1995 10:48:40 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re[2]: EAGLES (not) and the Cincy Blues Fest! Comments: To: rjbauman@iquest.net Thanks to Greg H. and RJ for the personal testimonials about my contributions to the Cincinnati Blues Society and Festival. Since our "little" blues fest here in River City (which headlined the incredible LUTHER ALLISON in '95) has been getting rave reviews, let me announce that our 1996 festival has been scheduled for July 12, 13, & 14. Mark your calendars and come on in to Cincinnati for three days of FREE blues on the riverfront. I'll keep you-all posted on the line-up as the performers are selected and confirmed. (That's the next step in this long, convoluted, insane, festival-planning process.) Shannon ______________________________ Reply Separator _________________________________ Subject: Re: EAGLES (not) Author: rjbauman@iquest.net at INTERNET_TP Date: 12/10/95 9:28 AM =============Shannon O'Connor failed to mention she is actively involved in the Greater Cincinnati Blues Society & an instrumental part of the production (along with Kitty Carson) of the Cincinnati Blues Festival. Girlfriend knows her blues.=============== May I add my endosement of this great blues society. Their festival was a blast last year. Go, Shannon, Go................. RJ Bauman ========================================================================= Date: Fri, 5 Jan 1996 19:00:10 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: artists Comments: To: mba tempaccount In-Reply-To: On Fri, 5 Jan 1996, mba tempaccount wrote: > looking for opinions on great blues guitarists There are none - they're all clones of African tribal string masters (just trying to tie everything up here on blues-l, & keep all the threads unified). :):). ref 1. Black White (blues-l Nov. & Dec. '95) ref 2. Clones (blues-l Jan. '96) ref 3. Great blues guitarists (blues-l Jan. '96) ref 4. Blues roots (blues-l Oct. thru Nov. '95) NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Fri, 5 Jan 1996 17:03:45 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: Re: Weird Internet Stuff Happenin'!! Comments: To: shannon oconnor shannon oconnor wrote: > > Some of you are now receiving e-mails I sent last month. This > phenomena also resulted in the Eagles thread post that just appeared (text deleted) Your not the only one. I "received" 1977 messages that I had already received over the past few months. Somebody, somewhere recovered a lot of disk space! Gary ........ ========================================================================= Date: Sat, 6 Jan 1996 00:07:05 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Fishnets on the WWW Comments: To: bit-listserv-blues-l@uunet.uu.net In <0000vfxnzjvp.0000qyisgyqi@vines.etn.com>, Keith Carlson writes: > Seriously...do you dress like that when you play? It's gotta be >difficult for a lot of guys to quit staring and giving your playing a serious >listen. I used to play behind a certain-famous-piantist-who-married-his-cousin's daughter who is a strikingly beautiful woman. Unless we were playing a real dump, she always wore something slinky and/or revealing. She said that she felt like the audience deserved a show to go with the music, so..... I don't think it made anyone take her less seriously, and it probably camoflaged a lot of mistakes. - B.B. Bean bbbean@cris.com http://www.cris.com/~Bbbean - ========================================================================= Date: Fri, 5 Jan 1996 19:10:51 -0500 Reply-To: Sharyoung From: Sharyoung Organization: America Online, Inc. (1-800-827-6364) Subject: Blues- L.A? Comments: To: bit-listserv-blues-l@uunet.uu.net Anyone know if there is a blues info group specifically for either California or Los Angeles? ========================================================================= Date: Fri, 5 Jan 1996 16:14:58 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Babe Stovall Comments: To: Bob vanArsdall Bob vanArsdall wrote: >I saw him touring with the American Folk Blues Festival in Europe in 1969.>I don't have the CD from that year, but he may appear on that compilation.>He was a real showman and crowd-pleaser, doing the old play-behind-the-head>trick. But he was grey-headed then, and I took him to be in his late 60's>at the time. When did he die? Babe Stovall died September 21, 1974 in New Orleans, and is buried in Holt Cemetery there. Mary Katherine ========================================================================= Date: Fri, 5 Jan 1996 19:25:00 -0500 Reply-To: Nate Goldshlag From: Nate Goldshlag Subject: bit.listserv.blues-l Can you post blues messages to bit.listserv.blues-l or is it read only? Nate ---------------------------------------------------------------- Nate Goldshlag "People ask me why I don't get fat nate@reflection.com it's cause I like to dance like that. I eat as much as I can hold Cambridge, MA and go out and do the zydeco." -- Marcia Ball ========================================================================= Date: Sat, 6 Jan 1996 00:24:51 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Boogie Woogie Piano? Comments: To: bit-listserv-blues-l@uunet.uu.net In article <4ci871$d23@news-e1a.megaweb.com> Somei Louie writes: >Date: Thu, 4 Jan 1996 23:05:57 -0500 >From: Somei Louie >Subject: Boogie Woogie Piano? >Anyone have any suggestions? I'd like to find a great boogie >woogie piano CD, something with barrelhouse blues/boogie on it >THROUGHOUT. Maybe even a solo effort. Little if any slower blues >tunes. Vocals are not important, either. I just want to be able >to really hear the piano and what the player is doing with both >hands. There is a 2 CD set released by a French label called Fremeaux & Associes that I saw reviewed in Blues & Rhythm magazine which I have yet to find that looks like a fabulous overview. Next time I see a copy of it, you can bet I'll pick it up. I own their Harmonica Blues set, and it's great. Also, look for anything by the masters - Meade Lux Lewis, Albert Ammons and Pete Johnson. There is a CD on Blue Note called "The First Day", because it was the very first recordings on the label cut in the late 30s. It has Ammons & Lewis. A disc, titled BOogie Woogie Boys (Magpie PYCD 21) has all 3 artists. Pete Johnson is featured on 2 discs on the Classics label (#655 and 656). I think Document also has a Boogie Woogie disc recently released that has Library of Congress recordings of Lewis, Ammons and Johnson. I don't own this, but if I remember, the reviews were good on this release. Art Schuna ========================================================================= Date: Fri, 5 Jan 1996 19:50:51 -0500 Reply-To: RLaMour From: RLaMour Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Serious Grammys Comments: To: bit-listserv-blues-l@uunet.uu.net Two schools of thought here: -Is music a contest? -What better way to bring give credit where credit is due? ========================================================================= Date: Fri, 5 Jan 1996 20:36:55 -0500 Reply-To: Bob vanArsdall From: Bob vanArsdall Subject: Re: Fishnet Stockings "I'm a fool for your stockings, I believe..." - ZZ Top (Can't believe no one posted that before) And one more time - what was that Web address? Bob ========================================================================= Date: Fri, 5 Jan 1996 17:57:14 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Crossroads legend >I'd check out the movie Crossroads w/Ralph Machio (?)etal. One variation >of the story. Some interesting history if it's true. The worst part is >Stevie Vai. >Pretty cool blues stuff. Kind of a "Devil Went Down to Georgia" type deal. >Chris Sorry Chris but I have to disagree (No, it's not you. I think you're a cool guy. At least we agree about Kenny Wayne Sheppard :-)) Actually I thought Steve Vai was cool in the movie and that Ralp Machio was an annoying little git IMHO. Vai is my favoutite of the shredders. His music usually has a lot of humour and emotion. He is also a heck of a nice guy. A month before "Alien Love Secrets" was released, there was a release party ar school and the man himself appeared and talked for an hour fielding questions from the students. He was kind and gracious and they way he handled a particulary insentive question about who was left with (the rights) to Zappa's music won everybody over. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Fri, 5 Jan 1996 17:57:19 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Voodoo and Muddy Waters. Kevin Smith's (cuthulu) just reminded me of when I went to the Voodoo Museum in New Orleans. As he explained the significance of the different exhibitions we got to the one that was about John the Conqurer root, the Mojo hand and Gris Gris. The first thing he said was "You know the song, "Got my Mojo Workin'?" well this is what it's all about." Know I also understand "Mannish Boy" a lot better as well. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Fri, 5 Jan 1996 17:57:24 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Revamping Material/Anti-Clone Public Service Announcement One of the best covers I have ever heard was a rockabilly version of Metallica's "Enter Sandman" that went into "Take Five" during the middle section. It was brilliant. The whole band was dressed in Elvis styke jumpsuits as well which made it even cooler. A few friends of mine have told me about times when they have played "Freebird" etc. and have had audience memebers come up and castigate them for playing the solo wrong. Now at school we have performance classes where the is a set list of songs for each week. You choose one and get up and play it with a band. It's great fun. All styles are coverd, Jazz, R&B, Blues etc. Now there is a "Classic Rock" and "Modern Rock" class. Jimi usually pops up in Classic Rock and SRV usually has a song in the Modern Rock list. And I have played both Jimi and SRV tunes in these classes. The dilemma. Should I cop Jimi's/SRV's solos or go out on my own. Easy answer. Do your own thing. Don mentioned in an earlier post that audiences often expect to hear the song as if it is a jukebox (I know I'm paraphrasing so I hope I'm not twisting Don's original intent around). I think if you go out and pull off a great solo then people will respond to that just as well as if you cop SRV and Jimi note for note. I've played "Voodoo Chile", "Foxy Lady", "Let Me Love You, Babe" and "Crossfire" at school and "Pride and Joy" at a jam at a club here in LA. When it came to the signature licks, well you have to play them. But for the solos I had fun. I remember that after playing "Voodoo Chile", all I could remember was that my timing was off. I could not remember anything I played except that I tried to stay away from Jimi. Yet when I had finished (pat myself on the back time) people came up to me and were saying good things about my playing yet I had no idea what I did (Does this happen to other guitarists. You think that what you played was terrible and you had no idea what you did yet people seem genuinely inpressed?) The moral of my little ramble is that if you cop the solo note for note and make it sound good people will be impressed. However take the same tune but improvise you own solo that works and people will dig that just as much and maybe even rememeber who you were. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Fri, 5 Jan 1996 17:48:03 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Jan. 6 Here's a few dates (b. born, d. death) for Saturday. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ALLEN, RICKY b. 1935-0106, NASHVILLE, TN BROWN, SHIRLEY (of MALACO/STAX) b. 1947-0106, WEST MEMPHIS, AR CLAY, JAMES (tsax) d. 1995-0106, DALLAS, TX 59 FIELDS, BOBBY (tsax/B. B. KING) d. 1981-0106, CHICAGO, IL 52 GORDON, MARIE TILLMAN (of THE MARVELETTES)d. 1980-0106, INKSTER, MI 35 HARRISON, WILBERT (v/KANSAS CITY) b. 1929-0106, CHARLOTTE, NC HILL, BEV [BEVERLY JEAN HILL] b. 1938-0106, BIRMINGHAM, MI LUCAS, HAROLD (of THE CLOVERS) d. 1994-0106, WASHINGTON, DC 61 MCBRIDE, MARY (v) d. 1979-0106, CHICAGO, IL 87 MCCOY, VAN (songw/prod) b. 1944-0106, WASHINGTON, DC MOORE, JOHNNY D. (g/THREE BLAZERS) d. 1969-0106, LOS ANGELES, CA 62 PORTER, DICK (of THE INK SPOTS) d. 1978-0106, SEDALIA, MO 46 RANDOLPH, POPSIE [BILL SEZENAIS](photogr) d. 1978-0106, PHOENIX, AZ 57 SIMPKINS, GEORGE BOY (v/EARL HINES) d. 1972-0106, LOS ANGELES, CA 64 SLEDGE, KATHIE (of SISTER SLEDGE) b. 1959-0106, PHILADELPHIA, PA TROY, DORIS [DORIS PAYNE] (v) b. 1937-0106, NEW YORK CITY, NY WILSON, KIM (hca/FAB THUNDERBIRDS) b. 1951-0106, DETROIT, MI WILSON, PAUL (of THE FLAMINGOS) b. 1935-0106, CHICAGO, IL ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 4 Jan 1996 11:49:32 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re[2]: Bent-note blues _________________________ Reply Separator _____________________________ Subject: Re: Bent-note blues Author: Jim Witteveen at INTERNET_TP Date: 1/3/96 11:41 PM Caucasian music plays only the "legitimate" notes, and is >much more rigid, confining, and shallow as a result. Huh??? Celtic music is shallow? The Bulgarian Women's Choir is shallow? Get a grip! Thanks, Jim!!!! Celtic music is certainly NOT shallow, and anyone who doesn't think a bagpipe, fiddle, flute, or penny whistle can't make "blue"/"bent" notes has NO sense of hearing. And trust me and my ancestors, Celtic bloodlines produce some EXTREMELY "Caucasian" people. I've beaten this horse before, but I get a little annoyed with the "there's black music/culture, and then there's everyone else" attitudes that insinuate themselves through this list. There are many different "white" cultures, too, that have developed various rich forms of musical expression. Music is not "black, and everything else (white)." Shannon ========================================================================= Date: Fri, 5 Jan 1996 18:43:25 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Voodoo and Muddy Waters. >Kevin Smith's (cuthulu) just reminded me of when I went to the Voodoo >Museum in New Orleans. As he explained the significance of the different >exhibitions we got to the one that was about John the Conqurer root, the >Mojo hand and Gris Gris. The first thing he said was "You know the song, >"Got my Mojo Workin'?" well this is what it's all about." Know I also >understand "Mannish Boy" a lot better as well. So what is a John the Conqueroot (sp?) exactly? If it can turn me into a Muddy Waters clone I want one! :-) There's a great story in Deep Blues about Muddy Waters and his attitude towards the voodoo stuff - he didn't _really_ believe it, though sort of, apparently. -Jim (hndful@uniserve.com) ========================================================================= Date: Fri, 5 Jan 1996 22:35:37 -0500 Reply-To: bob unger From: bob unger Subject: Irish "rigid" notes.... >From: shannon oconnor >Thanks, Jim!!!! Celtic music is certainly NOT shallow, and anyone who >doesn't think a bagpipe, fiddle, flute, or penny whistle can't make >"blue"/"bent" notes has NO sense of hearing. And trust me and my >ancestors, Celtic bloodlines produce some EXTREMELY "Caucasian" >people. Good God!....When I hear The Chieftans.....man, I get absorbed....TONS of emotion there...straight notes, bent notes, blue notes...it doesn't matter this is human music.....and there is PLENTY of soulful blues in this music.. Religious opression....racial opression...social opression...and their skin is as white as a bleached bone. BU bob@sun.bnkst.edu no...I'm not Irish....not with a name like Unger! ========================================================================= Date: Fri, 5 Jan 1996 20:25:04 -0800 Reply-To: Michael Hewitt From: Michael Hewitt Subject: Columbia House on the Net Hey, Columbia House members. Just found Columbia House's web site. Has search capabilites for their entire catalog. You might want to check it out. Also, if you do, use their suggestion box feature to suggest they separate blues from jazz so that blues-only searches can be run. Searching by subject now brings up both genres. It also supports artist and album title searching. http://www.columbiahouse.com/ Standard disclaimers apply...I have absolutely nothing to do with Columbia House other than being a member. -- Michael Hewitt Hilmar High School mhewitt@telis.org 7807 N. Lander Ave. Troutbusters Hilmar CA 95324 Modesto CA 209-667-5903 ex 34 "Flyfishing for trout is the closet thing to Heaven on Earth." - M. Hewitt "Nobody loves me but my mother, and she could be jivin too." - B. B. King ========================================================================= Date: Fri, 5 Jan 1996 20:45:32 -0800 Reply-To: Michael Hewitt From: Michael Hewitt Subject: Re: Voodoo and Muddy Waters. Jim Witteveen wrote: > > >Kevin Smith's (cuthulu) just reminded me of when I went to the Voodoo > >Museum in New Orleans. As he explained the significance of the different > >exhibitions we got to the one that was about John the Conqurer root, the > >Mojo hand and Gris Gris. The first thing he said was "You know the song, > >"Got my Mojo Workin'?" well this is what it's all about." Know I also > >understand "Mannish Boy" a lot better as well. Can someone please explain the Mannish Boy-Voodoo connection to me? Mojo I understand, but the other escapes me... TIA -- Michael Hewitt Hilmar High School mhewitt@telis.org 7807 N. Lander Ave. Troutbusters Hilmar CA 95324 Modesto CA 209-667-5903 ex 34 "Flyfishing for trout is the closet thing to Heaven on Earth." - M. Hewitt "Nobody loves me but my mother, and she could be jivin too." - B. B. King ========================================================================= Date: Fri, 5 Jan 1996 21:23:19 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Red Devils The Red Devils are still around. I saw a small thing in the LA Weekly a few weeks back talking about an upcoming show. I'll check the listings and see if they are playing regulary around here. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Fri, 5 Jan 1996 21:44:32 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Voodoo and Muddy Waters. Jim (hndful@uniserve.com) asked: >So what is a John the Conqueroot (sp?) exactly? If it can turn me into a >Muddy Waters clone I want one! :-) Getting one is the probelm. If I get this a bit muddled I'm sorry. Maybe someone else can clear up any mistakes I make. Anyway, here I go. John the Conqurer root is used to improve one's sexual prowess or chances with the opposite sex. To obtain a John the Conqurer root is a little difficult. Whoever pulls one up dies. Also, upon being pulled up the root is supposed to scream. Whoever hears the scream dies. The way to get a root is to tie the end of the root to the collar of hungry dog. Entice the dog away from the root with some food so the dog pulls the root out of the ground. Then you have to root. Unfortunately the dog dies. So that's what happens as best as I remember. The Mojo hand is used for luck in gambling but I forget what it actually is. Gris Gris is a combination of diferent Voodoo ingredients that works as a charm. The charm will only work if you wear it on the correct side of the body. Men wear it on the opposite side to women but I forget which side. If anyone can clear this up it'll be appreciated. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Fri, 5 Jan 1996 21:50:44 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Voodoo and Muddy Waters. Michael from mhewitt@telis.org also asked: >Can someone please explain the Mannish Boy-Voodoo connection to me? Mojo I >understand, but the other escapes me..." I think the line in the song is "I think I go down to old Kansas too, bring back my second cousin, little John the Conqurer root" It could be wrong but I'm sure he does sing "John the Conquerer root" Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Fri, 5 Jan 1996 22:57:52 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Nifty Chord Progression I promised a chord progression for you guitarists out there (particulary Chris) and at long last here it is. I got this from Robert Ward's "Black Bottom" album. Which is a great album of blues/R&B with some fantastic guitar. Especially rhythm. The song is called "Soul Stroll." It is a shuffle. Root movement only as there is no instrument that really defines the quality of the chords. Chuck Berry style bass note rhythms are cool if you are doing the rhythm. Each chord is one bar. Hope this is clear. Enjoy! Shaun Main Section: I VI I I IV bIII I VI V IV bIII bIII I V I I (x2) Bridge: VI V IV IV IV V IV V (x1) Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sat, 6 Jan 1996 02:19:48 -0500 Reply-To: Orange2@GNN.COM From: Somei Louie Organization: Megaweb Subject: One last clone Comments: To: bit-listserv-blues-l@uunet.uu.net Though I am relatively new to this newsgroup, most of you have, by now, read my posts relating to my new personna ... that of Mr. Dick Waterman. Now that I have successfully cloned myself into His image, I am here to report that last night I presented my first musical entitled, "Dick Waterman: The Experience". Here are some of today's reviews: San Bernadino Gazette: "If you squint your eyes, crawl under your chair and put your hands over your ears, you would swear it was Dick Waterman himself!" US Magazine: "Many who came that night left the theater dazed by his performance. He is truly Watermanesque." Theatre Times: "CATS ain't got nuttin' on this boy!" Rex Reed: "He's got a nice butt, all right!" Joel Siegel: "I like, like, like it! Here is a sensitive portrayal of one man's solitary quest to keep all his Son House photographs to himself! Bravo, Dickie Boy!" Deal Magazine: "Never before in the history of musical theatre has so few given so little. From the very first moments of the show's opening song 'I'll Take 20% Off the Top', to the showstopping closer "Love Me, I'm a Waterman", the audience was entranced ... or asleep ... I'm not quite sure which." Jesse Helms Monthly: "While the theme of the show was noteworthy (man's eternal struggle to find an agent), the scenes depicting nudity and carnal knowledge were uncalled for. And that was just in the lobby before the show." Blues-L Times Magazine: "Perhaps he (Orange2 alias WatermanII) is our next genius ... perhaps his news-threads are the chosen threads we've been waiting to follow ... perhaps OJ is really innocent ... Uh, never mind." IRC Insider: "I laughed, I cried, I laughed some more, but then I began crying again and couldn't stop. Before you know it I was crying so hard and so long some fellows from the psychiatric hospital arrived and took me to a new place where I've met lots of new friends. I'm now heavily medicated and I thank it all to Dick Wateman! Thanks, Dick!" Graceland Times: "Not since Elvis has anyone stirred the collective soul of the nation's populous as much as Dick Waterman. Now we're gonna be up to our ears in Waterman impersonators, little Waterman clocks, velvet paintings of Waterman negotiating a contract, WatermanWorld theme parks and the like. I personally don't think the world can take much more." Anyway, I think the reviews were generally positive. Of course, I'm not going to be objective, am I? A deal's a deal, a clone's a clone, Orange2@gnn.com (Mike Meadors) Please do not refer to me anymore as Orange2; rather, I want to be known as "The Artist Who Was Formally Known as Orange2" ... Orange2@gnn.com ========================================================================= Date: Sat, 6 Jan 1996 03:16:51 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: Re: RED DEVILS > From: Shaun T Cronin > The Red Devils are still around. But not with guitarist Paul Size. Paul is in a Dallas band called Easy Jones. He will be in the studio this weekend together with Johnny Moeller (formerly with Darrell Nulisch, currently making a name for himself in Austin) cutting a new album for Dallas Blues Society Records (yep the same label that did Zuzu Bollin, Henry Qualls, and Big Al Dupree). Should be interesting. Don O. ========================================================================= Date: Sat, 6 Jan 1996 03:43:44 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: Rick Holmstrom Anyone else out there enjoying that new Rick Holmstrom CD on Blacktop, "Lookout"? Did you notice the interesting personnel listing on several tracks of "King of the Jungle" on harp and "Jane" on piano? I'm suspecting that's Rod and Honey Piazza (Bott and Stuve are credited on the same tracks). Is that meant to vex and perturb Blacktop or is it meant to be some kind of inside joke? Just curious. Musicians sure are strange folks. Or then again, maybe it's the liner writer or the label trying to vex and miff Rod and Honey. Anyone got the inside scoop? Where was Cheetah? Don O. ungowah ========================================================================= Date: Sat, 6 Jan 1996 07:23:45 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Fishnet Stockings Comments: To: bit-listserv-blues-l@uunet.uu.net In article , Bob vanArsdall writes: >"I'm a fool for your stockings, I believe..." - ZZ Top > > This thread has me howling with laughter. When I was about 13 or 14, I won tickets to the Allman Bros. concert from my favorite radio station here in Memphis. This was just before Duane's death, to date the event and me. Wet Willy was the opening act, and they were okay, but second on the bill was a trio from Texas, whom only a few people had seen in an earlier Memphis appearance at the Overton Park Shell. Anyway, the lead guitarist walked out in neon purple hot pants and fishnet hose and proceeded to smoke the Coliseum. The band played for three straight hours before the deejay/emcee came out and begged the audience to let them go so that the Allmans could do their thing. Unfortunately, most of the crowd was exhausted and left, missing one of Duane's last performances. I'll never forget the Rev. Billy G. and that outfit, or his performance. At the earlier Shell show, a very big and very forceful guy named Danny Graflund walked up on stage, covered the mic with his hand and said to Gibbons, "This is Memphis, Man, and you ain't leaving without playing some blues." Billy called the Stage Manager over and asked for Security because he had been threatened. The Stage Manager pointed to Danny and said, "He is Security." Needless to say, Billy then played the blues and with great feeling. Denise ========================================================================= Date: Sat, 6 Jan 1996 07:45:18 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Rick Holmstrom 2nd Vote Yeah Comments: To: Don O In-Reply-To: <9601060343.058L503@chrysalis.org> I have to agree with Don O. in his recommendation of the Rick "L.A." Holstrom CD. Listened to it over and over and it's so full up with damn good music. Particularly pleased to see an- other 99 proof instrumental out there that's this worthy. It sure goes a way towards stretching the blues - which IMHO has to be, or the game is dead. As far as the Jungle and Jane credits - dunno. NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sat, 6 Jan 1996 08:03:41 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Burke, Urbain, other UK & EU blues-l folks Comments: To: bit-listserv-blues-l@uunet.uu.net Sorry to clog the list like this, but I am travelling, and my notebook doesn't have my address list. I need to address some correspondence to each of you about a spring tour being planned by a very well-known Delta blues researcher and lecturer. You'll be interested, I'm sure. I have no stake in this. I just offered to help put him in touch with a few prominent blues people in your part of the world. If you meet this description (e.g., are a writer, editor, blues society officer, etc.), please send me your snail data, and I will pass it on to him. If you want more details from me, I'll be happy to provide them. Thanks, Denise ========================================================================= Date: Sat, 6 Jan 1996 08:05:19 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Help! I'm A Clone! I'm 44 years old and I belong to CA (Clones Anonymous). I've been a clone for as long as I can remember. History has it that I was sleeping in my crib in mid-year 1951, when apparently my Mother had the radio on, and I was infected by a blasting, gyrating, pulsating beat. Through the ensuing years, I could not allow myself to become distanced of more than a few feet from a radio. My formal education began to slow and eventually stalled. I was constantly banging on any surface within reach, pounding out poly-rhythms with a precision and dexterity that amazed and bewildered every eye witness. My parents consulted a specialist who recommended of all things, "Drum Lessons"! Well my good neighbors, this lead me down a very dark path indeed. The more "Drum Lessons" I took, the more I required. Soon my father was working at night pumping gas, because his day job was not enough to support the family and my percussion habit. The years rolled on and before long, I had joined a "Band". One Band wasn't enough. Two, four, eight, sixteen! Multiplying, just like cells in a Petrie dish. Each band played the hits of the day and experimented with original writings too. I listened to every drummer there was, copied and played the rhythms backwards, forwards, right handed, left handed, no hands! I purchased drum after drum after drum amd cymbals, accessories and books. At one point, I owned guitars, keyboards and tape recorders too. My hunger was insatiable. I'm sorry, but at this point my story becomes to painful to continue. Its 1996 and I'm better now. Yet even in the presence of a good job in Radio, an Angel for a wife and a Son who is a model of devotion, each day remains a struggle. But I will be strong. The rhythms still call out my name and my ears pick up and I quiver and shake whenever I hear a little "click-clack" of daily life. Yes, I am a Clone and proud to be. Beef Stew ******************************************************************************* P.S. Although the fundamental story described above is loosely based on fact, it is intended solely as satire and is not aimed at any individual or group. ========================================================================= Date: Sat, 6 Jan 1996 08:52:27 -0500 Reply-To: Orange2@GNN.COM From: Somei Louie Subject: Re: Revamping Material/Anti-Clone Public Service Announcement Comments: To: PARRISHR@VITRO.COM My opinion about playing cover songs is this: either play the damn thing note for note, sound like the band that recorded the song OR rearrange and change the song so much it becomes abundantly clear that you are NOT copying note for note. What I've always tried to avoid is playing a cover song in a mediocre way. Either play it great or change it dramatically. Orange2@gnn.com ========================================================================= Date: Sat, 6 Jan 1996 09:04:05 -0500 Reply-To: Orange2@GNN.COM From: Somei Louie Subject: Re: Is Jimmy Thackery a clone Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU Just playing other people's songs doesn't make you a clone. However, wearing the same clothes, walking the same way, same mannerisms, same voice inflections, etc. are pointers that someone's bacon has been fryin' in the skillet a little too long, if you catch my drift. Thackery plays some blues covers, but that doesn't make him a clone. >X-State: 3 >X-Total-length: 1951 >Received: from listserv.brown.edu (listserv.brown.edu [128.148.128.155]) > by mail-e1b.gnn.com(8.7.1/8.6.9) with SMTP id PAA30007 for > ; Fri, 5 Jan 1996 15:36:50-0500 (EST) >Received: from stanley.cis.Brown.EDU (stanley.cis.brown.edu > [128.148.128.155]) bylistserv.brown.edu (8.6.10/8.6.10) with SMTP id > PAA03092; Fri, 5 Jan 1996 15:30:20 -0500 >Received: from BROWNVM.BROWN.EDU by BROWNVM.BROWN.EDU (LISTSERVrelease > 1.8b) > with NJE id 3659 for BLUES-L@BROWNVM.BROWN.EDU; Fri, 5 Jan 1996 > 15:27:11 -0500 >Received: from UABDPO.DPO.UAB.EDU (NJE origin MAILER@UABDPO) by > BROWNVM.BROWN.EDU (LMail V1.2a/1.8a) with BSMTP id 5417; Fri, 5 > Jan > 1996 15:27:11 -0500 >Received: from UABDPO (NJE origin ISTS024@UABDPO) by > UABDPO.DPO.UAB.EDU(LMail > V1.2a/1.8a) with BSMTP id 8906; Fri, 5 Jan 1996 14:28:17 -0600 >X-UIDL: 820899931.001 >Message-ID: >Date: Fri, 5 Jan 1996 14:20:32 CST >Reply-To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU >Sender: Blues Music List >From: Leonard Watkins >Subject: Is Jimmy Thackery a clone >To: Multiple recipients of list BLUES-L > >Jimmy Thackery, If I remember correctly he covers some SRV and some Jimi, >but somehow has been left out of the clone discussion...IS he a clone or >an imitator or neither.... > >I have no opinion on Thackery, I'm just asking > >If someone does Texas Flood are they covering Stevie or Larry Davis....? > >Anyone dig Juanita Williams...? > >I've lost ALL motivation for playing, longest I've went without really > playing >in 20 years. I can't seem to get it back, but heavy doses of Son House, > Robert >Johnson, Johnny Shines and Charlie Patton are on the agenda this weekend. > I got >to motivated again....hopefully this weekend. > >LW Orange2@gnn.com ========================================================================= Date: Sat, 6 Jan 1996 14:47:00 PST Reply-To: Christopher_Bonnington_at_RKM@HCTAAM.UAEU.AC.AE From: Christopher_Bonnington_at_RKM@HCTAAM.UAEU.AC.AE Subject: tentative enquiry re blues Hi, I've just come across you in the Yellow pages. I'm a total novice to the medium and only exist as an email until something like march when comprehensive netting is promised. I am however an enthusiastic Robert Johson fan and amateur picker and would relish the prospect of conversing with like minded enthusiasts on the subject of the structure of his songs and the interpretation of his lyrics. Is there anybody there? ========================================================================= Date: Sat, 6 Jan 1996 10:24:27 -0500 Reply-To: Matth54041@AOL.COM From: Matthew Collins Subject: Re: Fishnet Stockings Comments: To: bbbean@cris.com Blues content? Why not concentrate on her blues musicianship. ========================================================================= Date: Sat, 6 Jan 1996 10:36:53 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Who influenced Hendrix Comments: To: mhewitt@telis.org Good Saturday morning to ya'all :O (yawn) from below zero Massachusetts... Well, I think we've kicked this one around a few times and have come up with lots of influences on Hendrix' style. I know for sure having read it from the horse's mouth and in listening that Albert King and Buddy Guy were influences that really stood out. It's funny these days that Buddy feels the need in his own performances to step out and wail and say to the crowd "Yeah, I can do Hendrix!". I feel like this must be his own way of trying to tell the crowd, hey look man, I've been doing this a LOT longer than Jimi ever did, and he learned it from me, so get with the program. ...need coffee.... Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Sat, 6 Jan 1996 10:49:30 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: SRV clones--the next Elvis impersonators.... Too late. It's already happened. The clubs are full of 'em. gag me. Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Sat, 6 Jan 1996 11:00:48 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Hubert Sumlin request I have none of the man's stuff in my collection. Sad, but true. Can you guys make some recommendations for me? Tanx Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Sat, 6 Jan 1996 10:06:13 -0600 Reply-To: Tom Kraft From: Tom Kraft Subject: Re: tentative enquiry re blues Comments: To: Christopher_Bonnington_at_RKM@HCTAAM.UAEU.AC.AE Chris, Stick around and you will probably find what you're looking for and more. This is an awesome place. Enjoy At 02:47 PM 1/6/96 PST, you wrote: > Hi, > I've just come across you in the Yellow pages. I'm a total novice > to the medium and only exist as an email until something like march > when comprehensive netting is promised. I am however an enthusiastic > Robert Johson fan and amateur picker and would relish the prospect of > conversing with like minded enthusiasts on the subject of the > structure of his songs and the interpretation of his lyrics. Is there > anybody there? > > __ __ / `-' / ,,, Tom Kraft |[====|||||||||||||[:::} novice plucker \__.-.__\ ``` ========================================================================= Date: Sat, 6 Jan 1996 10:10:45 -0600 Reply-To: Tom Kraft From: Tom Kraft Subject: Re: Fishnet Stockings Comments: To: Matth54041@AOL.COM How about sound clips on the DC Blues web site. I know Steve L. and P. W. have 'em out in Webland. Ruth? Are there any? CDs? Tapes? We need more than fishnet. Tom Kraft At 10:24 AM 1/6/96 -0500, you wrote: >Blues content? Why not concentrate on her blues musicianship. > > __ __ / `-' / ,,, Tom Kraft |[====|||||||||||||[:::} novice plucker \__.-.__\ ``` ========================================================================= Date: Sat, 6 Jan 1996 11:12:31 -0500 Reply-To: Matth54041@AOL.COM From: Matthew Collins Subject: Re: Fishnet Stockings Comments: To: redox245@electrotex.com Great idea! ========================================================================= Date: Sat, 6 Jan 1996 11:13:07 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Hubert Sumlin request Comments: To: "" In-Reply-To: <01HZORLOC0CS0024WN@SCI.WFBR.EDU> Aha - A Hubert Sumlin selection. Here goes. Blues Guitar Boss - JSP #239. Cut 4 - Sometimes I'm Right (worth the price of the disc itself) NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sat, 6 Jan 1996 11:16:23 -0600 Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: Sippie Wallace Comments: cc: leagil@AOL.COM Greetings, some were asking about Sippie Wallace. Well, here it is: Sippie Wallace, whose real name is Beulah Thomas, was born in Houston, Texas on November 1, 1898 and grew up in Houston's Fifth Ward. She acquired her name "Sippie" bacause when she was a child, she had a habit of sipping food. Wallace learned piano and singing from church, but it was her brother George Thomas who got her into the blues. Having moved to New Orleans, you will notice that her style is very influenced by zydeco and New Orleans blues. She moved to Chicago in the early 20's and in the early 20's recorded with Eddie Heywood, Clarence Williams, King Oliver, and worked with her own brother Hersal Thomas. In the mid 20's, she recorded with Louis Armostrong and worked with Floyd Taylor. She later moved to Detroit were she became religious and quit blues because of family tragedies and sang and played organ in church. In the mid 60's, she came back to blues and in 1970 recorded "Sippie Wallace and Victoria Spivey" which she recorded with Victoria. She later released "Sippie Wallace Sing the Blues" which featured Little Brother Montgomery and Roosevelt Sykes. After suffering a stroke in 1970, Bonnie Raitt helped Sippie with a recording contract on Atlantic (1982) wer she released the album "Sippie" which featured Bonnie Raitt on slide guitar. The album won the W.C. Handy award for best blues album of the year. Sippie appeared on the David Letterman show in 1980 and 1982, on the Today show in 1981, and on a PBS special called "Three Generations of the Blues" in 1984. Sippie Wallace died at 88 on November 1, 1986, the day of her birthday and was burried in Detroit. In addition to the recordings mentioned above, here are some more of her recordings: . Sippie Wallace 1923-1929 (Document, DLP 593) . Sippie Wallace 1924-1927 (Blues Documents, BD 2093) . Women Be Wise (Alligator, AL 4810) Hope this helps! Nuri Nuri, Host/Producer "Blues Brunch" (formerly "Off the Clock"), KPFT 90.1FM - Houston ========================================================================= Date: Sat, 6 Jan 1996 09:21:32 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: CONFESSIONS OF A SPENCE-OHOLIC : JOSEPH SPENCE'S MUSIC (part 5 of 6) Comments: To: BluesHvn@aol.com JOSEPH SPENCE / THE PINDER FAMILY ======================================================================== JOSEPH SPENCE b. 1910-0803, SMALL HOPE, ANDROS ISLAND, BAHAMAS d. 1984-0318, NASSAU, NEW PROVIDENCE ISLAND, BAHAMAS LOUISE ANGELINE WILSON SPENCE b. 1911-0808, STEPHENSON SETTLEMENT, CAT ISLAND, BAHAMAS d. 1991-0721, CULMERSVILLE, NEW PRIVIDENCE ISLAND, BAHAMAS EDITH "JENNY" SPENCE PINDER b. 1909-1110, SMALL HOPE, ANDROS ISLAND, BAHAMAS d. 1980-0825, NASSAU, NEW PROVIDENCE ISLAND, BAHAMAS RAYMOND PINDER b. 1907-1010, NASSAU, NEW PROVIDENCE ISLAND, BAHAMAS d. 1981-0301, NASSAU, NEW PROVIDENCE ISLAND, BAHAMAS GENEVA PINDER b. 1931-1210, SMALL HOPE, ANDROS ISLAND, BAHAMAS ======================================================================== DISCOGRAPHY : (mostly taken from Peter Siegel's Henry Street Folk Letter) ======================================================================== ARHOOLIE CD 349 : JOSEPH SPENCE - BAHAMIAN GUITARIST (1061 & extra) ARHOOLIE 1061 : JOSEPH SPENCE - GOOD MORNING MR. WALKER CARTHAGE 4419 : JOSEPH SPENCE - HAPPY ALL THE TIME (1965) ELEKTRA 273 : JOSEPH SPENCE - HAPPY ALL THE TIME (1965) FOLKWAYS 3844 : JOSEPH SPENCE - MUSIC OF THE BAHAMAS, V. 1 FOLKWAYS 3847 : SPENCE/ROBERTS/MCQUEEN - FOLK GUITAR (3 tracks) GREEN LINNET CD 3095 : VARIOUS - OUT ON THE ROLLING SEA HANNIBAL CD 4419 : JOSEPH SPENCE - HAPPY ALL THE TIME (1965) NONESUCH 2013 : VARIOUS - THE REAL BAHAMAS (5 tracks/Pinder Family) NONESUCH 72078 : VARIOUS - THE REAL BAHAMAS v. 2 (5 tracks/Pinders) ROUNDER CD 2021 : JOSEPH SPENCE - LIVING ON THE HALLELUJAH SIDE ROUNDER CD 2096 : JOSEPH SPENCE - GLORY ROUNDER CD 2114 : JOSEPH SPENCE/PINDER FAMILY - SPRING OF SIXTY-FIVE ROUNDER CD 5035 : VARIOUS - KNEELING DOWN INSIDE THE GATE RYKODISC CD 10150 : VARIOUS - MAS! A CARIBBEAN CHRISTMAS PARTY (1 cut) SMITHSONIAN CD 40066 : JOSEPH SPENCE - COMPLETE FOLKWAYS RECORDINGS (1958) VANGUARD CD 77014 : VARIOUS - GOSPEL AT NEWPORT (FOLK FESTIVAL) ========================================================================= Date: Sat, 6 Jan 1996 13:16:46 EST Reply-To: William Pollak From: William Pollak Subject: Re: Is Jimmy Thackery a clone Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.brown.edu In-Reply-To: Your message of "Fri, 05 Jan 96 14:20:32 CST." LW writes >Jimmy Thackery, If I remember correctly he covers some SRV and some Jimi, >but somehow has been left out of the clone discussion...IS he a clone or >an imitator or neither.... I would say that the answer is neither. Thackery was around long before Stevie was; in fact, I think it was Thackery who first told me that I had to hear Jimmy Vaughan's little brother play sometime. Bill Pollak, aka Billy Price email: wp@sei.cmu.edu ========================================================================= Date: Sat, 6 Jan 1996 12:33:51 -0600 Reply-To: Tom Kraft From: Tom Kraft Subject: Need recomendations L'ers, This morning I was browsing thru my disk collection and I realized I have some shortages. In order to remedy this situation I am going to hit the online CD outlets and fill some of the voids. I need help though: In my search I only located 2 Sonny Terry and Brownie McGhee, and 1 solo Sonny Terry. In this category I am requesting your favorite Sonny and Brownie together, Sonny solo, and Brownie solo releases. Dangerously low on Little Walter. I don't know how I let this go on so long. The situation is critical here and I must have your "Little Walter must haves". Recently purchased Little Charlie and the Nightcats "Straight Up". Are there any other good ones? I own some Victoria Spivey and some Memphis Minnie and love them both. I would now like to taste some other female vocalists of that era. Is Bessie Smith worth it? If so where do I start. Who else should I check out? While ya'll are thinking about your favorite traditional (there's that category) female vocalists let's talk contemporary (the other category). I have in my possession Saffire The Uppity Blues Women "STUBW" and "Hot Flash". Should I buy some more? Which ones? There has been some talk (well at least mention) on the list of a harp player called Piazza. Tell me more. Someone the other night mentioned A.C. Reed. Is there other releases besides "Wrong Business"? Same questions. What? How good? Buy? Finally I want to know what the best Eric Clapton and Eagles CDs are. Just kidding. PLEASE, PLEASE, PLEASE don't respond to that one. Makes for boring threads. TIA (first time for that acronym) Tom Kraft ========================================================================= Date: Sat, 6 Jan 1996 12:33:53 -0600 Reply-To: Tom Kraft From: Tom Kraft Subject: Re: Hubert Sumlin request Comments: To: MILLER@SCI.WFBR.EDU Howlin' Wolf Chess Box and his solo effort "My Guitar and Me". I don't know of any other solo stuff or collaboration besides the Wolf. Anyone? Though of the 2 Howlin' Wolf covers Stevie does on "In the Beginning" the Chess Box selection listing only has Hubert listed at guitar on "Shake For Me" not "Tell Me". SRV does do a good Otis Rush on "All Your Love I Miss Loving". :) Tom Kraft At 11:00 AM 1/6/96 -0500, you wrote: >I have none of the man's stuff in my collection. Sad, but true. Can you guys >make some recommendations for me? > >Tanx > >Riffin Rick > > > > > >F.J.(Rick)Miller >Senior Research Assistant, >& Marine Facilities Manager >Worcester Foundation for Biomedical Research >"Miller@Sci.WFBR.Edu" >*************************************************************************** > > ========================================================================= Date: Sat, 6 Jan 1996 11:04:02 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Revamping Material/Anti-Clone Public Service Announcement Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Ruth said: > For those of you who are musicians, if you want to play a cover and > want to do something different with the song, how do you approach it? > Some songs seem to have a personality all their own and demand to be > played like the original no matter how motivated you are to revamp it. > Like "Free Bird" -- would it be possible to redo it in a different, > unique way and have it sound good? I would argue no, the personality > of the song demands you play it pretty much like the original. > (although I bet The Dickies would do a really great punk-rock version) > Other songs seem to lend themselves very well to adaptation. > At the risk of bragging, my band does a really laid-back, jazzy > version of "Little Wing" that I like as much as the Hendrix and > Clapton versions. We didn't even think about doing it that way, it > just happened. IMO "Little Wing" is more harmonically and melodically open than the melody in "Freebird" is. Freebird's melody is rigidly tied in a rather primitive (oh here comes the next chord, ok, change the melody now) block-chord fashion. You know, "play the chords, and fit the melody to them".... "Freebird" would be a bitch to re-harmonize because of it's rigid structure - once you start the song, you're locked in. "Little Wing" is more melodically driven, and you can substitute chords, use odd chords (sorry jazz guys!) and suspensions and passing tones a lot more. Hey! this would be a good class assignment for those of you in music school! Re-harmonize "Freebird" heaven knows *I'd* give you an A+ for doing it! Who wants to try? ;-] DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Sat, 6 Jan 1996 14:08:31 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Voodoo and Muddy Waters. Comments: To: shaun@wavenet.com In a message dated 96-01-06 01:06:37 EST, you write: > >Getting one is the probelm. If I get this a bit muddled I'm sorry. Maybe >someone else can clear up any mistakes I make. Anyway, here I go. > >John the Conqurer root is used to improve one's sexual prowess or chances >with the opposite sex. To obtain a John the Conqurer root is a little >difficult. Whoever pull That does sound hard, but if I needed some, I'd just go to Shwabs on Beale Street in Memphis. Can get some "COURT CASE OIL" to help with that tough litigatio while I'm in the place. Tom Freeland ========================================================================= Date: Sat, 6 Jan 1996 13:14:34 -0600 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: Revamping Material/Anti-Clone Public Service Announcement Comments: To: dcicchet@LASIERRA.EDU In-Reply-To: <9601061904.AA16371@ helix.lasierra.edu> from "Don Cicchetti" at Jan 6, 96 11:04:02 am In an earlier message, Don Cicchetti said: ] ] Hey! this would be a good class assignment for those of you in music school! ] ] Re-harmonize "Freebird" heaven knows *I'd* give you an A+ for doing it! ] ] Who wants to try? For extra credit: Give it a reggae feel! "Hey, no,no,no,no, I cont change, mon! "No, no, no I just can't change..." -- * Billy Chambless | billy@cast.msstate.edu | voice: 601-688-7608 * Mississippi State University Center for Air-Sea Technology ========================================================================= Date: Sat, 6 Jan 1996 11:18:39 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Amp Heaven (I'm such a hypocrite!) Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Hi Everybody! After all my chest-beating over neglecting my music by being a gearhead in search of "ultimate tone", I went and sold my 62 Chebby Impala (Elvis has left the building) and bought a Matchless DC-30 combo amp! My old rig is a hotrodded Vibro champ (with Matchless innards) driving a Matchless 4-12 box. The DC-30 is a 2-12 combo and as good as my old rig was, this is even better. What an amp! I've wanted one of these for years, and finally did it. the tone is amazing, just amazing, and I'll leave it at that. I highly recommend the DC-30 to any of you guitar types. You really need to hear one of these. Now I just need to sell the 71 BMW. Anybody like 2002's out there? Sure would like one O' them BB King 355's.... yes yes, mercy! Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Sat, 6 Jan 1996 11:24:10 -0800 Reply-To: Douglas Edward Smith From: Douglas Edward Smith Organization: Stanford University, CA 94305, USA Subject: See J.Rodgers/P.Perkins Chi12/30? Comments: To: bit-listserv-blues-l@uunet.uu.net Anybody see the free concert by Jimmy Rogers with Pinetop Perkins sitting in at the Chicago cultural center 12/30? I wasn't overly impressed, except when the bassist played the star spangled banner . . .!? D.S. ========================================================================= Date: Sat, 6 Jan 1996 12:16:02 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Revamping Material/Anti-Clone Public Service Announcement >Hey! this would be a good class assignment for those of you in music school! > >Re-harmonize "Freebird" heaven knows *I'd* give you an A+ for doing it! > >Who wants to try? I'll have a go. Shaun (What am I getting myself into) Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sat, 6 Jan 1996 12:16:10 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Revamping Material/Anti-Clone Public Service Announcement >For extra credit: > >Give it a reggae feel! OK. I'll see what I can do. How about a reggae feel as if Elvis was doing it. Reminds of a band..:-) Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sat, 6 Jan 1996 12:24:32 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: CONFESSIONS OF A SPENCE-OHOLIC : JOSEPH SPENCE'S MUSIC (part 6 of 6) Comments: To: BluesHvn@aol.com CD REVIEWS : =========== ROUNDER CD 2114 : JOSEPH SPENCE/PINDER FAMILY - SPRING OF SIXTY-FIVE -------------------------------------------------------------------- In June of 1965, Peter K. Siegel and Jody Stecher recorded various singers and musicians for MUSIC OF THE BAHAMAS, VOLUMES 1 AND 2 (Nonesuch Explorer, now out of print). The undeniable highlights of these LPs were some amazingly ebullient performances by Joseph Spence along with his sister, Edith Pinder, her husband, Raymond, and their daughter, Geneva. This marvelous CD contains seven additional performances by this quartet that are equally magical, as well as six more inspired performances recorded in New York City a month earlier that feature Spence alone and in concert with his sister. One of the highlights here is a longer, even more beautiful version of "I Bid You Goodnight" that was originally left off of MUSIC OF THE BAHAMAS, VOL. 1 due to a recently corrected technical flaw. I've never heard anyone have so much fun making music or perform with such zeal, and these feelings are decidedly infectious throughout. The combination of Spence and the Pinders creates a wonderfully unpolished musical mosaic that is truly medicine for the soul. I recommend it highly. ~ John DeAngelis, Roundup Newsletter These recordings come from two separate occasions. Six tracks were recorded in New York City during Joseph Spence's first tour of the U.S., and prominently feature Spence's guitar and vocals, with harmonies and occasional lead vocals from his sister Edith Pinder. The other seven selections were recorded at the same sessions that yielded the Nonesuch REAL BAHAMAS albums, recorded in the back yard of the Pinder family, with Spence accompanied by incredible vocals from the Pinder family, Edith, Raymond, and Geneva. Their vocals have the same rough-hewn rightness as Spence's guitar, and the voices intertwine and create spontaneous counterpoint like some sort of coarse Bahamian vocal Dixieland ensemble. Or, as Jody Stecher says in the liner notes, "When the Pinders sing 'When Jesus Calls Again' they remind me of a big old living pump organ, complete with leaks and squeaks, and completely irresistible." ~ Roundup newsletter SMITHSONIAN CD 40066 : JOSEPH SPENCE - COMPLETE FOLKWAYS RECORDINGS (1958) -------------------------------------------------------------------------- These recordings have been remastered from the original field tapes made by Sam Charters in 1958. Containing all nine pieces originally issued on Folkways in 1959 and 1964, this anthology features a new extensive essay by Mr. Charters about the Bahamian guitar master. The influence Spence has exerted over guitarists such as Ry Cooder and Taj Mahal is well established, and the Folkways recordings of Spence are universally praised as his finest. The guitar music of Spence transcends the Bahamian folk tradition. Drawing upon a repertoire which included Baptist hymns as well as folk and pop tunes, Spence created guitar music which was sophisticated, spontaneous and melodic. Yet like the piano music of Thelonious Monk, it was nearly impossible to recreate. The legacy of Joseph Spence was established with these Folkways recordings. ~ Roundup Newsletter These are the legendary first recordings of Joseph Spence, made by Samuel Charters in 1958 in the Bahamas, and originally issued on two Folkways albums. Spence had a delightfully idiosyncratic style: spinning chorus after chorus of slightly metallic-sounding finger-style guitar in astonishing fashion, and peppering it with gravelly jabberings, euphonious grunts and laughter and heavily accented fragments of words and melody. Whether the source was spiritual ("I'm Going to Live That Life"), calypso ("Brownskin Girl"), or a nearly forgotten popular tune ("Coming in on a Wing and a Prayer"), the result was a unique musical tour de force--oddly hypnotic yet immensely invigorating and full of impetuous ardor and joy. These are Spence's strongest solo performances, indispensable to anyone interested in any kind of acoustic, folk, ethnic, or world music. ~ John DeAngelis, Roundup Newsletter ========================================================================= Date: Sat, 6 Jan 1996 14:22:59 LOCAL Reply-To: robert_anderson@MINDLINK.NET From: robert_anderson@MINDLINK.NET Organization: MIND LINK! - British Columbia, Canada Subject: B.B. King Review/ SRV clones Comments: To: bit-listserv-blues-l@uunet.uu.net I saw B.B. King on Thursday in Vancouver at the Orpheum (a beautiful 3,000[?] seat concert hall and was really blown away. HIs backup band, the newest member of which had been playing with B.B. for 6 years, was incredible, especially the tenor saxaphonist and rhythm guitarist. And B.B. King himself was amazing, to think that he's 70 and can still play and sing like that is incredible. The show consisted of B.B. singing some fairly old, lesser known material, followed by a segment where he sat down and talked to the crowd about Indianola before launching into his most popular songs and eventually ending with "Thrill is Gone". I remeber seeing a video of him playing form 1990 in which his set was almost identical so I suppose he's kept it pretty much the same for a while. But becaue this was the first time I'd ever seen him it was really great. The opening band consisted of an 18-year old SRV clone named Kenny Wayne Sheppard and his band that, apart from the drummer, probably could have stayed home since they couldn't be heard over the 45 minute guitar solo that made up his 45 minute set. Although from the third row where I sat his guitar ws rtelly all I could here, I must admit that it was a beautiful sound. He had the best live tone I'd ever heard, and what really impressed me was that he never once opened his eyes while playing, he knew the fretboard completley. Despite the fact that his style was definetley copped from SRV, his visible passion for playing and his amazing ability really made him seem impressive. Unitl, that is, he announced his last song-- an instrumental that he claimed to have "written himself". Me and a friend joked at how we were suprised he hadn't named the song "Kenny" (it was called "tears of sorrow" or something equally pathetic) becasue it was basically a note for note ripoff of SRV's "Lenny". As soon as the song started he lost all credibility inmy mind, and I started remembering the discussion in this group about what seperates the clones from the rest. Despite Sheppard's amazing ability and irrestible tone, the fact that he didin't add anything to the mix and really just recovered old ground paved by SRV left me feeling that he wasn't nearly as good as he really was. Albert Collins, Buddy Guy and virtually every bluesman has said at one time or another the importance of finding a signature sound, and unless a musician does this, he will forever be considered an imitator as oposed to an innovator. Chris Anderson-- 19 year old beginning innovator ========================================================================= Date: Sat, 6 Jan 1996 16:58:50 -0500 Reply-To: Bob vanArsdall From: Bob vanArsdall Subject: Send in the Clones Aren't you rich? Isn't it true? You doing your thing, Me doing you. Send in the clones We've got to have clones, Send in the clones. Aren't we rich? Isn't it queer? No original ideas, Maybe next year... Send in the clones, There've got to be clones. Send in the clones. Bob ========================================================================= Date: Sat, 6 Jan 1996 17:34:27 -0500 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: Crossroads legend (long) Comments: To: Keith Carlson In-Reply-To: <0000miwwwkym.0000kaqyeqwe@vines.etn.com> On Fri, 5 Jan 1996, Keith Carlson wrote: > Does anyone know the whole story of the "crossroads legend"? ...or > know where I could read it? This is from Jon Michael Spencer's book BLUES AND EVIL: "...[T]he mythos of the crossroads and of meeting a man of magic there was unquestionably an African religious retention. In voodoo-hoodoo religious belief it was at the crossroads that one could find not the devil but Legba, the most powerful trickster-god of the Dahomean Fon's pantheon of deities. The confusion of these personages is easily explainable. Just as early Christian missionaries to the Fon taught their African converts that Legba was Satan, so did the semi-dualism of Christianity, imposed upon the holistic cosmology of the Africans brought to American as captives, force Legba (in the minds of the enslaved who remembered him) into the satanic role. Thus, in the lore surrounding blues singers learning their musical skills at the crossroads, the supernatural figure who showed up was not actually (or always) the devil; but he was called 'the devil' even when his personality was more reminiscent of Legba's." Spencer goes on to recount instructions on selling one's soul at the crossroads as told by a New Orleans conjurer: "If you want to make a contact with the devil, first trim your finger nails as close as you possibly can. Take a black cat bone and a guitar and go to a lonely fork in the roads at midnight. Sit down there and play your best piece, thinking of and wishing for the devil all the while. By and by you will hear music, dim at first but growing louder and louder as the musician approaches nearer. Do not look around; just keep on playing your guitar. The unseen musician will finally sit down by you and play in unison with you. After a time you will feel something tugging at your instrument. Do not try to hold it. Let the devil take it and keep thumping along with your fingers as if you still had a guitar in your hands. Then the devil will hand you his instrument to play and will accompany you on yours. After doing this for a time he will seize your fingers and trim the nails until they bleed, finally taking his guitar back and returning your own. Keep on playing; don't look around. His music will become fainter and fainter as he moves away. When all is quiet you may go home." With all the talk of SRV clones, I guess the devil is a little tired of playing along on "Texas Flood" and "Pride and Joy"! Brenda Bogert Louisville KY ========================================================================= Date: Sat, 6 Jan 1996 15:21:51 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Proposal for blues-l Grammys How about we have our own, blues-l vote for the Grammy Awards, just to see how far off we are from the industry voters? This year's blues NARAS Grammy Award nominees are listed below; cast your vote by return email (private, of course, like all voting is supposed to be!); vote for ONE entry in each category ONLY, and I will collect and tabulate all the votes. No write-ins allowed, since they are not allowed in the Grammys. You may vote only once. A day or two before the REAL Grammy Awards (which are given out this year on February 28), I will post the results of "our" voting to the list. Obviously, participation is entirely voluntary. Mary Katherine 1996 Grammy Award Nominees Best Traditional Blues Album: 1. Charles Brown's Cool Christmas Blues/Charles Brown 2. Them Update Blues/Lowell Fulson 3. Chill Out/John Lee Hooker 4. The Last Real Texas Blues Band Featuring Doug Sahm/Same 5. Turn It on Turn It Up/Roomful of Blues Best Contemporary Blues Album: 1. The Man/Clarence Gatemouth Brown 2. Live 92-93/Albert Collins & The Icebreakers 3. Some Rainy Morning/Robert Cray 4. Slippin' In/Buddy Guy 5. Blue Night/Percy Sledge ========================================================================= Date: Sat, 6 Jan 1996 19:30:43 -0500 Reply-To: "Dr. Bluelove" From: "Dr. Bluelove" Subject: Don't read: testing Testing, sorry. Orange2@gnn.com I need a woman, be my biggest fan, rub my liver spots, change my bedpan -- Old Man Blues ========================================================================= Date: Sat, 6 Jan 1996 20:16:02 -0500 Reply-To: Niles Frantz From: Niles Frantz Organization: Megaweb Subject: Buddy Guy in Chicago Comments: To: bit-listserv-blues-l@uunet.uu.net On Thursday night, I caught the opening night of Buddy Guy's 14-night stand at Legends, his club in Chicago. It was a killer, powerhouse show, filled to the brim with frenzied, slicing guitar work and dynamic song arrangements, plus some of the on-stage antics for which Buddy is now known. Buddy's triumphant return home consisted of a 17-song, 100+ minute set of FULL SONGS, including favorites from his recent albums and select covers. Buddy complained that he was rusty, and begged patience of the capacity crowd while he "worked off the rust," which he did by playing long solo after long solo. "People who ain't seen me in a year wonderin' if I got something new," he said early in the set. "I ain't got nothing new. I'm just gonna play the blues." And play them he did. Set list: - All Your Love (I Miss Lovin') -- Great use of sustain on the solo, plus blinding runs of frenzied, chaotic notes. Buddy often makes as much pure noise as someone like New York noisemeister Elliott Sharp, who, incidentally, also has a blues album out. But rather than anger and angst, Buddy's noise comes from joy. - I'll Play The Blues For You -- The band moved effortlessly from whisper soft to full- throated roar. Buddy showed he's still the fiercest of the fierce. Audience walk, left side of the club. After the song Buddy said, "I just got back from the Grammy Awards. Somebody down there asked me, 'What you gonna play next?' I said, 'blues.'" - Feels Like Rain -- Audience sing-along. - Hoochie Koochie Man -- More singing. - Damn Right I Got The Blues (segue into Little By Little) -- Audience walk, right side of the room. He may have said he was rusty, but in truth, he was fresh and energetic. It's an absolute pleasure to hear Buddy just stand up and play guitar. - Hooker excerpt/Hendrix excerpt (cut short by amp trouble) - Sweet Home Chicago -- Nice solo by Scott Holt. Buddy gave Scott a lot of solo time tonight, perhaps every other song. - Mustang Sally - Things That I Used To Do -- Buddy seemed to play this in response to a very loud guy in the crowd who kept yelling the title over and over. He took an exquisite, and quite extended, solo on this one. - Real Mutha For Ya -- Funky, funky, funky!!! Bassist Greg Rzab and Buddy were getting totally funky over on one side of the stage while Scott Holt soloed. One small joy of a Buddy Guy show is when the man plays incredible rhythm guitar licks and chords while Scott plays. The rhythm section of Buddy, Greg Rzab and Ray "Killer" Allison is extremely formidable -- funky, fresh and fun. You can hear them playing off each other, improvising and shifting the rhythms. I envy Scott his "backing" band. Speaking of which... - Tore Down (vocal by second guitarist Scott Holt) -- Scott Holt has become a much more relaxed and confident singer. He's no Johnny Adams, but he can hold his own, and he's quite a good guitar player. Again, what a GREAT backing band! - Stormy Monday -- slow and quiet ... until the solo, of course. - Five Long Years - Bass and drums jam/drum solo -- I thought they were going to start "Chicken Heads," but then Buddy and Scott left the stage. I heard short riffs from a whole variety of songs in this funky jam, including several P-Funk tunes, and "A Love Bizarre." - Lightnin' Hopkins excerpt (one verse each of "Gonna Get Me An Airplane" and "Mojo Hand") -- "I'm gonna take you through about three guitar players," Buddy said, "to show you where I got my sh*t." - Clapton excerpt (one verse and solo on "Strange Brew") - SRV excerpt (long solo on "Cold Shot") -- I'd say Clapton and SRV got a lot of their sh*t from Buddy, not the other way around. Now plugged in to a wireless transmitter, Buddy went for a long walk, out the back door and in to the early morning Chicago snow. Buddy is at Legends Jan 4-8, 10-13, and 17-21. I suspect tickets are hard, if not impossible, to get. I know for certain the weekend shows are sold out. I'd love to hear from others who've been to one of this year's shows. I also went last year, and saw two shows - a band show and an acoustic night with Lonnie Brooks and Johnnie Johnson. Koko Taylor also did a song on the acoustic night and played guitar. I don't think there are any special shows planned for this year, but who knows who might drop by. Niles A loop is a loop is a loop. ========================================================================= Date: Sat, 6 Jan 1996 20:14:17 -0600 Reply-To: "Ben S. Austin" From: "Ben S. Austin" Subject: A Prayer for Children Hello fellow Bluesers, Our second-grader's teacher sent the following home with him from school. I was very touched by the poem and think that there is some real blues content in it. Sure made me do some soul searching. Ben Austin (One of the Sociology Guys) Middle Tennessee State University Murfreesboro, Tennessee baustin@frank.mtsu.edu A PRAYER FOR CHILDREN We pray for children Who sneak Popsicles before supper, Who erase holes in math workbooks, Who can never find their shoes. And we pray for those Who stare at photographers from behind barbed wire, Who can't bound down the street in a new pair of sneakers, Who never "counted potatoes," Who are born in places we wouldn't be caught dead in, Who never saw a circus, Who live in an X-rated world. We pray for children Who bring us sticky kisses and fistfuls of dandelions, Who hug us in a hurry and forget their lunch money. And we pray for those Who never get dessert, Who have no security blanket to drag behind them, Who watch their parents watch them die, Who can't find any bread to steal, Whose pictures aren't on anybody's dresser, Whose monsters are real. We pray for children Who spend all their allowance before Tuesday, Who throw tantrums in the grocery store and pick at their food, Who like ghost stories, Who shove their dirty clothes under the bed and never rinse out the tub, Who get visits from the tooth fairy, Who don't like to be kissed in front of the carpool, Who squirm in church or temple and scream into the phone, Whose tears we sometimes laugh at, And whose smiles make us cry. And we pray for those Whose nightmares come in the daytime, Who will eat anything, Who have never seen a dentist, Who aren't spoiled by anybody, Who go to bed hungry and cry themselves to sleep, Who live and move, but have no being. We pray for children who want to be carried And for those who must be. For those we never give up on, and For those who never get a second chance, For those we smother And for those who will grab the hand of anybody kind enough to offer it. ========================================================================= Date: Sat, 6 Jan 1996 21:32:47 -0600 Reply-To: Tom Kraft From: Tom Kraft Subject: Re: Need recomendations Comments: To: Scott Ferman At 07:02 PM 1/6/96 -0600, you wrote: >Tom, >Would you please be kind enough to share the addresses for these online CD >outlets? Scott, This is the last one I used and they are fast, CDNOW. http://cdnow.com/ This is the one I'm gonna try for the discounts, CD World. http://gate.cdworld.com/ This is what I used to use, Compact Disk Connection. Telnet to "cdconnection.com" Catalog at: http://ftp.cdconnection.com/ >For contemporary female vocalists, almost any of the releases by Koko Taylor >does it for me. >Thanks, >Scott I'll keep her in mind. What's you favorite? __ __ / `-' / ,,, Tom Kraft |[====|||||||||||||[:::} novice plucker \__.-.__\ ``` ========================================================================= Date: Sat, 6 Jan 1996 23:27:11 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: See J.Rodgers/P.Perkins Chi12/30? D.S. asks: >Anybody see the free concert by Jimmy Rogers with >Pinetop Perkins sitting in at the Chicago cultural >center 12/30? I wasn't overly impressed, except >when the bassist played the star spangled banner . . .!? No, I missed this, but I've seen Jimmy Rogers twice, once with Pinetop, and I was totally impressed both times! (Coincidentally, "Ludella" is playing on my stereo right now.) The most recent time was Nov. 18 at Legends. His voice is as good as ever, and he was energetic and involved in the music. He didn't play much guitar (although more than the first time I saw him, as he wasn't feeling well that night), but he had a solid band backing him, including his son, Jimmy D. Lane, Ted Harvey on drums, Madison Slim on harp, and Piano Willie (sorry, cannot spell his last name) on keyboards. In fact, the band without him sounded great! Of course, with the addition of Jimmy's singing, it only got better! I have never seen any other band play Chicago blues as pure as this. (Which only makes sense, I guess!) Last February when I saw Rogers, Pinetop Perkins was playing keyboards. He stole the show. He was on constantly clowning, teasing, talking to the crowd, deliberately controlling the direction of the song, yet his playing was right on target. He was probably the oldest man on the stage, but he had more energy than any of them! It was especially entertaining when he sang because he didn't have teeth and you could hardly understand him. I loved every second! What was it that left you flat? And the bass player...Did you catch his name? I assume it's the same one who played with him in Nov. Karen ========================================================================= Date: Sat, 6 Jan 1996 23:27:22 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Need recomendations Tom Kraft asks: >Dangerously low on Little Walter. I don't know how I let this go on so >long. The situation is critical here and I must have your "Little Walter >must haves". Silly. You must have it all! Start with "The Essential Little Walter," which *is* essential. It's a double CD with 46 of LW's best tunes arranged chronologically from "Juke" (1952) to "Dead Presidents" (1963). It also has good liner notes w/photos. BUT, this is not enough. You must also get "The Blues World of Little Walter," which contains 8 songs Walter recorded in 1950 with Muddy Waters, Jimmy Rogers, and Baby Face Leroy Foster. (You cannot *get* any better than this!) (The CD also has, btw, 3 songs by J.B. Lenoir and 2 by Sunnyland Slim which are also excellent.) Also, of course, check out his work on "The Best of Muddy Waters" and on Jimmy Rogers's "Chicago Bound." For something unusual, check out the 1967 American Folk Blues Festival recording, where LW plays with Koko Taylor and Hound Dog Taylor. NOW--once you have digested all of this, get the newly-released "Blues With a Feeling," which is an excellent collection of previously unissued songs and alternate takes. Is that enough? I could name more. >Recently purchased Little Charlie and the Nightcats "Straight Up". Are >there any other good ones? I have "Disturbing the Peace," which I like fine, especially the song "My Money's Green." Karen ========================================================================= Date: Sun, 7 Jan 1996 04:52:20 GMT Reply-To: Kimberly Dewey From: Kimberly Dewey Organization: University of Hawaii Subject: Re: Non-Blues favorites In-Reply-To: On Wed, 3 Jan 1996, Leonard Watkins wrote: > Why not: > > CHET ATKINS > Duanne Allman era Allman Bros > John Hiatt > Lyle Lovett > Emmy Lou Harris > Ry Cooder > Lowell George era Little Feat > Doc Watson **i say ditto to all these** > Hank Crawford (I say jazz) > Wes Montgomery > Kenny Burrell > > > LW 'just a few' after perusing my cd collection, i would add: the indigo girls michelle shocked los lobos (sort of a blues band, sort of not...) fairport convention bob dylan (for his writing, if not his performances as well) john prine (ditto to above) grateful dead (uh-oh, have i given myself away?? better add Phish while i am at it) taj mahal (sort of blues, sort of not) david linley (ditto) i am also into the so-called "singer-songwriters", which has developed into almost a genera: A.J. Croce Greg Brown Patty Larkin probably lots more that i forgot bye!! Kim Dewey, kdewey@hawaii.edu ========================================================================= Date: Sun, 7 Jan 1996 02:49:00 -0400 Reply-To: Claudio Caponi MARNR From: Claudio Caponi MARNR Subject: Sweet Black/Little Angel I have deleted the messages of this thread, but I think the consensus was that it was composed by Tampa Red as "Black Angel Blues". Today while going through old issues of Living Blues, in Peter R. Aschoff's review of the Document Complete Recorded Works of Lucille Bogan (Sept/Oct 95 issue of LB) he says that "her 1930 version of Black Angel Blues is the earliest recording of what would later become famous as Sweet Black Angel". Then I noticed that in Houston Stackhouse "Cryin' Won't Help You" CD (Adelphi/Genes 9904) "Sweet Black Angel Blues", which has the same lyrics as Tampa Red's version, is credited to Lucille Bogan. I don't have the Document Lucille Bogan (Black Angel Blues is in Vol.2). Maybe somebody who does could tell us who is credited there. I just thought this would be of interest to the list. ccaponi@dino.conicit.ve | Claudio Caponi | I've had my fun... Ministerio del Ambiente | Caracas - Venezuela | Otis Spann ========================================================================= Date: Sun, 7 Jan 1996 07:40:24 GMT Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: Crossroads legend Comments: To: Brenda Bogert On Sat, 6 Jan 1996, Brenda Bogert wrote: >Spencer goes on to recount instructions on selling one's soul at the >crossroads as told by a New Orleans conjurer: >"If you want to make a contact with the devil, first trim your finger >nails as close as you possibly can. Take a black cat bone and a guitar >and go to a lonely fork in the roads at midnight. Sit down there and play >your best piece, thinking of and wishing for the devil all the while. By >and by you will hear music, dim at first but growing louder and louder as >the musician approaches nearer. Do not look around; just keep on playing >your guitar. The unseen musician will finally sit down by you and play in >unison with you. After a time you will feel something tugging at your >instrument. Do not try to hold it. Let the devil take it and keep >thumping along with your fingers as if you still had a guitar in your >hands. Then the devil will hand you his instrument to play and will >accompany you on yours. After doing this for a time he will seize your >fingers and trim the nails until they bleed, finally taking his guitar >back and returning your own. Keep on playing; don't look around. His >music will become fainter and fainter as he moves away. When all is quiet >you may go home." It's interesting to compare this with Tommy Johnson's version: "If you want to learn how to play anything you want to play and learn how to make songs yourself, you take your guitar and you go to where a road crosses that way, where a crossroad is. Get there, be sure to get there just a little 'fore 12:00 that night so you'll know you'll be there. You have your guitar and be playing a piece there by yourself. . . . A big black man will walk up there and take your guitar, and he'll tune it. And then he'll play a piece and hand it back to you. That's the way I learned to play anything I want." (As told by LeDell Johnson to David Evans and quoted from Peter Guralnick's "Searching for Robert Johnson.") Also, in the excellent "Rythm Oil," Stanley Booth opens with a wonderful crossroads dialog between Robert Johnson and "Cyclone Taylor" (aka Old Scratch). The last line reads "CYCLONE: So long, Po' Bob. Here's a nickel for de ferry. Me and yo' shoes will see you in Hell." *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Sun, 7 Jan 1996 02:36:17 -0500 Reply-To: Bob van Valen From: Bob van Valen Organization: GNN Subject: WTB - National Steel Comments: To: bit-listserv-blues-l@uunet.uu.net I don't know if this is the place to post this - but I'm looking to buy an afforable National Steel guitar, preferably located on the East Coast - NY area is best. ========================================================================= Date: Sun, 7 Jan 1996 03:29:49 -0500 Reply-To: NutMarie From: NutMarie Organization: America Online, Inc. (1-800-827-6364) Subject: Re: B.B. King Review/ SRV clones Comments: To: bit-listserv-blues-l@uunet.uu.net Chris, I saw BB myself a few months ago here in Vegas, and yes you are right he is wonderfull. He was with Etta James and SRV brother Jimmy. Very good. Jimmy didn't do the guitar solos. I don't care for them they don't seem like the old style, i perfer the singing and moanin',(makes it a feel good).. I'e been to four of his concerts and even though i've heard the songs at least 1,000 times they sound as if it was the first and the heads shakes as if it were the first times.. That' the Blues and you got to love it. ========================================================================= Date: Sun, 7 Jan 1996 03:34:42 -0500 Reply-To: Mike Meadors From: Mike Meadors Subject: Re: WTB - National Steel Comments: To: BobVV@NEWS-E2A.GNN.COM Affordable National steel? If you want an original in decent shape you might have to pay a few bucks, but don't despair ... there is an alternative. Check Mandolin Brothers (you probably already have) for the best choice in vintage instruments. Also, two years ago I went around everywhere looking for an original National Duolian, from the 30's. The prices were high (but expected) and the ones that I did find sounded great. At that time National was producing a reissue line of the Duolians and I bought one. The metals that are used are not (and for good reason cannot) be the same composition as the originals. The originals sound a bit brighter, consequently, but I've been very happy with my National. Cost about $1400 two/three years ago. Looks the same and sounds great. Solidly built. Variety of colors. I got the deep charcoal finish. Very cool looking. I just felt that I didn't have a pro guitar tech to follow me around and if I bought an original National, its parts were just too fragile for my taste. Of course, the original National is an investment and will appreciate in value. If you need the address or phone let me know. Check the back pages of Guitar Player mag, too, for other vintage instrument dealers. Orange2@gnn.com I need a woman, be my biggest fan, rub my liver spots, change my bedpan -- Old Man Blues ========================================================================= Date: Sun, 7 Jan 1996 03:49:54 -0500 Reply-To: Mike Meadors From: Mike Meadors Subject: Addendum Re: National Steel Comments: To: BobVV@NEWS-E2A.GNN.COM Mandolin Brothers Guitars: If they're still in business, have them send you a free catalog. (718) 981-3226/8585 ... located in Staten Island. ========================================================================= Date: Sun, 7 Jan 1996 15:03:50 +0200 Reply-To: T P Uschanov From: T P Uschanov Subject: Re: Hard to find blues record by Sasha Smith Comments: To: Nancy Worthington In-Reply-To: On Thu, 4 Jan 1996, Nancy Worthington wrote: > I thought I had seen Goldmine online once, but can't find it now. Anyone > know where it is, or another source to search for hard to find blues stuff. Goldmine's editor is at jefftamar@aol.com and their home page is at http://www.tias.com/pubs/krause/Goldmine/ , but it doesn't look too promising to me (little more than a front for a subscription service). I can only repeat my plug for my Record Collecting Resources page, http://www.helsinki.fi/~tuschano/records.html. Lots of online stores selling used blues are listed there. T P Uschanov (Mr), University of Helsinki, Finland, European Union. tuschano@cc.helsinki.fi ---- http://www.helsinki.fi/~tuschano/ "Property is theft." (Pierre-Joseph Proudhon) ========================================================================= Date: Sun, 7 Jan 1996 15:16:19 +0200 Reply-To: T P Uschanov From: T P Uschanov Subject: Re: Collectibles (no EC guitar string content) Comments: To: "J.F. Bronowich" In-Reply-To: <199601050328.WAA21727@metric.inch.com> On Wed, 3 Jan 1996, J.F. Bronowich wrote: > Some items actually would be of interest to _me_. Specifically, old cards > and posters advertising blues shows. Originals or repros. You know the > ones, with the lineups for the shows listed in big, black, sans-serif type, > and little else. I've always thought that those things were very beautiful > in their simplicity. Anyone know where I can get some? NY, Chicago or mail > order preferred. There are some fine repros available for perusal and ordering on the Web at http://www.infi.net/~moxie/rock/rock.html (including the legendary "Harlem Dukes" green Howlin' Wolf poster from Jim and Amy O'Neal's collection). I've been thinking of ordering some myself. -tp ========================================================================= Date: Sun, 7 Jan 1996 13:46:09 GMT Reply-To: Nancy Body From: Nancy Body Organization: Prodigy Services Company 1-800-PRODIGY Subject: Record Deal for New Bands Comments: To: bit-listserv-blues-l@uunet.uu.net ATTENTION BANDS !!! - Do you belong to a Rockabilly, Psychobilly, Garage, Surf or Jumpin'Jive Band? Authentic Sound only (50's or 60's style). - Are you interested in having your material released? If yes, send tapes and information about your bank. - SFAX Records (Paris, France) is interested in producing your record or CD. - SFAX has connections all over Europe and Japan. Good for distribution and why not bookings. - Send you material to: SFAX Records Subsidiary of Rocket Records Shop HICHEM ABIDA 1ter Rue Lacharrihre 75011 - Paris - France - If you have any questions, call Hichem directly at (1) 48.06.23.27, or fax him at (1) 48.06.45.72. Remember to dial the correct international code. * Wholesalers: Send you records catalogs to the above address. ========================================================================= Date: Sun, 7 Jan 1996 09:13:17 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: Record Deal for New Bands In-Reply-To: <4coir1$fj0@usenetp1.news.prodigy.com> > ATTENTION BANDS !!! > > - Do you belong to a Rockabilly, Psychobilly, Garage, Surf or Jumpin'Jive > Band? Authentic Sound only (50's or 60's style). > - Are you interested in having your material released? If yes, send > tapes and information about your bank. This is _perfect_ for me and my band. We call ourselves Garage Rocka and the Psychobabble Surfers But geez, I don't know if we should send information about our bank. :*> ========================================================================= Date: Sun, 7 Jan 1996 09:14:38 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Record Deal for New Bands Comments: To: Nancy Body In-Reply-To: <4coir1$fj0@usenetp1.news.prodigy.com> On Sun, 7 Jan 1996, Nancy Body wrote: > - Do you belong to a Rockabilly, Psychobilly, Garage, Surf or Jumpin'Jive > Band? Authentic Sound only (50's or 60's style). > - Are you interested in having your material released? If yes, send > tapes and information about your bank. ^^^^ Looks like it gets to start all over again in '96. And they even ask for information on our bank. "Another day - another spam" - Otis Rush / Live 92-93. :). NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sun, 7 Jan 1996 09:32:19 -0500 Reply-To: Neil Cassidy From: Neil Cassidy Subject: hendrix influences For me it's always been easy to see Jimi as influenced (or at the very least certainly aware) by the playing of Willie Johnson, Magic Slim, Gatemouth Brown (check out "Dirty Work at the Crossroads" for some early to mid 50's screaming guitar) and Earl King. ========================================================================= Date: Sun, 7 Jan 1996 09:51:15 -0500 Reply-To: Schroon From: Schroon Organization: America Online, Inc. (1-800-827-6364) Subject: What's Kid Bailey singing? Comments: To: bit-listserv-blues-l@uunet.uu.net Help. I gots t' know. What is Kid Bailey singing in the 4th and 5th verses of "Rowdy Blues" (Yazoo 2002 "Masters of the Delta Blues"). Ain't gonna marry and settle down I'm gonna stay right her and tear this barrelhouse down. Love you baby tell the world I do (2X) I don't love nobody in this whole wide world but you. Ain't no use of weepin ain't no need of cryin (2X) Cause you've got a home just as long as I got mine. Did you ever been lucky woke up___ (2X) I would call that ___ nothin but a ____. I love you baby you so nice and brown (2X) cause you put up ___ so he won't come down. Said did you get that letter mailed in your backyard (2X) sad words but true best old friends have to part. Thanks, Charlie Masenas ========================================================================= Date: Sun, 7 Jan 1996 09:51:15 -0500 Reply-To: Mike Meadors From: Mike Meadors Subject: Re: Record Deal for New Bands Comments: To: prychitk@OSWEGO.OSWEGO.EDU I hate to be the cynic, but I don't think it was a typo ... they actually want you to send information about your bank. Why go through the formalities, go straight to the payoff. Orange2@gnn.com I need a woman, be my biggest fan, rub my liver spots, change my bedpan -- Old Man Blues ========================================================================= Date: Sun, 7 Jan 1996 08:56:16 -0600 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: Record Deal for New Bands Comments: To: prychitk@OSWEGO.OSWEGO.EDU In-Reply-To: from "David L. Prychitko" at Jan 7, 96 09:13:17 am In an earlier message, David L. Prychitko said: ] This is _perfect_ for me and my band. We call ourselves ] Garage Rocka and the Psychobabble Surfers Hey, ya gotta do what you can to get the gigs.... "Yeah, we're the, uh, Good Ol' Blues Brothers Boys" Crossover is so important. Anybody wanna help me with a rap version of "Crossroads"? -- * Billy Chambless | billy@cast.msstate.edu | voice: 601-688-7608 * Mississippi State University Center for Air-Sea Technology * To attain knowledge, add something every day. * To attain wisdom, remove something every day. -- Lao-tse ========================================================================= Date: Sun, 7 Jan 1996 09:04:56 -0600 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: hendrix influences Comments: To: ncassidy@CAPITAL.EDU In-Reply-To: <9601071432.AA17447@athena.capital.edu> from "Neil Cassidy" at Jan 7, 96 09:32:19 am In an earlier message, Neil Cassidy said: ] For me it's always been easy to see Jimi as influenced (or at the very ] least certainly aware) by the playing of Willie Johnson, Magic Slim, The guitar on "Freedom" on _The Cry of Love_ (the last labum that was completed while Hendrix was alive), sounds a LOT like Albert Collins. Seems like an influence, but I have (shameful admission) no clue as to how long Collins hsa been around. OTOH, Jimi was so far ahead of his time -- maybe he was just another SRV clone! I've seen pictures of him in a black felt brim hat.... -- * Billy Chambless | billy@cast.msstate.edu | voice: 601-688-7608 * Mississippi State University Center for Air-Sea Technology ========================================================================= Date: Sun, 7 Jan 1996 10:59:10 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Record Deal for New Bands Comments: To: XXCX57A@PRODIGY.COM On 7 Jan 96, Nancy Body had this to say: > - Are you interested in having your material released? If yes, send > tapes and information about your bank. > ^^^^ This probably isn't a typo. These sorts of offers are usually most interested in what's in your bank. P.W. Fenton Tampa, Florida Visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 7 Jan 1996 10:47:32 -0500 Reply-To: PrePhoto From: PrePhoto Organization: America Online, Inc. (1-800-827-6364) Subject: EC vs the Blues.... Comments: To: bit-listserv-blues-l@uunet.uu.net On the way home from a really soul-less day at work yesterday, I heard a version of Hoochie Coochie Man from Mr Clapton. While Im not an expert on his releases in the last 20 or so years, this one struck me as a *perfect* recording. It had about as much soul as my kids cereal boxes.. Way too much production, technically flawless, and no blues content, save the name.... What did I miss???? DP ========================================================================= Date: Sun, 7 Jan 1996 10:58:37 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Son House Recommendations I really like the new Capitol reissue. It was recorded in the UK toward the end of Son's performing career, and he did do much better stuff (you all have the double set on Columbia/Legacy, I trust?), but the beginning of the record, where he mumbles an introduction and welcome, and then roars into the first song - hairs rise on the back of your neck, honest they do! I know that Richard the Younger is none too happy about this reissue (apparently, it was intended for European release only), but it proves that, even when past his best, House was a gigantic figure. - Richard the Elder ========================================================================= Date: Sun, 7 Jan 1996 10:58:47 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: 29 Ways Comments: cc: rof@ABER.AC.UK Thanks for mentioning the KIng Biscuit Boy (Richard Newell) version of 29 Ways, released w-a-a-ay back. Biscuit fans may be interested to know that Gooduns, the album which contains the cut, has been reissued on CD for the first time by Stony Plain in Canada (P.O. Box 861, Edmonton, Alberta T5J 2L8), The original album came out in Canada packed in a "flour sack" with an illustration of the Helena, Ark. water tower; alas, that couldn't be done this time. Stony Plain has also re-released another King Biscuit Boy album, recorded a year or so earlier (1971) called Official Music. (Oh yes, I do work for Stony Plain!) - Richard the Elder ========================================================================= Date: Sun, 7 Jan 1996 11:45:52 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this very day... On this very day in 1800, the 13th president of the United States, Millard Fillmore, was born in Summerhill, N.Y. He later went on to open 2 great music venues, one in San Fransisco, the other in New York City. P.W. Fenton Tampa, Florida Visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 7 Jan 1996 11:07:59 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: hendrix influences Vaan Shaw Comments: To: Neil Cassidy In-Reply-To: <9601071432.AA17447@athena.capital.edu> On Eddie Vaan Shaw's two very good CD's there is present some striking Jimi influences. He mixes the bag between blues and rock-blues but the affinity is certainly evident. I was very surprised (actually nicely so) in that his father Eddie Shaw, as well as the littany of bluesmen he sided with, and learned from had little Jimi in their vocabulary. Ah to be young one more time. NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sun, 7 Jan 1996 11:29:08 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Sippie Wallace Nuri Nuri has provided a nice overview of Sippie Wallace's career. His narrative, like almost every other one I've seen. describes Sippie as dropping out of music in the 1930s, and returning in the 1960s. The usual explanation is that she entered the church and gave up the devel's music for 25 years or so. That explanation doesn't jibe with the little-known fact that she recorded four sides for Mercury Records in 1945, accompanied by boogie woogie great Albert Ammons. Only two of the sides survive -- they appear in the recently-released 7-CD set of Mercury recordings from the 40s. Does anyone know anything more about the interregnum in Wallace's career? Was she actually performing in the 1940s, or was the recording date an isolated incident? Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Sun, 7 Jan 1996 11:12:41 -0500 Reply-To: Peter Agostinelli From: Peter Agostinelli Subject: Re: A Great New Roots Music Read!!... Hi 'Zellers, I do more lurking than posting to this list, but I wanted to share this with you. I believe that there is also a companion CD on Rounder Records highlighting some of the artists mentioned in the following book: Just got finished reading a terrific book chronicling the history of the Memphis music scene. It's called "IT CAME FROM MEMPHIS" and it is written by Robert Gordon. Published in 1995, the book also includes a print/audio/video discography at the end of it. It covers in some detail, quite a myriad of Memphis' different musical styles, mentioning and offering anecdotes about Walter "Furry" Lewis and Sleepy John Estes. Prominent Memphis music figures like Jim Dickinson, Danny Graflund, (whom Denise Tapp mentioned in an earlier post), Campbell Kensinger, Billy Barth, Dan Penn, Marcia Hare, Randall Lyons, Bill Eggleston, and John McIntyre are extensively discussed. At one point, the book also discusses the origins of the first Memphis Blues Festivals in the mid sixties, and how the Dream Carnivals came to be. The book concludes with some sort of explanation by its author of the possible future of Memphis music. Check it out and lemme' know what y'all think... Oh, and for James Carmin, Could you email me back the birth and death dates for former WHBQ air personality Dewey Phillips? Got the Memphis Archives label CD release, called "RED, HOT, & BLUE", containing original radio airchecks and acetates from about 1952 until about 1964. I'm thinking of doing a tribute to him in a future WNSU "Jumpin' Juke Joint Jamboree" radio program that I host on Saturday nights. TIA... Peter Agostinelli z600300a@bcfreenet.seflin.lib.fl.us ========================================================================= Date: Sun, 7 Jan 1996 11:30:49 -0500 Reply-To: Mike Meadors From: Mike Meadors Subject: Re: EC vs the Blues.... Comments: To: prephoto@AOL.COM Since I'm new here I apologize if I'm bringing up an old topic, but ... the mention of Eric Clapton's recent blues album brings up a couple of thoughts. While I loved Cream as a teenager (still do) and lots of his other stuff, I must say that when it comes to stone cold blues, I never got that much from Eric. Technically he plays all the right things, but there's something missing. Here's my theory: I steadfastly believe that Europeans (particularly the English) never quite made contact with real roots blues. It's nobody's fault; there's only so much you can understand and assimilate from an album or CD. You've got to grow up around it to get it into your blood. The nuances, inflections, and the "invisible force" that emanates from great blues performers (aura) have something to do with their daily life in and around this kind of music. Consequently, I can't say that there is or has been any Englishmen or European blues player who can get down to the bone -- the real thing. Even Clapton. He's close, but when he's singing you can hear it (or the lack of IT). I guess now the German government will seek to block access to Blues-L. Prince Charles will tell his mother on me. Sorry. Lot O' Fandanny, Orange2@gnn.com I need a woman, be my biggest fan, rub my liver spots, change my bedpan -- Old Man Blues ========================================================================= Date: Sun, 7 Jan 1996 12:18:09 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: EC vs the Blues.... Comments: To: prephoto@AOL.COM On 7 Jan 96, PrePhoto had this to say: > On the way home from a really soul-less day at work yesterday, I heard a > version of Hoochie Coochie Man from Mr Clapton. While Im not an expert on > his releases in the last 20 or so years, this one struck me as a *perfect* > recording. It had about as much soul as my kids cereal boxes.. Way too > much production, technically flawless, and no blues content, save the > name.... What did I miss???? > DP It's what many members of Blues-L have said about Eric Clapton in the past. I, for one, like Eric much more when he is being Eric Clapton than I do when he's trying to be a black Bluesman. Which ties in to the current "clone" thread. Eric LOVES the blues, but he's never succeeded in finding his own voice in it. I don't think anyone who's heard something like his solo in the Beatle's "While My Guitar Gently Weeps" would deny his genius. It's just that when he enters the Blues vein, he loses his own soul by emulating the masters. Of course you must temper this opinion with the fact that he's a hundred times more tasteful than your average rocker cum Bluesman. P.W. Fenton Tampa, Florida Visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 7 Jan 1996 11:14:46 -0600 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: EC vs the Blues.... Comments: To: pwfenton@GATE.NET In-Reply-To: <199601071638.LAA41942@osceola.gate.net> from "P.W. Fenton" at Jan 7, 96 12:18:09 pm In an earlier message, P.W. Fenton said: ] the current "clone" thread. Eric LOVES the blues, but he's never ] succeeded in finding his own voice in it. I don't think anyone who's Well, I don't know. I think he _has_ found his own voice, in that some of the stuff he's done has represented a logical evolution of the blues, examples being the blues stuff he did with Derek and the Dominos, "It hurts me too" -- an ELmore James tune he recorded, but didn't release, and about half of Cream's output. ] Gently Weeps" would deny his genius. It's just that when he enters ] the Blues vein, he loses his own soul by emulating the masters. Or more to the point, when he tries to emulate the masters, he gets away from his own blues. Eric will never be Muddy, any more than I will ever be Eric. The point is to learn from those who went before and build on it. ] Of course you must temper this opinion with the fact that he's a ] hundred times more tasteful than your average rocker cum Bluesman. Personally, I think of him as a bluesman who rocks. -- * Billy Chambless | billy@cast.msstate.edu | voice: 601-688-7608 * Mississippi State University Center for Air-Sea Technology * To attain knowledge, add something every day. * To attain wisdom, remove something every day. -- Lao-tse ========================================================================= Date: Sun, 7 Jan 1996 12:45:02 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: Record Deal for New Bands In-Reply-To: This tangentially relates to a previous post by L.F. How could I forget? The Psychobabble Surfers features Jumpin'Jive Johnson on slide piano. The highlight of our show comes well into the second set, when Johnson steps to the mike and asks if the audience wants to hear some slide piano (which they _always_ shout back, "Quit Jivin' us, Jump!"). Whatta sight! He pulls out the Craftsman sparkplug wrench (with the handle on) and starts a-crackin' the keyboards, barking "Black-key to white-key, black-key to white-key." Oh, it's a show stopper here in Oswego County. Our manager, an old guy, says he once ran with someone called Hound Dog Tailor in the 60s. He says he's gonna look him up again, and try to get us a gig at Florence's. Wish us luck. Dave Prychitko ...it must be the onset of cabin fever.... ========================================================================= Date: Sun, 7 Jan 1996 12:48:46 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: 29 Waus Robert Ford was kind enough to mention that King Biscuit Boy had recorded 29 Way - an excellent tune - on his 1971 album on P{aramount, Gooduns. In Canada, this was released on Daffodil, in a "flour sack" cloth package with a drawing of the Helena, Ark. water tower. KBB fans may be interested to know that that album, plus his Daffodil debut, Official Music, have just been re-released on CD for the first time by that venerable Canajun label, Stony Plain (P.O.Box 861, Edmonton, AB T5J 2L8. Not, alas, in a flour sack, but the music's every bit as good as it was - it's held up very well. (Tes, yes, I DO work for Stony Plain!) Cheers, Richard "Saved by the Boogie Nation" the Elder ========================================================================= Date: Sun, 7 Jan 1996 13:06:40 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Need recommendations Tom Kraft wants suggestions re Sonny & Brownie albums. For older stuff, get Brownie's doube CD from Columbia Legacy (Sonny's on lots of the tracks), and - if he's not a purist - the album the pair did for A&M (the title of which eludes me), which has all sorts of people like John Mayall and Arlo Guthrie (!) on it. Also a marvellous version of Randy Newman's satirical "commercial for slavery" song, Sail Away, which the pair often performed live - although I did see them have a fight on stage at the Vancouver Folk Festival when Sonny roared on stage for an encore and started it, whereupon Brownie came out and said he didn't want to play "that motherf---ing tune." - Richard the Elder ========================================================================= Date: Sun, 7 Jan 1996 13:09:37 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Washington recommendations At the risk of discovering that people haven't forgiven me for being snippy once in a while (I'm really an okay guy!) dare I ask whether anyone in the Washington DC area has any (pleasant, amusing, thought-provoking) suggestions as to what I might do with myself when I'm there for the Folk Alliance meetings in mid-February? Private and helpful notes to my E-mail address - we needn't bore everyone else with this! Thanks tons, Richard the Elder ========================================================================= Date: Sun, 7 Jan 1996 10:37:15 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUE DATES: Jan. 7 Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ALLEN, HENRY "RED" (tpt) b. 1908-0107, ALGIERS, LA CLARK, ARTHUR "BABE" (tsax) d. 1992-0107,?CHICAGO, IL -- CLAYTON, PETER JOE "DOCTOR" (v) d. 1947-0107, CHICAGO, IL 47 DALE, LARRY [ENNIS LOWERY] (g) b. 1923-0107, WHARTON, TX DAVIES, CYRIL (v/BLUES INCORPORATED) d. 1964-0107, EEL PIE IS., UK 32 HILL, JOE BLIND (g) b. 1937-0107, DUNBAR, W. VA HICKS, RODERICK (v) b. 1941-0107, DETROIT, MI JENKINS, JOHN "BOBO" (g) b. 1916-0107, FORKLAND, AL WENNER, JANN S. (of ROLLING STONE MAG) b. 1946-0107, NEW YORK CITY, NY WHITE, CARL (lead/RIVINGTONS) d. 1980-0107, LOS ANGELES, CA 48 WILKINS, JOE WILLIE (g) b. 1923-0107, DAVENPORT, MS WILLIAMS, LARRY (p/SPECIALTY REC) d. 1980-0107, LOS ANGELES, CA 44 WOODYARD, SAM (d/GAYTEN/ELLINGTON) b. 1925-0107, ELIZABETH, NJ YOUNG, ELDEE (b/RAMSEY LEWIS TRIO) b. 1936-0107, CHICAGO, IL ------------------------------------------------------------------------------- ========================================================================= Date: Sun, 7 Jan 1996 10:56:14 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: hendrix influences >The guitar on "Freedom" on _The Cry of Love_ (the last labum that was >completed while Hendrix was alive), sounds a LOT like Albert Collins. >Seems like an influence, but I have (shameful admission) no clue as to >how long Collins hsa been around. You can also hear a little of Albert King as well on "Cry of Love." "Red House" also has a lot of Alber King in there as well. As for Albert Collins, he was playing and recording in the early '60's. According to the liner notes form "Blues". Jimi met Albert when Jimi was with Little Richard. Another main influence. Curtis Mayfield. A huge influence on Jimi's rythm playing. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sun, 7 Jan 1996 14:24:12 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Need recommendations Comments: To: rflohil@INFORAMP.NET On 7 Jan 96, Richard Flohil had this to say: > and - if he's not a purist - the album the pair did for A&M (the title of > which eludes me), which has all sorts of people like John Mayall and Arlo > Guthrie (!) on it. Also a marvellous version of Randy Newman's satirical > "commercial for slavery" song, Sail Away, which the pair often performed > live - although I did see them have a fight on stage at the Vancouver Folk > Festival when Sonny roared on stage for an encore and started it, whereupon > Brownie came out and said he didn't want to play "that motherf---ing tune." Great to see someone else loves this album. I'm also a devout Randy Newman fan, and love their version of "Sail Away". I also love the "White Boy Lost In The Blues" song that, in reality, really sticks it to guest star Mayall. I found this CD in a remainder bin, and consider it one of those "finds". P.W. Fenton Tampa, Florida Visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 7 Jan 1996 10:47:03 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Jan. 8 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ARCHIBALD (LEON T. GROSS)(p/IMPERIAL REC) d. 1973-0108, NEW ORLEANS, LA BASSEY, SHIRLEY (v) b. 1937-0108, CARDIFF, WALES CULLEY, WENDELL PHILLIPS (tpt) b. 1906-0108, WORCESTER, MA DANIEL, GILMORE (sax) d. 1986-0108, MEMPHIS, TN 50 DUROFF, NAT (owner : MONARCH REC) d. 1991-0108, PALM SPRINGS, CA 75 FREEDMAN, MAX C(of ROCK AROUND THE CLOCK) b. 1893-0108, PHILADELPHIA, PA LITTLE ANTHONY (GOURDINE)(lead/IMPERIALS) b. 1940-0108, HOLLYWOOD, CA GRAHAM, BILL[WOLFGANG GRAJONCA](promoter) b. 1931-0108, BERLIN, GERMANY HUTSON, MARCUS (of THE WHISPERS) b. 1943-0108, LOS ANGELES, CA ILVA, JYRKI (BLUES-L member) b. 1968-0108, VIHTI, FINLAND KRIEGER, ROBBIE (g/THE DOORS) b. 1946-0108, LOS ANGELES, CA LINDSEY, TOM (tpt) b. 1916-0108, SYLACAUGA, AL O'NEILL, JIMMY (dj/SHINDIG!) b. 1940-0108, ENID, OK PRESLEY, ELVIS (g/p) b. 1935-0108, EAST TUPELO, MS QUINN, BILL (owner : GOLD STAR REC) b. 1903-0108, AIMSBURY, MA TAMPA RED(HUDSON WOODBRIDGE)(g/p/kazoo/sw)b. 1904-0108, SMITHVILLE, GA TUCKER, BOBBY (p/BILLY ECKSTINE) b. 1923-0108, MORRISTOWN, NJ WEST, ROBERT (owner : LUPINE REC) d. 1983-0108, LAS VEGAS, NV -- WRIGHT, ERNIE JR. (of THE IMPERIALS) b 1941-0108, NEW YORK CITY, NY ------------------------------------------------------------------------------- ========================================================================= Date: Sun, 7 Jan 1996 13:47:05 -0500 Reply-To: Mike Meadors From: Mike Meadors Subject: Re: Need recommendations Comments: To: rflohil@INFORAMP.NET I have had an old 10" record by Sonny Terry for many, many years. It might be called "Folk Blues" (?) I don't remember (it's in the garage). I'm sure you can't find the actual record anymore but someone may have transferred the material to CD. In any case, its all Sonny singing and playing harp by himself, no other musicians. A song you MUST have is "Lost John" which, although instrumental, tells the story of a chase through the woods. He uses his voice to make "whooping" sounds that help tell the story. One of my earliest influences. Orange2@gnn.com I need a woman, be my biggest fan, rub my liver spots, change my bedpan -- Old Man Blues ========================================================================= Date: Sun, 7 Jan 1996 14:53:11 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: eRIC's BLUES DATES: Jan. 8 On 7 Jan 96, James Carmin had this to say: > TAMPA RED(HUDSON WOODBRIDGE)(g/p/kazoo/sw)b. 1904-0108, SMITHVILLE, GA I always understood Red's name to be Hudson Whittaker. I believe this is the first time I've ever seen "Woodbridge" P.W. Fenton Tampa, Florida Visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 7 Jan 1996 19:58:16 GMT Reply-To: Kevin Kennedy From: Kevin Kennedy Organization: Black Dawg Enterprises Subject: Re: NASHVILLE Comments: To: bit-listserv-blues-l@uunet.uu.net Barry Bean wrote: >I'll be spending a few days in Nashville next week and need some ideas on blues > and jazz hotspots to check out. I'm also on the lookout for a decent music > store or sax shop. > >BBB > >- >B.B. Bean bbbean@cris.com >http://www.cris.com/~Bbbean >- ========================================================================= Date: Sun, 7 Jan 1996 15:28:40 -0500 Reply-To: RLaMour From: RLaMour Organization: America Online, Inc. (1-800-827-6364) Subject: Fuel to the Fire: Duarte vr SRV Comments: To: bit-listserv-blues-l@uunet.uu.net I have been around Austin since 1972 and worked in the bar business for 20+ years. I worked at Antone's in the mid 70's when Stevie Vaughan was playing in the house band called Paul Ray & the Cobras...consequently, I became friends with many of the great players that emerged from that era, including Stevie, Denny Freeman, Kim Wilson, etc. Paul Ray eventually retired from the Cobras (throat problems) and was replaced by a great singer named Junior Medlow. After the Cobras broke up, Medlow formed his own band in which Chris Duate was the guitar player. They played alot of the old Cobras' stuff plus a bunch of R &B and rockin' Medlow style blues. I hired this band many times at the bar I was running. I remember at least one occasion when Stevie slipped in to hear this band. I am only to assume that there was mutual admiration here. Many of the guitarists around at the time followed both Duarte and SRV. Of course Stevie was huge by that time, but he did come home and support the local scene when he wasn't touring. I remember thinking back then what a great player Duarte was and was impressed by his varied repetroire. He was incredibly versed in many styles, including jazz. I don't know where I'm going with all of this, but from my observations, Chris' solo career seemed to develope independent of Stevie's, but ran at a close parallel. So did many other guitarists that were around. I must admit that I haven't seen Duarte play in years and so I really don't know how much of a SRV clone he is now that everyone to compares him to. But his talent is uncontestable and I know for a fact that his tastes are quite varied and he is capable of anything he wants to do. Good music is good music and perhaps his current stylings are just what he likes the best. Excuse my ramblings. Ronnie Narmour ========================================================================= Date: Sun, 7 Jan 1996 15:08:32 -0600 Reply-To: Scott Ferman From: Scott Ferman Subject: TRAVELLING ACROSS I-20 I will be travelling by car from Atlanta, GA to Dallas, TX along I-20, the week of January 14th. Would those of you that live along the way, or have made the trip, be kind enough to tell me, via direct e-mail, what spots of blues interest are along the way (and not to far from the highway). Thanks for your help! Scott scottf@airmail.net ========================================================================= Date: Sun, 7 Jan 1996 13:41:13 -0800 Reply-To: James Carmin From: James Carmin Subject: Tampa Red (was: Re: eRIC's BLUES DATES: Jan. 8) Comments: cc: leblanc@dao.nrc.ca Sometime today, P.W. Fenton mentioned: >On 7 Jan 96, James Carmin had this to say: > >> TAMPA RED(HUDSON WOODBRIDGE)(g/p/kazoo/sw)b. 1904-0108, SMITHVILLE, GA > >I always understood Red's name to be Hudson Whittaker. I believe >this is the first time I've ever seen "Woodbridge" I'd have to agree; at least my Yazoo TR release "Bottleneck Guitar, 1928-1937" says Hudson Whittaker; of course it also says he was born in 1903. James C. jcarmin@teleport.com ========================================================================= Date: Sun, 7 Jan 1996 17:21:17 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: TRAVELLING ACROSS I-20 Comments: To: scottf@airmail.net In a message dated 96-01-07 16:54:19 EST, scottf@AIRMAIL.NET (Scott Ferman) writes: >I will be travelling by car from Atlanta, GA to Dallas, TX along I-20, the >week of January 14th. Would those of you that live along the way, or have >made the trip, be kind enough to tell me, via direct e-mail, what spots of >blues interest are along the way (and not to far from the highway). In Mississippi, I-20 passes through Meridian, Jackson, and Vicksburg. Vicksburg is the foot of the Delta and battlefield site; it and Jackson have many associations with blues history, from early on to recently, but the locals do very very little to acknowledge it. On I-20, you will pass about 20 miles south of Bentonia (former home of Skip James, current home of Jack Owens) near Jackson and, west of Jackson very near Bolton, long ago home of the Chatmon family (Bo Carter, Mississippi Shieks, etc.). Meridian is of course the home of Jimmy Rodgers, and has some "Singing Brakeman" things-to-see. BUT you are really passing well south of the stuff to see in Mississippi relating to blues-- its more in North Mississippi. Tom Freeland ========================================================================= Date: Sun, 7 Jan 1996 17:37:34 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: What's Kid Bailey singing? Comments: To: Schroon@aol.com In a message dated 96-01-07 10:07:55 EST, schroon@AOL.COM (Schroon) writes: > >Help. I gots t' know. What is Kid Bailey singing in the 4th and 5th >verses of "Rowdy Blues" (Yazoo 2002 "Masters of the Delta Blues"). > > There is a readily available book of lyrics to the Yazoo records. This one should be in that book. Tom Freeland ========================================================================= Date: Sun, 7 Jan 1996 16:54:53 CST6CDDT Reply-To: Poor ol Eric From: Poor ol Eric Organization: UW-Superior Subject: duluth/minneapolis blues dates Does anyone here have any blues concert dates for duluth or minneapolis? Any blues musician is fine. ========================================================================= Date: Sun, 7 Jan 1996 16:55:57 -0600 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: hendrix influences Comments: To: shaun@WAVENET.COM In-Reply-To: <199601071856.KAA20434@wavenet.com> from "Shaun T Cronin" at Jan 7, 96 10:56:14 am In an earlier message, Shaun T Cronin said: ] You can also hear a little of Albert King as well on "Cry of Love." "Red ] House" also has a lot of Alber King in there as well. As for Albert Oh, yeah. There's a _huge_ Albert King influence there; I thought that had been addressed in this thread already. Jimi's playing had a lot of Albert's rawness and vocal quality. -- * Billy Chambless | billy@cast.msstate.edu | voice: 601-688-7608 * Mississippi State University Center for Air-Sea Technology * To attain knowledge, add something every day. * To attain wisdom, remove something every day. -- Lao-tse ========================================================================= Date: Mon, 8 Jan 1996 09:36:21 +0900 Reply-To: Shinya UNEBE From: Shinya UNEBE Subject: In Search Of Jesse Thomas Happy New Year Everybody on the List!! I'm still waiting any information about Jesse Thomas and his own label: Red River.I've read that he has issued a sigle and a ten-track cassette in late seventies or early eighties. He also recorded new CD last year!!Has anybody seen this CD in your local shopp?? For Those who unfamilier with Jesse: I recommend you his CD of DOCUMENT lbl. which you can easily buy CD-NOW(http://cdnow.com/ ).This covers his '48-'58 complete recorded work.What a deep blue voice and incredible guitar work!!! But this is only ten years of his career till present. He was born in 1911 and His first professional recording was 1929 in very Blind Lemon Jefferson-ish manner!!!!!! I think he is most over-looked bluesman beside excellence of his recording.Please pay attention to him and let's talk about his music!! Regards from Japan! SHINYA UNEBE ========================================================================= Date: Sun, 7 Jan 1996 20:06:39 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: Crossroads legend Comments: To: cuthulu In-Reply-To: <30ed986e.14569472@news.prysm.net> Another note...it was I believe Tommy Johnson who first popluarized the idea of the Crossroads and the trade with the Devil...not Robert Johnson as many think... Jim On Fri, 5 Jan 1996, cuthulu wrote: > On Fri, 5 Jan 1996 12:38:36 EST, Keith Carlson wrote: > > : Does anyone know the whole story of the "crossroads legend"? ...or > :know where I could read it? > : > : I was reading the liner notes from "Jimi Hendrix :Blues", and the > :writer mentioned an old blues legend where the musician meets the devil out > :at a rural crossroads and trades his soul for the musical talent he is later > :famous for. That's about all there was..I'm thinking there's got to be more > :to it. Apparently several blues musicians have claimed to have this happen > :to them. > > That is pretty much all there is to the legend. There are a few supporting > notes. > > 1) It may be from the voodo tradition, with the devil replacing Papa Legba, who > likes crossroads. > > 2) Rural crossroads in the south were given great significance. Often a cemetary > is located at one. > > 3) Crossroads are mightly lonely, scary places at night. > > Kevan Smith > http://www.rlabs.com > ========================================================================= Date: Mon, 8 Jan 1996 01:02:20 GMT Reply-To: ynot@io.org From: Tony Burns Organization: Internex Online, Toronto, Ontario, Canada (416 363 3783) Subject: Re: Canadian Blues Bands Comments: To: bit-listserv-blues-l@mail.uu.net I haven't followed this whole thread but I hope someone included The Sidemen and Jackson Delta. Two great bands. Tony Burns | ynot@io.org | http://www.io.org/~ynot/ [Home page - Canadian Masters Windsurfing, Jughead, Greenbank Folk Music Society, Toronto Blues Society, ...] ========================================================================= Date: Mon, 8 Jan 1996 13:10:52 +1100 Reply-To: Daniel Bruce From: Daniel Bruce Subject: Solid Senders Does anyone know anything about an Austin Texas band called the Solid Senders. They are/were Matt Ryan - drums , Nick travis - bass, Spencer Thomas - vocals, Hector Watt - guitar. I went to the local second hand Cd place and bought a CD by them with 7 tracks for $2.00 . even though I didn't know anything about them , the cover indicated a blues band so I thought 'Why Not?'. It is not a released CD as no record company is indicated. The only info re: management etc says to contact Arnold Media Consultants for more info. Well, how bout it guys and gals any knowledge out there????????? TIA -- Daniel Bruce | Genasys II Pty Ltd, Sydney, Australia | "Born under a bad sign, been down since I began to crawl | If it wasn't for Bad Luck, Wouldn't have no luck at all" | Albert King | Internet: danielb@g2syd.genasys.com.au ========================================================================= Date: Sun, 7 Jan 1996 18:10:47 PST Reply-To: "D. ALLEN SIMPSON" From: "D. ALLEN SIMPSON" Subject: Mayall's Laurel Canyon House For Sale No, I'm not a real estate agent! I just thought it was kinda ironic to see a newspaper article on John Mayall in the Sunday edition of the L.A. Times, in the real estate section. But he isn't in the music section! Weird. I guess his Laurel Canyon house (not the famous original, which burned down in '79) but his newer one, which was built in '82, is now on the market. I guess he did some of the work himself in the beams and fireplace area. They even interviewed him about the house (he's moving to give his son a place to ride his bike, he says). You can find the blues in the most unexpected places! Doug S. ========================================================================= Date: Mon, 8 Jan 1996 03:19:14 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: In Search Of Jesse Thomas Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199601080029.JAA00468@katanuki1.bekkoame.or.jp> Shinya UNEBE writes: >Happy New Year Everybody on the List!! >I'm still waiting any information about Jesse Thomas and his >own label: Red River.I've read that he has issued a sigle and >a ten-track cassette in late seventies or early eighties. >He also recorded new CD last year!!Has anybody seen this CD >in your local shopp?? Living Blues magazine has an ad for this CD from Red River Records, 2831 Abbie St, Shreveport, LA 71103. It costs $15 for CD or $10 for cassette (postage paid in U.S. anyway). I've never seen it in a store. It may be only available by mail. Shinya's right, the Document CD (BDCD6044) is definitely worth seeking out. I've not heard the Red Rvier disc. Art Schuna ========================================================================= Date: Sun, 7 Jan 1996 21:40:06 -0600 Reply-To: Keith Castleberry From: Keith Castleberry Subject: Essential Blues I have heard through the grapevine that there is an Essential Blues II coming out soon. I would like to ask the group for feedback as to your personal "Essential Blues" top twenty. I would like to use this feedback for my radio show. Thanks. Thanks, Keith Castleberry Thanks, Keith Castleberry ========================================================================= Date: Mon, 8 Jan 1996 04:01:27 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Radar Labs 23 Subject: Re: In Search Of Jesse Thomas Comments: To: bit-listserv-blues-l@uunet.uu.net On Mon, 8 Jan 1996 09:36:21 +0900, Shinya UNEBE wrote: :Happy New Year Everybody on the List!! :I'm still waiting any information about Jesse Thomas and his :own label: Red River.I've read that he has issued a sigle and :a ten-track cassette in late seventies or early eighties. :He also recorded new CD last year!!Has anybody seen this CD :in your local shopp?? Jesse Thomas died last year. The CD he released isn't very good. He was very old, and it consists of him singing in a very weak voice backed by session musicians. I saw him several times here in Shreveport, and he was well past his prime. But people still enjoyed him, even me, and he was happy to do it. The person most responsible for reviving interest in Jesse was Dan Garner, who can tell some very interesting stories about the man. Dan's first job with Jesse consisted of pushing buttons on a chessy drum machine while Jesse played. Later, he graduated to guitar! Chris Michaels was brought in on bass. When Jesse died, the local public radio station aired a tribute to him. Kevan Smith cuthulu@prysm.net http://www.rlabs.com ========================================================================= Date: Sun, 7 Jan 1996 22:15:00 -0600 Reply-To: "timothy (t.b.) bosley" From: "timothy (t.b.) bosley" Subject: Re: In search of Jesse Thomas In addition to the document disc, I would also recommend _Blue Goose Blues_ which was released in France as Iris Musique Production (IMP) 704. Another fine product from TopCat records. ========================================================================= Date: Mon, 8 Jan 1996 01:28:24 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Name The Blues Show BTW - Thank you, to everyone who responded to my post in early December concerning a name for my new Blues show. Your suggestions and comments were thoughtful and creative. I went with The Blues Playground (a name I created). For years I hosted a show called The Blues Bus (which is still on the air, BTW). The premise was that my listeners and I were riding on The Blues Bus. I wanted a similar premise and now I use the hook, we're hanging out on The Blues Playground. Once again, thanks for all your kind comments and suggestions Beef Stew WCCC Radio Hartford, CT ***************************************************************************** ========================================================================= Date: Mon, 8 Jan 1996 07:49:02 GMT Reply-To: marc@az.vub.ac.be From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Re: Best Shows of '95 Comments: To: bit-listserv-blues-l@Belgium.EU.net : #2 Rod Piazza and the Mighty Flyers/Buddy Guys,Chicago Oh yes, shame on me, almost forgotten ... Rod Piazza and the Mighty Flyers in 'De CactusClub' in Bruges, Belgium. A small club, and I stood so close I could play 'quatre-mains' with the pianist ... pianoman embee. ========================================================================= Date: Mon, 8 Jan 1996 01:17:07 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Subject: Re: Rick Holmstrom Don, It's a great CD! I have been playing at home, in the car, between = breaks at the gig, and on the show. It's hard for me to remember that = it's an instrumental! Stan ---------- From: Don O[SMTP:don.o@CHRYSALIS.ORG] Sent: Saturday, January 06, 1996 1:43 AM To: Multiple recipients of list BLUES-L Subject: Rick Holmstrom Anyone else out there enjoying that new Rick Holmstrom CD on Blacktop, "Lookout"? Did you notice the interesting personnel listing on several = tracks of "King of the Jungle" on harp and "Jane" on piano? I'm suspecting = that's Rod and Honey Piazza (Bott and Stuve are credited on the same tracks). = Is that meant to vex and perturb Blacktop or is it meant to be some kind of = inside joke? Just curious. Musicians sure are strange folks. Or then again, maybe it's the liner = writer or the label trying to vex and miff Rod and Honey. Anyone got the = inside scoop? Where was Cheetah? Don O. ungowah ========================================================================= Date: Mon, 8 Jan 1996 04:29:06 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Photographer Jacques DeMetre/Info needed Comments: To: bit-listserv-blues-l@uunet.uu.net If any of you know Jacques DeMetre, please drop me an email. I'm trying to help a friend find him (assuming he's still around.) Thanks, Denise ========================================================================= Date: Mon, 8 Jan 1996 11:39:43 GMT Reply-To: Steve Leigh From: Steve Leigh Organization: A poorly-installed InterNetNews site Subject: Re: Buddy Guy in Chicago Comments: To: bit-listserv-blues-l@uunet.uu.net Niles Frantz wrote: >On Thursday night, I caught the opening night of Buddy Guy's >14-night stand at Legends, >his club in Chicago. It was a killer, powerhouse show, filled >to the brim with frenzied, >slicing guitar work and dynamic song arrangements, plus some of >the on-stage antics for >which Buddy is now known. Nile... I went with some friends this past Saturday night. Great show as always although Buddy was coming down with the flu or something. His voice just wasn't what it usually is. He promised to make it up to everyone in the crowd someday. Gave Scott a lot of solo time as well as vocal time. I think he's gotten better over the years too. But then... look at the teacher he's got! Like I said, it was a great show. Fifth year in a row we've seen him in the dead of winter. Sure warms things up! --Steve ========================================================================= Date: Mon, 8 Jan 1996 11:47:14 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Apologia Someone asked for Blues actes coming to Duluth so I tried Pollstar andf it was there. What I didn't see was that all the entries are a year old .... Sorry for the mis-information. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [8/1/96 6:45 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 8 Jan 1996 09:20:55 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: Waterman clones RE: Mike Meadors says: "I am now going to begin to pattern my life after Dick Waterman, who seems to be a real popular guy here on the Blues-L network. I plan to dress like him, write like him, and speak like him. Although I've never seen nor met him makes no difference -- it's the obsession that counts." NO! NO! I'M going to Dick Waterman....!!!! Cathi N. ========================================================================= Date: Mon, 8 Jan 1996 16:38:37 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: I'm back........ Hi, I'm back after two weeks and just saw on my computer that our mailer has had some serious problems during the period decmber 23th- january2nd. If someone out there did send me a mail during this period, I never received it, so don't hesitae to resent it again. Some of you might also receive mails I did try to send on december 22nd!! ... Sorry if they're a bit outdated! Jean-Pierre ========================================================================= Date: Mon, 8 Jan 1996 10:45:40 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Waterman clones Comments: To: canorton@journalism.indiana.edu In a message dated 96-01-08 10:42:11 EST, canorton@JOURNALISM.INDIANA.EDU (Cathi Norton) writes: >"I am now going to begin to pattern my life after Dick >Waterman, who seems to be a real popular guy here on the >Blues-L network. I plan to dress like him, write like him, >and speak like him. Although I've never seen nor met him >makes no difference -- it's the obsession that counts." Um, I'm, um, really not sure what to say here. Dick is a great friend, and all, and he's done a lot of good, and all, but, um........... I've got it-- let's ask Dick! Does this sound like a good plan to you, Dick? And while I'm harrasing you, what *is* the address of that newsgroup they're setting up for you? Tom Freeland (laughing with him... .He hopes... ) ========================================================================= Date: Mon, 8 Jan 1996 10:53:10 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: Gasp Re: my message earlier was SUPPOSED to read "I'm going to BE Dick Waterman!" Cathi N. (Who can't even seem to get her smart-_ss remarks straight!) ========================================================================= Date: Tue, 9 Jan 1996 01:00:11 +0900 Reply-To: Shinya UNEBE From: Shinya UNEBE Subject: In Search Of Jesse Thomas-2- Thanks for information! I feel very sorry to hear that he passed away last year. To me,he was almost living legend. Tonight,I'll toast to his soul with hot SAKE!! Regards from Japan,SHINYA UNEBE P.S. Thimothy,I'd like to know more detail about _Blue Goose Blues_ Iris Musique Production (IMP) 704. CD?Old materials? ========================================================================= Date: Mon, 8 Jan 1996 07:59:57 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Jan. 9 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BIRMINGHAM JONES [WRIGHT BIRMINGHAM] b. 1937-0109, SAGINAW, MI BRACEY, ISHMAN (g/VICTOR REC) b. 1901-0109, BYRAM, MS BROWN, RALPH H. (b/ROBERTA FLACK) d. 1991-0109, PHILADELPHIA, PA 55 CARR, BARBARA [BARBARA CROSBY] (v) b. 1941-0109, ST. LOUIS, MO DOWNING, AL BIG (v) b. 1940-0109, LENAPAH, OK DR. HEPCAT [LAVADA DURST] (p) b. 1913-0109, AUSTIN, TX GARY, TOM (hca/SLEEPY JOHN ESTES) b. 1919-0109, MEMPHIS, TN HILL, BILL (p/INK SPOTS) d. 1981-0109, KAUAI, HI IS. HI 59 HINDS, JIMMY (b g/p/d/prod/OLIVER SAIN) b. 1950-0109, ST. LOUIS, MO HOGAN, SILAS (g/EXCELLO REC) d. 1994-0109, SCOTLANDVILLE, LA 82 HOOKER, EARLEAN (v/gospel) d. 1994-0109, CHICAGO, IL 60 HOVINGTON, FRANK (g) b. 1919-0109, READING, PA HUBERT, LOUIS "BARNEY" (sax) d. 1982-0109, DALLAS, TX 54 KELLY, KENNY (of THE MANHATTANS) b. 1943-0109, JERSEY CITY, NJ LOFTON, CLARENCE CRIPPLE (p) d. 1957-0109, CHICAGO, IL 69 PAGE, JIMMY (g/YARDBIRDS) b. 1944-0109, LONDON, HESTON, UK POINDEXTER, BUSTER [DAVID JOHANSEN] (v) b. 1950-0109, STATEN IS., NY ROCHE, BETTY (v) b. 1920-0109, WILMINGTON, DE SCOTT, BUDDY (KENNETH SCOTT SR.) (g) b. 1935-0109, JACKSON, MS WEBSTER, KATIE [KATHRYN JEWEL THORNE] (p) b. 1939-0109, HOUSTON, TX ========================================================================= Date: Mon, 8 Jan 1996 09:53:16 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Frozen Blues The Mississippi Moaner -- It's Cold In China BLues [Yazoo L-1038] "So cold in China, birds can't hardly sing." Now, THAT's cold! ... "I am not a genius, therefore I can afford to be wrong!" Aeon Flux --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Mon, 8 Jan 1996 12:02:17 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: Mott Willis - still alive? I asked about Mott Willis recordings several months ago, but forgot to ask if he is still alive. Does anyone know? -Rob ========================================================================= Date: Mon, 8 Jan 1996 09:53:23 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Bent-note blues > This frequent use of glissando is >characteristic of Blues, Jazz, and Gospel, and Oriental music in >general. Caucasian music plays only the "legitimate" notes, and is >much more rigid, confining, and shallow as a result. Da> Instead of "Caucasian music", shouldn't we be saying "Western European Da> Music"? Seems to me (and I may be wrong) that Eastern European music Da> uses some approximation of "glissando". Absolutely correct, I misused the word in its normal slang definition rather than the broader dictionary definition. I was using the term Caucasian music as a distinction from Blues and Asian music. Right, 'Arab' music and Jewish music definitely do use bent notes liberally, but they ain't Blues. Da> Also, does playing only the legitimate notes really make this music Da> more rigid, confining, and shallow? Any more than, say, the basic Da> twelve bar format makes the blues more rigid, confining, and shallow? Having less notes available is certainly a more confining and rigid musical palette. The basic format of a musical type, however, helps to define that type, such definition generally not seen as a limitation. ... "Amerika - love it or leave it; OR, join the Militia!" Sherman Oaks --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Mon, 8 Jan 1996 11:29:03 EST Reply-To: ron kraemer From: ron kraemer Subject: Snowbound and back online... After a few days of reviewing the digest List, I e-mailed P.W. Fenton to ask about the "EC Strings" thread. P.W. kindly explained what transpired with EC tossing a busted string to the poster's son and everyone busting his balls and all that. Then he asked if I had caught the Boogie Nation. I prayed that the two weren't related. :) Good to be back, especially since I'm homebound for the near future with 31" of snow outside my door. Know where 31" comes up to on an RX-7??? Damn near the top! Ron ************************************************************ Ron Kraemer rkraemer@ets.org "Well, WELL, Well!" (and in another life...) Muddy Waters Ron Kraemer and the Hurricanes ************************************************************ ========================================================================= Date: Mon, 8 Jan 1996 11:39:13 EST Reply-To: ron kraemer From: ron kraemer Subject: Paul Plumeri Blues Band's 1st release! Here's a plug for my buddy Paul Plumeri's debut release. The CD is called "Bishop of the Blues", and features Paul on guitar and vocals, Jody Gamble on bass and occasional vocals, and Cheech Iero on drums. In my somewhat-biased-but-trying-to-be-objective view, it's a fine first issue by a veteran NJ Blues player. Paul lists BB, Albert, and Freddie, along with Jimi, T-Bone, EC, and SRV as influences, and to me I hear a unique style formed by mixing a bit of all of those greats. These guys are all from my locale in Trenton, NJ and have been keeping the Blues alive here for years. I've posted on them before, and the CD is a good representation of the band. They're extremely tight, with an original Blues sound. Paul is a very melodic guitar player, and his solos really sing out. The CD is available by sending a $15.00 check or money order (made out to Paul) to: Paul Plumeri P.O. Box 9565 Trenton, NJ 08650 If you're somewhat local to the Central NJ area and would like to get on his mailing list, send your address to the above PO box, or call (609) 584-9739 and leave your address on the machine. Paul mostly plays in and around the NJ and eastern PA area, but also gets down as far as Virginia Beach, VA. No $$$ for the plugs here, I'm just a big fan who really digs their sound. Give'em a try. Ron ************************************************************ Ron Kraemer rkraemer@ets.org "Well, WELL, Well!" (and in another life.... Muddy Waters Ron Kraemer and the Hurricanes ************************************************************ ========================================================================= Date: Mon, 8 Jan 1996 13:25:12 -0500 Reply-To: Kathe Grant From: Kathe Grant Subject: Meet Me With Your Black Drawers On I have been searching in vain for a recording of this. Does anyone know who wrote it, who performed it, anything at all?? thanks - kathe "There comes a time when you must let yourself go and feel the music run into your veins. While the drums beat and the guitar wails, a feeling of fury takes control of your mind and body, and soon there is nothing but soul. So as I see it, control is just a formality that limits our boundries of flow." _ Anonymous ========================================================================= Date: Mon, 8 Jan 1996 10:52:39 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: EVIDENCE 26100 : AMERICAN FOLK BLUES FESTIVAL 1962-1965 (5CD) Comments: To: BluesHvn@aol.com EVIDENCE 26100 : VARIOUS - AMERICAN FOLK BLUES FESTIVAL 1962-1965 (5CD) =============================================================================== "Blues in the future, blues in the past, Blues of the moment, sure gonna last!" ~ Taj Mahal (1991) The Annual American Folk Blues Festival (AFBF) tours (1962-1971) were the first efforts to introduce a cross section of engaging blues performers to European audiences. A balance was kept between singers, guitarists, pianists and country/chicago blues. Most of the artists during the 1962-1965 tours were Chicago-based (chiefly because Willie Dixon acted as the main talent scout for the festival organizers) and included John Henry Barbee, Eddie Boyd, Sleepy John Estes & Hammie Nixon, Buddy Guy, John Lee Hooker, Lightnin' Hopkins, Big Walter Horton, Howlin' Wolf, Lonnie Johnson, J. B. Lenoir, Fred McDowell, Memphis Slim, Muddy Waters, Matt "Gtr" Murphy, Lonesome Jimmy Lee Robinson, Doctor Ross, Shakey Jake, Otis Spann, Hubert Sumlin, Sunnyland Slim, Victoria Spivey, Roosevelt Sykes, Sonny Terry & Brownie McGhee, Big Mama Thornton, T-Bone Walker, Big Joe Williams and last but not least, the amazing Sonny Boy (Rice Miller) Williamson. All performers were in full control of their musical wits. Highlights include a Muddy Waters set where he plays acoustic guitar, including 2 solo country blues tracks, "My Captain" and "Catfish Blues". The Sonny Boy Williamson is in top form, joining Otis Spann on "Goin' Down Slow", and his original "I'm Trying To Make London My Home" (with Hubert Sumlin on acoustic guitar) is a must hear. Other highlights include Sleepy John Estes ("Your Best Friend's Gone" with Hammie Nixon on harmonica), Buddy Guy ("First Time I Met The Blues"), John Lee Hooker ("Night Time Is The Right Time" with T-Bone Walker on piano), Lightnin' Hopkins ("Ain't It A Pity"), J. B. Lenoir ("If I Get Lucky"), and Big Joe Williams ("I Have No Friends"). All professionally recorded in Germany (no audience-type recording here), what you have here is a true bonanza : four & one-half hours presented chronologically by 30 first generation blues artists. The enclosed booklet includes an excellent 20 page essay by Bill Dahl. ========================================================================= Date: Mon, 8 Jan 1996 14:16:13 -0500 Reply-To: "M. Meadors" From: "M. Meadors" Subject: Re: Meet Me With Your Black Drawers On Comments: To: grant@CS.CORNELL.EDU Kathe: I can't put my finger on who does the song (Etta?), but the blues radio station 99.7 out of Charleston, SC plays it all the time. Too many times, actually. If you talk to them, ask them to stop. Just kidding. But try there if you get no help here (I'm sure one of the old pros will know) -- Orange2@gnn.com (Mike Meadors) ========================================================================= Date: Mon, 8 Jan 1996 14:48:59 -0500 Reply-To: 00LCSPECTOR@BSUVC.BSU.EDU From: "Lee C. Spector" <00lcspector@BSUVC.BSU.EDU> Subject: Black drawers The version that's generally played on radio is probably by Jeannie and Jimmy Cheatham and their band. Lee Lee C. Spector Department of Economics ========================================================================= Date: Mon, 8 Jan 1996 14:42:15 -0500 Reply-To: David Goldstein From: David Goldstein Subject: Re: Hubert Sumlin request Comments: To: miller@sci.wfbr.edu If you want to hear great Sumlin, get Howlin' Wolf "Change My Way" MCA Records CHD-93001. ========================================================================= Date: Mon, 8 Jan 1996 15:00:51 -0500 Reply-To: Jonny Meister From: Jonny Meister Subject: Cold In China At 09:53 AM 1/8/96 -0500, Laurie Forti wrote: >Frozen Blues > >The Mississippi Moaner -- It's Cold In China BLues [Yazoo L-1038] > >"So cold in China, birds can't hardly sing." > > >Now, THAT's cold! > It's Cold In China is a cover of Blind Lemon Jefferson's 1926 "Long Lonesome Blues" -Jonny Meister ========================================================================= Date: Mon, 8 Jan 1996 15:37:20 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: CONFESSIONS OF A SPENCE-OHOLIC : JOSEPH SPENCE'S MUSIC (part 4 of 6) Comments: To: Eric LeBlanc-CISTI In-Reply-To: <9601052154.AA12280@dao.nrc.ca> Can anyone clarify what the Ry Cooder 'acoustic radio ranch' programs are that were mentioned in conjunction with Joseph Spence? Jim Leftwich leftwich@cloud9.net "i'm on cloud9!" :) ========================================================================= Date: Mon, 8 Jan 1996 14:42:07 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Meet Me With Your Black Drawers On Comments: To: Kathe Grant In-Reply-To: <199601081825.NAA24824@hugi.cs.cornell.edu> The original, hit "Black Drawers" was by Jeannie and Jimmy Cheatham and was on the first (I think) of their handful of nice LPs/CDs on Concord, about ten years ago. Gloria Hardiman and Professor's Blues Revue also cut it for Alligator as part of the "New Bluebloods" anthology. For the male perspective, Jimmy (T99) Nelson cut "Meet Me With Your Black Dress On" 45 or so years ago for Modern; it's on his Crown and (British) Ace LPs. ========================================================================= Date: Mon, 8 Jan 1996 15:43:37 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Othar Turner- Fife and Drum After walking to the radio station today to do my show due to the 2 - 3 feet of snow that was dumped on us, I got a great surprise. The station received a 45 sized disc that plays at 33 rpm of Othar Turner and His Rising Star Fife and Drum Band. Straight out of Gravel Springs, Mississippi this disk is as hot as $2 pistol. In the style of the great African American Fife and Drums Band led by Napleon Stickland, this is roots blues at its best. The disk contains 4 songs: Shimmy She Wobble Station Blues My Babe When the Saints Go Marching In It features Othar Turner on fife, wife Bernice on snare drum, son Aubrey also playing snare drum and R.L. Boyce on bass drum. This fine disk is issued by the Sugar Ditch Action Coalition, which I don't know anything about. It is distributed by Shangri-La Records. I am going to order one for myself and the station manager as this is a very special release. The Suagr Ditch Action folks can be reached at PO Box 12612, Memphis, TN 38182 They have an e-mail address sugditch@magibox.net I have not talked to these folks yet, but I'm sure that they would love to have this disk played at other radio stations. If anyone knows any more about these folks please let me know. What they are doing is very special. Tom /\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/ The NEW ADDRESS for my Jazz and Blues Web Site is: http://redlt.com/tom/ Free-lance writer//Program Director WTJU 91.1//Internet Consultant ========================================================================= Date: Mon, 8 Jan 1996 13:15:14 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Subject: Re: Meet Me With Your Black Drawers On Kathe, I don't know if they wrote it, but Jeannie and Jimmy Cheetham (sp?) = did it on an CD....I think entitled "Back To The Hood". And either the = label is based in Concord, CA or was it the Concord label? .....They = say your mind goes first. Hopefully that's enough to spark further comments. Stan ---------- From: Kathe Grant[SMTP:grant@CS.CORNELL.EDU] Sent: Monday, January 08, 1996 10:25 AM To: Multiple recipients of list BLUES-L Subject: Meet Me With Your Black Drawers On I have been searching in vain for a recording of this. Does anyone know who wrote it, who performed it, anything at all?? thanks - kathe "There comes a time when you must let yourself go and feel the music run = into your veins. While the drums beat and the guitar wails, a feeling of = fury takes control of your mind and body, and soon there is nothing but soul. = So as I see it, control is just a formality that limits our boundries of = flow." _ Anonymous ========================================================================= Date: Mon, 8 Jan 1996 13:57:07 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: JOE WILLIE WILKINS : MEMPHIS BLUES CARAVAN Comments: To: BluesHvn@aol.com JOE WILLIE WILKINS b. 1923-0107, DAVENPORT, MS - d. 1979-0328, MEMPHIS, TN HOUSTON STACKHOUSE GOFF b. 1910-0928, WESSON, MS - d. 1980-0923, HELENA, AR ============================================================================== Yesterday would have been Joe Willie Wilkins' 73nd birthdate. Since not everyone has a Web browser, here's a wonderful account of Wilkins & Stackhouse by Arne Brogger. I was lucky to see them during this tour & Brogger's complete account of the Memphis Blues Caravan tour is available on THE BLUE HIGHWAY Web site . So far little (if any) of Joe Willie Wilkins own solo sides are available on CD, though Red Lightnin' 33 maybe on CD by now. I also suggest you check out the wonderful Adelphi/GENES CD 9904 : HOUSTON STACKHOUSE - CRYIN' WON'T HELP YOU, which has a 2nd (uncredited) guitarist helping out on a few tracks. It may just be Joe Willie (or Backwards Sam Firk - maybe Joel Slotnikoff could ask Mike Stewart). I consider this 1994 GENES CD one of the best releases in 1994 and a must if you enjoy deep blues. eRIC Joe Willie Wilkins and Houston Stackhouse by Arne Brogger Sonny Boy Williamson (Rice Miller) had a syndicated radio program originating from Helena, Arkansas, on station KFFA. One of the sponsors was King Biscuit Flour. The guitar players in that band were Joe Willie Wilkins and Houston Stackhouse. If you look at the famous picture of the group, with Sonny Boy blowing harp and the drummer down center with "King Biscuit Boys" hand-painted on the Kick Bass head, you will see a very young Joe Willie and Stack standing center right. Joe and Stack were lifelong friends, and when I met them they were living together in Joe's house along with Joe's wife, Carrie. The house was small and cluttered. The furnishing was definitely second-hand and attested to the fortunes that befall those who live and play the blues. A record player stood next to the front wall of the house and as I entered, "Smokestack Lightning" was coming form the small speaker in the front of the machine. "Howli'n Woof," as Carrie Wilkins pronounced it, provided the background music that afternoon. Aside from the sparse furnishings, boxes of unknown contents and the old record player, the house also contained the three pictures I had come to expect seeing in any house I visited in black Memphis: one of FDR, another of JFK and the third of Martin Luther King, Jr. Catfish... The day I arrived, Stack was in the backyard tending to a barbecue on which he was cooking catfish. He had made a batter (the recipe for which he would not divulge, even to Carrie Wilkins) into which he dipped each fillet before placing it on the grill. Once the batter was browned, the fish was basted with a sauce (equally secret) and cooked a bit longer. I have eaten catfish at Gallitoirs in New Orleans, at the First and Last Chance Cafe in Donnaldsonville, Louisiana, and at Positanno in New York City. None came close to the magic wrought by Houston Stackhouse. More Than A Thousand Words... Joe and Stackhouse had a band called the King Biscuit Boys, which consisted of the two of them on guitars, Sonny Blakes on harp, Melvin Lee on bass and Homer Lee Jackson on drums. I have a picture of this band, playing under a single light bulb, in a juke joint in northern Mississippi. They are playing on a small stage, raised all of six inches above the floor. Joe Willie is sitting on a Coca-Cola crate. It was taken decades after the famous picture in Helena, but the spirit is identical. It is a picture that is as evocative as any that hangs in a museum, a picture that one can almost hear. On stage, Joe Willie and Stack's sense of time and place of that bygone era was evoked with a raucous reverence and unselfconscious reveling in the spirit of the moment. Whether it was a Robert Johnson tune (an artist they both new personally) like "Me And The Devil" or Sonny Boy's "Nine Below Zero," their performance was fresh and exciting. A Guy Me And Stack Used To Know... I remember one incident when we were playing a date somewhere in North Carolina. It was an outdoor festival and one of the performers was a young white artist who performed solo (his name escapes me). During his set, he kept time with both feet, each alternating with the beat and off-beat. It was a very visual performance, and I was standing next to Joe and Stack watching from backstage. Suddenly, Joe turned to Stack and asked, "Who does that boy remind you of?" Without hesitation, Stack said "Robert." I asked Joe who "Robert" was. He looked and me and said, "Robert Johnson, a guy me and Stack used know. He passed a long time ago." "Oh," I said. The idea that legends like Robert Johnson, Charlie Patton (from the famous Stovall's Plantation in Mississippi, were a young McKinley Morganfield drove a tractor) and others, were contemporaries and friends (or at least acquaintances) of the members of the Caravan, was something that continually amazed me. There was, of course, no reason that it should. The blues-playing community was small and geographically confined. Even still, standing next to Joe and Stack that day in North Carolina, all I could muster at the explanation of who "Robert" was, was a simple and weak "Oh...." Well, All Right... Houston Stackhouse was quiet and almost shy. He was the direct counterpart to the more outgoing Joe Willie and deferred to Joe in any conversation. The bond between them was unspoken and rooted in decades of shared experience and obvious respect for the other's artistry. Stack's playing supported Joe's, and during a performance he only took a solo after receiving a nod from Joe. At the end of a tune, Joe would sometimes ask Stack what he thought. "How was that Mr. Stackhouse...?" Stack's reply was always the same "Well, all right..." On the bus, he was referred to as "Mr. Well, all right" and endured the teasing with a good-natured grin. I Won't Be Afraid... No, No, I Won't Shed A Tear... In 1981, we had an invitation to play some dates in Rhode Island, ending up in Woodstock, New York, at a club called Joyous Lake. Joe Willie, who had never enjoyed good health, had by this time undergone a colostomy. When the offer for this tour came in, I had a private conversation with Carrie Wilkins before I spoke with Joe Willie. I asked her if she thought that Joe was physically up for the trip. She said "playin' is all that man talks about" and thought the trip might be a mental tonic for him. She accompanied Joe on all his dates and was the official female caretaker and nurturer for the entire Caravan. Her first responsibility, however, was always to Joe. These East Coast dates were played with an abbreviated roster of performers that consisted of Joe Willie, Stackhouse and band, and Memphis Ma Rainey. The dates went well, and Joe seemed genuinely pleased to be out playing. The morning after the Woodstock show, I drove the entourage in a nine-passenger station wagon down to La Guardia airport for the flight back to Memphis. On the trip down, conversation in the car fell silent after a time. I looked around the car. Everyone was asleep. Everyone except Joe Willie. I was listening to the radio quietly and watching the miles roll past. After a time, Ben E. King's "Stand By Me" came on. This was before the movie by the same name and during the time when the song was only occasionally heard on the radio. For some reason, the words had a special meaning for me at this particular listening, and when it was over, I smiled. As I did, I happened to look in the rear view mirror and saw Joe Willie smiling too. We looked at each other, smiling. Then Joe Willie said, "Man, isn't that a beautiful tune?" I nodded. We continued on in somnolent silence until we reached the airport. Joe Willie Wilkins died a week later. Now, every time I hear that tune, I see Joe Willie's smiling face. Arne Brogger, us002838@interramp.com ========================================================================= Date: Mon, 8 Jan 1996 13:59:44 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: A TRIBUTE TO BILL QUINN Comments: To: BluesHvn@aol.com Recordmeister BILL QUINN was born on Thursday, January 8, 1903, Aimsbury, MA. and owned GOLD STAR Studios on Telephone Road, Houston, TX. His first productions were issued on GULF RECORDS in 1942 but BLUES-L readers are more familiar with his GOLD STAR RECORDS, which he started in 1946. He recorded Harry Choates, Lightnin' Hopkins, Lil' Son Jackson, Elmore Nixon, Wilson "Thunder" Smith, L. C. "Love Crazy" Williams etc. ARHOOLIE RECORDS has systematically re-released his early productions and a full detail of his career is available in ARHOOLIE CD 352, an essential set if you're into the roots of Texas Blues. BILL QUINN died on Thursday, December 4, 1975, Houston, TX. CD DISCOGRAPHY of GOLD STAR RECORDINGS ============== ARHOOLIE 330 : LIGHTNIN' HOPKINS - GOLD STAR SESSIONS V. 1 ARHOOLIE 337 : LIGHTNIN' HOPKINS - GOLD STAR SESSIONS V. 2 ARHOOLIE 352 : VARIOUS ARTISTS - TEXAS BLUES - THE GOLD STAR SESSIONS ARHOOLIE 380 : HARRY CHOATES - FIDDLE KING OF CAJUN SWING ========================================================================= Date: Mon, 8 Jan 1996 14:08:11 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Meet Me With Your Black Drawers On Comments: To: Kathe Grant You wrote: > >I have been searching in vain for a recording of this. Does anyone know>who wrote it, who performed it, anything at all?? > >thanks > Jimmy and Jeannie Cheatham on their CD of the same name. Can't remember label, sorry. Mary Katherine ========================================================================= Date: Mon, 8 Jan 1996 17:39:13 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Gasp Cathi Norton wrote > > "I'm going to BE Dick Waterman!" > And I'm sure that will be worth $9 all by itself. :) Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Mon, 8 Jan 1996 17:39:14 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Meet Me With Your Black Drawers On > Subject: Meet Me With Your Black Drawers On > > I have been searching in vain for a recording of this. Does anyone know > who wrote it, who performed it, anything at all?? > There is a very nice version by Gloria Hardiman and The Professor's Blues Review. It came out on Alligator some years back -- they put it on one of their "Genuine Houserockin Music" compilations. As I recall, that version became VERY popular in the Carolinas as "beach music" and was reissued as a 45 by a regional label there. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Mon, 8 Jan 1996 15:25:15 -0700 Reply-To: Sergeant Cyber From: Sergeant Cyber Subject: Laid Back & Instrumental Hi. I'm trying to find some really laid back instrumental blues. Not being familiar with blues artists has me buying discs and invariably ending up with a lot of upbeat vocals. I purchased one disc entitled Guitar Blues and it turned out to be all vocal. One of my favorite songs is "Summertime". Wouldn't mind finding an instrumental version. Can anybody give me the titles of a few discs that are mostly instrumental and laid back. Thanks. Sarge ========================================================================= Date: Tue, 9 Jan 1996 10:13:25 +1100 Reply-To: Daniel Bruce From: Daniel Bruce Subject: Re: Laid Back & Instrumental Comments: To: sgtcyber@DATANET.AB.CA In-Reply-To: <199601082225.PAA11310@skylite.datanet.ab.ca> from "Sergeant Cyber" at Jan 8, 96 03:25:15 pm > > Hi. I'm trying to find some really laid back instrumental blues. Not > being familiar with blues artists has me buying discs and invariably ending > up with a lot of upbeat vocals. I purchased one disc entitled Guitar Blues > and it turned out to be all vocal. One of my favorite songs is "Summertime". > Wouldn't mind finding an instrumental version. Can anybody give me the > titles of a few discs that are mostly instrumental and laid back. Thanks. > > Sarge > There is a good sax version of Summertime by Big Jay McNeely on a Cd called Jaywalkin' which was recorded live in Australia. If you lke Honkin' sax this is angood 'un. I don't know whether it was released in America. Another good instrumenatl collection is Wrinkles : Classic & rare Chess Instrumentals featuring people like Chuck Berry, Little Walter, Paul gayten etc. Hope this helps..... -- Daniel Bruce | Genasys II Pty Ltd, Sydney, Australia | "Born under a bad sign, been down since I began to crawl | If it wasn't for Bad Luck, Wouldn't have no luck at all" | Albert King | Internet: danielb@g2syd.genasys.com.au ========================================================================= Date: Mon, 8 Jan 1996 23:17:42 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Waterman clones Comments: To: bit-listserv-blues-l@uunet.uu.net In <960108104539_109872388@emout06.mail.aol.com>, Tom Freeland writes: >Um, I'm, um, really not sure what to say here. Dick is a great friend, and >all, and he's done a lot of good, and all, but, um........... Well, if we could convince 10% of the SRV clones to adopt Waterman as their new idol, just imagine what the blues world would be like! - B.B. Bean bbbean@cris.com http://www.cris.com/~Bbbean - ========================================================================= Date: Mon, 8 Jan 1996 19:23:54 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: What does Copyright Control Mean? Comments: To: bit-listserv-blues-l@uunet.uu.net Just as it says - sometimes I see copyright control instead of a writers name on a particular song - what does it mean? -- NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 8 Jan 1996 18:22:52 -0600 Reply-To: Larry Kirchmer From: Larry Kirchmer Subject: Re: Meet Me With Your Black Drawers On It's by Jeannie & Jimmy Cheatham on the cd "Sweet Baby Blues". ========================================================================= Date: Tue, 9 Jan 1996 00:53:42 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Meet Me With Your Black Drawers On Comments: To: bit-listserv-blues-l@uunet.uu.net In <199601082208.OAA18845@ix7.ix.netcom.com>, Mary Katherine Aldin writes: >Jimmy and Jeannie Cheatham on their CD of the same name. Can't remember >label, sorry. Delmark BBB - B.B. Bean bbbean@cris.com http://www.cris.com/~Bbbean - ========================================================================= Date: Mon, 8 Jan 1996 20:17:14 -0500 Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: JOE WILLIE WILKINS : MEMPHIS BLUES CARAVAN Comments: To: bit-listserv-blues-l@uunet.uu.net In article <9601082157.AA02806@dao.nrc.ca> Eric LeBlanc-CISTI writes: >. So far little (if any) of >Joe Willie Wilkins own solo sides are available on CD, though Red Lightnin' 33 >maybe on CD by now. The Memphis Archives label issued 2 volumes of Memphis Blues Caravan recordings (MA7008 and MA7009) in 1994. Joe Willie Wilkins and his King Biscuit Boys back Houston Stackhouse on 1 track (Crying Won't Help You) and solo on another (Me & The Devil Blues) on Volume 1. Joe Willie appears on Hard-Headed Woman and backing Charles Booker (New Moonrise Blues) on Vol. 2. These should still be available, but the label is not all that easy to find. Art Schuna ========================================================================= Date: Mon, 8 Jan 1996 20:24:52 -0500 Reply-To: Neil Cassidy From: Neil Cassidy Subject: developing careers of SRV and Chris Duarte First, I'd like to apologize for answering a post without including the original post. You see this morning when I read the post I didn't really feel the need to respond but, after thinking about it at various times during the day, I can't really pass this up. The original post was from a entertainment booker/bartender at Antone's in Austin who, from the way I remember the post, worked there from the late 70's and 80's. What I am commenting on here is the fact that the sender saw the careers of SRV and Chris Duarte as developing side by side and more or less independently from each other, thus downplaying the SRV influence on Chris that often puts him on the bad side of those seemingly neverending clone threads. I am not intentionally emitting any flames but have an altogether different perception of that situation. I lived in Austin from 1974-82. I played in various bands around Austin and, later, based in Austin. When I first moved to Austin I worked part time in a deli across the street from the original Antones and spent many nights seeing incredible national blues shows that to this day still top my all time lists. From the local talent Antone's gave the world all of the various configurations of pre SRV and Double Trouble, pre T-Birds, etc. >From 1975-80 I easily saw Stevie gig 150 times. >From 1980-82 I tended bar at the Hole in the Wall, a well known venue in Austin and had the opportunity to see Chris Duarte play many times, mostly with the Diana Cantu Band. They played a few originals but mostly tasteful covers. Chris was always the highlight of those shows. I became acquainted with Chris and later (1987-90) booked Diana at a club I was managing in San Antonio. It was during this time that Chris suggested I book another band he was playing in, Jr. Medlow and (?) the Bad Boys. The way I understand it, Chris did not play with Medlow before 1986. It could've been slightly earlier, but no way it was in the very early 80's. Also, from what I learned from Chris, he did not move to Austin (from San Antonio) until 1976. By this time Stevie was playing every place there was to play in Austin. In that town at that time he was one of the biggest local talents. Not to take anything away from Chris, but he was just another kid with a guitar when Stevie was already quite well known. In 1982 when Bowie and the Stones knew of Stevie, Chris was playing in a cover band, and I don't mean blues covers either. I'm not trying to take anything away from Chris. He is a truly incredible talent. As the original post says, he is capable of incredible stylistic diversity also. He is a fine jazz player and can play clearly and distinctively within any number of styles. And hey, he's a nice guy to boot. So I guess what bothered me about the original post was basically a matter of chronology. And also influence. Although Chris is a very fine all around player, and a screaming blues/bluesrocker, he is of course influenced by Stevie. Although I didn't know Chris when I was hanging out at the old Antone's, he recently told me at a show in Columbus, Ohio (where I now live) that he spent many nights himself partying and watching Stevie, Jimmy, Billy Campbell et al. Neil Cassidy PS For those involved in the Jimi influence on Stevie thread: As has already been mentioned, many thought of Stevie as showing too much Hendrix when he first became well known, and in fact this was often the buzz among Austin wannabes in the mid to late 70's. Well consider this. It was not uncommon in a mid 70's club gig (4 short/ 3 longer sets) for Stevie to do several Hendrix tunes in a row, and , if it was a short set, almost a whole sets worth. ========================================================================= Date: Mon, 8 Jan 1996 20:59:36 -0500 Reply-To: SGLIWA From: SGLIWA Organization: Delphi (info@delphi.com email, 800-695-4005 voice) Subject: James Brown's Wife Dead? Comments: To: bit-listserv-blues-l@uunet.uu.net Can anyone confirm the story I heard that James Brown's wife has died while recovering from minor cosmetic surgery? Any details? How is James taking it? Steven James Gliwa ========================================================================= Date: Mon, 8 Jan 1996 18:15:37 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: James Brown's Wife Dead? Steven James Gliwa wrote: > >Can anyone confirm the story I heard that James Brown's wife has died while>recovering from minor cosmetic surgery? Any details? How is James taking>it? > Yes, there was a short obituary in yesterday's Los Angeles Times that Mrs. Adrienne Brown, age 45, had died shortly after undergoing what they referred to as elective surgery (same as cosmetic? I don't know). The item in the paper stated that the exact cause of death would be announced after an autopsy was completed. Mary Katherine ========================================================================= Date: Tue, 9 Jan 1996 09:58:12 CST Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Java or Coffee related tunes? Hey Y'all, I'm giving a presentation on Java (the computer language) and I thought I'd play something about java or at least coffee. I looked though my CD's and can't find anything. The only reference I can think of is in the Wolf's "Commit a Crime": "You put poison in my coffee..." "'stead of milk or cream." Which isn't a whole lot. "Malted Milk" isn't close enough. Maybe I'll just play "Forty Days and Forty Nights" over and over just to turn 'em on to some good Muddy instead. What ode's to caffeine are there (the deeper Blue the better)? Mike [ home work ] [ http://www.xnet.com/~msuffern/soundtravels.html ] [ The Blues&Travel Site, Blues Guides, Festivals, ] [ Eric Clapton @ Royal Albert Hall, London tour ] ------------------------------------------------- [ Above all, play what your heart tells you to... ] [ As you learn, your heart will have more to say. ] ========================================================================= Date: Mon, 8 Jan 1996 20:23:48 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: further re death of Mrs. James Brown I have deleted the post from the person who enquired about the death of Mrs. Adrienne Brown. Tonight's local news channel broadcast a report which said that the *preliminary* autopsy findings showed early signs of heart disease, foul play is not suspected, there was significant hardening of the arteries, and they are awaiting the results of toxocological tests. Her age, previously given as 45, was amended to 47. James Brown is reported to have cancelled all work-related activities and is in seclusion at his home. Mary Katherine ========================================================================= Date: Tue, 9 Jan 1996 00:57:48 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Wedding Blues Quote? All, I need a blues quote that's appropriate for a wedding or getting married. Something sweet is good, but not sappy. Funny is good, too, but not too cynical. (I'll explain in a few days. No, I'm not getting married!) Please e-mail privately, since my newsgroup reader ain't so hot. TIA ... *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Tue, 9 Jan 1996 08:37:24 GMT Reply-To: emdrprac@DIRECT.CA Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: emdrprac@DIRECT.CA Organization: Internet Direct Subject: Re: Meet Me With Your Black Drawers On Comments: To: Orange2@GNN.COM This tune is by "Professor's Blues Review" - the wonderful woman singing is Gloria Hardiman - and it can be found on the Alligator Records sampler "Genuine Houserockin' Music 2" (Alligator ALCD 102) - came out in '87, but I still see it up here in Canada for sale. The tune is apparently found on an Alligator release called "The New Bluebloods" (AL7707) - which from these liner notes would also appear to be another sampler..... BTW, the rest of Genuine Houserockin' Music is worth more than a casual spin on the CD player, too!! ========================================================================= Date: Tue, 9 Jan 1996 09:51:08 PST Reply-To: jos potting From: jos potting Subject: Little Willie L and Jay McShann Is there anybody who can suggest albums from Little Willie Littlefield, I have found allready the french "Paris Streetlights" (and it's great)? For the second time I heard the name of Jay McShann, now in a blues context: he played with Clarence 'Gatemouth' Brown (in Paris 1973, for the Black and blue label). But according the notes there has to be more Jay McShann, playin' the blues piano: does anybody have suggestions on where to search. Thanks, Jos ------------------------------------- Jos Potting jpotting@pi.net ------------------------------------ ========================================================================= Date: Tue, 9 Jan 1996 05:21:02 -0500 Reply-To: Msbeale From: Msbeale Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Albert King's Influence Comments: To: bit-listserv-blues-l@uunet.uu.net >Who influenced Albert King.....? >I listened to Stevie Ray the other night and I don't care what anybody >says >he was GREAT. Absolutely fabulous, I don't listen to him much, but when >I do >I am moved. That's what it's all about, for ME >LW Albert once told me that one of his first influences was Blind Lemon Jefferson, who he would go to see playing for tips in a park in Forest City Arkansas. There are a couple of Blind Lemon cd's out now, the one I own has Match Box Blues on it. Albert later modified it (and modernized it). It was always a favorite at live performances 'cause he'd love to ask the audience if they knew what "catheads" were. Anyone that has seen him live, probably knows the tune I'm talking about...it's on one of his recordings but I can't remember which right now. ms beale st. "I ain't lyin'!" -Albert King ========================================================================= Date: Tue, 9 Jan 1996 05:24:14 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Little Willie L and Jay McShann Comments: To: jos potting In-Reply-To: re: More Jay McShann. Try JSP #234 Best of Friends - Jay McShann and Al Casey. 2 tracks also feature McShann as a vocalist. NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 9 Jan 1996 05:54:21 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Laid Back & Instrumental On 8 Jan 96, Sergeant Cyber had this to say: > Hi. I'm trying to find some really laid back instrumental blues. Not > being familiar with blues artists has me buying discs and invariably ending > up with a lot of upbeat vocals. I purchased one disc entitled Guitar Blues > and it turned out to be all vocal. One of my favorite songs is "Summertime". > Wouldn't mind finding an instrumental version. Can anybody give me the > titles of a few discs that are mostly instrumental and laid back. Thanks. Try "Yanni at The Acropolis" ========================================================================= Date: Tue, 9 Jan 1996 13:18:14 +0200 Reply-To: T P Uschanov From: T P Uschanov Subject: Re: Java or Coffee related tunes? Comments: To: Michael Suffern In-Reply-To: On Tue, 9 Jan 1996, Michael Suffern wrote: > I'm giving a presentation on Java (the computer language) and I thought I'd play > something about java or at least coffee. I looked though my CD's and can't find > anything. "Java Jive" -- Ink Spots (Decca, 1940s) "Coffee Daddy Blues" -- Danny "Run Joe" Taylor (Coral, 1951) "Salt in Your Coffee" -- Betty James (Checker, 1966) ("The Coffee Song" -- Cream (Direction, 1966)) T P Uschanov (Mr), University of Helsinki, Finland, European Union. tuschano@cc.helsinki.fi ---- http://www.helsinki.fi/~tuschano/ "Property is theft." (Pierre-Joseph Proudhon) ========================================================================= Date: Tue, 9 Jan 1996 11:19:18 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Java or Coffee related tunes? In-Reply-To: Big Sugar "Sugar In My Coffee" on "Five Hundred Pounds" phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [9/1/96 6:11 AM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 9 Jan 1996 11:24:28 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Java or Coffee related tunes? In-Reply-To: Lightnin' Hopkins "Coffee Blues" on the Rhino Anthology Mississippi John Hurt "Coffee Blues" on the "Best of" phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [9/1/96 6:11 AM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 9 Jan 1996 11:28:42 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Laid Back & Instrumental In-Reply-To: <199601082225.PAA11310@skylite.datanet.ab.ca> Ronnie Earl "Still River" phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [9/1/96 6:11 AM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 9 Jan 1996 06:50:30 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Laid Back & Instrumental Comments: To: Pat Hertel In-Reply-To: On Tue, 9 Jan 1996, Pat Hertel wrote: > Ronnie Earl "Still River" Pat - Still River gets my vote too. Just a beautiful work. We also have a review of it up at our web page and for anyone int- erested in the CD - if you go out to the page, you can order it direct from Audioquest at a discount (no we are not affiliated, just set up the deal so everyone can take advantage of this la- bel's blues output - at the page just click on discounts and it will take you to the information). This CD also contains Bruce Katz on some of the finest organ and piano to be heard anywhere. NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 9 Jan 1996 13:08:10 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Ronnie Earl, Was Laid Back & Instrumental Comments: To: Pat Hertel >On Tue, 9 Jan 1996, Bo Carlsson wrote: > >> >Ronnie Earl "Still River" >> >> Is this a new one? I have allmost everything with Mr Earl - realy likes his >> toutch. >> Bo >> >> > > Its about 2 years old and entirely instrumental. > Thanks! I found it on NY-CD rewiew. I thought Mr Earl did all his stuff on Rounder but this way I found Audioquest and they seem to have many great releases. Bo ========================================================================= Date: Tue, 9 Jan 1996 07:42:48 EST Reply-To: levyt@RL.AF.MIL From: Toby Levy Subject: SITTING & THINKING: Doug MacLeod - Come to Find DOUG MACLEOD / COME TO FIND (AQ-CD1027) AUDIOQUEST P.O. BOX 6040 SAN CLEMENTE, CA 92674 TEL: 714-498-1977 FAX: 714-498-6223 BOOKING - GASLIGHT SQUARE MUSIC 310-532-6018 BRING IT ON HOME / SINCE I LEFT ST. LOUIS / MYSTERY WOMAN / COME TO FIND / OLD VIRGINIA STOMP / MASTER'S PLAN / AIN'T NO GRAVE / RUN WITH THE DEVIL / LOST SOMETHING THIS MORNING / ROLLIN' AND TUMBLIN' / ANY PORT IN A STORM / WHEN I LEFT MISSOURI Doug MacLeod is a West Coast bluesman who has recently converted from electric to acoustic. After a string of albums in the 80s, MacLeod decided to permanently unplug and the happy results of this decision are on this cd. He is ably assisted on more than half the songs by Rod Piazza's long time rhythm section: Bill Stuve on acoustic bass and Jimi Bott on a very quiet set of drums. He has Charlie Musslewhite playing innovative harp on two songs, and a gospel vocal group named Black Cherry backing him up on one song. But this is a very personal album. Doug MacLeod has obviously poured his heart into the ten of the twelve songs on the cd that he himself wrote. NY CD-Takes BRING IT ON HOME: MacLeod begins with a Willie Dixon number immortalized by Sonny Boy Williamson. Charlie Musslewhite plays the harp here, but he takes it in an entirely different direction, a very interesting creative effort. MacLeod's singing shows just how good it feels to come home after a long spell of travelling. SINCE I LEFT ST. LOUIS: MacLeod grew up in St. Louis, and this his story of emerging into adulthood. Playing alone, his guitar seems to have sparks flying out of it as his fingers fly around the fretboard. MYSTERY WOMAN: MacLeod lets his guitar do a little weeping and moaning before he is joined by the rhythm section. Finally he starts singing about that woman he just seem to forget. You can picture him sitting at a table with an empty bottle playing this song to himself just before the first light of dawn creeps through the window. COME TO FIND: Not only is this the title song, it is also the best song on the album. As Macleod says in the notes, "This is a song about getting over any kind of abuse." Bill Stuve kicks it off with a rolling bass line and a moment later MacLeod dives in, smoke flavored voice perfectly compatible with jangling guitar chords. This song commands attention the first time you hear it and gets better with each replay. OLD VIRGINIA STOMP: MacLeod takes this instrumental alone, playing Piedmont style blues to great effect. In the notes he said he learned this song almost 30 years ago, forgot it and it just came back to him recently. MASTER'S PLAN: MacLeod, still alone, sings a song about trying to understand the Big Picture. "You look inside yourself to find you the Master Plan." This song displays a person who has found inner peace and wants to share it with others. AIN'T NO GRAVE: This is MacLeod's gospel song. The group Black Cherry sound like a heavenly choir behind him and the rhythm section push the song to ever greater heights. It's very moving. You will find it difficult if not impossible to sit still during this song. Clapping and foot stomping is not only permitted, it is encouraged! RUN WITH THE DEVIL: MacLeod dismisses the rest of the band to tell several stories about some bad folks. "Only one thing you got to learn," he sings, "When you run with the Devil you are going to get burned." If this spooky song doesn't make the sinner repent, I don't know what will! LOST SOMETHING THIS MORNING: Charlie Musslewhite returns to beautify a sad song in which Doug MacLeod shares his feeling of loss with his listeners. His woman has left him and he never saw it coming. Musslewhite is a great sideman. He should take on more projects like this one. ROLLIN' AND TUMBLIN': Doug, Bill and Jimi present the Muddy Waters arrangement of this timeless classic. This is MacLeod's only slide guitar number on the album, and he makes you wish he'd use it more. The number fades out on him sliding away. I for one would have liked to have it go on much longer. ANY PORT IN A STORM: Alone again, MacLeod tells another story, this one about lovers who break up and then drift back together, if only temporarily. Once again, he manages to weave a spell, making the silence at the end of the song a painful awakening. WHEN I LEFT MISSOURI: MacLeod and the rhythm section close the album with a country boogie that sounds like it was sung in juke joints before the great war. In fact, it's a Doug MacLeod original, and a testament to his sizeable talents as a songwriter. Reviewed by Toby Levy Copyright NY CD Blues - 1996 NY CD Blues at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! ========================================================================= Date: Tue, 9 Jan 1996 08:22:33 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Java or Coffee related tunes? > I'm giving a presentation on Java (the computer language) and I thought I'd play > something about java or at least coffee. I looked though my CD's and can't find > anything. > What ode's to caffeine are there (the deeper Blue the better)? > Mississippi John Hurt. Spoonful. The ultimate ode to coffee as sex. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Tue, 9 Jan 1996 08:43:56 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Re: SITTING & THINKING: Doug MacLeod - Come to Find Comments: To: bit-listserv-blues-l@uunet.uu.net Toby Levy (levyt@RL.AF.MIL) wrote: : DOUG MACLEOD / COME TO FIND (AQ-CD1027) : AUDIOQUEST P.O. BOX 6040 SAN CLEMENTE, CA 92674 : TEL: 714-498-1977 FAX: 714-498-6223 : BOOKING - GASLIGHT SQUARE MUSIC 310-532-6018 ....etc...... Yes I'm affiliated with Toby - NO I am not affiliated with Audio- quest. But for my money this CD has to be one of the best finds anywhere. Doug's acoustic work is superb and he also is one very fine writer. I recently found out that he cowrote 2 great tunes on the new Coco Montoya CD - made me a believer even though Doug took my heart earlier with this CD. My vote goes out for the cut Ain't No Grave - a pick of the century for me. $ 0.03 added. -- NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 9 Jan 1996 13:55:10 GMT Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: Java or Coffee related tunes? Comments: To: msuffern@XNET.COM On Tue, 9 Jan 1996 09:58:12 CST, you wrote: >Hey Y'all, >I'm giving a presentation on Java (the computer language) and I thought I'd play >something about java or at least coffee. Lightnin' Hopkins: "Coffee House Blues" -- "Mama got mad at papa, cuz he didn't bring no coffee home." "If you shut your mouth, baby, I would buy you a coffee house." *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Tue, 9 Jan 1996 08:52:28 -0500 Reply-To: bob unger From: bob unger Subject: BluesBytes Organizations Well, I have recieved a number of suggestions on which charity people would like to see recieve the proceeds from BluesBytes. Before I post the ordering info, I am asking all you knowledgable people, if you would be kind enough to perhaps post a brief overview of what the following organizations do. I'm sure most of us have heard of these organizations, but a little insight into their activites will surely help in the decision making..... And the organizations are....... 1. Willie Dixons Blues Heaven 2. The Delta Blues Museum 3. The Rhythm & Blues Foundation 4. The Blues History Museum in Memphis 5. Brownie McGhee's foundation - the person who suggested this, did not know the name of it. Thanks to all..... BU bob@sun.bnkst.edu ========================================================================= Date: Tue, 9 Jan 1996 08:13:33 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Java or Coffee related tunes? Comments: To: msuffern@XNET.COM > I'm giving a presentation on Java (the computer language) and I thought I'd play > something about java or at least coffee. I looked though my CD's and can't find > anything. Muddy Waters - "Iodine in my coffee" (yum) Rockin' Sydney - "She's my morning coffee" Otis Redding - "Cigarettes and coffee" or how 'bout Tony Alvin & the Belaires - "Sexy coffee pot" Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Tue, 9 Jan 1996 09:19:21 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Clone Theory Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com Do Steven Speilberg and Michael Crichton know about all of these SRV Clones? Maybe they can make a sequel to Jurassic Park using giant SRV clones! :-) ========================================================================= Date: Tue, 9 Jan 1996 09:24:42 -0500 Reply-To: Bob vanArsdall From: Bob vanArsdall Subject: Re: Java or Coffee related tunes? Rick Danko has a song called just "Java Blues" - on one of his solo albums, also can be found on one of the Mountain Stage collections (I think). Bob ========================================================================= Date: Tue, 9 Jan 1996 09:29:40 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Who influenced Hendrix Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I'm surprised nobody has mentioned Muddy Waters (at least I haven't seen any posts mentioning him yet - I just got in after a three day weekend (thanks to the blizzard) and I have over 200 messages to read through). Listen to "Still a Fool" by Muddy a fe times, then listen to both versions of "Voodoo Chile." You should hear some similarities. Also, when Hendrix covered "Catfish Blues" he did it the way Muddy did. ========================================================================= Date: Tue, 9 Jan 1996 09:37:58 -0500 Reply-To: "Abe W. Mathews" From: "Abe W. Mathews" Subject: Re: Laid Back & Instrumental In-Reply-To: <199601091026.FAA57192@osceola.gate.net> from "P.W. Fenton" at Jan 9, 96 05:54:21 am The cheerful PW wrote- > On 8 Jan 96, Sergeant Cyber had this to say: > > > Hi. I'm trying to find some really laid back instrumental blues. Not > > being familiar with blues artists has me buying discs and invariably ending > > up with a lot of upbeat vocals. I purchased one disc entitled Guitar Blues > > and it turned out to be all vocal. One of my favorite songs is "Summertime". > > Wouldn't mind finding an instrumental version. Can anybody give me the > > titles of a few discs that are mostly instrumental and laid back. Thanks. > > > Try "Yanni at The Acropolis" In you're dreams! Everyone knows that the *best* instrumentals are by Kenny G! And let's not forget John Tesh! If you *really* want some good instrumental music, just ask MK Sheffield. I'm sure she could set you up. :) Seriously, though. How about Kenny Burrel? He's instrumental, and a little more jazz than blues, but still, great laid back instrumentals (and he does a pretty killer version of "Summertime" as well.) Abe awmathew@mtu.edu ========================================================================= Date: Tue, 9 Jan 1996 16:45:20 +0200 Reply-To: T P Uschanov From: T P Uschanov Subject: Re: What does Copyright Control Mean? Comments: To: Barry Silverberg In-Reply-To: <4csciq$mka@panix.com> On Mon, 8 Jan 1996, Barry Silverberg wrote: > Just as it says - sometimes I see copyright control instead > of a writers name on a particular song - what does it mean? As I have understood it, it's a kind of PO box equivalent of BMI and ASCAP, for composers who don't belong to those organisations and/or whose identity is unknown at the moment. T P Uschanov (Mr), University of Helsinki, Finland, European Union. tuschano@cc.helsinki.fi ---- http://www.helsinki.fi/~tuschano/ "Property is theft." (Pierre-Joseph Proudhon) ========================================================================= Date: Tue, 9 Jan 1996 09:58:57 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Re: JOE WILLIE WILKINS : MEMPHIS BLUES CARAVAN Comments: To: bit-listserv-blues-l@uunet.uu.net The Center for Southern Folklore on Beale Street (901-525-3655) stocks the Memphis Archives releases of the Caravan, and they are set up for mail order. You can also contact the label directly--they're known as Inside Sounds--at 901-682-2063, and they will send a catalog. I've spoken with somebody there, and these guys are anxious to improve their distribution. However, the beauty of buying the CDs through the Center is that the profits go towards maintaining a wonderfully funky little museum across the street from BB King's, which features weekly performances and workshops by the sole survivor of the Caravan, Mose Vinson. Hey, did I tell you guys about Mose's birthday party at the Center a few months ago? After Dutch, Swedish and French visitors sang the birthday song in their languages, a Japanese blues band sang it in English "with Japanese accent." "Happy Burseday, Dear Moses-San, Happy Burseday to you." This is an example of the charm of the place. Denise ========================================================================= Date: Tue, 9 Jan 1996 07:03:38 -0800 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Re: Java or Coffee related tunes? Comments: To: bit-listserv-blues-l@cs.washington.edu In-Reply-To: <199601091351.IAA01316@magicnet.magicnet.net> On Tue, 9 Jan 1996, Curtis Hewston wrote: > On Tue, 9 Jan 1996 09:58:12 CST, you wrote: > > >Hey Y'all, > > >I'm giving a presentation on Java (the computer language) and I thought I'd > play > >something about java or at least coffee. > > Lightnin' Hopkins: "Coffee House Blues" -- "Mama got mad at papa, cuz > he didn't bring no coffee home." "If you shut your mouth, baby, I > would buy you a coffee house." Not quite blues except in name, but Rick Danko's "Java Blues" "you know I'll stay high drinking coffee till I die" > *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* > Howard just pointed with his gun and said, "That way. Down Highway 61." > > curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ > *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* > > ========================================================================= Date: Tue, 9 Jan 1996 10:06:21 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: Laid Back & Instrumental In-Reply-To: <199601082313.AA004062805@g2syd.genasys.com.au> Daniel Bruce mentioned: > There is a good sax version of Summertime by Big Jay McNeely on a Cd > called Jaywalkin' which was recorded live in Australia. If you lke > Honkin' sax this is angood 'un. I don't know whether it was released > in America. My favorite version is John Coltraine's, on MY FAVORITE THINGS. But I wouldn't call it "laid back." I'm not sure what Sarge meant by "laid back". That could imply anything from Eddie C. Campbell's THAT'S WHEN I KNOW (which is also a good deal instrumental) to R.L. Burnside's TOO BAD JIM, to that Sonny Boy Williamson reissue on Alligator (the one with Memphis Slim and Matt Murphy). And, recalling P.W.'s reply, maybe if this whole Blues Thing gets just a little bigger, we may indeed see something like YANNI'S BLUES. Who'll write the liner notes? Dave Prychitko http://www.oswego.edu/~prychitk/Blues101.html ========================================================================= Date: Tue, 9 Jan 1996 07:30:51 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: BluesBytes Organizations Comments: To: bob unger Bob Unger wrote: > >Well, I have recieved a number of suggestions on which charity people >would like to see recieve the proceeds from BluesBytes. Before I post >the ordering info, I am asking all you knowledgable people, if you would be kind enough to perhaps post a brief overview of what the following>organizations do. I'm sure most of us have heard of these organizations,>but a little insight into their activites will surely help in the>decision making..... >1. Willie Dixons Blues Heaven > The Blues Heaven Foundation is a non profit organization founded by Willie Dixon in 1982. It has several ongoing programs. 1. The Muddy Waters Scholarship: granted yearly to high school seniors in inner-city schools, to enable them to continue their education on to the college level. 2. The Blues in the Schools program: I think Billy Branch is overseeing this, in the Chicago area at least. Major companies are contacted to donate free musical instruments to inner-city schools so that the students there can learn to play. (One year Hohner donated hundreds of Marine Band harps). 3. An educational program for young would-be musicians: so that they can learn about copyrights, publishing, royalties and other aspects of the "business" of the music business, so tomorrow's blues muscians don't get screwed out of their rights the same way yesterday's did. 4. An assistance program for blues musicians in need. Note, the Rhythm & Blues Foundation has a similar program but is *very* strict about who they will assist. Many blues women and men do not qualify for aid from the R&B Foundation, because they do not have the right number of chart hit records! 5. The purchase (now finalized) and restoration (still under way) of the Chess Records building at 2120 Michigan Avenue in Chicago, to become the headquarters of the foundation and a world-class blues museum. I think it is very important here that I note that I have NO CONNECTION whatever with the Blues Heaven Foundation, other than that Willie was my friend of many many decades, and that long before he died he asked me to support his work and his goals after he was gone. But I have never been an officer of this outfit, nor held any position with them other than as a friend of the family. Mary Katherine ========================================================================= Date: Tue, 9 Jan 1996 16:37:34 +0100 Reply-To: Jose Antonio Revilla Garcia From: Jose Antonio Revilla Garcia Subject: LUCKY PETERSON & OTIS GRAND Lucky Peterson is coming in a few weeks to my city.I don't know him very much, could you plese tell me what kind of blues does he play? Am I going to enjoy him? :-? And about Otis Grand, could you tell me how many albums has he released and what is his best? See you! ;-) ------------------------------------------------------------------------------ Everyday I Have The Blues * Co-SysOp AUDIN-BBS: (942)-21.81.03. 22:00-10:00.Universidad de Cantabria.* * Miembro de ACCE: Asociacion Cantabra de Correo Electronico * ========================================================================= Date: Tue, 9 Jan 1996 11:05:16 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Instrumental blues recommendation. I always liked BB King's "Spotlight On Lucille". A nice long cd with nothin' but fine guitar work in every style BB could muster up. Love it! :) Riffin Rick (((( oo-) /- [..no quote here 'cause this sig is instrumental.:) ] F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 9 Jan 1996 08:09:17 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Jan. 10 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- CHATMAN, SAM (g/BLUEBIRD REC) b. 1897-0110, BOLTON, MS CLEARWATER, EDDY [EDDY HARRINGTON] (g) b. 1935-0110, MACON, MS EDICK,GEORGE(owner:CLUB IMPERIAL,ST.LOUIS)b. 1916-0110, CHICAGO, IL ESTELLE, LEON "MR. BLUES" (g) b. 1929-0110, KANSAS CITY, KS GIPSON, BYRON "SLICK" (lead/THE SLIDERS) b. 1930-0110, BURLINGTON, IO HAWKINS, RONNIE (of THE HAWKS) b. 1935-0110, HUNTSVILLE, AR HAYWOOD, HENRY (tsax/bsax) b. 1913-0110, BIRMINGHAM, AL HOWLIN' WOLF [CHESTER ARTHUR BURNETT] d. 1976-0110, HINES, IL 65 JOHNSON, WOODROW WILSON "BUDDY" (p) b. 1915-0110, DARLINGTON, SC MITCHELL, WALTER LITTLE (hca) d. 1990-0110, TOLEDO, OH 70 NEVILLE, CYRIL (of THE NEVILLE BROS) b. 1948-0110, NEW ORLEANS, LA PATTMAN, NEIL (hca) b. 1926-0110, GA RAY, JOHNNIE (v) b. 1927-0110, DALLAS, OR REED, WAYMOND L. (tpt) b. 1940-0110, FAYETTEVILLE, NC ROACH, MAX (d) b. 1924-0110, NEW LAND, NC SAMPLE, FRED (p/IKE TURNER/ALBERT KING) b. 1934-0110, ST. LOUIS, MO SAMPLES, JOHN T. (g/hca/DOCUMENTARY ARTS) b. 1898-0110, TX STEWART, ROD (v) b. 1945-0110, LONDON, UK TRAILL, SINCLAIR (author) d. 1981-0110, BRIGHTON, UK 76 WASHINGTON, GENE (p/IKE TURNER/FEDERAL) b. 1931-0110, PINE BLUFF, AR WEXLER, JERRY (prod/ATLANTIC REC) b. 1917-0110, MANHATTAN, NY ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 9 Jan 1996 11:13:59 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: James Brown's wife Comments: To: sgliwa@delphi.com Yes, this story has been reported on several news stations. My understanding is that she died of post-surgical complications following cosmetic surgery something like a day or two after the actual surgery. Unfortunately, this is not all that uncommon. My buddy's perfectly healthy wife died two days after a perfectly routine c-section delivery due to an unanticipated reaction to some post-surgical meds she was administered. Sucks bigtime. James was said in the news to be distraught. No kidding, really? :( Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 9 Jan 1996 11:15:49 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Othar Turner- Fife and Drum Comments: To: tm4q@poe.acc.virginia.edu In a message dated 96-01-09 07:25:29 EST, tm4q@POE.ACC.VIRGINIA.EDU (Tom Morgan) writes: >It features Othar Turner on fife, wife Bernice on snare drum, son Aubrey >also playing snare drum and R.L. Boyce on bass drum. This fine disk is >issued by the Sugar Ditch Action Coalition, which I don't know anything >about. It is distributed by Shangri-La Records. > >I am going to order one for myself and the station manager as this is a >very special release. The Suagr Ditch Action folks can be reached at PO >Box 12612, Memphis, TN 38182 They have an e-mail address >sugditch@magibox.net. Those of you who have asked me how to find out what is going on in Memphis may remember that I referred you to Shangri-La Records. The record Tom Morgan described was produced by one of the Shangri-La folks and by Luther Dickinson, who is the son of Memphis music figure Jim Dickinson. Everyone on this list there should hear fife and drum music. The record also has interesting packaging, with great photos (including one on once label side. How about it, Mary Katherine. Is this one they should get? Those of you passing through North Mississippi can get this one at Uncle Buck's Records (yes, I have a connection-- my brother is a partner there) in Oxford, which still has a fair-sized stock of vinyl in there with all those CDs. Tom Freeland ========================================================================= Date: Tue, 9 Jan 1996 11:18:03 -0500 Reply-To: BAJammin From: BAJammin Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Baltimore and DC Folks... Comments: To: bit-listserv-blues-l@uunet.uu.net In article <4aacs8$s4c@newsbf02.news.aol.com>, LeaGil writes: >Does anyone have a comprehensive list of open mike nights in the B-more/DC >area. And is anyone looking for a female blues singer? > > Lea, try the DC Blues home page at http://intelus.com/DCBlues/ for a fairly complete listing of blues clubs, gigs & I beleive open mikes, radio shows, etc. Hope this helps. Bill Adams ========================================================================= Date: Tue, 9 Jan 1996 06:23:23 -1000 Reply-To: Richard Duggan From: Richard Duggan Subject: Re: BLUES-L Digest - 7 Jan 1996 to 8 Jan 1996 In-Reply-To: <199601090504.AAA15090@listserv.brown.edu> Aloha- Can anyone tell me anything about Mitch Woods and his Rocket 88's? They're playing at Anna Banana's in Honolulu tomorrow night... since it is a Wednesday night and I am in a particularly hellish phase of an exhibition schedule at work, needing to be here early hours, I need to know if it is worth the lack of sleep and bleariness I'll feel the next morning if I stay out late to see them...and if there is dancing involved then I know I'll stay through the last set...are they worth it? Richard E. Duggan | Chairman, Exhibits Department | 808-848-4178 (vox) Bishop Museum | 1525 Bernice Street | 808-848-7897 (fax) PO Box 19000 | Honolulu, HI 96817 | rduggan@bishop.bishop.hawaii.org ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ "If hard work were such a wonderful thing, surely the rich would have kept it for themselves." -Anonymous ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Tue, 9 Jan 1996 17:26:33 +0100 Reply-To: Ingvald Bergsagel From: Ingvald Bergsagel Organization: Telenor Media Subject: BB King on IRC 16. januar! Comments: To: bit-listserv-blues-l@uunet.uu.net Saw that Blues Boy was to meet his fans at #jazz on the 16.th. I also caught a glimse of a web-site for this, but have lost the bookmark. Anyone else knows about this? Ingvald -- Ingvald Bergsagel Origo ========================================================================= Date: Tue, 9 Jan 1996 11:19:01 -0800 Reply-To: Gail McIntosh From: Gail McIntosh Subject: Re: Rick Holmstrom In-Reply-To: <199601090504.AAA15090@listserv.brown.edu> On Saturday, January 6, don.o@CHRYSALIS.ORG wrote: >Anyone else out there enjoying that new Rick Holmstrom CD on Blacktop, >"Lookout"? Did you notice the interesting personnel listing on several >tracks of "King of the Jungle" on harp and "Jane" on piano? I'm suspecting >that's Rod and Honey Piazza (Bott and Stuve are credited on the same >tracks). Is that meant to vex and perturb Blacktop or is it meant to >be some kind of = inside joke? Just curious. >Anyone got the inside scoop? My guess is that "King" and "Jane" are in fact Rod and Miss Honey. Jimi Bott and Bill Stuve are the rhythm section of the Flyers. The two tracks with this lineup were cut in one day (July 19)...would make sense. It's also nice to see Jeff Turmes (from the Harman band of a few years ago!) getting it on througout! RE the cute nicknames: Is this meant to "vex and perturb" Black Top? I don't think so. Seems more like some goodhearted fun...maybe there's some sort of contractual arrangement that would prevent them from being listed. Maybe not. I'm thinking that this was done in the fun-filled spirit of many recording sessions. Keep in mind that Holmes produced this record for Black Top...it would be pretty much out of the question to produce something to "vex and perturb" the label while asking them to distribute it. Usually does not make for the best artist/label relations... ___________________________________________________________ ___________________________________________________________ gailm@rounder.com One Camp St. Cambridge, MA 02140 http://harp.rounder.com or gopher harp.rounder.com ___________________________________________________________ ___________________________________________________________ ========================================================================= Date: Tue, 9 Jan 1996 08:48:21 -0800 Reply-To: James Carmin From: James Carmin Subject: Re: LUCKY PETERSON & OTIS GRAND Jose Antonio Revilla Garcia says: > Lucky Peterson is coming in a few weeks to my city.I don't know him >very much, could you plese tell me what kind of blues does he play? > > Am I going to enjoy him? :-? Yes you are. Son of blue man James Peterson, Lucky's been playing *high energy* guitar and keyboard for quite a while despite being only 31. When I saw him last he walked right on out the bar and kept playing his guitar on the street. He's quite a performer who probably doesn't get to Spain that much, so I'm sure you'll enjoy him. James C. jcarmin@teleport.com ========================================================================= Date: Tue, 9 Jan 1996 12:04:26 -0500 Reply-To: MK Sheffield From: MK Sheffield Subject: Re: Laid Back & Instrumental >> On 8 Jan 96, Sergeant Cyber had this to say: . Can anybody give me the titles of a few discs that are mostly instrumental and laid back. Thanks. >> >> >> Try "Yanni at The Acropolis" > > >In you're dreams! Everyone knows that the *best* instrumentals are by >Kenny G! And let's not forget John Tesh! If you *really* want some good >instrumental music, just ask MK Sheffield. I'm sure she could set you >up. :) > >Seriously, though. How about Kenny Burrel? He's instrumental, and a >little more jazz than blues, but still, great laid back instrumentals >(and he does a pretty killer version of "Summertime" as well.) > >Abe >awmathew@mtu.edu > > Absolutely! If you are looking for excellent instrumentals, Tesh is definitely the way to go...If you are looking for excellent instruments and not THROW UP, you might want to check out Frank Morgan, Mark Isham, or Mitch Watkins. :) Some of their stuff is jazz, but all three have blues influences and all their stuff is great. (Mark Isham's "Blue Moon" is perhaps one of the best "Blue Moon" covers ever, IMHO.) P.S. Abe's DOKKEN and QUEENSRYCHE box sets are almost as extensive as the aforementioned (non-existent) Tesh collection! :-) Mary Katherine mksheff@cennet.mc.peachnet.edu ========================================================================= Date: Tue, 9 Jan 1996 19:04:38 +0200 Reply-To: T P Uschanov From: T P Uschanov Subject: Re: Laid Back & Instrumental Comments: To: MK Sheffield In-Reply-To: <199601091704.MAA13141@cennet.mc.peachnet.edu> > Can anybody give me the titles of a few discs that are mostly instrumental > and laid back. Thanks. Anything by Bill Doggett or Earl Bostic on the King label. T P Uschanov (Mr), University of Helsinki, Finland, European Union. tuschano@cc.helsinki.fi ---- http://www.helsinki.fi/~tuschano/ "Property is theft." (Pierre-Joseph Proudhon) ========================================================================= Date: Tue, 9 Jan 1996 09:18:46 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: A TRIBUTE TO DR. HEPCAT (aka LAVADA DURST) Comments: To: BluesHvn@aol.com LAVADA (DR. HEPCAT) DURST b.1913/JAN/09, AUSTIN, TX - d.1995/OCT/31, AUSTIN, TX ============================================================================== "This is Dr. Hepcat, Lavada Durst, in the cool of the evening, wishing you a very warm good night." ~ Lavada Durst, KVET Radio Today is Dr. HEPCAT's birthdate. The following obit by Ray Templeton appeared in the Christmas issue of BLUES & RHYTHM : THE GOSPEL TRUTH (issue #105). Joel Slotnikoff's BLUES WORLD homepage is now including sample articles from this wonderful english blues magazine. Visit the site and find out what all the fuss is about. You'll find other obits (Big Dee Irwin, Mr. Bo), CD Reviews (Arthur Gunter, Little Sammy Davis, Billy Boy Arnold, etc), Book Reviews, available back issues & subscription information. LAVADA DURST aka DR.HEPCAT The unique world of Texas blues piano suffered yet another serious loss on 31st October, 1995 with the death of Lavada Durst. Durst's music, so far as we know it, straddled the older Texas Santa Fe traditions on the one hand and the more modern, cosmopolitan boogie styles on the other. He was born on 9th January 1913 in Austin, Texas and learned piano early in childhood, Durst was strongly influenced by hearing players like Pete Johnson, Meade Lux Lewis and Albert Ammons on the radio, but locally he learned much from one of the greatest exponents of the Santa Fe style, Robert Shaw, as well as other Austin and peripatetic barrelhouse pianists. He worked in baseball for much of his life, training players and announcing games, and it was from the latter activity that he graduated to working as a DJ, broadcasting over KVET, a white station in Austin. There he developed the persona of Dr.Hepcat, with an extraordinary line in jive talk (which he published in a book, "The Jives of Dr.Hepcat"), which he used for announcing records. He also made a few records of his own, but despite his high profile on radio, it appears that these can't have sold very well, as they are extremely rare, even one issued on the comparatively major independent label Peacock; the other two were on the local Uptown label, one issued under the pseudonym of Cool Papa Smith. For both Uptown and Peacock, he recorded versions of the traditional Texas classic "Hattie Green", which he had learnt from Robert Shaw, and generally his records suggest a very accomplished musician, with a distinctive vocal style, equally at home as a soloist or with a band. Mike Rowe interviewed him in the 1970s ("The Jives of Dr.Hepcat", Blues Unlimited 129, p.4-7; this excellent article has provided the background information for the present obituary), by which time he was a minister at the Olivet Baptist Church. Despite having embraced the ministry, he was not averse to playing the blues, and Rowe recorded enough material for an album, which unfortunately has never been issued. He did record again some years later, and the results of this appeared on the Catfish LP "Texas Piano Professors". Regional piano styles have all but died out in the United States, and sadly Durst's death severs almost the last link with one of the most beautiful and distinctive of them. ~ Ray Templeton, Blues & Rhythm ========================================================================= Date: Tue, 9 Jan 1996 12:21:12 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Little Willie L and Jay McShann Comments: To: jpotting@pi.net On January 9, jos potting asked: >>>For the second time I heard the name of Jay >>>McShann, now in a blues context: he played with >>>Clarence >>>'Gatemouth' Brown (in Paris 1973, for the Black and >>>blue label). But according the notes there has to be >>>more Jay >>>McShann, playin' the blues piano: does anybody >>>have suggestions on where to search. Jay McShann played at the Kansas City Blues Festival a few years ago. He was in excellent health, played great and signed autographs and posed for pictures after the show. Maybe someone in KC can post a Jay McShann update and I think he is still alive and waiting for his next gig. Dick Waterman ========================================================================= Date: Tue, 9 Jan 1996 13:01:06 -0500 Reply-To: Orange2@NEWS-E2A.GNN.COM From: Orange2@NEWS-E2A.GNN.COM Organization: GNN Subject: Hadda Brooks Comments: To: bit-listserv-blues-l@uunet.uu.net Mike Meadors Orange2@gnn.com ========================================================================= Date: Tue, 9 Jan 1996 13:02:50 -0500 Reply-To: Orange2@NEWS-E2A.GNN.COM From: Orange2@NEWS-E2A.GNN.COM Organization: GNN Subject: Hadda Brooks Comments: To: bit-listserv-blues-l@uunet.uu.net Does anybody know if Hadda Brooks is still alive? Does she have anything in the vein of a greatest hits or top songs of her career type of thing? Thanks ... Mike Meadors Orange2@gnn.com ========================================================================= Date: Tue, 9 Jan 1996 13:08:26 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Laid Back & Instrumental Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com >> On 8 Jan 96, Sergeant Cyber had this to say: *. Can anybody give me the titles of a few discs that are mostly instrumental *and laid back. Thanks. Thelonius Monk - Solo Monk Toots Thielemans - Footprints Jeff Aug - The Last Enlightening Moment Before Sleep Prevails Just about anything by John Fahey ========================================================================= Date: Tue, 9 Jan 1996 10:20:34 -0800 Reply-To: James Carmin From: James Carmin Subject: LLOYD JONES: "Trouble Monkey" Barry mentioned that AudioQuest has come out with some great blues lately, and I=B9d have to agree, especially having hearing LLOYD JONES=B9s =B3Troubl= e Monkey=B2 (AudioQuest Music AQ1037, recorded in March '95, and recently released). Guitarist, singer, and songwriter, Lloyd Jones is a longtime Portland OR mainstay and it=B9s great to hear him now on a national label where hopefull= y he=B9ll get the recognition he richly deserves. Having performed in various bands in the past with other Portland greats including Paul deLay, Jim Mesi, and Curtis Salgado, this disc is his best yet starting out strong with =B3Can=B9t Get You Off Of My Mind=B2 that has that horn-backed kind of = funky R&B soul blues that is the Lloyd Jones signature. Lloyd wrote almost all of the 12 tracks on this disc and proves he=B9s a great blues writer (other blues artists know it too, as Joe Louis Walker opened up =B3JLW=B2 with a co= ver of this track). Moving on to =B3I Broke My Baby=B9s Heart,=B2 Lloyd and band do an almost straightahead soul track that reminds me a little of some early Robert Cray. The title track =B3Trouble Monkey=B2 is a punchy number which shows o= ff Lloyd=B9s excellent guitar work, and fine horn work by Rudy Draco, Warren Rand, Steve Cannon and Bob =B3Housewine=B2 Roden. Lloyd next covers Larry Pindar=B9s =B3Old Friends=B2 which is a great West Coast kind of blues. Her= e Lloyd=B9s singing style isn=B9t flashy, but it=B9s sincere and you can feel = his emotions coming out. The title of =B3I=B9ll Be Laughing (When He Makes You Cry)=B2 says it all: the blues singer gets a message on his machine saying his baby found another man; this is a standard blues theme but updated with great changes. Guest vocalists Terry Evans (whose own new AudioQuest cd is *great* and I=B9ll soon review here) and Ray Williams add some gospel layers to this great track. Terry=B9s voice is real apparent on =B3(Just About To) Bust Up a Love=B2 as = Lloyd and band continue the traditions of blues; here some real funky tenor sax winds around a bit. The next track, =B3Don=B9t Call Me Today,=B2 is one of = the strongest and opens up like a lot of these great songs, with a strong drum beat by Reinhardt Melz and other percussion by Bobby Torres. Here, after Lloyd gets through singing about going downtown to buy a new silk shirt and a great big Panama hat, Glenn Holstrom (who also arranged the horns throughout the disc) kicks in with some wonderful keyboard while Victor Little plunks his funky bass. This track is about Lloyd feeling great but the phone rings and trouble seems to keep trying to call him up: he=B9s on his knees, beggin=B9 please. After kicking back with =B3No More Crying=B2 that shows off all those horns= , Lloyd slows down to do a mostly acoustic track with =B3Long, Long Way to Go.= =B2 It=B9s another traditional blues theme about the traveling blues musician singing to his baby about getting home but with a metaphorical twist: the bluesman and his baby=B9s relationship has a ways to go too. Movin=B9 on to a Fats Domino cover, =B3Rosemary,=B2 and another travelin=B9 = song, =B3When I Get Back Home,=B2 Lloyd ends this fine disc with a cover of Sleepy John Estes=B9s =B3Drop Down Mama.=B2 Noting in the liner notes that Lloyd= had a spare 13 minutes in the studio, he and dummer Reinhardt Melz put together a fine and funky version of this classic in almost no time at all. If you=B9re looking for something a little different, definitely fresh, full of great horns but still most certainly the blues as contemporary as ever, check out Lloyd Jones=B9s latest and let me know what you think. And come t= o Portland where you can catch Lloyd every week! James Carmin jcarmin@teleport.com ========================================================================= Date: Tue, 9 Jan 1996 13:24:17 -0500 Reply-To: "Abe W. Mathews" From: "Abe W. Mathews" Subject: Re: Laid Back & Instrumental In-Reply-To: <199601091704.MAA13141@cennet.mc.peachnet.edu> from "MK Sheffield" at Jan 9, 96 12:04:26 pm MK "The baaaaaaaaackstabber" Sheffield wrote: > P.S. Abe's DOKKEN and QUEENSRYCHE box sets are almost as extensive as the > aforementioned (non-existent) Tesh collection! :-) Dokken's got a boxed set out????? WHERE??? I haven't seen it yet!!! Has anyone heard their version of "Mannish Boy?" Not to be missed!!! PW, can you help me out here? I think I'm a little outgunned. Abe awmathew@mtu.edu ========================================================================= Date: Tue, 9 Jan 1996 13:40:15 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Re: A TRIBUTE TO DR. HEPCAT (aka LAVADA DURST) Comments: To: leblanc@dao.nrc.ca In-Reply-To: <9601091718.AA27811@dao.nrc.ca> from "Eric LeBlanc-CISTI" at Jan 9, 96 09:18:46 am In another time and place, Eric LeBlanc-CISTI said: > > > Today is Dr. HEPCAT's birthdate. The following obit by Ray Templeton appeared in > LAVADA DURST aka DR.HEPCAT > > white station in Austin. There he developed the persona of Dr.Hepcat, with an > extraordinary line in jive talk (which he published in a book, "The Jives of > Dr.Hepcat"), which he used for announcing records. He also made a few records In my files, I just happen to have a copy of "The Jives of Dr Hepcat." In honor of Lavada Durst, I think I'll hip you to some of his jive. "It's blues time and if it falls on some chappie he'll do the "dipsy doodle." Here is a guy that will move you in from the outskirts of town because he breathes natural gas and everything is in a high blaze so droop to listening to a real gone cat whose(sic) loaded his knowledge box in the house of the righteous, and can lo blow." We have another great Blues DJ at our station who hasn't yet made it onto the Net. I would say one of his heroes is Dr Hepcat. He has adopted Dr. Hepcat's patter and can jive talk like noone else I've ever heard. Our Professor Bebop closes his show with Dr. Hepcat's Prayer, which I think is a great way to end this additional tribute to Lavada Durst. "I stash me down to cop a nod, if I am lame I'm not to blame, the stem is hard. If I am skull orchard bound, don't clip my wings no matter how I sound. In the early bright when Gabe makes his toot you must believe I'll have everything alroot. With that fly cat I'll chill my chat and fall on my righteous pad and cop a nod like mad." Tom /\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/ The NEW ADDRESS for my Jazz and Blues Web Site is: http://redlt.com/tom/ Free-lance writer//Program Director WTJU 91.1//Internet Consultant ========================================================================= Date: Tue, 9 Jan 1996 13:14:00 -0600 Reply-To: Timothy M Dellinger From: Timothy M Dellinger Subject: Re: What's Kid Bailey singing? Comments: cc: tdelling@uiuc.edu > > Help. I gots t' know. What is Kid Bailey singing in the 4th and 5th > verses of "Rowdy Blues" (Yazoo 2002 "Masters of the Delta Blues"). > I've got this one on the Document CD "Son House and Masters of the Delta Blues" or some title similar to that. Here is what I suspect are the lyrics: > Ain't gonna marry and settle down > I'm gonna stay right her and tear this barrelhouse down. > ...right here til they tear this barrelhouse down. > > Did you ever been lucky woke up___ (2X) > I would call that ___ nothin but a ____. > ...woke up (coal? coat?) in hand > I love you baby you so nice and brown (2X) > cause you put up ___ so he won't come down. > ...put up solid, so it won't come down. I'm assuming that this verse is in reference to a woman's breasts, which tend to sag if they're not "put up solid." > Said did you get that letter mailed in your backyard (2X) > sad words but true best old friends have to part. > ...best of friends... These are just my opinion! Does anyone else have other thoughts? ========================================================================= Date: Tue, 9 Jan 1996 13:13:13 CDT Reply-To: "Hubbell, Christy" <96625@MHS77.DSC.K12.AR.US> From: "Hubbell, Christy" <96625@MHS77.DSC.K12.AR.US> Organization: mhs77.dsc.k12.ar.us Subject: Hello? Scatman? Somehow, I think, this is the only way I can get to you. -Christy P.S. Sorry all I did not mean to break the rules-you know personal notes. :-) ========================================================================= Date: Tue, 9 Jan 1996 14:38:51 -0500 Reply-To: cmasenas@vnet.ibm.com From: "Charles J. Masenas" Organization: IBM Microelectronics Division, Burlington, VT. Subject: Re: LUCKY PETERSON & OTIS GRAND Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199601091648.IAA03241@desiree.teleport.com>, James Carmin writes: > > Am I going to enjoy him? :-? > Yes you are. Son of blue man James Peterson, Lucky's been playing *high > energy* guitar and keyboard for quite a while despite being only 31. When > I saw him last he walked right on out the bar and kept playing his guitar He is a showman, for sure. His blues pushes the envelope toward jazz. I saw him at the Glens Falls, NY blues festival last year. He led the crowd around the streets like a pied-piper (his guitar has a wireless transmitter) while his band kept playing in the gazebo. The crowd loved it. -- ------- Regards, Charles J. Masenas ========================================================================= Date: Tue, 9 Jan 1996 13:38:16 CDT Reply-To: "Carr, Carrie M." <96240@MHS77.DSC.K12.AR.US> From: "Carr, Carrie M." <96240@MHS77.DSC.K12.AR.US> Organization: mhs77.dsc.k12.ar.us Subject: scatman? Hey blues people- I'm looking for scatman...Is he anywhere around here? I can't write him unless I reply to a message sent from him and I *accidentally* forgot and deleted all of his. Sorry to post a personal message to the list but -desperately seeking Scatman- Please help...Thanks for listening. Bye-bye;) ========================================================================= Date: Tue, 9 Jan 1996 22:02:57 +0200 Reply-To: Capolos Giannis From: Capolos Giannis Subject: Info about the BLUES WIRE Hi everybody, can you give me any piece of info about the blues band called "BLUES WIRE" ? Thanks boys and girls. ========================================================================= Date: Tue, 9 Jan 1996 15:09:27 -0500 Reply-To: MK Sheffield From: MK Sheffield Subject: EMBARRASSING NON-BLUES RECORDINGS Abe (otherwise known as AMP-man! He can leap tall Peaveys in a single bound) had this to say: > >Dokken's got a boxed set out????? WHERE??? I haven't seen it yet!!! >Has anyone heard their version of "Mannish Boy?" Not to be missed!!! > >PW, can you help me out here? I think I'm a little outgunned. > >Abe >awmathew@mtu.edu > OK, OK...truce! But, just so we can let everybody else "play in all our reindeer games," I'd like to hear what OTHER blues-l folks are (almost) embarrassed to say they listen to. (Other than blues.) Or an album that you can't believe you bought, but never threw away. :) I'll even start. I have...(gosh, this hurts) TWO Barry Manilow albums... and...I still have that Ronco Records Disco Duck record I bought off TV back in the 70's. :) I also have almost everything Todd Rundgren ever did...and I'm DAMN proud of it! :) Whew! Confession is so good for the soul! Mary Katherine mksheff@cennet.mc.peachnet.edu ========================================================================= Date: Tue, 9 Jan 1996 14:57:21 EST Reply-To: TRADITION@RYKO-MA.CCMAIL.COMPUSERVE.COM From: David Greenberg Subject: mississippi fred mcdowell I am looking for a very good to excellent copy of the following album by Mississippi Fred McDowell. It was originally released here on the Archive Of Folk & Jazz, which we bought, and that master sucks. I believe it was originally issued on the Transatlantic label. The songs may be in a different order (as I have noted on a few reissues of the same material). The Tracklisting: What's The Matter With Papa's Angel Child You Gotta Move Get Right Church Levee Camp Blues Keep Your Lamp Trimmed And Burning Big Fat Mama Unknown Blues Good Morning Little Schoolgirl You Ain't Gonna Worry My Life Anymore The Train I Ride ========================================================================= Date: Tue, 9 Jan 1996 13:42:08 CST6CDT Reply-To: SOXTON@CHE2.CHE.UMN.EDU From: Sara Oxton Organization: University of Minnesota Subject: Re: Little Willie L and Jay McShann Jay McShann played a one-nighter here last spring. He was backed by a guitar and upright bass, and sounded great. He looked great too. If you get a chance to see him, don't miss it. Sara > >>>>For the second time I heard the name of Jay >>>>McShann, now in a blues context: he played with >>>Clarence >>>>'Gatemouth' Brown (in Paris 1973, for the Black and >>>blue label). But >according the notes there has to be >>>more Jay >>>>McShann, playin' the blues piano: does anybody >>>have suggestions on >where to search. > >Jay McShann played at the Kansas City Blues Festival a few years ago. He was >in excellent health, played great and signed autographs and posed for >pictures after the show. >Maybe someone in KC can post a Jay McShann update and I think he is still >alive and waiting for his next gig. > >Dick Waterman > ========================================================================= Date: Tue, 9 Jan 1996 15:21:39 -0500 Reply-To: HugeSmall@AOL.COM From: Boyd Small Subject: Re: Hadda Brooks Comments: To: Orange2@news-e2a.gnn.com >Does anybody know if Hadda Brooks is still alive? Does she >have anything in the vein of a greatest hits or top songs of >her >career type of thing? I have a 78 record entitled "Modern Music Presents Hadda Brooks Boogie". It lists other modern music records by Hadda Brooks: Swinging the boogie, Rocking the boogie, Riding the boogie,Polonaise Boogie, and Society Boogie. The address on the record for Modern Music Co is 678 1/2 South Vermont , Los Angeles Ca. Who Knows? ========================================================================= Date: Tue, 9 Jan 1996 12:21:58 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: MAXWELL STREET JIMMY DAVIS dies at 70 Comments: To: BluesHvn@aol.com Country Blues singer/guitarist MAXWELL STREET JIMMY DAVIS has died. Born Charles W. Thompson, on November 30, 1925, Tippo, MS., he died on Thursday, December 28, 1995, Chicago, IL. "One of the finest and most expressive of blues performers who regularly work the steet is .... Maxwell Street Jimmy. In his dark, urgent, powerful singing and rhythmically incisive guitar playing are strong, pungent echoes of his yourth in the Mississippi delta, that spawning ground of so many great bluesmen. Jimmy is natural heir -- by way of John Lee Hooker and Tony Hollins -- to that tradition of stark, emotionally direct blues singing that goes all the way back to Charlie Patton and Willie Brown, among others; though it has been tempered to a degree by developments that have taken place in the blues over the last few decades, Jimmy's style of singing and playing has remained remarkably pure and faithful to the spirit of the older Mississippi blues bards." ~ Peter Welding, ELEKTRA 303 (1965) First recorded on August 12, 1952, in Sam Phillips' Union studio, dubs were sent to Chess & Bullet Records, but so no acetates have been reissued. Elektra Records would change all that in 1965, by issuing Elektra 303, an album featuring his interpretations, including blues by John Lee Hooker & Muddy Waters, two of him main influences. Other Norman Dayron recordings from this period were issued on Flyright, Roots, Sonet and Testament Records. In 1994, Hightone Records, in their massive reissue of Pete Welding's Testament label, reissued Testament 5009 which contained 4 tracks (2 unissued) from Drayon's recordings. MAXWELL STREET JIMMY DAVIS was a traditionalist and drew his lyrics & songs from other bluesmen. The 1989 Wolf CD is a good example of his music where he performs songs by Muddy Waters, Jimmy Rogers, Howlin' Wolf and Lightnin' Hopkins ; and with guest artists like Lester Davenport (hca) and Kansas City Red (drums), you also have the all important variety element. He was survived by two sons; three brothers; and a sister. Services were held on January 5/1996, in Leak & Sons Funeral Home, Chicago. I'd like to thank Dick Shurman, Tony Burke, David Silberberg, & Joel Slotnikoff for help with this posting. Joel Slotnikoff's BLUES WORLD Web site is a place that everyone should visit if you're at all interested in the blues. It's an e-mag of blues and jazz artists, music information, images, 78rpm records, and CD reviews. Take a look & I'm sure you'll want to include this site on your hotlist-bookmarks. CD DISCOGRAPHY ============== BULLSEYE BLUES 9530 : VARIOUS - RARE CHICAGO BLUES 1962-1968 (1 cut) TAKOMA CD 72822 : VARIOUS - TAKOMA BLUES (3 cuts) TESTAMENT 5008 : VARIOUS - MODERN CHICAGO BLUES (4 cuts) WOLF 120.857 : MAXWELL STREET JIMY DAVIS - CHICAGO BLES SESSION V. 11 ========================================================================= Date: Tue, 9 Jan 1996 15:25:18 -0500 Reply-To: MAGross@AOL.COM From: "Michael A. Gross" Subject: Re: SITTING & THINKING: Doug MacLeod - Come to Find Comments: To: levyt@rl.af.mil > Doug MacLeod is a West Coast bluesman who has recently > convertedfrom electric to acoustic. After a string of albums > in the 80s, MacLeod decided to permanently unplug and > the happy results of this decision are on this cd. A great cd. My favorites are "When I Left Missouri" and "Since I Left St. Louis." Guess that makes me some sort of malcontent, since I am parked in St. Louis. I have been told that Doug MacLeod is very popular in Europe and that last year he was playing regularly at B. B. King's club in L.A. Michael Gross ========================================================================= Date: Tue, 9 Jan 1996 15:32:01 -0500 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Blizzard Bound Blues! Comments: To: bit-listserv-blues-l@uunet.uu.net I am STUCK here in the house with 30 inchs of snow outside my door. Now if this isn't a great situation for a blues song... Anyone else braving the storm? Lea Gilmore in "Snow White" Baltimore, MD "Widl Women Don't Get the Blues!" ========================================================================= Date: Tue, 9 Jan 1996 12:44:36 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Othar Turner- Fife and Drum Tom Freeland wrote: >Those of you who have asked me how to find out what is going on in Memphis>may remember that I referred you to Shangri-La Records. The record Tom>Morgan described was produced by one of the Shangri-La folks and by Luther>Dickinson, who is the son of Memphis music figure Jim Dickinson. Everyone on>this list there should hear fife and drum music. The record also has>interesting packaging, with great photos (including one on once label side.> How about it, Mary Katherine. Is this one they should get? How did *I* get elected as our neighborhood fife and drum authority? Wish someone would get Dave Evans online, and onto this list. But to answer the question: Absolutely Yes. I am constantly amazed (and pleased) to discover, in various parts of the country and in various musical forms, occasional pockets of "music that time forgot". No MTV influence here, folks, this is the real thing. (Hey Tom, I wish *I* had a brother who owned a record store!) Mary Katherine ========================================================================= Date: Tue, 9 Jan 1996 13:00:26 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Hadda Brooks Comments: To: Orange2@NEWS-E2A.GNN.COM Mike Meadors (Orange2) wrote: > >Does anybody know if Hadda Brooks is still alive? Does she have >anything in the vein of a greatest hits or top songs of her career >type of thing? Hadda Brooks is alive, sassy, funny and wonderful. She lives in Hollywood, still singing too! Her newest CD, Time Was When, recorded this past fall (1995) is about to be released on Pointblank/Virgin. Trivia buffs please note: Last year, Pointblank put out a reissue of Hadda's Modern sides, the earliest of which were cut in 1945. This makes her, I am sure, the only artist to have two CDs in current release on the same label which were recorded fifty years apart!! Although I am not affiliated with her in any way, I did do a fairly long interview with her which ran in Living Blues, issue #118 and might provide some background. Mary Katherine ========================================================================= Date: Tue, 9 Jan 1996 13:10:34 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: There's another Mary Katherine???? I just noticed a post on blues-l signed Mary Katherine, which I *knew* I hadn't written!! Checked the header and find that the person's full name is Mary Katherine Sheffield. In future I am going to sign all my posts with my full name to avoid possible confusion. Mary Katherine Aldin (no longer the only Mary Katherine on the list) ========================================================================= Date: Tue, 9 Jan 1996 13:06:00 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Hadda Brooks Comments: To: HugeSmall@AOL.COM Boyd Small wrote: >I have a 78 record entitled "Modern Music Presents Hadda Brooks Boogie". It>lists other modern music records by Hadda Brooks: Swinging the boogie,>Rocking the boogie, Riding the boogie,Polonaise Boogie, and Society Boogie.>The address on the record for Modern Music Co is 678 1/2 South Vermont , Los>Angeles Ca. Who Knows? Just to save folks some time, Modern has been out of business for ages. That address is now a place to get your fingernails extended, or some such. The Modern masters are presently owned by Virgin Records, who are (*way too slowly*!) reissuing them in dribs and drabs on their Pointblank/Virgin label. Mary Katherine ========================================================================= Date: Tue, 9 Jan 1996 21:15:35 GMT Reply-To: Steven Levine From: Steven Levine Organization: CAPCON Library Network, Washington, DC Subject: Blues Calendar A couple of people asked about blues calendars last week. The one I have is called "The Blues." It has photographs from Steve LaVere's collection, with text compiled and written by LaVere. It is published by Pomegranate Calendars & Books. Their address is Box 6099, Rohnert Park, CA 94927. The catalog number for the 1996 calendar is 96099. I'm not associated with Pomegranate Books & Calendars, I'm just trying to help some folks find a cool calendar. -Steve -- ========================================================================= Date: Tue, 9 Jan 1996 13:42:32 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: A TRIBUTE TO EDDIE VINSON : MR. CLEANHEAD - PART 1 OF 3 Comments: To: BluesHvn@aol.com EDDIE "CLEANHEAD" VINSON TRIBUTE (part 1 of 3) Alto saxophonist & singer EDDIE "CLEANHEAD" VINSON was born Tuesday, December 18, 1917, Houston, TX. "Folks call me Mr. Cleanhead, 'cause my head is bald on top (2x) Every week I save a dollar, when I walk by the barber shop" ~ "Cleanhead Blues" (Mercury, 1946) "Cleanhead" Eddie Vinson combined bop and blues vocals in a completely unique manner. Influenced by Johnny Hodges, Vinson's alto sax work with its spiraling lines, intense tone and forceful sound were delivered with a searing intensity. His blues singing had a jagged, animated edge but also a tender underpinning, and was performed with a mix of earthy humor and resigned irony. The actual composer of both "Tune Up" and "Four" (Miles Davis was wrongly credited) Vinson performed his bop/blues hybrid from the '30s to the '80s. He joined Arnett Cobb and Illinois Jacquet in Chester Boone's big band one year after he'd begun playing alto sax. He stayed in the band from 1935 until 1941, while it changed leaders to Milt Larkin in 1936 and Floyd Ray in 1940. Vinson toured the South with blues vocalists Big Bill Broonzy and Lil Green, then went to New York, joining Cootie Williams' band. He had a huge hit in 1944 with "Cherry Red Blues." He recorded with Williams' band on Okeh, Hit and Capitol. Vinson led a big band in 1946 and 1947, and septet with John Coltrane, Red Garland and Johnny Coles in 1948. There were sessions with Mercury and King in the late '40s and early '50s, then later for such labels as Bethlehem, Riverside, Delmark and BluesWay. He kept working and recording, but didn't enjoy renewed popularity until 1969, when a European tour with Jay McShann and recording of "Wee Baby Blues" alerted old and new generations about Vinson. This band also recorded for Black and Blue. Vinson played and recorded frequently in the '70s and '80s, working with Count Basie, Johnny Otis, Arnett Cobb and Buddy Tate, even Roomful of Blues. He did sessions in the '70s and '80s for Muse, Fantasy, Circle and Pablo. Vinson's playing strongly influenced Cannonball Adderley; a healthy amount of Vinson dates are available on CD, much of the Muse and Pablo, as well as material on Black & Blue, Delmark, Fantasy, Bluebird and Landmark. ~ Ron Wynn, All-Music Guide EDDIE "CLEANHEAD " VINSON died Saturday, July 02, 1988, Los Angeles, CA. He was survived his wife of 51 years, Bernice; and 3 daughters, 5 grand-children and one great-grandchild. ========================================================================= Date: Tue, 9 Jan 1996 17:03:01 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: other embarassing albums... I still own a copy of Gary Glitter's album. It has a piece of masking tape on it with $1.00/DP on it -- I tried to sell it at a garage sale some twenty years ago. Can't believe I still own it. I also bought one disco 45 -- but for a good cause: I went to that disco explosion thing at Comiskey Park back in the late 70s. You got in for free (or at a substantially reduced price... it's all hazy now [and then]) with a disco 45. They collected them all and blew 'em up on the field. Of course, highschoolers as we were, we also snuck in booze and bottle rockets and stuff like that. I remember shooting bottle rockets at the umpires. I also thought it was an honor to be the last guy to shake Steve Dahl's hand just before he drove out onto the field dressed in some military uniform. People all around him were throwing G.I. Joe dolls at him. Really stupid stuff. I couldn't be imagining all of this, could I? Dave Prychitko ========================================================================= Date: Tue, 9 Jan 1996 16:40:05 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: SITTING & THINKING: Doug MacLeod - Come to Find Comments: To: "Michael A. Gross" In-Reply-To: <960109152415_36451858@mail06.mail.aol.com> On Tue, 9 Jan 1996, Michael A. Gross wrote: > A great cd. My favorites are "When I Left Missouri" and "Since I Left St. > Louis." Guess that makes me some sort of malcontent, since I am parked in > St. Louis. I have been told that Doug MacLeod is very popular in Europe and > that last year he was playing regularly at B. B. King's club in L.A. And he just cut a CD due out soon (on Audioquest) with Carey Bell. The story of their meeting is wonderful. Doug was in a motel or hotel playing an acoustic set to nine people - it is the blues ain't it - and a friend introduces him to Carey. The rest hopefully will be history. I'm very eager and chom- ping at the bit to hear this one. I think there is still two or so months before it's available. It will get reviewed and posted to our page - hopefully here as well. NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 9 Jan 1996 17:12:31 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: EMBARRASSING NON-BLUES RECORDINGS Comments: To: mksheff@CENNET.MC.PEACHNET.EDU On 9 Jan 96, MK Sheffield had this to say... > Abe (otherwise known as AMP-man! He can leap tall Peaveys in a single > bound) had this to say: > > > >Dokken's got a boxed set out????? WHERE??? I haven't seen it yet!!! > >Has anyone heard their version of "Mannish Boy?" Not to be missed!!! > > > >PW, can you help me out here? I think I'm a little outgunned. > > > >Abe > >awmathew@mtu.edu > > OK, OK...truce! But, just so we can let everybody else "play in all our > reindeer games," I'd like to hear what OTHER blues-l folks are (almost) > embarrassed to say they listen to. (Other than blues.) Or an album that > you can't believe you bought, but never threw away. :) > > I'll even start. I have...(gosh, this hurts) TWO Barry Manilow albums... > and...I still have that Ronco Records Disco Duck record I bought off TV back > in the 70's. :) > I also have almost everything Todd Rundgren ever did...and I'm DAMN proud of > it! :) Before there is any more misunderstanding, I have to make one thing clear. The Yanni recommendation was a JOKE. I DO NOT OWN ANY YANNI RECORDINGS. However, I am still able to contribute to this thread. I own.... and purchased with my own hands... voluntarily... a Donny Osmond CD... I bought it after hearing a single cut. I believe it's a cover of a song called "Prisoner Of Love". I still play it now and then during a good game of stump the guest. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 9 Jan 1996 17:18:46 -0500 Reply-To: "Daryl F. Bernard" From: "Daryl F. Bernard" Subject: Re: EMBARRASSING NON-BLUES RECORDINGS Comments: To: MK Sheffield In-Reply-To: <199601092009.PAA13865@cennet.mc.peachnet.edu> > > OK, OK...truce! But, just so we can let everybody else "play in all our > reindeer games," I'd like to hear what OTHER blues-l folks are (almost) > embarrassed to say they listen to. (Other than blues.) Or an album that > you can't believe you bought, but never threw away. :) > Okay...but please be kind :-) ..... I bought (don't ask me why!) Bon Jovi _Slippery When Wet_ and worse yet, STILL HAVE IT! I DO enjoy listening to certain 'metal' groups such as White Zombie and Pantera, and thoroughly enjoy a good rockin' time with the likes of AC/DC (Bon Scott era), the Violent Femmes, and **numerous** other rockers. I am not limited to the blues - I have a very wide range of tastes. Daryl ========================================================================= Date: Tue, 9 Jan 1996 17:32:04 -0500 Reply-To: "Daryl F. Bernard" From: "Daryl F. Bernard" Subject: Re: other embarassing albums... Comments: To: "David L. Prychitko" In-Reply-To: On Tue, 9 Jan 1996, David L. Prychitko wrote: > > I also bought one disco 45 -- but for a good cause: I went to that disco > explosion thing at Comiskey Park back in the late 70s. You got in for > free (or at a substantially reduced price... it's all hazy now [and then]) > with a disco 45. They collected them all and blew 'em up on the field. > Of course, highschoolers as we were, we also snuck in booze and bottle > rockets and stuff like that. I remember shooting bottle rockets at the > umpires. I also thought it was an honor to be the last guy to shake > Steve Dahl's hand just before he drove out onto the field dressed in some > military uniform. People all around him were throwing G.I. Joe dolls at > him. > > Really stupid stuff. I couldn't be imagining all of this, could I? > > Dave Prychitko > No Dave, you're not imagining it--it really happened. I remember it well. I was up north at my Aunts small cottage and I was looking forward to my Detroit Tigers taking on the Sox at Chomiskey. Of course, as you said, it was Disco Demolition Night, and after 45 minutes and a large burnt, barren spot in center field, the smoke finally cleared and the game was cancelled, forfeitted to the Tig's. I remember thinking (I was about 15 at the time)..."it was worth it...disco really DOES suck!" Daryl "the closest I own to disco is Blondie" Bernard ========================================================================= Date: Mon, 4 Dec 1995 15:00:06 -0500 Reply-To: Holly Yanco From: Holly Yanco Subject: Johnny "Guitar" Watson and Jimmy Vaughan In-Reply-To: Richard Shurman's message of Mon, 4 Dec 1995 10:26:06 -0600 OK, so what's a good recording of Johnny "Guitar" Watson to start with? (and what if you can't afford a P-Vine 2CD set?) Oded ========================================================================= Date: Tue, 9 Jan 1996 23:36:58 +0100 Reply-To: Jose Antonio Revilla Garcia From: Jose Antonio Revilla Garcia Subject: NEED BLUES-FTP SITE!! Hi out there! I'm designing quite a cool blues Web page, and so I *do* need some blues related photographs, as well as biographies and so on. Could anybody tell me some of the best blues-ftp sites in the Net? Thanks. See you! ;-) ------------------------------------------------------------------------------ Everyday I Have The Blues * Co-SysOp AUDIN-BBS: (942)-21.81.03. 22:00-10:00.Universidad de Cantabria.* * Miembro de ACCE: Asociacion Cantabra de Correo Electronico * ========================================================================= Date: Tue, 9 Jan 1996 23:38:36 +0100 Reply-To: Jose Antonio Revilla Garcia From: Jose Antonio Revilla Garcia Subject: Recommended Luther Allison And sure he is one of the best Bluesman I've ever heard.Could anybody recommend some good LP's? See you! ;-) ------------------------------------------------------------------------------ Everyday I Have The Blues * Co-SysOp AUDIN-BBS: (942)-21.81.03. 22:00-10:00.Universidad de Cantabria.* * Miembro de ACCE: Asociacion Cantabra de Correo Electronico * ========================================================================= Date: Tue, 9 Jan 1996 23:40:21 +0100 Reply-To: Jose Antonio Revilla Garcia From: Jose Antonio Revilla Garcia Subject: How to play blues guitar-Recommend books Just the subject.Anybody feels like recommend some must in order to learn to play blues guitar? See you! ;-) ------------------------------------------------------------------------------ Everyday I Have The Blues * Co-SysOp AUDIN-BBS: (942)-21.81.03. 22:00-10:00.Universidad de Cantabria.* * Miembro de ACCE: Asociacion Cantabra de Correo Electronico * ========================================================================= Date: Tue, 9 Jan 1996 23:45:23 +0100 Reply-To: Jose Antonio Revilla Garcia From: Jose Antonio Revilla Garcia Subject: INSTRUMENTAL ALBUMS I'm the guy who is trying to make a list about some of the best instrumetal albums.This is what I have for the moment: -Freddie King Sings -F.King -Just Pickin' - F. King -Ronnie Earl & The Broadcasters - Still River /Language of the Soul/Blues Guitar Virtuoso -Truckin' - Albert Collins -Country Soul Guitar - Duke Levine -Rick "L.A." Holstrom - Lookout Please, feel free to reply this message adding whatever you think could be, and I'll post the list updated some days later.Thanks. See you! ;-) ------------------------------------------------------------------------------ Everyday I Have The Blues * Co-SysOp AUDIN-BBS: (942)-21.81.03. 22:00-10:00.Universidad de Cantabria.* * Miembro de ACCE: Asociacion Cantabra de Correo Electronico * ========================================================================= Date: Tue, 9 Jan 1996 23:47:29 +0100 Reply-To: Jose Antonio Revilla Garcia From: Jose Antonio Revilla Garcia Subject: ESSENTIAL BLUES Ist? WHERE? In-Reply-To: <9601092234.AA17691@ccaix3.unican.es> > > Please, could anybody tell me where the results of the First Essential > Blues Poll are stored? Thanks. See you! ;-) ------------------------------------------------------------------------------ Everyday I Have The Blues * Co-SysOp AUDIN-BBS: (942)-21.81.03. 22:00-10:00.Universidad de Cantabria.* * Miembro de ACCE: Asociacion Cantabra de Correo Electronico * ========================================================================= Date: Tue, 9 Jan 1996 22:30:22 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: mississippi fred mcdowell Comments: To: bit-listserv-blues-l@uunet.uu.net In article <960109195720_702420.204300_BHD65-55@CompuServe.COM> David Greenberg writes: > I am looking for a very good to excellent copy of the following album > by Mississippi Fred McDowell. It was originally released here on the > Archive Of Folk & Jazz, which we bought, and that master sucks. I > believe it was originally issued on the Transatlantic label. The > songs may be in a different order (as I have noted on a few reissues > of the same material). Tracklist deleted I don't know if it's the same recording but Drive Archive has a release called "Ain't Gonna Worry" (DE2-41040) which has the exact same tracklisting in the same order you list. The liner notes say they were made in London on March 6, 1969 and issued on England's Transatlantic label. If you bought the master to release them, someone's beat you to it. The liner notes don't mention the Archive of Folk & Jazz label. This release should be readily available as it has a 1994 copyright. Art Schuna ========================================================================= ========================================================================= ========================================================================= ========================================================================= ========================================================================= ========================================================================= ========================================================================= Date: Wed, 10 Jan 1996 07:45:02 GMT Reply-To: marc@az.vub.ac.be From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Was : Blues-l AWARDS Comments: To: bit-listserv-blues-l@Belgium.EU.net LW wrote some time ago : : Anyone interested in being in charge of the BLUES-L AWARDS. We can nominate : albums and artists of the year....acoustic & electric... : I am in no way interested in doing it, but I'll participate if someone else : would like to do the "work" If someone can help me with defining the different categories, I'd like to collect all your votes, process them and bundle them in a special Blues-L issue. I have quiet some experience with layouts/publishing. I can publish a 'blues-l newsletter' with the results of the Awards. And even drop a little cartoon on it ;-). What do you, bluezellers, think of my proposal ? embee. ps. Please send me your suggestions by private email at marc@az.vub.ac.be ========================================================================= Date: Wed, 10 Jan 1996 02:43:57 -0500 Reply-To: PrePhoto From: PrePhoto Organization: America Online, Inc. (1-800-827-6364) Subject: Ronnie Earl, was Ronnie Earl Horvath Comments: To: bit-listserv-blues-l@uunet.uu.net Seeing Ronnie Earl Horvath refered to as Mr Earl seems like calling SRV Mr Ray... I mean really, isnt this Ronnie Earl Horvath ex Roomfull, and Ronnie Earl Horvath and the Broadcasters?? The same guy who had a band rule that *This is the blues, and anybody who smiles on stage gets fined??* Bill - help me on this one Prelo ========================================================================= Date: Wed, 10 Jan 1996 01:31:08 CST6CDDT Reply-To: Poor ol Eric From: Poor ol Eric Organization: UW-Superior Subject: hendrix influences I just recently got the complete aladin recordings by lightnin hopkins. Its a 2cd set of his early recordings. I was wondering since lightnin doubles his voice on guitar on some of the songs on it and there is distortion on the guitar; and jimi did the same thing on such songs as vodoo chile and vodoo child (slight return) did jimi get this idea from lightnin? If not where did jimi get the idea of vocal doubling from? I havent heard of his hendrix's influences yet light albert king or buddy guy so i could be wrong. ========================================================================= Date: Tue, 9 Jan 1996 16:59:59 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Otis span[sic] question Rf> From: rflohil@inforamp.net (Richard Flohil) Rf> Subject: Otis Span[sic] question Rf> Yes, Laurie Forti, I WAS properly castigated by one and all for being Rf> snippy (snappy?) with the innocent who asked about ... Unfortunately, you seem not to have _understood_ the feedback enough for you to actually change your abrasive behavior, as your current message clearly demonstrates. To help you out further, the content of the feedback was rather simple: "drop the immature arrogance/personal insults and try to be polite and/or helpful". Rf> ... Otis Span[sic], and ... You apparently still haven't learned how to spell his name correctly, oh, Infallible Blues Expert. Rf> ... you've done a superlative job of adding to the ugliness, ... I wonder just how sincere and obviously necessary constructive criticism by several readers of your ongoing obnoxious behavior in public could be called "ugliness"; again, for your benefit, the intent of the criticism was for you to hopefully develop a bit of maturity and get beyond the traps of arrogance and personal insults. Rf> ... just when everyone else (even me!) had got over it. "Got over it" by apparently _ignoring_ it is a bit different than actually trying to learn from it and then raising the level of integrity and politeness of your verbal output is, as you demonstrate, quite different. Rf> May the force of the internet and your superior knowledge be with Rf> you. More arrogance and juvenile personal insults indicate that you, indeed, have not yet learned how to be polite; that WAS the issue, remember?? Just what do you hope to accomplish by this rude nonsense?? Rf> And if you really need a list of books that might include Rf> Otis Spann references and might be found in most (many?) libraries, Now, your position has softened from 'hey, you stupid, lazy kid, the libraries are full of books on Otis Spann' to 'might include' and 'might be found'. Hmmm..... Rf> Meanwhile, it's interesting to note that the person who Rf> started all Rf> this (I think his name was Noah) has never been heard from again. Rf> Either I frightened him away - surely he wasn't THAT sensitive? Apparently _some_ people don't like being insulted for their first message?? In fact, that this is true is indicated by a recent message that started something like 'this is my first post here, I hope I'm doing it right'. Rf> ... his query was, as I suspected, was as carelessly made as was his Rf> spelling. You are the one, Sir Richard, who _continues_ to spell "Span[sic]" incorrectly. "Careless"? "was" "was"? Rf> Okay, campers, can we forget this now, and go back to Rf> being nice to each other? Hopefully, when your own niceness lapses again, you will receive the appropriate feedback once more. ... "Ah jeeez.... who writes this crap?" Julie/The Maxx --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Tue, 9 Jan 1996 17:00:12 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Clone theory Jb> What interests me about the really dedicated clones, like Randy Jb> Hanson, is the Jb> motivation for investing that much energy and talent trying to be Jb> someone else. Jb> Surely if they tried as hard and just tried tro express their on Jb> musical vision, they'd be just as or more successful. Jb> There's something inherently sick about making a full time occupation Jb> out of trying to be someone else. Perhaps these clones (clowns?) simply have NO 'own musical vision'?? But consider, worse yet, some rock'n'roller who steals one of the Great Ones _lyrics_, and then backs them with generic make-believe blues/rock licks. Couple of years ago at a Blues Open Mike, some dude ripped off Tommy McClennan's 'Cross Cut Saw Blues' _lyrics_ and backed them with said gutless generic electric guitar pyrotechnics. After the performance, I congratulated him for the effort involved in finding a somewhat obscure artist, and asked if he respected McClennan enough to cop his lyrics why didn't he respect him enough to make the _effort_ to learn his MUSIC. The answer was 'that is my interpretation of the song'. Well, one does not 'interpret' the Mona Lisa and produce a popularized/bastardized version. I think this points out the basic lack of respect for the Founding Fathers generally shown by the Copy Cats, and the deeper musical issue that acoustic guitar technique, especially in Country Blues, is _totally different_ than electric guitar technique. The Canned Heat was the only derivative group that I know of that accurately duplicated the MUSIC of their sources, this only because of Al Wilson's personal deep respect for the real stuff. As a result, 10's of thousands of folks were exposed to _real_ Country Blues, something they would never had heard otherwise. Johnny Hammond can do faithful reproductions, too. ... "Believe what you will, until experience changes your mind!" Babylon 5 --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Tue, 9 Jan 1996 17:00:02 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Boogie woogie piano? Reply-To: Orange2@GNN.COM From: Somei Louie Subject: boogie woogie piano? Or> Anyone have any suggestions? I'd like to find a great boogie Or> woogie piano CD, something with barrelhouse blues/boogie on it Tain't CD's, but if you read, or scan, a couple of books might help. "The Blues, Boogie, and Barrelhouse Piano Workbook" by Arron Blumenfeld is a horrendously pedantic 232 page tome available from Ekay Music, 223 Katonah Ave, Katonah, NY 10536, $19.95. ISBN #0-943748-56-9 A companion tape of the 66 drills in the book are available for $5.95 from Aaron Blumenfeld, 2887 Tulare Ave, Richmond, CA 94804 "Bogie Woogie for Beginners" by Frank Paparelli, $5.95, MCA Publishing 7777 West Bluemound Rd, Milwaukee, WI 53213 is a 48 page book. I can't comment on the possible usefulness of these works because I don't read music. For the music itself, try anything by Meade Lux Lewis, Albert Ammons, or Pete Johnson. Since apparently you have a 'good ear', do you also have a MIDI setup?? I am trying to teach myself how to play Bluers piano, and I have been trying to find someone on Blues-l who can listen to some tracks and get them somewhat accurately into MIDI files, but to no avail. BTW, is that Agent Orange2?? ... "It is the journey that enlightens us, not the destination!" Kung Fu --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Tue, 9 Jan 1996 22:57:42 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Rules for clones If there is going to be a brisk trade in clones on this list, I think the following guidelines should be observed, at least for mine: My clone has to: do all my filing pay all my bills absorb all my flames Make all my deadlines (or come up with some incredibly creative excuses why my liner notes are late) Also, I feel confident in stating that *any* Mary Katherine clone is going to be better looking, a cleaner slide player and take more vitamins than any *two* SRV clones put together. The Honorable Member >From Oxford, however, wins the prize for having the most eccentric clone, at least so far... Mary Katherine Aldin, hoping the other Mary Katherine, whoever and wherever she is, has a sense of humor (or she'll be *lost* here) ========================================================================= Date: Wed, 10 Jan 1996 01:24:22 -0500 Reply-To: PrePhoto@AOL.COM From: Dave Prelosky Subject: Re: EC vs the Blues.II... Comments: To: rjbauman@iquest.net The point should have been maybe what CONTENT did I miss. Since I retired from life on the musical road - no I dont play, I was one of the crew guys - I havent had time to try and keep up with anybodys releases. When something came out means far less to me than what does an artist have to say. During my travels, I had the distinct pleasure of seeing NEARLY EVERY major blues artist as well as a host of more minor performers. While I do not by any means represent myself as a *Blues Scholar* I have experienced enough live performance to believe I can recognize a flat preformance when I hear one. When I heard the Clapton cover of Hoochie Coochie Man, I heard such a performance. The point I was trying to make was that I heard much form and little substance. Thanks for the listen.. *Cabin Fever* Dave Prelosky ========================================================================= Date: Wed, 10 Jan 1996 00:26:31 -0500 Reply-To: Michael Kaloyanides From: Michael Kaloyanides Subject: Re: EMBARRASSING NON-BLUES RECORDINGS Comments: To: "P.W. Fenton" In-Reply-To: <199601092216.RAA25372@osceola.gate.net> OK OK OK, That is my copy of THE THREE STOOGES SING FOR KIDS. But I swear I only play it in class to demonstrate transposing iterative form. Michael G. Kaloyanides ========================================================================= Date: Wed, 10 Jan 1996 03:00:25 -0500 Reply-To: Orange2@GNN.COM From: Somei Louie Subject: Re: Passing the Torch: The Waterman Files >If you've been following this thread relating to clones, you'll >know that I recently took the identity of Dick Waterman. My new >Watermanesque rock opera "The Check's In the Mail," which tells of >one man's struggle to get his 10% from an underhanded booking >agent, closed yesterday after only one performance. Actually, it >closed during the first act when an observant ticket taker noticed >that the theater was completely empty. > >In any case, Cathi N. and others seem to be clamoring for something >meaningful to do. Okay ... do Dick. You take him. He was nice to >have around, kinda fun, hey ... we had our moments ... but behind >the scenes ... well, best that you find out for yourself. > >For now, I officially return to MY OLD SELF. > >A clone is a clone is a clone is a clone is a clone is a, > > > > > > > Mike Meadors Orange2@gnn.com ========================================================================= Date: Wed, 10 Jan 1996 00:17:48 -0500 Reply-To: Michael Kaloyanides From: Michael Kaloyanides Subject: Re: There's another Mary Katherine???? Comments: To: Mary Katherine Aldin In-Reply-To: <199601092110.NAA03376@ix11.ix.netcom.com> On Tue, 9 Jan 1996, Mary Katherine Aldin wrote: > I just noticed a post on blues-l signed Mary Katherine, which I *knew* > I hadn't written!! Checked the header and find that the person's full > name is Mary Katherine Sheffield. > In future I am going to sign all my posts with my full name to avoid > possible confusion. > > Mary Katherine Aldin (no longer the only Mary Katherine on the list) > OH OH. First we have SRV clones, then Dick Waterman clones, now Mary Katherine clones. What next? Paul Fenton becoming an LW clone???? Dick Shurman becoming a Boogie Nation clone???? I shudder.... Michael G. Kaloyanides Department of Music & Sound Recording University of New Haven ========================================================================= Date: Tue, 9 Jan 1996 13:01:24 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Blues Calendar Giveaway Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com Well, either my questions were too obscure, or there isn't much demand for the calendar, but I didn't get many responses to my quiz post. Anyway, the contest is now over and the winner is Eliot Williams. Here are the answers: 1. Who wrote "Hit The Road, Jack"? Percy Mayfield 2. What spiritual is Willie Dixon's "My Babe" based on? "This Train" 3. Name three famous blues guitarists who started out on harmonica. Jimmy Rogers, Robert Johnson, Muddy Waters Other answers I got were Albert Collins, Otis Rush, Jimmy Reed, Eddie Kirkland and Louisiana Red) 4. What instruments did Jesse "The Lone Cat" Fuller play? Guitar, harmonica, kazoo, drums and fotdella (or "footdella") 5. Who was Lightnin' Hopkins' harmonica playing cousin? Billy Bizor 6. Which Walter Horton instrumental is considered to be one of the best amplified blues harp instrumentals, and what song was it based on? "Easy," "I Almost Lost My Mind" 7. What was Professor Longhair's real name? Henry Roeland Byrd 8. Who played second guitar on the original version of Otis Rush s "All Your Love (I Miss Loving)"? Ike Turner 9. What Skip James song was covered by Cream? "I'm So Glad" 10. Who wrote"It Hurts Me Too"? Tampa Red (Hudson Whitaker) ========================================================================= Date: Wed, 10 Jan 1996 03:00:38 -0500 Reply-To: Orange2@GNN.COM From: Somei Louie Subject: Re: Crossroads legend Comments: To: leftwich@CLOUD9.NET I can't remember where I read this, but the way I heard the Crossroads story was that it was actually Dick Waterman who was there, dressed as the devil, offering lifetime binding contracts giving him 40% of all artists' royalties. ========================================================================= Date: Wed, 10 Jan 1996 03:00:41 -0500 Reply-To: Orange2@GNN.COM From: Somei Louie Subject: Re: There's another Mary Katherine???? Comments: To: mkaldin@IX.NETCOM.COM As some of you know, I was Dick Waterman for a while. Now it appears that someone is cloning Mary Katherine. Will the insanity ever stop? ========================================================================= Date: Wed, 10 Jan 1996 04:25:26 GMT Reply-To: bluesdj@HALCYON.COM From: Roberta Penn Organization: Northwest Nexus Inc. Subject: Seattle Blues Playlist 1/7/96 Comments: To: bit-listserv-blues-l@uunet.uu.net SEATTLE BLUES 1/07/96 GUITAR SHORTY SHE'S BUILT, SHE'S BUILT TO KILL BLK TOP JAMES COTTON DUST MY BROOM PRESTIGE ROSIE LEDET YOURE NOT GOOD FOR ME MAISON D. MILLIE JACKSON I JUST WATCHED MY LOVE BURN DOWN ICH. ROBERT CRAY ACROSS THE LINE MERCURY LEE SHOT WILLIAMS CHOKING KIND SOULTX. L.J. PORTER SATURDAY NIGHT LJP JOHNNY WINTER KISS TOMORROW GOODBYE ALLIG. LAZY LESTER YOU'RE GONNA RUIN ME BABY EXCELLO TOO SLIM & TAILDRAGGERS BLUE GUITAR BURNSIDE MUDDY WATERS MANNISH BOY MCA MEMPHIS SLIM STEADY ROLLIN' BLUES PRESTIGE FAB T-BIRDS MEAN LOVE PRIVATE LUTHER ALLISON CHERRY RED WINE ALLIG. LITTLE WALTER JUKE CHES/MCA WALTER HORTON TIN PAN ALLEY BLIND PIG LOWELL FULSON THEM UPDATE BLUES BULLSEYE IRMA THOMAS THERE MUST BE A BETTER WORLD RHINO STEVIE RAY VAUGHAN THE SKY IS CRYING EPIC ALBERT COLLINS TRAVELIN' SOUTH PTBLANK CHUCK CARBO BLACK WIDOW ROUNDER DON HENLEY COME RAIN OR COME SHINE PANGAEA BB KING LUCILLE MCA LIGHTNIN' SLIM NOTHIN' BUT THE DEVIL EXCELLO VAN MORRISON EARLY IN THE MORNING VERVE CHAS. BROWN THESE BLUES VERVE MONSTER MIKE WELCH JESSIE'S BLUES TONECOOL ========================================================================= Date: Wed, 10 Jan 1996 04:19:50 GMT Reply-To: bluesdj@HALCYON.COM From: Roberta Penn Organization: Northwest Nexus Inc. Subject: Red Devils Comments: To: bit-listserv-blues-l@uunet.uu.net The only Red Devils I ever heard was an disc put out by American a couple of years ago. Everytime I talk to the publicist there I ask and am always told that the Red Devils are gonna put out another record. I think Mick Jagger had something to do with them being signed. ========================================================================= Date: Mon, 8 Jan 1996 20:09:47 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: EMBARRASSING NON-BLUES RECORDINGS I quite like a Japanese pop-punk group called Shonen Knife, who are quite popular in the US alternative scene. They are a trio of three ladies, who are women, from Osaka, Japan. When I cam home today I found a package from a freind in Japan (I lived there for 4 years) and he had taped a Shonen Knife special from TV for me. This is what he wrote "This Shonen Knife documentary was on TV, so I taped it for you, hoping you still like them. Do you? I don't understand why you would, unless it's just all in good perverse fun." Well I still like them and it's all in good clean fun. Shonen Knife are great mixture of punl and pop and as they learn to play their instruments, each succesive album is better than the previous one. The concert I saw in Japan was great. Their music is bliss. Plus they are so cute. Especially when they try to sing in English. Now if only I had a video player. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Tue, 9 Jan 1996 22:53:24 -0500 Reply-To: HippieLady@AOL.COM From: Beverly Howell Subject: STEVIE RAY VAUGHAN Scholarship Fund I've recently heard "bits and pieces" about a scholarship project being coordinated by Mrs. Martha Vaughan (Stevie and Jimmie's mother) and the Communities Foundation of Texas, in Stevie Ray's memory. I'm so excited with what I've learned after researching this project today, I'm writing to tell y'all about it. Three years ago, a fund was created in Stevie's memory to assist music students pursue their educational dreams. This award is given to students in the 8th grade at the end of the school year. Scholarships are given to students who are recommended by their teachers who have demonstrated a strong interest and ability in music and have a desire to attend a college or university. Candidates for scholarships must have good grades, a good school attendance record and be financially needy. The scholarship is awarded when the student graduates from high school and enrolls in a two or four year college or university. Being a dropout prevention incentive, this scholarship is used to encourage students to stay in high school and have a concern for their studies. In the meantime, the award is invested and when distribution time is near, it is anticipated that the scholarship will have benefited from investment growth. The award will be forwarded directly to the school the student has selected. Greiner Middle School, located in South Dallas, is the school where Stevie spent his childhood, and is the target of this program. Mrs. Vaughan is very active in this project, has provided much of the support on her own, and actually goes to the school and participates in the selection and interview process. During the first year of the program, five scholarships were given. They are hoping to give ten scholarships this year. This coming March is when the recipients will be selected. When I spoke with the representative of the Communities Foundation that works with Mrs. Vaughan on this project, I told her about all the incredible Stevie fans I've been blessed to meet here online, not only through America Online, but through the TexasFlood and Blues-L mailing lists, newsgroups, and other areas. I told her about how much love for Stevie I've seen reflected in posts and the email I've received after I hosted the "Remembering Stevie Ray," memorial with Tommy Shannon, Chris Layton, Reese Wynans, and Margaret Moser of the Austin Chronicle on August 27, 1995. If you're a fan of Stevie, or a guitarist that has been influenced by his music, or if Stevie's message in overcoming his alcohol and drug addictions has helped you, if Stevie touched you in ANY way.....this is your opportunity to let the Communities Foundation of Texas, and Mrs. Vaughan, know you support their efforts by assisting them in awarding ten (or more!) scholarships to the children this, and every March. What better way to keep Stevie's spirit alive, and to say "Thank you for all the music and love you passed our way," than by helping these children achieve their dreams in this way? Please send contributions to the address listed below, payable to the Communities Foundation of Texas, and BE SURE TO SPECIFY the donation is for the SRV SCHOLARSHIP FUND on your check. Communities Foundation of Texas Stevie Ray Vaughan Memorial Scholarship Fund 4605 Live Oak Dallas, Texas 75204 If I can provide further information, please email me at HippieLady@aol.com, or call the Communities Foundation of Texas at (214) 826-5231. Warmest Regards, Beverly Howell Producer/Host Blues Chat via America Online, Inc. PS. PLEASE take a moment to cut and paste this information to other mailing lists, bulletin boards, and online services you frequent to let others know of this wonderful effort being made in Stevie's memory. ========================================================================= Date: Tue, 9 Jan 1996 21:34:58 -0500 Reply-To: Weidel From: Weidel Organization: ?? Subject: Blues Festival Photos Comments: To: bit-listserv-blues-l@uunet.uu.net Anyone in Blues-l interested in trading blues photos? I've got lots from festivals over the last couple of years. I can never resist that "second set free" and I take a decent shot. Most are 4x6 color which isn't too professional, but the price is right. Bob Weidel ========================================================================= Date: Tue, 9 Jan 1996 21:28:53 -0500 Reply-To: Weidel From: Weidel Organization: ?? Subject: Re: Othar Turner- Fife and Drum Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199601082043.PAA130415@poe.acc.Virginia.EDU>, Tom Morgan wrote: > After walking to the radio station today to do my show due to the 2 - 3 > feet of snow that was dumped on us, I got a great surprise. > > The station received a 45 sized disc that plays at 33 rpm of Othar Turner > and His Rising Star Fife and Drum Band. Straight out of Gravel Springs, > > I have not talked to these folks yet, but I'm sure that they would love > to have this disk played at other radio stations. If anyone knows any > more about these folks please let me know. What they are doing is very > special. > Tom - You would probably be interested in Mississippi Delta Blues Jam, Vol 1. This disc is Arhoolie 385. It features Otha Turner, Napoleon Strickland, and several others including Fred McDowell and Furry Lewis. Bob Weidel ========================================================================= Date: Tue, 9 Jan 1996 19:03:19 -0500 Reply-To: cnotes@CLOUD9.NET From: cnotes@CLOUD9.NET Organization: Cloud 9 Internet, White Plains, NY, USA Subject: Re: Blizzard Bound Blues! Comments: To: bit-listserv-blues-l@uunet.uu.net LeaGil (leagil@AOL.COM) wrote: : I am STUCK here in the house with 30 inchs of snow outside my door. Now : if this isn't a great situation for a blues song... Anyone else braving : the storm? : Lea, No blues here...I LOVE BLIZZARD '96!!! I'm in Westchester NY (over 2' of snow--new snow, that is) and I've built a luge course with banks 3' high. No, I'm not singing the blues at all. Mike Corso -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- + Join CNI Long Distance - the only FLAT RATE long + distance company supporting Peace, Human Rights, + the Environment, and the fight against AIDS. + Email: longdistance@cnotes.com - you will receive + a reply within 30 seconds via autoresponse email. + http://www.cnotes.com/telecom/cnitelpage.html + For a limited time, new customers receive 100 FREE minutes! ========================================================================= Date: Tue, 9 Jan 1996 21:20:00 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: BluesBytes Organizations > Before I post > the ordering info, I am asking all you knowledgable people, if you would > be kind enough to perhaps post a brief overview of what the following > organizations do. I'm sure most of us have heard of these organizations, > but a little insight into their activites will surely help in the > decision making..... > > 3. The Rhythm & Blues Foundation > I have no connection with, etc etc .... The R&B Foundation is a not-for-profit organization whose mission is "to foster wider recognition, financial support and cultural preservation for rhythm and blues music and artists of the 1940s, 1950s, and 1960s." They have a variety of programs. Most notably: The annual Pioneer Awards programs provides recognition and financial aid to artists "whose lifelong contributions have been instrumental in the development of rhythm nd blues music." They have awarded over $800,000 to artists since 1988. The Doc Pomus Financial Assistance Grant Program provides money "to meet the current a specific financial needs" of artists. This program has given out over $270,000 for such things as medical bills, emergency housing, and funeral expenses. The foundationalso publishes a quarterly newsletter, which, among other things, has been instrumental in exposing the continuing refusal of major labels to pay appropriate royalties to past hitmakers. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Tue, 9 Jan 1996 20:24:49 -0500 Reply-To: Slydemann@AOL.COM From: Dave Melton Subject: Re: Who influenced Hendrix Comments: To: Steve.Levine@corp.wrgrace.com Listen to any of his rhythm playing and you will hear the continuation of the genius of Curtis Mayfield. ========================================================================= Date: Wed, 10 Jan 1996 01:08:05 GMT Reply-To: ROMANOFF From: ROMANOFF Organization: Capital Area Internet Service info@cais.com 703-448-4470 Subject: Clarence Spady question Comments: To: bit-listserv-blues-l@uunet.uu.net Hey all. Does anyone out there have a tour schedule for the Clarence Spady Blues Band. This is an outfit from (of all places) Scranton, PA. They were recently signed with Rounder. I recently moved to DC and can't find anything on them, although I know they play here on a regular basis. I'd appreciate any news you can give me. And if you haven't seen them yet, give 'em a look--there VERY worth it. THNX, Matthew Petrillo ========================================================================= Date: Wed, 10 Jan 1996 01:01:27 GMT Reply-To: ROMANOFF From: ROMANOFF Organization: Capital Area Internet Service info@cais.com 703-448-4470 Subject: Re: Johnny C________d ? sp? Comments: To: bit-listserv-blues-l@uunet.uu.net "" wrote: >Okay you guys, which is it? Copeland? or Coupland? Or are there two of them? >Riffin Rick (((( The former. Matthew Petrillo >*************************************************************************** ========================================================================= Date: Tue, 9 Jan 1996 19:09:27 -0500 Reply-To: cnotes@CLOUD9.NET From: cnotes@CLOUD9.NET Organization: Cloud 9 Internet, White Plains, NY, USA Subject: Blues Legend Jerry McCain - Online 1/26! Comments: To: bit-listserv-blues-l@uunet.uu.net Any Excello Records fans out there? Excello recording legend Jerry McCain will be live online on WebChat via Muddy's Cabin on Friday January 26th at 7PM EST Muddy's Cabin is located at: http://www.vivanet.com/~catbauer/cabin.html The Jerry McCain home page can be found at http://www.cnotes.com/cnotes.soul.html More details to be posted over the next several days. Mike Corso CNI -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- + Join CNI Long Distance - the only FLAT RATE long + distance company supporting Peace, Human Rights, + the Environment, and the fight against AIDS. + Email: longdistance@cnotes.com - you will receive + a reply within 30 seconds via autoresponse email. + http://www.cnotes.com/telecom/cnitelpage.html + For a limited time, new customers receive 100 FREE minutes! ========================================================================= Date: Tue, 9 Jan 1996 15:25:31 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Blues with feeling: What does it take, philisophically? I was just wondering, while toiling away at the microscope performing microsurgey on some cells.... :).......and listening to Hendrix:Blues.... in our recent thread about how Clapton obviously loves blues and is technically excellent at it, but seems to come off lacking that "thang", that "feeling", that WHATEVER it is, "karma"...what does it take? I mean, what the hell does it take to impart to your audience, that you TRULY are a bluesman (person) in your soul, in your playing, in your life? Really. Philisophically, what could be missing? I'm just using EC as an example, but we could just as easily come to concensus on any number of artists probably. I mean, here's a guy, albeit white and wealthier than God, but has otherwise walked the walk. EC has in his personal life had one tough row to hoe. From death and tragedy in his family to losses of friends and bandmates, the lifelong struggle with addiction, romantic loss and failure numerous times, the rise and fall of pop-stardom and I'm sure his share of experiences with the seedier underside of coming up through the ranks and being shat upon by the powers that be. Whatever. I mean despite his popularity, the guy's had a serious of one personal tragedy after another. Yet everyone agrees he's a nice guy, \ is professionally as respected as you can get, has done all his homework, studied and learned and befriended the masters. ANd when you see him live he plays his heart out for you, yet, indeed many of us agree while technically superb, Eric's blues sound lackluster. So, Blues-Lers, what's it take? I'm sure I don't know. Riffin Rick (((( oo-) /- ".....well I hear my train a-comin'!" F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 9 Jan 1996 18:27:12 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: other embarassing albums... Dave asked, concerning, among other things, the infamous disco demolition in Comiskey Park in 1979: >Really stupid stuff. I couldn't be imagining all of this, could I? Nope, you didn't imagine it. I was *trying* to watch the Sox game that day, and was *highly* disappointed when the second half of the double-header had to be forfeited because of the mess on the field. The only comfort was the cause of the mess--I have to agree that all those disco albums DID deserve to be blown up! Karen ========================================================================= Date: Tue, 9 Jan 1996 22:42:08 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Little Willie L and Jay McShann Comments: To: bit-listserv-blues-l@uunet.uu.net >On January 9, jos potting asked: >>>>For the second time I heard the name of Jay >>>>McShann, now in a blues context: he played with >>>Clarence >>>>'Gatemouth' Brown (in Paris 1973, for the Black and >>>blue label). But >according the notes there has to be >>>more Jay >>>>McShann, playin' the blues piano: does anybody >>>have suggestions on >where to search. There is a Decca release titled "Blues from Kansas City" (GRD-614) with Jay McShann's orchestra from 1941-43. These feature vocals by Walter Brown and Charlie Parker on alto sax. Also, the recently released "Blues, Boogie and Bop" a 7 disc set of, you guessed it, B,B & B from the Mercury label in the 1940s features Jay McShann on all of disc 3 (24 tracks), and 7 alternate takes on disc 7. Jimmy Witherspoon is on vocals here except for 2 tracks by Crown Prince Waterford. These were recorded in 1945-51. Considering the Petrillo recording ban, this would pretty much cover his 1940s output. I don't know about later releases. Many of the recordings in these two releases are in the jump blues style. Art Schuna ========================================================================= Date: Tue, 9 Jan 1996 23:00:19 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Hadda Brooks Comments: To: bit-listserv-blues-l@uunet.uu.net In article <960109151832_111184770@mail06.mail.aol.com> Boyd Small writes: >Date: Tue, 9 Jan 1996 15:21:39 -0500 >From: Boyd Small >Subject: Re: Hadda Brooks >>Does anybody know if Hadda Brooks is still alive? Does she >>have anything in the vein of a greatest hits or top songs of >her >>career type of thing? >I have a 78 record entitled "Modern Music Presents Hadda Brooks Boogie". It >lists other modern music records by Hadda Brooks: Swinging the boogie, >Rocking the boogie, Riding the boogie,Polonaise Boogie, and Society Boogie. >The address on the record for Modern Music Co is 678 1/2 South Vermont , Los >Angeles Ca. Who Knows? There is a release of Hadda's Modern label recordings titled, "That's My Desire" a 1994 release on the Virgin/Flair label (8 39687-2). It includes " Swinging the Boogie", "Schubert's Serenade in Boogie" (I'm not really up on my classical, but I think this may be the same as Polonaise Boogie, which I vaguely remember was a serenade) and 23 other tunes including some not listed all from 1945-62. When this came out, I remember seeing photos of Hadda that had been recently done. The liner notes mention that she performed "Anytime, Anyplace, Anywhere" in the new (at the time) movie by Sean Penn, "The Crossing Guard". She was inducted into the Rhythm and Blues Foundation Hall of Fame in Feb 1993. "Still regal and in good health at 76, she thanked the star-studded crowd by performing a flawless 'That's My Desire'." "Swingin' The Boogie" was a smash hit for the Bihari brothers' Modern label. Her recordings were some of their first releases and she played a major role in making the label a success in its early days. Art Schuna ========================================================================= Date: Tue, 9 Jan 1996 23:17:02 +0000 Reply-To: Kevin R Shook From: Kevin R Shook Organization: University of Saskatchewan Subject: Re: Canadian Blues Bands Comments: To: bit-listserv-blues-l@uunet.uu.net Just adding my $0.02 for Big Dave Mclean from Winnipeg. There's also a new kid to watch out for - he goes by the name "Wide Mouth Mason". Although he can't be much older than 19, he's a good guitarist with lots of personality - he plays B.B. King as well as the usual SRV, Hendrix etc. He also comes off as a really decent kid. +--------------------------------------------------------+ | Kevin R. Shook | | krs350@engr.usask.ca or kshook@duke.usask.ca | | Division of Hydrology | | University of Saskatchewan | | Saskatoon, Saskatchewan CANADA | +--------------------------------------------------------+ ========================================================================= Date: Tue, 9 Jan 1996 17:07:27 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: EMBARRASSING NON-BLUES RECORDINGS At 03:09 PM 1/9/96 -0500, MK Sheffield wrote: > But, just so we can let everybody else "play in all our >reindeer games," I'd like to hear what OTHER blues-l folks are (almost) >embarrassed to say they listen to. (Other than blues.) Or an album that >you can't believe you bought, but never threw away. :) I've said this before here - I have, and still listen to, ABBA's Greatest Hits - Love that pseudo-Phil Spector sound (or, more precisely, "wall of sound"). David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Tue, 9 Jan 1996 14:50:26 -0800 Reply-To: Karen Johnson From: Karen Johnson Subject: Jay McShann >Maybe someone in KC can post a Jay McShann update and I think he is still >alive and waiting for his next gig. Jay McShann appeared at the Paramount Theater in Oakland, California last October. He was on the bill with a number of other notables as part of the San Francisco Jazz Festival called A Tribute to Swingtime Records. He was in excellent voice and accompanied Jimmy Witherspoon. He seemed very robust but Jimmy Witherspoon (who I was thrilled to finally see) did not. Jimmy seemed thinner than most pictures I've seen. He was dressed very nattily but seemed a little vague (not incoherent exactly but not quite together). It did make me wonder about his health. Again, Jay McShann played very well but had heavy keyboard competition from the likes of Jimmy McCracklin, Charles Brown and Johnny Otis. The show was opened by Jimmy McCracklin who sang some fairly formulaic soul numbers. However when he moved to the piano, the whole situation improved significantly. Lowell Fulson was my favorite that evening. Both his voice and playing were superb. He is another artist who I had been hoping to see for years and finally succeeded. He looked and sounded terrific. He was accompanied by a saxophone player named Earl (Good Rockin) Brown who was quite a showman in his own right. Charles Brown put the show in showmanship however. Wearing a sequined cap and cape, he was the epitome of elegance and style. His age shows a bit in his singing but his playing was excellent -so smooth and mellow. The Johnny Otis Revue was loads of fun and and excellent way to close the show. He and the band played lots of recognizable r and b which really pleased the crowd. Son Shuggie played a little but had a few equipment problems. However my husband was so enamored of Johnny Otis that we wound up seeing him again for New Year's Eve (to my great delight). Thanks to Pam Reilly who initially alerted me to this concert back in October. KJ in SF ========================================================================= Date: Tue, 9 Jan 1996 22:30:22 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: mississippi fred mcdowell Comments: To: bit-listserv-blues-l@uunet.uu.net In article <960109195720_702420.204300_BHD65-55@CompuServe.COM> David Greenberg writes: > I am looking for a very good to excellent copy of the following album > by Mississippi Fred McDowell. It was originally released here on the > Archive Of Folk & Jazz, which we bought, and that master sucks. I > believe it was originally issued on the Transatlantic label. The > songs may be in a different order (as I have noted on a few reissues > of the same material). Tracklist deleted I don't know if it's the same recording but Drive Archive has a release called "Ain't Gonna Worry" (DE2-41040) which has the exact same tracklisting in the same order you list. The liner notes say they were made in London on March 6, 1969 and issued on England's Transatlantic label. If you bought the master to release them, someone's beat you to it. The liner notes don't mention the Archive of Folk & Jazz label. This release should be readily available as it has a 1994 copyright. Art Schuna ========================================================================= Date: Tue, 9 Jan 1996 16:45:12 -0800 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Re: EMBARRASSING NON-BLUES RECORDINGS Comments: To: bit-listserv-blues-l@cs.washington.edu In-Reply-To: <199601092009.PAA13865@cennet.mc.peachnet.edu> Rod Stewart: The Mercury Years and also Red Hot and Blue: All time great R&B songs by Lee Atwater featuring Isaac Hayes, CHuck Jackson, BB King, the Memphis Horns, Sam Moore, Arletta Nightengale, the ubiquitous Billy Preston, Carla Thomas, *and* the Red Hot and Blue Band Adrian ========================================================================= Date: Wed, 10 Jan 1996 03:25:24 -0500 Reply-To: Orange2@GNN.COM From: Somei Louie Subject: Re: EC vs the Blues.II... Comments: To: PrePhoto@AOL.COM Dave: I've made the point before and I see you agree with me. Eric Clapton is a great rock guitarist who understands the blues form inside and out. But ... there's something missing when he does straight blues. To his credit, he sees it and hears it to. He'll admit he still ain't got it right. I believe it has to do with growing up in England and listening to blues from afar, rather than as an everday live experience. This is true for most all Europeans I've heard. Rory Gallagher was very close to getting there, though. Mike Meadors Orange2@gnn.com ========================================================================= Date: Wed, 10 Jan 1996 03:26:57 -0500 Reply-To: Orange2@GNN.COM From: Somei Louie Subject: Re: EMBARRASSING NON-BLUES RECORDINGS Comments: To: menelaos@CHARGER.NEWHAVEN.EDU My wife has a pile of PARTRIDGE FAMILY and BRADY BUNCH records in the garage. Guilty by association. Mike Meadors Orange2@gnn.com ========================================================================= Date: Wed, 10 Jan 1996 03:36:14 -0500 Reply-To: Orange2@GNN.COM From: Somei Louie Subject: Re: BluesBytes Organizations Comments: To: ianangus@DIS.ON.CA I suggest you send the money to CLONES ANONYMOUS, a twelve step recovery program for the musically impaired. Mike Meadors Orange2@gnn.com ========================================================================= Date: Wed, 10 Jan 1996 03:43:50 -0500 Reply-To: Orange2@GNN.COM From: Somei Louie Subject: Re: Blues with feeling: What does it take, philisophically? Comments: To: MILLER@SCI.WFBR.EDU Rick: Why, you wonder, does EC sound lackluster on blues songs? I still think it's exposure from an early age. Exposure penetrate into those areas of the brain that aren't conscious. EC has lots of conscious blues happening. But since he's European, has little, if any, subconscious levels operating on the topic. It's subtle. but the reasons we respond in certain ways to certain music, we are not even always aware of (as musicians AND listeners) > Mike Meadors Orange2@gnn.com ========================================================================= Date: Wed, 10 Jan 1996 02:50:04 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: dfw blues notes Tutu Jones is in the studio this week cutting his first CD for Bullseye Blues. Ron Levy is in town to supervise things. I bet he'll find a couple of more DFW bands of interest while he's here. Chuck Nevitt's Dallas Blues Society Records is at Sumet Studio with Paul Size, Johnny Moeller and friends. Dallas band Pat Boyack and the Prowlers have split, apparantly for good this time. Vocalist Jimmy Morello will return to California and is working on some bookings with his buddy Louisiana Red in Europe. Boyack is putting together a new band which will work gigs at the Muddy Waters club in Dallas on Wednesdays this month. Bassist John Garza and drummer Doug Swancy are joining up with Holland K. Smith's Terraplane Blues Band which has been in the studio with Anson Funderburgh producing. The Prowlers cut their second CD for Bullseye back in September which is due out on March 10. Their last gigs with the current configuration will be at Schooners this weekend. I've heard from a couple of sources that Andrew Jr Boy Jones and Tommy Hill have split from Charlie Musselwhite's band. Tommy has just self-released a solo CD with very little blues content. Andrew will probably get his own deal (I know at least 2 labels that are interested right now). Mike Morgan and the Crawl have a new album in the can for Blacktop with release planned for later this Spring. Smokin' Joe Kubek, Bnois, and the band are planning to be back in the studio in March for Bullseye. U.P. Wilson has just released a new one on JSP called "This is U.P. Wilson". Bob Kirkpatrick is finalizing a deal with JSP. Don O. ========================================================================= Date: Wed, 10 Jan 1996 22:00:03 +1100 Reply-To: Warwick J Foster From: Warwick J Foster Subject: Charlie Patton I am looking for a full set of words to the Charlie Patton song *Moon Going Down*, e-mail is fine if anyone can help. TIA Warwick Foster BHP Co Ltd & University of NSW Newcastle, Australia wjfoster@ozemail.com.au ========================================================================= Date: Wed, 10 Jan 1996 06:08:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re[2]: Blues with feeling: What a crap beard I'm delighted we're back to bashing the Unholy One and his Five Long Years/FTC (any reason legitimate or otherwise is always fine by me of course), that snake. But, um, this subconscious stuff is a bit iffy in my view. The fact that UO happens to be from some European-type place doesn't estrange him any more from the blues tradition than I was, growing up in New Jersey. Maybe if one grew up in the Southern U.S. or Chicago or especially in some circumstances where one was surrounded by blues, that would bring one closer to the tradition. But most Americans are brought up on, oh I dunno, "classic rock", "lite rock", etc. (some Mary Katherine impersonator on this list admitted to having two (!) Barry Manilow records). The idea that this brings one closer to blues is bunk. I don't think so many Americans have much sensitivity to blues, most don't know what it is as most of us know from talking to our family, friends, colleagues, and especially if people try to buy us CDs as gifts (bleeah!!). J.E._Downey@bakermck.com (Joe in Moscow) "I got a cold, cold feeling. It's just like ice around my heart" (T-Bone Walker reportedly wrote it, then Albert Collins dropped it into the ever-haunting A-minor, according to a certain Dave Sherman who hangs around with our own Scatman) ========================================================================= Date: Wed, 10 Jan 1996 06:11:42 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Re: BluesBytes Organizations Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199601091352.IAA25060@sun.bnkst.edu>, bob unger writes: >Well, I have recieved a number of suggestions on which charity people >would like to see recieve the proceeds from BluesBytes. Before I post >the ordering info, I am asking all you knowledgable people, if you would >be kind enough to perhaps post a brief overview of what the following >organizations do. I'm sure most of us have heard of these organizations, >but a little insight into their activites will surely help in the >decision making..... > >And the organizations are....... > >1. Willie Dixons Blues Heaven > >2. The Delta Blues Museum > >3. The Rhythm & Blues Foundation > >4. The Blues History Museum in Memphis > >5. Brownie McGhee's foundation - the person who suggested this, did not > know the name of it. > > >Thanks to all..... > >BU >bob@sun.bnkst.edu > > Unfortunately, there is not a Blues History Museum in Memphis. For now, there are two small blues museums, which are privately owned by a local attorney. Both have wonderful collections of memorabilia, and I'm not running them down, but they are FOR-PROFIT ventures. The Center for Southern Folklore on Beale Street is the only thing that comes close to a NOT-FOR-PROFIT blues museum. This organization puts on a free, three day festival every summer. They should be considered. But if not, I would suggest that we "adopt" one cause and give our support to it consistently, until such time as this group wields the financial strength to spread its wealth. If we were a corporation using gifts for publicity, I would agree with fertilizing a lot of organizations. But we don't need (or want, to be truthful) the attention. I think most list members would like to see something really useful done with the money. That means zeroing in on one cause and, maybe, covering its utility bill. With this in mind, I vote for the Delta Blues Museum in Clarksdale, Mississippi, where we have an established relationship from the t-shirt experience. They got off to a big start, with the help of ZZ Top, the Hard Rock Cafe of Orlando, our own Jinxblues and others, but local support for maintenance and upgrading seems to have dwindled. Having cruised the area fairly extensively, (okay, so I got lost and was too proud to ask for directions!!) I realize that the tax base is very small. The rich people live outside of the town and do their shopping in Memphis or Dallas or New York, and Clarksdale survives on the needs of the local working class. And the museum aims its energies at that group. The folks at the museum do some wonderful stuff, like hosting after-school workshops for kids which feature Delta blues musicians sharing their stuff. And the museum is virtually the only reason anybody would visit Clarksdale and spend any money there, aside from the annual festival. The State of Mississippi has been raking in the dough from the casinos which line the Big Muddy. Hopefully, they'll use the money to give meaningful help to the rural poor. In the meantime, our modest gifts, which help an organization struggling to instill pride for cultural contributions in a future generation, deserves our ongoing support. Denise ========================================================================= Date: Wed, 10 Jan 1996 11:23:07 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: EMBARRASSING NON-BLUES RECORDINGS In-Reply-To: <199601092009.PAA13865@cennet.mc.peachnet.edu> On Tue, 9 Jan 1996, MK Sheffield wrote: > OK, OK...truce! But, just so we can let everybody else "play in all our > reindeer games," I'd like to hear what OTHER blues-l folks are (almost) > embarrassed to say they listen to. (Other than blues.) Or an album that > you can't believe you bought, but never threw away. :) > > I'll even start. I have...(gosh, this hurts) TWO Barry Manilow albums... > > and...I still have that Ronco Records Disco Duck record I bought off TV back > in the 70's. :) > > I also have almost everything Todd Rundgren ever did...and I'm DAMN proud of > it! :) > > Whew! Confession is so good for the soul! > > Mary Katherine > mksheff@cennet.mc.peachnet.edu > Okay PW get the tar and LW get the feathers let's run this person out of BLUES-Lville and ..... What?! What's this Best of The CARPENTERS!??? AAAAAAGH. OOOPS. nevermind nevermind nevermindnevermind ........ phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [10/1/96 6:07 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 10 Jan 1996 06:54:07 -0500 Reply-To: RLaMour From: RLaMour Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Handy Nominations Comments: To: bit-listserv-blues-l@uunet.uu.net Three of the artists I represent were nominated for this year's W.C. Handy Awards: Tracy Nelson- Contemporary Blues- Female Artist of the Year Lavelle White- Soul/ Blues- Female Artist of the Year Sonny Rhodes- Blues Instrumentalist- Other (lapsteel) Congradulations to Tracy, Lavelle and Sonny. For more information, contact: Ronnie Narmour RNA Booking Austin, Texas (512) 416-1399 ========================================================================= Date: Wed, 10 Jan 1996 07:39:08 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Handy Nominations Comments: To: RLaMour In-Reply-To: <4d09cv$pms@newsbf02.news.aol.com> Congratulations Ronnie - also note that in about a week we should have reviews on each of these nominees' latest CD's. Will post & put up on our page. Good luck. Barry On Wed, 10 Jan 1996, RLaMour wrote: > Three of the artists I represent were nominated for this year's W.C. Handy > Awards: > Tracy Nelson- Contemporary Blues- Female Artist of the Year > Lavelle White- Soul/ Blues- Female Artist of the Year > Sonny Rhodes- Blues Instrumentalist- Other (lapsteel) > Congradulations to Tracy, Lavelle and Sonny. > For more information, contact: > Ronnie Narmour > RNA Booking > Austin, Texas > (512) 416-1399 NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Wed, 10 Jan 1996 07:46:33 -0500 Reply-To: David Goldstein From: David Goldstein Subject: Dr. Martin Luther King For the person doing a tribute to MLK and wanting songs dedicated to him: Big Joe Williams, Shake Your Boogie, "The Death of MLK" Arhoolie 315 ========================================================================= Date: Wed, 10 Jan 1996 08:02:08 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Organization: IQuest Internet Services Subject: Re: Laid Back & Instrumental ===========*. Can anybody give me the titles of a few discs that are mostly instrumental *and laid back.============= Not that I haven't enjoyed the non-blues offerings of my fellow zellers, but just in case the original poster meant blues, I'd highly recommend some Lightnin' Slim. He had a very elemental, slow-grooving '50's electric sound and is often backed by excellent sax work. His music has been rather hard to find until the recently released "I'm Evil : Rare and Unissued Excello Masters." It's a great set. All 27 cuts are worthy of release. The alternate takes here are gems. The liner notes are good, too, although session info would have been a plus. RJ Bauman Oh, btw, there's apparently been a change of heart at the Blues Society of Indiana, which has announced that ALL proceeds of the benefit thrown by BSI and Saffire went to Yank. I'm proud of my society again!!! ========================================================================= Date: Wed, 10 Jan 1996 08:31:19 -0500 Reply-To: Mike Meadors From: Mike Meadors Subject: Re: Re[2]: Blues with feeling: What a crap beard Comments: To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM J.E.: I didn't intend to imply that all native born Americans can understand and play THE REAL THING. Hardly. Very few can for exactly the same reason EC can't quite get it and never will. Why it's natural for Fred McDowell and not for Lawrence Welk. Why BB King will instinctively utilize a certain intonation or inflection and others won't. Why Buddy Guy can work to get a particular tone and others can just try to copy it. I really believe that very early influences, sounds, sights, smells pave a path of understanding (aren't I glib?) that can't be fully travelled by others. It's like a second sense, second nature, so to speak. It's tied in with culture and the development of culture in a society. I don't care how much I study or practice, I'll never quite play Asian music like someone who was born and bred in that environment. I can fool some people, even some Asians, for example, that what I'm playing is authentic. But for those who know the difference, I would be exposed. That's all I'm saying. Thinking that Clapton, from the typical English upbringing, could fully get in touch with a sound and a lifestyle and a knowledge of a music indigenous to a land far, far away -- is ridiculous. He gets close -- technically on paper he's playing the right thing -- and he's enthusiastic, all right -- but there's something transmitted in music, particularly blues and jazz, that can't be defined in normal musical terminology. As audience members we feel it and can tell when it's present and when it's not, but can't quite define it. Mike Meadors Orange2@gnn.com ========================================================================= Date: Wed, 10 Jan 1996 08:39:48 -0500 Reply-To: bob unger From: bob unger Subject: Ordering BluesBytes Well, folks, it's time to get the ball rolling on BluesBytes. As everybody knows, (at least I hope you do!) the price of the tape is $10, and after duplicating costs, ALL proceeds will go to one of the charities listed below...somwhere between 5 and 6 hundred bucks. The tape consists of 22 songs on a 90 minute tape, all performed by members of blues-l. The cover design is an original drawing created by blueseller 'embee'. Rob Hutten (the creator of the web site BluesNet) has volunteered to print the j-card inserts. Ordering information: If you live in the U.S., you can order by check or money order. I cant accept credit card orders (I'm just a working slob!!) Make it payable to me, Bob Unger, and send it to my work address: Bank Street College 610 West 112th Street New York, NY 10025 attn: Bob Unger From the list of organizations below, make your choice, and mail it to me along with your snail-mail address and your e-mail address in case I need to get in touch with you. If you live outside the U.S. borders, there are 3 ways to make a payment: 1. Postal Money Order - payable in U.S. cash. Please do not send a bank money order, as there are transactions fee's invloved and it becomes a big mess. 2. Cash - I do not recommend this method. If this is the only way you can order, then please make sure it is U.S. cash... however, I cannot be held responsible if your order get's lost in the mail. 3. Access to a U.S. bank account - Some of you may have access to a U.S. bank account either through friends, your business, or you might have your own account. I'll accept any check drawn from a U.S. bank. Pick an organization: The following 3 organization's have been suggested for the proceeds. Please pick one and send it along with your payment. The organization that recieves the most votes, will be awarded the donation: 1. Willie Dixons Blues Heaven 2. The Delta Blues Museum 3. The Rhythm & Blues Foundation So this is it, folks. There is great music on this tape by a lot of very talented people...and the donation will be from "the members of blues-l". BU bob@sun.bnkst.edu ========================================================================= Date: Wed, 10 Jan 1996 08:36:55 -0500 Reply-To: Mike Meadors From: Mike Meadors Subject: Re: EMBARRASSING NON-BLUES RECORDINGS Comments: To: phertel@CMC.DOE.CA Pat: Best of the Carpenters, with a little white wine and some cheese/crackers is very soothing. And I can't believe I'm saying this but it's true! Mike Meadors Orange2@gnn.com ========================================================================= Date: Wed, 10 Jan 1996 08:42:00 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: You never forget your first... Although this may date many folks on Blues-L, what was the first record you ever bought on your own? I saved up my allowance and ran out and purchased a K-Tel album called DO IT NOW (must've been around 1969/70). Although I lost it (sold it?) a couple decades ago, I still recall many of the tracks: The Association, "Along Comes Mary" The Beatles, "Nowhere Man" Richie Havens, "Flying too Close to the Ground" Donovan, "Sunshine Superman" whatever their names, "Na Na Hey Hey" whatever their names, "Backfield in Motion" Cheers, Southside Dave Prychitko ========================================================================= Date: Wed, 10 Jan 1996 08:55:14 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Ss.D.P. on L.F. vs. R.T.E. ON THE CONTINUED PUBLIC LAMBASTING OF KNOWN NEOPHYTE HUMILIATOR RICHARD THE ELDER, BEING A SHORT DISSERTATION PERTAINING TO MS. FORTI'S LATEST POST "Lighten up, Francis" --- Srgt. Hulka (So I plagiarized from a Rob Varak quote posted several months ago...) Southside Dave Prychitko p.s. Of course, my favorite Srgt Hulka quote is: "Okay, any of ya suckholes wanna climb up here and knock me off?!" ========================================================================= Date: Wed, 10 Jan 1996 09:51:39 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Playlist Bartender's Bop Here is Monday's show. Since we were (and are) recovering from the Blizzard of 96 down here in Virginia, I decided not to cart any records in to the station from my collection and to go with a new CD set at the station. The 5 CD set Johnny Otis Presents on the discount Laser Light label has been reviewed previously on blueszelle. My opinion is that it is probably worth the money though for my taste I prefer the originals to these later covers. There are still a few gems on the set and as a low price 5 CD set it is a great opportunity for folks to get introduced to some great names in blues and rhythm and blues. Here is the show. I finished up with Othar Turner which I mentioned in a post on Tuesday. Title Group Year Label -------------------- -------------------- ---- ----------- Louie Louie Berry, Richard Laser Light Willie and the Hand Otis, Johnny Laser Light Jive One Scotch One Milburn, Amos Laser Light Bourbon One Beer Honeydripper, The Liggins, Joe Laser Light I Got The Walkin Jordan, Louis Laser Light Blues Corrine Corrina Turner, Big Joe Laser Light My Mother Thinks I'm Moore, Gatemouth Laser Light Something Don't Forget To Crayton, Pee Wee Laser Light close the Door Trouble Blues Brown, Charles Laser Light Beans and Cornbread Jordan, Louis Laser Light Shake Rattle and Turner, Big Joe Laser Light Roll Yama Yama Pretty Berry, Richard Laser Light Mama Texas Hop Crayton, Pee Wee Laser Light Barrel House Blues Otis, Johnny Laser Light Bad Bad Whiskey Milburn, Amos Laser Light Nothin From Nothin Turner, Big Joe Laser Light Blues Black Night Brown, Charles Laser Light Blues in the Ghetto Crayton, Pee Wee Laser Light Chains of Love Turner, Big Joe Laser Light I Ain't Mad at You Moore, Gatemouth Laser Light Pretty Baby Have Love Will Berry, Richard Laser Light Travel Saturday Night Jordan, Louis Laser Light Fishfry Sugar Vinson, Eddie Laser Light Harlem Nocturne Otis, Johnny Laser Light Tanya Liggins, Joe Laser Light Driftin Blues Brown, Charles Laser Light Shimmy She Wobble Turner, Othar 95 Sugar Ditch Station Blues Turner, Othar 95 Sugar Ditch My Babe Turner, Othar 95 Sugar Ditch When The Saints Come Turner, Othar 95 Sugar Ditch Marching In /\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/ The NEW ADDRESS for my Jazz and Blues Web Site is: http://redlt.com/tom/ Free-lance writer//Program Director WTJU 91.1//Internet Consultant ========================================================================= Date: Wed, 10 Jan 1996 09:53:01 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Johnny "Guitar" Watson and Jimmy Vaughan Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, oded/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=oded#a#AI#f#MIT#f#EDU@s1boca.corp.wrgrace.com *OK, so what's a good recording of Johnny "Guitar" Watson to start *with? (and what if you can't afford a P-Vine 2CD set?) "Three Hours Past Midnight," on Virgin, is a great one to start with. ========================================================================= Date: Wed, 10 Jan 1996 15:00:17 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Re[2]: Blues with feeling: What a crap beard In-Reply-To: <199601101333.IAA08677@mail-e1a.gnn.com> On Wed, 10 Jan 1996, Mike Meadors wrote: > That's all I'm saying. Thinking that Clapton, from the typical > English upbringing, could fully get in touch with a sound and a > lifestyle and a knowledge of a music indigenous to a land far, far > away -- is ridiculous. He gets close -- technically on paper he's > playing the right thing -- and he's enthusiastic, all right -- but > there's something transmitted in music, particularly blues and > jazz, that can't be defined in normal musical terminology. As > audience members we feel it and can tell when it's present and when > it's not, but can't quite define it. > His upbringing was hardly "typical" to the best of my knowledge. To say he CAN'T get in touch with the Blues because he hasn't lived the American experience is what is ridiculous. He may not transmit it to you but he can to me. To accept such a statement is to say "fine, the blues is dead, finished." The vast majority of upcoming Blues..errr persons :) haven't endured the trials and tribulations of those of the past, nor even of a Clapton. "ridiculous"? pish tish tosh. He cannot be judged by FTC alone, FTC is an exception because he is trying to pay tribute and is trying to copy rather than present (IMHO). What I am really here to say is that at this time you can only make one absolute statement and that is "there are no absolutes". What I am also here to say, however is that one of us is going to be proven VERY wrong in the coming years. So he was as rock star for a while... "forgive him his trespasses" :):) ...and wait and see. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [10/1/96 9:42 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 10 Jan 1996 07:05:53 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Otis span[sic] question Laurie wrote: > You apparently still haven't learned how to spell his name >correctly, oh, Infallible Blues Expert. Give it a rest already, wouldja! This thread is dead and gone !!! Why continue to beat a dead horse? -Jim (hndful@uniserve.com) ========================================================================= Date: Wed, 10 Jan 1996 10:00:06 -0500 Reply-To: Neil Cassidy From: Neil Cassidy Subject: you never forget your first David L. Prychitko asks >Although this may date many folks on Blues-L, what was the first record you ever bought on your own? 45's- Dylan, Rainy Day Woman#12 &35 Simon and Garfunkel, I am a Rock LP- Dave Clark Five's Greatest Hits Neil Cassidy "ah, but I was so much older then, I'm younger than that now." ========================================================================= Date: Wed, 10 Jan 1996 10:10:09 -0500 Reply-To: Clint.Pulley@CCIW.CA From: Clint Pulley Subject: Re: You never forget your first... In-Reply-To: from "David L. Prychitko" at Jan 10, 96 08:42:00 am David L. Prychitko wrote: > > Although this may date many folks on Blues-L, what was the first record > you ever bought on your own? > Naaah, this won't date me ;) . "Rock Around The Clock", Bill Haley & The Comets, 1955, 45 rpm single. (MBC - it is a 12-bar blues progression). I still have it but the grooves are kinda worn out. Clint -- Clint Pulley, Head of Computer Services National Water Research Institute, Environment Canada (905) 336-4930 Canada Centre for Inland Waters, Burlington, Ontario Minds are like parachutes. They only function when they are open. -James Dewar ========================================================================= Date: Wed, 10 Jan 1996 09:11:08 CST Reply-To: ISTS024@UABDPO.BITNET From: Leonard Watkins Subject: Jon Spencer & RL Burnside On Feb 2nd in B'ham, the Jon Spencer Blues Expolsion will be performing and the GREAT R. L. Brunside will be opening (what's wrong with this picture) My question is, I'm certainly going to see the opneing act, but is the blues explosion something that will irritate me. As in really electric and leaning toward a rock thing with a lot of irritating over played guitar. I'm not knocking Jon Spencer I just don't know what to expect. Also could someone provide me a number (agent, record company...etc) to contact Mr. Brunside Thanks LW ========================================================================= Date: Wed, 10 Jan 1996 16:14:50 +0100 Reply-To: Jose Antonio Revilla Garcia From: Jose Antonio Revilla Garcia Subject: Re: Recommended Luther Allison Comments: To: "R.J. Bauman" In-Reply-To: On Tue, 9 Jan 1996, R.J. Bauman wrote: > Many are great, including Blue Streak, Gonna Be A Live One Here > Tonight, Hand Me Down My Moonshine, Love Me Papa, And Love Me Mama. Ok, thanks, I'll find them.Does he have any Live ones? See you! ;-) ------------------------------------------------------------------------------ Everyday I Have The Blues * Co-SysOp AUDIN-BBS: (942)-21.81.03. 22:00-10:00.Universidad de Cantabria.* * Miembro de ACCE: Asociacion Cantabra de Correo Electronico * ========================================================================= Date: Wed, 10 Jan 1996 10:25:10 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: You never forget your first... On 10 Jan 96, David L. Prychitko had this to say... > Although this may date many folks on Blues-L, what was the first record > you ever bought on your own? The fact that I can't remember the details of that purchase may date me as well. My parents were music lovers and I remember that we had a radio, that was taller than I was, that had a built in "Victrola" on top. I used to stand on a chair to put a record on. My parents would occasionally buy records I wanted that I had heard on the radio. The first one they bought for me, when I was about 5 or six years old, was by Teresa Brewer and went "Put another nickle in... in the nickleodean... all I want is loving you, and music, music, music." I could now, much to my mother's dismay, hear that song a hundred times a day if I wanted to. It wasn't till I was about eight that I bought a record myself. I was given a whole dollar by my Grandmother. The next day I walked to a neighborhood record shop and bought an Elvis Presley 78 on the SUN label. I don't remember which one. I do remember that the record store owner showed me, and played for me, something I had never seen. A 45 r.p.m. single which had a great big hole in it. I remember him showing me what an adapter for it looked like as well. I'm pretty sure the Presley 78 cost me 50 cents. On the way home I stopped at the "Lunceonette", which was two doors from the record shop, and bought a toasted and buttered english muffin and a coke for 20 cents. When I finished my gormet feast I stopped at the front counter and bought a copy of "Hit Parader" which was a small, cheaply printed, magazine that contained all the words to all the hit songs, including the words to the record I just bought. I went home and spent the rest of the day singing with Elvis. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 10 Jan 1996 10:39:36 -0500 Reply-To: STAMPNPLAC@AOL.COM From: "Dennis J. Booth" Subject: BLUES HARP I WAS WONDERING IF ANY ONE COULD HELP ME. I CURRENTLY PLAY THE STANDARD 10 HOLE DIATONIC BLUES HARMONICA I AM LOOKING TO TRY THE CHROMATIC AND WOULD LIKE TO FIND OUT WHAT ARE THE POPULAR KEYS AND MODLES MOST BLUES HARP PLAYER USE. THANKS DENNY B ========================================================================= Date: Wed, 10 Jan 1996 09:36:30 CST Reply-To: ISTS024@UABDPO.BITNET From: Leonard Watkins Subject: Ethics/royalties/opinion I was given a bunch of duplicate cd's to trade in for a local blues society they wanted some "older" stuff. The majority of the cd's were promos. The society has a library of promos that members (and me :-)) are allowed to check out and of course if they like they go buy the CD for themselves. I would like to copy to tape some Charlie Patton. Blind Willie Johnson, Son House, Blind Lemon...etc and donate the tapes to their library. I think most of the members are ignorant on the "fathers", so I would like for them to hear them. Would this be unethical, not to mention copyright infringement, but I don't think the artist gets any royalites off of a promo copy anyway. Chances are some folks would be buying the CD's of some of the "fathers" after actually hearing them. I think it's a great idea....Whats your opinions I would of course include ordering info on the tape..... THANKS LW ========================================================================= Date: Wed, 10 Jan 1996 10:59:39 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: You never forget your first... Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *> Although this may date many folks on Blues-L, what was the first record *> you ever bought on your own? I'm pretty sure it was The Beatles Live at The Hollywood Bowl. ========================================================================= Date: Wed, 10 Jan 1996 11:06:29 -0500 Reply-To: "Abe W. Mathews" From: "Abe W. Mathews" Subject: Re: You never forget your first... In-Reply-To: from "David L. Prychitko" at Jan 10, 96 08:42:00 am Dave asks: > Although this may date many folks on Blues-L, what was the first record > you ever bought on your own? Yeah, this'll *definitely* date me. First 45: J. Geils Band, Centerfold/FreezeFrame First Tape (given to me): The Cars, Heartbeat City First Tape Purchased: (Oh, my God, I can't believe I'm gonna admit to this): Duran Duran, Seven and the Ragged Tiger Abe awmathew@mtu.edu ========================================================================= Date: Wed, 10 Jan 1996 16:42:54 +0100 Reply-To: Jose Antonio Revilla Garcia From: Jose Antonio Revilla Garcia Subject: B.B.KING PIC'S NEEDED!! Hi, I *DO* need urgently some B.B. King's related photographs. Do you know any anonymous ftp site? Thanks. See you! ;-) ------------------------------------------------------------------------------ Everyday I Have The Blues * Co-SysOp AUDIN-BBS: (942)-21.81.03. 22:00-10:00.Universidad de Cantabria.* * Miembro de ACCE: Asociacion Cantabra de Correo Electronico * ========================================================================= Date: Wed, 10 Jan 1996 11:11:51 -0500 Reply-To: "Abe W. Mathews" From: "Abe W. Mathews" Subject: Pet Peeve for the day Here's my pet peeve of the day. Please, please, please folks, don't torment us any longer. DO NOT USE "BLUESY" TO DESCRIBE THINGS!!!!!! I swear, if I hear one more guitar player talk about his quest for "bluesy" distortion, or "bluesy" tone, I'm gonna crack. I mean it. I'm gonna freak and go nuts. Thank you for letting me rant. Abe awmathew@mtu.edu P.S. In case any of you are wondering, no I don't work for the Postal Service. I failed the "marksmanship" part of the interview. ========================================================================= Date: Wed, 10 Jan 1996 08:13:02 -0800 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Re: You never forget your first... Comments: To: bit-listserv-blues-l@cs.washington.edu In-Reply-To: Rolling Stones: Get Yer Ya-Yas out. On Wed, 10 Jan 1996, David L. Prychitko wrote: > Although this may date many folks on Blues-L, what was the first record > you ever bought on your own? > > I saved up my allowance and ran out and purchased a K-Tel album called DO > IT NOW (must've been around 1969/70). Although I lost it (sold it?) a > couple decades ago, I still recall many of the tracks: > > The Association, "Along Comes Mary" > The Beatles, "Nowhere Man" > Richie Havens, "Flying too Close to the Ground" > Donovan, "Sunshine Superman" > whatever their names, "Na Na Hey Hey" > whatever their names, "Backfield in Motion" > > > Cheers, > > Southside Dave Prychitko > > ========================================================================= Date: Wed, 10 Jan 1996 11:13:17 -0500 Reply-To: Mike Meadors From: Mike Meadors Subject: Re: You never forget your first... Comments: To: Steve.Levine@CORP.WRGRACE.COM First on my turntable: Return to Sender (Elvis) Rockin' Robin Vaughn Meader's comedy album of the Kennedy Family My life has never been the same. Mike Meadors Orange2@gnn.com ========================================================================= Date: Wed, 10 Jan 1996 08:25:13 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Jan. 11 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ADAMS, BERLE (co-founder: MERCURY REC) b. 1917-0111, CHICAGO, IL ALLEN, HENRY "RED" SR. (cnt) d. 1952-0111, ALGIERS, LA 75 BARKSDALE, CHUCK (b v/THE DELLS) b. 1935-0111, CHICAGO, IL CARBO, HAYWARD "CHUCK" (co-lead/SPIDERS) b. 1926-0111, HOUMA, LA CLEMONS, CLARENCE "BIG MAN" (tsax) b. 1942-0111, NORFOLK, VA DEPARIS, WILBUR (tbn) b. 1900-0111, CRAWFORDSVILLE, IN DUNCAN, TOMMY (v/BOB WILLS) b. 1911-0111, HILLSBORO, TX GODRICH, JOHN (of BLUES & GOSPEL REC) d. 1991-0111, SWANSEA, AUSTRALIA 64 HAMMOND, LAURENS (of HAMMOND KEYBOARDS) b. 1895-0111, EVANSTON, IL HERMAN, MICHAEL "HAWKEYE" (g) b. 1945-0111, JONES, BETTY HALL (p/songw) b. 1911-0111, TOPEKA, KS PARTH, JOHNNY (owner : DOCUMENT REC) b. 1930-0111, VIENNA, AUSTRIA RAMIREZ, ROGER "RAM" (p/songw) d. 1994-0111, QUEENS, NY 80 SMITH, CLARENCE "PINE TOP" (p) b. 1904-0111, ORION, AL SMITH, TALMADGE "TAB" (asax/UNITED R) b. 1909-0111, KINSTON, NC THOMPSON-LUCAS, ELLARIZ (asax/SWEETHEARTS d. 1994-0111, DETROIT, MI 78 ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 10 Jan 1996 11:30:10 -0500 Reply-To: Matth54041@AOL.COM From: Matthew Collins Subject: Re: Ethics/royalties/opinion Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu LW writes: < From: shannon oconnor Subject: Open-Ended Question Without too much thought, what would you expect from a CD entitled "Post-Modern Blues" ??? Reactions wanted. Private e-mail is fine. Thanks! Shannon ========================================================================= Date: Tue, 9 Jan 1996 08:40:46 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: hendrix influences Possible. I thought the idea of doubling the vocal line with guitar is a long honoured tradition in the blues. Slide guitarists often do it and even let the slide finish the vocal line for them. Shaun >I just recently got the complete aladin recordings by lightnin >hopkins. Its a 2cd set of his early recordings. I was wondering since >lightnin doubles his voice on guitar on some of the songs on it and >there is distortion on the guitar; and jimi did the same thing on >such songs as vodoo chile and vodoo child (slight return) did jimi >get this idea from lightnin? If not where did jimi get the idea of >vocal doubling from? I havent heard of his hendrix's influences yet >light albert king or buddy guy so i could be wrong. Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Tue, 9 Jan 1996 08:40:54 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: You never forget your first... >Although this may date many folks on Blues-L, what was the first record >you ever bought on your own? Ah, I'd, sort of afraid to admit this but I'm pretty sure it was a KISS album. I was a huge fan when I was 11-12. It's been a slow and torturous recovery but I better now. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Tue, 9 Jan 1996 08:40:58 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Re[2]: Blues with feeling: What a crap beard Mike said: > That's all I'm saying. Thinking that Clapton, from the typical >English upbringing, could fully get in touch with a sound and a >lifestyle and a knowledge of a music indigenous to a land far, far >away -- is ridiculous. He gets close -- technically on paper he's >playing the right thing -- and he's enthusiastic, all right -- but >there's something transmitted in music, particularly blues and >jazz, that can't be defined in normal musical terminology. As >audience members we feel it and can tell when it's present and when >it's not, but can't quite define it. To me, the great blues artists used the form to tell their own story. A good example was SRV. He used "In Step" to address the demons he had conquered and made a a blues album that was his. Clapton tends to cover the songs and not really use blues per se to express himself. He tends to veer towards rock when wanting to say something. Having said that I think that "Layla" is a blues song. It doesn't adhere to any traditional form but to me the "Blues" feeling (whatever that is) is a big part of the song. I think, with regards to blues, EC got caught up in trying to emulate his heroes instead of expressing himlself. When he did express himslef, ("Layla" for example) he showed that he can make some dman emotional music that the blues is a big part of. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Tue, 9 Jan 1996 08:40:50 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Who influenced Hendrix >Listen to any of his rhythm playing and you will hear the >continuation of the genius of Curtis Mayfield. Check out Robert Ward who has released dome fine albums in the past few years, His rhythm playing is amazing and if you a guitarist you will learn a lot. I know I have. I've been dissecting "Black Bottom" (his latest) over the past few weeks and I'm still amazes at what he does. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Wed, 10 Jan 1996 10:40:11 -0600 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: You never forget your first... Comments: To: prychitk@OSWEGO.OSWEGO.EDU In-Reply-To: from "David L. Prychitko" at Jan 10, 96 08:42:00 am In an earlier message, David L. Prychitko said: ] Although this may date many folks on Blues-L, what was the first record ] you ever bought on your own? Steppenwolf Live. ---------------- Tangetial note: Just heard Muddy's "I just want to make Love to you" for the first time. Last time I heard that tune, it was a Foghat hit!! -- * Billy Chambless | billy@cast.msstate.edu | voice: 601-688-7608 * Mississippi State University Center for Air-Sea Technology ========================================================================= Date: Wed, 10 Jan 1996 11:23:17 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Embarrassing Musical Possessions Okay, I'll confess..... I have Barry Manilow LPs, too. And I own The Village People, "Live & Sleazy." (But my brother gave me that one for Christmas one year, so does that count??) Richard Chamberlain -- "Richard Chamberlain Sings" (Which I like to subtitle, "Or tries To...") David Soul -- 2 LPs (He was "Hutch" of "Starsky & Hutch" TV fame.) Don Johnson -- "Heartbeat" Paul & Greg -- "A Year at the Top" (Absymal pop music by actor Greg Evigan and super-hip Letterman sidekick Paul Shaeffer. Notice a theme here for TV actors who cut records??) Several early John Denver LPs, but you know, I don't find my "folkie" days and collection all that embarrassing. That's enough peeking into my closests for the moment. Shannon ========================================================================= Date: Wed, 10 Jan 1996 11:41:43 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Open-Ended Question Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, shannon#f#oconnor/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=shannon#095#oconnor#a#SWPCO#f#COM@s1boca.corp.wrgrace.com * Without too much thought, what would you expect from a CD entitled * "Post-Modern Blues" ??? * I would expect either something really terrible, like the Paul Rodgers Muddy Waters tribute album, or something amazing like the Paul deLay Band's "Paulzilla" or "The Other One." -Steve ========================================================================= Date: Wed, 10 Jan 1996 10:44:23 -0600 Reply-To: Roger Struve From: Roger Struve Subject: First record---don't laugh First record i ever bought i think was Fabian's I'm a Man...i spell M....A....N....Man. What a great song! I wonder who wrote it? (tongue in my cheek) ddr ========================================================================= Date: Wed, 10 Jan 1996 11:51:05 -0500 Reply-To: rew4@PSU.EDU From: Ross Whitwam Subject: Re: Jon Spencer & RL Burnside Comments: To: BLUES-L%BROWNVM.BITNET@psuvm.psu.edu LW wrote: >On Feb 2nd in B'ham, the Jon Spencer Blues Expolsion will be performing and >the GREAT R. L. Brunside will be opening (what's wrong with this picture) It's a matter of econonics, really. The truth is The JSBE is probably better known and sells more CDs than Burnside (not among the people here, I know, but generally.) Among fans of hardcore and indie music Spencer is a big fish indeed (though he has signed to a major label and is no longer technically an "indie"). I suspect the idea to have R.L.Burnside along on his tour was his own idea, out of his, I believe, genuine love of blues music. Possible he also thought he might be exposing Burnside to a new audience (his concert-goers don't typically listen to a lot of blues, in my experience.) But the Jon Spencer Blues Explosion is *not* a blues act. >My question is, I'm certainly going to see the opening act, but is the blues >explosion something that will irritate me. As in really electric and leaning >toward a rock thing with a lot of irritating over played guitar. Yes and no. It is electric, it does lean toward a rock thing, but it does not feature a lot of guitar-wankering. If your tastes in rock lean towards John Hiatt, The Allman Brothers, Lyle Lovett (as I seem to recall from previous posts yours do), then this probably *will* irritate you. Spencer's musical influences run more towards the Velvet Underground, The Ramones, and Sonic Youth. Definitely an aquired taste, Jon Spencer's songs are usually constructed around repetive riffs (some a bit bluesy) with minimal lyrics, mostly of a whimsical/self-mocking nature. The band just consists of two guitars and drums (no bass, just like Hounddog Taylor & The Houserockers :); sometimes Spencer will bring out his theremin (sp?), an antiquated synthesiser. Ross Whitwam rew4@psu.edu Dept. Biochem + Molec Biology Penn State University ========================================================================= Date: Wed, 10 Jan 1996 12:02:55 -0500 Reply-To: bob unger From: bob unger Subject: Re: You never forget your first.... The Beatles - either, She Loves You or I Wanna Hold Your Hand ..... hhhmmmmm... I guess you can forget your first....... BU bob@sun.bnkst.edu ========================================================================= Date: Wed, 10 Jan 1996 10:57:53 -0600 Reply-To: Chris Pearson From: Chris Pearson Subject: Re: Laid Back & Instrumental An old Larry Carlton album "Sleepwalk" has some of the sweetest,bluesy stuff I've ever heard. Chris > Hi. I'm trying to find some really laid back instrumental blues. Not >being familiar with blues artists has me buying discs and invariably ending >up with a lot of upbeat vocals. I purchased one disc entitled Guitar Blues >and it turned out to be all vocal. One of my favorite songs is "Summertime". >Wouldn't mind finding an instrumental version. Can anybody give me the >titles of a few discs that are mostly instrumental and laid back. Thanks. > >Sarge > > ========================================================================= Date: Wed, 10 Jan 1996 12:04:03 EST Reply-To: george morales From: george morales Organization: TEMPLE UNIVERSITY Subject: Re: can't forget your first first cassette purchased: Tom Petty, Damn The Torpodeos first albums purchased: the knack, cheap trick(live at budokhan) first 8-tracks played over and over: jackson browne(running on empty) neil young(after the gold rush) first cassette played till it wore out: U2 (Boy) most embarrassing non-blues in my collection: 3 cd's by INXS which haven't been played in 3 years +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ | | | GEORGE MORALES GEORGEM@TEMPLEVM | | COMPUTER AND INFORMATION SERVICES GEORGEM@VM.TEMPLE.EDU | | TEMPLE UNIVERSITY (215)204-6866 | | | +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Wed, 10 Jan 1996 12:11:21 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: Open-Ended Question Comments: To: shannon oconnor In-Reply-To: <9600108213.AA821302882@smtpgate.swpco.com> On Wed, 10 Jan 1996, shannon oconnor wrote: > Without too much thought, what would you expect from a CD entitled > "Post-Modern Blues" ??? > A bunch of tunes written by Jacques Derrida and Jean-Francois Lyotard, covered by Stanley Fish. Richard Rorty's liner notes recall the famed Habermas-Gadamer debate, laughing at both sides' failure to overcome foundationalism. Dave Prychitko who is, BTW, a big fan of Feyerabend ========================================================================= Date: Wed, 10 Jan 1996 12:30:59 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: First record---don't laugh Comments: To: roger.lew.struve@medtronic.com First LP I ever bought (I don't remember the first single, which would have been the first record. It was probably one of the Beatles singles) was the Rolling Stones' GET YER YA YAS OUT. I took it home, excited, opened it, and inside was A RECORD BY THE MYSTIC MOODS!?!? I took it back. No one else in this small town had the record, and I had to live without it for a few weeks. Tom Freeland ========================================================================= Date: Wed, 10 Jan 1996 12:35:13 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Jon Spencer & RL Burnside Comments: To: rew4@psu.edu Someone asked about the fact that R.L. Burnside is opening for Jon Spencer Blues Explosion. Spencer is definitely not blues, does not pretend to be. The general feeling around R.L. (as I understand it) is touring in front of Spencer will provide R.L. with valuable exposure. R.L.'s feeling is probably that he is glad to have the paying gigs. There is no doubt that Spencer is a serious blues fan generally and in particular a big fan of the Fat Possum artists. And, yes, I think you will be irritated by Spencer, LW. Tom Freeland ========================================================================= Date: Wed, 10 Jan 1996 12:48:18 -0500 Reply-To: Meadors From: Meadors Subject: Re: Embarrassing Musical Possessions Comments: To: shannon_oconnor@SWPCO.COM Shannon: Anybody that has a Don Johnson album wins my vote for most embarrassing. Mike Meadors Orange2@gnn.com ========================================================================= Date: Wed, 10 Jan 1996 17:53:34 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Recommended Luther Allison In-Reply-To: On Wed, 10 Jan 1996, Jose Antonio Revilla Garcia wrote: > > Ok, thanks, I'll find them.Does he have any Live ones? > There is one called "Live in Paris" I assume is live :):) and I think (been a while since I played it) that "Let's Have a Natural Ball" is live (but only on vinyl as far as I know). phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [10/1/96 12:45 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 10 Jan 1996 15:51:40 -0200 Reply-To: Hudson Carvalho Bianchinni From: Hudson Carvalho Bianchinni Subject: Re: You never forget your first... Comments: To: "David L. Prychitko" In-Reply-To: Frist soundtrack of my life(today my soundtrack is BLUES): "With The Beatles" "Mr. Tambourine Man" Byrds "Rolling Stones" the frist LP ...well begun is half done... Bluzudson from Brazil ========================================================================= Date: Wed, 10 Jan 1996 12:57:24 -0500 Reply-To: Melanie J Goette From: Melanie J Goette Subject: Re: Embarrassing Musical Possessions Comments: To: Meadors In-Reply-To: <199601101750.MAA28306@mail-e1a.gnn.com> On Wed, 10 Jan 1996, Meadors wrote: > Shannon: > > Anybody that has a Don Johnson album wins my vote for most > embarrassing. > > > Mike Meadors > Orange2@gnn.com > Well, I have that Don Johnson album, along with the Milli Vanilli one. I'm very embarassed about the Milli Vanilli one...but never Don Johnson. Melanie ========================================================================= Date: Wed, 10 Jan 1996 10:33:32 -0700 Reply-To: Sergeant Cyber From: Sergeant Cyber Subject: Thanks! Laid Back & Instrumental Totally Awesome! I'm not very knowledgable about the Blues and I subscribed to this list in hopes of getting some info on where to find some of the music that I like to listen to. I didn't know what I was getting into. This has got to be the busiest list going. This morning I had 111 emails. They weren't all from this list but most of them were. I don't know if I'm going to be able to keep up with it. I'd like to thank everyone who replied to "Laid Back and Instrumental". You guys are great. I now have many titles to check out. Please keep them coming. Can't get enough of that slow, lazy Blues. Thanks again.........Sarge ========================================================================= Date: Wed, 10 Jan 1996 13:18:33 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Playlist Bartender's Bop > station. The 5 CD set Johnny Otis Presents on the discount Laser Light > label has been reviewed previously on blueszelle. My opinion is that it > is probably worth the money though for my taste I prefer the > originals to these later covers. There are still a few gems on the set > and as a low price 5 CD set it is a great opportunity for folks to get > introduced to some great names in blues and rhythm and blues. I agree that on the whole the originals are better. BUT ... In some cases (the Gatemouth Moore recordings, for example) there are no originals available. AND ... The guitar work on all of the Johnny Otis recordings is by Shuggie Otis, then in his early 20s, one of the finest R&B guitarists of his generation. The set is worth getting just to hear him. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Wed, 10 Jan 1996 13:18:33 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: You never forget your first... > >Although this may date many folks on Blues-L, what was the first record > >you ever bought on your own? Elvis Presley. I've Got a Woman. on a 78rpm disk. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Wed, 10 Jan 1996 12:57:03 EST Reply-To: TRADITION@RYKO-MA.CCMAIL.COMPUSERVE.COM From: David Greenberg Subject: Bear Family Address can some one send me the snailmail address so i can order up a catalog? thanks. ========================================================================= Date: Wed, 10 Jan 1996 18:03:00 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: You never forget your first... In-Reply-To: A 45 "Hello Mary Lou" - Ricky Nelson (Hey I was a kid!) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [10/1/96 12:45 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 10 Jan 1996 10:27:30 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: 1996 CHICAGO BLUES CALENDAR Comments: To: BluesHvn@aol.com Comments: cc: andbooks@ripco.com I've had a great 16 month Blues Calendar now for a few months which I highly recommend. It's chock-a-full of important blues dates (mostly birth dates) plus lots of interesting facts like Chicago Blues Clubs, Blues Radio (in Chicago area), Blues on the Internet (including BLUES-L), U.S. Blues Festival listing, etc. Today, January 10, the calender tells us that EDDY CLEARWATER & SAM CHATMON were born today. Tomorrow, CLARENCE "PINETOP" SMITH & MICHAEL "HAWKEYE" HERMAN were born. On January 15th, Kokomo Arnold recorded OLD BLACK CAT BLUES, etc. etc. When I say it's chock-a-full, I'm not kidding. It says here that more than 400 birthdates are included. Also, interspread throughout the calendar are more than 100 b&w photos including (large) photos of ONE STRING SAM, ZORA YOUNG, BOBBY BLUE BLAND, LUTHER ALLISON, MISSISSIPPI HEAT, FENTON ROBINSON, NAPPY BROWN, LONNIE BROOKS & KOKO TAYLOR, HOUND DOG TAYLOR, BLIND JOHN DAVIS, SUNNYLAND SLIM, etc. If I have one suggestion to the publishers, next time please include an alphabetical list of all the artists included in the calender :-). The 1996 CHICAGO BLUES CALENDAR is available in all good bookstores or call 219-232-3134 or email . Or, write them at THE CHICAGO BLUES CALENDAR PROJECT, AND BOOKS, 702 S. MICHIGAN, SOUTH BEND, IN. 46601. You'll recognize it by the wonderful color photo of B. B. KING. eRIC (THE DATE MAN) ========================================================================= Date: Wed, 10 Jan 1996 13:26:51 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: You never forget your first... Comments: To: Pat Hertel On 10 Jan 96, Pat Hertel had this to say... > > There is a hole in that story that I bet everyone reading > it wonders about. What happened to that 78???? > :):) Around 1964, during a move, my dad threw about a hundred 78s into the trash, including one HE had recorded in 1946. At the time, no one, including me, objected. Included in that batch were several examples of where the term "album" really comes from. Albums were just that, albums with about a half dozen "pages" that were actually paper sleeves holding 2 sided 78s. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 10 Jan 1996 13:25:46 EST Reply-To: shannon oconnor From: shannon oconnor Subject: For Australian Blues-L'ers Only!! (NBC) Comments: cc: beth_druhan@swpco.com Meaning No Blues Content...but a request... A friend heard about and would like to acquire a copy of the Australian issue of ROLLING STONE magazine (either current or last month?) that did a cover story/spoof on the TV show "The X-Files." She is willing to pay all costs involved in acquiring a copy and having it shipped here. Or perhaps there's an item you'd like in trade? If this sounds familiar and is something you can do for her, please let me know! Many thanks, from me AND my friend Beth!! Shannon ========================================================================= Date: Wed, 10 Jan 1996 13:29:42 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re[2]: You never forget your first... First 45 was Elvis Presley -- "In the Ghetto" First LP....don't remember exactly. Might've been "Galveston" by Glen Campbell, or it might've been "Parsely, Sage, Rosemary, & Thyme" by Simon & Garfunkel. Those would be my best guesses. First "pop" song I remember hearing on the radio and liking was "The Bright, Elusive Butterfly of Love." I was very young then. And now I've dated myself. Shannon ========================================================================= Date: Wed, 10 Jan 1996 13:42:01 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re[2]: Embarrassing Musical Possessions Comments: To: Melanie J Goette Melaine -- What a pal!!! I don't have the Milli Vanilli LP, but I know I still have Don Johnson somewhere in the pile. Thanks for admitting your terrible secret...or justifying mine. Shannon ______________________________ Reply Separator _________________________________ Subject: Re: Embarrassing Musical Possessions Author: Melanie J Goette at INTERNET_TP Date: 1/10/96 2:04 PM On Wed, 10 Jan 1996, Meadors wrote: > Shannon: > > Anybody that has a Don Johnson album wins my vote for most > embarrassing. > > > Mike Meadors > Orange2@gnn.com > Well, I have that Don Johnson album, along with the Milli Vanilli one. I'm very embarassed about the Milli Vanilli one...but never Don Johnson. Melanie ========================================================================= Date: Wed, 10 Jan 1996 13:05:19 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: you never forget your first >David L. Prychitko asks >>Although this may date many folks on Blues-L, what was the first record >you ever bought on your own? > > As I recall - many, many years ago - it was either Mickey and Sylvia "Love is Strange", or Debbie Reynolds "Tammy". I'd like to think it was the former.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Wed, 10 Jan 1996 14:23:21 -0500 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: You never forget your first... Comments: To: bit-listserv-blues-l@uunet.uu.net In article "David L. Prychitko" writes: >Although this may date many folks on Blues-L, what was the first record >you ever bought on your own? The Beatles' single Help! b/w I'm Down - practically wore it out the first week. ========================================================================= Date: Wed, 10 Jan 1996 14:28:44 -0500 Reply-To: Wayne Ross From: Wayne Ross Subject: Re: You never forget your first... Comments: To: "David L. Prychitko" In-Reply-To: On Wed, 10 Jan 1996, David L. Prychitko wrote: > Although this may date many folks on Blues-L, what was the first record > you ever bought on your own? > > whatever their names, "Na Na Hey Hey" > whatever their names, "Backfield in Motion" Steam and Mel and Tim, respectively, I believe. I those two also. Wayne ========================================================================= Date: Wed, 10 Jan 1996 19:35:09 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Re: Big Maybelle Comments: To: bit-listserv-blues-l@uunet.uu.net I SECOND THAT EMOTION. 4 TIMES! Went this morning to visit a newly opened CD store. While searching their blues section I found Big Maybelle's "Complete OKeh Sessions." I did not know much about her, but I instantly remembered that a Blues-Ler mentioned her mighty voice. Since I am a sucker for black blues woman voices, I bought it! ========================================================================= Date: Wed, 10 Jan 1996 13:51:22 -0600 Reply-To: Dave Daubard From: Dave Daubard Subject: Blues Cruise playlist 1/5/95 Artist------------Title---------------Release---------------Label----- Rod Piazza- Rockin' robin- Harp Burn- Black Top Mem Shannon-If this Ain't the Blues- Cab Driver's Blues- Rykodisc Kid Ramos- Everything I do Is Wrong-Two Hands, One Heart- Black Top Lowell Fulson-Sun Going Down- Them Update Blues- Bullseye Gloria Thompson Rogers-title tune- Daddy's Girl- Monster Mike Welch-Texas Girl- These Blues are Mine- Tone-Cool Mike Griffin-High Maintainence Woman-Sittin' Here with Nothing-Waldoxy Kid Ramos- So Good to my Baby- Two Hands, One Heart- Black Top Eddie Shaw- Fannie Mae Jones- In the Land of the Crossroads- Rooster Blues Duke Robillard- Red's Riff- Duke's Blues- Stony Plain Guitar Shorty- I'm the Clean-up Man- Get Wise to Yourself- Black top Little Milton-I'd rather Drink Muddy Water-The blues is Alright-Evidence Rick Holmstrom-Hit It- Look out- Black Top Smokey Wilson-Standing at the Crossroads-88th St. Blues- Blind Pig James Armstrong-Hard, Hard Blues- Sleeping with a Stranger-High tone Etta James- Wet Match- Right Time Electra " " You Got Me- " " " Albert King-Got to be Some Changes Made-Hard Bargain- Stax Mule Neuman-Rockin' Fella- Mule Neuman- Mule Music Kid Ramos- If you don't think I'm Sinking-Two Hands, One Heart-Black Top Joe Louis Walker-Bluesifin' Blues of the MOnth Club- Verve Eddie Shaw-Wine Head Hole- In the Land of the Crossroads- Rooster Blues Chuck Carbo-Medley-Hootie's Blues/Everyday, I Have..-Barber'sblues-Rounder Omar & the Howlers-Mystery Walk- World Wide Open- Watermellon Rec Pat Ramsey- Georgia Swing- It's About Time- Rampat Rec. Roomful of Blues-Blind Love- Turn It On, Turn it Up- Bullseye Luther Allison-Cherry Red Wine- Blue Streak- Alligator Mem Shannon- Boogie Man- Cab Driver's Blues- Rykodisc Jimmy Witherspoon-Money's Gettin' Cheaper-Big blues, honks,& wails-Prestige Kid Ramos- Roll Mr. Jelly- Two Hands, One Heart Black top Lee McBee- She Fooled Me- "44" Red Hot Records Mem Shannon-Maxine- Cab Driver's Blues- Rykodisc Mark Hummel-title tune- Married to the Blues- Flying Fish Eddie Shaw- Delta bound- In the Land of the Crossroads- Rooster Blues Rick Holmstrom-Lookout Holmes- Look out Black Top note: Eddie Shaw & the Wolf Gang played in town on Fri. the 5th Mem Shannon did a short set at Periscope CD's on 1/8 w/o his band ========================================================================= Date: Wed, 10 Jan 1996 16:59:31 GMT Reply-To: Steve Dafoe Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Steve Dafoe Organization: SuperNet Inc. (908) 828-8988 Subject: Re: Red Devils Comments: To: Orange2@GNN.COM According to a short interview with RED DEVILS drummer Bill Bateman the group broke up. The article appeared in the August, 1995 issue of the BLATERS newsletter, AMERICAN MUSIC, so it's possible they've regrouped. (Bateman was the original drummer for the BLASTERS.) ========================================================================= Date: Wed, 10 Jan 1996 14:24:50 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Jon Spencer & RL Burnside Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu I'd agree with Tom that you might well be irritated by Spencer. I'm not well-versed in current musical terminology but to me his stuff sounds like blues-influenced thrash rock. But definitely not blues. I must say I'm impressed with his choice of opening acts, however. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Wed, 10 Jan 1996 13:35:53 EST Reply-To: Ian Sumpter From: Ian Sumpter Subject: Essential 100 Electric Blues Survey I am interested in starting a survey that will compile a list of the top 100 "must have" electric blues albums/cd/cassettes spanning the period from 1950 to 1995. (sorry all you Delta blues/slide freaks, but at this time I'd like to eliminate those blues that employ the accoustic guitar [perhaps to be covered by someone else?). I would like to break the list into decades so that I will have a list of 20 albums per decade, commencing with 1950-59, and finishing with 1990-95. So...... by taking a consensus from ya'll over the next five weeks, I'd like to establish a reputable listing of great electric (guitar, piano) blues. I would then share the results. Can I get some feedback on this, because if I'm not going get support or responses from this, it will not be successful. Pending the response, I was thinking of starting on Monday, January 15th. Please respond to my address. ========================================================================= Date: Wed, 10 Jan 1996 13:08:36 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: You never forget your first... First tape I ever owned was Jimmie Rodgers/Hank Snow - Train Songs. I was ten years old at the time, and I loved the songs - The Golden Rocket, Ben Dewberry's final run, City of New Orleans... The next was The Best of Buddy Holly, then about ten Beach Boys albums...and from there I slid downhill to Quiet Riot, Twisted Sister, Ratt, before regaining my composure after leaving highschool! -Jim (hndfuL@uniserve.com) ========================================================================= Date: Wed, 10 Jan 1996 16:09:39 EST Reply-To: William Pollak From: William Pollak Subject: Re: EMBARRASSING NON-BLUES RECORDINGS K.C. and the Sunshine Band rule! Bill P. ========================================================================= Date: Wed, 10 Jan 1996 15:12:46 -0800 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Re: Meet Me With Your Black Drawers On Comments: To: bit-listserv-blues-l@uunet.uu.net > >I have been searching in vain for a recording of this. Does anyone > know>who wrote it, who performed it, anything at all?? > Jimmy and Jeannie Cheatham on their CD of the same name. Can't remember > label, sorry. With all due respect to the Cheathams, who definitely wrote it, the best version is by New Orleans' own Chuck Carbo, IMHO. --Maggie ========================================================================= Date: Wed, 10 Jan 1996 14:28:51 -0800 Reply-To: creamer From: creamer Subject: Robert Cray Hi, Can someone tell me what record label "Who's been Talking" and "False Accusations" were recorded on. I'm having a hard time finding these. Thanks.. ========================================================================= Date: Wed, 10 Jan 1996 16:35:43 -0500 Reply-To: Jessica Sowin From: Jessica Sowin Subject: Re[2]: You never forget your first... First 45 was Jim Croce, "Time In A Bottle" First 8track was "The Best of the Guess Who" First LP was Led Zeppelin "In Through The Out Door" Most embarrassing LP that WAS in my collection (gulp), Andy Gibb "Shadow Dancing." I hope it was a gift and that I didn't purchase that of my own will. Thank God I work for Legacy now and come in contact with such great music! (That is not a shameless plug, it's the honest truth.) Jessica Legacy ========================================================================= Date: Wed, 10 Jan 1996 16:45:02 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: Dr. Martin Luther King Comments: To: David Goldstein In-Reply-To: <199601101246.HAA06080@ipof.fla.net> How about Sleepy John Estes & Ry Cooder's _He's been away too long_ Jim ========================================================================= Date: Wed, 10 Jan 1996 17:00:43 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Robert Cray Comments: To: creamer In-Reply-To: On Wed, 10 Jan 1996, creamer wrote: > Hi, > Can someone tell me what record label "Who's been Talking" and "False > Accusations" were recorded on. I'm having a hard time finding these. > Thanks.. Who's Been Talkin' was originally on Tomato and now Atlantic. Opening cut does it for me - Too May Cooks. Don't have the info on False Accusations - but would be inter- ested as well. NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Wed, 10 Jan 1996 16:02:16 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Red Devils Comments: To: Steve Dafoe In-Reply-To: <4d0r9j$rve@earth.superlink.net> I saw a recent review in one of the European blues magazines that the Mick Jagger/Red Devils session is out on a bootleg CD; can't remember the title, though. ========================================================================= Date: Wed, 10 Jan 1996 16:15:58 CDT Reply-To: Dave Kneifl From: Dave Kneifl Organization: University of Wisconsin-Extension Subject: Re: You never forget your first... > Although this may date many folks on Blues-L, what was the first > record you ever bought on your own? first 45 - ELO: Don't Bring Me Down/Dreaming of 2000 (or was it 4000) first LP - Beach Boys: Endless Summer Sorry... I got into the blues a bit later... DK Go Pack - no flames from Cowboy fans please... ========================================================================= Date: Wed, 10 Jan 1996 18:06:45 -0500 Reply-To: ghost From: ghost Subject: Re: Speaking of Gospel music... >Newsgroups: bit.listserv.blues-l >Date: Thu, 4 Jan 1996 12:53:14 -0500 >Sender: Blues Music List >From: Dick Waterman >Subject: Re: Speaking of Gospel music... >Joseph Spence's music can be heard of various Bahamian collections done on >Folkways. In addition, Chris Strachwitz and I coproduced a Spence album from >recordings done in this country in the early 1970s. It is now available on CD >format from Arhoolie. He's not an 'easy listen' but it's rewarding if you >stay with it. Oh Mr. Waterman what you said. Au contraire. Spence not an easy listen? Not if you're trying to replicate his music on the guitar, mayhaps; in that case he's an awfully difficult listen which will probably put you right into the funnyhouse, but if you don't play the anything, & just want to listen, he's an awfully easy listen. Also, if you listen & don't move around just a little, you are probably nailed to that chair. Also dead. Listening to those records may not make you happy *all* the time, as the title to one goes, but they should definitely make you happy while listening to the records or something's terribly wrong. (I had myself a mini Spence festival in my home last night after catching up on the "not an easy listen" remark. I have 3 CDs; time to get the "all else available". Unless the other CDs replicate the exact same versions used on the ones I have, although there is much repetition of material I can safely predict that no two versions will be alike.) One remark about what Spence is doing on the guitar: As one of the many lovely liner-noters notes, he's playing, & improvising, on at least 3 (sometimes 4) melodic lines simultaneously, & they're harmonically distant lines at that, too. One man, two hands, six strings on one guitar, 3 or 4 lines, lots of inspired improv, always thoroughly melodic, lines always far, far apart, always sparse-sounding, absolutely no fill-ins, no many-notes clutter. I'm kind of over-the-deep-end on Sacred Harp singing, Real Alabama (tm) style (though I don't know if the Real Alabamans (tm) are talking to me any more; I'll find out, & anyway that's another matter). A lot of the hymns played by Spence & sung by Spence & the Pindar family come out of the Tennessee/Kentucky version of the same tradition, some of them via songbooks they picked up when working in the states. Their most famous song, "I Bid You Goodnight", turns out, without the Bahamian rhyming portions of course, to be a hymn from the east coast of Yorkshire, still used for the same funerary (& other leave-taking) purposes there as it was used in Spence's day as a "laying down" hymn in the Bahamas. Now, the Tennessee/Kentucky versions of Sacred Harp are already a lot "softer", i.e., closer to modern tuning, than their Alabama/Georgia etc counterparts, & as interpreted by Bahamians are "softer" still, because people don't tend to want to reproduce sounds not similar to the sounds they already like to use, but the lines in the Bahamian hymns are still in what the Sacred Harpers have taken to calling "dispersed harmony", that is, all lines *very* far apart (as opposed to modern European harmony which puts 3 lines close together, & the bass apart from them in order to concentrate the hard stuff on the right hand for right-handed keyboard players. There were a lot of gonzo right-handed keyboard players writing in the Classical Era & they liked to cater to themselves that way). I figure that this aspect of the Tennessee/Kentucky SH tradition resembled harmony that they were already doing in the Bahamas. They may have gotten it from the early English settlers of the Bahamas, or they may have brought it with them from Africa; there are African musical traditions, mostly in South Africa, where they do harmony which keeps the all the lines far apart. Somehow I don't think knowing all this is going to help people play like Spence unless they're also geniuses, though. ========================================================================= Date: Wed, 10 Jan 1996 18:24:55 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: You never forget your first... Pat's first record... > A 45 "Hello Mary Lou" - Ricky Nelson > (Hey I was a kid!) Don't apologize. Ricky Nelson is a badly underrated performer -- a fine rockabilly singer who is unfortunately and incorrectly often grouped with the "teen idol" types -- Fabian and the rest of Dick Clark's no-talents. Hello Mary Lou was (IMHO) one of his best songs. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Wed, 10 Jan 1996 17:21:58 -0600 Reply-To: Chris Pearson From: Chris Pearson Subject: First Record I've not seen this beat yet. As far as I can recollect the first album allowed in our house that wasn't classical our religious was Shelly Fabare's 'Johnny Angel'. And believe it or not it's probably still around at mom's house. Chris ========================================================================= Date: Wed, 10 Jan 1996 17:33:56 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Robert Cray Comments: To: creamer@UNM.EDU, ISTS024%UABDPO.BITNET@brownvm.brown.edu False Accusations was on Hightone. This is still available (listing below from CD Connection). HiY8005 +CRAY*ROBERT FALSE ACCUSATIONS 7/1 $12.82 &HIGHTONE 1/87 Who's Been Talkin' was originally on the now-defunct Tomato label. I'm not sure if the reissue below is the exact same record but "Too Many Cooks" was one of the tracks on that album. RHi70381 CRAY*ROBERT TOO MANY COOKS 7/5 $10.11 RHINO 2/92 Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Wed, 10 Jan 1996 15:47:00 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: ARHOOLIE 432 : I HAVE TO PAINT MY FACE - MISSISSIPPI BLUES 1960 Comments: To: BluesHvn@aol.com SAM CHATMON b. 1897/JAN/10, BOLTON, MS - d. 1983/FEB/02, HOLLANDALE, MS ============================================================================ Today is Sam Chatmon's birthdate. Arhoolie has just reissued 2 of their early albums on 1 CD, which Country Blues fans should take note. It's a wonderful record. Here's a review of the new CD, part of the new batch of Arhoolie releases. I'll also be posting a review of the AMEDE ARDOIN CD, a release that I consider one the best in '95. ARHOOLIE 432 : VARIOUS - I HAVE TO PAINT MY FACE - MISSISSIPPI BLUES 1960 ============================================================================ Instead of just repackaging 2 old albums on one CD, Arhoolie has (wisely) decided to take the best from 2 early Arhoolie albums (F1005, F1006) and include a few unissued tracks. All the titles by Sam Chatmon (4), Jasper Love (3), R. C. Smith (4) and Wade Walton (2) were recorded by Chris Strachwitz in July 1960, while on a Mississippi field trip with Paul & Valerie Oliver - all amateur bluesman except Sam Chatmon, one-time member of The Mississippi Sheiks. Chatmon's "I Have To Paint My Face" and "God Don't Like Ugly" are rare examples of protest blues that commercial companies declined to record. The CD is rounded out by Big Joe Williams (2), the Louisiana duo Butch Cage and Willie Thomas (3), Sidney Maiden (1) and K. C. Douglas (4), including a wonderful unissued version of his most famous song, "Mercury Blues". The sound quality is outstanding. (23 tracks, 77 minutes). Other CDs that may interest you ------------------------------- ARHOOLIE 372 : VARIOUS - COUNTRY NEGRO JAM SESSION (w/Cage & Thomas) FANTASY OBC 533 : K. C. DOUGLAS - K.C.'S BLUES FANTASY OBC 569 : K. C. DOUGLAS - BIG ROAD BLUES FANTASY OBC 574 : SIDNEY MAIDEN - TROUBLE AN' BLUES (w/K. C. Douglas) TESTAMENT 5029 : VARIOUS - SAN DIEGO BLUES JAM (w/Sam Chatmon) New Arhoolie releases (for complete CD Discography, visit KING BISCUIT TIME at ============================================================================= 411 CARTER FAMILY ON BORDER RADIO - 1939 V. 1 416 VARIOUS CAJUN FAIS DO-DO (1966) 417 TREME BRASS BAND GIMMEE MY MONEY BACK (1993/95) 423 CHELO SILVA LA REINA RJANA DEL BOLERO (1958-64) 431 LOS CAIMANES/LOS CAPORALES HUAPANGOS Y SONES HUASTECOS (1978/95) 432 VARIOUS I HAVE TO PAINT MY FACE (1960) 435 LOS CENZONTLES CON SU PERMISO SONORES (1994/95) 442 REV. LOUIS OVERSTREET HIS SONS & THE CONGREGATION.. (1962/3) 7007 AMEDE ARDOIN THE ROOTS OF ZYDECO (1930-1934) 7016 VARIOUS NORTENO/TEJANO ACCORDIAN PIONEERS29/39 ========================================================================= Date: Wed, 10 Jan 1996 17:49:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Othar Turner - Fife and Drum Speaking of Othar Turner, does anyone know if his colleague Napoleon Strickland is still with us? Othar's daughter Berniece told me that he was gravely ill ("in the bed" - stated with such a tone of finality it sounded as if he was not expected to recover. This was a couple of years ago. -Bonnie the K. ========================================================================= Date: Wed, 10 Jan 1996 19:01:16 -0500 Reply-To: RLaMour From: RLaMour Organization: America Online, Inc. (1-800-827-6364) Subject: Re: You never forget your first... Comments: To: bit-listserv-blues-l@uunet.uu.net Ramblin Rose- Nat King Cole (my sister still has it somewhere) ========================================================================= Date: Wed, 10 Jan 1996 19:22:54 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: You never forget your first...(but I did) God, you people have incredible memories! Someone at my house was always buying records, so I'm not sure which one I first actually picked and and bought myself. I'm sure it must have been something by the MONKEES!!! Maybe that belongs under most embarrassing.... But I was really, really young at the time! Karen ========================================================================= Date: Wed, 10 Jan 1996 19:38:36 -0500 Reply-To: "Coolio from www-1-178.gnn.com. 205.188.1.178" From: Mike Meadors Subject: Re: You never forget your first...(but I did) Comments: To: JukeFreak@AOL.COM You wrote you were embarrassed by buying a Monkees album. There is nothing to be embarrassed about with regard to the Monkees. They were a commercial commodity and even they knew it and admitted it. They weren't a band in the classic sense ... but check out some old tv shows ... they were pretty bizarre (in the good sense) for that time in history .. and the music wasn't that bad ... "Valerie" was a decent song, for example ... "Steppin' Stone?" ... has a nice hook ... go on, sue me. Take away my Blues-L membership card. Mike Meadors Orange2@gnn.com ========================================================================= Date: Wed, 10 Jan 1996 17:02:28 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Re: EMBARRASSING NON-BLUES RECORDINGS I unloaded most of the really embarrassing stuff. But I do have a Mckendree Spring album, and I think there may be a Deep Purple album hidden from public view. I don't listen to these albums, but I've hung on to them to mark a period in my life, and I may play them to trigger my memory of late adolescence when I write my memoirs. Bill Morgan From: The Big Easy ========================================================================= Date: Wed, 10 Jan 1996 20:07:06 -0500 Reply-To: Weidel From: Weidel Organization: ?? Subject: Blues Photos Comments: To: bit-listserv-blues-l@uunet.uu.net Does anyone have any interest in trading blues photos? I've never been able to resist that "Second Set Free" offer. As a result, I have quite a few decent 4x6 color photos taken at festivals over the last few years. I realize that color isn't "professional", but the price is right. Bob Weidel ========================================================================= Date: Wed, 10 Jan 1996 17:06:52 -0800 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Blues Heaven and Blues In The Schools There is a URL for more information on Blues Heaven: http://www.island.net/~blues/heaven.html In one of their newsletters, they state that a $50 donation will supply 15 harmonicas for the Blues In The Schools program. Since it inception, Billy Branch has taught thousands of kids about the blues and the basics of the harmonica. He and the rest of the S.O.B.s (Carl Weathersby and Mose Rutues) are really active in teaching the younger generation about the blues tradition. In the past, they have gotten some of the older artists involved in the program as well. Last year, a bunch of the Blues In The Schools kids (along with the S.O.B.s) opened the Chicago Blues Festival. Some of these kids possess tremendous voices and can blow some pretty mean harp. This program is giving direction to a younger generation and keeping the tradition alive. Sorry for getting on the soapbox, but I believe these people are doing good things not only for the music, but, more importantly, for benefit of the kids. Joe ========================================================================= Date: Wed, 10 Jan 1996 20:26:48 -0500 Reply-To: Michael Kaloyanides From: Michael Kaloyanides Subject: Warning: No blues content Since Bluezellers are such a distinguished and varied collection of music enthusiasts and so generous with their knowledge and wisdom (do you detect purposeful flattery here?), I thought I would ask you for some assistance on a project I am working on. I was granted a sabbatical for spring semester to research current methodology and technology in sound and music for film and video. In addition to researching the subject through periodicals, journals, monographs, books, etc., I would also like to visit sound facilities that do sound for film and video. I am thinking about audio production, audio post-production and foley facilities. I plan to visit facilities in the New York City metropolitan area, in Los Angeles-Hollywood, and perhaps in the San Francisco area. I humbly ask that if any of you have any personal contacts at such facilities in the locales I mention, and would be willing to recommend them to me and vice versa, I would be very grateful. Since I live near NYC I am very flexible for travel there. I would like to head out to the West Coast between March and May. Please respond by private Email. Michael G. Kaloyanides Department of Music & Sound Recording University of New Haven ========================================================================= Date: Wed, 10 Jan 1996 20:45:08 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Blues Videos I just received this note and thought it would be of interest. (I have no affiliation with Vestapol Videos.) ------------------------------------- Vestapol Videos has rare footage of legendary bluesmen. Each video is 60 minutes and has complete performances. Some of the artists featured are Freddie King, Big Bill Broonzy, Mississippi John Hurt, Lightnin' Hopkins, Mance Lipscomb, Albert Collins, John Lee Hooker, Bukka White, Big Joe Williams, Leadbelly etc. Video titles include: Legends Of Country Blues Guitar Volumes 1 & 2 Legends Of Bottleneck Blues Guitar Legends Of The Delta Blues Freddie King The!!!!Beat; Freddie King In Concert; Freddie King Jan. 20th 1973 Lightnin' Hopkins 1960-1979 Mance Lipscomb In Concert Texas Blues Guitar For a catalog write to Vestapol Videos, PO Box 802, Sparta, NJ 07871 or call 201/729 5544. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Wed, 10 Jan 1996 21:44:33 -0400 Reply-To: Mike Gilbert From: Mike Gilbert Subject: Re: You never forget your first.... Grand Funk Railroad - Live (and I still have it!) I believe it was followed quickly by The Allman Brothers - Beginnings Mike ========================================================================= Date: Wed, 10 Jan 1996 21:05:02 -0500 Reply-To: robert barclay From: robert barclay Subject: Re: Laid Back & Instrumental >The cheerful PW wrote- > >> On 8 Jan 96, Sergeant Cyber had this to say: >> >> > Hi. I'm trying to find some really laid back instrumental blues. Not >> > being familiar with blues artists has me buying discs and invariably ending >> > up with a lot of upbeat vocals. I purchased one disc entitled Guitar Blues >> > and it turned out to be all vocal. One of my favorite songs is "Summertime". >> > Wouldn't mind finding an instrumental version. Can anybody give me the >> > titles of a few discs that are mostly instrumental and laid back. Thanks. >> >> >> Try "Yanni at The Acropolis" > > >In you're dreams! Everyone knows that the *best* instrumentals are by >Kenny G! And let's not forget John Tesh! If you *really* want some good >instrumental music, just ask MK Sheffield. I'm sure she could set you >up. :) > >Seriously, though. How about Kenny Burrel? He's instrumental, and a >little more jazz than blues, but still, great laid back instrumentals >(and he does a pretty killer version of "Summertime" as well.) > >Abe >awmathew@mtu.e > I have only two words to say on this topic, RICHARD CLAYDERMINE rb. ========================================================================= Date: Wed, 10 Jan 1996 18:26:24 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: 1996 R&B Foundation Pioneer Awards The recipients for the Seventh Annual Rhythm & Blues Foundation Pioneer Awards, to be given out Feb. 29 at the Hollywood Palladium, are: Dave Bartholomew The Cadillacs The Chantels The Flamingos Betty Everett Eddie Floyd The Isley Brothers Jay McShann Johnnie Taylor Dorris Troy Johnny Guitar Watson This information comes from a short item on the wire services this morning. Mary Katherine Aldin Bobby Womack ========================================================================= Date: Wed, 10 Jan 1996 20:15:25 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Sitting&Thinking - Bruce Katz. Not exactly a true blues CD but given the magic of Bruce Katz, the number of blues and R&B CD's that he has played on and our month's devotion to making note of the output of Audioquest it is a fitting tribute and my pleasure to offer up this review - BRUCE KATZ - Crescent Crawl (Audioquest #1012) AUDIOQUEST P.O. BOX 6040 SAN CLEMENTE, CA 92674 TEL: 714-498-1977 FAX: 714-498-6223 BOOKING - BRUCE KATZ DIRECT 617-834-8762 The cover art on this CD depicts an alligator (or is it a crocodile) sliding through the lush green vegetation. What an appropriate image as you will see and hear. Bruce Katz is a big, tough and at times ferocious keyboard player and the milieus that he creates are often rich jungles of sound. He began his formal training at the age of 5 and touched everything from Mozart to Sousa to Dixieland and more. He was and is a real student of music and the scope and complexity of what he performs bears witness to his labors. Sit back and get ready for some over the top entertainment by a virtuoso on the black and whites, and a fine set of accompanying musicians - Marty Ballou on bass, Lorne Entress on drums and two top flight guests in Bob Malach on the tenor sax and Kevin Barry on guitar. This is Bruce & company's first outing for Audioquest and lays solid ground for more to come. For blues purists this is not necessarily the CD of choice, but for fans with big ears, who can listen to the full wealth that a musician offers, this is a must get CD. CRESCENT CRAWL / JUST AN EXPRESSION / CONTRITION / BK'S BROILER / BUZZ CUT / ONE WAY TICKET / BOOMER'S THING / BEAST / WILL IT GO ROUND IN CIRCLES? / JUST A CLOSER WALK WITH THEE NY CD Takes CRESCENT CRAWL: Right off the top the magic gets laid down. This could be a hit off Roosevelt Sykes, James Booker or any number of top flight sitdown piano greats. Bruce Katz tickles and flurries for a full minute plus, mixing jazz tinges with classic cuts and ends up right in the arms of Lorne Entress' drums. Then he backs out a tad and heads out to New Orleans. There is just so much diversity in this first cut that the whole of the CD is laid bare in a twinkle. Nice bass and sweet smooth saxwork add tastefully to this side. JUST AN EXPRESSION: Lorne Entress' is the leadin here with Bruce just a shadow behind. The drums turn over to the keyboard and it all works right in front of Marty Ballou's cool bass. This is a straight jazz oriented side with smooth runs and very expressive flourishes of improv. You'd swear you were sitting in the club a foot or so from the players, sipping on something but drinking it all in. CONTRITION: Bruce now turns to his Hammond B3 and the sounds get blue. The pacing is a bear motion and the drag is on your heart. You are in before you know it and you will never get free. This cut is both capturing and musically magical. Lorne Entress now turns to the tin on his drums and makes a great counter to the big deep bass of the Hammond. This is easily recommended as a first play side. BK'S BROILER: The pace rises a notch and Bruce Katz stays at the B3. The pitch of the organ is upped from the former cut, and Bob Malach gets added to the mix. Mr. Malach gets and holds one very bright front, while Bruce takes some strong swipes at the Hammond in a couple of super runs against the drums as a foil. This is a fine followup to Contrition, in it's staying blues oriented, but moving on and over the line to its cousin jazz. A strong well played crossover piece that finally at just over 3 minutes in showcases the big talents of Kevin Barry on guitar. His blue guitar sets well here for the runs that he takes. BUZZ CUT: The drums open up furious and rousing. Lots of stick faces off against the sax, and then Bruce Katz back on the piano tickles in. The back and forth on this side among all of the instruments is to be relished. This is why I opened up this review with the carefully chosen words - big and tough. ONE WAY TICKET: The piano is still the instrument of choice here for Mr. Katz and Bob Malach once again steals in. This side has an air of investigation to it. You can feel the musicians, the music and the instruments looking around for new room to grow into to. This side is provocative, in that it seems to be as much a journey for the players - as for me and you as the listeners. BOOMER'S THING: Back to the B3 and a dramatic side. It is a quick attacking piece with short bursts and then fine finesses. It moves - speed driven, but constantly musical. This is not a blues addicts dream, but I being one of them make this a pick of the litter in good listening. Marty Ballou and Kevin Barry here are the standouts for this cut, playing the two ends of what the guitar can offer. Pay particular note to Marty's nice solo at just under 4 minutes in - very smooth. BEAST: You can feel the BEAST pacing the ground, his footsteps quite strong and present. Lorne Entress does an aces up job of walking him through this jungle. Bob Malach sets the sounds out of the wilderness' and Bruce Katz adds more of this jungle feel to the mix. One of the most expressive and impressive pieces I have heard in a long time. You'll actually see with your ears. WILL IT GO ROUND IN CIRCLES?: This cut is the first non-self penned side to this set. It is a grand mix of blues brought up front by the guitar and pickwork of Kevin Barry who has added so much of the blues to this CD. It once again feels like another investigation by a group of committed artists and added to Bruce's organ another possible first play side. JUST A CLOSER WALK WITH THEE: For 1 minute and 25 seconds Bruce takes to the keys in a jazz interpretation of what I would assume is a traditional gospel piece. Prove me wrong - but it is a big walk into a part of the musical arena so far untouched on this session and as you will agree quite welcome and foreboding of I hope more to come from these terrific musicmen. Reviewed by Barry Silverberg Copyright NY CD Blues @1995-1996 All Rights Reserved. Unauthorized use prohibited. NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 11 Jan 1996 03:13:59 GMT Reply-To: Ari Eisinger From: Ari Eisinger Organization: Voicenet - Internet Access - (215)674-9290 Subject: Re: What's Kid Bailey singing? Comments: To: bit-listserv-blues-l@uunet.uu.net As I hear it it's Did you ever been lucky woke up cold in hand I would call that now nothin' but a monkey man and I love you baby you so nice and brown And you put it up solid so it won't come down "Woke up cold in hand" is a phrase in alot of blues songs. I don't know what it is supposed to mean literally (though I do have some guesses :)), but it seems to be used to refer to the loneliness of finding yourself by yourself in bed without a sexual partner. I've heard the phrase so many times that I'm pretty confident that these are the words. However, my guesses as to the meaning of the words is pure speculation. ARI EISINGER Blues and Ragtime Guitarist and Singer Guitar Teacher (610) 259-6688 D express the lone- liness of not having a sexual partner. Timothy M Dellinger (tdelling@COEWL.CEN.UIUC.EDU) wrote: : > : > Help. I gots t' know. What is Kid Bailey singing in the 4th and 5th : > verses of "Rowdy Blues" (Yazoo 2002 "Masters of the Delta Blues"). : > : I've got this one on the Document CD "Son House and Masters of the Delta Blues" : or some title similar to that. Here is what I suspect are the lyrics: : > Ain't gonna marry and settle down : > I'm gonna stay right her and tear this barrelhouse down. : > : ...right here til they tear this barrelhouse down. : > : > Did you ever been lucky woke up___ (2X) : > I would call that ___ nothin but a ____. : > : ...woke up (coal? coat?) in hand : > I love you baby you so nice and brown (2X) : > cause you put up ___ so he won't come down. : > : ...put up solid, so it won't come down. : I'm assuming that this verse is in reference to a woman's breasts, : which tend to sag if they're not "put up solid." : > Said did you get that letter mailed in your backyard (2X) : > sad words but true best old friends have to part. : > : ...best of friends... : These are just my opinion! Does anyone else have other thoughts? ========================================================================= Date: Wed, 10 Jan 1996 22:41:53 -0500 Reply-To: "Daryl F. Bernard" From: "Daryl F. Bernard" Subject: Re: You never forget your first... Comments: To: "David L. Prychitko" In-Reply-To: On Wed, 10 Jan 1996, David L. Prychitko wrote: > Although this may date many folks on Blues-L, what was the first record > you ever bought on your own? > I went to K-Mart with a buddy and bought the following: KISS _Alive_ (HAD to have that one - it was 1977 & I was 14!) Linda Rondstat _Livin' in the USA_ (God she looked good in those shorts :-) Daryl ========================================================================= Date: Wed, 10 Jan 1996 20:55:15 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: pseudonyms Back on the subject of "king of the Jungle" and "Jane" credits on Rick Holmstrom's new CD..... > From: Gail McIntosh > RE the cute nicknames: Is this meant to "vex and perturb" Black Top? > I don't think so. Seems more like some goodhearted fun...maybe there's > some sort of contractual arrangement that would prevent them from being > listed. Maybe not. I'm thinking that this was done in the fun-filled > spirit of many recording sessions. Keep in mind that Holmes produced > this record for Black Top...it would be pretty much out of the question > to produce something to "vex and perturb" the label while asking them > to distribute it. Usually does not make for the best artist/label > relations... Sure, I agree with the above. I just thought it interesting considering that Rod and Honey are ex-Blacktop artists. Not using their real names on the credits would also prevent Blacktop from splashing "FEATURING ROD PIAZZA" across the cover and in their ads and promotion. Johnny Dyer, Bott, Stuve, and everyone else is properly credited. I just find it a little strange that the Piazza's would not want to be credited. Granted, it is a pretty thin disguise to anyone that knows the band. I'm just a little disappointed for some newbie that picks up the CD, enjoys the harp and piano of the "King of the Jungle" and "Jane" and then has no way to follow up. Don O. ========================================================================= Date: Wed, 10 Jan 1996 23:01:07 -0500 Reply-To: Mike Coch From: Mike Coch Subject: Re: You never forget your first.... THE VERY FIRST The Beatles Red & Blue Collections Elton John's Greatest Hits Bachman Turner Overdrive: "Four Wheel Drive" Led Zeppelin II played on a Radio Shack phono/AM-FM/8-track there, I feel better. I think. ========================================================================= Date: Thu, 11 Jan 1996 04:06:48 +0000 Reply-To: Roadrunner Tour Management From: Roadrunner Tour Management Subject: Re: artists Comments: To: mba tempaccount At 16:05 05/01/96 -0500, mba tempaccount wrote: >looking for opinions on great blues guitarists > > I love them :-) "R O A D R U N N E R T O U R M A N A G E M E N T" <<<< KEEPING THE BLUES ALIVE >>>> 141 Tirellan Heights Galway / Ireland Tel.&Fax: +353 95 35976 Mobile: +353 88 619758 E-Mail: roadrun@iol.ie http://www.iol.ie/~roadrun/index.html ========================================================================= Date: Thu, 11 Jan 1996 00:28:09 -0500 Reply-To: Renato154@AOL.COM From: Renato Tonelli Subject: Re: BLUES CALENDAR Comments: To: leblanc@dao.nrc.ca All this talk about Blues calendar is making me nostalgic (well, almost). It was not long ago that I was putting together a Blues calendar (The International Blues Calendar). Were were all those potential customers when I needed them? Oh well, that's the way it goes... ========================================================================= Date: Thu, 11 Jan 1996 00:28:11 -0500 Reply-To: Renato154@AOL.COM From: Renato Tonelli Subject: Re: Blues Videos Comments: To: curtis@magicnet.net A documentary film on John Jackson I made in 1979-1986 is available from Rhapsody in New York City. Renato Tonelli ========================================================================= Date: Wed, 10 Jan 1996 23:33:22 -0600 Reply-To: Chris Pearson From: Chris Pearson Subject: Re: Blues with feeling: What does it take, philisophically? All I can say is ,Great question. It sure seems to be something that we know when we hear it and it will surely sound different to everyone. I know that as a guitar player the "thang" comes and goes for me. It appears much more often in the den at the house than it does on stage. Vocally one seems to try to sound "blue", but instrumentally you can coax more feeling out at times than others. One must remember that the blues is known for such raw emotion and sometimes the emotion is just not there. Can one really do "Five Long Years" if he's been married to the most wonderful woman in the world? I think I heard Roy Clark say once, "He's so good he can play the blues when he ain't even sad." To perform the blues you've got to be able to turn it on and off to be convincing. Either that or play only "happy blues" instead of "the woman done me wrong blues". Chris >I was just wondering, while toiling away at the microscope performing >microsurgey on some cells.... :).......and listening to Hendrix:Blues.... >in our recent thread about how Clapton obviously loves blues and is technically >excellent at it, but seems to come off lacking that "thang", that "feeling", >that WHATEVER it is, "karma"...what does it take? I mean, what the hell >does it take to impart to your audience, that you TRULY are a bluesman (person) >in your soul, in your playing, in your life? Really. Philisophically, what >could be missing? I'm just using EC as an example, but we could just as easily >come to concensus on any number of artists probably. > >I mean, here's a guy, albeit white and wealthier than God, but has otherwise >walked the walk. EC has in his personal life had one tough row to hoe. From >death and tragedy in his family to losses of friends and bandmates, the lifelong >struggle with addiction, romantic loss and failure numerous times, the rise >and fall of pop-stardom and I'm sure his share of experiences with the seedier >underside of coming up through the ranks and being shat upon by the powers >that be. Whatever. I mean despite his popularity, the guy's had a serious >of one personal tragedy after another. Yet everyone agrees he's a nice guy, \ >is professionally as respected as you can get, has done all his homework, >studied and learned and befriended the masters. ANd when you see him live >he plays his heart out for you, yet, indeed many of us agree while technically >superb, Eric's blues sound lackluster. > >So, Blues-Lers, what's it take? I'm sure I don't know. > > >Riffin Rick > > > (((( > oo-) > /- > > > ".....well I hear my train a-comin'!" > > > > > > > > > > >F.J.(Rick)Miller >Senior Research Assistant, >& Marine Facilities Manager >Worcester Foundation for Biomedical Research >"Miller@Sci.WFBR.Edu" >*************************************************************************** > > ========================================================================= Date: Wed, 10 Jan 1996 23:39:00 -0600 Reply-To: Chris Pearson From: Chris Pearson Subject: Re: Meet Me With Your Black Drawers On Talk about coincidence. I was waiting for my buddy to pick me up to go to a jam tonight and I thought I'd download my mail. As I saw this flash by I thought, "Whoa, what a subject." (I'd never heard of the song)> Anyway, I got up in the second set and a guy requested it. Somebody up playing knew it and we did it. The guy said it was Chuck Carbo's version we did. Great song. Chris >> >I have been searching in vain for a recording of this. Does anyone >> know>who wrote it, who performed it, anything at all?? >> Jimmy and Jeannie Cheatham on their CD of the same name. Can't remember >> label, sorry. > >With all due respect to the Cheathams, who definitely wrote it, the best >version is by New Orleans' own Chuck Carbo, IMHO. > >--Maggie > > ========================================================================= Date: Thu, 11 Jan 1996 05:49:25 GMT Reply-To: Dave Perkins From: Dave Perkins Organization: CTS Network Services Subject: Junor Wells Song... Comments: To: bit-listserv-blues-l@uunet.uu.net One of my all time favorite songs is by Junior Wells "Key to the Highway"....Some parts of it Im curious to what he's singin...Does nayone have the words or know where I can get them to this song...Any help is very much appreciated..!!! Please e-mail me..I doubt Ill check here very much Thanx, Dave in San Diego davep@cts.com ========================================================================= Date: Thu, 11 Jan 1996 14:37:20 SIN Reply-To: leo samuel From: leo samuel Subject: ...no subject... Comments: To: BLUES-L@listserv.net I just joined the list and am very new to blues. Anybody can suggest some good guitar blues (artists/albums) for a new comer to blues ? Or will I be able to download some materials from internet ? I'm talking from Singapore and it's not easy to get good materials here. regards leo <= Lighten up, when you still can => ========================================================================= Date: Thu, 11 Jan 1996 02:00:51 EST Reply-To: MR TERRY W SPRING From: MR TERRY W SPRING Subject: FIRST RECORDS First 45: The Chipmunk Song First LP: The Best of the Kingston Trio Vol I First CD: Who's Zooming Who by Aretha Franklin Strangely enough, I still have all of them. And quite a few more. ldFortunately I don't move very often! ========================================================================= Date: Thu, 11 Jan 1996 02:13:15 -0500 Reply-To: Slydemann@AOL.COM From: Dave Melton Subject: Re: FIRST RECORDS Comments: To: XMVC66B@prodigy.com First record I remember: 101 Dalmations soundtrack Christmas '60 or 61 First album I remember buying: Columbia Record Club, 3 choices: Flowers (Rolling Stones) Ravi Shankar Live at Monterey , Disreali Gears (Cream) ========================================================================= Date: Thu, 11 Jan 1996 02:44:11 -0500 Reply-To: Conqueroot From: Conqueroot Organization: America Online, Inc. (1-800-827-6364) Subject: Re: EMBARRASSING NON-BLUES RECORDINGS Comments: To: bit-listserv-blues-l@uunet.uu.net A related question- Who is the more talented musician, Garth Brooks or Meatloaf? Conqueroot ========================================================================= Date: Wed, 10 Jan 1996 23:44:23 -0800 Reply-To: bluesdj@HALCYON.COM From: Roberta Penn Subject: Re: MLK and blues In-Reply-To: <199601110505.AAA15809@listserv.brown.edu> Check out Champion Jack Dupree's "Freedom" on his "Back Home in N.O." release. ========================================================================= Date: Thu, 11 Jan 1996 07:45:56 GMT Reply-To: marc@az.vub.ac.be From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Al Copley Comments: To: bit-listserv-blues-l@Belgium.EU.net Hello bluezellers ! At the end of this month, in a local bluesclub, Al Copley will have a concert, himself solo on piano. I think Al was one of the 'Roomful of Blues' guys ( didn't he start the band ? ). Now my question : I do not know very much about Al's music, but I am told he uses a variety of styles. Who were his influences, what can I expect and does he have any recordings (yet) ? The concertinfo : Al Copley Essegem Blues, Jette BRUSSELS January 28th, 20h30. Thanks for helping me .... embee. ========================================================================= Date: Thu, 11 Jan 1996 02:51:33 -0500 Reply-To: RLaMour From: RLaMour Organization: America Online, Inc. (1-800-827-6364) Subject: Re: You never forget your first...(but I did) Comments: To: bit-listserv-blues-l@uunet.uu.net Speaking of the Monkeys, one of the "real" musicians that they used when they toured is a great blues guitarist that lives in San Antonio named Willie "Jitterbug" Webb. I used to work with Jitterbug for several years and he tells of playing behind them on some of their tours...one in Mexico stands out in my memory. He also played behind Ike and Tina Turner. ========================================================================= Date: Thu, 11 Jan 1996 07:51:53 GMT Reply-To: marc@az.vub.ac.be From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Re: New Orleans Blues Comments: To: bit-listserv-blues-l@Belgium.EU.net Some day Shaun wrote : : I did have the blues when I got home. A friend was trying to get tickets to : see BB King on the 27th but they were sold out. Aaaargh! Come to Antwerp, Belgium on March, the 4th. BB in concert and still tickets available ! embee ps. And also lots of bars in the neighbourhood to go to ;-). And probably not so cold as in New Orleans. And also some ( or at least one ) bluezeller(s) to join a beer and have a talk. ========================================================================= Date: Thu, 11 Jan 1996 01:14:43 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: Re: The first time..... I'm still trying to forget that I bought a Perry Como album!! To make matters even worse I got it autographed 2 days later. Gary ......... Gary Constantine >> gconstan@ccinet.ab.ca << If hard work were such a wonderful thing, surely the rich would have kept it for themselves. ========================================================================= Date: Thu, 11 Jan 1996 08:19:54 GMT Reply-To: tdevit3@NEWS-S01.NY.US.IBM.NET From: tdevit3@NEWS-S01.NY.US.IBM.NET Subject: Re: You never forget your first.... Comments: To: bit-listserv-blues-l@uunet.uu.net "Here's Little Richard" album with a great screaming red cover...guess that dates me. ========================================================================= Date: Thu, 11 Jan 1996 11:22:23 +0100 Reply-To: Peter Gallagher From: Peter Gallagher Subject: Beat THIS! (was 'embarassing..') Well, feller-zellers, I challenge you to beat this one! :-) I believe the first record I ever bought was a single by David Cassidy of the Partidge Family of the tv-series of the same name. Now THAT's EMBARRASSING!!! :-) (Shudders violently) I can't remember what it was called. What a SHAME! ;-> I reckon this one's unbeateable! Any takers? regards, PeterG ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Thu, 11 Jan 1996 11:24:09 +0100 Reply-To: Peter Gallagher From: Peter Gallagher Subject: Re: EMBARRASSING NON-BLUES RECORDINGS Comments: To: Orange2@GNN.COM In-Reply-To: <199601101336.IAA08766@mail-e1a.gnn.com> from "Mike Meadors" at Jan 10, 96 08:36:55 am Better ease up on the crackers Mike! :-) > > Pat: > > Best of the Carpenters, with a little white wine and some > cheese/crackers is very soothing. And I can't believe I'm saying > this but it's true! > > Mike Meadors > Orange2@gnn.com > > -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Thu, 11 Jan 1996 06:38:38 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Othar Turner- Fife and Drum Comments: To: bit-listserv-blues-l@uunet.uu.net About 20 years ago, David Evans, Bill Ferris and Judy Peizer teamed up to record Othar and his group. The 15 minute film which resulted is a neat, slice-of-life sort of thing. Othar rides his horse into the woods to cut cane, makes a flute and joins his pals at sunset for a jam. Scenes of his wife making biscuits and kids cleaning up in a bucket on the front porch are interspersed. This used to be distributed by the Center for Southern Folklore, but I don't know if it's currently available. I'll try to find out. Bill Barth also made a film of a Tennessee Fife and Drum corps which traced its history to the antebellum era. My efforts to find a clean copy of this so that Barth can have it reproduced for sale have, so far, been unsuccessful. I will keep the list posted on new developments, though. Denise ========================================================================= Date: Thu, 11 Jan 1996 13:52:43 +0200 Reply-To: Jouni Ilari Hyyti{inen From: Jouni Ilari Hyyti{inen Subject: Re: Beat THIS! (was 'embarassing..') Comments: To: Peter Gallagher In-Reply-To: <199601111022.AA04451@xs1.xs4all.nl> On Thu, 11 Jan 1996, Peter Gallagher wrote: > Well, feller-zellers, I challenge you to beat this one! :-) > > I believe the first record I ever bought was a single by David Cassidy of > the Partidge Family of the tv-series of the same name. > > Now THAT's EMBARRASSING!!! :-) (Shudders violently) > > I can't remember what it was called. What a SHAME! ;-> > > I reckon this one's unbeateable! Any takers? > > regards, > PeterG > ----------------------------------------------------------------------------- > Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl > > " I used to finish every sentence I started, but now I just ...." > --my sister, Christine > ----------------------------------------------------------------------------- > Well. You ask for it.... When I was a tiny little fellow with too many illusions to broke, I was eating a sundaylunch with my dad. There was a Jukebox in the Bar. So here begins my ultimate most embrassing moment of my life (then), I asked my dad some coins to put into Jukebox. I stepped down to the machine, And I put the coins in. Then I chose.... aaarrrhhhhggggggg B o n e y M, aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaarrrrrrrrrrrrrrrrhhh "rivers of babylon" aaaaaaaaaaaaaaaaaarrrrrrrrrrrrrrrrrrrrgggggg. While writing this you could use my face as a frying pan. THe keyboard is allready smelting because of the heat. And I think that my bicycle has asked if it would be possible to "him" to become a member of the new emigration program of Siberia. Since today If I visited that bar, I really hear some giggling around. That was not enough,,, In my next birthday, I asked my dad to buy me a (my first and from this perspective the most embrassing LP) the latest album of BM or Leo Sayer (aaaaaaaaaaaaarrrrrrrrrrrrrggggggggggggghhhhhh) And he did buy the first one. The album has postcards with it. (then one of the most important reasons to buy an album was it's extra stuff, posters, cards etc) I have sent some of those scum cards to my friends (never heard of them afterawards,,,hhhmmm I think that I have one card left, does anyone know Michael Bolton's address... :o))))) ). I really don't want to know where the album itself is. Jouni, thanks for being my schrink. ========================================================================= Date: Thu, 11 Jan 1996 11:55:30 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Robert Cray As someone else mentionned "False Accusations" is strangely enough) on "False Accusations". This is my favourite Cray outing. Check out "Porch Light" and "The Last Time (I Get Burned Like This)" phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [11/1/96 6:53 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 11 Jan 1996 13:08:37 +0100 Reply-To: Peter Gallagher From: Peter Gallagher Subject: Re: Beat THIS! (was 'embarassing..') Comments: To: thrafool@CC.JYU.FI In-Reply-To: from "Jouni Ilari Hyyti{inen" at Jan 11, 96 01:52:43 pm Jouni said: > I asked my dad some coins to put into Jukebox. I stepped down to the > machine, And I put the coins in. Then I chose.... aaarrrhhhhggggggg > > B o n e y M, aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaarrrrrrrrrrrrrrrrhhh > > "rivers of babylon" aaaaaaaaaaaaaaaaaarrrrrrrrrrrrrrrrrrrrgggggg. HAH! PAH! Boney-M's in a different Embarrassment LEAGUE!to David Cassidy. - Do you know who D.C. *IS* ? :-) > album of BM or Leo Sayer (aaaaaaaaaaaaarrrrrrrrrrrrrggggggggggggghhhhhh) I once... eh... ahum... (cringe!) *SAW* Leo Sayer in concert. But for my money, David Cassidy still rules the "embarrasment roost" :-) regards, PeterG (whew! Am I glad I was only a kid back then....) -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Thu, 11 Jan 1996 07:48:41 -0500 Reply-To: DMcgo1369 From: DMcgo1369 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: You never forget your first... Comments: To: bit-listserv-blues-l@uunet.uu.net Three Dog Night- Naturally. I STILL love that album!!!! Dennis McGough Farmington, NY ========================================================================= Date: Thu, 11 Jan 1996 08:00:05 -0500 Reply-To: Meadors From: Meadors Subject: Re: Beat THIS! (was 'embarassing..') Comments: To: pega@XS4ALL.NL In re: to the David Cassidy single you said you have: I think the single may have been "I Think I Love You" ... We have several David Cassidy albums in the garage ... how about Scottish Bagpipe Group plays the best of the Beatles? Instrumental versions played on bagpipes. I got it! Eeeeeeeeooooowwwwwwww! -- Mike Meadors Orange2@gnn.com ========================================================================= Date: Thu, 11 Jan 1996 07:59:53 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Blues with feeling: What does it take, philisophically? Comments: To: chrisp@RAPIDRAMP.COM On 10 Jan 96, Chris Pearson had this to say... > All I can say is ,Great question. It sure seems to be something that we > know when we hear it and it will surely sound different to everyone. I know > that as a guitar player the "thang" comes and goes for me. It appears much > more often in the den at the house than it does on stage. Vocally one seems > to try to sound "blue", but instrumentally you can coax more feeling out > at times than others. One must remember that the blues is known for such > raw emotion and sometimes the emotion is just not there. Can one really > do "Five Long Years" if he's been married to the most wonderful woman in the > world? Absolutely. It's called acting, and it's what separates the men from the "clones" (so to speak). When Forest Gump is standing at his wife's graveside talking to her, and you are sitting in the theater sobbing, do you think Tom Hanks is convincing because his wife died? No! It's because of his supreme skills at fooling you... at making you feel his make-believe grief. The Blues is no different. One doesn't need "hard luck and trouble" to sing or play it convincingly. One simply needs to understand what "hard luck and trouble" is, and communicate those emotions to the audience. Like any other skill, it comes naturally to some people. While other people have to practice and work hard at it. And then there are some people like E.C. who work very, very hard, and still look like they are acting. For some reason, it is beyond their ability to convince you. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 11 Jan 1996 08:54:47 -0500 Reply-To: MK Sheffield From: MK Sheffield Subject: EMBARRASSING, YOUR 1ST, MK, and BRAD PITT I'm so proud of all of you for "coming out of the closet" about your various embarrassing record purchases. (Admitting you have a problem is the first step.) btw, I forgot to mention the...Shaun Cassidy albums. Three of 'em. If I don't admit this, ABE will admit it FOR me, I think. My first record purchase was a 45. Dark Lady, by Cher. I was going thru a real Cher-thing when I was young. :) And, the amazing thing is that my taste IMPROVED so much by purchasing Shaun Cassidy later in life! Speaking of Mary Katherine Clones...heh... (and y'know what? I made a conscious effort at the beginning of my subscription NOT to type my full name...just slipped out...was that my "15 minutes of fame" on Blues-L?) :) ...AND SRV clones: I just heard that Brad Pitt is slated to portray Stevie in the upcoming movie. "This is NOT a test. This is an ACTUAL emergency." Has anyone else heard this? Was I hallucinating? Altho', (I may get hurt by the rocks you'll hurl at me for saying this) I'm sorry, but Brad Pitt is the hottest thing since Tabasco. But can he play SRV? Hmmm... Just some ponderings... The Artist Formerly Known As Mary Katherine (mk) ========================================================================= Date: Thu, 11 Jan 1996 15:10:52 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: (almost) NEW ARHOOLIE CD's and some others great stuff. Just want to second eRic's review of the wonderfull I HAVE TO PAINT MY FACE - MISSISSIPPI BLUES 1960 (ARHOOLIE CD432) which is really a run don't walk album, essential for all country blues lovers (and also for the rest!). It's here non-stop on my potable CD player since this morning. Among the CDs I bought/received this last week I would also like to very highly recommend the following ones: ARHOOLIE 7007 The Roots of Zydeco: AMEDE ARDOIN "I'm never Comin Back" (like eRic said, this is a also superb set of sides cut in the early 30's by this often forgotten pionneer ...) ARHOOLIE 442 REVEREND LOUIS OVERSTREET (reissue of the great Arhoolie LP 1014 with 10 unissues!) ST GEORGES 7704 LITTLE MACK SIMMONS CHICAGO BLUES BAND: High and Lonseome (another winner from St Georges!! Real 50's Chicago Blues at is best!) CODE BLUE 108382 JOHN PRIMER : The Real Deal (one of the most overlooked Chicago bluesman around) Jean-Pierre "Young Man" Urbain ========================================================================= Date: Thu, 11 Jan 1996 09:10:01 -0500 Reply-To: leddy@A1.POLICE.UPENN.EDU From: Gerald Leddy Subject: First time buy... The first record I bought with my own money was `Yummy, Yummy', [you know...I got love in my tummy, blah, blah] by the 1910 Fruitgum Company. I will now go back to lurking, this time however, with much redness of face. Maybe this one even beats David Cassidy! Jerry. ========================================================================= Date: Thu, 11 Jan 1996 16:22:12 +0200 Reply-To: T P Uschanov From: T P Uschanov Subject: Re: First time buy... Comments: To: Gerald Leddy In-Reply-To: <01514111106991/71905@POLICE> On Thu, 11 Jan 1996, Gerald Leddy wrote: > The first record I bought with my own money was `Yummy, Yummy', [you > know...I got love in my tummy, blah, blah] by the 1910 Fruitgum Company. Wasn't it by the Ohio Express? T P Uschanov (Mr), University of Helsinki, Finland, European Union. tuschano@cc.helsinki.fi ---- http://www.helsinki.fi/~tuschano/ "Property is theft." (Pierre-Joseph Proudhon) ========================================================================= Date: Thu, 11 Jan 1996 08:44:13 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: What's Kid Bailey singing? > From: Ari Eisinger > "Woke up cold in hand" is a phrase in alot of blues songs. When I've heard this phrase I've always interpreted the words as "coat in hand". EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Thu, 11 Jan 1996 09:28:01 -0500 Reply-To: leddy@A1.POLICE.UPENN.EDU From: Gerald Leddy Subject: LBC-1st time buy Comments: To: tuschano@cc.helsinki.fi I was wrong in giving the credit(?) ;{- for `Yummy, Yummy' to the Bubblegum Company, with the gentle nudge I received, I do now recall it was indeed by the Ohio Express; thanks T.P.! I even feel better now; maybe I wasn't the only one that bought it. Jerry. OBC: Anybody around this neck of the woods planning on seeing BB King in Atlantic City in February? ========================================================================= Date: Thu, 11 Jan 1996 09:50:14 -0500 Reply-To: Bill Reiser From: Bill Reiser Subject: Re: BRAD PITT Comments: To: MK Sheffield In-Reply-To: <199601111354.IAA17895@cennet.mc.peachnet.edu> On Thu, 11 Jan 1996, MK Sheffield wrote: > ...AND SRV clones: I just heard that Brad Pitt is slated to portray Stevie > in the upcoming movie. "This is NOT a test. This is an ACTUAL emergency." > Has anyone else heard this? Was I hallucinating? Altho', (I may get hurt > by the rocks you'll hurl at me for saying this) I'm sorry, but Brad Pitt is > the hottest thing since Tabasco. But can he play SRV? Hmmm... The rights to Caught in the Crossfire, the SRV bio by Joe Nick Patoski, have been sold to Miramax, with hopes high that Pitt will strap on the axe and Robert Rodriguez (El Mariachi, Desperado) will direct. Pitt's name is probably optimistically hooked to every project in development in La La Land, so let's believe this one when we see it. My best guess is that it's at least a couple of years away, especially if Pitt and Rodriguez are doing the honors. And, truth be told, the world could do a lot worse than Pitt as SRV. BR ========================================================================= Date: Thu, 11 Jan 1996 08:46:09 CST Reply-To: ISTS024@UABDPO.BITNET From: Leonard Watkins Subject: THE TOP Embarrassment Some of you would think this is embarrassing, but I don't at all. I rather go see Micheal Jackson live than a lot of so-called blues artists. I don't own Thriller, but I want it. It doesn't embarrass me, in the least, though. I happen to think he has a lot of feeling in his music and he's an alright guy in my opinion, anyway... LW ========================================================================= Date: Thu, 11 Jan 1996 09:54:09 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0012 From: "DUTTWEILER.J" Subject: First Time Buy Date: Thursday, 11 January 1996 9:53am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: First Time Buy I've been pondering this question trying to think of the first LP I actually bought with my own money. I know I received some Firante and Tischer (is this the right way to spell it?) and Tony Bennett when I was 11 or so from my Grandmother. Won "Introducing the Beatles" on Vee-jay records playing ping-pong with my brother when I was 12. I think the very FIRST album I actually purchased was the Barry Sadler album with "Ballad of the Green Barets" on it (hey, I was an army brat and my Dad had just gotten back from 'Nam). Having two older brothers with fairly good musical taste I was fortunate enough to avoid some of the more embarassing purchases mentioned (no Cassidy purchases, Shaun or David). However, I do remember, with some chagrin, initially passing up purchasing the first Crosby, Stills and Nash album to purchase Gary Puckett and the Union Gap (the LP with "This Girl is a Woman Now." And then there was that 45 of Tony Orlando and Dawn, "Knock Three Times" - wait a minute, this *is* getting embarassing... Jon (there are no days like the old days, huh?) Duttweiler ========================================================================= Date: Thu, 11 Jan 1996 10:07:05 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Otis span[sic] question "Give it a rest already, wouldja! This thread is dead and gone !!! Why continue to beat a dead horse?" asked Jim Witteveen. Thanks, Jim; the dead horse agrees. I've also written (privately) to Ms. Forti asking to make up and be buddies; I'm hoping for a conciliatory response. Richard ========================================================================= Date: Thu, 11 Jan 1996 10:07:10 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Your first record purchase Boy, there are some embarassing revelations here! My first purchase was That's What I Like About the South, by Phil Harris; I think it was 1947, I remember the label (HMV, with a red label) and I remember the store in York, England. I still have the cut, somewhere, on a "best of" Phil Harris collection. Harris was a film actor and comedian who died fairly recently, if I remember rightly. I also remember a critical comment on Harris and the record that I couldn't understand at the time (1947 remember, and I was just 13!): "What this singer should do is cover himself with Man Tan and lie on the beach in Biloxi and then ask what he likes about the south". Richard ========================================================================= Date: Thu, 11 Jan 1996 15:53:36 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Re: Little Willie Littlefield There's been a number of mails recently concerning Little Willie Littlefield and Jay MacShann. Most of the replies did concern Jay McShan so let me here add a few words related to Little Willie Littlefield which I consider as one of the verey best piano players around, a wonderfull entertainer, a real gentleman, great singer and musician. Mostly know for his "K.C.Lovin'" (that later became the standard "Kansas City", but that's a partly unlcear story), he started his new carreer thanks to Tom Mazzolini and to a 1977 (if I remeber well) European tour with the San Francisco Blues Festival ... during which he met his now lovely wife Tony. They live here in Holland since the end of the 70's or the very eraly 80's (I don't remeber excalty). I met him at least a dozen of times since the early 80's and he is really an incredibly nice human been. He has recorded a number of -mostly solo piano- LP's (on various European labels OLDIE BLUES, ACE, PARIS,...) since the early 80s and his old sides ( with his hits K.C.LOVING, Ruby Ruby) were available, among others, on a KC LP. Several of these LPs are available on CD and he also has two CDs for Rolf Shubert's label CMA (on which label there's also a good set of Helfer with Floyd McDaniel). If you like solo piano stuff in the West Coast vain (he cites Charles Brown , Nat King Cole and especially Amos Milburn as his greatest influences) or some very original boogie-woogie (he has a terriffic left ahnd and very personal sense of rhythm) he's the right man to catch live, a great entertainer and a true gentleman! Jean-Pierre "Young Man" Urbain ========================================================================= Date: Thu, 11 Jan 1996 10:18:13 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Meet Me With Your Black Drawers On The best thing about the Cheatham version of the tune is the final appeal/instruction as the tune ends: "Meet me with no drawers at all!" - Richard PS: Are the Cheathams still active? I'd heard they worked out of San Diego, but I've never had the chance to see them live-the two albums I have are both terrific. ========================================================================= Date: Thu, 11 Jan 1996 16:20:21 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Agency, promotors, ... Pierre Degeneffe (organizor of the annual SPRING BLUES FESTIVAl in Belgium) is currently compiling addresses (snail, E-Mail, Fax, Tel) of BLUES/R'n'B promotors, agencies, touring managers, ... from the US. Those interested can send me their informations by E-mail and I'll pass it to Pierre who hopefully will join us on Blues-L in a few months. Jean-Pierre "Young Man" Urbain ========================================================================= Date: Thu, 11 Jan 1996 09:26:01 CST Reply-To: ISTS024@UABDPO.BITNET From: Leonard Watkins Subject: An SRV Movie You gotta be kidding. I'm still waiting on the Wille Dixon, Tampa Red, Robert Johnson, Johnny Shines, Albert King, Freddie King, BB King, Muddy Waters...etc movie. Instead we get an SRV movie, that's absurd or I guess that's show bidness. I am a SRV fan, but lets be honest. It's not like he created blues or blues/rock. I guess we should be used to this kind of BS by now, but it still irriates me. LW 'who thinks the TEACHERS deserve recognition, before the students' ps: private flames are deleted nefore reading ========================================================================= Date: Thu, 11 Jan 1996 10:44:19 -0500 Reply-To: Meadors From: Meadors Subject: Muddy Waters movie Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU A Muddy Waters biographical movie would be great, but who would play Muddy? Mike Meadors Orange2@gnn.com ========================================================================= Date: Thu, 11 Jan 1996 15:47:15 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: What's Kid Bailey singing? In-Reply-To: <878713027C@heme.medicine.wisc.edu> On Thu, 11 Jan 1996, Eliot Williams wrote: > > From: Ari Eisinger > > > "Woke up cold in hand" is a phrase in alot of blues songs. > > When I've heard this phrase I've always interpreted the words as "coat in hand". > EW > > I have never heaerd this one but my vote would also be "cold in hand" because I have heard the phrase elsewhere Albert King's version of "Matchbox Blues" for example. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [11/1/96 10:44 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 11 Jan 1996 10:46:48 -0500 Reply-To: Meadors From: Meadors Subject: Muddy Waters book Is there any books dealing SPECIFICALLY with Muddy Waters? General biography kind of stuff? Mike Meadors Orange2@gnn.com ========================================================================= Date: Wed, 10 Jan 1996 07:56:48 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: New Orleans Blues embbe wrote: >Come to Antwerp, Belgium on March, the 4th. >BB in concert and still tickets available ! > >embee > >ps. And also lots of bars in the neighbourhood to go to ;-). > And probably not so cold as in New Orleans. > And also some ( or at least one ) bluezeller(s) to join a beer and > have a talk. I suppose you couldn't send a plane ticket. I'm a little short on cash at the moment. I'd buy you a beer. :-) Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 11 Jan 1996 10:34:02 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Tony Orlando Comments: To: "DUTTWEILER.J" Jon -- I have some Tony Orlando and Dawn recordings, too. 45's, definitely, LP's, probably. I even went to see Tony Orlando and Dawn in concert!!! You may not think that's a big deal, but I grew up in NH. We had to drive 100 miles to Boston to see anyone of any importance in concert. My father, bless his heart, took me, one of my friends, my brother, and my mother to see Tony Orlando and Dawn in concert in Boston. It was a MAJOR event for us. One of the only concerts I attended in my formative years. Shannon ______________________________ Reply Separator _________________________________ Subject: First Time Buy Author: "DUTTWEILER.J" at INTERNET_TP Date: 1/11/96 10:45 AM Date: Thursday, 11 January 1996 9:53am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: First Time Buy I've been pondering this question trying to think of the first LP I actually bought with my own money. I know I received some Firante and Tischer (is this the right way to spell it?) and Tony Bennett when I was 11 or so from my Grandmother. Won "Introducing the Beatles" on Vee-jay records playing ping-pong with my brother when I was 12. I think the very FIRST album I actually purchased was the Barry Sadler album with "Ballad of the Green Barets" on it (hey, I was an army brat and my Dad had just gotten back from 'Nam). Having two older brothers with fairly good musical taste I was fortunate enough to avoid some of the more embarassing purchases mentioned (no Cassidy purchases, Shaun or David). However, I do remember, with some chagrin, initially passing up purchasing the first Crosby, Stills and Nash album to purchase Gary Puckett and the Union Gap (the LP with "This Girl is a Woman Now." And then there was that 45 of Tony Orlando and Dawn, "Knock Three Times" - wait a minute, this *is* getting embarassing... Jon (there are no days like the old days, huh?) Duttweiler ========================================================================= Date: Thu, 11 Jan 1996 10:52:14 -0500 Reply-To: Erica Wissolik From: Erica Wissolik Subject: Bear Family Address -Reply >>>>can some one send me the snailmail address so I can order up a catalog? thanks.<<<<< The entire catalog of Bear Family releases can be found at Get Hip Records and Distribution Columbus & Preble Aves. Pittsburgh, PA 15233 Fax (412) 231-4777 They have a separate list (separate from their entire catalog) of Bear Family releases only. They're less expensive than Tower, et al.... and less expensive than ordering directly from Bear Family in Germany where you'll have to pay overseas shipping. Usual disclaimers apply. ========================================================================= Date: Thu, 11 Jan 1996 11:00:02 -0500 Reply-To: Peter Welch From: Peter Welch Subject: First Album: Are We Not Men... Back in 1980 I bought my first LP: Devo's "Are We Not Men, We are Devo? But, I'm not embarrassed about it...for white boy art-school new-wave/punk stuff it still ain't bad and still provides a few laughs. Not long after that, though, I read about some guy named Muddy Waters dying and after listening to the blues section in my dad's "History of Jazz" LP collection, I was hooked. Jocko Homo, spud boy! -Peter ========================================================================= Date: Thu, 11 Jan 1996 10:59:00 EST Reply-To: edward c liu From: edward c liu Subject: S&T: Jerry Lightfoot / _Burning Desire_ Howdy all, This CD was reviewed and raved about by Bill Shute awhile ago. We just wanted to followup on his recommendation. -- Ed Edward C. Liu | "If nobody thinks for they self, edwick@cc.bellcore.com | Who thinks for everybody else? | -- Dr. John, "Lissen" The opinions in this message are mine and not Bellcore's. Really! *------------------------------cut heer------------------------------* JERRY LIGHTFOOT AND THE ESSENTIALS / BURNING DESIRE (CONNOR RAY RECORDS) CONNOR RAY RECORDS 5315-D FM 1960 W, SUITE 240 HOUSTON TX 77069 PHONE (713) 587-5492 E-MAIL: ConnorRay@aol.com The list of people that you could compare Jerry Lightfoot to is pretty long: Robert Cray, Lonnie Mack, Stevie Ray or Jimmie Vaughan, Albert and Freddie King, Eric Clapton, and Dr. John will come to mind. Despite the comparisons, he manages to fuse all of them together to get a sound that's uniquely his own. One may get the impression that he's another of the "mindless shuffle" bands that seem to have multiplied with the recent increase in interest in the blues. You know the type -- the ones who know a few basic 12-bar patterns and know how to play them slow, medium, and fast. Jerry has an ingredient most of these bands are missing -- soul. With any luck, he'll be the next big thing out of Texas. SOMEONE'S DOGGIN' MY BABY / WHO'S BEEN TALKIN' / LOST IN THE SHUFFLE / CHANGE MY WAY / FANTASY WORLD / YOU CAN'T HURT ME NO MORE / YOU GOTTA ROCK / NIGHT TRAIN (FROM OAKLAND) / I'M ON THE ROCK / THE PREACHER TALKS & PLAYS THE BLUES / WALKIN' WITH COLLEEN NYCD Takes SOMEONE'S DOGGIN' MY BABY: A quick shuffle with an intro guitar lead-in that combines the clean bite of Robert Cray and the Texas twang of Jimmie Vaughan. Singing one of four tunes he penned, Jerry's vocals are rough around the edges, sounding a bit like a younger Dr. John. The arrangement is sparse, with the guitar and vocals taking frontline status, backed by drums, bass, and keyboards. The net result sounds like some of the more successful blues efforts of the Yardbirds. WHO'S BEEN TALKIN': A retake on the Howlin' Wolf classic done with a slow Latin beat. The harmonica by Steve "Satch" Krase is blown hard, resulting in plenty of authentic Chicago fire and distortion. Jerry's vocals are nicely understated. The rhythm section of Jupiter Ray Strickland on drums and Gunga Gene Kurtz stick together like glue, giving a terrific bed for Jerry, Satch, and "Pee Wee" Stephens on keyboards to solo. Satch's harp solo is a distorted tribute to Little Walter Jacobs. Listen for Jerry's use of harmonics and the whammy bar just before the song ends, too. LOST IN THE SHUFFLE: An upbeat shuffle, kicked off by Pee Wee's boogie piano. Again, the rhythm section is tight, with some outstanding shuffle bass work by Gunga Gene. Jerry delivers the goods in his vocals and his smooth guitar playing, full of single-coil Stratty twang. This second original by Jerry is short, sweet, and to the point. CHANGE MY WAY: Some incindiary guitar work by Jerry leads into this slow blues grind. Jerry really stretches out on this track, using dynamics and nearly choked-out bent notes to do some heavy blues with a feeling. He keeps his vocals restrained and low-key, evoking images of Jack Bruce's blues work with Cream. Clocking in at nearly nine minutes, this track really gives every member of the band a chance to moan and cry -- check out Pee Wee's keyboard work and Satch's lean and mean harmonica. Not many bands can stretch a number for this long without losing the listener, but Jerry's crew makes it look easy. FANTASY WORLD: Returning to the fast shuffles they're so good at, this number showcases Jerry and Steve. Steve kicks it off with more dirty harp, and Jerry delivers no-holds-barred vocals boosted by guest Trudy Lynn. Steve really outdoes himself on this track, giving any blues harper from Chicago a run for his money. There's no real surprises here -- just plenty of energy and high-charged blues-rock. YOU CAN'T HURT ME NO MORE: A Freddy King-ish quick number. Boosted by "The 3 White Guys," howling background vocals, Jerry cuts loose on this number, turning in a vocal performance that would rival Lonnie Mack. Steve delivers some more clean harp work over some driving rhythm provided by Jupiter Ray and Gunga Gene. YOU GOTTA ROCK: A grinding, mid-tempo number that features some dirty guitar work and low, growled vocals by Jerry. Duties on drums and conga are provided by Jupiter Ray, who again handles them with plenty of style. Jerry turns in some more fine, spartan guitar work, managing to keep the guitar's sound clean and undistorted, bringing out all the dirt on this track with pure style and attitude alone. No mean feat, and Jerry brings it off terrifically. NIGHT TRAIN (FROM OAKLAND): Another slow grind. The combination of Jerry's hard-edged, rounded guitar tones and Pee Wee's organ in the background evoke images of the Duane-era Allman Brothers Band. Jerry plays a call-and-response with his guitar, linking the two together like only the best performers can do. Pee Wee also turns in some fine work on the piano, and guest sax player Grady Gaines throws some gas on the fire. I'M ON THE ROCK: Some pure, 100% Grade A Texas Strat work kicks off this grinding, slow-tempo blues. Jerry gives a dirt-under-the-fingernails vocal performance on this variation on the "I'm A Man" song, singing it as an tough ex-con. Jerry's guitar work stays to the background, leaving some room to get Satch back in with a vengeance. Satch blows harp dirty enough to soil your clothing. THE PREACHER TALKS & PLAYS THE BLUES: The band sticks to the background for Big Walter "The Thunderbird" to stretch out on piano and spoken vocals, delivering the gospel according to the Thunderbird. The one thing that seems to come through loud and clear is "it's real tough," as the Thunderbird talks about how you can get mistreated by wine, women, and your so-called friends. The piano is evocative of Professor Longhair, and the vocals are a total hoot. Jerry provides some sparse accompaniment on acoustic guitar as well, but this is the Thunderbird's show. WALKIN' WITH COLLEEN: The closing track is an upbeat, mid-tempo shuffle instrumental by Jerry. Guest guitarist Joe "Guitar" Hughes trades off super-clean, Robert-Cray-ish guitar licks with Jerry's dirtier Texas twang in duels that'll send any guitar-head into blues heaven. Guest sax Grady Gaines is back as well, blowing some more fine, fine saxophone, also muscling in on Jerry and Joe. Satch gets in his licks as well, with more of of his dirty harp work before the final fadeout. Reviewed by Edward C. Liu Copyright 1996 NY CD Blues NY CD Blues at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! ========================================================================= Date: Thu, 11 Jan 1996 11:04:43 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: You never forget your first.... Easy. "Meet The Beatles" amd "Here Come The Monkees", same day. 1966 I think. Warm and fuzzy, Riffin Rick (((( oo-) /- "Here we come, walkin' down the street..." F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 11 Jan 1996 09:05:14 -0800 Reply-To: creamer From: creamer Subject: Re: Robert Cray Comments: To: Barry Silverberg In-Reply-To: Hi, Thanks to all who answered my Robert Cray question. Here is another one.. I have a Robert Cray "Too Many Cook's". Is this a re-release of his first with a different name? I think it came from BMG "Too Many Cook's" 1989 Tomato, a trade name of the Music Works New York, #2696532 Robert Cray Band Robert Cray Vocal / Guitar Curtis Salgado / Harp / Vocal Richard Cousins / Bass Dave Olson / Drums 1 Too Many Cook's 2 The Score 3 When The Welfare Turns It's Back On You 4 That's What I'll Do 5 I'd Rather Be A Wino 6 Who's Been Talking' 7 Sleeping In The Ground 8 I'm Gonna Forget About You 9 Nice As A Fool Can Be 10 If Your Thinkin' What I'm Thinkin' <<<<<<<<<<<<<<<*>>>>>>>>>>>>>>> Ismael Creamer 2701 Campus Blvd NE Albuquerque NM 87131-6046 Tel 505-277-8078 E-Mail creamer@unm.edu <<<<<<<<<<<<<<<*>>>>>>>>>>>>>>> ========================================================================= Date: Thu, 11 Jan 1996 11:11:36 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: Fishnet Stockings Comments: To: Matthew Collins Thanks, Matthew! I appreciate the vote of confidence. Ruth ______________________________ Reply Separator _________________________________ Subject: Re: Fishnet Stockings Author: Matthew Collins at Internet Date: 1/6/96 10:24 AM Blues content? Why not concentrate on her blues musicianship. ========================================================================= Date: Thu, 11 Jan 1996 11:22:06 -0500 Reply-To: Bill Reiser From: Bill Reiser Subject: Re: An SRV Movie Comments: To: Leonard Watkins In-Reply-To: On Thu, 11 Jan 1996, Leonard Watkins wrote: > You gotta be kidding. I'm still waiting on the Wille Dixon, Tampa Red, Robert > Johnson, Johnny Shines, Albert King, Freddie King, BB King, Muddy Waters...etc > movie. Instead we get an SRV movie, that's absurd or I guess that's show > bidness. I am a SRV fan, but lets be honest. It's not like he created blues > or blues/rock. Well, yeah. Hard to disagree with any of what he said, but it's understandable to me why Hollyweird would think the SRV story "sexier" than the rest of Leonard's list, especially if Pitt stars. The Robert Johnson project, frequently discussed here, always seems to be bubbling under out there, much like the Jimi Hendrix and Otis Redding biopics. Movies are rarely produced on merit, so it's easy to see why we'll probably see hunky Brad Pitt as SRV before we'll see Charles Dutton as Willie Dixon, innit? > I guess we should be used to this kind of BS by now, but it still irriates me. Me too. If the Otis Redding story is produced with the Joe (Showusgirls) Eszterhas script, which is very likely, I'm going postal. BR ========================================================================= Date: Thu, 11 Jan 1996 11:14:13 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: Fishnet Stockings We're working on sound clips even as we speak. I'll put up a post when we get it working. Ruth ______________________________ Reply Separator _________________________________ Subject: Re: Fishnet Stockings Author: Tom Kraft at Internet Date: 1/6/96 10:10 AM How about sound clips on the DC Blues web site. I know Steve L. and P. W. have 'em out in Webland. Ruth? Are there any? CDs? Tapes? We need more than fishnet. Tom Kraft At 10:24 AM 1/6/96 -0500, you wrote: >Blues content? Why not concentrate on her blues musicianship. > > __ __ / `-' / ,,, Tom Kraft |[====|||||||||||||[:::} novice plucker \__.-.__\ ``` ========================================================================= Date: Thu, 11 Jan 1996 16:25:54 +0000 Reply-To: rof From: rof Subject: Re: Muddy Waters book Comments: To: Meadors In-Reply-To: Your message of "Thu, 11 Jan 1996 10:46:48 EST." <199601111549.KAA29776@mail-e1a.gnn.com> In message <199601111549.KAA29776@mail-e1a.gnn.com>, Meadors writes: > Is there any books dealing SPECIFICALLY with Muddy Waters? General > biography kind of stuff? > > > Mike Meadors > Orange2@gnn.com The only one I know of is Bossmen by Jim Rooney which is based on interviews with Muddy Waters and Bill Monroe currently available published by Da Capo. ========================================================================= Date: Thu, 11 Jan 1996 10:26:47 -0600 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: SRV MOVIE >You gotta be kidding. I'm still waiting on the Wille Dixon, Tampa Red, Robert >Johnson, Johnny Shines, Albert King, Freddie King, BB King, Muddy Waters...etc >movie. Instead we get an SRV movie, that's absurd or I guess that's show >bidness. I am a SRV fan, but lets be honest. It's not like he created blues >or blues/rock. >I guess we should be used to this kind of BS by now, but it still irriates me. >LW 'who thinks the TEACHERS deserve recognition, before the students' Wasn't there a rumor of a Robert Johnson movie a while back? I thought I remember someone saying Keb Mo' was going to play the part of Robert Johnson. Was this just a rumor or does anyone know any more about it. Bruce Roberts Austin, TX ========================================================================= Date: Thu, 11 Jan 1996 08:43:57 -0800 Reply-To: Chris Adams From: Chris Adams Subject: Re: Muddy Waters movie Comments: To: Meadors In-Reply-To: <199601111546.KAA12425@mail-e1a.gnn.com> I would fatten up Johnny Dyer and use him and his band (including Rick "LA Holmes" Holmstrom. They are the Muddy Waters band reincarnated. Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us On Thu, 11 Jan 1996, Meadors wrote: > A Muddy Waters biographical movie would be great, but who would > play Muddy? > > Mike Meadors > Orange2@gnn.com > ========================================================================= Date: Thu, 11 Jan 1996 11:41:35 -0500 Reply-To: Meadors From: Meadors Subject: Rounder Records Does Rounder Records have an email address? Mike Meadors Orange2@gnn.com ========================================================================= Date: Thu, 11 Jan 1996 08:46:52 -0800 Reply-To: Chris Adams From: Chris Adams Subject: Re: FIRST RECORDS Comments: To: Dave Melton In-Reply-To: <960111021313_87749514@mail02.mail.aol.com> "Best of Ricky Nelson" -Ricky Nelson "GI Blues" -Elvis "Ray Charles"- the album with "What'd I Say" "House of the Rising Sun" - The Animals "Its All Over Now" - Rolling Stones Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us On Thu, 11 Jan 1996, Dave Melton wrote: > First record I remember: 101 Dalmations soundtrack > Christmas '60 or 61 > > First album I remember buying: Columbia Record Club, 3 > choices: Flowers (Rolling Stones) Ravi Shankar Live at > Monterey , Disreali Gears (Cream) > ========================================================================= Date: Thu, 11 Jan 1996 11:46:26 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Ruthie's Picture on the WWW - URL I have received a ton of messages asking where my picture is on the WWW. For those of you who want it and didn't save it, it's at: http://intelus.com/dcblues/maxfrnd2.gif My Top Ten Pet Peeves of Blond Female Slide Guitarists is at: http://intelus.com/dcblues/mrsmax.html This is all courtesy of the DC Blues Society. Next time, please take better notes. Thank you. ========================================================================= Date: Thu, 11 Jan 1996 11:49:00 IST Reply-To: topcat@COMPUTEK.NET From: "" Subject: Re: You never forget your first... Comments: To: "Daryl F. Bernard" Mack The Knife by Bobby Daren. 45 rpm. Still have it too! Reply-To: "Daryl F. Bernard" Subject: Re: You never forget your first... .. what was the first record you ever bought on your own? ========================================================================= Date: Thu, 11 Jan 1996 10:41:32 CST Reply-To: ISTS024@UABDPO.BITNET From: Leonard Watkins Subject: Johnny Shines Info (again) A while back I asked for some Johnny Shines stories/ancedotes for the upcoming Johnny Shines tribute in the Alabama Musician Magazine. A few sent some stories and THEY GOT DELETED , not by me. So could the FEW people that sent me their stories/ancedotes please resend them private mail, of course. I know they are some of you who have been invovled somewhat with Johnny, but didn't send me anything. I'm hoping you will send me something this time around. I think the tribute will be really good, especially if you share YOUR experiences. I have a couple people to interview who will have a lot to say about him. It's going to give Johnny more recognition here in Alabama THANKS LW ========================================================================= Date: Thu, 11 Jan 1996 11:47:44 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: SRV MOVIE Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, BRUCE/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BRUCE#a#TSBME#f#STATE#f#TX#f#US@s1boca.corp.wrgrace.com *Wasn't there a rumor of a Robert Johnson movie a while back? I thought I *remember someone saying Keb Mo' was going to play the part of Robert Johnson. *Was this just a rumor or does anyone know any more about it. There is a script called "Love in Vain," which has been around for about ten years or so. It was reprinted a year or two ago, with an introduction by Martin Scorsese. Apparently Scorsese was going to direct it, but I haven't heard anything about it since the screenplay was reprinted. -Steve ========================================================================= Date: Thu, 11 Jan 1996 11:28:26 -0500 Reply-To: Bill Reiser From: Bill Reiser Subject: Re: Muddy Waters movie Comments: To: Meadors In-Reply-To: <199601111546.KAA12425@mail-e1a.gnn.com> On Thu, 11 Jan 1996, Mike Meadors wrote: > A Muddy Waters biographical movie would be great, but who would > play Muddy? Morgan Freeman. BR ========================================================================= Date: Thu, 11 Jan 1996 09:01:09 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Blues with feeling: What does it take, philisophically? Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Previously: >>Can one really >> do "Five Long Years" if he's been married to the most wonderful woman in the >> world? PW said: >Absolutely. It's called acting, and it's what separates the men >from the "clones" (so to speak). When Forest Gump is standing at >his wife's graveside talking to her, and you are sitting in the >theater sobbing, do you think Tom Hanks is convincing because his >wife died? No! It's because of his supreme skills at fooling >you... at making you feel his make-believe grief. The Blues is no >different. One doesn't need "hard luck and trouble" to sing or play >it convincingly. One simply needs to understand what "hard luck and >trouble" is, and communicate those emotions to the audience. Like any >other skill, it comes naturally to some people. While other people have >to practice and work hard at it. And then there are some people like E.C. >who work very, very hard, and still look like they are acting. For >some reason, it is beyond their ability to convince you. And I would add that everyone, no matter how charmed their life, can draw on really moving and heartbreaking experiences to be able to put it across on stage or in the studio. Someone with even a wonderful wife can sing "Five Long Years" because of the... (insert screaming Sam Kinison voice here) EVIL WICKED SLUT WHORE THAT DUMPED ME WHEN I WAS 19!!!!!!!!!!!! ;-] Actors often go back into their memories of the funeral of a loved one, or the death of a beloved pet to be in the proper mindset for a really touching scene, and some will have to go back to their trailers and boo-hoo for a while to get it out of their system afterwards... Never met anyone with an inadequate supply of sufferin'..... Not even Mike Suffern.... (groan.... sorry) Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Thu, 11 Jan 1996 15:47:18 +0100 Reply-To: Peter Gallagher From: Peter Gallagher Subject: Winner! (was: Beat this (embarrassing)) Comments: To: mksheff@CENNET.MC.PEACHNET.EDU In-Reply-To: <199601111354.IAA17895@cennet.mc.peachnet.edu> from "MK Sheffield" at Jan 11, 96 08:54:47 am Stunned! Steps back in amazement! I thought David Cassidy was the ULTIMATE "I once bought" (when I was a kid) embarrassment.... I'd forgotten all about Shaun - his little brother!!! Sheesh!! Well, MK wins hands down :-) :-) regards, PeterG MK "done said" : > I'm so proud of all of you for "coming out of the closet" about your > various embarrassing record purchases. (Admitting you have a problem is the > first step.) btw, I forgot to mention the...Shaun Cassidy albums. Three of > 'em. If I don't admit this, ABE will admit it FOR me, I think. -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Thu, 11 Jan 1996 12:04:00 IST Reply-To: topcat@COMPUTEK.NET From: "" Subject: Re: MUDDY WATERS MOVIE Comments: To: Bruce Roberts I know from the 'horse's mouth' that there is a movie in the works right now (major Hollywood studio) of the life story of Muddy Waters. So there is some effort to make a historical movie of some of the 'Fathers' as well as some of the 'sons' of the blues. Later Gators, Richard Chalk TopCat Records ========================================================================= Date: Thu, 11 Jan 1996 12:07:47 -0500 Reply-To: Bob vanArsdall From: Bob vanArsdall Subject: Videos All the normal disclaimers, etc. Got a catalog from Facets in Chicago IL (800-331-6197). They have a HUGE selection of European, South American, and Far Eastern movies, plus a section on music. They rent and sell these videos. Rentals are around $6 (varies, the music videos may be less expensive) and include a mailer to send them back, but they have a membership fee up front as well. Here are some of the blues & gospel viseos available: Al Green: Everything's Gonna Be Alright Albert King (doesn't say when or where) Alberta Hunter: My Castle's Rocking Aretha Franklin: Live at Park West BB King: Live at Nick's Blues Masters vol 1: documentary with SonHouse, Leadbelly, Bessie Smith, Mamie Smith, Roy Milton, Jimmie Rushing, Ethel Waters, Big Bill Broonzy. Blues Masters, vol 2: documentary with Ida Cox, Billie Holliday, Big Mama Thornton, Muddy, Joe Turner, Joe Williams, Buddy Guy, Jimmy Witherspoon, BB. Blues Summit in Chicago: tribute to Muddy with Willie Dixon, Junior Wells, Koko Taylor, Mike Bloomfield, Buddy Miles, Johnny Winter, Dr. John Breathe on Me: Rev. James Cleveland Chuck Berry: Live at the Roxy Clouds of Joy: the Mighty Clouds of Joy Curtis Mayfield: Live at Ronnie Scott's Dr. John: New Orleans Swamp Good Mornin' Blues: documentary of country blues with Bukka White, Big Joe Williams, Furry Lewis, Johnny Shines, Sam Chatmon, and Gus Cannon. Guitar Legends: "...looks at the techniques of acoustic and electric guitar players and considers their musical roots and influences" with Jeff Beck, Johnny Winter, BB King, Jimi Hendrix, and Eric Clapton Jammin' with the Blues Greats: 1982 New Jersey concert with Mayall's Bluesbreakers, Mick Tayolr, John McVie, Albert King, Etta James, Buddy Guy, Junior Wells, Sippie Wallace. Marvin Gaye: life and music of Marvin Gaye. Hosted by Smokey Robinson Mississippi Mass Choir: live at the Mississippi State Coliseum Muddy Waters: documentary Out of the Blacks and Into the Blues: vol 1 - "Along Old Man River" - Bukka White, Furry LEwis, Roosevely Sykes, Robert Pete Williams, Brownie McGhee, Sonny Terry Out of the Blacks and Into the Blues: vol 2 - "A Way to Escpe the Ghetto" - BB King, Willie Dixon, Mance Lipscomb, Brownie McGhee, Junior Wells, Buddy Guy, Sonny Terry, and Arthur Crudup. Taj Mahal: (no date or place) Tina Turner: The Girl From Nutbush - documentary with interviews Bob ========================================================================= Date: Thu, 11 Jan 1996 12:07:55 -0500 Reply-To: Bob vanArsdall From: Bob vanArsdall Subject: Re: You Always Remember Your First... Bought at my demand: Gene Autry (does that date me?) Bought by me: Ian & Sylvia's first album, followed shortly by Dylan's first. Gee, I'm a geezer... Bob ========================================================================= Date: Thu, 11 Jan 1996 19:28:03 +0200 Reply-To: T P Uschanov From: T P Uschanov Subject: Re: Bear Family Address -Reply Comments: To: Erica Wissolik In-Reply-To: On Thu, 11 Jan 1996, Erica Wissolik wrote: > >>>>can some one send me the snailmail address so I can order up a > catalog? thanks.<<<<< > > The entire catalog of Bear Family releases can be found at > Get Hip Records and Distribution > Columbus & Preble Aves. > Pittsburgh, PA 15233 > Fax (412) 231-4777 E-mail wvh@gethip.com WWW http://www.gethip.com/ T P Uschanov (Mr), University of Helsinki, Finland, European Union. tuschano@cc.helsinki.fi ---- http://www.helsinki.fi/~tuschano/ "Property is theft." (Pierre-Joseph Proudhon) ========================================================================= Date: Thu, 11 Jan 1996 11:34:42 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: To: marc@aznet1 Comments: To: bit-listserv-blues-l@uunet.uu.net Sorry to clog the list, but AOL lost a few of my messages. Marc, Please resend your "Delta Blues" message. I cannot retrieve your complete email address to write to you personally. Denise ========================================================================= Date: Thu, 11 Jan 1996 12:35:02 -0500 Reply-To: Meadors From: Meadors Organization: Megaweb Subject: Rounder Records Comments: To: bit-listserv-blues-l@uunet.uu.net Does Rounder Records have an email address? Thanks! Mike Meadors Orange2@gnn.com ========================================================================= Date: Thu, 11 Jan 1996 11:39:40 -0600 Reply-To: Chris Pearson From: Chris Pearson Subject: Re: EMBARRASSING NON-BLUES RECORDINGS Yanni! >A related question- Who is the more talented musician, Garth Brooks or >Meatloaf? > Conqueroot > > ========================================================================= Date: Thu, 11 Jan 1996 17:42:39 GMT Reply-To: Richard Cotenas From: Richard Cotenas Organization: California State University Sacramento Subject: Re: Junor Wells Song... Comments: To: bit-listserv-blues-l@uunet.uu.net Dave Perkins (davep@CTS.COM) wrote: : One of my all time favorite songs is by Junior Wells "Key to the : Highway"....Some parts of it Im curious to what he's singin...Does nayone : have the words or know where I can get them to this song...Any help is : very much appreciated..!!! : Please e-mail me..I doubt Ill check here very much : Thanx, Dave in San Diego : davep@cts.com This is not a Jr. Wells song--it's been around for years, and many people have done it. You can hear a version on the first Steve Miller Band ("Children of the future") and another on the Derek and the Dominos LP. Brownie McGhee does a version, too, but it would probably be easier to list the blues performers who have NOT recorded a version. -- Richard Cotenas Calif. State Univ., Sacramento ========================================================================= Date: Thu, 11 Jan 1996 13:02:39 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: SRV MOVIE Comments: To: Bruce Roberts In-Reply-To: <960111102647.1ae@TSBME.STATE.TX.US> As per a Robert Johnson movie... There is a screenplay entitled _Love in Vain_ available in book stores with an intro by Martin Scorcese. That's where the rumors stem from. Jim On Thu, 11 Jan 1996, Bruce Roberts wrote: > >You gotta be kidding. I'm still waiting on the Wille Dixon, Tampa Red, Robert > >Johnson, Johnny Shines, Albert King, Freddie King, BB King, Muddy Waters...etc > >movie. Instead we get an SRV movie, that's absurd or I guess that's show > >bidness. I am a SRV fan, but lets be honest. It's not like he created blues > >or blues/rock. > > >I guess we should be used to this kind of BS by now, but it still irriates me. > > >LW 'who thinks the TEACHERS deserve recognition, before the students' > > > Wasn't there a rumor of a Robert Johnson movie a while back? I thought I > remember someone saying Keb Mo' was going to play the part of Robert Johnson. > Was this just a rumor or does anyone know any more about it. > > Bruce Roberts > Austin, TX > ========================================================================= Date: Thu, 11 Jan 1996 18:03:25 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Rounder Records In-Reply-To: <199601111643.LAA24036@mail-e1a.gnn.com> On Thu, 11 Jan 1996, Meadors wrote: > Does Rounder Records have an email address? > Mike Meadors > Orange2@gnn.com > BULLSEYE BLUES RECORDS, ROUNDER RECORDS, 1 CAMP ST., CAMBRIDGE, MA. 02140 tel: 1-800-44-DISCS tel: (617)354-0700 fax: (617)491-1970 www: http://harp.rounder.com phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [11/1/96 12:58 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 11 Jan 1996 13:03:26 -0500 Reply-To: Meadors From: Meadors Organization: Megaweb Subject: What's this? Comments: To: bit-listserv-blues-l@uunet.uu.net A few moments ago, after reading the voluminous mail for blues-l, I decided to rest my eyes and proceeded to go offline. Suddenly before my eyes the screen showed a woman in a low cut black dress who appeared to be stuffing a bottle of beer down her top. For a moment I thought, "Hell, my kid's been browsing the alt.sex area again!" After a few moments I realized that much earlier I had begun a search for "Ruthie" from an address that was posted on Blues-L. Evidently it had downloaded and I forgot about it. What a shock. Is this the infamous Ruthie? By the way, where's her guitar? Mike Meadors Orange2@gnn.com ========================================================================= Date: Thu, 11 Jan 1996 12:01:24 -0600 Reply-To: Chris Pearson From: Chris Pearson Subject: Re: THE TOP Embarrassment Please put the little grinny things :):):):) on future posts OK? >Some of you would think this is embarrassing, but I don't at all. I rather go >see Micheal Jackson live than a lot of so-called blues artists. I don't own >Thriller, but I want it. It doesn't embarrass me, in the least, though. I >happen to think he has a lot of feeling in his music and he's an alright guy >in my opinion, anyway... > >LW > > ========================================================================= Date: Thu, 11 Jan 1996 13:16:31 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: A Web Wedding Photographer Elin Peltz and I have created a Web wedding album of sorts for Selina Basey and Jim O'Neal, who were married in Clarksdale last November. (Jim owns and operates Rooster Blues Records and was a founder of Living Blues Magazine.) You can access it from The Gutbucket on The Blue Highway or go directly to: http://www.vivanet.com/~blues/wedding.html Also coming in a week or two, a gallery of 20 or so outstanding 1970's concert photos taken by Swedish photographer Torsten Stahlberg: Albert King, Buddy Guy and Junior Wells, Professor Longhair, Fenton Robinson, Koko Taylor, Johnny Mars, and many more that I haven't seen yet. I can't wait! *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Thu, 11 Jan 1996 12:10:50 -0600 Reply-To: Chris Pearson From: Chris Pearson Subject: Re: An SRV Movie Having just learned about this movie today, I'm probably a bit uninformed but I haven't seen anything that said this was a movie about the history of blues. Again, based on limited info, I presumed it to be about the life of SRV. Chris >You gotta be kidding. I'm still waiting on the Wille Dixon, Tampa Red, Robert >Johnson, Johnny Shines, Albert King, Freddie King, BB King, Muddy Waters...etc >movie. Instead we get an SRV movie, that's absurd or I guess that's show >bidness. I am a SRV fan, but lets be honest. It's not like he created blues >or blues/rock. > >I guess we should be used to this kind of BS by now, but it still irriates me. > >LW 'who thinks the TEACHERS deserve recognition, before the students' > >ps: private flames are deleted nefore reading > > ========================================================================= Date: Thu, 11 Jan 1996 18:15:27 GMT Reply-To: Steve Dafoe From: Steve Dafoe Organization: SuperNet Inc. (908) 828-8988 Subject: Re: Robert Cray Comments: To: bit-listserv-blues-l@uunet.uu.net FALSE ACCUSATIONS (8005)and BAD INFLUENCE (8001) by THE ROBERT CRAY BAND are both on the HIGHTONE label (220 4th St. #101, Oakland, CA. 94607) as opposed to later releases on HIGHTONE/MERCURY. I think HIGHTONE is being distributed by WEA now so these might become easier to find. or you can get them direct at the above address. ========================================================================= Date: Thu, 11 Jan 1996 10:30:32 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Blues with feeling: oh, BTW.... Comments: To: BLUES-L@BROWNVM.BROWN.EDU. For those of you who have trouble emoting while playing, and even thinking of things that move you doesn't work... I highly recommend good, hard, traditional Karate-do training... When you do a kata (form) and throw your entire being into it, do it hard, sharp, and strong, then shake the rafters with your ki-ai (yell) at the end, dripping sweat and shaking, you will discover that emoting on stage comes a lot easier.. Worked for me at least.... Yeeeaaaaaaaaiiiiii!!!! Oh, baby.... you done me wrong, you done treated a good man so damn bad... DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Thu, 11 Jan 1996 10:41:00 PST Reply-To: Gary Joneson From: Gary Joneson Subject: Re: SRV MOVIE >There is a script called "Love in Vain," which has been around for >about ten years or so. It was reprinted a year or two ago, with an >introduction by Martin Scorsese. Apparently Scorsese was going to >direct it, but I haven't heard anything about it since the screenplay >was reprinted. Actually the introduction is by Stanley Crouch, with a short (2 paragraph) forward by Scorsese. It is available from Da Capo Press for anyone that may be interested. ISBN 0-306-80557-X Gary BluesWEB (King Biscuit Time http://www.island.net/ ========================================================================= Date: Thu, 11 Jan 1996 18:42:47 GMT Reply-To: Steve Dafoe From: Steve Dafoe Organization: SuperNet Inc. (908) 828-8988 Subject: Re: Dr. Martin Luther King Comments: To: bit-listserv-blues-l@uunet.uu.net Two OTIS SPANN cuts, HOTEL LORRAINE and BLUES FOR MARTIN LUTHER KING were recorded in a storefromt church the day of the assassination. They feature just SPANN and drummer S.P. Leary (with MUDDY WATERS heard in the background). These cuts appeared on a 2-record anthology, RARE GEMS from ROOTS RECORDS, 1977. Don't know if they've been reissued since. ========================================================================= Date: Thu, 11 Jan 1996 18:41:22 GMT Reply-To: Michael Twomey From: Michael Twomey Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: FIRST RECORDS First 78: I'm Gonna Live 'Till I Die, Sinatra First 45: Theme from Peter Gunn First LP: What Is There To Say? Mulligan Second LP: Miles Davis at Carnigie Hall First CD: Sketches in Spain, Davis Worst LP: Inna Gadda Da Vita Funniest LP: Bob Nehart's LP with "The Driving Instructor", and others, I can't recall the name. It's interesting what got us all started. What really got me started was Dick Buckley in Chicago. Remember his show from 7:00 'til midnight that he would do from his home record library in the 50's and 60's. Daddy-O Daily. Marty Faye. It was rich in Chicago then. WAAF (950 AM) was all jazz. Radio was really my start, more than records. Mike ========================================================================= Date: Thu, 11 Jan 1996 13:06:22 -0500 Reply-To: CNI From: CNI Subject: Jerry McCain on WebChat! Comments: To: avi@cnotes.com Any Excello Records fans out there? Excello recording legend Jerry McCain will be live online on WebChat* via Muddy's Cabin on Friday, January 26th at 7PM EST. Jerry McCain is a true original with God's talent coming out of his ears. AVI Entertainment recently released _That's What They Want: The Best Of Jerry McCain_, a stellar 23-track collection of some of the most important music ever issued on the Excello label. A few of the highlights in this package are: "That's What They Want," the brooding, bluesy "Things Ain't Right," "My Next Door Neighbor," "A Cutie Named Judy" and "I'm A Ding Dong Daddy From A Rock & Roll City." The music produced by Jerry McCain is as special as it comes. Whether you'll be attending this online conference or not, please forward ASAP any questions you have for Jerry to: avi@cnotes.com The Jerry McCain home page can be found at http://www.cnotes.com/cnotes.soul.html * WEBCHAT INFORMATION: ------------------ WebChat is form-based, meaning that you don't need any special software or access priviliges to use it -- just a standard, form-based web browser. WebChat also does not work like the commercial chat rooms: Here, you type a message, then click the Chat button. To read subsequent messages, you have to click the Chat button again. This button is also called the Get/Send message button. Nearly all current web browsers work with WebChat, but they all handle WebChat a bit differently. Here are the instructions for using WebChat: 1. You'll need a forms-capable web browser. 2. Click the Enter WebChat button (then read more stuff on Muddy's Cabin). 3. Click the "Click here to enter WebChat" button. 4. Scroll down the latest entries. They're posted from least to most recent. 5. At the bottom, enter your handle. 6. Enter your message in the message field. 7. Click the "Chat" button. This reloads the page and posts your message. 8. Don't use your web browser's reload button to reload the page. (But with AOL's and some other browsers, you must use your reload button.) 9. Wait a minute, then click the "Chat" button again (to view the replies). Here are more instructions for using WebChat: We can all contribute to making the guest chat sessions a big success by following these few simple guidelines: Please use a single, unique handle throughout the session. Delete "anonymous" from the handle field and type your own. To submit a question, first, send only the ? character from the message field. Repeat: Send only the ? character. This will queue you in line. Watch for the moderator to prompt you, then quickly submit your question. Big Tip: You can have your question ready to go by pre-typing it in a plain-text file, then copying and pasting it into the message field. Please submit your question within one minute of being prompted. Please do not use ALL CAPS in your question. All lowercase letters is just as fast, and much more polite. The artists' replies are indicated by their graphic images. Only the moderator may use graphic images. Please, do not slow the page down by using graphic images! For more information about Muddy's Cabin and the guest sessions, or how to reserve the cabin for your group please e-mail Cat Bauer at catbauer@vivanet.com. -------------------------------------------- ** THIS PAGE SPONSORED BY CNI TELECOM's FLAT RATE LONG DISTANCE SERVICES - Switch And Receive 100 Minutes of FREE Long Distance - email longdistance@cnotes.com for details via autoresponse email. ** ========================================================================= Date: Thu, 11 Jan 1996 14:04:26 -0500 Reply-To: LustiMaide From: LustiMaide Organization: America Online, Inc. (1-800-827-6364) Subject: Re: New Orleans Blues Comments: To: bit-listserv-blues-l@uunet.uu.net on your next trip get off bourbon street and go to the dragon's den almost every monday night coco robicheaux plays there about 10:00 p.m. pick up and offbeat magazine (free at various locations including my shop at 812 royal street and find out who's playing where)best time to visit april and may ...best weather...lots of musicians in town for Jazz fest...music is everywhere, the streetcorners, and any bar with space...you'll never know who may come in to jam... ========================================================================= Date: Thu, 11 Jan 1996 14:02:11 EST Reply-To: John Doukas From: John Doukas Subject: Boogie-woogie piano recordings A recent posting requested suggestions for boogie-woogie piano music. Let me recommend the compact disk Bluebird 8334-2-RB, "Barrelhouse Boogie". (Today, Bluebird is a subsidiary of RCA which is a subsidiary of BMG.) Meade Lux Lewis, Jimmy Yancey, Pete Johnson, and Albert Ammons are featured. The cd adds several additional cuts to what was already an excellent album. Among Lewis' two selections is his masterpiece, "Honky Tonk Train Blues". This song, along with Pinetop Perkins' "Pinetop's Boogie Woogie" and Pete Johnson's "Roll 'Em Pete", is arguably the best known boogie-woogie piano piece. Johnson and Ammons are represented by nine duets. These are very representative of their duet styles, in which they support but do not intrude upon one another. Yancey's ten selections, however, are at the heart of my recommendation. Jimmy "Papa" Yancey was a significant influence on the three titans of boogie- woogie (Johnson, Ammons, and Lewis); I also hear his influence in the works of stride pianists such as Fats Waller, Willie "The Lion" Smith, and Count Basie. Initially, someone interested in the pounding boogie-woogie typified by "Honky Tonk Train" may find Yancey's style a little understated. He generally uses a slower tempo, and his bass figures appear "simpler". However, careful listening will reveal the intricacy of his left hand, as well as the blues- based emotional content apparent in almost all his work. Present on this disc is "The Mellow Blues", one of my choices for greatest solo piano pieces of any genre. ========================================================================= Date: Thu, 11 Jan 1996 11:06:53 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Jan. 12 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BALDRY, JOHN "LONG" (v) b. 1941-0112, EAST MADDON, UK COOPER, JACK L. (dj) d. 1970-0112, CHICAGO, IL 82 DUKE, GEORGE (p) b. 1946-0112, SAN RAFAEL, CA KNIGHT, GEOFF (BLUES-L MEMBER) b. 1956-0112, DENTON, TX MCDOWELL, FRED "MISSISSIPPI" (g) b. 1904-0112, ROSSVILLE, TN MCSHANN, JAY [JAMES COLUMBUS MCSHANN] (p) b. 1916-0112, MUSKOGEE, OK NESBITT, GUSSIE BLIND (g) b. 1910-0112, SPARTANBURG, SC SUMMERS, JIMMY (g) d. 1983-0112, ST. LOUIS, MO 59 ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 11 Jan 1996 13:09:12 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: THE TOP Embarrassment Comments: To: Chris Pearson In-Reply-To: <199601111801.MAA07118@longview.rapidramp.com> He ain't jokin' He's said it before... -Jeff (I did buy the single for Beat It - Eddie Van Halen guitar solo) On Thu, 11 Jan 1996, Chris Pearson wrote: > Please put the little grinny things :):):):) on future posts OK? > > > >Some of you would think this is embarrassing, but I don't at all. I rather go > >see Micheal Jackson live than a lot of so-called blues artists. I don't own > >Thriller, but I want it. It doesn't embarrass me, in the least, though. I > >happen to think he has a lot of feeling in his music and he's an alright guy > >in my opinion, anyway... > > > >LW > > > > > ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Thu, 11 Jan 1996 20:09:54 +0100 Reply-To: Peter Gallagher From: Peter Gallagher Subject: Re: First Album: Are We Not Men... Comments: To: pw7e@POE.ACC.VIRGINIA.EDU In-Reply-To: <199601111600.LAA174928@poe.acc.Virginia.EDU> from "Peter Welch" at Jan 11, 96 11:00:02 am Hey Pete! I must say I'm glad to see that this very non-blues thread is not causing anyone (yet :) ) to call for "back to the blues!". Must be that most others are as intrigued as I am... re: Devo - I have that album and I enjoy it a lot when I give it the occasional glimpse of the turntable. Great stuff to come home to after a hard day and play LOUD. It has the only good cover of the Stones' "satisfaction" I ever heard... The only video I ever saw of them was pretty wackey - but then they're a pretty wackey group :) regards, PeterG "Aw... come back Johnee!" --Devo "coz I tried, an' I tried, an' I treh-treh-treh-treh-treh-try-tried" --Devo (from "satisfaction") > > Back in 1980 I bought my first LP: Devo's "Are We Not Men, We > are Devo? But, I'm not embarrassed about it...for white boy > art-school new-wave/punk stuff it still ain't bad and still > provides a few laughs. > > Not long after that, though, I read about some guy named Muddy > Waters dying and after listening to the blues section in my > dad's "History of Jazz" LP collection, I was hooked. > > Jocko Homo, spud boy! > > -Peter > > -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Thu, 11 Jan 1996 13:03:35 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: Rounder Records Comments: To: Meadors In-Reply-To: <199601111643.LAA24036@mail-e1a.gnn.com> Web address I belive is: http://harp.rounder.com Jim On Thu, 11 Jan 1996, Meadors wrote: > Does Rounder Records have an email address? > Mike Meadors > Orange2@gnn.com > ========================================================================= Date: Thu, 11 Jan 1996 09:16:20 -0600 Reply-To: billy@CAST.MSSTATE.EDU From: Billy Chambless Subject: Re: Blues with feeling: What does it take, philisophically? Comments: To: pwfenton@GATE.NET In-Reply-To: <199601111304.IAA36832@osceola.gate.net> from "P.W. Fenton" at Jan 11, 96 07:59:53 am In an earlier message, P.W. Fenton said: ] different. One doesn't need "hard luck and trouble" to sing or play ] it convincingly. One simply needs to understand what "hard luck and ] trouble" is, and communicate those emotions to the audience. Like any ] other skill, it comes naturally to some people. While other people have I don't think one needs to be in pain and poverty, but it helps to have known "hard luck and trouble". (Maybe that's part of what you meant.) I remember an interview with B.B. King, oh, about a hundred years ago, where he said that oftimes onstage he'd think back to a particularly painful experience in his life in order to get the feeling that he needed to make the music happen. Returning to musioc after a decade's hiatus, I find that my playing, singing and writing are all fuller, more "real", in my thirties than they were in my twenties, and I attribute a lot of that to having lived a lot of life. Life is about joy, struggle and pain, and so is the blues. Oh, yeah, and sex. ;) -- * Billy Chambless | billy@cast.msstate.edu | voice: 601-688-7608 * Mississippi State University Center for Air-Sea Technology * To attain knowledge, add something every day. * To attain wisdom, remove something every day. -- Lao-tse ========================================================================= Date: Thu, 11 Jan 1996 13:31:09 -0600 Reply-To: Storm Bailey From: Storm Bailey Subject: Re: You never forget your first...(but I did) >. I'm sure it must have been something by the MONKEES!!! >Maybe that belongs under most embarrassing.... Probably, but not only did I have those records, the first rock (or any other) concert I ever went to was the Monkees, at the Charlotte Colosseum. You could hear just well enough to identify the songs above the screaming and, no, Hendrix didn't open. I don't know what I got between the Monkees and unmentionable dirigible I, but I'm sure it included Glen Campbell, Galveston and Witchita Lineman and the Buttercup thing (Foundations?...now I am embarassed...) Storm ========================================================================= Date: Thu, 11 Jan 1996 20:08:13 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Server problem Is anyone else getting this stuff? I have sent e-mail to the listowner. Date: 11 Jan 1996 13:52:00 GMT From: Gateway To: homer!CMC.DOE.CA!phertel@cmc.doe.ca Subject: NDN: Re: Rounder Records Sorry. Your message could not be delivered to: blues list,tunanet (The name was not found at the remote site. Check that the name has been entered correctly.) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [11/1/96 15:06 PM] "Thursday's always sad..." ========================================================================= Date: Thu, 11 Jan 1996 20:15:24 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Re: 1996 R&B Foundation Pioneer Awards Comments: To: bit-listserv-blues-l@uunet.uu.net Hi Mary Katherine, Thanks for posting this list. eRIC ========================================================================= Date: Thu, 11 Jan 1996 20:12:38 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: THE TOP Embarrassment In-Reply-To: <199601111801.MAA07118@longview.rapidramp.com> On Thu, 11 Jan 1996, Chris Pearson wrote: > Please put the little grinny things :):):):) on future posts OK? > > > >Some of you would think this is embarrassing, but I don't at all. I rather go > >see Micheal Jackson live than a lot of so-called blues artists. I don't own > >Thriller, but I want it. It doesn't embarrass me, in the least, though. I > >happen to think he has a lot of feeling in his music and he's an alright guy > >in my opinion, anyway... > > > >LW > > > > > Actually, I am working on a theory : Posit - LW does not in fact exist but have been made up by our collective unconciouses. :):):) (apologies to LW, just funnin') phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [11/1/96 15:08 PM] "Thursday's always sad..." ========================================================================= Date: Thu, 11 Jan 1996 20:17:44 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Re: Sitting&Thinking - Bruce Katz. Comments: To: bit-listserv-blues-l@uunet.uu.net Hi Barry, If you can help I would appreciate. I'd like to include the AUDIOQUEST artists on BLUES DATE. Can you help as I need their full names/date/place of births & instruments they play. thanks eRIC ========================================================================= Date: Thu, 11 Jan 1996 15:29:45 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Whatcha listenin to besides blues? As a matter of curiosity because I'm interested in you, my fellow blues-lers, and our parallel or divergent tastes in non-blues music, I thought I'd pose this query to youse guys who are less than totally hard core :) and DO in fact listen to something else: What modern artist(s) (and by that I mean new, hip '90s stuff....did I say "hip"? ) are you slappin' on the cd player or turning up the radio for when you're not listening to blues? Riffin Rick currently is getting into: Smashing Pumpkins Alanis Morrissette Green Day Harry Connick Jr. By all means, hit the delete key if this non-blues thread annoys you. :) (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 11 Jan 1996 20:37:15 GMT Reply-To: Jos Potting From: Jos Potting Organization: Planet Internet Subject: Re: BLUES CD-ROM Comments: To: bit-listserv-blues-l@uunet.uu.net Jose Antonio Revilla Garcia wrote: > I've seen in an informatic magazine an ad about a Blues CD-ROM >encyclopaedia..:-OOOOOOOO > It said it covered more than 700 biographies, in addition it had >hundreds of photographies and even video-clips, appart from an extract of >the All Music Guide CD-ROM..:-? Did you get any information on the qualities of that CD-Rom. If yes, could you share it with us: there is too much carbage in cd-roms nowadays to take a risk at it. Thanks, Jos ========================================================================= Date: Thu, 11 Jan 1996 15:42:18 -0500 Reply-To: 00LCSPECTOR@BSUVC.BSU.EDU From: "Lee C. Spector" <00lcspector@BSUVC.BSU.EDU> Subject: Sharrif Well, as the list's unofficial plugger of Omar Sharrif, I must say that his Baddass album is just as the advertisement in Living Blues suggests. Four of his songs would never be played on radio, probably, and Omar has gotten even more strident. But while many might object to these four tunes (out of 13), I don't think anyone would say that the musicianship on all the cuts was not superb. Whether Omar is playing blues, jazz or his one classical cut, he, in my opinion, is the best we got out there. He's interesting, creative but always in a groove. So if you like great piano, and don't get offended easily, this is the album for you. And even if you do get offended, skip the "bad" cuts and there still is enough there. The album can be ordered from Have Mercy Records. Again, I'm not connected with Have Mercy (thank goodness or I'd be losing my shirt), but like a lot of the stuff they put out. Lee C. Spector Department of Economics ========================================================================= Date: Thu, 11 Jan 1996 15:46:00 -0500 Reply-To: Rags From: Rags Subject: ROUNDER_RECORDS email address is info@rounder.com and WWW page is http://harp.rounder.com/ This is in response to a BLUEZELLERS who asked for it... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-($)^($)-b | -----YEAH!!! GO STEELERS!!!----- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ Surrealism ? I AM Surrealism - Salvador Dali +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Thu, 11 Jan 1996 14:53:33 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: A Web Wedding Comments: To: Curtis Hewston In-Reply-To: <199601111812.NAA21271@magicnet.magicnet.net> I assume the O'Neal wedding album will include Rev. Gatemouth Moore in his full African regalia since I'm told that's how he presided over the ceremonies. Congratulations to Jim and Selina on the birth of their daughter Della Soleil on December 22! ========================================================================= Date: Thu, 11 Jan 1996 20:54:26 GMT Reply-To: Jos Potting From: Jos Potting Organization: Planet Internet Subject: Re: CD REVIEW: R.L.BURNSIDE on SWINGMASTER Comments: To: bit-listserv-blues-l@uunet.uu.net On Mon, 18 Dec 1995 10:01:02 +0100, you wrote: >I remember seeing for Burnside for the first time at the Blues Estafette >in Utrecht in 1982 (If I remember well) and that was around the same period >that I bought his first excellent Swingmaster LP 2001 (which was followed >years later by a second excellent LP) I'm a regular visitor of the Blues Estafette for about 8 years. And only the last two marathons I was clever enough of collecting the programms. Do you happen to know a way to discover the line-ups of the foregoing Estafettes? (And are there any savings of concerts on it?) By the way, thanks for your enthusiastic words on Burnside and Swingmaster. I didn't know Burnside but since you mentioned him I recognize the name more often. Could you tell me if he's a country blues singer? Maybe I'll buy it; another good reason for buying is to stimulate Swingmaster to go on and on... Jos ========================================================================= Date: Thu, 11 Jan 1996 15:06:10 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Whatcha listenin to besides blues? > What modern artist(s) (and by that I mean new, hip '90s stuff....did I > say "hip"? ) are you slappin' on the cd player or turning up the radio for > when you're not listening to blues? > > Riffin Rick currently is getting into: Smashing Pumpkins > Alanis Morrissette > Green Day > Harry Connick Jr. > > F.J.(Rick)Miller > Senior Research Assistant, > & Marine Facilities Manager > Worcester Foundation for Biomedical Research > "Miller@Sci.WFBR.Edu" > *************************************************************************** > This is what I brought from home with me this morning to listen to in the office these days: 1. Branford Marsalis - "I Heard you twice the first time" Branford mixes jazz and blues with BB King, JL Hooker, etc. as guests - GREAT ALBUM 2. George Clinton - "Hey Man... Smell My Finger" P-Funk Man Rules 3. Laibach - "Let It be" - The Beatles revisited by thos Slovenian band 4. Tom Waits - "Rain Dogs" I go back to this genious every one awhile. 5. Patti Smith - "Dream of Life" Queen of Punk is back. She did some concerts with Bob Dylan these days... 6. P.J. Harvey - 'Rid Of Me" Gotta buy her newest one too... 7. 2Pac Shakur - "Me Against the world" Like his grooves, like his voice, like his acting... Ranko ========================================================================= Date: Thu, 11 Jan 1996 16:29:02 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Blues with feeling: What does it take, philisophically? PW said ... > Absolutely. It's called acting, and it's what separates the men > from the "clones" (so to speak). ... One doesn't need "hard luck and trouble" > to sing or play it convincingly. I agree completely. There is far too much talk about "real emotion" in discussions of Blues. When John Lee Hooker sings "I'm Bad Like Jesse James" you'd swear he was a psychotic killer --really he is a very sweet man, and a superb actor in that part of the dramatic arts known as blues. As with acting in other media, the test of blues is not how "sincere" it is, but how effective it is. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Thu, 11 Jan 1996 16:20:22 EST Reply-To: EDWIN F TREMEWAN From: EDWIN F TREMEWAN Subject: The BLUZMAN is back!! Fellow Zellers, After having been put in E-mail limbo by AOL server problems for 5 days, I jumped ship. I am now on PRODIGY for a while, at least until NETCOM gets a local access number. I have missed the list more than I thought. Its good to be back!! BLUZ!! Ed Tremewan formerly BLUZMAN ED ========================================================================= Date: Thu, 11 Jan 1996 16:29:46 -0500 Reply-To: Meadors From: Meadors Subject: Re: Server problem Comments: To: phertel@CMC.DOE.CA You asked: > >Is anyone else getting this stuff? >I have sent e-mail to the listowner. > >Date: 11 Jan 1996 13:52:00 GMT >From: Gateway >To: homer!CMC.DOE.CA!phertel@cmc.doe.ca >Subject: NDN: Re: Rounder Records > >Sorry. Your message could not be delivered to: > >blues list,tunanet (The name was not found at the remote site. Chec >k that the >name has been entered correctly.) > I've been getting that all day, however it seems the messages are being sent. Mike Meadors Orange2@gnn.com ========================================================================= Date: Thu, 11 Jan 1996 16:39:05 -0500 Reply-To: Meadors From: Meadors Subject: Fwd: Re: Muddy Waters book >Date: Thu, 11 Jan 1996 12:56:06 -0800 >From: mkaldin@ix.netcom.com (Mary Katherine Aldin ) >To: Orange2@gnn.com (Meadors) >Subject: Re: Muddy Waters book > >You wrote: >> >>Thanks for all the info re: the book. I would really like to > read >>something which really probes into his life. > >I meant to post that answer to the entire list but it seems I sent > it >only toyou and I no longer have it. Can you forward post it to > blues-l >please? Thanks, > >Mary Katherine AldinMike Meadors Orange2@gnn.com ========================================================================= Date: Thu, 11 Jan 1996 16:46:24 -0500 Reply-To: James Leftwich From: James Leftwich Subject: mojo magazine This is a desperate plea... It was posted earlier chez blues-l that a british magazine MOJO had an excellent feature about the song Stagolee. I desperately need that issue. I've tried Border's and Barnes & Noble to no avail. Can anyone in the NYC area recommend a spot to score a copy? Also, my father will be in London next month. Could he find the January issue somewhere or will it be off the shelves? Thanks Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" :) ========================================================================= Date: Thu, 11 Jan 1996 15:54:02 CDT Reply-To: Dave Kneifl From: Dave Kneifl Organization: University of Wisconsin-Extension Subject: Re: Server problem Yes. I got the same thing this morning after posting a message yesterday afternoon AND receiving the standard receipt from the server saying it had been successfully distributed. DK Pat Hertel said: > Is anyone else getting this stuff? > I have sent e-mail to the listowner. > > Date: 11 Jan 1996 13:52:00 GMT > From: Gateway > To: homer!CMC.DOE.CA!phertel@cmc.doe.ca > Subject: NDN: Re: Rounder Records > > Sorry. Your message could not be delivered to: > > blues list,tunanet (The name was not found at the remote site. Check that the > name has been entered correctly.) > > phertel@cmc.doe.ca > OR bv808@freenet.carleton.ca > Local Time [11/1/96 15:06 PM] > "Thursday's always sad..." > ========================================================================= Date: Thu, 11 Jan 1996 16:32:16 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: You never forget yo Pr> Although this may date many folks on Blues-L, what was the first Pr> record you ever bought on your own? Fats Domino -- The Fat Man, on 45RPM. His first, too. ... "Believe what you will, until experience changes your mind!" Babylon --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Thu, 11 Jan 1996 14:09:16 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: MERCURY RECORDS : 1. EARLY HISTORY Comments: To: BluesHvn@aol.com Today is Berle Adams' 79th birthday and as he's an early partner in Mercury Records (along with Irving B. Green (major holder), Jerry Fischer, Art Talmadge), I'd like to review Michel Ruppli and Ed Novitsky's THE MERCURY LABELS : A DISCOGRAPHY (Greenwood Press, December 1993). It won the Association for Recorded Sound Collections 1994 Award for Best Discography in the Field of Recorded Labels or Manufacturers, and so it should have. The Mercury Labels: A Discography (Five Volumes) =============================================== Compiled by Michel Ruppli and Ed Novitsky. Greenwood Publishing Group, 88 Post Road West, Box 5007, Westport, CT.06881-5007. Toll-Free: 1-800-225-5800; Tel: 203-226-3571 ; Fax : 203-222-1502 ; Web Site or Mercury Records was established as an independent label on or near October 6th, 1945, and from the get-go, they quickly "acted" as a major label. Following the old record business adage "distribution makes or breaks you", they opened two self-sustaining pressing plants (Chicago, St. Louis), offering 24 hour turnaround, essentially competing with major labels like Columbia, Decca, and RCA Victor. By using automatic presses (they were the first to use them), Mercury Records essentially could fill all orders. As for promotion, they hired Tiny Hill & musical director Jimmy Hilliard. In that way they could penetrate into the pop market, succeeding with Frankie Laine, Vic Damone and Patti Page. Berle Adams, longtime manager & driving force behind Louis Jordan, joined Mercury Records on January 19th, 1946, heading their talent selection department. In a wise move, Berle Adams began acquiring pre-recorded masters (from Hub and Premier Records) by Ambrose Haley, Chuck Foster, Jay McShann, Julia Lee & Eddie "Cleanhead" Vinson, reissuing them on Mercury. This practice, of buying masters, is quite common practice today but in the early postwar years it was not very common. In the early years, Mercury would lease and/or acquire masters from at least the following (Jazz/R&B) labels : Elite/Hit Records (Earl Bostic, Slim Gaillard, Louis Prima, Cootie Williams, etc), Exclusive Records (Herb Jeffries), Keynote Records (Coleman Hawkins, Josh White, Lester Young, Dinah Washington, etc.) and National Records (Billy Eckstine, Pete Johnson, Big Joe Turner, etc). As for distribution, they (initially with Specialty and Aladdin Records) set up a series of company-owned "one-stops" in Detroit, Denver, Pittsburgh, Chicago, St. Louis, New York City and Los Angeles, encouraging "ofay" deejays to play their R&B recordings. They also initiated a 5% return policy, and began issuing 4 sides on the 1st and 15th of each month - signs that they were becoming a "major" label. In June 1961, Philips of Holland (later named PolyGram) bought Mercury Records for $3 million dollars, leaving the management in place. By August 1961, Quincy Jones was hired as an A&R director. A list of other producers & arrangers that have worked for Mercury Records reads like a "Who's Who" in the business at the time - including Luchi DeJesus, Dave Dexter Jr., John Hammond (Sr.), Kenny Gamble & Leon Huff, Belford C. Hendricks, Jerry Kennedy, Sammy Lowe, Mitch Miller, Clyde Otis, Shelby Singleton, Nat Tarnapol (later to found Brunswick Records), etc. con't : MERCURY RECORDS : 2. THE DISCOGRAPHY (REVIEW) MERCURY RECORDS : 3. ARTISTS MERCURY RECORDS : 4. CD RELEASES ========================================================================= Date: Thu, 11 Jan 1996 17:12:09 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Whatcha listenin to besides blues? Comments: To: Ranko Vujosevic In-Reply-To: <199601112106.PAA14069@picasso.ccad.uiowa.edu> On Thu, 11 Jan 1996, Ranko Vujosevic wrote: > 1. Branford Marsalis - "I Heard you twice the first time" > Branford mixes jazz and blues with BB King, JL Hooker, etc. > as guests - GREAT ALBUM About 2 weeks ago I heard some stuffin' good blues coming out of my wife's studio. Of course I assumed that she'd borrowed one of my CD's so I ventured over to hear better which of the JLH CD's of mine she had on. To my surprise it was the Bran- frod CD you mention. I still haven't listened to it in full, she just won't take it out of her player. But is is one top piece of music. NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 11 Jan 1996 16:32:06 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Blues without feeling Mi> ANd when you Mi> see him live he plays his heart out for you, yet, indeed many of us Mi> agree while technically superb, Eric's blues sound lackluster. Mi> So, Blues-Lers, what's it take? I'm sure I don't know. It's called 'soul', and mere technical wizardry and gutless instrumental pyrotechnics do not give one 'soul'. Anymore than learning music 'theory' gives one 'soul'. You have struck upon a very important and insightful point here, so put on your asbestos undies and be prepared to receive the normal barrage of flames. Other examples of how technical proficiency alone does not produce a _real_ Blues artist are: Lonnie Johnson, and that double-entendre specialist who's name escapes me at the moment. This, in spite of their having the 'proper' genetic and environmental endowments. ... Ye shall know the truth, and it shall make you freak! --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Thu, 11 Jan 1996 16:17:47 +0600 Reply-To: toulouse Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: toulouse Organization: CommNet Inc. Subject: Tomato Records and Brint Anderson Comments: To: Barry Silverberg Barry Silverberg wrote: > Who's Been Talkin' was originally on Tomato and now Atlantic. > Opening cut does it for me - Too May Cooks. > Don't have the info on False Accusations - but would be inter- > ested as well. > > NY CD Blues now at http://www.island.net/~blues/nycd.html > 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. > 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! > Barry Silverberg ... bsco@panix.com Tomato is not defunct. The I believe are distributed by Warner Distribution and I know that they just released The Brint Anderson Band..."Homage To Elmore". A good record. I believe I also saw some new compilations that they were putting out. I do not know what the scoop is with the old catalog. There were some good records in that bunch, some of which are still available. Check out The Brint Anderson Band, from New Orleans on the Tomato label. Peace Y'all, toulouse@comm.net ========================================================================= Date: Thu, 11 Jan 1996 14:20:54 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: MERCURY RECORDS : 2. THE DISCOGRAPHY (REVIEW) Comments: To: BluesHvn@aol.com The Mercury Labels: A Discography (Five Volumes) =============================================== Compiled by Michel Ruppli and Ed Novitsky. Greenwood Publishing Group, 88 Post Road West, Box 5007, Westport, CT.06881-5007. Toll-Free: 1-800-225-5800; Tel: 203-226-3571 ; Fax : 203-222-1502 ; Web Site or The discography is 4240 pages long, divided up into 4 eras, one volume per era : The 1945-1956 Era (v.1), The 1956-1964 Era (v.2), The 1964-1969 Era (v.3) and The 1969-1991 Era & Classical Recordings (v.4). Each volume follows the master sequence number assigned by Mercury Records, which in most cases is in recording order except when the items were purchased/and or leased. Since each volume is meant to be sold separately, a self-contained index is included in each volume, as well as appendices outlining the many Mercury series over the last 46 years. Volume 5 (Record and Artist Indexes) will interest those that acquire all four "era" volumes as it has a general master index and separate numerical label discographies to all Mercury releases, the subsidiaries (Blue Rock, EmArcy, Fontana, Limelight, Philips, Smash, Wing), and the 24 labels they distributed during the 1945-1991 period. Nearly a third of this voume is given over to lists of stereo/mono equivalent masters. In a perverse way, I find this volume the most interesting as it shows the depth and breadth of this amazing discography (and label). In 882 pages, Michel Ruppli & Ed Novitsky provide us not only with label listings to 78/45 rpm releases, but also to all types of extended play albums (7",10", 12"), and CD releases - not only for North America, but also for Australia, England and Europe. Each entry in the label lists refers us to the appropriate page in the "era" volumes for the complete entry. As with other discographies in this series (Aladdin-Imperial, Atlantic, Blue Note, Chess, Clef-Verve, King, Prestige, Savoy Labels), an entry includes personnel, master/matrix number, record number and, if known, year or full recording date, city and/or studio used, and notes if the session was purchased. con't : MERCURY RECORDS : 3. ARTISTS & MERCURY RECORDS : 4. CD RELEASES ========================================================================= Date: Thu, 11 Jan 1996 17:32:50 -0500 Reply-To: Meadors From: Meadors Subject: Re: Blues without feeling Comments: To: laurie.forti@INFOEXCH.MIAMI.FL.US You wrote: > It's called 'soul', and mere technical wizardry and gutless >instrumental pyrotechnics do not give one 'soul'. Anymore than >learning music 'theory' gives one 'soul'. > You have struck upon a very important and insightful point > here, >so put on your asbestos undies and be prepared to receive the > normal >barrage of flames. I'm glad to get some support on this point. EC is a hellava guitarist but again, doesn't go deep enough. A lot of his fans (Hey, I'm one, too!) won't admit that he's anything less than a blues genius. I suspect that Eric is very perceptive and realizes that's something's missing. Interviews with him back this up. Perhaps that's why he approaches and retreats from the blues so often during his career. > Mike Meadors Orange2@gnn.com ========================================================================= Date: Thu, 11 Jan 1996 17:43:41 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Blues-l on the WWW? Is it possible to get to Blues-l via the WWW? ========================================================================= Date: Thu, 11 Jan 1996 17:33:11 -0500 Reply-To: NutMarie From: NutMarie Organization: America Online, Inc. (1-800-827-6364) Subject: Re: An SRV Movie Comments: To: bit-listserv-blues-l@uunet.uu.net AMEN LEONARD !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!! ========================================================================= Date: Thu, 11 Jan 1996 17:58:33 -0500 Reply-To: STAMPNPLAC@AOL.COM From: "Dennis J. Booth" Subject: general question I was wondering ????? What your opinion was on the harp playing of Little Walter and his influence on modern harp playing thanks DENNY B ========================================================================= Date: Thu, 11 Jan 1996 15:05:30 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: MERCURY RECORDS : 3. ARTISTS Comments: To: BluesHvn@aol.com The Mercury Labels: A Discography (Five Volumes) =============================================== Compiled by Michel Ruppli and Ed Novitsky. Greenwood Publishing Group, 88 Post Road West, Box 5007, Westport, CT.06881-5007. Toll-Free: 1-800-225-5800; Tel: 203-226-3571 ; Fax : 203-222-1502 ; Web Site or For the record, here are a few of the major (C&W/jazz/pop/R&B) artists that recorded for Mercury Records during the 1945-1991 period cover by this discography. If you're at all interested in any of these artist, I strongly suggest you acquire this (or part) of this discography. Julian "Cannonball" Adderley Albert Ammons Gene Ammons Sil Austin Bachman-Turner Overdrive Bobby Bare Chuck Berry Brook Benton Art Blakey Paul Bley Blue Cheer Big Bopper Patti Bown Bob Brookmeyer Clifford Brown James Brown Ray Brown Jerry Butler Bobby Byrd David Carroll Benny Carter Ron Carter Bruce Channel Jimmy Cleveland Don Covay Crewcuts Vic Damone Del Vikings Diamonds Eric Dolphy Rusty Draper Billy Eckstine Gil Evans Everly Brothers Flatt & Scruggs Four Seasons Freddie & The Dreamers Eric Gale Gapp Band Errol Garner Stan Getz Georgia Gibbs Steve Gibson & The Red Caps Dizzy Gillespie Benny Goodman Leslie Gore Tom T. Hall Lionel Hampton Dick Hayman Helen Humes Milt Jackson Buddy & Ella Johnson Hank Jones George Jones Bill Justic Roland Kirk Frankie Laine Peggy Lee Jerry Lee Lewis John Lewis Little Richard Gloria Lynne Junior Mance Chuck Mangione Harvey Mandel Johnny Mathis Jimmy McCracklin Jay McShann Helen Merrill Mindbenders Charles Mingus Gerry Mulligan Patti Page Paul & Paula Joe Pass Ohio Players Graham Parker Oscar Peterson Platters Professor Longhair Red Prysock Charlie Rich Johnny Rodriguez Ernie Royal Rush Selah Jubilee Singers Nina Simone Singing Nun Jo-El Sonner Stanley Brothers Rod Stewart Carl Story Swingle Singers 10 cc Thin Lizzy Throggs Treniers Uriah Heep Sarah Vaughan Eddie "Cleanhead" Vinson Dinah Washington Cootie Williams con't : MERCURY RECORDS : 4. CD RELEASES ========================================================================= Date: Thu, 11 Jan 1996 18:12:53 -0500 Reply-To: Meadors From: Meadors Subject: Fwd: Re: Muddy Waters book >Date: Thu, 11 Jan 1996 10:16:31 -0800 >From: mkaldin@ix.netcom.com (Mary Katherine Aldin ) >To: Meadors >Subject: Re: Muddy Waters book > >You wrote: >> >>Is there any books dealing SPECIFICALLY with Muddy Waters? > General >>biography kind of stuff? >> >There is one in progress called "Muddy Waters: Got My Mojo > Working" and >is being written by Neil Slaven (co-author with the late Mike > Ledbitter >of the blues discography BLUES RECORDS 1943-1970). Slaven's > biography >of Muddy is nearly finished, and will be published this summer > both >here and in the UK. He was here in L.A. over Thanksgiving, and I >turned over to him some of the information I had accumulated for my > own >partly-finished bio of Muddy, which in light of his forthcoming > work I >am postponing. The deal is, there's no reason in the world why I >shouldn't be cooperative and helpful to him. If he does a great jo >b, >it saves me having to finish my own book (lazy me), and his can > become >the standard reference on the subject. If he does a terrible job >(which is most unlikely), I can still write mine, using the only >information I did *not* turn over to him, my eight hours of > personal >interview tapes with Muddy. Anyway, I look forward to reading > Slaven's >book as soon as it comes out. > >Mary Katherine AldinMike Meadors Orange2@gnn.com ========================================================================= Date: Thu, 11 Jan 1996 18:25:05 -0500 Reply-To: ar550@freenet.carleton.ca From: Patrick Beaudry Subject: [ar550@freenet.carleton.ca: Dates for 1996 Chicago Bluesfest??] ================= Begin forwarded message ================= From: ar550@freenet.carleton.ca (Patrick Beaudry) To: blues-l@brownvn.brown.edu Subject: Dates for 1996 Chicago Bluesfest?? Date: Thu, 11 Jan Does anyone have the dates for the blues festival? please respond via privated email Thanks! -- If you don't like the blues, you've got a hole in your soul... PAT BEAUDRY'S MIDWEEK BLUES / CHUO-FM89.1 / WEDNESDAYS AT 8 p.m. Ottawa, Ontario, Canada -- If you don't like the blues, you've got a hole in your soul... PAT BEAUDRY'S MIDWEEK BLUES / CHUO-FM89.1 / WEDNESDAYS AT 8 p.m. Ottawa, Ontario, Canada ========================================================================= Date: Thu, 11 Jan 1996 15:24:38 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: MERCURY RECORDS : 4. CD RELEASES Comments: To: BluesHvn@aol.com The Mercury Labels: A Discography (Five Volumes) =============================================== Compiled by Michel Ruppli and Ed Novitsky. Greenwood Publishing Group, 88 Post Road West, Box 5007, Westport, CT.06881-5007. Toll-Free: 1-800-225-5800; Tel: 203-226-3571 ; Fax : 203-222-1502 ; Web Site or A VERY VERY SELECTIVE CD DISCOGRAPHY : (non-Classical only) ==================================== BEAR FAMILY 15417 : BOBBY BARE - PART 1-3 : MERCURY YEARS 1970-72 BEAR FAMILY 15418 : TRENIERS - COOL IT, BABY BEAR FAMILY 15479 : BUDDY & ELLA JOHNSON - 1953-1964 (4CD) BEAR FAMILY 15558 : JIMMY MCCRACKLIN - MERCURY RECORDINGS BEAR FAMILY 15741 : THE PLATTERS - FOUR PLATTERS & ONE LOVELY DISH (9CD) POLYGRAM upcoming : MERCURY BLUES STORY (4 X 2CD) (1996) POLYGRAM 510 286 : ALBERT AMMONS - BACK BEAT : THE RHYTHM OF THE BLUES V.2 POLYGRAM 510 287 : BUDDY & ELLA JOHNSON - BACK BEAT : THE RHYTHM OF .. V.3 POLYGRAM 510 314 : THE PLATTERS - THE MAGIC TOUCH : AN ANTHOLOGY (2CD) POLYGRAM 510 968 : JERRY BUTLER - ICEMAN : MERCURY YEARS ANTHOLOGY (2CD) POLYGRAM 512 644 : LESTER FLATT & EARL SCRUGGS - COMPLETE MERCURY SESSIONS POLYGRAM 512 523 : LOUIS JORDAN - NO MOE! LOUIS JORDAN GREATEST HITS POLYGRAM 512 643 : CHARLIE RICH - COMPLETE SMASH SESSIONS POLYGRAM 512 805 : ROD STEWART - MERCURY ANTHOLOGY (2CD) POLYGRAM 514 905 : EVERLY BROTHERS - MERCURY YEARS POLYGRAM 525 517 : VARIOUS - BLUES BOOGIE & BOP - BEST OF THE 1940S ... POLYGRAM 525 609 : VARIOUS - BLUES BOOGIE & BOP - 1940S MERCURY SESSIONS (7CD) POLYGRAM 526 691 : VARIOUS - FIFTY YEARS OF COUNTRY MUSIC FROM MERCURY (3CD) POLYGRAM 528 102 : OHIO PLAYERS - FUNK ON FIRE : MERCURY ANTHOLOGY (2CD) POLYGRAM 528 191 : STANLEY BROTHERS - ANGEL BAND: CLASSIC MERCURY RECORDINGS POLYGRAM 528 275 : HARVEY MANDEL - MERCURY YEARS POLYGRAM 528 688 : VARIOUS - MERCURY RECORDS JAZZ STORY (2CD) POLYGRAM 824 116 : V. S. O. P. ALBUM (4CD) POLYGRAM 824 836 : BEN WEBSTER - COMPLETE ON EMARCY (2CD) POLYGRAM 826 320 : SARAH VAUGHAN - COMPLETE ON MERCURY V. 1 (6CD) POLYGRAM 826 327 : SARAH VAUGHAN - COMPLETE ON MERCURY V. 2 (5CD) POLYGRAM 826 333 : SARAH VAUGHAN - COMPLETE ON MERCURY V. 3 (6CD) POLYGRAM 826 340 : HELEN MERRILL - COMPLETE ON MERCURY (2CD) POLYGRAM 830 920 : THE ESSENTIAL KEYNOTE COLLECTION V. 1 POLYGRAM 830 921 : THE ESSENTIAL KEYNOTE COLLECTION V. 2 POLYGRAM 830 922 : THE ESSENTIAL KEYNOTE COLLECTION V. 3 POLYGRAM 830 923 : THE ESSENTIAL KEYNOTE COLLECTION V. 4 POLYGRAM 830 926 : THE ESSENTIAL KEYNOTE COLLECTION V. 5 POLYGRAM 830 960 : THE ESSENTIAL KEYNOTE COLLECTION V. 6 POLYGRAM 830 965 : THE ESSENTIAL KEYNOTE COLLECTION V. 7 POLYGRAM 830 966 : THE ESSENTIAL KEYNOTE COLLECTION V. 8 POLYGRAM 830 967 : THE ESSENTIAL KEYNOTE COLLECTION V. 9 POLYGRAM 830 968 : THE ESSENTIAL KEYNOTE COLLECTION V.10 POLYGRAM 832 444 : DINAH WASHINGTON - V. 1 : COMPLETE ON MERCURY (3CD) POLYGRAM 832 448 : DINAH WASHINGTON - V. 2 : COMPLETE ON MERCURY (3CD) POLYGRAM 834 675 : DINAH WASHINGTON - V. 3 : COMPLETE ON MERCURY (3CD) POLYGRAM 834 683 : DINAH WASHINGTON - V. 4 : COMPLETE ON MERCURY (3CD) POLYGRAM 836 755 : BROOK BENTON - FORTY GREATEST HITS (2CD) POLYGRAM 838 218 : ELLA JOHNSON - SWING ME (WITH BUDDY JOHNSON ORCH) POLYGRAM 838 243 : VARIOUS - MERCURY R&B (1946-1962) (2CD) POLYGRAM 838 306 : CLIFFORD BROWN - COMPLETE EMARCY RECORDINGS POLYGRAM 838 952 : DINAH WASHINGTON - V. 5 : COMPLETE ON MERCURY (3CD) POLYGRAM 838 956 : DINAH WASHINGTON - V. 6 : COMPLETE ON MERCURY (3CD) POLYGRAM 838 960 : DINAH WASHINGTON - V. 7 : COMPLETE ON MERCURY (3CD) POLYGRAM 845 825 : VARIOUS - BACK BEAT : THE RHYTHM OF THE BLUES V.1 POLYGRAM 846 630 : ROLAND KIRK - RAHSAAN : COMPLETE MERCURY RECOR (10CD) ROUNDER 18 : LESTER FLATT & EARL SCRUGGS - MERCURY SESSIONS #1 ========================================================================= Date: Thu, 11 Jan 1996 18:32:22 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: A Web Wedding Comments: To: Richard Shurman >I assume the O'Neal wedding album will include Rev. Gatemouth Moore in >his full African regalia since I'm told that's how he presided over the >ceremonies. Unfortunately no. These are three photos from the reception: Selina and Jim sharing wedding cake, Selina singing "Baby Please Don't Go" with Lonnie Pitchford, and Selina and Jim escored by Abe Young (I think) of the Othar Turner Fife & Drum Band. (They're in both gif and jpeg, by the way.) >Congratulations to Jim and Selina on the birth of their daughter >Della Soleil on December 22! Indeed! *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Thu, 11 Jan 1996 18:58:40 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Best Wishes Jim & Selina .... May the roosters crow loud and beautifully for you both for a long long time .......... NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 11 Jan 1996 18:03:32 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: knon top 15 Just for grins, here's the KNON blues top 15 for last week. KNON is a 55,000 watt community radio station located in Dallas, Texas with a radius of about 100 miles. We have 5 blues shows and I compile our top 15 albums each week for CMJ and the Hard Report weekly polls. If there is sufficient interest, I can post this weekly to the list. Please reply to me PRIVATELY at the address below. If I don't get 30 or 40 "Yeah, do it" replies I won't bother. Up to y'all. Don O. Blues Format director KNON FM Dallas private e-mail to: don.o@chrysalis.org CMJ top 35/Hard Report Poll week ending January 6, 1996 1. Joe Guitar Hughes-Texas Guitar Slinger-Bullseye 2. Various-Slide Guitar Blues-Icehouse 3. Karen Carrol-Had My Fun-Delmark 4. Little Milton-Live at Westville Prison-Delmark 5. Guitar Shorty-Get Wise to Yourself-Blacktop * 6. Kenny Wayne-Alive and Loose-Blue Roots * 7. Anson & the Rockets-Live at the Grand Emporium-Blacktop 8. R.J. Mischo-Gonna Rock Tonight-Blue Loon 9. Albert King- Hard Bargain-Stax/Fantasy * 10. Lee McBee-44-Red Hot 11. Jordan Patterson-Give Me A Chance-JSP 12. Helge Tallqvist-Hitsville Hop-Q Records 13. Rick Holmstrom-Look Out-Blacktop * 14. Billy Boy Arnold-Eldorado Cadillac-Alligator 15. Gary Primich-Mr Freeze-Flying Fish * new adds end ========================================================================= Date: Thu, 11 Jan 1996 23:27:33 +0000 Reply-To: Roadrunner Tour Management From: Roadrunner Tour Management Subject: Re: You never forget your first... Comments: To: Dennis Miele First single was "Radar Love" by Golden Earing ;-/ First Album was Rory Gallagher "Live in Europe" Still love it!!! Yep ! "R O A D R U N N E R T O U R M A N A G E M E N T" <<<< KEEPING THE BLUES ALIVE >>>> 141 Tirellan Heights Galway / Ireland Tel.&Fax: +353 95 35976 Mobile: +353 88 619758 E-Mail: roadrun@iol.ie http://www.iol.ie/~roadrun/index.html ========================================================================= Date: Thu, 11 Jan 1996 18:18:10 -0600 Reply-To: "Johannes von Alftenberg (aka: Guano)" From: "Johannes von Alftenberg (aka: Guano)" Subject: Re: You never forget your first... Comments: To: BLUES-L@BROWNVM.BROWN.EDU. On 10 Jan 96, David L. Prychitko had this to say... > Although this may date many folks on Blues-L, what was the first record > you ever bought on your own? I'll never forget marching around the room memorizing every line of "The Battle of New Orleans" 45 rpm by Johnny Horton...(does that make me a JH/Clone?)...zillions of 45's later, my first Lp? "Fresh Cream" by the Cream, followed quickly by Jimi, and then my first Luther Allison LIVE SHOW (what a groove!). And this is my "post" to the Blues-L! Does anyone know if Mark Brown (aka: Mr. B )still plays his boogie-woogie piano on the street outside the Ark in Ann Arbor? I heard he's a big man and "rocks" the piano back and forth like a toy when he plays it! On the he live stuff I've heard on tape, he really sets them ivories on fire!! Slide piano? I took the front off my Lester studio upright and taught my daughter to play the strings like a harp with her fingers, and roll them glissandos on the keys with her elbow. But there is nothing on the piano like the sound of a glass bottleneck scraping against the frets like old bones rattling in the dark!! ...actually, maybe the slide will fit in the Lester a little, I can reach all the strings up to about C over middle C....:^> __ _ _ _ _ _ __ -- __0 Johannes von Alftenberg / __ | | /_\ |\ | / \ -- =`\<, Shoveling a path on the bike trail \__( \__/ / \ | \| \__/ -- (=)/(=) snowbound in Normal, Illinois __ _ _ _ _ _ __ -- __0 / __ | | /_\ |\ | / \ -- =`\<, \__( \__/ / \ | \| \__/ -- (=)/(=) ========================================================================= Date: Fri, 12 Jan 1996 00:58:18 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Whatcha listenin to besides blues? Comments: To: bit-listserv-blues-l@uunet.uu.net Art Pepper - Complete Village Vanguard Sessions Louis Armstrong - Hot 5s & 7s on JSP (Vol. 2 & 4) Annie Lennox - Medusa Al Green - Your Heart's In Good Hands (about as fine as anything he did in his past) Art Schuna ========================================================================= Date: Thu, 11 Jan 1996 20:12:29 -0500 Reply-To: Bob vanArsdall From: Bob vanArsdall Subject: Re: What Got Us Started Michael Twomey wrote: >It's interesting what got us all started. >What really got me started was Dick Buckley in Chicago. Remember his >show from 7:00 'til midnight that he would do from his home record >library in the 50's and 60's. Daddy-O Daily. Marty Faye. It was >rich in Chicago then. WAAF (950 AM) was all jazz. Radio was really >my start, more than records. For me it was the wonderful Dick Serri on WAVA in Washington DC. Mr. Serri was almost single-handedly responsible for starting the folk movement in the DC area. I'd listen to his folk show and then tune to the Nighthawk on WOL ("Soul Radio for the DC Area"), who always screamed his monologues with Elmore James for backup music. Bob ========================================================================= Date: Thu, 11 Jan 1996 21:13:08 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Blues without feeling Lauri F wrote > Other examples of how technical proficiency alone does not produce > a _real_ Blues artist are: Lonnie Johnson, and that double-entendre > specialist who's name escapes me at the moment. This, in spite of > their having the 'proper' genetic and environmental endowments. Actually, this is an example of the fact that there is no accounting for taste, and so absolute measure of who is a great blues artist. Ian Angus (who thinks Lonnie Johnson was truly one of the greats) ========================================================================= Date: Thu, 11 Jan 1996 21:03:03 -0500 Reply-To: Jonny Meister From: Jonny Meister Subject: Re: First Album: Are We Not Men... At 08:09 PM 1/11/96 +0100, you wrote: >Hey Pete! > >I must say I'm glad to see that this very non-blues thread is not causing >anyone (yet :) ) to call for "back to the blues!". Must be that most >others are as intrigued as I am... Guess again!! I spend about three seconds before deleting each one-- obviously many blues fans didn't start out buying a blues record...that's enough to know.. today I emptied my mailbox at 9AM, and coming back home at 7PM, there were 124 messages, 115 of them blues-l..... it's a bit much, especially for those of us who have lives...jobs, kids, whatever........ I appreciate James Carmin's daily calendar info a lot, reviews, info on upcoming releases, queries about artists, the latest on Jay McShann, etc. I don't really care if someone's first album was a Carpenters album and whether or not they now think it was dumb or still love it and defend it as good art or not!!!! The number of letters about such weighty topics as the misspelling of Otis Spann's name is incredible... Shouldn't this list be a place to exchange info/ideas about BLUES?? Non-blues faves is another thread to cut.... that's my take on it... I'm getting carpal tunnel syndrome (is that how you spell it??) from hitting Control D with my left pinky and index finger so much!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! ========================================================================= Date: Fri, 12 Jan 1996 04:09:01 +0200 Reply-To: T P Uschanov From: T P Uschanov Subject: Re: LBC-1st time buy Comments: To: Gerald Leddy In-Reply-To: <81534111106991/71909@POLICE> On Thu, 11 Jan 1996, Gerald Leddy wrote: > I was wrong in giving the credit(?) ;{- for `Yummy, Yummy' to > the Bubblegum Company, with the gentle nudge I received, I do now recall it > was indeed by the Ohio Express; thanks T.P.! > > I even feel better now; maybe I wasn't the only one that bought it. Ha, I own it on a CD, which I last happened to play the night before Wednesday! (OBC: It's the 2-CD set 'The Pye International Story,' an anthology of this great British singles label's greatest hits, and as we all know, it ran an R&B series in 1961-65 issuing oodles of classic Chess sides and Cyril Davies' two solo 45s.) T P Uschanov (Mr), University of Helsinki, Finland, European Union. tuschano@cc.helsinki.fi ---- http://www.helsinki.fi/~tuschano/ "Property is theft." (Pierre-Joseph Proudhon) ========================================================================= Date: Thu, 11 Jan 1996 20:15:17 -0600 Reply-To: Tom Kraft From: Tom Kraft Subject: Re: Albert King's Influence Comments: To: Msbeale Albert Kings hoppin' little version of "Match Box Blues" is on Stax CROSSCUT SAW - ALBERT KING IN SAN FRANCISCO. Cool number, one of my favorites. At 05:21 AM 1/9/96 -0500, you wrote: >Albert once told me that one of his first influences was Blind Lemon >Jefferson, who he would go to see playing for tips in a park in Forest >City Arkansas. There are a couple of Blind Lemon cd's out now, the one I >own has Match Box Blues on it. Albert later modified it (and modernized >it). It was always a favorite at live performances 'cause he'd love to ask >the audience if they knew what "catheads" were. Anyone that has seen him >live, probably knows the tune I'm talking about...it's on one of his >recordings but I can't remember which right now. >ms beale st. > >"I ain't lyin'!" -Albert King > > ========================================================================= Date: Thu, 11 Jan 1996 21:20:02 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Blues without feeling Laurie asks: >Other examples of how technical proficiency alone does not produce >a _real_ Blues artist are: Lonnie Johnson, and that double-entendre >specialist who's name escapes me at the moment. This, in spite of >their having the 'proper' genetic and environmental endowments. You mean Bo Carter? That stuff, however, is enjoyable on a different level. All blues isn't *sad* you know! While I'm answering, here's my 2 cents (probably worth less)...The word that comes to mind when someone asks what EC lacks is spontaneity. I'm not a Clapton-basher; I like him, I even like From the Cradle. In fact, I went to see him last fall and the whole time it was in the back of my head: this is not a blues band; this is a rock band playing the blues. I realized this fully when they played "Crossroads," as they seemed to gel in a way they hadn't before. Later I talked to a friend who had seen his blues show four times. She said that each time, the show was exactly the same, right down to the facial expressions and gestures. In my experience in watching blues bands (which is extremely limited), the best songs seem generated from the moment. Even Buddy Guy, who does the same general things in each concert--the audience walk-through, the rock-star imitations--even with him, the songs seem to have a spontaneity that Clapton, IMVHO, lacks. Does this make any sense or am I imagining? Karen ========================================================================= Date: Thu, 11 Jan 1996 21:21:42 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: You never forget your first...(but I did) >Speaking of the Monkeys, one of the "real" musicians that they used when >they toured is a great blues guitarist that lives in San Antonio named >Willie "Jitterbug" Webb. I used to work with Jitterbug for several years >and he tells of playing behind them on some of their tours...one in Mexico >stands out in my memory. He also played behind Ike and Tina Turner. You've jiggled my memory...who was the rock musician who tried out for the Monkees and didn't make it? Was it Neil Young? Karen (btw, Harvest was one of my first 8-tracks....) ========================================================================= Date: Thu, 11 Jan 1996 20:29:42 -0600 Reply-To: "Johannes von Alftenberg (aka: Guano)" From: "Johannes von Alftenberg (aka: Guano)" Subject: Re: You never forget your first... On 10 Jan 96, David L. Prychitko had this to say... > Although this may date many folks on Blues-L, what was the first record > you ever bought on your own? I'll never forget marching around the room memorizing every line of "The Battle of New Orleans" 45 rpm by Johnny Horton...(does that make me a JH/Clone?)...zillions of 45's later, my first Lp? "Fresh Cream" by the Cream, followed quickly by Jimi, and then my first Luther Allison LIVE SHOW (what a groove!). And this is my "post" to the Blues-L! Does anyone know if Mark Brown (aka: Mr. B )still plays his boogie-woogie piano on the street outside the Ark in Ann Arbor? I heard he's a big man and "rocks" the piano back and forth like a toy when he plays it! On the he live stuff I've heard on tape, he really sets them ivories on fire!! Slide piano? I took the front off my Lester studio upright and taught my daughter to play the strings like a harp with her fingers, and roll them glissandos on the keys with her elbow. But there is nothing on the piano like the sound of a glass bottleneck scraping against the frets like old bones rattling in the dark!! ...actually, maybe the slide will fit in the Lester a little, I can reach all the strings up to about C over middle C....:^> __ _ _ _ _ _ __ -- __0 Johannes von Alftenberg / __ | | /_\ |\ | / \ -- =`\<, Shoveling a path on the bike trail \__( \__/ / \ | \| \__/ -- (=)/(=) snowbound in Normal, Illinois ========================================================================= Date: Thu, 11 Jan 1996 18:32:29 -0800 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Re: Whatcha listenin to besides blues? Comments: To: bit-listserv-blues-l@cs.washington.edu In-Reply-To: <01HZW04LIGCI002WLW@SCI.WFBR.EDU> Morphine (Boston Rocks)! Also Webb Wilder, last of the full grown men, and Steve Earle. Steve Earle is not strictly 90s but I'm still excited, 3 months later, about his "Train a comin'" record, the best I've heard in a really long time. Adrian On Thu, 11 Jan 1996, wrote: > As a matter of curiosity because I'm interested in you, my fellow blues-lers, > and our parallel or divergent tastes in non-blues music, I thought I'd pose > this query to youse guys who are less than totally hard core :) and DO in fact > listen to something else: > > What modern artist(s) (and by that I mean new, hip '90s stuff....did I > say "hip"? ) are you slappin' on the cd player or turning up the radio for > when you're not listening to blues? > > Riffin Rick currently is getting into: Smashing Pumpkins > Alanis Morrissette > Green Day > Harry Connick Jr. > > By all means, hit the delete key if this non-blues thread annoys you. :) > > (((( > oo-) > /- > > > > > > F.J.(Rick)Miller > Senior Research Assistant, > & Marine Facilities Manager > Worcester Foundation for Biomedical Research > "Miller@Sci.WFBR.Edu" > *************************************************************************** > > ========================================================================= Date: Thu, 11 Jan 1996 18:36:34 -0800 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Eric Clapton (was Re: Blues without feeling) Comments: To: bit-listserv-blues-l@cs.washington.edu In-Reply-To: <199601112234.RAA27899@mail-e1a.gnn.com> I've been avoiding this for a long time, 'cause it's been a long time since I've listened to EC. But 461 Ocean Boulevard has as much soul on it as any album I've ever heard. Might not be "THE BLUES" but it's as emotional as I think you could ever expect to hear on vinyl (or laser or whatever). Adrian On Thu, 11 Jan 1996, Meadors wrote: > You wrote: > > > It's called 'soul', and mere technical wizardry and gutless > >instrumental pyrotechnics do not give one 'soul'. Anymore than > >learning music 'theory' gives one 'soul'. > > You have struck upon a very important and insightful point > > here, > >so put on your asbestos undies and be prepared to receive the > > normal > >barrage of flames. > > I'm glad to get some support on this point. EC is a hellava > guitarist but again, doesn't go deep enough. A lot of his fans > (Hey, I'm one, too!) won't admit that he's anything less than a > blues genius. I suspect that Eric is very perceptive and realizes > that's something's missing. Interviews with him back this up. > Perhaps that's why he approaches and retreats from the blues so > often during his career. > > > Mike Meadors > Orange2@gnn.com > > ========================================================================= Date: Thu, 11 Jan 1996 21:49:46 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: You never forget your first...(but I did) Comments: To: Karen Hanson In-Reply-To: <960111211947_39013254@emout04.mail.aol.com> On Thu, 11 Jan 1996, Karen Hanson wrote: > You've jiggled my memory...who was the rock musician who tried out for the > Monkees and didn't make it? Was it Neil Young? It was Stephen Stills, who would have played Peter Tork's character. ========================================================================= Date: Fri, 12 Jan 1996 05:20:22 +0200 Reply-To: T P Uschanov From: T P Uschanov Subject: Re: That Same Thread, but I'm Stubborn... In-Reply-To: <9511078183.AA818360729@smtpgate.swpco.com> shannon oconnor wrote: > LW said: > Ok I will not make suggestions to anyone anymore, IF WE CAN STOP TALKING ABOUT > THE EAGLES ON THE BLUES GROUP. But the Eagles _were_ a rather bluesy group, for example recording the original version of Elvis' "Trying to Get to You" in 1954/5. Doesn't it say so in your Mercury discography, uncle eRIC? T P Uschanov (Mr), University of Helsinki, Finland, European Union. tuschano@cc.helsinki.fi ---- http://www.helsinki.fi/~tuschano/ "Property is theft." (Pierre-Joseph Proudhon) ========================================================================= Date: Thu, 11 Jan 1996 22:28:34 -0500 Reply-To: Ksteino@AOL.COM From: Ksteino@AOL.COM Subject: subscription "sub BLUES-L ksteino" ========================================================================= Date: Thu, 11 Jan 1996 23:48:31 -0500 Reply-To: Michael Kaloyanides From: Michael Kaloyanides Subject: Re: Whatcha listenin to besides blues? Comments: To: "" In-Reply-To: <01HZW04LIGCI002WLW@SCI.WFBR.EDU> If I have to limit myself to listing "hip 90's my kids will appreciate this" artists I'd include: Phish -- way hip Alanis Morissette -- though I'm tired of that inhaling yodel-chirp thing she and Dolores O'Riordan do. Boyz II Men --shoot me but these guys do glorious vocal work Smashing Pumpkins --very hep Melissa Etheridge -- heartfelt vocals PJ Harvey REM Dave Matthews Band Michael G. Kaloyanides Department of Music & Sound Recording University of New Haven ========================================================================= Date: Thu, 11 Jan 1996 22:58:17 -0600 Reply-To: Keith Castleberry From: Keith Castleberry Subject: What Album turned you on to the Blues? Ok, you liked my last query so much...let's have another. Why the Blues? Tell us the First Album that you heard that turned you on to the Blues....Mine....Johnny Winter - 2nd Winter...one of the best cross of rock and blues EVER. Still a favorite on my show. Keith. Send responses to Blues-L. Thanks, Keith Castleberry ========================================================================= Date: Fri, 12 Jan 1996 00:05:51 -0500 Reply-To: Michael Kaloyanides From: Michael Kaloyanides Subject: Re: You never forget your first...(but I did) Comments: To: Karen Hanson In-Reply-To: <960111211947_39013254@emout04.mail.aol.com> On Thu, 11 Jan 1996, Karen Hanson wrote: > >Speaking of the Monkeys, one of the "real" musicians that they used when > >they toured is a great blues guitarist that lives in San Antonio named > >Willie "Jitterbug" Webb. I used to work with Jitterbug for several years > >and he tells of playing behind them on some of their tours...one in Mexico > >stands out in my memory. He also played behind Ike and Tina Turner. > > You've jiggled my memory...who was the rock musician who tried out for the > Monkees and didn't make it? Was it Neil Young? > > Karen > (btw, Harvest was one of my first 8-tracks....) > Steven Stills and Danny Hutton (of Three Dog Night) were among the many Monkees rejectees. And who knows the opening act for the Monkees 1967 US summer tour? Michael G. Kaloyanides ========================================================================= Date: Thu, 11 Jan 1996 21:36:01 -0800 Reply-To: TLKnox@EWORLD.COM From: Terry Knox Subject: Re: Beat This On Thu, 11 Jan 1996, Peter Gallagher wrote: > Well, feller-zellers, I challenge you to beat this one! :-) > > I believe the first record I ever bought was a single by David Cassidy of > the Partidge Family of the tv-series of the same name. > > Now THAT's EMBARRASSING!!! :-) (Shudders violently) > > I can't remember what it was called. What a SHAME! ;-> > > I reckon this one's unbeateable! Any takers? > > regards, > PeterG ------------------------------------------------------------------------------ ----------- I have two albums I keep as reminders of the stupid things being a fanatic instead of a fan can cause one to do ---- Leonard Nimoy and the music from Dark Shadows However I am not sure they trump your offering!! Terry ;-)) ========================================================================= Date: Fri, 12 Jan 1996 05:54:54 GMT Reply-To: verrmg@MAILPOST.SASKNET.SK.CA From: verrmg@MAILPOST.SASKNET.SK.CA Organization: SaskNet News Distribution Subject: Re: laid back and instrumental Comments: To: bit-listserv-blues-l@uunet.uu.net Check out John Lee Hooker's "Chill Out". Not instrumental, but the most laid back blues you could possibly find. ========================================================================= Date: Fri, 12 Jan 1996 05:58:27 GMT Reply-To: verrmg@MAILPOST.SASKNET.SK.CA From: verrmg@MAILPOST.SASKNET.SK.CA Organization: SaskNet News Distribution Subject: Re: you never forgot your first... Comments: To: bit-listserv-blues-l@uunet.uu.net My first were my parent's record's I could'nt leave off of the player when I was at least ten: Hendrix and Otis Redding at Monterey The Who Who's Next some Elvis....... Adrian V. ========================================================================= Date: Fri, 12 Jan 1996 06:05:00 GMT Reply-To: verrmg@MAILPOST.SASKNET.SK.CA From: verrmg@MAILPOST.SASKNET.SK.CA Organization: SaskNet News Distribution Subject: Re: boogie woogie piano Comments: To: bit-listserv-blues-l@uunet.uu.net A cool boogie disc is Blind John Davis from Alligator. Probably his only album. Other than that you must give Thelonius Sphere Monk a try! Adrian V. ========================================================================= Date: Fri, 12 Jan 1996 06:11:51 GMT Reply-To: verrmg@MAILPOST.SASKNET.SK.CA From: verrmg@MAILPOST.SASKNET.SK.CA Organization: SaskNet News Distribution Subject: Re: java or coffee related tunes Comments: To: bit-listserv-blues-l@uunet.uu.net Youv'e probably heard this on already??: coffee house blues by lightnin' hopkins("Lightnin' Strikes") ========================================================================= Date: Fri, 12 Jan 1996 06:14:19 GMT Reply-To: verrmg@MAILPOST.SASKNET.SK.CA From: verrmg@MAILPOST.SASKNET.SK.CA Organization: SaskNet News Distribution Subject: Canadian Blues Comments: To: bit-listserv-blues-l@uunet.uu.net Has anybody heard Lester Quitzau. Great slide and Delta. Adrian V. ========================================================================= Date: Wed, 10 Jan 1996 23:47:36 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: What Album turned you on to the Blues? >Why the Blues? Tell us the First Album that you heard that turned you on to >the Blues Hendrix led me into the blues but it was the purchase of a BB King compilation that got me really deep into the blues. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Wed, 10 Jan 1996 23:47:42 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Whatcha listenin to besides blues? Black Grape's "It's Great When Your Straight...Yeah." People who were hip the Happy Mondays will recognize a few familiar faces. It's a combination of funked-out rock and dance with heavy nods and a few sly references to R&B and blues. It a little strange at times but I like it. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Fri, 12 Jan 1996 01:40:21 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: Re: Canadian Blues Comments: To: verrmg@MAILPOST.SASKNET.SK.CA >Has anybody heard Lester Quitzau. >Great slide and Delta. > >Adrian V. Have had the pleasure of seeing him a number of times in concert in Edmonton, Alberta. A great disciple of the Delta blues style. Has a self produced CD out that is truely wonderful. If anyone wants information about Lester's schedule or to order one of his CD's they can contact Lester at the following address: L.Q. PRODUCTIONS 7239-112 ST. EDMONTON, ALBERTA CANADA, T6G 1J4 PHONE (403) 430-0686 FAX: (403) 436- 2020 I have nothing to do with Lester and likely wouldn't know him if I met him in my porridge bowl.... Gary .......... Gary Constantine >> gconstan@ccinet.ab.ca << If hard work were such a wonderful thing, surely the rich would have kept it for themselves. ========================================================================= Date: Fri, 12 Jan 1996 05:11:56 -0400 Reply-To: Mike Gilbert From: Mike Gilbert Subject: Re: Server problem At 08:08 PM 1/11/96 +0000, you wrote: >Is anyone else getting this stuff? >I have sent e-mail to the listowner. > >Date: 11 Jan 1996 13:52:00 GMT >From: Gateway >To: homer!CMC.DOE.CA!phertel@cmc.doe.ca >Subject: NDN: Re: Rounder Records > >Sorry. Your message could not be delivered to: > >blues list,tunanet (The name was not found at the remote site. Check that the >name has been entered correctly.) > >phertel@cmc.doe.ca > OR bv808@freenet.carleton.ca >Local Time [11/1/96 15:06 PM] >"Thursday's always sad..." > Ya, I've gotten it too, but the message seemed to go through just the same. Mike ========================================================================= Date: Fri, 12 Jan 1996 03:26:47 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: non-blues threads > From: Jonny Meister > Shouldn't this list be a > place to exchange info/ideas about BLUES?? JM said what a LOT of us are thinking. The noise/signal ratio has always been high on this list but lately it has gotten pretty extreme. There are also a BUNCH of responses that go out to the whole list that should be going back and forth privately between individuals. Most of the time the silent majority just punch delete and grind their teeth. However, every once in awhile, it is good to remind everyone that this is a blues list and we should be discussing BLUES. If you, as an individual, just have to know the shoe size of every individual on blues-l, at least have the courtesy to collect the data via PRIVATE responses, not via the list, then amaze us with the results with just one post to the list. How's about that great new Guitar Shorty CD on Blacktop? Does anyone out there go to live gigs anymore? The reviews seem to have dropped to about 1 a week. Don O. 12 1/2 medium ========================================================================= Date: Fri, 12 Jan 1996 10:11:00 GMT Reply-To: Mr G M Smith From: Mr G M Smith Subject: BLUES WITH A FEELING (and other stuff) The correspondence re EC's emoting abilities seems to relate entirely to FTC. I have floating around in my car a cassette of a show taped off the radio which must have been one of his first Albert Hall Blues Nights,from about '89 if I recall. Iknow it had Richard (ex R Cray) Cousins on bass and the very wonderful Jimmy Johnson on piano and Cray ang Buddy Guy guesting. I forget the rest of the band but it is clear that the only agenda they have is to have a good time bouncing off each other PLAYING THE BLUES. No tributes,no attempts to recreate what has gone before; what comes out is what you get. It pisses over FTC from a very great hight indeed. Plus on New Year's Eve we were treated to EC with Jools Holland's R'n'B Orchestra playing a fine version of Reconsider Baby which to me was as good as anything produced by anybody bar the REALLY GREAT greats. (Interestingly he was playing the red 335 with his bare r/hand fingers,no plectrum) As for us Brits not being able to immerse ourselves in Black Southern Culture,while I'm prepared to concede that may help some,I don't think it's a major factor. If you ain't got "it",allthe immersion in the world won't help,if you have,one exposure's like a vaccination (eg Pter Green and EC when he's not in tribute mode). First album..."Stand Up" by Jethro Tull,featuring gimmick gatefold sleeve with a pop-up cartoon portrait of the band. Forv anybody who doubts that the Blues scene over here is pretty crap,just see how many of the European itineraries on Blues-l miss out the UK. Yours, Garry Smith. ========================================================================= Date: Fri, 12 Jan 1996 20:07:02 +0800 Reply-To: "Yuo-lin Chen bachelor u810202 Room Chen Dorm. 301 TEL.4867" From: "Yuo-lin Chen bachelor u810202 Room Chen Dorm. 301 TEL.4867" Organization: Department of Math, NTHU, Taiwan Subject: Re: What Album turned you on to the Blues? Comments: To: bit-listserv-blues-l@uunet.uu.net EC's "unplugged" then ->Robert Johnson ->Son House ->Delta Blues .......... ========================================================================= Date: Fri, 12 Jan 1996 06:20:07 -0600 Reply-To: Roger Struve From: Roger Struve Subject: You never forget yo -Reply A great record! Fat man by Antoine Domino, released in 1949 i think. It is almost note for note Champion Jack Dupre's Junko Blues from 1943! Only the words were changed "to protect the innocent". ddr ========================================================================= Date: Fri, 12 Jan 1996 08:50:42 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: You never forget your first... In-Reply-To: from "David L. Prychitko" at Jan 10, 96 08:42:00 am > Although this may date many folks on Blues-L, what was the first record > you ever bought on your own? Stevie Ray Vaughan's "Live Alive", when I was 15. Bought my first guitar six months later. -Rob ========================================================================= Date: Fri, 12 Jan 1996 08:05:12 -0500 Reply-To: Meadors From: Meadors Subject: Re: You never forget your first... Comments: To: roadrun@IOL.IE The Rory Gallagher "Live In Europe" is still one of my favorites, too! I coulda had religion, but that little girl ... Mike Meadors Orange2@gnn.com ========================================================================= Date: Fri, 12 Jan 1996 08:13:08 -0500 Reply-To: Meadors From: Meadors Subject: Re: You never forget your first...(but I did) Comments: To: JukeFreak@AOL.COM You wrote: > >You've jiggled my memory...who was the rock musician who tried out >for the >Monkees and didn't make it? Was it Neil Young? > >Stephen Stills. Mike Meadors Orange2@gnn.com ========================================================================= Date: Fri, 12 Jan 1996 08:37:06 -0500 Reply-To: Meadors From: Meadors Subject: Re: non-blues threads Comments: To: don.o@CHRYSALIS.ORG I don't know if I'm one of the ones you are upset with in re: to not posting proper messages on Blues-L, but I personally haven't been offended or felt that there is a disproportionate amount of trivality taking place. Most all comments are blues related and, while some comments are directed more toward individuals than the group as a whole, I, personally, don't view it as an epidemic. Mike Meadors Orange2@gnn.com ========================================================================= Date: Fri, 12 Jan 1996 08:56:05 -0500 Reply-To: Meadors From: Meadors Subject: Re: What Album turned you on to the Blues? What turned me on to the blues? Lots of things, but particularly: Fred McDowell (This Ain't No Rock 'n' Roll) B.B. King (Cook County Jail) John Mayall (Room to Move) Sonny Terry (Folk Blues) Allman Brothers (Fillmore album) Siegel-Schwall Band (Every album of theirs) Lightning Hopkins (Coffee House Blues) After that, there was an avalanche of assorted blues albums. Mike Meadors Orange2@gnn.com ========================================================================= Date: Fri, 12 Jan 1996 09:17:54 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Johnny Shines Info (again) I know that Holger Petersen at Stony Plain is readying the reissue on the label of an album he produced on Shines way back - 21 years ago - and is adding some interview material he recorded at the time and subsequently, in which Shines talks of his visit to Canada in the '30s with Robert Johnson. This will be issued hopefully by June; meanwhile, I've passed on LW's message to Holger. - Richard the Elder ========================================================================= Date: Fri, 12 Jan 1996 08:14:54 CST Reply-To: ISTS024@UABDPO.BITNET From: Leonard Watkins Subject: Blues Without feeling (EC) I have a ton of respect for EC, PERIOD. I think the Layla sessions showed that EC can play with feeling (LOTS OF FEELING). I saw him some while back on a Bob Dylan 100 millionth special and EC was 100% TOUGH, he was as intense as I've ever seen him. He was on fire. I don't own any EC recordings, I do own a John Mayall with EC as a sideman (don't get confused EC WAS the sideman). I think EC's problem is much like Chet Atkins (not comparing the two AT ALL) They are so smooth , that they appear to not be putting much into to it. I think is why a lot of people perceive him as not playing with soul/feeling. Robben Ford is the same way, an incredible talent, but his slick almost effortless playing makes you think he's not playing from the heart. That's what I think, my wife would leave the house if I were to play any EC besides the Layla recordings. I told her my theory, about his smooth/slick tone and playing and she agrees, that could be the reason she isn't moved by him FTC is a different story, though and no need to rehash it. Thanks LW ========================================================================= Date: Fri, 12 Jan 1996 15:26:40 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Whatcha listenin to besides blues? What I'm regularly putting on my CD player or turntable: JOHN COLTANE ART ENSEMBLE OF CHICAGO/LESTER BOWIE/J.JARMAN ZANE MASSEY ARCHIE SHEPP BEN HARPER TOM WAITS WSQ AKA MOON (a very interesting Belgiun Jazz Trio, for those who like Steve Coleman's stuff, this is a band to discover) Jean-Pierre "Younf Man" Urbain ========================================================================= Date: Fri, 12 Jan 1996 09:37:12 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Your first or your shoe size Apparently some folks were turned off by my initiating the "You Never forget your first..." thread, but I found it was a way to get many people participating on Blues-L. Of our 1300 members, I'd guess 5% are active, usually the same core group. Does that mean everyone else is hitting delete as quick as a rooster on a hen? And sorry, I've found that it is interesting -- even to Blues-L -- that so many folks _do_ recall their first record. It's a way of participating with the music/pop culture around us, a way of claiming "ownership," i.e. an ability to play your favorite tunes and artists again and again, without having to wait for your favorite deejay to make the choice. And I wouldn't expect people's first records to be blues records. One post claimed that might say a lot about people on Blues-L. That surely says nothing about their blues interest or knowledge or whatever right now. Indeed, blues music does not generally gear itself to the six, eight, ten, or twelve year old mentality. All the better for blues music, in my opinion. Southside Dave Prychitko Blues 101, 88.9FM, WNYO-Oswego Love without blues is impossible; blues without love is indefensible. ========================================================================= Date: Fri, 12 Jan 1996 09:44:25 -0500 Reply-To: MK Sheffield From: MK Sheffield Subject: First Album that Turned You On (to the blues) Keith Castleberry said, " Why the Blues? Tell us the First Album that you heard that turned you on to the blues?" Turned me on? Very appropriate question. I don't remember the name of the album because it was one of those "make out tapes" your boyfriend puts together when you have a big planned weekend alone in his house. It was Robert Johnson, and my then-boyfriend was so passionate about it that I became passionate about it by association. FORTUNATELY, I got a mind of my own shortly after and realized it wasn't my boyfriend I loved so much...it was his taste in music. I bought my own. The best thing thereafter was finding "new" blues stuff that he didn't know about. He wanted me back. I didn't take him. I took the blues highway...so to speak. :) mk ========================================================================= Date: Fri, 12 Jan 1996 09:40:34 -0500 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: Blues with feeling: What does it take, philisophically? Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199601111304.IAA36832@osceola.gate.net> "P.W. Fenton" writes: >Like any >other skill, it comes naturally to some people. While other people have >to practice and work hard at it. And then there are some people like E.C. >who work very, very hard, and still look like they are acting. For >some reason, it is beyond their ability to convince you. Which is why when recording the Layla album in the grip of heroin and unrequited love, E.C. comes off so convincingly. He can't act, but then he didn't have to. ========================================================================= Date: Fri, 12 Jan 1996 09:42:28 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: non-blues threads Comments: To: Orange2@GNN.COM On 12 Jan 96, Meadors had this to say... > I don't know if I'm one of the ones you are upset with in re: to > not posting proper messages on Blues-L, but I personally haven't > been offended or felt that there is a disproportionate amount of > trivality taking place. Most all comments are blues related and, > while some comments are directed more toward individuals than the > group as a whole, I, personally, don't view it as an epidemic. Many of us who have been posting to Blues-L for longer than a week or two would be better qualified to recognize an epidemic. As one of those members, I must say that there has been an unusual amount of non-Blues threads going on at once ("Most embarassing...", "You always remember your first...", Whatcha listen to when it's not Blues...", etc.). Lately the closest thing to a "Blues thread", has been a discussion of SRV clones, which ain't all that Blue in my opinion. Not that any of these weren't interesting. These non-Blues threads have sort of dominated a list which normally has much more to say about Blues. We are not talking about "not proper", nor are we talking about "trivality". We don't have real rules, and we've never shrunk from the trivial. It's simply that many of the folks that have been devoting time to this list probably think it's about time we got back on topic so to speak. I sincerely hope that this post won't encourage a week of replies, as this post also has little to no Blues content. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Fri, 12 Jan 1996 09:47:42 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: Blues Without feeling (EC) Comments: To: Leonard Watkins In-Reply-To: I've hesitated with posts EC, but what the hey, here goes. EC is fine, and I love playing "Sunshine of Your Love" and all of that on my electric guitar, but I find FROM THE CRADLE incredibly hard to listen to. To be totally sincere, it is about the only CD in my blues collection that I can't listen to in its entirety. Any one song is at least okay, but three or four or five in a row exhausts me. I find the guitar too loud and up-front (and I'm a big fan of others who play loud and in-your face, such as Hound Dog Taylor and Magic Slim), and his vocals too stretched. Somehow it's overkill, IMHO. So I don't think it's only a matter of the appearance of EC's playing style, as LW just explained. At least on FROM THE CRADLE, it's the sound of the whole package that annoys me. Dave Prychitko ========================================================================= Date: Fri, 12 Jan 1996 08:41:37 CST Reply-To: ISTS024@UABDPO.BITNET From: Leonard Watkins Subject: Fred Mcdowell technique I have much trouble coping Fred's playing. I don't usually ask for help , but if anyone would like to boost their ego :-) and send me some tips on playing Fred's stuff, please do so private mail. Don't send me stuff that just tells me what tuning he used, I know that. I have a whole lot more trouble getting Fred's licks than I do the others. Private mail, please. THANKS LW 'sorry I had to ask, but I'm having trouble with his stuff' btw: I'm talking mostly about Louise. I do play "You Gotta Move" and "Write Me A Few Of Your Lines"....I missing something on Louise...I can fake it, but would like to play it closer to Fred's version.... ========================================================================= Date: Fri, 12 Jan 1996 09:48:00 -0500 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: Whatcha listenin to besides blues? Comments: To: bit-listserv-blues-l@uunet.uu.net In article <01HZW04LIGCI002WLW@SCI.WFBR.EDU> "" writes: >As a matter of curiosity because I'm interested in you, my fellow blues-lers, >and our parallel or divergent tastes in non-blues music, I thought I'd pose >this query to youse guys who are less than totally hard core :) and DO in fact >listen to something else: > What modern artist(s) (and by that I mean new, hip '90s stuff....did I >say "hip"? ) are you slappin' on the cd player or turning up the radio for >when you're not listening to blues? "Hip 90's artists": The Beatles :-) John Hiatt (is he hip?) Richard Thompson (so hip he never gets airplay) ========================================================================= Date: Fri, 12 Jan 1996 08:53:29 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: non-blues threads Comments: To: Don O In-Reply-To: <9601120326.04UAO05@chrysalis.org> I'm usually a strong believer in the "use the Delete key if you don't care about the topic" philosophy, but I have to agree with Johnny Meister and Don O. in that lately this is turning into "Everything-But-Blues-L" to the point where the amount of non-blues content (what else do you like? What was your first almost-guaranteed-not-to-have-been-blues record purchase?) is overwhelming the substance and intended purpose of the listserv. I'd like to humbly suggest that such threads be conducted elsewhere. This isn't a case of discussing an artist whom not everyone considers a blues artist; it's a case of burying the blues content in discussions that BY DEFINITION are not blues-oriented. I'm probably not the only one who is taking this into consideration in deciding how to use limited time. I'm not advocating censorhip, just the appropriate forum! ========================================================================= Date: Fri, 12 Jan 1996 10:12:41 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: SRV clones/ Brad Pitt portrayal Mary Katherine mentioned that Brad Pitt will be portraying Stevie in an upcoming movie. Hmmmmm. I wonder why him? Actually, I can see Val Kilmer with that little SRV tuft of whiskers/beard under the lower lip and a wide brimmed cowboy hat looking an awful lot like Stevie! We already know he can sing, he did an outstanding job in "The Doors" movie, IMHO. I got stoned just watching him act stoned. Thing about Val doing Stevie is the mouth and wide-set eyes. Very similar. Brad? Huh. I don't see it. Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 12 Jan 1996 10:20:28 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: LW and Michael's "Thriller" LW, I wouldn't be ashamed to own up to that album at all. :) I'll betcha a lot of people on this list own it. I'm like you, I don't have it, but I wouldn't mind at all. Every song on it is HUGE!!!! My 8 yr old son Mick and I bop around the house all the time singing that "hoo-hoo, hoo-hoo, Billy Jean-is not my lover-she's just the girl-who thinks that I am the ONE....." Michael don't sing blues, but he puts an awful lot of feeling into just about everything he puts his name on. Riffin Rick (closet Michael fan, and Madonna too.) (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 12 Jan 1996 10:17:12 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Handy - Blues Song Of The Year Looking over my Handy Awards ballot I find myself scratching my noggin quite a bit. But I'm particularly lost in the "Blues Song Of The Year" Category. To me "Song of The Year" should be quite a strong song. I only know two songs on the list. The first, "Bluesifyin" by Joe Louis Walker, from "Blues Of The Month Club", isn't a very strong song. I'm a big fan of JLW, but I don't see this as a song that's gonna be covered by anyone in years to come. Likewise "The Blues Follow Me Around" - Carl Weathersby (from Billy Branch album of the same name), is not a song destined for classic status either. A well produced recording and performance, but we're voting for the SONG. The other nominees are: "Move From The Hood" - Luther Allison & James Solberg "Here's Your Mop Mr. Johnson" - Keri Leigh, Mark Lyon, Thomas Anderson "Cherry Red Wine" - Luther Allison Do any of you have comments on these other songs? P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Fri, 12 Jan 1996 10:23:27 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Blues Ethnographers Is there anyone on Blues-L who is, or knows, someone that does ethnographic research related to the blues music/culture/industry? Specifically, one with a doctorate (or dissertation-stage ABD) in anthropology or a related social science field? There is an assistant professor opening in a Master's level program in Virginia that may be interested in your research. Contact me ASAP and I'll pass along the details. Dave Prychitko Associate Professor Department of Economics SUNY-Oswego ph. (315) 341-3417 fax (315) 341-5444 ========================================================================= Date: Fri, 12 Jan 1996 10:36:15 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Blues with feeling: What does it take... Comments: To: DMIELE@CRSGI1.ERENJ.COM On 12 Jan 96, Dennis Miele had this to say... > > Which is why when recording the Layla album in the grip of heroin and > unrequited love, E.C. comes off so convincingly. He can't act, but then he > didn't have to. E.C., to me, is kind of a special case. I think he's got what it takes as long as he is himself, which is why so much of his non-Blues stuff is so excellent. There are some actors who are only effective if you let them say their lines in their own words, in their own voice. When E.C. does Blues covers he's not being E.C. He can't get that ORIGINAL performance out of his brain and convey the song as if it were his OWN. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Fri, 12 Jan 1996 10:29:57 EST Reply-To: John Doukas From: John Doukas Subject: Kid Bailey's "Rowdy Blues" In a recent posting, Charlie Masenas inquired regarding the words to Kid Bailey's "Rowdy Blues". His main problem was with the lines "woke up cold in hand", "nothin' but a monkey man", and "put it up solid". Ari Eisinger correctly identified these lines, however there are still some interesting points remaining. First, let's start with the complete lyrics. Charlie already posted his reading, however there where to my ear many errors, albeit small ones: Ain't gonna marry neither settle down I'm gonna stay right here 'till they tear this barrelhouse down And I love you babe and I tell the world I do (2x) I don't love nobody in this whole round world but you Ain't no use of weepin ain't no need of cryin' (2x) For you've got a home just long as I got mine Did you ever been lucky now woke up cold in hand Did you ever been lucky woke up cold in hand I would call that now nothin' but a monkey man And I love you baby you so nice and brown (2x) Cause you put it up solid so it won't come down Did you get that letter now mailed in your backyard (2x) It's sad what is said but the best old friend have to part So, some of the clarifications I am making are: "neither" and "till they" in the the first stanza; "and I" in the second and fifth stanzas; "babe" in place of "baby" in the second stanza, and "round world" in place of "wide world"; "For" in the third stanza; "now" in the fourth and sixth stanzas; and several changes to the final line, including "friend" in place of "friends". To some this may sound petty, but I really enjoy transcribing lyrics. Now on to interpretation. As Ari noted, "cold in hand" is a common line which usually refers to the absence of a woman. Th imagery is much clearer in other songs when the line is sung as "did you ever dream lucky, wake up cold in hand?". "Monkey man" is also a common phrase, and seems to indicate a cuckold and/or a man overly submissive to a woman. As to "put it up solid so it won't come down", I feel that any reference to a woman's breasts (as suggested by one respondent) is completely off base. To my mind, the imagery comes from something akin to building construction. If it is meant as a double entendre, the reference more likely is to an erection. Finally, the identity of the vocalist and two guitarists is intriguing. Is one guitarist the Willie Brown of Charlie Patton and Son House fame? I refer readers to Calt and Wardlow's Patton biography for a detailed discussion. ========================================================================= Date: Fri, 12 Jan 1996 10:41:34 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: EC without feeling/Blue Wave reply One thing about your response to my query "what does it take?" to get that feeling in blues....which was that technical prowess alone don't cut it, you need soul..you're basically saying Clapton doesn't have soul. Boy, I have to disagree up the wazoo with that. He has produced tons of masterful, SOULful work in his career, IMO. It just doesn't seem to come out in his blues covers. BTW, I didn't need any flame retardant gotchies because I didn't get any flames. I mean, I didn't say anything flammable. :) I just posed a question to the group and solicited their opinions. Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 12 Jan 1996 10:39:16 -0500 Reply-To: Meadors From: Meadors Subject: Re: non-blues threads Comments: To: pwfenton@gate.net I agree that since I'm a new member I am not as qualified as say, you, a long standing regular, to determine an epidemic in unrelated blues topics. My interest in the blues comes from and goes out to a variety of threads, tangents, etc. I think it IS relevant to discuss any item related to the blues however seemingly insignificant. The risk you run into is defining this group too rigidly. Just as there are some here, I'm sure, that are purists with a capital "P" and feel if it ain't low down delta, it ain't blues. But that's a narrow perception as far as I'm concerned. I think that like an social gathering of people devoted to one topic, there will be tangents taken that aren't down the middle of the road. But sometimes, taking a side road can be nice, too, as long as you're headed to the same destination. Mike Meadors Orange2@gnn.com ========================================================================= Date: Fri, 12 Jan 1996 10:44:52 -0500 Reply-To: AMoski@AOL.COM From: Alison Moski Subject: Re: Listening to ... Hello All - I just subscribed to this list and have found it informative as well as amusing. First 8 trk- Stevie Wonder - Songs in the key of life First album - maybe soundtrack to Saturday Night Fever Current listenings other than blues - Etta James, Trane, Bird, James Carter, Dexter Gordon, Smashing Pumpkins, Nine Inch Nails. ========================================================================= Date: Fri, 12 Jan 1996 10:50:43 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Living Blues The postman just delivered the latest LVING BLUES magazine. I haven't even taken it out of the plastic wrap yet, but it looks GOOD: Luther Allison on the cover, features of Lavelle White, James Peterson, Magic Sam. Festival photos of 1995. This is just a reminder to folks who've said they live out in the middle of nowhere and can't find blues magazines and books at the local Mom 'n Pop grocery store. If that's the problem, _subscribe_ to your favorite mag, and order the books. Oswego is out in the middle of nowhere, believe me. And it's a real treat when the rest of the world nevertheless knocks at your door. Now for some reading... Dave Prychitko ========================================================================= Date: Fri, 12 Jan 1996 09:54:55 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Blues with feeling: What does it take, philisophically? Comments: To: Ian Angus At 04:29 PM 1/11/96 +0000, Ian Angus wrote: > >As with acting in other media, the test of blues is not how "sincere" it is, >but how effective it is. > ...and if you can fake that.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Fri, 12 Jan 1996 11:02:11 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: non-blues threads Comments: To: Meadors On 12 Jan 96, Meadors had this to say... > I agree that since I'm a new member I am not as qualified as say, > you, a long standing regular, to determine an epidemic in unrelated > blues topics. My interest in the blues comes from and goes out to > a variety of threads, tangents, etc. I think it IS relevant to > discuss any item related to the blues however seemingly > insignificant. > > The risk you run into is defining this group too rigidly. Just as > there are some here, I'm sure, that are purists with a capital "P" > and feel if it ain't low down delta, it ain't blues. But that's a > narrow perception as far as I'm concerned. > > I think that like an social gathering of people devoted to one > topic, there will be tangents taken that aren't down the middle of > the road. But sometimes, taking a side road can be nice, too, as > long as you're headed to the same destination. How many parties have you walked into late and told everybody what they should be doing? Did you stay long? Look... we're not "running the risk of defining" the list, THE LIST WAS ALREADY DEFINED long before you walked in the door. Hang out. Get the feel of things. Read the FAQ. Get to know the people at the social gathering before you start suggesting how to do things. Taking an occassional side road is fine. We've taken just a little too many LATELY and need to get back to the main road before we get lost (to use your metaphor). P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Fri, 12 Jan 1996 16:18:39 +0000 Reply-To: rof From: rof Subject: Re: bibliographies Hallo to everyone, Myself (and a number of others) are currently trying to put together a bibliography listing every book / article / sleevenote published on blues. I'm aware of the volume published by Garland in 1990 but as the cut-off date was around 1985, there is obviously a lot to add, not to mention items missed first time round. I have received publishing interest from Paul Pelletier of Record Information Services (Blues Discography 1942-1970) and there are plans to combine the two items (Discography/bibliography) as a Cd-Rom eventually. Is there anybody (particularly in U.S.) conducting similar work? If so would they be interested in combining resources / info? Similarly is there anyone with a large archive particularly of journals willing to lend or make available for scanning (This is going to have to be in U.K. as my budget doesnt extend to airfares!) Any help appreciated Thanks Rob Ford Aberystwyth, Wales U.K. ========================================================================= Date: Fri, 12 Jan 1996 11:21:23 EST Reply-To: ron kraemer From: ron kraemer Subject: Re: You never forget your first... OK. How about... Bruce Springsteen - "The Wild, the Innocent, and the E-Street Shuffle" No disclaimers here! I really liked Bruce's early (pre-Born to Run) stuff. Bought it on the boardwalk at Seaside Heights, NJ. It was the "Jersey" thing to do. :) Jersey Ron ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters (and in another life....) Ron Kraemer and the Hurricanes ************************************************************ ========================================================================= Date: Fri, 12 Jan 1996 10:31:53 -0600 Reply-To: Bruce Roberts From: Bruce Roberts Subject: BB King on ACL According to the local paper BB King will be on Austin City Limits Feb. 3. I think this is the one that was taped in the fall. Bruce Roberts Austin, TX ========================================================================= Date: Fri, 12 Jan 1996 10:33:23 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Johnny Shines + What Album ... tie-in. Reading the blues-l mail today found two threads in a row that sort of put it into perspective for me. First blues CD I ever got was Muddy Waters - Newport 1960. Like it (not loved it, I said liked it). Went back to the store and found the same per- son working there who recommended it to me and asked what else he'd recommend. He goes down into those under the counter bins and comes up with Johnny Shines/Traditional Delta Blues on Bio- Graph and The Scooter was hooked forever. This still is one of my most played CD's. As an added note, NY CD Blues will be reviewing and posting 14 blues CD's off the Biograph label in the next 2-3 months. Here is the roster if you are interested. BCD 107 ADD _____ THREE SHADES OF BLUES, W/BUKKA WHITE, SKIP JAMES, and BLIND WILLIE McTELL BUKKA WHITE: Mama Don' Low, Hot Springs Arkansas, Jelly Roll Workin' Man, Black Crepe Blues, Glory Bound Train, SKIP JAMES: Drunken Spree, Special Rider Blues, I Don't Want A Woman To Stay Out All Night Long, BLIND WILLIE McTELL: Love Changin' Blues, Savannah Mama, Talkin' To You Mama, East St. Louis, Wee Midnight Hours, Pal Of Mine. BCD 113 ADD _____ GOOD MORNING BLUES, LEADBELLY: Went Out On the Mountain, Whoa Back, Worried Blues, Good Morning Blues, You Can't Lose Me Charlie, Boll Weevil, DAN SMITH: Babylon is Falling Down, Where Shall I Be When the First Trumpet Sounds, Lining the Track, Cotton Needs Picking, REVEREND GARY DAVIS: Candy Man, Hesitation Blues, Whistling Blues, How Happy I Am, Soon My Work Will All Be Done. BCD 115 DDD _____ BOOGIE WOOGIE BLUES, FROM RARE PIANO ROLLS, Cow Cow Davenport: Cow Cow Blues, 5th Street Blues, Hurry and Bring it Home Blues, James P. Johnson: Harlem Choc'late Babies On Parade, Birmingham Blues, Clarence Williams: Sugar Blues, Papa De Da Da, Clarence Johnson: Gulf Coast Blues, You're Always Messin' 'Round With My Man, Low Down Papa, Jimmy Blythe: Chicago Stomp, Society Blues, Boogie Woogie Blues, Everett Robbins: Hard Luck Blues, Hersal Thomas: The Fives, Lemuel Fowler: Down and Out Blues. BCD 118 ADD _____ SON HOUSE, DELTA BLUES, ORIGINAL LIBRARY OF CONGRESS SESSIONS FORM FIELD RECORDINS, Levee Camp Blues, Government Fleet Blues, Walking Blues, Shetland Pony Blues, Delta Blues, Special Rider Blues, Low Down Dirty Dog Blues, Depot Blues, American Defense, Am I Right or Wrong, Walking Blues, County Farm Blues, The Pony Blues, The Jinx Blues, The Jinx Blues. BCD 121 ADD _____ JOHNNY SHINES, TRADITIONAL DELTA BLUES, Sitting on Top of the World,Ramblin' Blues, Tell Me Mama, Bumble Bee Blues, It Ain't Nobody's Fault But Mine, Arguing and Boodling, Delta Pine, Pony Blues, Milk Cow Blues, Dynaflow Blues, Glad Rags, Pet Rabbit, Little Wolf, Jim String. BCD 122 ADD _____ SKIP JAMES, GREATEST OF THE DELTA BLUES SINGERS, Hardtime Killing Floor Blues, Sick Bed Blues, Washington D.C. Hospital Center Blues, Devil Got My Woman, Illinois Blues, I Don't Want A Woman to Stay Up All Night Long, Cherry Ball Blues, Skip's Worried Blues, Cypress Grove Blues, Catfish Blues, Motherless & Fatherless, All Night Long. BCD 123 ADD _____ REVEREND GARY DAVIS, FROM BLUES TO GOSPEL, Talk on The Corner , Sally, Where'd You Get Your Whiskey From?, Crow Jane, Eagle Rocking Blues, Cocaine Blues, Lost John, Samson and Delilah, I Heard The Angels Singing, Children of Zion, Lord I Wish I Could See, Down By The River, You Better Get Right, I'll Do My Last Singing. BCD 124 ADD _____ MEMPHIS MINNIE, JIMMY ROGERS, ST. LOUIS JIMMY, ET AL, EARLY RHYTHM AND BLUES, 1949 FROM THE RARE REGAL SESSIONS, Down Home Girl, Night Watchman Blues (tk.1), Night Watchman Blues (tk.2), Why Did I Make You Cry, Kid Man Blues, Ludella, Hard Work Boogie, Your Evil Ways, I Sit Up All Night, State Street Blues, When I Was Young, Vicksburg Blues, A & B Blues, After Hour Blues, Sugar Mama Blues, Shreveport Blues. BCD 125 ADD _____ JOHNNY SHINES, MR. COVER SHAKER, The Devil's Daughter, Look Behind The Door, Two Steps To Hell, The Face In The Courthouse, Blood Ran Like Wine, May I Apologize, Blood Ran Like Wine, I'm Getting Old, Mother's Place, Mr. Cover Shaker, Shotgun Whupin', Lost Love Letter Blues Stand By Me/Songs 1-6, previously unissued. 7-13 accompanied by Dave Bromberg & his band. BCD 126 ADD _____ BLIND WILLIE MCTELL, PIG N' WHISTLE RED, Accom. by Curley Weaver, Historic 1950 Regal Sessions Don't Forget It, Good Little Thing, You Can't Get Stuff No More, Love Changin' Blues, Savannah Mama, Talkin' To You Mama, East St. Louis, A To Z Blues, Wee Midnight Hours, Brown Skin Woman, I Keep On Drinkin', Pal of Mine (tk.1),Pal Of Mine (tk.2), Honey It Must Be Love, Sending Up My Timber (tk.1), Sending Up My Timber (tk.2), Lord Have Mercy If You Please, Climbing High Mountains, It's My Desire, Hide Me In Thy Bosom. BCD 130 ADD _____ FRED MCDOWELL, FURRY LEWIS, ROBERT WILKINS, WHEN I LAY MY BURDEN DOWN, FRED MCDOWELL: If You See My Baby, John Henry, Louise, 61 Highway, Big Fat Mama, When I Lay My Burden Down, Dankin' Farm, Jesus Is On the Main Line, See What My Lord Has Done; FURRY LEWIS: Casey Jones (Ramblin' Mind), Harry Furry Blues, Every Day of the Week, Grieve My Mind, Beale Street Blues , When I Lay My Burden Down; ROBERT WILKINS: Old Time Religion, I Wish I Was in Heaven, Rock of Ages, When I Lay My Burden Down. BCD 131 ADD _____ ZOOT SIMS, THE RARE DAWN SESSIONS, Down at the Loft, Ghost of a Chance , Not So Deep, Them There Eyes, Our Pad, Dark Clouds, One to Blow On, You're My Girl, The Purple Cow, Bye Ya. BCD 138 ADD _____ LARRY JOHNSON ACCOMPANIED BY JOHN HAMMOND, MIDNIGHT HOUR BLUES, Blood Red River, One Room Country Shack, Saturday Evening Blues, Peace Breakin' People, Walking Blues, Mama-Less Rag, Red River Dam Blues, Nobody's Biz-ness, Midnight Hour Blues, When Things Go Wrong, Tell Me Mama. BCD 139 ADD _____ BUDDY MOSS, ATLANTA BLUES LEGEND, Hurry Home, Red River, Pushin' It, Comin' Back, How I Feel Today, That'll Never Happen No More, Oh Lawdy Mama, I'm Sitting On Top Of The World, Kansas City, It Was In The Weary Hour Night, Chesterfield, I've Got To Keep To The Highway, Come On Around To My House, Step It Up And Go, Everyday Seems Like Sunday, I Got A Woman Don't Mean Me No Good, Betty And Dupree, Every Day Every Day. Above listings taken from the Biograph e-mail catalog. NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Fri, 12 Jan 1996 16:39:57 GMT Reply-To: Girish Venkitachalam From: Girish Venkitachalam Organization: Iowa State University, Ames, Iowa USA Subject: Snooks Eaglin: More info?? Comments: To: bit-listserv-blues-l@uunet.uu.net Hi, Just finished listening to Snooks Eaglin's Soul's Edge. A very nice album. Was just wondering if anyone out there has more info about him - other albums etc. I got the impression from the photographs on the album cover that he maybe blind; if not fully at least partially. Is this true?? Thanks, Girish -- Girish -------------------------------------------------------------------------- girishv@iastate.edu,girishv@atlantic.eng.iastate.edu (515)296-2196[H],(515)294-0350[O] http://www.eng.iastate.edu/~girishv/homepage.html(Netscape Preferred) -------------------------------------------------------------------------- ========================================================================= Date: Fri, 12 Jan 1996 16:57:50 GMT Reply-To: Richard Cotenas From: Richard Cotenas Organization: California State University Sacramento Subject: Re: Boogie Woogie Piano? Comments: To: bit-listserv-blues-l@uunet.uu.net Somei Louie (Orange2@GNN.COM) wrote: : Anyone have any suggestions? I'd like to find a great boogie : woogie piano CD, something with barrelhouse blues/boogie on it : THROUGHOUT. Maybe even a solo effort. Little if any slower blues : tunes. Vocals are not important, either. I just want to be able : to really hear the piano and what the player is doing with both : hands. : Thanks for any suggestions you might come up with! : Teaching my little fingers to play, Pete Johnson is one of my favorites. There are many CD releases of his performances, solo, with a band, and duets with Big Joe Turner. There is a great LP (which has been released on CD with a few tracks missing) called "Atlantic Blues: Piano" that has two Pete Johnson/Joe Turner tracks. I recommend it. I transcribed a few of his solo pieces a couple of years ago. If you want, I'll try to find my notebooks, and if they photocopy well, I'll send 'em to you. -- Richard Cotenas Calif. State Univ., Sacramento ========================================================================= Date: Fri, 12 Jan 1996 11:14:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re: non-blues threads (stink IMHO) I *emphatically* (though very respectfully) agree with Johnny M., Don O., and Paul Fenton, that there is too much non-blues stuff (most embarassing, remember your first, what else do you listen to), etc. I've been on the List for a year and a half (which is just background and no credential), and this issue does concern me. I was gratified to see others felt the same way. Interestingly, about a year ago somebody tried to start a "what's your favorite non-blues" thread, and someone gently and respectfully replied that it really wasn't an appropriate topic, but to try starting another thread and wished him the very best. This was accepted as I recall, and there was none of the "How *dare* you question him?" which has now begun to float around. I don't think it is appropriate (and I know you may disagree), but to me it's a short step away from asking, "As a bluezeller, what's your favorite food?" Or "As a bluezeller, what kind of dog do you feel makes the best pet?" And I don't buy the "it's all music" argument. This isn't the Music List. And the "use the delete key" argument I think is, uh. . . well let's say I find that one . . . even less persuasive. Just my views, friends, nothing more, and with respect, and sincere warm wishes for each of you. Among which is that I hope you here some blues this weekend so hot that you howl in appreciation (LIKE THE TRUE-BLUE-ZELLERS YOU ARE)! "Turn off that fast jazz, and party up some DOWN HOME BLUES!" (Who wrote and mainly popularized that one by the way?) Joe Downey out Moscow way (I think we do have rules incidentally, but I know we all break 'em from time to time) J.E._Downey@bakermck.com ========================================================================= Date: Thu, 11 Jan 1996 09:20:26 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Handy - Blues Song Of The Year PW Fenton said: >The other nominees are: > >"Move From The Hood" - Luther Allison & James Solberg >"Here's Your Mop Mr. Johnson" - Keri Leigh, Mark Lyon, Thomas Anderson >"Cherry Red Wine" - Luther Allison > >Do any of you have comments on these other songs? The Luther Allison songs are very strong IMHO. "Cherry Red Wine" is a very strong slow blues (disregard the petty review of "Blue Streak" in "Living Blues"). "Move From The Hood" is a tough, meduim shuffle with a few little twists and a modern edge. Both are great songs. As for the question about whether these songs will be covered in times to come? Who knows? We'll just have to wait and see. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Fri, 12 Jan 1996 17:19:43 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Blues without feeling Comments: To: Meadors In-Reply-To: <199601112234.RAA27899@mail-e1a.gnn.com> On Thu, 11 Jan 1996, Meadors wrote: > > I'm glad to get some support on this point. EC is a hellava > guitarist but again, doesn't go deep enough. A lot of his fans > (Hey, I'm one, too!) won't admit that he's anything less than a > blues genius. I suspect that Eric is very perceptive and realizes > that's something's missing. Interviews with him back this up. > Perhaps that's why he approaches and retreats from the blues so > often during his career. > Again I disagree (IMHO). And it turns out I'm not alone : "I heard deep blues, intense and beautiful guitar playing" - Bob Margolin in the latest Blues Revue phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [12/1/96 12:09 AM] "The eagle flies on friday..." ========================================================================= Date: Fri, 12 Jan 1996 12:33:01 -0500 Reply-To: James Leftwich From: James Leftwich Subject: first blues My intro to blues occurred first year at U. Va. borrowed Muddy's _Hard Again_, five seconds of that big voice made me a believer. Next I borrowed JLH's _Mad Man Blues_. First purchases: _Showdown_ (A. Collins, R. Cray, J. Copeland), Lightnin' Hopkins _Goin Away_, Howlin' Wolf _Rocking Chair Album_. Started playing guitar immediately. Jim ========================================================================= Date: Fri, 12 Jan 1996 09:04:46 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Jan. 13 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BARKER, DANNY (g) b. 1909-0113, NEW ORLEANS, LA BROWN, STERLING A. (author) d. 1989-0113, TAKOMA PARK, MD 87 BURKE, ED (tbn/BUDDY JOHNSON) b. 1909-0113, FULTON, OH CLARK, SONNY (p) d. 1963-0113, NEW YORK CITY, NY 31 DANDRIDGE, PUTNEY (p) b. 1902-0113, RICHMOND, VA GALBRAITH, BARRY (g) d. 1983-0113, BENNINGTON, VT 64 HATHAWAY, DONNY (p/songw) d. 1979-0113, NEW YORK CITY, NY 34 LESTER, BOBBY (co-lead/MOONGLOWS) b. 1930-0113, LOUISVILLE, KY PASS, JOE (g) b. 1929-0113, NEW BRUNSWICK, NJ SILVERBERG, DAVID (BLUES-L MEMBER) b. 1945-0113, CHICAGO, IL SILL, LESTER J. (producer/publisher) b. 1918-0113, LOS ANGELES, CA SMITH, WILLIAM (author/critic) d. 1988-0113, NEW YORK CITY, NY 84 WHITE, FREDDIE (of EARTH WIND & FIRE) b. 1955-0113, CHICAGO, IL ------------------------------------------------------------------------------- ========================================================================= Date: Fri, 12 Jan 1996 12:38:30 EST Reply-To: William Pollak From: William Pollak Subject: Al Green (was Re: Whatcha listenin to besides blues?) Art Schuna wrote >Al Green - Your Heart's In Good Hands (about as fine as anything he did in >his past) I strongly agree. I recently ordered the earlier incarnation of this disc, "Don't Look Back," which was released a couple of years ago in Europe and has several songs that aren't on "Your Heart's in Good Hands." Call it the "completist obsession" if you like, but to me the songs that didn't make the cut to the U.S. release are good enough to justify the ridiculously high price I paid to get it from CDEurope. Bill P. ========================================================================= Date: Fri, 12 Jan 1996 12:38:28 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Boogie Woogie Piano? Comments: To: Orange2@GNN.COM > Somei Louie (Orange2@GNN.COM) wrote: > : Anyone have any suggestions? I'd like to find a great boogie > : woogie piano CD, something with barrelhouse blues/boogie on it > : THROUGHOUT. Maybe even a solo effort. Little if any slower blues > : tunes. Vocals are not important, either. I just want to be able > : to really hear the piano and what the player is doing with both > : hands. > > : Thanks for any suggestions you might come up with! > > : Teaching my little fingers to play, > I know I've recommended this one before on Blues-l, but it's worth repeating. A Memphis Slim CD called "Parisian Blues", Emarcy 834 658-2, which features Slim playing with Roosevelt Sykes. Two piano giants doing a fabulous job of playing together. They are split hard left and right on your stereo so you can listen to one or the other's technique. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Fri, 12 Jan 1996 12:59:16 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: What Album turned you on to the Blues? Tell us the First Album that you heard that turned you on to the Blues Shaun Cronin reports: Hendrix led me into the blues but it was the purchase of a BB King compilation that got me really deep into the blues. Beef Stew adds: Circa 1966. I was listening to (and playing) a lot of material by English and Amercian Rock bands. I didn't realize it at the time, but most of the songs that I dug where the rip-offs and covers of Blues tunes. Then, by accident I heard Death Letter by Son House and it moved me so much that I began the Blues Quest. ========================================================================= Date: Fri, 12 Jan 1996 12:03:43 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Your first or your shoe size Comments: To: "David L. Prychitko" In-Reply-To: You can almost ALWAYS get people to participate in something by asking them to talk about themselves. The question is whether it's appropriate to try to stimulate participation in a BLUES discussion group (about which I've certainly seen few complaints that it doesn't generate enough e-mail!) by getting the subscribers to talk about SOMETHING ELSE. I'd suggest that the answer is "no." ========================================================================= Date: Fri, 12 Jan 1996 10:04:00 -0800 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Re: What Album turned you on to the Blues? Comments: To: bit-listserv-blues-l@cs.washington.edu In-Reply-To: <199601120458.WAA21069@mako.atmore.gulf.net> Actually, it wasn't an album but a series of live music festivals near Boston. I didn't have to see Koko Taylor, Bobby Bland, Roy Buchanan, Mose Allison, Stevie Ray Vaughan, Johnny Winter, Albert Collins, Doctor John, Bennie Wallace, and Ray Anderson too many times to get hooked. Those festivals were great 'cause I was like 16 when they started, and bars were pretty much out of the question in MA at that time. Plus the local used record store (gratuitous plug: Record Exchange in Salem MA; still the best I've ever seen) had too broad a selection for me to make choices. So the festivals both exposed me to new music and pointed me toward stuff to explore further. Adrian (hoping the mighty tunanet lets this one through) On Thu, 11 Jan 1996, Keith Castleberry wrote: > Ok, you liked my last query so much...let's have another. > > Why the Blues? Tell us the First Album that you heard that turned you on to > the Blues....Mine....Johnny Winter - 2nd Winter...one of the best cross of > rock and blues EVER. Still a favorite on my show. Keith. Send responses to > Blues-L. > > Thanks, > > Keith Castleberry > > ========================================================================= Date: Fri, 12 Jan 1996 13:07:08 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: New Guitar Shorty Don O. queries: How's about that great new Guitar Shorty CD on Blacktop? I highly recommend this album. Its called Get Wise To Yourself (not a bad piece of advice, eh?). Produced and mixed by Hammond Scott at Ultrasonic in New Orleans. Killer cut is, She's Built, She's Built To Kill. Beef Stew WCCC Radio Hartford, CT ******************************************************** ========================================================================= Date: Fri, 12 Jan 1996 13:09:01 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Tunanet non-delivery...what the...? What the heck IS all this crap? Any ideas how to stop it? Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 12 Jan 1996 12:29:31 -0600 Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: Re: Handy - Blues Song Of The Year I vote for "Cherry Red Wine" by Luther Allison! Nuri Nuri >Looking over my Handy Awards ballot I find myself scratching my >noggin quite a bit. But I'm particularly lost in the "Blues Song Of >The Year" Category. To me "Song of The Year" should be quite a >strong song. I only know two songs on the list. The first, >"Bluesifyin" by Joe Louis Walker, from "Blues Of The Month Club", >isn't a very strong song. I'm a big fan of JLW, but I don't see this >as a song that's gonna be covered by anyone in years to come. >Likewise "The Blues Follow Me Around" - Carl Weathersby (from Billy >Branch album of the same name), is not a song destined for classic >status either. A well produced recording and performance, but we're >voting for the SONG. > >The other nominees are: > >"Move From The Hood" - Luther Allison & James Solberg >"Here's Your Mop Mr. Johnson" - Keri Leigh, Mark Lyon, Thomas Anderson >"Cherry Red Wine" - Luther Allison > >Do any of you have comments on these other songs? > >P.W. Fenton >Tampa, Florida > >Check out my Blues web page at > http://www.gate.net/~pwfenton > > ========================================================================= Date: Fri, 12 Jan 1996 10:28:45 -0800 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Re: Blues with feeling: What does it take, philisophically? >And then there are some people like E.C. >who work very, very hard, and still look like they are acting. For >some reason, it is beyond their ability to convince you. Since EC has experienced "hard luck and trouble", he ought to be able to sing the Blues. After all he has work through a pretty severe drug addiction, lost a child (very tragically) and gone through other bad stuff. He ought to be able to do it, but it doesn't translate. Personally, I think he spends to much time trying to recreate the original and doesn't spend enough time trying to be EC. Joe P.S. I thought I'd offer an observation of EC. I am pretty much indifferent toward his work. ========================================================================= Date: Fri, 12 Jan 1996 13:33:16 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Capitol Series WITH Jewel Boxes I am one of those consumers who dislikes the big record companies trying to find us all something "better" than the "jewel box" for our CDs to be packaged in. It has always meant something CHEAPER and more PROFITABLE for everyone but the artist, and something flimsy that won't fit properly into our CD collections. The Capitol reissue series with the cute color caricatures has been one such villain. They come in a flimsy cardboard and plastic foldout, with the booklet pasted inside. Really annoying. Well I just accidentally found an alternative. The BMG music club apparently forces them to manufacture a jewel boxed version for their club members. My wife belongs to their "Classical" club and got a sale circular that included some albums she thought I'd be interested in. Among others, she picked out the Capitol reissue "Son House - Delta Blues and Spirituals" (which I'm about to put on, as soon as Albert King is done singing to me). It came in a jewel box, with a removable booklet, and the words "Mfd. for BMG Direct Marketing Inc." printed on the back tray card. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Fri, 12 Jan 1996 12:41:57 -0600 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: What Album turned you on to the Blues? Comments: To: edsel@ATMORE.GULF.NET In-Reply-To: <199601120458.WAA21069@mako.atmore.gulf.net> from "Keith Castleberry" at Jan 11, 96 10:58:17 pm In an earlier message, Keith Castleberry said: ] Why the Blues? Tell us the First Album that you heard that turned you on to ] the Blues....Mine....Johnny Winter - 2nd Winter...one of the best cross of Oh, yeah, that was an incredible album! But for me, I think the first one was "Allman Brothers Band Live at the Fillmore". Between "Done Somebody Wrong" and "Statesboro Blues", I was hooked! And (to tie this in somehow with the EC thread) looking back, and listening to those same cuts today, an important feature was that they didn't try to ape the masters --- they just played their own way. Flamebait #1: I must admit that I like the ABB "Stormy Monday" better than T-Bone Walker's. Flamebait #2: Just heard a cut of Muddy doing "Kind Hearted Woman". Sounds so much like Robert Johnson's original that....well, anybody wanna call Muddy an RJ clone? -- * Billy Chambless | billy@cast.msstate.edu | voice: 601-688-7608 * Mississippi State University Center for Air-Sea Technology * To attain knowledge, add something every day. * To attain wisdom, remove something every day. -- Lao-tse ========================================================================= Date: Fri, 12 Jan 1996 12:41:41 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Nothing but the blues? I personally like to hear people suggesting some albums that have little to do with blues on Blues-L, as long as it is kept to a low volume, with blues topics remaining dominant. I don't get mail from other music lists (no time for that), but also don't want to limit myself to listening to only the blues music (feel sorry for anybody who disregards anything but the blues - his "love" to blues is even questionable at least). I like to hear about great CDs by Sam Cooke, Steve Earle, Al Green and other "non-blues artists" people on Blues-L recommend. I ti all part of a learning process, at least I hope that most of us are on Blues-L to learn something. So, keep them non-blues suggestions coming, but first, YES, tell me about some good blues album you just "discovered." Ranko ========================================================================= Date: Fri, 12 Jan 1996 13:02:28 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Re: Handy - Blues Song Of The Year > > I vote for "Cherry Red Wine" by Luther Allison! > > Nuri Nuri > I sent my vote yesterday and voted for "Cherry Red Wine" too. I voted for Luther Allison in "Blues Entertainer of the Year" and 'Contemporary Blues Male Artist of the Year", "Contemporary Blues Album of the Year", and "Best Instrumentalist - Guitar." (not that you cared about all of this....) Ranko ps. "Best New Blues Artist" - Paul "Wine" Jones YES, YES, YES!!! "Best Acoustic Album" - "Self Potrait of Blues" Paul Geremia "Soul/Blues Female" - E.C. Scott "Reissue Album of the Year" - "Down to Earth" Otis Spann ========================================================================= Date: Fri, 12 Jan 1996 14:16:48 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Tunanet non-delivery...what the...? Comments: To: MILLER@SCI.WFBR.EDU On 12 Jan 96, Rick Miller had this to say... > What the heck IS all this crap? Any ideas how to stop it? > > Rick Well, I've started replying to each and every one with a polite request to stop them. I haven't been replied to by a human yet though. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Fri, 12 Jan 1996 13:48:50 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Capitol - TX Blues guitar I saw the new Capitol cd(s) called Texas Blues Guitarists (or something like that). any recommendations about this one? Is the TBone Walker stuff on this also on the 3cd set that they also released. What about the Lowell Fulson tracks? Are there more than just these Pee Wee Crayton tracks waiting for reissue? Thanks Jeff (trying to get real Blues threads started...) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Fri, 12 Jan 1996 14:50:56 EST Reply-To: MB6254@ACSPR1.ACS.BROCKPORT.EDU From: Mark Baker Subject: Re: BLUES L: Re: What Album turned you on to the Blues? I liked the "which album..." question. I was fortunate enough to know the reference librarian at Green River CC in Washington State. He had stacks of blues albums. I would borrow 10 at a time and record them. I was introduced to all of the greats at once. Mark Baker ========================================================================= Date: Fri, 12 Jan 1996 14:22:30 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Capitol - TX Blues guitar Comments: To: Jeff Seale In-Reply-To: The "Texas Blues Guitarists" CD isn't worth getting for the T-Bone stuff (available elsewhere), but it's nice to see the Gatemouth Brown, Fulson and Crayton sides on CD. Someone else has pointed out that they also hold rights to the Imperial Craytons which were presumably planned for their own CD. Incidentally, Ace (English) is proceeding with a 2-CD Crayton set, planned to be the first of a series by him. No release date yet; I'm waiting for a tape to do the notes. Ray Topping compiled it, so I'm sure the selection will be good, though probably some duplication with the P-Vine CD. ========================================================================= Date: Fri, 12 Jan 1996 14:37:40 -0600 Reply-To: Birmingham From: Birmingham Subject: Re: What Album turned you on to the Blues? Comments: To: Keith Castleberry In-Reply-To: <199601120458.WAA21069@mako.atmore.gulf.net> It was not an album, but a guitar teacher who introduced me to the I-IV-V progression. Guitar magazines also introduced me to the greats, however I did not get around to listening to them until I got out of college in 1991. Sean Birmingham ========================================================================= Date: Fri, 12 Jan 1996 15:38:13 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: What Album turned you on to the Blues? It wasn't really an album for me either. I went to a rock show at the Fillmore East for which Albert King was the opening act, I practically staggered out of the building after his set. I didn't stay for the headliners. It was the most exciting and emotional music I had ever heard. The next day, all I could remember was the words "Blues Power", and the line "if it wasn't for bad luck I wouldn't have no luck at all". I could only find one album by Albert King so I bought it. I had no idea that there was a whole world of music like Albert's out there. I just knew I liked HIM. I was a pretty ignorant kid who knew everything anyway. Oh the shit I missed. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Fri, 12 Jan 1996 14:42:56 +0600 Reply-To: toulouse Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: toulouse Organization: CommNet Inc. Subject: Re: Meet Me With Your Black Drawers On Comments: To: Kathe Grant Kathe Grant wrote: > > I have been searching in vain for a recording of this. Does anyone know > who wrote it, who performed it, anything at all?? > > thanks > > - kathe Don't know who wrote it, but the version that got national charting way back when, and still is a favorite at Mardi Gras in New Orleans, was by Chuck Carbo & the Spiders. ========================================================================= Date: Fri, 12 Jan 1996 15:50:12 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: First Annual Blues-L Convention Did that headline get your attention? I have been sitting at home for the past month reading more and posting less. Although I have only been with Blues-L since July, the recent level of discourse seems to have reduced us to a collection of ankle biters. I have met some Blues-L members while traveling and they seem to be a pretty good lot albeit occasionally inclined to worship children ("That Brody Buster is the most soulful 10-year-old I have ever heard. That boy has got hisself some ROOTS!") If the members of this list would like to consider an annual gathering, I have some time during January/February to devote to this. This does not mean that I intend to be Mister Organizer, but I could devote some time to overseeing whatever details need to be done. Let's look at some primary points: 1/ This is an international list but the first convention should be held in the United States. 2/ It should be held in conjunction with an organized blues festival already in place. 3/ It should be held in a city that 'hubs' a major airline and geographically centered for easier access. 4/ It will take time to coordinate many details so any festival in Spring or early Summer is not workable. 5/ It must be held in a city where the blues festival does not bring the hotel capacity into overcharging or overbooking. 6/ We must choose a city/festival that offers night time blues venues in addition to the festival's offerings. 7/ All Blues-L participants will stay in the same hotel so that a suite can be booked for seminars, discussion groups and technology. 8/ All record/video/computer companies will be invited to show their wares providing that Blues-L membership gains us favorable pricing. 9/ I know most of the festival organizers in major cities and could probably arrange a discounted hotel rate providing that we had some idea of the number of rooms a couple months in advance. 10/ We agree to assemble under the umbrella of being blues fans and all persons who have been flamers or flamees will leave their animosities at home. OK. . . let's hear what you have to say . . . . . Dick Waterman ========================================================================= Date: Fri, 12 Jan 1996 21:02:23 GMT Reply-To: Rennie Selkirk From: Rennie Selkirk Organization: NASA-Ames Research Center Subject: Re: Jay McShann in Oakland (SF Jazz Festival) Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199601092250.OAA12059@jeeves.usfca.edu> Karen Johnson writes: > >Jay McShann appeared at the Paramount Theater in Oakland, California last >October. He was on the bill with a number of other notables as part of the >San Francisco Jazz Festival called A Tribute to Swingtime Records. He was >in excellent voice and accompanied Jimmy Witherspoon. He seemed very robust (snip) > >The Johnny Otis Revue was loads of fun and and excellent way to close the >show. He and the band played lots of recognizable r and b which really >pleased the crowd. Son Shuggie played a little but had a few equipment... I attended this concert too. Overall Charles Brown's and Johnny Otis' acts were the tightest of the evening (excepting the Shuggie debacle at the end), though it was a gas to see everybody that was on the bill. Wish I hadn't been sitting back under the balcony though. The sound sort of got lost in that big place. The biggest excitement was the tour de force on blues guitar put on by the young woman singer for the Otis band. Anybody know her name and where DID she come from? Man alive she was hot!!!!! Rennie Selkirk ========================================================================= Date: Fri, 12 Jan 1996 15:16:09 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Tunanet non-delivery...what the...? Comments: To: MILLER@SCI.WFBR.EDU It's generated entirely by machines. Individual 'zellers post to the list server, which forwards the posts to 500 or so subscribers. The subscriber name at this tunanet address is somehow wrong, so the tunanet server sends an error message to the original sender rather than the list server. This should be fixable by our listowner, who can remove the tunanet address from the subscription list. It doesn't mean your posts aren't getting through to the rest of us. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Fri, 12 Jan 1996 13:34:46 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: JAY MCSHANN : 1. HAPPY BIRTHDAY TRIBUTE Comments: To: BluesHvn@aol.com JAMES COLUMBUS "JAY" MCSHANN was born Wednesday, January 12, 1916, Muskogee,OK. "I want my music to be pleasing and I'd like for people to pat their foot to it. Yes pat that foot. Otherwise I'm dead" ~ Jay McShann, interviewed by Max Jones (Melody Maker, '69) "Pianist Jay McShann is one of the great personalities of jazz & the embodiment of the Kansas City style of jazz and blues. He came to prominence in the late 30s with the last of the Kansas City big bands. His sidemen included alto saxophonist Charlie Parker, bassist Gene Ramey, drummer Gus Johnson, and vocalist Walter Brown. His Decca recordings (1941-1943) show the excellence of the band, but the emphasis on blues material probably gives less than a true picture of the band's overall abilities. The big band broke up in 1944 and McShann spent the rest of the decade in Los Angeles leading small blues-based combos and recording for Philo/Alladin, Mercury, Capitol, and DownBeat/ Swingtime, among others. Sadly, except for the latter group on a Black Lion album, none of McShann's Los Angeles recordings have been properly collected. He returned to Kansas City in 1950 and has been based there since. He recorded for Vee Jay (1955-1956) and backed Priscilla Bowman on her big hit, "Hands Off," for that label. He return to records in 1966, after a long hiatus, resulted in an excellent Capitol album "McShann's Piano", and rekindled interest in his work at home, but especially in Europe, where he quickly became a star touring attraction. He has many European recordings, notably for French Black & Blue, Danish Storyville, and English JSP. His recordings for the Canadian Sackville label have presented him in unique settings and in solo and duo settings as well as a more customary band setting. This intermittent association began in 1971 and continued through the 80s. American albums of special interest are "Last Of The Blue Devils" (Atlantic) and "Goin' To Kansas City" (Master Jazz). McShann often appears in all-star groups and has also become a frequent and engaging vocalist over the past 25 years. "Paris All Star Blues" (Music Masters) finds him at the helm of a big band, revisiting much of his old book to good effect." ~ Bob Porter, All-Music Guide PART 2. MERCURY RECORDS/DISCOGRAPHY ========================================================================= Date: Fri, 12 Jan 1996 15:41:37 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: First Annual Blues-L Convention > > OK. . . let's hear what you have to say . . . . . > > Dick Waterman > YES! YES! YES! CHICAGO 1996!!!!!!!!!!!! If we agree to do some seminars, I will try to bring along Dr. Harry Oster. You got to hear his "talking blues" presentation! Ranko ========================================================================= Date: Fri, 12 Jan 1996 16:53:27 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Re: First Annual Blues-L Convention Comments: To: Jinxblues@aol.com In-Reply-To: <960112154901_39743128@emout06.mail.aol.com> from "Dick Waterman" at Jan 12, 96 03:50:12 pm In another time and place, Dick Waterman said: > > If the members of this list would like to consider an annual gathering, I > have some time during January/February to devote to this. This does not mean > that I intend to be Mister Organizer, but I could devote some time to > overseeing whatever details need to be done. Dick, a great idea. I for one am very interested in this. I find your criteria to be well thought out and without a doubt I would be there. Count me in to volunteer for anything I could do to help organize this. Tom Morgan `'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`' Stop on by my Jazz and Blues Web Site -- http://redlt.com/tom/ Free-lance Writer--Author--Program Director WTJU 91.1--Internet Consultant ========================================================================= Date: Fri, 12 Jan 1996 17:06:40 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: First Annual Blues-L Convention Comments: To: Jinxblues@AOL.COM On 12 Jan 96, Dick Waterman had this to say... > If the members of this list would like to consider an annual gathering, I > have some time during January/February to devote to this. This does not mean > that I intend to be Mister Organizer, but I could devote some time to > overseeing whatever details need to be done. > Let's look at some primary points: > 1/ This is an international list but the first convention should be held in > the United States. > :::9 more excellent points deleted::: 11/ There must be beer available within, at least, walking distance (which ain't far for this old fart) Seriously, It's a wonderful idea and I only hope I can be a part of it. I'd like to suggest New Orleans for several reasons. One because it's my favorite city in the world. But better than that it has GAMBLING! Gambling, you say? Casinos have package deals including, airfare, rooms, and meals, that are practically a steal, because they are hoping you will gamble away some cash. Turn it into a convention with lots of attendees, and I'll bet they would GIVE it a way. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Fri, 12 Jan 1996 14:13:45 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: JAY MCSHANN : 2. MERCURY RECORDS/DISCOGRAPHY Comments: To: BluesHvn@aol.com VERVE 314 525 609 : BLUES, BOOGIE, & BOP - THE 1940S MERCURY SESSIONS (7CD) ============================================================================== Jay McShann & Jimmy Witherspoon's complete Mercury/Premier recordings are now available for the first time on VERVE 314 525 609 : VARIOUS - BLUES, BOOGIE, & BOP - THE 1940S MERCURY SESSIONS (7CD). According to Billboard, McShann signed with Philo (later known as Aladdin) Records on October 8/1945, featuring Witherspoon in his very first recordings. During this time, they also recorded 4 sides for the short-lived Premier Label, which were purchased by Berle Adams of Mercury Records. Mercury Records reissued these 4 sides in their "8000" race series around February/April 1946. According to Ruppli- Novitsky's discography, THE MERCURY LABELS : A DISCOGRAPHY Vol. 1, McShann & Witherspoon first recorded for Mercury Records on July 26/1946. In the next 11 months they recorded titles like "Ernestine" (Jul/46), "I Want A Litle Girl" (Nov/46), "Gone With The Blues" (Nov/46) and in his best Walter Brown imitation, "Bar Fly Blues" (May/47). As a bonus, the Mercury boxset set includes all four of Walter Brown's Mercury recordings (w/Jay McShann), and most (except for 2 alt. takes) of Jay McShann's 1951 recordings with tenor saxophonist Ben Webster, featuring one "Pee Wee Mathews" singing "You Didn't Tell Me". A close listen will convince you that this is none other that Jay McShann's very first recorded vocals! Reference : ========= The Mercury Labels: A Discography (Five Volumes) / Compiled by Michel Ruppli and Ed Novitsky. Greenwood Publishing Group, 88 Post Road West, Box 5007, Westport, CT.06881-5007. Toll-Free: 1-800-225-5800; Tel: 203-226-3571 ; Fax: 203-222-1502 ; Web Site or SELECTIVE CD DISCOGRAPHY ======================== ACE 279 JIMMY WITHERSPOON - BLOWIN' IN FROM KANSAS CITY (w/McShann) BLACK LION 760187 JAY MCSHANN - VINE STREET BOOGIE (w/Jimmy Witherspoon) BMG 51369 JIMMY WITHERSPOON/JAY MCSHANN - GOIN' TO KANSAS CITY BLUES CHIAROSCURO 206 RALPH SUTTON/JAY MCSHANN - LAST OF THE WHOREHOUSE PIANO 1 CHIAROSCURO 306 RALPH SUTTON/JAY MCSHANN - LAST OF THE WHOREHOUSE PIANO 2 CHIAROSCURO 320 JAY MCSHANN - SOME BLUES CLASSICS 740 JAY MCSHANN - 1941-43 EVIDENCE 26019 CLARENCE "GATEMOUTH" BROWN - JUST GOT LUCKY (w/Jay McShann) GRD 614 JAY MCSHANN - BLUES FROM KANSAS CITY 1941/3(w/Walter Brown) JSP 234 JAY MCSHANN/AL CASEY - BEST OF FRIENDS MUSICMASTERS 5052 JAY MCSHANN - PARIS ALL-STAR BLUES-A TRIBUTE TO C. PARKER NEW WORLD 358 JAY MCSHANN - GOING TO KANSAS CITY RESERVOIR 124 JAY MCSHANN/JOHN HICKS - HOOTIE & HICKS/MISSOURI CONNECTION SACKVILLE 2024 JAY MCSHANN - AT CAFE DES COPAINS SACKVILLE 3005 JAY MCSHANN - MAN FROM MUSKOGEE (w/Claude Williams) SACKVILLE 3040 JAY MCSHANN - AIRMAIL SPECIAL SACKVILLE 3046 JAY MCSHANN - SWINGMATISM SACKVILLE 3057 JIM GALLOWAY'S WEE BIG BAND (w/Jay McShann) VAGABOND 890016 AXEL ZWINGENBERGER/JAY MCSHANN - BLUE PIANOS VERVE 314 525 609 VARIOUS - BLUES, BOOGIE, & BOP - THE 1940S MERCURY.. (7CD) VIRGIN 86299 JIMMY WITHERSPOON - BLOWIN' IN FROM KANSAS CITY (w/McShann) VINTAGE JAZZ 542 CHARLIE PARKER/JAY MCSHANN - EARLY BIRD ========================================================================= Date: Fri, 12 Jan 1996 16:30:27 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Jey Owens 'Movin On' - REVIEW Jay Owens "Movin' On" Code Blue 82840-2 By Ranko Vujosevic Although Jay Owens has played guitar since he was eleven (born in 1947), toured extensively by the time he was out of high school, and built a reputation by playing with the likes of Al Green, Little Milton, Stevie Wonder, and Aaron Neville, he had to wait until 1992 to record his critically-acclaimed debut album, "The Blues Soul of Jay Owens" on Code Blue label. Produced by Code Blue chief Mike Vernon, the debut album won "Best Blue Album of 1992" and "Best Debut Blues Album of 1992" in the 1993 Critics Poll of the Living Blues. The title of his new album suggests that we haven't heard the last word from Jay Owens. He is "Movin' On." The album opens with the title song that sets foundation for what is coming on - great songwriting, soulful blues of contemporary sound, and great vocals. By the time you get to the second song, "Who is In Control," you are already hooked up and Jay is in the control of your emotions. A great song! Great horns! "Working Man," is a rockin' blues followed by my favorite, beautiful jazzy "I'm Gone." "Don't Make Me Want" is a nice song, although too pop-ish for my taste. "Gonna Send For My Baby" shows that Jay Owens feels comfortable performing pure jazz. This album just never stops surprising you! As soon as you thought you figured out what Jay Owens is doing, he surprises you one more time. Jay is messing with your mind, and you love it. "In My Woman's Change" is a nice ballad, while "I'm Addicted To You" sounds like a song that would fit comfortable in a Robert Cray album. "I Heard You Love The Blues" is a rockin' blues, perhaps the closest thing to the Chicago blues sound you can find on this album. Clear sounded guitar solos mixed with horns. The ballad. "Hurry Home," and the album closing "When There's Love" are classical rhythm and blues songs. The production of this album is clean and effective, but never too polished. The album is wonderful collection of blues, soul, and rhythm and blues songs that stays fresh after many listenings. This album may not satisfied you if your mind is set for a particular blues sound, but if you like blues mixed with soul and rhythm and blues, this album will give you many pleasurable moments. This is an excellent album and easily on my top ten list of albums released in 1995. ========================================================================= Date: Fri, 12 Jan 1996 16:45:17 CST6CDDT Reply-To: eric From: eric Organization: UW-Superior Subject: modern rural blues does anyone here know of any modern blues albums that are done in the 20s/30s delta blues style similiar to Lightnin Hopkins or Robert Johnson or Bukka White? I would prefer albums that are just guitar and vocals or guitar and vocals done by the same guy/girl. I really hope that this rural blues style is still being kept alive. ========================================================================= Date: Fri, 12 Jan 1996 17:56:38 EST Reply-To: MB6254@ACSPR1.ACS.BROCKPORT.EDU From: Mark Baker Subject: Re: BLUES L: JAY MCSHANN : 2. MERCURY RECORDS/DISCOGRAPHY To any Jimmy Witherspoon fans: my wife found me a nice set of his Swing Time recordings called "Cold Blooded Boogie". Mark Baker ========================================================================= Date: Fri, 12 Jan 1996 17:58:14 EST Reply-To: MB6254@ACSPR1.ACS.BROCKPORT.EDU From: Mark Baker Subject: Re: BLUES L: Re: Capitol TX Blues guitar Can anyone recommend a good CD of Pee Wee Crayton's work? Thanks, Mark Baker ========================================================================= Date: Fri, 12 Jan 1996 23:03:12 GMT Reply-To: Garby Leon From: Garby Leon Organization: Netcom Subject: Re: What Album turned you on to the Blues? Comments: To: bit-listserv-blues-l@uunet.uu.net Junior Wells singing 'Help Me' (a tribute to Sonny Boy Williamson) on Vanguard's 'Chicago Blues Today Vol. I. It's still one of my favorite cuts, utterly moving. 'Good-bye old man...' That lead to the total breakthrough, Hoodoo Man, Delmark, still Jr.'s best to date... -- Garb Leon ========================================================================= Date: Fri, 12 Jan 1996 15:22:30 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: ARHOOLIE 7007: AMEDE ARDOIN - ROOTS OF ZYDECO: I'M NEVER COMIN' BACK 1930-34 Comments: To: BluesHvn@aol.com ARHOOLIE 7007: AMEDE ARDOIN - ROOTS OF ZYDECO: I'M NEVER COMIN' BACK 1930-34 ============================================================================ AMEDEE ARDOIN b. 1896 ,nEUNICE, LA d. 1941/NOV/04, ALEXANDRIA, LA Here we have 26 of the 34 titles Amede Ardoin recorded between 1929 & 1934. Singer, songwriter, accordionist Amede Ardoin was a french-only speaking Creole, and was one of the first Afro-American cajuns to record (the first was fiddler Douglas Bellard, of Bellaire, LA.). Six of the titles not included in this set are available on the 1994 SONY/LEGACY CD 46784 : CAJUN DANCE PARTY - FAIS DO DO ; the other 2 tracks not included come from the August 8/1934 Decca session. With a CD running over 79 minutes (!), everything couldn't be included. All 12 of his lovely 1934 solo recordings are included, with the remaining 14 tracks featuring his long time partner, cajun violinist Dennis McGee (1893-1989). The interplay between Ardoin & McGee is quite remarkable. Sometimes you can't tell when one begins & one ends. Of course it doesn't help that these recordings are very rare & with all the surface noise, it does take an effort. By it's worth it as the mastering (using the No-Noise System) is remarkable. As a vocalist, few could match him, and that includes his proteges, Nathan Abshire, Clifton Chenier, Iry LeJeune, and Lawrence Walker. As usual with Arhoolie, the 32 page booklet contains the transcriptions & translations to 24 of the tracks. Those of you who think Blind Lemon Jefferson is difficult to decipher, should try Ardoin! Also included are essays by Michel Doucet (about the importance of Ardoin's music), Michael Tisserand (about Ardoin's life & why he made so many enemies), and Jared Snydner (an analysis of his recordings). I believe this CD is essential in every way : the music, the production, and presentation is exceptional. Warning - not for the weak at heart. New Arhoolie releases (for complete CD Discography, visit KING BISCUIT TIME at ============================================================================= 411 CARTER FAMILY ON BORDER RADIO - 1939 V. 1 416 VARIOUS CAJUN FAIS DO-DO (1966) 417 TREME BRASS BAND GIMMEE MY MONEY BACK (1993/95) 423 CHELO SILVA LA REINA RJANA DEL BOLERO (1958-64) 431 LOS CAIMANES/LOS CAPORALES HUAPANGOS Y SONES HUASTECOS (1978/95) 432 VARIOUS I HAVE TO PAINT MY FACE (1960) 435 LOS CENZONTLES CON SU PERMISO SONORES (1994/95) 442 REV. LOUIS OVERSTREET HIS SONS & THE CONGREGATION.. (1962/3) 7007 AMEDE ARDOIN THE ROOTS OF ZYDECO (1930-1934) 7016 VARIOUS NORTENO/TEJANO ACCORDIAN PIONEERS29/39 ========================================================================= Date: Fri, 12 Jan 1996 18:23:03 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: modern rural blues Comments: To: EJOHNSO2@STUDENT.UWSUPER.EDU On 12 Jan 96, eric had this to say... > does anyone here know of any modern blues albums that are done in the > 20s/30s delta blues style similiar to Lightnin Hopkins or Robert > Johnson or Bukka White? I would prefer albums that are just guitar > and vocals or guitar and vocals done by the same guy/girl. I really > hope that this rural blues style is still being kept alive. > Check out any of the albums by Terry Garland, John Hammond, Rory Block, Sam Mitchell, and Lonnie Pitchford to name a few. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Fri, 12 Jan 1996 18:30:07 EST Reply-To: kevin gibson From: kevin gibson Subject: JAMMED TOGETHER I'm looking for Pop Staples recommendations. I like his input in "Jammed Together" with Albert King and Steve Cropper. ========================================================================= Date: Fri, 12 Jan 1996 23:30:17 GMT Reply-To: John Harrod From: John Harrod Organization: Prodigy Services Company 1-800-PRODIGY Subject: Mississippi John Hurt Fans ? Comments: To: bit-listserv-blues-l@uunet.uu.net Email me if you love Miss John, I'll tell you a story Jerry Garcia told me about him.......They were buddies in 1963 MCHQ89A@prodigy.com John H. ========================================================================= Date: Fri, 12 Jan 1996 23:27:05 GMT Reply-To: John Harrod From: John Harrod Organization: Prodigy Services Company 1-800-PRODIGY Subject: bottleneck / slide guitar Comments: To: bit-listserv-blues-l@uunet.uu.net SUBJECT: SLIDE GUITAR Hey all slide players........I have the hottest slides available, these bottles are not available in guitar shops, they are very light bottles, just about 3/16 wider than your neck, and they are the BEST- ESPECIALLY for LIGHT PRECISE playing on guitars with very low action. Because they are so light and compact, they won't warble on your frets like heavier slides..easier to maintain the fast light touch.....this is similar or identical to the pill bottle that Duane used......I've used this type all my life, I play a beautiful old 1935 National Steel myself, and became frustrated with how hard these things were to find, and managed to get a bunch. I am very interested in placing these slides wholesale in music shops and can get large orders out fairly quickly, price on request. Individual orders are available too ! IF YOU LOVE TO PLAY LEAD SLIDE, old delta blues, or whatever, these slides are GUARANTEED TO BLOW YOUR SOCKS OFF or your money BACK! They fit comfortably on your middle finger or pinkie, and have a small flange around the neck to catch a knuckle on, so they stay on your finger with almost no pressure. They are extremely comfortable. The Blues Bottle Slide, only $5.00 including postage and handling and TAX. WHOLESALE: I CAN GIVE YOU A VERY LOW QUANTITY PRICE. I'll BEAT YOUR COMPETITOR'S WHOLESALE BY HALF.(and these are better) :?: FOR INDIVIDUAL PURCHASES, please Email me at MCHQ89A@prodigy.com or contact me at 805-772-9787 John Harrod box 1436, Morro Bay, Calif 93443 ========================================================================= Date: Fri, 12 Jan 1996 17:36:37 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Blues-L Convention According to the criteria that Dick Waterman suggested, I humbly and admittedly biasedly submit the St. Louis Blues and Heritage festival as the host for the Convention. The festival is held over Labor Day weekend - 4 days of awesome blues for minimal cost (most of the events have been free in the past). The riverfront site is AWESOME and there are plenty of available hotels within walking distance of the site. There are performers in the clubs in the evenings and they usually have wrist bands that allow entrance to all the clubs. And to meet Paul Fenton's criterium - there's beer everywhere (and let's NOT start a thread about the pros and cons of Budweiser). In addition St. Louis is a hub for TWA and Southwest. -Jeff (I believe I'll drop down to old St. Louis, go down to Sarah St.) -Otis Spann ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Fri, 12 Jan 1996 15:39:38 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Capitol - TX Blues guitar Comments: To: Jeff Seale Jeff Seale wrote: > >I saw the new Capitol cd(s) called Texas Blues Guitarists (or something>like that). any recommendations about this one? Is the TBone Walker stuff>on this also on the 3cd set that they also released. What about the Lowell>Fulson tracks? Are there more than just these Pee Wee Crayton tracks waiting>for reissue? Yes, an entire CD of Pee Wee's Imperial sides is on the release schedule for this spring or summer. The recent death of Pete Welding has meant that some things may be delayed but everything he planned is still set for release and other sets in the series will be forthcoming soon. Billy Vera is taking over the production on the blues series. Mary Katherine Aldin ========================================================================= Date: Fri, 12 Jan 1996 17:53:55 -0600 Reply-To: Larry Kirchmer From: Larry Kirchmer Subject: Re: What Album turned you on to the Blues? My first was East West by Butterfield. Had never heard the blues but bought this solely for the cover. The band in street clothes when Beatle suits and boots were in style. Imagine my surprise! ========================================================================= Date: Fri, 12 Jan 1996 18:00:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Texas Pete Mayes I have an LP by a Texas guitarist by the name of Pete Mayes. The label is either Black Magic or Double Trouble and Pete is pretty good. He recorded another album, for the same label I think, a short while later with Joe Hughes. This was in the later 80's. Is he still around? I haven't heard anything about him in a long time. -Bonnie ========================================================================= Date: Fri, 12 Jan 1996 19:07:24 -0500 Reply-To: bob unger From: bob unger Subject: Re: First Annual Blues-L Convention I think this is a great idea. I definitely would like to be a part of it. If there is anything that this New Yawka can do to make this possible, please "Count Me In"....... BU bob@sun.bnkst.edu ========================================================================= Date: Fri, 12 Jan 1996 19:24:56 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: First Annual Blues-L Convention Comments: To: Dick Waterman In-Reply-To: <960112154901_39743128@emout06.mail.aol.com> This is a fine idea. I, for one, would prefer the Chicago Blues Festival, if only because I'm pretty damn sure I'll go there again this summer. [As a side note, I would be more than willing to serve as chair or moderator for one of the possible discussion groups as well. (Lord knows, I've done this dozens of times in conventions pertaining to my paying job.)] Anyway, I hope there's enough of us out here on Blues-L who see the potential value of Dick's proposal. Please speak up! Dave Prychitko ========================================================================= Date: Fri, 12 Jan 1996 19:47:12 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Blues-L Convention: St. Louis? I'd like to propose St. Louis as a site for the Blues-L Convention. It's centrally located, it's on the "blues route," plenty of blues here, lot's of clubs at night, it's reasonable from a cost standpoint and the St. Louis Blues Heritage Festival is Labor Day weekend allowing plenty of time for planning and organization. Whadya think? Joel Slotnikoff, Publisher | BLUES WORLD e-mag Box 21652 | http://www.inlink.com/~joelslot St. Louis, MO 63109 | FREE: Les Fancourt's "Boogie Chillun" TEL (314) 647-2447 | with subscription to B&R thru BW! FAX (314) 647-2497 | Blues & Rhythm: The Gospel Truth, joelslot@inlink.com | Vintage Jazz Mart homepages ========================================================================= Date: Fri, 12 Jan 1996 19:34:53 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: modern rural blues Comments: To: EJOHNSO2@student.uwsuper.edu >>>does anyone here know of any modern blues >>>albums that are done in the >>>20s/30s delta blues style similiar to Lightnin >>>Hopkins or Robert >>>Johnson or Bukka White? I would prefer albums >>>that are just guitar >>>and vocals or guitar and vocals done by the same >>>guy/girl. I really >>>hope that this rural blues style is still being kept >>>alive. I recommend Henry Qualls (spelling?) from rural Texas. He's got a tape out and someone else might turn you on to how to find it. He's really primitive stuff and his performance at 1995 Mississippi Valley Blues Festival showed that this style still does exist. I also recommend Lonnie Pitchford on Rooster Records. I don't know if they are still in print but you can look for Jesse Mae Hemphill and Hezekiah & The House Rockers on High Water. Dick Waterman ========================================================================= Date: Sat, 13 Jan 1996 00:43:40 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Muddy Waters movie Comments: To: bit-listserv-blues-l@uunet.uu.net >> A Muddy Waters biographical movie would be great, but who would >> play Muddy? > >Morgan Freeman. > Coincidently, I heard some rumors going around a few (like 3 or 4) years ago concerning a Muddy Waters movie that was supposedly then in the works, and Morgan Freeman was supposed to play the lead. Also mentioned was Sugar Blue as Little Walter, and Jimmy Rogers as himself. Scott ========================================================================= Date: Sat, 13 Jan 1996 00:35:55 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Blues without feeling Comments: To: bit-listserv-blues-l@uunet.uu.net In response to Lauri F.... What you're really saying is that you don't 'get' Lonnie Johnson's (or Tampa Red's, the other fellow whose name escaped you) music. It doesn't move you, so therefore it musn't be be moving music. But I guarentee you that it moved the many hundreds of thousands of fans who spent their hard- earned money on their records over the courses of their careers. They were among the most succesful blues artists of their generation. It's sometimes hard for people today to put the blues of yesteryear into it's proper perspective. But I consider both of those guys to be heavy, important artists. Scott ========================================================================= Date: Fri, 12 Jan 1996 20:01:06 -0500 Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: You never forget your first...(but I did) Comments: To: bit-listserv-blues-l@uunet.uu.net >> You've jiggled my memory...who was the rock musician who tried out for the >> Monkees and didn't make it? Was it Neil Young? >It was Stephen Stills, who would have played Peter Tork's character. As I recall, his teeth didn't look good enough for a television music group. Art Schuna ========================================================================= Date: Fri, 12 Jan 1996 20:09:04 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: You never forget your first... Okay, I give: First 45: The Turtles, "Happy Together" (bah, bah, bah, bah) closely followed by The Cowsills, "The Rain. The Park, and Other Things" (And I knew -- I knew, I knew, I knew, I knew -- she would make me happy -- happy, happy...) At some point I became depressed, but I still love Susan Cowsill. First LP: Jose Feliciano, "Feliciano" (with "Light My Fire") closely followed by The Ventures, "Hawaii Five-O" (bah, bah, bah, bah, bah, bah) *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Fri, 12 Jan 1996 20:58:09 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: All The Handy Nominations Comments: To: James Leftwich On 12 Jan 96, James Leftwich had this to say... > PW, > > How'd you feel about posting all Handy nominees? I think we'd all be > appreciative. Or, is there somewhere on the net or a magazine where I > could find them. I know now, that I should have replied that I had already mailed in my ballot. Foolishly, I - a non typist, started typing. Hours later... here it is. Please enjoy them, study them, consider them, bitch about them, whatever, but please don't start posting your votes to Blues-L. If you want to vote, join the Blues Foundation, and vote next year. The Blues Foundation is at 174 Beale Street, Memphis TN 38103 ...and to James Leftwich.... YOU OWE ME The 17th Annual Handy Awards Nominations ======================================== Blues Entertainer: Rod Piazza B.B. King R.L. Burnside Luther Allison Little Milton Blues Band: Little Charlie & The Nightcats Roomful of Blues Rod Piazza and the Mighty Flyers Anson Funderburgh & The Rockets Feauring Sam Myers Joe Louis Walker & The Bosstalkers Contemporary Blues - Male Artist: Luther Allison Joe Louis Walker Coco Montoya Otis Rush Robert Ward Contemporary Blues - Female: Koko Taylor Debbie Davies Keri Leigh Tracy Nelson Marcia Ball Soul/Blues - Male: Little Milton Otis Clay Syl Johnson Bobby Parker Solomon Burke Soul/Blues - Female Artist: Denise LaSalle Lavelle White Etta James Toni Lynn Washington E.C. Scott Traditional Blues - Male Artist: R.L. Burnside Jr. Kimbrough David "Honeyboy" Edwards Robert Lockwood Jr. Jimmy Rogers Traditional Blues - Female Artist: Katie Webster Anne Rabson Bonnie Lee Dietra Farr Saffire Acoustic Blues Artist: Keb' Mo' Lonnie Pitchford John Hammond Corey Harris Cephas & Wiggins Best New Blues Artist: Mem Shannon Dave Thompson Coco Montoya Corey Harris Paul "Wine" Jones Blues Instrumentalist - Guitar: Luther Allison Joe Louis Walker Coco Montoya Ronnie Earl Steady Rollin' Bob Margolin Harmonica: Rod Piazza Charlie Musselwhite Carrie Bell Billy Boy Arnold Kim Wilson Keyboards: Charles Brown Johnnie Johnson Pinetop Perkins Miss Honey Alexander (Piazza) Marcia Ball Bass: Willie Kent Calvin Jones Johnny B. Gayden Aron Burton Sister Sarah Brown Drums: Willie "Big Eyes" Smith Sam Lay Jimi Bott (w/Piazza) Ted Harvey (w/Jimmy Rogers) Ray "Killer" Allison Other: Clarence "Gatemouth" Brown - violin Sonny Rhodes - lapsteel Memphis Horns Roomful of Blues (Horn Section) Lonnie Pitchford - one string Contemporary Blues Album: Dave Thompson - Little Dave & Big Love Joe Louis Walker - Blues of the Month Club Albert Colins & The Icebreakers - Live '92 - '93 Luther Allison - Blue Streak Coco Montoya - Gotta Mind To Travel Soul/Blues Album: Syl Johnson - Back In The Game Percy Sledge - Blue Night Little Buster & The Soul Bros. - Right On Time Mighty Sam McClain - Keep On Movin' Bobby Parker - Shine Me Up Traditional Blues Album: Billy Boy Arnold - El Dorado Cadillac Smokey Wilson - The Real Deal John Lee Hooker - Chill Out Louisiana Red - Sittin' Here Wonderin' Paul "Wine" Jones - Mule Comeback Blues Album: Syl Johnson - Back In The Game Percy Sledge - Blue Night Jimmy Johnson - I'm A Jockey Floyd McDaniel & The Blues Swingers - Let Your Hair Down Bonnie Lee - Sweetheart of the Blues Acoustic Blues Album: Rory Block - When A Woman Gets The Blues Cory Harris - Between Midnight & Day Paul Geremia - Self Portrait In Blues Catfish Kieth - Fresh Catfish Howard Armstrong - Louie Bluie Reissue Album: T Bone Walker - The Complete Capitol and Black & White - Capitol Records Otis Rush - So Many Roads - Delmark Otis Spann - Down To Earth/ The Bluesway Recordings - MCA/Chess J.B. Lenoir - Vietnam Blues - Evidence Little Walter - Blues With A Feeling - MCA/Chess Blues Song of the Year: Song Title - Composer (Artist/Album Title) Bluesifyin' - Joe Louis Walker (Joe Louis Walker/Blues of the Month Club) Move From The Hood - Luther Allison & James Solberg (Luther Allison/Blue Streak) Her's Your Mop Mr. Johnson - Keri Leigh, Mark Lyon, Thomas Anderson(Keri Leigh/Arrival) Cherry Red Wine - Luther Allison (Luther Allison/Blue Streak) The Blues Follow Me Around - Carl Weathersby (Billy Branch/The Blues Keep Following Me Around) P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Fri, 12 Jan 1996 20:04:23 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Texas Pete Mayes Comments: To: Bonnie Kalmbach In-Reply-To: <26011218001629@vms2.macc.wisc.edu> Pete Mayes is still around in Houston, though suffering the effects of diabetes including amputation and having to tape his pick to his hand. He's an excellent T-Bone disciple and a good singer with a veteran band. He has a CD on P-Vine and Collectable which was put together by the infamous Riy Ames and is hit-and-miss and a couple hot 45s which are on the Krazy Kat LP "Houston Shuffle." I've been trying to get him on the Chicago Blues Festival forever; there's a chance he and Jimmy Nelson may make the cut next May/June. Pete also has a couple cuts in the video "Saturday Night At Rockefeller's" which Ames put out a few years ago; the soundtrack is on CD on Collectables. ========================================================================= Date: Fri, 12 Jan 1996 21:10:00 PST Reply-To: Meridith Farnworth From: Meridith Farnworth Subject: Re: Henry Qualls (was: modern rural blues) Dick said: > I recommend Henry Qualls (spelling?) from rural Texas. He's got a tape out > and someone else might turn you on to how to find it. To which I say: mmmm! Yes, indeed!! Mr. Qualls has been spending ALOT of time on my cd player lately. "Blues From Elmo, Texas" includes: Bread & Butter Shotgun blues Motherless Children Ticket Agent The Elmo Stomp Can't Stand To See You Go Rockin' & Rollin' Death Is Movin' Across the Land Long Gone Reconsider Baby Death Valley Blues I Shall Not Be Moved It's available from: Dallas Blues Society POB 190406 Dallas, TX 75219 ..it was $16 when I bought my copy back in JUne. BTW: Living Blues did an article on Henry Qualls in No. 121 (June 1995). --Meri mfarn@fibusa.com ========================================================================= Date: Fri, 12 Jan 1996 21:27:21 -0500 Reply-To: "Daryl F. Bernard" From: "Daryl F. Bernard" Subject: Re: First Annual Blues-L Convention Comments: To: Ranko Vujosevic In-Reply-To: <199601122141.PAA29130@picasso.ccad.uiowa.edu> On Fri, 12 Jan 1996, Ranko Vujosevic wrote: > > > > OK. . . let's hear what you have to say . . . . . > > > > Dick Waterman > > > > YES! YES! YES! > > CHICAGO 1996!!!!!!!! > Yes...Chicago indeed! And I will do my best to convince my wife that I must be there (tho I may have used up several years worth of favors by going to Saugerties NY for Woodstock 94!) Daryl ========================================================================= Date: Fri, 12 Jan 1996 20:34:08 CST6CDDT Reply-To: eric From: eric Organization: UW-Superior Subject: john hurt I was talking about John Hurt the blues musician. I lost your email address. ========================================================================= Date: Fri, 12 Jan 1996 21:44:27 -0500 Reply-To: BluesRevue From: BluesRevue Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Handy - Blues Song Of The Year Comments: To: bit-listserv-blues-l@uunet.uu.net IMHO Cherry Red Wine will be the Song of the Year . . . at the very least, it is MY favorite! Bob Vorel ========================================================================= Date: Fri, 12 Jan 1996 21:43:14 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Blues News U Can Use The Rhythm and Blues Foundation will honor guitarist Bo Diddley with its lifetime achievement award on February 29 at the 7th Annual Pionner Awards. Also honored will be singers Betty Everett, Eddie Floyd, Johnnie Taylor, Doris Troy, Johnny "Guitar" Watson, Bobby Womack, the Cadillacs, the Chantels, the Flamingos, Jay McShann, and band leader Dave Bartholomew. The Foundation will dispense $225,000 among the 12 honorees. The event will be held at the Hollywood Palladium. Jerry Butler, the new chairman of the Foundation, will host along with Darlene Love and Mavis Staples. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Fri, 12 Jan 1996 18:56:32 -0800 Reply-To: Karen Johnson From: Karen Johnson Subject: Re: Jay McShann in Oakland (SF Jazz Festival) > >The biggest excitement was the tour de force on blues guitar put on by the >young woman singer for the Otis band. Anybody know her name and where DID she >come from? Man alive she was hot!!!!! > >Rennie Selkirk > You are absolutely right about the woman Johnny Otis referred to as Little Bit. I didn't catch her name either, but she really saved the day while the other musicians were distracted by the equipment business. She is an incredibly versatile performer. She jumped in on piano while Johnny was futzing with the others. She sang a variety of styles and tickled everyone with a Louis Armstrong impression. Johnny Otis has a tradition of nicknaming his musicians and Little Bit was quite appropiate for this petite diva. When she strapped that guitar on it almost completely covered her. Her memorable performance was one of the main reasons we sought out Johnny Otis for our New Year's Eve celebration. Unfortunately she wasn't there. The other was the guitarist Johnny called Specs (whose name is actually Larry James). He too is brimming with talent and promise. I hope one day he realizes the recognition he deserves. KJ ========================================================================= Date: Fri, 12 Jan 1996 19:16:43 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: First Annual Blues-L Convention >On Fri, 12 Jan 1996,Mr.Waterman wrote: >> > >> > OK. . . let's hear what you have to say . . . . . I say : Sunflower River Blues and Gospel Festival in Clarksdale (because I know I'm going there and I probably won't (as a matter of fact, I'm sure I won't) be able to make it anywhere else this year. So my vote is for strictly selfish purposes :-) Anyway, whether or not there's a convention, a buddy of mine and I will be going to Mississippi in late summer, and hopefully we can meet up with some zellers face-to-face - I'd love to see LW's knees in person (see Living Blues photo :-) By the way, does anyone know where I can get info about the Sunflower RBGF (like when it happens, exactly) and if there's any accomodations available (or I could just sleep under my blazer). Thanks! -Jim (hndful@uniserve.com) ========================================================================= Date: Sat, 13 Jan 1996 14:23:46 +1100 Reply-To: Daniel Bruce From: Daniel Bruce Subject: Re: What Album turned you on to the Blues? Comments: To: edsel@ATMORE.GULF.NET In-Reply-To: <199601120458.WAA21069@mako.atmore.gulf.net> from "Keith Castleberry" at Jan 11, 96 10:58:17 pm > > Ok, you liked my last query so much...let's have another. > > Why the Blues? Tell us the First Album that you heard that turned you on to > the Blues....Mine....Johnny Winter - 2nd Winter...one of the best cross of > rock and blues EVER. Still a favorite on my show. Keith. Send responses to > Blues-L. > > Thanks, > > Keith Castleberry > Showdown - Cray/Copeland/Collins -- Daniel Bruce | Genasys II Pty Ltd, Sydney, Australia | "Born under a bad sign, been down since I began to crawl | If it wasn't for Bad Luck, Wouldn't have no luck at all" | Albert King | Internet: danielb@g2syd.genasys.com.au ========================================================================= Date: Fri, 12 Jan 1996 19:48:44 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Living Blues Magazine/Michael Hill's Blues Mob, etc. DANGER: BLUES CONTENT Howdy bluezellers. I have to agree with the person who posted about Living Blues Magazine (the original message got lost somewhere in the mass of messages I received today - wow, the largest torrent of messages since I joined Blues-L!) I can't recommend this magazine highly enough - the interviews are great, the production is absolutely beautiful, and I find the reviews to be very helpful when I'm throwing my hard-earned money away by the bucketful at the local record store :-) I've got my subscription, since the nearest place I can pick up single copies is Seattle (about 2 hours south), and look forward to it every couple of months, reading it from cover to cover (even the ads!) A question: I read a review recently of the album by Michael Hill's Blues Mob (I think that's the right name), basically a positive review with a bit of a warning to `traditionalists'. Do any of you folks have this album, and if so, what do you think of it? Innovative, or way out there? Worth buying? Oh, and what are the opinion's on Mem Shannon's album? Thanks, and have a good weekend! ClarksdaleClarksdaleClarksdaleClarksdale (subliminal message to the folks chosing the site of the Blues-L convention) :-) Or maybe Memphis? New Orleans sounds good too actually (although someone would have to tie me up to keep me away from the slots). Availability of beer is important for me, too, P.W. :-) (esp. if they've got imported Canadian! :-) ========================================================================= Date: Fri, 12 Jan 1996 23:27:34 -0500 Reply-To: Slydemann@AOL.COM From: Dave Melton Subject: Re: modern rural blues Comments: To: pwfenton@gate.net Also check out Robert Lucas. He has 3 or4 CD's out on Audioquest. I recomend "Built or Comfort". Also "Across the River" which is on Delta Man Music. ========================================================================= Date: Fri, 12 Jan 1996 23:22:01 -0600 Reply-To: Tom Kraft From: Tom Kraft Subject: Re: john hurt Comments: To: eric Man! Does John Hurt have a e-mail address? That's great. I want it too. How about Bill McTell? At 08:34 PM 1/12/96 CST6CDDT, you wrote: >I was talking about John Hurt the blues musician. I lost your email >address. > > ========================================================================= Date: Sat, 13 Jan 1996 05:31:25 GMT Reply-To: Anthony Graybosch From: Anthony Graybosch Organization: California State University Chico Subject: Kimbrough's Juke Joint Comments: To: bit-listserv-blues-l@uunet.uu.net Could someone post or email me the directions to Kimbrough's juke joint. I went last spring and probably can find my way back, but I would love to get directions again. Also, is Sunday night still the preferred night? Thanks. agraybosch@oavax.csuchico.edu ========================================================================= Date: Sat, 13 Jan 1996 01:13:14 -0500 Reply-To: Meadors From: Meadors Subject: Re: First Annual Blues-L Convention Comments: To: rvujosev@CCAD.UIOWA.EDU I would love to come to a Blues-L get together provided I don't get reprimanded for talking about topics only slightly related to blues. Mike Meadors Orange2@gnn.com ========================================================================= Date: Sat, 13 Jan 1996 01:15:13 -0500 Reply-To: Peter Agostinelli From: Peter Agostinelli Subject: ..Re "Dr. Hepcat" (aka Lavada Durst).. Hello 'zellers', Does anyone know if there are any surviving aircheck acetates of Dr. Hepcat's radio program on KVET, Austin from the 1940's or 1950's, and what the chances are that they might be converted to CD format someday? I'd just LOVE to hear what Dr. Hepcat's program sounded like. Also, is the book, "The Jives of Dr. Hepcat" still available? the partial review and excerpt I read on Blues-L a few days ago, I'd be really interested in checking that out as well. ..And speaking of blues piano [..obligatory blues content..], I obtained a Chess Sampler a couple years ago for the 4 CD "Chess Blues" Box. There is a terrific cut on it, called "Tonky Boogie" by Forrest Sykes. Is there anything else out by this guy? Tried a few years ago to get Les Fancourt's book, "Chess Blues: A Discography of the Blues Artists on the Chess Labels 1947-1975" through the inter-library loan system at the public library near where I live. In this way, I could find out more about him, but my library could not locate the book. Maybe he was on Aristocrat? Okay, Uncle eRIC, how about of your great "tribute" pieces on Forrest Sykes...please? TIA. Peter Agostinelli z600300a@bcfreenet.seflin.lib.fl.us ========================================================================= Date: Sat, 13 Jan 1996 01:17:01 -0500 Reply-To: Meadors From: Meadors Subject: Re: modern rural blues Comments: To: EJOHNSO2@STUDENT.UWSUPER.EDU Rory Block does a lot of solo stuff, taking off from old Delta songs. Mike Meadors Orange2@gnn.com ========================================================================= Date: Thu, 11 Jan 1996 22:37:33 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Living Blues Magazine/Michael Hill's Blues Mob, etc. Jim wrote: >A question: I read a review recently of the album by Michael Hill's Blues >Mob (I think that's the right name), basically a positive review with a bit >of a warning to `traditionalists'. Do any of you folks have this album, and >if so, what do you think of it? Innovative, or way out there? Worth buying? I think it is worth buying to hear some updated blues. A lot of the grooves are very familiar but the subject matter is very 90's abd Michael Hill's guitar playing owes a lot to Hendrix and the recent rock guitar heroes. Modern guitar great, Vernon Reid, guests on one track and plays a killer tapping solo (I usually don't like tapping. It has become cliched but this solo is somrthing else). Yet, IMHO, it is till the blues. The music acknowledges the masters but also takes into account the 90's. The tape is in my car so I don't have a list of the songs but there is a slow blues on there that is downright chilling, I think it is called "Evil in the Air". The first time I heard it sent chills down my spine and that's the truth. There is also a beautiful African influenced number as well. If you want to hear blues in the 90's but iy. However, purists, be warned. Regarding the Blues-L convention; > Availability of beer is important for me, >too, P.W. :-) (esp. if they've got imported Canadian! :-) This is also of paramount inportance for me as well. Some good Ozzie beer would be great :-) (But not Fosters. It is way behind the best beers the Land of Oz can offer. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sat, 13 Jan 1996 02:37:22 -0500 Reply-To: RAHalonen@AOL.COM From: Reeann Halonen Subject: Re: First Annual Blues-L Convention Comments: To: Jinxblues@aol.com I vote for Seattle!!!!! ========================================================================= Date: Sat, 13 Jan 1996 03:00:30 -0600 Reply-To: Chris Pearson From: Chris Pearson Subject: Re: First Annual Blues-L Convention Sounds great to me. A million questions however. How long a deal are we to shoot for, 1 day,1weekend, 1 week? How much money would something like this cost, Say for a weekend? I've only to been to festivals etc within driving distance. I can start saving up! Think of the jam we could have!! Chris >Did that headline get your attention? >I have been sitting at home for the past month reading more and posting less. >Although I have only been with Blues-L since July, the recent level of >discourse seems to have reduced us to a collection of ankle biters. >I have met some Blues-L members while traveling and they seem to be a pretty >good lot albeit occasionally inclined to worship children ("That Brody Buster >is the most soulful 10-year-old I have ever heard. That boy has got hisself >some ROOTS!") >If the members of this list would like to consider an annual gathering, I >have some time during January/February to devote to this. This does not mean >that I intend to be Mister Organizer, but I could devote some time to >overseeing whatever details need to be done. >Let's look at some primary points: >1/ This is an international list but the first convention should be held in >the United States. >2/ It should be held in conjunction with an organized blues festival already >in place. >3/ It should be held in a city that 'hubs' a major airline and geographically >centered for easier access. >4/ It will take time to coordinate many details so any festival in Spring or >early Summer is not workable. >5/ It must be held in a city where the blues festival does not bring the >hotel capacity into overcharging or overbooking. >6/ We must choose a city/festival that offers night time blues venues in >addition to the festival's offerings. >7/ All Blues-L participants will stay in the same hotel so that a suite can >be booked for seminars, discussion groups and technology. >8/ All record/video/computer companies will be invited to show their wares >providing that Blues-L membership gains us favorable pricing. >9/ I know most of the festival organizers in major cities and could probably >arrange a discounted hotel rate providing that we had some idea of the number >of rooms a couple months in advance. >10/ We agree to assemble under the umbrella of being blues fans and all >persons who have been flamers or flamees will leave their animosities at >home. > >OK. . . let's hear what you have to say . . . . . > >Dick Waterman > > ========================================================================= Date: Sat, 13 Jan 1996 03:27:26 -0600 Reply-To: Chris Pearson From: Chris Pearson Subject: Re: First Annual Blues-L Convention Someone suggested New Orleans for the gambling. I might suggest Shreveport or Vicksburg, Ms. I realize that they would not meet the criteria of major hub but S'port has a fairly large airport. I'm pretty sure they each have some sort of blues festival. Chris PS Count on me for anything I can do. >Did that headline get your attention? >I have been sitting at home for the past month reading more and posting less. >Although I have only been with Blues-L since July, the recent level of >discourse seems to have reduced us to a collection of ankle biters. >I have met some Blues-L members while traveling and they seem to be a pretty >good lot albeit occasionally inclined to worship children ("That Brody Buster >is the most soulful 10-year-old I have ever heard. That boy has got hisself >some ROOTS!") >If the members of this list would like to consider an annual gathering, I >have some time during January/February to devote to this. This does not mean >that I intend to be Mister Organizer, but I could devote some time to >overseeing whatever details need to be done. >Let's look at some primary points: >1/ This is an international list but the first convention should be held in >the United States. >2/ It should be held in conjunction with an organized blues festival already >in place. >3/ It should be held in a city that 'hubs' a major airline and geographically >centered for easier access. >4/ It will take time to coordinate many details so any festival in Spring or >early Summer is not workable. >5/ It must be held in a city where the blues festival does not bring the >hotel capacity into overcharging or overbooking. >6/ We must choose a city/festival that offers night time blues venues in >addition to the festival's offerings. >7/ All Blues-L participants will stay in the same hotel so that a suite can >be booked for seminars, discussion groups and technology. >8/ All record/video/computer companies will be invited to show their wares >providing that Blues-L membership gains us favorable pricing. >9/ I know most of the festival organizers in major cities and could probably >arrange a discounted hotel rate providing that we had some idea of the number >of rooms a couple months in advance. >10/ We agree to assemble under the umbrella of being blues fans and all >persons who have been flamers or flamees will leave their animosities at >home. > >OK. . . let's hear what you have to say . . . . . > >Dick Waterman > > ========================================================================= Date: Sat, 13 Jan 1996 03:56:41 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: LIVING BLUES MAGAZINE/MICHAEL > From: Jim Witteveen > A question: I read a review recently of the album by Michael Hill's > Blues > Mob (I think that's the right name), basically a positive review > with a bit > of a warning to `traditionalists'. Do any of you folks have this > album, and > if so, what do you think of it? Innovative, or way out there? Worth > buying? > Oh, and what are the opinion's on Mem Shannon's album? To me, these two artists illustrate two very different and opposing viewpoints. The way I see it, The Blues Mob is making the blues new. Mem Shannon is making new blues. There's a big difference between the two to my ears. The Blues Mob moves well outside traditional forms. Mem stays within them but contributes some great new songs. Being one of those accursed purist types, I love Mem Shannon. Michael Hill and the Mob do nothing for me. That doesn't mean The Mob can't be great blues to someone else, though. I am really fascinated by the fact that some of my blues buddies love The Mob and others don't. Get 'em both or request some cuts on your local radio station (if you're lucky to have one that plays some blues). In the end, only your own ears will tell you what you like and what fits inside the blues idiom to you. Don O. ========================================================================= Date: Sat, 13 Jan 1996 06:05:46 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Shrinking list of blues venues Comments: To: bit-listserv-blues-l@uunet.uu.net I'm behind veteran 'zellers on the topic of choosing more serious/more blues related topics, so I'll attempt to put my money where my mouth is. Bob Margolin includes a couple of serious paragraphs in his column in this month's Blues Review about the lack of public support for live blues. I hope this did not go unnoticed by most of you. It's a very important topic. Live music forums create the performers of the future. I've known people who studied guitar in the privacy of their homes for years and became quite good, however, you'd never know it unless you shared a wall with them. And there are countless cases of people working for hundreds of hours in a studio to create a hit song, only to crash on tour because of their inability to play before a real audience. You learn your craft, not only by imitating other artists, but also by enlisting their help and interest in your playing, by picking up tricks of the trade and self-confidence. Legend has it that Robert Johnson was laughed off stage the first time he tried to play publicly and that he disappeared to Hazelhurst for two years and played on street corners to perfect his style, as a result. When he returned to the middle Delta, he wowed 'em. During WWII, there were several factors that contributed to a severe reduction in record pressings, but one of the most significant was "the ban that J.D. Petrillo, president of the American Federation of Musicians, imposed on all recording because of his concern about the effect on live music..." (McKee & Chisenhall, "Beale Black and Blue," Baton Rouge: Louisiana State U Press, p. 126.) Maybe we should give some thought to the potential end results of our living in an era when we can have what we want, when we want it and in the format of our choice. Our predecessors were grateful for the occasional medicine show or carney that passed through their town, and these forums produced some of the finest entertainers the world has ever known. They knew how to grab your attention and keep it. We'll really have the blues if we lose the element of human contact. Denise ========================================================================= Date: Sat, 13 Jan 1996 06:06:34 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Re: First Annual Blues-L Convention Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199601122207.RAA22336@osceola.gate.net>, "P.W. Fenton" writes: > Casinos have package deals >including, airfare, rooms, and meals, that are practically a steal, >because they are hoping you will gamble away some cash. I can't offer airfare, P.W., but you and Roz could stay with me for free, if it were held in Memphis, where it SHOULD BE. (Think of the great side excursions to places like Helena and Brownsville AND the casinos on Highway 61!!) Denise ========================================================================= Date: Sat, 13 Jan 1996 06:16:17 -0500 Reply-To: BAJammin From: BAJammin Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Mississippi John Hurt Recommendations? Comments: To: bit-listserv-blues-l@uunet.uu.net In article , Bill Hill writes: >What would you folks recommend as a first purchase for Mississippi John Hurt? > I've seen a Vanguard twofer "The Best of MJH" around -- is this good? > > Not sure about "Besy of MJH" cause I haven't heard it, but I second Rob's suggestion of Yazoo 1928 Sessions. Also I just picked up Mississippi John Hurt Worried Blues 1963 on Rounder. These are his first recordings after his 'rediscovery'. All his recordings are really nice but this one seems to be REALLY nice. Bill ========================================================================= Date: Sat, 13 Jan 1996 06:17:23 -0500 Reply-To: BAJammin From: BAJammin Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Eric Claptons Guitar String Comments: To: bit-listserv-blues-l@uunet.uu.net In article <951214180222_90419559@mail06.mail.aol.com>, Doyle Ertwine writes: >I have in my possession a guitar string that was broken by Eric Clapton >during his last concert in the Detroit area. To qoute Cheech & Chong, "Why this is nothing but a bag of shit!" "Yes! But it's GOOD shit!" Prove that what you have for sale is really EC's broken guitar string. Bill ========================================================================= Date: Sat, 13 Jan 1996 07:14:09 -0500 Reply-To: HugeSmall@AOL.COM From: Boyd Small Subject: Re: Robert Cray Comments: To: creamer@unm.edu "Too Many Cook's" 1989 Tomato, a trade name of the Music Works New York, #2696532 Robert Cray Band Robert Cray Vocal / Guitar ***Curtis Salgado / Harp / Vocal*** Richard Cousins / Bass Dave Olson / Drums SPEAKING OF CURTIS SALGADO he was barely heard on this recording. He is an incredible singer. You should check out "Blues Get Off of My Shoulder" from his release previous to his latest ( I forget the title of the record ). He's also an awsome harp player. I have some recordings of him live with Roomfull of Blues. Killin. He wasn't heard enough (if at all) on any of their [released] recordings. Really! Huge ========================================================================= Date: Sat, 13 Jan 1996 07:13:59 -0500 Reply-To: Jonny Meister From: Jonny Meister Subject: blues-l convention/Mem Shannon How about next summer's Pocono Blues Festival for the convention (last weekend of July).... I guess we are all suggesting events we know we will personally attend...... Is an on-line "convention" possible using win-chat or something like that?? Regarding Mem Shannon: He's the real thing! His songs come from his life; he;'s got a good band, and he prefers doing his stuff to the standards he has to do a lot in clubs. On one cut on his disc he plays a nylon string guitar. And the in-the-cab conversations recorded in his cab and included on the album are amazing.. gives you some insight into his daily life for sure, as well as some entertainment. The record label had to take out some sort of special insurance policy against litigation before being willing to release the CD with that stuff on it. If anyone does sue, the disc will surely be cut out, so get it now!!!! -Jonny ========================================================================= Date: Sat, 13 Jan 1996 09:09:36 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: First Annual Blues-L Convention Comments: To: RAHalonen@AOL.COM On 13 Jan 96, Reeann Halonen had this to say... > I vote for Seattle!!!!! > Some of you may know that Ray Charles lived, for a good part of his youth, in Tampa, Florida. Shortly before his twenty first birthday, and the freedom that legal adulthood would bring him, he spread a big map of the United States out on a table. He asked a sighted friend to help him put his right index finger on Tampa. Ray then took his left index finger and ran it along the map to the farthest corner from Tampa and asked his friend, "Where is that?". His friend replied, "Seattle" Ray said, "Well then, THAT'S where I'm going when I'm 21!" I thought, Dick Waterman, suggested somewhere in the middle. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Sat, 13 Jan 1996 09:21:46 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Re: ..Re "Dr. Hepcat" (aka Lavada Durst).. Comments: To: z600300a@bcfreenet.seflin.lib.fl.us In-Reply-To: from "Peter Agostinelli" at Jan 13, 96 01:15:13 am In another time and place, Peter Agostinelli said: > > Also, is the book, "The Jives of Dr. Hepcat" still available? > the partial review and excerpt I read on Blues-L a few days ago, I'd > be really interested in checking that out as well. I would be really surprised if it is. I would suggest going to Texas and scouring antique stores, that's the way my copy came to me. :) Calling it a book, is also a stretch, which I know both eRIC and I refered to it as such. It was probably produced on a mimeograph machine or some other low tech method, it is more like a pamphlet and does not have a hard cover. Tom `'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`' Stop on by my Jazz and Blues Web Site -- http://redlt.com/tom/ Free-lance Writer--Author--Program Director WTJU 91.1--Internet Consultant ========================================================================= Date: Sat, 13 Jan 1996 09:32:05 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Shrinking list of blues venues Comments: To: denisetapp@AOL.COM On 13 Jan 96, DeniseTapp had this to say... > I'm behind veteran 'zellers on the topic of choosing more serious/more > blues related topics, so I'll attempt to put my money where my mouth is. > > Bob Margolin includes a couple of serious paragraphs in his column in this > month's Blues Review about the lack of public support for live blues. I > hope this did not go unnoticed by most of you. It's a very important > topic. > > Live music forums create the performers of the future. I've known people > who studied guitar in the privacy of their homes for years and became > quite good, however, you'd never know it unless you shared a wall with > them. And there are countless cases of people working for hundreds of > hours in a studio to create a hit song, only to crash on tour because of > their inability to play before a real audience. You learn your craft, not > only by imitating other artists, but also by enlisting their help and > interest in your playing, by picking up tricks of the trade and > self-confidence. Legend has it that Robert Johnson was laughed off stage > the first time he tried to play publicly and that he disappeared to > Hazelhurst for two years and played on street corners to perfect his > style, as a result. When he returned to the middle Delta, he wowed 'em. > > During WWII, there were several factors that contributed to a severe > reduction in record pressings, but one of the most significant was "the > ban that J.D. Petrillo, president of the American Federation of Musicians, > imposed on all recording because of his concern about the effect on live > music..." (McKee & Chisenhall, "Beale Black and Blue," Baton Rouge: > Louisiana State U Press, p. 126.) > > Maybe we should give some thought to the potential end results of our > living in an era when we can have what we want, when we want it and in the > format of our choice. Our predecessors were grateful for the occasional > medicine show or carney that passed through their town, and these forums > produced some of the finest entertainers the world has ever known. They > knew how to grab your attention and keep it. > > We'll really have the blues if we lose the element of human contact. > > Denise Denise is SO right about this. Live music is so important to an artist's developement. I've said this before on Blues-L, but you can study and practice your musical performance for hours a day, and for years at a time, but you'll never learn so much, so rapidly, as when you are out there, in front of people, doin' it. Your abilities seem to take magical leaps when you are gigging that they might never take just practicing in your room. We just spent time talking about that indefinable difference between the the real Bluesman and the person with the chops and no soul. We'll, if you don't have it naturally, the only place you are gonna LEARN it, is out there trying to move real live human beings. Do anything you can to support live music in general, and BLUES in particular. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Sat, 13 Jan 1996 09:36:46 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: First Annual Blues-L Convention Comments: To: denisetapp@AOL.COM On 13 Jan 96, DeniseTapp had this to say... > In article <199601122207.RAA22336@osceola.gate.net>, "P.W. Fenton" > writes: > > > Casinos have package deals > >including, airfare, rooms, and meals, that are practically a steal, > >because they are hoping you will gamble away some cash. > > I can't offer airfare, P.W., but you and Roz could stay with me for free, > if it were held in Memphis, where it SHOULD BE. (Think of the great side > excursions to places like Helena and Brownsville AND the casinos on > Highway 61!!) > > Denise > Then it's settled! Memphis it is! P.W. (and Roz) P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Sat, 13 Jan 1996 09:40:47 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Eric Claptons Guitar String On 13 Jan 96, BAJammin had this to say... > In article <951214180222_90419559@mail06.mail.aol.com>, Doyle Ertwine > writes: > > >I have in my possession a guitar string that was broken by Eric Clapton > >during his last concert in the Detroit area. > > To qoute Cheech & Chong, "Why this is nothing but a bag of shit!" "Yes! > But it's GOOD shit!" > Prove that what you have for sale is really EC's broken guitar string. > Bill > Some of you will remember how much I was against echoing the list to a newsgroup. I hadn't even thought of this one. Topics that just won't die. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Sat, 13 Jan 1996 10:32:46 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On This Day On this day in 1854 - Anthony Faas of Philadelphia, PA, patented the accordian, this brought the Blues to anyone within earshot. ;^) This day in 1962 saw singer, Chubby Checker set a record, literally, with the hit, "The Twist". The song reached the #1 position for an unprecedented second time -- in two years. "The Twist" was also number one on September 26, 1960. The Philadelphia boy made good twice! Chubby's birth name is Ernest Evans, but he changed it for show biz at the urging of Dick Clark's wife. His smash success was also a twist of fate. Hank Ballard was supposed to record the song for Dick Clark's, "American Bandstand". Hank didn't show; Danny and the Juniors, Clark's second choice, couldn't make it in time. Chubby Checker showed up complete with energy and enthusiasm to turn "The Twist" into a hit and a dance craze. ========================================================================= Date: Sat, 13 Jan 1996 15:44:09 GMT Reply-To: blueslvr@sirius.com From: "Roy W. Forgy" Subject: Re: First Annual Blues-L Convention In-Reply-To: <960113023721_40339074@emout05.mail.aol.com> On Sat, 13 Jan 1996 02:37:22 -0500, you wrote: ]:->I vote for Seattle!!!!! ]:-> Living on the west coast I think at least someplace in the middle would benefit all. This would probably be Helena Ark. as I don't know of any good festivals in Kansas. However as long as everyone seems to be picking someplace close to home San Francisco has a great two day festival every September, has lots of hotels and a lot of other things to attract people here for a vacation. Roy W. Forgy (blueslvr@sirius.com) Boulder Creek, CA ========================================================================= Date: Sat, 13 Jan 1996 11:09:48 -0500 Reply-To: Robert Rutter From: Robert Rutter Subject: Re: What Album turned you on to the Blues? Previously on blues-l, edsel said: |Ok, you liked my last query so much...let's have another. | |Why the Blues? Tell us the First Album that you heard that turned you on to |the Blues....Mine....Johnny Winter - 2nd Winter...one of the best cross of |rock and blues EVER. Still a favorite on my show. Keith. Send responses to |Blues-L. | |Thanks, There wasn't just one. I could point to various albums and songs by individuals and groups such as The Rolling Stones, The Animals, Paul Butterfield Band, John Mayall and the Blues Breakers, Fleetwood Mac (Circa 1968), Cream, Jimi Hendrix. The one most influential album, the one that drove home the talent and power of the artists that all the popular groups were covering, was a compilation called "The Real Blues Brothers" on Dunhill records. That is when I started exploring recorded blues from Robert Johnson to today's fine Chicago influenced artists. Your Welcome. Cheers, -- Robert Rutter | While money can't buy happiness, it gives you | rjr@sparks.empath.on.ca | the freedom to choose your own form of misery | ========================================================================= Date: Sat, 13 Jan 1996 11:14:27 -0500 Reply-To: "Eliot C. Williams" From: "Eliot C. Williams" Subject: Re: Forrest Sykes From: Peter Agostinelli > ..And speaking of blues piano [..obligatory blues content..], I > obtained a Chess Sampler a couple years ago for the 4 CD "Chess Blues" > Box. There is a terrific cut on it, called "Tonky Boogie" by > Forrest Sykes. > > Is there anything else out by this guy? > Maybe he was on Aristocrat? "Tonky Blues" was Aristocrat single #1401. According to the booklet that came with the "Chess Blues" box, "nothing is known" about Sykes. EW Eliot Williams University of Wisconsin Department of Medicine ecwillms@macc.wisc.edu ========================================================================= Date: Sat, 13 Jan 1996 11:14:30 -0500 Reply-To: "Eliot C. Williams" From: "Eliot C. Williams" Subject: Re: First Annual Blues-L Convention At the risk of belaboring the obvious, whoever takes responsibility for organising this event should have the perogative of choosing the site and date(s). Of course you won't please everybody, but that would just provide a greater incentive for someone else to take over (and get the right to choose) next year. Eliot Williams University of Wisconsin Department of Medicine ecwillms@macc.wisc.edu ========================================================================= Date: Sat, 13 Jan 1996 11:14:34 -0500 Reply-To: "Eliot C. Williams" From: "Eliot C. Williams" Subject: Blues Hangover I'd like to make a plug for a 2-CD set on AVI-Excello titled "Blues Hangover". It's got 43 tracks by some lesser-known Excello artists like Jimmy Anderson, Blue Charlie, Early Drane, and Baby Boy Warren. Superb swamp blues - if you want "laid back", look no further! I'd heard some of this material before on other Excello compliations, but a lot of it (eg, all of the Early Drane) is new to me. Most of this stuff was recorded by the maestro himself, Jay Miller, in his Crowley studio. I don't think Miller was capable of making a bad record. The Baby Boy Warren material was recorded in Detroit (possibly by Joe Von Battle?) and features harp from Sonny Boy Williamson II in his prime; included are four sides originally released on Excello and/or JVB. As far as I know this is the best representation of this wonderful artist on CD. Very Highly Recommended. EW Eliot Williams University of Wisconsin Department of Medicine ecwillms@macc.wisc.edu ========================================================================= Date: Sat, 13 Jan 1996 10:26:46 -0600 Reply-To: William A Morgan From: William A Morgan Subject: Re: First Annual Blues-L Convention In-Reply-To: I'm not aware of a blues festival in Shreveport or Vicksburg. There is, however, an excellent blues festival in Baton Rouge in the Fall. And I suggest Baton Rouge as a convention site. Baton Rouge also has a gambling riverboat (I should note that our new governor opposes gambling, and gambling might be put to a vote between now and October -- there is a possibility that Louisiana won't have gambling by the time we convene). Also, New Orleans is only 80 miles from Baton Rouge, and Lafayette about 50 miles away -- within 1 1/2 hours is a cornucoppia of music (zydeco, cajun, jazz, R&B, blues, rock, and combinations thereof). And there are four or five clubs that will feature some of the best festival entertainment in Baton Rouge during the week preceding the festival. I would be inclined to suggest New Orleans as a convention site, but the Jazz and Heritage Festival is the last weekend of April and the first weekend of May -- too soon to make arrangements for a convention. Also, we do not meet another of Dick's criteria -- hotels fill up during that time (Jazzfest now rivals Mardi Gras for hotel occupancy), and hotel rates increase for Jazzfest. My second and third choices would be Memphis and St. Louis. Both are accessible by rail. This is important to those of us with aging motor vehicles and a reluctance to fly. Memphis is a natural choice because of its place in blues history and proximity to the Delta (it starts in the lobby of the Peabody Hotel). Memphis also has direct flights to and from Amsterdam, making it easily accessible for European blues-lers. And it doesn't hurt that I have an assortment of friends and relatives there. St. Louis is a good central location. The Labor Day Festival would give many people an extra day for travel. And I haven't been to St. Louis for almost twenty years; I'm due a visit. (I might even make St. Louis my top choice if the Cardinals are in a pennant race and have a home stand that weekend). Bill On Sat, 13 Jan 1996 chrisp@rapidramp.com wrote: > Someone suggested New Orleans for the gambling. I might suggest Shreveport > or Vicksburg, Ms. I realize that they would not meet the criteria of > major hub but S'port has a fairly large airport. I'm pretty sure they each > have some sort of blues festival. > Chris And Dick Waterman offered these criteria: > >1/ This is an international list but the first convention should be held in > >the United States. > >2/ It should be held in conjunction with an organized blues festival already > >in place. > >3/ It should be held in a city that 'hubs' a major airline and geographically > >centered for easier access. > >4/ It will take time to coordinate many details so any festival in Spring or > >early Summer is not workable. > >5/ It must be held in a city where the blues festival does not bring the > >hotel capacity into overcharging or overbooking. > >6/ We must choose a city/festival that offers night time blues venues in > >addition to the festival's offerings. > >7/ All Blues-L participants will stay in the same hotel so that a suite can > >be booked for seminars, discussion groups and technology. > >8/ All record/video/computer companies will be invited to show their wares > >providing that Blues-L membership gains us favorable pricing. > >9/ I know most of the festival organizers in major cities and could probably > >arrange a discounted hotel rate providing that we had some idea of the number > >of rooms a couple months in advance. > >10/ We agree to assemble under the umbrella of being blues fans and all > >persons who have been flamers or flamees will leave their animosities at > >home. ========================================================================= Date: Sat, 13 Jan 1996 12:02:29 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: First Annual Blues-L Convention Richard the Younger's suggestion for a Blues-L gathering is excellent, and I echo the suggestions that Memphis (central, close to the origins, apparently an okay club scene, etc.) makes sense. Count me in; I'm saving my change at the end of each day to afford this one. Dear Richard, of course, has let himself in for this one big-time; if we could agree on a time and place (far enough ahead that we can all plan, as well as save money), various of us could take on individual jobs to help make it work-organizing "seminars", jams, meetings, club visits, speakers, etc - depending on how formal, and how big, it might turn out to be. Input and help from blues societies (and I have an involvement with the Toronto one) could make it very special; if just a handful of us from the 1500-odd members of the List came together that'd be nice (if we weren't flaming each other), but it might be even better if it ran parallel to a gathering of blues societies, for instance. I know that plans to have blues society involvement are vaguely on the back burner for the National Folk Music Alliance gathering in Memphis in February 1998. Just an idea-but I'm in the help make something happen... Richard ========================================================================= Date: Sat, 13 Jan 1996 11:05:34 -0600 Reply-To: Tom Kraft From: Tom Kraft Subject: Re: Mississippi John Hurt Recommendations? Comments: To: BAJammin Sorry, I couldn't find the original post, but I'm with Bill on this one. I truly enjoy the "1928 Sessions" especially "Nobody's Dirty Business". This is the only MJH I own except one or two of the Newport CDs so I'm gonna keep an eye on this thread also. At 06:16 AM 1/13/96 -0500, you wrote: >In article , Bill Hill > writes: > >>What would you folks recommend as a first purchase for Mississippi John >Hurt? >> I've seen a Vanguard twofer "The Best of MJH" around -- is this good? >> >> > >Not sure about "Besy of MJH" cause I haven't heard it, but I second Rob's >suggestion of Yazoo 1928 Sessions. Also I just picked up Mississippi John >Hurt Worried Blues 1963 on Rounder. These are his first recordings after >his 'rediscovery'. All his recordings are really nice but this one seems >to be REALLY nice. > >Bill > > __ __ / `-' / ,,, Tom Kraft |[====|||||||||||||[:::} novice plucker \__.-.__\ ``` ========================================================================= Date: Sat, 13 Jan 1996 12:00:14 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: How we could choose a sight Regarding the selection of a place and time for the first ever Blues-L convention: I think that after everyone has had a chance to make suggestions, Dick Waterman should be the one to decide, based on all the criterea he already laid out. I don't think we will reach a clear consensus, and I think trying to figure out what would be possible for whom will be just too complicated. Someone, easily any one of us, will be left out due to their own personal circumstances. I will be lucky if I can go to any of them. I will certainly try. I trust Dick to make the best choice possible, given all the factors, and suggestions. Can I get an "Amen"? P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Sat, 13 Jan 1996 09:53:38 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Jan. 14 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BAQUET, GEORGE F. (clt/BESSIE SMITH) d. 1949-0114, PHILADELPHIA, PA 66 BELL, LEE (of ARCHIE BELL & DRELLS) b. 1946-0114, HOUSTON, TX DAVIS, MAXWELL (tsax/arr/prod) b. 1916-0114, INDEPENDENCE, KS JEFFERY, BOB (g/p/ADVENT REC) b. 1915-0114, TULSA, OK JONES, LINDA (v) b. 1944-0114, NEWARK, NJ L. L. COOL J. [JAMES TODD SMITH] (v) b. 1968-0114, ST. ABANS,QUEENS,NY LEFT HAND FRANK [FRANK CRAIG] (g) d. 1992-0114, LOS ANGELES, CA 55 MCELROY, SOLLIE (lead/FLAMINGOS/MOROCCOS) d. 1995-0114, CHICAGO, IL 61 TOUSSAINT, ALLEN (prod/p/songw) b. 1938-0114, NEW ORLEANS, LA WHITE, PRINCESS (v) b. 1881-0114, PHILADELPHIA, PA YOUNG, DAVID A. (tsax) b. 1912-0114, NASHVILLE, TN ------------------------------------------------------------------------------- ========================================================================= Date: Sat, 13 Jan 1996 12:20:16 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: How we could choose a sight Comments: To: "P.W. Fenton" In-Reply-To: <199601131701.MAA88610@osceola.gate.net> On Sat, 13 Jan 1996, P.W. Fenton wrote: > Regarding the selection of a place and time for the first ever > Blues-L convention: > > will be just too complicated. Someone, easily any one of us, will be > left out due to their own personal circumstances. I will be lucky if > I can go to any of them. I will certainly try. > > Can I get an "Amen"? AMEN! Remeber, the idea is to have the meeting as convenient to as many people as possible. I'd like to have it in San Antonio, but that isn't realistic. That's why I chose St. Louis - damn near in the geographical center of the country, airline hub, within driving distance of 4 large cities (KC, Indy, Memphis, Chicago), and one hell of an underappreciated blues scene. The festival is late enough to make adequate plans and the oppressive St. Louis summer is about over. -Jeff (sorry to lobby again, I really didn't mean to...) ;-) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Sat, 13 Jan 1996 12:58:31 +0600 Reply-To: toulouse Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: toulouse Organization: CommNet Inc. Subject: Re: Snooks Eaglin: More info?? Comments: To: Girish Venkitachalam Girish Venkitachalam wrote: > > Hi, > > Just finished listening to Snooks Eaglin's Soul's Edge. A very nice album. > Was just wondering if anyone out there has more info about him - other > albums etc. I got the impression from the photographs on the album cover > that he maybe blind; if not fully at least partially. Is this true?? Yes, Snooks is blind. You can find more on Snooks via the Rounder catalog section that is out there on the web. Search "Rounder" and you should find it. Snooks kick butt. Peace, toulouse@comm.net ========================================================================= Date: Sat, 13 Jan 1996 12:56:42 -0600 Reply-To: Chris Pearson From: Chris Pearson Subject: Re: How we could choose a sight Amen!! It's a great idea and too good not to give full support to regardless of where it will be held. You're correct that no matter it's held someone will not be able to come and I'm not sure that location should be the prime factor anyway. Probably needs to be where it has the greatest chance of success and growth. I think Dick will choose right!! Chris >Regarding the selection of a place and time for the first ever >Blues-L convention: > >I think that after everyone has had a chance to make suggestions, Dick >Waterman should be the one to decide, based on all the criterea he >already laid out. I don't think we will reach a clear consensus, >and I think trying to figure out what would be possible for whom >will be just too complicated. Someone, easily any one of us, will be >left out due to their own personal circumstances. I will be lucky if >I can go to any of them. I will certainly try. > >I trust Dick to make the best choice possible, given all the factors, >and suggestions. > >Can I get an "Amen"? > >P.W. Fenton >Tampa, Florida > >Check out my Blues web page at > http://www.gate.net/~pwfenton > > ========================================================================= Date: Sat, 13 Jan 1996 14:15:54 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: Blues-L Convention Jonhhy M. said: How about next summer's Pocono Blues Festival for the convention (last weekend of July).... I guess we are all suggesting events we know we will personally attend..... ************************************************************************ Beef Stew adds: How about several mini-conventions around the country? The Pocono Blues Fest would be great for Eastern zellers (IMHO). I'm sure there's something happening in the South, Mid-West. West, North-West (well you get my point!). We could all report on our respective convention and have many a great take to tell as well as photo's and such. I'm sure that we would end up with a larger overall turn out at several locations, rather than trying to get everyone to agree on, and get to one location. Comments? Beef Stew WCCC Radio Hartford, CT ************ P.S. Why do I go nuts when people don't capitalize the word Blues? ========================================================================= Date: Fri, 12 Jan 1996 19:16:14 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: JAY MCSHANN : 1. HAPPY BIRTHDAY TRIBUTE > To: Multiple recipients of list BLUES-L > JAMES COLUMBUS "JAY" MCSHANN was born Wednesday, January 12, 1916, Muskogee,OK. > Bluezellers in Toronto take note -- McShann will be playing at The Senator all of next week. Mon-Wed he's with Jim Galloway and the Little Big Band. Thurs-Sat he's on his own, backed only by Galloway's rhythm section. Not to be missed!!! Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Fri, 12 Jan 1996 19:16:14 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: First Annual Blues-L Convention > > OK. . . let's hear what you have to say . . . . . > > Dick Waterman > GREAT IDEA! The best choice would be Chicago, during the Bluesfest, I think, since that probably attracts more Bluezellers than any other festival. The best hotel would be the Blackstone because I already have my room booked for the festival weekend. :) On the other hand, a more laid back festival might be more conducive to chat and fellowship. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Sat, 13 Jan 1996 14:27:59 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: How we could choose a sight In-Reply-To: <199601131856.MAA16730@longview.rapidramp.com> Well, I don't say Amen all too often, but I will say "Here, here!" (Meaning sure, let Dick decide, and not meaning here here in Oswego NY). Dave Prychitko ========================================================================= Date: Sat, 13 Jan 1996 14:34:29 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: modern rural blues Slydemann said: Also check out Robert Lucas. He has 3 or4 CD's out on Audioquest. I recomend "Built or Comfort". Also "Across the River" which is on Delta Man Music. Beef Stew adds: Thumbs up for Robert Lucas! How about Kelly Joe Phelps? Beef Stew WCCC Radio Hartford, CT *************** ========================================================================= Date: Sat, 13 Jan 1996 14:42:00 IST Reply-To: topcat@COMPUTEK.NET From: "" Subject: HEIRS OF J>B> HUTTO AND GEORGE 'HARMONICA' SMITH Does anyone out there tell me how I might contact the heirs of J.B. Hutto and/or George "Harmonica' Smith? I have unreleased shows they did in 1971 and I need the heirs to license theie rights to us. Thanks very much. Richard Chalk Topcat Records <---- End Included Message ----> ========================================================================= Date: Sat, 13 Jan 1996 14:41:03 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: modern rural blues How about the Memphis Sheiks (the newest ones!). The album is Slow Cooked Pig Meat on Inside Sounds? Beef Stew WCCC Radio Hartford, CT ************ ========================================================================= Date: Sat, 13 Jan 1996 15:01:01 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: How we could choose a sight [sic] PW Wrote.. > Regarding the selection of a place and time for the first ever > Blues-L convention: > > I trust Dick to make the best choice possible, given all the factors, > and suggestions. > > Can I get an "Amen"? You've got an Amen from me, brother! Of the locations suggested so far .... I'd like Chicago, but the festival is too soon. I'd like St Louis, but Labor Day weekend is not good for people like me, who have kids starting school right after the weekend. I'd like New Orleans, but it isn't really central. Same with Seattle. So I'd vote for Memphis, if there's a vote. All of the positives stated by the proposer, and no negatives I can think of. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Sat, 13 Jan 1996 14:41:25 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: A few shameless plugs After reading about Doug MacLeod's new CD "Come To Find" -Audioquest AQ-CD1027, and having really enjoyed his last album (which I received as a gift from a friend), I decided I needed this new one. Being lazy, I decided to check out "EMUSIC" which has a web link on Blues-L member Curtis Hewston's beautiful "Blues Highway". They have an excellent interface that allowed me to instantly find this album for 13 something. If you have Netscape, they can provide "secure transactions" which assures that no hacker can grab your credit card info. Now 3 days later I'm listening to this fabulous album, and reading the excellent, and informative, liner notes by Blues-L member Mary Katherine Aldin. Shameless Plug Disclaimer: The only association I have with Audioquest, Doug MacLeod, EMusic, Curtis Hewston, The Blue Highway, and Mary Katherine Aldin, is that I love them all. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Sat, 13 Jan 1996 14:46:34 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: First Annual Blues-L Convention I don't usually get involved in these kind of things, but the following post (IMHO) is a complete waste of time. I'm sorry, but I couldn't ignore this. Beef Stew WCCC Radio Hartfrod, CT *************************************************************** Meadors said: I would love to come to a Blues-L get together provided I don't get reprimanded for talking about topics only slightly related to blues. Mike Meadors Orange2@gnn.com ========================================================================= Date: Sat, 13 Jan 1996 14:52:28 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Mini Conventions - Please, No Comments: To: bfstew@NECA.COM On 13 Jan 96, Stew Crossen had this to say... > > How about several mini-conventions around the country? > > The Pocono Blues Fest would be great for Eastern zellers (IMHO). > > I'm sure there's something happening in the South, Mid-West. West, North-West > (well you get my point!). > > We could all report on our respective convention and have many a great take to > tell as well as photo's and such. > > I'm sure that we would end up with a larger overall turn out at several > locations, > rather than trying to get everyone to agree on, and get to one location. > > Comments? Please, No. I only want to miss ONE if I have to miss any. > P.S. Why do I go nuts when people don't capitalize the word Blues? I thought I was the only one with that strange compulsion. I don't care if anyone else does it, but I have to. In the 13 and a half years I've been a Blues-L member, I've only slipped once. YESTERDAY! P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Sat, 13 Jan 1996 11:57:00 PST Reply-To: Doug Cox From: Doug Cox Subject: Save the CBC concert >Hi everyone, >I've been busy the last few days booking a concert for the CBC to draw media and public attention to the budget cuts that are about to happen. The Canadian Federal Liberal Cacus is meeting on Jan. 28 at the Hyatt Regency Hotel in Vancouver to discuss the cuts. Our concert will be that night in the Hyatt Regency Ballroom!Here's the line-up so far... > >Ken Hamm & David Gogo Travels With Charley >Will Millar Winston Wuttunee >Randy Bachman David Essig >Denise McCann Ellen McIlwaine >Roy Forbes Susan Crowe/Bill Garrett/John Reischman >Bob Bossin Al Hume >Joelle Rabu >Daniel Lapp & The BC Fiddle Orchestra >Gypsalero >Long John Baldry > >I am expecting to confirm a few more performers over the next couple of days. If you are in Vancouver on the 28 of Jan. , please make sure to come out and show your support for Public Broadcasting. Oh yeah, it'll be a great show too!!! > >Doug Cox > Doug Cox http://www.islandnet.com/~dobro ========================================================================= Date: Sat, 13 Jan 1996 15:07:02 -0500 Reply-To: Bob vanArsdall From: Bob vanArsdall Subject: Libba Cotton My wife gave me the Blues calender for 1996 with a picture of Libba Cotton and John Hurt on the front, taken in Newport in 1964. Question: Libba is shown playing left-handed and upside down (bass strings on the bottom - away from her). For those of us who started out learning finger-picking on "Freight Train" this lends a whole new wrinkle to it. Did she actually play this way, or was this just a staged picture? Bob ========================================================================= Date: Sat, 13 Jan 1996 12:42:08 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Billboard Blues Chart 1/20/86 This is the Billboard Magazine Blues Chart for the week of January 20, 1996. 1. Greatest Hits/Stevie Ray Vaughan & Double Trouble 2. Ledbetter Heights/Kenny Wayne Shepherd 3. From The Cradle/Eric Clapton 4. Blues/Jimi Hendrix 5. Handful of Blues/Robben Ford & the Blue Line 6. Some Rainy Morning/Robert Cray 7. Cover To Cover/The Jeff Healey Band 8. Chill Out/John Lee Hooker 9. Keb' Mo'/Keb' Mo' 10. One Foot In The Blues/ZZ Top 11. Turn It On Turn It Up/Roomful of Blues 12. Sad Street/Bobby "Blue" Bland 13. Essential Blues/Various Artists (House of Blues) 14. Even Santa Gets The Blues/Various Artists (Pointblank) 15. Blue Streak/Luther Allison Mary Katherine Aldin ========================================================================= Date: Sat, 13 Jan 1996 20:58:50 GMT Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: First Annual Blues-L Convention Comments: To: Jinxblues@AOL.COM On Fri, 12 Jan 1996 15:50:12 -0500, you wrote: >OK. . . let's hear what you have to say . . . . . >Dick Waterman Looks like Chicago is ruled out on several points, so my vote goes to the Sunflower Festival in Clarksdale in August. The excellent Comfort Inn could do us right, and it's just an hour south of Memphis (and an hour west of Oxford). Add the Delta Blues Museum, Rooster Blues Records, the jook joints, Stovall's Plantation, and all the rest, and you've got a sure thing. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Sat, 13 Jan 1996 12:55:27 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Libba Cotton Comments: To: Bob vanArsdall Bob vanArsdall wrote: > >My wife gave me the Blues calender for 1996 with a picture of Libba Cotton>and John Hurt on the front, taken in Newport in 1964. Question: Libba is>shown playing left-handed and upside down (bass strings on the bottom ->away from her). For those of us who started out learning finger-picking on>"Freight Train" this lends a whole new wrinkle to it. >Did she actually play this way, or was this just a staged picture? She actually played this way, and I remember it drive everytbody nuts trying to figure out how to copy her style! If you'd like to see her playing it, there's a real good video out called Legends of Traditional Fingerstyle Guitar (Vestapol 13004, distributed by Rounder) on which she plays four songs including Freight Train, and the closeups of her hands are hilarious, since to a righthanded player se's doing it ALL WRONG but of course it's perfectly right. Also on the video are Merle Travis, Mance Lipscomb, Doc Watson, Rev.Gary Davis, Sam & Kirk McGee, Josh White, Roscoe Holcolmb and Brownie McGhee & Sonny Terry. Disclaimer: I have no connection with Vestapol or Rounder. But, in one of life's great coincidences, I was blessed to see every single one of these great traditional artists perform live way back when, and thought they were just amazing. This video brings back a lot of good memories. Mary Katherine Aldin ========================================================================= Date: Sat, 13 Jan 1996 15:56:15 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0018 From: "DUTTWEILER.J" Subject: What Album turned you on to the Date: Saturday, 13 January 1996 3:55pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: What Album turned you on to the Blues In-Reply-To: The letter of Friday, 12 January 1996 0:23am ET "Best of Cream" - I got it for Christmas, 1969, and while many on this list don't care much for EC, Cream's take on "Born Under a Bad Sign" and "Spoonful" really set my musical pilgrimage, coupled with the purchase, that same Christmas, of Otis Redding's "Love Man." "Have You Ever Loved A Woman" on Layla hooked me forever and pushed me to Freddy King. Being from Georgia, the Allman Brothers were about the biggest thing around in the early '70's, and after Duane died and the first "Anthology" album was released, listened to the "BB King Medley" and "Someone Loan Me Dime" so much I just about wore it out. About the same time BB's "The Thrill is Gone" became a big hit (I can still remember drinking beer - underage (and the limit was 18 then ) in an Athens, GA, Village Inn Pizza restaurant with BB playing on the Jukebox. The pizza was only so-so, but BB and the beer were *great* (the beer was *real* Lowenbrau, before Miller acquired the US rights to produce it - God, what a waste on a 17 y ear old ) Anyway, those three years, from '69 to '72, laid the foundation for my love of the Blues. Sorry to bore you, but it was a nice trip down memory lane for me ========================================================================= Date: Sat, 13 Jan 1996 17:16:50 -0400 Reply-To: Mike Gilbert From: Mike Gilbert Subject: Re: modern rural blues At 04:45 PM 1/12/96 CST6CDDT, you wrote: >does anyone here know of any modern blues albums that are done in the >20s/30s delta blues style similiar to Lightnin Hopkins or Robert >Johnson or Bukka White? I would prefer albums that are just guitar >and vocals or guitar and vocals done by the same guy/girl. I really >hope that this rural blues style is still being kept alive. I picked up a CD a couple of months ago by Kelly Joe Phelps, from Vancouver I believe, called 'Lead Me On'. He sings and accompanies himself on lap acoustic slide. I read a review of this album on the 'Net somewhere but these old brain cells don't work like they used to so I can't tell you where. It was a favorable review stating that he had a chance at a successful career doing something else but chose to do this, for less cash. Might be what you are looking for. Mike ========================================================================= Date: Sat, 13 Jan 1996 13:54:16 PST Reply-To: "D. ALLEN SIMPSON" From: "D. ALLEN SIMPSON" Subject: Upcoming Blues on TV (networks) MOnday, Jan. 22- Letterman: BB King - O'Brien: Johnny Johnson (repeat of 10/24/95 show) Tuesday, Jan. 23- Tonight Show: Bonnie Raitt (she's a regular, now) WEds., Jan. 24- Joe Ely and Todd Snyder (not strictly blues, but it might be close, depending on the material and approach) Hope you enjoy !! Doug S. (oops... Ely is on Letterman!) ========================================================================= Date: Sat, 13 Jan 1996 17:12:07 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: A CD-ROM, Venues, Concert Photos Comments: cc: jdieter@fs1.psy.emory.edu 1) As my strat clone gathers dust in the corner of my bedroom, it occurs to me that I protest too much in encouraging others to PLAY the blues. This might grab OUR attention. A company in Los Angeles called Play Music, Inc., has created a CD-ROM called "Play Blues Guitar" with midi files and video. They're on the Web at http://www.playmusic.com/ (and I've earned nada for saying so). 2) Speaking of venues, I saw Tinsley Ellis at the JunkYard (in Orlando) last night. Hey, I like Tinsley Ellis, despite his sinful skin color! Opening for him was a new band called King Johnson, led by excellent young guitarist Oliver Wood, whom I've seen play with Ellis many times. ("That boy has got hisself some ROOTS!") Catch 'em if you can. And, yeah, you gotta support live blues! Next weekend I get to see Jimmy Thackery, again, AND Saffire: The Uppity Blues Women. (The old ladies have web sites at http://www.onewdesign.com/saffire/ and http://dcwi.com/~rabson/) 3) I'm now working on a gallery of 20 or so concert photos taken by Swedish photographer Torsten Stahlberg at Gothenburg (Goteborg) University in the late 1970's. These are truly exraordinary photos -- of Albert King, Buddy Guy and Junior Wells, Professor Longhair, Lightnin' Hopkins, Clifton Chenier, J.B. Hutto, Otis Rush, Johnny Shines, Jimmy Johnson, Cousin Joe, Fenton Robinson, Koko Taylor, Johnny Mars, and still more that I haven't seen yet. I humbly invite you to come by later this week and check them out. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Sat, 13 Jan 1996 22:34:27 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Capitol - TX Blues guitar Comments: To: bit-listserv-blues-l@uunet.uu.net In article Richard Shurman writes: >The "Texas Blues Guitarists" CD isn't worth getting for the T-Bone stuff >(available elsewhere) These sides are definitely on the Mosaic box, but I thought they are not on the 3 CD Capitol set which I is all Black & White label recordings. I don't own the 3 disc T-Bone, but have the Texas Blues Guitarists set and the discography lists Mercury, Old Swingmaster and Imperial as original labels of release. Since I don't have the Black & White box, correct me if I'm wrong but I'd say there's no overlap. T-Bone is actually just 10 of 39 sides on this set. Art Schuna ========================================================================= Date: Sat, 13 Jan 1996 22:55:18 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: modern rural blues Comments: To: bit-listserv-blues-l@uunet.uu.net >> does anyone here know of any modern blues albums that are done in the >> 20s/30s delta blues style similiar to Lightnin Hopkins or Robert >> Johnson or Bukka White? I would prefer albums that are just guitar >> and vocals or guitar and vocals done by the same guy/girl. I second the Lonnie Pitchford, Henry Qualls recommendations. Also check out Robert Lucas "Usin' Man Blues" on Audioquest. Most of this is just Robert on vocals and slide guitar. You'll find some additional support on 4 numbers. If it doesn't have to be releases recorded in the 90s, look for releases on the Trix label or try Memphis Willie B on Original Blues Classics label. There are a number of other releases on OBC that would fit the solo blues player definition which I can't remember at the moment. LC Robinson and Robert Pete Williams would also be worth checking out. Art Schuna ========================================================================= Date: Sat, 13 Jan 1996 15:34:05 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Capitol - TX Blues guitar Comments: To: Art Schuna SArt Schuna wrote: > >In article Richard Shurman writes: > >>The "Texas Blues Guitarists" CD isn't worth getting for the T-Bone stuff>>(available elsewhere) > >These sides are definitely on the Mosaic box, but I thought they are not on>the 3 CD Capitol set which I is all Black & White label recordings. I don't>own the 3 disc T-Bone, but have the Texas Blues Guitarists set and the>discography lists Mercury, Old Swingmaster and Imperial as original labels>of release. Since I don't have the Black & White box, correct me if I'm>wrong but I'd say there's no overlap. T-Bone is actually just 10 of 39>sides on this set. > I just checked the two against each other. There are ten T-Bone titles on Capitol's "Texas Guitar Killers" and none of these ten titles appears on the 3-CD T-Bone set Capitol put out in the same series. No overlap at all. Mary Katherine Aldin ========================================================================= Date: Sat, 13 Jan 1996 14:17:10 -1000 Reply-To: Richard Duggan From: Richard Duggan Subject: Re; You never forget your first... In-Reply-To: <199601130510.AAA19316@listserv.brown.edu> > Although this may date many folks on Blues-L, what was the first record > you ever bought on your own? The first record I ever bought on my own was Jan & Dean's 'Surf City'. The most influential record that I ever bought was purchased in 1966: Frank Zappa and the Mothers of Invention- Freak Out I was in the eigth grade, my friends thought I was really strange. The artists/records that brought me to the blues were Taj Mahal, Blue Cheer, Eric Clapton. Guess that dates me! Richard E. Duggan | Chairman, Exhibits Department | 808-848-4178 (vox) Bishop Museum | 1525 Bernice Street | 808-848-7897 (fax) PO Box 19000 | Honolulu, HI 96817 | rduggan@bishop.bishop.hawaii.org ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ "If hard work were such a wonderful thing, surely the rich would have kept it for themselves." -Anonymous ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Sun, 14 Jan 1996 01:50:44 +0100 Reply-To: Peter Gallagher From: Peter Gallagher Subject: Re: How we could choose a sight [sic] Comments: To: ianangus@DIS.ON.CA In-Reply-To: <9601131444.aa09094@admin.dis.on.ca> from "Ian Angus" at Jan 13, 96 03:01:01 pm Well I second that twice :) I'm afraid a trip to the States is a out of reach for me this year, but I wish all a great get-together for the first Blues-L "face-to-face". I think it's a great idea and I trust it will be the first of many to come. I'll look forward to the first over in "Yurrup" an certanly hope to attend! regards, PeterG Ian said that; > PW Wrote.. > > > Regarding the selection of a place and time for the first ever > > Blues-L convention: > > > > I trust Dick to make the best choice possible, given all the factors, > > and suggestions. > > > > Can I get an "Amen"? > > You've got an Amen from me, brother! -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Sat, 13 Jan 1996 19:01:50 -0800 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Re: Convention/New Orleans/I volunteer to help! Comments: To: bit-listserv-blues-l@uunet.uu.net Comments: cc: pwfenton@gate.net P.W. Fenton wrote: > > Seriously, It's a wonderful idea and I only hope I can be a part of > it. I'd like to suggest New Orleans for several reasons. One > because it's my favorite city in the world. But better than that it > has GAMBLING! Gambling, you say? Casinos have package deals > including, airfare, rooms, and meals, that are practically a steal, > because they are hoping you will gamble away some cash. Turn it > into a convention with lots of attendees, and I'll bet they would > GIVE it a way. PW has an great idea here...New Orleans has all the prerequisites, especially the EASY BEER part. (24-hour beer!) Plus, it's almot smack-dab in the middle of the continent, so no complaints about being farther from some people on either cost. And I would volunteer to help with any local arrangements that need to be made. Jazz Fest would be a natural time (last weekend in April, first weekend in May), but might be out for 1996 because the 300,000 faithful that come for the Fest have mostly all booked their rooms already...it fills up awfully fast, and some people keep standing reservations cause they come every year. (All MY houseguests certainly do, anyway.) However, regarding gambling: you all may not know yet, but we lost our land-based casino when Harrah's went bankrupt the day before Thanksgiving, and the only gambling left is on riverboats, which don't (can't) have rooms to let and food to offer. However, you still might be able to put together a hotel package if the numbers are right...and I still volunteer to help! Regards, Maggie Maggie Mortensen Exarch Services New Orleans USA ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ "I'm not sure, but I think that ALL music started in New Orleans." --Ernie K-Doe ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ========================================================================= Date: Sat, 13 Jan 1996 19:02:26 -0800 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Musician Joke: Bass & Drums Comments: To: bit-listserv-blues-l@uunet.uu.net An anthropologist hears a rumor about an undiscovered tribe that has never been exposed to the modern world. She gets very excited. She knows that if she can be the first anthropologist to document the tribe her reputation will be assured. She travels to the remote area where the tribe is located, and in a tiny village on the outskirts of the jungle she finds someone who speaks a little English, is aware of the existence of the tribe, and agrees to act as her guide. When the guide takes her to the tribe's location, the first thing she notices is the drumming: it is incessant, pounding, goes on constantly. She asks the guide what the purpose of the constant drumming is and he only replies "DRUMMING GOOD. EVERYTHING OK AS LONG AS DRUMS POUNDING." She asks him what will happen if the drums ever stop and he just rolls his eyes toward the heavens, shudders and repeats "EVERYTHING OK AS LONG AS DRUMS POUNDING." The anthropologist stays with the tribe several weeks and during all that time the drumming never stops. She gets used to it. She comes to think of it as normal. Then, on the day she is packing her bags to leave, she suddenly notices that the drums have stopped. There is total silence. She turns to her guide and says "The drumming has stopped! What will happen now?!?" And the guide rolls his eyes toward the heavens and says "OH NO. BASS SOLO." Maggie Mortensen Exarch Services New Orleans USA ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ "I'm not sure, but I think that ALL music started in New Orleans." --Ernie K-Doe ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ========================================================================= Date: Sat, 13 Jan 1996 19:32:29 -0800 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Re: Snooks Eaglin: More info?? Comments: To: bit-listserv-blues-l@uunet.uu.net Girish Venkitachalam wrote: > > Hi, > > Just finished listening to Snooks Eaglin's Soul's Edge. A very nice album. > Was just wondering if anyone out there has more info about him - other > albums etc. I got the impression from the photographs on the album cover > that he maybe blind; if not fully at least partially. Is this true?? Snooks is my very favorite local blues performer...although *blues* is perhaps not strictly accurate, as he does a little bit of everything in his live shows, which are legendary here. He takes any request anybody throws at him, and is in fact called "The Human Jukebox." I once requested an obscure John Hiatt song and he tossed it off without a moment's hesitation. He's just super. Yes, he's definitely blind. On a CD of live music from JazzFest that radio station WWOZ produced, there's a cut of Snooks performing and in the bridge he targets local DJ & Blues Scholar John Sinclair from the stage by saying "Sinclair, you got to get up and dance--don't think I can't see you sittin' down out there!" He's funny, irreverent, and his unbelievably fast-picking guitar style is constantly referred to as "cricket-fingered." And his trademark is funked-up versions of Spanish flamenco guitar classics. ("Funky Malaguena" being my favorite.) He's from a little town just outside New Orleans, spent all his life here, is probably in his mid-fifties or so and lives in the suburbs with his life-long wife. I don't think they have children. After a lengthy lull in his career he has leapt back in to the fray with great success...the "Soul's Edge" recording is the best in years...to the delight and adoration of the locals. I don't get the impression he tours much, but if he ever comes to a venue near you, miss it at your own peril. As to other recordings, you could contact the mailorder desk at Tower Records on Decatur Street here, or the Louisiana Music Factory on South Peters Street...both have extensive coverage of local recordings. I think there are three others of his...I have two. Regards, Maggie Maggie Mortensen Exarch Services New Orleans USA ========================================================================= Date: Sat, 13 Jan 1996 21:01:15 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Capitol - TX Blues guitar Comments: To: Art Schuna In-Reply-To: Art is correct that the T-Bone sides on the "Texas Guitar" set don't overlap with the Complete Black & White(/Comet/Capitol) set. However, not only are they on the Mosaic set but may be on the Complete Imperial set, are on several LPs and are slated for the forthcoming 8-CD "Mercury Blues" set. However, as Art points out, they're only a small part of the worthwhile and interesting 2-CD set anyhow. By the way, that's great news that Billy Vera will carry on the series for Pete Welding. I can't think of a better choice (if he's come to have a little more appreciation for Pee Wee Crayton since his "Blues >From Dolphin's Of Hollywood" notes!); Billy does a great job with reissues and sure knows this material as well as anyone. ========================================================================= Date: Sat, 13 Jan 1996 22:51:22 -0500 Reply-To: VIBRATOLAD From: VIBRATOLAD Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Is Jimmy Thackery a clone Comments: To: bit-listserv-blues-l@uunet.uu.net Jimmy Thackery sounds like he picked-up alot of riffs from Lonnie Mack. I saw Jimmy a few months ago, and that's when it really struck me. ========================================================================= Date: Sat, 13 Jan 1996 22:45:09 -0500 Reply-To: David Goldstein From: David Goldstein Subject: Johnny Shines There are two questions: 1. I have read various reviews of this man, and I have his Hey-Ba-Ba-Re-Bop album. When I compare his playing on this album to Robert Johnson, Johnny seems to do a lot more strumming than picking. I prefer the original. Is Johnny Shines' playing overrated? 2. Assuming that the answer to the aforementioned question is that he is really great, how about some suggestions that highlight his acoustic aptitude. I understand that he put out some good stuff on Testament, but that it is electric. Is that true and how good is it? ========================================================================= Date: Sat, 13 Jan 1996 23:01:11 -0500 Reply-To: VIBRATOLAD From: VIBRATOLAD Organization: America Online, Inc. (1-800-827-6364) Subject: Jimmy Thackery's influences Comments: To: bit-listserv-blues-l@uunet.uu.net I saw Jimmy Thackery a few months ago, and it sounds to me like one of his major influences has got to have been Lonnie Mack. ========================================================================= Date: Sat, 13 Jan 1996 22:58:42 -0500 Reply-To: David Goldstein From: David Goldstein Subject: Barrelhouse Piano Blues The artists that I play over and over again are: Booker T. Laury, Nothing But The Blues, Bullseye Big Maceo, King of Chicago Blues Piano, Arhoolie Professor Longhair, New Orleans Piano, Atlantic Roosevelt Sykes, 1929-1941, da Music Professor Longhair is not traditional barrelhouse, but he's great anyway. ========================================================================= Date: Sat, 13 Jan 1996 23:55:34 -0500 Reply-To: VIBRATOLAD From: VIBRATOLAD Organization: America Online, Inc. (1-800-827-6364) Subject: Re: What Album turned you on to the Comments: To: bit-listserv-blues-l@uunet.uu.net I first heard, around 1984, a Slim Harpo record, with "Tina-Nina-Nee" and "Scratch my Back" on it. I was really into punk-rock back then (Ugh), and was sitting around, stoned, with my girlfriend, while my brother played the new tape he had chanced-upon. We all thought it was hilarious-sounding, but still somehow compelling. Someone erroneously told us the tape was of Buddy Guy, so I went out and bought Buddy's "stone crazy" album (thank God). I knew right away it wasn't the same person, but loved it. Then I stumbled upon SRV's "Texas Flood" album, and was further mezmerized. Then a friend loaned me Mayall's Bluesbreaker (with Clapton) album, and the rest was history. From there i really got into Johnny Winter, Albert Collins, and others. It was years before I again located the Slim Harpo record, and realized who it really was. I don't know if I'm using the "use group" thing correctly, but what the hell. ========================================================================= Date: Sun, 14 Jan 1996 05:30:16 GMT Reply-To: Dave Perkins From: Dave Perkins Organization: CTS Network Services Subject: Re: What Album turned you on to the Blues? Comments: To: bit-listserv-blues-l@uunet.uu.net Same here...Junior Wells "Key to the Highway" got me...My dad bought some blues CD's from the Price Club and about 4 of Juniors songs were on there... By the way, is his new album "Everybodys Gettin Some" any good..?? Does he still play at any bars in Chicago, or is he pretty low key now...I was thinkin about takin my senior trip to Chicago to see him play sometime.. Dave ========================================================================= Date: Sun, 14 Jan 1996 01:12:01 -0500 Reply-To: VIBRATOLAD From: VIBRATOLAD Organization: America Online, Inc. (1-800-827-6364) Subject: The Greatest, "real" King of The Blues...The Pillars of Blues-dom! Comments: To: bit-listserv-blues-l@uunet.uu.net B.B.King, while a demi-God in his own right, is not the King of the Blues in my opinion. If I had to choose a few "greatest of the Greats," it would have to be the following: Albert Collins, Albert King, T-bone Walker, Freddie King, and of course, Johnny Winter. Of course, one must define "king of the Blues" I suppose. As far as raw influence, Muddy Waters is right there. Yeah, B.B. is there too, come to think about it. ========================================================================= Date: Sat, 13 Jan 1996 22:17:00 PST Reply-To: Gary Joneson From: Gary Joneson Subject: Junior Wells He is in Hawaii from 2/29 until 3/05 Then: Champaign IL (Blind Pig) 3/23 Chicago IL (Legends) 3/30 You can check his and other harp players schedules on the WEB at: http://www.island.net/~blues/mags.html >Does he still play at any bars in Chicago, or is he pretty low key >now...I was thinkin about takin my senior trip to Chicago to see him play >sometime.. > > Dave Gary Blues WEB (King Biscuit Time) http://www.island.net/~blues/ ========================================================================= Date: Sun, 14 Jan 1996 01:28:36 -0500 Reply-To: VIBRATOLAD From: VIBRATOLAD Organization: America Online, Inc. (1-800-827-6364) Subject: JOHNNY WINTER----WHEN'S HE RECORDING? WHERE'S HE BEEN? Comments: To: bit-listserv-blues-l@uunet.uu.net What's Johnny been up to? It's been too long since his last album. NO ONE plays the blues like Johnny. ========================================================================= Date: Sun, 14 Jan 1996 02:29:12 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: The Site is in Sight I hate to assume the role of giving grammar lessons to the Blues-L but this one is driving me crazy. When referring to a specific location, the word is SITE. When talking about vision, the word is SIGHT. Sorry, folks, I just couldn't keep letting it go back and forth like that. Dick Waterman ========================================================================= Date: Sun, 14 Jan 1996 13:24:09 CST Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: Java tunes - Thanks Thanks to all who sent me coffee tune suggestions. I missed the most obvious, "Iodine in my coffee", Muddy Waters. I don't have that disc in my collection. Now I have to go get Humble Pie's "Eat It" CD, 'cause I was reminded how good that is. I do have Lightin's "Coffee House Blues", but decided to go with Santana's "Abraxis" (an all time favorite Blues LP of mine - kindle, kindle) :-> It set the mood very well (the chimes really worked) and was "smooth", so, no one was irritated by it. I ended up using Santana LP and lyrics references in my analogies for distributed objects and network communications, like, "So if you wanted to serve Santana songs via a new protocol that you had defined...", which was always good for a chuckle. Mike - who can now (has already begun to) spend more time with his music and playin' [ home work ] [ http://www.xnet.com/~msuffern/soundtravels.html ] [ The Blues&Travel Site, Blues Guides, Festivals, ] [ Eric Clapton @ Royal Albert Hall, London tour ] ------------------------------------------------- [ Above all, play what your heart tells you to... ] [ As you learn, your heart will have more to say. ] ========================================================================= Date: Sun, 14 Jan 1996 00:16:53 +0100 Reply-To: Neal Winslow From: Neal Winslow Organization: APlatform an Internet Site Subject: Re: What Album turned you on to the Blues? Comments: To: bit-listserv-blues-l@uunet.uu.net >What turned me on to the blues? No doubt. The first Paul Butterfield Band album way back in 1965. We had been playing surf music but after hearing Bloomfield play there was no looking back. Neal ========================================================================= Date: Sun, 14 Jan 1996 13:47:26 CST Reply-To: msuffern@XNET.COM From: Michael Suffern Subject: It's been a Java week! Comments: To: rossentj@interaccess.com It's been a Java week for sure! Monday, the presentation on Java to the directors (went great); Thursday, the seminar (best turnout in company history), and then a coffee house folk music gig on Friday night. The coffee house gig was something they're trying to start at the church, so, I did get to play the Blues ("Sinner's Prayer") in church - but not for Mass yet. I sang my ass off on that one, eyes closed, sweat drippin', and it left a nice afterglow - if you know what I mean! I think the 2 nuns that were there were maybe offended by the lyrics in John Prine's "Sam Stone" (the song about the Vietnam vet who comes home a junkie and slowly slides into oblivion - un-helped by anyone): "Jesus Christ died for nothin', I suppose". I take it as a statement of dispair over the fact that we have such suffering in life - I hope they weren't too 'knee-jerk' about it. Everyone did laugh at the end of "Dear Abby" were the young couple were just shooting the breeze in the back seat of the car when they got caught: "With her hair up in curlers and her pants to her knees. Signed... Just Married". Anyway, I've got more time for my music now and I think it's time I be playin' some more Blues - with a whole damn band, Yeah! Been *too* long since I've heard some real Blues musicians behind me... Mike -who's been high on music so much lately that he almost can't believe it could feel so good! [ home work ] [ http://www.xnet.com/~msuffern/soundtravels.html ] [ The Blues&Travel Site, Blues Guides, Festivals, ] [ Eric Clapton @ Royal Albert Hall, London tour ] ------------------------------------------------- [ Above all, play what your heart tells you to... ] [ As you learn, your heart will have more to say. ] ========================================================================= Date: Sun, 14 Jan 1996 03:50:36 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Mississippi John Hurt Recommendations? Comments: To: bit-listserv-blues-l@uunet.uu.net A number of things set John Hurt apart from other artists, including his style of playing and his silky voice, but what I've learned from speaking with people who were fortunate enough to have known the man is that he was one of the nicest and gentlest souls ever born. In fact, in the very rough and tumble world of the blues, John Hurt was regarded as a saint, albeit one with a good sense of humor. I think the two CD set released a couple of years ago by Adelphi/Genes as part of the Blues Vault Series captures the essence of this special man quite well. The performances were recorded live before a very appreciative audience, and the second CD contains Pete Seeger's interview with Hurt, which is both entertaining and enlightening. "Mississippi John Hurt: Memorial Anthology" is available on GCD 9906/7. In keeping with the spirit of this group, I will advise you that I am a close friend of the owner of the label, and, of course, I wish him only the best. But my comments on this Hurt collection are sincere, and I believe that others who have heard it will back me up. Denise ========================================================================= Date: Sun, 14 Jan 1996 03:07:21 -0600 Reply-To: Chris Pearson From: Chris Pearson Subject: B.B.King Classics I came across a CD today in the used bin entitled B.B.King Classics. For 5 bucks I couldn't go wrong and I bought it. It was by Masters Records in Holland. No liner notes whatsoever. Some of it seems to be live and others studio work. One cut, Everyday I have the Blues, is a duet with full jazz band. Does anybody know who might be singing with him on it? This may sound crazy but it sounds a little like Sammy Davis JR. Chris ========================================================================= Date: Sun, 14 Jan 1996 09:16:32 GMT Reply-To: Garby Leon From: Garby Leon Organization: Netcom Subject: Re: You never forget your first... Comments: To: bit-listserv-blues-l@uunet.uu.net Cozy Cole, "Topsy, Pt. II." Drum solo drove me wild. Used to listen to the entire WTAC Flint MI top 40 countdown when I was a kid, waiting for it to come on. Still like to get it. - Garb Leon (ps who did 'Pope Salad Annie'?) ========================================================================= Date: Sun, 14 Jan 1996 06:55:21 -0500 Reply-To: RNABooking From: RNABooking Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Texas Pete Mayes Comments: To: bit-listserv-blues-l@uunet.uu.net Pete is still around Houston. He had one leg amputated a couple of years ago but can be found playing if you look hard enough. Joe Hughes or Texas Johnny Brown would know how to find him. Pete is great! A true Texas original. Ronnie Narmour ========================================================================= Date: Sun, 14 Jan 1996 07:46:00 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Johnny Shines recommendations .... Comments: To: David Goldstein In-Reply-To: <199601140345.WAA01657@ipof.fla.net> On Sat, 13 Jan 1996, David Goldstein wrote: > 2. Assuming that the answer to the aforementioned question is that he is > really great, how about some suggestions that highlight his acoustic > aptitude. I understand that he put out some good stuff on Testament, but > that it is electric. Is that true and how good is it? He has two CD's on Biograph that are excellent and acoustic: CD #125 Mr. Cover Shaker and CD #121 Traditional Delta Blues. I would go on to say that TDB is a must own. I am not a mus- ician not a guitar player but there is some picking on the CD that always makes me say - how'e he do that. Also he has if available Too Wet To Plow, was on Tomato, also terrific acoustic guitar with Louisiana Red and Sugar Blue. TWTP is nicely recorded - the channels are distinct so you'll hear Johnny very clearly from Red, and Sugar is distinct also. Could be a tie for must have except on the Biograph TDB is my favorite cut Jim String - great tale of hookers, pimps, and a little murder thrown in. Either or all. NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sun, 14 Jan 1996 07:49:02 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Barrelhouse Piano Blues Comments: To: David Goldstein In-Reply-To: <199601140358.WAA02612@ipof.fla.net> On Sat, 13 Jan 1996, David Goldstein wrote: > The artists that I play over and over again are: > Booker T. Laury, Nothing But The Blues, Bullseye > Big Maceo, King of Chicago Blues Piano, Arhoolie > Professor Longhair, New Orleans Piano, Atlantic > Roosevelt Sykes, 1929-1941, da Music Another and one I just discovered is Big Joe Duskin. He has some Wolf and some Arhoolie?? CD's available that are really cranking barrelhouse. NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sun, 14 Jan 1996 14:56:29 +0200 Reply-To: T P Uschanov From: T P Uschanov Subject: Re: ..Re "Dr. Hepcat" (aka Lavada Durst).. Comments: To: Peter Agostinelli In-Reply-To: On Sat, 13 Jan 1996, Peter Agostinelli wrote: > Also, is the book, "The Jives of Dr. Hepcat" still available? > the partial review and excerpt I read on Blues-L a few days ago, I'd > be really interested in checking that out as well. Norton Records (Box 646 Cooper Station, New York NY 10003, USA) had a reprint in their catalogue fairly recently. No harm in writing to ask, I guess. T P Uschanov (Mr), University of Helsinki, Finland, European Union. tuschano@cc.helsinki.fi ---- http://www.helsinki.fi/~tuschano/ "Property is theft." (Pierre-Joseph Proudhon) ========================================================================= Date: Sun, 14 Jan 1996 14:06:51 +0100 Reply-To: Jose Antonio Revilla Garcia From: Jose Antonio Revilla Garcia Subject: CHRIS THOMAS Let's add a bit of controversy to the Blues-L O:-))) What do you think about him? Jose. Spain. ========================================================================= Date: Sun, 14 Jan 1996 14:11:09 +0100 Reply-To: Jose Antonio Revilla Garcia From: Jose Antonio Revilla Garcia Subject: ALL MUSIC GUIDE I'm thinking about purchasing the All-Music Guide CD-ROM. - Is it OK the Blues related stuff? - How much is it worth, and how much would cost mailing it till Spain? - How many artist does it have? (I have heard over 250.000...:-OOO - What is the latest edition? Are they planning to edit any othre one in a few months? - Does it include Classical Music? - Where do I have to go to order it? Thanks. Jose. Spain. ========================================================================= Date: Sun, 14 Jan 1996 14:12:17 +0100 Reply-To: Jose Antonio Revilla Garcia From: Jose Antonio Revilla Garcia Subject: BLUES CD-ROM Are there any Blues CD-ROM Encyclopaedias out there? Are them like pissing? :-? Jose. Spain. ========================================================================= Date: Sun, 14 Jan 1996 14:14:05 +0100 Reply-To: Jose Antonio Revilla Garcia From: Jose Antonio Revilla Garcia Subject: BLUES JAMS ALBUMS Some feels like recommend us some of the best Live Blues Jams Albums? (I think that where Blues really astonishes people is on Live Concerts...) Jose. Spain. ========================================================================= Date: Sun, 14 Jan 1996 14:16:10 +0100 Reply-To: Jose Antonio Revilla Garcia From: Jose Antonio Revilla Garcia Subject: MAIL ORDER STORES In your opinion, what are the best Mail Order Stores to buy CD's on the Net? I am searching the more cheap, of course....:) Jose. Spain. ========================================================================= Date: Sun, 14 Jan 1996 14:18:09 +0100 Reply-To: Jose Antonio Revilla Garcia From: Jose Antonio Revilla Garcia Subject: BB King doesn't play and sing together? Is it true that BB King isn't able to play guitar and singing at the same time? I feel relaxed, as neither can I....:)))) ========================================================================= Date: Sun, 14 Jan 1996 14:19:24 +0100 Reply-To: Jose Antonio Revilla Garcia From: Jose Antonio Revilla Garcia Subject: BLUES FTP-SITES I know the Blues Shed ftp site, but I'm searching another ones. Does anybody know anything else? Thanks. Jose. Spain. ========================================================================= Date: Sun, 14 Jan 1996 14:21:41 +0100 Reply-To: Jose Antonio Revilla Garcia From: Jose Antonio Revilla Garcia Subject: BLUESMEN ON THE NET Anybody knows any famous Bluesmen address's on the Net? :) ========================================================================= Date: Sun, 14 Jan 1996 09:09:42 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Blues Scramble Update .... For those of you playing the blues scramble at our web page here are the CD's the winner can pick from ... if you ain't seen the game and the reviews come on by, (I'd like to call this a shameless or shameful plug but can't - we don't make no money at it, just providing a little fun for the commun- ity). Lavelle White - Miss Lavelle (Antoines) Bobby Blues Bland - Sad Street (Malaco) Mike Morgan and the Crawl - Ain't Worried No More (Black Top) Sonny Rhodes - The Blues Is My Best friend (King Snake) P.S. Next month another game is being added to go along with our 20 Wolf reviews being added to the page. The Scooter loves crosswords, games etc., hope you do too. NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sun, 14 Jan 1996 09:11:02 -0600 Reply-To: 305 Spin From: 305 Spin Subject: First Annual Blues-L Convention I live in Central Missouri and have travel to St. Louis, Columbia and Kansas City to get my blues. Also, as a photojournalist, I hit most of the major blues festivals around the midwest. Without a doubt the Kansas City scene is one of the Best Blues scenes in the Country. For Annual Festivals, I would rate it in the top 3 with Chicago and Helena. As far as the local scene, every week several clubs are jamming with both local and national talent (home to Abb Locke and Little Hatcht!) including one of THE BEST Blues clubs in America, The Grand Emporium. If you haven't been to the Kansas City Festival, it is three days of great talent in a beautiful park, excellent location and great production elements. This year the KC festival will be July 19th-21st. In addition, the Kansas City airport is a dream to fly in and out of, and everything from hotels, meals, and even beer are cheaper as a whole as far as large cities goes. And finally, there is nothing better than KC BLues and Barbeque! Plus with its central location, Kansas City has many affordable convention facilites including one of the most modern in the country, Bartle Hall. While not on the Board of the Kansas City Blues Society I am sure Shirley Mae Owens and her board would be glad to help put something like this together. j John Moore \ Everyday 305 Spin / I have spin305@internetland.net \ the blues... Sedalia, MO USA / but what else is there?! ========================================================================= Date: Sun, 14 Jan 1996 10:30:03 EST Reply-To: EDWIN F TREMEWAN From: EDWIN F TREMEWAN Subject: WFBE Blue Highway Playlist 1/13/96 WFBE Blue Highway Playlist for January 13, 1996, with host Ed Tremewan WFBE is at 95.1 FM in Flint, MI Tonights "theme", a salute to the Blues Shouters. Artist, Song,Album, Label 9pm to 10 pm B.B. King, Worry Worry, Live At The Regal, MCA Omar & the Howlers, Highway 49, World Wide Open, Watermelon Casey Jones, I Am A Hog For You, The Crowd Pleaser, Airwax Calvin Owens, Sweet Meat, True Blue, Top Cat Ray Bailey, Miss Mean, Satans Horn, Zoo Entertainment H-Bomb Feruson, Shake Your Apple Tree, Wiggin Out, Earwig Nappy Brown, Who What Where & When, I'm A Wild man, New Moon Blues Screamin Jay Hawkins, Scream The Blues, Somethin Funny Goin On, Bizarre Jimmy Witherspoon/Robben Ford, No Rollin Blues, Live, Avenue Jazz Don McMinn, Painkiller Blues, Title Track, Icehouse Johnny Mars, You Know the Rules, Stateside, MM&K Keb Mo, Angelina, Keb Mo, OKeh 10pm to 11pm Eric Clapton, Third Degree, From The Cradle, Reprise Randy Volin, V-8 Ford, Used Guitars, Volin Mem Shannon, The Boogie Man, Cab Drivers Blues, Hannibal Larry Davis, I Tried, Blues Knights, Evidence Tony Z, Get Down with the Blues, Title cut, Tone Cool Mike Griffin, Gimmie What I Got Commin, title cut, Waldoxy Luther Tucker/Ford Band, Little Bity Man,Luther Tucker/Ford Band, Blue Rock It Catfish Keith, Asked You For A Favor,Fresh Catfish, Fish Tail Muddy Waters, She's 19 Years Old, Chess Box Set, MCA Kid Ramos, Done Deal. Two Hands One Heart, Black Top Backbone Slip, A Fool For You, Avenue Breakdown, Blue Wave Jesse Austin, Fat Back Of Georgia, Baby's Back. Roesch 11pm to midnight (all girl set) Karen Carroll, Since I fell For You, Had My Fun, Delmark Sweet Miss Coffy, St James Infirmary, Sweet Miss Coffy, Mardi Gras Deborah Coleman, Them Changes, Takin A Stand, New Moon (the shouters) Big Joe Turner, Piney Brown Blues, Big Bad & Blue, Rhino Bull Moose Jackson, My Big Ten Inch, Greatest Hits, King Special Big Al Dupree, Got A Mind To Ramble, Swings The Blues, Dallas Blues Society Gatemouth Moore, Somebody's Got To Go, Beale Street Aint Beale..., Moore (the big set) Big Leon Brooks, You Hurt Me So, Lets Go To Town, Earwig Big Dave/Ultrasonics, Empty Pockets, Love & Money, Schoolkids Big Jack Johnson,Oil Man, The Oil Man, Earwig Big Daddy Kinsey, Don't You Lie To Me, I Am The Blues, Gitanes John Mooney/Bluesiana, Standin Round Cryin, Live, Crosscut Robert Nighthawk/Wampus Cats, Stone cold Natural Blues, Toastin the Blues, Inside Memphis Roosevelt Sykes, Ran The Blues Out The Window(Cow Cow Blues),Blues By. ..., Smithsonian BLUZ! Ed Tremewan formerly BLUZMAN ED ========================================================================= Date: Sun, 14 Jan 1996 10:44:25 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this here day On this here day in 1955 Disc jockey Alan Freed begins his first New York area Rock & Roll Ball, a two night affair which is held at the Saint Nicholas Arena in Harlem. Both shows at the 6,000 seat arena are sold out in advance, brining in $24,000. Those appearing on stage include Big Joe Turner, the Clovers, Fats Domino, the Moonglows, Drifters and the Harptones. On this here day in 1956 Little Richard recorded "Tutti-Frutti", a song he was sure would be a hit. It was a HUGE hit... 9 moonths later when it was covered by ultra-white Pat Boone. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Sun, 14 Jan 1996 18:16:23 +0200 Reply-To: T P Uschanov From: T P Uschanov Subject: Re: On this here day Comments: To: "P.W. Fenton" In-Reply-To: <199601141545.KAA61302@osceola.gate.net> On Sun, 14 Jan 1996, P.W. Fenton wrote: > On this here day in 1956 Little Richard recorded "Tutti-Frutti", a > song he was sure would be a hit. It was a HUGE hit... 9 moonths later > when it was covered by ultra-white Pat Boone. The Specialty Little Richard box set says "Tutti-Frutti" was recorded at sessions in New Orleans in mid-September, 1955... T P Uschanov (Mr), University of Helsinki, Finland, European Union. tuschano@cc.helsinki.fi ---- http://www.helsinki.fi/~tuschano/ "Property is theft." (Pierre-Joseph Proudhon) ========================================================================= Date: Sun, 14 Jan 1996 11:38:48 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: On this here day Comments: To: T P Uschanov On 14 Jan 96, T P Uschanov had this to say... > On Sun, 14 Jan 1996, P.W. Fenton wrote: > > > On this here day in 1956 Little Richard recorded "Tutti-Frutti", a > > song he was sure would be a hit. It was a HUGE hit... 9 moonths later > > when it was covered by ultra-white Pat Boone. > > The Specialty Little Richard box set says "Tutti-Frutti" was recorded at > sessions in New Orleans in mid-September, 1955... I got this info from a music history database. Perhaps, it should have read "released". That's not too hard to believe. Recorded in mid September, released in January. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Sun, 14 Jan 1996 12:08:23 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: A site four soar eyes Comments: To: Jinxblues@aol.com O.K. so it was me. I was the MORON who started the thread with SIGHT instead of SITE. I Confess, and throw myself on the mercy of the net. Internet?... Mercy?.... well... I confess anyway. It will never go away. The news echo has got it now, and long after the first covention is history, people, enjoying their free 10 hours on America Online, will be posting suggestions for the SIGHT! I may have to join LW as a lurking non-member. Oh... the humanity P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Sun, 14 Jan 1996 11:52:21 -0800 Reply-To: Gail McIntosh From: Gail McIntosh Subject: Re: BLUES-L Digest - 10 Jan 1996 to 12 Jan 1996 In-Reply-To: <199601120509.AAA18576@listserv.brown.edu> Date: Thu, 11 Jan 1996 11:41:35 -0500 From: Meadors Subject: Rounder Records >Does Rounder Records have an email address? >Mike Meadors >Orange2@gnn.com While others have responded in part to this question, I wanted to provide a personality behind the address. You may email Rounder and it's affiliated labels (blues= Bullseye, Black Top, Tone-Cool, Rooster Blues, Vestapol videos) at info@rounder.com or I encourage you to email me directly. I'm Direct Marketing Coordinator at Rounder and I enjoy participating on BLUES-L, although my priorities of late have afforded little time for participation. That soon will change. Thanks for your interest in Rounder. ___________________________________________________________ ___________________________________________________________ gailm@rounder.com One Camp St. Cambridge, MA 02140 http://harp.rounder.com or gopher harp.rounder.com ___________________________________________________________ ___________________________________________________________ ========================================================================= Date: Sun, 14 Jan 1996 12:20:03 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: What Do Producers Do? I've found the role of a producer of an album enigmatic: I'm simply not sure what a producer does. Does he find the $$$ for studio time, etc? Does he control, or at least guide, the creative process within the studio (and if so, is that because he puts _his_ money on the line)? etc etc. I've read a number of interviews where blues musicians complain about the control or decisions of their producer. But it's still vague to me, and I would guess, to many others on this list. I would _really_ appreciate, esp. among the current and past producers on Blues-L, a discussion of what producers do. Dave Prychitko (Non-blues pick of the weekend: Willie Nelson's STARDUST. Produced by Booker T. Willie's best ever, IMHO.) ========================================================================= Date: Sun, 14 Jan 1996 09:48:08 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Jan. 15 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- APPLEBAUM, SAMUEL (arr/ATLANTIC REC) b. 1904-0115, PASSAIC, NJ BIVENS, EDWARD "SONNY"(of THE MANHATTANS) b. 1942-0115, MACON, GA CAPTAIN BEEFHEART [DON VAN VLIET] (g) b. 1941-0115, GLENDALE, CA CARROLL, JEANNE[ALBERTA JEANNE SIMMONS](v)b. 1931-0115, RULEVILLE, MS GINYARD, J. C. (lead/DU DROPPERS) b. 1910-0115, ST. MATHEWS, SC HOLTS, ROOSEVELT (g) b. 1905-0115, TYLERTOWN, MS HOOKER, EARL [EARL ZEBEDEE HOOKER JR.](g) b. 1930-0115, CLARKSDALE, MS JONES, BRIAN (d/JAMES COTTON) b. 1958-0115, CHICAGO, IL LANG, EDDIE LITTLE [EDDIE LANGLOIS] (g) b. 1936-0115, NEW ORLEANS, LA LEAD BELLY [HUDDIE WILLIAM LEDBETTER] (g) b. 1888-0115, SHILOH, LA LOMAX, ALAN (of the LIBRARY OF CONGRESS) b. 1915-0115, AUSTIN, TX QUEEN IDA (MRS. GUILLORY) [IDA LEWIS] b. 1929-0115, LAKE CHARLES, LA SCHIFFMAN, FRANK (owner : APOLLO THEATRE) d. 1974-0115, SURFSIDE, FL 80 SMITH, BOB (dj/CBC RADIO) b. 1920-0115, WINNIPEG, MANITOBA TEAGARDEN, JACK (v/tbn) d. 1964-0115, NEW ORLEANS, LA 58 WILLIAMS, JOHNNY (v/PHIL. INT. REC) b. 1942-0115, TYLER, AL ------------------------------------------------------------------------------- ========================================================================= Date: Sun, 14 Jan 1996 12:36:39 -0800 Reply-To: Gail McIntosh From: Gail McIntosh Subject: Re: Blues-L convention In-Reply-To: <199601140505.AAA08867@listserv.brown.edu> >8/ All record/video/computer companies will be invited to show their wares >providing that Blues-L membership gains us favorable pricing. We at Rounder World are quite interested in participating in the convention. Personally, I'd like it to take place down south (Clarksdale, Memphis, or New Orleans sound best). Perhaps I'm just dreaming of a warm climate during this harsh winter. Also, a little Southern hospitality would be a welcomed change from the stoic North East. Anyway, count Rounder in as interested and wanting to hear more, perhaps assist with the plans. ___________________________________________________________ ___________________________________________________________ gailm@rounder.com One Camp St. Cambridge, MA 02140 http://harp.rounder.com or gopher harp.rounder.com ___________________________________________________________ ___________________________________________________________ ========================================================================= Date: Sun, 14 Jan 1996 16:27:06 +0000 Reply-To: Byron Foulger From: Byron Foulger Subject: BBCTV Gospel & Denise Williams For UK viewers (and some European viewers who can pick it up), BBC 1, Monday 15 January, Omnibus, 10.40 GMT - 12.10 'Through Many Dangers - The Story of Gospel Music'. Should be at least OK, Omnibus 'generally' do quite well researched projects. Denise A. Williams: sorry!, you emailed me re B&R subs, but I binned your mail, and obviously wrote your wrong email address down as I've had two returned mails, can you repeat? Apologies! Byron ========================================================================= Date: Sun, 14 Jan 1996 14:21:43 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Re: modern rural blues Comments: To: bit-listserv-blues-l@uunet.uu.net This is like a game of connect-a-dot, but, for me, RL Burnside has embodied modern rural blues for several decades now. And there's a lot to be admired in the man, as well. His kids are working hard to carry on the tradition, too, which is kind of unusual. Denise ========================================================================= Date: Sun, 14 Jan 1996 15:49:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Convention should be in MOSCOW!! Yep, Moscow is definitely the place! I'm really surprised no one has suggested this yet. The sun stays in the summer sky till 11pm; as for the American angle, the place is *crawling* with yanks on the foreign "aid" gravy train; if it's an airline hub that Mr. Waterman requires I can assure you Aeroflot has none greater, and most importantly, Local blues bands would stand to benefit MOST OF ANYONE from any instruction they might receive!! Glad I could help out with this! If this bluesy jewel of a capital is picked, I'll do the translatin'. There's not a festival to speak of scheduled as such, but Luther Allison is welcome to crash on my floor if he likes. Dick W. can choose the city, but please keep us in mind over here! Joe "else pick Chicago" in Moscow J.E._Downey@bakermck.com ("Aw shucks, Otis Rush can stay here as well for goodness sake!") ========================================================================= Date: Sun, 14 Jan 1996 16:58:55 -0500 Reply-To: Slydemann@AOL.COM From: Dave Melton Subject: Re: BB King doesn't play and sing together? Comments: To: revillaj@ccaix3.unican.es I would say he either sings from his voice, or through his guitar, but he is not a rhythm guitar player. He is BB King. ========================================================================= Date: Sun, 14 Jan 1996 22:32:21 GMT Reply-To: Zaphkiel From: Zaphkiel Organization: Netcom Subject: Tampa Bay Blues Fest!!!! Comments: To: bit-listserv-blues-l@uunet.uu.net Hello fellow blues fans, Well we're ( Florida Blues Network) back! In fact we are always here, I'm just a kind of shy poster, I lurk a lot! You all just have to attend this year fest. Last year was wonderful, great blues, great food, and great weather! This site (Vinoy Park) is to die for. Surrounded by water on three sides, it never lacks for a cool breeze. Feel free to email either myself or Jerry Ross with any questions you may have. I'll be posting this press release again, and any updates that are necessary. RL Adams Sarasota FL zaphkiel@ix.netcom.com Tampa Bay Blues Fest!!!!! Tampa Bay Blues Fest, Inc., is pleased to announce that the 1996 Festival is scheduled for Saturday and Sunday, March 2 & 3, 1996, at the Vinoy Waterfront Park, in downtown St. Petersburg, Florida. The gates will open at Noon on Saturday and Sunday with entertainment beginning at 1:00 PM. National blues talent will be featured from 1:00 PM to 9:30 PM each day. Saturday's line-up includes the Fabulous Thunderbirds, Son Seals, Savoy Brown, Jordan Patterson, and the Midnight Creepers with special guest Erica Guerin. Sunday's line-up includes Clarence Carter, Jimmy Thackery, Bobby Parker, Sherman Robertson, and Backtrack Blues Band. As in our inaugural event, the festival is being organized in partnership with our charity sponsor, Pinellas Association for Retarded Children ("PARC"), and a portion of the proceeds from the evet will benefit PARC. Last year's First annual festival raised over $6,000 for PARC, and we are hopeful that this year's event will raise even more contributions for this fine charity along with the awareness of the services this organization provides to those in need of assistance. In addition to the impressive roster of blues talent, the festival also offers a wide variety of food and beverage vendors and arts and crafts. A charitable raffle is also planned each day of the event, and patrons will have the opportunity to win vacation packages to New Orleans and a "blues cruise". Blues fans are encouraged to bring blankets and lawn chairs, and children under 12 are admitted free. Tickets are priced at $10.00 per day in advance, and two-day blues passes are available for $18.00. Tickets may be purchased at all Ticketmaster outlets and may be purchased at (813)898-2100 or by dialing (800)247-8844. Tickets may also be purchased at Ringside Cafe in St. Petersburg, The Blues Ship in Tampa, and the Five O'Clock Club in Sarasota. Various food selections, soft drinks, water, beer, and specialty items will be available on site. No coolers, blankets, glass bottles, cans, pets or audio-visual cameras may be brought to the festival. The festival is co-sponsored in part by the City of St. Petersburg, the St. Petersburg Times, WTVT Channel 13, WHPT The Point 102.5 FM, Great Bay Distributors, Coca-Cola of Pinellas County, William R. Hough and Company, Meese Hospital, AmSouth Bank, Thoroughbred Music, Florida Blues Network, Ringside Cafe, WMNF Community Radio 88.5 FM, and Custom Hardwood Flooring of St.Petersburg. Further information may be obtained by contacting the Festival INFOLINE at (813)381-7272 or by calling Director of Operations Jerry Ross of the Florida Blues Network at (941)377-8220. March is a wonderful time of the year to visit FLORIDA! Please make plans to attend this tremendous event which won rave reviews at its debut in 1995. The City of St. Petersburg called the festival, "absolutely the best first-time event ever in the city's rich history". The beautiful Vinoy Waterfront Park on Tampa Bay is located conveniently in the heart of downtown St. Petersburg, Florida, and is accessible from I-275 via branches I-175 and I-375 which lead to the downtown area. For hotel and visitor information, please contact either the St.Petersburg/Clearwater Visitor's and Convention Bureau at (813)582-7892 , or the St. Petersburg Chamber of Commerce at (813)821-4069. Hotels in various price ranges near the site include the Stouffer Vinoy Hotel, Heritage Holiday Inn, Hilton Hotels/St. Petersburg, and Days Inn of St. Petersburg. Jerry Ross Florida Blues Network bluesfla@aol.com ========================================================================= Date: Sat, 13 Jan 1996 14:45:24 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Blues-L convention I've been reading all the posts about the Blues-L convention and only one thing worries me. What worries me is the fact that I probably won't be able to go :-( There is this thing called money and, well, you know the rest. Anyway, I do have a suggestion for a least one event. A Blues-L jam seems to be a must given all the musicians on the list. It would be great fun and if it could be held in a bar with quality beer etc. :-) I'd like to go on record as saying that whether I'm able to attend or not that the Blues-L convention is a great idea and all members on the list should try and support it whether they can attend or not. I sure hope it becomes a regualar event. I suppose I could hold out for a miracle windfall... Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sat, 13 Jan 1996 14:45:29 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Ruth Parrish(communication breakdown) Sorry to waste band width with this but; Ruth, Have you recieved any of my e-mail messages recently. Have you been too busy to reply or are my messages not getting through? Anyway,I recieved Mad Max's tape and really liked it. Thanks for sending me a copy. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sat, 13 Jan 1996 14:45:40 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Blues CD-Rom On Sat, 13 Jan 1996 Cutis Hewston said >1) As my strat clone gathers dust in the corner of my bedroom, it occurs to >me that I protest too much in encouraging others to PLAY the blues. This >might grab OUR attention. A company in Los Angeles called Play Music, Inc., >has created a CD-ROM called "Play Blues Guitar" with midi files and video. >They're on the Web at http://www.playmusic.com/ (and I've earned nada for >saying so). The instructor and guitarist on the video is Keith Wyatt, who is an instructor at Musicians Institute where yours truly is currently attending. Keith is an amzing blues guitarist. He has an encyclopedic knowledge of the blues and the musicians. He can also play in almost any style of any guitarist. He can also do his own thing and I've witnessed him playing some incrdible stuff. He's a great player to hang around and I jam with him as often as I can. I think the CD also contains words of wisdom form Carl "The Great Schroed" Schroeder. Schroed is an amazing musician with years of experience. He is also a character and often makes his points using tall stories, risque adjectives and other methods that you need to experience. You'll be laughing but his messages hit home. No, I haven't heard the CD but as I have the privelige to learn from these guys every week I thought a little plug was in order. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Mon, 15 Jan 1996 09:54:58 +1100 Reply-To: Daniel Bruce From: Daniel Bruce Subject: Holmes Brothers Live Review Guys & Gals, On Saturday night my wife and I attended a concert by The Holmes Brothers here in Sydney, Australia. It was held at the Harbourside Brasserie which for those of you who have seen pictures of Sydney's Harbour Bridge is basically under the right hand pylon as you look at most photos. It is in an old Wharf which has been turned into a Shopping/REstaurant/Entertainment venue called Pier One. Anyway, we went for the Dinner & Show option and because I booked early we got a great table only one row of tables back from the Stage. We enjoyed a very nice dinner to the music of James Brown and some very cool Jazz. About 9:30pm, the Holmes Brothers came on and preceeded to rip-up the stage, with the instrumental prowess and great vocal harmonizing. Gee, can the Popsy Dixon (the drummer) sing. He has a beautiful falsetto voice whihc is fantastic for ther Gospel numbers and he does graet fills on the other numbers. All three members (brothers Sherman & Wendall + Popsy) sing with Sherman doing some great blues vocals and Sherman leading most songs and sings that gruff part on the gospel numbers. They did some originals and some covers (incl Big Boss Man (J.Reed) and Jenny,Jenny (Little Richard)). They did some graet gospel tunes as well such as Amazing Grace, Jesus on the Mainline & Glory Glory. All in all a fantastic show. If they are coming to your town or city get down and see them. Now I have to find some of their albums. BTW, my wife loved it too. -- Daniel Bruce | Genasys II Pty Ltd, Sydney, Australia | "Born under a bad sign, been down since I began to crawl | If it wasn't for Bad Luck, Wouldn't have no luck at all" | Albert King | Internet: danielb@g2syd.genasys.com.au ========================================================================= Date: Sun, 14 Jan 1996 14:48:14 CST Reply-To: JBards From: JBards Subject: Re[2]: You never forget your first... Comments: To: Garby Leon That would be "Polk Salad Annie" by Tony Joe White...also a pretty good guitar player. Jim in Shreveport where we have lots of polk salad _______________________________________________________________________________ Subject: Re: You never forget your first... From: Garby Leon at INTERNET-SH Date: 1/14/96 5:43 AM Cozy Cole, "Topsy, Pt. II." Drum solo drove me wild. Used to listen to the entire WTAC Flint MI top 40 countdown when I was a kid, waiting for it to come on. Still like to get it. - Garb Leon (ps who did 'Pope Salad Annie'?) ========================================================================= Date: Sun, 14 Jan 1996 17:04:29 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: All The Handy Nominations After going over PW's listing of all of the Handy nominations, the thing that struck me most was the lack of nominations of women in any but the women-specific categories: only in keyboards, I think, were any women nominated. What this says about the blues, I'm not sure... David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Mon, 15 Jan 1996 10:04:52 +1100 Reply-To: Daniel Bruce From: Daniel Bruce Subject: Re: Holmes Brothers Live Review In-Reply-To: <199601142254.AA029100098@g2syd.genasys.com.au> from "Daniel Bruce" at Jan 15, 96 09:54:58 am > > Guys & Gals, > > On Saturday night my wife and I attended a concert by The Holmes > Brothers here in Sydney, Australia. It was held at the Harbourside > Brasserie which for those of you who have seen pictures of Sydney's > Harbour Bridge is basically under the right hand pylon as you look at > most photos. It is in an old Wharf which has been turned into a > Shopping/REstaurant/Entertainment venue called Pier One. > > Anyway, we went for the Dinner & Show option and because I booked > early we got a great table only one row of tables back from the Stage. > We enjoyed a very nice dinner to the music of James Brown and some > very cool Jazz. > > About 9:30pm, the Holmes Brothers came on and preceeded to rip-up the > stage, with the instrumental prowess and great vocal harmonizing. Gee, > can the Popsy Dixon (the drummer) sing. He has a beautiful falsetto > voice whihc is fantastic for ther Gospel numbers and he does graet > fills on the other numbers. All three members (brothers Sherman & > Wendall + Popsy) sing with Sherman doing some great blues vocals and > Sherman leading most songs and sings that gruff part on the gospel > numbers. > Of course, I meant Wendell leading most songs not Sherman. In the immortal words of Homer Simpson 'Dooh!!!' > -- > Daniel Bruce | Genasys II Pty Ltd, Sydney, Australia > | "Born under a bad sign, been down since I began to crawl > | If it wasn't for Bad Luck, Wouldn't have no luck at all" > | Albert King > | Internet: danielb@g2syd.genasys.com.au > -- Daniel Bruce | Genasys II Pty Ltd, Sydney, Australia | "Born under a bad sign, been down since I began to crawl | If it wasn't for Bad Luck, Wouldn't have no luck at all" | Albert King | Internet: danielb@g2syd.genasys.com.au ========================================================================= Date: Sun, 14 Jan 1996 17:04:33 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Capitol - TX Blues guitar At 5:39 PM 1/12/96, Mary Katherine Aldin wrote: >Billy Vera is taking over the production on the blues series. I've wondered - I've seen his "credits" on several reissues, and he at least wrote some liner notes for the Doo Wop Box Set - Is this the same Billy Vera as with the Beaters - who had some middle-of-the-road (IMO) success several years ago? Seems like different musical tastes, but I strongly admire the blues work he has done.... David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Sun, 14 Jan 1996 17:09:20 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: The Greatest, "real" King of The Blues...The Pillars of , Blues-dom! In-Reply-To: <4da6rh$ecp@newsbf02.news.aol.com> On Sun, 14 Jan 1996, VIBRATOLAD wrote: > B.B.King, while a demi-God in his own right, is not the King of the Blues > in my > opinion. If I had to choose a few "greatest of the Greats," it would have > to be the > following: Albert Collins, Albert King, T-bone Walker, Freddie King, and > of course, Johnny Winter. Of course, one must define "king of the Blues" > I suppose. As far as raw influence, Muddy Waters is right there. Yeah, > B.B. is > there too, come to think about it. There hae been a lot of influential bluesman, but Blind Lemon Jefferson may be the most influential. Everyone from Virginia to Texas played songs they learned off Blind Lemon records. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Some of us may even die ... before the revolution comes." - The Last Poets ========================================================================= Date: Sun, 14 Jan 1996 23:09:41 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: HEIRS OF J>B> HUTTO AND GEORGE 'HARMONICA' SMITH Comments: To: bit-listserv-blues-l@uunet.uu.net wrote: > >Does anyone out there tell me how I might contact the heirs of J.B. Hutto >and/or George "Harmonica' Smith? I have unreleased shows they did in 1971 and >I need the heirs to license theie rights to us. > >Thanks very much. > >Richard Chalk >Topcat Records > Richard, I can't help you with Gerge Smith, although I've heard that his wife is still living in the L.A. area. About JB Hutto, two recommendations: Since Hutto recorded for Delmark Records, and they're still in business in Chicago and are still selling Hutto records/cds, call them at 312-539- 5001 and inquire. Or, Hutto was the uncle of Lil' Ed Williams of the (formerly Alligator recording artists) Lil Ed & The Blues Imperials). Alligator might be able to put you in touch with Lil Ed. Good luck--I can't wait to hear the recordings! Scott Dirks ========================================================================= Date: Sun, 14 Jan 1996 15:15:50 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Capitol - TX Blues guitar Comments: To: David Silberberg David Silberberg wrote: > >At 5:39 PM 1/12/96, Mary Katherine Aldin wrote: >>Billy Vera is taking over the production on the blues series. > >I've wondered - I've seen his "credits" on several reissues, and he at >least wrote some liner notes for the Doo Wop Box Set - >Is this the same Billy Vera as with the Beaters - who had some >middle-of-the-road (IMO) success several years ago? >Seems like different musical tastes, but I strongly admire the blues work>he has done.... > Yes, it is the same person. He has compiled a number of blues reissues for Fantasy (of their Specialty stuff) and did the notes for the MCA Paul Gayten reissue. Pete Welding left a number of Capitol Blues Series releases "in progress" and Billy will mostly just oversee the continued production of those; then he will also be developing additional releases in the series as he goes along. We have talked some about this and he is very conscious of the possibilities of their blues catalog. Spring and summer releases include: the Complete Imperial and Aladdin Recordings, Pee Wee Crayton; The Complete UA Recordings of Z.Z. Hill; The Complete Aladdin Recordings of Floyd Dixon (2 CDs), and a number of compilations including Living With The Blues Vol. 1, Living With The Blues Vol. 2, and Chicago Blues Masters Vol. 3 (James Cotton, George Smith, Shakey Jake). Start saving now. Btw, I can say, at the moment, that I have no affiliation with any of this, but Billy HAS asked me if I'm interested in doing notes for anything in this series; nothing has been finalized yet. Mary Katherine Aldin ========================================================================= Date: Sun, 14 Jan 1996 17:20:22 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: BLUES JAMS ALBUMS In-Reply-To: On Sun, 14 Jan 1996, Jose Antonio Revilla Garcia wrote: > Some feels like recommend us some of the best Live Blues Jams Albums? > > (I think that where Blues really astonishes people is on Live Concerts...) I don't know if it qualifies as a "jam" album, but The Original American Folk Blues Festival on either Polydor or L+R, was recorded live in Hamburg in 1962 during the "festival"'s tour. It as T-Bone Walker, John Lee Hooker, Memphis Slim, Jump Jackson, Sonny Terry, ... Just a great, great album. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Some of us may even die ... before the revolution comes." - The Last Poets ========================================================================= Date: Sun, 14 Jan 1996 18:31:41 -0500 Reply-To: Stephanie Manna From: Stephanie Manna Subject: (Fwd) Re:Tampa Bay blues festival On Jan 14, 1996 18:31:27 in , 'bluemoon@usa.pipeline.com(Stephanie Manna)' wrote: To: blues-l@brownm.brown.edu Subject: Re:Tampa Bay blues festival From: bluemoon@usa.pipeline.com(Stephanie Manna) X-Mailer: Pipeline USA v3.2.0 I attended the Tampa Bay blues festival last year and it was great! The weather was perfect, the grounds were spacious and pretty, the music flowed, the acts were great. Food and drink was very reasonable with a good choice. My kids enjoyed themselves and had enough running room to get the yah-yahs out. St. Petersburg City is right ...it was one of the best run 1st time event ever. I look forward to the 2nd Festival. My compliments to Jerry Ross, Chuck Ross and Soulman of WMNF! ========================================================================= Date: Sun, 14 Jan 1996 19:06:39 -0500 Reply-To: Niles Frantz From: Niles Frantz Organization: GNN Subject: Re: Johnny Shines Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199601140345.WAA01657@ipof.fla.net> David Goldstein wrote: > I have read various reviews of this man, and I have his > Hey-Ba-Ba-Re-Bop >album. When I compare his playing on this album to Robert > Johnson, Johnny >seems to do a lot more strumming than picking. I prefer the > original. Is >Johnny Shines' playing overrated? > >2. Assuming that the answer to the aforementioned question > is that he is >really great, how about some suggestions that highlight his > acoustic >aptitude. I understand that he put out some good stuff on > Testament, but >that it is electric. Is that true and how good is it? I suggest that, while Shines was a fine guitar player, what made him truly a great artist was his singing. Powerful, heartfelt, compelling. Guitar playing is weighed too heavily as the determinant of quality in a blues artist. Listen again with this in mind. Niles Niles A loop is a loop is a loop. ========================================================================= Date: Mon, 15 Jan 1996 00:29:10 GMT Reply-To: Garby Leon From: Garby Leon Organization: Netcom Subject: Re: Re[2]: You never forget your first... Comments: To: bit-listserv-blues-l@uunet.uu.net From: garb@ix.netcom.com(Garby Leon) Subject: Re: Re[2]: You never forget your first... To: "JBards" You wrote: > >That would be "Polk Salad Annie" by Tony Joe White...also a pretty good guitar player. >Jim in Shreveport where we have lots of polk salad Jim-- Right! Tony Joe White! I knew that, back in the back of my mind somewhere, I think... Two questions, Joe, if you have a second... -- Who was that great piano player on 'Polk Salad Annie...' -- What's Polk Salad?? Many thanks - Garb Leon (ps I never could hear lyrics correctly...) >______________________________________________________________________ ________ >Subject: Re: You never forget your first... >From: Garby Leon at INTERNET-SH >Date: 1/14/96 5:43 AM > >Cozy Cole, "Topsy, Pt. II." > >Drum solo drove me wild. > >Used to listen to the entire WTAC Flint MI top 40 countdown when I was >a kid, waiting for it to come on. > >Still like to get it. > > >- Garb Leon > > >(ps who did 'Pope Salad Annie'?) > > ========================================================================= Date: Sun, 14 Jan 1996 18:43:30 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: BLUES JAMS ALBUMS > From: Jose Antonio Revilla Garcia > Some feels like recommend us some of the best Live Blues Jams > Albums? Two of my favorite live tracks are "You're Gone" on James Harman's "Strictly Live in 85" album on Rivera and Walter Horton doing "Walter's Swing" on his "Little Boy Blue" album on JSP. I never get tired of those two tracks. Conflict of interest note: I do sell the Horton CD but that was one of my favorite tracks long before I did. Feel free to buy it elsewhere! :') Don O. ========================================================================= Date: Sun, 14 Jan 1996 19:56:58 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Women nominations Comments: To: davidis@INTERACCESS.COM On 14 Jan 96, David Silberberg had this to say... > After going over PW's listing of all of the Handy nominations, the thing > that struck me most was the lack of nominations of women in any but the > women-specific categories: only in keyboards, I think, were any women > nominated. > > What this says about the blues, I'm not sure... That there is a lot more men playing it then women. ========================================================================= Date: Sun, 14 Jan 1996 20:08:09 -0500 Reply-To: MAGross@AOL.COM From: "Michael A. Gross" Subject: Re: Blues Videos Comments: To: Renato154@aol.com > A documentary film on John Jackson I made in 1979-1986 is > available from Rhapsody in New York City. Recently I watched a documentary which basically was about a houseparty at the Jacksons' home. Is that your film? Since yours appears to have been made over the course of several years, I am assuming that I saw something else--and would like to get a copy of the film you made. How does one contact Rhapsody in New York City? Michael Gross ========================================================================= Date: Mon, 15 Jan 1996 02:27:19 GMT Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: A few shameless plugs Comments: To: "P.W. Fenton" On Sat, 13 Jan 1996 14:41:25 -0500, you wrote: >The only association I have with Audioquest, Doug MacLeod, EMusic, >Curtis Hewston, The Blue Highway, and Mary Katherine Aldin, is that I >love them all. You sap! EMusic is very cool, eh? I've already spent hours there. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Sun, 14 Jan 1996 19:51:00 -0700 Reply-To: bmpech@MSCD.EDU Comments: RFC822 error: Incorrect or incomplete address field found and ignored. Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Bruce Pech Subject: Re: Johnny Shines Comments: To: David Goldstein In-Reply-To: <199601140345.WAA01657@ipof.fla.net> On Sat, 13 Jan 1996, David Goldstein wrote: > There are two questions: > > 1. I have read various reviews of this man, and I have his Hey-Ba-Ba-Re-Bop > album. When I compare his playing on this album to Robert Johnson, Johnny > seems to do a lot more strumming than picking. I prefer the original. Is > Johnny Shines' playing overrated? > > 2. Assuming that the answer to the aforementioned question is that he is > really great, how about some suggestions that highlight his acoustic > aptitude. I understand that he put out some good stuff on Testament, but > that it is electric. Is that true and how good is it? > David: 1. Most traditional delta blues mix highly syncopated strunning with single string picking. Patton, Willie Brown, Tommy Johnson and Buddy Boy Hawkins (OK -- not strictly delta) exemplify the sound. RJ may have done more picking than some of his contemporaries, but still relied heavily on strumming for dynamics and "texture" (e.g., in Terraplane Blues). Shines is in good company. 2. Until his death in 1992, Shines was probably the leading living exponent of traditional acoustic delta blues guitar. "Hey, Ba-Ba-Re-Bop" is, IMHO, his least satisfying acoustic album. Both "Johnny Shines, Traditional Delta Blues" (Biograph BCD 121) and "Johnny Shines, Standing at the Crossroads" (Testament TCD 5022), recorded in the early to mid-70s, are better showcases for his talent. I've also heard that "Too Wet to Plow" is excellent, but haven't been able to find it locally. BP Boulder, CO (PS -- if your taste runs to complex, raggy fingerpicking, try Blind Blake (a truly amazing guitarist), early Broonzy, Rev. Gary Davis and Blind Boy Fuller.) ========================================================================= Date: Sun, 14 Jan 1996 23:27:03 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Blues head count. Comments: To: MS EC SCOTT On 14 Jan 96, MS EC SCOTT had this to say... > I wouldn't say there isn't a lot of women in blues. Men just think > that the blues belongs to them. For the most part men have made the > blues a Male thing and women are the topic of the discussion and > last to get recognized for their contrubution. Yes we have given men > the blues but what in the hell have they given us I'm glad to know that you wouldn't say that there isn't a lot of women in the Blues. Neither would I. What I would say, is that there are far more men then women playing the Blues. In fact, that's what I did say. And that's ALL I said. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 15 Jan 1996 01:04:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re: Jimmy Thackery's influences I don't know his influences, I just wanna say the guy really works on stage and gives his audience one hell of a show. Living "over here", it's been too long since I've heard him call out, "We're gonna take a little break, come back and play all goddamn night!" Joe in Moscow (a big fan even though most of it ain't straight blues) J.E._Downey@bakermck.com ========================================================================= Date: Mon, 15 Jan 1996 01:44:23 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: What Do Producers Do? David et al, May I take a whack at this one? The Producer generally is the person RESPONSIBLE* to the people who put up the money for a project. That could be the Record Company, the TV Network, the Movie Company and/or the Investors. *Responsible to see that the project gets completed on time, on budget, without delays, over-runs, lawsuits and any other problem (of which there are thousands). You asked: Does he find the $$$ for studio time, etc? Sometimes. Does he control, or at least guide, the creative process...? Often, because he/she is responsible to Produce a commercially viable and marketable product. Generally, (and I speak from my limited experience) the Producer is responsible for every decision that needs to be made on a project, from where lunch will come from, who to hire/fire and why the Bass player, Lead Actor, etc got drunk last night and didn't show up and should the session, shoot, etc be cancelled or continue with fill-ins if neccessary. Overall, its much like like being a Mother, Father, Pyschiatrist, Doctor, Baby-sitter, Dictator and Gopher all in one. After all is said and done, it's wonderful. (IMHO) And I can't wait to read what others have to say! Humbly, Beef Stew WCCC Radio Hartford, CT ******************************************************************* ========================================================================= Date: Mon, 15 Jan 1996 01:03:28 -0800 Reply-To: bluesdj@HALCYON.COM From: Roberta Penn Subject: Re: Seattle Blues Playlist 1/14 In-Reply-To: <199601150503.AAA26854@listserv.brown.edu> TAILGATORS HOG GROOVE UPSTART JERRY GARCIA/GRISMAN THRILL IS GONE ACOUSTIC IKE & TINA TURNER I'VE BEEN LOVING YOU TOO LONG THUM. TERRY EVANS A LOVER LIKE YOU AUDIOQUEST RY COODER WILLIE BROWN BLUES WARNER ETTA JAMES BURN DOWN CORNFIELDS CHESS WILLIE BIG EYES SMITH HARD HARD WAY BLD. PIG EDDIE CLEARWATER BOOGIE MY BLUES AWAY DELMARK THE CATE BROTHERS AFTER THIS TIME ICEHOUSE BUDDY GUY FEELS LIKE RAIN SILVERTONE MILDRED ANDERSON DON'T DECEIVE ME PRESTIGE CRAY I'LL GO ON live MERCURY LURIE BELL YOUR WILD THING AIN'T WILD ENUF DEL. FAB. T-BIRDS ZIP PEE DE DO DAH" PRIVATE MUDDY WATERS MANNISH BOY CHESS JOHN LEE HOOKER BOOM BOOM RHINO KID RAMOS TWO HANDS ONE HEART BLK TOP JIMMY REED BABY WHAT YOU WANT ME TO DO RHINO ROD PIAZZA/MIGHTLY FLYERS MURDER IN THE FIRST BIG MO REV. WIRTZ ROBERTA HIGHTONE LJ PORTER GROOVE ME LJP LOUIS JORDAN SAT. NITE FISH FRY EVIDENCE CHAMPION JACK DUPREE FREEDOM BULLSEYE ========================================================================= Date: Mon, 15 Jan 1996 01:04:41 -0800 Reply-To: bluesdj@HALCYON.COM From: Roberta Penn Subject: Re: Red Devils In-Reply-To: <199601150503.AAA26854@listserv.brown.edu> Talked to Kid Ramos for Seattle BLues and he said the Red Devils broke up after he did a tour of Europe with them.....said the members of the band couldn't agree on much of anything. ========================================================================= Date: Mon, 15 Jan 1996 10:39:48 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Little Wilie Littlefield I received a few mails in response to my message last week about Little Willie Littlefield so I thought I could send this to the list. These mails were asking for recommendation of Littlefield's work. I have to be honnest that I may be biased in favor of him as it as an absolutely charming person for which I do have much affection. I met him first in 1982 in Amsterdam, sepnd an evening with him and his lovely wife and it's always with much pleasure that I meet/see/hear him/them again. The only thing I have to mention is that most of what I have is on Lp but those interested in a complete disco can find an extensive article (in Dutch :-) in a recent issue of the Dutch magazine BLOCK (P.O.Box 244, 7600 AE ALMELO, THE NETHERLANDS, Fax +31-546-820106). >From what I have at home (my prefered ones are marked wih a *): LP's *Route 66 KIX-10 IT'S MIDNIGHT (Modern + Rhythm cuts 1949-1957) *K.C. 101 K.C.LOVING (Federal cuts from 1952) *OLDIE BLUES 8003 HOUSE PARTY (recorded in 1982) OLDIE BLUES 8006 I'M IN THE MOOD (1983) ACE CH 150 HAPPY DAY BLUES (1985) *ACE CHD 114 JUMP WITh (Moderne stuff) ACE 24/34 Vol1 and Vol2 (Modern stuff) SHUBERT (number escapes me ) PLays the Boogie Woogie (1987) CDs *ACE 503 GOING BACK TO KAY CEE (Federal-complete) *OLDIE BLUES 7002 I'M IN THE MOOD (compilation of the two Lps) CMA 8013 Plays the boogie woogie (CD version of the Shubert LP) CMA 10005 STARS of R'n'B (1994) there are some other LPs and Cds (on CMA, EPM) and Littlefiedl also appears on several anthologies on COLLECTABLES, JSP, POLYGRAM, FLYRIGHT (Down in Hogan's Alley), KING, PARIS ALBUM, .... Collectors will also remember his Blues Connoisseur 45's recorded in the 70s as well as his RiBTONE 45 featuring Ron Thompson from the early 80's (1980 if my memory works well). Born in El Campos texas on september 19th 1931, Littlefiedl is a unique piano player with a unique left hand that I do really recommend and as I said last week, he is a natural TERRIFIC entertainer. If there's one musician left who can play -among others styles- boogie-woogie in the real true old tradition with moreover much more than just technical rapidity and skill, it might well be him! There aren't many gentlemen/performers/entertainers like him nowadays! Jean-Pierre "Young man" Urbain ========================================================================= Date: Mon, 15 Jan 1996 10:47:27 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Blues Loon Mojo Buford ? I received a post a few weeks ago informing me of a new MOJO BUFORD CD on the Minneapolis based BLue Loon label. Is there anybody out there that already heard it. How does it compare to his first (quite good, IMO) BLUE (M)LOON CD? Thanks Jean-Pierre "Young man" Urbain ========================================================================= Date: Mon, 15 Jan 1996 03:55:50 CST6CDDT Reply-To: Joe Satriani From: Joe Satriani Organization: UW-Superior Subject: harmonica Im a college student here at superior and a beginning/intermediate blues guitarist. I used to listen mainly to just guitar players on urban blues albums but after getting the howlin wolf box set and hearin ol chester play the harmonica i think ill learn a new instrument! What kind of harmonica should i start off on? There seems to be different keys they come in and then theres chromatic. Why get different keys if you have a chromatic im confused. They seem to run about 15-25 in the catalogs is that about right? What brands are suited to blues? What did Chester Burnett (Howlin Wolf) play? Is there such a thing as vintage harmonicas? Thanks for the help. ========================================================================= Date: Mon, 15 Jan 1996 05:13:35 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Little Wilie Littlefield Comments: To: Jean-Pierre Urbain In-Reply-To: <01I01BJLKCGI00105M@RL0002.RULIMBURG.NL> Should add to Jean-Pierre's CD listings Little Willie Littlefield - Paris Streetlights #157802 on Blues Collection. Nice session - just LWL and the piano. Very smooth playing, easy and personal. NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 15 Jan 1996 11:20:32 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: LITLE JIMMY REED - VENT RECORDS Hope to find some time to review this set later this week but I just want to recommend the very nice debut album of (real name Leon Atkins) LITTLE JIMMY REED "School's Out" on VENT RECORDS VR 30006 which really deserves his name! I first heard him on the Alabama Blues Showcase Cd (see below) and this complete debut album confirms my expectations. (he was also mentioned in Axel Kustner's JUKE BLUES article from last year) "Little Jimmy Reed (Leon Atkins), lives in Enterprise, Alabama and is a self-taught musician who learned to play the guitar and harmonica around the age of 16. "My daddy bought me a guitar on Monday and by Saturday, I could play it!" says Leon. As a child he grew up in front of a night club. Jimmy Reed's music was played regularly on the juke box and young Leon did his best to play along with it and learn the Jimmy Reed style. He got his nick-name from an experience he'll never forget. He had always wanted to see the real Jimmy Reed and when he finally got the chance, Mr Reed was too drunk to play. "They snuck him out the back and came and got me". The people couldn't tell the difference--or didn't care!" Little Jimmy Reed has appeared as the opening act for Bobby "Blue" Bland, Lynn White and many others. The Alabama Blues Society presented Leon with the 1995 Alabama Blues Treasure Award. He also plays many festivals around the south including the New Orleans Jazz and Heritage festival. When it comes to blues, Little Jimmy Reed is a master. A tour of Europe is in the near future for this Alabama bluesman." (Vent Records Artist Profile) Btw, musician/producer/bluezeller Michael McCracken has set up a Web page for VENT records which now also distributes the very nice LITTLE WHITT and BIG BO CD along with some others CDs: VR-30001 Dick's Hat Band "Shameless Rhythm & Blues" VR-30002 Topper Price"Long Way From Home" VR-30003 Alabama Blues Showcase"Alabama blues!" (featuring Little Whitt, Littel Jimmy Reed, Big Bo, Jerry McCain, ...) VR-30004 Dick's Hat Band "Got The Whole Town Talkin'" VR-30006 Little Jimmy Reed "School's Out" VR-30007 Mark Sallings & The Famous Unknowns "Let It Be Known" VR-30008 The Pounders "Rockin' The Blues" VR-30009 Little Whitt & Big Bo "Moody Swamp Blues" Their address is <> and if you visit it you'll see you can even try to win a CD! Jean-Pierre "Young Man" Urbain P.S. Not affiliated etc... ========================================================================= Date: Mon, 15 Jan 1996 10:42:52 +0000 Reply-To: rof From: rof Subject: Re: Mojo Sorry to keep talking about magazines which some people have trouble finding but if you can get hold of it, then the February issue of Mojo has excellent article on Howlin' Wolf with interviews with Hubert Sumlin and others and some great pictures as well. Worth searching out. Rob. ========================================================================= Date: Mon, 15 Jan 1996 06:03:36 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: LITLE JIMMY REED - VENT RECORDS Comments: To: Jean-Pierre Urbain In-Reply-To: <01I01CZ4EHSY002OKN@RL0002.RULIMBURG.NL> Seems like this morning is mine to follow the leads of Jean- Pierre. Listened to both of the mentioned CD's Little Jimmy Reed & the Little Whitt & Big Bo and both of them are worthy of everyone's attention. Good solid downhome blues, both w/ excel guitar and harp. On the LW&BB the artists share all of the musical chores and on the LJR Jimmy does the whole nine. Hope you get the chance to review these Jean-Pierre, we will be giving it a go also. Be very interested to see both sets of reviews on these discs. Will also try and get to some of the other Vent CD's too. Will post here and at our webpage. BTW, the Vent game is a lot of fun - it actually inspired me to do somethings like it on our page. Mike is not only each of the things you mention, he's also one helluva game-maker- upper. Everyone should go to his site - play, listen, enjoy and consider his output. Sounds like a lot of love went into these efforts. On Mon, 15 Jan 1996, Jean-Pierre Urbain wrote: > Hope to find some time to review this set later this week but I just want to > recommend the very nice debut album of (real name Leon Atkins) > > LITTLE JIMMY REED "School's Out" on VENT RECORDS VR 30006 > > which really deserves his name! I first heard him on the Alabama Blues > Showcase Cd (see below) and this complete debut album confirms my > expectations. (he was also mentioned in Axel Kustner's JUKE BLUES article > from last year) > > > "Little Jimmy Reed (Leon Atkins), lives in Enterprise, Alabama and > is a self-taught musician who learned to play the guitar and harmonica > around the age of 16. "My daddy bought me a guitar on Monday and > by Saturday, I could play it!" says Leon. As a child he grew up in front of a > night club. Jimmy Reed's music was played regularly on the juke box and young > Leon did his best to play along with it and learn the Jimmy Reed style. He > got his nick-name from an experience he'll never forget. He had always wanted > to see the real Jimmy Reed and when he finally got the chance, Mr Reed was > too drunk to play. "They snuck him out the back and came and got me". The > people couldn't tell the difference--or didn't care!" Little Jimmy Reed has > appeared as the opening act for Bobby "Blue" Bland, Lynn White and many > others. The Alabama Blues Society presented Leon with the 1995 Alabama Blues > Treasure Award. He also plays many festivals around the south including the > New Orleans Jazz and Heritage festival. When it comes to blues, Little Jimmy > Reed is a master. A tour of Europe is in the near future for this Alabama > bluesman." (Vent Records Artist Profile) > > > Btw, musician/producer/bluezeller Michael McCracken has set up a Web page for > VENT records which now also distributes the very nice LITTLE WHITT and BIG BO > CD along with some others CDs: > > VR-30001 Dick's Hat Band "Shameless Rhythm & Blues" > VR-30002 Topper Price"Long Way From Home" > VR-30003 Alabama Blues Showcase"Alabama blues!" > (featuring Little Whitt, Littel Jimmy Reed, Big Bo, Jerry McCain, ...) > VR-30004 Dick's Hat Band "Got The Whole Town Talkin'" > VR-30006 Little Jimmy Reed "School's Out" > VR-30007 Mark Sallings & The Famous Unknowns "Let It Be Known" > VR-30008 The Pounders "Rockin' The Blues" > VR-30009 Little Whitt & Big Bo "Moody Swamp Blues" > > > Their address is > > <> > > and if you visit it you'll see you can even try to win a CD! > > > Jean-Pierre "Young Man" Urbain > > P.S. Not affiliated etc... > NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sat, 13 Jan 1996 20:56:41 GMT Reply-To: Dave_J._Herda@infozone.telluride.co.us From: "Dave J. Herda" Organization: InfoZone Telluride Co (970)-728-0472 Subject: Re: Jon Spencer & RL Burnside Comments: To: Skipjames@AOL.COM This is going to be one hell of a show--I can only wish I was going to be lucky enough to be there myself. They have played together for quite a while now (at least since last spring) and seem to enjoy each others company. I met R.L. in Iowa City this summer and he was wearing a John Spencer T-shirt while he played the summer blues festival. He told me himself that he loves playing with "John and the fellas" and he said that they ended each show by jamming together. If ytou have a chance don't miss it and don't be alarmed if John Spencer scares you a bit. They are abstract, but very talented and their shows are always bursting with energy. Give them a chance and you might be surprised--If you want to hear them first, both of their albums (Extra Width and Orange) are top notch to say the least. Peace--D "Keep on playin those blues!" ========================================================================= Date: Mon, 15 Jan 1996 12:12:04 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Tunanet non-delivery...what the...? In-Reply-To: On Fri, 12 Jan 1996, Eliot Williams wrote: > rather than the list server. This should be fixable by our > listowner, who can remove the tunanet address from the subscription > list. It doesn't mean your posts aren't getting through to the rest > of us. EW The problem is with one of two subscriptions: "" Blues List I sent e-mail to the owner last Thursday phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [15/1/96 7:03 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 15 Jan 1996 12:55:49 +0000 Reply-To: "David J. Wallace" From: "David J. Wallace" Subject: UK Bluzellers Convention? All this talk of conventions got me thinking. I know of I think two other UK 'zellers, how many are out there? Maybe we should have a mini convention? What d'y'all think? ********************************************************** For mail filtering purposes and fast attention, please place one of the following in the SUBJECT line of your message: If it is related to the Department of TRP: 'TRP' If it is related to Airline/Aircraft Business: 'AIR' If it is personal or a priority matter 'PER' Other text can follow. Thank You! ********************************************************** ========================================================================= Date: Mon, 15 Jan 1996 06:03:07 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: Search for CD; Screwed Hope some zeller out there can help me with this one. Trying to locate a new CD by various artists called "Screwed: Al Goldstein and the American sex industry". It's on a label called "Amphetamine Reptile". Have not been able to track it down at any of the net CD shops. Anyone help? Was reviewed in the February Wired magazine. Sounds interesting. Thanx, Gary ............ Gary Constantine >> gconstan@ccinet.ab.ca << If hard work were such a wonderful thing, surely the rich would have kept it for themselves. ========================================================================= Date: Mon, 15 Jan 1996 08:39:23 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Organization: IQuest Internet Services Subject: Re: You never forget your first... Comments: To: "Daryl F. Bernard" ==================I went to K-Mart with a buddy and bought the following: KISS _Alive_ (HAD to have that one - it was 1977 & I was 14!) Linda Rondstat _Livin' in the USA_ (God she looked good in those shorts :-) Daryl================ I got the Kiss "Alive" when it came out ----- 1975 I think. It was my first ,too------ on two 8 track tapes!! RJ Bauman (check out that blues groove on "Nothin' To Lose") ========================================================================= Date: Mon, 15 Jan 1996 09:03:52 -0500 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: BB King doesn't play and sing together? Comments: To: bit-listserv-blues-l@uunet.uu.net In article Jose Antonio Revilla Garcia writes: > Is it true that BB King isn't able to play guitar and singing at the >same time? It is true that B.B. never learned to accompany himself on guitar ( no rhythm stuff or chord work), he does throw in some lead licks between his vocal lines once in a while. ========================================================================= Date: Mon, 15 Jan 1996 09:10:54 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Search for CD; Screwed Comments: To: gconstan@CCINET.AB.CA On 15 Jan 96, Gary Constantine had this to say... > Hope some zeller out there can help me with this one. Trying to > locate a new CD by various artists called "Screwed: Al Goldstein and the > American sex industry". It's on a label called "Amphetamine Reptile". Have > not been able to track it down at any of the net CD shops. Anyone help? Was > reviewed in the February Wired magazine. Sounds interesting. > > Thanx, > > Gary ............ Shouldn't you be asking that on PORN-L? P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 15 Jan 1996 09:22:57 -0500 Reply-To: USBLUE5@AOL.COM From: "Gordon, Rich" Subject: Lonnie Shields Lonnie Shields is coming to Rockford, IL to play at The Big Cities Lounge on Thursday night January 25. Has anyone see him recently? Your comments on his performance would greatly be appreciated. Thanks. Rich Gordon WXRX 104.9 FM Sunday Night Blues 10pm to Midnight Rockford, IL ========================================================================= Date: Mon, 15 Jan 1996 09:17:01 -0500 Reply-To: leddy@A1.POLICE.UPENN.EDU From: Gerald Leddy Subject: Guitar Players ONLY-request I spent a small part of the weekend (maybe the problem is the `small' part) trying to figure out chords to `Boom Boom, Out Go the Lights', the Little Walter version. I know there was a cool version by a guy named Pat Travers (?) but the guitar in Walter's version seems to be more my speed. It just doesn't sound right with anything I try. Any help is greatly appreciated; private responses please so the non-players don't get mad at me! Thanks, Jerry. LEDDY@A1.POLICE.UPENN.EDU ========================================================================= Date: Mon, 15 Jan 1996 09:37:52 -0500 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Gospel/Blues- A Black Woman's Point of View Comments: To: bit-listserv-blues-l@uunet.uu.net Blues was like the evil stepsister to gospel while I was growing up. (Just turned 30!) But is possible to love both without as my grandmother would say " pave my pathway to hell..." Excuse my being naive, but I didn't know that there was such an appreciation for gospel music outside of the African-American community. It is such a part of us. It comes as natural as breathing to those who have been nurtured in the tradition. It is also interesting to see such an analytical approach when speaking of the music. Gospel (and blues) is such a "feeling" music that I often have difficulty when trying to convey my love of the music in mere words. I am still new to the Blues-l. But I have found it to be highly informative and at times funny as hell! I am a little unnerved at times by the cultural conflicts. Is this a constant? I am an aspiring blues singer (but also a Sunday Morning Gospel Lady!). I would love to hear from some of you for advice, etc. Lea Gilmore Baltimore, MD "Wild Women Don't Have the Blues" ========================================================================= Date: Mon, 15 Jan 1996 09:38:04 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: What Do Producers Do? Comments: To: bfstew@NECA.COM On 15 Jan 96, Stew Crossen had this to say... > May I take a whack at this one? > > Generally, (and I speak from my limited experience) the Producer is > responsible for every decision that needs to be made on a project, from > where lunch will come from, who to hire/fire and why the Bass player, > Lead Actor, etc got drunk last night and didn't show up and should the > session, shoot, etc be cancelled or continue with fill-ins if neccessary. > And I can't wait to read what others have to say! The role of a producer, in the music business, is very different from that of a producer in television, films, and the legitimate theater. Which is where it sounds like you have you have formed your idea of what you think a record producer is. A producer, in the record business, is much more like the Director of a film, or T.V. Show. It is a much more creative role than a producer in those other fields, who have roles much more like what you describe. A record producer's role is to get the best possible performance onto that final product. How they do that, as in film directing, varies from producer to producer, and from one project to another. One artist may work best with very little direction, another artist may need to be guided every step of the way. It is an artistic job, first and foremost. Instead of hearing from more people "taking a whack at it", we should go straight to the horses mouth. We have a Grammy Award winning producer in out midst. Mr. Shurman? Can you educate us? P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 15 Jan 1996 09:50:43 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Lonnie Shields Comments: To: "Gordon, Rich" In-Reply-To: <960115092257_61766651@emout05.mail.aol.com> On Mon, 15 Jan 1996, Gordon, Rich wrote: > Lonnie Shields is coming to Rockford, IL to play at The Big Cities Lounge on > Thursday night January 25. Has anyone see him recently? Your comments on his > performance would greatly be appreciated. Thanks. If he puts on 1/10th the show he put on at the Poconos Blues Fest (at one of the clubs there) you'll have your socks, and your shoes blown off. A GO SEE for sure. NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 15 Jan 1996 08:56:56 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Lavelle White - Duke recordings Check out the great article on Lavelle White in the latest Living Blues - what an awesome lady! The article listed her recordings for the Duke label. There were 12 listed which would make enough for a single cd. Is there any chance that MCA will release these on cd? It's ashame that Robey only released these all as singles... -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Mon, 15 Jan 1996 10:23:07 +0600 Reply-To: Rage 'n Records From: Rage 'n Records Subject: SRV Movie Does anyone know the productions company or the film company who is doing this movie? Thanks ------------------------------------------------------------------ Vince Kershner President A&R vince@pobox.com IKON Records ikon@pobox.com 215 977 7779 CHECK OUT HOME PAGE http://pobox.com/rage/ ========================================================================= Date: Mon, 15 Jan 1996 09:32:47 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: harmonica Comments: To: EJOHNSO2@STUDENT.UWSUPER.EDU > From: Joe Satriani > ... after getting the howlin wolf box set and hearin ol > chester play the harmonica i think ill learn a new instrument! What > kind of harmonica should i start off on? There seems to be different > keys they come in and then theres chromatic. Why get different keys > if you have a chromatic im confused. They seem to run about 15-25 in > the catalogs is that about right? What brands are suited to blues? > What did Chester Burnett (Howlin Wolf) play? Is there such a thing as > vintage harmonicas? It's not as easy to play blues in multiple keys on a chromatic as you might think. This is partly because chromatic reeds tend to be harder to bend (and thus get that bluesy wailing sound) than diatonic reeds, and partly because you can't readily create chords in all different keys on a chromatic, just scales (using the button to get the "black keys"). Most blues harpists who play chromatic do so because of their tone rather than their multi-key potential. The "classic" blues harmonica, and as far as I know the kind Wolf used, is the diatonic Hohner Marine Band (most common harp keys probably A and C, with F, G, D, Bb not far behind). This has a wooden body. There are several plastic-body harps out there, most notably the Hohner Golden Melody and the Lee Oskar, that are widely used as well. These have the advantage that the body won't swell when it gets wet the way a wood body does. I would avoid the Hohner Blues Harp, despite its name. Re "vintage" harps: diatonic harps have a limited life span, due to inevitable reed failure when played hard. So you won't find many old diatonics around. Used harps also tend to accumulate crud that limits their salability. There is a market in used chromatics, which are considerably more durable than diatonics. On the other hand, it's true (as is the case with many guitars) that harps made by hand years ago are often of significantly higher quality than similar models made by machines nowadays. The Marine Band is an exception to this rule, since as far as I know those made for US consumption are still hand-made. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Mon, 15 Jan 1996 16:28:38 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Re: Blues-L convention Great (and I assume much frustrating for most of the Europeans bluezellers) idea! To Dick or the appropriate person who will organize matters: please inform the list directly when the location/date has been choosen... never know... there might be a Conference in my research field planned around the same time in the same area... which would enable me find financial support :-) for an oversea trip ! Jean-Pierre ========================================================================= Date: Mon, 15 Jan 1996 10:39:57 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: BB King doesn't play and sing together? Comments: To: DMIELE@CRSGI1.ERENJ.COM On 15 Jan 96, Dennis Miele had this to say... > It is true that B.B. never learned to accompany himself on guitar ( no rhythm > stuff or chord work), he does throw in some lead licks between his vocal lines > once in a while. > When someone asks a question here on Blues-L, there is usually someone here who knows the answer, or has the resources to answer it correctly. So I am dismayed when people present misinformation, and speculation, as the truth. It is completely erroneous to say that "B.B. never learned to accompany himself on guitar". Even speculating that is absurd. Like many Mississippi Bluesmen, B.B. began playing on street corners (by himself) for tips. He couldn't do that having "never learned to accompany himself on guitar". He would have gone back to driving a tractor on a plantation rather quickly. Apparently you've never heard B.B.'s 50s recordings for RPM. He plays rhythm while he sings on these early records. You are confusing the fact that B.B. no longer does it, with an idea that he can't. Of course, B.B. himself perpetuates this idea by saying in public interviews that he "doesn't do chords". The FACT is, that B.B. is no longer confident in his rhythm playing since he usually has at least an 8 piece band negating any need for him to play rhythm. His rhythm playing on those 50s recordings would convince you he did do it, and could do it quite well. As a singer, I can identify with B.B.s approach, quite well. I am a much better singer when I don't have to carry the rhythm, and a much better rhythm player when I don't have to sing. B.B.'s got such a large, and such an excellent band , that he has no need to play rhythm whether he's singing or not. But do not conclude from that, "that he never learned...", and don't mistake B.B.s modesty about his playing for any indication that he couldn't do it right now. I'd recommend "Do The Boogie! B.B. Kings Early 50s Classics" on the ACE label CDCH 916 - anybody would be happy to play Blues rhythm guitar this well. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 15 Jan 1996 15:48:32 GMT Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: All The Handy Nominations Comments: To: "P.W. Fenton" On Fri, 12 Jan 1996 20:58:09 -0500, P-Dub wrote: >The 17th Annual Handy Awards Nominations >======================================== I see they've added a few new categories in the Instrumentalist area and added a Comeback Album of the Year. Funny, though. Where's that Clapton, er, Crossover Artist category? *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Mon, 15 Jan 1996 10:56:30 -0500 Reply-To: Meadors From: Meadors Subject: Re: harmonica Comments: To: WILLIAMS@heme.medicine.wisc.edu You wrote you were interested in playing harmonica: I suggest you buy two or three harps (10 hole diatonics, NO CHROMATICS at first) and decide for yourself which feels best. The Marine Band is popular but the wood swells and if you're not an everyday player, you might find the wood rubbing against your lips abrasive. Get a popular key, too, such as C or D or A. Avoid G and F at first since they represent the low/high extremes. If you've got the cash, get a bunch in different keys. I used the Special 20's ... when performing slides or moving about in general, the hard plastic is much faster and smoother to play. Butt, as I said, it's a matter of personal taste. I would agree, though, stay away from the Blues Harp or off brand harmonicas until you know what you're doing. Also, when you first get a harp, don't start blowing like hell. Play softly the first few days, breaking it in slowly. You may find if you don't take your time you'll blow out a reed. Mike Meadors Orange2@gnn.com ========================================================================= Date: Mon, 15 Jan 1996 09:48:45 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Organization: IQuest Internet Services Subject: How we could choose a site I'm in favor of either Memphis (Memphis in May festival I assume) or St.Louis over labor day weekend. They are both great places to visit and are relatively central locations, and the festival sites are well laid out. I will never again put myself through the Chicago Blues fest as long as the site there is so crowded and poorly vended. RJ Bauman ========================================================================= Date: Mon, 15 Jan 1996 10:56:50 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: harmonica Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, WILLIAMS/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=WILLIAMS#a#heme#f#medicine#f#wisc#f#edu@s1boca.corp.wrgrace.com * I would avoid the Hohner Blues Harp, *despite its name. Actually, the new Blues Harps (MS series) are great harps. They are very airtight, are put together very well and play very well. They also have replacable reed plates and coverplates with screws rather than nails, which makes them much easier to work with. They don't last as long (in general) as the Marine Band, but they are less expensive in the long run - instead of buying a new harp you can just replace the reedplate(s). Maybe we should move this thread to harp-l... -Steve ========================================================================= Date: Mon, 15 Jan 1996 08:58:55 EST Reply-To: Ian Sumpter From: Ian Sumpter Subject: Re: Your Essential Top 5 Electric Blues Releases - 1950-59 The following is a personal project to compile the top essential "must have" electric blues (amplified) list the period from 1950 - 1995. FOR THIS WEEK ONLY, JANUARY 15 - 19, I WOULD LIKE TO CANVAS YA'LL FOR YOUR TOP, ESSENTIAL, "MUST HAVE" 5 ELECTRIC BLUES RELEASES (ALBUMS, CDs, CASSETTES) FOR THE PERIOD 1950 TO 1959 ONLY, I repeat, the '50s only. Your essential choices for the period spanning 1960 - 1995 will be requested in the upcoming weeks. After collecting the responses I will identify the top ten per decade based on the total of votes per release received. When the last period, 1990-95, is completed I will send out the results. Three clarifications: 1) It is the year of recording that will decide which decade your choice may fall under, not the year of issue. 2) Re compilations: if a recording has cuts that span two decades, for example, 1959 to 1965, please choice the decade with the majority of cuts. 3) You are asked to restrict yourself to five choices only. Please forward your response to my personal mailing address. Thank-you I appreciate your support. Good day, eh! ========================================================================= Date: Mon, 15 Jan 1996 11:10:33 -0500 Reply-To: Bill Reiser From: Bill Reiser Subject: Re: SRV Movie Comments: To: Rage 'n Records In-Reply-To: <199601151519.KAA27030@access.netaxs.com> On Mon, 15 Jan 1996, Rage 'n Records wrote: > Does anyone know the productions company or the film company who is doing > this movie? Miramax is the film company, not sure who the production company is yet, but it sounds like Robert Rodriguez is doing it after Zorro. Jimmie Vaughan has signed on as a consultant. BR ========================================================================= Date: Mon, 15 Jan 1996 11:13:27 -0500 Reply-To: Meadors From: Meadors Subject: Lemons Yesterday I went out and bought two CD's by the same artist, one produced in 1985 and one recently produced. I had never heard of this particular artist but took the advice of some Blues-Ler's and put my money down. Well, the first CD (1985) was great, and the other was horrible. This is my point: I don't mind buying CD's but I hate the crapshoot (especially with blues artists) everytime I buy something I've never heard. I wish someone would come up with a way to listen to a few cuts (you know if you like it in just few seconds) before buying. Some chain stores offer this (HMV, Blockbuster, etc.) option, but it's always a pain in the ass to get them to open several CD's. I would suspect that if Rounder or others would provide an 1-800 line with some kind of sampling situation for customers, I'd buy lots and lots more of their releases. Everytime I get burned like I did yesterday, I'm more reluctant to let go of my money. What about it record companies? While it would be a few bucks to invest in such an enterprise, I'm sure it would pay off with many more sales in the long run. Mike Meadors Orange2@gnn.com ========================================================================= Date: Mon, 15 Jan 1996 11:18:12 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: How we could choose a site Comments: To: owner-blues-l/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=owner-blues-l#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, rjbauman/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=rjbauman#a#iquest#f#net@s1boca.corp.wrgrace.com, BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *I'm in favor of either Memphis (Memphis in May festival I assume) or St.Louis *over labor day weekend. They are both great places to visit and are *relatively central locations, and the festival sites are well laid *out. Definitely! I was going to suggest Memphis or Oxford. I guess Memphis would be a better choice since it's probably more accessable (as far as I know there is no airport in Oxford, but Memphis is probably close enough). I'm planning on taking a trip to Memphis this Spring, and heading down to Oxford so I can visit the Ole Miss campus and find out more about their Southern Studies MA program. There is a southern culture convention there every year (and I believe last year's was dedicated to Elvis) - why not the blues-l convention? *I will never again put myself through the Chicago Blues fest as long *as the site there is so crowded and poorly vended. Amen - that's the only reason I would not suggest Chicago. The festival is just way too crowded, and some of the drunken festival audience members can be pretty obnoxious. I would suggest Chicago any time but the festival (well, any time in the spring or summer). Of course, I would be happy to have it in DC, since then I wouldn't have to travel. DC isn't exactly a blues mecca, but we have a pretty good scene, there are plenty of places to host a convention (and plenty of places to stay), three international airports, and our festival is free (and not nearly as crowded as Chicago's). -Steve -Steve ========================================================================= Date: Mon, 15 Jan 1996 10:32:36 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: What Do Producers Do? Comments: To: "P.W. Fenton" In-Reply-To: <199601151439.JAA44140@osceola.gate.net> We've been through producer's role thread before and I hope it's still archived; in sany event, I'm going to be brief. 1. Paul Fenton is right; it's to get the best possible representation of the artist. 2. Jerry Wexler's autobiography has a good section on the philosophy of it. (Actually, I think a lot of it is psychology and group dynamics.) There are other books around including one published by Mix magazine called "The Producers" or something. 3. In a nutshell, it includes working with the musicians, label, studio, artist management etc. as necessary to plan the budget; choose material (even though inevitably there will be some surprises as the project proceeds); choose the players; work out the arrangements to the extent that there are any; rehearse; see that the session(s) is/are run in a way that yields productive, well-recorded performances of good quality; mix, edit and maybe master; then (my favorite part) get out of the way and let someone else market the results. The extent and manner in which a producer does these things depends on necessity and the producer's individual style. ========================================================================= Date: Mon, 15 Jan 1996 11:36:17 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Lemons Comments: To: Meadors In-Reply-To: <199601151616.LAA32622@mail-e1a.gnn.com> On Mon, 15 Jan 1996, Meadors wrote: > Yesterday I went out and bought two CD's by the same artist, one > produced in 1985 and one recently produced. I had never heard of > this particular artist but took the advice of some Blues-Ler's and > put my money down. Well, the first CD (1985) was great, and the > other was horrible. This is my point: I don't mind buying CD's I'd be interested to know the artists and the CD's - how about posting that info. May really be a bad and a good or just your tastes. One man's or woman's blues is another's Rock 'N Roll. NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 15 Jan 1996 17:44:09 +0100 Reply-To: Jose Antonio Revilla Garcia From: Jose Antonio Revilla Garcia Subject: Re: BB King doesn't play and sing together? Comments: To: Slydemann@aol.com In-Reply-To: <960114165854_116362195@mail02.mail.aol.com> On Sun, 14 Jan 1996 Slydemann@aol.com wrote: > I would say he either sings from his voice, or through his > guitar, but he is not a rhythm guitar player. He is BB King. I agree you.He's BB King, and he is The King (at least for me...:))....but you haven't answered my question....:)) See you! ;-) ------------------------------------------------------------------------------ Everyday I Have The Blues * Co-SysOp AUDIN-BBS: (942)-21.81.03. 22:00-10:00.Universidad de Cantabria.* * Miembro de ACCE: Asociacion Cantabra de Correo Electronico * ========================================================================= Date: Mon, 15 Jan 1996 17:53:32 +0100 Reply-To: Jose Antonio Revilla Garcia From: Jose Antonio Revilla Garcia Subject: BB KING ON IRC! HELP!! I need to know *quite now* the time when BB is going to talk on #jazz, and the channel also.Thanks. See you! ;-) ------------------------------------------------------------------------------ Everyday I Have The Blues * Co-SysOp AUDIN-BBS: (942)-21.81.03. 22:00-10:00.Universidad de Cantabria.* * Miembro de ACCE: Asociacion Cantabra de Correo Electronico * ========================================================================= Date: Mon, 15 Jan 1996 17:35:04 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: BB King doesn't play and sing together? In-Reply-To: <199601151541.KAA26338@osceola.gate.net> On Mon, 15 Jan 1996, P.W. Fenton wrote: > singing or not. But do not conclude from that, "that he never > learned...", and don't mistake B.B.s modesty about his playing for > any indication that he couldn't do it right now. I have heard him say as much in an interview. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [15/1/96 12:33 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 15 Jan 1996 09:35:46 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Jan. 16 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- DAVENPORT, LESTER "MAD DOG" (hca/DELMARK) b. 1932-0116, TCHULA, MS FRANKLIN, PETE "GTR" [EDWARD L. FRANKLIN] b. 1928-0116, INDIANAPOLIS, IN HOGAN, G. T. (d/EARL BOSTIC) b. 1929-0116, GALVESTON, TX LYNN, BARBARA [BARBARA LYNN OZEN] (g) b. 1942-0116, BEAUMONT, TX MARABLE, FATE (p/OKEH REC d. 1947-0116, ST. LOUIS, MO 56 MILLS, IRVING (music publisher) b. 1894-0116, RUSSIA QUEBEC, IKE (tsax) d. 1963-0116, NEW YORK CITY, NY 44 SADE [HELEN FOLASADE ADU] (v) b. 1959-0116, IBADAN, NIGERIA SMITH, CLADYS "JABBO" (v/tpt) d. 1991-0116, MANHATTAN, NY 82 STEPNEY, BILLY (d/CHESS REC) b. 1930-0116, GRENADA, MS WARD, CLARA (lead/CLARA WARD SINGERS) d. 1973-0116, LOS ANGELES, CA 48 WILKINS, ROBERT T. REV. (g) b. 1896-0116, HERNANDO, MS WOOTEN, GEORGE (of THE CORSAIRS) b. 1940-0116, LA GRANGE, NC ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 15 Jan 1996 13:12:40 -0500 Reply-To: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM From: Jim Smith Subject: Country Blues fans in Pgh, PA Pittsburgh Country & Classic Blues Society All meetings at 8 PM at the Lawrenceville Branch of the Carnegie Library, 279 Fisk St., Lawrenceville. For information and the program call Steve at (412)624-8520 Upcoming events (free): Jan 18 - Phil Smith "The Words in the Blues: Listening, Hearing, Understanding" Feb 15 - Bill Weiner & Ron Jozwiak "The Monongahela Shieks in Concert" Mar 21 - Sigmund Finman "Bill Broonzy, The 50s Folk Years" Apr 18 - Ernie Hawkins "The Reverend Gary Davis, Blues and Gospel" May 16 - Jack Stein "Country Blues: The Evolution from the 20's to the 60's" ========================================================================= Date: Mon, 15 Jan 1996 13:12:09 -0500 Reply-To: "Raymond I. Peters" From: "Raymond I. Peters" Subject: Mississippi John Hurt Recommendations I'd like to second Denise's recommendation of "Mississippi John Hurt: Memorial Anthology"--and I have no connection to Genes CD. Two great CDs and an excellent interview conducted by Pete Seeger. I also like "The Best of Mississippi John Hurt" (Vanguard VCD-19/20) formerly a double album, now on a single CD. Recorded in 1965 at Oberlin College. I got the album when it first came out, and I've played it regularly throughout my life. He's a great singer and a great guitar player. Like Denise, I've also heard and read many stories about what a great man he was. Also recommended: "Mississippi John Hurt--1928 Sessions" (Yazoo 1065). Ray ========================================================================= Date: Mon, 15 Jan 1996 12:17:02 +0600 Reply-To: toulouse Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: toulouse Organization: CommNet Inc. Subject: Re: BB KING ON IRC! HELP!! Comments: To: Jose Antonio Revilla Garcia Jose Antonio Revilla Garcia wrote: > > I need to know *quite now* the time when BB is going to talk on #jazz, > and the channel also.Thanks. > > See you! ;-) > Check this URL out, it will give you the scoop.. http://www.webcom.com/~ijazz/bluenote.html Peace, toulouse@comm.net ========================================================================= Date: Mon, 15 Jan 1996 14:12:43 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: modern rural blues Comments: To: eric In-Reply-To: <942C6941D0@student.uwsuper.edu> John Hammond Rory Block Taj Mahal Cephas & Wiggins many others On Fri, 12 Jan 1996, eric wrote: > does anyone here know of any modern blues albums that are done in the > 20s/30s delta blues style similiar to Lightnin Hopkins or Robert > Johnson or Bukka White? I would prefer albums that are just guitar > and vocals or guitar and vocals done by the same guy/girl. I really > hope that this rural blues style is still being kept alive. > ========================================================================= Date: Mon, 15 Jan 1996 14:26:42 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Country Blues fans in Pgh, PA Comments: To: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM On 15 Jan 96, Jim Smith had this to say... > Pittsburgh Country & Classic Blues Society > > All meetings at 8 PM at the Lawrenceville Branch of the > Carnegie Library, 279 Fisk St., Lawrenceville. > > For information and the program call Steve at (412)624-8520 > > Upcoming events (free): > > Jan 18 - Phil Smith "The Words in the Blues: Listening, Hearing, > Understanding" > Feb 15 - Bill Weiner & Ron Jozwiak "The Monongahela Shieks in Concert" > Mar 21 - Sigmund Finman "Bill Broonzy, The 50s Folk Years" > Apr 18 - Ernie Hawkins "The Reverend Gary Davis, Blues and Gospel" > May 16 - Jack Stein "Country Blues: The Evolution from the 20's to the 60's" > Makes me wish I was in Pittsburgh... which is a real trick in the winter time. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 15 Jan 1996 14:26:42 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: BB King doesn't play and sing together? Comments: To: phertel@CMC.DOE.CA On 15 Jan 96, Pat Hertel had this to say... > On Mon, 15 Jan 1996, P.W. Fenton wrote: > > > singing or not. But do not conclude from that, "that he never > > learned...", and don't mistake B.B.s modesty about his playing for > > any indication that he couldn't do it right now. > > I have heard him say as much in an interview. > So have I. B.B. is a very sweet, modest, and humble man. Believe me that despite what he says, even now, he could hold his own playing rhythm guitar, but CHOOSES not to. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 15 Jan 1996 11:33:05 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: Robert Palmer, author of "DEEP BLUES", is ailing Comments: To: BluesHvn@aol.com I was just catching up on the newsgroups & noticed this on rec.music.bluenote. eRIC I just got a phone call from Dorothy Cox, the sister of Robert Palmer. Palmer, as most will recall, is the author of "Deep Blues" and many other recognized works concerning blues music and the lives of the southern society which gave birth to it. Her call was made in hopes of finding some way to organize a benefit for her brother sometime in the near future. It appears that Robert Palmer badly needs a liver transplant, and due to his status as a self employed writer, he has no insurance. She told me that anyone without insurance need to be able to put down a deposit of $100,000+ just to get on the waiting list and then when the surgery can be performed, an additional sum of almost $100,000 is required. Palmer who now lives in New Orleans has been working on a CD Rom that will be available sometime in 1996, if all goes as planned. He worked on a video that was based on his book which should be available in the spring. At this time, he cannot get new work because all the normal sources know if his ill health and don't want to start a project with him that they fear may not be finished so he's caught in a catch-22 situation on financial support. He can't get work because people know he's sick yet he must get work to help defray the costs of getting treatment for his ill health. Anyway, I am writing this to let everyone know of the situation with Robert. Many of us have benefited by his work, either by reading his books or hearing artists he discovered, many of whom now are recording with Fat Possum records or other major labels directly as a result of Robert's work. If you know of anyone who would want to help put together a benefit concert or some other sort of financial help activity for him, please let me know, or call Dorothy Cox at 501-568-0720. Thanks for considerin' helpin' Harold --------------------------------------------------------------------- Harold who posted this originally is not on the internet. So best to contact the phone number above if you can help. dkaatz@eskimo.com (David Kaatz) ========================================================================= Date: Mon, 15 Jan 1996 14:45:43 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Re: What Do Producers Do? Comments: To: bit-listserv-blues-l@uunet.uu.net In article , "David L. Prychitko" writes: >I've found the role of a producer of an album enigmatic: I'm simply not >sure what a producer does. Does he find the $$$ for studio time, etc? >Does he control, or at least guide, the creative process within the >studio (and if so, is that because he puts _his_ money on the line)? etc >etc. > You might be interested in asking Paul Lee those questions. He's a producer with Waldoxy Records as well as being a musician himself (trivia ? - do you know what he's played on?) and will be online in early Feb. to give advice to musicians on preparing a promo package, what a label looks for in new artists, and answer questions regarding Waldoxy Records. Since I know you have a blues show I'll bet you could get an answer to the question all the blues djs have been asking about the recent Bobby Bland cd single sent out by Malaco...Why? ; ) There's also a possibility he may be joined by Tommy Couch Jr. Hope this helps! Cat ========================================================================= Date: Mon, 15 Jan 1996 14:55:24 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Lonnie Shields Comments: To: bit-listserv-blues-l@uunet.uu.net In article , Barry Silverberg writes: > > If he puts on 1/10th the show he put on at the Poconos Blues > Fest (at one of the clubs there) you'll have your socks, and > your shoes blown off. A GO SEE for sure. > > I have to agree, he was at the Blue Heron and sounded great that night, as well as the other musicians who sat in with him...esp. Gary Primich & Sherman Robertson He has a cd called "Potraits" on Rooster that's been out a while. If you want to hear a clip of one of the songs on it you can find it at... http://www.vivanet.com/~catbauer/rooster.html. There are a couple of nice cuts on it, in particular "I Can't Let You Hurt Me" with Lucky Peterson on rhythm guitar, "Eight Days A Week" with Eddie Shaw doing what he does best, and my favorite, "Cry, Sky" with Big Jack Johnson & Sam Carr sitting in. I think he also won the Living Blues Critics Poll for the lp...Cat ========================================================================= Date: Mon, 15 Jan 1996 15:13:32 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Charlie Sayles, Harp Player Extraordinaire I am interested in hearing from anyone who has heard either of Charlie Sayles' two CDs "Night Ain't Right" or "I've Got Something to Say." Private e-mail please. Except for those of you to whom I've already spoken. (You know who you are.) ========================================================================= Date: Mon, 15 Jan 1996 15:44:00 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: Mendelbaum Excuse me folks.. David...can you send me your address...and e-mail? I've lost it (sigh). Thanks everyone for your indulgence.. Cathi N. ========================================================================= Date: Mon, 15 Jan 1996 16:14:09 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Good Blues Reading My wife and I went to visit a co-worker of hers and before we left, the guy gave me a copy of THE BLUES ROUTE by Hugh Merrill. In 1986, writer Hugh Merrill set out on a cross-country trek to retrace the migration of Blues musicians from the rural South to the rest of the country. The books go on to include the "new" generation of performers, Koko Taylor, Son Seals who struggled to preserve the music. Not necessarily a new or history making book idea, but so far its a pretty good read. Beef Stew WCCC Radio Hartford, CT ******************************************************************* If a cow laughed real hard, would milk come out of her nose? ========================================================================= Date: Mon, 15 Jan 1996 21:28:31 GMT Reply-To: Daniel Contreni From: Daniel Contreni Organization: Father Darwin Travel Agency Subject: Is John Lee Hooker Married? Comments: To: bit-listserv-blues-l@uunet.uu.net A friend of mine claims that John Lee is married to a rather young woman. Is it true? If so, I think that's pretty cool for such an old guy.... -- ----------------------------------------------------------------------------- * One night I was layin' down, Daniel Contreni * I heard Momma and Poppa talkin. dcontr1@zeus.towson.edu * I heard Poppa tell Momma: http://zeus.towson.edu/~dcontr1 * Let that boy boogie-woogie, Rules.11.1-4 * it's in 'em, and it's got to come out. * -- John Lee Hooker ----------------------------------------------------------------------------- ========================================================================= Date: Mon, 15 Jan 1996 16:36:00 EST Reply-To: edward c liu From: edward c liu Subject: VCR ALERT! BET from 6:00 to Midnight Howdy all, Haven't seen anybody mention it, but the Black Entertainment Channel (? BET are the call letters in the TV Guide) is kicking off some kind of jazz entertainment programming tonight. My jazz radio station's morning program/blues hour mentioned that film footage of John Lee Hooker and MUDDY WATERS will be included in the kickoff tonight. The jazz shows start on BET tonight from 6:00 and, as far as I recall, run until midnight. This is, quite literally, all I know (well, that and the fact that my VCR is set to tape from 6:00 to 10:00 tonight, hope I set the channel right =8^). Sorry for the late notice, but I didn't want to repeat a posting, and I had to wade through all of last week's stuff. No guarantees being made for accuracy, &c. We now return you to your regularly scheduled bickering. -- Ed Edward C. Liu | "If nobody thinks for they self, edwick@cc.bellcore.com | Who thinks for everybody else? | -- Dr. John, "Lissen" The opinions in this message are mine and not Bellcore's. Really! ========================================================================= Date: Tue, 16 Jan 1996 09:23:25 +1100 Reply-To: Daniel Bruce From: Daniel Bruce Subject: RL's Dream Has anybody read a novel called RL's Dream by Walter Mosley it is supposed to be about a Delta Blues Guitarist and his relationship with a girl from greenwich Village. I have ordered it at the local bookshop however it won't be in for 2-3 weeks. Anybody know the book??????] TIA -- Daniel Bruce | Genasys II Pty Ltd, Sydney, Australia | "Born under a bad sign, been down since I began to crawl | If it wasn't for Bad Luck, Wouldn't have no luck at all" | Albert King | Internet: danielb@g2syd.genasys.com.au ========================================================================= Date: Mon, 15 Jan 1996 23:07:57 GMT Reply-To: George Myers From: George Myers Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Recommended Luther Allison Comments: To: bit-listserv-blues-l@uunet.uu.net Luther will be on the Ultimate Rhythm & Blues Cruise 5 in the Mediterranean with John Mayall, Buckwheat Zydeco, Katie Webster, Little Charlie and the Nightcats, Marcia Ball, Louisiana Red, John Mooney, and Rudy Rotta. He'll be cruisin' from Genoa to Naples, Palermo, Sardinia, Corsica, Marseilles, and Cannes. LUTHER RULES! ========================================================================= Date: Mon, 15 Jan 1996 23:13:53 GMT Reply-To: turtle@charm.net From: The Turtle Subject: bit.listserv.blues-l -- are you aware? I've been able to read posts from Blues-L through a newsgroup which recently appeared on my ISP called bit.listserv.blues-l. However, it appears that posts to this newsgroup do now get cross-posted back to the listserv, thus making the newsgroup a read-only affair. I bring this up because the volume of material is swamping the Notes server at work and costs us money receiving it through CompuServe, so I'd prefer to be able to post and read through the connection to bit.listserv.blues-l. What, if anything, does anybody know about this? Thanks, and by the way, the Chicago Electric Blues Tour is online in all its massive multimedia glory at http://www.charm.net/~turtle Over 8 meg of photographs, excellent sound samples and useful understanding. Already termed "one of the coolest sites on the Internet." So hard core, you might get hurt. Turtle ---------------------------------------------------------------------- * Visit the Weightless Dog Home Page! http://www.charm.net/~turtle * *** Ask me about Lotus Notes, digital video, Volvos and the blues! *** ---------------------------------------------------------------------- ========================================================================= Date: Mon, 15 Jan 1996 16:17:19 -0800 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Re: First Annual Blues-L Convention Comments: To: bit-listserv-blues-l@cs.washington.edu In-Reply-To: On Fri, 12 Jan 1996, David L. Prychitko wrote: > I, for one, would prefer the Chicago Blues Festival, if only because I'm > pretty damn sure I'll go there again this summer. > Anyway, I hope there's enough of us out here on Blues-L who see the > potential value of Dick's proposal. > > Please speak up! I think it's a great idea and will go to the first "meeting" that is within a day's (or two; or, what the heck, three) drive of Seattle (unless it coincides w/ any of a number of fisheries meetings I might go to on business; or my wedding in NY this June!). Until then I'll be here shackled to my terminal. Sigh. Adrian ========================================================================= Date: Sun, 14 Jan 1996 16:40:48 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: BB King doesn't play and sing together? >On 15 Jan 96, P.W. Fenton wrote; >So have I. B.B. is a very sweet, modest, and humble man. Believe >me that despite what he says, even now, he could hold his own playing >rhythm guitar, but CHOOSES not to. To back up P.W; There is a three volume video series out called "Bluesmaster"(?) with BB King explaining his approach to the blues. On one video (as best as I remember) he demonstrated that he does know his chords by playing a few jazz progressions. In other interviews with BB that I've read he shows that he has quite a good grasp of theory as well. But with a voice like his and the ability to say everything with one note.... Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sun, 14 Jan 1996 16:41:01 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Blues with feeling: What does it take, philisophically? On Fri, 12 Jan 1996 10:28:45 Joe Lempkowski wrote; >Since EC has experienced "hard luck and trouble", he ought to be able to >sing the Blues. After all he has work through a pretty severe drug addiction, >lost a child (very tragically) and gone through other bad stuff. He ought >to be able to do it, but it doesn't translate. > >Personally, I think he spends to much time trying to recreate the original >and doesn't spend enough time trying to be EC. I think Joe has hit the mark (and others have said this as well) with regards to EC. I heard a song from CTTG ("Third Degree", I think) on the radio the other night and it hit what is wrong with EC's blues. It's too damn perfect. CTTG is obviously a labour of love but he spent to much time trying to be faithful to his heroes. If he played the songs and, as Joe indirectly suggested, and had tried to be himself CTTG may have been a great album instead of an ok one (I do like "Reconsider Baby" on CTTG though). Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Mon, 15 Jan 1996 19:40:41 -0500 Reply-To: MAGross@AOL.COM From: "Michael A. Gross" Subject: Re: First Annual Blues-L Convention Comments: To: Jinxblues@aol.com > . . . a collection of ankle biters . . . occasionally > inclined to worship children . . . would like to consider an > annual gathering . . . Sounds like a great idea to me, too. As does having it in St. Louis. I hope I can help. Michael Gross ========================================================================= Date: Mon, 15 Jan 1996 19:23:55 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: How we could choose a site In-Reply-To: On Mon, 15 Jan 1996, Steve Levine wrote: > *I'm in favor of either Memphis (Memphis in May festival I assume) or St.Louis > *over labor day weekend. They are both great places to visit and are > *relatively central locations, and the festival sites are well laid > *out. > Definitely! I'll third that, for geographical, musical, and historical reasons. (Plus I have friends who live in Memphis and could probably crash for free.) > *I will never again put myself through the Chicago Blues fest as long > *as the site there is so crowded and poorly vended. > > Amen - that's the only reason I would not suggest Chicago. The festival > is just way too crowded, and some of the drunken festival audience > members can be pretty obnoxious. I would suggest Chicago any time but > the festival (well, any time in the spring or summer). I agree. The last time I went, there were 500 zydeco andR&B bands, and very little blues. It's just not like it was in the old days. > Of course, I would be happy to have it in DC, since then I wouldn't > have to travel. DC isn't exactly a blues mecca, but we have a pretty > good scene, there are plenty of places to host a convention (and plenty > of places to stay), three international airports, and our festival is > free (and not nearly as crowded as Chicago's). Yeah, but I don't think the streets will be cleaned off by then, no matter what mayor-for-life Marion Barry says. On the plus side, all of the snow will reduce the crime; I haven't been mugged in nearly a month! T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Some of us may even die ... before the revolution comes." - The Last Poets ========================================================================= Date: Mon, 15 Jan 1996 20:04:14 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Blues without feeling >Other examples of how technical proficiency alone does not produce >a _real_ Blues artist are: Lonnie Johnson, and that double-entendre >specialist who's name escapes me at the moment. This, in spite of >their having the 'proper' genetic and environmental endowments. Ju> You mean Bo Carter? That's him. Ju> That stuff, however, is enjoyable on a different level. If the level is trivial and gutless, I suppose one -could- 'enjoy' it, my point was that this 'la-la' music, although disguised as Blues is simply jejune, and lacking power despite the technical precision. Ju> All blues isn't *sad* you know! "Sad" ain't the point. Power/intensity is the point. Although many people like to (falsely) associate Blues with negative emotional states, and a lot of the lyrics relate to topics, like unrequited love, poverty, or disasters, that MAY _allow_ one to create negative emotions if one chooses, said negative emotional states are generally NOT evident in the music itself. Although this is a bit paradoxical, some have suggested that the music itself is used as a method to transcend the negative states. Perhaps a catharsis occurs by externalizing the events, and, by such, mocking them with the realization that everyone, more or less, experiences the same basic human 'problems'. Thus, the universal appeal of the Blues. Charley Patton's Mississippi Boll Weavel Blues, for example could be seen, on one hand, as an account of a local economic disaster, but the _music itself_ is a quite upbeat 'happy' piece. Further undermining the myth, all the Blues singers that I have ever had the pleasure of meeting were the most pleasant, happy, and friendly people that I have ever known. They most certainly did not manifest any 'sadness', depression, or any other negative emotion, either in private or in their music. It seems that they can, somewhat like the reporters on the 6 O'clock news, report bizarre and sometimes painful human events, without generating the negative emotional energy that some may want to attach to those events. As a student of human consciousness, I have been led to the conclusion that 'emotions' are _created_ by the one who experiences them, and they can _not_ be transmitted to another human by telepathy, music, modem, or any other known means. Now, people certainly like to PROJECT their own internal manifestations and states on the external world, as in this is how _I_ would 'feel' if _I_ were in that situation; however, real telepathy has yet to be demonstrated among the masses. And certainly, if 'emotions' can not be transmitted with lyrical content and melody, then instrumental, such as classical, music can not transmit emotions either, as popular mythology would have us believe. [Flame Shields raised] ... It's not how big the lie, it's how many believe it! --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Mon, 15 Jan 1996 20:04:17 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Blues without feeling Ia> From: Ian Angus > Other examples of how technical proficiency alone does not produce > a _real_ Blues artist are: Lonnie Johnson, and that double-entendre > specialist who's name escapes me at the moment. This, in spite of > their having the 'proper' genetic and environmental endowments. Ia> Actually, this is an example of the fact that there is no accounting Ia> for taste, and so[sic] absolute measure of who is a great blues artist. I agree that there is no accounting for _taste_; BUT do you really perceive (nothing to do with acquired 'taste') the same level of _intensity_ and _power_ in Lonnie's music as you do in say Son House, Robert Johnson, Skip James, Ishman Bracey, et al?? Perhaps we could do a little test with a group of blind-from-birth folks (for their enhanced audio capabilities) as to which Blues artists generated more power/intensity?? ... "Have you seen the world lately, I mean _really_ seen it??" Duckman --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Mon, 15 Jan 1996 20:46:40 -0500 Reply-To: Slydemann@AOL.COM From: Dave Melton Subject: Re: BB King doesn't play and sing together? Comments: To: pwfenton@gate.net You said it better than I could. Just because he doesn't do it doesn't mean he cant do it. BB plays one note better than anyone else I know, but I often find that many people are not aware just how well he really knows his way around the guitar. ========================================================================= Date: Mon, 15 Jan 1996 20:04:31 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Non-blues threads Do> JM said what a LOT of us are thinking. The noise/signal ratio has Do> always been Do> high on this list but lately it has gotten pretty extreme. Yeah! That is why I, for one, would like to see the list split into three topic-oriented lists: 1> Country Blues 2> City Blues 3> Blues Imitators ... "He's just trying to cloud the issue with morality!" Wings --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Mon, 15 Jan 1996 20:04:53 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Blues without feeling Rw> In response to Lauri F.... Rw> What you're really saying is that you don't 'get' Lonnie Johnson's (or Rw> Tampa Red's, the other fellow whose name escaped you) music. It Rw> doesn't move you, so therefore it musn't be be moving music. But I Rw> guarentee you that it moved the many hundreds of thousands of fans who Rw> spent their hard- earned money on their records over the courses of Rw> their careers. They were among the most succesful blues artists of Rw> their generation. I think I 'get' it; Lawrence Welk sold lots of records too, but that didn't make him real Blues dude either. Commercial success is generally the sign of profound mediocrity. Look at how the music of, say, Ray Charles, Fats Domino, Aretha Franklin, Elvis, and even B.B. degenerated as they became more 'popular'. B.B. would be thrown off stage in a South Side bar in Chicago if he tried conning that audience with one of his new 4 note songs that the white kids suck up. It is well known that the record companies pressure artists to become 'more commercial' as they become more recognized. This is called "marketing"; the purpose is to make money by appealing to a broader (read: less sophisticated) audience, certainly not to preserve and encourage the idiosyncratic creativity of the artist. The general distinction I made was that mere technical proficiency does not necessarily produce the _power_ of, say, a Son House. Lonnie and Bo's voices were weak, lackluster, unexpressive, and simply didn't have 'balls'. Actually, the 'other fellow' was Bo Carter. Rw> It's sometimes hard for people today to put the Rw> blues of yesteryear into it's proper perspective. But I consider both Rw> of those guys to be heavy, important artists. Be honest, do you REALLY _perceive_ that Lonnie Johnson had the same level of intensity or power as Robert Johnson?? That a Bo Carter was as intense as Ishman Bracey?? Were the Harmonicats as intense as George Bullet Williams? I think there are _objective_ qualities to music, those that transcend mere "taste", to which you were referring. These include vocal power and technique, and guitar technique. I think the statistics will support the statement that the artists that sold the most records were generally the less intense, more publicly acceptable. ... "That's just my opinion, ... I could be wrong!" Dennis Miller --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Mon, 15 Jan 1996 20:05:04 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Piano bob & the snowman PIANO BOB & THE SNOWMAN are a guitar/vocalist and piano duo who play mostly in the older, pre-War, Barrelhouse and Blues styles. 1992 Winner National Blues Contest, The Blues Foundation, Memphis TN 1992 Winner of the B.B.King 'Lucille Award', Best Unsigned Blues Act in the USA, W.C.Handy Awards, Memphis TN Gig list: Jan 16, Tues, 10PM-2AM: Tobacco Road, 626 South Miami Ave, Miami, FL (305)374-1198 Jan 20, Sat, 9-12 Shucker's, 1119 N Bay Causeway, North Bay Villiage, FL (305)866-1570 Jan 23, Tues, 9PM-1AM: CocoNuts, Mile Marker 100, Key Largo, FL (behind Holiday Inn) For cassette tapes, or clubs and booking agents, call: Piano Bob at (305)663-9746 or write: Bob Wilder, 8325 SW 72 Ave #C-114, Miami FL 33143 --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Mon, 15 Jan 1996 18:04:37 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Message to Blues-l from Robert Palmer Mary Katherine Aldin says: I was very disturbed to read a post on this list earlier this afternoon which stated that my close friend Robert Palmer was seriously ill. I called him at his home in New Orleans and expressed my concern, and he asked me to send you all this reply, which he faxed to me and I am copying verbatim: >From : Robert Palmer To: Mary Katherine Aldin, for all blues Internet sources I always thought it would be highly amusing to have to write a "rumors-of-my-imminent-demise-have-been-greatly-exaggerated" type of letter (or e-mail). But now that I'm in the position, I'm not real amused. A recent posting on the Internet, from somebody I've never met or heard of in the backwoods of Arkansas, claimed that yours truly "badly needs a liver transplant" and announced that he was soliciting help to put together a benefit concert on my behalf. I don't know where this started; possibly with some member of my family dropping a remark. They tend to think I'm at death's door whenever I have the flu. For the record, while I have to watch my diet, etc. due to having had hepatitis a little over a decade ago, I have NOT been told by any doctor or anyone else that I need a liver transplant. I monitor my health with regular tests. If, sometime in the future, I a) do find that I need a transplant, and b) find that I can't afford it, all of you will undobtedly be hearing from me. Meanwhile, thanks for your concern, but you won't be rid of me this easily. Robert Palmer, New Orleans ========================================================================= Date: Mon, 15 Jan 1996 21:31:57 -0500 Reply-To: Slydemann@AOL.COM From: Dave Melton Subject: Re: Blues with feeling: What does it take, philisophically? Comments: To: shaun@wavenet.com I just want to say something positive about this Eric Clapton thing. Although I do agree with some of what has been said regarding the sterile quality of his recent blues work, I'm not going to knock it. I think his record has contributed significantly to the popularity of the blues in the mainstream. Consider the royalties that hopefully are reaching the roots of the music like surviving relatives, etc. I know a lot of people are hearing many of these songs for the first time through this record (strange but true) and I believe it's a good thing, even if I have to put up with phrases like"Can you play that Eric Clapton song called Tore Down?" ========================================================================= Date: Mon, 15 Jan 1996 21:24:00 PST Reply-To: Meridith Farnworth From: Meridith Farnworth Subject: Looking forward to BluesBytes! Greetings, all. I just wanted to mention that I've been lucky enough to get a few Sneak Previews of the soon-to-be-released BluesBytes tape. All of the cuts that Bob Unger was kind enough to share with me have been wonderful! I'm really looking forward to the whole release. I knew we had some talented folks out there, but it's been really great to hear for myself. If you made the mistake of *not* sending a "count me in" message to Bob, be forewarned that it's YOUR loss. --Meri mfarn@fibusa.com p.s. do I need the "not affiliated with..." disclaimer here? ========================================================================= Date: Mon, 15 Jan 1996 20:51:47 EST Reply-To: Stephen MacKinnon From: Stephen MacKinnon Subject: Re: Best Blues Jam > From: Jose Antonio Revilla Garcia > Some feels like recommend us some of the best Live Blues Jams > Albums? I find most live blues jams to be unsatisfying. But I always have enjoyed a pair of 60s Chess LPs. Super Blues - Muddy Waters, Bo Diddley & Little Walters The Super Super Blues Band - Muddy, Bo & Howlin' Wolf Although technically not live on-stage, they are live in the studio. The interchanges among these blues heavy hitters is interesting, even humourous. Tons of talents and they do many of their famous songs. These can be found at discount prices too. Muddy "I can sing anybody's blues." Bo "Why don't you step aside and let a man sing." ... Wolf "You don't know what you're doing. Watch me howl!" Stephen ========================================================================= Date: Sun, 14 Jan 1996 19:46:51 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Non-blues threads Mon, 15 Jan 1996 20:04, Laurie wrote: > Do> JM said what a LOT of us are thinking. The noise/signal ratio has > Do> always been > Do> high on this list but lately it has gotten pretty extreme. > Yeah! That is why I, for one, would like to see the list split >into three topic-oriented lists: > 1> Country Blues > 2> City Blues > 3> Blues Imitators Why stop at three lists. Surely we can do more. How about lists for: (1) Rampaging purists (2) SRV clones (3) EC bashing (4) Dubious non-blues related threads (5) Stupid blues questions (6) Veneration of Dick Waterman (7) Guitar and gear head questions (8) General flaming (9) How to a real bluesperson (10) Why I'm am right in my opinions and everyone else is wrong I hope Laurie was tongue in cheek. I, of course, am dead serious about my proposal for new Blues-L lists. Seriously, there has been a little too much non-blues threads (yours truly probably as guilty as any by contributing) but I think that there was one constant about the threads. A lot of those who contribute to the non-blues threads contribute a lot to the blues threads as well (hoping I haven't made a faulty generalization). You could think of it as a way of letting off steam. As for splitting the list it is a stupid idea. The people on Blues-L are united by one thing. A love for the blues. However, the blues means different things to different people. If you don't like the topics discussed, use the delete key. That is what it is there for. Another idea is to read the different topics. Heaven knows you may actually learn something. We may all share different opinions. That's what helps make a list like this work. If we all agreed then this would be a very boring place. Rejoice in the diversity of opinions. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Mon, 15 Jan 1996 22:48:06 -0500 Reply-To: MaryA NBP From: MaryA NBP Organization: America Online, Inc. (1-800-827-6364) Subject: Boston Blues Fund-Raiser Comments: To: bit-listserv-blues-l@uunet.uu.net Hey Blues Fans- Here is an edited copy of a press release we just sent out. PLEASE COME OUT ON 1/22 AND SUPPORT THE LOCAL BOSTON SCENE!! **SERIES OF BOSTON BLUES SOCIETY FUND RAISERS PLANNED IN CONJUNCTION WITH LOCALLY PRODUCED TV SHOW** The Boston Blues Society is a non-profit, all volunteer organization. Our mission is to perpetuate blues music and it's culture through the publication of a bi-monthly newsletter and a "Schoolin' The Blues" program. We are proud to be part of "The Nor' East Blues Showcase" that will eventually be a series of 2 hour long television programs featuring Boston's thriving Blues scene. The programs will be aired next year on Boston Neighborhood Network TV 3 and many other stations in surrounding areas that are associated with the program. Each show will be comprised of taped live performances by local bands, new and established alike- all performing original material. Holly Harris, host of WBOS Radio's Blues on Sunday program will conduct interviews with musicians and other local representatives of the Blues community. The live performance segment of the show will be taped at Harpers Ferry in Allston beginning on January 22 when the lineup includes David Maxwell & His Blue Wizards, Bellevue Cadillac & Flight 505. The series will continue one Monday of each month throughout 1996. All proceeds from the shows will benefit The Boston Blues Society. Donations are $4.00 per person. For more information contact The Boston Blues Society Hotline at 617-876-BLUE. Please note our new address: The Boston Blues Society P. O. Box 15718 Boston, MA 02215 ========================================================================= Date: Tue, 16 Jan 1996 04:53:58 GMT Reply-To: Jack Oudiz From: Jack Oudiz Subject: Re: All The Handy Nominations Comments: To: bit-listserv-blues-l@uunet.uu.net >After going over PW's listing of all of the Handy nominations... >What this says about the blues, I'm not sure... Nothing of any import. The sad fact is that the Handy's may be a nice PR gig for the blues as they were intended, but they are as irrelevant as the Grammies when it comes to acknowledging what's really happening in the music. The candidates are an annual embarrassment and bear little or no resemblance to real merit. ========================================================================= Date: Tue, 16 Jan 1996 00:17:25 -0500 Reply-To: MPThom@AOL.COM From: Mike Thompson Subject: Buddy Guy ? Hey BLUES-L folks! Anybody know what Buddy Guy is up to these days? For the last five years he has come to Madison Wisconsin in January. This year I've heard nothing about any show. I've been to see him 3 times here and he was fantastic! I got a couple of the Madison shows on tape. In my opinion his live show is the best around. His energy is incredible! Anybody else collect live shows? "Damn right I've got the blues" Buddy Guy MPThom@aol.com ========================================================================= Date: Tue, 16 Jan 1996 01:08:48 -0500 Reply-To: "David R. Bergstein" From: "David R. Bergstein" Organization: Mad Max And The Blues Kings Subject: Meet Me With Your Black Drawers On Comments: To: bit-listserv-blues-l@uunet.uu.net Comments: cc: parrishr@vitro.com Ian Angus wrote: > > > Subject: Meet Me With Your Black Drawers On > > > > I have been searching in vain for a recording of this. Does anyone know > > who wrote it, who performed it, anything at all?? > > > There is a very nice version by Gloria Hardiman and The > Professor's Blues Review. It came out on Alligator some years > back -- they put it on one of their "Genuine Houserockin Music" > compilations. > > As I recall, that version became VERY popular in the Carolinas > as "beach music" and was reissued as a 45 by a regional label there. > > Ian Angus > "Built for comfort, not for speed" I have an excellent unreleased version of "Meet Me With Your Black Drawers On". The performance is by Charlie Sayles previous backup band "The Blues Disciples" at a club in Phila., PA. A soulful vocal interpretation is provided by Dr. S. O. Feelgood (drummer), with Mad Max on guitar and Charles Solomon on bass. -- ----------------------------------------------- David R. Bergstein Systems Engineer Silver Spring, MD dbergstein@ids2.idsonline.com http://www.idsonline.com/userweb/drb/index.html ----------------------------------------------- ========================================================================= Date: Mon, 15 Jan 1996 22:39:29 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Michael Hill/Mem Shannon Don O wrote the following words of wisdom in response to a question I asked about Michael Hill's Blues Mob's Bloodlines and Mem Shannon's A Cab Driver's Blues: >Get 'em both or request some cuts on your local radio station (if you're lucky >to have one that plays some Blues). In the end, only your own ears will tell >you what you like and what fits inside the blues idiom to you. So, never one to ignore good advice, I picked up both albums! And they're completely different, yet in a way similar. I love 'em both - Michael Hill's raging blues rock and Shannon's traditional style are indeed at opposite ends of the Blues spectrum, but they both address modern day concerns as well as Blues themes that have remained relevant since the birth of the Blues. Michael Hill addresses topics like unemployment and social issues, kids taking guns to school, inner city problems (Can't Recall a Time, Why We play the Blues), as well as the tried and true blues theme, relationships (Righteous Love). His guitar work is fantastic, and Fred McFarlane adds some wicked keyboard work. The lyrics are great and usually right on the mark (although at times they seem a little preachy), and the vocals are steady if not exceptional. He even adds a bit of rap (which I usually dislike, and this is only somewhat better IMHO since the guy who does it sounds like the same guy who sang The Monster Mash) on The Signifying Monkey/Watch What You Say, and reggae on Heading Home (which features some great slide guitar with what sounded to me like a Hawaiian guitar feel). All in all, I'm impressed! And Mem Shannon's album is great as well - the recorded bits from his cab are great, and the songs are excellent. If This Ain't The Blues is hilarious - it had me literally laughing out loud: `My best huntin dog died last week I tried to feed him this morning but he was still dead I got a permanent layoff from my job The boss said it's just as well 'cause you're fired anyway You know my wife and kids had an operation And now they can see better than me But they all packed up and left me this morning Said i was the ugliest man they ever did see Well if this ain't the Blues, then i don't know what the hell else is... Gets my vote in the Blues lyrics category!!! The thing I really like about both of these albums is that they're made up of almost all original songs - no worn-out cover versions of blues classics - and the songwriting is superb. So...since I like both of these, which Blues list should I be on - traditional, blues-rock-funk hybrid blues ..... :-) Highly recommended!!! Thanks Shaun and Don. -Jim (Still using subliminal messages to influence the Clarksdale choice for the syte of the Blues-L Convention Clarksdale) :-) ========================================================================= Date: Tue, 16 Jan 1996 08:22:16 GMT Reply-To: emdrprac@DIRECT.CA From: emdrprac@DIRECT.CA Organization: Internet Direct Subject: Vancouver, B.C. BLUES BENEFIT Comments: To: bit-listserv-blues-l@uunet.uu.net This coming Sunday (Jan. 21) at Richard's on Richards there is a mega Blues and R+B Benefit for Andreus Schuld, a fine local R & B guitarist. He lost approx. $30,000.00 worth of recording and music gear along with house contents in a Christmas heist at his home. Admission is $10.00 and basically everyone who is hot locally will be performing - Mike Jacobs Band,Sue Leonard, the Belairs,Kenny Wayne,Hans Staymer ,etc. etc..Pass the word to any who would like a good evening of music and to help out Andreus. ========================================================================= Date: Tue, 16 Jan 1996 08:35:30 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Blues without feeling Comments: To: bit-listserv-blues-l@uunet.uu.net Lauri, My point is that it's not necessarily all about intensity and passion, it's about the full range of feelings and expressions thereof. As far as I'm concerned, our latter day definitions of what is and isn't (or was and wasn't) blues are moot. Blues is what the contemporary blues audience said was blues, whether it appeals to OUR modern blues sensibilties or not. During the time in the first half of this century when blues was produced and performed BY and FOR the same people--blacks-- Lonnie Johnson was considered to be just as much a bluesman as anyone else, and in fact if you'd asked an average blues fan walking down the street in the '30s who was the better bluesman, Robert Johnson or Lonnie Johnson, I'd bet the majority would have said, "Robert who?" Muddy Waters was once asked who he thought was the best blues guitarist ever. His answer: "Lonnie Johnson". That's good enough for me. Scott ========================================================================= Date: Tue, 16 Jan 1996 08:21:51 GMT Reply-To: tdevit3@NEWS-S01.NY.US.IBM.NET From: tdevit3@NEWS-S01.NY.US.IBM.NET Subject: Lonnie Brooks? Comments: To: bit-listserv-blues-l@uunet.uu.net Any plans for a new Lonnie Brooks disk...seems a very long time since the last....is he still with Alligator? ========================================================================= Date: Tue, 16 Jan 1996 04:53:08 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Blues without feeling Comments: To: laurie.forti@INFOEXCH.MIAMI.FL.US On 15 Jan 96, Laurie Forti had this to say... > B.B. would be thrown off stage in a South Side bar in Chicago if he > tried conning that audience with one of his new 4 note songs that > the white kids suck up. I must admit. You had me going there for a while. I was actually taking you seriously. ========================================================================= Date: Tue, 16 Jan 1996 05:58:42 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Re: What Do Producers Do? Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199601150644.BAA29414@orion.neca.com>, Stew Crossen writes: >Does he control, or at least guide, the creative process...? > Often, because he/she is responsible to Produce a commercially > viable and marketable product. > > This is a good start on understanding the problems inherent in the producer/artist relationship. Often there isn't one at all. The producer might be someone who happened to purchase the tapes, which the artist signed off on (usually under legal duress) or which were recorded without the artist's knowledge and released after his/her death. Suddenly the artist or the heirs or friends or other musicians hear something of theirs on the radio, maybe something embarrassingly bad, which was "produced" and released without their knowledge or input. Expanding a little on Stew's comments above, the producer usually selects which songs to include, the order in which to put them and where to edit a verse or where to begin or end a song. As with motion pictures, the artist often feels that the best work was cut out. A good producer can explain this to the artist or at least be justified in the end by the sales or radio popularity. Here's a funny example (non-blues): Remember the song "Brandy"? It was a one hit wonder by Looking Glass. The producer did a little too good a job. The lead vocalist was extremely talented, but, apparently, the rest of the band didn't know how to tune their instruments. They would lay down monstrously garbled tracks with beautiful, soaring vocals, and then retire for the evening. The producer would then sneak in veteran Memphis studio musicians to redo the guitars and drums. On playback the next afternoon, the band members would congratulate each other and the same scene would be repeated. "Brandy" hit the charts like a rocket, but the first time the band tried to play live, they couldn't come close to the original and disappointed their fans. Denise ========================================================================= Date: Mon, 15 Jan 1996 06:20:00 PST Reply-To: Meridith Farnworth From: Meridith Farnworth Subject: Favorite Live Blues Performances Can I just add this before the "Best Live Shows of '95" thread goes too far away? (ha! like ANY topic ever dies here...) While I've had the pleasure of seeing many excellent shows in the last year, a highlight for me has surely been the regular Private Concerts I get via telephone by Blues-L's own...... delta doc roger. Yup, he sure plays that National *real* good, love that sound! (and I believe he's back on the -L after un-subbing for a while?) Lucky me...private weekly (at least!) performances via phone from 1500 miles away! Sounds good even through such low-end audio equipment as my AT&T cordless! As always, thanks for listening... --Meri mfarn@fibusa.com p.s. now if only Mr. Struve had contributed to BluesBytes.......but maybe if ya'll are REAL nice to Roger, he'll call you up and play for each and every one of you, too! ;-) ========================================================================= Date: Tue, 16 Jan 1996 11:31:19 +0000 Reply-To: "David J. Wallace" From: "David J. Wallace" Subject: Re: Lonnie Brooks tdevit3@NEWS-S01.NY.US.IBM.NET wrote : (this address is generating a ton of error messages, so I'll post this to the list.) > Any plans for a new Lonnie Brooks disk...seems a very long time since the > last....is he still with Alligator? > Lonnie has a 1994 or 95 release on Delmark, heard excerpts from it on a radio show - which were OK, but can't remember the title, but if you're interested I know a guy who can tell me all about it. See Ya, David ========================================================================= Date: Tue, 16 Jan 1996 07:03:19 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Organization: IQuest Internet Services Subject: Re: SRV Movie Comments: To: Bill Reiser I heard a report on the radio yesterday which corroborates the rumor that Brad Pitt will play SRV. But Stevie, God rest his soul, was not an attractive man IMO--- atleast not like the fat-injected lips Pitt. This would seem to make it a bit of a stretch for Pitt in some aspects. RJ Bauman > On Mon, 15 Jan 1996, Rage 'n Records wrote: > > > Does anyone know the productions company or the film company who is doing > > this movie? > > Miramax is the film company, not sure who the production company is yet, > but it sounds like Robert Rodriguez is doing it after Zorro. Jimmie > Vaughan has signed on as a consultant. > > BR > > ========================================================================= Date: Tue, 16 Jan 1996 08:31:40 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Blues without feeling Laurie Forti wrote > I agree that there is no accounting for _taste_; BUT do you really > perceive (nothing to do with acquired 'taste') the same level of > _intensity_ and _power_ in Lonnie's music as you do in say Son House, > Robert Johnson, Skip James, Ishman Bracey, et al?? They are certainly not the same, but "different" is not equivalent to "worse." The blues is not one kind of music -- the delta blues that you evidently prefer is only one of multiple types of blues. In the 1920s, when Johnson started recording, the dominant style was an urban, cabaret-style of blues, much closer to jazz than delta blues. Johnson played that style to perfection. Similarly, we could discuss blues from the Piedmont, or Texas, or Kansas City, or Los Angeles -- if your only measure of excellence is the Robert Johnson or Son House (great as they are) you won't judge those schools of blues on their own merits. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Tue, 16 Jan 1996 08:31:41 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Non-blues threads Laurie writes: > Do> high on this list but lately it has gotten pretty extreme. > Yeah! That is why I, for one, would like to see the list split > into three topic-oriented lists: Another time-honored topic returns! Much as I am tempted to type '35!" and get on with it, perhaps it would be appropriate to reiterate the point often made before: Anyone who wants to create a new blues list is more than welcome to do so. "Splitting Blues-L" is neither realistic nor practical -- we'll never agree on it. So anyone who wants a more narrowlt defined list is welcome (even encouraged!) to find a host computer and start it. Please let Blues-L know when you've done that, so those of us who don't want a split can decide whether to subscribe to your list as well. Good luck! Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Tue, 16 Jan 1996 14:24:11 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: All The Handy Nominations Comments: To: bit-listserv-blues-l@uunet.uu.net In <4dfc5p$t8p@ulysses.midtown.net>, Jack Oudiz writes: >>After going over PW's listing of all of the Handy nominations... >>What this says about the blues, I'm not sure... > >Nothing of any import. The sad fact is that the Handy's may be a nice >PR gig for the blues as they were intended, but they are as irrelevant >as the Grammies when it comes to acknowledging what's really happening >in the music. The candidates are an annual embarrassment and bear >little or no resemblance to real merit. Hmm... What an embarrasment - One organization annually polls critics and fans and give blues artists the only real recognition they get outside of a mention (off camera, of course) at the Grammys. I'd argue the Handys are as valid a representation of "what's happening" in the music as any other measure available. BBB - B.B. Bean bbbean@cris.com http://www.cris.com/~Bbbean - ========================================================================= Date: Tue, 16 Jan 1996 08:22:25 CST Reply-To: ISTS024@UABDPO.BITNET From: Leonard Watkins Subject: Johnny Shines ??? Someone asked could Johnny Shines be overrated as a guitar player and having listened to tons and tons of delta blues players, I have to say it's very much the opposite he is very underrated. You have to get the right material as Mr. Silverberg has recommended "Tradional Delta Blues" , most of his pre-stroke stuff is excellent. You have to listen to the good stuff before forming an a opinion. If you just listened to Albert King's "The Very Thought Of You" you would think he was severely overrated as a guitar player. Johnny Shines is one of the greatest delta PLAYERS ever...period. His vocals are superb also. Don't buy the Robert Johnson's shadow crap on Johnny or Lockwood. THEY stand on their own merits..... LW ========================================================================= Date: Tue, 16 Jan 1996 09:30:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re: The Greatest, "real" King of The Blues...The Pillars of Blu Unsigned says the greatest of the greats seem to include Albert King, Freddie King, Albert Collins, T. Bone Walker, "and of course, Johnny Winter", relegating Muddy to an "influence" who is "right up there" with B.B. King. There's a lot to play with here, isn't there? For starters, I don't agree with "and of course, Johnny Winter" one little bit. Are you putting him above Muddy Waters in, uh, Blues? Eh? Joe "just curious" in Moscow ("Son House? Koko Taylor? Blind Lemon Jefferson? Sonny Boy Williamson? Others?") J.E._Downey@bakermck.com ========================================================================= Date: Tue, 16 Jan 1996 08:58:37 CST Reply-To: ISTS024@UABDPO.BITNET From: Leonard Watkins Subject: Living Blues Awards vs Handys Someone mentioned/implied that the Handys were better than nothing, but the Living Blues Awards are the alternative. If I recall the list for each category is longer than the selected few on the Handys. I think they are not just "black" perfomers (as LB critics would like to believe), but I could be wrong. IMO the most riduclous category on the Handy's is the one that has KOKO Taylor, Marcia Ball, Tracey Nelson (is she blues, never heard her ??), Keri Leigh and Debbie Davies. Excuse me but putting those folks in a group with Koko is like putting me in a group with Chet Atkins....Absurd. I also don't see where Keb Mo & Corey Harris fit in with John Hammond and Cephas & Wiggins.. That's equally absurd. That's MO and you voiced yours so save your flames for someone who cares or someone who will actually read them. LW ========================================================================= Date: Tue, 16 Jan 1996 15:03:14 +0000 Reply-To: "David J. Wallace" From: "David J. Wallace" Subject: Re: Lemons (and some blues content also) You buy without listening?? :-) I got burned a lot when I just used to buy almost at random, now I've found some great stores with great staff and listening facilities. Don't know about the States, but stores here (the good ones anyhow) are often willing to enter into an exchange if you ask nicely. On the odd occasion when I've bought something really not to my tastes from a store that I know doesn't exchange, I claimed the disc was faulty, - dishonest, yeah, but the big chains are ripping you off big time anyhow, especially one that will remain nameless for now, so its nice to get ones own back. Well to the blues content, I was in the said nameless big chain store, because they are the only place that stocks Alligator hereabouts (if anyone here works for or has any influence in Alligator's international distribution then big improvements are needed in Northern England) and finally stumped up the exhaubitant price ($22US) for Fenton Robinson's Nightflight. It's really very good, Fenton Robinson displays his uniquely insightful guitar and mellow vocals to good effect. Well there you go some blues content serving as an excuse to bash the chain stores. See Ya, David ========================================================================= Date: Tue, 16 Jan 1996 10:02:47 EST Reply-To: shannon oconnor From: shannon oconnor Subject: For Bob Unger...Help! Everyone else can ignore this. Or if reading this, sympathize... Our computer system had a major breakdown last week. I lost 90% of my stored e-mail. Lots of stuff still waiting to be dealt with and to answer. Including how to order the BLUESBYTES tape. Could you please resend that info to me? I'll have a check in the mail as soon as I receive your instructions. Many thanks!!!! Shannon ========================================================================= Date: Tue, 16 Jan 1996 15:23:27 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Subject: Re: VCR ALERT! BET from 6:00 to Midnight Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199601152151.AA10371@bulkrate.cc.bellcore.com>, edward c liu says: > Haven't seen anybody mention it, but the Black Entertainment >Channel (? BET are the call letters in the TV Guide) is kicking >off some kind of jazz entertainment programming tonight. My jazz >radio station's morning program/blues hour mentioned that film >footage of John Lee Hooker and MUDDY WATERS will be included in >the kickoff tonight. I caught the John Lee Hooker portion of this show. It was a 1 hour concert - very good sound/picture. My only problem was that it reminded me of the Boogie Nation and I kept wondering when he was going to hit that magical long wavelength chord that was going to bliss me and the rest of the world out for an undisclosed period of time. Then I thought about Hooker pizza and his pets. I hope I don't make a habit of that because it was very distracting. Maybe what I need is a JLH musical marathon. If nothing unusual happens, I'll know it's safe. Art Schuna ========================================================================= Date: Tue, 16 Jan 1996 09:43:33 -0600 Reply-To: Dave Daubard From: Dave Daubard Subject: Blues Cruise Playlist 1/12/96 Artists------------Title----------------Release------------Label------ Rod Piazza- Rockin' Robin- Harp Burn- Black Top Lowell Fulson-What's the Matter Baby-Them Update Blues- Bullseye Big Time Sarah-Evil Gal Blues- Lay it on'em Girls- Delmark Melvin Taylor- Texas Flood- Melvin Taylor & Slack Band Evidence Joe Guitar Hughes-Walk On- Texas Guitar Slinger- Bullseye Mem Shannon- Got to Go- Cab Driver's Blues Rykodisc Trudy Lynn- 2 Girls for the Price of 1-24hr. Woman- Ichiban Lonnie Brooks-Temporary Insanity- Satisfaction Guaranteed- Alligator Guitar Shorty-Hard to Stay Above the Ground-Get Wise to Yourself-Black Top Rick Holmstrom-Fooled Ya- Look Out- black Top " " A Good One- " " " " Albert King- Drownin' On Dry Land- Hard Bargain- Stax Rick Holmstrom-The Floater- Look Out- Black top Lee McBee- Rock This Joint- "44" Red Hot Records Mark Hummel-Jungle Scotch Plaid-Married to the Blues- Flying Fish Jay Owens- Working Man- Movin' On - Code Blue Keri Leigh-Here's Your Mop, Mr. Johnson-Arrival- Waldoxy Louisiana Red- title tune- Sittin' Here Wonderin'- Earwig Lurrie Bell- Your Daddy Done Tripped the Trigger-Mercural Son-Delmark Rory Block- Big Road Blues- Mama's blues- rounder " " title tune- " " " Roosevelt Sykes- 44 Blues- Blues by the Honeydripper- Smithsonian Folkways Pete Johnson-Central Avenue Drag- Central Avenue Boogie- Delmark Kenny Wayne- Mr. Piano Man- Alive & Loose- blues Roots Rec. Sunnyland Slim-Sometimes I Worry-Sunnyland Train- Evidence Mighty flyers- Buzzin' Blues in the Dark- Black top Saffire- Yonder Come the Blues- Old, New, Borrowed, & Blue-Alligator Billy boy Arnold-I Ain't Got You- Eldorado Cadillac- " Omar & the Howlers-Fire in the House-World Wide Open- Watermellon Rec. Too Slim & Taildraggers-I Don't Care-Swamp Opera- Burnside Rec Peppermint Harris-Always on the Go-Texas on My Mind- Home Cookin' Monster Mike Welch-Jessie's Blues-These Blues are Mine- Tone-Cool Kid Ramos- You Don't Care- Two Hands, One Heart- Black Top Smokin'Joe Kubek-Changes Made- Cryin' For the Moon- Bullseye Joe Louis Walker-Second Street- blues of the Month Club- Verve Lee Rocker-Call Me the Rocker- Atomic Boogie Hour- Black Top Guy Forsyth- Son's House- Needle Gun- Antone's Big Time Sarah-Hoochie Coochie Woman-Lay it On 'em Girls- Delmark ========================================================================= Date: Tue, 16 Jan 1996 07:50:45 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Lonnie Brooks You wrote: > >Any plans for a new Lonnie Brooks disk...seems a very long time since the>last....is he still with Alligator? Lonnie Brooks' new album, Road House Rules, will be released on Alligator on February 27. It's his first new studio album in five years. Mary Katherine Aldin ========================================================================= Date: Tue, 16 Jan 1996 10:40:33 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Pitt as SRV Hey, c'mon, anyone who sees "12 Monkeys" and comes away saying Brad Pitt is nothing but a hunk wasn't watching. I think he's a fine-looking young man (when he's cleaned up), but I he's also a very talented and creative actor. Give him a chance. They can gunk up his face, and if he can capture the style and mannerisms of SRV, he'll do a fine job. He makes an effort to play against his looks...."Seven" and "12 Monkeys" are examples of that. Give him credit as an ACTOR, not as a poster boy! Shannon P.S. I don't SRV was all that bad-looking, either. There's something appealing about a lived-in face. ______________________________ Reply Separator _________________________________ Subject: Re: SRV Movie Author: rjbauman@iquest.net at INTERNET_TP Date: 1/16/96 7:37 AM I heard a report on the radio yesterday which corroborates the rumor that Brad Pitt will play SRV. But Stevie, God rest his soul, was not an attractive man IMO--- atleast not like the fat-injected lips Pitt. This would seem to make it a bit of a stretch for Pitt in some aspects. RJ Bauman ========================================================================= Date: Tue, 16 Jan 1996 10:04:35 -0600 Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: Re: Texas Pete Mayes Comments: cc: KALMBACH@MACC.WISC.EDU Pete Mayes is a friend of mine and I see him often. He is still performing around town although he has some health problems (diabetis) and has difficulties standing when he plays; that is why he sits down when is playing. He released an album called "I'm Ready" were he sings beautifully and is on a few other releases (Live at Rockefellers and others). About 4 times a year, a trip is planned were people go to Double Bayou and spend an evening of BBQ, Pete Mayes music, and the beautiful company of the locals. Double Bayou is a club in a small town about an hour away from Houston. Story has it that Lightnin' Hopkins, Amos Milburn, Gatemouth and others used to perform there a long time ago. I've been trying to get some of Houston's local musicians such as Pete to record again. I'll keep you posted if I hear anything. Nuri Nuri > I have an LP by a Texas guitarist by the name of Pete Mayes. >The label is either Black Magic or Double Trouble and Pete is pretty good. >He recorded another album, for the same label I think, a short while later >with Joe Hughes. This was in the later 80's. Is he still around? I haven't >heard anything about him in a long time. > > -Bonnie > > > > ========================================================================= Date: Tue, 16 Jan 1996 10:38:36 EST Reply-To: TSCHANZ@VM.TEMPLE.EDU From: "William R. Tschanz" Organization: TEMPLE UNIVERSITY Subject: The Boogie-man I was sitting in the parlor with my wife last night. The childre were fast asleep. All the doors were shut up tight and no one was walking into or out of the room. All of a sudden I smelled the strong aroma of freshly made coffee wisping by me. We had no coffee in the house (we had run out). I asked my wife if she smelled it and she said yes. Then I recalled that old Silver Bullit who had lived on the third floor of my house always made a fresh pot around 10 o'clock to warm up. I went over to the keyboard and started to work on some of the old left-hand boogie bass lines he showed me when I was a kid. It's funny sometimes were insperation can come from. Crossroads....I believe... Silver played a piano with a knocked out bass. Played better than someone cookin with bacan grease, and he's just down the road down the road apiece. Silver passed away last year, but I guess he's still with me. Inspiration? Playin with feelin? Find your own Cross roads. If your playin the blues without the blues I concider you a clone...... ____________________________________________________ | > | WILLIAM R. TSCHANZ TSCHANZ@VM.TEMPLE.EDU > | CIVIL ENGINEERING WRTSCHANZ@AOL.COM > | TEMPLE UNIVERSITY ----------- > |___________________________________________________> ========================================================================= Date: Tue, 16 Jan 1996 11:11:43 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: Primich Itinerary Here we go for February folks: Feb. 3,4. BW3....................Steamboat Springs CO 5. Alligator Lounge.......Breckenridge CO 6. Fox Theater............Boulder CO 8. Pasquale's.............Lewisville CO 9. Brenden's..............Denver CO 10. Dingo Bar..............Albuquerque NM 15. The Rialto.............Tucson AZ 16. Rhythm Room............Phoenix AZ 17. Nolaz..................Prescott AZ 23. Blue Cat Blues.........Dallas TX 24. Billy Blues............San Antonio TX ========================================================================= Date: Tue, 16 Jan 1996 10:18:31 -0600 Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: Re: First Annual Blues-L Convention I vote for Houston-Texas, home of Lightnin' Hopkins, Albert Collins, and many of the greats! I suggest either during either the (not as big as other cities) Blues festival or the Juneeteenth Blues Festival (around June 18 or so). Nuri Nuri ========================================================================= Date: Tue, 16 Jan 1996 11:16:50 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Pitt as SRV Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com * Hey, c'mon, anyone who sees "12 Monkeys" and comes away saying Brad * Pitt is nothing but a hunk wasn't watching. I think he's a * fine-looking young man (when he's cleaned up), but I he's also a very * talented and creative actor. Give him a chance. They can gunk up his * face, and if he can capture the style and mannerisms of SRV, he'll do * a fine job. Yeah, and he wasn't exactly a heart throb pretty boy in "Kalifornia" (but I bet my friend MK Sheffield would go for him no matter who he played! ;). I would still see a Muddy, Little Walter, Sonny Boy, T-Bone, Wolf, Robert Johnson, etc. film instead of a SRV film. But maybe they will get it right and show who his influences were. -Steve ========================================================================= Date: Tue, 16 Jan 1996 11:37:09 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Living Blues Awards vs Handys On 16 Jan 96, Leonard Watkins had this to say to everyone who reads Blues-L.... > That's MO and you voiced yours so save your flames for > someone who cares or someone who will actually read them. ========================================================================= Date: Tue, 16 Jan 1996 10:40:17 CST Reply-To: ISTS024@UABDPO.BITNET From: Leonard Watkins Subject: SRV - Not Brad Pitt Mickey Rourke would do a fine job. Why not one of the so-called clones like Kenny Wayne Shepard or Chris Durate, at least they are musicians. I wouldn't like to see Keb' Mo playing Robert Johnson, I'd rather Corey Harris or maybe Kenny Neal. I don't mean anything derogatory against Brad Pitt or Keb' Mo. LW 'who actually watched the Eagles Hell Freeze Over show on VH1' ========================================================================= Date: Tue, 16 Jan 1996 10:52:42 -0600 Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: Re: ..Re "Dr. Hepcat" (aka Lavada Durst).. Last I checked, "The Jives of Dr. Hepcat" was available at Antones Record Store in Austin. Here is their address and telephone numbers: Antones Record Store 2928 Guadalupe Austin, TX 78705 (512) 322-0660 (512) 322-0533 (fax) Nuri Nuri > Hello 'zellers', > > Does anyone know if there are any surviving aircheck acetates of > Dr. Hepcat's radio program on KVET, Austin from the 1940's or 1950's, > and what the chances are that they might be converted to CD format > someday? I'd just LOVE to hear what Dr. Hepcat's program sounded like. > > Also, is the book, "The Jives of Dr. Hepcat" still available? > the partial review and excerpt I read on Blues-L a few days ago, I'd > be really interested in checking that out as well. > > ..And speaking of blues piano [..obligatory blues content..], I > obtained a Chess Sampler a couple years ago for the 4 CD "Chess Blues" > Box. There is a terrific cut on it, called "Tonky Boogie" by > Forrest Sykes. > > Is there anything else out by this guy? Tried a few years ago to > get Les Fancourt's book, "Chess Blues: A Discography of the Blues > Artists on the Chess Labels 1947-1975" through the inter-library > loan system at the public library near where I live. In this way, I > could find out more about him, but my library could not locate the book. > > Maybe he was on Aristocrat? Okay, Uncle eRIC, how about > of your great "tribute" pieces on Forrest Sykes...please? > > TIA. > >Peter Agostinelli >z600300a@bcfreenet.seflin.lib.fl.us > > ========================================================================= Date: Tue, 16 Jan 1996 10:51:20 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Tucson and Phoenix Blues Any good blues events happening in Tucson/Phoenix area from January 22 through January 27th? Where can I find a list of blues clubs in these two cities and their schedules? Help greatly appreciated. Ranko ========================================================================= Date: Tue, 16 Jan 1996 11:52:43 -0500 Reply-To: bob unger From: bob unger Subject: Ronnie Brooks Mary Katherine Aldin recently wrote: >Lonnie Brooks' new album, Road House Rules, will be released on >Alligator on February 27. It's his first new studio album in five >years. During last years Chicago Blues Fest. I saw Ronnie Baker Brooks tear down Legends. He ripped the place apart. I believe somebody told me that he is unsigned. Does he have ANY cd's out (on his own) and if not....does anybody know if there are any plans in the works. BU bob@sun.bnkst.edu ========================================================================= Date: Tue, 16 Jan 1996 11:16:07 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: Pitt as SRV In-Reply-To: <49B90BB8@MHS> On Tue, 16 Jan 1996, Steve Levine wrote: > I would still see a Muddy, Little Walter, Sonny Boy, > T-Bone, Wolf, Robert Johnson, etc. film instead of a SRV film. If they make a movie about Howlin' Wolf, he MUST be played by Charlotte Hornets player Larry Johnson. Those two HAVE to be related. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Some of us may even die ... before the revolution comes." - The Last Poets ========================================================================= Date: Tue, 16 Jan 1996 11:19:55 -0600 Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: Re: Shrinking list of blues venues In interviewing Bob Margolin this past Sunday, he was pretty strong on this issue. I agrgee with you as well as Bob in that a lot of venues are either changing format or closing down. Houston alone has lost 5 of its major blues venues to either heavy metal or to bankrupcy! Unfortunately, a lot of times the lack of support on behalf of the patrons causes clubs to either not present national acts or ones that do not come around very often, or to simply close down. Bob commented on that by saying that the corporate-type blues clubs have taken over some of the more authentic ones and the crowds that go there are passersby, of course with many blues patrons. Being "fanatic" about blues like most of us are is nowadays the exception and most clubs need a lot of patrons to afford to stay open. Nuri Nuri >I'm behind veteran 'zellers on the topic of choosing more serious/more >blues related topics, so I'll attempt to put my money where my mouth is. > >Bob Margolin includes a couple of serious paragraphs in his column in this >month's Blues Review about the lack of public support for live blues. I >hope this did not go unnoticed by most of you. It's a very important >topic. > >Live music forums create the performers of the future. I've known people >who studied guitar in the privacy of their homes for years and became >quite good, however, you'd never know it unless you shared a wall with >them. And there are countless cases of people working for hundreds of >hours in a studio to create a hit song, only to crash on tour because of >their inability to play before a real audience. You learn your craft, not >only by imitating other artists, but also by enlisting their help and >interest in your playing, by picking up tricks of the trade and >self-confidence. Legend has it that Robert Johnson was laughed off stage >the first time he tried to play publicly and that he disappeared to >Hazelhurst for two years and played on street corners to perfect his >style, as a result. When he returned to the middle Delta, he wowed 'em. > >During WWII, there were several factors that contributed to a severe >reduction in record pressings, but one of the most significant was "the >ban that J.D. Petrillo, president of the American Federation of Musicians, >imposed on all recording because of his concern about the effect on live >music..." (McKee & Chisenhall, "Beale Black and Blue," Baton Rouge: >Louisiana State U Press, p. 126.) > >Maybe we should give some thought to the potential end results of our >living in an era when we can have what we want, when we want it and in the >format of our choice. Our predecessors were grateful for the occasional >medicine show or carney that passed through their town, and these forums >produced some of the finest entertainers the world has ever known. They >knew how to grab your attention and keep it. > >We'll really have the blues if we lose the element of human contact. > >Denise > > ========================================================================= Date: Tue, 16 Jan 1996 12:08:56 -0600 Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: Re: Jimmy Thackery's influences Comments: cc: vibratolad@AOL.COM Jimmy is a good friend of mine and I suspect I will be introducing him when he plays here in 2 weeks. In preparing for an interview some time ago, I learned that his major influence is Jimi Hendrix. I think Jimmy's style is unique in that he uses a lot of reverb/echo/.distortion and plays in the style of many musicans, Texas and Chicago stuff. Nuri Nuri >I saw Jimmy Thackery a few months ago, and it sounds to me like one of his >major influences has got to have been Lonnie Mack. > > ========================================================================= Date: Tue, 16 Jan 1996 20:12:18 +0200 Reply-To: T P Uschanov From: T P Uschanov Subject: Re: ..Re "Dr. Hepcat" (aka Lavada Durst).. Comments: To: "Nuri A. Nuri" In-Reply-To: On Tue, 16 Jan 1996, Nuri A. Nuri wrote: > Last I checked, "The Jives of Dr. Hepcat" was available at Antones Record > Store in Austin. Here is their address and telephone numbers: > > Antones Record Store > 2928 Guadalupe > Austin, TX 78705 > (512) 322-0660 > (512) 322-0533 (fax) http://www.quadralay.com/Sponsorship/Antones/Records/home.html T P Uschanov (Mr), University of Helsinki, Finland, European Union. tuschano@cc.helsinki.fi ---- http://www.helsinki.fi/~tuschano/ "Property is theft." (Pierre-Joseph Proudhon) ========================================================================= Date: Tue, 16 Jan 1996 13:16:30 -0500 Reply-To: Ed Mezynski From: Ed Mezynski Subject: Re: modern rural blues There's a guy. local to NC, that plays Piedmont style blues. He plays a Nat'l Steel and a flattop, sings and blows a harp. To these ears, he sounds like the real thing. He goes by the name of Lightnin' Wells. Has his own cd out too. ed mezynski ========================================================================= Date: Tue, 16 Jan 1996 13:14:59 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: SRV - Not Brad Pitt Comments: To: Leonard Watkins In-Reply-To: On Tue, 16 Jan 1996, Leonard Watkins wrote: > I wouldn't like to see Keb' Mo playing Robert Johnson, I'd rather Corey Harris > or maybe Kenny Neal. I don't mean anything derogatory against Brad Pitt or > Keb' Mo. > > > LW 'who actually watched the Eagles Hell Freeze Over show on VH1' > How about Guy Davis for the role of Robert Johnson? He's both a great guitar player and has acting experience. Jim ========================================================================= Date: Tue, 16 Jan 1996 13:18:06 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: Johnny Shines recommendations .... Comments: To: Barry Silverberg In-Reply-To: Traditional Delta Blues also has a cut apparently written by Robert Johnson which he never recorded (can't recall which one it is tho). Jim On Sun, 14 Jan 1996, Barry Silverberg wrote: > On Sat, 13 Jan 1996, David Goldstein wrote: > > 2. Assuming that the answer to the aforementioned question is that he is > > really great, how about some suggestions that highlight his acoustic > > aptitude. I understand that he put out some good stuff on Testament, but > > that it is electric. Is that true and how good is it? > > He has two CD's on Biograph that are excellent and acoustic: > CD #125 Mr. Cover Shaker and CD #121 Traditional Delta Blues. > I would go on to say that TDB is a must own. I am not a mus- > ician not a guitar player but there is some picking on the CD > that always makes me say - how'e he do that. > Also he has if available Too Wet To Plow, was on Tomato, also > terrific acoustic guitar with Louisiana Red and Sugar Blue. > TWTP is nicely recorded - the channels are distinct so you'll > hear Johnny very clearly from Red, and Sugar is distinct also. > Could be a tie for must have except on the Biograph TDB is my > favorite cut Jim String - great tale of hookers, pimps, and a > little murder thrown in. > > Either or all. > > NY CD Blues now at http://www.island.net/~blues/nycd.html > 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. > 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! > Barry Silverberg ... bsco@panix.com > ========================================================================= Date: Tue, 16 Jan 1996 18:24:14 GMT Reply-To: "Robert J. Dewar" From: "Robert J. Dewar" Organization: The National Capital FreeNet, Ottawa, Ontario, Canada Subject: SRV film The discussion about the new film about Stevie which may be made brought back memories of the Clint Eastwood film "Bird" about Charlie Parker. It was criticised for concentrating on his drug use and the general image conveyed of a naive waif who was victimized by a cruel world.Little attention was paid to the incredible music or the sources of his unique improvising talent. I hope that they can show the whole blues scene which Vaughn was a part of and his unique talent, rather than endless shots of drug abuse and degradation.Hope springs eternal. In other news, my thanks go out to all of you who helped me locate the Peter Guralnick book "Searching For Robert Johnson" It is really good,as are most of his books.Incidentally, I`ve just started anew book which I got at the library.It is called "Black Pearls-Blues Queens of the 1920`s" byDaphne Duval Harrison.Very good also. I`m going to see Eddie Shaw at one of the many blues venues here in Ottawa.Should be real good.Anyone else seem him live? Robert J Dewar ========================================================================= Date: Tue, 16 Jan 1996 18:24:56 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Living Blues Awards vs Handys Comments: To: bit-listserv-blues-l@uunet.uu.net In , Leonard Watkins writes: >Someone mentioned/implied that the Handys were better than nothing, but the >Living Blues Awards are the alternative. If I recall the list for each >category is longer than the selected few on the Handys. I think they are not >just "black" perfomers (as LB critics would like to believe), but I could be >wrong. IMO the most riduclous category on the Handy's is the one that has KOKO >Taylor, Marcia Ball, Tracey Nelson (is she blues, never heard her ??), Keri >Leigh and Debbie Davies. Excuse me but putting those folks in a group with >Koko is like putting me in a group with Chet Atkins....Absurd. I also don't see >where Keb Mo & Corey Harris fit in with John Hammond and Cephas & Wiggins.. >That's equally absurd. That's MO and you voiced yours so save your flames for >someone who cares or someone who will actually read them. It is probably worth noting that the LB awards are the result of an in-house argument with the Blues Foundation, and they started with the same list of nominators the BF uses. FYI- While you may have problems with the categories, some yahoo in an office in Memphis didn't put them there. Well over 100 blues writers, DJs, historians, and recognized blues authorities go through a two stage nomination process before the final ballot goes out. Every name on that list is there and in that particular category because the nominators (again, recognized blues authorities from around the US) put it there. I've pulled my hair out in years past over some of the inane categorizations that made it to the final ballot, but in the end, the industry and the fans select the winners. A very real concern I have with regards to the LB awards is that they may be diluting the momentum the BF has built up over the past two decades to get the Handys into the national press. The Foundation has worked for years to get the awards show broadcast live, and to get better coverage in the national non-blues press. If the critics from the NY TImes see that there's a BF awards, a LB awards, and maybe two or three other groups hop into the fray, there's no longer any one authoritative voice for the industry, and we all preach to the choir. BBB - B.B. Bean bbbean@cris.com http://www.cris.com/~Bbbean - ========================================================================= Date: Tue, 16 Jan 1996 13:29:04 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Johnny Shines recommendations .... Comments: To: James Leftwich In-Reply-To: On Tue, 16 Jan 1996, James Leftwich wrote: > Traditional Delta Blues also has a cut apparently written by Robert > Johnson which he never recorded (can't recall which one it is tho). The cut noted is Tell Me Mama (which Shines claims Johnson wrote). The other Biograph CD Mr. Cover Shaker includes 6 sides from the same session that most of Traditional Delta Blues came from, plus some great Shines up against a full accompaniment of instruments. On the second CD noted it is interesting to listen to the song - Blood Ran Like Wine (2 versions). First vers. is just JS with a guitar and that's it. Second vers. is JS with guitar and all of the background band. On this cut he opens with a wailing slide. Amazing to listen to a slide pitted face up against all the rest of the band members. MCS is not though fully acoustic although it does have a healthy breath of it. NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 16 Jan 1996 12:35:08 CST Reply-To: ISTS024@UABDPO.BITNET From: Leonard Watkins Subject: Peter Guralnick I am 'spose to interview Mr. Guralnick for the Johnny Shines tribute. Since Mr. Guralnick did the eulogy at the funeral, I think it's a great idea. The problem is that the phone number I have is wrong. It is a Mass. exchange, if anyone would like to either give me his number through private mail (of course) or give him my number it would sure be appreciated.....Thanks LW ========================================================================= Date: Tue, 16 Jan 1996 14:00:21 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Pitt as SRV Comments: To: tbone1@io.com I have no interest in this subject except to make the following observation. I was living in LA and hanging out at a bar that Gary Busey frequented while he was making "The Buddy Holly Story." Busey is stocky, blonde and has excellent eyesight. Holly was angular, dark and wore glasses. If Hollywood could turn Busey into Holly, they can make you believe that Pitts is Stevie Ray Vaughn. Hell . . they could convince you that he is SARAH Vaughn. Dick Waterman Usual disclaimer of no career involvement with anyone named Busey, Pitts, or Vaughn. ========================================================================= Date: Tue, 16 Jan 1996 14:13:53 -0500 Reply-To: MK Sheffield From: MK Sheffield Subject: Pitt-as-SRV With regards to Steve's comment: >Yeah, and he wasn't exactly a heart throb pretty boy in "Kalifornia" >(but I bet my friend MK Sheffield would go for him no matter who he >played! ;). I would still see a Muddy, Little Walter, Sonny Boy, >T-Bone, Wolf, Robert Johnson, etc. film instead of a SRV film. But >maybe they will get it right and show who his influences were. I must defend myself (in an ABSOLUTELY blues-only thread, of course): One of my main concerns would be the music itself in the film. I have seen actors do their own singing in these music biographies...then again, I have seen everything dubbed. I wonder how this will be handled in the SRV film. Being a new SRV fan myself (only have 2 CD's so far), I'd like to see it portrayed as accurately as possible. On the other hand, it is sometimes makes for a more poignant portrayal for the actor to work at recreating the sound and emotion of the performer on his or her own. mk (Meanwhile, I stand by my early statement regarding Brad Pitt when I first saw him in Thelma and Louise: "Any flat surface.") > ========================================================================= Date: Tue, 16 Jan 1996 14:08:00 EST Reply-To: edward c liu From: edward c liu Subject: S&T: Terry Evans _Puttin' It Down_ Howdy all, 3rd in our series of AudioQuest's reviews, here's the review for Terry Evans' _Puttin' It Down_. -- Ed Edward C. Liu | "Nothing is ever what it seems... edwick@cc.bellcore.com | But everything is exactly what it is." | -- B. Banzai The opinions in this message are mine and not Bellcore's. Really! *------------------------------cut heer------------------------------* TERRY EVANS / PUTTIN' IT DOWN (AUDIOQUEST 1038) AUDIOQUEST P.O. BOX 3060 SAN CLEMENTE, CA 92674 The roster of names that Terry Evans has worked with is truly impressive. He has worked with albums by headliners like Boz Scaggs, Lonnie Mack, John Fogerty, Maria Muldaur, and John Lee Hooker. He shares a close friendship with one of the finest slide guitar players alive today, Ry Cooder. And few others can claim that Louis Jordan recorded a song of theirs. It's time to step back, ladies and gentlemen. Terry Evans is ready to step into the spotlight on his own. Leading a band with Ry Cooder on guitar and Jim Keltner on drums, Terry delivers a solid soul- and R&B-inflected disc packed with some excellent, satisfying music, full of his rich, expressive vocal performances from start to finish. Ry Cooder that Terry's "got a lot to give and it's all good," and he's right. Money In Your Pocket / Too Many Ups And Downs / Walking In The Same Tracks / Down In Mississippi / In This Day And Time / Rooftop Tomcat / A Lover Like You / One Sided Love Affair / Nasty Doll / Blues No More NYCD Takes Money In Your Pocket: Kicking off with the drummer beating on a cowbell, this mid-tempo soul blues is Terry's spin on being a professional musician. Terry provides some wonderful, super-clean vocals akin to Robert Cray or Sam Cooke. It's an uptempo, rocking R&B track full of energy. Too Many Ups And Downs: A complex, many-layered track that's topped with Terry's great vocals, a bit rougher and scratchier this time. The extra, added rasp works well for this slower, insistent track. The rest of the band is, again, flawless -- complementing each other well. Ry Cooder provides some of his patented slide work which locks up wonderfully with George Bohanon's slide trombone (and with all the horn sections in blues today, WHY didn't anybody ever think of this combination of instruments before?) Walking In The Same Tracks: A minor-keyed, haunting intro sets you up for this mid-tempo soul number. Terry and Ray Williams harmonize for the introductory chorus before Terry takes over and drops some classic soul vocals, punctuated just right by Ry's slide licks. The arrangement is fairly spartan, with no horns this time. However, the band lays down some fine, straightahead playing underneath Terry. Down in Mississippi: A minimal band setup and a tempo slower than you'd expect add up perfectly for this J.B. Lenoir tune. Terry turns the lamps down low for this blues grinder, delivering his vocal lines in a husky whisper that turns into shouts and growls. The added harmonica of "One Lip Willy" Scandlyn and Ry Cooder's ethereal guitar add tons of atmosphere behind Terry's powerful vocals. The net results are gripping -- blues that grab hold and don't let go. In This Day And Time: The trombone's back to give a swing-jazz feel to this upbeat shuffle. Terry's back to the clean-side of his vocals, turning in a laid-back, no-frills performance. The real instrumental star is George Bohanon, who manages to turn the trombone into a fine blues instrument, tossing fill-ins between the lyrics. Ry sticks mostly to the background, laying down a nice rhythm track along with Jesse Samsel and Ken Scandlyn, but takes the spotlight for a spartan slide solo. Rooftop Tomcat: Latin beats make this another interesting, grooving, multi-layered track that puts a big wonderful spin on a relatively standard 12-bar blues. Terry adds plenty of dirt to his vocals for this one, crooning and preening as he boasts of his prowls for "them pretty kittens." Phil Bloch adds some excellent, pounding drum work, especially during the bridge segments. Hearing Ry match Terry's vocal "haw-haw-haw"s is real hoot, too. A Lover Like You: A slick, smooth R&B track with a basic, 4-piece band. Hence Powell drops some fine work on the keyboards, both in background rhythm work and in his organ solos. Terry out-Crays Robert Cray with his silky, sultry, solid tenor. No big surprises here -- just some straightforward and satisfying soul. One Sided Love Affair: A simple, swinging soul track. Terry's baritone is terrific -- always full of soul and giving touches of rasp and vibrato at just the right places. This is another stripped-down band arrangement which has the same slickly produced feel of the previous track. It's also the only one where Terry provides instrumental chores, playing acoustic guitar. Nasty Doll: Quick tempos, shaking maracas, and some nasty sliding by Ry give this uptempo rocker some real teeth. Terry's vocal work is understated and straightforward, kept mostly at low volumes, though he cranks up the grit for effect every now and again. Hence Powell tickles the ivories on the Hammond B-3 for the solo with some great results. Blues No More: Some immensely lonely guitar, punctuated by the bass and the Hammond B-3, leads in to this closing, powerful slow blues. Terry digs plenty deep to turn in a plaintive, heartbreaking performance. He demonstrates some tremendous range in this song, switching from low-volume moans to loud, powerful shouts in the blink of an eye. This strong sense of using dynamics in his voice really makes Terry's vocal performance great. And nobody can quite do that high-note sliding that tears your heart out quite like Ry Cooder can. Reviewed by Edward C. Liu Copyright 1995 NY CD Blues NY CD Blues at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! ========================================================================= Date: Tue, 16 Jan 1996 13:05:41 CDT Reply-To: "Carr, Carrie M." <96240@MHS77.DSC.K12.AR.US> From: "Carr, Carrie M." <96240@MHS77.DSC.K12.AR.US> Organization: mhs77.dsc.k12.ar.us Subject: scatman????? Hey- I know your there because Christy heard from you. I'm writing you so you can just reply. I'll be waiting *honey* ;) I guess you just deleted my message when you were stuck in the delete mode...I hope so...if not you just don't want to talk to me:( I got a new CD last night so you have to write me to find out what it is...it RULES...kinda;) Lada... Sorry about the personal message on the list;) ========================================================================= Date: Tue, 16 Jan 1996 11:45:40 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: THE REV. ROBERT WILKINS 1. TRIBUTE & DISCOGRAPHY Comments: To: BluesHvn@aol.com ROBERT TIMOTHY WILKINS was born Thursday, January 16, 1896, Hernando, MS. "A superior guitarist, Robert Wilkins projected a relaxed ease on his exquisite country-blues 78s. He was working as a Pullman porter in Memphis when he was hired by Victor to record in 1928. He was soon back in the studio for Brunswick and Vocalion. The 1929 "That's No Way to Get Along," the most famous of his pre-war 78s, was covered by the Rolling Stones as "Prodigal Son." Wilkins's great Mississippi vibrato was similar to that of Frank Stokes & Joe Callicott, and his records show considerable finesse with rag and blues guitar. Ungoverned by standard 12-bar conventions, Wilkins created his own structures and was especially strong in open "E," as heard in "That's No Way to Get Along" and the spooky one-chord "Rollin' Stone." He crafted lyrics into coherent narratives, carefully avoiding any hint of the risque. He showed up at the Chicago World's Fair but did most of his playing in Memphis and Hernando. Unnerving violence at a houseparty prompted him to quit the blues in 1936 and find Jesus. In 1964 a rediscovered Rev. Robert Wilkins, spiritual singer and minister of the Church of God in Christ, hit the folk circuit and made some deeply moving records. He refused to play blues but did recycle some old riffs. Near the end of his life, Rev. Wilkins was seen working as a root doctor on a Memphis side street. He lived to be 91." ~ Jas Obrecht, All-Music Guide The Rev. Robert T. Wilkins died Tuesday, May 26, 1987, Memphis, TN. Mary Katherine Aldin emailed me with details about the 1995 paperback "TO PROFIT A MAN : BASED UPON THE LIFE AND TIMES OF ROBERT TIMOTHY WILKINS SR." written by Lane Wilkins (his granddaughter). It is available for $7.95 from Museum Publishing, 97 S. Second, Memphis, TN 38103. The Delta Blues Museum in Clarksdale is also selling copies. If anyone on BLUES-L has a copy, would they please post a review. I'd like to thank Mary Katherine Adlin for help with this tribute. CD DISCOGRAPHY ============== ADELPHI GENES 9902 : ROBERT WILKINS - REMEMBER ME BIOGRAPH 130 : FRED MCDOWELL/FURRY LEWIS/ROBERT WILKINS - WHEN I LAY... DOCUMENT 5014 : ROBERT WILKINS/TOM DICKSON/ALLEN SHAW - COMPLETE .... TAKOMA 72822 : VARIOUS - TAKOMA BLUES (2 cuts) VANGUARD 115/16 : VARIOUS - BLUES AT NEWPORT (2 cuts) VANGUARD 77005 : VARIOUS - BLUES WITH A FEELING : NEWPORT (2CD) (2 cuts) YAZOO 1077 : ROBERT WILKINS - ORIGINAL ROLLING STONE ========================================================================= Date: Tue, 16 Jan 1996 14:46:06 EST Reply-To: MB6254@ACSPR1.ACS.BROCKPORT.EDU From: Mark Baker Subject: Re: BLUES L: Re: Blues with feeling: What does it take philisophically? I find it interesting that Mr. Clapton gets the blues again after years of making cheesy pop records. His timing was perfect. Mark Baker ========================================================================= Date: Tue, 16 Jan 1996 13:52:27 -0600 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: ..Re "Dr. Hepcat" (aka Lavada Durst).. > Does anyone know if there are any surviving aircheck acetates of > Dr. Hepcat's radio program on KVET, Austin from the 1940's or 1950's, > and what the chances are that they might be converted to CD format > someday? I'd just LOVE to hear what Dr. Hepcat's program sounded like. Unfortunately very little of his old shows were archived. You can contact Dustin Drew at KVET (512-495-1300) he has a recording of "Hepcat's prayer" that he will put on cassette for you. You can also contact John Wheat at the Center for American History at Univerisity of Texas (512-495-4515) they have some of his sound checks. There's also a recording of him at the Rock -n- Roll Hall of Fame. Hope this helps. Bruce Roberts Austin, TX ========================================================================= Date: Tue, 16 Jan 1996 15:05:43 EST Reply-To: MB6254@ACSPR1.ACS.BROCKPORT.EDU From: Mark Baker Subject: Re: BLUES L: Re: Non blues threads Shaun, I agree with your view on appreciating the diversity. I am new to this listserv, but I like it because it isn't just a clique for a bunch of snobs. It's nice to see someone with toleration out there. Mark ========================================================================= Date: Tue, 16 Jan 1996 20:16:43 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Jimmy Thackery's influences In-Reply-To: On Tue, 16 Jan 1996, Nuri A. Nuri wrote: > Jimmy is a good friend of mine and I suspect I will be introducing him when > he plays here in 2 weeks. In preparing for an interview some time ago, I > learned that his major influence is Jimi Hendrix. > > I think Jimmy's style is unique in that he uses a lot of > reverb/echo/.distortion and plays in the style of many musicans, Texas and > Chicago stuff. > Heard an interview where he told the story of how Hendrix came to be his #1 influence. He was going to college in Washington(?) when he happened to see what was one of Hendrix's first solo live performances. Get this, Hendrix had just been booted out of a Monkees tour :):):):) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [16/1/96 15:07 PM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 16 Jan 1996 15:19:26 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: Johnny Shines recommendations .... Comments: To: Barry Silverberg In-Reply-To: What's the general consenus on the Johnny Shines/Snooky Pryor collaboration (?Back to the Country?)? Just to gloat, I found it on cassette in a budget section for $1.99 Jim ========================================================================= Date: Tue, 16 Jan 1996 15:30:02 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Johnny Shines recommendations .... Comments: To: James Leftwich In-Reply-To: On Tue, 16 Jan 1996, James Leftwich wrote: > What's the general consenus on the Johnny Shines/Snooky Pryor > collaboration (?Back to the Country?)? Haven't heard that one for a long time. Seems I had a cassette of it that was stolen. I was told that it subsequently went to a budget section in a record store. I had chalked it up as lost but lo and behold JAMES FOUND IT! Can't wait to get it back :). > Just to gloat, I found it on cassette in a budget section for $1.99 Gloat rescinded - smile placed (hopefully) in its stead. NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 16 Jan 1996 12:36:05 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: THE REV. ROBERT WILKINS 2. MEMPHIS BLUES CARAVAN Comments: To: BluesHvn@aol.com ROBERT TIMOTHY WILKINS 1896/JAN/16, HERNANDO, MS - 1987/MAY/26, MEMPHIS, TN ============================================================================== The Memphis Blues Caravan by Arne Brogger "The birth of the Memphis Blues Caravan occurred late one night in Steve LaVere's music store in Memphis. LaVere and I had become acquainted through some dates I had booked for Furry Lewis. I had arranged these dates after finding LaVere's number in the Billboard performance publication as the contact for personal appearances for Furry. Steve and I had hit it off as fellow "old souls" supported by our mutual love of the blues. What Do You Think He Looks Like...? In June of 1973, I was in Memphis and we were sitting in his shop at about 1:00 a.m., listening to some old 78's in his collection. In the course of the conversation, Steve asked me if I had ever seen a picture of Robert Johnson. I, of course, told him "no," as a picture of the legend of the blues did not exist. He asked me what I pictured Johnson looking like in my mind's eye. I described what I thought he might look like. LaVere then reached for a manila envelope, about 6" by 5" inches in size. He pulled out a black and white photo of a very dapper black man in a suit and tie, wearing a snappy looking hat and holding a guitar. "That's Robert Johnson," he said. I was dumbstruck. There he was, lost for all these years, looking exactly as I had pictured him. "Are your sure this is him?" I asked. "Without a doubt," Steve told me. "I found his sister in Washington DC. She gave this to me." We both sat in silence for a long time. Blind Lemon Jefferson scratched on the old 78. We stared at the picture. "People have to see this, Steve," I finally said. He said he had plans to copyright the image in conjunction with Robert's sister. As soon as that was done, he would release it. "Who else has seen this," I asked. "You, me and a couple of folks here in Memphis. I just got it last week." To Be Seen -- And Heard... The discussion then turned to the need for people to see the guys who invented this uniquely American art form. Steve had made contact with virtually every blues musician of consequence in Memphis, the "home of the blues in the known universe." It was decided that we would try to put the whole crew who lived in Memphis on the road. It had never been done before. Personal appearances by local blues musicians had been, for the most part, solo date affairs. While most of the musicians knew each other, they had never toured or performed together as a group. Kill The Fatted Calf... We began our exploration of potential members with a visit to the home of Revered Robert Wilkins. Wilkins had recorded some powerful sides in the late 20's and early 30's for "race labels" and had enjoyed great success. Unfortunately for the blues world, Wilkins "heard the call" and became an ordained minister in the mid-30's. He vowed never to play the blues again. It was a vow that he would not break. Sitting in Rev. Wilkins' living room in Memphis, Steve and I described to him what we were interested in doing. Rev. Wilkins explained to us his vow to give up the "Devil's music," though we sensed that his resolve might not be totally unshakeable. The blues he performed on those early recordings were done primarily in the key of A. All of his religious material was done largely in the key of E. He sat with this guitar on his lap and, after much coaching by Steve, he tuned up to A. We sat on the edge of our seats. As he struck the strings after finally tuning up, and that A chord rang though his house, his wife, who was in the kitchen, suddenly appeared. "Robert, you best not be doin' what I think you're doin'." The guitar was quickly tuned down to E and the air went out of our balloon. Rev. Wilkins told us that he would be unable to join us in this adventure, but wished us well. He then proceeded to play a few tunes he had written. One of these was a song which, he announced proudly, had just been done by "some English boys," a group called The Rolling Stones. He then launched into "Prodigal Son," one of the many choice cuts off the "Beggars Banquet" LP. The tune closed with the chorus verse, "that's the way for us to get along...." And indeed it was. He was still contributing through his music, but on his own terms. He seemed a genuinely happy man. Hit The Road... Other visits to various artists followed over the next few days (enumerated in the pieces on Furry, Bukka, Red, et. al). By the end of the week, we had commitments from virtually all of the musicians who would later comprise the last, and only, great touring ensemble of classic country blues, The Memphis Blues Caravan. It was now my job to get on the phone and start spreading the gospel and exciting commercial interest in the entourage. The first and most logical place to start, I thought, was in contacting college campuses around the country. The reaction was almost uniformly positive and, God bless them, the offers started rolling in. Once the initial tour dates were booked, the job of logistics became daunting. We had to move twelve performers, a road manager and various pieces of equipment from Memphis to each date. In addition to salaries, we had the expense of transportation, per diems, lodging, "incidentals" (i.e. beverages) and the like to deal with. Hotel rooms had to be booked, stage and lighting plots had to be arranged, set orders and lengths had to a determined, egos had to be considered. The job became more complex by the day. And all of this had to be done before we ever played our first date. Tour logistics fell to me, with Steve concentrating on set order, billing and "artist relations." Flying to the dates was out of the question, as our budget was tight at best. We were not dealing with "pop star" money, but we had the same problems and requirements as a major rock tour. I decided that the best way to move the group was by chartered bus, and I struck a deal with Greyhound to provide equipment and drivers. Our first few tours were done in leased commercial coaches. This proved to be both unwieldy and expensive. It also did not provide the "comfort factor" needed for a prolonged stint on the road. By the third tour, we had wised up and found a company in Nashville that specialized in tour bus leasing and provided equipment with lounges, bunks, a galley and a head. The real deal. They also provided a driver who would be with us for the duration of the tour and who became, usually by the second night of the tour, a "member of the family." In the space at the front of the bus, facing oncoming traffic, was a sign that usually read "Chartered." We made a sign which simply said "Heaven," put it on the front of the bus and hit the road. Welcome To Chicago... Our first date was at Northwestern University in the Chicago suburb of Evanston, Illinois. When Furry Lewis and I first met, I introduced him to a friend of mine, David Calvit, who quickly became one of Furry's biggest fans. David owned a large travel agency in Minneapolis named Corporate Travel. His company specialized in just that, corporate travel. Blues performers were about as far from his usual clientele as you could get. As I attempted to secure reasonable lodging in the Chicago area, I ran into problems. Eight rooms at bargain rates were not to be found. I called David and explained the situation. He listened quietly. "Furry is going to on these dates, right?" he asked. "Of course," I told him. He said he would call me back. The next day he called and told me we had nine rooms at the Lake Shore Holiday Inn on Lake Shore Drive in Chicago. I knew from travels to Chicago that this was one of Holiday Inn's premier properties in the Midwest. "That's great, David, but we can't afford the wood," I told him, as I knew that the rack rate for rooms at that property were in the low $100's. In 1973, this was a lot of money. "Your rate," he said, "is $35.00 per night." I told him it was great to know a man who could pull the right strings. Little did I know. When we arrived at the hotel from Memphis, the night before the show, the marquee facing Lake Shore Drive was ablaze with the words "Welcome, Memphis Blues Caravan." We checked in to find real "rock star" service. A complimentary fruit basket (with a handwritten note to each artist) was in each room. Furry Lewis had his own room. The penthouse suite at the top of the hotel with panoramic views of Lake Michigan and the Chicago skyline. Life was good. I will never forget the looks on the faces of these musicians at what they beheld. As I got Joe Willie Wilkins settled in his room, his bass player, Melvin Lee, turned to me and asked in a whisper, "Is all this for us?" "Yeah," I said, as casually as I could. "You're a member of the Memphis Blues Caravan, aren't you?" So we began ... spreading the gospel, knocking audiences on their collective asses, and having a hell of a time." ~ Arne Brogger, us002838@interramp.com (From THE BLUE HIGHWAY ) ========================================================================= Date: Tue, 16 Jan 1996 15:52:10 -0500 Reply-To: James Leftwich From: James Leftwich Subject: NYC Folks Only To those of you in the NYC area, How about a get-together this weekend. I don't know who's playing, but I'm sure we could find something entertaining. Private mail of course As you were! Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" :) ========================================================================= Date: Tue, 16 Jan 1996 15:57:11 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: Johnny Shines recommendations .... Comments: To: James Leftwich In-Reply-To: On Tue, 16 Jan 1996, James Leftwich wrote: > What's the general consenus on the Johnny Shines/Snooky Pryor > collaboration (?Back to the Country?)? I like it. Also, don't overlook the Johnny Shines cuts on CHICAGO/THE BLUES!/TODAY (Vanguard, volume 3, if I recall correctly). Dave Prychitko ========================================================================= Date: Tue, 16 Jan 1996 15:07:10 CST Reply-To: ISTS024@UABDPO.BITNET From: Leonard Watkins Subject: Johnny & Snooky - Back To The Country I think this is a wonderful recording. Snooky Pryor's harp playing alone is worth the proce of admission. Keep in mind, however, Johnny is not the one(s) playing guitar on this recording. His voice is still "like a panther" however I would highly recommend it as an excellent country blues recording, but not as a good representation of Johnny's playing. I think Johnny had his own sense of timing, which IMO is very unique. LW ========================================================================= Date: Tue, 16 Jan 1996 15:11:53 CST Reply-To: ISTS024@UABDPO.BITNET From: Leonard Watkins Subject: Sonny Terry A harp player and I were sitting around listening to Sonny & Brownie and my friend said that he thought Sonny Terry was very underrated as a harp player. He said Sonny's playing doesn't get the credit it deserves. I'm curious to what others (esp. harp players) think aout Sonny and whether or not he got the credit.... LW ========================================================================= Date: Tue, 16 Jan 1996 15:18:17 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: SRV film Comments: To: "Robert J. Dewar" In-Reply-To: I'd like to speak up (for the first time in a while) in favor of "Bird" by Clint Eastwood. While I can't disagree with the fact that it may have paid to much attention to the drugs etc., it was still a terrific film. It was directed in a manner that reflected the bebop fluidity and explosiveness present in Bird's music. Really a cool bit of filmmaking. Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke On Tue, 16 Jan 1996, Robert J. Dewar wrote: > The discussion about the new film about Stevie which may be made > brought back memories of the Clint Eastwood film "Bird" about > Charlie Parker. It was criticised for concentrating on his drug use > and the general image conveyed of a naive waif who was victimized by > a cruel world.Little attention was paid to the incredible music or > the sources of his unique improvising talent. > I hope that they can show the whole blues scene which Vaughn was a > part of and his unique talent, rather than endless shots of drug abuse > and degradation.Hope springs eternal. > In other news, my thanks go out to all of you who helped me locate > the Peter Guralnick book "Searching For Robert Johnson" It is really > good,as are most of his books.Incidentally, I`ve just started anew > book which I got at the library.It is called "Black Pearls-Blues Queens of the 1920`s" byDaphne Duval Harrison.Very good > also. > I`m going to see Eddie Shaw at one of the many blues venues here in > Ottawa.Should be real good.Anyone else seem him live? > Robert J Dewar > ========================================================================= Date: Wed, 17 Jan 1996 18:41:38 GMT Reply-To: Andrew Gregg From: Andrew Gregg Organization: Department of Primary Industry Subject: Re: First time buy... My first purchase of an album brought with my own money was a compilation called (I believe) "Full Boar". It had the hits of the day (including that wonderful 'Pina Colada' tune). Best of all, it featured a cover consisting of a severed pigs head wearing mirror shades. I hope to once again find it and frame it. ********************************************************************** * Andrew Gregg * * * Dept of Primary * I see angels on Ariels * * Industry * in leather & chrome * * ooOO00OOoo * Swooping down from heaven * * Email : * to carry me home * * mpagregg@aries.dpi.tas.gov.au * * * * - Richard Thompson * ********************************************************************** ========================================================================= Date: Tue, 16 Jan 1996 16:42:29 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Sonny Terry Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *I'm curious to what others (esp. harp players) think aout Sonny and whether *or not he got the credit.... I think he was one of the greatest harp players ever, and certainly the most influental country blues harp player. He definitely got the credit. -Steve ========================================================================= Date: Wed, 17 Jan 1996 18:46:42 GMT Reply-To: Andrew Gregg From: Andrew Gregg Organization: Department of Primary Industry Subject: Re: Whatcha listenin to besides blues? In article <01HZW04LIGCI002WLW@SCI.WFBR.EDU>, "" wrote: >As a matter of curiosity because I'm interested in you, my fellow blues-lers, >and our parallel or divergent tastes in non-blues music, I thought I'd pose >this query to youse guys who are less than totally hard core :) and DO in fact >listen to something else: >Riffin Rick currently is getting into: Smashing Pumpkins > Alanis Morrissette > Green Day > Harry Connick Jr. I currently am listening to: Ice Cube Red Hot Chili Peppers Richard Thompson Presidents of the US That band that sings 'Lets go smoke some pot' Oasis ********************************************************************** * Andrew Gregg * * * Dept of Primary * I see angels on Ariels * * Industry * in leather & chrome * * ooOO00OOoo * Swooping down from heaven * * Email : * to carry me home * * mpagregg@aries.dpi.tas.gov.au * * * * - Richard Thompson * ********************************************************************** ========================================================================= Date: Tue, 16 Jan 1996 17:05:17 -0500 Reply-To: SwtesTaboo From: SwtesTaboo Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Living Blues Awards vs Handys Comments: To: bit-listserv-blues-l@uunet.uu.net I must disagree with you on Debbie Davies being in the same catagory as Koko... have you ever seen her perform? To each his/her own, but I think she's fabulous!!! ========================================================================= Date: Tue, 16 Jan 1996 16:21:18 -0600 Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: Texas Pete Mayes I have a web page that lists who is playing around Houston. It is still under construction but contains pretty accurate information. Pete's name may be in there showing were he is playig. Ths URL is: http://www.neosoft.com/~nuri Nuri Nuri ========================================================================= Date: Wed, 17 Jan 1996 09:30:25 +1100 Reply-To: Daniel Bruce From: Daniel Bruce Subject: Re: Lonnie Brooks Comments: To: D.Wallace@SHEFFIELD.AC.UK In-Reply-To: <28472D73A00@Agden.shef.ac.uk> from "David J. Wallace" at Jan 16, 96 11:31:19 am > > tdevit3@NEWS-S01.NY.US.IBM.NET wrote : > > (this address is generating a ton of > error messages, so I'll post this to the list.) > > > Any plans for a new Lonnie Brooks disk...seems a very long time since the > > last....is he still with Alligator? > > > Lonnie has a 1994 or 95 release on Delmark, heard excerpts from it on > a radio show - which were OK, but can't remember the title, but if > you're interested I know a guy who can tell me all about it. > > See Ya, > > David > I saw a delmark release by Lonnie however it was recorded in the Seventies. Is this the same disk??? -- Daniel Bruce | Genasys II Pty Ltd, Sydney, Australia | "Born under a bad sign, been down since I began to crawl | If it wasn't for Bad Luck, Wouldn't have no luck at all" | Albert King | Internet: danielb@g2syd.genasys.com.au ========================================================================= Date: Tue, 16 Jan 1996 14:39:47 -0800 Reply-To: Chris Adams From: Chris Adams Subject: Re: Johnny & Snooky - Back To The Country Comments: To: Leonard Watkins In-Reply-To: It may not be Johnny Shines, but it is Johnny Nicholas, who has done stints producing and playing with Walter Horton (is this the first time his name has been mentioned here?), Roomful of Blues, Asleep at the Wheel, etc. He came out of semi-retirement from the music business and took time off from his Hill country restaurant/club (where his Antones CD was recorded) to produce "Back to the Country". Oh, yeah, for all you who have followed Ann Arbor music, Johnny played with the Boogie Brothers, which included Steve Nardella and Sister Sarah Brown (Austin bass session player). They recorded a cut or two on the Atlantic Ann Arbor Blues Festival 2 lp recording of the early 70's. Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us On Tue, 16 Jan 1996, Leonard Watkins wrote: > I think this is a wonderful recording. Snooky Pryor's harp playing alone is > worth the proce of admission. Keep in mind, however, Johnny is not the one(s) > playing guitar on this recording. His voice is still "like a panther" however > > I would highly recommend it as an excellent country blues recording, but not as > a good representation of Johnny's playing. I think Johnny had his own sense of > timing, which IMO is very unique. > > LW > ========================================================================= Date: Tue, 16 Jan 1996 17:50:08 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Re: Johnny Shines recommendations .... In-Reply-To: from "David L. Prychitko" at Jan 16, 96 03:57:11 pm According to Dave Prychitko: > > Also, don't overlook the Johnny Shines cuts on CHICAGO/THE BLUES!/TODAY > (Vanguard, volume 3, if I recall correctly). > As Dave says, don't overlook Johnny Shines Vanguard cuts...These cuts show that in an "electric" band context, Johnny was just as effective. The Vanguard stuff is terrific, as are the albums he recorded for Testament in the 60s. For some real interesting material, check out the work he does with a young Luther Allison on one of these Testament albums (I can't remember the title off hand). My favorite Johnny Shines cuts come from some of his early sessions for the J.O.B. label out of Chicago. His version of "Terraplane Blues" called "Fishtail" is fantastic (his voice was truly powerful), and he does one of my all-time favorite songs called "Evening Sun" with an absolutely brilliant harp solo by Walter Horton...what a combination! You can find this stuff on a Flyright LP or Paula CD called Dust My Broom, which has early Chicago cuts by Shines and Robert Lockwood...an essential collection. -Peter ========================================================================= Date: Tue, 16 Jan 1996 17:06:55 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Mem Shannon - A Cab Driver's Blues I visited a pal the other night who, because of my vacation in New York, was unable to exchange Xmas gifts with me last month. I gave him a belated but nice bottle of primo rum, and he gave me a belated but nice gift certificate from a favorite CD emporium. (I spent a lot more money on the rum, but hey, that's the kinda guy I am). So today, I spent my lunch looking for a CD to take back to the office. I had pretty much already decided on Luther Allison's latest, but they didn't have it. So I browsed. I wound up swapping my certificate for Mem Shannon's - "A Cab Driver's Blues". I just finished listening to side one (I just said that.... there is only one side) and boy did I have a good time. I love every inch of it. Really good songs, mixed with snatches of conversations between Mem, a real life cabbie in New Orleans, and various "fares". A damn Blues "concept album", that grabs you and makes you listen... all the way through. In fact at one point, when you hear two songs in a row without any cab conversation in between, you begin to worry that there isn't gonna be any more. But you are saved, and it goes back to alternating between Mem's music, and Mem's life. A truly superb album that I will no doubt steal ideas from liberally. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 16 Jan 1996 09:38:38 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Jan. 17 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ADAMSON, MARTIN (BLUES-L MEMBER) b. 1960-0117, EDINBURGH, SCOTLAND ALI, MUHAMMAD[CASSIUS MARCELLUS CLAY JR.] b. 1942-0117, LOUISVILLE, KY CATLETT, SID "BIG" (d) b. 1910-0117, EVANSVILLE, IN FRAZIER, JOE (boxer) b. 1944-0117, BEAUFORD, SC HART, WILLIAM (lead/THE DELFONICS) b. 1945-0117, WASHINGTON, DC HUTCHINSON, SHELIA (of THE EMOTIONS) b. 1953-0117, CHICAGO, IL JACKSON, GRADY "FATS"(tsax/BLACK TOP REC) d. 1994-0117, ATLANTA, GA 66 JOHNSON, JAMES "STUMP" (p) b. 1902-0117, CLARKSVILLE, TN MILLER, HAL (lead/4 FELLOWS/RAYS) b. 1931-0117, BROOKLYN, NY ROBICHAUX, JOE (p/SMILEY LEWIS) d. 1965-0117, NEW ORLEANS, LA 64 SOLOMON, CLIFFORD (tsax/CHARLES BROWN) b. 1931-0117, LOS ANGELES, CA STEWART, BILLY (v/CHESS REC) d. 1970-0117, NEUSE RIVER, NC 32 TAYLOR, MICK (g/ROLLING STONES/MAYALL) b. 1948-0117, HERTFORDSHIRE, UK WHITE, MORRIS (g/LIONEL HAMPTON) b. 1911-0117, ST. LOUIS, MO YOUNG, "MIGHTY" PAUL (g) b. 1956-0117, TX ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 16 Jan 1996 16:21:27 -0700 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: You never forget your first... Comments: To: "David L. Prychitko" In-Reply-To: Ok, how 'bout Johnny and the Hurricanes. Some other early sides were Santo and Johnny (remember "Sleep Walk"?). The first stereo lp was the Peter, Paul, and Mary double live recording. Jeeze, am I that old? Jay Watterworth CU Boulder On Wed, 10 Jan 1996, David L. Prychitko wrote: > Although this may date many folks on Blues-L, what was the first record > you ever bought on your own? > > I saved up my allowance and ran out and purchased a K-Tel album called DO > IT NOW (must've been around 1969/70). Although I lost it (sold it?) a > couple decades ago, I still recall many of the tracks: > > The Association, "Along Comes Mary" > The Beatles, "Nowhere Man" > Richie Havens, "Flying too Close to the Ground" > Donovan, "Sunshine Superman" > whatever their names, "Na Na Hey Hey" > whatever their names, "Backfield in Motion" > > > Cheers, > > Southside Dave Prychitko > ========================================================================= Date: Tue, 16 Jan 1996 17:24:24 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Johnny Shines' playing Comments: To: Chris Adams In-Reply-To: You've got consider the difference between Johnny Shines' superb Delta-style playing on his recordings for JOB, Vanguard, Testament, Blue Horizon, etc. before he had his first stroke (around '80, maybe someone else can be more specific) vs. the limitations that the stroke put on his dexterity. He was still an outstanding singer but was never the same guitarist once his health started to deteriorate. ========================================================================= Date: Tue, 16 Jan 1996 16:21:01 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: Re: Whatcha listenin to besides blues? Comments: To: Andrew Gregg (text deleted) >>Riffin Rick currently is getting into: Smashing Pumpkins >> Alanis Morrissette >> Green Day >> Harry Connick Jr. > >I currently am listening to: > >Ice Cube >Red Hot Chili Peppers >Richard Thompson >Presidents of the US >That band that sings 'Lets go smoke some pot' >Oasis (text deleted) I am currently listening to: Frank Zappa - Strictly Commercial Alan HovHaness - And God Created Great Whales Bread - Anthology of Bread Brian Wilson - I just Wasn't Made For These Times Music Revelation Ensemble - In The Name Of ..... Michael Hoppe/Tim Wheater - The Dreamer Gary ........... Gary Constantine >> gconstan@ccinet.ab.ca << If hard work were such a wonderful thing, surely the rich would have kept it for themselves. ========================================================================= Date: Tue, 16 Jan 1996 18:34:24 -0500 Reply-To: ghost From: ghost Subject: Casting Johnson; was Re: SRV - Not Brad Pitt Guy Davis (son of Ruby & Ossie, I believe) told ol' Dave (Palmeter) on an interview on WUMB (local Boston folkal radio) Monday morning that he's starring in a play he wrote (or had a lot to do with; I forget) called "Robert Johnson Cheated the Devil" due for a short run in February in Atlanta (Georgia). I heard Davis play as well as talk, do both very well, & believe he could pull off the role on stage, musically as well as theatrically. In the movies? You bet he'd like to. I don't know what he looks like, how old he is, or whether the American moviegoing public *cares* whether whomever plays Johnson looks like the stamp or is the same age. Davis was playing that night at the House-of-You-Know-What, which I probably should have gone to. It turns out they have recently introduced actual chairs (to the venue, not to each other), about 9-to-12 total, surrounding 4 tables, on selected "dinner show" evenings only. You have to call ahead to find out if by some miracle they've selected your evening. I didn't call ahead when R.L. Burnside was recently in town, but made the social faux-pas of arriving at the posted time & very gratefully discovered these chairs available. They wouldn't have been when the show actually started an hour later. I *said* Burnside was about the only person they were likely to book who was worth it to me to stand up all night for, & I came resigned, but didn't have to. Interestingly enough, *Burnside* was sitting down to play that night so I still had to stand up to see occasionally. ========================================================================= Date: Tue, 16 Jan 1996 15:58:35 -0800 Reply-To: Chris Adams From: Chris Adams Subject: Big Joe Turner question I was listening to Big Joe Turner the other day, specifically the tune "Crawdad Hole". There is some wonderful swinging guitar on it and I am curious as to who plays it. This was from some New Orleans sides that Joe did with the famous Cossimo Matassa (spelling?) studio band. Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us ========================================================================= Date: Tue, 16 Jan 1996 18:06:07 -0800 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Re: BLUESMEN ON THE NET Comments: To: bit-listserv-blues-l@uunet.uu.net Jose Antonio Revilla Garcia wrote: > > Anybody knows any famous Bluesmen address's on the Net? :) Alligator Records and Visual Radio have a good site up for Kenny Neal at: http://www.visualradio.com/vrtour2/al/ALBLAKN2.HTML Lots of audio clips, pix, etc. Dr. John has a pretty good site (and his own domain name, yet!) at: http://www.drjohn.com/ I'm sure other bluezellers have lots to contribute to this list. --Maggie ========================================================================= Date: Tue, 16 Jan 1996 18:15:43 -0800 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Big Easy Entertainment Awards--New Orleans Comments: To: bit-listserv-blues-l@uunet.uu.net I posted this information on rec.music.bluenote-blues in response to a thread on Kenny Neal, and then it dawned on me--duuuhhh--that blues-L might wanna know about it too: > > > > On Sat, 13 Jan 1996, Maggie Mortensen wrote: > > > > > Seriously, he's *great*. I assist in coordinating the Big Easy > > > Entertainment Awards here in New Orleans (our Grammies), and he KILLED at last year's awards show. > > > > Oh really? When does that happen? WIll you share the results with us here? > > I sure will. > > The Big Easy Entertainment Awards are sponsored and organized by Gambit > Newsweekly (the local "alternative" weekly paper), and are held on the Monday > preceding the start of JazzFest. This year the date is April 22nd. > > There is a Best Blues category (along with the others, roughly patterned on > the Grammies: R&B, rock, emerging artist, jazz, Latin, roots rock, et al), > and usually lots of great blues performances. > > Our Music Nominating Committee meets this week (and no, I'm not a > member--merely an administrative staffer), and I'll post here the nominees > when they're announced. > > FYI--here's the list of blues category winners for past years (note: the > awards have been in existence since 1988, but blues was added as a category > in 1991). > > Big Easy Awards--Best Blues Artist > 1991 - Earl King > 1992 - Snooks Eaglin > 1993 - Snooks Eaglin > 1994 - Earl King > 1995 - Snooks Eaglin > > (Now, I love Snooks *and* Earl, but let's all keep our fingers crossed for > Kenny Neal and Mem Shannon this year!) > > Big Easy Awards - Best Rhythm & Blues Artist > 1998 - Neville Brothers > 1989 - Neville Brothers > 1990 - Neville Brothers > 1991 - Neville Brothers (yawn) > 1992 - Walter Wolfman Washington > 1993 - Walter Wolfman Washington > 1994 - Johnny Adams > 1995 - Johnny Adams > > Obviously, our judges need to broaden their scope a little! > > Regards, > > --Maggie > > Maggie Mortensen > Exarch Services > New Orleans USA > ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ > "I'm not sure, but I think that > ALL music started in New Orleans." > --Ernie K-Doe > ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ========================================================================= Date: Tue, 16 Jan 1996 18:53:55 -0800 Reply-To: Bill Zerbe From: Bill Zerbe Organization: Suba Communications Subject: Re: Lonnie Brooks Comments: To: bit-listserv-blues-l@uunet.uu.net Mary Katherine Aldin wrote: > > You wrote: > > > >Any plans for a new Lonnie Brooks disk...seems a very long time since > the>last....is he still with Alligator? > > Lonnie Brooks' new album, Road House Rules, will be released on > Alligator on February 27. It's his first new studio album in five > years. > > Mary Katherine Aldin My band will be opening for Lonnie Brooks, Feb. 16 & 17, at the Grand Emporium, KC, Mo. Will ask about new CD. Check out our homepage http://www.qni.com/~bzerbe ========================================================================= Date: Wed, 17 Jan 1996 01:04:43 GMT Reply-To: Steve Dafoe From: Steve Dafoe Organization: SuperNet Inc. (908) 828-8988 Subject: Re: Lemons Comments: To: bit-listserv-blues-l@uunet.uu.net There's a small retail chain here in Central Jersey called Compact Disc World which runs a "club" ($12 a year)- members buy CD's sold for $13-16 elsewhere for $10.88- 11.88, have the right to listen in the store (I can't do it, tho', not comfortable enough- but good to see if a certain song is the right one, etc), the ability to return any CD because he/she doesn't like it, they will order any in-print title and returns are allowed on special orders. It's a great deal and it's not really abused much (that I see, anyway). I guess home tapers would have a field day and I don't know how they get away with the return situation. It's great for anyone who listens to blues or other types of roots music that just doesn't get played on the radio. Hopefully, with the large chains competing for our music dollar, such features will catch on everywhere. ========================================================================= Date: Tue, 16 Jan 1996 20:15:16 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Buddy Guy ? >Anybody know what Buddy Guy is up to these days? Buddy is currently playing a series of shows at his club in Chicago, Buddy Guy's Legends. He finishes up on Sunday, Jan. 21. I saw him last Saturday, Jan. 13, and despite a cold, he seemed the same as always. Also, a new live CD featuring Buddy and the Saturday Night LIve Band is being released this spring. I'm not sure what to expect on that. Karen ========================================================================= Date: Tue, 16 Jan 1996 20:16:45 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: Casting Johnson; was Re: SRV - Not Brad Pitt Comments: To: ghost In-Reply-To: <199601162334.SAA22250@endor.harvard.edu> I've had the pleasure of catching Guy Davis acting and accompaning himself on guitar. He's quite good at both. He's probably about 40 but looks considerably younger. He could definitely pass as a 27-yr old Robert Johnson. Jim On Tue, 16 Jan 1996, ghost wrote: > Guy Davis (son of Ruby & Ossie, I believe) told ol' Dave (Palmeter) on an > interview on WUMB (local Boston folkal radio) Monday morning that he's > starring in a play he wrote (or had a lot to do with; I forget) called > "Robert Johnson Cheated the Devil" due for a short run in February in > Atlanta (Georgia). > > I heard Davis play as well as talk, do both very well, & believe he could > pull off the role on stage, musically as well as theatrically. In the movies? > You bet he'd like to. I don't know what he looks like, how old he is, or > whether the American moviegoing public *cares* whether whomever plays > Johnson looks like the stamp or is the same age. > > Davis was playing that night at the House-of-You-Know-What, which I > probably should have gone to. It turns out they have recently introduced > actual chairs (to the venue, not to each other), about 9-to-12 total, > surrounding 4 tables, on selected "dinner show" evenings only. You have to > call ahead to find out if by some miracle they've selected your evening. > > I didn't call ahead when R.L. Burnside was recently in town, but made the > social faux-pas of arriving at the posted time & very gratefully discovered > these chairs available. They wouldn't have been when the show actually started > an hour later. I *said* Burnside was about the only person they were likely to > book who was worth it to me to stand up all night for, & I came resigned, > but didn't have to. Interestingly enough, *Burnside* was sitting down to > play that night so I still had to stand up to see occasionally. > ========================================================================= Date: Wed, 17 Jan 1996 02:19:30 GMT Reply-To: "J. Wade Luther" From: "J. Wade Luther" Organization: MindSpring Enterprises Subject: Re: Meet Me With Your Black Drawers On Comments: To: bit-listserv-blues-l@uunet.uu.net toulouse wrote: >Kathe Grant wrote: >> >> I have been searching in vain for a recording of this. Does anyone know >> who wrote it, who performed it, anything at all?? >> >> thanks >> >> - kathe >Don't know who wrote it, but the version that got national charting way back > when, >and still is a favorite at Mardi Gras in New Orleans, was by Chuck Carbo & the >Spiders. I'm still partial to Koko Taylor's version...don't know offhand who did the original though. ========================================================================= Date: Wed, 17 Jan 1996 02:19:32 GMT Reply-To: "J. Wade Luther" From: "J. Wade Luther" Organization: MindSpring Enterprises Subject: Re: HEIRS OF J>B> HUTTO AND GEORGE 'HARMONICA' SMITH Comments: To: bit-listserv-blues-l@uunet.uu.net "" wrote: >Does anyone out there tell me how I might contact the heirs of J.B. Hutto >and/or George "Harmonica' Smith? I have unreleased shows they did in 1971 and >I need the heirs to license theie rights to us. >Thanks very much. 'Lil Ed of "Blues Imperials" fame is JB Hutto's nephew...find 'Lil Ed and I bet you'll find the heirs! ========================================================================= Date: Tue, 16 Jan 1996 21:27:50 -0500 Reply-To: Slydemann@AOL.COM From: Dave Melton Subject: Re: Casting Johnson; was Re: SRV - Not Brad Pitt Comments: To: jmf@das.harvard.edu I think Kevin Moore (Keb Mo) is a good candidate. ========================================================================= Date: Tue, 16 Jan 1996 21:31:59 -0500 Reply-To: Slydemann@AOL.COM From: Dave Melton Subject: Re: Living Blues Awards vs Handys Comments: To: SwtesTaboo@aol.com I want to second that. I worked with Debbie Davies for about 3 years until she moved to the east coast. I don't know about the category part of the previous conversation, but I can vouch for Debbie's talent as a player and a performer. That's the only category I try to go by. Dave (Slydemann) ========================================================================= Date: Wed, 17 Jan 1996 02:16:50 GMT Reply-To: Jack Oudiz From: Jack Oudiz Subject: Re: Lavelle White - Duke recordings Comments: To: bit-listserv-blues-l@uunet.uu.net It's ashame that Robey only released these all as >singles... Not only that but he also, as was his predeliction, took credit for most of them! Yeah would love to hear her in her prime. A friend of mine in Chicago relates the story that she used to see Lavelle hanging out in clubs there often before she moved to Texas and that most people took her for one of the city's homeless and not the great singer she is. ========================================================================= Date: Wed, 17 Jan 1996 02:18:47 GMT Reply-To: Jack Oudiz From: Jack Oudiz Subject: Re: Good Blues Reading Comments: To: bit-listserv-blues-l@uunet.uu.net >My wife and I went to visit a co-worker of hers and before we >left, the guy gave me a copy of THE BLUES ROUTE by Hugh Merrill. Could you please post the name of the publisher as this is not likely to be an easy find. ========================================================================= Date: Wed, 17 Jan 1996 02:28:46 GMT Reply-To: Jack Oudiz From: Jack Oudiz Subject: CDWorld Blues Bargains Comments: To: bit-listserv-blues-l@uunet.uu.net Before any one flames away, let me assure you that I have absolutely NO connection with said enterprise and am only posting as a public service. In looking up numerous blues discographies on said Internet vendor, I was struck by how many super deals exist there. Many, many great CDs are listed at $10.99 or less and many more even as low as $7.77! For example Etta James' wonderful Chess recording "Tell Mama", arguably her best, for $7.77. Cheaper than most used prices. The trick is to order several at a time to beat the shipping cost. The stock is also far more comprehensive than any record store I've ever been to. Check it out. ========================================================================= Date: Wed, 17 Jan 1996 04:04:28 GMT Reply-To: Dan Sigward From: Dan Sigward Organization: Boston University Subject: Re: Laid Back & Instrumental Comments: To: bit-listserv-blues-l@uunet.uu.net How can we talk about blues intrumentals withouth mentioning Freddy King?!? You can't go wrong with "Lets Hideaway and Dance with Freddy King" or "Just Pickin'" - two all intrumental CDs. Or for a broader picture of his stuff (singing and intrumental) try his "Best of..." compilation on Rhino. Chris Pearson (chrisp@RAPIDRAMP.COM) wrote: : An old Larry Carlton album "Sleepwalk" has some of the sweetest,bluesy stuff : I've ever heard. : Chris : > Hi. I'm trying to find some really laid back instrumental blues. Not : >being familiar with blues artists has me buying discs and invariably ending : >up with a lot of upbeat vocals. I purchased one disc entitled Guitar Blues : >and it turned out to be all vocal. One of my favorite songs is "Summertime". : >Wouldn't mind finding an instrumental version. Can anybody give me the : >titles of a few discs that are mostly instrumental and laid back. Thanks. : > : >Sarge : > : > ========================================================================= Date: Wed, 17 Jan 1996 04:06:18 GMT Reply-To: Dan Sigward From: Dan Sigward Organization: Boston University Subject: Re: Robert Palmer, author of "DEEP BLUES", is ailing Comments: To: bit-listserv-blues-l@uunet.uu.net Don't jump the gun. On rec.music.bluenote tonight is a message directly from Robert Palmer denying his need for a liver transplant. Eric LeBlanc-CISTI (leblanc@DAO.NRC.CA) wrote: : I was just catching up on the newsgroups & noticed this on rec.music.bluenote. : eRIC : I just got a phone call from Dorothy Cox, the sister of Robert : Palmer. Palmer, as most will recall, is the author of "Deep Blues" : and many other recognized works concerning blues music and the lives : of the southern society which gave birth to it. : Her call was made in hopes of finding some way to organize a benefit : for her brother sometime in the near future. It appears that Robert : Palmer badly needs a liver transplant, and due to his status as a : self employed writer, he has no insurance. She told me that anyone : without insurance need to be able to put down a deposit of $100,000+ : just to get on the waiting list and then when the surgery can be : performed, an additional sum of almost $100,000 is required. : Palmer who now lives in New Orleans has been working on a CD Rom that : will be available sometime in 1996, if all goes as planned. He worked : on a video that was based on his book which should be available in : the spring. At this time, he cannot get new work because all the : normal sources know if his ill health and don't want to start a : project with him that they fear may not be finished so he's caught in : a catch-22 situation on financial support. He can't get work because : people know he's sick yet he must get work to help defray the costs : of getting treatment for his ill health. : Anyway, I am writing this to let everyone know of the situation with : Robert. Many of us have benefited by his work, either by reading his : books or hearing artists he discovered, many of whom now are : recording with Fat Possum records or other major labels directly as a : result of Robert's work. If you know of anyone who would want to : help put together a benefit concert or some other sort of financial : help activity for him, please let me know, or call Dorothy Cox at : 501-568-0720. : Thanks for considerin' helpin' : Harold : --------------------------------------------------------------------- : Harold who posted this originally is not on the internet. So best to : contact the phone number above if you can help. : dkaatz@eskimo.com (David Kaatz) ========================================================================= Date: Tue, 16 Jan 1996 22:32:45 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: Buddy Guy ? Comments: To: Karen Hanson In-Reply-To: <960116201310_43962494@mail04.mail.aol.com> Karen Hanson wrote: Also, a new live CD featuring Buddy and the Saturday Night LIve Band is being released this spring. I'm not sure what to expect on that. - - - - - - - - --- --- - - - - - - - - - - - - - - - - - --- -- - - - - - Karen, FWIW, if the disc in any way reflects the show that I saw it will be awesome!! I cannot emphasize enough how tremendous this show was. Those of you who have been around the list will know that I've been hollering about this album since the day of the show (and you good humor is appreciated:) Unless some sort of tragedy happened in the recording/production, this will be one hell of an album. It will also be his most pure blues album in a hell of a long time. Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Tue, 16 Jan 1996 23:42:48 -0500 Reply-To: Meadors From: Meadors Subject: Re: Sonny Terry Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU You asked: >I'm curious to what others (esp. harp players) think aout Sonny > and whether >or not he got the credit.... > I'm a harp player and picked up a 10" ep many years ago with solo Sonny Terry stuff on it ... one of the cuts was a tune called "Lost John" which has a wild rhythm and throat sounds included ... very fun and quite difficult to play ... harp players should get a copy if they can find it ... in answer to your question, I think Sonny got just enough credit, not too much, not too little ... just about right ... Mike Meadors Orange2@gnn.com ========================================================================= Date: Wed, 17 Jan 1996 00:25:28 -0500 Reply-To: Renato154@AOL.COM From: Renato Tonelli Subject: Re: RL's Dream Comments: To: danielb@genasys.com.au This sounds very intriguing. I myself would be curious to know some of the sordid details. Renato Tonelli ========================================================================= Date: Wed, 17 Jan 1996 06:42:32 GMT Reply-To: Salty@kbbsnet.com From: Salty Organization: http://village.ios.com/~paulchiu/salty/salt.htm Subject: Re: What Album turned you on to the Blues? Comments: To: bit-listserv-blues-l@uunet.uu.net Billy Chambless wrote: >] Why the Blues? Tell us the First Album that you heard that turned you on to >] the Blues.. "Me And The Devil Blues" by Robert Johnson got me hooked and from then it was any older blues styles. I'm still new listening to the blues and prefer the old blues to the newer blues. I do love Buddy Guy though. I can't believe that I didn't always listen to the blues!! I can't listen to anything else anymore. Nothing else (except some jazz) cuts it... Salty ========================================================================= Date: Wed, 17 Jan 1996 06:50:30 GMT Reply-To: Salty@kbbsnet.com From: Salty Organization: http://village.ios.com/~paulchiu/salty/salt.htm Subject: Q: WHO SINGS THIS SONG? Help, please. Comments: To: bit-listserv-blues-l@uunet.uu.net I heard this song on the radio a few weekends ago during a blues show. The name of the song, from what I gathered and remember, was probably: "Here's Your Mop, Mr. Johnson". Its a female vocalist...and what an incredible voice it is! And the last line of the song is: "Its a mean ol' world where a man can't have a cigarette on a postage stamp!". If anyone knows who this singer is, please reply to me or the post. And if you know which album, and other pertinent info, I'd appreciate it. I'd call the radio station, but I have no idea what their number is...and I (usually) work during the blues show (only on the weekends) anyway. Thanks in advance, Salty Salty@kbbsnet.com ========================================================================= Date: Wed, 17 Jan 1996 01:56:26 -0500 Reply-To: Slydemann@AOL.COM From: Dave Melton Subject: Re: Laid Back & Instrumental Comments: To: dsigward@bu.edu Freddy King is always the first on my mind when thingking of a blues instramental. Another good one is: "Freddy King's Bonanza of Insramentals" ========================================================================= Date: Wed, 17 Jan 1996 02:02:18 -0500 Reply-To: Meadors From: Meadors Subject: Re: Casting Johnson; was Re: SRV - Not Brad Pitt Comments: To: leftwich@CLOUD9.NET Since I'm new to Blues-L, I have to make a comment here: During my first week online there seemed to be a lot of complaining from the old pros re: non-blues messages. I've now read my 50th version of who should play SRV in the movie version of his life. I personally don't care what everyone wants to make the rules out to be (strictly blues, loosely blues, etc.) but we should all try to stick to one formula, don't you think? Mike Meadors Orange2@gnn.com ========================================================================= Date: Wed, 17 Jan 1996 07:20:34 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Radar Labs 23 Subject: Re: BB King doesn't play and sing together? Comments: To: bit-listserv-blues-l@uunet.uu.net On Sun, 14 Jan 1996 16:40:48 -0800, Shaun T Cronin wrote: :There is a three volume video series out called "Bluesmaster"(?) with BB :King explaining his approach to the blues. On one video (as best as I :remember) he demonstrated that he does know his chords by playing a few :jazz progressions. In other interviews with BB that I've read he shows that :he has quite a good grasp of theory as well. But with a voice like his and :the ability to say everything with one note.... Except, as Muddy Waters noted, there's that problem with his timing..... But can you tell?:) Oh, and by the way, I don't want anybody snoring in my baby's face. Kevan Smith cuthulu@prysm.net http://www.rlabs.com ========================================================================= Date: Wed, 17 Jan 1996 02:50:14 -0500 Reply-To: Renato154@AOL.COM From: Renato Tonelli Subject: Re: Message to Blues-l from Robert Palmer Comments: To: mkaldin@ix.netcom.com Thank you for your update. I will sleep better tonight. Renato Tonelli ========================================================================= Date: Wed, 17 Jan 1996 03:22:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re: Pitt as SRV The people who deny that Brad Pitt is first and foremost an actor are the same types of people who try to deny that Playboy is published first and foremost for its fine articles. It's so unfair. Joe glad-I'm-not-an-SRV-fan in Moscow ("where's that great Don Johnson record of mine, what a musician!") ========================================================================= Date: Wed, 17 Jan 1996 01:00:51 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: [Fwd: Re: ANYONE EVER HEAR OF LEE MCBEE ?] Comments: To: harp-l@garply.com This is a multi-part message in MIME format. --------------4B092876557E Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit The attachment: Re ANYONE EVER HEAR OF LEE MCBEE? was sent to me in error. The original poster I sure would be happy to get this info! -- Stan Ruffo Productions steamin@valleynet.com 800 N. Ben Maddox Way http://www.valleynet.com/~steamin Suite 2200 209/625-6049 Visalia, CA 93292 --------------4B092876557E Content-Type: message/rfc822 Content-Transfer-Encoding: 7bit Content-Disposition: inline Received: from ngeout01.news.aol.com (ngeout01.news.aol.com [152.163.176.81]) by sierra.valleynet.com (8.6.12/8.6.9) with ESMTP id VAA14888 for ; Tue, 16 Jan 1996 21:13:38 -0800 From: jrush11279@aol.com Received: from newsbf02.news.aol.com (newsbf02.mail.aol.com [152.163.172.50]) by ngeout01.news.aol.com (8.6.12/8.6.12) with SMTP id AAA08172 for ; Wed, 17 Jan 1996 00:22:53 -0500 Received: by newsbf02.news.aol.com (1.38.193.5/16.2) id AA24245; Wed, 17 Jan 1996 00:21:26 -0500 Date: Wed, 17 Jan 1996 00:21:26 -0500 Posted-Date: Wed, 17 Jan 1996 00:21:26 -0500 Received-Date: Wed, 17 Jan 1996 00:21:26 -0500 Message-Id: <9601170521.AA24245@newsbf02.news.aol.com> Reply-To: jrush11279@aol.com (JRush11279) To: Stan Ruffo Subject: Re: ANYONE EVER HEAR OF LEE MCBEE ? X-Organization: America Online, Inc. (1-800-827-6364) References: <30FA3930.346E@valleynet.com> In-Reply-To: <30FA3930.346E@valleynet.com> Status: U X-Mozilla-Status: 0011 Lee is currently living in Lawrence, Kansas, and playing gigs around the Kansas City area. He recently released a new CD with the Passions (Anson Funderburgh, Stephen Hodges, Kevin McKendree, and Kid Ramos) called "44". it is excellant. It is also available from: Red Hot Records of Kansas City P.O. Box 10256 Kansas City, MO 64171 (913) 648-8747 He will be playing at B.B.'s Lawnside BBQ, 2 blocks east of Troost on 85th Street, KC, MO, on January 27th. Rumor has it that Lee may be touring starting later this Month(?) If you know anyone interested in booking, let me know and I'll find out his phone number. I'll be sure to say "Hi" for you on the 27th! --------------4B092876557E-- ========================================================================= Date: Wed, 17 Jan 1996 03:33:49 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: Q: WHO SINGS THIS SONG? HEL > I heard this song on the radio a few weekends ago during a blues > show. > The name of the song, from what I gathered and remember, was > probably: > "Here's Your Mop, Mr. Johnson". Its a female vocalist...and what an Keri Leigh is the vocalist, that is the correct title of the song, from her album Arrival on Waldoxy Records. That song is nominated in the "Best Song of the Year" (or something like that) category for the W.C. Handy Awards. Is there anyone that has heard this song that thinks it should NOT win? IMHO it is far and away the best song nominated in that category. Don O. ========================================================================= Date: Wed, 17 Jan 1996 03:46:57 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: R.J. Mischo I had the pleasure of seeing R.J. Mischo and his band at the Blue Cat in Dallas last night and had a ton o' fun. Anyone that enjoys touring acts like Gary Primich or Teddy Morgan and the Sevilles would enjoy this band. They do a bunch of original material and interesting covers from folks like Billy Boy Arnold. R.J. blows a mean harp with a fierce tone and is accompanied by a fine swing style guitarist, who's name (I believe) is Jeremy Johnson. He is clearly a fan of Teddy "Kid" Morgan and plays in the same style. The audience at the Blue Cat was beyond ridiculous. I think at MOST there were 10 people there at one time. The Blue Cat gave up and didn't even charge a cover. However the folks that were there included Richard Chalk (of Topcat Records fame), Chuck Nevitt (Mr. Dallas Blues Society Records), and Pat Boyack from the Prowlers. Pat got up and jammed with the band for about 30 minutes. They shut it down about 12:40 pm for obvious reasons. R.J. has two albums out on Minneapolis based Blue Loon (previously Blue Moon) Records. It's a shame these guys drove all the way from Minnesota to play for 10 people. They are playing tonight (1/17) at J&J Blues Bar in Fort Worth and I plan on catching them again to get another dose. I think they have one other stop, in Arkansas, before heading back to the frozen north. Catch 'em if you can. Don O. ========================================================================= Date: Wed, 17 Jan 1996 03:59:05 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: dfw only If you're not in driving distance of Dallas/Fort Worth, please ignore. There are perhaps 2 dozen folks or more that are directly affected by this, so if you're in Guam or somewhere, just hit delete now. After the 10 customer debacle last night at the Blue Cat I am going to give you DFW blues-l'ers no excuse to miss a couple of other great shows coming up at this venue. Doug Henry is just about the only Dallas area club owner that is bringing in quality blues road acts. If we blues fans do not support that policy, it will go away. Doug has some great shows coming in including: Percy Strother Jan 20 W.C. Clark Jan 27 Johnny Dyer Feb 1 (a Thursday) Bob Margolin Feb 7 (a Wednesday) BILLY BOY ARNOLD!!!!! Feb 13 (a Tuesday) Tutu Jones Feb 15th (a Thursday) Gary Primich Feb 23 E.C Scott Feb 24 SMOKEY WILSON!!!! March 8 These are all GREAT acts that YOU should see. I'll be at every one of these shows. Every Sunday is the Big Cat's Blues Jam hosted by Gregg Smith. This jam features some of the best talent from South Dallas. I am no way associated with the Blue Cat except that I go there A LOT as a paying customer. I would like to see a few more warm bodies there when I do. If 10 people show up to see people like Billy Boy Arnold I am going to be VERY disappointed. Don O. ========================================================================= Date: Wed, 17 Jan 1996 05:06:54 -0500 Reply-To: NutMarie From: NutMarie Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Upcoming Blues on TV (networks) Comments: To: bit-listserv-blues-l@uunet.uu.net Thanks alot!!!!! Annette ========================================================================= Date: Wed, 17 Jan 1996 05:29:29 -0500 Reply-To: NetWorkr From: NetWorkr Organization: America Online, Inc. (1-800-827-6364) Subject: Blues In Richmond, Virginia? Comments: To: bit-listserv-blues-l@uunet.uu.net Hi bluespeople, I have just read 433 messages posted in this group and finally got the courage to post my first note. I just discovered this place and as a "new" blues fan, I feel like I am coming home. Some of my favorites are Albert King, Albert Collins, B.B. King, Buddy Guy, Junior Wells and Stevie Ray Vaughn. One of my New Year Resolutions is to get out to see some live (blues and otherwise) music. Does anyone know of any good places in Richmond or surrounding area to go to see blues music? I specifically have an interest in trying to see a couple of bands that I was hoping you knowledgeable people may have some info on. They are: Roomful of Blues Francine Reed (I think she was/is a backup singer for Lyle Lovett but just put out an album called "I Want You to Love Me", I like it very much) The Fabulous Thunderbirds (sans Jimmie, unfortunately) and last but not least... is anyone here familiar with the awesome combination of Maceo Parker, Fred Wesley and Pee Wee Ellis? Do any of them still play anywhere. I would absolutely love to hear them together or even just Maceo. I would be willing to travel to hear them and would appreciate any information anyone has. I am also looking for a few people in the Richmond area to attend some clubs and concerts with me. If interested you can send me an e-mail directly. Thanks!!! Kathy ========================================================================= Date: Wed, 17 Jan 1996 12:23:29 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Modern rural blues vs acoustic revival ? I finally had some time to start reading all the digest files I received here while I was away and have been surprised by the recommendation that were made w.r.t. "modern rural blues" artists. This has led me to a few personal observations I just wanted to share with the list, just to know if there are people out there sharing by point of view. If I remember well the original poster asked for Modern rural artists and subsequently numerous mails started to appear with mostly what I consider as "acoustic (revivalist)" players and I was surprised -but I may have missed a few mails- that no one presented another point of view. For me, Modern rural blues does NOT automatically mean acoustic blues, and contemporary acoustic blues is certainly NOT automatically what you could label Modern Rural Blues. (I already see flames coming, ... why trying to categorize so much, ...). Actually, when I hear Rural blues this means there's a specificity which differentiates the music(ian) from more Urban sounds, it's something that is for me difficult to describe in a few words. The names that do come automatically to my mind when speaking of Modern/Contemporary Rural stuff R.L.Burnside, Kimbrough, Robert Lowery, Jessie Mae Hemphill (would be nice to hear how she's doing now), Paul Jones, Henry Qualls, .. it's really a matter of much more than electric vs acoustic, there's something rough, raw and real! Obviously, I would also be inclined to mention people often playing acoustically like Big Boy Henry, Guitar Gabriel (Nyles Jones), the late James Son Thomas (one of my preferred one!), Robert Belfour, Glenn Faulkner, Big Bo and Little Whitt, the late great Boogie Bill Webb, and numerous others including also Abu Talib formerly known as Freddie Robinson (his last album is a superb example of "Modern rural stuff") or even the recent stuff of Magic Slim on his last Wolf album. On the other hand we have since now a many years a number (mostly white musicians) of extremely good artists which I would more easily consider as country blues revivalists (this is not a negative statement) which do (IMHO again) not have this little something but are most of the time characterized by a high level of technical skill, but to me they're playing something else, even if they do not only do covers, they're playing acoustic blues which (once more to me) is difficult to label modern rural blues. This is at least what I feel when I hear Doug MacLeod, Catfish Keith, Rory Block, Robert Lucas, John Hammond .... not to say I don't appreciate these musicians, but to me they don't have this unique something which you find in Henry Qualls, R.L.Burnside or James Son Thomas' music! Now where do I then place Keb Mo or Diamond John Green? I would be inclined to say that these extremely talented AA country blues performers/revivalists, which like the others, pay tribute to and keep traditional country blues alive! A final thing about someone which hasn't been much discussed here: Correy Harris, a young AA musician who published recently an extremely good album on Alligator. While I was suspicious before hearing it, I must recognize that he really deserves to be supported. Clearly he participates to this revival of country blues, but directly at the very top level. His CD Between Midnight and Day" (Alligator ALCD 4837) is surprisingly good and he has (what is to me really too often lacking in acoustic/revivalist stuff) astonishing strong, deep and warm vocals, a superb sense of rhythm, great sound and puts a lot of personal involvement in his music. I've not often heard in the recent years YOUNG musicians playing McDowell or Patton's material with so much talent (and not only skill). Highly recommended to all revivalist/acoustic/rural/country/traditional/modern/urban lovers. Jean-Pierre "Young Man" Urbain .. who already sees the flames coming.... ========================================================================= Date: Wed, 17 Jan 1996 11:31:40 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Living Blues Awards vs Handys In-Reply-To: <4dh7et$bss@newsbf02.news.aol.com> On Tue, 16 Jan 1996, SwtesTaboo wrote: > I must disagree with you on Debbie Davies being in the same catagory as > Koko... have you ever seen her perform? To each his/her own, but I think > she's fabulous!!! > I don't know if the poster was knocking Debbie Davies (I can't remember the post) but I would agree that she shouldn't be in the same category as KoKo Taylor because it's a bad fit. Would you put say Luther Allison in the same category as Jimmy Witherspoon? i.e. there is nothing wrong (IMHO) with Debbie Davies, there's something wrong with the category. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [17/1/96 6:14 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 17 Jan 1996 11:37:02 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Mem Shannon - A Cab Driver's Blues In-Reply-To: <199601162208.RAA53694@osceola.gate.net> I have yet to hear any of this CD, but the way people have been raving about it I am intrigued. My one "problem" is that they usually ALSO Amention Michael Hill's Blues Mob a CD I love to hate. How do they compare? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [17/1/96 6:14 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 17 Jan 1996 07:01:23 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: Good Blues Reading Comments: To: Jack Oudiz I wrote: My wife and I went to visit a co-worker of hers and before we left, the guy gave me a copy of THE BLUES ROUTE by Hugh Merrill. Jack Oudiz asks: Could you please post the name of the publisher as this is not likely to be an easy find. ****************************************************************** THE BLUES ROUTE by Hugh Merrill ISBN 0-688-06611-9 William Morrow and Company, Inc. 105 Madison Avenue New York, NY ========================================================================= Date: Wed, 17 Jan 1996 00:54:58 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Sonny Terry Comments: To: bit-listserv-blues-l@uunet.uu.net In , Leonard Watkins writes: >A harp player and I were sitting around listening to Sonny & Brownie and my >friend said that he thought Sonny Terry was very underrated as a harp player. > >He said Sonny's playing doesn't get the credit it deserves. > >I'm curious to what others (esp. harp players) think aout Sonny and whether >or not he got the credit.... In the circles I've traveled, Sonny is regarded as one of the Gods of harp, right up there with the Walters and Sonny Boys. BBB - B.B. Bean bbbean@cris.com http://www.cris.com/~Bbbean - ========================================================================= Date: Wed, 17 Jan 1996 12:30:59 +0000 Reply-To: "David J. Wallace" From: "David J. Wallace" Subject: Re: Lonnie Brooks > > > I saw a delmark release by Lonnie however it was recorded in the > Seventies. Is this the same disk??? > Affirmative, I just figured it was a new release. David ========================================================================= Date: Tue, 16 Jan 1996 14:28:54 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Cincinnati as the Site... To throw another hat in the ring....how about right here in River City for the BLUES-L gathering? Our blues festival is July 12, 13, and 14. We're geographically central, we've been rated one of the most liveable cities in the US, we're a major airline hub (Delta), and we have a VERY active and diverse blues scene. The festival is free, outdoors, in a gorgeous park. The city is easy to navigate (although RJ Bauman might have some warnings about speeding tickets). I'm not a native, but I can recommend it as a nice place to visit. Just an idea. Shannon ========================================================================= Date: Wed, 17 Jan 1996 08:31:30 -0500 Reply-To: VT From: VT Subject: Re: eRIC's BLUES DATES: Jan. 17 On Jan 16, 1996 09:38:38 in , 'James Carmin ' wrote: >Here's a few dates (b. born, d. death) for tomorrow. If you have any >corrections/additions, let me know at leblanc@dao.nrc.ca. > >------------------------------------------------------------------------------- >artist notes/full name yyyy-mmdd, city/county state >age >------------------------------------------------------------------------------- >ADAMSON, MARTIN (BLUES-L MEMBER) b. 1960-0117, EDINBURGH, SCOTLAND Happy Birthday to our man in SCOTLAND! .....sharing a birthday with a couple of pugilists?? >ALI, MUHAMMAD[CASSIUS MARCELLUS CLAY JR.] b. 1942-0117, LOUISVILLE, KY >FRAZIER, JOE (boxer) b. 1944-0117, BEAUFORD, SC -- all the best Vincent vt@usa.pipeline.com ========================================================================= Date: Wed, 17 Jan 1996 08:06:18 CST Reply-To: ISTS024@UABDPO.BITNET From: Leonard Watkins Subject: Debbie Davies Just so no one misunderstands. I did not say Debbie Davies was not a great performer (I've seen her, interviewed her and own her music), however to say she is in the league with KOKO TAYLOR, THE QUEEN OF THE BLUES is absurd. I'm sure Debbie knows she's no Koko Taylor and I don't expect her to ever be as powerful as Koko..... LW ========================================================================= Date: Wed, 17 Jan 1996 08:24:18 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Modern rural blues vs acoustic revival ? -Reply Well, everyone is entitled to their own opinion, and mr. Urbain is certainly eloquent and lays down some well thought out opinions. HOWEVER, how anyone can say that John Hammond doesnt' have that "unique something" is beyond my comprehension. Again i am in no way criticizing mr. Urbain, but just exclaiming my own amazement at that particular statement. Again, John Hammond is as unique as they come. He takes covers of the originals, and gives them his own totally unique sound. I've used this before, but it is a glaring example. Take Sleepy John Estes "Drop Down Mama". SJE's song is real fine taken as it is. However, JH has taken the song, and it almost comes off as a completely new original song. There is nothing to compare with JH singing Drop Down Mama as witnessed on the: 1) Lonesome Pine Special of John Hammond with Robert Lockwood Jr., 2) Starlicks Master Series Instruction Video, John Hammond (on this fine video John does cameo performances of Jockey Blues (not sure if this is the correct title----my daddy was a jockey, taught me how to ride, once in the middle and then from side to side), Drop Down Mama, Kind Hearted Woman Blues (one of the most touching blues JH has ever done), and last but not least, Preachin' Blues., and, 3) a studio version of Drop Down Mama on (?) Can't Beat the Kid or Footlose (Footwork?). IN addition, i am the proud recipient of the latest JH release Found True Love. I've listened through the tape twice now. I am not familiar with all the artists on the tape, as i have been playing it in my car stereo, and its kinda hard to read the credits while driving in the North Country during the winter especially!!!! Anyway, everyone KNOWS that delta doc is primarily acoustic blues oriented. NOT much into electric blues of any kind, with few exceptions. THis tape is that exception. This HAS to be JH's finest effort to date. While i miss the solo acoustic stuff he does, and there has been a little bit of it on the two previous releases, as i recall there isn't much at all of solo acoustic blues on this tape. YOU'll never miss it. There is one GREAT song, that made me smile a lot, its called i think, You Had Too Much. I have to find out who the female singer was on that track, but the interplay back and forth between she and JH is "TOO MUCH"!!!!! I loved it. ' THere are some other gems on here too. A more detailed review is forth coming. I just wanted to touch on this while speaking about JH on the current post. regards, delta doc roger ========================================================================= Date: Wed, 17 Jan 1996 08:32:35 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: eRIC's BLUES DATES: Jan. 17 Comments: To: VT In-Reply-To: <9601171331.AA29034@> On Wed, 17 Jan 1996, VT wrote: > Vincent > vt@usa.pipeline.com He's BAAAAACKKKK!!!! I'm assuming this is the old VT who mysteriously disappeared. -Jeff (Welcome back. old boy!) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Wed, 17 Jan 1996 09:37:55 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: Debbie Davies Comments: To: Leonard Watkins In-Reply-To: On Wed, 17 Jan 1996, Leonard Watkins wrote: > Just so no one misunderstands. I did not say Debbie Davies was not a great > performer (I've seen her, interviewed her and own her music), however to say > she is in the league with KOKO TAYLOR, THE QUEEN OF THE BLUES is absurd. > I'm sure Debbie knows she's no Koko Taylor and I don't expect her to ever be as > powerful as Koko..... Hey LW, I'd like to hear who you think is in the same league as Koko... can you come up with four or five others? Dave Prychitko ========================================================================= Date: Wed, 17 Jan 1996 06:41:36 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: dfw only/disappearing blues venues Don O gave the following list of performers soon to be in DFW, and I read the message even though I live in Vancouver, Canada. >Percy Strother Jan 20 >W.C. Clark Jan 27 >Johnny Dyer Feb 1 (a Thursday) >Bob Margolin Feb 7 (a Wednesday) >BILLY BOY ARNOLD!!!!! Feb 13 (a Tuesday) >Tutu Jones Feb 15th (a Thursday) >Gary Primich Feb 23 >E.C Scott Feb 24 >SMOKEY WILSON!!!! March 8 I would like to see a few more warm bodies there[...] >If 10 people show up to see people like Billy Boy Arnold I am going to be VERY >disappointed. I've read a few messages about dissappearing blues venues, and when I read this list I started to drool! There are several venues in Vancouver that host blues bands, and I can't believe that if performers of this calibre showed up that the crowds wouldn't turn out! Every show I've been to has been pretty much packed out, but when I check out who's playing in Vancouver during a given week, I definitely do not see this kind of list of quality performers. Could it be that you guys are spoiled? :-) Does anyone know why it seems (to me at least) we don't get this many great blues musicians hitting Vancouver during their tours? Is this a function of the clubs not booking them, or is it the musicians chosing not to come here for their own reasons? -Jim (hndful@uniserve.com) ...and can anyone tell me about a website with artists' itineraries if possible? Thanks! ========================================================================= Date: Wed, 17 Jan 1996 08:53:17 CST6CDT Reply-To: "Sara C. Oxton" From: "Sara C. Oxton" Organization: University of Minnesota Subject: Re: Shrinking list of blues venues Comments: To: DeniseTapp This week's Sunday paper featured a reprinted article from the New York Times about the popularity and said commercialism of the Blues. A sidebar to this article was local commentary on the rising popularity of the Blues locally, with particular attention paid to local guitar wunderkind, Kid Johnny Lang, and his recent recording deal with A&M. Interviewing Blues Saloon manager Karen Prange, and Blues radio personality Lolly Obeda, the writer drew the conclusion that rather than suffering a decline in popularity, Blues is indeed on the upswing. However, the quality of the Blues available was cast in doubt. In the Twin Cities, on any given weekend, the Blues club listing will extend to 20 venues, from the bigger joints like the Blues Saloon, the Cabooze, and First Avenue, to miscellaneous bowling alleys and corner bars. Blues bands playing these gigs also range in style and ability. What seems to be happening, here anyway, is a mind set that a Blues band is a Blues band is a Blues band. Issues of quality do not come into play, and the band asking for the least amount of money gets the gig. Hence, our best local talent dies on the vine because they ask for "too much" money. And quite often you see national acts playing weekday gigs for the door. Too bad there is not some national Blues Musicians Association that sets quality standards, based not on how many porkpie hats and sharkskin suits a band has but on their musical pedigree. Early morning musings; thanks for reading. Sara ========================================================================= Date: Wed, 17 Jan 1996 09:55:34 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Blind Willie Johnson recommendation Our local PBS station carried THE AMERICAN EXPERIENCE episode on the civil rights movement. Blind Willie Johnson's "Dark Was the Night - Cold Was the Ground" surfaced a couple times throughout the program. Exemplary delta blues! Anyone have a recommendation for a Blind Willie Johnson reissue? The only thing I have is that song on the Rhino Slide Masters volume. Dave Prychitko ps: Is it true that Johnson died because "his house burned to the ground and, after sleeping in its remains, he caught pneumonia" (Santelli 1993, p. 212), making that song not only haunting but strangely prophetic, too? ========================================================================= Date: Wed, 17 Jan 1996 08:58:05 CST Reply-To: ISTS024@UABDPO.BITNET From: Leonard Watkins Subject: Odetta I hope I spelled her name right. Can someone recommend a recording by Odetta and any other info (or a book that has much Odetta info) woulr be great. THANKS LW ========================================================================= Date: Wed, 17 Jan 1996 09:15:57 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: No more Blues in SA Comments: cc: William Shute Well, quality blues anyway. I was informed that the guy in charge of booking at Billy Blues in San Antonio is no longer there. This was the guy who brought Texas Johnny Brown, Joe Hughes, WC Clark, and the good bands from DFW here. The guy who is now bringing in the bands doesn't want to pay and is going to likely concentrate on the local bands, which mostly suck IMHO. Looks like all the future S. Texas Blues-L get togethers will move to Austin. -Jeff (a curse on your business - Billy Blues SA) Note: Billy Blues SA is no longer a part of the Billy Blues chain. ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Wed, 17 Jan 1996 10:18:44 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Who wrote this tune? QUick question for ya'all.... I just taught meself (Clapton's) "Worried Life Blues" as it is played on the "24 Nights" collection. The credits say Maceo Merriweather. Who is this? Am I going to be embarassed when I found out it's the real name of somebody huge? Anyway, it's a great tune. :) Private replies, thanks. Riffin Rick (((( oo-) /- ....at least it's not Kckinley Morganfield! F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 17 Jan 1996 10:32:20 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Bartender's Bop Playlist Here is Monday's show. All of the songs come from a fairly new release called The Mercury Records Story, which takes a look at Mercury releases from around 1945 - 1950. This set has very interesting packaging as it is made to look like an old radio, though don't expect it to fit on the shelf with the rest of your CDs. :) The set has 7 CDS and according to the booklet is a limited release. Should you buy this set? My feelings are that is would be a good purchase only if you don't have much of the material that has previously been released. That is my problem with buying it for myself, as I already have most of the Eddie Vinson, Professor Longhair, Jay McShann and Jimmy Witherspoon stuff. There were a couple of new Julia Lee tunes and some nice Helen Humes material that I hadn't heard before also the Albert Ammonds is very good. So if you've got a pocket full of money - go for it - but if you have a good collection of many of the artists mentioned save your money for what will be hopefully more releases of Mercury material from the 50s and 60s. Tom Title Group Year Label -------------------- -------------------- ---- ----- Old Maid Boogie Vinson, Eddie 46 Verve If It's Good Lee, Julia 45 Verve When I Get Drunk Vinson, Eddie 47 Verve Take It Easy Greasy Taylor, Myra 46 Verve Flippity Flop Flop Humes, Helen 47 Verve Some Women Do Vinson, Eddie 47 Verve Jet Propelled Papa Humes, Helen 47 Verve Show Missouri Blues Lee, Julia 45 Verve Mr Bell Boogie Ammonds, Albert 48 Verve Been Foolin Around Professor Longhair 49 Verve Bear Den Boogie Ammonds, Albert 48 Verve Her Mind's Gone Professor Longhair 49 Verve Let Them Roll Williams, Cootie 49 Verve Spider and the Fly Taylor, Myra 46 Verve You Got To Pay Those Williams, Cootie 49 Verve Dues Dream Lucky Blues Lee, Julia 45 Verve Married Man Blues Humes, Helen 48 Verve Tell Your Best Taylor, Myra 46 Verve Friend Nothing Sloppy Drunk Brown, Walter 47 Verve I Took the Front Vinson, Eddie 47 Verve Door In Voodoo Woman Blues Witherspoon, Jimmy 46 Verve Hadacol Blues Professor Longhair 49 Verve Barfly Blues Witherspoon, Jimmy 47 Verve High Class Baby Vinson, Eddie 47 Verve Hootie's Boogie McShann, Jay 45 Verve Crown Prince Boogie McShann, Jay 45 Verve Bucktown Boogie McShann, Jay 45 Verve Suitcase Boogie Ammonds, Albert 46 Verve Boogie Woogie at the Ammonds, Albert 46 Verve Civic Opera Why I'm Leaving You Ammonds, Albert 46 Verve I Don't Want To See Ammonds, Albert 46 Verve You Red Sails in the Ammonds, Albert 46 Verve Sunset Kilroy Boogie Ammonds, Albert 46 Verve Deep in the Heart of Ammonds, Albert 46 Verve Texas Boogie Sweet Patooty Boogie Ammonds, Albert 46 Verve St Louis Blues Ammonds, Albert 46 Verve `'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`' Stop on by my Jazz and Blues Web Site -- http://redlt.com/tom/ Free-lance Writer--Author--Program Director WTJU 91.1--Internet Consultant ========================================================================= Date: Wed, 17 Jan 1996 10:37:49 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: Shrinking list of blues venues Comments: To: "Sara C. Oxton" In-Reply-To: On Wed, 17 Jan 1996, Sara C. Oxton wrote: > Too bad there is not some national Blues Musicians > Association that sets quality standards, > based not on how many porkpie hats and sharkskin > suits a band has but on their musical pedigree. > Early morning musings; thanks for reading. And thanks for posting. While I agree with Sara's lament that there is a groundswell in mediocrity in local/regional blues music, one that might crowd out the better bands, as an anarcho-blues-l'er I'd be suspicious of a National Association that carries with it coercive power to _enforce_ whatever "standards" its members decide to set. I tend to look at the growing mediocrity with the following metaphor (borrowed from Michael Polanyi to explain something completely different): suppose the core of good, solid blues music and performers (however defined) is like the inner contents of a sphere, and suppose the sphere's surface represents the mediocre, the wanna-be's, the clones, and so on. What we wish for is an expansion of the sphere -- and I think we are witnessing this. But a larger sphere also, inevitably, brings forth a larger surface area -- more mediocrity, and so on. I myself am willing to live with the latter, understanding that it flows from the expansion of the former. Southside Dave "letta thousand musicians bloom" Prychitko http://www.oswego.edu/~prychitk/Blues101.html for playlists and reviews ========================================================================= Date: Wed, 17 Jan 1996 07:53:14 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Jan. 18 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BASKERVILLE, CHARLES(of SHEP & LIMELITES) d. 1995-0118, NEW YORK CITY, NY 54 BENTLEY, GLADYS ALBERTA (p) d. 1960-0118, LOS ANGELES, CA 52 BRAGG, JOHNNY (lead/PRISONAIRES) b. 1926-0118, NASHVILLE, TN BRITT, PATRICK (owner: CATALYST REC) b. 1940-0118, PITTSBURGH, PA DELAUNAY, CHARLES (pioneer discographer) b. 1911-0118, PARIS, FRANCE GEWIRTZ, PAUL P. (of COLONY RECORD SHOP) d. 1992-0118, MELBOURNE, FL 87 HALL, AL (b) d. 1988-0118, NEW YORK CITY, NY 72 MACK, RED (MAURICE MORRIS) (v/tpt) b. 1912-0118, MEMPHIS, TN MARTIN, ROBERTA(of ROBERTA MARTIN SINGERS)d. 1969-0118, CHICAGO, IL 61 MAXEY, MATTHEW "HOGMAN" (g/ARHOOLIE) b. 1917-0118, HAYNESVILLE, LA MITCHELL, MCKINLEY (v) d. 1986-0118, CHICAGO HEIGHTS, IL 51 RUFFIN, DAVID (co-lead/THE TEMPTATIONS) b. 1941-0118, WHYKNOT, MS WRIGHT, O. B. (v) d. 1993-0118, LOS ANGELES, CA -- ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 17 Jan 1996 09:56:38 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Q: WHO SINGS THIS SONG? Help, please. Comments: To: Salty In-Reply-To: <4dibd2$ef4@news.wisenet.com> I'm pretty sure "Here's Your Mop" was by Buddy & Ella Johnson, on Decca(?) in the '40s(?). ========================================================================= Date: Wed, 17 Jan 1996 08:55:12 EST Reply-To: Ian Sumpter From: Ian Sumpter Subject: Re: Essential Top 10 Electric Blues - 1950-59 The following is a personal project to compile the top essential "must have" electric blues (non-accoustic guitar) list the period from 1950 - 1995. FOR THIS WEEK ONLY, JANUARY 15 - 19, I WOULD LIKE TO CANVAS YA'LL FOR YOUR TOP, ESSENTIAL, "MUST HAVE" 5 ELECTRIC BLUES RELEASES (ALBUMS, CDs, CASSETTES) FOR THE PERIOD 1950 TO 1959 ONLY, I repeat, the '50s only. Your essential choices for the period spanning 1960 - 1995 will be requested in the upcoming weeks. After collecting the responses I will identify the top ten per decade based on the total of votes per release received. When the last period, 1990-95, is completed I will send out the results. Four clarifications: 1) It is the year of recording that will decide which decade your choice may fall under, not the year of issue. 2) Re compilations: if a recording has cuts that span two decades, for example, 1959 to 1965, please choice the decade with the majority of cuts. 3) By electric, I mean amplified music. 4) You are asked to restrict yourself to five choices only. Please forward your response to my personal mailing address. Thank-you I appreciate your support. Good day, eh! ========================================================================= Date: Wed, 17 Jan 1996 16:10:45 +0000 Reply-To: rof From: rof Subject: Re: Who wrote this tune? Comments: To: MILLER@SCI.WFBR.EDU In-Reply-To: Your message of "Wed, 17 Jan 1996 10:18:44 EST." <01I0437LXR8E003GI7@SCI.WFBR.EDU> In message <01I0437LXR8E003GI7@SCI.WFBR.EDU>, "" writes: > QUick question for ya'all.... > > I just taught meself (Clapton's) "Worried Life Blues" as it is played on > the "24 Nights" collection. The credits say Maceo Merriweather. Who is this > ? > Am I going to be embarassed when I found out it's the real name of somebody > huge? Anyway, it's a great tune. :) > > Private replies, thanks. > > Riffin Rick (((( > oo-) > /- > > ....at least it's not Kckinley Morganfield! > Hallo, You're right! It is someone famous .... Big Maceo > > > > > > > F.J.(Rick)Miller > Senior Research Assistant, > & Marine Facilities Manager > Worcester Foundation for Biomedical Research > "Miller@Sci.WFBR.Edu" > *************************************************************************** ========================================================================= Date: Wed, 17 Jan 1996 10:10:42 -0500 Reply-To: Greg Hermanns From: Greg Hermanns Subject: James Peterson Went to see James Peterson at 'Tommy on Main", here in Cincinnati last night (1/16). He puts on a hell of a show! His lead sax man 'Silky'? was coming down with the flu or something, and blew as long as he could. At one point James drifted through the crowd playing and singing, then went on to the sidewalk and into the middle of the street!! After an hour & a half of non-stop music, James slowed to plug the new CD ...swapped out the drummer,bass,lead guitar & lead sax for some local players they'ed been talking to before the show...and took off playing for another 35 minutes. Fun, fun show. Another elder-statesman of the blues we need to support. He plays again Thursday,Jan 18 (?) at Burbanks BBQ in Sharonville (Cincinnati area) Greg Hermanns gregfh@tso.cin.ix.net (not affiliated, just saw a fine show) ========================================================================= Date: Wed, 17 Jan 1996 11:05:00 EST Reply-To: edward c liu From: edward c liu Subject: B.B. King on (gack) Regis & Kathie Lee Howdy all, At the health club this morning, I figure I'll work out for about an hour and get into work a bit later than usual. This is at about 9:00. Then I hear on one of the TV's that B.B. King is going to be a guest on Regis & Kathie Lee that day. Of course, this means he's going to show up at the very end to make sure R&KL have enough time to do all the silly stuff they always do. Of course, this doesn't deter me from staying later than I wanted and give me the strength to sit through the "Pasta Punchout of the Century" (gack, hack, cough) so I could catch 2.5 minutes of anecdote about B.B. and Kenny Rogers. This was followed (after break for commercial, of course) by B.B. and Lucille accompanied by Joe Piscopo (sitting in for Regis, apparently) playing some decent Generic Blues Piano, with Kathie Lee in the background saying stuff like, "Bring it on HOME, B.B.!" But it was B.B. It was B.B. For me, no more reason is needed =8^). -- Ed Edward C. Liu | "Nothing is ever what it seems... edwick@cc.bellcore.com | But everything is exactly what it is." | -- B. Banzai The opinions in this message are mine and not Bellcore's. Really! ========================================================================= Date: Wed, 17 Jan 1996 11:37:43 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Blind Willie Johnson recommendation Comments: To: prychitk@oswego.oswego.edu In a message dated 96-01-17 09:58:21 EST, prychitk@OSWEGO.OSWEGO.EDU (David L. Prychitko) writes: >Exemplary delta blues! > >Anyone have a recommendation for a Blind Willie Johnson reissue? The >only thing I have is that song on the Rhino Slide Masters volume. > > The complete Willie Johnson is available on the Sony Roots n Blues series as THE COMPLETE RECORDINGS OF BLIND WILLIE JOHNSON C2K/C2T 52835. There are also two single CDs on Yazoo. I do not know if they together are 'complete.' Aside: He's Texas gospel, neither delta nor blues. Sort of a cousin. Tom Freeland ========================================================================= Date: Wed, 17 Jan 1996 23:43:31 +0700 Reply-To: "Peter E. Beal" From: "Peter E. Beal" Subject: Re: Odetta Comments: To: Leonard Watkins In-Reply-To: On Wed, 17 Jan 1996, Leonard Watkins wrote: > I hope I spelled her name right. Can someone recommend a recording by Odetta > and any other info (or a book that has much Odetta info) woulr be great. Odetta Sings the Blues on Fantasy (formerly Riverside) is really good. ========================================================================= Date: Wed, 17 Jan 1996 16:45:47 GMT Reply-To: STEPHANIE A REED From: STEPHANIE A REED Organization: Brock University, St. Catharines Ontario Subject: Re: The Greatest, "real" King of The Blues...The Pillars of , T-Bone (tbone1@IO.COM) wrote: : On Sun, 14 Jan 1996, VIBRATOLAD wrote: : > B.B.King, while a demi-God in his own right, is not the King of the Blues : > in my : > opinion. If I had to choose a few "greatest of the Greats," it would have : > to be the : > following: Albert Collins, Albert King, T-bone Walker, Freddie King, and : > of course, Johnny Winter. Of course, one must define "king of the Blues" : > I suppose. As far as raw influence, Muddy Waters is right there. Yeah, : > B.B. is : > there too, come to think about it. : There hae been a lot of influential bluesman, but Blind Lemon Jefferson : may be the most influential. Everyone from Virginia to Texas played songs : they learned off Blind Lemon records. : T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) : "Some of us may even die ... before the revolution comes." : - The Last Poets I believe we are forgetting Robert Johnson. Be sure to add him to the list. Simply put......one of the greats! ========================================================================= Date: Wed, 17 Jan 1996 12:22:59 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Blues on TV Robert Cray is on Leno tonight (1/17) Jim ========================================================================= Date: Wed, 17 Jan 1996 12:26:26 -0500 Reply-To: "Daryl F. Bernard" From: "Daryl F. Bernard" Subject: Re: Jimmy Thackery's influences Comments: To: Pat Hertel In-Reply-To: > > Heard an interview where he told the story of how Hendrix > came to be his #1 influence. He was going to college in > Washington(?) when he happened to see what was one of > Hendrix's first solo live performances. Get this, Hendrix had > just been booted out of a Monkees tour :):):):) > > phertel@cmc.doe.ca > It's not as if Hendrix was not *good* enuff for the Monkeys tour. It's just that it was a bad management decision on the part of Jimi's mgmt. Since the monkees were *hot* at the time, it was thought that this was a good way to get lots of exposure. Obviously the teeny-bopper-pop-heads were not the least bit prepared for what they were about to witness. They couldn't handle it. Parents got upset because they thought Hendrix was too sexual, graphic, LOUD! etc. So Jimi was pulled from the tour. Probably a good thing! ;^) Daryl "tire tracks all across your back, I can see you had YOUR fun!" Jimi, "Crosstown Traffic" ========================================================================= Date: Wed, 17 Jan 1996 12:44:18 -0400 Reply-To: Cliff Warnken From: Cliff Warnken Subject: Re: Worried Life Blues (was: Who wrote this tune?) >From: IN%"rof@ABER.AC.UK" "rof" 17-JAN-1996 12:12:38.56 >To: IN%"BLUES-L@BROWNVM.BROWN.EDU" "Multiple recipients of list BLUES-L" >CC: >Subj: RE: Who wrote this tune? In previous messages, it was said: > > "" writes: >> QUick question for ya'all.... >> >> I just taught meself (Clapton's) "Worried Life Blues" as it is played on >> the "24 Nights" collection. The credits say Maceo Merriweather. [snip] >> >Hallo, >You're right! It is someone famous .... Big Maceo > [snip] Apparently Calvin Frazier claimed authorship for this song, which he said Big Maceo picked up from him down in Arkansas. Cliff Warnken warnc@snycorva.cortland.edu ========================================================================= Date: Wed, 17 Jan 1996 12:05:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re: Cincinnati Jail as the Site... We could have the great Lonnie Mack come do "Cincinnati Jail" for us!!! YOW! (We would have to plan the convention around Lonnie's schedule, of course). Joe still-confident-it-will-ultimately-be-held-here in Moscow, J.E._Downey@bakermck.com ("You can't get a thing FOR THE PAIN In the Cincinatti Jail!!!") P.S. Think I'll go and crank up Lonnie's live "Attack of the Killer V" I'm so damned inspired by this. "If you're goin' to Cincinnati, you better take a friend!" ========================================================================= Date: Wed, 17 Jan 1996 12:46:11 EST Reply-To: george morales From: george morales Organization: TEMPLE UNIVERSITY Subject: upcoming live blues in Penna USA upcoming live blues i have seen in the local newspaper include Fri & Sat Jan 19 & 20 JOHHNY CYLDE COPELAND - WarmDaddy's - Phila PA Fri & Sat Jan 26 & 27 JAMES PETERSON - WarmDaddy's - Phila PA Thurs Feb 29 KOKO TAYLOR - WarmDaddy's - Phila PA Fri Jan 26 SATAN & ADAM - North Star Bar - Phila PA Fri Jan 19 PRESERVATION HALL JAZZ BAND - Keswick Theatre - Glenside PA Enjoy, George +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ | | | GEORGE MORALES GEORGEM@TEMPLEVM | | COMPUTER AND INFORMATION SERVICES GEORGEM@VM.TEMPLE.EDU | | TEMPLE UNIVERSITY (215)204-6866 | | | +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Wed, 17 Jan 1996 12:15:41 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Jessie Mae Hemhill update Jean-Pierre Urbain asked about Jessie Mae Hemphill ... Her health hasn't change for the past several months. She can walk but still has not feeling in her arm and is not able to perform. She got our money and is thankful to everybody who sent. I am currently talking to Catfish Keith about brining her here to Iowa City to do a benefit for her. She mentioned she would be willing to sing, and the idea is that Catfish plays the guitar with her singing. We would get a fine room for acoustic blues for free and free PA and all proceeds from the benefit will go to her. Catfish will tak to her about that and lets just hope that this will happen. Ranko ========================================================================= Date: Wed, 17 Jan 1996 13:15:00 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Shrinking list of blues venues Comments: To: prychitk@OSWEGO.OSWEGO.EDU On 17 Jan 96, David L. Prychitko had this to say... > On Wed, 17 Jan 1996, Sara C. Oxton wrote: > > > Too bad there is not some national Blues Musicians > > Association that sets quality standards, > > based not on how many porkpie hats and sharkskin > > suits a band has but on their musical pedigree. > > Early morning musings; thanks for reading. > > And thanks for posting. > > While I agree with Sara's lament that there is a groundswell in > mediocrity in local/regional blues music, one that might crowd out the > better bands, as an anarcho-blues-l'er I'd be suspicious of a National > Association that carries with it coercive power to _enforce_ whatever > "standards" its members decide to set. > > I tend to look at the growing mediocrity with the following metaphor > (borrowed from Michael Polanyi to explain something completely > different): suppose the core of good, solid blues music and performers > (however defined) is like the inner contents of a sphere, and suppose the > sphere's surface represents the mediocre, the wanna-be's, the clones, and > so on. What we wish for is an expansion of the sphere -- and I think we > are witnessing this. But a larger sphere also, inevitably, brings forth > a larger surface area -- more mediocrity, and so on. I myself am willing > to live with the latter, understanding that it flows from the expansion > of the former. But the way I see it, and the way I think Sarah sees it, only the CHEAPEST survive. The better bands don't get the gigs because the standards are lowered in favor of less expense. It's a very bad metaphor because the ratio of quality bands to crap bands doesn't remain constant. A better metaphor would be gangrene. As the infection spreads there's less and less healthy body, until ultimately there ain't enough good body left to function. In the case of bands, I've seen it happen. The more bands that are willing to work for next to nothing, the less likely club owners will be willing to spend more than that. And what kind of bands play for next to nothing? The band that just formed yesterday. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 17 Jan 1996 12:27:23 CST Reply-To: ISTS024@UABDPO.BITNET From: Leonard Watkins Subject: The Real King....uh..influence For my money (which I don't have much of) Charley Patton is THE MAN. I like Blind Lemon and certianly recognize his influence on blues, but it doesn't take long after hearing Patton to realize where "it" came from....Now where Patton got it, I have no idea....Just MHO Patton just 100% blew me away LW ========================================================================= Date: Wed, 17 Jan 1996 12:39:27 -0600 Reply-To: Dave Daubard From: Dave Daubard Subject: Re: First Annual Blues-L Convention Comments: To: Dick Waterman In-Reply-To: <960112154901_39743128@emout06.mail.aol.com> My 1st choice would be in Kansas City during their blues & jazz fest in late July. We attend this event regularly & have been to a gathering of blues societies hosted by KCBS. The club scene is extra special. It compares to Chicago or anywhere else. To me, the clincher is hospitality. FREE barb-b-que & beverage at the VIP tent behind the blues stage. Almost anyone from out of town is a VIP. They have been very careful to track any out-of-towners to keep the city behind the fest. They want people to learn that KC is the "Crossroads" of the blues. The Crown Plaza & Hyatt are across the street from the fest. My 2nd choice is Memphis. With the Blues Foundation & Beale St., we can't miss. disclaimer-I drive the 400 miles to KC 'cause it is the best! No other interests except my red-headed cousin from Red Hot Records. ========================================================================= Date: Wed, 17 Jan 1996 13:22:55 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re[2]: Cincinnati Jail as the Site... Comments: To: /G=J.E./S=Downey/@bmmoscow.bmck.sprint.com Hey, thanks for the vote for Cincinnati! Getting Lonnie Mack to perform at the fest is not out of the realm of possibility. He has some good friends here (who are good friends of mine) who are already offering to speak to him about performing in July. And let us not forget one of Cincinnati's historical connections to the blues....Freddie King recorded here. Shannon ______________________________ Reply Separator _________________________________ Subject: Re: Cincinnati Jail as the Site... Author: /G=J.E./S=Downey/@bmmoscow.bmck.sprint.com at INTERNET_TP Date: 1/17/96 1:47 PM We could have the great Lonnie Mack come do "Cincinnati Jail" for us!!! YOW! (We would have to plan the convention around Lonnie's schedule, of course). Joe still-confident-it-will-ultimately-be-held-here in Moscow, J.E._Downey@bakermck.com ("You can't get a thing FOR THE PAIN In the Cincinatti Jail!!!") P.S. Think I'll go and crank up Lonnie's live "Attack of the Killer V" I'm so damned inspired by this. "If you're goin' to Cincinnati, you better take a friend!" ========================================================================= Date: Wed, 17 Jan 1996 12:48:27 -0600 Reply-To: Roger Struve From: Roger Struve Subject: John Hammond/Jimi Hendrix/Duane ALlman/Robbie Robertson Few people realize that Jimi Hendrix's last paying gig BEFORE he started the Experience, was in John Hammond's Band. Other greats that have been in JH's band include the great Robbie Robertson (listen to Spoonful, a Willie Dixon tune, as done by JH's Band on was it Southern Fried or was it I can Tell?); Duane Allman (definitely on Southern Fried, a very rare and sought after album (LP)); the bass player from the Rolling Stones, lessee what was his name again; Michael Bloomfield (i think i remember this right); etc. etc. (Note: i am not saying the bass player for the Rolling Stones was Michael Bloomfield!). John Hammond, as great as they come....he should be on anyone's list of Blues greats, or Blues originals. His style is totally unique, and he is the modern day equivalent of Robert Johnson. They both did the same thing....took other people's songs (listen to Roots of Robert Johnson to see whose songs he borrowed) and gave it their unique style....RJ gave many songs (Son House' Walkin' BLues and Preachin' Blues, for two) his unique style....so did JH, as in a previous post, listen to Drop Down Mama, originally a Sleepy John Estes' song. I think an anlaytical comparison will show that RJ's style and effect on the songs he did made them about as unique from the originals, as JH's style and effect on the songs he did made them equally unique from the originals. Need i mention, delta doc roger ========================================================================= Date: Wed, 17 Jan 1996 13:16:26 -0600 Reply-To: Storm Bailey From: Storm Bailey Subject: Re: Who wrote this tune? > >I just taught meself (Clapton's) "Worried Life Blues" as it is played on >the "24 Nights" collection. The credits say Maceo Merriweather. Who is this? Please answer Rick's question in public--I was thinking of the same question just yesterday... Clapton used to publicly acknowledge Big Maceo as the writer years ago, but I keep thinking it (or big parts) is from Blind Willie McTell. Did _Chuck Berry_ record this, crediting himself ?? thanks, Storm ========================================================================= Date: Wed, 17 Jan 1996 14:10:26 -0500 Reply-To: JJSCIS From: JJSCIS Organization: America Online, Inc. (1-800-827-6364) Subject: Re: B.B. King Tour Comments: To: bit-listserv-blues-l@uunet.uu.net Any one out there have any idea if B.B. is going to be in VA/NC/DC area in 1996? ========================================================================= Date: Wed, 17 Jan 1996 14:11:57 -0500 Reply-To: JJSCIS From: JJSCIS Organization: America Online, Inc. (1-800-827-6364) Subject: BEBE Price and Blues with a Feelin' Comments: To: bit-listserv-blues-l@uunet.uu.net Anyone know anything about this New Orleans based band. I caught a show of theirs done there in Oct/95, it was great! Also if you here anything about a CD I would sure appreciate it!! ========================================================================= Date: Wed, 17 Jan 1996 11:19:17 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: Re: dfw only/disappearing blues venues Comments: To: Jim Witteveen Jim Witteveen wrote: > > Don O gave the following list of performers soon to be in DFW, and I read > the message even though I live in Vancouver, Canada. > >Percy Strother Jan 20 > >W.C. Clark Jan 27 > >Johnny Dyer Feb 1 (a Thursday) > >Bob Margolin Feb 7 (a Wednesday) > >BILLY BOY ARNOLD!!!!! Feb 13 (a Tuesday) > >Tutu Jones Feb 15th (a Thursday) > >Gary Primich Feb 23 > >E.C Scott Feb 24 > >SMOKEY WILSON!!!! March 8 > I would like to see a few more warm bodies there[...] > >If 10 people show up to see people like Billy Boy Arnold I am going to be VERY > >disappointed. > > I've read a few messages about dissappearing blues venues, and when I read > this list I started to drool! There are several venues in Vancouver that > host blues bands, and I can't believe that if performers of this calibre > showed up that the crowds wouldn't turn out! Every show I've been to has > been pretty much packed out, but when I check out who's playing in Vancouver > during a given week, I definitely do not see this kind of list of quality > performers. Could it be that you guys are spoiled? :-) > > Does anyone know why it seems (to me at least) we don't get this many great > blues musicians hitting Vancouver during their tours? Is this a function of > the clubs not booking them, or is it the musicians chosing not to come here > for their own reasons? > > -Jim (hndful@uniserve.com) > > ...and can anyone tell me about a website with artists' itineraries if > possible? Thanks! Jim, I can tell you that Harp-L offers periodical updates of Harmonica / Blues artists. Enclosed is a copy from Danny Wilson. Stan Subject: ARTIST ITINERARY UPDATE as of 1/14/96 Date: Sun, 14 Jan 1996 15:05:07 -0500 From: BassHarper@aol.com To: Harp-L@garply.com, HarpSPAH@aol.com, IMS_ELY@a1.ode.ohio.gov (jackely), 76450.3230@compuserve.com, Philharpn@aol.com, timm@sp-eug.com, BuzzK87175@aol.com, gjones@qb.island.net CC: BassHarper@aol.com If you attend any of the following concerts/gigs, especially as a result of this list, please tell the artists you saw it on the Harp-L / Internet. Thank you. - Danny Wilson (BassHarper@aol.com) 2 LANE BLACKTOP - Dean Delray, harp 1/20 Bolinas, CA - Smiley's (9pm) 1/22 Costa Mesa, CA - Lava Room (10pm) 1/23 San Francisco, CA - DNA Lounge (9:30pm) 1/26 San Francisco, CA - Maritime Hall (10pm) 2/2 San Francisco, CA - Transmission Theatre BILLY BOY ARNOLD 1/18 New York, NY - Manny's Car Wash 1/19 Wheaton, MD - Tornado Alley 1/20 Springfield, MA - Theodore's 1/21 Syracuse, NY - Dinosaur BBQ 3/2 Cleveland, OH - Wilbert's 6/8 Jackson, TN - Shannon Street Blues BIG DAVE & THE ULTRASONICS - Dave Morris, harp 1/19 Bowling Green, OH - Easy Street Cafe 1/20 Ann Arbor, MI - Blind Pig *live recording* 1/27 Pittsburgh, PA - Moondog's BLACKWATER BOG - Glenn Pearl, harp 1/17 New Orleans, LA - Monaco Bob's Touchdown Lounge (10pm) BRODY BUSTER & THE BWB SHOW BAND 1/19 Columbia, MO - Deep Blues 1/20 St Louis, MO - Links 1/26 Dallas, TX - Blue Cat Blues 1/27 Houston, TX - Billy Blues "IRONMAN" MIKE CURTIS (Solo: Electric Harmonica, Guitar, MIDI Bass Pedals, Vocals) 1/16 Studio City, CA - The Oyster House (9pm-1am) 1/19 Yorba Linda, CA - Main Street Cafe (6-10pm) 1/21 Studio City, CA - The Oyster House (8pm-12m) 1/23 Studio City, CA - The Oyster House (9pm-1am) 1/26,27 Huntington Beach, CA - Perqs (w/ Indio) (9pm-1am) 1/28 Studio City, CA - The Oyster House (8pm-12m) 1/30 Studio City, CA - The Oyster House (9pm-1am) PAUL deLAY 1/25 Seattle, WA - The Scarlet Tree JOHNNY DYER 1/21 Ogden, UT - Zipperz 1/23 Steamboat Springs, CO - BW3 1/24 Breckenridge, CO - Alligator Bar 1/25 Denver, CO - Brendan's 1/26 Kansas City, MO - Grand Emporium 1/27 Omaha, NE - McKennas 1/30 Amarillo, TX - Club House 1/31 Oklahoma City, OK - VZD 2/1 Dallas, TX - Blue Cat Blues 2/2,3 El Paso, TX - Wild Hare 2/4 Phoenix, AZ - Rhythm Room GILA MONSTERS - Paul Perme, harp 1/19 W Hollywood, CA - Luna Park THE JAMES HARMAN BAND 1/16-18 Key West, FL - Turtle Kraals 1/19 Delray Beach, FL - The Backroom 1/20 Melbourne, FL - Sebastian Beach Inn 1/21 Tampa, FL - Skippers Smokehouse 1/26 Miami, FL - Tobacco Road 1/27 Ft Lauderdale, FL - Musicians Exchange 1/30 Atlanta, GA - Blind Willies 2/3 Tucson, AZ - Rialto Cabaret (tentative) 2/10 Riverside, CA - Lake Alice Trading 2/16 W Hollywood, CA - House of Blues 2/17 Long Beach, CA - Blue Cafe 2/24 Dana Point, CA - Heritage Brewery 7/26 Lincoln, NE - July Jamm 7/29,30 Lincoln, NE - Zoo Bar RICK HATFIELD 1/17 Sausalito, CA - No Name Bar (w/ Steve Webber) 1/19 Calistoga, CA - Calistoga Inn (solo) 1/25 Sonoma, CA - Murphy's (solo) 1/26,28 Bolinas, CA - Smiley's (w/ Steve Webber) 2/1 Sebastopol, CA - Jasper O'Farrell's (solo) 2/2 Petaluma, CA - Carrow's (solo) 2/9 Benicia, CA - Union Hotel (w/ Steve Webber) 2/25 Bolinas, CA - Smiley's (w/ Steve Webber) 3/1 Petaluma, CA - Carrow's (solo) BUZZ KRANTZ 2/17 Schaumburg, IL - Harry G's (Buzz & The Extenders) 2/23 Wheeling, IL - Matty's Place (Buzz & The Cook County Blues Band) 3/16 Schaumburg, IL - Harry G's (Buzz & The Extenders) 3/23 Schaumburg, IL - Harry G's (Buzz & The Cook County Blues Band) HUEY LEWIS AND THE NEWS 2/15-18 Las Vegas, NV - Caesars Palace LITTLE CHARLIE & THE NIGHTCATS 1/19 Folsom, CA - Sutter Street Saloon 1/20 Stevens Creek, CA - J.J.'s 1/24-28 HIWAII - Various 2/3 San Francisco, CA - Slim's 2/7 Corvallis, OR - The Peacock 2/8 Kelso, WA - Peter's Red Garter 2/9 Bellingham, WA - Bogie Bar & Grill 2/10 Walla Walla, WA - Blue Mountain Tavern 2/14 Reno, NV - Hacienda De Sol 3/25-4/4 AUSTRALIA - Various 4/6,7 Byraon Bay, AUSTRALIA - East Coast Blues Fest 4/18 New York, NY - Manny's Car Wash 4/21 Syracuse, NY - Dinosaur BBQ 4/24 Montreal, QUEBEC, CANADA - Cafe Campus 4/26 Sudbury, ONTARIO, CANADA - Mine Mill Hall 4/29 Indianapolis, IN - Slippery Noodle 4/30 Grand Rapids, MI - Rhythm Kitchen 5/1 Taylor, MI - Sisko's 5/2 Cleveland, OH - Wilbert's 5/3 Chicago, IL - Legends 5/4 MIlwaukee, WI - Up And Under Pub 5/7 Des Moines, IA - Connie's Lounge 5/9 Fayetteville, AR - 5/10,11 Kansas City, MO - Grand Emporium 5/25-31 Genoa, ITALY - Blues Cruise LITTLE SONNY 2-17 Royal Oak, MI - Magic Bag JOHN "JUKE" LOGAN Every Friday Night - Pasadena, CA - Friday Night Blues Revue KPCC 89.3 FM (8-10pm) 1/17 Hermosa Beach, CA - Cafe Boogaloo (8pm-mid) w/ Doug MacLeod 1/19,20 Universal City, CA - B.B. King's Blues Club (7-9pm) w/ Doug MacLeod 2/2 Hermosa Beach, CA - Cafe Boogaloo (9:30pm-1:30am) w/ The Chill Aces & Brenda Burns JOHN MAYALL & THE BLUESBREAKERS 2/16 W Hollywood, CA - House of Blues 2/17 San Juan Capistrano, CA - Coach House CHARLIE MUSSELWHITE 2/15 Sydney, AUSTRALIA - The Basement 2/16 Brisbane, AUSTRALIA - The Bass Note 2/17 Lismore, NSW, AUSTRALIA - Lismore Workers Club 2/18 Sawtell, NSW, AUSTRALIA - Sawtell RSL Club 2/22 Perth, WA, AUSTRALIA - Charles Hotel 2/23 Fremantle, WA, AUSTRALIA - Fly By Night 2/24 Adelaide, SA, AUSTRALIA - Cartoons 2/27,28 Melbourne, AUSTRALIA - The Continental 2/29 Sydney, AUSTRALIA - The Basement 3/1 Sydney, AUSTRALIA - Pelican Club 3/2 Newcastle, NSW, AUSTRALIA - Palais 4/13 Long Beach, CA - Cal State Long Beach 5/19 Discovery Bay, WA - Blues Farm PAT O'BRIEN & THE PRIESTS OF LOVE Every Thu,Fri,Sat - Arcadia, CA - First Cabin HANS OLSON 1/15 Scottscale, AZ - Blue Note 1/18 Phoenix, AZ - Buffalo Chips 1/21 Phoenix, AZ - Phoenix Civic Plaza (MLK Tribute) 1/22 Scottsdale, AZ - Blue Note 1/25 Phoenix, AZ - Rhythm Room 1/26 Tucson, AZ - Tucson Performing Arts Theatre 1/27 Phoenix, AZ - Encanto Park (2pm) 1/27 Phoenix, AZ - Fatso's 1/29 Scottsdale, AZ - Blue Note 2/2 Scottsdale, AZ - Blue Note 2/9,10 Flagstaff, AZ - Charly's 2/16 Scottsdale, AZ - Blue Note 2/23,24 Bisbee, AZ - St Elmo's 2/28 Tempe, AZ - The Vine 3/15,16 Flagstaff, AZ - Charly's 3/20-4/15 - FRANCE - On Tour (details asap) ROD PIAZZA & THE MIGHTY FLYERS 1/28-2/4 West Coast Blues Cruise THE RIGHTEOUS BROTHERS - Lucinda Chatfield, harp 2/13 Madison, WI 2/14 Davenport, IA 2/15 Peoria, IL 2/16 Merrillville, IN 2/17 Milwaukee, WI - (private) 2/27-3/3 Reno, NV - Harrah's 3/7-3/27 Las Vegas, NV - MGM 5/2-22 Las Vegas, NV - MGM 6/28 San Diego, CA - (private) 7/11-31 Las Vegas, NV - MGM 8/2-4 Tahoe, CA - Harrah's 8/7-11 Atlantic City, NJ - Bally's Pk Pl 9/19-10/9 Las Vegas, NV - MGM 10/10-12 Laughlin, NV - Riverside ROOMFUL OF BLUES - Sugar Ray Norcia, harp 6/15 Providence, RI - private STEAMIN' STAN RUFFO Sundays 8pm - "Blues on Tap" - K100 99.7 fm 1/17 Visalia, CA - Shadrach's Teen Center 1/19,20 Paso Robles, CA - Mr. Lee's Club 1/25 Visalia, CA - Boochy's Restaurant 1/26,27 Visalia, CA - Holiday Inn 1/29 Fresno, CA - Doc Holiday's Country Express 2/2 Visalia, CA - Main Street Diner 2/9,10 Paso Robles, CA - Mr. Lee's Club 2/16 Visalia, CA - Main Street Diner PETER MADCAT RUTH 1/18-21 Anaheim, CA - NAMM Show (for Huang Harmonicas) 1/24 Ann Arbor, MI - Washtenaw Community College - Madcat & Kane (12noon) 1/26 Holly, MI - Holly Hotel (w/ Robert Jones) - Madcat & Kane 1/27 Grand Rapids, MI - Grand River Folk Arts Society - Madcat & Kane (8pm) 2/2 Valparaiso, IN - Front Porch Music - Madcat & Kane (8pm) 2/3 Detroit, MI - Soup Kitchen Saloon - Madcat & Kane (8pm) 2/16 Traverse City, MI - Dennos Museum - Madcat & Kane (8pm) 2/18 Ann Arbor, MI - Bach School Benefit Concert - Madcat & Kane 2/23 Bethlehem, PA - Godfrey Daniels - Madcat & Kane (8pm) 3/10 Ann Arbor, MI - The Ark / Children's Concert (1pm) 3/16 Kalamazoo, MI - Colt Center - Celery City Concert Series - Madcat & Kane (8pm) 3/22 Greenville, SC - The Handle Bar - Madcat & Kane (8pm) 4/20 Ann Arbor, MI - Arborland Mall / Children's Fair (2pm) 6/16 Alpena, MI - Jesse Besser Museum - Madcat & Kane 6/23 Granville, OH - Granville Summer Concert Series - Madcat & Kane (5:30pm) 7/2 Lakeside, OH - Lakeside Association - Madcat & Kane (5:30pm) 7/5 Petoskey, MI - Bayview Festival (w/ Crofut & Brubeck) (8pm) SATAN AND ADAM 1/19 Portland, ME - Morganfield's 1/20 Portsmouth, NH - The Press Room 1/27 (in the Poconos) - Big Boulder Ski Resort 1/29 Williamsport, PA - Franco's 2/10 New York, NY - Terra Blues 2/16 Washington, DC - Folk Alliance Showcase 3/30 Philadelphia, PA - The North Star Bar 4/13 Portsmouth, NH - The Press Room SUGAR BLUE 2/3 Redkey, IN - Palace Theater TALKIN' BACK - High Energy Blues - Steve Crawford, harp Last Sunday of each month - San Jose, CA - Caital Flea Market (11am-3pm) 1/19 San Jose, CA - Marina Seafood Grotto (9pm-?) 1/20 San Jose, CA - Tarinbas Bar & Grill (8pm-?) GREG "FINGERS" TAYLOR 3/1 Oxford, MS - Proud Larrys 3/2 Huntsville, AL - Kaffeeklatsch 3/8 Houston, TX - Billy Blues 3/15 Atlanta, GA - Variety Playhouse 3/16 Tallahassee, FL - Dave's Club 3/17 Tampa, FL - Skippers 3/20 Ft Myers, FL - Peter's La Cuisine 3/22 Ft Lauderdale, FL - Musician's Exchange 3/23 Miami, FL - Tobacco Road 3/25 Key West, FL - Margaritaville THE FABULOUS THUNDERBIRDS 1/18 San Juan Capistrano, CA - Coach House 1/19,20 W Hollywood, CA - House of Blues MO VINT 1/18 Myrtle Beach, SC - Ocean Lakes RV Campground (private) 1/20,21 Myrtle Beach, SC - Myrtle Square Mall 1/26,27 Tampa, FL - Florida State Fairgrounds - CSA/Medipac Show 2/4 Dade County, FL - Travellers Rest Campground (private) 2/15 Myrtle Beach, SC - Ocean Lakes RV Campground (private) 3/15-17 Conroe, TX - 3 Day Fair JUNIOR WELLS 2/ Colorado, Utah, Montana, Idaho, Wyoming, Washington, Oregon, British Columbia (details asap) 2/29-3/5 HAWAII (details asap) 3/23 Champaign, IL - Blind Pig 3/30 Chicago, IL - Buddy Guy's Legends 4/27 New Orleans, LA - Jazz & Heritage Festival 5/14,15 Orlando, FL - Disney Institute 6/ California, Arizona, New Mexico, Nevada (details asap) -- Stan Ruffo Productions steamin@valleynet.com 800 N. Ben Maddox Way http://www.valleynet.com/~steamin Suite 2200 209/625-6049 Visalia, CA 93292 ========================================================================= Date: Wed, 17 Jan 1996 13:44:36 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: The Real King....uh..influence In-Reply-To: On Wed, 17 Jan 1996, Leonard Watkins wrote: > For my money (which I don't have much of) Charley Patton is THE MAN. I like > Blind Lemon and certianly recognize his influence on blues, but it doesn't > take long after hearing Patton to realize where "it" came from....Now where > Patton got it, I have no idea....Just MHO > > Patton just 100% blew me away I agree that Patton is probably "the Man" to a lot of us, myself included. However, remember that to a lot of us today, blues = Chicago blues, which comes from the Delta, etc etc etc. However, Patton's record sales probably weren't a match for Jefferson's. A lot of bluesmen from all over te country learned songs from Blind Lemon Jefferson records, but I don't know if you could say the same thing about Patton. So that is why I'd consider Jefferson more influential, because of the BREADTH of his influence (from T-Bone Walker to Archie Edwards), and because his success probably encouraged record companies to go out and find their OWN Blind Lemon Jefferson out in the backwoods of Mississippi or North Carolina. All is IMnsHO, of course. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Of course she lied, cheated, used, abused, stole, manipulated, schemed, connived, and hurt you. She's a woman." - J.N. Jackson, 3/91 ========================================================================= Date: Wed, 17 Jan 1996 13:50:40 -0600 Reply-To: Mark Gobeyn From: Mark Gobeyn Subject: John Primer Can anyone provide a quick review of John Primer's '92 Earwig album "Stuff You Get to Watch?" I was in Chicago a while back and had the opportunity to see Magic Slim and the Teardrops perform at BLUES etc. on Belmont. Slim, as usual, was great. But I was quite impressed with Primer's excellent guitar playing, too. mark in peoria ========================================================================= Date: Wed, 17 Jan 1996 14:53:51 -0500 Reply-To: ROSEBUDUS@AOL.COM From: Rosebud Agency Subject: John Lee Hooker's marital status Date: Mon, 15 Jan 1996 21:28:31 GMT From: Daniel Contreni Subject: Is John Lee Hooker Married? A friend of mine claims that John Lee is married to a rather young woman. Is it true? If so, I think that's pretty cool for such an old guy.... __________________ John Lee Hooker has been married several times but is not currently married. Mike Kappus "You can't judge a book by looking at the cover" Willie Dixon ========================================================================= Date: Wed, 17 Jan 1996 11:54:30 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: Central CA, Blues On Tap! Comments: To: Harp-L@garply.com For those interested in what's being played on central California's only blues show on commercial radio, "Blues On Tap" with Steamin' Stan Ruffo, on KIOO 99.7fm, check the playlist at, http://www.valleynet.com/~steamin/playlist.txt It is updated everyweek! Comments welcome! Stan -- Stan Ruffo Productions steamin@valleynet.com 800 N. Ben Maddox Way http://www.valleynet.com/~steamin Suite 2200 209/625-6049 Visalia, CA 93292 ========================================================================= Date: Wed, 17 Jan 1996 14:57:07 -0500 Reply-To: Jessica Sowin From: Jessica Sowin Subject: Re: Blind Willie Johnson recommendation >The complete Willie Johnson is available on the Sony Roots n Blues series as >THE COMPLETE RECORDINGS OF BLIND WILLIE JOHNSON C2K/C2T 52835. There are >also two single CDs on Yazoo. I do not know if they together are 'complete.' >Aside: He's Texas gospel, neither delta nor blues. Sort of a cousin. > >Tom Freeland Thanks for the mention, Tom. Here's a track listing for those interested. Sorry for the "all caps," but I imported it from another system. Jessica Sowin Legacy Selection#: C2K/C2T 52835 ================================================================== Title: THE COMPLETE BLIND WILLIE JOHNSON Artist: BLIND WILLIE JOHNSON Producer: Lawrence Cohn Label: Columbia/Legacy Released: April 1993 (403) Copyright Notice: (P) 1993 Sony Music Entertainment Inc. ================================================================== Side: 1 matrix #:CK 52836 component #:CK 52836 Band song title 01 I KNOW HIS BLOOD CAN MAKE ME WHOLE 02 JESUS MAKE UP MY DYING BED 03 IT'S NOBODY'S FAULT BUT MINE 04 MOTHER'S CHILDREN HAVE A HARD TIME 05 DARK WAS THE NIGHT-COLD WAS THE GROUND 06 IF I HAD MY WAY I'D TEAR THE BUILDING DOWN 07 I'M GONNA RUN TO THE CITY OF REFUGE 08 JESUS IS COMING SOON 09 LORD I CAN'T JUST KEEP FROM CRYING 10 KEEP YOUR LAMP TRIMMED AND BURNING 11 LET YOUR LIGHT SHINE ON ME 12 GOD DON'T NEVER CHANGE 13 BYE AND BYE I'M GOIN' TO SEE THE KING 14 SWEETER AS THE YEARS ROLL BY ---------------------------------------- Side: 2 matrix #:CK 52837 component #:CK 52837 Band song title 01 YOU'LL NEED SOMEBODY ON YOUR BOND 02 WHEN THE WAR WAS ON 03 PRAISE GOD I'M SATISFIED 04 TAKE YOUR BURDEN TO THE LORD AND LEAVE IT THERE 05 TAKE YOUR STAND 06 GOD MOVES ON THE WATER 07 CAN'T NOBODY HIDE FROM GOD 08 IF IT HAD NOT BEEN FOR JESUS 09 GO TO ME WITH THAT LAND 10 THE RAIN DON'T FALL ON ME 11 TROUBLE WILL SOON BE OVER 12 THE SOUL OF A MAN 13 EVERYBODY OUGHT TO TREAT A STRANGER RIGHT 14 CHURCH, I'M FULLY SAVED TO-DAY 15 JOHN THE REVELATOR 16 YOU'RE GONNA NEED SOMEBODY ON YOUR BOND ---------------------------------------- ========================================================================= Date: Wed, 17 Jan 1996 15:03:59 -0500 Reply-To: bob unger From: bob unger Subject: Shipping BluesBytes I just want to let everybody know that I have recieved a number of checks and money orders and the first shipment of BluesBytes will be mailed out early next week. As I mail them, I will notify each person that I am mailing it too. There are still plenty of copies left, but they wont last forever, so if you'd like a copy and you haven't yet ordered, here is the information on how to do order...... **************************************************************************** If you live in the U.S., you can order by check or money order. I cant accept credit card orders (I'm just a working slob!!) Make it payable to me, Bob Unger, and send it to my work address: Bank Street College 610 West 112th Street New York, NY 10025 attn: Bob Unger From the list of organizations below, make your choice, and mail it to me along with your snail-mail address and your e-mail address in case I need to get in touch with you. If you live outside the U.S. borders, there are 3 ways to make a payment: 1. Postal Money Order - payable in U.S. cash. Please do not send a bank money order, as there are transactions fee's invloved and it becomes a big mess. 2. Cash - I do not recommend this method. If this is the only way you can order, then please make sure it is U.S. cash... however, I cannot be held responsible if your order get's lost in the mail. 3. Access to a U.S. bank account - Some of you may have access to a U.S. bank account either through friends, your business, or you might have your own account. I'll accept any check drawn from a U.S. bank. Pick an organization: The following 3 organization's have been suggested for the proceeds. Please pick one and send it along with your payment. The organization that recieves the most votes, will be awarded the donation: 1. Willie Dixons Blues Heaven 2. The Delta Blues Museum 3. The Rhythm & Blues Foundation BU bob@sun.bnkst.edu I thank you for your support and whoever ends up as the recipient, thanks you for your support. ========================================================================= Date: Wed, 17 Jan 1996 15:07:09 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Re: Who wrote this tune? Comments: To: baileyst@martin.luther.edu In-Reply-To: from "Storm Bailey" at Jan 17, 96 01:16:26 pm According to Storm Bailey: > > >According to Riffin' Rick: > >I just taught meself (Clapton's) "Worried Life Blues" as it is played on > >the "24 Nights" collection. The credits say Maceo Merriweather. Who is this? > > Please answer Rick's question in public--I was thinking of the same > question just yesterday... Clapton used to publicly acknowledge Big Maceo > as the writer years ago, but I keep thinking it (or big parts) is from > Blind Willie McTell. > Did _Chuck Berry_ record this, crediting himself ?? > Big Maceo's version of "Worried Life Blues" is the version of this blues standard that is most often copied, however, I believe "Worried Life" is a variation of the earlier "Someday Baby" by Sleepy John Estes. In the 50s for Chess Records, Muddy Waters also did a version of "Someday Baby" called "Trouble No More". Chuck Berry also recorded "Worried Life Blues" for Chess as well. -P ========================================================================= Date: Wed, 17 Jan 1996 15:26:50 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: John Primer Comments: To: Mark Gobeyn In-Reply-To: <199601171950.NAA04610@bradley.bradley.edu> On Wed, 17 Jan 1996, Mark Gobeyn wrote: > Can anyone provide a quick review of John Primer's '92 Earwig album > "Stuff You Get to Watch?" I was in Chicago a while back and had > the opportunity to see Magic Slim and the Teardrops perform at BLUES > etc. on Belmont. Slim, as usual, was great. But I was quite impressed > with Primer's excellent guitar playing, too. Can't report on the above but I have heard his Wolf CD's and anyone listening would be impressed. Also for a single take on how good he is - on the Valerie Wellington CD Million Dol- lar Secret (Rooster) he is the lead guitar on Cold, Cold Fee- ling and he is blistering. Another big listen to, is Johnny B. Moore - coming up and very well deserved of our attention. BTW both JBM and JP is on our review schedule for February - here and on the web page + Johnny B. Moore's 911 Blues, will be one of the giveaway CD's for the Wolf contest coming too. Not affiliated - just making some fun in this world. NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Wed, 17 Jan 1996 15:34:27 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Johnny Shines As we've been discussing Mr. Shines for a while I thought I would put in this note that his CD Mr. Cover Shaker (now that I've had the chance to full listen to it) is excel. Imagine Johnny Shines, face up to a violin and cornet (or was it the trumpet, not sure) + Johnny Shines against a 3 piece females only backup choir. Some very eye opening material - partic- ular for those purists of us (me sometimes included as well) listening to an old school acoustic master, guitar & vocals, play this kind of set. Made me re-think what I should be up to in my listening. JS / Mr. Cover Shaker Biograph #125. A go get but only after TRADITIONAL DELTA BLUES (Biograph #121). NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Wed, 17 Jan 1996 14:27:00 CST Reply-To: ISTS024@UABDPO.BITNET From: Leonard Watkins Subject: Johnnie Billington I interviewed Mr. Billington the other night and he was reluctant to talk about his "early" career. He did mention that he had played with Elmore and Muddy in Chicago years ago, but that's about all he really said about himself. Can someone tell me all the know about his early years as a blues performer He wasn't reluctant to talk about the "kids" and the work he/they are doing The interview will be on blues-l...soon THANKS LW ========================================================================= Date: Wed, 17 Jan 1996 15:51:04 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Re: John Hammond/Jimi Hendrix/Duane ALlman/Robbie Robertson Comments: To: bit-listserv-blues-l@uunet.uu.net In article , Roger Struve writes: >John Hammond, as great as they come....he should be on anyone's list of >Blues greats, or Blues originals. He is amazing. I think I have every album (yes, vinyl & all signed )he's done. The first time I met him was at a radio interview...at 7am. : ) Gracious, as always he chatted with the djs at a rock station to promote the show & played a song for them. During the break I spoke to him for a moment & jokingly asked if I could make a request. It was amusing to see the look on the dj's face when John asked what they'd like him to play, 2 or 3 tunes were mentioned (all off the albums you mentioned, along with some Hendrix) and he played "Love In Vain." Regardless of the number of times I see him live I am never disappointed & can't wait to get the new cd. He'll be doing a few shows with Duke Robillard & may be doing an online conference in a few weeks. Cat ========================================================================= Date: Wed, 17 Jan 1996 15:51:47 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Sing Out!: Lomax, McGhee, Finns I almost forgot: The November/December'95/January'96 issue of SING OUT! magazine features a nice story by Michael Parrish on "Alan Lomax: Documenting Folk Music of the World" (pp. 30-35), Cathy Signorelli's "Yesterday is Today & Today is Tomorrow: Brownie McGhee's Blues Philosophy" (pp. 40-45), and obits of Canray Fontenot, Floyd McDaniel, and Rory Gallagher. Our Finnish friends on the list may be interested in coverage of the Kaustinen Folk Festival of last July. (Hey Juuri -- Kuka lammittaa saunan?) Enjoy! Dave Prychitko (not affiliated with nuttin', and the folks that I am affiliated with [WNYO and occassionally Blues Connection] don't pay me a dime. I'm just thinking globally, and bluesifying locally, and trying to preserve quality.) ========================================================================= Date: Wed, 17 Jan 1996 15:50:46 -0500 Reply-To: Meadors From: Meadors Subject: Re: John Hammond/Jimi Hendrix/Duane ALlman/Robbie Robertson Comments: To: roger.lew.struve@MEDTRONIC.COM My take on John Hammond is that he is a superb enterpreter of other people's songs, rather than being a creater or songwriter of note. Mike Meadors Orange2@gnn.com ========================================================================= Date: Wed, 17 Jan 1996 15:55:07 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: B.B. King Tour Dates Someone asked about B.B. King tour dates. His current intinerary is always available at - http://www.mca.com/mca_records/roadie.html#king P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 17 Jan 1996 14:48:45 CST Reply-To: ISTS024@UABDPO.BITNET From: Leonard Watkins Subject: Koko's League Someone (David P.) asked who I thought was in Koko's league (as in female entertainers)....I have a hard time thinking of many who are in her league, but as far as entertaining: Etta James & Ruth Brown quickly come to mind. I was totally blown away by Ruth Brown and although Etta's vulgarity was a little too much for my tastes, she is still a heckuva an entertainer. I haven't been around like some of you, plus I live in Alabama :-), so keep my limited experience in mind..It's just my taste. I did not mean to come off as trashing any of the other nominees, epsecially Tracey Nelson, since I have no idea who she is.(I recall hearing her name, but didn't think she was blues) Please fell free to POLITELY educate me about Tracey Nelson, she may be someone I should be listening to. Thanks and sorry if sounded like I was derogatory toward the "others", I just happed to think that CURRENTLY Koko Taylor is The undusputed (living) Queen Of The Blues. Thats just my opinion and carries about as much weight as a matchstick.... LW ' I also think Rory Block is a heckuva entertainer' ========================================================================= Date: Wed, 17 Jan 1996 16:06:15 -0500 Reply-To: Meadors From: Meadors Subject: Re: Shrinking list of blues venues Comments: To: pwfenton@GATE.NET As an older musician compared to some, I must say that I think that live bands IN GENERAL are less in demand these days. This reminds me of the old disco days mentality: Why hire a band for a few hundred when you can get a damn CD jukebox for nothing (you even make money)! Who's responsible? The audiences aren't there anymore like they used to be (unless you're a big name act). The excitement surrounding bands playing out live is diminished at times to background music for dart shooting. Maybe people have seen too many bad bands, or too many bands in general. In any case, not too many people are excited about too much these days. So, it only makes sense that bands will play for next to nothing because to most audience members (face it), they're very disposable. It's a sad situation. Mike Meadors Orange2@gnn.com ========================================================================= Date: Wed, 17 Jan 1996 16:07:11 -0500 Reply-To: Meadors From: Meadors Subject: Re: John Lee Hooker's marital status Comments: To: ROSEBUDUS@AOL.COM John Lee is married to the blues. Mike Meadors Orange2@gnn.com ========================================================================= Date: Wed, 17 Jan 1996 16:15:35 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Florida interest only Comments: To: curtis@magicnet.net Every Blues fan within a reasonable driving distance of Tampa, Florida should know that on January 26th & 27th, Big Jack Johnson (The Oil Man), will be performing at The Blues Ship, 1910 E. 7th Ave. in the Ybor City area of Tampa. You can email me for anything else you might need to know. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 17 Jan 1996 14:31:38 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: ReRE Mem ....... >> I have yet to hear any of this CD, but the way people have been >>raving about it I am intrigued. My one "problem" is that they >>usually ALSO Amention Michael Hill's Blues Mob a CD I love to hate. >>How do they compare? > > There is no comparrison. I feel the same way that you do about >Michael Hill's Blues Mob and Mem Shannon is nothing like that. > > GAry .......... >Gary Constantine >> gconstan@ccinet.ab.ca << > > If hard work were such a wonderful thing, surely the rich > would have kept it for themselves. > > > Gary Constantine >> gconstan@ccinet.ab.ca << If hard work were such a wonderful thing, surely the rich would have kept it for themselves. ========================================================================= Date: Wed, 17 Jan 1996 16:30:16 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0165 From: "DUTTWEILER.J" Subject: Re: Blind Willie Johnson recomme Date: Wednesday, 17 January 1996 4:30pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: Blind Willie Johnson recomme In-Reply-To: The letter of Wednesday, 17 January 1996 3:46pm ET For those who still haven't heard this compilation, I highly add my endorsement (hey, for what it's worth :-) Blind Willie *will* send shivers down your spine, and I can listen to "If I Had My Way" over and over. I believe the liner notes indicate Blind Willie was playing this one the streets of a city (New Orleans, I believe, don't have it in front of me) in front of a public building (again, can't remember, may have been the Courthouse), and the police made him move because they thought he was singing about tearing *that* building down. One can only imagine how powerful he was in person with his recordings as powerful as they are. His slide playing is also exceptional and, for those who have guests who liketo stay longer then their welcome, his voice is sometimes guaranteed to send them home if they don't love their music *raw* and powerful Jon (if I had my way I'd tear this building down...) Duttweiler ========================================================================= Date: Wed, 17 Jan 1996 21:37:21 GMT Reply-To: mrouan From: mrouan Organization: Stanford University Subject: Robert Cray cd giveaway Comments: To: bit-listserv-blues-l@uunet.uu.net HEARNET is giving away Cray's latest "Some Rainy Morning" Check it out! http://www.hearnet.com ========================================================================= Date: Thu, 18 Jan 1996 00:59:45 GMT Reply-To: dresserd@DNS.NXI.COM From: Derek Dresser Organization: Agate Internet Services (AIS) Subject: Re: modern rural blues Comments: To: bit-listserv-blues-l@uunet.uu.net Dick Waterman wrote: >>>>does anyone here know of any modern blues >>>albums that are done in the >>>>20s/30s delta blues style similiar to Lightnin >>>Hopkins or Robert >>>>Johnson or Bukka White? I would prefer albums >>>that are just guitar >>>>and vocals or guitar and vocals done by the same >>>guy/girl. I really >>>>hope that this rural blues style is still being kept >>>alive. I have to recommend Paul Rishell. He has two disks out "Swear to tell the Truth" and "Blues on a holiday" on Tone Cool Records. Both are excellent. On each of them, there is a combination of some great Traditional/Delta style blues, and some band material. Definitely one of the best around these days. Derek ========================================================================= Date: Wed, 17 Jan 1996 13:47:01 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: Steamin' Stan / Martin Pugh Comments: To: Harp-L@garply.com, BassHarper@aol.com For those in attending this year's NAMM show in Anaheim, CA. Steamin' Stan and Martin Pugh will be at Lee Oskar's booth 5273 Thursday at 2pm, hoping to meet some fellow blues-lers and harp-lers. (Fri./Sat. night Mr. Lee's Club, Paso Robles, CA.) -- Stan Ruffo Productions steamin@valleynet.com 800 N. Ben Maddox Way http://www.valleynet.com/~steamin Suite 2200 209/625-6049 Visalia, CA 93292 ========================================================================= Date: Wed, 17 Jan 1996 16:20:48 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Syl Johnson booking Who does booking for Syl Johnson? name and phone please! Ranko ========================================================================= Date: Wed, 17 Jan 1996 17:31:49 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: Shrinking list of blues venues Comments: To: "David L. Prychitko" I agree, David. Standards are for software and quality-control people, not music! :) Ruth ______________________________ Reply Separator _________________________________ Subject: Re: Shrinking list of blues venues Author: "David L. Prychitko" at Internet Date: 1/17/96 10:37 AM On Wed, 17 Jan 1996, Sara C. Oxton wrote: > Too bad there is not some national Blues Musicians > Association that sets quality standards, > based not on how many porkpie hats and sharkskin > suits a band has but on their musical pedigree. > Early morning musings; thanks for reading. And thanks for posting. While I agree with Sara's lament that there is a groundswell in mediocrity in local/regional blues music, one that might crowd out the better bands, as an anarcho-blues-l'er I'd be suspicious of a National Association that carries with it coercive power to _enforce_ whatever "standards" its members decide to set. I tend to look at the growing mediocrity with the following metaphor (borrowed from Michael Polanyi to explain something completely different): suppose the core of good, solid blues music and performers (however defined) is like the inner contents of a sphere, and suppose the sphere's surface represents the mediocre, the wanna-be's, the clones, and so on. What we wish for is an expansion of the sphere -- and I think we are witnessing this. But a larger sphere also, inevitably, brings forth a larger surface area -- more mediocrity, and so on. I myself am willing to live with the latter, understanding that it flows from the expansion of the former. Southside Dave "letta thousand musicians bloom" Prychitko http://www.oswego.edu/~prychitk/Blues101.html for playlists and reviews ========================================================================= Date: Wed, 17 Jan 1996 18:03:30 -0500 Reply-To: ghost From: ghost Subject: Tracy Nelson; was Re: Koko's League >Date: Wed, 17 Jan 1996 14:48:45 CST >Sender: Blues Music List >From: Leonard Watkins >Subject: Koko`s League >limited experience in mind..It's just my taste. I did not mean to come off as >trashing any of the other nominees, epsecially Tracey Nelson, since I have no >idea who she is.(I recall hearing her name, but didn't think she was blues) >Please fell free to POLITELY educate me about Tracey Nelson, she may be someone >I should be listening to. If you're familiar with the song "Down So Low"...well, Tracy Nelson wrote it. And sings it like nobody else. And I love Ronstadt's version to pieces, too, but... (Nelson sings it down-so a little lower than Ronstadt, for one thing) Is this a blues song? Structurally, probably not, but its definitely in the right league. She sings a lot of straight blues, too. Still going strong after all these years. Her early records were "Tracy Nelson & Mother Earth", but don't let the hippie-dippie name fool you. ========================================================================= Date: Wed, 17 Jan 1996 18:10:16 -0500 Reply-To: Stephanie Manna From: Stephanie Manna Subject: Koko Taylors agent? Anyone know Koko's agent tel# or email address? Please send private.Thanks. ========================================================================= Date: Wed, 17 Jan 1996 15:46:56 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: BLIND WILLIE JOHNSON & THE VOYAGER SPACE CRAFTS Comments: To: BluesHvn@aol.com Since BLIND WILLIE JOHNSON name has come up again on BLUES-L, I'd like to send out a (edited) review I posted way back in December 1993. It also includes the complete list of tracks sent on the "Voyager", including Blind Willie Johnson! And just in case someone asks the question, this list of recordings sent out into space IS NOT AVAILABLE ON CD. SONY/LEGACY 52834 would go on and win a very prestigious award in France - THE GRAND PRIX DU DISQUE. RUN, DON'T WALK TO YOU'RE LOCAL CD STORE FOR THIS SET. SONY/LEGACY 52834 : BLIND WILLIE JOHNSON - THE COMPLETE. ============================================================================== BLIND WILLIE JOHNSON b. 1902 BRAZOS RIVER, TX d. 1949 BEAUMONT, TX On August 20th & September 5th, 1977, two extraordinary space probes called Voyager I & II were launched to the stars. Two because they wanted to make sure that the 'payload' would make it! It did, and even today, one at least is being used for UV observations. Why bring this up on the BLUES-L(over) network? Well, affixed to each Voyager is a gold-plated copper phonograph record (@16-2/3 r.p.m) as a message to possible extraterrestrials! Included on that record is almost 90 minutes of the world's greatest music (see list below). The criteria for inclusion were : (1) wide range of cultures, not just music familiar to the spacecraft launchers ; (2) it should touch both the heart and mind. The music was selected by novelist Ann Druyan, astronomers Timothy Ferris and Carl Sagan, and Linda Salzman. Imagine how shocked I was when I noticed BLIND WILLIE JOHNSON on the list of performers. His 'DARK WAS THE NIGHT' is included in the 90 minutes. Larry Cohn, of SONY/LEGACY's Roots 'n Blues series and editor of the book "Nothing but the Blues" (Abbeville Press, 1993), has now seen to it that not just extraterrestrials get a chance to hear 'DARK WAS THE NIGHT' but everyone gets to hear ALL of Blind Willie Johnson amazing body of work. All 30 of his recordings are included, with excellent notes by Sam B. Charters. Charters' involement with Blind Willie Johnson's music goes back to the late 40s, finally meeting up with Mrs. Angeline Johnson (that interview was released on Folkways), and finally how he found the only known photograph we have of Blind Willie Johnson. It makes for wonderful reading. In the book, 'Murmurs of Earth : The Voyager Interstellar Record' (Random House, 1978) Timothy Ferris writes, I quote, "DARK WAS THE NIGHT ... I feel is one of the most fundamentally moving pieces of music ever recorded.". And this from an astronomer! So, if you don't believe me, trust a friend of Carl Sagan :-). Blind Willie Johnson's important records include "Everybody ought treat a stranger right", "God don't never move", "God moves on the water", "It's nobody's fault but mine", "If I had my way", "Keep your Lamp trimmed & burning", "Mother's children have a hard time", "Rain don't fall on me", "Trouble will soon be over", "You'll need somebody on your bond". Voyager Record Music (in sequence) (from : MURMURS OF EARTH) ============================================================ 1. Bach, Brandenburg Concerto No. 2 in F, First Movement, recorded by : Munich Bach Orchestra, Karl Richter, conductor. 2. Java, court gamelan, "Kinds of Flowers", recorded by : Robert Brown. 3. Senegal, percussion, recorded by Charles Duvelle. 4. Zaire, Pygmy girls' initiation song, recorded by Colin Turnbull. 5. Australia, Aborigine songs, "Morning Star" and "Devil Bird", recorded by Sandra LeBrun Holmes. 6. Mexico, "El Cascabel," recorded by Lorenzo Barcelata & the Mariachi Mexico. 7. United States of America, "Johnny B. Goode", recorded by Chuck Berry. 8. New Guinea, men's house song, recorded by Robert MacLennan. 9. Japan, shakuhachi, "Cranes in Their Nest", recorded by Coro Yamaguchi. 10. Bach, "Gavotte en rondeaux" from the Partita No. 03 in E major recorded by Arthur Grumiaux. for Violin, 11. Mozart, The Magic Flute, "Queen of the Night aria, no. 14", recorded by Bavarian State Opera, Edda Moser - soprano. 12. Georgian S. S. R., chorus, "Tchakrulo" recorded by Radio Moscow. 13. Perc, panpipes and drum, recorded by Casa de la Cultura, Lima. 14. United States of America, "Melancholy Blues", recorded by Louis Armstrong & his Hot Seven. 15. Azerbaijan S. S. R., bagpipes, recorded by Radio Moscow. 16. Stravinsky, Rite of Spring, "Sacrificial Dance", recorded by Igor Stravinsky & the Columbia Symphony Orchestra. 17. Bach, The Well-Tempered Clavier, Book 2, "Prelude & Fugue in C, #1", recorded by Glenn Gould. 18. Beethoven, Fifth Symphony, "First Movement", recorded by Otto Klemperer & the Philharmonia Orchestra. 19. Bulgaria, "Izlel je Delyo Hagdutin", recorded by Valya Balkanska. 20. United States of America, Navajo Indians, "Night Chant", recorded by Willard Rhodes. 21. Holborne, Paueans, Galliards, Almains and Other Short Aeirs, "The Fairie Round", recorded by David Munrow & the Early Music Consort of London. 22. Solomon Islands, panpipes, recorded by the Solomon Islands Broadcasting Service. 23. Peru, wedding song, recorded by John Cohen. 24. China, ch'in, "Flowing Streams", recorded by Kuan P'ing-hu. 25. India, raga, "Jaat Kahan Ho", recorded by Surshri Kesar Bai Kerkar. 26. United States of America, "Dark Was the Night, Cold Was the Ground", recorded by Blind Willie Johnson. 27. Beethoven, String Quartet #13 in B flat, Opus 130, "Cavatina", recorded by the Budapest String Quartet. ========================================================================= Date: Wed, 17 Jan 1996 18:49:19 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Delbert McClinton - Help I'll be interviewing Delbert McClinton and hosting his appearance here in Hartford. I have a couple of his albums and know he's from Texas, and thats about it. Can someone offer info? Recent recordings/discography? What has he been up to? Any help is appreciated. Beef Stew WCCC Radio Hartford, CT *************************************************************************** hosting a Maube someone an help? ========================================================================= Date: Wed, 17 Jan 1996 18:56:07 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Mad Max Making Waves with Bluesellers What bluesellers are saying about Mad Max: "Mad Max is a monster! Check this guy out...it's well worth it." - Terry Odor (http://www.teleport.com/~tlo/) "Cool grooves, good songs, well chosen covers and, of course, great playing by Mad Max. I love it. Love to see them live with a beer in my hand (and a few already in the stomach)." -- Shaun Cronin "great tape...I get the impression that Max kinda likes Hendrix a wee bit" - Stan Ruffo (http://www.valleynet.com/~steamin) For those of you who have already requested a tape of Max, they're on their way. Anyone else who wants a tape of Max (Johnny Winter/Jimi Hendrix-type blues), please e-mail me your address. Max's web page is at http://intelus.com/dcblues/madmax.html, and we promise to have soundbytes soon. ========================================================================= Date: Wed, 17 Jan 1996 16:33:58 -0700 Reply-To: Sergeant Cyber From: Sergeant Cyber Subject: List: Laid-back & Instrumental Hi All, A while back I posted a request for some suggestions for laid-back and instrumental blues. I specifically mentioned that "Summertime" is one of my favorite songs. It's taken a while but I finally got around to compiling a list of the responses. I haven't had a chance to check out any of this stuff so the comments that are included are comments that came with some of the posts. Aug, Jeff: "The Last Enlightening Moment Before Sleep Prevails" Carlton, Larry: "Sleep Walk (has some of the sweetest, bluesy stuff I've ever heard) Collins, Albert: "Truckin' " Earl, Ronnie: "Still River" (it's about two years old and entirely instrumental) "Language of the Soul" "Blues Guitar Virtuoso" Fahey, John: No specific titles but the comment "just about anything". Holstrom, Rick "L.A.": "Lookout" Hooker, John Lee: "Chill Out" (not instrumental, but the most laid back blues you could possibly want) Hutto, J.B.: Keeper of the Flame (not being a blues connoisseur I'm not sure that this isn't a misprint and should maybe be spelled "Hutton", or not.) King, BB: "Spotlight on Lucille (a nice long CD with nothin' but fine guitar work in every style BB could muster) King, Freddy: "Let's Hideaway and Dance" "Just Pickin' " "Best Of" Levine, Duke: "Lookout" McNeeley, Big Jay: "Jaywalkin' " (there is a good sax version of "Summertime" by Big Jay McNeeley on a CD called "Jaywalkin' ". It was recorded live in Australia. If you like Honkin' sax this is a good 'un.) Monk, Thelonius: "Solo Monk" Slim, Lightnin': He had a very elemental slow-groovin' '50's electric sound and is often backed by excellent sax work. His music has been rather hard to find until the recently released "I'm Evil: Rare and Unissued Excello Masters". It's a great set. Thielemans, Toots: "Footprints" Yanni: "Yanni at the Acropolis" Following are some more comments that were received. Summertime is one of my all-time favorite songs, too. I know of a version by "Ten Years After" on their "Undead" LP (I think it's the second LP, released in the late sixties. It's instrumental, mainly guitar). Then there is the Janis Joplin/Big Brother and the Holding Company version on their second LP, "Cheap Trills". Everyone knows that the *best* instrumentals are by Kenny G! And let's not forget John Tesh. If you really want some good instrumetnal music, just ask MK Sheffield. I'm sure she could set you up. To which Mary Katherine replied: Absolutely! If you are looking for excellent instrumentals, Tesh is definitely the way to go...If you are looking for excellent instrumentals and not THROW UP, you might want to check out Frank Morgan, Mark Isham, or Mitch Watkins. Some of their stuff is jazz, but all three have Blues influences and all their stuff is great. (Mark Isham's "Blue Moon" is perhaps one of the best "Blue Moon" covers ever. I'm not sure what Sarge meant by "laid-back". That could imply anything from Eddie C. Campbell's "That's When I know" (which is also a good deal instrumental) to R.L. Burnside's "Too Bad Jim", to that Sonny Boy Williamson re-issue on Alligator (the one with Memphis Slim and Matt Murphy). Another good instrumental collection is "Wrinkles: Classic & Rare Chess Instrumentals" featuring people like Chuck Berry, Little Walter, Paul Gayten etc. Anything by Bill Doggett or Earl Bostic on the King label So there you have it. Hope this helps those of you who are interested in instrumental music. If anyone has more ideas for laid-back stuff that isn't on this list then please post. All suggestions are welcome. Sarge ========================================================================= Date: Wed, 17 Jan 1996 19:07:10 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: Robert Cray cd giveaway A recent post: >HEARNET is giving away Cray's latest "Some Rainy Morning" Check it out! > >http://www.hearnet.com I respond: Probably his worst album to date (IMHO) Agree/Disagree? Beef Stew WCCC Radio *********************************************************** ========================================================================= Date: Wed, 17 Jan 1996 19:25:08 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: BLIND WILLIE JOHNSON & THE VOYAGER SPACE CRAFTS Comments: To: Eric LeBlanc-CISTI In-Reply-To: <9601172346.AA09763@dao.nrc.ca> Just wanted to say thanks to all that replied to my Blind Willie Johnson query. Wow. Yours, Dave Prychitko ========================================================================= Date: Thu, 18 Jan 1996 11:34:44 +1100 Reply-To: Daniel Bruce From: Daniel Bruce Subject: Re: Robert Cray cd giveaway Comments: To: bfstew@NECA.COM In-Reply-To: <199601180007.TAA28428@orion.neca.com> from "Stew Crossen" at Jan 17, 96 07:07:10 pm > > A recent post: > > >HEARNET is giving away Cray's latest "Some Rainy Morning" Check it out! > > > >http://www.hearnet.com > > I respond: > > Probably his worst album to date (IMHO) > > Agree/Disagree? > > Beef Stew > WCCC Radio > *********************************************************** > Disagree very strongly. I have all of Robert Cray's work and although Idon't think this is his best album I believe it is very good and better than the mid-period albums e.g Don't be afraid of the dark, Midnight Stroll. -- Daniel Bruce | Genasys II Pty Ltd, Sydney, Australia | "Born under a bad sign, been down since I began to crawl | If it wasn't for Bad Luck, Wouldn't have no luck at all" | Albert King | Internet: danielb@g2syd.genasys.com.au ========================================================================= Date: Wed, 17 Jan 1996 20:10:33 -0500 Reply-To: SwtesTaboo From: SwtesTaboo Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Debbie Davies Comments: To: bit-listserv-blues-l@uunet.uu.net Again.. I can appreciate your opinion. Frankly, I have listened to a tremendous amount of Koko Talyor's music, and I honestly find her voice to be horrifying, rough and grunty. If Koko Taylor was the only "Queen" then I'm sure that category wouldn't exist, cause she'd be the only one to hold that title. I don't see why you think it is so "absurd" for Debbie Davies to be in the same category as her. Obviously, it is based on talent.. talent that Debbie has.. and has proven to have. Instead of making "absurd" comments, I think she should be congratulated. It's about time people learn and hear about musicians other than "the most popular ones"... and it's about time those people are being nominated.... ========================================================================= Date: Wed, 17 Jan 1996 20:21:42 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: BLIND WILLIE JOHNSON Comments: To: leblanc@dao.nrc.ca With all of the talk about Blind Willie Johnson, I'm amazed that no one has mentioned his influence on Ry Cooder. Especially since Ry has used "Dark is the Night, Cold is the Grave" over and over against as a source point for his recordings. If you listen to Ry's work on the soundtracks of "Performance," "The Long Riders," "Alamo Bay," "Paris, Texas' and others, that same strain is repeated continually. This is not meant to denigrate Ry Cooder - au contraire - he shows magnificent taste is choosing Blind Willie Johnson as a mentor. Among Johnson's other disciples were Rev. Gary Davis and Rev. Pearly Brown, both of whom can be heard on "Gospel at Newport," produced by Mary Katherine Aldin. Blind Willie wrote "Motherless Children" and among my other favorites are "Death Don't Show No Mercy in This Land," "You're Going to Need Somebody on Your Bond" and the melodic "The Rain Don't Fall on Me No More." One of the finest aspects of Blind Willie Johnson's recordings is the way that his gravelly voice is interlaced with that of his wife, singing lightly several octaves above him. No one can even begin to comprehend any appreciation of African-American music styles without including Blind Willie Johnson. Dick Waterman (You may now continue with Brad Pitts/SRV matters . . .) ========================================================================= Date: Thu, 18 Jan 1996 01:20:02 GMT Reply-To: emdrprac@DIRECT.CA From: emdrprac@DIRECT.CA Organization: Internet Direct Subject: Vancouver Blues Benefit Comments: To: bit-listserv-blues-l@uunet.uu.net There will be benefit gigs JANUARY 21 & 28th (Sundays) at Richards on Richards (1036 Richards in Vancouver, B.C.) TO BENEFIT ANDREUS SCHULD. Andreus is a fine local Blues/Roots guitarist whose home was burglarized and picked clean of belongings during the Christmas holidays. Proceeds will be to replace a large amount of musical gear stolen during the B&E. JANUARY 21: Various Roots & Country Artists JANUARY 28: Blues and R&B Artists. Doors at 7 p.m. Tickets: $10.00 each Call Richards (687-6794) for details on Line-ups. Support Vancouver's Blues Musicians!! ========================================================================= Date: Wed, 17 Jan 1996 20:36:13 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: John Hammond Cat Bauer says about John Hammond (among other things): >He'll be doing a few shows with Duke Robillard Robillard & Hammond are scheduled for March 1 at Buddy Guy's Legends in Chicago. Karen ========================================================================= Date: Wed, 17 Jan 1996 19:40:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: R.J. Mischo I would like to add my endorsement to Don O.'s recommendation of R.J. Mischo. I recently interviewed him on the air. He plays very much in a traditional Chicago blues harp style and so does his band. Little Walter is his idol and it shows! -Bonnie ========================================================================= Date: Wed, 17 Jan 1996 20:47:34 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: The Real King....uh..influence LW said: >Patton just 100% blew me away Those were my exact words, too, when I heard Patton for the first time! After seeing that famous picture of him, where he looks so young and innocent (a bit like my brother, actually), I was in no way prepared for that powerful voice! >Now where Patton got it, I have no idea....Just MHO I'm remember reading something about his father being a preacher....and Sam Chatmon being his stepbrother....???? Cousin, maybe? (Don't worry, I'll go look it up now ). Speaking of pictures, I don't believe I've ever seen any others of Patton, except for that portrait. Have you? Karen ========================================================================= Date: Wed, 17 Jan 1996 19:54:05 -0600 Reply-To: YOUNGJ0890@UNI.EDU From: Jeni Young Subject: WOMEN'S BLUES MUSIC Hi Blues-L members, I've been on the list for about three months and I have enjoyed the diverse queries and answers that you folks have submitted. I'm currently writing about women's blues and I'm getting ready to write an anthology of blues womens voices: a collection of blues women's interviews. I have had the honor of interviewing Saffire: The Uppity Blues Women, Carol Fran, Little Annie Raines, Mary Flower, Dorothy Moore, Rosalind Wilcox (a Davenport, Iowa blues woman) and E.C Scott and what I am trying to do now is to connect with some other blues women for further interviews so that this anthology will be a good representation of the GREAT BLUES WOMEN that we Americans are lucky enough to have here in the U.S. Is there anyone that could provide me with connections, to famous or not-yet famous blues women? I don't want to make a profit off this so if that is a concern there is no need to worry. I am doing this for two reasons. The first is because I love blues music and especially women's blues and I think that they just don't get to tell how they approach the blues or what it means to them nearly enough. Secondly, I am currenly working on my thesis which is going to incorporate the interviews that I already have, but this will only be part of the project. I am claiming that women's blues, is a powerful tool for social change. Through the blues, women like Ma Rainey, Bessie Smith, Ida Cox, changed the perceptions about African-Americans and they also helped to set a new image of women in the public's mind. An image that puts women not as wimps but as strong and independent human beings with the guts to keep living even when living wasn't easy. Now I know that many of you folks will say that this isn't something that only blues women did, and you would be partically right. But blues women were the first to be recorded (Mamie Smith) and they were the first to make the blues a popular musical medium for working folks. Their stories, told through song, open the world of women up to the public to see, feel, and hear the pain and the joy of living. What more can any art form do? As most of you may have guessed, I'm a women's blue fanatic. I don't know if it's because I'm a flustrated blues singer or what, but I do have a strong desire and I think the blues field needs more written about the women in the blues. Not from someone who "thinks that they know what the women were feeling or thought about the blues" but a book that tells it like it is in the words of the blues women themselves. This is my mission, crusade, call it what you will but it is a need that needs to be filled and I hope that someone on this list can help out this old blues woman writer. In addition, if there is anyone out there who has any interesting comments about the social value of the blues, philosophical views, or just a fun info about the history of women's blues or their own blues crusade, please write. You can write me personally or on the list. My email address is YOUNGJ0890@UNI.EDU If anyone has some information that they would rather send through the regular snail mail they can send it to my work address: University of Northern Iowa Jeni Young Women's Studies Graduate Office Baker 170 Cedar Falls, Iowa 50614-0509 Thanks for your help both now and in the future. Jeni ========================================================================= Date: Wed, 17 Jan 1996 21:02:15 EST Reply-To: TRADITION@RYKO-MA.CCMAIL.COMPUSERVE.COM From: David Greenberg Subject: Re: Mem Shannon - A Cab Driver's Blues Comments: To: pwfenton@gate.net >So I browsed. I wound up swapping my certificate >for Mem Shannon's - "A Cab Driver's Blues". I just finished >listening to side one (I just said that.... there is only one side) and >boy did I have a good time. I love every inch of it. >P.W. Fenton >Tampa, Florida thanks PW. Mem's album is out on Hannibal, a "sister" label here at Rykodisc. the pre-order on this was very scarce and so copies may be few and far between. if you can't find one, have your store order it up through their one-stop or REP, if they are serviced by REP (our distributor). Or if they are really without a clue, give a call to Mike Yager at EARFUL our 800 mail order (Continental U.S. only) 1-800-2EARFUL. We have it for Europe too, but that is a complicated set of distributors. Get your store to order it from their Hannibal/Rykodisc distributor. ========================================================================= Date: Wed, 17 Jan 1996 21:04:05 EST Reply-To: TRADITION@RYKO-MA.CCMAIL.COMPUSERVE.COM From: David Greenberg Subject: Re[2]: Sonny Terry Comments: To: Orange2@gnn.com >I'm curious to what others (esp. harp players) think aout Sonny > and whether >or not he got the credit.... > >"LostJohn"...harp players should get a copy if they can find it ... TRADITION will be rereleasing this on a Woody Guthrie album in the near to far ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ David Greenberg tradition@rykodisc.com tradition/Rykodisc Shetland Park 27 Congress St. Salem MA 01915 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ future. ========================================================================= Date: Wed, 17 Jan 1996 21:12:25 EST Reply-To: TRADITION@RYKO-MA.CCMAIL.COMPUSERVE.COM From: David Greenberg Subject: tradition releases Comments: To: 78-l@cornell.edu any one who wants a line listing of the the first batch of releases from the newly revived TRADITION label e-mail me and i will send you out the catalog numbers and titles. your local purveyor of fine music may not have ordered them up yet. They will be released on Feb 6th. ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ David Greenberg tradition@rykodisc.com tradition/Rykodisc Shetland Park 27 Congress St. Salem MA 01915 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Wed, 17 Jan 1996 21:34:49 -0500 Reply-To: Michael Kaloyanides From: Michael Kaloyanides Subject: Re: B.B. King on (gack) Regis & Kathie Lee Comments: To: edward c liu In-Reply-To: <199601171630.AA07268@bulkrate.cc.bellcore.com> I too (gulp) sat through R & KL to see BB. And in my bathrobe no less. I'm glad to hear that Ed felt as goofy as I did doing it. How's that for a start to my sabbatical? Well it was worth it. Michael G. Kaloyanides ========================================================================= Date: Thu, 18 Jan 1996 02:44:16 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: John Primer Comments: To: bit-listserv-blues-l@uunet.uu.net >On Wed, 17 Jan 1996, Mark Gobeyn wrote: >> Can anyone provide a quick review of John Primer's '92 Earwig album >> "Stuff You Get to Watch?" Primer's "Stuff You Got To Watch" is a fine album. I also have "Poor Man Blues" on Wolf (120.852) which I enjoy even more. I see he also has one out on Code Blue which I have yet to find in the store, but you can bet I'll snap that one up when I find it. > on how good he is - on the Valerie Wellington CD Million Dollar Secret (Rooster) he is the lead guitar on Cold, Cold Feeling and he is blistering. Now here's one that after month's of recommendations by Barry, I finally got around to buying. Valerie had an excellent blues voice with outstanding backing by Magic Slim's band including John Primer. It's too bad it will probably be the only title released by Wellington....now THAT gives me the blues! Art Schuna ========================================================================= Date: Wed, 17 Jan 1996 21:57:42 -0500 Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: The Real King....uh..influence Comments: To: bit-listserv-blues-l@uunet.uu.net In article <960117203601_63500412@emout05.mail.aol.com> Karen Hanson writes: >I'm remember reading something about his father being a preacher....and Sam >Chatmon being his stepbrother....???? Cousin, maybe? (Don't worry, I'll go >look it up now ). I don't think it's known for sure who Patton's father was. One of the theories is that he might be Sam Chatmon's father Henderson Chatmon, but I don't think there is much evidence for that except that Mr. Chatmon "got around a lot" ;-) >Speaking of pictures, I don't believe I've ever seen any others of Patton,> except for that portrait. Have you? The biography on Patton by Calt & Wardlow has two photos of him - the more familiar one that was taken in the 1920s for Paramount promotional purposes and one in from 1908 - which was apparently heavily retouched. Art Schuna ========================================================================= Date: Thu, 18 Jan 1996 06:15:36 GMT Reply-To: dresserd@DNS.NXI.COM From: Derek Dresser Organization: Agate Internet Services (AIS) Subject: Delta Style/Country Blues - Paul Rishell Comments: To: bit-listserv-blues-l@uunet.uu.net For anyone interested in Delta/Country blues, Paul Rishell is the real thing. He's been on the road playing this stuff for 30 years. I am a student of Pauls, and I can't recommend him highly enough as a player, a performer, a teacher and a person. He has two cd's out on Tone Cool Records, and is coming out with a third very soon. 1. Blues on a Holiday 2. Swear to Tell the Truth I just put together a web site about Paul and Annie Raines, his touring partner and friend. Annie plays a mean harp. The web site is: http://www.nxi.com/WWW/rishell/homepage.html Tell me what you think. Derek ========================================================================= Date: Wed, 17 Jan 1996 19:59:11 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: BLIND WILLIE JOHNSON Dick Waterman mentioned Blind Willie Johnson's: "Dark is the Night, Cold is the Grave" Now, this is obviously not a matter of great import, but I had heard and read of this song being called `Dark was the Night, Cold Was the Ground', or simply `Dark Was the Night'. What is the actual title, just out of curiosity? He added: >Blind Willie wrote "Motherless Children" and among my other favorites are >"Death Don't Show No Mercy in This Land," "You're Going to Need Somebody on >Your Bond" and the melodic "The Rain Don't Fall on Me No More." >One of the finest aspects of Blind Willie Johnson's recordings is the way >that his gravelly voice is interlaced with that of his wife, singing lightly >several octaves above him. No one can even begin to comprehend any appreciation of African-American music styles without including Blind Willie Johnson. I only have about seven Blind Willie Johnson songs in my collection, and even at that I must agree. The songs he wrote have lasted for decades, and are some of the deepest, most incredible pieces of deep gospel/blues that I've heard. I love the way he switches between his regular, smooth voice, to a rumbling growl in the middle of some songs (like Let Your Light Shine On Me) - it's incredible music, to say the least. Also, for such early recordings, the sound is surprisingly good. If you want a taste of Blind Willie Johnson's music, my recommendation is to pick up the double cd set The Gospel Sound (Columbia, 1994), which will also give you a taste of some other excellent gospel performers like Mahalia Jackson and the Abyssinian Baptist Choir. -Jim (hndful@uniserve.com) ========================================================================= Date: Wed, 17 Jan 1996 23:05:06 -0500 Reply-To: Meadors From: Meadors Subject: Re: Debbie Davies Comments: To: swtestaboo@AOL.COM I love Deb but she needs more seasoning before she can be a true "Queen" ... however, how 'bout Etta James? Mike Meadors Orange2@gnn.com ========================================================================= Date: Wed, 17 Jan 1996 23:19:00 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Johnny Shines recommendations .... Comments: To: bit-listserv-blues-l@uunet.uu.net In article , James Leftwich writes: >What's the general consenus on the Johnny Shines/Snooky Pryor >collaboration (?Back to the Country?)? > > I have to say that I found this CD very embarrassing. I'm near the top of the list of Shines' fans, and I grab anything with his name on it. But this was recorded long after his stroke and very near his death. He had lost the ability to play the guitar, and his wonderful voice was finally faltering. For people who want to get to know Johnny Shines, this is definitely NOT the way to start. Denise ========================================================================= Date: Thu, 18 Jan 1996 00:11:06 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Re: THE REV. ROBERT WILKINS biography Comments: To: bit-listserv-blues-l@uunet.uu.net In article <9601161945.AA29829@dao.nrc.ca>, Eric LeBlanc-CISTI writes: >Mary Katherine Aldin emailed me with details about the 1995 paperback "TO >PROFIT A MAN : BASED UPON THE LIFE AND TIMES OF ROBERT TIMOTHY WILKINS SR." >written by Lane Wilkins (his granddaughter). It is available for $7.95 from >Museum Publishing, 97 S. Second, Memphis, TN 38103. The Delta Blues Museum >in Clarksdale is also selling copies. If anyone on BLUES-L has a copy, would >they please post a review. > > The Rev. Robert ("Timmy") Wilkins promised his granddaughter, Mary Lane Wilkins, that he would live to be 100. He nearly did. Lane promised to keep his memory alive, and she has done so in this delightful and moving biography. Not only does Lane acquaint the reader with her remarkable grandfather and a few of his friends, including Furry Lewis and Memphis Minnie, she also conveys valuable insights into life in the South, in general, and Memphis, in particular, for Black Americans--from slavery and reconstruction to the early 1960's. Every page is filled with love and sincerity and the determination to achieve. Ms. Wilkins inherited an ample supply of these qualities, which is evident from the fact that she published the book on her own at a copy service and followed it up with another equally interesting biography of Gus Cannon, "Walk Right In." The last time I spoke with the author, she was working on a similar treatment of Memphis Minnie, although she promised to focus on the artist's early life in the carnivals and medicine shows, because her overriding objective is to present facets of the African American experience which have never been given the exposure and understanding they merit. The only shortcoming to her works, thusfar, is the absence of a good editor to catch common misspellings and grammatical errors, but this in no way detracts from the pleasure of reading. I recommend the writer and her works enthusiastically. Denise ========================================================================= Date: Tue, 16 Jan 1996 21:45:45 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Mad Max Making Waves with Bluesellers Ruth wrote: > What bluesellers are saying about Mad Max: (includes several comments of the priveliged who have heard Mad Max's tape including yours truly) If anyone else wants me too say good things about their tapes I will. Please send me a tape along with a cash and/or beer 'donation' and I will review your tape and if the 'donation' is right I'll even let you write the comment and allow you to add my name to it. If anyone sends me Bud they will get the review they deserve (after I drink it). BTW, Ruth didn't send me anything (other than the tape) and my comments are an honest opinion of the tape. I did it because she was cool enough to send me a tape. However, I need to make a living (and drink beer) so I am forced to put a fee on my services. E-mail me for my address, shoe-size, preffered brands of beer and favourite bank-note denominations. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Tue, 16 Jan 1996 21:45:52 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: BLIND WILLIE JOHNSON Dick Waterman wrote: >With all of the talk about Blind Willie Johnson, I'm amazed that no one has >mentioned his influence on Ry Cooder. Especially since Ry has used "Dark is >the Night, Cold is the Grave" over and over against as a source point for his >recordings. The thought also crossed my mind (and kept on going out the other side). Honest. I'm not saying this because I want to be a clone. >No one can even begin to comprehend any appreciation of African-American >music styles without including Blind Willie Johnson. I also like "Gods Walks on the Water" (?) but "Dark Was the Night.." sent chills down my spine the first time I heard and still does now. IMHO, it is one of the greatest pieces in American music history. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 18 Jan 1996 05:36:14 GMT Reply-To: Jack Oudiz From: Jack Oudiz Subject: Re: John Primer Comments: To: bit-listserv-blues-l@uunet.uu.net Barry Silverberg wrote: It's not much of a secret that Primer is one of the finest young guitarists around. The album you mentioned is highly worthy of your consideration. ========================================================================= Date: Thu, 18 Jan 1996 05:37:24 GMT Reply-To: Jack Oudiz From: Jack Oudiz Subject: Re: Steamin' Stan / Martin Pugh Comments: To: bit-listserv-blues-l@uunet.uu.net Wish I could ole bud. Have a great time. ========================================================================= Date: Thu, 18 Jan 1996 00:23:26 -0600 Reply-To: Craig Edmundson From: Craig Edmundson Subject: Re: Q: WHO SINGS THIS SONG? Help, please. Comments: To: Richard Shurman At 09:56 AM 1/17/96 -0600, Richard Shurman wrote: >I'm pretty sure "Here's Your Mop" was by Buddy & Ella Johnson, on >Decca(?) in the '40s(?). > > ----------------------------------------------- Craig L. Edmundson cedmunds@netserv.unmc.edu cedmundson@nfinity.nfinity.com ========================================================================= Date: Thu, 18 Jan 1996 00:23:29 -0600 Reply-To: Craig Edmundson From: Craig Edmundson Subject: Re: Essential Top 10 Electric Blues - 1950-59 Comments: To: Ian Sumpter At 08:55 AM 1/17/96 EST, Ian Sumpter wrote: > The following is a personal project to compile the top essential "must > have" electric blues (non-accoustic guitar) list the period from 1950 - > 1995. > > FOR THIS WEEK ONLY, JANUARY 15 - 19, I WOULD LIKE TO CANVAS YA'LL FOR > YOUR TOP, ESSENTIAL, "MUST HAVE" 5 ELECTRIC BLUES RELEASES (ALBUMS, > CDs, CASSETTES) FOR THE PERIOD 1950 TO 1959 ONLY, I repeat, the '50s > only. > > Your essential choices for the period spanning 1960 - 1995 will be > requested in the upcoming weeks. > > After collecting the responses I will identify the top ten per decade > based on the total of votes per release received. When the last > period, 1990-95, is completed I will send out the results. > > Four clarifications: > 1) It is the year of recording that will decide which decade your choice > may fall under, not the year of issue. > 2) Re compilations: if a recording has cuts that span two decades, for > example, 1959 to 1965, please choice the decade with the majority of cuts. > 3) By electric, I mean amplified music. > 4) You are asked to restrict yourself to five choices only. > > Please forward your response to my personal mailing address. Thank-you I > appreciate your support. > Good day, eh! > > ----------------------------------------------- Craig L. Edmundson cedmunds@netserv.unmc.edu cedmundson@nfinity.nfinity.com ========================================================================= Date: Thu, 18 Jan 1996 01:27:17 -0500 Reply-To: "jose.eric.s.maglanque" From: "jose.eric.s.maglanque" Subject: on-line CD stores and Tower Does anybody know if any of the online CD stores (CDNow, CD Connection, what have you...) transact through e-mail also. BTW, does Tower Records have mail order services also? Will appreciate e-mail or snailmail addresses. Thanks y'all. ========================================================================= Date: Thu, 18 Jan 1996 01:34:05 -0500 Reply-To: "jose.eric.s.maglanque" From: "jose.eric.s.maglanque" Subject: Larry Johnson as Howlin Wolf; was Re: SRV - Not Brad Pitt > If they make a movie about Howlin' Wolf, he MUST be played by Charlotte > Hornets player Larry Johnson. Those two HAVE to be related. I laughed when I saw this one -- amazing huh?!. Wonder which ballplayers also have resemblances with other revered blues artists? Discount Charles Oakley cause he's playing Shaft -- limited blues content :-) ========================================================================= Date: Thu, 18 Jan 1996 02:02:03 -0500 Reply-To: "jose.eric.s.maglanque" From: "jose.eric.s.maglanque" Subject: Blues with feeling: How about Santana? I've been watching this thread from the sidelines. But after having thought which (first) records got me started and hooked on blues (Guitar Boogie, Five Live Yardbirds, Abraxas), I wondered how you guys feel about dear old Devadip Carlos. Sure he's too fast sometimes but, man, does he give me the chills. Personally, I don't like running up the fingerboard (can't do it, anyway), but Carlos scares me -- I get the feeling there's more to "Soul Sacrifice" than just being the title of a song. He can make a bad man dance and weep like a willow tree -- all at once. For sheer drama, intensity, and emotion, he's right up there with House, James (Skip), Shines, and Johnson (no, not Bob, I meant Blind Willie), IMHO. Do you think he's blues? Does he convey the "feeling"? Pray tell which "non-blues" artists have IT also? Are they blues then? What then is blues? Aaaaarrrgghhh!!! ========================================================================= Date: Thu, 18 Jan 1996 02:04:49 -0500 Reply-To: "jose.eric.s.maglanque" From: "jose.eric.s.maglanque" Subject: Re: Blues with feeling: What does it take, philisophically? I've seen two important points made in this thread, viz. about acting and spontaneity. I agree. But these seem to me fall beyond the musical aspects of blues per se. I am positive that the best blues performances have an element of "setting up" the audience/listeners for the BIG ONE, the climax, as it were. I can't put my finger on it now but I'm sure it's out there. My band played with a host of other "blues" bands the other night but a lot of guys approached me to tell me that we were the only band to capture the "moment," the "authentic feeling" (their words, not mine). As a performer, I caught his drift and was very pleased. This, after all, is what we live for, what it's all about, isn't it. But if you're not, what the hell is he talking abo ut? At what moment does the "moment" happen? ========================================================================= Date: Thu, 18 Jan 1996 02:20:52 -0500 Reply-To: Meadors From: Meadors Subject: Re: Blues with feeling: How about Santana? Comments: To: jose.eric.s.maglanque@AC.COM If you include every guitar player who plays with "feeling" in the category of "blues", then of course Santana is blues. But in that case, so are the dudes from Megadeth. Got to draw the line somewhere, though. Let's draw it with Santana on one side and the blues on the other. Listen to me now, believe me later. Mike Meadors Orange2@gnn.com ========================================================================= Date: Thu, 18 Jan 1996 02:22:03 -0500 Reply-To: Bluesagent From: Bluesagent Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Snooks Eaglin: More info?? Comments: To: bit-listserv-blues-l@uunet.uu.net I too, have enjoyed Snooks' 1995 release "Soul's Edge". I play it about 3 times a week-at least. Another one I have is "That's All Right" on Bluesville. Mostly stuff from the 60's. Very nice. Play that one alot, too. I've never seen Snooks live, but I hope I get the chance! ========================================================================= Date: Thu, 18 Jan 1996 02:30:43 -0500 Reply-To: Meadors From: Meadors Subject: Fwd: Blues drummers >Just a thought: Butt, it occurs to me more and more (the more I >watch and play) that the forgotten element in the blues is the >drummer. I'm not a drummer but as a guitarist/harp player I > really think that having a great blues drummer (not rock drummer) makes or breaks any blues band. > >I'm a BIG FAN of great blues drumming and I wish people would pay >more attention to the rhythm section and less to the leads. >Underneath it all is this great pulse that propels every damn > thing ... I think if you have a great blues drummer he can make a >mediocre band happen, but not visa versa. Great blues drumming is amazingly difficult to do right; yet, drummers and other musicians alike often think its routine if not downright easy. > >Any thoughts? > >Mike Meadors >Orange2@gnn.com Mike Meadors Orange2@gnn.com ========================================================================= Date: Thu, 18 Jan 1996 02:49:33 -0500 Reply-To: Bluesagent From: Bluesagent Organization: America Online, Inc. (1-800-827-6364) Subject: Re: All The Handy Nominations (long) Comments: To: bit-listserv-blues-l@uunet.uu.net In another place and time Jack Oudiz wrote: >After going over PW's listing of all of the Handy nominations... >>What this says about the blues, I'm not sure... >Nothing of any import. The sad fact is that the Handy's may be a nice >PR gig for the blues as they were intended, but they are as irrelevant >as the Grammies when it comes to acknowledging what's really happening >in the music. And BBBean replied: >Hmm... What an embarrasment - One organization annually polls critics >and fans >and give blues artists the only real recognition they get outside of a >mention >(off camera, of course) at the Grammys. It's my understanding that the only folks allowed to vote for the Handy Awards are members of the Blues Foundation -that pay an annual membership fee for this priviledge. I think at one time the ballots were printed in Living Blues or Blues Access....I don't recall. Why did they stop doing that??? BBBean continued: > I'd argue the Handys are as >valid a >representation of "what's happening" in the music as any other measure >available. And I'd argue that they are a nice gesture, but by no means are they representative of what's happening on the streets. The Handy's are awarded to whoever the members of the Blues Foundation likes the best. It would be nice if the Handy's benefited blues artists that are nominated the way that other music artists benefit from the Grammys...i.e... increased exposure, huge increases in record sales and higher prices paid for live performances. In a perfect world, the Handy's would trigger a series of events such as this. But I haven't seen it happen yet. With the voting procedure limited only to members of the Foundation (how many are there anyway?), the Handy's will continue to be a nice token of appreciation from the members of the Blues Foundation, but not an award that's taken very seriously by anyone but the winners and the people that voted for them. Now, my real beef with this year's Handy's. I think that Albert Collins' "92-93" and Coco Montoya's "Mind to Travel" should have been in the reissue category. While they are indeed great recordings, they are not *new* blues albums. ========================================================================= Date: Thu, 18 Jan 1996 02:53:46 -0500 Reply-To: Bluesagent From: Bluesagent Organization: America Online, Inc. (1-800-827-6364) Subject: Re: First Annual Blues-L Convention Comments: To: bit-listserv-blues-l@uunet.uu.net I wanna go, too!!! Wherever we decide. My first choice is Memphis. Needs no explanation. Chicago would be fine, Kansas City would work. St. Louis.....well... I have a great travel agent and will volunteer his services (hehe) and mine to help coordinate this thing. So who's counting the votes on the destination city???? ========================================================================= Date: Thu, 18 Jan 1996 03:21:00 IST Reply-To: topcat@COMPUTEK.NET From: "" Subject: Re: No more Blues in SA Comments: To: Jeff Seale In Fact, there IS no more Billy Blues chain. We took over the Dallas location (thanks for letting us know that they were selling out the San Antonio location several months ago, which gave us the idea to take over the dying Dallas location) and the others (except San Antonio and Houston) have been shut down. The Houston location is the toy of the CEO of the big NASDAQ traded Watermark holding company. We are changing the name of the Dallas location to The Texas Blues Cafe. We're going to run it right. It is primarily a restaurant. BBQ and other home cooked stuff for lunch and dinner as well as a late-night menu on weekends. Bands will be featured on Thursdays Fridays and Saturdays. Ms Lisa Dupree's Monday night Jam will switch from the Greenville Bar and Grill to The Texas Blues Cafe in 2 weeks. So we'll have Blues, Brews and BBQ. Come on by whenever you're in town. Richard Chalk TopCat Records Return-Path: Date: Wed, 17 Jan 1996 09:15:57 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: No more Blues in SA To: Multiple recipients of list BLUES-L Well, quality blues anyway. I was informed that the guy in charge of booking at Billy Blues in San Antonio is no longer there. This was the guy who brought Texas Johnny Brown, Joe Hughes, WC Clark, and the good bands from DFW here. The guy who is now bringing in the bands doesn't want to pay and is going to likely concentrate on the local bands, which mostly suck IMHO. Looks like all the future S. Texas Blues-L get togethers will move to Austin. -Jeff (a curse on your business - Billy Blues SA) Note: Billy Blues SA is no longer a part of the Billy Blues chain. ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely <---- End Included Message ----> ========================================================================= Date: Thu, 18 Jan 1996 03:27:00 IST Reply-To: topcat@COMPUTEK.NET From: "" Subject: Re: WOMEN'S BLUES MUSIC Comments: To: YOUNGJ0890@UNI.EDU We're producing a group called the Texas Blueswomen, which consists of 3 locally known blues singers backed up by a top rhythm section. They are unknown outside Dallas, but they can really wail. And their stage acts are great. I'll be glad to put you in touch with them anytime. The initial 3 (This will be a different group every year) are Lady Lotion, JavLyn and Chonita Turner. Please let me know what you would like to do. My Phone Number is (214) 484-4141. Thanks and best regards, Richard Chalk TopCat Records <---- Begin Included Message ----> Return-Path: Date: Wed, 17 Jan 1996 19:54:05 -0600 Reply-To: YOUNGJ0890@UNI.EDU From: Jeni Young Subject: WOMEN'S BLUES MUSIC To: Multiple recipients of list BLUES-L Hi Blues-L members, I've been on the list for about three months and I have enjoyed the diverse queries and answers that you folks have submitted. I'm currently writing about women's blues and I'm getting ready to write an anthology of blues womens voices: a collection of blues women's interviews. I have had the honor of interviewing Saffire: The Uppity Blues Women, Carol Fran, Little Annie Raines, Mary Flower, Dorothy Moore, Rosalind Wilcox (a Davenport, Iowa blues woman) and E.C Scott and what I am trying to do now is to connect with some other blues women for further interviews so that this anthology will be a good representation of the GREAT BLUES WOMEN that we Americans are lucky enough to have here in the U.S. Is there anyone that could provide me with connections, to famous or not-yet famous blues women? I don't want to make a profit off this so if that is a concern there is no need to worry. I am doing this for two reasons. The first is because I love blues music and especially women's blues and I think that they just don't get to tell how they approach the blues or what it means to them nearly enough. Secondly, I am currenly working on my thesis which is going to incorporate the interviews that I already have, but this will only be part of the project. I am claiming that women's blues, is a powerful tool for social change. Through the blues, women like Ma Rainey, Bessie Smith, Ida Cox, changed the perceptions about African-Americans and they also helped to set a new image of women in the public's mind. An image that puts women not as wimps but as strong and independent human beings with the guts to keep living even when living wasn't easy. Now I know that many of you folks will say that this isn't something that only blues women did, and you would be partically right. But blues women were the first to be recorded (Mamie Smith) and they were the first to make the blues a popular musical medium for working folks. Their stories, told through song, open the world of women up to the public to see, feel, and hear the pain and the joy of living. What more can any art form do? As most of you may have guessed, I'm a women's blue fanatic. I don't know if it's because I'm a flustrated blues singer or what, but I do have a strong desire and I think the blues field needs more written about the women in the blues. Not from someone who "thinks that they know what the women were feeling or thought about the blues" but a book that tells it like it is in the words of the blues women themselves. This is my mission, crusade, call it what you will but it is a need that needs to be filled and I hope that someone on this list can help out this old blues woman writer. In addition, if there is anyone out there who has any interesting comments about the social value of the blues, philosophical views, or just a fun info about the history of women's blues or their own blues crusade, please write. You can write me personally or on the list. My email address is YOUNGJ0890@UNI.EDU If anyone has some information that they would rather send through the regular snail mail they can send it to my work address: University of Northern Iowa Jeni Young Women's Studies Graduate Office Baker 170 Cedar Falls, Iowa 50614-0509 Thanks for your help both now and in the future. Jeni <---- End Included Message ----> ========================================================================= Date: Thu, 18 Jan 1996 08:16:45 GMT Reply-To: tdevit3@NEWS-S01.NY.US.IBM.NET From: tdevit3@NEWS-S01.NY.US.IBM.NET Subject: Re: John Primer Comments: To: bit-listserv-blues-l@uunet.uu.net IMO a little disappointing..material rather than playing...I believe he also has a Wolf album, and he has two tracks of his own on Magic Slim's Wolf Vol.3 Living Blues (Dec.) also Living Blues (Dec) mentions a Code Blue album coming (in a Warner/Atlantic ad)... suggest you listen to the Earwig and judge for yourself... I agree, he is a very good singer/guitarist and great support for Magic Slim. ========================================================================= Date: Wed, 17 Jan 1996 00:49:28 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Blues with feeling: What does it take, philisophically? on Thu, 18 Jan 1996 02:04:49, jose wrote > At what moment does the "moment" happen? It happens when it happens, Jose. Shaun (being very Zen-like tonight) Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 18 Jan 1996 09:11:32 +0000 Reply-To: rof From: rof Subject: Re: THE REV. ROBERT WILKINS biography Comments: To: DeniseTapp In-Reply-To: Your message of "Thu, 18 Jan 1996 00:11:06 EST." <4dkkpa$t4v@newsbf02.news.aol.com> In message <4dkkpa$t4v@newsbf02.news.aol.com>, DeniseTapp writes: > In article <9601161945.AA29829@dao.nrc.ca>, Eric LeBlanc-CISTI > writes: > > >Mary Katherine Aldin emailed me with details about the 1995 paperback "TO > >PROFIT A MAN : BASED UPON THE LIFE AND TIMES OF ROBERT TIMOTHY WILKINS > SR." > >written by Lane Wilkins (his granddaughter). It is available for $7.95 > from > >Museum Publishing, 97 S. Second, Memphis, TN 38103. The Delta Blues > Museum > >in Clarksdale is also selling copies. If anyone on BLUES-L has a copy, > would > >they please post a review. > > > > > The Rev. Robert ("Timmy") Wilkins promised his granddaughter, Mary Lane > Wilkins, that he would live to be 100. He nearly did. Lane promised to > keep his memory alive, and she has done so in this delightful and moving > biography. Not only does Lane acquaint the reader with her remarkable > grandfather and a few of his friends, including Furry Lewis and Memphis > Minnie, she also conveys valuable insights into life in the South, in > general, and Memphis, in particular, for Black Americans--from slavery and > reconstruction to the early 1960's. > > Every page is filled with love and sincerity and the determination to > achieve. > > Ms. Wilkins inherited an ample supply of these qualities, which is evident > from the fact that she published the book on her own at a copy service and > followed it up with another equally interesting biography of Gus Cannon, > "Walk Right In." The last time I spoke with the author, she was working > on a similar treatment of Memphis Minnie, although she promised to focus > on the artist's early life in the carnivals and medicine shows, because > her overriding objective is to present facets of the African American > experience which have never been given the exposure and understanding they > merit. > > The only shortcoming to her works, thusfar, is the absence of a good > editor to catch common misspellings and grammatical errors, but this in no > way detracts from the pleasure of reading. I recommend the writer and her > works enthusiastically. > > Denise The author has also written a book on Gus Cannon - "Walk Right In" which was published by Memphis Museum last year. ========================================================================= Date: Thu, 18 Jan 1996 04:42:52 -0500 Reply-To: Bluesagent From: Bluesagent Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Shrinking list of blues venues Comments: To: bit-listserv-blues-l@uunet.uu.net Wow, the first 5 messages ALL hit the nail on the head. As a booking agent with 5 national acts and 2 regional ones, I appreciate that someone else has noticed this dilemna! Here's my take: We've got 57 channels and counting, we've got cable radio, CD's, VCRs, and all the latest releases. The drinking laws are so strict that people are afraid to go to bars without an entourage. So why not stay home where it's safe and you've got everything you need right there at your fingertips? Most blues rooms are mixing up their formats in order to stay alive. It's hard to keep the smallest blues rooms *strictly* blues. Blues fans are just not getting out like they need to, in order to keep these places going. So sign off, get out and get down to your local blues club NOW before it's too late. This has been a public service announcement from a concerned blues fan. ========================================================================= Date: Thu, 18 Jan 1996 04:44:15 -0500 Reply-To: Bluesagent From: Bluesagent Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Living Blues Awards vs Handys Comments: To: bit-listserv-blues-l@uunet.uu.net BBBean writes: >FYI- While you may have problems with the categories, some yahoo in an >office in >Memphis didn't put them there. Well over 100 blues writers, DJs, >historians, > and recognized blues authorities go through a two stage nomination >process > before the final ballot goes out. Every name on that list is there and in >that >particular category because the nominators (again, recognized blues >authorities > from around the US) put it there >I've pulled my hair out in years past over some of the inane >categorizations > that made it to the final ballot, but in the end, the industry and the fans >select the winners. >A very real concern I have with regards to the LB awards is that they >may be > diluting the momentum the BF has built up over the past two decades to >get the > Handys into the national press. The Foundation has worked for years to >get the >awards show broadcast live, and to get better coverage in the national >non-blues press. If the critics from the NY TImes see that there's a BF >awards, >a LB awards, and maybe two or three other groups hop into the fray, >there's no >longer any one authoritative voice for the industry, and we all preach to >the >choir. Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Handy Nominations Comments: To: bluesagent@AOL.COM On 18 Jan 96, Bluesagent had this to say: > It's my understanding that the only folks allowed to vote for the Handy > Awards are members of the Blues Foundation -that pay an annual membership > fee for this priviledge. I think at one time the ballots were printed in > Living Blues or Blues Access....I don't recall. Why did they stop doing > that??? They didn't stop. Living Blues "stopped" when they decided to have their own awards. I believe that this year (and last) ballots went out to subscribers of Blues Review, in addition to Blues Foundation Members. > Now, my real beef with this year's Handy's. I think that Albert Collins' > "92-93" and Coco Montoya's "Mind to Travel" should have been in the > reissue category. While they are indeed great recordings, they are not > *new* blues albums. I don't know what the circumstances surrounding the Montoya album are, but the Albert Collins album is brand new. Nothing in it has ever been issued before, so it couldn't possibly be considered a reissue. P.W. Fenton Tampa, Florida Visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Thu, 18 Jan 1996 05:12:27 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Robert Cray/Tonight Show Comments: To: bit-listserv-blues-l@uunet.uu.net For anyone interested The Robert Cray Band will be on the Tonight Show, Wed. 1/17. ========================================================================= Date: Thu, 18 Jan 1996 05:17:38 -0500 Reply-To: BAJammin From: BAJammin Organization: America Online, Inc. (1-800-827-6364) Subject: Re: New CD Purchase Comments: To: bit-listserv-blues-l@uunet.uu.net In article , L W writes: >I got Bo Carter "Twist It Babe" for myself for christmas and I really enjoy >it. >I think his "risque" lyrics take away from his guitar playing One of my favorites on that CD is "The Law Gonna Step On You". I agree with you on both points above. But that's hokum. ========================================================================= Date: Thu, 18 Jan 1996 05:17:35 -0500 Reply-To: BAJammin From: BAJammin Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Tampa Red/Hokum/John Hammond Comments: To: bit-listserv-blues-l@uunet.uu.net In article , L W writes: >I like the hokum tunes a whole lot. I'm hokum dumb , so could someone >recommend >some of the best hokum available with good sound quality. One of the cuts on >the Tampa Red is so noisy I just can't listen to it... > > LW, I've been following your hokum thread and collecting any posts refering to hokum into a hokum folder. I seem to remember having answered your question above a while back but i can't find it perhaps it was an e-mail. Anyway at the risk of repeating myself some of my favorites are Big Bill Broonzy's Hokum Stomp and Stove Pipe Stomp. Also, on a new purchase of mine, Papa Charlie Jackson, Vol. 1 * 1924 to Feb. 1926 is Shake That Thing. The liner has this to say, "it was with `Shake That Thing' (Paramount, May 1925) that his career really took off. This light hearted dance tune was the forunner of the late twenties hokum craze, was widely covered, and is still in the blues today... is largely made up of traditional verses...". He was born in New Orleans, had a vaudeville style repertoire and his recordings predate Patton's by maybe as much as 4 - 5 years so Patton had to be aware of him though I don't note any real similarity of style as yet. He played one of those banjo/guitars the proper name of which has never been clearly stated. But to set the record straight as much as possible on that note: The instrument is obviosly a hybrid much like the mule is a cross between the horse and the donkey. Now if the horse was paternal the mule is a jack and if the donkey was paternal the mule is a jenny (goes according to gender of the horse) though a jack and a jenny are both are infertile and can't reproduce which is why the banjo/guitars are relatively scarce. Now if the instrument is a jenny (guitar maternal) its proper name is a six string banjo. If it is a jack (guitar paternal) then it should be called a fore skin guitar. The lineage can never traced however so the confusion remains.:-) Hokum RULES!!!!!!!!!!!!!!!!!!!!!!! Bill ========================================================================= Date: Thu, 18 Jan 1996 05:58:36 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Fwd: Blues drummers Comments: To: Orange2@GNN.COM On 18 Jan 96, Meadors had this to say: > >Just a thought: Butt, it occurs to me more and more (the more I > >watch and play) that the forgotten element in the blues is the > >drummer. I'm not a drummer but as a guitarist/harp player I > > really think that having a great blues drummer (not rock drummer) > makes or breaks any blues band. > > > >I'm a BIG FAN of great blues drumming and I wish people would pay > >more attention to the rhythm section and less to the leads. > >Underneath it all is this great pulse that propels every damn > > thing ... I think if you have a great blues drummer he can make a > >mediocre band happen, but not visa versa. Great blues drumming is > amazingly difficult to do right; yet, drummers and other musicians > alike often think its routine if not downright easy. > > > >Any thoughts? I thoroughly agree with this. I've played with some drummers who, while excellent in another type of music (jazz, rock, etc.), just can't quite nail the Blues. If my whole band were to up and quit one day, I'm confident I could eventually find other good players to replace them with except in the case of the drummer. I don't know where I'd even start to look for a drummer with his understanding of the Blues. (Please don't tell him this. He'll want more money.) P.W. Fenton Tampa, Florida Visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Thu, 18 Jan 1996 05:37:22 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Valerie Wellington, Million $ Secret Comments: To: Art Schuna In-Reply-To: On Thu, 18 Jan 1996, Art Schuna wrote: > Now here's one that after month's of recommendations by Barry, I > finally got around to buying. Valerie had an excellent blues voice > with outstanding backing by Magic Slim's band including John Primer. > It's too bad it will probably be the only title released by > Wellington....now THAT gives me the blues! Art - hope you get as much pleasure from that disc as I do. I believe she has another earlier CD out as well. I haven't heard it so cannot comment. I will spend the next months & years recommending this disc to everyone, it is a must have under penalty of death disc. Also (tongue in cheek) Johnny Littlejohn is not all that bad on slide, nor Sunnyland Slim who's relatively good on piano, the two bass players are ok Nick Holt and Aron Burton :). I have a little game I play. When I have people over I play one track from this disc and then go on to something else - invariably they say hey what the &%$#&(&% are you doing - put that back. Probably sold a disc or two for Rooster - and they deserve it (for this and most everything else they put out). NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 18 Jan 1996 11:47:21 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Fwd: Blues drummers >On 18 Jan 96, Meadors had this to say: > >> >Just a thought: Butt, it occurs to me more and more (the more I >> >watch and play) that the forgotten element in the blues is the >> >drummer. I'm not a drummer but as a guitarist/harp player I >> > really think that having a great blues drummer (not rock drummer) >> makes or breaks any blues band. >> > >> >I'm a BIG FAN of great blues drumming and I wish people would pay >> >more attention to the rhythm section and less to the leads. >> >Underneath it all is this great pulse that propels every damn >> > thing ... I think if you have a great blues drummer he can make a >> >mediocre band happen, but not visa versa. Great blues drumming is >> amazingly difficult to do right; yet, drummers and other musicians >> alike often think its routine if not downright easy. >> > >> >Any thoughts? > >I thoroughly agree with this. I've played with some drummers who, >while excellent in another type of music (jazz, rock, etc.), just >can't quite nail the Blues. If my whole band were to up and quit >one day, I'm confident I could eventually find other good players to >replace them with except in the case of the drummer. I don't know >where I'd even start to look for a drummer with his understanding of >the Blues. (Please don't tell him this. He'll want more money.) > I, too, just have to agree and maybe ad that good drummers in general seems to be in demand in all musical styles. If I look at my surroundings I can mention a lot of solid guitarists that have a hard time to find good drummers. so what the bluesscene in sweden need is more BLUESdrummers (But I have snatched the best and kept him for 8 years now...he, he) ... AND good singers. Bo ========================================================================= Date: Thu, 18 Jan 1996 06:10:58 -0500 Reply-To: "jose.eric.s.maglanque" From: "jose.eric.s.maglanque" Subject: Re: Blues with feeling: How about Santana? Comments: To: orange2 Sorry, Mike, I'm not too good with drawn lines (sp: pigeonholes/stereotypes) or in drawing them myself. In fact, I think that is the point of my post. The line is fuzzy and is drawn differently for different people. Some people feel it in EC, some people don't. While Blues-L can never stop arguing whether this and that artist is really blues, we can always enjoy and feel the best the music has to offer. If some other artist happens to give me the same feeling as traditionally recognized "blues" artists do, I'm not about to complain. However, I can't say that I've had that "feeling" with Megadeth as you have. Parenthetically, somebody just posted -- quite correctly, I think -- that Blind Willie Johnson is neither blues nor Delta but Texas gospel. Well, go figure. - Delta Slim Soul Dredgers Manila > If you include every guitar player who plays with "feeling" in the > category of "blues", then of course Santana is blues. But in that > case, so are the dudes from Megadeth. Got to draw the line > somewhere, though. Let's draw it with Santana on one side and the > blues on the other. Listen to me now, believe me later. ========================================================================= Date: Thu, 18 Jan 1996 12:52:56 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: R.J.Misho Just to second Don O and Bonnie's recommendation. R.J.Misho (both on records and live) is indeed really worth looking for, excellent harmonica player much influenced by Little Walter (without falling into patterns of cliches nevertheless) and the Chicago sound of the 50's . He is very regularly visiting our countries (Belgium, The Netherlands, Germany) since he released his first excellent album on Blue Moon (featurting the great Percy Strother on vocals and Kid Morgan on guiatr, recommended!). His second album "Gonna Rock Tonight" (or something like that) still on Blue Loon is very enjoyable too, much in the same vain as the first one: no blues-rock, just Chicago blues with an astonishing sound. He is moreover a very friendly guy! He will be touring again over here with his own band in macrh/april (a few dates in Belgium and much nore in The Netherlands, interested people can contact me) if I'm not wrong Detlev Hoegen from CROSSCUT records (germany) will publish a live album of him in the near future (recorded in live in Bremen). Jean-Pierre "young Man" Urbain P.S. Blue Loon is distributed in Europe by PARSIFAL and his Europeans tours are organised by Jan Mittendorp from CROSSRAODS BLUES AGENCY (one of the most serious guy I know) Tel +31-55-21 47 57 Fax +31-55 78 78 15 Not affilliated to any of the above companies/agencies. ========================================================================= Date: Thu, 18 Jan 1996 08:13:29 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: BLIND WILLIE JOHNSON In-Reply-To: <960117202011_63488008@emout04.mail.aol.com> from "Dick Waterman" at Jan 17, 96 08:21:42 pm > Blind Willie wrote "Motherless Children" and among my other favorites are > "Death Don't Show No Mercy in This Land," Did Blind Willie record this? It's not on the complete Columbia set... I have a couple recordings of Rev. Gary Davis doing this song, but I didn't know it was linked to Blind Willie... > "The Rain Don't Fall on Me No More." A wonderful song - interestingly, the title on the original recording ("The Rain Don't Fall On Me") is a mistake - Johnson is singing "the rain done fall on me" - he's singing about the "latter rain", a variant on the second blessing tenet of many southern Pentecostal churches. > One of the finest aspects of Blind Willie Johnson's recordings is the way > that his gravelly voice is interlaced with that of his wife, singing lightly > several octaves above him. The way he switch from his natural tenor to that gravelly false bass voice is incredible... According to the liner notes of the Columbia set, there's new evidence that the woman singing on many of his recordings wasn't his wife - there are at least two different women featured on his records, and probably neither of them are his wife Angeline. Apparently Mr. Johnson was a bit of a bigamist, as well, as it seems he had two different wives in two different cities. > No one can even begin to comprehend any appreciation of African-American > music styles without including Blind Willie Johnson. Agreed - when I first heard his music four or five years ago, I had never heard anything like it and considered him to be almost a musical anomaly - now I'm hearing Johnson's influence in the music of Gary Davis, Blind Willie McTell (who apparently knew Johnson), Sister O.M. Terrell, and others. -Rob ========================================================================= Date: Thu, 18 Jan 1996 07:15:20 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: NY CD Blues - need a few good ears. The pay is zero. The working conditions are your own. The fun level is high. The amount of reviews we want to put out has grown past the four of us, we could use anyone else who would like to join in. Email if interested. BTW this is the the same working conditions, fun level and pay we all get - so it really is a family affair. The real deal though is all NY CD Blues writers get to call me The Scooter :). NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 18 Jan 1996 08:18:05 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: BLIND WILLIE JOHNSON In-Reply-To: <96Jan17.195912pst.30749-2+920@haven.uniserve.com> from "Jim Witteveen" at Jan 17, 96 07:59:11 pm > Now, this is obviously not a matter of great import, but I had heard > and read of this song being called `Dark was the Night, Cold Was the > Ground', or simply `Dark Was the Night'. What is the actual title, > just out of curiosity? I've read (can't remember where, unfortunately) that the song was Johnson's reworking of an old southern hymn called "Dark Was The Night, Cold Was The Ground In Which Our Lord Was Buried" or something like that. The Columbia set lists the full title of Johnson's recording as "Dark Was The Night - Cold Was The Ground", but the "Bottles, Knives and Steel" compilation just calls it "Dark Was The Night." Further adding to the confusion, -Rob ========================================================================= Date: Thu, 18 Jan 1996 13:18:14 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Blues Women I unfortunately deleted the original mail (so I'd be glad to receive the E-mail address of the original poster) so I send this on the list. To the appropriate person: You should definitelydefinitly meet or contact DEITRA FARR (with Mississippi Heat) and CAROL FRAN. I've had the pleasure to meet both more than once over the recent years and to conduct lengthy interviews (if you read french I can send you copies of these...). These are GREAT ladies and superb singers, albeit in two totally different directions. Deitra Farr in particular has moreover really a lot of interesting things to say about this subject, about the role of women in the blues world. Actually she already wrote a few things on this subject which were published in the Italian blues mag IL BLUES or in Chicago Beau's OCB from a few years ago, don't remember very well, I have to check home. I don't have their addresses here but will send them soon to you if you contact me by private E-mail. Also, don't hesittate to contact Joel Slotnikoff for informations regarding BIG CLARA MacDANIEL (Check out his great BLUES WORLD page at <> with a profile of Big Clara and lots of other great things), a lady you HAVE to include in your work. Jean-Pierre "Young man" Urbain ========================================================================= Date: Thu, 18 Jan 1996 14:23:54 +0100 Reply-To: BIBGA@HHS.SE From: BIBGA@HHS.SE Subject: Janne Rosenqvist is dead --Boundary (ID Hbuo3/ygLMmj/i3JsfaZpw) Content-type: TEXT/PLAIN; CHARSET=US-ASCII I just received a phone call with the sad news that Swedish record collector Jan-Olof ("Janne") Rosenqvist, born 11 March 1947, was found dead in his home yesterday. He was a long-time diabetic who didn't always take his disease serious enough. He had previous been in coma on a few occasions and this is probably what happened - only this time there was no one around to help... Janne had been collecting records since his teens and had gathered a huge collection, specializing in blues, southern soul and "swamp pop" on 45s, while keeping his mind open for new sounds (he was one of the first in Sweden to recognize the merits of reggae, f.i.). All from the start in 1969, he contributed to the Swedish blues magazine Jefferson, altogether several hundreds of articles and reviews. He was also for decades the magazine's foremose "single-copy salesman" - whenever there was a blues concert in Stockholm, the indefatigable Janne was there! When moving to Stockholm five years ago, I soon made it a habit to drop by the Smokestack record store after work on Wednesday evenings, the night Janne managed the store. It was always fun talking to him, not only about music, but often also about politics, something he felt strongly about. I didn't go last night, but if I had, I would have found the store closed. When Janne didn't turn up as usual, the owner was alarmed and went to Janne's apartment. After locating a care-taker, they went into his apartment and found him dead. We will miss you, Janne. Gorgen Antonsson --Boundary (ID Hbuo3/ygLMmj/i3JsfaZpw)-- ========================================================================= Date: Thu, 18 Jan 1996 08:58:50 -0500 Reply-To: bob vanarsdall From: bob vanarsdall Subject: BB Interactive CD I was surfing at CD Now (http://www.cdnow.com) and they are advertising a new BB King "interactive CD" for Power Macs and Windows to be released January 30. It is called "On the Road with BB King" and they are listing it for $40.77. They are taking advance orders. I have no other info on this.... Bob ========================================================================= Date: Thu, 18 Jan 1996 08:58:53 -0500 Reply-To: "jose.eric.s.maglanque" From: "jose.eric.s.maglanque" Subject: Blind Willie > Just wanted to say thanks to all that replied to my Blind Willie Johnson > query. Wow. I symphatize with Dick Waterman -- I think I'll take this as a compliment to the List itself, to show that people here are deeply moved by deep music and not only by whether Bradd Pitt is good enough to play SRV. ========================================================================= Date: Thu, 18 Jan 1996 08:08:42 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Acoustic/Country Blues Let me add my recommendation here. Mississippi Joe Callicott has perhaps the sweetest voice I've heard in a "country" bluesman. From the best I can tell, his complete recorded output (11 songs) is available on Arhoolie CD402 - Mississippi Delta Blues, Blow My Blues Away Volume 2. It's a shame that all we have of Mississippi Joe are these 11 songs. I bet he was an awesome guy. -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Thu, 18 Jan 1996 08:14:21 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Koko's league - Miss Lavelle I'd put Miss Lavelle White in Koko's league. If you haven't yet done so, check out her Antone's cd - Miss Lavelle. I believe she has a new cd due for release this year. Also, there's a nice article about her in the new Living Blues (Luther Allison cover). I'll ask again - does MCA plan to release the 12 songs that she recorded for Don Robey's Duke label? - PLEASE, PLEASE, PLEASE!! ;-) -Jeff (no affiliation, just a BIG fan!) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Thu, 18 Jan 1996 08:19:48 CST Reply-To: ISTS024@UABDPO.BITNET From: Leonard Watkins Subject: Muddy & Otis Once again I read in Charles Shaar Murray's Cd Guide, that Otis and Muddy are half brothers. So I ask all you gurus again: Isn't this a rumor and 100% not true... While I'm talking about the book, is BB King's father's name Albert...? AS in ALbert King...? LW ========================================================================= Date: Thu, 18 Jan 1996 09:34:36 -0500 Reply-To: Jerry Zolten From: Jerry Zolten Subject: Delta Blues Symposium I've been off the list for a while, so maybe this has been mentioned, but the second Delta Blues Symposium will be taking place in Jonesboro, Arkansas, April 18-20, 1996, under the auspices of Arkansas State University. Anybody wants more info, check in with me. Jerry Zolten ========================================================================= Date: Thu, 18 Jan 1996 08:30:56 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Big Joe Turner question Comments: To: Chris Adams > From: Chris Adams > I was listening to Big Joe Turner the other day, specifically the tune > "Crawdad Hole". There is some wonderful swinging guitar on it and I am > curious as to who plays it. This was from some New Orleans sides that Joe > did with the famous Cossimo Matassa (spelling?) studio band. Ledbitter & Slaven list the guitarist for this session as the ubiquitous and multitalented "unk" (who also played drums and bass). If I had to guess I'd say it might have been Walter "Papoose" Nelson, who often played guitar in Cosimo's (Dave Bartholemew's actually) studio band. The group recording with Turner is known to have included Fats Domino and Lee Allen. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Thu, 18 Jan 1996 14:29:47 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Modern rural blues vs acoustic revival ? -Reply Comments: To: bit-listserv-blues-l@uunet.uu.net In article Roger Struve writes: >Well, everyone is entitled to their own opinion, and mr. Urbain is >certainly eloquent and lays down some well thought out opinions. >HOWEVER, how anyone can say that John Hammond doesnt' have that "unique >something" is beyond my comprehension. Again i am in no way criticizing >mr. Urbain, but just exclaiming my own amazement at that particular >statement. I don't think J-P Urbain was criticizing John Hammond (at least I didn't interpret it that way - correct me if I'm wrong). I think his post indicated that John Hammond is not a rural blues artist, which I think you would probably have to agree. He certainly is a major talent in the acoustic blues field, however. The gist of Jean-Paul's post is that acoustic does not equal rural blues. I've seen criticisms of the use of rural or country blues as a separate category of blues - the main problem is one of definition. Roger, I think you would have to agree that there are definite differences in the sound of Hammond vs RL Burnside, Junior Kimbrough, Paul "Wine" Jones, Robert Lowery or Henry Qualls. I would have to say the Hammond does not have that "unique something" to qualify him as a country/rural blues artist. Note that I do not define what that is because I'm not 100% sure myself - but it has to do with a raw sound which breaks many of the rules of Euro-american musical structure. John Hammond is an amazing talent, he's just not country, and that's okay with me. Buy his music anyway. Art Schuna P.S. When are you going to start calling the rest of us to play a few tunes on that National? I heard a few licks at Mississippi Valley and could use a few more (whether or not they are country OR acoustic). ========================================================================= Date: Thu, 18 Jan 1996 08:31:46 CST6CDT Reply-To: "Sara C. Oxton" From: "Sara C. Oxton" Organization: University of Minnesota Subject: Re: R.J.Misho Comments: To: J.Urbain@ke.rulimburg.nl For the record, RJ Mischo has a few albums out with his earlier band, Blues Deluxe, that are worth checking out as well. These albums, too were released on Blue Loon, previously Blue Moon. Self-appointed Twin Cities Blues booster, Sara ========================================================================= Date: Thu, 18 Jan 1996 08:45:37 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Q: WHO SINGS THIS SONG? Help, please. Comments: To: Craig Edmundson In-Reply-To: <199601180623.AAA20750@nfinity.nfinity.com> I think I was wrong about Buddy & Ella doing the song; oops! Glad someone else had the right info. ========================================================================= Date: Thu, 18 Jan 1996 09:50:52 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Koko's league - Miss Lavelle Comments: To: Jeff Seale In-Reply-To: On Thu, 18 Jan 1996, Jeff Seale wrote: > I'd put Miss Lavelle White in Koko's league. If you haven't yet done so, > check out her Antone's cd - Miss Lavelle. I believe she has a new cd due > for release this year. Also, there's a nice article about her in the > new Living Blues (Luther Allison cover). Good rec. + anyone can check out the new Lavelle page Gary just put up at http://www.island.net/~blues and go to Lavelle or ?? http://ww.island.net/~blues/lavelle.html (Sorry Gary I am not in my web reader and memory is pooooor) NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 18 Jan 1996 08:44:56 CST Reply-To: ISTS024@UABDPO.BITNET From: Leonard Watkins Subject: blues-l convention I think we should hold this convention at the Springville VFW. I could get Bubba to cook his amazing Barbie-Qued Oppossum...I could get Bubba's cousin (also his brother in law) to bring some homeade "spirits" to help wash down the oppossum... Seriously: Since we already have reservations in Memphis for the Beale Street Festival, I vote for Memphis before the festival.... LW ========================================================================= Date: Thu, 18 Jan 1996 09:56:52 -0500 Reply-To: Neil Cassidy From: Neil Cassidy Subject: Joe Turner/crawdad hole > From: Chris Adams > I was listening to Big Joe Turner the other day, specifically the tune > "Crawdad Hole". There is some wonderful swinging guitar on it and I am > curious as to who plays it. This was from some New Orleans sides that Joe > did with the famous Cossimo Matassa (spelling?) studio band. > from: Eliot Williams >Ledbitter & Slaven list the guitarist for this session as the >ubiquitous and multitalented "unk" (who also played drums and bass). >If I had to guess I'd say it might have been Walter "Papoose" >Nelson, who often played guitar in Cosimo's (Dave Bartholemew's >actually) studio band. The group recording with Turner is known to >have included Fats Domino and Lee Allen.EW I have an Atlantic Jazz compilation entitled "Big Joe Turner/Greatest Hits" and it contains a version of "Crawdad Hole" recorded5/12/53 in New Orleans. Edgar Blanchard is listed as the guitarist. The rest of the band is Thomas Sheldon and Frank Mitchell-tpts Pluma Davis- tbn Dimes DuPont- alto sax Warren Hebrew -tenor sax Kathy Thomas- pno John Fernandez- bass Alonzo Stewart- drums Joe Turner is listed as the producer. Neil Cassidy ========================================================================= Date: Thu, 18 Jan 1996 18:06:30 GMT Reply-To: dresserd@DNS.NXI.COM From: Derek Dresser Organization: Agate Internet Services (AIS) Subject: Re: Shrinking list of blues venues Comments: To: bit-listserv-blues-l@uunet.uu.net >But the way I see it, and the way I think Sarah sees it, only the >CHEAPEST survive. The better bands don't get the gigs because the >standards are lowered in favor of less expense. It's a very bad >metaphor because the ratio of quality bands to crap bands doesn't >remain constant. A better metaphor would be gangrene. As the >infection spreads there's less and less healthy body, until >ultimately there ain't enough good body left to function. >In the case of bands, I've seen it happen. The more bands that are >willing to work for next to nothing, the less likely club owners will >be willing to spend more than that. And what kind of bands play for >next to nothing? The band that just formed yesterday. >P.W. Fenton >Tampa, Florida The way I see it, the more bands, individuals, and groups playing blues, the better. The more people playing blues, the more blues there will be, and the more good blues there will be. Remember, everybody has to start somewhere. Even Muddy Waters was once a beginning blues performer. If he hadn't had the opportunity to play, he wouldn't have become the seminal figure that he was. Support the music that you love. Nobody wants to be a mediocre performer, and you can bet your last dollar that that person on stage that is playing mediocre blues is trying to develop his/her talent. Everytime I hear a not so great blues performer playing in a club, I just thank the lord that that blues players are getting a chance and have a place to play. That person will get better, but in the meantime, they are still helping to carry the blues torch. The good bands and players are still going to get gigs. I believe that encouraging beginning performers and clubs that hire these people will help to bring blues to more people and higher levels. Derek >Check out my Blues web page at > http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 18 Jan 1996 10:16:21 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: BB Interactive CD Comments: To: rvana@INTERPATH.COM On 18 Jan 96, bob vanarsdall had this to say... > I was surfing at CD Now (http://www.cdnow.com) and they are advertising a > new BB King "interactive CD" for Power Macs and Windows to be released > January 30. It is called "On the Road with BB King" and they are listing it > for $40.77. They are taking advance orders. I bought this CD ROM two days ago for $36 bucks. I can't tell you much about it as I don't have enough RAM in my machine to run it. Minimum requirements - and they do mean minimum - are a 486 33mhz, double speed CD ROM drive, 8 megs of ram, full Soundblaster sound card compatability Macs need at least an 86030 processor (there may be other requirements for Macs that I don't remember) P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 18 Jan 1996 09:22:01 -0600 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: Blues with feeling: How about Santana? Comments: To: Orange2@GNN.COM In-Reply-To: <199601180722.CAA15244@mail-e1a.gnn.com> from "Meadors" at Jan 18, 96 02:20:52 am In an earlier message, Meadors said: ] If you include every guitar player who plays with "feeling" in the ] category of "blues", then of course Santana is blues. But in that Carlos Santana actually started out playing Chicago-style blues. He was still doing primarily blues when he first played the FIllmore in San Francisco in the late 1960's. This is more of a footnote than a major point, though. I certainly wouldn't call his later stuff blues, but blues is part of what makes it what it is now. ] case, so are the dudes from Megadeth. Got to draw the line ] somewhere, though. Let's draw it with Santana on one side and the ] blues on the other. Listen to me now, believe me later. I agree in principle, but who defines the criteria? I read some liner notes on an ancient Muddy Waters album where he basically said that the blues being played at the time (ca. 1963) wasn't the "real blues". The blues is NOT narrowly defined, like, oh, say, flamenco. The blues is a living thing, evolving from generation to generation. Elmore James didn't sound exactly like Robert Johnson -- he learned from him, then said what he himself had to say. Was Elmore, then "not blues"? SRV didn't sound exactly like Elmore.... -- * Billy Chambless | billy@cast.msstate.edu | voice: 601-688-7608 * Mississippi State University Center for Air-Sea Technology * "Ah,. but I was so much older then; I'm younger than that now..." ========================================================================= Date: Thu, 18 Jan 1996 16:29:23 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Info needed: Walter Liniger I've been in contact by mail with musicians/researcher Waleter Liniger since quite a number of years but my three last letters of last year remained unanswered. Does Walter still live somewhere in the States or did he returned back (what Would really be a surprise) to Switzerland? Would be very happy if someone could send my his current address! (private E-mail). Thanks a lot Jean-Pierre ========================================================================= Date: Thu, 18 Jan 1996 15:32:48 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: All The Handy Nominations (long) Comments: To: bit-listserv-blues-l@uunet.uu.net In <4dkrn7$359@newsbf02.news.aol.com>, Bluesagent writes: >It's my understanding that the only folks allowed to vote for the Handy >Awards are members of the Blues Foundation -that pay an annual membership >fee for this priviledge. I think at one time the ballots were printed in >Living Blues or Blues Access....I don't recall. Why did they stop doing >that??? Paid members of the Blues Foundation (annual membership - $35), affiliated blues societies, subscribers to Blues Access and Blues Revue all vote on the final ballot of the Handys. >BBBean continued: >> I'd argue the Handys are as >>valid a > >representation of "what's happening" in the music as any other measure > >available. > >And I'd argue that they are a nice gesture, but by no means are they >representative of what's happening on the streets. The Handy's are awarded >to whoever the members of the Blues Foundation likes the best. How would YOU do it? If polling people willing to spring a few bucks to support the blues, subscribers of two national magazines, affiliated blues societies, and a large panel of recognized blues authorities isn't an adequate sample, then how would you improve it? >It would be nice if the Handy's benefited blues artists that are nominated >the way that other music artists benefit from the Grammys...i.e... >increased exposure, huge increases in record sales and higher prices paid >for live performances. In a perfect world, the Handy's would trigger a >series of events such as this. But I haven't seen it happen yet. As a blues writer I can assure you that artists do in fact get wider coverage as the result of Handy nominations and awards. I will be getting a barrage of press releases and phone calls from record labels in the next 4 months encouraging me to report on their Handy nominees and winners. Being human, I'll probably be inclined to give a little more ink to handy nominees and winners than I would otherwise this time of year. >With the voting procedure limited only to members of the Foundation (how >many are there anyway?), the Handy's will continue to be a nice token of >appreciation from the members of the Blues Foundation, but not an award >that's taken very seriously by anyone but the winners and the people that >voted for them. Again, there are several thousand ballots received each year from across the country. Hardly a small exclusive sample. >Now, my real beef with this year's Handy's. I think that Albert Collins' >"92-93" and Coco Montoya's "Mind to Travel" should have been in the >reissue category. While they are indeed great recordings, they are not >*new* blues albums. Boy, that blows the boat out of the water. While I'm not familiar with the two specific recordings mentioned, an album is new if it has not been released previously, regardless of when the recording took place. BBB - B.B. Bean bbbean@cris.com http://www.cris.com/~Bbbean - ========================================================================= Date: Thu, 18 Jan 1996 15:36:31 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Handy Nominations Comments: To: bit-listserv-blues-l@uunet.uu.net In <199601180950.EAA90036@osceola.gate.net>, "P.W. Fenton" writes: >On 18 Jan 96, Bluesagent had this to say: > >> It's my understanding that the only folks allowed to vote for the Handy >> Awards are members of the Blues Foundation -that pay an annual membership >> fee for this priviledge. I think at one time the ballots were printed in >> Living Blues or Blues Access....I don't recall. Why did they stop doing >> that??? > >They didn't stop. Living Blues "stopped" when they decided to have >their own awards. I believe that this year (and last) ballots went >out to subscribers of Blues Review, in addition to Blues Foundation >Members. As noted in another post, the subscribers of Blues Access also receive a ballot. BBB - B.B. Bean bbbean@cris.com http://www.cris.com/~Bbbean - ========================================================================= Date: Thu, 18 Jan 1996 10:49:08 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Shrinking list of blues venues Comments: To: Derek Dresser In-Reply-To: <4dlnin$di8@service-2.agate.net> Derek you may a very good set of points. Just to add a note here - we at NY CD Blues have a policy. We only post posit- itive reviews. If we can't recommend a CD we simply pass it by. My belief much like yours is that everyone is giving it a legitimate try. Maybe they'll prove good and maybe not - but hey no way are we going to dump on anyone's efforts with the possibility of a slamming someone or someone's who maybe have it in them. I agree that everyone has got to start some where and most of us get to start at the beginning. Maybe as the bar scene is dominated by the beginners and ones willing to work for less, there may grow a concert scene where blues greats will play for thousands and we get to go and pay more than $5 a head to hear them. This certainly would do wonders the blues all around. On Thu, 18 Jan 1996, Derek Dresser wrote: > The way I see it, the more bands, individuals, and groups playing > blues, the better. The more people playing blues, the more blues > there will be, and the more good blues there will be. Remember, > everybody has to start somewhere. Even Muddy Waters was once a > beginning blues performer. If he hadn't had the opportunity to play, > he wouldn't have become the seminal figure that he was. Support the > music that you love. Nobody wants to be a mediocre performer, and > you can bet your last dollar that that person on stage that is playing > mediocre blues is trying to develop his/her talent. Everytime I hear > a not so great blues performer playing in a club, I just thank the > lord that that blues players are getting a chance and have a place to > play. That person will get better, but in the meantime, they are > still helping to carry the blues torch. NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 18 Jan 1996 09:52:37 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: Music Memories Music Memories for 1/19 MATILDA COOKIE & CUPCAKES 1959 DON'T TAKE YOUR GUNS TO TOWN JOHNNY CASH 1959 YOU'RE THE REASON I'M LIVING BOBBY DARIN 1963 ========================================================================= Date: Thu, 18 Jan 1996 09:49:26 CST Reply-To: JBards From: JBards Subject: Re[2]: Debbie Davies Comments: To: SwtesTaboo I think comparing Koko and Debbie is like comparing fish to bicycles. Debbie is first and foremost a guitar player who also sings. Koko is a pure vocalist. The fact they're both "entertainers' creates a category for comparison sobroad as to be meaningless. Would one compare Pavarotti to Bach? -Jim _______________________________________________________________________________ Subject: Re: Debbie Davies From: SwtesTaboo at INTERNET-SH Date: 01/17/96 8:01 PM Again.. I can appreciate your opinion. Frankly, I have listened to a tremendous amount of Koko Talyor's music, and I honestly find her voice to be horrifying, rough and grunty. If Koko Taylor was the only "Queen" then I'm sure that category wouldn't exist, cause she'd be the only one to hold that title. I don't see why you think it is so "absurd" for Debbie Davies to be in the same category as her. Obviously, it is based on talent.. talent that Debbie has.. and has proven to have. Instead of making "absurd" comments, I think she should be congratulated. It's about time people learn and hear about musicians other than "the most popular ones"... and it's about time those people are being nominated.... ========================================================================= Date: Thu, 18 Jan 1996 09:54:34 CST Reply-To: ISTS024@UABDPO.BITNET From: Leonard Watkins Subject: RL Burnside questions I will be interviewing RL in the next couple days. If anyone has any questions (except for Brad Pitt playing SRV :-)) please send them to me private mail. Thanks LW ========================================================================= Date: Thu, 18 Jan 1996 11:56:11 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: Joe Hunter Sorry if this question has been asked before, but... Does anyone have any information on Joe Hunter, who's "Have you ever been mistreated" (as covered by Buddy Guy) appears on the Rhino "Roots of the blues" cd? I'm making an assumption that this is not Ivory Joe Hunter, who apparently is an uptown r&b-styled singer - I'm not familiar with his stuff. I can't find any information about this guy in any of my books. Are there other recordings floating around? He's amazing... Thanks. -Rob ========================================================================= Date: Thu, 18 Jan 1996 10:57:06 -0500 Reply-To: PARRISHR From: PARRISHR Subject: What Turned Me On To Blues I was sort of amused at the question "what album turned you on to blues?" I got into blues as a tiny little kid through my mom's gospel singer friends and through observing country blues players when my mom took me along when she traveled on business. I learned about blues right from the people themselves. I didn't even hear recorded blues until I was a teenager. I feel very fortunate to have had this experience. Nothing is more moving to me than a live, old-timey acoustic country blues player. ========================================================================= Date: Thu, 18 Jan 1996 16:01:59 +0000 Reply-To: "David J. Wallace" From: "David J. Wallace" Subject: Re: Robert Cray cd giveaway > > >HEARNET is giving away Cray's latest "Some Rainy Morning" Check it out! > > > >http://www.hearnet.com > > I respond: > > Probably his worst album to date (IMHO) > > Agree/Disagree? > > Beef Stew > WCCC Radio > *********************************************************** > Agree. But for two tracks (first and second ones if I remember right) it's really uninspiring. Glad I got mine free in the first place. What do you think is his best? For me its a tie between False Accusations and Shame and a Sin. See Ya, David ========================================================================= Date: Thu, 18 Jan 1996 10:40:32 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: Debbie Davies SwtesTaboo wrote: >Again.. I can appreciate your opinion. Frankly, I have listened to a >tremendous amount of Koko Talyor's music, and I honestly find her voice to >be horrifying, rough and grunty. If Koko Taylor was the only "Queen" then >I'm sure that category wouldn't exist, cause she'd be the only one to hold >that title. I don't see why you think it is so "absurd" for Debbie Davies >to be in the same category as her. Obviously, it is based on talent.. >talent that Debbie has.. and has proven to have. Instead of making >"absurd" comments, I think she should be congratulated. It's about time >people learn and hear about musicians other than "the most popular >ones"... and it's about time those people are being nominated.... Beef Stew responds: About Koko Taylor, Koko's voice, horifying? C,mon. About Debbie Davies: Debbie is a great talent. She lives here in CT and plays local clubs frequently. I've interviewed her and sat at the dinner table with her. She's charming and deserves the recognition she's getting. IMHO the one thing that should separate Koko and Debbie is that Koko is a vocalist and Debbie is primarlily a guitarist (although Debbie does have a great set of pipes!). For what its worth, Beef Stew WCCC Radio Hartford, CT ******************************************************** Music is not like sports where teams compete and in the end one rises to the top. The whole thing is about individual tastes and styles. If it wasn't why would we have Michael Bolton? ========================================================================= Date: Thu, 18 Jan 1996 11:14:07 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Female blues/Koko's league I'll throw my hat into this ring and put Irma Thomas right in there with Koko, Etta, and Ruth as a blues diva. Her performance with BB on his "Summit" project just blew me and my wife away, more so even in the video. Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 18 Jan 1996 11:24:05 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Band name change/ tips on how to? Hey, my band Gate Street Blues is probably going to change it's name soon, since there are only two of our original 5 left and we've evolved into something much better than the old "us", now as a foursome. Anybody (probably lots of you) done this in the middle of building a reputation in clubs under one name, then change to another? We figger that having taken a month hiatus for holidays and re-grouping, and now booked into several bigger, better clubs, this is the time to change, so we can establish ourselves in the new venues, with a new crowd and new name. Also, these bigger clubs have not yet started advertising our gig dates, so there would be a minimum of "COMING SOON: the "So and so's, FORMERLY KNOWN AS "Gate Street Blues". Helpful suggestions about how to handle this would be greatly appreciated. Ron Kraemer, you there bud? Ideas? Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 18 Jan 1996 11:33:47 -0500 Reply-To: bob unger From: bob unger Subject: CD-ROM Blues I read somewhere (cant remember what mag) that there is a CD-ROM out called "Blue Chicago Blues" They didn't give a review....hell, they didn't even say what it was about...I think it was just a list of Cd-ROMS that were made specifically for Windows 95. Since then, I've seen this title mentioned in a few other mags or e-zines, but nothing as to the content. Has anybody else heard of this...know what it's about...etc. etc.. etc.... BU bob@sun.bnkst.edu ========================================================================= Date: Thu, 18 Jan 1996 08:38:36 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Minnesota Fats has died Pool player Minnesota Fats, who Etta James states in her new biography is her real father (obligatory blues content) died this morning. Mary Katherine Aldin ========================================================================= Date: Thu, 18 Jan 1996 11:44:34 -0500 Reply-To: Ed Mezynski From: Ed Mezynski Subject: Re: What Album turned you on to the Blues? It wasn't an album that first turned me on to the blues, it was a dj's theme song. When I was just a boy, I used to listen to Murray the K (and his swingin' swaree (sp)). At the close of his show he's play There I Go by King Pleasure, and I thought that was just about as good as it gets. It was years later that I finally found out who had sung that song, 'cause I don't recall that Murray ever identified his theme. ed mezynski ========================================================================= Date: Thu, 18 Jan 1996 10:42:24 CST Reply-To: ISTS024@UABDPO.BITNET From: Leonard Watkins Subject: Koko plays no instrument JFTR: THE VOICE is the most expressive instrument there has ever been, so the logic about Koko not playing an instrument is BS...I think people are forgetting about the voice being a musicial instrument. I think that a trend has started because of "worship" of guitar gods.....The voice has been changed to an accompanying the guitar, instead of the other way around. That's just my opinion, it's appears a great singer can be ingored, while a decent 15 minute solo guitarist with sub-par vocals seems to get the attention btw: has 0 to do with Debbie Davies, she is not one of the ones I was referring to..... Listen to Rory Block or Son House sing acapella and tell me their voice is not an instrument... LW 'the voice is the most powerful musicial instrument I've heard..PERIOD' PS: Listen to ALbert King's version of "The Very Thought Of You"...No guitar solo, ALbert uses his other instrument...his voice ========================================================================= Date: Thu, 18 Jan 1996 11:57:26 -0500 Reply-To: Mike Suffern From: Mike Suffern Subject: New Year's Jam & old at 39 Comments: cc: sbrothers@handy.gr.com, rossentj@interaccess.com, jinxblues@aol.com, patti@elwood.com, Rob Hutten , mikec@handy.gr.com, steves@handy.gr.com, bobb@handy.gr.com Happy New Year! Mine started with a bang at a party in a ritzy neighborhood in the far West Chicago suburbs. My wife, Judith, works at a Travel Agency owned by two sisters. Judith's favorite one invited us to join her and her husband at her Cousin-in-law's house for a party and jam session (her hubby plays drums). These guys all grew up together and were in a band together for over a decade (before they became responsible adults of sorts). Judith was nervous about going to a party with all of these rather well off people. She had been to a similar party where all of the wives had the same bobbed hairdo and dressed the same and were snobbish. After a lecture and a few examples of how your thoughts may affect your experiences and how they definitely affect your condition, I told her to imagine that we were at the party and everyone liked her and that I was a big hit on guitar and harp. Well, that's what happened! Also, my Angel Hair Diablo salad (angel hair pasta, hot sauce, chili garlic paste, olive oil, etc.) was a big hit too. One of the guys was running around trying to find out what girl made it and vowed to take her home, "Whoever she is, tell her I love her". When eveyone pointed to me, he gulped and said, "Ok, I love you, I'm takin' you home" - a good sport. Down in the basement (man has it been a long time since I jammed in a basement) we had a Korg M1 synth, drums, bass, guitar, a vocal mic and a harp mic (I screwed it onto the stand - worked well - is there such a thing as a vintage mic stand? The chrome looks out of place with the Green Bullet). After 10 minutes of everyone talking about what should we play, I took control and said, "Let's just give 'em some Blues! A slow Blues in A...", and after a few sweet intro notes and a solid I9th Dean was right on me with the drums and the bass player soon followed. When the keys came in with a B3 sound, we were groovin'. A crowd began to gather in the basement and in the back I saw my honey (Judith) talking to Dean's honey (Vera, one of the sisters that own B&B Travel) and sipping our Mumms Cordon Rouge Champagne. This was the first time that Judith has seen me play Blues guitar with a band and she was impressed. The crowd was paying full attention - I don't think they expected us to sound that good. I just played the 9th chords full bodied and with some hand vibrato to sustain them, for two verses and then started a slow lead in the lower register, building up higher and getting nastier with more Albert King 'over-bends' and shaking vibrato. I was pumped and so was the crowd. They were hootin' and hollerin' and a few were dancing. One girl was making love to a post (like a stripper) that holds up that side of the first floor. Then I laid back on the 9th chords again and gave the keyboard player a chance to solo. He must have felt like Greg Allman 'cause that's what was coming out of his amp. It was really smokin'. The crowd loved it. Then I snuck over to my case and grabbed my sweet Lee Oskar D harp. Slinging my Strat behind my back, I made my way up to the harp mic and started a low moan. Everyone went crazy! It was complete emotional anarchy in that basement. A few riffs and then a high wail brought screams of glee from the girls and admonishments of "ALRIGHT!" from the guys. Chic-A-go Blues, Yeah! The rest of the night was MOTS. A few highlights included "Mustang Sally" done with 9th chords and chunky rhythm - sliding into each chord, a few Stones covers and more Blues. I sat in on the drums for a couple. After the first break, more people were comming downstairs and they were bitchin', "Let's here some harmonica". So, I gave 'em what they wanted with a long version of "Stormy Monday". Judith told me later that everyone upstairs had been talking about the harp and that one guy, in his mid-twenties, was saying, "Oh man, you got to hear the old guy playin' the harp!". Old? Old!... Well, I've got a lot of gray in my beard, but, I never thought of myself as one of the elders! Old at 39, sigh... Mike - guess I'll just move to the outskirts of town... [Mike Suffern Product Development Greenbrier & Russel Software] [Work: msuffern@gr.com http://mikes/ ] [Home: msuffern@xnet.com http://www.xnet.com/~msuffern/soundtravels.html] ] --------------------------------------------------------------------- [ [ "We got 400 horses, half a tank of gas, ] [ we're 50 miles from Chicago, it's night time, ] [ and we've got sunglasses on..." - Elwood ] ========================================================================= Date: Thu, 18 Jan 1996 09:05:51 -0800 Reply-To: Mike Shannon From: Mike Shannon Subject: Guy Davis I happened to catch a couple tracks off this guys album today and I was impressed. He plays unaccompanied acoustic, Delta blues, and he is good. I never heard of him before. Anybody know anything about him? Mike ========================================================================= Date: Thu, 18 Jan 1996 11:21:36 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: R.J.Misho Comments: To: "Sara C. Oxton" In-Reply-To: R.J. Mischo is about to have a "live in Europe" CD released on Crosscut with Little Smokey Smothers guesting. I don't know the release date, but soon. ========================================================================= Date: Thu, 18 Jan 1996 11:25:14 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Joe Hunter Comments: To: Rob Hutten In-Reply-To: <199601181556.AA03445@dragon.acadiau.ca> I'd have to relisten to Buddy's Rhino CD, but if, as I suspect, "Have You Ever Been Mistreated" is just a retitled "Five Long Years," then it was mistakenly credited to Ivory Joe Hunter rather than Eddie Boyd. There's no "other" Joe Hunter. ========================================================================= Date: Thu, 18 Jan 1996 12:28:34 -0500 Reply-To: bob unger From: bob unger Subject: BluesBytes Info Re-post Sorry folks....yesterday, I re-posted to the list the info on how to order BluesBytes and me being the lazy slob I am, I neglected to include how much the tape costs! So, I would like to re-post the corrected information..... (man, you think your office is cluttered?? You should see the inside of my head!) ****************************************************************************** If you live in the U.S., you can order by check or money order. I cant accept credit card orders (I'm just a working slob!!) The cost for the tape is $10, with somewhere between $5 and $6 of that amount going to one of the chosen organization's listed below. Please make the check payable to Bob Unger, and send it to my work address: Bank Street College 610 West 112th Street New York, NY 10025 attn: Bob Unger From the list of organizations below, make your choice, and mail it to me along with your snail-mail address and your e-mail address in case I need to get in touch with you. If you live outside the U.S. borders, there are 3 ways to make a payment: 1. Postal Money Order - payable in U.S. cash. Please do not send a bank money order, as there are transactions fee's invloved and it becomes a big mess. 2. Cash - I do not recommend this method. If this is the only way you can order, then please make sure it is U.S. cash... however, I cannot be held responsible if your order get's lost in the mail. 3. Access to a U.S. bank account - Some of you may have access to a U.S. bank account either through friends, your business, or you might have your own account. I'll accept any check drawn from a U.S. bank. Pick an organization: The following 3 organization's have been suggested for the proceeds. Please pick one and send it along with your payment. The organization that recieves the most votes, will be awarded the donation: 1. Willie Dixons Blues Heaven 2. The Delta Blues Museum 3. The Rhythm & Blues Foundation BU bob@sun.bnkst.edu I thank you for your support and whoever ends up as the recipient, thanks you for your support. ========================================================================= Date: Thu, 18 Jan 1996 12:28:14 -0500 Reply-To: James Leftwich From: James Leftwich Subject: New page This is the coming out party for my new home page. It's still in the formative stages with much more to come. Come visit "Jim's Blues & Brews" with links to the best blues and beer sites on the Web. On the way...a picture of Robert Johnson's grave and never before seen photos of Lightnin' Hopkins... Point you browser towards: http://www.cloud9.net/~leftwich PLEASE leave feedback! Jim ========================================================================= Date: Thu, 18 Jan 1996 11:28:37 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Robert Covington dies I got a short phone message this morning that Chicago vocalist/drummer Robert Covington has died. I don't know the details. His "Golden Voice Of Robert Covington" Red Beans LP was recently released on CD by Evidence. He was an active studio drummer and club sideman, notably with the Big Four Band in support of Sunnyland Slim through the '80s. He was a very personable blues artist with a better education than most (some college) who liked to discuss books with me when we ran into each other, but had kidney problems dating back many years. Sigh... I'll be gone for several days, so won't be responding to any posts. ========================================================================= Date: Thu, 18 Jan 1996 17:29:19 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Band name change/ tips on how to? Comments: To: bit-listserv-blues-l@uunet.uu.net In <01I05JM8ZFNC0039UH@SCI.WFBR.EDU>, "" writes: >Hey, my band Gate Street Blues is probably going to change it's name soon, >since there are only two of our original 5 left and we've evolved into something >much better than the old "us", now as a foursome. Anybody (probably lots of >you) done this in the middle of building a reputation in clubs under one name, >then change to another? If you play it right you could turn it into good PR. Send a press release to the local paper, music rags, and blues DJs. Try to get an interview spot on the local blues show talking about the changes in the group. Paper the local college/music store/pawnshop circuit with COMING SOON posters. It has the potential to give you much more visibility than you had before... BBB - B.B. Bean bbbean@cris.com http://www.cris.com/~Bbbean - ========================================================================= Date: Thu, 18 Jan 1996 12:47:45 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: Blind Willie Johnson recommendation Comments: To: "David L. Prychitko" In-Reply-To: On Wed, 17 Jan 1996, David L. Prychitko wrote: > Our local PBS station carried THE AMERICAN EXPERIENCE episode on the > civil rights movement. Blind Willie Johnson's "Dark Was the Night - Cold > Was the Ground" surfaced a couple times throughout the program. > > Exemplary delta blues! It's not Delta blues...Johnson comes from central Texas... > > Anyone have a recommendation for a Blind Willie Johnson reissue? The > only thing I have is that song on the Rhino Slide Masters volume. > > Dave Prychitko > ps: Is it true that Johnson died because "his house burned to > the ground and, after sleeping in its remains, he caught pneumonia" > (Santelli 1993, p. 212), making that song not only haunting but strangely > prophetic, too? > As I understand it, BMJ slept on a wet mattress and died of Pneumonia Jim ========================================================================= Date: Thu, 18 Jan 1996 12:49:57 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Earl Hooker I think this has surfaced before so please excuse any repitition... I'm looking to add an Earl Hooker title to my collection. Is the _Two Bugs and a Roach_ record one of Arhoolie's 60+ minute CDs? What about _Sweet Black Angel_ on One Way Records? I found it at CDWorld for $7.77! Jim Leftwich From: Bonnie Kalmbach Subject: Valerie Wellington Valerie did record a second album; I think it was later than "Million Dollar Secret" - and not quite as good. It is on the Japanese label: GTW. I don't remember the album title but she's even does a blues standard in Japanese and it sounds good. The tune may have been "Ain't gonna worry my life no more". -Bonnie ========================================================================= Date: Thu, 18 Jan 1996 13:52:45 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: Joe Hunter In-Reply-To: from "Richard Shurman" at Jan 18, 96 11:25:14 am > I'd have to relisten to Buddy's Rhino CD, but if, as I suspect, "Have You > Ever Been Mistreated" is just a retitled "Five Long Years," then it was > mistakenly credited to Ivory Joe Hunter rather than Eddie Boyd. There's > no "other" Joe Hunter. Sorry, maybe I wasn't clear - the recording I have on the disc is by Joe Hunter, not by Buddy Guy. I know Buddy covered this thing, but I've never heard his version and I don't know what he called it. There is indeed a Joe Hunter, and I'm 99.44% certain it's not the same man as Ivory Joe Hunter. This Joe Hunter features a beautiful and simple single-note guitar accompaniment, and his singing is incredibly emotive. The recording sounds like it was done at Hunter's home, as you can hear other voices in the background. I'm a'feared that no other material has been released by this guy - this might have been from an obscure field recording session by some researcher, and never intended for commercial release. Someone please prove me wrong... -Rob ========================================================================= Date: Thu, 18 Jan 1996 11:59:19 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Louis McTizic Is anybody aware on any writings on Louis McTizic, a Mississippi-born bluesman who, for better or worse, instead of Chicago ended up in Waterloo, Iowa? He played last year in Mississippi Valey Blues Festival, I think. Has anybody seen him? Impressions? Ranko ========================================================================= Date: Thu, 18 Jan 1996 12:56:23 EST Reply-To: TRADITION@RYKO-MA.CCMAIL.COMPUSERVE.COM From: David Greenberg Subject: Re[2]: Odetta Comments: To: pbeal@mozart.inet.co.th >On Wed, 17 Jan 1996, Leonard Watkins wrote: > I hope I spelled her name right. Can someone recommend a recording by Odetta > and any other info (or a book that has much Odetta info) woulr be great. >Odetta Sings the Blues on Fantasy (formerly Riverside) is really good. On February 6th, TRADITION is re-releasing Odetta's very first album, "Sings Ballads And Blues." While I cannot give you an unprejudiced opinion, being the TRADITION person here at Rykodisc, we dug up a quote from Mr. Bob Dylan that this was the album which caused him to put away his electric guitar and pick up an acoustic one to learn all the tunes. And all TRADITION albums are 9.99 (or should be at most retailers). If you can't find it in a store then call Mike Y. at 1-800-2EARFUL, which is the Rykodisc mailorder #. ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ David Greenberg tradition@rykodisc.com tradition/Rykodisc Shetland Park 27 Congress St. Salem MA 01915 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Thu, 18 Jan 1996 11:53:18 CST Reply-To: JBards From: JBards Subject: Re: Band name change/ tips on how to? Comments: To: MILLER@SCI.WFBR.EDU I recommend going with an unpronounceable symbol ( however, this has been done) something like... " *&&%^"....this strategy itself will draw much attention to the group and it's new non-name. -Jim _______________________________________________________________________________ Subject: Band name change/ tips on how to? From: MILLER@SCI.WFBR.EDU at INTERNET-SH Date: 01/18/96 11:27 AM Hey, my band Gate Street Blues is probably going to change it's name soon, since there are only two of our original 5 left and we've evolved into something much better than the old "us", now as a foursome. Anybody (probably lots of you) done this in the middle of building a reputation in clubs under one name, then change to another? We figger that having taken a month hiatus for holidays and re-grouping, and now booked into several bigger, better clubs, this is the time to change, so we can establish ourselves in the new venues, with a new crowd and new name. Also, these bigger clubs have not yet started advertising our gig dates, so there would be a minimum of "COMING SOON: the "So and so's, FORMERLY KNOWN AS "Gate Street Blues". Helpful suggestions about how to handle this would be greatly appreciated. Ron Kraemer, you there bud? Ideas? Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 18 Jan 1996 12:27:28 -0500 Reply-To: Aaron Fredrick Tiensivu From: Aaron Fredrick Tiensivu Subject: New Johnny Winter Album!! You heard it here first [hopefully]: Jan. 23rd - Johnny Winter - Album: White Lightnin' It was listed in the new-releases-list, so I assume it is correct. Can Sherman confirm this? [hopefully!] The long wait is over! Yay! "Wouldn't you be suprised to find she sparkles someone elses eyes?" - Skunk ..::''''::.. .:::. .;'' ``;. .... In Feel-around(tm)! ::::: :: :: :: :: ,;' .;: :: ..: `:::' :: :: :: :: ::. ..:,:;.,:;. . :: .::::. `:' :: .:' :: :: `:. :: '''::, :: :: :: `:: :: ;: .:: : :: : : :: ,:'; ::; :: :: :: :: :: ::,::''. . :: `:. .:' :: `:,,,,;;' ,;; ,;;, ;;, ,;;, ,;;, `:,,,,:' :;: `;..``::::''..;' ``::,,,,::'' ========================================================================= Date: Thu, 18 Jan 1996 13:12:34 -0500 Reply-To: cmasenas@vnet.ibm.com From: "Charles J. Masenas" Organization: IBM Microelectronics Division, Burlington, VT. Subject: Re: RL's Dream Comments: To: bit-listserv-blues-l@uunet.uu.net In article <960117001435_118897837@emout04.mail.aol.com>, Renato Tonelli writes: > This sounds very intriguing. > I myself would be curious to know some of the sordid details. > > Renato Tonelli I heard a favorable review of "RL's Dream" on public radio. It is fiction. The main character recalls his acquaintance with Robert Johnson. The Barnes and Noble megastore in Albany, NY had never heard of it. -- ------- Regards, Charles J. Masenas ========================================================================= Date: Thu, 18 Jan 1996 13:24:34 -0500 Reply-To: cmasenas@vnet.ibm.com From: "Charles J. Masenas" Organization: IBM Microelectronics Division, Burlington, VT. Subject: Re: modern rural blues Comments: To: bit-listserv-blues-l@uunet.uu.net In article <4djrdh$6k0@service-2.agate.net>, Derek Dresser writes: > I have to recommend Paul Rishell. He has two disks out "Swear to tell > the Truth" and "Blues on a holiday" on Tone Cool Records. Both are > excellent. On each of them, there is a combination of some great > Traditional/Delta style blues, and some band material. Definitely one > of the best around these days. I enthusiastically second that opinion. Paul has been playing blues for something like three decades and he deserves more exposure. He toured with Son House in the '70s. His third CD is due out any time now. -- ------- Regards, Charles J. Masenas ========================================================================= Date: Thu, 18 Jan 1996 10:30:50 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Jan. 19 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- COSTA, DON (arr/prod/ABC-PARAMOUNT) d. 1983-0119, NEW YORK CITY, NY 57 CROSBY, ISRAEL (b/AMMONS/YANCEY) b. 1919-0119, CHICAGO, IL GRAY, HENRY "LITTLE" (p/CHESS/PARROT) b. 1925-0119, KENNER, LA JOHNSON, JOE (hca-g/A-BET REC) b. 1942-0119, INDEPENDENCE, LA JOPLIN, JANIS LYNN (v/BIG BROTHER) b. 1943-0119, PORT ARTHUR, TX MCKINLEY, L. C. (g) d. 1970-0119, CHICAGO, IL 56 PARLAN, HORACE (p/BOOKER ERVIN) b. 1931-0119, PITTSBURGH, PA PEER, RALPH (arr/prod/RCA/PEER MUSIC) d. 1960-0119, HOLLYWOOD, CA 67 SHEPHERD, BERISFORD "SHEP" (d/DOGGETT) b. 1917-0119, HONDURAS,C. AMERICA SMITH, ROLLIN (p/INK SPOTS) d. 1985-0119, NEW YORK CITY, NY 85 SMITH, WILLIE "BIG EYE"(d/LEGENDARY BLUES)b. 1936-0119, HELENA, AR SOILEAU, LEO (cajun) b. 1904-0119, VILLE PLATTE, LA STARR, BOBBY (lead/THE INTRUDERS) b. 1937-0119, BALTIMORE, MD TRENIER, MILT (of THE TRENIERS) b. 1930-0119, MOBILE, AL WHEELER, CAROL (of SOUL II SOUL) b. 1963-0119, ACTON, LONDON, UK WILLIAMS, LAMAR (b g/ALLMAN BROS) d. 1983-0119, 36 ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 18 Jan 1996 13:30:47 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Little Mack Simmons I've read several raves about the new Little Mack Simmons CD called "High and Lonesome" on the St. Georges label. Is this an import? Has anyone heard it? Thanks, -Peter ========================================================================= Date: Thu, 18 Jan 1996 13:34:44 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Band name change clarification: If you read my first post, I just want to clarify that that we are NOT looking for suggestions on new names, I'm just asking for helpful suggestions on how to minimize confusion among club owners and our public following. Things likd oops...like names on marquis, press coverage (entertainment listings), radio play, etc. Comprende'? Thanks folks, Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 18 Jan 1996 18:40:14 GMT Reply-To: "J.J. Perry" From: "J.J. Perry" Organization: Indiana University Subject: Blues Drummers Comments: To: bit-listserv-blues-l@uunet.uu.net I'd have to agree that the drummer is thought about least in blues bands, both historically and in bands today. I have been playing drums in a blues band for about three years, which is about how long I've been playing drums period. I think I've had to work pretty hard to get to where I feel like I am, what I would consider a "blues drummer." I've seen hundreds of other rock guys come to the jam to play "blues" before, and I always notice that a lot of them are very busy players and a lot can't even play a shuffle! Now, I'm not so fantastic on drums, and these guys would probably kill me on jazz or rock, but I always feel a little bit better when I see that. I think a big problem is that there aren't a lot of "name" drummers in the blues to the casual fans. B.B., Muddy, Robert Johnson, John Lee, all have a rep, a mystique built around them. There aren't really those stories of the the lone bluesman dragging his snare drum up and down the Mississippi River. So a lot of guys think that they can't get the emotional release (or the glory) in blues without playing guitar or sometimes harp. I think that guys who I like, Fred Below, Willie Smith, Ted Harvey, Odie Payne and Elgin Evans have made a great contribution to blues. Maybe not in songwriting or anything, but just think of those classic Chess Records if Muddy had been backed by a Neil Peart or something. Kind of changes things a bit. Blues drumming, I've found, is as much of what you don't play as what you do play, and putting your own ego aside to get a full band sound, not five guys soloing at once. J. J. ========================================================================= Date: Thu, 18 Jan 1996 12:39:33 CST Reply-To: ISTS024@UABDPO.BITNET From: Leonard Watkins Subject: RL's Dream I read this book and it was enjoyable. It was about a white girl who takes in RL , a bluesman. RL has a terminal illness and at one point in his life someone wanted to do his "story", he refused. Now that he is sick he gets a tape recorder and tells his story and plays some blues again. I would recommend it, but only after you've read the Mance Lipscomb "Say For Me A Parable" which is a very, very fine read.....Just my 2 cents LW ========================================================================= Date: Thu, 18 Jan 1996 13:43:14 -0500 Reply-To: Meadors From: Meadors Subject: Re: New Year's Jam & old at 39 Comments: To: msuffern@GR.COM You wrote of your blues jam: One girl was making love to a post (like a stripper) that holds up that side of the first floor. This ... this is the girl for me. > ] Mike Meadors Orange2@gnn.com ========================================================================= Date: Thu, 18 Jan 1996 13:44:27 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: RL Burnside questions Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU On 18 Jan 96, Leonard Watkins had this to say... > I will be interviewing RL in the next couple days. If anyone has any questions > (except for Brad Pitt playing SRV :-)) please send them to me private mail. > Thanks > LW I have a question for R.L., perhaps your already asking it. What in the world is he doing on a tour with Joe Spencer Blues Explosion? There is a venue here in Tampa that features bands with names like "Butt Hole Snakes". I almost spit up my lunch when I saw "R.L. Burnside" in an advertisement for January 30th at this place. Does R.L. have a safety pin through his nipple now? Has he bought a fuzz box? P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 18 Jan 1996 13:59:08 -0500 Reply-To: Aaron Fredrick Tiensivu From: Aaron Fredrick Tiensivu Subject: Whoops! Big Mistake! I once had a HS teacher named Sherman and I mistakenly spelled Mr. Shurman's name wrong. Sorry :) [currently wearing asbestos outfit] "Wouldn't you be suprised to find she sparkles someone elses eyes?" - Skunk ..::''''::.. .:::. .;'' ``;. .... In Feel-around(tm)! ::::: :: :: :: :: ,;' .;: :: ..: `:::' :: :: :: :: ::. ..:,:;.,:;. . :: .::::. `:' :: .:' :: :: `:. :: '''::, :: :: :: `:: :: ;: .:: : :: : : :: ,:'; ::; :: :: :: :: :: ::,::''. . :: `:. .:' :: `:,,,,;;' ,;; ,;;, ;;, ,;;, ,;;, `:,,,,:' :;: `;..``::::''..;' ``::,,,,::'' ========================================================================= Date: Thu, 18 Jan 1996 14:30:21 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: RL Burnside questions Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *I have a question for R.L., perhaps your already asking it. What in *the world is he doing on a tour with Joe Spencer Blues Explosion? I think someone posted something earlier this week about RL and Jon Spencer. Apparently they like each other's music. *There is a venue here in Tampa that features bands with names like *"Butt Hole Snakes". I almost spit up my lunch when I saw "R.L. *Burnside" in an advertisement for January 30th at this place. Does *R.L. have a safety pin through his nipple now? Has he bought a fuzz *box? Maybe he'll be headlining Lollapaloser this summer. :) ========================================================================= Date: Thu, 18 Jan 1996 21:55:24 +0200 Reply-To: T P Uschanov From: T P Uschanov Subject: "Worried Life Blues" Comments: To: Peter Welch In-Reply-To: <199601172007.PAA194998@poe.acc.Virginia.EDU> On Wed, 17 Jan 1996, Peter Welch wrote: > According to Storm Bailey: > > Did _Chuck Berry_ record this, crediting himself ?? > > Big Maceo's version of "Worried Life Blues" is the version of > this blues standard that is most often copied, however, I > believe "Worried Life" is a variation of the earlier "Someday > Baby" by Sleepy John Estes. In the 50s for Chess Records, Muddy Waters also > did a version of "Someday Baby" called "Trouble No More". > Chuck Berry also recorded "Worried Life Blues" for Chess as > well. It might interest you that Berry's version (at least on my CD 'On the Blues Side', Ace 397) credits Estes-Nixon (presumably Sleepy John and Hammie). T P Uschanov (Mr), University of Helsinki, Finland, European Union. tuschano@cc.helsinki.fi ---- http://www.helsinki.fi/~tuschano/ "Does a solipsist also think that only he knows how to play chess?" (Ludwig Wittgenstein) ========================================================================= Date: Thu, 18 Jan 1996 10:33:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: What about WHOM, *Santana?!* (was blues/w/feeling) Mike Meadors is of course right (but isn't he always?) that Santana ain't blues any more than is Megadeath, or um, Japanese "No" Opera for that matter (or Finnish folk music with a nod to Jouni and our neighboring land over here). A recurrent theme on this List -- blues is tough to define, how can you ever define it, though feeling is one element. Even with regard to the musical *structure*, though, At the outer edges it gets fuzzy, sure (ain't it really rock, etc.). This is not a problem limited to our beloved Blues, however! It is recognized as a classical "logical fallacy" (among such folk who recognize stuff like that) that the mere difficulty in drawing a "bright line" distinction between two phenomena does not render them indistinct. This is called the "slippery slope" fallacy of logic. Now, you can say, of course, that the people who come up with this sort of stuff are misguided (why don't we just call then "a bunch of dirtbags" for argument's sake). I'm just reporting their view. And mine, that is, to the effect that Santana ain't blues nohow, feeling be damned. (Though I'm sure the guy could play blues, and no doubt has done so on occaision.(sp.?)) Joe in Moscow (noting to myself that we haven't heard the "How 'bout Zeppelin" arguments in a while so far as I know) "MUDDY WATERS!! Another mule's been kickin' in your stall!" ========================================================================= Date: Thu, 18 Jan 1996 16:22:45 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Living Blues Awards vs Handys Comments: To: bit-listserv-blues-l@uunet.uu.net In <4dl4pf$6hm@newsbf02.news.aol.com>, Bluesagent writes: >Who are these "over one hundred" writers, DJ's, and blues experts that >create the categories, nominees and winners anyway?? And if they are the >only ones that get to vote in the Handy's then why not have a "reader's" >poll that represents the little people, too. The nominators come from a list developed and compiled by the Blues Foundation over the past 15 years. Several notable 'zellers who have been on the list (and may still be on the list) include Dick Waterman, Richard Shurman, and Mary Katherine Aldin. They're pretty representative of the folks who are solicited to nominate for the Handys. There's a three step process: 1)The panel of nominators fills out blank ballots with up to 5 nominees in each category. 2) This list is compiled and sent to the panel again. Each nominator votes for up to three nominees in each category. 3) The top five in each category are then put on a final ballot that is mailed to Blues Foundation Members (between 1000 and 1500 when I was on the board), subscribers to Blues Accesss and Blues Revue, and each affiliated blues society (about 40). A merge/purge takes place to eliminate multiple ballots. I hope this clears up the misconception you apparently have that a half dozen nefarious characters in a small room in Memphis just give awards to their favorites. I'd encourage you to learn more about the process, and perhaps join the foundation to help resolve the problems you are troubled by. BBB - B.B. Bean bbbean@cris.com http://www.cris.com/~Bbbean - ========================================================================= Date: Thu, 18 Jan 1996 14:59:47 -0500 Reply-To: Neil Cassidy From: Neil Cassidy Subject: new Robert Johnson movie About four months ago I had the good fortune of seeing a private VHS screening of a movie entitled "Can't You Hear the Wind Howl?: The Life and Music of Robert Johnson." Some friends of mine received a copy from the one of the executive producers and knew I would be interested and most likely have some kind of opinion. The possible existence of this project has popped up in various posts here on blues-L over the past few months and, again, most recently with the SRV/Brad Pitt whoha lately. When I first saw the movie I knew that I was seeing something that only those involved directly in the project were privy to. Although I knew that most 'zellers would really like to have heard something a few months ago, I held back any posting until I had the chance to get my own copy and view it again at my leisure. As I have watched it a few times now, here my impressions of the work. First the credits: Produced, Directed and Edited by Peter W. Meyer Screenplay by Jean Compton and Peter W. Meyer Assistant Producer- Yolanda Williams Technical Advisor- Stephen LaVere Narrator- Danny Glover Starring _ Kevin Moore (yes folks this is the Keb Mo playing RJ movie that was known to be in the making) Featuring- Johnny Shines, Honeyboy Edwards, Robert Jr. Lockwood, Henry Townsend, Robert Cray, John Hammond The movie is a docudrama with Glover's narration of the RJ story overlaying Keb Mo's portrayals of particular events of in RJ's life (e.g. his 2 recording sessions) and also events of a more general type like RJ hitchhiking, playing in juke joints, or walking along the railroad tracks guitar over the shoulder. At first these scenes seemed a bit hokey but after considering the more Hollywood alternative, which would be having Keb Mo speaking conjured up dialog, it seems to work pretty well. It is the continuing Glover narration that keeps the piece in the documentary mode, contributing to the overall non-Hollywood approach. All of the RJ/Keb Mo scenes are in black and white, creating the periodicity and successfully lending to the feel of a time, place and culture ar from our own. There is also judicious use of the 2 extant RJ photos as well as various photos of his mother, step dad, brother, and other people and places in Robert's life. Perhaps the greatest strength of the film is the use of the fairly extensive interview footage of the above featured personalities, particularly Johnny Shines. The recollections of these men have, for the most part, appeared elsewhere. I have read accounts similar to most of the interviews presented. What is nice here though is that they are all presented in one place and and not in quotation marks or second account summaries. These are the horses mouths. For us as musicologists this is the real thing Marie. There is also a good amount of interview footage with people who knew RJ but were not musicians themselves. These comments by RL Windun, Willie Mason and Wink Clark, although many years later, help ground the swirling RJ myth in a little bit of reality. Not that their recollections are anything but their own possibly time tinged memories, but these people knew the man and speak of him as a man rather than as a myth. There is also footage of Willie Mae Holmes Powell (Honeyboy Edwards' cousin), who describes her romantic involvement with RJ and claims Robert to have written Cross Road Blues while keeping company with her. The film also addresses the mythic side of Robert also. After Glover describes the Crossroads legend there is a quick cut to Shines who say, "He never told me that lie," and proceeds to tell us why such a story is totally unbelievable. Honeyboy Edwards recounts being there on the night RJ was poisoned. It is a very believable account and presented as a first hand account at that. There is also a tiny bit of Son House footage followed by several Son House stills during which we hear the audio of the voice of Son telling the famous account of how Robert played so badly and then one day showed up playing terrifically. This, for me, was one of those 'I always heard this story now here's the source material experiences.' All in all I think the film is a great effort. Again, what I feel to be the best part of the movie is that it puts all the RJ fact and myth pieces in one place to be viewed and judged accordingly. That, coupled with the use of source interviews makes for an intriguing watch. I know when the film is finally released some of you gals and guys out there will share with us your more enlightened opinions. Looking forward to your impressions, Neil Cassidy PS Not to bring up the purist/not a purist debate again so soon but, the in the film there is a part where the performing life of RJ is under discussion. Several people have commented on what a great crowd drawing talent Robert was - guitar, voice, harmonica and quite a dancer. Shines then says (I'm paraphrasing) that Robert could play anything after just one hearing. He says Robert was incredible that way and to satisfy the crowd (read get paid /eat) Robert was just as likely to play "Danny Boy", "Willow Weep for Me", or any other popular song of the day. A quote that I jotted down from Shines was Robert would just ". . .play what people like." ========================================================================= Date: Thu, 18 Jan 1996 15:25:42 -0500 Reply-To: 00LCSPECTOR@BSUVC.BSU.EDU From: "Lee C. Spector" <00lcspector@BSUVC.BSU.EDU> Subject: Hunter Are you sure you aren't thinking about Long John Hunter and not Joe Hunter. Lee Lee C. Spector Department of Economics ========================================================================= Date: Thu, 18 Jan 1996 15:20:01 EST Reply-To: shannon oconnor From: shannon oconnor Subject: GUITAR-L Assuming there really is a GUITAR-L list, can someone tell me how to subscribe? Private e-mail is fine. Mucho thanks. Shannon ========================================================================= Date: Thu, 18 Jan 1996 14:50:08 -0600 Reply-To: Storm Bailey From: Storm Bailey Subject: Re: New Year's Jam & old at 39 >Old at 39, sigh... > > >Mike >- guess I'll just move to the outskirts of town... > Took my daughter (19) to see Luther Allison at the Crystal Corner Bar in Madison last year...they kicked us out at bar-time and she's moaning to get to sleep. Took her to an (otherwise lame) outdoor festival to see the Allman bros. last summer, got back at 5am--she slept for 2 days, I took a nap and went to church... kids these days...they're _born_ old Storm (just 39 and, hey now, check that elwood quote...) BTW my daughter did have some serious mind-expansion with Luther and friends, caught her listening to Hound Dog Taylor during the holidays--thur's hope fer the youth of amur'ca ========================================================================= Date: Thu, 18 Jan 1996 14:43:59 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Re: RL Burnside questions Those who spent talking to RL for at least 5 minutes know that he does not give a shit who he is playing before or after, as long as he can drink beer, play his blues, and make a buck. It can be John SB Explosion, or Garth Brook - I don't think he cares. ... and I don't have any problem with that... Ranko ps. LW, ask him if there is a chance he can do some acoustic gigs with Kenny and him on guitars only. ========================================================================= Date: Thu, 18 Jan 1996 13:02:44 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Clarification re use of my name in connection with Handy Awards Barry Bean, whose wife is the editor of the program for the W.C. Handy Awards and who was himself a member of the Blues Foundation's Board of Directors for many years, wrote: >The nominators come from a list developed and compiled by the Blues Foundation over the past 15 years. Several notable 'zellers who have been on the list (and may still be on the list) include Dick Waterman, Richard Shurman, and Mary Katherine Aldin. They're pretty representative of the folks who are solicited to nominate for the Handys. Mary Katherine Aldin says: I consider this a *serious* misrepresentation of my "involvement" with the Handy Awards. I have only ever attended the Handys once, many many years ago, to present an award to my close friend Willie Dixon. I have *not* voted in the Handy Awards, either as a nominator or as an ordinary voter, in many many years. Yes, they MAIL me a ballot, but I do not return it! Why they keep mailing them to me, after I have asked them to stop doing so, is a puzzle to me. To say that "the nominators come from a list developed by the" etc. is a serious misrepresentation of the process. They can mail out their ballot to anyone they wishm but *those* *people* *do* *not* *necessarily* *participate* *in* *the* *selection* process*. For the record: I do note vote in the Handy Awards. I do not participate in their nomination or selection process. I have nothing whatever to do with the Handy Awards and have not done so for a long time. And also for the record: I have no affiliation with Living Blues Magazine either, although I do vote in their Critics' Poll. For a couple of years I assisted in compiling LB's Blues News section, but for personal reasons I stopped doing that this past November. Thursday, November 2, to be exact. Although my name appears in the staff box of their January/February issue, I don't know why, since nothing I wrote is in that issue. Mary Katherine Aldin ========================================================================= Date: Thu, 18 Jan 1996 16:08:25 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Son of GUITAR-L I posted earlier asking for a GUITAR-L address. Several of you have already e-mailed me asking that if I receive this address to please pass it along. I have not, however, received an address. Since the interest is there: if there *is* a GUITAR-L, please ignore my request for private e-mail and post the info here on BLUES-L. I'll bear the flames of "this is no blues content!!" so I don't end up overlooking someone who also wants the address. Thanks SO much! :) Shannon ========================================================================= Date: Thu, 18 Jan 1996 16:44:08 EST Reply-To: dgross@XCALIBUR.IINC.COM From: dgross@XCALIBUR.IINC.COM Subject: Blues Drummers... Huh, what? Did someone say drummers? I'm sure no one here remembers me from my previous blues-l incarnation, but I was the guy who always said "Yeah! What he said!" whenever John "Boogie Daddy" Wells was put in the situation to defend blues drummers. Glad to see that isn't necessary this time, as people are actually gushing over drummers. But to give each person their due, let's not forget the bassist as well. Band members can feel whatever way they want to about each other, but a bassist and drummer have really got to have chemistry -- musically, if not personally (not a problem for me: my bassist was the best man at my wedding last summer :-) -- for a band to work. They lay the foundation for the rhythm (and actually are in some cases -- like my band -- the entire rhythm), and if that foundation is weak, no amount of vocal, guitar, key, or harp talent can overcome it. So while we're giving the rare ovation to the drummers, let's also applaud the other oft-forgotten member. Let's hear it for the bassists as well! --Dan Gross (temporarily out of BLUES-L lurk mode) -- Dan Gross Programmer by day, drummer by night dgross@iinc.com http://www.iinc.com/~dgross ========================================================================= Date: Thu, 18 Jan 1996 17:03:29 -0500 Reply-To: Meadors From: Meadors Subject: Re: Blues Drummers... Comments: To: dgross@XCALIBUR.IINC.COM You wrote: But to give each person their due, let's not forget the > bassist ... I agree that the bassist is often overlooked. And truly, the communication between bass player and drummer needs to be tight. Butt, in the world of essentials and make do, I would still say a blues band CAN get by with a mediocre bass player but never a mediocre drummer (if they want to sound great or at least pretty damn good). So, the bottom line for me is, kill to get the right drummer if you have to ... and if your bass player is just basic, Mr. Average ... you can work around that ... Mike Meadors Orange2@gnn.com ========================================================================= Date: Thu, 18 Jan 1996 02:52:12 +0900 Reply-To: Toshiro Watabe From: Toshiro Watabe Organization: BEKKOAME//INTERNET Inc. Tokyo, Japan. Subject: I want to know about Otis Rush'new recording Comments: To: bit-listserv-blues-l@uunet.uu.net I want to know about Otis Rush'new recording. After"EIN'T ENOUGH COMIN'IN'. Is he making new album? ========================================================================= Date: Thu, 18 Jan 1996 22:28:41 GMT Reply-To: kjsand@AES.AES.UOKNOR.EDU From: kjsand@AES.AES.UOKNOR.EDU Organization: The University of Oklahoma (USA) Subject: Re: Whatcha listenin to besides blues? Comments: To: bit-listserv-blues-l@uunet.uu.net Andrew Gregg wrote: > > In article <01HZW04LIGCI002WLW@SCI.WFBR.EDU>, > "" wrote: > >As a matter of curiosity because I'm interested in you, my fellow blues-lers, > >and our parallel or divergent tastes in non-blues music, I thought I'd pose > >this query to youse guys who are less than totally hard core :) and DO in > fact > >listen to something else: > >Riffin Rick currently is getting into: Smashing Pumpkins > > Alanis Morrissette > > Green Day > > Harry Connick Jr. > > I currently am listening to: > > Ice Cube > Red Hot Chili Peppers > Richard Thompson > Presidents of the US > That band that sings 'Lets go smoke some pot' > Oasis > I have been listening to John Trudell (Native American Activist, at least in the past) who puts his poetry to music. His first album features deceased blues guitarist Jesse Ed Davis, a Kiowa from Lawton, Oklahoma, who played on some early Taj Mahal and also with John Lennon and Geo Harrison. Also he uses Kris Kristofferson, Jennifer Warnes, Jackson Browne as guests. > ********************************************************************** > * Andrew Gregg * * > * Dept of Primary * I see angels on Ariels * > * Industry * in leather & chrome * > * ooOO00OOoo * Swooping down from heaven * > * Email : * to carry me home * > * mpagregg@aries.dpi.tas.gov.au * * > * * - Richard Thompson * > ********************************************************************** ========================================================================= Date: Thu, 18 Jan 1996 17:27:14 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Son of GUITAR-L Comments: To: shannon_oconnor@SWPCO.COM On 18 Jan 96, shannon oconnor had this to say... > I posted earlier asking for a GUITAR-L address. Several of you have > already e-mailed me asking that if I receive this address to please > pass it along. I have not, however, received an address. Since the > interest is there: if there *is* a GUITAR-L, please ignore my request > for private e-mail and post the info here on BLUES-L. I'll bear the > flames of "this is no blues content!!" so I don't end up overlooking > someone who also wants the address. > > Thanks SO much! :) There does not appear to be a Guitar-L. However, I have found the following newsgroups. alt.guitar alt.guitar.amps alt.guitar.bass alt.guitar.lap-pedal alt.guitar.tab nctu.club.guitar rec.music.classical.guitar rec.music.makers.guitar rec.music.makers.guitar.acoustic rec.music.makers.guitar.jazz rec.music.makers.guitar.tablature tw.bbs.rec.guitar P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 18 Jan 1996 15:33:51 -0500 Reply-To: Greg Hermanns From: Greg Hermanns Subject: Re: Annual Blues-l Convention Sounds like a great idea,this Convention, and we've had some great suggestions. New Orleans at Jazz Fest is great, but its a zoo. I make it almost every year (standing invitation from friends). Middle of the USA is convienent. Several mini-conventions around the US is OK. ...I'm so damn easy, I'd chase it anywhere; however I know many have some kind of restriction. I like having the 'organizer' pick the locale....Looks like we might already have some corporate interest....Count me in. Greg Hermanns gregfh@tso.cin.ix.net ========================================================================= Date: Thu, 18 Jan 1996 22:45:06 GMT Reply-To: kjsand@AES.AES.UOKNOR.EDU From: kjsand@AES.AES.UOKNOR.EDU Organization: The University of Oklahoma (USA) Subject: Re: dfw only Comments: To: bit-listserv-blues-l@uunet.uu.net Don O wrote: > > If you're not in driving distance of Dallas/Fort Worth, please ignore. > There are perhaps 2 dozen folks or more that are directly affected by this, so > if you're in Guam or somewhere, just hit delete now. > > > After the 10 customer debacle last night at the Blue Cat I am going to give you > DFW blues-l'ers no excuse to miss a couple of other great shows coming up at > this venue. Doug Henry is just about the only Dallas area club owner that is > bringing in quality blues road acts. If we blues fans do not support that > policy, it will go away. Doug has some great shows coming in including: > > Percy Strother Jan 20 > W.C. Clark Jan 27 > Johnny Dyer Feb 1 (a Thursday) > Bob Margolin Feb 7 (a Wednesday) > BILLY BOY ARNOLD!!!!! Feb 13 (a Tuesday) > Tutu Jones Feb 15th (a Thursday) > Gary Primich Feb 23 > E.C Scott Feb 24 > SMOKEY WILSON!!!! March 8 > > These are all GREAT acts that YOU should see. I'll be at every one of these > shows. > > Every Sunday is the Big Cat's Blues Jam hosted by Gregg Smith. This jam > features some of the best talent from South Dallas. > > I am no way associated with the Blue Cat except that I go there A LOT as a > paying customer. I would like to see a few more warm bodies there when I do. > If 10 people show up to see people like Billy Boy Arnold I am going to be VERY > disappointed. > > Don O. Don O., can you tell me where the Blue Cat is located and how to get there if you're coming from the north (OKC) on I35? Also, do you know if Rick Holstrom is accompanying Johnny Dyer on this tour? ========================================================================= Date: Thu, 18 Jan 1996 16:51:40 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Barbara Jordan (was: Minnesota Fats has died) At 08:38 AM 1/18/96 -0800, Mary Katherine Aldin wrote: >Pool player Minnesota Fats, who Etta James states in her new biography >is her real father (obligatory blues content) died this morning. > >Mary Katherine Aldin > > Yes, I heard about Fats - both the Etta James story and the obit. More importantly, I think (and more tragically) was the death of Barbara Jordon - former congresswoman from Texas, and one of the two best, most powerful, most persuasive speakers I have ever heard (along with Dr. King). Her keynote speach at the 1976 Democratic convention blew me away. It really was a shame that her MS limited her political carear - and now leukemia, I hear, has taken her completely. Only the good, etc., etc., etc..... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Thu, 18 Jan 1996 16:51:43 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: BLIND WILLIE JOHNSON & THE VOYAGER SPACE CRAFTS At 03:46 PM 1/17/96 -0800, Eric LeBlanc-CISTI wrote: > On August 20th & September 5th, 1977, two extraordinary space probes called > Voyager I & II were launched to the stars. While perusing the list of songs included on the Voyager phonograph records, I was struck by the following: All of the music from the United States was by "minority" performers (read: non-white): Navajo Indians, Chuck Berry, Louis Armstrong, Blind Willie Johnson. I would hope there would have been consideration given to some country music - Carter Family, Jimmy Rodgers, etc. David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Thu, 18 Jan 1996 15:13:48 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Barbara Jordan (was: Minnesota Fats has died) Comments: To: David Silberberg David Silberberg wrote: >More importantly, I think (and more tragically) was the death of Barbara>Jordon - former congresswoman from Texas, and one of the two best, most>powerful, most persuasive speakers I have ever heard (along with Dr. King). > >Her keynote speach at the 1976 Democratic convention blew me away. It >really was a shame that her MS limited her political carear - and now >leukemia, I hear, has taken her completely. She had suffered from leukemia for some time, in fact I met her briefly at a hospital that specializes in cancer treatment. However, I understand that she actually died of pneumonia, because her system had been so weakened by the leukemia that she could not fight off the pneumonia. In any case, I agree that she was a vital figure who broke a lot of ground for women and women of color in politics. Mary Katherine Aldin ========================================================================= Date: Thu, 18 Jan 1996 18:22:58 -0500 Reply-To: NutMarie From: NutMarie Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Female blues/Koko's league Comments: To: bit-listserv-blues-l@uunet.uu.net Yes it is good, as good as it can get!!! Annette ========================================================================= Date: Thu, 18 Jan 1996 18:26:26 -0500 Reply-To: NutMarie From: NutMarie Organization: America Online, Inc. (1-800-827-6364) Subject: Re: BB Interactive CD Comments: To: bit-listserv-blues-l@uunet.uu.net Plese keep us informed!!!! Annette ========================================================================= Date: Thu, 18 Jan 1996 16:45:12 -0700 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: Whatcha listenin to besides blues? Comments: To: "" In-Reply-To: <01HZW04LIGCI002WLW@SCI.WFBR.EDU> Lots of Jazz mostly. Been picking up some excellent old Miles Davis rereleases. Just got some fresh stuff through Columbia House (special $2 sale) including "Miles Smiles" and "The Complete Concert 1964" by Miles and "The Thelonious Monk Quartet featuring John Coltrane" along with "Talking Timbuktu" with Ali Farka Toure and Ry Cooder and Neil Young's "Tonight's the Night." (Thank you David S.) (These are still unopened, btw. Later tonight!) My 15 year old daughter keeps me up on the latest sounds so I had to get PJ Harvey's "To Bring You My Love." Good listening to you all! Jay Watterworth (One of the Sociology guys) CU Boulder On Thu, 11 Jan 1996, wrote: > As a matter of curiosity because I'm interested in you, my fellow blues-lers, > and our parallel or divergent tastes in non-blues music, I thought I'd pose > this query to youse guys who are less than totally hard core :) and DO in fact > listen to something else: > > What modern artist(s) (and by that I mean new, hip '90s stuff....did I > say "hip"? ) are you slappin' on the cd player or turning up the radio for > when you're not listening to blues? > > Riffin Rick currently is getting into: Smashing Pumpkins > Alanis Morrissette > Green Day > Harry Connick Jr. > > By all means, hit the delete key if this non-blues thread annoys you. :) > > (((( > oo-) > /- > > > > > > F.J.(Rick)Miller > Senior Research Assistant, > & Marine Facilities Manager > Worcester Foundation for Biomedical Research > "Miller@Sci.WFBR.Edu" > *************************************************************************** > ========================================================================= Date: Thu, 18 Jan 1996 17:53:43 -0600 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: Blues Drummers... Comments: To: dgross@XCALIBUR.IINC.COM In-Reply-To: from "dgross@XCALIBUR.IINC.COM" at Jan 18, 96 04:44:08 pm In an earlier message, dgross@XCALIBUR.IINC.COM said: ] But to give each person their due, let's not forget the bassist as ] well. Band members can feel whatever way they want to about each other, ] but a bassist and drummer have really got to have chemistry -- musically, ] if not personally (not a problem for me: my bassist was the best man at my ] wedding last summer :-) -- for a band to work. They lay the foundation for ] the rhythm (and actually are in some cases -- like my band -- the entire ] rhythm), and if that foundation is weak, no amount of vocal, guitar, key, ] or harp talent can overcome it. As a recently un-mothballed guitarist, let me say, "Amen, brother!". A really good rhythm section makes it happen. I've struggled along woth a lamoid drum/bass combination, and NOTHING I did would make things happen...except maybe shooting both of them and whipping out the Dobro. ;) OTOH, I always found that a kickin' rhythm section enhanced my meager abilities and made magic possible. Personally, though, I think the chemistry is needed all around. If ya ain't part of the rhythm section, yer part of the audience. I'm gonna go home, crack a beer or three. later... -- * Billy Chambless | billy@cast.msstate.edu | voice: 601-688-7608 * Mississippi State University Center for Air-Sea Technology * "Watch your close friends baby, and your enemies can't do ya no harm..." ========================================================================= Date: Thu, 18 Jan 1996 16:56:45 -0700 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: What Album turned you on to the Blues? Comments: To: Keith Castleberry In-Reply-To: <199601120458.WAA21069@mako.atmore.gulf.net> Early Ray Charles and "Blues at Newport, 1963". Jay Watterworth CU Boulder On Thu, 11 Jan 1996, Keith Castleberry wrote: > Ok, you liked my last query so much...let's have another. > > Why the Blues? Tell us the First Album that you heard that turned you on to > the Blues....Mine....Johnny Winter - 2nd Winter...one of the best cross of > rock and blues EVER. Still a favorite on my show. Keith. Send responses to > Blues-L. > > Thanks, > > Keith Castleberry > ========================================================================= Date: Thu, 18 Jan 1996 19:11:15 -0500 Reply-To: ROBERT CRAFTON From: ROBERT CRAFTON Subject: Re: What Turned Me On To Blues Comments: To: PARRISHR In-Reply-To: <0fe6e360@vitro.com> On Thu, 18 Jan 1996, PARRISHR wrote: > I was sort of amused at the question "what album turned you on to > blues?" I got into blues as a tiny little kid through my mom's gospel > singer friends and through observing country blues players when my mom > took me along when she traveled on business. I learned about blues > right from the people themselves. I didn't even hear recorded blues > until I was a teenager. I feel very fortunate to have had this > experience. Nothing is more moving to me than a live, old-timey > acoustic country blues player. > What a great way to be introduced to the blues! Although I wasn't exposed to much blues until I was in my early twenties, I can really appreciate what you are talking about. I grew up with a bunch of old-timers who had a country jam session every tuesday across the street from me. When I was real young and had to go to bed at 9:00, I used to hang my head out the window to listen to the pickin' a little better. When I learned to play guitar, I got to go over a jam with them, and got my first exposure to Dobro and lap steel, eventually leading to slide guitar and pedal steel. Nothing beats sitting down with real people and playing! Crafty ========================================================================= Date: Fri, 19 Jan 1996 00:06:50 GMT Reply-To: Joe Lempkowski Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Joe Lempkowski Organization: Sun Microsystems Subject: Re: John Primer Comments: To: mjg@bradley.bradley.edu I've had this CD for quite a while. I like it a lot. John Primer is quite talented. He is an excellent guitarist and singer. He is also a pretty friendly guy. His Earwig recording received quite a bit of positive review from Living Blues and some of the other magazines. Although they were pretty rough on his cover of Rhinestone Cowboy, which I liked. My wife (who is a real Magic Slim-aholic) really liked this CD. I had a hard time getting away from her. She kept this CD at home and listened to it quite a bit. If it was on vinyl, she would've worn it out. Now when this happens I just buy two copies. ;-) His stuff is great. I buy almost any recording he appears on. He is a great talent. Joe ========================================================================= Date: Thu, 18 Jan 1996 17:21:47 -0700 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: The Site is in Sight Comments: To: Dick Waterman In-Reply-To: <960114022912_61133109@mail02.mail.aol.com> Could we cite you on that one? (Sorry for the lack of blues content. Not sorry for the pun.) Jay Watterworth CU Boulder On Sun, 14 Jan 1996, Dick Waterman wrote: > I hate to assume the role of giving grammar lessons to the Blues-L but this > one is driving me crazy. > When referring to a specific location, the word is SITE. When talking about > vision, the word is SIGHT. > Sorry, folks, I just couldn't keep letting it go back and forth like that. > > Dick Waterman > ========================================================================= Date: Thu, 18 Jan 1996 20:22:41 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: BB Interactive CD Comments: To: nutmarie@AOL.COM On 18 Jan 96, NutMarie had this to say: > Plese keep us informed!!!! > Well since it's going to be a while before I spend the dough it's gonna take to upgrade my computer, I'll share the tantalizing things it says on the package. Features: B.B. King is your personal guide Fully navigable 3D environments include: B.B.'s hometown in the 30's Beale Street Memphis - The birthplace of the Blues in the 40's B.B.'s own Blues club in L.A. Lucille's Place - A virtual museum for B.B.'s legendary guitar 3D rendered playable Lucille guitar with detailed descriptions and expert commentary from B.B. An airplane flyover where you will discover some of the great crossroads of B.B.'s life Included you'll find: More than 40 masterworks in song clips The definitive B.B. King discography The classic Bluesmen who influenced B.B. Footage of B.B. in concert with friends such as Bonnie Raitt, Eric Clapton,U2, Diane Schuur, Robert Cray, and others Over 100 rare photos of the Delta, B.B., and his friends Interviews and comments from blues and popular music stars on the impact of B.B. King as an artist and musical pioneer Disclaimer - I am not affiliated...blah...blah...blah P.W. Fenton Tampa, Florida Visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Thu, 18 Jan 1996 17:51:27 -0700 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: Tracy Nelson; was Re: Koko's League Comments: To: ghost In-Reply-To: <199601172303.SAA19116@endor.harvard.edu> I saw Tracy Nelson play in Denver last summer, opened for Leo Koetke. She was great, doing some good country (Nashville) blues. She can BELT a tune. She was also on the Praire Home Companion's New Years Eve program. Yes, I have the original "Mother Earth" lp. Guess that dates me. Jay Watterworth CU Boulder On Wed, 17 Jan 1996, ghost wrote: > >Date: Wed, 17 Jan 1996 14:48:45 CST > >Sender: Blues Music List > >From: Leonard Watkins > >Subject: Koko`s League > > >limited experience in mind..It's just my taste. I did not mean to come off as > >trashing any of the other nominees, epsecially Tracey Nelson, since I have no > >idea who she is.(I recall hearing her name, but didn't think she was blues) > >Please fell free to POLITELY educate me about Tracey Nelson, she may be someone > >I should be listening to. > > If you're familiar with the song "Down So Low"...well, Tracy Nelson wrote > it. And sings it like nobody else. And I love Ronstadt's version to > pieces, too, but... > > (Nelson sings it down-so a little lower than Ronstadt, for one thing) > > Is this a blues song? > Structurally, probably not, but its definitely in the right league. > > She sings a lot of straight blues, too. > Still going strong after all these years. > Her early records were "Tracy Nelson & Mother Earth", but don't let the > hippie-dippie name fool you. > ========================================================================= Date: Thu, 18 Jan 1996 19:53:10 -0500 Reply-To: Msbeale From: Msbeale Organization: America Online, Inc. (1-800-827-6364) Subject: Re: All The Handy Nominations (long) Comments: To: bit-listserv-blues-l@uunet.uu.net BBBean wrote: >Paid members of the Blues Foundation (annual membership - $35), >affiliated blues >societies, subscribers to Blues Access and Blues Revue all vote on the >final > ballot of the Handys. Key word: final ballot (not the first one). So, since I get Blues Access, there'll be a ballot in the next issue?? Will it be in the newstand version also??? >How would YOU do it? If polling people willing to spring a few bucks to >support > the blues, subscribers of two national magazines, affiliated blues >societies, > and a large panel of recognized blues authorities isn't an adequate >sample, >then how would you improve it? I'm confused. I thought only the Blues Foundation members and their carefully selected blues experts picked the nominees and THEN *everybody else* got to vote on those nominees. How would I improve it??? Well, I think I'd let a wider audience select the nominees AND the winners. All I'm saying is, you've got a small group determining who the larger group votes for. If it's too complicated to let a wider audience vote in both rounds, I think I'd prefer to see it turned around the other way. >>Now, my real beef with this year's Handy's. I think that Albert Collins' >>"92-93" and Coco Montoya's "Mind to Travel" should have been in the >>reissue category. While they are indeed great recordings, they are not >>*new* blues albums. >Boy, that blows the boat out of the water. While I'm not familiar with >the two >specific recordings mentioned, an album is new if it has not been >released > previously, regardless of when the recording took place. Correct me if I'm wrong, but I believe the Coco Montoya CD was first released in 1989 on Silvertone in Germany. Blind Pig simply picked up the rights to release it in the US and *boom* there you have it, a NEW CD!!! Not sure about the Albert Collins 92-93, but it's certainly not a recording made in 1995 and I think it's unfair to artists that released new material in that year to miss out because someone found some tapes in a vault and decided to release them. Just my humble opinion. Flame away! ms beale st. "I ain't lyin'!" -Albert King ========================================================================= Date: Thu, 18 Jan 1996 19:34:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Little Mack Simmons I'd rank the Little Mack Simmons CD from enjoyable to very good. I think it's a domestic release, as the label owner, George Paulus lives in the US, probably Chicago - so, as I am still at work (my car doors are frozen shut and my son is on the way with the de-icer) and don't have the CD before me I can't say for sure. I just learned that Jimmy Dawkins is playing with the Eddie Shaw band where he comes here Saturday night. I guess he's been in Europe and his band is temporarily dissolved, for lack of a better word. -Bonnie ========================================================================= Date: Thu, 18 Jan 1996 20:55:11 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: The Blue Highway Photos The page counter's kinda low on this one since I put 'em up the other day. Next time you out browsing, come on by Torston's Gallery to see 21 very excellent 1970's concert photos (in gif and jpeg) taken by Swedish photographer Torsten Stahlberg. It's at: http://www.vivanet.com/~blues/gallery.html Here's the line-up: Buddy Guy and Junior Wells, Albert King, Fenton Robinson, Professor Longhair, Koko Taylor, Johnny Mars, Lightnin Hopkins, Clifton Chenier, Cousin Joe, Otis Rush, Johnny Shines, Jimmy Johnson, Lefty Dizz, Willie James Lyons, J.B. Hutto, Eddie Boyd, Jimmy Rogers, Roy Brown, John Mayall, Son Seals, and Lacy Gibson and A.C. Reed. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Wed, 17 Jan 1996 15:56:18 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Little Mack Simmons I've been reading raves about the new Little Mack Simmons CD, "High and Lonesome" on the St. Georges label. I saw the track listing and it seemed that it had a bunch of well-worn covers on it, but according to the reviews the band is supposed to be smokin' on this one, with a great "early 50s Chicago" sound. Has anyone heard it yet? Is this an import only? -Peter ========================================================================= Date: Thu, 18 Jan 1996 22:53:26 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: Guy Davis Comments: To: Mike Shannon In-Reply-To: <199601181705.JAA20523@ix10.ix.netcom.com> I've seen him act and play guitar. He's fairly young (40 I would guess) and has a supple voice and excellent guitar skills. He put on a one-man show telling folklore stories interspersed with blues music. Son of Ossie Davis and Ruby Dee. I got to meet him--a nice guy. He plays regularly on Bleeker Street at Terra Blues in Manhattan. Jim Leftwich On Thu, 18 Jan 1996, Mike Shannon wrote: > I happened to catch a couple tracks off this guys album today and I > was impressed. He plays unaccompanied acoustic, Delta blues, and he is > good. > > I never heard of him before. Anybody know anything about him? > > Mike > ========================================================================= Date: Thu, 18 Jan 1996 18:02:42 -0500 Reply-To: David Goldstein From: David Goldstein Subject: Otis Rush, Blues Revue, Delmark I just read Otis' interview and he said that someone at Delmark is putting out some terrible recordings from his Japan '75 tour. He said that this new stuff is being put out as So Many Roads, when there is another LP already out with the same name. Do I have my facts straight? I thought I read some really good reviews of this So Many Roads Live In Concert CD. ========================================================================= Date: Thu, 18 Jan 1996 22:59:04 PST Reply-To: mail06702@pop.net From: "(Dave Ruthenberg)" Subject: Gary Moore/Peter Green If anybody is interested, there is a nice piece on the Web on Gary Moore that was taken from Guitar Techniques Magazine. It includes some new information on Peter Green and some cool photos too. The address is: http://www.musicians-net.co.uk/GT/Gary_moore.html Dave Ruthenberg ========================================================================= Date: Fri, 19 Jan 1996 04:00:43 GMT Reply-To: David Poole From: David Poole Organization: Peidmont Blues Preservation Society Subject: Re: SRV clones Comments: To: bit-listserv-blues-l@uunet.uu.net Chris Duarte might be a clone of SRV. He is adding cause he's progressing. Check out Corey Stevens Blue Drops Of Rain. He's heavily influenced by SRV. But I can say that he's also influenced by alot of others. Great stuff. He's carrying SRV's torch! Check him out. ========================================================================= Date: Thu, 18 Jan 1996 23:54:30 -0500 Reply-To: Philip and/or Carol Decker From: Philip and/or Carol Decker Organization: Net Sarasota Subject: Re: The Twist (was "On This Day") Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199601131534.KAA12332@osceola.gate.net> "P.W. Fenton" writes: > [snip] > This day in 1962 saw singer, Chubby Checker set a record, literally, > with the hit, "The Twist". The song reached the #1 position for an > unprecedented second time -- in two years. "The Twist" was also > number one on September 26, 1960. The Philadelphia boy made good > twice! > [snip again] Since we're already off topic (and I didn't start it) I'd like to roll with this one a little further... I've heard both CC versions of "The Twist" on the radio within the last year. One has exceptional drumming, while on the other the drumming's pretty average. Would anyone happen to know who the good drummer was? (I'm thinking someone like Hal Blaine). PJD ========================================================================= Date: Fri, 19 Jan 1996 00:08:41 EST Reply-To: MB6254@ACSPR1.ACS.BROCKPORT.EDU From: Mark Baker Subject: Re: BLUES L: Re: Blues Drummers... This whole blues drummer thing has gotten out of hand. It takes a whole band of talented players to make good music. I don't know anyone who would go see a blues band just because the drummer was good. The really good bands are made of good players. You can't have one weak player, because you are only as strong as your weakest link. A hot band with a horrible singer isn't going to go anywhere but into obscurity. Quibbling about which member is most important is ridiculous. Try taking someone out and playing a gig if you don't believe me. Mark Baker ========================================================================= Date: Fri, 19 Jan 1996 00:16:10 EST Reply-To: MB6254@ACSPR1.ACS.BROCKPORT.EDU From: Mark Baker Subject: Re: BLUES L: Re: SRV clones As far as SRV clones, the thing to remember is that with Stevie dead the record companies have to fill a gap. Sure, alot of guys listened to SRV and were influenced by him, but it isn't as if they never picked up an instrument until after his death. They probably listened to the same guys Stevie did. The record people are trying to find someone who can cash in on SRV's rising popularity at the time of his untimely demise. If he were still alive, we may not have heard Chris Duarte for a while. Mark Baker ========================================================================= Date: Thu, 18 Jan 1996 18:31:27 -0500 Reply-To: NutMarie From: NutMarie Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Blues with feeling: How about Santana? Comments: To: bit-listserv-blues-l@uunet.uu.net I am a BLUES FAN and love it. I have always liked Santana. I saw him in concert about 2 weeks ago and yes he can make you WEEP. He's wonderful! I think if I had to pick someone out of the main stream of the blue to bring in he would be the one. Annette ========================================================================= Date: Thu, 18 Jan 1996 23:56:19 -0700 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: What Turned Me On To Blues Comments: To: PARRISHR In-Reply-To: <0fe6e360@vitro.com> The way I got into the blues at an early age back in the early 60's was that window on the world I received for my 14th birthday, your basic AM radio. With that I could escape my Michigan home and travel to Nashville via WLAC. Thanks to Earnie's Record Mart and Royal Crown Hair Products. Those were wonderful voyages. Jay Watterworth CU Boulder On Thu, 18 Jan 1996, PARRISHR wrote: > I was sort of amused at the question "what album turned you on to > blues?" I got into blues as a tiny little kid through my mom's gospel > singer friends and through observing country blues players when my mom > took me along when she traveled on business. I learned about blues > right from the people themselves. I didn't even hear recorded blues > until I was a teenager. I feel very fortunate to have had this > experience. Nothing is more moving to me than a live, old-timey > acoustic country blues player. > ========================================================================= Date: Wed, 17 Jan 1996 23:24:27 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: BLUES L: Re: SRV clones Mark Baker wrote: > The record people are trying to find someone who >can cash in on SRV's rising popularity at the time of his untimely demise. >If he were still alive, we may not have heard Chris Duarte for a while. I don't haven't heard Chris Duarte yet but it's the fact that people are buying records by KWS etc. that disturbs me. If you have followed the thread from the beginning you would know my position and after doing the clone thing here (and on Texasflood) I'm bowing out of this debate. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Fri, 19 Jan 1996 07:42:58 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Muddy & Otis Comments: To: bit-listserv-blues-l@uunet.uu.net Leonard Watkins wrote: > >Once again I read in Charles Shaar Murray's Cd Guide, that Otis and Muddy >are half brothers. So I ask all you gurus again: Isn't this a rumor and >100% not true... > >While I'm talking about the book, is BB King's father's name Albert...? >AS in ALbert King...? > >LW LW, Neither is true. Also, Albert King, Freddie King and BB King are not related in any way (other than by way of Adam and Eve), and AC Reed is not related to Jimmy Reed, either. AND...I've never run across any "Junior"'s, such as Howlin Wolf, Jr., Muddy Waters, Jr., Elmore James, Jr. , etc., who is related, or even has much to do musically with his namesake. Scott ========================================================================= Date: Fri, 19 Jan 1996 07:48:00 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Otis Rush, Blues Revue, Delmark Comments: To: bit-listserv-blues-l@uunet.uu.net David Goldstein wrote: > >I just read Otis' interview and he said that someone at Delmark is putting >out some terrible recordings from his Japan '75 tour. He said that this new >stuff is being put out as So Many Roads, when there is another LP already >out with the same name. > >Do I have my facts straight? > >I thought I read some really good reviews of this So Many Roads Live In >Concert CD. David, You have your facts straight, but I'm afraid Otis does not. The "So Many Roads" just released on CD by Delmark is a reissue of the original vinyl album they released in the '70s. I've got both, and they're the same (although there might be a previously unissued track or two added to the CD version--I'd have to check it again, and it's not handy right now.) Scott ========================================================================= Date: Fri, 19 Jan 1996 09:47:21 GMT Reply-To: sylviap@cartermill.com From: "sylviap@cartermill.com" Subject: Re: Koko plays no instrument Comments: To: ISTS024 Message to who thinks the voice is not an instrument. I gota say that I can't belive what I red!!! HOw could we say a voice it is not an instrument? Do you think it is easy to sing? The voice, for singers, is a gift offered by God!!!! It is somthing you have deep inside, which comes naturally. There is no need to learn for singing. Of course you may learn about theory which can be useful but you can learn to someone who sings as a Donkey, to sing like Koko, Etta, etc...but everyone of us, with a lot of will, can learn of an instrument!! I spoke like that because I am a singer, amateur of course, but I am a singer, and I am proud to sing only with my voice. Sometimes, with my musicians, I am frustated because I can play an instrument (this would be a final realization in the music), but told me the most beautiful compliment they told to me was: "We would like to have a natural instrument as your, look at us, to express ourself we need our instrument, but you, you can express yourself anywhere, only with your voice". God gave me more than a gift, because I am white, and it is said I have a voice of a black woman, and for a white it is a great gift!! So, please give up thinking that a voice it is nothing but a voice! (sorry for my english) God bless Sylvia ========================================================================= Date: Fri, 19 Jan 1996 10:01:18 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Robert Covington Thanks to Dick for the info. Actually, Michel Lacocque (manager of Mississippi heat and Brother of harmonica player Pierre Lacocque) called yesterday evening (European time) to inform Belgian people from the death of Robert covington (kidney problems). Robert was a nice drummer and a great singer . His "Golden Voice Of Robert Covington" Red Beans LP (now on Evidence CD) is indeed a nice place to hear him. While I write this I'm listening to the opening tune "Lovin You" of first Cd of MISSISSIPPI HEAT where Robert Covington was playing drums and sings on a few tunes (including this one). For information, this first album is apparently again avaible and is highly recommended (note: Deitra Farr was not yet in the band) STIGHT FROM THE HEART (VANDERLINDEN RECORDS VR100) can be obtained by mail from Michel Lacocque, , 5331 S.Greewood, Chgicago, IL 60615. Jean-Pierre "Young Man" Urbain P.S. Not affiliated, just (OK, that's not new :-) a great supporter of Mississippi Heat, one the VERY BEST band around! ========================================================================= Date: Fri, 19 Jan 1996 09:25:54 GMT Reply-To: tdevit3@NEWS-S01.NY.US.IBM.NET From: tdevit3@NEWS-S01.NY.US.IBM.NET Subject: Re: Valerie Wellington, Million $ Secret Comments: To: bit-listserv-blues-l@uunet.uu.net I don't know what the cost of a 5 min.long distance call from the US to NZ would be, but for that cost you can sample 6 * 45 second sound bites from this fine album by calling 64-9-3733456, press # during the spoken intro and enter 0703 when prompted for an album code...press 5 to repeat, 4 for previous track, 6 for next...no charge other than the long distance call. ========================================================================= Date: Fri, 19 Jan 1996 10:11:09 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: John Primer / Little Mack Simmons I already mentioned it here about 10 days ago, but the McSimmons Cd is (IMHO) a very good set if you dig the great true Chicago sound of the 50's. ST GEORGES 7704 LITTLE MACK SIMMONS CHICAGO BLUES BAND: High and Lonseome featuring excellent Big Mojo Elem and Studebaker John. St Georges is indeed based in Chicago. If you liked the Big Mojo Elem CD on the same label (Like I did!) then you can really check this one! For people interested in Mack Simmons' recordings, Bill Rowe from the Uk is compiling a complete discography (He sent me a preliminary draft of it, and it is really a great impressive piece of work!) of him which will be published in the next issue of CAREER DISCOGRAPHIES, a publication I already alked about here which is highly recommended. w.r.t. John Primer, I'd like indeed to recommend his brand new CD which is agan a excelent piece of real Chicago blues: CODE BLUE 108382 JOHN PRIMER : The Real Deal As I'm a big fan of Primer I can't say if it's better or not than the Wolf stuff (but I would say it is somewhat better than his nevertheless very enjoyable Earwig CD), but it is a highly recommended album from one of the best and most overlooked Chicago bluesman around. Check out Joel Slotnikoff's hompage BLUES WORLD for a BLUES & RHYTHM review of this CD. Jean-Pierre "Young Man" Urbain ========================================================================= Date: Fri, 19 Jan 1996 09:41:10 GMT Reply-To: tdevit3@NEWS-S01.NY.US.IBM.NET From: tdevit3@NEWS-S01.NY.US.IBM.NET Subject: Re: Valerie Wellington, Million $ Secret Comments: To: bit-listserv-blues-l@uunet.uu.net For the cost of a 5 min.long distance US-NZ call (may be prohibitive.. I don't know the cost) you can sample 6*45 sec.sound bites of this fine CD...call 64-9-3733-456, press # during spoken intro and enter 0703 when prompted for album code...6 for next track, 5 repeat, 4 previous...NO charge other than the long distance call. ========================================================================= Date: Thu, 18 Jan 1996 14:46:00 PST Reply-To: Doug Cox From: Doug Cox Subject: Roots Concerts in Victoria, BC Roots Invasion... by Doug Cox Ellen McIlwaine at Java Coffeehouse in Victoria Friday, Feb. 9 David Grier at the Bar None in Courtenay Friday, March 1st David Grier at Java in Victoria Saturday, March 2 David Grier at The Sussman's House in Duncan Sunday afternoon, March 3 (call 715-1131) Bill Bourne and Shannon Johnson at Java in Victoria Saturday, March 16 There is an invasion of 3 of the finest "roots" music acts coming to the island over the next two months!If you are a fan of good acoustic blues, bluegrass or a mixture of the two, you won't want to miss these shows. First up, is one of the inventors of modern slide guitar and a very fine singer to boot; Ellen McIlwaine. Born in Nashville, Ellen's missionary parents took her to Kobe, Japan, at the age of two. Fifteen years in Japan left Ellen with two mother tongues and a graduation certificate from a Canadian School. She listened to Japanese, Classical, Latin, Country and Western and the New Orleans flavor of Ray Charles, Professor Longhair, and Fats Domino - all on Japanese and/or U.S. Armed Forces radio. You can hear the influence of all these styles of music in Ellen's own, totally unique style! After a brief stint in Tennessee and Georgia, Ellen was drawn to Greenwich Village - the spawning ground for many performers. Ellen appeared with Muddy Waters, Richard Pryor, Elvin Bishop and John Hammond, who had a brilliant young guitarist in his band, Jimi Hendrix. Ellen and Jimi played together at her house gig at the Cafe Au Go Go for a month. Then Jimi left for England to form the Hendrix Experience, leaving a lasting impression on Ellen's music. The later half of Ellen's career has just as many impressive stories, including 9 albums and performances around the world! The next show to hit the island, and one not to be missed, is flatpicking genius David Grier. David has become the studio guitarist in Nashville over the last few years. Any of you guitar players out there who want to learn something about modern flatpicking don't want to miss seeing David play. He won the Guitar Player of the year award 3 years in a row from the International Bluegrass Music Association beating out the legends of guitar including Doc Watson, Norman Blake, Tony Rice and Dan Crary! Grier is one of the new inventors of modern acoustic music, often playing in the company of the acoustic greats such as Tony Trischka, Mark O'Conner, Jerry Douglas, and Mike Marshall, just to name a few. Banjo god Bela Fleck says this about David Grier : " One of the things that makes Grier unique is an ability to integrate those elements of the great acoustic guitarists who came before him, and add to them, making his own musical statement while carrying on the tradition." I can't think of a higher recommendation then that!!! There is something magical when two performers voices come together so well that you can actually hear a third part in the overtones of what is being sung. Bill Bourne and Shannon Johnson are full of such magic. Bill is a two time Juno Award winner for best traditional/roots album in 1990 and 1991. He has toured across the States, Europe and Canada as a solo artist, with his old partner Alan Mcleod in Bourne and McLeod and with Scotland's premier Celtic band The Tannahill Weavers.His songwriting reflects the best of contemporary Canadian Folk music and his musical partnership with violinist Shannon Johnson is a match made in heaven. Their first album "Dear Madonna", released last year, was my favorite release of the year and I was excited to hear that they are about to release a new cd. These two performers are the closest thing to real troubadours that we have in our current Canadian culture.They perform with an unusual spirit and honesty . I have had the good fortune of seeing Bill and Shannon play many times together and their show is always 100% music regardless of if they are playing for 2 people, or on a major festival stage. Doug Cox http://www.islandnet.com/~dobro ========================================================================= Date: Fri, 19 Jan 1996 07:01:34 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: NY CD Blues - coming .... For anyone interested here is what's planned in reviews ... RNA Booking - includes 3 Handy Nominees Biograph - 14 aces up CD's - plenty of acoustic material Vent - Excel small label, hard working, deserves attention Modern Blues - 6 CD's with more planned Alligator - need I say more Wolf - 23 reviews done so far includes 1 amazing Gospel CD NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Wed, 17 Jan 1996 19:31:13 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Organization: IQuest Internet Services Subject: Blues hero look-alikes Comments: To: T-Bone ============If they make a movie about Howlin' Wolf, he MUST be played by Charlotte Hornets player Larry Johnson. Those two HAVE to be related.===== Along the same lines, check out the early photo of Muddy in the recent Blues Revue X-mas issue and see if the Milwaukee Buck's Glenn Robinson isn't a dead ringer for him. Also, the San Antonio Spurs David Robison looks just like his namesake Ray Charles (Robinson) did at a young age.. Can anybody think of others??? RJ Bauman ========================================================================= Date: Sat, 20 Jan 1996 00:22:26 GMT Reply-To: Andrew Gregg From: Andrew Gregg Organization: Department of Primary Industry Subject: Subscription Blues Hello All, Ive been a passive/lurking member for around 12 months now, but have been getting my access via the newsgroup mirror. Ive found that there is a bit of a delay in getting the news, so I'm going to try to go to mail access. I cant remember the commands & if I remember rightly I had problems in gaining membership. I'd appreciate any help. Thanks Andrew ********************************************************************** * Andrew Gregg * * * Dept of Primary * I see angels on Ariels * * Industry * in leather & chrome * * ooOO00OOoo * Swooping down from heaven * * Email : * to carry me home * * mpagregg@aries.dpi.tas.gov.au * * * * - Richard Thompson * ********************************************************************** ========================================================================= Date: Fri, 19 Jan 1996 07:57:59 -0500 Reply-To: Meadors From: Meadors Subject: Re: BLUES L: Re: Blues Drummers... Comments: To: MB6254@ACSPR1.ACS.BROCKPORT.EDU You wrote: > Quibbling >about which (band) member is most important is ridiculous. If you read the original post, the comment was that blues drummers don't get enough credit, not that they are the entire reason a band sounds good or not. All things equal (there are tons of great harp players and guitarists), the one thing that I've noticed is that the drummers make the difference between a great and a mediocre band. Try taking > someone >out and playing a gig if you don't believe me. I've been playing gigs for over twenty years, thank you. My biggest complaint is the lack of blues drumming ability available. Ask any blues band leader and you'll find that, like P.W. Fenton said (I believe), everybody can be replaced in a second -- but where can you find another good blues drummer when you need one? The topic was very appropriate for discussions relating to creating blues music. Mike Meadors Orange2@gnn.com ========================================================================= Date: Fri, 19 Jan 1996 08:03:36 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: The Twist (again) Philip and/or Carol Decker submitted: >In article <199601131534.KAA12332@osceola.gate.net> "P.W. Fenton" writes: >> [snip] >> This day in 1962 saw singer, Chubby Checker set a record, literally, >> with the hit, "The Twist". The song reached the #1 position for an >> unprecedented second time -- in two years. "The Twist" was also >> number one on September 26, 1960. The Philadelphia boy made good >> twice! >> [snip again] > >Since we're already off topic (and I didn't start it) I'd like to >roll with this one a little further... > >I've heard both CC versions of "The Twist" on the radio within the >last year. One has exceptional drumming, while on the other the >drumming's pretty average. Would anyone happen to know who the >good drummer was? (I'm thinking someone like Hal Blaine). >PJD Beef Stew Adds: The original version of The Twist was recorded on Nov.11, 1958 (I was 7!) and reached #16 on R&B and #28 on Pop charts. It was done by Hank Ballard and The Midnighters. When Chubby covered it in 1960 it reached #2 on R&B and #1 on Pop. *********************************************************************** ========================================================================= Date: Thu, 18 Jan 1996 23:25:08 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Clarification re use of my name in connection with Handy Comments: To: bit-listserv-blues-l@uunet.uu.net In <199601182102.NAA12553@ix2.ix.netcom.com>, Mary Katherine Aldin writes: >>The nominators come from a list developed and compiled by the Blues >Foundation over the past 15 years. Several notable 'zellers who have >been on the list (and may still be on the list) include Dick Waterman, >Richard Shurman, and Mary Katherine Aldin. They're pretty >representative of the folks who are solicited to nominate for the >Handys. >Mary Katherine Aldin says: >I consider this a *serious* misrepresentation of my "involvement" with >the Handy Awards. >I have only ever attended the Handys once, many many years ago, to >present an award to my close friend Willie Dixon. >I have *not* voted in the Handy Awards, either as a nominator or as an >ordinary voter, in many many years. Mary - accept my apology for assuming you had returned a ballot or two along the way, but I am a bit taken back by your vehement objection to being mentioned as someone who was on a list. I assumed you had returned nominations on occasion, and would have sworn that you once were associated with the Blues Foundation. This is clearly an error on my part. I suppose this seemed a safe assumption given that you had taken the time to contact me on occasion with input on other awards the foundation awarded (specifically the Keeping the Blues Alive Awards) and seemed genuinely interested in recognizing those due recognition. Yes, they MAIL me a ballot, but I >do not return it! Why they keep mailing them to me, after I have asked >them to stop doing so, is a puzzle to me. To say that "the nominators >come from a list developed by the" etc. is a serious misrepresentation >of the process. They can mail out their ballot to anyone they wishm but >*those* *people* *do* *not* *necessarily* *participate* *in* *the* >*selection* process*. While I appreciate now that you are for some reason opposed to having anything whatsoever to do with the Handy Awards, I want to assure you that the majority of nominators do not consider the process an affront and do, in fact, return ballots and nominating forms. I mentioned your name in conjunction with Dick Waterman, and Richard Shurman primarily as an example of the type of people the list is composed of. If you, Dick, or Richard take umbrage to that, let me again apologize for suggesting any connection whatsoever between you and the Blues Foundation. Let me further remark that my comments are based purely on recollections from my tenure as a board member of the Blues Foundation and that I personally have no formal connection to the foundation. My wife does produce their annual contest and the W.C. Handy program, but I take pains to remain at arm's length. Good grief, BBB - B.B. Bean bbbean@cris.com http://www.cris.com/~Bbbean - ========================================================================= Date: Fri, 19 Jan 1996 08:07:08 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0066 From: "DUTTWEILER.J" Subject: Re: Otis Rush, Blues Revue, Delm Date: Friday, 19 January 1996 8:06am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: Otis Rush, Blues Revue, Delm In-Reply-To: The letter of Friday, 19 January 1996 4:02am ET Just happened to have brought "So Many Roads" with me to listen at work. Unfortunately there really is not much information on the CD package about original issue date, etc. The liner notes on the inside, however, are by Steve Tomashefsky dated 1978. The recording was made in Japan on July 20 & 29, 1975. The tracks, in order, are: Introduction; Will My Woman Be Home Tonight; Everyday I have the Blues; I Can't Quit You Baby; Crosscut Saw; Looking Back; Chitlins Con Carne; I've Got News For You; Mean Old World; All Your Love; So Many Roads; Gambler's Blues; Three Times A Fool. In my opinion there is not a weak selection of the bunch, each features a vocally, as well as instrumentally, strong and moving Otis. If you like "Cold Day in Hell," which is my favorite Otis Rush studio album (my apologies to those who like RP,WT the best), you will thoroughly enjoy "So Many Roads." As a side note, I believe NYCD Blues did a review of this CD and posted on the list a few months back. Also, both Living Blues and Blues Revue have printed very favorable reviews. When I read Otis' comments in BR I was also surprised, but thought he was, perhaps, mistaken - would have been a good place of an editor's note clarifying the issue. Ah well... Jon (So many roads, so many trains to ride...) Duttweiler ========================================================================= Date: Fri, 19 Jan 1996 08:28:16 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Peter Green/Rattlesnake Guitar Has anyone heard the disc Rattlesnake Guitar, The Music of Peter Green? It's a 2 disc album with 29 tunes performed by the likes of Larry McCray, Savoy Brown, Rory Gallagher, Harvey Mandel to name only a few. IMHO it's a beautiful album musically, and would be a welcome addition to a Blues radio show as well as a home collection. Its on Viceroy (VIC2-8021) Viceroy Entertainment Group 547 West 27th Streeet 6th Floor New York, NY 10001 212-465-2357 Beef Stew WCCC Radio Hartford, CT *************************************************************************** Why do Kamikaze pilots were crash helmets? ========================================================================= Date: Fri, 19 Jan 1996 07:34:35 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: Music Memories 01/20 M U S I C M E M O R I E S: 01/20 YOU ARE MY DESTINY PAUL ANKA 1958 01 20 MAGIC MOMENTS PERRY COMO 1958 01 20 26 MILES FOUR PREPS 1958 01 20 WAITIN' IN SCHOOL RICKY NELSON 1958 01 20 STOOD UP RICKY NELSON 1958 01 20 GET A JOB SILHOUETTES 1958 01 20 WITCHCRAFT FRANK SINATRA 1958 01 20 WHERE HAVE ALL THE FLOWERS GONE KINGSTON TRIO 1962 01 20 CHIP CHIP GENE MCDANIELS 1962 01 20 THERE IS THE DELLS 1968 01 20 (THEME FROM) VALLEY OF THE DOLLS DIONNE WARWICK 1968 01 20 LOVE TRAIN THE O'JAYS 1973 01 20 WHAT A FOOL BELIEVES DOOBIE BROTHERS 1979 01 20 ========================================================================= Date: Fri, 19 Jan 1996 13:41:00 GMT Reply-To: Mr G M Smith From: Mr G M Smith Subject: HOWLIN' WOLF IN MOJO I've just read the Howlin' Wolf feature in UK's "Mojo" magazine, and those of you in the US should beg,borrow or steal a copy. YOU NEED THIS! Fascinating stuff giving a good insight into his early years,his relationships with those who played with him and the (in)famous London Sessions. Insights also into the "education v. naivety" debate and progressing Blues without losing track of the roots. Essential. Also,just after Xmas I picked up "Blues For Thought" by ex Cooder singer,Terry Evans. Iknow it's been out for a good while,but if you don't have it,do check it out. It features a good deal of Cooder's guitar,about which I don't think I need to comment,and is produced by him. Boy,does that guy know how to work a studio in such a way as to get a fine,natural sounding performence on tape. Yours, Garry Smith. ========================================================================= Date: Fri, 19 Jan 1996 08:56:31 EST Reply-To: ron kraemer From: ron kraemer Subject: Jimmy Rogers recommendations? I was listening to a Jimmy Rogers disc last night called "Ludella", with a mix of live and studio cuts on it. Kim Wilson had a big hand in it. I really like Jimmy's style. Solid "Chicago-style" blues, with just enough swing mixed in for my tastes. I don't have the disc at work or I'd list the musicians. I know it includes some of Muddy's old band on the live cuts, and some local (Texas) musicians on the studio. Kim, of course, blows some tremendous harp. What Jimmy Rogers albums are YOUR favorites? Any I should stay away from (though I can't imagine that happening)? Any "RUN/DON'T WALK" standouts? Many thanks. Ron (an instant Jimmy Rogers fan) ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters (and in another life....) Ron Kraemer and the Hurricanes ************************************************************ ========================================================================= Date: Fri, 19 Jan 1996 09:22:48 -0500 Reply-To: Stephanie Manna From: Stephanie Manna Subject: Big Jack Johnson/Sarasota,Fl. Big Jack Johnson will be at The Five Oclock Club,Sarasota,Fl. on January 28 & 29. If you are a musician and want a chance to jam with the Big guy...Sunday the 29th is a jam and your chance. Monday he will perform the whole night and little ole Sarasota is looking forward to it. Five Oclock Club 1930 Hillview St Sarasota,Fl 813-366-5555 ========================================================================= Date: Fri, 19 Jan 1996 08:24:51 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Ellen Mcllwaine Comments: To: dobro@ISLANDNET.COM I saw Ellen the first and only time at the Cedar Culutural Center in Minneapolis last year. Lee Tedrow, a really gifted bluesman from the local area opened for her playing his National steel guitar. Only about 11 people showed up for this gig. My friend Gib and I were there, and Ellen came on, didn't even do a double take that only 11 people were sitting in the whole CCC. Went into a dynamite show i'll never forget. This woman has a great sense of humor. Kind of comes across both tough and warm at the same time. She had been billed as a student of Jimi Hendrix. Her playing actually does reflect a lot of Hendrix influence. Again, Delta doc roger is not known for being into electric blues, but Ellen is one definite "don't miss this" type of show. She sings great too! regards, delta doc roger ========================================================================= Date: Fri, 19 Jan 1996 08:31:23 CST Reply-To: ISTS024@UABDPO.BITNET From: Leonard Watkins Subject: Johnnie Billington interview First of this was a strange interview and I didn't do justice to Mr. Billington, but at least it shows what he doing for the kids and the blues LW Copyright 1996 Leonard Watkins (non-profit organizations feel free to use it) ______________________________________________________________________________ Johnnie Billington At the 1995 Sunflower Festival I was blown away by many things. One that really impressed me was Johnnie Billington's Kids. These are elementary students that have been taught to play by Billington. One of the other highlights was a great band, Arthniece "Gas Man" Jones and the Stone Gas Band, who are former students of his. Billington could have been a well known blues performer, as he has played with some of the greats. He chose to teach the next generation the blues instead. He was reluctant to talk of his own career, but eager to talk about the kids. I look forward to being at the 1996 Sunflower Festival. I hope to see you there. LW: How did you get started playing blues JB: I got a guitar when I was around nine years old. I used to listen to a show called "The King Biscuit" show on the radio. LW: Who were some of the guitar players you heard that influenced you JB: Well when I was young, I didn't know who was the peoples that were playing. The program was called "The King Biscuit Show", being a kid I didn't know who they were. I just tried to learn from the music that they were playing at the time. Later on , as I grew up, I learned quite a few old songs. I don't who recorded them, or was doing them at the time. Then a man heard me playing , sitting around on my porch at my house. He asked me did I want to play at, what we call a "jook joint". So I started playing for him for 20 dollars a night, but I only worked one night a week. A band called "Scott Jr." came through there one night and I was playing by myself. They asked me if I wanted to join their band. They said they'd pay me the same that I was being paid. Then some times we play two nights a week. LW: Didn't you play some with Elmore James JB: I did, but that was in Chicago. In the late fifties, just about all the blues musicians, left the south and moved to Chicago. I went out west to Arizona and then wound up in Chicago. That's when I run into Elmore James. When I got there Elmore James lived down the street from my uncle. I played some with Elmore and played some with Muddy Waters. That was all in Chicago. LW: Do you have any recordings out. JB: No, the only recording I've done, is through the Delta Blues Museum. I really didn't want to get in to recording. I wanted to pass the heritage down to the younger generation. If you get with a record company, you have to deal with the record company too much. The first band I organized, when I came back from up North, I did some recording with. It's not on a label, just for the art. LW: How did you get involved with teaching kids. LB: The guys I was telling you about like Elmore and Muddy, they were older men than me. They weren't teaching, but they helped me by letting me play with them. So I said, someone did this for me, they let me play in their band. I of course learned a lot from the guys I was playing with. I always wanted to help, I think it's just nature of me. I didn't just teach people to play music, I taught mechanics by trade. I taught kids to be a mechanic or play music and be the best they can be. You need to be good at what you are doing. You may have to rely on one or two different jobs to make a good living for yourself. If one of them is not working, you can go do something else. LW: Do The kids catch on to blues, quick. There aren't a lot of kids listening to blues these days. LB: No, but they love it just like they always did. The problem is no one is taking the time to teach it to them. These kids that you heard play with me at the festival, they are elementary school kids. They don't even know any of the other songs. They tell all the other kids, that they are playing the wrong music. I was down in Jackson at a high school and I taught them kids to play the blues, it took me about 17 days. They just love to play the blues. So we played at Red, White and Blue in Jackson, Monday night. It kind of blowed the man off his mind. It wasn't really a gig, I just thought the kids needed a little exposure. It kind of blowed his mind, he said "I can't believe this in 17 days you have the kids playing like that". I love to help kids, I love to pass it down and love to help people in general. LW: Do you have rules the kids must go by. LB: I have special rules, I think that's the only way you can do anything, is with rules. Number one, they have to have a dress code and be disciplined. They have to be good in school, they have to go to school. Sometimes I see some of them out on the street, and they respect me, I say "Why ain't you in school " They say they were sick that day and stayed home. If I have any doubts about whether he's telling me the truth, I take him to his house or school. I ask his parents, if he's supposed to be in school and if he's sick, why is he out walking around. They have to like you, you got to know how to treat them and how to handle them. You have to do in a way, where you discipline them hard, but they love you at the same time. LW: Do You teach at different schools. JB What I doing now is residence. I was in Philadelphia for four days and I had just left Jackson. LW: I've heard people say they are worried about the future of the blues. I think seeing the kids in Clarksdale would change their minds. JB: Well the blues gonna be around as long as this country lasts. Everybody's got the blues, people don't realize they had the blues. I was at Choctaw High School at a Indian reservation. They were saying that the kids don't talk very much, they were trying to inform me what to expect. Then when I went in there, those boys were a talking bunch and man oh man we just made a mess of ourselves. They just had a ball they were hanging around, shaking hands and wanted to talk. The lady said "WOW !, we can't get them to talk like that". What I'm saying is the blues will never die. What concerns me is, not enough people trying to get it down to the younger generation. Us older guys get too old, or pass away and want be able to help them. They want to play and they love the blues. It just ain't enough peoples working toward teaching it to them. All the recording artists on the labels, they don't have the time to teach the kids anything. I'm just doing what I can. LW: One of the highlights of the Sunflower Festival for me was "The Stone Gas Band", aren't some of them former students of yours. LB: Dion. Harvell. Dion is the drummer, he was only five when he asked me if he could get in my band. I told him he had to be older. LW: What age is the youngest you teach. LB: I like for them to be around eight years old, their hands are pretty strong by then. They won't pout as quick. It's good if they start at 4 or 5, but I'm talking about performing. I'll work with them at 4 or 5, but as far as performing they need to be at least 8 years old. LW: What advice would you give to a beginning musician, regardless their age. JB: First of all, I do work with adults. Arthniece was an adult when I met him and David Porter. The first thing I find is you dedicated to learning, not to playing. Are you willing to sacrifice all it takes to try to learn. That is the key point that I try and find out right up front. If a person really wants to do it, you set up goals right at the start. If he doesn't fulfill them, then he doesn't really want to learn. David Porter was a good example, he came over one night and we worked on one song for two hours, just getting the bass line down. We had most of it down, but his thing was he wasn't going to sit there and play on this one song for two hours. When he left, he made up his mind, he wasn't coming back. You going to have to work and work through the next song and the next song. You get it right up front. It sticks with them and they appreciate it years later. Are you willing to just keep on working and working ? LW: If someone wanted to send equipment donations, where should they send them. JB: We haven't had a piece of equipment donated since 1984. That's just like Channel 5, they worked with for about four days with me last week. The men said "This equipment is old and beat up". Yeah, but I been keeping it going. I spend a lot of money and time, trying to keep it working. The kids down here are not able to have anything. Send it to Johnnie Billington, 200 Monroe, Clarksdale Ms 38614. LW: Do you have many gigs. JB: We play a lot of festivals, like Helena and The Sunflower. We mainly play the schools. LW: I appreciate your time and I'll see you at the next Sunflower Festival. JB: Thank you ========================================================================= Date: Fri, 19 Jan 1996 09:49:08 EST Reply-To: gross@eksignal.kodak.COM From: Dan Gross Subject: Re: BLUES L: Re: Blues Drummers... From: Mark Baker > This whole blues drummer thing has gotten out of hand. It takes a whole > band of talented players to make good music. I don't know anyone who > would go see a blues band just because the drummer was good. The really > good bands are made of good players. You can't have one weak player, > because you are only as strong as your weakest link. A hot band with > a horrible singer isn't going to go anywhere but into obscurity. Quibbling > about which member is most important is ridiculous. Try taking someone > out and playing a gig if you don't believe me. Mark Baker > While I understand your point, I believe the original point of the thread was that drummers sometimes don't get the credit they deserve. We sit here on this list talking about this guitarist, this harpist, this singer, this keyboard player, etc...without considering the person behind them driving the beat (yes, I realize some of the best blues put out was done WITHOUT drums :-). I think also the point was not only _credit_, but also to point out that drumming is probably the easiest position to be taken for granted, in the sense of "well, we'll just hire any old drummer who seems to have the chops. If he can play jazz, then blues should be easy..." In short, the gist wasn't necessarily that they're more important (PW would fire every one but the drummer....but would he fire himself?!), but that drumming is the position often overlooked.... --Dan (whose band seems to be surviving with a "barely-adequete" blues drummer... hey, maybe that's why we can't get any gigs! ;-) ========================================================================= Date: Fri, 19 Jan 1996 09:53:33 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Re: Jimmy Rogers recommendations? Comments: To: rkraemer@ets.org In-Reply-To: from "ron kraemer" at Jan 19, 96 08:56:31 am According to ron kraemer: > > I was listening to a Jimmy Rogers disc last night called "Ludella", with a mix > of live and studio cuts on it. Kim Wilson had a big hand in it. I really > like Jimmy's style. Solid "Chicago-style" blues, with just enough swing mixed > in for my tastes. I don't have the disc at work or I'd list the musicians. I > know it includes some of Muddy's old band on the live cuts, and some local > (Texas) musicians on the studio. Kim, of course, blows some tremendous harp. > > What Jimmy Rogers albums are YOUR favorites? Any I should stay away from > (though I can't imagine that happening)? Any "RUN/DON'T WALK" standouts? > > Many thanks. > > Ron (an instant Jimmy Rogers fan) Ron, "Ludella" is excellent...You're right, a lot of Jimmy's stuff does have a great "swingin'" feel to it. Other recommended JR discs: "Chicago Bound" - MCA/Chess - Fantastic early sides for Chess Records in Chicago...Cream of the crop musicians incl. Little Walter, Muddy, Willie Dixon, Walter Horton, Fred Below, etc...These cuts rank up there with anything else from the heyday at Chess. "Feelin' Good" - Blind Pig - Another disc that swings...This time Jimmy is backed by Rod Piazza & The Mighty Flyers, who, as usual, provide impeccable accompaniement. "Blue Bird" - Acoustic Archives - This was recorded in 1994.. A terrific set of traditional Chicago Blues with a great band including Carey Bell on harp, Jimmy's son Jimmy Lane on lead, and Johnny Johnson on piano. Hope this helps, -Peter ========================================================================= Date: Fri, 19 Jan 1996 09:58:15 +5EST Reply-To: dresserd@dns.nxi.com Comments: Authenticated sender is From: Derek Dresser Subject: Paul Rishell - Country/Delta Blues Anybody who is interested in traditional country/delta blues and hasn't checked out Paul Rishell should head straight to the music store and pick him up. He is simply the most soulful performer I have ever heard. He can make you dance, he can make you cry. I am lucky enough to be a student of his. I grabbed him during a break a couple years ago and started taking lessons with him. I just put up a web site for Paul and his touring partner Annie Raines. Check it out and let me know what you think. I have put up one sound clip in .wav format. I should be adding more soon. http://www.nxi.com/WWW/rishell/homepage.html If this ends up being the second post you see on this, it's because I am having trouble getting my posts to the list. If you see this, I guess I'm not having problems anymore. Derek ========================================================================= Date: Fri, 19 Jan 1996 09:52:18 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Santana and other non-blues artist Blues "Black Magic Woman" is clearly a blues. I think Carlos Santana is a very good blues player, but you have to wade through a lot of other stuff to find his blues songs. Also his new stuff with John Lee Hooker is good. I'm sure I'll get flamed for saying this, but Eddie Van Halen can play some real good blues too, when he feels like it. ========================================================================= Date: Fri, 19 Jan 1996 10:14:43 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Blues Drumming In reference to Mike Meadors' question about blues drumming, I think the rhythm section is the most important part of any good blues band. As Mike says, the drummer can make or break a blues band. The original drummer for my band played like Jon Bonham from Led Zeppelin. It was horrible -- like playing with grenades going off behind you, or like playing behind the rhythm section of a marching band. Doubly horrible because most of the clubs we play are real small. The bass player and I finally persuaded our fearless leader to let him go. What a lot of drummers don't understand about blues drumming is that less is usually more. It also requires a lot of subtlety technically to be a good blues drummer. When I audition drummers I ask them to play with brushes and "hot rods" (small bundles of thin sticks that look like reeds) to test their subtlety. Of course they have to have impeccable rhythm. ========================================================================= Date: Fri, 19 Jan 1996 15:24:35 GMT Reply-To: Nate Goldshlag From: Nate Goldshlag Organization: The Internet Access Company Subject: Re: Female blues/Koko's league Comments: To: bit-listserv-blues-l@uunet.uu.net In article <01I05JGSF4N60039UH@SCI.WFBR.EDU>, MILLER@SCI.WFBR.EDU wrote: > I'll throw my hat into this ring and put Irma Thomas right in there with > Koko, Etta, and Ruth as a blues diva. Irma is fantastic. If you are ever in New Orleans, go to her club the Lions Den. It's in a rough part of town but I never had any problems. And she makes her own red beans and rice! Tiny place, holds maybe 120 at the most. Nate ---------------------------------------------------------------- Nate Goldshlag "People ask me why I don't get fat nate@reflection.com it's cause I like to dance like that. I eat as much as I can hold Cambridge, MA and go out and do the zydeco." -- Marcia Ball ========================================================================= Date: Fri, 19 Jan 1996 10:27:01 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Debbie Davies/Koko Taylor JBards said: >I think comparing Koko and Debbie is like comparing fish to bicycles. >Debbie is >first and foremost a guitar player who also sings. Koko is a pure >vocalist. The >fact they're both "entertainers' creates a category for comparison >sobroad as to >be meaningless. Would one compare Pavarotti to Bach? I think the only reason the comparison was made in the first place was that they're both females. If you extend the analogy to males, it would be like comparing Stevie Ray Vaughn to Howlin' Wolf. Which, as Jim points out, is like comparing fish to bicycles. I think Debbie Davies, as a female guitar player who happens to also sing, would prefer to be compared to other guitar players. I know I would. ========================================================================= Date: Fri, 19 Jan 1996 10:18:37 EST Reply-To: shannon oconnor From: shannon oconnor Subject: B.B. Listens to Everything There's a little blurb in my local paper this morning (The Cincinnati Enquirer) which of course I left at home on the dining room table that printed the answer to a question put to B.B. King as to what kinds of music he listens to. Trying to remember, I know it said he likes r&b, gospel, rap, country, and classical, and one of his all-time favorites to listen to is Luciano Pavarotti. O Sole Mio! Shannon ========================================================================= Date: Fri, 19 Jan 1996 09:36:49 CST Reply-To: William Shute From: William Shute Subject: 2 more "best of '95" releases From: Bill Shute It's still not too late to pick up on the hottest l995 blues releases. After spending a good amount of time over the holidays listening to music, I feel that I have to add 2 more albums to the "ten best of '95" list I posted in early Dec. These 2 albums, both of which I reviewed on blues-l way back when, are to me ESSENTIAL purchases and MAJOR releases. LEE McBEE AND THE PASSIONS "44" (Red Hot) I suppose this could be labelled "West Coast revivalism" as it was called in the new Living Blues in that it aspires to many of the same things that a William Clarke or Rod Piazza album would aspire to, but it is a VERY hot session in the early 50s Chicago vein. If you remember the original of Snooky Pryor's "Boogie Twist" (of which they do a fine cover here), you know what kind of sound Mr. McBee and crew (here including Anson F. and Kid Ramos on gtrs) capture on this live-sounding disc with just the right amount of distortion. NAPPY BROWN "I'm A Wild Man!" (New Moon Blues) Great to see Nappy back with a hot and entertaining new album. Those not familiar with his 1950s work on Savoy and its significance should check the section on Nappy Brown in the first part of Robert Pruter's fine fine BLACKWELL GUIDE TO SOUL RECORDINGS. As far as bringing church-singing technique to secular material, Nappy Brown is...like Billy Wright, Richard Penniman, and SAm Cooke...a pioneer. And like Rufus Thomas, Nappy Brown is a "character" who has never forgotten the value of being a total "entertainer." Those into soul/blues will also want to check out Ollie Nightengale's wonderful "I'll Drink Your Bathwater, Baby!" on the Ecko label out of Memphis. "She's In A Midnight Mood (In The Middle of the Day)" is perhaps my favorite best new soul song of l995. I plan to take a vacation in Memphis later this year, and I hope my vacation and a local appearance by Ollie will happen at the same time! Excuse me while I crank up that new Billy Boy Arnold album, ELDORADO CADILLAC. Nice to see the master back AGAIN in such fine and CONTEMPORARY form. Bill Shute San Antonio, TX (who wishes he could have written in Jimmy Dawkins as fave gtrist on his Handy Awards ballot) Mats, looking forward to meeting you in a few weeks! Will you have time to spend here in San Antonio, in addition to Austin? ========================================================================= Date: Fri, 19 Jan 1996 10:39:29 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Blues drummers! Comments: To: orange2@gnn.com Oh, howdy hey on this one! Yeah, agreed and double-agreed! A blues drummer, an honest to god blues drummer is worth his weight in gold. I've been extremely fortunate to have worked with an absolutely astonishing blues drummer, well actually a proifessional session drummer who can play ANYTHING, any kind or shape of percussion , and it is the difference between being a band that plays blu versus being a BLUES BAND. IMO. When you hear a real blues drummer either live or on record, you go WOW! Listen to that guy work! The rhythm section is *IT*, IM. If you're ever in NY City, in the Village or around town and see or hear that Paul Richards is playing with WHOEVER it is, do yourself a favor and go see him. The man is the living embodiment of true blues percussion, and that's why he's in demand around the Big Apple and beyond. Jeez, even his wife is the same! She's touring the country with the Broadway percussion sensation, "STOMP". Okay..I digress.... Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 19 Jan 1996 10:42:06 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Black Magic Woman Regarding my earlier post about Carlos Santana, I was responding to the inquiry about non-blues artists who PLAY blues, not compose blues. I KNOW Peter Green wrote "Black Magic Woman." I also know that "Ice Cream Man" was not originally written by Eddie Van Halen. So for those of you who flamed me for that, please take better notes next time. Thank you. Ruth ========================================================================= Date: Fri, 19 Jan 1996 10:59:18 -0500 Reply-To: bob vanarsdall From: bob vanarsdall Subject: Review: The Music Never Stopped The Music Never Stopped (Roots of the Grateful Dead), Shanachie 6014, produced by Henry Kaiser and David Gans, gives us a collection of original songs from which the Dead have done versions over the years. Why am I putting this on Blues-L? Of the 17 songs, fully 10 are from the folks we discuss constantly, and the others aren't too shabby either. Here's the songlist: Rain and Snow - Obray Ramsey Mama Tried - Merle Haggard Iko Iko - The Dixie Cups Samson & Delilah - Rev Gary Davis Big Railroad Blues - Cannon's Jug Stompers El Paso - Marty Robbins It's All Over Now, Baby Blue - Bob Dylan Spoonful - Charlie Patton Red Rooster - Howlin' Wolf Promised Land - Chuck Berry Don't Ease Me In - Henry Thomas Big Boss Man - Jimmy Reed Turn On Your Love Light - Bobby Blue Bland Morning Dew - Bonnie Dobson Not Fade Away - Buddy Holly Goin Down the Road Feelin Bad - Woodie Guthrie I Bid You Goodnight - Joseph Spence with the Pindar Family All the songs sound like they've been remastered or somehow cleaned up. The only two which sound bad are Patton and Woody Guthrie, but then that is the age of the recording showing. The only weak cut for me is Bonnie Dobson's Morning Dew, which is a bit too reminiscent of flowers and coffehouses for my taste. The revelation was Buddy Holly, which through remastering or some other magic fairly leaps out of the speakers at you. Amazing to hear that cut and realize it has only a guitar, bass, and someone beating what sounds like a cigar box on it. Many of us may have these songs on albums by the artists themselves, but as a collection this stands up well. The notes explain how the songs came into the Dead's repertoire, how frequently they have been done over the years, and where in the show they are usually played. Bob ========================================================================= Date: Fri, 19 Jan 1996 11:41:51 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: BLUES L: Re: Blues Drummers... Comments: To: gross@EKSIGNAL.KODAK.COM, Orange2@GNN.COM On 19 Jan 96, Dan Gross had this to say: > In short, the gist wasn't necessarily that they're more important > (PW would fire every one but the drummer....but would he fire himself?!), > but that drumming is the position often overlooked.... > and Mike Meadors had this to say: > Ask any blues band leader and you'll find that, like P.W. Fenton > said (I believe), everybody can be replaced in a second -- but > where can you find another good blues drummer when you need one? Great Googly Moogly! You guys are really trying to put me in trouble here. I'm not ready to fire anyone, and nobody in my band could be replaced in a second. (Why do I suddenly feel like Mary Katherin?) In praise of the really fine Blues drummer I have in "The Second Ward", I said that if my whole band QUIT one day, I thought I would have the MOST difficulty finding a drummer as good as he. I did not imply that ANYONE could be easily replaced. In fact, EVERYONE in my band is the absolute best I could find. P.W. Fenton Tampa, Florida Visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 19 Jan 1996 11:04:54 EST Reply-To: gross@eksignal.kodak.COM From: Dan Gross Organization: Eastman Kodak Subject: New Lucky Peterson? I was wondering if any body knows a release date for Lucky Peterson's upcoming album. Back last August, I thought I read a tentative October release date, but that didn't seem to happen. I checked the Gitanes page, and didn't find anything. ANybody know anything? TIA, --Dan Gross -- Dan Gross, Programmer By Day: Drummer/Vocalist By Night: Home:dgross@iinc.com Veredus Products Division Stoney Lonesome Blues Band Eastman Kodak (716) 726-7831 Mailing List: slbb-l-request@cobra.kodak.com gross@eksignal.kodak.com if (Kodak_opinion == my_opinion) coincidence++; ========================================================================= Date: Fri, 19 Jan 1996 10:11:22 -0600 Reply-To: Mark Gobeyn From: Mark Gobeyn Subject: Jimmy Rogers Jimmy Rogers' BLUEBIRD is an essential release. Great band. Excellent material. Also, JR does a great version of "Ludella" on an old LP I have. It's a live recording of his performance at the 1978 San Francisco Blues Festival (Solid Smoke is the label). The entire first side of the LP contains performances by JR and his band (with the incomparable Louis Myers). mark ========================================================================= Date: Fri, 19 Jan 1996 10:14:04 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: The Twist (again) At 08:03 AM 1/19/96 -0500, Stew Crossen wrote: >>In article <199601131534.KAA12332@osceola.gate.net> "P.W. Fenton" > writes: >>> [snip] >>> This day in 1962 saw singer, Chubby Checker set a record, literally, >>> with the hit, "The Twist". Funny that this should come up again now.... Just bought, yesterday, the 7-CD box set "Blues, Boogie & Bop - the 1940's Mercury Sessions", which, as eRIC and some others have been saying, is terrific. On Albert Ammons "Doin' the Boogie Woogie" is the phrase: Mama Mama look at this - standin' in the back yard doin' the twist Any relation to the dance craze we knew and learned to love (and learned to get sick of after a while)? David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Fri, 19 Jan 1996 09:38:00 -0700 Reply-To: bmpech@MSCD.EDU From: bmpech Subject: Re: new Robert Johnson movie Comments: To: Neil Cassidy In-Reply-To: <9601181959.AA25476@athena.capital.edu> Neil's account of the RJ "docudrama" featuring Keb Mo' is intriguing. But, unless the producers dug up some new footage, I think that the interviews with Johnny Shines, Honeyboy Edwards, Willie Mae Powell, etc. already appear in the movie/video "The Search for Robert Johnson" narrated by John Hammond. Those of you who can't wait for the Keb Mo' film can probably rent "The Search for RJ" from a local video shop. (I've also seen it for sale at several local record stores.) -- BP Boulder, CO ========================================================================= Date: Fri, 19 Jan 1996 11:46:09 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: 2 more "best of '95" releases Comments: To: WSHUTE@accdvm.accd.edu In a message dated 96-01-19 10:58:15 EST, WSHUTE@ACCDVM.ACCD.EDU (William Shute) writes: >From: Bill Shute > >It's still not too late to pick up on the hottest l995 blues releases. >After spending a good amount of time over the holidays listening to music, >I feel that I have to add 2 more albums to the "ten best of '95" list I had the same experience-- two releases acquired in December jumping to near the top of my "best of" list for 95. One is blues related-- I got the two CD James Brown band instrumental set for Christmas. While I am a fan of soul and funk, James Brown has not drawn my attention as much as he should have. This set did. This is one of the all-time great bands (or series of bands) shown off at its best. And hearing them this way makes even clearer how influential this *band* was. The other add to my best-of list is folk, not blues, but should be checked out by anyone on this list interested AT ALL in acoustic guitar playing: It is the Doc Watson VANGUARD YEARS collection. It is truly wonderful, and is a perfect introduction to Doc Watson. Those of you with a lot of Watson's stuff will want it also, for the unreleased live stuff (including duets with Clarence White and Merle Travis and others). Whoever put this one together (gee, I wonder who that was?) did a wonderful job. Tom Freeland ========================================================================= Date: Fri, 19 Jan 1996 10:56:04 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: 2 more "best of '95" releases > > From: Bill Shute > > It's still not too late to pick up on the hottest l995 blues releases. I was also thinking about adding two more for 1995 but thought it was too late. Now after Bill did it I have an excuse. So I want to include two albums I purchased recently: 1. Hi Records Years (3CD set) Being a sucker for soul and r&b, I can only worship this release. 2. Syl Johnson - "Back to the game" (Delmark) I thought they don't make albums like this one anymore. This album was mentioned on Blues-L many times, so no review - just a RUN DON'T WALK TO BUY recommendation. I carry this album from home to work and back from work to home almost every day. DONT'T LEAVE HOME WITHOUT IT. > Bill Shute > San Antonio, TX > (who wishes he could have written in Jimmy Dawkins as fave gtrist on his > Handy Awards ballot) > Was glad to hear (if I understood correctly) that Jimmy dumped his back-up band. Saw them in Philly Fest last May and that was the least-inspired back-up band I heard in years. He deserves better! Ranko ========================================================================= Date: Fri, 19 Jan 1996 10:54:40 CST Reply-To: ISTS024@UABDPO.BITNET From: Leonard Watkins Subject: Jeopardy and the blues Someone just told me they were watching Jeopardy and one of the questions was something like: Where is the Delta Blues Musuem located....? Just thought I'd pass that a long LW ========================================================================= Date: Fri, 19 Jan 1996 11:04:03 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Etc. Some news... 1. 1996 Riverbank Blues Fest is in making. I was lucky enough to be given the task of picking the artists and about $3000 to spend. Here is the tentative schedule: 1. Assension Blues Band (Iowa City) 2. Louis McTizic (Waterloo, Iowa) 3. Byther Smith (Chicago) 4. Big Daddy Kinsey/Kinsey Report or Big Jack Johnson Date, June 22, 1996. Last year fest was a great success. About 1000 people came to see RL Burnside, Paul Jones, Dave Thompson, and Joanna Connor. Hope to keep ticket price low again (last year it was $3). 2. I learn that Byther Smith is on preparing a new album to be released on Delmark. 3. On a sad note, Big Daddy Kinsey's wife passed away about a month ago. Due to her critical condition, they had to canceled their Iowa City gig last December. Ranko ========================================================================= Date: Fri, 19 Jan 1996 12:02:24 EST Reply-To: george morales From: george morales Organization: TEMPLE UNIVERSITY Subject: center for southern folklore i called the center about 2 months ago at 901-525-3655 and requested a catalog.i received the catalog yesterday and wanted to make everyone aware of the contents.You are able to purchase postcards, videos, cds, t-shirts, posters and crafts.the catalog is called "Southern Preserves Gift Catalog".The center's address is 130 Beale Street Memphis TN 38103 they have an e-mail address: ESAV63A@prodigy.com It seems that purchases from the catalog and also membership in the center directly supports since they are a non-profit organization. I thought this would be useful info. George < startin to save my money to make some purchases +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ | | | GEORGE MORALES GEORGEM@TEMPLEVM | | COMPUTER AND INFORMATION SERVICES GEORGEM@VM.TEMPLE.EDU | | TEMPLE UNIVERSITY (215)204-6866 | | | +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Fri, 19 Jan 1996 12:53:57 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Debbie Davies/Koko Taylor Comments: To: PARRISHR@VITRO.COM On 19 Jan 96, PARRISHR had this to say: > I think the only reason the comparison was made in the first place was > that they're both females. If you extend the analogy to males, it > would be like comparing Stevie Ray Vaughn to Howlin' Wolf. Which, as > Jim points out, is like comparing fish to bicycles. I think Debbie > Davies, as a female guitar player who happens to also sing, would > prefer to be compared to other guitar players. I know I would. I love the way these threads take on totally different meanings as they progress. The reason this all came up was because they are both nominated in the same catagory, (Contemporary Blues - Female), in the Handy Awards. LW objected to this grouping, indicating that, in his opinion, Debbie was not in the same "league" as Koko. THAT is how this thread was born. It eventually turned into "fish and bicycles", and someone arguing that a voice is a musical instrument, and now you tell us that the reason they are being compared is that they are both women. Sort of makes you wonder if we are all reading the same list. P.W. Fenton Tampa, Florida Visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 19 Jan 1996 09:16:55 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Jan. 20 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ANTHONY, RAY (tpt/CAPITOL REC) b. 1922-0120, BENTLEYVILLE, PA BENEDETTI,DEAN(ofBENEDETTI TRANSCRIPTIONS d. 1957-0120, ITALY 34 BROWN, STEVE (of THE CHARTS) d. 1989-0120, NEW YORK CITY, NY -- CAMPBELL, JOHN JR. (g) b. 1952-0120, SHREVEPORT, LA COBB, JIMMY (d/DINAH WASHINGTON) b. 1929-0120, WASHINGTON, DC DENNIS, GENE (hca) b. 1920-0120, MT. PLEASANT, TN FREED, ALAN (pioneer dj) d. 1965-0120, PALM SPRINGS, CA 43 GRANT, EARL (v/o) b. 1931-0120, OKLAHOMA CITY, OK JESSYE, EVA A. (gospel choir master) b. 1895-0120, COFFEYVILLE, KS MOORE, ALEX "WHISTLING" (p) d. 1989-0120, DALLAS, TX 89 SZELEST, STAN (p/BUCHANAN/LONNIE MACK) d. 1991-0120, WOODSTOCK, NY 48 TOWNSON, RON (of the 5TH DIMENSION) b. 1941-0120, ST. LOUIS, MO TUCKER, LUTHER (g/CHESS/ANTONES) b. 1936-0120, MEMPHIS, TN URBAIN, JEAN-PIERRE (BLUES-L MEMBER) b. 1963-0120, VERVIERS, BELGIUM WHITESELL, RICK (of GOLDMINE MAGAZINE) d. 1981-0120, NEW YORK CITY, NY 25 ------------------------------------------------------------------------------- ========================================================================= Date: Fri, 19 Jan 1996 12:34:27 -0500 Reply-To: Leo Aspiras From: Leo Aspiras Subject: Re: Undelivered mail sorry folks....i guess i can't type today....let's try again... scatman leo ---------------------- Replied Message Body ---------------------- >Received: from falcon.dol-esa.gov (falcon [199.200.255.1]) by fenix2 (8.6.12/8.6.12) with ESMTP id MAA13301 for ; Fri, 19 Jan 1996 12:07:32 -0500 >Received: from BROWNVM.brown.edu (brownvm.brown.edu [128.148.19.19]) by falcon.dol-esa.gov (8.6.12/8.6.12) with SMTP id MAA05737 for ; Fri, 19 Jan 1996 12:07:30 -0500 >Message-Id: <199601191707.MAA05737@falcon.dol-esa.gov> >Received: from BROWNVM.BROWN.EDU by BROWNVM.brown.edu (IBM VM SMTP V2R2) > with BSMTP id 5487; Fri, 19 Jan 96 12:02:22 EST >Received: from BROWNVM.BROWN.EDU (NJE origin MAILER@BROWNVM) by BROWNVM.BROWN.EDU (LMail V1.2a/1.8a) with BSMTP id 4598; Fri, 19 Jan 1996 12:02:22 -0500 >Date: Fri, 19 Jan 1996 12:02:22 >Reply-To: Postmaster@BROWNVM.brown.edu >From: RFC822 mailer (LMail release 1.2a/1.8a) >Subject: Undelivered mail >To: lca@fenix2 >X-Report-Type: Nondelivery; boundary="> Error description:" ------------------------------------------------------------------ An error was detected while processing the enclosed message. A list of the affected recipients follows. This list is in a special format that allows software like LISTSERV to automatically take action on incorrect addresses; you can safely ignore the numeric codes. --> Error description: Error-For: BLUES--L@BROWNVM.BROWN.EDU Alias: BLUES--L@BROWNVM.BITNET Error-Code: 3 Error-Text: No such local user. Error-End: One error reported. ------------------------- Rejected message (35 lines) ------------------------- Received: from falcon.dol-esa.gov by BROWNVM.brown.edu (IBM VM SMTP V2R2) with TCP; Fri, 19 Jan 96 12:02:19 EST Received: from fenix2 (fenix2.dol-esa.gov [97.0.0.2]) by falcon.dol-esa.gov (8.6.12/8.6.12) with ESMTP id MAA05712 for ; Fri, 19 Jan 1996 12:04:42 -0500 Received: (from root@localhost) by fenix2 (8.6.12/8.6.12) id MAA12937; Fri, 19 Jan 1996 12:04:34 -0500 Date: Fri, 19 Jan 1996 12:04:34 -0500 From: Leo Aspiras Message-Id: <199601191704.MAA12937@fenix2> To: BLUES--L@BROWNVM.BROWN.EDU Subject: La Vern Baker Hi all: There is an interesting story about La Vern Baker in the Washington Post this morning that, parts of, i thought i would share with y'all (she is appearing at The Birchmere this monday). To quote Geoffrey Himes (a friend), her aunt, Merlene Baker, was a good friend of Memphis Minnie and with her encouragement and family friend Memphis Slim, Baker was an expert blues singer by the time she was 17, and she landed a job at the Club DeLisa as Little Miss Sharecropper, sometime working with Fletcher Henderson. I was not aware that currently she is without both of her legs which she lost to diabetes. My interest in this woman was amplified by the Christmas gift of her Soul on Fire: The Best of LaVern Baker (Rhino/Atlantic) anthology which is also mentioned in the article. This dude will definitely be in the audience to check out this living legend in person!!!! As always, leo 'the scatman' aspiras from d.c. p.s. i have a question about Billy Boy Arnold (he is appearing at a local club (Tornado Alley) this weekend). He did a 1955 single for Vee Jay named "I Ain't Got Your". Is that the same song that was covered by The Yardbirds and i think Aerosmith in the 70's?????? ========================================================================= Date: Fri, 19 Jan 1996 12:30:07 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: Debbie Davies/Koko Taylor [no more blues content] Comments: To: "P.W. Fenton" PW: That's what my dad the psychiatrist would call, in technical terms, a "free-association thingie." It's like an electronic Rorschach test. Makes me wonder what Freud would think about comparing fish and bicycles. But I digress... Ruth ______________________________ Reply Separator _________________________________ Subject: Re: Debbie Davies/Koko Taylor Author: "P.W. Fenton" at Internet Date: 1/19/96 12:53 PM On 19 Jan 96, PARRISHR had this to say: > I think the only reason the comparison was made in the first place was > that they're both females. If you extend the analogy to males, it > would be like comparing Stevie Ray Vaughn to Howlin' Wolf. Which, as > Jim points out, is like comparing fish to bicycles. I think Debbie > Davies, as a female guitar player who happens to also sing, would > prefer to be compared to other guitar players. I know I would. I love the way these threads take on totally different meanings as they progress. The reason this all came up was because they are both nominated in the same catagory, (Contemporary Blues - Female), in the Handy Awards. LW objected to this grouping, indicating that, in his opinion, Debbie was not in the same "league" as Koko. THAT is how this thread was born. It eventually turned into "fish and bicycles", and someone arguing that a voice is a musical instrument, and now you tell us that the reason they are being compared is that they are both women. Sort of makes you wonder if we are all reading the same list. P.W. Fenton Tampa, Florida Visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 19 Jan 1996 12:45:19 -0600 Reply-To: Storm Bailey From: Storm Bailey Subject: Rev.Gary Davis & The Music Never Stopped Bob pointed out that: >The Music Never Stopped (Roots of the Grateful Dead), Shanachie 6014, contains: >Samson & Delilah - Rev Gary Davis I've been trying to find an (the?) Rev. Gary Davis album containing this cut. Could someone supply the name for me? Thanks! Storm ========================================================================= Date: Fri, 19 Jan 1996 13:41:43 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Etc. + booking talent. Comments: To: Ranko Vujosevic In-Reply-To: <199601191704.LAA29440@picasso.ccad.uiowa.edu> Ranko and others - in particular blues societies, There is a real wealth of assistance in booking talent right here on blues-l (I remember a while back someone mentioned that sever- al acts were too expensive and as for others they didn't know who to get in touch with them). Right in our midst is Ronnie Narmour, RNA Booking (hope you don't mind the plug Ronnie - but hey you've got 3 Handy nominees up) and I guess other agents as well, if not here, then reachable through someone here. You do not have to go very far to get some assistance and perhaps some artists. I'm not saying don't go with who you've got but when the time comes & you find yourself in need check in right here, you may find just what the boss asked for. I think it's important that besides talking together we act toge- ther much as Mr. Waterman had the great idea of a get together. I know that one of my biggest kicks is when I get the chance to see a show with Ed Liu. We talk all the time and write all the time, but the real life meeting sure juices me. Pensing at 1:42 in the afternoon. On Fri, 19 Jan 1996, Ranko Vujosevic wrote: > Some news... > 1. 1996 Riverbank Blues Fest is in making. I was lucky enough to > be given the task of picking the artists and about $3000 to spend. > Here is the tentative schedule: > 1. Assension Blues Band (Iowa City) > 2. Louis McTizic (Waterloo, Iowa) > 3. Byther Smith (Chicago) > 4. Big Daddy Kinsey/Kinsey Report or Big Jack Johnson > Date, June 22, 1996. Last year fest was a great success. > About 1000 people came to see RL Burnside, Paul Jones, Dave > Thompson, and Joanna Connor. Hope to keep ticket price low > again (last year it was $3). > > 2. I learn that Byther Smith is on preparing a new album to be > released on Delmark. > > 3. On a sad note, Big Daddy Kinsey's wife passed away about a month > ago. Due to her critical condition, they had to canceled their > Iowa City gig last December. > > Ranko > NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Fri, 19 Jan 1996 13:37:20 -0500 Reply-To: Stephanie Manna From: Stephanie Manna Subject: upcoming James Peterson chat/interview On Jan 19, 1996 11:50:36 in , 'bluemoon@usa.pipeline.com(Stephanie Manna)' wrote: To: blue-l@brownvm.brown.edu Subject: upcoming James Peterson chat/interview From: bluemoon@usa.pipeline.com(Stephanie Manna) X-Mailer: Pipeline USA v3.2.0 There will be a live chat/interview with James Peterson at Muddy's Cabin on Saturday, January 20 at 6PM (E.S.T.). To join in the chat go to: http://www.vivanet.com:80/~catbauer/cabin.html Any questions you might like to ask James Peterson can be E-mailed in advance (if you won't be able to be there at the scheduled time and would like to see the transcript later with your question) to: catbauer@vivanet.com The January issue of Living Blues magazine has an extensive interview on James Peterson...if you would like to read up on him a bit. His biography is on his page under the Malaco/Waldoxy artists. To reach his page: http://MISnet.com:80/malaco/blues/jpeterson/ James Peterson is looking forward to this new modern fangled thing they call internet chats! ========================================================================= Date: Fri, 19 Jan 1996 11:00:17 -0800 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Re: Little Mack Simmons Peter writes: >I've read several raves about the new Little Mack Simmons CD >called "High and Lonesome" on the St. Georges label. > >Is this an import? Has anyone heard it? If I remember correctly, the St. Georges label is run by a guy out of Downers Grove or Naperville, IL. They have been sporadically releasing things for a while. Last year, they recorded Big Mojo Elem with Studebaker John & The Hawks. It was a good album. About ten years ago, I picked up an LP on St. Georges that re-issued Little Walter's original 45s recorded by the Maxwell St. Record Co. He releases stuff, but I wouldn't call it regular. I plan to keep an eye out for for the Little Mack CD. Joe ========================================================================= Date: Fri, 19 Jan 1996 19:20:35 GMT Reply-To: cnotes@CNOTES.COM From: Mike Corso Organization: C NOTES INTERACTIVE Subject: Meet Jerry McCain online! Comments: To: bit-listserv-blues-l@uunet.uu.net Any Excello Records fans out there? Excello recording legend Jerry McCain will be live online on WebChat* via Muddy's Cabin on Friday, January 26th at 7PM EST. Jerry McCain is a true original with God's talent coming out of his ears. AVI Entertainment recently released _That's What They Want: The Best Of Jerry McCain_, a stellar 23-track collection of some of the most important music ever issued on the Excello label. A few of the highlights in this package are: "That's What They Want," the brooding, bluesy "Things Ain't Right," "My Next Door Neighbor," "A Cutie Named Judy" and "I'm A Ding Dong Daddy From A Rock & Roll City." The music produced by Jerry McCain is as special as it comes. Whether you'll be attending this online conference or not, please forward ASAP any questions you have for Jerry to: avi@cnotes.com The Jerry McCain home page can be found at http://www.cnotes.com/cnotes.soul.html * WEBCHAT INFORMATION: ------------------ WebChat is form-based, meaning that you don't need any special software or access priviliges to use it -- just a standard, form-based web browser. WebChat also does not work like the commercial chat rooms: Here, you type a message, then click the Chat button. To read subsequent messages, you have to click the Chat button again. This button is also called the Get/Send message button. Nearly all current web browsers work with WebChat, but they all handle WebChat a bit differently. Here are the instructions for using WebChat: 1. You'll need a forms-capable web browser. 2. Click the Enter WebChat button (then read more stuff on Muddy's Cabin). 3. Click the "Click here to enter WebChat" button. 4. Scroll down the latest entries. They're posted from least to most recent. 5. At the bottom, enter your handle. 6. Enter your message in the message field. 7. Click the "Chat" button. This reloads the page and posts your message. 8. Don't use your web browser's reload button to reload the page. (But with AOL's and some other browsers, you must use your reload button.) 9. Wait a minute, then click the "Chat" button again (to view the replies). Here are more instructions for using WebChat: We can all contribute to making the guest chat sessions a big success by following these few simple guidelines: Please use a single, unique handle throughout the session. Delete "anonymous" from the handle field and type your own. To submit a question, first, send only the ? character from the message field. Repeat: Send only the ? character. This will queue you in line. Watch for the moderator to prompt you, then quickly submit your question. Big Tip: You can have your question ready to go by pre-typing it in a plain-text file, then copying and pasting it into the message field. Please submit your question within one minute of being prompted. Please do not use ALL CAPS in your question. All lowercase letters is just as fast, and much more polite. The artists' replies are indicated by their graphic images. Only the moderator may use graphic images. Please, do not slow the page down by using graphic images! For more information about Muddy's Cabin and the guest sessions, or how to reserve the cabin for your group please e-mail Cat Bauer at catbauer@vivanet.com. ========================================================================= Date: Fri, 19 Jan 1996 14:28:39 -0500 Reply-To: James Leftwich From: James Leftwich Subject: hitching to London Hey, I'll be in London Feb 4 - Feb 11 or so. Can some of our Brit friends out there advise me on Blues opportunities for that week. How's about second-hand record stores...good venues...etc... Jim Leftwich ========================================================================= Date: Fri, 19 Jan 1996 13:59:36 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: eRIC's BLUES DATES: Jan. 20 In-Reply-To: <199601191716.JAA21106@desiree.teleport.com> On Fri, 19 Jan 1996, James Carmin wrote: > Here's a few dates (b. born, d. death) for tomorrow. If you have any > corrections/additions, let me know at leblanc@dao.nrc.ca. > > ------------------------------------------------------------------------------- > artist notes/full name yyyy-mmdd, city/county state age > ------------------------------------------------------------------------------- > MOORE, ALEX "WHISTLING" (p) d. 1989-0120, DALLAS, TX 89 Has anybody heard Whistlin Alex Moore's Arhoolie cd? I've been tempted to get that one. > URBAIN, JEAN-PIERRE (BLUES-L MEMBER) b. 1963-0120, VERVIERS, BELGIUM > ------------------------------------------------------------------------------- Happy Birthday Jean-Pierre! -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Fri, 19 Jan 1996 12:10:49 -0800 Reply-To: Joel Beeson From: Joel Beeson Subject: guitar-list Digest V96 #1 (fwd) This message is in MIME format. The first part should be readable text, while the remaining parts are likely unreadable without MIME-aware tools. Send mail to mime@docserver.cac.washington.edu for more info. ------------------------------ Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Content-ID: The guitar-l exists. Hope this helps. Joel ---------- Forwarded message ---------- Date: Fri, 19 Jan 1996 08:50:45 -0600 From: guitar-list-request@netcentral.net To: guitar-list@netcentral.net Subject: guitar-list Digest V96 #1 Content-Type: text/plain guitar-list Digest Volume 96 : Issue 1 Today's Topics: Acoustics action. Duo Tone Comments Roland GP16 Re: OUT:on vacation until 1/18 Thank You All ------------------------------ Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Content-ID: Date: Mon, 15 Jan 1996 08:14:19 +200 From: "Paul Gilowey" To: guitar-list@netcentral.net Subject: Acoustics action. Message-ID: <1A98BBA5DAE@san001.santam.co.za> Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Thank you Rick for your reply. Maybe 7mm is pushing it. I took a look again and it is more like aout 5mm... but that is still bad enough... barr chords are just a mission, let alone lead. We must bear in mind that an ovation is a guitar with a really low low action... wonderfull guitar. I think I will get myself some super-ultra light strings. 0.3 high E or something :-) I guess I will have to take it to a pro anyhow.... money money money. Thanx for the advice. Paul ------------------------------ Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Content-ID: Date: 15 Jan 1996 9:57:14CST6CDT From: "ToddM" To: guitar-list@netcentral.net Subject: Duo Tone Comments Message-ID: <2E9DB8D3F4C@laserm.lmt.com> I dunno: Ask mike@moosenet.com what he thinks of his Duo-tone - that's Mike Keneally who works with Dweezil Z. in "Z". I still think the Boogie Studio preamp is a secret weapon of distortion - I've seen them used for $400-$600 U.S. and the distortion is excellent. Todd Madson Associate Technician LaserMaster Technical Support ------------------------------ Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Content-ID: Date: Mon, 15 Jan 1996 22:06:10 -0000 From: Geoff Sinker To: guitar-list@netcentral.net Subject: Roland GP16 Message-ID: <01BAE395.FC4DCF60@gsink.demon.co.uk> Content-Type: multipart/mixed; boundary="---- =_NextPart_000_01BAE395.FC4DCF60" ------ =_NextPart_000_01BAE395.FC4DCF60 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable Does anybody know if there is a ftp location that might hold sysex dumps = of sound settings for the GP16. I find the unit very good but I never = seem to have the time to play around to much with the sound = settings.Regards Geoff Sinker ------ =_NextPart_000_01BAE395.FC4DCF60 Content-Type: application/ms-tnef Content-Transfer-Encoding: base64 eJ8+IhYWAQaQCAAEAAAAAAABAAEAAQeQBgAIAAAA5AQAAAAAAADoAAENgAQAAgAAAAIAAgABBJAG AGgBAAABAAAADAAAAAMAADACAAAACwAPDgAAAAACAf8PAQAAAH8AAAAAAAAAtTvCwCx3EBqhvAgA KypWwhUAAABOvPoEmz3PEZg2REVTVAAApIIAAAAAAACBKx+kvqMQGZ1uAN0BD1QCAAAAAGd1aXRh ci1saXN0QG5ldGNlbnRyYWwubmV0AFNNVFAAZ3VpdGFyLWxpc3RAbmV0Y2VudHJhbC5uZXQAAB4A AjABAAAABQAAAFNNVFAAAAAAHgADMAEAAAAbAAAAZ3VpdGFyLWxpc3RAbmV0Y2VudHJhbC5uZXQA AAMAFQwBAAAAAwD+DwYAAAAeAAEwAQAAAB0AAAAnZ3VpdGFyLWxpc3RAbmV0Y2VudHJhbC5uZXQn AAAAAAIBCzABAAAAIAAAAFNNVFA6R1VJVEFSLUxJU1RATkVUQ0VOVFJBTC5ORVQAAwAAOQAAAAAL AEA6AQAAAAIB9g8BAAAABAAAAAAAAAIdTgEIgAcAGAAAAElQTS5NaWNyb3NvZnQgTWFpbC5Ob3Rl ADEIAQSAAQAMAAAAUm9sYW5kIEdQMTYAfgMBBYADAA4AAADMBwEADwAWAAYACgABAAoBASCAAwAO AAAAzAcBAA8AFgADACEAAQAeAQEJgAEAIQAAADVDNDBFNUREODQ0RkNGMTE5ODM5NDQ0NTUzNTQw MDAwAO4GAQOQBgDUAgAAEgAAAAsAIwAAAAAAAwAmAAAAAAALACkAAAAAAAMANgAAAAAAQAA5AKBC o62V47oBHgBwAAEAAAAMAAAAUm9sYW5kIEdQMTYAAgFxAAEAAAAWAAAAAbrjla2a3eVAXk+EEc+Y OURFU1QAAAAAHgAeDAEAAAAFAAAAU01UUAAAAAAeAB8MAQAAABgAAABnZW9mZkBnc2luay5kZW1v bi5jby51awADAAYQN+bMOQMABxC6AAAAHgAIEAEAAABlAAAARE9FU0FOWUJPRFlLTk9XSUZUSEVS RUlTQUZUUExPQ0FUSU9OVEhBVE1JR0hUSE9MRFNZU0VYRFVNUFNPRlNPVU5EU0VUVElOR1NGT1JU SEVHUDE2SUZJTkRUSEVVTklUVkVSWQAAAAACAQkQAQAAAGYBAABiAQAAGwIAAExaRnWHALfS/wAK AQ8CFQKoBesCgwBQAvIJAgBjaArAc2V0MjcGAAbDAoMyA8UCAHByQnER4nN0ZW0CgzO3AuQHEwKD NANGFMg1Esd1EXUwFLZ9CoAIzwnZO/EZDzI1NQKACoENsQtg5G5nAdA1Nwr7FWEL8VggRG8HkQBw eQbgZGB5IGtubwfgBpAgtHRoBJBlHsAd4SABgIRwIBigY2F0aQIggx7xICAgbWlnaAVAImgG8GQg cxOwZXigIGR1bXAEIG8e4PpzCGBuIWERwCAwHBAEIAcCEAXAHwEgR1AxNvguIEkfoAuAIWAjoiKQ mmkFQHYEkB5gZ28EcJggYnUFQCRAbmUlQdciwRPgHvBvISBhJUAjk/8gMAeAJuILUR5gCsAigybx 9G11EXAgA/AfACOTInw+LgqECoQLNxaSHYFSZc5nCxETIAqyR2UiQB7gWlMLgGsEkCsUfS6gAAAD ABAQAAAAAAMAERAAAAAAQAAHMICkGVCV47oBQAAIMICkGVCV47oBHgA9AAEAAAABAAAAAAAAAIW7 ------ =_NextPart_000_01BAE395.FC4DCF60-- ------------------------------ Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Content-ID: Date: Mon, 15 Jan 1996 20:33:34 -0500 From: Magnuson67@aol.com To: guitar-list@netcentral.net Subject: Re: OUT:on vacation until 1/18 Message-ID: <960115202909_62167731@mail06.mail.aol.com> Please remove me from this. Thanks. ------------------------------ Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Content-ID: Date: Fri, 19 Jan 1996 16:52:05 -0500 (EST) From: Utku Er To: guitar-list@netcentral.net Subject: Thank You All Message-Id: Content-Type: TEXT/PLAIN; charset=US-ASCII Thank you all for your help in buying an Electro-Acoustic ... I bought Epiphone (Gibson made in Korea) and I'm satisfied... I know I asked this question before but : Is there anyone who knows about Joan Baez ??? WWW Pages, Notes etc... I've got what Uwp and Nevada contains and I need more ... -------------------------------- ========================================================================= Date: Fri, 19 Jan 1996 15:21:05 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Rev.Gary Davis & The Music Never Stopped Comments: To: Storm Bailey In-Reply-To: On Fri, 19 Jan 1996, Storm Bailey wrote: > >Samson & Delilah - Rev Gary Davis > I've been trying to find an (the?) Rev. Gary Davis album containing > this cut. Could someone supply the name for me? Thanks! Harlem Street Singer - Original Blues Classics #547 NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Fri, 19 Jan 1996 14:45:03 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: You Might Be A "Blueneck" If.... You Might Be A Blueneck If....... You'd rather go to a Mississippi fish fry than a party in Beverly Hills When you hear someone say "T Bone" , steak doesn't come to mind You think the neck of a wine bottle was a more significant muscial invention than the synthesizer You know the term "Rock and Roll" was in use, before Alan Freed applied to music Who you are going to see at a club is more important than what you are going to wear You frequently "talk back" to the music You've spent grocery money on CDs When you think of Fleetwood Mac, Stevie Nicks in not included When take your own CDs to parties, just in case You'd rather spend your vacation in Clarksdale Mississippi, instead of Cancun You get angry when shopping in major chain record stores Living Blues has replaced Readers Digest in the bathroom reading rack You have experienced multiple "blue-asms" Your blues collection is worth more to you than your car You have no idea what song is number one on the Billboard charts You own music that is dangerous to listen to while driving You don't care how many chords a song has LW ========================================================================= Date: Fri, 19 Jan 1996 12:19:59 GMT Reply-To: Dave_J._Herda@infozone.telluride.co.us From: "Dave J. Herda" Organization: InfoZone Telluride Co (970)-728-0472 Subject: Re: RL Burnside questions Comments: To: pwfenton@GATE.NET What in the world is he doing on a tour with Joe Spencer Blues Explosion? I almost spit up my lunch when I saw "R.L. Burnside" in an advertisement for January 30th at this place. Does R.L. have a safety pin through his nipple now? Has he bought a fuzz box? Come on, this is getting ridiculous. I think it's great that R.L. is touring with John (who the hell is Joe Spencer) Spencer. The John Spencer Blues Explosion is an excellent band that is very talented at what they do. By using one of the greatest bluesmen alive today as their opening act, they are exposing a ton of people (many of whom are young and have never heard the blues) to a living legend and one of the purest forms of music around. R.L. loves touring with John Spencer and has been doing it off and on for over a year. They jam together at every show and R.L. told me that John and the band are exceptionally talented. Why is it such a shock to have two differnet types of music on one billing. Maybe if more bands and clubs would do these types of things, the blues would get the exposure it deserves and we wouldn't be worried about the shrinking number of blues music venues (see appropriate thread). Just because the crowd won't be filled with middle age/class white males doesn't mean that it isn't a show worth seeing. R.L. and J.S.B.E. is great for blues and one of the best concerts of the year. Everyone take it easy and keep on playin those blues! Peace--D **VIVA THE BLUES EXPLOSION** ========================================================================= Date: Fri, 19 Jan 1996 14:58:16 CST Reply-To: JBards From: JBards Subject: Re[3]: Debbie Davies/Koko Taylor [no more blues content] Comments: To: PARRISHR Speaking from a Skinnerian viewpoint, I think it would exemplify the cognitive imperative to create meaningful patterns of fairly disorganized information, relative, of course to one's own interests. As for fish and bicycles, Ahh, as my friend Tank would say, but I regress..... Jim (Does the name "Pavlov" ring a bell?) _______________________________________________________________________________ Subject: Re[2]: Debbie Davies/Koko Taylor [no more blues content] From: PARRISHR at INTERNET-SH Date: 01/19/96 2:23 PM PW: That's what my dad the psychiatrist would call, in technical terms, a "free-association thingie." It's like an electronic Rorschach test. Makes me wonder what Freud would think about comparing fish and bicycles. But I digress... Ruth ______________________________ Reply Separator _________________________________ Subject: Re: Debbie Davies/Koko Taylor Author: "P.W. Fenton" at Internet Date: 1/19/96 12:53 PM On 19 Jan 96, PARRISHR had this to say: > I think the only reason the comparison was made in the first place was > that they're both females. If you extend the analogy to males, it > would be like comparing Stevie Ray Vaughn to Howlin' Wolf. Which, as > Jim points out, is like comparing fish to bicycles. I think Debbie > Davies, as a female guitar player who happens to also sing, would > prefer to be compared to other guitar players. I know I would. I love the way these threads take on totally different meanings as they progress. The reason this all came up was because they are both nominated in the same catagory, (Contemporary Blues - Female), in the Handy Awards. LW objected to this grouping, indicating that, in his opinion, Debbie was not in the same "league" as Koko. THAT is how this thread was born. It eventually turned into "fish and bicycles", and someone arguing that a voice is a musical instrument, and now you tell us that the reason they are being compared is that they are both women. Sort of makes you wonder if we are all reading the same list. P.W. Fenton Tampa, Florida Visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 19 Jan 1996 14:01:09 -0800 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Re: Robert Covington dies Comments: To: rshurman@CCS.NSLSILUS.ORG Back when I lived in Chicago area, Robert Covington would regularly stop in at most of the clubs on the North Side. Robert always wore a suit and hat. He was a very classy gentleman. He took carried himself with great pride. He was definitely from the old school. He was a very popular figure on the club scene. Almost always, he would be called up to sing a couple of tunes. What a tremendous voice. Very soulful and he could also sing the older stuff. I remember when his Red Beans LP came out. It received awesome reviews from the Chicago Reader, Living Blues and others. After Christmas I managed to pick up a copy of the CD (retitled "Blues In The Night"). It has been in the CD changer since I bought it. It is one of those albums that seems to get better every time you hear it. His death really saddens me. Joe ========================================================================= Date: Fri, 19 Jan 1996 17:11:56 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Blues hero look-alikes Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *Can anybody think of others??? Morgan Freeman looks a lot like Muddy Waters in profile (at least he did in the movie Seven). ========================================================================= Date: Fri, 19 Jan 1996 17:59:48 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Birthday Greetings > URBAIN, JEAN-PIERRE (BLUES-L MEMBER) b. 1963-0120, VERVIERS, BELGIUM A Very Happy Birthday to you Jean-Pierre, and many more. P.W. ========================================================================= Date: Fri, 19 Jan 1996 17:42:20 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Sitiing&Thinking-Tracy Nelson. Congratulations Ronnie Narmour - Handy Nominee #1. Now that's something us blues-lers should be proud of. TRACY NELSON - I FEEL SO GOOD (ROUNDER 3133) ROUNDER RECORDS CORP. ONE CAMP STREET CAMBRIDGE, MA 02140 BOOKING - RNA/RONNIE NARMOUR TEL: 512-416-1300 FAX: 512-416-1300 e-mail RNABooking@aol.com If you can really judge a person by the friends she keeps, then friends like Delbert McClinton, Al Kooper, Reese Wynans, and the Memphis Horns show that Tracy Nelson is clearly a musical force to be reckoned with. However, this wouldn't be too hard to figure out if she were singing solo in a one room country shack. Since her days with the legendary band Mother Earth, Tracy has been perfecting her blending of blues, rock, country, and R&B. This album, her follow-up to her 1993 Rounder release "In The Here And Now," puts her firmly and triumphantly back into the music world. Backed by a crack squad of instrumentalists, including the gentlemen mentioned above, Tracy delivers up a half-hour of solid blues and R&B. It's chicken soup for your soul, just what the doctor ordered if you think there's nothing new under the sun. However, I won't dare call this disc "satisfying" -- by the end of it, you're going to be kicking, screaming, and begging for more more MORE! Tracy Nelson is one of the finest living blues vocalists today, bar none. Listen to this disc and you'll find this, if anything, is an understatement. I WANT TO KNOW / I NEED ALL THE HELP I CAN GET / DON'T GO NO FURTHER / SEND ME TO THE 'LECTRIC CHAIR / WORDS UNSPOKEN / THE FOOL / I LIVE OFF THE LOVE YOU GIVE ME / I FEEL SO GOOD / MEET ME HALFWAY / LOVE WON'T COME NYCD Takes I WANT TO KNOW: A medium tempo number with an infinitely funky, Latin-influenced beat kicks off this disc. Tracy double-tracks her vocals, harmonizing with herself beautifully, and delivering the non-double-tracked portions of the track with fire and panache. Mike Henderson on guitar provides minimal guitar chords to accompany the superb drum work of John Gardner and Glen Worf's bass. Also, guest Al Kooper provides plenty of funk on keyboards. I NEED ALL THE HELP I CAN GET: Tracy takes a crack at a tune by Delbert McClinton about what hits in the wake of a deserted lover. Delbert's lyrics are wonderful, as always, reaffirming his status as one of the premier blues and R&B songwriters of our time. Tracy belts out the song with conviction, dropping her tough alto. She doesn't so much sing the song as attack it or dominate it, shaming it into submission. The presence of the Memphis Horns, Reese Wynans on acoustic piano, and Delbert McClinton himself on harp doesn't hurt, either. DON'T GO NO FURTHER: This classic by Willie Dixon gets the swing treatment by Tracy and the band. Tracy belts out the song with the same overwhelming power in her vocals as Muddy Waters had in the original. She sounds like a younger Koko Taylor, singing with the same force of conviction that Koko has. On this track, you'll hear a fire and a spirit that simply isn't found anymore. SEND ME TO THE 'LECTRIC CHAIR: Mike Henderson and Glen Worf trade in their electric instruments for a National steel and an upright for this spectacular invocation to the spirit of Bessie Smith. Tracy's vocal performance is staggering, rivaling any of Bessie Smith's own recordings. It's as if Bessie herself were transported to a modern day recording studio -- the only thing missing from the track is the surface noise. Nobody since Bessie could deliver a lyric asking for the death penalty without sounding foolish, but Tracy pulls it off wonderfully. WORDS UNSPOKEN: A tender, bittersweet ballad written by Tracy herself. Tracy shows a much more tender, vulnerable side for this recording, packing an immense amount of emotion into every word. She doesn't belt out the song as hard as she has on the previous tracks, opting instead to instill her vocals with many, many beautiful, subtle nuances. The band is down to a trio, with Reese Wynans on organ and piano, Michael Rhodes on bass, and John Gardner on drums. The smaller band really lets Tracy's vocals take center stage for a deeply moving, tremendously heartfelt, and simply gorgeous performance. THE FOOL: A variation on the "Smokestack Lightning" riff kicks off this slower, churning blues. Again, Tracy avoids the powerhouse approach, which would have come off as overblown. Instead, she delivers her vocals in a low, near-tenor register, keeping the volume down as well. The results are smoldering and tremendously sultry, filled with tension that releases itself only occasionally. She double-tracks her own background vocals again, sharing them with Rebecca Russell. John Gardner's drumming is worthy of special note again -- he sets a standard for lesser drummers to follow. I LIVE OFF THE LOVE YOU GIVE ME: This is a lean, country-inflected number. Tracy gets to deliver most of her vocals with only John Gardner's spare drumming behind her. She shows a tremendous amount of control in her vocals, adding just the right touches of vibrato. She also knows when to sustain the notes for maximum effect and when to really cut loose, belting out her vocals for punctuation. I FEEL SO GOOD: Delbert returns to provide harp for this Big Bill Broonzy classic. The band plays it as a straight 16-bar blues, providing a basic shuffle rhythm underneath Tracy's vocals. Tracy's vocals are more laid-back for this track, but still full of feeling. Mike Henderson provides both electric and National steel guitar solos, and Gary Nicholson provides a rhythm track with a second National. The older, steely tone of the Nationals in addition to Tracy's vocals add up to a real load of character for this track. MEET ME HALFWAY: A rollicking, blues-based rock number penned by John Hiatt, another wonderful modern songwriter. Tracy's performance is straightforward, but richly detailed and wonderful. A full complement of three backup singers let Tracy add an extra layer to the chorus section, adding to the vocals the same way the Memphis Horns added to the instruments on the second track. Al Kooper and Reese Wynans get to duel and play off each other on keyboards. Mike Henderson also provides some wicked electric slide. LOVE WON'T COME: One last, tender ballad to this all-too-short disc. Be warned -- this track packs a heavy emotional wallop. Tracy's vocals are gospel-tinged, gentle and deeply moving as she sings forlornly about loneliness. She trades off with Maura O'Connell, who provides some vocals as wonderfully moving as Tracy's. The two of them singing together can bring tears to your eyes. The Memphis Horns return, and the effect of hearing them behind these two singers (and Rebecca's backup) is heart stopping. Reviewed by Edward C. Liu Copyright NY CD Blues @1995-1996 All Rights Reserved. Unauthorized use prohibited. NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Fri, 19 Jan 1996 17:44:38 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: RL Burnside questions Comments: To: Dave_J._Herda@infozone.telluride.co.us On 19 Jan 96, Dave J. Herda had this to say: >> P.W. said... >> What in the world is he doing on a tour with Joe Spencer Blues Explosion? >> >> I almost spit up my lunch when I saw "R.L. >> Burnside" in an advertisement for January 30th at this place. Does >> R.L. have a safety pin through his nipple now? Has he bought a fuzz >> box? > > > > Come on, this is getting ridiculous. I think it's great that R.L. is touring > with John (who the hell is Joe Spencer) Spencer. The advertisement in the local music rag said "Joe" plain as day, right underneath their picture. If it had said "Sam" I would have wrote that. > Why is it such a shock to have two differnet types of music on one > billing. Because the venue they are playing in here features only ONE kind of music, at one volume level. > Maybe if more bands and clubs would do these types of > things, the blues would get the exposure it deserves and we > wouldn't be worried about the shrinking number of blues music > venues (see appropriate thread). I assure you, this venue has no idea who R.L. Burnside is or what he plays, so they are not pioneering some new concept in musical variety. This is strictly a place for getting stoned on ecstasy and listening to music that sounds like jet planes in pain. P.W. Fenton Tampa, Florida Visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 19 Jan 1996 17:47:33 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Sitting&Thinking-Sonny Rhodes Congratulations Ronnie Narmour - Handy Nominee #2. More reason for blues-lers to gloat. SONNY RHODES / THE BLUES IS MY BEST FRIEND (KING SNAKE #022) KING SNAKE RECORDS 205 LAKE BLVD SANFORD FL 32773 BOOKING - RNA/RONNIE NARMOUR TEL: 512-416-1300 FAX: 512-416-1300 e-mail RNABooking@aol.com There are several reasons why Sonny Rhodes is unforgettable. The first is the turban he wears on stage. Another is the custom made Hawaiian lap steel guitar he plays so wonderfully. But Sonny is also graced with a gritty, emotional voice he uses to sing his catchy songs, many of which are Sonny Rhodes originals (Sonny wrote eight of the thirteen songs on this cd). Mr Rhodes is another of the endless list of great Texas Blues guitarists, who began his professional career playing bass for Freddie King and Albert Collins. After moving to California in the early 60's, he hooked up with fellow Texan L.C. "Good Rockin'" Robinson, who taught him to play the lap steel guitar. Sonny dedicates this CD to Albert Collins, who had just died at the time the CD was recorded. STAND BY ME / THANK YOU, LORD / THE BLUES IS MY BEST FRIEND / WHAT I DON'T SEE CAN'T HURT ME / PUT THE SHOE ON THE OTHER FOOT / RIGHT AROUND THE CORNER / TRYING TO MAKE A COMEBACK FOR MYSELF / PRESIDENT CLINTON / I JUST CAN'T STAY / CRAZY FOOL BLUES / ONE MORE DRINK / CAN'T LET YOU GO / THE LETTER SONG (S-Y-S-L-J-F-M) NY CD-Takes STAND BY ME: A great soul classic opens the CD. Sonny's voice is ideally suited to this kind of musical pleading. The legendary rhythm and blues tenor sax player Noble "Thin Man" Watts takes a moving solo here. THANK YOU, LORD: Sonny gives thanks for being a bluesman and thanks the lord for all the legendary blues men he has known. The horn section gives this uptempo Rhodes original a real "good time" feeling. THE BLUES IS MY BEST FRIEND: The title track is a wonderful slow blues in the style of Albert King. On this original tune, Sonny shows just how much he knows about playing a "regular" lead guitar. The solo in this number is nothing shot of breathtaking. WHAT I DON'T SEE CAN'T HURT ME: Back to a soul groove. Here Sonny gives just a taste of the delicious slide guitar he is to play for much of the rest of the CD. PUT THE SHOE ON THE OTHER FOOT: Now the slide guitar takes the forefront in a medium tempo blues. You've never heard a slide guitar played this way before. The notes of Sonny's solo, rain down like drops of honey on your ears. RIGHT AROUND THE CORNER: Step on it to solid uptempo here, lap steel wailing, in a number that Howling Wolf would have loved to sing. "I can get to my baby's house fifteen different ways," Sonny sings, and yet she lives just around the corner! TRYING TO MAKE A COMEBACK FOR MYSELF: Another soulful slow blues. Howard Resnick's piano playing is especially pretty here. And it almost goes without saying that Sonny's slide guitar solo is to die for. PRESIDENT CLINTON: No matter what your political persuasion, the Elmore James groove is infectious. Sonny thanks The Lord in the first number on this CD, and here he thanks The President. Makes sense to me. The only thing that bothered Sonny was that when Clinton played Saxophone on TV "I didn't hear [him] play no blues." I JUST CAN'T STAY: This is a great cover of Mark Naftalin's sad sad slow blues. The horns sit this song out and Sonny fills the air with magnificent slide guitar. CRAZY FOOL BLUES: This is a medley of Percy Mayfield songs. Mayfield was known as "The Poet of the Blues." Rhodes weaves pieces of several songs together to tell the story of a man whose woman has done him wrong. Sonny moves back to a "regular" lead guitar for this number. ONE MORE DRINK: "Give me one more drink, woman, and I won't drink no more!" Yeah, sure, Sonny. In a straight ahead rocking blues Sonny decries the evils of demon rum. CAN'T LET YOU GO: Another rocker, but this time Sonny switches back to the slide guitar. And in this number it is his woman doing the drinking, one night coming home drunk "wearing nothing but panty hose." Now there's an image to ponder! THE LETTER SONG (S-Y-S-L-J-F-M): The letters stand for "Save Your Sweet Loving Just For Me." Bob Greenlee, the album's producer and owner of King Snake Records, plays bass and baritone sax on the final song of this powerful CD. About halfway through the number Sonny shouts "I like this song!" There will be few if any dissenters. Reviewed by Toby Levy Copyright NY CD Blues @1995-1996 All Rights Reserved. Unauthorized use prohibited. NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Fri, 19 Jan 1996 17:49:38 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Sitting&Thinking-Lavelle White. I will say it one more time - Congrats Ronnie and yes one of us has 3 Handy Nominees. Way to go ....BTW this disc is a go-get under threat of death :). LAVELLE WHITE - Miss Lavelle (Antones #0031) ANTONE'S RECORDS INC 609B WEST SIXTH STREET AUSTIN TX 78701 BOOKING - RNA/RONNIE NARMOUR TEL: 512-416-1300 FAX: 512-416-1300 e-mail RNABooking@aol.com Ms. White is a gift. A rare, exceptional blues lady who exudes more class in a single note than many performers will deliver in a lifetime. In addition she is a gifted writer, as evidenced by the eight self penned sides on this disc. But one other factor should strike you - it did me. The liner notes contain a series of photos of a woman who is not short in years. As you listen to her voice and each of the sides you'll find that there is a dichotomy. Her voice does not belie her age. In fact you may just pull those liners out again for another peek. She has managed to keep the youth, the sparkle and the abilities of her aces up vocals right there - visceral, emotional and too my surprise and delight - young. This is an A+++ CD. YES I'VE BEEN CRYING / VOODOO MAN / WHY YOUNG MEN GO WILD / YOU'RE GONNA MAKE ME CRY / STOP THESE TEARDROPS / GO TO THE MIRROR / FOR YOU MY LOVE / LEAD ME ON / ABOUT THE FACTS OF LIFE / WRAPPIN' UP OUR LOVE / IT'S A MIRACLE / TIN PAN ALLEY NY CD-Takes YES I'VE BEEN CRYING: Clarence Holliman who is featured on guitar throughout this CD opens with a few plucks and right into the big vocal delivery of the lady - Lavelle White. This side is a very full featured cut with as many instruments featured as you could ask for - everything from a pair of solo lead guitars, through a classic group of bass, drums and piano and then on up to a three piece horn section. It's a nice tender mid-tempo side that sets the stage for Ms. White's CD extravaganza about love and all of it's many sides and pitfalls. This is the blues, done by a lady of distinction and some aces up guitar licks by Mr. Holliman. VOODOO MAN: This self penned side kicks off with a tastier and fruitier guitar intro and a strong drum beat. The drums really make this side drive and they set up very nicely behind this bassier take by Ms. White. A very good side. WHY YOUNG MEN GO WILD: Here Lavelle takes a dance flavored tune and tells the story of young men and their wildness. It's a real perky listen to and shows a pacing and a timing on Ms. White's part that is present on every side to this set. This is just plain fun listening, with some very strong saxophone by the always good Mark "Kaz" Kazanoff. YOU'RE GONNA MAKE ME CRY: More of Ms. Lavelle's love laments on this O.V. Wright side and justice done. She takes it at a slow grinding tempo with a full set of background vocals that act as an echo to her fronted singing. This is one of the strongest vocal selections on this disc and given the voice and the arrangement a very good choice as your first play side. STOP THESE TEARDROPS: After you sing about someone's going to make you cry - what comes next. The obvious is the selection, a call to stop these tears. Notice how the songs lead on in their content to tell a coherent story of love and its turns. This cut also has some great guitar and sax runs to its credit and Ms. White runs up the full vocal range she enjoys to deliver one stellar piece of music. Mark "Kaz" Kazanoff gets a fronted solo run leading right into Clarence Holliman's arms and this riff gets punctuated by George Rains' drums. GO TO THE MIRROR: The singing gets smokey, with a background taken from the 60's and 70's. Ms. White gives a real Motown take on this side, cowritten with Sarah Brown who does bass honors on it. This is a touchingly done love song that gets a tremendous and surprising dose of awesome horns by the trio of Mr. Kazanoff, Randy Zimmerman and Keith Winking. Ms. White is perfection, but the horns take this side and move it over the top. An A+++ cut to a must get CD. FOR YOU MY LOVE: The guitar and the drums pump this up. Once again Mr. Holliman and Mr. O'Brien trade off some fine and tasty guitar solos, while Lavelle handles the singing, big throated and out there. A nice showcase for Ms. White's power as a singer. LEAD ME ON: The first bars tell it all. Get out a towel for crying time. This is a self penned side that has so much power in every word and every note sung that you will be locked on this woman, waiting for the next thing out of her mouth. This is the most delicious piece to this set and as a self penned side by Ms. White, perhaps destined as a cover for many others. I sure hope so. ABOUT THE FACTS OF LIFE: Here the taste gets big bandish, although in the R&B vein. It has a pace that is picked up from Lead Me On and offers Ms. White much more like a lady capable of playing the Strip or it's like - she is that good folks. WRAPPIN' UP OUR LOVE: The pace stays up and Ms. White delivers more top vocals in this good followup to About The Facts Of Life. Derek O'Brien here gets solo lead on the guitar with Mr. Holliman out for this cut. Also of note here is the organwork of Reese Wynans. IT'S A MIRACLE: With all that has been said so far about love, Ms. White now talks about the miracle of love. Given that the following cut is Tin Pan Alley, this is a wrap to the first part of the love set. Great guitar solos again act as a solid counter to Ms. White's offering here - which is certainly in standing for best cut on this CD. TIN PAN ALLEY: The music set so far has been a tale well told. The selection of songs and their placement on this CD have been an unfolding tale of love fulfilled, with all the turns that such a journey takes. And now, to wrap this set, Ms. White takes one more song to set the whole process round. This side is a song about her lover lost and so Ms. White has set the stage for a replay of the sides that comprise this disc. Ms. White has great range in her singing, in her writing and in her presence. If you have not heard of her up to now, let this be your wakeup call. She is a beautiful and important lady of the blues who sings wondrously and with an enormous heart of feeling. Reviewed by Barry Silverberg Copyright NY CD Blues @1995-1996 All Rights Reserved. Unauthorized use prohibited. NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Fri, 19 Jan 1996 18:07:10 -0500 Reply-To: Stephen C Ellis From: Stephen C Ellis Subject: John Hammond Live on the Radio I just thought I would pass this on to any John Hammond fans. John will be the featured guest this weekend on the Acoustic Cafe nationally distributed radio show. For those who haven't heard Acoustic Cafe, it is a two hour show each week that features singer-songwriter musicians from folk, blues, and acoustic rock. John Hammond will be performing a set of live in-studio songs on the show. In addition, there will most likely be interview segments inbetween each of the songs John performs live. Here in Detroit, we get Acoustic Cafe on CIDR (93.9, "The River"), every Sunday morning from 9:00am till 11:00am. As for other cities around the country, I don't have a list of affliate stations available but you can e-mail them at "acafe@ic.net". They are very friendly and will always respond quickly to your questions. Hope everyone gets a chance to catch John's performance. Thanks, -Steve ========================================================================= Date: Fri, 19 Jan 1996 17:22:06 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: BB Interactive CD Comments: To: bob vanarsdall In-Reply-To: I read a _very_ favorable review of this disc in one of the computer game mag's. It tells the whole story of BB's life, including clips of those artists who influenced him and those upon whom he exerted an influence. Of course it also includes clips of the man himself. He narrates much of the disc and the interface is a representation of the US with BB's tour bus as the pointer. For instance, you move the bus to Indianola and he talks about his roots etc. This is all the info I have until I get my greedy little hands on it! Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke On Thu, 18 Jan 1996, bob vanarsdall wrote: > I was surfing at CD Now (http://www.cdnow.com) and they are advertising a > new BB King "interactive CD" for Power Macs and Windows to be released > January 30. It is called "On the Road with BB King" and they are listing it > for $40.77. They are taking advance orders. > > I have no other info on this.... > > Bob > ========================================================================= Date: Fri, 19 Jan 1996 17:26:32 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: BB Interactive CD Comments: To: "P.W. Fenton" In-Reply-To: <199601181517.KAA51948@osceola.gate.net> Herr Fenton wrote: Minimum requirements - and they do mean minimum - are a 486 33mhz, double speed CD ROM drive, 8 megs of ram, full Soundblaster sound card compatability - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- I've got those lowdown "How to upgrade w/out no dough" blues:( Rob On the other hand, it makes buying software easier...you just can't! Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Fri, 19 Jan 1996 18:38:39 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Jimmy Rogers recommendations? Ron said: >I was listening to a Jimmy Rogers disc last night called "Ludella", with a mix >of live and studio cuts on it. Kim Wilson had a big hand in it. I really >like Jimmy's style. Solid "Chicago-style" blues, with just enough swing mixed >in for my tastes. I don't have the disc at work or I'd list the musicians. I >know it includes some of Muddy's old band on the live cuts, and some local >(Texas) musicians on the studio. Kim, of course, blows some tremendous harp. >What Jimmy Rogers albums are YOUR favorites? Any I should stay away from >(though I can't imagine that happening)? Any "RUN/DON'T WALK" standouts? >Many thanks. >Ron (an instant Jimmy Rogers fan) Ron, I was an instant Jimmy Rogers fan, too, and I agree, Ludella is a great album. My favorite is Chicago Bound, which includes harpwork by Little Walter and Walter Horton and Otis Spann on piano. It has some of the same songs as on Ludella, including "Ludella," "Sloppy Drunk," and "Chicago Bound," but also some great songs like "You're the One," "Back Door Friend," "That's All Right," and "Walking by Myself." Blue Bird, a 1994 release, is also wonderful, with Carey Bell on harp and Johnnie Johnson on piano. Jimmy performed songs from this CD (but with a different harp & keyboardist) when I saw him last November. This past Christmas I found a Jimmy Rogers CD called "Sloppy Drunk" (1993 Evidence). This is a 1973 recording he made with Louis Myers, Dave Myers, Fred Below, and Willie Mabon. "Ludella." I like this a lot, but then again, I'm partial to this particular mix of musicians. I've probably told you more than you want to know. I could mention the live Cd with Ronnie Earl, or Feelin' Good with Rod Piazza, or I suppose even more. But you asked for my favorites, so there they are. Karen ========================================================================= Date: Fri, 19 Jan 1996 18:47:28 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: RL Burnside questions Comments: To: pwfenton@gate.net In a message dated 96-01-19 18:03:16 EST, pwfenton@GATE.NET (P.W. Fenton) writes: >I assure you, this venue has no idea who R.L. Burnside is or what he >plays, so they are not pioneering some new concept in musical >variety. This is strictly a place for getting stoned on ecstasy and >listening to music that sounds like jet planes in pain. I just cannot see the problem here. That R.L. might play his music for a new audience? That R.L. found a paying gig in an odd place? That his hearing might get damaged? That people PW disapproves of may listen to R.L.? None of that seems a problem to me. The worst thing that could happen is R.L. would get paid for playing for folks that dont listen to him, which would be sad. R.L. however has played with this particular band enough to know their audience and know whether he wants to continue..... Tom Freeland ========================================================================= Date: Fri, 19 Jan 1996 18:56:06 -0500 Reply-To: rew4@PSU.EDU From: Ross Whitwam Subject: Re: RL Burnside questions Comments: To: BLUES-L%BROWNVM.BITNET@psuvm.psu.edu P.W. Fenton wrote: >On 19 Jan 96, Dave J. Herda had this to say:> ... PW> What in the world is he doing on a tour with Joe Spencer Blues Explosion? PW> PW> I almost spit up my lunch when I saw "R.L. PW> Burnside" in an advertisement for January 30th at this place. Does PW> R.L. have a safety pin through his nipple now? Has he bought a fuzz PW> box? >> DH: Come on, this is getting ridiculous. I think it's great DH: that R.L. is touring with Jon Spencer. DH: Why is it such a shock to have two differnet types of music on one DH: billing. > PW>Because the venue they are playing in here features only ONE kind of PW>music, at one volume level. > I guess on this particular night they'll have TWO kinds of music (I don't know how there respective volumes will compare, but I never got the impression that R.L. plays all that demurely.) Isn't that a *good* thing? Burnside won't appeal to every JSBE fan, just as Spencer won't appeal to every Burnside fan. But then again, Burnside won't appeal to every, say, Buddy Guy fan. Would you be this offended if Burnside were on a tour with Guy? Burnside can be a bit of an aquired taste, just as the JSBE can be. Yet there are people who have no problem enjoying both artists. Dave Herda is one; I'm another; and from previous Spencer threads on the blues-l, I know we aren't alone even here. DH: Maybe if more bands and clubs would do these types of DH: wouldn't be worried about the shrinking number of blues music DH: venues (see appropriate thread). > PW>I assure you, this venue has no idea who R.L. Burnside is or what he PW>plays, so they are not pioneering some new concept in musical PW>variety. This is strictly a place for getting stoned on ecstasy and PW>listening to music that sounds like jet planes in pain. I've never been near this club, yet I am confident is not *strictly* for those things. (What's more, I've always associated ecstasy with techno music, but I'll defer to your apparent greater familiarity with the drug culture.) Why do you think that people who enjoy hardcore music can't be as open-minded as you are when it comes to other forms of music? Not all of them will be, but don't you think it unfair to assume *none* of them will be? It is my understanding that this double bill is Spencer's doing, so I guess *he's* the pioneering some new concept in musical variety, if you think that is what this is (I don't.) The club is presumably more interested in the JSBE side of the bill, but I doubt anyone could be familiar with Spencer and not know something about Burnside and the music he plays, as Spencer has been touring with Burnside for a while now. If they were as offended by this bill as you appear to be, I'm sure they would have passed on the booking. Maybe you should attend, and maybe you should try to keep an open mind, and maybe you might find that not all hardcore fans fit into a single derisive stereotype. Ross Whitwam rew4@psu.edu Dept. Biochem + Molec Biology Penn State University ========================================================================= Date: Thu, 18 Jan 1996 18:12:59 -0600 Reply-To: George McClellan From: George McClellan Subject: Koko Taylor On Jan. 17th SwtesTaboo wrote, "Frankly, I have listened to a tremendous amount of Koko Talyor's music, and I honestly find her voice to be horrifying, rough and grunty." Rough and grunty I will give you. Horrifying I just don't understand. Koko Taylor is one of the great blues artists, and I count myself lucky to have spent many years as both her fan and her friend. I understand you may feel Debbie Davis has in some way been slighted by the industry or the press, but frankly I don't understand why that would lead you to bashing Koko Taylor. She's a warm, talented, and powerful person. Respect is due her on all three fronts. On Jan. 18th Rick Miller wrote, "I'll throw my hat into this ring and put Irma Thomas right in there with Koko, Etta, and Ruth as a blues diva. Her performance with BB on his "Summit" project just blew me and my wife away, more so even in the video." Rick's right on the money here. These four women are all wonderful blues artists! On Jan. 18th Leonard Watkins wrote, "THE VOICE is the most expressive instrument there has ever been, so the logic about Koko not playing an instrument is BS..." I thought Leonard's comments (pointing out the voice is an instrument in itself and suggesting there may be an overglorification of the guitar) were well stated. I would like to offer a clarification, however, to the impression that Koko Taylor is only a vocalist. Koko does play acoustic guitar (more than a bit) in quiet private moments, and she would very much like to record an acoustic album one day. She's a bit concerned her fans might not accept it. I hope the next time any of you have the chance to see her you will encourage her to pursue this project. Finally, on the annual debate regarding awards in the blues community, my thought is that such awards don't identify "the best" of anything. They do identify some stuff that's really good either by definition of artistic merit, commerical success, or public acclimation. Any or all of these three things within the blues world bring an energy that can attract a wider audience, and that means blues as an art form lives on. Sure the purists might be frustrated by the "wannabes" or the "imitators," but searching through these will often bring you to an artist who's been around in the shadows for years or to an emerging new artist worthy of your time. It's not a zero sum game; the pie does not have to be sliced in ever smaller pieces. The whole pie can get larger, and those that want fake filling can revel in it while the rest of us enjoy the real deal! I'm finished with my soapbox now. I'll be glad to lend it to the next person :-) George Chicago ========================================================================= Date: Fri, 19 Jan 1996 19:09:56 EST Reply-To: MB6254@ACSPR1.ACS.BROCKPORT.EDU From: Mark Baker Subject: Re: BLUES L: Re: RL Burnside questions Dave, It's nice to hear from someone with an open mind. Anyone who is a serious student of American musical history would know that in the 1960's it was not uncommon for a blues act to appear with an "acid rock' band at the Filmore West. Unfortunately, there are a lot of purists out there who seem to feel that there is only one right way to present the blues, and anything els e is unacceptable. Why that is I do not know. I saw Buddy Guy with Santana, and they had no problem playing together. If the musicians are not wearing blinders why should the fans? Mark Baker ========================================================================= Date: Sat, 20 Jan 1996 00:18:40 GMT Reply-To: ynot@io.org From: Tony Burns Organization: Internex Online, Toronto, Ontario, Canada (416 363 3783) Subject: Re: Guy Davis Comments: To: bit-listserv-blues-l@mail.uu.net In <199601181705.JAA20523@ix10.ix.netcom.com>, Mike Shannon writes: > I happened to catch a couple tracks off this guys album today and I >was impressed. He plays unaccompanied acoustic, Delta blues, and he is >good. > > I never heard of him before. Anybody know anything about him? I saw him at a Blues Festival in Toronto last summer and was blown away. He is coming back Feb. 4. For those in Toronto, he is playing at the Waters Edge Cafe, Harbourfront. It is a matinee performance, 2pm-5pm and it's FREE! Tony Burns | ynot@io.org | http://www.io.org/~ynot/ [Home page - Canadian Masters Windsurfing, Jughead, Greenbank Folk Music Society, Toronto Blues Society, ...] ========================================================================= Date: Fri, 19 Jan 1996 19:04:14 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: The site is in sight Ji> I hate to assume the role of giving grammar lessons to the Blues-L but Ji> this one is driving me crazy. For some of us, it's less of a drive, and more of a short walk. ... "I hate waking up in someone else's nightmare!" The Maxx --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Fri, 19 Jan 1996 19:50:52 -0500 Reply-To: Neil Cassidy From: Neil Cassidy Subject:Review:the music never stopped On 1/19/96 bob vanardall said >The Music Never Stopped (Roots of the Grateful Dead), Shanachie 6014, >produced by Henry Kaiser and David Gans, gives us a collection of original >songs from which the Dead have done versions over the years. Why am I >putting this on Blues-L? Of the 17 songs, fully 10 are from the folks we discuss constantly, and the others aren't too shabby either. Here's the >songs from which the Dead have done versions over the years. >>>Rain and Snow - Obray Ramsey Mama Tried - Merle Haggard Iko Iko - The Dixie Cups Samson & Delilah - Rev Gary Davis Big Railroad Blues - Cannon's Jug Stompers El Paso - Marty Robbins It's All Over Now, Baby Blue - Bob Dylan Spoonful - Charlie Patton Red Rooster - Howlin' Wolf Promised Land - Chuck Berry Don't Ease Me In - Henry Thomas Big Boss Man - Jimmy Reed Turn On Your Love Light - Bobby Blue Bland Morning Dew - Bonnie Dobson Not Fade Away - Buddy Holly Goin Down the Road Feelin Bad - Woodie Guthrie I Bid You Goodnight - Joseph Spence with the Pindar Family Great observation Bob The Dead are a real roots band I'd like to add "New Minglewood blues" which i think is by Gus Cannon and his Jug Stompers also. Neil ========================================================================= Date: Fri, 19 Jan 1996 20:03:57 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Humorous - Very Little Blues A friend of mine just sent me this and its funny because my son and I had just started writing a parody to the same tune! This would prob'ly be a great opening tune. I don't know who to credit it with. ----------------------------------------------------- "Engineer's Song" (to the tune of the Beverly Hillbillies): Come and listen to a story 'bout a man named Jed, A poor college kid barely kept his family fed, But then one day he was talking to a recruiter, He said, "They'll pay ya big bucks if ya work on a computer!" VAX that is... CRT's... Workstations; Well the first thing ya know ol' Jed's an Engineer, The kinfolk said, "Jed move away from here." They said "Arizona is the place you oughta be." So he bought some donuts and moved to Ahwatukee. Intel that is... dry heat... no amusement parks; On his first day at work they stuck him in a cube, Fed him more donuts and sat him at a tube, They said, "Your project's late but we know just what to do, Instead of 40 hours, we'll work you fifty-two!" Overtime that is... Unpaid... Mandatory; The weeks rolled by and things were looking bad, Some schedules slipped and some managers were mad, They called another meeting and decided on a fix, The answer was simple, "We'll work him sixty-six." Tired that is... Stressed out... No social life; Months turned into years and his hair was turning gray, Jed worked hard while his life slipped away, Waiting to retire when he turned sixty-four, Instead he got a call and they showed him out the door. Laid-off that is... Debriefed... Unemployed... Thanks for your indulgence! Beef Stew ************************************************************** ========================================================================= Date: Fri, 19 Jan 1996 19:57:50 -0500 Reply-To: Neil Cassidy From: Neil Cassidy Subject: Mary Katherine Aldin kudos As Tom Freeland wrote: >The other add to my best-of list is folk, not blues, but should be checked >out by anyone on this list interested AT ALL in acoustic guitar playing: It >is the Doc Watson VANGUARD YEARS collection. It is truly wonderful, and is a >perfect introduction to Doc Watson. . . . Whoever put this one together >(gee, I wonder who that was?) did a wonderful job. I couldn't agree more. Neil Cassidy Way to go Mary Katherine. ========================================================================= Date: Fri, 19 Jan 1996 20:07:38 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Billy Boy Arnold in MA. Happily, I'll be on my way to Springfield, Massachusetts Saturday night (the 20th) to see Billy Boy Arnold. Anyone else from the area going? Anyone else seen him recently? Beef Stew WCCC Radio Hartford, CT ****************************************************** ========================================================================= Date: Fri, 19 Jan 1996 20:18:18 -0500 Reply-To: Vicki Bean From: Vicki Bean Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Proposal for blues-l Grammys Comments: To: bit-listserv-blues-l@uunet.uu.net Why not do the same with the Handy Award nominees? These are ready now and would be really easy to post and see how well we vote? ========================================================================= Date: Fri, 19 Jan 1996 20:18:21 -0500 Reply-To: Vicki Bean From: Vicki Bean Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Was : Blues-l AWARDS Comments: To: bit-listserv-blues-l@uunet.uu.net Might I suggest that we use the 1996 Handy Awards as a guide? We can use the categories already set up and, if we like, can list the nominees that are already in. I've checked with the Blues Foundation and they'd be more than happy to let us post the nominees for this year's awards. If we wanted, we could allow write ins or more nominees until we get ready to take our final vote. The awards happen on May 2, so we can see on May 3 how we did. I have the information here if we want to do this. Just let me know. Thanks, VDB ========================================================================= Date: Sat, 20 Jan 1996 02:52:33 GMT Reply-To: Jack Oudiz From: Jack Oudiz Subject: Re: Earl Hooker Comments: To: bit-listserv-blues-l@uunet.uu.net Both Arhoolie recordings of Hooker are excellent. There is so little available of this giant that you really can't be too choosy. I've had Sweet Black Angel on vinyl for at least 20 years and it's different but enjoyable. It's all instrumental including some C&W. ========================================================================= Date: Sat, 20 Jan 1996 02:59:54 GMT Reply-To: Jack Oudiz From: Jack Oudiz Subject: Re: Clarification re use of my name in connection with Handy Awards Comments: To: bit-listserv-blues-l@uunet.uu.net I'm glad you clarified that MK. You sound kinda strong about your feelings toward the Handy's, anything you can share with us? I have enjoyed your contributions wherever they have appeared and particularly liked your piece on the House of Blues. I also get a ballot mailed to me each year for the Handy's and I can only guess they use the Living Blues mailing list or some such. ========================================================================= Date: Sat, 20 Jan 1996 03:02:58 GMT Reply-To: Jack Oudiz From: Jack Oudiz Subject: Re: Otis Rush, Blues Revue, Delmark Comments: To: bit-listserv-blues-l@uunet.uu.net I read that also and was thoroughly confused. Sounded like Rush really harbored bad feelings for Bob Koester for some reason. As to the recent release of So Many Roads, it is indeed the Live in Japan recording of 1975 and is EXCELLENT. ========================================================================= Date: Fri, 19 Jan 1996 19:27:00 PST Reply-To: Gary Joneson From: Gary Joneson Subject: Re: BLUES L: Re: RL Burnside questions >It's nice to hear from someone with an open mind. Anyone who is a serious >student of American musical history would know that in the 1960's it In the mid 60's I purchased tickets for a Jefferson Airplane concert not much caring who was opening but I will tell you what...sure do remember that opening act to this day ...Muddy Waters! Gary ----------------------------------------------------------------------- Lavelle White http://www.island.net/~blues/lavelle.html ========================================================================= Date: Fri, 19 Jan 1996 15:15:00 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: Blues hero look-alikes In-Reply-To: from "R.J. Bauman" at Jan 17, 96 07:31:13 pm > Can anybody think of others??? I think Forrest Whittaker looks like Blind Lemon Jefferson. -Rob ========================================================================= Date: Fri, 19 Jan 1996 23:02:54 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Re: James Peterson Comments: To: bit-listserv-blues-l@uunet.uu.net There will be a live chat/interview with James Peterson at Muddy's Cabin on Saturday, January 20 at 6PM (E.S.T.) To join in the chat go to: http://www.vivanet.com:80/~catbauer/cabin.html Any questions you might like to ask James Peterson can be E-mailed in advance (if you won't be able to be there at the scheduled time and still want to participate) to: catbauer@vivanet.com or bluemoon@usa.pipeline.com. The January issue of Living Blues magazine has an extensive interview on James Peterson..if you would like to read up on him a bit. His biography is on his page at the Malaco/Waldoxy artists. To reach his page: http://MISnet.com:80/malaco/blues/jpeterson/ James Peterson is looking forward to this new modern fangled thing they call internet chats!! For more information on James Peterson e-m bluemoon@usa.pipeline.com ========================================================================= Date: Fri, 19 Jan 1996 22:12:22 -0600 Reply-To: Craig Edmundson From: Craig Edmundson Subject: Appearances Freezing their hides off in the Great Plains: Tab Benoit, Jan 25 Jones Street Brewery, Omaha NE Smokin' Joe Kubek featuring B'Nois King, Jan 26 Zoo Bar, Lincoln NE Ian Moore, Jan 29 Cunningham's Journal Bar & Grill, Kearney NE Chris Duarte, Feb 3 Ranch Bowl, Omaha NE "I'm goin' home to dee-frost." -- Albert Collins ----------------------------------------------- Craig L. Edmundson cedmunds@netserv.unmc.edu cedmundson@nfinity.nfinity.com ========================================================================= Date: Thu, 18 Jan 1996 22:53:12 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: BLUES L: Re: RL Burnside questions Dug up an article I kept form the October27-November2, 1995. It was a story on RL Burnside and Junior Kimbough. Here is a qoute from the article by RL concerning him touring with rock acts (The Jon Spencer Group is mentioned). "If I had my druthers, we'd be back to Marshall stacks, seeing whose amps are bigger-ours or the rock acts." Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sat, 20 Jan 1996 06:58:39 GMT Reply-To: Steven Levine From: Steven Levine Organization: CAPCON Library Network, Washington, DC Subject: Re: Billy Boy Arnold in MA. Stew Crossen (bfstew@NECA.COM) wrote: : Happily, I'll be on my way to Springfield, Massachusetts : Saturday night (the 20th) to see Billy Boy Arnold. : Anyone else seen him recently? I saw him tonight at Tornado Alley, in Wheaton, MD. Great show. He played with Aaron Burton and his band (who opened each set with two or three songs before Billy Boy got on stage). He appeared a little rusty at first, but he got into it after a song or two. His harp playing wasn't spectacular, but I don't think it ever has been. He is a great player, but his style really is suited to complement his singing, and it works very well. He also played guitar on a few tunes, which surprised me since I didn't know he played guitar. I also had a chance to talk to him between sets, and he was very friendly and nice. He knows a hell of a lot about the classic early Chicago scene (since he was a part of it), and it was great to talk to someone who was there while it was happening. -Steve -- ========================================================================= Date: Sat, 20 Jan 1996 02:50:32 -0500 Reply-To: DBOW From: DBOW Organization: America Online, Inc. (1-800-827-6364) Subject: Blues & Jazz transcription web site Comments: To: bit-listserv-blues-l@uunet.uu.net If your a guitarist looking for blues and jazz instructional materials, I invite you see to my new web site at: http://members.aol.com/dbow/index.htm Sincerely, Dan Bowden ========================================================================= Date: Sat, 20 Jan 1996 02:51:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM Comments: To: bit-listserv-blues-l@uunet.uu.net From: "J.E. Downey" Subject: Otis Rush I read that also and was thoroughly confused. Sounded like Rush really harbored bad feelings for Bob Koester for some reason. As to the recent release of So Many Roads, it is indeed the Live in Japan recording of 1975 and is EXCELLENT. Somebody asked if Otis was doing a new recording after Ain't Enough Comin' In. Did this article, whatever it was, indicate anything? Have become an Otis fan, J.E._Downey@bakermck.com Blue Joe in Red Russia ========================================================================= Date: Sat, 20 Jan 1996 03:11:33 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: percy strother in FW Percy Strother played J&J Blues Bar in Fort Worth last night to a packed house. It was great to see, especially since the first time he played there (last September on a Thursday) there were maybe 25 people there all night. It was an interesting crowd of college kids and cowboys. The Fort Worth Fat Stock Show starts today so there were a lot of cowboy hats in the audience, even for Fort Worth. Percy had the dance floor so packed that the hats were bumping together and falling off. Only in Texas, y'all. Percy and the band put on a fine show, as usual, with a mix of covers and originals from his 2 CDs (A Good Woman is Hard to Find-Blue Loon/Moon, The Highway is My Home-Black Magic). The closer was a rousing version of Clarence Carter's "Strokin'" which I suspect those cowboys and college kids will be talkin' about for weeks. As the band tore down for the night, Percy did a solo version of Slim Harpo's "I'm a King Bee" that was very nice. I've heard at least part of Percy's Black Magic album will be released later this year in the U.S. I look forward to seeing him again tonight at the Blue Cat in Dallas (where I suspect there won't be near as many cowboy hats)! Don O. yee-haw ========================================================================= Date: Sat, 20 Jan 1996 09:42:23 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: hitching to London Comments: To: bit-listserv-blues-l@uunet.uu.net James Leftwich wrote: > >Hey, > >I'll be in London Feb 4 - Feb 11 or so. Can some of our Brit friends out >there advise me on Blues opportunities for that week. How's about >second-hand record stores...good venues...etc... > Jim, Check out British harp-meister Paul Lamb & The Kingsnakes at the 100 Club, 100 Oxford St., London, on Feb. 4. Scott ========================================================================= Date: Sat, 20 Jan 1996 09:46:02 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Koko plays no instrument Comments: To: bit-listserv-blues-l@uunet.uu.net To All, Just for the record, Koko DOES play the guitar. I saw her do a nice solo acoustic guitar and vocal version of "Smokestack Lightnin'" at Buddy Guy's Legends club in Chicago a while back. No kidding! Scott ========================================================================= Date: Sat, 20 Jan 1996 15:49:49 GMT Reply-To: Kevin Kennedy From: Kevin Kennedy Organization: Cen-Com Internet Subject: Re: B.B. Listens to Everything Comments: To: bit-listserv-blues-l@uunet.uu.net On Fri, 19 Jan 1996 10:18:37 EST, shannon oconnor wrote: > There's a little blurb in my local paper this morning (The Cincinnati > Enquirer) which of course I left at home on the dining room table that > printed the answer to a question put to B.B. King as to what kinds of > music he listens to. Trying to remember, I know it said he likes r&b, > gospel, rap, country, and classical, and one of his all-time favorites > to listen to is Luciano Pavarotti. > > O Sole Mio! > > > Shannon On JazzIRC the other night, BB said he gets something from all kinds and that he would enjoy playing along with any kind of group. Not a quote but the drift. ========================================================================= Date: Sat, 20 Jan 1996 10:04:27 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: RL Burnside questions Comments: To: Skipjames@AOL.COM On 19 Jan 96, Tom Freeland had this to say: > I just cannot see the problem here. That R.L. might play his music for a new > audience? That R.L. found a paying gig in an odd place? That his hearing > might get damaged? That people PW disapproves of may listen to R.L.? > None of that seems a problem to me. The worst thing that could happen is > R.L. would get paid for playing for folks that dont listen to him, which > would be sad. R.L. however has played with this particular band enough to > know their audience and know whether he wants to continue..... Gimme a break, Tom. I never said it was a problem for me. I was just very suprised to see him on the bill at a hard core, head banging place, where stage diving is a regular feature. If you don't understand how that is an odd setting for R.L. Burnside, then I don't know what more to say. I am officialy happy that R.L. is touring, making money, and becoming the darling of the skin head circuit. I don't know anything about the band he's touring with and have no idea if they fit in to the particular venue I am talking about. But I DO know this venue and the acts they book and the crowd that attends. It's not any place that I would send R.L. P.W. Fenton Tampa, Florida Visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sat, 20 Jan 1996 09:31:45 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Billy Boy Arnold Stew Crossen (bfstew@NECA.COM) wrote: : Happily, I'll be on my way to Springfield, Massachusetts : Saturday night (the 20th) to see Billy Boy Arnold. : Anyone else seen him recently? I saw him tonight at Tornado Alley, in Wheaton, MD. Great show. He played with Aaron Burton and his band (who opened each set with two or three songs before Billy Boy got on stage). He appeared a little rusty at first, but he got into it after a song or two. His harp playing wasn't spectacular, but I don't think it ever has been. He is a great player, but his style really is suited to complement his singing, and it works very well. He also played guitar on a few tunes, which surprised me since I didn't know he played guitar. I also had a chance to talk to him between sets, and he was very friendly and nice. He knows a hell of a lot about the classic early Chicago scene (since he was a part of it), and it was great to talk to someone who was there while it was happening. Steve ************************************************************** Thank You Steve, Of the three recent Alligator albums, I think "Back Where I Belong" is the strongest of the three and the newest "Eldorado Cadillac" is prob'ly second. (IMHO) Beef Stew WCCC Radio Hartford, CT ************************************************************** ========================================================================= Date: Sat, 20 Jan 1996 10:00:29 -0500 Reply-To: bob vanarsdall From: bob vanarsdall Subject: Re: Rev.Gary Davis & The Music Never Stopped Comments: cc: baileyst@MARTIN.LUTHER.EDU Storm asked: >Bob pointed out that: >>The Music Never Stopped (Roots of the Grateful Dead), Shanachie 6014, >contains: >>Samson & Delilah - Rev Gary Davis > >I've been trying to find an (the?) Rev. Gary Davis album containing >this cut. Could someone supply the name for me? Thanks! > For the sake of brevity I didn't include all the info on each cut, but here's what the liner notes say about "Samson & Delilah" (notes are by Blair Jackson). This doesn't directly answer Storm's question, but provides some interesting background on the song. The Davis recording credit is given to Fantasy Records, so it may be on one of his Fantasy albums listed as If I Had My Way: (Quoted material) Rev. Gary Davis' famous version of this song is actually a second-generation cover. The original recording, under the title If I Had My Way I'd Tear This Building Down, was by the amazing Texas gospel singer Blind Willie Johnson, a fire-and-brimstone street corner musician and Baptist evangelist who cut 30 sides for Columbia in the late 20's and was never heard from again. (Among his works is another song the Dead have played from time to time, Nobody's Fault But Mine). Johnson possessed an incredibly raw and emotional voice and was also an excellent slide guitarist (he played "Hawaiian-style", with a pen knife rather than a bottle). Still, he had all but faded into obscurity when Sam Charters rereleased some of Johnson's Columbia output on Folkways Records in the late 50's, more than a decade after Johnson is believed to have died. The song, which derives from the Bible story in the Book of Judges (13-16), was a popular Negro spiritual in the 19th century, usually sung a capella before Johnson recorded his arrangement. An interesting biographical note about Johnson: On a trip to New Orleans in 1929, he was arrested outside of Custom House while he was singing If I Had My Way, because a ploiceman believed he was singing about tearing down Custom House! ...After being ordained as a Baptist minister (Rev Gary Davis), essentially gave up recording, choosing to spend his days as a singing street preacher instead. In 1940 he moved to New York, where he continued to earn his living as a street preacher. By 1948 he was supplementing his income by teaching guitar at Brownie McGhee's House of Blues Music School. In the mid-'50's he resumed his recording career, this time playing gospel blues only, and throughout the late 50's and 60's he travelled widely playing at numerous folk and blues festivals. Still, he kept up his street music (one reason his voice in later years was so gravelly) and lessons, until his death in 1972. "I went and visited him a couple of times in New York in this basement apartment he had," Bob Weir told me in 1985. "I learned Samson & Delilah the way he used to play it, which is not the way we play it onstage now - you can't play that style of guitar in a band, really. I learned a few other tunes from him, too".... Bob ========================================================================= Date: Sat, 20 Jan 1996 10:00:36 -0500 Reply-To: bob vanarsdall From: bob vanarsdall Subject: Re: James Brown (Hunnh) Tom Freeland wrote: >I had the same experience-- two releases acquired in December jumping to near >the top of my "best of" list for 95. One is blues related-- I got the two CD >James Brown band instrumental set for Christmas. While I am a fan of soul >and funk, James Brown has not drawn my attention as much as he should have. > This set did. This is one of the all-time great bands (or series of bands) >shown off at its best. And hearing them this way makes even clearer how >influential this *band* was. Good story copped from my local PBS magazine. Fred Wesley was auditioning a new guitar player for James Brown's band. He said, "Can you play a D ninth chord?" The guitar player said, "Well, sure." Fred Wesley said, "Can you play it...all night long?". This is a great, great album. The History of Rock & Roll special recently on US TV had a segment on "Funk" which showed very clearly the influence of James Brown's bands in the 50's and 60's. Especially good was seeing Larry Graham, George Clinton, Maceo Parker and all talking about "the ONE", the first initial strong beat which James made into a signature. Bob ========================================================================= Date: Sat, 20 Jan 1996 10:24:42 -0500 Reply-To: RNABooking From: RNABooking Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Tracy Nelson; was Re: Koko's League Comments: To: bit-listserv-blues-l@uunet.uu.net I'd put Tracy's voice one on one with anyone in the world. She flat rips it up. She's not big on shuffles. Her stuff is a little different...but man can she sing the blues. ========================================================================= Date: Sat, 20 Jan 1996 11:09:10 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: You Might Be A "Blueneck" If.... Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU On 19 Jan 96, L W had this to say: > You Might Be A Blueneck If....... > > Who you are going to see at a club is more important than what you are > going to wear > > You frequently "talk back" to the music > > ...etc. For the record, I loved this, LW, and my wife did too. Especially the part about valuing my CDs over my car. P.W. Fenton Tampa, Florida Visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sat, 20 Jan 1996 11:09:10 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: RL Burnside questions Comments: To: rew4@PSU.EDU On 19 Jan 96, Ross Whitwam had this to say: > I guess on this particular night they'll have TWO kinds of > music (I don't know how there respective volumes will compare, > but I never got the impression that R.L. plays all that > demurely.) Isn't that a *good* thing? Nobody said it was a BAD THING > Burnside won't appeal to every JSBE fan, just as Spencer won't > appeal to every Burnside fan. But then again, Burnside won't > appeal to every, say, Buddy Guy fan. Would you be this offended > if Burnside were on a tour with Guy? Dammit... WHO SAID I WAS OFFENDED?! > Burnside can be a bit of an aquired taste, just as the JSBE > can be. Yet there are people who have no problem enjoying > both artists. Dave Herda is one; I'm another; and from > previous Spencer threads on the blues-l, I know we aren't > alone even here. Who said you couldn't enjoy both artists? > I've never been near this club, yet I am confident is not > *strictly* for those things. (What's more, I've always associated > ecstasy with techno music, but I'll defer to your apparent > greater familiarity with the drug culture.) Why not defer to my greater familiarity with the club? After all, I only live here. > If they were as offended by this bill as you appear to be, > I'm sure they would have passed on the booking. Once again, I am dumbfounded as to when I became OFFENDED? If I said what in the world is Bob Dole doing giving a speech at the Democratic convention, would I be saying I was OFFENDED? > Maybe you should attend, and maybe you should try to keep > an open mind, and maybe you might find that not all hardcore > fans fit into a single derisive stereotype. I wouldn't know so much about this place if I hadn't attended it several times. I happen to know the owner as well. As I said, I'm dumbfounded by what you have been able to extrapolate from what little I have said, about a club you know nothing about. And why, just because I was blown away to see R.L.'s name on the bill, you should make remarks like "but I'll defer to your apparent greater familiarity with the drug culture". This kind of reminds me of the time I said that I thought that Stevie Ray Vaughan had become more popular after his death than he had been during his life. Instantly, Blues-l was crawling with SRV fans wanting to know why I was trashing Stevie. Or the time when I said that the largest group of subscribers to Blues-l were from America Online, and immediately I was showered with email wanting to know what I had against people from America Online. Go figure. P.W. ========================================================================= Date: Sat, 20 Jan 1996 10:34:01 -0500 Reply-To: RNABooking From: RNABooking Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Female blues/Koko's league Comments: To: bit-listserv-blues-l@uunet.uu.net Irma is great. So is Miss Lavelle White. Lavelle not only has a stronger vocal range but writes most of her own songs. Check her out. ========================================================================= Date: Sat, 20 Jan 1996 10:45:25 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: RL Burnside questions In-Reply-To: <199601201424.JAA91790@osceola.gate.net> I read in Guitar Player magazine about a year ago that the guys in Jon Spencer Blues Explosion were heavily influenced by Hound Dog Taylor and the Houserockers, and especially by Brewer Phillips. I haven't heard Spencer's stuff, so I don't know if the influence actually comes to the fore. But I can see -- if they themselves had anything to do with it -- how they could enjoy their venues with R.L. Dave Prychitko ========================================================================= Date: Sat, 20 Jan 1996 15:54:22 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Little Mack Simmons Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199601181830.NAA114079@poe.acc.Virginia.EDU> Peter Welch writes: >I've read several raves about the new Little Mack Simmons CD >called "High and Lonesome" on the St. Georges label. St. George is a small independent Chicago label - it's not the easiest to find, but the computer mail order services carry the label. I haven't seen this one listed yet, but I was able to pick up Big Mojo Elem's release there. You might also try Tower mail order if you don't succeed there. Art Schuna ========================================================================= Date: Sat, 20 Jan 1996 10:00:43 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: New Johnny Winter Album!! Comments: To: Aaron Fredrick Tiensivu In-Reply-To: <199601181727.MAA07095@arctic.cps.msu.edu> Whatever the "new" Johnny Winter CD is, it's old recordings because he hasn't done any new ones. ========================================================================= Date: Sat, 20 Jan 1996 11:20:11 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Jay McShann in Toronto I have a new claim to fame. I can now say that I once (last night) stood beside Jay McShann at the urinals in a jazz club. But the real thrill, of course, was seeing a legend perform. Jay McShann was one of the founders of Kansas City blues and jazz. His "Confessin the Blues" sold over half a million copies in the early forties -- an unheard-of success for a "race record." I saw him last night at The Montreal Bistro, a Toronto jazz club. He was playing with three Toronto musicians on Sax (Jim Galloway), Upright Bass (Rosemary Galloway) and Drums (Jim Vickery), who were very good -- they've played and recorded with McShann before, and they worked very well together. McShann's piano was upfront most of the time. If your tastes run to Chicago or Delta blues, you probably wouldn't have been thrilled by the performance. Most of it was straight jazz, improvized on standards like Mack the Knife. And when he did blues -- including a fine version of Confessin the Blues, it was blues which was very close to the jazz end of the musical spectrum. But if you like that type of music (which I do) it was a magical evening. We stayed for two hour-long sets, and would have stayed for the third if we could have. At 80 years old, McShann is still a superb piano player. No one will ever call him a great vocalist, but his voice is pleasant, a bit quirky, and he really knows his blues. (Part way through the first set I whispered to my wife, "I hope when I'm 80 years oldI can do _anything_ as well as McShann is playing the piano tonight."She replied: "You can't do anything that well now!" Ah well.) Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Fri, 19 Jan 1996 08:27:37 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Guy Davis in Toronto For bluezellers in Toronto ... Guy Davis performed at the Harbourfront Soul and Blues Festival in Toronto last summer -- he's a superb singer, acoustic guitar player and story teller. Good News: He'll be back on Sunday February 4, 2pm-5pm, at the Waters Edge Cafe at Harbourfront. And the show is FREE! Don't miss it. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Sat, 20 Jan 1996 11:22:15 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: An example for blues clubs As I've said in another message, last night I saw Jay McShann at the Montreal Bistro in Toronto. This was the first time I had been at this club -- but I'll go back. If some blues clubs became more like this, the current decline of blues venues would be over. Specifically: --A great, comfortable room, with great sightlines everywhere, and excellent acoustics. --Lots of chairs and tables. The club was sold out, but I'd say that 3/4 of the people were seated, and the rest were standing at the bar. --Good food. This is a restaurant/club, so it has a core audience of people who come prepared to spend more than a straight drinking crowd. --Good service. The servers were attentive without being annoying. I never had any trouble getting another drink. The servers also knew how to take orders and clear tables silently when the music was on. --Signs on each table suggesting that patrons be quiet during the performance. This was reinforced by the MC, who finished his introduction ny saying "If you have a great story to tell your companion tonight, please save it until after the set." In my experience, you rarely find any of these features in blues clubs -- and you never find all of them. Maybe I'm getting old, but this is what I want to see in a club. Ian Angus "Built for comfort, not for speed" Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Sat, 20 Jan 1996 10:06:07 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Otis Rush, Blues Revue, Delm Comments: To: "DUTTWEILER.J" In-Reply-To: I'm sure Otis is upset about the repackaging of the live Japanese LP (with extra cuts) for CD because 1) he's suspicious of the whole business and 2) Delmark probably didn't tell him they were doing it and/or offer him more money (which they weren't legally obligated to do). ========================================================================= Date: Sat, 20 Jan 1996 11:17:30 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: RL Burnside questions Comments: To: pwfenton@gate.net Feigning an air of hurt confusion, P.W. Fenton writes that he is startled that people think he is offended that R.L. Burnside is appearing in a local (alternative?) club with the John Spencer Blues Explosion. P.W. concludes: >As I said, I'm dumbfounded by what you have been able to extrapolate >from what little I have said, about a club you know nothing about. >And why, just because I was blown away to see R.L.'s name on the bill, >you should make remarks like "but I'll defer to your apparent >greater familiarity with the drug culture". >This kind of reminds me of the time I said that I thought that Stevie >Ray Vaughan had become more popular after his death than he had been >during his life. Instantly, Blues-l was crawling with SRV fans wanting to >know why I was trashing Stevie. Or the time when I said that the >largest group of subscribers to Blues-l were from America Online, and >immediately I was showered with email wanting to know what I had >against people from America Online. > >Go figure. OK, let's figure. P.W.'s first post read offended to me: >I have a question for R.L., perhaps your already asking it. What in >the world is he doing on a tour with Joe Spencer Blues Explosion? > >There is a venue here in Tampa that features bands with names like >"Butt Hole Snakes". I almost spit up my lunch when I saw "R.L. >Burnside" in an advertisement for January 30th at this place. Does >R.L. have a safety pin through his nipple now? Has he bought a fuzz >box? Reading this, I concluded that anything that made P.W. "almost spit up...lunch" and suggest R.L. sported a nipple safety pin was something that offended him. (Personally, I have to be offended to throw up from something I read in the newspaper. Maybe P.W. is different). So did other readers. One questioned P.W., eliciting the reply (quoting the questions): >> Why is it such a shock to have two differnet types of music on one >> billing. > >Because the venue they are playing in here features only ONE kind of >music, at one volume level. > >> Maybe if more bands and clubs would do these types of >> things, the blues would get the exposure it deserves and we >> wouldn't be worried about the shrinking number of blues music >> venues (see appropriate thread). > >I assure you, this venue has no idea who R.L. Burnside is or what he >plays, so they are not pioneering some new concept in musical >variety. This is strictly a place for getting stoned on ecstasy and >listening to music that sounds like jet planes in pain. >From which I concluded that P.W. was *really* offended. Note that P.W.'s most recent post said: "And why, just because I was blown away to see R.L.'s name on the bill, you should make remarks like "but I'll defer to your apparent greater familiarity with the drug culture". Perhaps because P.W. had earlier suggested that "This is strictly a place for getting stoned on ecstasy"?? Circling back to P.W.'s most recent message (and his comment that he was similarly suprised when his comments about SRV and America Online lead people to, um, overract, I suggest that PERHAPS ITS THE WAY YOUR EXPRESSING YOURSELF! Hope this helps answer the questions in your last post, P.W. Or where they rhetorical? Tom Freeland (trying to remember if one of those posts from P.W. asked me to give him a break?) ========================================================================= Date: Sat, 20 Jan 1996 11:48:27 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Foolish quotes .... In-Reply-To: <199601201424.JAA91790@osceola.gate.net> In a recent post I saw something along the following lines said by a blues-ler (not the exact quote - I am doing this from memory). "I wouldn't send R.L. to a place like that .... " Barry says - "good thing you're not R.L.'s booking agent". NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sat, 20 Jan 1996 12:46:11 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: The R.L. Burnside mess Apparently I am to blame for starting this. When I said that "I almost spit up my lunch" when I saw R.L Burnside advertised at this particularly "hard core" alternative venue, I meant it in the same sense as you might spit out your coffee in reaction to a hilarious joke, or if your girlfriend was to say "oh by the way, I'm pregnant". In comedy it's called a "spit take". Apparently it was taken to mean that I vomited in disgust at this pairing (R.L. and Spencer). That is not what I meant to convey. I apologize to everyone for the wrong choice of words. Maybe if I had said "spit out" instead of "up" I would not have been misunderstood. In any case people are angry and are having trouble getting un-angry, no matter what I say. So I won't be saying any more about it, and I apologize for my part in wasting so much space on the subject. P.W. ========================================================================= Date: Sat, 20 Jan 1996 18:13:17 GMT Reply-To: emdrprac@DIRECT.CA From: emdrprac@DIRECT.CA Organization: Internet Direct Subject: Re: Fwd: Blues drummers Comments: To: bit-listserv-blues-l@uunet.uu.net On 18 Jan 96, Meadors had this to say: ...... I'm not a drummer but as a guitarist/harp player I >> > really think that having a great blues drummer (not rock drummer) >> makes or breaks any blues band. As a blues bassist, let me chime in on this one...... the biggest thing about a great blues drummer is the SMALL things he does. Little pushes, accents, etc: and - it is deceptively simple, but a great shuffle is not an easy thing to find in a drummer. I have actually learned how to "push and pull" drummers to make them end up keeping time, but at the same time playing that fraction of a nanosecond behind the back-beat that makes for a killer feel..... All you rockers out there who think the blues is 12-bars and a three chords: listen to Freddy Below, Elgin Evans, Francie Clay, and others who really defined the Chicago blues feel....... ========================================================================= Date: Sat, 20 Jan 1996 18:15:22 GMT Reply-To: emdrprac@DIRECT.CA From: emdrprac@DIRECT.CA Organization: Internet Direct Subject: Re: Fwd: Blues drummers Comments: To: bit-listserv-blues-l@uunet.uu.net ... one more thing re. Blues Drummers. I can't remember who I heard first give this advice to a drummer, but it goes: "When in doubt: Lay Out" in other words ...... leave some holes; don't play busy and fill every bar up. ========================================================================= Date: Sat, 20 Jan 1996 10:50:10 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Jan. 21 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ALEXANDER, J. W.(of THE PILGRIM TRAVELERS)b. 1916-0121, HAMILTON, MS BUTLER, CLARENCE (hca/BULTER BROS) b. 1942-0121, FLORENCE, AL BUTLER, CURTIS (g/BULTER BROS) b. 1942-0121, FLORENCE, AL DAVIS, JOHN (g) d. 1986-0121, EAST ST. LOUIS, IL -- DUPREE, JACK CHAMPION (p) d. 1992-0121, HANOVER, GERMANY 81 EAGLIN, FIRD "SNOOKS" JR. (g/BLACK TOP) b. 1936-0121, NEW ORLEANS, LA HAVENS, RICHIE (g) b. 1941-0121, BROOKLYN, NY HELFER, ERWIN (p) b. 1936-0121, CHICAGO, IL KING, B'NOIS (v/SMOKIN' JOE KUBEK) b. 1943-0121, MONROE, LA KINSEY, KENNETH (b/KINSEY REPORT) b. 1963-0121, GARY, IN OCEAN, BILLY [LESLIE SEBASTIAN CHARLES](v)b. 1950-0121, TRINIDAD SCOTT, JAMES JR. (g) b. 1913-0121, LEXINGTON, MS STARR, EDWIN [CHARLES EDWIN HATCHER] (v) b. 1942-0121, NASHVILLE, TN WILSON, JACKIE [JACK LEROY WILSON JR.](v) d. 1984-0121, MOUNT HOLLY, NJ 49 WOLFMAN JACK [ROBERT WESTON SMITH] (dj) b. 1938-0121, BROOKLYN, NY YOUNG, ZORA (v/DELUGE REC) b. 1948-0121, WEST POINT, MS ------------------------------------------------------------------------------- ========================================================================= Date: Sat, 20 Jan 1996 13:51:27 -0500 Reply-To: Renato154@AOL.COM From: Renato Tonelli Subject: Re: NYC Folks Only Comments: To: leftwich@cloud9.net I would be interested but I would need at least two weeks' notice. ========================================================================= Date: Sat, 20 Jan 1996 21:05:34 +0200 Reply-To: T P Uschanov From: T P Uschanov Subject: Re: The Twist (again) Comments: To: Stew Crossen In-Reply-To: <199601191303.IAA12368@orion.neca.com> On Fri, 19 Jan 1996, Stew Crossen wrote to someone: > >I've heard both CC versions of "The Twist" on the radio within the > >last year. One has exceptional drumming, while on the other the > >drumming's pretty average. Would anyone happen to know who the > >good drummer was? (I'm thinking someone like Hal Blaine). Don't know, but to clear another bit, the '60 hit was the same as the '62 one; the version with bad drumming wasn't recorded until the seventies. > The original version of The Twist was recorded on Nov.11, 1958 (I was 7!) > and reached #16 on R&B and #28 on Pop charts. It was done by Hank Ballard > and The Midnighters. When Chubby covered it in 1960 it reached #2 on R&B > and #1 on Pop. And to clear another minor bit, the original "The Twist" wasn't technically the original, since the Midnighters recorded their first version for Henry Stone in Florida earlier in 1958. It was unreleased until the mid-1980s, when some researchers working for Charly Records located it in, of all places, the Vee-Jay files. T P Uschanov (Mr), University of Helsinki, Finland, European Union. tuschano@cc.helsinki.fi ---- http://www.helsinki.fi/~tuschano/ "Does a solipsist also think that only he knows how to play chess?" (Ludwig Wittgenstein) ========================================================================= Date: Sat, 20 Jan 1996 15:00:36 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Blues drummers Comments: To: emdrprac@DIRECT.CA On 20 Jan 96, emdrprac@DIRECT.CA had this to say: > ... one more thing re. Blues Drummers. I can't remember who I heard > first give this advice to a drummer, but it goes: > > "When in doubt: Lay Out" > > in other words ...... leave some holes; don't play busy and fill every > bar up. That should be advice for everyone who's in a Blues band, especially if there is a vocalist singing a song. As David Letterman is fond of saying, "It's not a competition, it's an exhibition." Listen to "That's Why I'm Crying" from Koko Taylor's "I Got What It Takes" (Alligator - AL4708) for a real good example of what I'm talking about. There are, of course, many other examples of this approach, but there's been so much talk about Koko, I've been listening lately. Everybody in that recording is leaving room for everyone else, and the whole becomes greater than the sum of the parts. P.W. Fenton Tampa, Florida Visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sat, 20 Jan 1996 15:14:00 -0500 Reply-To: Niles Frantz From: Niles Frantz Organization: Megaweb Subject: Re: Robert Covington Comments: To: bit-listserv-blues-l@uunet.uu.net In article <01I06VNNDZLE003M5B@RL0002.RULIMBURG.NL> Jean-Pierre Urbain wrote: > >P.S. Not affiliated, just (OK, that's not new :-) a great > supporter of >Mississippi Heat, one the VERY BEST band around! I second that!!! Mississippi Heat are very talented, and very nice people, to boot. Excellent Chicago blues. Sorry to hear about the passing of Robert Covington. Niles A loop is a loop is a loop. ========================================================================= Date: Sat, 20 Jan 1996 16:50:08 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this date On this date in 1954 - The National Negro Network was formed. Some 40 radio stations were charter members of the network. P.W. Fenton Tampa, Florida Visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sat, 20 Jan 1996 22:39:13 GMT Reply-To: George Myers From: George Myers Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: John Hammond Comments: To: bit-listserv-blues-l@uunet.uu.net That show will also be at the Grand Emporium in Kansas City March 23. ========================================================================= Date: Sat, 20 Jan 1996 22:44:01 GMT Reply-To: George Myers From: George Myers Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Ronnie Brooks Comments: To: bit-listserv-blues-l@uunet.uu.net Ronnie was an absolute killer on the Ultimate Rhythm & Blues Cruise 4. He'll be with his dad and brother Wayne who also should be heard at the Grand Emporium in Kansas City Feb. 16-17 ========================================================================= Date: Sat, 20 Jan 1996 22:38:02 GMT Reply-To: George Myers From: George Myers Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Jimmy Thackery's influences Comments: To: bit-listserv-blues-l@uunet.uu.net Jimmy's playing reached a whole new level on the Ultimate Rhythm & Blues Cruise 4. Maybe he was inspired by the other musicians in the audiences, but I suggest all go see him again. He's getting better and better! ========================================================================= Date: Sat, 20 Jan 1996 22:34:04 GMT Reply-To: George Myers From: George Myers Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Debbie Davies Comments: To: bit-listserv-blues-l@uunet.uu.net Frankly, I thought they were both great on the Ultimate Rhythm & Blues cruise 4 that just returned from the Caribbean. ========================================================================= Date: Sat, 20 Jan 1996 15:30:00 PST Reply-To: Gary Joneson From: Gary Joneson Subject: Re: Robert Covington >I second that!!! Mississippi Heat are very talented, and very >nice people, to boot. Excellent Chicago blues. For those that may be interested in Mississippi Heat...Niles Frantz has kindly given me permission to reprint an article he wrote in 1994. Can be found at: http://www.island.net/~blues/heat.html Niles is a fine Chicago based writer whose work can be found in many of the leading Blues Publications. He is also the emcee of the Pocono Blues Festival. >Sorry to hear about the passing of Robert Covington. >Niles Gary ========================================================================= Date: Sat, 20 Jan 1996 17:09:33 -0800 Reply-To: Mark Naftalin From: Mark Naftalin Subject: New on 411-Winner: Otis Spann Discographies Richard Cotenas has compiled an amazing set of discographies on Otis Spann. They are now on 411-Winner (The Winner Info-Page), in "The Archives." 411-Winner also includes information on Winner Records and its artists (Paul Butterfield Blues Band, Percy Mayfield, Ron Thompson); various interesting documents in "The Archives" (for example, poetry by Francis Clay); and information about me and my activities. Please visit. Thanks again to Richard Cotenas for his scholarship in preparing the Otis Spann discographies. Mark Naftalin 411-Winner (The Winner Info-Page) ========================================================================= Date: Sat, 20 Jan 1996 23:03:38 EST Reply-To: MB6254@ACSPR1.ACS.BROCKPORT.EDU From: Mark Baker Subject: Re: BLUES L: Re: RL Burnside questions Dear Pw, If you did not post statements that make you sound like a narrow-minded purist you would not be getting all of this flak. Often, it is not what you say, but rather how you say it. Getting defensive only makes it worse. I'm sure you are a nice guy and meant no harm, but that was not how it was perceived. Mark Baker ========================================================================= Date: Sat, 20 Jan 1996 21:10:38 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Blues Show on the web (update) Hi Bluezellers, hope y'all are having a good weekend (we're pretty much snowed in here in the Fraser Valley, just east of Vancouver, Canada...brrrr....).Anyway, I just wanted to give those of you who are interested an update regarding my blues/gospel show `Heart & Soul", which I mentioned a few weeks back, and which a few of you have already listened to. here's the latest scoop: the people that run the outfit have been having trouble with their server, so my first week's show is still up, and will be for another week or so. From then on, it will be a new hour of music every week, mainly blues, but also a bit of gospel and the odd jazz tune thrown in. So if you're interested in tuning in, the URL is: http://sdf-radio.colossus.net You'll need to download RealAudio or Iwave player (available for nothing) to listen. I recommend the RealAudio for the better sound quality. Or if you've already listened to the first show, you can catch the next one in the next few days, and at this rate the show I recorded for Christmas should be on sometime in February :-(. I would much appreciate it if those of you that have links to my page could update them, if possible. Thanks a whole bunch! (By the way, I'm not making anything off of this, and the `station' is a non-profit community radio-type deal, so technically this isn't out of bounds for the list, is it? I'm just a rank amateur, but the music's good, and I hope you can tune in!) -Jim (hndful@uniserve.com) ========================================================================= Date: Sat, 20 Jan 1996 21:19:54 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Johnny Shines albums There have already been a few comments about Johnny Shines, but I'll add my two bits worth here... I highly recommend `Standing At The Crossroads' (Testament TCD 5022) as a solo acoustic album. It was recorded originally in 1970, and the vocals and guitar work are fantastic. I especially like How Long and Hoo-Doo Snake Doctor Blues. Also, someone made some rather disparaging remarks about `Back to the Country' (Blind Pig, recorded with Snooky Pryor), saying it was `embarrassing'. I could hardly disagree more with this...it's not up to the level of Shines' earlier work, but the vocals are still strong, and the work by the backing band is very tasteful and nice, along with Snooky's harp work. No, Johnny Shines doesn't play guitar on this recording, and his vocals aren't as good as his earlier stuff, but I'd hardly go so far as to call this an `embarrassment' - Far from it!!! I'd recommend it to anyone. -Jim `still pushing for Clarksdale' Witteveen (hndful@uniserve.com) ========================================================================= Date: Sat, 20 Jan 1996 22:36:03 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: Re: RL Burnside questions >P.W. Fenton wrote: > >>On 19 Jan 96, Dave J. Herda had this to say:> >... >PW> What in the world is he doing on a tour with Joe Spencer Blues Explosion? >PW> > (and on and on and on...............) I definately missed something here.... What and/or who is the Joe Spencer Blues Explosion and why should/shouldn't RL play with it? Gary .......... Gary Constantine >> gconstan@ccinet.ab.ca << If hard work were such a wonderful thing, surely the rich would have kept it for themselves. ========================================================================= Date: Sun, 21 Jan 1996 01:10:17 EST Reply-To: EDWIN F TREMEWAN From: EDWIN F TREMEWAN Subject: Wfbe Blue Highway Playlist, 01/20/96 WFBE 95.1FM, Flint MI. Blue Highway Playlist for January 20, 1996 Tonights "theme", tributes to Sleepy John Estes and Hammie Nixon, as well as Janis Joplin, and a salute to Detroit Blues artists. Because of the death of Dave Brubeck today, I played some of his music as a bed under all of the breaks. Artist, Song,Album, Label 9pm to 10 pm Terry Frank, Short Term Gal, Devil By Her Side, Ho-Made Johnny Basset, .Sweet Little Angel, Live at Montreaux/Detroit, No Cover Productions Detroit Blues Band, Tell Me,Can't Get You Off My Mind, No Cover James Glass, Help Me, Get This, No Cover James Glass, Killin' Floor, The Cutting Edge, No Cover Little Cooper/Drifters, Pinto Beans, Baby I'm Back, Black Magic Len Bland, Hard Time, For Your Love, Lucky Pride Mike Stockton, Voodoo Candles, Its My Soul, Azure Randy Volin, Shes into Something, Used Guitars, Volin Backtrack Blues Band,Cryin'Shame, Boogie Shack, King Snake Pinetop Perkins/Blue Ice Band, Kidney Stew, Pinetop/Ice Blue, Earwig Chris Cain, Movin Back To Memphis, Somewhere along the Way, Blind Pig 10pm to 11pm Big Joe Williams, Elevate me Baby, Big Joe Williams/Nine String, Smithsonian Sonny Moorman/Dogs, Walkin' the Dog, LIVE, 706Records Kenny Miller Blues Band, What Is It, Kenny's Blues, Famous Coachman Records Willie Smith, I Want My Baby Back, Bag Full of Blues, Blind Pig Sleepy John Estes, Poor John Blues, Complete Recordings, Document Hammie Nixon, Its A Good Place to Go, 45 RPM single, High Water Sleepy John Estes, Rats In My Kitchen, Brownsville Blues, Delmark Hammie Nixon/ Beale Street Jug Band, Tappin That Thing, 45 RPM single, Jug Band Records Sue Foley, One Hundred Dollar Bill, Big City Blues, Antones Terry Frank, Boom Boom, Devil By Her Side, Ho-Made Luther Tucker, Mean Old World, Luther Tucker/Ford Blues Band, Blue Rock Louisiana Red, Bumble Bee, Sittin Here Wonderin, Earwig Eric Clapton, Worried Life Blues, Just One Night, Polydor 11pm to 12 midnight Janis Joplin, What Good Can Drinking Do Turtle Blues Ball and Chain One Good Man, Janis (box set), Legacy/ Columbia Eddie Taylor, My Sometimes Baby, Long Way From Home, Blind Pig Mr B, Blues For Nightowls, Shining the Pearls, Blind Pig Omar/The Howlers, Mail Order Mojo, World Wide Open, Watermelon Harvey Mandel, Shot Gun Man, Twist City, Western Front Elvin Bishop, Pigmeat On The Line, Ace In The Hole, Alligator John Brim, Jump With Me, The Ice Cream Man, Tone Cool Albert Collins, If You Love Me, Live 92/93, Point Blank Melvin Taylor, Depression Blues, ..& the Slack Band, Evidence Blind Mississippi Morris, Nobody Ever Gives Me..., You Know What I Like, Icehouse Jelly Roll Kings, Jelly Roll Stroll, Rockin The Juke Joint Down, Earwig Otis Spann, Great Northern Stomp (Cow Cow Blues), Otis Spann Is..., Candid ========================================================================= Date: Sat, 20 Jan 1996 18:41:40 -0500 Reply-To: Stephanie Manna From: Stephanie Manna Subject: Muddys Cabin chat/reschedule Due to technical problems, we will reschedule James Peterson's chat/ interview to a later date in Feb. Something went wrong and Muddys Cabin couldn't get online. Sorry..hope to see you at the next one, rescheduled. ========================================================================= Date: Sun, 21 Jan 1996 03:55:14 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: johnny dyer Anyone know who is playing guitar with Johnny Dyer these days. I've heard rumors it's Joel Foy. Anyone seen JD lately that can confirm or correct the rumor? Private e-mail to don.o@chrysalis.org Don O. ========================================================================= Date: Sun, 21 Jan 1996 04:08:47 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: dfw blues news Hash Brown's Tuesday blues Jam at The Bone in Dallas will soon be broadcast live via the web. I don't have all the details yet, but will post them as soon as I get them. Sam Myers hangs out at this jam regularly when he's off the road and there are dozens of talented local players who often sit in (pat Boyack, Joe Kubek, Mike Morgan, Jim Suhler, U.P. Wilson (occasionally) and dozens of others. Should be a lot of fun once they get it up and running. You'll be able to sample the great Dallas blues scene from the comfort of your own chair. Smokin' Joe Kubek and Bnois King are looking for a new drummer and bass player. They are getting ready to go into the studio in March for Bullseye and decided it was time to make a change (again). Seems like they do that every year or so. Mike Morgan and the Crawl have a new CD in the can titled "Looky Here". Mike was down in New Orleans last week finishing up the mix. 15 tracks, 14 originals, 1 by sax/front man Chris Whynaught, 2 or 3 with Mike, and the rest are all Mike Morgan originals. Some nice tunes. Dallas Blues Society Records has completed the sessions for their new project. It's a decided departure from their earlier works (Zuzu Bollin, Henry Qualls, Big Al Dupree). The new one is tentatively titled "Return of the Funky Worm" and features Paul Size, Johnny Moeller, Mike Flanigan, and friends. It's about half originals with the rest being deep covers. I mean deep. It's a mix of blues, soul, and R&B stuff. I'm interested to see how the blues community accepts this one once it comes out. Rumors are swirling about Ron Levy's recent visit to Big D for Tutu Jones' session. Supposedly, and this is all rumor right now, at least 4 additional Dallas blues and soul artists are set to join the Bullseye family. Don O. ========================================================================= Date: Sun, 21 Jan 1996 11:20:26 GMT Reply-To: Jim Farris From: Jim Farris Organization: Netcom Subject: Re: WFBE Blue Highway Playlist 1/13/96 Comments: To: bit-listserv-blues-l@uunet.uu.net Hey Bluz, Changed your name? and your address? Did you have to make a quick getaway or something? By the way, that "L'il Georgie and the Shufflin' Hungarians" CD is really good. Thanks to you and Mark (Seaver) for that one. I see Luther Tucker with the Ford Blues Band on your playlist. Luther was a great entertainer and a great guy. He jammed for a long time and played with a lotta great people. I think that he was from Detroit, too. Jammin' Jim Farris KKUP 91.5 FM ========================================================================= Date: Sun, 21 Jan 1996 11:31:32 GMT Reply-To: Jim Farris From: Jim Farris Organization: Netcom Subject: Re: Is John Lee Hooker Married? Comments: To: bit-listserv-blues-l@uunet.uu.net Unless the blessed event happened very recently, I really doubt it. However, I wouldn't put anything past John Lee, and I wouldn't be too surprised either! Jammin' Jim Farris KKUP 91.5 FM Daniel Contreni wrote: > A friend of mine claims that John Lee is married to a rather >young woman. Is it true? If so, I think that's pretty cool for such an >old guy.... > >-- >----------------------------------------------------------------------------- > * One night I was layin' down, > Daniel Contreni * I heard Momma and Poppa talkin. > dcontr1@zeus.towson.edu * I heard Poppa tell Momma: >http://zeus.towson.edu/~dcontr1 * Let that boy boogie-woogie, > Rules.11.1-4 * it's in 'em, and it's got to come out. > * -- John Lee Hooker >----------------------------------------------------------------------------- ========================================================================= Date: Sun, 21 Jan 1996 12:27:05 +0100 Reply-To: Jose Antonio Revilla Garcia From: Jose Antonio Revilla Garcia Subject: Fanzines/CD-ROM/BBKing WWW/Films Anybody knows the answers? : - Are there any Blues Fanzines in Europe? - What kind of stuff is inside the new B.B. King CD-ROM? * Where can it be found? * How much is it worth? * How many Megabytes does it have? * What does it include? - Are there any Web pages dedicated to B.B. King overthere? - Any Blues-related films which should be mentioned? (Yeah, I know Crossroads, but I want a few more...:-) Thanks for the answers. Jose. Spain. ========================================================================= Date: Sun, 21 Jan 1996 09:25:03 -0500 Reply-To: Meadors From: Meadors Subject: Someone help this man! Can anyone help his guy? I don't know the service well enough yet. > >Hello. I am very sorry to bother you with this but I have run out > of >options. I have been trying to unsubscribe to the Blues-L list for > some >time now without any luck. My mail is not reaching it's > destination and >is always bounced back to me. I use the proper command and address > but >nothing seems to work. I would greatly appreciate it if you could >possibly assist me in some way. > Thankyou for your time. > Eric Mike Meadors Orange2@gnn.com ========================================================================= Date: Sun, 21 Jan 1996 09:40:41 -0500 Reply-To: Skip Montanaro From: Skip Montanaro Subject: Recent blues artists' items added to Musi-Cal Five or more blues items have been added to Musi-Cal in the past week for the following artists: Saffire - The Uppity Blues Women, Brooks Williams, Guy Davis, Jim Henry, Chris Smither, Michael Jerling, Dave Van Ronk, Robert Cray Band, Koko Taylor, The Magic Rockers, Luther "Guitar Junior" Johnson If you have any questions about Musi-Cal, feel free to drop me a note. Skip Montanaro | Looking for a place to promote your music venue, new CD, skip@calendar.com | festival or next concert tour? Place a focused banner (518)372-5583 | ad in Musi-Cal! http://www.calendar.com/concerts/ ========================================================================= Date: Sun, 21 Jan 1996 11:58:21 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Organization: IQuest Internet Services Subject: Re: You Might Be A "Blueneck" If.... Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu Gosh, LW, I wish you hadn't mention that part about the grocery money :-) :-) Anyway, this list might make a cool T-shirt! Why not make this a littlecontest of "You might Be A Blueneck if: " ...................." and see what we can come up with?? Might I add : The only royalty you acknowledge are named Albert, Freddie, and B.B. My other favorites are: You think the neck of a wine bottle was a more significant muscial invention than the synthesizer When you think of Fleetwood Mac, Stevie Nicks is not included You'd rather spend your vacation in Clarksdale Mississippi than Cancun, Mex. Living Blues has replaced Readers Digest in the bathroom reading rack You have experienced multiple "blue-asms" You own music that is dangerous to listen to while driving GREAT STUFF!!! Every time I think this list is getting too demanding --- somebody posts something to revive my interest. RJ Bauman ========================================================================= Date: Sun, 21 Jan 1996 12:03:26 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Billy Boy Arnold Live! Billy Boy Arnold played Theodore's in Springfield, MA last night. I've heard from various people that his live performances lately have been good one night, not so good the next. Well IMHO opinion, Billy Boy turned in a stellar performance last night! He had Aaron Burton and band behind him. Aaron and crew played some the baddest, Chicago shit I've heard in a long time. Great lead guitar breaks from both guitarists, while Aaron held the bass lines solid and on the money. The drummer had his old kit set up right-handed, but played mostly from a left handed orientation. He also sang on the smokin'est/kickin'est, slow burning version of Red House, I've ever heard (and yes, that includes Jimi too!). Band went on around ten pm, took one break, came back and played until two am. Thank you Theodore's and Steve Walbridge for bringing Billy Boy to the area! BTW, I think I hurt myself! Beef Stew WCCC Radio Hartford, CT ******************************************************************************* ========================================================================= Date: Sun, 21 Jan 1996 11:24:24 -0600 Reply-To: Tom Kraft From: Tom Kraft Subject: B. B. on TV Ellers, This morning, Sunday, B.B. King was on Breakfast Time on fx network. They where previewing his new autobiographical CD-ROM. The CD-ROM segment showed him playing on a street corner in Indianolla at about eighteen years old. He commented to the hosts that the patrons who requested gospel songs did not tip, so he preferred the blues. Then they switched to the interface, which is a tour bus trip through his life, and went to an airport where B. B. explained that he was a pilot in the early 60's. When they went to break the hosts asked B. B. to perform for the audience. He replied "I will loose my fans because I do not have my band to back me up" (something like that). Back from the break B. B. on a chair with Lucille and the studio audience (small) on the floor at his feet. He asked them to clap out a beat for him as he played about a 1 to 1.5 minutes of "Thrill is Gone". They took another break and B. B. asked to play another tune. Of course they agreed. Who wouldn't? This time "Nobody Loves Me Except My Mother... And She Could Be Jiving Too". Both performances were way way too short but well worth the look and listen. He certainly didn't loose this fan because he didn't have his band. He did not play the guitar and sing at the same time, of course, but each was a compliment of the other. The guitar was a continuation of the vocal verse. I could watch hours of that. Good day Tom Kraft ========================================================================= Date: Sun, 21 Jan 1996 13:44:15 -0400 Reply-To: Mike Gilbert From: Mike Gilbert Subject: Re: Someone help this man! At 09:25 AM 1/21/96 -0500, you wrote: >Can anyone help his guy? I don't know the service well enough yet. > >> >>Hello. I am very sorry to bother you with this but I have run out >> of >>options. I have been trying to unsubscribe to the Blues-L list for >> some >>time now without any luck. My mail is not reaching it's >> destination and >>is always bounced back to me. I use the proper command and address >> but >>nothing seems to work. I would greatly appreciate it if you could >>possibly assist me in some way. >> Thankyou for your time. >> Eric >Mike Meadors >Orange2@gnn.com > > If I'm not mistaken it isn't 'unsubscribe' its 'sign-off' or 'signoff'. Mike ========================================================================= Date: Sun, 21 Jan 1996 12:36:13 CST Reply-To: Ted Gurley From: Ted Gurley Subject: URBC IV I posted a brief summary of URBC IV at my site. The address is below. ------------------------------------- 01/21/96 12:36:13 Ted Gurley - Dallas, TX tgurley@.onramp.net or rampages.onramp.net/~tgurley Co-writer of "Plug-In: The Guide to Music on the Net" Look for it in March 96 from Prentice-Hall ------------------------------------- ========================================================================= Date: Sun, 21 Jan 1996 14:36:18 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Someone help this man! Comments: To: Orange2@GNN.COM On 21 Jan 96, Meadors had this to say: > Can anyone help his guy? I don't know the service well enough yet. > > > > >Hello. I am very sorry to bother you with this but I have run out > > of > >options. I have been trying to unsubscribe to the Blues-L list for > > some > >time now without any luck. My mail is not reaching it's > > destination and > >is always bounced back to me. I use the proper command and address > > but > >nothing seems to work. I would greatly appreciate it if you could > >possibly assist me in some way. > > Thankyou for your time. > > Eric Well Mike, you didn't include Eric's email address so you'll have to tell him (or maybe he'll see this) that he should write to our list owner, Mr. Alan Rollins, at blzlynx@polaris.net He should be able to fix it if the normal means isn't working. P.W. Fenton Tampa, Florida Visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 21 Jan 1996 11:05:40 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Jan. 22 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BASS, SID (p/arr/JUBILEE REC) b. 1913-0122, NEW YORK CITY, NY BIG MOJO [ROBERT EATEM] (v) b. 1928-0122, INVERNESS, MS BROOKS, LEON BIG (hca) d. 1982-0122, CHICAGO, IL 48 COOKE, SAM [SAMUEL COOK] (v/g/prod/songw) b. 1931-0122, CLARKSDALE, MS EVANS, DAVID (author/HIGH WATER REC) b. 1944-0122, BOSTON, MA FOREMAN, GEORGE (boxer) b. 1948-0122, FRANKLIN, C. L. REV. (preacher/CHESS REC) b. 1915-0122, MS HARRIS, ADDIE "MICKI" (of THE SHIRELLES) b. 1940-0122, PASSAIC, NJ MCRAE, TEDDY "MR. BEAR" (tsax) b. 1908-0122, PHILADELPHIA, PA NIXON, HAMMIE (g/mand) b. 1908-0122, BROWNSVILLE, TN NORMAN, GENE (owner: GNP/CRES. REC) b. 1922-0122, BROOKLYN, NY QUATTLEBAUM, DOUG (g) b. 1927-0122, FLORENCE, SC ROBINZINE, LEE "TAXI" (blues taxi driver) d. 1988-0122, HAVEN, MS 64 STRONG, NOLAN (lead/THE DIABLOS) b. 1934-0122, SCOTTSBORO, AL TAYLOR, EVA [IRENE GIBBONS] (v) b. 1895-0122, ST. LOUIS, MO THOMPSON, ED "BIG" (g) b. 1935-0122, BETHLEHEM, GA TUCKER, TOMMY [ROBERT HIGGINBOTHAM] (g) d. 1982-0122, NEWARK, NJ 48 ------------------------------------------------------------------------------- ========================================================================= Date: Sun, 21 Jan 1996 14:13:40 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: You Might Be A "Blueneck" If.... You Might Be A Blueneck If....... "harp" does not inspire visions of angels and pearly gates. "mojo" is more than a frequent command to the bartender. you didn't buy your last "Colt 45" at a gun show. you can use "Alligator" and "Evidence" in the same sentence without referring to a poaching incident. you have a lot of trouble alphabetizing your CD's. sometimes you really do wonder who's lovin' her tonight. you avoid intersections at midnight. you've got the blues show's request line programmed into autodial. your last lottery picks were 32, 20, 61. 49, 29, and II. you no longer bother to check the House of Blues TV listings. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Sun, 21 Jan 1996 15:01:48 -0500 Reply-To: Jranz From: Jranz Organization: America Online, Inc. (1-800-827-6364) Subject: Re: eRIC's BLUES DATES: Jan. 20 Comments: To: bit-listserv-blues-l@uunet.uu.net Do you have an update to this? ========================================================================= Date: Sun, 21 Jan 1996 14:56:42 -0600 Reply-To: Tom Kraft From: Tom Kraft Subject: Re: B. B. on TV Comments: To: "P.W. Fenton" At 02:47 PM 1/21/96 +0000, P.W. wrote: >On 21 Jan 96, Tom Kraft had this to say: > >> Ellers, >> >> This morning, Sunday, B.B. King was on Breakfast Time on fx network. They >> where previewing his new autobiographical CD-ROM. > >Of course.... you didn't happen to tape it??? It's so frustrating. >So many cool people are on FX un-advertised, and I am never watching. >I always seem to turn it on when there is someone like David Brenner, >or J.J. Walker on. Nope, sorry. My dad called me and told me about it as it was being broadcast. Tom Kraft ========================================================================= Date: Sun, 21 Jan 1996 14:56:44 -0600 Reply-To: Tom Kraft From: Tom Kraft Subject: Re: You Might Be A "Blueneck" If.... Comments: To: Curtis Hewston At 02:13 PM 1/21/96 -0500, Curtis wrote: >You Might Be A Blueneck If....... > > >your last lottery picks were 32, 20, 61. 49, 29, and II. Forgive my ignorance, but is 29 as in "29 Ways"? How about II? Sonny Boy? __ __ / `-' / ,,, Tom Kraft |[====|||||||||||||[:::} novice plucker \__.-.__\ ``` ========================================================================= Date: Sun, 21 Jan 1996 22:05:17 +0100 Reply-To: Jose Antonio Revilla Garcia From: Jose Antonio Revilla Garcia Subject: Spanish blues-l'ers over there? Hi, are there any spanish blues-l'ers reading this? A ver si os animais e intercambiamos unas letras, que tengo la sensacion de ser el unico bluesman espanyol...:) Jose. Spain. ========================================================================= Date: Sun, 21 Jan 1996 22:08:35 +0100 Reply-To: Jose Antonio Revilla Garcia From: Jose Antonio Revilla Garcia Subject: Harvey Mandel Anybody could recommend any good CD's by him? Thanks. Jose. Spain. ========================================================================= Date: Sun, 21 Jan 1996 22:10:57 +0100 Reply-To: Jose Antonio Revilla Garcia From: Jose Antonio Revilla Garcia Subject: BLUES FANZINES I asked about Blues related fanzines, and I've received some e-mail with Living Blues recommendation.Yeah, I know Living Blues, but I meant Fanzines, you know, those kind of newsletters made by fans.Any suggestions? Thanks. Jose. Spain. ========================================================================= Date: Sun, 21 Jan 1996 16:41:38 -0500 Reply-To: "Eliot C. Williams" From: "Eliot C. Williams" Subject: Re: Five Royales question (was: Sitting&Thinking-Sonny Rhodes) At 05:47 PM 1/19/96 -0500, Barry Silverberg wrote: >RIGHT AROUND THE CORNER: Step on it to solid uptempo here, lap >steel wailing, in a number that Howling Wolf would have loved to >sing. "I can get to my baby's house fifteen different ways," >Sonny sings, and yet she lives just around the corner! >Reviewed by Toby Levy This was recorded in the 50s by the Five Royales, so Wolf might well have heard it. It's a great song. Anyone know if the Royales' version was the original? Listed authors are Singleton & McCoy, which makes me think their version may have been a cover as well (Lowman Pauling wrote most of their original tunes). EW Eliot Williams University of Wisconsin Department of Medicine ecwillms@macc.wisc.edu ========================================================================= Date: Sun, 21 Jan 1996 16:54:22 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: You Might Be A "Blueneck" If.... Comments: To: Tom Kraft >At 02:13 PM 1/21/96 -0500, Curtis wrote: >>You Might Be A Blueneck If....... >> >>your last lottery picks were 32, 20, 61. 49, 29, and II. > >Forgive my ignorance, but is 29 as in "29 Ways"? How about II? Sonny Boy? Ugh, I know it's a stretch, but 29 was meant to be the total number of titles recorded by Robert Johnson. (P-Dub also suggested 44 and -9 -- as in Nine Below Zero.) Yes, II was meant to be Sonny Boy II. Hey, what else you gonna do on a bleary Sunday afternoon? *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Sun, 21 Jan 1996 17:12:42 -0500 Reply-To: David Goldstein From: David Goldstein Subject: You Might Be A Blueneck If .... Here are some more indicators: Your 5-year old kid hands you a tape from the floor of the car and says, "here's your blues, dad." Everyone is sick of you using lines from blues songs for rhetorical effect. Your power subject at a power lunch is knowing the difference between Speckled Red & Tampa Red, when every one else knows who won the 1965 World Series. It's the end of the Handy Awards, and everyone has already left to stand on line at BB's, but you stayed to hear what Syl had to say. Your collection of T-shirts includes one from the Hell Blues Club in Norway. Thank You LW! ========================================================================= Date: Sun, 21 Jan 1996 17:07:43 EST Reply-To: MB6254@ACSPR1.ACS.BROCKPORT.EDU From: Mark Baker Subject: Re: BLUES L: Someone help this man! Eric, send the following message to listserv@brownvm.brown.edu: signoff blues-l ========================================================================= Date: Sun, 21 Jan 1996 17:30:23 -0500 Reply-To: GDKimball From: GDKimball Organization: America Online, Inc. (1-800-827-6364) Subject: Lonnie Johnson, bluesman Comments: To: bit-listserv-blues-l@uunet.uu.net Sorry for joining this thread late, but I wanted to spend a little time thinking about this before I posted. Recently, several folks on Blues-L have questioned Lonnie Johnson's claim to being a bluesman. This didn't seem exactly right based on my hearing of Johnson (which is admittedly only a tiny fragment of his massive output). I offer the following for your consideration: Jas Obrecht's recent intro to a set of transcriptions of Lonnie Johnson's tunes quotes a number of bluesmen, including John Lee Hooker, B.B. King, and Johnny Shines, on the excellence and expressiveness of Johnson's music. King cites him as a major influence. Listen to Robert Johnson's "Malted Milk" and "Drunken Hearted Man." Lonnie Johnson influenced or recorded with countless blues musicians, including Texas Alexander, Roosevelt Sykes, and Peetie Wheatstraw. Johnson's extensive recording career on "race records" testifies to his popularity with African American audiences. Should we say Johnson didn't play blues because of his versatility? Obrecht notes Johnson's New Orleans origins as part of the reason for his grasp of many different styles, notably his ability to play jazz. It seems to me that if his contemporaries weren't troubled by this, why should we be? If the folks noted above thought he could play blues, I'm satisfied. IMHO, the guitar playing of some contemporary bluesmen, like B.B. King, is far more related to Lonnie Johnson's sound, than, say, Charlie Patton. I suggest people listen to a sampling of Lonnie Johnson, especially his early work, before making assumptions about his ability or style(s). This is part of a consistent problem on this list -- a tendency to put artists in boxes, and the inability to recognize other musical/regional traditions in creating blues. So, "Let the flames fall down like rain." ========================================================================= Date: Sun, 21 Jan 1996 15:48:16 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: Cataloging CD's It has now reached the point where I have to find some type of program for cataloging my CD collection. Have tried a number of different databases but none seems to be exactly what I want. Any Zellers have using special software packages that they would reccomend? Thanx, Gary ........... Gary Constantine >> gconstan@ccinet.ab.ca << If hard work were such a wonderful thing, surely the rich would have kept it for themselves. ========================================================================= Date: Sun, 21 Jan 1996 23:08:31 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: You Might Be A Blueneck If .... Comments: To: bit-listserv-blues-l@uunet.uu.net In <199601212212.RAA12875@ipof.fla.net>, David Goldstein writes: >Here are some more indicators: You're hired to write a regular column but are warned by the editor: "write about somebody living, every once in a while. I don't want an entire column about dead bluesmen." Your 10 year old son knows the words to at least a 1/2 dozen Bo Carter songs. Your 15 year old daughter scoffs at her fellow band members because "they don't know how to swing." BBB - B.B. Bean bbbean@cris.com http://www.cris.com/~Bbbean - ========================================================================= Date: Mon, 22 Jan 1996 12:30:38 +1300 Reply-To: MIKE GARNER From: MIKE GARNER Organization: The Waikato Polytechnic Subject: Billboard Blues Chart Just returned to the list after extended southern hemisphere summer break - the one good thing about being a tutor! Could someone post me the most recent Billboard blues chart, please? I use it as "trivia" in my radio show. Mike Garner New Zealand ========================================================================= Date: Sun, 21 Jan 1996 15:18:00 PST Reply-To: Gary Joneson From: Gary Joneson Subject: Re: You Might Be A Blueneck If .... 1. You know what the B. stands for in the name Riley B. King. 2. When the name Amos Blackmore is mentioned you actually know who it is and dont have to fake it. Gary BluesWEB (King Biscuit Time) http://www.island.net/~blues/ ========================================================================= Date: Sun, 21 Jan 1996 20:19:27 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Cataloging CD's Comments: To: gconstan@CCINET.AB.CA On 21 Jan 96, Gary Constantine had this to say: > It has now reached the point where I have to find some type of > program for cataloging my CD collection. Have tried a number of different > databases but none seems to be exactly what I want. Any Zellers have using > special software packages that they would reccomend? Gary, If you have a CD rom drive on your PC I can suggest a great program. It's called MCS CDMaster and includes a database program called MCS TitleTrax. It reads all the track info, including times, right off the CD, and you fill in the particulars about the individual cuts. It doesn't have everything I'd like to include but it has a big "notes" field that you can include anything you like in. The MCS CDMaster is a interface program that allows you to use your CD rom drive like a conventional CD Player, with the unique difference that, since all CDs have a unique code ID written on them, when you put a CD that you have previously entered into your database into the drive, all the titles appear on screen instead of just track numbers. It's a nifty little package that comes on CD rom for about 20 bucks. Quite a bargain. P.W. Fenton Tampa, Florida Visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 21 Jan 1996 18:43:24 -0800 Reply-To: emdrprac@DIRECT.CA From: Roger Brant blues-l@brownvm.brown.edu ========================================================================= Date: Mon, 22 Jan 1996 02:45:07 GMT Reply-To: Greg C Kesler From: Greg C Kesler Organization: CHRS Subject: Re: What Album turned you on to the Blues? Comments: To: bit-listserv-blues-l@uunet.uu.net These were the first three blues albums I bought (in 1972): Sonny Boy Williamson (Live in Europe with the Yardbyrd) Sonny Terry (Folk Blues) Lightning Hopkins (Prestige - Coffee House Blues) Big impact. Bought a blues harp and started blowing at the same time, and never stopped. Greg Kesler, Stamford, CT ========================================================================= Date: Sun, 21 Jan 1996 21:49:00 EST Reply-To: csericks@edcen.ehhs.cmich.edu From: "Craig S. Ericksen" Subject: Early Gatemouth It is my guess that MCA owns the 50+ Peacock recordings and the 15 Chess recordings by Gatemouth Brown. My question is when are we going to see a 2 - 3 CD package of these brillant early works by this undisputed master? Like many others I have many of these recordings on various LP's (BB-305, ROUNDER 2039, RL0010, CHD161 and, PLP-6012) but I wolud be happy to buy them all over again so that I could hear tunes like BOOGIE UPROAR on something other than very poor quality vinyl. Craig ========================================================================= Date: Sun, 21 Jan 1996 18:50:29 -0800 Reply-To: emdrprac@DIRECT.CA From: Roger Brant Subject: Lonnie Johnson =blues? GD Kimball wrote: >This is part of a consistent problem on this list -- a tendency >to put artists in boxes, and the inability to recognize other >musical/regional traditions in creating blues. Amen to that. It is vitally important to not judge blues (or any other art form, for that matter) without taking into consideration historical context. Less compartamentalization, more appreciation!! ========================================================================= Date: Mon, 22 Jan 1996 03:09:33 GMT Reply-To: Matthew Arthur Clark From: Matthew Arthur Clark Organization: Columbia University Subject: John Primer's New Album Comments: To: bit-listserv-blues-l@uunet.uu.net John Primer's new album, "THE REAL DEAL", will be officially released by CODE BLUE/ATLANTIC Records on January 23rd. For more information on this release as well as other Code Blue artists, please visit the Code Blue Records WWW site at http://www.columbia.edu/~mac44. Matthew Clark mac44@columbia.edu ========================================================================= Date: Mon, 22 Jan 1996 03:12:38 GMT Reply-To: Matthew Arthur Clark From: Matthew Arthur Clark Organization: Columbia University Subject: Code Blue Records WWW Site Comments: To: bit-listserv-blues-l@uunet.uu.net I'm posting this message as an invitation for all you blues lovers out there to visit the Code Blue Records WWW Site at http://www.columbia.edu/~mac44 or through the Atlantic Records WWW Site. The Code Blue Records WWW Site contains information about Code Blue artists Bo Diddley, John Primer, Storyville, The Hoax, Sherman Robertson, and Jay Owens. Please forward any questions or comments to CODEBLUEUS@aol.com or me at mac44@columbia.edu. Thank you very much and happy listening. Sincerely, Matthew Clark mac44@columbia.edu ========================================================================= Date: Sun, 21 Jan 1996 19:53:50 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: You Might Be A "Blueneck" If.... You might be a blueneck if: You've never worked five long years for one woman...but you _still_ know just what he's talkin' about! You think of Carter, Kennedy, Ford, and Johnson as bluesmen, not presidents. You named your first born son Blind Willie and your youngest Sonny Boy. -Jim (hndful@uniserve.com) Hilarious post, LW! ========================================================================= Date: Sun, 21 Jan 1996 21:02:04 PST Reply-To: "D. ALLEN SIMPSON" From: "D. ALLEN SIMPSON" Subject: Blues This Week on Network TV Mon. Jan.. 22: BB King (Letterman), JOhnny Johnson (O'Brien, repeat of 10/24/95) Tues., 1/23: Bonnie Raitt (Tonight Show) Not a bad week for blues on the networks, even if one is a repeat. Doug S. ========================================================================= Date: Mon, 22 Jan 1996 02:18:52 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: You Might Be A "Blueneck" If.... If you save all the "You might Be A Blueneck If..." posts in a separate file because you think they might be useful. Beef Stew ********* ========================================================================= Date: Mon, 22 Jan 1996 09:02:54 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Buster Benton R.I.P. Comments: To: bit-listserv-blues-l@uunet.uu.net Guitarist and singer Buster Benton died on Saturday, January 20th in Chicago. He was probably best known for his 1970s blues semi-hit "Spider In My Stew", and more recently for releases on the Ichiban and Evidence labels. He was a very talented guy in a kind of modified-B.B. King mode. He'd been in pretty poor health for a few years with diabetes, but continued to play at B.L.U.E.S on Chicago's north side about once a month until just recently. He was 63 years old. This has been a rough few weeks for the blues in Chicago--Maxwell Street Jimmy Davis, Robert Covington, and now Benton. I'm hoping there's something to this 'dying in threes' business, and that this is the end of this cycle. Scott Dirks ========================================================================= Date: Mon, 22 Jan 1996 01:16:25 -0800 Reply-To: Fjord Press From: Fjord Press Subject: Re: Cataloging CD's Comments: To: Gary Constantine In-Reply-To: <9601212248.AA10272@bach.ccinet.ab.ca> I use a wonderful Access 2.0 application developed by George Markell (OK, I helped him with record-collecting consulting from a real fanatic--no, I'm not getting a kickback). Check it out at http://www.ixl.net/~gmarkl/ It is slick. Steve Murray ========================================================================= Date: Mon, 22 Jan 1996 09:17:48 GMT Reply-To: mckenzie@ipcs.demon.co.uk From: "Ian K. McKenzie" Subject: Blind Blake Anybody know of a good book with some tab in it dealing with Blake's ^^^^^^^^^^^^^^^^^^ music. E mail me with any ideas please. Ian M *********************************************** Ian K. McKenzie University of Portsmouth England *********************************************** ========================================================================= Date: Mon, 22 Jan 1996 06:30:37 -0600 Reply-To: Roger Struve From: Roger Struve Subject: BLUESLAND: On Bravo Yesterday morning (Sunday) i happened to be satellite surfing on C-band, and happened to turn to the Bravo channel. There was blues all over the place. I missed what turned out to be a special called Bluesland from i think was titled a series "American Music". This show had a very young BB King (with processed hair and a wave down over his forehead), who was repeatedly interviewed about his influences. They had some very rare video of a very young Brownie McGhee and Sonny Terry. A video of Big Bill Broonzy singing his heart out in a televised barroom scene. And some of that rare video taken in front of BBB's home by a tourist travelling through. There was some Count Basie, and other big bands, as this show touched upon the jazz connection to the blues. This show will be televised again Tuesday night at 12 midnight-1:30 am. (CT) regards, delta doc roger ========================================================================= Date: Sun, 21 Jan 1996 17:26:28 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Cold-Weather Blues About a month ago we had a thread on blues with a cold-weather theme. In honor of the Blizzard of '96, which has wreaked an incredible amount of havoc on the D.C. area, I am writing one of my own: [uptempo blues in the style of Sonny Boy Williamson II with David Lee Roth singing] "Well first one gig got cancelled baby, then it was two I'm stuck in the parking lot baby, ice frozen way over my shoes Oh I can't wait for June, baby Got them Seasonal Affective Disorder Blues...." ...then Steve Levine breaks into an incredible harp solo.... [oops, I forgot, Steve isn't in my band] ...So what y'all think? P.S. If Steve and DLR aren't available, I'll take Brett Littlehale. ========================================================================= Date: Sun, 21 Jan 1996 17:41:29 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Koko Taylor/Debbie Davies Comments: To: gsm650@nwu.edu I think some people don't like Koko Taylor because her voice isn't "ladylike" enough, whatever that means. Okay, so her range isn't that great, but she sure can sing the blues. I wish I had some of her raw edge. When I try to sing "Wang Dang Doodle" I sound like Olivia Newton-John [sigh].... ========================================================================= Date: Mon, 22 Jan 1996 07:56:33 -0500 Reply-To: gutber@rz.uni-leipzig.de From: gutber@RZ.UNI-LEIPZIG.DE Subject: Re: blues fanzines Dear Jose, in bit.listserv.blues-l you write: > I asked about Blues related fanzines, and I've received some e-mail >with Living Blues recommendation.Yeah, I know Living Blues, but I meant >Fanzines, you know, those kind of newsletters made by fans.Any suggestions? I do not know wahta kind of fanzines you are looking for but a lot of blues societies have there little newspapers and magazines. Unfortunately it is very difficult to get these fanzines here in europe. Elsewhere you will know most of the well known blues magazines like Living Blues, Blues Revue, Blues Access, Off Beat, Southland Blues, Westcoast Blues Review in the States and Juke Blues, Blues & Rhythm, BLOCK, Soul Bag, Blues News, Jefferson here in europe. The adress of most of them you find in advertisements in e.g. Living Blues. If you need some, I also can give it to you. In addition there are a lot of Rock n Roll and related fanzines and magazines and also I remember a few fan clubs with their publications e .g. I think for John Lee Hooker, if I remember correctly. You find a lot od this activities in the small ads in Blues 6 rhythm or Living Blues or Blues revue etc. Hope this is a little bit of help, Sincerely, Thomas Gutberlet ========================================================================= Date: Mon, 22 Jan 1996 08:29:39 -0500 Reply-To: USBLUE5@AOL.COM From: "Gordon, Rich" Subject: Re: Blues Drummers... Comments: To: dgross@xcalibur.iinc.com I've always thought of the bass and drums as the equal to the offensive lineman on a football team. They are there to provide the foundation upon which the otherss players can build. If they are solid and doing their job right everyone sound good. Rich Gordon ========================================================================= Date: Mon, 22 Jan 1996 14:37:41 GMT Reply-To: sylviap@cartermill.com From: "sylviap@cartermill.com" Subject: Help Dear bluezy lovers, Is there someone on this list who could inform me about a Web site /s so that I can find blues and R&B lyrics? I could listen to CD's but I am afraid I won't understand everything as I am French! Thank you in advance for your precious collaboration Silvia ========================================================================= Date: Mon, 22 Jan 1996 14:27:34 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Mississippi Joe Callicot Someone refered to Mississippi Joe Callicot last week (was it you Jeff?). After a weekend which I decided would be "LP only" (would suggest anyone having a large Lp collection to do this regularly, It's always amazing to redicover what you have in your collection.) I did spend some great time listening again to the two full LP's he had under his name which were published on BLUE HORIZON and on REVIVAL in the 70's. Superb stuff, which reminds me of Frank Stokes, which I highly recommend if you can find them... but be ready to spend lot's of money if you find them there! (although I found the Revival one at a ridiculous price a few years ago). Jean-Pierre "Young Man" Urbain ========================================================================= Date: Mon, 22 Jan 1996 08:43:28 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: BLUESLAND: On Bravo Comments: To: roger.lew.struve@MEDTRONIC.COM On 22 Jan 96, Roger Struve had this to say... > Yesterday morning (Sunday) i happened to be satellite surfing on C-band, > and happened to turn to the Bravo channel. There was blues all over the > place. I missed what turned out to be a special called Bluesland from i > think was titled a series "American Music". > > This show had a very young BB King (with processed hair and a wave down > over his forehead), who was repeatedly interviewed about his influences. > > They had some very rare video of a very young Brownie McGhee and Sonny > Terry. A video of Big Bill Broonzy singing his heart out in a televised > barroom scene. And some of that rare video taken in front of BBB's home by > a tourist travelling through. There was some Count Basie, and other big > bands, as this show touched upon the jazz connection to the blues. > > This show will be televised again Tuesday night at 12 midnight-1:30 am. > (CT) > > regards, > delta doc roger It sounds like the companion video to the book edited by Pete Welding called "Bluesland". Blues-Ler Mary Katherine Aldin contributed to this book as well. I have both the book and Video and recommend them both. I guess I'm lucky I do, because I don't get Bravo. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 22 Jan 1996 08:54:06 -0500 Reply-To: "Abe W. Mathews" From: "Abe W. Mathews" Subject: Re: You Might Be A "Blueneck" If.... In-Reply-To: <199601220718.CAA03642@orion.neca.com> from "Stew Crossen" at Jan 22, 96 02:18:52 am Beef Stew (Dinty Moore is my personal favorite) wrote: > > If you save all the "You might Be A Blueneck If..." posts in > a separate file because you think they might be useful. Or if you foreward them all to you wife with the subject line, "Sound like anyone you know?" Abe awmathew@mtu.edu ========================================================================= Date: Mon, 22 Jan 1996 08:24:25 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Mississippi Joe Callicot Comments: To: Jean-Pierre Urbain In-Reply-To: <01I0BBQY8YEA0042M0@RL0002.RULIMBURG.NL> On Mon, 22 Jan 1996, Jean-Pierre Urbain wrote: > Someone refered to Mississippi Joe Callicot last week (was it you Jeff?). > After a weekend which I decided would be "LP only" (would suggest anyone > having a large Lp collection to do this regularly, It's always amazing to > redicover what you have in your collection.) I did spend some great time > listening again to the two full LP's he had under his name which were > published on BLUE HORIZON and on REVIVAL in the 70's. Superb stuff, which Yep, J-P, it was me. Hope you had a nice bday. So, the material on the Arhoolie is NOT everything that Mississippi Joe Callicott recorded? I've GOT to hear more!! Anybody got a beat on these 2 records? -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Mon, 22 Jan 1996 10:25:38 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: You Might Be A "Blueneck" If.... Comments: To: ISTS024@UABDPO.BITNET In-Reply-To: from "L W" at Jan 19, 96 02:45:03 pm > You Might Be A Blueneck If....... ...you keep a harp in a pocket of every coat you own. [shameless bragging follows:] ..your Blues web site was just awarded a Magellan 3 Star Site award :-) -Rob ps: speaking of the web, our site's internet connection was just upgraded from 56K to 256K, so accesses to BluesNet (http://dragon.acadiau.ca/~rob/blues/) should be much faster now. Stop by sometime if you haven't been in a while! ========================================================================= Date: Mon, 22 Jan 1996 15:31:33 +0100 Reply-To: Peter Gallagher From: Peter Gallagher Subject: Re: Help (lyrics-server) Comments: To: sylviap@cartermill.com In-Reply-To: <9601221437.293568@pclux8.cartermill.com> from "sylviap@cartermill.com" at Jan 22, 96 02:37:41 pm Sylvia, try this one: http://archive.uwp.edu/pub/music/lyrics/ It's the only lyrics-server I know of. Regards, PeterG > > Dear bluezy lovers, > > Is there someone on this list who could inform me about a Web site > /s so that I can find blues and R&B lyrics? > I could listen to CD's but I am afraid I won't understand > everything as I am French! > Thank you in advance for your precious collaboration > Silvia -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Mon, 22 Jan 1996 08:26:39 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Burnside/Lonnie Jonhson I asked Brunside Friday night about opening for the Spencer BE. He said the wider exposure was good and this was his third time to tour with them. I asked about the difference between playing Jr Kimbroughs place and playing clubs that book the JSBE. He said the enthusiasm for his music was there in either place. The JSBE audience loved it.... (the interview will make it to blues-l...one day, next month) My thoughts: I recall seeing a blues act just tear up a college crowd. I commented to my friend that this is great for the artist. He said , yeah, but how many of these kids are going to remember who they saw in the morning and how many are actually going to buy his CD....?? If it's OK with RL then that's all that really matters I talked with Johnny Nichalous (co producer & player on JS/SP Back To The Country)...He took off on Lonnie Johnson saying that Robert Jonhson and many others learned a whole lot from Lonnie Johnson. Said he was one of the best ever. I read an older Guitar Player interview with Shines and he said Lonnie Johnson was THE man...period LW 'fixing to have an outrageous phone bill" ========================================================================= Date: Mon, 22 Jan 1996 09:44:20 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: You Might Be A Blueneck If .... Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com You miss the Super Bowl to play at a blues jam ========================================================================= Date: Mon, 22 Jan 1996 09:59:56 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Buster Benton :< In-Reply-To: <4dvjru$jik@usenetp1.news.prodigy.com> from "Poindexter Regan" at Jan 22, 96 09:02:54 am According to Poindexter Regan: > > Guitarist and singer Buster Benton died on Saturday, January 20th in > Chicago. He was probably best known for his 1970s blues semi-hit "Spider > In My Stew", and more recently for releases on the Ichiban and Evidence > labels. He was a very talented guy in a kind of modified-B.B. King mode. > He'd been in pretty poor health for a few years with diabetes, but > continued to play at B.L.U.E.S on Chicago's north side about once a month > until just recently. He was 63 years old. > That's sad news, indeed. Buster has always been one of my favorites, and, IMO, a very underrated performer. As Scott says, he did have a very B.B. King-like sound in both his guitar-playing and singing....He also did a lot of soul and funky soul/blues stuff as well, which I always enjoyed. Buster had some releases on small Chicago labels in the 60s, including some soul sides for the Twi-Night label. He also claimed to have played on the session that produced Joe Tex's hit "Skinny Legs and All". He recorded for the Ronn (Jewel) label in the early and mid 70s...these sides can be found on the Ronn CD "Spider in My Stew". A lot of these cuts feature some cool funky harp from Carey Bell and excellent backing from folks such as Jimmy Johnson, Lafayette Leake & Ray Allison. His Ronn stuff includes the aforementioned "Spider in My Stew", which is a classic...also good are "Born with the Blues" (which features good chromatic harp from Carey Bell), Willie Dixon's "Dangerous Woman", the always-relevant social commentary of "Money is the Name of the Game" and the funky "Sweet 94" and "Funny About My Money." Buster recorded some stuff in France in the early 80s, and some of these cuts include expert support from Billy Branch & the Sons of Blues...These songs have been reissued on the Evidence CD "Blues at the Top". I really like this CD, even though it has received only mixed reviews. If you like funky contemporary Chicago blues with soulful vocals, you'll like this album. Buster's Ichiban albums are good soul/blues as well, although Ichiban's arrangements tend to be a little too slick at times, but that's just how I hear it. It's always depressing to see another fine veteran bluesman pass away, but at least we'll have Buster Benton's music to remember him by. -Peter ========================================================================= Date: Mon, 22 Jan 1996 09:58:12 -0500 Reply-To: Meadors From: Meadors Subject: Re: BLUESLAND: On Bravo Comments: To: pwfenton@GATE.NET I saw the program and it was called "American Masters". It was a nice overview of blues music in general in the US, with some good pics of all our favorites. It is a good primer for anyone who is interested in the blues and wants to start learning about the general development of, styles of, etc. the blues. >Date: Mon, 22 Jan 1996 08:43:28 -0500 >From: "P.W. Fenton" >Sender: Blues Music List >To: Multiple recipients of list BLUES-L >Subject: Re: BLUESLAND: On Bravo > >On 22 Jan 96, Roger Struve had this to say... > >> Yesterday morning (Sunday) i happened to be satellite surfing on > C-band, >> and happened to turn to the Bravo channel. There was blues all > over the >> place. I missed what turned out to be a special called > Bluesland from i >> think was titled a series "American Music". >> >> This show had a very young BB King (with processed hair and a > wave down >> over his forehead), who was repeatedly interviewed about his > influences. >> >> They had some very rare video of a very young Brownie McGhee and >Sonny >> Terry. A video of Big Bill Broonzy singing his heart out in a > televised >> barroom scene. And some of that rare video taken in front of > BBB's home by >> a tourist travelling through. There was some Count Basie, and > other big >> bands, as this show touched upon the jazz connection to the > blues. >> >> This show will be televised again Tuesday night at 12 > midnight-1:30 am. >> (CT) >> >> regards, >> delta doc roger > >It sounds like the companion video to the book edited by Pete Weldi >ng >called "Bluesland". Blues-Ler Mary Katherine Aldin contributed to >this book as well. I have both the book and Video and recommend > them >both. I guess I'm lucky I do, because I don't get Bravo. > >P.W. Fenton >Tampa, Florida > >Check out my Blues web page at > http://www.gate.net/~pwfenton Mike Meadors Orange2@gnn.com ========================================================================= Date: Mon, 22 Jan 1996 07:16:37 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Lazy Lester Hi all. Just checked out Rob's web site and saw an entry for Lazy Lester...and it reminded me of something I wanted to ask - what's he up to as of late? Is he still touring, recording, etc? And does anyone have any recommendations? I've only got a couple of his tracks (the older Excello stuff) and I love it. Thanks, and Happy Monday :-)! -Jim (hndful@uniserve.com) ========================================================================= Date: Mon, 22 Jan 1996 09:15:17 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Past Handy Question I know I should "read a book", but can someone tell me the year and category that "Back To The Country" won a Handy....I assume "Traditional Blues Recording" and 1991, but you never know.... Thanks LW btw: My daughter is doing a term paper on the "Blues: The Roots of Rock n Roll" I AM NOT HELPLING (it's her paper), but I do need to get her some research material. Can anyone recommend good book(s) for her to use...Thanks ========================================================================= Date: Mon, 22 Jan 1996 15:20:20 GMT Reply-To: Colin Linden From: Colin Linden Organization: InterLog Internet Services Subject: Re: What Do Producers Do? Comments: To: bit-listserv-blues-l@uunet.uu.net DeniseTapp wrote: > > In article <199601150644.BAA29414@orion.neca.com>, Stew Crossen > writes: > > >Does he control, or at least guide, the creative process...? > > Often, because he/she is responsible to Produce a commercially > > viable and marketable product. > > > > > This is a good start on understanding the problems inherent in the > producer/artist relationship. Often there isn't one at all. The producer > might be someone who happened to purchase the tapes, which the artist > signed off on (usually under legal duress) or which were recorded without > the artist's knowledge and released after his/her death. Suddenly the > artist or the heirs or friends or other musicians hear something of theirs > on the radio, maybe something embarrassingly bad, which was "produced" and > released without their knowledge or input. > I don't know how your view of producers got to be so jaundiced, but I can only imagine that it was as a of some extremely bad luck! As a guy who makes a big porton of his living as a rcord producer (and is also a "recording artist", I can tell you that, for me, the primary job of a producer is to create a fertile environment for allowing an artist to express his/her/their vision. That involves making choices based on budgets, schedules, and idosyncracies of the parties involved. Those choices include everything from choosing a studio, musicians (if needed), microphones, engineer (s), equipment rentals, hotels, car rental companies, and where to have dinner, to which take is "the one", how do we deal with going overbudget if the singer is nervous, how is the record company going to react to the artist's decision not to include the label's favourite song, etc. The bottom line, though, I believe is that the producer is responsible to the artist to be a conduit for the artist to fufill a particular dream, and hopefully to have a great time doing it. Colin Linden, Toronto > Expanding a little on Stew's comments above, the producer usually selects > which songs to include, the order in which to put them and where to edit a > verse or where to begin or end a song. As with motion pictures, the > artist often feels that the best work was cut out. A good producer can > explain this to the artist or at least be justified in the end by the > sales or radio popularity. > > Here's a funny example (non-blues): Remember the song "Brandy"? It was a > one hit wonder by Looking Glass. The producer did a little too good a > job. The lead vocalist was extremely talented, but, apparently, the rest > of the band didn't know how to tune their instruments. They would lay > down monstrously garbled tracks with beautiful, soaring vocals, and then > retire for the evening. The producer would then sneak in veteran Memphis > studio musicians to redo the guitars and drums. On playback the next > afternoon, the band members would congratulate each other and the same > scene would be repeated. "Brandy" hit the charts like a rocket, but the > first time the band tried to play live, they couldn't come close to the > original and disappointed their fans. > > Denise ========================================================================= Date: Mon, 22 Jan 1996 10:21:47 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... Clyde McCoy and his Orchestra, recorded "Sugar Blues" on this date in 1931. The tune became McCoy's theme song, thanks to its popularity on Columbia Records, and later on Decca, selling over a million copies. McCoy, said to be related to the feudin' McCoys of Hatfield and McCoy fame, is still asked, wherever he goes, to play that trumpet and those "Sugar Blues" P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 22 Jan 1996 07:30:37 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Jan. 23 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ABRAMS, RAY (tsax/PAUL GAYTEN) b. 1920-0123, NEW YORK CITY, NY BECKETT, FRED (tbn/LIONEL HAMPTON) b. 1917-0123, NELLERTON, MS BIG MAYBELLE [MAYBELLE LOUISE SMITH] (v) d. 1972-0123, CLEVELAND, OH 47 BLAKE, JERRY (tsax/LUCKY MILLINDER) b. 1908-0123, GARY, IN BRADFORD, ALEX "PROFESSOR"(v/songw/gospel)b. 1927-0123, BESSEMER, AL CARRY, GEORGE "SCOOPS" (asax/HINES) b. 1915-0123, LITTLE ROCK, AR CHURCH, EUGENE (lead/THE FELLOWS/CLOQUES) b. 1938-0123, ST. LOUIS, MO COLLINS, ALLEN (g/LYNYRD SKYNYRD) d. 1990-0123, JACKSONVILLE, FL 37 COUNCE, CURTIS LEE (b/JOHNNY OTIS) b. 1926-0123, KANSAS CITY, MO COURTNEY, TOM (g/ADVENT REC) b. 1929-0123, WACO, TX DAVIES, RUTH (b/CHARLES BROWN) b. 1954-0123, OAKLAND, CA DORSEY, THOMAS A. "GEORGIA TOM"(p/gospel) d. 1993-0123, CHICAGO, IL 93 FEASTER, CARL (lead/THE CHORDS) d. 1981-0123, NEW YORK CITY, NY -- FLETCHER, DARROW (v) b. 1951-0123, INKSTER, MI GEORGE, CASSIETTA BAKER (of THE CARAVANS) b. 1929-0123, MEMPHIS, TN LAWSON, JERRY (lead/THE PERSUASIONS) b. 1944-0123, FORT LAUDERDALE, FL LEWIS, BOB "BOB-A-LEW" (dj) d. 1987-0123, NEW YORK CITY, NY 49 LOVETT, SAMUEL "BABY" (d/JULIA LEE) d. 1989-0123, LEAVENWORTH, KS 94 MILLS, JOHN JR. (g/THE MILLS BROS) d. 1936-0123, BELLEFONTAINE, OH 25 OUSLEY, HAROLD L. (tsax) b. 1929-0123, CHICAGO, IL POINTER, ANITA (of THE POINTER SISTERS) b. 1948-0123, OAKLAND, CA REINHARDT, DJANGO (g) b. 1910-0123, LIBERCHIES, BELGIUM ROBESON, PAUL (v) d. 1976-0123, PHILADELPHIA, PA 77 SIMMONS, PATRICK (g) b. 1950-0123, ABERDEEN, WA SMITH, DAN J. REV. (hca) b. 1911-0123, PER-DUE HILL, AL WATERS, BENNY (tsax/ROY MILTON) b. 1902-0123, BRIGHTON, MA WILES, BILLY (g) b. 1955-0123, JACKSONVILLE, NC WINGFIELD, SID (p/o) b. 1944-0123, CEDAR RAPIDS, IO ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 22 Jan 1996 11:10:00 EST Reply-To: edward c liu From: edward c liu Subject: NYC Club Dates Pointer Howdy all, The latest New York City Club Dates Pointer is available for the month of February. To receive it, send e-mail to me at: edwick@cc.bellcore.com with a subject line of "NYC CLUB DATES". Thank you for your support! -- Ed Edward C. Liu | "Nothing is ever what it seems... edwick@cc.bellcore.com | But everything is exactly what it is." | -- B. Banzai The opinions in this message are mine and not Bellcore's. Really! ========================================================================= Date: Mon, 22 Jan 1996 12:15:01 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: Joe Hunter (fwd) Brenda Bogart sent me this very helpful response to my query about Joe Hunter - she OK'd me to repost it to the list. Thanks, Brenda! -Rob Forwarded message: > From bogert@iglou.com Thu Jan 18 15:24:56 1996 > > You are absolutely right. The recording is by Joe Hunter -- not Long > John Hunter and not Ivory Joe Hunter. In Leadbitter and Slaven's "Blues > Records 1943 to 1970", the artist listing is JOE & JOHN HUNTER. Four > songs were recorded in John's Island, South Carolina, in the spring of > 1970. > > "Have You Ever Been Mistreated?" has Joe on guitar and vocals, with > backing vocals from John Hunter and Janey Hunter. > > "Motherless Child" is the same as above with the addition of Mable Hilery > on backing vocals. > > "That's All Right" has John on lead vocals with Joe playing guitar and > singing background. > > A second version of "That's All Right" has Mable added on backing vocals. > > These were released on a Folkways LP (#3840). > > Leadbitter and Slaven include birth and death info in their entries (when > it is known), but there is no such info here. I have checked my library > of Blues reference books, but I can't find anything else. > > As you say, this was probably a field recording done in the Hunters' > living room (similar to the wonderful Testament album by Eddie Jones). > > Maybe someone in South Carolina knows more of a story & can give you some > insight. > > Good luck! > > Brenda Bogert > Louisville KY > birthplace of the first Blues guitarist to record: Sylvester Weaver ========================================================================= Date: Mon, 22 Jan 1996 11:17:10 -0500 Reply-To: Roosterman@AOL.COM From: Roosterman@AOL.COM Subject: BLUES ACCESS is Ba-ack on the Web Comments: To: GeoDre@aol.com, BluesPoet@aol.com, gwarren@jax-inter.net, blueman@computek.net, Niles.Frantz@alz.org, Katedahl@aol.com, Packod@aol.com, Blacktnola@aol.com, ROBlues@aol.com, BluesStuff@aol.com, RNABooking@aol.com, BobFiehweg@aol.com, TIMSALIVE@aol.com, tpmoody@sp-eug.com, gailm@rounder.com, HCBECK@aol.com, YaniBeGood@aol.com, HippieLady@aol.com, Msbeale@aol.com, JWRQ54A@prodigy.com, Zartak@aol.com, ATBandTBA@aol.com, BLUESFLA@aol.com, blueslvr@sirius.com, tony@bluestb.demon.co.uk, BluesBeats@aol.com, Jinxblues@aol.com, Dblues145@aol.com, sharpei@bright.net, louisx@echonyc.com, aumack@prenhall.com, CRAWFORD@admin.msoe.edu, Burnrose@aol.com, ARec@aol.com, Klato2@aol.com, current@cob.ohio-state.edu, zomboy@servtech.com, GuitFiend@aol.com, 70763.763@compuserve.com, SWolfson@aol.com, Terrillvl@aol.com, Steins4@aol.com, LengsFilm@aol.com, MURPH@maine.maine.edu, FMR@vm.cpd.ua.es, jmreedy@rmii.com, tbosley@bnr.ca, RiverBlue1@aol.com, JAN543@aol.com, mgreen4@ix.netcom.com, gutber@chemie.fu-berlin.de, jervin@instanet.com, rfuller@mkdirect.com, scripto@skynet.be, ZydecoGal@aol.com, nelpub@ix.netcom.com, 72604.1547@compuserve.com, Beertrav@aol.com, BluesJazz@aol.com, 103074.3276@compuserve.com, ChukLandis@aol.com, jflynn@lps.esu18.k12.ne.us, bill@gis.mces.msstate.edu, DStevn@aol.com, BucknBronx@aol.com, BluesNYC@aol.com, ROSEBUDUS@aol.com, JMcleod476@aol.com, HRoat@aol.com, BLUESWHOS@aol.com, JKulp@aol.com, SONGBEAR@aol.com, GeoBear@aol.com, Amallegory@aol.com, JBDEADHEAD@aol.com, BassHarper@aol.com, SAINTCROIX@aol.com, Artw37@aol.com, Bottlenekk@aol.com, bfokim@ubvms.cc.buffalo.edu, jim.trageser@sdcs.org, levyt@rl.af.mil, Skipjames@aol.com, YankMee@aol.com, BJAMRECORD@aol.com, dexter@lightlink.com, BDK@gateway.igs.com, jbeeson@weber.ucsd.edu, johnbunch , terryfurlong , robertgibson-taylor , mikelynch <75453.3214@compuserve.com>, brianlynch , mikelynch <102113.770@compuserve.com>, joeymeyer , robyno'neal , jefjaisun , rob@acadiau.ca, hauben@columbia.edu, curtis@m.BITNET To: Online Bluesoids and Bluesettes From: BLUES ACCESS Central Subject: Our Groovy NEW Web Site ... http://www.he.net/~blues Hey Y'all, Here's some BluesSpam you WILL want to read! Tired of silly/boring music web sites? You know what I mean. Either "We're so cool. Buy our product," or "Here's a picture of me with BB (or Albert or Koko or Mariah Carey). Buy our product," or "We don't really have anything to say, but here's some links to other sites. Oh yeah, buy our product." BLUES ACCESS doesn't make any inflated claims to be the biggest or baddest or best-selling blues magazine in the world, but our readers assure us that we are indeed World Class. Now we have a World Class web site for you to enjoy. (yes, ENJOY). >>>>>>>>>> http://www.he.net/~blues <<<<<<<<<< Designed by web magician Jeremy McCaleb of Imagication (jmccaleb@netcom.com), this is a true online magazine. A healthy sampling of articles and reviews are rotated every month. (No, we don't show you everything at once ... after all we WOULD like you subscribe to the hard-copy version).When the site is fully operational, you'll be able to chat with other readers, talk back to us, even write your own review. (If we like what you write, we'll publish it in an upcoming issue.) Right now you can check out highlights from our current issue (Winter 1996), featuring the amazing photos of Michael P. Smith, stories on Sonny Landreth, Ironing Board Sam and more. Also lots of reviews, our "new releases" capsules, instructional columns, etc., etc. [You will have best results using the latest version of Netscape (downloadable from our site). Using the AOL browser will seriously limit what you can see.] So what are you waiting for? Check it out today ... and tell 'em that the Rooster sent you. BTW, you can subscribe to the hard-copy version of BLUES ACCESS, The Distinctive Blues Magazine by calling our Subscriber Voice-Mail Line at 1-800-211-BYO-1 (211-2961). Have your credit card number and expiration date ready. One year (4 issues) just $12. Two years just $24 and three years just $32. With two- or three-year subscription you'll receive FREE the 2-CD set Deep Blue: The Rounder 25th Anniversary Anthology. (Allow 4 weeks for CD delivery.) ========================================================================= Date: Mon, 22 Jan 1996 11:27:44 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re[2]: Etc. + booking talent. Good point. And exactly the reason why I am on the talent search/booking committe for the 1996 Queen City Blues Fest here in Cincinnati! Access to BLUES-L helped to earn me the post. (I'll let you-all know later if this is a blessing or a curse.) Monitoring who the popular and unpopular acts are, and asking the occasional questions to stir up some opinions, has already been helpful. We're planning a blues show at Cincinnati's new multi-million dollar arts facility (The Aronoff Center) on May 23rd. By asking my "Who Would Draw A Crowd?" question a couple months ago, we have made tentative arrangements to have Saffire: The Uppity Blues Women as our act!!! If you're within Cincinnati range, please mark your calendars and plan to attend. I'll post specifics when everything's firmed up. Opening for Saffire, tentatively; local blues legend Big Joe Duskin. This list is an excellent resource. It's all in the way that you use it! Shannon ______________________________ Reply Separator _________________________________ Subject: Re: Etc. + booking talent. Author: Barry Silverberg at INTERNET_TP Date: 1/19/96 5:30 PM Ranko and others - in particular blues societies, There is a real wealth of assistance in booking talent right here on blues-l (I remember a while back someone mentioned that sever- al acts were too expensive and as for others they didn't know who to get in touch with them). Right in our midst is Ronnie Narmour, RNA Booking (hope you don't mind the plug Ronnie - but hey you've got 3 Handy nominees up) and I guess other agents as well, if not here, then reachable through someone here. You do not have to go very far to get some assistance and perhaps some artists. I'm not saying don't go with who you've got but when the time comes & you find yourself in need check in right here, you may find just what the boss asked for. I think it's important that besides talking together we act toge- ther much as Mr. Waterman had the great idea of a get together. I know that one of my biggest kicks is when I get the chance to see a show with Ed Liu. We talk all the time and write all the time, but the real life meeting sure juices me. Pensing at 1:42 in the afternoon. On Fri, 19 Jan 1996, Ranko Vujosevic wrote: > Some news... > 1. 1996 Riverbank Blues Fest is in making. I was lucky enough to > be given the task of picking the artists and about $3000 to spend. > Here is the tentative schedule: > 1. Assension Blues Band (Iowa City) > 2. Louis McTizic (Waterloo, Iowa) > 3. Byther Smith (Chicago) > 4. Big Daddy Kinsey/Kinsey Report or Big Jack Johnson > Date, June 22, 1996. Last year fest was a great success. > About 1000 people came to see RL Burnside, Paul Jones, Dave > Thompson, and Joanna Connor. Hope to keep ticket price low > again (last year it was $3). > > 2. I learn that Byther Smith is on preparing a new album to be > released on Delmark. > > 3. On a sad note, Big Daddy Kinsey's wife passed away about a month > ago. Due to her critical condition, they had to canceled their > Iowa City gig last December. > > Ranko > NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 22 Jan 1996 09:18:57 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Joe Hunter (fwd) Comments: To: Rob Hutten Rob and Brenda write: In Leadbitter and Slaven's "Blues >> Records 1943 to 1970", the artist listing is JOE & JOHN HUNTER. Four >> songs were recorded in John's Island, South Carolina, in the spring of >> 1970. >> >> "Have You Ever Been Mistreated?" has Joe on guitar and vocals, with >> backing vocals from John Hunter and Janey Hunter. >> >> "Motherless Child" is the same as above with the addition of Mable Hilery >> on backing vocals. >> >> "That's All Right" has John on lead vocals with Joe playing guitar and >> singing background. >> >> A second version of "That's All Right" has Mable added on backing vocals. >> These were released on a Folkways LP (#3840). >> >> Leadbitter and Slaven include birth and death info in their entries (when > it is known), but there is no such info here. I have checked my library >> of Blues reference books, but I can't find anything else. >> >> As you say, this was probably a field recording done in the Hunters' >> living room (similar to the wonderful Testament album by Eddie Jones). >> >> Maybe someone in South Carolina knows more of a story & can give you some >> insight. >> Although I do not live in South Carolina: Mabel Hillery (note spelling) and Janie Hunter (note last name) were members of the Moving Star Hall Singers and the Georgia Sea Island Singers, respectively. They recorded, also for Folkways, extensively. However, 1970 is a lot later than I have any knowledge of their work; I know of their early and mid-Sixties material. Mabel Hillery has passed away, but I am not sure about Janie Hunter. Among those who did field recordings in the Georgia Sea Islands wre Guy Carawan and Sam Charters; might have been either of them and both are still alive to ask. Mary Katherine Aldin ========================================================================= Date: Mon, 22 Jan 1996 12:31:44 -0500 Reply-To: MK Sheffield From: MK Sheffield Subject: YOU MIGHT BE A BLUENECK IF... ...if you know that the 3 Kings are NOT the wise men in the Bible story. ========================================================================= Date: Mon, 22 Jan 1996 12:34:14 -0500 Reply-To: MK Sheffield From: MK Sheffield Subject: YOU MIGHT BE A BLUENECK IF... (sorry, forgot this one) ...if your favorite restaurant in the world is a hole-in-the-wall with no name and no menu somewhere deep in the MS Delta...where a woman named Lulu or Louise cooks, serves, and takes your money. ========================================================================= Date: Mon, 22 Jan 1996 12:49:09 -0500 Reply-To: James Leftwich From: James Leftwich Subject: NYC get together NYC folks only (hit that delete others), I'll try again... How about all us NYC folks head to Tramps Jan. 31 to catch Johnny Winter, Debbie Davies, and Bill Perry. Leave personal e-mail if interested. Jim Leftwich leftwich@cloud9.net ========================================================================= Date: Mon, 22 Jan 1996 09:56:51 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: NAMM Review... Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Hey all you musicians and gearheads! I went to the Natl. Assoc. of Music Merchants trade show this weekend. It is the trade show for the music industry, and if you like musical instruments, amps, and sound gear you would really enjoy this show. It's also where you see the trends developing in the music scene, both equipment wise as well as musical styles. In gear, there are so many great buys right now in equipment, and today's gear is so good, that I must say that this is the best time to be a musician (at least from an equipment perspective) that I have seen. Things I liked: Gibson 336 guitar. A 335 with a smaller body and headstock, and carved back of solid mahogany. What a nice guitar! Beautiful proportions, perfect balance, visually graceful... whew! I want one. about 2600.00 list, but it is ony a Gibson custom shop item now, and they expect it will become a regular production guitar eventually and the price will drop a bit. Arch top heaven! There are so many beautiful archtops out there now for you jazzy and rockabilly guys now! Gudelsky in particular caught both my eye and ear, and Valley Arts is doing a beautiful re-issue of the "Charlie Christian" Gibson arch-top and the "Robert Johnson" flat top acoustic. The resurgent "National" company is building the most beautiful and best sounding resonator guitars I've seen, and even have a Tri-Cone reissue! Bob Brozman was playing in their booth most of the weekend and hearing him was a real treat. The continued success of small high-quality guitar makers such as Tom Anderson ESP, Schecter, PRS, and others. Pros need pro instruments and these deliver. Yes they are expensive, but ask a symphony musician what THEIR stuff costs and you will re-adjust your expectations. I don't have a problem with 2500.00 guitars if they are really good. (I'm not saying I have the *money* for them!, just that I don't have a problem with them.....) ;-] Amps... There's an embarrasment of riches out there for amp buyers today. You can get a nice tweed "Blues Deluxe" for Fender for well under $500.00 or a "Dual Professional" from their Custom Shop for close to 3000.00, and many amps in between. (Tubes still rule in guitar amps, BTW) Tone King make 50's-Furniture styled amps that are so cool looking, that you are surprised at the amazing tone they have. I almost expected them to be sold on their looks alone, but it is one of the best sounding amps on the market... 1200.00 - 3000.00 There were several new amps introduced that are pointed right at the blues market. One was called "Blues City" I believe, and are repros of 50's Fender designs, with aged tweed and everything... (BTW Fender is selling "Relic" series guitars that come *brand new* all beat up and rusty already!! They're expensive too!) There are also some really cynical attempts to package low quality solid state amps in tweed and old fashioned knobs etc, and put the word "blues" in their name. I predict that these amps will not sell well... Again, there were lots of boutique amp companies there with generally wonderful products, such as THD, Bedrock, Matchless, Mesa-Boogie, and others. Matchless in particular never fails to amaze me with the quality and tone of their products. One trend that I find a little disturbing is exemplified by the "Relic" guitars. I call this trend "Authenticity as a Pose"... It was interesting to hear what people were playing when they tried out gear, and what they were wearing to the show. The "poodle-head" shredders of a few years back are all gone now, and the more recent "guns n poses" look is dying out too. Today, everyone is trying desperately to look "authentic" and "real".... Of course, that means "Blues" to a lot of people. The problem is, that these guys and gals were poodle-heads 2 years ago, and Slash wannabes last year. So now we get hats and serapes and SRV licks, and big ol belt buckles, and yadda yadda.... jeez whadda crock! You know the music bizz is in hell when being real is a pose.... Scary stuff... These musical wannabes would be wearing drag if that was in, and indeed there were a few alterna-posers with multiple body piercings and green hair gawking about... (is there ANYTHING on God's Green Earth that is more of a pose in 1996 than PUNK??) But it really bugs me to have the blues be a pose, and wonder why so many people try so damn hard to be hip.... very strange... Oh, and I'll beat my OWN damn guitar up, thank you! In Hollyweird there's a group of well-off young actors and other industry people who like to dress up in leather and ride around on $25,000.00 Harleys to look "Authentic" (you know, the Mickey Rourke club...) They are referred to as "Hells Yuppies", and I'll bet it is that group who really get off on the "Relic" guitars.... Could you IMAGINE Robert Johnson, Muddy Waters, or BB paying $2000.00 extra for a stylishly beat up and strategically rusted new guitar??? But in all, it was a GREAT show, and if any of you have any specific questions about stuff at the show, feel free to ask, and I'll answer if I saw it... Saw John Mayall, walked right by as I was having a soda... He still can't sing though... ;-] Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Mon, 22 Jan 1996 12:58:14 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Booba Barnes Hey, I ventured into Manhattan Saturday night hoping to get a bar stool at the Blue Note where BB was playing. My father (a recent blues convert) said he'd foot the $40 cover. I was really pumped...how often can one see BB in such an intimate setting. Of course, it sold out. Though, I got to see BB up close. He came out of his limo 4 feet in front of me. I always thought he was taller. He must have been about 5' 9"... So what to do...we headed over to Chicago B.L.U.E.S to catch Roosevelt Booba Barnes. I'd seen him before at the Philadelphia River Blues Festival and was impressed at the time. I wasn't disappointed this time either. At Philly I remember thinking that he seemed menacing. Sat. nite he appeared much older and his wild hairdo had been shaved away. Booba's guitar stings more than it sings. He picks with his thumb getting a percussive sound. His soloing is a bit "primitive" kind of reminiscent of Jr. Kimbrough. His voice is rich and full. He hails from Greenville, Mississippi and honed his chops down there where he owns a jook joint. This guy definitely deserves more credit. He's at least as good as Kimbrough, RL Burnside, et al. Catch him live or buy his Rooster Recordings. Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" :) ========================================================================= Date: Mon, 22 Jan 1996 18:26:34 GMT Reply-To: AND Books From: AND Books Organization: Ripco Internet BBS, Chicago Subject: Re: Robert Covington Niles Frantz (Niles@GNN.COM) wrote: : In article <01I06VNNDZLE003M5B@RL0002.RULIMBURG.NL> Jean-Pierre : Urbain wrote: : > : >P.S. Not affiliated, just (OK, that's not new :-) a great : > supporter of : >Mississippi Heat, one the VERY BEST band around! : I second that!!! Mississippi Heat are very talented, and very : nice people, to boot. Excellent Chicago blues. : Sorry to hear about the passing of Robert Covington. Covington wasn't in$ured! kidney failure. there will be a benefit, probably at Kingston Mines tba i'll post more info asap janos (from chgo blues calendar project) : Niles ========================================================================= Date: Mon, 22 Jan 1996 13:44:24 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: BB King on Letterman Reminder: I have in my calendar that BB King is on with Dave tonight, Monday January 22nd. Somebody posted this to the -L quite a while ago, but I put it in my calendar and hope he's really on. I'll probably fall asleep. Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Mon, 22 Jan 1996 13:52:43 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Re[2]: Etc. + booking talent. Comments: To: shannon_oconnor@SWPCO.COM On 22 Jan 96, shannon oconnor had this to say... > > We're planning a blues show at Cincinnati's new multi-million > dollar arts facility (The Aronoff Center) on May 23rd. By asking > my "Who Would Draw A Crowd?" question a couple months ago, we have > made tentative arrangements to have Saffire: The Uppity Blues Women > as our act!!! They sure do draw a crowd. They just played in my area 3 nights in a row at three different venues, all within a thirty minute drive of one another. They sold out all three shows. They have a far bigger draw than "just a Blues audience", and women outnunbered men by about 3 to 1 at the show I went to. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 22 Jan 1996 13:58:34 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Drive Archive question .... Can anyone give me any insight into the Drive Archive label. All and any info is appreciated. I have their address, and their telephone. What I want to know is about their output, material, quality etc. TIA Barry NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 22 Jan 1996 13:17:37 -0600 Reply-To: Dave Daubard From: Dave Daubard Subject: Blues Cruise Playlist 1/19/96 Artists-----------Title----------------------Release------------Label----- Rod Piazza - Rockin' Robin- Harp Burn- Black Top Delbert McClinton-Every Time I Roll The Dice-Never Been Rocked...Curb " " I Used to Worry- " " " " " " Miss You Fever- " " " " Tony Z- Title Tune- Get Down With the Blues-Tone Cool Lonnie Brooks-A Man's Got to Do What.... Satisfaction Guaranteed-Alligator Albert Collins-Frosty- Live '92/'93 Pointblank Smokey Wilson-You Know What My Body Needs- 88th Street Blues- Blind Pig Lowell Fulson-Too Soon to Tell- Them Update Blues- Bullseye Honey Boy Edwards-Drop Down Mama- White Windows- Evidence Robt. Covington- Playing on Me- Blues in the Night- " " " Title Tune " " " " " Byther Smith- I Got So Much Love- I'm a Mad Man- Bullseye Linda Shell- Everybody Gets the Blues- Kansas City Blues- Red Hot Rec. Billy Branch-Baby, What You Want Me to Do?-Chicago Blues Sess.#22-Wolf Luther Allison-What's Going On In My House?-Blue Streak- Alligator Debbie Davies- 24 Hour Fool- Picture This- Blind Pig Delbert McClinton-Have a Little Faith In Me-Never Been Rocked Enough-Curb Joanna Conner-Howlin' Rock & Roll Gypsy- Ruf Records Cooler Kings- C'mon Baby- Looks Like Trouble- Slippery Noodle Duke Robillard-Love Slipped In- Duke's Blues- Pointblank " " " -Info Blues- " " " " Rick Holmstrom-Jungle Ball- Look Out- Black Top " " " -Holmes Hop- " " " " Elliot Sharpe- That Collins Thing- Terraplane- Homestead Rec. Joanna Connor- Slippin' Away- Rock & Roll Gypsy- Ruf Records Billy Boy Arnold-Too Many Old Flames- Eldorado Cadillac- Alligator Wm. Clarke- Chicago Blues- Groove Time- " " Hubert Sumlin- You Can't Change Me- Chicago Blues Sess. #22- Wolf Rod Piazza & Mighty Flyers-Blue Hour- Live at B.B.'s in Memphis-Big Mo Bob Margolin-Movin' South- My Blues & My Guitar-ALCD Lonnie Brooks-Sweet Home Chicago- Blues Deluxe "Live" - " Gary Primich- Bad Poker Hand- Mr. Freeze-Flying Fish Smokey Wilson-title tune- 88th St. Blues- blind Pig Tony Z- Tone Cool- Get Down With the Blues- Tone Cool Note:Delbert played in nearby Bloomington, IL on Sat. Lonnie Brooks played C-U on Sat. I did a live interview with Tony Z who was playing at Koko's on Sat. ========================================================================= Date: Mon, 22 Jan 1996 09:33:11 -1000 Reply-To: Norman C Moody From: Norman C Moody Subject: BLUES HALL OF FAME (help) Comments: To: Don O In-Reply-To: <9601210355.05IAD05@chrysalis.org> I need help finding a list of those people who are already in the Hall of Fame. I have been bestowed with the honor of nominating, but am unsure as to who actually is already there. I can think of a few people who genuinely deserve to be inducted, but I don't want ot waste the opportunity by nominating someone who is already in it. Also, does the category for Individuals(non performers) , include people like Mary Katherine? Sorry if my questions seem a little uneducated, but bear in mind that I live way out here in no gig land. ANY help will be appreciated. Thanks from the Big Island. "Stormin'" Norman Moody K-99 K-VOL FM, Hilo, HI ========================================================================= Date: Mon, 22 Jan 1996 12:37:05 -0600 Reply-To: "L.Rupert Chambers" From: "L.Rupert Chambers" Subject: unsubscribe Unscribe blues-l ========================================================================= Date: Mon, 22 Jan 1996 20:12:13 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: WWW Blues Update Comments: To: bit-listserv-blues-l@uunet.uu.net I've updated my website and added several new links. I'm also posting a collection of my old columns and reviews. Stop by at the address below. BBB - B.B. Bean bbbean@cris.com http://www.cris.com/~Bbbean - ========================================================================= Date: Mon, 22 Jan 1996 15:18:48 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: BLUES HALL OF FAME (help) Comments: To: nmoody@HAWAII.EDU On 22 Jan 96, Norman C Moody had this to say... > I need help finding a list of those people who are already in the Hall of > Fame. > I have been bestowed with the honor of nominating, but am unsure as to who > actually is already there. I can think of a few people who genuinely > deserve to be inducted, but I don't want ot waste the opportunity by > nominating someone who is already in it. Also, does the category for > Individuals(non performers) , include people like Mary Katherine? > Sorry if my questions seem a little uneducated, but bear in mind that I > live way out here in no gig land. > ANY help will be appreciated. Thanks from the Big Island. Norman, you don't say what Hall Of Fame... Living Blues? Blues-L? WC Handy? etc. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 22 Jan 1996 14:59:12 -0600 Reply-To: David Silberberg From: David Silberberg Subject: John Wells - Where Are You? Sorry for the personal note, but it does relate to blues-l: John, please get in touch with me about the FAQ, as you wrote before Christmas - I have lost your address, and I want to follow up on your suggestion.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Mon, 22 Jan 1996 13:36:05 -0600 Reply-To: Roger Struve From: Roger Struve Subject: BLUESLAND: A Portrait in American Music Well, now i've got the particulars of the show i saw Sunday morning in front of me. The official name of the show was : Bluesland: A Portrait of American Music. For Twin City Bluesellers, the Bravo Cable will show it at 5:30pm on Tuesday. I do not know if this is true for all 20-30 cable companies in the Twin City area. However, on C-band, it definitely will air at Midnight on Tuesday (central time). Bluesland: A Portrait in American Music---traces the history of the blues and features legends Son House, Leadbelly, Big Bill Broonzy, Bessie Smith, Count Basie, Louis Jordan, Jimmy Rushing (Jimmy was really something!), T-Bone Walker, Big Joe Turner, Sonny Boy Williamson, Muddy Waters, Dinah Washington, Louis Armstrong, Duke Ellington, Chuck Berry, and many others. End Quote regards, delta doc roger ========================================================================= Date: Mon, 22 Jan 1996 16:32:33 -0500 Reply-To: ELMO95@AOL.COM From: Patrick LeBlanc Subject: Dust My Broom Could someone give me the actual or approximate release date of Vocalion 03475; I Believe I'll Dust My Broom, by Robert Johnson. Please e-mail to ELMO95@aol.com Thanks for your help. Cheers, Patrick LeBlanc ========================================================================= Date: Mon, 22 Jan 1996 22:07:54 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Consumer Reports and Blues & Jazz Comments: To: bit-listserv-blues-l@uunet.uu.net I just got the new Consumer reports, which has a report on CD clubs, CD mailorder, and stereo equip. the cover photo is of a hand holding a CD next to a bunch of CDs stacked on a player. Included in the CDs are: Beausoleil-Allons A Lafayette - Arhoolie B.B. King Blues Summit - MCA Count Basie - The Essence of - Columbia Louis Armstrong - What a Wonderful World - MCA Joshua Redman - Warner Bros Bob Marley - Exodus - This post is entirely the personal opinion of B.B. Bean, and in no way, shape, or form reflects the opinions of Bean & Bean Cotton Company, Bean Farms, Memphis Musician magazine, or Mary Katherine Aldin. B.B. Bean bbbean@cris.com http://www.cris.com/~Bbbean - ========================================================================= Date: Tue, 23 Jan 1996 09:09:02 -1000 Reply-To: Andrew Gregg From: Andrew Gregg Subject: Thanks Comments: To: Jim Witteveen Thanks to those who replied RE: my going mail access. Everything 100% O.K Andrew Gregg ========================================================================= Date: Mon, 22 Jan 1996 16:21:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Joe Callicot MS Joe Callicot also recorded in the 1930's. Some of those were reissued on OJL. Maybe some pre-war expert on the list could provide more info. -Bonnie ========================================================================= Date: Mon, 22 Jan 1996 16:51:07 -0600 Reply-To: Birmingham From: Birmingham Subject: Re: Blues Drumming Comments: To: PARRISHR In-Reply-To: <0ffb6330@vitro.com> Saw Buddy Guy last Friday night and his drummer was not very subtle. Could have been at BLUES ETC checking out Son Seals who not only has an excellent drummer, but the best live blues band I have seen. Sean Birmingham ========================================================================= Date: Mon, 22 Jan 1996 16:46:08 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: BLUES HALL OF FAME (help) Comments: To: Norman C Moody In-Reply-To: Hear! Here! For the past two years I've sent my HOF ballot back to the Blues Foundation with a note that the task is impossible without a list of present members. Maybe if they hear it from enough people it will start to register. ========================================================================= Date: Mon, 22 Jan 1996 14:48:37 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Larry Cohn, Roots 'n' Blues series The next releases in Larry Cohn's Roots 'n' Blues series are due out within a couple of weeks, and Larry is available to do radio show interviews either in person or by phone (depending on where the station is located) to talk about the series. If you are (or know) a blues radio show host who might be interested in setting this up, please call Larry directly at his office in Southern California, 310/449-2442. He's available now through about the end of February to do these phoners or live shows, but they need to be scheduled in advance. I have no affiliation with Sony/Legacy or these releases, but as a friend of Larry's I am very concerned that Sony's promotion of this series is not all one could wish, and a little extra support from the blues community sure couldn't hurt. Larry is not online but has given me permission to post this to the list. Btw the new releases are: Bessie Smith box set vol. 5 Josh White, Blues Singer Emmett Miller Various artists: Booze and the Blues Various Artists: Messed up In Love and Other Woes Mary Katherine Aldin ========================================================================= Date: Mon, 22 Jan 1996 15:34:32 -0800 Reply-To: Mark Naftalin From: Mark Naftalin Subject: Mable John seeks Little Willie John posters Mable John, who is Little Willie John's sister, is seeking original or facsimile copies of Little Willie John posters for the Rock & Roll Hall Of Fame Museum. If you are a collector, or know someone who may have access to Little Wille John posters, please call Mable John at 213-731- 9315. Mable John is a wonderful artist in her own right with numerous recordings on the Stax label and other labels. She was the lead singer with the Raelettes during the time period when they had their hit, "Bad Water." She asked me to post this message on her behalf, and invites anyone who would like to speak with her to call, whether or not they can help her with her poster quest. Mark Naftalin 411-Winner (The Winner Info-Page) ========================================================================= Date: Mon, 22 Jan 1996 17:38:01 -0600 Reply-To: Justin Zitler From: Justin Zitler Subject: FESS look-alike Input and feedback welcome. I've just received a call from SHOWTIME, working on the contracts for a feature-length film on PROFESSOR LONGHAIR. Guess who wants the title lead? Lou Gossett, Jr. Not to play piano, of course, but to act the part. Also, John Goodman is in negotiation for a supporting role. They want my opinion, as attorney for FESS' estate. Bluezellers, comments please! ========================================================================= Date: Mon, 22 Jan 1996 18:52:17 -0500 Reply-To: James Leftwich From: James Leftwich Subject: promo idea Would any small labels or independent musicians be interested in donating CDs for giveaway contests in conjunction with my home page (Jim's Blues & Brews). Space will be given for bio info. Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" :) ========================================================================= Date: Mon, 22 Jan 1996 14:26:49 -1000 Reply-To: Norman C Moody From: Norman C Moody Subject: Re: BLUES HALL OF FAME (help) Comments: To: "P.W. Fenton" In-Reply-To: <199601222020.PAA23368@osceola.gate.net> Yeah that one............W.C.Handy. Thanks to all who replied. It is helpful to remember that I live about as far out of the way as one could possibly get without leaving the planet. Sorry if my query was a bother. May the Blues smile upon you. Norman PS I suppose the Blues Foundation is listed in the Memphis phone book, but I am a Blues musician , and can't afford to pay attention, let alone make long distance phone calls..... I thought some of the experts on blues-l might have a list "Handy". :> ========================================================================= Date: Mon, 22 Jan 1996 18:27:27 CST Reply-To: JBards From: JBards Subject: Re: FESS look-alike Comments: To: Justin Zitler Well, Gossett is a very good, perhaps great actor. John Goodman is terrific , too. It's hard to imagine a better selction, IMHOP. Jim, Shreveport _______________________________________________________________________________ Subject: FESS look-alike From: Justin Zitler at INTERNET-SH Date: 01/22/96 6:18 PM Input and feedback welcome. I've just received a call from SHOWTIME, working on the contracts for a feature-length film on PROFESSOR LONGHAIR. Guess who wants the title lead? Lou Gossett, Jr. Not to play piano, of course, but to act the part. Also, John Goodman is in negotiation for a supporting role. They want my opinion, as attorney for FESS' estate. Bluezellers, comments please! ========================================================================= Date: Mon, 22 Jan 1996 19:38:27 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Mable John seeks Little Willie John posters Comments: To: wpc@netcom.com In a message dated 96-01-22 18:39:24 EST, wpc@NETCOM.COM (Mark Naftalin) writes: > Mable John is a wonderful artist in her own right with numerous >recordings on the Stax label and other labels. She was the lead singer >with the Raelettes during the time period when they had their hit, "Bad >Water." She asked me to post this message on her behalf, and invites >anyone who would like to speak with her to call, whether or not they can >help her with her poster quest. Mark is right about Mable John's recordings. Her Stax recordings are AWESOME-- they were one of the revalations of the Stax singles boxes (they straddle vols 1 and 2) and the single CD that has been put since is a must-have for Memphis soul. Great songs, great arrangements, and a wonderful voice. In my book, she beats out even James Carr for "most underappreciated great Memphis recordings." Tom Freeland ========================================================================= Date: Mon, 22 Jan 1996 18:50:15 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Lazy Lester Comments: To: Jim Witteveen > From: Jim Witteveen > Hi all. Just checked out Rob's web site and saw an entry for Lazy > Lester...and it reminded me of something I wanted to ask - what's he up to > as of late? Is he still touring, recording, etc? And does anyone have any > recommendations? I've only got a couple of his tracks (the older Excello > stuff) and I love it. Thanks, and Happy Monday :-)! As far as I know he's still touring. I saw him in Madison a couple of years ago and he turned in a very strong performance, with much of the flavor of his classic Excello sides. As far as recommendations are concerned, he's made a couple of pretty good records for Alligator in the past few years ("Harp and Soul" is the one I've got and like a lot) but his original Excello material is still the stuff to get first: EXY3003 +LAZY LESTER I HEAR YOU KNOCKIN'! EXCELLO 12/94 This has about 30 cuts and includes (I think) every single ever released by him on Excello. IMO some of the best swamp blues ever recorded. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Mon, 22 Jan 1996 16:51:48 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: V-Guitar review Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Hi Everybody! At the NAMM show last weekend, I got to hear and see a really thorough demo of the new COSM (composite object sound modeling) V-Guitar technology from Roland. In brief, this is a system wherin the signal from your guitar is "modeled" by computer technology to get any sound you want from basically any guitar. It is NOT a synthesizer, and does not use midi or pitch to voltage conversions etc.. It takes the analog signal from your guitar and changes it using computer modeling techniques. If your guitar doesn't play in tune. neither will the unit! So, you play this strat (or whatever you put their pickup on) tuned to normal concert guitar tuning, and out comes a capoed-at-the-fifth-fret acoustic 12-string tuned to A major, for instance. Or you can make it sound like a Les Paul through a Marshall with your choice of speakers, cabinets, mics and mic techniques, etc, or a tele, or a nylon string classical, or a dobro, or lots of other stuff. You can use oddball tunings and substitute all the B's for C's or whatever, without touching your tuners. You can "install" different pickups and move them anywhere you like, angle them as much as you want, even put them up on the 12th fret if you like. Models for all the popular guitars and amps are in there, and you can combine them any way you like. There's lots more really adventurous stuff it can do, but I don't want to try to cover too much in this post. Pretty amazing as a concept, and a lot of people have been calling this the "future of the guitar" yadda yadda, and "the end of tube amps" yadda yadda. Now we can model any sound we want! Well, it was a very impressive device, and sounded much better than I thought it would, and I would advise someone to get one of these rather than a cheap guitar and cruddy amp, for sure, since the sounds are lots better here, BUT as with so much techno-blabber ("obsolesence" chanting and drumming by people trying to sell you something....) it really won't replace any good instruments or amps, but rather is another useful tool for those who can hear a way to use it musically. I must say that this thing is not a joke, and it sounds really quite good. Just for fun, I took one of the programmers aside who wrote the software for it, and said "do you know that people are saying that this will replace regular guitars and amps?" He said: "That's bull----, I hate it when people say stuff like that, this is not intended to *replace* anything, it is intended as something new, to *add* to your sounds". I was glad to hear a Roland guy say that! He also said "I'm not selling MY Les Paul!"..... My opinion? Someone in a cover band, or casuals/weddings and even in show bands will LOVE this unit. If that description fits any of you, you should hear one right away, and I would recommend that all you guitar guys and gals go listen to one, just to see what's happening out there. The versatility of this unit will amaze you, the sounds are really convincing, and it's a lot lighter than a tube amp. However..... You will not develop a "signature tone" through one of these IMO.... The interaction between a great guitar and a great amp (you've got a good cable don't you, and yes I *can* hear the difference between Sovtek tubes and NOS Telefunkens...) is too complex and interactive to be adequately modeled. I don't want one for myself, and besides, they're about 2900.00! But they represent a very interesting development. I'm just not sure how many blues folks want to play "virtual guitar" anyway! But it sounds good, I must admit. Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Mon, 22 Jan 1996 16:54:22 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: V-Guitar continued... Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Oh and BTW, if the review sounded interesting to you, I've got two Roland demo CD's left from the show. The first two to give me their snail address gets them. Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Mon, 22 Jan 1996 19:33:34 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Blues without feeling Bg> From: Poindexter Regan Bg> My point is that it's not necessarily all about intensity and Bg> passion, it's about the full range of feelings and expressions Bg> thereof. I find it impossible to differentiate between these concepts, therefore I can not understand this concept. Some people would strongly argue that 'passion' _is_ 'feelings' and/or 'expressions thereof'. Personally, I have no reason to believe that 'emotions' can be transmitted by music. Now, people may easily PROJECT their belief about what they think they might 'feel' in a similar situation, however, I simply do not perceive the commonly touted 'blue'; i.e. psychological depression, in Blues. Tommy McClennan, for example, sounds like he is having a great time while playing -- laughing to himself, banter with someone else in the studio. But this is another issue. I interpret your response to mean that indeed you do not perceive the same level of intersity and power in L Johnson as by R Johnson, as this was the question. So, apparently our perceptions agree. Bg> As far as I'm concerned, our latter day definitions of what is Bg> and isn't (or was and wasn't) blues are moot. Blues is what the Bg> contemporary blues audience said was blues, whether it appeals to OUR Bg> modern blues sensibilties or not. And how would that population have any better developed insight into what was good, vs. mediocre, vs. awful, than today's ignorant masses?? Bg> Lonnie Johnson was considered to be just as much a Bg> bluesman as anyone else, and in fact if you'd asked an average blues Bg> fan walking down the street in the '30s who was the better bluesman, Bg> Robert Johnson or Lonnie Johnson, I'd bet the majority would have said, Bg> "Robert who?" Again, the false argument is made: that which is popular is quality! You are appealing to the lowest common denominator: popularity, as a defacto index of excellence. This is simply silly. Have you, perhaps, noticed that commercial TV, in its never ending quest to gain popular appeal to support its advertising objectives, simply is unmitigated garbage?? The ugly fact is that work on the cutting edge, whether it be scientific thought, product design, art, and music is generally not noticed by the masses. Bg> Muddy Waters was once asked who he thought was the best blues Bg> guitarist ever. His answer: "Lonnie Johnson". That's good Bg> enough for me. I guess that demonstrated that some folks like to actually think for themselves, and some like to be told what to think. Unfortunately, the so-called educational system in this country teaches people what to think, not how to think, so you are following a well-established path to mediocrity. Apparently, you have abandoned the concept of quality, or perhaps you don't think quality can exist. The US had long ago abandoned the quest for quality and US auto, electronics, and technology industries have consequently gone down the drain. [Note: I am pleased to see the recent discussions regarding the proliferation of (so-called) Blues performers in recent years and how the essence is being lost and overshadowed by the new hoards of mediocre imitators. Seems I tain't alone on this one.] ... "I don't want to get off on a rant here, but ..." Dennis Miller --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Mon, 22 Jan 1996 19:34:06 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Non-blues threads > Yeah! That is why I, for one, would like to see the list split > into three topic-oriented lists: Ia> Anyone who wants to create a new blues list is more than welcome to Ia> do so. "Splitting Blues-L" is neither realistic nor practical -- Ia> we'll never agree on it. The quite realistic and very practical results would be to free the many folks here with an interest in less than all the rather obvious major topic divisons: Country Blues/City Blues/ Blues-like Bullshit, to be able to efficiently read postings of their interest, rather than having to wade through 200+ messages a day to find the occasional gem. This concept is similar to the fact that libraries contain books organized by _topics_, so one does not have to read all the books in the library sequentially to find some specialized information. Whether 'we' agree is another totally unrelated issue that fails to address the 'noise' issue. ... "You've been believin' all the lies you hear, ... that's why you feel so bad" Peetie Wheatstraw --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Mon, 22 Jan 1996 19:34:08 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Blues without feeling Ia> Laurie Forti wrote > I agree that there is no accounting for _taste_; BUT do you really > perceive (nothing to do with acquired 'taste') the same level of > _intensity_ and _power_ in Lonnie's music as you do in say Son House, > Robert Johnson, Skip James, Ishman Bracey, et al?? Ia> They are certainly not the same, but "different" is not equivalent to Ia> "worse." The blues is not one kind of music -- the delta blues that Ia> you evidently prefer is only one of multiple types of blues. In the Ia> 1920s, when Johnson started recording, the dominant style was an Ia> urban, cabaret-style of blues, much closer to jazz than delta blues. Ia> Johnson played that style to perfection. Although this is true, it is irrelevant to the question re: intensity and power. And just how many jazz riffs are required, such that the piece is no longer Blues?? Ia> Similarly, we could discuss blues from the Piedmont, or Texas, or Ia> Kansas City, or Los Angeles -- if your only measure of excellence is Ia> the Robert Johnson or Son House (great as they are) you won't judge Ia> those schools of blues on their own merits. I think there are several somewhat objective factors that could be used to evaluate the quality of music. They include: 1> Does the artist use mostly stock cliches in the instrumental work, or was a individual or personal style evident? 2> Does the artist use mostly stock cliches in the vocals, or is an interesting and powerful very personal poetry in effect? 3> Does the artist use a bland, flat, dull, and uninteresting vocal style, as did the most 'popular' artists, or are various blues-specific effects used well? E.g. falsetto, glissando, 'yodel', ... Is there vocal power and intensity, or is it just more 'la-la' music? 4> Were all/most of the recorded output clones of a stock hit piece, as were the most popular, or were all/most songs different? 5> Did the artist use various tunings and keys, or did he make a career out of only one song? Although my personal preference is strongly in the Country Blues direction, it exists simply because this style does offer the most intense, complex, interesting, and poetic choices. ... "Stop the inanity!" Duckman --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Mon, 22 Jan 1996 21:23:34 -0500 Reply-To: "Daryl F. Bernard" From: "Daryl F. Bernard" Subject: Re: You Might Be A "Blueneck" If.... Comments: To: Rob Hutten In-Reply-To: <199601221425.AA13127@dragon.acadiau.ca> On Mon, 22 Jan 1996, Rob Hutten wrote: > > You Might Be A Blueneck If....... > > ...you keep a harp in a pocket of every coat you own GUILTY! (at least in one coat - the only one I wear) ...and I don't even know how to play! But I figure if I keep on carrying my harp, some day I might just learn! And if I'm ever involved in a catastrophe (ie trapped in a basement or cave or something) or if my plane crashes in the Andes (they can't burn my harp for heat like they did the guitar in "Alive") or if I'm involved in some hostage situation, I figure I can provide the entertainment. 'Course if I'm not any better than I am now, I'll probably get shot! :) Daryl ========================================================================= Date: Tue, 23 Jan 1996 03:43:07 GMT Reply-To: Rennie Selkirk From: Rennie Selkirk Organization: NASA-Ames Research Center Subject: Re: Whatcha listenin to besides blues? Comments: To: bit-listserv-blues-l@uunet.uu.net Mostly jazz these days. Currently: almost anything by Wes Montgomery Johnny Griffin, "The Cat" Coltrane, "Africa Brass" Joe Henderson, "So Near, So Far" John Scofield, "Groove Elation" Rennie Selkirk ========================================================================= Date: Mon, 22 Jan 1996 22:44:06 -0500 Reply-To: Meadors From: Meadors Subject: Re: V-Guitar review Comments: To: dcicchet@LASIERRA.EDU Don: I enjoyed reading your description of the new virtual guitar which can duplicate a myriad of different amp/guitar sounds. Now if someone would just invent some software that will play all this new equipment for me, I wouldn't even have to show up for the gig. Mike Meadors Orange2@gnn.com ========================================================================= Date: Tue, 23 Jan 1996 04:04:19 GMT Reply-To: Rennie Selkirk From: Rennie Selkirk Organization: NASA-Ames Research Center Subject: Re: First Album that Turned You On (to the blues) Comments: To: bit-listserv-blues-l@uunet.uu.net I remember hearing my older sister playing the Howlin' Wolf "rocking chair" album when I was about 11 years old (1964), and I couldn't believe that "folk" blues players actually used electric instruments! Course I didn't have the faintest idea who B.B. King was (much less T-Bone Walker), and as far as I knew Muddy Waters was some guy with a funny name who played the Newport Folk Festival once, so he had to be playing an acoustic guitar, right? (The gospel according to Vanguard Records.) Of course Bob Dylan fixed that the next year.... But I can't say that that album actually turned me on to the blues in a really permanent way. That had to wait until I started playing guitar and heard Albert King doing Personal Manager on Born Under a Bad Sign. And the whole first side of "Live at the Regal". Or Eric doing Hideaway on the first Mayall album. Took me a little while longer to develop an appreciation for the singing aspect though. But that's when The Best of Muddy Waters really hit me. Henry J. ========================================================================= Date: Mon, 22 Jan 1996 23:56:33 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: hash brown broadcast Here is the information I promised earlier. Beginning today, 1/23/96, Hash Brown's Tuesday blues jam session at The Bone in Dallas, Texas will be broadcast live over the internet. This is their first week (expect a few bugs) but the owner of The Bone is also a principal in Audionet, so things should improve quickly. minumum requirements: web access sound card RealAudio 2.0 (you can download it from there) 28.8 modem address: http://www.audionet.com The show usually starts at 10 pm central standard time and goes until 2 am. Plans are to broadcast every Tuesday. More info at the audionet address above. I do not have web access myself and am not invloved with this in any way, so don't send your questions to me!! I'm just passing along the info. If it goes off OK, I hope someone will post a review. Don O. ========================================================================= Date: Mon, 22 Jan 1996 22:15:35 -0800 Reply-To: Douglas Edward Smith From: Douglas Edward Smith Organization: Stanford University, CA 94305, USA Subject: Learning Blues Guitar, Books? Comments: To: bit-listserv-blues-l@uunet.uu.net I'm looking for a good book which teaches blues guitar to a beginner. Any suggestions (and where to find them) ? Thanks in advance. Doug ========================================================================= Date: Sun, 21 Jan 1996 23:37:56 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Cold-Weather Blues It's even cold here in LA. I had to put a sweater on today instead of a T-shirt. Yes we do have it good regarding weather down here. Don't mean to make light of Ruth's plight and those that were also affected by the blizzard. Just a little humour (I hope) BTW, Ruth, Nice touch in the lyrics with the mention of S.A.D. syndrome. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sun, 21 Jan 1996 23:38:05 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: NAMM Review... I was there too and was quite overwhelmed. My favourite experience was trying out all the Strats and Teles at the Fender booth. Oh how I wish for a Strat with a 12 inch radius.Best moment was standing a foot away from Will Ray of the Hellecasters, watching him do his thing with two hand slide and a B-bender. Finger boggling. >The continued success of small high-quality guitar makers such as Tom >Anderson ESP, Schecter, PRS, and others. Pros need pro instruments and >these deliver. Yes they are expensive, but ask a symphony musician what >THEIR stuff costs and you will re-adjust your expectations. I don't have >a problem with 2500.00 guitars if they are really good. I don't have a problem with them. They are beautiful guitars. It's just that I like Strats because they can take a heap of punishment and still play well. I'd rather have a $600 Strat and play hard than pussyfoot around with a Tom Anderson (nice guitars though. A few of my friends have them. If someone was giving one away....) >One trend that I find a little disturbing is exemplified by the "Relic" >guitars. I call this trend "Authenticity as a Pose"... It was >interesting to hear what people were playing when they tried out gear, and >what they were wearing to the show. The "poodle-head" shredders of a few >years back are all gone now, and the more recent "guns n poses" look is >dying out too. Today, everyone is trying desperately to look "authentic" >and "real".... Of course, that means "Blues" to a lot of people. The >problem is, that these guys and gals were poodle-heads 2 years ago, and >Slash wannabes last year. So now we get hats and serapes and SRV licks, >and big ol belt buckles, and yadda yadda.... jeez whadda crock! You >know the music bizz is in hell when being real is a pose.... Scary >stuff... I saw this as well. Grunge is gone and blues/rock is cool again. Be warned. There are rumblings that shred is on the way back. >These musical wannabes would be wearing drag if that was in, and indeed >there were a few alterna-posers with multiple body piercings and green hair >gawking about... (is there ANYTHING on God's Green Earth that is more of >a pose in 1996 than PUNK??) > >But it really bugs me to have the blues be a pose, and wonder why so many >people try so damn hard to be hip.... very strange... Oh, and I'll >beat my OWN damn guitar up, thank you! > >In Hollyweird there's a group of well-off young actors and other industry >people who like to dress up in leather and ride around on $25,000.00 >Harleys to look "Authentic" (you know, the Mickey Rourke club...) They are >referred to as "Hells Yuppies", and I'll bet it is that group who really >get off on the "Relic" guitars.... I'm sure that it is an LA thing. Since I've been living here I've noticed a lot of posers. The trouble is a lot of companies a based in LA and what is hip here tends to travel. But the whole "Relic" thing is troublesome. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Tue, 23 Jan 1996 02:48:47 -0500 Reply-To: HugeSmall@AOL.COM From: Boyd Small Subject: Re: Musician Joke: Bass & Drums Comments: To: exarch@accesscom.net I just thought I'd share a few you may have already heard. ----------------- Q: "What was the last thing the drummer said before he had to leave the band?" A: "Hey guys ya wanna do some of my tunes?" ----------------- Q: "What do you call a musician without a girlfriend?" A: "Homeless". ----------------- Q: "What do you call a guy that hangs out with musicians?" A: "The drummer". ----------------- Q:"How many guitar players does it take to screw in a light bulb?" A: "7". One to screw it in and 6 to say "I could do that!" ----------------- Here's an old saying: "So many drummers- and so little time". ----------------- Maybe more later......................... ========================================================================= Date: Tue, 23 Jan 1996 08:20:47 GMT Reply-To: tdevit3@NEWS-S01.NY.US.IBM.NET From: tdevit3@NEWS-S01.NY.US.IBM.NET Subject: Re: John Primer's New Album Comments: To: bit-listserv-blues-l@uunet.uu.net Who thought of the title first?...Smokey Wilson (Rounder) or John? ========================================================================= Date: Mon, 22 Jan 1996 01:25:59 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: BB King on Letterman Riffin Rick wrote: >Reminder: I have in my calendar that BB King is on with Dave tonight, Monday >January 22nd. Somebody posted this to the -L quite a while ago, but I put it >in my calendar and hope he's really on. I'll probably fall asleep. I got home from rehearsal tonoght about 11:00pm. One of my bad mates calls up (knowing I'm into blues) and says, "Turn on your TV! BB King is on Letterman!" However there was one small problem. I don't have a TV (instrument of the Devil, I say). Oh well. At least he called and let me know. I mean, if I had a TV , I would of watched it. Sigh. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Tue, 23 Jan 1996 04:43:25 -0500 Reply-To: HugeSmall@AOL.COM From: Boyd Small Subject: Re: BB King doesn't play and sing together? Comments: To: revillaj@ccaix3.unican.es >Is it true that BB King isn't able to play guitar and singing at >the >same time? It is true that he doesn't. Whether or not he can is another question. ========================================================================= Date: Tue, 23 Jan 1996 08:10:33 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: A question of taste for writers When some thing like the word "Motherf..." pertains to the article and you feel it is important to the story that is being told, do you say something like "Mother...." or "Mother%&*("...I don't like using language like that I see it in many interviews/articles, but I still don't like it...THOUGHTS PLEASE The other word and I'd like to use it twice, is NIGGER. I think it is important and both instances are quotes. One is Johnny's quote and another is what Johnny had been called by an audience member.... Thoughts from you writer folsk would be great. Thanks LW ========================================================================= Date: Tue, 23 Jan 1996 09:25:21 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: P.W. Fenton Discography For those of you that may be into collecting rare recordings, here is the complete P.W. Fenton dicography: Humbling, isn't it.... P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 23 Jan 1996 09:32:48 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: P.W. Fenton Discography Comments: To: Bo Carlsson > >For those of you that may be into collecting rare recordings, here is > >the complete P.W. Fenton dicography: ^^^^^^^^^^ And of course... I can't even SPELL it right. ========================================================================= Date: Tue, 23 Jan 1996 08:48:28 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Bluesland: Full Schedule, Other Attractions on TV this week. OK, so Bluesland: A Portrait of American Music will be broadcast on Bravo Satellite F-4, TR. 07, today at 4:30 central time (5:30 EST) and at 12 midnight (central time) 1am (EST). Also, on Wednesday, at 4p (EST) on the American Movie Channel, they are broadcasting St. Louis Blues (1958) BIography of W. C. Handy (a black man) with Nat "King" Cole, Cab Calloway, Ruby Dee, Ella Fitzgerald, Mahalia Jackson, and Eartha Kitt. At 11:35 Pm on Tuesday (today) Bonnie Raitt will appear on Jay Leno Show. Thas all folks. ddr. ========================================================================= Date: Tue, 23 Jan 1996 08:45:20 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Johnny Shines Questions I have talked to all that I'm going to talk with on the Johnny Shines tribute Those being Peter Guralnick, Johnny Nichalous and Kent DuChaine. I will be seeing & talking with Kent again Wed. night. I'm afraid I may have left off somethings about Johnny that people may find interesting, so if you have any questions about Johnny (that Kent can answer) I would appreciate it, if you sent them to me private email. I don't want to leave out any really important things. I think I have it covered, but just in case THANKS LW ========================================================================= Date: Tue, 23 Jan 1996 10:02:33 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: A question of taste for writers Comments: To: L W In-Reply-To: On Tue, 23 Jan 1996, L W wrote: > When some thing like the word "Motherf..." pertains to the article and you > feel it is important to the story that is being told, do you say something > like "Mother...." or "Mother%&*("...I don't like using language like that > I see it in many interviews/articles, but I still don't like it...THOUGHTS > PLEASE I've always felt that, if you're interviewing someone or doing ethnography, and they are fully aware of what you're doing, why not? Perhaps the reader may be offended, perhaps not. But a good interview is more than just entertainment, and if the interviewee chooses that language (and if it isn't so out of hand that you decide to kill the project), go ahead with it. Just my 2 cents. Dave Prychitko (Back from a fall semester sabbatical, with a suitcase full o'blues). ========================================================================= Date: Tue, 23 Jan 1996 10:07:18 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: A question of taste for writers Comments: To: L W In-Reply-To: On Tue, 23 Jan 1996, L W wrote: > When some thing like the word "Motherf..." pertains to the article and you > feel it is important to the story that is being told, do you say something > like "Mother...." or "Mother%&*("...I don't like using language like that > I see it in many interviews/articles, but I still don't like it...THOUGHTS > PLEASE The best I've seen re: above is Motherf----- or Motherf...... The f is the important ender before whatever you use. > The other word and I'd like to use it twice, is NIGGER. I think it is > important and both instances are quotes. One is Johnny's quote and another > is what Johnny had been called by an audience member.... My feelings are that this word ought to be taboo. Every instance of it does little 'cept to foster racism. It's a little tiny and sh*t filled word that needs eradication. Find some way around it and help clean up the racism in this world. I even find it repug- nant when quoted. During the OJ trial everytine they mentioned a phrase "the N word" everyone knew its meaning and it just kept it alive as another horrible word in the English language. LEAVE IT OUT. I'm sure your writing won't suffer dramatically if you don't mention it. BTW at NY CD Blues we also try to avoid any cuss words - never know who's gonna read it (kids, grandma's etc). NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 23 Jan 1996 10:38:04 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Organization: IQuest Internet Services Subject: Re: You Might Be A "Blueneck" If.... I'd like permission to reprint the items below for the BSI newsletter, and would like to ask if any of the contributors of these gems have any objection to my doing so, particularly Curtis and LW. Some of the items were re-worked a little to focus the subject, but they are YOUR ideas just the same. I would be happy to credit you all. --------------------------------- YOU MIGHT BE A BLUE NECK IF...................................... The Etta James music in your car tape player makes you a dangerous driver. You place the bottleneck higher than the synthesizer on your list of notable inventions in music. Stevie Nicks doesn't appear on your favorite Fleetwood Mac records. Your lucky numbers include 32, 20, 61, 49, 29, and............ II. You've got the blues show's request line programmed into autodial. You'd as soon vacation in Clarksdale as Cancun , or in Memphis as on Maui. You can use "Alligator" and "Evidence" in the same sentence without referring to a poaching incident. You unconsciously turn discussions about royalty to guys named Albert, Freddie, and B.B. Living Blues has replaced Readers's Digest in your bathroom reading rack. You experience multiple " bluesasms." Your blues CD collection is worth more than your car. -------------------------------------- RJ Bauman Blues Society of Indiana ========================================================================= Date: Mon, 22 Jan 1996 08:30:12 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: BB King on Letterman I wrote: >I got home from rehearsal tonoght about 11:00pm. One of my bad mates calls.. Good grief! It's "tonight" and "band mate" not "bad mate" though he is a good mate. Sorry (it was late when I wrote it). Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Tue, 23 Jan 1996 10:27:07 CST Reply-To: JBards From: JBards Subject: Re[2]: BB King doesn't play and sing together? Comments: To: HugeSmall@AOL.COM The answer may be found in the fact that BB doesn't think of himself- as he often says- as a very good rythm player. Obviously, hes not going to sing over his soloing. -Jim _______________________________________________________________________________ Subject: Re: BB King doesn't play and sing together? From: HugeSmall@AOL.COM at INTERNET-SH Date: 01/23/96 4:10 AM >Is it true that BB King isn't able to play guitar and singing at >the >same time? It is true that he doesn't. Whether or not he can is another question. ========================================================================= Date: Tue, 23 Jan 1996 08:35:12 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Jan. 24 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BATTS, WILL (fiddle/MEMPHIS JUG BAND) b. 1904-0124, MICHIGAN, MS BELUSHI, JOHN "JAKE BLUES" (v/BLUES BROS) b. 1949-0124, CHICAGO, IL CAREY, ZEKE (of THE FLAMINGOS) b. 1933-0124, BLUEFIELD, W. VA COLE, ANN [CYNTHIA COLEMAN] (v) b. 1934-0124, NEWARK, NJ DAVIS, JAMES "THUNDERBIRD" (g/DUKE REC) d. 1992-0124, ST. PAUL, MN 53 FORREST, JIMMY (tsax/NIGHT TRAIN) b. 1920-0124, ST. LOUIS, MO FORTESCUE, JOHN HENRY "GUITAR SHORTY" (g) b. 1923-0124, BELHAVEN, NC HEMPHILL, JULIUS (sax) b. 1938-0124, FORT WORTH, TX KELLY, VANCE (g) b. 1954-0124, CHICAGO, IL MCCRAE, GEORGE (v/ROCK ME BABY) d. 1986-0124, FL 41 MOORE, JOHNNY BELLE (g) b. 1950-0124, CLARKSDALE, MS NEVILLE, AARON (v) b. 1941-0124, NEW ORLEANS, LA OXLEY, HAROLD (manager/T-BONE/LIGGINS) d. 1952-0124, HOLLYWOOD, CA 54 PARRISH, AVERY (p/AFTER HOURS) b. 1917-0124, BIRMINGHAM, AL SHEPPARD, JAMES "SHEP" (lead/HEATBEATS) d. 1970-0124, LONG ISLAND, NY 34 SPANN, LES (g) d. 1989-0124, 57 WASHINGTON, ISIDORE "TUTS" (p/ROUNDER) b. 1907-0124, NEW ORLEANS, LA ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 23 Jan 1996 11:10:00 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re: A question of taste for writers My opinion as a professional editor/writer: You need to consider your audience, your publication. As Mr. Silverberg said, if kids and grandmas might be reading it, leave it out. You need to walk a fine line between accuracy and taste. Always, always opt for sensitivity and taste. Personally, I think using hard-core cuss words like "motherf*****" or derogatory terms like "nigger" cheapens EVERYONE involved....the person who utters the words, the writer who includes the words for tone or accuracy, and the editor/publisher who puts them in print. A *good* writer will find a way around the direct, blatant use of these sorts of words. They can be implied without actually being present. Shannon ______________________________ Reply Separator _________________________________ Subject: A question of taste for writers Author: ISTS024@UABDPO.BITNET at INTERNET_TP Date: 1/23/96 10:30 AM When some thing like the word "Motherf..." pertains to the article and you feel it is important to the story that is being told, do you say something like "Mother...." or "Mother%&*("...I don't like using language like that I see it in many interviews/articles, but I still don't like it...THOUGHTS PLEASE The other word and I'd like to use it twice, is NIGGER. I think it is important and both instances are quotes. One is Johnny's quote and another is what Johnny had been called by an audience member.... Thoughts from you writer folsk would be great. Thanks LW ========================================================================= Date: Tue, 23 Jan 1996 11:48:03 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Organization: IQuest Internet Services Subject: Re: You Might Be A "Blueneck" If.... John Hammond tuning his guitar sets your foot to tappin' and your head to waggin'............... You think it unjust there isn't more blue food........... You celebrate blues celeb. birthdays.................. You'd root for the St. Louis team........... if you only liked hockey......................... You can rub all of these zany traits onto your spouse........... :-) :-) :-) :-) :-) RJ Bauman ========================================================================= Date: Tue, 23 Jan 1996 08:39:23 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: A question of taste for writers Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu L.W. wrote: > >When some thing like the word "Motherf..." pertains to the article and you>feel it is important to the story that is being told, do you say something>like "Mother...." or "Mother%&*("...I don't like using language like that>I see it in many interviews/articles, but I still don't like it...THOUGHTS>PLEASE > >The other word and I'd like to use it twice, is NIGGER. I think it is >important and both instances are quotes. One is Johnny's quote and another>is what Johnny had been called by an audience member.... > This is important! As a writer I say: When I am quoting someone directly, I *never* change one single word he/she says. I feel that I have no right to put words into or take words out of the mouths of my interview subjects. The "words" they use, whether objectionable to some people or not, are enclosed in quotation marks and are therefore clearly the words of the interviewee. So I don't have to take any heat for them; if anyone objects to a word I smile sweetly and point to the quotation marks, with my interview cassette for backup if necessary. If your EDITOR objects to certain words, she or he will take them out. That's her or his censorship (or editorial policy, as it's called these days) at work. If you don't like being censored, you need to find a different publication to write for. Many radio stations won't let blues show hosts play things like "The Dozens" (depending on the version) or Lucille Bogan's "dirty version" of "Shave 'Em Dry". Other stations will allow these songs, but only on shows that air late at night. But you can't *change* the words in these songs. They're on records, they're what they are; your only choice (or the choice of your Program Director, the radio equivalent of the editor of the previous paragraph) is to play them or not play them. You have no ability to change the words. In the case of quoting blues musicians (or by extension any other interview subject) I feel strongly that you have no *right* to change someone else's words. Mary Katherine Aldin ========================================================================= Date: Tue, 23 Jan 1996 09:00:45 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: NAMM correction Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Hi Everybody! Someone graciously pointed out that the tweed repro amps I saw at the show are not "Blues City", But "Blues Land" It's Blues Land, Mrs Littella... Oh... that's different... never mind DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Tue, 23 Jan 1996 10:42:41 -0500 Reply-To: CNI From: CNI Subject: Jerry McCain on WebChat-FRIDAY NIGHT Comments: To: avi@cnotes.com Excello recording legend Jerry McCain will be live online on WebChat* via Muddy's Cabin on Friday, January 26th at 7PM EST. Jerry McCain is a true original with God's talent coming out of his ears. AVI Entertainment recently released _That's What They Want: The Best Of Jerry McCain_, a stellar 23-track collection of some of the most important music ever issued on the Excello label. Whether you'll be attending this online conference or not, please forward any questions you have for Jerry to: avi@cnotes.com The Jerry McCain home page can be found at http://www.cnotes.com/cnotes.soul.html Below are LINER NOTES to "That's What They Want: The Best of Jerry McCain" followed by WebChat instructions: THAT'S WHAT THEY WANT: THE BEST OF JERRY McCAIN A three way conference call originated at AVI Records in Los Angeles hooks me up one afternoon with one of my all time heroes; Jerry McCain is on the telephone, talking from his home in Gadsden, Alabama. Born there in 1930 and still living in the same house he helped his father build in 1950, he's yakking away about a soon-to-be-aired PBS special on his life and music he's just finished up. Although a month or so away from his 65th birthday, you could easily knock a quarter of a century off that number by the sheer animated sound of his voice alone. Brimming with energy and confidence galore, Jerry McCain talks of his prowess as a songwriter, performer and bluesman, all while staying a firmly rooted regular guy, just statin' it plain. His music and his beliefs are all of one piece. Jerry McCain is a true American original with God's talent coming out of his ears. McCain's was some of the most important music ever issued on the orange and blue Excello label plus the added bonus of the demo recordings that immediately preceded them. Blues singer and harmonica player extraordinaire Jerry McCain has always marched to the beat of a different drummer and the proof of it is right here to savor. The 23 recordings on this compilation is the place where the blues and rock'n'roll meet at the end of a dark alley. The appeal of Jerry McCain's music is timeless and widespread, reeling rock'n'roll fans into the blues and vice versa. McCain refers to himself as 'a different kind of harmonica player,' but that self assessment merely scratches the surface of the man's prodigious talents. The first thing you notice about Jerry McCain's music is that he is a master lyricist. Like the proverbial actor who draws from real life, so it is with McCain who assiduously avoids stock blues couplets like the plague. A psychoanalyst could have a field day with just the lyrics to a handful of the Excello demos alone. He blows harp with a heavy debt to his main idol Little Walter, while bringing his own raucous and melodic slant to it. His vocals combine lascivious street hustler sounds and comic asides with an approach that can be best described as an African American imitating a hillbilly with startling accuracy while covering everything from deep blues, storming rock 'n roll to sentimental ballads. The man can holler and the man can croon. Unlike most of the artists who came to Ernie Young's label, McCain was no novice off the street when it came to recording. After working around his hometown with a trio that included his brother on drums, Jerry made a homemade acetate of a Little Walter styled tune and caught the ear of Lillian McMurray, boss lady of Trumpet Records. By October, 1953, McCain was in Jackson, Mississippi for his first of two sessions producing a pair of singles and a handful of unissued sides. After recording the explosive demos in 1955 that are contained here, he caught Ernie Young's ear in much the same manner and was soon up in Nashville doing his first sessions as an Excello artist. Although the lineup varied from time to time, Jerry remembers Christopher Collins and Robert Christian on guitars, Skippy Brooks on piano and either his brother Roosevelt or Jimmy Sheffield on drums for most of the sessions. Everything was recorded at the Nashboro studios on 3rd Street with Ernie Young in charge of the sessions. Young and McCain didn't always hit it off in the studio "Hell yes, we'd lock horns! I was always telling him to put some more bottom on the records, but he wouldn't do it. It was his company. He had a black dude there named Robert Riley who would sit in on all the sessions, not just mine. He'd pick apart everybody's songs so he could write him a verse to stick in there and get some writers' royalties. I said 'Mister Young, if he wants to write a song, well and good, but don't f**k with mine!' I mean, I write songs when I'm walkin' and when I'm talkin', 'cause I was born that way. Not braggin', just fact. One time he tried to put a rub board in one of my numbers. I told him I didn't care if he was the damm company, don't put no rub board in there, I don't want that on my records." That Jerry McCain knew what he wanted and got as much of it on these Excello sides as he did is a testament to his vision, passion, and energy. This is also a place where wild, weird and wonderful all meet at the end of that same dark alley. This music is as special as it comes. ***************************************************************** THE EXCELLO MASTERS THAT'S WHAT THEY WANT The top deck of Jerry's first single for Excello (2068) is nothing short of the true sequel to Bo Diddley's "I'm A Man" and Muddy Waters' "Mannish Boy." But while Muddy and Bo sing about their respective sexual prowess, our hero cuts straight to the chase, honing in on what he truly believes keeps a relationship alive. Always referred to by McCain by its original title "Money Honey" this features him utilizing the Little Walter trick of hollering the title into his harp mike for added walkie talkie effect. COURTIN' IN A CADILLAC The b-side of Excello 2068 just happens to be one of the best stop-time shuffles you'll ever hear, not to mention one of the finest paeans to the joys of riding in a Cadillac automobile ever etched into black wax. The drum roll played into most of the choruses here would inexplicably surface again some 15-20 years later in heavy metal music, albeit in a far more club footed manner. IF IT WASN'T FOR MY BABY Although justifiably revered for his uptempo offerings that constantly blurred genre lines, the simple fact is that when the tune called for it, McCain was also a first rate deep bluesman. This track, the top side of his second Excello single (2079), is a perfect example of that. The chord progression has a marvelous New Orleans blues ballad feel to it (actually a stylistic cousin to Billy 'The Kid' Emerson's Sun recording of "No Teasin' Around") and the small combo behind Jerry pounds the message home with a stark primitivism that's absolute breathtaking to listen to. You want raw and heartfelt? Step up to the plate YOU DON'T LOVE ME NO MORE If any track in the pile of Jerry McCain-Excello masters tips its stylistic hat to Little Walter, it's this one. Musical similarities to "My Babe" aside, this flip of 2079 also takes the idea of Willie Dixon's lyric and turns it inside out, a clever little feat all by itself. When the track seems to beg for a fade out, producer Ernie Young fails to serve one up, leaving Jerry mumbling the title into his harp mike before grouping the band together for a quickie stock ending that comes along just in the nick of time. RUN, UNCLE JOHN, RUN! If "That's What They Want" is the reply to "I'm A Man," then here's the answer record to Little Richard's "Long Tall Sally." This time, Aunt Mary's got the gun and if Uncle John has any kind of survival instincts, he'll stay in the alley with Long Tall Sally until the whole thing blows over. Another one of Jerry's personal favorites, this top deck to Excello 2081 features Little Walter styled harp solos over a band track drenched in Nashboro echo that fairly screams of rockabilly. Moment not to miss: McCain's hillbilly scream right before the first harp solo. THINGS AIN'T RIGHT Slow blues time on the flip of 2081 and a fine, brooding one it is, too. The rhythmic thump of this number is actually abetted here by the normally cheesy sounding Excello Nashville echo, giving a nice doom laden sound to the proceedings you'd usually associate with Jay Miller recordings out of Crowley, Louisiana. Nice harp solo in the middle, too. TRYING TO PLEASE Now here's a single that must have raised a few eyebrows when it showed up on some radio programmer's desk alongside Excello releases by Lonesome Sundown and Lightnin' Slim! A full blast rock'n'roll outing, complete with two comic breakdowns featuring Jerry in cross gender roles, once this baby gets in gear there's no stopping its momentum. If the demos cut in McCain's living room had never surfaced, you could easily award this track pride of place as his absolute coco-nuttiest. MY NEXT DOOR NEIGHBOR "Now, 'My Next Door Neighbor,' you know I'm proud of that one. That's in the Library Of Congress " says Jerry McCain and it's easy to hear the source of his pride. Although somewhat paling in wildness as the flip of the chaotic "Trying To Please" (2103), even a poetic maestro of inventive word play like Chuck Berry could give this track a listen and say 'well done.' LISTEN! YOUNG GIRLS Sometimes McCain's most interesting work is so far afield from the twin poles of blues and rock'n'roll that it borders on the surreal and this is one of those times. Assuming that a charming, cornball bit of fluff like this could be conceived in the ultra-cynical 1990s, you could easily take this morality ballad as the aural equivalent of the runaway child on the milk carton. With the passage of time affording us the luxury to sometimes re-invent history, it seems incredulous that this was picked as the a-side of Excello 2111. But as mawkish as these sentiments might seem on the surface, they positively underscore and reinforce the essence of this track's utterly primitive charm. BAD CREDIT Back to boogie land for the b-side of 2111, a stop-time shuffle number filled with an ultra busy guitar figure and a story line that holds up well in comparison to "Shopping For Clothes" by The Coasters. What Little Walter would have done with this tune is surely a thought that must have crossed Jerry's mind more than once in the wee wee hours. THE JIG'S UP The b-side of Jerry's last Excello single (2127) shows the direction that rock'n'roll was heading in and our hero bending it around to suit his needs. With a beat and riff straight out of the Little Richard "Lucille" textbook, the tune's a well constructed lyric concerning Jerry catching his baby with the goods, abetted by a strong guitar solo in the middle. Please note how the echo gets turned up toward the very end of the record for no apparent reason, giving credence to Jerry's dissatisfaction with Ernie Young's production methods, or lack thereof. GROOM WITHOUT A BRIDE This was the plug side of Jerry McCain's last single for Excello and remains to this day about as weird as it gets. Even the sermonizing on "Listen! Young Girls" pales in comparison to this one. A crooning, self-pitying ballad about being stood up at the altar, the track does a fair amount of meandering during the instrumental break, with no one really sure of just where the chord progression is going. The man be crooning, everybody else just tryin' to catch up. *********************************************************** THE EXCELLO DEMOS (THE 'CHOO CHOO ROCK' ALBUM) The following eleven tracks come from homemade demo tapes circa.1955 that were originally released back in the early 80s in Europe on White Label Records as the Choo Choo Rock album, one of the great unsung records of all time. Everything here was cut in Jerry's living room with a single mike, one track home tape recorder. Featuring grinding, massively distorted guitars courtesy of Christopher Collins and Robert Christian, crashing drums from Jerry's brother Roosevelt and lyrical texts concerning themselves with going crazy to rock'n'roll, rock'n'roll as salvation ("Rock & Roll Ball," "Geronimo's Rock"), or going crazy from outside worldly pressures ("Bell In My Heart," "My Next Door Neighbors"), these eleven masterpieces answer the musical question: what would a rock'n'roll album by Little Walter have sounded like? A CUTIE NAMED JUDY Please hold on to the bar This is one of Jerry's favorites from this batch and a perfect intro tune for everything that comes after. Brother Roosevelt's cymbal on this sounds like a pie plate being beaten within an inch of its life while Jerry shouts the praises of a rock'n'roll baby who's so fine that 'the way she walks, boys, you know that makes me hurt!' Some call this crazy we call it genius. GERONIMO ROCK & ROLL If anybody can actually make an guitar amplifier that sounds like the intro to this tune, I'll buy ten of 'em! This tune actually skirts both of our major topics, as it turns out that the main reason Geronimo went on the warpath was because 'they wouldn't let him rock, they wouldn't let him roll,' knowing full well in their hearts that 'rock'n'roll will satisfy your soul.' I knew those damm history books got it wrong. IT MUST BE LOVE This stop time blues is pure sleaze from beginning to end. Just listen to that grimy sound of that 9th chord Collins is playing on every break. It sounds like the whole fretboard is covered in bar-b-q sauce, for Chrissakes. As for Jerry McCain, love as salvation-redemption-not to mention that crazy little thing that'll make you do things you never done before are all on open wound display here; 'I told her put her hand in my pocket and please don't leave a dime it must be love that's got me!' This is as low down as the blues gets and you oughta be happy about it. ROCK & ROLL BALL A clarion call to arms comes no finer than this. Starting out with a call and response bit that must have been a real crowd pleaser, Jerry and the boys kick in with a rockin' shuffle whose celebratory nature hasn't dimmed one bit in the intervening years. An invitation to party of the highest order. I WANT SOMEBODY TO LOVE Bachelorhood as an unwanted condition. Jerry seems to want to sing this melody in as many variations as he can try to fit in, both high and low, wild and melodic. By the end of the track he drops the lyric entirely and turns the word 'yeah' into a melody that's almost as pretty as the harp solo in the middle. TURN YOUR DAMPER DOWN With a driving boogie pattern that's basically Bill Doggett's "Honky Tonk" played backwards, this one sounds positively relaxed compared to some of the more hyper offerings that surround it. With lines like 'your love is too hot, baby, turn your damper down,' you don't exactly need a slide rule to figure out which direction this one's headed in. I'M A DING DONG DADDY FROM A ROCK & ROLL CITY After borrowing an old time clapper cowbell from a nearby farm animal, the boys kick into another rock'n'roll number that once again utilizes a rhythm pattern straight out of the Delmore Brothers hillbilly boogie manual. The drive on this track is palpable with a walking bass figure played on one of the guitars that moves things along at a fairly accelerated clip. Warning: Do not play this song in your car stereo and expect to be still be driving the speed limit when it's over. CHOO CHOO ROCK A barn burning instrumental that became the title track when these demos were first issued overseas, this starts with a particularly nasty guitar solo from Collins then Jerry takes over with a particularly agitated attack that shows his mastery of the instrument. Think of this track as Little Walter on steroids and you're beginning to get the picture. Great train noises through the harp mike, too. BELL IN MY HEART What's that sound that's beating like Jerry McCain's poor heart? A friggin' wind-up alarm clock! You can actually hear it winding down as the song goes along. By the third verse ('you know the bell won't stop ringin', I guess I'll have to go insane'), Jerry finally cops to the fact that he's singing with a damm alarm clock gongin' away right next to him as he deadpans into the mike, 'I'm goin' crazy!', a comic aside not to be missed at any cost. MY NEXT DOOR NEIGHBOR The original demo of the Excello single, this baby smokes! It's about a zillion times faster than the issued version with smoke-infested guitar from Collins and a harp solo in the middle that's so out of control that if this was pressed up on a 78, you'd see the grooves flying off the shellac and hitting the wall. CRYING LIKE A FOOL One of these days, somebody should do a whole compilation of great r&b 'crying' songs, starting with "The Bells" by The Dominoes, including "Valerie" by Jackie & The Starlites and making damm sure they don't dare leave this track out of the running. When I asked our hero who was the woman doing the crying that runs the length of this track his proud reply was, 'Ain't no overdub, that's Jerry McCain doing that!' There oughta be some kind of an award for that, don'tcha think? Cub Koda Goldmine Magazine SPECIAL THANKS TO: Bill Dahl, Jerry McCain, Billy Miller, Dick Blackburn, David Nelson's excellent interview with Jerry in Living Blues #113, and Jim O'Neal. --- * WEBCHAT INFORMATION: ------------------ WebChat is form-based, meaning that you don't need any special software or access priviliges to use it -- just a standard, form-based web browser. WebChat also does not work like the commercial chat rooms: Here, you type a message, then click the Chat button. To read subsequent messages, you have to click the Chat button again. This button is also called the Get/Send message button. Nearly all current web browsers work with WebChat, but they all handle WebChat a bit differently. Here are the instructions for using WebChat: 1. You'll need a forms-capable web browser. 2. Click the Enter WebChat button (then read more stuff on Muddy's Cabin). 3. Click the "Click here to enter WebChat" button. 4. Scroll down the latest entries. They're posted from least to most recent. 5. At the bottom, enter your handle. 6. Enter your message in the message field. 7. Click the "Chat" button. This reloads the page and posts your message. 8. Don't use your web browser's reload button to reload the page. (But with AOL's and some other browsers, you must use your reload button.) 9. Wait a minute, then click the "Chat" button again (to view the replies). Here are more instructions for using WebChat: We can all contribute to making the guest chat sessions a big success by following these few simple guidelines: Please use a single, unique handle throughout the session. Delete "anonymous" from the handle field and type your own. To submit a question, first, send only the ? character from the message field. Repeat: Send only the ? character. This will queue you in line. Watch for the moderator to prompt you, then quickly submit your question. Big Tip: You can have your question ready to go by pre-typing it in a plain-text file, then copying and pasting it into the message field. Please submit your question within one minute of being prompted. Please do not use ALL CAPS in your question. All lowercase letters is just as fast, and much more polite. The artists' replies are indicated by their graphic images. Only the moderator may use graphic images. Please, do not slow the page down by using graphic images! For more information about Muddy's Cabin and the guest sessions, or how to reserve the cabin for your group please e-mail Cat Bauer at catbauer@vivanet.com. -------------------------------------------- ** THIS PAGE SPONSORED BY CNI TELECOM's FLAT RATE LONG DISTANCE SERVICES - Switch And Receive 100 Minutes of FREE Long Distance - email longdistance@cnotes.com for details via autoresponse email. ** ========================================================================= Date: Tue, 23 Jan 1996 12:38:45 -0500 Reply-To: Greg Hermanns From: Greg Hermanns Subject: Re: Dave Brubeck/ not dead A couple of days ago, EDWIN F TREMEWAN (bluzman??) posted his radio show play list along with a preface ablut it's 'theme'. ....'because of the death of Dave Brubeck today' .....dated Jan 20th. I don't believe this is the case( '...rumors of my death have been greatly exaggerated...') I spoke with 'Dave' & his wife friday evening; they had just flown into Cincinnati from LAX. Both looked great and were in fine spirits. He performed Sunday evening with the Cincinnati Symphony Orchestra. I fairly confident he's still O.K. Greg Hermanns gregfh@tso.cin.ix.net ========================================================================= Date: Tue, 23 Jan 1996 11:40:46 CST Reply-To: JBards From: JBards Subject: Re[2]: BB King on Letterman Comments: To: Shaun T Cronin Too bad. I thought it meant "bed mates" and I was prepared to be impressed. -Jim _______________________________________________________________________________ Subject: Re: BB King on Letterman From: Shaun T Cronin at INTERNET-SH Date: 01/23/96 11:29 AM I wrote: >I got home from rehearsal tonoght about 11:00pm. One of my bad mates calls.. Good grief! It's "tonight" and "band mate" not "bad mate" though he is a good mate. Sorry (it was late when I wrote it). Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Tue, 23 Jan 1996 10:39:06 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Blues (Jack Owens and BB King) on Public Radio Today at lunchtime, B.B. King will speak to the National Press Club in Washington. Many public radio outlets carry the Press Club luncheons. Saturday, the public radio show WHADDYA KNOW will be on the road in Jackson MS; apparently one of the musical guests will be Jack Owens. It is amazing to see him getting a national forum like this! The radio show is done live from 10-12 in the morning, CST; broadcast times may vary some. Tom Freeland ========================================================================= Date: Tue, 23 Jan 1996 12:53:02 -0500 Reply-To: bob vanarsdall From: bob vanarsdall Subject: Re: A question of taste for writers >When some thing like the word "Motherf..." pertains to the article and you >feel it is important to the story that is being told, do you say something >like "Mother...." or "Mother%&*("...I don't like using language like that >I see it in many interviews/articles, but I still don't like it...THOUGHTS >PLEASE > >The other word and I'd like to use it twice, is NIGGER. I think it is >important and both instances are quotes. One is Johnny's quote and another >is what Johnny had been called by an audience member.... If it's a direct quote, leave it in as said. Otherwise you're an editor, not a writer. If the journal or magazine which prints it won't accept such a word, then it is their editorial policy that calls the tune (as in "he who pays the piper..."). A lot of nuances exist for both words which get lost unless the context is properly set. They can be words of approbation, admiration, vilification, recognition, and more. Putting in elesions or copymarks only weakens the intent of the use of the word (for me). Bob ========================================================================= Date: Tue, 23 Jan 1996 13:26:46 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: Dave Brubeck/ not dead Comments: To: Greg Hermanns In-Reply-To: <199601231738.MAA22327@hTSO01.Cin.IX.net> Can anyone else please confirm the life and or death of Dave Brubeck? Thanks, and Take Five. Dave Prychitko ========================================================================= Date: Tue, 23 Jan 1996 12:25:24 -0600 Reply-To: Keith Castleberry From: Keith Castleberry Subject: Monster Mike Welch - These blues are mine This is a new album out on the Tone-Cool by "Monster" Mike Welch. The album is called "These blues are Mine". Mike is a 16 year old who already has had a good bit of experience in playing the blues. Most new albums coming out lately have several great cuts mingled with a few "clunkers"...not so on this album! Every cut is a gem. The sound quality is superb as well. Without going into a great deal of history and info on each individual cut on the "Monster"'s album, just trust me on this one. Add this to your collection...at once! Keith Castleberry WYDH 105.9 FM "The Blues Cruise" ========================================================================= Date: Tue, 23 Jan 1996 18:37:36 GMT Reply-To: Ari Eisinger From: Ari Eisinger Organization: Internet Online Services Subject: Re: Blind Willie Johnson recommendation Comments: To: bit-listserv-blues-l@uunet.uu.net I recommend the two volumes on Yazoo: _Praise God I'm Satisfied_ and _Sweeter As The Years Go By_, especially the former. If you just can't stand any surface noise and don't mind the sound being flattened, try the Columbia two-CD set instead. ARI EISINGER Blues and Ragtime Guitarist and Singer ==Guitar Teacher== ==(610) 259-6688== ========================================================================= Date: Tue, 23 Jan 1996 13:59:56 -0800 Reply-To: Gail McIntosh From: Gail McIntosh Subject: John Lee Hooker & Friends Video I just received a solicitation of our April 16 releases and I'm excited to see two John Lee Hooker videos. One is called, "Rare Performances, 1960-1984" and includes an hour of solo performances, performances with the Muddy Waters Band, and with his touring bands of the late '70's & early '80s. The video I'm most excited about is "John Lee Hooker & Friends - Featuring Albert Collins, Ry Cooder, Robert Cray, John Hammond, Charlie Musselwhite, Bonnie Raitt, and others. 1984-1992." Ry Cooder duets on three tracks, Robert Cray performs on "Mr. Lucky," and Bonnie Raitt performs on "I'm In the Mood." Both releases are on Vestapol videos. I'm just sorry we have to wait a few months for their release. Ah, yes, yet another reason to look forward to the Spring! __________________________________________________________ ___________________________________________________________ gailm@rounder.com One Camp St. Cambridge, MA 02140 http://harp.rounder.com or gopher harp.rounder.com ___________________________________________________________ ___________________________________________________________ ========================================================================= Date: Tue, 23 Jan 1996 13:01:04 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: A new guitar !!!!!! I just got a 30's or 40's Gibson acoustic. I'm pretty sure it's an L-00 or the same As Robert Johnson played. It's old and cool, with deep warm tone and in great shape. Just thought I'd share that with ya'll. oh yeah: I got a kindhearted woman, do anything in this world for me LW ========================================================================= Date: Tue, 23 Jan 1996 11:02:31 -0800 Reply-To: emdrprac@DIRECT.CA From: Roger Brant Subject: re. A question of taste Shannon O'Conner wrote: > Personally, I think using hard-core cuss words like "motherf*****" or >derogatory terms like "nigger" cheapens EVERYONE involved....the >person who utters the words, the writer who includes the words for >tone or accuracy, and the editor/publisher who puts them in print. A >*good* writer will find a way around the direct, blatant use of these >sorts of words. They can be implied without actually being present. While I agree with you that these words cheapen the speaker of them (often), I don't think the same can necessarilly be said of the "writer who includes the words for tone or accuracy, and the editor/publisher who puts them in print" - This depends upon the nature of the article (most particularily... is it a verbatim quote?) I agree with Mary Katherine Aldin's post: the "censoring" aspect is the responsibility of the editor. ========================================================================= Date: Tue, 23 Jan 1996 19:05:13 GMT Reply-To: Robert Devereaux From: Robert Devereaux Organization: Hewlett-Packard Fort Collins Site Subject: BLUES concert, FtC, Sat 1/27/96 Comments: To: bit-listserv-blues-l@uunet.uu.net ANNOUNCING A BLUES CONCERT WHAT: Johnny Long, Blues Guitar performing Delta and Chicago Blues on slide guitar & harmonica WHERE: Bas Bleu Theatre, 216 Pine Street, Fort Collins, CO WHEN: Saturday, January 27th 7:30 pm & 9:30 pm COST: $10 /$8 students Muddy Waters called him "the best young country blues player around." For info or reservations: Bas Bleu (970) 498-8949 Wendy Ishii (970) 221-3086 ========================================================================= Date: Tue, 23 Jan 1996 14:19:23 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Jordan Patterson and the DC Hurricane Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com Last week I saw Jordan Patterson and the DC Hurricane at Tornado Alley, in Wheaton, MD. Patterson is a young (twenty six years old and he already has a record contract!), but very experienced and talented, singer, harp player and songwriter. He is from Canada and has been living in the DC area for about a year. If you've seen the last two issues of Living Blues you probably saw the fullpage ad for JSP Records. Patterson's first album "Give Me a Chance" is one of the albums listed in that ad. This album features special guests Bobby Parker and Bobby Rush, and is a great debut album, featuring almost all originals. The DC Hurricane sound is a nice mix of traditional and modern blues, with Shawn Kellerman on guitar. Some of their songs are pretty funky, but they don't overdo it. Patterson and his band will be touring Canada and Europe later this year with U.P. Wilson. See them if you get a chance. I'm predicting great things for Patterson. -Steve disclaimer - I'm not associated with JSP, I'm just a friend of Jordan's and I'm trying to spread the word. ========================================================================= Date: Tue, 23 Jan 1996 14:33:05 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: BELATED NEW YEARS WISH no direct blues content (wasRL Burnside questions) Comments: To: MB6254@acspr1.acs.brockport.edu BELATED NEW YEARS WISH THAT FOLKS ON BLUES-L WILL QUIT USING THE WORD "PURIST" AS AN INSULT. It has no real content other than to convey the message that the poster thinks his/her opponent is narrow minded. Below is a good example of the sort of post. Tom Freeland In a message dated 96-01-21 01:48:50 EST, MB6254@ACSPR1.ACS.BROCKPORT.EDU (Mark Baker) writes: >Dear Pw, >If you did not post statements that make you sound like a narrow-minded >purist you would not be getting all of this flak. Often, it is not what >you say, but rather how you say it. Getting defensive only makes it worse. >I'm sure you are a nice guy and meant no harm, but that was not how it >was perceived. Mark Baker ========================================================================= Date: Tue, 23 Jan 1996 13:37:53 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: BELATED NEW YEARS WISH no direct blues content (wasRL Burnside questions) In-Reply-To: Message of Tue, 23 Jan 1996 14:33:05 -0500 from On Tue, 23 Jan 1996 14:33:05 -0500 Tom Freeland said: >BELATED NEW YEARS WISH >THAT FOLKS ON BLUES-L WILL QUIT USING THE WORD "PURIST" AS AN INSULT. >It has no real content other than to convey the message that the poster >thinks his/her opponent is narrow minded. Below is a good example of the >sort of post. I think most people who call another a purist has no clue what a purist is. I was actually called a purist, because I listen to Charles Brown. So I obviously don't know what a purist is. I would (seriously) like to know "What is a purist"....I have no idea I don't think PW is a purist, but like I said I don't really know LW >(Mark Baker) writes: > >>Dear Pw, >>If you did not post statements that make you sound like a narrow-minded >>purist you would not be getting all of this flak. Often, it is not what >>you say, but rather how you say it. Getting defensive only makes it worse. >>I'm sure you are a nice guy and meant no harm, but that was not how it >>was perceived. Mark Baker ========================================================================= Date: Tue, 23 Jan 1996 19:46:32 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: A question of taste for writers Comments: To: bit-listserv-blues-l@uunet.uu.net In <9600238224.AA822426291@smtpgate.swpco.com>, shannon oconnor writes: > My opinion as a professional editor/writer: You need to consider your > audience, your publication. As Mr. Silverberg said, if kids and > grandmas might be reading it, leave it out. You need to walk a fine > line between accuracy and taste. Always, always opt for sensitivity > and taste. I concur with the above, and will add that just as you make editorial decisions about which artists to interview, and which portions of the interview to include in the article, you should make editorial decisions about what language to include. If, in fact, a racial epithet is absolutely crucial to understanding the point at hand, then by all means use it. However, I hold that in the overwhelming majority of cases, it can be deleted or replaces with without changing the meaning. Naturally, this causes a problem when dealing with artits like Jr. Walker, who says MF and N about as often as he takes a breath (and sometimes more), but you then have to question the substance of the interview. I have a tape I made backstage at Memphis In May when Jrr., Champion Jack Dupree, and I ended up alone for an hour or so and drank and shot the breeze. Great stories, lots of trivia, and a load of funny stories about SBWII, Muddy, and Jimmy Rogers. Unfortunately, I can't quote Junior for more than a minute or two without getting into language I consider unprintable. So I just had to tell the stories in my own words. BBB - B.B. Bean bbbean@cris.com http://www.cris.com/~Bbbean - ========================================================================= Date: Tue, 23 Jan 1996 20:44:04 +0100 Reply-To: Jose Antonio Revilla Garcia From: Jose Antonio Revilla Garcia Subject: Re: BB King doesn't play and sing together? Comments: To: HugeSmall@aol.com In-Reply-To: <960123023808_404055161@emout06.mail.aol.com> On Tue, 23 Jan 1996 HugeSmall@aol.com wrote: > >Is it true that BB King isn't able to play guitar and singing at >the > >same time? > It is true that he doesn't. Whether or not he can is another question. Excellent remark, the best I've read till the moment.:-) See you! ;-) ------------------------------------------------------------------------------ Everyday I Have The Blues * Co-SysOp AUDIN-BBS: (942)-21.81.03. 22:00-10:00.Universidad de Cantabria.* * Miembro de ACCE: Asociacion Cantabra de Correo Electronico * ========================================================================= Date: Tue, 23 Jan 1996 19:49:25 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: BLUES HALL OF FAME (help) Comments: To: bit-listserv-blues-l@uunet.uu.net In <199601222020.PAA23368@osceola.gate.net>, "P.W. Fenton" writes: >On 22 Jan 96, Norman C Moody had this to say... >Norman, you don't say what Hall Of Fame... Living Blues? Blues-L? WC >Handy? etc. The "Blues Hall of Fame" is maintained by the Blues Foundation and has been done so since the late 1970s. It is separate from the W.C. Handy Awards BBB - B.B. Bean bbbean@cris.com http://www.cris.com/~Bbbean - ========================================================================= Date: Tue, 23 Jan 1996 15:05:15 -0500 Reply-To: JRSanders From: JRSanders Organization: America Online, Inc. (1-800-827-6364) Subject: Blues Societies Comments: To: bit-listserv-blues-l@uunet.uu.net Hi.... I know this has probably been covered before and this is my first post, so please excuse my ignorance. I am interested in starting a Blues Society in my area with the goal to put on a festival in 1996 or 1997. If anyone could help me with advice or mailing lists I sure would appreciate it. Thanks, JRSanders ========================================================================= Date: Tue, 23 Jan 1996 15:05:00 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re: re. A question of taste It's not "censoring," it's "editing." I'm an editor, I know the difference. And I do not agree that a writer is freed from the responsibility of being sensitive to his/her audience by the use of quotation marks. If a subject says something profane, objectionable, insulting, derogatory, *whatever*, the interviewer/writer is certainly NOT obligated to quote the subject. I'm assuming we're discussing an article here and NOT a transcript. Again, there's a difference. An article, written for publication, which INCLUDES quotes, does not need to include derogatory, profane material. Quote the quotable parts, and then paraphrase as necessary. Yes, it sometimes take a little creativity. Something a *good* writer should have in abundance. Shannon ______________________________ Reply Separator _________________________________ Subject: re. A question of taste Author: emdrprac@DIRECT.CA at INTERNET_TP Date: 1/23/96 3:15 PM Shannon O'Conner wrote: > Personally, I think using hard-core cuss words like "motherf*****" or >derogatory terms like "nigger" cheapens EVERYONE involved....the >person who utters the words, the writer who includes the words for >tone or accuracy, and the editor/publisher who puts them in print. A >*good* writer will find a way around the direct, blatant use of these >sorts of words. They can be implied without actually being present. While I agree with you that these words cheapen the speaker of them (often), I don't think the same can necessarilly be said of the "writer who includes the words for tone or accuracy, and the editor/publisher who puts them in print" - This depends upon the nature of the article (most particularily... is it a verbatim quote?) I agree with Mary Katherine Aldin's post: the "censoring" aspect is the responsibility of the editor. ========================================================================= Date: Tue, 23 Jan 1996 11:23:33 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Organization: IQuest Internet Services Subject: You Might be a Blue Neck if........ You yell out for Buddy Guy songs at Buddy Guy concerts............ ========================================================================= Date: Tue, 23 Jan 1996 14:27:31 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: re. A question of taste In-Reply-To: Message of Tue, 23 Jan 1996 15:05:00 EST from > > Personally, I think using hard-core cuss words like "motherf*****" or > >derogatory terms like "nigger" cheapens EVERYONE involved....the > >person who utters the words, the writer who includes the words for > >tone or accuracy, and the editor/publisher who puts them in print. A > >*good* writer will find a way around the direct, blatant use of these > >sorts of words. They can be implied without actually being present. I disagree: On of the quotes in question is what Johnny himself said. I don't have the quote in front of me, but this is close: "It doesn't bother me to be called a nigger, in fact it makes me proud. You see only a nigger could go through what I have been through and survived."....That's bascially what he said, but not verbatim. According to the above it cheapens Johnny Shines, but I think it's just the opposite. I think he says what kind of person he was, which is a very proud person. He turned a bad thing into a good thing. I plan on including it and the editor can do what he wants The other quote shows what he had to go through sometimes. If all writers restricted their writing to what's "pretty & decent" , then how would we have known about the injustices and harships that created the blues...The world is not always pretty and decent, so hiding from it would not help in any way.. LW 'just my thoughts' > > I agree with Mary Katherine Aldin's post: the "censoring" aspect is the >responsibility of the editor. ========================================================================= Date: Tue, 23 Jan 1996 14:47:20 -0600 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: You Might be a Blue Neck if........ Comments: To: rjbauman@iquest.net In-Reply-To: from "R.J. Bauman" at Jan 23, 96 11:23:33 am In an earlier message, R.J. Bauman said: ] You yell out for Buddy Guy songs at Buddy Guy concerts............ It takes you a long time to see any signifigance to the above line. -- * Billy Chambless | billy@cast.msstate.edu | voice: 601-688-7608 * Mississippi State University Center for Air-Sea Technology * "Pretty baby, everybody knows you're fine...." * "But these homely girls have made a many man change his mind!" ========================================================================= Date: Tue, 23 Jan 1996 12:49:02 -0800 Reply-To: James Carmin From: James Carmin Subject: Gerry Mulligan has died (was: Dave Brubeck/ not dead) While we're all glad to hear Dave Brubeck is still doing well, on Friday January 19th, jazz baritone saxophonist Gerry Mulligan died of post-surgical complications at the age of 68. Gerry played some cool sax and was on Miles' great recording "Birth of the Cool" in 1949-50. RIP Gerry. James C. jcarmin@teleport.com ========================================================================= Date: Tue, 23 Jan 1996 15:32:20 EST Reply-To: shannon oconnor From: shannon oconnor Subject: No Purists, Only Badgers Good suggestion. Perhaps we should use a code word instead of "purist"? Maybe "badger"? Or "kumquat"? Or how about "xylophone"? Sometimes we need to blow steam at one another when we yank each other's chains or get on each other's nerves. We are human beings, after all. (Hmmmmm....maybe I should speak only for myself.) I think "purist" is an okay word. Once we start using terms like "motherf*****," I'm going to have to start censoring, er, ah, um, EDITING my BLUES-L mail. :D Editorially Speaking, Shannon ______________________________ Reply Separator _________________________________ Subject: BELATED NEW YEARS WISH no direct blues content (wasRL Burnsi Author: Skipjames@aol.com at INTERNET_TP Date: 1/23/96 3:53 PM BELATED NEW YEARS WISH THAT FOLKS ON BLUES-L WILL QUIT USING THE WORD "PURIST" AS AN INSULT. It has no real content other than to convey the message that the poster thinks his/her opponent is narrow minded. Below is a good example of the sort of post. Tom Freeland In a message dated 96-01-21 01:48:50 EST, MB6254@ACSPR1.ACS.BROCKPORT.EDU (Mark Baker) writes: >Dear Pw, >If you did not post statements that make you sound like a narrow-minded >purist you would not be getting all of this flak. Often, it is not what >you say, but rather how you say it. Getting defensive only makes it worse. >I'm sure you are a nice guy and meant no harm, but that was not how it >was perceived. Mark Baker ========================================================================= Date: Tue, 23 Jan 1996 23:02:08 +0200 Reply-To: T P Uschanov From: T P Uschanov Subject: Re: Five Royales question (was: Sitting&Thinking-Sonny Rhodes) Comments: To: "Eliot C. Williams" In-Reply-To: <7FC51E15@heme.medicine.wisc.edu> On Sun, 21 Jan 1996, Eliot C. Williams wrote: > >RIGHT AROUND THE CORNER: Step on it to solid uptempo here, lap > >steel wailing, in a number that Howling Wolf would have loved to > >sing. "I can get to my baby's house fifteen different ways," > >Sonny sings, and yet she lives just around the corner! > > This was recorded in the 50s by the Five Royales, so Wolf might well have > heard it. It's a great song. Anyone know if the Royales' version was the > original? Listed authors are Singleton & McCoy, which makes me think their > version may have been a cover as well (Lowman Pauling wrote most of their > original tunes). The writers are Charles Singleton and Rose Marie McCoy, who were a Leiber/Stoller-style team and did not make records themselves (I've read somewhere that McCoy is the gabber on Big Maybelle's "Gabbin' Blues"), so I suppose it's the original. I agree it's triffic; I have it on the Charly CD 'The Five Royales: The Roots of Soul', long out of print. T P Uschanov (Mr), University of Helsinki, Finland, European Union. tuschano@cc.helsinki.fi ---- http://www.helsinki.fi/~tuschano/ "Does a solipsist also think that only he knows how to play chess?" (Ludwig Wittgenstein) ========================================================================= Date: Tue, 23 Jan 1996 15:10:34 -0600 Reply-To: Roger Struve From: Roger Struve Subject: John Lee Hooker & Friends Video -Reply The John Lee Hooker and Friends was shown several months ago (a couple of times over the last year or so) on Arts and Entertainment Channel on their Sunday Morning Breakfast with the Arts. I've recorded it....it starts out with John Lee Hooker playing and singing, but even my deaf ears heard a John Hammond sound in there, and i was beginning to wonder how JLH was managing to get a slide National sound out of his electric, when the camera panned wide and there he was, JH sittin' next to JLH! regards, delta doc roger ========================================================================= Date: Tue, 23 Jan 1996 16:15:55 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Purist=P.C.? Apparently some music fans are throwing around the word "purist" the way the term "P.C." has being bandied about these days. Someone calls somebody a "purist" or "P.C." with the implication that what that person has to say is marginal or based on some unreasonable belief. This sort of terminology stifles reasoned argument or discussion. "Oh, he's just a purist", "Oh, she's just being P.C." I hear these sorts of stupid statements all the time...They don't really add anything to the discourse. -P ========================================================================= Date: Tue, 23 Jan 1996 13:31:58 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: No Purists, Only Badgers Comments: To: BLUES-L@BROWNVM.BROWN.EDU. BADGERS?? WE DON'T **NEED** NO *STEENKING* BADGERS!!! (groan) DC ========================================================================= Date: Tue, 23 Jan 1996 16:31:34 EST Reply-To: MB6254@ACSPR1.ACS.BROCKPORT.EDU From: Mark Baker Subject: Re: BLUES L: Learning Blues Guitar Books? Doug, Speaking from years of experiance, I sugest learning the blues by ear. If you can play guitar and know your basic chords (7th/9th), buy a lot of CDs and learn off of them. Once you are comfortable, go out to an open jam and play for real. It's not the same. On stage you are on the spot, but it's a lot more fun playing with real people. I'm sure ther are planty of fine people on this listserv who would recommend "guitar albums" to learn by. Books are OK, but don't teach you how to feel. Only you can teach yourself that. Please feel free to email me directly if you want . Mark Baker ========================================================================= Date: Tue, 23 Jan 1996 16:39:33 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Re: You Might be a Blue Neck if........ In-Reply-To: from "R.J. Bauman" at Jan 23, 96 11:23:33 am According to R.J. Bauman: > > You yell out for Buddy Guy songs at Buddy Guy concerts............ > Purist!!! -P <: ========================================================================= Date: Tue, 23 Jan 1996 16:59:18 EST Reply-To: MB6254@ACSPR1.ACS.BROCKPORT.EDU From: Mark Baker Subject: Re: BLUES L: No Purists Only Badgers Yes, I did use the word purist to indicate my perception of narrow mindedness I did not do so lightly. My dictionary says a purist is "One who practices or urges strict correctedness, esp in the use of words." A common meani ng is someone who does not accept anything outside a very narrow set of criteria. I fail to understand why it is so important to impose strict classifications on music. Can't we all just enjoy it? If you don't want to be called purists in a derogatory way I will not do so in the fur future (excuse the typo). However, I do have one thing to say. I se many people post messages with the expectation of being "flamed" for their view. Is that the kind of environment those of youwho do not wan t to be called purists seek to create? Mark Baker ========================================================================= Date: Tue, 23 Jan 1996 16:25:22 -0600 Reply-To: Storm Bailey From: Storm Bailey Subject: Re: You Might be a Blue Neck if........ >You yell out for Buddy Guy songs at Buddy Guy concerts............ > I think I'm too slow to tell if this is a joke... (I have, I confess, yelled out for Buddy Guy to play the blues at a Buddy Guy concert...I don't remember if I said motherf------) hey, I didn't yell for freebird... :-) ========================================================================= Date: Tue, 23 Jan 1996 22:17:38 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Subject: Re: No Purists, Only Badgers Comments: To: bit-listserv-blues-l@uunet.uu.net In article <19960123.164711.737290.NETNEWS@AUVM.AMERICAN.EDU>, Don Cicchetti says: >BADGERS?? >WE DON'T **NEED** >NO >*STEENKING* >BADGERS!!! Hey Don - Watch what you say here. After all, Bonnie, Elliot and I ARE from the BADGER STATE and have connections with the University of Wisconsin BADGERS.... Art Schuna ========================================================================= Date: Tue, 23 Jan 1996 17:18:54 EST Reply-To: ron kraemer From: ron kraemer Subject: Changing the band's name... I saw that my buddy Riffin' Rick was wondering the best way to go about changing his band's name. (I'm here, Rick, but I'm a Digest guy so I'm always a step or two behind the pack :)). I think BB Bean hit it on the head by advising you to make it a PR 'event'. Contact your mailing list, clubs you're sheduled to play (they'll invariably list your old band name anyway!), friends/relatives/co-workers, local radio stations that advertise your gigs, etc. You get the drift. We had it easy when we changed our band name, since we only had 3 or 4 gigs under our belt. But, I did the above. Called EVERY person in my address book and told them of the new band name and our next gig. Called clubs and radio stations, too. Luckily, our first mailing list sendout wasn't until the band name had switched. Good luck with it! Ron ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters (and in another life....) Ron Kraemer and the Hurricanes ************************************************************ ========================================================================= Date: Tue, 23 Jan 1996 14:25:32 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Dave Brubeck/ not dead Comments: To: "David L. Prychitko" David L. Prychitko wrote: > >Can anyone else please confirm the life and or death of Dave Brubeck? > >Thanks, and Take Five. Far as I know he is NOT dead, but that same day, jazz man Gerry Mulligan DID die. Could the poster have simply gotten the name wrogn somehow? Mary Katherine Aldin ========================================================================= Date: Tue, 23 Jan 1996 17:19:31 EST Reply-To: John Doukas From: John Doukas Subject: Lonnie Johnson's value Recently, a lot of postings have opined the value of Lonnie Johnson as a blues artist. Some of these have been difficult to read, because I do not have the desire to argue with anyone regarding what they may like or not like. However, I feel the need to weigh in with my feelings, if only to feel that I've done justice to an idol. First, I refuse to use terms such as "greatest", "best", "most talented", etc. There is no need to denigrate one artist in order to build up another. Rather, I judge each person on his or her individual merits. Based on this criteria, Lonnie is a tremendous musician, one truly deserving of the term artist. I strongly believe that anyone who carefully listens to his music will reach the same conclusion. So, what makes his talent so evident and special? First, the musical content. Lonnie fashioned an individualistic style based upon an emotive vocal delivery supported by an astounding guitar accompaniment. Some may argue with my use of the adjective "emotive"; I would reply "listen carefully". Lonnie's style is not that of the Mississippi delta, but remember, we are not concerned with "greatest". His style is based on the "classic" female blues singers, much the same as was Blind Lemon Jefferson's, and as such aims to combine a "professional" level of diction and projection with a deep emotional content. Lonnie succeeds well, as does Lemon. As to the guitar work, it is literally breathtaking. The tone is bell-like in its clarity, the dynamics vary so as to build a tremendous propulsion, and the improvisatory nature is so very clear throughout. And that may be the greatest key to Lonnie's value: he was, to a great degree, improvising. Today, we expect improvisation in the form of a solo or break. Lonnie was one of the pioneers who lead us to this expectation (see below). Second, the volume. Lonnie is often quoted as saying that he recorded thousands of songs in the same key. True, and if you listen and think carefully, this is a great compliment to his talents. Within the absolute key of D, Lonnie found an endless supply of ideas because of his improvisatory skills. Again, this is a key to his value. Third, the context. Lonnie began his recording career in 1925, at a time when the both the 4 string banjo and plectrum guitar rivaled the guitar for popularity, and improvisation on any musical instrument was generally a secondary concern. Along with Louis Armstrong, Sidney Bechet, and Jelly Roll Morton, Lonnie was one of the first American musicians to display a distinctive personality through extended musical improvisation. And he was the first perhaps the first to do so on a guitar. It was for this reason that Lonnie could on record stand his own with such jazz titans as Armstrong, Ellington, Johnny Dodds, Jimmy Noone, Don Redman, and Eddie Lang. Playing out of a blues framework, Lonnie effortlessly fit into jazz duos with Lang, small bands with Armstrong, Dodds, and Noone, and larger outfits with Ellington and Redman. A tremendous accomplishment. And finally, his lasting influence on music. Lonnie, along with Lemon Jefferson, was a forefather of the musical style in which melodic guitar breaks are used to offset vocal or melodic lines. Later, we would hear this in virtually everyone, from Charlie Christian to the earliest electric recordings of Muddy Waters to B.B. King to Wes Montgomery. But Lonnie and Lemon were the forefathers. Well, I've said enough. I could go on for pages and pages, but the true value of Lonnie Johnson is in his music. Listen and be astounded. And to anyone who wishes to argue the point, I ask only two things. First, listen carefully before forming an opinion. Second, remember that many musicians deserve the title "greatest". ========================================================================= Date: Tue, 23 Jan 1996 17:33:42 EST Reply-To: ron kraemer From: ron kraemer Subject: Bass players + drummers = Essential I've been following the posts about how you can get by with a so-so Blues drummer or a so-so Blues bass player. Maybe it's because I have a small 4-man group (bass/drum/harp/guitar), but I don't think that you can have ANY weak links. With a 3 or 4-man band, you can't hide. If you can't play the Blues, it'll sound like you can't play the Blues. Ron ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters (and in another life....) Ron Kraemer and the Hurricanes ************************************************************ ========================================================================= Date: Tue, 23 Jan 1996 16:36:30 -0600 Reply-To: Timothy M Dellinger From: Timothy M Dellinger Subject: Re: BLUES L: No Purists Only Badgers - A Purist Responds Comments: cc: tdelling@uiuc.edu Mark Baker said: > A common meani >ng is someone who does not accept anything outside a very narrow set >of criteria. I fail to understand why it is so important to impose strict >classifications on music. Can't we all just enjoy it? Ask people from Mexico if Taco Bell is Mexican food. They will tell you that it is definately *not* Mexican food. Taco Bell can be called "Mexican-based" "Mexican-influenced" or even "Mexican-American." But anyone who calls Taco Bell "Real Mexican Food" is fooling themselves. If you went to a restaraunt that advertised "Real Mexican Food" and they served you Taco Bell food, you would probably be disappointed and somewhat angry. I don't deny that Taco Bell can be enjoyed. I don't deny that Taco Bell can be thrown in the category of "Mexican-type" food. But I do get angry when people talk about "real Mexican food" and they really mean Taco Bell. -- -- It is a miracle that curiosity survives Tim Dellinger formal education. -Albert Einstein tdelling@uiuc.edu ========================================================================= Date: Tue, 23 Jan 1996 17:19:07 EST Reply-To: EDWIN F TREMEWAN From: EDWIN F TREMEWAN Subject: Brubeck/Mulligan My apoligies to all especially Mr Brubeck, and my condolences to the family and friends of Jerry Mulligan. My son heard the death announcement on the TV while I was getting ready for the show, and when I came out of the shower, he apparantly gave me the wrong name. I questioned him after I read the posts today. He is sorry, and offers his apologies also. Oddly, the local press has not acknowledged the sad event. BLUZ!! Ed formerly Bluzman Ed ========================================================================= Date: Tue, 23 Jan 1996 13:24:35 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: A question of taste for writers Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu > On Tue, 23 Jan 1996, L W wrote: > > When some thing like the word "Motherf..." pertains to the article and you > > feel it is important to the story that is being told, do you say something > > like "Mother...." or "Mother%&*("...I don't like using language like that > > I see it in many interviews/articles, but I still don't like it...THOUGHTS > > PLEASE > The best I've seen re: above is Motherf----- or Motherf...... > The f is the important ender before whatever you use. > > > The other word and I'd like to use it twice, is NIGGER. I think it is > > important and both instances are quotes. One is Johnny's quote and another > > is what Johnny had been called by an audience member.... Then on 23 Jan 96, Barry Silverberg responded... > My feelings are that this word ought to be taboo. Every instance > of it does little 'cept to foster racism. It's a little tiny and > sh*t filled word that needs eradication. Find some way around it > and help clean up the racism in this world. I even find it repug- > nant when quoted. During the OJ trial everytine they mentioned a > phrase "the N word" everyone knew its meaning and it just kept it > alive as another horrible word in the English language. > LEAVE IT OUT. I'm sure your writing won't suffer dramatically if > you don't mention it. BTW at NY CD Blues we also try to avoid any > cuss words - never know who's gonna read it (kids, grandma's etc). I was going to stay out of this thread, especially since LW asked specifically for response from writers. But since that restriction is being ignored anyway, I will respond. No word is bad. Words do not possess will or intent. People do. Allow a single word to be banned, and then any word can be banned. If people can not handle the sight of a word, then they should not read. The decision whether or not to write a word that can inflame the reader belongs solely to the writer, and his or her intent. If you feel you can honestly justify using a word that you could hurt peoples feelings, then by all means use it. Nazis seek to "eradicate" words, not writers and journalists. Personally, I try not to be profane. However, sometimes profanity is the only choice. Certainly when you are "reporting" on the culture and attitude of another person, you may not be able to be accurate without conveying THEIR words, THEIR attitudes, and THEIR experiences precisely. The word "nigger" comes from a horrible period in the culture of white people. The attitudes that created the word still exist in our culture today. Eradicating the word would not change that. Avoiding the word might even foster it. I am not afraid of the word, I am afraid of the man who would use it describe me. This spring, I'm planning a trip to Germany. Among the many wonderful things I'm planning to see, is a hideous thing... Dachau. Should we eradicate any trace of such a hideous concept, or preserve it as a warning of the things we are capable of? So LW, my advice is, if the use of profanity, or words associated with a narrow minded and regretful part of our culture, advance in some way, and are necessary to what you want to communicate, then by all means, use them. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 23 Jan 1996 18:13:36 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: BLUES L: No Purists Only Badgers - A Purist Responds I think I've lost my appetite! Beef Stew ********* >Mark Baker said: > >> A common meani >>ng is someone who does not accept anything outside a very narrow set >>of criteria. I fail to understand why it is so important to impose strict >>classifications on music. Can't we all just enjoy it? > > >Ask people from Mexico if Taco Bell is Mexican food. They will tell you that >it is definately *not* Mexican food. Taco Bell can be called "Mexican-based" >"Mexican-influenced" or even "Mexican-American." But anyone who calls Taco >Bell "Real Mexican Food" is fooling themselves. If you went to a restaraunt >that advertised "Real Mexican Food" and they served you Taco Bell food, >you would probably be disappointed and somewhat angry. > >I don't deny that Taco Bell can be enjoyed. I don't deny that Taco Bell >can be thrown in the category of "Mexican-type" food. But I do get angry >when people talk about "real Mexican food" and they really mean Taco Bell. > > >-- >-- > It is a miracle that curiosity survives Tim Dellinger > formal education. -Albert Einstein tdelling@uiuc.edu > > Beef Stew The Blues Playground WCCC Radio 107 FM 243 South Whitney St. Hartford, CT 06105 Phone: 860.233.4426 Phax: 860.232.6511 Personal e-mail: bfstew@neca.com Station e-mail: fm107wccc@aol.com ========================================================================= Date: Tue, 23 Jan 1996 18:16:57 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: BLUES L: Learning Blues Guitar Books? Comments: To: Mark Baker In-Reply-To: On Tue, 23 Jan 1996, Mark Baker wrote: snip - snip > I'm sure there are plenty of fine people on this listserv who would recommend "guitar albums" to learn by. Books are OK, but don't teach you how to feel. Here's an invitation to *fine* people out there...can you honor this pledge...what are some good "guitar albums" to learn from...perhaps by category (acoustic, acoustic/slide, electric, etc..). Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" :) LEAVE FEEDBACK PLEASE ========================================================================= Date: Tue, 23 Jan 1996 23:34:03 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Gerry Mulligan has died (was: Dave Brubeck/ not dead) Comments: To: bit-listserv-blues-l@uunet.uu.net In <199601232048.MAA18973@desiree.teleport.com>, James Carmin writes: >While we're all glad to hear Dave Brubeck is still doing well, on Friday >January 19th, jazz baritone saxophonist Gerry Mulligan died of >post-surgical complications at the age of 68. > >Gerry played some cool sax and was on Miles' great recording "Birth of the >Cool" in 1949-50. I have posted an obituary for Gerry Mulligan at http://www.cris.com/~Bbbean/Feb96.html BBB - B.B. Bean bbbean@cris.com http://www.cris.com/~Bbbean - ========================================================================= Date: Tue, 23 Jan 1996 17:40:17 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: purist? I've been accused of being a purist on more than one occasion. If I'd rather listen to Mississippi Joe Callicott than [insert your favorite blues-rocker here], does that make me a purist? If so, I'm damn proud to be a purist. -Jeff (self-proclaimed purist) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Tue, 23 Jan 1996 23:47:50 GMT Reply-To: Mark A Basten From: Mark A Basten Organization: College of Engineering, Univ. of Wisconsin--Madison Subject: Paramount Records Comments: To: bit-listserv-blues-l@uunet.uu.net Don Cicchetti writes: >BADGERS?? >WE DON'T **NEED** >NO >*STEENKING* >BADGERS!!! > >(groan) > >DC Now hold on there, bub. Them's fighting words! Besides, everyone knows it is the steenking Wolverines we can do without. :) Perhaps one of my fellow "Badger State" denizens can help me out with some info on the Paramount record label. My understanding is that Paramount was a short-lived company in Grafton, WI that made some pretty important recordings, including House and Patton in the 1930's. How long was the company in operation? Who else did they record? I get the impression that Paramount was sort of a "shoe-string" outfit - is this true? Did they have a building and, if so, is it still there? Well, that's a lot of questions (and I could probably think of more). Could someone suggest a reference? Mark Basten basten@cae.wisc.edu ========================================================================= Date: Tue, 23 Jan 1996 18:57:24 -0500 Reply-To: Sean Brathwaite-Brooks From: Sean Brathwaite-Brooks Subject: Roger Hurricane Smith Hi folks, anyone knows how to find Hurricane Blues? Sean Brathwaite-Brooks brathwai@polaris ========================================================================= Date: Tue, 23 Jan 1996 23:51:25 GMT Reply-To: Allison Peake From: Allison Peake Organization: Cen-Com Internet Subject: Re: NASHVILLE Comments: To: bit-listserv-blues-l@uunet.uu.net Barry Bean wrote: >I'll be spending a few days in Nashville next week and need some ideas on blues > and jazz hotspots to check out. I'm also on the lookout for a decent music > store or sax shop. > >BBB > >- >B.B. Bean bbbean@cris.com >http://www.cris.com/~Bbbean >- ========================================================================= Date: Tue, 23 Jan 1996 19:17:17 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: How can you say this ..... In-Reply-To: <199601231825.NAA36558@osceola.gate.net> Just got this message passed on to me. Friend saw it here on blues-l and I missed it. I have only fragments so I took the liberty to cut what was not pertinent (lots) and just give my reactions. I firmly believe that the press, the media, every living and breathing human being has the absolute onus not to further the worst that man has generated and so I go on. Even under the guises we normally use of it's what he or she said, or whatever - I can't support the perpetuation of what is out there as an embarrasment (or at least should be an embarrass- ment to us all) that some of us past, present and future say. : No word is bad. Words do not possess will or intent. People do. Correct - 'cept they have content and that's what hurts. > Allow a single word to be banned, and then any word can be banned. Selecting not to include a word in a review isn't banning it. In some cases it's being intelligent and thoughtful before a mouth opens or a computer key gets struck. > If people can not handle the sight of a word, then they should not > read. Great story to this. One day I brought over to my niece's a list of BBS's for her to try out. To me they were a list and none indicated the content so on the first one she calls and logs on and after answering all the obligatory BBS questions she gets a page of curses. Point is you just don't know til your inside the item. Of course notices prior of the mater- ial contained are a good idea. > The word "nigger" comes from a horrible period in the culture of > white people. The attitudes that created the word still exist in our > culture today. Eradicating the word would not change that. Sure would .. If you can't call someone by a derogatory name then with time that concept (at least in that form wanes) it is the whole idea of why women so violently & rightfully had the gripes with the English language and everything in it in the male gender. As long as we spoke of .....man and ...man etc. racism against women was perpetuated. ...person was an attempt to level the playing field. Certainly it's the case that our words engender our ideas, emotions, etc., and prob- ably most importantly our attitudes and YES our actions. The pendulum goes two ways, our attitudes engender our words and then our words engender our attitudes. I'd never want a ban but when I have control I certainly will opt to the side of my values. As important as it is to correct our attitudes it is just as important to correct our speaking. I'm always amazed at how a paradigm shift in language can have such en- ormous alterations in the culture and behaviour of people. NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 23 Jan 1996 18:25:32 CST Reply-To: JBards From: JBards Subject: Re: Brubeck/Mulligan Comments: To: EDWIN F TREMEWAN It got fairly broad coverage on Naztional Public Radio and in the Sunday NY Times, but you're right, now that I think of it I'm not sure the local Shreveport rag covered it. -Jim _______________________________________________________________________________ Subject: Brubeck/Mulligan From: EDWIN F TREMEWAN at INTERNET-SH Date: 01/23/96 6:04 PM My apoligies to all especially Mr Brubeck, and my condolences to the family and friends of Jerry Mulligan. My son heard the death announcement on the TV while I was getting ready for the show, and when I came out of the shower, he apparantly gave me the wrong name. I questioned him after I read the posts today. He is sorry, and offers his apologies also. Oddly, the local press has not acknowledged the sad event. BLUZ!! Ed formerly Bluzman Ed ========================================================================= Date: Tue, 23 Jan 1996 19:36:06 -0800 Reply-To: Gail McIntosh From: Gail McIntosh Subject: Career Opportunity National Sales and Marketing Director Rounder Records is looking for a dedicated, motivated, energetic professional with at least 3 years of related experience, to develop and implement sales and marketing strategies. Retail/distribution experience a plus. Must have excellent organizational skills and a strong aptitude for many computer applications. Must be able to direct and motivate a large staff in a fast-paced environment, and must possess strong self-initiative. Send/fax resumes to: Rounder Records Attn: Arden Port One Camp Street Cambridge, MA 02140 FAX: 617-547-7322 No phone calls or E-mails, please ========================================================================= Date: Tue, 23 Jan 1996 19:41:49 -0500 Reply-To: VIBRATOLAD From: VIBRATOLAD Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Pitt as SRV Comments: To: bit-listserv-blues-l@uunet.uu.net Word on the street is that Jean Claude VanDamne will be playing SRV. The rest of Double Trouble will be played by the former members of The Monkeys. ========================================================================= Date: Tue, 23 Jan 1996 20:04:36 -0500 Reply-To: Slydemann@AOL.COM From: Dave Melton Subject: Re: You Might Be A "Blueneck" If.... Comments: To: rjbauman@iquest.net No offense intended, but I liked the original versions much better. Please don't change them. (Am I a blueneck or what?!) And with that thought just now in mind... "You might be a blueneck if you find yourself trying to protect the integrity and originality of blueneck sayings" ========================================================================= Date: Tue, 23 Jan 1996 17:15:42 -0800 Reply-To: Mike Shannon From: Mike Shannon Subject: Otis Rush - tour plans? Anybody know if Otis has tour plans soon? If so, any details? Thanks.. Mike ========================================================================= Date: Tue, 23 Jan 1996 17:46:38 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: A rant from Don about open-mindedness Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Mark said the following: >Yes, I did use the word purist to indicate my perception of narrow mindedness >I did not do so lightly. *This is NOT a flame of him, and is really just a wild tangent-thought I had while reading his post. Please do not take it as any putdown of Mark personally. * I am sick and tired of the "open-minded" rap we have been subjected to since dem good ole 60's... I'm fed up with it and I am going to start objecting to it right here on a music oriented forum that I know has a lot of very sharp people on it. I welcome your responses. 1. It seems like you spend most of your life trying to sort things out, and if you are into music, for instance, you may learn about the history and founders of different styles, and the people currently involved in them. One of the things you will learn from that journey is that some people are frauds, some are charlatans, some are geniuses, and some are major jerks. In short, you will gain *opinions*. This process of gaining informed opinions allows us to understand why we often feel the way we do, and helps us make sense of the world. This process, from what I have seen, occurs in all fields and among all types of people. 2. There comes a point in life when we realize "hey, I'm a doctor" or in my case "hey, I'm a musician and a recording engineer". Why? Because I have gathered *informed opinions* about these fields that work, and that have pleasing results to myself and other people I respect. And I love what I do! In other words, if BB was to record in my studio, I would ask him to sing with no mic, I would listen for a while, and I would KNOW what mic(s), mic preamp, and any processing I would use on his voice. Hopefully, a lot of people will agree with the way I hear things. If they do, I'm a successful engineer. 3. At some point, when sharing ideas and opinions with someone whether about recording, jazz, or Sartre, *inevitably* someone will say: "oh.... you're not open-minded". It is as if they define open-mindedness as giving all opinions, no matter how foolish, no matter how poorly-informed, equal stature. When we deal with the arts, it gets even harder. But for those who study criticism and esthetics, informed opinions are essential in the arts. Here's an example: Led Zep ripped off an old blues tune from Muddy (forgot the title and composer at the moment) almost note-for-note for parts of "Whole Lotta Love".... Plagerism of a much more direct nature than that which cost George Harrison a good bit of change in court when someone proved (to the court's satisfaction at least) that he stole ideas from their tune for "My Sweet Lord". Yet the limp-blimp will NOT acknowledge their debt to the blues. IMO, they are arrogant weenie-rockstar slime. So if I or someone else on this list says that the blimp are not deserving of respect by blues fans, are we "closed-minded" or are we right? Is there a difference? What exactly IS "open-mindedness" and is it really appropriate to accuse people of it so easily? If giving all opinions equal stature is open-minded, then think about these implications: a. Muddy's still alive, you get to sit down with him over some great Tandoori cooking.... Would you expect him to be open-minded by the above definition, or would you expect to find a searching intelligence, an artistic spirit, a sense of humor, and VERY STRONG OPINIONS....... b. You get a chance to sit next to Nelson Mandela on a long flight, and he and you get a great conversation going. Would you expect him to be "open-minded", or would you expect him to be driven, moral, intelligent, and *extremely opinionated*.... You get the idea... I submit that every single great individual would fail the test for "open-mindedness" as it is usually applied..... And if this is the case, then perhaps "open-mindedness" is *over-valued* in our culture, while knowledge, talent, and insight are under-valued. Perhaps the words "closed-minded" are merely a club that we have learned to use to beat people with, when we have run out of actual intelligent responses.... I submit that "open-mindedness" is perhaps very close to "empty-headedness" for millions of people. (insert Andy Rooney voice-over below) "Ya ever wonder why it's more socially accepatable in America to be stupid and uniformed, than it is to be opinionated?" Yeah, me too. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Tue, 23 Jan 1996 17:52:33 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Pitt as SRV Comments: To: BLUES-L@BROWNVM.BROWN.EDU. VIBRATOLAD said: (say what? what's your name son?) >Word on the street is that Jean Claude VanDamne will be playing SRV. The >rest of Double Trouble will be played by the former members of The >Monkeys. (insert Eddie Murphy's "Gumby" voice below) It's MONKEES dammit, not Monkeys... jeez it's hard bein' a "Monkees purist" DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Tue, 23 Jan 1996 21:35:17 -0500 Reply-To: arlenk@NETAXIS.COM From: Arlen Khodadadi Subject: Re: A rant from Don about open-mindedness At 05:46 PM 1/23/96 -0800, you wrote: >Mark said the following: > >It is as if they define open-mindedness as giving all opinions, no matter >how foolish, no matter how poorly-informed, equal stature. I think that most people mean willingness to accept other peoples opinions when they say 'open minded'. Atleast I hope they do, because that is how I internet it. There is nothing wrong with having an opinion, in fact some one who has no opinions needs help. It is more a question of whether you can be partial to other people's opinions. If you reject an idea either because of your feelings toward the person who told it to you or because you have never tried it, then you don't have an open mind (figuratively, not literally)... >Here's an example: Led Zep ripped off an old blues tune from Muddy (forgot >the title and composer at the moment) almost note-for-note for parts of >"Whole Lotta Love".... Plagerism of a much more direct nature than that >which cost George Harrison a good bit of change in court when someone >proved (to the court's satisfaction at least) that he stole ideas from >their tune for "My Sweet Lord". Yet the limp-blimp will NOT acknowledge >their debt to the blues. IMO, they are arrogant weenie-rockstar slime. This was a good post up to the cheap shots at Led Zep :) Ofcourse, being an 'open-minded' person, I wont say your opinion is wrong because opinions cant be right or wrong (or so my english teachers told me....) Thanks... arlenk@netaxis.com ========================================================================= Date: Tue, 23 Jan 1996 09:26:17 -0500 Reply-To: PARRISHR From: PARRISHR Subject: You Might Be a Blueneck If.... You PLAN a gig the day of the Superbowl so you don't have to watch it. Your guitars/dogs/sons are named Stevie Ray, Buddy, and/or Albert. ========================================================================= Date: Tue, 23 Jan 1996 09:41:08 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Blues without feeling? Yesterday Laurie Forti said: >Personally, I have no reason to believe that 'emotions' can be >transmitted by music. Now, people may easily PROJECT their belief >about what they think they might 'feel' in a similar situation, >however, I simply do not perceive the commonly touted 'blue'; i.e. >psychological depression, in Blues. ========================================================================= Date: Tue, 23 Jan 1996 21:17:58 -0600 Reply-To: Timothy M Dellinger From: Timothy M Dellinger Subject: Re: A rant from Don about open-mindedness In blues-l's latest "purist debate," arlenk@netaxis.com said: >>Mark said the following: >>It is as if they define open-mindedness as giving all opinions, no matter >>how foolish, no matter how poorly-informed, equal stature. >I think that most people mean willingness to accept other peoples opinions >when they say 'open minded'. ***** That is, "willingness to accept" the thoughts of others as logically valid conclusions, even to the point of ignoring blatant errors. ***** >Ofcourse, being an 'open-minded' person, I wont say your opinion is wrong >because opinions cant be right or wrong (or so my english teachers told me....) ***** But opinions *can* be thoughts which are poorly formed and based on limited evidence. My seven year old brother thinks that ice cream sundays and bananna splits make for the perfect diet. No matter how "open minded" I am, I cannot ignore the fact that if he were to eat nothing but sundays and bananna splits for a week, he would be very unhappy. What people *really* mean by "open-minded" is "tolerant of others' shortcomings." ***** -- -- It is a miracle that curiosity survives Tim Dellinger formal education. -Albert Einstein tdelling@uiuc.edu ========================================================================= Date: Tue, 23 Jan 1996 11:25:43 -0500 Reply-To: PARRISHR From: PARRISHR Subject: DFW Blues Yesterday Don O. said: >Smokin' Joe Kubek and Bnois King are looking for a new drummer and >bass player. >They are getting ready to go into the studio in March for Bullseye >and decided >it was time to make a change (again). Seems like they do that every >year or so. Joe and Bnois are friends of mine. Joe and Bnois's most recent drummer, Kenny Stern, was a schoolteacher before he joined their band. The bass player before the current one, Bobby Chitwood, was getting married and didn't want to be on the road so much. I don't know what the story is with the new bass player. I don't think it's fair to assume they just let the guys go. Joe and Bnois have a really grueling touring schedule, and that life is not for everyone. ========================================================================= Date: Tue, 23 Jan 1996 22:34:50 -0400 Reply-To: Cliff Warnken From: Cliff Warnken Subject: Re: Paramount Records Comments: To: basten@CAE.WISC.EDU Mark, Paramount operated from 1917-1933 as part of the Wisconsin Chair Company based in Port Washington. They did set up a recording studio in Grafton in 1929, also had studios in New York and Chicago and used Gennett's studio in Richmond, Indiana. Issued quite a mixture of music--popular, dance, jazz, hillbilly, Hawaiian, blues. 78 QUARTERLY magazine ran a detailed five-part history of the company in issues 3 through 7. Don't know which of these are still available now (they're about to come out with issue 9, but the issues tend to come out only every year or two), but the subscription address is P.O. Box 283, Key West, FL 33041. There was also an informative two-part article by Kathy Buenger in the local OZAUKEE COUNTY GUIDE, vol. 30, nos. 11 and 12 (Nov. 24-Dec.1 and Dec. 2-8, 1987). I think single copies of these articles are available from the Blues Archive at the University of Mississippi as listed in LIVING BLUES (in fact, they may also have copies of the articles from 78 QUARTERLY). This is a start--I'm sure there's other info out there to be added by other bluezellers. Best, Cliff Warnken warnc@snycorva.cortland.edu ========================================================================= Date: Tue, 23 Jan 1996 21:35:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Paramount in Badgerland There's a history of Paramount records in "78 Quarterly". I don't have the exact citations, but there haven't been too many issues of it; I think the story was in the first 3 or 4 issues. But I could look it up if somebody wants to know - it would involve me hiking downstairs to the UW Music Library where we have those issues - not too far from the Cuca archival collection featuring some fine 60's recordings by the late great Earl Hooker. (PS - Don jes' mad because the Badgers whupped some other team, I forget which, in the Rose Bowl not too long ago.) -Bonnie "Go BADGERS!!" the K. ( also: "Go Steelers!) "If you want to be a Badger, then come along with me- by the light, by the light of the moon. If you want to be a Badger then come along with me - by the light of the SILVERY MOON...tra-la....." ========================================================================= Date: Tue, 23 Jan 1996 21:38:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Help Phil (John Hurt) From: IN%"philmct@golden.org" "Phil McTaggart" Subject: Mississippi John Hurt Can you tell me if there is any guitar tab for John Hurt on the Net. I have the live VANGUARD CD. Could you recommend another. Any chance I could get the lyrics for Pallet on your Floor. Much Appreciated Phil McTaggart If anyone has this info, would they please respond to Phil at; philmct@golden.org Thanks - BK ========================================================================= Date: Tue, 23 Jan 1996 22:15:35 -0500 Reply-To: CNI From: CNI Subject: Jerry McCain Real Audio files Comments: To: avi@cnotes.com As you know, Excello blues harp recording legend Jerry McCain will be live online on WebChat via Muddy's Cabin on Friday, January 26th at 7PM EST. In anticipation of this excellent opportunity to meet this blues master, we've encoded several classic Jerry McCain sound files to Real Audio format and they can be found at: http://www.cnotes.com/cnotes.artists/mccain.html Again, whether you'll be attending this online conference or not, please forward any questions you have for Jerry to: avi@cnotes.com We look forward to seeing you Friday night! C NOTES INTERACTIVE <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> C NOTES INTERACTIVE ------------> http://www.cnotes.com Online Music Marketing Web Page Design Independent Communications Consultant <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> ========================================================================= Date: Tue, 23 Jan 1996 20:04:06 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Learning Guitar/Purists Books are OK, but don't teach you how to feel. Only >you can teach yourself that. Please feel free to email me directly if >you want . Mark Baker Good point, but before you know `how to feel' you're going to have to know the basics. It all depends on your starting point, but I found books to be very helpful when I was having trouble getting past the standard Jimmy Reed rhythm (I know Jimmy Reed made a career out of it, but I don't think I'd be able to pull it off :-) ) I found that Mel Bay has some excellent books for absolute beginners to the style, and when I was trying to learn slide guitar, I found Arlen Roth's book to be helpful. Once I got a bit more advanced, I also picked up some excellent pointers from Buddy Guy's `Teaching the Blues' videotape. Now the `feel' of the music - that has to come from within. My friend Ed feels the blues more than anyone I know - unfortunately he hasn't got a clue what to do when he picks up the guitar (he has learned how to play My Darling Clementine on the harp, but that's besides the point :-) ). I'm sure he'd make an excellent blues guitarist with great emotion, but without the technical knowledge the guitar is like a dead block of wood in his hands. Now...about this purist thing/open-minded-closed-minded debate - I agree with Don. Being closed-minded is highly under-rated. When it comes to my religious beliefs, call me closed-minded, because I believe they are 100% true. When it comes to what I like and what I don't like, musically speaking, I know exactly what I think is `pure blues' and what I think is poseur crap. However, music is highly subjective, and my opinions are _my_ opinions, and I won't denigrate someone because their taste differs from mine. An example - I don't like Sugar Blue's music...but I won't say that it's not pure blues and therefore we can't discuss it on the list - if you want to, go ahead (again, I'm just using him as an example). I posted a review of Michael Hill's Blues Mob's cd the other day, and got a (well-humoured) message from someone who wondered how a true blues fan could like it. And again, that's fine with me, I knew a lot of people on this list wouldn't like it, but I do (which is somewhat amazing for me, since I do consider myself to lean toward the purist side of things). So what's my point, I hear you asking yourself. Well, it's this: when it comes to music, state your opinion; I love to read others' opinions. However, if your message comes across to readers as being an arrogant, `my opinion is the gospel truth, no if's and's or but's and anyone who disagrees with it is ignorant and slow-witted' one, then you will be labelled. Maybe not as a purist (by me, anyway), but you will be labelled as being rude, arrogant, and snobbish. So, on another snowy night, those are my IMHO's. -Jim (hndful@uniserve.com)- Still pushing for Clarksdale! ========================================================================= Date: Tue, 23 Jan 1996 20:31:10 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Ted Hawkins/John Campbell Hi all. Just picked up Ted Hawkins' album `Happy Hour', and I've gotta tell ya - this guy is absolutely amazing. The songs are fantastic, and that voice...all I can say is WOW!!! Like honey on sandpaper, I think I read somewhere. This is the second Ted Hawkins album I've bought, and it only solidifies my opinion that he just may be the best singer I've ever heard (yes, along with many others :-) ) Call it what you will, but I call it a great album. I also picked up John Campbell's `Howling Mercy' - I love the arrangements and instrumentation, but the vocals are ...umm, how can I say this... less than impressive - at times he sounds like Metallica does blues, and it's definitely not my bag. However, that band gets into a groove and doesn't let up (as in Saddle Up My Pony, a great song.) I know that Campbell passed away a couple of years ago, but does anyone know what the band members (Zonder Kennedy on guitar, Jimmy Pettit on bass, and Davis McLarty on drums) are up to now, if anything? -Jim (hndful@uniserve.com) ========================================================================= Date: Tue, 23 Jan 1996 23:12:29 CST6CDDT Reply-To: eric From: eric Organization: UW-Superior Subject: lightnin Hopkins I have Mojo Hand and the complete Aladin Recordings by Lightnin Hopkins. What other albums are there of this artist? I saw L.A. Blues i think it was called. But I'd like to know more about my favorite guitarist. ========================================================================= Date: Tue, 23 Jan 1996 21:10:09 -0800 Reply-To: emdrprac@DIRECT.CA From: Roger Brant Subject: You Might be a Blue Neck if........ Wrote: >You yell out for Buddy Guy songs at Buddy Guy concerts............ Many years ago, in the early or mid 70's, I saw Buddy Guy in Edmonton, Alta. at a university theatre gig. To open the show, B.G.'s band played a couple of tunes led by (I believe) Buddy's brother, Phil (? - again, my memory is hazy!) Some clown in the crowd then hollered, "Welcome to Edmonton, Buddy!!" And Phil very cooly responded: " I ain't Buddy, buddy!!" ========================================================================= Date: Wed, 24 Jan 1996 06:45:17 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Radar Labs 23 Subject: Take me to the river Comments: To: bit-listserv-blues-l@uunet.uu.net I really enjoy both Talking Heads' and Syl Johnson's versions of Take Me To The River. The song credits on both cd's say A. Green and M. Hodges. Who are A. Green and M. Hodges? Is there an "original" recording? Does the song have "history?" TIA Kevan Smith cuthulu@prysm.net http://www.rlabs.com ========================================================================= Date: Mon, 22 Jan 1996 22:57:17 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Blues without feeling? Ruth wrote: > Yesterday Laurie Forti said: > > >Personally, I have no reason to believe that 'emotions' can be > >transmitted by music. Now, people may easily PROJECT their belief > >about what they think they might 'feel' in a similar situation, > >however, I simply do not perceive the commonly touted 'blue'; i.e. > >psychological depression, in Blues. And Ruth left us waiting. Well, if Laurie thinks that 'emotions' cannot be transmitted by music then take a listen to Muddy Water's "Hard Again" album. The 'emotions' transmitted by this album are of pure joy. Muddy was glad to be playing again and you *can* hear it in the music. If that isn't a case of 'emotions' being transmitted than I don't know what is. When Son House sings of 'waking and hugging the pillow where you used to lay' and you don't feel his loneliness yourself then you have no emotions. Music can 'transmit' emotions. Some of it is subjective. A lot of it though is genuine feelings that anyone can appreciate. A recent example is song "You Oughta Know" by Alanis Morissette. More that one person has remarked on the feeling of rage in that song. A lot of people felt the same thing. She sure as hell 'transmiitted' her emotions on that one. As whether the blues is depressing or not well I think that the use of the trem "blues" has been corrupted. IMHO, the music that we call the blues is a celebration of life, good and bad. Now life ain't easy and the blues is a way of acknowledging that. It is a means of cartharthis (sp?) and it sure makes me feel good when I'm down. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Mon, 22 Jan 1996 22:57:24 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: A rant from Don about open-mindedness I think I agree with Arlen. People sometimes confuse having strong opinions with being closed-minded. An open-minded person is willing to entertain opposing viewpoints and even learn something from them. It could even lead to a modification of ones own views. A close-minded person wouldn't even think of listening to someone with an opposing viewpoint. I have strong opinions about the blues, music and other subjects. I do listen to people who have opposing opinions and I respect their opinions. By listening to other people there is a good chance that I'll learn something. That is why I am opposed to any ideas of splitting the list. It is a stupid and elitist idea. I do not read and participate in every thread. I do try and read most of them. However, some of them have little interest for me. Still, that is no reason for a whole new list devoted to what *I* want to see on Blues-L. I have said this before quite recently. I want to hear what the purists say. I could learn something. I want to hear what the gearheads say. I could learn something. I want to hear what eveyone has to say about anything on Blues-L. I could learn something. And this echoes a post I made a few days ago. Let us respect and rejoice in the diversity of people and opinions on Blues-L. That is what I enjoy most about the list (after the fact it is all about blues). Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Mon, 22 Jan 1996 22:57:29 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: You Might Be A "Blueneck" If.... You might be Blueneck if..... After a solid week of practicing country guitar (because you have joined a country band) you wake up one morning and your first thought is "I must play some blues today. I *have* to or I'll go crazy." True story, folks. That's what happened to me this morning. Trouble is I have more weeks of playing country to go. But I did get a chance to play blues today. While not being a real blues tune, "Respect Yourself" is close enough. And the blues licks did flow. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Wed, 24 Jan 1996 09:26:00 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Re: writers ... Well, let me second 4000 times Mary Katherine Aldin's opinion on this issue (and like always, she knows what she's talking about !). I don't know if I may be qualify being a writer but as I've already written/edited and published a few things (both prof. and also blues related stuff) let me just assume I can add a few thoughts. While I do indeed think that someone should not alter a word when transcribing interviews, I think that sometimes it may be useful to delibarately drop parts of the interview in the published version. I do have at least two examples in minds from my personal experience, both being related to interviewing AA blues artists (I won't give any names, so don't even ask :-), discussing the white vs AA stuff, both musically, socially and more generally culturally and politically speaking. We had some great fascinating discussions, great time and we even agreed on really many aspects of the issue (yes, I've been more than often labelled purist, even once a blues nazi on Internet !!) but when I did prepare the publication I decided to drop a few things which I thought could be wrongly understood. You may call it censorship, I don't think it is. Actually, I just did it because i thought people would jump on it and consequently it would have much more negative effects than anything else for the artist. When I met these people about a year later, they both thanked me for having done it one of them saying "JP you did it right man, you never know who reads this stuff...." So my point of view (IMHO) on this issue is to say don't change any word in an interview, but if you think that parts of it might be wrongly understood, or used in some way against the artist you did interview, just drop it. Jean-Pierre "Young Man" Urbain ========================================================================= Date: Wed, 24 Jan 1996 09:40:46 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Joe Callicot For Jeff and the others interested in Joe Callicot's recordings, I checked at home and here it is (I unfotunately forgot the notes I had prepared yesterday evening with label numbers, title cuts and so on, so let's hope my memory works well enough): the two cuts he recorded in the 30s are reissued on the ARHOOLIE Cd along with the all those of the Arhoolie Lp + three cuts from the Revival LP (those where is it noted "not previously on Arhoolie"). His pre war sides were also previously available on LPs published on OJL like Bonnie said (1 cut), YAZOO (1 cut), ROOTS (both) and DOCUMENT (both). He also had two full LPs on REVIVAL and BLUE HORIZON and there are two remaining live cuts on the double LP BLUE HORIZON set (Memphis Blues JAm or something like that ...). If there's something else on LP I'd be glad to hear it. According to the essential Blues Records Vol1 and to what I have on LP there must be a few unissued cuts still somewhere from the nice Blue Horizon session with Bill Barth and Bukka White. Hope this helps. Jean-Pierre "Youngman" Urbain ========================================================================= Date: Wed, 24 Jan 1996 04:00:20 -0500 Reply-To: BMurphy111 From: BMurphy111 Organization: America Online, Inc. (1-800-827-6364) Subject: Sandra Wright Band anyone ? Comments: To: bit-listserv-blues-l@uunet.uu.net Anyone know of the Sandra Wright Band ? I heard them recently in the House of Blues in Cambridge MA. They were fantastic and Sandra sings with power and emotion that will keep you entertained all night long. One problem. I can't find out where they are playing next. Anyone know of them ? Anyone know of how I might find out where they are playing ? Any help would be very much appreciated ! Thanks, Bill M. ========================================================================= Date: Wed, 24 Jan 1996 06:01:13 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: To all narrow minded purists If you were open minded you'd see things my way, and if you weren't such a purist you'd agree. P.W. ========================================================================= Date: Wed, 24 Jan 1996 21:58:43 +1100 Reply-To: Warwick J Foster From: Warwick J Foster Subject: Mississippi Fred D If any of you net.blues.saints out there could e-mail me anything of or about Mississippi Fred McDowell, one little ozzie would be grateful! I have ordered the Big Book of Blues but such things take a while from US to Oz, thanks to whoever suggested/reviewed it. Warwick Foster BHP Co Ltd & University of NSW Newcastle, Australia wjfoster@ozemail.com.au ========================================================================= Date: Wed, 24 Jan 1996 11:07:18 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Blues without feeling Comments: To: bit-listserv-blues-l@uunet.uu.net OK, Lauri, let me state my case in such a way that you can't pick it apart on the basis of semantics. It seems that the main fault you find in Lonnie Johnson's music is that it isn't "intense" (your word) enough for your tastes. In my opinion (and I don't think I'm alone in this), not all blues has to convey the intensity of a Son House performance in order to qualify as "quality" blues. Intensity does not necessarily equal quality. There are many, many worthy, authentic, important blues styles and performers who don't match the intensity that you obviously seek; in fact, the majority are probably less intense. Do judge everything based on this "intensity" test? (That's a rhetorical question--after this note I'm bowing out of this particular discussion). You said: >Personally, I have no reason to believe that 'emotions' can be >transmitted by music. Now, people may easily PROJECT their belief >about what they think they might 'feel' in a similar situation, >however, I simply do not perceive the commonly touted 'blue'; i.e. >psychological depression, in Blues. Tommy McClennan, for example, >sounds like he is having a great time while playing -- laughing to >himself, banter with someone else in the studio. But this is another >issue. On this we agree. In fact, I've argued this exact point many times with many people. >I interpret your response to mean that indeed you do not perceive >the same level of intersity and power in L Johnson as by R Johnson, as >this was the question. So, apparently our perceptions agree. You're right, I agree on this too. But I don't think of Lonnie Johnson as less of a blues artist because of it. Unlike you, I don't judge blues by a single criterion. >> As far as I'm concerned, our latter day definitions of what is >> and isn't (or was and wasn't) blues are moot. Blues is what the >> contemporary blues audience said was blues, whether it appeals to OUR >> modern blues sensibilties or not. >And how would that population have any better developed insight >into what was good, vs. mediocre, vs. awful, than today's ignorant >masses?? They had more insight because THEY developed the blues, THEY defined it, it was BY them and FOR them--it was THEIR music, not OURS. We can only examine it outside of it's original context, but they were there. See the note that someone posted elsewhere under the subject "Lonnie Johnson: Bluesman" for elucidation. There are artists who, when I knew less about blues than I do today, I wouldn't have considered to be blues artists either, but now I hope I know better. I (and presumably you too) can only look at pre-war blues from a historical perspective, a perspective that is inevitably colored by perceptions we developed independantly of the development of that music. We weren't part of it; they were. Look at it this way: If you or I studied Australian aboriginal folk music for a few years until we were qualified as experts among our own people, do you think we'd be qualified to go to Australia and tell the aborigines that what they've always thought was their folk music no longer qualifies, because it doesn't fit into OUR definition? >> Lonnie Johnson was considered to be just as much a >> bluesman as anyone else, and in fact if you'd asked an average blues >> fan walking down the street in the '30s who was the better bluesman, >> Robert Johnson or Lonnie Johnson, I'd bet the majority would have said, >> "Robert who?" >Again, the false argument is made: that which is popular is quality! >You are appealing to the lowest common denominator: popularity, as >a defacto index of excellence. This is simply silly. Have you, >perhaps, noticed that commercial TV, in its never ending quest to gain >popular appeal to support its advertising objectives, simply is >unmitigated garbage?? >The ugly fact is that work on the cutting edge, whether it be >scientific thought, product design, art, and music is generally not >noticed by the masses. I'm not arguing that popularity necessarily equals quality, my argument was that there would not have been this silly debate over whether LJ qualified as a "good" or "quality" blues artist--he was universally accepted as such by a his audience AND his peers. But you seem to be arguing that popularity equals a LACK of quality. You're underestimating the masses, and overestimating your own supposedly superior powers of perception. Your position reminds me of that taken by fans of 'cutting edge' and 'alternative' pop music today; that is, if it's popular, it must suck; popularity equals sell-out; the only "good" music is obscure music. The fact conveniently forgotten most of the time is that the very same music--literally--that was obscure yesterday is sometimes the same music that is wildly popular today. Did CD "X" change overnight? If Lonnie Johnson had died tragically in 1928 immediately after recording "Blue Ghost Blues", I suspect you'd find more "intensity" in his music than you do now. (BTW, have you ever heard "Blue Ghost Blues?") Only someone unaware of the facts would try to argue that Lonnie Johnson wasn't one of the most progressive, sophisticated, cutting edge, forward- thinking and influential blues guitarists of his generation. He didn't become popular because he had somehow pulled the wool over the eyes of his audience and his peers, he was became popular (and influential) because he was an innovative artist and a hell of a guitar player. Contrary to what you seem to believe, the media machinery that helps to catapult a Billy Ray Cyrus to the top of the charts didn't exist in LJ's day. >> Muddy Waters was once asked who he thought was the best blues >> guitarist ever. His answer: "Lonnie Johnson". That's good >> enough for me. > I guess that demonstrated that some folks like to actually think >for themselves, and some like to be told what to think. You couldn't be more wrong here; I was a fan of LJ's music long before I knew that Muddy was too. I used the Muddy quote because I figured his opinion as a blues authority is unimpeachable, even by someone as insular as you. Unless you're now going to argue that he didn't know what he was talking about either. >Unfortunately, the so-called educational system in this country >teaches people what to think, not how to think, so you are following a >well-established path to mediocrity. >Apparently, you have abandoned the concept of quality, or perhaps >you don't think quality can exist. The US had long ago abandoned the >quest for quality and US auto, electronics, and technology industries >have consequently gone down the drain. If you knew the very first thing about me--which you obviously don't-- you'd know that I'm not following ANY path. You're making an extremely ill-informed, presumptuous, and ignorant statement in your attempt to insult my intelligence and prove your superior taste. The only thing you've demonstrated here is that if you have to resort to an attack on the person you're debating rather the facts of the case, you don't have a leg to stand on. >[Note: I am pleased to see the recent discussions regarding the >proliferation of (so-called) Blues performers in recent years and how >the essence is being lost and overshadowed by the new hoards of >mediocre imitators. Seems I tain't alone on this one.] If you're so narrow-minded and short-sighted as to imply that Lonnie Johnson was a "mediocre imitator", the only thing left to say is that I hope you enjoy the view from that lofty perch you've appointed yourself to--because I suspect it's going to be rather lonely up there. Scott ========================================================================= Date: Wed, 24 Jan 1996 06:15:49 -0500 Reply-To: Bluesmanp From: Bluesmanp Organization: America Online, Inc. (1-800-827-6364) Subject: LOUSIANA RED with MOJO BLUES BAND Comments: To: bit-listserv-blues-l@uunet.uu.net we are planing to bring the austrian MOJO BLUES BAND together with LOUSIANA RED to the Middle West and the Eastcoast. Somebody interested? (blues clubs etc.) Please E-mail ========================================================================= Date: Wed, 24 Jan 1996 07:25:22 -0500 Reply-To: Eranosian From: Eranosian Subject: RI area Blues on PBS For those who can get the PBS station out of Providence (channel 36): Tuesday, Feb. 13 at 10 PM, Austin City Limits - B.B. King -Craig ========================================================================= Date: Wed, 24 Jan 1996 07:12:23 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: No Purists, Only Badgers In-Reply-To: <9600238224.AA822441892@smtpgate.swpco.com> On Tue, 23 Jan 1996, shannon oconnor wrote: > Sometimes we need to blow steam at one another when we yank each > other's chains or Which reminds me: I heard recently that Yank Rachell and John Sebastian recorded some songs late last year. Does anybody know when this is due out, and on which label it will be? (Yeah, I know, I know.) T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Why don't you all just fffffffffffarm and pray!" - The Electric Amish, "(Talkin' 'bout) My Congregation" ========================================================================= Date: Wed, 24 Jan 1996 08:13:59 -0400 Reply-To: Cliff Warnken From: Cliff Warnken Subject: Mississippi Joe Calicott (prewar) Besides recording two titles ("Fare Thee Well Blues" and "Traveling Mama Blues") in 1930 under his own name that were issued on Brunswick, apparently Joe Calicott recorded one other prewar title under his own name that wasn't issued. The Godrich & DIxon discography lists a "Mississippi Boll Weevil Blues" from a 1929 session. And two days before that he had also recorded as the second guitarist on Garfield Aker's two-part "Cottonfield Blues," issued on Vocalion. CLiff Warnken ========================================================================= Date: Wed, 24 Jan 1996 07:48:04 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: You Might Be a Blueneck If.... In-Reply-To: <104f0490@vitro.com> I've already e-mailed this to RJ, but ... If your idea of multiculturalism is listening to Yank Rachell while drinking a pint of Harp and eating kung pao chicken, ... T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Why don't you all just fffffffffffarm and pray!" - The Electric Amish, "(Talkin' 'bout) My Congregation" ========================================================================= Date: Wed, 24 Jan 1996 09:25:25 EST Reply-To: levyt@RL.AF.MIL From: Toby Levy Subject: SITTING AND THINKING: Ronnie Earl - Still River RONNIE EARL AND THE BROADCASTERS / STILL RIVER (AQ-CD1018) AUDIOQUEST MUSIC P.O. BOX 6040 SAN CLEMENTE CA 92674 Ted Kurland Agency - attn: Laura J. Wicks 617-254-0007 BLUES FOR THE WEST SIDE / TIME TO REMEMBER / KANSAS CITY MONARCH / SZEREN / SOUL SERENADE / EQUINOX / CHILI BA HUGH / EYES THAT SMILE / WEDNESDAY NIGHT AT THE BULL / REGO PARK BLUES / DEREK'S PLACE Ronnie Earl is one of those exceptions that prove the rule. He is not an African American from the Delta or Chicago. He is not a Texan whose first guitar was placed in his playpen. Ronnie Earl is a New Yorker who happened to be attending college in Boston where a friend took him to a Muddy Waters concert. Immediately after this show he took up the guitar and in only a couple of years he was playing before appreciative audiences. Not content to rely on his innate talent he has continued his intense study of his instrument. This cd is a wonderful result of Ronnie Earl's twenty years of growth. This is like no other blues album you have ever heard. Yes there have been a few others that were totally without vocals like this one, but can you name any others that contain a rendition of a John Coltrane composition? NY CD-Takes BLUES FOR THE WEST SIDE: Ronnie kicks off the cd with three and a half minutes of homage to Buddy Guy. Ronnie's fans know this is not his typical way to play, so my guess is that Ronnie is using this a point of departure for the rest of the album. At any rate you would swear you were down in a club on the West Side of Chicago listening to Ronnie on guitar and Bruce Katz on organ. TIME TO REMEMBER: Here we go, off into the wild blue yonder. The rhythm section of Rod Carey on bass and Per Hanson on drums kick off a latin beat and Ronnie throws a million notes to the wind and lets them slowly settle on our ears. Bruce Katz's organ slowly insinuates itself into the number until he emerges into a full blown solo of incredible beauty. Ronnie returns for some heavy duty call and response with Bruce for the remainder of the track. By the end of the song you may be wondering how they will top this, but they do...many times! KANSAS CITY MONARCH: This is the first of four original compositions on the album that are dedicated to certain people. This one is for "Satch, Josh and Charlie" and is a deliciously slow blues. Bruce Katz moves over to piano, playing just as wonderfully as he did on organ. They are joined on this cut by Larry Elkin on trumpet and Andres Gaardmand on sax. The horns intensify the blue mood to great effect. Ronnie Earl fans who think they've heard Ronnie's best slow blues solos will have their eyes opened here. SZEREN: Ronnie dedicates this one "for Grandma." Ronnie Earl's parents were hungarian immigrants and while the song has a latin beat, it has a distinctly European feel to it. This is a very jazzy number, yet Ronnie's incredible flights of fancy across the fretboard are never more than one step from the blues. SOUL SERENADE: The two horn players return and the song has a very Memphis orientation. Harkening back to the back to the golden age of Booker T and the MGs, Ronnie pays tribute to Steve Cropper here. The song picks up tempo toward the end for a rousing conclusion. EQUINOX: This interpretation of a John Coltrane song is filled with rare ethereal beauty. The rhythm section kicks it off with a driving jazz beat. Ronnie jumps in, takes command and plays his jazziest. Bruce Katz on piano finally joins in, sending the song in a yet jazzier direction. Ronnie Earl's solos here are very soft and delicate. CHILI BA HUGH: A complete switch of gears as the band swings into a delicious rocking blues. Ronnie's fans know what he can do in this venue, and he does not disappoint. Bruce Katz adds a very nice barrelhouse piano on this track. EYES THAT SMILE: This one is dedicated "For Beverly." The horn players take their final turn here and Bruce Katz returns to the organ. This song lopes along at a sprightly pace with a happy, feel-good mood. Only during Ronnie's guitar solo do we get a hint of the blues. WEDNESDAY NIGHT AT THE BULL: The "Bull" is a reference to the Sit 'n' Bull Pub in Maynard Massachusetts, which serves as a home base for Ronnie Earl and the Broadcasters. This sounds like one of those songs that bands play just before they take their break, the kind that keeps the fans coming back for more! REGO PARK BLUES: This is the centerpiece of the album, over eleven and a half minutes long. Ronnie dedicates it "For the Freight Train." A slow blues, Ronnie Earl kicks it off with a soft solo, accompanied only by Rod Carey on bass that slowly gains volume and intensity. This solo should be enough to convert any non believers in Ronnie's mastery of the blues guitar. Two minutes into the song the rest of the band jumps in, while Ronnie continues to astonish with his creativity. A couple of minutes later it's Bruce Katz burning down the house on organ, his blusiest organ on the album. Ronnie returns with an extended solo that goes through several changes of volume and tempo and will leave you gasping for breath. DEREK'S PLACE: A short number at the end of the cd forms a coda for all the great music that precedes it. Ronnie plays acoustic guitar, Bruce plays piano and the rhythm section sits this one out. This song is a meditation, leaving the listener pensive, but deeply satisfied. Reviewed by Toby Levy Copyright NY CD Blues - 1995 NY CD Blues at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! ========================================================================= Date: Wed, 24 Jan 1996 07:26:38 -0700 Reply-To: Jessica Jones From: Jessica Jones Subject: Bleecker St. Midwest Tour In-Reply-To: <199601240508.AAA14748@listserv.brown.edu> Hello, Bleecker St. is heading to the Midwest again for their tour of Chicago and the St. Louis, Kansas City, etc. If you'd like their tour schedule, e-mail me at jessicaj@spot.Colorado.edu It is also available on http://www.automatrix.com/concerts/ thanks, jessica ps. They'll be touring the Northwest (Seattle, Portland, Idaho, Montana, etc) in March, Europe in May. Those schedules coming soon. j. ========================================================================= Date: Wed, 24 Jan 1996 09:26:09 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0129 From: "DUTTWEILER.J" Subject: Re: A rant from Don about open-m Date: Wednesday, 24 January 1996 9:25am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: A rant from Don about open-m In-Reply-To: The letter of Wednesday, 24 January 1996 2:23am ET Being "open-minded" may denote a willingness to listen and/or examine viewpoints or opinions different from the ones you hold, but it does *not* mean an uncritical acceptance of all viewpoints or opinions. No does it mean that "an opinion cannot be wrong" as one person posted - that is a perfect illustration of the "dumbing down" of our educational system and the belief that *all* things are relative (I do not dispute that *some* things are relative, musical taste being one of them - the blues I prefer may not be the blues you prefer, and that's alright). But it should be self-evident that two *opposite* viewpoints or opinions about matters not inherently relative cannot both be right. That being said, all I can say is that while *I* may not be able to define what "blues" is, I do know it when I "meet" it. While there may be fuzzy edges (look at the stratification of what is typically called "classical" music - romantic, baroque, classical, etc.), when music get's too far from the center, it clearly is no longer blues. Hey, Led Zep helped point me to the blues in the first album, but once I started listening to the originals I've never gone back, it just doesn't compare and it sure ain't "blues." Jon (that's my *opinion* so it can't be wrong) Duttweiler ========================================================================= Date: Wed, 24 Jan 1996 09:31:07 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Paramount Records Comments: To: WARNC@snycorva.cortland.edu In a message dated 96-01-24 07:37:37 EST, WARNC@SNYCORVA.CORTLAND.EDU (Cliff Warnken) writes: > >78 QUARTERLY magazine ran a detailed five-part history of the company in >issues 3 through 7. Don't know which of these are still available now (they're >about to come out with issue 9, but the issues tend to come out only every year or >two), but the subscription address is P.O. Box 283, Key West, FL 33041. > Both the "current" and back issues of 78Qs are available in some of the Tower Records-- I've bought all of them (including a reprint of Vols. 1 and 2, which came out in the 60s) at Tower in New Orleans. As to subscriptions, they are a running joke in the letters column, with constant complaints and demands for refunds (in letters that may be fakes). Tom Freeland ========================================================================= Date: Wed, 24 Jan 1996 09:43:38 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: re. A question of taste Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu In a message dated 96-01-24 07:59:59 EST, ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU (L W) writes: >On of the quotes in question is what Johnny himself said. I >don't have the quote in front of me, but this is close: "It doesn't bother >me to be called a nigger, in fact it makes me proud. You see only a nigger >could go through what I have been through and survived."....That's bascially >what he said, but not verbatim. According to the above it cheapens Johnny >Shines, but I think it's just the opposite. I think he says what kind of >person he was, which is a very proud person. The quote LW is planning on using shows the danger of the abstract discussion on the list of the N-word. As a general thing, I agree that language has a direct impact, and that persistence of words conveying racism helps racism persist. BUT where a speaker used a word you cannot change or censor his language. Your options are to omit the quote or use it intact, IMHO. The quote LW has is a powerful one, turning the word in on itself; to omit the quote would omit an important side of Johnny Shines' personality, and to change it would render it meaningless. I 'm with LW's decision to use the word and the quote, both. Tom Freeland ========================================================================= Date: Wed, 24 Jan 1996 09:41:21 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: You Might be a Blue Neck if........ Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com You stay up late to watch The Blues Brothers on tv, only so you can see that scene with John Lee Hooker and Big Walter. ========================================================================= Date: Wed, 24 Jan 1996 09:50:25 -0400 Reply-To: Cliff Warnken From: Cliff Warnken Subject: Re: Mississippi Joe Calicott (prewar) Noticed also in the Dixon & Godrich discography that Mississippi Joe may have had another (earlier?) nickname--they say that his 1930 session "was originally entered in the Brunswick files as by Calico Joe Callicutt." Cliff Warnken ========================================================================= Date: Wed, 24 Jan 1996 10:00:36 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: 1st Candidate for Disc of the Year '96 .... This is a get-under-penalty-of-death-disc. For anyone who has been following U.P. Wilson from JSP to Wolf and now back again to JSP his latest "This Is U.P. Wilson" is over the top. He's making some big changes in his music here - notably an exquis- itely slowish, broody, deep, dark and rich set of Texas blues. His sometimes explosive guitar licks are there & this time for me at least his vocals jump off the platter. I am listening @ this very moment (4th time on the player) & it is as captivat- ing and personal as it gets. Plus over the course of the cuts their are organ runs and sax solos and all tolled there are 14 other musicians in this bag. Can't go wrong here ....... This one will get the full review treatment and posted - but I rec- comend not waiting for that to happen. Barry NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Wed, 24 Jan 1996 08:00:53 -0700 Reply-To: Jessica Jones From: Jessica Jones Subject: Use of the n-word In-Reply-To: <199601240508.AAA14748@listserv.brown.edu> Please, please, if for some obscure reason you feel you must use the n word on-line or in any writing, please DO NOT CAPITALIZE the entire thing. I am feeling beat-up and nauseous from seeing it over and over and over this morning in my blues-l digest. If the quote is essential to your piece for some reason, then use it I guess, but usually it is possible to say, for example, "describing a heckler who used racial slurs, Mr. X said..." Black folks run into this word all the time, we've all heard and seen it, but it's an ugly word, calling up bitter, anxious and terrible times. Don't if you don't have to. jessica ========================================================================= Date: Wed, 24 Jan 1996 15:22:35 GMT Reply-To: Gunnar Hakonarson From: Gunnar Hakonarson Organization: University of Iceland Subject: Blues in London Comments: To: bit-listserv-blues-l@isgate.is Hi there! I'm going to London Feb 28th - Mar 04. Can anybody tell me if there are any good bluesbands playing then? Or about a good blues/jazz club? How about good bootleg stores? Do you have Eric Clapton RAH tickets for sale? All info on London appreciated. please e-mail me your answers. Gunnar e-mail: gunnhak@rhi.hi.is ========================================================================= Date: Wed, 24 Jan 1996 15:30:00 GMT Reply-To: Martin Green From: Martin Green Organization: De Montfort University, Leicester Subject: Re: purist? Comments: To: bit-listserv-blues-l@uunet.uu.net In article , Jeff Seale writes: > I've been accused of being a purist on more than one occasion. Judging by some of the postings there should be a lot more. > If I'd > rather listen to Mississippi Joe Callicott than [insert your favorite > blues-rocker here], Ah, the more the merrier ! > does that make me a purist? I'm afraid so. > If so, I'm damn proud to > be a purist. > And so you should be, me thinks their becoming an endangered species. Take it easy, Mart. ========================================================================= Date: Wed, 24 Jan 1996 10:00:45 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: Blues without feeling? _____________________________ Forward Header __________________________________ Subject: Re: Blues without feeling? Author: rjacobs@cix.compulink.co.uk (Robert Jacobs) at Internet Date: 1/24/96 11:05 AM > Yesterday Laurie Forti said: > > >Personally, I have no reason to believe that 'emotions' can be > >transmitted by music. Now, people may easily PROJECT their belief > >about what they think they might 'feel' in a similar situation, > >however, I simply do not perceive the commonly touted 'blue'; i.e. > >psychological depression, in Blues. Laurie may have no such reason but I think the rest of us do! When a great musician (BB King springs to mind but you can substitute your own fave) plays a particular string of notes, applying the various techniques available to him (I'm no musician so I leave the explication of these up to those who know), he is striving for a particular effect, to express his feelings and emotions. If he does this effectively, I feel the same emotions when I hear the same sequence. The more effectively he does it, the closer to his feelings I get and the more intensely I feel them. If I am also conversant with the conventions and idioms of the genre, I am more likely to feel more of what he is communicating because I associate the sounds and feelings with similar experiences from my past. If, however, I am not so conversant (eg I am ignorant of rap), any emotion expressed in it is likely to leave me cold. I think the process is similar to electronic transmission of sound and data: accurate and faithful reproduction of the original results in clear comprehension at the other end; poor quality reproduction and noise result in less clear comprehension. Musical theorists over the years, from the ancient philosophers onwards, have identified certain modes and keys as expressing certain emotions and have reached general agreement as to their effects. The effects of different kinds of blues music are fairly obvious. Bob (Oxford, England) ========================================================================= Date: Wed, 24 Jan 1996 10:23:27 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Jordan Patterson Yesterday Steve Levine recommended D.C. based harp player Jordan Patterson's new CD "Give Me A Chance." While I haven't heard the CD, Jordan is also a good friend of mine and he puts on a great show. He's a very energetic frontman and a great vocalist as well. I'm sure the CD is good, and I can highly recommend seeing Jordan live if you get a chance. Like Steve, I am also not affiliated with the JSP label but just trying to spread the word. ========================================================================= Date: Wed, 24 Jan 1996 09:28:34 CST Reply-To: William Shute From: William Shute Subject: Bradshaw/Liggins info needed From: Bill Shute Could one of my fellow blues-l-ers help me with a little discographical info? A friend of mine is looking for two songs on CD: "Soft" by Tiny Bradshaw "Drunk" by Jimmy Liggins I have both on vinyl, but I'm not sure about their availability on CD. Thanks in advance for your assistance (please private e-mail me your response). Bill Shute San Antonio, TX ========================================================================= Date: Wed, 24 Jan 1996 07:44:20 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Jan. 25 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ANDREWS, BERT(photographer/APOLLO THEATRE)d. 1993-0125, NEW YORK CITY, NY 63 BLACKMON, WILLIE "EARTHQUAKE" (d) d. 1985-0125, ST. LOUIS, MO 50 BURTON, BARBARA J. (d/STAPLES) b. 1948-0125, CHICAGO, IL DERRICK, CHARLES "CHICO" (b/JUMP JACKSON) d. 1965-0125, CHICAGO, IL 38 DIAL, HARRY (owner : DIAL REC) d. 1987-0125, NEW YORK CITY, NY 79 DISTLER, MARIAN H.(co-owner/FOLKWAYS REC) d. 1964-0125, NEW YORK CITY, NY 45 DIXON, ROBERT M. W.(discographer/GODRICH) b. 1939-0125, NOTTINGHAM, UK ESTES, JOHN "SLEEPY" (g/songw) b. 1899-0125, RIPLEY, TN GOLSON, BENNY (tsax) b. 1929-0125, PHILADELPHIA, PA GROSSMAN, ALBERT B.(owner: BEARVILLE REC) d. 1986-0125, LONDON, UK 59 JAMES, ETTA [JAMESETTA HAWKINS] (v) b. 1938-0125, LOS ANGELES, CA KENNER, CHRIS (v/songw) d. 1976-0125, NEW ORLEANS, LA 46 OVERSTREET, LOUIS JR. (of ARHOOLIE REC) b. 1947-0125, DE QUINCY, LA ROBINSON, ALVIN (g) d. 1989-0125, NEW ORLEANS, LA 51 SIMMONS, MACK "LITTLE" (hca) b. 1934-0125, TWIST, AR SMITH, FLOYD G. (g/ANDY KIRK) b. 1917-0125, ST. LOUIS, MO SMITH, MOSES "WHISPERING" (hca) b. 1932-0125, WEST BROOKHAVEN, MS SMOOT, CRAIG (CRAIG S.)(g,BLUES-L member) b. 1970-0125, SAN ANTONIO, TX ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 24 Jan 1996 11:03:13 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: purist? My cat is a purrist! ***************************************** * Beef Stew - The Blues Playground * * * * WCCC Radio 107 FM * * 243 South Whitney Street * * Hartford, CT 06105 * * * * Phone: 860.233.4426 * * Phax: 860.232.6511 * * * * Personal e-mail: bfstew@neca.com * * Station e-mail: fm107wccc@aol.com * ***************************************** ========================================================================= Date: Wed, 24 Jan 1996 10:15:29 -0600 Reply-To: Chad Tanner From: Chad Tanner Subject: Re: Take me to the river Comments: To: cuthulu In-Reply-To: <3105d4ee.45576832@news.prysm.net> On Wed, 24 Jan 1996, cuthulu wrote: > I really enjoy both Talking Heads' and Syl Johnson's versions of Take Me To The > River. > > The song credits on both cd's say A. Green and M. Hodges. > > Who are A. Green and M. Hodges? Is there an "original" recording? Does the song > have "history?" > > TIA > > > Kevan Smith > cuthulu@prysm.net > http://www.rlabs.com > Kevan, A. Green is the legendary Memphis bluesman Al Green, who still lives there. I don't have the information on the "original" recording at hand, but he is someone everyone should check out. (Both the Rolling Stones and the Grateful Dead payed tribute to this great artist when they last played Memphis: Stones="Can't Stop Loving You" Dead="Take Me to the River" Chad Tanner tanner@comp.uark.edu ========================================================================= Date: Wed, 24 Jan 1996 16:30:20 GMT Reply-To: Mark A Basten From: Mark A Basten Organization: College of Engineering, Univ. of Wisconsin--Madison Subject: Re: Paramount in Badgerland Comments: To: bit-listserv-blues-l@uunet.uu.net Bonnie Kalmbach writes: >There's a history of Paramount records in "78 Quarterly". I don't >have the exact citations, but there haven't been too many issues >of it; I think the story was in the first 3 or 4 issues. > >But I could look it up if somebody wants to know - it would >involve me hiking downstairs to the UW Music Library where we have >those issues - not too far from the Cuca archival collection >featuring some fine 60's recordings by the late great Earl Hooker. > >(PS - Don jes' mad because the Badgers whupped some other team, >I forget which, in the Rose Bowl not too long ago.) > > -Bonnie "Go BADGERS!!" the K. > ( also: "Go Steelers!) > Bonnie may be a long-time Steelers fan but, curiously, I sense a lot of Steeler support in Wisconsin these days. I have a hunch that some of that support, like mine, will last exactly one game. :) (hey, I'm not whining...really!) Anyway, thanks to everyone that sent me information regarding Paramount. You can bet I'll be walking down to the UW Music Library today to look up that article (and maybe keep working my way through their audio collection). You know, I *love* the music but I find the history behind the music to be just as fascinating. It seems that I'm far from alone on Blues-L in this regard! P.M.L. [Pushin' My Luck] - Can anyone point me towards a biographical article/book on Bobby Robinson, the Fire/Fury/Enjoy Records boss? Mark Basten basten@cae.wisc.edu ========================================================================= Date: Wed, 24 Jan 1996 11:29:42 -0500 Reply-To: Michael Case From: Michael Case Organization: Downs Rachlin & Martin Subject: Use of a WORD On the other hand, if you must use a certain word, capitalize it, as the meaning is slightly different when you say that you're a PURIST, right? Michael Case ========================================================================= Date: Wed, 24 Jan 1996 10:35:46 -0600 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: You Might be a Blue Neck if........ Comments: To: Steve.Levine@CORP.WRGRACE.COM In-Reply-To: from "Steve Levine" at Jan 24, 96 09:41:21 am ...you put on a blues tape before getting in bed with your honey for some rollin' and tumblin'....and get out of bed long to play the other side. You know _she's_ a bluesneck if she doesn't kill you! -- * Billy Chambless | billy@cast.msstate.edu | voice: 601-688-7608 ========================================================================= Date: Wed, 24 Jan 1996 08:49:13 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Bobby Robinson (was Paramount in Badgerland) Comments: To: Mark A Basten Mark A. Basten wrote: > >P.M.L. [Pushin' My Luck] - Can anyone point me towards a biographical >article/book on Bobby Robinson, the Fire/Fury/Enjoy Records boss? There was a very good two-part article on Bobby Robinson in the UK magazine Juke Blues, in issues 15 (Spring 1989 and 16 (Summer 1989). Mary Katherine Aldin ========================================================================= Date: Wed, 24 Jan 1996 11:51:00 EST Reply-To: edward c liu From: edward c liu Subject: Bad words Howdy all, Shannon O'Connor wrote: > Once we start using terms like > "motherf*****," I'm going to have to start censoring, er, ah, um, > EDITING my BLUES-L mail. :D (This was going to be my reply to the original question as a writer-wannabe, but I lost LW's original mail.) In the December _Blues Revue_ (the one with Muddy Waters on the cover), Buddy Guy said something like the following (censors mine): "We'd call each other motherf***** all the time. We didn't mean nothing by it...it was just what we called each other. I'd see Junior Wells in the studio every morning and say to him, 'Morning motherf*****.' If I didn't call Junior motherf*****, he'd think I was mad at him or something." Should this have been censored? If he used that other word under discussion, should that have been censored? If enough people think the same way about a word, won't the meaning change? What do "inflammable" and "disinterested" mean? If people stop using a word, even an insulting one, will the sentiment really go away? I haven't been referred to as a "gook" or a "slant" recently, but does that mean anti-Asian sentiment doesn't exist anymore? And is this thread drifting futher and further away from the blues? Wishing every wonderful shining happy sentiment I've got to all you motherf*****s =8^).... -- Ed Edward C. Liu | "Nothing is ever what it seems... edwick@cc.bellcore.com | But everything is exactly what it is." | -- B. Banzai The opinions in this message are mine and not Bellcore's. Really! ========================================================================= Date: Wed, 24 Jan 1996 12:37:09 EST Reply-To: William Pollak From: William Pollak Subject: Re: Take me to the river Comments: To: cuthulu@prysm.net In-Reply-To: Your message of "Wed, 24 Jan 96 01:45:17 EST." <3105d4ee.45576832@news.prysm.net> Kevan Smith writes >I really enjoy both Talking Heads' and Syl Johnson's versions of Take Me To >The River. > >The song credits on both cd's say A. Green and M. Hodges. Who are A. Green >and M. Hodges? Is there an "original" recording? Does the song have >"history?" A. Green is Al Green--member of the rock and roll hall of fame, greatest male singer alive today, and most highly evolved spirit currently inhabiting the planet Earth (okay, that may be a little hyperbolic). M. Hodges is either one of the members of the Hi Rhythm Section of Memphis, Tenn., or is related to one of the Hodges brothers. Al Green recorded the first version of this song on "Al Green Explores Your Mind" sometime in the mid-1970s. Syl Johnson has recorded the song twice with the Hi Rhythm Section (the same band that backed Al Green on his many hit records)--once for Hi in the 70s and again on his recent Delmark album (Back in the Game). The Syl Johnson version on the recent album is my favorite of the many recordings of this great song. Pure ecstacy. Bill P. ========================================================================= Date: Wed, 24 Jan 1996 12:41:55 EST Reply-To: William Pollak From: William Pollak Subject: Re: Take me to the river (addendum) Comments: To: cuthulu@prysm.net By the way, the Al Green version of "Take Me to the River" begins with a spoken dedication to Little Junior Parker, who was Al Green's cousin. Bill P. ========================================================================= Date: Wed, 24 Jan 1996 09:08:36 GMT Reply-To: Dave_J._Herda@infozone.telluride.co.us From: "Dave J. Herda" Organization: InfoZone Telluride Co (970)-728-0472 Subject: Re: Whatcha listenin to besides blues? Comments: To: selkirk@TELSCI.ARC.NASA.GOV Pretty Eclectic-- G. Love and Special Sauce Rusted Root Parliament Widespread Panic The Godfather of Soul--James Brown Big Head Todd Ween Urge Overkill The Bird--Charlie Parker And of Course, **THE JON SPENCER BLUES EXPLOSION** PEACE--D ========================================================================= Date: Wed, 24 Jan 1996 12:59:00 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Playlist Bartender's Bop Monday's show featured a couple of sets dedicated to Ray Charles and a couple of his early influences Charles Brown and Nat King Cole. I recently got the Minit Records 2 CD set. This is put out by EMI, the same folks that brought you the Sue Records set and they also have an Aladdin Set. Has anyone heard the Aladdin stuff? I love the Sue material. The Minit CDs has one CD of the great New Orleans sessions of Ernie Kdoe, Aaron Neville, Benny Spellman and others produced by Allan Toussaint and the other CD has some 67 -69 gems that include Bobby Womack, Ike and Tina and Jimmy Holiday. Some of the songs are included in my playlist. BTW, my Web site has just been awarded a 3 star rating. Stop on by, there's something there for everyone. :) Title Group Year Label -------------------- -------------------- ---- ------------ Get Yourself Another Brown, Charles 49 Collectables Fool Nothing Ever Happens Cole, Nat King 38 Savoy To Me Alone in This City Charles, Ray 49 Ebony Hard Times Brown, Charles 51 Collectables Gone With the Draft Cole, Nat King 40 MCA Ain't That Fine Charles, Ray 49 Ebony Please Don't Drive Brown, Charles 55 Collectables Me Away Stop the Red Light's Cole, Nat King 41 MCA On She's On the Ball Charles, Ray 50 Ebony Black Night Brown, Charles 50 Collectables This Will Make You Cole, Nat King 41 MCA Laugh Can't You See Charles, Ray 49 Ebony Darling Seven Long Days Brown, Charles 50 Collectables Let's Spring One Cole, Nat King 39 Savoy Th' Ego Song Charles, Ray 50 Ebony Dog McCracklin, Jimmy 67 EMI It's Better to Give Johnson, Ruby Fantasy than to Receive Broadway Walk Womack, Bobby 67 EMI Dashboard Bar Holmes Bros 93 Rounder Hunk of Funk, A Dozier, Gene 67 EMI What More Can A Johnson, Ruby Fantasy Woman Do Baby I Can't Stand Womack, Bobby 67 EMI It To Make a Long Story Holmes Bros 93 Rounder Short I Wish It Would Rain Turner Ike and Tina 69 EMI Keep on Keepin On Johnson, Ruby Fantasy Stranger in my Own Taj Mahal 93 Private Hometown Am I Ever Going To Greene, Vernon 67 EMI See My Baby Again I'm A Big Girl John, Mabel Fantasy Everybody Needs Help Holiday, Jimmy 67 EMI I'd Rather Fight Johnson, Ruby Fantasy Than Switch Get Together McCracklin, Jimmy 67 EMI Spread Your Love Holiday, Jimmy 68 EMI Ready Willing and Holiday, Jimmy 67 EMI Able I Wanna Jump Turner, Ike and Tina 69 EMI `'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`' Stop on by my Jazz and Blues Web Site -- http://redlt.com/tom/ Free-lance Writer--Author--Program Director WTJU 91.1--Internet Consultant ========================================================================= Date: Wed, 24 Jan 1996 12:13:50 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Bobby Robinson (was Paramount in Badgerland) Comments: To: Mary Katherine Aldin In-Reply-To: <199601241649.IAA09525@ix11.ix.netcom.com> Did anyone else note in the coverage of the recent fire-bombing of a Harlem store by a disgruntled person (I'll duck the racial politics because they don't affect the main point of this post) because of the owner's intent to expand and evict other businesses, that Bobby Robinson's record store was one of the businesses targeted for eviction? ========================================================================= Date: Wed, 24 Jan 1996 12:19:34 -0600 Reply-To: Chad Tanner From: Chad Tanner Subject: Re: Take me to the river Comments: To: cuthulu In-Reply-To: Apologies, Earlier I wrote this: > A. Green is the legendary Memphis bluesman Al Green, who still lives there. > I don't have the information on the "original" recording at hand, but he is > someone everyone should check out. (Both the Rolling Stones and the Grateful > Dead payed tribute to this great artist when they last played Memphis: > Stones="Can't Stop Loving You" > Dead="Take Me to the River" The morning must have had me in a fog. The Stones played "Can't get next to you". I've never heard of an Al Green song titled "Can't Stop Loving You" Don't know what I was thinking Chad Tanner tanner@comp.uark.edu ========================================================================= Date: Wed, 24 Jan 1996 13:15:51 -0500 Reply-To: bob vanarsdall From: bob vanarsdall Subject: I'm a purist on quotes This is by no means the definitive discussion of this topic, but I'd refer anyone interested to the July 3 1995 New Yorker magazine, which printed a missing episode from Mark Twain's Huckleberry Finn called "Huck and the Dead Man". There is then a discussion of the book from various writers like Bobby Ann Mason, EL Doctorow, Roger Angell, William Styron, and David Bradley. Styron and Bradley's pieces, p 132-133, take on the issue of the "n-word" head-on. The novel is under assault from various quarters for Twain's use of the word, to the point that the National Cathedral School in Washington DC has removed it from its 10th grade curriculum because of it, and a black educator from Fairfax VA, John Wallace, has (Styron's words here)"...campaigned to protect youth by insisting that 'Huckleberry Finn' be taken away from school libraries, and has published what has to be an all-time curiosity in the annals of bowdlerization: a version of the text from which every use of the word 'nigger' has been expunged." David Bradley, a black writer, then goes on to describe his feelings about the book, the "n-word" within, and the difference in its use by Tom Sawyer, Huck Finn, and Jim himself. From their differences in use, Bradley says, "My responses may have been unsophisticated, but, reading "Huckleberry Finn", I began to distinguish connotation from denotation, to judge intent by action rather than rhetoric." He concludes by saying: "America ought to be a place where 'nigger' has only historical meaning. Until that happens, the safest place for a child to learn about the word is in a book. From there, it cannot bloody any child's nose." Here on Blues-L we are discussing a musical form which is inseparable from its history. I've very frequently heard both the "n-word" and "mother__" used by African-Americans with a range of expression which rivals only the Far Eastern inflected languages. Again, (as with Bradley) it is the context which reveals the connotative meaning of the word, not the denotative meaning of the word itself. Taking the words out of a story or quote robs them of any function in revealing the speaker's character. But it is the speaker's character, as always, which is the important thing. If a word doesn't help to reveal character, it is superfluous. Bob ========================================================================= Date: Wed, 24 Jan 1996 13:13:26 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Semantics on Blues-L A month or two ago we discussed the semantics of the terminology "bottleneck slide." Yesterday it was the semantics of "blues" in relation to emotional gestalt versus musical genre. Obviously, blues is a big part of a Blueseller's life. I was just wondering how everyone feels about discussing semantics in relation to blues. So I'm taking a poll. REGARDING SEMANTICS, WOULD YOU PERSONALLY AS A BLUESELLER PREFER TO: (A) Discuss semantics of blues-related terminology (B) Play/listen to someone play blues (C) Get a root canal (D) B and C Results will be posted later. Thanks, Ruth ========================================================================= Date: Wed, 24 Jan 1996 12:29:52 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: My new guitar I finally found out more about my wife's guitar purchase :-). We are 99% it's 1933/34 Gibson L-00. It's beautiful dark burst and in very good shape. The 1970 J-50 I have has the warm tone (great for Lightin) ), but the L-00 screams & cries. It is very loud and I'll use it for slide slide , great little guitar. LW ========================================================================= Date: Wed, 24 Jan 1996 13:01:34 -0500 Reply-To: RhythmShrk@AOL.COM From: Bernie Clarke Subject: anything in Pensacola/Ft Walton Beach tonight? I'm stuck down here on business in the off season and there's not a whole hell of a lot going on, but I am looking for suggestions I don't have to work tomorrow, just have to catch a plane, so if anyone knows of any jams or good bands playing within an hour or so of here, drop me a line. Thanks BC ========================================================================= Date: Wed, 24 Jan 1996 14:03:51 -0500 Reply-To: SMess86495 From: SMess86495 Organization: America Online, Inc. (1-800-827-6364) Subject: Lyric Fragment Comments: To: bit-listserv-blues-l@uunet.uu.net Gonna find me a woman yeah, She gonna weigh 325 pounds, Got a head like a pumpkin, Knee like squash, All much round the middle, And O my gosh! Can anyone tell me who did this song? thanks, smess@amanda.dorsai.org ========================================================================= Date: Wed, 24 Jan 1996 11:26:13 -0800 Reply-To: "Kenneth A. Wedin" From: "Kenneth A. Wedin" Subject: unsubscribe address and message Yesterday, I subscribed to too many lists and am being bombarded with several hundred messages each day. Blues-L is the only one for which I am sure that I didn't receive instructions for unsubscribing, unless Blues-L is the one to which we have to send an "ok" message for a final confirmation of the subscription. Please let me know the majordomo or listserv or other address and the message to type to unsubscribe, so I can reduce the number of messages. Kenneth A. Wedin kwedin@pro.net ========================================================================= Date: Wed, 24 Jan 1996 14:08:18 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Pat Hare +++ Is it true that Pat Hare shot his wife and died in prison...I think he's one that doesn't get mentioned enough....Didn't he record (or write) a tune that was similar to his "crime", before he commited it..........I Probally didn't make a bit of sense... This subject has come up a lot lately in conversation: Do you feel that some artists, such as Robert Jr. Lockwood are too sophisticated for their audience Does it seem that SOME blues fans look for the stereotypical "bluesman" and don't embrace someone like as sophisticated/articulate/intelligent (???) as Lockwood....Just curious to what others think. Speaking of Lockwood, I believe that he is right near the top as one of the greatest blues musicians ever, although he's not always strictly blues..That man has the chops, that others only dream about....IMHO LW ========================================================================= Date: Wed, 24 Jan 1996 20:32:26 GMT Reply-To: MATTHEW HASSALL From: MATTHEW HASSALL Organization: Brock University, St. Catharines Ontario Subject: This be one movin' and grooin' blues band. For all you blues fans out there..... If you are ever in Niagara Falls, Canada you have to stop in at the Castlerock on a Sunday night. Every Sunday night, a great band called L.M.T. Connection gets down with some blues, r+b and some soul. Leroy Emmanual is the lead singer and guitar player, big bad John Irvine on bass and the hard hitting Mark Rogers on drums. I can't brag about them enough! If you're ever in the area, check 'em out! It's worth the trip! Matt ========================================================================= Date: Wed, 24 Jan 1996 12:44:19 -0800 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Re: Learning Guitar/Purists Comments: To: Jim Witteveen In-Reply-To: <96Jan23.200418pst.30756-3+1881@haven.uniserve.com> I feel that books, records, lessons, and whatever else you can get your hands on is usefull in the persuit of a blues "education". I dont think that their is any reason to nock a form of learning such as a book in our day and age when it can help immensely. Why should you not learn from a book when you can find transcriptions of Tampa Red and Robert Johnson in them and then learn how to play them along with listening to the record. I find it pretty hard sometimes to figure out what tuning some guy is in and what notes he is hitting. And for myself since I don't know any greats or blues legends firsthand, books and videotapes are the only way to get some of the crux of the biscuit. while I won't get the feel of a song on written music, I'll get the notes and then I can work on playing in the style. I just wish that there were more books I knew of that had transcriptions of delta and country blues. I am really getting frustrated with transcribing songs from records, and I have been trying to learn Mctell's Travelin' Blues this whole week. ( Any help would be greatly appreciated) Isaac. ========================================================================= Date: Wed, 24 Jan 1996 16:08:42 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Band names I thought I had a new name all decided upon for my band, but the guys are balking on me now. Jeez I hate committee decisions..... Does anybody know if there's a way to search for band names already in use? Or how 'bout this one in particular..."Bluedogs" ? I think I know of some "Brewdogs" but I dunno... Man I hate this...everbody's got an opinion....:) Thanks zellers... Riffin Rick (((( oo-) /- "Please baby, give me a chance to explain.." SBWII F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 24 Jan 1996 14:47:57 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Learning Guitar/books In-Reply-To: Message of Wed, 24 Jan 1996 12:44:19 -0800 from >Why should you not learn from a book when you can find transcriptions of >Tampa Red and Robert Johnson in them and then learn how to play them >along with listening to the record. I find it pretty hard sometimes to This is my severely amateur and humble opinion: My step-daughter was taking guitar lessons when I came around. The teacher was only giving tab to work on I took her tab away and told her to start using her ears, she said she can't I said yes you can. Well now she knows I was right, she's got a tremedous ear and I don't. The reason my ear is so bad, is because I was too impatient to sit and figure out stuff, so I never developed my ear. I wish I had figured out about 20 years ago, that playing something note-for note really doesn't help me, unless I'm doing top forty in some club. I know it's important to figure out peoples solos and what not, but when it comes to blues YOUR self expression is what makes it work. John Hammond is a good example, he'll play a Robert Johnson tune, which is nowhere close to Jonhson's version, but it is note for note JOHN HAMMOND...That's the way I see it and it sure has helped me. When BB was asked if he ever improvised he said of course I don't feel the same way everynight. LW ========================================================================= Date: Wed, 24 Jan 1996 13:31:34 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Use of the n-word (I hate this phrase) >Please, please, if for some obscure reason you feel you must use the n >word on-line or in any writing, please DO NOT CAPITALIZE the entire thing. >I am feeling beat-up and nauseous from seeing it over and over and over >this morning in my blues-l digest. If the quote is essential to your piece >for some reason, then use it I guess, but usually it is possible to say, >for example, "describing a heckler who used racial slurs, Mr. X said..." >Black folks run into this word all the time, we've all heard and seen it, >but it's an ugly word, calling up bitter, anxious and terrible times. >Don't if you don't have to. Here's a little story - I was in the record store the other day, and as usual they had some strange tune blaring over the loudspeaker. This time it was something that had the words `this is for the niggaz' repeated ad nauseum, ad infinitum. I felt mighty uncomfortable listening to it, but saw the disk on the `Now playing' display - it was by a black guy (I can't for the life of me remember who, though). I felt even more uncomfortable when the cashier who helped me was also black, and she didn't have a problem with it, it seemed. No point to this tale, really, I just find it strange. -Jim (hndful@uniserve.com) PS. If I see someone else use the phrase `N-word' I'm gonna scream. It's just too reminiscent of the OJ trial! ========================================================================= Date: Wed, 24 Jan 1996 15:27:25 -0500 Reply-To: PARRISHR From: PARRISHR Subject: CD Production A lot of people have recommended that Max convert his tape to CD format. I was wondering whether any of you have experience in producing your own CDs. I will greatly appreciate any thoughts on this subject. Thanks, Ruth ========================================================================= Date: Wed, 24 Jan 1996 16:45:39 EST Reply-To: Robert Crocker From: Robert Crocker Subject: Pat Hare LW's quite right. Sun Records' box set called "The Blues Years 1950-1956" has it as "Not originally issued". Anyway, the song's called "I'm Gonna Murder My Baby", and here's what the liner notes say: This alarming song, born in part from Dr. Clayton's Cheatin' and Lyin' Blues, presaged events in Pat Hare's life. Life imitated art for a change. He did in fact murder his baby, albeit several years later. Hare is not a great vocalist, but this recording is distinguished by his guitar solo and and the psychopathic nature of the song. Hare's menacing response to his girl's infidelity is captured on tape aand could almost have been used as court evidence. In the light of what transpired, interjections such as "Gonna Kill Her Tomorrrow!" are chilling. Arguably, the violence in Pat Hare's life lay veery close to the surfae, although many of his cohorts from the good days in Memphis remembered him quite differently. Rosco Gordon described Hare as "... a beautiful personality, such a gentle person" in a Living Blues interview (#49). In any case, this is a very disturbing record. So we can add Pat Hare's name to the list of artists which would also have to include Magic Sam and Earl Hooker -- those who were snatched away from us too soon. One has to wonder how things might have otherwise been ... Oh yeah ... that's Pat Hare's guitar on the original Muddy Waters version of "Evil"! Robo in Mississauga ========================================================================= Date: Wed, 24 Jan 1996 15:55:14 CST Reply-To: JBards From: JBards Subject: Re: Semantics on Blues-L Comments: To: PARRISHR Definitly "D". And you didn't include "poke red-hot needles through my eyes". Frankly, I couldn't beleive that I was reading someone saying that 'you cannot prove to me that one can /express emotions/ by playing the blues.' Isn't that, after all, why we play? And listen? I would argue the counter, that music may be the purest ( NOT PURIST! AAARRRRGGGHHH) and most direct conduit for emotional expression. Now, one may argue that a given performance may paint a different emotional palette for the person standing next to me than it does for me, but I think we're getting into a philospohical treatise on subjectivity at that point, and I didn't join this listserv to nit-pick, debate, or beat to death gratutious arguments for the sake of displaying my classical education or perceived intellectual prowess. If I wanted to do that, I believe there's a good 12-point program sponsored by MENSA somewhere. Here I just want the blues, and a little good company. -Jim _______________________________________________________________________________ Subject: Semantics on Blues-L From: PARRISHR at INTERNET-SH Date: 01/24/96 3:39 PM A month or two ago we discussed the semantics of the terminology "bottleneck slide." Yesterday it was the semantics of "blues" in relation to emotional gestalt versus musical genre. Obviously, blues is a big part of a Blueseller's life. I was just wondering how everyone feels about discussing semantics in relation to blues. So I'm taking a poll. REGARDING SEMANTICS, WOULD YOU PERSONALLY AS A BLUESELLER PREFER TO: (A) Discuss semantics of blues-related terminology (B) Play/listen to someone play blues (C) Get a root canal (D) B and C Results will be posted later. Thanks, Ruth ========================================================================= Date: Wed, 24 Jan 1996 16:18:09 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Pat Hare +++ Comments: To: L W In-Reply-To: Pat Hare: Yes, he shot his wife and an arresting officer in Minneapolis in the early '60s and spent the rest of his life in prison, where he died of cancer in the early '80s. He played a couple concerts near the end, showing that he'd moved toward jazz during his prison term (as many guitarists seem to) but was still excellent. He didn't write "I'm Gonna Murder My baby" (Dr. Clayton gets that credit) but he did adapt it and two takes of his Sun version have been issued. There was an excellent article on Pat and the shooting in Juke Blues several years ago. Lockwood: Apart from his sophistication, there can't be much question that he's one of the all-time definers/masters/archetypes of blues guitar with beautiful walkups and walkdowns, chord voicings, knowledge of Robert Johnson's style, so... the point is, tell me why again that nobody has done an instructional video with him. It seems so obvious and the sands of time are still moving, last time I checked... ========================================================================= Date: Wed, 24 Jan 1996 16:38:00 -0600 Reply-To: Rob Varak From: Rob Varak Subject: You Know You're a Zeller if... Consider this a direct rip-off of the current thread. Imitation is the sincerest form of flattery. You know you're a 'zeller when... One of your highest aspirations is to make it onto Eric LeBlanc's blues dates. You find yourself referrfing to someone as "P.W." in the middle of a heated debate. You chastise your significant other by saying, "Why can't you be more like LW's wife?" Your keyboard is covered with saliva stains from drooling over CD reviews. You say to yourself, "Hmmmm. Only 413 messages today. I wonder if something is wrong with the server?" You'll cringe everytime you hear the words "boogie" and "nation" in the same sentence. You have an irresistable urge to type immediately after seeing a great show. You hear a CD or read liner notes and think, "Mary Katherine Aldin, Dick Shurman or Dick Waterman could've done much better". You hate discussing Eric Clapton, even if you like him. The name "Jim Hartac" strikes fear in your heart. You can write fellow 'zellers w/out looking at their email addresses or hitting "reply". You fondly miss Raj and VT - - - - - - - - - - - - - - - - - Just a few. Any typos are mine and mine alone!! Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Wed, 24 Jan 1996 17:40:50 -0500 Reply-To: ar550@freenet.carleton.ca From: Patrick Beaudry Subject: Ottawa Blues Fans-Save the Rainbow On Tuesday, January 23, The Rainbow Bistro, a blues institution for the past 11 years in Ottawa has closed its doors because of unpaid rent. This evening, Wed. Jan 24, at 6 p.m. there will be a rally outside the cclub at 76 Murray Street in Ottawa. A benefit for the club is being organized for the club on Feb. 3 at a yet unknown location. For those in the Ottawa area, please come out and show your support. I'm sure alot of musicians on this list have played the club and don't want to see it go down. Thanks! -- If you don't like the blues, you've got a hole in your soul... PAT BEAUDRY'S MIDWEEK BLUES / CHUO-FM89.1 / WEDNESDAYS AT 8 p.m. Ottawa, Ontario, Canada ========================================================================= Date: Wed, 24 Jan 1996 16:44:13 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Pat Hare +++ > From: L W > Is it true that Pat Hare shot his wife and died in prison...I think he's > one that doesn't get mentioned enough....Didn't he record (or write) a tune > that was similar to his "crime", before he commited it.... Yep. He recorded "I'm gonna murder my baby" in the 50s for Sun. A few years later he did just that. He spent the rest of his life in a Minnesota prison as I recall. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Wed, 24 Jan 1996 18:30:38 -0500 Reply-To: hhardy@BCONNEX.NET From: Hugh Hardy Subject: Re: Blues without feeling? In-Reply-To: <104f3bb0@vitro.com> If you think that music cannot convey emotion, then you obviously haven't heard Son House :-)> Hugh Hardy ========================================================================= Date: Wed, 24 Jan 1996 18:01:39 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Blind willie johnson Sk> THE COMPLETE RECORDINGS OF BLIND WILLIE JOHNSON C2K/C2T 52835. Sk> Aside: He's Texas gospel, neither delta nor blues. Sort of a Sk> cousin. Sk> Tom Freeland It's really refreshing to see that someone here understands the music well enough to be able to make this distinction. Thanks. Now, teach 'em the difference between knife, slide, and bottleneck guitar. ... "Believe what you will, until experience changes your mind!" Babylon 5 --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Wed, 24 Jan 1996 19:01:55 -0500 Reply-To: arlenk@NETAXIS.COM From: Arlen Khodadadi Subject: Re: A rant from Don about open-m At 09:26 AM 1/24/96 GMT, you wrote: > >Being "open-minded" may denote a willingness to listen and/or examine >viewpoints or opinions different from the ones you hold, but it does *not* >mean an uncritical acceptance of all viewpoints or opinions. I believe that is what I said, one has to at least consider opinions different from his own. I don't think one should accept all other points. But one shouldn't stubbornly say that he and only he is right. >Nor does it mean >that "an opinion cannot be wrong" as one person posted - that is a perfect >illustration of the "dumbing down" of our educational system and the belief >that *all* things are relative (I do not dispute that *some* things are >relative, musical taste being one of them - the blues I prefer may not be the >blues you prefer, and that's alright). But it should be self-evident that two >*opposite* viewpoints or opinions about matters not inherently relative cannot >both be right. > I don't believe I said that all opinions are right. I did say that opinions cant really be wrong. If I think that Bill Clinton is a good president you cant point to a fundamental theory of Calculus that says I am wrong. However, if some one thinks the world is shaped like a Swiss Army Knife, then one can safely say he is wrong. What we need is a basic definition of opinion (and right or wrong). > >Hey, Led Zep helped point me to the blues in the first album, but once I >started listening to the originals I've never gone back, it just doesn't >compare and it sure ain't "blues." > What is with the cheap shots at Led Zep :) Thanks... arlenk@netaxis.com ========================================================================= Date: Wed, 24 Jan 1996 19:05:20 -0500 Reply-To: arlenk@NETAXIS.COM From: Arlen Khodadadi Subject: Re: A rant from Don about open-mindedness At 09:17 PM 1/23/96 -0600, you wrote: >What people *really* >mean by "open-minded" is "tolerant of others' shortcomings." That is a pretty dismal out-look on society. At least you didn't say anything bad about Led Zeppelin :) Thanks... arlenk@netaxis.com ========================================================================= Date: Thu, 25 Jan 1996 00:06:30 GMT Reply-To: "J. Wade Luther" From: "J. Wade Luther" Organization: MindSpring Enterprises Subject: Re: NASHVILLE Comments: To: bit-listserv-blues-l@uunet.uu.net >Barry Bean wrote: >>I'll be spending a few days in Nashville next week and need some ideas on blues >> and jazz hotspots to check out. I'm also on the lookout for a decent music >> store or sax shop. >> >>BBB >> > Try the Boardwalk Cafe! ========================================================================= Date: Wed, 24 Jan 1996 19:21:25 -0500 Reply-To: Slydemann@AOL.COM From: Dave Melton Subject: Re: A rant from Don about open-mindedness Comments: To: tdelling@coewl.cen.uiuc.edu Or, perhaps, open mindedness could mean in some cases reserving judgement in the unlikely event that the shortcoming may sometimes be our own. (This is not directed at anyone, just my general thought of the moment.) One way or the other, hopefully , we will learn something from all our hashing and move on in some sort of positive way. (as long as we stay open-minded) hahahah ========================================================================= Date: Wed, 24 Jan 1996 16:49:33 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: A rant from Don about open-m Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Arlen said: >I don't believe I said that all opinions are right. I did say that opinions >cant really be wrong. If I think that Bill Clinton is a good president you >cant point to a fundamental theory of Calculus that says I am wrong. >However, if some one thinks the world is shaped like a Swiss Army Knife, >then one can safely say he is wrong. I must disagree. Opinions may be very wrong, even if they are not about scientifcally verifiable topics. The view that "opinions cannot be wrong" reduces opinion to perception, and perception, of course cannot be wrong because it is the way someone understands something. BUT, If opinion is merely perception, why should I *care* about it? After all, my five-year old thinks Keiko the Orca (from "Free Willy) will fit in our living room and would make a great household pet... So we took her to Sea World to see Shamu. Have you seen Shamu? BIG critter... not gonna fit in living room. Katie was even a bit frightened of Shamu, which surprised her. What makes us think that once we hit 21 or so, that all of our perceptions result in *valid opinions*??? It is the quality of the bridge we build from perception to opinion that determines the validity of that opinion. When opinion is merely perception, it has little value The investigation, the learning, the curiousity, the critical thinking, that we apply to our perceptions determines the validity of our opinions. And we know darn well that a lot of opinions are poorly-informed, have very little thought behind them, and have not been investigated at all. Are they equal to an informed opinion? I think not. I had dinner with Sid Weiss a few years ago. Sid was the bass player for Benny Goodman years ago, and it was a treat to get to hear Sid tell us some stories. Towards the end of dinner, I asked him: "So Sid, tell me, I loved Goodman's music, but I have heard so many stories about his bad temper". "What was Benny, a genius, or a pain in the ass?" He thought for a second and said: "Benny was a genius".... let that sink in, smiled broadly, and said: "and a pain in the ass sometimes".... We all cracked up... So who's opinion of Goodman has validity? Sid's, or some guy off the street? Mine, or someone who hates jazz? Yes, my friends, opinions CAN be wrong.. IMO, of course... ;-] DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Thu, 25 Jan 1996 01:17:11 GMT Reply-To: cnotes@CNOTES.COM From: Mike Corso Organization: C NOTES INTERACTIVE Subject: Autographed Jerry McCain CDs! Comments: To: bit-listserv-blues-l@uunet.uu.net Excello recording legend Jerry McCain will be live online on WebChat* via Muddy's Cabin on Friday, January 26th at 7PM EST. THE FIRST TEN VISITORS TO THIS EVENT WILL BE AWARDED AN AUTOGRAPHED CD OF "THE BEST OF JERRY MCCAIN" !! Jerry McCain is a true original with God's talent coming out of his ears. AVI Entertainment recently released _That's What They Want: The Best Of Jerry McCain_, a stellar 23-track collection of some of the most important music ever issued on the Excello label. A few of the highlights in this package are: "That's What They Want," the brooding, bluesy "Things Ain't Right," "My Next Door Neighbor," "A Cutie Named Judy" and "I'm A Ding Dong Daddy From A Rock & Roll City." The music produced by Jerry McCain is as special as it comes. Whether you'll be attending this online conference or not, please forward any questions you have for Jerry to: avi@cnotes.com The Jerry McCain home page, with Real Audio sound files, can be found at http://www.cnotes.com/cnotes.soul.html * WEBCHAT INFORMATION: ------------------ WebChat is form-based, meaning that you don't need any special software or access priviliges to use it -- just a standard, form-based web browser. WebChat also does not work like the commercial chat rooms: Here, you type a message, then click the Chat button. To read subsequent messages, you have to click the Chat button again. This button is also called the Get/Send message button. Nearly all current web browsers work with WebChat, but they all handle WebChat a bit differently. Here are the instructions for using WebChat: 1. You'll need a forms-capable web browser. 2. Click the Enter WebChat button (then read more stuff on Muddy's Cabin). 3. Click the "Click here to enter WebChat" button. 4. Scroll down the latest entries. They're posted from least to most recent. 5. At the bottom, enter your handle. 6. Enter your message in the message field. 7. Click the "Chat" button. This reloads the page and posts your message. 8. Don't use your web browser's reload button to reload the page. (But with AOL's and some other browsers, you must use your reload button.) 9. Wait a minute, then click the "Chat" button again (to view the replies). For more information about Muddy's Cabin and the guest sessions please e-mail Cat Bauer at catbauer@vivanet.com. -- CNI Long Distance, supporting Peace, Human Rights, the Environment, and the fight against AIDS. Email: longdistance@cnotes.com http://www.cnotes.com/telecom/cnitelpage.html ========================================================================= Date: Wed, 24 Jan 1996 20:35:09 -0500 Reply-To: Niles Frantz From: Niles Frantz Organization: Megaweb Subject: Re: Etc./Byther Smith Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199601191704.LAA29440@picasso.ccad.uiowa.edu> Ranko Vujosevic wrote: > 2. I learn that Byther Smith is on preparing a new album to > be released on Delmark. You are correct about the new album for Delmark. Expect it in late spring or early summer, according to the label. I saw Byther at Koko Taylor's Chicago Blues last night. Very nice show. Songs from throughout his career, plus a bunch of covers, The Thrill Is Gone, Messin' With The Kid, Kepp On Lovin' Me Baby. Tight little band. Byther was full of energy, smiling, and playing tons of stinging guitar. His singing voice is formidable - strong and clear. Niles A loop is a loop is a loop. ========================================================================= Date: Wed, 24 Jan 1996 19:41:16 -0600 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: Semantics on Blues-L Comments: To: PARRISHR@VITRO.COM In-Reply-To: <10677880@vitro.com> from "PARRISHR" at Jan 24, 96 01:13:26 pm In an earlier message, PARRISHR said: ] REGARDING SEMANTICS, WOULD YOU PERSONALLY AS A BLUESELLER PREFER TO: ] (A) Discuss semantics of blues-related terminology ] (B) Play/listen to someone play blues ] (C) Get a root canal ] (D) B and C Anything but A. Maybe C, then B. Hmmmm..... "Five Long Hours" "Dental Trouble". "The Drill is Gone" "Me and the Dentist" "Standin' Around Cryin'" then the Elmore James Medley: "I Can't Hold Out", "It Hurts Me Too" -- * Billy Chambless | billy@cast.msstate.edu | voice: 601-688-7608 * Mississippi State University Center for Air-Sea Technology * To attain knowledge, add something every day. * To attain wisdom, remove something every day. -- Lao-tse ========================================================================= Date: Wed, 24 Jan 1996 17:41:03 -0800 Reply-To: emdrprac@DIRECT.CA From: Roger Brant Subject: Re: N***** Edward C. Liu (edwick@cc.bellcore.com) wrote: > | If enough people think the same way about a word, won't the >meaning change? What do "inflammable" and "disinterested" mean? >If people stop using a word, even an insulting one, will the >sentiment really go away? I haven't been referred to as a "gook" >or a "slant" recently, but does that mean anti-Asian sentiment >doesn't exist anymore? Reminds me of Lenny Bruce's bit about "the N word" ......... and how words become meaningless when over-used........ And is this thread drifting futher and >further away from the blues? Yes. I think so. But it is still relevant. ========================================================================= Date: Thu, 25 Jan 1996 03:27:38 GMT Reply-To: Greg Earhart From: Greg Earhart Organization: Humphrey Institute of Public Affairs Subject: Re: Ted Hawkins/John Campbell >I also picked up John Campbell's `Howling Mercy' - I love the arrangements >and instrumentation, but the vocals are ...umm, how can I say this... less >than impressive - at times he sounds like Metallica does blues, and it's >definitely not my bag. However, that band gets into a groove and doesn't >let up (as in Saddle Up My Pony, a great song.) I know that Campbell passed >away a couple of years ago In JC's defense, I find the vocals "haunting" and truly wonderful stuff. He led the classic tragic life and died the same. ========================================================================= Date: Thu, 25 Jan 1996 03:30:53 GMT Reply-To: Greg Earhart From: Greg Earhart Organization: Humphrey Institute of Public Affairs Subject: Re: Take me to the river >I really enjoy both Talking Heads' and Syl Johnson's versions of Take Me To The >River. >The song credits on both cd's say A. Green and M. Hodges. >Who are A. Green and M. Hodges? Is there an "original" recording? Does the song>have "history?" Al Green and Mabon Hodges. Also heard on the "Committments" Soundtrack. Greg ========================================================================= Date: Wed, 24 Jan 1996 21:29:23 -0600 Reply-To: Keith Castleberry From: Keith Castleberry Subject: Elvin Bishop, Capricorn years I am an old Elvin Bishop fan. Does anyone know if there has been a re-issue of Mr. Crabshaw's work during the Capricorn years on CD? I really need these tunes; by albums are worn out. Keith Castleberry WYDH 105.9 FM "The Blues Cruise" ========================================================================= Date: Wed, 24 Jan 1996 19:49:24 -0800 Reply-To: emdrprac@DIRECT.CA From: Roger Brant Subject: Vancouver Concert There is a concert to "Save the C.B.C." (Canadian public radio, for all you non-Canadians) - included are several blues and roots music acts: Jim Byrnes, Colin James, Long John Baldry, David Essig, David Gogo, Ellen McIlwaine, Gypselero, Roy Forbes, Bob Bossin, Ken Hamm, and many many others. ALL FOR A DONATION (suggested: 5 to 10 dollars: Wot a Deal!!) PLACE: Hyatt Regency Hotel Ballroom, 655 Burrard St TIME: 7 p.m., SUNDAY, JANUARY 28th BTW, this is a FAMILY event, with mixed seating, walk-a-round area, dancing, hangin' out, etc..... Treats for all ages (alcohol/non-alcohol) available. BE THERE!! "Tell the Liberals a DIME-A-DAY is a fair price for public broadcasting!!" Further info: Friends of Canadian Broadcasting: 1-800-576-5554, or in B.C. (locally, Vancouver): (604) 685-7650 ========================================================================= Date: Wed, 24 Jan 1996 21:04:47 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Gary Moore question Does anybody know (oh, surely *somebody* on this list knows) what year Gary Moore had a chart hit in the UK with Jimmy Rogers' song "That's All Right" ? And does anybody know how high it actually charted? It's referred to as a "chart-topping hit" in an article I have but....it also says here it sold "millions" of copies. Anybody have anything firm on that? And let's pray that Jimmy finally saw some writer's royalties off this version, if so. As usual I am on deadline to get these liner notes in. As usual I would appreciate a response asap. TIA, Mary Katherine Aldin ========================================================================= Date: Wed, 24 Jan 1996 23:39:52 -0600 Reply-To: Todd Ehlers From: Todd Ehlers Subject: BB does both On the 1992 MCA boxed CD set "King of the Blues" are many unreleased tracks. Among them is a 9/15/82 recording of BB singing AND playing rhythm guitar to "Play with Your Poodle" by Sam Hopkins. It's a short, fun-in-the-studio kind of track, but BB unmistakably accompanies his voice with Lucille at the same time. Pretty good rhythm, too, for just horsing around. Todd E. ========================================================================= Date: Wed, 24 Jan 1996 22:07:30 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Pat Hare Regarding Pat Hare - besides his criminal activity, he played some fabulous (amazing IMHO) guitar on James Cotton's `Cotton Crop Blues' (1954, Sun Records version) - some of the best blues guitar I've ever heard. I don't know much about his work - can anyone tell me who else he played with? -Jim (hndful@uniserve.com) ========================================================================= Date: Thu, 25 Jan 1996 01:29:46 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: You Might be a Blue Neck if........ RJ Bauman said I might be a Blueneck if... >You yell out for Buddy Guy songs at Buddy Guy concerts............ I went to see Buddy on Jan. 13 at Legends in Chicago. He must have heard some criticism of his imitating rock-stars, because he said to us, "I know you don't want to hear me play rock, so I'll show you how Marvin Gaye sounded." After that, he played a little bit of Ray Charles. Then he said, "Now I'm gonna show you how Buddy Guy sounded in 1991!" (Wild applause and cheering.) He played "Damn Right I've Got the Blues" and it was the best song he played all night (IMHO, naturally). Unfortunately, he followed it up with snatches of Clapton and Hendrix....he seemed not to be able to help himself. I think Buddy sounds best when playing himself. I must be a Blueneck. Or a purist... Or narrow-minded.... Or any one of a hundred thousand similar epithets.... ;-) Karen ========================================================================= Date: Wed, 24 Jan 1996 23:21:04 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: John Campbell I wrote: >>I also picked up John Campbell's `Howling Mercy' - I love the arrangements >>and instrumentation, but the vocals are ...umm, how can I say this... less >>than impressive - at times he sounds like Metallica does blues, and it's >>definitely not my bag. However, that band gets into a groove and doesn't >>let up (as in Saddle Up My Pony, a great song.) I know that Campbell passed >>away a couple of years ago... And Greg replied: >In JC's defense, I find the vocals "haunting" and truly wonderful stuff. He >led the classic tragic life and died the same. I find the entire album to be very haunting and extremely well done - the problem i had with the vocals was that rasp (which reminded me, honestly of Metallica) - I just think that his natural voice is good enough without the roughness (IMHO). That doesn't take away from the fact that the songs are good, the album is great, and after listening to it I won't be able to walk down a dark road without looking over my shoulder... A question: what exactly is `the classic tragic life'? -Jim (hndful@uniserve.com) ========================================================================= Date: Thu, 25 Jan 1996 03:03:46 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Semantics on Blues-L Ruth asks: >REGARDING SEMANTICS, WOULD YOU PERSONALLY AS A BLUESELLER PREFER TO: > (A) Discuss semantics of blues-related terminology > (B) Play/listen to someone play blues > (C) Get a root canal > (D) B and C I vote A and B, simultaneously, if possible. Words and blues are my two most favorite things. (And I've already had way too many root canals!) I'm enjoyin' the snot out of these discussions. Yes, it has occurred to me that perhaps they do stray into the "non-blues thread" areas. (I've noticed, however, that some non-blues threads seem to be more acceptable here than others. ) Anyway, I much prefer discussions of semantics to the name-calling, sarcasm, and competitive posturing that abound here (although some particularly clever people have managed to combine the two). Btw, thanks to all those participating in the Lonnie Johnson discussion. It inspired me to pull out those CDs and listen again--it's been a while. I just love this stuff! And to tie it back into semantics, I just love those lyrics (even the double entendres)! Karen ========================================================================= Date: Thu, 25 Jan 1996 05:11:03 -0500 Reply-To: "jose.eric.s.maglanque" From: "jose.eric.s.maglanque" Subject: Zen and open-mindedness, purists, etc... I think this is an important thread but I wish to myself that this discussion is not supposed to resolve an issue. My take on this is similar to what Robert Pirsig ("Zen and the Art of Motorcycle Maintenance") delineates in "Lila." People and groups of people develop static patterns of value (i.e., simplistically, what we like and dislike on a biological, psychological, social, cultural, etc. - level). However, there are such opinions (dynamic values and dynamic value patterns) which are less accepted because of the sheer institutionalization of static value patterns (socio-cultural customs and traditions). Science in itself is a set of value patterns on what the Wester world believes to be true or false about reality. It is a manner of investigation based on a set of beliefs -- in the same that our opinions are formed based on a set of beliefs! When a phenomena in nature comes up which is not heretofore explained, predicted, or expected by science, it is dismissed as an exception rather than the rule. A platypus -- an "unnatural phenomena." Thing is, this applies to social groups also. In the case of religion, for instance, when the priest says that the white wafer is the body of Christ, and you ask him if he means it symbolically, he will tell you "No, son. I mean for real." Some of you may possibly disagree. If somebody believes in something different from what most believe in, he will have become a "religion of one." If more and more people subscribed to his view, and indeed if it became institutionalized as is the case with the Catholic Church, then it will have been "religion" as we traditionally know it. So what's the difference? Critical mass??? Does this mean I'm open-minded? Not at all... That I suscribe to this, shall we say, open-minded view is in itself a value pattern. I can't bother myself whether I'm right or wrong about my or somebody else's opinion. It boots me nothing at all, so why bother. As I said before here, I'm not real comfortabe with lines being drawn about anything, especially about the music I live for-- the Blues. I just sit back and enjoy it. Just my $0.02. ========================================================================= Date: Thu, 25 Jan 1996 05:21:51 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Sitting&Thinking-Coco Montoya. With the recent talks about the Handy's etc. I thought I'd post this review of one of the Handy nominees. Also soon at our web page we will have the entire list of Handy nominees, along with 45 cross-referenced reviews. Should be up by next week at the latest. --------------------------------------------------------------------- --------------------------------------------------------------------- COCO MONTOYA / Gotta Mind To Travel (Blind Pig #5020) BLIND PIG RECORDS P.O. BOX 2344 SAN FRANCISCO, CA. 94126 BOOKING - TOM GOLD AGENCY 415-648-0530 What can you expect from a drummer turned axemaster? PLENTY - when his name is Coco Montoya. Coco met Albert Collins in what must seem to be a millennium ago. He was playing his drums in a little bar in Culver City and soon after Mr. Collins asked him to join him on the road. He played alongside Albert for a while and there got a first hand introduction to the guitar from one of its gods, the late and great Albert Collins. We should all be this lucky. Then, some time later, Coco came upon more good fortune. He got the chance to hook up with John Mayall and that part of his journey lasted for many years. Now taken out from the back and put right up front we get the opportunity right in our faces to hear what Mr. Collins and Mr. Mayall knew way back then. The truth is that Coco is not just good because of his affiliations, but his affiliations were that good because of his talents. So get ready - it's COCO TIME. TOO MUCH WATER / GOTTA MIND TO TRAVEL / TALKIN' WOMAN BLUES / SOMEDAY AFTER AWHILE / TOP OF THE HILL / SAME DOG / LOVE JAIL / YOU DON'T LOVE ME / NOTHIN' IN THE STREETS / AM I LOSING YOU NY CD-Takes TOO MUCH WATER: The first few bars are Coco Montoya, right in your face with the a huge, sweet, crystal clear guitar and some quick fingered string work. His vocals follow and they too are set in this same straight ahead, bright sound. The beat is setup mid tempo and solid blues. Debbie Davies plays her rhythm guitar here, as she does throughout this CD, but here adds her vocals to the background. The real treat is the writing credits. This cut was cowritten by Coco Montoya, with another one of my favorite bluesmen, Mr. Doug MacLeod. This cut is really a terrific introduction to Mr. Montoya who finally has made it out from the back and the side of other big blues artists and now gets his just due front and center. I was particularly pleased to hear the very nice voice Coco has to go along with his great quitarwork. Coco's guitar by the way has one big fat and delicious sound on this side. GOTTA MIND TO TRAVEL: Here the pace and the stroking quickens. It's a bit funky and rich in the higher register of Coco's guitar playing. He also opens his vocals up - almost reaching a holler. There's plenty to recommend this side and it is a big, blazing showcase for this finally out of the can blues-guitar-virtuoso. TALKIN' WOMAN BLUES: As the credits read, Coco Montoya got one big shot in the arm early on when he met up with Albert Collins, so for Albert to be joining him here on this Lowell Fulson side that Mr. Collins had recorded previously is justice done. As this side progresses it really is a guitar lover's paradise. These two lead guitars are fire and ice for the full side. SOMEDAY AFTER AWHILE: Freddy King wrote this side and Coco gives it a good solid dose of wailing strings. He plucks and adds some really catching riffs - some short noters and a couple of longer duration. He also takes a long guitar solo, that may well bowl you over. A good backing to his drawing and front and center vocal take here. This is very strong blues. TOP OF THE HILL: Coco Montoya's other mentor, John Mayall, wrote this side and joins in for a high energy production. John's harp is as strong and blistering as ever and he also takes his licks here on the piano and vocals. The center of this cut is a big hit of mixed bag music coming out from all edges. All of the instruments are cooking and John and Coco trade some vocals between them. SAME DOG: This is the second side cowritten by Coco and Doug MacLeod and you can feel the feel that Doug brings to his blues writing. There is definitely an ease and a deep bluesy feel here both in the pacing and in the words. This could easily be your first play side. You'll also hear some of the best guitarwork right on this side. LOVE JAIL: This side is a soloed, Coco Montoya written piece. Listen and try to figure out what Joe Yuele is doing to get that opening raw metal sound on his drums - I couldn't, but it did set the piece up nicely for me. I always like when a piece talks to me from a place I can't pinpoint. This side is good modern blues. YOU DON'T LOVE ME: Two for two, Coco has written another side, but this one is way down and dirty. The cut prior had an up feel with a definite dance beat under it - while this one was written for the crying guitar. Coco gets blue, real blue, on the words, but the guitar steals this one along with some very well placed piano by Rob Rio. NOTHIN' IN THE STREETS: Debbie Davies moves over here to lead guitar and gets to share the vocals with Coco. It's an uppity cut that moves from the opening guitarwork. Add to the pot the Texicali horns, Darryl Leonard and Joe Sublett, and the side has a feel unlike anything else on this CD. Debbie Davies is a very nice vocal fit with Coco and brings a good country taste into this mix. AM I LOSING YOU: Here the guitar gets dreamy to close out a strong session. The song is surprisingly not a straight blues side - except for the guitar which holds the line, but rather a countryish cut that follows suit nicely off of Coco's prior duet with Ms. Davies. The fact is, this side goes beyond country and into what may best be called contemporary music. It's really a very interesting take from a well dipped blues guitarist and should set you to thinking. This is a CD to own. Reviewed by Barry Silverberg Copyright NY CD Blues @1995-1996 All Rights Reserved. Unauthorized use prohibited. NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 25 Jan 1996 06:10:37 -0500 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: Pat Hare Comments: To: Jim Witteveen In-Reply-To: <96Jan24.220854pst.30762-4+530@haven.uniserve.com> On Wed, 24 Jan 1996, Jim Witteveen wrote: > Regarding Pat Hare - besides his criminal activity, he played some fabulous > (amazing IMHO) guitar on James Cotton's `Cotton Crop Blues' (1954, Sun > Records version) - some of the best blues guitar I've ever heard. I don't > know much about his work - can anyone tell me who else he played with? He was in Rosco Gordon's band, and recorded two sides with them in Memphis on June 9, 1955: "Just Love Me Baby" and "Weeping Blues". A very good friend of mine, Foree Wells, took Pat's place in the band when he was sent to prison. Speaking of Rosco Gordon and Foree, does anyone out there know how I can get a copy of Rosco's big hit "The Chicken (Dance With You)". It was recorded in February 1956 and released as Sun/Flip 237. Foree played guitar on the session, but he has never heard the finished product. I haven't seen this title listed on any Rosco Gordon compilations. Thanks for any help. Brenda Bogert Louisville KY ========================================================================= Date: Thu, 25 Jan 1996 11:59:41 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Queen Bee Queen Bee & The Blue Hornet Band will be in Montreal 20 March. She is listed as being from Harlem. Can anybody tell me more? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [25/1/96 6:57 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 25 Jan 1996 06:30:19 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Re: Learning Guitar/Purists -Reply Comments: To: isprints@INDY1.CALARTS.EDU I agree wholeheartedly with your analysis. I was at the Miss. Valley Blues Festival a couple of years ago, and they were horrified at the thought of learning blues from a tape. Well, that's the way i learned, and now, i can appear 52 nights a year at the famous Blues Saloon in St. Paul. Had i listened to the purists, i would still be at home in bed on Monday nights! regards, delta doc roger ========================================================================= Date: Thu, 25 Jan 1996 08:15:37 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: You Know You're a Zeller if... AND... You know you're a Zeller if ... You know the "It's not about race, it's about music" debate by heart. You wish you lived closer to Bonnie's radio station. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Thu, 25 Jan 1996 08:00:16 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Blues-l "Quote of The Day" "I don't believe I said that all opinions are right. I did say that opinions cant really be wrong." ========================================================================= Date: Thu, 25 Jan 1996 08:01:06 CST6CDT Reply-To: "Sara C. Oxton" From: "Sara C. Oxton" Organization: University of Minnesota Subject: Re: Pat Hare +++ Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu Not to belabor the morbid, but anyone who's in Chicago and sees Lynwood Slim (now playing with Dave Spector) should ask him about Pat Hare. While Hare was here at Stillwater Prison, Walter Horton would come to town to see him. Slim has good stories of Hare/Horton summit talks at the jail. Sara ========================================================================= Date: Thu, 25 Jan 1996 14:16:22 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: In PW's opinion ... Okay, it's not blues but the traffic is very light so grant me a dispensation :) Besides I am in mourning over the death of my favorite local blues club. PW posits that an opinion cannot be wrong. In my opinion that opinion is wrong. Since these opinions are mutually exclusive, one must be wrong. Ergo my opinion is right and PW's is wrong ...errr or is it? :) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [25/1/96 9:12 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 25 Jan 1996 08:23:18 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Kent DuChaine review My wife and I went to see Kent last night, mainly to give him support. The last time I went to see someone at this particular club, I was the only one who clapped. SERIOUSLY. So last night my wife and I were the only ones who clapped for Kent. I've seen him too many times to mention and last night I didn't go to hear him, it was a friend/support thing. Well he was outstanding, the best I've ever seen him. He played more blues than usual, probally cause the two people listening were us. I felt bad for him, no one paid attention. One lady , during the break asked him to turn up the Bad Company tune, that my wife and I were complaining about. Then asked him why was he louder than the juke box. He sold a few cd's, which was good. We couldn't stay for the last set, which we felt bad about cause there went his applause. He really played his butt off, for the applause of two... LW ========================================================================= Date: Thu, 25 Jan 1996 08:58:31 -0600 Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: Re: lightnin Hopkins Comments: cc: eric The Arhoolie label has MANY Lightning Hopkins on their label, some good stuff. Don't have their number handy, but if you email me privetly, I will give you the needed information. >I have Mojo Hand and the complete Aladin Recordings by Lightnin >Hopkins. What other albums are there of this artist? I saw L.A. Blues >i think it was called. But I'd like to know more about my favorite >guitarist. > > ========================================================================= Date: Thu, 25 Jan 1996 09:59:52 -0500 Reply-To: PrePhoto From: PrePhoto Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Take me to the river Comments: To: bit-listserv-blues-l@uunet.uu.net RUN, do not walk to your local music sales emporium, and purchase the Best Of Al Green. Go immediately home, pull up a comfy chair and begin your education. Takling Heads - bah humbug DP ========================================================================= Date: Thu, 25 Jan 1996 10:00:47 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: In PW's opinion ... Comments: To: phertel@CMC.DOE.CA On 25 Jan 96, Pat Hertel had this to say... > Okay, it's not blues but the traffic is very light > so grant me a dispensation :) Besides I am in mourning > over the death of my favorite local blues club. > > PW posits that an opinion cannot be wrong. In my opinion > that opinion is wrong. Since these opinions are mutually > exclusive, one must be wrong. Ergo my opinion is > right and PW's is wrong ...errr or is it? For the record, that was a quote from another post. Not at all my opinion. In fact, the quote itself proves your point. Both of those sentences can't be right. > "I don't believe I said that all opinions are right. I did say that > opinions cant really be wrong." Also for the record Blues-ler Arlen Khodadadi is the author of those two sentences. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 25 Jan 1996 10:10:33 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Arhoolie Orer Form? Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I recently got the Arhoolie catalog and I want to order some cds form them. The ordering instructions say to fill out the order form included with the catalog, but I didn't get an order form. Can anyone tell me where I can get one? The catalog doesn't even list the cd prices. Thanks, Steve ========================================================================= Date: Thu, 25 Jan 1996 10:40:09 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: You know you're a bluesneck when..... ....you consider your co-worker's Sinead O'Connor cd in with your mountain of blues discs to be sexual harassment in the workplace. :) Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 25 Jan 1996 09:39:20 +0600 Reply-To: toulouse Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: toulouse Organization: CommNet Inc. Subject: Re: Take me to the river Comments: To: cuthulu@prysm.net cuthulu wrote: > > I really enjoy both Talking Heads' and Syl Johnson's versions of Take Me To The > River. > > The song credits on both cd's say A. Green and M. Hodges. > > Who are A. Green and M. Hodges? Is there an "original" recording? Does the song > have "history?" > > TIA > > Kevan Smith > cuthulu@prysm.net > http://www.rlabs.com The A. Green part is Al Green. Yes there is an original recording by him of it. I don't know the name of the album, but it is in his catalog. toulouse@comm.net ========================================================================= Date: Thu, 25 Jan 1996 08:51:00 -0700 Reply-To: bmpech@MSCD.EDU From: Bruce Pech Subject: Re: Blind willie johnson Comments: To: Laurie Forti In-Reply-To: <9601241801.0PBPS00@infoexch.miami.fl.us> On Wed, 24 Jan 1996, Laurie Forti wrote: > Sk> THE COMPLETE RECORDINGS OF BLIND WILLIE JOHNSON C2K/C2T 52835. > Sk> Aside: He's Texas gospel, neither delta nor blues. Sort of a > Sk> cousin. > Sk> Tom Freeland > It's really refreshing to see that someone here understands the > music well enough to be able to make this distinction. Thanks. > Now, teach 'em the difference between knife, slide, and bottleneck > guitar. For what it's worth, every account I've read about BWJ says that he played with a pocket knife. I don't know whether he played lap-style or with the guitar held conventionally (both are possible when using a knife but lap-style is easier -- and Johnson doesn't play many fretted notes or chords). So is he a knife guitarist or a slide guitarist? Or is he (as he's often described) one of the best bottleneck guitarists of the pre-war era? BP Boulder, CO (I vote for the root canal.) ========================================================================= Date: Thu, 25 Jan 1996 09:51:56 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Blind willie johnson In-Reply-To: Message of Thu, 25 Jan 1996 08:51:00 -0700 from >> It's really refreshing to see that someone here understands the >> music well enough to be able to make this distinction. Thanks. >> Now, teach 'em the difference between knife, slide, and bottleneck >> guitar. It's the same. I've played with a knife alot, holding it in between my my index and middle finger. I watched Mance Lipscomb and thought it was kind of neat, so I tried. If the knife (pocket knife, btw) is the right size and you can hold it OK, it's fun. LW > >So is he a knife guitarist or a slide guitarist? Or is he (as he's often >described) one of the best bottleneck guitarists of the pre-war era? > >BP Boulder, CO (I vote for the root canal.) ========================================================================= Date: Thu, 25 Jan 1996 10:54:54 -0500 Reply-To: MertFaj From: MertFaj Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Peter Green/Rattlesnake Guitar Comments: To: bit-listserv-blues-l@uunet.uu.net I have not heard that album but I o listen to a lot of Peter Green's music. He had a very blues based sound with Fleetwood Mac and his solo stuff was good, too. I know he does not have that traditional blues sound but he is a great guitar player. Most people may know this but it is interesting to note that the song "Black Magic Woman" made popular by Santana was writen by Peter Green and originally recorded by Fleetwood Mac when Green was their guitar player. Actually, Santana copies Greens work pretty much note for note on that song. ========================================================================= Date: Thu, 25 Jan 1996 11:03:17 -0500 Reply-To: Jerry Zolten From: Jerry Zolten Subject: Robert Johnson & Hiway 61 PBS will air sometime in February a program called "Great Drives," one of which features Levon Helm traveling route 61 and discussing Robert Johnson territory (among other things). ========================================================================= Date: Thu, 25 Jan 1996 07:59:53 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Jan. 26 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- DAWUD, TALIB AHMAD (tpt/TINY BRADSHAW) b. 1923-0126, ANTIGUA IS., BWI HILDEBRAND, LEE (author/researcher) b. 1946-0126, WILLIAMSPORT, PA JACKSON, DEON (v) b. 1946-0126, ANN ARBOR, MI KITT, EARTHA (v) b. 1928-0126, NORTH, SC KNIGHT, JEAN (v/MR. BIG STUFF) b. 1943-0126, NEW ORLEANS, LA LEVY, IRVING [ZACHARIAH MORRIS](promoter) d. 1959-0126, NEW YORK CITY, NY -- LOMAX, JOHN AVERY (author) d. 1948-0126, GREENVILLE, MS 72 MCGEE, DENNIS (vln/caun/AMEDE ADOIN) b. 1893-0126, BAYOU MARRON, LA MOSS, EUGENE "BUDDY" (g) b. 1914-0126, JEWELL, GA PENA, PAUL BLIND (g/T-BONE WALKER) b. 1950-0126, HYANNIS, MA PENDERGAST, TOM "BOSS" (:) d. 1945-0126, KANSAS CITY, MO 72 ROCKOLA, DAVID C. (of ROCK-OLA JUKEBOXES) d. 1993-0126, SKOKIE, IL 96 ROMEO. BERESFORD "JAZZIE B."(SOUL II SOUL)b. 1963-0126, LONDON, UK SMITH, HUEY "PIANO" (of THE CLOWNS) b. 1934-0126, NEW ORLEANS, LA SMITH, JOE B. (author/CAPITOL REC) b. 1928-0126, CHELSEA, MA TARNOPOL, NAT (of BRUNSWICK REC) b. 1931-0126, DETROIT, MI WILLIAMS, LUCINDA (g/FOLKWAYS REC) b. 1953-0126, LAKE CHARLES, LA ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 25 Jan 1996 08:01:18 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Gary Moore question Comments: To: Steve.Levine@corp.wrgrace.com I wrote: > > >*Does anybody know (oh, surely *somebody* on this list knows) what year >*Gary Moore had a chart hit in the UK with Jimmy Rogers' song "That's>*All Right" > And Steve Levine answered: >I don't know about his version of "That's All Right," but when I was >living in England (1990-91) Moore's version of "Walking By Myself" was >pretty popular, and I'm pretty sure it was credited to James Lane on >the album. > Ah-HAH! You know what? I think the writer of the article got the wrong song title. It's such a vague and generally inaccurate piece that I wouldn't be at all surprised. I think Mr. Levine has nailed it, many thanks. Mary Katherine Aldin ========================================================================= Date: Thu, 25 Jan 1996 08:05:08 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Arhoolie Orer Form? Steve Levine wrote: > >I recently got the Arhoolie catalog and I want to order some cds form >them. The ordering instructions say to fill out the order form included>with the catalog, but I didn't get an order form. Can anyone tell me>where I can get one? The catalog doesn't even list the cd prices. Arhoolie is online at Arhoolie@aol.com I have no affiliation, etc, etc, Mary Katherine Aldin ========================================================================= Date: Thu, 25 Jan 1996 11:08:00 -0500 Reply-To: MertFaj From: MertFaj Organization: America Online, Inc. (1-800-827-6364) Subject: Tinsley Ellis Comments: To: bit-listserv-blues-l@uunet.uu.net I wonder if anyone on here ever listens to Tinsley Ellis. He is probably the first guy who made me give blues music a chance. I know he is a little more modern and on the rock side than many traditional blues guitar players but he has become a favorite of mine. Just wondering what people think of him. Also, anyone have info on a NY based band called Built For Comfort Blues Band. I have a CD of theirs that I like a lot. Are they still around? Has anyone heard of them. Just curious. ========================================================================= Date: Thu, 25 Jan 1996 10:09:48 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Pat Hare +++ Comments: To: "Sara C. Oxton" In-Reply-To: <169395B4A10@che2.che.umn.edu> In the early '70s, James Cortton used to talk about getting together with Bobby Bland, Muddy and some of Pat's old employers/buddies to do some benefit and see if they could raise enough to buy Pat's way out of jail! His old friends did supposedly see that he had instruments available. ========================================================================= Date: Thu, 25 Jan 1996 16:13:38 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Bad words Comments: To: bit-listserv-blues-l@uunet.uu.net In <199601241708.AA01821@bulkrate.cc.bellcore.com>, edward c liu writes: > If enough people think the same way about a word, won't the >meaning change? What do "inflammable" and "disinterested" mean? >If people stop using a word, even an insulting one, will the >sentiment really go away? I haven't been referred to as a "gook" >or a "slant" recently, but does that mean anti-Asian sentiment >doesn't exist anymore? Consider the contrary - If you and I called each other gook and kike, would we erase anti-semitism and anti Asian sentiment, or would we merely be lowering our standards to accept such language? - B.B. Bean bbbean@cris.com Peach Orchard, MO http://www.cris.com/~Bbbean - ========================================================================= Date: Thu, 25 Jan 1996 11:14:24 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Blues Without Feeling? In response to Shaun Cronin's post yesterday regarding my post of Laurie Forti's message about the emotional impact of music, I was merely throwing the topic out for discussion. Shaun expresses the general consensus of private replies I've received. It's interesting that you bring up Alanis Morissette, Shaun, because we do some of her stuff in my band even though we promote ourselves as a blues band. Her music is intensely emotional, and I think she's brilliant. Hard to believe she's only 21. Too bad she doesn't do blues. My feeling is music is the most intensely emotional experience one can have with one's clothes on. ========================================================================= Date: Thu, 25 Jan 1996 10:25:06 -0600 Reply-To: Bruce Roberts From: Bruce Roberts Subject: World's Best Happy Hour Every friday afternoon TD Bell and the Blues Specialists play at the Continental Club. They always put on a good show. Last friday Lavelle White showed up and joined the band for their second set. What a great show! And she will be there for the next two fridays. Several Blues-L members from Austin and surrounding area are meeting there tommorrow. If anyone else is planning on cominng, let me know and I'll try and save you a seat. Bruce Roberts Austin, TX ========================================================================= Date: Thu, 25 Jan 1996 16:39:09 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Arhoolie Orer Form? In-Reply-To: <6CC4BA67@MHS> On Thu, 25 Jan 1996, Steve Levine wrote: > I recently got the Arhoolie catalog and I want to order some cds form > them. The ordering instructions say to fill out the order form included > with the catalog, but I didn't get an order form. Can anyone tell me > where I can get one? The catalog doesn't even list the cd prices. > If nobody comes up with a better idea: ARHOOLIE RECORDS, 10341 SAN PABLO AVE., EL CERRITTO, CA. 94530 tel: (510) 525-7471 fax: (510) 525-1204 phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [25/1/96 11:37 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 25 Jan 1996 11:41:44 -0500 Reply-To: bob unger From: bob unger Subject: BluesBytes Update First, I want to thank all of you who have sent in an order. I will be mailing the tapes out shortly. Last week, I had said that I would be mailing the first batch of tapes at the beginning of this week. I want to apologize for the delay...I promise you the tapes will defintely be mailed out early next week. Thanks for you patience...... And, I would like to remind anybody who wants a tape and has not yet ordered. I have around 50 copies left and I dont anticipate them lasting very long, so if you want a copy, mail in your order soon.... This is not just about music, it's for a good cause..... Again, here is the ordering info......... Thanks, folks.... BU bob@sun.bnkst.edu ***************************************************************************** If you live in the U.S., you can order by check or money order. I cant accept credit card orders (I'm just a working slob!!) The cost for the tape is $10, with somewhere between $5 and $6 of that amount going to one of the chosen organization's listed below. Please make the check payable to Bob Unger, and send it to my work address: Bank Street College 610 West 112th Street New York, NY 10025 attn: Bob Unger From the list of organizations below, make your choice, and mail it to me along with your snail-mail address and your e-mail address in case I need to get in touch with you. If you live outside the U.S. borders, there are 3 ways to make a payment: 1. Postal Money Order - payable in U.S. cash. Please do not send a bank money order, as there are transactions fee's invloved and it becomes a big mess. 2. Cash - I do not recommend this method. If this is the only way you can order, then please make sure it is U.S. cash... however, I cannot be held responsible if your order get's lost in the mail. 3. Access to a U.S. bank account - Some of you may have access to a U.S. bank account either through friends, your business, or you might have your own account. I'll accept any check drawn from a U.S. bank. Pick an organization: The following 3 organization's have been suggested for the proceeds. Please pick one and send it along with your payment. The organization that recieves the most votes, will be awarded the donation: 1. Willie Dixons Blues Heaven 2. The Delta Blues Museum 3. The Rhythm & Blues Foundation BU bob@sun.bnkst.edu I thank you for your support and whoever ends up as the recipient, thanks you for your support. ========================================================================= Date: Thu, 25 Jan 1996 12:01:00 EST Reply-To: edward c liu From: edward c liu Subject: Reissue or New? Howdy all, A general question to y'all. Let's say you're in a CD store and you see 2 discs you REALLY REALLY want. One is a reissue disc of an artist no longer with us, and one is by an artist who is still alive. You take it over to the handy dandy listening booth and decide, after much listening, that you still want both of them really bad. Price is the same for both, but your S.O. has made it clear he/she is allowing you to buy ONE disc and that if you come home with 2, he/she is going to leave you and take the car, the house, the gun(s), and the dog too. Which disc do you buy? Is it better to support the new up- and-comings, or is it better to send a message to the record companies that you want more quality reissues? (And please, no "boy I'm going to miss him/her" replies.... pretend it's LW's wife or her male equivalent =8^). Note that this is NOT worth starting a flamewar over. I'd just like to see people's OPINIONS on the subject. This is also not a thread to be used as a springboard to bash anybody, on the list or off. -- Ed Edward C. Liu | "Nothing is ever what it seems... edwick@cc.bellcore.com | But everything is exactly what it is." | -- B. Banzai The opinions in this message are mine and not Bellcore's. Really! ========================================================================= Date: Thu, 25 Jan 1996 17:49:56 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: You know you're a bluesneck when..... Comments: To: "" In-Reply-To: <01I0FAEG5N1E004FUF@SCI.WFBR.EDU> On Thu, 25 Jan 1996, wrote: > ....you consider your co-worker's Sinead O'Connor cd in with your mountain of > blues discs to be sexual harassment in the workplace. :) > I would consider that Asexual harassment :) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [25/1/96 12:48 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 25 Jan 1996 11:50:04 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Bottleneck vs. Other Types of Slide Yesterday Laurie Forti implied that SOME of us don't know the difference between bottleneck and knife slide. For the record one more time, we DO understand the difference, but we are only interested in it for historical purposes. Laurie chastised me last month for refusing to call my brass slide a "bottleneck." Having spent many wonderful hours listening to some of the most well-known and respected bottleneck-style slide players in the country, such as Rich DelGrosso and Steve James, I have adopted their idioms, one of which is to call a slide a slide -- NOT "bottleneck slide" -- no matter what the style or implement. That is and always has been the custom among slide players to my knowledge. Laurie, if you know of an authentic bottleneck-style slide player who refers to a non-bottleneck material slide as a bottleneck slide, please refer me to him or her so I can get this information directly from the horse's mouth. If I'm wrong I'll be the first to admit it. ========================================================================= Date: Thu, 25 Jan 1996 12:56:16 -0500 Reply-To: Erica Wissolik From: Erica Wissolik Subject: Robert Johnson & Hiway 61 -Reply These programs are airing every Thurs (5 of `em this year!) in Feb at 8pm on PBS. >>> Jerry Zolten 01/25/96 11:03am >>> PBS will air sometime in February a program called "Great Drives," one of which features Levon Helm traveling route 61 and discussing Robert Johnson territory (among other things). ========================================================================= Date: Thu, 25 Jan 1996 13:21:41 -0500 Reply-To: MK Sheffield From: MK Sheffield Subject: TINSLEY ELLIS On 1/25, MertFaj said: >I wonder if anyone on here ever listens to Tinsley Ellis. He is probably >the first guy who made me give blues music a chance. I know he is a little >more modern and on the rock side than many traditional blues guitar >players but he has become a favorite of mine. Just wondering what people >think of him. Living in Macon, I get to hear Tinsley pretty often. Obviously, he's a huge hit here, altho' I have heard the criticism from some (dare I say it?) "purists." (AND I MEAN THAT IN THE VERY NICEST WAY! PLEASE DON'T FLAME ME!) :) He's playing in a duo a lot these days, but still does quite a bit of solo work...also I think he's been assisting on some other folks' CD's. I'll be happy to make a call and find out what he's working on. . Mary Katherine Sheffield mksheff@cennet.mc.peachnet.edu ========================================================================= Date: Thu, 25 Jan 1996 13:19:11 -0500 Reply-To: Ed Mezynski From: Ed Mezynski Subject: Re: To all narrow minded purists Comments: cc: pwfenton@gate.net Once upon a time PW said: >If you were open minded you'd see things my way, and if you weren't >such a purist you'd agree. > >P.W. Well there you go "Badgerin'" those poor purists again! :^{> ed mezynski ========================================================================= Date: Thu, 25 Jan 1996 13:12:01 -0500 Reply-To: leddy@A1.POLICE.UPENN.EDU From: Gerald Leddy Subject: Your know you're a blueneck... You know you're a blueneck when you're sure the Three `Kings' would have really given the Baby Jesus a Strat, a Blues DeVille and a harp in A. J. ========================================================================= Date: Thu, 25 Jan 1996 12:11:36 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Reissue or New? In-Reply-To: Message of Thu, 25 Jan 1996 12:01:00 EST from On Thu, 25 Jan 1996 12:01:00 EST edward c liu said: > A general question to y'all. Let's say you're in a CD store >and you see 2 discs you REALLY REALLY want. One is a reissue >disc of an artist no longer with us, and one is by an artist >who is still alive. You take it over to the handy dandy listening >booth and decide, after much listening, that you still want both >of them really bad. Price is the same for both, but your S.O. >has made it clear he/she is allowing you to buy ONE disc and that >if you come home with 2, he/she is going to leave you and take the >car, the house, the gun(s), and the dog too. > (And please, no "boy I'm going to miss him/her" replies.... >pretend it's LW's wife or her male equivalent =8^). The way I'd do it is like this: (from a happily married male's point of view) I would buy the one that is least likely to be around the next time you are there. Then on the way home stop and buy your SO (female in my case) a single red rose. Tell her you wanted both but only got one and you'll just have to wait for th next one. Then give her the rose, put your arms around her and say "I wanted another CD, but I bought you a rose instead" and MEAN IT. Then next time buy the other one. That's what I'd do. I frequently buy a flower and take to her at work, just cause I won't her to know how I feel That's probally not what you wanted to hear.... LW ========================================================================= Date: Thu, 25 Jan 1996 12:16:46 -0600 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: Bottleneck vs. Other Types of Slide Comments: To: PARRISHR@VITRO.COM In-Reply-To: <107c3140@vitro.com> from "PARRISHR" at Jan 25, 96 11:50:04 am In an earlier message, PARRISHR said: ] ] wonderful hours listening to some of the most well-known and respected ] bottleneck-style slide players in the country, such as Rich DelGrosso ] and Steve James, I have adopted their idioms, one of which is to call ] a slide a slide -- NOT "bottleneck slide" -- no matter what the style ] or implement. That is and always has been the custom among slide ] players to my knowledge. Laurie, if you know of an authentic FWIW, I've used a chunk of conduit, store-boughten glass and metal slides, Coricidin bottles, a harmonica (don't ask), and an actual bottleneck on the way to my current steel socket (been usin' that for ten years...). The bottleneck was the only one I ever called a bottleneck. Call me pedantic.... -- * Billy Chambless | billy@cast.msstate.edu | voice: 601-688-7608 * Mississippi State University Center for Air-Sea Technology * To attain knowledge, add something every day. * To attain wisdom, remove something every day. -- Lao-tse ========================================================================= Date: Thu, 25 Jan 1996 12:39:37 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: I'm a Purist Roothead Last night DuChaine said that I was more "root based" that he was and my wife says "Yeah, he plays like he has cotton between his toes". I guess that means I'm a purist. I really don't know or care, but I liked her description I think I'm going to call one of my instrumentals "The Cotton Toed Joe" LW ========================================================================= Date: Thu, 25 Jan 1996 13:51:57 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Acoustic Johnny Winter Hey, IMHO Winter is the best living acoustic/slide player around. The two cuts on _Third Degree_ rank way up there. _Dallas_ is another great one. Other than TD and _Scorching Blues_ are there other JW recordings that feature his acoustic/slide playing? Any chance of there ever being an all acoustic CD from him? Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" :) ========================================================================= Date: Thu, 25 Jan 1996 13:56:01 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: CD Production Comments: To: PARRISHR@vitro.com On January 25, the Fabulous Ruth noted: >>>A lot of people have recommended that Max convert Well, if he's unhappy with his current religion, he's certainly welcome in come on over to my part of town. Of course, he'd have to learn how to sing. "Hey! Hey! The Jews are Alright!" Dick Waterman ========================================================================= Date: Thu, 25 Jan 1996 11:04:14 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: lightnin Hopkins Comments: To: EJOHNSO2@STUDENT.UWSUPER.EDU Hopkins was (along with John Lee Hooker) one of the most-recorded bluesmen of all time. A fair bit of his material is currently available on CD - the CD Connection lists 55 discs under his name. I'd suggest CoL5121 +HOPKINS*LIGHTNIN' HERALD RECORDINGS #1 8/1 $10.66 &COLLECTABLES 1/91 CoL5181 +HOPKINS*LIGHTNIN' HERALD RECORDINGS #2 $11.23 &COLLECTABLES 11/92 The Herald recordings (from the early 50s I think) were some of his best. Unfortunately these are on Collectables, a label notorious for not-so-great sound and nonexistent liner notes; but the material itself should make up for this. Some other excellent material from the 50s: oRY532 +HOPKINS*LIGHTNIN' LIGHTNIN' 8/1 $10.71 &ORIGINAL BLUES CLASSICS 10/90 ARH302 +HOPKINS*LIGHTNIN' TEXAS BLUES 8.6/5 $12.41 &ARHOOLIE 12/89 ARH330 +HOPKINS*LIGHTNIN' VOL. 1-GOLD STAR SESSIONS 7.7/3 $12.41 &ARHOOLIE 3/91 ARH337 +HOPKINS*LIGHTNIN' VOL. 2-GOLD STAR SESSIONS 7.5/2 $12.41 &ARHOOLIE 3/91 I don't think I've ever heard a bad Lightnin' record. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Thu, 25 Jan 1996 14:21:50 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Your know you're a blueneck... Comments: To: leddy@A1.POLICE.UPENN.EDU On 25 Jan 96, Gerald Leddy had this to say... > You know you're a blueneck when you're sure the Three `Kings' would have > really given the Baby Jesus a Strat, a Blues DeVille and a harp in A. Three Kings? Then shouldn't it be a ES355, a Les Paul, and a Flying V.? P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 25 Jan 1996 13:30:03 -0600 Reply-To: Keith Castleberry From: Keith Castleberry Subject: Re: Acoustic Johnny Winter I am also a big fan of Johnny Winter. One of my favorites is also "Dallas". But I can't play it on the radio, due to some words on the cut. 2nd Winter is the best! I originally bought on 8-track, then the famous 3 sided record album, then cassette, then CD. Whew! I ought to get a discount! >To: James Leftwich >From: edsel@atmore.gulf.net (Keith Castleberry) >Subject: Re: Acoustic Johnny Winter > >>Hey, >> >>IMHO Winter is the best living acoustic/slide player around. The two >>cuts on _Third Degree_ rank way up there. _Dallas_ is another great >>one. Other than TD and _Scorching Blues_ are there other JW recordings >>that feature his acoustic/slide playing? Any chance of there ever being >>an all acoustic CD from him? >> >>Jim Leftwich >>leftwich@cloud9.net >>"I'm on cloud9!" :) >> >> >> >> Keith Castleberry WYDH 105.9 FM "The Blues Cruise" ========================================================================= Date: Thu, 25 Jan 1996 13:38:17 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: Reissue or New? Comments: To: edward c liu In-Reply-To: <199601251714.AA18606@bulkrate.cc.bellcore.com> On Thu, 25 Jan 1996, edward c liu wrote: > A general question to y'all. Let's say you're in a CD store > and you see 2 discs you REALLY REALLY want. One is a reissue > disc of an artist no longer with us, and one is by an artist > who is still alive. You take it over to the handy dandy listening > booth and decide, after much listening, that you still want both > of them really bad. Price is the same for both, but your S.O. > has made it clear he/she is allowing you to buy ONE disc and that > if you come home with 2, he/she is going to leave you and take the > car, the house, the gun(s), and the dog too. > > Which disc do you buy? Is it better to support the new up- > and-comings, or is it better to send a message to the record > companies that you want more quality reissues? Like so many things, it depends. How rare/hard-to-find are these discs? Is the living artist BB King or Buddy Guy, or is it a local or lesser known guy who could use the cash a bit more? Is the disc by the living artist on an import reissue so he won't get any of the cash? Usually, I go with material from the living artist s/he can benefit, but not always. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Why don't you all just fffffffffffarm and pray!" - The Electric Amish, "(Talkin' 'bout) My Congregation" ========================================================================= Date: Thu, 25 Jan 1996 20:46:20 GMT Reply-To: Steve Penn From: Steve Penn Organization: The Dorsai Embassy, Inc. Subject: ID this song Comments: To: bit-listserv-blues-l@uunet.uu.net Gonna find me a woman, She gonna weigh 325 pounds, Got a head like a pumpkin, Knee like a squash, All much round the middle, And O my gosh. This would be early, acoustic stuff. Somone suggested Bo Hopkins (?). Any help would be appreciated. ========================================================================= Date: Thu, 25 Jan 1996 14:44:16 EST Reply-To: ron kraemer From: ron kraemer Subject: Buddy Guy says...(acc. to Ed Liu)... Ed Liu posted the following... ----------------- In the December _Blues Revue_ (the one with Muddy Waters on the cover), Buddy Guy said something like the following (censors mine): "We'd call each other motherf***** all the time. We didn't mean nothing by it...it was just what we called each other. I'd see Junior Wells in the studio every morning and say to him, 'Morning motherf*****.' If I didn't call Junior motherf*****, he'd think I was mad at him or something." ----------------- Don't know about anybody else, but I found this quote funny as hell!! I'd put it in my .sig.....if it was MY company......:) Ron ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters (and in another life....) Ron Kraemer and the Hurricanes ************************************************************ ========================================================================= Date: Thu, 25 Jan 1996 13:47:32 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: eRIC's BLUES DATES: Jan. 26 At 07:59 AM 1/25/96 -0800, James Carmin wrote: >Here's a few dates (b. born, d. death) for tomorrow. If you have any >corrections/additions, let me know at leblanc@dao.nrc.ca. > >------------------------------------------------------------------------------- >artist notes/full name yyyy-mmdd, city/county state age >------------------------------------------------------------------------------- >ROCKOLA, DAVID C. (of ROCK-OLA JUKEBOXES) d. 1993-0126, SKOKIE, IL 96 I've wondered - is that his real name? Can't be - too "cute".... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Thu, 25 Jan 1996 13:47:34 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: You Might be a Blue Neck if........ At 01:29 AM 1/25/96 -0500, Karen Hanson wrote: >RJ Bauman said I might be a Blueneck if... > >>You yell out for Buddy Guy songs at Buddy Guy concerts............ > >I went to see Buddy on Jan. 13 at Legends in Chicago. He must have heard >some criticism of his imitating rock-stars, because he said to us, "I know >you don't want to hear me play rock, so I'll show you how Marvin Gaye >sounded." After that, he played a little bit of Ray Charles. Then he said, >"Now I'm gonna show you how Buddy Guy sounded in 1991!" (Wild applause and >cheering.) He played "Damn Right I've Got the Blues" and it was the best >song he played all night (IMHO, naturally). Unfortunately, he followed it up >with snatches of Clapton and Hendrix....he seemed not to be able to help >himself. > > I think Buddy sounds best when playing himself. I must be a Blueneck. Or a >purist... Or narrow-minded.... Or any one of a hundred thousand similar >epithets.... ;-) > > I guess I keep feeling that: Maybe Buddy is ALL of those things.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Thu, 25 Jan 1996 11:57:09 -0800 Reply-To: Robert Georgi From: Robert Georgi Subject: Re: BLUES-L Digest - 23 Jan 1996 to 24 Jan 1996 This is my first and, I fear, my last post. On January 24 Poindexter = Regan commented on the lofty perches from which some tend to deliver = their imprimatur on the "authenticity" of blues artists. My own roots in = the projects, plebeian though they might be, long ago convinced me that = the blues is a state of mind. The music either puts you there or it = doesn't. To paraphrase Justice Potter Stewart, I may not be able to = define it, but I know it when I hear it. These old ears tell me Lonnie = Johnson never "imitated" nothin'. Bobby aka Sctrppl ---------- From: Automatic digest processor[SMTP:LISTSERV@BROWNVM.BROWN.EDU] Sent: Wednesday, January 24, 1996 9:00 PM To: Recipients of BLUES-L digests Subject: BLUES-L Digest - 23 Jan 1996 to 24 Jan 1996 There are 79 messages totalling 2262 lines in this issue. Topics of the day: 1. lightnin Hopkins 2. You Might be a Blue Neck if........ (3) 3. Take me to the river (5) 4. Blues without feeling? (3) 5. A rant from Don about open-mindedness (3) 6. You Might Be A "Blueneck" If.... 7. writers ... 8. Joe Callicot 9. Sandra Wright Band anyone ? 10. To all narrow minded purists 11. Mississippi Fred D 12. Blues without feeling 13. LOUSIANA RED with MOJO BLUES BAND 14. RI area Blues on PBS 15. No Purists, Only Badgers 16. Mississippi Joe Calicott (prewar) (2) 17. You Might Be a Blueneck If.... 18. SITTING AND THINKING: Ronnie Earl - Still River 19. Bleecker St. Midwest Tour 20. A rant from Don about open-m (3) 21. Paramount Records 22. re. A question of taste 23. 1st Candidate for Disc of the Year '96 .... 24. Use of the n-word 25. Blues in London 26. purist? (2) 27. Jordan Patterson 28. Bradshaw/Liggins info needed 29. eRIC's BLUES DATES: Jan. 25 30. Paramount in Badgerland 31. Use of a WORD 32. Bobby Robinson (was Paramount in Badgerland) (2) 33. Bad words 34. Take me to the river (addendum) 35. Whatcha listenin to besides blues? 36. Playlist Bartender's Bop 37. I'm a purist on quotes 38. Semantics on Blues-L (3) 39. My new guitar 40. anything in Pensacola/Ft Walton Beach tonight? 41. Lyric Fragment 42. unsubscribe address and message 43. Pat Hare +++ (3) 44. This be one movin' and grooin' blues band. 45. Learning Guitar/Purists 46. Band names 47. Learning Guitar/books 48. Use of the n-word (I hate this phrase) 49. CD Production 50. Pat Hare 51. You Know You're a Zeller if... 52. Ottawa Blues Fans-Save the Rainbow 53. Blind willie johnson 54. NASHVILLE 55. Autographed Jerry McCain CDs! 56. Etc./Byther Smith 57. N***** 58. Ted Hawkins/John Campbell 59. Elvin Bishop, Capricorn years 60. Vancouver Concert ---------------------------------------------------------------------- Date: Tue, 23 Jan 1996 23:12:29 CST6CDDT From: eric Subject: lightnin Hopkins I have Mojo Hand and the complete Aladin Recordings by Lightnin Hopkins. What other albums are there of this artist? I saw L.A. Blues i think it was called. But I'd like to know more about my favorite guitarist. ------------------------------ Date: Tue, 23 Jan 1996 21:10:09 -0800 From: Roger Brant Subject: You Might be a Blue Neck if........ Wrote: >You yell out for Buddy Guy songs at Buddy Guy concerts............ Many years ago, in the early or mid 70's, I saw Buddy Guy in Edmonton, Alta. at a university theatre gig. To open the show, B.G.'s band played = a couple of tunes led by (I believe) Buddy's brother, Phil (? - again, my memory is hazy!) Some clown in the crowd then hollered, "Welcome to Edmonton, Buddy!!" And Phil very cooly responded: " I ain't Buddy, buddy!!" ------------------------------ Date: Wed, 24 Jan 1996 06:45:17 GMT From: cuthulu Subject: Take me to the river I really enjoy both Talking Heads' and Syl Johnson's versions of Take Me = To The River. The song credits on both cd's say A. Green and M. Hodges. Who are A. Green and M. Hodges? Is there an "original" recording? Does = the song have "history?" TIA Kevan Smith cuthulu@prysm.net http://www.rlabs.com ------------------------------ Date: Mon, 22 Jan 1996 22:57:17 -0800 From: Shaun T Cronin Subject: Re: Blues without feeling? Ruth wrote: > Yesterday Laurie Forti said: > > >Personally, I have no reason to believe that 'emotions' can be > >transmitted by music. Now, people may easily PROJECT their = belief > >about what they think they might 'feel' in a similar situation, > >however, I simply do not perceive the commonly touted 'blue'; = i.e. > >psychological depression, in Blues. And Ruth left us waiting. Well, if Laurie thinks that 'emotions' cannot = be transmitted by music then take a listen to Muddy Water's "Hard Again" album. The 'emotions' transmitted by this album are of pure joy. Muddy = was glad to be playing again and you *can* hear it in the music. If that = isn't a case of 'emotions' being transmitted than I don't know what is. When = Son House sings of 'waking and hugging the pillow where you used to lay' and you don't feel his loneliness yourself then you have no emotions. Music = can 'transmit' emotions. Some of it is subjective. A lot of it though is genuine feelings that anyone can appreciate. A recent example is song = "You Oughta Know" by Alanis Morissette. More that one person has remarked on = the feeling of rage in that song. A lot of people felt the same thing. She = sure as hell 'transmiitted' her emotions on that one. As whether the blues is depressing or not well I think that the use of = the trem "blues" has been corrupted. IMHO, the music that we call the blues = is a celebration of life, good and bad. Now life ain't easy and the blues = is a way of acknowledging that. It is a means of cartharthis (sp?) and it = sure makes me feel good when I'm down. Shaun Shaun Cronin 'The Blues is what exists between a man = and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ------------------------------ Date: Mon, 22 Jan 1996 22:57:24 -0800 From: Shaun T Cronin Subject: Re: A rant from Don about open-mindedness I think I agree with Arlen. People sometimes confuse having strong = opinions with being closed-minded. An open-minded person is willing to entertain opposing viewpoints and even learn something from them. It could even = lead to a modification of ones own views. A close-minded person wouldn't even think of listening to someone with an opposing viewpoint. I have strong opinions about the blues, music and other subjects. I do listen to people who have opposing opinions and I respect their = opinions. By listening to other people there is a good chance that I'll learn something. That is why I am opposed to any ideas of splitting the list. = It is a stupid and elitist idea. I do not read and participate in every thread. I do try and read most of them. However, some of them have = little interest for me. Still, that is no reason for a whole new list devoted = to what *I* want to see on Blues-L. I have said this before quite recently. I want to hear what the purists say. I could learn something. I want to hear what the gearheads say. I could learn something. I want to hear what eveyone has to say about anything on Blues-L. I could learn something. And this echoes a post I made a few days ago. Let us respect and rejoice in the diversity of people and opinions on Blues-L. That is what I enjoy most about the list (after the fact it is = all about blues). Shaun Shaun Cronin 'The Blues is what exists between a man = and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ------------------------------ Date: Mon, 22 Jan 1996 22:57:29 -0800 From: Shaun T Cronin Subject: Re: You Might Be A "Blueneck" If.... You might be Blueneck if..... After a solid week of practicing country guitar (because you have joined = a country band) you wake up one morning and your first thought is "I must play some blues today. I *have* to or I'll go crazy." True story, folks. That's what happened to me this morning. Trouble is I have more weeks of playing country to go. But I did get a chance to play blues today. While not being a real blues tune, "Respect Yourself" is = close enough. And the blues licks did flow. Shaun Shaun Cronin 'The Blues is what exists between a man = and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ------------------------------ Date: Wed, 24 Jan 1996 09:26:00 +0100 From: Jean-Pierre Urbain Subject: Re: writers ... Well, let me second 4000 times Mary Katherine Aldin's opinion on this issue (and like always, she knows what she's talking = about !). I don't know if I may be qualify being a writer but as I've already written/edited and published a few things (both prof. and also blues related stuff) let me just assume I can add a few thoughts. While I do indeed think that someone should not alter a = word when transcribing interviews, I think that sometimes it may be useful to delibarately drop parts of the interview in the published version. I do have at least two examples in minds from my personal experience, = both being related to interviewing AA blues artists (I won't give any names, = so don't even ask :-), discussing the white vs AA stuff, both musically, socially and more generally culturally and politically speaking. We had = some great fascinating discussions, great time and we even agreed on really = many aspects of the issue (yes, I've been more than often labelled purist, = even once a blues nazi on Internet !!) but when I did prepare the publication = I decided to drop a few things which I thought could be wrongly = understood. You may call it censorship, I don't think it is. Actually, I just did it = because i thought people would jump on it and consequently it would have much = more negative effects than anything else for the artist. When I met these = people about a year later, they both thanked me for having done it one of them saying "JP you did it right man, you never know who reads this = stuff...." So my point of view (IMHO) on this issue is to say don't change any word = in an interview, but if you think that parts of it might be wrongly = understood, or used in some way against the artist you did interview, just drop it. Jean-Pierre "Young Man" Urbain ------------------------------ Date: Wed, 24 Jan 1996 09:40:46 +0100 From: Jean-Pierre Urbain Subject: Joe Callicot For Jeff and the others interested in Joe Callicot's recordings, I = checked at home and here it is (I unfotunately forgot the notes I had prepared = yesterday evening with label numbers, title cuts and so on, so let's hope my = memory works well enough): the two cuts he recorded in the 30s are reissued on = the ARHOOLIE Cd along with the all those of the Arhoolie Lp + three cuts = from the Revival LP (those where is it noted "not previously on Arhoolie"). = His pre war sides were also previously available on LPs published on OJL = like Bonnie said (1 cut), YAZOO (1 cut), ROOTS (both) and DOCUMENT (both). He = also had two full LPs on REVIVAL and BLUE HORIZON and there are two remaining = live cuts on the double LP BLUE HORIZON set (Memphis Blues JAm or something = like that ...). If there's something else on LP I'd be glad to hear it. According to the essential Blues Records Vol1 and to what I have on LP = there must be a few unissued cuts still somewhere from the nice Blue Horizon session with Bill Barth and Bukka White. Hope this helps. Jean-Pierre "Youngman" Urbain ------------------------------ Date: Wed, 24 Jan 1996 04:00:20 -0500 From: BMurphy111 Subject: Sandra Wright Band anyone ? Anyone know of the Sandra Wright Band ? I heard them recently in the House of Blues in Cambridge MA. They were fantastic and Sandra sings with power and emotion that will keep you entertained all night long. One problem. I can't find out where they are playing next. Anyone know of them ? Anyone know of how I might find out where they are playing ? Any help would be very much appreciated ! Thanks, Bill M. ------------------------------ Date: Wed, 24 Jan 1996 06:01:13 +0000 From: "P.W. Fenton" Subject: To all narrow minded purists If you were open minded you'd see things my way, and if you weren't such a purist you'd agree. P.W. ------------------------------ Date: Wed, 24 Jan 1996 21:58:43 +1100 From: Warwick J Foster Subject: Mississippi Fred D If any of you net.blues.saints out there could e-mail me anything of or about Mississippi Fred McDowell, one little ozzie would be grateful! I have ordered the Big Book of Blues but such things take a while from = US to Oz, thanks to whoever suggested/reviewed it. Warwick Foster BHP Co Ltd & University of NSW Newcastle, Australia wjfoster@ozemail.com.au ------------------------------ Date: Wed, 24 Jan 1996 11:07:18 GMT From: Poindexter Regan Subject: Re: Blues without feeling OK, Lauri, let me state my case in such a way that you can't pick it apart on the basis of semantics. It seems that the main fault you find in Lonnie Johnson's music is that it isn't "intense" (your word) enough for your tastes. In my opinion (and I don't think I'm alone in this), not all blues has to convey the intensity of a Son House performance in order to qualify as "quality" blues. Intensity does not necessarily equal quality. There are many, many worthy, authentic, important blues styles and performers who don't match the intensity that you obviously seek; in fact, the majority are probably less intense. Do judge everything based on this "intensity" test? (That's a rhetorical question--after this note I'm bowing out of this particular discussion). You said: >Personally, I have no reason to believe that 'emotions' can be >transmitted by music. Now, people may easily PROJECT their belief >about what they think they might 'feel' in a similar situation, >however, I simply do not perceive the commonly touted 'blue'; i.e. >psychological depression, in Blues. Tommy McClennan, for example, >sounds like he is having a great time while playing -- laughing to >himself, banter with someone else in the studio. But this is another >issue. On this we agree. In fact, I've argued this exact point many times with many people. >I interpret your response to mean that indeed you do not perceive >the same level of intersity and power in L Johnson as by R Johnson, as >this was the question. So, apparently our perceptions agree. You're right, I agree on this too. But I don't think of Lonnie Johnson as less of a blues artist because of it. Unlike you, I don't judge = blues by a single criterion. >> As far as I'm concerned, our latter day definitions of what is >> and isn't (or was and wasn't) blues are moot. Blues is what the >> contemporary blues audience said was blues, whether it appeals to OUR >> modern blues sensibilties or not. >And how would that population have any better developed insight >into what was good, vs. mediocre, vs. awful, than today's ignorant >masses?? They had more insight because THEY developed the blues, THEY defined it, it was BY them and FOR them--it was THEIR music, not OURS. We can only examine it outside of it's original context, but they were there. See the note that someone posted elsewhere under the subject "Lonnie = Johnson: Bluesman" for elucidation. There are artists who, when I knew less = about blues than I do today, I wouldn't have considered to be blues artists either, but now I hope I know better. I (and presumably you too) can only look at pre-war blues from a historical perspective, a perspective that is inevitably colored by perceptions we developed independantly of the development of that music. We weren't part of it; they were. Look at it this way: If you or I studied Australian aboriginal folk music = for a few years until we were qualified as experts among our own people, do you think we'd be qualified to go to Australia and tell the aborigines that what they've always thought was their folk music no longer = qualifies, because it doesn't fit into OUR definition? >> Lonnie Johnson was considered to be just as much a >> bluesman as anyone else, and in fact if you'd asked an average blues >> fan walking down the street in the '30s who was the better bluesman, >> Robert Johnson or Lonnie Johnson, I'd bet the majority would have = said, >> "Robert who?" >Again, the false argument is made: that which is popular is quality! >You are appealing to the lowest common denominator: popularity, as >a defacto index of excellence. This is simply silly. Have you, >perhaps, noticed that commercial TV, in its never ending quest to gain >popular appeal to support its advertising objectives, simply is >unmitigated garbage?? >The ugly fact is that work on the cutting edge, whether it be >scientific thought, product design, art, and music is generally not >noticed by the masses. I'm not arguing that popularity necessarily equals quality, my argument was that there would not have been this silly debate over whether LJ qualified as a "good" or "quality" blues artist--he was universally accepted as such by a his audience AND his peers. But you seem to be arguing that popularity equals a LACK of quality. You're = underestimating the masses, and overestimating your own supposedly superior powers of perception. Your position reminds me of that taken by fans of 'cutting edge' and 'alternative' pop music today; that is, if it's popular, it must suck; popularity equals sell-out; the only "good" music is obscure music. The fact conveniently forgotten most of the time is that the = very same music--literally--that was obscure yesterday is sometimes the same music that is wildly popular today. Did CD "X" change overnight? If Lonnie Johnson had died tragically in 1928 immediately after recording "Blue Ghost Blues", I suspect you'd find more "intensity" in his music than you do now. (BTW, have you ever heard "Blue Ghost Blues?") Only someone unaware of the facts would try to argue that Lonnie Johnson wasn't one of the most progressive, sophisticated, cutting edge, = forward- thinking and influential blues guitarists of his generation. He didn't become popular because he had somehow pulled the wool over the eyes of his audience and his peers, he was became popular (and influential) because he was an innovative artist and a hell of a guitar player. Contrary to what you seem to believe, the media machinery that helps to catapult a Billy Ray Cyrus to the top of the charts didn't exist in LJ's day. >> Muddy Waters was once asked who he thought was the best blues >> guitarist ever. His answer: "Lonnie Johnson". That's good >> enough for me. > I guess that demonstrated that some folks like to actually think >for themselves, and some like to be told what to think. You couldn't be more wrong here; I was a fan of LJ's music long before = I knew that Muddy was too. I used the Muddy quote because I figured his opinion as a blues authority is unimpeachable, even by someone as = insular as you. Unless you're now going to argue that he didn't know what he = was talking about either. >Unfortunately, the so-called educational system in this country >teaches people what to think, not how to think, so you are following a >well-established path to mediocrity. >Apparently, you have abandoned the concept of quality, or perhaps >you don't think quality can exist. The US had long ago abandoned the >quest for quality and US auto, electronics, and technology industries >have consequently gone down the drain. If you knew the very first thing about me--which you obviously don't-- you'd know that I'm not following ANY path. You're making an extremely ill-informed, presumptuous, and ignorant statement in your attempt to insult my intelligence and prove your superior taste. The only thing you've demonstrated here is that if you have to resort to an attack on the person you're debating rather the facts of the case, you don't have = a leg to stand on. >[Note: I am pleased to see the recent discussions regarding the >proliferation of (so-called) Blues performers in recent years and how >the essence is being lost and overshadowed by the new hoards of >mediocre imitators. Seems I tain't alone on this one.] If you're so narrow-minded and short-sighted as to imply that Lonnie Johnson was a "mediocre imitator", the only thing left to say is that I hope you enjoy the view from that lofty perch you've appointed yourself to--because I suspect it's going to be rather lonely up there. Scott ------------------------------ Date: Wed, 24 Jan 1996 06:15:49 -0500 From: Bluesmanp Subject: LOUSIANA RED with MOJO BLUES BAND we are planing to bring the austrian MOJO BLUES BAND together with LOUSIANA RED to the Middle West and the Eastcoast. Somebody interested? (blues clubs etc.) Please E-mail ------------------------------ Date: Wed, 24 Jan 1996 07:25:22 -0500 From: Eranosian Subject: RI area Blues on PBS For those who can get the PBS station out of Providence (channel 36): Tuesday, Feb. 13 at 10 PM, Austin City Limits - B.B. King -Craig ------------------------------ Date: Wed, 24 Jan 1996 07:12:23 -0600 From: T-Bone Subject: Re: No Purists, Only Badgers On Tue, 23 Jan 1996, shannon oconnor wrote: > Sometimes we need to blow steam at one another when we yank each > other's chains or Which reminds me: I heard recently that Yank Rachell and John Sebastian recorded some songs late last year. Does anybody know when this is due out, and on which label it will be? (Yeah, I know, I know.) T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Why don't you all just fffffffffffarm and pray!" - The Electric Amish, "(Talkin' 'bout) My Congregation" ------------------------------ Date: Wed, 24 Jan 1996 08:13:59 -0400 From: Cliff Warnken Subject: Mississippi Joe Calicott (prewar) Besides recording two titles ("Fare Thee Well Blues" and "Traveling Mama Blues") in 1930 under his own name that were issued on Brunswick, = apparently Joe Calicott recorded one other prewar title under his own name that = wasn't issued. The Godrich & DIxon discography lists a "Mississippi Boll = Weevil Blues" from a 1929 session. And two days before that he had also recorded as = the second guitarist on Garfield Aker's two-part "Cottonfield Blues," issued = on Vocalion. CLiff Warnken ------------------------------ Date: Wed, 24 Jan 1996 07:48:04 -0600 From: T-Bone Subject: Re: You Might Be a Blueneck If.... I've already e-mailed this to RJ, but ... If your idea of multiculturalism is listening to Yank Rachell while drinking a pint of Harp and eating kung pao chicken, ... T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Why don't you all just fffffffffffarm and pray!" - The Electric Amish, "(Talkin' 'bout) My Congregation" ------------------------------ Date: Wed, 24 Jan 1996 09:25:25 EST From: Toby Levy Subject: SITTING AND THINKING: Ronnie Earl - Still River RONNIE EARL AND THE BROADCASTERS / STILL RIVER (AQ-CD1018) AUDIOQUEST MUSIC P.O. BOX 6040 SAN CLEMENTE CA 92674 Ted Kurland Agency - attn: Laura J. Wicks 617-254-0007 BLUES FOR THE WEST SIDE / TIME TO REMEMBER / KANSAS CITY MONARCH / SZEREN / SOUL SERENADE / EQUINOX / CHILI BA HUGH / EYES THAT SMILE / WEDNESDAY NIGHT AT THE BULL / REGO PARK BLUES / DEREK'S PLACE Ronnie Earl is one of those exceptions that prove the rule. He is not an African American from the Delta or Chicago. He is not a Texan whose first guitar was placed in his playpen. Ronnie Earl is a New Yorker who happened to be attending college in Boston where a friend took him to a Muddy Waters concert. Immediately after this show he took up the guitar and in only a couple of years he was playing before appreciative audiences. Not content to rely on his innate talent he has continued his intense study of his instrument. This cd is a wonderful result of Ronnie Earl's twenty years of growth. This is like no other blues album you have ever heard. Yes there have been a few others that were totally without vocals like this one, but can you name any others that contain a rendition of a John Coltrane composition? NY CD-Takes BLUES FOR THE WEST SIDE: Ronnie kicks off the cd with three and a half minutes of homage to Buddy Guy. Ronnie's fans know this is not his typical way to play, so my guess is that Ronnie is using this a point of departure for the rest of the album. At any rate you would swear you were down in a club on the West Side of Chicago listening to Ronnie on guitar and Bruce Katz on organ. TIME TO REMEMBER: Here we go, off into the wild blue yonder. The rhythm section of Rod Carey on bass and Per Hanson on drums kick off a latin beat and Ronnie throws a million notes to the wind and lets them slowly settle on our ears. Bruce Katz's organ slowly insinuates itself into the number until he emerges into a full blown solo of incredible beauty. Ronnie returns for some heavy duty call and response with Bruce for the remainder of the track. By the end of the song you may be wondering how they will top this, but they do...many times! KANSAS CITY MONARCH: This is the first of four original compositions on the album that are dedicated to certain people. This one is for "Satch, Josh and Charlie" and is a deliciously slow blues. Bruce Katz moves over to piano, playing just as wonderfully as he did on organ. They are joined on this cut by Larry Elkin on trumpet and Andres Gaardmand on sax. The horns intensify the blue mood to great effect. Ronnie Earl fans who think they've heard Ronnie's best slow blues solos will have their eyes opened here. SZEREN: Ronnie dedicates this one "for Grandma." Ronnie Earl's parents were hungarian immigrants and while the song has a latin beat, it has a distinctly European feel to it. This is a very jazzy number, yet Ronnie's incredible flights of fancy across the fretboard are never more than one step from the blues. SOUL SERENADE: The two horn players return and the song has a very Memphis orientation. Harkening back to the back to the golden age of Booker T and the MGs, Ronnie pays tribute to Steve Cropper here. The song picks up tempo toward the end for a rousing conclusion. EQUINOX: This interpretation of a John Coltrane song is filled with rare ethereal beauty. The rhythm section kicks it off with a driving jazz beat. Ronnie jumps in, takes command and plays his jazziest. Bruce Katz on piano finally joins in, sending the song in a yet jazzier direction. Ronnie Earl's solos here are very soft and delicate. CHILI BA HUGH: A complete switch of gears as the band swings into a delicious rocking blues. Ronnie's fans know what he can do in this venue, and he does not disappoint. Bruce Katz adds a very nice barrelhouse piano on this track. EYES THAT SMILE: This one is dedicated "For Beverly." The horn players take their final turn here and Bruce Katz returns to the organ. This song lopes along at a sprightly pace with a happy, feel-good mood. Only during Ronnie's guitar solo do we get a hint of the blues. WEDNESDAY NIGHT AT THE BULL: The "Bull" is a reference to the Sit 'n' Bull Pub in Maynard Massachusetts, which serves as a home base for Ronnie Earl and the Broadcasters. This sounds like one of those songs that bands play just before they take their break, the kind that keeps the fans coming back for more! REGO PARK BLUES: This is the centerpiece of the album, over eleven and a half minutes long. Ronnie dedicates it "For the Freight Train." A slow blues, Ronnie Earl kicks it off with a soft solo, accompanied only by Rod Carey on bass that slowly gains volume and intensity. This solo should be enough to convert any non believers in Ronnie's mastery of the blues guitar. Two minutes into the song the rest of the band jumps in, while Ronnie continues to astonish with his creativity. A couple of minutes later it's Bruce Katz burning down the house on organ, his blusiest organ on the album. Ronnie returns with an extended solo that goes through several changes of volume and tempo and will leave you gasping for breath. DEREK'S PLACE: A short number at the end of the cd forms a coda for all the great music that precedes it. Ronnie plays acoustic guitar, Bruce plays piano and the rhythm section sits this one out. This song is a meditation, leaving the listener pensive, but deeply satisfied. Reviewed by Toby Levy Copyright NY CD Blues - 1995 NY CD Blues at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! ------------------------------ Date: Wed, 24 Jan 1996 07:26:38 -0700 From: Jessica Jones Subject: Bleecker St. Midwest Tour Hello, Bleecker St. is heading to the Midwest again for their tour of Chicago = and the St. Louis, Kansas City, etc. If you'd like their tour schedule, = e-mail me at jessicaj@spot.Colorado.edu It is also available on http://www.automatrix.com/concerts/ thanks, jessica ps. They'll be touring the Northwest (Seattle, Portland, Idaho, Montana, = etc) in March, Europe in May. Those schedules coming soon. j. ------------------------------ Date: Wed, 24 Jan 1996 09:26:09 GMT From: "DUTTWEILER.J" Subject: Re: A rant from Don about open-m Date: Wednesday, 24 January 1996 9:25am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: A rant from Don about open-m In-Reply-To: The letter of Wednesday, 24 January 1996 2:23am ET Being "open-minded" may denote a willingness to listen and/or examine viewpoints or opinions different from the ones you hold, but it does = *not* mean an uncritical acceptance of all viewpoints or opinions. No does it = mean that "an opinion cannot be wrong" as one person posted - that is a = perfect illustration of the "dumbing down" of our educational system and the = belief that *all* things are relative (I do not dispute that *some* things are relative, musical taste being one of them - the blues I prefer may not = be the blues you prefer, and that's alright). But it should be self-evident = that two *opposite* viewpoints or opinions about matters not inherently relative = cannot both be right. That being said, all I can say is that while *I* may not be able to = define what "blues" is, I do know it when I "meet" it. While there may be fuzzy = edges (look at the stratification of what is typically called "classical" = music - romantic, baroque, classical, etc.), when music get's too far from the = center, it clearly is no longer blues. Hey, Led Zep helped point me to the blues in the first album, but once I started listening to the originals I've never gone back, it just doesn't compare and it sure ain't "blues." Jon (that's my *opinion* so it can't be wrong) Duttweiler ------------------------------ Date: Wed, 24 Jan 1996 09:31:07 -0500 From: Tom Freeland Subject: Re: Paramount Records In a message dated 96-01-24 07:37:37 EST, WARNC@SNYCORVA.CORTLAND.EDU = (Cliff Warnken) writes: > >78 QUARTERLY magazine ran a detailed five-part history of the company = in >issues 3 through 7. Don't know which of these are still available now (they're >about to come out with issue 9, but the issues tend to come out only = every year or >two), but the subscription address is P.O. Box 283, Key West, FL 33041. > Both the "current" and back issues of 78Qs are available in some of the = Tower Records-- I've bought all of them (including a reprint of Vols. 1 and 2, which came out in the 60s) at Tower in New Orleans. As to subscriptions, they are a running joke in the letters column, with constant complaints and demands for refunds (in letters that may be = fakes). Tom Freeland ------------------------------ Date: Wed, 24 Jan 1996 09:43:38 -0500 From: Tom Freeland Subject: Re: re. A question of taste In a message dated 96-01-24 07:59:59 EST, ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU (L W) writes: >On of the quotes in question is what Johnny himself said. I >don't have the quote in front of me, but this is close: "It doesn't = bother >me to be called a nigger, in fact it makes me proud. You see only a = nigger >could go through what I have been through and survived."....That's = bascially >what he said, but not verbatim. According to the above it cheapens = Johnny >Shines, but I think it's just the opposite. I think he says what kind = of >person he was, which is a very proud person. The quote LW is planning on using shows the danger of the abstract = discussion on the list of the N-word. As a general thing, I agree that language = has a direct impact, and that persistence of words conveying racism helps = racism persist. BUT where a speaker used a word you cannot change or censor = his language. Your options are to omit the quote or use it intact, IMHO. = The quote LW has is a powerful one, turning the word in on itself; to omit = the quote would omit an important side of Johnny Shines' personality, and to change it would render it meaningless. I 'm with LW's decision to use = the word and the quote, both. Tom Freeland ------------------------------ Date: Wed, 24 Jan 1996 09:41:21 -0500 From: Steve Levine Subject: Re: You Might be a Blue Neck if........ You stay up late to watch The Blues Brothers on tv, only so you can see that scene with John Lee Hooker and Big Walter. ------------------------------ Date: Wed, 24 Jan 1996 09:50:25 -0400 From: Cliff Warnken Subject: Re: Mississippi Joe Calicott (prewar) Noticed also in the Dixon & Godrich discography that Mississippi Joe may = have had another (earlier?) nickname--they say that his 1930 session "was = originally entered in the Brunswick files as by Calico Joe Callicutt." Cliff Warnken ------------------------------ Date: Wed, 24 Jan 1996 10:00:36 -0500 From: Barry Silverberg Subject: 1st Candidate for Disc of the Year '96 .... This is a get-under-penalty-of-death-disc. For anyone who has been following U.P. Wilson from JSP to Wolf and now back again to JSP his latest "This Is U.P. Wilson" is over the top. He's making some big changes in his music here - notably an exquis- itely slowish, broody, deep, dark and rich set of Texas blues. His sometimes explosive guitar licks are there & this time for me at least his vocals jump off the platter. I am listening @ this very moment (4th time on the player) & it is as captivat- ing and personal as it gets. Plus over the course of the cuts their are organ runs and sax solos and all tolled there are 14 other musicians in this bag. Can't go wrong here ....... This one will get the full review treatment and posted - but I rec- comend not waiting for that to happen. Barry NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ------------------------------ Date: Wed, 24 Jan 1996 08:00:53 -0700 From: Jessica Jones Subject: Use of the n-word Please, please, if for some obscure reason you feel you must use the n word on-line or in any writing, please DO NOT CAPITALIZE the entire = thing. I am feeling beat-up and nauseous from seeing it over and over and over this morning in my blues-l digest. If the quote is essential to your = piece for some reason, then use it I guess, but usually it is possible to say, for example, "describing a heckler who used racial slurs, Mr. X said..." Black folks run into this word all the time, we've all heard and seen = it, but it's an ugly word, calling up bitter, anxious and terrible times. Don't if you don't have to. jessica ------------------------------ Date: Wed, 24 Jan 1996 15:22:35 GMT From: Gunnar Hakonarson Subject: Blues in London Hi there! I'm going to London Feb 28th - Mar 04. Can anybody tell me if there are any good bluesbands playing then? Or about a good blues/jazz club? How about good bootleg stores? Do you have Eric Clapton RAH tickets for sale? All info on London appreciated. please e-mail me your answers. Gunnar e-mail: gunnhak@rhi.hi.is ------------------------------ Date: Wed, 24 Jan 1996 15:30:00 GMT From: Martin Green Subject: Re: purist? In article , = Jeff Seale writes: > I've been accused of being a purist on more than one occasion. Judging by some of the postings there should be a lot more. > If I'd > rather listen to Mississippi Joe Callicott than [insert your favorite > blues-rocker here], Ah, the more the merrier ! > does that make me a purist? I'm afraid so. > If so, I'm damn proud to > be a purist. > And so you should be, me thinks their becoming an endangered species. Take it easy, Mart. ------------------------------ Date: Wed, 24 Jan 1996 10:00:45 -0500 From: PARRISHR Subject: Re: Blues without feeling? _____________________________ Forward Header = __________________________________ Subject: Re: Blues without feeling? Author: rjacobs@cix.compulink.co.uk (Robert Jacobs) at Internet Date: 1/24/96 11:05 AM > Yesterday Laurie Forti said: > > >Personally, I have no reason to believe that 'emotions' can be > >transmitted by music. Now, people may easily PROJECT their = belief > >about what they think they might 'feel' in a similar situation, > >however, I simply do not perceive the commonly touted 'blue'; = i.e. > >psychological depression, in Blues. Laurie may have no such reason but I think the rest of us do! When a great musician (BB King springs to mind but you can substitute your own fave) plays a particular string of notes, applying the various = techniques available to him (I'm no musician so I leave the explication of these up to those who know), he is striving for a particular effect, to express his feelings and emotions. If he does this effectively, I feel the same emotions when I hear the same sequence. The more effectively he does = it, the closer to his feelings I get and the more intensely I feel them. If I am also conversant with the conventions and idioms of the genre, I am more likely to feel more of what he is communicating because I associate the sounds and feelings with similar experiences from my past. If, however, I am not so conversant (eg I am ignorant of rap), any emotion expressed in it is likely to leave me cold. I think the process is similar to electronic transmission of sound and data: accurate and faithful reproduction of the original results in clear comprehension at the other end; poor quality reproduction and noise result in less clear comprehension. Musical theorists over the years, from the ancient philosophers onwards, have identified certain modes and keys as expressing certain emotions = and have reached general agreement as to their effects. The effects of different kinds of blues music are fairly obvious. Bob (Oxford, England) ------------------------------ Date: Wed, 24 Jan 1996 10:23:27 -0500 From: PARRISHR Subject: Jordan Patterson Yesterday Steve Levine recommended D.C. based harp player Jordan Patterson's new CD "Give Me A Chance." While I haven't heard the = CD, Jordan is also a good friend of mine and he puts on a great show. He's a very energetic frontman and a great vocalist as well. I'm sure the CD is good, and I can highly recommend seeing Jordan = live if you get a chance. Like Steve, I am also not affiliated with the JSP label but just trying to spread the word. ------------------------------ Date: Wed, 24 Jan 1996 09:28:34 CST From: William Shute Subject: Bradshaw/Liggins info needed From: Bill Shute Could one of my fellow blues-l-ers help me with a little discographical info? A friend of mine is looking for two songs on CD: "Soft" by Tiny Bradshaw "Drunk" by Jimmy Liggins I have both on vinyl, but I'm not sure about their availability on CD. Thanks in advance for your assistance (please private e-mail me your response). Bill Shute San Antonio, TX ------------------------------ Date: Wed, 24 Jan 1996 07:44:20 -0800 From: James Carmin Subject: eRIC's BLUES DATES: Jan. 25 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. -------------------------------------------------------------------------= ------ artist notes/full name yyyy-mmdd, city/county = state age -------------------------------------------------------------------------= ------ ANDREWS, BERT(photographer/APOLLO THEATRE)d. 1993-0125, NEW YORK CITY, = NY 63 BLACKMON, WILLIE "EARTHQUAKE" (d) d. 1985-0125, ST. LOUIS, = MO 50 BURTON, BARBARA J. (d/STAPLES) b. 1948-0125, CHICAGO, = IL DERRICK, CHARLES "CHICO" (b/JUMP JACKSON) d. 1965-0125, CHICAGO, = IL 38 DIAL, HARRY (owner : DIAL REC) d. 1987-0125, NEW YORK CITY, = NY 79 DISTLER, MARIAN H.(co-owner/FOLKWAYS REC) d. 1964-0125, NEW YORK CITY, = NY 45 DIXON, ROBERT M. W.(discographer/GODRICH) b. 1939-0125, NOTTINGHAM, = UK ESTES, JOHN "SLEEPY" (g/songw) b. 1899-0125, RIPLEY, = TN GOLSON, BENNY (tsax) b. 1929-0125, PHILADELPHIA, = PA GROSSMAN, ALBERT B.(owner: BEARVILLE REC) d. 1986-0125, LONDON, = UK 59 JAMES, ETTA [JAMESETTA HAWKINS] (v) b. 1938-0125, LOS ANGELES, = CA KENNER, CHRIS (v/songw) d. 1976-0125, NEW ORLEANS, = LA 46 OVERSTREET, LOUIS JR. (of ARHOOLIE REC) b. 1947-0125, DE QUINCY, = LA ROBINSON, ALVIN (g) d. 1989-0125, NEW ORLEANS, = LA 51 SIMMONS, MACK "LITTLE" (hca) b. 1934-0125, TWIST, = AR SMITH, FLOYD G. (g/ANDY KIRK) b. 1917-0125, ST. LOUIS, = MO SMITH, MOSES "WHISPERING" (hca) b. 1932-0125, WEST BROOKHAVEN, = MS SMOOT, CRAIG (CRAIG S.)(g,BLUES-L member) b. 1970-0125, SAN ANTONIO, = TX -------------------------------------------------------------------------= ------ ------------------------------ Date: Wed, 24 Jan 1996 11:03:13 -0500 From: Stew Crossen Subject: Re: purist? My cat is a purrist! ***************************************** * Beef Stew - The Blues Playground * * * * WCCC Radio 107 FM * * 243 South Whitney Street * * Hartford, CT 06105 * * * * Phone: 860.233.4426 * * Phax: 860.232.6511 * * * * Personal e-mail: bfstew@neca.com * * Station e-mail: fm107wccc@aol.com * ***************************************** ------------------------------ Date: Wed, 24 Jan 1996 10:15:29 -0600 From: Chad Tanner Subject: Re: Take me to the river On Wed, 24 Jan 1996, cuthulu wrote: > I really enjoy both Talking Heads' and Syl Johnson's versions of Take = Me To The > River. > > The song credits on both cd's say A. Green and M. Hodges. > > Who are A. Green and M. Hodges? Is there an "original" recording? Does = the song > have "history?" > > TIA > > > Kevan Smith > cuthulu@prysm.net > http://www.rlabs.com > Kevan, A. Green is the legendary Memphis bluesman Al Green, who still lives = there. I don't have the information on the "original" recording at hand, but he = is someone everyone should check out. (Both the Rolling Stones and the = Grateful Dead payed tribute to this great artist when they last played Memphis: Stones=3D"Can't Stop Loving You" Dead=3D"Take Me to the River" Chad Tanner tanner@comp.uark.edu ------------------------------ Date: Wed, 24 Jan 1996 16:30:20 GMT From: Mark A Basten Subject: Re: Paramount in Badgerland Bonnie Kalmbach writes: >There's a history of Paramount records in "78 Quarterly". I don't >have the exact citations, but there haven't been too many issues >of it; I think the story was in the first 3 or 4 issues. > >But I could look it up if somebody wants to know - it would >involve me hiking downstairs to the UW Music Library where we have >those issues - not too far from the Cuca archival collection >featuring some fine 60's recordings by the late great Earl Hooker. > >(PS - Don jes' mad because the Badgers whupped some other team, >I forget which, in the Rose Bowl not too long ago.) > > -Bonnie "Go BADGERS!!" the K. > ( also: "Go Steelers!) > Bonnie may be a long-time Steelers fan but, curiously, I sense a lot of Steeler support in Wisconsin these days. I have a hunch that some of that support, like mine, will last exactly one game. :) (hey, I'm not whining...really!) Anyway, thanks to everyone that sent me information regarding Paramount. You can bet I'll be walking down to the UW Music Library today to look up that article (and maybe keep working my way through their audio collection). You know, I *love* the music but I find the history behind the music to be just as fascinating. It seems that I'm far from alone on Blues-L in this regard! P.M.L. [Pushin' My Luck] - Can anyone point me towards a biographical article/book on Bobby Robinson, the Fire/Fury/Enjoy Records boss? Mark Basten basten@cae.wisc.edu ------------------------------ Date: Wed, 24 Jan 1996 11:29:42 -0500 From: Michael Case Subject: Use of a WORD On the other hand, if you must use a certain word, capitalize it, as the meaning is slightly different when you say that you're a PURIST, right? Michael Case ------------------------------ Date: Wed, 24 Jan 1996 10:35:46 -0600 From: Billy Chambless Subject: Re: You Might be a Blue Neck if........ ...you put on a blues tape before getting in bed with your honey for = some rollin' and tumblin'....and get out of bed long to play the other side. You know _she's_ a bluesneck if she doesn't kill you! -- * Billy Chambless | billy@cast.msstate.edu | voice: 601-688-7608 ------------------------------ Date: Wed, 24 Jan 1996 08:49:13 -0800 From: Mary Katherine Aldin Subject: Re: Bobby Robinson (was Paramount in Badgerland) Mark A. Basten wrote: > >P.M.L. [Pushin' My Luck] - Can anyone point me towards a biographical >article/book on Bobby Robinson, the Fire/Fury/Enjoy Records boss? There was a very good two-part article on Bobby Robinson in the UK magazine Juke Blues, in issues 15 (Spring 1989 and 16 (Summer 1989). Mary Katherine Aldin ------------------------------ Date: Wed, 24 Jan 1996 11:51:00 EST From: edward c liu Subject: Bad words Howdy all, Shannon O'Connor wrote: > Once we start using terms like > "motherf*****," I'm going to have to start censoring, er, ah, um, > EDITING my BLUES-L mail. :D (This was going to be my reply to the original question as a writer-wannabe, but I lost LW's original mail.) In the December _Blues Revue_ (the one with Muddy Waters on the cover), Buddy Guy said something like the following (censors mine): "We'd call each other motherf***** all the time. We didn't mean nothing by it...it was just what we called each other. I'd see Junior Wells in the studio every morning and say to him, 'Morning motherf*****.' If I didn't call Junior motherf*****, he'd think I was mad at him or something." Should this have been censored? If he used that other word under discussion, should that have been censored? If enough people think the same way about a word, won't the meaning change? What do "inflammable" and "disinterested" mean? If people stop using a word, even an insulting one, will the sentiment really go away? I haven't been referred to as a "gook" or a "slant" recently, but does that mean anti-Asian sentiment doesn't exist anymore? And is this thread drifting futher and further away from the blues? Wishing every wonderful shining happy sentiment I've got to all you motherf*****s =3D8^).... -- Ed Edward C. Liu | "Nothing is ever what it seems... edwick@cc.bellcore.com | But everything is exactly what it is." | -- B. Banzai The opinions in this message are mine and not Bellcore's. Really! ------------------------------ Date: Wed, 24 Jan 1996 12:37:09 EST From: William Pollak Subject: Re: Take me to the river Kevan Smith writes >I really enjoy both Talking Heads' and Syl Johnson's versions of Take = Me To >The River. > >The song credits on both cd's say A. Green and M. Hodges. Who are A. = Green >and M. Hodges? Is there an "original" recording? Does the song have >"history?" A. Green is Al Green--member of the rock and roll hall of fame, greatest = male singer alive today, and most highly evolved spirit currently inhabiting = the planet Earth (okay, that may be a little hyperbolic). M. Hodges is = either one of the members of the Hi Rhythm Section of Memphis, Tenn., or is related = to one of the Hodges brothers. Al Green recorded the first version of this song on "Al Green Explores = Your Mind" sometime in the mid-1970s. Syl Johnson has recorded the song twice = with the Hi Rhythm Section (the same band that backed Al Green on his many = hit records)--once for Hi in the 70s and again on his recent Delmark album = (Back in the Game). The Syl Johnson version on the recent album is my favorite = of the many recordings of this great song. Pure ecstacy. Bill P. ------------------------------ Date: Wed, 24 Jan 1996 12:41:55 EST From: William Pollak Subject: Re: Take me to the river (addendum) By the way, the Al Green version of "Take Me to the River" begins with a spoken dedication to Little Junior Parker, who was Al Green's cousin. Bill P. ------------------------------ Date: Wed, 24 Jan 1996 09:08:36 GMT From: "Dave J. Herda" Subject: Re: Whatcha listenin to besides blues? Pretty Eclectic-- G. Love and Special Sauce Rusted Root Parliament Widespread Panic The Godfather of Soul--James Brown Big Head Todd Ween Urge Overkill The Bird--Charlie Parker And of Course, **THE JON SPENCER BLUES EXPLOSION** PEACE--D ------------------------------ Date: Wed, 24 Jan 1996 12:59:00 -0500 From: Tom Morgan Subject: Playlist Bartender's Bop Monday's show featured a couple of sets dedicated to Ray Charles and a couple of his early influences Charles Brown and Nat King Cole. I recently got the Minit Records 2 CD set. This is put out by EMI, the = same folks that brought you the Sue Records set and they also have an Aladdin = Set. Has anyone heard the Aladdin stuff? I love the Sue material. The Minit CDs has one CD of the great New Orleans sessions of Ernie Kdoe, Aaron Neville, Benny Spellman and others = produced by Allan Toussaint and the other CD has some 67 -69 gems that include Bobby Womack, Ike and Tina and Jimmy Holiday. Some of the songs are included in my playlist. BTW, my Web site has just been awarded a 3 star rating. Stop on by, = there's something there for everyone. :) Title Group Year Label -------------------- -------------------- ---- ------------ Get Yourself Another Brown, Charles 49 Collectables Fool Nothing Ever Happens Cole, Nat King 38 Savoy To Me Alone in This City Charles, Ray 49 Ebony Hard Times Brown, Charles 51 Collectables Gone With the Draft Cole, Nat King 40 MCA Ain't That Fine Charles, Ray 49 Ebony Please Don't Drive Brown, Charles 55 Collectables Me Away Stop the Red Light's Cole, Nat King 41 MCA On She's On the Ball Charles, Ray 50 Ebony Black Night Brown, Charles 50 Collectables This Will Make You Cole, Nat King 41 MCA Laugh Can't You See Charles, Ray 49 Ebony Darling Seven Long Days Brown, Charles 50 Collectables Let's Spring One Cole, Nat King 39 Savoy Th' Ego Song Charles, Ray 50 Ebony Dog McCracklin, Jimmy 67 EMI It's Better to Give Johnson, Ruby Fantasy than to Receive Broadway Walk Womack, Bobby 67 EMI Dashboard Bar Holmes Bros 93 Rounder Hunk of Funk, A Dozier, Gene 67 EMI What More Can A Johnson, Ruby Fantasy Woman Do Baby I Can't Stand Womack, Bobby 67 EMI It To Make a Long Story Holmes Bros 93 Rounder Short I Wish It Would Rain Turner Ike and Tina 69 EMI Keep on Keepin On Johnson, Ruby Fantasy Stranger in my Own Taj Mahal 93 Private Hometown Am I Ever Going To Greene, Vernon 67 EMI See My Baby Again I'm A Big Girl John, Mabel Fantasy Everybody Needs Help Holiday, Jimmy 67 EMI I'd Rather Fight Johnson, Ruby Fantasy Than Switch Get Together McCracklin, Jimmy 67 EMI Spread Your Love Holiday, Jimmy 68 EMI Ready Willing and Holiday, Jimmy 67 EMI Able I Wanna Jump Turner, Ike and Tina 69 EMI `'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`' Stop on by my Jazz and Blues Web Site -- http://redlt.com/tom/ Free-lance Writer--Author--Program Director WTJU 91.1--Internet = Consultant ------------------------------ Date: Wed, 24 Jan 1996 12:13:50 -0600 From: Richard Shurman Subject: Re: Bobby Robinson (was Paramount in Badgerland) Did anyone else note in the coverage of the recent fire-bombing of a Harlem store by a disgruntled person (I'll duck the racial politics because they don't affect the main point of this post) because of the owner's intent to expand and evict other businesses, that Bobby Robinson's record store was one of the businesses targeted for eviction? ------------------------------ Date: Wed, 24 Jan 1996 12:19:34 -0600 From: Chad Tanner Subject: Re: Take me to the river Apologies, Earlier I wrote this: > A. Green is the legendary Memphis bluesman Al Green, who still lives = there. > I don't have the information on the "original" recording at hand, but = he is > someone everyone should check out. (Both the Rolling Stones and the = Grateful > Dead payed tribute to this great artist when they last played Memphis: > Stones=3D"Can't Stop Loving You" > Dead=3D"Take Me to the River" The morning must have had me in a fog. The Stones played "Can't get next to you". I've never heard of an Al Green song titled "Can't Stop Loving You" Don't know what I was thinking Chad Tanner tanner@comp.uark.edu ------------------------------ Date: Wed, 24 Jan 1996 13:15:51 -0500 From: bob vanarsdall Subject: I'm a purist on quotes This is by no means the definitive discussion of this topic, but I'd = refer anyone interested to the July 3 1995 New Yorker magazine, which printed = a missing episode from Mark Twain's Huckleberry Finn called "Huck and the Dead Man". There is then a discussion of the book from various writers = like Bobby Ann Mason, EL Doctorow, Roger Angell, William Styron, and David Bradley. Styron and Bradley's pieces, p 132-133, take on the issue of the = "n-word" head-on. The novel is under assault from various quarters for Twain's = use of the word, to the point that the National Cathedral School in = Washington DC has removed it from its 10th grade curriculum because of it, and a = black educator from Fairfax VA, John Wallace, has (Styron's words here)"...campaigned to protect youth by insisting that 'Huckleberry = Finn' be taken away from school libraries, and has published what has to be an all-time curiosity in the annals of bowdlerization: a version of the = text from which every use of the word 'nigger' has been expunged." David Bradley, a black writer, then goes on to describe his feelings = about the book, the "n-word" within, and the difference in its use by Tom = Sawyer, Huck Finn, and Jim himself. From their differences in use, Bradley says, "My responses may have been unsophisticated, but, reading "Huckleberry Finn", I began to distinguish connotation from denotation, to judge = intent by action rather than rhetoric." He concludes by saying: "America ought to be a place where 'nigger' has only historical meaning. Until that happens, the safest place for a = child to learn about the word is in a book. From there, it cannot bloody any child's nose." Here on Blues-L we are discussing a musical form which is inseparable = from its history. I've very frequently heard both the "n-word" and "mother__" used by African-Americans with a range of expression which rivals only = the Far Eastern inflected languages. Again, (as with Bradley) it is the context which reveals the connotative meaning of the word, not the denotative meaning of the word itself. Taking the words out of a story = or quote robs them of any function in revealing the speaker's character. = But it is the speaker's character, as always, which is the important thing. = If a word doesn't help to reveal character, it is superfluous. Bob ------------------------------ Date: Wed, 24 Jan 1996 13:13:26 -0500 From: PARRISHR Subject: Semantics on Blues-L A month or two ago we discussed the semantics of the terminology "bottleneck slide." Yesterday it was the semantics of "blues" in relation to emotional gestalt versus musical genre. Obviously, = blues is a big part of a Blueseller's life. I was just wondering how everyone feels about discussing semantics in relation to blues. So I'm taking a poll. REGARDING SEMANTICS, WOULD YOU PERSONALLY AS A BLUESELLER PREFER = TO: (A) Discuss semantics of blues-related terminology (B) Play/listen to someone play blues (C) Get a root canal (D) B and C Results will be posted later. Thanks, Ruth ------------------------------ Date: Wed, 24 Jan 1996 12:29:52 CST From: L W Subject: My new guitar I finally found out more about my wife's guitar purchase :-). We are 99% it's 1933/34 Gibson L-00. It's beautiful dark burst and in very good shape. The 1970 J-50 I have has the warm tone (great for Lightin) ), but the L-00 screams & cries. It is very loud and I'll use it for = slide slide , great little guitar. LW ------------------------------ Date: Wed, 24 Jan 1996 13:01:34 -0500 From: Bernie Clarke Subject: anything in Pensacola/Ft Walton Beach tonight? I'm stuck down here on business in the off season and there's not a = whole hell of a lot going on, but I am looking for suggestions I don't have to = work tomorrow, just have to catch a plane, so if anyone knows of any jams or = good bands playing within an hour or so of here, drop me a line. Thanks BC ------------------------------ Date: Wed, 24 Jan 1996 14:03:51 -0500 From: SMess86495 Subject: Lyric Fragment Gonna find me a woman yeah, She gonna weigh 325 pounds, Got a head like a pumpkin, Knee like squash, All much round the middle, And O my gosh! Can anyone tell me who did this song? thanks, smess@amanda.dorsai.org ------------------------------ Date: Wed, 24 Jan 1996 11:26:13 -0800 From: "Kenneth A. Wedin" Subject: unsubscribe address and message Yesterday, I subscribed to too many lists and am being bombarded with several hundred messages each day. Blues-L is the only one for which I = am sure that I didn't receive instructions for unsubscribing, unless = Blues-L is the one to which we have to send an "ok" message for a final confirmation of the subscription. Please let me know the majordomo or listserv or other address and the message to type to unsubscribe, so I can reduce the number of messages. Kenneth A. Wedin kwedin@pro.net ------------------------------ Date: Wed, 24 Jan 1996 14:08:18 CST From: L W Subject: Pat Hare +++ Is it true that Pat Hare shot his wife and died in prison...I think he's one that doesn't get mentioned enough....Didn't he record (or write) a = tune that was similar to his "crime", before he commited it..........I = Probally didn't make a bit of sense... This subject has come up a lot lately in conversation: Do you feel that = some artists, such as Robert Jr. Lockwood are too sophisticated for their = audience Does it seem that SOME blues fans look for the stereotypical "bluesman" = and don't embrace someone like as sophisticated/articulate/intelligent (???) = as Lockwood....Just curious to what others think. Speaking of Lockwood, I believe that he is right near the top as one of the greatest blues = musicians ever, although he's not always strictly blues..That man has the chops, = that others only dream about....IMHO LW ------------------------------ Date: Wed, 24 Jan 1996 20:32:26 GMT From: MATTHEW HASSALL Subject: This be one movin' and grooin' blues band. For all you blues fans out there..... If you are ever in Niagara Falls, Canada you have to stop in at the Castlerock on a Sunday night. Every Sunday night, a great band called L.M.T. Connection gets down with some blues, r+b and some soul. Leroy Emmanual is the lead singer and guitar player, big bad John Irvine on bass and the hard hitting Mark Rogers on drums. I can't brag about them enough! If you're ever in the area, check 'em out! It's worth the trip! Matt ------------------------------ Date: Wed, 24 Jan 1996 12:44:19 -0800 From: Isaac Sprintis Subject: Re: Learning Guitar/Purists I feel that books, records, lessons, and whatever else you can get your hands on is usefull in the persuit of a blues "education". I dont think that their is any reason to nock a form of learning such as a book in our day and age when it can help immensely. Why should you not learn from a book when you can find transcriptions of Tampa Red and Robert Johnson in them and then learn how to play them along with listening to the record. I find it pretty hard sometimes to figure out what tuning some guy is in and what notes he is hitting. And for myself since I don't know any greats or blues legends firsthand, = books and videotapes are the only way to get some of the crux of the biscuit. while I won't get the feel of a song on written music, I'll get the = notes and then I can work on playing in the style. I just wish that there were more books I knew of that had transcriptions of delta and country blues. I am really getting frustrated with transcribing songs from records, and = I have been trying to learn Mctell's Travelin' Blues this whole week. ( Any help would be greatly appreciated) Isaac. ------------------------------ Date: Wed, 24 Jan 1996 16:08:42 -0500 From: "" Subject: Band names I thought I had a new name all decided upon for my band, but the guys = are balking on me now. Jeez I hate committee decisions..... Does anybody know if there's a way to search for band names already in = use? Or how 'bout this one in particular..."Bluedogs" ? I think I know of = some "Brewdogs" but I dunno... Man I hate this...everbody's got an opinion....:) Thanks zellers... Riffin Rick (((( oo-) /- "Please baby, give me a chance to explain.." SBWII F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************= ** ------------------------------ Date: Wed, 24 Jan 1996 14:47:57 CST From: L W Subject: Re: Learning Guitar/books >Why should you not learn from a book when you can find transcriptions = of >Tampa Red and Robert Johnson in them and then learn how to play them >along with listening to the record. I find it pretty hard sometimes = to This is my severely amateur and humble opinion: My step-daughter was = taking guitar lessons when I came around. The teacher was only giving tab to = work on I took her tab away and told her to start using her ears, she said she = can't I said yes you can. Well now she knows I was right, she's got a = tremedous ear and I don't. The reason my ear is so bad, is because I was too = impatient to sit and figure out stuff, so I never developed my ear. I wish I had figured out about 20 years ago, that playing something = note-for note really doesn't help me, unless I'm doing top forty in some club. I = know it's important to figure out peoples solos and what not, but when it = comes to blues YOUR self expression is what makes it work. John Hammond is a good example, he'll play a Robert Johnson tune, which is nowhere close to = Jonhson's version, but it is note for note JOHN HAMMOND...That's the way I see it = and it sure has helped me. When BB was asked if he ever improvised he said = of course I don't feel the same way everynight. LW ------------------------------ Date: Wed, 24 Jan 1996 13:31:34 -0000 From: Jim Witteveen Subject: Re: Use of the n-word (I hate this phrase) >Please, please, if for some obscure reason you feel you must use the n >word on-line or in any writing, please DO NOT CAPITALIZE the entire = thing. >I am feeling beat-up and nauseous from seeing it over and over and over >this morning in my blues-l digest. If the quote is essential to your = piece >for some reason, then use it I guess, but usually it is possible to = say, >for example, "describing a heckler who used racial slurs, Mr. X = said..." >Black folks run into this word all the time, we've all heard and seen = it, >but it's an ugly word, calling up bitter, anxious and terrible times. >Don't if you don't have to. Here's a little story - I was in the record store the other day, and as usual they had some strange tune blaring over the loudspeaker. This time = it was something that had the words `this is for the niggaz' repeated ad nauseum, ad infinitum. I felt mighty uncomfortable listening to it, but = saw the disk on the `Now playing' display - it was by a black guy (I can't = for the life of me remember who, though). I felt even more uncomfortable = when the cashier who helped me was also black, and she didn't have a problem = with it, it seemed. No point to this tale, really, I just find it strange. -Jim (hndful@uniserve.com) PS. If I see someone else use the phrase `N-word' I'm gonna scream. = It's just too reminiscent of the OJ trial! ------------------------------ Date: Wed, 24 Jan 1996 15:27:25 -0500 From: PARRISHR Subject: CD Production A lot of people have recommended that Max convert his tape to CD format. I was wondering whether any of you have experience in producing your own CDs. I will greatly appreciate any thoughts on this subject. Thanks, Ruth ------------------------------ Date: Wed, 24 Jan 1996 16:45:39 EST From: Robert Crocker Subject: Pat Hare LW's quite right. Sun Records' box set called "The Blues Years = 1950-1956" has it as "Not originally issued". Anyway, the song's called "I'm Gonna Murder My Baby", and here's what = the liner notes say: This alarming song, born in part from Dr. Clayton's Cheatin' and Lyin' Blues, presaged events in Pat Hare's life. Life imitated = art for a change. He did in fact murder his baby, albeit several = years later. Hare is not a great vocalist, but this recording is = distinguished by his guitar solo and and the psychopathic nature of the song. Hare's menacing response to his girl's infidelity is captured on tape aand could almost have been used as court evidence. In the light of what transpired, interjections such as "Gonna Kill Her Tomorrrow!" are chilling. Arguably, the violence in Pat Hare's = life lay veery close to the surfae, although many of his cohorts from = the good days in Memphis remembered him quite differently. Rosco = Gordon described Hare as "... a beautiful personality, such a gentle = person" in a Living Blues interview (#49). In any case, this is a very disturbing record. So we can add Pat Hare's name to the list of artists which would also = have to include Magic Sam and Earl Hooker -- those who were snatched away from = us too soon. One has to wonder how things might have otherwise been ... Oh yeah ... that's Pat Hare's guitar on the original Muddy Waters = version of "Evil"! Robo in Mississauga ------------------------------ Date: Wed, 24 Jan 1996 15:55:14 CST From: JBards Subject: Re: Semantics on Blues-L Definitly "D". And you didn't include "poke red-hot needles through my = eyes". Frankly, I couldn't beleive that I was reading someone saying that 'you = cannot prove to me that one can /express emotions/ by playing the blues.' Isn't = that, after all, why we play? And listen? I would argue the counter, that = music may be the purest ( NOT PURIST! AAARRRRGGGHHH) and most direct conduit for = emotional expression. Now, one may argue that a given performance may paint a different = emotional palette for the person standing next to me than it does for me, but I = think we're getting into a philospohical treatise on subjectivity at that = point, and I didn't join this listserv to nit-pick, debate, or beat to death = gratutious arguments for the sake of displaying my classical education or perceived intellectual prowess. If I wanted to do that, I believe there's a good = 12-point program sponsored by MENSA somewhere. Here I just want the blues, and a little good company. -Jim _________________________________________________________________________= ______ Subject: Semantics on Blues-L From: PARRISHR at INTERNET-SH Date: 01/24/96 3:39 PM A month or two ago we discussed the semantics of the terminology "bottleneck slide." Yesterday it was the semantics of "blues" in relation to emotional gestalt versus musical genre. Obviously, = blues is a big part of a Blueseller's life. I was just wondering how everyone feels about discussing semantics in relation to blues. So I'm taking a poll. REGARDING SEMANTICS, WOULD YOU PERSONALLY AS A BLUESELLER PREFER = TO: (A) Discuss semantics of blues-related terminology (B) Play/listen to someone play blues (C) Get a root canal (D) B and C Results will be posted later. Thanks, Ruth ------------------------------ Date: Wed, 24 Jan 1996 16:18:09 -0600 From: Richard Shurman Subject: Re: Pat Hare +++ Pat Hare: Yes, he shot his wife and an arresting officer in Minneapolis in the early '60s and spent the rest of his life in prison, where he = died of cancer in the early '80s. He played a couple concerts near the end, showing that he'd moved toward jazz during his prison term (as many guitarists seem to) but was still excellent. He didn't write "I'm Gonna Murder My baby" (Dr. Clayton gets that credit) but he did adapt it and two takes of his Sun version have been issued. There was an excellent article on Pat and the shooting in Juke Blues several years ago. Lockwood: Apart from his sophistication, there can't be much question that he's one of the all-time definers/masters/archetypes of blues = guitar with beautiful walkups and walkdowns, chord voicings, knowledge of = Robert Johnson's style, so... the point is, tell me why again that nobody has done an instructional video with him. It seems so obvious and the sands of time are still moving, last time I checked... ------------------------------ Date: Wed, 24 Jan 1996 16:38:00 -0600 From: Rob Varak Subject: You Know You're a Zeller if... Consider this a direct rip-off of the current thread. Imitation is the sincerest form of flattery. You know you're a 'zeller when... One of your highest aspirations is to make it onto Eric LeBlanc's blues dates. You find yourself referrfing to someone as "P.W." in the middle of a heated debate. You chastise your significant other by saying, "Why can't you be more like LW's wife?" Your keyboard is covered with saliva stains from drooling over CD = reviews. You say to yourself, "Hmmmm. Only 413 messages today. I wonder if something is wrong with the server?" You'll cringe everytime you hear the words "boogie" and "nation" in the same sentence. You have an irresistable urge to type immediately after seeing a great = show. You hear a CD or read liner notes and think, "Mary Katherine Aldin, Dick Shurman or Dick Waterman could've done much better". You hate discussing Eric Clapton, even if you like him. The name "Jim Hartac" strikes fear in your heart. You can write fellow 'zellers w/out looking at their email addresses or hitting "reply". You fondly miss Raj and VT - - - - - - - - - - - - - - - - - Just a few. Any typos are mine and mine alone!! Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ------------------------------ Date: Wed, 24 Jan 1996 17:40:50 -0500 From: Patrick Beaudry Subject: Ottawa Blues Fans-Save the Rainbow On Tuesday, January 23, The Rainbow Bistro, a blues institution for the past 11 years in Ottawa has closed its doors because of unpaid rent. This evening, Wed. Jan 24, at 6 p.m. there will be a rally outside the cclub at 76 Murray Street in Ottawa. A benefit for the club is being organized for the club on Feb. 3 at a yet unknown location. For those in the Ottawa area, please come out and show your support. I'm sure alot of musicians on this list have played the club and don't want to see it go down. Thanks! -- If you don't like the blues, you've got a hole in your soul... PAT BEAUDRY'S MIDWEEK BLUES / CHUO-FM89.1 / WEDNESDAYS AT 8 p.m. Ottawa, Ontario, Canada ------------------------------ Date: Wed, 24 Jan 1996 16:44:13 GMT-6 From: Eliot Williams Subject: Re: Pat Hare +++ > From: L W > Is it true that Pat Hare shot his wife and died in prison...I think = he's > one that doesn't get mentioned enough....Didn't he record (or write) a = tune > that was similar to his "crime", before he commited it.... Yep. He recorded "I'm gonna murder my baby" in the 50s for Sun. A few years later he did just that. He spent the rest of his life in a Minnesota prison as I recall. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ------------------------------ Date: Wed, 24 Jan 1996 18:30:38 -0500 From: Hugh Hardy Subject: Re: Blues without feeling? If you think that music cannot convey emotion, then you obviously = haven't heard Son House :-)> Hugh Hardy ------------------------------ Date: Wed, 24 Jan 1996 18:01:39 -0500 From: Laurie Forti Subject: Blind willie johnson Sk> THE COMPLETE RECORDINGS OF BLIND WILLIE JOHNSON C2K/C2T 52835. Sk> Aside: He's Texas gospel, neither delta nor blues. Sort of a Sk> cousin. Sk> Tom Freeland It's really refreshing to see that someone here understands the music well enough to be able to make this distinction. Thanks. Now, teach 'em the difference between knife, slide, and bottleneck guitar. ... "Believe what you will, until experience changes your mind!" = Babylon 5 --- ~ Blue Wave/QWK v2.20 ~ ------------------------------ Date: Wed, 24 Jan 1996 19:01:55 -0500 From: Arlen Khodadadi Subject: Re: A rant from Don about open-m At 09:26 AM 1/24/96 GMT, you wrote: > >Being "open-minded" may denote a willingness to listen and/or examine >viewpoints or opinions different from the ones you hold, but it does = *not* >mean an uncritical acceptance of all viewpoints or opinions. I believe that is what I said, one has to at least consider opinions different from his own. I don't think one should accept all other = points. But one shouldn't stubbornly say that he and only he is right. >Nor does it mean >that "an opinion cannot be wrong" as one person posted - that is a = perfect >illustration of the "dumbing down" of our educational system and the = belief >that *all* things are relative (I do not dispute that *some* things are >relative, musical taste being one of them - the blues I prefer may not = be the >blues you prefer, and that's alright). But it should be self-evident = that two >*opposite* viewpoints or opinions about matters not inherently relative = cannot >both be right. > I don't believe I said that all opinions are right. I did say that = opinions cant really be wrong. If I think that Bill Clinton is a good president = you cant point to a fundamental theory of Calculus that says I am wrong. However, if some one thinks the world is shaped like a Swiss Army Knife, then one can safely say he is wrong. What we need is a basic definition = of opinion (and right or wrong). > >Hey, Led Zep helped point me to the blues in the first album, but once = I >started listening to the originals I've never gone back, it just = doesn't >compare and it sure ain't "blues." > What is with the cheap shots at Led Zep :) Thanks... arlenk@netaxis.com ------------------------------ Date: Wed, 24 Jan 1996 19:05:20 -0500 From: Arlen Khodadadi Subject: Re: A rant from Don about open-mindedness At 09:17 PM 1/23/96 -0600, you wrote: >What people *really* >mean by "open-minded" is "tolerant of others' shortcomings." That is a pretty dismal out-look on society. At least you didn't say anything bad about Led Zeppelin :) Thanks... arlenk@netaxis.com ------------------------------ Date: Thu, 25 Jan 1996 00:06:30 GMT From: "J. Wade Luther" Subject: Re: NASHVILLE >Barry Bean wrote: >>I'll be spending a few days in Nashville next week and need some ideas = on blues >> and jazz hotspots to check out. I'm also on the lookout for a decent = music >> store or sax shop. >> >>BBB >> > Try the Boardwalk Cafe! ------------------------------ Date: Wed, 24 Jan 1996 19:21:25 -0500 From: Dave Melton Subject: Re: A rant from Don about open-mindedness Or, perhaps, open mindedness could mean in some cases reserving judgement in the unlikely event that the shortcoming may sometimes be our own. (This is not directed at anyone, just my general thought of the moment.) One way or the other, hopefully , we will learn something from all our hashing and move on in some sort of positive = way. (as long as we stay open-minded) hahahah ------------------------------ Date: Wed, 24 Jan 1996 16:49:33 -0800 From: Don Cicchetti Subject: Re: A rant from Don about open-m Arlen said: >I don't believe I said that all opinions are right. I did say that = opinions >cant really be wrong. If I think that Bill Clinton is a good president = you >cant point to a fundamental theory of Calculus that says I am wrong. >However, if some one thinks the world is shaped like a Swiss Army = Knife, >then one can safely say he is wrong. I must disagree. Opinions may be very wrong, even if they are not = about scientifcally verifiable topics. The view that "opinions cannot be wrong" reduces opinion to perception, = and perception, of course cannot be wrong because it is the way someone understands something. BUT, If opinion is merely perception, why should I *care* about it? After all, my five-year old thinks Keiko the Orca (from "Free Willy) = will fit in our living room and would make a great household pet... So we took her to Sea World to see Shamu. Have you seen Shamu? BIG critter... not gonna fit in living room. Katie was even a bit frightened of Shamu, which surprised her. What makes us think that once we hit 21 or so, that all of our = perceptions result in *valid opinions*??? It is the quality of the bridge we build from perception to opinion that determines the validity of that opinion. When opinion is merely perception, it has little value The investigation, the learning, the curiousity, the critical thinking, that we apply to our perceptions determines the validity of our = opinions. And we know darn well that a lot of opinions are poorly-informed, have = very little thought behind them, and have not been investigated at all. Are they equal to an informed opinion? I think not. I had dinner with Sid Weiss a few years ago. Sid was the bass player = for Benny Goodman years ago, and it was a treat to get to hear Sid tell us = some stories. Towards the end of dinner, I asked him: "So Sid, tell me, I loved = Goodman's music, but I have heard so many stories about his bad temper". "What was Benny, a genius, or a pain in the ass?" He thought for a second and said: "Benny was a genius".... let that sink in, smiled broadly, and said: "and a pain in the ass sometimes".... We all cracked up... So who's opinion of Goodman has validity? Sid's, or some guy off the street? Mine, or someone who hates jazz? Yes, my friends, opinions CAN be wrong.. IMO, of course... ;-] DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ------------------------------ Date: Thu, 25 Jan 1996 01:17:11 GMT From: Mike Corso Subject: Autographed Jerry McCain CDs! Excello recording legend Jerry McCain will be live online on WebChat* = via Muddy's Cabin on Friday, January 26th at 7PM EST. THE FIRST TEN VISITORS TO THIS EVENT WILL BE AWARDED AN AUTOGRAPHED CD = OF "THE BEST OF JERRY MCCAIN" !! Jerry McCain is a true original with God's talent coming out of his = ears. AVI Entertainment recently released _That's What They Want: The Best Of Jerry McCain_, a stellar 23-track collection of some of the most = important music ever issued on the Excello label. A few of the highlights in this package are: "That's What They Want," the brooding, bluesy "Things Ain't Right," "My Next Door Neighbor," "A Cutie Named Judy" and "I'm A Ding = Dong Daddy From A Rock & Roll City." The music produced by Jerry McCain is as special as it comes. Whether you'll be attending this online conference or not, please = forward any questions you have for Jerry to: avi@cnotes.com The Jerry McCain home page, with Real Audio sound files, can be found at http://www.cnotes.com/cnotes.soul.html * WEBCHAT INFORMATION: ------------------ WebChat is form-based, meaning that you don't need any special software or access priviliges to use it -- just a standard, form-based web browser. WebChat also does not work like the commercial chat rooms: = Here, you type a message, then click the Chat button. To read subsequent messages, you have to click the Chat button again. This button is also called the Get/Send message button. Nearly all current web browsers = work with WebChat, but they all handle WebChat a bit differently. Here are the instructions for using WebChat: 1. You'll need a forms-capable web browser. 2. Click the Enter WebChat button (then read more stuff on = Muddy's Cabin). 3. Click the "Click here to enter WebChat" button. 4. Scroll down the latest entries. They're posted from least to most recent. 5. At the bottom, enter your handle. 6. Enter your message in the message field. 7. Click the "Chat" button. This reloads the page and posts your message. 8. Don't use your web browser's reload button to reload the = page. (But with AOL's and some other browsers, you must use your reload button.) 9. Wait a minute, then click the "Chat" button again (to view = the replies). For more information about Muddy's Cabin and the guest sessions please e-mail Cat Bauer at catbauer@vivanet.com. -- CNI Long Distance, supporting Peace, Human Rights, the Environment, and the fight against AIDS. Email: longdistance@cnotes.com http://www.cnotes.com/telecom/cnitelpage.html ------------------------------ Date: Wed, 24 Jan 1996 20:35:09 -0500 From: Niles Frantz Subject: Re: Etc./Byther Smith In article <199601191704.LAA29440@picasso.ccad.uiowa.edu> Ranko Vujosevic wrote: > 2. I learn that Byther Smith is on preparing a new album to > be released on Delmark. You are correct about the new album for Delmark. Expect it in late spring or early summer, according to the label. I saw Byther at Koko Taylor's Chicago Blues last night. Very nice show. Songs from throughout his career, plus a bunch of covers, The Thrill Is Gone, Messin' With The Kid, Kepp On Lovin' Me Baby. Tight little band. Byther was full of energy, smiling, and playing tons of stinging guitar. His singing voice is formidable - strong and clear. Niles A loop is a loop is a loop. ------------------------------ Date: Wed, 24 Jan 1996 19:41:16 -0600 From: Billy Chambless Subject: Re: Semantics on Blues-L In an earlier message, PARRISHR said: ] REGARDING SEMANTICS, WOULD YOU PERSONALLY AS A BLUESELLER PREFER = TO: ] (A) Discuss semantics of blues-related terminology ] (B) Play/listen to someone play blues ] (C) Get a root canal ] (D) B and C Anything but A. Maybe C, then B. Hmmmm..... "Five Long Hours" "Dental Trouble". "The Drill is Gone" "Me and the Dentist" "Standin' Around Cryin'" then the Elmore James Medley: "I Can't Hold Out", "It Hurts Me Too" -- * Billy Chambless | billy@cast.msstate.edu | voice: 601-688-7608 * Mississippi State University Center for Air-Sea Technology * To attain knowledge, add something every day. * To attain wisdom, remove something every day. -- Lao-tse ------------------------------ Date: Wed, 24 Jan 1996 17:41:03 -0800 From: Roger Brant Subject: Re: N***** Edward C. Liu (edwick@cc.bellcore.com) wrote: > | If enough people think the same way about a word, won't the >meaning change? What do "inflammable" and "disinterested" mean? >If people stop using a word, even an insulting one, will the >sentiment really go away? I haven't been referred to as a "gook" >or a "slant" recently, but does that mean anti-Asian sentiment >doesn't exist anymore? Reminds me of Lenny Bruce's bit about "the N word" ......... and how = words become meaningless when over-used........ And is this thread drifting futher and >further away from the blues? Yes. I think so. But it is still relevant. ------------------------------ Date: Thu, 25 Jan 1996 03:27:38 GMT From: Greg Earhart Subject: Re: Ted Hawkins/John Campbell >I also picked up John Campbell's `Howling Mercy' - I love the = arrangements >and instrumentation, but the vocals are ...umm, how can I say this... = less >than impressive - at times he sounds like Metallica does blues, and = it's >definitely not my bag. However, that band gets into a groove and = doesn't >let up (as in Saddle Up My Pony, a great song.) I know that Campbell = passed >away a couple of years ago In JC's defense, I find the vocals "haunting" and truly wonderful stuff. = He led the classic tragic life and died the same. ------------------------------ Date: Thu, 25 Jan 1996 03:30:53 GMT From: Greg Earhart Subject: Re: Take me to the river >I really enjoy both Talking Heads' and Syl Johnson's versions of Take = Me To The >River. >The song credits on both cd's say A. Green and M. Hodges. >Who are A. Green and M. Hodges? Is there an "original" recording? Does = the song>have "history?" Al Green and Mabon Hodges. Also heard on the "Committments" Soundtrack. Greg ------------------------------ Date: Wed, 24 Jan 1996 21:29:23 -0600 From: Keith Castleberry Subject: Elvin Bishop, Capricorn years I am an old Elvin Bishop fan. Does anyone know if there has been a = re-issue of Mr. Crabshaw's work during the Capricorn years on CD? I really need = these tunes; by albums are worn out. Keith Castleberry WYDH 105.9 FM "The Blues Cruise" ------------------------------ Date: Wed, 24 Jan 1996 19:49:24 -0800 From: Roger Brant Subject: Vancouver Concert There is a concert to "Save the C.B.C." (Canadian public radio, for all = you non-Canadians) - included are several blues and roots music acts: Jim Byrnes, Colin James, Long John Baldry, David Essig, David Gogo, Ellen McIlwaine, Gypselero, Roy Forbes, Bob Bossin, Ken Hamm, and many many others. ALL FOR A DONATION (suggested: 5 to 10 dollars: Wot a Deal!!) PLACE: Hyatt Regency Hotel Ballroom, 655 Burrard St TIME: 7 p.m., SUNDAY, JANUARY 28th BTW, this is a FAMILY event, with mixed seating, walk-a-round area, dancing, hangin' out, etc..... Treats for all ages (alcohol/non-alcohol) available. BE THERE!! "Tell the Liberals a DIME-A-DAY is a fair price for public broadcasting!!" Further info: Friends of Canadian Broadcasting: 1-800-576-5554, or in = B.C. (locally, Vancouver): (604) 685-7650 ------------------------------ End of BLUES-L Digest - 23 Jan 1996 to 24 Jan 1996 ************************************************** ========================================================================= Date: Thu, 25 Jan 1996 15:01:44 EST Reply-To: ron kraemer From: ron kraemer Subject: Question to Performers Here's one I'll throw out to anyone who performs the Blues LIVE onstage, be it playing an instrument or singing.... Do you get nervous before you go on? The ol' knot-in-the-stomach, lump-in-the-throat, sweaty palms-kinda nervous? If you do, does it lessen any over time? Over years??? Or, do you just handle it better? How do you handle it? My band's been out since last August, and I still get the jitters the morning I wake up with a gig that night. Even if I've played the place a few times! Funny, though. As soon as the gig starts, the nerves disappear and it's BluesTime. :) Or, we CAN discuss root canal... Ron ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters (and in another life....) Ron Kraemer and the Hurricanes ************************************************************ ========================================================================= Date: Thu, 25 Jan 1996 21:08:35 +0100 Reply-To: Gilbert Weidinger From: Gilbert Weidinger Subject: Live Johnny Winter I think Johnny Winter's best recording is "Captured Live". "Sweet Papa John" from that album is the wildest, roughest, most exciting electric blues I've ever heard. It's so good because of the two guitars (I think the second played by Randy Jo Hobbs) duelling each other. Is there any official live album except of "And/Live" and "Captured Live" available? Gilbert Weidinger University of Salzburg, Austria ========================================================================= Date: Thu, 25 Jan 1996 15:36:05 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: nerves? Ron Kraemer asked: "Do you get nervous before you go on? The ol' knot-in-the-stomach, lump-in-the-throat, sweaty palms-kinda nervous? If you do, does it lessen any over time? Over years??? Or, do you just handle it better? How do you handle it?" ------ Yes..nerves. The symptoms of "stage fright" could fill a book. I get sleepy - start longing for my pillow, yawning. Other people I know suddenly have an urgent need to use the bathroom, smoke a cigarette, change all the song arrangements/cues, or decide that right then is the perfect time to "straighten out" the drummer. The tools used to "get through" it are varied too. Bullet-biting, starting with a tune so familiar you could (and often do) play it in your sleep. Hypervenilate. Bluster to the audience. I always try to imagine I'm about to get on the roller coaster and, hey honey, once you're on it -- ain't nothin' you can do but enjoy the ride! And I know I'm going to like it -- I just have to wade through that 20 feet of swamp-land between my chair and the stage. After some years I could march onstage with no problem, but then during the first number my fingers forgot they were connected to my brain. Fortunately, my voice disdains both fingers AND brain anyway, so I limp through until we all find each other again. Then I figured out there are different levels of "stress." You feel like you're not stressed...like everything's under control...you even marvel at your self-possession. And then you plug in the amp, pick up the axe, walk to the mic, look out over that sea of expectant faces. That sea of unfamiliar, waiting-to-be-entertained faces, faces with looks that all seem to impatiently say "SO?!?," and you realize you left your knees in the van. But on the rare occasions I don't feel even the slightest trace of nerves, I usually suck. So at those times I develop a secondary case of nerves because I'm afraid I'm not nervous enough to do well. I need deep therapy. Still, it's usually only a few songs into it before the creaks work out -- the groove opens up, the crowd (relieved) starts to enjoy itself. That is, unless you're doing restaurant work. Then they rattle forks and ignore you until the set break when, long after you've resolutely decided to sell everything and become a janitor, they thank you profusely and stick five bucks in your pocket. God I love performing. Cathi N. ========================================================================= Date: Thu, 25 Jan 1996 14:39:45 CST Reply-To: JBards From: JBards Subject: Re: Bottleneck vs. Other Types of Slide Comments: To: PARRISHR In addition, a more germane question might be 'who plays with a knife or straight-edge type instrument' , causing us to differentiate that from a cylinder-type slide? I know there must be some out there ( there always are exceptions to the rule) but nearly everyone I know plays with a cylindrical slide of some material ( glass, brass, heavy metal) of some size, from ring- sized to about 2 1/2". I think if Roy Rogers, Ry Cooder and Muddy Waters call a slide a slide, it's good enough for me. Are we really discussing slide-as-bottleneck vs. sharp-edge-as-slide??!This is another straw man issue as far as I can see. Jim _______________________________________________________________________________ Subject: Bottleneck vs. Other Types of Slide From: PARRISHR at INTERNET-SH Date: 01/25/96 12:58 PM Yesterday Laurie Forti implied that SOME of us don't know the difference between bottleneck and knife slide. For the record one more time, we DO understand the difference, but we are only interested in it for historical purposes. Laurie chastised me last month for refusing to call my brass slide a "bottleneck." Having spent many wonderful hours listening to some of the most well-known and respected bottleneck-style slide players in the country, such as Rich DelGrosso and Steve James, I have adopted their idioms, one of which is to call a slide a slide -- NOT "bottleneck slide" -- no matter what the style or implement. That is and always has been the custom among slide players to my knowledge. Laurie, if you know of an authentic bottleneck-style slide player who refers to a non-bottleneck material slide as a bottleneck slide, please refer me to him or her so I can get this information directly from the horse's mouth. If I'm wrong I'll be the first to admit it. ========================================================================= Date: Thu, 25 Jan 1996 12:45:35 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: BLUES & GOSPEL RECORDS 1893-1943 Comments: To: BluesHvn@aol.com Today is ROBERT MALCOLM WARD DIXON 57th birthdate. Along with the late John Godrich (1926-1991), he complied the definitive pre-1943 discography : BLUES & GOSPEL RECORDS 1902-1943. A new 2 (!) volume (4th) edition of this 'old testament' will be published by Cambridge University Press, hopefully in 1996. The new compilers are Robert M. W. Dixon & Howard Rye, with the (possible) title BLUES & GOSPEL RECORDS : 1893-1943. It will include the very first afro-american recording in 1893 by The Unique Quartet ("Mamma's Black Baby Boy") available on Document 5288 : The Earliest Negro Vocal Quartets v. 2 :1893-1922. HAPPY BIRTHDAY, BOB DIXON! ========================================================================= Date: Thu, 25 Jan 1996 15:48:29 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Question to Performers Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *Do you get nervous before you go on? The ol' knot-in-the-stomach, *lump-in-the-throat, sweaty palms-kinda nervous? I used to when I first started performing. Somewhere there's a videotape of my very frist performance - when I was 17 years old, sitting in with a rock band in high school, trying to play the harp part on The Romantics' "That's What I like About You." I hope that tape never surfaces. :) *If you do, does it lessen any over time? Over years??? Or, do you just *handle it better? How do you handle it? I used to get over it by wearing sunglasses so I wouldn't have to look at the audience. That worked pretty well, and I got more comfortable on stage. One day I lost the glasses before a gig, so I forced myself to face the audience and found that it wasn't so bad. After a while I found that the nervousness turned into adrenalin and energy onstage, and once I got over the initial stage fright I was fine. Now I'm so used to playing that I hardly ever get nervous, just excited. When we opened for Johnny Copeland I was a little nervous at first because it was the first time I was playing for such a large audience at my favorite club (Tornado Alley). Also, having Johnny Copeland listening to us made me a little nervous, because I didn't want to make any mistakes and sound bad! -Steve ========================================================================= Date: Thu, 25 Jan 1996 20:54:54 GMT Reply-To: "William A Montin Jr." From: "William A Montin Jr." Organization: Oklahoma State University, Stillwater OK Subject: Re: Paramount in Badgerland Comments: To: bit-listserv-blues-l@uunet.uu.net In article <26012321353339@vms2.macc.wisc.edu>, Bonnie Kalmbach says: > >There's a history of Paramount records in "78 Quarterly". I don't >have the exact citations, but there haven't been too many issues >of it; I think the story was in the first 3 or 4 issues. > >But I could look it up if somebody wants to know - it would >involve me hiking downstairs to the UW Music Library where we have >those issues - not too far from the Cuca archival collection >featuring some fine 60's recordings by the late great Earl Hooker. > > >(PS - Don jes' mad because the Badgers whupped some other team, >I forget which, in the Rose Bowl not too long ago.) > > > -Bonnie "Go BADGERS!!" the K. > ( also: "Go Steelers!) and take the Browns and Wolverines with you ;-) ========================================================================= Date: Thu, 25 Jan 1996 13:39:03 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Paramount in Badgerland Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Previously: >>(PS - Don jes' mad because the Badgers whupped some other team, >>I forget which, in the Rose Bowl not too long ago.) Actually the "Steenking Badgers" quote was a (somewhat warped) old-movie reference. Humphrey Bogart in "Treasure of Sierra Madre" is holed up in some rocks with a bandito below claiming to be a "Federale"... So Bogie sez: Oh yeah? If you're a federale let me see your badges! And the robber sez: BADGES?? We don't need no STEENKING Badges!!" and starts shooting... Classic line. I'm at a music trade show a few years ago and it's after closing and some guy is going 'round telling people only "exhibitors" are allowed to stay past closing, and if we are to be allowed to stay we MUST show him our badges... right?..... 20 people, in perfect unison.. LOUD.... BADGES?? We don't need no STEENKING Badges!!" Somehow this bit of silliness got changed into a football thing... that's the net for ya! Haven't followed football since Johnny U. retired... It's all been downhill since.... (except for watching the Oakland Traitors get whomped... my favorite pastime!!!) DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Thu, 25 Jan 1996 16:02:55 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Reissue or New? > ... Then give her the rose, put your arms around her and > say "I wanted another CD, but I bought you a rose instead" and MEAN IT. > Then next time buy the other one. That's what I'd do. I frequently buy a > flower and take to her at work, just cause I won't her to know how I feel This clears up a longstanding question of mine. About all those guitars, that is... EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Thu, 25 Jan 1996 14:25:44 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: BLUES WORLD presents BLUES & RHYTHM MAGAZINE Comments: cc: joelslot@inlink.com, tony@bluestb.demon.co.uk I just received the new issue of B&R (#106, February 1996) & the cover photo (color) is amazing! BIG Clara McDaniel in all her glory, live at The Blues Estafette. If you want to know more about this lady, and more particular, BLUES & RHYTHM, do visit the BLUES WORLD Web site From: Brenda Bogert Subject: Re: Acoustic Johnny Winter Comments: To: James Leftwich In-Reply-To: On Thu, 25 Jan 1996, James Leftwich wrote: > Hey, > > IMHO Winter is the best living acoustic/slide player around. Amen to that! > The two > cuts on _Third Degree_ rank way up there. _Dallas_ is another great > one. Other than TD and _Scorching Blues_ are there other JW recordings > that feature his acoustic/slide playing? Any chance of there ever being > an all acoustic CD from him? For other acoustic cuts by Johnny, check out "Bladie Mae" and "TV Mama" on the Blue Sky album Nothin' But the Blues. It's also got a great cover shot of JW holding a beautiful tri-cone. One of the best acoustic songs that he ever recorded (IMO) is "Too Much Seconal" on Still Alive and Well -- a CBS release. On this he is joined by a mandolin and flute. He has also recorded "Kindhearted Woman" which is on Nightrider from Relix Records and The Winter Scene from Pair Records. Brenda Bogert Louisville KY ========================================================================= Date: Thu, 25 Jan 1996 18:40:14 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: ID this song > Gonna find me a woman, > She gonna weigh 325 pounds, > Got a head like a pumpkin, > Knee like a squash, > All much round the middle, > And O my gosh. This is "Fat Mama Blues." It was recorded in 1952 by Stomp Gordon, on Decca. He aso got writer's credit, altho that doesn't necessarily mean he wrote it. It was reissued on the UK Ace label, on the CD "Jumpin' the Blues" CDCHD 941. I have played it on my show as part of a "music for the gravitationally impaired" segment. The words are slightly different than shown above: I'm gonna marry me a big fat mama She's got to weigh 325 pounds ... She must have a head like a pumpkin, Knees like a squash, All mushy round the middle, And Oo-oo good gosh. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Thu, 25 Jan 1996 18:40:14 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: In PW's opinion ... > > PW posits that an opinion cannot be wrong. In my opinion > > that opinion is wrong. Since these opinions are mutually > > exclusive, one must be wrong. Ergo my opinion is > > right and PW's is wrong ...errr or is it? > > For the record, that was a quote from another post. Not at all my > opinion. In fact, the quote itself proves your point. Both of those > sentences can't be right. This is getting weird. So naturally I have to jump in. I think the point is that "opinions" are NEITHER right or wrong. They are just opinions. Saying an opinion is wrong is like saying that "Red" is wrong -- it doesn't make sense. Statements of fact can be right or wrong. The only way that the statement "I think Lonnie Johnson is a great bluesman" can be wrong is if I don't really think that. However, opinions CAN be stupid, and often are. Except for mine, of course. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Thu, 25 Jan 1996 23:37:57 GMT Reply-To: George Myers From: George Myers Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: LOUSIANA RED with MOJO BLUES BAND Comments: To: bit-listserv-blues-l@uunet.uu.net Louisiana Red will be appearing on the Ultimate Rhythm & Blues Cruise 5 sailing from Genoa May 25 with Luther Allison, Buckwheat Zydeco, Marcia Ball, Katie Webster, Little Charlie and the Nightcats, John Mooney, and Rudy Rotta. ========================================================================= Date: Thu, 25 Jan 1996 19:03:35 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: TINSLEY ELLIS >On 1/25, MertFaj said: > >>I wonder if anyone on here ever listens to Tinsley Ellis. He is probably >>the first guy who made me give blues music a chance. I know he is a little >>more modern and on the rock side than many traditional blues guitar >>players but he has become a favorite of mine. Just wondering what people >>think of him. > >On 1/25 Mary Katherine Sheffield said: >Living in Macon, I get to hear Tinsley pretty often. Obviously, he's a huge >hit here, altho' I have heard the criticism from some (dare I say it?) >"purists." (AND I MEAN THAT IN THE VERY NICEST WAY! PLEASE DON'T FLAME >ME!) :) He's playing in a duo a lot these days, but still does quite a bit >of solo work...also I think he's been assisting on some other folks' CD's. >I'll be happy to make a call and find out what he's working on. Tinsley Ellis AND Kenny Neal are scheduled to play Theodore's in Springfield, MA on Friday, February 9th. Should be a great show. ***************************************** * Beef Stew - The Blues Playground * * * * WCCC Radio 107 FM * * 243 South Whitney Street * * Hartford, CT 06105 * * * * Phone: 860.233.4426 * * Phax: 860.232.6511 * * * * Personal e-mail: bfstew@neca.com * * Station e-mail: fm107wccc@aol.com * ***************************************** ========================================================================= Date: Thu, 25 Jan 1996 16:09:49 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: In PW's opinion ... Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Ian said: >This is getting weird. So naturally I have to jump in. > >I think the point is that "opinions" are NEITHER right or wrong. >They are just opinions. Saying an opinion is wrong is like saying >that "Red" is wrong -- it doesn't make sense. > >Statements of fact can be right or wrong. The only way that the >statement "I think Lonnie Johnson is a great bluesman" can be >wrong is if I don't really think that. > >However, opinions CAN be stupid, and often are. Except for mine, >of course. I was tempted to discuss whether opinions can be wrong... (I think they certainly can be) But nah.... "Stupid" is as good as "wrong" to me.... There is little qualitative difference between "stupid", "uninformed", poorly thought-out", "badly-researched", "ignorant" and WRONG in the real world of thought and action. Either way we discount the ideas, and statements proferred and/or the person behind them. But "stupid" allows us to pretend we are not "passing judgement" and stating "absolutes"... but merely stating "our" opinion.. whew..... In the end it's the same thing. But we do this little dance to show we are not really passing judgement on anyone.... boy, what an age we live in... DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Thu, 25 Jan 1996 19:20:54 PST Reply-To: mail06702@pop.net Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: "(Dave Ruthenberg)" Subject: Re: Tinsley Ellis Comments: To: MertFaj Name: Dave Ruthenberg E-mail: mail06702@pop.net Date: 1-25-96 Time: 7:20 pm EST Tinsley is currently on tour with Alligator label-mate Kenny Neal. In a real change of pace, Ellis is doing an accoustic show. It should be interesting. I am going to be interviewing Ellis for the next issue of THE BLUES RAG which will be out in mid-late February. If anyone is interested in a copy, let me know and I will send it out. Dave Ruthenberg ========================================================================= Date: Thu, 25 Jan 1996 19:26:57 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Can't Get Enough These CD's have been spining continuosly for the past two days in my home: Guitar Shorty Get Wise To Yourself The Wampus Cats Toastin' The Blues James Armstrong Sleeping With A Stranger ***************************************** * Beef Stew - The Blues Playground * * * * WCCC Radio 107 FM * * 243 South Whitney Street * * Hartford, CT 06105 * * * * Phone: 860.233.4426 * * Phax: 860.232.6511 * * * * Personal e-mail: bfstew@neca.com * * Station e-mail: fm107wccc@aol.com * ***************************************** ========================================================================= Date: Fri, 26 Jan 1996 00:54:12 GMT Reply-To: 103074.3276@COMPUSERVE.COM From: 103074.3276@COMPUSERVE.COM Organization: CompuServe Incorporated Subject: Lamont Cranston Blues Band Comments: To: bit-listserv-blues-l@uunet.uu.net Legendary Minneapolis blues band, check out their new Web Page at http://ourworld.compuserve.com/homepages/lamontcranston ========================================================================= Date: Thu, 25 Jan 1996 21:53:51 EST Reply-To: TSCHANZ@VM.TEMPLE.EDU From: "William R. Tschanz" Organization: TEMPLE UNIVERSITY Subject: Happy Birthday HAPPY BIRTHDAY Miss Etta James Hawkins.....sister.....do that thing.... 58 and she STILL....sounds great. Don't know if she'll see this...don't care if she does.....it's just a little celebration....for a good cause......sister....do that thing.... ____________________________________________________ | > | WILLIAM R. TSCHANZ TSCHANZ@VM.TEMPLE.EDU > | CIVIL ENGINEERING WRTSCHANZ@AOL.COM > | TEMPLE UNIVERSITY ----------- > |___________________________________________________> ========================================================================= Date: Fri, 26 Jan 1996 03:24:55 GMT Reply-To: Garby Leon From: Garby Leon Organization: Netcom Subject: Looking for JOHN FISHEL....any help? Comments: To: bit-listserv-blues-l@uunet.uu.net Trying to locate John Fishel, original organizer of the Ann Arbor Blues & Jazz Festival from 1969 on, and quoted in the current LIVING BLUES in the article on Magic Sam (issue highly recommended, BTW). If anyone knows John, or how to get in contact with him, please email me at... Garb Leon and assure John, if you know him, that this contact is benign, and suggested by mutual friends... (IOW, I'm not trying to serve him papers or anything!) Many thanks for any help, Garb Leon ========================================================================= Date: Fri, 26 Jan 1996 03:37:29 GMT Reply-To: Eliot Williams From: Eliot Williams Organization: UW-Madison Subject: Re: Bradshaw/Liggins info needed Comments: To: bit-listserv-blues-l@uunet.uu.net In article <19960124.121922.320304.NETNEWS@AUVM.AMERICAN.EDU>, WSHUTE@ACCDVM.ACCD.EDU says... >From: Bill Shute >A friend of mine is looking for two songs on CD: >"Soft" by Tiny Bradshaw >"Drunk" by Jimmy Liggins "Soft" is on King KCD 653: "Tiny Bradshaw - the Great Composer". I think this is a straight reissue of the King LP of the same name. EW ========================================================================= Date: Wed, 24 Jan 1996 19:54:13 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Question to Performers Steve Levine wrote: >One day I lost the glasses before a gig, so I forced myself to >face the audience and found that it wasn't so bad. After a while I >found that the nervousness turned into adrenalin and energy onstage, >and once I got over the initial stage fright I was fine. Now I'm so >used to playing that I hardly ever get nervous, just excited. I was asked the very same question by a student today. I said that it was a matter of getting up there and playing until being on stage becomes routine. Here at MI, you have the chance to play live a lot. It is a controlled enviroment to an extent, but for the stage shy it is chance to get used to playing in front of people. I used to get real nervous before I had to play. Now the feeling is one of anticipation. I just want to get up there and play! I love playing live. Like Steve, the nervousness turns into adrenalin which is used as energy on stage. Still, if it's an audition or something where you know people are checking you out and playing close attention then I tend to get a little nervous. Still, once I get up there and start playing then it's ok. And if it's blues then I don't usually worry. Blues is something that I'm comfortble with. Now if it's Jazz, well that's another story. The more comfortable you are in a particular style then the less you have to worry about. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Wed, 24 Jan 1996 19:54:20 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Blues Without Feeling? Ruth wrote: . > My feeling is music is the most intensely emotional experience one can > have with one's clothes on. I agree. Someone once asked me what it is like to play live (and I'm talking about when the band is grooving, you are too and the audience is with you) and my response that it is one of the greatest feelings you can ever experience. If you have never experienced it, it is almost impossible to describe. So I used an analogy similiar to Ruth's but I was a touch more graphic. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Wed, 24 Jan 1996 19:54:25 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Blue Note Bends Here is something to ponder over. I've been recently helping a few people out with the art of playing blues guitar. One topic that I'm preparing a "How-to" on is blues bending. My personal approach is based on the BB King/Albert King style with a heap of Buddy Guy thrown in (and others, of course). That is, bending to an exact pitch isn't what's happening. These players, and others, are trying to find the notes that don't exist on the fretboard. The so-called blue notes. Unless it is b7 to tonic bend then I'm going to find that 'note' that just sound right (usually on b3 and 5 bending licks. I've discoverd that I rarely play a b3. I usually bend the b3 till the pitch is about halfway between the two notes. Same goes for the b5. When I play blues I bend until I hear *the* sound. Now I was explaining this to a guitarist friend -btw, he plays fusion- and he commented that he had noticed that with the old guys as well. He then said he preffered Clapton or SRV because they were generally more accurate in their bending. So all I'm asking is what do others think? Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 25 Jan 1996 23:24:47 -0500 Reply-To: Mike Gottesman From: Mike Gottesman Subject: I Need a Radio Show Name... Please Help I'm going to do a blues radio show at my college radio station for the second semester in a row. I'm really excited, but I can't think of a good show name. I plan on playing everything from Muddy Waters, Robert Johnson, and Sonny Boy Williamson to Robert Cray, Joe Louis Walker, and Keb' Mo'. If anyone has any good ideas I would be very grateful to anyone who can help me get out of this jam. In case it helps, it will probably be an evening show. My show last semester was called Spoonful of Blues, a corny name since it was a lunch-time show, but it got great feedback. Who would of thought there would be loyal blues fans out here in Lancaster, PA. I am a relatively new subscriber to Blues-L, but a devoted one to say the least. Thanks for your help in keeping the blues alive. ========================================================================= Date: Thu, 25 Jan 1996 23:50:43 -0500 Reply-To: Slydemann@AOL.COM From: Dave Melton Subject: Re: Question to Performers Comments: To: Steve.Levine@corp.wrgrace.com Sometimes I'm on top of the world, and sometimes the whole world seems like it's on top of me. I still get nervous if I get caught up thinking about what they might be thinking out there. But when the good stuff starts happening, I milk it! ========================================================================= Date: Thu, 25 Jan 1996 20:52:39 -0800 Reply-To: emdrprac@DIRECT.CA From: Roger Brant Subject: Re: Blue Note Bends Shaun T Cronin Now I was explaining this to a guitarist friend -btw, he plays fusion- and >he commented that he had noticed that with the old guys as well. He then >said he preffered Clapton or SRV because they were generally more accurate >in their bending. > >So all I'm asking is what do others think? Has anyone ever listened to Amos Garrett's "multiple string bending" technique?? It is quite amazing: capable of sounding like a pedal steel, or like two guitars, one bending up, one bending down. Wild!! I'm not sure, but I recall that there is an instructional video out there somewhere, with Amos teaching these techniques....... Roger........... ========================================================================= Date: Thu, 25 Jan 1996 23:53:39 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: guitar shorty I got a call from Guitar Shorty yesterday and he is one of the folks caught up in the mess with Billy Blues in San Antonio. His gig on Saturday Feb 10 has been cancelled which will leave him and the band in the lurch on a Saturday night with very short notice. The band is booked at J&J Blues Bar in Fort Worth on Friday Feb 9 and is heading east from there to Atlanta. If you know a club owner between Fort Worth and Atlanta who would like to book one of the best live blues acts on the circuit for Saturday Feb 10, get me an e-mail asap and I'll give you Shorty's booking contact. Don O. not associated except as a big fan ========================================================================= Date: Fri, 26 Jan 1996 05:44:02 GMT Reply-To: EDRF From: EDRF Organization: TRICHOGEN Subject: FAQ: blues and hair Comments: To: bit-listserv-blues-l@uunet.uu.net Now available in U.S. Pentadecanoic Acid Glyceride. World's leading treatment for thinning hair from Japan. 2.5X more effective than minoxidil. Doctor recommended. For free info, please call 1-800-555-8655. ========================================================================= Date: Wed, 24 Jan 1996 23:25:55 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Blue Note Bends Roger wrote: >Has anyone ever listened to Amos Garrett's "multiple string bending" >technique?? It is quite amazing: capable of sounding like a pedal steel, >or like two guitars, one bending up, one bending down. Wild!! I'm not >sure, but I recall that there is an instructional video out there >somewhere, with Amos teaching these techniques....... Jerry Donahue of the Hellecasters is an amazing string-bender in the country idiom. You have to see him live. It is amazing to watch his hands and then hear what comes out of his amp. And when he adds delay to the mix of bends all over the place then it is overwhelming. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Fri, 26 Jan 1996 00:24:51 -0800 Reply-To: emdrprac@DIRECT.CA From: Roger Brant Subject: Re: FAQ: blues and hair Comments: To: EDRF >Now available in U.S. Pentadecanoic Acid Glyceride. World's leading >treatment for thinning hair from Japan. 2.5X more effective than >minoxidil. Doctor recommended. For free info, please call 1-800-555-8655. Piss off with your commercials. This ain't T.V., pal!!! Audrey Cook emdrprac@direct.ca Please note: My e-mail address in no way implies any representation of the EMDR Institute. ========================================================================= Date: Fri, 26 Jan 1996 01:23:00 PST Reply-To: Gary Joneson From: Gary Joneson Subject: Delta Snake News For those that may be interested Al Handas January issue of the Delta Snake News is now online at: http://www.island.net/~blues/snake.html ========================================================================= Date: Fri, 26 Jan 1996 01:32:22 -0800 Reply-To: bluesdj@HALCYON.COM From: Roberta Penn Subject: Re: Lightnin' and Barbara In-Reply-To: <199601260513.AAA24621@listserv.brown.edu> Does anyone know if the Lightnin' Hopkins and Barbara Dane recording is in print? Only on lp? On cd? Thanks, Roberta ========================================================================= Date: Fri, 26 Jan 1996 10:46:40 GMT Reply-To: sylviap@cartermill.com From: "sylviap@cartermill.com" Subject: Message for Keith from Silvia Sorry to send this message to everybody, I am just looking for Keith from Alabama. Keith I do not know how could I thank you, I receive your tape and I am listening it in my office. It is really nice from you, and the tape is very good! Anyway I'd like to say you other things. I am waiting for you so that I can write you privately!! OK, for the blues cruise!!!! Silvia ========================================================================= Date: Fri, 26 Jan 1996 06:00:35 EST Reply-To: ratman@CONVAL.EDU From: ratman@CONVAL.EDU Organization: Conval Subject: Chris+Buddy Anyone know what Chris Duarte is up to these days? Also, is Buddy Guy planning a new CD or anything? ========================================================================= Date: Fri, 26 Jan 1996 02:52:51 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: That's easy for you to say! (hic-cup) I'm mean Life.... Ya c whatm' sayn'...is good! -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 ========================================================================= Date: Fri, 26 Jan 1996 11:02:09 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Pat Hare Comments: To: bit-listserv-blues-l@uunet.uu.net >On Wed, 24 Jan 1996, Jim Witteveen wrote: > >> Regarding Pat Hare - besides his criminal activity, he played some fabulous >> (amazing IMHO) guitar on James Cotton's `Cotton Crop Blues' (1954, Sun >> Records version) - some of the best blues guitar I've ever heard. I don't >> know much about his work - can anyone tell me who else he played with? I don't recall seeing this mentioned, maybe because everyone knows already, but he was in Muddy's band from '56 through '60, and played on all of Muddy's Chess session during that period, plus the '60 Newport Folk Festival. Prior to that he was with Junior Parker, Bobby Bland and others. After he left Muddy, he moved to Minneapolis to play with Mojo Buford, and the rest, as they say... BTW, Richard Shurman, are you sure the Pat Hare piece was in Juke Blues? I seem to remember a piece on him in Blues & Rhythm a few years ago too. Scott ========================================================================= Date: Fri, 26 Jan 1996 11:29:10 GMT Reply-To: Steve Leigh From: Steve Leigh Organization: A poorly-installed InterNetNews site Subject: Re: Acoustic Johnny Winter Comments: To: bit-listserv-blues-l@uunet.uu.net James Leftwich wrote: > Any chance of there ever being >an all acoustic CD from him? We could only wish for such a thing. --Steve ========================================================================= Date: Fri, 26 Jan 1996 12:27:00 GMT Reply-To: Mr G M Smith From: Mr G M Smith Subject: You Might Be A Blueneck If... The word "Bo" makes you think "Carter" rather than "Derek" or even "Diddley". The words "Taj Mahal" don't remind you of India. You'd buy a Hudson Terraplane sight unseen if you could find one. "Elgin" means wristwatch,not marbles. Yours, Garry Smith ========================================================================= Date: Fri, 26 Jan 1996 07:59:46 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Blue Note Bends Comments: To: shaun@WAVENET.COM On 24 Jan 96, Shaun T Cronin had this to say: > Here is something to ponder over. > > I've been recently helping a few people out with the art of playing blues > guitar. One topic that I'm preparing a "How-to" on is blues bending. My > personal approach is based on the BB King/Albert King style with a heap of > Buddy Guy thrown in (and others, of course). That is, bending to an exact > pitch isn't what's happening. These players, and others, are trying to find > the notes that don't exist on the fretboard. The so-called blue notes. > Unless it is b7 to tonic bend then I'm going to find that 'note' that just > sound right (usually on b3 and 5 bending licks. I've discoverd that I > rarely play a b3. I usually bend the b3 till the pitch is about halfway > between the two notes. Same goes for the b5. When I play blues I bend until > I hear *the* sound. > > Now I was explaining this to a guitarist friend -btw, he plays fusion- and > he commented that he had noticed that with the old guys as well. He then > said he preffered Clapton or SRV because they were generally more accurate > in their bending. > > So all I'm asking is what do others think? I don't think your friend is correct when he says the old guys do that. B.B. doesn't. He is quite accurate with his bends. He may occasionally do it "for effect". Another factor in the equation is vibrato. B.B. never adds vibrato to a bend. Others like , Buddy Guy, and Otis Rush add a lot of vibrato to their bends. When you do that, the tonal center is implied, and it's much harder to appear accurate. Besides that Buddy can sometimes be just plain wild and land a bend anywhere he damn well pleases. This is not to say that you can't or shouldn't bend to a note that's "in the cracks", just that I think the "old guys" were more accurate than your friend implies. P.W. Fenton Tampa, Florida Visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 26 Jan 1996 08:39:43 EST Reply-To: levyt@RL.AF.MIL From: Toby Levy Subject: Handy Award Ballot Comments: cc: mkaldin@ix.netcom.com I finally got caught up on about a week of Blues-L digests (who was the idiot that sent the entire digest for the night before last to the Blues-L as a message so that it got included in the Blues-L digest last night making the digest 184k?) Anyway, I also got a ballot in the mail even though I havent subscribed to Living Blues for a couple of years (I get Blues Revue now which covers a broader spectrum of the blues). I read with interest that Mary Katherine Aldin does not send the ballot in. I searched following digests in the hope that someone would ask her why. Since no one else did, I will now: Why? It only costs a stamp and you get to vote for the musicians you like rather than the musicians who are the best known but not necessarilly the best. Toby ========================================================================= Date: Fri, 26 Jan 1996 08:50:13 -0500 Reply-To: USBLUE5@AOL.COM From: "Gordon, Rich" Subject: Lonnie Shields in Rockford, IL I had the pleasure of seeing and hearing Lonnie Shields last night at the Big CIties Lounge in Rockford. Lonnie is "the Man". He is probably one of the best soulful blues guitar player I've ever seen. You must see him when he comes to your area. If you are a guitar player, it's a double must. He gets more out of one note than most players get out of 32. He plays with such raw emotion that it is frightening. He simply is incredible. The turn out last night was poor. Yet he put everything into it. His father just recently passed away. He came to Rockford from Chicago via Helena, Arkansas. They were suppose to have three days off in Chicago before coming to Rockford. Because of his father's very recent death, they spent the time driving back home and then to Rockford.. With everything that happened, he was amazing. I got to talk to him. He is a real gentleman. I just wish more people could have seen him play. Shame on the club owner for not advertising this show. Shame on you if you don't go see Lonnie Shields when he comes to your town. Rich Gordon Sunday Night Blues 10pm to Midnite WXRX 104.9 FM Rockford, IL ========================================================================= Date: Fri, 26 Jan 1996 08:57:50 -0500 Reply-To: GDKimball From: GDKimball Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Learning Guitar/books Comments: To: bit-listserv-blues-l@uunet.uu.net LW says: I wish I had figured out about 20 years ago, that playing something note-for note really doesn't help me, unless I'm doing top forty in some club. I know it's important to figure out peoples solos and what not, but when it comes to blues YOUR self expression is what makes it work. This implies that music played note for note does not use any self expression. I disagree. That's why there are interpretations of classic music that differ substantially from each other. Beyond this, I think the use of tab and music in learning country blues is extremely useful, because 1. alternate tunings are often used; 2. Many songs were not recorded in concert pitch; the recordings are often scratchy, poorly engineered, etc. Sure, if you've been playing awhile, you can quickly establish if someone is in Spanish, Drop D, Vestapol or another tuning, but this would be rather difficult for a novice. Hammond, Grossman and others had the benefit of seeing many of the early bluesmen play, which is an experience most young musicians won't have. I don't disagree that John Hammond plays Johnson with his own style, but I bet the vast majority of his licks are from the work of earlier bluesmen, live and on recordings. By all means improvise and learn by ear, if you can, but unless you have a good friend who plays this stuff, it might become quite frustrating. Actually, I have always found the rythmn component of early blues the most challenging part, and the tab only helps you marginally with that. Gregg ========================================================================= Date: Fri, 26 Jan 1996 09:09:12 -0500 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: Bad words Comments: To: bit-listserv-blues-l@uunet.uu.net In article <4e8a7i$6bu@spectator.cris.com> Barry Bean writes: >In <199601241708.AA01821@bulkrate.cc.bellcore.com>, edward c liu > writes: >> If enough people think the same way about a word, won't the >>meaning change? What do "inflammable" and "disinterested" mean? >>If people stop using a word, even an insulting one, will the >>sentiment really go away? I haven't been referred to as a "gook" >>or a "slant" recently, but does that mean anti-Asian sentiment >>doesn't exist anymore? >Consider the contrary - If you and I called each other gook and kike, >would we erase anti-semitism and anti Asian sentiment, or would we merely >be lowering our standards to accept such language? Comedian/Social Commentator Lenny Bruce's theory was that using these words repeatedly in public (basically taking them "out of the closet" ) would deflate their meaning and some little black kid would not go crying to his mother when someone called him the "N-word". ========================================================================= Date: Fri, 26 Jan 1996 09:12:09 -0500 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: You Might be a Blue Neck if........ Comments: To: bit-listserv-blues-l@uunet.uu.net In article <960124220709_205986050@mail02.mail.aol.com> Karen Hanson writes: > I think Buddy sounds best when playing himself. I must be a Blueneck. Or a >purist... Or narrow-minded.... Or any one of a hundred thousand similar >epithets.... ;-) Or you just like Buddy :-) ========================================================================= Date: Fri, 26 Jan 1996 09:27:11 -0500 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: Blue Note Bends Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199601260752.XAA29360@wavenet.com> Shaun T Cronin writes: >>Has anyone ever listened to Amos Garrett's "multiple string bending" >>technique?? It is quite amazing: capable of sounding like a pedal steel, >>or like two guitars, one bending up, one bending down. Wild!! I'm not >>sure, but I recall that there is an instructional video out there >>somewhere, with Amos teaching these techniques....... >Jerry Donahue of the Hellecasters is an amazing string-bender in the >country idiom. You have to see him live. It is amazing to watch his hands >and then hear what comes out of his amp. And when he adds delay to the mix >of bends all over the place then it is overwhelming. Both Amos and Jerry are amazing players with excellent string bending abilities, but neither play in a striclty Blues style. Mostly they bend exactly to pitch. I think the original poster wanted to know more about microtonal bends (between the notes). There is a beautiful note that exists between the flatted-third and the natural third which is the ultimate blue note (IMO). I go there all the time :-) >Shaun Cronin 'The Blues is what exists between a man and a >shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Fri, 26 Jan 1996 08:21:40 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Studio Questions I will be recording at a local studio (thanks to Mike McCracken) and the only time I've recorded in a studio was with a band but never solo... Any tips you can pass my way would be appreciated. I hope that have one of them gizmos that will convert your voice into a Muddy type voice :-)....I have to sing, but I don't sing too well....So I'll be off work Tuesday... THANKS LW btw: I will be playing my Gibson L-00, National and maybe a J-50. I plan on using a DeArmond pickup on the acoustics amd mic'ing the National...What ya'll think ========================================================================= Date: Fri, 26 Jan 1996 08:42:51 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Pat Hare Comments: To: Poindexter Regan In-Reply-To: <4eacbh$1erm@usenetp1.news.prodigy.com> Yes, the Pat Hare piece was definitely in Juke Blues. I don't like to use this forum for commercials, but anyone interested in this issue can get it from me (I'm the US rep) for $6 postpaid; email me privately. ========================================================================= Date: Fri, 26 Jan 1996 08:47:27 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Blue Note Bends Comments: To: "P.W. Fenton" In-Reply-To: <199601261257.HAA59912@osceola.gate.net> B.B. has said himself that one of his strengths is that he has a very good ear for pitch, which is an obvious asset for bending. I agree with Paul; his bending can't be faulted for "accuracy." On the other hand, Buddy has consciously made a style out of "overbending" beyond the "accurate" note. To echo the point about bending being in part a use of the "notes between the notes," a lot of people like B.B., Otis, etc., say they started bending in order to approximate a slide with their fingers; that means needing a way to work "between" the frets. ========================================================================= Date: Fri, 26 Jan 1996 10:00:40 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Fire/Fury Comments: To: bit-listserv-blues-l@uunet.uu.net In article <4e5mqs$2c30@news.doit.wisc.edu>, Mark A Basten writes: >P.M.L. [Pushin' My Luck] - Can anyone point me towards a biographical >article/book on Bobby Robinson, the Fire/Fury/Enjoy Records boss? > > Capricorn, I think, released a two CD set of the Fire/Fury story, with a pretty meaty book enclosed. I found a copy at a CD/vinyl event, but I think it's fairly new (within two or three years old.) Very interesting, plus you get to listen to a great collection of Bobby's productions. Denise ========================================================================= Date: Fri, 26 Jan 1996 10:01:07 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Take me to the river Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199601241737.MAA01636@ts2e.sei.cmu.edu>, William Pollak writes: > M. Hodges is either one >of the members of the Hi Rhythm Section of Memphis, Tenn., or is related to >one of the Hodges brothers. > > Mabon "Teenie" Hodges is the guitar playing brother who has been a mainstay of the HI Rhythm Section and Memphis music scene for several decades. By the way, Etta James does a pretty thumping version of this classic song on the Memphis Horns album. And for you trivia buffs, the original Memphis Horns consisted of five members who worked day and night for both Stax and HI during the glory years. The baritone sax player was James Mitchell, Willie's brother, and he is responsible for the horn arrangements on all the HI hits. (We're just one big, happy family here in Memphis!) Denise ========================================================================= Date: Fri, 26 Jan 1996 10:17:53 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Tinsley Ellis We (Max, our roomate, Dave, and I) like Tinsley Ellis a lot. Max covers some of his stuff. ========================================================================= Date: Fri, 26 Jan 1996 10:32:07 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Re: modern rural blues Comments: To: bit-listserv-blues-l@uunet.uu.net In article <4dm392$mql@adirondack.btv.ibm.com>, "Charles J. Masenas" writes: > >I enthusiastically second that opinion. Paul has been playing blues for >something like three decades and he deserves more exposure. He toured with >Son House in the '70s. His third CD is due out any time now. I seem to remember someone who knew Son House telling me he thought there were only a few "true" students of Son House, Paul Rishell & John Mooney. Have you heard John? Catbauer@vivanet.com http://www.vivanet.com/~blues ========================================================================= Date: Fri, 26 Jan 1996 09:43:51 -0600 Reply-To: Geoffrey Guynn From: Geoffrey Guynn Subject: looking for info on Blues Foundation Hi, I am looking for info on the Blues Foundation aka Rythmn & Blues Foundation Do they have a web site, e-mail, or snail mai address? Thanks Danny Shapiro dshapirp@austin.cc.tx.us ========================================================================= Date: Fri, 26 Jan 1996 10:44:50 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Johnny Winter Acoustic Slide Comments: To: leftwich@clous9.net IMHO Johnny Winter is one of the best acoustic slide players, but John Hammond is probably considered THE best. ========================================================================= Date: Fri, 26 Jan 1996 08:01:15 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Jan. 27 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BELL, THOM (prod/PHIL. INT) b. 1943-0127, PHILADELPHIA, PA BLAND, BOBBY "BLUE" (v) b. 1930-0127, ROSEMARK, TN BOND, JIMMY (b) b. 1933-0127, PHILADELPHIA, PA CALHOUN, EDDIE (b) d. 1994-0127, PARADISE LAKE, MS 72 CHEEKS, JULIUS REV.(lead/SEN NIGHTINGALES d. 1981-0127, MIAMI, FL 51 CHRISTIAN, JOHNNY "LITTLE" (v) d. 1993-0127, CHICAGO, IL 56 DOOLEY, SIMMIE BLIND (g/PINK ANDERSON) d. 1961-0127, SPARTANBURG, SC 79 HOGG, ANDREW "SMOKEY" (g/p) b. 1914-0127, WESTCONNIE, TX JACKSON, MAHALIA (v) d. 1972-0127, EVERGREEN PARK, IL 60 JAMES, ELMORE [ELMORE BROOKS] (g) b. 1918-0127, RICHLAND, MS LESTER, JULIUS (g/VANGUARD R) b. 1939-0127, ST. LOUIS, MO MAHON, TOM (p/JOHNNIE DYER) b. 1957-0127, NEW YORK CITY, NY MISSISSIPPI MATILDA (WITHERSPOON) (v) b. 1914-0127, HATTIESBURG, MS PAGE, ORAN "HOT LIPS" (tpt) b. 1908-0127, DALLAS, TX SCOTT, PURVIS (b/SUNNYLAND SLIM) b. 1932-0127, EARLE, AR SHIRLEY, DON (p) b. 1927-0127, KINGSTON, JAMIACA TALLEY, NEDRA (of THE RONETTES) b. 1946-0127, NEW YORK CITY, NY WILLIAMS, ERNIE (v/d/HARLEN LEONARD) d. 1986-0127, KANSAS CITY, MO 81 ------------------------------------------------------------------------------- ========================================================================= Date: Fri, 26 Jan 1996 10:01:35 -0600 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Willie Smith Has anyone heard the new CD from Willie "Big Eye" Smith? I think it's called Big Bag of Blues. Bruce Roberts Austin, TX ========================================================================= Date: Fri, 26 Jan 1996 11:13:39 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Tinsley Ellis I'm not really a Tinsley fan, but I saw him twice at the House of Blues in Cambridge, opening for Lonnie Mack, and I'll tell ya what, he kicked ass. My wife liked him better than Lonnie and went out and bought one of his cds which left me unexcited. But I really enjoyed him live. Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 26 Jan 1996 11:21:16 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: New or Re-issue question. Ed, ya gotta go with the re-issue, ie, the old guys first. You can always catch up with today's artists somewhere along the line. For me, often it's that I'm looking to learn a a tune to bring in to my band, and I always learn the way the old guys did it first, before I want to even HEAR a new interpreta- tion. If it's as simple as new artist/new material versus the old stuff.... for me, it's still no contest. My two cents..... :) Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 26 Jan 1996 09:24:25 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: Re: Fire/Fury Comments: To: DeniseTapp >In article <4e5mqs$2c30@news.doit.wisc.edu>, Mark A Basten > writes: > >>P.M.L. [Pushin' My Luck] - Can anyone point me towards a biographical >>article/book on Bobby Robinson, the Fire/Fury/Enjoy Records boss? >> >> > >Capricorn, I think, released a two CD set of the Fire/Fury story, with a >pretty meaty book enclosed. I found a copy at a CD/vinyl event, but I >think it's fairly new (within two or three years old.) Very interesting, >plus you get to listen to a great collection of Bobby's productions. > >Denise It's a great 2 CD box that gets a lot of play on my stereo. Lots of fine tunes by Wilbert Harrison, Lee Dorsey, Elmore James, King Curtis and many more. The enclosed booklet will tell you everything that you want to know about Bobby Robinson. CAPRICORN RECORDS PRESENTS THE FIRE/FURY RECORDS STORY CAPRICORN 9 42009 - 2 Enjoy, Gary ............ Gary Constantine >> gconstan@ccinet.ab.ca << If you're lookin' for a perfect woman you're gonna' die a lonely man .............. Joe Louis Walker ========================================================================= Date: Fri, 26 Jan 1996 11:35:02 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Bad words Comments: To: Dennis Miele In-Reply-To: On Fri, 26 Jan 1996, Dennis Miele wrote: > Comedian/Social Commentator Lenny Bruce's theory was that using these words > repeatedly in public (basically taking them "out of the closet" ) would > deflate their meaning and some little black kid would not go crying to his > mother when someone called him the "N-word". And it didn't work - did it. Walk over to some black person now and say the n-word and see whether it hurts, or inflames them or not. NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Fri, 26 Jan 1996 11:36:14 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Ruth's slide comments... Are we nitpicking about semantics again here? :) I'm inclined to go along with Ruth on this one. Slide is slide. You're using an implement on the neck of the guitar, bottle, glass, steel, knife, sparkplug socket, whatever. Now, I understand that we can break down the playing of "slide" into styles if you want to....."delta style", "bottleneck style", etc, etc and actually mean several different things. But the point is, ( I think) you have to discern up front in these discussions, are you talking about a style, or the actual implement of choice that you slip on your finger. But don't confuse the two. I play a lot of Elmore James style with a glass coricidin bottle on an electric archtop, and I also play a lot of what I call acoustic delta style on a dobro using brass. They're entirely different styles, but hey I'm a simple guy... I call it slide guitar. Is a hotdog a Frankfurter or a weiner? Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 26 Jan 1996 11:42:06 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Willie Smith Comments: To: Bruce Roberts In-Reply-To: <960126100135.24b6@TSBME.STATE.TX.US> On Fri, 26 Jan 1996, Bruce Roberts wrote: > Has anyone heard the new CD from Willie "Big Eye" Smith? I think it's > called Big Bag of Blues. Yes. The name of the disc is Bag Full of Blues. WS is up for a Handy in the drums area (no big surprise since he was Muddys drummer for a long while). Very good disc all around. If any one is interested in the next few days over at the NY CD Blues web page we'll have the review of the CD up along with 20 plus others all crossreferenced in 45+ nominee listings. Give it a few days then go to the page and click Handy's, then go to the the listing for Willie and click on the review. NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Fri, 26 Jan 1996 11:50:37 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: New or Re-issue question contrary opinion ... Comments: To: "" In-Reply-To: <01I0GQ162FMG005D6R@SCI.WFBR.EDU> On Fri, 26 Jan 1996, wrote: > Ed, ya gotta go with the re-issue, ie, the old guys first. You can always > catch up with today's artists somewhere along the line. For me, often it's > that I'm looking to learn a a tune to bring in to my band, and I always learn > the way the old guys did it first, before I want to even HEAR a new interpreta- > tion. If it's as simple as new artist/new material versus the old stuff.... > for me, it's still no contest. Gotta disagree Rick .... I'd say you can always buy the old guys stuff any time, but if we don't support the living breathing art- ists then before we now it they'll be old poor & doing something other than playing the blues - not making discs or playing shows. Very similar to the thread a bit back re: support live music, if we don't it will go away. NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Fri, 26 Jan 1996 12:09:56 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Death of Rusty Davis St. Louis bluesman Rusty Davis died yesterday of a heart attack at age 62. Rusty (along with brothers John Davis and James Davis) was for many years part of the Davis Brothers Band. Formed by their father in rural Mississippi and originally known as The Lard Can Band, the Davis Brothers Band have been a stalwart in the St. Louis blues scene for two decades. For most of that time they have been the house band at Tubby's Red Room in Centreville, IL on the eastern edge of East St. Louis. Tubby's music sets start at 2AM and go until dawn on Friday and Saturday nights. In recent years Rusty had been active in church and no longer played out as a bluesman. He is survived by numerous children and his passing is mourned by many in the St. Louis blues community. Joel Slotnikoff Joel Slotnikoff, Publisher | BLUES WORLD e-mag Box 21652 | http://www.inlink.com/~joelslot St. Louis, MO 63109 | articles, images, reviews, TEL (314) 647-2447 | 78rpm record auction, blueslinks FAX (314) 647-2497 | Blues & Rhythm: The Gospel Truth, joelslot@inlink.com | Vintage Jazz Mart homepages ========================================================================= Date: Thu, 25 Jan 1996 09:00:11 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Blue Note Bends T-Bone wrote: >The point of this is that if you are trained/used to European scales, >that's what sounds best to you. I was raised listening to Howlin' Wolf, >T-Bone Walker, etc. So music using a European scale just doesn't sound >quite right to me. Most fusion players I've known come to the music >through Yes, King Crimson, etc, or through classical music, so the >European scales sound "right" to them. Maybe we can go back into the dangers of musical education again. (NO! Just a joke. Don't even think about it). I think that people used to the European scale forget that blues comes from a whole different tradition. The blues scale is derived from the African musical tradition. Robert Palmer in "Deep Blues" talks about this. African music divides the octave up way different compared to the European tradition. And to end on a close-minded note I reckon that the pople who think that the blues is "out of tune" are speaking from ignorance. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 25 Jan 1996 09:00:04 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Blue Note Bends PW wrote: > >I don't think your friend is correct when he says the old guys do >that. B.B. doesn't. He is quite accurate with his bends. He may >occasionally do it "for effect". Another factor in the equation is >vibrato. B.B. never adds vibrato to a bend. Others like , Buddy >Guy, and Otis Rush add a lot of vibrato to their bends. When you do >that, the tonal center is implied, and it's much harder to appear >accurate. Besides that Buddy can sometimes be just plain wild and >land a bend anywhere he damn well pleases. This is not to say that >you can't or shouldn't bend to a note that's "in the cracks", just >that I think the "old guys" were more accurate than your friend >implies. Good point about BB. Though I think he has 2 to b3 bend in his arsenal that flirts heavily with microtonality. At least I'm sure I copped that lick from BB. Forgot about the effects of vibrato, as well. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 25 Jan 1996 09:00:16 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Blue Note Bends Dennis wrote: >Both Amos and Jerry are amazing players with excellent string bending >abilities, but neither play in a striclty Blues style. Mostly they bend >exactly to pitch. I think the original poster wanted to know more about >microtonal bends (between the notes). There is a beautiful note that exists >between the flatted-third and the natural third which is the ultimate blue >note (IMO). I go there all the time :-) Well I was the original poster. The Amos Garret bit is interesting. I'll probably check him out. I've got a country gig in the works so country guitar is very much on my mind. I've even been listening to Alan Jackson. I hope you all will still let me be on the list. :-) But as for the ultimate blue note. I'm with you on that one. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Fri, 26 Jan 1996 11:57:26 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Sitting&Thinking-couldn't wait!!!! I was not scheduled to review here JSP CD's til March, February is Wolf, but this disc came in and it's the one I said the oth- er day may well be Disc of The Year. A few caveats 1. my review will not do it justice (couldn't even begin to let you know how awesome this CD is) 2. this is a review before the big mags are gonna do theirs (sort of a blues-l scoop) 3. you all know where to order it (I am not affiliated and if you don't know email me and I'll let you know) 4. anyone who gets it please let me know what you think 5. this review won't even be at our web page til March - SO HERE GOES! Barry's first ever recommended CD of The Year (I just never did this before) - I really think this CD is money well spent. ---------------------------------------------------------------------- ---------------------------------------------------------------------- U.P. WILSON - This Is U.P. Wilson (JSP #266) JSP RECORDS P. O. BOX 1584 LONDON N3 3NW ENGLAND TEL: 44 181 346 8663 FAX: 44 181 346 8848 This is disc number three for U.P. Wilson and I think now the cat's out of the bag. U.P. is bigger than life and every CD he makes just proves what's in his soul. His first disc was for JSP and proved to be a strong debut disc. It featured his signature guitar flurries and quick paced stroking and gave an inkling to his vocal strengths. On his second disc, which came out on the Wolf label, we found U.P. Live and kicking at Schooner's in Dallas. Now once again Mr. U.P. Wilson returns home to where it all began, with John Stedman and JSP Records. This CD is way, way over the top. It is of course a rich home brew of Texas blues. It includes those fabulous guitar flourishes that U.P. does so well, but a new flavor has been added. The bulk of this CD has been turned down easy, almost as if U.P. was going back to visit Lightnin' Hopkins and the other famed Texas bluesmen. There is a distinct feel of a confident, knowledgeable, hard hitting artist who has found his place and has decided to play from it. The CD astounded me, and that's no easy task. I have been a fan of U.P. for a long time, but this disc turned my head and opened my eyes. In such a short time U.P. has grown. Just a few years and the difference is enormous. He deserves all his confidence, because what's on this disc is more than a few years of playing time, it is a whole soul laid bare. The other surprise on this CD is U.P. unleashes a terrific voice. This was pointed too in his first disc, but not fully. U.P. has come out full swinging and I say this may be the 1st disc of 1996 deserving to be considered CD Of The Year. I am sure others will come along to challenge, but U.P. stands a great chance of being the only one there when the dust is cleared. HOLD ON BABY / BOOTS & SHOES / BAD LUCK & TROUBLE / YOU'RE ONE WOMAN / CHANGES / GO HOME WITH ME / HOLD ME / PEACHES / USED TO BE MINE / FOOL FOR YOU NY CD Takes HOLD ON BABY: Bass licks open the piece followed by a twangy nasal harmonica. The pace here is groovin. It's a mid tempo shuffle with a smokey set of vocals. U.P. is perfection in the singing department here and where he is headed only time will tell. His guitar playing is sharp and crisp - with some fire induced runs that will burn your player. The harp too is in excellent form - bright, big, bold and strong. A good set off to U.P. and the band which include a second and third guitar, a bass, the aforementioned harmonica and a tough keyboard. BOOTS & SHOES: Same tempo but harder hitting in it's stronger bass line. Steve Meek's drums are full out on the tin and sit well right under the song and instrument lines. U.P. both twists the strings and scratches them, making for a complex as well as satisfying tone. Next off he sets to dueling Doug Zabel in a guitar vs. bass match that yields good tight results. Pay special note on this side to the speed of U.P.'s picking - simply put, he's astounding on the guitar. He also uses the full neck to move from bass notes to staccato picks that form a single instrumented orchestra right in the midst of everything else that's going on. BAD LUCK & TROUBLE: This side gets very laaaazzzy. The pull is slow and tugging. The notes are all individuated and the music is rapturous. What comes up new on this cut is the saxophone. U.P.'s vocals here, once again, steal it for me. Where he found this much smoke and blues amazes me. YOU'RE ONE WOMAN: From the grit and gravel to the dance floor. U.P. sets to flying on his first full paced piece. His singing doesn't change from it's intense overcast feel but he carries this tune well even inside such a down and dirty sound. I would recommend this side as a first play one, but any cut will rank equal. At the 4 minute mark U.P. hits one of the best guitar twangs to the set and it stays .... stays with you, begging for more. Also make note of the fun filled ending that follows this run. This is a 5 star CD from start to finish, with every cut worth the price of the CD. CHANGES: Definitely Texas blues. This cut is right out of the archives of all the great blues persona that preceded U.P. It is slow and taking, capturing and alluring, sweet and full. It is a major round with this Texas Tornado - as his prior discs call him. Great big fat stroking on the strings sit right in the middle of another round of breath taking vocals. U.P. is certainly on his way to the top - if not there already. GO HOME WITH ME: A step up and two back. The tempo here rises from Changes, and closes in on the danceable feel of You're One Woman. The sax here gets a bigger piece of the stage and stays strong throughout a good section of this cut. This side also features three guitars, a harp and a bass all set over Steve Meek's stellar drumwork. HOLD ME: Back easy for Hold Me - just as it should be. This is straight in your face guitar strums, at a lopey take, with only a single second guitar facing off against U.P. The back is made up of the drums, bass and keyboard and the full front stage here is U.P.'s voice. PEACHES: The slip slide of the shuffle is this piece's center. It's the last cut that Carl Smoot gets to feature on and on this one he's at his biggest. He is there at every moment of this roundhouse side and fills the air all through the back. U.P. fills the front with his picking and at just under 2 minutes in he sets to some fine plucky playing - with a good amount of his quick attacks and traveling the guitar's neck. The side never gets quick nor intense though, it just lays there solid and inviting. U.P. is able to pull off that ferocious style of his at any pace that's presented, and at every turn it just feels right. USED TO BE MINE: A big surprise on this cut. U.P. has invited Tone Sommer to join him - ON SLIDE GUITAR. What an addition to this so far electric outing. This side makes a great battlefield for the slide, the vocals and U.P.'s guitar licks - everyone else has gone. It's a three piece music feast - not to be missed and leading up to the end of this set. FOOL FOR YOU: The big bass tones open this side and lead off of the slide notes from its predecessor. For the first minute it's nothing but guitar by U.P. and exactly at the 1 minute mark he comes in singing. The pace here is slow and leaving - saying goodbye on this final rapup tune. With so much music I'd like to give all the credits due. U.P. Wilson on guitar and vocals, Steve Meek on drums, Don Lange, Holland K. Smith, and Mike Penland on guitars, Tome Sommer on slide guitar, Doug Zabel, Herb Abbs, Chris Thomas and Chris Brewer on basses, Jim Plummer and Dave Jeffrey on harmonicas, Gary Hampton and Jeff Denny on keyboards and finally Carl Smoot on Saxophone. That's fourteen artists all tolled for a CD you will own - whether it be now or later, it will find it's way first into your collection and then into your heart. Reviewed by Barry Silverberg Copyright NY CD Blues @1995-1996 All Rights Reserved. Unauthorized use prohibited. NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Fri, 26 Jan 1996 10:45:49 CST Reply-To: JBards From: JBards Subject: Re[2]: modern rural blues Comments: To: CATBAUER John Mooney and Blusiana play and tour extensively out of New Orleans ( or maybe Baton Rouge) I think. I caught his set at the Jazzfest last spring and I thought it was a good, journeyman sort of performance. Nothing to write home about. However, everyone else I've heard talk about John has had the highest praise for him, so maybe I caught him on a flat day. He's certainly a very adept slide player in the classical delta blues style. -Jim, Shreveport _______________________________________________________________________________ Subject: Re: modern rural blues From: CATBAUER at INTERNET-SH Date: 01/26/96 10:34 AM In article <4dm392$mql@adirondack.btv.ibm.com>, "Charles J. Masenas" writes: > >I enthusiastically second that opinion. Paul has been playing blues for >something like three decades and he deserves more exposure. He toured with >Son House in the '70s. His third CD is due out any time now. I seem to remember someone who knew Son House telling me he thought there were only a few "true" students of Son House, Paul Rishell & John Mooney. Have you heard John? Catbauer@vivanet.com http://www.vivanet.com/~blues ========================================================================= Date: Fri, 26 Jan 1996 12:25:34 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Blind willie johnson Comments: To: bmpech@mscd.edu On January 26, Bruce Pech asked: >>>So is he a knife guitarist or a slide guitarist? Or is he >>>(as he's often >>>described) one of the best bottleneck guitarists of >>>the pre-war era? Back in the 1960s, I did some shows with Rev. Pearly Brown, a disciple of Blind Willie Johnson and Rev., Brown used a wide glass ring (about two inches) on his left ring finger. He played a 12-string and really made it ring out. Last time I saw him was when Bonnie Raitt asked that he open a concert for her in Athens, Georgia, in the mid-1970s. While he was performing, she leaned against the side monitors and stared at his bottleneck style and shook her head. I think that Mary Katherine Aldin has some Rev. Pearly Brown on her "Gospel at Newport." Dick Waterman ========================================================================= Date: Fri, 26 Jan 1996 12:25:41 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Blue Note Bends Comments: To: rshurman@ccs.nslsilus.org >>> B.B. has said himself that one of his strengths is >>>that he has a very good ear for pitch, which is an >>>obvious asset for bending. I Since you brought this up, I'll tell you a funny little story. BB told me that he was doing a duet with Diane Schur and they couldn't get her voice, his voice and "Lucille" in proper pitch. BB got exasperated and finally asked the piano player to hit the notes by which he tunes his guitar. It turned out that BB's ear had taken "Lucille" off by an imperceptible amount but Ms. Schur was exactly on pitch. He laughed when he told me the story because while he is good, she is better. For those who do not know, Ms. Schur is blind which gives truth to the adage that natures compensates by improving one sense to balance the loss of another. Dick Waterman ========================================================================= Date: Fri, 26 Jan 1996 11:34:21 -0600 Reply-To: Mike James From: Mike James Organization: Louisiana Tech University Housing Subject: Re: Take me to the river Comments: To: bit-listserv-blues-l@uunet.uu.net Al Green's is the best version I've heard. Delbert McClinton also released a version of TMttR in the early 80s. There's a spoken part at the beginning of AG's and he dedicates the song to a cousin (?) who "gone on." I can't remember. I let someone borrow my copy of _The Complete Al Green_ and never got it back. I've been wanting another copy of it just for that song. Mike James ========================================================================= Date: Fri, 26 Jan 1996 09:49:00 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Studio Questions Comments: To: BLUES-L@BROWNVM.BROWN.EDU. LW said: >I will be recording at a local studio (thanks to Mike McCracken) and the >only time I've recorded in a studio was with a band but never solo... > >Any tips you can pass my way would be appreciated. I hope that have one of them >gizmos that will convert your voice into a Muddy type voice :-)....I have to >sing, but I don't sing too well....So I'll be off work Tuesday... >THANKS > >LW > >btw: I will be playing my Gibson L-00, National and maybe a J-50. I plan on >using a DeArmond pickup on the acoustics amd mic'ing the National...What ya'll >think Here's a couple suggestions: 1. Practice! You should be at least 25% more practiced than you *think* you should be... It happens to everyone; we get in a studio and find that "good enough" ain't! We hear the playback for the first time and it's really depressing... So..... Practice with a metronone, click, or drum machine, (you can't play around with the time if you can't keep good time to begin with) Record your practicing on a cassette deck and listen closely Sing! LOTS... Use your diaphram, stand or sit up straight... record your singing... 2. Get those guitars setup by a competent repairman. They need to intonate well and be as buzz free as possible. Strings should be nearly new. You can take highs out a lot easier than you can put them in. 3. I like mic'ing the National, but I'm not nuts about DeArmond pickups. If that is your sound however, you should bring along whatever amp that you use with that pickup to get the sound you like rather than just bringing the pickup. Expect the engineer to put mics on those guitars as well and record several tracks at once. I would. of course, this is all just advice. you will find lots of great artists who won't do any of this and sound great anyway because their performance is so convincing. BUT, for every one of those, there are a thousand who just sound like unprepared amateurs, and even the best would sound better with adequate preparation and a well setup instrument. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Fri, 26 Jan 1996 11:52:29 -0600 Reply-To: mjames@linknet.net From: Mike James Organization: Louisiana Tech University Housing Subject: Ronnie Earl recommendations Comments: To: bit-listserv-blues-l@uunet.uu.net Just purchased a live recording of Ronnie Earl ("San-Ho-Zay" is side 1's first cut), and I'm interested in other Ronnie Earl records. Wow, what tone. Please recommend other Ronnie Earl selections. Also, any magazine articles and videotapes that are out there would be of interest to me too. Thanks. Mike James ========================================================================= Date: Fri, 26 Jan 1996 12:09:08 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Blue Note Bends In-Reply-To: Message of Fri, 26 Jan 1996 12:25:41 -0500 from On Fri, 26 Jan 1996 12:25:41 -0500 Dick Waterman said: >He laughed when he told me the story because while he is good, she is better. >For those who do not know, Ms. Schur is blind which gives truth to the adage >that natures compensates by improving one sense to balance the loss of >another. A blind bass player friend was playing with us one day and something didn't sound right with the harp player and the bass player quickly said "You're playing an Ab harp instead of an A harp"....I used to teach a guitar to a blind guy and I never seen someone "catch on" so quick. My wife and most of my friends work in low-vision or blind rehab and they tell tales of incredibly talented people. Quite amazing and I'm not at all suprised that Ms. Schur was "right on it"...She's an incredible singer LW ========================================================================= Date: Fri, 26 Jan 1996 13:52:46 -0400 Reply-To: Cliff Warnken From: Cliff Warnken Subject: Blind WIllie, Blind Pearly, and slide styles In a previous posting, Dick Waterman made the connection between the slide guitar styles of Blind WIllie Johnson and Blind Pearly Brown. Harry Oster's notes to the old Folk-Lyric LP, "Blind Pearly Brown: Georgia Street Singer" (FL 108), include this paragraph about Johnson's style and Blind Pearly Brown style at that time (late '50's): The guitar is tuned to an open chord; the musician changes chords by sliding along the fingerboard a knife-blade, which Blind Willie used, or a bottle- neck, worn on the little finger; Pearly's equivalent is a brass ring worn on the same finger, which he says is a Chevrolet bushing. This bottle-neck approach leaves three fingers and the thumb free for alternate, or even simultaneous fretting. Also characteristic of the style is the use of the guitar not as just an accompaniment, but rather as an antiphonal, human- sounding, wailing voice, carrying on a dialogue with the singer. Sometimes the singer sings only part of a line and the guitar speaks the rest of it. Whatever the material being used, guess all these approaches "ring" true. Cliff Warnken ========================================================================= Date: Fri, 26 Jan 1996 13:58:58 EST Reply-To: levyt@RL.AF.MIL From: Toby Levy Subject: Conference on the Blues Stumbled upon this on the Web today: January 15, 1996 Arkansas State University at Jonesboro will hold a second conference on the blues on april 18-20, 1996. Scholarly papers, organized panels, and creative multimedia presentations may come from any humanities and social science discipline. Send inquiries to: Delta Symposium Committee, Department of English and Philosophy, Box 1890, Arkansas State University, State University AR 72467-1890 OR 501-972-3043 OR wclement@toltec.astate.edu OR rburns@quapaw.astate.edu ========================================================================= Date: Fri, 26 Jan 1996 14:06:31 -0500 Reply-To: TabbMan@AOL.COM From: John Moore Subject: Re: Tinsley Ellis Comments: To: mail06702@pop.net In a message dated 96-01-26 05:18:39 EST, mail06702@pop.net ((Dave Ruthenberg)) writes: >s doing an accoustic show. It should be >interes For anyone in the chicago area Tinsley is at Buddy Guys tonight and Sat 1/27 at Fitzgeralds ========================================================================= Date: Fri, 26 Jan 1996 14:34:30 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1934 - The Apollo Theatre opened in New York City as a 'Negro vaudeville theatre'. It became the showplace for many of the great black entertainers, singers, groups and instrumentalists in the country. If you made it... you played it... at the Apollo Theatre. P.W. Fenton Tampa, Florida Visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 26 Jan 1996 15:10:52 EST Reply-To: levyt@RL.AF.MIL From: Toby Levy Subject: BB King at the national press club Today's Syracuse paper had a brief article on some of the comments BB King made at the National Press club recently. These speeches get broadcast over National Public Radio and shown on CSPAN, etc. Did anyone catch it? He said some interesting things, such as suggesting that schools teach American music as a part of US History. He also had nice things to say about Eric Clapton. Toby ========================================================================= Date: Fri, 26 Jan 1996 15:15:09 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: stories Hello all... I noticed Dick Waterman put a couple of "stories" on the list today (Blind Willie Johnson and BB King) and I wanted to vote for much more of this -- not only from him, but from all you folks that have a good story to tell about some of your favorite blues musicians. I love stories that give insight into these great people and am a firm believer that such stories keep the blues vital. God knows the music is gift enough, but somehow, the human stories give the blues an even greater depth. The stories are one aspect of Blues-l I especially appreciate. I hope modesty will not prevent you from occasionally sharing with us. We'll all be the richer for it. Thanks.. Cathi N. ========================================================================= Date: Fri, 26 Jan 1996 14:29:13 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Booking talent Bs> From: Barry Silverberg Bs> Subject: Re: Etc. + booking talent. Bs> Ranko and others - in particular blues societies, Bs> There is a real wealth of assistance in booking talent right Bs> here on blues-l ... Let's give it a try, [insert normal disclaimers here] PIANO BOB & THE SNOWMAN are a guitar/vocalist and piano duo who play mostly in the older, pre-War, Barrelhouse and Blues styles. 1992 Winner National Blues Contest, The Blues Foundation, Memphis TN 1992 Winner of the B.B.King 'Lucille Award', Best Unsigned Blues Act in the USA, W.C.Handy Awards, Memphis TN This act is currently seeking serious gigs and tours, both overseas and stateside. E-mail to laurie.forti@infoexch.miami.fl.us; direct response to below address preferred. PLEASE do NOT respond to Blues-l. For cassette tapes, or clubs and/or booking agents, call: Piano Bob at (305)663-9746 or write: Bob Wilder, 8325 SW 72 Ave #C-114, Miami, FL USA 33143 ... "Popularity is the hallmark of mediocrity!" Miles/Fraiser --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Fri, 26 Jan 1996 12:21:32 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: THE RISING SUN COLLECTION Re: lightnin Hopkins Comments: To: BluesHvn@aol.com Comments: cc: williams@heme.medicine.wisc.edu Another to add to Eliot's excellent list of Lightnin' Hopkins CDs is the canadian JUST A MEMORY CD 9 : LIGHTNIN' HOPKINS - RISING SUN COLLECTION. Recorded at the Rising Sun (in Montreal, my old stomping ground :-), it comes as near as you can to the Herald Recordings. Those of us who know the Herald sides from the 50s, know what I mean : LOUD & ROCKIN' - no folk blues stuff here. The recording is quite good for a live set, except a few of the audience members are maybe a little drunk. No matter, Hopkins is right on the beat. Hopkins was known to have a starp tongue, and you'll here him on this set giving a few comments :-). It's quite funny but it's his singing that will win you over. Warning : the guitar is quite amplified & LOUD, like the Herald Recordings. One of the best CDs in 1995. For the record, here is a list of the rest of the RISING SUN COLLECTION series. If I get the time, one day I'll review the series in detail. I should add that these are NOT bootlegs (otherwise I wouldn't EVEN mention them on BLUES-L) and KOCH INTERNATIONAL is distributing them in USA, while FUSION/JUSTIN TIME is handling it in Canada. Expect more as these come from hundreds (yes hundreds) of hours of live recordings from THE RISING SUN. JUST A MEMORY 1 : JOHN LEE HOOKER - THE RISING SUN COLLECTION 2 : BIG MAMA THORNTON - THE RISING SUN COLLECTION 3 : TAJ MAHAL - THE RISING SUN COLLECTION 4 : NINA SIMONE - THE RISING SUN COLLECTION 5 : ARCHIE SHEPP - THE RISING SUN COLLECTION 6 : LOUISIANA RED - THE RISING SUN COLLECTION 7 : ESTHER PHILLIPS - THE RISING SUN COLLECTION 8 : BIG MOOSE WALKER - THE RISING SUN COLLECTION ========================================================================= Date: Fri, 26 Jan 1996 12:20:51 -0800 Reply-To: emdrprac@DIRECT.CA From: Roger Brant Subject: Blues & Hair (my apology!) Sorry to have posted to the group..... it was late at night, and I wasn't thinking too clearly...... In future I will just ignore the dolts who drop their commercial trash onto newsgroups. - Roger ========================================================================= Date: Fri, 26 Jan 1996 12:20:57 -0800 Reply-To: emdrprac@DIRECT.CA From: Roger Brant Subject: You Might be a Blueneck..... >"Elgin" means wristwatch,not marbles. ..............or "Evans" ========================================================================= Date: Fri, 26 Jan 1996 12:21:00 -0800 Reply-To: emdrprac@DIRECT.CA From: Roger Brant Subject: Re: Studio Questions Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu LW wrote.....: I would recommend spending an extra few minutes getting comfortable with head-phones..... in fact, as you are playing solo, you may want to go without phones, as they can cause a bit of a distraction when it comes to balancing your voice and guitar..... > >btw: I will be playing my Gibson L-00, National and maybe a J-50. I plan on >using a DeArmond pickup on the acoustics amd mic'ing the National...What ya'll >think I would be more inclined to let the engineer mike your wood body guitar..... unless you are after a less natural sound. De Armonds can be great for adding a little bit of coloration to the sound. Maybe you could try both (mic. and pick-up) simultaneously, and then experiment with combinations when you mix the tape. (I am assuming this is not live to tape....?) Good luck!! Roger ========================================================================= Date: Fri, 26 Jan 1996 12:52:22 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: RELIC RECORDS/BOBBY ROBINSON re: Fire/Fury Comments: To: BluesHvn@aol.com Comments: cc: denisetapp@AOL.COM I'll be profiling Mr. Bobby Robinson on his upcoming 79th birthdate (April 16). The single best series is available from RELIC RECORDS. They've just released a Don Gardner & Dee Dee Ford set (I NEED YOUR LOVIN'). If you want strictly an overview of his non-vocal group recordings, CAPRICORN 42009 : FIRE/FURY RECORDS STORY is a good listen, but that's just the tip. The RELIC series is where you'll find out why BOBBY ROBINSON is so highly regarded. The single best article is the JUKE BLUES 2 part article in issue #15 & 16. Take Dick Shurman's advise & get a subscription to JUKE BLUES. But if you really want a know EVERYTHING, the CD notes to RELIC series is were you must go. The Collectables series has next to no notes! Here the CD series that I'll be profiling on April 16th. eRIC RELIC RECORDS : BOBBY ROBINSON PRODUCTIONS ========================================================================= RELIC 7002 CHANNELS - GREATEST HITS RELIC 7009 VARIOUS - RAGING HARLEM HIT PARADE V. 1 RELIC 7013 LEE DORSEY - YA YA RELIC 7018 JACKIE & THE STARLITES - VALERIE RELIC 7026 ELMORE JAMES - BEST OF - ROLLIN' & TUMBLIN' RELIC 7028 LOUIE LYMON & THE TEENCHORD - I'M SO HAPPY RELIC 7035 WILBERT HARRISON - KANSAS CITY RELIC 7036 ARTHUR "BIG BOY" CRUDUP - THAT'S ALL RIGHT RELIC 7037 KODAKS - OH GEE OH GOSH RELIC 7040 ELMORE JAMES - BEST OF PT 2 - DUST MY BROOM RELIC 7045 GLADYS KNIGHT & PIPS - LETTER FULL OF TEARS RELIC 7046 VARIOUS - RAGING HARLEM HIT PARADE V. 2 RELIC 7054 GOLDEN ERA OF DOO-WOPS - HOLIDAY RECORDS RELIC 7055 GOLDEN ERA OF DOO-WOPS - WHIRLIN' DISC RECORDS RELIC 7058 LIGHTNIN' HOPKINS - HOUSTON HOUND RELIC 7063 GOLDEN ERA OF DOO-WOPS - FURY RECORDS PART 1 RELIC 7064 BUSTER BROWN - RAISE A RUCKUS TONIGHT RELIC 7072 BOBBY MARCHAN - BOOTY GREEN RELIC 7079 GOLDEN ERA OF DOO-WOPS - RED ROBIN RECORDS PART 1 RELIC 7080 GOLDEN ERA OF DOO-WOPS - RED ROBIN RECORDS PART 2 RELIC 7092 RED ROBIN RECORDS - BOBBY'S BOOGIE RELIC 7093 GROUPS OF FURY RECORDS RELIC 7097 ELMORE JAMES - LAST SESSIONS RELIC 7102 KING CURTIS - PIPING OUT RELIC 7116 DON GARDNER & DEE DEE FORD - I NEED YOUR LOVIN' ========================================================================= Date: Fri, 26 Jan 1996 16:12:20 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Delta Doc Roger Review If anyone still has a copy of the referenced review, please send it to me. Thanks. ========================================================================= Date: Fri, 26 Jan 1996 15:53:46 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: On this day... Comments: To: "P.W. Fenton" In-Reply-To: <199601261932.OAA57952@osceola.gate.net> On Fri, 26 Jan 1996, P.W. Fenton wrote: > On this day in 1934 - The Apollo Theatre opened in New York City as > a 'Negro vaudeville theatre'. It became the showplace for many of the > great black entertainers, singers, groups and instrumentalists in the > country. If you made it... you played it... at the Apollo Theatre. And Buddy Holly and the Crickets were the first white act to play the Apollo. I believe there was a black group called the Crickets that the booking agent may have thought he was getting. -Jeff (the hometown boy again) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Fri, 26 Jan 1996 22:29:27 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: looking for info on Blues Foundation Comments: To: bit-listserv-blues-l@uunet.uu.net In , Geoffrey Guynn writes: >Hi, > >I am looking for info on the Blues Foundation aka Rythmn & Blues Foundation > >Do they have a web site, e-mail, or snail mai address? You are looking for two seperate organizations. The Rhythm and Blues Foundation's offices are in NY, I believe. The Blues Foundation (producers of the Handy Awards and the International Blues Talent Competition) has its office in Memphis. (901) 527-BLUE. I am not currently affiliated with either in any official capacity. - B.B. Bean bbbean@cris.com Peach Orchard, MO http://www.cris.com/~Bbbean - ========================================================================= Date: Fri, 26 Jan 1996 22:27:11 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Handy Award Ballot Comments: To: bit-listserv-blues-l@uunet.uu.net In <3108CB91-00000001@nutbar>, Toby Levy writes: >Anyway, I also got a ballot in the mail even though I havent subscribed to >Living Blues for a couple of years (I get Blues Revue now which covers a >broader spectrum of the blues). The following receive ballots: Members of the Blues Foundation, Subscribers to Blues Access and Blues Revue, and affiliated blues societies. Living Blues opted not to participate in the Handys when they launched their own award. BBB - B.B. Bean bbbean@cris.com Peach Orchard, MO http://www.cris.com/~Bbbean - ========================================================================= Date: Fri, 26 Jan 1996 16:31:48 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: DFW blues guide I have updated the Dallas/Fort Worth blues guide and FAQ. If you would like a copy, please send me a private e-mail and I'll send it along to you. Don O. ========================================================================= Date: Fri, 26 Jan 1996 17:59:24 -0500 Reply-To: Stephanie Manna From: Stephanie Manna Subject: James&Lucky Peterson gettogether James Peterson just spoke with his son,Lucky. Lucky will join James at The Crossroads,Savannah,Ga. on Tuesday,Jan.30 where James is scheduled to perform with his 7 piece band. Between both of their hectic touring schedules, its a special time when they can get together...and this is going to be a night you wouldn't want to miss. I have seen James and Lucky work together...its very special and one of those blues moments that stays in your mind. If your anywhere within driving distance this is your chance to witness a very special event. Music starts at 10PM. ========================================================================= Date: Fri, 26 Jan 1996 18:31:40 -0500 Reply-To: "Daryl F. Bernard" From: "Daryl F. Bernard" Subject: Re: Willie Smith Comments: To: Bruce Roberts In-Reply-To: <960126100135.24b6@TSBME.STATE.TX.US> I've got it, but unfortanely I've not had much of a chance to give it a good listen (so many CD's and SO LITTLE time!) Tonite I vow to give it a real good honest listen (thanks for reminding me I had it!!) It features special guests Pinetop Perkins and Kim Wilson. Looking at the insert I see it also uses an upright bass - cool. In fact - what the hey - I'll put it in RIGHT NOW! Daryl On Fri, 26 Jan 1996, Bruce Roberts wrote: > Has anyone heard the new CD from Willie "Big Eye" Smith? I think it's > called Big Bag of Blues. > > Bruce Roberts > Austin, TX > ========================================================================= Date: Fri, 26 Jan 1996 15:45:16 -0800 Reply-To: Physical Euphoria From: Physical Euphoria Subject: FREE! Classified Ads and Web Site Listings in our Newsletter! >From: Physical Euphoria >Subject: FREE! Classified Ads and Web Site Listings in our Newsletter! > >Greetings, > >Our Newsletter contains interesting facts and articles regarding the interent. > >It contains some of the Hottest and Newest Web Sites. Drop us a few lines and your URL address, we'll add your site in as well. > >The Newsletter also contains informative information on health related topics such as weight management, sleeping disorders, fatigue, pain relief and so forth. The list goes on and on with a different topic each week. > >FREE Classifieds: Place your classified ad for free and we'll distribute it across the interent including to our own subscribers of over 100,000 via e-mail. Try to keep your ad under 50 words and include the catagory you'd like it placed under. > >We also welcome any new ideas or subject matter that you'd like to have in our Newsletter. Just e-mail us at: euphoria@nwlink.com > >All you need to do to subscribe is send e-mail to: and just type the works, "subscribe newsletter" in the subject line. > >If you would ever like to unsubscribe, just type the words, "unsubscribe newsletter" in the subject line. > >This is a free Newsletter and service. > >Note: You must be a subscriber if you want to place a classified ad or have your web page announced. > ========================================================================= Date: Fri, 26 Jan 1996 19:06:03 EST Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: Take me to the river W.C. Clarke covered it on Austin City Limits with Jimmy and Stevie Ray Vaughan, Angela Strehli, Lou-Ann Barton, Denny Freeman and others. That's my favorite version. Shortly after seeing that, I stumbled across Heart of Gold and prefer his Cold Shot to SRV's. Dave Carpenter Blues Music Director WHUS-FM Storrs, CT My website, with WHUS Top 20 and concert calendar for CT, RI and Western MA: http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Fri, 26 Jan 1996 19:07:45 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: You Might Be A Blueneck If... Garry wrote: >The word "Bo" makes you think "Carter" rather than "Derek" or even >"Diddley". > The words "Taj Mahal" don't remind you of India. > You'd buy a Hudson Terraplane sight unseen if you could find one. > "Elgin" means wristwatch,not marbles. Hmmm....the word "Elgin" makes me think of "Evans"..... Karen ========================================================================= Date: Fri, 26 Jan 1996 19:08:53 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Willie Smith Bruce asks: >Has anyone heard the new CD from Willie "Big Eye" Smith? I think it's >called Big Bag of Blues. Yes, it's called Bag Full of Blues and it's on Blind Pig. Songs include covers of Little Walter's "Tell Me Mama," "Baby Please Don't Go," (which lists Muddy Waters as the writer; I always thought it was Big Joe Williams), and Howlin' Wolf's "Tired of Crying." Also included are seven of Smith's own compositions, of which I really like "Believe Me" (which has also been getting a lot of play on the DMX). Kim Wilson plays on this song, and on several others as well, including an instrumental. Ross Bon plays harp on the remainder of songs. Another "special guest" is Pinetop Perkins. Karen ========================================================================= Date: Fri, 26 Jan 1996 19:42:10 -0500 Reply-To: ghost From: ghost Subject: gain without pain, & no need to trade; was Re: My new guitar >Date: Wed, 24 Jan 1996 12:29:52 CST >Sender: Blues Music List >From: L W >Subject: My new guitar >good shape. The 1970 J-50 I have has the warm tone (great for Lightin) >), but the L-00 screams & cries. It is very loud and I'll use it for slide >slide , great little guitar. >LW Boy, I'd like to be able to buy & use different voices just as readily as you guys can buy & use different-sounding guitars. I know there's a lot of money involved, but if you have it or can get it, you can *get* that new guitar without any damage incurred to your old guitar. ========================================================================= Date: Fri, 26 Jan 1996 20:05:12 -0500 Reply-To: Slydemann@AOL.COM From: Dave Melton Subject: Re: Reissue or New? Comments: To: edwick@cc.bellcore.com When I'm buying a CD, I usually go with a mission in mind, such as-I need this Howlin Wolf, or that BB King. I probobly tend to go for the old stuff first, because there's so much I don't have. If I like a new artist, I'll buy their stuff, but I never think about any cause and effect, just the enjoyment of the music itself. ========================================================================= Date: Sat, 27 Jan 1996 01:45:56 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Radar Labs 23 Subject: Re: Studio Questions Comments: To: bit-listserv-blues-l@uunet.uu.net On Fri, 26 Jan 1996 08:21:40 CST, L W wrote: :btw: I will be playing my Gibson L-00, National and maybe a J-50. I plan on :using a DeArmond pickup on the acoustics amd mic'ing the National...What ya'll :think Just take your favorite guitar, a slide and a bottle of whiskey. Sit in the chair and let them worry about the micing. Get lubricated and wail! Kevan Smith cuthulu@prysm.net http://www.rlabs.com ========================================================================= Date: Sat, 27 Jan 1996 01:48:45 GMT Reply-To: "J.J. Perry" From: "J.J. Perry" Organization: Indiana University Subject: Re: Willie Smith Comments: To: bit-listserv-blues-l@uunet.uu.net The new Willie Smith, "Bag Full of Blues," hasn't been far from my cd player since it came out. As a drummer, I love the fact that here's a drummer that is leading the band by songwriting and singing, not long-winded drum solos. Also, it is an honest-to-goodness "blues" record, the kind of blues I always loved, that '50's Chicago style. Well worth a listen, especially the Willie/Kim Wilson instrumental "WSKW Special." J. J. ========================================================================= Date: Fri, 26 Jan 1996 21:06:00 -0500 Reply-To: Slydemann@AOL.COM From: Dave Melton Subject: Re: Bottleneck vs. Other Types of Slide Comments: To: billy@cast.msstate.edu I have to agree. It only makes sense to me that, no matter what you use, you are sliding it up and down the neck of your guitar. You can call it by the name of whatever you are using if you want, but it's all slide in my book. I guess I've played everything from beer bottleneck to the very worst case scenario, bare fingerneck. This is when your glass slide flies off your finger shattering on the dance floor and there you are with nothing else to grab with an Elmore solo to do. :) //////////////////////////////////////////////////////// "Having spent many (portion only quoted) wonderful hours listening to some of the most well-known and respected bottleneck-style slide players in the country, such as Rich DelGrosso and Steve James, I have adopted their idioms, one of which is to call a slide a slide -- NOT "bottleneck slide" -- no matter what the style or implement." ========================================================================= Date: Sat, 27 Jan 1996 02:08:35 GMT Reply-To: Jack Oudiz From: Jack Oudiz Subject: Re: Larry Cohn, Roots 'n' Blues series Comments: To: bit-listserv-blues-l@uunet.uu.net MKA, I agree that this has been an excellent series. I was particularly effected by the White Country Blues of 1920-30s set. It really helped me develop my thoughts on the whole white blues issue. Why is it that those musicians have been totally ignored in virtutally every major blues writing I've come across? ========================================================================= Date: Fri, 26 Jan 1996 21:30:01 -0600 Reply-To: Timothy M Dellinger From: Timothy M Dellinger Subject: Re: Larry Cohn, Roots 'n' Blues series >I agree that this has been an excellent series. I was rather disappointed at the puerile boasting on "The Definitive Blind Willie McTell" which touted to contain all of his recordings. Not only does this Roots-n-Blues release *not* contain all of his recorded material, but the stuff it does include are really not his best work. -- -- It is a miracle that curiosity survives Tim Dellinger formal education. -Albert Einstein tdelling@uiuc.edu ========================================================================= Date: Fri, 26 Jan 1996 20:12:27 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Larry Cohn, Roots 'n' Blues series Comments: To: Jack Oudiz Jack Oudiz wrote: > > >I agree that this has been an excellent series. I was particularly >effected by the White Country Blues of 1920-30s set. It really helped >me develop my thoughts on the whole white blues issue. Why is it that >those musicians have been totally ignored in virtutally every major >blues writing I've come across? > Maybe you just haven't come across the right books? There's an entire chapter (by Charles Wolfe) on white country blues artists in the book (edited by Larry Cohn) Nothing But The Blues (Abbeville Press, 1993). Disclaimer: I wrote a (different) chapter in the same book. There's also an excellent book by Tony Russell called Blacks, Whites and Blues that thoroughly explores the relationship between white country blues and black rural blues but I am not sure that this book is still in print--but it's not that hard to find. Red Lick sells it, I'm pretty sure. Mary Katherine Aldin ========================================================================= Date: Sat, 27 Jan 1996 04:14:15 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Bradshaw/Liggins info needed Comments: To: bit-listserv-blues-l@uunet.uu.net >In article <19960124.121922.320304.NETNEWS@AUVM.AMERICAN.EDU>, >WSHUTE@ACCDVM.ACCD.EDU says... >>From: Bill Shute > >>A friend of mine is looking for two songs on CD: > >>"Soft" by Tiny Bradshaw >>"Drunk" by Jimmy Liggins "Drunk" by Jimmy Liggins (& His 3D Music) is on a cool CD compilation on the Stax label called "Superblues All-Time Classic Blues Hits Vol. 3" that came out in 1995. The catalog number is SCD-8595-2. Scott ========================================================================= Date: Sat, 27 Jan 1996 04:27:01 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: New or Re-issue question contrary opinion ... Comments: To: bit-listserv-blues-l@uunet.uu.net Barry Silverberg wrote: > >On Fri, 26 Jan 1996, wrote: >> Ed, ya gotta go with the re-issue, ie, the old guys first. You can always >> catch up with today's artists somewhere along the line. For me, often it's >> that I'm looking to learn a a tune to bring in to my band, and I always learn >> the way the old guys did it first, before I want to even HEAR a new > interpreta- >> tion. If it's as simple as new artist/new material versus the old stuff.... >> for me, it's still no contest. > > Gotta disagree Rick .... I'd say you can always buy the old guys > stuff any time I wish...I can't tell you how many times I've passed on buying a recording by an "old guy", then gone looking for it later only to find that it was no longer available, out of print, or whatever. It's also debatable whether buying a recording by any blues artist helps that artist in any direct way financially (unless you buy it directly from the artist off the bandstand). There aren't that many blues recordings-- particularly newer ones--that generate much in the way of roayalty payments for the artist. My opinion: it's more important to keep the roots alive than to worry about this season's fruit. Scott Dirks ========================================================================= Date: Sat, 27 Jan 1996 04:24:14 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Pat Hare +++ Comments: To: bit-listserv-blues-l@uunet.uu.net Richard Shurman wrote: > >Lockwood: Apart from his sophistication, there can't be much question >that he's one of the all-time definers/masters/archetypes of blues guitar >with beautiful walkups and walkdowns, chord voicings, knowledge of Robert >Johnson's style, so... the point is, tell me why again that nobody has >done an instructional video with him. It seems so obvious and the sands >of time are still moving, last time I checked... It is a shame that Lockwood hasn't done an instructional video, but I suspect (and I suspect you suspect the same) that one of the reasons is that no one has come up with a financial offer that he thinks is fair. He feels like he's been taken advantage of many times in his musical career--and I'm sure he's right--and the result is that he's notoriously stingy about sharing his musical knowledge. Last year before I interviewed him for the Chicago Public Library's "Speaking Of The Blues" video archive series, he insisted that: 1., he would not perform in front of an audience, as is the custom on this series, and 2., his hands could not be shown on camera while he was playing. He said that he didn't want anyone "stealing" his licks. (It should be noted that he *was* paid pretty generously for the performance/interview.) During the course of the interview he confirmed that his musical mentor, Robert something-or- other, didn't like letting guitarists watch him play either; perhaps this has something to do with his attitude. Scott Dirks ========================================================================= Date: Fri, 26 Jan 1996 21:35:00 -0800 Reply-To: Tessa Renison From: Tessa Renison Organization: Fullerton College, CA Subject: celebrity blues jam For all you blues-llers in the So. Cal area there will be a celebrity open mic blues jam every monday night at Club 369. Admission is free and musicians and the general public are invited. Located at the 57 freeway and Yorba Linda Blvd in the city of Fullerton (home of the electric guitar), the jam is being hosted by our own Richard Norton. The address is 1641 N. Placentia Ave the phone # is 714-572-1816. get off the freeway at Yorba Linda and turn into the Target shopping center. Club 369 hosts a concert size stage with pro sound and lights. With the exception of drums all musicians should bring their own gear. Start time is 9:00 til closing. Tell all your friends to come on down, a splendid time is guaranteed for all. P.S. Check out The Richard Norton Band home page at http://www.fullcoll.edu/communit/rich_nor/home.htm ======================================================================== Fullerton College claims no responsibility to the opinion expressed above (This is an automatic stamp from our Email system and not from the user.) ======================================================================== ========================================================================= Date: Fri, 26 Jan 1996 01:46:44 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Magic Sam and Spreading the Word Just picked up the latest issue of "Living Blues". Luther Allison was on the cover (BTW, great interview) but I looked inside and there is an article on Magic Sam. My evening is complete. Needless to say it is a great article on his life. A few of the people who a part of this list are mentioned as well. With Magic Sam being probably my favourite blues artist, I am over the moon. I've read it once and will be reading it more than a few times before the weekend is out. If you have never checked Magic Sam out then go outright now (Yes, right now. I mean it) and pick up "West Side Soul" or "Magic Sam - Live". You won't be dissapointed. Pick up "Living Blues" as well while you are at it. A question to guitarists out there. If anyone has tried to work out "Lookin' Good" on either "West Side Soul" or "Live" then let me know what you came up with. I try every few months and I still have no real idea how Magic Sam played it. I can get the notes but something isn't quite right. One day I'll think he did it in standard tuning, the next in open A. And guess what tune has just come on my CD player :-) The other cool thing was that I turned my best friend onto Muddy Waters. She is my keyboardist friend (who has been mentioned in a few posts) who is into the blues but prefers Robben Ford and SRV. I've tried to turn her on to the older stuff but to no avail. Well, I can be a little sneaky at times. She came over to go out to dinner so I put Muddy Water's, "Hard Again" and timed it that she enterd my apartment as "Mannish Boy" was raging. She stood in front of my CD player, said "What the **** is this? I must have this CD" and then sat down in front of the CD and got into Muddy. I may have no date for Friday night but I turned my best friend onto Muddy Waters, picked up the latest "Living Blues", grabbed a 6-pack , read about Magic Sam and listened to his music. Who needs a date? Life is good. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sat, 27 Jan 1996 05:58:21 -0500 Reply-To: HugeSmall@AOL.COM From: Boyd Small Subject: Re: YOU MIGHT BE A BLUENECK IF... Comments: To: mksheff@cennet.mc.peachnet.edu mksheff wrote: >(sorry, forgot this one)[see subj.] I think what follows is - IF... you don't like the guitar player because he doesn't play a hollow body. ========================================================================= Date: Sat, 27 Jan 1996 06:04:41 -0500 Reply-To: HugeSmall@AOL.COM From: Boyd Small Subject: Re: You Might Be A "Blueneck" If.... Comments: To: Slydemann@aol.com You might be a blueneck if ... your motto is "If you were open minded you'd see things my way, and if you weren't such a purist you'd agree." ========================================================================= Date: Sat, 27 Jan 1996 06:08:07 -0500 Reply-To: HugeSmall@AOL.COM From: Boyd Small Subject: Re: You Might Be A "Blueneck" If.... Comments: To: rjbauman@iquest.net You might be a blueneck if... you've got a 'Fender' tattoo. ========================================================================= Date: Sat, 27 Jan 1996 06:14:36 -0500 Reply-To: HugeSmall@AOL.COM From: Boyd Small Subject: Re: Your know you're a blueneck... Comments: To: leddy@a1.police.upenn.edu You KNOW your a Blueneck when you know what a harp is but you don't own just one. ========================================================================= Date: Sat, 27 Jan 1996 08:56:57 -0500 Reply-To: David Ott From: David Ott Subject: U.P. Wilson CD Just read the "superlative" review of the new U.P. Wilson release - This Is U.P. Wilson (JSP #266). I immediately went to cdnow.com via telnet to see if was available - they have a Jan 30 release date and the CD is on sale for $12.77 for anyone interested. Dave Ott ========================================================================= Date: Sat, 27 Jan 1996 08:58:10 -0500 Reply-To: Jonny Meister From: Jonny Meister Subject: "After The Super Bowl" Hey!! Does anyone remember who does the blues song with the line "After The Super Bowl" in it-- it may be the title of the song. For some reason, I'm drawing a blank on it. I think it's about 2 or 3 years old. -Jonny ========================================================================= Date: Sat, 27 Jan 1996 16:14:47 +0100 Reply-To: achim brugger From: achim brugger Subject: blues Hello we found recently your e-mail adress. We just want to tell you, that we are very impressed from Stevie Ray Vaughan. It is a good feeling, if there are more people on the world who like the same kind of music! Greetings Stefan M=F6ller and Achim Brugger Internet ProLink PC User brugger@iprolink.ch achim brugger marktgasse 9 4310 rheinfelden ========================================================================= Date: Sat, 27 Jan 1996 16:15:42 +0100 Reply-To: Bengans From: Bengans Subject: Re: NEW FRIENDS >Hello > >we found recently your e-mail adress. We just want to tell you, that we are >very impressed from Stevie Ray Vaughan. It is a good feeling, if there are >more people on the world who like the same kind of music! > >Greetings > >Stefan M=F6ller and Achim Brugger >brugger@iprolink.ch It=B4s nice to see some more newcomers from Europe to join in; -just like I did the other day. But hey Stefan, don=B4t start with a letter like that, yo= u may get a purist on your neck faster than you know! Sevenson ========================================================================= Date: Sat, 27 Jan 1996 16:27:04 +0100 Reply-To: bengans@riksmedia.se From: bengans Organization: Bengans Subject: FESTIVAL ADRESSES Could somebody give me a hint where to fnd adresses to booking offices of bluesfetivals in Europe this year. Im bringing my band -The Instigators, from Sweden to tour Europe with a killer CD in the trunk! Wailon Sevenson bengans@riksmedia.se ========================================================================= Date: Sat, 27 Jan 1996 08:35:16 -0800 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Re: Dave Brubeck/ not dead Comments: To: bit-listserv-blues-l@cs.washington.edu In-Reply-To: Dave Brubeck is alive; Gerry Mulligan is dead. Adrian --- http://www.fish.washington.edu/people/spidle/spidle.html On Tue, 23 Jan 1996, David L. Prychitko wrote: > Can anyone else please confirm the life and or death of Dave Brubeck? > > Thanks, and Take Five. > > Dave Prychitko > > ========================================================================= Date: Sat, 27 Jan 1996 12:47:17 -0400 Reply-To: paterson@IBL.BM From: Janet Paterson Subject: Test Sorry - just testing new software ========================================================================= Date: Sat, 27 Jan 1996 11:49:17 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: New or Re-issue question contrary opinion ... Comments: To: Scott Dirks In-Reply-To: <4ec9il$1qp2@usenetw1.news.prodigy.com> On Sat, 27 Jan 1996, Scott Dirks wrote: > It's also > debatable whether buying a recording by any blues artist helps that > artist in any direct way financially (unless you buy it directly from the > artist off the bandstand). There aren't that many blues recordings-- > particularly newer ones--that generate much in the way of roayalty > payments for the artist. My opinion: it's more important to keep the > roots alive than to worry about this season's fruit. Scott - the buying CD's of current living artists is not just a matter of the royalties they get per CD. It's also a matter of the label keeping artists that sell and dropping ones that don't. If they get dropped I doubt their career will go any- where or at least it will be dramatically stymied. The losses will show in less output from these blues artists and as well less club dates. Q]: If noone ever dropped a nickel in Furry Lewis' cup I tend to think Furry would have stopped playing - or at least greatly diminished his playing. Food and rent do come first. Same could be said for probably all of the older masters. It's a fine line we as supporters need to tow between all the decisions of buy the dead masters, buy the living comers, see the live shows etc. etc. etc. No right or wrong just a barr- el of choices we have to make daily. NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sat, 27 Jan 1996 12:41:49 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: looking for info on Blues Foundation > I am looking for info on the Blues Foundation aka Rythmn & Blues Foundation > > Do they have a web site, e-mail, or snail mai address? > Rhythm & Blues Foundation 14th & Constitution Ave NW Room 4603, MRC 657 Washington DC 20560 Tel: 202-357-1654 Fax: 202-786-2851 Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Sat, 27 Jan 1996 12:35:07 -0500 Reply-To: BHADLEY1@AOL.COM From: Brian Hadley Subject: Re: BGRASS-L Digest - 25 Jan 1996-Retail Comments: To: BGRASS-L@ukcc.uky.edu, folkdj-l@psuvm.psu.edu Mr. Ken Irwin adds to a factual report on the condition of music retail: > A number of major chains are expected to file for bankruptcy >protection within the year. The difficulties have made many accounts >more careful about what they are buying which hurts the marginal product >including such genres as bluegrass and old-time music...This year should >find it more difficult for many of us to find our bluegrass records >around, especially in the malls. It's really a shame too, cause the bluegrass, blues, folk, etc., are titles that the stores CAN make a profit on, 'cause they don't have to sell them all for $11.99 (= no profit) This is a trend that is going to continue, should fans of bluegrass, and other non-popular music recordings continue to buy through mail order and on the internet. There are too many stores, all stocking the same pop chart titles, and selling them at or near cost. The big electronics stores like "the wiz", use recordings as loss leaders, to get folks into the store to buy electronics. The trend seems to be reversing a bit, with book stores like Barnes & Noble and Borders going into the music biz with a very wide and inclusive title base. IMHO, B & N's selection is far inferior to Borders, who also happens to currently employ me. There is, however, a shrinking of our title base going on right now as well, due to percieved overstock conditions in stores. This is where you bluegrass-Lers, as well as people on the, folk and blues list come in. If you like this music, DEMAND it at your local record store. If you would like to be able to go down to your local or chain store and get the latest blues or folk or bluegrass disc, you must make your needs known to those who work there. If there is no demand; if you buy mail order and only at shows, there will be no more of any of this music in ANY retail outlet. If there's a good local or small independent retailer in your town, PATRONIZE them. Vote with your dollars for community business, variety and choice. You now have a choice, choose what will keep your community,town or city thriving with variety, and not just filled with huge warehouse barns full of the lowest common denominator CHEAP stuff. I'd appreciate, on OR off list comments about your local chain or independent record store, in your area. What do you look for in a record store? Do you buy anything locally at all? Your thoughts about selection, price, availability of new releases, and most importantly, whether a store should have knowledgeable people working in them. Thanks for the chance to vent Brian J. Hadley Roots Music Specialist T & S Crew Chief @ Winterhawk BG Festival Prisoner of Retail ========================================================================= Date: Sat, 27 Jan 1996 12:58:54 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Blue note bends/Amos Garrett Maria Muldaur's hit Midnight at the Oasis may not be "blues", but Amos Garrett's astonishing guitar solo on thsat record offers enough blue note bends for anyone! He is also featured on a more recent album she did on Black Top (Louisiana Love Call, I think, but it's not with me at my office). At the risk of sounding obsessive about Stony Plain Records (for whom I work, etc.) he has a number of albums on the label, lives and works out of southern Alberta, is getting a following in France and Spain, and has worked quite a lot in Japan. He has recorded with Geoff Muldaur, Bonnie Raitt, Jesse Winchester, Anne Murray (!), Stevie Wonder (unreleased) and countless more. His own band is called the Eh Team, which is a Canadian joke I can't begin to explain. - Richard the Elder ========================================================================= Date: Sat, 27 Jan 1996 13:15:11 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: John Hammond/found true love Comments: To: bit-listserv-blues-l@uunet.uu.net The fedex man is my favorite person today because he brought me the new John Hammond cd. Haven't had a chance to listen all the way thru yet, but so far it's great. "Warm it Up To Me" has him playing a 12 string which is nice for a change. I love "Hello Stranger" which has Charlie Musselwhite on harp, "You Had To Much" & "The First Time I Met the Blues" (lol...should we ask him what first turned him onto the blues?) & "Evolution Blues" all have Duke Robillard (who also produced & mixed it) sitting in on guitar. My personal favorite is "Someday Baby Blues," anyone else hear this cd yet? Catbauer@vivanet.com http://www.vivanet.com/~blues ========================================================================= Date: Sat, 27 Jan 1996 10:40:29 +0000 Reply-To: "Terry L. Odor" Comments: Authenticated sender is From: "Terry L. Odor" Subject: Re: handy awards ==================================================== Just got the word - Toni Lynn Washington is nominated for a Handy Award! Category: Soul/Blues-Female Artist of the year. Nominees are: Denise Lasalle, Lavelle White, Etta James, Toni Lynn Washington, E.C. Scott. ===================================================== Congratulations to Miss E.C. Scott for being nominated for her very first release "Come Get Your Love" on Blind Pig. E.C. is preparing to embark on her second national tour in support of this CD. Check her out when she is in your area: Thurs. Feb 8 Phoexix, AZ Rhythm Room Fri. Feb 9 Prescott, AZ Nolaz's Sat. Feb 10 Prescott, AZ Nolaz's Tues. Feb 13 Atlanta, GA Blind Willie's Weds. Feb 14 Atlanta, GA Blind Willie's Thurs. Feb 15 Atlanta, GA Blind Willie's Fri. Feb 16 Mt. Vernon, NY Bayou Restaurant Sat. Feb 17 Lancaster, PA Chameleon Blues Fest. Sun. Feb 18 Lancaster, PA Chameleon Blues Fest. Weds. Feb 21 Sheffield, AL Filling Station Thurs. Feb 22 Springfield, OH Ringside Cafe Fri. Feb 23 Springfield, OH Ringside Cafe Sat. Feb 24 Dallas, TX Blue Cat Blues Club Sun. Feb 25 Dallas, TX Blue Cat Blues Club Tues. Feb 27 New Orleans, LA The House of Blues Weds. Feb 28 New Orleans, LA The House of Blues Thurs. Feb 29 Lafayette, LA Poet's Fri. Mar 1 DelRay Beach,FL Backroom Blues Lounge Sat. Mar 2 DelRay Beach,FL Backroom Blues Lounge Sun. Mar 3 DelRay Beach,FL Backroom Blues Lounge Mon. Mar 4 Orlando, FL Pleasure Island Sat. Mar 16 San Jose, CA Scallawags Thurs. Mar 21 San Fran.,CA Lou's Pier 47 Fri. Mar 29 San Fran.,CA Biscuits & Blues Sat. Mar 30 San Fran.,CA Biscuits & Blues Thurs. Apr 13 San Fran.,CA Lou's Pier 47 Fri. Apr 26 San Fran.,CA Biscuits & Blues Sat. Apr 27 San Fran.,CA Biscuits & Blues Thurs. May 16 San Fran.,CA Lou's Pier 47 Fri. Jun 7 San Fran.,CA Biscuits & Blues Sat. Jun 8 San Fran.,CA Biscuits & Blues Sat. Jun 15 San Jose, CA Scallawags Thurs. Jun 20 San Fran.,CA Lou's Pier 47 Terry http://www.teleport.com/~tlo/ (updated 10/28/95) ========================================================================= Date: Sat, 27 Jan 1996 10:40:45 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Jan. 28 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ALLEN, ED (tpt) d. 1974-0128, NEW YORK CITY, NY 76 BARRETT, EMMA "SWEET" (p) d. 1983-0128, NEW ORLEANS, LA 85 BIONDI, RAY "REMO" (g/violin) d. 1981-0128, CHICAGO, IL 75 FAITH, RUSSELL H. (p/arr/CHANCELLOR R) b. 1929-0128, HORSHAM, PA GARRETT, ROBERT "BUD" (g/EXCELLO R) b. 1916-0128, FREE HALL, TN GRAY, ARVELLA BLIND [WALTER DIXON] (g) b. 1906-0128, SOMERVILLE, TX HILLIARD, BOB (songw) b. 1918-0128, NEW YORK CITY, NY JORDAN, LUKE (g) b. 1892-0128, APPOMATTOX CTY, VA KEENAN, BRIAN (d/CHAMBERS BROS) b. 1944-0128, NEW YORK CITY, NY KRAMER, BARRY (publisher: CREEM MAGAZINE) d. 1981-0128, DETROIT, MI -- LAUDERDALE, JACK (owner : SWINGTIME REC) b. 1922-0128, SAN ANTONIO, TX MCCALL, CASH[MORRIS DOLLISON JR.](g/songw)b. 1941-0128, NEW MADRID, MO MCCOY, JOE "KANSAS" (g/MEMPHIS MINNIE) d. 1950-0128, CHICAGO, IL 44 NELSON, WILLIAM JR. (b/FUNKADELIC) b. 1951-0128, PLAINFIELD, NJ RODERICK, JUDY (g) d. 1992-0128, GRANTSDALE, MONTANA 49 SCOTT, RONNIE (owner : RONNIE SCOTT'S) b. 1927-0128, LONDON, UK SMALL, DRINK (g/ICHIBAN REC) b. 1933-0128, BISHOPVILLE, SC TATE, CHARLES "BABY" (g/BLUESVILLE REC) b. 1916-0128, ELBERTON, GA TAYLOR, DICK (g/PRETTY THINGS) b. 1943-0128, DARTFORD, KENT, UK THOMPSON, MAC (MAC JOHNSON) (b/MAGIC SAM) b. 1934-0128, HOLLY SPRINGS, MS ------------------------------------------------------------------------------- ========================================================================= Date: Sat, 27 Jan 1996 17:50:41 GMT Reply-To: Jack Oudiz From: Jack Oudiz Subject: Re: Otis Rush, Blues Revue, Delm Comments: To: bit-listserv-blues-l@uunet.uu.net >I'm sure Otis is upset about the repackaging of the live Japanese LP >(with extra cuts) for CD because 1) he's suspicious of the whole business >and 2) Delmark probably didn't tell him they were doing it and/or offer >him more money (which they weren't legally obligated to do). Dick, does he then receive additional royalties for the repackaged CD? ========================================================================= Date: Sat, 27 Jan 1996 13:53:52 -0500 Reply-To: MICHAEL MEADORS From: MICHAEL MEADORS Subject: What's in a name: No blues content Comments: To: Harp-L@garply.com Several days ago my mail became unreadable due to technical problems with my server. They could not correct the problem and after three days of phone calls and promises, I cancelled my account. If you were expecting a reply from me, please understand. I couldn't even send a message due to a server screwup. In any case, I reopened a new account from which I am sending this and, hopefully, all other mail ... my new address is: "Orange3@gnn.com" Thanks! Mike Meadors Orange3@gnn.com ========================================================================= Date: Sat, 27 Jan 1996 11:05:10 -0800 Reply-To: emdrprac@DIRECT.CA From: Roger Brant Subject: Vancouver benefits At the risk of sounding repetitious, I remind Vancouver, B.C. area blues-l people: Two benefits this Sunday (28th): What a dilemna!! (1) SAVE THE C.B.C. - Hyatt Regency ballroom, 7.p.m. (Benefit for broadcasting, featuring many blues and folk acts. Suggested donation: $5 to $10 each. Call Friends of C.B.C. for more info: 685-7650 (2) ANDREUS SCHULD BENEFIT: Local blues/roots guitarist was cleaned out in a break-in. Richards on Richards, Sunday at 7 p.m. Features many R&B acts. $10.00 admission. Call Richards' for info. - Roger ========================================================================= Date: Sat, 27 Jan 1996 15:14:52 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: Dr. David Evans coming to BluesNet! This afternoon I reached Dr. David Evans by phone at his home in Memphis and interviewed him about his research, the 60's revival scene, and the state of the Blues. The call lasted almost two hours (ouch, my aching phone bill :-]), and the interview itself filled a 90-minute tape. I'll be transcribing and editing the interview over the next week or two and will make available the final version on BluesNet. I'll let you all know when it's ready. For those of you not familiar with Dr. Evans' work, he directs the Ethnomusicology program at Memphis State University, is a regular columnist for Blues Review magazine and is the author of _Big Road Blues_ and _Tommy Johnson_. -Rob -- Rob Hutten UNIX guy, Acadia University, Wolfville NS rob@acadiau.ca Visit BluesNet! http://dragon.acadiau.ca/~rob/blues/ ========================================================================= Date: Sat, 27 Jan 1996 19:20:58 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Re: Bradshaw/Liggins info needed Comments: To: bit-listserv-blues-l@uunet.uu.net Tiny Bradshaw's "SOFT" (w/Red Prysock) is on the KING CD. eRIC ========================================================================= Date: Sat, 27 Jan 1996 15:20:36 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: Dr. David Evans coming to BluesNet! In-Reply-To: from "rob" at Jan 27, 96 03:14:52 pm > For those of you not familiar with Dr. Evans' work, he directs the > Ethnomusicology program at Memphis State University Oops. He's at the University of Memphis, not Memphis State. -Rob ========================================================================= Date: Sat, 27 Jan 1996 15:03:54 -0500 Reply-To: Slydemann@AOL.COM From: Dave Melton Subject: Amos Garrett/Paul Butterfield Comments: To: rflohil@inforamp.net My favorite Amos Garrett stuff is on the two Butterfield albums-Paul Butterfield's Better Days and (not sure of title) I believe it's "It all comes back" He sounds something like blues Hawaiian style. Very unique. These two records don't age- the music sounds like it could have been recorded today. Very worthwhile listening. ========================================================================= Date: Sat, 27 Jan 1996 12:20:45 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Billboard Blues Chart 02/03/96 This is the Billboard Magazine Blues Chart for the week ending February 3, 1996. 1. Greatest Hits/Stevie Ray Vaughan & Double Trouble 2. Ledbetter Heights/Kenny Wayne Shepherd 3. From The Cradle/Eric Clapton 4. Blues/Jimi Hendrix 5. Turn It On, Turn It Up/Roomful of Blues 6. Handful of Blues/Robben Ford & the Blue Line 7. Some Rainy Morning/Robert Cray 8. Keb' Mo'/Keb' Mo' 9. Cover To Cover/The Jeff Healey Band 10. Chill Out/John Lee Hooker 11. Essential Blues/Various Artists (House of Blues) 12. Sad Street/Bobby "Blue" Bland 13. Texas Sugar/Strat Magik/Chris Duarte Group 14. One Foot In The Blues/Z. Z. Top 15. Blue Streak/Luther Allison Mary Katherine Aldin ========================================================================= Date: Sat, 27 Jan 1996 16:05:05 -0500 Reply-To: Slydemann@AOL.COM From: Dave Melton Subject: Changing my address Sorry for the no blues content interuption here, Slydemann (me-Dave Melton) is leaving AOL as the charge by-the-minute is KILLING ME! So if anyone has messages please hold or resend when I get my new account. This blueslist is great! Thanks much Dave Melton ========================================================================= Date: Sat, 27 Jan 1996 15:06:50 CST Reply-To: JBards From: JBards Subject: The real Nitty Gritty (LBC) Comments: To: Adrian Spidle Does anyone remember a wonderful kick-butt rock-and-roll/R&B song from the early 60s called "(Right Back Down To The) Real Nitty-Gritty". I believe the artist was Mary somebody...? Any help would be appreciated, particularly if anyone has a copy. thanks Jim (JBards@NOMVS.LSUMC.EDU) ========================================================================= Date: Sat, 27 Jan 1996 16:06:50 -0500 Reply-To: Susan Jackson From: Susan Jackson Organization: Megaweb Subject: Jr.Wells Comments: To: bit-listserv-blues-l@uunet.uu.net Listen to Jr.IF YOU KNOW WHATS GOOD 4 YA....He is the premier harp cat of the day,and 1 hell of a live performance,let it be said..You can call it what you want,but I call it messin with the KID. ========================================================================= Date: Sat, 27 Jan 1996 16:54:17 -0500 Reply-To: TNT BLUES From: TNT BLUES Organization: America Online, Inc. (1-800-827-6364) Subject: Re: TINSLEY ELLIS Comments: To: bit-listserv-blues-l@uunet.uu.net Dear Mike, I have heard Tinsley Ellis quite a bit , but it has been 3-4 years ago or more when I really saw him around here a good bit. It was right after his Heartfixers album and right around his first cd. He played a lot at George Street grocery here in Jackson, Mississippi and also at Hal and Mals in Jackson. He always used to walk out the backsteps and all the way around to the front of the building and back on stage while playing his wireless guitar. The last time I saw him was about a year or so ago at Muddy Waters in New Orleans. Give me a shout, Tommy T. (tntblues) ========================================================================= Date: Sat, 27 Jan 1996 16:54:28 -0500 Reply-To: TNT BLUES From: TNT BLUES Organization: America Online, Inc. (1-800-827-6364) Subject: Chicago blues help Comments: To: bit-listserv-blues-l@uunet.uu.net I amd visiting the Windy city in Feb , around the 17-18th. I have never been and would like to catch some really choice blues entertainment. I have sent e-mails to Chicago residents and the majority of them have said to try "Blues Etc" , "Blues" , and "Buddy Guy's Legends" . Does anyone have any suggestions and club play schedules for that time. thanks , Tommy T. (TntBlues) ========================================================================= Date: Sat, 27 Jan 1996 16:05:39 -0600 Reply-To: Timothy M Dellinger From: Timothy M Dellinger Subject: You know you've had too much blues if... YOu know you've had too much blues if... 1) If you choose wine by the shape of the bottle. 2) If you've ever accidently ordered one burbon, one scotch, and one beer. 3) If your CD collection is the first thing you mention in your will. 4) Everytime you see it, you think "Peter and the Wolf" is a typo. 5) If your favorite bar has ever closed because a storm blew it down. 6) You know the location of jook joints that closed before WWII. ========================================================================= Date: Sat, 27 Jan 1996 17:14:34 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Blue note bends/Amos Garrett Comments: To: rflohil@inforamp.net In writing about Amos Garrett, the Canadian Minister of Confusion, Richard the Elder, noted: >>>He has worked quite a lot in Japan. He has recorded >>>with Geoff Muldaur, Bonnie Raitt, Jesse Winchester, >>>Anne Murray (!), Stevie Wonder (unreleased) and >>>countless more. By coincidence, there was also a post today praising the recordings of Paul Butterfield's band, Better Days, pointing out how the music has aged well and it is still recommended listening. It's worth finding just to hear Bobby Charles' "Small Town Talk." Amos was lead guitar in the band (Geoff Muldaur on rhythm) and I certainly agree that this is tastey stuff. Both Amos and Geoff will be on the new Mary Flower CD, by the way. (Usual disclaimer of no business connection with anyone named Garrett, Muldaur, Flower, etc.) Dick Waterman ========================================================================= Date: Sat, 27 Jan 1996 17:24:48 -0400 Reply-To: Cliff Warnken From: Cliff Warnken Subject: Judy Roderick Noted Judy Roderick's name on eRIC's list for Jan. 28--she passed away at 49 in 1992. Her "Woman Blue" album on Vanguard from the mid-'60's is one of the classiest, most heartfelt and beautiful collections of blues songs. I think it's now out on CD with a couple of additional tracks. A great way to remember her. Cliff Warnken ========================================================================= Date: Sat, 27 Jan 1996 14:46:33 -0500 Reply-To: 00LCSPECTOR@BSUVC.BSU.EDU From: "Lee C. Spector" <00lcspector@BSUVC.BSU.EDU> Subject: Mary Catherine It seems like every message from Mary Catherine she is forced to give a disclaimer. How about giving her a blanket disclaimer in appreciation for all of her good work and interesting messages. Lee Lee C. Spector Department of Economics ========================================================================= Date: Sat, 27 Jan 1996 16:44:07 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Otis Rush, Blues Revue, Delm Comments: To: Jack Oudiz In-Reply-To: <4edq0v$4dl@ulysses.midtown.net> Presumably Otis (or anyone else) gets the same royalties for a Cd asbthey got for the original LP. However, there are a couple possible flies in the ointment: 1) Often labels try to get one more edge on the artist by tying royalties to a percentage of the LP list price even though sales will be predominantly or totally on CDs, with a list price of around 40% higher than LPs. For example, 10% of $9.98 list is $1.00; 10% of $14.98 is $1.50. There are almost always other deductions from the total sold. But this is something to look at very carefully in any contract. There's no valid ethical reason to carry over the old formula!!! 2) Not all companies even DO royalty deals; some companies including Delmark would much rather just give a flat up-front fee. How fair this is depends on the fee vs. likely sales. If the release will probably never get into royalties (typical for many new releases by unknown artists) and the fee is decent, maybe it makes things simpler for everyone. But it certainly puts a cap on the long-term potential revenue for the artist. Though Scott Dirks (who deals often with Delmark, which may affect his perspective) has a point that royalty income isn't significant for many artists, I can attest personally that in some cases the revenue IS significant-- especially if the companies do a fair deal. ========================================================================= Date: Sat, 27 Jan 1996 18:04:17 -0500 Reply-To: Jessica Sowin From: Jessica Sowin Subject: Re: New or Re-issue question contrary opinion ... On Fri, 26 Jan 1996, wrote: > Ed, ya gotta go with the re-issue, ie, the old guys first. You can always > catch up with today's artists somewhere along the line. For me, often it's > that I'm looking to learn a a tune to bring in to my band, and I always learn > the way the old guys did it first, before I want to even HEAR a new interpreta- > tion. If it's as simple as new artist/new material versus the old stuff.... > for me, it's still no contest. To which Barry Silverberg responded: >> Gotta disagree Rick .... I'd say you can always buy the old guys >> stuff any time, but if we don't support the living breathing art- >> ists then before we now it they'll be old poor & doing something >> other than playing the blues - not making discs or playing shows. >> Very similar to the thread a bit back re: support live music, if >> we don't it will go away. Each makes valid points, but I gotta say, you can't always buy the old guys' stuff anytime. Speaking from a purely business standpoint (those bristling please don't flame me, this is just a reality), if a reissue album is not selling well for a period of time, just like new albums, it is "cut out" of the active product catalog, i.e. stores cannot restock it. Sure, you gotta support the new guys, but the old guys need royalties too. And not to open up the royalty can o' woims, but for those ready to write me about royalty problems with older contracts, please know that the big cheeses here at Sony Music are deeply involved in a royalty reform program (I have no details). Jessica Sowin :::8.) Legacy Recordings ========================================================================= Date: Sat, 27 Jan 1996 15:12:33 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Mary Catherine Comments: To: 00LCSPECTOR@BSUVC.BSU.EDU Lee C. Spector wrote: > >It seems like every message from Mary Catherine she is forced to >give a disclaimer. How about giving her a blanket disclaimer in >appreciation for all of her good work and interesting messages. If you mean me, which I guess you do, it's Mary Katherine, not Mary Catherine. But despite your kind words I think the disclaimer is imperative *especially* in my case, to separate me the reissue producer, annotator, journalist, blues show host, etc. from me the private person. I am involved with so many different record labels, artists, projects, etc. that I need to make it very clear when I am speaking with personal involvement and when I am not, so that folks don't think I am trying to "sell" them something that I have an interest in, rather than just endorsing a CD or book or whatever that I feel is of high quality. And on the other side of the coin, I try to make it very clear when I do *not* endorse certain organizations, especially when they use my name without my permission, so that folks won't think I approve of or endorse their activities when I do not. I don't think anyone is entitled to a blanket disclaimer; it could so easily be misused or taken advantage of. Speaking of "all her good work" (she quoted modestly), I am now able to post the track listing to the forthcoming three-CD box set I am putting together for MCA. It's called Blues Classics, and surveys all the MCA-owned blues labels including Vocalion, Brunswick, Decca, Chess, Duke/Peacock, ABC, etc. It's MCA's first dip into their extensive pre-war holdings. I was waiting to be sure that everything got cleared for takeoff, and now that I have that confirmation I'll post the tracklisting shortly. Maybe even today. Strictly for information purposes, of course . If I EVER get the booklet notes finished, it's supposed to come out in June. Mary Katherine "no disclaimers on this post" Aldin ========================================================================= Date: Sat, 27 Jan 1996 18:15:57 -0500 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Use of the n-word (I hate this phrase) Comments: To: bit-listserv-blues-l@uunet.uu.net After being called the "n-word" once or twice in my life, I sure rather see that silly little hyphenation than to see such a painful word. For real - it hurts!! Lea Gilmore Baltimore, MD ========================================================================= Date: Sat, 27 Jan 1996 19:39:30 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Those Saffire Women It's been a week, cuz I've been down with the flu. I saw Saffire -- The Uppity Blues Women for the first time last Sunday down here in Orlando. Though a bit road weary, they were all I'd heard they would be: down home, bright, and funny -- and real damn good. I don't think it's been since Buddy Guy last spring that a blues act has drawn so well down here. There must've been close to 500 in the club at $10-$12 a seat. They'd just spent a week in Chicago recording their new album for Alligator, another week playing St. Croix, then another playing about five dates in Florida, so they were kinda beat, but they spent a good deal of the time before the show and between sets mingling with the throng. I spoke with Ann Rabson for a good bit between sets. She told me about her younger days in Chicago, seeing Howlin' Wolf, for instance, and describing him as simply a "cool man." I knew she was computer-savvy and Web wise, so I volunteered to her that I had a web site called The Blue Highway, and as if it wasn't excellent enough to just be talking with Ann Rabson, she quickly interrupted me with "You're him!" (By the way, it occurs to me that The Blue Highway is having its first anniversary right about now.) I'm definitely looking forward to their new release. They did a half-dozen songs that they expect to be on it, including a "Saffized" version of "Sweet Black Angel" that I'm still hearing! Gaye Adegbalola is a world-class blues singer, and this new disc should spotlight her even more. (I don't know if the authorship of "Sweet Black Angel" was ever resolved, but they said it was Lucille Bogan!) Saffire will be in Milwaukee on Friday Feb. 2, Chicago (Legends) Feb. 3, and throughout Illinois and Indiana the following week before hitting Boston on the 15th. They've got an excellent web site (with tour info) at: http://www.onewdesign.com/saffire/ Catch 'em if you can! *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Sat, 27 Jan 1996 19:35:54 -0500 Reply-To: MojoBandit@AOL.COM From: Dave Ruthenberg Subject: Re: TINSLEY ELLIS Comments: To: TNTBLUES@aol.com Tinsley is touring with Kenny Neal and they are both doing accoustic shows. I will be interviewing Tinsley for the next issue of THE BLUES RAG when he plays at Sisko's in Taylor, Michigan next week. If anybody is interested in receiving a free copy of the next issue, just e-mail me. Dave ========================================================================= Date: Sat, 27 Jan 1996 16:22:20 +0000 Reply-To: Jack Oudiz Comments: Authenticated sender is From: Jack Oudiz Subject: Re: Otis Rush, Blues Revue, Delm Comments: To: Richard Shurman Thanks for the clarification, Dick. If the deal does include royalties of CD sales, I would expect that most artists would welcome the reissue. Unless of course they were never happy with the quality of the original release to begin with. The upshot of the Rush comments definitely implied some bad blood there with Delmark - which took me by surprise. ========================================================================= Date: Sat, 27 Jan 1996 19:11:17 -0500 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: The real Nitty Gritty (LBC) Comments: To: JBards In-Reply-To: <9600278227.AA822783748@mail-sh.lsumc.edu> On Sat, 27 Jan 1996, JBards wrote: > Does anyone remember a wonderful kick-butt rock-and-roll/R&B song from the early > 60s called "(Right Back Down To The) Real Nitty-Gritty". I believe the artist > was Mary somebody...? > Any help would be appreciated, particularly if anyone has a copy. > > thanks > Jim > (JBards@NOMVS.LSUMC.EDU) That is "The Nitty Gritty" and it was written by Lincoln Chase (the guy who wrote "Jim Dandy") for Shirley Ellis. She had a Top Ten hit with it in November 1963. Gladys Knight and the Pips took the song back to the Top Ten in September 1969 with their cover version. I have the Pips version on their greatest hits album. Brenda Bogert Louisville KY ========================================================================= Date: Sat, 27 Jan 1996 21:21:35 EST Reply-To: ratman@CONVAL.EDU From: ratman@CONVAL.EDU Organization: Conval Subject: blues BR>Hello BR>we found recently your e-mail adress. We just want to tell you, that we are BR>very impressed from Stevie Ray Vaughan. It is a good feeling, if there are BR>more people on the world who like the same kind of music! There are! In fact I am wearing a SRV t-shirt right now! ========================================================================= Date: Sat, 27 Jan 1996 17:33:08 -0800 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Re: You Might Be A "Blueneck" If.... Comments: To: bit-listserv-blues-l@cs.washington.edu In-Reply-To: > Your blues CD collection is worth more than your car. I just recently picked up cd #150 (Johnny Cash, the Sun Years), clearly tipping the cds past the 86 isuzu pickup. But then my fiancee just bought a motorcyle today so the household fleet is back above the music collection. Time to go shoppin'... ========================================================================= Date: Sat, 27 Jan 1996 20:41:09 -0500 Reply-To: BHADLEY1@AOL.COM From: Brian Hadley Subject: Ronnie Earl recs The Ronnie Earl you mentioned is Bullseye #9552, "Live in Europe". I particularly liked "Language of the Soul" (Bullseye #9554). Ronnie's cleaned up his act of late, and is sounding better than ever. Brian Hadley ========================================================================= Date: Sat, 27 Jan 1996 20:41:13 -0500 Reply-To: BHADLEY1@AOL.COM From: Brian Hadley Subject: Blues list commercialism I new to this list, and though I love the blues, and all roots music for that matter, I'm considering unsubscribing. I'm not sure what is acceptable as far as commercialism is concerned, but I get very offended and turned off by being invited to go to a web page to buy CDs, every third post. I belong to several other roots music lists, and none carry posts containing such blatant commercial advertisements. Keep buying CDs from websites and mailorder, and there won't be a decent record store, big or small left in existence. Kind of like the jobs we now have done overseas-->cheap! Brian Hadley Folk,Blues,Bluegrass,etc Roots Music Lover Prisoner of Retail ========================================================================= Date: Sat, 27 Jan 1996 18:25:18 -0800 Reply-To: emdrprac@DIRECT.CA From: Roger Brant Subject: Re: Blues list commercialism Brian Hadle (BHADLEY1@AOL.COM) wrote: >I new to this list, and though I love the blues, and all roots music for that >matter, I'm considering unsubscribing. I'm not sure what is acceptable as far >as commercialism is concerned, but I get very offended and turned off by >being invited to go to a web page to buy CDs, every third post. I belong to >several other roots music lists, and none carry posts containing such blatant >commercial advertisements. >Keep buying CDs from websites and mailorder, and there won't be a decent >record store, big or small left in existence. Kind of like the jobs we now >have done overseas-->cheap! >Brian Hadley >Folk,Blues,Bluegrass,etc >Roots Music Lover >Prisoner of Retail I, too, am relatively new to the Blues-L list, but I disagree: I have found nothing wrong with the mention of web-sites devoted to the blues, even if there are occassional "promos" for CDs, etc. Keep in mind that most of these "labels" are small, and probably don't receive much in the way of distribution. IMHO, the Internet is a wonderful way for small projects such as artist-produced CDs to get known and (hopefully) prosper. Lists such as this one can help to promote artists who don't have a "deal" yet; by doing what we do best - talking about the blues. Let's keep on finding, reviewing, and discussing artists, both known and unknown. Then, again, when people try to sell me hair replacement products...... well, I guess I kinda over-react!!! ( I'm new to this Spam stuff.....yeccchhhhh!!!) -Roger ========================================================================= Date: Sat, 27 Jan 1996 22:04:08 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Little Ironies (was Re: Blues list commercialism) Comments: To: BHADLEY1@aol.com An individual who is in charge of roots music buying for a major book store / record (according to another bit of email he did not send to the list) writes as follows: >I'm considering unsubscribing. I'm not sure what is acceptable as far >as commercialism is concerned, but I get very offended and turned off by >being invited to go to a web page to buy CDs, every third post. I belong to >several other roots music lists, and none carry posts containing such blatant >commercial advertisements. >Keep buying CDs from websites and mailorder, and there won't be a decent >record store, big or small left in existence. Kind of like the jobs we now >have done overseas-->cheap! >Brian Hadley >Folk,Blues,Bluegrass,etc >Roots Music Lover >Prisoner of Retail Personally, I haven't noticed that much of this sort of thing on the list. I do note the poster's self interest. He works for one of those big chains. Should I advance the argument against chains and for independents? Without disclosing that my brother co-owns and works at an independent? There are problems with pointless posts on this list. Advocation of buying-on-the-web is not one of the problems. Tom Freeland ========================================================================= Date: Sat, 27 Jan 1996 22:34:24 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: New or Re-issue question contrary opinion ... Comments: To: Jessica_Sowin@sonymusic.com In a message dated 96-01-27 18:10:55 EST, Jessica_Sowin@SONYMUSIC.COM (Jessica Sowin) writes: >Each makes valid points, but I gotta say, you can't always buy the old guys' >stuff anytime. Speaking from a purely business standpoint (those bristling >please don't flame me, this is just a reality), if a reissue album is not >selling well for a period of time, just like new albums, it is "cut out" of >the >active product catalog, i.e. stores cannot restock it. I have to agree with Jessica's post. One perenial problem has been major labels starting reissue programs and then getting cold feet when the market is not what they had hoped for. There are ways in which the present time seems to me to be something of a golden age of reissuing of old-time music, whether it be blues, folk, or whatever, but if the stuff doesnt sell, it goes away. Tom Freeland ========================================================================= Date: Sat, 27 Jan 1996 21:49:38 -0600 Reply-To: Glenn Broadhead From: Glenn Broadhead Subject: Cecil Gant's "I Wonder" Many years ago I heard a World War II-era blues-like song called (I think) "I Wonder" on the radio, but the announcer didn't say who sang it or what the title was. I can't remember if I dated it as mid-40s from the announcer's remarks or from the lyrics of the song. I also don't remember why I think of this as a soldier "wondering" as opposed to a basic lonely guy "wondering." I think it was NOT a conventional 12-bar blues, but rather ended on a minor chord, with the phrase "I wonder" concluding each verse. Recently, I sent this description of the song to Paul Garon, a blues enthusiast in Chicago (and co-owner of the Beasley Bookstore, which specializes in books about the blues and jazz, among other things). He thinks I probably heard "I Wonder," recorded by Cecil Gant in 1944. Does anyone know where this song might have been re-issued (especially on CD)? If you do, could you please post the information on the BLUES-L? Or if the recording is available only on a 78, would anyone who has it be able to send me the lyrics and a lead sheet? If you're responding to this message, please email me directly: Glenn Broadhead bhead@okway.okstate.edu ========================================================================= Date: Sat, 27 Jan 1996 23:15:07 -0500 Reply-To: MojoBandit@AOL.COM From: Dave Ruthenberg Subject: Re: Blues list commercialism Every third post? I think that's a bit extreme. I have been on the list for about 6 months now and do not notice this as a major problem. If it bothers you, just hit delete on those "offensive" e-mail messages. Dave ========================================================================= Date: Sat, 27 Jan 1996 22:34:13 -0600 Reply-To: Jim Colegrove From: Jim Colegrove Organization: DFWNet -- Public Internet Access Subject: Re: Blue note bends/Amos Garrett Comments: To: bit-listserv-blues-l@uunet.uu.net Richard Flohil wrote: > > Maria Muldaur's hit Midnight at the Oasis may not be "blues", but Amos > Garrett's astonishing guitar solo on thsat record offers enough blue note > bends for anyone! He is also featured on a more recent album she did on > Black Top (Louisiana Love Call, I think, but it's not with me at my > office). At the risk of sounding obsessive about Stony Plain Records (for > whom I work, etc.) he has a number of albums on the label, lives and works > out of southern Alberta, is getting a following in France and Spain, and > has worked quite a lot in Japan. He has recorded with Geoff Muldaur, Bonnie > Raitt, Jesse Winchester, Anne Murray (!), Stevie Wonder (unreleased) and > countless more. His own band is called the Eh Team, which is a Canadian > joke I can't begin to explain. - Richard the Elder Another good example of Amos Garrett's style is on Hungry Chuck, Bearsville BR 2071, issued in 1972. It's available on CD in Japan and Europe. ========================================================================= Date: Sat, 27 Jan 1996 23:24:37 -0600 Reply-To: Katie Strunc From: Katie Strunc Subject: TASCAM 3030 REEL TO REEL >Date: Sat, 27 Jan 1996 22:44:50 >To: SEMLA-L@UGA.CC.UGA.EDU. >From: Katie Strunc >Subject: TASCAM 3030 REEL TO REEL > >Dear networkers, > >I am a country songwriter and teacher who recently WON a TASCAM 3030 reel to reel tape recorder retailing for $2100. I use casettes and have no need for it and will sell it for $1000 or best offer. It is a superb machine that produces master quality reproduction with every trick in the book. > >email silver@flash.net. > >thanks, > > >CD Strunc > ========================================================================= Date: Sun, 28 Jan 1996 02:39:41 -0400 Reply-To: Claudio Caponi MARNR From: Claudio Caponi MARNR Subject: More than one Guitar Shorty? According to eRIC's BLUES DATES: FORTESCUE, JOHN HENRY "GUITAR SHORTY" (g) b. 1923-0124, BELHAVEN, NC Is this another Guitar Shorty? The one I thought was always referred to on Blues-l (Black Top artist, Topsy Turvy, Get wise to yourself) is David "Guitar Shorty" Kearney, isn't he? The same one that has a JSP CD with Otis Grand (My way on the highway, I think). Or am I confusing two different artists? ccaponi@dino.conicit.ve | Claudio Caponi | I've had my fun... Ministerio del Ambiente | Caracas - Venezuela | Otis Spann ========================================================================= Date: Sun, 28 Jan 1996 06:59:38 GMT Reply-To: vvisa@SIERRA.NET From: vvisa@SIERRA.NET Organization: Blues Express Subject: Re: I Need a Radio Show Name... Please Help Comments: To: bit-listserv-blues-l@uunet.uu.net > Mike Gottesman writes: > I'm going to do a blues radio show at my college radio station for > the second semester in a row. I'm really excited, but I can't think of a > good show name. I plan on playing everything from Muddy Waters, Robert > Johnson, and Sonny Boy Williamson to Robert Cray, Joe Louis Walker, and > Keb' Mo'. If anyone has any good ideas I would be very grateful to anyone > who can help me get out of this jam. In case it helps, it will probably be > an evening show. > My show last semester was called Spoonful of Blues, a corny name > since it was a lunch-time show, but it got great feedback. Who would of > thought there would be loyal blues fans out here in Lancaster, PA. I am a > relatively new subscriber to Blues-L, but a devoted one to say the least. > Thanks for your help in keeping the blues alive. > >>>> ========================================================================= Date: Sun, 28 Jan 1996 03:44:26 -0400 Reply-To: Claudio Caponi MARNR From: Claudio Caponi MARNR Subject: BB King on CSPAN and CNBC I was channel surfing through my newly installed cable tv (cable has come to Venezuela only 6 months ago), thinking that the garbage wasn't much different from regular tv, just more varied, when all of a sudden I saw BB King smiling at me from the screen. It was an interview at the National Press Club which must have lasted at least an hour (I caught the last 40 minutes), recorded on 23/1/96. It was aired on C-Span on Saturday night. He had the audience in his pocket with his warmth and sense of humor. Then, when it finished, I started surfing again, only to find that on CNBC (on America's Talking, I believe) another interview with BB on his new CDRom was getting to an end. Well, for what I read on Blues-l, this is not very common, but it sure changed my opinion towards cable tv! ccaponi@dino.conicit.ve | Claudio Caponi | I've had my fun... Ministerio del Ambiente | Caracas - Venezuela | Otis Spann ========================================================================= Date: Sun, 28 Jan 1996 01:59:44 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: dfw only If you're outside the DFW area please ignore. For those of you that got as excited as I did about the schedule at the Blue Cat in Dallas, I've got some sad news. Johnny Dyer, Bob Margolin, and Billy Boy Arnold have all apparently cancelled. I had e-mail from as far away as Oklahoma City from folks hoping to attend one or more of those shows. Which reminds me of the old adage about ALWAYS calling ahead before you make a long trip to see a show. Now I HAVE the blues. Don O. ========================================================================= Date: Sun, 28 Jan 1996 04:04:40 -0400 Reply-To: Claudio Caponi MARNR From: Claudio Caponi MARNR Subject: BB King at the National Press Club After posting my previous message, while reading friday's blues-l digest, I realized that Toby Levy had asked about this interview. So here is my recollection (from memory ): As you say, he said that American Music history should be taught(sp?) in school as part of History. When asked if EC was a bluesman, he said: EC is a rock guitarist (actually the best rock guitarist) who plays the blues. When asked if you had to live the blues to play the blues, he answered that it is not necessary to have been born in the south, or raised in a farm picking cotton, to play the blues. Then he told about this white keyboard player he had in his band coming from an effluent family from Boston who could really play the blues. So you see, he concluded, you don't have to have lived the blues to play the blues...(Big grin) But it helps! He said his favorite album of his was "My kind of Blues". He told once again the story of how the name Lucille came to be and how his first Lucille was stolen from the trunk of his car while visiting a girlfriend. He also said that he is now playing the 16th Lucille and that he just received Lucille #17 for his 70th birthsday. He got a big laugh from the audience when he said that for the time being he is still playing #16, but brings Lucille #17 on stage, so that she can learn from listening to #16. When asked to name some young new blues talents, he mentioned J.Healey, Joe Louis Walker, Robert Cray and Nathan Cavalleri (sp?). When asked why other bluesman didn't get the same recognition as he has had, he replied "Because they don't have a manager as ..." (sorry, the name escapes me at the moment). He praised again his manager for the new CDRom idea, and described succintly the CDRom features, showing that he knows his way around computers. At the question "Where you get the energy to keep your busy schedule?" he replied "I love playing music and sharing with people. For example, tonight, I know, and you know I am no speaker, but I really enjoy being given the chance to talk to you and share my love for the blues" (not the exact words, but close enough...) The last question was "You heard President Clinton playing the sax; what do you think of him as a musician?" Big smile from BB, then he says: "Well, you know, they say your boss ain't always right, but he is always your boss...So, he is the President... he is a good musician!" Big laugh from the crowd. Of course there was a lot more humor, humanity, warmth, intelligence, but the above is what my limited memory and knowledge of the english language allow me to recollect. Hope it gives a feeling... ccaponi@dino.conicit.ve | Claudio Caponi | I've had my fun... Ministerio del Ambiente | Caracas - Venezuela | Otis Spann ========================================================================= Date: Sun, 28 Jan 1996 03:49:59 -0500 Reply-To: N2blues2 From: N2blues2 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Jimmy Thackery's influences Comments: To: bit-listserv-blues-l@uunet.uu.net I certainly hope you treat your cruise guests better than your guests at the Grand Emporium. Granted, you do have the best blues in Kansas City, but it's a good thing because it is the only reason to set foot in that bar. I have been to the Grand Emporium many times. Each time, I have felt that almost everyone, with the exception of Don and Sherry (? spelling) has gone out of their way to be rude. Perhaps I forget how luckly I am every day when you open the doors. At least that is how I perceive you feel I should think. ========================================================================= Date: Sat, 27 Jan 1996 11:14:05 -0500 Reply-To: Stephanie Manna From: Stephanie Manna Subject: Fathers & Sons/ Something thats been on my mind, who are the father/son blues musicians out there performing? The first that comes to my mind, is James/Lucky Peterson, Raful/Kenny/Joel/Raful Jr Neal, Cari/Lurrie Bell, Luther/Bernard Allison, Big Daddy Kinsey/Kinsey Report. Can you help me out on this list? I'd like to see a Juneteenth Celebration/Fathers Day blues festival in 96 or 97. What do you think? ========================================================================= Date: Sun, 28 Jan 1996 06:34:01 -0000 Reply-To: James Witteveen From: James Witteveen Subject: Re: Billboard Blues Chart 02/03/96 Mary Katherine posted the following... >This is the Billboard Magazine Blues Chart for the week ending February >3, 1996. >14. One Foot In The Blues/Z. Z. Top I've seen this album mentioned several times in passing, but haven't seen it in the stores. Is it an all new album, or a collection of their bluesier stuff from earlier albums? -Jim (hndful@uniserve.com) ========================================================================= Date: Sun, 28 Jan 1996 10:04:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Z.Z. Hill: Whodat?! I was told recently that "Z.Z. Hill" wrote the song about Down Home Blues, Down Home Blues, All she wanted to hear was them Down Home Blues, All night long! Every other record or two. . . So turn off that fast jazz And party up some down home blues! Q. Who was/is Z.Z. Hill (yeah, I know it may be embarassing for me to ask such an elementary question), did/does he/she play an instrument, sing, or like, what's the deal, and why does one not hear more of this person? Is there some "body of work" I should go buy if I had the money and had access? Many thanks and happy Sunday to all my fellow bluezellers in many lands. Joe "so woefully uninformed you probably shouldn't even waste your time bothering to answer this" in Moscow (where it's *always* NINE BELOW ZERO!!) J.E._Downey@bakermck.com ========================================================================= Date: Sun, 28 Jan 1996 16:12:25 +0100 Reply-To: Bengans From: Bengans Subject: Re: FESTIVAL ADRESSES >On Sat, 27 Jan 1996, bengans wrote: > >> Could somebody give me a hint where to fnd adresses to booking >> offices of bluesfetivals in Europe this year. Im bringing my band >> -The Instigators, from Sweden to tour Europe with a killer CD in the >> trunk! >> >> >> Wailon Sevenson >> >> > >THE INSTIGATORS from Gothenburg.... > >If so. > > >HELLO FROM JYVASKYLA, FINLAND. > > > KEEP COOL. > > Jouni and other fellows from blues live society. Jyvaskyla was one of the best nights of the whole Finland tour, Jouni. Royal treatment and a great crowd. Hope to be back sometime! Sevenson "Time is hard baby, and hustling is really on" Aaron T Walker Sevenson "Time is hard baby, and hustling is really on". Aaron T Walker. ========================================================================= Date: Sun, 28 Jan 1996 16:12:22 +0100 Reply-To: Bengans From: Bengans Subject: Re: You know you've had too much blues if... >YOu know you've had too much blues if... > You think that there=B4s another five or six recorded but never released songs by Robert Johnson. Wailon Sevenson "Time is hard baby, and hustling really on." Aaron T Walker Sevenson "Time is hard baby, and hustling is really on". Aaron T Walker. ========================================================================= Date: Sun, 28 Jan 1996 16:12:29 +0100 Reply-To: Bengans From: Bengans Subject: Re: Question to Performers Ron Kraemer wrote: >Here's one I'll throw out to anyone who performs the Blues LIVE onstage, be= it >playing an instrument or singing.... > >Do you get nervous before you go on? The ol' knot-in-the-stomach, >lump-in-the-throat, sweaty palms-kinda nervous? > >If you do, does it lessen any over time? Over years??? Or, do you just >handle it better? How do you handle it? > >My band's been out since last August, and I still get the jitters the morni= ng >I wake up with a gig that night. Even if I've played the place a few times= ! >Funny, though. As soon as the gig starts, the nerves disappear and it's >BluesTime. :) > >Or, we CAN discuss root canal... I used to get nervous like a .... when I started playing live with my first band. But over the years it=B4s turned into where I just got hyped up and anxious to go on stage to give the best I=B4ve got. A couple of years ago I started thinking that I would perform to one particular person in the audience, (-not a girl necessarily), who had paid covercharge just to see ME, and it really got me focused on peformance instead of nerves. It has really helped me. It=B4s funny though, the bigger the venue the greater the shiver, is usually not the case, (for me anyway.) I=B4ve opended for Bob Dylan in front of 6000 people, I=B4ve played gigs in a jam packed club that holds 80 people and I=B4ve opended for Kim Wilson Blues act, etc. etc. Still, it=B4s the sma= ll clubs with a paid-to-be-pleased crowd that really forces me to focus. Luckily, I=B4m the type that enjoys working under pressure, but I can understand people who go through hell every night. About a year and a half ago my band toured as the rhythm section for a very well known harmonica player and vocalist who=B4s been onstage with more or less everybody in the blues business since the late fifties. We came to talk about this issue and he told me that his nervousness has always been the same (quite seriuos) or even become worse over the years. So I guess it=B4s very individual. However, it has Not helped me at the dentists yet, (root canal). Wonder what Jacko thinks? Sevenson "Time is hard baby, and hustling is really on" Aaron T Walker. Sevenson "Time is hard baby, and hustling is really on". Aaron T Walker. ========================================================================= Date: Sun, 28 Jan 1996 16:12:39 +0100 Reply-To: Bengans From: Bengans Subject: You might be a Blue Neck if... You might be a Blue Neck if... ...you=B4ve been convinced by Robert that Chicago is in the "land" of Calif= ornia. Sevenson "Time is hard baby, and hustling is really on". Aaron T Walker Sevenson "Time is hard baby, and hustling is really on". Aaron T Walker. ========================================================================= Date: Sun, 28 Jan 1996 16:12:43 +0100 Reply-To: Bengans From: Bengans Subject: Re: Johnny Winter Acoustic Slide > IMHO Johnny Winter is one of the best acoustic slide players, but John > Hammond is probably considered THE best. I get really tired of this measuring. Best, second best. Now, who=B4s third? I think that John Lee Hooker was THE best guitarplayer in the late fourties and early fifties. Sevenson "Time is hard baby, and hustling is really on". Aaron T Walker Sevenson "Time is hard baby, and hustling is really on". Aaron T Walker. ========================================================================= Date: Sun, 28 Jan 1996 10:31:37 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: CH Blues who wants to take it over.. I am considering no longer posting the monthly Columbia House list of Blues CD's. is there anyone interested in keeping it going. What it will take is 1 post per month and some updat- ing ... the updating is not much time in. I am just too busy with other things and looking not to let the info die out, so many people here have used it. Barry NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sun, 28 Jan 1996 10:47:09 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this very day... On this very day in 1956, Elvis Presley made his first appearance on national television. He appeared on The Dorsey Brothers Show, starring Tommy and Jimmy. Elvis sang "Blue Suede Shoes" and "Heartbreak Hotel". An impressionable 7 and 1/2 year old named P.W. Fenton was watching that night. P.W. Fenton Tampa, Florida Visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 28 Jan 1996 16:57:17 +0100 Reply-To: Jose Antonio Revilla Garcia From: Jose Antonio Revilla Garcia Subject: TALKING BLUES WWW PAGE Please, could anybody tell me what's the "Talking Blues" on NBC Super Channel address on the Web? Thanks in advance. Jose. Spain. ========================================================================= Date: Sun, 28 Jan 1996 11:15:38 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Bobby Blue Blands B'day yesterday >From ATN.... Robert Calvin Bland was born January 27, 1930 in Rosemark, Tennessee. The church singer got his first break in show business not as a vocalist, but as a valet and chauffeur for fellow Memphian B. B. King. Like his peers, King, Johnny Ace and Little Junior Parker, Bland was a blues singer in the big, brass-driven Memphis tradition. While Muddy Waters and Howlin' Wolf were churning out small band records up in Chicago that would inflame guitar-based rock 'n' roll groups the world over, the Memphis Mop was setting the stage for the soul music that would follow. Bobby Blue Bland, as he quickly came to be known, has been a hit-maker for over 40 years now, making his hits into standards and remaking standards into something else again. His 1992 induction into the Rock and Roll Hall of Fame was a given. We could fill this entire column just by naming the high points of his recording career. Instead, we'll just cite one interesting example of the man's influence. Try playing Bland's "I Wouldn't Treat A Dog" from his 1974 album Dreamer, and then follow it with "One Of These Nights" by the Eagles. A most flattering resemblance, don't you think? The ATN Song Police strike again! Copyright c 1996 Addicted To Noise. If you use our news, attribute to: Addicted To Noise, the on-line rock & roll magazine, http://www.addict.com/ ========================================================================= Date: Sun, 28 Jan 1996 11:59:31 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Fathers & Sons/ Comments: To: bluemoon@usa.pipeline.com >Something thats been on my mind, who are the father/son blues musicians out >there performing? The first that comes to my mind, is James/Lucky >Peterson, Raful/Kenny/Joel/Raful Jr Neal, Cari/Lurrie Bell, Luther/Bernard >Allison, Big Daddy Kinsey/Kinsey Report. Can you help me out on this list? My favorite combination is *definitely* Jimmy Rogers and his son Jimmy D. Lane! Eddie Shaw's son, guitarist Eddie Vaan Shaw, plays in his dad's band. Of course, *do not* forget Lonnie Brooks and his son, Ronnie Baker Brooks! >I'd like to see a Juneteenth Celebration/Fathers Day blues festival in 96 >or 97. What do you think? I think I'd like to know where this festival might be so that I could plan to attend! Karen ========================================================================= Date: Sun, 28 Jan 1996 12:32:51 -0500 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: Z.Z. Hill: Whodat?! Comments: To: "J.E. Downey" In-Reply-To: <"Sun Jan 28 10:04:23 199601*/G=J.E./S=Downey/O=BMMOSCOW/PRMD=BMCK/ADMD=TELEMAIL/C=US/"@MHS> On Sun, 28 Jan 1996, J.E. Downey wrote: > I was told recently that "Z.Z. Hill" wrote the song about > > Down Home Blues, > > Q. Who was/is Z.Z. Hill (yeah, I know it may be embarassing for me to > ask such an elementary question), did/does he/she play an instrument, > sing, or like, what's the deal, and why does one not hear more of > this person? Is there some "body of work" I should go buy if I had > the money and had access? Many thanks and happy Sunday to all my > fellow bluezellers in many lands. > > Joe "so woefully uninformed you probably shouldn't even waste your > time bothering to answer this" in Moscow (where it's *always* NINE > BELOW ZERO!!) J.E._Downey@bakermck.com He was born Arzell Hill in Texas in 1935. He was singing R&B and soul in Dallas clubs by 1960. He was influenced by Bobby Bland, Rosco Gordon and B. B. King. He began his recording career in 1964, but his big break came when he was signed by Malaco in 1980. His second album for them, Down Home, spent over 100 weeks on the charts. It sold well among blacks at a time when most major labels had turned their backs on the blues. The success of Down Home helped Malaco establish itself as a blues label to be reckoned with and also encouraged many independent labels to keep issuing blues releases. According to Paul Oliver in The Blackwell Guide to Blues Records, "Z. Z. Hill is nearly unamimously credited with reviving the blues in black America in the early 1980's." Hill died in 1984. His song "Down Home Blues" is still extremely popular among urban black audiences. It is the most requested song at the black club where I hang out. To hear the best of Z. Z. Hill, look for the Malaco album In Memoriam, 1935-84. Brenda Bogert Louisville KY ========================================================================= Date: Sun, 28 Jan 1996 10:15:39 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Jan. 29 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BARKSDALE, EVERETT (g) d. 1986-0129, INGLEWOOD, CA 76 BAUMANN, PETER (owner : PRIVATE MUSIC) b. 1953-0129, BERLIN, GERMANY BOGAN, TED (g/MARTIN,BOGAN & ARMSTRONG) d. 1990-0129, DETROIT, MI 79 BRYANT, BEULAH [BLOOMA WALTON] (v) d. 1988-0129, ROOSEVELT IS., NY 69 CHANEY, HERMAN "SONNY" (lead/THE JAGUARS) d. 1989-0129, CULVER CITY, CA 49 COLE, COZY [WILLIAM RANDOLPH COLE] (d) d. 1981-0129, COLUMBUS, OH 71 DIXON, WILLIE[WILLIE JAMES DIXON](b/songw)d. 1992-0129, BURBANK, CA 76 FULLER, JESSE "LONE CAT" (g/hca) d. 1976-0129, OAKLAND, CA 79 GAYTEN, PAUL L. (p/prod/arr) b. 1920-0129, NEW ORLEANS, LA HALL, VERA (v) d. 1964-0129, TUSCALOOSA, AL 58 KING, BOBBY [ROBERT L. KING] (g) b. 1941-0129, JEFFERSON CTY, AR LEWIS, EDWARD R. (co-founder:DECCA REC) d. 1980-0129, UK 79 LIVINGSTON, ULYSSES (g) b. 1912-0129, BRISTOL, TN PAYNE, PERCIVAL "SONNY" (d/BOSTIC) d. 1979-0129, LOS ANGELES, CA 52 PEREZ, LOUIS (of LOS LOBOS) b. 1953-0129, LOS ANGELES, CA RAMSEY, FREDERIC JR.(prod/author/FOLKWAYS b. 1915-0129, PITTSBURGH, PA RAYE, DON [DONALD WILHOITE JR.] (v/songw) d. 1985-0129, ENCINO, CA 75 SHAW, JOAN [SALENA JONES] (v) b. 1928-0129, NEWPORT NEWS, VA SMITH, JIMMY DON (g) d. 1986-0129, HOUSTON, TX 30 TAYLOR, EDDIE (g/VEE JAY R) b. 1923-0129, BENOIT, MS TAYLOR, FELICE (v/MUSTANG REC) b. 1948-0129, RICHMOND, CA VINCENT (aka VT) (BLUES-L MEMBER) b. -0129, TOKYO, JAPAN VIRTUE, FRANK (lead/THE VIRTUES) b. 1933-0129, PHILADELPHIA, PA WATERS, JOHNNY "MISSISSIPPI" (g) d. 1987-0129, OAKLAND, CA 51 ------------------------------------------------------------------------------- ========================================================================= Date: Sun, 28 Jan 1996 11:56:08 -0500 Reply-To: Stephanie Manna From: Stephanie Manna Subject: Big Jack Johnson/The Oilman I saw Big Jack Johnson at The BluesShip,Ybor City,Fl last night for the first time. What a treat! He is a guitar player not to be missed. The band was a nice tight group. I had a chance to speak with Big Jack and found him to be a very likable, sincere Mississippi blueman. Nothing big and showy here...just great blues. Later on as the night went on, he played slide on an unusual looking guitar, ( he told me its called a Winston). Blew me away!!! He'll be at the Five Oclock Club,Sarasota,Fl. on Sunday,Monday and I'm going back for more. This is his first tour of Florida, catch him while you can: Coconuts,Key Largo,Fl 1/30 Rays,West Palm,Fl. 2/1 Tobacco Rd,Miami,Fl 2/2 Sebastian Beach Inn,Melbourne,Fl 2/3 ========================================================================= Date: Sun, 28 Jan 1996 14:06:29 -0500 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: Z.Z. Hill: Whodat?! Comments: To: "J.E. Downey" In-Reply-To: <"Sun Jan 28 10:04:23 199601*/G=J.E./S=Downey/O=BMMOSCOW/PRMD=BMCK/ADMD=TELEMAIL/C=US/"@MHS> Z.Z. Hill died a few years ago of (I believe) a heart attack. Both he and Denise LaSalle recorded Down Home Blues. His version is on an album entitled Down Home (Malaco Records - MAL 7406). Sistah nitra WKDU - 91.7FM Sundays, 10 AM - 12PM Philadelphia, Penna. Sun, 28 Jan 1996, J.E. Downey wrote: > I was told recently that "Z.Z. Hill" wrote the song about > > Down Home Blues, > Down Home Blues, > All she wanted to hear was them > Down Home Blues, > All night long! > > Every other record or two. . . > > So turn off that fast jazz > > And party up some down home blues! > > > > Q. Who was/is Z.Z. Hill (yeah, I know it may be embarassing for me to > ask such an elementary question), did/does he/she play an instrument, > sing, or like, what's the deal, and why does one not hear more of > this person? Is there some "body of work" I should go buy if I had > the money and had access? Many thanks and happy Sunday to all my > fellow bluezellers in many lands. > > Joe "so woefully uninformed you probably shouldn't even waste your > time bothering to answer this" in Moscow (where it's *always* NINE > BELOW ZERO!!) J.E._Downey@bakermck.com > ========================================================================= Date: Sun, 28 Jan 1996 14:25:13 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: You might be a Blue Neck if... > You might be a Blue Neck if... > > ...you've been convinced by Robert that Chicago is in the "land" of California. Actually ... Robert Johnson was probably writing about Port Chicago, near San Francisco, which had a shipyard which hired blacks, making it a ppular destination in the Depression. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Sun, 28 Jan 1996 14:58:01 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Big Jack Johnson/The Oilman Comments: To: bluemoon@USA.PIPELINE.COM On 28 Jan 96, Stephanie Manna had this to say: > I saw Big Jack Johnson at The BluesShip,Ybor City,Fl last night for the > first time. What a treat! He is a guitar player not to be missed. The > band was a nice tight group. I had a chance to speak with Big Jack and > found him to be a very likable, sincere Mississippi blueman. Nothing big > and showy here...just great blues. I saw Big Jack night before last (Friday) at the very same club. For people who know and love "The Oilman" there was good and bad news. The good news is, that he is an even better guitar player than he was in 1992 when "Deep Blues" was filmed. A couple of years of "touring" has really honed his playing skills. The bad news is he played nothing but covers of Blues standards. None of his own fine songs. I met him too and he is a really sweet guy (got him to autograph my copy of "Daddy, When Is Momma Coming Home?"). I noticed him do a really nice thing on friday night. There is this older guy who sits in the same chair off to the side of the stairs at the Blues Ship, almost every night. He's been a fixture there for quite some time. He just sits there the whole night dressed in a suit and hat, holding his cane, and enjoying the music. Well Jack, after his first set (of his first ever gig in Florida) walked over to the bar and bought a drink, walked around the steps and gave it to the old guy. It was just a very warm thing to do for a complete stranger in a strange town. P.W. Fenton Tampa, Florida Visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 28 Jan 1996 20:05:21 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Radar Labs 23 Subject: Re: You know you've had too much blues if... Comments: To: bit-listserv-blues-l@uunet.uu.net On Sat, 27 Jan 1996 16:05:39 -0600, Timothy M Dellinger wrote: :YOu know you've had too much blues if... :1) If you choose wine by the shape of the bottle. mateus -- for the fat bottom! :2) If you've ever accidently ordered one burbon, one scotch, and one beer. what do you mean accidentally? :3) If your CD collection is the first thing you mention in your will. just left everything to the woman who treats me right. Kevan Smith cuthulu@prysm.net http://www.rlabs.com ========================================================================= Date: Sun, 28 Jan 1996 15:59:48 EST Reply-To: EDWIN F TREMEWAN From: EDWIN F TREMEWAN Subject: WFBE Blue Highway Playlist WFBE Blue Highway Playlist for 01/27/96, with host Ed Tremewan The theme for tonights show was a salute to the British Blues Invasion of the 60's, plus some birthday commemorations, and a request for some Al Kooper. Artist, Song Album, Label 9pm to 10pm Al Kooper, Alberts Shuffle, Soul Of A Man Live, Music Masters Cephas & Wiggins, Backwater Blues, Cool Down, Alligator Long John Hunter, Ice Cold, Border Town Legend, Alligator John Primer, Blind Man Blues, The Real Deal, Code Blue Little Cooper, If Shes A Dog, Baby I'm Back, Black Magic Fleetwood Mac, Hungry Country Girl, In Chicago 1969, Sire John Mayall, I'm a Stranger, Bare Wires, London Cream, Spoonful, Fresh Cream, Polygram King Earl Boogie Band, Keep Your Hands Off ..., Trouble At Mill, Dawn The Edward, Boudoir Stomp, It Hurts Me Too, Jammin With Edward, Rolling Stones 10pkm to 11 pm Bobby Blue Bland, Sad Street, Sad Street, Malaco Smokey Hogg, I Bleed Through My Soul, Original Folk Blues, United Emore James, Dust My Broom, 20 Greatest Hits, Blue City Little Milton, The Blues is Alright, L.M's Greatest hits, Malaco Len Bland, For Your Love, Title track, Lucky Pride Johnnie Bassett/Blues Insurgents, Times Gettin Tougher..., Live/Montreaux-Detroit, No Cover John Mayall, I'm Your Witch Doctor Eric Clapton, Snake Drive T.S. McPhee, Aint Gonna Cry No More Savoy Brown Blues Band, I Tried Eric Clapton, Tribute to Elmore Jo-Ann Kelly, I Feel So Good, An Anthology/British Blues, Immediate Sonny Boy Williamson, 23 hours to Long, Sonny Boy/yardbirds, Optimism Led Zepplin, I cant Quit You Baby, Led Zepplin, Atlantic 11pm to Midnight all girl set Michelle Wilson, At Last, Evil Gal Blues,Bullseye Marcia Ball, Fingernails, Blue House, Rounder Carol Fran/Clarence Holliman, Daddy Daddy Daddy, See There, Black Top Sweet Miss Coffy, Talk About it, Sweet Miss Coffy, Mardi Gras Cyril Davies/All Stars, Someday Baby, Bitish Blues/Beginning, Immediate The Animals, Maudie, Animalization, MGM Long John Baldry, Black Girl, It Aint Easy, Warner Champion Jack Dupree, Calcutta Blues, Raw Blues, London John Mayall, Telephone Blues T.S. McPhee, You Dont Love Me Eric Clapton, West Coast Idea, Jo-Ann Kelly, Aint Seen No Whiskey Stones Masonry, Flapjacks Savoy Brown Blues Band, Cold Blooded Woman, Anthology/British Blues, Immediate Al Kooper/Mike Bloomfield, Dont Throw Your Love/So Strong, The Live Adventures Of..., Columbia Mr B Cow Cow Blues (exit theme), Blue Ivory, Blind Pig ========================================================================= Date: Sun, 28 Jan 1996 16:09:12 -0500 Reply-To: Jessica Sowin From: Jessica Sowin Subject: Re: New or Re-issue question In a message dated 96-01-27 18:10:55 EST, Jessica_Sowin@SONYMUSIC.COM (Jessica Sowin) writes: >>Each makes valid points, but I gotta say, you can't always buy the old guys' >>stuff anytime. Speaking from a purely business standpoint (those bristling >>please don't flame me, this is just a reality), if a reissue album is not >>selling well for a period of time, just like new albums, it is "cut out" of >>the active product catalog, i.e. stores cannot restock it. Tom Freeland responded: >I have to agree with Jessica's post. One perenial problem has been major >labels starting reissue programs and then getting cold feet when the market >is not what they had hoped for. There are ways in which the present time >seems to me to be something of a golden age of reissuing of old-time music, >whether it be blues, folk, or whatever, but if the stuff doesnt sell, it goes >away. At the risk of sounding unintentionally defensive.... It's not a matter of cold feet. Legacy has been going strong for years, through financially good and not so good times. First and foremost, we are dedicated to the artists and music. We realize that our audience is smaller than some. That the Robert Johnson box set has gone platinum has probably surprised no one more than us. "But if the stuff doesn't sell, it goes away" is true for any album, reissue or otherwise. Jessica Sowin :::8.) Legacy Recordings ========================================================================= Date: Sun, 28 Jan 1996 15:59:14 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Z.Z. Hill: Whodat?! Comments: To: Anita Samuel In-Reply-To: The actual author of "Down Home Blues" is veteran songwriter George Jackson, whose name can be found on lots of blues and soul releases. You could make a good case that Z.Z.'s single and "Down Home" LP were the most revitalizing forces of the decade ('80s) for blues in the black community. ========================================================================= Date: Sun, 28 Jan 1996 16:01:11 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Chicago, California Comments: To: Ian Angus In-Reply-To: <9601281411.aa23242@admin.dis.on.ca> There actually is a Chicago, California in southern Cal. (I've driven through it by accident.) It sure didn't look significant enough for anyone to sing about, except someone with a scrambled sense of geography for at least a minute. ========================================================================= Date: Sun, 28 Jan 1996 17:06:55 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: You might be a Blue Neck if... Ian said, concerning Robert Johnson's song "Sweet Home Chicago": >Actually ... Robert Johnson was probably writing about >Port Chicago, near San Francisco, which had a shipyard which >hired blacks, making it a ppular destination in the Depression. Really? Well, that's nowhere near Chicago, either. I always thought he met it metaphorically, as in California being the land of opportunity, as Chicago was for many Southern Blacks during those days. (Or at least was perceived to be.) Karen ========================================================================= Date: Sun, 28 Jan 1996 16:06:14 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: New or Re-issue question Comments: To: Jessica Sowin In-Reply-To: <9601282007.AA2693@worldcom-45.worldcom.com> Is there some reason why this question has to have a definitive "rule" for an answer? Seems like one of the few clear-cut cases for "situation ethics" or else a balanced collection goes out the window. Anyhow, isn't a lot of blues about spontaneity? ========================================================================= Date: Sun, 28 Jan 1996 14:18:37 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Track listing: Blues Classics (long) Here's a sneak perview for blues-l; you folks get the first look. This is the finalized and sequenced track listing for the forthcoming 3-CD box set on MCA entitled "Blues Classic" which I, eligible for no disclaimers whatever, have compiled and am annotating. It will be sort of like the Chess Blues box, i.e. multi-artist set of multi-CDs and a long booklet with lots of photos. This in *not* a rarities package, it is *not* supposed to contain obscure tracks by folks no one has ever heard of. The title is Blues *Classics* meaning that for the most part these are well-known songs by well-known artists. The entire first CD is pre-war (Vocalion, Brunswick and Decca), giving MCA a chance to get some of this stuff out there and see how it does with the blues-buying public; if all goes well I hope to be able to do a Decca Blues Box either next year or the following, along with six single-srtist Decca Blues CDs (Lonnie Johnson, Blind Willie McTell, Kokomo Arnold, Peetie Wheatstraw, Roosevelt Sykes and Memphis Minnie) as well as two compilations, Decca Piano Blues and Decca Slide Guitar.) But we have to see how this does before MCA can commit to that extensive a pre-war series. I sequenced it in chronological order. Also, it's *too late* for everyone to email me telling me what I *should* have put on here that I forgot . This is final; however we can always hope for a volume two.... Okay, here we go; I am not posting discographical info, it would take too long: 1. Jim Jackson/Jim Jackson's Kansas City Blues Pt. 1 2. Furry Lewis/Billy Lyons and Stack-O-Lee 3. Leroy Carr/How Long How Long Blues 4. Bertha "Chippie" Hill/Trouble In Mind 5. Pine Top Smith/Pine Top's Boogie Woogie 6. Tampa Red & Georgia Tom/It's Tight Like That 7. Cow Cow Davenport/Cow Cow Blues 8. Robert Wilkins/That's No Way To Get Along 9. Memphis Minnie & Kansas Joe/What's The Matter With The Mill 10. Tampa Red & Georgia Tom/Things 'Bout Comin' My Way 11. Kokomo Arnold/Milk Cow Blues 12. Memphis Minnie/Dirty Mother For You 13. Roosevelt Sykes/The Honeydripper 14. Oscar Woods/Lone Wolf Blues 15. Blind Boy Fuller/If You See My Pigmeat 16. Black Ace/I Am The Black Ace 17. Charlie Pickett/Down The Highway 18. Sleepy John Estes/Floating Bridge 19. Peetie Wheatstraw/Crazy With the Blues 20. Lonnie Johnson/Mr. Johnson Swing 21. Peetie Wheatstraw & Lonnie Johnson/Truckin' Through Traffic 22. Georgia White/The Blues Ain't Nothin' But 23. Sister Rosetta Tharpe/This Train 24. Alberta Hunter/Fine and Mellow 25. Big Joe Turner/Piney Brown Blues 26. Robert Lee McCoy/Friar's Point Blues 27. Jay McShann with Walter Brown/Confessin' The Blues 28. Louis Jordan/I'm Gonna Leave You At The Outskirts of Town 29. Dinah Washington & Lionel Hampton Orch./Blow Top Blues 30. Louis Jordan/Let The Good Times Roll 31. Muddy Waters/I Can't Be Satisfied 32. Robert Nighthawk/Sweet Black Angel 33. Memphis Slim/Mother Earth 34. Cecil Gant/Playing Myself The Blues 35. Jimmy Rogers/That's All Right 36. Muddy Waters/Long Distance Call 37. Big Mama Thornton/Hound Dog 38. Eddie Boyd/24 Hours 39. Little Walter/Juke 40. Lightnin' Hopkins/I'm Wild About You Baby 41. Muddy Waters/I'm Your Hoochie Coochie Man 42. Gatemouth Brown/Okie Dokie Stomp 43. Lowell Fulson/Reconsider Baby 44. Sonny Boy Williamson/Don't Start Me To Talkin' 45. Bo Diddley/I'm A Man 46. Big Walter Price/Pack Fair and Square 47. Little Walter/My Babe 48. Howlin' Wolf/Smokestack Lightnin' 49. Larry Davis/Texas Flood 50. Fenton Robinson/As The Years Go Passing By 51. Bobby Blue bland/Turn On Your Love Light 52. Muddy Waters/Got My Mojo Working 53. Sonny Boy Williamson/Checking On My Baby 54. Bobby Blue Bland/I Pity The Fool 55. Junior Parker/Drivin' Wheel 56. Buddy Guy/The First Time I Met The Blues 57. Howlin' Wolf/Red Rooster 58. Howlin' Wolf/I Ain't Superstitious 59. Albert Collins/Frosty 60. Otis Rush/Homework 61. Bobby Blue Bland/Stormy Monday Blues 62. Sonny Boy Williamson/Bring It On Home 63. B.B. King/How Blue Can You Get 64. Howlin' Wolf/Killing Floor 65. John Lee Hooker/Serves You Right To Suffer 66. Koko Taylor/Wang Dang Doodle 67. B.B. King/Don't Answer The Door 68. John Lee Hooker/I'm In The Mood 69. Etta James/Tell Mama 70. Etta James/I'd Rather Go Blind 71. B.B. King/Paying The Cost To Be The Boss 72. B. B. King/The Thrill Is Gone Sound, especially on the pre-war stuff, will knock you out. They engineers and transferrers (sp?) really did a superaltive jpb. I haven't heard a final yet but even the preliminary work cassettes were terrific. Btw, this is one of *fifteen* CDs I am producing and/or annotating simultaneously, for five different labels, but thank God it is the only box set. The rest are single CDs and one double. So if I am short and grumpy in my posts sometimes it's because right now I have my paws full with all this stuff (oh yes and I have a real life, too). Mary Katherine Aldin ========================================================================= Date: Sun, 28 Jan 1996 17:24:10 -0500 Reply-To: James Leftwich From: James Leftwich Subject: NYC get together All non-New York people hit delete now We will be meeting at Terra Blues (Bleeker St between Thompson & LaGuardia) Thursday Feb. 1 at 10pm to see the legendary Hubert Sumlin. Will all interested parties RSVP me so I know who to expect. The cover is $10. So you know who to look for, I'm a white male, 6' tall, wearing a grayish flannel jacket and a blue hat with 'UNH' across the bill. GO Pittsburgh! Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" :) ========================================================================= Date: Mon, 29 Jan 1996 10:34:00 -1000 Reply-To: Andrew Gregg From: Andrew Gregg Subject: Re: You might be a Blue Neck if... Comments: To: Jim Witteveen >Ian said, concerning Robert Johnson's song "Sweet Home Chicago": >>Actually ... Robert Johnson was probably writing about >>Port Chicago, near San Francisco, which had a shipyard which >>hired blacks, making it a ppular destination in the Depression. > >Really? Well, that's nowhere near Chicago, either. I always thought he met >it metaphorically, as in California being the land of opportunity, as Chicago >was for many Southern Blacks during those days. (Or at least was perceived >to be.) I always thought the same. 'California' was a nineteenth century term for gold coins, and later meaning closer to money or wealth.......I think this is a little more plausible, but I'm open to suggestions. Andrew ========================================================================= Date: Sun, 28 Jan 1996 19:20:22 -0500 Reply-To: Jessica Sowin From: Jessica Sowin Subject: Re: New or Re-issue question Comments: To: Richard Shurman Richard Shurman asked: >Is there some reason why this question has to have a definitive "rule" >for an answer? Didn't get the impression that anyone participating in this thread was trying to establish a rule. I was just disagreeing with the points that "you can buy the old stuff anytime" and "labels get cold feet around reissues." >Seems like one of the few clear-cut cases for "situation >ethics" or else a balanced collection goes out the window. Anyhow, isn't >a lot of blues about spontaneity? Here, here. Jessica Sowin :::8.) Legacy Recordings ========================================================================= Date: Mon, 29 Jan 1996 01:13:23 GMT Reply-To: Dan Sigward From: Dan Sigward Organization: Boston University Subject: homemade blues Comments: To: bit-listserv-blues-l@uunet.uu.net I'm curious about something. As an almost non-mainstream form of popular music, blues and soul have always been closely related to smaller, independent record labels - Chess, Cobra, Stax, Arhoolie, etc, etc. While many of the older labels like Chess have been absorbed by the larger record companies, the small label tradition still seems to exist through labels like Rooster, Fat Possum, Black Top, Bullseye, etc. Here's my question: What does it take - in terms of money, equipment, personnel, and record industry connections - to start from scratch, and run an independent record label? I don't necessarily mean a blockbuster, hugely successful record label, but one that is successful enough to support itself and stay reasonably in the black... Just a growing fancy of mine... Dan Sigward ========================================================================= Date: Sun, 28 Jan 1996 20:27:56 EST Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Big Jack Johnson I was blown away by him the first time I saw him live (a few months ago), too. I'll second your recommendation to catch him while you can. He'll be playing in Connecticut on Feb. 11 at The Hungry Tiger in Manchester. If you live in the area, get there! The club is small, but the result is a really inti- mate show. Dave Carpenter WHUS-FM Storrs, CT http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Sun, 28 Jan 1996 21:54:45 EST Reply-To: Stephen MacKinnon From: Stephen MacKinnon Subject: Amos Garrett A few more additional landmarks in Amos Garrett's recording career. He was a key figure in Ian and Sylvia's legendary folk-rock band The Great Speckled Bird (Ampex 10103) 1969. He and Geof Muldar put out a dizzyingly eclectic album in 1978 on Flying Fish/Stony Plain that includes pieces by Percy Mayfield, Jimmie Rogers, Chopin, Chuck Berry, Hoagy Carmichael and Tchaikovsky (believe it or not) plus a few originals. His hot licks can be heard on the work of The Formerly Brothers with Doug Sahm. He also has a number of recent solo efforts including Gone Cat, I Make My Home In My Shoes and Amosbehavin'. With Amos you can expect the unexpected - a lick from Bix Biederbecke dropped into a blues tune. Stephen ========================================================================= Date: Sun, 28 Jan 1996 21:09:20 -0600 Reply-To: Craig Edmundson From: Craig Edmundson Subject: home page link to Bluezellers Hello, I have a section on my home page called "Blues-L Members on the Web." If you would be so kind as to send me send me your URL, I will gladly create a link to it. Remember, you can never be too rich, too thin, or too widely linked on the Web! Thank you. C ------------------------------------------------------ Craig L. Edmundson cedmunds@netserv.unmc.edu cedmundson@nfinity.nfinity.com http://www.nfinity.com/~cedmundson ========================================================================= Date: Sun, 28 Jan 1996 18:59:59 -0800 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Re: eRIC's BLUES DATES: Jan. 29 Comments: To: James Carmin In-Reply-To: <199601281815.KAA04642@desiree.teleport.com> On Sun, 28 Jan 1996, James Carmin wrote: > Here's a few dates (b. born, d. death) for tomorrow. If you have any > corrections/additions, let me know at leblanc@dao.nrc.ca. You forgot myself, I hope that by next time this year you'll get it right(with good reason of course) ( hopefully a recording of mine will be released by then). I am now legally aloud to get into the bars I have been playing in, amen. Isaac > ------------------------------------------------------------------------------- > artist notes/full name yyyy-mmdd, city/county state age > ------------------------------------------------------------------------------- > Sprintis, Isaac (blues-country-soul man guit) b. 1975-0129, Los Angeles,Ca 21 ========================================================================= Date: Mon, 29 Jan 1996 03:36:12 GMT Reply-To: "Michael P. Henry" From: "Michael P. Henry" Organization: Your Organization Subject: Re: looking for info on Blues Foundation Comments: To: bit-listserv-blues-l@uunet.uu.net In article , Geoffrey Guynn says: > >Hi, > >I am looking for info on the Blues Foundation aka Rythmn & Blues Foundation > >Do they have a web site, e-mail, or snail mai address? > > The Blues Foundation can be found at The Blues Foundation 174 Beale Street Memphis, TN 38103 (901) 527-BLUE (2583) Michael P. Henry President, Napa Valley Blues Society >Thanks > >Danny Shapiro >dshapirp@austin.cc.tx.us ========================================================================= Date: Sun, 28 Jan 1996 22:48:39 +0330 Reply-To: topcat@COMPUTEK.NET From: "" Subject: Re: home page link to Bluezellers Comments: To: Craig Edmundson Craig: Thanks for the web-link with your home page. For TopCat Records, our home page URL is http://www.texasblues.com/topcat e-mail should be directed to either topcat@computek.net or to blueman@computek.net Thanks again. Richard Chalk TopCat Records ========================================================================= Date: Sun, 28 Jan 1996 22:18:05 -0600 Reply-To: Keith Castleberry From: Keith Castleberry Subject: Blues Charts Ok, here's a simple one for some Blues guru out there...I am a dj for a new Blues show and like to tell the listeners the top Blues records out there on the charts. Well, what is THE chart? I look at the Living Blues magazine and get one chart...then read Mary Katherine Aldin's report on the Blues-L with Billboard's chart. I rarely see the same albums on these two charts. I am sure there are many charts....but from a purist's point of view...what chart is the chart?? Keith Castleberry WYDH 105.9 FM "The Blues Cruise" P.O. Box 710 Atmore, AL 36504-0710 ========================================================================= Date: Sat, 27 Jan 1996 20:25:14 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: You know you've had too much blues if... >On Sat, 27 Jan 1996 16:05:39 -0600, Timothy M Dellinger > wrote: > >YOu know you've had too much blues if... Wait. What's this "You know you've had too much blues if..." stuff. You can NEVER have too much blues. I can't get enough. Give me more :-) Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Mon, 29 Jan 1996 04:40:23 GMT Reply-To: Dave Perkins Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Dave Perkins Organization: CTS Network Services Subject: Re: Jr.Wells Comments: To: Ricsur@GNN.COM Hey does Junior still play live preformances...I know that dudes old but I love his music...Hey did you get his new one, Everybodys Gettin Some.>?? If so is it any good..Also, do you have On Tap, cause theres this song called So Long and Im wondering what the words are..Some are easy to understand but some aint... Dave ========================================================================= Date: Mon, 29 Jan 1996 04:50:33 GMT Reply-To: Dan Sigward From: Dan Sigward Organization: Boston University Subject: Re: Big Jack Johnson Comments: To: bit-listserv-blues-l@uunet.uu.net Is it true that Big Jack has signed with the House of Blues record label? If so, let's hope his future CDs are not as treadfully overproduced as his last Earwig Cd was. The version of "Daddy when is mamma comin' home" is unbelievably bad, especially after hearing how fantastic the song can sound from hearing Jack's live performance of it in the Deep Blues movie... I too have seen Big Jack live, twice..and it was an excellent show both times... don't miss him! david m. carpenter (103156.340@COMPUSERVE.COM) wrote: : I was blown away by him the first time I saw him live (a few months ago), too. : I'll second your recommendation to catch him while you can. : He'll be playing in Connecticut on Feb. 11 at The Hungry Tiger in Manchester. : If you live in the area, get there! The club is small, but the result is a : really inti- : mate show. : Dave Carpenter : WHUS-FM : Storrs, CT http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Sun, 28 Jan 1996 21:22:03 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Blues Charts Comments: To: Keith Castleberry You wrote: > >Ok, here's a simple one for some Blues guru out there...I am a dj for a new>Blues show and like to tell the listeners the top Blues records out there on>the charts. Well, what is THE chart? I look at the Living Blues magazine and>get one chart...then read Mary Katherine Aldin's report on the Blues-L with>Billboard's chart. I rarely see the same albums on these two charts. I am>sure there are many charts....but from a purist's point of view...what chart>is the chart?? > I may not be qualified to answer this post, being neither a blues guru nor a purist. However: The Living Blues chart is based on radio station AIRPLAY as reported to the magazine by radio show hosts such as yourself from all across the country. The Billboard Magazine chart is based on SALES as reported to the magazine by record stores from all across the country, using SoundScan (those little computerized bar codes that appear on each CD tray card). So one is based on airplay and the other on actual sales. Airplay is to some extent dictated by listener requests, whereas sales are simply that---people who pay money to buy each CD dictate what goes on that chart. Mary Katherine Aldin ========================================================================= Date: Mon, 29 Jan 1996 01:14:24 -0500 Reply-To: DaveZ From: DaveZ Subject: Re: BLUES-L Digest - 27 Jan 1996 to 28 Jan 1996 Anyone out there from the Toronto, Canada area???? Any good Blues clubs in Toronto?? I will be there around Valentine's day weekend. ========================================================================= Date: Mon, 29 Jan 1996 01:10:42 -0500 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Big Mama Thorton - any bio. info.??? Comments: To: bit-listserv-blues-l@uunet.uu.net Hi fellow blues folks! I am looking for biographical information on Big Mama Thorton? Are there any books written about her? Did any of you know her? Thanks!!!!! Lea Gilmore Baltimore, MD "Wild Women Don't Have the Blues!" ========================================================================= Date: Mon, 29 Jan 1996 01:22:24 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: Blues Charts >You wrote: >> >>Ok, here's a simple one for some Blues guru out there...I am a dj for >a new>Blues show and like to tell the listeners the top Blues records >out there on>the charts. Well, what is THE chart? I look at the Living >Blues magazine and>get one chart...then read Mary Katherine Aldin's >report on the Blues-L with>Billboard's chart. I rarely see the same >albums on these two charts. I am>sure there are many charts....but from >a purist's point of view...what chart>is the chart?? >> >I may not be qualified to answer this post, being neither a blues guru >nor a purist. However: > >The Living Blues chart is based on radio station AIRPLAY as reported to >the magazine by radio show hosts such as yourself from all across the >country. > >The Billboard Magazine chart is based on SALES as reported to the >magazine by record stores from all across the country, using SoundScan >(those little computerized bar codes that appear on each CD tray card). > >So one is based on airplay and the other on actual sales. Airplay is >to some extent dictated by listener requests, whereas sales are simply >that---people who pay money to buy each CD dictate what goes on that >chart. > >Mary Katherine >Aldin > > ________________________________________________________________________ Beef Stew - The Blues Playground WCCC Radio - 107 FM - 243 South Whitney Street - Hartford, CT 06105 Phone: 860.233.4426 - Phax: 860.232.6511 Personal e-mail: bfstew@neca.com - Station e-mail: fm107wccc@aol.com ________________________________________________________________________ ========================================================================= Date: Sun, 28 Jan 1996 23:29:50 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Big Mama Thorton - any bio. info.??? Comments: To: LeaGil LeaGil wrote: > >Hi fellow blues folks! I am looking for biographical information on Big>Mama Thorton? Are there any books written about her? Did any of you know>her? A biography of Big Mama Thornton accompanies just about every reissue ever done on her; there are four or five LPs that have extensive liner notes, and both MCA (US) and Ace (UK) have reissued her Peacock material on CD with accompanying notes. There's also an extensive profile of her in the Duke/Peacock discography by Galen Gart. Disclaimer: I wrote the notes to the MCA reissue. Mary Katherine Aldin ========================================================================= Date: Sat, 27 Jan 1996 23:45:23 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: stories Cathi wrote: > I noticed Dick Waterman put a couple of "stories" on the >list today (Blind Willie Johnson and BB King) and I wanted >to vote for much more of this -- not only from him, but >from all you folks that have a good story to tell about >some of your favorite blues musicians. I love stories that >give insight into these great people and am a firm believer >that such stories keep the blues vital. God knows the >music is gift enough, but somehow, the human stories give >the blues an even greater depth. The stories are one aspect >of Blues-l I especially appreciate. > > I hope modesty will not prevent you from occasionally >sharing with us. We'll all be the richer for it. Cathi has a great idea. I hope that anyone who has a good story about some of the greats, or any good story about blues musicians, can find the time to post it. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Mon, 29 Jan 1996 02:52:44 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Blues Phone Interviews Hello Everyone, >From time to time, I have read posts from people who conduct interviews or do research over the phone. Often there is reference made to the cost of the phone bill. I had this problem and solved it very inexpensively. (IMO) Several years ago, I had a 1-800 number installed "on-top of" the regular number that comes into my home. When the 1-800 number, is dialed from anywhere in the United States, it just rings on my regular home number. The initial installation was very reasonable and the monthly fee for this 1-800 number is only $5.00 per month! Of course, I also pay for the time the line is used, but at an hourly rate of $7 and change to about $11 and change, it's still far less expensive than the regular line usuage. The best part is, I can "call forward" the 1-800 number. So where ever I'm going to be, I just call forward the 1-800 number there and when the artist/author/whomever calls, it rings where I am. I've given the 1-800 number to record companies, artists, authors, etc and it has really cut down on my phone bills, because instead of me calling all my contacts on my regular number, they call me on my 1-800 number. As far as I know, this option is still available. Make sure you 'splain to the phone company you want a home 1-800 number "on top of" your existing home phone number. ________________________________________________________________________ Beef Stew - The Blues Playground WCCC Radio - 107 FM - 243 South Whitney Street - Hartford, CT 06105 Phone: 860.233.4426 - Phax: 860.232.6511 Personal e-mail: bfstew@neca.com - Station e-mail: fm107wccc@aol.com ________________________________________________________________________ ========================================================================= Date: Mon, 29 Jan 1996 08:47:25 +0100 Reply-To: Jose Antonio Revilla Garcia From: Jose Antonio Revilla Garcia Subject: TALKING BLUES WWW In-Reply-To: <9601281626.AA9507@CServe-Hub3.inhouse.compuserve.com> Could anybody tell me what are the 'Talking Blues' and 'Talking Jazz' addresses on the WWW? Thanks in advance. Jose. Spain. ========================================================================= Date: Mon, 29 Jan 1996 09:08:40 +0100 Reply-To: Jose Antonio Revilla Garcia From: Jose Antonio Revilla Garcia Subject: BLUES-L History Lesson.:-) How many time it's been since the first message was written to the Blues-L? Who was the fantastic idea from? I've downloaded *ALL* the LOG's from '95...an amazing source of knowledge..more than 30 Mb...:-O Are there available any other LOG's from any year before? Jose. Spain. ========================================================================= Date: Mon, 29 Jan 1996 00:38:07 -0800 Reply-To: emdrprac@DIRECT.CA From: Roger Brant Subject: Re: Track listing: Blues Classics To Mary Katherine Aldin: Congratulations (in advance) on doing a great job on such a difficult task. Choosing representative artists and performances is never an easy job, I'm sure. To do it and cover such a broad range, over such a huge time period, is really something. Even though I already own recordings of most of the material you have included, I would purchase this set just to have the continuity of the tracks, and the notation (which I trust is excellent!!) Also, it sounds like the audio quality (esp. on pre-war stuff) would be a big improvement over a lot of my collection. - Roger ========================================================================= Date: Mon, 29 Jan 1996 03:51:17 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: blue cat jam Despite all the recent cancellations at the Blue Cat in Dallas, there are still some pretty darn good shows going on there. Case in point, last night. After negotiating through a crowd of cars where people were honking their horns and shouting something about horse riding cattle herders going bowling in Tempe, Arizona (or something like that :') ) I managed to find my way into the club about 10:15 pm. Gregg Smith (who often tours with Lucky Peterson) was up on stage with fine guitarist Butch Bonner (ex-Freddie King's band and a producer of note in these parts), Lucky's bass player, Lucky's drummer, and Shawn Ferris on organ. ie. a pretty dang good band! There followed an evening of music the likes of which I haven't seen in a long, long time. The show included Lady Lotion (doing a bump and grind that would have made Etta James blush!) Ichiban recording artist Vernon Garrett (one of the headliners at the Chicago Blues Fest a few years back), Javelin, Sista Monica (visiting from California), an outstanding new male soul singer, "Sanga" Clarence, (he's a SANGA, not just a "singer", Butch is producing his new album) and various and sundry other guests. Four hours of non-stop soul drenched blues (and a little blues drenched soul) that had me so filled up I didn't even partake of the free BBQ chicken and ribs. All that for a $5 cover charge, and they do it every Sunday. As much as I'll miss seeing Billy Boy Arnold, Bob Margolin, and Johnny Dyer, I think I'll get by OK with our local talent. :') Don O. not associated inc. ========================================================================= Date: Mon, 29 Jan 1996 11:07:12 +0100 Reply-To: Jose Antonio Revilla Garcia From: Jose Antonio Revilla Garcia Subject: TALKING BLUES WWW Anybody knows the Talking Blues WWW and Talking Jazz WWW addresses? Thanks Jose. Spain. ========================================================================= Date: Mon, 29 Jan 1996 10:30:51 +0000 Reply-To: Marybeth Hamilton From: Marybeth Hamilton Subject: robert johnson queries Two questions that those of you better versed than I in blues lore will doubtless find easy to answer: 1. when did the crossroads legend first attach itself to Robert Johnson? It doesn't appear in Samuel Charters' The Country Blues (1959)--can anyone cite the published source in which it first appears? And is there any way of determining how long it had been passed along by word of mouth? 2. For research purposes I need to get hold of specific back issues of Blues Unlimited, Blues World, Living Blues, downbeat, and American Folk Music Occasional dating from the late 1960s and 1970s. Can anyone suggest a library or archive that holds them--and that might be able to xerox specific articles? I'm in London so will probably need to do this by mail. thanks very much. ========================================================================= Date: Mon, 29 Jan 1996 05:38:51 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Blooze Nooze - Jon Spencer Jon Spencer is switching modes again, taking time off from playing guitar in his wife's Christina Martinez band Boss Hog to go into the studio to record a follow-up to 1994's Orange--smorgasbord style. Sensitive to all the criticism that the Blues Explosion is all show and no go, Spencer is recording some stuff with venerated blues man (and former proprietor of many juke joints "fabled for their toxicity") R.L Burnside, in Oxford, Mississippi. Spencer will also record with other Fat Possum Records alumnus. But far be it from Spencer not to also maintain his oh-so-cool persona-- he's also booking time at an L. A. studio with Beasties producer Mario Caldotta to record some more of the album, but will do the bulk of it in Tucson, Arizona with Jim Waters who produced Orange and Extra Width.The Blues Explosion will enter the studio after they finish a brief Southern tour of North Carolina, Florida, and Georgia. The group recently played a "secret show" at NYC's Brownies at the end of Poem Rocket's set, to try out the new material on an unsuspecting public before they commit it to CD. Copyright (c) 1996 Addicted To Noise. If you use our news, attribute to: Addicted To Noise, the on-line rock & roll magazine, http://www.addict.com/ ========================================================================= Date: Mon, 29 Jan 1996 11:53:47 GMT Reply-To: Tommy Jansson From: Tommy Jansson Organization: Uppsala university Subject: Dawkinspictures Comments: To: bit-listserv-blues-l@uunet.uu.net Hello, I=B4m writing a Dawkins WWW-page. The scanner I use has been stolen! Is=20 there anyone out there who can mail some Dawkins pictures? (Use something= =20 like wincode to encode the pictures.) Thanks! And, oh yes. If you want to= =20 check out my bluespage go to http://lisen.bibks.uu.se/tj/blues.htm =20 =20 ========================================================================= Date: Mon, 29 Jan 1996 07:34:09 -0500 Reply-To: "Eliot C. Williams" From: "Eliot C. Williams" Subject: Re: The real Nitty Gritty (LBC) Comments: To: JBards At 03:06 PM 1/27/96 CST, you wrote: >Does anyone remember a wonderful kick-butt rock-and-roll/R&B song from the early >60s called "(Right Back Down To The) Real Nitty-Gritty". I believe the artist >was Mary somebody...? >Any help would be appreciated, particularly if anyone has a copy. This was "The Nitty Gritty" by Shirley Ellis. Congress 202, released 1963. EW Eliot Williams University of Wisconsin Department of Medicine ecwillms@macc.wisc.edu ========================================================================= Date: Mon, 29 Jan 1996 07:34:34 -0500 Reply-To: "Eliot C. Williams" From: "Eliot C. Williams" Subject: Re: Cecil Gant's "I Wonder" Comments: To: Glenn Broadhead At 09:49 PM 1/27/96 -0600, you wrote: >Does anyone know where this song might have been re-issued (especially on CD)? >If you do, could you please post the information on the BLUES-L? > >Or if the recording is available only on a 78, would anyone who has it be able >to send me the lyrics and a lead sheet? If you're responding to this message, >please email me directly: "I wonder" by Private Cecil Gant (so designated to cash in on the public's support-our-boys-overseas spirit) was recorded for Decca in 1944 and is regarded by some as one of the first examples of "soul music" on record. It was definitely more in the pop than the blues mode (Gant has also been labelled a "sepia Sinatra"). I'm pretty sure you can find this on CD, but I only have it on an LP called "Straighten Up & Fly Right - Rhythm & Blues from the close of the swing era to the dawn of rock & roll" released by New World Records in 1977. I can send you the lyrics if you'd like but can't provide a lead sheet. (Maybe Tom Morgan has one?) EW Eliot Williams University of Wisconsin Department of Medicine ecwillms@macc.wisc.edu ========================================================================= Date: Mon, 29 Jan 1996 13:46:21 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: The real Nitty Gritty (LBC) Comments: To: "Eliot C. Williams" >At 03:06 PM 1/27/96 CST, you wrote: >>Does anyone remember a wonderful kick-butt rock-and-roll/R&B song from the >early >>60s called "(Right Back Down To The) Real Nitty-Gritty". I believe the artist >>was Mary somebody...? >>Any help would be appreciated, particularly if anyone has a copy. > >This was "The Nitty Gritty" by Shirley Ellis. Congress 202, released 1963. EW > >Eliot Williams >University of Wisconsin >Department of Medicine >ecwillms@macc.wisc.edu Is this the same nitty-gritty that Gladys Knight and the Pips the recorded? Bo ========================================================================= Date: Mon, 29 Jan 1996 08:22:10 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Loretta Glover We had a really great female Blues singer here in the Tampa area. Her name was Loretta Glover. At the time I stumbled across her, I was just beginning to become obsessed with the Blues, and Loretta was, out of everybody I knew of locally, the only one doing "the real thing". She's partially responsible for me getting back into performing. I started playing a little bit, at jams and such, and crossed paths with her a few times. I was having a difficult time, because I had never really played guitar well, and had a lot more desire than chops. At one jam that Loretta was at, I suffered an unbelievably paralyzing case of stage fright, worst of my life. It was totally unexpected. I wanted to die. At some point during my solo, I remember seeing her leaning way out of her seat to see who was playing through the crowd. I was sure she was looking because I was playing so badly. One night, after that awful episode, I heard she was going to be appearing with a local band at a new club near where I live so I went out just to see her (I was nuts about her singing). I arrived in the middle of a set and she gave me a big smile when she noticed me at the bar. When the set was over she came right over to where I was sitting and laid a big kiss on my cheek. I didn't even think she knew me from Adam. She said "You got your axe?". I said "No." She said, "Don't you ever come to see Loretta without your axe, I love the way you play." You could have knocked me down with a feather. She told me when and where her next gig was going to be in the Tampa area, and told me to be there ready to sit in. I never saw her again. A few days later, during a break at a gig in Sarasota, she closed her eyes and leaned over, as if catching a cat nap, and she died. At every milestone in my Blues development I have dedicated a song or a performance to her. P.W. ========================================================================= Date: Mon, 29 Jan 1996 07:50:56 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Studio Questions In-Reply-To: Message of Sat, 27 Jan 1996 01:45:56 GMT from On Sat, 27 Jan 1996 01:45:56 GMT cuthulu said: > >Just take your favorite guitar, a slide and a bottle of whiskey. Sit in the >chair and let them worry about the micing. Get lubricated and wail! I do not drink whiskey and play anymore, it may be great for my nerves, but it wreaks havoc on my playing. Maybe one drink would be OK, but in the past I usually finished the bottle before I played....No drinking beforehand for me except around the house..........LW ========================================================================= Date: Mon, 29 Jan 1996 09:04:46 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Re: Cecil Gant's "I Wonder" Comments: To: ecwillms@macc.wisc.edu In-Reply-To: from "Eliot C. Williams" at Jan 29, 96 07:34:34 am In another time and place, Eliot C. Williams said: > > "I wonder" by Private Cecil Gant (so designated to cash in on the public's > support-our-boys-overseas spirit) was recorded for Decca in 1944 and is > regarded by some as one of the first examples of "soul music" on record. It > was definitely more in the pop than the blues mode (Gant has also been > labelled a "sepia Sinatra"). I'm pretty sure you can find this on CD, but I > only have it on an LP called "Straighten Up & Fly Right - Rhythm & Blues > from the close of the swing era to the dawn of rock & roll" released by New > World Records in 1977. I can send you the lyrics if you'd like but can't > provide a lead sheet. (Maybe Tom Morgan has one?) EW I wish I did have the sheet music. R&B sheet music is pretty hard to find. BTW, my favorite Cecil Gant number is "Wake up Cecil Wake Up," a great number about Cecil and the little friends he finds in his bed. :) Tom `'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`' Stop on by my Jazz and Blues Web Site -- http://redlt.com/tom/ Free-lance Writer--Author--Program Director WTJU 91.1--Internet Consultant ========================================================================= Date: Mon, 29 Jan 1996 10:06:53 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Guitar Shorty There are at least two bluesmen that have recordings available under the name of Guitar Shorty. Besides the Black Top recording artist, there was a great East Coast blues country blues musician (gtr/vcl) who was recorded in the early 70's among others by Pete Lowery. This is I think the one eRic refers to (would have to check at home). He had a SUPERB (IMHO) album that was released in the 70's on TRIX which is also now finally availabe on CD. He passed away years ago. He is also present on at least one East Coast Country blues anthology (LP) on the great UK FLYRIGHT label (Entitled "Another Man Done Gone" or something like that). Jean-Pierre "Young Man" Urbain ========================================================================= Date: Mon, 29 Jan 1996 09:24:01 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Homemade Blues The very best guide to the whole business of making your own record (and, much more importantly, marketing it) is a book called HOW TO MAKE AND SELL YOUR OWN RECORDING, by Diane Sward Rapaport. It is published by Headlands Press, Box N, Jerome, Arizoa 86331 (602 634-8894). I think it may be available in major bookstores via Prentice Hall. In any event, this book, originally written in the '70s and constantly re-edited and revised and up-dated, is an indispensible guide-$30.00 spent on this book will literally save you $30,000-and save you from reinventing the wheel again, which so many people who want to release independent records inevitably attempt. I am a friend of the author's, but don't let that prevent you from getting the book. One of my publicity clients, an artist called Loreena McKennitt (no, she's not blues!) used this book, recommends it unreservedly, and at last count had sold well over 2,000,000 records world wide. And ten years ago, she was busking outside the Saturday morning market here in Toronto! -Richard the Elder. ========================================================================= Date: Mon, 29 Jan 1996 09:16:48 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Fathers & Sons/ Comments: To: bluemoon/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=bluemoon#a#USA#f#PIPELINE#f#COM@s1boca.corp.wrgrace.com, BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *Something thats been on my mind, who are the father/son blues musicians out *there performing? The first that comes to my mind, is James/Lucky *Peterson, Raful/Kenny/Joel/Raful Jr Neal, Cari/Lurrie Bell, Luther/Bernard *Allison, Big Daddy Kinsey/Kinsey Report. Can you help me out on this list? *I'd like to see a Juneteenth Celebration/Fathers Day blues festival in 96 *or 97. What do you think? * There's also Jimmy Rogers and Jimmy Lane Jr. John Jackson often performs with his son James. If you want to include fathers and daughters there's Johnny Copeland and his teenage daughter (I don't know her name, but apparently she's a hell of a singer). ========================================================================= Date: Mon, 29 Jan 1996 14:21:47 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: home page link to Bluezellers Comments: To: bit-listserv-blues-l@uunet.uu.net In <199601290309.VAA21565@nfinity.nfinity.com>, Craig Edmundson writes: >Hello, > >I have a section on my home page called "Blues-L Members on the Web." If you >would be so kind as to send me send me your URL, I will gladly create a link >to it. I attempted to do this via private e-mail, but my mailer doesn't recognize your address. My URL follows - Lots of links, and an assortment of my columns and reviews. - B.B. Bean bbbean@cris.com Peach Orchard, MO http://www.cris.com/~Bbbean - ========================================================================= Date: Mon, 29 Jan 1996 09:24:00 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Son House/John Mooney CATBAUER said >I seem to remember someone who knew Son House telling me he thought >there were only a few "true" students of Son House, Paul Rishell & > >John Mooney. Have you heard John? I have two of John's CDs, "Comin' Your Way" and "Testimony" plus the one of him with Jimmy Thackeray, "Sideways in Paradise." All are excellent. I saw John live about a year ago in a three-piece format. He had about seven guitars onstage, six strat/strat clones and a National Steel. He's an incredible performer. One of my former teachers, Rich DelGrosso, also does a real good Son House, but unfortunately he's not as well known as John Mooney. ========================================================================= Date: Mon, 29 Jan 1996 08:35:54 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Loretta Glover -Reply Comments: To: pwfenton@GATE.NET That rivals the saddest story i ever heard from a musician....Rory Block tells about her friend who died over 10 years ago and she always dedicates a song to her. On a monday blues morning too! I sure got em today, that's for sure. ddr ========================================================================= Date: Mon, 29 Jan 1996 08:41:32 -0600 Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: Re: More than one Guitar Shorty? David "Guitar Shorty" Kearney is the same as Guitar Shorty. He was born in Houston, Texas and lives in California. He was married to Jimi Hendrix's step sister. He is on Black Top. Nuri Nuri, Host/Producer "Blues Brunch", KPFT 90.1FM, Houston >According to eRIC's BLUES DATES: > >FORTESCUE, JOHN HENRY "GUITAR SHORTY" (g) b. 1923-0124, BELHAVEN, NC > >Is this another Guitar Shorty? The one I thought was always referred to >on Blues-l (Black Top artist, Topsy Turvy, Get wise to yourself) is >David "Guitar Shorty" Kearney, isn't he? The same one that has a JSP >CD with Otis Grand (My way on the highway, I think). >Or am I confusing two different artists? > >ccaponi@dino.conicit.ve | >Claudio Caponi | I've had my fun... >Ministerio del Ambiente | >Caracas - Venezuela | Otis Spann > > ========================================================================= Date: Mon, 29 Jan 1996 08:28:42 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Homemade Blues example I'm not sure if this partains to this thread, but I found it interesting. The other night Keny DuChaine and I were talking about this as people were buying his "independent" CDs. I noticed he had JS/SP Back To The Country for sell. He made the comment that he can sell 500 of his "indie" cd's and make more than Johnny ever made off of a Handy award winning CD. He said he has no idea who's making the money off of Back To The Country.... I think you also suffer from lack of exposure, there are currently some Handy nominees who would not be there, if they weren't pushed SEVERELY by their record company....You figure it out (IMHO of course). I'm not knocking anyone's talent, I'm just saying I see better, who do not have the backing of a major record company. So is the trade off worth it...I have no idea LW ========================================================================= Date: Mon, 29 Jan 1996 09:48:44 -0500 Reply-To: PARRISHR From: PARRISHR Subject: One Foot In the Blues/ZZ Top Someone asked whether this was new or a best-of. It's a best-of: "Blue Jean Blues" etc. Finally all ZZ Top's blues on one CD! I think some of their more recent bluesy stuff is on there too. ========================================================================= Date: Mon, 29 Jan 1996 10:04:43 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: LW in the studio... I only have only one teensy-weensy piece of advice.............relax. Pretend you're in your favorite club with your friends around you instead of microphones. If you can, get the studio guys to bring the lights down for you. The sterile over-head lighting of some studios can kill mood before you play a single note. Those are great guitars, have fun with 'em. :) Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Mon, 29 Jan 1996 10:20:52 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: More than one Guitar Shorty? Comments: To: "Nuri A. Nuri" In-Reply-To: On Mon, 29 Jan 1996, Nuri A. Nuri wrote: > David "Guitar Shorty" Kearney is the same as Guitar Shorty. He was born in > Houston, Texas and lives in California. He was married to Jimi Hendrix's > step sister. He is on Black Top. He also did a live version of Hey Joe that rips the socks of off Jimi's. Heard it on the radio but don't know it's avail- able on CD. If it is I'd like to know which CD - anyone got that info, please post it or mail it. NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 29 Jan 1996 15:22:38 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: BABY TATE - Original Blues Classics CD Just saw in eRIC's Dates list that mention was made of TATE, CHARLES "BABY" (g/BLUESVILLE REC) b. 1916-0128, ELBERTON, GA So it reminded me that I should again :-) say a few words, although I already talked about it recently here on Blues-L, about the OBC reissue of THE BLUES OF BABY TATE - See What You Done Done (Original Blues Clasic CD567) ***************************************************************************** which is a reissue of his Bluesville LP produced by the late Dr K.S. Goldstein and recorded by Samuel B. Charters in august 1961 in Spartanburg, NC. Baby Tate ranks among the best East Coast blues musicians from the post WWII period and this is actually his only album availabe. This album features wonderful music in the best tradition of Carolina BLues. Beautifull singer and excellent guitar player, he is maybe one of the the most interesting post Blind Boy Fuller (b.t.w. someone whith which Baby Tate played a lot in his teens) Carolina bluesmen that has been recorded. The album opens on a superb "See What You Done Done" and features 11 other cuts. Baby Tate was later on recorded again by Pete Lowry who initially planned to release a full LP on his Trix label. Unfortunately, Lowry found that the recordings he made from Tate were not sufficiently representing his great talent so that these cuts were never published, eception made of a TRIX single (there's also one cut on a Flyright anthology "Another Man Done Gone" and a few cuts of a Folkways set). Lowry was planning to record him again in order to publish a full LP but Charles Baby Tate passed away before these sessions could take place. As a result, this is the only album availabe from this great bluesman, much influenced by Blind Boy Fuller's music, but definitively not an immitator! Given the really low price of OBC reissues, this is a real must for all country blues lovers. Jean-Pierre "Young Man" Urbain P.S. Many othe fine reissues of Bluesville LPs are now available and should be recommended for country blues lovers. Just to quote a few: Memphis Willie B, Sidney Maiden, K.C. Douglas, Guitar Pete Franklin, Pink Anderson... (Usual Disclaimer: not affiliated... just decided to buy this one as my LP copy was getting used...) I hope they're going to reissue soon the superb Shirley Griffith and Shirley Griffith + J.T. Adams albums. If someome as any info on this, I would be pleased to hear it. ========================================================================= Date: Mon, 29 Jan 1996 09:27:15 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Re: Studio Questions -Reply -Reply Comments: To: ISTS024@UABDPO.DPO.UAB.EDU I remember the time this guy i knew came over for dinner. (He's now a vice president of one of those little sound systems companies for your computer) and he brought about five bottles of very fine imported French wine. I hadn't played in front of too many people at the time, and was very nervous. By the time the five bottles were gone, i wasn't ready for anything except more wine. The wife and this friend seconded and thirded the suggestion, and off to the liquor store our stoned little group wen t! Five more bottles of French wine, and I WAS READY to go! Only problem was my spirit was willing, but the body was too drunk to play. the sardonic irony of this is, they were too drunk too, and thought i played just fine! Again, moderation! It still works! regards, delta doc roger ========================================================================= Date: Mon, 29 Jan 1996 09:32:30 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Re: Fathers & Sons/ -Reply Comments: To: Steve.Levine@corp.wrgrace.com While the son was killed tragically by a tractor (if memory serves me correctly), Doc Watson and his son were quite an item. Doc (why do i like this first name so much?) Watson played some mean blues (Big River Blues is GGGRREAT). BTW, does anyone know how to contact Doc Watson. I understand his health isn't so great anymore. I recently received several Watson videos, a couple that cover the years since 1946(?), and one is billed as Doc Watson and his son ( i forgot his name). I HIGHLY recommend these videos. Doc was a great player and vocalist. His son was fantastic guitar player. delta doc roger ========================================================================= Date: Mon, 29 Jan 1996 10:06:31 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Performance Anxiety Ron Kraemer wrote: >Here's one I'll throw out to anyone who performs the Blues LIVE onstage, be= it >playing an instrument or singing.... >Do you get nervous before you go on? The ol' knot-in-the-stomach, >lump-in-the-throat, sweaty palms-kinda nervous? I used to get the puke-till-your-eyeballs-pop-out-and- roll-into-the-next-stall nervous. >If you do, does it lessen any over time? Over years??? Or, do you >just handle it better? How do you handle it? I first started going to open mikes with the intent of singing about three years ago. I was so nervous it took me about six months before I could actually get up onstage. This was at Tornado Alley in Wheaton, Md. The stage there is elevated and very large, and the audience sits kind of far away, so it's a very intimidating stage in the first place, more like a festival stage than your little corner bar stage. At the time I sang better than I played guitar (which isn't saying much), so I wasn't even thinking about playing guitar onstage then. Then I met a couple of guys who had the NERVE to play Hendrix there, and they invited me to their open mike around the corner. They were very supportive and encouraging, and they gave me the opportunity to play and sing every week. Of course, as you all have probably guessed by now, one of those guys was my now-fiance, Max, and our roommate, Dave. Now that I am a little more confident of my playing and singing I don't really get nervous anymore. But I find if I don't perform at least once a week, when I get back into it I'm a little nervous. My mom, on the other hand, still gets nervous after 40 years of being a singer. But she does it anyway. ========================================================================= Date: Mon, 29 Jan 1996 07:48:50 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Jan. 30 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BROWN, RUTH [RUTH WESTON](v/ATLANTIC REC) b. 1928-0130, PORTSMOUTH, VA CARROLL, KAREN (v) b. 1958-0130, COATES, DOROTHY LOVE (lead/HARMONETTES) b. 1928-0130, BIRMINGHAM, AL DAVIS, ERNESTINE "TINY" (tpt/DECCA REC) d. 1994-0130, CHICAGO, IL 86 DAVIS, GREGORY (of THE DIRTY DOZEN) b. 1957-0130, NEW ORLEANS, LA ELDRIDGE, ROY (tpt) b. 1911-0130, PITTSBURGH, PA ENDSLEY, MELVIN (songw) b. 1934-0130, DRASCO, AR GART, GALEN(of FIRST PRESSING/BIG NICKEL) b. 1948-0130, NEW YORK CITY, NY GIPSON, BYRON "SLICK" (lead/THE SLIDERS) d. 1994-0130, PEORIA, IL 64 HOPKINS, LIGHTNIN' [SAMUEL HOPKINS] (g) d. 1982-0130, HOUSTON, TX 69 JAMES, GEORGE (tsax/CLYDE BERNHARDT) d. 1995-0130, COLUMBUS, OH 88 LIPSCOMB, MANCE (g/ARHOOLIE R) d. 1976-0130, NAVASOTA, TX 80 MARR, HANK (o/FEDERAL REC) b. 1927-0130, COLUMBUS, OH MUNDY, PAUL (sax) b. 1957-0130, PROFESSOR LONGHAIR [HENRY ROELAND BYRD](p)d. 1980-0130, NEW ORLEANS, LA 61 RICHARDSON, C. C. (g) d. 1984-0130, CHARLESTON, W. VA 65 ROSS, JACKIE (of CHESS/SAR REC) b. 1946-0130, ST. LOUIS, MO TERRANOVA, JOE (of DANNY & JUNIORS) b. 1941-0130, PHILADELPHIA, PA WATLEY, JODY (v) b. 1959-0130, CHICAGO, IL ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 29 Jan 1996 15:53:53 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Guitar Shorty In-Reply-To: <01I0L4VFULOI005NKQ@RL0002.RULIMBURG.NL> On Mon, 29 Jan 1996, Jean-Pierre Urbain wrote: > There are at least two bluesmen that have recordings available under the name > of Guitar Shorty. Besides the Black Top recording artist, there was a great > East Coast blues country blues musician (gtr/vcl) who was recorded in the > early 70's among others by Pete Lowery. This is I think the one eRic refers > to (would have to check at home). He had a SUPERB (IMHO) album that was > released in the 70's on TRIX which is also now finally availabe on CD. He > passed away years ago. He is also present on at least one East Coast Country > blues anthology (LP) on the great UK FLYRIGHT label (Entitled "Another Man > Done Gone" or something like that). > > Jean-Pierre "Young Man" Urbain > What about the one entitled "A Man In His Field" (or something similar) is that yet another Guitar Shorty? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [29/1/96 10:50 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 29 Jan 1996 10:33:57 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Mad Max in Memphis and Thereabouts Mad Max & The Blues Kings will be in Memphis sometime around August 1. No gigs confirmed yet, but I'm thinking Huey's and BB King's if they'll have us. Any other suggestions? How about places between DC and Memphis, like Knoxville and Nashville or Asheville NC? ========================================================================= Date: Mon, 29 Jan 1996 15:34:39 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Fathers & Sons/ Comments: To: bit-listserv-blues-l@uunet.uu.net Karen Hanson wrote: > >>Something thats been on my mind, who are the father/son blues musicians out >>there performing? The first that comes to my mind, is James/Lucky >>Peterson, Raful/Kenny/Joel/Raful Jr Neal, Cari/Lurrie Bell, Luther/Bernard >>Allison, Big Daddy Kinsey/Kinsey Report. Can you help me out on this list? > Karen, Aside from those you mentioned, locally (in Chicago) there's guitarist Michael Coleman, who is the son of drummer Bald Head Pete (who plays with Johnny B. Moore and others). Melvin Taylor is Dave Myers' nephew, if that counts. Lil Ed Williams is the nephew of JB Hutto. Blues singer Karen Carroll is the daughter of jazz singer Jeanne Carroll. Singer Shirley King claims to the daughter of B.B. King. Guitarist John Brim has a son called John Brim, Jr., who is also a guitarist (this is one of the few examples of a "Jr." in blues music who actually is related to his namesake). Eddie Taylor (who coincidently recorded with John Brim) has some musician sons: Larry and Tim Taylor, and his youngest Eddie Jr. has recently been coming out and sitting in with folks. Willie Dixon has some musical offspring, Bobby and I think Shirley and probably others. That's all I can think of right now off the top of my pointy little head, but I'm sure there are others. Scott ========================================================================= Date: Mon, 29 Jan 1996 11:09:13 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Chicago/California I believe that "California" was used metaphorically to refer to the land of gold and opportunity, in reference to Chicago (yeah, the one in Illinois :) when so many from the poor rural south were moving north in search of job opportunities in the big city. Actully, I learned that from you guys here on -L. :) Can our historians in the group give us a "yea or nay" on that? Riffin Rick (((( oo-) /- ....and I'm pretty sure "Moon Over Miami" wasn't written about Ohio. ;) F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Mon, 29 Jan 1996 15:33:14 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Johnny Winter Acoustic Slide Comments: To: bit-listserv-blues-l@uunet.uu.net >I get really tired of this measuring. >Best, second best. >Now, who=B4s third? > >I think that John Lee Hooker was THE best guitarplayer in the late fourties >and early fifties. > Sevenson, Well, maybe until January of '52, when Louis Myers took over as BEST guitar player for two years, only to be replaced by Johnny "Guitar" Watson in the winter of '54, when he broke out of the tie for 3rd place that he'd been in with Ike Turner, who had been the best piano player, Memphis division, two years earlier. Let's try to keep things accurate here from now on, OK? Scott ========================================================================= Date: Mon, 29 Jan 1996 10:04:01 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Thumb & Finger pick users I have a question for you delta-type-slide pickers who use picks. Don't take this wrong, btw. I don't see how ya'll do it. For example how do you snap the strings against the fretboard with a thumbpick on...? I can't do it with a pick (I can't hardly use any picks anymore)...I "rake" my finger nails down the strings rapidly after I snap that bass string, like Son House did. I use the meat of my finger for upstrokes and my nails for down strokes. I'm just wonderin' how you do that with picks on. If I were to downstroke with my nails, the picks would go flying. It may just be different styles, but there is just no way I could play what I play with picks..I do a whole lot of snapping and raking down with my nails and picks just won't work for me to do that....How ya'll do that with picks THANKS LW ========================================================================= Date: Mon, 29 Jan 1996 10:14:45 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: roaylty rate & Pete Mayes I saw a cd in the local shop this weekend. I want to buy it, but I have to reconcile a dilemma first. So, I need answers to 2 questions: The cd is by Pete Mayes and it is on Home Cookin records. This cd was released by that scumbag Roy Ames and it is highly likely that Pete doesn't get any $$$ from this cd. 1). What royalty would say BB King get per cd? 2). Does anyone have an address where I can send said amount of money directly to Pete Mayes? I really want to buy this cd, but if I can't send some money to Pete, then I am not going to put money in Roy Ames' pocket. -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Mon, 29 Jan 1996 11:18:56 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: NYC get together/ Hubert Sumlin Comments: To: leftwich@CLOUD9.NET Man! I wish I could meet you guys there! I'm bumming and stuck up here just a few hours away in Massachusetts. Be on the look out for my old drummer and one of the best working blues drummers in the biz, Paul Richards, who will no doubt be there. He's about 5'9", neat goatee, glasses, brown hair and always well dressed in a blazer and turtle neck. :) Damn, I wish I could go to this gig!! Riffin Rick (((( oo-) /- .....bluesy in Massachusetts. F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Mon, 29 Jan 1996 11:21:18 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Going to Mardi Gras Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I finalized my upcoming vacation plans last week, and I'm going to Mardi Gras next month. This will be my first Mardi Gras and my first time in New Orleans. I expect I'll find plenty to do during Mardi Gras :) but I still want to catch some New Orleans blues and find a jam session or open mic if there are any. Can anyone tell me which clubs are worth going to (is Tiptinia's still around?), or where I can get some kind of entertainment guide? Any other blues-lers planning on going to Mardi Gras? -Steve "If you go to New Orleans, you ought to go see the Mardi Gras" -Professor Longhair ========================================================================= Date: Mon, 29 Jan 1996 17:30:10 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Thumb & Finger pick users Comments: To: ISTS024@UABDPO.BITNET >I have a question for you delta-type-slide pickers who use picks. Don't >take this wrong, btw. I don't see how ya'll do it. For example how do you >snap the strings against the fretboard with a thumbpick on...? I can't do i= t >with a pick (I can't hardly use any picks anymore)...I "rake" my finger nai= ls >down the strings rapidly after I snap that bass string, like Son House did. > >I use the meat of my finger for upstrokes and my nails for down strokes. I'= m >just wonderin' how you do that with picks on. If I were to downstroke with >my nails, the picks would go flying. It may just be different styles, but >there is just no way I could play what I play with picks..I do a whole lot >of snapping and raking down with my nails and picks just won't work for me >to do that....How ya'll do that with picks >THANKS >LW Youre right. Fingerpicks is limiting in many ways. I have used them mostly for electric for many years but I m getting away from them more and more. There is advantages of course - when it comes to clean picking in rhythmic patterns it works really good (think 5-string banjo). Mr Bo ========================================================================= Date: Mon, 29 Jan 1996 10:39:55 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Reviewed by Wayne Tuttle for Johnson County Blues Society Guitar Shorty "Get Wise to Yourself" Black Top Records BT-1126 If you were lucky enough to catch Guitar Shorty's set at last year's Mississippi Valley Blues Festival, you know that he is a pure joy to watch and listen to. Clad in a purple suit, snazzy gold-tipped shoes, and sporting a bushy pompadour that James Brown and the Reverend Al Sharpton would envy, Shorty put on a delightful show. Once famous for wild performances that included plenty of somersaults and back flips at the same time he was playing his guitar, Shorty is somewhat more subdued because of injuries suffered in an auto accident about ten years ago. However, despite being in his late fifties and a little pudgy, he can still bust a few flashy moves, including the occasional somersault-a truly wonderful sight to behold-without ever missing a note. He was related to Jimi Hendrix by marriage, and Hendrix once told him that, as a teen, he used to sneak into clubs and watch Shorty perform, which, not surprisingly, helped inspire the flamboyant stage act Hendrix later developed. Acrobatics aside, Shorty (born David Kearney) can also play the heck out of the guitar. On stage, while he occasionally demonstrates that he has plenty of ultra-flashy chops in his bag of tricks, he doesn't wear them out or overwhelm his material with them. Instead, he plays very tastefully, crafting his phrases to compliment the structure of each song, saving his really fancy licks for when they have the most impact. This also holds true on his recordings. He doesn't try to blow anybody away, he just plays what he needs to play and gets the all right notes in the right places. Get Wise to Yourself is a solid release and a pleasure to listen to. The droll, sexually euphemistic, "I'm the Clean Up Man", followed by the title track, a "you better quit messing around on me" number, which contains the first reference to AIDS that I've heard in a blues tune, start things off rocking and bouncing. "I Don't Know Why", slows things down and then Shorty picks up the pace again with the New Orleans flavored, " You Don't Treat Me Right" and a light-hearted little shuffle called, "My Baby Loves to Do the Bump". On "Hard to Stay Above the Ground" and the soulful, minor-keyed, "You Left Me Dreaming", Shorty shows a bit of his melancholy side before returning to the whimsical in the funky "She's Built, She's Built to Kill". The recording is rounded out by the jazzy "A Fool Who Wants to Stay", which features some sweet honky tonk piano, "The Blues Done Got Me" another slow blues, a rockin' shuffle called "Ways of Man", and "Smells Good" a slow, steamy instrumental on which Shorty stretches out considerably on the guitar. The personnel on Get Wise to Yourself do a solid job and the selections pack a lot of punch thanks to "Kaz" Kazanoff's sparkling horn arrangements. While it may not be destined to become a blues classic, this is enjoyable, toe-tapping music and well worth a listen. Guitar Shorty knows how to have fun. ============================================================== Various Artists "Rattlesnake Guitar - The Music of Peter Green" Victor Music VIC2-8021 In the mid-1960s, at the same time the immortal words "Clapton is God" were being scrawled on walls all over England by his followers, another contingent of British blues fans fervently believed that the one true Guitar Deity was actually a young man named Peter Green. Although he never achieved Clapton's popularity (due in large part to personal problems that kept him away from the music scene for long periods of time), there are many who consider Green to be the better guitarist. In fact, B.B. King once described Peter Green as "the only guitarist who ever made me sweat." In 1966, Green was instrumental in forming Fleetwood Mac, which was originally a Chicago-style blues band. His soulful guitar playing and song writing were signatures of the band until his departure in 1971. Since that time, except for a handful of obscure, but very good recordings, he has mainly stayed out of the public eye. Although he is no longer generally well-known, Peter Green is still remembered and admired by a great number of his fellow musicians. As a tribute to Green's accomplishments, some of them got together last year and recorded twenty-eight of his compositions on a Viceroy release entitled, "Rattlesnake Guitar, the Music of Peter Green". Among the luminaries appearing on this release are Larry McCray, who does a scorching version of "Black Magic Woman" (yes, that was written by Peter Green), Kim Simmonds and Savoy Brown, Ian Anderson, Dave Peverett and Rod Price (formerly of Savoy Brown and Foghat), Rory Gallagher, Harvey Mandel, Southside Johnny, and Troy Turner (who eastern Iowans might remember from a couple of years ago when he spent a few weeks in the area sitting in with the Blues Instigators). "Rattlesnake Guitar" is an extremely enjoyable release that shows what a talented, if somewhat melancholy, songwriter Peter Green was. While it has a few weak spots (a CD-and-a-half would have been sufficient), the collection of musicians is superb and the variety afforded by having a different artist featured on practically every song makes this a very worthwhile release. Furthermore, part of the proceeds from the sales will go to the Blues Heaven foundation, a non-profit organization founded by Willie Dixon to assist blues musicians in need. ========================================================================= Date: Mon, 29 Jan 1996 10:37:19 CST Reply-To: JBards From: JBards Subject: Re[2]: Fathers & Sons/ -Reply Comments: To: Roger Struve You're correct that Doc's son was killed when a tractor turned over on him, a pretty commmon farming accident. I don't recall the exact town, but Doc is from somewhere close to Wartrace, Tennesse, where Gallager guitars are made. Doc and son both played Gallagers for a long time. They have a distinctive chimey or ringing tone, a little brighter than Martins. -Jim _______________________________________________________________________________ Subject: Re: Fathers & Sons/ -Reply From: Roger Struve at INTERNET-SH Date: 01/29/96 10:20 AM While the son was killed tragically by a tractor (if memory serves me correctly), Doc Watson and his son were quite an item. Doc (why do i like this first name so much?) Watson played some mean blues (Big River Blues is GGGRREAT). BTW, does anyone know how to contact Doc Watson. I understand his health isn't so great anymore. I recently received several Watson videos, a couple that cover the years since 1946(?), and one is billed as Doc Watson and his son ( i forgot his name). I HIGHLY recommend these videos. Doc was a great player and vocalist. His son was fantastic guitar player. delta doc roger ========================================================================= Date: Mon, 29 Jan 1996 11:51:06 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Test Only-No Blues test 1-29-1996 11:50 am ========================================================================= Date: Mon, 29 Jan 1996 11:51:07 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: test only - no blues test 1-29-1996 ========================================================================= Date: Mon, 29 Jan 1996 11:52:43 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Test Only - No Blues At All Server Test 1-29-1996 ========================================================================= Date: Mon, 29 Jan 1996 11:56:04 -0500 Reply-To: TabbMan@AOL.COM From: John Moore Subject: Re: Fathers & Sons/ Comments: To: JukeFreak@aol.com Lonnie Brooks has a third son that plays with them sometimes,but i forget his name. ========================================================================= Date: Mon, 29 Jan 1996 11:58:17 -0500 Reply-To: TabbMan@AOL.COM From: John Moore Subject: Re: Big Jack Johnson/The Oilman Comments: To: bluemoon@usa.pipeline.com if you like Big Jack Johnson,try "Rockin the juke Joint"by the Jelly Roll Kings.Big Jack,Sam Carr, and Frank Frost. ========================================================================= Date: Mon, 29 Jan 1996 11:59:43 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Test Only - No Blues Server Test 1-29-1996 ========================================================================= Date: Mon, 29 Jan 1996 11:01:51 -0600 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: Fathers & Sons Snooky Pryor and his son play together sometimes. I don't remember his son's name, but I think he plays bass. Bruce Roberts Austin, TX ========================================================================= Date: Mon, 29 Jan 1996 11:13:37 CST Reply-To: JBards From: JBards Subject: Re: Mad Max in Memphis and Thereabouts Comments: To: PARRISHR Nashville ought to have several good venues. I've always liked the Exit/Inn, but it's a been a long time since I lived there and perhaps one of the current Nashvillians can speak more knowledgably about venues than I. -Jim _______________________________________________________________________________ Subject: Mad Max in Memphis and Thereabouts From: PARRISHR at INTERNET-SH Date: 01/29/96 10:53 AM Mad Max & The Blues Kings will be in Memphis sometime around August 1. No gigs confirmed yet, but I'm thinking Huey's and BB King's if they'll have us. Any other suggestions? How about places between DC and Memphis, like Knoxville and Nashville or Asheville NC? ========================================================================= Date: Mon, 29 Jan 1996 09:37:28 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: A TRIBUTE TO FREDERIC RAMSEY JR., PIONEER FOLKLORIST Comments: To: BluesHvn@aol.com Folklorist Frederic Ramsey Jr. was born Friday, January 29, 1915, Pittsburgh, PA. If you're a long time record label reader like myself, you should recognize FREDERIC RAMSEY JR.'s name. I still have his "MUSIC FROM THE SOUTH" series of 10 albums on FOLKWAYS - a series of field recordings he recorded between 1953-1955. If you've not heard HORACE SPROTT, CAT-IRON then you better check out this series. You never know, maybe Sony recording act, "Little Axe", will sample from this series on their next EPIC CD! I'm sure in time SMITHSONIAN/FOLKWAYS will issue this series on CD. Ramsey also wrote a lot on LEAD BELLY including the notes to the original 1962 issue of Leadbelly's LAST SESSIONS (now on SMITHSONIAN 40068 - a 4CD set). As an aside, he also wrote about these LAST SESSIONS in an interesting 1953 article in High Fidelity! As an author/editor, he wrote "Been Here And Gone" (1960), edited the pioneering works "Jazzmen" (1939) and "The Jazz Record Book" (1942) (both with Charles Edward Smith (1904-1970)). "Jazzmen" should be read by all serious blues fans - it contains important articles, including one by William Russell (1905-1992) (on boogie woogie), and (I believe) the first reprint of E. Simms Campbell's pioneer 1939 Esquire article, "Blues are the Negros' Lament". As for "Been Here And Gone", it should be you're main source (along with the 1971/72 series in Blues World) if you have an interest in the Mississippi country bluesman Scott Dunbar (1904-1994). (I also understand that PBS did a TV series around this book. If someone knows of this TV series, I would be interested in the details). Ramsey also wrote a few early articles on country blues, published in Jazz Monthly (1957/8), Record Changer (1953), Saturday Review (1950, 1960) and Sing Out! (1965). Charles Frederic Ramsey Jr. died Saturday, March 18, 1995, Paterson, NJ. He was survived by two daughters & one son. His wife, Amelia J. Ramsey, died in 1979. "Uncle" eRIC ========================================================================= Date: Mon, 29 Jan 1996 11:37:34 GMT Reply-To: fac From: fac Claudia Violettefac Organization: noble and greenough school Subject: Re: Big Mama Thorton - any bio. info.??? Comments: To: mkaldin@IX.NETCOM.COM I have a good friend who played bass with Big Mamma at the end of hes career. He's in europe right now with Ronnie Earl, but I'll relay this message when he returns ========================================================================= Date: Mon, 29 Jan 1996 11:39:12 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Thumb & Finger pick users -Reply Comments: To: ISTS024%UABDPO.BITNET@uunet.uu.net I have no choice. My hearing loss requires a LOT OF VOLUME. I PLAY VERY LOUD (or so normal hearing people tell me....louder than anyone they ever heard!) I am a very large fellow, so strength to do just that isn't hard for me. It still doesn't sound very loud to me. I think it is just a style difference. I've tried that bass string snap, but it doesn't seem to add to my style. I get a very loud bass response from my National. ALSO, most importantly, i need the picks on because they make the sound much louder and clearer to my failing ears! ddr ========================================================================= Date: Mon, 29 Jan 1996 12:22:07 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: More than one Guitar Shorty? Comments: To: Barry Silverberg In-Reply-To: Shorty hasn't recorded his Hendrix repertoire; some was broadcast on "Bluestage" but it was from a live date. His new CD "Get Wise To Yourself" is very nice, though; I think it beats his first Black Top effort and it sounds like everyone is more used to each other, so it sounds more like him. ========================================================================= Date: Mon, 29 Jan 1996 18:28:48 GMT Reply-To: Demetrius Nunes From: Demetrius Nunes Organization: CentroIn Internet Provider Subject: 13-year old australian blues-boy Comments: To: bit-listserv-blues-l@uunet.uu.net The other day I was watching B.B. King on TV on a interview and he was asked who he thought were the new blues men of the decade and he said some names as: Jeff Healey, Robert Cray, etc. And then he mentioned a very good guitarrist, an australian 13-year-old boy. Does anybody know who he is? Thanxs! Demetrius Nunes. ========================================================================= Date: Mon, 29 Jan 1996 13:37:54 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Fathers & Sons/ -Reply Comments: To: roger.lew.struve@medtronic.com On January 29, Roger Struve wrote; While the son was killed tragically by a tractor (if memory serves me correctly), Doc Watson and his son were quite an item. Doc (why do i like this first name so much?) Watson played some mean blues (Big River Blues is GGGRREAT). ************************* Doc's son was named Merle (named afterMerle Travis) and, yes, his tractor turned over on him. Mary Katherine Aldin just produced a two CD Doc Watson set that is terrific. Back in the Sixties, Doc loved to sit next to John Hurt and listen to him play. They were very close friends. Doc always downplayed his own blues ability but felt that Merle had a true feel for it. Ironically, when Merle died, a lot of the second guitar work was being done by Jerry Ricks, a master guitarist in all styles. Jerry is black, by the way, and is still the only black anually invited to North Carolina for the Merle Watson Memorial Festival. Dick Waterman ========================================================================= Date: Mon, 29 Jan 1996 12:39:45 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Fathers & Sons/ -Reply In-Reply-To: Message of Mon, 29 Jan 1996 13:37:54 -0500 from On Mon, 29 Jan 1996 13:37:54 -0500 Dick Waterman said: > >Doc's son was named Merle (named afterMerle Travis) and, yes, his tractor >turned over on him. Mary Katherine Aldin just produced a two CD Doc Watson >set that is terrific. >Back in the Sixties, Doc loved to sit next to John Hurt and listen to him >play. They were very close friends. Doc always downplayed his own blues >ability but felt that Merle had a true feel for it. >Ironically, when Merle died, a lot of the second guitar work was being done >by Jerry Ricks, a master guitarist in all styles. >Jerry is black, by the way, and is still the only black anually invited to >North Carolina for the Merle Watson Memorial Festival. I highly recommend "Pickin' The Blues" and I think just about every Doc/Merle CD I have they do more blues tunes, that a lot of "so-called" blues artists. I have heard a live Doc where he mentioned John Hurt, they do a right nice job of covering those guys...I haven't heard the box set yet, but one day I'll have to get it.... LW 'Pick it Merle" ========================================================================= Date: Mon, 29 Jan 1996 13:47:33 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Can't Get Enough CD's continuously spinning in the machine.... 1. John Primer The Real Deal Code Blue 2. James Cotton Best of the Verve Years Verve (with a cool note by Dick Shurman) 3. Memphis Sheiks Diamond in the Bluff Inside Sounds ________________________________________________________________________ Beef Stew - The Blues Playground WCCC Radio - 107 FM - 243 South Whitney Street - Hartford, CT 06105 Phone: 860.233.4426 - Phax: 860.232.6511 Personal e-mail: bfstew@neca.com - Station e-mail: fm107wccc@aol.com ________________________________________________________________________ ========================================================================= Date: Mon, 29 Jan 1996 13:46:47 EST Reply-To: William Pollak From: William Pollak Subject: Re: Z.Z. Hill: Whodat?! Comments: To: Brenda Bogert In-Reply-To: Your message of "Sun, 28 Jan 96 12:32:51 EST." Thanks to Brenda for the thumbnail bio of Z.Z. Hill. He recorded for many labels before achieving success with Malaco, and some of these earlier recordings are excellent. A favorite of mine from the 1970s was an LP called "Let's Make a Deal" on CBS that included at least two cheating classics, "Love Is So Good When You're Stealing It" and "This Time They Told the Truth" (which appears on the Sony/Legacy "Lost Soul" disc). Like the Tyrone Davis recordings on CBS from the 1970s, the production is slick and the great songs have to share space with a couple of disco abominations that are now unlistenable. Bill P. ========================================================================= Date: Mon, 29 Jan 1996 14:06:25 -0400 Reply-To: Cliff Warnken From: Cliff Warnken Subject: Re: A TRIBUTE TO FREDERIC RAMSEY JR., PIONEER FOLKLORIST Pete Whelan did a very nice interview with Frederic Ramsey in 1988, published in 78 QUARTERLY no. 4. CLiff Warnken ========================================================================= Date: Mon, 29 Jan 1996 13:38:02 -0600 Reply-To: Timothy M Dellinger From: Timothy M Dellinger Subject: Re: Thumb & Finger pick users On blues-l you write: >. For example how do you >snap the strings against the fretboard with a thumbpick on...? I can't do it >with a pick (I can't hardly use any picks anymore)...I "rake" my finger nails >down the strings rapidly after I snap that bass string, like Son House did. Snapping a bass string really only requires you to get the thumbpick behind the string enough to give it a little motion normal (90deg.) to the fretboard. So a 45 degree angle will mean that half the motion of the string is directed toward the fretboard. >I use the meat of my finger for upstrokes and my nails for down strokes. I'm >just wonderin' how you do that with picks on. If I were to downstroke with >my nails, the picks would go flying. First of all, make sure to get picks that are good and tight. I like the metal ones that you can bend to fit your finger perfectly. When I play without picks, I use the thumb-side of my nail for up-strokes and the pinky-side of my nail for downstrokes. I never use the middle part of the nail at all. Picks work the same way. Except that you don't get little chips out of the sides of your nails when you use picks. -- -- It is a miracle that curiosity survives Tim Dellinger formal education. -Albert Einstein tdelling@uiuc.edu ========================================================================= Date: Mon, 29 Jan 1996 14:43:13 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Define "Comp". Can somebody define the term "comp" often used in musicianspeak? I've tried to explain it to people but it's one of those jargon words that I understand but can't really explain. Thanks, Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Mon, 29 Jan 1996 14:45:56 EST Reply-To: MS EC SCOTT From: MS EC SCOTT Subject: 13-year old australian blues-boy Comments: To: dnunes@CENTROIN.COM.BR the 13 year old is Nathan Cavalier a very good guitar player on sony record I've had the chance to sit in with him once or twice while he was in San Francisco playing Lou"s pier 47 ========================================================================= Date: Mon, 29 Jan 1996 14:58:02 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Gospel?? Can anyone enlighten me - what is the derivation and/or conn- ection with the word Gospel in "Gospel Music"? NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 29 Jan 1996 20:24:19 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: ROUNDER/BLACK TOP/TOPCAT RECORDS Re: home page link to Bluezellers Comments: To: bit-listserv-blues-l@uunet.uu.net Richard Chalk's TopCat Records will soon be available via ROUNDER RECORDS. They should hit the CD stores on or after February 20 (this according to their new release sheets) BLACK TOP 1127 : FREDDIE KING - LIVE AT THE ELECTRIC BALLROOM, 1974 BLACK TOP 1128 : JESSE THOMAS - LOOKIN' FOR THAT WOMAN Has anyone hear the new BLACK TOP 1125 : RICK "L.A. HOLMES" HOLMSTRON - LOOKOUT! Gotta be one of best (blues) instrumental CDs I've heard in years. Most of the cuts are (thank god) short & sweet. All are originals except Jody Williams' "Lucky Lou". I'll review it in detail as soon as I get a little time. If you liked the 1994 Rounder/Daring 3011 : Duke Levine - Country Soul Guitar, you'll like this one. Very impressive player eRIC (THE DATE MAN) "I saw Son House in about 1970 and he was on his last legs then! The story told of him was that he got out of the train at Edinburgh Waverley and looked up at the castle and said "MY, that's a big church...."" ~ private e-mail, Lindsay Marshall, (0ctober 20, 1994) ========================================================================= Date: Mon, 29 Jan 1996 15:01:04 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: BLUES-L History Lesson > From: Jose Antonio Revilla Garcia > How many time it's been since the first message was written to the > Blues-L? Who was the fantastic idea from? Here's part of Jeff Seale's "Happy Birthday Blues-L" , originally posted 4/15/95 on the list's second birthday. Ironically, none of the three people mentioned here are still active on the list. EW HISTORY OF THE LIST IN ITS VARIOUS INCARNATIONS The original Blues Mailing List was started by Steve Greer out of his personal e-mail account at Grove City College. All entries were sent to him and he would personally compile a digest every day and send it out. This was in late October of 1992. Around the February of 1993, Steve's e-mail access took a nosedive. Fortunately, at the time Valerie Polichar at University of California in San Diego offered to take over control of the list, and a more efficient, (and less time intensive for the operator) form of the list started up around March 1, 1993. Then around April 15, 1993, the current version of BLUES-L was started. Jake Haller was the instigator and he was not aware of the ucsd list. A message was posted on the ucsd, and since the Brown list seemed to have more traffic, everyone moved over to the new list. Jake lost e-mail with his graduation over the summer of 1993, and the list has been run unofficially by nameless people at Brown. ========================================================================= Date: Mon, 29 Jan 1996 16:22:03 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: BLACK TOP 1125 : RICK "L.A. HOLMES" HOLMSTRON - LOOKOUT! Comments: To: Eric LeBlanc-CISTI In-Reply-To: <4ejadj$t66@googol.bctel.net> > Has anyone hear the new RICK "L.A. HOLMES" HOLMSTRON - LOOKOUT! Gotta > be one of best (blues) instrumental CDs I've heard in years. Most of the > cuts are (thank god) short & sweet. All are originals except Jody Williams' > "Lucky Lou". I'll review it in detail as soon as I get a little time. Sure did'sure is. A very fine instrumental CD and oh-so pleasing in every respect. I reviewed it as well and look forward to your takes on it. This one is a go get. NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 29 Jan 1996 15:35:39 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: HOMEMADE BLUE > From: L W > Keny DuChaine made the comment that he can sell 500 of his "indie" cd's > and make > more than Johnny ever made off of a Handy award winning CD. He said > he has > no idea who's making the money off of Back To The Country.... I suspect, that in all but a few exceptional cases, a good artist, who has a LOT of gigs, can make a LOT more money selling a personally produced CD off the bandstand than by getting a deal with a record company. It depends a lot on the contract, but in many cases, the artist ends up actually paying for the recording session out of royalties and then the company ends up owning the masters. Chuck Nevitt at Dallas Blues Society Records has bitched about this for years. He also has one of the best policies I know of. He considers the money spent on the recording, advertising, etc. as HIS risk and charges nothing against artist royalties. He pays his artists a $1 royalty on every CD sold, from the first one to the last one. Every project he has done so far has paid out for both him and the artist. Dallas blues guy Hash Brown recently proved this theory with his self-released "Rollin Blues" CD. He got some investors to ante up about $4000, recorded and pressed 1000 CDs, and then sold them exclusively off the bandstand. In four months he had paid off his investors, with interest. In 6 months he had paid off all sunk costs and still had over 400 CDs left to sell at $15 each for pure profit. He doesn't have full page ads in Living Blues, he didn't send promos to 150 radio stations across the country, and he won't be Handy nominated. But, he made enough money to pay off all his costs, press another 500 or 1000 if he wants to, and still have enough left over to go back in the studio and cut a NEW project and press another 1000. Plus, he owns his masters and there's no lawyers, accountants, producers, promoters, or other leeches attached. It's a lot more trouble for him to handle everything, but it pays off financially in the long run. Again, though, it all comes down to that contract. There are a lot of good, small independent labels that are trying to do the right thing. They just mostly seem to go out of business. I know a bunch of musicians who make darn little from their record companies because expenses over which they have no control, are being charged against their royalties. They make more money buying their own albums wholesale from the record companies and selling them retail at gigs than they ever will make in royalties. Now if that's the case, why do they need the record companies? Promotion, exposure, and someone to handle everything with production and distribution of their creative work. It is unfortunate few artists want to take on the business side of the blues. They want someone else to handle all that for them. That's where the problems come from. Music is art when you play for yourself or your friends on your front porch. When you expect to get paid for it, it's business. Don O. ========================================================================= Date: Mon, 29 Jan 1996 16:15:20 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Johnny Winter Acoustic Slide At 03:33 PM 1/29/96 GMT, Scott Dirks wrote: > >Sevenson, Well, maybe until January of '52, when Louis Myers took over as >BEST guitar player for two years, only to be replaced by Johnny "Guitar" >Watson in the winter of '54, when he broke out of the tie for 3rd place >that he'd been in with Ike Turner, who had been the best piano player, >Memphis division, two years earlier. > >Let's try to keep things accurate here from now on, OK? > > But that's all regular season - nothing counts until the playoffs begin.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Mon, 29 Jan 1996 16:18:44 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: BLACK TOP 1125 : RICK "L.A. HOLMES" HOLMSTRON - LOOKOUT! > > Has anyone hear the new RICK "L.A. HOLMES" HOLMSTRON - LOOKOUT! Gotta > > be one of best (blues) instrumental CDs I've heard in years. Most of the > > cuts are (thank god) short & sweet. All are originals except Jody Williams' > > "Lucky Lou". I'll review it in detail as soon as I get a little time. Yeah, Uncle eRIC is right - a nice album, although I usually try to stay away from instrumental blues albums done by white guys - I call it "elevator music for white blues lovers." When I heard "Lucky You" I though he did Otis Rush's "All Your Love." Which one was released first, Jody Williams or Otis Rush version? Or maybe both of them copied it from someone else. I don't have my Otis Rush albums here in the office. Is "All Your Love" his song? All of this really does not matter too much, but I like the song very much and would like to know who was the originator. Ranko ========================================================================= Date: Mon, 29 Jan 1996 14:20:11 -0800 Reply-To: James Carmin From: James Carmin Subject: EC Scott: WELCOME to BLUES-L! Comments: cc: LGVW90A@PRODIGY.COM I just want to publicly welcome Ms. EC Scott to BLUES-L; she's a great blues singer and writer with a wonderful 1995 Bling Pig release, "Come Get Your Love." We're extremely lucky that she's a BLUES-L member! If you haven't heard her music yet, check out her web page for some great sounds off the latest cd (http://www.teleport.com/~boydroid/ec-scott/ec-scott.htm). I have no affiliations, blah, blah, blah. I'm just a fan who is glad that more blues performers are joining in the conversation on BLUES-L to make this even a richer place for all of us. James C. jcarmin@teleport.com ========================================================================= Date: Mon, 29 Jan 1996 14:28:22 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Gospel?? Barry wrote: > Can anyone enlighten me - what is the derivation and/or conn- > ection with the word Gospel in "Gospel Music"? I'm not sure _exactly_ what you're question is, but I'll give it a go...the word gospel is Greek for `good news'. Christians are instructed to preach the gospel to the world, and via gospel music the `good news' is spread. Hope that helps! -Jim (hndful@uniserve.com) ========================================================================= Date: Tue, 30 Jan 1996 09:38:55 -1000 Reply-To: Andrew Gregg From: Andrew Gregg Subject: Re: HOMEMADE BLUE Comments: To: Jim Witteveen > >I suspect, that in all but a few exceptional cases, a good artist, who has a >LOT of gigs, can make a LOT more money selling a personally produced CD off the >bandstand than by getting a deal with a record company. I have to agree with Don on this. I have a good friend who tours the country & has pressed his own CD's. He originally pressed 1000 & with his studio time, etc, it cost him around $9000 (australian). He sells his disc for $20 from the bandstand & is currently in his 3rd pressing for this dosc & second pressing for his newer release. His CD, BTW, is awesome! ********************************************************************** * Andrew Gregg * * * Dept of Primary * I see angels on Ariels * * Industry * in leather & chrome * * ooOO00OOoo * Swooping down from heaven * * Email : * to carry me home * * mpagregg@aries.dpi.tas.gov.au * * * * - Richard Thompson * ********************************************************************** ========================================================================= Date: Mon, 29 Jan 1996 14:46:34 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: HOMEMADE BLUE Hi all. I've found this thread to be very interesting (and informative), but (not to speak for anyone else...) I think that the original question was `What would it take to start you're own small record label', not `What would it take to produce you're own c.d.' I'm very interested in reading replies to the first question, from those of you in the know, because it's something I've thought about as well (not that it'll ever get past the `thought about' stage...it's still fun to think about!) -Jim `just dreading stepping outside and going to work as the wind howls and the snow blows across the prairie' (hndful@uniserve.com) ========================================================================= Date: Mon, 29 Jan 1996 14:55:18 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: BLUESVILLE Re: BABY TATE - Original Blues Classics CD Comments: To: BluesHvn@aol.com Comments: cc: J.Urbain@KE.RULIMBURG.NL I SECOND THAT EMOTION. OBC 567 : BABY TATE is a must if you're into the Piedmont sound. By the way, Fantasy has also come out with a new "overview" series (under the eagle eye of Sam B. Chaters) dedicated to the original BLUESVILLE series. It's a nice series, and a great introduction to the original series. PRESTIGE 9905 : THE BLUESVILLE YEARS V. 1 : BIG BLUES HONKS & WAILS PRESTIGE 9906 : THE BLUESVILLE YEARS V. 2 : FEELIN' DOWN ON THE SOUTH PRESTIGE 9907 : THE BLUESVILLE YEARS V. 3 : BEALE STREET GET-DOWN PRESTIGE 9908 : THE BLUESVILLE YEARS V. 4 : IN THE KEY OF BLUES eRIC Just saw in eRIC's Dates list that mention was made of TATE, CHARLES "BABY" (g/BLUESVILLE REC) b. 1916-0128, ELBERTON, GA So it reminded me that I should again :-) say a few words, although I already talked about it recently here on Blues-L, about the OBC reissue of THE BLUES OF BABY TATE - See What You Done Done (Original Blues Clasic CD567) ***************************************************************************** Given the really low price of OBC reissues, this is a real must for all country blues lovers. ========================================================================= Date: Mon, 29 Jan 1996 23:04:01 GMT Reply-To: Dan Sigward From: Dan Sigward Organization: Boston University Subject: homemade blues Comments: To: bit-listserv-blues-l@uunet.uu.net I'm curious about something. As an almost non-mainstream form of popular music, blues and soul have always been closely related to smaller, independent record labels - Chess, Cobra, Stax, Arhoolie, etc, etc. While many of the older labels like Chess have been absorbed by the larger record companies, the small label tradition still seems to exist through labels like Rooster, Fat Possum, Black Top, Bullseye, etc. Here's my question: What does it take - in terms of money, equipment, personnel, and record industry connections - to start from scratch, and run an independent record label? I don't necessarily mean a blockbuster, hugely successful record label, but one that is successful enough to support itself and stay reasonably in the black... Just a growing fancy of mine... ========================================================================= Date: Sun, 28 Jan 1996 15:25:24 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: 13-year old australian blues-boy >The other day I was watching B.B. King on TV on a interview and he was asked >who he thought were the new blues men of the decade and he said some names as: >Jeff Healey, Robert Cray, etc. > >And then he mentioned a very good guitarrist, an australian 13-year-old boy. >Does anybody know who he is? The kid is Nathan Calaveri. He's released one or two albums in Australia. He also has jammed with Mark Knopfler, I think with BB ansd played with Chris Layton (of Double Trouble). Nathan has also battled Leukimia (sp?) and won. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Mon, 29 Jan 1996 15:44:54 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: BLACK TOP 1126 : GUITAR SHORTY - GET WISE TO YOURSELF Comments: To: BluesHvn@aol.com Comments: cc: rshurman@CCS.NSLSILUS.ORG >From Richard Shurman Newsgroups: bit.listserv.blues-l Date: Mon, 29 Jan 1996 12:22:07 -0600 Subject: Re: More than one Guitar Shorty? Shorty hasn't recorded his Hendrix repertoire; some was broadcast on "Bluestage" but it was from a live date. His new CD "Get Wise To Yourself" is very nice, though; I think it beats his first Black Top effort and it sounds like everyone is more used to each other, so it sounds more like him. BLACK TOP 1126 : GUITAR SHORTY - GET WISE TO YOURSELF ================================================================================ DAVID WILLIAM KEARNEY b. 1939/SEP/08, HOUSTON, TX I SECOND THAT EMOTION. 4 TIMES! I especially like his versions of the two SWAMP DOGG sides ("She's Built, She's Built To Kill", "Get Wise To Yourself"). If you know the Dogg, you'll know what to expect, and if you don't - you're in for a surprise. GUITAR SHORTY actually played lead guitar on the Dogg's original versions (on the crazy 1991 VOLT CD 3408 : SWAMP DOGG - SURFIN' IN HARLEM). As with Guitar Shorty's first BLACK TOP set (1094 : TOPSY TURVY), it includes covers of a few of his early sides, including his very first recording - the 1957 Cobra recording "You Don't Treat Me Right", and the 1959 Pull recording of Charlie Reynolds/Bob Tate's "Ways of A Man" - a tune that has also been covered by Anson Funderburgh/Sam Myers. The variety in the set is also appealing, including the nice second line-ish "A Fool Who Wants To Stay", and the slow instrument "Smells Good". Another nice touch with this set is the wonderful bass playing of New Orleans' own Allen Lee Zeno, who's listed along with Kaz Kazanoff as associate producer. It's some of the best bass playing I've heard in years. This CD should put David William Kearney on the blues map. eRIC ========================================================================= Date: Mon, 29 Jan 1996 18:47:12 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Long Beach Blues Fest I would like info regarding the Long Beach Blues Festival, Dates, Ticket contact, etc, etc. Thanks, _________________________________________________________________________ The Blues Playground - Hosted by Beef Stew - Sunday Nights at 9:00 PM WCCC Radio - 107 FM - 243 South Whitney Street - Hartford, CT 06105 Phone: 860.233.4426 - Phax: 860.232.6511 Personal e-mail: bfstew@neca.com - Station e-mail: fm107wccc@aol.com _________________________________________________________________________ ========================================================================= Date: Tue, 30 Jan 1996 00:00:14 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: LUCKY LOU Re: BLACK TOP 1125 : RICK "L.A. HOLMES" HOLMST Comments: To: bit-listserv-blues-l@uunet.uu.net Original "lucky lou" was by JODY WILLIAMS - who quit the business because his 'riffs' were being stolen. I think I'm right when I say the "Love Is Strange" riff is also his. He now sells real estate or something like that. Living Blues has a recent feature on him. You can hear the original on the MCA CHESS CD "Wrinkles", another nice all instrumental CD that I believe is now out--of-print. eRIC ========================================================================= Date: Mon, 29 Jan 1996 18:58:23 -0500 Reply-To: Jinxblues From: Jinxblues Organization: America Online Subject: Re: Mad Max in Memphis and Thereabouts Comments: To: bit-listserv-blues-l@uunet.uu.net Organization: America Online, Inc. (1-800-827-6364) References: <10ce92e0@vitro.com> The state of Mississippi along with the Memphis section of Tennessee have been officially designated as No Max Zones. I suggest that perhaps you might try Atlanta during the Olympics or perhaps visit LW in Alabama. dick waterman jinxblues@aol.com ========================================================================= Date: Mon, 29 Jan 1996 19:02:44 -0500 Reply-To: JRush11279 From: JRush11279 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: First Annual Blues-L Convention Comments: To: bit-listserv-blues-l@uunet.uu.net Hey, thank you for the compliment. I started volunteering for the KC Blues and Jazz Festival about 4 years ago, and I'm to the point where I put in so much time, I miss the majority of the festival itself. But whenever I hear a comment such as yours, it reminds me that it truly is a labor of love. Not to mention the feeling of accomplishment that comes from throwing a successful party for 100,000 plus people. This year's festival promises to be better than ever! I hope you have a wonderful time! ========================================================================= Date: Mon, 29 Jan 1996 19:03:04 -0500 Reply-To: JRush11279 From: JRush11279 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: First Annual Blues-L Convention Comments: To: bit-listserv-blues-l@uunet.uu.net Chalk me up for Kansas City, during the Blues and Jazz Festival if possible. Life doesn't get much better than that! ========================================================================= Date: Sun, 28 Jan 1996 16:11:12 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Performance Anxiety Reading Ruth's post treminded me of my first gigs, with a jazz band actually, and I found that before I was supposed to play, I would get nervous and my fingers would "freeze up" which is not a good thing if you are to play guitar. Now I play a lot live her at MI and most of the time I don't worry. I do get nervous when I play jazz though. Especially when I'm being critiqued. The rock band I play in ("The Girly Swots-Purveyours of Good Times") played at school on the main stage (500 seat auditorium) and were videoed (Everybody does during a performance class). When we watched the tape we realized that we were quite relaxed. I think it was because we had rehearsed the song so much that playing it was second nature. Also most of the 500 seats were empty so there wasn't much of a crowd. Thus the moral of the story. If I have rehearsed a lot then I don't get nervous. I just play. If I'm confident with my abilities then I don't worry. If it's a style of music that I'm not comfortable with then I get nervous and my fingers start to "freeze" and go stupid. So if you know what you are doing then you have no need to be nervous (I think) Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Mon, 29 Jan 1996 20:23:43 EST Reply-To: mrfitz@GroupZ.net From: Mike Fitzgerald Organization: The Lost Cafe Subject: NYC get together (fwd) On Sun, 28 Jan 96, James Leftwich wrote: We will be meeting at Terra Blues (Bleeker St between Thompson & LaGuardia) Thursday Feb. 1 at 10pm to see the legendary Hubert Sumlin. Why is it all the people I really like play up North and way South but never come by the mid-South? (Augusta, GA) All those Howlin' Wolf records that Hubert Sumlin played on are what got me playing 18 years ago and I've still never had the chance to see him. I guess it's time to pull out the "Live at Martha's"..... -- Mike Fitzgerald mrfitz@GroupZ.net No sappy sig here. ========================================================================= Date: Mon, 29 Jan 1996 20:50:01 -0600 Reply-To: Katie Strunc From: Katie Strunc Subject: help with Eudora light email Dear group, When I subscribed to blues-l, I received a list of commands which I saved under the file, save as........but how do I retrieve it? There's no retrieve or open command just save and save as. I'm sure it's quite simple, if you know how it always is.! Thanks, CD Strunc ========================================================================= Date: Mon, 29 Jan 1996 21:55:02 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Re: Going to Mardi Gras Yes, Tipitina's is still around and doing much better. The owner has moved back to N.O. to be more actively involved in running the business, there is a new silent partner from out of state and a new booking agent. There are some excellent web pages with music, restaurant and parade information. Offbeat Magazine is a monthly music magazine that has club listings, and there are links to other pages that might be of interest -- one called Virtually New Orleans has restaurant information and hotel information. Offbeat is at www.neosoft.com/~offbeat. The February issue should be out this Thursday. I recommend that you check the Gambit Magazine web page the week that you plan to come down. It is a weekly magazine, and should have more complete listings of music clubs. It should also have listings of restaurants and parade routes. Gambit has only been up and running a few weeks; you can find it at www.gambit-no.com/. The Times-Picayune also has a new web page (at www.neworleans.net). It has parade listings with maps and restaurant listings and reviews of restaurants. Some of this page is still under construction; I don't believe that the club listings are up and running yet. But I suspect it will be operating prior to Fat Tuesday. Not being a musician, I'm not sure about jam sessions or open mics. I believe Checkpoint Charlie's has them occasionally. There are blues musicians performing on the street occasionally. There is an acoustic guitarist by the name of Jeremy Lyons who plays the corner of Royal and St. Peter (I think) from time to time. He also plays at Margaritaville on Fridays --- I've heard him on the radio (WWOZ) and he's quite good. You might want to check out that street corner if pedestrian traffic isn't prohibitive during Carnival. Check these clubs for music: Maple Leaf, Tipitina's, House of Blues, Carollton Station, Mid City Bowling Lanes, Snug Harbor (for jazz), the Lion's Den, Bugsy's and a host of others that I'm leaving out. You might want to see about grandstand seating for a raised view of the parades. The Hotel Intercontinental has such an arrangement, I think for about $40; the cost includes drinks and food and a unique perspective of the parade; it's a great perch for the Bacchus parade or Endymion. I can give you more details about that via personal e-mail or recommend safe places to view the parades. Usually there is a celebration on Lundi Gras (Fat Monday, or the Monday prior to Mardi Gras) at Spanish Plaza featuring free music -- Dr. John played there the past couple of Fat Mondays. Feel free to e-mail me for more information or if you want to get together some time during your stay.. Usual disclaimers apply -- not a member of the Chamber of Commerce either. Bill Morgan ST>Received: from by s1boca.corp.wrgrace.com with SMTP (1.37.109.4/16.2) id ST> AA21757; Mon, 29 Jan 96 11:25:40 -0500 ST>X-Openmail-Hops: 2 ST>Message-ID: ST>Date: Mon, 29 Jan 1996 11:21:18 -0500 ST>Reply-To: Steve.Levine@CORP.WRGRACE.COM ST>Sender: Blues Music List ST>From: Steve Levine ST>Subject: Going to Mardi Gras ST>Comments: To: ST> BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L# ST>To: Multiple recipients of list BLUES-L ST>I finalized my upcoming vacation plans last week, and I'm going to ST>Mardi Gras next month. This will be my first Mardi Gras and my first ST>time in New Orleans. I expect I'll find plenty to do during Mardi Gras ST>:) but I still want to catch some New Orleans blues and find a jam ST>session or open mic if there are any. Can anyone tell me which clubs ST>are worth going to (is Tiptinia's still around?), or where I can get ST>some kind of entertainment guide? Any other blues-lers planning on ST>going to Mardi Gras? ST>-Steve ST>"If you go to New Orleans, you ought to go see the Mardi Gras" ST> -Professor Longhair From: The Big Easy ========================================================================= Date: Mon, 29 Jan 1996 23:14:22 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: BLACK TOP 1125 : RICK "L.A. HOLMES" HOLMSTRON - LOOKOUT! Comments: To: Ranko Vujosevic In-Reply-To: <199601292218.QAA21333@picasso.ccad.uiowa.edu> Otis Rush said he got "All Your Love" from a combination of "Lucky Lou" and Sam Cooke's "All Your Love." Jody Williams originated "Lucky Lou." ========================================================================= Date: Mon, 29 Jan 1996 21:31:53 -0900 Reply-To: Bob Hardin From: Bob Hardin Subject: ETTTTTAAAA! Yeah, that's what I was yelling last Friday evening when we saw Etta James in Ventura. My first time to see her live, and I loved her. She was really into the audience, even taking a few requests for older numbers (much to the band's dismay - they had to work it out on the fly). Still no encore though, in keeping with her vow not to do that since her daddy made her sing for his friends as a young girl. Excellent performances of "Breakin' Up Somebody's Home", "Damn Your Eyes", and "Come to Mama" - all off her 1988 "Seven Year Itch" CD. I was worried about what she would perform, since a local pre-performance article talked about how she's working on a country album, but her set was mostly blues and some jazz. As one of the girls in our group said as we left, "You know, there's nothing better than seeing your all-time favorite performing artist in person!" Amen. Go see her! Bob -------------------------------------------------------------------- | Bob & Becky Hardin | The Rule: | | email: hardin @ pacificnet.net | There is _always_ an | | http://north.pacificnet.net/~hardin | exception to the rule. | -------------------------------------------------------------------- ========================================================================= Date: Mon, 29 Jan 1996 12:24:48 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Big Jack Johnson/The Oilman Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I wonder if Jack Johnson has ever performed with John Jackson? That would be a great show to put together, just to confuse people. :-) -Steve ========================================================================= Date: Mon, 29 Jan 1996 23:30:10 -0800 Reply-To: Fjord Press Comments: RFC822 error: More than one sender was specified. Second and following senders discarded. From: Fjord Press Subject: More bottleneck implements In-Reply-To: On a 1967 Milestone album by Fred McDowell, "Long Way from Home," he has this to say: "I got that bottleneck style from my uncle. He was an old man, the first person I ever saw play with that. He didn't play with a bottleneck, though; you know this big bone you get out of a steak? Well, he done let it dry and smoothed it off and it sounded just like that bottleneck. That's the first somebody I saw play like that. This was in Rossville. I was a little bitty boy when I heard him do that, and after I learned to play I made me one and tried it too. Started off playing with a pocketknife. I just remembered him doing it; he didn't show me. Nothing. I never could hardly learn no music by nobody trying to show me..." Steve Murray "Well I played him 'gainst a queen Fjord Press and he never won a thing Seattle, WA Jack of diamonds is a hard card to play" fjord@halcyon.com --Mance Lipscomb ========================================================================= Date: Tue, 30 Jan 1996 02:39:37 -0500 Reply-To: FRobinsonj@AOL.COM From: "Frank Robinson,Jr." Subject: Re: Fathers & Sons/ Comments: To: JukeFreak@aol.com Folks, add to the fathers & sons list : Tabby Thomas/ Chris Thomas out of Baton Rouge LA. ========================================================================= Date: Mon, 29 Jan 1996 23:56:39 -0800 Reply-To: Fjord Press Comments: RFC822 error: More than one sender was specified. Second and following senders discarded. From: Fjord Press Subject: Re: eRIC's BLUES DATES: Jan. 30 In-Reply-To: <199601291548.HAA02011@desiree.teleport.com> What a sad day this was, January 30. I never knew that 3 of my favorite bluesmen died on the same day: Mance, Lightnin', and Fess. I've got my day planned already, going to be playing some vinyl and have me a belated wake. Steve Murray "Well I played him 'gainst a queen Fjord Press and he never won a thing Seattle, WA Jack of diamonds is a hard card to play" fjord@halcyon.com --Mance Lipscomb "Don't the moon look pretty "Tipitina tra la la la shinin' on down through the trees ohla la la tra la la you know I can see my baby Tipitina oola malla walla dalla when she don't see me" Tra ma tee na na" --Lightnin' Hopkins --Professor Longhair ========================================================================= Date: Tue, 30 Jan 1996 08:13:42 GMT Reply-To: tdevit3@NEWS-S01.NY.US.IBM.NET From: tdevit3@NEWS-S01.NY.US.IBM.NET Subject: Re: 13-year old australian blues-boy Comments: To: bit-listserv-blues-l@uunet.uu.net Nathan Cavalieri? ========================================================================= Date: Tue, 30 Jan 1996 01:06:44 -0800 Reply-To: bluesdj@HALCYON.COM From: Roberta Penn Subject: Re: Seattle Blues Playlist 1/28/96 In-Reply-To: <199601290504.AAA09005@listserv.brown.edu> MEMPHIS SHEIKS AFTER THE SUPER BOWL INSIDE ARETHA FRANKLIN DR. FEELGOOD ATL. DICKY WILLIAMS PRESIDENT OF THE BLUES ICHIBAN BB KING FIVE LONG YEARS MCA FAB. T-BIRDS MEAN LOVE PRIVATE ROSIE LEDET DANCING WITH THE DEVIL MAISON LURIE BELL VOODOO WHAMMY DELMARK NEVILLE BROS./B. GUY BORN UNDER A BAND SIGN A&M KOKO TAYLOR/WILLIE DIXON INSANE ASYLUM CHESS GEORGIA WHITE IF I CAN'T SELL IT... JASS DR. JOHN HOW COME MY DOG BARKS.. WB DUKE ROBILLARD GLAMOUR GIRL PT. BLANK BOBBY BLAND THIS TIME I'M GONE FOR GOOD MCA JOHNNY ADAMS BODY & FENDER MAN ROUNDER ROOMFUL OF BLUES DANGER ZONE BULLSEYE JAMES BOOKER COME IN MY HOUSE ROUNDER DON HENLEY COME RAIN OR COME SHINE UNITED JIM BYRNES NO SPECIAL RIDER STONY PLAIN LONG JOHN HUNTER GRITS AIN'T GROCERIES ALLIGATOR TERRY EVANS DOWN IN MISSISSIPPI AUDIOQUEST JIMMIE VAUGHAN DENGUE WOMAN BLUES EPIC LIGHTNIN' SLIM TOO CLOSE BLUES EXCELLO JANIS JOPLIN TURTLE BLUES COLUMBIA LUTHER ALLISON CHERRY RED WINE ALLIGATOR * ========================================================================= Date: Tue, 30 Jan 1996 10:20:29 +0000 Reply-To: RASTBURY From: RASTBURY Subject: Re: Gospel?? Jim Witteveen is only half right on this. Gospel is an Old English word - good spell = good news - and is a translation of the Greek word 'euangelion' (from which the English words 'evangelist'and 'evangelical' derive). Ray Astbury ========================================================================= Date: Tue, 30 Jan 1996 06:56:32 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Re: Thumb & Finger pick users -Reply -Reply(very long) Comments: To: tdelling@uiuc.edu Hi Tim, Thanks for asking about my story. First, I am really impressed by your guitar enthusiasm and apparent natural talent. I have studied Stef. Grossman video tapes....i like being able to see what's happening. (It's also on a 50" projection tv, so it's REALLY like having him right there in my living room. But his 3 video set on Country Blues, took me over a year to get through the first video of that set, and over 6 months to get almost through the second video. I've been rather preoccupied with life problems that (as you age, inevitably descend out of nowhere)and distract me from my "hobby". BUT, i can play those songs almost identical to Stef. himself (if i practice a few times, by the third or fourth repetition, i've got it real clean, very loud, very fun to do!) BTW, i (as you probably have read) am quite hearing challenged. I HAVE to play real loud just so its loud enough to please me. Everyone that's ever listened to me play thinks its the loudest they've ever heard. I Wish i could hear it that way. So i missed playing the blues saloon in st. paul last night, that's two weeks in a row. I am rather tired after the weekend. So, i started playing guitar in about 1992. I bought a 1935 mint condition National Duolian. IT has the crystal grey finish, and it is truly awesome looking, as well as being the nicest sounding National i've ever played. It has so much soul in it, that i'm sure that its the guitar more than its me that gets such a reaction from those that i have played for. Two weeks ago at the blues saloon, the audience started clapping in time to my playing, nothing like that has ever happened before! Anyway, in 1993 i bought a Martin Custom 15 (it's the loudest Martin i ever heard too!)...and seems to handle my agressive playing technique pretty well. That's when i started doing Piedmont style of songs. I did Happy Traum's beginner tapes on blues (video again!), and highly recommend them for just beginners. They make a fine intro into stef. grossman's more advanced (to me anyway) beginner's video. So since then, i've acquired a National Style W (it has the same chrome plated etched pattern as the Style 1 1/2- that Mary Flower's played on at the Miss. Valley Blues Festival!) and i keep it tuned to Open G (it has a very beautiful tone to it, and sounds (to me anyway) identical to Bob Brozman's 1928 (?) National Tricone. (I forgot to mention, i did bob's first tape, and i played right along with him, identical (as least my wife thought so, and frankly i did too) The only thing i had a little trouble with was the harmonic stuff which i can't hear very well when i do it....and the palm harmonics has eluded me....i really haven't sat down with the sole intention of learning that....again, the harmonics are at a reduced volume, and unless i could do it much louder, wouldn't give me a lot of pleasure to actually perform that way). And also acquired a 1995 National Style O. I didn't like the Style O real well after i got into playing it. It is Loud. Louder than my 35, but it is much higher brighter tone to it, and i thought it didn't get as much of a reception when i played it one time at the blues saloon. Anyway, that changed this weekend, when a delta blues guitar pickin' friend came over to visit. he played it and i got the chance to actually sit on the receiving end of the guitar for once. Man, that guitar wails. I'm going to reevaluate how i feel about it by playing it more now. I've got it tuned to Open E, but for some reason, the pleasure of playing in that key has eluded me. SUre, i can do the basic chord changes and slide on it, and that sounds ok, but i've never been able to master the key. Not anywhere near how i play in Open A. (Forgot to mention that's how i tune the old duolian-0pen A). So, that's the story of delta doc roger. The most significant blues experiences i've ever had: 1) Meeting John Hammond in Greenwood Mississippi at the 1st Annual Miss. Xroads Blues Festival, and playing his guitar and talking a little bit with him. 2) Meeting John Jackson at the Miss. Valley Blues Festival in Moline, Illinois, and talking with him and having him tell me what he did about how i played---every novice should oughta have that kind of encouragement! 3) Meeting Warner Williams (of A Little Bit o' Blues), and having the chance to talk with him and having him tell me what he did about my playing. This kind of encouragement has helped immensely. best regards, delta doc roger ========================================================================= Date: Tue, 30 Jan 1996 08:11:48 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Requests!!!! Dear brother and sister BLUESELLERS! Well, i have been requested by a number of bluesellers to "call them up and play my Duolian" as a result of Meri's and Art's posts mentioning me! I am surprised by the number who have written, and quite HONORED by the attention. Thank you for your kind and encouraging words! NOW, you all can hear delta doc roger play, by calling (612) 484-8208. It isn't real long, so it won't cost you much ! (Disclaimer: I have no monetary relationship with ATT or any long distance carrier! Long Distance charges will apply if you're outside of the 612 calling area, but it is centrally located in the US--Minnesota---so it shouldn't be much, imho.) You will even have the opportunity to say a few words if you wish. I will be extremely happy to hear from any blueseller on the list for sure! warmest regards, ddr ========================================================================= Date: Tue, 30 Jan 1996 09:19:41 -0500 Reply-To: HugeSmall@AOL.COM From: Boyd Small Subject: Re: More than one Guitar Shorty? Comments: To: ccaponi@conicit.ve >Is this another Guitar Shorty? The one I thought was always >referred to >on Blues-l (Black Top artist, Topsy Turvy, Get wise to >yourself) is >David "Guitar Shorty" Kearney, isn't he? The same one that has >a JSP >CD with Otis Grand (My way on the highway, I think). >Or am I confusing two different artists? They are one of the same. ========================================================================= Date: Tue, 30 Jan 1996 14:43:14 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Mad Max in Memphis and Thereabouts Comments: To: bit-listserv-blues-l@uunet.uu.net In <4ejmuv$pnc@newsbf02.news.aol.com>, Jinxblues writes: >Organization: America Online, Inc. (1-800-827-6364) >References: <10ce92e0@vitro.com> > >The state of Mississippi along with the Memphis section of Tennessee have >been officially designated as No Max Zones. I suggest that perhaps you >might try Atlanta during the Olympics or perhaps visit LW in Alabama. >dick waterman >jinxblues@aol.com Now Dick, you know better than that. Memphis has bee a part of Mississippi for years. bbb - B.B. Bean bbbean@cris.com Peach Orchard, MO http://www.cris.com/~Bbbean - ========================================================================= Date: Tue, 30 Jan 1996 09:49:36 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Comp Rick Miller asked yesterday about the musical definition of "comp." Basically it means "ad lib" or "improvise." It is short for "accompaniment," and I believe it came into use in the 20's-40's through jazz musicians. ========================================================================= Date: Tue, 30 Jan 1996 09:59:53 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Reports of No-Max Zone Greatly Exaggerated Contrary to Dick Waterman's posting yesterday claiming that the State of Mississippi and the Memphis area have officially been declared No-Max Zones, Mad Max & The Blues Kings WILL be rockin' Memphis tentatively the first week in August. And just for that I'm adding Vicksburg to the tour. Have a nice day :) ========================================================================= Date: Tue, 30 Jan 1996 09:32:40 -0600 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Albert Collins In the mid-80's I went to go see Albert Collins at Antone's. He had with him a BBC film crew making a documentary on him. I never saw or heard anything about this documentary since. Well I finally got in contact with someone from the BBC (thanks to their web site). She told me that the documentary was completed and broadcast in 1987. She also told me that there are no plans to rebroadcast this or put it out on video. I don't suppose some friendly British Blues-L member might have taped this? Bruce Roberts Austin, TX ========================================================================= Date: Tue, 30 Jan 1996 10:33:27 -0500 Reply-To: BAJammin From: BAJammin Organization: America Online, Inc. (1-800-827-6364) Subject: WTJU Walkin' the Blues on 78 RPM 1/29/96 PLAYLIST Comments: To: bit-listserv-blues-l@uunet.uu.net John Jackson Guitar Rag Mississippi Sheiks Stop & listen, That's It, Bootleggers Blues Yazoo Memphis Jug Band Insane Crazy Blues, Newport News Blues, Whitewash Station Blues Yazoo Casey Bill Weldon Guitar Swing Roots&Blues Sylvester Weaver I'm busy and you can't come in Roots&Blues Papa Charlie Jackson Hot Papa Blues, I'm Tired of Fooling Around With You DOCD Big Bill Broonzy How You Wnat It Done? Yazoo Blind Boy Fuller Walkin' My Blues Away Roots&Blues John Jackson Matchbox Blues Blind Boy Fuller Rag, Mama, Rag Roots&Blues Mississipppi Jihn Hurt Worried Blues, O, Mary Don't You Weep Rounder Hopkins Bros. See About my Brother John Henry, I Want To Go Fishin' Big Boy Henry Black Rat Swing, Let Me Go Home ,Gin PROMO Lightnin' Wells Bull Frog Blues, Keep Your Hands Off Her PROMO Mississippi John Hurt Got the Blues Can't Be Satisfied, Blue Harvest Blues Yazoo 1928 Sessions Bill Adams ========================================================================= Date: Tue, 30 Jan 1996 10:33:41 -0500 Reply-To: BAJammin From: BAJammin Organization: America Online, Inc. (1-800-827-6364) Subject: !!!!!!!!!!!Peidmont Blues Fans!!!!!!!!!!!!!!!!!!! Comments: To: bit-listserv-blues-l@uunet.uu.net John Jackson will be appearing in Charlottesvile, Va. Sat. Feb. 3rd. Email for more info.:) Bill Adams ========================================================================= Date: Tue, 30 Jan 1996 10:42:41 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Finger picks-reply. I'm with LW, when I'm playing finger style I just can't use those darned things, gotta go with fingernails and the meat of the digit. I suppose it's a learned skill, and they're definitely louder than the natural hand alone, but I just catch 'em on strings I didn 't intend to play or send 'em flying too. I prefer to play my finger style "au natural", but some folks are great with those darned picks. Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 30 Jan 1996 11:13:56 -0500 Reply-To: "Munson, Bill" From: "Munson, Bill" Subject: more Amos Garrett As Amos Garrett has long been one of my heroes, I can't pass up an opportunity to add a few things to the string. Amos has been popping up on people's records (including his own, occasionally) for at least 32 years now - the earliest I have is a 1964 45 by the Fernwood Trio of Kingston Ontario. On that one Amos contributed 'vocal arrangement' for a hootenanny version of "Keep Your Hands Off Her" (credited to H. Ledbetter). Although there were other early records (backing the Travellers and as a member of the Dirty Shames and the Corporate Image), Amos didn't really attract wider attention until Eric Andersen's "Tin Can Alley" LP. While the album is thoroughly dated now, the song "Honey" provides a rare opportunity to hear Amos burn away a la Bo Diddley. Just a few more highlights (in a blues vein of course): - the two fabulous LPs by Geoff and Maria (Muldaur) from '71/'72: "Pottery Pie" and "Sweet Potatoes"; listen for our boy's solo on "Lazybones" in particular - the gorgeous, languid solo on "Gee Baby Ain't I Good To You" from Geoff Muldaur's 1975 solo LP, "Having a Wonderful Time" - the version of "Small Town Talk" on Dianne Brooks' wonderful and soulful (but totally overlooked) '76 LP, "Back Stairs of My Life" - the instrumental "Stanley Street" from Amos' first solo LP, "Go Cat Go"; the horn intro to the tune was borrowed from "Any Other Way", a 1963 hit for Jackie Shane and the Motley Crew - a nifty nod to Amos' roots, as Amos grew up in Montreal and spent many hours watching Shane and crew at clubs, like the Esquire Show Bar, clustered around Stanley Street (hi eRIC!) bmunson@itac.ca ========================================================================= Date: Tue, 30 Jan 1996 10:58:15 PST Reply-To: ftoral@meyosp.mecon.ar From: Toral Fernando Subject: First argentinian blues message This is my first message to all the blues lovers. As you might know, Argentina has received many blues stars (Albert King, B.B. King, Albert Collins, Taj Mahal, Katie Webster) and has many good bands like Memphis and Mississipi Blues Band, guitar players like Pappo, who played together with B.B. King at the Madison Square Garden, John Lee Hooker and many others. A lot of people in this country love the blues as I do. I would really be very pleased to "talk" about the blues around the world. I am now waiting for any comments or requests from any of the subscribers about blues in Argentina. ========================================================================= Date: Tue, 30 Jan 1996 11:52:16 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Who wrote "The Blues Experience" from Columbia House? Hi all. I just got a promo from Columbia House called "Explore the Blues Experience" which is basically their foray into targeting the blues fan who buys cds throught the mail. This is a positive development IMO, even though I'm not really interested in joining. Included with the first purchase of 3 albums (BB King at the Regal, Robert Cray "Persuader..", and Clifton Chenier's "King of Zydeco") comes a "bonus", a book called "The Blues Experience Guide". Anyone out there know who wrote this "Guide"? Was it one of us? Every 4-6 weeks you would receive another 3 influential blues recordings , accompanied again with a "guide" to the recordings. I'm just curious who Columbia House is consulting as their blues experts. Thanks, Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 30 Jan 1996 10:48:32 -0600 Reply-To: Roger Struve From: Roger Struve Subject: MAKE YOUR VOICE HEARD!! I just received HBO's web site survey address. I told them all about BLUES-L (they wanted to know what i do on internet and where my favorite sights are, and comments). Man, i laid into the comments and told them "I want MY BLUES".. there isn't enough of it on TV. I think every single BLUESELLER ought to take this survey and tell them we want more BLUES. HBO is just the place that could make this actually happen. They have shown that they're out to do quality stuff with their HBO Made for TV movies, which have won critical acclaim and awards all over the place. More blues is just what we need. DOncha agree. You may win a free tape player too!~ http://www.pathfinder.com/hbo/directsurvey1.html ========================================================================= Date: Tue, 30 Jan 1996 09:00:33 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Jan. 31 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ANDERSON, JOHN H. JR. (tpt/TINY BRADSHAW) b. 1921-0131, BIRMINGHAM, AL BIG TIME SARAH [SARAH STREETER] (v) b. 1953-0131, COLDWATER, MS BRICKTOP [ADA BEATRICE VIRGINIA SMITH](v) d. 1984-0131, NEW YORK CITY, NY 89 BROWN, BUSTER (hca/FANNIE BROWN) d. 1976-0131, BROOKLYN, NY 64 CASEY, HARRY WAYNE (of KC &SUNSHINE BAND) b. 1951-0131, HIALEAH, FL DELAY, PAUL (hca) b. 1952-0131, PORTLAND, OR ELBERT, DONNIE (v/DELUXE REC) d. 1989-0131, PHILADELPHIA, PA 52 GREEN, GRANT (g) d. 1979-0131, NEW YORK CITY, NY 47 HALL, RICK (prod/FAME STUDIOS) b. 1932-0131, FRANKLIN CTY, MS JACKSON, ARMAND "JUMP" (d) d. 1985-0131, CHICAGO, IL 67 JUNIOR, MARVIN (lead/THE DELLS) b. 1936-0131, HARRELL, AR LEWIS, EARLENE (v) b. 1945-0131, MCREE, JOHNSON "FAT CAT" JR. (prod) d. 1990-0131, MANASSAS, VA 66 MINGLEWOOD, MATT (v/MINGLEWOOD) b. 1947-0131, MONCTON, NB MUSSELWHITE, CHARLIE (hca) b. 1944-0131, KOSCIUSKO, MS ROBINSON, JACKIE (baseball player) b. 1919-0131, CAIRO, GA SAYLES, MANNY (bjo) b. 1907-0131, DONALDSONVILLE, LA SLIM HARPO [JAMES ISAAC MOORE] (g/hca) d. 1970-0131, BATON ROUGE, LA 46 SYKES, ROOSEVELT "THE HONEYDRIPPER" (p) b. 1906-0131, ELMAR, AR TRAHAN, RICHARD DALE(of BUCKWHEAT ZYDECO) b. 1962-0131, LAFAYETTE, LA WASHINGTON, FORD "BUCK" (p/BESSIE SMITH) d. 1955-0131, NEW YORK CITY, NY 51 WILLIS, HAROLD "CHUCK" (songw/OKEH REC) b. 1928-0131, ATLANTA, GA ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 30 Jan 1996 12:19:40 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Book Report ... In early December I requested opinions on books to get. The Buddy Guy book, Damn Right I've Got The Blues received very few go/&/get recommendations. Let me change that. The book is fun, informative, easy reading and tells real tidbits on people many of us have a living knowledge of. Not that this book should replace any others but I say move it up on your list of books to get. NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 30 Jan 1996 09:38:21 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: A BLUES TRIBUTE TO F. D. ROOSEVELT Comments: To: BluesHvn@aol.com Comments: cc: joelslot@inlink.com F. D. ROOSEVELT (1882/JAN/30, HYDE PARK, NY. - 1945/APR/12, WARM SPRINGS, GA) ============================================================================== Today is Franklin Delano Roosevelt's birthdate. Of all the U.S. Presidents, FDR was often mentioned in pre-war & early post-war blues. He was responsible (in 1932) for the New Deal, that provided loans, relief and jobs through a variety of federal agencies. The review below - of a PH.D. Thesis soon to be a book - is taken from BLUES WORLD Web . Just click on the BLUES & RHYTHM text, and follow the mouse. By the way, TESTAMENT 5007 : CAN'T KEEP FROM CRYING - TOPICAL BLUES ON THE DEATH OF PRESIDENT KENNEDY (featuring Otis Spann, Johnny Young, etc) is an excellent CD if you're interested in 'president' blues. Someone should post a list of all blues mentioning presidents like Nixon, Clinton, etc. "UNCLE" eRIC Mr. Roosevelt Blues by Alan Bufour (Blues & Rhythm #105 p. 11) "Roosevelt was a mighty fine man, got to be president of our land" is probably the one line that immediately springs to mind when one is asked to cite a blues about Franklin D. Roosevelt. Blind Willie McTell's song is probably instantly recalled because of it's a catchy, traditional tune rather than any political or social content. Guido van Rijn, in a soon to be published book "Roosevelt Blues", has identified 134 different blues and gospel songs that directly deal with historical events that took place during FDR's long tenure of office. Alan Balfour takes the opportunity to give some background and preview the work. On January 23rd, 1932, Democratic Governor of New York City, Franklin Delano Roosevelt, announced that he would run for President and eventually won a landslide majority in the Presidential election. He was inaugurated on March 4th 1933, having survived an assassination attempt by Guiseppe Xangara the previous month. With hindsight, Roosevelt's four terms of office were to prove to be the most challenging of any American President, for he had to grapple with most of the major political events of our time; the aftermath of the Depression, the rise of Nazi Germany, the war in Europe, the conflict with Japan, the bombing of Pearl Harbor and the notorious case of Ruby Bates and the Scottsboro Boys. However, Roosevelt's initial task as President was to get America back to work and his first major piece of domestic policy was to, on June 16th, sign into legislation what he called "the most important bill ever passed by Congress"; the National Industrial Recovery Act, commonly known as the New Deal. The Act promised much including, to use Roosevelt's own words, "the preservation of civil liberties for all". At the time black American leaders understood this statement to mean the civil liberties of blacks too, but in reality employers behaved otherwise and it took a threatened march of 50,00 blacks on Washington to convince Roosevelt to issue an executive order urging a policy of non-discrimination in industry and the establishment of a Committee on Fair Employment Practice. From that moment onward Franklin Roosevelt became acutely aware what was expected of him by black Americans and the strength of their faith in his ability to improve their lot within American society. Understanding this background is important when examining any blues or gospel perspective because it is primary to comprehending why so many blues and gospel songs were devoted to praising the qualities of one white individual rather than contemporary black educationalists like W.E.B. Du Bois or NAACP leaders such as Walter White. In a forthcoming book entitled, "Roosevelt Blues", Guido van Rijn examines all the aforementioned facets of Roosevelt's presidency in relation to the blues and gospel songs they spawned. Admittedly, thirty five years ago Paul Oliver's pioneering study, "Blues Fell This Morning", covered some of this ground but only within the general framework in which Oliver was writing and consequently only gave us a flavour of the Roosevelt Era as perceived by blues singers. Guido van Rijn in his impending work takes the next logical step of focusing on each major event that took place during Roosevelt's four terms as President, attempting to show why FDR was so popular among blacks by concentrating specifically on the "blues and gospel lyrics that contain more or less direct political comment on the Roosevelt Era". Previewing a book in thesis form, prior to official publication, is a notoriously difficult task, littered with any number of foxholes for the unsuspecting pre-viewer to fall into; especially if being particularly enthusiastic or derogatory about topics which then fail to appear in the final publication. For example, topics that may be perfectly acceptable in terms of research and academic credence for a doctoral thesis, might be wholly unacceptable when scrutinised by a publisher with an eye to commercial application. Not that for one moment I'm suggesting such will befall "Roosevelt Blues", but in its current form the thesis is almost 380 pages of solid text. On those grounds alone it will require some editing, if only to allow illustrations to be included, with the result that wherever the blue pencil falls will have the consequence of producing a different work than that which is in front of me now. Lyric transcriptions form the major part of the text of the thesis and being realistic I can foresee some of them also having to come under the editorial pencil, probably on grounds of copyright clearance and/or expense. If that has to happen then it may pose a problem for the prospective publisher. The problem being that the transcriptions are integral, if not to say vital, to supporting Guido's hypotheses and arguments, but it should be pointed out that he isn't always consistent in his method of discussion and analysis of said items. On occasion transcriptions are summarised by short, pithy analytical critiques (which is as it should be) but, more often than not, he just repeats what the reader has already absorbed, achieving little more than reiterating what is apparent. Extreme examples of this can be found in the treatment of the Mississippi Sheiks's "Sales Tax On it", where the lyrics are preceded and succeeded with a line-by-line replay or Rev. J.M. Gates's, "These Hard Times Are Tight Like That", which uses twelve lines where one analytical sentence would've sufficed. Hopefully, in the hands of a copy editor, this sort of thing should resolve itself and may also claw back some valuable space. It is not my intention to make any further specific reference or comment on content and context because, as "Roosevelt Blues" is only available to me in thesis form, to do more could compromise the published work and any subsequent review by this magazine of the published work. However what can be said without fear of contradiction is that Guido's basic premise can't be faulted and he has approached the task of resolving how blues and gospel singers learnt about political events by using a sensible mix of history, his own knowledge of blues, a keen eye for detail and a vast amount of apposite lyrics, accurately transcribed, if rather erratically analysed. In whatever form the book is finally published, if the thesis is any yardstick, then Guido will have ably succeeded in demonstrating that blues and gospel singers, through their songs, probably did give voice to the sentiments of black Americans when they sang that Roosevelt was either a "mighty fine man" or "a credit to his race". Should anyone be in doubt as to whether Franklin Delano Roosevelt was truly regarded by black Americans as such, then perhaps we should look to W.E.B Du Bois for the final word on the subject. In a passionately written article of 14th October 1944 in support of a fourth term re-election for FDR, Du Bois concluded, "If Roosevelt is defeated it will be because of his championship of organised labor and the Negro. If Dewey [his opponent] triumphs it will be by the grace of concentrated wealth and Bourbon South as represented by Pappy Daniels of Texas and the lynching culture of Mississippi". Roosevelt was re-elected but died soon after on April 12th, 1945 to be succeeded by Harry S Truman who, in the words of Champion Jack Dupree was "heaven sent". However, don't expect to see books devoted to that subject, there aren't sufficient blues or gospel songs to warrant it, which in itself speaks volumes about Franklin Delano Roosevelt. "Roosevelt Blues" is scheduled for publication by the University of Mississippi Press towards the end of 1996. It is hoped that a CD will accompany it. ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 30 Jan 1996 17:53:33 GMT Reply-To: David and Lisa King From: David and Lisa King Organization: Netcom Subject: Re: Going to Mardi Gras Comments: To: bit-listserv-blues-l@uunet.uu.net In Bill Morgan writes: > >Yes, Tipitina's is still around and doing much better. The owner has >moved back to N.O. to be more actively involved in running the >business, there is a new silent partner from out of state and a new >booking agent. > >There are some excellent web pages with music, restaurant and parade >information. Offbeat Magazine is a monthly music magazine that has club >listings, and there are links to other pages that might be of interest >-- one called Virtually New Orleans has restaurant information and >hotel information. Offbeat is at www.neosoft.com/~offbeat. The February >issue should be out this Thursday. > >I recommend that you check the Gambit Magazine web page the week that >you plan to come down. It is a weekly magazine, and should have more >complete listings of music clubs. It should also have listings of >restaurants and parade routes. Gambit has only been up and running a >few weeks; you can find it at www.gambit-no.com/. > >The Times-Picayune also has a new web page (at www.neworleans.net). It >has parade listings with maps and restaurant listings and reviews of >restaurants. Some of this page is still under construction; I don't >believe that the club listings are up and running yet. But I suspect it >will be operating prior to Fat Tuesday. > >Not being a musician, I'm not sure about jam sessions or open mics. I >believe Checkpoint Charlie's has them occasionally. There are blues >musicians performing on the street occasionally. There is an acoustic >guitarist by the name of Jeremy Lyons who plays the corner of Royal and >St. Peter (I think) from time to time. He also plays at Margaritaville >on Fridays --- I've heard him on the radio (WWOZ) and he's quite good. >You might want to check out that street corner if pedestrian traffic >isn't prohibitive during Carnival. > >Check these clubs for music: Maple Leaf, Tipitina's, House of Blues, >Carollton Station, Mid City Bowling Lanes, Snug Harbor (for jazz), the >Lion's Den, Bugsy's and a host of others that I'm leaving out. > >You might want to see about grandstand seating for a raised view of the >parades. The Hotel Intercontinental has such an arrangement, I think >for about $40; the cost includes drinks and food and a unique >perspective of the parade; it's a great perch for the Bacchus parade or >Endymion. I can give you more details about that via personal e-mail or >recommend safe places to view the parades. > >Usually there is a celebration on Lundi Gras (Fat Monday, or the Monday >prior to Mardi Gras) at Spanish Plaza featuring free music -- Dr. John >played there the past couple of Fat Mondays. > >Feel free to e-mail me for more information or if you want to get >together some time during your stay.. > >Usual disclaimers apply -- not a member of the Chamber of Commerce >either. > >Bill Morgan > > > >ST>Received: from by s1boca.corp.wrgrace.com with SMTP (1.37.109.4/16.2) id >ST> AA21757; Mon, 29 Jan 96 11:25:40 -0500 >ST>X-Openmail-Hops: 2 >ST>Message-ID: >ST>Date: Mon, 29 Jan 1996 11:21:18 -0500 >ST>Reply-To: Steve.Levine@CORP.WRGRACE.COM >ST>Sender: Blues Music List >ST>From: Steve Levine >ST>Subject: Going to Mardi Gras >ST>Comments: To: >ST> BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L# >ST>To: Multiple recipients of list BLUES-L > >ST>I finalized my upcoming vacation plans last week, and I'm going to >ST>Mardi Gras next month. This will be my first Mardi Gras and my first >ST>time in New Orleans. I expect I'll find plenty to do during Mardi Gras >ST>:) but I still want to catch some New Orleans blues and find a jam >ST>session or open mic if there are any. Can anyone tell me which clubs >ST>are worth going to (is Tiptinia's still around?), or where I can get >ST>some kind of entertainment guide? Any other blues-lers planning on >ST>going to Mardi Gras? > >ST>-Steve > > >ST>"If you go to New Orleans, you ought to go see the Mardi Gras" >ST> -Professor Longhair > >From: The Big Easy Hi, I'm a new user, here. Will be going to New Orleans the weekend prior to Mardi Gras. Appreciated all of the info that was passed along. Haven't been to N.O. for about 2-3 years, and am looking forward to it. Does anyone know if Tab Benoit will be playing in any clubs around N.O. that weekend? Thanks, LK ========================================================================= Date: Tue, 30 Jan 1996 13:19:51 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: MAKE YOUR VOICE HEARD!! Comments: To: roger.lew.struve@MEDTRONIC.COM On 30 Jan 96, Roger Struve had this to say... > I think every single BLUESELLER ought to take this survey and tell them we > want more BLUES. HBO is just the place that could make this actually > happen. They have shown that they're out to do quality stuff with their > HBO Made for TV movies, which have won critical acclaim and awards all over > the place. > > More blues is just what we need. DOncha agree. You may win a free tape > player too!~ I share your sentiments, but that survey is looking to find out what we'd like to see on their new world wide web site. They aren't interested in what we want to see on TV. Kind of a wasted effort, unless you're in it for the free tape player. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 29 Jan 1996 10:29:22 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: 13-year old australian blues-boy >Nathan Cavalieri? Ah ha. So that's how you spell Nathan's last name. :-) Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Mon, 29 Jan 1996 10:29:27 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Comp Ruth wrote: > Rick Miller asked yesterday about the musical definition of "comp." > Basically it means "ad lib" or "improvise." > It is short for "accompaniment," and I believe it came into use in the > 20's-40's through jazz musicians. The second part I agree with but I don't understand what Ruth means by "comp" meaning ad lib or to improvise. When I'm comping I'm most definately playing rythm. If someone was inprovising while they were supposed to be comping then the person soloing is not going to be happy with the person comping. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Tue, 30 Jan 1996 10:27:41 -0800 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Re: Reissue or New? You buy both discs and deal with the consequences later. Joe ========================================================================= Date: Tue, 30 Jan 1996 19:47:08 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Comp Comments: To: Shaun T Cronin .Shaun T Cronin said: `When I'm comping I'm most definately >playing rythm. If someone was inprovising while they were supposed to be >comping then the person soloing is not going to be happy with the person >comping. Most people that are great compers (?) in blues improvise a whole lot. They explore new ways to back singers or soloists all the time. That what makes someone like Otis Spann, Ronnie Earl or Big Walter Horton so great when they have (had) a gig as sidemen. Mr Bo ========================================================================= Date: Tue, 30 Jan 1996 13:03:59 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: MAKE YOUR VOICE HEARD! > From: Roger Struve > I just received HBO's web site survey address. > http://www.pathfinder.com/hbo/directsurvey1.html > More blues is just what we need. DOncha agree. While I don't have web access and can't get to it myself, one specific thing to request for broadcast might be the W.C. Handy Awards and the associated jam session. I might even sign up for HBO if they do that! Don O. ========================================================================= Date: Tue, 30 Jan 1996 20:04:47 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Reports of No-Max Zone Greatly Exaggerated Comments: To: bit-listserv-blues-l@uunet.uu.net In <10e32f00@vitro.com>, PARRISHR writes: > Contrary to Dick Waterman's posting yesterday claiming that the State > of Mississippi and the Memphis area have officially been declared > No-Max Zones, Mad Max & The Blues Kings WILL be rockin' Memphis > tentatively the first week in August. And just for that I'm adding > Vicksburg to the tour. Have a nice day :) Will these performances include the now-infamous blond slide guitarist with the pick in her brassiere and the whammy bar in her fishnet hose? BBB - B.B. Bean bbbean@cris.com Peach Orchard, MO http://www.cris.com/~Bbbean - ========================================================================= Date: Tue, 30 Jan 1996 12:31:01 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: FIRST PRESSINGS : THE HISTORY OF RHYTHM & BLUES Comments: To: BluesHvn@aol.com Galen Gart is 48 years old today. I first became of aware of Galen Gart from his ground breaking interview with RUTH BROWN (it's also her 68th birthdate today!) (published in Blues Unlimited #101-103 (1973)). He is the owner/ publisher of BIG NICKEL Publications (P.O. BOX 157, MILFORD, NH. 03055. Tel: 603-888-4012/Fax: 603-898-9858) known for their award winning FIRST PRESSINGS : THE HISTORY OF RHYTHM AND BLUES series. His Big Nickel Publications are necessary references for the R&B/BLUES/GOSPEL/DOO WOP music specialist. This series, in my humble opinion, is re-writing this history. The FIRST PRESSINGS series is a month-by-month compilations of the major events, news stories, feature columns and record releases in the Rhythm & Blues (including gospel/ doo-wop) field for the entire year, highlighted by hundreds of illustrations, photographs and vintage record company advertisements. Each volume is completely indexed so you can locate specific mentions of record artists, djs, talent managers, record labels, producers, nightclubs, theatres, radio stations - EVERYTHING YOU ALWAYS WANTED TO KNOW BUT DIDN'T KNOW WHERE TO LOOK! As an example of what you will find, let me just list some of the major highlights in the 1958 volume. Remember all of this comes from the music press of the day. o LITTE RICHARD quits o BILL DOGGETT thinks R&R is on the wane o KENT RECORDS is formed & signs B. B. KING o GENE MUMFORD (of THE LARKS/THE DOMINOES) signs with Columbia Records o The Famous WARD SINGERS break up o BOB SHAD quits Mercury Records, replaced by CLYDE OTIS o SAM COOKE & LOU RAWLS are injured in the same car accident o The following die : BIG BILL BROONZY, CHUCK WILLIS, JOE MORRIS, JULIA LEE, JOHN DOLPHIN. o SCEPTER RECORDS signs The Shirelles o HERB ABRAMSON starts a new label. Here's a list of the BIG NICKEL PUBLICATIONS : ARLD : THE AMERICAN RECORD LABEL DIRECTORY & DATING GUIDE 1940-1959 / BY GALEN GART ISBN 0-936433-11-6 (276 p) DUKE/PEACOCK RECORDS : AN ILLUSTRATED HISTORY WITH DISCOGRAPHY / BY GALEN GART & ROY C. AMES ISBN 0-936433-12-4 (240 p) FIRST PRESSINGS : (all compiled & edited by Galen Gart. Printed in large 8.5 x 11 format on heavy coated stock, softbound.) THE HISTORY OF RHYTHM & BLUES - 1950 volume ISBN 0-936433-16-7 (176 p) THE HISTORY OF RHYTHM & BLUES - v. 1 (1951) ISBN 0-936433-14-0 (144 p) THE HISTORY OF RHYTHM & BLUES - v. 2 (1952) ISBN 0-936433-15-9 (152 p) THE HISTORY OF RHYTHM & BLUES - v. 3 (1953) ISBN 0-936433-03-5 (120 p) THE HISTORY OF RHYTHM & BLUES - v. 4 (1954) ISBN 0-936433-04-3 (156 p) THE HISTORY OF RHYTHM & BLUES - v. 5 (1955) ISBN 0-936433-05-1 (164 p) THE HISTORY OF RHYTHM & BLUES - v. 6 (1956) ISBN 0-936433-06-X (180 p) THE HISTORY OF RHYTHM & BLUES - v. 7 (1957) ISBN 0-936433-07-8 (180 p) THE HISTORY OF RHYTHM & BLUES - v. 8 (1958) ISBN 0-936433-08-6 (170 p) NERVOUS, MAN, NERVOUS : BIG JAY MCNEELY AND THE RISE OF THE HONKING TENOR SAX / BY JIM DAWSON ISBN 0-936433-17-5 (172 p) R&B STARS OF 1953 : 36 AUTHENTIC LOOKING POSTCARDS IN GLORIOUS FULL COLOR ISBN 0-936433-10-8 RECORDED IN HOLLYWOOD : THE GLORY YEARS OF L.A. RHYTHM & BLUES (2 volumes) / BY STEVE PROPES & GALEN GART ISBN 0-936433-18-3 (soon!) ROCK MR. BLUES : THE LIFE AND MUSIC OF WYNONIE HARRIS / BY TONY COLLINS ISBN 0-936433-19-1 (180 p) TRUMPET RECORDS : AN ILLUSTRATED HISTORY WITH DISCOGRAPHY / BY MARC RYAN ISBN 0-936433-13-2 (276 p) ========================================================================= Date: Tue, 30 Jan 1996 14:34:28 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Re: MAKE YOUR VOICE HEARD!! -Reply Comments: To: pwfenton@GATE.NET PW, I see what you're saying, BUT, they did have that additional comments section and THAT is where we can make our voice heard. SURELY if 1200 Bluesellers take the survey, and everyone of us puts similar stuff in the comment section (the flyer said HBO is interested in what we want to see). do you not think that HBO would tend to listen? respectfully, ddr ========================================================================= Date: Tue, 30 Jan 1996 15:12:52 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: knon playlist 1 Someone asked for a couple of playlists from my show so I actually sat down and typed up the whole thing for the last two weeks. That's something I never do because I am too darned lazy. However, since they're already done, I thought I'd send them along to the list. If you're not interested, find that old delete key. If you are interested, enjoy, because I probably won't do it again! (unless I can find an OCR that can read my handwriting-which will NEVER happen!) A few weeks ago I posted the KNON weekly top 15 album picks as reported to the CMJ and Hard Report polls. I asked for the level of interest at that time but had only 11 positive responses so I will not be posting that weekly. However, I think I will post our monthly contribution to the Living Blues poll just to remind everyone that we're out here. I'll attach a playlist to this and a following post. Don O. Best of the Blues KNON 89.3 FM Dallas, Texas hosted by Don O. Playlist 1/26/96 Magic Slim and the Teardrops/Tell Me Baby/Highway is My Home/Evidence Otis Rush/I Wonder Why/Right Place Wrong Time/Bullfrog Lee McBee/Do You Love Me/Kansas City Blues the 90s/Red Hot Willie Mabon/Knock On Wood/Blues Roots Vol. 16/Chess Percy Strother/Love is Growing Cold/A Good Woman is Hard to Find/Blue Loon Charlie Musselwhite/Comin Home Baby/Mellow Dee/Crosscut +Albert King/Drownin on Dry Land/Hard Bargain/Stax +Guitar Shorty/She's Built to Kill/Get Wise to Yourself/Blacktop *Texas Weather/Stickin with the Blues/demo/self +Mojo Buford/Harp Blast/Still Blowin' Strong/Blue Loon Little Milton/Feel So Bad/Sings Big Blues/Chess +Duke Robillard/Tell Me Why/Duke's Blues/Pointblank Bobby Bland/Hole in the Wall/Years of Tears/malaco *Mike Morgan & the Crawl/Ain't Worried no More/Ain't Worried No More/Blacktop Jimmy Dawkins/All for Business/Transatlantic 770/Sonet O.V. Wright/8 Men,4 Women/Soul of O.V. Wright/MCA-Duke Tina Turner/Honest I Do/16 Great Performances/ABC +Billy Boy Arnold/Been Gone Too Long/Eldorado Cadillac/Alligator Elmore James/Hand in Hand/Red Hot Blues/Intermedia +Duke Robillard/Never Let You Go/Duke's Blues/Pointblank #Rev. Billy C. Wirtz/Roberta/Deep Fried and Sanctified/Hightone +Mojo Buford/Lonesome Highway/Still Blowin Strong/Blue Loon B.B. King/The Worst Thing In My Life/The Jungle/United-Superior *Joe Jonas/the Hustler/Texas Bluesmen/Topcat Johnny Copeland/Gonna Make My Home Where I Hang My Hat/Sings the Blues/Crazy Cajun Kid Thomas/Jivin' Mess/Wail Baby Wail/El Diablo Buster Benton/Money's the Name of the Game/Money's the Name of the Game/Ichiban *Smokin' Joe Kubek & Bnois King/Smokin' Joe's Cafe/Steppin Out Texas Style/Bullseye Hop Wilson/I Need Your Love to Keep Me Warm/Steel Guitar Flash/Ace +Luther Tucker/LT Shuffle/Luther Tucker and the Ford Blues Band/Blue Rock'it Memphis Slim/Memphis Slim USA/Memphis Slim USA/Candid Hound Dog Taylor/Take 5/Freddie's Blues/Wolf #W.C. Clark/Come Back/Heart of Gold/Blacktop Jimmy T99 Nelson/Second Hand Fool/Blues Around Midnight/Flair *Tommy Hill/Linda Lu/Hangin' with Tommy/self Sandra Hall/I Need You So/Showin' Off/Ichiban *Robert Ealey/Keep On Pushin'/You Don't Get This Every Day/Stark * local artist + new release # in town ========================================================================= Date: Tue, 30 Jan 1996 15:12:58 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 64 Lines * (214) 690-9295 * Dallas Subject: knon playlist 2 Here's the second playlist, from 1/19/96. Don O. Best of the Blues KNON 89.3 FM Dallas, Texas hosted by Don O. Playlist 1/19/96 *Smokin' Joe Kubek & Bnois King/If It's the Last Thing I Do/Cryin' For the Moon/Bullseye B.B. King/She's Dynamite/One Nighter Blues/Ace Johnny Copeland/Circumstances/Flyin' High/verve #Percy Strother/Highway Is My Home/Highway is My Home/Black Magic Jimmy Reed/I'm the Man Down There/Complete VJ Recordings/Charly +Mojo Buford/Harp Blast/Still Blowin Strong/Blue Loon Freddie King/King a Ling/Bonanza of Instrumentals/Crosscut Freddie King/Manhole/Bonanza of Instrumentals/Crosscut +Mem Shannon/My Baby's Been Watchin TV/A Cab Driver's Blues/Hannibal +Sista Monica/Baby Boomer/Get Outta My Way/Thunderbird Little Milton/Walkin' the Back Streets and Cryin/Walkin the Backstreets/Stax Albert Collins/Travelin South/Live 92-93/Pointblank Hound Dog Taylor/Give Me back My Wig/Beware of the Dog/Alligator *The Prowlers/Operator/Breakin In/Bullseye Earl Hooker/The Hook/First and Last Recordings/Arhoolie #Percy Strother/Mind Your Own Business/Highway Is My Home/Black Magic Lightnin Hopkins/Bad Things on My Mind/Lightnin Hopkins/Blues Classics +Guitar Shorty/Smells Good/Get Wise to Yourself/Blacktop Aretha Franklin/Why I Sing the Blues/Spirit In the dark/Atlantic Lil Son Jackson/Mr Blues/Complete Imperial Recordings/Capitol Jr Parker/Drivin Wheel/Best of Jr Parker/Duke +Terry Frank/Guitar Rag/Devil By Her Side/Ho-Made Otis Spann/Otis In the Dark/Is the Blues/Candid +Billy Boy Arnold/Eldorado Cadillac/Alligator Koko Taylor/Insane Asylum/Koko Taylor/MCA-Chess #Percy Strother/A Good Woman is Hard to Find/A good Woman is Hard to Find/Blue Loon Son House/Pearline/Story of the Blues Vol. 2/CBS Bobby Bland/I'm Not Ashamed to Sing the Blues/Midnight Run/malaco B.B. King/I gotta Find My Baby/One Nighter Blues/Ace +Larry Garner/The Preacher man/You Got to Live a Little/verve Mance Lipscomb/Whiskey Blues/Vol. 5/Arhoolie +Mojo Buford/Overplayed and Underpaid/Still Blowin' Strong/Blue Loon *Big Al Dupree/Nosey Woman/Swings the Blues/Dallas Blues Society *The Prowlers/She a Devil/Breakin In/Bullseye *Kenny Traylor/No Good Woman/Born With the Blues/hardtop Latimore/I Smell a Rat/Catchin Up/Malaco Legendary Blues Band/Lottery Blues/Money Talks/Ichiban John Lee Hooker/Kiddeo/Chill Out/Pointblank * local artist + new release # in town ========================================================================= Date: Tue, 30 Jan 1996 16:18:16 +5EST Reply-To: dresserd@dns.nxi.com Comments: Authenticated sender is From: Derek Dresser Subject: Paul Rishell & Annie Raines- Country/Delta Blues I am a student of Paul Rishell's and can recommend his recordings and live shows with enthusiasm. I have recently put up a web site containing biographical, recording and contact information for Paul and Annie at http://www.nxi.com/WWW/rishell/homepage.html check it out and let me know what you think. Derek ========================================================================= Date: Tue, 30 Jan 1996 16:57:27 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Bartender's Bop Playlist & commentary Here is yesterday's show. It consisted of about 60 minutes of rhythm and blues from the 1950s and the other 60 minutes was new blues releases. The new John Hammond sounds great as well as `'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`' Stop on by my Jazz and Blues Web Site -- http://redlt.com/tom/ Free-lance Writer--Author--Program Director WTJU 91.1--Internet Consultant ========================================================================= Date: Tue, 30 Jan 1996 17:08:08 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Bartender's Bop Playlist and commentary Some how my system hicuped and sent the other post out before I finished. Here is yesterday's show. It consisted of about 60 minutes of RnB and Blues from the 1950s and the other 60 minutes was new blues releases. The new John Hammond CD on Pointblank and Cephas and Wiggins on Alligator both sound great. I also enjoyed the Long John Hunter a little known bluesman from southern Texas, another new Alligator release. Tom Title Group Year Label -------------------- -------------------- ---- ------------ There is Someone in John, Little Willie 57 Official the World for Me Double Crossin Daddy Dillard, Varetta 52 Savoy Have Love Will Sharps, The Valmor Travel TV Mama Turner, Big Joe 52 Atlantic Mona Bo Diddley 57 Sugar Hill Bow Wow Wow Motley, Frank 51 Gotham Little By Little Brown, Nappy 56 Savoy Spare Man Bowman, Priscilla 57 Sounds Great Thunderbird Hal Paige Valmor Twist, The Ballard, hank 58 Charly Fever John, Little Willie 56 King Mother's Son Clark, Dee 57 Solid Smoke Tryin To Please McCain, Jerry Valmor Who Do You Love Bo Diddley 56 Sugar Hill Mmm-movin Williams, Andre Valmor Mercy Mr Percy Dillard, Varetta 53 Savoy Oh Mah Liddy Jackson, JJ Valmor Hurricane Lover Motley, Frank 51 Gotham One Scotch One Harris, Thurston 61 Aladdin Borubon One Beer Let's Go Let's Go Ballard, Hank 60 Charly Let's Go Hands Off Bowman, Priscilla 55 Sounds Great Hey Mardi Gras Carbo, Chuck 95 Rounder Information Blues Robillard, Duke 94 Pointblank Warm It Up To Me Hammond, John 95 Pointblank No Ice in my Bourbon Cephas and Wiggins 95 Alligator Rooster and the Hen Hunter, Long John 96 Alligator Jessie's Blues Welch, Monster Mike 96 Tone Cool I'm the Clean-up Man Guitar Shorty 95 Blacktop Good Understanding Primer, John 95 Code Blue Rooftop Tomcat Evans, Terry 95 Audio Quest True Love Stockton, Mike 94 Azure Barber's Blues Carbo, Chuck 95 Rounder Nine Pound Hammer Cephas and Wiggins 96 Alligator `'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`' Stop on by my Jazz and Blues Web Site -- http://redlt.com/tom/ Free-lance Writer--Author--Program Director WTJU 91.1--Internet Consultant ========================================================================= Date: Tue, 30 Jan 1996 17:12:14 +5EST Reply-To: dresserd@dns.nxi.com Comments: Authenticated sender is From: Derek Dresser Subject: Re: Living Blues Magazine I need to recommend BLUES REVIEW magazine. Great writers, articles and reviews. I just can't bring myself to subscribe to LIVING BLUES because of their policy against doing articles on white blues performers. I happen to be a white blues performer, and know many excellent white blues performers. I don't have any problem understanding that the roots of blues music are black, but excluding a vital, integral part of the blues population just doesn't sit right with me. Derek ========================================================================= Date: Tue, 30 Jan 1996 22:33:05 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Guitar Shorty Comments: To: bit-listserv-blues-l@uunet.uu.net > What about the one entitled "A Man In His Field" (or something similar) > is that yet another Guitar Shorty? > >phertel@cmc.doe.ca > OR bv808@freenet.carleton.ca >Local Time [29/1/96 10:50 AM] >"They call it stormy monday..." This is John Henry Fortescue, the one who recorded for Trix. I believe the name of his Trix album was "Alone In His Field". Scott ========================================================================= Date: Tue, 30 Jan 1996 22:29:22 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: BABY TATE - Original Blues Classics CD Comments: To: bit-listserv-blues-l@uunet.uu.net Baby Tate was later on >recorded again by Pete Lowry who initially planned to release a full LP on >his Trix label. Unfortunately, Lowry found that the recordings he made from >Tate were not sufficiently representing his great talent so that these cuts >were never published, eception made of a TRIX single (there's also one cut on >a Flyright anthology "Another Man Done Gone" and a few cuts of a Folkways >set). Lowry was planning to record him again in order to publish a full LP >but Charles Baby Tate passed away before these sessions could take place. As >a result, this is the only album availabe from this great bluesman J-P, Just wanted to add that some nice examples of Baby Tate's guitar and/vocals can also be heard on a few cuts on Peg Leg Sam's "Medicine Show Man" on Trix (Trix 3302) which is available on CD. Scott ========================================================================= Date: Tue, 30 Jan 1996 22:30:52 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Gospel?? Comments: To: bit-listserv-blues-l@uunet.uu.net Jim Witteveen wrote: > >Barry wrote: >> Can anyone enlighten me - what is the derivation and/or conn- >> ection with the word Gospel in "Gospel Music"? > >I'm not sure _exactly_ what you're question is, but I'll give it a go... the >word gospel is Greek for `good news'. Christians are instructed to preach >the gospel to the world, and via gospel music the `good news' is spread. >Hope that helps! > >-Jim (hndful@uniserve.com) Greek? Hmmmm....I've been hearing for years that the Rev. Thomas A. Dorsey (previously known in the blues world as Georgia Tom) is responsible for coining the term "gospel" in the early '30s when he began devoting his musical talents strictly to the religious side of things, although I don't have any specific documentation of this. I wonder if Dorsey got it from the Greeks? Scott ========================================================================= Date: Tue, 30 Jan 1996 14:45:24 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: HAPPY BIRTHDAY, HANK MARR Comments: To: BluesHvn@aol.com Comments: cc: shafer.4@osu.edu, rshurman@ccs.nslsilus.org, joelslot@inlink.com This posting is dedicated to the late great afro-american comedian GEORGE KIRBY (1924/JUN/08, CHICAGO, IL - 1995/SEP/30, LAS VEGAS, NV), and associate publisher & longtime editor of Jet Magazine ROBERT E. JOHNSON JR. (1922/AUG/13, MONTGOMERY, AL - 1995/DEC/27, CHICAGO, IL) ============================================================================= Organist/pianist/arranger/composer/professor Henry L. "Hank" Marr was born Sunday, January 30, 1927, Columbus, OH. After his military service, he joined the Florida-based Charlie Brantley's Honeydrippers, recording with them in Oct 1951. This (unissued) Mercury recording, "BEGGIN' BLUES", featured vocalist Clarence Jolly, and according to Mary Katherine Aldin (see : Blues & Rhythm #56 p.21 - visit the BLUES WORLD Web site From: JBards Subject: Re[2]: Reports of No-Max Zone Greatly Exaggerated Comments: To: bbbean@cris.com I wish someone would clear this one up for me. I didn't understand Dick's original post: Dick, is this an inside joke between you and Max? -Jim _______________________________________________________________________________ Subject: Re: Reports of No-Max Zone Greatly Exaggerated From: bbbean@cris.com at INTERNET-SH Date: 01/30/96 2:58 PM In <10e32f00@vitro.com>, PARRISHR writes: > Contrary to Dick Waterman's posting yesterday claiming that the State > of Mississippi and the Memphis area have officially been declared > No-Max Zones, Mad Max & The Blues Kings WILL be rockin' Memphis > tentatively the first week in August. And just for that I'm adding > Vicksburg to the tour. Have a nice day :) Will these performances include the now-infamous blond slide guitarist with the pick in her brassiere and the whammy bar in her fishnet hose? BBB - B.B. Bean bbbean@cris.com Peach Orchard, MO http://www.cris.com/~Bbbean - ========================================================================= Date: Tue, 30 Jan 1996 22:46:03 GMT Reply-To: James Elmore From: James Elmore Organization: SuperNet Inc. (908) 828-8988 Subject: Re: Going to Mardi Gras Comments: To: bit-listserv-blues-l@uunet.uu.net Well, I'm no expert on New Orleans (and I don't think I'd go at Mardi Gras- not into that big of a crowd),but I'd recommend picking up a copy of the magazine OFFBEAT- it's a free entertainment magazine in Louisiana but I've also seen it on sale elsewhere (like here in New Jersey at a Borders Bookstore). I see they also have a web page- http://www.neosoft.com/~offbeat- and I imagine they could send you a copy or direct you to one that covers February events. TIPITINA's is still there, but it's kinda far away from everything else in the French Quarter and the warehouse district, so a car or a cab is in order. A lot of the type of bands that used to play TIPITINA's now play the HOUSE OF THE BLUES which is right outside the FQ but going there becomes a political decision. ========================================================================= Date: Tue, 30 Jan 1996 22:36:39 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: HOMEMADE BLUE Comments: To: bit-listserv-blues-l@uunet.uu.net >It is unfortunate few artists want to take on the business side of the blues. >They want someone else to handle all that for them. That's where the problems >come from. Music is art when you play for yourself or your friends on your >front porch. When you expect to get paid for it, it's business. >Don O. Don, That's the whole thing in a nutshell; I don't think I'm going out on a limb by saying that *most* blues artists would rather just think about the music, and let someone else deal with EVERYTHING else. And look at the ones who are (reasonably) successful at the self-promotions and marketing thing--they seem to be younger people who have one foot in the "establishment" already, either through their educations or outside business experience. They bring with them some level of comfort in dealing with bureaucracy and the 'fine print' aspects of doing business. Occasionally you'll see someone who through the force of his own personality and convictions and stubborness just forges ahead and does it, like Robert Jr. Lockwood for example. But Lockwood is a rare character among blues artists of his generation, and even he has someone to take care of some of his business. There's a certain 'Catch 22' that sometimes comes into play, too. There are talented blues artists out there who don't trust anyone to NOT cheat them, but they're unwilling or unable to deal with the business of their music on their own, so they end up keeping their talent to themselves. Guess who really ends up getting cheated? Everybody. Scott ========================================================================= Date: Tue, 30 Jan 1996 17:52:10 PDT Reply-To: us002838@INTERRAMP.COM From: us002838@INTERRAMP.COM Organization: PSI Public Usenet Link Subject: Stories (long) Comments: To: bit-listserv-blues-l@uunet.uu.net Cathi Norton expressed an interest in stories. I got a few. Following is the opening segment of a piece on the Memphis Blues Caravan which is still being worked on (17000 words and growing. If there is some interest, I can follow this up with a new section each week. If people feel this is cluttering up their mailboxes, let me know and I'll stop cluttering. anyway, here's the first "chapter" on the MBC The Memphis Blues Caravan Arne Brogger If Beale Street could walk If Beale Street could talk Every married man I know Would pick up his bed and walk Except one or two, who didn't drink booze And the blind man on the corner Singing the Beale Street Blues I'd rather be here than any place I know W.C. Handy "The Beale Street Blues" My introduction to the Blues came as a 9 year old boy listening to old Stinson 78's from a collection titled "Negro Sinful Songs as sung by Huddie 'Leadbelly' Ledbetter". They belonged to the father of my classmate Steve Thomes, and we almost wore them out listening to them. During recess, Steve and I would take turns reading Alan Lomax's book on Leadbelly aloud to each other. I don't know what it was about that music that had such a profound effect on a 9 year old, but from the moment I first heard it, somehow, my life changed. Later, as a high school student in the late fifties and early sixties, the re-discovery of various Blues artists, many thought long dead, broadened and increased my interest in this wonderful music. The eloquence and simplicity of the versing, the artistry of the guitar work and the genius of the performers, combined to blow me away. Entire lps were committed to memory and my friends and I entertained each other with the minutia we could recall about these newly discovered performers. Our experience, however, was largely confined to recorded product as these performers seldom traveled to present live shows. We often wondered what they were like in person. What they talked about. How they looked. What their world was like. Because I had the great good fortune to represent and associate with a great many of the finest living exponents of this peculiarly American art form known as the Blues, I was able to personally answer all those questions, and more. I got into the music business in 1971 after joining a small agency in Minneapolis, MN, my hometown. Our activities were confined largely to servicing the college and university market where we did "buy/sells" on major touring rock bands. Through relationships developed with the agents who represented these acts, we were able to "buy" dates and then "sell" them to the college market after adding our commission to the total fee. It was a meager existence, but it was a great way to learn the business. It also provided the opportunity to get a sense for what the college market was interested in terms of musical tastes and styles. I quickly learned that there was a market for the music I loved. The chore was finding and packaging it. By lucky chance, I saw the name Furry Lewis listed in a Billboard publication under the Personal Appearance section. The listing showed a number in Memphis. I called, and Steve LaVere answered. After a brief discussion with Steve I came to find that Furry Lewis was not just "open" to play dates, he was "wide open". Furry was living alone in a house at 811 Mosby Street in Memphis. He had retired from his job as a street sweeper for the Memphis Department of Sanitation and wanted to work. I got on the phone and started telling the "Furry Lewis Story" to anyone who would listen. Within three or four days I had a six day tour booked and called LaVere back with the details. Furry arrived at the Minneapolis/St.Paul airport a month later and the romance began. The First Time... When Furry stepped off the plane on May 3, 1972 I had never laid eyes on an authentic "country Bluesman". Later that day, sitting in the living room of my house, he asked if I would like to hear a tune. As the house filled with the ringing of that open E tuned guitar and the slap of his slide on its neck, I thought I had died and gone to heaven. It activated something in the back of my head that I always knew was there but couldn't put a finger on. I was hooked. When our initial visit (5 days or so) was over, Furry cried, I cried, my wife, Dianne, cried. I assured Furry that we had not seen the last of each other and one month later I was in Memphis and began the process of meeting his contemporaries. These encounters, facilitated by Steve LeVere, a Memphis resident and musicologist, eventually resulted in the formation of the Memphis Blues Caravan, a touring entourage which included, at various times and in various combinations the likes of Bukka White, Sleepy John Estes & Hammy Nixon, Memphis Piano Red, Joe Willie Wilkins and the King Biscuit Boys with Houston Stackhouse, Sam Chatmon (the Mississippi Sheik), Memphis Ma Rainey, Big Sam Clark, Mose Vinson, and others. The acknowledged star of the show, however, was Furry Lewis. ========================================================================= Date: Tue, 30 Jan 1996 17:46:27 EST Reply-To: TRADITION@RYKO-MA.CCMAIL.COMPUSERVE.COM From: David Greenberg Subject: Re: !!!!!!!!!!!Peidmont Blues Fans!!!!!!!!!!!!!!!!!!! Comments: To: bajammin@aol.com For all those who love the Peidmont blues, you will be interested to hear that a new Brownie & Sonny album, "Blowin' The Fuses" (Tradition Records) will be available in May. My partially unbiased opinion is that this is the most important recent Brownie & Sonny release. Most of the album is a live recording from the early 60s, and is of surprisingly high quality. High energy, raw-but-clean, deeeeep blues! It'll be in stores everywhere in May. ========================================================================= Date: Tue, 30 Jan 1996 18:07:37 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Living Blues Magazine Comments: To: dresserd@dns.nxi.com On 30 Jan 96, Derek Dresser had this to say... > I need to recommend BLUES REVIEW magazine. Great writers, articles and > reviews. I just can't bring myself to subscribe to LIVING BLUES because of > their > policy against doing articles on white blues performers. I happen to be a white > blues performer, and know many excellent white blues performers. I don't have > any problem understanding that the roots of blues music are black, but excluding > a vital, integral part of the blues population just doesn't sit right with me. Derek, Maybe you should try thinking about this differently. Living Blues doesn't have a policy that is AGAINST anything. Think of it this way... If you published a magazine for Corvette owners/lovers, that contained articles ALL having to do with Corvettes... restoring, racing, customizing, collecting, etc., would you have a policy against writing about Fords? or would Fords simply not fall into what your magazine is about? Living Blues is no different. It's a fine magazine, devoted to writing about black Blues performers. Just as there are other magazines about cars in general, there are other magazines about Blues in general. Now, if you have no interest in Living Blues' subject matter, just as I would have no interest in a Corvette magazine, then it would be silly for you to buy it. If on the other hand it has articles that interest you, and you don't buy it because they don't write about other subjects, then YOU are being silly. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 30 Jan 1996 18:11:34 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Wolf Reviews ... For anyone interested - we have just put up 19 Wolf reviews on our web-page. Will post a good number of them here. Also when you go out to the Wolf Page click on the "Wolfgame" - it's an extra scramble for February only & the CD giveaway is - Johnny B. Moore - 911 Blues (Wolf #120.873) Not listed on the page is the following rule for the game - YOU WILL BE DISQUALIFIED IF YOU DON'T HAVE FUN! NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 30 Jan 1996 19:00:03 -0500 Reply-To: Gestalt768 From: Gestalt768 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Big Mama Thorton - any bio. info.??? Comments: To: bit-listserv-blues-l@uunet.uu.net I don't have any bio. info but I went to a club date of hers in the late '70s. It must have been at Tramps. She didn't like the audience response and walked off the stage mid-set and wouldn't return....It was very frustrating but the determination sure was impressive. ========================================================================= Date: Tue, 30 Jan 1996 17:49:12 CST Reply-To: JBards From: JBards Subject: Re[2]: Gospel?? Comments: To: Poindexter Regan Scott, the word "gospel" has been around a long time, and I think Jim is correct about its Greek origins, if my old seminary instruction is correct, and if memory still serves. I think perhaps the Rev. Dorsey might have coined a new use of ther term as a musical genre. Fr. Jim, V et M _______________________________________________________________________________ Subject: Re: Gospel?? From: Poindexter Regan at INTERNET-SH Date: 01/30/96 5:31 PM Jim Witteveen wrote: > >Barry wrote: >> Can anyone enlighten me - what is the derivation and/or conn- >> ection with the word Gospel in "Gospel Music"? > >I'm not sure _exactly_ what you're question is, but I'll give it a go... the >word gospel is Greek for `good news'. Christians are instructed to preach >the gospel to the world, and via gospel music the `good news' is spread. >Hope that helps! > >-Jim (hndful@uniserve.com) Greek? Hmmmm....I've been hearing for years that the Rev. Thomas A. Dorsey (previously known in the blues world as Georgia Tom) is responsible for coining the term "gospel" in the early '30s when he began devoting his musical talents strictly to the religious side of things, although I don't have any specific documentation of this. I wonder if Dorsey got it from the Greeks? Scott ========================================================================= Date: Tue, 30 Jan 1996 16:14:44 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: LIGHTNIN' HOPKINS' TRADITION ALBUMS Re: !!!!!!!!!!!Peidmont Blues Fans!! Comments: To: BluesHvn@aol.com Comments: cc: TRADITION@RYKO-MA.CCMAIL.COMPUSERVE.COM Hi David, Will the proposed LIGHTNIN' HOPKINS' sets be just straight reissues of the Mack MacCornick recordings, or will new unissued sides be included? Some of MacCormick's recording were issued on the British 77LA Records and it would be nice to have them available once again. Due Feb 6/96 (from ) TRADITION : ODETTA - ODETTA SINGS THE BLUES TRADITION : LIGHTNIN' HOPKINS - Autobiography In Blues TRADITION : LIGHTNIN' HOPKINS - Country Blues TRADITION : BIG BILL BROONZY - Treat Me Right TRADITION : LEADBELLY - Goodnight IRENE HAND (Have A Nice Day!) "UNCLE" eRIC John Coltrane at Taco Bell: "I'd like a taco supreme...a taco supreme..." John Coltrane on a tennis court: "Love fifteen...Love fifteen..." "I saw Son House in about 1970 and he was on his last legs then! The story told of him was that he got out of the train at Edinburgh Waverley and looked up at the castle and said "MY, that's a big church...."" ~ private e-mail, Lindsay Marshall, (0ctober 20, 1994) ========================================================================= Date: Tue, 30 Jan 1996 19:24:41 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: First argentinian blues message Comments: To: ftoral@meyosp.mecon.ar Toral Fernando said: >I am now waiting for any comments or requests from any of >the subscribers about blues in Argentina. Have you seen Buddy Guy? I ask because I recently saw his show in Chicago and he mentioned that he had toured South America. In fact, he chided us for singing badly (he wanted us to sing along with "Hoochie Coochie" man), and he said the people in South America sang much better than we did, and they weren't even singing in English! I think he was joking about that, but when I saw your note I wondered if he had been in Argentina recently. Karen ========================================================================= Date: Wed, 31 Jan 1996 01:09:26 GMT Reply-To: dresserd@DNS.NXI.COM From: Derek Dresser Organization: Agate Internet Services (AIS) Subject: Re: Living Blues Comments: To: bit-listserv-blues-l@uunet.uu.net "David L. Prychitko" wrote: >The postman just delivered the latest LVING BLUES magazine. I haven't >even taken it out of the plastic wrap yet, but it looks GOOD: Luther >Allison on the cover, features of Lavelle White, James Peterson, Magic >Sam. Festival photos of 1995. I need to recommend BLUES REVIEW magazine. Great writers, articles and reviews. I just can't bring myself to subscribe to living blues because of their policy against doing articles on white blues performers. I happen to be a white blues performer, and know many excellent white blues performers. I don't have any problem understanding that the roots of blues music are black, but excluding a vital, integral part of the blues population just doesn't sit right with me. Derek ========================================================================= Date: Tue, 30 Jan 1996 16:41:41 -0800 Reply-To: Guy Tapper From: Guy Tapper Subject: Re: Living Blues Magazine Comments: cc: pwfenton@GATE.NETU >On 30 Jan 96, Derek Dresser had this to say... > >> I need to recommend BLUES REVIEW magazine. Great writers, articles and >> reviews. I just can't bring myself to subscribe to LIVING BLUES because of >> their >> policy against doing articles on white blues performers. I happen to be >>a white >> blues performer, and know many excellent white blues performers. I >>don't have >> any problem understanding that the roots of blues music are black, but >>excluding >> a vital, integral part of the blues population just doesn't sit right >>with me. > >Derek, > >Maybe you should try thinking about this differently. Living Blues >doesn't have a policy that is AGAINST anything. Think of it this >way... If you published a magazine for Corvette owners/lovers, that >contained articles ALL having to do with Corvettes... restoring, >racing, customizing, collecting, etc., would you have a policy >against writing about Fords? or would Fords simply not fall into what >your magazine is about? > >Living Blues is no different. It's a fine magazine, devoted to >writing about black Blues performers. Just as there are other magazines >about cars in general, there are other magazines about Blues in general. >Now, if you have no interest in Living Blues' subject matter, just as >I would have no interest in a Corvette magazine, then it would be >silly for you to buy it. If on the other hand it has articles that >interest you, and you don't buy it because they don't write about >other subjects, then YOU are being silly. > >P.W. Fenton >Tampa, Florida > P.W.- What about looking at it this way. If a magazine about Corvettes included only articles about MEN restoring, racing, customizing, collecting, etc. Corvettes and ignored women who might be involved in the same activities I would feel it was exclusionary, unless it had a restrictively descriptive title like "Corvettes: For Men Only" or "Boys and Their Toys" or some such thing. Probably most Corvette enthusiasts are men, and arguably the majority of the most talented and successful ones are males, but women Corvette enthusiasts should be included as well, and quite likely some of them would warrant the attention of the Corvette lovers' community. In the same vein, I think the title "Living Blues" implies a more inclusive coverage of the genre than the articles provide. Guy Tapper MLRG Illustration Scripps Institution of Oceanography 9500 Gilman Dr. La Jolla CA 92093-0227 (619)534-2358 (619)534-6500 fax ========================================================================= Date: Tue, 30 Jan 1996 19:57:50 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Gospel?? > Greek? Hmmmm....I've been hearing for years that the Rev. Thomas A. > Dorsey (previously known in the blues world as Georgia Tom) is > responsible for coining the term "gospel" in the early '30s when he began > devoting his musical talents strictly to the religious side of things, > although I don't have any specific documentation of this. I wonder if > Dorsey got it from the Greeks? > > Scott Seems unlikely. The first four books of the New Testament have been called the "Gospels" for an awful long time. He might possibly have introduced the term "gospel music" to distinguish it from "spirituals" but I guarantee he didn't invent the word. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Tue, 30 Jan 1996 19:57:50 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: A vital issue: SELL vs ZELL Now that the terminology is accepted, we gotta settle the spelling. Bluesellers or Bluezellers? Count me firmly in the "Z" camp. The other way looks like Blue-Sellers, which isn't right either in implication or pronunciation. Ian Angus "Built for comfort, not for speed" Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Tue, 30 Jan 1996 19:53:38 -0600 Reply-To: David Silberberg From: David Silberberg Subject: FAQ - Administrative Portion THE BLUES-L FAQ LIST - ADMINISTRATIVE PORTION List Owner - Alan Rollins (blzlynx@nexus.polaris.net) Compiled by David Silberberg (davidis@interaccess.com Last modified December 15, 1995 CONTENTS: 1. What is this FAQ List 2. What is Blues-L 3. How to Receive Blues-L 4. To Subscribe, Unsubscribe, and Other Listserv Commands 5. The Newsgroup Mirror 1. What is this FAQ List? This is a list of Frequently Asked Questions to the Blues-L mailing list and newsgroup mirror. The purpose of this FAQ is to inform newcomers to our community, and to refresh the memories of long-time members, about various aspects of Blues-L, both in terms of administration (subscription information, listserv commands, guidelines, etc.) and content (controversies, definitions, etc.) Please read this FAQ before posting any messages to the newsgroup or mail list. 2. What is Blues-L? Blues-L is a mail list with a newsgroup mirror devoted to the discussion of the Blues in all of its forms - from predecessors of blues music to contemporary performers. Discussions have been very wide-ranging, branching into a variety of topics, but always should include a definite, direct connection to the Blues. Subscribers and contributors include professional musicians, producers, radio programmers, and authors as well as average, everyday lovers of the music. The mail list was created by Jake Haller at Brown University. The current list owner is Alan Rollins. If you should have any technical problems with receiving or posting to the list, and you require human intervention, send a message to blues-l-request@brownvm.brown.edu. Please explain your problem clearly, including the steps you have already taken to solve the problem. Currently, over 1300 people (from countries all over the world) subscribe to the mail list, and countless others read the list through the newsgroup mirror. 3. How to receive Blues-L Blues-L can be read, and posted to, either by subscribing to the mail list (thus receiving the messages as e-mail) or by reading the newsgroup. Either way, you will be receiving all of the messages, and have the ability to post your responses / questions / opinions. You should choose your method based on your internet connection: some people find it easier to read e-mail messages, some find it easier to read newsgroups. This is a high-volume group: usually, 50 to 100 messages are posted each day. The choice is yours, but we strongly urge you to subscribe to the mail list: if you wish to receive the list through the newsgroup, you can set the mail list to NOMAIL (instructions are below). At some point, the owner may take the list "private", meaning that only subscribers (including NOMAIL) subscribers) to the mail list will be able to post. To post a message to the list through e-mail, send the message to blues-l@brownvm.brown.edu This is the list address. 4. To subscribe, unsubscribe, and other listserv commands The following commands should be sent to: listserv@brownvm.brown.edu. DO NOT SEND THEM TO THE LIST ADDRESS, which would cause you request to be sent to the entire list and newsgroup without causing the listserv to act on your command. The subject line should be blank, and the message content should be as follows: TO SUBSCRIBE: SUBSCRIBE BLUES-L TO UNSUBSCRIBE: SIGNOFF BLUES-L TO SET YOUR RECEIVING METHODS: The default method is to receive individual e-mail messages for each message sent to the list. The digest format sends you one e-mail message each day containing all of the messages sent to the list since the last day's digest. This is a long document. To set the list to digest format, send the command to listserv@brownvm.brown.edu, no subject, message: SET BLUES-L dig The index format sends you a daily index of messages sent to the list. The index contains the poster of the message, the subject line, and the size of the message. To set the list to index, send the command to listserv@brownvm.brown.edu, no subject, message: SET BLUES-L index To retrieve a particular message that you wish to read, you will have send send a message to blues-l-request@brownvm.brown.edu. When you set this option, the listserv will send you detailed instructions on how to use it. TO TEMPORARILY STOP MAIL FROM THE LIST FOR A FEW DAYS, WITHOUT UNSUBSCRIBING, or to subscribe to the list and read the newsgroup instead, send a message to listserv@brownvm.brown.edu, no subject, with the message: SET BLUES-L nomail To resume receiving mail, send the message: SET BLUES-L mail Please remember, any subscription request should be sent to listserv@brownvm.brown.edu. You will receive a complete list of listserv commands by sending a message to the listserv, with no subject, and the message: HELP. 5. The Newsgroup Due to the high volume on this list, and the fact that many subscribers prefer to receive newsgroups rather than e-mail, David Pimmel led the way in initiating a Blues-L Newsgroup. This newsgroup mirrors the activities of the Blues-L mail list. The address of the newsgroup is: bit.listserv.blues-l If you are a newsgroup reader, you have all of the privileges and responsibilities of mail-list subscribers: you get all messages, and may post to the newsgroup. All of your messages will be read by list subscribers and newsgroup readers. If you are posting through a newsreader, there is a chance that your message will not appear in the group. This is most likely due to an incorrect setting for the moderator in the news software. The correct address is blues-l@brownvm.brown.edu. Check with your local system administrator if this seems to be a problem. In the meantime, you can always contribute via direct e-mail to the above address. ========================================================================= Date: Tue, 30 Jan 1996 19:53:45 -0600 Reply-To: David Silberberg From: David Silberberg Subject: FAQ - Etiquette Portion THE BLUES-L FAQ ETIQUETTE AND GUIDELINES PORTION List Owner - Alan Rollins (blzlynx@nexus.polaris.net) Compiled by David Silberberg (davidis@davidis@interaccess.com) Last Modified October 12, 1995 Any additions, suggestions, or corrections should be mailed to David Silberberg (davidis@interaccess.com) CONTENTS: 1. General Etiquette 2. Announcing Personal Appearances 3. Announcing National Act Appearances 4. Selling Stuff on Blues-L 5. Appropriate Blues-L Topics This is the etiquette and guidelines portion of the Blues-L FAQ. PLEASE READ IT BEFORE POSTING ANY MESSAGE TO THE LIST / NEWSGROUP. Blues-L is not censored in any way. All messages will be posted to the list. But this is a list devoted to discussion of the blues, and this is a community of blues-lovers and people interested in the form. Over 750 people, from all over the world, subscribe to the mail list; countless others read the newsgroup without subscribing. We you will follow these simple guidelines, so that Blues-L will be a happier, friendlier place to be. 1. General Etiquette A. Remember that PEOPLE will be reading your post. Not everyone will agree with your views, but they are people with valid opinions. Base your arguments on what has been said, not on who you think the sender is. Don't get personal - let your argument speak for itself. B. Mr. Pimmel has structured the list so that your mail readers / newsgroup readers automatic "reply" feature will address your response to the individual poster of the message. This is to remind us to think whether or not we wish to respond to the entire list (certainly completely appropriate if you think you comments will interest the entire list), or to the individual poster of the message you are responding to. C. Avoid posting "I agree" or "Great Post" or "Me Too" messages to the entire list. This is a waste of resources. If you wish to send this kind of message, please send it to the individual you are complementing. D. Avoid posting messages without any useful contents. This includes messages containing only snide remarks to a previous poster, etc. It also includes message where you say "Sorry, no blues content". If there is no blues content, do not send the message to the list. E. Commercial messages should not be posted to the list. (However, see below for guidelines concerning personal appearances by musicians who are members of the blues-l community.) F. If a topic (or musician, etc.) has been extensively discussed recently, hold off on bringing it (him / her) up again. Let another topic get some time on the list. G. Remember the distinction between posting to the list (where everyone sees it) and posting to an individual privately. Think about the universality of your message: if you think many (if not most) people on the list would find your message interesting and informative, please post it to the list. If your message would be of interest to only one or two people, send it to them privately. H. Please pay attention to your "subject line": make sure it accurately reflects the contents of your message. If you have changed the subject during your response to a previous post, please change your subject line. I. When responding to a previous post, it is acceptable - and often necessary - to quote a few lines from that previous post, to remind readers of what you are referring to. But quote only as much as is necessary to make clear what you are responding to. J. Above all, use common sense and consider the feelings of others. Treat others as you would wish them to treat you. We know that sounds like church - but it is good advice. 2. ANNOUNCING PERSONAL APPEARANCES It is appropriate to announce your personal appearances on the list, with certain restrictions. Many people on our list are interesting in seeing other members perform. However, frequent (weekly?) announcements that you will be playing in such and such places is going too far. Please remember, this is a global list: most people will not be able to swing by the corner pub for your Friday night set even if they want to. With that in mind: A. Perhaps you could post a message bi-monthly, introducing yourself, the style of music you play, and the general geographic area you play in. Request private responses from people who would be interesting in receiving your "gig list". These would most likely be people who would realistically be able to attend your performances, and would be the people you would most like to reach with your message. B. E-mail the information only to those people. C. If your situation changes, and you get some bookings in a new location, then please post this information to the entire list. 3. ANNOUNCING NATIONAL ACT APPEARANCES Announcing "national touring acts" is appropriate to the list, because it gives readers a way of seeing who is on the road and who will be appearing in their area. Of course, the list members would be interested in your attending such shows, and reviewing them on the list. 4. SELLING STUFF ON THE LIST Do not use the list to sell CD's, tapes, or other merchandise for profit. Doing so may be illegal, so DO NOT DO IT. 5. APPROPRIATE BLUES-L TOPICS This is an uncensored list. All messages will be posted to the list, so please adhere to these simple guidelines: Any topic relating to the blues - the music, performers, books, cultural aspects, history, technical music discussions, reviews, opinions, facts - if it relates to the blues, it is appropriate for Blues-L. This is a terrific list: many members have some kind of professional relationship to the music - musicians, producers, authors, radio programmers, etc. Someone here can answer almost any question you may have - and any information you may wish to transmit will be gratefully accepted by our community. But please - make sure your facts, opinions, and other comments relate to the blues. ========================================================================= Date: Tue, 30 Jan 1996 18:29:18 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Gospel?? Scott wrote: >Greek? Hmmmm....I've been hearing for years that the Rev. Thomas A. >Dorsey (previously known in the blues world as Georgia Tom) is >responsible for coining the term "gospel" in the early '30s when he began >devoting his musical talents strictly to the religious side of things, >although I don't have any specific documentation of this. I wonder if >Dorsey got it from the Greeks? I think Ray Astbury pointed out the correct terminology (I had it a bit wrong) - gospel is the English equivalent of a Greek word, and the english word was around long before Dorsey was (ie. the four gospels in the new testament, and the word was used in the King James Version of the Bible in the 17th century). -Jim (hndful@uniserve.com) ========================================================================= Date: Tue, 30 Jan 1996 20:38:52 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Ruth's snide comments... Mi> Are we nitpicking about semantics again here? Slide is slide. Mi> You're using an implement on the neck of the guitar, bottle, glass, Mi> steel, knife, sparkplug socket, whatever. This issue is not a subtle, difficult concept that requires an advanced degree to comprehend. The major differences between what techniques are available with what was originally referred to as Hawaiian slide guitar, cowboy steel guitar, and dobro is that the sliding instrument is a heavy, long metal bar that is held with all the fingers of the left hand. The instrument must be held _flat_, and because all the fingers of the left hand are engaged in holding the slide, they can NOT be used for anything else. In addition, any desired note that is played (the one corresponding to the length of the string from the slide to bridge) is always accompanied by its complement, a 'ghost note', that from the slide to the nut, because the complement can _not_ be damped out as is normally done in bottleneck. Thus, the annoying 'whining' of real slide guitar. Therefore, because of the severe physical constraints of engaging the _whole left hand_ in just _holding_ the slide, bottleneck style allows the following _very_ significant advantages that simply CAN NOT be accomplished with slide technique: 1> 4 fingers are available for chording 2> strings may be bent with those fingers 3> the undesirable and annoying 'ghost' note may be easily damped out with the free fingers 4> notes may be 'hammered on' 5> notes may be 'hammered off' Hopefully, anyone can now easily see the distinct musical advantages inherent in bottleneck style, and the absurdity of calling two things so totally different by the same name. On the other hand, some people actually want to communicate clearly and some do not. Mi> understand that we can break down the playing of "slide" into styles Mi> if you want to....."delta style", "bottleneck style", etc, etc A lot of 'delta' style is played with bottleneck, and a lot is played with no moving fret whatsoever. Unusable definition or distinction. Mi> ..., are you talking about a style, or the actual Mi> implement of choice that you slip on your finger. Since one can NOT 'slip' a heavy metal bar 'on your finger', this is a erroneous concept. Everything that 'slips on the finger', regardless of the material of construction, should be called bottleneck style. Mi> But don't confuse the two. The point is to not identify two totally different techniques with the same name. Mi> I play a lot of Elmore James style with a glass coricidin bottle on an Mi> electric Mi> archtop, and I also play a lot of what I call acoustic delta style on Mi> a dobro using brass. What you, and others, choose to incorrectly label things does not change the fact that the delta guys, with very minor exceptions, used bottleneck, NOT flat on the lap big, heavy metal bar slide/dobro technique. Mi> They're entirely different styles, but hey I'm a simple guy... The order of the notes is simply NOT the point; the point is that many more techniques, listed above, are available with bottleneck that simply can NOT be done with a metal bar. Isn't that simple enough?? Mi> I call it slide guitar. Why, are you trying to communicate inaccurately, or don't you really comprehend the extreme differences, and thus the _need, for different terminology?? ... "Don't forget what you already know!" - RoboCop --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Tue, 30 Jan 1996 20:38:57 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Blues without feeling? Pa> Yesterday Laurie Forti said: >Personally, I have no reason to believe that 'emotions' can be >transmitted by music. Now, people may easily PROJECT their belief >about what they think they might 'feel' in a similar situation, >however, I simply do not perceive the commonly touted 'blue'; i.e. >psychological depression, in Blues. OK, I'll say it again today. What was the point?? Example: Charley Patton's High Water Everywhere, a song about a flood, definitely is up-tempo, and not the slightest bit morose, gloomy, or depressed. If the lyrics were different, it could be a dance tune. ... Where were you when the rollin' mill burnt down?? --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Tue, 30 Jan 1996 20:39:04 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: A rant from don about Sh> An open-minded person is willing to Sh> entertain opposing viewpoints and even learn something from them. It Sh> could even lead to a modification of ones own views. A close-minded Sh> person wouldn't even think of listening to someone with an opposing Sh> viewpoint. Sh> That is why I am opposed to any ideas of splitting the Sh> list. It is a stupid and elitist idea. Do I detect a bit of self-contadiction, here?? Closed-mindedness? Splitting the list into reasonable topic-oriented sublists would certainly NOT restrict or deny anything to anybody, as you have implied. I would just ease the horrendous burden now forced on those who have a particular or well-developed interest, other than the color of SRV and EC's underwear, what you eat while listening to Blues, and who saw who last night. Sh> I have said this before quite recently. I want to hear what the Sh> purists say. I could learn something. I want to hear what the gearheads Sh> say. I could learn something. I want to hear what eveyone has to say Sh> about anything on Blues-L. I could learn something. Given this profound thirst for knowledge, just subscribe to all the sublists. Easy! Sh> Blues-L. ... (after the fact it is all about blues). It's not, and that is the point of creating specific topical areas. ... The Blues exist when one has to weed through 300 irrelevant msgs a ... day to find the occasional pearl. --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Tue, 30 Jan 1996 20:39:07 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Blues without feeling Sh> ... listen to Muddy Water's Sh> "Hard Again" album. The 'emotions' transmitted by this album are of Sh> pure joy. I'm sure any music that is 'tight', rocks, and is well done can be interpreted in these terms. I'm quite sure anyone can generate 'joy' in response to ANY pleasurable input; a baseball game that one's team is winning. Similarly, if one's team is losing, one can project 'sadness'. But to claim that baseball has some magic power of transmitting specific emotions, when people can experience totally opposite ones from the _same_ experience, is pure fantasy. Sh> Music can 'transmit' emotions. Some of it is subjective. If it could transmit a 'specific' emotion, then _none_ of it could be 'subjective'. These concepts are mutually exclusive. If I transmit "1 + 1 = 2"; there is no ability to be subjective about the message. However, because some people find humor/joy in certain styles of comedy, and other people find only disgust, the hypothesis that the media can transmit specific and identical biochemical experiences in the brains of all humans is simply silly. To test all this, we need only play some Blues to people who do not understand English, this to eliminate the possibility of their _projecting_ the 'correct' emotions related to the lyrics, and see what the reported emotions would be. And then we play the same pieces to people from different cultures. Sh> It is a means of cartharthis (sp?) and it Sh> sure makes me feel good when I'm down. Why would listening to music caused by the (assumed) depression of others counteract another's depression?? Misery loves company?? Admitting that one generates ones own emotions, and taking total responsibility for them, can be the beginning of a path of self-improvement whereby one can gradually deprogram all the negative emotions programmed into to us by the surrounding neurotic society. Babies do not express negative emotions; these are merely cultural elements of the psychotic society in which we find ourselves. ... "I hate waking up in someone else's nightmare!" The Maxx --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Tue, 30 Jan 1996 20:39:09 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Blues without feeling Bg> It seems that the main fault you find in Lonnie Johnson's music is Bg> that it isn't "intense" (your word) enough for your tastes. That's one. Others are his 'la-la' voice, lack of a variety of interesting vocal effects, and as another put it if I remember, jazz-like cabaret(?) style. Bg> Intensity does not necessarily equal quality. Not _equal_, but it should be one consideration not to be ignored. My original point was that mere technical proficiency on an instrument does not "equal" quality either. Especially when non-Blues jazz chords and changes are used which should cause serious consideration whether the music was actually Blues, or a watered-down Blues-like concoction made pretty and more acceptable to the public to increase profits. Certainly today, we _should_ be aware of the pressure of record companies that try to alter the style of various artists, so they will be more 'acceptable' to the public and sell more records -- read make more money for the record companies. This is an acknowledged fact in the music industry, and it certainly changed the quality of the music of more than a few: Ray Charles, Aretha, Fats Domino, Muddy, BB, Elvis, ... Of course, I know some folks have not developed standards more critical than: Afro-American + guitar = the greatest Blues artist ever. I'm merely suggesting that more critical standards can be useful. There was LOTS of very mediocre music sold as Blues or race records; to claim that everything was of equal quality and nothing short of great is the same as claiming that ALL current popular music is equal AND GREAT. The world was awash in mediocrity then, as it is now. The true creative genius, however, very seldom has a huge following: Bucky Fuller, for instance. [No, he was not Blind Boy Fuller's brother.] >> As far as I'm concerned, our latter day definitions of what is >> and isn't (or was and wasn't) blues are moot. Blues is what the >> contemporary blues audience said was blues, whether it appeals to >> OUR modern blues sensibilties or not. Interesting; here you disqualify your own sensibilities; at least we are now considered equal. Totally unqualified. Thanks... I believe the concept that the audience is an active element in the design process is just as false here, as the statements by the automobile industry that the public doesn't want efficient, safe, alternative energy fueled, and reliable transportation. They claim we don't buy this; I claim it was never offered to give the public the choice. The industry forces its choices on the public, we do NOT shape industry. Some of the smaller record companies WERE run by enthusiasts that really supported the rich variety of individual talent that would never have been recorded, and left to us on one well-worn 78, otherwise; the major labels tended to be run as a business to make money, but not to preserve creative genius. >And how would that population have any better developed insight >into what was good, vs. mediocre, vs. awful, than today's ignorant >masses?? Bg> They had more insight because THEY developed the blues, THEY defined Bg> it, it was BY them and FOR them--it was THEIR music, not OURS. I think you were claiming that the audience defined the music. Bg> Look at it this way: If you or I studied Australian Bg> aboriginal folk music for a few years until we were qualified as Bg> experts among our own people, do you think we'd be qualified to go to Bg> Australia and tell the aborigines that what they've always thought was Bg> their folk music no longer qualifies, because it doesn't fit into OUR Bg> definition? Actually, I think that there are _human_ expressions that transcend culture; for instance let's go to the Aborigines and play them a Charley Patton and Lonnie Johnson piece and have them report on perceived quality. Bg> seem to be arguing that popularity equals a LACK of quality. You're Bg> underestimating the masses, and overestimating your own supposedly Bg> superior powers of perception. TV tunes it programming toward the advertising dollar, therefore it creates programming to please the masses. If, as you claim, popularity equals quality, then we'd have quality TV. But, of course, we don't. ... "Converts are the worst kind of bigots!" Max Headroom --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Tue, 30 Jan 1996 20:39:12 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Blues without feeling > Laurie Forti said: > >Personally, I have no reason to believe that 'emotions' can be > >transmitted by music. Now, people may easily PROJECT their belief > >about what they think they might 'feel' in a similar situation, > >however, I simply do not perceive the commonly touted 'blue'; i.e. > >psychological depression, in Blues. Pa> Laurie may have no such reason but I think the rest of us do! Are you realy tring to be the spokesperson of hundreds of people without polling them first?? Pa> When a great musician ... plays a particular string of notes, he is striving for a particular effect, Pa> to express his feelings and emotions. If he does this effectively, I Pa> feel the same emotions when I hear the same sequence. Pa> If I am also conversant with the conventions Pa> and idioms of the genre, I am more likely to feel more of what he is Pa> communicating because I associate the sounds and feelings with similar Pa> experiences from my past. If, however, I am not so conversant (eg I am Pa> ignorant of rap), any emotion expressed in it is likely to leave me Pa> cold. Here, the 'more likely' indicates that your 'feelings' are _projections_ based on your intellectual comprehension of the lyrics and how you would respond to "similar experiences". Pa I think the process is similar to electronic transmission of Pa> sound and data: accurate and faithful reproduction of the original Pa> results in clear comprehension at the other end; ... Your analogy breaks down, because the receiver hardware does NOT have those "similar transmissions from the past" to shape the content and meaning of incoming receptions. ... "This past decade has been a bitch on humanity!" seaQuest 2032 --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Tue, 30 Jan 1996 20:39:24 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Blues-l "quote of the day Pw> "I don't believe I said that all opinions are right. I did say that Pw> opinions cant really be wrong." If someone held the opinion that Robert Johnson, Son House, and Willie Brown were currently playing in a Blues bar in Chicago, that opinion would be most certainly wrong. What I think you might have been trying to say was that opinions about culture, because culture exists in the imagination of the human being and therefore has no absolutes, are highly idiosyncratic and there are no objective qualities to these; hence, no right or wrong. The opinion that the ratio of the circumference to the diameter of a circle is 5, most certainly is wrong. Facts do exist. ... "That's just my opinion, ... I could be wrong!" Dennis Miller --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Tue, 30 Jan 1996 20:39:27 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Bl >> It's really refreshing to see that someone here understands the >> music well enough to be able to make this distinction. Thanks. >> Now, teach 'em the difference between knife, slide, and bottleneck >> guitar. Is> It's the same. I've played with a knife alot, holding it in between my Is> my index and middle finger. Using this style of knife technique, you have claimed that it uses two fingers to hold the knife. Presumably, this would allow only the two remaining fingers and thumb to chord, hammer on/off, bend notes with. Bottleneck sits on one finger leaving 4 for interesting effects. Some purists, no doubt, would claim that the numbers 3 and 4 are different. ... "I don't want to get off on a rant here, but ..." Dennis Miller --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Tue, 30 Jan 1996 20:39:29 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Bottleneck vs. other type Pa> Yesterday Laurie Forti implied that SOME of us don't know the Pa> difference between bottleneck and knife slide. For the record Pa> one more time, we DO understand the difference, but we are only Pa> interested Pa> in it for historical purposes. Laurie chastised me last month Pa> for refusing to call my brass slide a "bottleneck." What I was pointing out was that there are several very _important_ differences in the techniques that are available with a bottleneck (regardless of the material of construction) as contrasted to those available with a heavy metal slide that takes the whole hand to hold. NOTE: these specific concepts were not responded to... Definitions: Bottleneck: a hollow cylindrical object of any material that fits over one finger, generally the little one. Slide: a heavy metal non-hollow bar that must be held by several, if not all, fingers of the left hand. The differences are, once again: 1> Holding the bottleneck captures only one finger, leaving the other 4 fingers free to: a> chord b> bend c> hammer on and off d> damp the 'ghost note' [nut to bottleneck] 2> Heavy metal thing ties up the whole left hand, (as in the original Hawaiian slide and current cowboy music, Dobro, and flat on the lap knife technique), thus not allowing the above listed musical variations which are rather important to, and quite characteristic of, Country Blues. Pa> Having spent Pa> many wonderful hours listening to some of the most well-known and Pa> respected Pa> bottleneck-style slide players in the country, such as Rich Pa> DelGrosso and Steve James, I have adopted their idioms, one of Pa> which is to call a slide a slide -- No, they're calling a bottle a slide. Right, how silly of me; these wanna be's are the _originators_ of the style. No doubt, they cut off the necks of bottles and call them slides just to confuse everyone and rewrite history. Chosing to adopt meaningless and erroneous conventions of people who have no interest in communicating accurately and no respect of historical fact does nothing but propagate the confusion. What is the purpose of this?? Pa> NOT "bottleneck slide" -- no matter what the style or implement. If you are claiming that _I_ suggested this, even worse, meaningless terminology, then you simply have not understood what I said. Pa> Laurie, if you Pa> know of an authentic bottleneck-style slide player who refers to a Pa> non-bottleneck material slide as a bottleneck slide, ... Again, I have NOT suggested this horrendous term, it's even worse than calling bottleneck technique and heavy metal bar technique the same name. Pointing out the profound differences of techniques available and the consequent necessity of calling them by different names was my intent. This exercise will hopefully dispel any of my past ambiguities. Since the originators of the bottleneck guitar style cut the _necks_ off of _bottles_, and since the techniques available are so VERY different than those available with a heavy metal bar, it makes sense to use terminology that is clearly descriptive and nonambiguous. However, perhaps it makes sense only to purists, who might see the value of meaningful communication? In order to facilitate meaningful communication, would you please answer the following: 1> Do you agree with the differences and pronounced advantages I listed in 1> a, b, c, d, above?? If not, list specific disagreements with specific _reasons_. 2> If you agree there _are_ profound differences in the effects possible, then attempt to make a rational case for calling different things by the same name, which has been your position to date. Do this in the context of the _fact_ that _bottlenecks_ were cut off, fire polished, and used for this purpose specifically in Country Blues. 3> If you believe there are NO differences, could you PLEASE tell me just how you chord, damp, hammer, and bend with a two pound chunk of metal in your left hand. I'd really be interested in that! ... "Believe what you will, until experience changes your mind!" Babylon 5 --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Mon, 29 Jan 1996 18:47:46 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Comp Bo Carlsson said: >Most people that are great compers (?) in blues improvise a whole lot. They >explore new ways to back singers or soloists all the time. That what makes >someone like Otis Spann, Ronnie Earl or Big Walter Horton so great when >they have (had) a gig as sidemen. First reading the post I was shocked by my spelling. Sorry about that. I agree with what Bo says about Otis Spann etc. being great sideman. I spend a lot of time working on comping etc. and to a degree a little improv goes on. However, I would tend to define comping as a part of playing rythm to separate it from soloing. Maybe I'm being pendantic but I never usually equate comping with improvising. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Tue, 30 Jan 1996 18:58:34 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Living Blues Derek wrote: >I need to recommend BLUES REVIEW magazine. Great writers, articles >and reviews. I just can't bring myself to subscribe to living blues >because of their policy against doing articles on white blues >performers. I happen to be a white blues performer, and know many >excellent white blues performers. I don't have any problem >understanding that the roots of blues music are black, but excluding a >vital, integral part of the blues population just doesn't sit right >with me. Oh nooooooo!!!!!Not again!!!!! It's deja vu...in the dark ages BB-L (Before Blues-L) I was flamed profusely on rec.bluenote.blues by someone who called me a racist so-and-so for recommending Living Blues to someone who asked...well, I agree with PW on this one - I've got no problem with Living Blues' editorial position, and must say (again) that it's an excellent publication. As for their almost exclusive focus on black performers, I think it's great that some of the lesser-known and underappreciated artists in the black blues community can finally get some ink - they've turned me on to a whole bunch of great music that I wouldn't have heard of elsewhere. -Jim `was going to let this thread die peacefully, but, since the dam has already burst, figured he'd add a bit more water' Witteveen (hndful@uniserve.com) ========================================================================= Date: Tue, 30 Jan 1996 23:03:12 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Living Blues Comments: To: hndful@uniserve.com Someone wrote (again and again and again and again) >>I need to recommend BLUES REVIEW magazine. Great writers, articles >>and reviews. I just can't bring myself to subscribe to living blues >>because of their policy against doing articles on white blues >>performers. I happen to be a white blues performer, and know many >>excellent white blues performers. I don't have any problem >>understanding that the roots of blues music are black, but excluding a >>vital, integral part of the blues population just doesn't sit right >>with me. As someone else pointed out, this theme has been stated before. It is stated so repeatedly and in such identical terms that I have to wonder whether someone is shilling for BLUES REVUE when they post these things. Its too much the party line to be coincidence. Tom Freeland ========================================================================= Date: Wed, 31 Jan 1996 00:10:15 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Amps Can someone provide info/advice about these opportunities... '60s Epiphone Pacemaker, 10" speaker $140 '60s Epiphone Galaxy, reverb, trem, excellent condition $195 Valco TuneMaster, single, 10", $175 Fender Vibro Champ $150 I'm a bit wary of buying anything through the 'net, especially something that costs so much. Does anyone have any experience buying amps through the 'net? Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" :) ========================================================================= Date: Mon, 29 Jan 1996 21:20:43 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Blues without feeling Laurie wrote: > Sh> ... listen to Muddy Water's > Sh> "Hard Again" album. The 'emotions' transmitted by this album are of > Sh> pure joy. > I'm sure any music that is 'tight', rocks, and is well done can be >interpreted in these terms. I'm quite sure anyone can generate 'joy' >in response to ANY pleasurable input; a baseball game that one's team >is winning. Similarly, if one's team is losing, one can project >'sadness'. But to claim that baseball has some magic power of >transmitting specific emotions, when people can experience totally >opposite ones from the _same_ experience, is pure fantasy. This a false analogy. When you hear Muddy singing the way he does on the album, with wit and humour, the shouts of encouragement for the band memebers, the excitement in the solos hoe are tou supposed to feel. Depressed cause it's the blues? Get real. How am I supposed to feel when Magic Sam kicks into the solo on "You Were Wrong"? Ambilavent because music doesn't transmit emotions? Come off it. How am I supposed to feel when I first saw a video of Son House? Nothing because the video couldn't transmit the power and the intensity of the performance? Good grief. How do I explain the fact that when I played "Hard Again" for friend, she was blown away and feel in love with the album for much the same reasons as I? How do I explain that there are probably more than one memebr on this list that has experienced the same feelings when hearing this music as I have. > Sh> Music can 'transmit' emotions. Some of it is subjective. > If it could transmit a 'specific' emotion, then _none_ of it could >be 'subjective'. These concepts are mutually exclusive. If I >transmit "1 + 1 = 2"; there is no ability to be subjective about the >message. However, because some people find humor/joy in certain >styles of comedy, and other people find only disgust, the hypothesis >that the media can transmit specific and identical biochemical >experiences in the brains of all humans is simply silly. I feel that some music is subjective. When I sat down one night a few years back and listened to a song by the late Sonny Sharrock and damn well cried that was subjective. The song was an inredibly beautiful ballad and upset over a girl and somehow Sonny's playing struck something. I don't know what the intent of his song was but that is how I interpreted then. Yet when I hear BB King sing "Sweet Little Angel" I hear the joy. If music was truly subjective then someone would feel downright depressed at listeniing to the sane song. If the media cannot transmit emotions then why do we enjoy books, movies, and music? In fact Laurie, why do you enjoy the blues. You must find it void of any emotional content? > To test all this, we need only play some Blues to people who do >not understand English, this to eliminate the possibility of their >_projecting_ the 'correct' emotions related to the lyrics, and see >what the reported emotions would be. And then we play the same pieces >to people from different cultures. I seem to remember that when I lived in Japan, blues was very popular. Given the cultural gulf the Japanese seemed to understand the music and respond to it in much the same way as we do. > Sh> It is a means of cartharthis (sp?) and it > Sh> sure makes me feel good when I'm down. > Why would listening to music caused by the (assumed) depression of >others counteract another's depression?? Misery loves company?? Read it again. If you don't understand the meaning of cartharthis then use a dictionary. Actually when I'm really down I go for the blues that features Buddy or Albert of Muddy rockin' out, having a good time and I join in with them. > Admitting that one generates ones own emotions, and taking total >responsibility for them, can be the beginning of a path of >self-improvement whereby one can gradually deprogram all the negative >emotions programmed into to us by the surrounding neurotic society. >Babies do not express negative emotions; these are merely cultural >elements of the psychotic society in which we find ourselves. What is a negative emotion? Is the sadness I felt about the end of a realtionship the result of myself being programmed by society? I'm sure that it had nothing to do the fact that I loved the girl but circumstances were against us. Yeah, right. Life isn't easy. You are going to experience negative emotions no matter what you do. So if I get angry at someone at someone for what they have done to me with no provacation by my part I'm to assume that it's my fault? I'm not sure why you are on this list, Laurie. I'm in no way saying that you should not be here. It's that I just don't understand how you could like a madia form that transmits through music the full spectrum of what it is to live. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Mon, 29 Jan 1996 21:20:52 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: A rant from don about Laurie wrote: > Do I detect a bit of self-contadiction, here?? Closed-mindedness? > Splitting the list into reasonable topic-oriented sublists would >certainly NOT restrict or deny anything to anybody, as you have >implied. I would just ease the horrendous burden now forced on those >who have a particular or well-developed interest, other than the color >of SRV and EC's underwear, what you eat while listening to Blues, and >who saw who last night. Me? Closeminded? I'm not the one saying let's split the list because I don't like everything on here. If the list were split then theres are good chance that people won't experience the full spectrum of the list. An whether you like it or not that includes discussions on the SRV and EC's underwear. It also includes the chance to hear form Dick Waterman and Dick Shurman. Two people who appear on the liner notes of a lot of my CD's. I consider this a privelige. If a person omnly subscribed to a few lists they may miss out on such an oppurtunity. The list allows me to learn about blues artists that I may never have heard of. The list has allowed me to meet fellow blues lovers all over the world. The lsit allows me to have a little fun even. What more could you want? > Given this profound thirst for knowledge, just subscribe to all >the sublists. Easy! Why not make things easy and have one list. > Sh> Blues-L. ... (after the fact it is all about blues). > It's not, and that is the point of creating specific topical >areas. It is. Judging from what I read it seems that the regular subscribers have interests all over the blues. >... The Blues exist when one has to weed through 300 irrelevant msgs a >... day to find the occasional pearl. 300 a day. Surely you exaggerate. Let's see what topics were covered today. There was posts on the Mardi Gras. Now surely that is blues related. The editorial policy of "Living Blues." Definately blues related. Barry Silverberg has posted info on some reviews of new Wolf CD's. Blues related. Posts on Guitar Shorty, Big Mama Thorton and others. Remember that other people read and use this lists and what may interest them may not interest you. Just because you don't like everything doesn't mean that we need a new list. I don't follow or read every thread. Do you hear me hollering for a list that caters to my exclusive interests within the blues? Close-minded. Ha! It's not me. When you come across a post or thread that has no interest to you, take a deep breath, hit the delete key, smile and move on. I think this is the third time I've said this in the past week but I'll say it again till the message is recieved. Respect and enjoy the diversity of peoples opinions. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Tue, 30 Jan 1996 23:24:00 -0600 Reply-To: Keith Castleberry From: Keith Castleberry Subject: Country Blues or Blues Country or Country or Blues Here's interesting note. My station is primarily "Country". They subscribe to a service called "New Country". Well the latest has Pride & Joy by Steveie Ray Vaughn. Country? Not! Blues, yes. Also, there is a cut by Dan Baird titled "Cumberland River" that I would swear is a Blues tune if I didn't have in my hand the album cover. Well, are we begining to see a merging of Country and Blues?? My flame address is enclosed. Keith Castleberry WYDH 105.9 FM "The Blues Cruise" P.O. Box 710 Atmore, AL 36504-0710 ========================================================================= Date: Wed, 31 Jan 1996 01:11:51 -0500 Reply-To: Anita Samuel From: Anita Samuel Subject: Gospel Music and Thomas Dorsey Comments: To: Jim Witteveen In-Reply-To: <96Jan30.182919pst.30754-2+330@haven.uniserve.com> Thomas Dorsey is the father of gospel music. Before he played "gospel" he played piano for Ma Rainey (blues). He said gospel music was/is sacred lyrics set to secular music. Is there a gospel list? Can anyone provide instruction on creating one? Thanx in advance. Sistah nitra WKDU 91.7 Sundays 10 - noon Philadelphia, Pennsylvania =+=+=+=+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++=+=+= On Tue, 30 Jan 1996, Jim Witteveen wrote: > Scott wrote: > >Greek? Hmmmm....I've been hearing for years that the Rev. Thomas A. > >Dorsey (previously known in the blues world as Georgia Tom) is > >responsible for coining the term "gospel" in the early '30s when he began > >devoting his musical talents strictly to the religious side of things, > >although I don't have any specific documentation of this. I wonder if > >Dorsey got it from the Greeks? > > I think Ray Astbury pointed out the correct terminology (I had it a bit > wrong) - gospel is the English equivalent of a Greek word, and the english > word was around long before Dorsey was (ie. the four gospels in the new > testament, and the word was used in the King James Version of the Bible in > the 17th century). > > -Jim (hndful@uniserve.com) > ========================================================================= Date: Tue, 30 Jan 1996 21:29:40 -0500 Reply-To: RNABooking From: RNABooking Organization: America Online, Inc. (1-800-827-6364) Subject: Johnny Copeland back in hospital Comments: To: bit-listserv-blues-l@uunet.uu.net Johnny Copeland will undergo surgery tomorrow to replace the pump that's doing the work of his heart. The one that's in there is malfunctioning...something about the bearings going out. I'll post tomorrow after his surgery and give an update. ========================================================================= Date: Tue, 30 Jan 1996 23:25:04 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Blues without feeling >>> Admitting that one generates ones own emotions, and taking total >>>responsibility for them, can be the beginning of a path of >>>self-improvement whereby one can gradually deprogram all the negative >>>emotions programmed into to us by the surrounding neurotic society. >>>Babies do not express negative emotions; these are merely cultural >>>elements of the psychotic society in which we find ourselves. > > >Okay...after reading all these posts, I figured I should respond to at least one...call me a masochist if you will. I'm not sure what you mean by negative emotions, but I have three nephews under the age of 5; if they're hungry, they cry. If they're not getting enough attention, they tend to start throwing things around. If they're crabby, they have a tantrum. I think they're normal, average kids, and it seems to me that these emotions are what you would term `negative' - they aren't blessed little angels until they see others doing bad things - this is what they were born with. This `tabula rasa' stuff is psychobabble b.s. (sorry to be so blunt, but this crap makes me ill.) > >So...on to my second point...this society is psychotic and neurotic, is it? I was under the impression that one couldn't be psychotic and neurotic at the same time, and that these are terms used to describe individuals, not entire groups of people. Via this statement you are saying that you yourself (as a part of society) are psychotic and neurotic. Or is it just all the rest of us? > >And lastly, I heard it said that music is a medium that bypasses the head and goes straight to the heart. It is a statement that makes eminent sense to me. If it doesn't directly affect one's emotions, why, in other cultures, were war drums and bagpipes used in battle? If music does not in and of itself transmit some emotion (if it is well played and/or heartfelt by the artist), then why bother? Why not just study it on the page, or listen to lyrics spoken in a monotone? > >-Jim (hndful@uniserve.com) > > ========================================================================= Date: Mon, 29 Jan 1996 23:28:05 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Country Blues or Blues Country or Country or Blues Kevin wrote: >Here's interesting note. My station is primarily "Country". They subscribe >to a service called "New Country". Well the latest has Pride & Joy by >Steveie Ray Vaughn. Country? Not! Blues, yes. Also, there is a cut by Dan >Baird titled "Cumberland River" that I would swear is a Blues tune if I >didn't have in my hand the album cover. Well, are we begining to see a >merging of Country and Blues?? My flame address is enclosed. I've just joined a country band as the guitarist and I'm listening to a lot of country, transcribing a lot of tunes. I noticed the same thing. There is a lot of blues influence in country tunes. Boogie rythms, shuffles even stone cold blues riffs are found. Now I don't think I'll be playing "Pride and Joy" on the Country Top 40 circuit but if someone was to request it.... Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Tue, 30 Jan 1996 23:31:59 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Blues without feeling > Some of the smaller record companies WERE run by enthusiasts that >really supported the rich variety of individual talent that would >never have been recorded, and left to us on one well-worn 78, >otherwise; the major labels tended to be run as a business to make >money, but not to preserve creative genius. OK, that's an interesting statement. But now let's get some facts to back it up.Name a company that was out simply to preserve creative genius. -Jim (hndful@uniserve.com) ========================================================================= Date: Wed, 31 Jan 1996 01:31:01 -0600 Reply-To: Timothy M Dellinger From: Timothy M Dellinger Subject: Re: Country Blues or Blues Country or Country or Blues On blues-l you write: >. Well the latest has Pride & Joy by >Steveie Ray Vaughn. > Well, are we begining to see a >merging of Country and Blues?? My flame address is enclosed. I believe the term is "crossover." These are songs that have "crossed over" the line that separates blues and country. The line is still there. -- -- It is a miracle that curiosity survives Tim Dellinger formal education. -Albert Einstein tdelling@uiuc.edu ========================================================================= Date: Tue, 30 Jan 1996 23:34:48 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Bottleneck vs. other type > 3> If you believe there are NO differences, could you PLEASE >tell me just how you chord, damp, hammer, and bend with a two pound >chunk of metal in your left hand. I'd really be interested in that! In your quest for accuracy, integrity, and purity, you have resorted to ad hominum attacks and straw man arguments. Is that necessary? And really, in the end, other than to show a large group of people how brilliant we are, what's the point? -Jim (hndful@uniserve.com) ========================================================================= Date: Wed, 31 Jan 1996 01:32:17 CST Reply-To: Ted Gurley From: Ted Gurley Subject: Live Blues Radio on the Net Blues Radio is becoming a reality. Tonight I listened to Hash Browns blues jam live from the Bone (www.audionet.com) using real audio software. The quality is AM radio like. The Bone is down the street from me here in Dallas, but it is just too cold tonight to get out. Hash Brown hosts jams all over Dallas and tonight he had Pat Boyak (Rounder) sitting in. Try this out, it is cool on Tuesdays at 10pm CST. After that I hit KPIG from San Mateo, CA. They broadcast live 24 hrs/day using Stream Works software from Xing. This is almost CD quality on my pentium with a 28.8 modem. They don't play all blues all the time but, they do have a lot. Just heard some vintage John Mayhall followed by some Buddy Guy. Ted ------------------------------------- 01/31/96 01:32:17 Ted Gurley - Dallas, TX tgurley@.onramp.net or rampages.onramp.net/~tgurley Co-writer of "Plug-In: The Guide to Music on the Net" Look for it in March 96 from Prentice-Hall ------------------------------------- ========================================================================= Date: Wed, 31 Jan 1996 09:08:57 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Comp Comments: To: Shaun T Cronin >Bo Carlsson said: > >>Most people that are great compers (?) in blues improvise a whole lot. The= y >>explore new ways to back singers or soloists all the time. That what makes >>someone like Otis Spann, Ronnie Earl or Big Walter Horton so great when >>they have (had) a gig as sidemen. > >First reading the post I was shocked by my spelling. Sorry about that. > >I agree with what Bo says about Otis Spann etc. being great sideman. I >spend a lot of time working on comping etc. and to a degree a little improv >goes on. However, I would tend to define comping as a part of playing rythm >to separate it from soloing. Maybe I'm being pendantic but I never usually >equate comping with improvising. > >Shaun > I actually think that we agree and just have different views about what improvisation is. Of course there is arranged segments in much of the blues we hear and play but maybe an an example can clear out what I mean. - Its saturday night and my band has done three sets and we ask a guy up to the stage. We don t know him but have it from friends that he is a good singer. So he says - Can we do " Do it like you do it" from my latest album. We says "nope - havnt heard it". He says - "Thats OK its just a swingtype 12-bar thing in G. There is some breaks but just watch me". And of we go 1234. Well whats happens then is nothing but improvisation. No sheets of music, no memorized lines or arrangements. Everybody backs our newfound friend as well as they can, improvising fills on the drums, basslines, where to suit in chords and fills. Bo ========================================================================= Date: Wed, 31 Jan 1996 01:16:08 -0700 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: more Amos Garrett Comments: To: "Munson, Bill" In-Reply-To: <9600308230.AA823027866@itacan.itac.ca> On Tue, 30 Jan 1996, Munson, Bill wrote: > As Amos Garrett has long been one of my heroes, I can't pass up an > opportunity to add a few things to the string. > > a member of the Dirty Shames and the Corporate Image), Amos didn't > really attract wider attention until Eric Andersen's "Tin Can Alley" > LP. While the album is thoroughly dated now, the song "Honey" > provides a rare opportunity to hear Amos burn away a la Bo Diddley. Althogh he is a folkie, I have always like Eric Andersen whom I consider to be an excellent artist and writer. I stayed in his loft in lower Manhattan around 1968 over Christmas/New Years break. A very kind hearted gent. Nice to see him cited here. Jay Watterworth CU Boulder ========================================================================= Date: Tue, 30 Jan 1996 12:56:34 CST Reply-To: Point Of View From: Point Of View Subject: Re: Question to Performers Comments: To: ron kraemer Hey Ron! I get the jitters from the moment I'm plugged in and ready to play until a few bars into the song (unless it's a really tough song for me - guitar-wise). If I'm singing or playing harp or don't have the lead slot (like, rhythm with a lead break thrown to me during the song), I'm cool as a cuke. Used to swear bullets the whole time when I was younger. I was less confident, proficient, experienced and I wasn't playing the Blues. The Blues just fills my soul so much that it crowds out the sweat signals I guess. Not caring too bad what goes down helps - I'm gonna have fun and only the nit picky players in the audience are gonna notice any mistakes. I play it with so much heart that the guys up on stage are groovin' on it, so they don't care if I throw a clinker out once in a while. Life goes on. A long time ago I realized that there are only two moments when one should worry. One is when you first realize that something hairy is in the future. Two is right before you do it. In between, fuck it, there's other stuff in the here and now to attach to. Trust that you will be appropriately worried when the time comes and let go of it until then (takes a realization that that's the way it works and practice letting go). Now, public speaking is my new hurdle to get calm about... Mike On Thu, 25 Jan 1996 15:01:44 EST ron kraemer wrote: >Here's one I'll throw out to anyone who performs the Blues LIVE onstage, be it >playing an instrument or singing.... > >Do you get nervous before you go on? The ol' knot-in-the-stomach, >lump-in-the-throat, sweaty palms-kinda nervous? > >If you do, does it lessen any over time? Over years??? Or, do you just >handle it better? How do you handle it? > >My band's been out since last August, and I still get the jitters the morning >I wake up with a gig that night. Even if I've played the place a few times! >Funny, though. As soon as the gig starts, the nerves disappear and it's >BluesTime. :) > >Or, we CAN discuss root canal... > > Ron > >************************************************************ >Ron Kraemer "Well, WELL, Well!" >rkraemer@ets.org > Muddy Waters >(and in another life....) > Ron Kraemer and the Hurricanes >************************************************************ [ Home Work Java, Web, ClientServer ] [ http://www.xnet.com/~msuffern/soundtravels.html - The Blues&Travel Site ] [ Chicago Blues Festival, Clapton, Chicago-London-Amsterdam Blues Guides ] ] --------------------------------------------------------------------- [ [ "We're gonna take control of the machinery ] [ Bad little actors that chew up the scenery ] [ Job number one is gonna be findin' a way - Todd Rundgren [TR-I]] [ That we can rave all night and meditate all day" "No World Order" ] ========================================================================= Date: Wed, 31 Jan 1996 01:17:38 -0800 Reply-To: emdrprac@DIRECT.CA From: Roger Brant Subject: Re: !!!!!!!!!!!Peidmont Blues Fans!!!!!!!!!!!!!!!!!!! Comments: To: TRADITION@RYKO-MA.CCMAIL.COMPUSERVE.COM > For all those who love the Peidmont blues, you will be > interested to hear that a new Brownie & Sonny album, > "Blowin' The Fuses" (Tradition Records) will be available > in May. My partially unbiased opinion is that this is the > most important recent Brownie & Sonny release. Most of the > album is a live recording from the early 60s, and is of > surprisingly high quality. High energy, raw-but-clean, > deeeeep blues! It'll be in stores everywhere in May. Good to hear. But (small suggestion here)... shouldn't you mention that it is a re-issue...? - Roger ========================================================================= Date: Wed, 31 Jan 1996 01:17:34 -0800 Reply-To: emdrprac@DIRECT.CA From: Roger Brant Subject: GOSPEL (derivation) Developed from Old English godspell, godspel (long "o" sound), = good news, (about 750 A.D., a compound of god (long o) = good, and spell, spel =story or message, a translation of Latin bona adnuntiatio, itself a translation of the Greek euangelion, evangel) The first element (god, long o), of the Old English compound godspell was mistakenly associated with god (God, short o) and for this reason became a short o godspell in Old English. (Now, where can I get me a web browser with all the inflection and diacritical marks to keep this thread going....?) - Roger ========================================================================= Date: Wed, 31 Jan 1996 01:17:41 -0800 Reply-To: emdrprac@DIRECT.CA From: Roger Brant Subject: Re: Sellers or Zellers Why be mistaken for "purveyors" of blues, or falsely associated with a large department store (Zellers).... when, with a little creative spelling, we can be known for what we really are: Blues Zealots !!!! ========================================================================= Date: Wed, 31 Jan 1996 01:17:45 -0800 Reply-To: emdrprac@DIRECT.CA From: Roger Brant Subject: Re: Living Blues > Derek wrote: >>I need to recommend BLUES REVIEW magazine. Great writers, articles >>and reviews. I just can't bring myself to subscribe to living blues >>because of their policy against doing articles on white blues >>performers. Jim Witteveen wrote: >Oh nooooooo!!!!!Not again!!!!! It's deja vu...in the dark ages BB-L (Before >Blues-L) I was flamed profusely on rec.bluenote.blues by someone who called >me a racist so-and-so for recommending Living Blues to someone who >asked...well, I agree with PW on this one - I've got no problem with Living >Blues' editorial position, and must say (again) that it's an excellent >publication. As for their almost exclusive focus on black performers, I >think it's great that some of the lesser-known and underappreciated artists >in the black blues community can finally get some ink - they've turned me on >to a whole bunch of great music that I wouldn't have heard of elsewhere. Roger Brant says: Amen. I don't think LB has a NEGATIVE policy per se. They just have a focus on black blues, and they do what they do very, very well. I think the title "Living Blues" carries connotations of "the carrying on of tradition" which to my mind fits well with a focus on black blues artists. Hell, there's room for more blues periodicals out there, IMO, as long as the content is consistently good. I picked up my first copy of BLUES ACCESS the other day (never heard of it before.... "don't get around much anymore" I guess!) - and I thought it was good, too, with more of a focus on record reviews. - Roger ========================================================================= Date: Wed, 31 Jan 1996 01:40:39 -0800 Reply-To: Douglas Edward Smith From: Douglas Edward Smith Organization: Stanford University, CA 94305, USA Subject: Re: Chicago, California Comments: To: bit-listserv-blues-l@uunet.uu.net Are you suggesting a possible connection with the robert johnson song? Or was that just a very poor understanding of geography on rj's part? Doug ========================================================================= Date: Wed, 31 Jan 1996 05:14:28 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Amps Comments: To: James Leftwich In-Reply-To: On Wed, 31 Jan 1996, James Leftwich wrote: > I'm a bit wary of buying anything through the 'net, especially something > that costs so much. Does anyone have any experience buying amps through > the 'net? Jim, When I was coverting over my stereo system about 2 years ago I sold my prior components on the net. Please note I was the seller not the buyer. The only problem I had was that one of the buyers tried to hustle me on price, playing a lost email game. However in the end I sold 5 or 6 pieces of equipment, to 5 or 6 happy customers. Then I went out and bought a new system at a local store here in NYC and they sold me 3 defec- tive CD players. Moral - it's not the net, it's the people. I personally think that most of the time you can tell if you are in for trouble from the person's posts and from their e- mail. Just like here on blues-l, - you know who's posts you want to read and who's you don't. I'm not saying do it cause I'd hate to be the one you trusted and then got ripped but I think the more the medium is trusted and used - the better a vehicle it becomes. Barry NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Wed, 31 Jan 1996 10:16:00 GMT Reply-To: Mr G M Smith From: Mr G M Smith Subject: Slide,Schmide Laurie Forti gave us a detailed,and indeed vehement (your midddle name's not Henderson is it?) breakdown on differences between bottleneck and lap-style playing which seemed,I'm afraid to be based on a great deal of opinion and very little practical knowledge. Firstly,there are two main implements used to play lap,"country style" Dobro; the Stevens Bar,which is most common and is a vaguely rectangular piece of metal rounded at the edges and contoured to fit the hand and the pedal steel type "steel" which looks more like a chrome plated and modestly proportioned sex aid. Neither,I would guess,would weigh much more than about six ounces,a far cry from the "couple of pounds of metal" mentioned. As to the matter of "ghost tones",the very manner of holding the bar or steel leaves the edge of the hand resting on the strings thereby damping out said overtones and giving the almost clinical purity of tone associated with good Country Dobro or Hawaiian playing. Perhaps the irritating whine emanates from the singers :-) I have heard far more ghost tones allowed to ring by blues players (McDowell etc) and they can give a quite pleasing and ethereal effect,especially around the octave. As a point of fact,it IS possible,to hammer on and pull off playing country style. It is also possible to slant the bar in both directions considerably widening the harmonic range available to the player,and to bend strings behind the bar or steel using the little finger. Regarding having four fingers left for chording after putting a bottleneck on,do you come from a very small gene pool? Most of us only have three,perhaps you are related to Hound Dog Taylor :-) As for "the Founders" sawing necks off bottles,well,Fred McDowell's uncle used a bone and both Son House and Bukka White used metal tubes.(OK, I'm not sure abot SH but BW certainly did). Hope this has helped to clarify things. Yours, Garry Smith. ========================================================================= Date: Wed, 31 Jan 1996 07:23:21 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: The Grammy process In correspondence I had with Mike Kappus, of Rosebud Agency, the subject of the Grammy award process came up. I thought that there would be many folks on Blues-l that would be interested in what Mike had to say so, with his permission, I'm posting his comments below. -------------------------------------------------------------------- While the entire membership can be involved in the initial nomination process, the actual final voting is by voting members only - of which I believe there are still about 6,000 members. As an example, I had been a member for years and even as executive producer of numerous nominated and winning projects I was unable to vote until I had gained credits as a co-producer. Producers, engineers, artists, liner note writers and others who have actually participated in the process qualify to vote but without those credits-label reps, agents, managers etc. can not vote. It really does try to deal with a jury of peers in the recording industry. At any rate, several times during the year, the entire membership of NARAS is mailed forms on which they can nominate any artist for any award. At the end of the elgible period (beginning or end of October for 12 months) a full list is mailed out of all nominated artists by category. What this really is is nominees to be nominees. Categories can have over one hundred artists who have been nominated for an award. At any rate, the categorizing of this list would seem to be the only significant area in which committees affect the voting process. Individual members may have nominated Charles Brown for Contemporary or Traditional Blues and a choice has to be made as to which category a record should be placed in. Voters vote on their top five nominee choices and the results of that voting - strictly by top vote getters -become the final five nominees. In fact, in this year's ballotting there is at least one instance where there are six nominees because of a tie in number of votes received. Ballots are then mailed to voting members who are warned to vote based on quality not connections, friends or influence from any other source. Ballots are numbered to coincide with records of the voter and all ballots kept secret until the ballots are opened. I once tried to get the name of the winner backstage minutes before John Lee Hooker was to announce it as he isn't literate and the accounting firm rep refused to tell me. An important point to note is that in recent years voters have been limited to voting in no more than 8 of the 27 specialized fields beyong the mainstream top 4 categories of best album etc.. This helps limit the people voting in a given category to people who have chosen a specific 8 categories over 19 others and ideally are better versed in which record is best in those categories as opposed to whose name is most familiar. All in all I think NARAS does a great job trying to insure fairness. Yes there are some absurdities-Clapton takes traditional while Pops Staples takes the contemporary blues grammy-but overall they are cautious to be fair. In the end, its almost impossible to find the best quality winner in any program that chooses its winners from a wide base of voters. The best known or most popular usually wins and, in the case of Rolling Stone polls where they choose best and worst, the same artists frequently top both polls. Great artists who aren't as well known get some votes but the best known are more likely to be remembered by the masses when it comes time to think of a significant artist in any given category. The one other constant in Grammy Awards is that an elderly or recently deceased artist will frequently get votes as a last chance to honor someone. Anyway, hope this sheds some light. The above was done based on memory of the process as well as reference to my own just completed final ballot and the rules noted thereon. -------------------------------------------------------------------- P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 31 Jan 1996 08:14:57 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1972, more than 40,000 mourners filed past Mahalia Jackson's open coffin in Chicago's Great Salem Baptist Church. Funeral services were held the next day. Among those in attendance were Coretta Scott King, Mayor Richard Daley and Sammy Davis, Jr. who read a telegram from President Nixon. Aretha Franklin closed things by singing "Precious Lord, Take My Hand." P.W. ========================================================================= Date: Wed, 31 Jan 1996 09:00:29 -0500 Reply-To: bob vanarsdall From: bob vanarsdall Subject: Re: Gospel Music and Thomas Dorsey Sistah Nitra said: >Thomas Dorsey is the father of gospel music. Before he played "gospel" >he played piano for Ma Rainey (blues). He said gospel music was/is >sacred lyrics set to secular music. For those in the US, there was/is an excellent series available through National Public Radio called "Wade in the Water" which is a history of African-American sacred music. It is hosted by one of the members of Sweet Honey in the Rock, whose name is unfortunately escaping me. The show lovingly covers the origins of modern gospel music and its roots in slave songs and slave interpretations of European music. The music is almost unfailingly great, and introduced me to a whole new realm of names to look up in the CD store. And the music is moving enough to give religion to even the worst of us Sunday morning apostates.... Bob ========================================================================= Date: Wed, 31 Jan 1996 08:05:21 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Gospel Music and Thomas Dorsey In-Reply-To: Message of Wed, 31 Jan 1996 01:11:51 -0500 from On Wed, 31 Jan 1996 01:11:51 -0500 Anita Samuel said: >Thomas Dorsey is the father of gospel music. Before he played "gospel" >he played piano for Ma Rainey (blues). He said gospel music was/is >sacred lyrics set to secular music. I found it real amusing, the other night (Saturday) I was listening to Ga. Tom and Tamap Red doing risque hokum tunes and the next morning in chruch I'm singing "Precious Lord" that was written by the same guy that was doing the nasty hokum the night before.....I was amused LW >=+=+=+=+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++=+=+= > >On Tue, 30 Jan 1996, Jim Witteveen wrote: > >> Scott wrote: >> >Greek? Hmmmm....I've been hearing for years that the Rev. Thomas A. >> >Dorsey (previously known in the blues world as Georgia Tom) is >> >responsible for coining the term "gospel" in the early '30s when he began >> >devoting his musical talents strictly to the religious side of things, >> >although I don't have any specific documentation of this. I wonder if >> >Dorsey got it from the Greeks? >> >> I think Ray Astbury pointed out the correct terminology (I had it a bit >> wrong) - gospel is the English equivalent of a Greek word, and the english >> word was around long before Dorsey was (ie. the four gospels in the new >> testament, and the word was used in the King James Version of the Bible in >> the 17th century). >> >> -Jim (hndful@uniserve.com) >> ========================================================================= Date: Wed, 31 Jan 1996 08:09:58 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Living Blues A word of advice: If you don't like Living Blues do not buy it, buy the other ones and pick a ROlling Stone while you're there LW ========================================================================= Date: Wed, 31 Jan 1996 09:22:16 EST Reply-To: ron kraemer From: ron kraemer Subject: Fab. Thunderbirds lyrics? Could anyone please point me to a URL for T-birds lyrics? Specifically, I'm trying to get the last verse to "Walkin' to my Baby" off their first (?) album. I'm tired of mumbling my way through it. Also, I do remember posts on a definitive book of Blues lyrics, but didn't file that one either. Repost, anyone?? Thanks. Ron ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters (and in another life....) Ron Kraemer and the Hurricanes ************************************************************ ========================================================================= Date: Wed, 31 Jan 1996 09:33:52 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: Stories To us002838@INTERRAMP.COM -- whoever you are... re: Furry Lewis story YES..YESS...thank you! Clutter up my mailbox! Please sir....MORE! Cathi N. ========================================================================= Date: Wed, 31 Jan 1996 08:26:00 EST Reply-To: TSCHANZ@VM.TEMPLE.EDU From: "William R. Tschanz" Organization: TEMPLE UNIVERSITY Subject: A question of feelings nothing more.... colors light waves effect emotions music sound waves effect emotions Different colors,different emotions ok you say It,s been proven that colors effect us subliminally. I'm sure we have heard of the color wheel. Primary secondary traciary... Blues are blues on the wheel reds are reds on the wheel. different scales produce different emotions ok you say It's been proven that music effects us subliminaly. I'm sure we have heard of the circle of 4ths. $ 5ths. Effecf a blues acale in A..what do you feel? modulate to D same scale..what do you feel? a change of emotions? A more lighter feeling perhaps. secondary traciary colors perhaps? different shades of blue... change one note in that scale... a different emotion I believe so... I have used the wheel to this effect:color wheel, circle of 4ths.&5ths. The circle of emotions, sadness, Happyness. ok you say The blues can bring about great happyness as well as the blues. How can truly celabrate happyness without knowing sadness? The circle of emotions ok I say. I have never laughed harder and with more emotion then when I was with someone that I had shared hard times with. You cannot have one without the other. Have you ever seen someone so happy that they start to cry? Have you ever seen someone play the blues and be so dam happy that you get happy to... I sure hope so. At what degree do you measure happyness ____________________________________________________ | > | WILLIAM R. TSCHANZ TSCHANZ@VM.TEMPLE.EDU > | CIVIL ENGINEERING WRTSCHANZ@AOL.COM > | TEMPLE UNIVERSITY ----------- > |___________________________________________________> ========================================================================= Date: Wed, 31 Jan 1996 08:46:09 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: The Grammy process Comments: To: "P.W. Fenton" In-Reply-To: <199601311224.HAA58222@osceola.gate.net> It was a treat to read Mike Kappus' insightful review of the Grammy process. The one trend I'd add to his list is: look for the biggest label, especially if it only has one candidate in the category. Two reasons: 1) they probably did a better job of getting their release and word about it around, so there will be more awareness and 2) they probably have more voting members and even though there's a rule against bloc voting by a label, it's hard to police and there's bound to be some loyalty. ========================================================================= Date: Wed, 31 Jan 1996 09:57:01 -0500 Reply-To: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM From: Jim Smith Subject: Roy Buchanan Fans revisited In-Reply-To: <199601311316.IAA40542@osceola.gate.net> I just picked up Roy's "Live Stock" release on CD and want to put another plug in for this wonderful album. Roy's in top form. I had forgotten what an exciting guitarist he was. It was recorded in New York in 1974 and features Blues-l's and Pittsburgh's own Billy Price on vocals on about half the tracks. Jim Smith ========================================================================= Date: Wed, 31 Jan 1996 07:53:51 -0700 Reply-To: Jessica Jones From: Jessica Jones Subject: Re: Homemade Blue In-Reply-To: <199601300504.AAA10796@listserv.brown.edu> Speaking as the wife of a blues musician, while it is true that with a lot of hardwork and time, one can selfproduce and promote CDs and pay them off and get the money, it really cuts in to the time the musicians might be rehearsing, writing new material, etc. My husband's band, Bleecker St. does all their own work, booking gigs around the country, promoting themselves, and, on their own label, putting out CDs. Each of the two original members has responsibility for an area, Chaz does booking, Ben does the CD sales. Meanwhile, they are on the road an average of 50% of the time, which means that the delivery of CDs to stores, contact with radio stations, and bookings can only be done the other 50%. And they play an average of 5 nights a week. This turns out to be around 60 hours a week minimum, only a small percentage of which is actually playing gigs. So its a trade off, sometimes not even a choice if one is not yet making so much money to attract a large label who will take some of the load off the band. Now Bleecker St. does have agents and a distribution deal in Europe, and its a great relief to them not to have to cover that area too. In other words, they're tired, but makin' it in their chosen field, but the quality time for the family gets kinda scarce sometimes. And a lot of drudge for very little glamour. jessica ========================================================================= Date: Wed, 31 Jan 1996 09:00:47 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Studio Experience Just to let ya'll know, I survived my studio experience. I did 10 songs and all but two were first takes. My singing sucks on some and is OK on some. With all the talk about CD production, I'll mention that they asked if I wanted to put it on a CD it would have cost $100.00....I of course, bit the guy's head off (didn't mean to) and said " NO I don't want it on CD....YET".... Lots of fun, he got a great sound out of the guitars, no pickup on the L-00 he used two skinny AKG mics and a Shure 57 or 58 for the vocals. The real vocal mic (one of them real big suckers) picked up the guitar too much... LW ========================================================================= Date: Wed, 31 Jan 1996 15:15:27 GMT Reply-To: "J.J. Perry" From: "J.J. Perry" Organization: Indiana University Subject: Re: Living Blues Comments: To: bit-listserv-blues-l@uunet.uu.net >> Derek wrote: >>>I need to recommend BLUES REVIEW magazine. Great writers, articles >>>and reviews. I just can't bring myself to subscribe to living blues >>>because of their policy against doing articles on white blues >>>performers. Living Blues is by far my favorite blues magazine on the market, and I think it's focus on black blues performers is, in a round-about way, the reason. I think partly because I am minoring in folklore, I enjoy seeing modern interpretations of a black artform by the people who created it. I'm not one much for "pop" styles of blues (Stevie Ray, Johnny Winter, etc.) and those styles are represented in some of the other blues magazines. Being what I would consider a "blues" player who also happens to be white, I am kind of upset that I will probably never have an article about my playing in Living Blues (except in the review section. But if they ever wrote about me, I would wonder, what is happening to blues that they would let *me* into their mag. ;). However, we shouldn't let our personal ambitions or preferences take away from who really created this music and, in a lot of ways, were often screwed in the process. For some, an article in Living Blues is often the only recognition they may get. Living Blues is about what it's name implies, and that's why it's my favorite out there. J. J. ========================================================================= Date: Wed, 31 Jan 1996 10:24:08 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Living Blues Policy There's nothing wrong with "Living Blues" decision to focus its interviews, analysis, and research on black blues artists, with special attention to the place of blues in contemporary African-American society...As PW says, that's their niche in the blues magazine marketplace. It's not as if LB is the only blues mag out there...There are plenty of options. Anyway, LB does review plenty of releases by white artists, and I've never noticed an ounce of bias in their reviews of discs by white performers. I've read plenty of raves in LB about folks like Rod Piazza, Doug MacLeod & Ronnie Earl, just as I've read heavy criticism of albums by people like Junior Wells, Robert Cray & B.B. King. You buy LB knowing it has a certain perspective on the blues. -Peter ========================================================================= Date: Wed, 31 Jan 1996 07:49:22 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Feb. 1 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BABY FACE LEROY (FOSTER) (g/d/M.WATERS) b. 1920-0201, ALGOMA, MS BANKS, WILLIE (lead/MESSENGERS/JACKSON SO)d. 1993-0201, FL 63 BLACK, JAMES N. (d) b. 1940-0201, NEW ORLEANS, LA CARROLL, JOE "BEBOP" (v/DIZZY GILLESPIE) d. 1981-0201, BROOKLYN, NY 61 CHRISTINA, FRAN (d/ROOMFUL OF BLUES) b. 1951-0201, WESTERLY, RI DOLPHIN,JOHN(owner:RECORDED IN HOLLYWOOD) d. 1958-0201, LOS ANGELES, CA 46 DUFFY, TOMMY (lead/THE ECHOES) b. 1944-0201, BROOKLYN, NY EDWARD, CHARLES JR.(engineer/COUNT BASIE) b. 1953-0201, RANTOUL, IL HICKS, ULYSSES S. (co-lead/THE 5 KEYS) d. 1955-0201, BOSTON, MA -- HUGHES, LANGSTON (author) b. 1902-0201, JOPLIN, MO JAMES, DICK (owner: DJM REC) d. 1986-0201, LONDON, UK 67 JAMES, RICK [JAMES JOHNSON JR.] (v/prod) b. 1952-0201, BUFFALO, NY JOHNSON, JAMES P. (p/BESSIE SMITH) b. 1894-0201, NEW BRUNSWICK, NJ KRAEMER, RON (BLUES-L member) b. 1960-0201, TRENTON, NJ LITTLEJOHN, JOHN (g/ARHOOLIE/JSP REC) d. 1994-0201, CHICAGO, IL 62 MCALLISTER,JEFFREY LEE (d/DUKE ROBILLARD) b. 1955-0201, LUBBOCK, TX ROBI, PAUL (of THE PLATTERS) d. 1989-0201, LOS ANGELES, CA 57 SAMPLE, JOE (p/CRUSADERS) b. 1939-0201, HOUSTON, TX WOODS, JOHNNY "MISSISSIPPI" (hca) d. 1990-0201, OLIVE BRANCH, MS 72 ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 31 Jan 1996 11:02:45 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Nighthawks Home Page Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com The Nighthawks, one of DC's favorite and longest surviving blues bands, now has a home page. The url is: http://pages.prodigy.com/WXFF13A/hawks2.htm -Steve disclaimer: just a fan, etc. ========================================================================= Date: Wed, 31 Jan 1996 11:12:10 -0500 Reply-To: Alias76736 From: Alias76736 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Whatcha listenin to besides blues? Comments: To: bit-listserv-blues-l@uunet.uu.net D Y L A N ! ========================================================================= Date: Wed, 31 Jan 1996 11:13:03 -0500 Reply-To: Alias76736 From: Alias76736 Organization: America Online, Inc. (1-800-827-6364) Subject: TAB! Comments: To: bit-listserv-blues-l@uunet.uu.net Anybody have the guitar and harp tab for Sonny Boy #1's "Jackson Blues"?? ========================================================================= Date: Wed, 31 Jan 1996 10:45:13 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Blues for the elderly Ok Stupid gig: My dad lives in a retirement home and he "booked" me to play there...So I plan on alot of hokum and stuff like that. Any tunes that you think would appeal to old folks. The good news is, my harp playing friend who refuses to play in public is going to play with me. He thinks it's going to be easier to play for a room full of sober and HONEST people..Boy is he wrong...Suggestions LW ========================================================================= Date: Wed, 31 Jan 1996 11:51:34 EST Reply-To: John Doukas From: John Doukas Subject: Gospel music origins Who adopted the word "gospel" to denote a style of music, and when? I think that this question has been answered in the recent postings, but perhaps in a round about manner. Allow me to weigh in with some information and quotes from Anthony Heilbut's "The Gospel Sound: Good News and Bad Times" (Limelight Editions, New York, NY), perhaps the most regarded book on the subject. Thomas A. Dorsey was born in 1899, in Villa Rica, Georgia. His father was a baptist minister. During his youth in Atlanta he heard many forms of music, both secular and non-secular, and developed a passion for both styles. His early professional career was spent as a musical director for Ma Rainey. This was followed by a prolific blues career, most notably as a partner of Tampa Red. (As an aside, Yazoo has an excellent record devoted to "Georgia Tom's" blues career, and features a diverse collection of songs, including accompaniments to Tampa Red, Big Bill Broonzy, and Scrapper Blackwell). In the middle to late thirties, Dorsey turned towards secular music as a profession. Unlike many other bluesmen, he continued to appreciate and value blues and jazz, however he devoted his life to gospel. His contributions to gospel music are as a prolific composer (his best known piece being "Precious Lord"), as an early music publisher, as an early organizer of music venues (the "Gospel Highway"), and most likely as the originator of the phrase "gospel music". To quote Dorsey: "In the early 1920's I coined the words 'gospel songs' after listening to a group of five people one Sunday morning on the far south side of Chicago. There were no gospel songs then, we called them evangelistic songs." The phrase may have been suggested by the collection of hymns sold at National Baptist Conventions, "Gospel Pearls". The phrase "gospel songs", as originally coined, denotes a song whose text is secular, but written in a modern vernacular, and whose musical style draws from modern forms such as blues and jazz. The distinction is to be made with "hymns". Hymns are secular, but use a vernacular and musical style derived from 18th and 19th century European sources. ========================================================================= Date: Wed, 31 Jan 1996 11:53:20 EST Reply-To: John Doukas From: John Doukas Subject: Bottleneck vs slide Laurie Forti has recently posted her views on bottleneck vs. slide definitions. I agree with much of what she has to say regarding bottleneck, but disagree with her assessment of slide styles. Laurie argues that, in lap slide playing, one cannot not bend strings, one cannot dampen "ghost" notes, and one cannot execute hammer on's and off's. True, some of these effects are not easy, but they are clearly possible. Bends are performed by depressing the string behind the nut with one hand while fretting with a slide held in the other hand. The technique is limited but popular, as it produces a pedal steel sound from an acoustic instrument. Damping of "ghost" notes (actually harmonics) is, by contrast, effortless. One holds the slide (generally referred to by lap stylists as a "bar") with the thumb, index and middle fingers, and trails the remaining two fingers behind. Listen to a almost any well-regarded bluegrass dobro player for his or her beautiful, clear, clean tone free of unwanted harmonics. Hammer on's and hammer off's are also rather simple. To hammer on, pick an open string to produce a note, then strike the vibrating string with the slide to produce a fretted note. To hammer off, produce a fretted note with the slide, and lift off to allow the vibration to shift to that of the open string. The key to hammer on's/off's is speed and accuracy. It ain't easy, but these techniques are extensively used by skilled dobro players. The best example may be Jerry Douglas, however Mike Auldridge uses the technique a lot, too. Finally, the contention that the classic bluesmen did not play lap style is also off base. Within the delta school, Charlie Patton ("Boll Weevil Blues", "Spoonful Blues") and Bukka White ("Poor Boy Blues") employed lap style. Kokomo Arnold recorded extensively in lap style (to my ear, he more often plays lap than Spanish style). And from Texas, both Babe Turner ("The Black Ace") and his mentor Oscar Woods played exclusively lap style (even using square neck Nationals, which make Spanish style playing very difficult). ========================================================================= Date: Wed, 31 Jan 1996 12:06:33 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Too damned much "slide" nitpicking. Blue Wave succeeded in making the very simple concept of playing "slide" about as complicated as I can imagine. Despite what we have been told, when I put either brass or a coricidin bottle on my pinky to play some Elmore, 99.9% of musicians in these here parts would say I was playing slide. That's about all I have to say about that. Riffin Rick ..apparently historically incorrect, but well understood. :) F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 31 Jan 1996 12:06:04 -0500 Reply-To: MICHAEL MEADORS From: MICHAEL MEADORS Subject: Re: Living Blues Policy Comments: To: pw7e@POE.ACC.VIRGINIA.EDU Let's see a Blues publication featuring only WHITE performers and then check how long the bacon's on the skillet before it starts burnin'. I can see the ACLU in the front row now ... Mike Meadors Orange3@gnn.com ========================================================================= Date: Wed, 31 Jan 1996 11:13:00 CST Reply-To: Paul Garon From: Paul Garon Subject: New Catalog I've been residing in NOMAIL land for the past month or so--still am--but I would like to mention that we've just issued a new catalog (#89)containing the usual Jazz and Blues section of first editions, sheet music, photos, hard-to-find books, etc. Just let us know by email (or any old way) and we'll send you a copy by email, or snail mail. It's also available at our ftp site. Thanks. Paul Garon ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email or postal mail or visit us at http://www.abaa-booknet.com/alldlrs/mw/60657bea.html. We also have catalogs available by ftp at ftp.mcs.com/mcsnet.users/beasley. _______________________________________|______________________________________ ========================================================================= Date: Wed, 31 Jan 1996 17:25:36 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Re: more Amos Garrett Comments: To: bit-listserv-blues-l@uunet.uu.net The last time I saw JOE TEX was at the Esquire Show Bar. Sitting next to me was Jesse Winchester & Amos Garrett! eRIC (Old Montrealer who still remembers the 217 Club where the Isley Bros -w/Hendrix appeared) ========================================================================= Date: Wed, 31 Jan 1996 12:25:00 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Comp A couple of days ago I said: >> Rick Miller asked yesterday about the musical definition of "comp." Basically it means "ad lib" or "improvise." It is short for "accompaniment," and I believe it came into use in the 20's-40's through jazz musicians. >> Yesterday Shaun said: < From: Pat Hertel Subject: Nighthawks http Be warned it takes f o r e v e r to transfer ... (9 or 10 gif files before it ever posts) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [31/1/96 12:21 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 31 Jan 1996 12:28:35 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Max Max in Memphis and Thereabouts In <10e32f00@vitro.com>, PARRISHR writes: I said: >> Contrary to Dick Waterman's posting yesterday claiming that the State of Mississippi and the Memphis area have officially been declared No-Max Zones, Mad Max & The Blues Kings WILL be rockin' Memphis tentatively the first week in August. And just for that I'm adding Vicksburg to the tour. Have a nice day :) >> Barry said: << Will these performances include the now-infamous blond slide guitarist with the pick in her brassiere and the whammy bar in her fishnet hose? << Well, Barry, you'll just have to come to the show, pay the cover charge and wait and see. P.S. I got the whammy bar out. Max is still looking for the pick.... BBB ========================================================================= Date: Wed, 31 Jan 1996 17:34:27 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: SONY/LEGACY 57164 : PRECIOUS LORD Re: Gospel Music and Thomas Dorsey Comments: To: bit-listserv-blues-l@uunet.uu.net All gospel fans should be aware that SONT/LEGACY has a great CD devoted to THOMAS A. DORSEY's music - SONY/LEGACY 57164 : PRECIOUS LORD It was released in 1970 as a 2lp set. ========================================================================= Date: Wed, 31 Jan 1996 12:42:21 -0500 Reply-To: Charles d'Orban From: Charles d'Orban Subject: Sony Legacy/Josh White Can anyone tell me the track listing on the Josh White album that is just supposed to have been released by Sony Legacy? At the moment I am 5 days behind in reading the digest so a personal reply would be appreciated but I'm sure others on the list (Tom Morgan?) will want to know as well. TIA, Charles *********************************************** * * * Charles d'Orban * * Curator * * Wason Collection on East Asia * * Cornell University * * 172 Kroch Library * * Ithaca, NY 14853-5301 * * USA * =============================================== * E-mail: cmd5@cornell.edu * * Tel: 607-255-5759 * * Fax: 607-255-8438 * *********************************************** ========================================================================= Date: Wed, 31 Jan 1996 12:40:54 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Not Ruth's Snide Comments Yesterday Laurie Forti quoted me as saying: >> Are we nitpicking about semantics again here? Slide is slide. You're using an implement on the neck of the guitar, bottle, glass, steel, knife, sparkplug socket, whatever>> To which Laurie replied: << This issue is not a subtle, difficult concept that requires an advanced degree to comprehend.<< etc. etc. LAURIE: I DID NOT SAY THIS. THIS WAS WRITTEN BY ANOTHER BLUESELLER. Thank you for your attention to this matter. ========================================================================= Date: Wed, 31 Jan 1996 12:59:43 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Blues for the elderly Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU On 31 Jan 96, L W had this to say... > Ok Stupid gig: My dad lives in a retirement home and he "booked" me to play > there...So I plan on alot of hokum and stuff like that. Any tunes that you > think would appeal to old folks. The good news is, my harp playing friend > who refuses to play in public is going to play with me. He thinks it's going > to be easier to play for a room full of sober and HONEST people..Boy is he > wrong...Suggestions I think he's right. They are gonna love anything & everything you do. Just try to connect on a personal level, and you will think of it as your greatest gig ever. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 31 Jan 1996 12:06:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Grammies/Slide/Emotions Grammies: I skeptically wonder if those who vote for the blues category could name ten living blues artists. Slide: I've seen people play slide *without* a slide, Lefty Dizz and Byther Smith for two - or perhaps I should say they made that slide sound without using one. Emotions: I've been intending to read a 1992 book called "Music and the Mind" by Anthony Storr, who I believe is a psychologist; it sounds pretty interesting. Publisher - Maxwell Macmillan. Oh yeah - one more one - because you know I can never resist - i.e. supporting the Living Blues policy. It was started by people who saw Paul Butterfield and Charlie Musslewhite, getting more press, bookings, attention, recording contracts than Muddy or Wolf or the many black blues artists still living in town or country. I think it was in part to bring more black artists before the public and I'm sure the above white artists would agree. Unfortunately the same state of affairs exists today and even more so. Local venues hire local, less expensive bands - almost always white - while many Chicago artists, which is just two and half hours away - sit home on weekends. This doesn't mean the white bands are bad; some (R.J Mischo are great). But - if *I* want to read an article about a blues musician - unless I was totally focussed on technique - I'd rather read about their cultural background and influences - whom they were more likely to have seen or their relatives or friends had experienced, than than of someone who grew up in the suburbs and learned his or her blues from recordings - which means that they would be more likely to be African- American. (Of course this is why "Memphis" Charlie Musslewhite's bio would be more interesting than that of Robert Cray's.) -Bonnie ========================================================================= Date: Wed, 31 Jan 1996 13:04:13 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Living Blues Policy Comments: To: Orange3@GNN.COM On 31 Jan 96, MICHAEL MEADORS had this to say... > Let's see a Blues publication featuring only WHITE performers and > then check how long the bacon's on the skillet before it starts > burnin'. > > I can see the ACLU in the front row now ... What would be the point? After the first few issues there would be nothing left to write about. P.W. ========================================================================= Date: Wed, 31 Jan 1996 13:17:09 -0500 Reply-To: AAHORNER@AOL.COM From: "Alice Horner." Subject: Identify song title & singer I'm very new to this list. I live in the San Francisco Bay Area and have been trying to identify (for almost 20 years) an R&B song I used to hear on the radio during the early 70s, probably 1970-72 time frame. It was obviously a local song, with the beginning lyrics being "Sweet little gal in Oakland...walking down East 14th". This first line repeats, and there are at least 4 or 5 verses, one of them with the line "skinny leg chick in Oaland..." or something like that. That would date the song as being after the hit "Skinny Legs And All". The singer was a male, probably middle aged. At one time I thought it was Joe Tex, but I don't think so now. (I don't know why I thought that.) I've asked about this song locally, even at Down Home Music in El Cerrito at least 10 years ago, but no one remembers it. The song title list in the record stores didn't have any title "Sweet Little Gal In Oakland" or anything like it even five years after it was first on the radio. Any ideas? ========================================================================= Date: Wed, 31 Jan 1996 13:25:01 -0500 Reply-To: leddy@A1.POLICE.UPENN.EDU From: Gerald Leddy Subject: Response - LW & elderly Rather than a specific answer, I will offer the following personal observation; the more ribald and risque the better. Our more experienced family members and friends seem to lose a lifetime of inhibitions and what is accepted as `proper' and appreciate the laughs and good times of yore. Have fun with it! J. ========================================================================= Date: Wed, 31 Jan 1996 10:31:11 +0000 Reply-To: bob fulkerth From: bob fulkerth Subject: Kiss Tomorrow Goodby Greetings, I've been looking for a record called Kiss Tomorrow Goodby by Danny White, Late 50's I believe I'd also like to subscribe to the discussion group. Could you let me know how to do that? Thanks, Bob Fulkerth bobf@sonic.net bfulkerth@ggu.edu (707) 538-1377 ========================================================================= Date: Wed, 31 Jan 1996 12:31:20 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Alligator records discriminates I do not understand why Alligator insists on not putting out any Country or Easy listening CD's..? That is pure 100% discrimination....Sounds stupid, well it's exactly the case with the Living Blues discussion. Keep in mind LB is non-profit, also. Bottleneck...etc crap: If you use fingerpicks then you aren't fingerpicking you are fingerpick-picking....stupid as well, but no more stupid than the bottleneck vs other material as being slide or whatever.... After saying all that flame at will, through private mail. It's got to be more enjoyable to read than the Living Blues/Bottleneck debate LW ========================================================================= Date: Wed, 31 Jan 1996 12:36:32 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Response - LW & elderly In-Reply-To: Message of Wed, 31 Jan 1996 13:25:01 -0500 from On Wed, 31 Jan 1996 13:25:01 -0500 Gerald Leddy said: >Rather than a specific answer, I will offer the following personal >observation; the more ribald and risque the better. Our more experienced >family members and friends seem to lose a lifetime of inhibitions and what >is accepted as `proper' and appreciate the laughs and good times of yore. Well I will do "Caught Us Doing It", but I'm hesitant to do "Warm My Weiner" I'd hate to offend someone. I really didn't want to do it, but gee it's my Daddy. He heard me play my National and went bonkers, then he called me Monday night and said "You can play on Feb 16th or the 17th". So I couldn't really say no. After all he paid for the Fender Mustang with the racing stripes when I was a youngster......My mother was paralized the last 8 years of her life and I used to sit on the foot of her bed, playing humorous tunes. It uplifted her and made her smile/laugh. So I plan on doing the same for those folks. I'm considering an acoustic version of "Old Folks Boogie".... LW 'sorry about the Mama flashback' ========================================================================= Date: Wed, 31 Jan 1996 13:47:45 -0500 Reply-To: Meadors From: Meadors Subject: Re: Living Blues Policy Comments: To: pwfenton@gate.net You missed the point, P.W. And if you feel that for the past 50 years (since mid's 1950's) there's been only enough White action in the blues world to fill "a few issues" of a magazine, then you've got what the Dr. Blues calls "WBIWBPS" -- White Boy Infatuated with Black Performers Syndrome -- or, put another way, "if it ain't Black, it' ain't blues." Ha. My point was this: Any publication dedicated to presenting performers of a SPECIFIC race within a GENERAL genre of music, has racist leanings. Period. By their very focusing on race as a defining criterion, they in turn define themselves as racially biased. If anybody even TRIED to publish anything that catered toward Whites or Asians in such a way, everybody would be in an uproar. Cries of "racist" would fill the air. But, because there are many White readers who will accept this racist premise as logic for publishing articles specifically about Black blues performers, Living Blues magazine will flourish. Being Black a bluesman does not make. Honor and respect the great achievements and continuing success of Black blues performers, but not to the expense of the entire rest of the blues community. Mike Meadors Orange3@gnn.com ========================================================================= Date: Wed, 31 Jan 1996 14:03:07 -0500 Reply-To: Michael Kaloyanides From: Michael Kaloyanides Subject: Robert Johnson's Tunings I've spent a lot of time listening to Robert Johnson since I got the box set for Christmas. As an electric plectrum picker I'm fascinated by his acoustic finger picking technique and very curious about the tunings he used. Can any tell me about his tunings? Also if you have any insights into his technique I'd be very interested. Michael G. Kaloyanides Department of Music and Sound Recording University of New Haven ========================================================================= Date: Wed, 31 Jan 1996 13:15:01 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: Blues for the elderly In-Reply-To: <199601311801.NAA69420@osceola.gate.net> On Wed, 31 Jan 1996, P.W. Fenton wrote: > On 31 Jan 96, L W had this to say... > > > Ok Stupid gig: My dad lives in a retirement home and he "booked" me to play > > there...So I plan on alot of hokum and stuff like that. Any tunes that you > > think would appeal to old folks. The good news is, my harp playing friend > > who refuses to play in public is going to play with me. He thinks it's going > > to be easier to play for a room full of sober and HONEST people..Boy is he > > wrong...Suggestions > > I think he's right. They are gonna love anything & everything you > do. Just try to connect on a personal level, and you will think of > it as your greatest gig ever. Just to be on the safe side, though, I'd recommend against a cover of Lucille Bogan's smuttier version of "Shave 'em Dry". Oh, granted, some may like it, but ... T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) Go Browns! And take your goddamn owner with you! ========================================================================= Date: Wed, 31 Jan 1996 14:32:47 -0500 Reply-To: MK Sheffield From: MK Sheffield Subject: Re: Blues for the elderly >On 31 Jan 96, L W had this to say... > >> Ok Stupid gig: My dad lives in a retirement home and he "booked" me to play >> there...So I plan on alot of hokum and stuff like that. Any tunes that you >> think would appeal to old folks. The good news is, my harp playing friend >> who refuses to play in public is going to play with me. He thinks it's going >> to be easier to play for a room full of sober and HONEST people..Boy is he >> wrong...Suggestions > >I think he's right. They are gonna love anything & everything you >do. Just try to connect on a personal level, and you will think of >it as your greatest gig ever. > >P.W. Fenton >Tampa, Florida P-Dub! You are so right! LW, they will love whatever you play, they will love that you are even there. They will maybe even sing along. You will have a great time. Here's a suggestion to add to P-Dub's: How 'bout some Billie Holliday era stuff...I realize you need a girl singer for that. :-), but if you do instrumentals of the era...also Louis Armstrong stuff? This may not be your thing, but I know several people who are that age and they LOVE those artists. ??? Mary Katherine---NOT MK Aldin, but if you confuse us, it's a compliment to me! :) mksheff@cennet.mc.peachnet.edu ========================================================================= Date: Wed, 31 Jan 1996 13:30:43 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Identify song title & singer Comments: To: "Alice Horner." In-Reply-To: <960131131706_132332045@emout04.mail.aol.com> You're probably thinking of Rodger Collins' "Foxy Girls In Oakland" which was a single on Galaxy Records about 25 years ago. I'm not sure it's on CD; best bet is probably the Fantasy anthology "Bad Bad Whiskey" which is a couple years old (and excellent, composed of Galaxy R & B 45s). ========================================================================= Date: Wed, 31 Jan 1996 13:44:31 -0600 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: Alligator records discriminates Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu In-Reply-To: from "L W" at Jan 31, 96 12:31:20 pm In an earlier message, L W said: ] you are fingerpick-picking....stupid as well, but no more stupid than the ] bottleneck vs other material as being slide or whatever.... ] After saying all that flame at will, through private mail. It's got to be ^^^^^ ^^^^^^^^^^^^ ] more enjoyable to read than the Living Blues/Bottleneck debate But it's only a True Flame if it's public! ;) ;) ;) ;) ;) Anybody wanna go partners with me to start up _Pedantic Blues_ magazine? ---- Word for the day: "pedantophilia". -- * Billy Chambless | billy@cast.msstate.edu | voice: 601-688-7608 * Mississippi State University Center for Air-Sea Technology * To attain knowledge, add something every day. * To attain wisdom, remove something every day. -- Lao-tse ========================================================================= Date: Wed, 31 Jan 1996 14:50:38 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Alligator records discriminates Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, ISTS024/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=ISTS024#p#UABDPO#f#BITNET#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *I do not understand why Alligator insists on not putting out any Country or *Easy listening CD's..? * *That is pure 100% discrimination....Sounds stupid, well it's exactly the *case with the Living Blues discussion. Keep in mind LB is non-profit, also. * *Bottleneck...etc crap: If you use fingerpicks then you aren't fingerpicking *you are fingerpick-picking....stupid as well, but no more stupid than the *bottleneck vs other material as being slide or whatever.... * *After saying all that flame at will, through private mail. It's got to be *more enjoyable to read than the Living Blues/Bottleneck debate Good pointd there, LW. One more to add - if you're playing the blues on a harmonica it's a "harp," not a harmonica (even if you're playing chromatic). If you play "real" music on one it's a harmonica. :-) -Steve ========================================================================= Date: Wed, 31 Jan 1996 14:50:52 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Living Blues Policy Comments: To: Meadors On 31 Jan 96, Meadors had this to say... > You missed the point, P.W. And if you feel that for the past 50 > years (since mid's 1950's) there's been only enough White action in > the blues world to fill "a few issues" of a magazine, then you've > got what the Dr. Blues calls "WBIWBPS" -- White Boy Infatuated with > Black Performers Syndrome -- or, put another way, "if it ain't > Black, it' ain't blues." Ha. No, I got the point, Orange3. You are a white boy with a computer, and plenty of time and money to waste, who thinks he's suffering from racial descrimination. That's what you should be laughing about. > Honor and respect the great achievements and continuing success of > Black blues performers, but not to the expense of the entire rest > of the blues community. Let me understand this... white performers are are suffereing some expense due to a small publication that only features black performers? Name me a Blues album by a Blues performer that sold 3 Million copies while he/she was still alive. I don't see any black people on that list, but a see a white guy. How about a million copies? Still looking like a rather exclusive club. How about 500,000? Any black folks make the list yet? 250,000? How about naming me a black record LABEL that sold as many records as say... Stevie Ray Vaughan, or ZZ Top? Why do you think that is? Because white performers made better Blues records? Or could it be that they enjoy some OTHER advantage. Let's go back to your 50 year period containing all those "white Blues contributions" you are going to fill a magazine with. Which race produced the most Blues music during that period? Which race made the most money off the Blues during that period? Please don't suggest with a straight face that you, or any white musician is suffering from descrimination, because you can't break into Living Blues. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 31 Jan 1996 14:19:26 -0600 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: Alligator records discriminates Comments: To: Steve.Levine@CORP.WRGRACE.COM In-Reply-To: <67C9E92B@MHS> from "Steve Levine" at Jan 31, 96 02:50:38 pm In an earlier message, Steve Levine said: ] Good pointd there, LW. One more to add - if you're playing the blues on ] a harmonica it's a "harp," not a harmonica (even if you're playing ] chromatic). If you play "real" music on one it's a harmonica. :-) The blues is (are? am?) the only real music. -- * Billy Chambless | billy@cast.msstate.edu | voice: 601-688-7608 * Mississippi State University Center for Air-Sea Technology * ========================================================================= Date: Wed, 31 Jan 1996 20:18:16 GMT Reply-To: turtle@charm.net From: The Turtle Subject: Re: A BLUES TRIBUTE TO F. D. ROOSEVELT Eric LeBlanc-CISTI said: > F. D. ROOSEVELT (1882/JAN/30, HYDE PARK, NY. - 1945/APR/12, WARM SPRINGS, GA) >=============================================================================== >Today is Franklin Delano Roosevelt's birthdate. Of all the U.S. Presidents, >FDR was often mentioned in pre-war & early post-war blues. He was responsible >(in 1932) for the New Deal, that provided loans, relief and jobs through a >variety of federal agencies. The review below - of a PH.D. Thesis soon to be a >book - is taken from BLUES WORLD Web . >Just click on the BLUES & RHYTHM text, and follow the mouse. By the way, >TESTAMENT 5007 : CAN'T KEEP FROM CRYING - TOPICAL BLUES ON THE DEATH OF >PRESIDENT KENNEDY (featuring Otis Spann, Johnny Young, etc) is an excellent >CD if you're interested in 'president' blues. Someone should post a list of >all blues mentioning presidents like Nixon, Clinton, etc. FDR is implicit in a line from Big Bill Broonzy's "Just A Dream," a recording of which I have from 1935 and which was covered in the 1940s by Eddie "Cleanhead" Vinson: "I dreamed I wuz in the White House, Sittin' in the President's chair. I dreamed he shook my hand and said, 'Big Bill, I'm glad you here...'" Can't forget the "Eisenhower Blues," which the White House actually twisted some arms and got renamed! Hey, it was 1953, man... Turtle ------------------------------------------- ****Visit the Weightless Dog Home Page!**** *** http://www.charm.net/~turtle *** * Home of the Chicago Electric Blues Tour * **** So hard core, you might get hurt.**** ------------------------------------------- ========================================================================= Date: Wed, 31 Jan 1996 15:30:15 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0248 From: "DUTTWEILER.J" Subject: Re: Living Blues Policy Comments: To: Orange3@GNN.COM Date: Wednesday, 31 January 1996 3:29pm ET To: GO-MAIN.ORANGE5@DOASMAIN.SNADS, Internet From: DUTTWEILER.J@GOMAIL Subject: Re: Living Blues Policy In-Reply-To: The letter of Wednesday, 31 January 1996 2:40pm ET On Jan. 31, Meadors wrote: >My point was this: Any publication dedicated to presenting performers of a SPECIFIC race within a GENERAL genre of music, has racist leanings. Period. By their very focusing on race as a defining criterion, they in turn define themselves as racially biased. If anybody even TRIED to publish anything that catered toward Whites or Asians in such a way, everybody would be in an uproar. Cries of "racist" would fill the air. But, because there are many White readers who will accept this racist premise as logic for publishing articles specifically about Black blues performers, Living Blues magazine will flourish.<< I am tempted to agree with your position, but am disauded by the fact that, by and large, the blues was created by, and stemmed out of, the black community and its experiences. Black's within the blues community, therefore, occupy a somewhat unique position. One might liken this to a Beer Magazine devoted entirely, say, to Czech beer (since the town of Pilzen in widely credited with the orination of the pilsener style of beer) or a magazine devoted to Italian cooking covering only Italian purveyors of the art. While there is no good historical or rational reason to devote a magazine primarily to white (or asian) performers of blues, a intellectually defensible reason can be maintained for "Living Blues'" editorial policy other than racism. And, as has already been noted, LB *does* review blues by people of all skin complexions, so they are not totally exclusive, they simply choose to devote the bulk of their resources to the culture that, in its interection withthe larger culture around it, produced the blues. If you don't like it, don't subscribe or buy. I personally subscribe to both LB and BR and enjoy both tremedously, for different reasons. Jon (usually *not* defending exclusivity) Duttweiler ========================================================================= Date: Wed, 31 Jan 1996 20:17:03 GMT Reply-To: Michael Twomey From: Michael Twomey Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: Alligator records discriminates L W (ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU) wrote: : I do not understand why Alligator insists on not putting out any Country or : Easy listening CD's..? I suppose because they're in the music business and don't want to diversify into non-music activities. Mike ========================================================================= Date: Wed, 31 Jan 1996 20:30:21 GMT Reply-To: turtle@charm.net From: The Turtle Subject: Re: Blues-l "quote of the day On Tue, 30 Jan 1996 20:39:24 -0500, you wrote: > Pw> "I don't believe I said that all opinions are right. I did say that > Pw> opinions cant really be wrong." > If someone held the opinion that Robert Johnson, Son House, and >Willie Brown were currently playing in a Blues bar in Chicago, that >opinion would be most certainly wrong. This would be statement of fact. Inaccurate fact, but statement of fact. It indicates communication of a direct observation and requires no coloration or hypothesis on the part of the speaker. Combining the two dilutes neither... if the speaker said "RJ, SH and WB played badly last night at Buddy Guy's Legends," well, they have an opinion that is linked to a misstatement of fact. But an opinion nonetheless. Even qualifying the statement by saying "I THINK RJ, SH and WB are playing in blahblahblah" indicates tentative statement of fact, whereas "I THINK RJ, SH and WB are extremely influential guitar players, etc." is opinion, as the speaker has dragged their own personal experience into the discussion. Statement of outright falsehoods can never be disguised as opinion. True opinion need not be supported by facts, or supported at all. But flat-out wrong facts can't hide under the guise of opinion. Except in certain small-town newspapers and on certain radio shows hosted by large, gregarious balding guys. Turtle ------------------------------------------- ****Visit the Weightless Dog Home Page!**** *** http://www.charm.net/~turtle *** * Home of the Chicago Electric Blues Tour * **** So hard core, you might get hurt.**** ------------------------------------------- ========================================================================= Date: Wed, 31 Jan 1996 14:41:19 -0600 Reply-To: T-Bone From: T-Bone Subject: Pedantia In-Reply-To: <9601311944.AA01923@Athena.CAST.MsState.Edu> On Wed, 31 Jan 1996, Billy Chambless wrote: > Anybody wanna go partners with me to start up _Pedantic Blues_ magazine? Shouldn't that be _Pedantic Blues Magazine_ ? T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) Go Browns! And take your goddamn owner with you! ========================================================================= Date: Wed, 31 Jan 1996 14:45:48 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Foxy Girls on Oakland > From: Richard Shurman > You're probably thinking of Rodger Collins' "Foxy Girls In Oakland" > which was a single on Galaxy Records about 25 years ago. I'm not sure > it's on CD; best bet is probably the Fantasy anthology "Bad Bad Whiskey" > which is a couple years old (and excellent, composed of Galaxy R & B 45s). Richard is right as usual! "Foxy Girls" is indeed on this disc - though it's apparently on Specialty rather than Fantasy... SPX7057 +BAD BAD WHISKEY BAD BAD WHISKEY \(tell me) why do you have to lie abraham, martin & john ain't nothing gonna change me bad bad whiskey chicken heads fever, fever, fever for your precious love * foxy girls in oakland* get away from me get your lie straight how can i forget you i don't want to be a lone ranger i got to tell somebody i pity the fool it's a shame let me be your handy man lisa's gone Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Wed, 31 Jan 1996 15:54:37 -0500 Reply-To: Jessica Sowin From: Jessica Sowin Subject: Re: Sony Legacy/Josh White Comments: To: Charles d'Orban Charles d'Orban asked: >Can anyone tell me the track listing on the Josh White album that is just >supposed to have been released by Sony Legacy? Sure, and since the track listings for the other titles in our upcoming Roots 'N Blues release are already in the doc. I imported, I'll leave them in. These titles will be in-store February 6. Thanks, Jessica Sowin Legacy Josh White Blues Singer (1932-1936) CK 67001 * 20 digitally mastered recordings from one of the hardest-edged country bluesmen off all time * comprehensive notes by Mark Humphrey depict White's incredible story in all its glory and sadness * complete discographical information; rare and historic photos This collection of digitally mastered treasures from White's blues years is a moving portrait of a bold young man and magnificent player. The former lead boy to various blind street singers is presented here, recorded during the early to mid-1930s, when he was a hard-edged country blues artist, without doubt one of the best. With a career which tells part fairy tale and part nightmare, Josh White was one of the blues' most intriguing artists. Writing and performing songs about such taboo topics as racial injustice and lynchings, White at the same time cultivated an image of suave sensuality. His charisma and vast talent landed him in Hollywood doing films and earned him hit records, but also led to his being branded a Communist by McCarthy's House Commitee on Un-American Activities. Selections: 1. New Milk Cow Blues 2. Milk Cow Blues 3. Black Man 4. Friendless City Blues 5. Lord, I Want To Die Easy 6. Did You Read That Letter? 7. My Father Is A Husbandman 8. Paul And Silas Bound In Jail 9. Black And Evil Blues 10. Howling Wolf Blues 11. Greenville Sheik 12. Double Crossing Woman 13. Lazy Black Snake Blues 14. Downhearted Man Blues 15. Low Cotton 16. Welfare Blues 17. Stormy Weather No. 1 18. Silicosis Is Killin' Me 19. Badly Mistreated Man 20. Bed Springs Blues Bessie Smith The Complete Recordings, Volume 5 The Final Chapter CK 57546 (CD Only) * A groundbreaking blues collection featuring one CD of Bessie's music and one CD of revealing and riveting anecdotes about Bessie's life and career from her niece, traveling companion and cohort, Ruby Smith * 40-page booklet features comprehensive, career-spanning notes by world-renowned blues scholar Chris Albertson; libretto companion to spoken word disc; complete discographical information * Magnificent package design features huge collection of rare and historic photos, memorabilia and original 78 art In this, the fifth and final chapter of "The Empress of the Blues'" Complete Recordings, you'll find not only Bessie Smith's 6 remaining issued Columbia and OKeh sides, but also 5 previously unissued alternate takes plus the complete St. Louis Blues soundtrack, and over 70 minutes of personal, intimate reflections by Bessie's niece and confidante, Ruby Smith. With these songs and stories, we close the book on Bessie's incomparable recordings career. In Ruby's stories we are provided with, by far, the most revealing, remarkable accounts of the artist and times imaginable. Be forewarned: Bessie's music is hot; Ruby's tales hotter. Selections: Disc 1 1. Need A Little Sugar In My Bowl 2. Safety Mama 3. Do Your Duty 4. Gimme A Pigfoot 5. Take Me For A Buggy Ride 6. I'm Down In The Dumps 7. The Yellow Dog Blues* 8. Soft Pedal Blues* 9. Nashville Woman's Blues* 10. Careless Love Blues* 11. Muddy Water (A Mississippi Moan)* 12. St. Louis Blues Soundtrack a. Band Intro b. Crap Game c. St. Louis Blues Disc 2 Ruby Smith Dialogue/An Interview with Chris Albertson 1. Bessie Disappears 2. Waldorf-Astoria Party 3. Bessie & Jack, I 4. Bessie & Jack, II a. Bessie And The Ladies 5. Life On The Road 6. Life On The Road, II 7. Life On The Road, III a. Bessie & Gertrude Saunders Emmett Miller Minstrel Man From Georgia CK 66999 * 20 digitally mastered recordings from one of the most influential (and under-appreciated) artists in the history of modern music * includes rare and historic photos and memorabilia * comprehensive notes by blues historians Charles Wolfe and Nick Tosches and Asleep At The Wheel's Ray Benson; complete discography A bridge from old 19th century American entertainment to the media-powered 20th century form, Emmett Miller was a minstrel man not in the mold of the baffoon (as was early the tradition) but as a dynamic performer who sang in a way completely new and unique. And, though his black-face act conjures images of racism and degradation, his music and performances speak out as anything but. Though somewhat a mystery to all but the most informed music fan, Miller's music and art was most surely known (and inspiring) to the likes of Jimmie Rodgers, Bob Wills, Hank Williams (who learned "Lovesick Blues" from an early Miller record included here) and, more recently Merle Haggard and Leon Redbone. Selections: 1. God's River 2. I Ain't Got Nobody 3. Lovesick Blues 4. The Lion Tamers 5. Anytime 6. St. Louis Blues 7. Take Your Tomorrow 8. Dusky Stevedore 9. I Ain't Gonna Give Nobody None O' This Jelly Roll 10. (I Got A Woman Crazy For Me) She Funny That Way 11. You Lose 12. Right Or Wrong 13. That's The Good Old Sunny South 14. You're The Cream In My Coffee 15. Lovin' Sam (The Sheik Of Alabam') 16. Big Bad Bill Is Sweet William Now 17. The Ghost Of The St. Louis Blues 18. Sweet Mama (Papa's Getting Mad) 19. The Pickaninnies' Paradise 20. The Blues Singer (From Alabam') "I would like to think that the world has heart enough to remember Emmett Miller as a catalyst for the music that came after him and before him..." - Leon Redbone "...here was a man, largely unknown to most modern day musicians and singers, who was one of the original architects of modern country and popular music..." - Ray Benson, Asleep At The Wheel "Without a doubt my father learned "Lovesick Blues" somehow from Emmett Miller. It was either by record or he heard him perform it in person at a minstrel show." - Hank Williams, Jr. Booze And The Blues Various Artists CK 67002 * 22 digitally mastered prohibition-era treasures from such blues luminaries and lesser-knowns as Memphis Minnie, Big Bill Broonzy, (Kid) Prince Moore and the incomparable Sloppy Henry * Comprehensive notes by Mark Humphrey; complete discographical information * includes rare and historic photos In a complicated world, in complicated times the urge to unwind is hastened by two mighty indulgences: Booze and the Blues. Both are celebrated (the former occasionally condemned) in this spirited collection of traditional numbers from some of the best-known and best-kept secrets of the era of prohibition. Whether you have a taste for the sauce or not, you'll find the recordings on this set hit the spot and do the trick. Selections: 1. You Drink Too Much - State Street Swingers 2. Cherry Wine Woman - Charley Jordan 3. Drunken Barrel House Blues - Memphis Minnie 4. Bootleggers' Blues - Mississippi Sheiks 5. Me And My Whiskey - Robert Hicks as Barbeque Bob 6. Bug Juice Blues - Kid Prince Moore 7. Rock And Rye - Charlie Spand 8. Rukus Juice Chittlin' - Memphis Jug Band 9. Bad Whiskey Blues - Merline Johnson as the Yas Yas Girl 10. I Keep On Drinking (To Drive My Blues Away), Part 1 - Amos Easton as Bumble Bee Slim 11. I Keep On Drinking (To Drive My Blues Away), Part 2 - Amos Easton as Bumble Bee Slim 12. Moonshine By The Keg - Little Bill Gaither 13. Drinking Blues - Lucille Bogan as Bessie Jackson 14. More Good Whiskey Blues - Peetie Wheatstraw 15. Pigmeat And Whiskey Blues - Joshua White as Pinewood Tom 16. Give Me Another Shot - Casey Bill Weldon 17. When I Been Drinking - Rosetta Howard 18. Corn Liquor Blues - Lewis Black 19. Canned Heat Blues - Sloppy Henry 20. When I Been Drinking - Big Bill Broonzy 21. Blackberry Wine - Jack Newman 22. Drinking Shine - Rev. W.M. Mosley ========================================================================= Date: Wed, 31 Jan 1996 16:11:27 -0500 Reply-To: bob vanarsdall From: bob vanarsdall Subject: Re: Blues for the elderly And you could always learn an acoustic version of Little Feat's "Old Folk's Boogie".. "You know that you're over the hill, When your mind makes a promise that your body can't fill...." Bob ========================================================================= Date: Wed, 31 Jan 1996 22:15:37 +0100 Reply-To: Bengans From: Bengans Subject: Re: Going to Mardi Gras STEVE LEVINE WROTE: >I finalized my upcoming vacation plans last week, and I'm going to >Mardi Gras next month. This will be my first Mardi Gras and my first >time in New Orleans. I expect I'll find plenty to do during Mardi Gras >:) but I still want to catch some New Orleans blues and find a jam >session or open mic if there are any. Can anyone tell me which clubs >are worth going to (is Tiptinia's still around?), or where I can get >some kind of entertainment guide? Any other blues-lers planning on >going to Mardi Gras? > >-Steve > > >"If you go to New Orleans, you ought to go see the Mardi Gras" > -Professor Longhair Despite the fact that I=B4m living in Sweden and always have been, I will tr= y to give you a few suggestions: =46irst of all, try to find the monthly entertainment g=FAide for NOLA calle= d OffBeat. There you=B4ll find every club adress and name of act for each night. You can also find their magazine on the net. It was a while ago I last visited NOLA but I try to keep up to date by talking to my friends down there. They hang out a lot! My favourite place of all must be the Mid-City Lanes (Corner of Carrolton and Tulane). That concept beats everything. Twenty bowling lanes two stages opposite each other that trade off with the livemusic. And a bar in the middle. Rent shoes, buy booze, bowl and get loose! The Maple Leaf, a great crummy little place, then, Carrolton Station, two streets down and opposite that; Jimmie`s, both on (Willow I think), where several Black Top Blues a rama=B4s have been held. When it comes to live music in general, stay out of the french quarters, espeially in Mardi Gras, unless you wanna watch tits, transvestites, shit faced crewcuts and puke. I=B4ve seen it! On the edge of the quarters towards the river you=B4ll find the House of Blues, probably one of the few in that bar chain that really focuses on blues music. Man, I can go on for ever, there are SO many grat bars and clubs in that tow= n. When in NOLA, you can=B4t ignore the FOOD. It=B4s really hard to find bad restaurant in that city. One place you just gotta check out is the Clover Grill on the corner of Bourbon and Dumaine, they fry their burgers under genuine chevy hubcaps. They are the best damn burgers I=B4ve ever had! ... and hey, don=B4t miss John Mooney, he=B4s so great! (I=B4ve been to New Orleans seven times since -87. Two years ago, I married my wife there, do I need say more?....) Sevenson "Time is hard baby, and hustling is really on" Aaron T Walker ========================================================================= Date: Wed, 31 Jan 1996 15:23:25 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Living Blues Policy At 12:06 PM 1/31/96 -0500, MICHAEL MEADORS wrote: >Let's see a Blues publication featuring only WHITE performers and >then check how long the bacon's on the skillet before it starts >burnin'. > >I can see the ACLU in the front row now ... > > Or maybe, say, a Country music publication featuring only white performers.... Bet at least one is out there.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Wed, 31 Jan 1996 16:23:51 -0500 Reply-To: Meadors From: Meadors Subject: Re: Robert Johnson's Tunings Comments: To: menelaos@CHARGER.NEWHAVEN.EDU You wrote: Can any tell me about his (R. Johnson's) tunings? Also if you have any insights >into his technique I'd be very interested. Get a book called "The Complete Robert Johnson" (by Woody Mann, Oak Publications, New York). It has a lot of info along with his 29 tunes in tab, showing individual notes (as close as you can reasonably get). Tunings are included. Mike Meadors Orange3@gnn.com ========================================================================= Date: Wed, 31 Jan 1996 16:30:46 -0500 Reply-To: Meadors From: Meadors Subject: Re: Alligator records discriminates Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU You wrote: >I do not understand why Alligator insists on not putting out any > Country or >Easy listening CD's..? > >That is pure 100% discrimination....Sounds stupid, well it's > exactly the >case with the Living Blues discussion. Keep in mind LB is > non-profit, also. This isn't a solid analogy, LW. In the first case, Alligator is chosing to produce a particular GENRE of music. There is no PERSON included or excluded because of their race, sex, etc. -- only their taste in music. In the latter example, Living Blues is being racist. Whenever you include or exclude ANYONE because of their race, it's racism. Period. If it just happened to be that all the good bluesmen/women were Black rather than White or Asian, then I'd say it's cool to feature only them. But let's face it, some of the Black performers on the circuit would not be playing as often if they were any other color. Talent (or lack of it) is racially blind. Mike Meadors Orange3@gnn.com ========================================================================= Date: Wed, 31 Jan 1996 13:31:26 -0800 Reply-To: emdrprac@DIRECT.CA From: Roger Brant Subject: Re: Blues for the elderly >Ok Stupid gig: My dad lives in a retirement home and he "booked" me to play >there...So I plan on alot of hokum and stuff like that. Any tunes that you >think would appeal to old folks. >LW - How about Muddy's "Young Fashioned Ways", or, for the older gentlemen in the audience: "She's Nineteen Years Old" (o.k., all you blues-l women, flame away!! ..... I was just kidding, anyhow) ========================================================================= Date: Wed, 31 Jan 1996 22:35:33 +0100 Reply-To: Bengans From: Bengans Subject: Re: Blues for the elderly >Ok Stupid gig: My dad lives in a retirement home and he "booked" me to play >there...So I plan on alot of hokum and stuff like that. Any tunes that you >think would appeal to old folks. The good news is, my harp playing friend >who refuses to play in public is going to play with me. He thinks it's goin= g >to be easier to play for a room full of sober and HONEST people..Boy is he >wrong...Suggestions >LW I=B4ve had my fun...... Sevenson "Time is hard baby, and hustling is really on" Aaron T walker ========================================================================= Date: Wed, 31 Jan 1996 13:31:35 -0800 Reply-To: emdrprac@DIRECT.CA From: Roger Brant Subject: Re: Alligator records discriminates >Word for the day: "pedantophilia". > >-- >* Billy Chambless | billy@cast.msstate.edu | voice: 601-688-7608 >* Mississippi State University Center for Air-Sea Technology >* To attain knowledge, add something every day. >* To attain wisdom, remove something every day. -- Lao-tse AMEN - NO SHIT, SHERLOCK - LET'S NOT PLAY THE BLUES, LET'S JUST SPLIT SOME HAIRS - - ========================================================================= Date: Wed, 31 Jan 1996 15:41:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Living Blues >Let's see a Blues publication featuring only WHITE performers and >then check how long the bacon's on the skillet before it starts >burnin'. > >I can see the ACLU in the front row now ... > As has been said here quite few times before, race/skin color is not the issue it's culture - and there is a distinct African-American culture in this country. It is very much manifested in the music for those with ears attuned to hear it. Some white performers/listeners get it, some don't. Besides all that - where does this statement leave EBONY, ESSENCE, and EMERGE, and JET magazines, to name a few. -Bonnie ========================================================================= Date: Tue, 30 Jan 1996 13:49:43 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Comp Ruth said: > I'm sorry Shaun, I'm mostly a rhythm guitarist so I > "think rhythm" and assume everyone else can read my mind. Mind reading isn't one of my strong points. I have trouble reading my mind most times. To continue with thread. I generally agree with Bo who said yesterday: >I actually think that we agree and just have different views about what >improvisation is. Of course there is arranged segments in much of the blues >we hear and play but maybe an an example can clear out what I mean. >- Its saturday night and my band has done three sets and we ask a guy up to >the stage. We don t know him but have it from friends that he is a good >singer. So he says - Can we do " Do it like you do it" from my latest >album. We says "nope - havnt heard it". He says - "Thats OK its just a >swingtype 12-bar thing in G. There is some breaks but just watch me". And >of we go 1234. >Well whats happens then is nothing but improvisation. No sheets of music, >no memorized lines or arrangements. Everybody backs our newfound friend as >well as they can, improvising fills on the drums, basslines, where to suit >in chords and fills. Improvising a rhythm part is a whole lot different form soloing. As a rhythm player you nees to know how to play a swing part, a shuffle etc. Just because it's jamming to a tune you never played before doesn't mean that you are improvising. When I play blues rhythm a lot of it is using rhythm "licks" that i know. To a degree it's improv but with severe restrictions. Sorry if I'm being a little pendantic (sign me up for the new mag!) but improvising a solo and supplying a rhytm for a blues is a whole different world, IMHO. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Wed, 31 Jan 1996 16:43:56 -0500 Reply-To: Meadors From: Meadors Subject: Re: Living Blues Policy Comments: To: pwfenton@gate.net P.W.: It doesn't matter who sold how many records, or who was screwed over in the past, or who plays better blues, or who looks cooler on a cover of a magazine -- whenever you INCLUDE or EXCLUDE according to race, it's RACISM, pal. Don't you get it? It doesn't matter about my life or your life or history in general ... racism is racism on ANY LEVEL at ANY TIME. It's a definition not a condition. Perhaps you feel threatened since you've been basing so much of your own musical personality on the Black blues experience, I don't know. And one more thing: When someone is allowed to practice racist policies it hurts EVERYBODY ... all you seem to care about is the money end of it (who sold how many records, etc.) ... I'm talking about bigger issues, P.W., than which label or performer "deserves" extra attention because they were discriminated against. I don't feel threatened because I'm not in Living Blues ... I don't belong there because I don't have the TALENT to be there ... but I sure hope that if I DID have the talent, I wouldn't get passed over because I'm White, which is exactly what's happening ... just the thing you seem to be pissed off about with regard to Blacks being discriminated against in the past. You wrote: >Let me understand this... white performers are are suffereing some >expense due to a small publication that only features black > performers? > >Name me a Blues album by a Blues performer that sold 3 Million > copies >while he/she was still alive. I don't see any black people on that >list, but a see a white guy. How about a million copies? Still >looking like a rather exclusive club. How about 500,000? Any > black >folks make the list yet? 250,000? How about naming me a black >record LABEL that sold as many records as say... Stevie Ray > Vaughan, >or ZZ Top? Why do you think that is? Because white performers > made >better Blues records? Or could it be that they enjoy some OTHER >advantage. > >Let's go back to your 50 year period containing all those "white >Blues contributions" you are going to fill a magazine with. Which >race produced the most Blues music during that period? Which race >made the most money off the Blues during that period? Please don't >suggest with a straight face that you, or any white musician is >suffering from descrimination, because you can't break into Living >Blues. > >P.W. Fenton >Tampa, Florida > >Check out my Blues web page at > http://www.gate.net/~pwfenton Mike Meadors Orange3@gnn.com ========================================================================= Date: Wed, 31 Jan 1996 15:43:45 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Living Blues...the truth OK: How can you call this magazine racist. A large majority of the writers are WHITE (maybe all of them, I don't know) They are non-profit. They were supporting/promoting/writing about the blues when the publisher/editors of other so-called blues magazines were probally listening to Molly Hachet & Cream. Then the blues got "marketable" and others started writing about blues FOR PROFIT. FOR PROFIT...FOR PROFIT..That means they are making MONEY off of the blues, whereas Living Blues only concern is THE BLUES not THE BUCK. IT's fact and I don't careg about the color. When someone is working their ass off and not making a buck, then it's a labor of love. You have to respect that. We need them both. "If you forget the roots, you can't nuture the branches" (Johnny Shines) So let the others tend the branches, but be supportive of the ones who are keeping the roots alive. If we (we being blues fans) forget any part of the "tree" then you might better get used to Billy Raye Cyrus LW ========================================================================= Date: Wed, 31 Jan 1996 16:49:51 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Living Blues Policy On 31 Jan 96, P.W. Fenton had this to say... > No, I got the point, Orange3. You are a white boy with a computer, > and plenty of time and money to waste, who thinks he's suffering from > racial descrimination. That's what you should be laughing about. And while you're at it, you can laugh at the way I spell discrimination. I guess maybe I should proof read this stuff before I mash the send button. I didn't spot that until it came back to me. P.W. ========================================================================= Date: Wed, 31 Jan 1996 16:58:11 -0500 Reply-To: "Daryl F. Bernard" From: "Daryl F. Bernard" Subject: Re: EC Scott: WELCOME to BLUES-L! Comments: To: James Carmin In-Reply-To: <199601292220.OAA25835@desiree.teleport.com> I'd just like to give a hearty "here, here" in response to James' comments regardin EC Scott. I too have her disc _Come Get Your Love_ and it is a thoroghly enjoyable listen. I didn't realize she was now a part of the list. Welcome, Ms. Scott - it's a pleasure! :) Daryl On Mon, 29 Jan 1996, James Carmin wrote: > I just want to publicly welcome Ms. EC Scott to BLUES-L; she's a great > blues singer and writer with a wonderful 1995 Bling Pig release, "Come Get > Your Love." We're extremely lucky that she's a BLUES-L member! > > If you haven't heard her music yet, check out her web page for some great > sounds off the latest cd > (http://www.teleport.com/~boydroid/ec-scott/ec-scott.htm). > ========================================================================= Date: Wed, 31 Jan 1996 17:12:31 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Living Blues Policy Comments: To: David Silberberg In-Reply-To: <199601312123.PAA11929@psycfrnd.interaccess.com> On Wed, 31 Jan 1996, David Silberberg wrote: > Or maybe, say, a Country music publication featuring only white performers.... > Bet at least one is out there.... David (who spells his last name wrong), There probably is but not by design. My guess is that they cover the stars of that genre and they happen to be white - Disclaimer - I have no problem with LB's policy. Interesting thread though (for the bizzilionteenth time :):).) Also of note is that the Silv(b)erberg's do stick together and chime in with their fam(n)ily brilliance at the same time. Barry (who spells his last name right) NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Wed, 31 Jan 1996 14:12:04 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: The Grammy process Comments: To: "P.W. Fenton" Re Mike Kappus; Grammy process comments: as a longtime voting member, as well as a Crafts Committee member, he's right. That is indeed how it works. He said that he was doing it from memory--I should have such a good memory! Mary Katherine Aldin ========================================================================= Date: Wed, 31 Jan 1996 17:17:09 -0500 Reply-To: "Daryl F. Bernard" From: "Daryl F. Bernard" Subject: Re: A vital issue: SELL vs ZELL Comments: To: Ian Angus In-Reply-To: <9601301944.aa21876@admin.dis.on.ca> bluesZellers Daryl ========================================================================= Date: Wed, 31 Jan 1996 23:22:46 +0100 Reply-To: Bengans From: Bengans Subject: T-Bone =?iso-8859-1?Q?Walker=B4s?= guitar I have a question regarding T-Bone=B4s Gibson ES-5 guitar: When I listen to his Imperial stuff it sounds like he has rewired the mic circuit on his guitar. More specificly; it sounds as if one of the pick up=B4s is soldered in an out of phase position, meaning that the polarity is switched in one (current flowing in opposite direction compared to the other two.) I just got myself a -52 ES-5 and I wanna rewire the T-Bone way instantly, without having to go through all three P U:s before I find out for myself. Can U help? Wailon Sevenson "Time is hard baby, and hustling is really on." Aaron T Walker ========================================================================= Date: Wed, 31 Jan 1996 23:22:50 +0100 Reply-To: Bengans From: Bengans Subject: Jimmy Rogers reissue, when? I=B4ve got the Chess stuff with Jimmy Rogers released in the series with the painted covers, (same as Muddy and Wolf). It doesen=B4t contain all the goodies, though. Isn=B4t it time for something "complete Chess" with his stuff on CD? Or is there already one out? I know that Charly had somethnig out a couple of years ago,but that=B4s dele= ted. Sevenson "Time is hard baby, and hustling is really on". Aaron T Walker ========================================================================= Date: Thu, 1 Feb 1996 01:35:19 GMT Reply-To: dresserd@DNS.NXI.COM From: Derek Dresser Organization: Agate Internet Services (AIS) Subject: Country Blues - Festivals and Workshops???? Comments: To: bit-listserv-blues-l@uunet.uu.net If anyone can recommend some country blues festivals and workshops that I should try to hit this summer, please let me know. I'd be interested to know who might be there, styles, location, contact numbers, etc. Thanks in advance for the help Derek ========================================================================= Date: Wed, 31 Jan 1996 14:40:40 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Jimmy Rogers reissue, when? You wrote: > > I=B4ve got the Chess stuff with Jimmy Rogers released in the series with>the painted covers, (same as Muddy and Wolf).>It doesen=B4t contain all the goodies, though.>Isn=B4t it time for something "complete Chess" with his stuff on CD?>Or is there already one out? > > Yes -- it is time -- and both The Complete Jimmy Rogers Chess Recordings and The Complete Lowell Fulson Chess Recordings WILL be issued by MCA, when Andy McKaie can get to them. Most likely not 1996, possibly 1997. Mary Katherine Aldin ========================================================================= Date: Wed, 31 Jan 1996 14:46:57 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Living Blues Policy Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Mike Meadors said: >P.W.: > >It doesn't matter who sold how many records, or who was screwed >over in the past, WHAT?? did you just say that?? whew.... It doesn't MATTER? REALLY?? Does Mike Meadors want to be forever associated with those words? yikes...! >or who plays better blues, or who looks cooler on >a cover of a magazine -- whenever you INCLUDE or EXCLUDE according >to race, it's RACISM, pal. Don't you get it? It doesn't matter >about my life or your life or history in general ... racism is >racism on ANY LEVEL at ANY TIME. It's a definition not a >condition. Perhaps you feel threatened since you've been basing so >much of your own musical personality on the Black blues experience, >I don't know. a couple responses: 1. While you can make the case that LB is missing out on some great musicians with their policy, and *even* make the case that they are a silly bunch of white liberals, (not that I would agree with those positions necessarily, ;-] but at least they are rational) you CANNOT make the case that they are *racists* because they cover the people and the culture from which the blues has come! Just as Jet, and Ebony etc are not "anti-white", they are "pro-black", so LB is pro-black in trying to maintain a journal for the culture that spawned the music. One little journal! There IS, whether you like it or not, a direct connection between black culture and the Blues. Maintaining a journal to sponsor that culture and it's connection to the blues is a worthwhile enterprise. 2. You may not like LB, you may not buy LB, but calling them racist is not acceptable, nor rational, and I doubt it is even moral. Racism is a far richer and more sinister phenomenon than your simple-minded definition which calls any editorial choice based on race (or in this case, based on culture), "racism". Come on, Mike! give us a break ok? When one makes a choice to affirm, in a positive manner, a culture that has produced such wonderful music, how can that word be applied? That word which connotes the negation of an entire race! No one is negating whites at LB, they are affirming the black cultural tradition that is the root of this music. >And one more thing: When someone is allowed to practice racist >policies it hurts EVERYBODY ... all you seem to care about is the >money end of it (who sold how many records, etc.) ... I'm talking >about bigger issues, P.W., than which label or performer "deserves" >extra attention because they were discriminated against. This is nonsense. These larger issues are directly connected to the general racism that has ripped off so many black performers, and padded the pockets of so many whites with this music. You need some education son... >I don't feel threatened because I'm not in Living Blues ... I don't >belong there because I don't have the TALENT to be there ... but I >sure hope that if I DID have the talent, I wouldn't get passed over >because I'm White, which is exactly what's happening ... just the >thing you seem to be pissed off about with regard to Blacks being >discriminated against in the past. I'd like to see LB include, say 25% white performers, yet retain their emphasis on the african-american culture, then I might not suspect them of being silly white liberals.... BUT, it's not *my* magazine! How the heck could they be racist for upholding that threatened and priceless culture and tradition?? You sound like someone who has a lot to learn in life. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Wed, 31 Jan 1996 16:58:48 -0600 Reply-To: Bruce Roberts From: Bruce Roberts Subject: You can do whatever you want If you want to start a magazine that only writes about white blues artist, nobody can stop you. Just like if you want to start a blues club and call it, oh let's say House of Blues, and you want to have Nine Inch Nails perform there. Who's going to stop you? Out of all the groups out there using the term "Blues", Living Blues is doing a much better job than most at perserving the spirit of the blues. So find someone else to complain about. Bruce Roberts Austin, TX ========================================================================= Date: Wed, 31 Jan 1996 23:10:10 GMT Reply-To: "J.J. Perry" From: "J.J. Perry" Organization: Indiana University Subject: Re: Living Blues Policy (long) Comments: To: bit-listserv-blues-l@uunet.uu.net Meadors wrote: >P.W.: > >It doesn't matter who sold how many records, or who was screwed >over in the past, or who plays better blues, or who looks cooler on >a cover of a magazine -- whenever you INCLUDE or EXCLUDE according >to race, it's RACISM, pal. Don't you get it? It doesn't matter >about my life or your life or history in general ... racism is >racism on ANY LEVEL at ANY TIME. It's a definition not a >condition. Perhaps you feel threatened since you've been basing so >much of your own musical personality on the Black blues experience, >I don't know. > >And one more thing: When someone is allowed to practice racist >policies it hurts EVERYBODY ... all you seem to care about is the >money end of it (who sold how many records, etc.) ... I'm talking >about bigger issues, P.W., than which label or performer "deserves" >extra attention because they were discriminated against. > >I don't feel threatened because I'm not in Living Blues ... I don't >belong there because I don't have the TALENT to be there ... but I >sure hope that if I DID have the talent, I wouldn't get passed over >because I'm White, which is exactly what's happening ... just the >thing you seem to be pissed off about with regard to Blacks being >discriminated against in the past. > Number one, just flip over to the Billboard blues charts, see who's on top. SRV, Clapton, Hendrix (not white, but a rocker who Living Blues hasn't written about, to my knowledge), then John Lee and Buddy Guy (and I always figured their mainstream popularity came from that Clapton "seal of approval" on their cd covers) and then towards the bottom, JLW and Luther Allison (although they are moving up). Seems to me that white performers get by just fine with articles in every magazines *but* Living Blues. Number two, blues is black people's music, IMHO. Period. While many of us white folks play blues (some damn fine), we are interpreters. We didn't create this stuff. Oh, we have our licks, but would be *nowhere* without the originals. Number three, just an analogy, along the same lines as the Alligator analogy (and I believe they had a policy of recording blacks only for a long time, for much the same reasons as Living Blues does). Ok, I live here, so do American Indians. I may be able to understand some of their practices, I may even have participated in some, but damnit, any authoritative voice on their culture comes from them, no matter how much a part of it I might be. This is blues. Go down to Holly Springs to Junior Kimbrough's, they have *no* whites on their juke boxes, and they play the blues as a direct link that they have from their parents and neighbors, passing it down. Number four, Living Blues is there to tell about performers today, and, I believe it's Bill Ferris who has this saying, "every time an old man dies, a library is burned to the ground." It is absolutely imperative that people who were there are allowed to tell their stories, or they will be lost forever. How many magazines do you know that have obituaries? Blues, jazz and folk magazines do, because these people are a dying breed. We have a lot to learn, and I mean about history and where this stuff comes from. Think back in the 20's and 30's these guys were worried about getting gigs at frat parties and the best clubs in town, radio airplay, etc.? They sold their songs to anyone who would promise them a few dollars. This is the stuff we need to know, not how Blankety-Blank-number-one-blues- guy likes to jam at the House of Blues. I have read interviews and sidebars with Bruce Iglauer, Jim DeKoester, etc., talking about the blues men because *they were there*, recording these tunes, doing this stuff, and they have ideas to contribute. When you talk about the white blues performers of the past fifty years, how many of them were with Muddy and Wolf and the Sonny Boys, the Walters, etc? Why aren't we seeing a bunch of white blues performers dying off (outside of freak accidents, drug use and disease). Because they aren't that old! Whites are maybe fourth generation blues at best. Maybe in thirty years, Living Blues will have to interview whites because they will be the only ones left from playing in the nineties. But right now, that isn't the case. I read as much about blues as I can, my two most recent purchases were the new James Harman and the new live Otis Rush. When it's good, it doesn't matter what color you are. But if not for Living Blues, a lot of this history wouldn't be documented. And if you're willing to trade that fact for "equality," I hope you can live with the consequences. Going back to lurking now, not too guilty, and I enjoy Rush Limbaugh too! Flame away! J. J. ========================================================================= Date: Wed, 31 Jan 1996 15:19:13 -0800 Reply-To: Fjord Press Comments: RFC822 error: More than one sender was specified. Second and following senders discarded. From: Fjord Press Subject: Re: Identify song title & singer Comments: To: AAHORNER@aol.com In-Reply-To: <960131131706_132332045@emout04.mail.aol.com> Dear Alice, That song is "Foxy Girls in Oakland" by Rodger Collins on a 45 from Galaxy #771. It came out around 1971, I think, and was written by J. Crane. Rodger's previous hit was "She's Lookin Good." Some mighty nice scratch guitar on both of them. Anyone want a copy of the six sides I have by Rodger on 45, ask me where to send a tape. Steve Murray ex-Oakland boy "All of the guys in Frisco don't do nothin' all day But think about the girls in Oakland..." ========================================================================= Date: Wed, 31 Jan 1996 18:35:09 -0500 Reply-To: HugeSmall@AOL.COM From: Boyd Small Subject: Re: Guitar Shorty Comments: To: J.Urbain@ke.rulimburg.nl >Is this another Guitar Shorty? The one I thought was always >referred to >on Blues-l (Black Top artist, Topsy Turvy, Get wise to >yourself) is >David "Guitar Shorty" Kearney, isn't he? The same one that has >a JSP >CD with Otis Grand (My way on the highway, I think). >Or am I confusing two different artists? I played with David "Guitar Shorty" Kearney for about a year just prior to him hooking with Blacktop. Which doesn't really qualify me on the specifics of his albums. But I know that he was promoting My Way on the Highway while we were with him. I don't know who was on the album though (we just learned the tunes from Shorty). Boyd ========================================================================= Date: Wed, 31 Jan 1996 14:33:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Living Blues Policy Revisited Previously on Blues-L. . . There's nothing wrong with "Living Blues" decision to focus its interviews, analysis, and research on black blues artists [SNIP!] Anyway, LB does review plenty of releases by white artists, and I've never noticed an ounce of bias in their reviews of discs by white performers. I've read plenty of raves in LB about folks like Rod Piazza, Doug MacLeod & Ronnie Earl, just as I've read heavy criticism of albums by people like Junior Wells, Robert Cray & B.B. King. You buy LB knowing it has a certain perspective on the blues. -Peter OK, I'M SOLD! I THOUGHT IT WAS MORE HOSTILE TO CAUCASIANS FROM WHAT I HAD READ, GLAD TO HEAR OTHERWISE! NOW, HOW DO I SUBSCRIBE, CAN ANYBODY TELL ME? IF I WERE GONNA GET ONE MAG, I SUPPOSE THIS IS AS GOOD AS ANY? blue joe in red russia J.E._Downey@bakermck.com ========================================================================= Date: Wed, 31 Jan 1996 23:59:53 GMT Reply-To: "J.J. Perry" From: "J.J. Perry" Organization: Indiana University Subject: Re: Blues for the elderly Comments: To: bit-listserv-blues-l@uunet.uu.net >>Ok Stupid gig: My dad lives in a retirement home and he "booked" me to play >>there...So I plan on alot of hokum and stuff like that. Any tunes that you >>think would appeal to old folks. The good news is, my harp playing friend >>who refuses to play in public is going to play with me. He thinks it's goin= >g >>to be easier to play for a room full of sober and HONEST people..Boy is he >>wrong...Suggestions >>LW Doesn't that Muddy song, "I Live the Life I Love," have the line: "A young horse may be fast, but an old horse knows what's goin' on" J. J. ========================================================================= Date: Wed, 31 Jan 1996 19:28:40 -0500 Reply-To: ROBERT CRAFTON From: ROBERT CRAFTON Subject: Re: Bottleneck vs. other type Comments: To: Laurie Forti In-Reply-To: <9601302039.0T0RH00@infoexch.miami.fl.us> On Tue, 30 Jan 1996, Laurie Forti wrote: > bottleneck (regardless of the material of construction) as contrasted > to those available with a heavy metal slide that takes the whole hand > to hold. NOTE: these specific concepts were not responded to... > Definitions: > Bottleneck: a hollow cylindrical object of any material that fits > over one finger, generally the little one. > Slide: a heavy metal non-hollow bar that must be held by several, > if not all, fingers of the left hand. > The differences are, once again: > 1> Holding the bottleneck captures only one finger, leaving the > other 4 fingers free to: > a> chord > b> bend > c> hammer on and off > d> damp the 'ghost note' [nut to bottleneck] > 2> Heavy metal thing ties up the whole left hand, (as in > the original Hawaiian slide and current cowboy music, Dobro, and > flat on the lap knife technique), thus not allowing the above listed > musical variations which are rather important to, and quite > characteristic of, Country Blues. > > 3> If you believe there are NO differences, could you PLEASE > tell me just how you chord, damp, hammer, and bend with a two pound > chunk of metal in your left hand. I'd really be interested in that! > As a player of pedal steel guitar, Dobro, "slide" guitar, as wellas conventional electric guitar, I can tell you with absolute certainty that the solid metal bar is NOT called a slide. The proper name for this implement is a "steel." The name "Steel Guitar" did not come from the construction of metal bodied instruments, but rather from the method of playing the guitar using the "steel" to execute the notes rather than the fingers. Furthermore, proper technique dictates that the stell is held between the thumb and middle finger with the index resting on top to stabilize it. The ring and little fingers rest on the strings behind the steel to dampen the "ghost" notes. In modern day usage the steel is just simply referred to as a "bar." The usual weight of the steel is from 6 to 12 ounces for pedal steel, and less for a dobro bar. The fingers of the left hand ARE available for damping and bending of strings, and the bar can be used to execute hammer-ons and pull-offs. If you don't believe me, watch a really good Dobro player like Jerry Douglas. Seeing him perform live opened my eyes to a bunch of techniques that I didn't know were possible on these instruments. All in all, everybody I know that plays calls the thing you wear on your finger a slide, and the style of playing slide guitar. This will either clear things up or make them muddier than hell :) Crafty ========================================================================= Date: Wed, 31 Jan 1996 19:45:20 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Going to Mardi Gras >On the edge of the quarters towards the river youxll find the House of >Blues, probably one of the few in that bar chain that really focuses on >blues music. I've only been to the one in New Orleans (twice), so I don't know what the others focus on....but my impression was that, though the decor and background music is (mostly) blues, the bands they book are not necessarily so. When I was there last year at Mardi Gras I saw the Neville Brothers, which I enjoyed, but I wouldn't call them blues. Just this past Christmas I was there again and on the schedule were....(let's see if I can remember)....John Hiatt, Buckwheat Zydeco, the Funky Meters....hmmmm....that's all I can remember. Anyway, I wasn't real impressed, considering I live close to Chicago, in which you can find, on any given night, plenty of live blues. Karen ========================================================================= Date: Wed, 31 Jan 1996 19:45:53 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Country Blues or Blues Country or Country or Blues Keith asks: >Well, are we begining to see a >merging of Country and Blues?? Let me say first of all that I have very untrained and musically uneducated ears....so if I am in error, or on the wrong track, please excuse me and correct me.....but here it is: I think what we think of as Country and as Blues were merged long ago, before they separated into two essentially distinct genres. When I listen to the Country Blues recorded in the 1920s and '30s by such artists as Memphis Minnie, Lottie Kimbrough, even some Tommy Johnson...... I hear many similarities to what we think of as Traditional Country. I'm not sure if it's in the rhythms or the chord progressions or what--it's certainly in the voice inflections and yodeling. Maybe it's just a (red flag word) subjective feeling I get. And from what I've read, and if I understand correctly, it was common in those decades for white and black musicians to play to the same crowds--what did they call those picnics? Anyway, it seems natural in that case that the two kinds of music would have influenced one another. I agree with Keith; I also hear many blues characteristics in even modern country music. The radio in my bedroom can get only the local country station. Yesterday morning I heard "Dumas Walker" (isn't that Kentucky Headhunters?) and I was thinking the same thing. (joke alert---->) Besides, doesn't all music start out Blues and end up Country? Witness, for example, what happened to Elvis! Lately the country station's been playing the Beatles and the Eagles. And this morning they played Lionel Ritchie! On another, but related, subject: I did not want to add to the Living Blues debate, but I did want to respond to someone who mentioned something about Black Country singers. Yes, there are some. Remember Charley Pride? And don't forget Ray Charles did a Country album way back when. Many African Americans I know enjoy Country music, moreso, I'm sorry to say, than the Blues. (Maybe I hang with an odd crowd...?) >My flame address is enclosed. Yeah, what IS it with these flames? Why in the world would a person engage in personal attacks on someone else because of a difference in opinion? I've been in various online blues forums for nearly two years now, and I've never seen a place like this before. Do y'all talk that way to each other in "real life"? What makes you "flamers" think it's okay to do that in writing? Why is it so important to prove yourself right and the other person wrong? Are some such egotists that they must continually demonstrate how much they know, and not with the purpose of education or enlightenment, but with the purpose of disparaging others? If you were my children, I'd sit you on a kitchen chair until you learned some manners. And that's my opinion....Call me wrong if you want, but please do it politely! :-) Karen "The more I learn.....the more I find out how much I don't know."--I have no idea who said that; maybe it was me. (Oh, for you grammar purists...make that "It was I.") ========================================================================= Date: Wed, 31 Jan 1996 19:45:13 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: A BLUES TRIBUTE TO F. D. ROOSEVELT I enjoyed Eric's original post on FDR. And to reply to Turtle: >FDR is implicit in a line from Big Bill Broonzy's "Just A Dream," a >recording of which I have from 1935 and which was covered in the 1940s >by Eddie "Cleanhead" Vinson: I like Big Joe Williams's "President Roosevelt": President Roosevelt, he went across the sea, He helped the Chinese, and he also helped me. Well, he's gone, he's gone, boys, But his work's gonna never fail. Karen ========================================================================= Date: Wed, 31 Jan 1996 19:50:14 -0500 Reply-To: Meadors From: Meadors Subject: Re: Living Blues Policy Now that most of you have flamed me (OWW! My butt's still burning) for my earlier comments re: LB being racist in its policies, I must make three quick points and then we'll drop it: 1) LB's contributions to the blues culture, yes, are great -- but that's never been the point. 2) My knee jerk response to this thread is based upon years of watching White "liberal" audiences fawn over anybody on stage with Black skin. Even in their unabashed praise and admiration, they are practicing racism, as I believe LB does. If you tell me you don't know what I'm talking about you're lying. The artists know this fact and often play the "role" for White audiences. 3) Just how "Black" does an artist have to be to get a feature story? What if just his/her mother was Black? What if just their Grandfather was Black? Get the point? When you include race into the equation you screw up the entire process regardless of your motives. What if I was a White boy who was brought up in the Black culture (all Black friends, schools, teachers, etc.)? I know I'm in the minority on this one. Everybody loves the magazine. I enjoy reading it. I just wish they wouldn't have such an exclusionary (?) policy. Mike Meadors Orange3@gnn.com ========================================================================= Date: Wed, 31 Jan 1996 19:13:43 -0600 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: Living Blues Policy (long) Comments: To: jjperry@INDIANA.EDU In-Reply-To: <4eossi$4rk@usenet.ucs.indiana.edu> from "J.J. Perry" at Jan 31, 96 11:10:10 pm In an earlier message, J.J. Perry said: ] Number two, blues is black people's music, IMHO. Period. Hmmmm...would you say that classical music is "white people's music"? How about country music? (I grew up listening to Charlie Pride, so be careful) ] While many ] of us white folks play blues (some damn fine), we are interpreters. Is a 24-year-old black kid playin' the blues less of an interpreter, more of an original, than a 24-year-old white kid playin' the blues? Is whether one is an interpreter or an orignal predicated on race? Or socioeconomic status? Or the year they began playing? Or whether they've picked cotton? Or what? Is what we call "the blues" a static thing, or is it alive, able to grow? Is it abut tradition, or is it about expression of what's happening/has happened to people? ] We didn't create this stuff. True. But most of the "creators" are dead or feeling poorly, anyway. ] Oh, we have our licks, but would be *nowhere* without the originals. I'll agree there. But one thing that's overlooked is the attitude of the "originals" towards the new bluesers, both black and white. Muddy Waters sure as hell sounded like he was having fun on the albums that he did with Johnny Winter. B.B. King seemed to think Johnny was kinda hip, too. Returning to the actual thread for a moment, ;) I think _Living BLues_ is a fine magazine, and I feel they have the right to feature who they bloody well please. I am just offended at the notion that blues is intrinsically black. Some white folks have got the blues in their soul, just as there are some black people who haven't got enough natural rhythm to masturbate. It's not in your genes; it's in what you've lived. -- * Billy Chambless | billy@cast.msstate.edu | voice: 601-688-7608 * Mississippi State University Center for Air-Sea Technology * "She said I know...I know some other dog's been worryin' my bone!" ========================================================================= Date: Wed, 31 Jan 1996 17:12:37 -0800 Reply-To: emdrprac@DIRECT.CA From: Roger Brant Subject: Re: Living Blues...the truth >OK: How can you call this magazine racist. A large majority of the >writers are WHITE (maybe all of them, I don't know) > >They are non-profit. They were supporting/promoting/writing about the blues >when the publisher/editors of other so-called blues magazines were probally >listening to Molly Hachet & Cream. Then the blues got "marketable" and others >started writing about blues FOR PROFIT. FOR PROFIT...FOR PROFIT..That means >they are making MONEY off of the blues, whereas Living Blues only concern is >THE BLUES not THE BUCK. IT's fact and I don't careg about the color. When >someone is working their ass off and not making a buck, then it's a labor of >love. You have to respect that. We need them both. > >"If you forget the roots, you can't nuture the branches" (Johnny Shines) >So let the others tend the branches, but be supportive of the ones who are >keeping the roots alive. If we (we being blues fans) forget any part of the >"tree" then you might better get used to Billy Raye Cyrus > >LW I've been trying to stay out of this thread, because it's threatening to heat up, but now I must jump in. So, simply, I'll say: Nicely put, LW, eloquent in fact. ========================================================================= Date: Wed, 31 Jan 1996 17:12:42 -0800 Reply-To: emdrprac@DIRECT.CA From: Roger Brant Subject: T-Bone =?UNKNOWN-8BIT?Q?Walker=B4s?= guitar >X-Sender: bengans@mail.riksmedia.se >Mime-Version: 1.0 >Date: Wed, 31 Jan 1996 23:22:46 +0100 >Reply-To: Bengans >Sender: Blues Music List >From: Bengans >Subject: T-Bone Walker=B4s guitar >To: Multiple recipients of list BLUES-L > >I have a question regarding T-Bone=B4s Gibson ES-5 guitar: > >When I listen to his Imperial stuff it sounds like he has rewired the = mic >circuit on his guitar. > > More specificly; > it sounds as if one of the pick up=B4s is soldered in an out of ph= ase >position, meaning that the polarity is switched in one (current flowin= g in >opposite direction compared to the other two.) > > I just got myself a -52 ES-5 and I wanna rewire the T-Bone way >instantly, without having to go through all three P U:s before I find = out >for myself. > >Can U help? I seriously doubt that T-Bone's guitar was wired in any fashion but "st= ock" from the factory. People back then wern't wise to electronic tricks to alter the sound output of their instruments. I think the distinctive t= onal quality you are talking about was the simple result of using a pick VER= Y articulately, esp. as to how close to the bridge the strings were struc= k. With an ES-5, as with almost any multi-pickup, semi-acoustic, a zillion tonal combo's are available: just experiment! (If it ain't broke, don'= t fix it.....) --- Roger (Lover of Blues & Big-Bodied Guitars) ========================================================================= Date: Wed, 31 Jan 1996 17:12:46 -0800 Reply-To: emdrprac@DIRECT.CA From: Roger Brant Subject: Re: Response - LW & elderly >Date: Wed, 31 Jan 1996 12:36:32 CST >Reply-To: ISTS024%UABDPO.BITNET@brownvm.brown.edu >Sender: Blues Music List >From: L W >Subject: Re: Response - LW & elderly >To: Multiple recipients of list BLUES-L > >On Wed, 31 Jan 1996 13:25:01 -0500 Gerald Leddy said: >>Rather than a specific answer, I will offer the following personal >>observation; the more ribald and risque the better. Our more experienced >>family members and friends seem to lose a lifetime of inhibitions and what >>is accepted as `proper' and appreciate the laughs and good times of yore. > >Well I will do "Caught Us Doing It", but I'm hesitant to do "Warm My Weiner" >I'd hate to offend someone. I really didn't want to do it, but gee it's my >Daddy. He heard me play my National and went bonkers, then he called me >Monday night and said "You can play on Feb 16th or the 17th". So I couldn't >really say no. After all he paid for the Fender Mustang with the racing >stripes when I was a youngster......My mother was paralized the last 8 years of >her life and I used to sit on the foot of her bed, playing humorous tunes. >It uplifted her and made her smile/laugh. So I plan on doing the same for those >folks. I'm considering an acoustic version of "Old Folks Boogie".... > >LW 'sorry about the Mama flashback' Why are you "sorry about the Mama flashback", LW? I think it's great that you are doing your gig for the old folks, and it was wonderful that you could help your mother all that time she was bedridden. I don't think it's a waste of bandwidth for you to share an experience like that. Good luck with the seniors gig. Knock em dead. Ooops, tasteless show-biz comment, there. Seriously tho', - they will appreciate you more than you'll ever know. - Roger ========================================================================= Date: Thu, 1 Feb 1996 10:20:53 +0900 Reply-To: "R.St. Pierre" From: "R.St. Pierre" Subject: Best Blues of '95 Dear Bluesters, The following is the list of the best blues CDs of 1995 according to the editors of "CD Review," January 1996. Charles Brown: "These Blues" (Verve) John Lee Hooker: "Chill Out" (Pointblank) R.L. Burnside: "Bad Luck City" (Fat Possum/Capricorn) Ronnie Earl & the Broadcasters: "Blues Guitar Virtuoso Live in Europe" (Bullseye Blues) Joe Louis Waker: "Blues of the Month Club" (Verve) Little Charlie & the Nightcats: "Straight Up!" (Alligator) Johnnie Johnson: "Johnnie Be Back" (MusicMasters) Greg Piccolo & Heavy Juice: "Acit Blue (Fantasy) Preacher Boy & the Natural Blues: (Blind Pig) Luther Allison: "Blue Streak" (Alligator) On the basis of this list, I bought the first two. Certainly, the Hooker CD is an excellent release while the first, Charles Brown, begins with a wonderful blues the rest is really jazz. The others were not in my local store so I wonder how they are and I wonder how others feel about CD Review's choices. Any additions, any subtractions (despite the power of Brown's opening song, I say give it a minus). Finally, I listened to the John Hammond "found true love" CD today and it is a best buy. The wonder of John is he has mastered all styles of blues, mixes them on albums that sound coherent and his solos on harmonica or guitar all *SPEAK*. What I mean is they don't just run around the keys and/or chords nor do they just show off finger speed. They have something to say. In this CD I wondered if the Duke R.'s participation would intrude but if fit in seamleasly. In short, a good addition to any blues collection. Love "You Had Too Much." Question: Who is Soozie Tyrell? PS: In about 1974, I sat in the third or fourth row in a club on 2nd Ave. in New York where the small beers were 2.25 a bottle, we were all stuffed in and John played. He came out and said, "I know so many songs that describe the condition I'm in." Love you John. The Saint "I Know So Many Songs to Describe the Condition I'm In." ========================================================================= Date: Wed, 31 Jan 1996 19:37:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Blues for the Elderly And then there's Johnny Lee Hooker's line from "Bottle Up and Go": "She may be old, she may be grey, She ain't too old to shift them gears!!" -Bonnie the K. ========================================================================= Date: Wed, 31 Jan 1996 21:04:53 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Living Blues Magazine Comments: To: dresserd@dns.nxi.com On 30 Jan 96, Derek Dresser had this to say: > P.W. > > If I picked up a magazine called Corvettes, I would expect it to > contain information about Corvettes. Of course there is no reason > for me to expect Fords to have any place there. There is also > no reason for me to think the magazine is going to only do articles > on black Corvettes. I would have no problem with a magazine called > "Black Corvette Monthly" doing articles only on black Corvettes. > > Similarly, If I pick up a magazine > called LIVING BLUES, I expect that magazine to contain relevant information > about the blues scene as I am sure LIVING BLUES magazine does. I > don't, however, expect a magazine titled LIVING BLUES to exclude fully half > of the "living blues" scene. Perhaps the magazine should be titled > LIVING BLACK BLUES. I see. So now you accept that a magazine can have a limited perspective, but only as long as it's reflected in the title? Once again, "silly" is the only word I can think of. If the magazine devoted to Corvettes wanted to call itself "On The Road", you would object to it because it excluded small dead animals which are also found "on the road". P.W. Fenton Tampa, Florida Visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Wed, 12 Apr 1995 03:42:20 GMT Reply-To: jackieo@MIDTOWN.NET From: jackieo@MIDTOWN.NET Subject: Re: Living Blues Comments: To: bit-listserv-blues-l@uunet.uu.net >As has been said here quite few times before, race/skin color is not the issue >it's culture - and there is a distinct African-American culture in this >country. It is very much manifested in the music for those with ears >attuned to hear it. Some white performers/listeners get it, some don't. Absolutely right Bonnie. I don't even bother to argue with those who just won't get it EVER. Hey don't buy the magazine who cares. ========================================================================= Date: Wed, 31 Jan 1996 21:39:47 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: A Few Web Gems These ones have come to my attention the last few days: B.B. King -- an excellent, technically unofficial site at: http://www.worldblues.com/ B.B. King -- another excellent site at MCA Records: http://www.bbking.mca.com/ Sun Studio -- in Memphis, also excellent, and more to come: http://www.sunstudio.com/ And if you happen to see the February issue of "Internet Underground" magazine laying around someplace, check out their monthly top 10! *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Thu, 1 Feb 1996 02:28:33 GMT Reply-To: turtle@charm.net From: The Turtle Subject: Re: Whatcha listenin to besides blues? Gary Constantine said: Ummm... actually remarkably little. Nope, very little besides blues. Uh... I listened to Jello Biafra's spoken word 3-CD set, "Beyond the Valley of the Gift Police," and some Lou Reed, on a recent week-long trip. And a little Paul Simon. But other than that, all blues or r'n'b. Turtle ------------------------------------------- ****Visit the Weightless Dog Home Page!**** *** http://www.charm.net/~turtle *** * Home of the Chicago Electric Blues Tour * **** So hard core, you might get hurt.**** ------------------------------------------- ========================================================================= Date: Wed, 31 Jan 1996 18:45:34 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: Re: Playlists /BOT 0496 Bonnie Kalmbach wrote: > > >From: IN%"steamin@valleynet.com" "Stan Ruffo" > >To: Bonnie Kalmbach > >Subject: Re: Playlists > > > >Bonnie, > > I produce and host "Blues On Tap" in Visalia, CA on Sunday nights. Do you > >think the majority of the list members are interested in posts of Blues > >program's playlists? If so, I would be happy to make a contribution. > >Stan > > Hello Stan, > > I didn't mean to ignore your message - I was in the middle of > moving during the Christmas holidays (I don't recommend it) and was to > tired to even punch a key. But to answer your question, I can speak for > only myself in saying that I would be interested in seeing your playlists > and I'll bet the many other DJ's on the list would. After all, the > musicians can go on and on about their gear. So post away and I will > be glad to see what you do on your show. > > -Bonnie Bonnie, Thanks for getting back to me. I have had mixed responses on this subject. As you suggest, I shall include the playlist from this past Sunday, January 28, 1996. If anyone is interested in playlists from past shows, or "my" TOP 20 to Living Blues, they can be found at: http://www.valleynet.com/~steamin/bot.html, or ftp://ftp.valleynet.com/pub/users/s/steamin/ Thanks, Stan Stan Ruffo Productions 800 N. Ben Maddox Way - Suite 2200 - Visalia, CA 93292 vox/fax (209) 625-6049 - email, steamin@valleynet.com http://www.valleynet.com/~steamin "Blues On Tap" every Sunday at 8pm Subject: Playlist 0496 - Commercial Radio Date: Jan. 28, 1996 8pm -10pm Station: KI00 99.7fm (K-eye-oh-oh), Visalia CA Program: "Blues On Tap" with Steamin' Stan Ruffo Artist Title Label Track Roomful Of Blues Turn It On , Turn It Up Bullseye Blues 1 Luther Allison Blue Streak Alligator 2 Various Deep Blue Rounder 1-14 Otis Rush So Many Roads Delmark 8 Johnny Mars Stateside MMK 8 UP Wilson This Is UP Wilson JSP 2 John Lee Hooker Mr. Lucky Pointblank 1 Sammy Davis I Ain't Lyin' Delmark 1 Guitar Shorty Get Wise To Yourself Black Top 4 Long John Hunter Border Town Legend Alligator 4 Jerry Lightfoot Burning Desire Connor Ray 5 John Hammond Found True Love Pointblank 7 Doug MacLeod Come To Find AudioQuest 12 Cephas & Wiggins Cool Down Alligator 5 Garry & The MoodswingersGo Fever Bluelight 7 Flamin' Amy Coleman Soul Kiss Blue Frog 2 Rick Holstrom Lookout! Black Top 8 Jimmy Witherspoon Live At The Mint On The Spot 12 Willie Smith Bag Full Of Blues Blind Pig 3 Celinda Pink Unchained SOR 2 The Fabulous T-Birds Roll Of The Dice Private 2 Steamin' Stan Ruffo Unreleased 2 Johnny Hoy Trolling The Hootchy Tone-Cool 4 The Radio Kings It Ain't Easy Icehouse 2 James Armstrong Sleeping With A StrangerHigh Tone 2 Candye Kane Knockout Antone's 9 Albert Collins Collins Mix Pointblank 10 Smokey Wilson The Real Deal Bullseye Blues 1 James Peterson Don't Let The Devil RideWaldoxy 1 Greg Piccolo Acid Blue Fantasy 1 -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 ========================================================================= Date: Wed, 31 Jan 1996 18:55:49 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Living Blues Policy (long) J.J The Lurker wrote a whole bunch of great stuff about Living Blues that was absolutely right on (and, as I hate fishing through long quotes to find a two line reply, I cut most of it - if you haven't read his post, read it - it's a darn good one). All I can add to it is a hearty Amen from this corner of North America! He then added this: > >Going back to lurking now, not too guilty, and I enjoy Rush Limbaugh >too! Flame away! Wow! I'm not alone! Mega Dittos, J.J.!!! -Jim (hndful@uniserve.com) ========================================================================= Date: Wed, 31 Jan 1996 22:09:10 -0500 Reply-To: Ken Ficara From: Ken Ficara Subject: The Late Great Magic Sam Just picked up a new Magic Sam CD -- and I was thinking I had them all! -- from Evidence. Crappy packaging and a damned short playing time (33 minutes) but the music is breathtaking. It's mostly stuff from a period you don't hear much of, after he'd left Charly/Cobra/Crash where he'd had his original hits ("All Your Love," etc.) but before he moved to Delmark. THe last two tracks are from his last live performance, just before he died in 1969, at the American Folk Blues Festival in London. The latter two include a live "Looking Good" that's almost as hot as the one on MAGIC SAM LIVE -- which remains the best live blues guitar album in history -- but is of crystal clear quality, so you feel like he's playing inside your head. The mid-sixties tracks have some outstanding organ work by Johnny (Big Moose) Walker. Magic Sam fans should also check out the current LIVING BLUES (125) which has a decent article on him (largely assembled from published sources) but some wonderful reminisces in the sidebars. I remain convinced that he was a real original, head and shoulders above most of his contemporaries. He wasn't much of a songwriter, perhaps, but between his truly individual guitar and his amazing voice, it didn't matter much. If there are any hardcore fans on the list, I'm curious if you can think of any of his work not collected on the following, which I think is a complete discography (of everything released, at least): EASY BABY, Charly 218, one of many collections of his Charly/Cobra/Crash stuff, which has been collected over and over and over, but not often as a complete set (LB cites another, MAGIC SAM 1957-1966, Paula PCD02, but I believe it's the same songs). I haven't done a careful comparison, though, so if anyone knows of missing tracks, please let me know. Much of this stuff is nonessential-- you don't need to hear his "Square Dance Rock," for instance. THE LATE GREAT MAGIC SAM Evidence 26070 MAGIC TOUCH Black Top BT1085, live with Shakey Jake, 1966 WEST SIDE SOUL, Delmark 615 BLACK MAGIC, Delmark 620 MAGIC SAM LIVE, Delmark 645/646 THE MAGIC SAM LEGACY, Delmark 651 GIVE ME TIME, Delmark 654, tapes made at home And two tracks as leader, plus two supporting Louis Myers, on SWEET HOME CHICAGO, Delmark 618 ====================================================================== Ken Ficara ficara@acm.org "[Bill Gates' vision looks] as much as ever like technography, in which technology, like the sex in pornography, is always satisfying." --Stephen Manes, The New York Times More quotes available at: http://www.panix.com/~ficara/quotes/quotes.cgi ========================================================================= Date: Thu, 1 Feb 1996 02:44:04 GMT Reply-To: turtle@charm.net From: The Turtle Subject: Re: Whatcha listenin to besides blues? Gary Constantine said: Ummm... very little actually. On a recent week-long trip, I listened to "Graceland," some Lou Reed, and Jello Biafra's 3-CD "Beyond the Valley Of The Gift Police." Other'n that, all blues or r'n'b. Sorry. Turtle ------------------------------------------- ****Visit the Weightless Dog Home Page!**** *** http://www.charm.net/~turtle *** * Home of the Chicago Electric Blues Tour * **** So hard core, you might get hurt.**** ------------------------------------------- ========================================================================= Date: Wed, 31 Jan 1996 19:05:18 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Response - LW & elderly LW wrote: > >Well I will do "Caught Us Doing It", but I'm hesitant to do "Warm My Weiner" >I'd hate to offend someone. I really didn't want to do it, but gee it's my >Daddy. He heard me play my National and went bonkers, then he called me >Monday night and said "You can play on Feb 16th or the 17th". So I couldn't >really say no. After all he paid for the Fender Mustang with the racing >stripes when I was a youngster......My mother was paralized the last 8 years of >her life and I used to sit on the foot of her bed, playing humorous tunes. >It uplifted her and made her smile/laugh. So I plan on doing the same for those >folks. I'm considering an acoustic version of "Old Folks Boogie".... > >LW 'sorry about the Mama flashback' Look at it this way, LW, I doubt that you'll get a more attentive and appreciative audience (as long as you play loud enough for the hearing aid set :-) ) - I think it would be a lot of fun. These old folks would probably be happy with anything you play (well, to a certain extent), because often many of them get very few visitors and just wile away their time until... My mother and a few friends go down to a local rest home once a month to sing hymns and such, and spend a few minutes chatting with the elderly folks afterwards, and they (the audience and the performers) just love it. Even those in advanced stages of Alzheimers sing along (or try to) with some of the old familiar tunes, smile, and laugh. So have a good one. By the way, what songs did you record, and what label will it be released on? :-) :-) -Jim `is it just me, or does LW type with a southern accent?' (hndful@uniserve.com) ========================================================================= Date: Wed, 31 Jan 1996 22:51:34 -0500 Reply-To: MertFaj From: MertFaj Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Whatcha listenin to besides blues? Comments: To: bit-listserv-blues-l@uunet.uu.net Ian Moore Tragically Hip Little Feat Peter Frampton ========================================================================= Date: Wed, 31 Jan 1996 19:57:26 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: Traveling South, (end of Feb) Comments: To: Harp-L@garply.com I am pretty lucky to have a wife that is a successful produce truck broker, whose boss suggests she go to the produce convention in New Orleans later this month. And further suggests I accompany her! And he tells her, "since you're down that way anyway, you should stop in on several of the trucking companies that you're going to be using this summer"......So, in addition to New Orleans, (been watching the thread on N.O. hot spots), I would like some nightlife (and jam) suggestions for Tunica, Memphis, Birmingham, and Atlanta. And it would really be great to hook up with some fellow blues-lers, and harp-lers. TIA Stan Itinerary 2/23,24 New Orleans 2/25 Tunica 2/26,27 Memphis 2/28, Birmingham 2/29 Atlanta -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 ========================================================================= Date: Wed, 31 Jan 1996 22:57:58 -0400 Reply-To: SOO3713@ALPHA.CC.OBERLIN.EDU From: Owen Okie Subject: A Man and the Blues Does anyone out there have the original release date of Buddy Guy: A man and the blues. ? I just got the CD and I don't think it was recorded in 1987 like it says on the album. thanks - Owen ========================================================================= Date: Wed, 31 Jan 1996 23:01:33 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Total Disbelief On 31 Jan 96, Meadors had this to say: > Now that most of you have flamed me (OWW! My butt's still burning) > for my earlier comments re: LB being racist in its policies, I must > make three quick points and then we'll drop it: > > > 1) LB's contributions to the blues culture, yes, are great -- but > that's never been the point. > 2) My knee jerk response to this thread is based upon years of > watching White "liberal" audiences fawn over anybody on stage with > Black skin. Even in their unabashed praise and admiration, they > are practicing racism, as I believe LB does. If you tell me you > don't know what I'm talking about you're lying. OK, I won't lie. I DO know what you are talking about - JEALOUSY I simply don't believe it. You have to be putting us on now. Did you really just say that you're tired of white liberals fawning over anybody with black skin? Am I just dreaming this? Zellers? Guys? Girls? Is it me? Or did this guy just drift way over the line? P.W. ========================================================================= Date: Wed, 31 Jan 1996 23:11:35 -0500 Reply-To: MertFaj From: MertFaj Organization: America Online, Inc. (1-800-827-6364) Subject: Paul Rodgers/Rick Derringer Comments: To: bit-listserv-blues-l@uunet.uu.net I wonder what anyone thought of Paul Rodgers' "Muddy Water Blues" CD covering various Watters tunes. Its got a rock feel so I know many traditionalists don't care for it. I, however, like it a lot--good guitar work on it. Also, I recently picked up Rick Derringer's latest CD. Its all Blues music--also a little on the rock side. Anyone listened much to his stuff. I think he's a talented guitar player who I never would have given a chance if I did not here it playing in a CD store. Any opinions on him? ========================================================================= Date: Wed, 31 Jan 1996 23:46:23 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Living Blues Policy Comments: To: Orange3@gnn.com In a message dated 96-01-31 20:41:39 EST, Orange3@GNN.COM (Meadors) writes: >2) My knee jerk response to this thread is based upon years of >watching White "liberal" audiences fawn over anybody on stage with >Black skin. Even in their unabashed praise and admiration, they >are practicing racism, as I believe LB does. If you tell me you >don't know what I'm talking about you're lying. The artists know >this fact and often play the "role" for White audiences. I know what you are talking about. The 2nd blues LP I ever bought was Yazoo's first Blind Willie McTell set. I was astounded. I listened to it over and over, in a state of wonderment-- this was the real thing. Anyone around me heard the record. One commented to another: "Tommy will listen to anything with an old black man saying "Lordy."" I was literally deeply shocked, and viewed the comment as a narrow-mindedly rascist failure to appreciate music that, to my ears, was obviously great art. Orange-whatever's assinine remark reminds me of that moment of closed-minded rascism. Tom Freeland ========================================================================= Date: Wed, 31 Jan 1996 23:48:38 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Pedantia T-Bone asks: >On Wed, 31 Jan 1996, Billy Chambless wrote: > >Anybody wanna go partners with me to start up _Pedantic Blues_ magazine? >Shouldn't that be _Pedantic Blues Magazine_ ? Only if the word "magazine" appears on the front cover as part of the the title. This rarely occurs. (I can't, off the top of my head, think of one instance where "magazine" is actually part of the title.) Btw, placing the word "magazine" in quotation marks, as I have done three times here, is also not stylistically correct; italics or underlining should be used. However, I think the _word_ method of underlining makes the post hard to read, so I won't use it. My contribution to this particular non-blues thread. :) Karen ========================================================================= Date: Thu, 1 Feb 1996 00:13:27 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Total Disbelief Comments: To: pwfenton@gate.net In a message dated 96-02-01 00:00:17 EST, pwfenton@GATE.NET (P.W. Fenton) writes (beginning with a long quote-- the beginning idiocy is NOT from P.W.): >> 1) LB's contributions to the blues culture, yes, are great -- but >> that's never been the point. >> 2) My knee jerk response to this thread is based upon years of >> watching White "liberal" audiences fawn over anybody on stage with >> Black skin. Even in their unabashed praise and admiration, they >> are practicing racism, as I believe LB does. If you tell me you >> don't know what I'm talking about you're lying. >Zellers? Guys? Girls? Is it me? Or did this guy just drift way >over the line? Yes, P.W., it is way over the line. It is one of the most arrogant remarks I've seen on the list. It is the most offensive. And because the word is so cheaply thrown about on this list I really hesitate to say it, but this form of arrogance, and its patronizing tone *is* classic American racism. Tom Freeland ========================================================================= Date: Thu, 1 Feb 1996 00:32:27 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Splitting > Splitting the list into reasonable topic-oriented sublists would > certainly NOT restrict or deny anything to anybody, as you have > implied. I would just ease the horrendous burden now forced on those > who have a particular or well-developed interest. Lauri, I think you miss the point. Splittimg the list has been discussed at least a dozen times since I've been involved, and the dscussion always just peters out, because there is no practical way to make a decision about it.:Like the Internet as a whole, Blues-L is not a democracy. It is an anarchy. Even if there was a way to conduct a vote, there is no way for the majority to impose its will. There is no practical way to achieve a split. So does that mean you are stuck with reading 300 messages you don't like? Of course not. You have a very simple option: start another list! Define it as you will. Encourage others to participate. If enough people agree with your definition, then you will attract them, and your list will contain the topics you love. I for one will applaud your initiative -- it is totally in the spirit of Blues-L and the Internet for you to do that. It would enrich the blues community. And it would allow people who like getting 300 diverse messages to keep on getting their daily fix. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Thu, 1 Feb 1996 00:32:27 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Living Blues Policy Living Blues ... another tpoic to which the only possible reply is: "49!" I have read both Living Blues and Blues Review for years. My observations: Living Blues has great articles and mediocre reviews. (Any magazine that permits Bill Dahl to review CDs has set its standards too low.) Blues Review has mediocre articles and great reviews. (Who on earth decided that Keri Leigh can write?) If I had to choose one, I'd have a tough time deciding, but I'd go with Living Blues, because it has a serious and unique commitment to the roots, heart and soul of blues. Anyone who calls LB's dedication to documenting the African-American blues experience "racist" simply has no idea what racism is. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Tue, 30 Jan 1996 21:27:56 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: The Late Great Magic Sam Ken wrote some great stuff abou Magic Sam and added: >EASY BABY, Charly 218, one of many collections of his Charly/Cobra/Crash stuff, > which has been collected over and over and over, but not > often as a complete set (LB cites another, MAGIC SAM > 1957-1966, Paula PCD02, but I believe it's the same > songs). I haven't done a careful comparison, though, so > if anyone knows of missing tracks, please let me know. > Much of this stuff is nonessential-- you don't need to > hear his "Square Dance Rock," for instance. >THE LATE GREAT MAGIC SAM Evidence 26070 >MAGIC TOUCH Black Top BT1085, live with Shakey Jake, 1966 >WEST SIDE SOUL, Delmark 615 >BLACK MAGIC, Delmark 620 >MAGIC SAM LIVE, Delmark 645/646 >THE MAGIC SAM LEGACY, Delmark 651 >GIVE ME TIME, Delmark 654, tapes made at home I don't have "Magic Touch", "The Magic Sam Legacy" and "Give me Time". How's quality of the sound and performance? Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Tue, 30 Jan 1996 21:28:01 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Robert Nighthawk Does anyone know if Robert Nighthawk's "Live on Maxwell Street" is available on CD? Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Tue, 30 Jan 1996 21:28:05 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Mississippi Fred McDowell Any reccomendations for Mississipi Fred McDowell? Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Wed, 31 Jan 1996 21:13:00 -0800 Reply-To: Tessa Renison From: Tessa Renison Organization: Fullerton College, CA Subject: Living Blues I am finding this debate quite fascinating. After lurking for quite some time I'd just like to add this to your spirtited discussion. A. I am an anglo blues musician (altho I do have native american and afro-american bloodlines) B. I have the audacity to claim the blues as my major music of expression. C. I have the further audacity produce and promote my own recorded works in Living Blues (see issue # 125 page # 109 upper right hand corner. D. People like my work and buy it through this publication (go figure). E. Perhaps some of us should concentrate on making and preserving this great music the best way we know how, and spend less time debating topics and issue wich IMHO are moot, pointless, counterproductive, and beyond our immeditate control. F. Check out Living Blues for yourself or visit my website at http://www.fullcoll.edu/communit/rich_nor/home.htm find out for yourself Can a white boy play the blues? Who cares, I like it you may not, you decide. The rest of you poor humans get a life please Just my $.02 Your Humble Servant of the Blues and Beyond Richard M Norton ======================================================================== Fullerton College claims no responsibility to the opinion expressed above (This is an automatic stamp from our Email system and not from the user.) ======================================================================== ========================================================================= Date: Tue, 30 Jan 1996 23:02:31 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: SRV as a country artist I accidently deleted the message about SRV being considered "new country" or whatever. A guitarist friend of mine who plays the country circuit here in LA and around Orange County doesn't believe that I saw such a post. Could the origianl poster please send me where, how and why he/she found out that SRV is part of the country scene. Thanks, Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Wed, 31 Jan 1996 23:11:10 -0800 Reply-To: Fjord Press Comments: RFC822 error: More than one sender was specified. Second and following senders discarded. From: Fjord Press Subject: Re: Mississippi Fred McDowell Comments: To: Shaun T Cronin In-Reply-To: <199602010555.VAA14995@wavenet.com> "Mississippi Delta Blues," Arhoolie CD 304, has 64 minutes of all the best stuff off his first two albums for them, mostly recorded at his house in Como, Miss. in 1964-65. Stay away from "I Do Not Play No Rock 'n' Roll," which has a lame rhythm section trying to keep up with his country time. Arhoolie may have others on CD by now; "Fred McDowell and His Blues Boys" (Arhoolie LP 1046 from 1969) has some guys who *can* follow him. Steve Murray "Well I played him 'gainst a queen Fjord Press and he never won a thing Seattle, WA Jack of diamonds is a hard card to play" fjord@halcyon.com --Mance Lipscomb ========================================================================= Date: Wed, 31 Jan 1996 23:16:42 -0800 Reply-To: Fjord Press Comments: RFC822 error: More than one sender was specified. Second and following senders discarded. From: Fjord Press Subject: Re: A Man and the Blues Comments: To: SOO3713@ALPHA.CC.OBERLIN.EDU In-Reply-To: <01I0ODX6WZ8I00AHPZ@alpha.CC.OBERLIN.EDU> 1967 is more like it. Steve Murray "Well I played him 'gainst a queen Fjord Press and he never won a thing Seattle, WA Jack of diamonds is a hard card to play" fjord@halcyon.com --Mance Lipscomb ========================================================================= Date: Thu, 1 Feb 1996 01:35:58 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Robert Nighthawk Comments: To: Shaun T Cronin In-Reply-To: <199602010555.VAA14988@wavenet.com> Live On Maxwell Street has been on CD for a few years, with a longer version of the interview than the LP. CD's on Rounder. There's also a snippet of video from the same performance included in MCA's "Sweet Home Chicago" video. ========================================================================= Date: Thu, 1 Feb 1996 03:08:36 -0500 Reply-To: BluesBeats@AOL.COM From: Joseph Jordan Subject: February '96 - Bay Area Blues Beat Hi Blues-Ellers, Here is the monthly column I write for the Long Beach, California publication, Southland Blues. Hope you enjoy it and I'll see you next month. Regards, Joseph. For inclusion in the February, 1996 issue of Southland Blues Bay Area Blues Beat by Joseph Jordan San Francisco: A SPECIAL NIGHT IN THE EAST BAY: Oakland was the place to be recently for a remarkable engagement at Yoshi's, the venerable jazz and blues night & dinner club. Blues fans were treated to the music of four true legends of the genre in a unique gathering of these all-stars for a rousing one-off "tour" of eight sets over four nights. Sharing the stage were Jimmy Rogers, Robert Jr. Lockwood, Junior Wells, and (to my mind, anyway) the undersung Johnnie Johnson. Backed up at times by drummer Ted Harvey (J.B.Hutto,) vocalist and harp-player Madison Slim, and guitarist Jimmy D. Lane (Rogers son,) Bay Area crowds flocked to the comfortable and intimate club to see and listen to two-hour sets by this rarely-paired group that displayed their prodigious talents individually and collectively. The musicians responded to the pairing as well, in that there seemed to be an extra level of enthusiasm and stage-energy not usually felt in normal nightclub engagements. Thanks for the music and the memories, gentlemen. INTERNET ADDRESSES: For you web surfers out there, I'll be regularly providing web-site addresses for Bay Area blues musicians and for blues-related areas of interest. Here's three to get you started: LABEL: Ex-Paul Butterfield member Mark Naftalin's Winner Records at: http://www.bluespower.com. ARTIST: Blind Pig Artist Tommy Castro at: http://www.rahul.net/jama/castro/html/tcband.htm. MUSIC-LINKS: Internet Underground Music Archive (IUMA) at: http://www.iuma.com/. (Check out the blues section from these Santa Cruzians.) BAY AREA BLUES BEAT IN CONCERT: SF Jazz Festival's Blues Night At The Paramount Theater: A Tribute to SwingTime Records featured headliners Jimmy McCracklin, Lowell Fulson, Johnny Otis, Jay McShann, Jimmy Witherspoon and Charles Brown. Downtown Oakland's beautiful art-deco palace, the historic Paramount Theater, was host to the premier blues event of the almost month-long San Francisco Jazz Festival that just recently ended. For the most part, the musicians brought their own bands, but were backed at times by among many others, pianist Mark Naftalin, guitarists Jimmy Vivino and Danny Caron, gifted tenor saxophonist Clifford Solomon and wild-man Earl "Good Rockin'" Brown who blew his alto sax with R&B licks 'til the crowd was in a gospel-shouting frenzy. The gathering of the headlining elder-statesmen (who were instrumental in helping to contribute to and create the sound that came to be known as the California Blues,) unfortunately was plagued by sound trouble throughout the evening. Technical difficulties aside however, the sold-out, well-heeled and appreciative East Bay audience received the music from these masters of the form with consistent warmth and unbridled enthusiasm. Is there is any blues-related information you want to know about in the Bay Area? If you have questions, news, views or blues, send a line to Southland Blues or e-mail me at: SoBluesMag@aol.com. See you next month. - End - ========================================================================= Date: Wed, 31 Jan 1996 00:14:34 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Mississippi Fred McDowell Steve Murray wrote: >"Mississippi Delta Blues," Arhoolie CD 304, has 64 minutes of all the best >stuff >off his first two albums for them, mostly recorded at his house in Como, Miss. >in 1964-65. Stay away from "I Do Not Play No Rock 'n' Roll," which has a lame >rhythm section trying to keep up with his country time. Arhoolie may have >others on CD by now; "Fred McDowell and His Blues Boys" (Arhoolie LP 1046 from >1969) has some guys who *can* follow him. I have "Ain't Gonna Worry"(Drive Archive). Do I have aonther unliscenced recording again? Anyway "I Don't Play No Rock'n'Roll' got a decent review in teh issue of "Living Blues" with AC Reed and Eddie Shaw on the cover. But aspersions have been cast on at least one of the reviewers there (I tend to agree. Some reviews a a bit dodgy. I though the review of Luther Allison's "Blue Streak" was a classic example of nitpicking.) What about the Capitol( I think) 2 CD collection that was recently released? Any opinions? BTW, thanks Steve. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Wed, 31 Jan 1996 00:29:28 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Living Blues Magazine I think LW has made the best response regarding the thread. He said in effect that we have to remember the whole tree. I think that the Bluezellers (that's how I think it should be spelled) in general understand that. One of the things I liked about SRV and EC was that they acknowwledge the masters and where blues came from. They never pretended that they invented the music. IMHO, they would support "Living Blues". I like to read "Living Blues". I don't care if they interview white blues artists. As it has been pointed out, they review blues artists of all races and judge the CD's on artistic merit, not skin colour. That's how it should be. In anything. If you want to read about the white guys then there are other magazines. Let's support thr blues in all it's forms. Complaining about whether one magazine engages in racism doesn't do anything to further the cause of one of the finest forms of music ever known. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Wed, 31 Jan 1996 00:33:46 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: A Man and the Blues Steve Murray wrote: >1967 is more like it. I think that Steve is right. I have the Japanese version which is a double CD set. I think Pee Wee Crayton is on the other side (Great album as well). Buddy's solo on the first song, "Got My Eyes On You", was a big influence on my blues guitar playing. Still can play it. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 1 Feb 1996 06:39:20 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Robert Nighthawk Comments: To: Shaun T Cronin In-Reply-To: <199602010555.VAA14988@wavenet.com> On Tue, 30 Jan 1996, Shaun T Cronin wrote: > Does anyone know if Robert Nighthawk's "Live on Maxwell Street" is > available on CD? Sure is - Rounder #2022 NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 1 Feb 1996 12:16:12 GMT Reply-To: Antti Pekkala From: Antti Pekkala Organization: Kolumbus Information Network, Finnet Group Subject: Re: 13-year old australian blues-boy Comments: To: bit-listserv-blues-l@uunet.uu.net Shaun T Cronin (shaun@WAVENET.COM) wrote: : The kid is Nathan Calaveri. He's released one or two albums in Australia. Albums: Nathan Cavaleri: Jammin' with the cats Nathan Cavaleri: Nathan Cavaleri Antti ========================================================================= Date: Thu, 1 Feb 1996 13:41:18 +0100 Reply-To: Bengans From: Bengans Subject: Re: Whatcha listenin to besides blues? JOHN HIATT RY COODER WILCO, great band NEAL CASAL, new record on ZOO/BMG DAN BAIRD JAYHAWKS, heard they split up, a shame SONNY LANDRETH, the KING of slide, (of the now living) DR JOHN SOUNDGARDEN, SVPERKNOWN , that was one of the best rock albums in a century BEN WEBSTER, the sweetest tone LITTLE FEAT STEELY DAN and of course, the king of great melodies and pop-chord changes: MARSHALL CRENSHAW DEPECHE MODE, x-quse, me that s a joke. TO SUM IT UP; Music played with real instruments by real people. (please don t start this, what s-a-real-instrument debate.) SEVENSON "Time is hard baby, and hustling is really on." Aaron T Walker. ========================================================================= Date: Thu, 1 Feb 1996 14:13:39 +0100 Reply-To: Bengans From: Bengans Subject: Jerry McCain Does anybody know if there s anything on CD where Jerry McCain is appearing. Iv e heard some really lowdown nasty blues but I don t have anything on record xept one song; money honey, on a harmonica compilation. It should be time to scrape his old recordings together and let the world know! Any info, someone? SEVENSON "Time is hard baby, and hustling is really on". Aaron T Walker ========================================================================= Date: Thu, 1 Feb 1996 08:19:04 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Blues With a Feeling "Babies do not express negative emotions; these are merely cultural elements of the psychotic society in which we find ourselves." So says Laurie Forti in another of pedantic ripostes to an interesting thread. This assertion indicates that Ms. or Mr. Forti has never had to deal with a baby. They express negative emotions all the time, and if he or she ever had to change a howling child's diaper such a ridiculous idea wouldn't have occured to him or her. There, and I swore I'd never get into another public fracas with Mr/Ms. Forti ever again! -Richard the Elder. ========================================================================= Date: Thu, 1 Feb 1996 14:13:35 +0100 Reply-To: Bengans From: Bengans Subject: Otis Smokey Smothers Does anybody know if there is anything avalable with Otis Smokey Smothers? All I know is that there are two LP:s issued with him. One on Red beans and Rice? that I have. There used to be one LP out on Krazy Kat I believe, will that be reissued on CD in the future. I have some of that on a cassette tape and that s all. I d love to have all of it in good audio quality. SEVENSON "Time is hard baby, and hustling is really on". Aaron T Walker ========================================================================= Date: Thu, 1 Feb 1996 07:30:22 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: LB & *racism* OK, for the 2nd time this week, I've gone to the dictionary for Blues-L :-) According to Webster, this is the definition of racism: "a belief that race is the primary determinant of human traits and that racial differences produce an inherent superiority of a particular race" I don't believe that LB has said anywhere that only Blacks can play the blues, nor have they said that Blacks play the blues *better* than whites simply because of the color of their skin. I don't see how anyone could call their policy racist. BTW, I doubt the ACLU couldn't care less if there was a magazine excluding Blacks because they are black - such a ridiculous argument. For the record, I get Living Blues and cancelled Blues Revue. I don't want my Blues magazine with Jimi Hendrix, Janis Joplin and SRV along with Jazz and articles by Keri Leigh. -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Thu, 1 Feb 1996 07:41:44 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: Living Blues Policy In-Reply-To: <199601311805.NAA07702@osceola.gate.net> *sigh* I am SO sick of this! To anyone who thinks LB is racist: I got news for ya, this is America as in "Land of the free, home of the whining snivelling wankers hiding behind lawyers." If you think LB's policy is unfair, you are more than free to invest your hard-earned money in a magazine that profiles whoever the hell you want. And if it doesn't fly, don't cry "racism", because it probably has to do with economics. [Steps down off soapbox] T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) Go Browns! And take your goddamn owner with you! ========================================================================= Date: Thu, 1 Feb 1996 08:40:19 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Sticky Threads Can any Blues-L-er recall a thread that has clung to life longer than the "Re: Whatcha listenin to besides blues?" thread has? It's gotta be our longest running. People who have never posted a single word, before or after, have answered that question? We've had plenty of recurring themes, but I can't think of a thread that has hung on so long. I've been trying to think of why and I think I may have it. It's a post that no one can ARGUE with you about. (Well, at least no one has attempted to yet.) The other thing is that the thread is preserved in the "Subject:" line. Frequently with other threads after a week or two the original "Subject:" has little to do with what is currently being discussed, and eventually somebody "corrects" the caption. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 1 Feb 1996 07:53:34 -0600 Reply-To: Roger Struve From: Roger Struve Subject: WOW! Man, here i have been professing that i am mostly into acoustic blues and not electric, and then i pull out John Hammond's albums, Southern Fried, Can't Beat the Kid, and Footwork....damn, the way he wails his voice on Southern Fried, and the great guitar playing, and the tightness of the band....i am starting to realize that one needs a certain level of maturity to appreciate a lot of blues. I remember listening to these albums when they first came out. I almost never listened to the electric stuff more than once or twice, with the exception of the unbelievable Willie Dixon's Spoonful that Hammond does( i think its on a different album than those mentioned above). But this album, is absolutely incredible. His singing, i never remembered it sounding like that 20 years ago. I guess even though my hearing was a lot better then, it really wasn't!!! (get the irony?) Hammond is hitting highs, and doing delta yells and screams, its absolutely beyond description. This is one album that really ought to be put on CD in my opinion. Of course, on the other hand, it's awful hard to find, and sometimes, rare gems are kind of neat! Then i listened to the other two albums. Back to acoustic again, his version of Statesborough Blues on 12 string is one of the best JHammond acoustic tunes, PERIOD. Wake up mama, turn your lamp down low. He does Terraplane blues in a very clean dramatic style. I'd forgotten that tune was on there. Of course, my all time favorite, Drop Down Mama, is a studio version quite different (in my mind) than his live versions, is probably my favorite version too! He does Chatanooga Choo Choo, and its not real heavy or deep, but very lighthearted and you can almost feel like you're on the train! just musing, delta doc roger ========================================================================= Date: Thu, 1 Feb 1996 09:15:33 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Living Blues Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com All of these Living Blues posts have been interesting, but is this really the palce to discuss their editorial policy? I think if you have a problem with LB, you should write to them at: Living Blues Magazine Sam Hall, Rm. 206 The University of Mississippi University, MS 38677 -Steve (a LB and BR subscriber who will probably never be written about in either publication) :) ========================================================================= Date: Thu, 1 Feb 1996 09:18:12 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Mississippi Fred McDowell Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *Any reccomendations for Mississipi Fred McDowell? You Got To Move on Arhoolie is my favorite so far. ========================================================================= Date: Thu, 1 Feb 1996 09:24:15 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: old folks Hello everyone. My grandmother used to watch the "Grand Ol' Opry," which when I was a little girl, I thought was pretty silly (time have changed). One day when I was about seven, she caught me singing and said "Maybe one day you'll be on the Grand Ol' Opry!" I snickered. Well, many years later, I still haven't made that venue, but many others. So every little while, I play for old folks in a local "retirement" community, kind of for my Gran -- who never made it to any of my professional gigs. So I wanted to say a little something about playing for old folks. I always dread going, because it sends me through changes about the fragility of life; the things these people have seen. But once I get there, and begin playing, things take on a different tone. Some stare absently out the window; some try to sing along even though you KNOW they don't know the tunes; some just smile and nod to the beat. All but a few, however, seem to REALLY appreciate WHATEVER I sing/play. They are so happy that someone cares to come and perform for them (these gigs never pay money, though one old lady always pulls out her pocketbook and tries to write me a check -- sweet thing) that it does a heart good to give them that small happiness. I always leave really refreshed and glad. Particularly when, after the show, I can so often strike up wonderful conversations and hear stories they are only too eager to tell. It always reminds of a particularly moving song written by John Prine (which of course I cannot remember now) about the someone inside that old man on the porch -- and remembering to stop to wave. Stop to wave -- it's well worth it.... They've been around; they'll hear you in any language. Cathi N. ========================================================================= Date: Thu, 1 Feb 1996 09:27:55 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Otis Smokey Smothers Comments: To: Bengans In-Reply-To: On Thu, 1 Feb 1996, Bengans wrote: > Does anybody know if there is anything avalable with Otis Smokey Smothers? > All I know is that there are two LP:s issued with him. One on Red beans and > Rice? that I have. There used to be one LP out on Krazy Kat I believe, > will that be reissued on CD in the future. I have some of that on a > cassette tape and that s all. I d love to have all of it in good audio > quality. Wolf #120.847 w/ Boston Blackie ..... Chi. Blues Session Vol. 1 NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 1 Feb 1996 09:31:44 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Wedding Playlist/Pedantophilia Max and I are making a list of songs to play at our wedding reception. What we've come up with so far: "Hey Joe" (Hendrix) "Tush" (ZZ Top) Any additional suggestions will be welcome. P.S. "Pedantophilia" -- Billy, I love it. ========================================================================= Date: Thu, 1 Feb 1996 09:40:12 -0500 Reply-To: RhythmShrk@AOL.COM From: Bernie Clarke Subject: Re: Paul Rodgers/Rick Derringer I listened to the Paul Rodgers stuff when it came out and it wasn't worth a second earful. How can anyone with any affinity for the blues say that a record with Slash on it is good guitar work. I can't think of one redeeming quality of that CD. I saw Rick Derringer live at the Dinosaur BBQ on a Sunday night. He was late, he looked like he had been on a five day coke and bourbon binge (sweating like a ditch digger on a night that really wasn't too hot), played painfully loud (and poorly) and the closest thing to the blues he played in the time that I was able to bear listening to his drivel was SRV's "Pride and Joy." He was rude to the staff as well who have informed me that he will never be back (Thank God). There are much better, more deserving people to spend your money on. (Incidentally, I went to the RD show out of curiosity as I get in free (all that perform at the Dinosaur get into the Sunday night shows gratis). They both suck! Yours with honesty. BC ========================================================================= Date: Thu, 1 Feb 1996 08:41:41 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Paul Rodgers/Rick Derringer In-Reply-To: Message of Thu, 1 Feb 1996 09:40:12 -0500 from On Thu, 1 Feb 1996 09:40:12 -0500 Bernie Clarke said: >I listened to the Paul Rodgers stuff when it came out and it wasn't worth a >second earful. How can anyone with any affinity for the blues say that a >record with Slash on it is good guitar work. I can't think of one redeeming >quality of that CD. One of the worst versions I've heard of a blues song (that wasn't ME) was on some CD my daughter has (Woodstock 9?..maybe) it was Paul Rogers and Slash doing Albert King (Don't know who wrote ie) "The Hunter"...It was not something that was fun to listen to. I guess they'd say the same about me...Naw they'd like my stuff.. LW >spend your money on. (Incidentally, I went to the RD show out of curiosity >as I get in free (all that perform at the Dinosaur get into the Sunday night >shows gratis). > > >They both suck! > >Yours with honesty. >BC ========================================================================= Date: Thu, 1 Feb 1996 09:44:44 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: Enough? Hey can we get a breather from this rising storm of name-calling and judgment on LB and racism? I'd sure appreciate it. Perhaps y'all can take this off list if it's really important to you? Thanks, Cathi N. ========================================================================= Date: Thu, 1 Feb 1996 08:53:27 -0600 Reply-To: Bruce Roberts From: Bruce Roberts Subject: A Modest Proposal I've been on Blues-L for a couple of years now and I've seen many of the same topics cycle ever month or so. I'm not a psychic, but I can predict that in the next six months you will see flame wars on HOB, EC, Race, and maybe even Gary Moore. Along with many non-blues related posts (like "What do you listen to when you're not listening to the Blues"). One solution to this is to have a moderator. A moderator would receive all the posts first and determine which ones would be posted to the list. This is a thankless job that I wouldn't want to have, but it would greatly improve the quality of posts on this list. Does anyone else think this is a good idea? Bruce Roberts Austin, TX ========================================================================= Date: Thu, 1 Feb 1996 09:54:44 +5EST Reply-To: dresserd@dns.nxi.com Comments: Authenticated sender is From: Derek Dresser Subject: Re: Living Blues Magazine Comments: To: "P.W. Fenton" > > I see. So now you accept that a magazine can have a limited perspective, > but only as long as it's reflected in the title? Once again, "silly" > is the only word I can think of. If the magazine devoted to > Corvettes wanted to call itself "On The Road", you would object to it > because it excluded small dead animals which are also found "on the > road". > Silly or not, a man has to live with himself, and I simply will not subscribe to a magazine that discriminates on the basis of skin color. The blues are a wonderful thing, and to mar them by associating them with discriminatory or separatist policies in any form is unacceptable in my eyes. The fact that blues was born out of, or as a result of a system of discrimination doesn't justify further discrimination on any side. Two wrongs don't make a right. Derek ========================================================================= Date: Thu, 1 Feb 1996 09:51:52 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: The Delta Doc-O-Phone Well I called it ((612) 484-8208) about 5:45 AM (Yeah I'm the guy who ruined that dream) and all I can say is it's way too short. I would have been willing to spend much more money to hear more. Very nice. P.W. ========================================================================= Date: Thu, 1 Feb 1996 07:02:20 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Jerry McCain >Does anybody know if there s anything on CD where Jerry McCain is appearing. >Iv e heard some really lowdown nasty blues but I don t have anything on >record xept one song; money honey, on a harmonica compilation. I've got two of his Wild Dog (Ichiban) albums - I Got the Blues All Over Me, and Struttin' My Stuff. They're both absolutely fantastic albums (although if I had to pick one I'd take I Got the Blues All Over Me. Some great slow blues, along with some good-humoured tracks with titles like `I Ain't Henpecked' and `Sue Somebody', and of course his great harp work Another good compilation that includes some of McCain's earlier Trumpet recordings (along with songs by Tiny Kennedy and Clayton Love) is Alligator's `Strange Kind of Feelin'. I love these Trumpet re-issues - does anyone know if there's much more out there that hasn't been put on cd yet? Good Listening! -Jim (hndful@uniserve.com) ========================================================================= Date: Thu, 1 Feb 1996 08:55:57 -0600 Reply-To: Keith Castleberry From: Keith Castleberry Subject: Shaun Cronin's SRV as Country Artist Hi, I am the original poster. The album in question is in a series called "New Country". The latest issue of this has SRV playing "pride and joy". The series is kinda like a "new artist" greatest hits to get exposure for new artist (country). I found it in CD review and it is sent on a monthly basis. The publisher appears to be "Connell Communications". But, yes SRV is definitley on the latest issue. In fact his face is pasted on the front of the album. Keith Castleberry "The Blues Cruise" P.O. Box 710 Atmore, AL 36504-0710 ========================================================================= Date: Thu, 1 Feb 1996 10:03:38 -0500 Reply-To: Meadors From: Meadors Subject: Re: Mississippi Fred McDowell Comments: To: shaun@WAVENET.COM I agree that the rhythm section on "I Do Not Play ..." is hard to bear; but Fred rises above it. My advice is to try to buy the early stuff AND the later (electric, a bit overproduced) stuff. Mike Meadors Orange3@gnn.com ========================================================================= Date: Thu, 1 Feb 1996 09:07:43 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: My Demo...maybe I think I can send out a few tapes of my studio efforts the other day, If anyone is interested. I can only send out a few, though. (as if more than three people want one :-))....Warning: I can not sing....yet Private mail of course LW btw: I may put a sound byte on a friends web page here...That would probally be best ========================================================================= Date: Thu, 1 Feb 1996 09:14:46 -0600 Reply-To: Keith Castleberry From: Keith Castleberry Subject: Living Blues Policy Hey guys, I think eveyone debating this issue should take a real deep breath and think about what you are posting on the net. I can honestly see both point of view on the subject. But, if you are trying to say that LB is racist by not featuring white musicians, I really think that is a little overboard. While it is unfourtunate that LB is not open to all, I consider the magazine 1st class and consider it a specialty magazine. I like the analogy to the Corvette magazine. Not much in life is fair! I grew up in Selma Alabama, and really didn't think it was very fair when the State Trooper and Sheriffs waded through the Blacks with their horses on the Edmund Pettis Bridge. I didn't think it was right that we had the National Guard patroling our streets with live ammo. Lets not go back to those times. Please. While I consider myself very conservative, there is a need for LB, Blues Revue, and others. If the public doesn't buy these particular magazines...they will eventually go away. Judging from their availibility on the newstands, it appears both are doing just fine the way they are. While LBs policy may be discriminatory (I don't think this), it is not racist. But, the policy I think is more one of specialality. (sorry for the misspells) Keith Castleberry "The Blues Cruise" WYDH 105.9 FM Atmore, Alabama ========================================================================= Date: Thu, 1 Feb 1996 09:25:00 -0600 Reply-To: Dave Daubard From: Dave Daubard Subject: Blues Cruise Playlist 1/26/96 Artist-------------Title----------------Release--------------Label----- Rod Piazza-Rockin'Robin(theme)- Harp Burn- Black Top nJohn Primer-Stop Draggin'that Chain Around-The Real Deal- Code Blue n " " -Tommorrow Might Not Be The Same-" " " " " nJames Armstrong-title tune- Sleeping/ A Stranger- High Tone Lee McBee- Do You Love Me- K.C. Blues in the '90's- Red Hot nJohn Hammond-You Had Too Much- Found True Love- Pointblank rDebbie Davies-This Man is Killing Me-Loose Tonite- Blind Pig iByther Smith- I'm a Honey Bee- Blues Nights- Bullseye Cooler Kings-Mean Mouth Woman- Looks Like Trouble- Slippery Noodle lKeith Harden-Grace Under Pressure- Cousins of the Blues- KHB James Harman Band-Sparks- Cards on the Table- Black top nLowell Fulson-"44"- Them Update Blues- Bullseye iSaffire:UBW-One Hour Mama- Broadcasting- Alligator Champion Jack Dupree-Jailbait- One Last Time- Bullseye Deanna Bogart-It's High Time- Crossing Boarders- Earwig nDuke Robillard-I Still Love You, Baby-Duke's Blues- Pointblank n " " " -Texas Hop- " " " " nJohn Hammond-1st Time I Met the Blues-Found True Love- " " Coupe DeVilles-So Many Reasons- Burning Blues- After Hour Prod nJohn Hammond-Hate to See You Go- Found True Love- Point Blank nJohn Primer- Blind Man Blues- The Real Deal- Code Blue Rev.Gary Davis-Hesitation Blues- Pure Religion & Bad Co.- Smithsonian Folk iHoney Boy Edwards-Worried Life Blues-Delta Bluesman- Earwig Scott Henderson-Smelly O'le Dog Blues-Dog Party- Mesa nJerry Lightfoot & Essentials-Night Train-Burning Desire- Connor Ray Rec. nGuitar Shorty-You Don't Treat Me Right-Get Wise to Yourself-Black Top rHowlin'Wolf-Long Green Stuff- Ain't Gonna Be Your Dog- Chess nMelvin Taylor-Depression Blues-Melvin Taylor & Slack Band- Evidence nMonster Mike Welch-Cold Poison-These Blues Are Mine- Tone Cool r,nMelvin Taylor-Tin Pan Alley- Melvin Taylor & Slack Band- Evidence Anson Funderburg-Sidetracked- Live at the Grand Emporium- Black Top nLong John Hunter-T-Bone Intentions-Border Town Legend- Alligator n " " " -Ice Cold- " " " - " nCephas & Wiggins-No Ice in my Bourbon-Cool Down- " nLong John Hunter-Lone Star Shootout-Border Town Legend- " n " " " Road Hog- " " " " n-new release r-request l-local i-coming to town ========================================================================= Date: Thu, 1 Feb 1996 15:35:30 GMT Reply-To: Budgie From: Budgie Organization: Cyber Access Subject: Josh White Comments: To: bit-listserv-blues-l@uunet.uu.net Hi, I'm trying to find a copy of the song Timber (Jerry the Mule) by Josh White and I'm having all sorts of trouble. Does anyone know if it's hard to find this song (or Josh White stuff in general), and what CD (or LP, or maybe a compilation) it's on? Thanks in advance. Ron -- Control for smilers can't be bought, the solar garlic starts to rot Was it for this my life I sought? Maybe so and maybe not... (Phish) While you are living, be free. (Budgie) ========================================================================= Date: Thu, 1 Feb 1996 07:38:20 -0800 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Re: Living Blues Policy Comments: To: bit-listserv-blues-l@cs.washington.edu In-Reply-To: <199601312145.QAA18419@mail-e1a.gnn.com> On Wed, 31 Jan 1996, Meadors wrote: > It doesn't matter who sold how many records, or who was screwed > over in the past, or who plays better blues, or who looks cooler on > a cover of a magazine -- whenever you INCLUDE or EXCLUDE according > to race, it's RACISM, pal. Don't you get it? It doesn't matter This makes me feel like I'm a racist for studying salmon and molluscs and writing about them for fisheries journals. Well, someday when I have more time (and more photos) I fully intend to write a non-technical article for Natural History magazine, which is the only non-racist magazine I ever see (covers all species w/ and w/o backbones as well as human cultures from *every* continent). Until then I suffer with my stigma. Adrian ========================================================================= Date: Thu, 1 Feb 1996 10:43:51 -0500 Reply-To: Matth54041@AOL.COM From: Matthew Collins Subject: Re: Jerry McCain Comments: To: bengans@mail.riksmedia.se I have a CD "I've Got the Blues All Over Me" on Wild Dog Blues. Catalog #9106. Rod Piazza might be able to tell you about his complete catalog as Jerry, at one time, had a lot of recordings that were unreleased. Regards, Mitch ========================================================================= Date: Thu, 1 Feb 1996 07:52:05 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: WOW! Comments: To: Roger Struve FYI, excerpts from Southern Fried are on a CD I produced a couple years ago of all-electric Hammond called "You Can't Judge a Book By Looking At The Cover" on Vanguard Records. I licensed in material from Hammond's electric albums for Atlantci, Capricorn, etc. Mary Katherine Aldin Mary Katherine Aldin ========================================================================= Date: Thu, 1 Feb 1996 09:30:34 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Jerry McCain Comments: To: Bengans In-Reply-To: On Thu, 1 Feb 1996, Bengans wrote: > Does anybody know if there s anything on CD where Jerry McCain is appearing. > Iv e heard some really lowdown nasty blues but I don t have anything on > record xept one song; money honey, on a harmonica compilation. Wolf #WBJ018 w/Kid Thomas - Rockin Harmonica Blues Men This month the review will be at our web-page along with the Boston Blackie / Otis Smothers (+20 others). Will get seve- ral here. NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 1 Feb 1996 09:51:29 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Re: Mississippi Fred McDowell I really like a lot 1995 Rounder release "Mississippi Fred McDowell," recorded in 1962 in his living room. You can hear dog barking, people clapping and talking, and lots of great acoustic blues. Ranko ps. BTW, for those in the neighbourhood, Junior Wells will be playing Gunnerz (Iowa City) on Feb 10th. Last time, two days after his mother's death, he put on a great show at Gunnerz. ========================================================================= Date: Thu, 1 Feb 1996 11:07:05 -0500 Reply-To: Jerry Zolten From: Jerry Zolten Subject: Detroit Gospel Honors This Saturday, February 3, a grassroots second annual attempt by Ms. Evelyn Agee to honor traditional African American gospel performers will be taking place in Detroit. Ira Tucker of the Dixie Hummingbirds as well as the Fairfield Four will be performing and talking about their work to all who attend. Amazingly, Ms. Agee is paying for all this out of her own pocket and has, from what she tells me, singlehandedly put the event together. She is concerned that many in the Detroit area are not aware of the event. So, if you're out that way and can make it, you can fax Evelyn at 313-868-8453 for more info, or look her up in the phone book, or look for whatever publicity is out there and come on down. I understand its an all day event with workshops and performers. ========================================================================= Date: Thu, 1 Feb 1996 10:09:25 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Living Blues Policy Comments: To: Keith Castleberry In-Reply-To: <199602011514.JAA28380@mako.atmore.gulf.net> I think this thread has been beaten to death, but suspect that many (including some of the most outraged) couldn't even tell us what the actual LB policy is. I'd like to suggest that someone actually post it so if there's an interest in persisting (I don't have any), future comments will at least be based on reality instead of a subjective view. If nobody else does so, I'll do it late tonight when I'm home and have access to it. My hope is that the response will be a collective "okay, let's move on." ========================================================================= Date: Thu, 1 Feb 1996 08:13:03 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Feb. 2 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- CHATMAN, SAM (g/BLUEBIRD REC) d. 1983-0202, HOLLANDALE, MS 86 HOUZE, WILLIAM (of THE DEEP RIVER BOYS) b. 1915-0202, CHICAGO, IL LANGHANS, PETER (d/DAVID BREWER) b. 1962-0202, SEATTLE, WA LION, ALFRED (founder: BLUE NOTE REC) d. 1987-0202, SAN DIEGO, CA 79 PRYSOCK, WILBUR "RED" (tsax) b. 1926-0202, GREENSBORO, NC QUILLIAN, RUFUS (g) b. 1900-0202, GAINESVILLE, GA RAINEY, WILLIAM "PA" (promoter) b. 1904-0202, GA SMITH, CLARA (v/COLUMBIA REC) d. 1935-0202, DETROIT, MI 41 SMITH, WILLIE MAE FORD (v/gospel songw) d. 1994-0202, ST. LOUIS, MO 89 SPROTT, HORACE (v/FOLKWAYS REC) b. 1890-0202, SPROTT, AL STEPHEN, TOM (d/JEFF HEALEY BAND) b. 1955-0202, ST. JOHN, NB STITT, EDWARD "SONNY" (asax/tsax) b. 1924-0202, BOSTON, MA TIBBS, ANDREW (v/ARISTROCRAT/PEACOCK) b. 1929-0202, COLUMBUS, OH ULMER, JAMES "BLOOD" (g/HANK MARR) b. 1942-0202, ST. MATTHEWS, SC VINCSON, WALTER (g/MISSISSIPPI SHEIKS) b. 1901-0202, BOLTON, MS ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 1 Feb 1996 16:15:49 GMT Reply-To: Art Schuna From: Art Schuna Organization: UW-Madison Subject: Re: Best Blues of '95 Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199602010120.KAA29453@icis.shoin.ac.jp>, saint@SHOIN.AC.JP says... > >Dear Bluesters, > >The following is the list of the best blues CDs >of 1995 according to the editors of "CD Review," >January 1996. Though I don't remember any of these being on MY best of list, I have heard many of these - I'll give it a shot. > >Charles Brown: "These Blues" (Verve) This one I don't own, can't comment on it but I love Charles - especially his early 50s sides. May be a little too laid back for some, but for those late night, candles burning, romantic evenings Charles is hard to beat. >John Lee Hooker: "Chill Out" (Pointblank) John Lee is at his best when he's on his own or with minimal production assistance. Some of the special guest appearances here are a little hard for me to deal with, but Hey call me a PURIST!! (see, I said the P word ;-) >R.L. Burnside: "Bad Luck City" (Fat Possum/Capricorn) RL kicks ass on anything he does. If you want a slice of contemporary country blues, you can't go wrong here. Kenny Brown and the rest of the crew who back him also deserve credit. >Ronnie Earl & the Broadcasters: "Blues Guitar Virtuoso > Live in Europe" (Bullseye Blues) How do you live up to the word "virtuso"? Well, I guess you could if you played anything nearly as well as Ronnie Earl does on this disc. Fine guitar work here. >Joe Louis Waker: "Blues of the Month Club" (Verve) This is a great release by a highly talented blues man. Seek it out >Little Charlie & the Nightcats: "Straight Up!" (Alligator) If your tastes run to good times boogie bar band sounds, Charlie and crew tear it up. They sound like they had a lot of fun putting this together. >Johnnie Johnson: "Johnnie Be Back" (MusicMasters) I haven't heard this one so I can't comment specifically except to say that he never has sound quite as good on anything I've heard recently as he did in his days with Chuck Berry, but that would be a tough combo to match. >Greg Piccolo & Heavy Juice: "Acit Blue (Fantasy) Don't know it >Preacher Boy & the Natural Blues: (Blind Pig) I've auditioned this a couple of times but somehow it never moved me - I passed on it both times, even at used CD prices. Am I missing something here? Could this be one of those recordings you need to listen to a lot before it grows on you? >Luther Allison: "Blue Streak" (Alligator) I'm a big fan of Luther and this release comes very close to his previous Alligator release in quality, but I think I'd go for that one first. I would add Larry Garner's latest on Verve and the Albert Collins Live '92/'93 to your list. This CD Review mentions no reissues so I assume they only consider new releases in their choices. Art Schuna ========================================================================= Date: Thu, 1 Feb 1996 11:23:45 -0500 Reply-To: Ed Mezynski From: Ed Mezynski Subject: bluesl_blues This ones slow and in 4, with a Johnny Winter kind of "tin pan alley" sort of feel bluesl_blues I can't spell, and I can't type All these white bluesmen are just so much hype. Turn Living Blues, into Living Black, Once you pass judgement, you can't take it back. Flamebait flyin, left and right, Why all you people lookin for a fight? Well I got the PC slide on each finger can't play no chords tripped on my flame proof asbestos suit which is the best m*****F*****' blues rag don't got no patience Handy (tm) Dandy Blues Whew! I feel a little better now. ed ========================================================================= Date: Thu, 1 Feb 1996 08:37:26 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Josh White Comments: To: Budgie At 03:35 PM 2/1/96 GMT, Budgie wrote: >Hi, I'm trying to find a copy of the song Timber (Jerry the Mule) by Josh >White and I'm having all sorts of trouble. Does anyone know if it's hard >to find this song (or Josh White stuff in general), and what CD (or LP, or >maybe a compilation) it's on? Thanks in advance. >Ron > There is a song called "Jerry" (don't know if this is what you're looking for) on an LP called "Joshua White 1936-1941" on Best Of Blues Records BOB 11. Mary Katherine Aldin Mary Katherine Aldin ========================================================================= Date: Thu, 1 Feb 1996 11:05:14 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: A Modest Proposal Comments: To: BRUCE@TSBME.STATE.TX.US On 1 Feb 96, Bruce Roberts had this to say... > One solution to this is to have a moderator. A moderator would receive > all the posts first and determine which ones would be posted to the list. > This is a thankless job that I wouldn't want to have, but it would greatly > improve the quality of posts on this list. Does anyone else think this > is a good idea? I think it's a bad idea. I don't want to pass judgement on the "quality" of someone else's post, and I don't want anyone deciding whether my posts are worthy. I love the fact that this list does anything it pleases, and I am a firm believer in the delete key. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 1 Feb 1996 10:43:32 -0600 Reply-To: Roger Struve From: Roger Struve Subject: The Delta Doc-O-Phone -Reply Comments: To: pwfenton@GATE.NET THanks PW! Send me your home number and what hours you're home, and i'll call collect and play as long as you want!!! (anybody else wants to do this, i'll oblige very happily----i need the constructive criticism, and who better than the greatest bunch of blues critics in the world, BLUEsellers/zellers!) ddr ========================================================================= Date: Thu, 1 Feb 1996 09:55:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Rant? Previously on Blues-L... If the list were split then theres are good chance that people won't experience the full spectrum of the list. An whether you like it or not that includes discussions on the SRV and UO's underwear. It also includes the chance to hear form Dick Waterman and Dick Shurman. Two people who appear on the liner notes of a lot of my CD's. I consider this a privelige. [snipitty snip] Shaun Cronin ___________________________________________________________________ I'll say! Not to mention the peripatetic Mary Katherine Aldin, plus LW, Paul Fenton, the delightfully candid Don C., Don O. and his radio show, Tom Freeland, Tom, Ruth and her whammy bar, the Scatman, Jouni, Shannon, Karen, Joel, Sistah Nitra, hippie lady, Nuri, Riffin Rick, Peter, Bob, Boyd, Mr. Bo, Scott, Mike, Joel, Doug, Jim, Jim Leftwich, Date-Man-eRIC, Derek, David Silberberg, Barry Silverberg, Ian Angus (built for comfort not for speed), M. Urbain ("young man"), Mr. Tschanz (sp.?), Keith Castleberry, Mike K. in New Haven, Mike Fitzgerald, Bill Morgan, Kevan Smith, Dave Carpenter, Laurie Forti, Jeff Seale, Bruce Roberts, Paul & Beth Garon, Richard Chalk from Top Cat Records, Jessica Sowin of Legacy, Bob Fulkerth, Jon Duttweiler, Charles d'Orban, Guy Tapper, Daryl, Ted, BBB, DDR, Scott, Bill P, Bill Shute, Blue Wave, Elliot Williams, Crafty, Turtle, Mike Meadors, the fabulous Bogerts from Kentucky of all places, T-Bone, Beef Stew, J. J., Billy Chambless, Roger, Cathy N., Steve, Steve Murray, Steve in Seattle, the "fake" Mary Katherine (bloody impostor!), Sevenson, Jose in Spain, I-forgot-her-name (Permisso!!) in Venezuela, our new friend in Argentina, phertel@cmc.doe.ca, Marcia, Shaun Cronin himself, and aw shucks, others far, far too numerous to list separately, plus the incomparable Bonnie the K.! Blue Joe in Red Russia J.E._Downey@bakermck.com ========================================================================= Date: Thu, 1 Feb 1996 08:49:12 -0800 Reply-To: James Carmin From: James Carmin Subject: Re: Jerry McCain >>Does anybody know if there s anything on CD where Jerry McCain is appearing. >I've got two of his Wild Dog (Ichiban) albums - I Got the Blues All Over Me, >and Struttin' My Stuff. They're both absolutely fantastic albums (although Also check out: THAT'S WHAT I WANT: THE BEST OF JERRY MCCAIN on Excello (CD 3009). You can sample some tracks at this site: http://www.cnotes.com/cnotes.artists/mccain.html I've been a recent convert to Jerry McCain's ways, and I can blame Gary Primich for it because he did a killer cover of DING DONG DADDY on his great "Travelin' Mood" Flying Fish cd. James C. jcarmin@teleport.com ========================================================================= Date: Thu, 1 Feb 1996 11:04:38 -0600 Reply-To: Craig Edmundson From: Craig Edmundson Subject: Re: A Modest Proposal Comments: To: Bruce Roberts In-Reply-To: <960201085327.27d@TSBME.STATE.TX.US> Mr. Roberts' point about recurring threads is well taken...they *can* be annoying *if you read them.* I simply don't read the kind of posts/threads that Mr. Roberts refers to. But the fact that other zellers seem to enjoy the threads is ok by me. I would resist the idea of a moderator for blues-l however. I prefer to do my own "gatekeeping" with the delete key! :-) ce ----------------------------------- Craig L. Edmundson cedmunds@netserv.unmc.edu cedmundson@nfinity.nfinity.com http://www.nfinity/com/~cedmundson On Thu, 1 Feb 1996, Bruce Roberts wrote: > I've been on Blues-L for a couple of years now and I've seen many of > the same topics cycle ever month or so. I'm not a psychic, but I can > predict that in the next six months you will see flame wars on HOB, EC, > Race, and maybe even Gary Moore. Along with many non-blues related posts > (like "What do you listen to when you're not listening to the Blues"). > One solution to this is to have a moderator. A moderator would receive > all the posts first and determine which ones would be posted to the list. > This is a thankless job that I wouldn't want to have, but it would greatly > improve the quality of posts on this list. Does anyone else think this > is a good idea? > > Bruce Roberts > Austin, TX > ========================================================================= Date: Thu, 1 Feb 1996 08:58:49 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Blues-l "quote of the day Comments: To: BLUES-L@BROWNVM.BROWN.EDU. The turtle (what's your name son?) said: >True opinion need not be supported by facts, or supported at all. This is the heart of it, and I am glad you said this. Like it or not, "true opinion" *is* supported or unsupported by credibility which is established by experience, insight, intelligence, fairness, compassion, and facts, otherwise known as the truth. The idea that opinions cannot be wrong is part of the dumbing-down of our society. Others have said that opinions can be stupid, but not wrong, and that is at least getting close, but there is very little real difference between the two. The idea that opinions cannot be wrong and are therefore all equal, is ideological rubbish, durable rubbish mind you! but rubbish nonetheless. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Thu, 1 Feb 1996 10:58:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Re: Enough? Comments: To: canorton@JOURNALISM.INDIANA.EDU >From: IN%"canorton@JOURNALISM.INDIANA.EDU" "Cathi Norton" >To: Multiple recipients of list BLUES-L >Subject: Enough? > >Hey can we get a breather from this rising storm of >name-calling and judgment on LB and racism? I'd sure >appreciate it. > >Perhaps y'all can take this off list if it's really >important to you? > >Thanks, > >Cathi N. No, people can always delete. This topic is important to me because I have seen musicians from African-american cultural background struggle so long for recognition, not to mention jobs etc. Nowadays,ironically, the new popularity of the blues - while giving them more chances to work has at the same time put them in competition with new white bands. And, while there has been some improvement, it hasn't been that great. My personal and strong belief is the people who come directly from the cultural background that created the blues should be given preference, deference, and the lion's share of attention - I know this won't sit well with many of the musicians on the list. Recently, there was an interview with Robert Lockwood in the Toledo Blade. Robert, who has long worked with white musicians, said this about the new popularity of the blues - that there were lots of blues bands working all over Cleveland, Ohio where he lives but they were all white. Which means that he has to compete with probably much younger people who don't even come from his cultural background. So when new people come on the list and attack Living Blues - sometimes mad because they and their band from North Dakota someplace won't make it in - I take it upon myself to defend Living Blues whose goal is the same as mine - to give much needed attention to the aritsts from the cultural background that created and still inform the blues. The rest of y'all just hit that delete key . -Bonnie ========================================================================= Date: Thu, 1 Feb 1996 15:40:06 +0000 Reply-To: "David J. Wallace" From: "David J. Wallace" Organization: JSDA Subject: Re: A Modest Proposal Comments: To: BRUCE@TSBME.STATE.TX.US Regarding the idea of moderating the list. Whilst the idea has its merits, I am opposed to it simply because in my opinion moderated lists are somewhat sterile and lacking in vitality. Bit of an old chestnut this one, but IMO the delete key is the best moderator there is, but then I don't pay for my mail service :-) Mandatory Blues content: If you liked Luther Allison's 'Blue Streak', then you'll love 'Bad Love', I'd say it was the better of his last two. see ya, David |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Theres only one way out of: The Blues, Town and Regional Planning or a spin in a Beech Baron. I Hope you never find it. ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| ========================================================================= Date: Thu, 1 Feb 1996 12:20:56 -0500 Reply-To: MAGross@AOL.COM From: "Michael A. Gross" Subject: Re: Living Blues Policy Comments: To: spidle@fish.washington.edu > This makes me feel like I'm a racist for studying salmon > and molluscs and writing about them for fisheries > journals. Not necessarily, as long as you also study and write about whitefish. And publish only in journals which will consider stories about fish of all colors, of course. Michael ========================================================================= Date: Thu, 1 Feb 1996 11:35:32 -0600 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: bluesl_blues Comments: To: mezynski@DG-RTP.DG.COM In-Reply-To: <199602011623.LAA28349@musicman.rtp.dg.com> from "Ed Mezynski" at Feb 1, 96 11:23:45 am In an earlier message, Ed Mezynski said: ] ] This ones slow and in 4, with a Johnny Winter kind of "tin pan alley" sort ] of feel ] ] bluesl_blues Damn. Are you sure you can play Johnny Womter music without being an albino? Here, let _me_ try: "Blues-L" (Tune of "Dallas") I b'lieve that Blues-l, man is the meanest list I know. I b'lieve that Blues-l, man is the meanest list I know. You gonna get flamed on Blues-L -- no matter what ya know. Gonna post on Blues-L, 'cause my opinions all are fact. Gotta preach to Blues-L, my opinions all are fact. Some fool tries to argue -- I'll just point out he ain't black. We can fight 'bout Eric Clapton, flame 'bout Livin' Blues, We just a bunch of whinin' white boys, ain't never paid no dues. Oooohoohoh, gotta post on Blues-L, love to read it ev'ry day. You gonna get flamed on Blues-L -- no matter what ya say. I love to read ol' Blues-L, from my Mississippi home. Read and post on Blues-L, in my Mississippi home. Then somebody tells me that I ain't nothin' but a clone. Well you know that I can't spell "pedantic", I just be havin' fun; So much shit on Blues-L, you're bound to step in some! Oooohoohoh, gotta post on Blues-L, 'cause we love to fuss and fight. You gonna get flamed on Blues-L -- even tho' you know you're right. I b'lieve that Blues-l, man is the meanest list I know. I b'lieve that Blues-l, man is the meanest list I know. You gonna get flamed on Blues-L -- no matter what ya know. -- * Billy Chambless | billy@cast.msstate.edu | voice: 601-688-7608 * Mississippi State University Center for Air-Sea Technology * ========================================================================= Date: Thu, 1 Feb 1996 12:35:00 -0500 Reply-To: MertFaj From: MertFaj Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Paul Rodgers/Rick Derringer Comments: To: bit-listserv-blues-l@uunet.uu.net I have to agree that there were a few things on the Cd I did not like--especially The Hunter with Slash. Still, there is a lot on it that, for some reason, I like--kind of a guilty pleasure. I expected that many would hate it. I cannot say why I exactly like it but I do. I don't look at it stritly as a blues work so I guess I kept a bit of an open mind about it and came to enjoy it. As far as guitar work, I thought Buddy Guy, Gary Moore, and Jeff Beck did well. I also figured a lot of people would dislike Derrenger which is why I asked, mainly to see if I was the only one who liked him. I know there is a lot better out there and I do not think he's as good as many others. Still, I liked his CD (never saw him live). I was just interested in people's thoughts whether they be good or absolutely terrible. ========================================================================= Date: Thu, 1 Feb 1996 12:28:32 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Little Jimmy King Does anyone know what Little Jimmy King's brother's name is? I think it's Craig something. Anyone heard of him? ========================================================================= Date: Thu, 1 Feb 1996 11:32:01 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Jerry McCain Comments: To: Bengans > From: Bengans > Does anybody know if there s anything on CD where Jerry McCain is appearing. > Iv e heard some really lowdown nasty blues but I don t have anything on > record xept one song; money honey, on a harmonica compilation. > > It should be time to scrape his old recordings together and let the world know! Jerry has several CD's out. If it's his older material you want, check the Excello release: WiX9106 +MCCAIN*JERRY I'VE GOT THE BLUES ALL OVER ME WILD DOG 9/93 iCH9008 +MCCAIN*JERRY LOVE DESPERADO &ICHIBAN 9/91 ALL2701 +MCCAIN*JERRY STRANGE KIND OF FEELIN' &ALLIGATOR 5/93 iCH9020 +MCCAIN*JERRY STRUTTIN' MY STUFF &ICHIBAN 7/92 EXY3009 +MCCAIN*JERRY THAT'S WHAT THEY WANT:BEST EXCELLO 9/95 Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Thu, 1 Feb 1996 11:42:11 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Little Jimmy King In-Reply-To: Message of Thu, 1 Feb 1996 12:28:32 -0500 from On Thu, 1 Feb 1996 12:28:32 -0500 PARRISHR said: > Does anyone know what Little Jimmy King's brother's name is? > I think it's Craig something. Anyone heard of him? One brother is Eric Gales (not to be confused with JAZZ GREAT Eric Gale) LW "is it Gale or GaleS" ========================================================================= Date: Thu, 1 Feb 1996 12:44:20 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Mississippi Fred McDowell Comments: To: fjord@halcyon.com In a message dated 96-02-01 02:44:18 EST, you write: >"Mississippi Delta Blues," Arhoolie CD 304, has 64 minutes of all the best >stuff off his first two albums for them, mostly recorded at his house in Como, >Miss in 1964-65. Stay away from "I Do Not Play No Rock 'n' Roll," which has a >lame rhythm section trying to keep up with his country time. Arhoolie may have >others on CD by now; "Fred McDowell and His Blues Boys" (Arhoolie LP 1046 >from 1969) has some guys who *can* follow him. Arhoolie has been creating some real name confusions with its reissues of McDowell's work. There are three out now that I know of: MISSISSIPPI DELTA BLUES is out under the name YOU'VE GOT TO MOVE (same song selection); GOOD MORNING LITTLE SCHOOL GIRL; and THIS AIN'T NO ROCK N' ROLL. In my opinion, the first is essential; it presents acoustic Fred McDowell at its best. For McDowell's gospel music, FRED MCDOWELL: AMAZING GRACE (Testament TCD 5004) is astounding and is also essential. The gospel on GOOD MORNING LITTLE SCHOOL GIRL is not as powerful as the Testament set. And I agree that THIS AIN'T NO ROCK N' ROLL is a lesser electric set. The Capital set -- I DO NOT PLAY NO ROCK AND ROLL (who is responsible for these title games??) is the way to here his electric recordings. ========================================================================= Date: Thu, 1 Feb 1996 17:43:22 GMT Reply-To: Paul L Pearson From: Paul L Pearson Organization: Iowa State University, Ames, Iowa Subject: You might be a blueneck when... Comments: To: bit-listserv-blues-l@uunet.uu.net ...the acknowlegements section of your Ph.D. dissertation included "Magic Slim and the Teardrops, Bugs Henderson and the Chris Duarte Group." -- Paul L. "Pro" Pearson, Ph.D. President, Kurt Rambis Fan Club (unofficial) Ames, IA Chapter ========================================================================= Date: Thu, 1 Feb 1996 12:47:24 -0500 Reply-To: Ed Mezynski From: Ed Mezynski Subject: Re: bluesl_blues Comments: To: billy@cast.msstate.edu ] In an earlier message, Ed Mezynski said: ] ] ] ] This ones slow and in 4, with a Johnny Winter kind of "tin pan alley" sort ] ] of feel ] ] ] ] bluesl_blues ] To which Billy Chambless said: ] Damn. Are you sure you can play Johnny Womter music without being ] an albino? You know Billy, it's a just my humble opinion, to which I have in inalienable entitlement, but I don't have to be albino to play like an albino. And thank you very much for an opportunity to express my view. ed ========================================================================= Date: Thu, 1 Feb 1996 11:44:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Re: Living Blues Policy Comments: To: rshurman@CCS.NSLSILUS.ORG >From: IN%"rshurman@CCS.NSLSILUS.ORG" "Richard Shurman" >To: Multiple recipients of list BLUES-L >Subject: Re: Living Blues Policy > > I think this thread has been beaten to death, but suspect that >many (including some of the most outraged) couldn't even tell us what the >actual LB policy is. I'd like to suggest that someone actually post it >so if there's an interest in persisting (I don't have any), future >comments will at least be based on reality instead of a subjective view. >If nobody else does so, I'll do it late tonight when I'm home and have >access to it. My hope is that the response will be a collective "okay, >let's move on." Paul Garon wrote a pretty good explanation of the policy a few years ago. He is also among the founders of the mag. New people subscribe to this list every day, and so the topic will come up periodically. I know the topic itself generates strong feelings, especially among white blues players some of whom feel they oughta be in the magazine, but there are many other topics here also beaten to death. I'm not always enthralled by the technical comparisons of amplifiers. Anyway, I think the raison d'etre of LB is simple: blacks created this art form (out of their own and other cultures); people of other backgrounds enjoy playing and listening to it - but blacks still get the short end of the stick when it comes to money, gigs, recording contracts, fame etc, when it comes to their own creation. Living Blues is trying to even out the playing field a little. -Bonnie ========================================================================= Date: Thu, 1 Feb 1996 12:54:22 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: A Modest Proposal Comments: To: Bruce Roberts In-Reply-To: <960201085327.27d@TSBME.STATE.TX.US> Bruce, I believe the best moderator is the delete key. Thankless job but it doesn't seem to mind + it leaves free speech intact ... Barry On Thu, 1 Feb 1996, Bruce Roberts wrote: > I've been on Blues-L for a couple of years now and I've seen many of > the same topics cycle ever month or so. I'm not a psychic, but I can > predict that in the next six months you will see flame wars on HOB, EC, > Race, and maybe even Gary Moore. Along with many non-blues related posts > (like "What do you listen to when you're not listening to the Blues"). > One solution to this is to have a moderator. A moderator would receive > all the posts first and determine which ones would be posted to the list. > This is a thankless job that I wouldn't want to have, but it would greatly > improve the quality of posts on this list. Does anyone else think this > is a good idea? > > Bruce Roberts > Austin, TX > NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 1 Feb 1996 11:51:28 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Living Blues Policy In-Reply-To: Message of Thu, 1 Feb 1996 11:44:00 CDT from On Thu, 1 Feb 1996 11:44:00 CDT Bonnie Kalmbach said: >New people subscribe to this list every day, and so the topic will come >up periodically. I know the topic itself generates strong feelings, >especially among white blues players some of whom feel they oughta be in the >magazine, but there are many other topics here also beaten to death. JFTR: This white musician has been pictured in Living Blues :-) LW 'I was really hoping to be on the cover..oh well' I don't care if someone doesn't like Living Blues, but It does bug me when "they" are called racists. ========================================================================= Date: Thu, 1 Feb 1996 09:57:27 CST Reply-To: JBards From: JBards Subject: Re: Wedding Playlist/Pedantophilia Comments: To: PARRISHR "It Makes No Difference" The Band/Robbie Robertson "Gringo Honeymoon" Robert Earl Keen -J _______________________________________________________________________________ Subject: Wedding Playlist/Pedantophilia From: PARRISHR at INTERNET-SH Date: 02/01/96 9:12 AM Max and I are making a list of songs to play at our wedding reception. What we've come up with so far: "Hey Joe" (Hendrix) "Tush" (ZZ Top) Any additional suggestions will be welcome. P.S. "Pedantophilia" -- Billy, I love it. ========================================================================= Date: Thu, 1 Feb 1996 10:02:42 CST Reply-To: JBards From: JBards Subject: Re[2]: Going to Mardi Gras Comments: To: JukeFreak@AOL.COM My take on this is that the music in New Orleans, or N'awlins, as we call it, tends like the city to be a rich gumbo of styles- vis The Nevilles, the Subdudes, Little Feat, Anders Osborne and the like- all reflect a variety of musical ingrediants, including but not limited to the blues, in their mix. Chicago, on the other hand, tends to go deep into one particular musical idiom- electric blues- for whatever reason. Whichever, whatever, they're both great places for food AND music! -Jim _______________________________________________________________________________ Subject: Re: Going to Mardi Gras From: JukeFreak@AOL.COM at INTERNET-SH Date: 01/31/96 7:33 PM >On the edge of the quarters towards the river youxll find the House of >Blues, probably one of the few in that bar chain that really focuses on >blues music. I've only been to the one in New Orleans (twice), so I don't know what the others focus on....but my impression was that, though the decor and background music is (mostly) blues, the bands they book are not necessarily so. When I was there last year at Mardi Gras I saw the Neville Brothers, which I enjoyed, but I wouldn't call them blues. Just this past Christmas I was there again and on the schedule were....(let's see if I can remember)....John Hiatt, Buckwheat Zydeco, the Funky Meters....hmmmm....that's all I can remember. Anyway, I wasn't real impressed, considering I live close to Chicago, in which you can find, on any given night, plenty of live blues. Karen ========================================================================= Date: Thu, 1 Feb 1996 13:18:12 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Valentines' Day Blues Help!! I've been asked for some suggestions for blues material for two different CBC Radio network programmes that are being prepared for Valentine's Day. Blues love songs, references to Valentine's Day, songs about the Valentine's Day "massacre" if there are any.... I'm going blank-but I suspect suggestions will also be of value to the radio programmers out on the Blues-L. Thanks in advance for your suggestions-when (if?) we get any I'll let folk know when the shows will be aired. - Richard the Elder ========================================================================= Date: Thu, 1 Feb 1996 13:18:21 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Juno Award nominations Folk might be interested in the nominations in the "Best Blues/Gospel Recording" category of the Juno Awards, which are Canada's equivalent of the Grammy Awards. They are: Big City Blues - Sue Foley (Antone's, distributed in Canada by Festival) Rites of Passage - Georgette Fry (Independent) That River - Jim Byrnes (Stony Plain, distributed in U.S. by Bayside) Urban Blues: ReNewell - King Biscuit Boy (Blue Wave in the US, Stony Plain in Canada) When the Sun Goes Down - The Sidemen (Dark Light/Denon in Canada) Some quick notes: Betcha didn't know Sue Foley was Canajun, eh? Jim Byrnes may be familiar to TV fans as the wheelchair bound detective in the Wiseguy series, and he also plays the part of the owner of a blues bar in Highlander: The TV Series; his band has a strong following in the Vancouver area, and he recently opened some West Coast shows for Robert Cray. The Biscuit album is excellent; the Sidemen are a Toronto band produced by Joe Louis Walker; and I'm afraid I don't know anything about Georgette Fry. The Junos will be awarded on national TV on March 10; Anne Murray hosts the show and the participants include k.d. lang, Gordon Lightfoot, Shania Twain and Alanis Morissette. In other words, as far as the TV show's concerned, "no blues content" -although last year Colin James opened it with a blistering version of Rock This House. Richard the Elder. ========================================================================= Date: Thu, 1 Feb 1996 12:21:03 -0600 Reply-To: T-Bone From: T-Bone Subject: Web page I apologize for bringing some blues-music-related content to this forum, but I thought I'd let everyone know that I've updated and (hopefully) improved my blues web pages recently (at http://www.io.com/~tbone1/blues/ for those who are interested). I've been on a hiatus from doing anything more because of work etc, but I plan on writing and adding new bios as soon as I can. And if the person who previously asked is out there, no, I cannot find that picture of Leroy Carr to scan. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) Go Browns! And take your goddamn owner with you! ========================================================================= Date: Thu, 1 Feb 1996 12:25:30 EST Reply-To: KCARLSON@VINES.ETN.COM From: Keith Carlson Subject: John Hammond -Sr. or Jr.? My wife are going to the Prairie Home Companion broadcast on Feb. 10th, with guest John Hammond. I just realized today that I heard on Blues-L the name John Hammond, Jr., too. Is there a John Hammond Jr. *and* Sr. that are actively touring...recording? (I know, I've got soooo much to learn....) Does anyone happen to know who I'll be seeing at this show? I had been assuming it was the John Hammond of "Got Love If You Want It", because that's the only John Hammond I've heard. If anyone's interested, they broadcast this show on National Public Radio Saturdays at 5pm central time. It's mostly Garrison Keillor, and some skits, and usually a folksy musical guest or two. TIA Keith Carlson kcarlson@whqpc4.etn.com ========================================================================= Date: Thu, 1 Feb 1996 13:33:34 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Tying a few threads ... re: Living Blues vs. Blues Revue re: Country vs. Blues re: fillin as required ________________________ Barry speculates ...... The greatest thing that could happen to the blues would be for it to be considered country. 1. The market is enormous compared to the blues market good for the artists 2. Some racial lines would blur 3. Black coverage would be spread to white magazines 4. Opportunities and doors would open very wide for blues players 5. The blues club scene would change dramatically i.e. big name blues artists would do concerts not clubs 6. "I'd like to here other opinions on what would happen" Of course the ultimate success would be for the blues to become a part of rock 'n roll. Then we'd have some big dollars coming to those we treasure and enjoy. All this thinking and Lee Shot Williams is backing me up. Barry a.k.a. the Scooter recontemplating Barry or the Scoot NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 1 Feb 1996 18:49:22 GMT Reply-To: Jennifer Schmitt u From: Jennifer Schmitt u Organization: Wilfrid Laurier University Subject: KITCHENER BLUES FANS On February 24th, the Volcano night club in Kitchener will begin hosting a regular Saturday blues night. The Volcano is located at 276 King St. W., Kitchener, Ontario. If you are a blues fan living in this area, please call the club (519) 741-9186 for more information, and to show your support for such an event. Thanks in advance.... ========================================================================= Date: Thu, 1 Feb 1996 13:44:44 -0500 Reply-To: "Munson, Bill" From: "Munson, Bill" Subject: Re: eRIC's blues dates for Feb 1 -- Rick James I know that all the reference books give 1952 as Rick James' birth year, but that looks like an understandable attempt to turn back the clock. The guy was in Toronto AWOL from the US Navy by 1964, and sang on the only 45 by the Mynah Birds (pre-Young) in '65. Surely the US Navy didn't take 12 year olds, however desperate it was for fodder. Perhaps we could give James' old publicist the benefit of the doubt and pretend that he or she just mis-typed 1942? ========================================================================= Date: Thu, 1 Feb 1996 13:53:51 -0500 Reply-To: "Abe W. Mathews" From: "Abe W. Mathews" Subject: Re: Wedding Playlist/Pedantophilia In-Reply-To: <110cf240@vitro.com> from "PARRISHR" at Feb 1, 96 09:31:44 am Ruth asks for additional wedding reception material: > > Max and I are making a list of songs to play at our wedding reception. > What we've come up with so far: > > "Hey Joe" (Hendrix) > "Tush" (ZZ Top) > > Any additional suggestions will be welcome. The one I played at my reception, and have done so at a couple of others is: "She's No Lady (She's My Wife)" by the great Lyle Lovett A Fantastic, kinda swinging big-band tune that tells it like it is. :) Abe awmathew@mtu.edu ========================================================================= Date: Thu, 1 Feb 1996 19:01:19 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: A Modest Proposal In-Reply-To: <199602011606.LAA62446@osceola.gate.net> On Thu, 1 Feb 1996, P.W. Fenton wrote: > On 1 Feb 96, Bruce Roberts had this to say... > > > One solution to this is to have a moderator. A moderator would receive > > all the posts first and determine which ones would be posted to the list. > > This is a thankless job that I wouldn't want to have, but it would greatly > > improve the quality of posts on this list. Does anyone else think this > > is a good idea? > > I think it's a bad idea. I don't want to pass judgement on the > "quality" of someone else's post, and I don't want anyone deciding > whether my posts are worthy. > > I love the fact that this list does anything it pleases, and I am a > firm believer in the delete key. > I agree for the following reason. Right now the list is what WE make it whereas a moderator would transform it ( whether he/she was an active fascist or not :) ) into something reflecting the moderator and his/her views/opinions. If the list isn't the way you like it, then you can change it through your posts and even sending small flames at the culprits through direct mail. In actual fact (oh irony) many of the non-blues posts are kept alive, kickstarted, made to rise phoenix-like from the dead by simply NOT BEING IGNORED by the very people who abhor them!. If I was to post a "What's your favorite hobby" message I would get a lot more "this is not blues", "let's split the list" etc. than I would get "I love macrame". The subject header "What's your favorite hobby" would multiply and one more "I love bottle top collecting" would keep the ball rolling. If there was only one "I love macrame" reply the header would come up only twice and the whole thing would blow over. i.e. Ignore it (and I mean totally) and it will go away. Not only that but the example will be set. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [1/2/96 13:44 PM] "Thursday's always sad..." ========================================================================= Date: Thu, 1 Feb 1996 14:05:46 -0500 Reply-To: MK Sheffield From: MK Sheffield Subject: Re: Rant On 2/1, J.E. Downey ranted the following: >I'll say! Not to mention the peripatetic Mary Katherine Aldin, plus >LW, Paul Fenton, the delightfully candid Don C., Don O. and his radio >show, Tom Freeland, Tom, Ruth and her whammy bar, the Scatman, Jouni, >Shannon, Karen, Joel, Sistah Nitra, hippie lady, Nuri, Riffin Rick, >Peter, Bob, Boyd, Mr. Bo, Scott, Mike, Joel, Doug, >Jim, Jim Leftwich, Date-Man-eRIC, Derek, David Silberberg, Barry >Silverberg, Ian Angus (built for comfort not for speed), M. Urbain >("young man"), Mr. Tschanz (sp.?), Keith Castleberry, Mike K. in New >Haven, Mike Fitzgerald, Bill Morgan, Kevan Smith, Dave Carpenter, >Laurie Forti, Jeff Seale, Bruce Roberts, Paul & Beth Garon, Richard >Chalk from Top Cat Records, Jessica Sowin of Legacy, Bob Fulkerth, Jon >Duttweiler, Charles d'Orban, Guy Tapper, Daryl, Ted, BBB, DDR, Scott, >Bill P, Bill Shute, Blue Wave, Elliot Williams, Crafty, Turtle, Mike >Meadors, the fabulous Bogerts from Kentucky of all places, T-Bone, >Beef Stew, J. J., Billy Chambless, Roger, Cathy N., Steve, Steve >Murray, Steve in Seattle, the "fake" Mary Katherine (bloody >impostor!), Sevenson, Jose in Spain, I-forgot-her-name (Permisso!!) in >Venezuela, our new friend in Argentina, phertel@cmc.doe.ca, Marcia, >Shaun Cronin himself, and aw shucks, others far, far too numerous to >list separately, plus the incomparable Bonnie the K.! > >Blue Joe in Red Russia >J.E._Downey@bakermck.com The "fake" Mary Katherine (ie: Bloody Imposter) agrees wholeheartedly. :) Some of us, SO uncool non-musicians might not get the occasional opportunity to be cool by posting an occasional worthwhile comment. (I know y'all are still waiting patiently for ME to come up with one...) :) Anywho, I like the diversity...where else can I lurk and read about SRV and Brad Pitt in the same sentence? Where else is a subject such as "Blues for the Elderly" going to be discussed? Where else can one find the answer to the ever-popular question: "Where's P-Dub playin' this week?" These are good things...vital issues...I wanna read about 'em! Long live blues-l! Mary Katherine---Where else could I be confused with someone as talented as MK Aldin? :) mksheff@cennet.mc.peachnet.edu ========================================================================= Date: Thu, 1 Feb 1996 13:06:46 -0600 Reply-To: Chad Tanner From: Chad Tanner Subject: Roots of JGB? In-Reply-To: <4ep0dk$778@ccnet2.ccnet.com> I'm trying to find the the missing parts of this list. If anyone can help please e-mail with privately with the answers, as I receive Blues-l in Digest and might not get it right away. On 1 Feb 1996, Pierre Laik wrote: > > To forget about the Great Binary Crisis of '96, I decided to compile > original artists of JGB cover tunes (actually I was inspired by whoever > asked about "Don't let go"), and I came to the conclusion that most of > their covers were R&B tunes; anyway, if anybody wants to play fill the > blanks, here's the list: > > Mystery Train Junior Parker > Money Honey The Drifters > That's all right mama Arthur Crudup > Second that emotion Smokey $ Miracles > Way you do the things you do Temptations > Without Love Clyde Mc Phatter > No bread in the breadbox ? > Someday Baby ? > Harder they come Jimmy Cliff > The maker ? > Road Runner Junior Walker > Boogie on reggae woman Stevie Wonder > How sweet it is Marvin Gaye > Don't let go Roy Hamilton > I'll take a melody Allen Toussaint > Tore up Hank Ballard (not sure if his was the 1st) > Like a road ? (is it a Garcia/Hunter?) > Dear Prudence Beatles > a bunch of Dylan tunes Bob Dylan > Walk with thee (title?) ? > It stoned me Van Morrison > Get out of my life, woman ? > When the hunter gets captured The Marvelettes (not sure) > > I *know* I left a bunch out, so make any addition if you feel like it. > > Pierre > plaik@dbc.com > > > > > > Chad Tanner tanner@comp.uark.edu ========================================================================= Date: Thu, 1 Feb 1996 13:13:55 -0600 Reply-To: Birmingham From: Birmingham Subject: Re: Paul Rodgers/Rick Derringer Comments: To: L W In-Reply-To: I agree, Paul Rodgers version of The Hunter is horrible, even Danzig's version is better. Sean Birmingham ========================================================================= Date: Thu, 1 Feb 1996 14:15:34 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Re: A Modest Proposal Comments: To: BRUCE@tsbme.state.tx.us In-Reply-To: <960201085327.27d@TSBME.STATE.TX.US> from "Bruce Roberts" at Feb 1, 96 08:53:27 am In another time and place, Bruce Roberts said: > > I've been on Blues-L for a couple of years now and I've seen many of > the same topics cycle ever month or so. I'm not a psychic, but I can > predict that in the next six months you will see flame wars on HOB, EC, > Race, and maybe even Gary Moore. Along with many non-blues related posts > (like "What do you listen to when you're not listening to the Blues"). > One solution to this is to have a moderator. A moderator would receive I don't think it will solve all of the problems but instead why not just add these to our FAQ and refer people to it. Then we mention that any further discussion on the topics should take place in private e-mail. A moderator is a big step when all we need to do is use what we've got. :) Tom (who is feeling optimistic today) `'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`' Stop on by my Jazz and Blues Web Site -- http://redlt.com/tom/ Free-lance Writer--Author--Program Director WTJU 91.1--Internet Consultant ========================================================================= Date: Thu, 1 Feb 1996 11:12:07 -0800 Reply-To: emdrprac@DIRECT.CA From: Roger Brant Subject: Re: A Modest Proposal >On 1 Feb 96, Bruce Roberts had this to say... > >> One solution to this is to have a moderator. A moderator would receive >> all the posts first and determine which ones would be posted to the list. >> This is a thankless job that I wouldn't want to have, but it would greatly >> improve the quality of posts on this list. Does anyone else think this >> is a good idea? Get a moderator? No way. No matter how "neutral", "fair", etc he/she might be, there would always be resentment and hostility among 'zellers...... ("How come I didn't get my $.02 worth posted, when _____ did?") God, the last thing we need eating up bandwidth is more infighting, semantics, politics, and crap to distract us from THE BLUES. ========================================================================= Date: Thu, 1 Feb 1996 11:12:17 -0800 Reply-To: emdrprac@DIRECT.CA From: Roger Brant Subject: Re: Wedding Playlist/Pedantophilia >Ruth asks for additional wedding reception material: >> >> Max and I are making a list of songs to play at our wedding reception. >> What we've come up with so far: >> >> "Hey Joe" (Hendrix) >> "Tush" (ZZ Top) >> >> Any additional suggestions will be welcome. "I Knew the Bride (when she used to rock and roll" "Five Long Years" (better save this one for a divorce party....) ========================================================================= Date: Thu, 1 Feb 1996 13:24:45 -0600 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: A Modest Proposal Comments: To: BRUCE@TSBME.STATE.TX.US In-Reply-To: <960201085327.27d@TSBME.STATE.TX.US> from "Bruce Roberts" at Feb 1, 96 08:53:27 am In an earlier message, Bruce Roberts said: ] ] One solution to this is to have a moderator. A moderator would receive ] all the posts first and determine which ones would be posted to the list. ] This is a thankless job that I wouldn't want to have, but it would greatly ] improve the quality of posts on this list. Does anyone else think this ] is a good idea? There is _some_ merit there, but also some drawbacks. I have some experiance with moderated lists and newsgroups; I'm the proposer and co-moderator of comp.lang.c.moderated. MOderation cuts down the noise level, but it's also a heck of a lot of work. Another problem is obvious: What is the criteria? We all have different opinions as to what is appropriate to the list. "Blues-related"? Do we even all agree on what the blues _is_? I have to agree with those who say the "Delete" key is the best moderator. Personally, I enjoy all the opinions, especially the ones I disagree with. -- * Billy Chambless | billy@cast.msstate.edu | voice: 601-688-7608 * Mississippi State University Center for Air-Sea Technology ========================================================================= Date: Thu, 1 Feb 1996 14:16:34 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Jerry McCain Issues Here are my Jerry McCain recommendations: "That's What They Want: The Best of Jerry McCain" - AVI/Excello His classic wild & rockin' Excello stuff from the 50s plus a bunch of his own demo material from the 50s. If you like driving harp with an early rock'n'roll kick you'll love these sides. Among the cuts are classics such as "My Next Door Neighbor", "Courtin' in a Cadillac", "They Want Money", "I'm a Ding Dong Daddy from Rock'N'Roll City" as well as some delightfully schlocky ballads. The demo stuff was also on a White Label LP, with pretty poor sound, although the sound on these recordings anyway wasn't exactly SOA. The Kid Thomas/Jerry McCain disc on Wolf also has these cuts on it. "Strange Kind of Feelin'" - Alligator/Trumpet: This is a various artists compilation that includes Jerry's earlies sides recorded for the Trumpet label in Jackson, Ms. Included here is the great "Crazy About Automobiles". This disc also has tracks by Tiny Kennedy & Clayton Love. "The Ace Story, Vol. 2" (or maybe Vol. 3, I can't remember right now) - Ace (The U.S.-based Ace Records in Mississippi). This compilation has perhaps his best two cuts.."She's Tough" and the harp instrumental "Steady". The only compilation I have of Jerry's funky Jewel recordings from the late 60s are on the now out-of-print Charly LP "Midnight Beat". I'd love to see this stuff re-issued on CD. His Wild Dog/Ichiban stuff from the 80s & 90s is a lot of fun as well. -Peter ========================================================================= Date: Thu, 1 Feb 1996 11:33:15 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Joe in Moscow wrote >I'll say! Not to mention the peripatetic Mary Katherine Aldin, plus > Scuse me? What does that mean? Did you mean geriatric? Now *that* applies. But peripatetic, according to the definition in my dictionary, doesn't seem to have any connection to me at all. Or am I missing some colossal in-joke here? Mary Katherine (definitely geriatric, hardly peripatetic at all) Aldin > Mary Katherine Aldin ========================================================================= Date: Thu, 1 Feb 1996 11:33:12 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: John Hammond -Sr. or Jr.? Comments: To: KCARLSON@whqpc4.etn.com At 12:25 PM 2/1/96 EST, Keith Carlson wrote: > My wife are going to the Prairie Home Companion broadcast on Feb. >10th, with guest John Hammond. > I just realized today that I heard on Blues-L the name John Hammond, >Jr., too. Is there a John Hammond Jr. *and* Sr. that are actively >touring...recording? (I know, I've got soooo much to learn....) There used to be two John Hammonds, John Hammond Sr. and John Hamond Jr. JH Sr. was a record producer, writer, discoverer of musical greats. He died some years back. JH Jr. is a blues guitarist and singer, still actively recording and performing today. When JH Sr. died, JH Jr. stopped using the Jr. and just becamse John Hammond. The Jr. was only to avoid confusion. Far as I know, JH Sr. was NEVER a blues singer. Got that? There's a test later. Mary Katherine Aldin Mary Katherine Aldin ========================================================================= Date: Thu, 1 Feb 1996 13:29:49 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Johnny Winter's Jan. 31 gig Any reports on Johnny Winter's "coming-out gig" last night? ========================================================================= Date: Thu, 1 Feb 1996 14:35:39 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Re: Valentines' Day Blues Comments: To: rflohil@inforamp.net In-Reply-To: from "Richard Flohil" at Feb 1, 96 01:18:12 pm In another time and place, Richard Flohil said: > > Help!! I've been asked for some suggestions for blues material for two > different CBC Radio network programmes that are being prepared for > Valentine's Day. Blues love songs, references to Valentine's Day, songs and here is where my 10, 000 song database comes in handy. Try some of these: Hooker, John Lee You Know I Love You King, BB Love Honour and Obey Crawford, Sugar Boy You Know I Love You Taylor, Johnnie Part Time Lover John, Little Willie Why Don't You Haul King Off and Love Me Reed, Jimmy Wanna Be Loved Vee Jay Bland, Bobby That's The Way Love MCA Is Turner, Big Joe Chains of Love Laser Light John, Little Willie Don't Play With Love King James, Etta Be My Lovey Dovey Flair Guy, Buddy Crazy Love Crazy Music 49 Charles, Ray This Love of Mine 49 Jackson, Bullmoose Why Don't You Haul Off and Love Me 51 Dillard, Varetta Love and Wine 51 Ace, Johnny Saving My Love For MCA You 53 Milton, Roy Let Me give You All Juke Box Lil My Love 57 Magic Sam All Your Love Capricorn 59 Witherspoon, Jimmy Just To Prove My Love To You 60 Tampa Red You've Got To Love Her With Feeling 62 Taylor, Johnnie Baby We've Got Love SAR 62 Taylor, Johnnie I'll Always Be In ABKCO Love With You 62 James, Etta Prisioner of Love 66 Taylor, Johnnie I Got To Love Rhino Somebody's Baby 74 Bland, Bobby That's The Way Love Is 88 King & Evans Let Love Begin Rounder 90 King & Evans I'm In Love 90 Ball, Barton & Turn The Lock On Antones Strehli Love 93 Ferguson, Hbomb Love Her Don't Shove Her 94 Stockton, Mike True Love Azure 94 Evans, Terry That's The Way Love Turned Out For Me 94 Muldaur, Maria Trouble With Love 95 Whitfield, Barrance House of Love Ocean Music 95 Green, Al Could This Be Love MCA and a personal favorite: 95 Scott, EC I've Got Love on the Blind Pig Line `'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`' Stop on by my Jazz and Blues Web Site -- http://redlt.com/tom/ Free-lance Writer--Author--Program Director WTJU 91.1--Internet Consultant ========================================================================= Date: Thu, 1 Feb 1996 13:34:51 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Delta Doc O-Phone Since my Panasonic answering machine has a second announcement capability, i think i'll go home tonight, (as a rejoinder to the overwhelming positive response i've received about my short duolian intro) sit back with a nice cold, Summit Extra Pale Ale (one mighty wonderful brew made right here in St. Paul on Grand Avenue) and record an entire song on the alternate greeting. As of 8pm CST, you'll now, if you wish, be able to hear an entire delta doc roger solo performance! You may also, if you wish, hang up on it anytime you want! Man, i haven't had so much fun in a long time! Thanks to everyone for your kind remarks. I still think its the guitar and not ME! Duolianly yours, delta doc roger ========================================================================= Date: Thu, 1 Feb 1996 13:42:17 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Juno Award nominations Comments: To: Richard Flohil In-Reply-To: On Thu, 1 Feb 1996, Richard Flohil wrote: > Some quick notes: Betcha didn't know Sue Foley was Canajun, eh? Jim Byrnes Yeah, and if we're lucky, most non-native Texans will realize she's not from Texas!!!! -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Thu, 1 Feb 1996 14:53:20 -0500 Reply-To: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM From: Jim Smith Subject: Mini-review of Mojo Blues - Freddie King Mojo Blues - Freddie King (Collectables 5523) Living in the Palace of the King Please Accept My Love Shake Your Booty Baby Mojo Boogie Big Legged Woman Hey Baby Look Over Yonder Wall Woman Across the River Have You Ever Loved a Woman Rock Me Baby Total time just shy of 58 min. All live cuts from an unknown source. The back cover lists the producer as C. Ames for Collectables Records. The sound is a little rough in a few places but the more I listen to this release the more I like it. It sounds like the lineup he had on his later live recordings although the keyboard player seems a little better than the one on the Top Cat release. Overall Freddie's playing not as firey as on some of his other live stuff and this release lacks some of the extended solos found on the Antibes CD or even the Top Cat CD. I have not heard any of his other live recordings so this may be a rehash of one of those. It's a budget priced CD and after all it is Freddie live so it's worth the investment. Jim Smith ========================================================================= Date: Thu, 1 Feb 1996 14:47:12 -0500 Reply-To: James Leftwich From: James Leftwich Subject: acoustic Mississippi Fred? As far as I know, Mr. McDowell never played an acoustic guitar. He recorded on an electric even when playing solo. N'est-ce pas? Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" :) ========================================================================= Date: Thu, 1 Feb 1996 13:52:06 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: Wedding Playlist/Pedantophilia In-Reply-To: <199602011853.NAA25051@snickers.mm.mtu.edu> On Thu, 1 Feb 1996, Abe W. Mathews wrote: > Ruth asks for additional wedding reception material: > > > > Max and I are making a list of songs to play at our wedding reception. > > What we've come up with so far: > > > > "Hey Joe" (Hendrix) > > "Tush" (ZZ Top) > > > > Any additional suggestions will be welcome. > > The one I played at my reception, and have done so at a couple of others > is: > > "She's No Lady (She's My Wife)" by the great Lyle Lovett > > A Fantastic, kinda swinging big-band tune that tells it like it is. :) Don't know if it's appropriate or not, but I think Duke Tumatoe did a song called "That Was No Woman (That Was My Ex-Wife)". T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) Go Browns! And take your goddamn owner with you! ========================================================================= Date: Fri, 2 Feb 1996 01:08:17 -0500 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: "Mississippi Heat" - Name of lead singer? Comments: To: bit-listserv-blues-l@uunet.uu.net Do any of you blues folks know the name of the fabulous blues band Mississippi Heat's Lead singer and how to contact her? I will be in Chicago researching for my book in March and would like to speak with her. Thanks so much, Lea Gilmore Baltimore, MD "Wild Women Don't Have the Blues!" ========================================================================= Date: Fri, 2 Feb 1996 06:04:56 GMT Reply-To: bluesdj@HALCYON.COM From: Roberta Penn Organization: Northwest Nexus Inc. Subject: blues and racism Comments: To: bit-listserv-blues-l@uunet.uu.net I pretty much agree with Bonnie about wanting to know more about the culture and the feelings of the blues than who plays the most technically-proficient guitar. Any time music gets into that head trip, it seems to turn from socializing dance music to solo experiences for the air guitar crowd. I remember Albert Collins before he got popular with the rock crowd always had a fairly homogeneous group of folks turn out to have a good time. Then all of a sudden Albert was a white boy thing and the rest of us just sat around sort of bored with the environment. I don't necessarily think it has to do with race, but there just seems to be something about white men getting a death grip on things.....like government, money, banking, rock 'n' roll, corporate board rooms.....I don't wanna see that happen to the blues too. I don't wanna trust the blues to just white players who have one foot in the rock 'n roll arena and that's who gets the big attention (and money), from Robben Ford to Chris Duarte, Jimmie Vaughan, etc....Yes they're good players but where are the raves and radio adds for Luther Allison, Larry Garner, Davell Crawford, Lurie Bell.....only in the speciality radio and magazine arena. 'Nuf said. ========================================================================= Date: Fri, 2 Feb 1996 05:54:58 GMT Reply-To: bluesdj@HALCYON.COM From: Roberta Penn Organization: Northwest Nexus Inc. Subject: On the road with BB Comments: To: bit-listserv-blues-l@uunet.uu.net I got my BB King CD-rom and for the most part am very impressed....it's almost like having B with you every day, talking about his life, playing some music. But there seems to be some audio drop out on my cd and I wondered if anyone else had that problem. Of course I called tech suppport two days ago and haven't heard from them yet......would appreciate anyone out there who's "on the road" with bb too, letting me know about the quality of their cd rom, I'm trying to write a review of it. ========================================================================= Date: Thu, 1 Feb 1996 14:44:46 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Wedding Playlist/Pedantophilia Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *"I Knew the Bride (when she used to rock and roll" * *"Five Long Years" (better save this one for a divorce party....) * Honeymoon Blues Married to the Blues ========================================================================= Date: Thu, 13 Apr 1995 06:24:45 GMT Reply-To: jackieo@MIDTOWN.NET From: jackieo@MIDTOWN.NET Subject: Re: LB & *racism* Comments: To: bit-listserv-blues-l@uunet.uu.net >For the record, I get Living Blues and cancelled Blues Revue. I don't >want my Blues magazine with Jimi Hendrix, Janis Joplin and SRV along >with Jazz and articles by Keri Leigh. If you'll notice one other repulsive habit that BR editor Andrew Robble has when he does interviews, he almost always finds a way to prod the artist to discuss the white blues issue. I find both he and Vorel despicable. ========================================================================= Date: Fri, 2 Feb 1996 01:25:16 -0500 Reply-To: Meadors From: Meadors Subject: Re: Alligator records discriminate Comments: To: samuel@castle.beaver.edu Anita: You wrote: Someone please define (for Meadors) the difference between racism, prejudice and discrimination! He seems to use these words interchangeably. >From Websters: Racist: A belief that race is the primary determinant of human traits and capacities (ability to play and interpret the blues?) and that racial differences produce an inherent superiority of a particular race Prejudice: An irrational attitude of hostility directed against an individual, a group, a race, or their supposed characteristics Discrimination: The act, practice, or an instance of discriminating categorically rather than individually Draw your own conclusions, Anita. Racist can be applied even if, in LB's case, they are trying to do good for a particular race. It's an ugly word, for sure, so call it what you want. The problem comes when you tell me that every Black musician is part of the "Black culture" and every White musician is not. With interracial marriages and integrated neighborhoods/schools, etc. the lines you and LB want to draw are very cloudy. A prejudiced individual or magazine practices discrimination by applying racist editorial policies when it chooses to feature ANY musician according to the COLOR OF THEIR SKIN, regardless of their motives. >Date: Thu, 1 Feb 1996 21:55:43 -0500 (EST) >From: Anita Samuel >To: Meadors >cc: Multiple recipients of list BLUES-L >Subject: Re: Alligator records discriminate > >Someone please define (for Meadors) the difference between racism, >prejudice and discrimination! He seems to use these words > interchangeably. > > >On Wed, 31 Jan 1996, Meadors wrote: > >> You wrote: >> >> >I do not understand why Alligator insists on not putting out any >> > Country or >> >Easy listening CD's..? >> > >> >That is pure 100% discrimination....Sounds stupid, well it's >> > exactly the >> >case with the Living Blues discussion. Keep in mind LB is >> > non-profit, also. >> >> This isn't a solid analogy, LW. In the first case, Alligator is >> chosing to produce a particular GENRE of music. There is no > PERSON >> included or excluded because of their race, sex, etc. -- only > their >> taste in music. >> >> In the latter example, Living Blues is being racist. Whenever > you >> include or exclude ANYONE because of their race, it's racism. >> Period. If it just happened to be that all the good > bluesmen/women >> were Black rather than White or Asian, then I'd say it's cool to >> feature only them. But let's face it, some of the Black > performers >> on the circuit would not be playing as often if they were any > other >> color. Talent (or lack of it) is racially blind. >> >> Mike Meadors >> Orange3@gnn.com >> Mike Meadors Orange3@gnn.com ========================================================================= Date: Thu, 1 Feb 1996 19:42:07 -0800 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Re: Sticky Threads Comments: To: bit-listserv-blues-l@cs.washington.edu In-Reply-To: <199602011342.IAA80712@osceola.gate.net> On Thu, 1 Feb 1996, P.W. Fenton wrote: > at least no one has attempted to yet.) The other thing is that the > thread is preserved in the "Subject:" line. Frequently with other > threads after a week or two the original "Subject:" has little to do > with what is currently being discussed, and eventually somebody > "corrects" the caption. While that thread still adheres to the subject line, the very first post asking the question referred to recently released music, and that aspect of the thread was lost almost immediately. It was one of the few cases where I received a thread's first post relatively close to the beginning of the thread. Of course that could just be due to the lifetime of said thread... Adrian ========================================================================= Date: Thu, 1 Feb 1996 22:28:02 -0500 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: A Modest Proposal Comments: To: Bruce Roberts In-Reply-To: <960201085327.27d@TSBME.STATE.TX.US> YES!!! On Thu, 1 Feb 1996, Bruce Roberts wrote: > I've been on Blues-L for a couple of years now and I've seen many of > the same topics cycle ever month or so. I'm not a psychic, but I can > predict that in the next six months you will see flame wars on HOB, EC, > Race, and maybe even Gary Moore. Along with many non-blues related posts > (like "What do you listen to when you're not listening to the Blues"). > One solution to this is to have a moderator. A moderator would receive > all the posts first and determine which ones would be posted to the list. > This is a thankless job that I wouldn't want to have, but it would greatly > improve the quality of posts on this list. Does anyone else think this > is a good idea? > > Bruce Roberts > Austin, TX > ========================================================================= Date: Thu, 1 Feb 1996 21:00:19 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Living Blues Editorial Policy From LB No. 12, Spring 1973: "The editorial policies of Living Blues are based on a firm commitment to the fact that the blues can only be understood and appreciated as an art with its own historic, cultural, economic, psychological, and political determinants. "Living Blues does not accept an acoustic definition of the blues. We feel that the blues is a black American working-class music that developed in response to numerous determinants; that these determining factors were in a real sense specific to the black working-class is borne out by the fact that it was they, and they alone, who produced the blues. "The subtle shifting of these pressures, creating today a fragmentation and isolation of the blues and its outstanding black artists, has also created an enormous white audience made up of listeners, collectors and performers, all, nonetheless, an audience. By definition, the blues was and always will be a black American working-class music in spite of the number of of white performers who adapt the genre as their own. If we are not sympathetic to pleas for the legitimacy of white blues, regardless of the technical proficiency of the various performers, it is because we feel that deprived of its historical base by the white performers, the blues, as purveyed by whites, is no longer the blues, and thus is not the concern of Living Blues.-- Paul Garon" Which prompted an editorial in No. 13, Summer 1973: "In attempting to clarify the editorial policy of Living Blues, an editorial appeared in #12 wherein it was stated that we refused to accept a purely acoustic definition of blues and that we felt blues was "an art with its own historical, cultural, economical, psychological, and political determinants." "By definition," we continued, "the blues was and always will be a black American working-class music, in spite of the number of white performers who adopt this genre as their own." We suggested further that the blues as purveyed by whites, regardless of the technical proficiency of the various performers, was no longer the blues, and as such, was not the concern of Living Blues magazine. "While we received a number of letters supporting our position, a position which, needless to say, remains unchanged, we also received statements of disagreement. Most of the latter objected that there were a few whites who were "really good." Others suggested that whites occupied a relevant position of the "evolutionary scale." What follows then is intended to not only further clarify our position, but to be our final remarks on the subject. "The question of technical proficiency lies outside the domain of our interest. Nowhere in our policy is a position taken regarding the ability (or the dedication, sincerity, etc.) of white performers. We readily grant that there are a number of white performers who meet certain undeniably vague criteria of excellence -- but as our definition of blues is not merely an acoustic one, the white performers are outside our definitions for historical, economic, political, and cultural reasons, and the question of whether they are "good" is simply irrelevant. As an analogy, we might suggest that a magazine dealing with Eskimo art would hardly be tempted to devote space to reproductions of Eskimo sculpture turned out by white suburbanites, regardless of the quality of the suburbanite product. "Further, the question of the place occupied by whites on the "evolutionary scale" is indeed a relevant question for a magazine devoted to American music as a whole, but as Living Blues deals only with blues as a black American working-class music, the position occupied on the evolutionary scale of American music by white blues performers is simply removed from that specific portion of the continuum with which we deal, and thus does not concern us.-- Paul Garon" ========================================================================= Date: Thu, 1 Feb 1996 19:03:37 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: A Modest Proposal Billy Chambless wrote: >Personally, I enjoy all the opinions, especially the ones I disagree with. Please, no moderation! I was on another list, once upon a time, and was the cause for the list becoming moderated (I posted an unpopular opinion and people started cursing and swearing at me...). Anyway, I've long since left that list... But...to me, a day just isn't full without a good argument (preferably at raised voice). Maybe it's just my Dutch heritage :-). To me, Blues-L is like a gathering of friends and acquaintances who love the blues...the cyber-equivalent (why did I write that? I hate words that start with Cyber) of sitting around in someone's basement with a few beers discussing a favorite topic. If it strays just a bit, I don't mind. If a debate develops, it's OK (just as long as it isn't a simple replay of one we had three weeks ago...) So let's not get moderated. Please? -Jim (hndful@uniserve.com) ========================================================================= Date: Thu, 1 Feb 1996 21:55:43 -0500 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: Alligator records discriminate Comments: To: Meadors In-Reply-To: <199601312133.QAA15890@mail-e1a.gnn.com> Someone please define (for Meadors) the difference between racism, prejudice and discrimination! He seems to use these words interchangeably. On Wed, 31 Jan 1996, Meadors wrote: > You wrote: > > >I do not understand why Alligator insists on not putting out any > > Country or > >Easy listening CD's..? > > > >That is pure 100% discrimination....Sounds stupid, well it's > > exactly the > >case with the Living Blues discussion. Keep in mind LB is > > non-profit, also. > > This isn't a solid analogy, LW. In the first case, Alligator is > chosing to produce a particular GENRE of music. There is no PERSON > included or excluded because of their race, sex, etc. -- only their > taste in music. > > In the latter example, Living Blues is being racist. Whenever you > include or exclude ANYONE because of their race, it's racism. > Period. If it just happened to be that all the good bluesmen/women > were Black rather than White or Asian, then I'd say it's cool to > feature only them. But let's face it, some of the Black performers > on the circuit would not be playing as often if they were any other > color. Talent (or lack of it) is racially blind. > > Mike Meadors > Orange3@gnn.com > ========================================================================= Date: Thu, 1 Feb 1996 21:58:39 -0500 Reply-To: Ken Ficara From: Ken Ficara Subject: Kelly Joe Phelps Funny to bring up this disc in light of the LB discussions (Phelps is white), but can anyone tell me about this guy? I finally bought his CD the other day after hearing lots of it on WXPN's blues show Let me just interject here that I moved home to New York City (Brooklyn) in September and am essentially overjoyed to be living back in here, rather than in New Jersey (Princeton) where I'd been for five years. But I miss some things, most of all the radio. I miss the blues show on XPN, U. Penn's wonderful public station; I miss the fun and creativity of WPST, etc. That also by way of explanation for my extended absence from this list, complicated by things like having spent most of the fall listening to David Bowie, Nine Inch Nails, Eno's recent excursion with Jah Wobble, Neil Young, Stereolab, John Cale, in other words, a bit of a sabbatical from the blues where the closest I came was Van Morrison, the Roots, and Cheryl Wheeler (the latter in particular not being very close at all). So I've obviously built up a bit of blues talk, and responded belatedly to some posts. And I was very happy to read over the last week or so of digests and still see Paul Fenton, Bonnie and LW still fighting the good fight -- you guys and the other thinkers on this list are the reason I never even consider unsubscribing even if I can hardly THINK about digging through these monster digests! But anyway this is quite a disc. It's acoustic blues, but more in the John Hurt than the Robert Johnson mold. And not as imitative as many devotees of acoustic blues. More than half the songs are originals (real originals, not Led Zeppelin, "Oh, sure, um, yeah, we wrote that. Willie who??") He plays beautiful acoustic guitar (dobro style, in the back cover photo at least) with intriciate finger picking and melodies, and a mean but not overused slide. He does a few covers, including attempting Skip James' "Hard Time Killing Floor Blues" without making a fool of himself, but his originals are the meat of the album. Who is he, where'd he come from, does he perform, etc? I'd love to know more about him. Ken ====================================================================== Ken Ficara ficara@acm.org "[Bill Gates' vision looks] as much as ever like technography, in which technology, like the sex in pornography, is always satisfying." --Stephen Manes, The New York Times More quotes available at: http://www.panix.com/~ficara/quotes/quotes.cgi ========================================================================= Date: Thu, 1 Feb 1996 21:58:35 -0500 Reply-To: Ken Ficara From: Ken Ficara Subject: American Folk Blues Festivals I mentioned that two of the songs on that Magic Sam set I just got were from the 1969 edition of that festival. Has anyone else noticed that those AFB Festival recordings are a boxed set dying to happen? I have four of them (1964, 65, 81, and 82) and every one of them features at least two or three mind-numbingly brilliant performances which I've never heard anywhere else: Sonny Boy Williamson's five-minute version of "I'm Trying to Make London My Home," a stark song about how much better he was treated in Europe than by the racists back in the states that I've never heard any other version of, accompanied only by a brilliantly sparse Hubert Sumlin on acoustic guitar. Cephas & Wiggins performances that, as usual, wipe the floor with their studio work. Phil Wiggins, Billy Branch and Carey Bell in a three-harp "Tribute to Big Walter." Big Mama Thornton reclaiming "Hound Dog" with Buddy Guy on guitar. J.B. Lenoir with Walter Horton, just the two of them. Hubert Sumlin and Louisiana Red doing something that sounds damned like James Brown. Does anyone know how many are in the complete set? Are they still in print? Do the festivals still happen? Three of my four albums are CDs on the LR label, and the fourth is a German LP on the Amiga Jazz label. Ken ====================================================================== Ken Ficara ficara@acm.org "[Bill Gates' vision looks] as much as ever like technography, in which technology, like the sex in pornography, is always satisfying." --Stephen Manes, The New York Times More quotes available at: http://www.panix.com/~ficara/quotes/quotes.cgi ========================================================================= Date: Thu, 1 Feb 1996 21:11:55 GMT Reply-To: James Elmore From: James Elmore Organization: SuperNet Inc. (908) 828-8988 Subject: Re: Going to Mardi Gras Comments: To: bit-listserv-blues-l@uunet.uu.net Opps, make that http://www.neosoft.com/~offbeat/ and if that doesn't work just look up Offbeat with your favorite search engine. Man, I hate those web site addresses. I have no relationship with Offbeat, needless to say- maybe if I did I would have got the address right. And have a Voodoo Blackened Lager for me when you're down there... ========================================================================= Date: Thu, 1 Feb 1996 18:16:26 +0000 Reply-To: "Terry L. Odor" Comments: Authenticated sender is From: "Terry L. Odor" Subject: PW in JAMMY's Congratulation PW Fenton!!! Presenting the 7th Annual Florida Jammy Awards =================================== OFFICIAL NOMINEES - BLUES AREA 1995 "BEST BLUES BAND" ------------------------------------------- 1 - GROOVE MONSTERS 2 - HOUSESHAKERS 3 - IKO IKO 4 - JOEY GILMORE 5 - JOSH SMITH & THE RHINO CATS 6 - P.W. FENTON & SECOND WARD <--- 7 - PITCH BLUE JAM 8 - ROCK BOTTOM & TEH CUTAWAYS 9 - T.C. CARR & THE CATCH 1995 BEST GUITAR #1 -------------------------------------------- 1 - GREG BARIL 2 - DEMETRIUS BROWN 3 - TODD GRUBBS 4 - JUAN MONTAYO 5 - MIKE PACHELLI 6 - JOE PRINCE 7 - JOE RODRIGUEZ 8 - JOSH SMITH 9 - ERIC STEINBERG Come celebrate the JAMMY AWARD weekend, a celebration of FLORIDA MUSIC under the stars at the HARD ROCK CAFE, ORLANDO. FRIDAY - MARCH 1 JAMFEST SAT - MARCH 2 JAMFEST SUN - MARCH 3 THE JAMMY AWARDS. Immediiately following the Sunday night awards ceremony, the now famous AFTER-PARTY will occur with a concert featuring major label Florida acts. Terry http://www.teleport.com/~tlo/ (updated 10/28/95) ========================================================================= Date: Thu, 1 Feb 1996 19:56:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: the "O.V.Wright Band" Rawls and Luckett will be playing at KoKo Taylors in Chicago this Saturday I think - better check "Nitescape" for sure. They were in O.V. Wright's last band and are darn good. I've seen them in Helena and Clarksdale backing up Lonnie Shields. They are very good on their own and their recent CD on Rooster "Can't Sleep at Night" was one of the best of '94. One review compared their singing to echoes of Sam and Dave. Johnny Rawls and L.C. Luckett play fine guitar and keyboard too. -Bonnie the K. (colder than Joe in Moscow, perhaps) ========================================================================= Date: Thu, 1 Feb 1996 19:50:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Free Blues in Madison To celebrate Black History Month (whoops) the University of Wisconsin student union will present a series of Chicago blues artists, as they do every year - not to mention during the year - in that great old beer hall "Der Rathskellar". The music starts at 10:00pm every Friday during February. It's free of charge. Feb 2: "Samnana" - an eclectic blend of blues, jazz, funk, and soul moved by this Chicago-based female sextet. Feb 9: Magic Slim and the Teardrops - what can I say! Hoo-boy! Feb 16: Willie "Big Eyes" Smith - a night of tasty 50's blues I'll betcha. Feb 23: Vance Kelly (this one starts at 9:30). the blurb says: "Electrifying Chicago guitar, formerly with A.C.Reed and the Sparkplugs". Art, Eliott, Dave, et al. see you there?? -Bonnie ========================================================================= Date: Thu, 1 Feb 1996 20:43:00 -0500 Reply-To: arlenk@NETAXIS.COM From: Arlen Khodadadi Subject: Re: A Modest Proposal At 02:15 PM 2/1/96 -0500, you wrote: >In another time and place, Bruce Roberts said: >> >> I've been on Blues-L for a couple of years now and I've seen many of >> the same topics cycle ever month or so. I'm not a psychic, but I can >> predict that in the next six months you will see flame wars on HOB, EC, >> Race, and maybe even Gary Moore. Along with many non-blues related posts >> (like "What do you listen to when you're not listening to the Blues"). >> One solution to this is to have a moderator. A moderator would receive > >I don't think it will solve all of the problems but instead why not just >add these to our FAQ and refer people to it. Then we mention that any further >discussion on the topics should take place in private e-mail. A moderator >is a big step when all we need to do is use what we've got. :) > >Tom (who is feeling optimistic today) > > Jeez, this 'Modest Proposal' has taken much bashing. I for one do not appreciate having to D/L 150 messages a day, of which I find 10% interesting. Ufcourse I don't think finding a moderator who will cut down the 90% that I myself find useless (which others hopefully don't) is possible or even agreeable to by the group :) Thanks... arlenk@netaxis.com (Arlen K.) ========================================================================= Date: Thu, 1 Feb 1996 17:00:54 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Tube Heaven Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Hi Everybody! All of us who use tube audio equipment (guitar folks mostly) sweat a lot about continued availability of *good* tubes. Today most of the tubes are from China or Russia, and while some are pretty decent, some are really awful. Preamp tubes last a real long time, so once you have a good set and some spares, you're in pretty good shape. Power tubes need to be replaced every six months to a year if you play a lot, and that becomes a problem as the stock of original american and european tubes dries up. (BTW I paid 6.50 each for Telefunken 12AX7 preamp tubes a year ago, now they are 48.00 each!) Right now, matched sets of NOS (new old stock) american or european power tubes are very hard to come by and very expensive. Well, I met an English fellow at the NAMM show who claims to have built a tube factory in China from scratch, supervises design and construction himself, and swears he can duplicate or even exceed the original Mullard tubes from england that are now so highly prized and rare. Very interesting! So I got a matched set of four EL-84 power tubes to fit my Matchless DC-30 and will try them out tonight. They are "PM" brand tubes and are distributed in the US by Whirlwind. I'll post a quick review tomorrow, comparing them to the NOS Phillips I've been using and like a lot. I hope they are wonderful... DC No affiliation with PM, Whirlwind, or any sales organization, and yes I paid for them.... :-[ ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Thu, 1 Feb 1996 19:34:24 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Going to Mardi Gras Comments: To: Skipjames@aol.com >Leaving John Hiatt out of this, the complaint seems really odd to me: Buckwheat >Zydeco, the Meters, and the Nevilles are New Orleans music. Straight blues really >isn't. I dont think there is a better city in the country (Chicago included) for live >music. I'm sorry. I didn't mean it to sound like a complaint. I LOVE Buckwheat Zydeco (seem him twice; got four albums). From what I've heard of them, the Funky Meters are fine. I was thrilled to see the Nevilles. And I even like John Hiatt. What I had meant to respond to was the idea that this particular HOB had "truer" blues bands (whatever that means) than other HOBs. I really can't say for sure, because I haven't been to other HOBs. But--though I'm sure all these musicians are wonderful and I might love to see them--I wouldn't classify them as blues. But, hey, what do I know? Maybe I'm stuck in a rut and should consider broadening my definitions. Btw, I love New Orleans, too. I've been there several times, and I'll be there this spring for Jazzfest. Believe me, I have no complaints about New Orleans! Karen Listening to Otis Spann..... (Doggone it--I just can't help it!) ========================================================================= Date: Thu, 1 Feb 1996 16:41:43 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Peripatetic Comments: To: shannon oconnor At 03:53 PM 2/1/96 EST, shannon oconnor wrote: > My dictionary defines "peripatetic" as someone who is "Aristotelian," > and the word further derives from a meaning of someone who lectures > while they pace, or paces while they lecture, as Aristotle was > reported to do. The secondary definition of "itinerant" may not apply > to Mary Katherine personally, but the implied definition of someone > who imparts wisdom is there. For me, anyway. Shannon: Thanks for the implied compliment, but the very thought of comparing myself to Aristotle, on any level including that of pacing or not, is absolutely hilarious! Although I guess we are about the same age.... Mary Katherine Aldin ========================================================================= Date: Thu, 1 Feb 1996 18:23:56 -0600 Reply-To: Todd Ehlers From: Todd Ehlers Subject: Living Blues Policy In-Reply-To: <199602010505.AAA17903@listserv.brown.edu> from "Automatic digest processor" at Feb 1, 96 00:00:16 am I picked up my first "Living Blues" two issues ago. It was the first time I had seen one. Loved it and bought the successor. NOT ONCE did it cross my mind that this magazine practiced exclusion. Until I read this current thread I would never had guessed at it. The page quality, the color pictures, the superbly written articles--I love the package and will continue to do so. Whether it will be a guilty pleasure or not time will tell. This unfortunate thread has made me give it a thought. It's rather a silly thought, but the fact that it's THERE in the first place is bother enough. I'm on the side of those advocating its freedom and, moreover, its MANDATE to target African-American blues artists. But I don't thank anyone for bringing this to my attention. Todd E. ========================================================================= Date: Thu, 1 Feb 1996 18:22:08 -0600 Reply-To: Todd Ehlers From: Todd Ehlers Subject: One more for the elderly How about Elmore James' "1839"? Well I ain't seen my baby since 1839 . . . Todd E. ========================================================================= Date: Thu, 1 Feb 1996 19:27:04 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Juno Award nominations Richard F gave us the list of Blues/Gospel nominees for Juno awards > Big City Blues - Sue Foley (Antone's, distributed in Canada by Festival) > Rites of Passage - Georgette Fry (Independent) > That River - Jim Byrnes (Stony Plain, distributed in U.S. by Bayside) > Urban Blues: ReNewell - King Biscuit Boy (Blue Wave in the US, Stony Plain > in Canada) > When the Sun Goes Down - The Sidemen (Dark Light/Denon in Canada) Some thoughts ... 1. There are NO gospel songs on the list. After three years, I hope the Juno committee will realize that a combined Blues-Gospel category doesn't make sense. 2. By far the weakest of the five CDs is the one from a US label with lots of resources and big distribution. Sue Foley is a great guitar player, but she should hire a singer, since she really isn't one. 3. Of the remaining four, I'd have trouble choosing -- all strong, and quite different from each other. If I had to choose, I'd probably pick Georgette Fry, with the Sidemen a very close second. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Thu, 1 Feb 1996 19:27:04 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: A Modest Proposal > On 1 Feb 96, Bruce Roberts had this to say... > > > One solution to this is to have a moderator. A moderator would receive > > all the posts first and determine which ones would be posted to the list. > > This is a thankless job that I wouldn't want to have, but it would greatly > > improve the quality of posts on this list. Does anyone else think this > > is a good idea? I participate in quite a few lists, some moderated, some not. I think that a moderated blues list might be nice ... but it wouldn't be Blues-L! Moderated lists are usually more manageable (because someone else does the managing) but they are also lack life. A good moderated list is like a magazine. A good unmoderated list is like a wide-open party, with everyone talking at once. They aren't substitutes for each other -- they serve different purposes. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Thu, 1 Feb 1996 19:27:04 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Juno Award nominations > and I'm afraid I don't know anything about Georgette Fry. This is one of the real problems of blues music today. So many fine artists are only able to record by putting out their own CDs, which then don't get much distribution. Result -- even a major musical figure like Richard Flohil hasn't heard Georgette Fry. She is based in Kingston Ontario. Writes a lot of her own material. Really dominated the Toronto Womens Blues Review a couple of years back. She's the kind of soul-blues performer that causes the bluesnazis to say "That's not blues!" Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Thu, 1 Feb 1996 19:07:40 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Valentines' Day Blues Comments: To: rflohil@inforamp.net Blues love songs: "You're So Sweet" & "You're the One" -- Jimmy Rogers "You're So Fine" & "My Baby's Sweeter" -- Little Walter Karen (What'd you expect from a "JukeFreak"?) ========================================================================= Date: Fri, 2 Feb 1996 01:26:42 -0500 Reply-To: Jessica Sowin From: Jessica Sowin Subject: Valentines' Day Blues Request / Response Richard Flohil asked: >Help!! I've been asked for some suggestions for blues material for two >different CBC Radio network programmes that are being prepared for >Valentine's Day. Blues love songs, references to Valentine's Day, songs >about the Valentine's Day "massacre" if there are any.... I'm going >blank-but I suspect suggestions will also be of value to the radio >programmers out on the Blues-L. Thanks in advance for your suggestions-when >(if?) we get any I'll let folk know when the shows will be aired. - Richard >the Elder How 'bout this one. Larry Cohn put this together for Legacy's Roots 'n Blues series especially for Valentine's Day. And since I've been getting lots of private e-mail concerning radio shows (thanks!) here's the direct line to our Press and Publicity department: 212.833.7310. Thanks again for letting us post here. Various Artists Messed Up In Love And Other Tales Of Woe Selection#: JK 52831 Released: 1/30/96 *16 of the bluest kind of blues. *All songs digitally mastered for maximum melancholic impact. *Includes insightful notes from Mark "Dr. Knowlove" Humphrey, track info, and rare and historic pix. Who ever said love was easy? Certainly none of the tormented souls giving it up on this set of sorry songs. Just take a look at the titles: "Messed Up In Love" (ouch!), "Beggin' For Love" (ooh!), "Lovesick Blues" (sob!), "Love Shows Weakness" (huh?). Get the point? Since Adam kissed Eve, Romeo courted Juliet, Charles wooed Di, Ernie moved in with Bert, love's many splendors have given way to troubled times and splintered hearts. Them's the facts. And these are the sentiments. The latest offering from Legacy's award-winning Roots N' Blues Series, "Messed Up In Love and Other Tales of Woe" is a rousing collection of classic and rare heartache-inspired blues. Consider it a timely (ok, cynical) reminder of the other side of love. Selections- "Beggin' For Love" - Barbecue Bob "Love Me, Baby, Love Me" - Buddy Moss "Lovesick Blues" - Emmett Miller "It Makes My Love Come Down" - Bessie Smith "I Love That Thing" - Bo Carter "Careless Love" - Lonnie Johnson "U Need Some Lovin'" - Mamie Smith "Love Makin' Mama" - Blind Willie McTell "Messed Up In Love" - Big Bill Broonzy "Love Is Gone" - Peter Cleighton "Moonlight Lover Blues" - Curtis Jones "Love Shows Weakness" - Merline Johnson "I Love You Baby" - Big Joe & His Washboard Band "Love Trifling Blues" - Bill Gaither "When You Love Me" - Memphis Minnie "Lost Lover Blues" - Blind Boy Fuller ========================================================================= Date: Thu, 1 Feb 1996 15:43:19 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: BOB THIELE, LEGENDARY RECORD MAN, DIES AT 73 Comments: To: BluesHvn@aol.com Comments: cc: tony@bluestb.demon.co.uk Legendary record producer BOB THIELE has died. Robert Thiele was born Thursday, July 27, 1922, Brooklyn, NY. Today, he's better know as the man who produced John Coltrane, Charles Mingus, Archie Shepp, Albert Ayler, Oliver Nelson (w/Eric Dolphy) etc. for Impulse Records. Some of you may even know him as a main player in issuing The Crickets (w/Buddy Holly) and Jackie Wilson's first solo recordings after Wilson left The Dominoes. Blues fans will be aware that he started up BLUESWAY and BLUESTIME Records, recording Carey Bell, Charles Brown, Gatemouth Brown, Mel Brown, Cousin Joe, Homesick James, Earl Hooker, John Lee Hooker, James Gang, Lee Jackson, John Little John, B. B. King, Brownie McGhee & Sonny Terry, Andrew Odom, Junior Parker, Snooky Pryor, L. C. "Good Rockin'' Robinson, Jimmy Rushing, George "Harmonica" Smith, Sunnyland Slim, Lucille Spann, Otis Spann, Roosevelt Sykes, Big Joe Turner, Eddie "Cleanhead" Vinson (w/Mike Bloomfield), Jimmy Walker, T-Bone Walker, Big Joe Williams, Jimmy Witherspoon and Johnny Young. His interest in blues and R&B was very sincere, for you see, when he was only 17 years old, growing up in Forest Hill, NY., he started up Signature Records, recording such blues-based musicians as Don Byas, Art Hodes, Earl Hines, James P. Johnson, Erroll Garner, Ben Webster, Coleman Hawkins, Lester Young, etc. Signature Records remained in business until 1948. During this time he also started a magazine, Jazz, publishing the early works of Frederic Ramsey Jr., and Charles Edward Smith. Galen Gart's FIRST PRESSINGS : THE HISTRORY OF RHYTHM AND BLUES series documents Bob Thiele's independent days before joining Coral Records, when he formed (in October 1951) Halco Recording, manufacturing Advance, Mello-Roll and Hi-Tone Records, issuing R&B and jazz recordings. By 1953/54, Bob Thiele was working for the legendary Jack Kapp (1901-1949) at Decca Records, finally becoming head of A&R for Coral Records, leaving in 1960. What's also interesting, at least to me, is that he & Jack Kapp distributed Coral through independent distributors, not Decca distributors - a novel marketing idea at the time which is still being used today by the majors. He then worked for a series of labels, including Dot (1959/60), Roulette (1961) and ABC/Impulse (1961-1969). Shortly after leaving Dot Records, he formed (with Steve Allen) the Hanover-Signature label, reissuing a Jack Kerouac album that Dot Records had recalled (as some of the poems were though to be obscene!). He would go on to form Flying Dutchman (1973/77) and the Dr. Jazz Labels. During the 80s, he worked on reissues for Impulse, CBS and RCA/Bluebird Records. His last label was Red Baron Records (recording McCoy Tyner, John Hicks, David Murray, Arthur Blythe). His autobiography (as told to Bob Golden) `What a Wonderful World : a lifetime of recordings' was published in 1995 by Oxford University Press. Bob Thiele Sr. died Tuesday, January 30, 1996, New York City, NY., at St. Luke's-Roosevelt Hospital Center. He was survived by his wife Teresa Brewer and a son, Bob Thiele Jr. By the way, those of you who have a Web browser, check DeWayne's Blues Home Page BLUESWAY LP Discography . ========================================================================= Date: Thu, 1 Feb 1996 18:21:25 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Jerry McCain Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199602011649.IAA15692@desiree.teleport.com>, James Carmin writes: >I've been a recent convert to Jerry McCain's ways, and I can blame Gary >Primich for it because he did a killer cover of DING DONG DADDY on his >great "Travelin' Mood" Flying Fish cd. > > Ahhh, blame poor Gary for everything. : ) We just did an online chat with Jerry and he speaks very highly of Gary & Kim Wilson. The transcript should be up over the weekend if you'd like to read it. Cat. Catbauer@vivanet.com http://www.vivanet.com/~blues ========================================================================= Date: Thu, 1 Feb 1996 18:16:43 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Bottleneck vs. Other Types of Slide Comments: To: bit-listserv-blues-l@uunet.uu.net In article <960126210559_304958083@emout04.mail.aol.com>, Dave Melton writes: > >I have to agree. It only makes sense to me that, no matter what you use, you >are sliding it up and down the neck of your guitar. >You can call it by the name of whatever you are using if you >want, but it's all slide in my book. > I guess I've played everything from beer bottleneck to > the very worst case scenario, bare fingerneck. This is when >your glass slide flies off your finger shattering on the dance >floor and there you are with nothing else to grab with an >Elmore solo to do. :) I have to admit I was curious to see what all the discussion was about. I happened to mention the discussion to a friend she forwarded this to me for anyone interested...all in all I'd say that it's not as important what you use as how you use it. I know that regardless of what I used it would sound pretty bad. : )Take the same object and give it to John Mooney, Sonny Landreth or Ry Cooder and you'll hear a whole new sound... < From: Isaac Sprintis Subject: singing experience Last friday was the first time I had sang publicly since age 13. And of course I was singing blues. My back up band was incredibly unrehearsed (2 rehearsals) and underexperienced in the blues. So I was the lead man, As we busted into Shotgun Blues our first number, I blanked out and messed up wich inturn threw the band off and pretty much made the rest of the performance mediocre, actually it was kinda hellish. I was able to play and sing everything even though couldn't I hear a thing since there was no monitor and an incredibly bad P.A. system. I know that I was singing half of the time off pitch, while I tried to sing melody's I ussually ended upwith some mono-tone deep lecture sound. It was the worst and best gig I think that I have ever had, IN one way the performance was bad ( not embarissingly bad, but down there). while I think that I learned more than any other previous performance. It takes some guts to bare yourself infront of all these people and sing and play out, Hats off to the great performers out there. blues, Isaac ========================================================================= Date: Thu, 1 Feb 1996 17:19:50 -0500 Reply-To: David Goldstein From: David Goldstein Subject: Racism, RL's Dream I was wasting some time at the NY Public Libary a few days ago, before a meeting, and I picked up a copy of RL's Dream. I started reading it. I got so damn depressed from the first 5 pages that I had to put it down. The awful situation described in the first pages about the black man kicked out of his apartment, crying out from desperation due to mistreatment, his bones breaking inside him, was too much to bear. I bought "The Land Where The Blues Began" a couple of weeks ago. It is filled with amazingly sad stories about levee work, etc. that wrung my heart with sorrow. I read an article about millions of Pakistani kids forced to work in slave-like conditions to make garments that most of us see for sale in stores around us. I read posts that debate the racism of a magazine such as Living Blues. If this was an ideal world, none of this would be happening. There would not be anything such as "blues music" because no one would have the blues. I do not think anyone would dispute the idea that there are groups of people around the world, back to time immemorial, that have had the blues as intense as the blacks in this country. While they did not call it the blues, the experience was surely the same. That the musical expression of those feelings in this country by blacks took a unique musical form should also not be in dispute. Naturally, such a musical form would be adopted by other disadvantaged individuals that want to express their blue feelings through music. If I were a musician (and non-black) and expressed my blue feelings through a musical form that was especially suited to illustrate these feelings, I would be offended that my interpretation of that musical form would not be considered appropriate to be discussed in a magazine that was created to explore that musical form. I would feel that I was being discriminated against because of the color of my skin. Those are my feelings. It is my opinion that Living Blues practices a type of racism. Of course racism is practiced everywhere, so I guess there's nothing we can do. Unless you want to join me in the struggle to eliminate racism in all of it's forms! Rise up non-racists! Act now to ensure that everyone is given an opportunity to be heard! Boycott all forms of racism! Write to the people in charge of racist activities and be heard! Unless deep down inside, you are racist. Unless you also feel that your race/group/personality has some unique superiorities over other race/group/personality. Frankly who doesn't have those feelings? Racism is a part of us; it's an outward demonstration of those feeling inside ourselves of superiority. So what do we do, fight against our nature or admit it? Or try to become less racist than our genotype predisposes us to be. We can control our environment; we can control the impulses that Mother Nature put inside us. If we fight it long enough, we will evolve. It's up to all of us... Of course rich white guys could never experience the depth of despair that poor black guys could, and even if they could, they don't have the musical ability to do the blues justice like a black guy. So everyone can dismiss these writings as the shallow intellectual exercise that they are. Who am I trying to fool? ========================================================================= Date: Thu, 1 Feb 1996 15:22:05 CST Reply-To: JBards From: JBards Subject: Re[2]: Wedding Playlist/Pedantophilia Comments: To: emdrprac@DIRECT.CA How about "Ball and Chain"? OUCH! STOP THAT! MOM, RUTHIE'S HITTING ME! _______________________________________________________________________________ Subject: Re: Wedding Playlist/Pedantophilia From: emdrprac@DIRECT.CA at INTERNET-SH Date: 02/01/96 2:25 PM >Ruth asks for additional wedding reception material: >> >> Max and I are making a list of songs to play at our wedding reception. >> What we've come up with so far: >> >> "Hey Joe" (Hendrix) >> "Tush" (ZZ Top) >> >> Any additional suggestions will be welcome. "I Knew the Bride (when she used to rock and roll" "Five Long Years" (better save this one for a divorce party....) ========================================================================= Date: Thu, 1 Feb 1996 16:06:04 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: Re: JERRY MCCAIN > Jerry has several CD's out. If it's his older material you want, > check the Excello release: > > WiX9106 +MCCAIN*JERRY I'VE GOT THE BLUES ALL OVER ME > WILD DOG 9/93 > > iCH9008 +MCCAIN*JERRY LOVE DESPERADO > &ICHIBAN 9/91 > > ALL2701 +MCCAIN*JERRY STRANGE KIND OF FEELIN' > &ALLIGATOR 5/93 > > iCH9020 +MCCAIN*JERRY STRUTTIN' MY STUFF > &ICHIBAN 7/92 > > EXY3009 +MCCAIN*JERRY THAT'S WHAT THEY WANT:BEST > EXCELLO 9/95 > > Eliot Williams > University of Wisconsin Medical School > ecwillms@macc.wisc.edu Good list, Eliot. To those you can add: Blues N' Stuff, Ichiban #1047 and Black Blues is Back, GAS #1001 Both of those are LPs. Jim O'Neal used to have some of those GAS LPs but I don't know if he still does or not. I love mine. That one has "Love Whip", "Steady", "She's Tuff" (as covered by the T-Birds), "Tuff Stuff", and more killer stuff. There was a real nice cover story on Jerry in Living Blues # 113 (feb 94). I'll agree with the other post that his latest Ichiban album, I've Got the Blues All Over Me, is a great place to start. There is not a single bad cut on that album (IMO). If you see his name on anything, it is probably worth getting. Don O. ========================================================================= Date: Thu, 1 Feb 1996 15:37:48 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Rick Holmstrom - comment Wow, I thought I had read a Duke LeVine comparison on the list, so I picked up this CD. I was thinking it would be kind of mellow, I'll have to be in the mood for this upbeat stuff...I can't wait to hear it at home, it will have to be when I need a pick me up.... I like what he says in the liner notes about short solos: "When you're playing in the ghetto clubs, when you start running out of things to say in the solo, they'll start singing over the top of you. They don't have much tolerance for that" I have to say, I SECOND THAT. There are a lot of really popular and talented guitarists, who begin to get on my nerves with them damn long solos. I usually have to leave, it begins to become one large guitar solo. IMHO if it takes a 5 minute solo to "tell it" , then your rambling. I don't want the small talk, tell me now, don't beat around the bush Do others get tired of (even) the really popular guitarists who go on and on long after they've said all they can, or is it just me.... LW ' I recommend heavy doses of BB King' ========================================================================= Date: Thu, 1 Feb 1996 21:48:30 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Paul Rodgers/Rick Derringer Comments: To: bit-listserv-blues-l@uunet.uu.net >>I listened to the Paul Rodgers stuff when it came out and it wasn't worth a >>second earful. How can anyone with any affinity for the blues say that a >>record with Slash on it is good guitar work. I can't think of one redeeming >>quality of that CD. Did anyone else notice that on Paul Rodgers "Tribute To Muddy Waters" CD, the only single that was released--"The Hunter"-- was a song that as far as I can tell, Muddy never recorded and didn't have anything to do with? Scott ========================================================================= Date: Thu, 1 Feb 1996 16:48:06 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Going to Mardi Gras Comments: To: JukeFreak@aol.com In a message dated 96-01-31 20:21:00 EST, JukeFreak@AOL.COM (Karen Hanson) writes: > I've only been to the one in New Orleans (twice), so I don't know what the >others focus on....but my impression was that, though the decor and >background music is (mostly) blues, the bands they book are not necessarily >so. When I was there last year at Mardi Gras I saw the Neville Brothers, >which I enjoyed, but I wouldn't call them blues. Just this past Christmas I >was there again and on the schedule were....(let's see if I can >remember)....John Hiatt, Buckwheat Zydeco, the Funky >Meters....hmmmm....that's all I can remember. Anyway, I wasn't real >impressed, considering I live close to Chicago, in which you can find, on any >given night, plenty of live blues. Leaving John Hiatt out of this, the complaint seems really odd to me: Buckwheat Zydeco, the Meters, and the Nevilles are New Orleans music. Straight blues really isn't. I dont think there is a better city in the country (Chicago included) for live music. Those interested in funk and R&B New Orleans style are in for a lot of oportunities during Mardi Gras this time. The Meters with Rebirth Brass Band and the Meters with the Wild Magnolias are at House of Blues the 12th and 13th. The Nevilles are at HOB the 17th -19th. Snooks Eaglin is at Howlin' Wolf's the 17th, and George Porter is there the 19th. Eddie Bo is at Margaritaville Thurs. - Sun. all through Feb., and is playing with a "big band" Feb. 17. It isn't New Orleans music, but Geerge Clinton is at Tips the 15th and 16th-- last year in shows the week before Mardi Gras they did 5 hour sets. Walter Wolfman Washington is at Buffas Thursday Feb. 15 and 18th and at the Maple Leaf Feb. 17.. Boozoo Chavis is at MidCity Lane's Thurs. 15. Rockin' Dopsie Jr. is at the Maple Leaf on Feb. 16. Same night, George Porter is at the Rendon Innn. Rebirth Brass Band is at Carfe Istanbul the 17th. Marsha Ball and Mason Ruffin are at Mid-City Bowling Lanes on Feb. 17th. Irma Thomas is at the Treasure Chest (a casino?) on Feb. 19th (and maybe in her own place Friday and Saturday? I'd check). The Continental Drifters are at Cafe Istanbul on Feb. 18th. Personally, my problem would be picking which one to go to. Tom Freeland ========================================================================= Date: Thu, 1 Feb 1996 21:45:05 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Living Blues Policy Comments: To: bit-listserv-blues-l@uunet.uu.net Meadors wrote: > >Now that most of you have flamed me (OWW! My butt's still burning) >for my earlier comments re: LB being racist in its policies, I must >make three quick points and then we'll drop it: > >1) LB's contributions to the blues culture, yes, are great -- but >that's never been the point. >2) My knee jerk response to this thread is based upon years of >watching White "liberal" audiences fawn over anybody on stage with >Black skin. Even in their unabashed praise and admiration, they >are practicing racism, as I believe LB does. If you tell me you >don't know what I'm talking about you're lying. The artists know >this fact and often play the "role" for White audiences. >3) Just how "Black" does an artist have to be to get a feature >story? What if just his/her mother was Black? What if just their >Grandfather was Black? Get the point? When you include race into >the equation you screw up the entire process regardless of your >motives. What if I was a White boy who was brought up in the Black >culture (all Black friends, schools, teachers, etc.)? Mike, I've had a subscription to LB for something like 15 years, and everything that can possibly be said about their editorial policy has been said, and eloquently, many times. But I won't let that stop me from sharing my opinions on the subject :): You want a Big Mac? You don't go to Burger King, you go to McDonalds. If BK claimed they sold Big Macs, there'd be a problem, but since they don't misrepresent themselves, I don't see a problem. You want in depth coverage of white blues players? You don't go to Living Blues, you go to Blues Access, Blues Revue (yuccchhh, btw), et al. If it's racism that keeps LB from in depth coverage of white blues players, then what is it that keeps Blues Access, et al., from in-depth coverage of the contemporary Black blues scene (not to mention the deeper recesses of blues history)? Must be racism. I don't mean this as a flame, I'm just sharing the two views that I've always inevitably come back to the (too) many times I've duscussed this subject. Ultimately, Living Blues provides something that the others don't, and the others provide something that LB doesn't. No single publication covers *all* the angles, so the answer for any serious blues fan is to read more than one magazine to get a balanced view. BTW (a minor but completely innocent plug follows), I'd suggest that anyone who wants a blues magazine that really does cover all the bases regardless of race, creed, color or ethnic origin should check out the two British blues magazines, Juke Blues and Blues & Rhythm (I contribute to B&R, hence the plug warning). Both of these magazines provide the type of in-depth historical coverage that LB is so good at, along with a realistic look at the contemporary scene in all of it's many stripes and colors, and both do so with an element of wit that is often lacking in U. S. blues publications. Dick Shurman can point you towards Juke Blues, and Blues & Rhythm now has a presence on the WWW on Joel Slotnikoff's Blues World page (you'll have to look up the URL yourself, but it's worth it.) Scott ========================================================================= Date: Thu, 1 Feb 1996 15:53:56 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Peripatetic Comments: To: Mary Katherine Aldin My dictionary defines "peripatetic" as someone who is "Aristotelian," and the word further derives from a meaning of someone who lectures while they pace, or paces while they lecture, as Aristotle was reported to do. The secondary definition of "itinerant" may not apply to Mary Katherine personally, but the implied definition of someone who imparts wisdom is there. For me, anyway. Shannon ______________________________ Reply Separator _________________________________ Subject: Author: Mary Katherine Aldin at INTERNET_TP Date: 2/1/96 4:17 PM Joe in Moscow wrote >I'll say! Not to mention the peripatetic Mary Katherine Aldin, plus > Scuse me? What does that mean? Did you mean geriatric? Now *that* applies. But peripatetic, according to the definition in my dictionary, doesn't seem to have any connection to me at all. Or am I missing some colossal in-joke here? Mary Katherine (definitely geriatric, hardly peripatetic at all) Aldin > Mary Katherine Aldin ========================================================================= Date: Thu, 1 Feb 1996 15:07:56 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Re: John Hammond -Sr. or Jr.? -Reply Comments: To: mkaldin@BEACHNET.COM Since John Henry Hammond and John Paul Hammond do not have the same identical names, is it not incorrect to refer to either one as a Sr. or Jr.? My understanding was that John never condoned nor encouraged the use of Jr. He even issued an album with his full name spelled out John Paul Hammond to differentiate himself from his also famous father. regards, delta doc roger ========================================================================= Date: Thu, 1 Feb 1996 15:57:15 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0063 From: "DUTTWEILER.J" Subject: Living Blues policy Date: Thursday, 1 February 1996 3:57pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Living Blues policy I've thinking about this thread on Living Blues policy and realized, by golly, I'm just as discrimating as they are. Why, I haven't bought a blues CD by a white artist in over a year (the last one I got was EC's FTC). Why, *I* must be a racist, I thought. Then, as I thought *more* about I realized no, I'm nota racist, but I am discrimating, as we all are. "Discriminating" means "accute," "discerning," "astute," and denotes an ability to differentiate. Now, *why* do I "discriminate" against white blues performers, or "differentiate" between blacks and whites? Because, in *my* experience, blacksand whites, *in general*, approach music differently. Culturally, whitestend to emphasize precision and technical skill while blacks tend to emphasize feeling and freedom of expression. In support of this I would direct your attention to white vs. black Churches. No matter what denominational background, white churches *tend* to stress theology, doctrine, *what* one believes, while black churches *tend* to stress the emotional expression of of spiritual experience. So, what does this have to do with the blues? Well, I have found that black blues performers who are recorded contra white blues performers who are recorded *tend* to have more "feeling" in their playing, singing, etc. White perfomrers tend to emphasize technical skill on an instrument, e.g. flashy guitar, number of notes played, etc. Now, if that is what you're into, that's fine, but I prefer the feeling, the "soul," rather than virtuosic instrumental performances. This may be a generalization, but it is one that I have found pretty much holds true and is the reason I spend my musical dollars on black performers rather than white. Now, if you want to talk rock 'n' roll, that's another story... Jon (the discrimator) Duttweiler ========================================================================= Date: Thu, 1 Feb 1996 15:35:33 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Music Awards FINALLY In Perspective Comments: cc: leagil@aol.com We've spent some time in recent weeks discussing the value of awards programs like the Grammys, The Handy's, etc. Overall, we've leaned (with some exceptions of course) towards being critical of the concept, the process, and the results of such award programs. There is a music publication here in Florida called "JAM" (actually "JAM Entertainment Monthly") that covers all of Florida from Orlando south. Virtually half the state. For a few years now, they have sponsored the Florida Jammy Awards, awarding musical achievement on a statewide level. This organization has altered my perspective on this award thing. I learned a few minutes ago that "P.W. Fenton & The Second Ward" has been nominated for BEST BLUES BAND. I now think that music awards are wonderful things. I also think they make excellent decisions on who to nominate. I reserve judgement on the final step. That may turn out to be flawed just like the rest of them ;^) P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 1 Feb 1996 16:00:23 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Topper Price & The Upsetters If you haven't heard them - shame on you. Vent #30002. More will follow on this harper and crew. I don't have the info @ hand but Vent has a web-page worth checking out. If any one has the address definitely post it here to the group. A well worth visit + you can order the CD right there (a subtle but I hope effective hint). They will be a featured label for us at the web-page very soon. BTW these are the same guys that brought us Little Whitt & Big Bo (Vent #30009). No - not affiliated, but sure wish I was. NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 1 Feb 1996 14:31:16 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Re: Delta Doc O-Phone -Reply Comments: To: Steve.Levine@corp.wrgrace.com WHOOOPS.....steve levine just pointed out that i forgot to put the phone number on my last post..... (612)-484-8208. ========================================================================= Date: Thu, 1 Feb 1996 15:30:48 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Valentines' Day Blues Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com And who can forget Willie Dixon's "Violent Love," a song Barry Pearson uses for an example of a bad Willie Dixon song. -Steve ========================================================================= Date: Thu, 1 Feb 1996 15:25:18 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: DC Blues Society Jam Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com The next free DC Blues Society blues jam will be on this Sunday, Feb 4, at Food For Thought (1738 Connecticut Ave. NW) from four - eight PM. All musicians are welcome to perform. There is no cover and DC Blues Society members get a 10% discount on food and drink. For more information call the DC Blues Society at (202) 828-3028. Hopefully this one won't be cancelled because of the weather. -Steve ========================================================================= Date: Thu, 1 Feb 1996 14:26:53 -0600 Reply-To: Roger Struve From: Roger Struve Subject: John Hammond -Sr. or Jr.? -Reply Comments: To: KCARLSON@whqpc4.etn.com Contrary to even published information type books (i have one on blues, and IT even lists John Hammond as a "Jr."---which understandably causes me to question its authenticity in all areas as a result). John Paul Hammond (the blues man) is the son of John Henry Hammond. It is not possible to accurately apply the suffix "Jr." to the son, unless the entire name is identical. IT IS NOT IDENTICAL...as you can see, they have different middle names. John Paul Hammond even issued one album with his entire name spelled out to differentiate him from his also famous father. John Henry Hammond(the father) was responsible for discovering/furthering the careers of such notables as Leadbelly, Bessie Smith (i think i remember this), Bob Dylan, Bruce Springsteen, and many, many others. John Henry Hammond married the daughter of also famous Benny Goodman, i think. It is no wonder that John Paul Hammond (the son) is so musically talented with such talented parents. I believe, regrettably that both parents are now deceased. A strange stoke of fate, John Paul Hammond was performing in Minnesota on both sad occasions, i believe he was playing in St. Paul at the Blues Saloon the day his father passed away, and was playing the Fine Line Cafe in Minneapolis the same day his mother passed away. John Henry Hammond put on a very famous Spirituals to Swing concert in Carnegie Hall in 1938 i think it was, and it was for this occasion that he sent down South to bring Robert Johnson there to perform. Unhappily, it was learned that Robert Johnson had died just days/weeks earlier (not exactly sure of the time frame involved here). I have forgotten who it was that was brought in as a "last minute" replacement for R. Johnson. Despite this, people continue to refer to John Paul Hammond incorrectly as John Hammond, Jr. A similar situation, BTW, is Robert Lockwood Jr. His mother married Robert Johnson, and people i guess started referring to him as Robert Jr. However, he is not the son of Robert Johnson, but of Mr. Lockwood. He has gone on record stating that he prefers to be called Robert Lockwood, Jr., but people and the press still refer to him incorrectly as Robert Jr. Lockwood. regards, delta doc roger ========================================================================= Date: Thu, 1 Feb 1996 18:07:50 -0200 Reply-To: Hudson Carvalho Bianchinni From: Hudson Carvalho Bianchinni Subject: Re: Paul Rodgers/Rick Derringer Comments: To: Birmingham In-Reply-To: On Thu, 1 Feb 1996, Birmingham wrote: > I agree, Paul Rodgers version of The Hunter is horrible, even Danzig's > version is better. > > Sean Birmingham > WHAT????????? Paul Rodgers is god,The Hunter IS Paul Rodgers. Hudson ========================================================================= Date: Thu, 1 Feb 1996 15:24:18 -0500 Reply-To: RAHalonen@AOL.COM From: Reeann Halonen Subject: Re: old folks Comments: To: canorton@journalism.indiana.edu John Prines song is called "Hello In There" (behind those ancient hollow eyes) and is one of many really sensitive songs by him. Thanks to you all for caring so much about people who are often forgotten. Ree Anne ========================================================================= Date: Thu, 1 Feb 1996 14:08:34 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Living Blues Policy At 11:44 AM 2/1/96 CDT, Bonnie Kalmbach wrote: > >Anyway, I think the raison d'etre of LB is simple: blacks created >this art form (out of their own and other cultures); people of other >backgrounds enjoy playing and listening to it - but blacks still >get the short end of the stick when it comes to money, gigs, recording >contracts, fame etc, when it comes to their own creation. Living Blues >is trying to even out the playing field a little. > > > Thru this latest discussion of Living Blues, I haven't seen mention of the fact (as opposed to opinion, to tie two threads together) that LB is an organ of - or at least a publication of - the Center for the Study of Southern Culture at Ole Miss, which, I assume, deals with it's mission. As such, I look at the magazine as an extension of the Center's mission - the study of the Blues as a part of Southern culture, in this instance Black Southern culture. David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Thu, 1 Feb 1996 13:03:00 -0700 Reply-To: bmpech@MSCD.EDU From: Bruce Pech Subject: Buddy Guy: A Man & His Blues. Recording date? My LP of "A Man & His Blues" (Vanguard VSD-79272) doesn't have a copyright date on the jacket. But since the band included Otis Spann -- who died in 1970 -- I'm pretty sure the LP was recorded in the mid- to late-60's. -- BP Boulder, CO ========================================================================= Date: Thu, 1 Feb 1996 10:06:40 CST Reply-To: JBards From: JBards Subject: Re: T-Bone =?UNKNOWN-8BIT?Q?Walker=B4s?= guitar Comments: To: emdrprac@DIRECT.CA My friend Mark Baier of Victoria Amplifiers recently got exactly the same 52 Es- 5 and he describes the forward position (toward the neck) as combining the neck and bridge pickups in an out-of-phase ( he thinks) combo that produces exactly that same sound. I'm pretty sure his is completely stock, so unless Mr. Bengan's ES-5, for which, by the way, I lust- isn't, it should have the same settings. -JIm (Bengans: you could always call Mark at Victoria Amplifiers in Napierville, Illinois) and discuss it with him.) _______________________________________________________________________________ Subject: T-Bone =?UNKNOWN-8BIT?Q?Walker=B4s?= guitar From: emdrprac@DIRECT.CA at INTERNET-SH Date: 01/31/96 8:17 PM >X-Sender: bengans@mail.riksmedia.se >Mime-Version: 1.0 >Date: Wed, 31 Jan 1996 23:22:46 +0100 >Reply-To: Bengans >Sender: Blues Music List >From: Bengans >Subject: T-Bone Walker=B4s guitar >To: Multiple recipients of list BLUES-L > >I have a question regarding T-Bone=B4s Gibson ES-5 guitar: > >When I listen to his Imperial stuff it sounds like he has rewired the = mic >circuit on his guitar. > > More specificly; > it sounds as if one of the pick up=B4s is soldered in an out of ph= ase >position, meaning that the polarity is switched in one (current flowin= g in >opposite direction compared to the other two.) > > I just got myself a -52 ES-5 and I wanna rewire the T-Bone way >instantly, without having to go through all three P U:s before I find = out >for myself. > >Can U help? I seriously doubt that T-Bone's guitar was wired in any fashion but "st= ock" from the factory. People back then wern't wise to electronic tricks to alter the sound output of their instruments. I think the distinctive t= onal quality you are talking about was the simple result of using a pick VER= Y articulately, esp. as to how close to the bridge the strings were struc= k. With an ES-5, as with almost any multi-pickup, semi-acoustic, a zillion tonal combo's are available: just experiment! (If it ain't broke, don'= t fix it.....) --- Roger (Lover of Blues & Big-Bodied Guitars) ========================================================================= Date: Thu, 1 Feb 1996 13:52:06 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: Wedding Playlist/Pedantophilia In-Reply-To: <199602011853.NAA25051@snickers.mm.mtu.edu> On Thu, 1 Feb 1996, Abe W. Mathews wrote: > Ruth asks for additional wedding reception material: > > > > Max and I are making a list of songs to play at our wedding reception. > > What we've come up with so far: > > > > "Hey Joe" (Hendrix) > > "Tush" (ZZ Top) > > > > Any additional suggestions will be welcome. > > The one I played at my reception, and have done so at a couple of others > is: > > "She's No Lady (She's My Wife)" by the great Lyle Lovett > > A Fantastic, kinda swinging big-band tune that tells it like it is. :) Don't know if it's appropriate or not, but I think Duke Tumatoe did a song called "That Was No Woman (That Was My Ex-Wife)". T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) Go Browns! And take your goddamn owner with you! ========================================================================= Date: Thu, 1 Feb 1996 23:40:59 -0800 Reply-To: emdrprac@DIRECT.CA From: Roger Brant Subject: Re: A Modest Proposal Arlen K wrote: >.... I for one do not appreciate having to D/L 150 messages a day, of >which I find 10% > interesting. Maybe: (1) Your computer needs more coal, wood, or whatever fossil fuel is making it run so slow, (2) The word "delete" has rubbed off that large key down there on the right. All kidding aside, though: I, too download a lot of messages (my wife is on some equally voluminous (wd?) newsgroups, but she leaves the "weeding" to me !) - You just have to get good at reading the "Re." box, deciding which threads are of interest to you, and deleting (unread, yes!!) the rest. I shudder to think how boring it will be if we have to question our own posts' "eligibility" before posting. The death of spontaneity.....? - Roger ========================================================================= Date: Fri, 2 Feb 1996 02:52:11 -0500 Reply-To: Meadors From: Meadors Subject: Re: Living Blues Editorial Policy Comments: To: rshurman@CCS.NSLSILUS.ORG Thanks for posting the LB editorial policy. I wonder then, why they include whites at all in their pages if that is their position (that Blacks are the originators and the only real interpreters of the blues). Second, when "ownership" is conferred upon a group of people for a particular style of music (especially when that group is emeshed in a larger whole), then I feel it's too simplistic a view of how things are connected and interrelated. Yes, the blues arose from black working-class conditions, BUT let's not kid ourselves -- blues was greatly influenced by European musics, country music, etc. It did not sprout up, fully realized on its own in a vacuum; nor did it continue to evolve on its own with a narrowly defined set of "black" men and women leading the way. To me, "Living Blues" should be about not only the past, but the present and future. The present black community has all but turned its back on the blues. Citing the Eskimos as an analogy doesn't make sense to me since the Eskimos are not a race in the proper use of the word. Trying to point to a line in the sand where there is none is counterproductive. I appreciate their views, but they're kidding themselves if they think that the blues is a privately owned, operated, exclusive entity belonging to the "black culture". Maybe it once was, but not anymore. If they want to exclusively feature stories on blues legends-- the REAL founders of the blues -- okay. But the people who are presently playing didn't create the form, they only continued to shape and form it, as many white performers do. I challenge ANY and ALL the staffers at LB to listen to a selected set of blues guitar/harp/piano solos, for example, and then tell me whether the players were black or white. According to the statement they made, they SHOULD be able to do it since it's so clear to them what constitutes the real item vs. the posers. Telling everyone that, in essence, only black men can play the REAL blues, is wrong -- most of the people who created and played the REAL BLUES are dead and gone. The rest of us are here just trying to move it forward -- white, black, asian and Eskimo alike. They would do well to reconsider their position and get with the times. Mike Meadors Orange3@gnn.com ========================================================================= Date: Fri, 2 Feb 1996 03:04:57 -0500 Reply-To: Meadors From: Meadors Subject: Re: LB & *racism* Comments: To: seale@BIOC02.UTHSCSA.EDU You wrote: > >I don't believe that LB has said anywhere that only Blacks can > play the >blues, nor have they said that Blacks play the blues *better* than > whites >simply because of the color of their skin. I don't see how anyone > could >call their policy racist. Please read Shurman's latest post with the editorial policy. Note the last paragraph or two in which they, in effect, outline the blues as the black man's domain. > >BTW, I doubt the ACLU couldn't care less if there was a magazine >excluding Blacks because they are black - such a ridiculous > argument. > I'm not sure if you are kidding or misinformed. The ACLU are all black? Is that what you're saying? ... ???? ... And no one said that the ACLU was interested in LB anyway -- read closer, Jeff, you'll see it says that IF there was a white only magazine of the same kind, you'd soon see the ACLU at the door ... please check your trigger before you accidently shoot yourself in the foot. >For the record, I get Living Blues and cancelled Blues Revue. I > don't >want my Blues magazine with Jimi Hendrix, Janis Joplin and SRV > along >with Jazz and articles by Keri Leigh. I like both magazines. I just don't like racial divisions for whatever the purpose or motivation. Obviously, you don't mind. > >-Jeff > >******************************************************************* >*********** > __ Jeff Seale > | |___ University of Texas Health Sciences Center @ San > Antonio > ___|* | EMail seale@bioc02.uthscsa.edu > \ | > \/\ / I told my love my last goodbye, > \ / my very, very last goodbye. > \( I hang my head and the tears just cry. > I'm a thousand miles from home. -Joe > Ely Mike Meadors Orange3@gnn.com ========================================================================= Date: Fri, 2 Feb 1996 00:11:42 -0800 Reply-To: emdrprac@DIRECT.CA From: Roger Brant Subject: Re: Tube Heaven Comments: cc: dcicchet@vega.lasierra.edu Thanks, Don!! Before anyone questions the "blues relevancy" of your post, let me state: VERY RELEVANT!! and VERY TIMELY!! Tubes are indeed very hard to get (in any consistent quality). Tube amps are indeed a large part of "the sound" when it comes to blues guitar (and bass, as I will testify!!) -- I've used nothing but tube bass amps for 26 years now. Some recent technologies come close, but not close enough to make me stop lugging my (moan!!) 70 lbs. of tube driven sin from place to place....... - Roger ========================================================================= Date: Fri, 2 Feb 1996 01:11:11 -0800 Reply-To: emdrprac@DIRECT.CA From: Roger Brant Subject: John Hammond -Sr. or Jr.? -Reply For more on John Hammond, ("Sr.") read his excellent autobiography, "John Hammond On Record" ========================================================================= Date: Fri, 2 Feb 1996 10:31:51 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Re: Mc Dowell / Joel's Blues World For McDowells fans, check out the lastest issue of the great UK magazine BLUES & RHYTHM (with Big Clara on the cover) for the informative (like always!) article/overview of the different McDowells's CDs availabe on the market now. For more info on B&R, just visit Joel Slotnikoff's really GREAT BLUES WORLD homepage <> where you'll find lots of great info including (many thanks to Joel, these artisit and recordings deserved this!!) now the wonderful work of Tim Duffy on his music maker label (of which I reviewed briefly the three great CDs end of last year), Blues Estafette, Roots and Rhythm, Testament, ... (NOte the new http address- update your bookmarks if it's not already done!) and enjoy Joel's pages (and subscribe to B&R if you've not done so yet, B&R is a must). Jean-Pierre "Young Man" Urbain P.S. NOT affiliated to B&R or to any other things mentioned above... Just a great supporter of their work! P.S. Let me second Bonnie's and Dick Shurman 's remarks wrt to the LB thread. And never forget, Blues is NUCH MORE than "just" music, I see it really as a cultural paradigm which is such that I often hear (yes hear!) much more blues in Langston Hugues or in Richard Wright writings than in many so-called blues bands (IMHO)... and while we're busy with this why not take a look to non-US magazines that seem so often forgotten here: just to name a few in English BLUES AND RHYTHM, JUKE BLUES and why not BLUES GAZETTE (ok, I'm writing for them...). ========================================================================= Date: Fri, 2 Feb 1996 01:35:49 -0800 Reply-To: Fjord Press Comments: RFC822 error: More than one sender was specified. Second and following senders discarded. From: Fjord Press Subject: Re: acoustic Mississippi Fred? Comments: To: James Leftwich In-Reply-To: Dear James, Sorry, wrong. Check his early Arhoolie sides for excellent acoustic work. Plenty of other examples from the 60s too. Steve ========================================================================= Date: Fri, 2 Feb 1996 01:44:48 -0800 Reply-To: Fjord Press Comments: RFC822 error: More than one sender was specified. Second and following senders discarded. From: Fjord Press Subject: Re: Buddy Guy: A Man & His Blues. Recording date? Comments: To: bmpech@mscd.edu In-Reply-To: Ok, folks, I looked at my well-worn LP that I bought when it came out, and it says Copyright 1968. Steve Murray "Well I played him 'gainst a queen Fjord Press and he never won a thing Seattle, WA Jack of diamonds is a hard card to play" fjord@halcyon.com --Mance Lipscomb ========================================================================= Date: Fri, 2 Feb 1996 05:41:06 -0500 Reply-To: NetWorkr From: NetWorkr Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Jordan Patterson and the DC Hurricane Comments: To: bit-listserv-blues-l@uunet.uu.net Hi, I just saw them in Richmond, Virgina on Saturday. I thought they were great! He drew a great crowd and everyone had a lot of fun. I was so disappointed that I hadn't brought enough cash with me to buy their new CD, but they said they would be coming back next month and you can be sure I will be there with money in hand and ready to dance! Kathy ========================================================================= Date: Fri, 2 Feb 1996 13:28:59 GMT Reply-To: sylviap@cartermill.com From: "sylviap@cartermill.com" Subject: HELP HELP HELP Hello bluezy lovers, I am looking for lyrics of the following songs: Johnny Winter: Illustrated man Life is hard You are humbugging me (No J. Winter lyrics in the Web sites I had!! I was so amazed!!!) John lee Hoocker I do not know the title but he says "They took me everything, strip naked, they took my cadillac too ...." R. Cray Do not be afraid of the dark Joe Coocker Two wrongs May be there is a special blues lyrics Web sites ? SOmeone knows about that? If someone could help me it would be very nice. Thank you very much Silvia ========================================================================= Date: Fri, 2 Feb 1996 07:23:56 -0500 Reply-To: MojoBandit@AOL.COM From: Dave Ruthenberg Subject: Re: Kelly Joe Phelps Comments: To: ficara@panix.com Kelly Joe Phelps is from Portland and has toured in support of many big-name blues artists around the world. Most recently he had opened for John Hammond during Hammond's just finished US blues trek. Very solid player. Could use a little more stage presence but that will probably come with time. Dave Rutheberg ========================================================================= Date: Fri, 2 Feb 1996 07:28:34 -0500 Reply-To: MojoBandit@AOL.COM From: Dave Ruthenberg Subject: Re: John Hammond -Sr. or Jr.? -Reply It is especially incorrect to use the Jr. designation in reference to John Hammond or the Sr. designation in referring to his father. His father was John Henry Hammond JR. ========================================================================= Date: Fri, 2 Feb 1996 07:49:07 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0109 From: "DUTTWEILER.J" Subject: Re: Paul Rodgers/Rick Derringer Comments: To: BGSV75C@PRODIGY.COM Date: Friday, 2 February 1996 7:48am ET To: GO-MAIN.BGSV75C@DOASMAIN.SNADS, Internet From: DUTTWEILER.J@GOMAIL Subject: Re: Paul Rodgers/Rick Derringer In-Reply-To: The letter of Friday, 2 February 1996 3:54am ET I have not heard the Paul Rodgers Muddy Waters tribute CD so I was not really interested in this thread. However, I thought it might be informative to point out (especially for those who perhaps don't go back that far) that "The Hunter" was a big crowd pleaser for the band FREE, for who Rodgers was the lead singer (prior to him going on to form Bad Company), in the (very) early '70's. I am not ashamed to say I recently purchased the "Best of Free" CD, which has their live version of "the Hunter" on it. Never thought of their version as "blues" (same as I never thought of Cream's version of "Crossroads" - not to mention Lynard Skynard's - as blues), but pretty decent rock 'n' roll. Jon (you always love the music of your youth) Duttweiler ========================================================================= Date: Fri, 2 Feb 1996 07:58:07 -0500 Reply-To: Renato154@AOL.COM From: Renato Tonelli Subject: Re: Big Jack Johnson/The Oilman Comments: To: Steve.Levine@corp.wrgrace.com Big Jack Johnson and John Jackson did perform together at least once but not onstage. After a festival gig in Switzerland (1988/9?), Big Jack Jonshon paid a visit to John Jackson in the hotel room and after some chit-chatting, John Jackson picked up his guitar and started playing; Big Jack picked up John's other guitar and joined him. They swapped songs until about 2 AM thoroughly enjoying themselves. The rest of us there also enjoyed ourselves (my 4yr old fell asleep). I had never heard Big Jack Johnson play and sing so beautifully as then: I really wish he would do more acoustic. Renato Tonelli ========================================================================= Date: Fri, 2 Feb 1996 07:57:30 -0500 Reply-To: Renato154@AOL.COM From: Renato Tonelli Subject: Re: Living Blues Comments: To: hndful@uniserve.com HOLY COW! Can we put this issue to sleep? Do what I have done: Subscribe to all the blues magazines and then renew only the one that you consistently read. Or is this going to open up another can of worms? Renato Tonelli ========================================================================= Date: Fri, 2 Feb 1996 06:55:25 GMT-6 Reply-To: Eliot Williams From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Living Blues Policy Thanks to Richard Shurman for posting the actual policy. Sorry for perpetuating a thread that's been beaten to death, but... It seems to me that a young musician, black or white (or anything else for that matter) learning blues today would likely do so from "second-hand" sources - that is records, touring bands, etc - rather than absorbing it from an endogenous musical culture. So I wonder how much longer such a policy can be justified? It's pretty hard to argue that blues is the music of *today's* black working-class culture. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Fri, 2 Feb 1996 08:19:05 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: living blues policy Okay....I'll play. I think the original statement in this fantastically ballooning thread was that anything decided on the basis of race alone is racist. Period. "Racist" is a very inflammatory word, however, as we have more-than-adequately seen. Still the truth of the statement is solid as far as I'm concerned. I don't believe there was anything in that statement saying that LB didn't have a right to promote black music or that blues music wasn't of the black culture, or that black musicians don't get the acclaim that whites do...all he was saying (at least in the beginning) was that anything decided on the basis of race alone is racist. Perhaps a better/easier-to-swallow word, would be "discriminating." (as used in "discriminating taste.") I totally agree. Everyone jumped on Meadors with their boots and tore out his liver. But he made a true statement. The inflammatory response may have created a bunch of side issue statements -- I REALLY don't want to try to debate them, but I was pretty dismayed that the general blues-l population jumped all over him for what, I still think, is a true statement. God knows I've seen my own blood on the street for the rights of blacks. I DO think, in general, blacks make better blues. I like Living Blues. I think they have a right to write about whomever they please...even if that's only the black grandmothers of black men born under the full moon on a Saturday. I think everyone has a right to choice. I'm glad everyone has a right to speak out. I'm thrilled there are so many of you out there ready to do battle on behalf of black culture, black music and their role in the blues. But Mike's initial statement is still true, and nothing can change that. He didn't say they had to change their policy. He said he didn't like it. So what? I don't like Velveeta cheese, but that doesn't mean they don't sell huge piles of it every year. I have discriminating taste when it comes to cheese -- smile. I discriminate against Velveeta cheese. But if you think that something NEEDS TO BE SAID, I'll stand up and say -- I really don't like Velveeta cheese. Words are really powerful. This one caused a bunch of people to explode. But as far as I'm concerned, all he said was "anything decided on the basis of race alone is racist." (Wow that word is still hard to see/use/hear.) Nevertheless, that statement is true -- it just is. Now somewhat chagrined that I have jumped into the fray, I add that I value all of you and I hope you feel the same. Since the sixties I have mixed feelings about hotly debating such issues as I remain confused about what good TALKING about them endlessly really does. (Yes, yes,...I know...it can make people think -- that's why I still bite and stick my neck out now and then). I've found however, in the end it's what one DOES that makes a difference. Respectfully, Cathi N. ========================================================================= Date: Fri, 2 Feb 1996 08:26:12 -0500 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: Whatcha listenin to besides blues? Comments: To: bit-listserv-blues-l@uunet.uu.net In article Bengans writes: >NEAL CASAL, new record on ZOO/BMG I saw Neal live recently, nice voice, real good guitar playing with beautiful tone! Gibson Howard Roberts thru a Marshall >DAN BAIRD A real rocker! >STEELY DAN I was disappointed with the live album. ========================================================================= Date: Fri, 2 Feb 1996 08:41:16 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Highway 61 on PBS? Did anyone see the PBS special "Great Drives" featuring Highway 61 last night (Thursday)? Neither of my two local PBS affiliates carried it. I'm wondering if it's worth keeping an eye out for it. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Fri, 2 Feb 1996 14:36:00 MET Reply-To: Thomas Gutberlet From: Thomas Gutberlet Subject: Re: Living Blues Magazine In bit.listserv.blues-l you write: >> >> I see. So now you accept that a magazine can have a limited perspective, >> but only as long as it's reflected in the title? Once again, "silly" >> is the only word I can think of. If the magazine devoted to >> Corvettes wanted to call itself "On The Road", you would object to it >> because it excluded small dead animals which are also found "on the >> road". >> > >Silly or not, a man has to live with himself, and I simply will not >subscribe to a magazine that discriminates on the basis of skin >color. The blues are a wonderful thing, and to mar them by >associating them with discriminatory or separatist policies in any >form is unacceptable in my eyes. > >The fact that blues was born out of, or as a result of a system of >discrimination doesn't justify further discrimination on any side. >Two wrongs don't make a right. > >Derek Dear Derek, reading your above comments got me angry for two points. At first as far as I know Living Blues has never ever stated that it discriminates anyone or anything by skin. Living Blues is devoted to the black american culture and if any white musician will or artist will help or improve or whatever this black american culture I believe Living Blues will report about it as it has done in the past on numerous reviews of records of white people. That there has been no longer article on a white blues musicians is another subject of taste, but I do not see any discrimnation on the basis of skin in Living Blues. Second point I do not take the view that blues is mainly a subject grown by a system of discrimnation in the united states a hubdred years ago and sometimes even today but it is the melange of the african culture with the american culture of the last century, that is what created the blues in my opinion and in the general e.g. the rhythm used in blues songs would have developed probably in a rather similar way also withou the discrminating system. In my opinion it is one of the big mistakes that blues is always thought as an expresion of tragedy, this is one part of the blues worls but there is also a lot of joy and happiness. Best, Thomas Gutberlet ========================================================================= Date: Fri, 2 Feb 1996 08:38:31 -0500 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Opinions, was: Re: Blues-l "quote of the day Comments: To: bit-listserv-blues-l@uunet.uu.net In article <19960201.115841.271465.NETNEWS@AUVM.AMERICAN.EDU> Don Cicchetti writes: >The turtle (what's your name son?) said: >>True opinion need not be supported by facts, or supported at all. >This is the heart of it, and I am glad you said this. >Like it or not, "true opinion" *is* supported or unsupported by credibility >which is established by experience, insight, intelligence, fairness, >compassion, and facts, otherwise known as the truth. >The idea that opinions cannot be wrong is part of the dumbing-down of our >society. >Others have said that opinions can be stupid, but not wrong, and that is at >least getting close, but there is very little real difference between the >two. >The idea that opinions cannot be wrong and are therefore all equal, is >ideological rubbish, >durable rubbish mind you! >but rubbish nonetheless. Yes, Yes, Yes! Opinions can be wrong if they are repudiated by fact. ex.: "It is my opinion that the sky is orange" - WRONG The problems arise when their are well defined facts to leverage from. ex: "It is my opinion that EC is a great bluesman" This would be a valid opinion that could be accepted, rejected or debated. ========================================================================= Date: Fri, 2 Feb 1996 08:39:16 -0500 Reply-To: "Matthew D. Lautenschlager" From: "Matthew D. Lautenschlager" Subject: Re: A Modest Proposal Comments: To: Jim Witteveen In-Reply-To: <96Feb1.190338pst.30743-3+266@haven.uniserve.com> Yes, this is my first time on BLUES-L, and I would like someone to tell me what moderation is and what are the bad points and the good points about it. I've been listening to the blues only recently and I'm just beginning to realize what is out there. So far, I've liked Billie Holliday and John Lee Hooker. I also bought Eric Claptons' tribute to blues, which I liked ver well. However, I would like to kow what else is out there? Any suggestions? On Thu, 1 Feb 1996, Jim Witteveen wrote: > Billy Chambless wrote: > > >Personally, I enjoy all the opinions, especially the ones I disagree with. > > Please, no moderation! I was on another list, once upon a time, and was the > cause for the list becoming moderated (I posted an unpopular opinion and > people started cursing and swearing at me...). Anyway, I've long since left > that list... > > But...to me, a day just isn't full without a good argument (preferably at > raised voice). Maybe it's just my Dutch heritage :-). > > To me, Blues-L is like a gathering of friends and acquaintances who love the > blues...the cyber-equivalent (why did I write that? I hate words that start > with Cyber) of sitting around in someone's basement with a few beers > discussing a favorite topic. If it strays just a bit, I don't mind. If a > debate develops, it's OK (just as long as it isn't a simple replay of one we > had three weeks ago...) So let's not get moderated. Please? > > -Jim (hndful@uniserve.com) > ========================================================================= Date: Fri, 2 Feb 1996 08:18:01 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: American Folk Blues Festivals In-Reply-To: On Thu, 1 Feb 1996, Ken Ficara wrote: > I mentioned that two of the songs on that Magic Sam set I just got were > from the 1969 edition of that festival. Has anyone else noticed that those > AFB Festival recordings are a boxed set dying to happen? I have four of > them (1964, 65, 81, and 82) and every one of them features at least two or > three mind-numbingly brilliant performances which I've never heard anywhere > else: I have the first one (from '62, I believe) and one from either '72 or '71; I've also heard a couple others. I agree, they are great, especially the first. I would LOVE to see these in a box set ... at least after I finish paying taxes, car insurance, the new computer, ... > Three of my four albums are CDs on the LR label, and the fourth is a German > LP on the Amiga Jazz label. The first one I have is on Polydor, but I've also seen it on L+R. I think my other one is on Optimum. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) Go Browns! And take your goddamn owner with you! ========================================================================= Date: Fri, 2 Feb 1996 09:24:20 -0500 Reply-To: Meadors From: Meadors Subject: Re: Living Blues Policy Comments: To: WILLIAMS@HEME.MEDICINE.WISC.EDU You wrote: > >It seems to me that a young musician, black or white (or anything >else for that matter) learning blues today would likely do so from >"second-hand" sources - that is records, touring bands, etc - > rather >than absorbing it from an endogenous musical culture. So I wonder >how much longer such a policy can be justified? It's pretty hard > to >argue that blues is the music of *today's* black working-class >culture. EW Exactly. Very well put. > Mike Meadors Orange3@gnn.com ========================================================================= Date: Fri, 2 Feb 1996 09:33:17 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: New Cephas & Wiggins on Alligator Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com Anyone heard the new Cephas & Wiggins cd? It's their first Alligator recording. I read a blurb about it in The Washington Post this morning, but I didn't have time to jot down the name. They have some sepcial guests on it, including story teller Jackie Torrence (who did a show with them called "Bluestory"). They're doing a Black History Month show at University of Maryland tonight. I would probably go and see them tonight but Carey Bell's in town, and I've been planning on going to that show. -Steve disclaimer - just a fan whose harp playing is heavily influenced by Phil's ========================================================================= Date: Fri, 2 Feb 1996 08:57:10 -0600 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: A Modest Proposal Comments: To: mlautens@FALCON.LHUP.EDU In-Reply-To: from "Matthew D. Lautenschlager" at Feb 2, 96 08:39:16 am In an earlier message, Matthew D. Lautenschlager said: ] ] Yes, this is my first time on BLUES-L, and I would like someone ] to tell me what moderation is and what are the bad points and the good ] points about it. With a moderated list, any post meant for the list goes to a person designated as the moderator, who then decides if the post is appropriate to the list. If the moderator accepts the post, it is sent to the mailing list. Advantages: Much less noise. No MAKE MONEY FAST messages. Flame wars can be curtailed. Disadvantages: Some bonehead somewhere gets to decide whether your message is worthy to be seen by the rest of us. It is very difficult for a moderator to be impartial, especially when a thread touches closely to his deeply-felt opinions. ] I've been listening to the blues only recently and I'm ] just beginning to realize what is out there. So far, I've liked Billie ] Holliday and John Lee Hooker. I also bought Eric Claptons' tribute to ] blues, which I liked ver well. However, I would like to kow what else is ] out there? Any suggestions? Anything you can find by Muddy Waters is a good next step. Anything else I say about who to listen to would be opinion. But it's a fact that Muddy is _The Man_. -- * Billy Chambless | billy@cast.msstate.edu | voice: 601-688-7608 * Mississippi State University Center for Air-Sea Technology * To attain knowledge, add something every day. * To attain wisdom, remove something every day. -- Lao-tse ========================================================================= Date: Fri, 2 Feb 1996 07:11:51 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: endless soloing; was Rick Holmstrom - comment LW wrote: >Do others get tired of (even) the really popular guitarists who go on and on >long after they've said all they can, or is it just me.... I have to agree with this one. I think this is a major problem with many forms of music today (rock, country, and blues) - where in the past the medium (45's) only allowed for three minutes or less of music, now songs can stretch on forever (and some albums stretch on way past their welcome as well, for example Voodoo Lounge by the Stones and On Every Street by Dire Straits). I've seen Buddy Guy a few times, and although I love his stuff, sometimes a concert can seem like one long ear-splitting guitar solo, which does get boring. I read somewhere (I think it might have been LB) that even the best guitarist runs out of things to say after a few bars of soloing, and I agree.That being said, there are some songs that get in a groove, and I could listen to forever - but they tend not to be filled with one solo after another - Buddy's `Five Long Years' is 8 minutes +... Bukka White's Sky Songs are in the ten minute range...even (gasp!) Derek and the Dominos' version of Key to the Highway is long...and good. But in the main, short and sweet is what I like...leave me wanting more, instead of wanting to skip to the next song. -Jim (who has actually jammed on the same song for 15 minutes, but not in front of an audience) - (hndful@uniserve.com) ========================================================================= Date: Fri, 2 Feb 1996 15:10:57 GMT Reply-To: Tommy Jansson From: Tommy Jansson Organization: Uppsala university Subject: Re: The Late Great Magic Sam Comments: To: bit-listserv-blues-l@uunet.uu.net >I don't have "Magic Touch", "The Magic Sam Legacy" and "Give me Time". >How's quality of the sound and performance? The Magic Sam Legacy are tracks from the Delmarksessions that wasn=B4t on= the albums. There are four alternative=20 takes, two or three with Shakey Jake singing and some never released. It=B4= s a good album but buy West side soul=20 and Black Magic first. Give me time are recorded in Sam=B4s livingroom. H= e plays electric guitar as if there was=20 a band backing him. Intense singing, low soundquality and a nice thing to= have but, well, If you=B4re a Sam=20 freak you buy it, otherwise not. Magic Touch is a collection of the Cobra= recordings and some sixties singles. And I must say that the live album on Black Magic is better than the Delm= ark live! > > ========================================================================= Date: Fri, 2 Feb 1996 07:20:33 +0000 Reply-To: bob fulkerth From: bob fulkerth Organization: Sonoma Interconnect,707.522.1001,ppp$12/mo,Santa Rosa,CA(us) Subject: Kiss Tomorrow Goodby Comments: To: bit-listserv-blues-l@uunet.uu.net Hello all. I'm new today. Like many of you, I'm interested in finding something: it's a song called Kiss Tomorrow Goodby, by an artist named Danny White. It was from the late 50's early 60's I think. The 45 had a light blue label. The song has been covered by Johnny Winter on (I think) White Trash, but I've been looking for the original for years. Any assistance is appreciated. Thanks bobf@sonic.net bfulkerth@ggu.edu ========================================================================= Date: Fri, 2 Feb 1996 09:35:01 CST Reply-To: JBards From: JBards Subject: Re[3]: Wedding Playlist/Pedantophilia Actually, on a more serious note, you could do Van Morrion's version of I Want You To Be My Ball and Chain, if anyone has the nerve to try to sing a VM song.It's beautiful love song, though. -Jim _______________________________________________________________________________ Subject: Re[2]: Wedding Playlist/Pedantophilia From: JBards at INTERNET-SH Date: 2/2/96 3:54 AM How about "Ball and Chain"? OUCH! STOP THAT! MOM, RUTHIE'S HITTING ME! _______________________________________________________________________________ Subject: Re: Wedding Playlist/Pedantophilia From: emdrprac@DIRECT.CA at INTERNET-SH Date: 02/01/96 2:25 PM >Ruth asks for additional wedding reception material: >> >> Max and I are making a list of songs to play at our wedding reception. >> What we've come up with so far: >> >> "Hey Joe" (Hendrix) >> "Tush" (ZZ Top) >> >> Any additional suggestions will be welcome. "I Knew the Bride (when she used to rock and roll" "Five Long Years" (better save this one for a divorce party....) ========================================================================= Date: Fri, 2 Feb 1996 10:40:34 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: A Modest Proposal (NO MODERATOR FOR BLUES-L!!!) Comments: To: hndful@uniserve.com Someone suggested a moderated list. Fortunately, inertia will rescue us from that fate-- no one is going to up and volunteer to censor posts, so we will go on with status quo. My only experience with a moderated list was not good, and I don't think it would be good for blues-L. What I would suggest is that everyone work on being clear in their headers. Tom Freeland ========================================================================= Date: Fri, 2 Feb 1996 16:40:53 +0100 Reply-To: "F. van der Leeuw" From: "F. van der Leeuw" Subject: Luther Allison Hi, Can anyone tell me if there are Luther Allison bootlegs? Thanks, Frank van der Leeuw Amsterdam ========================================================================= Date: Fri, 2 Feb 1996 10:40:35 -0500 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: old folks Comments: To: bit-listserv-blues-l@uunet.uu.net In article Cathi Norton writes: (nice stuff about playing for older folks snipped) > It always reminds of a particularly moving song written >by John Prine (which of course I cannot remember now) about >the someone inside that old man on the porch -- It's "Hello in There" ========================================================================= Date: Fri, 2 Feb 1996 07:45:49 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Feb. 3 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ARMSTRONG, LIL HARDIN (p/LOUIS ARMSTRONG) b. 1902-0203, MEMPHIS, TN BAILEY. JOHN "BUDDY" (lead/THE CLOVERS) d. 1994-0203, LAS VEGAS, NV 63 BERNSTEIN, ARTIE (b/IDA COX) b. 1909-0203, BROOKLYN, NY BIG BOPPER [JILES PERRY RICHARDSON II] d. 1959-0203, CLEAR WATER, IO 28 D'ALEO, ANGELO (of THE BELMONTS) b. 1940-0203, BRONX, NY DILLARD, VARETTA (v/SAVOY/GROOVE) b. 1933-0203, HARLEM, NY EDWARDS, DENNIS (lead/THE TEMPTATIONS) b. 1943-0203, BIRMINGHAM, AL FODDRELL, TURNER (g/SWINGMASTER REC) d. 1995-0203, BLACKSBURG, VA 66 HOLLY, CHARLES HARDIN "BUDDY" (g/songw) d. 1959-0203, CLEAR LAKE, IO 22 HOPKINS, JOHN HENRY (g/LIGHTNIN' HOPKINS) b. 1901-0203, CENTERVILLE, TX JAXON, FRANKIE "HALF-PINT" (v/VOCALION) b. 1895-0203, MONTGOMERY, AL OVERSTREET, ALBERT LEE (v/ARHOOLIE) b. 1948-0203, DE QUINCY, LA RAZAF, ANDY (songw) d. 1973-0203, LOS ANGELES, CA 67 THOMAS, JESSE "BABYFACE" (g/songw) b. 1911-0203, LOGANSPORT, LA VALENS, RITCHIE (g/LA BAMBA) d. 1959-0203, CLEAR LAKE, IO 18 WATSON, JOHNNY "GTR" (g/p/CHUCK HIGGINS) b. 1935-0203, HOUSTON, TX WILLIAMS, JOSEPH LEON "JODY" (g) b. 1935-0203, MOBILE, AL WILLIAMS, SUGAR BOY (v) b. 1935-0203, YATES, HERBERT J. (founder: ARC RECORDS) d. 1966-0203, SHERMAN OAKS, CA 85 ------------------------------------------------------------------------------- ========================================================================= Date: Fri, 2 Feb 1996 10:48:22 -0500 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: Living Blues Policy Comments: To: Eliot Williams In-Reply-To: <6F6A71350D@heme.medicine.wisc.edu> The Blues was not the product of a working-class culture unless you consider slavery, sharecropping, and jim crow working-class conditions. I find it interesting in all these discussions that noone has mentioned the African origins of blues music. Please stop romanticizing the blues and its culture. If you are a true student and lover of the blues, this discussion would give you a REAL case of the blues because you would know from whence blues came and would be ashamed to continue the racist practices that created the pain in the first place. I am, Tired of the REAL blues but love the music! On Fri, 2 Feb 1996, Eliot Williams wrote: > Thanks to Richard Shurman for posting the actual policy. > > Sorry for perpetuating a thread that's been beaten to death, but... > > It seems to me that a young musician, black or white (or anything > else for that matter) learning blues today would likely do so from > "second-hand" sources - that is records, touring bands, etc - rather > than absorbing it from an endogenous musical culture. So I wonder > how much longer such a policy can be justified? It's pretty hard to > argue that blues is the music of *today's* black working-class > culture. EW > > Eliot Williams > University of Wisconsin Medical School > ecwillms@macc.wisc.edu > ========================================================================= Date: Fri, 2 Feb 1996 07:46:39 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Feb. 4 Here's a few dates (b. born, d. death) for Sunday. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BEARD, JOE (g) b. 1938-0204, ASHLAND, MS BERNAL, GIL (tsax/SPARK REC) b. 1931-0204, WATTS, CA BROOKS, COLUMBUS (g/SAM MYERS) d. 1976-0204, JACKSON, MS -- BURLISON, PAUL (g/JOHNNY BURNETTE TRIO) b. 1929-0204, BROWNSVILLE, TN BURNS, KENNETH C. "JETHRO" (mand) d. 1989-0204, EVANSTON, IL 69 COOK, HERMAN "JUNIOR" (tsax) d. 1992-0204, MANHATTAN, NY 57 COOPER, ALICE [VINCENT FURNIER] (:) b. 1948-0204, DETROIT, MI DUNN, JAMES (of THE STYLISTICS) b. 1950-0204, PHILADELPHIA, PA EVANS, RAY (songw) b. 1915-0204, SALAMANCA, NY GADDY, BOB (p) b. 1924-0204, VIVIAN W. VA GAMBALE, JOHNNY (of THE CLASSICS) b. 1942-0204, BROOKLYN, NY GANT, CECIL "PRIVATE" (p/I WONDER) d. 1951-0204, NASHVILLE, TN 37 HARVEY, ALEX (v) d. 1982-0204, BELGIUM 46 JONES, PEARL WILLIAMS (gospel) d. 1991-0204, WASHINGTON, DC 59 JORDAN, LOUIS (sax/songw) d. 1975-0204, LOS ANGELES, CA 66 PHELPS, WALT UNCLE (hca) d. 1983-0204, ASHEVILLE, NC -- RIDDLES, NAT (hca/LARRY JOHNSON) b. 1952-0204, NEW YORK CITY, NY SAX, ANTONINE JOSEPH (inventor of the sax)d. 1894-0204, PARIS, FRANCE 79 STEEL, JOHN (d/THE ANIMALS) b. 1941-0204, GATESHEAD, UK STUBBLEFIELD, JOHN IV (tsax) b. 1945-0204, LITTLE ROCK, AR WEST, BERNIE (of the FIVE KEYS) b. 1930-0204, NEWPORT NEWS, VA ------------------------------------------------------------------------------- ========================================================================= Date: Fri, 2 Feb 1996 10:43:05 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Any Southern Studies Students on Blues-L? Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I was wondering if there are any University of Mississippi Southern Studies MA students on blues-l. If you are a Southern Studies student can you please contact me privately? I have some questions about the program. Thanks, Steve ========================================================================= Date: Fri, 2 Feb 1996 08:02:01 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: John Hammond -Sr. or Jr.? -Reply Comments: To: Roger Struve At 03:07 PM 2/1/96 -0600, Roger Struve wrote: >Since John Henry Hammond and John Paul Hammond do not have the same >identical names, is it not incorrect to refer to either one as a Sr. or >Jr.? > >My understanding was that John never condoned nor encouraged the use of Jr. > He even issued an album with his full name spelled out John Paul Hammond >to differentiate himself from his also famous father. > When JH Jr. became a preofessional musician, the decision was made (I don't know by whom) to add the Jr. to avoid confusion between the two in the press (since his father was better known than he was)). Yes, he is NOT a "real" Jr. but it was added to his name early in his career and he kept it only until his father passed. Mary Katherine Aldin ========================================================================= Date: Fri, 2 Feb 1996 10:02:02 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: New Cephas & Wiggins on Alligator In-Reply-To: <8C64E63C@MHS> On Fri, 2 Feb 1996, Steve Levine wrote: > Anyone heard the new Cephas & Wiggins cd? It's their first Alligator > recording. I read a blurb about it in The Washington Post this morning, > but I didn't have time to jot down the name. They have some sepcial > guests on it, including story teller Jackie Torrence (who did a show > with them called "Bluestory"). They're doing a Black History Month show > at University of Maryland tonight. I would probably go and see them > tonight but Carey Bell's in town, and I've been planning on going to that show. I believe it's called "Cool Out" or "Cool Down". I heard the title cut last weekend on The Blues Experience on WDCU. It sounds like it's definitely worth the $$$. I hope that Alligator sells a lot of copies and it leads more of the larger labels to record more downhome blues. #include "standard_disclaimer.h" T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) Go Browns! And take your goddamn owner with you! ========================================================================= Date: Fri, 2 Feb 1996 10:57:04 -0500 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: Living Blues Magazine Comments: To: Thomas Gutberlet In-Reply-To: The blues grew out of work songs. On Fri, 2 Feb 1996, Thomas Gutberlet wrote: > In bit.listserv.blues-l you write: > > >> > >> I see. So now you accept that a magazine can have a limited perspective, > >> but only as long as it's reflected in the title? Once again, "silly" > >> is the only word I can think of. If the magazine devoted to > >> Corvettes wanted to call itself "On The Road", you would object to it > >> because it excluded small dead animals which are also found "on the > >> road". > >> > > > >Silly or not, a man has to live with himself, and I simply will not > >subscribe to a magazine that discriminates on the basis of skin > >color. The blues are a wonderful thing, and to mar them by > >associating them with discriminatory or separatist policies in any > >form is unacceptable in my eyes. > > > >The fact that blues was born out of, or as a result of a system of > >discrimination doesn't justify further discrimination on any side. > >Two wrongs don't make a right. > > > >Derek > > Dear Derek, > reading your above comments got me angry for two points. At first as far as > I know Living Blues has never ever stated that it discriminates anyone or > anything by skin. Living Blues is devoted to the black american culture and > if any white musician will or artist will help or improve or whatever this > black american culture I believe Living Blues will report about it as it > has done in the past on numerous reviews of records of white people. That > there has been no longer article on a white blues musicians is another > subject of taste, but I do not see any discrimnation on the basis of skin > in Living Blues. > Second point I do not take the view that blues is mainly a subject grown by > a system of discrimnation in the united states a hubdred years ago and > sometimes even today but it is the melange of the african culture with the > american culture of the last century, that is what created the blues in my > opinion and in the general e.g. the rhythm used in blues songs would have > developed probably in a rather similar way also withou the discrminating > system. In my opinion it is one of the big mistakes that blues is always > thought as an expresion of tragedy, this is one part of the blues worls but > there is also a lot of joy and happiness. > Best, > Thomas Gutberlet > ========================================================================= Date: Fri, 2 Feb 1996 11:09:11 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Living Blues Editorial Policy Am I the only one that got a private post from Orange3 asking for a truce and saying this argument had gone on long enough? And been surprised to see, what 4-5 posts be him thereafter? Dick Shurman is to be thanked for posting the actual editorial policy from LB. I have had a call in for David Nelson to get him to say something, but a literal blizzard has closed down north Mississippi and he's out of pocket. If he says anything supplemental to the policy from 1973, I will let you know. Meanwhile, Orange3 keeps talking and keeps missing the point: >To me, "Living Blues" should be about not only the past, but the >present and future. The present black community has all but turned >its back on the blues. >Telling everyone that, in essence, only black men can play the REAL >blues, is wrong -- most of the people who created and played the >REAL BLUES are dead and gone. T Taking Orange3's statements in order: (1) LIVING BLUES is most assertedly about the present and future, more than any blues magazine in the world. Did it have Muddy Waters on the cover of the December Issue? (2) There is blues music that is played by and for black in black communities all across the south, and in parts of the North. This point has been mentioned repeatedly on Blues-L, along with the fact that white listeners are often entirely unaware of these musicians and the records they release. In just what parts of its history has blues been commercial succesful outside of such narrow markets? (3) His 3rd point amounts to a willful refusal to read the post from Dick Shurman. The editorial policy did not argue for one type of blues music-- rather it stated that the concern of the magazine would be blues music in its cultural context, which was black blue collar communities, and that it would not concern itself with blues music generated outside that context. This seems to me a reasonable editorial policy -- based on the actual cultural origins of the music and not race. Orange3 says things like "To me, Living Blues should be....." I have to ask: What do you mean *should*? Shouldnt it have an editorial mission defined by its editors? Tom Freeland ========================================================================= Date: Fri, 2 Feb 1996 11:13:02 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Re: New Cephas & Wiggins on Alligator Comments: To: Steve.Levine@corp.wrgrace.com In-Reply-To: <8C64E63C@MHS> from "Steve Levine" at Feb 2, 96 09:33:17 am In another time and place, Steve Levine said: > > Anyone heard the new Cephas & Wiggins cd? It's their first Alligator > recording. I read a blurb about it in The Washington Post this morning, > but I didn't have time to jot down the name. They have some sepcial I did not get a chance to hear the whole thing but played a couple of cuts from it on my show on Monday and liked it alot. > guests on it, including story teller Jackie Torrence (who did a show > with them called "Bluestory"). They're doing a Black History Month show > at University of Maryland tonight. I would probably go and see them I have seen this show and it is GREAT. It's too bad you can't see both. Tom `'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`' Stop on by my Jazz and Blues Web Site -- http://redlt.com/tom/ Free-lance Writer--Author--Program Director WTJU 91.1--Internet Consultant ========================================================================= Date: Fri, 2 Feb 1996 11:20:06 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: American Folk Blues Festivals Comments: To: tbone1@io.com In a message dated 96-02-02 09:50:17 EST, tbone1@IO.COM (T-Bone) writes: >> I mentioned that two of the songs on that Magic Sam set I just got were >> from the 1969 edition of that festival. Has anyone else noticed that those >> AFB Festival recordings are a boxed set dying to happen? I have four of >> them (1964, 65, 81, and 82) and every one of them features at least two or >> three mind-numbingly brilliant performances which I've never heard anywhere >> else: > >I have the first one (from '62, I believe) and one from either '72 or >'71; I've also heard a couple others. I agree, they are great, especially >the first. I would LOVE to see these in a box set ... at least after I >finish paying taxes, car insurance, the new computer, ... > The boxed set exists-- I held it in my hands in Tower Records in New Orleans, 3 days ago. I dont know the details, though, because I didnt buy it. Tom Freeland ========================================================================= Date: Fri, 2 Feb 1996 11:23:15 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Country/blues......a fine line. Comments: To: edsel@atmore.gulf.net Hi Keith! I don't think you'll get too flamed over your sugestion that we're seeing a merger between blues and country. The line is very fine in many cases, and I'm not surprised that your country station has SRV on it at all. My experience with radio stations in the south, (Florida in particular) is that a lot of southern (eg Texas) rockers like SRV sneak onto playlists on country stations all the time. But this has been going on for decades. It's not any great stretch to say Hank Williams Sr, Patsy Cline and Johnny Cash all sang wonderful blues, and every one of them is a celebrated country legend, right? IN fact, my band Gate Street Blues which plays a pretty strict diet of Chicago blues covers, is working tomorrow night at a "country" club called Coyote Creek in Tewksbury, Massachusetts, and THEY called *US* for the booking. :) Riffin Rick (((( oo-) /- "What kind of music do you play here?" "Oh we got both kinds! ......Country...*AND!* western!" F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 2 Feb 1996 11:23:30 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: endless soloing; was Rick Holmstrom - comment Comments: To: Jim Witteveen In-Reply-To: <96Feb2.071155pst.30765-4+551@haven.uniserve.com> On Fri, 2 Feb 1996, Jim Witteveen wrote: > But in the main, short and sweet is what I like...leave me wanting more, > instead of wanting to skip to the next song. My preferences run the opposite (not all the time). I find the long songs are opportunities for the artist to take a journey & go somewhere. In particular Buddy Guy on many of his late 70's to early 80's material has long personal inside himself sides - that take me over when I am listening. I also have a JSP Hubert Sumlin disc (saw him last night and someone who has not been ex- actly known for solid discs) where he takes off on 1 side thats long and emotional fire laden and it cooks for the entire six + or so minutes. Must note though that all the material I am referring to is not just long single riffs but rather long sides with lots of chan- ges etc. in them. Barry -not against short cuts but for good cuts with a penchant for the longer stuff. NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Fri, 2 Feb 1996 16:27:18 GMT Reply-To: "P.W. Fenton" From: "P.W. Fenton" Subject: Re: Peter Green - In Concert - May 5th - HONEST! Has anybody heard about this? I saw it posted on rec.music.bluenote.blues the other day but deleted it before I had a chance to forward it. In rec.music.bluenote.blues, jim@jfitz.demon.co.uk (Jim Fitzpatrick) wrote: >Peter Green is playing at the Alexis Korner memorial gig at the Buxton >Opera House on May 5th. This is not a wind-up, it's for real. >Tickets are UKP15-30. Buxton Opera House - 01298 72190 >Jim >Jim Fitzpatrick >jim@jfitz.demon.co.uk >100415.177@compuserve.com ========================================================================= Date: Fri, 2 Feb 1996 10:35:02 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: endless soloing; was Rick Holmstrom - comment Comments: To: Jim Witteveen In-Reply-To: <96Feb2.071155pst.30765-4+551@haven.uniserve.com> I think some of the "endless soloing" began because of two factors: 1) A reaction to the limited playing time of a 45 or 78 which often caused recordings to be more concise than the bandstand versions of songs. During the mid-to-late sixties the length of LP sides began to be used more as a liberating factor for rock and blues recordings. When I started producing it was a real treat to get someone in a situation where they could take a song they recorded on a 45 originally with a 12 bar solo (or none) and put as much into it as they did on the bandstand. But eventually things come back into balance and most of the time I and others subscribed more to the "if you can't say it in 24 or 36 bars, you can't say it in 72" school. 2) For various reasons, the psychedelic ballroom circuit brought a kind of blues (and rock) with a lot more noodling, improvisation and/or a sensibility closer to jazz; people were emphasizing the bringing together of different music (hey, we're all playing in the same band, brother; right on), eventually leading to the dreaded "fusion" which a lot more bands abused than mastered. Anyhow, the pendulum seems to be swinging back, though not as far as when SRV died and people were saying it was "the death of the last guitar hero." ========================================================================= Date: Fri, 2 Feb 1996 10:40:42 -0800 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Re: Blues for the elderly (Suggestions) Comments: To: bit-listserv-blues-l@uunet.uu.net L W wrote: > ..So I plan on alot of hokum and stuff like that. Any tunes that you > think would appeal to old folks....Suggestions I don't see how you can pass up a rendition of Clarence Carter's 'Grandpa Can't Fly His Kite (Cause Grandma Won't Give Him No Tail)'. };^) --Maggie ========================================================================= Date: Fri, 2 Feb 1996 11:52:54 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Living Blues Policy Comments: To: samuel@CASTLE.BEAVER.EDU > Please stop romanticizing the blues and its culture. If you are a true > student and lover of the blues, this discussion would give you a REAL > case of the blues because you would know from whence blues came and > would be ashamed to continue the racist practices that created the pain > in the first place. The world always looks different to the guy on the ground than it does to the guy standing on his shoulders. The guy on top, as nice as he may be, has absolutely no idea what the guy on the bottom has been stepping in. P.W. Fenton Tampa, Florida Visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 2 Feb 1996 08:59:22 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Tube Heaven continued Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Hi Everyboody! Well the PM tubes are quite nice. Maybe slightly better than the russian and better than the other chinese tubes I have tried. Are they as good as NOS Phillips JAN's noooooo too bad... But they are a step in the right direction. Compared to the Phillips they are more compressed, softer, thinner, and less loud at the same setting. But they sound nice, and are worth a try. Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Fri, 2 Feb 1996 11:06:28 -0800 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Re: Going to Mardi Gras--Don't Miss.... Comments: To: bit-listserv-blues-l@uunet.uu.net Many People wrote: >many different blues club/band suggestions about Mardi Gras in New Orleans. May I just add: I live in the French Quarter of New Orleans, and pretty much hate Mardi Gras, since it means drunks will be ringing my doorbell, pissing on my steps and passing out in front of my door, I can't drive at all or walk anywhere in the Quarter, ad bitching infinitum. Not to mention that many of the top bands seize the opportunity to make big bucks playing Mardi Gras parties out of town (who can blame them?). Plus I have a congenital fear of crowds and parades... BUT--aside from all my personal quibbles and whining, there is one thing NOBODY should miss at Mardi Gras, and that's the Mardi Gras Indian tribes parading on Mardi Gras morning. All over town, in various black neighborhoods, these spectacularly costumed cultural icons chant, sing and drum to the accompaniment of some of the best local brass bands...an experience not to be missed, by local or tourist alike. You ain't never heard 'Iko Iko' or 'Golden Crown' or 'Little Liza Jane' til you've heard Big Chief Bo Dollis and the Wild Magnolias do it on the streets of New Orleans...or for that matter, the Yellow Pocahontas, or the Wild Tchoupitoulas, or the Ninth Ward Hunters, et al. (And no, I can't tell you where to find them or what their parades routes are; they're unannounced and tracking them down is one of the fun parts of it. But for sure try the Treme neighborhood, just north of the Quarter; it's home to several Indian hangouts.) Then when one tribe encounters another, they have a face-off to determine who has the best music and costumes--a modern, nonviolent version of the gang fights of years past that determined the 'prettiest' tribe. (These encounters now tend to take place in or near a neighborhood bar where copious liquid fortification may be obtained.) But the best part is we get the see ALL the tribes come out for one spectacular parade and mass gathering all over again on St. Joseph's Day, when they parade to Louis Armstrong Park from way across town for one huge drumming and chanting conglomeration. It's the best. (St. Joseph's Day is March 19th this year, for anyone considering a post-Mardi Gras visit.) I couldn't care less if I never saw another Mardi Gras bead, doubloon or bared breast, but the Indians make putting up with all the nonsense worthwhile. Long live the indigenous culture of New Orleans, not yet subjugated to the malling and food-courting of America... Maggie Mortensen Exarch Services New Orleans USA ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ "I'm not sure, but I think that ALL music started in New Orleans." --Ernie K-Doe ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ========================================================================= Date: Fri, 2 Feb 1996 09:09:46 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Racism, RL's Dream Comments: To: BLUES-L@BROWNVM.BROWN.EDU. David Goldstein said, >It is my opinion that Living Blues practices a type of racism. Of course >racism is practiced everywhere Given the true motives of LB's editorial policy, the word "racism" is inappropriate to use to describe them. You can disagree with their policy, but you need to stop throwing that word around so easily. It amazes me how many whites complain about guys like Al Sharpton, and then immediately set to throwing words like "racist" at anyone they disagree with. I consider such an act to be one of intellectual bankruptcy. Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Fri, 2 Feb 1996 12:10:04 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: A Modest Proposal (NO MODERATOR FOR BLUES-L!!!) Comments: To: Tom Freeland In-Reply-To: <960202104033_310224303@emout06.mail.aol.com> On Fri, 2 Feb 1996, Tom Freeland wrote: > Someone suggested a moderated list. Fortunately, inertia will rescue us from > that fate-- no one is going to up and volunteer to censor posts, so we will > go on with status quo. My only experience with a moderated list was not > good, and I don't think it would be good for blues-L. What I would suggest > is that everyone work on being clear in their headers. What I'd like to add to Tom's intelligent point is to also be careful in what you follow up to. If you want a cleaner list don't follow up on the garbage, inflammatory, flamefest posts. As has been said enough times - they really do go away if you don't feed them (the less food the faster they leave). It is also important to know who you are responding to. Watch who's into the most get-me/got-you back and forth posts and do as I do - NEVER reply to them. People who fight often or are abu- sive often do need someone to fight with or abuse. Just don't offer up yourself. This list could easily be about the blues real soon. NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Fri, 2 Feb 1996 11:08:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Re: Racism, RL's Dream Comments: To: dgoldst@IPOF.FLA.NET >From: IN%"dgoldst@IPOF.FLA.NET" "David Goldstein" >To: Multiple recipients of list BLUES-L >Subject: Racism, RL's Dream > >I was wasting some time at the NY Public Libary a few days ago, before a >meeting, No, no , David - one can't waste time in a library unless one works in one. Unless of course one is helping people find what they want and it *does* pay the bills, somewhat. >If I were a musician (and non-black) and expressed my blue feelings through >a musical form that was especially suited to illustrate these feelings, I >would be offended that my interpretation of that musical form would not be >considered appropriate to be discussed in a magazine that was created to >explore that musical form. I would feel that I was being discriminated >against because of the color of my skin. Well, I used to play acoustic blues and achieved some level of proficiency - but without that special oomph or soul that the originals had; I could tell that much by listening to my tapes. I would never be offended that my interpretation, no matter how good, would be discussed in a magazine created to explore that form. Because it is more than just a form: it is an expression of a culture, even though we share the same emotions. Race isn't an issue - it only seems so because it's so obvious. A white Cajun band from Louisiana, whose members grew up on the music, are IMO more worthy of attention and study than a group of my friends and neighbors down the block here in Madison, Wisconsin, who decided they like that music enough to form their own band and perform professionally. I don't think they should to expect to be included in a journal devoted to the folk art forms of Louisian and East Texas. And, unless my friends have a lot of empathy and respect for their sources, they're not going to sound so good. > >Rise up non-racists! Act now to ensure that everyone is given an >opportunity to be heard! Boycott all forms of racism! Write to the people >in charge of racist activities and be heard! > Again - race/pigmentation isn't the issue - consider two black performers of approximately the same age (40) but of different backgrounds. One grew up middle class, listened to the Beatles and rock 'n roll as a lad, and discovered blues by listening as an adult to his parents records. The other's parents came from the south, were working class, and his father was a blues musician (although I think didn't work professionally). His dad's friends would come over to his house to jam and swap stories. Who are these guys? One is Joe Louis Walker and one is Robert Cray. Can't you hear the difference in their playing? -Bonnie ========================================================================= Date: Fri, 2 Feb 1996 12:25:08 -0500 Reply-To: RsprBlues From: RsprBlues Organization: America Online, Inc. (1-800-827-6364) Subject: Springing the Blues Festival in Florida Comments: To: bit-listserv-blues-l@uunet.uu.net Hi, all! Festival Director Sam Veal just sent me the list of performers for this year's Springing the Blues Festival in Jacksonville Beach, Florida. Saturday, April 13 noon Navy Honor Guard, Brint Anderson Group 1:00 Michael Burks Band 2:00 Scan Costello 3:00 Big Al & the Heavyweights 4:00 Big Jack Johnson 5:00 The Bluebirds 6:30 Mark May and the Agitators 8:00 Susan Tedeschi Band 9:30 Larry McCray Sunday, April 14 noon The Houserockers 1:00 The Jim McCaba Quartet 2:30 Doctor Hector 4:00 Toni Lynn Washington 5:30 Phillip Walker Also appearing at local clubs throughout the weekend are: Thursday, April 11 Scan Costello at Ragtime's Tavern Big Jack Johnson at Tortuga's Friday, April 12 The Bluebirds at Ragtime's The Brint Anderson Group at Tortuga's Mark May and the Agitators at Manatee Rays MIchael Burks Blues Band at the Ramada Resort Kickoff Party Saturday, April 13 Big Al & the Heavyweights at Ragtime's Susan Tedeschi at Tortuga's Brint Anderson at Manatee Rays The Bluebirds at the Ramada Resort Sunday, April 14 Michael Burks Blues Band at Ragtime's Blues Jam at Tortugas Susan Tedeschi at Crabpot See y'all there! Betsy Veal (no relation to the festival director, but sure do love those blues!) ========================================================================= Date: Fri, 2 Feb 1996 09:37:33 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: living blues policy Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Cathi said: (edit edit) >I think the original statement in this fantastically >ballooning thread was that anything decided on the basis of >race alone is racist. Period. "Racist" is a very >inflammatory word, however, as we have more-than-adequately >seen. Still the truth of the statement is solid as far as >I'm concerned. Words are VERY important. *Words* like "racist cop" allowed a brutal murderer to go free. And now, in the heated search by investigators for "racist" incidents in Fuhrman's past, it turns out that there aren't any, and he behaved like a pro while he was a cop.... whoa... But "racist cop", two simple words, gave freedom to a butcher! So we rightfully criticize Al Sharpton, Danny Bakewell, or Johnny Cochran for throwing that ugly word at any white face they wish to silence, yet it is *ok* for Mike Meadors to throw that word at a magazine for simply supporting the culture that gave birth to the blues??? It's NOT appropriate, it's not right, and it's not fair. One little semi-obscure journal decides to focus on the current blues scene among blacks, and they are *racist*???? Like David Dukes? Like Louie "Khaddafi's my bud" Farrakhan?? Give me an 'effin break... Call LB misguided, call them silly, call them PC if you like... but not racist... Mike is wrong, and I have to question his motives at this point because of his continued insistence on using that word. Cathi, you may be right semantically, but all the balances, all the proportions, all the fairness issues are very wrong... There are so many *real* slobbering, murderous, insane racists in the world! dammit, let's stop throwing that word at people so easily! DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Fri, 2 Feb 1996 12:45:08 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: endless soloing Another factor in this "endless soloing" discussion is "live music". When I am playing at a club, and we've struck a chord with the audience and the dance floor is packed with happy dancing people, the last thing we, or the management, wants is to stop, and have them all walk off. So songs get elongated to suit the desires of the crowd. Since I haven't quite mastered the art of improvising several new versus of lyrics for my songs, the things that get lengthened are the solos. LIVE this can be very exciting, and even appropriate, but on recording, devoid of all those happy sweaty bodies, it starts to fade fast. That's one of the reasons I abandoned my live CD project. It too much difficult (and maybe un-natural) editing than it was worth. I lost my shirt on a dumb idea. But I look at it this way... I sure have a whole lot of expensive tape I can use when I start over in the studio! P.W. Fenton Tampa, Florida ---------------------------------------------------- Please visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 2 Feb 1996 10:08:04 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Lost an incoming post re Josh White Sorry to waste the list's time; someone emailed me re a Josh White song they wanted; I found the song but have now deleted their post with their email address on it. If the person still wants it, plese email me (privately) again. Mary Katherine Aldin ========================================================================= Date: Fri, 2 Feb 1996 10:08:06 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Change of email address In a private email I got the suggestion that I should post to the list my new email address. I thought that the system would just indicate it at the top of each of my posts and that would suffice, but a correspondent said that if anyone had my old one stored in their address book, their private email to me would "bounce." So, my new email address is: mkaldin@beachnet.com Please note that it must all be lower-case. Mary Katherine Aldin ========================================================================= Date: Fri, 2 Feb 1996 13:10:40 -0400 Reply-To: Cliff Warnken From: Cliff Warnken Subject: Rev. W. M. Mosley Noticed W. M. Mosley's name in a posting the other day about forthcoming Sony Roots 'n' Blues CD's. His "Drinking Shine" is included on one of the collections. He was one of the Delta Big Four, a gospel quartet from Lula, MS that traveled up to Grafton, WI in May of 1930 with Son House, Charlie Patton, Willie Brown, Louise Johnson. The Delta Big Four made a record on Paramount, one side of which was billed as by "Brother W. M. Mosley and Delta Big Four." Before and after that, Mosley and members of his congregation recorded some two dozen sermons/songs for Columbia, including "Drinking Shine." One beautiful title was "The Comforter Has Come." Not sure if these others are out on CD yet (or even what's been on LP), but they would be nice to hear together. Cliff Warnken ========================================================================= Date: Fri, 2 Feb 1996 12:25:11 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: BOB THIELE, LEGENDARY RECORD MAN, DIES AT 73 At 5:43 PM 2/1/96, Eric LeBlanc-CISTI wrote: >Bob Thiele Sr. died Tuesday, January 30, 1996, New York City, NY., at > St. Luke's-Roosevelt Hospital Center. He was survived by his wife Teresa > Brewer and a son, Bob Thiele Jr. Eric - The NY Times obit didn't mention his wife's name: is she the fifties-singer Teresa Brewer ("Put Another Nickle In", "Mutual Admiration Society", etc.)? David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Fri, 2 Feb 1996 13:23:33 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: BB King on ACL Saturday Anybody in the Boston, channel 2 WGBH viewing area know if and when the new BB King/Austin City Limits will be on tomorrow, Saturday Feb. 3rd ??? I needs to set my VCR!!!!! Thanks! Riffin Rick (((( oo-) /- ...you upset me woman! F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 2 Feb 1996 12:25:16 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Living Blues Policy Comments: To: Barry Silverberg At 4:12 PM 1/31/96, Barry Silverberg wrote: >David (who spells his last name wrong), Maybe - but I'll never get confused with the guy on "Murphy Brown". :-) David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Fri, 2 Feb 1996 13:38:58 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: LB & *racism* (Orange3's know-nothing ACLU remarks) Comments: To: Orange3@gnn.com In a message dated 96-02-02 03:31:56 EST, Orange3@GNN.COM (Meadors) writes: >I'm not sure if you are kidding or misinformed. The ACLU are all >black? Is that what you're saying? ... ???? ... And no one said >that the ACLU was interested in LB anyway -- read closer, Jeff, >you'll see it says that IF there was a white only magazine of the >same kind, you'd soon see the ACLU at the door ... please >check your trigger before you accidently shoot yourself in the >foot. I've let this crap slide by twice but now I'm rising to the bait. I served on the board of a state ACLU chapter for 2 1/2 terms. I made a serious study of the National ACLU's policies about both race and the first amendment, partly because I helped the local affiliate draft a policy about hate speech (a policy that was very much a free speech policy, as much as hate speech is detestable). And I can tell you this: The ACLU National would strongly support the right of a magazine to advocate WHATEVER it wanted to advocate. There is no organization in the country that is a stronger advocate of your free speech rights. And the right of a magazine to print what it will is what the first amendment is about. It protects racist speech, it protects progressive speech, it even protects stupid speech. Orange3 is protected by the first amendment. Tom Freeland ========================================================================= Date: Fri, 2 Feb 1996 13:53:12 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Rick Derringer Regarding the recent discussion of Rick Derringer, Max opened for him about two years ago and according to Max (I unfortunately did not make the show, Derringer was totally awesome. I must point out, however, that we do not seem to own any Derringer recordings. ========================================================================= Date: Fri, 2 Feb 1996 13:59:02 -0500 Reply-To: Meadors From: Meadors Subject: Re: Living Blues Editorial Policy Comments: To: Skipjames@aol.com Tom: >Am I the only one that got a private post from Orange3 asking for > a truce and >saying this argument had gone on long enough? And been surprised t >o see, >what 4-5 posts be him thereafter? Regardless of what your views are toward LB's policies, I really feel that sharing the contents of private mail I sent to you goes against the spirit of this, and frankly, any group. It really sucks as a move on your part, personally. When I wrote to you I thought the conversation was at an end and I didn't want anyone to leave angry. So I extended a hand in friendship. This is what I get from you? Jesus. Shortly after my comments to you there was a large amount of new input that I replied to since it was directed at me (which accounts for my subsequent posts). Now, Tom, I hope you've been reading all the posts, because there are a LOT of people that also feel the way I do about LB. I'm not out in left field alone. Yet, regardless, there's no reason for all the personal attacks that are so prevalent on Blues-L whenever someone presents an opposing opinion. I'm relatively new. Has this shit been going on for a long time? Is it possible to discuss any controversial, "hot" topic without name calling? As I remember, I first read a thread about this topic and responded. To my post therein charged Mr. P.W. Fenton who, instead of rebutting my arguments, appealed to others on Blues-L to have me put away. He then pointed out how misguided I was since I was a "white boy with a computer with time on his hands, etc." ... these are all DEROGATORY and INFLAMMATORY remarks and I'm embarrassed that I responded in like. I apologize for any remarks I made in response. But holy hell, I thought we were all here for the same reason, to share and learn more about the blues. No wonder so many people privately emailed me with their support. Who wants to go public in a group with people like that? In conclusion, Tom, I don't care if you disagree. In fact, I encourage you to come up with thoughtful rebuttals. But to share my email with you and then make the personal comments you made ... You should be embarrassed. Mike Meadors Orange3@gnn.com ========================================================================= Date: Fri, 2 Feb 1996 14:12:56 -0500 Reply-To: Bill Reiser From: Bill Reiser Subject: Michigan Blues The lineup for the Monroe County (MI) Library System's ninth annual Black History Month blues celebration includes the following notable events: Tuesday, February 13 A Musical Oral History of Detroit Blues Musician/scholar/radio host Robert Jones will conduct a live music-drenched "interview" with Detroit blues legends Eddie "Guitar" Burns and Jonnie Bassett, who'll spin tales of their days spent playing with decades of Detroit musical greats. Friday, February 23 Bluestime Billy Branch and the Sons of Blues headline Monroe's ninth annual BHM blues extravaganza, joined by Detroit's jazzy blues diva Juanita McCray and her band, and WDET-FM's Robert Jones, returning for his ninth year to serve as host and featured performer. Branch and Jones will be joined during the evening by groups of youngsters who've been given their first shot of blues during workshops conducted by the artists prior to the concert. Both events are free and open to the public. Monroe is about halfway between Detroit and Toledo, just off I-75, and anyone who sees this who'd like more information, directions, and the secret word you need to speak to be seated in the popular Blues-L Preferred Seating section way up front should drop me a note. Bill breiser@monroe.lib.mi.us ========================================================================= Date: Fri, 2 Feb 1996 14:27:08 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Piano bob and snowman gig PIANO BOB & THE SNOWMAN are a guitar/vocalist and piano duo who play mostly in the older, pre-War, Barrelhouse and Blues styles. 1992 Winner National Blues Contest, The Blues Foundation, Memphis TN 1992 Winner of the B.B.King 'Lucille Award', Best Unsigned Blues Act in the USA, W.C.Handy Awards, Memphis TN Feb 3, Sat: Vinton's New Orleans Restaurant and Lounge 229 Stuart Ave, Lake Wales, FL 6-9PM (914)676-8242 Feb 6, Tues: Tobacco Road 626 South Miami Ave, Miami FL 10PM-2AM (305)374-1198 Feb 9-10 Five O'clock Club Fri-Sat 1930 Hillview St, Sarasota FL 9PM-1:30AM (813)366-5555 $3 cover Feb 15, Thu Zombie Ball Mardi Gras Festival Vinton's (info above) 7:30PM-late $5 cover; food extra Feb 16, Fri Vinton's (outdoor patio: info above) 12Noon-2PM Feb 17, Sat Mardi Gras Parade Stuart Ave, Lake Wales, FL (914)638-2686 3-6PM Feb 18, Sun Blues Festival Alcazar Ave, Coral Gables, FL (305)446-3364 9:30-11:30PM Feb 20, Tue Tobacco Road; info above For cassette tapes, or clubs and booking agents, call: Piano Bob at (305)663-9746, or write: Bob Wilder, 8325 SW 72 Ave #C-114, Miami FL 33143 --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Fri, 2 Feb 1996 13:34:54 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Re: American Folk Blues Festivals > The boxed set exists-- I held it in my hands in Tower Records in New Orleans, > 3 days ago. I dont know the details, though, because I didnt buy it. > > Tom Freeland > It is released by Evidence. A review of the box set is published in the newest Rolling Stone. I own at least 5 CDs with annual American Folk Blues Festivals, released by someone else (they are at home, forgot the label). Every single one of them has lots of great music. Just to here Robert Pete Williams performing "Louise" live is worth the money. In addition, lots of good Bukka White, SBW II, Willie Dixon, Big Walter Horton, Otis Rush, and many more. Ranko BTW. I bought them for $4.99 each about 8 moths ago in Best Buy. ========================================================================= Date: Fri, 2 Feb 1996 13:54:18 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: BOB THIELE, LEGENDARY RECORD MAN, DIES AT 73 Comments: To: David Silberberg In-Reply-To: Yes, Bob Thiele was married to THE Teresa Brewer. ========================================================================= Date: Fri, 2 Feb 1996 14:58:42 -0500 Reply-To: MojoBandit@AOL.COM From: Dave Ruthenberg Subject: Re: Kelly Joe Phelps Comments: To: bfstew@neca.com Although his hometown is not the real essence of the matter. I just want it noted for the record that Phelps told me he was from Portland, Oregon when I covered his performance in Ann Arbor. He is indeed shy and I presume that accounts for his lack of stage presence. Dave ========================================================================= Date: Fri, 2 Feb 1996 20:09:39 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Re: eRIC's blues dates for Feb 1 -- Rick J Comments: To: bit-listserv-blues-l@uunet.uu.net I agree with Bill about RICK JAMES' date of birth. I also have 1948 as the year, which would make him 16 years old when he was AWOL. Is that possible? Can you join the army at that age? eRIC (THE DATE MAN) ========================================================================= Date: Fri, 2 Feb 1996 15:26:18 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Dear children - you're gonna get punished. Dear kids, You may no longer play with Mike Meadors. He is a bad boy. I saw him crosspost some of his baiting posts to harp-l to test their levels of p*ssoff too. I also am upset with all of you that you let him goad you 4 or 5 times so far, didn't I bring you up better than that. Now go back to your rooms & do your blues homework. I noticed that you've all been responding to these baits rather than listening to CD's. You are punished. Go immediately to your turntables and carousels and no dinner til you've listened to some blues - and I'm gonna test you on it too. I expect some blues posts too. You will be graded. Mother Scooter (y'all know my son Barry he's the one who can spell his last name correctly) and he's a good boy. ========================================================================= Date: Fri, 2 Feb 1996 14:31:00 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: New releases Got three new blues releases in mail these days. After few listenings, the impressions are: 1. Freddie King "Live at the Electric Ballroom (1974)" Black Top Records Felt like this one was released by Blues-L. Don O. wrote liner notes, Richard Chalk and his TopCat label originally released it. Look for two outstanding acoustic performances of two standards: "That's Alright" and "Dust My Broom" - my two favourite numbers of on album. The rest is versions of well-known standards - Big Legged Woman, Key to the Highway, Sweet Home Chicago, etc. Presence of too many too often covered standards and not so high recording quality on some numbers do not prevent me from enjoying this album, being a big Freddie King fan I am. 2. Johnny Dyer "Jukin'" (Blind Pig) Recorded in 1983, this album is a very solid collection of Johnny Dyer's originals and blues standards. There is lots of great harp in here. Besides Johnny Dyer, great George "Harmonica" Smith and Rod Piazza are sitting in on one song each. Rod Piazza produced the album as well - and well if I can say. I hope this album will bring Johnny Dyer out of obscurity and bring him well-deserved recognition. 3. Tommy Castro - "Exception to the Rule" (Blind Pig) A Solid debut album by San Francisco's own bluesman. Now I regret I missed his show when I was there a month ago. Although the album cover shows him in a Joe Satriani-guitar-hero-kinda pose, inside Castro supplies enough of fine singing and guitar playing to make this album a pleasant surprise. Most of songs are originals (7 out of 10). Ranko ========================================================================= Date: Fri, 2 Feb 1996 12:37:23 -0800 Reply-To: emdrprac@DIRECT.CA From: Roger Brant Subject: Re: eRIC's BLUES DATES: Feb. 4 >COOPER, ALICE [VINCENT FURNIER] (:) Oh, yes.... I remember, ALICE COOPER, that great Bluesman (woman?) Some of his/her better known tunes: "Crawling Kingsnake" " I'm a Man" "Lipstick, Powder, and Paint" God, what a talent........... ========================================================================= Date: Fri, 2 Feb 1996 15:03:05 -0600 Reply-To: Scott Ferman From: Scott Ferman Subject: American Folk Blues Festival A quick online search reveals: American Folk Blues Festival 1962-65 Evidence Music #26100 Released November 1995 Approximately $50 - $60. I am assuming it is four discs. Scott ========================================================================= Date: Thu, 1 Feb 1996 13:37:59 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: A Modest Proposal (NO MODERATOR FOR BLUES-L!!!) A moderator! IMHO this idea is on the same level as splitting the list. And I think splitting the list is a stupid idea. Yes, there is a lot of noise on the list but I've noticed that the non-blues threads are down. I think that eveyone has got the message and are trying to be relevant. Blues-L is a sprawling, overblown, even exciting list with an interesting collection of people with different opinions who all love the blues. This is what gives Blues-L it's identity. It may not be the prettiest thing in the world but it's ours and it has it's own personality. We make it that way. A moderator would take the life out of Blues-L. A moderator would be a huge mistake. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 1 Feb 1996 13:37:45 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: living blues policy The "Living Blues Policy" is easily one for the liveliest threads for a while. Everyone should remember that it seems we all agree on one thing. That racism is an evil that should be stopped and confronted whenever possible. As regards for "Living Blues" I don't agree with the charge of racism. While they don't cover white artists they review artists of a races. If the album is good then they say so. If they were racist then they would slam or refuse to acknowledge all efforts by non-black performers. The policy clearly states their intent and I have no trouble with that. Mike Meadows obviously feels very strongly about racism and he may have a very good reason for that. It'd be great if everyone of all races felt about racism as strong as Mike does. There would be a little more peace in the world. So even if you disagree with Mike at least commend him on his stand against racism. Don C. wrote a great response about how the word "racism" is being bandied about here and there. Whether you think that LB is racist or not, there are other, more baltant and more dangerous forms of racism in today's society. That's where our attention should be directed. One thing I have learned on Blues-L is that while our opinions seem to be quite divergent, they are often much closer than we think. I have been guilty quite a few times of thinking that someone's opinions were quite different form my own only to have that person point out that we are much closer than we think. A few are on this list and I thank them. To me this thread seems to be a case of people, who share the same feelings about racism, being led to think that they actually differ a great deal on the subject. I suggest to all the participants that they step back a little from the issue of whether LB is racist and look at the world as a whole. I think that you'll see we are quite together on this one. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Fri, 2 Feb 1996 15:57:03 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Cincinnati Blues in Indianapolis--Feb. 8 For those of you in the vicinity of Indianapolis and the regionally (perhaps nationally?) famous Slippery Noodle Inn--Cincinnati's best blues/rock power trio, Sonny Moorman & the Dogs, will be appearing at the Noodle on Thursday, Feb. 8. If you missed them in October (R.J.??), don't miss them this time. I promise you won't be disappointed! As an added bonus, Cathi N. and I will also be there, live and in-person. Weird and wonderful things happen when Cathi and I get together. She can elaborate on this; I'm too polite. :D Anyway, if you're within a reasonable driving or flying or walking or hitchhiking distance, come on out and hear Sonny and the band; far and away the best Cincinnati has to offer! Shannon ========================================================================= Date: Fri, 2 Feb 1996 16:49:29 EST Reply-To: Phillip_G._Groves.ANDERSEN_WO.ANDERSEN_NET@NOTES.COMPUSERVE.COM From: Phillip_G._Groves.ANDERSEN_WO.ANDERSEN_NET@NOTES.COMPUSERVE.COM If anyone has any live Buddy Guy tapes please let me know. ========================================================================= Date: Fri, 2 Feb 1996 14:02:13 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: BOB THIELE, LEGENDARY RECORD MAN, DIES AT 73 Comments: To: David Silberberg At 12:25 PM 2/2/96 -0600, David Silberberg wrote: >At 5:43 PM 2/1/96, Eric LeBlanc-CISTI wrote: >>Bob Thiele Sr. died Tuesday, January 30, 1996, New York City, NY., at >> St. Luke's-Roosevelt Hospital Center. He was survived by his wife Teresa >> Brewer and a son, Bob Thiele Jr. > >>The NY Times obit didn't mention his wife's name: is she the >fifties-singer Teresa Brewer ("Put Another Nickle In", "Mutual Admiration >Society", etc.)? > Yes, she is. Mary Katherine Aldin ========================================================================= Date: Fri, 2 Feb 1996 17:09:02 -0500 Reply-To: Meadors From: Meadors Subject: Re: Dear children - you're gonna get punished. Comments: To: bsco@PANIX.COM Barry: What was this Dear Kids post about? I'm not 'baiting' anybody, just responding to a slew of angry, personal attacks because I appparently happened to attack a sacred cow (like this letter, for example, in which I feel compelled, once again, to answer a snide attack). I also don't know WHAT you're talking about with re: to Harp-L either. Maybe you could share that with me. Anyway, I've been told that this issue has already been beat to death in this group several times BEFORE I even showed up. Consequently, SOMEBODY thinks it has (had) enough merit to discuss. I also don't understand why those of you who don't want to hear any more about this just don't hit DELETE when you see "LB Policy" as a heading. Not everybody thinks like you Barry. If someone has a critical comment not soaked in innuendo and/or derogatory comments, I'd love to hear it. What's wrong with debating such things? Mike Meadors Orange3@gnn.com ========================================================================= Date: Fri, 2 Feb 1996 17:10:00 EST Reply-To: Robert Crocker From: Robert Crocker Subject: Living Blues / Racism Don C's right about this business, as he so often is. To be tossing around the "racist" accusation in this context IS intellectually bankrupt. Racism differs from bias, discrimination, prejudice and even race hatred in that it involves having the POWER to carry out systematically discriminatory practices. To suggest that black Americans have ever had such power is a joke. Mega communications empires such as the one which produces Time, for instance, may be able to wield such power, but Living Blues? Get real. I've subscribed to LB off and on, (presently on again,) and have purchased it when I could find it sporadically since LB #13. Their editorial policy has both annoyed and confused me too, though I think I now -- finally -- understand it. It struck me as hypocritical when they accepted a full-page cover ad for the Allman Bros. when we all know there'd never be a feature article on the band, nor, in all likelihood, a favourable review. Ditto much of the Alligator product. But what the hell -- who knows LB's policy better than Alligator and Columbia? I took offence when LB sloughed off Michelle Wilson's disc, which I had purchased on BR's recommendation and enjoyed, but was there any evidence of racism? Nope. Sometimes a brief and apathetic review is just that and nothing more. Muddy Waters and Keith Richards are my two great cultural heroes. I don't expect to read about both in the same magazine. Since I've seen only flawed, (ifwell meant,) analogies on this one, I'll avoid doing a Coke and Pepsi on it myself. Nonetheless, I'm very happy that there's room on the newstands for LB and BR -- and I wish there were more. And if BR decides to do a cover story on Johnny Winter or James Harman or the Yardbirds for that matter, maybe I'll just buy it if I want, or ignore it entirely. So, Orangeman, take a deep breath, give it a rest, and come back when you've got something more worthwhile to contribute. There's no particular glory in having the last word. Meanwhile, it's LB's 25th year. I congratulate them, and, since I hope I have a good 25 left in me, I can only wish them the same. Robo in Mississauga ========================================================================= Date: Fri, 2 Feb 1996 16:16:05 CST Reply-To: JBards From: JBards Subject: Re: Rick Derringer Comments: To: PARRISHR I don't know about his personality, but he did some incredibly good work on some of the Steely Dan albums. -Jim _______________________________________________________________________________ Subject: Rick Derringer From: PARRISHR at INTERNET-SH Date: 02/02/96 4:02 PM Regarding the recent discussion of Rick Derringer, Max opened for him about two years ago and according to Max (I unfortunately did not make the show, Derringer was totally awesome. I must point out, however, that we do not seem to own any Derringer recordings. ========================================================================= Date: Fri, 2 Feb 1996 22:41:06 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Radar Labs 23 Subject: Re: New Cephas & Wiggins on Alligator Comments: To: bit-listserv-blues-l@uunet.uu.net On Fri, 2 Feb 1996 09:33:17 -0500, Steve Levine wrote: : :Anyone heard the new Cephas & Wiggins cd? I just got a promo copy, and it's really good. I'm going to work a few songs into my rotation. Very well done acoustic blues. I give it three-and-a-half stars out of five. Kevan Smith http://www.rlabs.com ========================================================================= Date: Fri, 2 Feb 1996 16:15:26 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Ernie K-Doe Gets A Mother-In-Law (from Offbeat) The latest Offbeat magazine has a short hysterical piece on the marriage of Ernie K-Doe (along with great picture of Ernie grinning standing beside the bride and giving his new mother-in-law a sidelong look). He married his business manager in Ernie K'Doe's Mother-in-Law Lounge. He is quoted as saying "This is history being made again, this aint going to happen no more-- trust me." (this is Ernie's 2nd mother-in-law). He married Antoinette Dorsey, and soon after saying "I will" said "how 'bout that." Later, into the clubs PA system he said "I'm gonna get me some tonight, I'll bet you that!" I hear the mother-in-law loungue is a recommended stop in N.O....... Tom Freeland ========================================================================= Date: Fri, 2 Feb 1996 15:48:49 CST Reply-To: JBards From: JBards Subject: Re: Springing the Blues Festival in Florida Comments: To: RsprBlues Unless I'm wrong, that's "Big Ed (Vadas) and the Heavyweights"... -Jim _______________________________________________________________________________ Subject: Springing the Blues Festival in Florida From: RsprBlues at INTERNET-SH Date: 02/02/96 3:37 PM Hi, all! Festival Director Sam Veal just sent me the list of performers for this year's Springing the Blues Festival in Jacksonville Beach, Florida. Saturday, April 13 noon Navy Honor Guard, Brint Anderson Group 1:00 Michael Burks Band 2:00 Scan Costello 3:00 Big Al & the Heavyweights 4:00 Big Jack Johnson 5:00 The Bluebirds 6:30 Mark May and the Agitators 8:00 Susan Tedeschi Band 9:30 Larry McCray Sunday, April 14 noon The Houserockers 1:00 The Jim McCaba Quartet 2:30 Doctor Hector 4:00 Toni Lynn Washington 5:30 Phillip Walker Also appearing at local clubs throughout the weekend are: Thursday, April 11 Scan Costello at Ragtime's Tavern Big Jack Johnson at Tortuga's Friday, April 12 The Bluebirds at Ragtime's The Brint Anderson Group at Tortuga's Mark May and the Agitators at Manatee Rays MIchael Burks Blues Band at the Ramada Resort Kickoff Party Saturday, April 13 Big Al & the Heavyweights at Ragtime's Susan Tedeschi at Tortuga's Brint Anderson at Manatee Rays The Bluebirds at the Ramada Resort Sunday, April 14 Michael Burks Blues Band at Ragtime's Blues Jam at Tortugas Susan Tedeschi at Crabpot See y'all there! Betsy Veal (no relation to the festival director, but sure do love those blues!) ========================================================================= Date: Fri, 2 Feb 1996 18:31:59 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: American Folk Blues Festivals Ken says: >I mentioned that two of the songs on that Magic Sam set I just got were >from the 1969 edition of that festival. Has anyone else noticed that those >AFB Festival recordings are a boxed set dying to happen? I have four of >them (1964, 65, 81, and 82) and every one of them features at least two or >three mind-numbingly brilliant performances which I've never heard anywhere >else: >Does anyone know how many are in the complete set? I've said this a few times online before, and I don't remember if I've said it here, but it definitely bears repeating: These American Folk Blues recordings are a treasure!! I have, I believe, all of them, '62, '63, '64, '65, '66, '67, '69, '70, '71, '72, '80, '81, '82, '83 and '85. If there are any others out there, I would sure love to have them! I believe the first five, '62-'66, have been made into a box set; these are, IMHO, the best of the lot, as they feature such artists as Sonny Boy Williamson, Lonnie Johnson, T-Bone Walker, John Lee Hooker, Howlin' Wolf, Big Joe Williams, Victoria Spivey (!), Sunnyland Slim, Roosevelt Sykes, Eddie Boyd, Otis Rush, etc. (Are those enough facts to back up my opinion? ) 1967 is also a particular favorite of mine. It includes Bukka White, Hound Dog Taylor, Son House, Skip James, Brownie McGhee, Sonny Terry, Koko Taylor, and Little Walter. And, as Ken mentioned, there are combinations of musicians you simply cannot hear anywhere else. Case in point: Koko Taylor singing "Wang Dang Doodle" and "What Kid of Man Is This" accompanied by Little Walter and Hound Dog Taylor. The later ones also contain some gems, including Clifton Chenier on 1969 (ok, I know he's zydeco), Bukka White on 1972, James "Son" Thomas on 1982, and James "Sparky" Rucker and Lonnie Pitchford on 1983. All of these, as far as I know, were recorded live except for the 1965, which is called a "Studio Session." >Are they still in print? I don't believe so. The label of all my CDs is Optimism, Inc. I got them at the mall music store in a clearance bin for 99 cents each. When a friend went to his corresponding store in his hometown, they told him they were no longer in print. However, there is that box set; and if it's successful, maybe they'll do more, eh? Karen ========================================================================= Date: Fri, 2 Feb 1996 16:44:38 -0800 Reply-To: Rich DelGrosso From: Rich DelGrosso Subject: Locating the Rhythm and Blues Foundation To Blues-Lers, Anyone have an address to the Rhythm and Blues Foundation in D.C? I would appreciate it! Thanks! Rich DelGrosso ========================================================================= Date: Fri, 2 Feb 1996 19:04:22 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: A Modest Proposal At 7:43 PM 2/1/96, Arlen Khodadadi wrote: >Jeez, this 'Modest Proposal' has taken much bashing. I for one do not >appreciate having to D/L 150 messages a day, of which I find 10% >interesting. If you only find 10% interesting - why do you continue to subscribe? To say "I....do not appreciate" concerning a list that you voluntarily subscribe to is - to use a term of my teen age daughter - fairly rude. Sorry - just a bit bitchy when the high temp gets to about -9!!! David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Fri, 14 Apr 1995 02:57:27 GMT Reply-To: jackieo@MIDTOWN.NET From: jackieo@MIDTOWN.NET Subject: Blues Critics Comments: To: bit-listserv-blues-l@uunet.uu.net Though I thoroughly support the LB policy, there is one aspect of that and every other blues zine's operation that troubles me. That is the universally unanimous presence of WHITE reviewers. Is no one else troubled by whites judging and criticizing what I believe to be an essentially black cultural form? By the way, despite having some good white musician friends, I strongly believe that whites are by and large imitators who have never grasped the essential oral core of the music. Guitar leads are the least important and yet most overemphasized aspect of the blues among whites. But that's NOT the point I will debate or respond to here. I'm only interested in opinions on the subject of criticism. I remember reading in a very early issue of LB, Dave Alexander (now Omar Sharriff) blasting Pete Welding for criticizing his music. The thrust of the profane attack had to do with Welding's perceived arrogance at judging a black cultural expression. BTW I have written many reviews myself. ========================================================================= Date: Fri, 2 Feb 1996 18:46:59 EST Reply-To: Rocco Emelio Comments: Converted from OV/VM to RFC822 format by PUMP V2.2X From: Rocco Emelio Subject: Living Blues *** Resending note of 01/31/96 18:08 I agree. Culture is the issue. But your aren't implying that whites have no distinct culture that allows them to excel at playing the blues. Are you? As has been said here quite few times before, race/skin color is not the issue it's culture - and there is a distinct African-American culture in this country. It is very much manifested in the music for those with ears attuned to hear it. Some white performers/listeners get it, some don't. Besides all that - where does this statement leave EBONY, ESSENCE, and EMERGE, and JET magazines, to name a few. -Bonnie ========================================================================= Date: Thu, 1 Feb 1996 18:39:16 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Pedro Wyant Jr. I heard an interesting story from Pedro Wyant who is an instructor at MI (and a damn good blues guitarist). Anyway, he had heard form a friend that someone (supposed to be a current MI student), somwhere, online, is calling himself Pedro Wyant Jr. He claims to play like Pedro. Pedro has a very original style that is hard to cop so I'm a little amused. Actually, Pedro asked if it was me. There was running joke between Pedro, another instructor and myslef about my abilities to immitate Pedro (Yes, I was a Pedro clone. I used to jam a lot with Pedro and somehow picked up some of his licks and phrasing) I'm not sure what this is all about but if anyone has heard anything let me know. Pedro himself isn't worried about it. He finds it quite amusing. I'll also relay a story for you all. Pedro once was at a basically all-black blues club. The real deal. Now a guy get's up calling himself BB King jr. He gets on stage, strikes a few BB King poses and before he can play a note gets booed off the stage. The guy claimed he could play but no-one was really interested. According to Pedro, "BB King jr" also left two of the prettiest girls in the club. There's a lesson in here somewhere :-) Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Fri, 2 Feb 1996 20:55:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Re: Blues Critics Comments: To: jackieo@MIDTOWN.NET I don't know what LB is doing to solicit reviews or articles. Perhaps they could put out the word through the black radio station WDIA in Memphis which plays blues all day Saturday or through Early Wright in Clarksdale. Of course any such measure could extend beyond the Delta. -Bonnie >From: IN%"jackieo@MIDTOWN.NET" >To: Multiple recipients of list BLUES-L >Subject: Blues Critics > >Though I thoroughly support the LB policy, there is one aspect of that >and every other blues zine's operation that troubles me. That is the >universally unanimous presence of WHITE reviewers. Is no one else >troubled by whites judging and criticizing what I believe to be an >essentially black cultural form? By the way, despite having some good >white musician friends, I strongly believe that whites are by and >large imitators who have never grasped the essential oral core of the >music. Guitar leads are the least important and yet most >overemphasized aspect of the blues among whites. But that's NOT the >point I will debate or respond to here. I'm only interested in >opinions on the subject of criticism. I remember reading in a very >early issue of LB, Dave Alexander (now Omar Sharriff) blasting Pete >Welding for criticizing his music. The thrust of the profane attack >had to do with Welding's perceived arrogance at judging a black >cultural expression. BTW I have written many reviews myself. ========================================================================= Date: Fri, 2 Feb 1996 19:11:12 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Burn the Crackhouse Down Who wrote and sang this song? I seem to remember that it's a Jerry McCain tune, but I'm not sure. The reason I ask is that I heard a very interesting news story on the radio this morning about a man in Palm Beach, Florida, who was so frustrated with the neighbourhood crack dealers being arrested, thrown in jail, and released with a slap on the wrist, that one day he doused the crackhouse in his area with flammable liquid and burnt it down to the ground. He currently sits in jail while the crackhouse owners are laughing. Makes you think a bit. -Jim (hndful@uniserve.com) ========================================================================= Date: Fri, 2 Feb 1996 19:22:09 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Country/Blues Connection Bluezellers (my choice for spelling of preference, by the way), Listening to CBC radio (Canada's version of NPR - I pay for it, so I might as well listen to it! :-) ) this afternoon, I heard an excellent segment on Flatt and Scruggs, bluegrass greats. They played a few bluegrass tracks, along with a gospel track done bluegrass style in the '50's (I can't recall the name of the gospel track, but the songs were `White House Blues' and `The Little Girl and the Horrible Snake' or something to that effect). What struck me, besides the fact that this music is actually really good, is the similarity between bluegrass, country, gospel, and blues. It seems like this time period ('40's and '50's) was a great one for cross-pollination between musical styles - an exciting time for music in general. And if you should have the bad luck (IMHO) to stumble across a new country station, you'll hear a lot of watered-down blues with a country beat (no offense to any Bluezellers who actually play in country bands, Shaun :-) ) Same roots, different branches! -Jim (hndful@uniserve.com) Have a good weekend, all! BTW, if any of you have bluegrass and western swing recommendations, I'd appreciate hearing 'em! (Private E-mail, please - I'll be my own moderator!) ========================================================================= Date: Fri, 2 Feb 1996 21:14:38 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Re: Dear children - you're gonna get punished. Thanks for straightening me out mom. I was certain that Mike was baiting us after dropping those bogeyman "sneer" words -- you know, "liberal" and "A.C.L.U." I thought it meant that he was not a spy, as previously suspected, but a politician. And a demagogue at that. I also assumed that he was lost, thinking he was posting those comments to a political list rather than one devoted to the blues. I also noted that he posted *to the list* that it was his last message on the Living Blues topic, then he went on to fire off several more. I can *truthfully* say that this is my last post to the list regarding that matter. Bill Morgan BS>From: Barry Silverberg BS>Subject: Dear children - you're gonna get punished. BS>To: Multiple recipients of list BLUES-L BS> Dear kids, BS> You may no longer play with Mike Meadors. He is a bad boy. I BS> saw him crosspost some of his baiting posts to harp-l to test BS> their levels of p*ssoff too. I also am upset with all of you BS> that you let him goad you 4 or 5 times so far, didn't I bring BS> you up better than that. Now go back to your rooms & do your BS> blues homework. I noticed that you've all been responding to BS> these baits rather than listening to CD's. You are punished. BS> Go immediately to your turntables and carousels and no dinner BS> til you've listened to some blues - and I'm gonna test you on BS> it too. I expect some blues posts too. You will be graded. BS> Mother Scooter (y'all know my son Barry he's the one who can BS> spell his last name correctly) and he's a good boy. From: The Big Easy ========================================================================= Date: Fri, 2 Feb 1996 22:28:14 -0500 Reply-To: Mike Griffin From: Mike Griffin Subject: URBC Review Wanted Hey Guys - I missed this year's Ultimate Rhythm & Blues Cruise; so, if anybody cares to give me a review... Shoot! I'm off the list so private email only, please. ac915@traverse.lib.mi.us Thanks, Mike. ========================================================================= Date: Fri, 2 Feb 1996 22:15:53 -0600 Reply-To: Billy Chambless From: Billy Chambless Subject: Blind Melon Chitlin' Comments: To: canorton@JOURNALISM.INDIANA.EDU In-Reply-To: from "Cathi Norton" at Feb 2, 96 08:19:05 am Various discussions on this list lately have reminded me of the following CVheech and CHong routine form my misspent youth. The setup is that legendary blues singer BLind Melon Chitlin is in the studio, haviong already been paid "Ten dolloars, a bottlew of booze, and a hooker." The producer is givng Bling Melon a pep talk.... PRODUCER: Hey, listen, Blind, baby, this isn't juat a blues record we're doin' here. It's a document! An EPIC DOCUMENT depictin' the struggle of the Black People against thew White Devil Slavemasters and.... Blind Melon Chitlin': Zzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzz...................................... ========= Interpretation: I think people (Including yours truly!) often analyse the blues way beyond what it needs. Have a brew, hear some tunes. -- * Billy Chambless | billy@cast.msstate.edu | voice: 601-688-7608 * Mississippi State University Center for Air-Sea Technology * To attain knowledge, add something every day. * To attain wisdom, remove something every day. -- Lao-tse ========================================================================= Date: Fri, 2 Feb 1996 23:49:20 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: More good luck in Florida I think it was Mary Katherine Aldin that mentioned how important an award nomination could be to the individual who's on the receiving end. She, as usual, was right on the money. This afternoon, about 24 hours since the magazine with the nominations hit the street, I got called and asked to open for James Cotton on the 24th of this month. As if that wasn't enough to make my day, the same caller booked us for April 19th when we will be opening up for, and then backing up, Johnny Johnson. Johnny will be sending me a tape so we can rehearse his material. Somebody pinch me. P.W. Fenton Tampa, Florida ---------------------------------------------------- Please visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 2 Feb 1996 21:04:52 -0800 Reply-To: title@INTERSERV.COM From: Dick Beranek Please take me off the subscription list unsubscribe ========================================================================= Date: Fri, 2 Feb 1996 21:56:24 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: More good luck in Florida Comments: To: "P.W. Fenton" At 11:49 PM 2/2/96 +0000, P.W. Fenton wrote: >I think it was Mary Katherine Aldin that mentioned how important an >award nomination could be to the individual who's on the receiving >end. She, as usual, was right on the money. This afternoon, about >24 hours since the magazine with the nominations hit the street, I >got called and asked to open for James Cotton on the 24th of this >month. As if that wasn't enough to make my day, the same caller >booked us for April 19th when we will be opening up for, and then >backing up, Johnny Johnson. Johnny will be sending me a tape so we >can rehearse his material. Somebody pinch me. > Congratulations, and boy have times changed. Used to be (in the 50s and 60s) a blues artist would blow into town two hours before the gig, and meet the band for the first time *on the bandstand*. You get a tape in advance? You get to *rehearse* the material? Hooray for progress. One of the reasons "local pickup bands" got to be such a dirty word was that the band usually got NO rehearsal time with the artist, or any chance to get familiar with his/her material, and consequently usually couldn't cut it when faced with an unfamiliar song list in unfamiliar keys on the night of the show. Glad to see that in this way as in others the times they are a-changing. And congratulations on your nomination and it's attendant benefits! Mary Katherine Aldin ========================================================================= Date: Thu, 1 Feb 1996 23:22:11 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Blind Melon Chitlin' Billy Chambless wrote: >Interpretation: I think people (Including yours truly!) often analyse >the blues way beyond what it needs. > >Have a brew, hear some tunes. Never a truer word has been spoken. And that's what I'm gonna do. Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 1 Feb 1996 23:22:17 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: More good luck in Florida Comments: cc: "P.W. Fenton" P.W. Fenton wrote: >Somebody pinch me. I feel like hitting you. I'm jealous:-) Congrants and good luck. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 1 Feb 1996 23:22:22 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Country/Blues Connection Jim Witteveen wrote: >Bluezellers (my choice for spelling of preference, by the way), Is there any other choice? > And if you should have the bad luck (IMHO) to stumble across a new country >>station, you'll hear a lot of watered-down blues with a country beat (no >>offense to any Bluezellers who actually play in country bands, Shaun :-) ) >Same >roots, different branches! I'm deeply offended, Jim. How could you!:-) I suppose there is one thing worse than stumbling across a new country station. Stumbling across a new country band in a bar (with yours truly on guitar) :-) Even though country is new to me, I am starting to find that I like a lot of the songs. Playing guitar in a country band is a guitarist's dream as there is a lot to cop if apart from the rythm section you only have a keyboard (Pedal steel licks! I harrased the vocalist in a rock band tonight at rehearsal by threatening to play country licks as fills. She has a thing against country:-)) But I agree with, Jim that new country features a lot of "watered-down blues" as the basis for songs. Still, I reccomend having a listen to Junior Brown's "Guit With It". He does a slow blues on there (very similiar to a certian guitarist for Seattle) that is quite good. Also check out his outragous version of "Sugarfoot Rag" on the Ep, "Junior High". If you don't find yourself doubly amazed and rolling on the floor with laughter then you have no sense of humour. Like blues, most country tunes a I-IV-V. And a lot of the songs I have transcribed are basically 12 bar blues done as a two-step. So, IMHO, the lines between blues, country and rock are becoming blurred. Hence the arrival of SRV as a country artist (I still haven't come to terms with this yet). I live in hope that at a gig we'll get a request for "Pride and Joy" :-) Which brings me to Son House. I have a copy of his "Library of Congress Recordings" (on Travellin' Man. A French CD imported form England. If this isn't an authorized release then my apologies to Dick Waterman for mentioning it.) A few songs contain a country influence. Maybe Dick or others in the know can help us out on how country influenced Son House and other blues artists. Sorry for the ramble. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sat, 3 Feb 1996 00:03:27 -0800 Reply-To: TLKnox@EWORLD.COM From: Terry Knox Subject: Columbia House Blues (LONG) To the best of my knowledge the following is a complete list of blues titles available through Columbia House. It is posted on a strictly voluntary basis by me. I am in no way affilliated with them. Interested in the various offers they make? There are FAQ's etc. available on that. This is merely a list of what can be gotten from them (sorry for the truncations). I will repost this list on a regular basis - monthly. If you have any questions, flames, comments, additions, etc. e-mail me. I would be particularly grateful to know if there is anything I have left out and will certainly include it in my next post. Also if you plan to order from this list I recommend you recheck the ordering #'s as I am sure I have made some typing errors. I accept no responsibility for wrong names, titles etc., however I have done my best to be as accurate as I could. Terry. TITLE ORDER# TITLE LABEL Ammons Albert 101881 Master of Boogie Milan Louis Armstrong 101840 Blueberry Hill Milan Lavern Baker 414839 Lavern Baker Atlantic/Jazz Beausoleil 389825 Bayou Boogie Rounder Elvin Bishop 482125 Tulsa Shuffle Epic/Legacy Bobby "Blue" Bland 478677 Years of Tears Malaco Bobby "Blue" Bland 484576 Turn on Your Mca Bobby Bland 404137 Midnight Run Malaco Bobby Bland 431601 Portrait of Blue Malaco Bobby Bland 452144 Two Steps from Mca Artie Blues Boy 486498 Different Shade Wald James Booker 489914 Resurrection of Rounder Charles Brown 452177 Driftin' Blues Emi Charles Brown 489781 Just a Lucky So Bull Clarence -- Gatemouth Brown 472290 Standing My Ground Alligator Big Bill Broonzy 447201 Good Time Tonight Columbia/Legacy Lonnie Brooks 472282 Turn on the Night Alligator Ruth Brown 434886 Fine and Mellow Fantasy POPPA CHUBBY 120469 Booty and the Beast OKEH LITTLE CHARLIE & 128066 STRAIGHT UP ALLIGATOR Clarence Carter 485359 Snatchin it Back Rhino Boozoo Chavis 100503 Boozoo, That's Rounder Clifton Chenier 452128 Bayou Blues Specialty Clifton Chenier 472308 I'm Here Alligator Collins/Cray/Co 472332 Showdown! Alligator Albert Collins 472316 Ice Pickin' Alligator Albert Collins 472324 Cold Snap Alligator Johnny Copeland 481788 Catch Up w/the Blues VERVE Johnny Copeland 460782 Flyin' High Gitanes Johnny Copeland 481788 Catch up with Verve Johnny Copeland 489856 Texas Twister Rounder JAMES COTTON 126953 Best of the Verve Yrs VERVE James Cotton 101378 Living the Blue Verve James Cotton 462150 Cut You Loose! Vanguard Cotton/Wells/Be 472340 Harp Attack Alligator Blind Gary Davi 485367 Harlem Street Fantasy Willie Dixon 447219 Big Three Trio Columbia/Legacy Willie Dixon 465625 I Am the Blues Columbia/Legacy Champion Jack D 458661 New Orleans Bar Columbia/Legacy Champion Jack D 485326 Blues from the Atlantic TINSLEY ELLIS 128058 STORM WARNING ALLIGATOR Aretha Franklin 358804 Sings the Blues Columbia Blind Boy Fulle 447235 East Coast Columbia/Legacy Denny Freeman 433037 Blues Cruise Amazing DANNY GATTON 458505 CRUISN' DEUCES ELEKTRA Buddy Guy 110171 Slippin' in Silvertone Buddy Guy 434373 Damn Right Silvertone Buddy Guy 457234 Feels like Rain Silvertone Buddy Guy 462143 A Man and the Vanguard Buddy Guy 462168 My Time after Vanguard Buddy Guy 472357 Stone Crazy Alligator Buddy Guy & Jun 441238 Buddy Guy Rhino Buddy Guy & Jun 472365 Alone & Acoustic Alligator Jeff Healey Band 375873 SEE THE LIGHT ARISTA Slim Harpo 462077 Best of Slim Rhino Ted Hawkins 484519 the next Hundred Dgc Hound Dog Taylor 485375 Hound Dog Taylor Alligator Holmes Brothers 489880 Soul Street Rounder John Lee Hooker 438333 Detroit Special Atco John Lee Hooker 440305 Best of John Hooker Mca John Lee Hooker 472126 Graveyard Blues Specialty Lightnin' Hopkins 460790 It's a Sin to Gitanes Son House 447193 Father of the D Columbia/Legacy Mississippi -- John Hurt 379826 Best/M.J.Hurt Vanguard Elmore James 455758 King Of Slide Guitar Capricorn Elmore James 446898 Let's Cut It-The Be Flair Etta James 452250 Right Time Elektra Elmore James 462085 Dust My Broom Rhino Blind Willie Jo 458745 Complete Record Columbia/Legacy Johnnie Johnson 427344 Johhnie B. Bad Elektra/Nonesuch Lonnie Johnson 446831 Steppin' on Columbia/Legacy Lonnie Johnson 482117 Stompin' at the Columbia/Legacy Pete Johnson 101857 King of Boogie Milan Robert Johnson 414888 Complete Record Columbia Keb Mo 482430 Keb Mo Okeh Albert King 102228 Best of Albert King Stax Albert King 446914 King of the Blues Atlantic Albert King 452169 I'll Pay the Stax B.B. King 209668 Live at Regal Mca B.B. King 379776 Best of B. B. King Mca B.B. King 421354 Live at the Grp B.B. King 440628 Lucille Mca B.B. King 448084 King of the Mca B.B. King 463505 Blues Summit Mca B.B. King 429134 Live "Now Appearing Mca Smokin'-- Joe Kubek 128082 Cryin' for the Moon BULLSEYE LITTLE AXE 100982 The Wolf That House OKEH Sleepy Labeef 100446 Strange Things Rounder Denise La Salle 404020 Where it Hurts Malaco Denise La Salle 412874 Still Trapped Malaco Leadbelly 379792 Leadbelly Columbia Leadbelly 428524 King of the 12-String Columbia/Legacy Leadbelly 489724 Nobody Knows The Rounder Furry Lewis 485383 Shake 'Em on Fantasy Smiley Lewis 472134 Best of Smiley Emi Lil'ed and the 472373 What You See Alligator Big Maybelle 489732 Okeh Sessions Legacy Meters 100362 Look-A-Py-Py Rounder Little Milton 101295 Welcome to the Chess Little Milton 408708 Too Much Pain Malaco Little Milton 486399 I'm a Gambler Malaco Lonnie Mack Wit 472381 Strike like Alligator Delbert Mcclint 472399 Live from Austin Alligator Mcghee Brownie 482067 Complete Brownie Columbia/Legacy Blind Willie Mc 472159 Atlanta 12-String Atlantic Blind Willie Mc 482075 The Definitive Columbia/Legacy Memphis Minnie 379800 I Ain't No Bad Portrait Memphis Minnie 447227 Hoodo Lady: Columbia/Legacy Jelly Roll Morton 462119 Mr. Jelly Lord Rhino Charlie Musselwhite 472407 Ace of Harps Alligator Nathan and the 100735 Zydeco Live Rounder Shuggie Otis 482141 Shuggie's Boogie Epic/Legacy Junior Parker 485318 Junior's Blues Duke Dan Penn 480061 Do Right Man Sibh Pinetop Perkins 461194 Portrait of a Omega Lucky Peterson 460774 I'm Ready Gitanes Lucky Peterson 479782 Beyond Cool Verve Professor Longhair 452110 New Orleans Pia Atlantic Professor Longhair 472415 Crwfish Fiesta Alligator Gary Primich 433029 Gary Primich Amazing Tampa Red 482091 the Guitar Wizard Columbia/Legacy Jimmy Reed 366534 Compact Command Motown Zachary Richard 100768 Mardi Gras Mamb Rounder Roy Rogers 111559 Slide Zone Li Roomful of Blue 100255 First Album Varr Otis Rush 437004 Mourning in the Atlantic MEMPHIS SLIM 129023 RAINING THE BLUES FANTASY SUNNYLAND SLIM 117747 SLIM'S SHOUT CAPITOL FRANKIE LEE SIMS 129031 LUCY MAE BLUES SPECIALTY Saffire -- 472423 the Uppity Blue Alligator the Uppity Blues Women Johnny Shines 102236 Hey Ba-Ba-Re Bo Rounder Bessie Smith 449561 Complete Record Columbia/Legacy Bessie Smith 383430 Bessie Smith Columbia/Jazz Bessie Smith 421388 Complete Vol. 1 Epic/Legacy Bessie Smith 428532 Complete Vol. 2 Columbia/Legacy Bessie Smith 458703 Complete Vol. 4 Columbia/Legacy Bessie Smith 449561 Complete Vol. 3 Columbia/Legacy Son Seals 472431 Midnight Son Alligator Otis Spann 485391 Blues Never Die Fantasy Keri Leigh & Th 433052 Blue Devil Blue Amazing Joe Turner 117408 The Trumpet Kings Pablo Taj Mahal 447177 Taj's Blues Columbia/Legacy Taj Mahal 467019 Dancing the Blues Private Music Koko Taylor 472449 Queen of the Blues Alligator Sonny Terry 102202 Sonny Is King Fantasy Sister Rosetta 101865 Live at the Hot Milan Irma Thomas 100289 Simply the Best Rounder Big Mama Thorton 472118 Hound Dog/Peaco Mca Big Joe Turner 474494 Jumpin' with Ic Emi Big Joe Turner 402305 Greatest Hits Atlantic/Jazz Big Joe Turner 113100 I've Been To Kansas MCA James Blood Ulm 472977 Blues Preacher Columbia Jimmie Vaughan 466821 Strange Pleasure Epic Stevie Ray Vaughan 446765 In the Beginning Epic Stevie Ray Vaughan 429258 The Sky Is Crying Epic Stevie Ray Vaughan 411306 Vaughn Bros. Family Epic Stevie Ray Vaugha 382374 In Step Epic Stevie Ray Vaughan 351148 Live Alive Epic Stevie Ray Vaughan 338483 Soul To Soul Epic Stevie Ray Vaughan 326694 Couldn't Stand The Epic Stevie Ray Vaughan 321158 Texas Flood Epic Various Artists 353656 Atl. blues Atlantic Various Artist 378414 Best of the Chicago Vanguard Various Artists 378422 Great Blues Men Vanguard Various Artists 421230 Great Blues Epic/Legacy Various Artists 421347 Legends of Columbia Various Artists 421362 Slide Guitar Columbia Various Artists 421370 News & the Blue Columbia Various Artists 421396 Raunchy Busines Epic/Legacy Various Artists 428557 Legends of the Columbia/Legacy Various Artists 442285 Roots of Rhythm Columbia Various Artists 447151 Roots N' Blues Columbia/Legacy Various Artists 447243 Cajun: 1929-39 Columbia/Legacy Various Artists 458711 Slide Guitar Columbia/Legacy Various Artists 458828 Cobra Records Capricorn Various Artists 462028 Okeh R&B Story Epic/Legacy Various Artists 462127 Blues with a Vanguard Various Artists 472472 20th Ann. Coll. Alligator Various Artists 474577 Feelin' the Blues Grp Various Artists 475756 20th Ann. Tour Alligator Various Artists 482109 Cajun Dance Columbia/Legacy Various Artists 486860 Swingtime Story Capricorn Various Artists 404079 Blues Is Alright Malaco Various Artists 404087 Blues Is Alright Malaco Various Artists 404129 Blues Is Alive Malaco Various Artists 421248 Preachin' the Epic/Legacy Various Artists 428441 Good Time Blues Columbia/Legacy Various Artists 458695 White Country Columbia/Legacy Various 476440 The Gospel Sound Katie Webster 472456 the Swamp Boogie Alligator Junior Wells 462135 It's My Life Vanguard Junior Wells 122655 Everybody's Gettin Telarc Bukka White 482083 the Complete Bukka Columbia/Legacy Johnny Winter 472464 Guitar Slinger Alligator Jimmy-- Witherspooon 485409 Evenin' Blues Fantasy O.V. Wright 472167 Soul of O.V. Wright Mca Buckwheat Zydeco 100487 Waitin' for My Rounder Buckwheat Zydeco 101204 5-Card Stud Island ========================================================================= Date: Sat, 3 Feb 1996 08:43:19 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Living Blues Editorial Policy Comments: To: bit-listserv-blues-l@uunet.uu.net >On Wed, 31 Jan 1996, Meadors wrote: >>Living Blues is being racist. Whenever you >> include or exclude ANYONE because of their race, it's racism. >> Period. Mike, Believe me, I understand the point you're trying to make...racism is bad. I hope that there won't be any argument or debate here about that. I just can't find any logic in your singling out Living Blues magazine as a practitioner of racism. By your definition, the cable TV channel BET (Black Entertainment Television), Jet and Ebony magazines (to name just a couple of many), the Chicago Defender newspaper, and every school that has an African-American studies program is also practicing "racism". If Living Blues changed their name to "20th Century African-American Musical Heritage Digest", would you still call it a racist publication? My final comment on this subject--this time around anyway--is that I think you're barking up the wrong tree. If you want to do something about racism, attack someone or something that's trying to HURT someone by the use of racism, not one that's trying to open doors, create more understanding, spread the word of the oppressed, etc., etc., etc. Over and out. Scott ========================================================================= Date: Sat, 3 Feb 1996 08:45:24 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Robert Nighthawk Comments: To: bit-listserv-blues-l@uunet.uu.net Someone asked whether a certain Nighthawk record was out on CD... Yes, Robert Nighthawk's "Live On Maxwell Street" was issued on CD in 1991 by Rounder, although I don't know if it's still in print. It includes an extended version of the interview with Nighthawk which was conducted (if memory serves) by Mike Bloomfield. The catalog # is Rounder CD2022. Scott ========================================================================= Date: Sat, 3 Feb 1996 08:46:31 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: "Mississippi Heat" - Name of lead singer? Comments: To: bit-listserv-blues-l@uunet.uu.net LeaGil wrote: > >Do any of you blues folks know the name of the fabulous blues band >Mississippi Heat's Lead singer and how to contact her? Dietra Farr. Scott ========================================================================= Date: Sat, 3 Feb 1996 09:10:21 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Tying a few threads ... Comments: To: bit-listserv-blues-l@uunet.uu.net > Of course the ultimate success would be for the blues to become > a part of rock 'n roll. Then we'd have some big dollars coming > to those we treasure and enjoy. The biggest problem with blues today is that for most people, it already IS just another part of rock and roll! :) Scott ========================================================================= Date: Sat, 3 Feb 1996 03:02:31 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: Re: kim wilson's tone Comments: To: Mike Curtis Comments: cc: Harp-L@garply.com Mike Curtis wrote: > > > > > John Frazer wrote: > > > > > > I saw Kim last week and he was playing with an Astatic mic through a > > > SOVTEK 50 watt head into a Fender 2x10 cabinet. His tone was awesome. > > > > > > HARMONICA JOHN San Diego PO Box 740613 SD CA 92174 (619)263-6826 > > > > > > God, family, music, fishing, work. Can blue men play the whites? > > > > John, > > I am curious to know if Kim was using any kind of compressor that you > > could tell? > > Stan > > > > -- > > Stan Ruffo Productions "Blues On Tap" > > 800 N. Ben Maddox Way steamin@valleynet.com > > Suite 2200 http://www.valleynet.com/~steamin > > Visalia, CA 93292 209/625-6049 > > > > Interesting idea. I'll have to try one on harp. I've been using a FBX-901 > to minimize feedback at high volume - but lately I've been getting LOTS more > work at low volume places, where I'll turn up to low-moderate volume for the > last set. It's a lot of fun, and REALLY "keeps you honest"! > > -- mike Mike, So whats an FBX-901? When I saw Kim on the URBC II, he was using an Astatic, a Fender Vibroverb and what looked like an ART CS2 compressor. I really would be curious what you thought after trying it... Stan -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 ========================================================================= Date: Sat, 3 Feb 1996 13:35:04 +0200 Reply-To: J A Maree From: J A Maree Subject: t-shirt blues Hello all, We're wanting to promote the blues around our way,and thought some t-shirts might do the trick.We would love suggestions for phrases to print on them.Some suggestions sofar have been: "Bluesmen do it in (12) bars" "Bluesmen do it with a slide" (or steel or bottleneck,whatever). Any ideas?Please,not too --um--smutty.(Bluesladies,please mail in your suggestions too) Thanks + have fun, Jean + Garth ========================================================================= Date: Sat, 3 Feb 1996 07:22:33 -0500 Reply-To: RNABooking From: RNABooking Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Johnny Copeland back in hospital Comments: To: bit-listserv-blues-l@uunet.uu.net Johnny is doing fine after a sucessful surgery. It will be at least a month before they put him back on the "transplant" list until he recovers from this surgery completely. You just can't keep the Texas Twister down. ========================================================================= Date: Sat, 3 Feb 1996 07:23:01 -0500 Reply-To: RNABooking From: RNABooking Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Jerry McCain Comments: To: bit-listserv-blues-l@uunet.uu.net You can blame Gary Primich for the space shuttle crashing...so long as you give him a gig. ========================================================================= Date: Sat, 3 Feb 1996 07:29:25 -0500 Reply-To: Jon Duttweiler From: Jon Duttweiler Subject: Living Blues policy At 05:58 PM 2/2/96 GMT, you wrote:> >Racism differs from bias, discrimination, prejudice and even race hatred I have no problem with this, >in that it involves having the POWER to carry out systematically discriminatory >practices. But this is where I disagree. Racism is an ideology, not simply a practice. It is the belief that one "race" is inherently superior (or inferior) based soley on racial characteristics. Your further statement that "To suggest that black Americans have ever had such power is a joke" implies that racism is the sole province of groups and societal structures rather than individuals. This is not an easily defensible position. Racism may be structural, corporate, etc., but only because it finds root in the individual. Furthermore, individuals of whatever race are well "empowered" to practice racism against another individual. To say that there is no black "racism" in this country is to be just as blind as saying that we've solved all the problems of white racism. Jon (who believes a racist is a racist no matter what color, but that LB ain't Racist) Duttweiler ========================================================================= Date: Sat, 3 Feb 1996 09:24:49 EST Reply-To: TSCHANZ@VM.TEMPLE.EDU From: "William R. Tschanz" Organization: TEMPLE UNIVERSITY Subject: Oh YAAAaaaaaaaaa........ Congradulations P.W. Fenton: May your good fortune continue...... Hope to see some good posts about it.....please share. ____________________________________________________ | > | WILLIAM R. TSCHANZ TSCHANZ@VM.TEMPLE.EDU > | CIVIL ENGINEERING WRTSCHANZ@AOL.COM > | TEMPLE UNIVERSITY ----------- > |___________________________________________________> ========================================================================= Date: Sat, 3 Feb 1996 10:51:34 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Country/Blues Connection Jim Witteveen wrote > Bluezellers (my choice for spelling of preference, by the way), >I heard an excellent segment on > Flatt and Scruggs, bluegrass greats. ... What > struck me, besides the fact that this music is actually really good, is the > similarity between bluegrass, country, gospel, and blues. Bill Monroe, who pretty much invented bluegrass music (Flatt & Scruggs were members of his 1945-era band) has always said that his biggest musical instrument was a black musician from his home town who taught him to play when he was young. (Can't remember his name.) Bluegrass is a uniquely American hybrid -- a cross between country blues, Appallachian (Anglo-Irish) fiddle music and Southern gospel. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Sat, 3 Feb 1996 10:51:34 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Locating the Rhythm and Blues Foundation > Anyone have an address to the Rhythm and Blues Foundation in D.C? > I would appreciate it! Thanks! > > Rich DelGrosso 14th & Constitution Avenue NW Room 4603, MRC 657 Washington DC 20560 Tel: 202-357-1654 Fax: 202 786-2851 Can anyone tell me what "MRC" stands for? Just curious. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Sat, 3 Feb 1996 10:45:10 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Organization: IQuest Internet Services Subject: Whoopsie-daisy!! By a stupid trip of the fingers, I just deleted about 400 e-mails, many of which were from you folks. If you've been waiting for a reply from me, it's likely I lost your message. To the rest of you, happy ground hog day and sorry for the waste of band-width. RJ Bauman ========================================================================= Date: Sat, 3 Feb 1996 08:06:09 +0000 Reply-To: bob fulkerth Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: bob fulkerth Organization: Sonoma Interconnect,707.522.1001,ppp$12/mo,Santa Rosa,CA(us) Subject: Re: Kiss Tomorrow Goodby Comments: To: blues-l@brownvm.bruwn.edu I just started reading the posts and enjoy the dialogue. Am looking for Kiss Tomorrow Goodby by an artist named Danny White. The song was covered by Johnny Winter at some point, but I'm desperate for the original. I remember first hearing it late 50's early 60's. bobf@sonic.net ========================================================================= Date: Sat, 3 Feb 1996 12:04:32 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Endless groove (live) and Jr. Kimbrough (was Re: endless soloing) Comments: To: pwfenton@gate.net In a message dated 96-02-03 00:33:55 EST, pwfenton@GATE.NET (P.W. Fenton) writes: >Another factor in this "endless soloing" discussion is "live music". >When I am playing at a club, and we've struck a chord with the >audience and the dance floor is packed with happy dancing people, the >last thing we, or the management, wants is to stop, and have them all >walk off. So songs get elongated to suit the desires of the crowd. The best I've ever seen at this process of keeping the song going because the crowd is going is Junior Kimbrough. This is one of his great strengths; when he plays a "polite" crowd that sits and watches him and does not move to the music he always seems (to me) at a loss. I think he doesnt think the music is working for him. When he *does* have a crowd that responds (either in the juke joint or in a club) he will keep the music going, cycling lyrics in and out, till the crowd is exhausted. I saw him work "You Better Run" for 50 minutes with a crowd in Oxford, the crowd moving the entire time, and stop it just as the crowd was reaching exhaustion. Even if you don't love Jr.'s music, this is worth studying if you want to see how it works. I do not know if Jr. gets this effect outside his home area (I suspect not as much), so suspect you need to see him around here. I really think it would help you see how to deal with this-- and not just with soloing (that is not Jr.'s solution at all). Tom Freeland ========================================================================= Date: Sat, 3 Feb 1996 12:25:57 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Endless groove (live) and Jr. Kimbrough (was Re: endless so Comments: To: Skipjames@aol.com On 3 Feb 96, Skipjames@aol.com had this to say: > In a message dated 96-02-03 00:33:55 EST, pwfenton@GATE.NET (P.W. Fenton) > writes: > > >Another factor in this "endless soloing" discussion is "live music". > >When I am playing at a club, and we've struck a chord with the > >audience and the dance floor is packed with happy dancing people, the > >last thing we, or the management, wants is to stop, and have them all > >walk off. So songs get elongated to suit the desires of the crowd. > > The best I've ever seen at this process of keeping the song going > because the crowd is going is Junior Kimbrough. This is one of his > great strengths; when he plays a "polite" crowd that sits and > watches him and does not move to the music he always seems (to me) > at a loss. I think he doesnt think the music is working for him. > When he *does* have a crowd that responds (either in the juke joint > or in a club) he will keep the music going, cycling lyrics in and > out, till the crowd is exhausted. I saw him work "You Better Run" > for 50 minutes with a crowd in Oxford, the crowd moving the entire > time, and stop it just as the crowd was reaching exhaustion. Even > if you don't love Jr.'s music, this is worth studying if you want > to see how it works. I do not know if Jr. gets this effect outside > his home area (I suspect not as much), so suspect you need to see > him around here. I really think it would help you see how to deal > with this-- and not just with soloing (that is not Jr.'s solution > at all). This is exactly the same thing that causes Buddy Guy to put on one of those shows that annoys all us Blues nuts. He is constantly scanning the crowd. If he sees ONE set of eyes looking somewhere else, like at their watch, or at the person they are talking to, then BAM he switches gears in an attempt to win them back. That's what all those schizophrenic shows, with a minute of this and a minute of that are all about. He's trying to land on something that will HOLD everybody. That's why when he gets in front of a hardcore Blues crowd, you get to hear WHOLE tunes, and extended solos. He's not afraid of losing the crowd any more. P.W. Fenton Tampa, Florida ---------------------------------------------------- Please visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sat, 3 Feb 1996 17:41:33 GMT Reply-To: "Bobby R. Caraway" Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: "Bobby R. Caraway" Organization: rofintug Subject: Re: NEED INFO ON THE LATE ROY BUCHANAN!!! Comments: To: bit.listserv.blues-1@asw.infosphere.com I am trying to write a biogpaphy on the late great guitarist Roy Buchanan. I have contacted his last recording co.(Alligator) and recieved a brief bio sheet. I would be very interested in contacting any friends, family, and other artists who have worked with Mr. Buchanan. If any one can assist me, the help would be greatly appriciated. I can be reached at: Bob Caraway P.O. Box 1581 Aspen, CO 81612 (970)544-0548 bcaraway@infosphere.com ========================================================================= Date: Sat, 3 Feb 1996 12:42:31 -0500 Reply-To: James H Spence From: James H Spence Subject: Re: Dear children - you're gonna get punished. Comments: To: Meadors In-Reply-To: <199602022211.RAA00278@mail-e1b.gnn.com> On Fri, 2 Feb 1996, Meadors wrote: > Barry: > > What was this Dear Kids post about? SNIP (YAWN) SNIP >What's wrong with debating such things? > Mike Meadors > Orange3@gnn.com I believe that the "dear kids" was about keeping this list on the topic of the blues. There is nothing wrong with debating racism and I don't believe anyone has suggested that there is. (Although I really can't say, the delete key has been active...) But this is not the forum for that debate. Jim Spence (with apologies to the vast majority out there who follow an "ignore, delete, and do not respond policy". At least the Garcia thread has died....) ========================================================================= Date: Sat, 3 Feb 1996 11:44:47 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: Tying a few threads ... In-Reply-To: <4ev8pt$2hg4@usenetp1.news.prodigy.com> On Sat, 3 Feb 1996, Poindexter Regan wrote: > > Of course the ultimate success would be for the blues to become > > a part of rock 'n roll. Then we'd have some big dollars coming > > to those we treasure and enjoy. > > The biggest problem with blues today is that for most people, it already > IS just another part of rock and roll! :) That's just America. Everything different and exciting gets blanded or watered down for mass taste. (Exhibit A being Elvis Presley.) T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "But I drove a car in Goshen, just to watch it go." - The Electric Amish, "Amish Country Blues" ========================================================================= Date: Sat, 3 Feb 1996 17:54:52 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Alligator records discriminate Comments: To: bit-listserv-blues-l@uunet.uu.net The problem >comes when you tell me that every Black musician is part of the >"Black culture" and every White musician is not. Every Black person is a part of "Black Culture", musician or not. Scott ========================================================================= Date: Sat, 3 Feb 1996 17:51:22 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: A Man and the Blues Comments: To: bit-listserv-blues-l@uunet.uu.net Owen Okie wrote: > >Does anyone out there have the original release date of Buddy Guy: A man and >the blues. ? I just got the CD and I don't think it was recorded in 1987 >like it says on the album. > > thanks > - Owen If this is Vanguard album #79290, according to "Blues Records" it was recorded in July of '65, and although they don't indicate a date of release, I don't think it was much more than a year later. Scott ========================================================================= Date: Sat, 3 Feb 1996 13:17:30 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Country Blues Connection Wrote Shaun Cronin: "Maybe Dick (Waterman) or others in the know can help us out on how country influenced Son House and other blues artists...." I don't know about how much country influenced Son's music; not much, is my guess. But I do remember the look of utter astonishment on a Toronto interviewers's face when the old man gravely informed him that his favourite song of all was "that tune by Miss Patti Page, The Tennessee Waltz." -Richard the Elder ========================================================================= Date: Sat, 3 Feb 1996 18:14:23 GMT Reply-To: "Bobby R. Caraway" Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: "Bobby R. Caraway" Organization: rofintug Subject: Re: NEED INFO ON THE LATE ROY BUCHANAN!!! Comments: To: bit.listserv.blues-l@asw.infosphere.com I am trying to write the biography of the late great guitarist Roy Buchanan. I would like to get in touch with anyone who knew and worked with him. Would also like to contact any family with their permission. Any help is greatly appriciated. I can be reached at: Bob Caraway P.O. Box 1581 Aspen, CO 81612 (970)544-0548 bcaraway@infosphere.com ========================================================================= Date: Sat, 3 Feb 1996 12:29:41 -0600 Reply-To: Scott Ferman From: Scott Ferman Subject: Jack Owens Sitting here waiting for the ice to melt listening to NPR 'Whattaya Know' and the musical guest is a Mississippi Bluesman named Jack Owens. He has a CD out on Wolf with Eugene Powell, so they just said, called 'Last Giants of Mississippi Blues'. Nice acoustic country blues. Does anyone have any information on Jack & Eugene? Thanks! Scott ========================================================================= Date: Sat, 3 Feb 1996 13:52:30 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Tying a few threads ... Comments: To: tbone1@IO.COM On 3 Feb 96, T-Bone had this to say: > That's just America. Everything different and exciting gets blanded or > watered down for mass taste. (Exhibit A being Elvis Presley.) I think that you've got that backwards. I don't think that "Exhibit A" got "blanded" by anyone. I think he was trying to be the best he could be at all times. I think that the majority of the public seeking to buy entertainment, make the people you may consider "bland" the most successful. I don't think the tastes of Americans are being guided as much as, the entertainment industry is being guided by the taste (and prejudices) of Americans. I also don't think that America's taste is always bland. The Beatles may be bland by todays standards, but in the 60s they were wildly successful at the same time that they were revolutionaries. P.W. Fenton Tampa, Florida ---------------------------------------------------- Please visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sat, 3 Feb 1996 14:10:42 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Tying a few threads ... Comments: To: T-Bone In-Reply-To: To set it all straight here's who said what 1. Barry Silverberg said (date unknown) > > > Of course the ultimate success would be for the blues to become > > > a part of rock 'n roll. Then we'd have some big dollars coming > > > to those we treasure and enjoy. 2. On Sat, 3 Feb 1996, Poindexter Regan wrote: > > The biggest problem with blues today is that for most people, it already > > IS just another part of rock and roll! :) 3. On Sat, 3 Feb 1996, T-Bone wrote: > That's just America. Everything different and exciting gets blanded or > watered down for mass taste. (Exhibit A being Elvis Presley.) The purpose of my first comment had not to do with any sad facts about the blues being lost in another genre or watered down - it had to do with income levels. If in fact the blues were somehow to become a part of country & western - incomes for blues people would rise. If it ever was part of the rock scene ( and for some it has) incomes would skyrocket. My financial comments - not my personal taste comments. Barry NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sat, 3 Feb 1996 14:24:09 -0500 Reply-To: VentRec From: VentRec Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Burn the Crackhouse Down Comments: To: bit-listserv-blues-l@uunet.uu.net That's right, it's a Jerry McCain song. Looks like he's starting a new fad! Mike McCracken The Alabama Blues Project ========================================================================= Date: Sat, 3 Feb 1996 14:41:16 -0500 Reply-To: bob vanarsdall From: bob vanarsdall Subject: Doc Watson For those interested, the University of North Carolina is hosting a multimedia exhibit on Doc Watson with pictures and music samples. The address is: http://sunsite.unc.edu:80/doug/DocWat/DocWat.html Bob ========================================================================= Date: Sat, 3 Feb 1996 15:17:46 -0500 Reply-To: Ken Ficara From: Ken Ficara Subject: In Support of LIVING BLUES As I noted privately to Mike M. -- who, no offense, is one of those utterly astounding people who see racism in a tiny magazine that's the only place to read about most modern blues artists, but apparently has no problem with the fact that you can count the number of black men in the senate on the finger of one elbow -- I have largely continued my subscription to LB because I feel they are an essential outlet for blues writing, more than any other blues publication. I can pick up a half-dozen magazines and read fawning articles about Stevie Ray Vaughan or Ronnie Earle or other white loud&fast blues musicians. I cannot find articles ANYWHERE ELSE about Miss Lavelle, Luther Johnson, or Magic Sam, three of the main subjects of this month's issue. So for no other reason than the fact that LB writes about music I love (the blues that's still living today), as opposed to about music that bores me to tears (endless recycling of riffs that Muddy Waters or Little Walter finished off in the 1950s). I am bored by discussion of the latter type of music, I couldn't care less about Eric Clapton's attempts at blues, or the Allwhite Brothers, or Canned Hite, or whatever. Others do, and others are welcome to buy other magazines. Beyond that, LB looks at blues as part of a particular segment of American society, and not just as a musical form -- this magazine, remember, is published by a center devoted to the study of southern culture, not music. That's how i look at it too. I think that perspective is very important, and I support its continued existence, so I continue subscribing even in years when I rarely have time to read the magazine. Why people are astonished that a blues magazine would focus on black musicians, but not that an Irish music magazine would focus on Irish musicians, is beyond me. Why The Nashville Network, the Grand Ole Opry, or country music magazines are not "racist" even though black performers show up there much more rarely than do white ones in the pages of LB, is also beyond me. (I don't, for the record, think that an outlet dedicated to country music, whose origins was inthe music of white rural southerners, is racist if it doesn't spotlight black country performers). I'd like all of you screaming racism to think, very carefully, about why there are so many whites playing blues while there are damned few blacks playing country music. Or, for that matter, damned few Kenyans playing polkas. Finally, I'd like to close with a quote from LB 109, page 53: It very much reflects my thinking on the subject: >...I was deeply interested in many aspects of black culture. It was quite >clear, in fact, that the very specific forms of torture, beating, lynching, >slavery, mistreatment, and general discrimination that white Americans had >visited upon black Americans had -- combined with the black response to this >torment -- produced the blues. Indeed, it was the very resistance to this >genocidal tendency of white culture that had brought the blues into >existence....Only the very specific sociological, culturual, economic, >psychological and political forces faced by working class African Americans -- >forces permeated with racism -- produced the blues. >Nothing else did<. Ken PS - I'm thinking of devoting a portion of my web site to a deeper discussion and background informatoin on this sort of thing, as well as the issues involved with collisions between blues and rap, jazz and so on. And Holly, are you still out there? That tape remains amazing! ====================================================================== Ken Ficara ficara@acm.org "[Bill Gates' vision looks] as much as ever like technography, in which technology, like the sex in pornography, is always satisfying." --Stephen Manes, The New York Times More quotes available at: http://www.panix.com/~ficara/quotes/quotes.cgi ========================================================================= Date: Sat, 3 Feb 1996 15:17:41 -0500 Reply-To: Ken Ficara From: Ken Ficara Comments: To: Steve.Levine@CORP.WRGRACE.COM >Anyone heard the new Cephas & Wiggins cd? It's their first Alligator >recording. I read a blurb about it in The Washington Post this morning, >but I didn't have time to jot down the name. They have some sepcial >guests on it, including story teller Jackie Torrence (who did a show >with them called "Bluestory"). They're doing a Black History Month show >at University of Maryland tonight. I would probably go and see them >tonight but Carey Bell's in town, and I've been planning on going to that show. You know, I haven't seen C&W in my area (NYC) since 1990. I adore them, I would run to see them, and either they never come here, or they do it in secret. Is there an Alligator rep on the list? When do we get a chance to see them here???? Failing that, I might be in DC next weekend, do they have any dates there? Ken ====================================================================== Ken Ficara ficara@acm.org "[Bill Gates' vision looks] as much as ever like technography, in which technology, like the sex in pornography, is always satisfying." --Stephen Manes, The New York Times More quotes available at: http://www.panix.com/~ficara/quotes/quotes.cgi ========================================================================= Date: Sat, 3 Feb 1996 15:17:54 -0500 Reply-To: Ken Ficara From: Ken Ficara Subject: Charlie Sayles >Date: Mon, 15 Jan 1996 15:13:32 -0500 >From: PARRISHR >Subject: Charlie Sayles, Harp Player Extraordinaire > > I am interested in hearing from anyone who has heard either of Charlie > Sayles' two CDs "Night Ain't Right" or "I've Got Something to Say." > Private e-mail please. > Except for those of you to whom I've already spoken. > (You know who you are.) Apologies for the belated response to this post -- I've been drifting wrt blues-l lately -- time and other pressures. I have NIGHT AIN'T RIGHT and am about to special-order his new one because I can't find it. Charlie's outstanding, actually, an original harpist with some truly amazing chops. And any bluesman who records a tribute to Bill Monroe has something special in my book. I spent a week with him in 1992 at the Augusta Heritage Festival, where he taught a blues-harp course. He didn't teach much about licks or technique but shared a lot about attitude and where playing should come from, which was valuable in a way most music lessons aren't. He's a bit gruff but a good guy who gives his all to his music. Ken ====================================================================== Ken Ficara ficara@acm.org "[Bill Gates' vision looks] as much as ever like technography, in which technology, like the sex in pornography, is always satisfying." --Stephen Manes, The New York Times More quotes available at: http://www.panix.com/~ficara/quotes/quotes.cgi ========================================================================= Date: Sat, 3 Feb 1996 15:17:50 -0500 Reply-To: Ken Ficara From: Ken Ficara Subject: Re: The Late Great Magic Sam Comments: To: shaun@WAVENET.COM >>I don't have "Magic Touch", "The Magic Sam Legacy" and "Give me Time". >>How's quality of the sound and performance? LEGACY is outtakes from the WEST SIDE SOUL and BLACK MAGIC sessions. Many alternate takes of songs already on those two albums, but all of studio quality. It's an expendable album. MAGIC TOUCH is a recording of a live set in a club in 1966. The performance is white hot, the quality so-so. I recommend it very highly; the 2 minutes of "Backstroke" are worth the price of the disc. The quality is better than the Alex Club stuff on MAGIC SAM LIVE and so are the performances. GIVE ME TIME is a treasure. It's a set of home tapes made of Sam playing in his living room. Quality is not bad, since it was recorded in a quiet situation -- and the ambient noise that is there is so incredibly valuable -- Sam's kids horsing around, dinner being served, etc. On this disc more than any other do you hear the similiarities between Magic Sam and the other late great Sam, Cooke. This is the first of these three discs you should buy; MAGIC TOUCH is the second; it is >not< a studio quality recording, however. Ken ====================================================================== Ken Ficara ficara@acm.org "[Bill Gates' vision looks] as much as ever like technography, in which technology, like the sex in pornography, is always satisfying." --Stephen Manes, The New York Times More quotes available at: http://www.panix.com/~ficara/quotes/quotes.cgi ========================================================================= Date: Sat, 3 Feb 1996 15:14:09 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: John Hammond -Sr. or Jr.? -Reply Comments: To: Roger Struve In-Reply-To: On Thu, 1 Feb 1996, Roger Struve wrote: SNIP John Henry Hammond(the father) was responsible for discovering/furthering the careers of notables as Leadbelly, Bessie Smith (i think i remember this), Bob Dylan, > Bruce Springsteen, and many, many others. Don't forget Stevie Ray Vaughan! SNIP > was learned that Robert Johnson had died just days/weeks earlier (not > exactly sure of the time frame involved here). I have forgotten who it was > that was brought in as a "last minute" replacement for R. Johnson. That would be Big Bill Broonzy > regards, > delta doc roger > Jim Leftwich leftwich@cloud9.net ========================================================================= Date: Sat, 3 Feb 1996 14:49:01 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: BURN THE CRACKHOUSE DOWN > From: Jim Witteveen > > Who wrote and sang this song? I seem to remember that it's a Jerry > McCain Correct. From the LP Love Desperado, Ichiban #9008. Don O. ========================================================================= Date: Sat, 3 Feb 1996 14:49:25 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: Re: ENDLESS SOLOING; WAS RICK > LW wrote: >Do others get tired of (even) the really popular guitarists who go on and on >long after they've said all they can, or is it just me.... No, it's definitely not just you. It's not just guitarists either. Some of the soul blues crowd does basically the same thing, stretching a song way out by "calling out" the names of all their friends, towns, whatever, or repeating the same verse over and over and over again. It's really sad to hear what would have been a really nice 3-4 minute song turn into a 6-8 minute opus. Long songs can work, you just have to have a lot to say, either musically or with lyrics. Don O. ========================================================================= Date: Sat, 3 Feb 1996 16:16:31 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Country/Blues Connection: A Jinx Rant Comments: To: shaun@wavenet.com On February 3rd, Shaun Cronin wrote: >>>Which brings me to Son House. I have a copy of his "Library of >>>Congress Recordings" (on Travellin' Man. A French CD imported form >>>England. If this isn't an authorized release then my apologies to Dick >>>Waterman for mentioning it.) A few songs contain a country influence. >>>Maybe Dick or others in the know can help us out on how country >>>influenced Son House and other blues artists. There is so much bootleg Son House material out there now that I am not looking over anyone's shoulder. I can't really say that Mister House showed any country music influence. This thread surfaces occasionally so there has been previous mention of Howling Wolf's fascination for Jimmy Rogers (i.e. "The Singing Brakeman," not Muddy's guitarist) and stories of Blind Lemon Jefferson playing for railroad crews in the Carolinas. It is factual, however, that Earl Hooker had an entire separate career playing the country bars of western Illinois and eastern Iowa. He would vanish from the Chicago club scene for weeks at a time to play a circuit of bars in Waterloo, Ames, Peoria, Daveport, Moline, Des Moines, etc. He played a double-neck guitar and would flat pick his way through an entire repertoire of Red Foley, Farron Young, Hank Williams, Porter Waggoner, Johnny Cash and lots more. This not only brought him a nice side income but also increased his market value in the Chicago clubs because he never got overexposed there. (I would note here that this is my first post in several weeks. I have been right here reading every single things that passed my way. We seem to be absolutely determined to find a lowest common denominator for discourse. What is a 'slide?' What is John Hammond's real name? If you missed the latest go 'round about "Living Blues," be assured that it will return before they light the Olympic torch in Atlanta. Can Ruthie write two consecutive posts without mentioning her Max?) Excuse me . . I am icebound in my house and just engaging in a public rant. Please go on with whatever you were doing . . . Dick Waterman ========================================================================= Date: Sat, 3 Feb 1996 16:30:08 -0500 Reply-To: Jon Duttweiler From: Jon Duttweiler Subject: Re: Alligator records discrimina Comments: To: "GO-MAIN.RWHD17B" At 01:28 PM 2/3/96 GMT, you wrote: > The problem >>comes when you tell me that every Black musician is part of the >>"Black culture" and every White musician is not. > >Every Black person is a part of "Black Culture", musician or not. > > >Scott Scott, would that be "every Black person" on the face of the earth, "every Black person" in the Northern Hemisphere, "every Black person" in the Western Hemisphere, or what? Your statement, while no doubt well intentioned, furthers the notion (somewhat paternalistic and elitist) that *all* black people think, act, speak, etc., alike - in other words, that there is some kind of monolithic "black" culture. That is patently false. The culture from which the blues sprang was not the same culture in which, say, well educated, comparatively prosperous northern blacks found themselves ( while undoubtedly having many things in common). This is the same problem as calling things "African." What part of Africa? Sub-saharan Africa is no more monolithic in it's culture than "african" americans are. The local paper ran an interesting series a couple years ago on the perspective of truly African students (i.e. students actually born and raised in Africa) attending Atlanta University, Morris Brown or Clark College (all predominately and/or historically Black Colleges) on the craze for things "African" among american Blacks. Most were usually amused by it and often insulted at both the ignorance of Africa and its nations and the arrogance and condescension displayed by their fellow (american) students. There is no "Black" culture anymore than there is a "white" culture. Jon (getting down off my soapbox) Duttweiler ========================================================================= Date: Sat, 3 Feb 1996 15:53:38 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Re: Going to Mardi Gras Just wanted to add something to Tom's list, which I appreciate -- it saved me the trouble of posting the same. Tom's right about New Orleans not being a blues town in the strictest sense, but there is some blues to be found, and it does seem to be on the rise. Margaritaville has been featuring more blues (by young local artists primarily) recently, and I've noticed an influx of young harp players: Andy Forest, Smoky Greenwell, Jumpin' Johnny Sansone, and Rockin' Jake to name a few. Some of the older blues musicians around are Little Freddie King, John Mooney, and J. Monque'D. Little Freddie King plays very infrequently, but is scheduled to play Margaritaville on February 17. Smokin' Joe Kubek plays Margaritaville on February 20 (Mardi Gras), Also, Raful Neal is scheduled to play Margaritaville February 24 (for those staying past Mardi Gras). Corey Harris will appear at the Mermaid Lounge on February 14. Finally, Mid-City Lanes is now accepting entries for the annual Abita Beer/Offbeat Open Blues Jam contest. Winners earn $500 and a gig at Mid-City Lanes during Jazzfest. This is probably prohibitive for most blues-lers since the contest will be in March and on Tuesdays: the top two winners from the first three Tuesdays in March will meet in a playoff on the last Tuesday for the championship. If anyone is interested, I suggest calling Mid-City Lanes at 504-482-3133 or send a demo tape or CD to Mid-City Bowling Lanes, 4133 S. Carrollton, New Orleans, LA 70118. Usual disclaimers and all that. I know absolutely diddly about the contest but thought there was a remote chance someone might be interested. Hope to see you during Carnival. Bill Morgan SK>Those interested in funk and R&B New Orleans style are in for a lot of SK>oportunities during Mardi Gras this time. The Meters with Rebirth Brass Ban SK>and the Meters with the Wild Magnolias are at House of Blues the 12th and SK>13th. The Nevilles are at HOB the 17th -19th. Snooks Eaglin is at Howlin' SK>Wolf's the 17th, and George Porter is there the 19th. Eddie Bo is at SK>Margaritaville Thurs. - Sun. all through Feb., and is playing with a "big SK>band" Feb. 17. It isn't New Orleans music, but Geerge Clinton is at Tips th SK>15th and 16th-- last year in shows the week before Mardi Gras they did 5 hou SK>sets. Walter Wolfman Washington is at Buffas Thursday Feb. 15 and 18th and SK>at the Maple Leaf Feb. 17.. Boozoo Chavis is at MidCity Lane's Thurs. 15. SK> Rockin' Dopsie Jr. is at the Maple Leaf on Feb. 16. Same night, George SK>Porter is at the Rendon Innn. Rebirth Brass Band is at Carfe Istanbul the SK>17th. Marsha Ball and Mason Ruffin are at Mid-City Bowling Lanes on Feb. SK>17th. Irma Thomas is at the Treasure Chest (a casino?) on Feb. 19th (and SK>maybe in her own place Friday and Saturday? I'd check). The Continental SK>Drifters are at Cafe Istanbul on Feb. 18th. SK>Personally, my problem would be picking which one to go to. SK>Tom Freeland From: The Big Easy ========================================================================= Date: Sat, 3 Feb 1996 17:50:47 -0500 Reply-To: NancyD9 From: NancyD9 Organization: America Online, Inc. (1-800-827-6364) Subject: London blues Comments: To: bit-listserv-blues-l@uunet.uu.net I've returned from London and I want to thank all those who made suggestions as to where I should go. Ended up seeing Dr. John (who wailed!!!) with his group at Ronnie Scott's and at Blues West 14 we say Luddy ? (Otis Redding style). Very good. Wanted to catch more but time went to fast (as well as the money)..Thanks again. NancyD9@AOL..com ========================================================================= Date: Sat, 3 Feb 1996 18:24:03 -0500 Reply-To: NutMarie From: NutMarie Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Use of the n-word (I hate this phrase) Comments: To: bit-listserv-blues-l@uunet.uu.net HERE-HERE. I shows true ignorance and lack of respect!!!!! ========================================================================= Date: Sat, 3 Feb 1996 17:53:39 -0600 Reply-To: Mark Gobeyn From: Mark Gobeyn Subject: my problems The only problem I have with LIVING BLUES is that it seems to have chosen me as the one lucky subscriber to receive each new issue via Pony Express. YO LB!!! Where in the hell is my Jan/Feb issue? If it doesn't come in the next few days I may be forced (out of total boredom) to read that Tab Benoit article in the latest Blues Revue. mark (freezing his rear end off in peoria). ========================================================================= Date: Sat, 3 Feb 1996 19:15:13 -0500 Reply-To: "Daryl F. Bernard" From: "Daryl F. Bernard" Subject: Re: living blues policy Comments: To: Shaun T Cronin In-Reply-To: <199602022205.OAA06406@wavenet.com> On Thu, 1 Feb 1996, Shaun T Cronin wrote: <> > To me this thread seems to be a case of people, who share the same feelings > about racism, being led to think that they actually differ a great deal on > the subject. I suggest to all the participants that they step back a little > from the issue of whether LB is racist and look at the world as a whole. I > think that you'll see we are quite together on this one. Nice job Shaun...I've been waiting (perhaps for someone who could be more eloquent than me, and perhaps because I consider myself more of a minor on this list and was hoping for someone with more "weight") for someone to say "hey folks - maybe we all need to take a deep breath and agree that we can disagree without resorting to name calling, cheap shots, etc" Although I've enjoyed Blues for a couple years now, it's only been in the last 6 months or so that I've gotten more deeply involved. This list has been a great help in that regards. Many issues have been fascinating to follow and I have learned a great deal. PW and LW and Dick Waterman and MK Aldin and many others, including Mike Meadors have contributed to my growing knowledge, understanding, and appreciation of Blues as a force in life. Until recently, I must admit, I was completely ignorant of Living Blues, policy and all. Now I feel as if it is a magazine from which I could garner additional information about and affection for the Blues. Regarding this issue and recent developments pertaining to it, I have to say the following: 1) it is wrong, in ANY case, to disclose to a public list, correspondence sent and intended as private. Period. I don't think this issue is questionable; I believe it is simply good net manners and decent human respect. 2) Both "sides" have made strong arguments. On one hand, the entire Blues community (audience, players, etc.) owe a great deal to the founding fathers of the Blues and the culture from which it arose. On the other hand, the Blues is indeed (in my mind anyway) a living, breathing, growing, evolving creature. Any restraint on this would be foolish and non-productive. Both the "pro-LB" faction and the faction pointing to LB's policies as racist/prejudiced have made excellent points, and I won't restate them here. I believe Mike Meadors has been completely within the bounds of good judgement in his statements and arguments. 3) We ought to be able to conduct a decent, lengthy discussion->debate->argument without resorting to low-blow tactics. Let us live and evolve as human beings as well. While I'll probably end up subscribing to (or at least looking into) Living Blues, I am a bit uncomfortable with their policy (as stated in a previous post). I live in an area where there is strong (and seemingly growing) racial divisions (shouldn't it be the other way around? by now?). I've tried to raise my children color-blind. I've tried to teach my children to judge individuals as individuals, on the basis of their actions and their decency as human beings; NOT based on the color of their skin or the relgion or their choice or the country of their origin or the sins of their ancestors or by any other means that would be unfair the the indiviual. Anything short of that saddens me greatly. I have numerous close friends of African decent, of Asian decent, of Mexican decent, and several more whose ancestral trail is considerably cloudy and becoming moreso--- and you know what? WHO CARES?!?! None of it matters to me; and I sure hopw it matters not to them that my ancestors (centuries ago) came here from Europe. Do I owe anybody anything because my ancestors may have contributed to the abhoration in human society known as slavery? Do I anybody anything because black Blues musicians were taken advantage of by white management/establishment? Of course not. The only thing I owe ANYONE is to treat them with decency as human beings until their behavior warrants otherwise. Having said all that, I feel my position is justified when I say I am quite uncomfortable when a policy is constructed that establishes it's basis on the color of skin. As we head into the next millenium, can we not develop more socially advanced ways of dealing with eachother. Thanks for letting me ramble. I've held back on this until now, and I won't say anything further. Daryl ========================================================================= Date: Sat, 3 Feb 1996 16:45:47 +0000 Reply-To: bob fulkerth From: bob fulkerth Organization: Sonoma Interconnect,707.522.1001,ppp$12/mo,Santa Rosa,CA(us) Subject: Kiss Tomorrow Goodby Comments: To: bit-listserv-blues-l@uunet.uu.net My apologies for a double post if this is one . . . . I just began to subscribe, but my newsreader has been giving me wierd messages so don't know if my note got through. I'm interested in Kiss Tomorrow Goodby by Danny White. It was covered by Johnny Winter, but Id'like the original if anyone knows about it, or where to look. I came across it in the early sixties. Don't know when or who originally recorded it. Great song. ========================================================================= Date: Sat, 3 Feb 1996 17:24:13 -0800 Reply-To: Michael Hewitt From: Michael Hewitt Subject: Boob Tube Blues (maybe...) In the just for laughs department... Tonight's episode of "Touched By an Angel" will feature B.B. King, Al Jarreau, Dr. John and Al Hirt. The epsiode centers around a struggling blues club and these, I believe, will be cameo performances. As a side note, the club owner is played by Hal Linden who manages to play a fair dixiland clarinet if memory serves me correctly (which it seldom does). Michael Hewitt mhewitt@telis.org Region 7 Telementor MDH1953@aol.com California Technology Project 209-667-5903 X34 Troutbusters - Modesto, CA Fax 209-667-7628 "Flyfishing for trout is the closest thing to Heaven on Earth." - M. Hewitt "Nobody loves me but my mother, and she could be jivin' too." _ B.B. King ========================================================================= Date: Sat, 3 Feb 1996 20:25:32 -0500 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: Alligator records discrimina Comments: To: Jon Duttweiler In-Reply-To: <1.5.4b11.16.19960203213008.197fdf10@popd.ix.netcom.com> Please stop this! If you don't know, ask somebody. Read, study,... or talk about the blues. On Sat, 3 Feb 1996, Jon Duttweiler wrote: > At 01:28 PM 2/3/96 GMT, you wrote: > > > The problem > >>comes when you tell me that every Black musician is part of the > >>"Black culture" and every White musician is not. > > > >Every Black person is a part of "Black Culture", musician or not. > > > > > >Scott > > Scott, would that be "every Black person" on the face of the earth, "every > Black person" in the Northern Hemisphere, "every Black person" in the > Western Hemisphere, or what? > > Your statement, while no doubt well intentioned, furthers the notion > (somewhat paternalistic and elitist) that *all* black people think, act, > speak, etc., alike - in other words, that there is some kind of monolithic > "black" culture. That is patently false. The culture from which the blues > sprang was not the same culture in which, say, well educated, comparatively > prosperous northern blacks found themselves ( while undoubtedly having many > things in common). This is the same problem as calling things "African." > What part of Africa? Sub-saharan Africa is no more monolithic in it's > culture than "african" americans are. The local paper ran an interesting > series a couple years ago on the perspective of truly African students (i.e. > students actually born and raised in Africa) attending Atlanta University, > Morris Brown or Clark College (all predominately and/or historically Black > Colleges) on the craze for things "African" among american Blacks. Most > were usually amused by it and often insulted at both the ignorance of Africa > and its nations and the arrogance and condescension displayed by their > fellow (american) students. > > There is no "Black" culture anymore than there is a "white" culture. > > Jon (getting down off my soapbox) Duttweiler > ========================================================================= Date: Sat, 3 Feb 1996 20:28:40 -0500 Reply-To: Brian Rice From: Brian Rice Subject: Re: Jack Owens Comments: To: Scott Ferman In-Reply-To: <199602031829.MAA03627@server.iadfw.net> -Brian (Ann Arbor, MI - the home of Otis Spann Memorial Field) On Sat, 3 Feb 1996, Scott Ferman wrote: > ... Does anyone have any > information on Jack & Eugene? > Thanks! > > Scott > There's a CD of Jack's music out on the Testament label called It Must Have Been The Devil. It's some field recordings made by musician/scholar David Evans back in the late '60s. Well worth picking up as there not much else (that I know) available. ========================================================================= Date: Sat, 3 Feb 1996 17:31:09 -0800 Reply-To: Michael Hewitt From: Michael Hewitt Subject: Daddy's Got A New Set Of Drums Well, actually it's a used set, but what the hell...they're new to me! After 11 years of doing without (I sold my original set when my daughter was born in order to buy a camera), I used a little extra money I received to by a used Ludwig set. The first few licks were quite rusty (putting it mildly), but after a little while the tentativeness disappeared and I began to find a groove. I put various blues artists on the CD player an started working on getting the touch back. I figure a month of steady practice and I'll be ready to hitch up with some local musicians and jam. Oooohhhh...I get goosebumps just thinking about it! Hmmm...there is an "up" side to divorce after all.... Michael Hewitt mhewitt@telis.org Region 7 Telementor MDH1953@aol.com California Technology Project 209-667-5903 X34 Troutbusters - Modesto, CA Fax 209-667-7628 "Flyfishing for trout is the closest thing to Heaven on Earth." - M. Hewitt "Nobody loves me but my mother, and she could be jivin' too." _ B.B. King ========================================================================= Date: Sat, 3 Feb 1996 20:38:17 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Is the amount of current blues high? Since I've only been around the blues a short time, yet I get to listen to much and I see quite a bit being put out. My question asks for some historical perspective. Against the backdrop of the (seems to me) large amount of new CDs in the blues genre how does this amount of material stack up against past times and/or periods as far as amounts of LP's etc. being issued? Leaving out the fact that the CD medium may make it that much easier to put out new mater- ial and hopefully accounting for population growth - does anyone have any insights. Are we inside a blues explosion of some sort? It seems to me that alot of new artists are getting air & a lot of older artists are being brought back. Barry NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sat, 3 Feb 1996 20:41:36 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Breaking down the blues ... In my reviews I am not that adept at noticing and identifying styles and influences i.e. Chicago, West Side, Piedmont etc.. In need of some help. I'm looking for a listing of styles of the blues and identifying marks to note them by. TIA Barry NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sat, 3 Feb 1996 20:56:14 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Is the amount of current blues high? Comments: To: bsco@panix.com In a message dated 96-02-03 20:42:12 EST, bsco@PANIX.COM (Barry Silverberg) writes: > My question asks for some historical perspective. Against > the backdrop of the (seems to me) large amount of new CDs > in the blues genre how does this amount of material stack > up against past times and/or periods as far as amounts of > LP's etc. being issued? As far as reissues go, I think we are going through what amounts to a golden age, with signs even of improvement. I have been buying blues reissues for over 20 years; I am aware of reissues prior to that. Look at the ranges of material available: completist reissues from Document, the ready availability of reissue labels like Yazoo, and labels such as Arhoolie and Testament, and major label reissue activity such as the Sony Roots series, the Chess / MCA stuff, the Blues Classics box Mary Katherine announced this week, and Capital projects by Pete Welding. I can only think of a couple of vinyl LPs that I still want on CD that aren't out: The Piedmont Robert Wilkins recording and the Yazoo string ragtime set. Another thing that amazes me compared to the past is how easy this music is to find. This isn't "collecting" any more (seeking out the odd store here and there with some, mail ordering, hoping for unusual imports to turn up), this is shopping. Memphis and New Orleans, both in range of me, have stores with HUGE stock in store, and here in Oxford, there is a store that can mail order about anything quickly, and has a respectable stock in place. (disclaimer: My brother owns a share of that store and works there). As far as new material goes, I think it is dangerous to compare what is going on now to the "giants" of the past in any area (not just music). While it does not seem to me there are obvious figures to compare to, say 50s Chicago or 20s and 30s Memphis, I am also aware that those scenes were not exactly common knowledge or immediately accepted in their day. There is a lot of interesting blues out, and artists newly coming to record who I find interesting. Nevertheless, I do not think this is a particularly remarkable era for newly recorded blues. Tom Freeland ========================================================================= Date: Sat, 3 Feb 1996 09:15:00 CST Reply-To: Point Of View From: Point Of View Subject: Weird TV & New MIME type - no list content Comments: To: bbowman@gr.com, bdarin@cnsnet.com, leri@list.pitt.edu, pwfenton@GATE.NET, patti@ABEL-INFO.COM, rossentj@interaccess.com, sbrothers@gr.com, sstefani@gr.com Hilarious Ad seen on C|Net show on Discovery/TLC? In an ad for Pipeline (the U.K. ISP, now moving into U.S. market), they show a 50's type film of high school kids and one of them is a complete geek - his name is Dick. Then they go to a logo for Pipeline and the headline is: Don't be a Dick get Pipeline... ---------------------------------------------------------------- RFC1437 defines MIME encoding (text/hrml, image/gif, etc.), a new type that isn't yet implemented in any browser (this would be a good Java/Netscape/Startrek app) is: matter-transport/sentient-life-form I guess you would have to a life-forms capable browser... Mike [ Home Work Java, Web, ClientServer ] [ http://www.xnet.com/~msuffern/soundtravels.html - The Blues&Travel Site ] [ Chicago Blues Festival, Clapton, Chicago-London-Amsterdam Blues Guides ] ] --------------------------------------------------------------------- [ [ "We're gonna take control of the machinery ] [ Bad little actors that chew up the scenery ] [ Job number one is gonna be findin' a way - Todd Rundgren [TR-I]] [ That we can rave all night and meditate all day" "No World Order" ] ========================================================================= Date: Sat, 3 Feb 1996 22:40:38 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Is the amount of current blues high? > My question asks for some historical perspective. Against > the backdrop of the (seems to me) large amount of new CDs > in the blues genre how does this amount of material stack > up against past times and/or periods as far as amounts of > LP's etc. being issued? ... Are we inside a blues explosion > of some sort? 1995 was an astonishing year for blues CDs in Canada -- more artists put out more material than I've ever seen. It's is my impression that there is more blues being recorded worldwide today than at any time in the past, but I don't have any way to prove that. Its odd, because it is happening at a time when the blues club scene seems to be in decline. Can anyone in the recording industry offer a comment on why there are so many CDs coming out? Are CDs easier or cheaper to produce than vinyl? Or is it just an exploding market? Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Sat, 3 Feb 1996 21:28:06 -0600 Reply-To: Timothy M Dellinger From: Timothy M Dellinger Subject: Re: Breaking down the blues ... (reply) On blues-l, we were shocked to hear: > In my reviews I am not that adept at noticing and identifying > styles and influences i.e. Chicago, West Side, Piedmont etc.. > In need of some help. I'm looking for a listing of styles of > the blues and identifying marks to note them by. Then in my opinion you are really not fit to be a reviewer. Okay, let's say that a few people type out a list of who is what style. And you read that list. Now, all you really have is a very general, second hand understanding. This can *in no way* compare to the understanding of someone who listens to a great deal of music, reads interviews, books, liner notes, reviews and other commentary, AND goes to see a whole lot of live music. How can you say that you are fit to review music if you realize that you cannot hear stylistic trends? And if you can hear them, then why the heck haven't you made the connection between "that certain sound" and the answer to the question "Well, musician, who were your major influences?" I'm sure half the list is just dying to show off their knowledge of who learned from who and who identifies themselves with what trend, and then categorizing every artist in history into minute and wonderfully thought out categories, BUT this will not help you *at all*. Although I will enjoy the endless discussion that this question might provoke, the correct answer to your question is: Spend a few years doing your homework, and then start writing reviews. -- -- It is a miracle that curiosity survives Tim Dellinger formal education. -Albert Einstein tdelling@uiuc.edu ========================================================================= Date: Sat, 3 Feb 1996 22:48:04 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Mem Shannon/CBS Sunday Morning Comments: To: bit-listserv-blues-l@uunet.uu.net For those of you who haven't seen Mem Shannon yet, here's your chance. He'll be on Sunday Morning (CBS), Feb. 4 at 9am est. Catbauer@vivanet.com ========================================================================= Date: Fri, 2 Feb 1996 19:58:26 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Blues-L FAQ It seems that there are a few threads that never die and that resurface every now again. I think that the problem is witht he turnover over of new memmbers. If someone has just joined the list then they aren't to know that we have spent the past few weeks discussing EC's lingerie. They have a question and lo and behold the thread starts again. This idea isn't new. I think it has been mentioned in the last few weeks but how about trying to put together a Blues-L FAQ that includes topics that have been done to death and should be avoided. There are a few problems. Are there some topics, that even though they have been covered, that should be let to come alive again? How do we choose which topics to put on the FAQ. An idea, if the topic tends to divide people, is to choose responses from both sides that outline the debate. The biggest problem is who is going to put all this together? Any other ideas? Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Fri, 2 Feb 1996 19:58:21 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Lurrie Bell Lurrie Bell (son of Harmonica player, Carey Bell) get's a good write up in the March issue of Guitar Player. His life has been quite harrowing but it seems that he starting to get things together. He has a new album "Mercurial Son" out on Delamark. If anyone has heard it I would be interested in their opinion. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sat, 3 Feb 1996 20:25:46 -0800 Reply-To: emdrprac@DIRECT.CA From: Roger Brant Subject: Re: Blues-L FAQ Shaun Cronin wrote: """""....put together a Blues-L FAQ " FAQ = "Frequently A Quandary" - Roger ========================================================================= Date: Sat, 3 Feb 1996 20:25:49 -0800 Reply-To: emdrprac@DIRECT.CA From: Roger Brant Subject: Offline for a while... I will be offline for a few days. My Macintosh is undergoing a Big Mac Attack. I think I may have to shoot it to put it outta its misery. So, I will unsubscribe (sob!!) for a few days to keep my mailbox from overflowing; if you write me privately, allow until around Wednesday (7th) for a reply. Then send out the Marines. - Roger ========================================================================= Date: Sat, 3 Feb 1996 21:25:07 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Breaking down the blues ... (reply) A blues conoisseur responded to Barry Silverberg's question in this very humble way: >Then in my opinion you are really not fit to be a reviewer. Okay, let's >say that a few people type out a list of who is what style. And you read >that list. Now, all you really have is a very general, second hand >understanding. This can *in no way* compare to the understanding of someone >who listens to a great deal of music, reads interviews, books, liner notes, >reviews and other commentary, AND goes to see a whole lot of live music. >How can you say that you are fit to review music if you realize that you >cannot hear stylistic trends? And if you can hear them, then why the heck >haven't you made the connection between "that certain sound" and the answer >to the question "Well, musician, who were your major influences?" >I'm sure half the list is just dying to show off their knowledge of who >learned from who and who identifies themselves with what trend, and then >categorizing every artist in history into minute and wonderfully thought >out categories, BUT this will not help you *at all*. >Although I will enjoy the endless discussion that this question might >provoke, the correct answer to your question is: > Spend a few years doing your homework, and then start writing reviews. Thank you, oh great one, for deigning to come down from your perch atop the mountain of blues knowledge to show us humble, almost semi-illiterate, bluezellers how brilliant you are. Should Barry have to take some kind of reviewer's test before posting any more of his reviews? Does this mean that I'll have to stop posting my thoughts on some of the cd's that I listen to, just in case some people who may not know everything may be interested? Will I have to disregard Barry's reviews until, say, the year 2000? Now, according to my little message archive, you've posted about 4 times in the past few months, while Barry has contributed a great deal to discussion throughout. Now, on to Barry's question: I have trouble with distinctions as well; now, the major divisions (pre- and post-war Chicago, Mississippi Delta, Texas, jump) I can pretty much figure out. When I hear it, I know it. But when people use distinctions like Chicago West Side blues, I scratch my head a bit... I think some artists are hard to define, and different genres within blues have very blurry boundaries. Hopefully someone else can add something meaningful to this discussion without coming off sounding like a pompous ass. -Jim (hndful@uniserve.com) --------who plays exclusively in the Fraser River Delta Blues style, an obscure form of the blues that promintently features rudimentary guitar stylings and somewhat off-key shouted vocals, with lyrics focusing mainly on the trials and tribulations of dairy farming and the endless Northwestern rain. ========================================================================= Date: Sun, 4 Feb 1996 01:46:54 -0500 Reply-To: FRobinsonj@AOL.COM From: "Frank Robinson,Jr." Subject: Re: Define "Comp". Comments: To: MILLER@sci.wfbr.edu Folks, ========================================================================= Date: Sun, 4 Feb 1996 02:08:06 -0500 Reply-To: FRobinsonj@AOL.COM From: "Frank Robinson,Jr." Subject: Re: Define "Comp". Comments: To: MILLER@sci.wfbr.edu Folks, Ignore my last entry... I will attempt to explain what "comp" means... In simple terms "comping" is the art of backing up a sololist (singer,instrumentalist,etc...) by "composing" chords in a fashion that fits in with the melodic content of the song or item performed. "Comping" is usually done by instrumentalists who can play chords (guitar,piano,organ,etc...). Good examples of "comping" are found in most Count Basie recordings where Freddie Green is present. (not to mention the the Count himself) In a more BLUES-oriented context, Listen to recordings where either Pinetop Perkins, Sunnyland Slim or Henry Gray are present and listen to how the chordal structure and rhythmic content of their playing adds to the selection which they are performing. To sum up , "comp" means chords and rhythm played nice...a lost art among todays ego-centric sololists and flashy guitar twangers. ========================================================================= Date: Sun, 4 Feb 1996 02:39:25 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Country/Blues Connection Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199602030750.XAA25168@wavenet.com>, Shaun T Cronin writes: >Maybe Dick or >others in the know can help us out on how country influenced Son House and >other blues artists. > > I'm not presenting myself as "in the know", but I'm so thrilled to see a discussion about music on this list that I have to pitch in a couple of thoughts. In the late 1920's, when the price and availability of radios made the new medium more accessible, the lines were not so clearly drawn between black and white music or country and blues. In fact, the first real star of the Grand Ole Opry was DeFord Bailey, a black harmonica player, and a number of musical styles which have since been more rigidly categorized were played side by side. It would not have been uncommon for a listener in Mississippi to hear Blind Lemon Jefferson, Jimmie Rodgers and the Carter Family on the same radio program in 1927. And if that listener were a musician, like Son House, he would undoubtedly have been impressed by the variety he heard. Half of Rodgers' output during his brief career were "Blue Yodels" which were adaptations of the blues he had heard during his days with the railroad in Mississippi. Other country performers garnered experience in the old medicine shows, which were usually comprised of black and white entertainers. Roy Acuff is a good example. The original division seems to have been between "High Brow" and "Low Brow" music or classical and folk. "Country/White" and "Blues/Race/Black" was a later development and may possibly have been a device to make life easier for distributors and record sellers who preferred to order from categories for their markets. Denise ========================================================================= Date: Sun, 4 Feb 1996 00:00:28 -0800 Reply-To: Chris Adams From: Chris Adams Subject: Re: Kelly Joe Phelps Comments: To: ficara@acm.org Kelly Joe is from Portland, OR, currently living across the river in Vancouver, WA. Until about 6-7 years ago, he played bass in a progressive/avant-garde/bebop jazz band. He heard Bukka White, Fred McDowell, and Son House and he was a convert to country blues. He does many originals that at first hearing, you figure they must be old delta blues songs. He plays many traditinal spirituals and dips in to some folk/blues stuff. He is a very soulful guy and an inspiration, considering that he first picked up his guitar less than 10 years ago. He performs regularly in small clubs around Portland, but has done some national tours and has been courted by a few record companies. Keep your eyes and ears out for his next recording. Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us ========================================================================= Date: Sun, 4 Feb 1996 00:00:54 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: Re: Lurrie Bell Comments: To: Shaun T Cronin Shaun T Cronin wrote: > > Lurrie Bell (son of Harmonica player, Carey Bell) get's a good write up in > the March issue of Guitar Player. His life has been quite harrowing but it > seems that he starting to get things together. He has a new album > "Mercurial Son" out on Delamark. If anyone has heard it I would be > interested in their opinion. > > Shaun > > Shaun Cronin 'The Blues is what exists between a man and a > shaun@wavenet.com woman.' Son House and John Lee Hooker. Delmark DE-679 I have had this cd about a week. Lurrie is clearly taking the Blues in different directions on this cd. Several songs with a "jungle beat", a few shuffles, a train song, a slow Blues, and a couple of JLH style boogies. In all, a total of 61 minutes of honest raw Blues. Produced in part by fellow Blues-ler, Scott Dirks. Stan -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 ========================================================================= Date: Sun, 4 Feb 1996 00:17:49 -0800 Reply-To: Fjord Press Comments: RFC822 error: More than one sender was specified. Second and following senders discarded. From: Fjord Press Subject: Re: Is the amount of current blues high? Comments: To: Barry Silverberg In-Reply-To: I would say the years from about 61 through 69 saw the biggest blues output I can remember. I wish I could have bought it all. Steve Murray "Well I played him 'gainst a queen Fjord Press and he never won a thing Seattle, WA Jack of diamonds is a hard card to play" fjord@halcyon.com --Mance Lipscomb ========================================================================= Date: Sun, 4 Feb 1996 00:22:11 -0800 Reply-To: Fjord Press Comments: RFC822 error: More than one sender was specified. Second and following senders discarded. From: Fjord Press Subject: Re: Breaking down the blues ... Comments: To: Barry Silverberg In-Reply-To: There's a pretty good list of categories in the "Internet Jukebox" at CDNow: http://cdnow.com Definitions are attached, I think from the All-Music Guide, but I haven't checked them out. Steve Murray "Well I played him 'gainst a queen Fjord Press and he never won a thing Seattle, WA Jack of diamonds is a hard card to play" fjord@halcyon.com --Mance Lipscomb ========================================================================= Date: Sun, 4 Feb 1996 11:33:19 +0100 Reply-To: Mittendorp From: Mittendorp Hi, this is my first message so i would like to introduce myself a little. Please keep in mind that english is not my first laguage so that explains the bad grammar. Be patient. My name is Jan Mittendorp and i live in the Netherlands. Under the name Crossroadswei run a blues agency and blues records mail order. Each year we organize several European tours for American blues artists. To name a few artists that we worked with in the past years: Larry Garner, Percy Strother, Byther Smith, Little Smokey Smothers, RJ Mischo, Lee Shot Williams, Long John Hunter. At the moment I am working on tours for Dave MacKenzie, RJ Mischo, Smokey wilson, Big Boy Henry, Mississippi Heat, the King Brothers and several others. Besides these two activities i also have a distribution-company"All Blue Record Service" together with a friend in Belgium (Dirk Vanclooster). We have specialized on European distribution for small independent blues labels like Dallas Blues Society, Music Maker Relief, New Moon, Roesch, St George and about 30 others. As you will understand it is very important for us to informed on everythin that is going on. So if you think you have any usefull information re. the above please let us know. Our adress is crossrds@tref.nl and within a few weeks we will have our own WWW page. regards, Jan Mittendorp ========================================================================= Date: Sun, 4 Feb 1996 12:02:44 GMT Reply-To: Eliot Williams From: Eliot Williams Organization: UW-Madison Subject: Re: Is the amount of current blues high? Comments: To: bit-listserv-blues-l@uunet.uu.net I'd like to expand this question a bit. It's always seemed to me that one of the things that drove the proliferation of blues recording in the 40s and 50s (the "golden age" of recorded blues IMO) was the large number of independent record companies involved in the process. During the 70s and 80s, on the other hand, most records were made by labels controlled by large corporations, and there was a corresponding drop in the diversity of the music being released. Nowadays it seems much easier for an independent operation to get a CD produced (as noted in a recent post an artist can even produce his/her own in limited quantities) and there seems to have been an upsurge in the number and variety of blues recordings. Are the "indies" really making a comeback? EW ========================================================================= Date: Sun, 4 Feb 1996 09:12:37 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Organization: IQuest Internet Services Subject: Amazed In Indianapolis Comments: To: FRobinsonj@AOL.COM ==========In simple terms "comping" is the art of backing up a sololist (singer,instrumentalist,etc...) by "composing" chords in a fashion that fits in with the melodic content of the song or item performed. "Comping" is usually done by instrumentalists who can play chords (guitar,piano,organ,etc...).============== If any of you saw the tv show ""Touched By an Angel" last night, you saw BB King comping behind Della Reese. The show also featured Dr. John and Al Hirt. It was a show about a jazz/blues club owner , played by Hal Linden. While that was fun to see, the Austin City Limits show later on was simply brilliant. It may be the best BB King concert footage ever!! (And "Live In Africa" was pretty damned good.) I don't know why anybody would be surprised he could do what he did after all those years on the road, but this performance, at age 70, is awe inspiring. If this show hasn't hit your market yet, don't miss it for anything. RJ Bauman " if blues was whiskey, I'd be drunk ALL the time......." ========================================================================= Date: Sun, 4 Feb 1996 06:46:28 -0800 Reply-To: "JOHN P. WILLIS" From: "JOHN P. WILLIS" Subject: Blues at the Rock Hall This is multipart MIME message. --cwwdqjdcnhpxpxmoqjxxexfwtyljly Content-Type:text/plain; charset=US-ASCII; name="NCZ3F70.TMP" >From the rock & Roll Hall of Fame: --cwwdqjdcnhpxpxmoqjxxexfwtyljly Content-Type:text/plain; charset=US-ASCII; name="rkblues.txt" I am forwarding the following announcement form the Rock & Roll Hall of fame-- Cleveland. There is a website address for this also. John Willis -------------------------------------------------------------------------------- ROCK AND ROLL HALL OF FAME ANNOUNCES BLUES PROGRAMS Programs To Celebrate Black Roots of Rock and Roll during National Black History Month Cleveland - 1/19/1996 The Rock and Roll Hall of Fame and Museum will launch its 1996 educational programming with a series of programs on the blues in February. The program series, entitled "The Blues: A Celebration of the Black Roots of Rock and Roll," will be the first in an annual series of programs that coincide with National Black History Month. It is produced in conjunction with the Ohio Lottery, an official sponsor of the Rock and Roll Hall of Fame and Museum. "The blues is a bedrock of what became rock and roll in the fifties," said the museum's Director of Education Robert Santelli. "And we plan to bring some of the nations's foremost authorities on the blues in to share in our programming as well as avid practitioners who 'know' the blues." The blues series will feature films, lectures and an acoustic concert series call "Back Porch Blues." Events are open to the public with some being presented free and others for a special event admission of $5. Lectures during the month will feature Roger Steffens, the foremost authority on Bob Marley; Robert Palmer, former New York Times music critic and author of "Deep Blues" and "Rock and Roll: An Unruly History;" and Santelli, author of "The Big Book of Blues." The first of a series of panel discussions called the "Sound Off Series" will begin during February as well. The initial forum is entitled "Can White Boys Play The Blues?" and will feature a distinguished panel of experts. Films that will be shown at the museum are "Deep Blues," based on Palmer's book of the same title, and a movie about the life of legendary folk blues singer "Leadbelly." The "Backporch Blues" performances will feature Mississippi bluesman Lonnie Pitchford, a traditional country blues artist, and Cleveland-based Robert Jr. Lockwood. Pitchford plays an acoustic one-string instrument called a diddley- bow, which he makes by hand, and guitar. Lockwood was recently presented the National Endowment for the Arts Medal from President Clinton. Each February, the museum plans to feature programs showcasing the Black roots of rock and roll. Gospel, rhythm & blues and soul will be featured in successive years, following this year's celebration of the blues. Tickets for paid events go on sale Monday, January 22, at the museum box office and at Ticketmaster outlets. For reservations to the free events call 515-1228. To get general ticket information call 781-ROCK. AREA CODE ---[216] ========================================================================= Date: Sun, 4 Feb 1996 10:01:00 EST Reply-To: "ANDRE J.M. PREVOS" From: "ANDRE J.M. PREVOS" Subject: Racism(e)? First, allow me to button down my fireproof suit..... Second, the recent _Living Blues_ thread had led me to believe that no one on this list reads any foreign blues magazine.... I am convinced that some of you read such publications. Let's consider the case of _Soul Bag_ the French blues & soul magazine published non stop since 1968 (yes! 1968!!). You will find in each issue of this magazine (written in French, cover to cover, except for the pictures which are also in English!!!) in-depth articles and/or interviews of black artists as well as record reviews of such performers. Does that make _Soul Bag_ "racist"? Does that make it "stupid," "biased," or, even worse "foreign"? Third, as I lower the face mask, let me acknowledge that I have been writing for _Soul Bag_ since the early 1980s. Three degrees Farenheit this morning. Kepp me warm Please!! Andre JM PREVOS Penn State University Dunmore PA 18512-1699 AXP7@psuvm.psu.edu ========================================================================= Date: Sun, 4 Feb 1996 10:18:51 EST Reply-To: EDWIN F TREMEWAN From: EDWIN F TREMEWAN Subject: WFBE Flint Mi. Blue Highway Playlist Here is the WFBE Blue Highway Playlist for 01/27/96 There was no theme for tonights show, just good blues! 9pm to 10 pm Freddie King, Hide Away Medly, Live at the Electric Ballroom, Black Top Bobby Blue Bland, God Bless The Child, Sad Street, Malaco Len Bland, For Your Love, Title Cut, Lucy Pride Little Milton, The Blues Is Alright, Greatest Hits, Malaco Jesse Thomas, Lookin For That Woman, Title Cut, Black Top Johnny Dyer, Baby What You Want, Jukin, Blind Pig Roomful Of Blues, Marie Marie, Turn It Up...., Bullseye Joe Louis Walker, Blusifyin, Blues Of The Month Club, Gitanes Little Charlie/Nightcats, Too Close Together, Straight Up, Alligator Dave Hole, Counting My Regrets, Steel on Steel, Alligator Pine Top Perkins, Ive Got My Mojo....,&the Blue Ice Band, Earwig Jesse Austin, Youve Got To Hurt, Babys Back, Roesch 10pm to 11pm John Primer, Come Back Baby, The Real Deal, Code Blue Long John Hunter, Arkansas Rooster, Border Town Legend, Alligaor Cephus & Wiggins, Cool Down, Title Cut, Alligator Little Sammy Davis, I Aint Lyin, Title Cut, Delmark Little Cooper, East St Louis, Baby I'm Back, Black Magic Johnny Bassett, Woke Up This Morning, Live At Montreaux/Detroit, No Cover Anson/Rockets/Myers, Wild Cherry, Live at The Grand Emporium Walk That Walk, 23 hour Woman, Walk That Walk, Shiretown Bad Influence, My Babys a Superstar, Live at the Bad Habits, Wildchild Charlie Musselwhite, Revelation, In My Time, Alligator Jerry Lightfoot/Essentials, Who's Been Talkin, Burning Desire, Connor Ray Chris Cain, Trouble Makin Woman, Somewhere Along the Way, Blind Pig 11pm to midnight Shirley Brown, Good Lovin Man, Diva Of Soul, Malaco Keri Lee/Blue Devils, No Beginner to..., No Beginner, Amazing Queen Bee/Blue Hornet Band, I Wanna Thank You, Dealin with The Blues, Sharks Tooth Debbie Davies, Buzz Me, Picture This, Blind Pig Little Walter, Just Your Fool, The Essential..., Chess/MCA Terry Frank, Devil By Her Side,Title Cut, Ho-Made Junior Wells, Do A Little Something, Better Off With The Blues, Tel Arc Willie Smith, Tell Me Mama, Bag Full Of Blues, Blind Pig Larry Davis, Giving Up On Love, Blues Knghts, Evidence Luther Allison, Big City, Blue Streak, Alligator Melvin Taylor/Slack Band, Tin Pan Alley, Melvin Taylor/Slack Band, Evidence Louisiana Red, Parole Blues, Sittin Here Wonderin, Earwig Otis Spann, Great Northern Stomp, Otis Spann Is..., Candid BLUZ!! Ed ========================================================================= Date: Sun, 4 Feb 1996 10:29:31 -0500 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: Country/Blues Connection Comments: To: Ian Angus In-Reply-To: <9602031038.aa17065@admin.dis.on.ca> On Sat, 3 Feb 1996, Ian Angus wrote: > Bill Monroe, who pretty much invented bluegrass music (Flatt & > Scruggs were members of his 1945-era band) has always said that his > biggest musical instrument was a black musician from his home town > who taught him to play when he was young. (Can't remember his name.) His name was Arnold Shultz and he is legendary in the coal mining country of Western Kentucky -- the land where bluegrass was born. Shultz was considered by those who heard him to be the greatest guitarist who ever lived. He died in the spring of 1931, just months before a Victor field recording unit came to Louisville to record blues, gospel and country artists of the region. A myth has sprung up that Shultz died as a result of drinking poisoned elderberry wine. Supposedly the wine was given to him by another musician who was jealous of his ability and wanted to eliminate some tough competition. (*That* sounds familiar!) Actually Shultz's death was caused by lung disease, brought on by working in the coal mines. Shultz is just one of the many African American musicians in Kentucky's rich musical history. Others include: Sylvester Weaver, the first blues guitarist to record; Cal Smith, an amazing guitarist who recorded with Louisville jug bands; Amos Johnson, a ragtime guitarist who was a major influence on a young Merle Travis; and Johnny Gatewood, a blind pianist who entertained in Chicago for years as "The Man of a Thousand Songs". Brenda Bogert Louisville KY ========================================================================= Date: Sun, 4 Feb 1996 11:55:52 -0500 Reply-To: Ken Ficara From: Ken Ficara Subject: Re: American Folk Blues Festivals Comments: To: JukeFreak@AOL.COM >I believe the first five, '62-'66, have been made into a box set; these are, >IMHO, the best of the lot, as they feature such artists as Sonny Boy They are great, but the 80s discs are as well, not least because they feature the kind of modern blues artists -- this is relevant to our ongoing LIVING BLUES discussion -- that you don't hear enough of. Lurrie Bell, Margie Evans, Billy Branch, etc. Karen, you're torturing me by mentioning these other years that I can't even find! Like you, I got the ones I do have in a mall music store for $4 each, in Seattle. I've never seen them at all at home in NYC. >longer in print. However, there is that box set; and if it's successful, >maybe they'll do more, eh? Perhaps. I'm afraid that (a) they'll focus on the earlier years when the "big names" were recording and (b) they'll leave off stuff from the original discs that's not (to them) as interesting. BTW, I'm listening right now to the 1965 disc, with John Lee Hooker backed up by the immortal Fred Below and Buddy Guy (!) on >>>bass<<<. :) ken ====================================================================== Ken Ficara ficara@acm.org "[Bill Gates' vision looks] as much as ever like technography, in which technology, like the sex in pornography, is always satisfying." --Stephen Manes, The New York Times More quotes available at: http://www.panix.com/~ficara/quotes/quotes.cgi ========================================================================= Date: Sun, 4 Feb 1996 12:36:26 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Country/Blues Connection Comments: To: bogert@iglou.com In a message dated 96-02-04 11:26:28 EST, you write: >Shultz is just one of the many African American musicians in Kentucky's >rich musical history. Others include: Sylvester Weaver, the first blues >guitarist to record; Cal Smith, an amazing guitarist who recorded with >Louisville jug bands; Amos Johnson, a ragtime guitarist who was a major >influence on a young Merle Travis; and Johnny Gatewood, a blind pianist >who entertained in Chicago for years as "The Man of a Thousand Songs". One story about Kentucky (central Ky?) that I read in Blues & Rythmn that I found fascinating was about the Booker Orchestra. (I just went and fetched the old B&R and see its May 1995 and that it is by Pen Bogert, not coincidentally). I've heard the tiny bit of recording they produced via a document release. What interested me was my interest in the (very rare) recordings of working string bands of the era. By "working" I mean a band with a long history of working as a band, not a studio assemblage. Among the others I am particularly fond of are the Chatmon family band (Bo Carter, Mississippi Sheiks, etc. etc.), the Graves brothers (Mississippi Jook Band), the Dallas String Band, and various Memphis outfits (Stokes & Sane, the Brownsville musicians with Estes at the center), and the old recordings by Louie Bluie & friends & family. Another fascination about these bands is that they tend to have a fair amount of 'institutional memory'-- they often play older song styles that were popular throughout the band's history. The Dallas String band plays songs that harken back to the late 19th C, which has to be in part because it was a second-generation band when it recorded. I've listed a few of these old time bands that recorded 'back then'-- in the 20s and 30s. What others were there? One area where my knowledge is particularly week is the Piedmont. What bands like this from Georgia-to-Virginia recorded? What I'm talking about are country blues style (or even ragtime style) string bands that had a relatively long history of working as a unit. ps to Brenda Bogert: Pen's B&R piece on the Booker Orchestra was a really interesting one that I enjoyed, and it lead me to seek out the Document CD. Tom Freeland ========================================================================= Date: Sun, 4 Feb 1996 12:43:03 -0500 Reply-To: USBLUE5@AOL.COM From: "Gordon, Rich" Subject: Blues in Phoenix, AZ I have a listener who will be in Phoenix, Az in early March and was wondering about the blues clubs. Any suggestions. Thanks. Rich Gordon Sunday Night Blues 10pm to Midnite WXRX 104.9 FM Rockford, IL ========================================================================= Date: Sun, 4 Feb 1996 12:43:18 -0500 Reply-To: "Matthew D. Lautenschlager" From: "Matthew D. Lautenschlager" Subject: Re: WFBE Flint Mi. Blue Highway Playlist Comments: To: EDWIN F TREMEWAN In-Reply-To: <096.00300314.VBTQ61A@prodigy.com> Hello, I'm the new kid on the block and I just read all of my messages that I received over the weekend. I am a college student and I am not always able to get to the computer lad to check my messages. When I checked my e-mail, I 196 messages!!! Reading through them I heard a lot of arguments about moderation. It seems like a good idea, however, I would disagree with it if someone used it as a form of censorship. I am against the 100%. However, like I said I just read through 196 messages and right now I think that moderation sounds like a great idea. If it's used in its right conext. if we don't use moderation, then I think that it is up to us, the subscribers, to only "mail", what we think is necessary. Once again, I am new, so, forgive my ignorance if I said what was already said. ========================================================================= Date: Tue, 30 Jan 1996 22:49:18 -0300 Reply-To: Roberto Martim Kiss From: Miguel Garcia Organization: Odonto Line BBS Subject: teste * Crossposted from: 10 Fala Miguel..... Estou a testar tudo.... espero que chegue ai! ** ** 'S * * ** ** Roberto Martim Kiss [AD] -------------------------------------------------------------------- ** Odonto Line BBS **** Sistema Odonto Line ** Provider ** -------------------------------------------------------------------- +55-11-521-7345 Postmast@Odonto.com.br Odontologic Systems ========================================================================= Date: Thu, 4 Jan 1996 02:40:23 -0300 Reply-To: Henrique Gaspar From: Miguel Garcia Organization: Odonto Line BBS Subject: Re: teste RMK> * Crossposted from: 10 RMK> RMK> Fala Miguel..... RMK> Estou a testar tudo.... espero que chegue ai! E da-lhe teste! Pensou que ter BBS e' facil? ][ ... I haven't lost my mind; it's backed up on tape somewhere! -------------------------------------------------------------------- ** Odonto Line BBS **** Sistema Odonto Line ** Provider ** -------------------------------------------------------------------- +55-11-521-7345 Postmast@Odonto.com.br Odontologic Systems ========================================================================= Date: Sat, 3 Feb 1996 19:24:08 GMT Reply-To: jackieo@MIDTOWN.NET From: jackieo@MIDTOWN.NET Subject: Re: Living Blues Editorial Policy Comments: To: bit-listserv-blues-l@uunet.uu.net Amen! Nuff said. What is it about "It's not about 3 chords and 12 bars" that people don't understand? ========================================================================= Date: Sun, 4 Feb 1996 12:29:41 -0700 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: t-shirt blues Comments: To: J A Maree In-Reply-To: How about "Bluesmen/women don't do it enough. That's why they're blue." Jay Watterworth CU Boulder On Sat, 3 Feb 1996, J A Maree wrote: > Hello all, > We're wanting to promote the blues around our way,and thought some > t-shirts might do the trick.We would love suggestions for phrases to print > on them.Some suggestions sofar have been: > "Bluesmen do it in (12) bars" > "Bluesmen do it with a slide" (or steel or bottleneck,whatever). > Any ideas?Please,not too --um--smutty.(Bluesladies,please mail in your > suggestions too) > Thanks + have fun, > Jean + Garth > ========================================================================= Date: Sun, 4 Feb 1996 03:17:27 -0300 Reply-To: Roberto Martim Kiss From: Miguel Garcia Organization: Odonto Line BBS Subject: Re: teste -E ai, Henrique Gaspar, tudo bem???? RMK> Estou a testar tudo.... espero que chegue ai! HG> E da-lhe teste! Pensou que ter BBS e' facil? Qdo vc monta a sua??? Bom, vc tem um site internet! ** ** 'S * * ** ** Roberto Martim Kiss [AD] -------------------------------------------------------------------- ** Odonto Line BBS **** Sistema Odonto Line ** Provider ** -------------------------------------------------------------------- +55-11-521-7345 Postmast@Odonto.com.br Odontologic Systems ========================================================================= Date: Sun, 4 Feb 1996 19:40:48 GMT Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: Breaking down the blues ... Comments: To: Barry Silverberg On Sat, 3 Feb 1996 20:41:36 -0500, you wrote: > In my reviews I am not that adept at noticing and identifying > styles and influences i.e. Chicago, West Side, Piedmont etc.. > In need of some help. I'm looking for a listing of styles of > the blues and identifying marks to note them by. Barry, this might be of some help. (Then again, it might not. They seem to be undergoing some reconstruction right now, because it doesn't work like it used to.) Go to: CDnow at http://cdnow.com/ then All-Music Guide, then Music Navigator, then Blues They break it down into about 80 related styles. They used to categorize artists by them, but now the respective links don't seem to go anywhere. They do have some brief definitions of about 30 styles and some other brief articles about the genre. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Sat, 3 Feb 1996 19:38:17 GMT Reply-To: jackieo@MIDTOWN.NET From: jackieo@MIDTOWN.NET Subject: Re: A question of taste for writers Comments: To: bit-listserv-blues-l@uunet.uu.net In the case of quoting blues >musicians (or by extension any other interview subject) I feel strongly >that you have no *right* to change someone else's words. I recently edited an article on Clifford Solomon for a friend for a major jazz zine and was appalled to find out they wanted Solomon's direct quotes "cleaned up" grammatically. The end result was having him sound more "white!" According to their editor this was "standard practice for publications. Jack Oudiz ========================================================================= Date: Sun, 4 Feb 1996 13:47:57 -0600 Reply-To: Keith Castleberry From: Keith Castleberry Subject: Mardi Gras Blues Some newer releases concerning Mardi Gras -- Chuck Carbo - The Barbers' Blues (Rounder) a wonderful album form an established bluesman. Lots of "Blues Brass". If you are heading for Mardi Gras, you will need to present this one at the border in order to get in. Don't settle for a cheap imitation; get the real thing. Little Sony Jones - New Orleans R&B Gems (Black Top) the "new" one. A favorite at the Jazz Fest, in 70s & 80s, died 1989. Release of sessions from 1975. GET IT!. Don't say I didn't tell you about this when its gone. I'm not sure if this is a re-release or not, but if you don't have it, you are missing some of the best Blues out there. OK, and then coming back from Mardi Gras, pop in the Monster Mike Welch I told ya'll about. That's my recs from LA (Lower Alabama) ???The Mobile Press has an article on Walter Wolfman Washington. New Orleans Blues Guy. Has anyone out there heard him before?? Thanks, Keith Castleberry The Blues Cruise WYDH 105.9 FM P.O. Box 710 Atmore, AL 36504 ========================================================================= Date: Sat, 3 Feb 1996 19:56:35 GMT Reply-To: jackieo@MIDTOWN.NET From: jackieo@MIDTOWN.NET Subject: New Jesse Thomas on Black Top Just received the new release of Jesse Thomas on Black Top and happy to report it is WONDERFUL. This is all new recordings (save a 1929 recording of Blue Goose Blues) by one of the MAJOR remaining blues artists of this century. This is a man who started recording a decade before Robert Johnson and played with both Texas Alexander and Blind Lemon Jefferson. It's a wonderful studio session with Steve James on second guitar and a host of other reverential musicians providing just the right mood and understated accompaniment. I was particularly struck by the marvelous harp work which went unmentioned in the credits (sloppy work Black Top). All together a great job by Black Top and all concerned. An essential work! ========================================================================= Date: Sun, 4 Feb 1996 14:00:10 -0600 Reply-To: Keith Castleberry From: Keith Castleberry Subject: T-Shirts Someone had asked about ideas for T-Shirts...which got me to thinking. As a fund raising project from the Blues-L how about *someone* design and market the "offical" Blues-L T-shirt?? Thanks, Keith Castleberry The Blues Cruise WYDH 105.9 FM P.O. Box 710 Atmore, AL 36504 ========================================================================= Date: Sat, 3 Feb 1996 20:08:18 GMT Reply-To: jackieo@MIDTOWN.NET From: jackieo@MIDTOWN.NET Subject: Re: Living Blues Editorial Policy I don't care if you disagree. In fact, I >encourage you to come up with thoughtful rebuttals. What would be the point? There is obviously nothing anyone would say that would move you an inch off of your position. That's why the frustration of many with these continuing silly arguments. The converted are preaching to their own and the rest will never get it anyway. So why not give it a rest bud. You've made your points excrucuatingly clear to all (and vice versa). I can assure you nothing you've said will change one word of LB's future. So don't buy it/read it. I'm relatively certain the sun will still rise in the morning and that LB will survive. ========================================================================= Date: Sun, 4 Feb 1996 16:00:07 -0600 Reply-To: Scott Ferman From: Scott Ferman Subject: Colorado, Utah, Idaho Blues Fans - Jim Suhler Dallas based Lucky Seven recording artist Jim Suhler & Monkey Beat will be performing in ski country the next couple of weeks. Sunday, Feb. 4th Brendan's Denver Tuesday, Feb. 6th The Slope Winter Park, CO Thursday, Friday, Saturday Feb. 8,9,10 BW3 Steamboat Springs Sunday, Feb. 11th Zephyr Park City, UT Tuesday,Feb. 13th Cozie's Park City, UT Wednesday, Feb. 14th Zipper's Ogden, UT Friday, Saturday Feb 16, 17 Shoope's Idaho Falls, ID If you are in the area, this band will warm you up! No affiliation with the band. Just enjoy their blues, blues/rock performances. Scott ========================================================================= Date: Sun, 4 Feb 1996 18:05:05 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: T-Shirts Comments: To: edsel@ATMORE.GULF.NET On 4 Feb 96, Keith Castleberry had this to say: > Someone had asked about ideas for T-Shirts...which got me to thinking. As a > fund raising project from the Blues-L how about *someone* design and market > the "offical" Blues-L T-shirt?? > Thanks, You're about a year late on this one Kieth. There's one hanging in my closet. We raised a whole bunch of dough and gave it all to the Delta Blues Museum in Clarksdale. It was designed by Bob Unger, produced and marketed by Marcia Grodsky, and Leonard Watkins got to lay the check on the Museum. You can see a picture of the presentation at Curtis Hewston's "Blue Highway" web page: http://www.vivanet.com/~blues P.W. Fenton Tampa, Florida ---------------------------------------------------- Please visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 4 Feb 1996 18:16:10 -0500 Reply-To: Renato154@AOL.COM From: Renato Tonelli Subject: Re: Rev Dan Smith and Piano Red Comments: To: watterwo@osiris.colorado.edu I am looking for information on the Rev. Dan Smith and Piano Red. Does anyone know of printed information besides liner notes. I've looked around and found very little. I need the information for a profile on each musician and any help would be appreciated. Renato Tonelli Renato154@aol.com ========================================================================= Date: Sun, 4 Feb 1996 17:24:50 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: KNON LB poll As threatened previously, here is the KNON top 20 blues albums for January as reported to the Living Blues poll. KNON is located in Dallas, Texas and broadcasts at 55,000 watts with an approximate 100 mile radius. We have 5 blues shows, 8 hours a week, airing at 7 pm Monday through Friday. Don O. KNON Top 20 Blues Albums-January 1996 Living Blues Poll artist/album/label 1. Guitar Shorty/Get Wise to Yourself/Blacktop 2. Billy Boy Arnold/Eldorado Cadillac/Alligator 3. Joe Guitar Hughes/Texas Guitar Slinger/Bullseye 4. Albert King/Hard Bargain/Stax 5. Rick Holmstrom/Lookout/Blacktop 6. Mem Shannon/A Cab Driver's Blues/Hannibal 7. R.J. Mischo/Gonna Rock Tonight/Blue Loon 8. Albert Collins/Live 93-93/Pointblank 9. Jordan Patterson/Give Me a Chance/JSP 10. Little Walter/Blues With a Feeling/MCA/Chess 11. Percy Strother/Highway is My Home/Black Magic 12. Melvin Taylor/Melvin Taylor and the Slack Band/Evidence 13. Helge Tallqvist/Hitsville Hop/Q Records 14. Little Milton/Live at Westville Prison/Delmark 15. Kenny Traylor/Born With The Blues/Hardtop 16. Larry Garner/You Need to Live a Little/Verve 17. Karen Carrol/Had My Fun/Delmark 18. Mojo Buford/Still Blowin Strong/Blue Loon 19. Gary Primich/Mr Freeze/Flying Fish 20. Lurrie Bell/Mercurial Son/Delmark end ========================================================================= Date: Sat, 3 Feb 1996 23:30:11 GMT Reply-To: jackieo@MIDTOWN.NET From: jackieo@MIDTOWN.NET Subject: Re: "Mississippi Heat" - Name of lead singer? Comments: To: bit-listserv-blues-l@uunet.uu.net Her name is Deitra Farr and I agree she's wonderful. Don't know how to contact her however. ========================================================================= Date: Sun, 4 Feb 1996 17:36:45 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Is the amount of current blues high? Comments: To: Barry Silverberg I'd like to ask a related question. Is the number and/or influence of independent record (CD) labels on the rise? A major driving force behind the fantastic quantity, quality and variety of blues-related music recorded in the 40s and 50s was the large number of independent record labels active at the time. A recent post pointed out that it is now relatively easy to produce limited quantities of a CD and (thanks to the great disparity between their manufacturing cost and their selling price) actually make money from doing so. This ought to encourage independent recording operations, and it does seem to me that more and more of their products are making their way into the stores and onto my CD player. Is this a real trend? I hope so. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Sun, 4 Feb 1996 17:31:14 -0600 Reply-To: Keith Castleberry From: Keith Castleberry Subject: T-Shirts for *new* guys Someone had asked about ideas for T-Shirts...which got me to thinking. As a >fund raising project from the Blues-L how about *someone* design and market >the "offical" Blues-L T-shirt?? >Thanks, > > ************************** > >We already did that last year . . . . . > >Well, sorry....any chance of a re-issue for new guys? Keith Castleberry WYDH 105.9 FM "The Blues Cruise" P.O. Box 710 Atmore, AL 36504-0710 ========================================================================= Date: Sun, 4 Feb 1996 17:47:56 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: January blues releases Just for grins, here's a list of all the new blues CDs received at KNON in January. If there is sufficient interest, I'll post this monthly. E-mail me privately. If I get 50 or 60 "yeah, do it" responses, I will. Otherwise I won't bother. Up to y'all. Don O. don.o@chrysalis.org Monster Mike Welch-These Blues are Mine-Tone Cool Chuck Carbo-The Barber's Blues-Rounder Tommy Hill (LOCAL)-Hanging With Tommy-self Various-The Bluesville Years Vol 1-Prestige Various-The Bluesville Years Vol 2-Prestige Various-The Bluesville Years Vol 3-Prestige Various-The Bluesville Years Vol 4-Prestige Rick "L.A. Holmes" Holmstrom"-Lookout-Blacktop Guitar Shorty-Get Wise to Yourself-Blacktop Albert King-Hard Bargain-Stax Burl Whitis Jr (LOCAL)-Bittersweet Blues-self Various-10th Anniversary Sampler-Blue Wave Omar & the Howlers (Austin)-World Wide Open-Watermelon Pat Ramsey-It's About Time-Rampat Miranda Louise-Mama Told Me-Planet Backsliders (Australia)-Wide Open-self Terry Frank-Devil By Her Side-Ho-made Mojo Buford-Still Blowin' Strong-Blue Loon Debi Francis-Bluz Alley-Bluz-dog Bad Influence-Live at the Bad Habits Cafe-Wildchild Duke Robillard-Duke's Blues-Pointblank Tommy Castro-Exception to the Rule-Blind Pig Johnny Dyer-Jukin'-Blind Pig Little Milton-Greatest Hits-Malaco Fillmore Sims-My Time After Awhile-Uptown Bluegills-Bluegills-Casino Mama Little Cooper-Baby I'm Back-Black magic John Primer-The Real Deal-Code Blue Long John Hunter-Border Town Legend-Alligator Cephas and Wiggins-Cool Down-Alligator Jesse Thomas-Lookin For That Woman-Blacktop Freddie King-Live at the Electric Ballroom 1974-Blacktop Jimmy Witherspoon-Live at the Mint-On the Spot John Hammond-Found True Love-Pointblank Various-Danceland Years-Pointblank END ========================================================================= Date: Sun, 4 Feb 1996 18:04:35 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: number of blues releases I can't speak for the total number of releases, but I can give you some representative numbers. These are the total blues releases received at KNON over the last several years. 1992-255 1993-250 1994-227 1995-318 So, yes, there seems to have been a few more releases lately. Don O. ========================================================================= Date: Sun, 4 Feb 1996 19:13:57 -0500 Reply-To: bob vanarsdall From: bob vanarsdall Subject: Re: Mardi Gras Blues These aren't, strictly speaking, blues - like a lot of New Orleans music. Keith's recommendations spur me to add as essential Mardi Gras music (aside from the heavy dose of Professor Longhair) The Wild Tchopitoulas - Mango Records - backing by the Neville Bros. Gumbo - by Dr. John - a great "walking tour" of New Orleans R&B Bob ========================================================================= Date: Sun, 4 Feb 1996 22:16:37 -0500 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: CULTURE SHOCK vs. Reality check! (Living Blues,etc.) Comments: To: bit-listserv-blues-l@uunet.uu.net I am constantly amazed by the level of discussion regarding black vs. white blues on this list. Although I have only been a member of this list for 2 months, I am thrilled by the level of blues knowledge amongst the members. (OK, now I am asking for you to do whatever you do to people who you disagree with) I am SO tired of having my entire culture (I am an African-American - woman) discussed as some type of "test tube" experience. At times your discussions on race and the music dilute the humanity of the artist. We know who created the music we love so much and we know that we need to acknowledge the people that perpetuate it as "Living Blues" magazine does. The music was created from a very real pain; and though I am a professional person, there were many people in my family who scrubbed floors, fed and cleaned children who were not there own and just generally busted their butts to make life better for them and my generation. Out of that (and the good times) came a music that penetrates the soul to the very core! When I sing "Stormy Monday", I feel one thing and you may feel another, but the key is we all FEEL. Ahh, the beauty of the music... Yes, I wear my culture on my sleeve and I am darn proud to do so. But everytime you put on Muddy or Bessie or T-Bone or BB or Robert or The Wolf or Minnie , or even Stevie Ray, you are wearing my culture too. You are wearing OUR culture. A gift to Americans from Americans. Get it?! Yours in the Blues! Lea Gilmore Baltimore, MD "Widl Women Don't Have the Blues" ========================================================================= Date: Sun, 4 Feb 1996 22:45:34 -0500 Reply-To: Jonny Meister From: Jonny Meister Subject: S: This list There has been some discussion about getting a moderator for this list to improve it...Moderators can help. They often direct questions to the right list (in situations that are working well), keeping everyone on each list relatively happy. I doubt we could find someone to do it, and, even if we could, it would be a concern that important stuff might be cut out by the moderator. But, damn, there has been an awful lot of crap to wade through lately... people mouthing off about policies they don't even know, and all this name-calling and 7-year-old behavior (I KNOW, I got seven-year-old twins...). I was ready to unsubscribe last week-- then, someone posted info that Johnny Copeland was going in for a replacement of the Left Ventricular Assist Device that is keeping him alive. I had seen him a couple of weeks ago, and he had been having trouble with it. I was very glad to have this update. This morning, I was very glad that someone posted that Mem Shannon was on CBS Sunday Morning, a show I don't usually watch. I watched today! So, how about a one-letter code at the start of the subject line to help us all find what we want? Use: Q: to indicate that you are asking for information. e.g. Q: how's Johnny Copeland? Q: New Cephas & Wiggins out yet? Q: B.B. King on TV? Q: Blues Clubs in Dallas? (a reply to a question would be presumed to be an answer.."Re: Q: B.B. King on TV?") I: to indicate you are providing factual Information. e.g. I: new Roots & Blues CDs out this week I: Monster Mike Welch Tour Schedule I: Copeland okay after surgery I: WXXX playlist O: to indicate that you are expressing an opinion e.g. O: Living Blues' editorial policy racist O: Living Blues' editorial policy not racist O: Melvin Taylor better than SRV O: Sound quality on Blues & Roots... S: to indicate a suggestion e.g. S: Use S to indicate a suggestion S: Split Blues-l into seventeen different sublists You get the idea; maybe one or two more letter-categories could be useful, though too many would not be good...or maybe there's a better way altogether, that someone can suggest... but a quick, easy way to identify the nature of a post would be a time-saver. And some self-restraint... one post per day max, unless there is something really compelling going on........ more reliance on private replies to people...... general adult behavior, and sticking with the subject....blues.... What do you think?? -Jonny Meister ========================================================================= Date: Sun, 4 Feb 1996 23:37:19 -0500 Reply-To: MaryA NBP From: MaryA NBP Organization: America Online, Inc. (1-800-827-6364) Subject: Boston Blues Benefit Comments: To: bit-listserv-blues-l@uunet.uu.net FOR IMMEDIATE RELEASE February 2, 1996 Contact: The Boston Blues Society Mary Melodee Alarie (617) 876-BLUE (617) 237-5272 Fax maryanbp@aol.com e-mail SECOND BOSTON BLUES SOCIETY FUND RAISER PLANNED IN CONJUNCTION WITH LOCALLY PRODUCED TV SHOW The Boston Blues Society is a non-profit, all volunteer organization. Our mission is to perpetuate blues music and it's culture through the publication of a bi-monthly newsletter and a "Schoolin' The Blues" program in local elementary and high schools. We are proud to be part of the "Nor' East Blues Showcase" that will eventually be a series of 4 television programs featuring Boston's thriving Blues scene. The programs will be aired later this year on Boston Neighborhood Network TV 3 and many other stations in surrounding areas that are associated with the program. Each show will be comprised of taped live performances by local bands, new and established alike- all performing original material. Holly Harris, host of WBOS Radio's "Blues On Sunday" program will conduct interviews with musicians and other local representatives of the Boston Blues community. The live performance segment of the show will be taped at Harpers Ferry in Allston. The next event is Monday, February 12 when the lineup includes former winner of the Boston Battle of the Blues Bands "The Shirley Lewis Experee-ance". The middle slot of the evening is ruled by Boston's elder statesman of the Blues, Mr. Weepin' Willie. At age 69 Willie just signed his first recording contract ever with local record label Fannin Street Records. Its hard to believe that such an amazing talent has never been captured on a full length disc before! He is scheduled to begin recording later this month with a scheduled CD release date of July 6- his 70th birthday! You can bet he will be in rare form for this live performance. The good times begin at 9:30 p.m. with high energy blues newcomers "Blues Express". The series will continue one Monday per month throughout 1996. All proceeds from the performances will benefit The Boston Blues Society. Donations are only $4.00 per person. For more information contact The Boston Blues Society at 617-876-BLUE. ========================================================================= Date: Mon, 5 Feb 1996 00:06:21 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Country/Blues Connection According to an article by D. Thomas Moon called "Move Over Maxwell Street," as published in the Feb./Mar. issue of Blues Revue magazine: Jimmie Lee Robinson states that on Maxwell Street during the 1940's and 1950's all kinds of music were being played--blues, gospel, folk, jazz, country/western, even polkas. The musicians played what was popular at the time, regardless of how it was categorized. As I understand, this was true of bluesmen and women of the 1930's, too. Their repertoires were versatile. They often played what the crowd wanted to hear, and country/western music was often it, among both Black and White audiences. I believe I can hear the country influence in certain blues recordings of the '30s. I wonder if it was the recording companies who decided to make the distinction by creating the "race" labels. It's too bad we humans feel a need to separate and label things. Anyway, the blues/country connection is certainly not a new thing. I'm glad for the discussion on this issue; I've wondered for a while about the connection, and I've even asked a few times online, but there's never been much of a response. Karen (Yes, I read Blues Revue (despite its grammar gremlins and comma pox) *and* Living Blues (blissfully oblivious of any editorial policies) *and* anything else I can light my obsessive little astigmatic eyes on!) ========================================================================= Date: Sun, 4 Feb 1996 22:14:26 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: Blues-l Conference My delete key has been extremely active lately so I may have missed or deleted the actual message; so, ......... Is there going to be a Blues-l conference and if so, where? Back to the delete key............ Thanx, Gary ........... Gary Constantine >> gconstan@ccinet.ab.ca << If you're lookin' for a perfect woman you're gonna' die a lonely man .............. Joe Louis Walker ========================================================================= Date: Sun, 4 Feb 1996 21:28:20 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Malaco Gospel Hi all... just wondering if any of you are listening to Malaco's new gospel releases, and if so, what are they like? Any recommendations? I was just checking out their web site (and they've got a nice one), and I see a long list of their new blues and gospel releases. We don't get any Malaco albums in the local record stores, so I haven't seen any of them around - anyone know why this is the case? I assume they don't have a Canadian distribution deal for some reason or another...? -Jim (hndful@uniserve.com) ========================================================================= Date: Mon, 5 Feb 1996 00:23:40 -0500 Reply-To: kristina@FREE.ORG From: kristina@FREE.ORG Organization: Videofantasy Subject: LIVE NUDE VIDEOCONFERENCING! Comments: To: bit-listserv-blues-l@uunet.uu.net Hi, My name is Kristina. I'm a nude model and I'd love to take my clothes off and entertain you. You can watch me live and in color on your computer. We can type back and forth and I'll be happy to perform your erotic fantasy. If this sounds like fun, visit the website and download the software. The address is http://www.videofantasy.com or you can get the software from the BBS at 815-397-9877. I'll turn the camera on in my studio and wait to hear from you. I think you'll like what I have to show you. This isn't a movie...you make a request and I'll probably fulfill it for you. Look for my picture on the Website. Hope to see you soon! Love, Kristina ========================================================================= Date: Sun, 4 Feb 1996 21:33:15 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: I: GuitarPlayer Mag For those of you who are interested in this sort of thing, the latest issue of Guitar Player is chock full of blues - Corey Harris, John Hammond, great rhythm guitar tips from Duke Robillard, and a great piece on African Soukous guitar. It's the only blues-friendly guitar mag out there, and Jas Obrecht does a great job on the blues stuff. -Jim (hndful@uniserve.com) -not associated with any of the above... Oh, yeah, any word on the (ahem) Clarksdale Blues-L gathering :-) :-) ? ========================================================================= Date: Sat, 3 Feb 1996 21:50:54 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: CULTURE SHOCK vs. Reality check! (Living Blues,etc.) Lea Gil has wrote the best post regarding the whole LB fracas. How about leaving it there, agreeing to disagree or whatever, forgetting and forgiving about any personal attacks and getting back to the thing that brings us together. The blues. We are one big family are we not? Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sun, 4 Feb 1996 22:14:42 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Country/Blues Connection Karen (who's got the best AOL name I've seen) wrote: >As I understand, this was true of bluesmen and women of the 1930's, too. > Their repertoires were versatile. They often played what the crowd wanted >to hear, and country/western music was often it, among both Black and White >audiences. I believe I can hear the country influence in certain blues >recordings of the '30s. I'm listening to Roy Book Binder right now (fantastic stuff, by the way, for those of you who like acoustic country blues). Anyway, on this album (Bookeroo! Rounder CD 3107, 1988) he plays a mix of originals, a Jesse Thomas tune, a Bo Carter track...and then Merle Haggard, and the singing brakeman Jimmie Rodgers. You can definitely hear the blues in the country tunes, and the country in the blues tunes. And I love it! -Jim (hndful@uniserve.com) ========================================================================= Date: Mon, 5 Feb 1996 02:33:04 -0400 Reply-To: Claudio Caponi MARNR From: Claudio Caponi MARNR Subject: Sex correction - Was: Rant? Previously on Blues-l Blue Joe in Red Russia said in his rant: >I'll say! Not to mention the peripatetic Mary Katherine Aldin, plus >LW, Paul Fenton, the delightfully candid Don C., Don O. and his radio [Snip] >impostor!), Sevenson, Jose in Spain, I-forgot-her-name (Permisso!!) in >Venezuela, our new friend in Argentina, phertel@cmc.doe.ca, Marcia, You not only forgot the name, but his sex as well... ^^^ ccaponi@dino.conicit.ve | Claudio Caponi | I've had my fun... Ministerio del Ambiente | Caracas - Venezuela | Otis Spann ========================================================================= Date: Sat, 3 Feb 1996 23:31:20 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: I: GuitarPlayer Mag >For those of you who are interested in this sort of thing, the latest issue >of Guitar Player is chock full of blues - Corey Harris, John Hammond, great >rhythm guitar tips from Duke Robillard, and a great piece on African Soukous >guitar. It's the only blues-friendly guitar mag out there, and Jas Obrecht >does a great job on the blues stuff. Sorry to do this to Jim but the issue he is refering to is the Feb '96 issue. The "Rhythm Guitar" issue. The latest issue is the one with Al Jourgensen of The Ministry on the cover (not quite the blues). It has an article on Lurrie Bell though. Jim is spot on though. GP is by far the friendliest guitar-mag to the blues out there. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Mon, 5 Feb 1996 00:03:43 -0800 Reply-To: Fjord Press Comments: RFC822 error: More than one sender was specified. Second and following senders discarded. From: Fjord Press Subject: Re: S: This list Comments: To: Jonny Meister In-Reply-To: <9602050345.AA22270@tahiti.netreach.net> Jonny Meister said: >So, how about a one-letter code at the start of the subject line to help us >all find what we want? I'll go for that suggestion. I just came back after a year stuck with AOL, and I recall many of these same flame wars from 94 and 95. Might I add another letter? P for Personal. It's almost impossible to find personal replies amidst the other stuff! Steve Murray "Well I played him 'gainst a queen Fjord Press and he never won a thing Seattle, WA Jack of diamonds is a hard card to play" fjord@halcyon.com --Mance Lipscomb ========================================================================= Date: Mon, 5 Feb 1996 08:31:45 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Jimmy Rogers/Lowell Fulson Comments: To: bit-listserv-blues-l@uunet.uu.net Mary Katherine Aldin wrote: >Yes -- it is time -- and both The Complete Jimmy Rogers Chess >Recordings and The Complete Lowell Fulson Chess Recordings WILL be >issued by MCA, when Andy McKaie can get to them. Most likely not 1996, >possibly 1997. If Andy doesn't have the time to get to the Jimmy Rogers and Lowell Fulson projects--and seeing as they're among the very few artists who can still benefit from the reissue of their Chess recordings, they DO need to get done--I hereby volunteer my services as reissue producer :). Scott Dirks ========================================================================= Date: Mon, 5 Feb 1996 08:36:21 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Living Blues Editorial Policy Comments: To: bit-listserv-blues-l@uunet.uu.net >From: Meadors >Subject: Re: Living Blues Policy >I don't feel threatened because I'm not in Living Blues ... I don't >belong there because I don't have the TALENT to be there ... but I >sure hope that if I DID have the talent, I wouldn't get passed over [because I'm white.] Mike, Why would you WANT to be in a magazine that's about black musicians if you're not a black musician? Scott ========================================================================= Date: Mon, 5 Feb 1996 09:09:26 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Welcome to Jan Mittendorp I want here to publicly welcome Jan Mittendorp on Blues-L. Jan is not only all what he said in his post (promoter, agent, distributor,...) he is also one of the >>most<< honnest person I know in the blues business!!) . He was the one who brought us for example Diamond Him Greene. Jan has a very good mail order service distributing numerous hard to find small US labels with great musicians (St georges, Music maker, ...) and he is a vey tasteful guitar player (although he is such a modest guy that he might well deny this!). Europeans might maybe have seen him playing/touring among others with Larry Gardner, Percy Strother... It took some time before we could see him on Blues-L and internet but as connection prices are (finally) getting down over here in Europe he finally did it. I hope other Europeans will join us soon. I can therefore only wellcome him on Blues-L, this great but sometimes noisy (IMHO) list. Jan will hopefully share with us anecdotes and other things he learned from his experience of the various tours he did with blues artists such as Byther Smith, Percy Strother .... Wellcome on board Jan! Jean-Pierre "young Man" Urbain who is NOT affiliated to any of the above mentioned projects... I'm simply a more than satisfied client which would be happy to see more people like Jan in the business. Some of you know hat I'm here on Blues-L since almost two years and ========================================================================= Date: Mon, 5 Feb 1996 08:58:41 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Alligator records discrimina Comments: To: bit-listserv-blues-l@uunet.uu.net Jon Duttweiler wrote: > >At 01:28 PM 2/3/96 GMT, you wrote: > >> The problem >>>comes when you tell me that every Black musician is part of the >>>"Black culture" and every White musician is not. >> >>Every Black person is a part of "Black Culture", musician or not. >> >> >>Scott > >Scott, would that be "every Black person" on the face of the earth, "every >Black person" in the Northern Hemisphere, "every Black person" in the >Western Hemisphere, or what? > >Your statement, while no doubt well intentioned, furthers the notion >(somewhat paternalistic and elitist) that *all* black people think, act, >speak, etc., alike -(etc....) Jon, That would be "every Black person on the face of the earth". I don't know what you *think* I meant, but you obviously completely missed my point. Which is this: Mike Meadors is NOT a part of ANY Black culture except as an observer, and his LB/racism arguments are illogical. He's grasping at straws. I didn't get involved in this to discuss or debate anthropology or sociology, but when I want to, I'll be sure to look you up. Scott ========================================================================= Date: Mon, 5 Feb 1996 01:21:33 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: BOT Playlist Feb. 4,'96 Stan Ruffo Productions 800 N. Ben Maddox Way - Suite 2200 - Visalia, CA 93292 vox/fax (209) 625-6049 - email, steamin@valleynet.com http://www.valleynet.com/~steamin "Blues On Tap" every Sunday at 8pm Subject: Playlist 0596 - Commercial Radio Date: Feb. 4, 1996 8pm -10pm Station: KI00 99.7fm (K-eye-oh-oh), Visalia CA Program: "Blues On Tap" with Steamin' Stan Ruffo Artist Title Label Track Bill Perry Love Scars Pointblank 3 Johnny Nocturne Band Shake 'em Up Bullseye 1 Charlie Sayles I Got Something To Say JSP 8 Johnny Dyer Jukin Blind Pig 11 Little Charlie NightcatsStraight Up Alligator 5 Little Milton Little Milton's GreatestMalaco 1 Various Blues Masters Vol 1 UrbaRhino 1 Tommy Castro Exception To The Rule Nasty Habits 3 Louis Jordan The Best Of Louis JordanMCA 6 Little Walter The Essential Little WalMCA 1-22 The Rolling Stones Stripped Virgin 14 John Mayhall Spinnin' Coin Silvertone 3 Lurrie Bell Mercurial Son Delmark 7 Sonny Terry & Brownie McThe Best Of ST & BM Prestige 5 Cephas & Wiggins Cool Down Alligator 5 Kim Wilson Tigerman Antone's 3 Studebaker John Outside Lookin In Blind Pig 7 Various 20th Anniversary CollectAlligator 1-3 Various Blues Fest 70's Rhino 11 William Clarke Groove Time Alligator 10 Kid Ramos Two Hands, One Heart Black Top 7 Mark Hummel Married To The Blues Flying Fish 5 Various The Bluesville Yrs Vol.3Prestige 18 Pinetop Perkins w/The Blue Ice Band Earwig 4 Bobby Blue Bland Sad Street Malaco 6 Lloyd Jones Trouble Monkey AudioQuest 4 Greg Piccolo Acid Blue Fantasy 1 "Blues On Tap" is currently reporting to The Hard Report and Living Blues http://www.valleynet.com/~steamin/bot.html -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 ========================================================================= Date: Mon, 5 Feb 1996 05:03:56 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: H: Re: LIVE NUDE VIDEOCONFERENCING! On 5 Feb 96, kristina@FREE.ORG had this to say: > Hi, > My name is Kristina. I'm a nude model and I'd > love to take my clothes off and entertain you. I knew SOMEONE could get us off the LB Policy topic. Maybe we could get Kristina to MC the first Blues-l Convention? ========================================================================= Date: Mon, 5 Feb 1996 05:34:38 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Black History Month In 1915, Carter G. Woodson, a historian keenly interested in education, founded the Association for the Study of Negro Life and History, It was through this organization that he began pressing for a "Negro History Week" as a mechanism for exploring the contribution of black Americans. This dream became reality in 1926. Woodson chose the second week of February because two people he felt affected the lives of black Americans were born during that month: Abraham Lincoln and Frederick Douglass. It would be much later, in 1976, when the now-renamed Association for the Study of the Afro-American Life and History would succeed in expanding this week into Black History Month. ========================================================================= Date: Mon, 5 Feb 1996 11:17:27 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: New Jesse Thomas on Black Top Comments: To: bit-listserv-blues-l@uunet.uu.net > >Just received the new release of Jesse Thomas on Black Top and happy >to report it is WONDERFUL. This is all new recordings (save a 1929 >recording of Blue Goose Blues) by one of the MAJOR remaining blues >artists of this century. ~~~~~~~~~~~~~ Sadly, no longer...he died a few months ago. Anyone interested in Jesse Thomas needs to get the Document release of "The Complete Jesse Thomas 1948-1958"; 20-something otherwise VERY hard to find tracks that show the amazing breadth of his talents, from serious down-home Blind Lemon-style solo stuff through swinging, blaring West Coast R&B a la Lowell Fulson's early sides, and some always interesting musical side trips in between. Jesse was a major talent and an incredibly sweet and humble guy. A few years ago some regulars on the Prodigy blues bb got together and chipped in to buy Jesse a new electric guitar to replace the piece of crap he was then fighting with. Jim Bardsley, who is a sometime contributor here on the blues-l, was the person who lived nearest Jesse, and became friends with him. I don't think Jim will mind my telling this story (maybe he'll jump in and fill in the blanks or straighten me out if I get it wrong): Once they were talking about Jesse's potential recording opportunities, and Jim, making a subtle reference to the fact that Jesse was then 80+ years old, said that Jesse shouldn't waste any time. Jesse agreed, saying that he wanted to get something out before the blues went out of style again. I smile when I think about this, because he always remained such a pragmatic optimist. I live in Chicago, and he lived in Louisiana. We corresponded a bit, and I told him that I was going to be at the New Orleans Jazz & Heritage Festival when he was playing (he was a regular there), and wanted to hook up with him. When I got to his hotel room, he said he wasn't feeling well, and he looked terrible. I suggested that he cancel out of his festival gig, but he refused, saying that he'd signed a contract, and he'd never backed out of a commitment yet. He asked if I could help him out by playing harp with him at the fest. I did, but he really struggled that day. He went home, saw his doctor the next day, and it turned out that he'd had several minor strokes the day before the fest. He was in the hospital for a while, but recovered well enough to play the Chicago Blues Fest that year, and a few more N.O. J&H fests too. Coincidently, the first time I met him in person was at the University of Chicago Folk Festival in '92...I was just at the '96 edition of that fest yesterday, which is what stirred up my memories of Jesse. Scott ========================================================================= Date: Mon, 5 Feb 1996 11:21:26 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Country/Blues Connection Comments: To: bit-listserv-blues-l@uunet.uu.net Karen Hanson wrote: > >According to an article by D. Thomas Moon called "Move Over Maxwell Street," >as published in the Feb./Mar. issue of Blues Revue magazine: Jimmie Lee >Robinson states that on Maxwell Street during the 1940's and 1950's all kinds >of music were being played--blues, gospel, folk, jazz, country/western, even >polkas. The musicians played what was popular at the time, regardless of how >it was categorized. > >As I understand, this was true of bluesmen and women of the 1930's, too. > Their repertoires were versatile. They often played what the crowd wanted >to hear, and country/western music was often it, among both Black and White >audiences. I believe I can hear the country influence in certain blues >recordings of the '30s. I wonder if it was the recording companies who >decided to make the distinction by creating the "race" labels. It's too bad >we humans feel a need to separate and label things. > >Anyway, the blues/country connection is certainly not a new thing. Karen, I've never done any serious study of the blues/country connection, but it's obvious that the connections (as pointed out elsewhere) and long and strong. All I can contribute are a few personal observations as further evidence: When I've gone over to visit Dave Myers at his home, the only radio station I've EVER heard him listening to is WUSN, the local country station in Chicago. He also occasionally performs a pretty cool version of Red Foley's "Boogie Woogie Shoe Shine Boy" in his live sets. Jimmie Lee Robinson does a pretty interesting country (actually, more cowboy-style) version of "Jack O' Diamonds" (no, not the blues song, this is completely different song). Jimmie also likes to wear spurs and cowboy boots. And he tells stories of playing in a country band c. '50 or thereabouts with his old running partner Moody Jones (Floyd Jones' cousin) who is said to have been a serious country player in addition to his blues credentials. Otis Rush wears a cowboy hat :). That's all the proof I need. Scott ========================================================================= Date: Mon, 5 Feb 1996 11:23:58 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: The Late Great Magic Sam Comments: To: bit-listserv-blues-l@uunet.uu.net Seventhson:), There's some new Magic Sam on the way, too. I've been compiling a Delmark Blues Guitar Anthology for release later this year, and in the vaults I've found good quality tapes of some excellent live performances that have never been heard (except maybe by Dick Shurman:)). One cut should be on the anthology, with possibly more to come later. Scott ========================================================================= Date: Mon, 5 Feb 1996 06:56:25 EST Reply-To: William Pollak From: William Pollak Subject: Re: Malaco Gospel Comments: To: Jim Witteveen In-Reply-To: Your message of "Sun, 04 Feb 96 21:28:20 GMT." <96Feb4.212821pst.30759-1+584@haven.uniserve.com> Jim Witteveen writes >Hi all... just wondering if any of you are listening to Malaco's new gospel >releases, and if so, what are they like? Any recommendations? I was just >checking out their web site (and they've got a nice one), and I see a long >list of their new blues and gospel releases. We don't get any Malaco albums >in the local record stores, so I haven't seen any of them around - anyone >know why this is the case? I assume they don't have a Canadian distribution >deal for some reason or another...? Malaco has a subsidiary label called Blackberry that released my two current favorite discs, "Live in Memphis" and "Live in Memphis II" by the Canton Spirituals (thanks a million times to Lee Spector for introducing me to this group). From what I understand, these discs have both spent a long time on the contemporary gospel charts. The Canton Spirituals are a quartet from Canton, Mississippi who once recorded for Peacock (I think). They feature deep, heartfelt preaching and testifying from the great Harvey Watkins, Jr., and if they don't give you the chill, you should probably check your pulse. Bill P. ========================================================================= Date: Mon, 5 Feb 1996 12:20:10 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: t-shirt blues In-Reply-To: On Sat, 3 Feb 1996, J A Maree wrote: > Hello all, > We're wanting to promote the blues around our way,and thought some > t-shirts might do the trick.We would love suggestions for phrases to print > on them.Some suggestions sofar have been: > "Bluesmen do it in (12) bars" > "Bluesmen do it with a slide" (or steel or bottleneck,whatever). > Any ideas?Please,not too --um--smutty.(Bluesladies,please mail in your > suggestions too) > Thanks + have fun, > Jean + Garth > How's about "Bluesmen go down slow" :):) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [5/2/96 6:44 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 5 Feb 1996 07:28:08 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Announcement: Additional nomination When I finally got my hands on a copy of the magazine that announced the nominations for the "Florida Jammy Awards", (In case you've forgotten my band was nominated for Best Blues Band :'), I made a discovery. My bass player, Andy Irvine, was nominated BEST BASS PLAYER in the whole state of Florida. Way to go, Andy!!!! P.W. Claimer: I am completely biased in regard to any information about myself, the band, it's individual members, and The Florida Jammy Awards, and I expect to profit (some day) from their success. ========================================================================= Date: Mon, 5 Feb 1996 05:47:47 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: Re: Blues-l Conference Comments: To: Jim Witteveen >> My delete key has been extremely active lately so I may have missed >>or deleted the actual message; so, ......... Is there going to be a Blues-l >>conference and if so, where? > > >Hi there...some coincidence!... at the same time you sent this post, I sent >a post to the list with the same question! What was your suggestion for a >venue? > >-Jim (HNDFUL@UNISERVE.COM) Jim: I really don't have any suggestions since holding the conference in the wilds of northern Alberta is out of the question. My boss is pressuring me to book vacation and since I don't have any plans for this year I thought the conference would be a good idea as a starting point on a blues tour. Gary ........... Gary Constantine >> gconstan@ccinet.ab.ca << If you're lookin' for a perfect woman you're gonna' die a lonely man .............. Joe Louis Walker ========================================================================= Date: Mon, 5 Feb 1996 08:08:35 EST Reply-To: levyt@RL.AF.MIL From: Toby Levy Subject: Lonnie Shields Live in Upstate New York Thank you to Rich Gordon and Scooter Silverberg for your exchange of notes concerning Lonnie Shields last month. If not for your words of praise, I probably would not have had the distinct pleasure of seeing him perform Saturday night. I had already made plans to go 50 miles on Sunday to see another bluesman, but Lonnie was right in my town. A friend met me at the Devereaux at 10pm. It was below zero out, without factoring in the wind chill. Was it the cold that kept everyone home? Usually the small gin mill is crammed full of people whenever there is live music (the owner has rock, jazz and reggae bands there besides blues). Including the bartenders there was no more than a dozen people in the place. No more than a couple dozen more would filter in the rest of the night. Some of the band members were already there wolfing down pizza. A few minutes later they set up and by 10:30 they were performing. Described as the Blues Night Out Band of Allentown PA, they were a tight group of young white guys who played four or five Chicago style blues. They were a mellow bunch and I noticed immediately how they all played with their eyes closed. They opened them occasionally but seriously, most of the time they looked like they were transported by their own music. Finally the harp player introduced Lonnie as Living Blues' critics award for best new album of 1993. Lonnie was dressed completely in black from his shoes to his hat. He did not have the beard that's on his album cover, and he looked considerably younger than his age of 39. Lonnie picked up his guitar and without a word launched into a powerful song about the evils of money. I was amazed that even Lonnie, with his body swaying and foot stomping along with his hot guitar, belting out soulful vocals in a truly fine voice, even Lonnie NEVER OPENED HIS EYES! Lonnie put out a lengthy beautiful set and during the break, somebody asked him if he had cds for sale. He went out and searched through his car and couldn't find any. He came back in with 8x10 glossies of himself and handed them out to all who were interested. The second set started close to 1AM and again we had to wait about four numbers before Lonnie joined the band. It was a somewhat harder edged set, just one pretty tune after another. Finally the rhythm guitarist asked the owner if he'd like to sit in and handed him his guitar. The owner of the Devereaux, Brian Marcantonio is a long time local rocker and he lead as Lonnie sang and played rhythm on Every Day I Have the Blues. Brian played some nice lead, and as they continued on into another number I started fearing for my ability to stay awake on the drive home, so at 2:15AM I staggered out the door. I still can't get over watching a band play for about four hours with their eyes closed. Yes, the audience was small to non existent, but I certainly didn't take it as a snub. It's kind of like the fact that the vast majority of people make love with their eyes closed, the better to feel the emotions and physical sensations that are overwhelming them. This band was making love to the music, I'm quite sure. During the break my friend was talking to Lonnie about how gruelling all the travel must be to play one nigh stands like this. My friend said "You must have to love the music to go through this." "I do love it," Lonnie replied with a broad smile. "I really, really love the blues." Yeah, I know the feeling. Toby ========================================================================= Date: Mon, 5 Feb 1996 08:07:50 -0500 Reply-To: bob vanarsdall From: bob vanarsdall Subject: Re: LIVE NUDE VIDEOCONFERENCING! >Hi, >My name is Kristina. I'm a nude model and I'd >love to take my clothes off and entertain you. Does she sing, or is she a player? (and with the cold we've been having in the US, she'd be entertaining me by GIVING me her clothes...) Bob ========================================================================= Date: Mon, 5 Feb 1996 08:32:03 -0500 Reply-To: MK Sheffield From: MK Sheffield Subject: Re: Mem Shannon I love CBS Sunday Morning...it's the ONLY place where you can hear about the blues and Nebraska folklore in the same hour! For those of you who missed it, (and for those of us too STUPID to have had a blank tape handy...I, for one...) the Mem Shannon bit was great. I'd never (HERETIC! KILL HER!) never heard of Mem before...all the time I'd spent in N.O. during my college years...go figure. I know he has a CD out: Cab Driver's Blues. Does anyone know of any other CD he's on or put out individually? Thanks, Mary Katherine SHEFFIELD-but-if-you-confuse-it-with-ALDIN-I'm-flattered mksheff@cennet.mc.peachnet.edu ========================================================================= Date: Mon, 5 Feb 1996 07:27:44 -0600 Reply-To: "Norman W. Mangum" From: "Norman W. Mangum" Subject: Re: Jack Owens > From owner-blues-l@BROWNVM.BROWN.EDU Sat Feb 3 12:38 CST 1996 > X-Sender: scottf@mail.airmail.net (Unverified) Scott Ferman wrote: > Sitting here waiting for the ice to melt listening to NPR 'Whattaya Know' > and the musical guest is a Mississippi Bluesman named Jack Owens. He has a > CD out on Wolf with Eugene Powell, so they just said, called 'Last Giants of > Mississippi Blues'. Nice acoustic country blues. Does anyone have any > information on Jack & Eugene? > Thanks! You can see Jack and Eugene live at some of the Delta blues fests, such as the Sunflower River festival (Clarksdale). I saw Eugene Powell in the summer of '94 at the Crossroads Blues Festival in Greenwood. See these guys quick, if you can - they ain't gonna be 'round much longer.... BTW - they cancelled the Greenwood festival in '95 due to poor attendance at the '94 festival. The '94 festival had John Hammond, Junior Kimbrough, Charlie Musselwhite, Willie Cobb, Eugene Powell, Steve James, and about 8 other performers... Admission was under 10 bucks. The weather was perfectly clear, sunny, about 85 degrees in the sun. The venue was a huge shady park. Attendance was under 2,000, mostly from OUT OF STATE! Go figure... Walker Mangum Houston, TX ========================================================================= Date: Mon, 5 Feb 1996 08:01:32 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: LIVE NUDE VIDEOCONFERENCING! Comments: To: kristina@FREE.ORG In-Reply-To: <4f44mq$9kp@news.videofantasy.com> On Mon, 5 Feb 1996 kristina@FREE.ORG wrote: > Hi, > My name is Kristina. I'm a nude model and I'd > love to take my clothes off and entertain you. [SNIP] *sigh* Isn't it sad when cousins marry? T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "But I drove a car in Goshen, just to watch it go." - The Electric Amish, "Amish Country Blues" ========================================================================= Date: Mon, 5 Feb 1996 09:11:10 EST Reply-To: levyt@RL.AF.MIL From: Toby Levy Subject: That nasty subject I just plodded through the largest digest ever: Friday's was 193k, about the size of a full length novel. Just out of curiosity I went through and deleted all messages with "racism","discriminate", "LB", "living BLues" and "modest proposal" in the subject lines. The digest was down to 121k, almost 40% lighter (and much blusier). Isn't there a Racism-L that this discussion could be moved to? Toby ========================================================================= Date: Mon, 5 Feb 1996 08:24:08 -0600 Reply-To: Bruce Roberts From: Bruce Roberts Subject: ACL Gatemouth Brown and Keb Mo will be taping Austin City Limits tommorrow. Bruce Roberts Austin, TX ========================================================================= Date: Mon, 5 Feb 1996 10:00:12 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Bill Monroe Blues Jim W. said: > Flatt and Scruggs, bluegrass greats. ... What > struck me, besides the fact that this music is actually really good, > is the similarity between bluegrass, country, gospel, and blues. and Ian A. said: >Bill Monroe, who pretty much invented bluegrass music (Flatt & >Scruggs were members of his 1945-era band) has always said that his >biggest musical instrument was a black musician from his home town >who taught him to play when he was young. (Can't remember his name.) Bill Monroe was a big influence on harp player Charlie Sayles, who wrote a song called "Bill Monroe." It's sort of a combination blues/bluegrass with maybe a little zydeco thrown in. We have an unreleased version of it with Mad Max on guitar. If anyone wants a copy, we're giving away tapes. Send me an address, and I'll send you a tape. ========================================================================= Date: Mon, 5 Feb 1996 10:03:02 -0500 Reply-To: PARRISHR From: PARRISHR Subject: The Race Thing This whole race thing has me really confused. Where does an Hispanic blues player, like Max, fit in? ========================================================================= Date: Mon, 5 Feb 1996 10:12:26 -0500 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Re: LB & *racism* Comments: To: bit-listserv-blues-l@uunet.uu.net ACLU all black??? Well VERY much a falsehood. I am black and just happen to be the Assistant Director of the ACLU of Maryland. And believe me - it ain't all black! Lea Gilmore Baltimore, MD ========================================================================= Date: Mon, 5 Feb 1996 10:04:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re: Blues-l Conference Previously on Blues-L... My delete key has been extremely active lately so I may have missed or deleted the actual message; so, ......... Is there going to be a Blues-l conference and if so, where? [Snip] Gary Constantine >> gconstan@ccinet.ab.ca << ---------------------reply separator (it's hand made!) ------------ If it can't right here in convenient Moscow (just an overnight train trip, by the way, for our two Finnish members!), then why not have our new correspondent Kristina the nude videoconferencer set something up? Just a thought, Blue Joe in Red Russia (where it's *always* NINE BELOW ZERO!!) J.E._Downey@bakermck.com ========================================================================= Date: Mon, 5 Feb 1996 10:23:23 -0500 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: P.W. Fenton is THE MAN!! - Congrats Comments: To: bit-listserv-blues-l@uunet.uu.net Congratuations P.W. on your nomination for the Florida "Jammy" award. Keep up the good work and stay so coooool :-). Lea Gilmore Baltimore, MD ========================================================================= Date: Mon, 5 Feb 1996 10:28:26 -0500 Reply-To: "Matthew D. Lautenschlager" From: "Matthew D. Lautenschlager" Subject: Re: S: This list Comments: To: Jonny Meister In-Reply-To: <9602050345.AA22270@tahiti.netreach.net> Jonny Meister suggested that we go with a code, using a letter to indicate what kind of letter is. I think this is a great idea. And I must admit when I first subscribed I was a bit disappointed. I was expecting to hear about blues music and just all I read was argueing and shouting. I hope that this stops and that we can talk about what really matters....the blues. Matt ========================================================================= Date: Mon, 5 Feb 1996 09:34:29 -0600 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Shades of Blue Saturday night the Texas Folk Resource presented a concert at the Univerisity of Texas called "Shades of Blues". The concert was to show the different Afician-American influences on Texas music. The first group was the Poulland Family from East Texas. They play traditional Creole music. Next was TD Bell and the Blues Specialist playing more "Urban" Blues. Then the Atonements from San Antonio came out. They are a acappella gospel group. And finally Barbara Lynn, backed by the Blues Specialist, finished out the show. I really enjoyed the show, but I thought Barbara Lynn should have performed longer. And they didn't really represent the Country Blues at all. It would have been nice to have someone like "Snuff" Johnson do a set (although he's in poor health these days and doesn't perform anymore). Bruce Roberts Austin, TX PS - Barbara Lynn said she's releasing a new CD this week, so we should be seeing more of her. ========================================================================= Date: Mon, 5 Feb 1996 16:33:38 +0100 Reply-To: Mittendorp From: Mittendorp I presume there will be subscribers form Scandinavia.We distribute small independent blues labels in europe and we are especially interested retail address that have specialized on blues in the Scandinavian countries. CROSSROADS blues agency & blues records holland ========================================================================= Date: Mon, 5 Feb 1996 09:43:11 -0600 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: CULTURE SHOCK vs. Reality check! (Living Blues,etc.) Comments: To: shaun@WAVENET.COM In-Reply-To: <199602050619.WAA21063@wavenet.com> from "Shaun T Cronin" at Feb 3, 96 09:50:54 pm In an earlier message, Shaun T Cronin said: ] Lea Gil has wrote the best post regarding the whole LB fracas. How about ] leaving it there, agreeing to disagree or whatever, forgetting and ] forgiving about any personal attacks and getting back to the thing that ] brings us together. Sounds like an excellent plan to me. ] The blues. Yeah. The one thoing we all have in common. ] We are one big family are we not? I certainly believe so. -- * Billy Chambless | billy@cast.msstate.edu | voice: 601-688-7608 * Mississippi State University Center for Air-Sea Technology * To attain knowledge, add something every day. * To attain wisdom, remove something every day. -- Lao-tse ========================================================================= Date: Mon, 5 Feb 1996 10:13:31 -0500 Reply-To: "Matthew D. Lautenschlager" From: "Matthew D. Lautenschlager" Subject: Re: Country/Blues Connection Comments: To: Karen Hanson In-Reply-To: <960205000619_214325686@mail04.mail.aol.com> I'm been listening to Blues for a short time now and lately my friends, who like country music, have been able to get me to listen to country. to my amazement, I liked it. They sound the same and it is no mystery that blues and country come from the same orgin. ========================================================================= Date: Mon, 5 Feb 1996 16:54:23 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: review: GUITAR GABRIEL / Music Maker. Although I've already written a few things about this album some time ago here on Blues-L, but I've listen quite a lot to this set lately and thought it deserved a new post. So here it is (this review will be published in the second issue of Blues Gazette) GUITAR GABRIEL : VOLUME 1. Music Maker Recordings MMCD 0494 (USA) Here Comes the Devil/ Blues for Dorothy/ Old Man Rivers/ You Got to Watch Yourself/ Old Fashioned Love/ Leave My Goat Alone/ Let's Talk it Over/ Dr. Buzzard/Let it Roll/ Here Comes Grandma/ Hospital Blues/ Back in the Western Days/ Two Brothers Singer and guitarist Guitar Gabriel, born Robert L. Jones, is not a newcomer in the blues world. He recorded first in Pittsburgh in 1970 under the name of Nyles Jones (published on Gemini 7101) and was "rediscovered" by Tim Duffy who brought him back on the US and European scenes and published a number of his recordings on Karibu a few years ago. Here he comes with a new set recorded in April 1994 in Lucy Duffy's living room. Simply entitled "Volume l ", this is one of the most interesting album I've heard over the last months. He is accompanied by Tim Duffy on guitar, Michael Parrish on piano, Mark levinson on lugel-horn and bass and Ardie Deans on drums. Don't expect this set to be a simple continuation of his previous recordings but well a fascinating illustration of the multiple facets of Guitar Gabriel's life and musical personality (storyteller, musician, performer, ...) resulting in a blend of music styles that are seldom heard nowadays. Intimate and totally personal is the best way of describing Guitar Gabriel artistic performance on this album. He plays both early jazz tunes, story songs, ballads, low down blues, ... and invites the listener to follow him in his music, his worlds, his stories with sometimes astonishing lyrics ("You Got to watch Yourself", for which the CD cover mentions "Advisor Warning! This track contains explicit sexual material!"...). "Blues for Dorothy", more in line with his earlier recordings, is a moving song dedicated to his late wife which introduces some Hopkins' flavour, while a song such as "Back in the Western Days" is more akin to what one could expect from a North Carolina based musician. I can just advise you to check this set out, the sound quality is great, the music is personal and quite different from much of what we've been used to listen to recently. Jean-Pierre "Young Man" Urbain P.S. For more info on Music Maker Recordings visit Joel's Blues World homepage <>. Music Maker is distributed in Europe by ALL BLUE RECORD SERVICE (Tel/FAX +32-51-72 29 54). P.S.2. Disclaimer: not affiliated or related to any of the above companies/projects. ========================================================================= Date: Mon, 5 Feb 1996 11:54:54 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Archtop feedback fun! Hi fellow gearheads and archtop enthusiasts, :) This past Saturday at a gig I had a little extra fun with my archtop that was unpracticed and unanticipated. We were playing in pretty tight quarters and a I was a lot closer to my amp than I usually am, and towards the end of my slide-work (open D) on Elmore's "Shake Your Money Maker", when we brought the band way down, I heard the acoustic howl (feedback) starting to come up, but I fought the urge to just turn it down, but instead with the urging of a warm and enthusiastic crowd, I "played" the feedback. This was pretty cool. What I ofund was that with the slide working as if I were actively strumming or picking, and with my right hand on the volume knob, the feedback was in tune and I just played it, up and down the neck, and got this great moaning-train- whistle effect. By just easing the volume pot up and down at the edge of the feedback, I got it to "whoo-whoo" just like a train, or any number of interest- ing whistling sounds, all in tune...all the while playing the slide at the right places with my left, and the band keeping the rhythm and melody cranking and my harp player picked up the complimentary tones and followed right along with me. I came off looking like a guitar genius. :) Crowd loved it. Hey, whatever works. Hope Elmore wasn't rolling over in his grave. Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Mon, 5 Feb 1996 12:06:11 -0500 Reply-To: Skip Montanaro From: Skip Montanaro Subject: Recent blues additions to Musi-Cal... The following artists have five or more new items in the blues category in Musi-Cal this week: Julie Hoest, Steve Hurl, Sandy Ross Skip Montanaro | Looking for a place to promote your music venue, new CD, skip@calendar.com | festival or next concert tour? Place a focused banner (518)372-5583 | ad in Musi-Cal! http://www.calendar.com/concerts/ "Used to be, a good day was when I got some work done. Now I'm happy to just make it through the mail..." -me ========================================================================= Date: Mon, 5 Feb 1996 17:14:14 +0000 Reply-To: "timothy (t.b.) bosley" From: "timothy (t.b.) bosley" Subject: Re: New Jesse Thomas on Black Top jackieo@MIDTOWN.NET said > >Just received the new release of Jesse Thomas on Black Top and happy >to report it is WONDERFUL. This is all new recordings (save a 1929 >recording of Blue Goose Blues) by one of the MAJOR remaining blues >artists of this century. Agree that it's a wonderful disc. Sadly, though, Jesse is no longer with us. > I was particularly >struck by the marvelous harp work which went unmentioned in the >credits (sloppy work Black Top). All together a great job by Black >Top and all concerned. An essential work! All kudos/knocks go to TopCat - not Black Top. Recommend that you check out the other TopCat releases if you can find them. ========================================================================= Date: Mon, 5 Feb 1996 12:26:05 -0500 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: P.W. Fenton is THE MAN!! - Congrats Comments: To: LeaGil In-Reply-To: <4f57db$duv@newsbf02.news.aol.com> Ditto!! P.W, Can you share with us all the activities surrounding the nominations and presentation. BTW, how can we hear your talent. Play on! nitra On Mon, 5 Feb 1996, LeaGil wrote: > Congratuations P.W. on your nomination for the Florida "Jammy" award. > Keep up the good work and stay so coooool :-). > > Lea Gilmore > Baltimore, MD > ========================================================================= Date: Sun, 4 Feb 1996 09:27:56 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: More on Bill Monroe Ruth netioned Bill Monroe and just last night I was reading the liner notes, and listening to "Appalachian Stomp-Bluegrass Classics" on Rhino. In a nutshell there was no bluegrass before Bill Monroe but there was bluegrass after Bill Monroe. The black musician who was an influence on Monroe was Arnold Schultz, a guitarist/fiddler (I think someone has already mentioned this). This one reference point to how the blues (heavily) influenced bluegrass music. The CD, BTW, is a great introduction to bluesgrass music. "Orange Blossom Special" blows me away everytime I hear it. Now if only I could play the fiddle line that fast on guitar.... Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Mon, 5 Feb 1996 12:24:12 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0595 From: "DUTTWEILER.J" Subject: Mem Shannon on TV Date: Monday, 5 February 1996 12:23pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Mem Shannon on TV Ok, let's discuss some blues. Did anyone else see the segment on the CBS Sunday Morning show on Mem Shannon? I thought it was a very well done piece, highlighted a good deal of blues from Mem as well as giving a taste of his experiences as a Cab driver. I have not had the opportunity to hear Mem's CD, but will certainly be on the lookout for it after this. He is, as has been pointed out by others, a real original, combining a gritty down-home electric style with a more than believable singing voice (Mem stated in the interview that he was *very* reluctant, at first, to sing when he started performing again). His songs were, from what I heard, very imaginative, coming from real life experiences. This is blues from real life, blues you can believe and, hopefully, relate to. As an aside, my wife, who is not much of a blues fan, thoroughly enjoyed the segment as well. Shouldn't be too hard to purchase this disc when I find it in the stores Any other thoughts on the segment or on Mem himself? Jon (a Mem Shannon convert) Duttweiler ========================================================================= Date: Mon, 5 Feb 1996 17:32:55 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Country/Blues Connection In-Reply-To: On Mon, 5 Feb 1996, Matthew D. Lautenschlager wrote: > I'm been listening to Blues for a short time now and lately my > friends, who like country music, have been able to get me to listen to > country. to my amazement, I liked it. They sound the same and it is no > mystery that blues and country come from the same orgin. > They sound the same? THEY SOUND THE SAME!??? Now see here if this means I have to dress funny and line dance I'm going to espouse rap (where I only have to dress funny). If they sound the same I have been misled ... what's that crap they're playing on TNN? :):) They sound the same? HIMMELS-GOTES-WILLES! Why wasn't I told? Seriously, do they have the same origin? I think even that is arguable. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [5/2/96 12:17 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 5 Feb 1996 11:36:41 CST Reply-To: William Shute From: William Shute Subject: new Barbara Lynn album promised From: Bill Shute In performance at the University of Texas this last Saturday night, February 3, on the bill with a Creole string band, an acapella Gospel quintet, and TD Bell and the Blues Specialists, the great BARBARA LYNN announced that she had a new album coming out "next week." Other than saying that it was recorded in California and that it had a Al Green cover (which she performed) among the tunes, no further info was given. Still, fans of Ms. Lynn's l994 album SO GOOD, on the Bullseye Blues label, will want to start checking their stores in a week or two. I hope that she will tour with her own band (at UT, she had her own drummer, with the rest of the band being TD Bell's Blues Specialists) in support of this new album! In another unrelated (but blues-related) piece of info, I see that Document Records has now topped the 400 mark with CD releases in its main series! Presently, Document releases seem to be covering the "classic blues" singers of the early 20s, the black vocal groups of the 20s and 30s both sacred and secular, and oddball 20s/30s items that didn't fit their earlier thematic and regional compilations. Many of the recent releases capture music that is rooted in the vaudeville stage and has a strong jazz element. While little of this music will interest the country blues purist, those interested in sampling from the full spectrum of Af-Am recorded music of the pre- WWII era are encouraged to pick up a few random volumes. I'll try to review a few in the coming weeks/months if I get time. Bill Shute San Antonio, TX ps, if anyone can provide info (title, label, etc.) on that new Barbara Lynn album, please do! (and thanks in advance) ========================================================================= Date: Mon, 5 Feb 1996 09:58:18 -0800 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Re: Lurrie Bell >If anyone has heard it I would be interested in their opinion. I've heard it. It is pretty good. Some of the material is "different". (A lot of this CD is written by Steve Cushing.) The more I listen to it, the more it grows on me. I skip some tunes which seem to ramble on, but on a lot of the CD, Lurrie really tears it up. I like the idea of Lurrie Bell recording with a bass and drums. The CD was produced by Steve Cushing and Scott Dirks. He is an awesome talent. It is good to hear he is getting it together. The first time I saw him play was with the SOBs in the early 80's. He was fierce. When he is "on", he is electrifying. Joe ========================================================================= Date: Mon, 5 Feb 1996 09:59:53 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Feb. 5 Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BERMAN, IKE (co-owner : APOLLO REC) d. 1956-0205, MIAMI BEACH, FL 58 BLAINE, HAL (d/author) b. 1929-0205, HOLYOKE, MA BROWN, BOBBY (lead/THE NEW EDITION) b. 1969-0205, ROXBURY, MA CHANDEL, CORINNE (BLUES-L member) b. 1952-0205, ROCKFORD, IL CLAXTON, ROZELLE (p/arr/ERNIE FIELDS) b. 1913-0205, BARLETT, TN HARRIS, I. J.(IRON JAW) [NAPOLEON HARRIS] d. 1984-0205, CHICAGO, IL 37 KOOPER, AL (p/arr/songw) b. 1944-0205, BROOKLYN, NY MADDUX, PEE WEE (songw/SMILEY LEWIS) d. 1993-0205, BAY ST. LOUIS, MS 67 MARCUS, SOL (arr/BROOK BENTON) d. 1976-0205, LINDEN, NJ 63 MEMPHIS PIANO RED [JOHN WILLIAMS] (p) d. 1982-0205, MEMPHIS, TN 76 POMPELLI, RUDY (tsax/BILL HALLEY) d. 1976-0205 48 POWELL,VANCE"TINY"(v/MY TIME AFTER AWHILE)d. 1984-0205, OAKLAND, CA 61 ROBERTS, CHARLES "LUCKEY" (p) d. 1968-0205, NEW YORK CITY, NY 80 ROUNDTREE,KHALIL(road manager/BOYZ II MEN)b. 1956-0205,?PHILADELPHIA, PA SCOTT, BUDDY (KENNETH SCOTT SR.) (g) d. 1994-0205, CHICAGO, IL 59 SEXTON, ANN (v/SOUND STAGE 7) b. 1950-0205, GREENVILLE, SC SHADE, WILL (hca/MEMPHIS JUG BAND) b. 1894-0205, MEMPHIS, TN STRONG, BARRETT (songw/MONEY/MOTOWN) b. 1941-0205, WEST POINT, MS ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 5 Feb 1996 10:00:31 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Feb. 6 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ALVIN, PHIL (v/g/BLASTERS) b. 1953-0206, DOWNEY, CA ASTLEY, RICK (v) b. 1966-0206, WARRINGTON, UK BATTLE, EDGAR (owner:COSMOPOLITAN REC) d. 1977-0206, NEW YORK CITY, NY 69 BELVIN, JESSE (v/songw) d. 1960-0206, HOPE, AR 27 COLE, NATALIE [NATALIE MARIA COLE] (v) b. 1950-0206, LOS ANGELES, CA DANIEL, GILMORE (sax) b. 1935-0206, MEMPHIS, TN FABIAN [FABIANO FORTE] (v) b. 1943-0206, PHILADELPHIA, PA HITE, LES (bandleader/T-BONE WALKER) d. 1962-0206, SANTA MONICA, CA 58 MARLEY, BOB [ROBERT NESTA MARLEY] (v) b. 1945-0206, RHODEN HALL, JAMICA MOODY, NORMAN "STORMIN'" (BLUES-L MEMBER) b. 1955-0206, PORTLAND, OR RENE,LEON (owner:EXCLUSIVE/EXCELSIOR REC) b. 1902-0206, COVINGTON, LA ROYAL, ERNIE (tpt) b. 1921-0206, LOS ANGELES, CA SMECK, ROY (g) b. 1900-0206, READING, PA TEE, WILLIE [WILSON TURBINTON] (p) b. 1944-0206, NEW ORLEANS, LA WENNERBRANDT, GORAN (g/ERIC BIBB) b. 1959-0206, STOCKHOLM, SWEDEN ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 5 Feb 1996 13:04:35 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Mem Shannon on TV Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, JONATXXX/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=JONATXXX#a#GOMAIL#f#DOAS#f#STATE#f#GA#f#US@s1boca.corp.wrgrace.com *Any other thoughts on the segment or on Mem himself? Yes, I got his cd last week and it's great. He has some very original songs, mixing the traditional blues sound with funk. The conversations he recorded in his cab are almost worth the price of the cd. -Steve ========================================================================= Date: Mon, 5 Feb 1996 13:01:00 -0500 Reply-To: "timothy (t.b.) bosley" From: "timothy (t.b.) bosley" Subject: Re: Blues-l quote of the day In message "Re: Blues-l quote of the day", Turtle wrote: > >Statement of outright falsehoods can never be disguised as opinion. >True opinion need not be supported by facts, or supported at all. But >flat-out wrong facts can't hide under the guise of opinion. Except in >certain small-town newspapers and on certain radio shows hosted by >large, gregarious balding guys. > All of which brings to mind one of my favorite quotes: Every man has a right to his opinion, but no man has a right to be wrong in his facts. - Bernard M. Baruch ========================================================================= Date: Mon, 5 Feb 1996 13:27:39 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Welcome to Jan Mittendorp Comments: To: Jean-Pierre Urbain In-Reply-To: <01I0UM7B4OHE007S19@RL0002.RULIMBURG.NL> I'd also like to welcome Jan Mittendorp and Crossroads to blues-l. I've had very positive dealings with him and know that he works hard and honestly with a special interest in promoting tours and distributing releases by undeservedly lesser-known artists. He's the kind of person who can take pride in helping keep the bedrock of the music alive. ========================================================================= Date: Mon, 5 Feb 1996 11:33:34 -0000 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Mem Shannon on TV Jon Duttweiler asked: >Any other thoughts on the segment or on Mem himself? > >Jon (a Mem Shannon convert) Duttweiler My opinion, of course, this is the best new release of 1995 (from what I've heard). And the taped segments between songs are great - they range from the pathetic to the hilarious (Dick Tie Commandoes, The Miserable Bastard, and the one with the English guys looking for a strip joint are great); the singing is fantastic, the production is excellent, and I'm running out of superlatives here... A question, those of you who play guitar and have this album, what are the chords for One Hot Night? It's not the typical I-IV-V progression, and it's DEEEEEEEP!!! I love it (have I said that?) :-) My guess is that Mem won't have to drive taxi no more! -Jim (hndful@uniserve.com) ========================================================================= Date: Mon, 5 Feb 1996 14:30:14 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0048 From: "DUTTWEILER.J" Subject: Re: Alligator records discrimina Comments: To: BGSV75C@PRODIGY.COM Date: Monday, 5 February 1996 2:29pm ET To: GO-MAIN.BGSV75C@DOASMAIN.SNADS, Internet From: DUTTWEILER.J@GOMAIL Subject: Re: Alligator records discrimina In-Reply-To: The letter of Monday, 5 February 1996 2:17pm ET Scott, I agree that Mike was grasping at straws, I simply dislike the practice of resorting to the same type of generalizations and stereotypes in order to make a point. I'm picky that way. Jon Duttweiler ========================================================================= Date: Mon, 5 Feb 1996 14:36:26 -0500 Reply-To: MertFaj From: MertFaj Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Paul Rodgers/Rick Derringer Comments: To: bit-listserv-blues-l@uunet.uu.net I have heard Free's version and it is better that what he did on the "Muddy..." CD. Still I, too, feel you should look at a lot of this stuff as more of a rock sound and not blues. It is certainly blues oriented or based. That is why I can still listen to many of the blues-rock artists and enjoy what they are doing rather than just dismiss it as junk simply because it is not blues in the stricted sense. There is room for both styles and because someone listens to one (or both) does not mean their cannot be appreciation for any style that ges its roots from blues. I think someone can listen to Muddy Watter or Howlin Wolf and still enjoy listening to Paul Rodgers or Tinsley Ellis or whoever. ========================================================================= Date: Mon, 5 Feb 1996 14:00:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Re: Alligator records discrimina Comments: To: toz@IX.NETCOM.COM Jon Duttweiler said: >There is no "Black" culture anymore than there is a "white" culture. I dunno - try running that one past a few deparments of African-American Stuies. The black programmer who hosts our gospel show starts off by announcing that it is a program by, about and for African-Americans and "all others who take interest and delight in *our culture*". -Bonnie ========================================================================= Date: Mon, 5 Feb 1996 15:29:15 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0069 From: "DUTTWEILER.J" Subject: MEM SHANNON ON TV Comments: To: don.o@CHRYSALIS.ORG Date: Monday, 5 February 1996 3:28pm ET To: GO-MAIN.O@DOASMAIN.SNADS, Internet From: DUTTWEILER.J@GOMAIL Subject: MEM SHANNON ON TV In-Reply-To: The letter of Monday, 5 February 1996 3:23pm ET I'll echo Don's vote for Mem as 1995 new Blues artist of the year. In fact, on my Handy ballot (which I mailed today) I did just that. Don, I liked the way you put it, making new blues rather than making the blues new. This guy is definitely *IT* Jon (have we gushed enough?) Duttweiler ========================================================================= Date: Mon, 5 Feb 1996 15:32:20 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Content changes / "Subject" doesn't I'd like to send a reminder to those of you who flip the same "Subject" back and forth while the content of the messages drifts farther and farther away from the original post. Some one sent a facetious messaage headed "Alligator Records Discriminates" taking the intentionally absurd position that Alligator Records did not record country music - thus, ergo - they must be discriminating against country artists. OK, a joke is a joke and it has run its course. But the "Subject" line of "Alligator Records Discriminates" is still going back and forth and it bothers me for no other reason than Alligator owner Bruce Iglauer is a benchmark by which integrity is measured. Just to see this continuing false statement creates confusion to the new list members who are joining us every day. Dick Waterman ========================================================================= Date: Mon, 5 Feb 1996 16:03:25 -0500 Reply-To: MK Sheffield From: MK Sheffield Subject: test/no blues content Sorry, just checking. Think I double posted. Oops. ========================================================================= Date: Mon, 5 Feb 1996 16:05:49 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: PREWAR STRING BANDS: Information & Questions (LONG) One of my greatest interests is working string bands who recorded in the early days of blues recording. By "working" I mean a band that played together as units, as opposed to aggregations put together for recording sessions. By "early days" I mean 20s-1942. Among the many interests is the fact that these bands often preserved older musical styles, whether the ragtime and occasionally minstrel feel of the Dallas String Band or the quills played by Sid Hemphill. I know about a number of these bands, but there is a lot I don t know about. I do not know about Piedmont area bands (Georgia to Virginia), have only heard some from Alabama or Louisiana, and know Texas string band music mostly through the Dallas String band. I am including some information and a lot of questions in this post. What I would like to propose is that folks fill in the blanks: Talk about bands I don t mention, and music from other areas. Plus, I have some questions that I raise below. MISSISSIPPI THE CHATMON FAMILY A number of these bands were built around families in which several generations played. The Chatmon family, from Bolton (between Jackson and Vicksburg) were Mississippi s premier family string band, and were a major influence well after their time. Recording in combinations that included Bo Carter (whose real name was Chatmon but recorded as Carter and Chatman), Harry, Lonnie, and Sam Chatmon, and Charlie McCoy and Walter Vincson, these individuals recorded under their own names, and as the Chatman Brothers, the Mississippi Blacksnakes, and, most famously, as the Mississippi Sheiks. The complete recordings of these musicians represents a large pile of Document CDs; representative samples are found on Yazoo s Bo Carter release TWIST IT BABE and the Yazoo Mississippi Sheiks release (which I *think* was the Mamlish vinyl collection). Classic Sheiks recordings included "Stop and Listen Blues" and "Sitting On Top Of The World." THE GRAVES BROTHERS Not strictly a string band, these brothers recorded gospel and juke joint music under their name and as the Mississippi Jook Band. The later represents the first use of the phrase "jook" by black musicians. Roosevelt played guitar (usually 12 string) and Uaroy tamborine (to great effect), and they both sang. They recorded for Paramount in 1929, and for an ARC field unit in Hattiesburg in 1936. These later are the most remarkable, containing great gospel (a version of "Woke Up This Morning With My Mind On Jesus" that really, really rocks) and raucous juke joint music ("Hittin The Bottle Stomp," "Skippy Whippy," and "Barbecue Bust." The juke joint music contains great piano by Cooney Vaughn, who, other than a few other recordings at the same session, did not otherwise record. All of the "juke" tunes just mentioned are on the Sony Roots set GOOD TIME BLUES (CK 4780)(along with some Bo Carter), which also includes ; all of the recordings that have surfaced are on Document DOCD 5105. QUESTION: Are the other Cooney Vaughn recordings available? What about them and the other unissued ARC stuff from Hattiesburg, Sony?? SID HEMPHILL S BAND This is the Mississippi band about which I know the least. Hemphill was recorded at Sledge by Alan Lomax in his 1942 field trip, and then again in the 1959 field trip. I do not have those recordings in any format, and am curious about them. WHAT ABOUT THEM, FOLKS? Jessie Mae Hemphill is Sid Hemphill s granddaughter. BUD SCOTT S STRING BAND: I have heard reports of a truly great string band of the 20s in the Natchez area lead by Bud Scott. He may be the one in Dixon and Goodrich who played with Stovepipe Jackson and Sippie Wallace. Anyone out there have any clues? They made one trip to Indiana to play at a college dance (I know this because my grandfather set up the trip!). Does anyone know about this guy? He apparently did not make it onto record on his own. TENNESSEE HOWARD ARMSTRONG AND CARL MARTIN Armstrong (Louie Bluie) and Martin met in Knoxville. Martin came from a musical family (like the Chatmon s, the father was an ex-slave fiddler). Martin was from Big Stone Gap, Virginia. These musicians recorded as the Tennessee Chaocolate Drops, and as Louie Bluie and Ted Bogan. Martin also recorded under his own name, and they recorded after the war. Armstrong is still actively performing, and is the subject of a wonderful documentary and a series of articles supplementing the documentary in 78 QUARTERLY. Martin s recordings (with 2 of the Louie Bluie / Martin sides and the Tennessee Chocolate Drops sides) are available on DOCD 5229 with (oddly enough) the recordings of Willie "61" Blackwell. JOHN ESTES, YANK RACHEL, HAMMIE NIXON These individuals, from Brownsville Tennessee, recorded through the 30s in Memphis, Chicago, and New York. Rachel is still active. Someone else can better fill in the history of this group and recommend recordings. TEXAS DALLAS STRING BAND This was another multiple-generation family string band, led at the time of recording by mandolinist Coley Jones. They play with song styles, vocals, and instruments that point toward ragtime (the truly great "Dallas Rag") and occasionally minstrel. Listen carefully for the use of a bowed bass on their recordings. Their "Hokum Blues" was the first use of Hokum on record. Jones and the string band recorded for Columbia in Dallas in 1927-1929. "Hokum Blues" is available on the SONY ROOTS N BLUES - THE RETROSPECTIVE set, along with a Bo Carter and some truly awesome white string band music. (Anyone interested in pursing the issues raised by Country / Blues thread should look at that set, the Sony White Country Blues set, and with the Rounder or Bear Family Jimmie Rodgers). I *think* the "Dallas Rag" is on a SONY set but I cannot put my hands on it. Is there any new information about this long time string band available, Texas list members? What about other Texas string bands? OK FOLKS SOME MORE QUESTIONS: What were the other string bands who recorded, particularly in other regions? Recommend some recordings? Tell us something about the history and styles? I know of some I ve left out the Booker Orchestra in Kentucky (we have *the* experts on them on this list), various Memphis groups (including all the jug bands from Memphis), and a lot of duos. We have a lot of collective knowledge on this list and I would like to learn more about this area. AND IT WOULD BE A BLUES DISCUSSION, RIGHT? Tom Freeland ========================================================================= Date: Mon, 5 Feb 1996 16:09:41 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: t-shirt blues Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *> Hello all, *> We're wanting to promote the blues around our way,and thought some *> t-shirts might do the trick.We would love suggestions for phrases to print *> on them.Some suggestions sofar have been: *> "Bluesmen do it in (12) bars" *> "Bluesmen do it with a slide" (or steel or bottleneck,whatever). *> Any ideas?Please,not too --um--smutty.(Bluesladies,please mail in your *> suggestions too) *> Thanks + have fun, *> Jean + Garth *> * * How's about "Bluesmen go down slow" :):) Bluesmen do it with a mojo hand Bluesmen do it like a King Bluesmen do it with feeling ========================================================================= Date: Mon, 5 Feb 1996 15:19:39 -0600 Reply-To: Dave Daubard From: Dave Daubard Subject: Blues Cruise Playlist 2/2/96 Artist-----------Title---------------Release--------------Label------- Rod Piazza & MF-Rockin'Robin- Harp Burn- Black Top *Byther Smith- Mad Man- I'm a Mad Man- Bullseye +Johnny Dyer-I'm Your Hoochie.... Jukin'- Blind Pig +Long John Hunter-Ice Cold- Border Town Legend- Alligator Butler Twins- That Old Devil-Not Gonna Worry About tommorrow-JSP *Saffire:UBW-Fool's Night Out-Old, New, Borrowed, & Blue- Alligator +Louisana Red-Pittsburg Blues- Sittin' Here Wondering- Earwig +Mem Shannon-One Hot Night- A Cab Driver's Blues- Rykodisc Albert Collins-Ice Man- Live 92/93 Pointblank " " Frosty- " " " " " +Tommy Castro-Had Enough- Exception To the Rule- Blind Pig +Johnny Dyer- Everybody Talking- Jukin' " " +Lee McBee & the Passions-I'm Gonna Love You- "44"- Red Hot Rec. +John Primer-Come Back Baby- The Real Deal- Code Blue +Little Sammy Davis-"I-Man" Stomp-I Ain't Lyin'- Delmark + " " " -Shorty- " " " _ " Kenny Neal-I'm a Blues Man- Hoodoo Man- Alligator Tinsley Ellis-title tune- Cool On It- " " +Joanna Connor-You're So Fine- Rock 'n Roll Gypsy- Ruf Records Taj Mahal- Blues Ain't Nothing-Dancin' the Blues- Private Music +Freddie King-Dust My Broom- Live at the Electric Ballroom- Black Top + " " Big Legged Woman-" " " " " - " " + " " Woman Across the River " " " " " +Jesse Thomas-Blue Goose Blues-Lookin' For that Woman- " " *Saffire:UBW-Roll Mr. Jelly- Old, New, Borrowed, & Blue- Alligator +Cephas & Wiggins-title tune- Cool Down- " *Byther Smith- I'm Broke- Blue Knights Evidence +Johnny Dyer- Johnny's Boogie- Jukin'- Blind Pig + " " -Okie Dokie Stomp- " " " +Billy Boy Arnold-Sunday Morning Blues-Eldorado Cadillac- alligator +Smokey Wilson-Smokey's Shuffle- 88th St. Blues- Blind Pig Charlie Musselwhite-Watson's Excellent Adventure-In My Time-Alligator +Tommy Castro-Can't Quit the Blues- Exception to the Rule- Blind Pig +Gary Primich-Jenny Brown- Mr. Freeze- Flying Fish Debbie Davies-Can't Go On This Way-Loose Tonite- Blind Pig +Duke Robillard-Never Let You Go- Dukes Blues- Pointblank + " " " -Texas Hop- " " " " + new release * in town ========================================================================= Date: Mon, 5 Feb 1996 16:40:16 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0126 From: "DUTTWEILER.J" Subject: Re: Alligator records discrimina Comments: To: KALMBACH@MACC.WISC.EDU Date: Monday, 5 February 1996 4:39pm ET To: GO-MAIN.KALMBACH@DOASMAIN.SNADS, Internet From: DUTTWEILER.J@GOMAIL Subject: Re: Alligator records discrimina In-Reply-To: The letter of Monday, 5 February 1996 3:49pm ET But he just narrowed the culture down: african-AMERICANS. Not the same as, say, Nigerians, Ethiopians, etc. And sociologically, not *all* americans of some sort of african descent are of the same culture. I think the idea that they are, whether postulated by blacks or whites, is presumptuous at best, and paternalistic and elitist at worst. In any case, it just isn't true, and it is encumbent upon those who insist it is to offer some proof. Besides, my original point was that the blues didn't simply arise out of some generic "african-american" culture, but specifically the african-american experience in the rural south of, first, slavery, and then institutionalized segregation (i.e. Jim Crow laws). The blues is not the culture of all american blacks, seen in its rejection throughout this century by significant portions of the overall black "community," but the culture of poor, largely un-educated and savagely oppressed blacks in (pick your region of preference for the birth of the blues) the Mississippi delta, eastern Texas, or piedmont of Georgia (if I left your favorite out, please note the slight was unintentional). Jon (thats my opinion so it can't be wrong ;-) Duttweiler ========================================================================= Date: Mon, 5 Feb 1996 16:50:12 -0500 Reply-To: Stephanie Manna From: Stephanie Manna Subject: Jessie Thomas Recordings I would like to remind everyone praising Jesse Thomas's recordings, that they are available directly from his widow:Bessie Thomas,2831 Abbie St.,Shreveport,LA 71103. "Blues Is A Feeling" & "Double Dee Do Love You", cassettes$10. "Blues Moved In"CD for $15. I think its best to buy from her if you can. ========================================================================= Date: Mon, 5 Feb 1996 16:55:47 -0500 Reply-To: Stephanie Manna From: Stephanie Manna Subject: Brenda Bogert email address needed I know she's posted to the blues-l group and would like to know her email address for an upcoming James Peterson show in Louisville,Ky. Any help is appreciated! Stephanie bluemoon@usa.pipeline.com ========================================================================= Date: Mon, 5 Feb 1996 17:08:00 EST Reply-To: edward c liu From: edward c liu Subject: S&T LIVE: B.B. King @ Blue Note (LONG!) Howdy all, The first NYCD Blues Sitting & Thinking Live Review for 1996! We kick off with a review of a show during B.B. King's recent stint at the world famous Blue Note Jazz Club in New York City. If you don't want to hear someone spouting about how great B.B. is, delete now. Oh, and I got him to sign a copy of "Live at the Regal" at the show. This alone made it worth the price of admission =8^). -- Ed Edward C. Liu | "Don't make me nervous, 'cuz I'm holdin' edwick@cc.bellcore.com | a baseball bat." | -- Big Joe Turner, "Honey, Hush" The opinions in this message are mine and not Bellcore's. Really! *------------------------------cut heer------------------------------* B.B. KING / LIVE AT THE BLUE NOTE, NEW YORK CITY Friday, January 19, 1996 Vocals/Lead Guitar B.B. King Musical Director/Alto Sax Walter King Rhythm Guitar Leon Warren Keyboards James Toney Bass Michael Doster Tenor Sax Melvin Jackson Trumpet James Bolden Drums Calep Emphrey, Jr. and Tony Coleman Before I start this review, I should make sure I mention that I am the biggest B.B. King fan in the world. I saw him for the first time in February 1990, when I knew him only as that guy who did that "Live at the Regal" album I kind of liked and who got mentioned on the Beatles' "Let It Be" album. That show was the one single reason why I started getting into some serious blues in the first place. Since then, I've spent more money than I'd like to think about on CDs and live blues. I've also seen B.B. 6 times in 6 years and would pay money to see him making armpit noises and spitting into a tin can. So, it should come as no surprise that I was willing to be herded into the Blue Note (at jazz club on the Web) and pay an almost outrageous sum to see Mr. King and his orchestra live. The intimacy of the club was dual edged, in that it afforded an intimacy which Mr. King knows how to use tremendously effectively, but it also hindered even the simplest foot tapping to his music. The band made its entrance very close to the scheduled start time of 11:30 PM. They started by raising a cacophonous din, as though every artist in the band were trying to take an avant-garde jazz solo at the same time. However, this seemingly structureless noise fell gracefully into an upbeat jazzy blues instrumental at a drop of director Walter King's hand. The first time I had ever seen B.B. live, I felt that the bad was good enough to tour without B.B. This impression has only been reinforced over time. The band stretched out for a second, slower tempo number, which had Leon Warren's wonderful guitar in a starring role and drummers Calep Emphrey and Tony Coleman horsing around by playing on each other's drum kits. This is a band that clearly loves its work. After this second number, the King himself joined the band on stage. Looking suitably regal in a satin print tuxedo jacket, he strapped on Lucille and hit one of those classic B.B. riffs that announces to everybody that the King has arrived! This led into a rousing rendition of his classic "Let the Good Times Roll," where B.B. showed a spirit and energy that you simply don't expect from a 70-year old. After this opening number, B.B. hit his trademark 5-note riff, identifiable immediately by any B.B. fan, with which he can open any of a number of songs. This time, perhaps in deference to the weather in New York City earlier that day, it was "Stormy Monday." B.B.'s voice was in excellent form -- the sweet baritone with a dash of rasp that becomes more pronounced when he raises the volume. He also demonstrated his masterful use of dynamics, especially for the false ending to this tune. B.B. and the band stayed quiet for most of the song, but gradually built up to a roar for a big finish, only to capriciously change back to the quieter blues. After the real ending to the song, B.B. and the band launched into his hit "When It All Comes Down." This upbeat song really got your pulse going with the infectious spirit given to it by the band and the two excellent guitar solos B.B. took. It also featured the superb Michael Doster (in my opinion, one of the finest bass players alive today) taking an excellent bass solo. Next on the set list was B.B.'s sentimental hit "Darling, You Know I Love You." This number was dedicated to the ladies in the audience, and brought on B.B.'s first extended monologue, where he permitted the ladies who hadn't come with anyone to walk the aisles, find that someone they wouldn't mind being with for the night, and giving 'em a big kiss ("But only the aisles, NOT the stage," he added with a grin). B.B. also handed Lucille to a lucky, lucky audience member (with the playful injunction, "just hold, don't play!") to allow Mr. King to give out roses to selected ladies as Melvin Jackson blew a torchy tenor sax solo un-miked. For most other performers, doing something like this would seem crass or exploitive. For B.B., though, it seemed more like a genuine gesture of love and appreciation for his audience. After this, B.B. and the band set sentimentality aside for a quick, uptempo, take-no-prisoners version of "Payin' the Cost to Be the Boss." James Bolden, senior member of the band, took a trumpet solo to kill for. One of the wonderful things about seeing B.B. King live is that he can continue to present his old standards in new ways. He also always manages to work in a few new touches to his guitar playing style, keeping it fresh and original while still instantly recognizable. A duel between B.B. and keyboardist James Toney led into a expansive, full-throated version of "Five Long Years." Tony Coleman and Calep Emphrey added some perfectly timed rimshots for the "kicked me out" line, as B.B. pantomimed the action. After this, the band upshifted again for a rollicking, good-time kicker in "We're Gonna Make It." At this point, B.B. took the opportunity to take a seat, sending the horn section away for a well-deserved break. He addressed the audience (after giving Walter King the obligatory friendly hassling over a drink of water), saying 1995 was a good year for him as he had turned 70 years old and been honored at the Kennedy Center. He used this as a springboard to do his "I'm A Bluesman" song, which put his tender, heartfelt, and tremendously moving vocals in the spotlight. After this, B.B. turned to a medley of tunes, another of his live staples. The first song was one I had never heard him do live or on record before, an upbeat 12-bar with the opening line "Got a whole lot of lovin' waiting for you." Next up was his classic "Everybody Wants to Know Why I Sing the Blues," in which he let the band shine. Calep Emphrey's drum solo was especially noteworthy. Along with Michael Doster, I consider Mr. Emphrey is one of the finest musicians alive -- he is capable of making his drums SPEAK just as clearly as any other instrument in the band. For him, the drum solo is a form of expression rather than the simple pyrotechnics of lesser drummers. His companion, Tony Coleman, can do this as well, presenting a second solo full of funk and fire. >From here, B.B. took the opportunity to tell one of his musical stories. Starting with a setup as he was walking up to his baby's house over the holidays, using a line or two from Peggy Lee's classic, "Why Don't You Do Right?" and Memphis Minnie's, "You're One Black Rat," using them to punctuate his baby's complaints to him. In retort, he turned to a medley of "Nobody Loves Me But My Mother" and "How Blue Can You Get?", absolutely bringing down the house with the line, "I gave you seven children/And now you wanna give 'em back!" >From here, he turned to "Rock Me, Baby," letting the audience in on some of the fun. This was followed by a captivating rendition of "Guess Who?" Finally, the horn section returned for a triumphant closing number of "The Thrill Is Gone." Again, the combination of the new touches on an old classic made it comfortingly familiar but still new and exciting. After the song was over, the audience struggled to its feet to give a rousing standing ovation to the King of the Blues. Long live the King!!! Reviewed by Edward C. Liu Copyright 1996 NY CD Blues NY CD Blues at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! ========================================================================= Date: Mon, 5 Feb 1996 14:17:12 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Alligator records RULES Comments: To: BLUES-L@BROWNVM.BROWN.EDU. And that subject line ("Alligator records discriminates") drools.... c'mon guys, Waterman's right. Lose that subject line OK? Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Mon, 5 Feb 1996 15:00:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re: The Race Thing This whole race thing has me really confused. Where does an Hispanic blues player, like Max, fit in ------- reply separator (made it myself out of little dashes!) ------- Or how about, say, one of the few remaining traditional Ainu shamanists from Japan's northernmost regions, assuming he/she was passionately consumed by the Chicago sound? HEY! It could happen, okay?! I'm just saying "what if"? Blue Joe in Red Russia (which claims most o' them frozen islands for its own damn self!) J.E._Downey@bakermck.com (always happy to broaden the discussion) ========================================================================= Date: Mon, 5 Feb 1996 17:35:05 -0500 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: Malaco Gospel Comments: To: William Pollak In-Reply-To: <199602051156.GAA11862@ts2e.sei.cmu.edu> I thought Black Berry was owned by the Williams Brothers. If not, when did they sell. (I must be out of touch.) Other groups (gospel) you might enjoy: The Jackson Southernaires The Williams Brothers The Christianaires After listening, let me know what you think nitra On Mon, 5 Feb 1996, William Pollak wrote: > Jim Witteveen writes > > >Hi all... just wondering if any of you are listening to Malaco's new gospel > >releases, and if so, what are they like? Any recommendations? I was just > >checking out their web site (and they've got a nice one), and I see a long > >list of their new blues and gospel releases. We don't get any Malaco albums > >in the local record stores, so I haven't seen any of them around - anyone > >know why this is the case? I assume they don't have a Canadian distribution > >deal for some reason or another...? > > Malaco has a subsidiary label called Blackberry that released my two current > favorite discs, "Live in Memphis" and "Live in Memphis II" by the Canton > Spirituals (thanks a million times to Lee Spector for introducing me to this > group). From what I understand, these discs have both spent a long time on the > contemporary gospel charts. The Canton Spirituals are a quartet from Canton, > Mississippi who once recorded for Peacock (I think). They feature deep, > heartfelt preaching and testifying from the great Harvey Watkins, Jr., and if > they don't give you the chill, you should probably check your pulse. > > Bill P. > ========================================================================= Date: Mon, 5 Feb 1996 15:00:45 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: John Hammond Sr./Jr.: Clarification In case my previous post on this subject was at all unclear, I want to add that at no time did John Hammond the younger ever use the "Jr." after his name. As someone else pointed out, he *wasn't* Jr, and he and his father had different middle names. The "Jr." was frequently and erroneously used, but only in magazine articles and reviews; he himself *never* used it either during his father's lifetime or subsequently. Apologies if I confused anyone with my earlier post. Mary Katherine Aldin ========================================================================= Date: Mon, 5 Feb 1996 18:10:25 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Is the amount of current blues high? Comments: To: Eliot Williams In-Reply-To: <4f2794$29la@news.doit.wisc.edu> On Sun, 4 Feb 1996, Eliot Williams wrote: > Are the "indies" really making a comeback? EW Elliot it seems to me that by definition - almost all of the blues labels are "indies". I don't think we're seeing more labels appear but it sure seems that were seeing more output appear. Barry NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 5 Feb 1996 16:18:58 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Updates on Jimmy Rogers, Lowell Fulson Chess sets Just got home from a meeting at MCA, where I talked again to Andy McKaie about these two releases. At the moment, subject to the usual change without motice, his plan is to release The Complete Jimmy Rogers Chess Recordings this year, i.e. 1996. The Complete Lowell Fulson Chess Recordings is set for next year, because in 1997 a number of very special releases are in the works to commemorate the 50th anniversary of Chess Records (which was founded as Aristocrat Records in 1947). So be patient and it will all come true. Disclaimer: actually I'm not sure if I need one yet, but I suspect that if I pester Andy long enough I am most likely going to be compiling and annotating these two sets! Btw: hint: there are some *wonderful* things in the works as part of the Chess 50th anniversary. I am sworn to silence for the moment, but trust me, they're great. Soon as I am allowed to I will post to the list. Mary Katherine Aldin ========================================================================= Date: Mon, 5 Feb 1996 17:41:26 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: The Race Thing Comments: To: bit-listserv-blues-l@uunet.uu.net In <1161c820@vitro.com>, PARRISHR writes: > This whole race thing has me really confused. > Where does an Hispanic blues player, like Max, fit in? Tell the truth. You're just posting this to tweak Waterman, right? BBB ========================================================================= Date: Mon, 5 Feb 1996 19:18:49 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: I: GuitarPlayer Mag Shaun said: >Jim is spot on though. GP is by far the friendliest guitar-mag to the blues >out there. Shaun, have you ever seen Acoustic Guitar magazine? I picked it up for the first time a couple months ago when I spotted Memphis Minnie on the cover. This issue (September '95) had separate articles on Memphis Minnie, Country Blues, and Robert Johnson, plus blues tab easy enough for me to follow. Knowing I'd never see this magazine in my little town, I subscribed immediately. Since then there have been blues articles in almost every issue: slide and open tunings (Nov.), Robert Johnson slide licks and Rory Block (Dec.), Sister Rosetta Tharpe (Jan.) , and Blues rhythms (featuring "Before You Accuse Me" --Mar.). The other articles are great, too, and cover such styles as folk, jazz, rock, gypsy and Hawaiian slack key. I don't know whether any of this interests electric players, but I've been really enjoying it. Karen ========================================================================= Date: Mon, 5 Feb 1996 19:18:51 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Corey Harris (was I: GuitarPlayer Mag) Jim W. said: >For those of you who are interested in this sort of thing, the latest issue >of Guitar Player is chock full of blues - Corey Harris, .... ^^^^^^^^^^^^^^^^^^^^ Has anyone heard this guy's music? I see advertisements everywhere--it seems he's being heavily promoted--and didn't I see his name in the Handy award nominations? Yet I've never heard any of his songs on the radio or on the DMX, and I've never even read a review. Is his CD brand new? He's advertised as having a "genuine" Delta sound. True? If so, I'm highly interested. Karen ========================================================================= Date: Mon, 5 Feb 1996 19:18:32 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Country/Blues Connection Matthew D. said: > I'm been listening to Blues for a short time now and lately my > friends, who like country music, have been able to get me to listen to > country. to my amazement, I liked it. They sound the same and it is no > mystery that blues and country come from the same orgin. And then Pat Hertel, after joking about line dancing to blues (a joke I have also used, only in connection with rap) replied: >Seriously, do they have the same origin? I think >even that is arguable. I don't want to speak for another person (I'm sure Matthew can speak for himself), but let's for a moment look beyond his words, and speculate at a possible meaning. If I recall my history studies correctly, both Blues and Country music grew to maturity during the time of, and possibly in great measure because of, the simultaneous incipience of both radio broadcasting and the recording industry. This puts us in the decades of the 1920's, does it not? Remember in those days, radio stations were not specialized in format as they are now; they might have played whatever was available (although I wouldn't be surprised if race prejudice occurred), and similarly, people listened to whatever was available. If these premises are true, then Black guitarists would have heard Country music and Whites may have heard the Blues, and each may have picked up elements of the other. Does this sound feasible? ( Records, I think, may have been a different story, as people perhaps had more of a choice.) Also (I have stated this before), I remember reading somewhere that it was not uncommon in the South for Whites and Blacks to attend the same outdoor picnics, at which both White and Black musicians performed. Plenty of opportunity for musical influences to occur. As for having the same origins, though both are of Southern rural origin, I think the African roots of Blues rhythms and scales have been demonstrated and are undeniable. Karen, Queen of Parentheses..... ========================================================================= Date: Mon, 5 Feb 1996 19:18:48 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Country/Blues Connection & Jimmie Lee Robinson >Jimmie Lee Robinson does a pretty interesting country (actually, more >cowboy-style) version of "Jack O' Diamonds" (no, not the blues song, this >is completely different song). >Jimmie also likes to wear spurs and cowboy boots. And he tells stories >of playing in a country band c. '50 or thereabouts with his old running >partner Moody Jones (Floyd Jones' cousin) who is said to have been a >serious country player in addition to his blues credentials. Scott, Yes, Moody Jones is mentioned in the article, and also Ed Newman, as playing folk, gospel, and country music. In fact, ever since I read this article, I've been wanting to talk to you. Robinson says (if I'm interpreting this correctly) that he taught Eddie Taylor how to play guitar. Do you know of any association between Robinson and Taylor? Did they ever perform or record together? >Otis Rush wears a cowboy hat :). That's all the proof I need. And don't forget Lonnie Brooks! :) And, on a personal note, my boss....who wears the hat, the boots, the string tie, and the leather vest--and while most of the time soft R&B emantes from his office, I occasionally hear the twang of a country song! :) Karen ========================================================================= Date: Tue, 6 Feb 1996 00:17:55 GMT Reply-To: "J. Wade Luther" From: "J. Wade Luther" Organization: MindSpring Enterprises Subject: Re: Mem Shannon on TV Comments: To: bit-listserv-blues-l@uunet.uu.net "DUTTWEILER.J" wrote: >Ok, let's discuss some blues. Did anyone else see the segment on the CBS >Sunday Morning show on Mem Shannon? I thought it was a very well done piece, >highlighted a good deal of blues from Mem as well as giving a taste of his >experiences as a Cab driver. I have not had the opportunity to hear Mem's CD, >but will certainly be on the lookout for it after this. He is, as has been >pointed out by others, a real original, combining a gritty down-home electric >style with a more than believable singing voice (Mem stated in the interview >that he was *very* reluctant, at first, to sing when he started performing >again). His songs were, from what I heard, very imaginative, coming from real >life experiences. This is blues from real life, blues you can believe and, >hopefully, relate to. >Any other thoughts on the segment or on Mem himself? >Jon (a Mem Shannon convert) Duttweiler I missed the TV interview, but there was an interview with him on the radio this morning on a local(ie Atlanta) blues show...sounded pretty interesting...he did say he was playing the first weekend at JazzFest this year, and will probably be at some of the local New Orleans clubs during 'Da Fest...I may have to pick up the CD myself whenever I can find it ********************************************************************************* You can't win if you don't bet, but if you lose all your chips you can't bet. ********************************************************************************* The best time to plant a tree was 20 years ago -- the 2nd best time is right now. ********************************************************************************* wluther@mindspring.com ********************************************************************************* ========================================================================= Date: Mon, 5 Feb 1996 19:40:29 EST Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Alan Rollins' e-mail address One of our members is having trouble posting messages to the list. Does anyone have Alan's e-mail address? Many Thanks, Dave Carpenter Blues Music Director WHUS-FM Storrs, CT http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Tue, 6 Feb 1996 01:03:10 GMT Reply-To: Matthew Arthur Clark From: Matthew Arthur Clark Organization: Columbia University Subject: Code Blue Records Comments: To: bit-listserv-blues-l@uunet.uu.net I'm posting this message as an invitation for all you music lovers out there to visit the Code Blue Records WWW Site at http://www.columbia.edu/~mac44. The Code Blue Records WWW Site contains information about Code Blue artists Bo Diddley, John Primer, Storyville, The Hoax, Sherman Robertson, Jay Owens, and Rick Derringer. Please forward any questions or comments to CODEBLUEUS@aol.com or me at mac44@columbia.edu. Thank you very much and happy listening. Sincerely, Matthew Clark mac44@columbia.edu ========================================================================= Date: Tue, 6 Feb 1996 01:06:12 GMT Reply-To: Matthew Arthur Clark From: Matthew Arthur Clark Organization: Columbia University Subject: John Primer info including Chicago apprearance Comments: To: bit-listserv-blues-l@uunet.uu.net For more info on John Primer including his new album "The Real Deal" and information about his appearance in Chicago on Feb. 9th, come to the Code Blue Records WWW Site at http://www.columbia.edu/~mac44 Matthew Clark mac44@columbia.edu ========================================================================= Date: Mon, 5 Feb 1996 19:31:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Riler Robinson A friend in Portland, Oregon said that he had seen Riler Robinson not long ago. Does anyone have any current information on this Chicago musician? Does he have any recordings other than the album he did with John and Sylvia Embry in the late 70's?? -Bonnie ========================================================================= Date: Mon, 5 Feb 1996 20:54:08 -0400 Reply-To: SOO3713@ALPHA.CC.OBERLIN.EDU From: Owen Okie Subject: Any tour info out there? I've been gone for a month, and was wondering if anyone has sent out any info on blues concerts. I'm interested in just about anything, but woudl be especially interested in finding out dates/locations of BB and Buddy concerts. Thanks for the help. - Owen Okie ========================================================================= Date: Mon, 5 Feb 1996 19:58:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Re: More good luck in Florida Comments: To: mkaldin@BEACHNET.COM Mary Katharine aldin wrote: >Congratulations, and boy have times changed. Used to be (in the 50s and 60s) >a blues artist would blow into town two hours before the gig, and meet the >band for the first time *on the bandstand*. You get a tape in advance? You >get to *rehearse* the material? Hooray for progress. A local musician told me this story: his band was set to back up Chuck Berry. Chuck came rushing in when they were already *on* stage and not quite sure what to do if he didn't show. The bandleader whispered to Chuck as he was strapping on his guitar - "What do we play?" Chuck responded: "You know! - just play a Chuck Berry tune!!" ========================================================================= Date: Mon, 5 Feb 1996 18:20:42 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: PREWAR STRING BANDS: Information & Questions (LONG) Comments: To: Skipjames@AOL.COM At 04:05 PM 2/5/96 -0500, Tom Freeland wrote: >One of my greatest interests is working string bands who recorded in the >early days of blues recording. By "working" I mean a band that played >together as units, as opposed to aggregations put together for recording >sessions. By "early days" I mean 20s-1942. Among the many interests is the >fact that these bands often preserved older musical styles, whether the >ragtime and occasionally minstrel feel of the Dallas String Band or the >quills played by Sid Hemphill. > >I know about a number of these bands, but there is a lot I don t know about. > I do not know about Piedmont area bands (Georgia to Virginia), Oh good, we're back to talking about music! There's a good discussion of the music of this area in the book "Red River Blues" by Bruce Bastin. >SID HEMPHILL S BAND >This is the Mississippi band about which I know the least. Hemphill was >recorded at Sledge by Alan Lomax in his 1942 field trip, and then again in >the 1959 field trip. I do not have those recordings in any format, and am >curious about them. WHAT ABOUT THEM, FOLKS? Jessie Mae Hemphill is Sid >Hemphill s granddaughter. A lot of these recordings were issued on LP, but unless you happen to know of a warehouse full of old LPs....I *think* a couple of the Lomax field reocrdings of them made it onto the CD box set "Sounds of the South" on Atlantic, much too expensive for me to have ever bought it but I looked at the tracklisting in a store once . >TENNESSEE >HOWARD ARMSTRONG AND CARL MARTIN >Armstrong (Louie Bluie) and Martin met in Knoxville. Martin came from a >musical family (like the Chatmon s, the father was an ex-slave fiddler). > Martin was from Big Stone Gap, Virginia. These musicians recorded as the >Tennessee Chaocolate Drops, and as Louie Bluie and Ted Bogan. Martin also >recorded under his own name, and they recorded after the war. Armstrong is >still actively performing, and is the subject of a wonderful documentary and >a series of articles supplementing the documentary in 78 QUARTERLY. Martin s >recordings (with 2 of the Louie Bluie / Martin sides and the Tennessee >Chocolate Drops sides) are available on DOCD 5229 with (oddly enough) the >recordings of Willie "61" Blackwell. In an interview with Howard Armstrong taped during the recording of the soundtrack to The Color Purple, he said, "I basically have been a string band musician all my life. I played fiddle and mandolin and several other instruments, banjo-melon and what not, but usually i played in someone else's string band. I know you heard of Memphis Minnie and Her Jug Band. When the jooks first opened, that's the kind of music that they had.... now my father he wokred at the blsat furnace, but he played music on the side. Then he took up preaching and gave me his mandolin. I played around Knoxville in string bands; we had mandolin, violin, guitar, and we played everything. Popular numbers, blues, reels, waltzes, whatever they paid for!" " > >JOHN ESTES, YANK RACHEL, HAMMIE NIXON >These individuals, from Brownsville Tennessee, recorded through the 30s in >Memphis, Chicago, and New York. Rachel is still active. Someone else can >better fill in the history of this group and recommend recordings. > There was apparently quite a scene around Brownsville, as in addition to the musicians mentioned above, both Charlie Pickett and Son Bonds were part of this group at different times. Far as the Kentucky stuff goes, I think Pen Bogert (sp?) wrote a very good article on this subject recently. > Mary Katherine Aldin ========================================================================= Date: Mon, 5 Feb 1996 19:14:23 -0700 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: LIVE NUDE VIDEOCONFERENCING! Comments: To: kristina@FREE.ORG In-Reply-To: <4f44mq$9kp@news.videofantasy.com> But can she play a dobro? Wondering in the Rockies, Jay Watterworth CU Boulder On Mon, 5 Feb 1996 kristina@FREE.ORG wrote: > Hi, > My name is Kristina. I'm a nude model and I'd > love to take my clothes off and entertain you. > You can watch me live and in color on your > computer. We can type back and forth and I'll > be happy to perform your erotic fantasy. If > this sounds like fun, visit the website and > download the software. The address is > http://www.videofantasy.com or you can get the > software from the BBS at 815-397-9877. I'll > turn the camera on in my studio and wait to > hear from you. I think you'll like what I have > to show you. This isn't a movie...you make a > request and I'll probably fulfill it for you. > Look for my picture on the Website. Hope to > see you soon! > > Love, > Kristina > ========================================================================= Date: Mon, 5 Feb 1996 20:22:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: country/blues connection Big Jack Johnson loves country music. He even has a comical tune about his wanting to be a country music singer on his 1989 Earwig album: "Daddy, When is Mama coming home?" He's trying to yodel and his mother (Big Jack in falsetto) says "son, you can't do like the white folks do" (or something very close). In Living Blues a few years ago, Denise Lasalle commented on how close country music and the blues are. But then... back about 1971, a friend of mine asked Muddy Waters what he listened to at home. Muddy replied that he and the missus just put on a little "easy listenin'music" before retiring for the night. -Bonnie ========================================================================= Date: Mon, 5 Feb 1996 21:28:15 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: BLUES-L Convention: Preliminary Report The intial response to my suggestion of a Blues-L convention appeared to be about one percent. I think we saw about 15 responses with membership running somewhere around 1500. You can draw your own conclusions from that. If we are going to be only about a dozen people gathering, I'd suggest we get a hotel suite, order up a couple pizzas, a case of beer and sit around talking about Mad Max and our buddy Joe in Moscow. If there is sincere interest in gathering in any sizeable number, this is the time of year when I DO have time to devote to this. My schedule gets busy by late March. If you leave the choice of a city up to me, it is only fair that I point out that I can sleep right in my own bed for six festivals (i.e. Memphis Blues Festival, Memphis in May, King Biscuit Blues Festival, Sunflower Blues Festival, Crossroads Festival, Delta Blues Festival) that are within driving distance. If this is not going to move forward unless I point to a specific festival/city/date, I would choose the St. Louis Blues Festival over Labor Day Weekend. I had a wonderful time there in 1995 and enjoyed my stay at a terrific Adam's Mark Hotel. St. Louis is a hub city of TWA for flights from major cities and it also is served by Southwest Airlines, with outstanding bargain fares. The St. Louis Blues Society seems to be a good one and I know that we can count on Joel Slotnikoff to coordinate many activities. It is within driving distance of Cincinnati, Kansas City, Memphis, Chicago and we might even attract some Wisconsin people to make the trip. I suggest that we make a point of inviting Henry Townsend to participate in some activity: perhaps charging ourselves some money for a jam session with him in a local club with all of it going to Henry. Wouldn't you pay $15.00 to have your picture taken jamming with a man who played with Robert Johnson? If we are going to have seminars/workshops during a 10:00AM to Noon period, let's get started early on topics. If we are going to invite merchandisers to attend, that might mean renting a ballroom and charging them floor rentals, I don't know if you want the first gathering to be strictly social or bring in some business aspects as well. I will probably be at six or eight blues festivals during the spring and summer months, so I'm hopeful that we can deal with potential problems in advance. So I'll step back and let you toss some ideas around. I think that it is important to have one travel agency coordinating the hotel bookings because we can get a better rate if an agent can promise to deliver a block of rooms. Dick Waterman ========================================================================= Date: Mon, 5 Feb 1996 21:31:40 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Big Mike Griffin? Can anybody give me information about Big Mike Griffin? He's playing at Margaritaville in N.O. on Feb. 16. Here's what I have on him from Offbeat Magazine -- he's a "Little Milton-inspired" guitar player with a "take-no-prisoners band". I also know he has a Malaco release titled _Sittin' Here With Nothin'_. Anybody have the CD or seen Big Mike perform? Thanks in advance. Bill Morgan From: The Big Easy ========================================================================= Date: Mon, 5 Feb 1996 21:15:06 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Re: Corey Harris (was I: GuitarPlayer Mag) ^^^^^^^^^^^^^^^^^^^ JU>Has anyone heard this guy's music? I see advertisements everywhere--it seem JU>he's being heavily promoted--and didn't I see his name in the Handy award JU>nominations? Yet I've never heard any of his songs on the radio or on the JU>DMX, and I've never even read a review. Is his CD brand new? He's JU>advertised as having a "genuine" Delta sound. True? If so, I'm highly JU>interested. JU>Karen Corey's CD is called Between Midnight and Day and is on Alligator records. The latest issue of Living Blues contains a review of the CD. The CD is entirely acoustic. Corey wrote only three of the songs on the CD. He plays songs by Charley Patton, Robert Johnson, Sleepy John Estes, Muddy, Blind Boy Fuller, Mississippi Fred, and on and on. I think its a great first effort. Corey is only 26 years old and originally from Denver; he now lives here in New Orleans. I have yet to see him play, only because the last few times he played, the outside temperature dropped below my level of tolerance (less than 40 degrees). I'm glad to hear that he's being heavily promoted around the country. I met him a couple of weeks ago at the store where his wife works, which is across the street from where I live. And I have been relaying positive comments from the blues list. Bill Morgan From: The Big Easy ========================================================================= Date: Mon, 5 Feb 1996 20:30:40 -0800 Reply-To: Fjord Press Comments: RFC822 error: More than one sender was specified. Second and following senders discarded. From: Fjord Press Subject: Re: That nasty subject Comments: To: levyt@RL.AF.MIL In-Reply-To: <311601F0-00000001@nutbar> Toby sez: >Isn't there a Racism-L that this discussion could be moved to? _____________ Hear hear, Toby. Peoples, take the kitchen-table sociology elsewhere pleeeez. "We want blues info here," to paraphrase the great Jewish blues singer, Bobby Zimmerman. Steve Murray "Well I played him 'gainst a queen Fjord Press and he never won a thing Seattle, WA Jack of diamonds is a hard card to play" fjord@halcyon.com --Mance Lipscomb ========================================================================= Date: Mon, 5 Feb 1996 20:39:27 -0800 Reply-To: Fjord Press Comments: RFC822 error: More than one sender was specified. Second and following senders discarded. From: Fjord Press Subject: Re: Mem Shannon on TV Comments: To: "DUTTWEILER.J" In-Reply-To: Jon asks: Any other thoughts on the segment or on Mem himself? ___________ Both my wife and I found him refreshingly modest and charming, as most truly talented artists usually are. [note double disclaimer words for flame retardant] As an ex-cab driver myself, I will run right out and buy this CD! Steve Murray "Well I played him 'gainst a queen Fjord Press and he never won a thing Seattle, WA Jack of diamonds is a hard card to play" fjord@halcyon.com --Mance Lipscomb ========================================================================= Date: Mon, 5 Feb 1996 22:53:25 -0600 Reply-To: Craig Edmundson From: Craig Edmundson Subject: Iowa Blues Challenge >From the Omaha World-Herald, 4 Feb 1996: "The Central Iowa Blues Society is conducting its 1996 Iowa Blues Challenge starting March 13. Open call for blues bands throughout the state will culminate with a three-band final May 17 in Des Moines. The contest winner will advance to the 1996 National Amateur Blues Band Contest in Memphis, Tenn. Event co-organizer Denise Hancock of Des Moines said the Iowa contest drew a dozen participants last year, featuring styles that included Delta and Texas to Chicago and jump-style blues. For more information, contact Ms. Hancock at (515) 274-3992." ------------------------------------------------------ Craig L. Edmundson cedmunds@netserv.unmc.edu cedmundson@nfinity.nfinity.com http://www.nfinity.com/~cedmundson ========================================================================= Date: Mon, 5 Feb 1996 17:03:00 EST Reply-To: BOB-Robert Cortes <0002085364@BOB.COM> From: BOB-Robert Cortes <0002085364@BOB.COM> Subject: REMEMBER US Comments: To: African National Congress <100014.344@compuserve.com>, Rush Limbaugh <70277.2502@compuserve.com>, City Paper <71632.57@compuserve.com>, Dungeons e-mail group , American Journalism Review , Anna Eshoo , Aquarium e-mail group , Bay Windows , Beliefs e-mail group , Bicycling Magazine , Bob Wish List , Sherwood Boehlert , Bubba e-mail group , Business Week , Celtics - Signup e-mail group , Celtics e-mail group , Classical e-mail group , SCOTT LOW KEY MINIZ , Comics e-mail group , Congress , Vernon Elhers , Dave Camp , Details , Advertising Age Letters to Edi , GQ , "Committee on Science, Space, a" , Information Week , Jon Conyers , Jay Dickey , Boston Globe Editor , Bubba - Signup e-mail group , Beliefs - Signup e-mail group , Aquarium - Signup e-mail grou , Comics - Signup e-mail group , Dungeons - Signup e-mail grou , Committee on Natural Resources , Peter Deutsh , Bill Clinton , Examiner Magazine , Thomas Andrews , Chicago Tribune , Al Gore ATTENTION SCOTT: SORRY IT HAS TAKEN SO LONG TO GET MY E-MAIL SERVICE. WE ARE THE TWO GUYS WHO USE TO RIDE WITH EAST COAST CUSTOMS OF GEORGIA. WE VISITED WITH YOU ABOUT 3 WEEKS AGO. MY FRIEND WANTS TO KNOW IF THE ONE MEMBER (HIS NAMED STARTED WITH A T) IS STILL INTRESTED IN THE CRYSTAL SPEAKERS? WE CAN GET THEM AT A REASONABLE PRICE FOR YOU GUYS. THERE IS A SHOW IN ST AUGESTINE, FL ON MARCH 9th & 10th. (AT THE FLEA MARKET EXIT 94, OR 95 OF I-95) MY E-MAIL ADDRESS IS 2085364@BOB.COM. LET ME KNOW IF YOU HAVE ANY CLUB MEMBERS WHO ARE INTERESTED IN ANY CAR AUDIO EQUIP. I' LL SEND YOU A LIST OF WHAT I CAN GET AND A PRICE LIST THIS WEEKEND IF YOU ARE INTERESTED, LET ME KNOW! JIM SHORE PS. I DRIVE A BLACK MAZDA P/U WITH MURALS ON THE SIDE THIS MIGHT HELP YOU REMBER WHO I AM! ========================================================================= Date: Mon, 5 Feb 1996 22:30:59 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Johnny Copeland's heart surgeon Hi all...some great posts since the firestorm has begun to recede! I heard an interesting bit on the radio this weekend about Johnny Copeland's heart surgeon, one Dr. Oz (sp???). It focused on the Doctor himself, who uses some non-traditional methods in his operations (like therapeutic touch), but included a short interview with Johnny and snippet of one of his songs, as well as a neat little anecdote; apparently the doctor was aware that Johnny was a musician (but not much more - obviously not a blues fan :-) ), and after one of the surgeries (I'm not entirely certain which one), they were a bit worried about the outcome and Johnny's condition. So the Doctor asked Johnny's wife to take a tape of his music to the hospital; they put the headphones on his ears, and within twenty minutes he was wiggling his toes to the beat...a neat little story, I thought. Hope he's doing well! -Jim (hndful@uniserve.com) ========================================================================= Date: Tue, 6 Feb 1996 00:22:00 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: Re: LIVE NUDE VIDEOCONFERENCING! Comments: To: T-Bone >On Mon, 5 Feb 1996 kristina@FREE.ORG wrote: >> Hi, >> My name is Kristina. I'm a nude model and I'd >> love to take my clothes off and entertain you. > >[SNIP] > >*sigh* Isn't it sad when cousins marry? (TEXT DELETED) But you have to admit that there has been a lot more "blue" in her message than in all of the messages about LB policy. Gary ........... Gary Constantine >> gconstan@ccinet.ab.ca << If you're lookin' for a perfect woman you're gonna' die a lonely man .............. Joe Louis Walker ========================================================================= Date: Tue, 6 Feb 1996 00:26:40 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: Re: BLUES-L Convention: Preliminary Report >To: Jinxblues@AOL.COM >From: gconstan@ccinet.ab.ca (Gary Constantine) >Subject: Re: BLUES-L Convention: Preliminary Report > > (TEXT DELETED) > >>If we are going to be only about a dozen people gathering, I'd suggest we get >>a hotel suite, order up a couple pizzas, a case of beer and sit around >>talking about Mad Max and our buddy Joe in Moscow. > > This dosen't sound like a bad idea to me. Most of the people who would show up know a lot more about the blues than I ever will, so I can learn a great deal and I do know how to drink beer. > > (TEXT DELETED) > >>If this is not going to move forward unless I point to a specific >>festival/city/date, I would choose the St. Louis Blues Festival over Labor >>Day Weekend. > > You got my vote. To hell with anymore discussion. Let's say this is it. It's here or no where > > I had a wonderful time there in 1995 and enjoyed my stay at a >>terrific Adam's Mark Hotel. > > As long as it has 24 hour room service it sounds fine to me. Any brew-pubs nearby? > > (TEXT DELETED) > >>I suggest that we make a point of inviting Henry Townsend to participate in >>some activity: perhaps charging ourselves some money for a jam session with >>him in a local club with all of it going to Henry. Wouldn't you pay $15.00 to >>have your picture taken jamming with a man who played with Robert Johnson? > > I have a hard time whistling and I wouldn't know a B flat from a C sharp but listening to someone who played with RJ with a bunch of like minded people would definately be worth $15 > >>If we are going to have seminars/workshops during a 10:00AM to Noon period, >>let's get started early on topics. > > Sounds good as long as we don't have to discuss the publication policy of Living Blues. > > > If we are going to invite merchandisers to >>attend, that might mean renting a ballroom and charging them floor rentals, I >>don't know if you want the first gathering to be strictly social or bring in >>some business aspects as well. > > I personally would like to see the commercial aspect highlighted. T-shirts, CD's, memorabilia and anything else that highlights the blues > >>I will probably be at six or eight blues festivals during the spring and >>summer months, so I'm hopeful that we can deal with potential problems in >>advance. > > Having said all this I doubt if it will take place as a conference, but if a dozen or so people want to get together in St. Louis and listen to some blues, talk some blues, trade stories and drink a bunch of beer then I'm definately interested > > (TEXT DELETED) > > So how do the rest of you feel? > > > Gary ........... > Gary Constantine >> gconstan@ccinet.ab.ca << If you're lookin' for a perfect woman you're gonna' die a lonely man .............. Joe Louis Walker ========================================================================= Date: Tue, 6 Feb 1996 00:52:04 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: Robert Lockwood Jr....... a question? The June 1995 issue of Living Blues, (yes, I know that I am dammed to hell for eternity!) had a cover story on Robert Lockwood, one of my favorite artists. The discogrophy listed a CD that I have been trying to get for years called: BLUES LIVE IN JAPAN ADVENT 2807 I have never been able to get the CD. Can anyone tell me where I might find it (mail order please) or give me a address or phnoe number for ADVENT records. Thanx, Gary ............ Gary Constantine >> gconstan@ccinet.ab.ca << If you're lookin' for a perfect woman you're gonna' die a lonely man .............. Joe Louis Walker ========================================================================= Date: Tue, 6 Feb 1996 10:22:18 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: review: COREY HARRIS Let me second the good things that have been said on Corey harris's music. I already wrote a few lines about his album a few weeks ago, but for those who might be interested here is a draft of a review that I've written for the next issue of Blues Gazette (coming out in March) COREY HARRIS "Between Midnight and Day" Alligator ALCD4837 (USA) Roots Woman / Pony Blues / Keep Your Lamp Trimmed and Burning / Early in The Morning / Feel Like Going Home / I'm A Rattlesnake daddy / Between Midnight and Days / Bukk's Jitterbug Swing / Going To Bronwsville / Write Me a Few Lines / She Moves Me / Bound To Miss Me / 61 Highway / Catfish Blues / I Ain't Gonna Be Worried No More / It Hurts Me Too. When I first heard a while ago that Bruce Iglauer was planning to release an acoustic country blues album by a new discovery, a rather young African- American artist, I must admit I was a bit sceptical. I was thinking that we would again get a new example of those musicians which I see much more as acoustic blues revivalists than anything else. I must now confess my surprise when I received and listened to this debut album by this 1969 born African- American musician which grew up in Colorado, went to college in Main and moved to Cameroon in North Africa at age 21. After his return from Africa, he worked a lot in Louisiana teaching French and English in public schools and met several younger African-American blues players. Whether this background and these experiences are responsible for what he actually is, is a possible explanation. The other one I see is simply that Corey Harris has a natural sense of rhythm and powerful vocals which are rarely met in contemporary acoustic blues recordings. The 16 tracks of this album were recorded in 1994 and consist of three originals and a bunch of covers which are not easy to record nowadays. From listening for this set, it seems clear that he will rapidly emerge as one of the most interesting young bluesmen of today's scene. His music is blending the influence of the great masters with his personal background. There aren't many musicians out there who can play Mc Dowell ("Write Me a Few Lines", "61 Highway"), Petway ("Catfish Blues"), Muddy ("Feel Like Going Home", "She Moves Me"), or Patton ("Pony Blues", one of the best version I've heard in the recent years)... with so much talent and, more importantly, without falling into the revivalist cliches mostly characterised by a high level of technical skill but also too often lacking substance and deepness. Corey Harris is also an excellent singer whose voice is surprisingly powerful and deep for such a young musician. If you couple this with a very effective guitar work and intelligent sense of the rhythm (on McDowell's songs for example) you discover why he succeeds where some others have failed: he knows how to use variations the tonality and the intensity of both his bottleneck and his voice. Those who've had the opportunity to catch him live during his recent visit to Europe will hopefully not disagree: Corey Harris has got something of his own to say and is certainly someone from which we'll hear much more in the near future. Recommended! Jean-Pierre "Young Man" Urbain ========================================================================= Date: Tue, 6 Feb 1996 06:04:18 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Sitting&Thinking-Johnny B. Moore. Comments: To: bit-listserv-blues-l@uunet.uu.net [ Article crossposted from rec.music.bluenote.blues ] [ Author was Barry Silverberg ] [ Posted on 6 Feb 1996 06:03:16 -0500 ] All through February, NY CD Blues is dedicating our review time to Wolf Records. We will post several of our reviews here and at our web page we have over 20 reviews loaded. For the adventurous ones go to the web-page and play the Wolfgame, we're giving away a copy of the CD reviewed below - Johnny B. Moore / 911 Blues. JOHNNY B. MOORE - 911 Blues (Wolf #120.873) WOLF RECORDS P.O. BOX 375 A-1120 VIENNA AUSTRIA You've all heard Johnny B. Moore many times over. You just may not have known who he was, since the bulk of his output has been in the back of other great bluesmen and women. To the best of my knowledge this is only his second outing as a lead. His first CD was also on Wolf, and was titled Lonesome Blues (Wolf #120.851). It received a W.C. Handy nomination, so for sure, Johnny is an important rising star. Now that Johnny has gotten the front lets see who backs him up here. Some of the names are well known, Willie Davis on guitar, Detroit Junior on piano, Eddie Shaw on sax, Larry Taylor on the drums, Willie Kent on bass, Billy Branch on harmonica and John Primer on guitar. The newer faces to me are, Minoru Maruyama playing guitar, Peter "Lobo" Nemec on bass, Cleo Williams on drums and Tim Taylor on drums. The cut mix is interesting as well. 5 of them feature Johnny playing electric guitar and the rest are acoustic outings. All in all this is a big showcase CD for one of the blues' best. LOOKIN' GOOD / BLACK COFFEE DRINKIN' WOMAN / I'M GOIN' HOME TO SEE MY BABY / WHY YA WANNA DO ME LIKE THAT / KISS YOU IN THE MORNING / RACE TRACK BLUES / WHY DON'T YOU BE MY MAMA / CANDY KITCHEN BLUES / KOKOMO ME BABY / 911 BLUES / SHE'S A MEAN WOMAN / MEAN 'OL FRISCO / THAT NO WAY TO GET ALONG NY CD-Takes LOOKIN' GOOD: What better way to open up than with homage payed to the magic man - Magic Sam. A rousing side with a quick pace and an equally quick temper. This is a nice little three piece with just the drums, the bass and Johnny B. Moore's fronted axe and vocals. BLACK COFFEE DRINKIN' WOMAN: This is the first of 9 self penned sides by Mr. Moore. Eddie Shaw's sax here and Detroit Junior's piano are great back's to Johnny's vocals and easy played guitar. Junior gets a great solo at just over a minute in and may steal your heart with his quick and fire laden finger pecking. You'll note the big bass voice of Johnny is quite solid and out strong. This side is one of four all done in 1995, all with Eddie Shaw, and Detroit Junior - two of the blues' big timers. I'M GOIN' HOME TO SEE MY BABY: Another self penned side and an open and clean guitar sound to set off the bassiness and richness of Johnny's singing. This side has a mid-tempo pacing and could have been a cover tune at any time in the history of the blues. Superior side and candidate for a first play cut. WHY YA WANNA DO ME LIKE THAT: This is good down home blues. A very strong beat sets this one in place and belies Johnny's rural Mississippi roots. His singing here is strong and has a cut and go style that is captivating. Very much in the style of other Wolf artists's that are rising and being recorded. KISS YOU IN THE MORNING: Now it gets down and dirtier. The guitar still holds it's crispness and fine tones, just the tempo drops and the inflections get sad sided. This is the last side featuring Detroit Junior so don't miss a note he hits. Having Junior as the foil to Johnny's guitar is terrific. They make very serious blues together. This cut is also the last electric outing by Johnny B. Moore on this set of sides, so buckle up for some strong, mean, down and serious acoustic blues coming. RACE TRACK BLUES: This cut has the same musicians as cut one, with the only change over being the move to the acoustic side of the blues. Some slide and plenty of good picking are here for the taking. Johnny also turns his vocals down and certainly portrays the back porch singing of the blues. WHY DON'T YOU BE MY MAMA: Take a deep breath because this is a killer cut. Pitting up against Johnny's guitar and vocals is the modern day master harp player Billy Branch. Mr. Branch deserves every bit of credit he gets and here struts his stuff perfectly. This is a moving, sliding piece with a good jook joint feel. CANDY KITCHEN BLUES, KOKOMO ME BABY, 911 BLUES: These 3 sides are duets, just the acoustic guitar work of Mr. Moore, his big vocals and Billy Branch on harp. These sides will take you back to the days of Sleepy John Estes and Hammie Nixon and leave you asking for more. SHE'S A MEAN WOMAN: This cut continues the acoustic tradition being set here but adds the amazing John Primer to the mix. Mr. Branch is miles high here, with plenty of front room, while Mr. Primer gets to power up the back with his electric magic. The addition of the overamped guitar backing is a great counter to the two fronted acoustic virtuosos. MEAN 'OL FRISCO: This is the last self penned side by Mr. Moore. It takes off Billy Branch and John Primer and adds to the solos of Mr. Moore the drums of Tim Taylor. Another composition mixing slide with the acoustic and as said only placed in front of a set of drums. It's a winding tune that rocks along and definitely leads on down south or even out west to Texas a la Lightnin' Hopkins and others. Superior from note one on. THAT NO WAY TO GET ALONG: As a wrap Johnny goes acoustic and solo. This is a 1992 cut that was written by one of my all time favorite bluesmen - Robert Wilkins. The absolute blues basis of Mr. Moore here is set in stone. It is a wonder that he has not hit the front on many discs, but thanks to Wolf we now have him here and forever. Ever since this CD and his other outings on Wolf, a lot of heads have been turned, and now other labels are finally recording this GREAT BLUESMAN who has plenty to offer in the future. Keep your eyes and ears open for everything Mr. Johnny B. Moore does and especially get this CD ASAP. Reviewed by Barry Silverberg Copyright NY CD Blues @1995-1996 All Rights Reserved. Unauthorized use prohibited. -- NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com -- NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 6 Feb 1996 11:30:00 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: The early Great Jimmy Dawkins In-Reply-To: <4f4pce$18ku@usenetp1.news.prodigy.com> On Mon, 5 Feb 1996, Poindexter Regan wrote: > Seventhson:), > > There's some new Magic Sam on the way, too. I've been compiling a > etc. Would you know of any plans to release Dawkins' "Blisterstring" and/or "Fast Fingers" on CD? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [6/2/96 6:12 AM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 6 Feb 1996 08:37:27 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: PREWAR STRING BANDS: Information & Questions (LONG) Comments: To: Skipjames@aol.com In-Reply-To: <960205160547_313326888@emout06.mail.aol.com> from "Tom Freeland" at Feb 5, 96 04:05:49 pm > What were the other string bands who recorded, particularly in other regions? > Recommend some recordings? Tell us something about the history and styles? The Pratcher brothers (Miles and Bob) were recorded on at least one occassion by Alan Lomax. I think they lived in the Como, MS area, as Miles accompanied Fred McDowell on some recordings. I have a cd of Lomax field recordings called "Roots Of the Blues" (New World Records 80252-2) which has two duets by the brothers as well as two Fred McDowell tracks on which Miles plays second guitar. Lomax describes the them as "a black string band playing more old-time black square-dance music of the type once common to the whole frontier, white and black." Both brothers played guitar and fiddle, the latter in a scrapy style reminiscent (to my ear) of the playing of Henry Simms, Carl Martin and assumedly other rural black fiddlers. Then there's the Mobile Strugglers, who played in Montgomery, Alabama in the fifties. There's a brief mention of them and a photo in Oliver's _Story Of The Blues_, and their excellent "Raise A Ruckus Tonight" can be heard on the Rhino disc "Roots of the Blues" from the Blues Masters series. Oliver mentions several other string/jook/jug bands in _Story_, including King David's Jub Band, Clifford Hayes' Old Southern Jug Band, Phillips's Louisville Jub Band, The Dixieland Jug Blowers, the Wright family from Texas, The Birmingham Jug Band, and a group from central Mississippi led by fiddler James Cole. I have no idea if any of recordings of these bands have been reissued. -Rob ========================================================================= Date: Tue, 6 Feb 1996 12:41:17 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: e-mail addresses There have been a couple of requests for blues-l e-mail addresses. You can get anyones blues-l address by sending a message with the following format to the server (listserv@brownvm.brown.edu) scan blues-l searchstring For example I sent the following: scan blues-l fent and recieved the reply: Date: Tue, 6 Feb 1996 07:28:48 -0500 From: "L-Soft list server at Brown University (1.8b)" To: Pat Hertel Subject: Output of your job "phertel" > scan blues-l fent Paul Fenton "P.W. Fenton" SCAN: 2 matches, 20 concealed entries not examined. Summary of resource utilization ------------------------------- CPU time: 0.093 sec Device I/O: 36 Overhead CPU: 0.010 sec Paging I/O: 0 CPU model: 9121 DASD model: 3390 Showing that PW has two adresses (tsk,tsk) on the list :):) You can also see that there are 20 addresses of people who wish to remain anonymous (humm).A NOTE: When you sen the message to the server leave off the signature stuff because it will try to interpret that too. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [6/2/96 7:33 AM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 6 Feb 1996 13:56:23 GMT Reply-To: sylviap@cartermill.com From: "sylviap@cartermill.com" Subject: Re: You ought to be shamed!! Well, I thought this server was for bluezu lovers!! I am very disappointed to see that when I asked something regarding blues nobody answer but when someone send a message of this kind: "Mon, 5 Feb 1996 kristina@FREE.ORG wrote: >> Hi, >> My name is Kristina. I'm a nude model and I'd >> love to take my clothes off and entertain you. > >[SNIP] > >*sigh* Isn't it sad when cousins marry? (TEXT DELETED) But you have to admit that there has been a lot more "blue" in her message than in all of the messages about LB policy. ................. If you're lookin' for a perfect woman you're gonna' die a lonely man ............" lots of people answer! Really disappointed Sylvia ========================================================================= Date: Tue, 6 Feb 1996 08:04:30 -0500 Reply-To: RNABooking From: RNABooking Organization: America Online, Inc. (1-800-827-6364) Subject: Miss Lavelle in Chattanooga Comments: To: bit-listserv-blues-l@uunet.uu.net Lavelle White will be performing in Chattanooga tomorrow night (Feb. 6) at 7:00 PM at the Bessie Smith Hall. This is a reception for the African American Heritage Museum. She will also do three other dates on this short run in Atlanta on Wednesday (Blind Willies), Charlotte on Friday (Double Door) and Tallahassee on Saturday (Dave's CC). Other than that, you'll have to catch her around Texas until it warms up everywhere else. Do yourself a favor and party down with Miss Lavelle...she's the real thang. ========================================================================= Date: Tue, 6 Feb 1996 14:45:01 MET Reply-To: robbd@VYGER.ENET.DEC.COM From: robbd@VYGER.ENET.DEC.COM Subject: Q: Loma Records Comments: To: "blues-l@brownvm.brown.edu"@vbormc.vbo.dec.com A few months back, someone reported on the delay of Warners "Loma Records Story" 2-CD set - I see it's once again listed in Noteworthy Music's catalog, so can anyone confirm that it's now available? If so, any reviews/comments on track listing, presentation, etc. would be very much appreciated. Thanks a lot, - Dougie ========================================================================= Date: Tue, 6 Feb 1996 08:57:47 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: BLUES-L Convention: Preliminary Report Richard Waterman's preliminary report sounds okay to me. Let's just do it. St. Louis over the Labour Day Weekend would be a blast. At the risk of deterring one or two others, I'll be there for sure-whether it's beer and pizza from room service or a full-scale whiz-bang with seminars and merch booths and live performances and record swaps. I need to use up these frequent-flyer points before they evaporate.... Richard the Elder ========================================================================= Date: Tue, 6 Feb 1996 08:57:57 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: REMEMBER US Comments: cc: BOB-Robert Cortes <0002085364@BOB.COM> Pardon me, boy, but what the FUCK is this all about? And why the hell should you waste everybody's time-from the President's assistant in charge of dumb messages to all the people on all the other lists you posted this shit to? Grow up, get a life, and mind your own business. No wonder nobody can remember what your name is! Richard Flohil (Who get's flamed for being snippy, but will probably be forgiven this time) ========================================================================= Date: Tue, 6 Feb 1996 13:58:33 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Sitting&Thinking-Johnny B. Moore. Comments: To: bit-listserv-blues-l@uunet.uu.net Barry Silverberg wrote: > >JOHNNY B. MOORE - 911 Blues (Wolf #120.873) >WOLF RECORDS P.O. BOX 375 A-1120 VIENNA AUSTRIA > >You've all heard Johnny B. Moore many times over. You just may >not have known who he was, since the bulk of his output has been >in the back of other great bluesmen and women. To the best of my >knowledge this is only his second outing as a lead. His first CD >was also on Wolf, and was titled Lonesome Blues (Wolf #120.851). >It received a W.C. Handy nomination, so for sure, Johnny is an >important rising star. Johnny B. Moore's first release was the album "Hard Times" on the Blues/R&B label in the mid 1980s. He has also recently recorded a live CD for the Delmark label, which will be released in a few months. Johnny is indeed an important bluesman, don't miss him (or his recordings) if you get the chance. Scott ========================================================================= Date: Tue, 6 Feb 1996 08:18:46 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: BLUES-L Convention: Preliminary Report Comments: To: Gary Constantine In-Reply-To: <9602060726.AA21738@bach.ccinet.ab.ca> On Tue, 6 Feb 1996, Gary Constantine wrote: > > I had a wonderful time there in 1995 and enjoyed my stay at a > >>terrific Adam's Mark Hotel. > > > > As long as it has 24 hour room service it sounds fine to me. Any > brew-pubs nearby? Well, I used to live there. I'm not sure about the 24 hour room service, but the Tap Room is a microbrewery that makes pretty good beer. There's lots of cool stuff like that near the downtown area. There's a whole neighborhood (old French) that is chock full of neighborhood bars that usually have great local blues bands. > > I have a hard time whistling and I wouldn't know a B flat from a C > sharp but listening to someone who played with RJ with a bunch of like > minded people would definately be worth $15 Henry is a real treasure. He'll play and tell stories - you could sit there forever listening to him. If you have access to Wolf cds, check out the one he has - St. Louis Blues (Wolf 120.495 CD). > > Having said all this I doubt if it will take place as a conference, > but if a dozen or so people want to get together in St. Louis and listen to > some blues, talk some blues, trade stories and drink a bunch of beer then > I'm definately interested I'm planning on being there already. See you there! -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Tue, 6 Feb 1996 09:35:07 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: How was Hubert Sumlin in New York? Hey, did any of you meet up in the village to see Hubert Sumlin last Thursday night? I missed any posted review of this show, which I was dying to go to. Someone fill us in! :) Thanks Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 6 Feb 1996 14:04:06 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: The early Great Jimmy Dawkins Comments: To: bit-listserv-blues-l@uunet.uu.net Pat Hertel wrote: > > Would you know of any plans to release Dawkins' "Blisterstring" >and/or "Fast Fingers" on CD? > I don't have an exact date, but I'm pretty sure that "Fast Fingers" (one the overlooked masterpieces of modern guitar blues, IMHO) will be out on CD this year. BTW, a cut from "Blisterstring" will be included on the guitar anthology. Delmark WILL eventually release all of their blues recordings on CD, it's just that with almost 40 years of back catalog, it's taking them a bit of time to get through them all. Scott ========================================================================= Date: Tue, 6 Feb 1996 09:42:25 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: T-shirt Slogan I like "BLuesmen do it in 12 bars". Gives me a chuckle.... :) :) Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 6 Feb 1996 14:07:48 GMT Reply-To: Art Schuna From: Art Schuna Organization: UW-Madison Subject: Re: Corey Harris (was I: GuitarPlayer Mag) Comments: To: bit-listserv-blues-l@uunet.uu.net In article <960205191850_214922619@emout04.mail.aol.com>, JukeFreak@AOL.COM says... >Corey Harris, ....deleted> >Has anyone heard this guy's music? I see advertisements everywhere--it seems >he's being heavily promoted--and didn't I see his name in the Handy award >nominations? Yet I've never heard any of his songs on the radio or on the >DMX, and I've never even read a review. Is his CD brand new? Corey has a relatively new release on the Alligator label. He plays primarily solo acoustic guitar on this - very nicely done. I think he shows real promise as an up and coming new blues talent. Art Schuna ========================================================================= Date: Tue, 6 Feb 1996 09:45:59 -0500 Reply-To: PARRISHR From: PARRISHR Subject: The Race Thang In <1161c820@vitro.com>, PARRISHR writes: > This whole race thing has me really confused. > Where does an Hispanic blues player, like Max, fit in? And Barry Bean said: > Tell the truth. You're just posting this to tweak Waterman, right? Hi Barry, I don't know who said what but I'm very serious about this. Max's biological parents were Puerto Rican but he grew up in a non-Hispanic foster home. So he doesn't identify with ANY group culturally. I think he's drawn to the blues BECAUSE of the isolation he feels from not being able to identify with any particular group. My point is, I think people get into blues for reasons that transcend race. ========================================================================= Date: Tue, 6 Feb 1996 10:04:01 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Corey Harris Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I got Corey Harris' debut album a couple of months ago and I think it is a great solo acoustic album. Harris is a great singer, guitarist and arranger. If you consider his age (he's 26 - I'll be 26 in a few months and I doubt I'll have an album out any time soon!) he is bound to be a major figure in the acoustic blues scene. It is nice to see young black musicians like Harris and Jordan Patterson continue and perpuate the blues, with traditional and modern stylings. (and let's not get into the race issue - I only said young black musicians because it seems that many young black musicians have rejected the blues) I knew Harris before he was famous. He used to go to the Washington DC area for a few months at a time to play at local clubs. My stepbrother used to host an open mic at a coffeehouse, and Harris played there once (he left his slide there and my stepbrother still has it). He called me and told me he heard the best live delta blues ever, and I had to check this guy out. I later saw him at Food For Thought and I sat in with him for a set. I think that summer there was an article about him in the Baltimore Blues Society's Blues Rag, by Larry Hoffman (who produced Harris' Alligator cd). I next saw him in Charlottesville, VA during the Virginia Blues Festival in the summer of 1994. He wasn't part of the main festival, but he played at one of the local clubs and I was fortunate enough to sit in with him again. I was very happy to hear that he was recording for Alligator and I hope he continues to be successful. Hopefully I can find him when I'm in New Orleans later this month. Maybe I can return his slide. -Steve ========================================================================= Date: Tue, 6 Feb 1996 10:15:25 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: Craig Brenner -- new CD H'lo... I have been asked to post a notice on the list about my friend Craig Brenner's new CD. It's called "Play it Again Professor," and features Craig, a piano-meister, performing "blues-based piano, including boogie-woogie, R & B, New Orleans, slide, jazz and barrelhouse styles." Craig played both on the Cooler King's "Look Like Trouble" blues CD, and on my If-It-Ever-Comes-Out-Everything-But-Opera CD (promised release -- March). Kenny Aronoff (energy-exploding drummer of note -- Mellencamp, Seger, well...just about everybody; probably owns stock in American Airlines) guests on Brenner's CD along with several other tasty players. Craig's been a staple of the Indiana music scene for quite some time, and absolutely LOVES Prof. Longhair. At any rate, I said I'd post his notice and offer an ordering address: Craig Brenner, 1101 S. Fess, Bloomington, IN 47401. (I think the CD is selling for $15 and is an independent release.) He also wonders if any of you DJs or people with radio connections have stations/addresses to which he might send a copy for possible radio play, hoping this might be a better way to locate stations for which this music would be appropriate. Please feel free to contact him via e-mail at: brennerc@city.bloomington.in.us I have no affiliation with Craig and absolutely none with his wallet -- unless I'm putting something in (smile) -- except I'm a friend for whom he'll decipher a jazz chord now and then or tell me I sing like an angel on those occasions when I seriously think about vows of silence. Thanks for your attention. Cathi N. ========================================================================= Date: Tue, 6 Feb 1996 07:24:45 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: BLUES-L Convention: Preliminary Report >Richard Waterman's preliminary report sounds okay to me. Let's just do it. >St. Louis over the Labour Day Weekend would be a blast. At the risk of >deterring one or two others, I'll be there for sure... It sounds like a whole lotta fun to me as well; unfortunately the guy I'm travelling with is a teacher, and the day after Labour Day he's got to be back at work (whereas I'm a farmer - I don't work :-), so we won't be able to make it to St Louis. I wouldn't expect you to change your plans just for me (waaahhh!!!) , so I'll wish you all a great time, and hopefully I'll get a chance to catch up with some of you in Clarksdale this summer. -Jim (hndful@uniserve.com) ========================================================================= Date: Tue, 6 Feb 1996 10:29:16 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: How was Hubert Sumlin in New York? Comments: To: "" In-Reply-To: <01I0VZMCOJK80071Q0@SCI.WFBR.EDU> On Tue, 6 Feb 1996, wrote: > Hey, did any of you meet up in the village to see Hubert Sumlin last Thursday > night? I missed any posted review of this show, which I was dying to go to. > Someone fill us in! :) Four of us went - Jim, Ed, Jessica and me. I think (nudge, nudge) Ed is gonna post one of his LIVE reviews to blues-l real soon. BTW the other act that night Michael Powers was terrific. I only got to hear the acoustic snippets of his show but this is a poss- ible artist for recording (anyone listening). Good guitarwork w/ a terrific smoky overcast voice a la U.P. Wilson - and you know I like Mr. Wilson. Barry NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 6 Feb 1996 10:30:34 -0500 Reply-To: TNT BLUES From: TNT BLUES Organization: America Online, Inc. (1-800-827-6364) Subject: Chris Duarte-Sugar Blues Comments: To: bit-listserv-blues-l@uunet.uu.net I just got the CD Sugar Blues from Chris Duarte and I think that anyone that likes Stevie Ray will like this. Some of it is a little bit funkier than SRV and it has a style that is his own. It is definitely a foot tapper. Hell I was dancin around the kitchen cookin chili to it a little while ago. Anyway , go get it , as soon as possible. ========================================================================= Date: Tue, 6 Feb 1996 07:55:33 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Robert Lockwood Jr....... a question? Comments: To: Gary Constantine At 12:52 AM 2/6/96 -0700, Gary Constantine wrote: >The June 1995 issue of Living Blues, (yes, I know that I am dammed to hell >for eternity!) had a cover story on Robert Lockwood, one of my favorite artists. > The discogrophy listed a CD that I have been trying to get for years called: > > BLUES LIVE IN JAPAN > ADVENT 2807 > > I have never been able to get the CD. Can anyone tell me where I >might find it (mail order please) or give me a address or phnoe number for >ADVENT records. Advent Records was a wonderful West Coast blues label owned by Frank Scott, who is now the owner of Roots & Rhythm MMail Order. His email address is roots@hooked.net A few years back Frank Scott sold the entire Advent label and all its masters to Bruce Bromberg, woner of HighTone Records. HighTone has been reissuing several of the old advent LPs onto CD, but not (yet) the Lockwood. Mary Katherine Aldin ========================================================================= Date: Tue, 6 Feb 1996 10:55:50 -0500 Reply-To: bob unger From: bob unger Subject: BluesBytes - Shipping tomorrow! To all who ordered BluesBytes.... I have locked the door to my office, placed a sign on it "Go Away!" and I'm inserting the j-cards, addressing envelopes, and I should have all of them stamped and in the mailroom for tomorrow morning's pickup. To those of you who still want to order, I have around 30 left, and I dont expect them to last to long, so if you want to order, let me know and I'll set it aside...... BU bob@sun.bnkst.edu ========================================================================= Date: Tue, 6 Feb 1996 08:08:36 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Feb. 8 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BIBB, LEON [CHARLES LEON ARTHELLO BIBB](v)b. 1922-0207, LOUISVILLE, KY BLAKE, EUBIE [JAMES HUBERT BLAKE] (p/comp)b. 1883-0207, BALTIMORE, MD BROWN, JOE (co-owner: JOB REC) d. 1976-0207, CHICAGO, IL 71 CLAY, BEAUFORD (vln/BLIND JOHN CAMPBELL) b. 1900-0207, FRANKLIN, TN CLAY, SHIRLEY (tpt) d. 1951-0207, NY 49 CRAWFORD, RAY (g/JIMMY SMITH) b. 1924-0207, PITTSBURGH, PA GUITAR SLIM [EDDIE LEE JONES] (g) d. 1959-0207, NEW YORK CITY, NY 33 HARNEY, WALTER (g/ADELPHI REC) b. 1907-0207, WHITEVILLE, TN HINE, DARLENE CLARK (author) b. 1947-0207, MORLEY, MO KING CURTIS [CURTIS OUSLEY] (sax/prod) b. 1934-0207, FORT WORTH, TX KING, EARL [EARL SILAS JOHNSON] (g/songw) b. 1934-0207, NEW ORLEANS, LA LEWIS, NOAH (hca/SLEEPY JOHN ESTES) d. 1961-0207, RIPLEY, TN 66 SMITH, AL (arr/VEE JAY REC) d. 1974-0207, CHICAGO, IL 50 ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 6 Feb 1996 11:10:59 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: PREWAR STRING BANDS: Information & Questions (LONG) Comments: To: rob.hutten@acadiau.ca Comments: cc: bogert@igloo.com In a message dated 96-02-06 07:53:35 EST, rob.hutten@ACADIAU.CA (Rob Hutten) writes: >Oliver mentions several other string/jook/jug bands in _Story_, >including King David's Jub Band, Clifford Hayes' Old Southern Jug >Band, Phillips's Louisville Jub Band, The Dixieland Jug Blowers, the >Wright family from Texas, The Birmingham Jug Band, and a group from >central Mississippi led by fiddler James Cole. I have no idea if >any of recordings of these bands have been reissued. Laying aside the jug bands (several of those recorded, particularly Clifford Hayes' band), the James Cole group recorded at Richmond, Indiana in 1930-32. Those recordings were available on vinyl on Matchbox MSC 211. I have not sought them out on cd. In his liner notes for MSC 211, Oliver notes that no one knows about this band. He rejects Memphis on aural evidence (the guitar does not sound like Memphis to him). He then notices instrumental similarities to certain Kentucky-Cincinnati groups, and suggests they came from there. The group consised of Cole on violin, Tommie Bradley on guitar, Eddie Dimmitt on Mandolin, and occasional added washboard, kazoo, jug, or piano. This time the curiousity is not just mine; Oliver in the liner notes to MSE 211 concludes: "Perhaps this album will prompt someone to do some research on this unjustly neglected cluster of musicians--they could do worse than start in Cincinnati." Tom Freeland ========================================================================= Date: Tue, 6 Feb 1996 16:21:39 GMT Reply-To: Mike Stefano From: Mike Stefano Organization: Queen's University Subject: Johnny Winter So, any word on Johnny's first show of the new year (many more to come, I hope?) ========================================================================= Date: Tue, 6 Feb 1996 16:59:54 GMT Reply-To: dresserd@DNS.NXI.COM From: Derek Dresser Organization: Agate Internet Services (AIS) Subject: Southern Maine Blues Society - Johnny Copeland benefit Comments: To: bit-listserv-blues-l@uunet.uu.net Saturday night, I opened a benefit show for Johnny Clyde Copeland at the Cellar Door in Lewiston, Maine. The show was put on by the Southern Maine blues society, and consisted of four acts. Myself, Derek Dresser, opened the show with a set from the delta including Robert Johnson, Son House, Tommy Johnson, Tommy McClennan, etc. The next act was the Barbecue Blues Boys, more country blues, with guitar and harmonica. Next was the Shaun McCole band with Shaun playing his National tenor guitar, and finally the Danny Jones band, a blazing electric blues band. It was good to see the blues alive and well in Maine. The house was packed and in good spirits. Some of the crowd was more into the spirits than others. Being a benefit, there was a minimum donation at the door, and lots of raffles and giveaways. All the musicians donated their time and talents. Johnny Copeland is playing in Portland, Maine in March, and I'm hoping to get a chance to meet him. It is at this show at Morganfield's in Portland that he will be presented with the proceeds from the benefit. There was a film crew there from Bates college. Some kids doing a documentary on Blues in Maine. They were excited and surprised to find out what we knew all along. The blues are alive and well up here in Maine. The next meeting of the Southern Maine Blues Society is on Monday the 12th at 7:00 pm at Morganfields in Portland, Maine. ========================================================================= Date: Tue, 6 Feb 1996 11:30:31 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Bluesman Fibs I read with keen interest the interview of James Peterson by Brett Bonner (Living Blues #125). Having known James and having spent time with him over the last several years, I notice a few things that, if the quotes are accurate, James has "revised" his answers to. This makes me wonder just how much of this "revision" of one's life is "normal" in the Blues world, and how many biographies are based on similar interviews where the subject was either being less than candid, or "legend building". Before I give the wrong impression of this article, it's quite a good one, and James is a pretty interesting guy with a lot of stories to tell. I just found my self saying things like "that's not what you said to me about so-and-so". It just makes me wonder how much information, especially about Blues artists that have passed away, can be relied upon. Even in cases where the information comes from the horses mouth. I was interviewed by a newspaper reporter for a fluff article about me and my band about a year ago. I rattled off the stupidest, lamest, most idiotic answers possible during that interview. And an hour later thought of all the things I should have said. But I really felt under the gun during that interview. Lucky for me, the reporter wanted to be friendly. He made me sound a lot more intelligent than my answers really were. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 6 Feb 1996 11:55:52 -0500 Reply-To: "Alan C. Rollins" From: "Alan C. Rollins" Subject: Administrative Soory for this housekeeping being chore being done here. My efforts to contact Steve Crossen are not being recieved and in fact come bact to me. All of your messages Steve come back with the following message: An error occurred while processing file 1316 from bfstew@NECA.COM: "Mail has been received for delivery to the BLUES-L list from a user which had been served out". I do not know what to tell you. I am not sure if you are even getting this message. I now return you to our regularly scheduled program with my apologies for any trouble this may have caused. ACR ========================================================================= Date: Tue, 6 Feb 1996 14:35:59 +0000 Reply-To: "David J. Wallace" From: "David J. Wallace" Organization: JSDA Subject: Re: eRIC's BLUES DATES: Feb. 6 > ASTLEY, RICK (v) b. 1966-0206, WARRINGTON, UK is the blues? YA GOTTA BE KIDDING ME. Maybe I should be on TeenL if I want to talk blues? See Ya, David |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Theres only one way out of: The Blues, Town and Regional Planning or a spin in a Beech Baron. I Hope you never find it. ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| ========================================================================= Date: Tue, 6 Feb 1996 12:06:08 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Bluesman Fibs Comments: To: pwfenton/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=pwfenton#a#GATE#f#NET@s1boca.corp.wrgrace.com, BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *I read with keen interest the interview of James Peterson by Brett *Bonner (Living Blues #125). Having known James and having spent time *with him over the last several years, I notice a few things that, if *the quotes are accurate, James has "revised" his answers to. This *makes me wonder just how much of this "revision" of one's life is *"normal" in the Blues world, and how many biographies are based on *similar interviews where the subject was either being less than *candid, or "legend building". A lot of bluesmen have stories about their lives that they tell over and over again. These stories often change over time or are told differently to different audiences. I have heard John Jackson and Archie Edwards repeat stories about themselves that have changed slightly over the years. Barry Pearson's book "Sounds So Good To Me: The Bluesman's Story" deals largely with how blues men and women create and change their stories. Also, unless the article you read is edited by the author, don't take it to be exactly what the author wrote (or intended to say). Editors often drastically change the text - something I recently found out after I started my first professional writing job. -Steve ========================================================================= Date: Tue, 6 Feb 1996 11:10:06 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Stuck at Home/deleted mail I haven't been at work due to the weather since Friday and my mail box was FULL. So I had to delete everything, so if someone sent any private mail, it's gone. If it was important enough to send again, do so, otherwise I didn't want anyone to think I was ignoring them.... LW 'snowed in....still :-)" ========================================================================= Date: Tue, 6 Feb 1996 11:11:26 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Robert Lockwood Jr....... a question? Comments: To: Mary Katherine Aldin In-Reply-To: <199602061555.HAA22563@frisbee.beachnet.com> The Lockwood Live In Japan CD is out in Japan with extra cuts; Roots & Rhythm is probably the best source. There's also a Vol. 2 which came out a little over a year ago, also on Japanese CD and is equally worthwhile. Both also include vocals by members of the Aces. If you don't have it, P-Vine in Japan also put out a very nice video of an '80s Japanese tour by Robert Jr. called "Annie's Boogie." Probably not easy to find, but worth the quest. ========================================================================= Date: Tue, 6 Feb 1996 09:41:34 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Bluesman Fibs Comments: To: "P.W. Fenton" At 11:30 AM 2/6/96 -0500, P.W. Fenton wrote: >I read with keen interest the interview of James Peterson by Brett >Bonner (Living Blues #125). Having known James and having spent time >with him over the last several years, I notice a few things that, if >the quotes are accurate, James has "revised" his answers to. This >makes me wonder just how much of this "revision" of one's life is >"normal" in the Blues world, and how many biographies are based on >similar interviews where the subject was either being less than >candid, or "legend building". > >It just makes me wonder how much information, especially about Blues >artists that have passed away, can be relied upon. Even in cases where >the information comes from the horses mouth. > The tradition of rearranging history to suit yourself is a long one, and not restricted to bluesmen and women. Probably the most famous example of this in my memory is Sonny Boy Williamson II, who told every interviewer a different story of his life, and who almost always claimed to *BE* Sonny Boy Williamson I (John Lee Williamson, who recorded for Bluebird in the 40s). Willie Dixon told me that many times especially when on tour in Europe Sonny Boy would blow the doors off devoted fans by making the most absurd statements about his career. He seemed not to care much about historical accuracy, preferring that it be a good story, without regard to whether any of it was true.... Since Living Blues interviews (at least all the ones that *I* ever did--) take great care with exact quotes from artists, whatever you saw in the Peterson story that was directly attributed to him was most certainly exactly that. But it's only human to want to put yourself in the best possible light, whether by falsification of facts or simple omission. Several noted bluesmen of today have done hard time in prison, but they don't mention that in *any* interviews, simply skipping over that period of their lives. As an interviewer, it's my business to quote accurately, and to supplement what I am told by research of my own. If what I turn up is different than what I am told by my interview subject, I generally present both sids of the story, carefully citing sources. Mary Katherine Aldin ========================================================================= Date: Tue, 6 Feb 1996 12:39:33 -0500 Reply-To: TabbMan@AOL.COM From: John Moore Subject: Re: Sitting&Thinking-Johnny B. Moore. Comments: To: BGSV75C@prodigy.com Johnny B. Moore is also on a newer relaese by Karen Carrol. ========================================================================= Date: Tue, 6 Feb 1996 09:55:19 -0800 Reply-To: Joel Beeson From: Joel Beeson Subject: Alabama blues project I just wanted to update you on the RMA/Blues education project. As I mentioned in the first post I made about the RMA project, Willie King and the RMA were forced to move this fall from the community cultural center (an old country market next to which sat the trailer where Willie and his late mother lived for the past few years) where they had planned to carry out their project to keep the blues alive in the younger generation. Because of the generosity of many people (blues and gospel artists, visual artists, the wonderful people at the Magic City Blues Society and other concerned blues supporters (including one generous Blues-l member who recently made a $1000 contribution), we raised enough money to purchase a small 2-acre parcel in Old Memphis, Alabama and move Willie's trailer to a permanent site for the RMA Cultural Center. There is another old trailer on the site which will be a temporary Center, until we can find resources with which to build a more permanent structure. At present, Willie and RMA members are planning to construct a small outdoor stage for community performances. There is no electricity at present, but power should be hooked up to Willie's trailer soon. The town of Old Memphis and the RMA have been working together to plan activities, such as a monthly community marketplace (thanks to an idea sent to me by a Blues-L member) where residents can sell crafts, produce and enjoy blues, etc. I spoke with Willie King (bluesman and Rural Members Association founder) about what their needs were for the blues education project. He said that that the center really is in need of two or three good student acoustic guitars,replacement strings, harps and percussion instruments (small drums, bones or ?). Of course, donations of can be earmarked for specific things as transportation costs (currently Willie drives his beatup Toyota - held together with bailing wire and duct tape) around the county picking up kids on the weekends for classes), the building fund for the hoped-for permanent cultural center (to be named the Mary Frasier RMA Cultural Center after Willie's mother, who passed away in December 1994 after 80 years of life as a sharecropper and gentle spirit in the community), or for general support. The RMA is in the process of finding 2-3 acres of land to rent and grow vegetables as a part of teaching subsistence farming to the kids in the community. Local youth will learn to work the land and grow their own food as well as earn some money from selling the surplus at farmers markets. Some of the seniors in the community will teach food preservation, canning, etc. The goal is to teach children (most of whose parents are on welfare in this impoverished rural county) self-reliance, confidence and pride in their culture. Donations of canning supplies, farm equipment, etc. are needed. I know that Willie and the RMA community are very excited about the prospects for helping their community rise out of the dispair of poverty and beyond the oppression of the past through the blues. I really believe in this self-help project. You can help by posting this information or otherwise publicizing it. Feel free to forward this letter. Correspondence, questions and expressions of support may be sent either to me at jbeeson@weber.ucsd.edu, snail mail: 3919-H Miramar St., La Jolla, CA 92307 or contact RMA founder Willie King, Rt. 1, Box M147, Aliceville, AL 35442, (205) 373-2521 Peace, Joel Beeson ========================================================================= Date: Tue, 6 Feb 1996 13:11:40 -0500 Reply-To: Stephanie Manna From: Stephanie Manna Subject: PW Fenton/Re: Bluesman Fibs? On Feb 06, 1996 11:30:31, '"P.W. Fenton" ' wrote: >I read with keen interest the interview of James Peterson by Brett >Bonner (Living Blues #125). Having known James and having spent time >with him over the last several years, I notice a few things that, if >the quotes are accurate, James has "revised" his answers to. This >makes me wonder just how much of this "revision" of one's life is >"normal" in the Blues world, and how many biographies are based on >similar interviews where the subject was either being less than >candid, or "legend building" . IN REPLY TO PW FENTON; Funny you should bring this subject up and have the nerve to call it "bluesmans fibs". In relaying topics of blues-l to James Peterson ; I need to remind him who PW Fenton is each time I quote something about you. Are you sure you know James Peterson? Do you feel some kind of power/pleasure announcing to members of blues-l that James Peterson is some sort of "fibber"? I would think you being of the Tampa Bay area would be glad for James Peterson's success and find something positive here. I have a collection of interviews done with James Peterson through the years and I find no differences from one to another( other than small details, which can be taken for error on the writers behalf). PW, I will say this publicly: you need to take a look at where your feelings are really coming from and ask the Lord to guide you in the right direction. God bless. Stephanie > >Before I give the wrong impression of this article, it's quite a good >one, and James is a pretty interesting guy with a lot of stories to >tell. I just found my self saying things like "that's not what you >said to me about so-and-so". > >It just makes me wonder how much information, especially about Blues >artists that have passed away, can be relied upon. Even in cases where >the information comes from the horses mouth. > >I was interviewed by a newspaper reporter for a fluff article about >me and my band about a year ago. I rattled off the stupidest, >lamest, most idiotic answers possible during that interview. And an >hour later thought of all the things I should have said. But I >really felt under the gun during that interview. Lucky for me, the >reporter wanted to be friendly. He made me sound a lot more >intelligent than my answers really were. > >P.W. Fenton >Tampa, Florida > >Check out my Blues web page at >http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 6 Feb 1996 18:11:05 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Highway 61/PBS Has anyone heard about a PBS show that is runoured to be on next week? Something about Loudan Wainright III going down highway 61 and visiting places like Robert Johnson's grave. BTW isn't there more than one place that claims to be his gravesite? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [6/2/96 13:08 PM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 6 Feb 1996 12:14:42 -0800 Reply-To: Maggie Mortensen Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Maggie Mortensen Organization: Exarch Services Subject: Walter 'Wolfman' Washington (was: Mardi Gras Blues) Comments: To: Keith Castleberry Keith Castleberry wrote: > > ???The Mobile Press has an article on Walter Wolfman Washington. New Orleans > Blues Guy. Has anyone out there heard him before?? I'm gonna have to rein my enthusiasm and verbosity in a bit for this post, 'cause I could go on about Walter for *weeks*--he and his band, The Roadmasters, are my very favorite New Orleans performing musicians, and I'm happy to count him and his longtime companion, Ashby Dashiell, among my fond acquaintances. I see him perform at least once a month when he's in town, and he hangs out a lot in my neighborhood tavern. His music is the smoothest blending ever of blues, jazz and soul elements; his guitar playing style is funky funky funky and owes a debt to Johnny 'Guitar' Watson, but is so distinctive that I can now recognize it on old New Orleans studio recordings with almost 100% accuracy. I've heard some people say they don't care for Walter's voice, which ranges from down and gritty to a wailing falsetto, but I personally love it. Wilbert 'Junkyard Dog' Arnold, one of our city's most-employed, funkiest drummers brings a distinctive second-line beat to the lineup, and the Roadmaster Horns could give the Memphis Horns a run for their money; Jack Cruz on bass completes the squad. Brief bio: he's in his early fifties, native New Orleanian, played and toured for many years in Lee Dorsey's band, and then backed up local soul crooner Johnny Adams for a long time before starting his own band, which I'd guess was about eight or ten years ago...and you can hear a lot of Adams' soulful influence in Walter's voice. Brief discog: Several recent Rounder recordings, including 'Wolf Tracks', 'Wolf at the Door' and 'Sada'. Most recent release is a European CD titled 'Blue Moon Rising' with superb title cut. My personal favorites are the 'at the Door' (which is Rounder 2098) and a compilation CD that Britain's Charley records put out as part of their Master of the Blues series. The Charley release is old stuff with a different band lineup than he currently has, interesting in its lack of polish compared to the newer releases. Funkier. Walter and the Roadmasters tour a lot, and if you hear of them coming near your town, run don't walk...his renditions of Doc Pomus' 'Hello Stranger', and of 'I Got a Woman', interspersed with his own original tunes, will make you weep for joy--when you're not dancing. Oh yeah--and if he looks like he's about to jump off the stage into the audience, clear a path; he's about to start playing the guitar with his teeth, from a prone position on the floor. --Maggie Maggie Mortensen Exarch Services New Orleans USA ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ 'I'm not sure, but I think that ALL music started in New Orleans.' --Ernie K-Doe ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ========================================================================= Date: Tue, 6 Feb 1996 13:16:58 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Sitting&Thinking-Johnny B. Moore. Comments: To: John Moore In-Reply-To: <960206123932_314196289@emout08.mail.aol.com> On Tue, 6 Feb 1996, John Moore wrote: > Johnny B. Moore is also on a newer relaese by Karen Carrol. If you read your liner notes Johnny B. Moore is on a ton of releases. Barry NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 6 Feb 1996 13:25:02 -0500 Reply-To: Jerry Zolten From: Jerry Zolten Subject: Re: Bluesman Fibs Funny that Steve should mention Archie Edwards and John Jackson in this context. There'll be an article of mine about Archie Edwards in the next issue of LB wherein I felt compelled to say something about this very thing. Archie has some wonderful tales about meeting up with folks like Howling Wolf, Noah Lewis, and others that, it turns out, are not supported by fact. The toughest thing for me in the writing was separating fact from fiction and, believe me, a guy with narrative skills like Archie makes it sound so real. While I'd like to think I know some things about the blues, I can only hope that everything I chose to report turns out to be accurate. Its a risk for the integrity of the writer. John Jackson is another interesting case in point. John is a master of hyperbole and a true folk spirit. He spins tales of ghosts and hoop snakes and giant reptiles, and swears its all true. In trying to capture his personality in liner notes for his "Deep in the Bottom" album, I struggled with how to get these elements into the story without John coming across to people who didn't know him as either a fool or a hoaxer. (Neither of which characterize John who is one of the sincerest straight ahead people I know). I'm not sure I succeeded. These days, if a story or set of circumstances seem interesting, I try to incorporate them into the writing with some kind of qualifier or spin so that readers have some measure of judgment. Sometimes masking language helps. For example, a founding member of a noted gospel group has always said the group formed in 1921. However, documentation suggests otherwise. This became a source of conflict within the group. In the name of accuracy and diplomacy, I've taken when writing or speaking about the group to say "the early Twenties." History is often just best estimates anyway. ========================================================================= Date: Tue, 6 Feb 1996 08:33:23 -1000 Reply-To: Norman C Moody From: Norman C Moody Subject: Re: Peter Green - In Concert - May 5th - HONEST! Comments: To: "P.W. Fenton" In-Reply-To: <199602021625.LAA33913@tequesta.gate.net> > In rec.music.bluenote.blues, jim@jfitz.demon.co.uk (Jim Fitzpatrick) > wrote: > >Peter Green is playing at the Alexis Korner memorial gig at the Buxton > >Opera House on May 5th. This is not a wind-up, it's for real. > > >Tickets are UKP15-30. Buxton Opera House - 01298 72190 How do we get a video of this performance?:>> > If this is true, my wish came true.Greeny Plays On... > GO Peter, play it the way only you know how, let it go brother. "S"Norman Moody K-99K-VOL FM Hilo,HI -p>Jim Fitzpatrick > >jim@jfitz.demon.co.uk > >100415.177@compuserve.com > ========================================================================= Date: Tue, 6 Feb 1996 13:37:17 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Highway 61/PBS Comments: To: phertel/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=phertel#a#CMC#f#DOE#f#CA@s1boca.corp.wrgrace.com, BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com * Has anyone heard about a PBS show that is *runoured to be on next week? Something about *Loudan Wainright III going down highway 61 *and visiting places like Robert Johnson's *grave. * BTW isn't there more than one place that claims to *be his gravesite? In that documentary with John Hammond there were at least two (I think three) Robert Johnson gravesites. ========================================================================= Date: Tue, 6 Feb 1996 13:48:53 -0500 Reply-To: Greg Hermanns From: Greg Hermanns Subject: Re: Tommy Castro debut Ranko wrote: 3. Tommy Castro - "Exception to the Rule" (Blind Pig) A Solid debut album by San Francisco's own bluesman. Now I regret I miss ed his show when I was there a month ago. Although the album cover shows him in a Joe Satriani-guitar-hero-kinda pose, inside Castro supplies enough of fine singing and guitar playing to make this album a pleasant surprise. Most of songs are originals (7 out of 10). Ranko ------------------------ ----------------------- ------------------------ -------------------------------- The tommy Castro Band is really fine in person and let me asure you; you should indeed regret not seeing them. However, they are young & alive & (hopefully) will be around for a while. The new CD "Exception to the Rule" is a debut on Blind Pig.... cause I have the self promoted CD "No Follin'" on The SALOON Recordings label from 1993. THe Saloon is a local Blues bar in SF on Grant & cloumbus. The CD also has a nice mix of originals and well known artists' tunes. Greg Hermanns gregfh@tso.cin.ix.net all thumbbs in this 0 degree weather! ========================================================================= Date: Tue, 6 Feb 1996 12:49:58 -0600 Reply-To: Bruce Roberts From: Bruce Roberts Subject: James Brown Did anyone catch the James Brown biography on A&E last night? Bruce Roberts Austin, TX ========================================================================= Date: Tue, 6 Feb 1996 13:54:01 -0500 Reply-To: Greg Hermanns From: Greg Hermanns Subject: Re: P.W. is THE MAN Another good luck! Glad to hear it! Greg Hermanns ========================================================================= Date: Tue, 6 Feb 1996 14:02:52 -0500 Reply-To: Leo Aspiras From: Leo Aspiras Subject: Re: Highway 61/PBS - reply answer Pat: The series you refer to is 'Great Drives' which i believe is a 5-6 part series......the first episode was Levon Helm (of The Band fame) going from Memphis to New Orleans on Highway 61......some highlights were his jamming with James Cotton and the gospel singing parts......the next episode is about Route 66.....this has already aired here in the Wash.,D.C. area (i taped it)....for curious minds....no plugs intended.... leo 'The Scatman' aspiras from d.c. ---------------------- Replied Message Body ---------------------- >Received: from falcon.dol-esa.gov (falcon [199.200.255.1]) by fenix2 (8.6.12/8.6.12) with ESMTP id NAA21256 for ; Tue, 6 Feb 1996 13:45:56 -0500 >Received: from listserv.brown.edu (listserv.brown.edu [128.148.128.155]) by falcon.dol-esa.gov (8.6.12/8.6.12) with ESMTP id NAA01867 for ; Tue, 6 Feb 1996 13:45:52 -0500 >Received: from stanley.cis.Brown.EDU (stanley.cis.brown.edu [128.148.128.155]) by listserv.brown.edu (8.6.10/8.6.10) with SMTP id NAA02462; Tue, 6 Feb 1996 13:13:05 -0500 >Received: from BROWNVM.BROWN.EDU by BROWNVM.BROWN.EDU (LISTSERV release 1.8b) > with NJE id 1030 for BLUES-L@BROWNVM.BROWN.EDU; Tue, 6 Feb 1996 > 13:08:18 -0500 >Received: from BROWNVM (NJE origin SMTP@BROWNVM) by BROWNVM.BROWN.EDU (LMail > V1.2a/1.8a) with BSMTP id 3260; Tue, 6 Feb 1996 13:08:18 -0500 >Received: from castor.cmc.doe.ca by BROWNVM.brown.edu (IBM VM SMTP V2R2) with > TCP; Tue, 06 Feb 96 13:08:06 EST >Received: by castor.cmc.doe.ca (950215.SGI.8.6.10/8.6.9) id SAA23732; Tue, 6 > Feb 1996 18:11:05 GMT >MIME-Version: 1.0 >Content-Type: TEXT/PLAIN; charset=US-ASCII >Message-ID: >Date: Tue, 6 Feb 1996 18:11:05 +0000 >Reply-To: Pat Hertel >Sender: Blues Music List >From: Pat Hertel >Subject: Highway 61/PBS >To: Multiple recipients of list BLUES-L ------------------------------------------------------------------ Has anyone heard about a PBS show that is runoured to be on next week? Something about Loudan Wainright III going down highway 61 and visiting places like Robert Johnson's grave. BTW isn't there more than one place that claims to be his gravesite? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [6/2/96 13:08 PM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 6 Feb 1996 13:11:26 -0600 Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: Re: BLUES-L Convention: Preliminary Report I still think Houston-Texas would be a good place to have the convention, for some of the following reasons: 1. Houston was home to many of the blues greats and still is home to many greats. (Not to take away from other cities including St. Louis) 2. Texas is centrally located to both the East and West coasts. Continental airlines has its hub in Houston, so this would be a non-stop flight from anywhere in the US. 3. Houston is close to Austin, Dallas, Navasota, St. Antonio, and others. This gives the chance to people to visit these cities should they have a break. Think about it! Nuri Nuri >Richard Waterman's preliminary report sounds okay to me. Let's just do it. >St. Louis over the Labour Day Weekend would be a blast. At the risk of >deterring one or two others, I'll be there for sure-whether it's beer and >pizza from room service or a full-scale whiz-bang with seminars and merch >booths and live performances and record swaps. I need to use up these >frequent-flyer points before they evaporate.... >Richard the Elder > > ========================================================================= Date: Tue, 6 Feb 1996 19:09:55 GMT Reply-To: william higdon From: william higdon Organization: michigan state university. Subject: Traditional Blues/ Ruby Lacey Comments: To: bit-listserv-blues-l@relay2.uu.net Bought a book "Big Road Blues" by Evans last week ($15.95), and if you're a fan of traditional blues- then you might really enjoy it. Anyway, in the book he talks a little about Ruby Lacey (forgive me if I have the spelling wrong). I've started to sweat since I noticed that I could not find this performer in my Elderly's catalog. Does anyone know where I might be able to find one of his recordings? Thanks, Bill Higdon. ========================================================================= Date: Tue, 6 Feb 1996 14:13:44 -0500 Reply-To: Stephanie Manna From: Stephanie Manna Subject: PW Fenton/Re: Bluesman Fibs? >I read with keen interest the interview of James Peterson by Brett >Bonner (Living Blues #125). Having known James and having spent time >with him over the last several years, I notice a few things that, if >the quotes are accurate, James has "revised" his answers to. This >makes me wonder just how much of this "revision" of one's life is >"normal" in the Blues world, and how many biographies are based on >similar interviews where the subject was either being less than >candid, or "legend building" . IN REPLY TO PW FENTON; Funny you should bring this subject up and have the nerve to call it "bluesmans fibs". In relaying topics of blues-l to James Peterson ; I need to remind him who PW Fenton is each time I quote something about you. Are you sure you know James Peterson? Do you feel some kind of power/pleasure announcing to members of blues-l that James Peterson is some sort of "fibber"? I would think you being of the Tampa Bay area would be glad for James Peterson's success and find something positive here. I have a collection of interviews done with James Peterson through the years and I find no differences from one to another( other than small details, which can be taken for error on the writers behalf). PW, I will say this publicly: you need to take a look at where your feelings are really coming from and ask the Lord to guide you in the right direction. God bless. Stephanie > >Before I give the wrong impression of this article, it's quite a good >one, and James is a pretty interesting guy with a lot of stories to >tell. I just found my self saying things like "that's not what you >said to me about so-and-so". > >It just makes me wonder how much information, especially about Blues >artists that have passed away, can be relied upon. Even in cases where >the information comes from the horses mouth. > >I was interviewed by a newspaper reporter for a fluff article about >me and my band about a year ago. I rattled off the stupidest, >lamest, most idiotic answers possible during that interview. And an >hour later thought of all the things I should have said. But I >really felt under the gun during that interview. Lucky for me, the >reporter wanted to be friendly. He made me sound a lot more >intelligent than my answers really were. > >P.W. Fenton >Tampa, Florida > >Check out my Blues web page at >http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 6 Feb 1996 14:04:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re[2]: BLUES-L Convention: Preliminary Report Well, this is a hard message for me to write. As you all know, I lobbied hard for Moscow, and for a while there I really felt pretty confident about it. There is *no* question, that it has *all* of the merit of Seattle and probably then some. But all of its plusses, Aeroflot's biggest hub, a smoky bar called B.B. King, the Arbat Blues Club (don't get carried away my good bluezellers, these places mainly play scurvy pop trash), and virtually unmatched proximity for our small but excellent Finnish membership, were still somehow not enough, *this* year, to overcome the charms of St. Louis. It was really inevitable, I suppose, Dick Waterman insisted from the start that the first conference be in the US, not (sadly) the USSR. So the dice were loaded at the first throw. But again, that's *this* year, and *next* year I can tell you right now, I feel there will be *no stopping us whatsover!!* If I am in the States at Labor Day (not overly likely but who knows), I will be damn certain to attend. One of my fondest memories is one bluesy hell of a night I had there at the Broadway Oyster Bar, which I commend to you every one. I hope fate somehow finds me there on Labor Day, and I hope you/we have one bluesy experience to remember, that it is informative, soulful, jumpin', and that everyone concerned has one *hell* of a good time! Yours forever in the blues, Blue Joe in Red Russia (where it's *always* NINE BELOW ZERO!!) J.E._Downey@bakermck.com ========================================================================= Date: Tue, 6 Feb 1996 19:28:48 GMT Reply-To: j.mac@METRONET.COM From: j.mac@METRONET.COM Organization: http:/www.rockhouse.com/swamptones Subject: Re: Acoustic Mississippi Fred Comments: To: bit-listserv-blues-l@uunet.uu.net > James Leftwich writes: > As far as I know, Mr. McDowell never played an acoustic guitar. He > recorded on an electric even when playing solo. N'est-ce pas? Check out Fred's early Arhoolie records. He didn't play electric guitar on any of them. The closest he came was playing Chris Strachwitz's "amplified acoustic" which (per the liner notes) was a bass-heavy Gibson with a sound hole pickup. I am very familiar with Fred's self-titled debut album on Arhoolie because it was the record that got me addicted to blues. I vividly remember listening to "Write Me A Few Lines" when I got the album home. It literally changed my life!!! Mississippi Fred "I don't play no rock 'n' roll" McDowell didn't use an electric guitar until he'd been around the revival circuit for a while and had left Arhoolie. Best regards, JMAC ----------------------------------------------- e-mail: j.mac@metronet.com web page: http://www.rockhouse.com/swamptones ----------------------------------------------- ========================================================================= Date: Tue, 6 Feb 1996 14:37:20 -0500 Reply-To: PHILBILLIE From: PHILBILLIE Organization: America Online, Inc. (1-800-827-6364) Subject: Re: TINSLEY ELLIS Comments: To: bit-listserv-blues-l@uunet.uu.net TINSLEY IS GREAT! I FIRST HEARD A LIVE VERSION OF MERCY,MERCY,MERCY ON THE RADIO HERE IN SAN FRAN AND WAS PROPERLY BLOWN AWAY.I'VE BEEN DOING A VERSION IN MY BAND "THE PHILBILLIES" AND IT'S ALWAYS A HIGH POINT.DONT WORRY ABOUT THE PURISTS; THEY DONT LIKE SRV EITHER.BYE. ========================================================================= Date: Tue, 6 Feb 1996 13:45:17 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Highway 61/PBS -Reply Comments: To: phertel@cmc.doe.ca Yes, There are two places that are marked with gravesite markers. ONe is a kind of tower monument, and one is a gravestone that i think i remember lying flat. THen in the Search for Robt. Johnson, the narrator mentions a pretty much abandoned old graveyard where he believes Robt. Johnson is likely buried. I don't think that site is actually claiming anything, but was solely the observation of the narrator of this British made documentary. regards, delta doc rog er ========================================================================= Date: Tue, 6 Feb 1996 13:52:14 -0500 Reply-To: Greg Hermanns From: Greg Hermanns Subject: Re: Ernie K-Doe's Mother-In-Law Tom freeland wrote: Ernie K-Doe married Antoinette Dorsey.... Is she any relation to Lee Dorsey of New Orleans recording fame?? But then aren't all music 'people' related to one-another, somehow? Greg Hermanns ========================================================================= Date: Tue, 6 Feb 1996 13:54:05 CST Reply-To: Glenn Howze From: Glenn Howze Subject: Re: Highway 61/PBS Comments: To: Pat Hertel The PBS special on Hiway 61 (the Blues Hiway) aired Sunday night in Alabama. It was hosted by Levon Helms (BAND) and not Loudan Wainright III. Helms said that he was reared in the Delta on the Arkansas side. Trip started in Memphis and ended in N.O. The major stop was Clarksdale. Paid hommage to Muddy Waters, Robert Johnson, BB King, Sonny Boy Williamson, Bessie Smith (She died in Clarksdale),etc. Certainly worth watching. Not enough music. Used three well-known Mississippi writers to help tell the story--Willie Morris, Shelby Foote and Eudora Welty. All three were great. Never saw a juke joint. Never heard the music of Robert Johnson, Lonnie Johnson, Sonny Boy Williamson, Muddy Waters, John Lee Hooker, Big Bill Broonzey, etc. For folks who know something about the music and aomething about the Delta, there were probably few problems. They could fill in the gaps. For the typical PSB viewer, it was not a complete story. Lots went unsaid and unshown. But they only had an hour. Can't expect everything. A number of scholarly books have been about the Delta music. Two of the earlist scholars from the outside to recognize the importance of the Delta music were John and Alan Lomax. Alan Lomax's book detailing their work, and the work of others, was published a couple of years ago. How many musicians have travelled on Hiway 61 trying to understand the magic that came out of that place? later gh ========================================================================= Date: Tue, 6 Feb 1996 15:00:57 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: PW Fenton/Re: Bluesman Fibs? Comments: To: bluemoon@USA.PIPELINE.COM On 6 Feb 96, Stephanie Manna had this to say... > IN REPLY TO PW FENTON; > Funny you should bring this subject up and have the nerve to call it > "bluesmans fibs". In relaying topics of blues-l to James Peterson ; I need > to remind him who PW Fenton is each time I quote something about you. Are > you sure you know James Peterson? Do you feel some kind of power/pleasure > announcing to members of blues-l that James Peterson is some sort of > "fibber"? I would think you being of the Tampa Bay area would be glad for > James Peterson's success and find something positive here. I have a > collection of interviews done with James Peterson through the years and I > find no differences from one to another( other than small details, which > can be taken for error on the writers behalf). PW, I will say this > publicly: you need to take a look at where your feelings are really coming > from and ask the Lord to guide you in the right direction. God bless. > Stephanie First let me say that as a Tampan (I guess that's what you'd call it.), and as a friend, I am VERY happy at James Peterson's success. The point of my post was not at all to cast any shadow on James. I mentioned the LB article because it is the one I was reading when I got to thinking about the subject. I also spoke in my post about how I had screwed up my OWN interview If anyone besides you read that post and thought that the point of it was that James Peterson was a liar, I would be very suprised. But just in case that might be true let me state here and now that that is not my point at all and that I could have used anyone in the example (including myself). James is a great guy, a fabulous entertainer, and knows more about the Blues than I'll EVER know. I do indeed know James, and have no doubt that he doesn't realize who "P.W." is, since when I used to see him a lot he knew me as Paul, and probably never knew my last name. In my post I never spoke specifically about anything James said in that article and would not be interested in publicly contradicting anything he had to say. I just wish I had the good sense to have said an article about "a Bluesman" instead of an article about James. You probably would have read it and said, "Yeah, I know what you mean". ========================================================================= Date: Tue, 6 Feb 1996 13:29:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Big Bad Smitty I got a call on Saturday from a friend who lives in the Delta (Cleveland MS)> She said she had heard that Big Bad Smitty had returned to Jackson,MS. Has anybody got an update on his health? (She also said the the roads in the delta were ice-covered and very slippery but no sand or salt was ever applied - I guess there's no money for that kind of service in that locale - so she was stuck in the house until it started to melt). -Bonnie ========================================================================= Date: Tue, 6 Feb 1996 20:17:25 GMT Reply-To: j.mac@METRONET.COM From: j.mac@METRONET.COM Organization: http:/www.rockhouse.com/swamptones Subject: Re: BLUES L: Learning Blues Guitar Books? Comments: To: bit-listserv-blues-l@uunet.uu.net > James Leftwich writes: > On Tue, 23 Jan 1996, Mark Baker wrote: > > snip - snip > > I'm sure there are plenty of fine people on this listserv who would > recommend "guitar albums" to learn by. Books are OK, but don't teach you > how to feel. > > Here's an invitation to *fine* people out there...can you honor this > pledge...what are some good "guitar albums" to learn from...perhaps by > category (acoustic, acoustic/slide, electric, etc..). > > Jim Leftwich > leftwich@cloud9.net > "I'm on cloud9!" :) > > > LEAVE FEEDBACK PLEASE > >>>> I agree 100% - the best way to learn blues is to listen to recordings by the original masters themselves and try to copy the feeling. That is the only way to get any good in the long run. However, before you can make progress copying recordings you have to have a little technique to build upon. Someone that hasn't played blues before might not have the basic scale or rhythm chops to get into the recording's groove. My younger brother is that way - he is an excellent guitar player (better than me!) but since he only plays heavy metal he finds it impossible to get into a blues groove. His blues playing reminds me of Yngwie Malmsteen trying to play Bach & Muddy Waters at the same time. If you lack the basic blues chops, books and videos are a good way to build them before taking on the masters. Knowing the basics of pentatonic minor & mixolydian scale variations as well has how to use 9th chords will make it a lot easier to play along with T-Bone Walker records. Understanding Open G and Open D tunings will help you figure out Muddy Waters and Elmore James licks. I speak from experience. I didn't know any other blues players and struggled to learn by myself from records. Once I finally got some chops it was much faster and easier. In some cases I was flabergasted when I was finally old enough to get into clubs and see my heros play. I was doing it the hard way all along!!! For example, when I learned how to play "Boogie Chillun" by John Lee Hooker, I had no idea he was playing in Open G tuning. I learned to play the song in standard tuning. I'm not sorry I did (my fingers can play that boogie lick while I sleep now) but I sure could have saved a lot of time! Best regards, JMAC ----------------------------------------------- e-mail: j.mac@metronet.com web page: http://www.rockhouse.com/swamptones ----------------------------------------------- ========================================================================= Date: Tue, 6 Feb 1996 14:48:18 EST Reply-To: Lewis Warden From: Lewis Warden Subject: Re: Highway 61/PBS In-Reply-To: Message of Tue, 6 Feb 1996 18:11:05 +0000 from I saw this episode 1 of GREAT DRIVES on PBS. I think everyone on the list would enjoy this presentation. Levon Helm provides excellent historical narrative as he drives a classy old Buick down a cinamagraphic Highway 61, emphasizing the delta region and spending much time in Memphis, Clarksdale, and New Orleans. Levon sings and plays a little; actually starts the program with a nice rendition of Highway 61 Revisited; he does some interviews, par- ticipates with local musicians and entertainers,--and O yea the Robert Johnson discussion: That begins (on the drive) as we pass, ofcourse, the junction of US 61 and US 49 and see it currently. He takes you to Robert's gravesite to finish that discussion. And it looks like I've said too much already; WATCH IT Lewis Warden Lexington, Kentucky ========================================================================= Date: Tue, 6 Feb 1996 14:25:26 CDT Reply-To: Mike Davis From: Mike Davis Organization: N.C.T.R. Subject: Audience Recordings Since alot of bands are allowing audience recordings these days, does anyone know if Smokin' Joe Kubek or Savoy Brown allows audience audio or video recordings? They both are coming to town in the next couple of weeks and I would like to find out how to get permission from the bands or there management. Thanks, Mike Davis mdavis@fdant.nctr.fda.gov ========================================================================= Date: Tue, 6 Feb 1996 20:37:04 GMT Reply-To: Mark A Basten From: Mark A Basten Organization: College of Engineering, Univ. of Wisconsin--Madison Subject: Re: James Brown Comments: To: bit-listserv-blues-l@uunet.uu.net Bruce Roberts writes: >Did anyone catch the James Brown biography on A&E last night? Yeah! I mean, YEAAAAAA-AHHH! I thought it was pretty good. BB King was shown several times and talked about Brown's career. One particularly good moment was when BB talked about how Brown was able to get audiences jumping (imagine that, willya?) while on a tour of Africa. In contrast, BB said, the African audiences would just sit there and politely look on during his own tour of the continent! Mark Basten basten@cae.wisc.edu ========================================================================= Date: Tue, 6 Feb 1996 15:37:43 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Folk Tales (was Re: Bluesman Fibs) Comments: To: pwfenton@gate.net Noting factual contradictions in a recent Living Blues interview, P.W. Fenton writes: >It just makes me wonder how much information, especially about Blues >artists that have passed away, can be relied upon. Even in cases where >the information comes from the horses mouth. This is a constant problem of biography. Read about Wm. Faulkner's fabulations about his life (particularly his "war service"), which he began inventing before he began publishing "real" fiction, have tormented several generations of Faulkner biographers. Another concern to me is the degree with which so much blues writing lacks meaningful discussion of sources, particularly the blues writing done in the first couple of decades of serious blues writing (at a time when the writers still had access to many major figures going all the way back to the beginning). Writers who have done as much homework as Paul Oliver will say things that involve very very detailed of events 30-40 years previously. He did intereviews and field trips into the South early, and probably knows, but doesnt say HOW he knows. And there are other writers (not needing named here) who cloak educated guesses or even outright invention in the language of fact. Tom Freeland ========================================================================= Date: Tue, 6 Feb 1996 20:38:54 GMT Reply-To: jackieo@MIDTOWN.NET From: jackieo@MIDTOWN.NET Subject: Re: help with Eudora light email Comments: To: bit-listserv-blues-l@uunet.uu.net Do yourself a favor and switch to Pegasus for e-mail. It's a much better program and it's available as shareware. ========================================================================= Date: Tue, 6 Feb 1996 15:52:57 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: Yank Rachel Hey everybody.... You may remember me telling you last year that Slippery Noodle Sound out of Indianapolis, Indiana was thinking about putting out a record with Yank Rachel? I'm thrilled to announce that it will be released this month. It's called "Pig Trader Blues" and features Yank playing mandolin with country-style blues picker, David Morgan. It's got a little of everything on it including Yank's story of how he got his first mandolin, and of course, some of Yank swearing at Dave(!). And we haven't even gotten to the music part yet. One of the local pickers said it was "the album Yank should have put out 20 years ago!" At any rate, we are thrilled that Yank's still doing so well (in his 80s), and was able to get this recording together (with Morgan's help). It will be available on Slippery Noodle Sound Feb. 27th. I'm sorry I don't have the exact order number, but they'll know. You can order this CD by using their toll-free order number: 1-800-761-2587. Please tell 'em Cathi Norton sent you. Maybe Hal (the label owner) will buy me a cola the next time I visit)! No affiliation and all that stuff... Cathi N. ========================================================================= Date: Tue, 6 Feb 1996 21:13:52 GMT Reply-To: jackieo@MIDTOWN.NET From: jackieo@MIDTOWN.NET Subject: Re: Jessie Thomas Recordings Comments: To: bit-listserv-blues-l@uunet.uu.net Stephanie Manna wrote: >I would like to remind everyone praising Jesse Thomas's recordings, that >they are available directly from his widow:Bessie Thomas,2831 Abbie >St.,Shreveport,LA 71103. "Blues Is A Feeling" & "Double Dee Do Love You", >cassettes$10. "Blues Moved In"CD for $15. I think its best to buy from her >if you can. Great. Thanks for the tip and address. Do you know the label for each of these recordings? ========================================================================= Date: Tue, 6 Feb 1996 21:25:37 GMT Reply-To: jackieo@MIDTOWN.NET From: jackieo@MIDTOWN.NET Subject: New Live Freddie King Comments: To: bit-listserv-blues-l@uunet.uu.net Listened to the new Black Top Classics release of a live Freddie King concert in Atlanta in 1974. This was remastered from a tape recording long held by one of King's band members. The best thing I can say about the CD and what makes it indispensable for me is that it includes two ACOUSTIC tracks recorded at a Dallas radio station plus some on air interview. Only recorded acoustic Freddie King I know of. And as in the case of Buddy Guy, the acoustic brings out the best in the player IMHO. As for the rest of the album, it is exemplary of King's playing in the 70's: torrid, rock audience oriented. My main gripe is that it is a rehash of the same old songs found on many F. King releases: Big Legged Woman, Hideaway, etc... The liner includes a beautifully written tribute by his daughter. ========================================================================= Date: Tue, 6 Feb 1996 13:39:18 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Traditional Blues/ Ruby Lacey >Bought a book "Big Road Blues" by Evans last week ($15.95), and if >you're a fan of traditional blues- then you might really enjoy it. > >Anyway, in the book he talks a little about Ruby Lacey (forgive me if >I have the spelling wrong). I've started to sweat since I noticed >that I could not find this performer in my Elderly's catalog. >Does anyone know where I might be able to find one of his recordings? > >Thanks, Bill Higdon. Actually, his name is Rubin (Rube) Lacy, and he only recorded two songs in 1928 for Paramount - Mississippi Jailhouse Groan (available on Rhino's Mississippi Delta Blues BluesMasters CD) and Ham Hound Crave (which I've never heard). According to the Big Book of Blues by Robert Santelli (very interesting and informative book, by the way) he became a Baptist minister in 1932, ended up in Bakersfield, where he died in 1972. Also according to the piece in the book, essential listening for Rubin Lacy is Mississippi Moaners, 1927-1942, Yazoo 1009. Hope this helps! Jim (hndful@uniserve.com) ========================================================================= Date: Tue, 6 Feb 1996 17:03:48 -0500 Reply-To: "Daryl F. Bernard" From: "Daryl F. Bernard" Subject: Re: what Shaun wrote about what Lea wrote about... Comments: To: Shaun T Cronin In-Reply-To: <199602050619.WAA21063@wavenet.com> On Sat, 3 Feb 1996, Shaun T Cronin wrote: > Lea Gil has wrote the best post regarding the whole LB fracas. How about > leaving it there, agreeing to disagree or whatever, forgetting and > forgiving about any personal attacks and getting back to the thing that > brings us together. > > The blues. > > We are one big family are we not? > > Shaun > > Shaun Cronin 'The Blues is what exists between a man and a > shaun@wavenet.com woman.' Son House and John Lee Hooker. > It's interesting what you wrote about "the thing that brings us all together" which is obviously a love for and of the Blues. I am also subscribed to a couple other lists (texas flood {SRV} and hey-joe {jimi hendrix}) and, invariably, a discussion comes up similar to the "Living Blues Policy" thread (not in content but in character). It usually gets a bit heated, but then the same thing always happens: someone says something like "I'm sure if Stevie (or Jimi) were here and he saw what we we saying/how we were acting/the way were are treating each other, etc. under the guise of his music, he would be ashamed" or that "Jimi (Stevie) wouldn't appreciate the way we are behaving on this list....etc." and everyone seems to cool down and get back to business. We just don't have that one, galvonizing figure to turn to. Maybe from now on we can say..."ya know, if Muddy were here..." or "of course Son wouldn't approve.." But of course, it IS the Blues which brings us all together and gives us reason to celebrate and fellowship with eachother. And of that, we should ALL be in agreement, and thankful. Daryl ========================================================================= Date: Tue, 6 Feb 1996 17:29:12 -0500 Reply-To: JD From: JD Subject: Test Message - Please Ignore Blues-l test message.....please ignore ========================================================================= Date: Tue, 6 Feb 1996 16:45:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Maxwell Street film I understand that the scene of Robert Nighthawk playing on Maxwell Street (it took my breath away) in the video "Sweet Home Chicago" is a segment of a 1960's British film called "And All this is Free!". Is *this* film available anywhere?? I've heard about it for years. -Bonnie ========================================================================= Date: Tue, 6 Feb 1996 15:33:33 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Stephanie Manna re: PW Fenton post In-Reply-To: <9602061913.AA09491@pipe3> Nobody should really take Stephanie Manna's post too seriously. Why would someone post it twice if not to perk the list & start another round robin of flames. In addition the address comes up under finger with no info available. Let's let this one slide, and show that we can douse those fires, before they even have a chance to get started. Stephanie Manna Barry NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 6 Feb 1996 18:05:06 -0500 Reply-To: ghost From: ghost Subject: The Death of Bob Donlin Cross-posted without permission from rec.music.folk on usenet. If relevance is questioned, well, I can remember back to the early days of the club when there was indeed blues played, as well as many things else, & so may some of you. Article 74684 of rec.music.folk: From: rfranke@ix.netcom.com (Bob Franke) Newsgroups: rec.music.folk Subject: The Death of Bob Donlin Date: Tue, 06 Feb 96 02:18:10 GMT Organization: Telephone Pole Music Lines: 13 Bob Donlin died this afternoon at the Lahey Clinic in Burlington, Massachusetts, of adult respiratory distress syndrome. He was 72 years old. Funeral arrangements and plans for a memorial service are still pending. Bob and his wife and partner Rae Ann Donlin were proprietors of the Passim Coffeehouse in Harvard Square, Cambridge, for over 25 years. Together they mentored hundreds of American musicians with hard work, dry humor, and compassion, and in doing so did much to change the face of American music for the better. Bob will be sorely missed by many in the Boston area, and by artists throughout the North America and around the world. As Rae Ann says, he was one of a kind. Bob Franke ========================================================================= Date: Tue, 6 Feb 1996 18:30:55 -0500 Reply-To: JD From: JD Subject: Test Posting- Please Ignore Second test posting to blues-l ========================================================================= Date: Tue, 6 Feb 1996 18:48:45 -0600 Reply-To: topcat@COMPUTEK.NET From: "" Subject: TopCat Releases: Reply-To: "timothy (t.b.) bosley" Subject: Re: New Jesse Thomas on Black Top To: Multiple recipients of list BLUES-L > I was particularly >struck by the marvelous harp work which went unmentioned in the >credits (sloppy work Black Top). All together a great job by Black >Top and all concerned. An essential work! The harp player is Paul Harrington. A real virtuoso. All kudos/knocks go to TopCat - not Black Top. Recommend that you check out the other TopCat releases if you can find them. Our other releases can be found at our web site - - http:\www.texasblues.com/topcat You can download soundbites, and an order form is included. Check it out! Richard Chalk TopCat Records <---- End Included Message ----> ========================================================================= Date: Tue, 6 Feb 1996 23:51:06 GMT Reply-To: william higdon From: william higdon Organization: michigan state university. Subject: Traditional Blues / Ruby Lacey Comments: To: bit-listserv-blues-l@relay2.uu.net I bought the book "Big Road Blues" by Evans a couple of weeks ago ($15.95), and if you're into traditional blues, I think that you would really enjoy it. (just thought I would pass this "find" along...) Anyway, in the book he discusses bluesmaker Ruby Lacey (I'm not sure I have the spelling correct). I couldn't find anything by him in Elderly's catalog. Does anyone know if there is anything available? Thanks, Bill Higdon. ========================================================================= Date: Tue, 6 Feb 1996 19:23:28 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: BLUES-L Convention: Preliminary Report St Louis on Labor Day weekend ... Not a great weekend for me. My kids go back to school on the Tuesday. But if it's good for other people I'll wish you well, and I'll even try to be there regardless of the domestic consequences. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Tue, 6 Feb 1996 19:16:19 -0500 Reply-To: Paul Deeds From: Paul Deeds Subject: Re: Corey Harris (was I: GuitarPlayer Mag) In-Reply-To: <960205191850_214922619@emout04.mail.aol.com> On Mon, 5 Feb 1996, Karen Hanson wrote: > he's being heavily promoted--and didn't I see his name in the Handy award > nominations? Yet I've never heard any of his songs on the radio or on the > DMX, and I've never even read a review. Is his CD brand new? He's > advertised as having a "genuine" Delta sound. True? If so, I'm highly > interested. The only album that he has released that I know of is Between Midnight And Day on Alligator. On it, he plays three original tunes, and 11 covers; including: Pony Blues, Keep Your Lamp Trimmed And Burning, Bukka's Jitterbug Swing, Going To Brownsville, Write Me A Few Lines, 61 Highway, Catfish Blues, It Hurts Me Too, etc. All the songs are him playing a resonator guitar and singing with no accompianment. He is able to cover a lot of songs without duplicating the originals note for note, but still capturing the feeling of the song. I find many of the songs that he does entertaining to listen to, especially after listening to the scratchy recordings of the "real" Delta blues artists. I think he is as close to a "genuine Delta blues" sound as your going to find today, and would recommend this album strongly. Paul Deeds ========================================================================= Date: Tue, 6 Feb 1996 14:18:58 -1000 Reply-To: Norman C Moody From: Norman C Moody Subject: Re: Craig Brenner -- new CD Comments: To: Cathi Norton In-Reply-To: I got that CD, and I DEFINATELY recommend it. The ol boy's got the proffessor down pat. Dig this: he lives on S.Fess street. All the way, I played it twice on the first listen. that's my four thumbs up. "Stormin" Norman Moody K-99 K-VOL FM HILO, HI ========================================================================= Date: Wed, 7 Feb 1996 00:39:12 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: PREWAR STRING BANDS: Information & Questions (LONG) Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199602061237.AA18964@dragon.acadiau.ca> Rob Hutten writes: >The Pratcher brothers (Miles and Bob) were recorded on at least one >occassion by Alan Lomax. I think they lived in the Como, MS area, as >Miles accompanied Fred McDowell on some recordings. I have a cd of >Lomax field recordings called "Roots Of the Blues" (New World Records >80252-2) I have an old LP on the Atlantic label (1348) which sounds like it might be a direct reissue of this CD. I only thought you could get the Alan Lomax 1959 field recordings in a 4 CD set called Songs of the South. The drawback of that box set is that it reissues the entire "Southern Folk Heritage" LP series - which included other styles of folk music. Would anyone no if the other LP was reissued on CD - the LP title was "The Blues Roll On". This set includes 5 recordings by the elusive Forest City Joe someone was asking about earlier. "Roots of the Blues" has 3 tracks by him - on two of these its just Joe & his harmonica. The style of performance is like Roma Wilson - acapella vocals with harmonica breaks between lines. Excellent stuff. And of course, you also get to hear Fred McDowell's first field recordings. >Oliver mentions several other string/jook/jug bands in _Story_, >including King David's Jub Band, Clifford Hayes' Old Southern Jug >Band Clifford Hayes' complete output (I think) is available on the RST label (an offshout of Document). It comprises 4 CDs - I don't own them (yet) but I remember they got good reviews from Blues & Rhythm. A CD titled "Mississippi STring Bands and Associates" (Blues Documents BDCD6013) collects some of the non-Mississippi Sheiks Chatman family associated recordings by Alec Johnson, the Mississippi Mud Steppers (love that name!), Mississippi Blacksnakes, and "Sam Hill" from Louisville. Also don't forget the Harlem Hamfats who recorded from 1936-39. There complete works are on Document (4 volumes - I own 1&4). They combined the traditional string band with trumpet, clarinet and piano. They had both jazz, blues and string band influences. Kansas City Joe McCoy and his brother Charlie provided the strings for the band. You might consider them a link between prewar blues and what was to become the modern urban blues band of the 50s. Art Schuna ========================================================================= Date: Tue, 6 Feb 1996 20:09:01 -0500 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: PREWAR STRING BANDS: Information & Questions (LONG) Comments: To: Tom Freeland In-Reply-To: <960205160547_313326888@emout06.mail.aol.com> > BUD SCOTT S STRING BAND: > I have heard reports of a truly great string band of the 20s in the Natchez > area lead by Bud Scott. He may be the one in Dixon and Goodrich who played > with Stovepipe Jackson and Sippie Wallace. Anyone out there have any clues? > They made one trip to Indiana to play at a college dance (I know this > because my grandfather set up the trip!). Does anyone know about this guy? > He apparently did not make it onto record on his own. There was a well-known rhythm guitarist named Arthur "Bud" Scott (c. 1890-1949) who was from New Orleans and played with early jazz groups there until he left in 1913. He is the guitarist who recorded with Stovepipe Jackson and Sippie Wallace -- he also toured and recorded with many other jazz greats. I doubt if this is the same guy as the one who toured with a string band -- during the 20's Arthur "Bud" Scott was spending most of his time working with King Oliver, Jelly Roll Morton and others. You're lucky to have a personal connection to string bands of that era -- maybe there's someone around Natchez who can find out more about the Bud Scott String Band? Pen Bogert Louisville KY ========================================================================= Date: Tue, 6 Feb 1996 21:15:19 -0500 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: PREWAR STRING BANDS: Information & Questions (LONG) Comments: To: Rob Hutten In-Reply-To: <199602061237.AA18964@dragon.acadiau.ca> On Tue, 6 Feb 1996, Rob Hutten wrote: > Oliver mentions several other string/jook/jug bands in _Story_, > including King David's Jub Band, Clifford Hayes' Old Southern Jug > Band, Phillips's Louisville Jub Band, The Dixieland Jug Blowers, the > Wright family from Texas, The Birmingham Jug Band, and a group from > central Mississippi led by fiddler James Cole. I have no idea if > any of recordings of these bands have been reissued. The complete recordings of the Louisville jug bands were reissued last year in a 4-vol. CD set by RST Records (part of Johnny Parth's Document reissue program) in its Jazz Perspectives series. Brenda wrote the liner notes, and has written about the jug bands in several articles in our local blues society's newsletter. These bands recorded from 1924-1931 and included the Dixieland Jug Blowers, Clifford's Louisville Jug Band and other groups led by Clifford Hayes; Earl McDonald's Original Louisville Jug Band; Whistler's Jug Band; and Phillips' Louisville Jug Band. Many of these musicians were formally trained and also played and recorded with jazz groups, giving these bands a very distinct jazz flavor. Phillips' band was actually from Peoria, IL and, when it was not in Louisville booking gigs during the Derby, was known as the Peoria Jug Band. In 1993 Yazoo released a great video containing rare footage of Jimmie Rodgers, Bob Wills and others. An added bonus was the inclusion of a short clip of Whistler's Jug Band, originally shot around 1929 for Hearst Movietone News. There are some real gems in this series: the guitar playing of Cal Smith, especially "Blue Guitar Stomp"; clarinettist George Allen playing behind Jimmie Rodgers on "My Good Gal's Gone Blues"; Whistler's "Low Down Blues"; and Earl McDonald on "House Rent Rag".The jug bands continued to play here after WWII and were active well into the 70's. Pen Bogert Louisville KY ========================================================================= Date: Tue, 6 Feb 1996 18:14:01 -0800 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Re: Chris Duarte-Sugar Blues Comments: To: TNT BLUES In-Reply-To: <4f7n13$c1m@newsbf02.news.aol.com> I have heard Chris's first album and seen him perform. I thought that his performance was good but was not as impressed by the CD. How does this new Cd compare. Isaac On Tue, 6 Feb 1996, TNT BLUES wrote: > I just got the CD Sugar Blues from Chris Duarte and I think that anyone > that likes Stevie Ray will like this. Some of it is a little bit funkier > than SRV and it has a style that is his own. It is definitely a foot > tapper. Hell I was dancin around the kitchen cookin chili to it a little > while ago. Anyway , go get it , as soon as possible. > ========================================================================= Date: Tue, 6 Feb 1996 21:37:45 EST Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Thanks re:Alan Rollins Thanks to all of you who responded to my request for Alan's e-mail address. I'm relatively new around these parts, but I've already found there's some good folks hereabouts. Dave Carpenter Blues Music Director WHUS-FM Storrs, CT http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Tue, 6 Feb 1996 03:01:00 -0800 Reply-To: Tessa Renison From: Tessa Renison Organization: Fullerton College, CA Subject: RNB Press Release As the publicist of record for the Richard Norton Band, I would like to take the opportunity to introduce Richard and the independent release of his CD "I Can Stand A Little Rain". The recording which was released in 1995, represents the arrival of a true American musical entity. Raised in a musical family, his stepfather Red Cravens is a bluegrass guitar legend, as sideman for Bill Monroe as well as fronting his own group recording for Liberty and Rounder records (in the early years of that company). His family eventually migrated to Southern California where he took up the guitar at age 13. An outspoken advocate of tube amplifiers and vintage guitars, Richard is equally passionate about the blues. Richard left home at age 15 to make his own way in the world as a musician. Homeless and destitute much of the time, he worked menial odd jobs and endless scores of one-nighters to unravel the complex mysteries of the blues. Years of frustration, personal problems, half promises, and gut wrenching disappointments have not weakened his resolve, or swayed him from his true purpose. Determined to be his own man, refusing to give in to the mercurial whims of popular music, Richard has paid the price for his years of commitment, come full circle and can truly be called a survivor. An intense and eclectic performer, Richard successfully melts the blues, folk, country,rock and other diverse elements, pushing the boundaries of said elements into his own unique styling. Infused with a profound sense of purpose that sets him leagues apart from the wannabes, he respectfully declines the worn-out title of guitar hero, preferring to let the music speak for itself. Richard is not a cover artist, his prolific original material as well as his interpretation of covers illutrates his musical range and prowess. He has performed for over 20 years at countless venues such as clubs, concerts, universities and festivals. He represents more than just an emerging talent, his searing electric guitar and reverent acoustic sylings unleash the spirt and energy of his stage shows, while the bottlenecking nails the restless passion of the blues. This is his way of life, and its purpose is to bring that message to the multitudes. I hope that you too will appreciate the quality and artistry of Richard Norton. I hope that everyone else will too. Thank you in advance, please feel free to write or call with any questions you may have. Best Regards, Tessa Renison c/o RNB Enterprises 1435 Prospect Ave #D Placentia Ca. 92670 phone/fax 714-528-3689 714-528-7905 24 hrs to hear sample or visit The Richard Norton Band website http://www.fullcoll.edu/communit/rich_nor/home.htm Tessa * 1st 2.00 #3726 * 1stReader: The offline mail reader for the rest of us. ======================================================================== Fullerton College claims no responsibility to the opinion expressed above (This is an automatic stamp from our Email system and not from the user.) ======================================================================== ========================================================================= Date: Tue, 6 Feb 1996 19:07:48 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: I'm getting duplicates! Why? Hi all, and sorry for plugging up the mail list with this, but I'm wondering if anyone else is having this problem, or if it's a problem with my server (or whatever); I'm receiving double copies of some messages (not all, thank goodness!), only the second message usually arrives about 12 hours later! Does anyone know why this is, and how it can be corrected? Thanks, and apologies again. -Jim (hndful@uniserve.com) ========================================================================= Date: Wed, 7 Feb 1996 12:30:30 +0900 Reply-To: Shinya UNEBE From: Shinya UNEBE Subject: Little Willie Littlefield Last night I took my old record from my shelf (i prefer LP than CD) and it was LITTLE WILLIE LITTLEFIELD/K.C.LOVING(K.C.101 UK 1977). While playing the record I read the liner notes which I've never read till this time as I was busy to hear Willie's Boooogieee. From the liner ,Mike Leadbitter wrote : -Willie has been living San Jose for six years.He's been off the chittlin circuit since about 1960 and now(1973) makes steady living in white bars in the Bay area,mixing his sets with boogie standard,C&W,schmaltz( ? ),blues and seme-classsic numbers. So here's my question-- Have anybody,especially folks in the states,on Blues-l ever witnessed one of the greatest blues pianists in action ?? Regards from Japan,SHINYA UNEBE ========================================================================= Date: Wed, 7 Feb 1996 14:13:53 +1100 Reply-To: Daniel Bruce From: Daniel Bruce Subject: Bye Bye - so long Guys & Gals (and may I say Friends), it is with regret that I inform you I have resigned from my current job to go and work for Westpac one of Asutralia's biggest banks. I do not know if they have internet access, so I cannot say when if ever I will rejoin blues-l. I am sad to say goodbye and will miss my daily email about the music I love. I will still be around until 1 March at this address, after that, I really don't know. Thanks for the 2 1/2 years of great blues info.... ;-((((((( -- Daniel Bruce | Genasys II Pty Ltd, Sydney, Australia | "Born under a bad sign, been down since I began to crawl | If it wasn't for Bad Luck, Wouldn't have no luck at all" | Albert King | Internet: danielb@genasys.com.au ========================================================================= Date: Tue, 6 Feb 1996 20:12:28 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: I'm getting duplicates! Why? Comments: To: Jim Witteveen At 07:07 PM 2/6/96 -0800, Jim Witteveen wrote: >Hi all, and sorry for plugging up the mail list with this, but I'm wondering >if anyone else is having this problem, or if it's a problem with my server >(or whatever); I'm receiving double copies of some messages (not all, thank >goodness!), only the second message usually arrives about 12 hours later! >Does anyone know why this is, and how it can be corrected? > Same thing happening here. Don't know why either. It will probably go away of its own accord if we ignore it (sort of like we handled certain threads!) Mary Katherine Aldin ========================================================================= Date: Tue, 6 Feb 1996 23:25:34 -0500 Reply-To: Tsings From: Tsings Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Locating the Rhythm and Blues Foundation Comments: To: bit-listserv-blues-l@uunet.uu.net You may be able to find some info from the House of Blues. Their www address is: http://hob.com/hob.html. Good luck Tsings ========================================================================= Date: Tue, 6 Feb 1996 23:25:34 -0500 Reply-To: Tsings From: Tsings Organization: America Online, Inc. (1-800-827-6364) Subject: Motown Classics Comments: To: bit-listserv-blues-l@uunet.uu.net I am a blues singer in the Los Angeles area and have the opportunity to travel to Japan to perform Motown classics for 4 months. I need to know the most popular Motown songs performed by female singers. Can anyone please help me out here and send what you consider the most popular songs so I will be well prepared! Also, any Motown anthology collections by title would be helpful. Thank you, Tsings ========================================================================= Date: Tue, 6 Feb 1996 23:16:39 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: NEW LIVE FREDDIE KING > From: jackieo@MIDTOWN.NET > > The best thing I can say about the CD and what makes it > indispensable > for me is that it includes two ACOUSTIC tracks recorded at a Dallas > radio station plus some on air interview. Only recorded acoustic > Freddie King I know of. Actually there are a couple of acoustic numbers on his Shelter albums. It's just that strings were added to them (why I'll never know). There is also an incredible video of Freddie and his brother Benny Turner strolling through the Travis County (Austin, Texas) jail playing acoustic guitars through the bars for the inmates. It is not available commercially (yet) but I suspect it will be someday. Don O. ========================================================================= Date: Tue, 6 Feb 1996 14:21:36 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Overreaction to PW/Bluesman Fibs? In-Reply-To: <9602061811.AA28032@pipe3> from "Stephanie Manna" at Feb 6, 96 01:11:40 pm According to Stephanie "Overreaction" Manna: > > . > IN REPLY TO PW FENTON; > Funny you should bring this subject up and have the nerve to call it > "bluesmans fibs". In relaying topics of blues-l to James Peterson ; I need > to remind him who PW Fenton is each time I quote something about you. Are > you sure you know James Peterson? Do you feel some kind of power/pleasure > announcing to members of blues-l that James Peterson is some sort of > "fibber"? I would think you being of the Tampa Bay area would be glad for > James Peterson's success and find something positive here. I have a > collection of interviews done with James Peterson through the years and I > find no differences from one to another( other than small details, which > can be taken for error on the writers behalf). PW, I will say this > publicly: you need to take a look at where your feelings are really coming > from and ask the Lord to guide you in the right direction. God bless. > Stephanie > Is this a joke?!! Sheesh, talk about overreaction. There didn't seem to be the slightest hint of aspersion or malice in what PW had to say about JP or any other blues artist's possible embellishments of their pasts. -P ========================================================================= Date: Wed, 7 Feb 1996 01:52:28 -0400 Reply-To: Claudio Caponi MARNR From: Claudio Caponi MARNR Subject: Big Walter Horton's "Easy" Hi Bluezellers, I am trying to find out if there is any other way to get Big Walter Horton's "Easy" on CD apart from the Rhino 71124 Blues Masters Vol.4: Harmonica Classics, as I have most of the rest of the material included there. I seem to recall reading somewhere that the Sun Records Harmonica Classics collection (Rounder SS-29) includes "Easy". Am i right? Also, what is the rest of the material on this CD? According to cdconnection this is part of a 9 box set, but seems to be available separately. Cdconnection lists also the following: VIR86297 HORTON*WALTER MUMBLES MOUTH HARP MAESTRO 6.7/3 ** $10.60 &VIRGIN 1/93 without track listing. In the review they say this contains 16 sides from the early 50's. Is "Easy" on this one? Somebody has this one and can offer some comments (recording quality, rest of the material)? So, I guess what I am asking is please, make my life easy :-) ccaponi@dino.conicit.ve | Claudio Caponi | I've had my fun... Ministerio del Ambiente | Caracas - Venezuela | Otis Spann ========================================================================= Date: Wed, 7 Feb 1996 12:48:21 EST Reply-To: burrows.unescap@UN.ORG From: Robert Burrows Subject: Little Walter Info Does anyone have tips on locating a complete discography of Little Walter and/or sources of film or video of him? ========================================================================= Date: Wed, 7 Feb 1996 02:08:24 -0400 Reply-To: Claudio Caponi MARNR From: Claudio Caponi MARNR Subject: Omar Shariff question After hearing great things about Omar Shariff's two CDs on Have Mercy Records (Black Widow Spider & Baddass), I was rather disappointed to find neither on any online store, which for me are the almost only source (nearest retail store with a blues section is 600$ away...) What cdconnection has is: How does this compare with his later work? TIA for the enlightenment, ========================================================================= Date: Wed, 7 Feb 1996 02:02:19 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Re: Big Bad Smitty Bonnie: I get that rumour all the time, even thought so myself at one point when he dropped out of sight for a while, however he is here in St. Louis. He has been having trouble with his feet due to complications from his diabetes and is presently housebound. Joel Slotnikoff Joel Slotnikoff, Publisher | BLUES WORLD e-mag Box 21652 | http://www.bluesworld.com St. Louis, MO 63109 | Acme Guitar, Blues Estafette TEL (314) 647-2447 | Blues & Rhythm: The Gospel Truth FAX (314) 647-2497 | Roots & Rhythm, Testament Records joelslot@inlink.com | SONO, Vintage Jazz Mart, Wayhi Tapes ========================================================================= Date: Wed, 7 Feb 1996 02:04:45 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: INFO WANTED WANTED FOR RESEARCH PURPOSES!! Keith Briggs is currently producing, for future publication in B&R, a complete collectors guide to Albert King on Compact Disc. He needs the following information - the US catalogue numbers for the following Utopia/Tomato Albert King CDs: Albert Live Truck Load Of Loving King Albert New Orleans Heat email Keith at keith@keithbbr.demon.co.uk Joel Slotnikoff, Publisher | BLUES WORLD e-mag Box 21652 | http://www.bluesworld.com St. Louis, MO 63109 | Acme Guitar, Blues Estafette TEL (314) 647-2447 | Blues & Rhythm: The Gospel Truth FAX (314) 647-2497 | Roots & Rhythm, Testament Records joelslot@inlink.com | SONO, Vintage Jazz Mart, Wayhi Tapes ========================================================================= Date: Wed, 7 Feb 1996 02:50:48 -0400 Reply-To: Claudio Caponi MARNR From: Claudio Caponi MARNR Subject: Omar Shariff question revisited (sorry) Sorry about my previous post. I hit 'send' before including the CD i was referring to... Here it goes again: After hearing great things about Omar Shariff's two CDs on Have Mercy Records (Black Widow Spider & Baddass), I was rather disappointed to find neither on any online store, which for me are the almost only source (nearest retail store with a blues section is 600$ away...) What cdconnection has is: ARH365 +SHARIFF*OMAR RAVEN 9/1*** $12.41 ARHOOLIE 11/92 How does this compare with his later work? TIA for the enlightenment, ccaponi@dino.conicit.ve | Claudio Caponi | I've had my fun... Ministerio del Ambiente | Caracas - Venezuela | Otis Spann ========================================================================= Date: Tue, 6 Feb 1996 22:54:58 -0800 Reply-To: TLKnox@EWORLD.COM From: Terry Knox Subject: Re: Highway 61/PBS The show (Great Drives) was on here in LA this past Thursday (2-1-96). I liked it, but it was a little to nice. More like a travelogue, then a documentary. It was good that they got a native son (Levon Helm of the Band) to narrate who has a voice like 40 miles of bad road. Good intro to someone who has never seen or heard anything about Hwy 61. Terry :-). ----------------------------- Begin Original Text ----------------------------- Has anyone heard about a PBS show that is runoured to be on next week? Something about Loudan Wainright III going down highway 61 and visiting places like Robert Johnson's grave. BTW isn't there more than one place that claims to be his gravesite? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [6/2/96 13:08 PM] "Tuesday's just as bad..." ----------------------------- End Original Text ----------------------------- ========================================================================= Date: Wed, 7 Feb 1996 00:33:21 -0700 Reply-To: Michael Heicklen From: Michael Heicklen Subject: INTERNATIONAL TALENT SEARCH INTERNATIONAL TALENT SEARCH BY TWENTY MILLION UNIT SELLING COMPOSER Yury Chernavskiy, Russia's leading songwriter with over 2,000 contemporary compositions to his credit, has teamed up with several prominent American Music professionals to launch his US based label - ProArt International. Chernavskiy, who's works have sold over twenty million units worldwide, has either written or collaborated on over thirty-five Dance, Pop, and R&B projects which have reached the top ten on the domestic and international charts (with several reaching number one). Further, he has composed for such prestigious projects as The Good Will Games, the 1980 Olympics, four full length features and thirty-six cartoons and documentaries. Recently, by special resolution of the Russian government, he was bestowed with the CIS's most prestigious entertainment award, "Most Valuable Artist of Russia." He is one of only handful to ever receive it. Also associated the project is producer Jimmi Mayweather, producer/engineer for such acts as Greg Walker ("Santana"), AJ Croche, Rick James, Kiko et.al; Barry Oslander, ex-Senior Vice President of A&R for RCA Records (21 gold and platinum albums), and entertainment attorney Michael Heicklen. ProArt International is conducting a worldwide talent search for its initial US project. It is seeking one female and one male R&B/Pop singer with dance and movement background to perform in a band. Presales are already in place throughout Europe, and the band will tour domestically and internationally. International auditions will be held for those who's tapes are of interest. Please submit a photo/resume along with an audio(4 track min.) or video tape to ProArt International, 8730 Sunset Boulevard, Ste. 660, Los Angeles, CA 90069 Attn: Michael Heicklen. No phone calls or e-mails please. END ---------------------------------------------------------------------------- ------ ========================================================================= Date: Tue, 6 Feb 1996 01:05:05 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: what Shaun wrote about what Lea wrote about... On Tue, 6 Feb 1996 17:03:48, Daryl F. Bernard First, for some reason it scared the hell out of me to see my name in the header for a post. It was like "What have I done now?":-) Daryl wrote: big snip >We just don't have that one, galvonizing figure to turn to. Maybe from >now on we can say..."ya know, if Muddy were here..." or "of course Son >wouldn't approve.." > >But of course, it IS the Blues which brings us all together and gives us >reason to celebrate and fellowship with eachother. And of that, we should >ALL be in agreement, and thankful. It's true that we don't have one figure to to turn to but I think that we don't need one. I agree to with what Daryl says. The blues why we are here. If you disagree with someone fine but there is no need for flames and name-calling. You can disagree with someone and argue your point without personal attacks. My best friend and I hardly agree on anything yet we have a very strong friendship. So it's fine to disagree with someone and it's fine to argue why you think someone as wrong. That has a place here. Let's not be afraid to argue issues. But let's keep Blues-L a haven from the immature idiots on the internet who think that because your opinion differs from thiers they have the right to attack you rather than your opinions. I have disagreed with people on Blues-L but I hope that I tried to argue intelligently rather than resorting to name calling. I hope that I could meet up with those same people and and have a beer and talk blues someday. End rant. Back to the blues. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Wed, 7 Feb 1996 11:08:39 +0100 Reply-To: Peter Gallagher From: Peter Gallagher Subject: Via WEB (was re: e-mail addresses) Comments: To: phertel@CMC.DOE.CA In-Reply-To: from "Pat Hertel" at Feb 6, 96 12:41:17 pm Better still; if you have web-access, try this site: http://www.iaf.net/ a search-engine with almost 4 million addresses(!) regards, PeterG (Oh yes, I'm still around... :) ) -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Wed, 7 Feb 1996 04:32:45 -0500 Reply-To: RNABooking From: RNABooking Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Country/Blues Connection Comments: To: bit-listserv-blues-l@uunet.uu.net Country and blues is definitely connected in my mind. Listen to Gary Stewart sing "Little Junior" and tell me that's not blues. Leroy Parnell is great. When Hank Wiliams sings "I'm So Lonesome I Could Cry"...you could. It ain't just the hat. Ronnie Narmour Austin, Texas ========================================================================= Date: Wed, 7 Feb 1996 04:35:45 -0500 Reply-To: RNABooking From: RNABooking Organization: America Online, Inc. (1-800-827-6364) Subject: Gospel Sunday at Hank's Comments: To: bit-listserv-blues-l@uunet.uu.net I got to tell you about a really cool deal that we went to last Sunday at Hank's Roadhouse in Austin. They have a gospel hour with some great Austin musicians including Malford Milligan (Storyville), Larry Fulcher (bass player and singer extrordiare), Paul Mills (Lavelle White's drummer), the guitar player with the Killer Bees (I don't know his name but he was great on slide) and a really good guitarist they called Scrappy (?). These guys were doing five part harmonies and it was great. The show is free but they pass the collection plate and donate the money to charity. We got Miss Lavelle to get up and sing a couple of gospel tunes...Malford and Lavelle doing "Amazing Grace" together was chilling. I haven't been to church in a few (make that several) decades...this felt really right. Amen. ========================================================================= Date: Wed, 7 Feb 1996 11:30:31 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: BLUES-L Convention: Preliminary Report In-Reply-To: <9602061911.aa17923@admin.dis.on.ca> On Tue, 6 Feb 1996, Ian Angus wrote: > St Louis on Labor Day weekend ... > > Not a great weekend for me. My kids go back to school on the > Tuesday. But if it's good for other people I'll wish you well, > and I'll even try to be there regardless of the domestic > consequences. I think the assumption here is that the U.S. labour day is the same as ours in Canada. I have a feeling it's not. Could somebody deliver me from my ignorance? (Ours will be 2 Sep 96). phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [7/2/96 6:21 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 7 Feb 1996 12:46:06 +0100 Reply-To: Peter Gallagher From: Peter Gallagher Subject: Should this be in EVERY faq? (pls read) In recent months, the number of quarrels, flames, sounding-offs has increased on blues-l and to the obvious concern of many. Not surprising, because the number of 'zellers has increased rapidly. More members = more flames; it's a simple equation. But I wonder how many of us are aware of this: Apart from the fact that the list is also mirrored on a newsgroup (and thus available to the ENTIRE internet community), the posts are also readily available on the Web. Many web-searchers keep archives of newsgroups and you can retrieve postings by author/subject/keyword/content - whatever. The searchers allow you to request a particular newsgroup, a hierarchy or simply "all newsgroups" ... (!) To prove my point - I just now did a search on my name in the bit.listserv.blues-l group, using the DejaNews search engine. I got 33 posts returned which I can re-read with the click of a mouse.... Some of you won't even KNOW me from the list because you may have joined relatively recently (I haven't been very active lately on the list because I haven't hade the time). A search on Muddy Waters returned 330 posts.... Hmm... now I wonder what a search on our "favourite" topics might dig up.... How about "race", "EC"... um... "Hartac" (remember him?)... I think you're getting the picture... regards, PeterG -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Wed, 7 Feb 1996 08:25:31 -0500 Reply-To: Ted Dames From: Ted Dames Subject: Nighthawks Homepage Check it out! http://pages.prodigy.com/WXFF13A/hawks2.htm bandana@fast.net is Ted Dames (aka A. Pepperhead)- Sauce Maker and Resident Bon Vivant at Bandana's Serious Pepper Products located in Sub-Tropical S.E. Pennsylvania Producers of All Natural, Salt and Additive Free, Hot Pepper Sauces. "You're SO good....I'm gonna put you inna bag and zip you up!........... then squeeze you out a little at a time." - Smokey Wilson ========================================================================= Date: Wed, 7 Feb 1996 07:54:42 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: PW Fenton/Re: Bluesman Fibs? In-Reply-To: Message of Tue, 6 Feb 1996 13:11:40 -0500 from On Tue, 6 Feb 1996 13:11:40 -0500 Stephanie Manna said: >Funny you should bring this subject up and have the nerve to call it >"bluesmans fibs". In relaying topics of blues-l to James Peterson ; I need >to remind him who PW Fenton is each time I quote something about you. Are >you sure you know James Peterson? Do you feel some kind of power/pleasure >announcing to members of blues-l that James Peterson is some sort of >"fibber"? I would think you being of the Tampa Bay area would be glad for I interviewed James sometime back (thanks to Stephanie) and I haven't read the interview in question. I would be glad to post my interview to the list and see how it differs from others, but to be honest what's the point. When I was interviewing him, I asked Mr. Fenton about him and PW had nothing but good things to say about Peterson. I think he even jumped in my case becuase of something I said about James that he didn't appreciate...Just my 2cents LW >>Before I give the wrong impression of this article, it's quite a good >>one, and James is a pretty interesting guy with a lot of stories to >>tell. I just found my self saying things like "that's not what you >>said to me about so-and-so". >> >>It just makes me wonder how much information, especially about Blues >>artists that have passed away, can be relied upon. Even in cases where >>the information comes from the horses mouth. >> >>I was interviewed by a newspaper reporter for a fluff article about >>me and my band about a year ago. I rattled off the stupidest, >>lamest, most idiotic answers possible during that interview. And an >>hour later thought of all the things I should have said. But I >>really felt under the gun during that interview. Lucky for me, the >>reporter wanted to be friendly. He made me sound a lot more >>intelligent than my answers really were. >> >>P.W. Fenton >>Tampa, Florida >> >>Check out my Blues web page at >>http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 7 Feb 1996 09:04:45 -0500 Reply-To: bob vanarsdall From: bob vanarsdall Subject: Re: PREWAR STRING BANDS: Information & Questions At my desk here I have Steve LaVere's Blues calendar, which now turned to February reveals Howard Armstrong playing fiddle. The calendar notes say that Armstrong was part of the trio Martin, Bogan, and Armstrong who recorded in the 30's, drifted apart after that, and were then reunited by the Smithsonian in the early 70's. This may be the "Who is Muddy Waters?" question for you pre-war string band aficionados, but I'm unfamiliar with either Armstrong or M,B, &A. Can anyone give me more info or leads on recordings? Bob ========================================================================= Date: Wed, 7 Feb 1996 08:04:01 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Stephanie Manna re: PW Fenton post In-Reply-To: Message of Tue, 6 Feb 1996 15:33:33 -0500 from On Tue, 6 Feb 1996 15:33:33 -0500 Barry Silverberg said: > Nobody should really take Stephanie Manna's post too seriously. > Why would someone post it twice if not to perk the list & start > another round robin of flames. In addition the address comes up > under finger with no info available. Let's let this one slide, > and show that we can douse those fires, before they even have a > chance to get started. I dis-agree 100%, I've talked to Stephanie on the phone, she set up the James Peterson interview and I've been meaning to talk to her about interviewing Diamond Teeth Mary, who Stephanie is also associated with. I have seen more fires started by PW (that's fine) that I have Stephanie...care to disagree LW 'take Stephanie real serious, she's an outstanding person..trust me' btw: I'm not a fan of James Petersons, but that's my perogative and taste > 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. > 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! > Barry Silverberg ... bsco@panix.com ========================================================================= Date: Wed, 7 Feb 1996 08:10:01 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Blues-l Meeting This is not "ofishul" but I'm sure there will be plenty on 'ellers in Memphis for the Beale Street Fest, the first weekend in May. So we will call it the prelude-convention. I strongly suggest you reserve a room NOW, if you plan on going...NOW LW ========================================================================= Date: Wed, 7 Feb 1996 14:15:50 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Why country music is not blues ... Here are some actual country music song titles: Drop Kick Me, Jesus, Through The Golaposts of Life Get Your Tongue Outta my Mouth 'Cause I'm Kissing You Goodbye I Don't Know Whether To Kill Myself or Go Bowling I Flushed You From The Toilets of My Heart I Wanna Whip Your Cow I Would Have Wrote You a Letter But I Couldn't Spell Yuck! If I Can't Be Number One In Your Life, Then Number Two On You Pardon Me, I've Got Someone To Kill You Done Tore Out My Heart and Stomped That Sucker Flat and the ever memorable: She Got The Goldmine and I Got The Shaft :) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [7/2/96 9:06 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 7 Feb 1996 09:15:08 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Big Walter Horton's "Easy" Comments: To: ccaponi/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=ccaponi#a#CONICIT#f#VE@s1boca.corp.wrgrace.com, BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *I seem to recall reading somewhere that the Sun Records Harmonica Classics *collection (Rounder SS-29) includes "Easy". Am i right? Also, what is *the rest of the material on this CD? According to cdconnection this is *part of a 9 box set, but seems to be available separately. The Sun Records Harmonica Classics is a great harp compilation. It has "Easy" and two other Horton tracks, plus Dr. Ross and some other classic Memphis blues harp players. *Cdconnection lists also the following: * *VIR86297 HORTON*WALTER MUMBLES MOUTH HARP MAESTRO 6.7/3 ** *$10.60 &VIRGIN 1/93 * *without track listing. In the review they say this contains 16 sides from *the early 50's. Is "Easy" on this one? Somebody has this one and can offer *some comments (recording quality, rest of the material)? "Easy" isn't on that one but it's a great album. It has a lot of early acoustic work by Horton where he sounds a little bit like Sonny Boy Williamson. It's different from his later amplified work, but it's a good ablum for any blues harp fan. There is also a live album with Horton, Sugar Ray Norcia and Ronnie Earl called "Live at the Knickerbocker" that has another version of "Easy" called "It Ain't Easy." ========================================================================= Date: Wed, 7 Feb 1996 08:32:36 CST6CDT Reply-To: "Sara C. Oxton" From: "Sara C. Oxton" Organization: University of Minnesota Subject: Re: NEW LIVE FREDDIE KING Comments: To: don.o@CHRYSALIS.ORG I have seen the film clip Don speaks of. My recollection is that is was a film project by a local college student; Freddie King strolling down the prison halls singing "Sweet Home Chicago." There is a fellow in San Diego who collects music film. I can't remember his name right now, but he's given two presentations at the Walker Art Center in Minneapolis. The first was blues clips, and included the Freddie King footage, and Muddy Waters with the Rolling Stones at the Checkerboard, among others. The second presentation was all on James Brown, including film of him performing "Say It Loud, I'm Black & I'm Proud" at Hugh Hefners mansion. Bunnies everywhere and not a black face in the room. He also had film of JB performing at the Boston Garden after Martin Luther King's assassination. The concert was shown live on TV in the Boston area, and helped keep otherwise-enraged black citizenry off the streets. May the wonders never end. Sara > There is also an incredible video of Freddie and his brother Benny Turner > strolling through the Travis County (Austin, Texas) jail playing acoustic > guitars through the bars for the inmates. It is not available commercially > (yet) but I suspect it will be someday. > > Don O. > ========================================================================= Date: Wed, 7 Feb 1996 09:46:17 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Stephanie Manna re: PW Fenton post Comments: To: L W In-Reply-To: I stand corrected. My apologies to you Stephanie for jumping the gun on whether to pay you mind or not. However with all the evil posts around here lately, I would have preferred to see a gentler response. Barry On Wed, 7 Feb 1996, L W wrote: > On Tue, 6 Feb 1996 15:33:33 -0500 Barry Silverberg said: > > Nobody should really take Stephanie Manna's post too seriously. > > Why would someone post it twice if not to perk the list & start > > another round robin of flames. In addition the address comes up > > under finger with no info available. Let's let this one slide, > > and show that we can douse those fires, before they even have a > > chance to get started. > I dis-agree 100%, I've talked to Stephanie on the phone, she set up the James > Peterson interview and I've been meaning to talk to her about interviewing > Diamond Teeth Mary, who Stephanie is also associated with. I have seen more > fires started by PW (that's fine) that I have Stephanie...care to disagree > LW 'take Stephanie real serious, she's an outstanding person..trust me' > btw: I'm not a fan of James Petersons, but that's my perogative and taste NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Wed, 7 Feb 1996 14:47:27 +0000 Reply-To: "timothy (t.b.) bosley" From: "timothy (t.b.) bosley" Subject: Want to trade: Lightnin' I've come across a 2nd copy of the Complete Prestige/Bluesville Recordings (still shrinkwrapped). Would like to trade it for other Texas blues. If interested, email tbosley@bnr.ca and let me know what you're willing to trade....... ========================================================================= Date: Wed, 7 Feb 1996 08:52:55 -0800 Reply-To: Maggie Mortensen Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Maggie Mortensen Organization: Exarch Services Subject: Re: Ernie K-Doe's Mother-In-Law Comments: To: Greg Hermanns Greg Hermanns wrote: > > Tom freeland wrote: > Ernie K-Doe married Antoinette Dorsey.... > > Is she any relation to Lee Dorsey of New Orleans recording fame?? > But then aren't all music 'people' related to one-another, somehow? > Greg Hermanns This had me ROFL...in New Orleans, it seems *everyone* is related somehow or other. But it's a very good question...I'm gonna call Ernie & Antoinette's bar on Claiborne Street tonight (name is Ernie K-Doe's Mother-in-Law Lounge, of course)and ask that question. Will let you know what answer I get. Regards, Maggie Maggie Mortensen Exarch Services New Orleans USA ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ 'I'm not sure, but I think that ALL music started in New Orleans.' --Ernie K-Doe ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ========================================================================= Date: Wed, 7 Feb 1996 15:07:54 GMT Reply-To: Scott Barretta From: Scott Barretta Organization: Lund University Subject: Re: Country/Blues Connection - detailed info Comments: To: bit-listserv-blues-l@uunet.uu.net If people interested in this issue would like to know more, I would strongly recommend the following sources which deal specifically with the relation between country and blues in the 20s and 30s. 1.Black, Whites and Blues by Tony Russell. London: Studio Vista, 1970. This is a paperback in a series edited by Paul Oliver, and may be currently out of print, but was the first long account on the topic, and is still regarde as one of the best sources on the topic. 2. Charles Wolfe's chapter on White country blues in the recent coffee table book Nothing But the Blues, ed. Lawrence Cohn This chapter is very similar to his notes accompanying the Columbia Roots and Blues double CD A Whiter Shade of Blue 3. Rounder's CD of the black Virginia songster Leslie Riddle has a nice essay on his relationship to the Carter Family, the first family of country music, particularly how he went on song collecting trips with AP Carter, and the blues influence on the Carter family 4. Barney Hoskyn's book Say It One Time For the Brokenhearted (Fontana; late 70s?) is the best source on the relationship between soul music and country music Without intending to join the ugly fray about Living Blues, I'd just like to point out that LB's editor David Nelson wrote his Masters thesis at UMiss on the TWO-WAY interchange between white and black musicians, with material gathered from interviews with many blues artists about their influences and personal tastes. ========================================================================= Date: Wed, 7 Feb 1996 10:05:46 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Robert Jr. Lockwood in Cincinnati--2nd-hand report I'm probably going to raise some hackles here...I'll try to write this as neutrally as possible and see what happens. Robert Jr. Lockwood performed here in Cincinnati Sunday night. I was NOT at the show (k.d. lang was also in town...and okay, I'm not a "purist"...I HAD to hear *that* voice!!). Last night I talked with one of my fellow Greater Cincinnati Blues Society members, a man who writes some darn fine articles for our GCBS newsletter. He also writes for some of the local alternative and mainstream newspapers, freelance; he loves blues and other forms of music. He did attend the Lockwood show, and took along his camera and a notepad with the intention of writing an article for the GCBS newsletter. He told me that he was sitting on the floor in front of the stage area with a few other GCBS members. He took some notes, then took a couple photos, without flash, as unobtrusively as possible. He said that Mr. Lockwood stopped his performance and began to ream him out, in front of the audience, for taking photos. My friend said he kept his eyes on Mr. Lockwood, completely mortified, and when the rant was finished calmly apologized and explained that he would never sell the photos for money (and he would not, believe me), he was representing the GCBS, documenting a legendary blues performer in Cincinnati for our non-profit organization, etc., etc., and then asked permission to take further photos. Permission was apparently granted. I told him I thought he had handled the situation as professionally as possible, but asked if he was the only person taking photos. He then said that no, he wasn't...other people were taking *flash* photos, and Mr. Lockwood never said anything to them. I also asked if there was any notice or announcement that photos and recordings and so one were prohibited, or allowed only with permission. He said this was not stated or posted anywhere. Apparently Mr. Lockwood was feisty towards other people, too, for smoking in the club and threatening his health. Reactions? Anyone who has seen Mr. Lockwood; is this his usual behavior? I know if I had been there and had been the one taking photos, I would not have handled it as calmly and logically as did my friend; I would've made some pointed comments about there being no postings or announcements and freedom of the press and all that. I'm not being judgemental here, just looking for reactions and opinions. Has anyone been in a similar situation? How did you handle it? Was anyone on BLUES-L at the Cinti show (Greg H? Debbie E?) who may have another perspective on what happened? Thanks! Shannon ========================================================================= Date: Wed, 7 Feb 1996 07:47:42 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Little Walter Info Comments: To: burrows.unescap@UN.ORG At 12:48 PM 2/7/96 EST, Robert Burrows wrote: > Does anyone have tips on locating a complete discography of Little > Walter and/or sources of film or video of him? > > Tony Glover was putting together a discography but I don't know whether he has finished it. THere's a discography of Walter as part of the Chess Discography by Les Fancourt published in the UK and there's the Little Walter entry in Blues Records 1943-1970. Mary Katherine Aldin ========================================================================= Date: Wed, 7 Feb 1996 07:37:42 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Feb. 8 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BROWNLEE, ARCHIE(lead/BLIND BOYS OF MISS) d. 1960-0208, NEW ORLEANS, LA 35 BURNS, EDDIE (g/hca) b. 1928-0208, BELZONI, MS CHIN, NAPPY [CLARENCE RICHARD EVANS] (g) b. 1935-0208, DALLAS, TX DEAN, JAMES [JAMES BYRON DEAN] (:) b. 1931-0208, MARION, TN DE LA PARRA, FITO b. 1946-0208, DIXON, FLOYD (p) b. 1929-0208, MARSHALL, TX EMMERICH, TOBY (a&r/ATLANTIC REC) b. 1963-0208, NEW YORK CITY, NY GARDNER, JULIE (v/EARL HINES) b. 1925-0208, AUGUSTA, GA JONES, BESSIE(of GEORGIA SEA IS. SINGERS) b. 1902-0208, SMITHVILLE, GA LEAVILL, OTIS [OTIS LEAVILL COBB] (v) b. 1941-0208, ATLANTA, GA LEE, GENE (author/DOWN BEAT) b. 1928-0208, HAMILTON, ONTARIO POINDEXTER, NORWOOD "PONY" (asax) b. 1926-0208, NEW ORLEANS, LA RUSH, TOM (g) b. 1941-0208, PORTSMOUTH, NH SHARPE, RAY (g/LINDA LU) b. 1938-0208, FORT WORTH, TX SHIFRIN, JERRY (of CAMEO-PARKWAY REC) d. 1989-0208, MIAMI, FL 58 WATSON, MERLE (g/DOC WATSON) b. 1949-0208, NC ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 7 Feb 1996 10:49:02 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Playlist Bartender's Bop I always take the month of February to explore the music of Louisiana and New Orleans in hopes of getting people excited about Mardi Gras and Jazzfest. Mondya's show was dedicated to Zydeco and Blues. Enjoy! Title Group Year Label -------------------- -------------------- ---- -------------- Beau's Mardi Gras Beau Jocque 93 Rounder Josephine C'est pas Rockin Dopsie 91 Atlantic Ma Femme Zydeco Lady Chavis, Boozoo 87 Maison de Soul Too Much Fun Chenier, CJ 95 Alligator Mardis Gras Zydeco Nathan & the Zydeco 91 Rounder Cha Chas My Feets Can't Fail Dural, Stanley 85 Rounder Me Now Shaggy Dog Two Step Beau Jocque 95 Rounder Amadie Two Step Ardoin, Amede 30 Arhoolie My Baby Don't Wear Ardoin, Black 84 Arhoolie No Clothes Le Midland Two Step Ardoin, Amede 34 Arhoolie Sa M'Appel Fou Chenier, Clifton 76 Arhoolie Be My Chauffeur Chenier, Clifton 69 Arhoolie Alloms A Grand Chenier, Clifton 76 Arhoolie Coteau Johnny Can't Dance Chenier, Clifton 77 Maison de Soul Veal Chop and Pork Eaglin, Snooks Arhoolie Chop Heavy Juice Eaglin, Snooks 92 Black Top Lover and the Adams, Johnny 89 Black Top Married Woman, The Hoodoo Man Neal, Kenny 94 Alligator Yella Pocahontas Dupree, Champion 91 Rounder Jack Junco Partner Booker, James 76 Rykodisc Taxicab Driver Shannon, Mem 95 Rykodisc So Sweet When You're Booker, James 93 Rounder Well No City Like New King, Earl 93 Black Top Orleans Hometown New Orleans Dupree, Champion 91 Rounder Jack Pixie Booker, James 76 Rykodisc Don't You Make Me Porter, George 90 Rounder Act Ig'nunt `'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`' Stop on by my Jazz and Blues Web Site -- http://redlt.com/tom/ Free-lance Writer--Author--Program Director WTJU 91.1--Internet Consultant ========================================================================= Date: Wed, 7 Feb 1996 10:56:25 -0500 Reply-To: Ed Mezynski From: Ed Mezynski Subject: Re: REMEMBER US Once Upon A Time Richard Said: >Pardon me, boy, but what the FUCK is this all about? And why the hell >should you waste everybody's time-from the President's assistant in charge >of dumb messages to all the people on all the other lists you posted this >shit to? > Grow up, get a life, and mind your own business. > No wonder nobody can remember what your name is! Richard, You may be losing your touch. I'd only rate this flame at a 7.6 on the Richter Scale of Flameage. They really deserved a deep fat fry or at least a flambe. :^{> ed ========================================================================= Date: Wed, 7 Feb 1996 10:14:01 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Beavis/Butthead/Anson I know I've asked this a bunch of times before, but is it a FACT that one of those (Beav or Butt..I don't which is which) was created in Anson's likeness. Didn't I hear somewhere that the creator of B&B played bass with Anson for a while....Anyone know how I can get in touch with the B & B creator. Is this a FACT or speculation or nonsense LW ========================================================================= Date: Wed, 7 Feb 1996 11:35:32 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: PREWAR STRING BANDS: Howard Armstrong Comments: To: rvana@interpath.com In a message dated 96-02-07 09:37:38 EST, rvana@INTERPATH.COM (bob vanarsdall) writes: > >At my desk here I have Steve LaVere's Blues calendar, which now turned to >February reveals Howard Armstrong playing fiddle. The calendar notes say >that Armstrong was part of the trio Martin, Bogan, and Armstrong who >recorded in the 30's, drifted apart after that, and were then reunited by >the Smithsonian in the early 70's. > >This may be the "Who is Muddy Waters?" question for you pre-war string band >aficionados, but I'm unfamiliar with either Armstrong or M,B, &A. Can >anyone give me more info or leads on recordings? I mentioned the pre-war recordings in my original post on this topic. In the sixties or seventies, Martin, Bogan, and Armstrong began recording again for Flying Fish. Steve Goodman is on some of these recordings. I have 2 on vinyl but not on CD; someone else will have to provide the CD information. They are very entertaining string band music, up tempo and fun. They have cover art by Armstrong, and show off some of his abilities as a multilinguist as I recall. Tom Freeland ========================================================================= Date: Wed, 7 Feb 1996 11:40:42 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Country/Blues Connection - detailed info Comments: To: Scott.Barretta@soc.lu.se Scott Barretta posted a list of sources about country/blues cross-influences. To this list should be added the chapter in the book NOTHIN' BUT THE BLUES, the Sony Roots WHITE COUNTRY BLUES collection (and the booklet therein), and the Bear Family Jimmie Rodgers set (and booklet therein). This thread occurred before, not too long ago (I think in the Fall?). At that time, folks pointed out that Howlin' Wolf's howl supposedly began as an immitation of country yodeling, that John Hurt's first recording opportunity came through his playing with a white string band, and other similar points of interconnection at the beginning of recording country music and blues. Tom Freeland In a message dated 96-02-07 10:38:42 EST, Scott.Barretta@SOC.LU.SE (Scott Barretta) writes: >If people interested in this issue would like to know more, I would >strongly recommend the following sources which deal specifically with >the relation between country and blues in the 20s and 30s. > >1.Black, Whites and Blues by Tony Russell. London: Studio Vista, 1970. > >This is a paperback in a series edited by Paul Oliver, and may be >currently out of print, but was the first long account on the topic, >and is still regarde as one of the best sources on the topic. > >2. Charles Wolfe's chapter on White country blues in the recent >coffee table book Nothing But the Blues, ed. Lawrence Cohn > >This chapter is very similar to his notes accompanying the Columbia >Roots and Blues double CD A Whiter Shade of Blue > >3. Rounder's CD of the black Virginia songster Leslie Riddle has >a nice essay on his relationship to the Carter Family, the first >family of country music, particularly how he went on song collecting >trips with AP Carter, and the blues influence on the Carter family > >4. Barney Hoskyn's book Say It One Time For the Brokenhearted >(Fontana; late 70s?) is the best source on the relationship between >soul music and country music > >Without intending to join the ugly fray about Living Blues, I'd >just like to point out that LB's editor David Nelson wrote his >Masters thesis at UMiss on the TWO-WAY interchange between white >and black musicians, with material gathered from interviews with >many blues artists about their influences and personal tastes. > > > ========================================================================= Date: Wed, 7 Feb 1996 11:45:51 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: NEW LIVE FREDDIE KING Comments: To: SOXTON@che2.che.umn.edu On February 7, Sara Oxton wrote: >>>He also had film of JB performing at the Boston >>>Garden after Martin Luther King's assassination. >>>The concert was shown live on TV in the Boston >>>area, and helped keep otherwise-enraged black >>>citizenry off the streets. A minor correction . . it was the Boston Arena, not Boston Garden . It was a remarkable situation because the public television station - WGBH - which is known for "Masterpiece Theater" and "Julia Child" and had never come within a pole's length of anything funky, showed James Brown doing a concert of hours and they stayed right with every "I Feel Good!" and "Please, Please , Please" right to the very end. There is no question that people stayed at home to watch and a potentially dangerous situation was defused. Dick Waterman ========================================================================= Date: Wed, 7 Feb 1996 11:01:06 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Beavis/Butthead/Anson Comments: To: L W In-Reply-To: I imagine that Don O will also respond to this post (if only to say "this sucks!" or "yeah...yeah...") but yes, B & B creator Mike Judge was indeed Anson's bassist and while I've never detected any resemblance between Anson's personality (his many friends know he's a thoughtful and perceptive person who's pretty much the Anti-Beavis) and Beavis, there's not much doubt about the physical similarities. ========================================================================= Date: Wed, 7 Feb 1996 11:22:44 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Re: PREWAR STRING BANDS: Howard Armstrong > I mentioned the pre-war recordings in my original post on this topic. In the > sixties or seventies, Martin, Bogan, and Armstrong began recording again for > Flying Fish. Steve Goodman is on some of these recordings. I have 2 on > vinyl but not on CD; someone else will have to provide the CD information. > They are very entertaining string band music, up tempo and fun. They have > cover art by Armstrong, and show off some of his abilities as a multilinguist > as I recall. > > Tom Freeland > Howard Armstrong is playing violin on several tracks on the newest and wonderful Paul Geremia's album "Self Portrait In Blues." Howard Armstrong is also nominated for 1995 W.C. Handy Award in the category Acoustic Blues Album of the Year for his "Louis Bluie" album. Haven't heard that one though. Ranko ========================================================================= Date: Wed, 7 Feb 1996 12:31:28 -0500 Reply-To: PrePhoto From: PrePhoto Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Nighthawks Homepage Comments: To: bit-listserv-blues-l@uunet.uu.net Help- As of 12.30EST Wednesday, my AOL server cant find the prodigy server with the new bird boys homepage.... I get the usual doesnt exist messages.. Suggestions? Dave ========================================================================= Date: Wed, 7 Feb 1996 09:43:41 GMT Reply-To: Dave_J._Herda@infozone.telluride.co.us From: "Dave J. Herda" Organization: InfoZone Telluride Co (970)-728-0472 Subject: Re: BLUES-L Convention: Preliminary Report Comments: To: seale@BIOC02.UTHSCSA.EDU Will somebody go ahead and make this one official! Lets have the conference in St. Louis over Labor day. The location is great, the talent will be top notch, and there is plenty of time for people to make reservations and for us to come up with some activities (ie. lectures, jam sessions, side trips and beer specials at the local bars for all blues-L members). Let's put this baby to rest and make some plans. I'll see you in St. Louie! Until then, keep on playin those blues. Peace--D ========================================================================= Date: Wed, 7 Feb 1996 09:11:13 GMT Reply-To: Dave_J._Herda@infozone.telluride.co.us From: "Dave J. Herda" Organization: InfoZone Telluride Co (970)-728-0472 Subject: Re: Mem Shannon on TV Comments: To: Steve.Levine@CORP.WRGRACE.COM Wish I could have seen the show, this guy is great. The way he combines blues and funk with poignant lyrics is excellent. The only complaint I have about the disk is the track mixing. If I want to listen to the conversations at a comfortable volume then the music tracks are waking up this neigbor. It's a small price to pay for music this good though and who knows, maybe Mem set it up this way on purpose so people would play his music louder than normal. It's definitely worth the price so if you haven't heard it yet get going and pick this one up. Take it easy and keep on playin doze BLUES! Peace--D ========================================================================= Date: Wed, 7 Feb 1996 15:45:02 +0000 Reply-To: "David J. Wallace" From: "David J. Wallace" Organization: JSDA Subject: Apology (was re:Eric's Blues Dates) Dear All, I've had a number of private responses to my replay regarding the inclusion of Rick Astley in Eric's Blues Dates yesterday. It was a Joke, and I wouldn't dream of telling anyone what they can or cannot put in their datadase and post to a list. The dates post is the one post I am guaranteed to read every day, often provoking interesting memories, and is IMHO one of the most valuable posts on Blues-L. I would like to personally thank Mr LeBlanc for making his database available to the list. In retrospect perhaps I could have phrased my post in a clearer manner, but the key point is it was intended as a joke, and not as a judgement on the content of the database or anyone's right to include whatever they want in a post to the list. Tommorrow I wear the Asbestos Pants. Thank You, David J. Wallace |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Theres only one way out of: The Blues, Town and Regional Planning or a spin in a Beech Baron. I Hope you never find it. ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| ========================================================================= Date: Wed, 7 Feb 1996 11:54:41 -0800 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: ATTN: Mary Katherine Aldin--ReadMe! Comments: To: bit-listserv-blues-l@uunet.uu.net Sorry about posting personal to the list, folks, but... Mary Katherine, my mail to you about getting together while you're in New Orleans keeps getting returned to me marked 'Unrecoverable Error' in contacting beachnet.com. If you read this here before you leave, I'll definitely call after your arrival in N.O. to make a date to get together. --Maggie Maggie Mortensen Exarch Services New Orleans USA ------visualize clever signature here-------- ========================================================================= Date: Wed, 7 Feb 1996 13:14:34 -0500 Reply-To: Georgem99@AOL.COM From: George Macy Subject: Blues Records-Ledbitter,Slaven? Does anyone know if this book, originally published in '65 I believe, has been re-issued? If my memeory is correct, it was written by Mike Ledbitter and Neil Slaven. I would love to find a copy. George ========================================================================= Date: Wed, 7 Feb 1996 13:14:49 -0500 Reply-To: Georgem99@AOL.COM From: George Macy Subject: Info Ray Flerlage photos? A photographer named Ray Flerlage took wonderful photos of the blues life of Chicago during the 40's and 50's including some of Little Walter which have been used on Chess lp covers. Is there a compilation of Flerlage's photos? Are prints available? ========================================================================= Date: Wed, 7 Feb 1996 13:09:33 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: Mary Katherine--please read Sorry Blues-lers, but I, too, have had very bad luck reaching Mary Katherine's e-mail today...please forgive... Mary Katherine... Yank's album ("Pig Trader's Blues") will be available after Feb. 27th through the Slippery Noodle Sound toll free number: 1-800-761-2587 and through regional "Best Buys" and "Camelot" outlets. But for the most part -- the toll-free number is the thing. I'll try to post the actual order number and the snail address a.s.a.p. Sorry about the general address--really can't get my mail through to you. Cathi N. ========================================================================= Date: Wed, 7 Feb 1996 10:28:19 -0800 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Subject: Re: Blues Records-Ledbitter,Slaven? Comments: To: Georgem99@aol.com >Does anyone know if this book, originally published in '65 I believe, has >been re-issued? If my memeory is correct, it was written by Mike Ledbitter >and Neil Slaven. I would love to find a copy. > >George It appears to have been published in '68 (The full title is Blues Records: 1943 -1966) Published by Hanover Books, 4 Mill Street, London, W.1, England My (ancient) copy is from : Oak Publications, 33 West 60th Street, New York 10023 Library of Congress Number is 68-57795 Good Luck ( know this is old info; maybe someone else has a new copy....?) - Roger ========================================================================= Date: Wed, 7 Feb 1996 13:33:47 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Who wrote "Five Long Years"? HI gang, c Can somebody tell me who wrote "Five Long Years" as played by Clapton on "Cradle" and Buddy Guy on "Damn Right..". ? I've got two different names for authors, and the versions are different, by Eddie Boyd or John Lee Hooker, or who? Thanks! I hate to cite the wrong musician when I play covers of such great tunes on stage. Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 7 Feb 1996 13:31:28 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Mama Don't Allow - Cool Children's Book Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com Last night I was wandering through the mall when a book on display in a book store caught my eye. The title wsa "Mama Don't Allow" and I immediately thought of the traditional song when I saw it (I've been listening to Mance Libscomb's version a lot lately). I looked at the book, and sure enough it had something to do with the song, so I bought it. The book is by Thacher Hurd, and it tells the story of a young possum (rememebr this is a children's book!) named Miles. Miles gets a saxophone for his birthday and he drives his family and neighborhood crazy with his practicing. He is told to practice outside the neighborhood and he meets some other musicians on the roa. They form "The Swamp Band" and play for the Alligator ball. The song they play is "Mama Don't Allow." I won't spoil it by telling you how it ends, but I'll just say that Miles learns a valuable lesson about the choice of songs to play and volume. The book even has the music for "Mama Don't Allow" with a couple of verses, and encourages the reader to make up verses. Best $4.95 I've spent in a long time. I would reommend it for anyone with children who have an interest in music. I don't have children, but I'll probably end up giving it to my brother's niece and nephew. -Steve ps - I also saw a Jerry Garcia tribute book in the bookstore, and guess who contriubted to it? Blues-l's own guru Dick Waterman. ========================================================================= Date: Wed, 7 Feb 1996 13:50:52 -0500 Reply-To: bob unger From: bob unger Subject: The Tapes Are In The Mail BluesBytes are on the way! I just dropped them off in the mailroom and everybody who mailed in an order should be recieving their copy(s) shortly, though I suspect the European and Australian orders might take a while to get there. Below are the names of all the people I recieved orders from. The number before the name is the number of copies sent. If you sent me an order and your name is not on this list, then that means I have not recieved it yet. The names appear in the order that I recieved them..... 1 Reina Tebby 1 Meri Farnworth 1 Cathi Norton 1 Andre Prevos 1 Larry Letts 1 Ref Lindmark 1 James Carmin 1 Stan Ruffo 1 Roy Forgy 1 J.J. Perry 1 Ian Angus (waiting on snail mail address) 1 Michael Kaloyanides 1 Laurie Forti 1 Rob Barclay 1 Steve Levine 1 Adrian Spidle 1 Barb Perry 2 Gary Hudak 1 Storm Bailey 1 Hugh Atkins 1 Sam Lawton 1 Bert Rich 3 Tom Harold 1 Tom Kraft 1 Keith Castleberry 1 Ed Liu 1 Ed Mezynski 1 Terry Spring 3 Dave Blanken 1 Larry Corbett 1 Terry Knox 1 Shannon O'Connor 1 Clint Pulley 1 Jeff Seale 1 Greg Hermanns 3 Patrik Urbansson (waiting for snail mail address) 1 Mike Gilbert 1 James Leftwich 1 Mike Monteleone 1 Gary Constantine 2 Dave Costa 1 Billy Chambless 1 Georgio Evangelidis 1 ReeAnn Halonen 2 Mike Heidenberg 2 Leo Aspiras 1 Shaun Cronin (waiting on snail mail address) 1 Marcia Grodsky 1 Ray Blount 1 Bill Pollak 1 Alice Brown 5 Ron Kraemer 1 Rob Hutten 1 Marc 'embee' Borms I have 32 copies left with around 10 on hold. When all the copies are sold, we will know the recipient of our donation. I expect the amount to be around $540. BU bob@sun.bnkst.edu ========================================================================= Date: Wed, 7 Feb 1996 14:14:13 -0500 Reply-To: "Matthew D. Lautenschlager" From: "Matthew D. Lautenschlager" Subject: Re: BLUES-L Convention: Preliminary Report Comments: To: "Dave J. Herda" In-Reply-To: <1236242267.49594871@infozone.telluride.co.us> I would like to know if anyone could tell me if there are any Blues concerts in my area, or if any are coming; or where I could look to find out for myself. I live in Honesdale PA, which is 30 minutes east of Scranton PA, however, now I'm school in Lock Haven PA, which is in the central part of the state. Any information, which anyone has, would be greatly appreciated. Matt ========================================================================= Date: Wed, 7 Feb 1996 13:28:20 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Handling a Promoter/Booking Agent I send a book agent/promoter my demo , in an effort to open for an upcoming show. He knows me and I've played this particular club before. The gig in question is this Saturday. I haven't heard from him and I dropped the tape and "bio" off on last Thursday. He had told me that the headliner would probally have to hear, since they usually don't want an opening act. That's fine, I just want to know about future gigs. So should I call him and see what's up or give him a few days..... Thanks LW ' I don't mind pestering him" ========================================================================= Date: Wed, 7 Feb 1996 14:58:01 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Folks trying to contact Mary Katherine Aldin Apparently the mail servers at BEACHNET.COM are down completely. I tried contacting the administrator but you can't get through to him either. To anyone trying to send her personal mail via Blues-l, realize that this is futile since Blues-l's posts aren't getting to her either. ========================================================================= Date: Wed, 7 Feb 1996 15:31:21 -0500 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: Country/Blues Connection Comments: To: RNABooking In-Reply-To: <4f9rjt$8l6@newsbf02.news.aol.com> When you discuss connections, I'm not sure you mean musical or sociological. For example, the Hank Williams tune you mention does not sound like the blues at all -- it is about having the blues though. Most of Country music is because IMHO the same socioeconomical folks are writing the lyrics: "I ain't got no money, no woman, no (fill in the blanks) is the same regardless of racial background/heritage. The expressions are different. Speaking of Country music, there's a song (sung by a woman) about a couple. When he goes to sea, she waits patiently for his return, and says "where have you been I've waited so long". The end of the song finds them in a nursing home. When he comes to her bed and takes her hand, she says (you guessed it) "where have you been I've waited so long" I'm looking for the name of the song and the artist who sings it. TIA Peace, nitra PS Yes, I think you might know it because blues lovers are versatile. On Wed, 7 Feb 1996, RNABooking wrote: > Country and blues is definitely connected in my mind. Listen to Gary > Stewart sing "Little Junior" and tell me that's not blues. Leroy Parnell > is great. When Hank Wiliams sings "I'm So Lonesome I Could Cry"...you > could. It ain't just the hat. > Ronnie Narmour > Austin, Texas > ========================================================================= Date: Wed, 7 Feb 1996 20:40:03 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Radar Labs 23 Subject: Re: Nighthawks Homepage Comments: To: bit-listserv-blues-l@uunet.uu.net On Wed, 7 Feb 1996 12:31:28 -0500, PrePhoto wrote: :Help- :As of 12.30EST Wednesday, my AOL server cant find the prodigy server with :the new bird boys homepage.... :I get the usual doesnt exist messages.. :Suggestions? :Dave http://www.thelist.com/your_area_code_here This will give you a list of real Internet Service Providers in your area. Kevan Smith http://www.rlabs.com/congress/ ========================================================================= Date: Wed, 7 Feb 1996 20:45:20 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Riler Robinson Comments: To: bit-listserv-blues-l@uunet.uu.net Bonnie Kalmbach wrote: > >A friend in Portland, Oregon said that he had seen Riler Robinson >not long ago. Does anyone have any current information on this Chicago >musician? Does he have any recordings other than the album he did >with John and Sylvia Embry in the late 70's?? > > -Bonnie Bonnie, Riler "Ice Man" Robinson still plays in Chicago every once in a while; his main gig seems to a weekend every month or so at a little club on the north side called Lilly's. He usually plays with his old bass playing partner from the Maxwell Street days Robert "Dancin'" Perkins. They played together for years on Sunday mornings at the old Maxwell Street Market until it was closed by the city in 1994. I haven't seen much of either one of them except at Lilly's since then. I don't know of any recordings released other than the ones you mentioned, but I'm told that he and Perkins did some recording for someone a month or two ago-- this wasn'r for a label, it was an independant project that may or may not ever see the light of day. He's an interesting character though, and should be recorded; I wonder if Austria's Wolf Records knows about him? For the guitar-o-paths out there, the last time I saw him, Robinson was still playing his old c.1960 Stratocaster that he'd bought new, and over the years modified to suit his "look". It looks to me like he painted the whole thing--pickups, hardware and all--it with lumpy split pea soup, and then glued sparkles, coins, buttons and his name to it. It's a regular piece of "folk art" now. He told me he's been offered $10,000 for it. Scott ========================================================================= Date: Wed, 7 Feb 1996 20:37:49 +0000 Reply-To: john.kuzemka@NT.COM From: john.kuzemka@NT.COM Organization: Nortel Subject: Re: Big Mike Griffin? Comments: To: bit-listserv-blues-l@uunet.uu.net Bill Morgan wrote: >Can anybody give me information about Big Mike Griffin? He's playing at >Margaritaville in N.O. on Feb. 16. Here's what I have on him from >Offbeat Magazine -- he's a "Little Milton-inspired" guitar player with >a "take-no-prisoners band". I also know he has a Malaco release titled >_Sittin' Here With Nothin'_. > >Anybody have the CD or seen Big Mike perform? > >Thanks in advance. > >Bill Morgan > >From: The Big Easy If this is the MG from * Mike Griffin and the Unknown Blues Band *, then he's a hell of a guitar player. Go see him, you won't be sorry. John M. Kuzemka, Sr Sales Executive \ These are my personal / Nortel Pittsburgh IOC Sales Office \ opinions.But I'll let / (bus) john.kuzemka@nt.com \ you have them / (res) johnnyk@pgh.nauticom.net \ anyway. / ========================================================================= Date: Wed, 7 Feb 1996 15:49:18 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Blues Records-Ledbitter,Slaven? Comments: To: Georgem99@aol.com Comments: cc: roots@hooked.net In a message dated 96-02-07 13:49:56 EST, Georgem99@AOL.COM (George Macy) writes: >Does anyone know if this book, originally published in '65 I believe, has >been re-issued? If my memory is correct, it was written by Mike Ledbitter >and Neil Slaven. I would love to find a copy. > >George In 1987, vol. 1 of a new two volume version was published (A-K). In 1994, L-Z was published. Next year, the intend to publish a new edition of A-K. It is published RECORD INFORMATION SERVICES. Roots and Rythmn (roots@hooked.net) is a source in this country. Expect to pay just under $100 per volume. Tom Freeland ========================================================================= Date: Wed, 7 Feb 1996 14:50:25 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Big Mike Griffin? In-Reply-To: Message of Wed, 7 Feb 1996 20:37:49 +0000 from I don't see the Little Milton inspired playing, Mike is more Freddie King inspired to my ears. The Unknown Blues Band has gone through many changes, but I think they have finally got a good match. Recently Big Mike played a local club and the owner tried to "cut" Mike out of his guaranteed money. Big Mike is BIG and he managed to shake a few more dollars from the club owner IMHO Waldoxy/Malaco is not the label for Mike... LW ========================================================================= Date: Wed, 7 Feb 1996 21:02:10 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Who wrote "Five Long Years"? Comments: To: bit-listserv-blues-l@uunet.uu.net " wrote: > >HI gang, c > >Can somebody tell me who wrote "Five Long Years" as played by Clapton on >"Cradle" and Buddy Guy on "Damn Right..". ? I've got two different names for >authors, and the versions are different, by Eddie Boyd or John Lee Hooker, or >who? > >Thanks! > >I hate to cite the wrong musician when I play covers of such great tunes on >stage. > >Riffin Rick Eddie Boyd wrote it. Hooker has done lots of covers that got credited to him, and in truth, his arrangments of covers often bear more resemblance to his standard boogie than they do to the songs they're taken from, so he's at least half right. But "Five Long Years" is an Eddie Boyd composition, although Clapton's version owes more to Guy's version than it does to the original Boyd recording. Scott ========================================================================= Date: Wed, 7 Feb 1996 16:17:00 EST Reply-To: csericks@edcen.ehhs.cmich.edu From: "Craig S. Ericksen" Subject: MCA/CHESS e-mail If you know it, please provide me with an e-mail address for MCA/Chess or more specifically Andy McKaie at MCA/Chess. Thanks. Craig ========================================================================= Date: Wed, 7 Feb 1996 21:35:55 GMT Reply-To: jack@SITU.COM From: jack@SITU.COM Organization: eNET News Server 1 Subject: National steel Comments: To: bit-listserv-blues-l@uunet.uu.net I have a 1935 National steel Duolian for sale. Asking $1800. Inquiries reply by e-mail to the above address and/or jwarner@freenet.columbus.oh.us Jack Warner ========================================================================= Date: Wed, 7 Feb 1996 15:17:03 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: Update on search for Robert Jr. Lockwood I want to thank all of you who have supplied me with information in my illusive search for: ROBERT JR. LOCKWOOD BLUES LIVE IN JAPAN Unfortunately I have not been able to get my hands on a copy but here is what I know so far. The Cd was originally issued on the Advent Label. Mary Katherine Aldin informed me that the Advent label had been owned Frank Scott who now owns and runs Roots & Rhythm mail order. Mary Katherine also stated that Frank had sold the rights to the Advent label to Hightone Records in the mid eighties but that they had not yet released the Lockwood music. I contacted Frank Scott and he confirmed that he had sold the advent catalogue to Hightone.......except for the Lockwood tapes which were owned by Trio Records of Japan. So Hightone is never going to release any of the Lockwood material from Japan. Vivid Records of Japan, (who apparently have no relationship to the Vivid records now owned by Hightone), have released the original Lockwood album with bonus cuts. They have also released a whole CD of previously unissued recordings from the same tour. Now I have 2 CD's that I want! Peter Welch gave me much of the same information. He mentioned that he had bought the first CD through Crosscut Records in Germany. I have been unable to find an address or phone number for this record company. Any Zeller's out there who have that information? To add further to my agony, Richard Shurman informed me there was a video available of 80's Lockwood Japanese tour called "Annie's Boogie". I want this video REAL BAD. Unfortunately Roots & Rhythym could not supply me with any of the material. SO: Does anyone have an address, either domestic or foreign, where I could get any or all of this material? Any help would be most appreciated. Thanx, Gary ............. Gary Constantine >> gconstan@ccinet.ab.ca << If you're lookin' for a perfect woman you're gonna' die a lonely man .............. Joe Louis Walker ========================================================================= Date: Wed, 7 Feb 1996 17:25:13 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Mary Katherine Aldin Says . . . I just spoke to MKA on the telephone (remember them?) and she said that although BEACH.COM is having troubles, she still has her NET.COM account and can read her mail that way. MKAldin@ix.netcom.com Dick Waterman (Usual disclaimer of no affilation with BEACH.COM, NET.COM and any other COM) ========================================================================= Date: Wed, 7 Feb 1996 14:38:23 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: My server has crashed And as Dick Waterman may have told you, I can't read blues-l. The system just now let me on, but told me I had no email to be read - hah! What I think this means is that when they get it fixed I will get mail from then onward, but will have missed all posts that came through during the time I am offline. If anyone has posted either private email to me or sent posts to the list that I might need to respond to, Tom Freeland is going to try to save those for me and forward them when this gets fixed. Or you can use my old email address which I had not cancelled yet which is mkaldin@ix.netcom.com Dick may have posted all this info already--I don't know, since I'm not getting any email! Sorry if its duplicated/timewasting. Ain't technology grand? Mary Katherine Aldin ========================================================================= Date: Wed, 7 Feb 1996 16:45:11 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Big Mike Griffin? Comments: To: L W In-Reply-To: On Wed, 7 Feb 1996, L W wrote: > IMHO Waldoxy/Malaco is not the label for Mike... What would make you say that - unless you're being a purist :). (Please note the smiley face). I think any blues artist would do just fine to be on Malaco / Waldoxy. With the dollars they have they easily can promote any artist BIG TIME. This happens to be a label that puts out a CD and then it hits the charts - I think Mike would like that. Barry NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Wed, 7 Feb 1996 20:48:36 GMT Reply-To: Martin Green From: Martin Green Organization: De Montfort University, Leicester Subject: Re: Living Blues Magazine Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199601302216.RAA04420@dns.nxi.com>, Derek Dresser writes: > I need to recommend BLUES REVIEW magazine. Great writers, articles and > reviews. I just can't bring myself to subscribe to LIVING BLUES because of > their > policy against doing articles on white blues performers. I happen to be a > white I am baffled by this alleged policy, I wonder if someone at LB could disclaim or confirm such apolicy. Mart. ========================================================================= Date: Thu, 8 Feb 1996 00:14:30 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Omar Shariff question revisited (sorry) Comments: To: bit-listserv-blues-l@uunet.uu.net In article <9602070650.AA08454@dino.conicit.ve> Claudio Caponi MARNR writes: >Here it goes again: >After hearing great things about Omar Shariff's two CDs on Have Mercy >Records (Black Widow Spider & Baddass), I was rather disappointed to >find neither on any online store Have Mercy Records does their own direct sales - according to in ad in Living Blues they charge $12/disc, $9/cassette postage is $8 for foreign orders ($3 domestic). There address is Have Mercy Records, P.O. Box 660245, Sacramento, CA 95866. In addition to the 2 Omar Sharriff CDs, they also list a Johnny Heartsman "Still Shinin' " (Does anyone know how this title is?) and 7 other titles. >ARH365 +SHARIFF*OMAR RAVEN 9/1*** >$12.41 ARHOOLIE 11/92 >How does this compare with his later work? I don't own the Have Mercy titles, but this is one fine release. Recommended. Art Schuna ========================================================================= Date: Wed, 7 Feb 1996 19:26:13 -0500 Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Blues Records-Ledbitter,Slaven? Comments: To: bit-listserv-blues-l@uunet.uu.net In article <960207131432_216349777@mail02.mail.aol.com> George Macy writes: >Date: Wed, 7 Feb 1996 13:14:34 -0500 >From: George Macy >Subject: Blues Records-Ledbitter,Slaven? >Does anyone know if this book, originally published in '65 I believe, has >been re-issued? If my memeory is correct, it was written by Mike Ledbitter >and Neil Slaven. I would love to find a copy. Blues Records, Vol. 1 A-K 1943-70 is published by Record Information Services in 1987 and is in the process of being updated. Vol. 2 L-Z, written by Leadbitter, Fancourt and Pelletier was updated and reissued in 1994. Apparently there was some controversy about Slaven being dropped, but I do not know the details. These should both be available. I don't know how much you would miss by buying the older version of Vol. 1 now, but I don't plan to update my copy when it's reissued. The main things I use it for are for session dates, who played, etc. Even though they will update the reissues tracks appear on, the explosion of reissues will quickly make that information updated. Art Schuna ========================================================================= Date: Wed, 7 Feb 1996 19:06:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Robert Jr. Live in Japan One of the best things about that recording are Louis Myer's solos on slide. They are something else. -Bonnie ========================================================================= Date: Wed, 7 Feb 1996 20:13:31 -0500 Reply-To: jsimons1@IC3.ITHACA.EDU From: Jayson Simons-Jones ok53c8ed Jayson Simons-Jones Terrace 4 Ithaca College Ithaca, NY 14850 E-mail: JSIMONS1 ========================================================================= Date: Mon, 5 Feb 1996 12:32:02 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Re: Jimmy Rogers/Lowell Fulson Comments: To: BGSV75C@prodigy.com In-Reply-To: <4f4f9h$1t4g@usenetp1.news.prodigy.com> from "Poindexter Regan" at Feb 5, 96 08:31:45 am According to Poindexter Regan: > > Mary Katherine Aldin wrote: > > >Yes -- it is time -- and both The Complete Jimmy Rogers Chess > >Recordings and The Complete Lowell Fulson Chess Recordings WILL be > >issued by MCA, when Andy McKaie can get to them. Most likely not 1996, > >possibly 1997. 1997!!..Oh well, good things come to those who wait, I guess. I'd tell 'em to forget reissuing bad Muddy Waters & Howlin' Wolf stuff from the late 60s and early 70s and get on with the good reissues....Besides the much-needed Fulson & Rogers Chess sets, I'd love to see a double MCA/Chess disc of J.B. Lenoir's Chess/Parrott material. Sure it's available elsewhere right now, but the sound quality of the MCA/Chess productions is usually tops. > > If Andy doesn't have the time to get to the Jimmy Rogers and Lowell > Fulson projects--and seeing as they're among the very few artists who can > still benefit from the reissue of their Chess recordings, they DO need to > get done--I hereby volunteer my services as reissue producer :). Go for it, Scott! -P ========================================================================= Date: Thu, 8 Feb 1996 01:12:33 GMT Reply-To: Lucy Dueck private account From: Lucy Dueck private account Organization: U of Toronto Zoology Subject: Re: Gospel Sunday at Hank's Comments: To: bit-listserv-blues-l@uunet.uu.net Was that Scrappy Judd, plays for Toni Price of Antone's Records? ========================================================================= Date: Wed, 7 Feb 1996 19:58:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Re: Living Blues Magazine Comments: To: c2mg@DMU.AC.UK >From: IN%"c2mg@DMU.AC.UK" "Martin Green" >To: Multiple recipients of list BLUES-L >Subject: Re: Living Blues Magazine > >In article <199601302216.RAA04420@dns.nxi.com>, Derek Dresser > writes: >> I need to recommend BLUES REVIEW magazine. Great writers, articles and >> reviews. I just can't bring myself to subscribe to LIVING BLUES because of >> their >> policy against doing articles on white blues performers. I happen to be a >> white > > >I am baffled by this alleged policy, I wonder if someone at LB could disclaim or >confirm such a policy. *** Can somebody just email him the policy as recently posted by Dick Shurman. ========================================================================= Date: Wed, 7 Feb 1996 21:07:21 -0500 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Re: BLUES-L Convention: Preliminary Report Comments: To: bit-listserv-blues-l@uunet.uu.net Although in Baltimore, I will definitely do anything I can to support a potential covention. Sounds like fun!! Lea Gilmore "Wild Women Don't Have the Blues" ========================================================================= Date: Thu, 8 Feb 1996 05:44:19 GMT Reply-To: dresserd@DNS.NXI.COM From: Derek Dresser Organization: Agate Internet Services (AIS) Subject: Delta blues - Paul Rishell/Annie Raines Touring Schedule Comments: To: bit-listserv-blues-l@uunet.uu.net I have recently added Paul Rishell and Annie Raines touring schedule to their web site. Upcoming gigs can be found at: http://www.nxi.com/WWW/rishell/gigs.html ========================================================================= Date: Wed, 7 Feb 1996 23:23:54 -0500 Reply-To: Jonny Meister From: Jonny Meister Subject: Re: Jimmy Rogers/Lowell Fulson At 12:32 PM 2/5/96 -0500, you wrote: >According to Poindexter Regan: >> >> Mary Katherine Aldin wrote: >> >> >Yes -- it is time -- and both The Complete Jimmy Rogers Chess >> >Recordings and The Complete Lowell Fulson Chess Recordings WILL be >> >issued by MCA, when Andy McKaie can get to them. Most likely not 1996, >> >possibly 1997. > >1997!!..Oh well, good things come to those who wait, I guess. > >I'd tell 'em to forget reissuing bad Muddy Waters & Howlin' Wolf >stuff from the late 60s and early 70s and get on with the good >reissues....Besides the much-needed Fulson & Rogers Chess sets, >I'd love to see a double MCA/Chess disc of J.B. Lenoir's >Chess/Parrott material. .......... I talked withn Andy once about J.B., noting not only the rest of the stuff from the old double LP but also the unissued Chess and Chess-owned sides, including Tax Payin' Blues on Parrot (the song that replaced Eisenhower Blues). He said at the time that no more Lenoirs were planned because "He doesn't sell." Maybe that could change..... -Jonny ========================================================================= Date: Wed, 7 Feb 1996 04:17:17 GMT Reply-To: Jack Oudiz From: Jack Oudiz Subject: Re: Who wrote "Five Long Years"? Comments: To: bit-listserv-blues-l@uunet.uu.net The classic Five Long Years done by every one who's ever played the blues was written by the late Eddie Boyd. By the way my own favorite version was done by Ike & Tina Turner! Tina singing "got a job as a maid" instead of the steel mill. Anyone who has ever heard the Ike & Tina Blue Thumb recordings knows that Tina had one of the greatest blues deliveries of all time. Incidentally both The Hunter and Outta Season are available on ONE import CD out of Spain. Hard to find but INDISPENSABLE! With Albert Collins on guitar! ========================================================================= Date: Wed, 7 Feb 1996 04:25:35 GMT Reply-To: Jack Oudiz From: Jack Oudiz Subject: Re: Omar Shariff question revisited (sorry) Comments: To: bit-listserv-blues-l@uunet.uu.net Being from Sacramento (Omar's current residence) and a long time fan - from the Minnie's Can Do Club of the Fillmore District in SF when he was Dave Alexander (and a much more pleasant guy I might add) - perhaps I can assist. I'm not surprised you're not finding Have Mercy as it is a small local label with very limited distribution. I would be glad to pick the CDs up for you if need be. As for THe Raven, I would recommend Arhoolie's earlier CD, The Rattler over it though The Raven is fine too. Different from his new stuff in that Dave was much more in a traditional blues/boogie woogie mode then. One of the greatest blues pianists of the past quarter century. He also is virtually homeless and lives largely on the largesse of occasional benefactors.Another real blues tragedy. Jack ========================================================================= Date: Wed, 7 Feb 1996 20:44:43 -0800 Reply-To: Rich DelGrosso From: Rich DelGrosso Subject: W.HOWARD ARMSTRONG To Bob, Tom, and others on the list; I have had the great fortune to work with Howard Armstrong. When Maureen and I lived in Detroit we would travel with Howard, and for seven or eight years he worked with us in West Virginia at the Augusta Heritage Arts Workshop. Howard is one of the great musicians in this country. There isn't a stringed instrument he can't play, and he is a fine visual artist too. Terry Zwigoff (of recent "Crumb" fame) made a film about Howard's life as a musician. The film is called "Louie Bluie" (Howard's stage name from the traveling show and string band days), and it is a film about the life of a string band musician from the Thirties to the present. You can find it now in libraries or good vide collections and it is worth a look. Howard's only recording that I know of was for the Bluebird label, "The State Street Rag". He can also be heard on recordings of Carl Martin and Bumblebee Slim. As Tom reported, Howard did rejoin his former partners, Carl Martin and Ted Bogan, as a touring band in the Sixties and Seventies. When Carl passed away the band broke up. Ted passed away a few years ago. Howard and Yank Rachell (also seen in the movie) are the last of the string band performers from the Thirties that worked the South. Rich DelGrosso ========================================================================= Date: Wed, 7 Feb 1996 22:52:54 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: Re: LIVING BLUES MAGAZINE > From: Bonnie Kalmbach > Can somebody just email him the policy as recently posted by Dick > Shurman. How about just putting it in the Shed, the blues-l FAQ or some other centralized place so we can just point people there? Don O. ========================================================================= Date: Wed, 7 Feb 1996 21:18:20 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Q: Blues Festival Dates? Hi all. I was wondering if anyone could help me with the dates for the major blues festivals in the Southern US this summer. Where can I find them? I know last year's festival dates were in Living Blues magazine, but I've got to get to planning my road trip of a lifetime before too long (gotta get a few weeks off!), and I've looked all over. So if you know, or could lead me to the answer so I could find it myself, I'd be much obliged! -Jim (hndful@uniserve.com) ========================================================================= Date: Wed, 7 Feb 1996 22:55:09 -0700 Reply-To: Michael Heicklen From: Michael Heicklen Subject: TAPE SUBMISSIONS - SINGERS ProArt International is conducting a worldwide talent search for its initial US project. It is seeking one female and one male R&B/Pop singer with dance and movement background to perform in a band. Presales are already in place throughout Europe, and the band will tour domestically and internationally. International auditions will be held for those who's tapes are of interest. Principals include grammy winning producer with 21 gold and platinum records, and internationally recognized composer. Please submit a photo/resume along with an audio(4 track min.) or video tape to ProArt International, 8730 Sunset Boulevard, Ste. 660, Los Angeles, CA 90069 Attn: Michael Heicklen. No phone calls or e-mails please. END ---------------------------------------------------------------------------- ------ ========================================================================= Date: Thu, 8 Feb 1996 02:07:37 -0500 Reply-To: SokolowMus@AOL.COM From: Fred Sokolow Subject: Re: A Man and the Blues Comments: To: SOO3713@alpha.cc.oberlin.edu I think "A Man & The Blues" was recorded around '66 or '67, '68 at the latest, I remember when it came out, it was a pivotal album for me, jamming with it helped me learn how to really play electric blues guitar...Fred S. ========================================================================= Date: Thu, 8 Feb 1996 01:13:29 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: Re: Omar Shariff question revisited Art Schuna wrote: > > In article <9602070650.AA08454@dino.conicit.ve> Claudio Caponi MARNR writes: > >Here it goes again: > >After hearing great things about Omar Shariff's two CDs on Have Mercy > >Records (Black Widow Spider & Baddass), I was rather disappointed to > >find neither on any online store > > Have Mercy Records does their own direct sales - according to in ad in > Living Blues they charge $12/disc, $9/cassette postage is $8 for foreign > orders ($3 domestic). There address is Have Mercy Records, P.O. Box 660245, > Sacramento, CA 95866. In addition to the 2 Omar Sharriff CDs, they also > list a Johnny Heartsman "Still Shinin' " (Does anyone know how this title > is?) and 7 other titles. > > >ARH365 +SHARIFF*OMAR RAVEN 9/1*** > >$12.41 ARHOOLIE 11/92 > > >How does this compare with his later work? > > I don't own the Have Mercy titles, but this is one fine release. > Recommended. > > Art Schuna Just my .02 cents....Omar is a great talent! I don't think you could go wrong with anything he might have out. I don't own either of the Have Mercy recordings, but I have a fond memories to treasure from the mid 80's when I was Omar's resident harp player for his "Blue Monday Jam Sessions" in Fresno, CA. I'll say it again, he is a great talent, able to handle any kind of music, in any style. I only wish for his own sake, the man's sensitivity to music would transend to his personality. Those who know him, know that he can be a bit.....harsh. I must say Omar never directed an unkind word in my direction ever. Lord, HAVE MERCY on Omar the Magnificiant! (Last I heard, Omar was playing fairly regularly in and around Sac., CA.) Stan -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 ========================================================================= Date: Thu, 8 Feb 1996 04:19:21 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1906 Chester F. Carlson was born. Chester went on to invent xerography (xeroxing) which of course now makes it possible to enjoy so many SRV clones. P.W. Fenton Tampa, Florida ---------------------------------------------------- Please visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Thu, 8 Feb 1996 06:18:00 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Sitting&Thinking-Hound Dog Taylor Continuing our attention this month to Wolf Records and don't forget the web page with the Wolfgame - giving away Johnny B. Moore - 911 Blues and some fun. HOUND DOG TAYLOR & THE HOUSEROCKERS - FREDDIE'S BLUES (#120.600) WOLF RECORDS P.O. BOX 375, A-1120 VIENNA AUSTRIA Although Hound Dog Taylor has been dead for more than twenty years, every release of a new album of material recorded by him is a cause to celebrate. Here is an artist who played his heart out in small clubs for thirty years, finally signs a recording contract and then dies four years later after producing only three albums. This cd is the second Wolf Records has made from a performance Hound Dog and his two piece back up band gave at Joe's Place in Cambridge Mass. late in 1972. Hound Dog's Houserockers, Brewer Phillips on second guitar and Ted Harvey on drum provide a rock solid foundation on which Hound Dog is able to bare his blues soul. DUST MY BROOM / PHILLIP'S CRAWL / FREDDIE'S BLUES / STROLLIN' WITH BREWER / IT HURT'S ME TOO / JUMPING WITH SYMPHONY SID / TAKE FIVE / BLUES FOR SUZIE / ROLL YOUR MONEYMAKER / LET'S GET FUNKY / FLORENCE'S BLUES NY CD Takes DUST MY BROOM: How appropriate that the album opens with an Elmore James classic. There was probably no bluesman closer in style and spirit to Elmore than Hound Dog. Hound Dog's slide guitar here is vicious, slashing through all pretensions. PHILLIP'S CRAWL: The title of this song probably refers to the rolling boogie woogie bass line that Brewer Phillips provides for Hound Dog to improvise upon. This rollicking instrumental has the feel of something made up on the spot, but it more likely one of their regular performance numbers. FREDDIE'S BLUES: Hound Dog talks to the crowd during this slow blues. He subtly shifts into singing his song, only to go back to speaking the words a few bars later. He repeats this throughout the song, a very interesting effect. Phillips does some nice fills behind Hound Dog's fascinating solos here. STROLLIN' WITH BREWER: Once again, another instrumental with the band doing the boogie woogie like their life depended on it. Here, Hound Dog's lead guitar is leaner and totally different from the previous song which gives credit to Brewer Phillips in the title. IT HURT'S ME TOO: A passionate rendition on what was perhaps Elmore James' greatest song. With his urgent voice, you can feel Hound Dog's pain. And the slide guitar complements this urgency. The spirit of Elmore truly was in the house that night. JUMPING WITH SYMPHONY SID: An instrumental that turns the rock standard "Little Bitty Pretty One" into a boogie woogie. Try staying in your seat while this one is playing. You can here Hound Dog encouraging the dancers in the club. TAKE FIVE: This is nothing like the Dave Brubeck song played by millions of bands before they break between sets. This is a rocker in which Hound Dog tells his woman that he's got to get away for a while and will be back "some old day." BLUES FOR SUZIE: A mid tempo blues instrumental in which Hound Dog stays up in the high notes and again dazzles with his solo work. Just a very pretty song. ROLL YOUR MONEYMAKER: This song is the last of the Elmore James tributes on this cd. Harvey and Phillips pump away as Hound Dog provides the appropriately sparse lead here. Hound Dog changes the words around a bit as he makes the song his own. LET'S GET FUNKY: Hound Dog and the Houserockers use a jump blues as the framework for this funky instrumental. Hound Dog yells encouragement to the audience as they are both obviously having a great time. FLORENCE'S BLUES: One more instrumental closes out this cd. This one's a boogie. Here Hound Dog ventures down into the lower registers of his guitar and provides some emotional moments playing fuzzy chords as Brewer soars in the background. Hound Dog is the definition of true blue. Reviewed by Toby Levy Copyright NY CD Blues @1995-1996 All Rights Reserved. Unauthorized use prohibited. NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 8 Feb 1996 12:54:32 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Re: Littlefield Littlefiedl lives since the early 80's ove here in Holland. I posted a few weeks ago two posts concerning his recordings .... If you want, it, just send me a private mail.. and indeed he is one of the greatest piano player still living. Jean-Pierre "young man" Urbain P.S. Check out a recent issue of the Ducth BLOCK magazine for more about his life (inDucth, exception made of the disco.) ========================================================================= Date: Thu, 8 Feb 1996 07:27:08 -0400 Reply-To: Cliff Warnken From: Cliff Warnken Subject: Rube Lacy's other early recordings Besides the previously mentioned 2 recordings made by Rube Lacy for Paramount in 1928--"Mississippi Jail House Groan" and "Ham Hound Crave"-- the Dixon & Godrich prewar discography lists 4 unissued titles he recorded for Columbia the previous year--"Black Dog Blues," "Long Lonesome Blues," "Railroad Blues," and "Red River Blues." Wonder if these have turned up as Sony continues to search the archives for early material to issue? Cliff Warnken ========================================================================= Date: Thu, 8 Feb 1996 08:58:47 -0500 Reply-To: MK Sheffield From: MK Sheffield Subject: Memphis: Who's Playing These Dates? I'm running up to Memphis on the 20th for just that night. Anybody from that area know who might be playing where that night? Thanks. Mary Katherine SHEFFIELD mksheff@cennet.mc.peachnet.edu ========================================================================= Date: Thu, 8 Feb 1996 07:56:09 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Big Mike Griffin? In-Reply-To: Message of Wed, 7 Feb 1996 16:45:11 -0500 from On Wed, 7 Feb 1996 16:45:11 -0500 Barry Silverberg said: >On Wed, 7 Feb 1996, L W wrote: >> IMHO Waldoxy/Malaco is not the label for Mike... > > What would make you say that - unless you're being a purist :). > (Please note the smiley face). I think any blues artist would > do just fine to be on Malaco / Waldoxy. With the dollars they > have they easily can promote any artist BIG TIME. This happens > to be a label that puts out a CD and then it hits the charts - > I think Mike would like that. So Tinsley Ellis would benefit from being on Waldoxy...I don't think so Well to be honest I think Big Mike would appeal more to a white audience, that values guitar playing over vocals. I don't think it would suprise anyone for me to say that Waldoxy is targeted toward the black audiences, where as Alligator is aimed at the guitar influenced folks, in most cases. I have been around Mike a lot and he's not Waldoxy/Malaco material...IMHO. (Alligator just used as an example, there are others)....I think Waldoxy/Malaco will be pushing the soul & R&B type of stuff and Big Mike doesn't fit in to those. He may have changed to have more soul, but Big Mike and soul blues don't work ....Once again this is 100% MHO LW ========================================================================= Date: Thu, 8 Feb 1996 08:10:35 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Peter Green Book ??? A Green-Head was asking me about a book on Peter Green, I seem to recall hearing something about it, but can't remember the spscifics. Does anyone know anything about the book Thanks LW ========================================================================= Date: Thu, 8 Feb 1996 14:09:52 GMT Reply-To: Peter Ballantine From: Peter Ballantine Organization: SuperNet Inc. (908) 828-8988 Subject: Re: Highway 61/PBS Comments: To: bit-listserv-blues-l@uunet.uu.net That was Levon Helm of the Band, going down Highway 61 from Memphis to New Orleans, in a 50's era Buick (or maybe it was an Olds- guess PBS couldn't pop for a TERRAPLANE.) The show was sort of dis-jointed and wasn't strickly about the blues or music but was part of a series they are doing called GREAT DRIVES- (RT. 66 gets the treatment next, with, as I recall, Robert Townsend.) I thought the pro-gambling segment was inappropriate (see the current issue of THE NATION for an example of what gambling does to local economies) but, otherwise, was more interesting than a lot of other stuff one finds on the tube . ========================================================================= Date: Thu, 8 Feb 1996 09:17:41 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Ray Charles Story on CNN Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com There's a story on CNN's web site this morning on Ray Charles. The url is: http://www.cnn.com/SHOWBIZ/Music/9602/charles/index.html ========================================================================= Date: Thu, 8 Feb 1996 09:26:36 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Beavis & Butthead Yesterday Dick Shurman said >> yes, B & B creator Mike Judge was indeed >>Anson's bassist and while I've never detected any resemblance >>between Anson's personality (his many friends know he's a thoughtful >>and perceptive person who's pretty much the Anti-Beavis) and Beavis, >>there's not much doubt about the physical similarities. I've noticed the physical similarities between Beavis and Mike Judge too. In which case it's a good thing he didn't create Ren & Stimpy, whose main redeeming quality is that awesome version of "Killing Floor" at the end credits. ------------------------------ ========================================================================= Date: Thu, 8 Feb 1996 09:23:19 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Fire Hits Albert Washington's Home I learned last evening that Cincinnati blues pianist (and sometime guitarist) Albert Washington's home was destroyed by fire yesterday. The Greater Cincinnati Blues Society will be giving Mr. Washington as much money as we can afford to help him out, and a benefit is already in the planning stages. If anyone wants to help, please e-mail me for more information. Thanks. Shannon ========================================================================= Date: Thu, 8 Feb 1996 14:41:42 GMT Reply-To: Tommy Jansson From: Tommy Jansson Organization: Uppsala university Subject: Re: Who wrote "Five Long Years"? Comments: To: bit-listserv-blues-l@uunet.uu.net In article <01I0XM7ME2KY007ORY@SCI.WFBR.EDU>, RickMiller says... > >HI gang, c > >Can somebody tell me who wrote "Five Long Years" as played by Clapton on >"Cradle" and Buddy Guy on "Damn Right..". ? I've got two different names for >authors, and the versions are different, by Eddie Boyd or John Lee Hooker, or Eddie Boyd! ========================================================================= Date: Thu, 8 Feb 1996 09:59:18 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: DC Blues Society Winter Concert Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com The DC Blues Society is presenting a winter concert on Sunday, February 18, at The Bayou in Georgetown. The concert will feature Nappy Brown,The Daryl Davis Band, and Whop Frazier and Friends By Choice. The show will start at 5 PM. Doors will open at 4 PM. Tickets are $8 for members and $12 for nonmembers. Nonmember tickets are available through Ticketmaster. The Bayou is located on K Street in Georgetown, near the intersection with Wisconsin Avenue. Parking is available on the street and in several nearby lots. For more information call the DC Blues Society at (202) 828-3028. The url for the DC Blues Home Page is http://intelus.com:80/DCBlues/ -Steve ========================================================================= Date: Thu, 8 Feb 1996 10:05:55 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Big Mike Griffin? Comments: To: L W In-Reply-To: On Thu, 8 Feb 1996, L W wrote: > Well to be honest I think Big Mike would appeal more to a white audience, > that values guitar playing over vocals. I don't think it would suprise any > one for me to say that Waldoxy is targeted toward the black audiences, Point half well made. I was thinking of the dollars available for promotion angle and figured nobody could miss being benef- ited by that much push-pull. As far as Little Milton - I think he has a HUGE white audience. At the festivals he plays I don't see a lot of nonwhites there. Barry NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 8 Feb 1996 09:12:25 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Big Mike Griffin? In-Reply-To: Message of Thu, 8 Feb 1996 10:05:55 -0500 from On Thu, 8 Feb 1996 10:05:55 -0500 Barry Silverberg said: > > As far as Little Milton - I think he has a HUGE white audience. > At the festivals he plays I don't see a lot of nonwhites there. I've seen LM a few times and I've NEVER heard any of his Waldoxy releases. I suspect most Little Milton fans own his pre-Waldoxy material and IMHO it's the best Little Milton available. Don't think for a second that I'm saying anything bad about Waldoxy, it's quite the opposite. I'd like to see more record labels that recognize that VOCALS are more powerful than any other instrument....JIC: This has nothing to do with race....(nip it, nip it) Ok Little Milton fans, do you won most of his Waldoxy recordings, or do you own his Bobbin (??) stuff or "Welcome to My Dream" or whatever the box set is called... LW BTW:you ought to see Topper Price live, btw. It's 100% better than the recordin ========================================================================= Date: Thu, 8 Feb 1996 09:33:31 -0600 Reply-To: Mark Gobeyn From: Mark Gobeyn Subject: J.B. Lenoir According to Sheldon Harris' BLUES WHO'S WHO, it appears that J.B. recorded off and on during the early sixties, prior to the release of "Alabama Blues" in '65 and "Down in Mississippi" in '66. Does anybody know if Chess or some other label owns these early 1960s recordings? His Chess/Parrot/JOB sides from the 1950s are readily available, but I've never come across any cds or lps of this later pre-Alabama Blues material. Is it available anywhere? thanks, m ========================================================================= Date: Thu, 8 Feb 1996 09:45:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM Comments: To: bit-listserv-blues-l@uunet.uu.net From: "J.E. Downey" Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re[2]: Who wrote "Five Long Years"? Previously on BLUES-L... >>Can somebody tell me who >>wrote "Five Long Years" as played by the Unholy One on "Cradle" and >>Buddy Guy on "Damn Right..". ? >Eddie Boyd wrote it. Hooker has done lots of covers that got credited >to him, and in truth, his arrangments of covers often bear more >resemblance to his standard boogie than they do to the songs they're >taken from, so he's at least half right. But "Five Long Years" is an >Eddie Boyd composition, although the Unholy One's version owes >more to Guy's version than it does to the original Boyd recording. >Scott This is very interesting. Is there any way to put into words how Boyd's version mainly differed from what has become the more familiar arrangement (to us less educated folk). No doubt it would be best to hear the Boyd version, but anything one might say would be interesting. Incidentally, a minor point, but you're being sorta kind to JLH here, aren't you, Scott? Blue Joe In Red Russia (where it's *always* NINE BELOW ZERO!!) J.E._Downey@bakermck.com ========================================================================= Date: Thu, 8 Feb 1996 16:03:14 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Kenny Neal/Tinsley Ellis Saw them last night. The show opened with T.E. doing a one man acoustic set a la Hammond (minus the harmonica) and it was pretty damned good at that. Kenny Neal was his usual excellent self and was joined by T.E. (on Kenny's Tele) when he switched to harp. Great show. Worth much more than the $4.00(Cdn) admission :) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [8/2/96 10:58 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 8 Feb 1996 10:01:05 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Re[2]: Who wrote "Five Long Years"? In-Reply-To: Message of Thu, 8 Feb 1996 09:45:00 -0500 from On Thu, 8 Feb 1996 09:45:00 -0500 J.E. Downey said: > >>Eddie Boyd wrote it. Hooker has done lots of covers that got credited >>to him, and in truth, his arrangments of covers often bear more >>resemblance to his standard boogie than they do to the songs they're >>taken from, so he's at least half right. That's the only way to play blues. John Lee is John Lee not Eddie Boyd so it stands to reason they have different feelings and different ways to express their INDIVIDUAL feelings. That IMHO is where FTC failed, I did not hear Eric expressing himself, I heard him doing cover songs, that were too close to note-for-note. Once again John Hammond is one who expresses hisself and doesn't try to be Robert Johnson or Son House. This may not have anything to do with this thread, but sometimes people misunderstand the blues and one's own self expression is the entire meaning of the blues. It's not about covering someone, who lived in a different time and place, there's no way the two share the same feelings. LW ========================================================================= Date: Thu, 8 Feb 1996 11:30:50 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Beavis, Butthead, Anson Comments: To: ISTS024 Jeez, that cartoon likeness doesn't resemble good ol' Anson at all, 'cept for the blonde hair maybe. Anson's a pretty handsome guy really. I've got two posters of him with Sweet Sam right here in my lab, and I just don't see the resemblance to those animated yahoos. Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 8 Feb 1996 16:22:13 GMT Reply-To: Steven Hirsch From: Steven Hirsch Organization: National Agricultural Library Subject: Re: PREWAR STRING BANDS: Howard Armstrong Comments: To: bit-listserv-blues-l@uunet.uu.net There is a great documentary on Howard Armstrong called "louie bluie" I think, which is a name he released a record under in the 30s. I'm trying to remember who did the film, but no luck. I also saw Martin, Bogan and Armstrong opening for David Bromberg back in the late 70s. A very good show. ========================================================================= Date: Thu, 8 Feb 1996 08:34:15 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Feb. 9 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BRYANT, WILLIE (p/APOLLO dj) d. 1964-0209, LOS ANGELES, CA 55 BUTTERFIELD, ERSKINE (v/p) b. 1913-0209, SYRACUSE, NY CALLOWAY, BLANCHE DOROTHEA (v/p) b. 1902-0209, BALTIMORE, MD CARR, BRUNO (d/RAY CHARLES) b. 1928-0209, BRONX, NY CATFISH KEITH [KEITH DANIEL KOZACIK] (g) b. 1962-0209, EAST CHICAGO, IN CLEVELAND, JAMES L. REV. (v/gospel songw) d. 1991-0209, CULVER CITY, CA 59 ELY, JOE (g) b. 1947-0209, AMARILLO, TX EVANS, HERSCHEL (tsax/BASIE) d. 1939-0209, NEW YORK CITY, NY 30 FOWLKES, CHARLIE (bsax) d. 1980-0209, DALLAS, TX 63 GROUND HOG [JOE RICHARDSON] (g) b. 1940-0209, COLUMBIA, SC STEPHENS (ON), JAMES "GUITAR SLIM" (g) d. 1991-0209, GREENSBORO, NC 75 HALEY, BILL (g/THE COMETS) d. 1981-0209, HARLINGEN, TX 55 HARRIS, MAJOR (v/DELFONICS) b. 1947-0209, RICHMOND, VA HEARTSMAN, JOHNNY (g/flute) b. 1937-0209, SAN FERNANDO, CA HOLLAND, HERBERT LEE "PEANUTS" (v/tpt) b. 1910-0209, NORFOLK, VA JIVIN' GENE [EUGENE BOURGEOIS] (v/cajun) b. 1940-0209, PORT ARTHUR, TX JOHNSON, WOODROW WILSON "BUDDY" (p) d. 1977-0209, NEW YORK CITY, NY 62 KING, CAROLE [CAROLE KLEIN] (p/songw) b. 1942-0209, BROOKLYN, NY LEWIS, BARBARA (v/songw/ATLANTIC REC) b. 1943-0209, SALEM, MI MANN, BARRY (v/songw) b. 1939-0209, BROOKLYN, NY PAGE, WALTER (b/BASIE) b. 1900-0209, GALLATIN, MO PHIFER, BOB BIG (g) d. 1988-0209, LOS ANGELES, CA -- PRINCE GABE [EDWARD KIRBY] (g) d. 1987-0209, MEMPHIS, TN 57 ROSE, JAKE (b/ROBBIE LAWS/URBAN ALL-STARS)b. 1970-0209, TACOMA, WA SAYLES, JOHNNY (v) b. 1937-0209, WINNSBORO, TX STIDHAM, ARBEE (g) b. 1917-0209, DEVALLS BLUFF, AR TUBB, ERNEST DALE (g/songw) b. 1914-0209, CRISP, TX ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 8 Feb 1996 13:11:57 -0500 Reply-To: Jerry Zolten From: Jerry Zolten Subject: Louie Bluie *Louie Bluie* is indeed a name Howard Armstrong used on a record label way back when. The film was made by Terry Zwigoff of "Cheap Suit Serenaders" fame, and most recently, the documentary *Crumb.* Terry and Howard have not seen eye to eye on this project in recent years, but it is a wonderful film that also gives a rare look at Howard Armstrong's wonderful drawings of the musician's life strecthing way back to the beginnings of his memory. It is available on VHS although I don't know who distributes it. A well-stocked video rental store may carry it. ========================================================================= Date: Thu, 8 Feb 1996 12:06:47 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: malaco/waldoxy I think there's a little confusion on this subject. Malaco is THE soul blues label focusing mainly on vocalists. ZZ Hill Bobby Bland Little Milton Johnnie Taylor Denise LaSalle Latimore Shirley Brown Waldoxy is an associated label, that as I understand it, was set up to explore other types of blues not pursued by Malaco. Mike Griffin Artie Blues Boy White The Beat Daddies Keri Leigh Ernie Johnson James Peterson Both Ernie Johnson and Artie White could have easily fit with the Malaco style, but the others would not. Note that Mike Griffin plays lead guitar on all but one track on James Peterson's CD. I think the original discussion was over whether Mike Griffin "belonged" on Waldoxy or not. They are a high profile label that DO get their material out there to be played and seen. They've got good distribution and they follow up on their promos (I often get calls from Paul Lee wanting to know how their albums are doing). As to whether Mike Griffin would do better on another label, I don't know. He signed with Waldoxy and seems to be happy there. Find him a deal with Sony and I'm sure he'd think about moving. There is some cross pollinization of the two labels. Note the ZZellebration tribute album to ZZ Hill which features both Malaco and Waldoxy artists. On the subject of Little Milton's audience, which also was brought up under this thread, if you go to a big festival promoted in the white blues community you probably will not see many African American patrons. However, Mr. Campbell also plays many shows that are advertised only in the black community and you won't see many white folks at those. Blues fans come in all races, ages, shapes, and sizes. Advertising and venue make ALL the difference in who actually shows up at a show. Don O. ========================================================================= Date: Thu, 8 Feb 1996 12:10:52 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: malaco/waldoxy In-Reply-To: Message of Thu, 8 Feb 1996 12:06:47 -0600 from On Thu, 8 Feb 1996 12:06:47 -0600 Don O said: >I think there's a little confusion on this subject. >Malaco is THE soul blues label focusing mainly on vocalists. > >ZZ Hill > >Waldoxy is an associated label, that as I understand it, was set up to explore >other types of blues not pursued by Malaco. I understand now. I thought Waldoxy & Malaco were basically the same label, but now I see that I was very, VERY much mistaken... LW ========================================================================= Date: Thu, 8 Feb 1996 18:30:25 GMT Reply-To: rew4@PSU.EDU From: Ross Whitwam Subject: RJ's grave (was Re: Highway 61/PBS) Comments: To: BLUES-L%BROWNVM.BITNET@psuvm.psu.edu Pat Heterl wrote: > ... PBS show... > ...going down highway 61 >and visiting places like Robert Johnson's >grave. > BTW isn't there more than one place that claims to >be his gravesite? On Robert Johnson's death certificate (reprinted in the booklet that accompanies Sony's RJ box set), Johnson is listed as dying "outside" Greenwood, MS on 16 August 1938. The certificate lists his place of "burial, cremation, or removal" as Zion Church on 17 August 1938. There is a *Mt.* Zion Baptist Church with a small graveyard attached to it just outside of Morgan City,MS about 10 mi. south of Greenwood. It has been assumed that this must be the "Zion Church" referred to in the death certificate, and a large memorial marker has been placed in the corner of the graveyard in memorium of Johnson. The marker is an obelisk about 4 ft high and has inscriptions on all four of its faces, describing Johnson, his legacy, and listing all of his recorded songs. However, none of the older residents of Morgan City when interviewed remembered anything of a Robert Johnson being buried there. Also, Honeyboy Edwards remembered RJ's sister as having RJ disinterred from his original grave (in this "Zion" Churchyard, presumably) and reburied elsewhere. Then, in Living Blues #94 was an article in which a woman reported that she had been a girlfriend of Johnson's and that he had actually been buried in the cemetery of the Payne Baptist Church in the township of Quilto, about halfway inbetween the Mt. Zion Baptist Church and Greenwood. This cemetery is just down the road from the site of the Three Forks jook where Johnson did his last show. A small memorial marker has also been placed in this graveyard. This is just a flat stone on the ground with the inscription: Robert Johnson May 8, 1911 Aug. 16, 1938 Resting in the blues I haven't seen the "Searching For Robert Johnson" video with John Hammond, but I'm told that the filmmakers found in the same general region as the other two cemetaries a *Little* Zion Church with a graveyard that could also be a candidate as the cemetary listed on Johnson's death certificate. I don't believe any memorial marker has been erected at this site. Ross Whitwam rew4@psu.edu Dept. Biochem + Molec Biology Penn State University ========================================================================= Date: Thu, 8 Feb 1996 13:31:00 EST Reply-To: edward c liu From: edward c liu Subject: S&T LIVE: Hubert Sumlin @ Terra Blues, NYC Howdy all, A review of Hubert Sumlin's latest show at Terra Blues last Thursday night. -- Ed Edward C. Liu | "Don't make me nervous, 'cuz I'm holdin' edwick@cc.bellcore.com | a baseball bat." | -- Big Joe Turner, "Honey, Hush" The opinions in this message are mine and not Bellcore's. Really! *------------------------------cut heer------------------------------* HUBERT SUMLIN / LIVE AT TERRA BLUES February 1, 1996 PERSONNEL Hubert Sumlin - Vocals, Lead Guitar Steve Guyger - Vocals, Harmonica Ronnie Junior Wayne - Rhythm Guitar Donia Oxford - Keyboards Darivsh Reza/Eric "Little Brother" Baker - Bass Vahan Jackson "The Mule" - Drums There are very few artists dubbed "living legends" that are more deserving of the title than Hubert Sumlin. As perhaps the best known veteran of Howlin' Wolf's band, Hubert was one of the central figures of Chicago blues guitar who sent many British and American guitarists scrambling for their instruments. His gifts as a singer and songwriter are lesser known, but no less formidable than his guitar playing ability. Anybody who claims to be an aficionado of the blues has to take it upon him or herself to see this man. Appearing at Terra Blues on a Thursday evening, Hubert and his crack team of musicians that forms his backing band gave a marvelous performance. Hubert's band warmed up the audience with two numbers. The first was a medium tempo, Little Walter-ish instrumental. Steve Guyger provided some hard-blown, heavily distorted Chicago harp over Ronnie Junior Wayne's chunky rhythm playing. Donia Oxford also shone with a sizzling, stunning keyboard solo. The second was a slower, down-in-the-alley grinder, with raspy vocals provided by Steve. Ronnie provided some slide in standard tuning that sounded very much like the work of Muddy Waters, and Donia provided some more. Ms. Oxford is undoubtedly one of the finest keyboard players I have ever seen live, rivalling Pinetop Perkins and James Toney of B.B. King's orchestra. After this second instrumental, the band kicked into the "Sugar Mama" riff to introduce Mr. Sumlin himself. He made his entrance sporting a gray suit, matching fedora, and sunglasses. After strapping on his guitar and delivering a handful of licks to tantalize the audience, Hubert delivered a set of lyrics in his trebly, slightly raspy tenor. His guitar work was marvelously subtle and understated, but with an occasional flash of grandstanding, as if he wanted you to know that he can do that flashy stuff too when he wants to. Throughout his solos, Hubert demonstrated an amazing control of his instrument, making it speak with skill and grace. The whole set had a very loose, easy-going feel to it, as if the band were in an informal jam session that happened to have an audience. A lesser group of musicians could turn something like this into a horror of missed entrances and bad timing, but not this one. Instead, they managed to graft the structure of the blues with the feel of an improvisational jazz band, infusing the music with a strong sense of spontaneity and creativity. They also managed to communicate a pure sense of fun that is sadly lacking in many bands today. Luckily, this fun was of the infectious variety, spilling over into the audience quite easily. The moment when Hubert started into a guitar intro and left Ronnie and Donia to figure out what key he was in gave away the fact that there was no set list. However, this moment only gave his band another chance to demonstrate their astounding talent for quickly picking up where their leader was going and falling into lockstep right behind him. They were also capable of tremendous versatility, knowing when to hold back and keep the volume down low enough for Hubert to sing virtually un-miked, and when to pull out all the stops and pump out more energy than a nuclear power plant. It is also noteworthy that Hubert only sang one of the "classic" Howlin' Wolf songs out of a set of a dozen, that one being "Sitting On Top of the World." Hubert himself is a marvel to watch as he plays his guitar. His long fingers dance over the fretboard gracefully, and he knows every trick in the blues guitar player's book because he wrote it! He is one of the most articulate and eloquent guitar players alive today, capable of making his guitar speak with strong, clear, and distinct voices. At times he delivered staccato bursts separated by long pauses, opting at other times for longer, smoother, more fluid runs. Late in the performance, he turned up the volume full blast and managed to make his guitar honk like a saxophone. Also, on more than one occasion, he demonstrated some hard-edged fretboard burning pyrotechnique. Hubert has also kept his rhythm chops in shape, laying back and comping to let other members of the band take their turn in the spotlight. The years have been kind to Mr. Sumlin. He is still as inspirational as he was more than 30 years ago, and he is still able to take the fundamentally simple structures of the blues and spin them into new and exciting music. ========================================================================= Date: Thu, 8 Feb 1996 18:57:00 GMT Reply-To: bsmithb@cix.compulink.co.uk From: Brian Smith Subject: Peter Green Book ??? L W asked.. > > A Green-Head was asking me about a book on Peter Green, I seem to recall > hearing something about it, but can't remember the spscifics. > > Does anyone know anything about the book > Thanks There's a book in the UK which I have in front of me "Peter Green - The Biography" by Martin Celmins, ISBN 1-898141-13-4. Published by Castle Communications, Distributed by Penguin. $12.95 in the USA B ========================================================================= Date: Thu, 8 Feb 1996 14:05:01 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Update on Albert Washington's Situation A relief fund has been set up for Albert Washington, who's house burned down yesterday here in Cincinnati. Donations can be sent to: The Albert Washington Relief Fund c/o Fifth Third Bank 5717 Madison Road Cincinnati, OH 45227 Shannon ========================================================================= Date: Thu, 8 Feb 1996 13:50:12 -0600 Reply-To: "Norman W. Mangum" From: "Norman W. Mangum" Subject: Re: RJ's grave (was Re: Highway 61/PBS) Ross Whitwam wrote: > There is a *Mt.* Zion Baptist Church with a small graveyard > attached to it just outside of Morgan City,MS about 10 mi. > south of Greenwood. It has been assumed that this must > be the "Zion Church" referred to in the death certificate, [ snip...] > same general region as the other two cemetaries a > *Little* Zion Church with a graveyard that could also be > a candidate as the cemetary listed on Johnson's death > certificate. [ snip...] I'm a native of Greenwood. I was born there (1948), lived there until 1970, and still visit my folks there very often. What I can tell you about Mt. Zion Baptist Church is that there are probably at least 10 Mt. Zion Baptist Churches in every county of the Delta. It's difficult to drive more than 15 or 20 miles in any direction from anywhere in the Delta and not pass a Mt. Zion Baptist Church. - Walker Mangum ========================================================================= Date: Thu, 8 Feb 1996 13:29:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Re: Big Mike Griffin? Comments: To: bsco@PANIX.COM > As far as Little Milton - I think he has a HUGE white audience. > At the festivals he plays I don't see a lot of nonwhites there> Barry Silverberg ... bsco@panix.com At the festivals I go to: Helena/King Biscuit, Mississippi Valley, Chicago - Milton has HUGE black crowds. When I went to see him in Chicago at BLUES ETC. not long ago, the vast majority of the audience was black - and that's in a north side, basically white club. -Bonnie ========================================================================= Date: Thu, 8 Feb 1996 19:57:40 GMT Reply-To: Paul L Pearson From: Paul L Pearson Organization: Iowa State University, Ames, Iowa Subject: Bugs Henderson news anyone? Has anyone seen or heard Bugs Henderson lately? He doesn't get to the midwest very often, so I haven't heard much about him. Does anyone know how he's doing healthwise after his heart problems? Any touring info? -- Paul L. "Pro" Pearson, Ph.D. President, Kurt Rambis Fan Club (unofficial) Ames, IA Chapter, Northeast Nebraska Chapter ========================================================================= Date: Thu, 8 Feb 1996 12:05:47 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: PLAYLIST Here's yesterdays playlist, listened in play order. I'll post these every once in awhile, just to show what's being played up here on the Canadian West Coast. eRIC ---------------------------------------------------------------------------- | 10th YEAR, PROGRAM #528 : "LET THE GOOD TIMES ROLL" - 07/FEB/96 | | --------------------------------------------------------------------- | B > ELLEN MCILWAINE - JAVA COFFEEHOUSE - FRI/FEB 9 R L > BLIND BOYS OF ALABAMA/DEE DANIELS - METROPOLITAN UNITED - SUN/MARCH 3 | U 'n E | S B | | |b/d=born/died on this day| | --------------------------- GOSPEL 'n SOUL & ROCK 'n ROLL ----------------- | ARTIST SONG TITLE DISTRIBUTOR YYMM ---------------------------------------------------------------------------- ARDOIN, AMEDE BLUES DE LA PRISON ARHOOLIE CD 3412 ARNOLD, BILLY BOY LEFT MY HAPPY HOME w/JODY WILLIAMS HIGHTONE CD 6606 BARBEE, JOHN HENRY I AIN'T GONNA PICK NO MORE COTTON EVIDENCE CD 6410 BEALE ST. GET-DOWN LETTER HOME / MEMPHIS SLIM FANTASY CD 61 >BLIND BOYS ALABAMA DO LORD (live) w/KOKO TAYLOR HOUSE OF CD 95 BLUESIANA HURRICANE WALKIN' THE DOG w/RUFUS THOMAS-SUE FOLEY SHANACHIECD 9503 dBROWN, JOE ceo/JOB FIVE LONG YEARS / EDDIE BOYD RHINO CD 5207 BYRNES, JIM OTT'S MOOD (inst) STONY PL CD 95 CAJUN FAIS DO-DO HEY MOM / BREAUX BROS ARHOOLIE CD 6605 CARBO, CHUCK A WORLD I NEVER MADE DENON ROUCD 95 bCLAY, BEAUFORD BABY PLEASE DON'T / BLIND JAMES CAMPBELL ARHOOLIE CD 6210 CLEARWATER, EDDY BOOGIE MY BLUES AWAY w/BOB RIEDY DELMARK CD 7703 EARWIG RECORDS 16TH CAIRO / JOHN PRIMER EARWIG CD 9110 FEELIN' DOWN ON S... GOTTA MOVE / HOMESICK JAMES FANTASY CD 6403 GUITAR SHORTY BLUES DONE GOT ME DENON BT CD 9510 dGUITAR SLIM SUFFERIN' MIND w/JOE TILLMAN FANTASY CD 5409 HELFER, ERWIN GIVE ME 5 CENTS WORTH OF w/WILLIE DIXON HIGHTONE CD 64 HOLMSTRON, RICK GOIN' UP RIVER (inst) DENON BT CD 9506 INTRUDERS WE'LL BE UNITED w/SAM BROWN SONY CD 6607 JACKSON, MAHALIA JOSHUA FIT THE BATTLE OF JERICHO SONY CD 5511 bKING CURTIS MEMPHIS SOUL STEW ATLANTIC CD 6707 KING, ALBERT YOU'RE GONNA NEED ME FANTASY CD 6803 bKING, EARL COME ON (LET THE GOOD TIMES ROLL) EMI CD 6010 dLEWIS, NOAH hca LIKE I WANT TO BE (inst) JSP CD 3011 LITTLE WALTER SHAKE DANCER (inst) w/FRED BELOW MCA CD 5703 LOUISIANA RED SITTIN HERE WONDERIN EARWIG CD 82 MANHATTANS KISS & SAY GOODBYE w/GERALD ALSTON SONY CD 7604 MAYFIELD, CURTIS CHI PATTY CAKE / ARTISTICS SONY CD 6411 MCGHEE, BROWNIE CRYING AT THE STATION w/T-BONE WALKER EVIDENCE CD 6210 >MCILWAINE, ELLEN LAZY DAY STONY PL CD 82 MCSHANN, JAY SHIPYARD WOMAN BLUES w/JIMMY WITHERSPOON POLYGRAM CD 45 MILLS BROTHERS SOMEDAY (YOU'LL WANT ME TO WANT YOU) MCA CD 49 MURPHY, MATT "GTR" MATT'S GUITAR BOOGIE(inst)w/WILLIE DIXON EVIDENCE CD 6310 NIGHTHAWK, ROBERT KANSAS CITY w/LITTLE WALTER HIGHTONE CD 6405 OLSON, CARLA HONEST AS DAYLIGHT w/PERCY SLEDGE WATERMEL CD 95 OTIS, JOHNNY SHOW LITTLE ESTHER'S BLUES / ESTHER PHILLIPS SONY CD 7009 OVERSTREET, LOUIS BELIEVE ME ARHOOLIE CD 6212 PROFESSOR LONGAIR BETWEEN THE NIGHT AND DAY POLYGRAM CD 4909 ROBINSON, JIMMIE LEE ROSA LEE EVIDENCE CD 6510 SLY & FAMILY STONE I CANNOT MAKE IT SONY CD 67 dSMITH, AL prod BACK BITERS & SYNDICATORS / J. L. HOOKER MCA CD 6711 SMITH, WILLIE BIG-I I WANT MY BABY BACK w/KIM WILSON BLIND PIGCD 95 SOUND OF THE DELTA KOKOMO / FRED MCDOWELL HIGHTONE CD 63/5 SPANN, OTIS GOIN' DOWN SLOW w/SB WILLIAMSON EVIDENCE CD 6310 THEY SING PRAISES CHURCH, I'M FULLY .. / BL WILLIE JOHNSON SONY CD 3004 TRAVELING TH' JUNGLE JOHN HENRY w/J.W. JONES HIGHTONE CD 7008 WAYNE, KENNY I'VE BEEN ALONE BLUE ROOTCD 9507 WELCH, MIKE MONSTER FREEZER BUM (inst) DENON TONCD 95 WILSON, SMOKEY HOW SMOKEY FEELS w/ROD PIAZZA prod BLIND PIGCD 83 WITHERSPOON, JIMMY MEAN OLE FRISCO w/DUKE ROBILLARD STONY PL CD 9412 ---------------------------------------------------------------------------- ========================================================================= Date: Thu, 8 Feb 1996 21:23:41 +0100 Reply-To: Peter Gallagher From: Peter Gallagher Subject: Etta in UK pop charts (a #5) I was just TV-surfing and I came accross the British pop program "top of the pops"... The guy says " and later we'l be hearing (blah-blah...) and Etta James. So I thought "?!" and hung around to hear Etta.. She's at number 5 in the British POP (!) charts with "I just wanna make love to you". Am I dreaming this? Any UK 'zellers to confirm this? regards, PeterG (there's hope for us yet :-) ) -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Thu, 8 Feb 1996 15:56:14 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Big Mike Griffin? Comments: To: Bonnie Kalmbach In-Reply-To: <26020813293898@vms2.macc.wisc.edu> On Thu, 8 Feb 1996, Bonnie Kalmbach wrote: : Barry Silverberg wrote > > As far as Little Milton - I think he has a HUGE white audience. > > At the festivals he plays I don't see a lot of nonwhites there> Barry Silverberg ... bsco@panix.com > > At the festivals I go to: Helena/King Biscuit, Mississippi Valley, > Chicago - Milton has HUGE black crowds. When I went to see him in > Chicago at BLUES ETC. not long ago, the vast majority of the audience > was black - and that's in a north side, basically white club. I see that my comments were not really on the head. They re- flected more the festivals I have attended rather than Little Milton's audience. This year I will expand where I go so I'm not so confined in my comments. Appreciate the expanded view you offer - works for me. Barry NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 8 Feb 1996 13:57:21 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: Re: J.B. Lenoir Comments: To: Mark Gobeyn >According to Sheldon Harris' BLUES WHO'S WHO, it appears that J.B. >recorded off and on during the early sixties, prior to the release >of "Alabama Blues" in '65 and "Down in Mississippi" in '66. Does >anybody know if Chess or some other label owns these early 1960s >recordings? His Chess/Parrot/JOB sides from the 1950s are readily >available, but I've never come across any cds or lps of this later >pre-Alabama Blues material. Is it available anywhere? Both of the albums in question were released as a SINGLE CD called VIETNAM BLUES: THE COMPLETE L+R RECORDINGS EVIDENCE ECD 26068-2 This should bd readily available. I recently got my copy through CDCONNECTION. Gary ........... Gary Constantine >> gconstan@ccinet.ab.ca << If you're lookin' for a perfect woman you're gonna' die a lonely man .............. Joe Louis Walker ========================================================================= Date: Thu, 8 Feb 1996 16:17:46 +1000 Reply-To: Matthew O'Brien From: Matthew O'Brien Organization: Brown University Subject: Diversifying Blues Soloing Comments: To: bit-listserv-blues-l@uunet.uu.net JMAC- I'm a blues enthuiast of the first order. I just bought a guitar about a year ago and have been playing for about 6 or 7 months. Now I know most of the chords (although I don't know 9th chords) and I have mastered the minor pentatonic scale up and down the neck. While listening to B.B. King records, I have picked up many of his licks in the pentatonic. But many of his songs (and other Blues Masters' songs) do not sound as if they are based on the minor pentatonic scale. You alluded to the mixolidian scale in your message to Doug. Is that a mode? I've heard of the mixolidian mode, but I don't know anything about it. Could you please explain. My quest is to diversify my soloing, which now revolves solely around the minor pentatonic scales. I have some licks that I like very much, but I feel that I'm stagnating with just these few. I was wondering if you (or somebody else) could teach me some new licks. Or if it would be easier, could you tell me some other scales that are used in blues and rock soloing that I could look up in books and incorporate into my repetoire. For example, are major scales combined with the minor pentatonic in blues solos. I would appreciate if anyone could give me advice on how to make my soloing less repetitive and more interesting. Thank you for your time and consideration. Anyone who is kind enough to respond, please feel free to do so. I can be reached at: Matthew_O'Brien@brown.edu ========================================================================= Date: Thu, 8 Feb 1996 16:32:10 +1000 Reply-To: Matthew O'Brien From: Matthew O'Brien Organization: Brown University Subject: Re: Ruth's slide comments... Comments: To: bit-listserv-blues-l@uunet.uu.net MILLER- I read your piece about playing slide guitar. I started playing the blues and have mastered soloing in the minor pentatonic scale. Now I was interested in starting on some slide stuff. I bought a glass "Dunlop" slide. Could you give me any advice on how to get started on some elementary techniques. I understand that most of slide guitar is in open tunings. Is this true? I would love to be able to slide like Elmore James so if you (or anyone else) could help me in this endeavor, I would greatly appreciate it. Also, if any blues guitarists out there have any tips for diversifying my blues soloing techniques, that would also be great. (For example, what other scales are used in blues soloing outside of the minor pentatonic.) Thanks. Please feel free to contact me at: Matthew_O'Brien@brown.edu ========================================================================= Date: Thu, 8 Feb 1996 14:41:11 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: Robert Lockwood Jr. on order Comments: cc: rvana@Interpath.com Well, I have the two Robert Jr. Lockwood CD's on order. They are REAL EXPENSIVE at $36.22 each but I'm sure they will be worth it. Special thanx to Bob Vanarsdall who turned me onto Music by Mail. If anyone else wants copies od the CD they can try these folks at: 800-233-3000 A four to six week delivery time but since I've been waiting for over ten years I guess it ain't gonna' kill me. Now if someone can supply me with a address where I can order the video of the tour (Annie's Boogie), I would be real happy. Thanx again to everyone who helped. Gary ................... Gary Constantine >> gconstan@ccinet.ab.ca << If you're lookin' for a perfect woman you're gonna' die a lonely man .............. Joe Louis Walker ========================================================================= Date: Thu, 8 Feb 1996 16:45:20 EST Reply-To: ron kraemer From: ron kraemer Subject: Ed Liu's review of B.B. I'm just now getting through Ed's review of B.B.'s recent NYC show, and all I have to say is... "Ed, you're killing me...Stop!!.....I'VE GOT THE CHILLS ALL OVER!!!" Brrrrrr. :) ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters (and in another life....) Ron Kraemer and the Hurricanes ************************************************************ ========================================================================= Date: Thu, 8 Feb 1996 16:47:50 EST Reply-To: "Michele A. Turansick" From: "Michele A. Turansick" Subject: RESIDENTS OF MERCER CO, NJ; BUCKS CO, PA USA, ONLY Would anyone in the Bucks Co, PA or Mercer CO, NJ, happen to have an extra ticket to sell for the Saffire show at the Temperance House in Newtown, PA, next Fri, 2/16? There are 2 shows, 7:00 and 10:00, and I would be eternally grateful for 1 ticket to either show. Thank you! mat@ias.edu ========================================================================= Date: Thu, 8 Feb 1996 16:02:11 -0600 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: Ruth's slide comments... Comments: To: Matthew_O'Brien@BROWN.EDU In-Reply-To: from "Matthew O'Brien" at Feb 8, 96 04:32:10 pm In an earlier message, Matthew O'Brien said: ] interested in starting on some slide stuff. I bought a glass "Dunlop" ] slide. Could you give me any advice on how to get started on some ] elementary techniques. I understand that most of slide guitar is in open ] tunings. Is this true? I would love to be able to slide like Elmore ] James so if you (or anyone else) could help me in this endeavor, I would I'd say that most acoustic slide is doen in open tunings, and a lot f electric slide. Definitely Elmore is in open E (E B E G# B E). Elmore is a good place to start, if you want to learn good slide phrasing. Elmore and Muddy. Don't try to get too fancy at first, just try to get the feel of it. You'll get it, with time.... ] greatly appreciate it. Also, if any blues guitarists out there have any ] tips for diversifying my blues soloing techniques, that would also be ] great. (For example, what other scales are used in blues soloing outside ] of the minor pentatonic.) Thanks. Scales are helpful right at first, but develop your ear. Think in terms of voces instead of scales. Come up with a two-bar phrase that sounds like yer ol' lady cussin' you out. "Breath" between phrases. Listen to a variety of music -- beware the clone syndrome, where you listen to one guy so much you start sounding like him. Drink a lot. -- * Billy Chambless | billy@cast.msstate.edu | voice: 601-688-7608 * Mississippi State University Center for Air-Sea Technology * To attain knowledge, add something every day. * To attain wisdom, remove something every day. -- Lao-tse ========================================================================= Date: Thu, 8 Feb 1996 16:13:50 -0600 Reply-To: Stephen Douglas Powers From: Stephen Douglas Powers Subject: Southern Prison Blues In-Reply-To: <9602082202.AA18770@Mars.CAST.MsState.Edu> I am looking for a collection of songs entitled "Southern Prison Blues." Does anyone know who published them and how I might purchase a copy? Thanks. SP ========================================================================= Date: Thu, 8 Feb 1996 17:15:08 -0500 Reply-To: ROSEBUDUS@AOL.COM From: Rosebud Agency Subject: Subject: Re: John Hammond -Sr. or Jr.? -Reply A belated response-been a bit busy lately, Great to see so much interest in John Hammond on Blues-L. As John's agent the past 19 years I can offer some insight to a few recent points raised. Delta Doc wrote Contrary to even published information type books (i have one on blues, and IT even lists John Hammond as a "Jr."---which understandably causes me to question its authenticity in all areas as a result). As many have now noted the Jr. is not correct. John Hammond has never listed himself that way and has always been frustrated when anyone took it upon themselves to do so (before or after his father's death). All of John Hammond's records note his name exactly that way except the John Paul Hammond one. With respect to artists we represent in particular I'm able to check a reference's accuracy with what we know. I have recently read references to John Lee Hooker's appearance on Bonnie Raitt records (not true-although she appeared on his Healer record), Robert Cray's co-writing with Boz Scaggs (Cray's producer co-wrote a song with Boz that Cray recorded), and so on ad infinitum. In fact, the Capitol box just out on John Lee is filled with inaccuracies about John Lee's life. Our attempts to have the info changed (months before pressing) were rebuffed although they now indicate they will correct the inaccuracies on the next printing. further from Delta Doc John Henry Hammond married the daughter of also famous Benny Goodman, i think. It is no wonder that John Paul Hammond (the son) is so musically talented with such talented parents. I believe, regrettably that both parents are now deceased. In fact, Benny Goodman was John's uncle-his mother's brother. Mike Kappus ========================================================================= Date: Thu, 8 Feb 1996 17:17:32 -0500 Reply-To: ROSEBUDUS@AOL.COM From: Rosebud Agency Subject: Re: HELP HELP HELP Hello bluezy lovers, I am looking for lyrics of the following songs: Johnny Winter: Illustrated man Life is hard You are humbugging me (No J. Winter lyrics in the Web sites I had!! I was so amazed!!!) John lee Hoocker I do not know the title but he says "They took me everything, strip naked, they took my cadillac too ...." R. Cray Do not be afraid of the dark Joe Coocker Two wrongs May be there is a special blues lyrics Web sites ? SOmeone knows about that? If someone could help me it would be very nice. Thank you very much Silvia FYI, We're not able to take the time at the moment to supply all lyrics but we can direct you to the proper albums in a few cases. The Hooker song is "Stripped Me Naked" from the Mr. Lucky CD. The Cray song is "Don't Be Afraid Of The Dark" from the CD of the same name. Good luck and thanks for the interest. Best regards, Mike Kappus ========================================================================= Date: Thu, 8 Feb 1996 17:23:02 -0500 Reply-To: ROSEBUDUS@AOL.COM From: Rosebud Agency Subject: Re: Racism, RL's Dream Again - race/pigmentation isn't the issue - consider two black performers of approximately the same age (40) but of different backgrounds. One grew up middle class, listened to the Beatles and rock 'n roll as a lad, and discovered blues by listening as an adult to his parents records. The other's parents came from the south, were working class, and his father was a blues musician (although I think didn't work professionally). His dad's friends would come over to his house to jam and swap stories. Who are these guys? One is Joe Louis Walker and one is Robert Cray. Can't you hear the difference in their playing? -Bonnie FYI, assuming you are considering Robert Cray to be the first artist you mention allow me to correct your info. Robert Cray listened to his parents jazz, blues and gospel records from early childhood. As many of us can attest though, as youngsters our "parents" music is not what we are most open to. While Robert heard that music throughout childhood like all other teens at the time he heard the Beatles, Hendrix, Cream etc. amd decided to play guitar (having already taken piano lessons with less passion) when The Beatles and others turned so many young people on to music and guitar bands. When he and his friends began delving into the sources of the rock artists he discovered as thousands have, the original blues artists. He then realized this was the same music he had heard as a child and went back to learn all he could about it with a renewed passion. BTW, Robert's father was a serviceman and he grew up in various cities in the US as well as some years in Germany. If military posts represent a middle class life style then his upbringing was middle class. Mike Kappus ========================================================================= Date: Thu, 8 Feb 1996 17:23:17 -0500 Reply-To: Jessica Sowin From: Jessica Sowin Subject: ANNOUNCEMENT: Roots N' Blues on the Web Hi, everyone: The homepage for the new titles in our Roots N' Blues series is up. It can be accessed at http://www.music.sony.com/Music/ArtistInfo/Legacy/RootsNBlues/index.html Or, go to the main Sony Music page (http://www.sony.com/Music/), select Wire Tap, scroll to Legacy, click Damn... It's good to have the blues... The pages include cover art, descriptions, and track listings for each of the new titles, plus the press release (posted here in December) and a link to our other blues titles. Sound clips will be added this weekend, as well as track listings for the first 4 Bessie boxes. The release date has changed from Feb. 6 to Feb. 13. We sent music to Uncle eRIC, but he probably hasn't received them yet. Watch for his reviews. Thanks, again, Jessica Sowin Legacy Recordings P.S. The Hubert Sumlin show was a blast. So nice to meet some Bluzellers in person! ========================================================================= Date: Thu, 8 Feb 1996 14:37:45 -0800 Reply-To: Bob Fulkerth From: Bob Fulkerth Subject: Where is Kiss Tomorrow Goodby? Im looking for Kiss Tomorrow Goodby by Danny White. I've seen it covered by others, but remember a late 50's or earlier version. Can anyone help? ========================================================================= Date: Thu, 8 Feb 1996 13:33:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Have Mercy label HAVE MERCY has ads in Living Blues and an address where you can write to order them. I found one in Tower Records in Chicago this summer. It's by a singer called Arbess Williams; Johnny Heartsman is on it too, it's quite good. -Bonnie ========================================================================= Date: Thu, 8 Feb 1996 21:50:53 +0000 Reply-To: Byron Foulger From: Byron Foulger Subject: Re: Etta James Yep, she's in the UK charts with 'I Just Wanna Make Love 2 U', the music to a Levi ad very popular on TV here, if that's what it takes , then ..... I missed her on Top Of The Pops, but my lad, 21 said she looked good. beats 'Take That' anyway! Byron ========================================================================= Date: Thu, 8 Feb 1996 17:54:57 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Subject: Re: John Hammond -Sr. or Jr.? -Reply Comments: To: ROSEBUDUS@aol.com In a message dated 96-02-08 17:45:31 EST, ROSEBUDUS@AOL.COM (Rosebud Agency) writes: >John Henry Hammond married the daughter of also famous Benny Goodman, i > > Wasnt it sister? At least according the movie BENNIE GOODMAN STORY? Those pesky details! Tom Freeland ========================================================================= Date: Thu, 8 Feb 1996 21:53:12 +0000 Reply-To: Byron Foulger From: Byron Foulger Subject: Etta apologies I'm tired, it's not a Levi ad, it's Diet Coke ad!, must go to bed Byron ========================================================================= Date: Thu, 8 Feb 1996 23:03:11 GMT Reply-To: Lucy Dueck private account From: Lucy Dueck private account Organization: U of Toronto Zoology Subject: Re: PREWAR STRING BANDS: Information & Questions Comments: To: bit-listserv-blues-l@uunet.uu.net Martin, Bogan, & Armstrong were great! They were the stars of Wheatland Bluegrass Festival held in Remus (?) Michigan on more than 1 occasion, I believe. Wheatland was held outdoors in early September back in the 70's. I think I met & photographed MB&A back then --- mmm, fond memories! They may have been recorded on an album put out by Wheatland Coop. Try Elderly Instruments in Lansing, Mich., or on a long shot, FBC Records in E. Lansing. Good luck! Lucy ========================================================================= Date: Thu, 8 Feb 1996 17:34:40 -0800 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Mem Shannon fans: Please Read Comments: To: bit-listserv-blues-l@uunet.uu.net Comments: cc: JONATXXX@GOMAIL.DOAS.STATE.GA.US I'm thrilled about all the kudos Mem Shannon has been receiving from all you lovely Blues-L folks, especially Jon Duttweiler's recent admission that he had sent in his Handy award ballot with Mem as New Blues Artist of the year. FYI, I've been printing out all these laudatory posts to show to the music nominating committee of the Big Easy Entertainment Awards (which will be held here in New Orleans on April 22nd). HOWEVER--you can assist me in my pro-Mem efforts by sending a brief email to the sponsors and organizers of the B.E. Awards, Gambit Newsweekly. Their address is gambitno@aol.com, or you can check out their web page (which is a pretty nifty information site about N'Awlins) at http://www.gambit-no.com/ and send mail from there. Just be sure you put BIG EASY ENTERTAINMENT AWARDS in your subject line so the mail receiver knows who to route it to. The awards committees are definitely influenced by the amount of commotion our local artists create outside this town ('ambassadorship' being a big point-getter, seen as creating outside interest in our local music); witness the never-ending attention paid to the Neville Brothers, who IMHO passed their prime long ago. The nominees are due to be announced in about three weeks, and I'll post them to Blues-L ASAP. PS: Please don't quote this post in any mail you send to Gambit. Regards, --Maggie Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Some mornings it's just not worth chewing through the leather straps. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Thu, 8 Feb 1996 23:44:25 GMT Reply-To: Richard Stone Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Richard Stone Organization: Del Ray Records Subject: Re: January blues releases Comments: To: don.o@CHRYSALIS.ORG Yes doit!!!!!!!!!!!!!! My group, The VanDangos just released a new album January 15th on Adelphi Records; PCD 1104. Email me with your info if you would like a copy for review. ========================================================================= Date: Thu, 8 Feb 1996 19:11:16 -0500 Reply-To: SAVBLUES From: SAVBLUES Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Big Jack Johnson/The Oilman Comments: To: bit-listserv-blues-l@uunet.uu.net Great story on " Big Jack " Thought you might want to know that he is scheduled to play at the Springing the Blues Festival in Jacksonville Beach on April 13 and 14. If you get a chance, come on over, its a lot of fun ! If you need more info on the fest e- mail me. ========================================================================= Date: Thu, 8 Feb 1996 19:17:19 -0500 Reply-To: SAVBLUES From: SAVBLUES Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Q: Blues Festival Dates? Comments: To: bit-listserv-blues-l@uunet.uu.net Hey Jim ! I don't know about this summer, but, there is a great blues festival happening in Jacksonville Beach, Fla called Springing the Blues, that one is held April 12,13,14 and its right on the oceanfront. lots to do, lots to see. ========================================================================= Date: Thu, 8 Feb 1996 18:30:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Robert Cray reply I interviewed Robert about ten years ago. As I remember he said he really wasn't much interested in his parents records until he was older. I think that many folks on this list would agree that his music is rather bland, nice sometimes, IMO. His guitar has a *very* nice tone, his voice is good, occasionally he comes a little close to those records he listened to whenever - I just wish he would or could do it a little more often. I just saw him a few months ago. Sorry. -Bonnie >From: IN%"ROSEBUDUS@AOL.COM" >To: Multiple recipients of list BLUES-L >Subject: Re: Racism, RL's Dream > >Again - race/pigmentation isn't the issue - consider two black performers > >of approximately the same age (40) but of different backgrounds. One grew > >up middle class, listened to the Beatles and rock 'n roll as a lad, and > >discovered blues by listening as an adult to his parents records. The > >other's parents came from the south, were working class, and his father was > >a blues musician (although I think didn't work professionally). His dad's > >friends would come over to his house to jam and swap stories. > > > >Who are these guys? One is Joe Louis Walker and one is Robert Cray. Can't > >you hear the difference in their playing? > > > > > > -Bonnie > > >FYI, assuming you are considering Robert Cray to be the first artist you >mention allow me to correct your info. Robert Cray listened to his parents >jazz, blues and gospel records from early childhood. As many of us can attest >though, as youngsters our "parents" music is not what we are most open to. >While Robert heard that music throughout childhood like all other teens at >the time he heard the Beatles, Hendrix, Cream etc. amd decided to play guitar >(having already taken piano lessons with less passion) when The Beatles and >others turned so many young people on to music and guitar bands. When he and >his friends began delving into the sources of the rock artists he discovered >as thousands have, the original blues artists. He then realized this was the >same music he had heard as a child and went back to learn all he could about >it with a renewed passion. BTW, Robert's father was a serviceman and he grew >up in various cities in the US as well as some years in Germany. If military >posts represent a middle class life style then his upbringing was middle >class. >Mike Kappus ========================================================================= Date: Thu, 8 Feb 1996 19:42:34 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Re[2]: Who wrote "Five Long Years"? Comments: To: /G=J.E./S=Downey/@bmmoscow.bmck.sprint.com Joe said: >This is very interesting. Is there any way to put into words how >Boyd's version mainly differed from what has become the more familiar >arrangement (to us less educated folk). No doubt it would be best to >hear the Boyd version, but anything one might say would be >interesting. Incidentally, a minor point, but you're being sorta kind >to JLH here, aren't you, Scott? Joe, I'm probably among the least educated folk here, but I'm familiar with Boyd's, Guy's, and Clapton's versions of "Five Long Years" (but not JLH's). I'll try to describe to you how it's different. I don't know how many times Eddie Boyd recorded the song. I have the same recording on two different albums, once of which is the recently-mentioned American Folk Blues Festival 1965. It features Boyd on vocal & organ; Buddy Guy on guitar (could this have been where he learned the song?); Jimmie Lee Robinson on bass; and Fred Below on drums. It starts with an organ riff, low and quiet. Boyd comes in singing smoothly and unhurriedly. In the background you can hear Buddy playing, at times subtly echoing the organ, other times filling over the chords. When Boyd sings, "She had the nerve to put me out," it's more a statement of fact than a complaint. Contrast this to both Clapton's and Guy's versions. Both put emphasis on guitar (naturally), both sing as if they are in pain (Buddy moreso), and both hit a raucous climax with the final "She had the nerve to put me out." Clapton, I know, repeats this phrase three times; I don't remember if Buddy does. Btw, I also have versions of this song by Muddy Waters and Luther Tucker, at least that I can remember off the top of my head. I know there are others out there. Karen ========================================================================= Date: Fri, 9 Feb 1996 00:53:19 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: J.B. Lenoir Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199602081533.JAA04050@bradley.bradley.edu> Mark Gobeyn writes: >Date: Thu, 8 Feb 1996 09:33:31 -0600 >From: Mark Gobeyn >Subject: J.B. Lenoir >According to Sheldon Harris' BLUES WHO'S WHO, it appears that J.B. >recorded off and on during the early sixties, prior to the release >of "Alabama Blues" in '65 and "Down in Mississippi" in '66. Does >anybody know if Chess or some other label owns these early 1960s >recordings? His Chess/Parrot/JOB sides from the 1950s are readily >available, but I've never come across any cds or lps of this later >pre-Alabama Blues material. Is it available anywhere? Lenoir recorded titles which appeared on Shad, VJ, Decca, Blue Horizon and CBS which were collected on an Official LP #6049 (a Danish label, probably no longer available. These were recorded from 1958-60. He also had 7 titles on a JSP LP (1105) recorded in 1962. A live recording (norman Dayron's) appears on Roots LP 1005. Two other titles "I Sing Um The Way I Feel/I Feel So Good" are on Flyright LP 590 and USA 45 #744. I don't know about CD reissues of any of these titles. Art Schuna ========================================================================= Date: Thu, 8 Feb 1996 20:03:34 -0500 Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Beavis, Butthead, Anson Comments: To: bit-listserv-blues-l@uunet.uu.net In article <01I0YW7TH9HW007CBP@SCI.WFBR.EDU> "" writes: >Jeez, that cartoon likeness doesn't resemble good ol' Anson at all, 'cept for >the blonde hair maybe. Anson's a pretty handsome guy really. I've got two >posters of him with Sweet Sam right here in my lab, and I just don't see the >resemblance to those animated yahoos. Yeah, but maybe he watches MTV videos, laughs and says "These guys suck...." heh, heh, heh, heh. :-) :-) :-) Art ========================================================================= Date: Wed, 7 Feb 1996 04:09:42 GMT Reply-To: Undetermined origin c/o LISTSERV maintainer Comments: RFC822 error: Mail origin cannot be determined. Comments: RFC822 error: Original tag data was -> (Jack Oudiz) From: Undetermined origin c/o LISTSERV maintainer Subject: Pegasus E-Mail Source Comments: To: bit-listserv-blues-l@uunet.uu.net For those asked here is a source for Pegasus Mail, the best Winsock E-Mail client available as shareware IMHO: Website: www.shareware.com The file you want is winpm223.zip By the way while you're there you might check out the rest of the shareware they have. About 160,000 programs. ========================================================================= Date: Wed, 7 Feb 1996 18:18:43 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Diversifying Blues Soloing Matthew O'Brien wrote: > I'm a blues enthuiast of the first order. I just bought a guitar about >a year ago and have been playing for about 6 or 7 months. Now I know most >of the chords (although I don't know 9th chords) and I have mastered the >minor pentatonic scale up and down the neck. While listening to B.B. King >records, I have picked up many of his licks in the pentatonic. But many >of his songs (and other Blues Masters' songs) do not sound as if they are >based on the minor pentatonic scale. You alluded to the mixolidian scale >in your message to Doug. Is that a mode? I've heard of the mixolidian >mode, but I don't know anything about it. Could you please explain. > My quest is to diversify my soloing, which now revolves solely around >the minor pentatonic scales. I have some licks that I like very much, but >I feel that I'm stagnating with just these few. I was wondering if you >(or somebody else) could teach me some new licks. Or if it would be >easier, could you tell me some other scales that are used in blues and >rock soloing that I could look up in books and incorporate into my >repetoire. For example, are major scales combined with the minor >pentatonic in blues solos. I would appreciate if anyone could give me >advice on how to make my soloing less repetitive and more interesting. > Thank you for your time and consideration. It is the Mixolydian mode. The Mixolydian mode is the 1,2,3,4,5,6,b7. So in A, we have, A,B,C#,D,E,F#,G. The key notes here are the B and F# (the 6 and 9). BB King loves using the 6 and it gives him that "sweet" sound that we all know and love. If you play the major pentatonic scale you can get a similiar effect (1,2,3,5,6. In A, A,B,C#,E,F#). Be careful of the C# against the D chord in an A blues. The chord is most likely to be a D7 which contains the C. Therefore the clash. Hope this is clear. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Fri, 9 Feb 1996 02:52:16 GMT Reply-To: turtle@charm.net From: The Turtle Subject: Re: John Hammond -Sr. or Jr.? Keith Carlson said: > I just realized today that I heard on Blues-L the name John Hammond, >Jr., too. Is there a John Hammond Jr. *and* Sr. that are actively >touring...recording? (I know, I've got soooo much to learn....) John Hammond, Senior, was a longtime producer at Columbia who seems to have been everywhere in the music industry for years and years. As a young man, he arranged for some of Bessie Smith's last recording sessions, promoted Benny Goodman (his sister Alice later married Goodman), and gave Aretha Franklin, Bob Dylan and Bruce Springsteen their first recording exposure, though all of them came to greater good without him. He also wrote extensively and was active in liberal casues... he was one of the last white members of the NAACP. I seem to remember he died in 1986, but someone can correct me on that. His son is the one you're about to see and hear. Turtle ------------------------------------------- ****Visit the Weightless Dog Home Page!**** *** http://www.charm.net/~turtle *** * Home of the Chicago Electric Blues Tour * **** So hard core, you might get hurt.**** ------------------------------------------- ========================================================================= Date: Fri, 9 Feb 1996 02:56:48 GMT Reply-To: turtle@charm.net From: The Turtle Subject: Re: t-shirt blues J A Maree said: >Hello all, >We're wanting to promote the blues around our way,and thought some >t-shirts might do the trick.We would love suggestions for phrases to print >on them.Some suggestions sofar have been: >"Bluesmen do it in (12) bars" >"Bluesmen do it with a slide" (or steel or bottleneck,whatever). >Any ideas?Please,not too --um--smutty.(Bluesladies,please mail in your >suggestions too) Oh, come on, folks... you're blowing it! BLUESMEN DO IT WITH THEIR MOJO HAND! Turtle ------------------------------------------- ****Visit the Weightless Dog Home Page!**** *** http://www.charm.net/~turtle *** * Home of the Chicago Electric Blues Tour * **** So hard core, you might get hurt.**** ------------------------------------------- ========================================================================= Date: Thu, 8 Feb 1996 19:02:16 -0800 Reply-To: Jordan From: Jordan Organization: Sirius Connections Subject: Re: Beavis, Butthead, Anson Comments: To: bit-listserv-blues-l@uunet.uu.net In article <01I0YW7TH9HW007CBP@SCI.WFBR.EDU>, MILLER@SCI.WFBR.EDU wrote: > Jeez, that cartoon likeness doesn't resemble good ol' Anson at all, 'cept for > the blonde hair maybe. Anson's a pretty handsome guy really. I've got two > posters of him with Sweet Sam right here in my lab, and I just don't see the > resemblance to those animated yahoos. > If I can get in on this goofiest of threads...Anson looks most to me like...no foolin'...are you ready for this...Stan Laurel. Can we start a new acronym...IMGO (In my goofy opinion?) Joseph San Francisco -- Down these mean streets, a man must go. - Raymond Chandler - ========================================================================= Date: Thu, 8 Feb 1996 20:16:07 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: Why the Blues? After a couple of bottles of incredible Port and hours of J.B. Lenoir, Paul "Wine" Jones and Muddy Waters, I started wondering what it was exactly about the blues that holds such a fascination for me. I hav e "0" musical ability but nothing sounds like the blues, nothing touches me like the blues. I'm hoping that some of you can describe in more detail just what it is that makes the blues something you have to have. Gary .......... Gary Constantine >> gconstan@ccinet.ab.ca << If you're lookin' for a perfect woman you're gonna' die a lonely man .............. Joe Louis Walker ========================================================================= Date: Thu, 8 Feb 1996 22:40:08 -0800 Reply-To: Rick Richardson From: Rick Richardson Subject: Blues-L Convention While I'm mainly a lurker on this fine list (mostly from fear of demonstrating my ignorance in front of such a knowledgable group of folks), I wanted to throw in my support for a convention (St. Louis would be great) over the Labor Day weekend. Sounds like good times, good music and good people! I hope this becomes a "go." On another subject, it looks like I may be going to London the week of 2/26 and would appreciate any suggestions as to places to see good music there or any info on blues acts in town that week. Thanks. Rick Richardson ========================================================================= Date: Thu, 8 Feb 1996 23:13:26 EST Reply-To: "David A. Pimmel" <103300.3331@COMPUSERVE.COM> From: "David A. Pimmel" <103300.3331@COMPUSERVE.COM> Subject: i'm back (again) Well, after rejoining the list after 4 months off, I have a major computer failure which knocks me off for a month and a half. Anyway I am back. If you tried to contatc me since Christmas I probably did not get the message and was not actually being rude. Sorry. David Pimmel ========================================================================= Date: Thu, 8 Feb 1996 23:31:38 -0500 Reply-To: Brian E Rice From: Brian E Rice Subject: subscribe berice@concentric.net Brian E. Rice (Ann Arbor, MI - The home of Otis Spann Memorial Field) "I'm famous. Ain't that a bitch?" - thelonious monk ========================================================================= Date: Thu, 8 Feb 1996 23:45:15 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: JB Show Comments: To: Dick Waterman In-Reply-To: <960207114549_315200380@emout06.mail.aol.com> They also used clips from this Boston Show on that history of rock'n'roll series that was on last year. OH MY GOD is it funky. I have made a complete copy of that show my latest Holy Grail. I have agents scouring back alleys and gutters for a copy as we speak. Sigh! Someday... Rob PS My previous Grail was complete video of the Stones playing w/ Muddy at the Checkerboard. I almost wept the day I found it. Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke On Wed, 7 Feb 1996, Dick Waterman wrote: > On February 7, Sara Oxton wrote: > > >>>He also had film of JB performing at the Boston >>>Garden after Martin > Luther King's assassination. >>>The concert was shown live on TV in the > Boston >>>area, and helped keep otherwise-enraged black >>>citizenry off the > streets. > > A minor correction . . it was the Boston Arena, not Boston Garden . > It was a remarkable situation because the public television station - WGBH - > which is known for "Masterpiece Theater" and "Julia Child" and had never come > within a pole's length of anything funky, showed James Brown doing a concert > of hours and they stayed right with every "I Feel Good!" and "Please, Please > , Please" right to the very end. There is no question that people stayed at > home to watch and a potentially dangerous situation was defused. > > Dick Waterman > ========================================================================= Date: Thu, 8 Feb 1996 23:35:55 -0700 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: John Hammond -Sr. or Jr.? Comments: To: The Turtle In-Reply-To: <9602082203.AA12116@sowebo.charm.net> Speaking of John Hammond, he will be on Prairie Home Companion this Saturday on National Public Radio stations. At least here in Colorado. He has played it before and was his usual excellent self. Jay Watterworth (One of the sociology guys) CU Boulder ========================================================================= Date: Fri, 9 Feb 1996 00:50:49 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: Re: Lenoir Comments: To: BIBGA@hhs.se >Sorry, but you read the J.B. Lenoir question on Blues-L carelessly; he didn't >ask for the L+R recordings, but those in the gap _between_ Chess/Parrot and >L&R. >I've sent him a private e-mail on the matter. >Greetings, Antonsson, Stockholm Sorry, your right .,............. Gary ........... Gary Constantine >> gconstan@ccinet.ab.ca << If you're lookin' for a perfect woman you're gonna' die a lonely man .............. Joe Louis Walker ========================================================================= Date: Fri, 9 Feb 1996 01:07:37 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: Blues-L Convention OK. So, working on the assumption that some of us are going to met in St. Louis on labour day weekend to listen to some blues and possibly consume vast quantities of beer, I need some info to start with. Here we go.. What is the best hotel to stay at. Remember that I believe that roughing it consists of staying at a hotel that doesen't have 24 hour room service and a room without a jucuzzi is definately minimum standard. I am going to do my best to make this concert so any help will be an asset. Thanx, Gary ........... Gary Constantine >> gconstan@ccinet.ab.ca << If you're lookin' for a perfect woman you're gonna' die a lonely man .............. Joe Louis Walker ========================================================================= Date: Fri, 9 Feb 1996 01:07:39 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: Re: Blues-L Convention I really hope that I can make it to St. Louis for the labor day weekend. What I need to Know now is what is the finest hotel in St. Louis that is close to the concert. I love the blues but I still think that the most hardship I want to experience is having to stay in a place that dosen't have 24 hour room service. Can anyone help me with this? Thanx, Gary .......... Gary Constantine >> gconstan@ccinet.ab.ca << If you're lookin' for a perfect woman you're gonna' die a lonely man .............. Joe Louis Walker ========================================================================= Date: Fri, 9 Feb 1996 03:16:58 -0500 Reply-To: "jose.eric.s.maglanque" From: "jose.eric.s.maglanque" Subject: Document mail-order/e-mail? Hello bluesellers -- Does Johnny Parth's Document Records have mail order services? Can one buy directly from them? Do they have an e-mail address also? Private e-mail pls. Thanks y'all. - Delta Slim ========================================================================= Date: Fri, 9 Feb 1996 08:24:37 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Beavis & Butthead Comments: To: bit-listserv-blues-l@uunet.uu.net PARRISHR wrote: > > Yesterday Dick Shurman said > > >> yes, B & B creator Mike Judge was indeed > >>Anson's bassist and while I've never detected any resemblance > >>between Anson's personality (his many friends know he's a thoughtful > >>and perceptive person who's pretty much the Anti-Beavis) and Beavis, > >>there's not much doubt about the physical similarities. > > I've noticed the physical similarities between Beavis and Mike Judge > too. In which case it's a good thing he didn't create Ren & Stimpy, > whose main redeeming quality is that awesome version of "Killing > Floor" at the end credits. This doesn't really have much to do with this subject, but this thread reminded me of a funny story told to me by harmonica player Mark Hummel. Over the last 15 years, Hummel's bands have included just about every young west coast blues player, many of whom have gone on to bigger and better things--Hummel's band seems to be the blues version of a Triple A baseball team. In the mid-'80s, Beavis & Butthead creator Mike Judge even played (and recorded) with them. A few years ago Ronnie James Weber was playing bass with Hummel, and Little Charlie & The Nightcats were looking for a bass player, so they ended up hiring Weber away from Hummel. A really cool guy and good bass player named Vance Ehlers replaced Weber. The first gig that Vance played with Hummel, Rick Estrin of Little Charlie & The Nightcats happened to be in the audience. During the break, Estrin approached Vance and complimented him on his bass playing, and then said in a confidential tone, "Yeah, you know playing with Hummel can lead to some really big things". Vance is wondering if maybe Weber isn't working out, until Estrin quickly adds, "Yeah, BIG things....do you draw any cartoons?" Scott ========================================================================= Date: Fri, 9 Feb 1996 08:26:57 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Jimmy Rogers/Lowell Fulson Comments: To: bit-listserv-blues-l@uunet.uu.net >> Mary Katherine Aldin wrote: >> >> >Yes -- it is time -- and both The Complete Jimmy Rogers Chess >> >Recordings and The Complete Lowell Fulson Chess Recordings WILL be >> >issued by MCA, when Andy McKaie can get to them. Most likely not 1996, >> >possibly 1997. > >1997!!..Oh well, good things come to those who wait, I guess. > >I'd tell 'em to forget reissuing bad Muddy Waters & Howlin' Wolf >stuff from the late 60s and early 70s and get on with the good >reissues....Besides the much-needed Fulson & Rogers Chess sets, >I'd love to see a double MCA/Chess disc of J.B. Lenoir's >Chess/Parrott material. .......... >Jonny wrote: >I talked withn Andy once about J.B., noting not only the rest of the stuff >from the old double LP but also the unissued Chess and Chess-owned sides, >including Tax Payin' Blues on Parrot (the song that replaced Eisenhower >Blues). He said at the time that no more Lenoirs were planned because "He >doesn't sell." Maybe that could change..... Not to second guess Andy McKaie's judgement (he's done a terrific job overseeing the Chess reissue series, IMHO), but how does he know the JB Lenoir stuff won't sell if it never gets issued? If things like Billy Stewart--who couldn't have sold very many units--get reissued, why does JB Lenoir sit on the shelf? I'm not trying to be critical here, I'm honestly curious. Scott ========================================================================= Date: Fri, 9 Feb 1996 08:29:27 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Jessie Thomas Recordings Comments: To: bit-listserv-blues-l@uunet.uu.net Stephanie Manna wrote: >I would like to remind everyone praising Jesse Thomas's recordings, that >they are available directly from his widow:Bessie Thomas,2831 Abbie >St.,Shreveport,LA 71103. "Blues Is A Feeling" & "Double Dee Do Love You", >cassettes$10. "Blues Moved In"CD for $15. I think its best to buy from her >if you can. Someone else wrote: >Great. Thanks for the tip and address. Do you know the label for each >of these recordings? These recordings are on Jesse's own label, Red River Records, and it *is* a good idea to buy them directly from Mrs. Thomas so the $ will go directly to where it's most needed with no one else taking a cut. Scott ========================================================================= Date: Fri, 9 Feb 1996 08:30:44 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Maxwell Street film Comments: To: bit-listserv-blues-l@uunet.uu.net Bonnie Kalmbach asked about the Maxwell Street film: >I understand that the scene of Robert Nighthawk playing on Maxwell >Street (it took my breath away) in the video "Sweet Home Chicago" >is a segment of a 1960's British film called "And All this is Free!". >Is *this* film available anywhere?? I've heard about it for years. I'm not sure the name of the company that released it on video (maybe Rhapsody Films--someone here will know), but I know it's out there. It's called "...And This Is Free". I saw it playing on one of the video screens at Jazz Record Mart in Chicago when I was there last week--they might have it in stock. Scott ========================================================================= Date: Thu, 8 Feb 1996 00:46:55 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Why the Blues? Gary Constatine mused: > After a couple of bottles of incredible Port and hours of J.B. >Lenoir, Paul "Wine" Jones and Muddy Waters, I started wondering what it was >exactly about the blues that holds such a fascination for me. I hav e "0" >musical ability but nothing sounds like the blues, nothing touches me like >the blues. I'm hoping that some of you can describe in more detail just what >it is that makes the blues something you have to have. I think this is a real difficult question to answer. Blues can mean a lot of different things to a lot of people. IMHO, the blues is about life and it celebrates all the different facets of life, good and bad. Blues also is a cartharthis to get rid of what ails you. We could spend a lot of time trying to analyze why we like the blues. I think we like it because it sounds good. It still leaves the question, why the blues? Well, someone said something to me once on this subject. He said,"Sometimes, we never choose what music we like. It chooses us." Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 8 Feb 1996 00:47:01 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: God, The Devil and The Blues Years ago I remeber reading a book called (I think) "The Devil'd Music." It was concerned with how blues and religion co-existed (collided?) in the early days of the music. I seem remember reading that the blues was considered "The Devil's Music" in a lot of areas. Anyone has any info/stories regarding this? Obvious references are the stories about Robert Johnson and the Crossroads. Anyone have something else? Reminds me of a description of Son House that I read once. Son House was desribed as "precarious combination of a bluesman and a preacher." Son House was a preacher for some time and on a live recording I have he does talk about the conlict between religion and the blues. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Fri, 9 Feb 1996 08:39:29 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Info Ray Flerlage photos? Comments: To: bit-listserv-blues-l@uunet.uu.net George Macy wrote: > >A photographer named Ray Flerlage took wonderful photos of the blues life of >Chicago during the 40's and 50's including some of Little Walter which have >been used on Chess lp covers. Is there a compilation of Flerlage's photos? > Are prints available? Raeburn Flerlage first began shooting photos of Chicago blues artists in 1959 at the request of New York record exec Mo Asch, who wanted pictures of Memphis Slim for an album. Flerlage became a fan of the music, and was one of the only professional photographers who would take his equipment into the ghetto clubs during the next few years, and captured (IMHO) the very best images taken of people like Little Walter, Howlin' Wolf, Muddy, Buddy Guy, Otis Rush, etc., during that period. The semi- famous photo of Little Walter playing guitar on Maxwell Street (shot in '64) and the series of Chicago bluesmen-in-action that are now on black t- shirts around the world were shot by Flerlage, who also is responsible for (as George stated) many Chess album cover shots. There's never been a book devoted strictly to Ray Flerlage's work (although there should, and soon), but lots of good examples of it can be found in the following: "Bluesland" by Pete Welding and Toby Byron, Dozen Publishing. "Portrait Of The Blues" by Paul Trinka, Hamlyn Publishing (div. of Reed Books International. "Blues Legends" by Charles Cowdery (I believe this is a CD/book package; I don't know the publisher, but it's new and in the stores now, and has a Flerlage shot of Muddy on the cover, which looks kind of like a CD). Lots of his photos are also included in the American Folk Blues Festival 1962-1965 box set booklet. Flerlage is now 80 years old, and still sharp as a tack. I don't know if he sells individual prints, but I'm pretty sure he still licenses out the use of his work to whomever wants to pay to use it for publication/CD booklets/whatever, and would be happy to talk to anyone who's in a position to compile a book devoted to it. It'd make a great coffee table book, and *I'd* buy it sight unseen. Scott (not affiliated....etc.) ========================================================================= Date: Fri, 9 Feb 1996 08:52:50 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Re[2]: Who wrote "Five Long Years"? Comments: To: bit-listserv-blues-l@uunet.uu.net >Joe said: >>This is very interesting. Is there any way to put into words how >>Boyd's version mainly differed from what has become the more familiar >>arrangement (to us less educated folk). No doubt it would be best to >>hear the Boyd version, but anything one might say would be >>interesting. Incidentally, a minor point, but you're being sorta kind >>to JLH here, aren't you, Scott? I'm always kind to my elders. I haven't heard every version of "Five Long Years" (and there isn't enough time in the day to listen to them all--hell, I may not have enough time left in my life), but Eddie Boyd's original was very slow, dirge- like almost, and the piano was the dominant instrument. Buddy Guy's was, well, a lot like Clapton's, and you probably know what that one sounds like. Scott ========================================================================= Date: Fri, 9 Feb 1996 09:05:09 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Re[2]: Who wrote "Five Long Years"? Comments: To: bit-listserv-blues-l@uunet.uu.net >Joe said: >>Incidentally, a minor point, but you're being sorta kind >>to JLH here, aren't you, Scott? But let me add, it's not all kindness. Legally and technically speaking, one can copyright one's own unique *arrangment* of someone else's composition if it varies substantially from the original, as long as half of the credit still goes to the original composer. And remember I said that JLH was *half* right... Scott ========================================================================= Date: Fri, 9 Feb 1996 04:20:27 -0600 Reply-To: topcat@COMPUTEK.NET From: "" Subject: Re: Jessie Thomas Recordings Comments: To: Poindexter Regan Scott: Reply-To: Poindexter Regan Subject: Re: Jessie Thomas Recordings Thanks for advising Bluzellers about Jesse's self-produced CD, "Blues Moved In". Bessie Lavon Thomas definately can use the money. And it is a fine record with lots of great songs. This is an essential work by Jesse. Also available in stores is the new release and his last recordings, "Blue Goose Blues" on Blacktop. It is a Topcat Records production, but released on Blacktop. We have sold it to Blacktop, so I have no further financial interest in this recording, but it is the CD I am most proud of producing. I believe it really is his finest work. I'll never forget the look on his face during the session. Tears were in his eyes. He knew it was the best recording and treatment of his music ever. It really was a magic session. I didn't do much but put together the best musicians I could find that would do justice to his great talent. I just sat back and let it happen. It was magic. Please do buy Jesse's CD from Bessie Lavon, his wife. It will be VERY good karma for you. But also don't overlook "Blue Goose Blues" just released on Blacktop. Heck, if you don't like it, I'LL buy it back from you! Enjoy! Richard Chalk TopCat Records >cassettes$10. "Blues Moved In"CD for $15. I think its best to buy from her >if you can. ========================================================================= Date: Fri, 9 Feb 1996 02:38:15 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: Internet Cencorship????!!! Comments: To: Harp-L@garply.com Please forgive me if you view this as junk email! I just received this from my service provider, it read: Dear ValleyNet User, I feel that we have a rare situation that I would like to share with everyone and thus I am sending out this massmailing to every one of our users. I apologize in advance if you view this as "junk email" but I feel that a critical situation is at hand and we would like to make everyone aware of it. I hope you will take the time to read this and find out why ValleyNet has made *our* web pages black along with noted websites like Infoseek, Webcrawler, Yahoo, Netcom, Mecklermedia, Internet World, Surfwatch Software, Excite and hundreds of other companies and individuals throughout the Internet. This may be one of the *LAST* times in history that you will be able to enjoy the Internet just as it is today - an open forum of free expression. The Internet has run itself for the last 20 years without the US Government. Do we need them now? Act soon or it may be too late. ======================================================================= JOIN HUNDREDS OF THOUSANDS OF OTHER INTERNET USERS IN * 48 HOURS OF PROTEST * AFTER PRESIDENT CLINTON SIGNS THE BILL THAT WILL CENSOR THE INTERNET Update: -Latest News: Congress passed the net censorship language on 2/1/96. -What You Can Do Now: Help demonstrate the extent of the impact of the Internet Censorship legislation. Join Hundreds of thousands of Internet Users in an International protest for 48 hours after Clinton Signs the bill on Thurs 2/8/96 at 11am EST. CAMPAIGN TO STOP THE UNCONSTITUTIONAL COMMUNICATIONS DECENCY ACT Feb 7, 1996 (expires Feb 29, 1996) PLEASE WIDELY REDISTRIBUTE THIS DOCUMENT WITH THIS BANNER INTACT This alert and coalition coordinated by the Voters Telecommunications Watch (vtw@vtw.org) ________________________________________________________________________CONTENTS The Latest News What You Can Do Now Press Release from Rep. Jerrold Nadler (first member of the House of Representatives to turn his WWW pages black) Chronology of the CDA For More Information List Of Participating Organizations ________________________________________________________________________THE LATEST NEWS On Thursday, Feb 8th at 11am President Bill Clinton will sign the Telecommunications bill into law and Internet users all over the world will turn their World Wide Web pages black for 48 hours to show their solidarity and anger over this legislation. If you're waiting to be told to turn your pages black, do so at 11am at the signing ceremony begins! Who's participating? Members of Congress, grammar schools, huge publishing empires, public interest groups, veterans and most importantly, everyday people like you and I. Don't be left out! Recent Events Last week Congress approved sweeping restrictions on online speech and conduct, imposing fines of $250,000 and jail sentences of 2 years for anyone who makes "indecent" material available in a public forum online. This legislation threatens the very existence of the Internet as a viable means of free expression, education, and political discourse. Despite loud objections from civil liberties groups and the public, the measure is part of a massive telecommunications bill that President Clinton has already pledged to sign. Although you should feel free to continue to express your objections directly to the President, there are other ways to express our outrage for this legislation. The President is expected to sign this bill into law Feb 8, 1996 at 11am. For 48 hours after Clinton signs the Telecommunications Reform bill into law, join hundreds of thousands of Internet users everywhere to show the far reaching impact this bill will have on all Internet users. TURN YOUR WORLD WIDE WEB PAGES BLACK with white lettering to demonstrate that the Internet will not accept this kind of second class treatment from the United States Government. ________________________________________________________________________WHAT YOU CAN DO NOW 1. For 48 hours after Clinton signs the net censorship language in the Telecomm bill into law, TURN YOUR WORLD WIDE WEB PAGES BLACK with white lettering. To know when the bill is signed, check these sources: Newsgroups: alt.society.civil-disob Email:vtw-announce@vtw.org (watch for mail on this list) WWW:http://www.vtw.org/ Finger:vtw@panix.com You can also just watch CNN; they'll announce the signing of the bill. Right now it is scheduled for 11am, EST. To turn your pages black with white lettering, simply add the following tag to your World Wide Web pages: . . . Put this right after your tags, and before any tags. To explain to people who may be confused by the color change, temporarily add the following link to your page: My World Wide Web Pages are black for 48 hours to protest second-class treatment from the US Government for free speech. Read about it at this WWW page. The Center for Democracy and Technology has also agreed to mirror a similar page at URL:http://www.cdt.org/speech.html If your pages get lots of hits from services that cache their pages like America Online, you may wish to start turning your pages black early. Please try and wait though until Clinton signs the bill, for maximum effect. Non-Internet BBSs that want to participate might want to put something like this on their welcome screen. (your own words would be more meaningful) MOLLY'S BBS HAS TEMPORARILY DARKENED ITS LOG-ON SCREEN TO PROTEST CONGRESS' PASSAGE OF THE "COMMUNICATIONS DECENCY ACT" WHICH WOULD UNCONSTITUTIONALLY ATTEMPT TO REGULATE THE INTERNET. Also, urge your Internet Provider and any Internet WWW pages you frequent to turn their pages black. Send us interesting sites that comply to vtw@vtw.org. $ Mail vtw@vtw.org Subject: ZTV.COM is turning their pages black! I'm the head of the ZTV Website and I've decided to turn our pages black. Thought you'd like to know. Our URL is: ZTV ^D Mail sent! If you are worried that non-Netscape users will miss the point of your protest, feel free to place a black armband on your page. Although it easy to make one yourself, we've provided one at http://www.vtw.org/images/blk.gif 2. Don't forget to send Clinton a message, contact him at: Email:president@whitehouse.gov Telephone:202-456-1111 Fax:202-456-2461 Sample communique: You're about to sign a bill into law that imposes a terrible set of speech restrictions on the Internet that belong in the broadcast medium, not the interactive one. I'm turning my World Wide Web pages BLACK for 48 hours after you sign the bill as a symbol of protest to show how many people will be affected by this bill. It is unlikely that he will veto the bill. 3. Make a commitment become involved! There will be several court cases coming up to challenge the Internet censorship legislation, as well as an election that will put every single member of the House, and 1/3rd of the Senate (most of whom voted for this legislation) onto the ballot. Don't let them get away with this. Make this a campaign issue, and keep an eye out for legal defense funds for those challenging these laws in court. ________________________________________________________________________PRESS RELEASE FROM REP. JERROLD NADLER NEWS RELEASE ---------------------------------------------------------------- U.S. REPRESENTATIVE JERROLD NADLER 8TH CONGRESSIONAL DISTRICT - NEW YORK 109 Cannon House Office Building, Washington, DC 20515 (202) 225-5635 * e-mail - nadler@hr.house.gov ----------------------------------------------------------------- FOR IMMEDIATE RELEASE CONTACT: Amy Green (202) 225-5635 Wednesday, February 7, 1996 Abby Russell (212) 334-3207 REP. JERROLD NADLER TURNS WEB PAGE BLACK TO PROTEST INTERNET CENSORSHIP Washington, D.C. -- Rep. Jerrold Nadler (D-NY) today became the first Member of Congress to protest censorship language in the recently passed telecommunications bill by turning his Internet homepage to black. "I am proud to join the thousands of groups and individuals who are committed to freedom of expression, and are turning their web pages black to show their opposition to cyber-censorship," said Rep. Nadler. The telecommunications bill, which Rep. Nadler voted against, included language that will result in the restriction of a free flow of information on the Internet. The provision stipulates that "indecent" materials cannot be distributed over the Internet to minors. "While the stated intent of this provision is to limit minors' access to 'indecent' material, in fact, its effect will be to limit everyone's constitutionally guaranteed right to free expression," said Rep. Nadler. "This provision will dangerously constrain free electronic speech. It is the cyberspace equivalent to book burning, and those who claim to support the First Amendment have a responsibility to speak out against this harmful measure," said Rep. Nadler. Rep. Nadler's web address is: http://www.house.gov/nadler/welcome.html Rep. Nadler's e-mail address is: nadler@hr.house.gov # # # # ________________________________________________________________________CHRONOLOGY OF THE COMMUNICATIONS DECENCY ACT Feb 8, '96 President Clinton signs the Telecomm bill into law. Feb 1, '96 The House and Senate pass the Telecomm Bill (S652/HR1555) 414-16 and 91-5. Jan 31, '96 The House and Senate prepare to signoff on the conference report for the Telecomm bill and rush a vote to the floor. Dec 7, '95 The House half of the Telecomm conference committee votes the "indecency" standard for online speech into the Telecomm Deregulation bill. Sep 26, '95 Sen. Russ Feingold urges committee members to drop Managers Amendment and the CDA from the Telecommunications Deregulation bill Aug 4, '95 House passes HR1555 which goes into conference with S652. Aug 4, '95 House votes to attach Managers Amendment (which contains new criminal penalties for speech online) to Telecommunications Reform bill (HR1555). Aug 4, '95 House votes 421-4 to attach HR1978 to Telecommunications Reform bill (HR1555). Jun 30, '95 Cox and Wyden introduce the "Internet Freedom and Family Empowerment Act" (HR 1978) as an alternative to the CDA. Jun 21, '95 Several prominent House members publicly announce their opposition to the CDA, including Rep. Newt Gingrich (R-GA), Rep. Chris Cox (R-CA), and Rep. Ron Wyden (D-OR). Jun 14, '95 The Senate passes the CDA as attached to the Telecomm reform bill (S 652) by a vote of 84-16. The Leahy bill (S 714) is not passed, but is supported by 16 Senators who understand the Internet. May 24, '95 The House Telecomm Reform bill (HR 1555) leaves committee in the House with the Leahy alternative attached to it, thanks to Rep. Ron Klink of (D-PA). The Communications Decency Act is not attached to it. Apr 7, '95 Sen. Leahy (D-VT) introduces S.714, an alternative to the Exon/Gorton bill, which commissions the Dept. of Justice to study the problem to see if additional legislation (such as the CDA) is necessary. Mar 23, '95 S314 amended and attached to the telecommunications reform bill by Sen. Gorton (R-WA). Language provides some provider protection, but continues to infringe upon email privacy and free speech. Feb 21, '95 HR1004 referred to the House Commerce and Judiciary committees Feb 21, '95 HR1004 introduced by Rep. Johnson (D-SD) Feb 1, '95 S314 referred to the Senate Commerce committee Feb 1, '95 S314 introduced by Sen. Exon (D-NE) and Gorton (R-WA). ________________________________________________________________________FOR MORE INFORMATION Web Sites (roughly in alphabetical order) URL:http://www.vtw.org/ URL:http://www.cdt.org/cda.html URL:http://www.cpsr.org/ URL:http://www.eff.org/pub/Alerts/ URL:http://epic.org/ Email: cda-info@cdt.org (General CDA information) cda-stat@cdt.org (Current status of the CDA) ________________________________________________________________________LIST OF PARTICIPATING ORGANIZATIONS AND BUSINESSES In order to use the net more effectively, several organizations have joined forces on a single Congressional net campaign to stop the Communications Decency Act. Because the list is so long, we've been forced to omit many fine organizations. See the VTW Free Speech Web Page at URL:http://www.vtw.org/speech/ for the whole list. Public Interest Organizations Businesses Voters Telecommunications Watch (VTW) | ECHO (www.echonyc.com) | Hotwired (www.hotwired.com) Center For Democracy And Technology (CDT) | Mindvox (www.phantom.com) Center for Public Representation (CPR) | Panix (www.panix.com) Computer Professionals for | The WELL (www.well.com) Social Responsibility (CPSR) | Wired (www.wired.com) Cyber-Rights Campaign +------------------------- Electronic Fronter Foundation (EFF), and independent regional Electronic Frontier organizations Electronic Privacy Information Center (EPIC) Feminists for Free Expression Hands! Off The Net Internet Users Consortium (IUC) Joint Artists' and Music The Libertarian Party (LP) Promotions Political Action National Campaign for Freedom of Expression Committee (JAMPAC) National Coalition Against Censorship (NCAC) National Gay and Lesbian National Writers Union (NWU) Task Force (NGLTF) People for the American Way (PFAW) Republican Liberty Caucus ________________________________________________________________________ End Alert ======================================================================= -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 ========================================================================= Date: Fri, 9 Feb 1996 08:44:56 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: Josh White - hard hitting country bluesman? Just checking out the Sony/Legacy Roots 'N Blues series homepages for the new releases and I read this description of the new Josh White release: "20 digitally mastered recordings from one of the hardest-edged country bluesmen of all time" I'll admit that I've never heard a lot of Josh White - One or two of his early "Pinewood Tom" recordings, a video clip from the early 60's, and I have four or five 78s from the same period, and what I hear is a very good singer and guitarist with an urbane (and in the later stuff, fairly slick) style. I'd hesitate to call even his early stuff "country blues", and none of it seems particularly "hard-hitting" to me. Have I not heard enough Josh White, or is this an example of over-zealous packaging by the label? I'm not knocking the label or the series here - I have a number of these releases and they're without exception excellent. My introduction to early blues was through "Legends Of The Blues, Vol. 1" from this series and it's still one of my favourite compilations. -Rob -- Rob Hutten UNIX guy, Acadia University, Wolfville NS rob@acadiau.ca Visit BluesNet! http://dragon.acadiau.ca/~rob/blues/ ========================================================================= Date: Fri, 9 Feb 1996 07:50:23 -0500 Reply-To: Tom Day From: Tom Day Subject: Re: Southern Prison Blues Comments: To: Stephen Douglas Powers In-Reply-To: On Thu, 8 Feb 1996, Stephen Douglas Powers wrote: > I am looking for a collection of songs entitled "Southern Prison Blues." > Does anyone know who published them and how I might purchase a copy? Thanks. > > SP > I'm not at home so I'm not sure, but I think I have this as produced by Laserlight. I know I got it from the bargain bin at Best Buys. If nobody else gives you any information, I'll be happt to look when I get home. Tom ****************************************************************************** Tom Day And the butterflies fornicate in the wind... tday@umabnet.ab.umd.edu ****************************************************************************** ========================================================================= Date: Fri, 9 Feb 1996 09:39:48 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Document mail-order/e-mail? Comments: To: jose.eric.s.maglanque@ac.com In a message dated 96-02-09 03:39:39 EST, jose.eric.s.maglanque@AC.COM (jose.eric.s.maglanque) writes: >Hello bluesellers -- > >Does Johnny Parth's Document Records have mail order services? Can one buy >directly from them? Do they have an e-mail address also? Private e-mail >pls. > >Thanks y'all. I would recommend two possible sources: A really good independent record store should have no trouble ordering them for you. Find one with a good blues stock. There is one right here in Oxford, MS that is able to stock and order them. Second source: Mail order or telephone order through Roots and Rythmn. Before I got a good local source, they where my source. Their email address is roots@hooked.net I THINK. Tom Freeland ========================================================================= Date: Fri, 9 Feb 1996 14:41:37 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Info request: CARL JONES... I'm trying to reach people (producers, musicians, scholars, researchers, and also fans) who might have known personally (or have things to say about him and his work) CARL JONES and other people (Big Bill Hill) which were at some time envoled in his different projects (CJ, Firma, ...) in Chicago. I you feel that you fall in this category, I would be very pleased to hear from you by private E-mail (J.URBAIN@KE.RULIMBURG.NL) for some research I'd like to pursue in the more or less near future. Notice that I'd like to get in touch with people who had all types of profes./presonal or musical experiences or relationships with him: good ones but also eventually bad ones. I'm also very much interested to hear from people having pictures with him. Thanks a lot. Jean-Pierre "young Man" Urbain ========================================================================= Date: Fri, 9 Feb 1996 15:31:25 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: TOSHI REAGON While I'm busy here at my office preparing a lecture I have to give in 30 minutes, I'm listening to the excellent set "ROOT OF R&B - A Tribute to the Robert Johnson Era" (Sony/Columbia 472264-2) which appeared in 1992 and features live recordings done during a festival organised by the Smithsonian Institute with Johnny Shines (wih some great a capella "Satisfied", "I'm Going Home"songs), Honey Boy, Henry Towsend, Lonni4e Pitchford, Lockwood, the Moving Star Hall Singers, Phil Wiggins, David Savage, Jesse Mae, Elder Roma Wilson1... as well as the Africam- Ameriacn guitarist-singer TOSHI REAGON which performs here an excellent tribute to Memphis Minnie with "I Hate to See the Sun Go Down". I remember seing an article on her a few years ago (was it on Blues Access or in the eraly days of Blues Revue? I don't remember , shoudl check at home) and as far as I know she also has some CDs out on Flying Fish. So here comes my question: are these albums comparable to her perfromance on this album? She's someone which, I think, has interesting things to say (her mother was one of the founding memebrs of Sweet Honey In the Rock) and appears as a very talented musician. Her interpretation of Memphis Minnie's song on this very nice CD -which has not often been mentioned on Blues-L, or am I wrong, and in which case I should recommend to all the Shines, Lockwood, Johnson, fans...- reminds me sometimes of the late and great Jo Ann Kelly. Jean-Pierre "Young Man" Urbain... ooooooops, I've now just a bit less then 20 minutes left. Have a nice weekend you all. ========================================================================= Date: Fri, 9 Feb 1996 11:00:22 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: God, The Devil and The Blues Comments: To: shaun@WAVENET.COM In-Reply-To: <199602090915.BAA20646@wavenet.com> from "Shaun T Cronin" at Feb 8, 96 00:47:01 am > Reminds me of a description of Son House that I read once. Son House was > desribed as "precarious combination of a bluesman and a preacher." Son > House was a preacher for some time and on a live recording I have he does > talk about the conlict between religion and the blues. "You can even sing the Blues in Church, if you use the meaning, the words right...." Then there's the great line from Preachin' Blues (did he lift this from Furry Lewis' 1928 recording, or is it a widely-known traditional lyric?) "I'd have me religion on this very day but the womens and whiskey sure won't let me pray." Apparently a lot of the older bluesmen dabbled in preaching... -Rob ========================================================================= Date: Fri, 9 Feb 1996 10:17:17 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Slide Advice Regarding Matthew O'Brien's request for slide advice, it would be helpful to know, Matthew, what kind of guitar you have and what kind of slide music you like. Someone else said that most acoustic slide is in open tuning, and it is my experience, having known many learned acoustic slide players such as Scott Ainslie and Rich DelGrosso that most acoustic slide players do play in open tuning to get that full, resonant sound. If you want to know about electric slide, I mostly play electric slide in standard tuning because that way I don't have to worry about retuning or playing in the same key all night. You can make partial open chords for slide in standard tuning with the following string groupings: the E and B strings, the B, G and D strings, and the A and D strings. Get a copy of Smokin' Joe Kubek's CD "Texas Cadillac" and listen to how he plays slide, and you'll see how he makes the partial chords. Practice playing your regular leads with a slide, just keep it slow and simple. Once I got the hang of playing slide in standard tuning, I liked it better than open tuning. ========================================================================= Date: Fri, 9 Feb 1996 10:22:47 -0400 Reply-To: Cliff Warnken From: Cliff Warnken Subject: Re: Josh White - hard hitting country bluesman? Comments: To: rob.hutten@ACADIAU.CA Rob, Yes, the early Josh White recordings (especially from 1932-33) really are hard-hitting, with a lot of stinging guitar. His voice isn't low-down, but the playing and general approach are blues all the way--check out "Low Cotton," a real classic that gets some discussion in Bruce Bastin's RED RIVER BLUES. Among others, White also accompanied Buddy Moss on some '30's blues sides. So the Sony set should be worthwhile. Best, Cliff Warnken ========================================================================= Date: Fri, 9 Feb 1996 16:25:33 +0100 Reply-To: christia@CNN.DE.EDF.FR From: Christian ESTHER Subject: Seeking for LEADBELLY discography Paris, France le 9 fev 96...Bonjour a tous ! I just suscribe at the Blues list yesterday so I'm new in the club...and today yet I need some help. I need some things about dates of recordings by LEADBELLY. Unfortunately I have not ( not yet) the books made by GODRICH & DIXON and LEADBITTER & SLAVEN . Maybe for sure all the available Discography will be good but maybe it will be too much time to write !!! But if you want do it it's allright. So I will need specially these titles : from LP RCA victor (singing and guitar) : EASY RIDER GOOD MORNING BLUES ALBERTA from LP FOLKWAYS M 52488 (french issue). ON MONDAY(with harp : maybe Sonny Terry) CORN BREAD ROUGH: he's playing concertina superbe ! I SHALL BE FREE with Cisco Houston Woody Guthrie and Sonny Terry DEFENSE BLUES from LP FOLKWAYS M 52014 (french issue) LAURA (he's playing concertina too ) LEAVING BLUES ( 2 versions ) GOOD NIGHT IRENE (with harp : maybe Sonny Terry) PIGMEAT (with other guitar) BORROW LOVE AND GO Other title which appears on AIM record (austria) ON A MONDAY (how many versions does exist of it) FANNIN' STREET DEFENSE BLUES (encore!) On Collectables the Stinson: SKIP TO MY LOU &IT'S ALMOST DAY (or DONE?) LITTLE SALLY WALKER with Cisco Houston Woody Guthrie and a banjo (who's playing) ALABAMA BOUND MIDNIGHT SPECIAL TAKE THIS HAMMER with Josh WHITE : I've got A pretty flower and encore : CORN BREAD ROUGH So it will be kind to give me dates (at least only year can be enought) with other musicians if possible . I wonder when Leadbelly did recorded with Cisco Houston Woody Guthrie and Sonny Terry . Was it during War World 2 or after ? About movies . I heard about a movie made by Gordon Sparks (he maid "Shaft") Is that easy to find that movie ( I think it never went to France !); Any info about it will be kind. Did anybody see it ? date is maybe 76 or 77. To finish I'm looking too the name of the director of a short movie with Big Bill Broonzy made in the 50's in Europe (maybe Paris or Brussels) where you can see Big Bill play in a club "hey hey baby" and other tunes... A saw it a long time ago in Paris . It's black and with movie the title may be "Big Bill Blues" and does Yannick Bruynoghe ( the men who wrote Big Bill story) work on it ? The reason of it it's because I'm working on french realese Leadbelly and Big Bill for a new blues collection. Merci a tous, a bientot? thanks. Christian. ========================================================================= Date: Fri, 9 Feb 1996 09:26:15 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Why St. Louis..??? Why is St. Louis appearing to be the place for the Blues-l Convention. I can think of other places, that have more blues history....It would make more sense to do it in the DELTA.....Who made the decision...? LW 'not knocking St. Louis, but I don't understand the choice' ========================================================================= Date: Fri, 9 Feb 1996 07:35:47 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Feb. 10 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BARBARIN, PAUL (d) d. 1969-0210, NEW ORLEANS, LA 69 DUSKIN, JOE BIG (p) b. 1921-0210, BIRMINGHAM, AL EVANS, JO MISS (v/BULLET REC) b. 1921-0210, HAZELHURST, MS FLACK, ROBERTA (p) b. 1939-0210, BLACK MOUNTAIN, NC GIBSON, ANDY (tpt/arr/KING REC) d. 1961-0210, CINCINNATI, OH 47 HALEY, ALEX PALMER (author/ROOTS) d. 1992-0210, SEATTLE, WA 70 JAMES, VANCE (d/JIMMY MCGRIFF) b. 1943-0210, BALTIMORE, MD JONES, B. B. [ALVIN "YOUNGBLOOD" NICHOLS] b. 1947-0210, CAMDEN, MS KIRKLAND, LEROY (awesome/R&B prod/arr/g) b. 1906-0210, SC MERCHANT, JIMMY (of TEENAGERS) b. 1940-0210, NEW YORK CITY, NY MIDDLETON, VELMA (v/LOUIS ARMSTRONG) d. 1961-0210, FREETOWN,SIERRA LEO 43 PATTERSON, DON (o/PRESTIGE REC) d. 1988-0210, PHILADELPHIA, PA 51 PEPPER, JIM (tsax) d. 1992-0210, PORTLAND, OR 50 ROCKIN' DOPSIE [ALTON JAY RUBIN SR.](acc) b. 1932-0210, CARENCRO, LA ROGER, ALDUS (acc/cajun) b. 1916-0210, CARENCRO, LA ROSE, BILLY [WILLIAM S. ROSENBERG](songw) d. 1966-0210, MONTEGO BAY, JAMICA 66 SATHERLEY, ART UNCLE (a&r/prod) d. 1986-0210, FOUNTAIN VALLEY, CA 96 THOMAS, WALTER "FOOTS" (tsax) b. 1907-0210, MUSKOGEE, OK TINSLEY, JOHN E. (g) b. 1920-0210, CHESTNUT MT., VA TRICE, WILLIE (g/TRIX REC) b. 1910-0210, HILLSBOROUGH, NC WALLS, JIMMIE (d/LUTHER INGRAM) b. 1921-0210, EAST ST. LOUIS, IL WEBB, WILLIAM HENRY "CHICK" (d/leader) b. 1909-0210, BALTIMORE, MD WILLIAMS, HARMONICA (hca) b. 1920-0210, WILLS, OSCAR "TV SLIM" (g/hca) b. 1916-0210, HOUSTON, TX ------------------------------------------------------------------------------- ========================================================================= Date: Fri, 9 Feb 1996 10:35:30 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Any Lou Reed Fans Out There? [sorry, no blues content] We interrupt your regularly scheduled blues broadcast to ask if anyone knows the words to "Sweet Jane." Sorry but I figured it was okay and less out of context than the "Beavis & Butthead" thread. I think private e-mail would be appropriate. We now return you to your regularly scheduled blues broadcast. Thank you for your cooperation. ========================================================================= Date: Fri, 9 Feb 1996 10:44:13 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Hubert in NY City Comments: To: edwick@CC.BELLCORE.COM Ed, thanks for that WONDERFUL review of Hubert's show, which as you may know, I was pulling my hair out for missing it. I was actually in town (from Mass.) but couldn't get away. I really want to see this man, this living legend, before the chance is gone. Great review, man. Could you indulge us gearheads and tell me what Hubert was playing?..guitars, amp, etc, that you could see? Thanks again! Damn, I wish I could have gone..... Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 9 Feb 1996 10:45:37 EST Reply-To: mmarsha1.ford@E-MAIL.COM From: Michael Marshall Subject: (U) ---- Mail Item Text Follows UMSG:FROM: USFMDH2B--IBMMAIL TO: INET --USIGLINK 02/09/96 10:43:41 To: INTERNET--IBMMAIL FROM: Michael Marshall Subject: (U) All you blues lovers out there. Can anyone tell how to find a blues album I believe to be titled SUMMIT: A REAL BLUES MEETING. It s a live blues album featuring Eddie Cleanhead Vinson doing a tune called Backdoor Blues. I'm also in search of a blues tune I believe is done by King Curtis called Reefer Smoker. Always remember what Muddy Waters said: "The blues had a baby and they named it rock and roll. Regards, Michael Marshall ?? (U) ========================================================================= Date: Fri, 9 Feb 1996 10:57:10 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Elmore & Slide advice to Matthew Comments: To: billy@cast.msstate.edu Now hold on there a second, Bill. :) My band plays a lot of Elmore covers and we try to do them as close to Elmore's version as we can. I've got two cd's that I learn from and I can tell you that they are almost all in Open D, not E. The tuning I use is D-A-D-F#-A-D, which may not be exactly what ELmore uses, but it's a D tuning, not E. ...my 2 cents worth... Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 9 Feb 1996 10:50:46 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: St. Louis Bluzers.. I'm glad St. Louis was chosen as a blues-l meeting site/sight/cite/syte. Does there have to be a justification? I think we're getting enthusiasm up. Now what's the next step? I am guessing we'll need volunteers to help do whatever needs to be done in an organizational way. My experience with such things has often been limited to performing, but I have been occasionally been accused of being organized. Any ringleaders want to volunteer as adviser? Any members want to volunteer to carry out organizational chores? Any veteran organizers presently loitering on the streets with nothing to do? Shall we begin? Cathi N. ========================================================================= Date: Fri, 9 Feb 1996 10:14:45 -0600 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: Elmore & Slide advice to Matthew Comments: To: MILLER@SCI.WFBR.EDU In-Reply-To: <01I10976B5Q2007H3P@SCI.WFBR.EDU> from "MILLER@SCI.WFBR.EDU" at Feb 9, 96 10:57:10 am In an earlier message, MILLER@SCI.WFBR.EDU said: ] Now hold on there a second, Bill. :) My band plays a lot of Elmore covers ] and we try to do them as close to Elmore's version as we can. I've got two ] cd's that I learn from and I can tell you that they are almost all in Open D, ] not E. The tuning I use is D-A-D-F#-A-D, which may not be exactly what ELmore ] uses, but it's a D tuning, not E. I stand corrected. I admit that I learned most of my ElmoCloneIsms second-hand, and we tended to use open E so as to allow the rhythm guitarist the use of all them cool open-string riffs. IF ELmore's playing in D, the tuning you use __is_ what he had; I'd be willing to bet on that. OTOH, I play "The Sky is Crying" in open G, but then I tend to improvise.... -- * Billy Chambless | billy@cast.msstate.edu | voice: 601-688-7608 * Mississippi State University Center for Air-Sea Technology * To attain knowledge, add something every day. * To attain wisdom, remove something every day. -- Lao-tse ========================================================================= Date: Fri, 9 Feb 1996 10:11:52 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Re[2]: Who wrote "Five Long Years"? Comments: To: Poindexter Regan In-Reply-To: <4ff212$2v88@usenetp1.news.prodigy.com> Eddie Boyd said somewhere that the beat of "Five Long Years" was supposed to reflect the pulse of a steel mill. ========================================================================= Date: Fri, 9 Feb 1996 10:09:16 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Jimmy Rogers/Lowell Fulson Comments: To: Poindexter Regan In-Reply-To: <4ff0gh$1ase@usenetp1.news.prodigy.com> To be fair to Andy, the J.B. Lenoir Vintage Series set HAS been reissued on CD and is probably the basis for Andy's/MCA's perspective on sales figures. If it's a pessimistic estimate, that's a shame, but there's experience upon which to base it, not just speculation. I'm not the first (or the least biased) to say how much credit Andy deserves; he does a lot with the blues material in MCA's vaults, but the last time anyone checked, MCA was still a for-profit organization and his department is as accountable as any other. ========================================================================= Date: Fri, 9 Feb 1996 10:11:00 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Info Ray Flerlage photos? Comments: To: Poindexter Regan In-Reply-To: <4ff181$24ha@usenetp1.news.prodigy.com> For people around Chicago, the Chi. Historical Society also has some great Flerlage photos. I don't have the Chicago phone book handy, but Ray is still listed in case anyone has a serious inquiry. ========================================================================= Date: Fri, 9 Feb 1996 08:44:54 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Jimmy Rogers/Lowell Fulson Comments: To: Poindexter Regan At 08:26 AM 2/9/96 GMT, Poindexter Regan wrote: >> >>I'd tell 'em to forget reissuing bad Muddy Waters & Howlin' Wolf >>stuff from the late 60s and early 70s and get on with the good >>reissues....Besides the much-needed Fulson & Rogers Chess sets, >>I'd love to see a double MCA/Chess disc of J.B. Lenoir's >>Chess/Parrott material. .......... > I think you missed my later post about this subject. The Complete Jimmy Rogers Chess Recordings is set for release this year (1886) and Lowell Fulson's set of Completes for *next* year, as part of the 50th anniverary of Chess Records. Mary Katherine Aldin ========================================================================= Date: Fri, 9 Feb 1996 08:44:52 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: God, The Devil and The Blues Comments: To: Rob Hutten A For a good essay on this subject I'd refer you to a chapter in the book called "Nothing But The Blues", edited by Larry Cohn, published by Abbeville Press, 1993. The chapter is called "Holy Blues: The Gospel Tradition" and was written by Mark Humphrey. Tiresome but necessary disclaimer: Part one, Mark Humphrey is a good friendof mine, Part Two, I wrote a *different* chapter in the same book. Bte the book Shaun T. Cronin mentioned in his original post, "The Devil's Music" is an excellent work by Giles Oakley, one of the treasures of my music library, but sad to say it's long out of print. If you find it used anywhere grab it. N Mary Katherine Aldin ========================================================================= Date: Fri, 9 Feb 1996 10:49:01 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Re: God, The Devil and The Blues -Reply Comments: To: rob.hutten@acadiau.ca Son House (Edward "Son" House, if memory serves me correctly) supposedly struggled his whole life to come to grips with his religion AND his blues. I heard that he wrote Preachin' Blues to equate that struggle and find peace with it. Interestingly, Son wrote Preachin' Blues, and Walkin' Blues but Robt. Johnson usually gets the credit for it, especially Walkin' Blues. Robt. Johnson also learned to play guitar because Son taught him how. Son House on video singing "Death Letter BLues" is one of the most if not THE most powerful moving musical experiences i've had to date. Man, when he sings "i walked up close and l looked down in her face, Guess my good ol gal got to lay her till Judgement day", you can feel the pain he felt and see it in his face. Dick Waterman told me once that Son just lived his life out right there on stage in front of everyone, and that its hard sometimes to remember the intensity of Son House when you look at what goes down as blues today. (hope that was ok to share, Dick?). Son died in 1988 in Detroit apparently at the ripe old age of 102. (facts previously posted on BLUES-L by someone else). Rory Block studied under Son House. When she played for Son, she remembered he just seemed astonished, and said "Who taught this girl that?". When Rory sings acappella, it reminds me of Son's video performances (Vestapol) because he plays and sings two songs, and sings two songs acappella also. ddr ========================================================================= Date: Fri, 9 Feb 1996 12:03:56 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Jammin' with James Saw my friend James Peterson last night at the Blues Ship in Tampa. I haven't seen James in many months and it was great to see him again. His recent successes have really served him well. In all the years I've known him, he's never looked so happy and peaceful. On stage, of course, he was the same old Blues shoutin' James I've always known. James called me up during his second set and handed me his guitar. He said "What do you want to do?" I said "Sing me a slow one." (I'm not known for my blistering guitar work, and I was not at all warmed up). So as soon as I found a pick he launched into a fast tune, followed by a fast tune, followed by another fast tune. I'll get him back for that ;-) After I sat back down with my wife and a friend, who walks up and introduces herself but Blues-Ler Stephanie Manna. I gave her a great big hug. (Then I explained to my wife who she was). My wife, who's not at all accustomed to "jukin'" on a thursday night, gave me one of those familiar, "Can we go soon?" hints, and at almost the same moment James calls out for me to come back up and do another one with him. James kept me doing "just one more" for almost an hour. During the last two songs, I could see my wife standing in the doorway, arms folded, foot tappin', giving that "I hope your having a good time now" look that clearly indicates I won't be having a good time later. I pointed to my wife and James, recognizing "that look", took his guitar back and wished me a good night. It was a real fun night. James' band is now a 7 piece. He has two sax's now that are excellent. They probably have a big collection of standard stuff that they draw from, but they appear to be able to improvise horn parts on the fly. I was quite impressed. P.W. Fenton Tampa, Florida ---------------------------------------------------- Please visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 9 Feb 1996 16:29:15 +0000 Reply-To: "timothy (t.b.) bosley" From: "timothy (t.b.) bosley" Subject: Interesting finds: Lightnin/Grey Ghost On my way back from school last night I was in the neighborhood of a place advertising a bankruptcy liquidation sale so I figured I'd stop and check it out. There was a very limited blues selection; probably no more than 60 discs in all. Needless to say, I didn't spend very much but I did find a few pearls.... Lightnin Hopkins _Blues Train_ Mainstream _Sittin' In With_ Mainstream Grey Ghost _Grey Ghost_ Spindletop Given the very limited selection, I was quite surprised to find these. I believe they are all out-of-print. Admittedly, I wouldn't be surprised to see the Lightnin' stuff turn up again (perhaps a Complete Sittin' In Recordings, or something) but you can never tell. Q: Who is R Ellen? I only ask since they're credited as writer on every song (both discs). Reminded me of all those songs that turned up with Lomax credited. I already had the _Grey Ghost_. Too bad they didn't have the TD Bell. That would have been the perfect end for the day. Thinking that someone might like the _Grey Ghost_, I picked it up. Anyone interested in trading, email me (tbosley@bnr.ca) with subject Ghost. No, I won't disregard your mail if you use a different subject. You all know by now that I want Texas blues but I would also consider non-Texas blues (especially if it was rural/country). Just a clarification of what I mean when I say Texas blues because it's a bit broader than you might think. I'm interested if it's: - Texas style/sound - a Texan (native or transplant, regardless of style) - a native Texan now living outside Texas (regardless of style) - a non-Texan who spent significant amount of time in Texas (Texas sound preferable but not necessary) - anything dealing with Texas or Texas events (eg., I have _Can't Keep From Crying_ (JFK assassination)) Only caveat: no blues-rock (except SRV, which I already have) ========================================================================= Date: Fri, 9 Feb 1996 17:16:18 GMT Reply-To: Lily Sazz From: Lily Sazz Organization: Trailblazers Subject: Re: Country Blues or Blues Country or Country or Blues Comments: To: bit-listserv-blues-l@uunet.uu.net >Here's interesting note. My station is primarily "Country". They subscribe >to a service called "New Country". Well the latest has Pride & Joy by >Steveie Ray Vaughn. Country? Not! Blues, yes. Also, there is a cut by Dan >Baird titled "Cumberland River" that I would swear is a Blues tune if I >didn't have in my hand the album cover. Well, are we begining to see a >merging of Country and Blues?? My flame address is enclosed. >Keith Castleberry >WYDH 105.9 FM >"The Blues Cruise" >P.O. Box 710 >Atmore, AL 36504-0710 Will we ever live to see a day when music is just music? I was in university earning my degree in classical music when I discovered the blues and blues/rock genres and pursued it as a performance career. Not only do I see the similarities between country and blues, (yes, there is a line, but....) I see similarities between blues and many compositions of Mozart's time, and so on. Roots music of all kinds, I feel, could easily be presented on one radio station, and find an audience. I would love to hear SRV, followed by Emmylou Harris, followed by John Hiatt, followed by Johnny Cash, etc. Why not? lilysazz@hookup.net The Trailblazers http://www.hookup.net/~lilysazz/ ========================================================================= Date: Fri, 9 Feb 1996 09:42:16 GMT Reply-To: Dave_J._Herda@infozone.telluride.co.us From: "Dave J. Herda" Organization: InfoZone Telluride Co (970)-728-0472 Subject: Re: Why the Blues? Comments: To: shaun@WAVENET.COM Gary Constatine mused: > After a couple of bottles of incredible Port and hours of J.B. >Lenoir, Paul "Wine" Jones and Muddy Waters, I started wondering what it was >exactly about the blues that holds such a fascination for me. I hav e "0" >musical ability but nothing sounds like the blues, nothing touches me like >the blues. I'm hoping that some of you can describe in more detail just what >it is that makes the blues something you have to have. What a great thought to spend some time sitting in front of your computer pondering over. I didn't know if I should reply but here goes: First of all, I don't think that the blues is something that you have to have, instead, I think the blues is something that everyone has. Like Shaun Cronin said, the blues is a celebration of life--both the good and bad aspects. And while I feel that this could be said about pretty much any type of music, it is especially evident in blues. The good and bad that life brings every day is something that anyone can relate to. Gary says that nothing sounds like the blues, but I think you can argues that in one way or another everything sounds like the blues. Rock, rap, funk, soul, jazz--I've heard all of these types of sounds and more in old blues. This is another appeal. It seems that a lot of people who are avid fans of other types of music eventually discover blues and quickly get addicted and become bluzellars. I think that blues could be called the heartbeat of modern music. Finally, I think that blues is great music to party with period. Let me explain--It doesn't matter whether it's Port wine and Paul or Jones, Whiskey with the Wolf, Milwaukee's Best with B.B., or bong hits with Buddy Guy. Let's face it, the blues sound great when you start to get a little sloppy. The Blues is an ongoing celebration of culture and heritage that is also a documentation of history. Maybe the appeal simply lies here. All I actually know for sure, is that ever since Buddy Guy innitiated me 4 years ago this coming spring in Iowa City, IA, I've been hooked on the blues. It has affected me like know other music but I've loved every step of the trip and look forward to enjoying the rising popularity of blues in the future. Stay cool and keep on playin those blues! Peace--D "See you in St. Louie" ========================================================================= Date: Fri, 9 Feb 1996 12:50:29 -0500 Reply-To: TabbMan@AOL.COM From: John Moore Subject: Re: Blues-L Convention Comments: To: ricker@nando.net St Louis sounds good to me.................but how about Sweet Home Chicago during blues fest?Not only is it a great festival,but during the evening hours the blues clubs are a rockin' ========================================================================= Date: Fri, 9 Feb 1996 17:49:36 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Diversifying Blues Soloing Comments: To: bit-listserv-blues-l@uunet.uu.net In , "Matthew O'Brien" writes: >JMAC- > I'm a blues enthuiast of the first order. I just bought a guitar about >a year ago and have been playing for about 6 or 7 months. Now I know most >of the chords (although I don't know 9th chords) and I have mastered the >minor pentatonic scale up and down the neck. While listening to B.B. King >records, I have picked up many of his licks in the pentatonic. But many >of his songs (and other Blues Masters' songs) do not sound as if they are >based on the minor pentatonic scale. You alluded to the mixolidian scale >in your message to Doug. Is that a mode? I've heard of the mixolidian >mode, but I don't know anything about it. Could you please explain. > My quest is to diversify my soloing, which now revolves solely around >the minor pentatonic scales. I have some licks that I like very much, but >I feel that I'm stagnating with just these few. I was wondering if you >(or somebody else) could teach me some new licks. Sounds like you're on a good track. The basic blues scale will carry you far, but can be confining. You may also want to spend some time on dorian modes (use the major scale of the note 1 whole tone below the start of the scale). Besides playing and listening, you may want to check out the Jamie Aebersold series of book/play-along CDs on blues and jazz improvisation. Although they're slanted heavily towards jazz players, They make great reference works, and the play along CDs are a great substitute for a patient rhythm section. For more information, contact Aebersold at 800-456-1388 BBB B.B. Bean bbbean@cris.com Peach Orchard, MO http://www.cris.com/~bbbean B.B. Bean bbbean@cris.com Peach Orchard, MO http://www.cris.com/~bbbean ========================================================================= Date: Fri, 9 Feb 1996 10:07:20 -0800 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Subject: Re: (U) Comments: To: mmarsha1.ford@E-MAIL.COM >---- Mail Item Text Follows >UMSG:FROM: USFMDH2B--IBMMAIL TO: INET --USIGLINK 02/09/96 10:43:41 > To: INTERNET--IBMMAIL > > FROM: Michael Marshall > Subject: (U) > All you blues lovers out there. Can anyone tell how to find a blues album > I believe to be titled SUMMIT: A REAL BLUES MEETING. It s a live blues > album featuring Eddie Cleanhead Vinson doing a tune called Backdoor Blues. > I'm also in search of a blues tune I believe is done by King Curtis called > Reefer Smoker. > Always remember what Muddy Waters said: "The blues had a baby and they > named it rock and roll. "The Blues - A Real Summit Meeting" is available in several (different edits) versions. The best, IMHO, is on SUTRA, AGEK2-2007 - Roger B. ========================================================================= Date: Fri, 9 Feb 1996 10:14:41 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: Re: Josh White - hard hitting country bluesman? Comments: To: BluesHvn@aol.com Comments: cc: WARNC@SNYCORVA.CORTLAND.EDU, Jessica_Sowin@SONYMUSIC.COM I SECOND THAT EMOTION. In his only published interview - in BLUES UNLIMITED #55/56 (1968) - about a year before he died, Josh preferred to call himself a 'folk singer'. Josh's early recordings were a big influence on Blind Boy Fuller, who many consider the master of the Piedmont school of the blues (see: SONY 46777: BLIND BOY FULLER - EAST COAST PIEDMONT BLUES). Those of us who have SONY/LEGACY 47060 : GREAT BLUES GUITARISTS- STRING DAZZLERS, can just give a listen to Josh White's "Little Brother Blues" and you too will be impressed. And if you don't have this set, I suggest it be high on your list, especially if you like early acoustic guitar blues. The remastering is simply outstanding, especially when you consider some of these recordings are nearly 70 years old! Amazing. And remember, for the first time, the original masters are being used, so the sound quality is as good as you'll ever get. As for Josh White's vocals, it never changed much (light & easy), even on his last recordings for Mercury (which, by the way, has some wonderful harmonica playing by Sonny Boy Williamson!). As soon as I receive the new releases, I'll work up some reviews. The EMMETT MILLER set I'm particularly interested in. "Uncle" eRIC Cliff Warnken wrote: > > Rob, > > Yes, the early Josh White recordings (especially from 1932-33) really are > hard-hitting, with a lot of stinging guitar. His voice isn't low-down, but the playing and general approach are blues all the way--check out "Low Cotton," a real classic that gets some discussion in Bruce Bastin's RED RIVER BLUES. Among others, White also accompanied Buddy Moss on some '30's blues sides. So the Sony set should be worthwhile. > > Best, > Cliff Warnken ----- End Included Message ----- ========================================================================= Date: Fri, 9 Feb 1996 13:28:07 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Duke's Blues/USA Today Comments: To: bit-listserv-blues-l@uunet.uu.net If anyone hasn't had a chance to check this out yet you might want to soon. In USA Today it is listed as one of the "Best Bets." It says in part..."is equally adept at jazz, rootsy R&B and rock; but this album, his best in years, reflects his heart. His clearly articulated playing & strong, tasteful vocals make this the blues must-have for early (maybe all) this year. Makes me look forward to the Feb. 28th show in Buffalo with Duke & John Hammond later this month. Catbauer@vivanet.com ========================================================================= Date: Fri, 9 Feb 1996 19:38:39 +0100 Reply-To: Mittendorp From: Mittendorp Subject: Dave MacKenzie As I mentioned in an earlier message, we run a blues agency in Europe and we bring over several American blues artists to tour Europe. What we expierenced with most of the artists is that through their European activities they get more attention and respect from the American audience. That is the reason that we would like to give some information on what these artists are doing overhere. The first tour this year will be a solo artist from Nashville, TN and his name is Dave MacKenzie. Dave is a singer guitarist and his music covers a large spectrum from roots-rock to country-blues and can be perhaps be best described as southern roots music. He has got a pleasant voice and in combination with his witty lyrics the music has a strong personal character. He released two CD's on Hey Baby Records; "Rats in my bedroom" and "Slender man blues". Dave is in Europe between March 14 and 27 and he will be playing in the following countries: Holland, Belgium, Germany and Switzerland. Among other will he do a big bluesfestival in Belgium, a live radio show in Holland and a performance for the national tv in Belgium. For more information you can contact us but you can also send a mail to Dave at Other artists that will come through our agency this Spring are RJ Mischo Bluesband, Percy Strother Band, Smokey Wilson, Big Boy Henry & Lightnin' Wells,Soul Drivers, King Brothers, Diamond Jim Greene. We will send messages on these tours as well. Jan Mittendorp Crossroads Blues Agency ========================================================================= Date: Fri, 9 Feb 1996 14:47:00 -0400 Reply-To: Claudio Caponi MARNR From: Claudio Caponi MARNR Subject: Trying to get to Jack Oudiz Re:O.Shariff I have been trying to send this message to Jack for the last 2 days, to no avail. I am posting it to the list, because a) he may be getting blues-l, b) somebody else may have an answer to my questions. ------------------------------------ Dear Jack, Thanks for the information on Omar Shariff and the kind offer to help with Have Mercy. My problem is that what everybody is giving me is their snailmail address, which for me is useless as the venezuelan mail system is practically non existant. The only option would be DHL that would cost me twice the price of the CD. Do you know their fax or phone number (I suppose they have no email)? I have no problems receiving the CDs as I have a mailing address in the US (to overcome the mail problem in Venezuela). You mention an earlier Arhoolie CD, The Rattler. I have a catalog of Arhoolie releases but this is not mentioned. Are you sure of the label? Could you send me a catalog number? Sorry to bother you with this, if it gets too complicated I will still go for The Raven. Thanks anyway, ccaponi@dino.conicit.ve | Claudio Caponi | I've had my fun... Ministerio del Ambiente | Caracas - Venezuela | Otis Spann ========================================================================= Date: Fri, 9 Feb 1996 14:07:15 -0500 Reply-To: hhardy@BCONNEX.NET From: Hugh Hardy Subject: Delta Doc et al. (gearheads) Just bought a Continental Tricone for $1800. It appears to be a well made replica of the the National Tricone. Made in Germany I believe. I bought it for it's sound and feel. Anyone familiar with Continental ========================================================================= Date: Fri, 9 Feb 1996 11:20:12 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: ROOTS & RHYTHM Re: Document mail-order/e-mail? Comments: To: BluesHvn@aol.com Comments: cc: roots@hooked.net The last time I checked, ARHOOLIE RECORDS is the distributor for DOCUMENT RECORDS in North America. ROOTS & RHYTHM is good source & their email is indeed roots@hooked.net. R&R also has a website - check out BLUES WORLD . It's changing everyday, so I would include it on your hotlist/bookmarks. Right now, ROOTS & RHYTHM have a special on P-VINE CDs that everyone should look at. eRIC Tom Freeland wrote: > > In a message dated 96-02-09 03:39:39 EST, jose.eric.s.maglanque@AC.COM > (jose.eric.s.maglanque) writes: > > >Hello bluesellers -- > > > >Does Johnny Parth's Document Records have mail order services? Can one buy > >directly from them? Do they have an e-mail address also? Private e-mail > >pls. > > > >Thanks y'all. > > I would recommend two possible sources: A really good independent record > store should have no trouble ordering them for you. Find one with a good > blues stock. There is one right here in Oxford, MS that is able to stock and > order them. Second source: Mail order or telephone order through Roots and > Rythmn. Before I got a good local source, they where my source. Their email > address is roots@hooked.net I THINK. > > Tom Freeland ----- End Included Message ----- ========================================================================= Date: Fri, 9 Feb 1996 13:33:09 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Re: Why the Blues? -Reply Comments: To: Dave_J._Herda@INFOZONE.TELLURIDE.CO.US Blues is the language of the heart. regards, delta doc roger ========================================================================= Date: Fri, 9 Feb 1996 14:30:51 -0500 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Going to Memphis... Comments: To: bit-listserv-blues-l@uunet.uu.net Hey Blues-L folks. I am going to Memphis for the first time in March to do some research for the book I am writing on contemporary blues women. Any suggestions for hot spots or hot people to talk to? "Denise" has been of great help, but I would appreciate some more suggestions. Thank ya! Lea Gilmore Baltimore, MD "Wild Women Don't Have the Blues" ========================================================================= Date: Fri, 9 Feb 1996 14:35:50 -0600 Reply-To: Storm Bailey From: Storm Bailey Subject: Re: God, the devil and Why the Blues? Delta Doc aptly answered "why the blues" like this: >Blues is the language of the heart. Which may also say something about that odd blues/religion thing... Blues is about what is real and important; so, IMVHO, is religion if it's worth anything. Storm ========================================================================= Date: Fri, 9 Feb 1996 13:58:00 -0700 Reply-To: bmpech@MSCD.EDU From: Bruce Pech Subject: Gear: Substitute for 1/2 Speed and Slo-Mo Recorders (long) As an acoustic blues and slide guitarist with a tin ear, I have a difficult time learning guitar parts from records and have had to rely on tab and, more recently, videos to expand my repertoire. Unfortunately, a lot of published tab omits many of the breaks and riffs heard on recordings -- so I've always been interested in 1/2 speed recorders and other technological gizmos as learning tools. However, since conventional 1/2 speed recorders lower a recording's pitch by an octave, they're often more frustrating than helpful. Ridgerunner in Texas sells a pricey digital "Slo-Mo" recorder that plays back about a minute of a recording at 1/2 speed (or slower) without affecting its pitch. (An advertisement for the recorder appears in the latest issue of Blues Revue for those of you with $600 to spare). After an off-list exchange with Laurie Forti last fall, I began looking for a shareware program that would transform a soundcard-equipped PC into a substitute for a Slo-Mo. I'm happy to report that I've found it. The program, authored by Gary Maddox and called BlasterMaster, allows a PC user with a SoundBlaster or compatible soundcard to record .voc files from a CD (or convert .wav files recorded with, e.g., Creative Lab's WaveEditor to .voc files), slow them down to 1/2 speed (or, by repeated iterations, 1/4 speed, etc.) and play them back at the original pitch. And, unlike the Slo-Mo, the registered version of the program will record as many minutes of music as you have hard disk space. (BlasterMaster also has a comprehensive array of other editing features.) The downside of the program is: (1) playback audio quality is mediocre -- but adequate for learning and (2) .voc or .wav files 2, 3 or more minutes in duration need megabytes of storage space (maybe a good reason to get a Zip or EZ Drive if you want to compile a library of big files). In any event, BlasterMaster can be downloaded from the Midi/Music Forum library on Compuserve and, I understand, from other Internet sites. The basic registration is $25 (The unregistered program is crippled. However, once you register, Maddox e-mails you a code that "unlocks" the program and permits unlimited recording and editing.) Those of you who've been tempted by the Slo-Mo but deterred by the price may want to give BlasterMaster a try. Disclaimers: not affiliated in any way with Gary Maddox, Creative Labs, Ridgerunner, Blues Revue, Compuserve, Iomega, Sysquest, etc., etc., etc., ad nauseum. BP Boulder, CO (envious of bluezellers like Riffin' Rick who have an aptitude for coppin' licks and tunes without high-tech help) ========================================================================= Date: Fri, 9 Feb 1996 15:58:42 -0500 Reply-To: Jessica Sowin From: Jessica Sowin Subject: Re: Josh White - hard hitting country bluesman? Rob Hutten commented: >I'll admit that I've never heard a lot of Josh White - One or two of >his early "Pinewood Tom" recordings, a video clip from the early 60's, >and I have four or five 78s from the same period, and what I hear is a >very good singer and guitarist with an urbane (and in the later stuff, >fairly slick) style. > >I'd hesitate to call even his early stuff "country blues", and none >of it seems particularly "hard-hitting" to me. > >Have I not heard enough Josh White, or is this an example of >over-zealous packaging by the label? "The Josh White recordings dealt with in our new presentation are, indeed, country blues of the highest order. To use a frame of ref- erence for these recordings based upon his post-1940 recordings is inaccurate. By that time he had completely changed his musical approach and was well on the way to becoming a semi-sophisticated "folk" artist who did not remotely resemble the earlier Josh White." Larry Cohn (producer) (Posted by Jessica Sowin) ========================================================================= Date: Fri, 9 Feb 1996 20:51:56 GMT Reply-To: James Elmore From: James Elmore Organization: SuperNet Inc. (908) 828-8988 Subject: Re: Country/Blues Connection - detailed info Comments: To: bit-listserv-blues-l@uunet.uu.net Scott Barretta wrote: >If people interested in this issue would like to know more, I would >strongly recommend the following sources which deal specifically with >the relation between country and blues in the 20s and 30s. > >1.Black, Whites and Blues by Tony Russell. London: Studio Vista, 1970. > >2. Charles Wolfe's chapter on White country blues in the recent >coffee table book Nothing But the Blues, ed. Lawrence Cohn > > > >3. Rounder's CD of the black Virginia songster Leslie Riddle > >4. Barney Hoskyn's book Say It One Time For the Brokenhearted >(Fontana; late 70s?) is the best source on the relationship between >soul music and country music > To the above list, I'd add these 2 titles by Peter Guralnick that details the influence that the blues and other black music had on 40's & 50's country and rockabilly acts- FEEL LIKE GOING HOME and LOST HIGHWAYS. ========================================================================= Date: Fri, 9 Feb 1996 16:31:42 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: Why the Blues? -Reply Comments: To: Roger Struve In-Reply-To: > Blues is the language of the heart. > > regards, > delta doc roger Which kinda brings to my old young King Tut: Being the language of the heart, as delta doc mentions, blues must also have something to do with love: Love w/o blues is impossible; blues w/o love is indefensible! "Tryin' to make it real compared to what..." (Les McCann) Dave Prychitko (Yea, I'm still on board; just a bit too busy to open my mouth... I just published a two volume set of books titled PRODUCER COOPERATIVES AND LABOR-MANAGED SYSTEMS, for the International Library of Critical Writings in Economics [Elgar Publishing], co-edited with Jaroslav Vanek. To be honest, however, I'd trade it all off to be handed James Peterson's guitar and play a couple quick numbers on stage. Damn, P.W.!) ========================================================================= Date: Fri, 9 Feb 1996 15:34:54 -0600 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Folkways Another web site to check out is the Smithsonian Folkways Collection: http://www.si.edu/products/folkway/start.htm Bruce Roberts Austin, TX ========================================================================= Date: Fri, 9 Feb 1996 19:26:02 GMT Reply-To: mckenzie@ipcs.demon.co.uk From: "Ian K. McKenzie" Subject: Why country muisic is not blues Pat Hertel wrote: > Here are some actual country music >song titles: To which you can add that tender song of love "You're the reason our kids are ugly". *********************************************** Ian K. McKenzie University of Portsmouth England *********************************************** ========================================================================= Date: Fri, 9 Feb 1996 15:42:49 CST Reply-To: JBards From: JBards Subject: Re: Delta Doc et al. (gearheads) Comments: To: hhardy@BCONNEX.NET when I was researching this last year, I got a lot of bad feeback on the Continentals re: quality control. mf course, quality control can work both ways and maybe you got a good one. -Jim _______________________________________________________________________________ Subject: Delta Doc et al. (gearheads) From: hhardy@BCONNEX.NET at INTERNET-SH Date: 02/09/96 1:53 PM Just bought a Continental Tricone for $1800. It appears to be a well made replica of the the National Tricone. Made in Germany I believe. I bought it for it's sound and feel. Anyone familiar with Continental ========================================================================= Date: Fri, 9 Feb 1996 17:00:07 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: God, The Devil and The Blues -Reply Comments: To: roger.lew.struve@medtronic.com On February 9, Roger Struve wrote: >>>Dick Waterman told me once that Son just lived his >>>life out right there onstage in front of everyone, and >>>that its hard sometimes to remember the >>>intensity of Son House when you look at what goes >>>down as blues today. (hope that was ok to share, >>>Dick?). Son House played his music exactly the same in front of 20,000 at a festival or sitting on the end of the bed in a motel right after putting on new guitar strings. He just closed his eyes, rocked back a bit and 'went somewhere else.' The sweat broke out on his face and his humming became words and then he got louder and louder. And I knew that he had 'gone' to Robinsonville or Frair's Point and that he was back in 1930-something. There are a whole lot of things in my life that I might have done differently or should have observed more closely but my appreciation of Son House was one thing that I got right. It defies description to watch a musician so overcome by his own artistry that he would go into a trance that overwhelmed him completely. I still stand by what I wrote about Mister House in "Living Blues' after he died" "On October 19, 1988, every blues man in the world moved up one place. There had been a vacancy at the very top." Dick Waterman ========================================================================= Date: Fri, 9 Feb 1996 16:45:53 -0700 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: Resubscribed Hi Old and New! I couldn't stay away anymore. It's great to be back! RW ========================================================================= Date: Fri, 9 Feb 1996 17:51:38 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: The First Ever Blues-L Convention Way back when, anybody who wished to have a say in the matter unanimously agreed that Dick Waterman, since he was volunteering to do a lot of the work, would make the final choice of site. We all made our suggestions, keeping in mind the criteria that Dick had outlined, and the fact that it would be impossible to make all 1500 of us happy with the date and/or location. Now that Dick has reported on the preliminaries, and said that if it's up to him he picks Labor Day - St. Louis, folks are trying to turn it back into a debate. I say it's OVER. Neither the date nor the location is convenient for me, and I may not be able to go, but I was among the many who said - what Dick decides is good enough for me. Now, instead of trying to re-open the decision to further debate (and possibly souring Dick on the whole idea), let's do what we can to make it a success for as many people as can go. P.W. Fenton Tampa, Florida ---------------------------------------------------- Please visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 9 Feb 1996 18:00:51 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Tribute to Son House Comments: To: Jinxblues@AOL.COM On 9 Feb 96, Dick Waterman had this to say: > I still stand by what I wrote about Mister House in "Living Blues' after he > died" > "On October 19, 1988, every blues man in the world moved up one place. There > had been a vacancy at the very top." What a beautiful tribute. On the day *I* die, every Bluesman in the world will look around for a second and say "Never mind... I thought I noticed something but it's gone now." P.W. Fenton Tampa, Florida ---------------------------------------------------- Please visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 9 Feb 1996 15:18:16 -0800 Reply-To: Mark Naftalin From: Mark Naftalin Subject: 411-Winner Announces: "Bloomfield notes" "Bloomfield notes" is a well-put-together fanzine dedicated to the memory of Michael Bloomfield. Editor-Publisher Jan Mark Wolkin has, in the past, distributed the publication by mail at his own expense. There are, so far, five issues. Included in these issues are interviews with Charlie Musselwhite, Nick Gravenites, Mark Naftalin and Al Kooper as well as a variety of information on Michael Bloomfield and his recordings. All issues of "Bloomfield notes" are now on 411-Winner. Future issues will be presented seen on 411-Winner as they emerge. 411-Winner also embraces information on Winner artists and releases, an extensive Otis Spann discography, and other info of interest to blues fans. Mark Naftalin 411-Winner (The Winner Info-Page) ========================================================================= Date: Fri, 9 Feb 1996 19:01:36 -0500 Reply-To: Jon Duttweiler From: Jon Duttweiler Subject: Sitting&Thinking-Otis Spann Hey folks, just wanted to take a second to introduce myself. I've been around on Blues-L for about a year now, but have just started writing reviews for NY CD Blues (Barry has been kind enough to put up with my ramblings!). This is my first post under this subject, though there are several of my reviews at our Web site already (which, BTW, I invite you to drop by and check out, the URL is at the end of this post). Hope you enjoy it and if not, just hit the delete ;-)! Seriously, I welcome your comments. If you have problems with me, don't blame Barry! So, without further adieu, my first Sitting & Thinking post: OTIS SPANN / DOWN TO EARTH - THE BLUESWAY RECORDINGS (MCAD-11202) MCA / 70 UNIVERSAL CITY PLAZA, UNIVERSAL CITY, CA 91608 OK, so you say you never got a chance to see any Chicago blues greats at small, smoky Chicago clubs in the 60's? You say you're too young to have seen Muddy Waters, Otis Spann and friends live? You say you really want to understand what all the fuss is about when people talk of the 50's or 60's as the "golden age" of blues? Or maybe you just want to relive all those great times and great music? In any, or all of those cases, this is a CD you really don't want to miss! The late Otis Spann was one of those blues geniuses who passed from this earth much too soon (he died in April, 1970, only 40 years of age) but who has left behind a significant legacy of recorded music. MCA has re-released two of the many classics in that body of work on this one CD. Both were originally recorded for the ABC-Bluesway label in the mid-60's and both feature Muddy Water's band of the time, including Muddy himself! The first of these albums, encompassing tracks 1 through 9, was titled "The Blues Is Where It's At." This was recorded "live" in the studio in one day in August, 1966. The studio "audience" for this session was active and vocal, as evidenced throughout these cuts (liberally, if reluctantly, supplied, according to the liner notes, with liquor by producer Bob Thiele). Musicians for this session include a veritable "who's who" of Chicago blues (which Otis points out on the cut "Chicago Blues"). Of course Otis takes the vocal chores and thunders on piano, Muddy Waters, Luther (Georgia Boy) Johnson and Sam Lawhorn contribute the guitars. Harpist George Smith, Mac Arnold on Bass and Francis Clay playing drums fill out the band. The second album was recorded in November of 1967 and released as "Bottom of the Blues." Another studio effort, this time without the in-studio audience, the band was again Muddy's working band of the time. Along with Otis and the same three on guitars as the earlier album, Lucille Spann (Otis' wife) takes a turn on vocals, George (Mojo) Buford provides harp, Lawrence Wimberley plays bass, and S. P. Leary is on drums. Sound quality for the whole disc is quite good, though suffering from some of the 60's penchant for experimenting with the "new" stereo format. Together, these two albums present some of the best music and "feel" of the Chicago blues scene of the time. If you really want to understand what all the fuss over Otis Spann was (and is) about, get this CD. Not only is it great music, but with two albums on one disc, its a great deal! POPCORN MAN / BRAND NEW HOUSE / CHICAGO BLUES / STEEL MILL BLUES / DOWN ON SARAH STREET / T'AIN'T NOBODY'S BIZNESS IF I DO / NOBODY KNOWS CHICAGO LIKE I DO (PARTY BLUES) / MY HOME IS IN THE DELTA / SPANN BLUES / HEART LOADED WITH TROUBLE / DIVING DUCK / SHIMMY BABY / LOOK LIKE TWINS / I'M A FOOL / MY MAN / DOWN TO EARTH / NOBODY KNOWS / DOCTOR BLUES NY CD Takes POPCORN MAN: Appropriately, Spann opens up with a Muddy Waters original and kicks off the disk in spry fashion. What stands out on this track is George Smith's wonderful harmonica work (isolated in the right channel) and the jumping guitar licks (isolated in the left channel) by either Sam Lawhorn or Luther Johnson. Otis' vocals are right on the mark for this tune, which overall sets a very festive mood for the disc. BRAND NEW HOUSE: On this cut, Spann turns a Bobby Darin (yes, you read right) tune into a slow blows burner. George Smith again lays down some wonderful blues harp and the guitarist (Lawhorn?) shines through again on lead. Spann offers up some rousing piano, as well as showing off how well he can sing this type of song. CHICAGO BLUES: The first Spann original on the disc, this tune is a rolling boogie-woogie, with Muddy cutting through with some of his distinctive slide work.. Spann shows a strong right hand as he lets loose on the piano, with the rhythm section keeping him in the groove. This song is a roll call of Chicago blues luminaries, many of whom are playing. Great cut! STEEL MILL BLUES: In what is essentially Eddie Boyd's "Five Long Years," (the liner notes credit O. Spann and G. Spink for writing the tune), Otis shows off both his voice and piano playing. Along with some more stellar guitar work from both Lawhorn and Muddy, Otis and company lay down a tight rendition of this classic tune. DOWN ON SARAH STREET: Slowing the pace down again, this Otis Spann penned track has more than just Otis shining through. George Smith, who took over harp duties in Muddy's band in 1966 after James Cotton left, stands out on some extended solo time, and Lawhorn contributes more of his classic blues guitar. The audience really appreciated this track, as will you. T'AIN'T NOBODY'S BIZNESS IF I DO: A classic blues song done by one of the classic blues greats of all time! With the harp wailing in the background, echoing the lonesome cry of a far off train, Otis let's off with what could be, at first listen, a prayer "Lord, lord, lord, lord..." Spann practically slides vocally through this song. The instrumental arrangement is perhaps more sparse than you've heard before, and it really works here. What can I say? If Spann's voice doesn't send chills up your spine you better check your pulse! NOBODY KNOWS CHICAGO LIKE I DO (PARTY BLUES): The band picks it up and rolls again with this track. Take great vocals, a tight rhythm section, slicing guitar work and strong boogie piano and wailing harp, mix them all together and you've got all the ingredients that make Chicago blues so great - and you've also got this tune. Play it loud! MY HOME IS IN THE DELTA: Muddy Water's slide is most prominent, appropriately enough, on this classic Waters cut from his penultimate back to basics blues disc "Folk Singer." Otis does his fellow Mississippian proud on this track as they grind their way through this great song. Listening to this you cannot almost feel and taste that black delta dirt. SPANN BLUES: Closing out the tracks which represent the first album on this disc, is this mid-tempo instrumental. Otis calls his bandmates names off as he gives them space to move out and show off their musical prowess. While maybe not a "headcutting," one can imagine each successive musician wanting to prove he could cut lose a little better than the ones before. HEART LOADED WITH TROUBLE: This number opens up the "studio" album portion of this CD with all but the rhythm section intact among the musicians. This group doesn't miss a beat! "Mojo" Buford (who named himself after Muddy's signature song, "Got My Mojo Working" when he joined the band) shows right away he belongs as this song rocks along, driven by S. P. Leary's drumming. DIVING DUCK: In this track Otis takes one of those ubiquitous blues lines and makes it his own in a deep, slow blues number. Lawhorn kicks in some tasty guitar and Mojo makes his harp moan, getting a wonderful horn-like quality out of it. Spann takes time to show off his own skills on piano as he takes you down to the bottom of the whiskey "river" with him. SHIMMY BABY: Leary and bassist Sonny Wimberley kick off this rocking little number for Otis. Lucille Spann offers up some vocal counterpoint to husband Otis as they engage in a little give and take. This song takes some of the 60's soul stylings and gives them a blues twist. LOOK LIKE TWINS: Spann goes deep down in the alley for this one as Muddy lays out his trademark slide and Mojo Buford blows mournfully on his harp. Another Muddy Waters composition, this is as deeps as the blues gets. I'M A FOOL: Here Otis and Lucille again get to engage in a little vocal sparring in a track that Lucille penned. This track is a rousing piano boogie with the whole band kicking in with gusto. Otis sings what a fool he is for how he's acted over a woman, with Lucille agreeing every step of the way. Great track, great fun! MY MAN: Otis and band slow it down a notch for this track featuring Lucille on vocals. While there are no horns, the band plays this in classic blues style that Count Basie would have been proud of. Lucille sings it in the style of Bessie Smith as Otis does a little Tin Pan Alley on the keys. DOWN TO EARTH: This up-tempo number is the final collaboration for Otis and spouse on this disc. Lawhorn lays down some fluid licks as Otis and Lucille trade verses. Listen to Mojo blow in the right speaker and ask yourself why he never gets mentioned along with the other harp greats that occupied that chair in Muddy's band. NOBODY KNOWS: Getting ready to close out the set, the band brings it down for a slow dance number. The feel of this song is late on a Saturday night, the joint just about cleared out (though who would leave out on this cast I don't know!), the band playing one more song for the road. Stellar work all around. DOCTOR BLUES: Otis and company crank it back up for the final track of the disc. This rousing boogie has the band swinging one more time. Otis again gives room for his bandmates to step out (wonder who he learned that from?) and they again don't let the man down. If you like Chicago blues, rolling piano, liquid guitar and wailing harmonica, you'll love this track and this disc. Listening to this makes you wish you could go back and sit in Peppers Lounge just once to catch these guys live! Reviewed by Jon Duttweiler Copyright NY CD Blues @1995-1996 All Rights Reserved. Unauthorized use prohibited. NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Fri, 9 Feb 1996 20:26:06 -0600 Reply-To: Chris McIntosh From: Chris McIntosh Subject: Seeking Otis Spann Discography Hi, I really dig Otis Spann and am looking for more recordings to check out. I have a copy of him with Robert Lockwood which includes "Must have been the Devil" and Walkin' the Blues (I think). At any rate, I'm looking for more great Otis Spann. I've also heard that he plays on an album with Fleetwood Mac, but I have'nt been able to find it. Thanks for any pointers. Later, Chris ========================================================================= Date: Fri, 9 Feb 1996 19:20:56 -0800 Reply-To: Jordan From: Jordan Organization: Sirius Connections Subject: Re: Beavis & Butthead Comments: To: bit-listserv-blues-l@uunet.uu.net Yesterday, Poindexter (Scott) Regan said: > This doesn't really have much to do with this subject, but this thread > reminded me of a funny story told to me by harmonica player Mark Hummel. > Over the last 15 years, Hummel's bands have included just about every > young west coast blues player, many of whom have gone on to bigger and > better things--Hummel's band seems to be the blues version of a Triple A > baseball team. In the mid-'80s, Beavis & Butthead creator Mike Judge > even played (and recorded) with them. A few years ago Ronnie James Weber > was playing bass with Hummel, and Little Charlie & The Nightcats were > looking for a bass player, so they ended up hiring Weber away from Hummel. > A really cool guy and good bass player named Vance Ehlers replaced > Weber. The first gig that Vance played with Hummel, Rick Estrin of > Little Charlie & The Nightcats happened to be in the audience. During > the break, Estrin approached Vance and complimented him on his bass > playing, and then said in a confidential tone, "Yeah, you know playing > with Hummel can lead to some really big things". Vance is wondering if > maybe Weber isn't working out, until Estrin quickly adds, "Yeah, BIG > things....do you draw any cartoons?" Well, well. Here's an addendum from "the more things change, the more things stay the same" department. Hummel's a Bay Area friend of mine and a few weeks ago, he told me that Ehlers had quit his band to join.....are you up for the suspense.....Little Charlie and the Nitecats! By the way, Ronnie James Weber is now a part of the Rusty Zinn Band out of San Francisco. Look out for this marvelous jump-blues guitarist's debut (produced by his friend Kim Wilson) on a major blues label sometime after May or June! We're all in for a massive treat. And P.S. I still think Anson looks like Stan Laurel when he plays! Joseph SF, CA -- Down these mean streets, a man must go. - Raymond Chandler - ========================================================================= Date: Fri, 9 Feb 1996 19:46:31 -0800 Reply-To: "JOHN P. WILLIS" From: "JOHN P. WILLIS" Subject: Sound Bites Available from RR Hall of Fame This is multipart MIME message. --ytbeprgulysrkwtktvubkqxaaekikt Content-Type:text/plain; charset=US-ASCII; name="NCZ0605.TMP" At the Web site for the Rock and Roll Hall of fame, sound bites are available for dl as well as for Real audio play. These seem to be the bites used for the Museum Tour[ some have voice-over the music]. site; http://www.rockhall.com John Willis ======================================== --ytbeprgulysrkwtktvubkqxaaekikt Content-Type:text/plain; charset=US-ASCII; name="rkstars.one" Rock & Roll Hall of Fame + Museum WAV: standard PC sound format AU: another popular sound format RA: RealAudio format. Allows instant playback with no wait for download time. If you don't have a RealAudio Player, download the Mac or PC version from RealAudio ------------------------------------------------------------------------------- Ackerman, Paul . . . . . WAV . . . . . AU . . . . . RA Allman Brothers, The . . . . . WAV . . . . . AU . . . . . RA Animals, The . . . . . WAV . . . . . AU . . . . . RA Armstrong, Louis . . . . . WAV . . . . . AU . . . . . RA Baker, La Vern . . . . . WAV . . . . . AU . . . . . RA Ballard, Hank . . . . . WAV . . . . . AU . . . . . RA Band, The . . . . . WAV . . . . . AU . . . . . RA Bartolomew, Dave . . . . . WAV . . . . . AU . . . . . RA Bass, Ralph . . . . . WAV . . . . . AU . . . . . RA Beach Boys, The . . . . . WAV . . . . . AU . . . . . RA Beatles, The . . . . . WAV . . . . . AU . . . . . RA Berry, Chuck. . . . . WAV . . . . . AU . . . . . RA Bland, Bobby "Blue". . . . . WAV . . . . . AU . . . . . RA Booker T. and the M.G.'s. . . . . WAV . . . . . AU . . . . . RA Brown, James . . . . . WAV . . . . . AU . . . . . RA Brown, Ruth . . . . . WAV . . . . . AU . . . . . RA Byrds, The . . . . . WAV . . . . . AU . . . . . RA Cash, Johnny . . . . . WAV . . . . . AU . . . . . RA Charles, Ray . . . . . WAV . . . . . AU . . . . . RA Chess, Leon . . . . . WAV . . . . . AU . . . . . RA Christian, Charlie . . . . . WAV . . . . . AU . . . . . RA Clark, Dick . . . . . WAV . . . . . AU . . . . . RA Coasters, The . . . . . WAV . . . . . AU . . . . . RA Cochran, Eddie . . . . . WAV . . . . . AU . . . . . RA Cooke, Sam . . . . . WAV . . . . . AU . . . . . RA Cream . . . . . WAV . . . . . AU . . . . RA Creedence Clearwater Revival, The . . . . . WAV . . . . . AU . . . . RA Darin, Bobby . . . . . WAV . . . . . AU . . . . RA Diddley, Bo . . . . . WAV . . . . . AU . . . . RA Dion and The Belmonts . . . . . WAV . . . . . AU . . . . RA Dixon, WIllie . . . . . WAV . . . . . AU . . . . RA Domino, Fats . . . . . WAV . . . . . AU . . . . RA Doors, The . . . . . WAV . . . . . AU . . . . RA Dozier, Lamont . . . . . WAV . . . . . AU . . . . RA Drifters, The . . . . . WAV . . . . . AU . . . . RA Dylan, Bob . . . . . WAV . . . . . AU . . . . RA Eddy, Duane . . . . . WAV . . . . . AU . . . . RA Ertegun, Ahmet . . . . . WAV . . . . . AU . . . . RA Ertegun, Nesuhi . . . . . WAV . . . . . AU . . . . RA Everly Brothers, The . . . . . WAV . . . . . AU . . . . RA Fender, Leo . . . . . WAV . . . . . AU . . . . RA Four Seasons, The . . . . . WAV . . . . . AU . . . . RA Four Tops, The . . . . . WAV . . . . . AU . . . . RA Lymon, Frankie and the Teenagers . . . . . WAV . . . . . AU . . . . RA Franklin, Aretha . . . . . WAV . . . . . AU . . . . RA Freed, Alan . . . . . WAV . . . . . AU . . . . RA Gabler, Milt . . . . . WAV . . . . . AU . . . . RA Gaye, Marvin . . . . . WAV . . . . . AU . . . . RA Goffin, Jerry, and Carole King . . . . . WAV . . . . . AU . . . . RA Gordy, Berry . . . . . WAV . . . . . AU . . . . RA Graham, Bill . . . . . WAV . . . . . AU . . . . RA Grateful Dead . . . . . WAV . . . . . AU . . . . RA Green, Al . . . . . WAV . . . . . AU . . . . RA Guthrie, Woody . . . . . WAV . . . . . AU . . . . RA Haley, Bill . . . . . WAV . . . . . AU . . . . RA Hammond, John . . . . . WAV . . . . . AU . . . . RA Hendrix, Jimi . . . . . WAV . . . . . AU . . . . RA Holland, Brian . . . . . WAV . . . . . AU . . . . RA Holland, Eddy . . . . . WAV . . . . . AU . . . . RA Holly, Buddy . . . . . WAV . . . . . AU . . . . RA Hooker, John Lee . . . . . WAV . . . . . AU . . . . RA --ytbeprgulysrkwtktvubkqxaaekikt-- ========================================================================= Date: Fri, 9 Feb 1996 19:48:08 -0800 Reply-To: "JOHN P. WILLIS" From: "JOHN P. WILLIS" Subject: Sound Bites at RR Hall - Part 2 This is multipart MIME message. --awmdllncvohupjehyyhjoyvyrgephs Content-Type:text/plain; charset=US-ASCII; name="NCZ206F.TMP" continued from Part 1 --awmdllncvohupjehyyhjoyvyrgephs Content-Type:text/plain; charset=US-ASCII; name="rkstars.two" Howlin' Wolf . . . . . WAV . . . . . AU . . . . RA Impressions, The . . . . . WAV . . . . . AU . . . . RA Ink Spots, The . . . . . WAV . . . . . AU . . . . RA Isley Brothers, The . . . . . WAV . . . . . AU . . . . RA James, Elmore . . . . . WAV . . . . . AU . . . . RA James, Etta . . . . . WAV . . . . . AU . . . . RA John, Elton . . . . . WAV . . . . . AU . . . . RA Johnson, Robert . . . . . WAV . . . . . AU . . . . RA Joplin, Janis . . . . . WAV . . . . . AU . . . . RA Jordan, Louis . . . . . WAV . . . . . AU . . . . RA King, BB . . . . . WAV . . . . . AU . . . . RA King, Carol . . . . . WAV . . . . . AU . . . . RA Kinks, The . . . . . WAV . . . . . AU . . . . RA Leadbelly . . . . . WAV . . . . . AU . . . . RA Led Zeppelin . . . . . WAV . . . . . AU . . . . RA Leiber, Jerry, and Mike Stoller . . . . . WAV . . . . . AU . . . . RA Lennon, John . . . . . WAV . . . . . AU . . . . RA Lewis, Jerry . . . . . WAV . . . . . AU . . . . RA Longhair, Professor . . . . . WAV . . . . . AU . . . . RA Marley, Bob . . . . . WAV . . . . . AU . . . . RA McPhatter, Clyde . . . . . WAV . . . . . AU . . . . RA Morrison, Van . . . . . WAV . . . . . AU . . . . RA Nelson, Rick . . . . . WAV . . . . . AU . . . . RA Orbison, Roy . . . . . WAV . . . . . AU . . . . RA Orioles, The . . . . . WAV . . . . . AU . . . . RA Otis, Johnny . . . . . WAV . . . . . AU . . . . RA Paul, Les . . . . . WAV . . . . . AU . . . . RA Perkins, Carl . . . . . WAV . . . . . AU . . . . RA Phillips, Sam . . . . . WAV . . . . . AU . . . . RA Pickett, Wilson . . . . . WAV . . . . . AU . . . . RA Platters, The . . . . . WAV . . . . . AU . . . . RA Pomus, Doc . . . . . WAV . . . . . AU . . . . RA Presley, Elvis . . . . . WAV . . . . . AU . . . . RA Rainey, Ma . . . . . WAV . . . . . AU . . . . RA Redding, Otis . . . . . WAV . . . . . AU . . . . RA Reed, Jimmy . . . . . WAV . . . . . AU . . . . RA Richard, Little . . . . . WAV . . . . . AU . . . . RA Robinson, Smokey . . . . . WAV . . . . . AU . . . . RA Rodgers, Jimmie . . . . . WAV . . . . . AU . . . . RA Rolling Stones, The . . . . . WAV . . . . . AU . . . . RA Sam & Dave . . . . . WAV . . . . . AU . . . . RA Simon and Garfunkel . . . . . WAV . . . . . AU . . . . RA Sly and the Family Stone . . . . . WAV . . . . . AU . . . . RA Smith, Bessie . . . . . WAV . . . . . AU . . . . RA Soul Stirrers, The . . . . . WAV . . . . . AU . . . . RA Spector, Phil . . . . . WAV . . . . . AU . . . . RA Stewart, Rod . . . . . WAV . . . . . AU . . . . RA Stoller, Mike, and Jerry Leiber . . . . . WAV . . . . . AU . . . . RA Supremes, The . . . . . WAV . . . . . AU . . . . RA Temptations, The . . . . . WAV . . . . . AU . . . . RA Turner, Big Joe . . . . . WAV . . . . . AU . . . . RA Turner, Ike and Tina . . . . . WAV . . . . . AU . . . . RA Vandellas, The . . . . . WAV . . . . . AU . . . . RA Walker, T-Bone . . . . . WAV . . . . . AU . . . . RA Washington, Dinah . . . . . WAV . . . . . AU . . . . RA Waters, Muddy . . . . . WAV . . . . . AU . . . . RA Wexler, Jerry . . . . . WAV . . . . . AU . . . . RA Who, The . . . . . WAV . . . . . AU . . . . RA Williams, Hank . . . . . WAV . . . . . AU . . . . RA Wilson, Jackie . . . . . WAV . . . . . AU . . . . RA Wonder, Stevie . . . . . WAV . . . . . AU . . . . RA Yancey, Jimmy . . . . . WAV . . . . . AU . . . . RA Yardbirds, The . . . . . WAV . . . . . AU . . . . RA Young, Neil . . . . . WAV . . . . . AU . . . . RA Zappa, Frank . . . . . WAV . . . . . AU . .RA --awmdllncvohupjehyyhjoyvyrgephs-- ========================================================================= Date: Fri, 9 Feb 1996 22:09:32 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Tribute to Son House At 12:00 PM 2/9/96, P.W. Fenton wrote: >On 9 Feb 96, Dick Waterman had this to say: > >> I still stand by what I wrote about Mister House in "Living Blues' after he >> died" >> "On October 19, 1988, every blues man in the world moved up one place. There >> had been a vacancy at the very top." > >What a beautiful tribute. > >On the day *I* die, every Bluesman in the world will look around for >a second and say "Never mind... I thought I noticed something but >it's gone now." What we need, Paul, is someone like Dick Waterman to write our tributes.... David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Sat, 10 Feb 1996 03:57:09 GMT Reply-To: curtis ramsey From: curtis ramsey Organization: Indiana University, Bloomington Subject: Re: Q: Blues Festival Dates? Comments: To: bit-listserv-blues-l@uunet.uu.net In article <4fe3qf$pki@newsbf02.news.aol.com>, SAVBLUES wrote: >Hey Jim ! I don't know about this summer, but, there is a great blues >festival happening in Jacksonville Beach, Fla called Springing the Blues, >that one is held April 12,13,14 and its right on the oceanfront. lots to >do, lots to see. More of a fall date, but the KING BISCUIT BLUES FESTIVAL is hard to beat. Around the first weekend of October. ========================================================================= Date: Fri, 9 Feb 1996 23:27:55 -0600 Reply-To: Chris McIntosh From: Chris McIntosh Subject: Boston Blues Society Fundraiser Boston Blues Society Fundraiser, Monday February 12th at Harper's Ferry in Allston, MA featuring The Shirley Lewis Experee-ance, Mr. Weepin' Willie, and Blues Express. For more info check out the Boston Blues Society Home Page at http://www.webmkt.com/bosblues Thanks for your support, Chris Mc ========================================================================= Date: Fri, 9 Feb 1996 22:15:19 -0800 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: just testing...don't read Comments: To: bit-listserv-blues-l@uunet.uu.net News server config problems...test one -- Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~Some mornings it's just not worth chewing through the leather straps. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Sat, 10 Feb 1996 05:49:19 GMT Reply-To: RT From: RT Organization: Rootin'Tootin' Subject: Otis Spann fans!? Comments: To: bit-listserv-blues-l@uunet.uu.net Without a doubt one of the best to ever lay hands on those 88's!!!"Temperature's Rising" album did just that!Used to have a copy-lost it-would kill to find it again.And of course all catalogs I've checked don't list it.Oh well(sigh)...life goes on,just a little bluesier than before. RT ========================================================================= Date: Fri, 9 Feb 1996 23:30:43 -0800 Reply-To: James Carmin From: James Carmin Subject: Blues Bytes IS GREAT! Just got my copy of BLUES BYTES and it's just too damn full of great music! Thanks to Bob Unger (bob@sun.bnkst.edu) for producing this load of excellent sounds and organizing the whole thing. And thanks to Cathi Norton, The Willy Evans Band, Dave Sherman & The Nightcrawlers, Ron Kraemer & The Hurricanes, Midnight Blues, Larry Corbett, Blues Messengers, Billy Price, Dr. Swamp, The Nightcats, The Automatics, The Streamliners, and Mike Heidenberg for letting us sample their art! This is a great mix of music and sure shows what an amazing amount of talent and skill we have out here on BLUES-L. I gotta get away from this computer so I can listen to it again! James C. jcarmin@teleport.com ========================================================================= Date: Sat, 10 Feb 1996 08:25:44 +0000 Reply-To: Byron Foulger From: Byron Foulger Subject: Etta apologies Believe it or not I tried to send this message about two mintues after my last one, but it got bounced back for some reason, so here goes again: I'm tired, it's not a Levi ad, it's Diet Coke ad!, must go to bed! Byron ========================================================================= Date: Sat, 10 Feb 1996 09:38:07 GMT Reply-To: "Mrs. Helga Verhoef" Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: "Mrs. Helga Verhoef" Organization: Knoware Internet Subject: Re: God, The Devil and The Blues Comments: To: shaun@WAVENET.COM Suggested reading: "1964, To Profit A Man" by Lane Wilkins, Rev. Robert Wilkins grandaughter It goes into the idea of secular vs church music. Rev Wilkins wanted to play the blues in heaven when he died, no conflict there -- InHome Health Services For information: Cost-effective cognitive enhancement/life extension http://www2.smart.net/~inhome medications sent directly from Europe. Fax: +31-20-682-4441 ========================================================================= Date: Fri, 9 Feb 1996 02:37:27 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Mississippi Fred McDowell Picked up "I Do Not Play No Rock'n'Roll" (Capitol) today (along with Memphis Minnie and Junior Brown). Absolutely awesome. "Drop Down Mama" is amazing. And when he let's his slide finish the vocal line? Lord have mercy! What more can I say? Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Fri, 9 Feb 1996 02:37:36 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Mississippi Fred, Son House and Vocal Improv The liner notes to "I Do Not Play No Rock'N'Roll" refer to Mississippi Fred constructing songs on the spot by putting together lyrics from different songs and sources. I'm sure that Son House did this too. On some of the live recordings I have he seems to improvise the lyrics using patterns that he already knows. Songs that use the same basic accompianment patterns have different lyrics (Yes, I am trying to draw more info about Mister House out of Dick Waterman). I'm sure this was typical of the great blues singers. Any more info? Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Fri, 9 Feb 1996 02:37:40 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: My baby, she left me..... A momentus blues event happened the past week. The neo-traditional soon to be classic blues song, "My Baby, She Left Me For Another Woman" was performed for the first time (and most likely the last) time on Wedensday night at a open mic night at the Cat'n'Fiddle here in Hollywood (I organized the open mic therefore I got to play). Lyrics are available but the risque (and downright blunt) nature of the lyrics precludes me from posting them. If anyone is curious enough I'll send the lyrics to them. Don't blame me if you are offended. The funny thing is that I've talked to a few people over the past few days about the song. They've mentioned that they know people where the guy has been dumped by a girl for another girl (and I assume girls have been dumped by guys for guys). And I thought it was just my fertile imagination. Life imitates Art. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sat, 10 Feb 1996 12:41:49 GMT Reply-To: RT From: RT Organization: Rootin'Tootin' Subject: Re: OtisSpann Comments: To: bit-listserv-blues-l@uunet.uu.net I left a message yere yesterday about this but don't know where it went!Anyway,in my opinion,the best to ever lay his hands on the 88's.I have a nice little collection of wax that I acquired about 25 years ago when I lived in D.C. for awhile.Lots of nice little record shops back then,not these big,fancy neon joints like you find all over today! In reference to Fleetwood Mac,Otis made an album called"Temperatures Rising" on which the guitarist was a guy named Peter Green,who was the guitarist for the 'ORIGINAL' Fleetwood Mac.As far as I know,that's as close as he came to playing w/Fleetwood Mac,but I could be wrong.But if you should ever get your hands on a copy the cut "It's hot in here" will make you wish Peter Green was still around somewhere!!! Good luck finding anything anywhere cause every store catalog I check has zip.What's worse is I lost my copy of the above album somewhere down the road of hard knocks!But don't think I've ever stopped looking!!! Oh well.....life goes on.....but now,just a little bit bluesier than before. RT;The Blues Nation ========================================================================= Date: Sat, 10 Feb 1996 13:01:55 GMT Reply-To: RT From: RT Organization: Rootin'Tootin' Subject: Re: Seeking Otis Spann Discography Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199602100117.UAA05569@moose.tiac.net>, Chris McIntosh wrote: > Hi, > > I really dig Otis Spann and am looking for more recordings to check out. > I have a copy of him with Robert Lockwood which includes "Must have been > the Devil" and Walkin' the Blues (I think). At any rate, I'm looking for more > great Otis Spann. I've also heard that he plays on an album with Fleetwood > Mac, but I have'nt been able to find it. > > Thanks for any pointers. > > Later, > Chris Good Luck finding anything anywhere!!!I live in the northeast and can't even find anybody who's even heard of him!! I do have a nice little collection of wax by him though.I got most of it in nice little off the wall record stores about 25 years ago when I was living in D.C.. As far as any connection w/Fleetwod Mac,Spann made an album called 'Temperatures Rising' on which the guitarist was a guy called Peter Green,who was the guitar player for the ORIGINAL Fleetwood Mac.If you're ever lucky enough to find it there's a cut called 'It's hot in here' which will make you wish you knew whatever happened to Peter Green!Maybe this is the reference you heard about.I don't recall HIM playing with THEM,but I could be wrong. Sadly,I lost my copy somewhere down the road of hard knocks,so I can't refer to it to see who else was in the studio.Sorry!!! Oh well...life goes on....just a little bluesier than before. RT;The Blues Nation. ========================================================================= Date: Sat, 10 Feb 1996 13:19:41 GMT Reply-To: RT From: RT Organization: Rootin'Tootin' Subject: Re: Sitting&Thinking-Otis Spann Comments: To: bit-listserv-blues-l@uunet.uu.net In article <1.5.4b11.16.19960210000136.2b076700@popd.ix.netcom.com>, Jon Duttweiler wrote: > Hey folks, just wanted to take a second to introduce myself. I've been > around on Blues-L for about a year now, but have just started writing > reviews for NY CD Blues (Barry has been kind enough to put up with my > ramblings!). This is my first post under this subject, though there are > several of my reviews at our Web site already (which, BTW, I invite you to > drop by and check out, the URL is at the end of this post). Hope you enjoy > it and if not, just hit the delete ;-)! > > Seriously, I welcome your comments. If you have problems with me, don't > blame Barry! So, without further adieu, my first Sitting & Thinking post: > > OTIS SPANN / DOWN TO EARTH - THE BLUESWAY RECORDINGS (MCAD-11202) > MCA / 70 UNIVERSAL CITY PLAZA, UNIVERSAL CITY, CA 91608 > > OK, so you say you never got a chance to see any Chicago blues greats at > small, smoky Chicago clubs in the 60's? You say you're too young to have > seen Muddy Waters, Otis Spann and friends live? You say you really want to > understand what all the fuss is about when people talk of the 50's or 60's > as the "golden age" of blues? Or maybe you just want to relive all those > great times and great music? In any, or all of those cases, this is a CD > you really don't want to miss! > > The late Otis Spann was one of those blues geniuses who passed from this > earth much too soon (he died in April, 1970, only 40 years of age) but who > has left behind a significant legacy of recorded music. MCA has re-released > two of the many classics in that body of work on this one CD. Both were > originally recorded for the ABC-Bluesway label in the mid-60's and both > feature Muddy Water's band of the time, including Muddy himself! > > The first of these albums, encompassing tracks 1 through 9, was titled "The > Blues Is Where It's At." This was recorded "live" in the studio in one day > in August, 1966. The studio "audience" for this session was active and > vocal, as evidenced throughout these cuts (liberally, if reluctantly, > supplied, according to the liner notes, with liquor by producer Bob Thiele). > Musicians for this session include a veritable "who's who" of Chicago blues > (which Otis points out on the cut "Chicago Blues"). Of course Otis takes > the vocal chores and thunders on piano, Muddy Waters, Luther (Georgia Boy) > Johnson and Sam Lawhorn contribute the guitars. Harpist George Smith, Mac > Arnold on Bass and Francis Clay playing drums fill out the band. > > The second album was recorded in November of 1967 and released as "Bottom of > the Blues." Another studio effort, this time without the in-studio > audience, the band was again Muddy's working band of the time. Along with > Otis and the same three on guitars as the earlier album, Lucille Spann > (Otis' wife) takes a turn on vocals, George (Mojo) Buford provides harp, > Lawrence Wimberley plays bass, and S. P. Leary is on drums. > > Sound quality for the whole disc is quite good, though suffering from some > of the 60's penchant for experimenting with the "new" stereo format. > Together, these two albums present some of the best music and "feel" of the > Chicago blues scene of the time. If you really want to understand what all > the fuss over Otis Spann was (and is) about, get this CD. Not only is it > great music, but with two albums on one disc, its a great deal! > > POPCORN MAN / BRAND NEW HOUSE / CHICAGO BLUES / STEEL MILL BLUES / DOWN ON > SARAH STREET / T'AIN'T NOBODY'S BIZNESS IF I DO / NOBODY KNOWS CHICAGO LIKE > I DO (PARTY BLUES) / MY HOME IS IN THE DELTA / SPANN BLUES / HEART LOADED > WITH TROUBLE / DIVING DUCK / SHIMMY BABY / LOOK LIKE TWINS / I'M A FOOL / MY > MAN / DOWN TO EARTH / NOBODY KNOWS / DOCTOR BLUES > > NY CD Takes > > POPCORN MAN: Appropriately, Spann opens up with a Muddy Waters original and > kicks off the disk in spry fashion. What stands out on this track is George > Smith's wonderful harmonica work (isolated in the right channel) and the > jumping guitar licks (isolated in the left channel) by either Sam Lawhorn or > Luther Johnson. Otis' vocals are right on the mark for this tune, which > overall sets a very festive mood for the disc. > > BRAND NEW HOUSE: On this cut, Spann turns a Bobby Darin (yes, you read > right) tune into a slow blows burner. George Smith again lays down some > wonderful blues harp and the guitarist (Lawhorn?) shines through again on > lead. Spann offers up some rousing piano, as well as showing off how well > he can sing this type of song. > > CHICAGO BLUES: The first Spann original on the disc, this tune is a rolling > boogie-woogie, with Muddy cutting through with some of his distinctive slide > work.. Spann shows a strong right hand as he lets loose on the piano, with > the rhythm section keeping him in the groove. This song is a roll call of > Chicago blues luminaries, many of whom are playing. Great cut! > > STEEL MILL BLUES: In what is essentially Eddie Boyd's "Five Long Years," > (the liner notes credit O. Spann and G. Spink for writing the tune), Otis > shows off both his voice and piano playing. Along with some more stellar > guitar work from both Lawhorn and Muddy, Otis and company lay down a tight > rendition of this classic tune. > > DOWN ON SARAH STREET: Slowing the pace down again, this Otis Spann penned > track has more than just Otis shining through. George Smith, who took over > harp duties in Muddy's band in 1966 after James Cotton left, stands out on > some extended solo time, and Lawhorn contributes more of his classic blues > guitar. The audience really appreciated this track, as will you. > > T'AIN'T NOBODY'S BIZNESS IF I DO: A classic blues song done by one of the > classic blues greats of all time! With the harp wailing in the background, > echoing the lonesome cry of a far off train, Otis let's off with what could > be, at first listen, a prayer "Lord, lord, lord, lord..." Spann practically > slides vocally through this song. The instrumental arrangement is perhaps > more sparse than you've heard before, and it really works here. What can I > say? If Spann's voice doesn't send chills up your spine you better check > your pulse! > > NOBODY KNOWS CHICAGO LIKE I DO (PARTY BLUES): The band picks it up and rolls > again with this track. Take great vocals, a tight rhythm section, slicing > guitar work and strong boogie piano and wailing harp, mix them all together > and you've got all the ingredients that make Chicago blues so great - and > you've also got this tune. Play it loud! > > MY HOME IS IN THE DELTA: Muddy Water's slide is most prominent, > appropriately enough, on this classic Waters cut from his penultimate back > to basics blues disc "Folk Singer." Otis does his fellow Mississippian > proud on this track as they grind their way through this great song. > Listening to this you cannot almost feel and taste that black delta dirt. > > SPANN BLUES: Closing out the tracks which represent the first album on this > disc, is this mid-tempo instrumental. Otis calls his bandmates names off as > he gives them space to move out and show off their musical prowess. While > maybe not a "headcutting," one can imagine each successive musician wanting > to prove he could cut lose a little better than the ones before. > > HEART LOADED WITH TROUBLE: This number opens up the "studio" album portion > of this CD with all but the rhythm section intact among the musicians. This > group doesn't miss a beat! "Mojo" Buford (who named himself after Muddy's > signature song, "Got My Mojo Working" when he joined the band) shows right > away he belongs as this song rocks along, driven by S. P. Leary's drumming. > > DIVING DUCK: In this track Otis takes one of those ubiquitous blues lines > and makes it his own in a deep, slow blues number. Lawhorn kicks in some > tasty guitar and Mojo makes his harp moan, getting a wonderful horn-like > quality out of it. Spann takes time to show off his own skills on piano as > he takes you down to the bottom of the whiskey "river" with him. > > SHIMMY BABY: Leary and bassist Sonny Wimberley kick off this rocking little > number for Otis. Lucille Spann offers up some vocal counterpoint to husband > Otis as they engage in a little give and take. This song takes some of the > 60's soul stylings and gives them a blues twist. > > LOOK LIKE TWINS: Spann goes deep down in the alley for this one as Muddy > lays out his trademark slide and Mojo Buford blows mournfully on his harp. > Another Muddy Waters composition, this is as deeps as the blues gets. > > I'M A FOOL: Here Otis and Lucille again get to engage in a little vocal > sparring in a track that Lucille penned. This track is a rousing piano > boogie with the whole band kicking in with gusto. Otis sings what a fool he > is for how he's acted over a woman, with Lucille agreeing every step of the > way. Great track, great fun! > > MY MAN: Otis and band slow it down a notch for this track featuring Lucille > on vocals. While there are no horns, the band plays this in classic blues > style that Count Basie would have been proud of. Lucille sings it in the > style of Bessie Smith as Otis does a little Tin Pan Alley on the keys. > > DOWN TO EARTH: This up-tempo number is the final collaboration for Otis and > spouse on this disc. Lawhorn lays down some fluid licks as Otis and Lucille > trade verses. Listen to Mojo blow in the right speaker and ask yourself why > he never gets mentioned along with the other harp greats that occupied that > chair in Muddy's band. > > NOBODY KNOWS: Getting ready to close out the set, the band brings it down > for a slow dance number. The feel of this song is late on a Saturday night, > the joint just about cleared out (though who would leave out on this cast I > don't know!), the band playing one more song for the road. Stellar work all > around. > > DOCTOR BLUES: Otis and company crank it back up for the final track of the > disc. This rousing boogie has the band swinging one more time. Otis again > gives room for his bandmates to step out (wonder who he learned that from?) > and they again don't let the man down. If you like Chicago blues, rolling > piano, liquid guitar and wailing harmonica, you'll love this track and this > disc. Listening to this makes you wish you could go back and sit in Peppers > Lounge just once to catch these guys live! > > Reviewed by Jon Duttweiler > Copyright NY CD Blues @1995-1996 All Rights Reserved. > Unauthorized use prohibited. > > > NY CD Blues now at http://www.island.net/~blues/nycd.html > 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. > 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! > Barry Silverberg ... bsco@panix.com Just let me know where I can get my hands on a copy of 'Temperatures Rising' if you ever find one!!!The cut titled 'It's hot in here' should most definitely be included on any further anthologies. I have a chance coming up to get my own show on a local college radio station wher a friend of mine already has a jazz slot he does.If so, I 've got a nice little collection of Spann wax I collected while living in D.C. about 25 years ago.You know,when you could still find those nice little off-the-wall record shops that weren't full of neon and glitter!? Anyway my copy of the above is longlost back down the road(sigh). Life just seems to get bluesier all the time. RT;The Blues Nation ========================================================================= Date: Sat, 10 Feb 1996 13:27:35 GMT Reply-To: Nancy Body From: Nancy Body Organization: Prodigy Services Company 1-800-PRODIGY Subject: *RECORD DEAL FOR NEW BANDS* Comments: To: bit-listserv-blues-l@uunet.uu.net ATTENTION BANDS !!! - Do you belong to a Rockabilly, Psychobilly, Garage, Surf or Jumpin'Jive Band? Authentic Sound only (50's or 60's style). - Are you interested in having your material released? If yes, send tapes and information about your band. - SFAX Records (Paris, France) is interested in producing your record or CD. - SFAX has connections all over Europe and Japan. Good for distribution and why not bookings. - Send you material to: SFAX Records Subsidiary of Rocket Records Shop HICHEM ABIDA 1ter Rue Lacharrihre 75011 - Paris - France - If you have any questions, call Hichem directly at (1) 48.06.23.27, or fax him at (1) 48.06.45.72. Remember to dial the correct international code. * Wholesalers: Send you records catalogs to the above address. ========================================================================= Date: Sat, 10 Feb 1996 09:17:34 -0500 Reply-To: bob vanarsdall From: bob vanarsdall Subject: Re: My baby, she left me..... Shaun wrote: >The funny thing is that I've talked to a few people over the past few days >about the song. They've mentioned that they know people where the guy has >been dumped by a girl for another girl (and I assume girls have been dumped >by guys for guys). And I thought it was just my fertile imagination. Damn, memory problems again...Who wrote "Women Loving Each Other"? I know it was recorded by both Mike Bloomfield and Johnny Winter. I remember reading it was an old song, but not by whom. Shaun - you've been scooped. Don't know of any guy-for-guy songs, though; that might be a first. Bob (who wishes he could install some more hard disk space in his head) ========================================================================= Date: Sat, 10 Feb 1996 09:17:08 -0500 Reply-To: Debra Eisert From: Debra Eisert Subject: Re: Blues Bytes IS GREAT! In-Reply-To: <199602100730.XAA16032@desiree.teleport.com> I had to sign off for several weeks and missed hearing about Blues Bytes. Is there any way for a late person to be able to get a copy and enjoy the talent? If not, guess that is life -- and the blues! /*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/* Debra Eisert Librarians can find debra@iglou.com more fun! Cincinnati OH 45240 /*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/* mq ========================================================================= Date: Sat, 10 Feb 1996 09:12:20 -0500 Reply-To: Jon Duttweiler From: Jon Duttweiler Subject: *Please* edit those replies Don't mean to be presumptuous here or offend anybody, but *please* when your replying to a post and include the letter you're replying to in your reply *edit* the original down to what you specifically want to deal with. After downloading multiple replies that included my S&T review on Otis Spann (people sent posts to the list and cc'ed me personally) I realized this could weigh heavy on some people (that was a *long* sucker). Just a reminder, thanks! Jon ========================================================================= Date: Sat, 10 Feb 1996 14:36:40 GMT Reply-To: Patrik_Urbansson@online.idg.se From: Patrik Urbansson Organization: IDG Online, Stockholm, Sweden Subject: Attention writers in USA Hi, I'm looking for a writer who is interested writing a column about the Blues scene in USA, for Crossroads Blues Society's (Sweden) newsletter. For more details contact me via private email. Patrik Patrik_Urbansson@online.idg.se ========================================================================= Date: Sat, 10 Feb 1996 10:15:01 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: OtisSpann (and Fleetwood Mac) Comments: To: rtn@Q.CONTINUUM.NET On 10 Feb 96, RT had this to say: > In reference to Fleetwood Mac,Otis made an album called"Temperatures > Rising" on which the guitarist was a guy named Peter Green,who was the > guitarist for the 'ORIGINAL' Fleetwood Mac.As far as I know,that's as > close as he came to playing w/Fleetwood Mac,but I could be wrong.But if > you should ever get your hands on a copy the cut "It's hot in here" will > make you wish Peter Green was still around somewhere!!! There is currently available a 2 CD set called "Fleetwood Mac in Chicago 1969" Sire/Warner Bros/Blue Horizon 9 45283-2 Otis Spann plays on at least half of the set's 24 cuts. Other personnel include Buddy Guy, Willie Dixon, Walter "Shakey" Horton, J.T. Brown, Dave "Honeyboy" Edwards, and S.P. Leary The set contains further proof that Peter Green was one hell of a Blues guitar player. P.W. Fenton Tampa, Florida ---------------------------------------------------- Please visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sat, 10 Feb 1996 10:22:21 -0500 Reply-To: "David R. Bergstein" From: "David R. Bergstein" Organization: Mad Max And The Blues Kings Subject: Mad Max ISO Hammond B3 Comments: To: bit-listserv-blues-l@uunet.uu.net Comments: cc: parrishr@vitro.com Mad Max and the Blues Kings are now incorporating keyboards into their repertoire. We are subsequently looking for a Hammond B3 and Leslie for these selections. Does anyone on Blues-L know of a good deal for such equipment. If so, please contact me by e-mail, or Ruth Parrish at parrishr@vitro.com. -- ----------------------------------------------- David R. Bergstein Systems Engineer Guitarist / Keyboards Silver Spring, MD dbergstein@ids2.idsonline.com http://www.idsonline.com/userweb/drb/index.html ----------------------------------------------- ========================================================================= Date: Sat, 10 Feb 1996 15:46:21 GMT Reply-To: "Lea A. Gilmore" Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: "Lea A. Gilmore" Organization: Erol's Internet Service Subject: Re: Black History Month Comments: To: pwfenton@GATE.NET Great Poat P.W. and very accurate! Lea Gilmore Baltimore, MD ========================================================================= Date: Sat, 10 Feb 1996 15:27:01 GMT Reply-To: mckenzie@ipcs.demon.co.uk From: "Ian K. McKenzie" Subject: Blues in Las Vegas I'm treveling to LV in March for a conference. Any one know any good venuues for blues? *********************************************** Ian K. McKenzie University of Portsmouth England *********************************************** ========================================================================= Date: Sat, 10 Feb 1996 11:07:30 -0500 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Bad Girl Blues Comments: To: bob vanarsdall In-Reply-To: On Sat, 10 Feb 1996, bob vanarsdall wrote in a reply to Shaun: > Damn, memory problems again...Who wrote "Women Loving Each Other"? I know > it was recorded by both Mike Bloomfield and Johnny Winter. I remember > reading it was an old song, but not by whom. Shaun - you've been scooped. > Don't know of any guy-for-guy songs, though; that might be a first. The song is "Bad Girl Blues". Johnny Winter & Rocky Hill did a version of it on THE GREAT TOMATO BLUES PACKAGE, and JW also released it on his album THIRD DEGREE. I can't find a songwriter credit. From the lyrics, it sounds as though it could be a very old song. As far as blues songs about lesbians and gays are concerned, they have been around as long as the blues have been sung. Folks who have recorded such songs include Tampa Red, Ma Rainey, Josh White, Kokomo Arnold, Peg Leg Howell, Sippie Wallace, Victoria Spivey, and Bessie Smith. Brenda Bogert Louisville KY ========================================================================= Date: Sat, 10 Feb 1996 11:34:38 -0500 Reply-To: Georgem99@AOL.COM From: George Macy Subject: Correction-Hammond, Goodman muddle In the posting Re: John Hammond -sr or jr reply, from Rosebudus, the following statement is made (and throughout the paragraphs it's unclear whether it is Mike Kappus speaking or if someone named Delta Doc is being quoted.) >John Henry Hammond married the daughter of also famous Benny Goodman, >I think. It is no wonder that John Paul Hammond (the son) is so musically >talented with such talented parents. I believe, regrettably that both parents >are now deceased. >In fact, Benny Goodman was John's uncle-his mother's brother. >Mike Kappus I think this has John Hammond, elder, marrying his own son's mother's brother's daughter, which definitely did not happen. Benny Goodman married John Hammond elder's sister, Alice Hammond Duckworth, and was, indeed, the younger John Hammond's uncle. Benny Goodman has been credited for having the first integrated band in history, and he does deserve credit. However, it was through the urging of John Hammond that this came about. Hammond clearly despised racism and worked hard for years to bring ALL musicians together in integrated clubs during an era when it was quite fashionable for white patrons to go to black clubs but not vice-versa. I doubt it took much to persuade Goodman to work with Teddy Wilson or Lionel Hampton- both were superb musicians who proved to be instrumental in the huge success of the BG band in the late 30's. ========================================================================= Date: Sat, 10 Feb 1996 10:34:18 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: OtisSpann (and Fleetwood Mac) Comments: To: "P.W. Fenton" In-Reply-To: <199602101515.KAA18738@osceola.gate.net> "Temperature's Rising" is on the Biggest Thing Since Colossus CD by Otis Spann with Fleetwood Mac that's been the subject of a previous thread and appeared on CD in Europe 1-2 years ago. ========================================================================= Date: Sat, 10 Feb 1996 10:35:21 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Bad Girl Blues Comments: To: Brenda Bogert In-Reply-To: Bad Girl Blues was originally done and written by Memphis Willie B. (Borum) on a Bluesville LP. ========================================================================= Date: Sat, 10 Feb 1996 08:47:05 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Feb. 11 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- CITA, RAOUL J. (p/arr/HARPTONES) b. 1928-0211, NEW YORK CITY, NY CLAY, OTIS (v) b. 1942-0211, WAXHAW, MS EDISON, THOMAS ALVA (phonograph inventor) b. 1847-0211, MILAN, OH FLEMING, ROCHELLE (of FIRST CHOICE) b. 1950-0211, PHILADELPHIA, PA GOFFIN, GERRY (songw) b. 1939-0211, QUEENS, NY HALL, EDMOND (cl) d. 1967-0211, BOSTON, MA HALL, RENE (g/arr/prod) d. 1988-0211, LOS ANGELES, CA 75 HARRIS, BENNIE (tpt/TINY BRADSHAW) d. 1975-0211, SAN FRANCISCO, CA 54 HAYWOOD, LEON (v) b. 1942-0211, HOUSTON, TX JONES, CLAUDE B. (tbn) b. 1901-0211, BOLEY, OK JORDAN, JOE (p) b. 1882-0211, CINCINNATI, OH LEWIS, EARL (lead/CHANNELS) b. 1941-0211, NEW YORK CITY, NY CARTER, JIMMY (co-lead/BLIND BOYS OF ALA) b. 1932-0211, JEFFERSON CTY, AL MALACHI, JOHN (arr/BILLY ECKSTINE) d. 1987-0211, WASHINGTON, DC 68 MILLS, JOHN C. JR. (b v/g/MILLS BROTHERS) b. 1910-0211, PIQUA, OH PARKER, LEO (bsax) d. 1962-0211, NEW YORK CITY, NY 37 ROGERS, BILLY (g/CRUSADERS/B. B. KING) d. 1987-0211, SAN FRANCISCO, CA 37 SLIM HARPO [JAMES ISAAC MOORE] (g/hca) b. 1924-0211, LOBDELL, LA SMITTY, BIG BAD [JOHN HENRY SMITH] (g) b. 1940-0211, VICKSBURG, MS TAYLOR, JOHNNY LITTLE(v/JEWEL/ICHIBAN REC)b. 1943-0211, MEMPHIS, TN VINCENT, GENE[VINCENT EUGENE CRADDOCK](v) b. 1935-0211, NORFOLK, VA WALKER, PHILLIP (g) b. 1937-0211, WELSH, LA WHITE, JOSH (g) b. 1914-0211, GREENVILLE, SC ------------------------------------------------------------------------------- ========================================================================= Date: Sat, 10 Feb 1996 11:33:35 -0500 Reply-To: Kevin Towes From: Kevin Towes Organization: Media Designs Subject: Juno Awards Online Comments: cc: Tony Tobias I was reading in a newsgroup, and noticed your interest in the Juno Awards... check out Juno Awards Online http://www.goodmedia.com/junos Kevin Towes --------------------------------------------- ************ JUNO AWARDS ONLINE ************* ***** http://www.goodmedia.com/junos ******** C H E C K I T O U T N O W - BOOKMARK IT! ******* KEEP WATCHING IT CHANGE DAILY! ****** KEVIN TOWES ktowes@interlog.com - 416.598.0333 http://www.interlog.com/~ktowes ---------------------------------------------- ========================================================================= Date: Sat, 10 Feb 1996 12:05:54 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Mississippi Fred, Son House and Vocal Improv Comments: To: shaun@wavenet.com On February 10, Shaun Cronin wrote: >>>The liner notes to "I Do Not Play No Rock'N'Roll" refer >>>to Mississippi Fred constructing songs on the spot by >>>putting together lyrics from different songs and >>>sources. >>>I'm sure that Son House did this too. On some of the >>>live recordings I have he seems to improvise the >>>lyrics using patterns that he already knows. >>>Songs that use the same basic accompianment >>>patterns have different lyrics >>>(Yes, I am trying to draw more info about Mister >>>House out of Dick Waterman). I know that I shouldn't rise to the bait like this but I'm killing some time before driving into Memphis for their annual Beale Street Zydeco Mardi Gras ("Ten Clubs, Ten Bands, Ten Bucks") where you buy a wrist band for $10.00 and then wander from club to club and hear different bands. An older blues man (or woman) pulling verses out of memory is very common. Obviously it works better with slower songs when the mind can sort through the available choices. Mister House's favorite opening line was "I woke up this morning / Between midnight and day . . . ." and then he could selection any line that ended with a rhyme of 'day.' I always liked "I was hugging the pillow / Where my good gal used to lay." Even on Son House's narrative songs, he would only have four or five lines in sequence to open the song and then he would go off into random verses for any varying amount of time. I recall that Booker White did several albums called "Sky Songs" which were just that; songs made up entirely of verses that came to him during the sessions. Not to change the subject but there was a recent thread about 'fibbing' blues men. Booker White did his best to convince interviewers that he heard everybody, saw everybody and taught everybody. Every Booker White interview should be treated as fictional wishful thinking. Dick Waterman ========================================================================= Date: Sat, 10 Feb 1996 12:10:32 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: B.B. King Book Due Press release: ------------------------------------------------------------ Newly Acquired B.B. King Autobiography is among titles to launch Avon hardcover list in Fall 1996 Avon Books' senior vice president and publisher, Lou Aronica, announces the second major non-fiction hard/soft acquisition for the company's new hardcover publishing program, the as yet untitled autobiography of B.B. King, co-authored by prestigious music writer, David Ritz, author of Divided Soul: The Life of Marvin Gaye. "People love B.B. King," says Aronica. "The notion of B.B. King and David Ritz teaming up was so exciting that we bought the book based upon a conversation. I can't wait to read this. Through B.B. King's eyes we'll get the entire modern history of blues and, literally, the full history of rock and roll." Mel Berger of the William Morris Agency negotiated the hard/soft deal which included U.S. and Canadian volume rights. Known around the world as the "King of the Blues," singer and guitarist B.B. King is considered a master of the electric blues guitar, playing with an aggression and barely controlled tension that are his trademarks. He is acknowledged not just for his enormous contributions in the world of blues music, but as a major influence on the development of rock. >From his start in the music business in 1946, his years as a disc jockey and singing in local clubs using the stage name "Blues Boy," to cutting his first record in 1949, the release of The Thrill is Gone (his biggest hit to date), touring with the Rolling Stones, and his Las Vegas performances, B.B. King has indeed earned his place among music's royalty and in the newly opened Rock and Roll Hall of Fame. The autobiography will be B.B.'s full life story, from his birth in the heart of the Mississippi Delta to international acclaim. Family life, working on a plantation, musical influences, life on the road, the B.B. King Band, playing the segregated clubs of the south, his discovery by "mainstream" audiences, and his commitment to the music he loves, unfold against the broad spectrum of people he has met and worked with and the backdrop of the times in which he has lived. The people, including Eric Clapton, Jeff Beck, Santana, Stevie Ray Vaughn, Robert Cray, Jimi Hendrix, Janis Joplin, Bonnie Raitt, Frank Sinatra, the Rolling Stones, and U2, are amazing, and his career spans the creativity, turbulence, and excitement of a half-century of musical evolution. The B.B. King biography is tentatively scheduled to be published in the fall of 1996. ----------------------------------------------------------------- I'll be first on line at the book store. P.W. Fenton Tampa, Florida ---------------------------------------------------- Please visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sat, 10 Feb 1996 12:16:30 -0500 Reply-To: Jonny Meister From: Jonny Meister Subject: Re: J.B. Lenoir/MCA reissues At 10:09 AM 2/9/96 -0600, Richard Shurman wrote: >To be fair to Andy, the J.B. Lenoir Vintage Series set HAS been reissued >on CD and is probably the basis for Andy's/MCA's perspective on sales >figures. If it's a pessimistic estimate, that's a shame, but there's >experience upon which to base it, not just speculation. I'm not the >first (or the least biased) to say how much credit Andy deserves; he does >a lot with the blues material in MCA's vaults, but the last time anyone >checked, MCA was still a for-profit organization and his department is as >accountable as any other. > I just want to make it clear that I am *not* critical of Andy McKaie for making a necessary business decision to not do more J.B. Lenoir CDs. Andy has done wonderful work on the Chess catalog. I am saddened that the Natural Man CD didn't sell very well. I guess I hoped that a reissue of other Lenoir stuff would sell better (because people didn't already have it on LPs). For some reason, J.B. remains a favorite of musicians and those-in-the-know, but he doesn't enjoy the built-in name recognition of Howlin' Wolf, Jimmy Rogers, etc. Perhaps at some point MCA would be willing to lease the Lenoir stuff, and other material, to a smaller label to do CD reissues on a limited edition basis. -Jonny Meister ========================================================================= Date: Sat, 10 Feb 1996 12:01:24 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: eRIC's BLUES DATES: Feb. 11 Comments: To: James Carmin In-Reply-To: <199602101646.IAA26718@desiree.teleport.com> On Sat, 10 Feb 1996, James Carmin wrote: > Here's a few dates (b. born, d. death) for tomorrow. If you have any > corrections/additions, let me know at leblanc@dao.nrc.ca. > >------------------------------------------------------------------------------- >artist notes/full name yyyy-mmdd, city/county state age >------------------------------------------------------------------------------- >SMITTY, BIG BAD [JOHN HENRY SMITH] (g) b. 1940-0211, VICKSBURG, MS >------------------------------------------------------------------------------- Happy Birthday to Big Bad Smitty. Let's all give him a big cyberwish for better health this year. If you haven't yet checked out his Black Magic cd, Mean Disposition, you've cheated yourself out of one of the best blues cds to come out in a long time. You can read about Smitty and a couple of the other guys who play on that cd at Joel Slotnikoff's Web site BLUES WORLD (http://www.bluesworld.com/) Standard Disclaimer applies - I'm just a big fan! -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Sat, 10 Feb 1996 13:34:00 -0500 Reply-To: Ken Ficara From: Ken Ficara Subject: TOSHI REAGON Comments: To: J.Urbain@KE.RULIMBURG.NL I'd like to second Jean-Pierre's request for info about Toshi Reagon. I know very little about her, aside from what I've heard on the radio and the single track she does on the Smithsonian RJ tribute he mentioned, but she catches my ear and my attention every time. It sounds like she may be one of the best young blues artists around, and if she has recordings out, or if she tours around here (NYC) at all, I'd love to hear more of her. Also, the Robert Johnson tribute CD in question is one of the best tribute albums I've ever heard. It is thankfully NOT full of a bunch of hero-worshipers doing versions of the tributee's songs either slavishly or inappropriately. It's mostly not even Johnson's songs; it's the music of people who were influenced by him, often their own songs, and the music of his contemporaries the way they sound NOW (RJ Lockwood, Johnnie Shines). Almost all the music is real honest-to-god blues, not imitations, not homages, just good music. I love it, and the breadth of it -- from Cephas & Wiggins to the Moving Hall Star Singers -- is wonderful. Hope your lecture went well, Jean-Pierre. :) ken PS - Thanks to our poster PARRISHR@VITRO.COM for his pertinent question about Lou Reed. Now I was wondering if you could help me with a problem I'm having using Perl v 5.0001 to sort anonymous hashes. Meanwhile, I'm still waiting for comp.lang.perl to respond to my question about alternate versions of "Dust My Broom". ====================================================================== Ken Ficara ficara@acm.org "[Bill Gates' vision looks] as much as ever like technography, in which technology, like the sex in pornography, is always satisfying." --Stephen Manes, The New York Times More quotes available at: http://www.panix.com/~ficara/quotes/quotes.cgi ========================================================================= Date: Sat, 10 Feb 1996 11:02:31 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: SON HOUSE Re: God, The Devil and The Blues -Reply Comments: cc: Jinxblues@AOL.COM I'd like to comment on Dick Waterman's observation. I was lucky to see SON HOUSE, a few months after the Columbia album (now on SONY/LEGACY). It was in Montreal, at a little club run by a friend. His sets were quite short - maybe 40 minutes - but the intensity was VERY high. Astronomers use the term "FIRST LIGHT" to describe that event when a telescope allows light in. SON HOUSE, for me, was a "FIRST LIGHT". I think it was Leroi Jones (Imamu Aimiri Bakaka) who once wrote that you should not be allowed into heaven unless you see SON HOUSE. Looks like I'm going to heaven :-) "Uncle" eRIC On February 9, Roger Struve wrote: >>>Dick Waterman told me once that Son just lived his >>>life out right there onstage in front of everyone, and >>>that its hard sometimes to remember the >>>intensity of Son House when you look at what goes >>>down as blues today. (hope that was ok to share, >>>Dick?). Son House played his music exactly the same in front of 20,000 at a festival or sitting on the end of the bed in a motel right after putting on new guitar strings. He just closed his eyes, rocked back a bit and 'went somewhere else.' The sweat broke out on his face and his humming became words and then he got louder and louder. And I knew that he had 'gone' to Robinsonville or Frair's Point and that he was back in 1930-something. There are a whole lot of things in my life that I might have done differently or should have observed more closely but my appreciation of Son House was one thing that I got right. It defies description to watch a musician so overcome by his own artistry that he would go into a trance that overwhelmed him completely. I still stand by what I wrote about Mister House in "Living Blues' after he died" "On October 19, 1988, every blues man in the world moved up one place. There had been a vacancy at the very top." Dick Waterman ========================================================================= Date: Sat, 10 Feb 1996 11:18:34 -0800 Reply-To: Steve Murray From: Steve Murray Subject: Re: Seeking Otis Spann Discography In-Reply-To: Don't know if this has been on a thread before, just got here 2 weeks ago, but Mark Naftalin features an Otis Spann discography on his web site at: http://www.bluespower.com/index.html Check it out. Steve Murray "It's hot in here Fjord Press I believe I need some air" Seattle, WA --Otis Spann fjord@halcyon.com ========================================================================= Date: Sat, 10 Feb 1996 11:24:14 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Billboard Blues chart for week ending February 17, 1996 Herewith the Billboard Magazine blues chart for the week ending February 17, 1996. Please note that I'll be posting the next chart, which is issued two weeks from now, a day or two later than I usually do. 1. Greatest Hits/Stevie Ray Vaughan & Double Trouble 2. Ledbetter Heights/Kenny Wayne Shepherd 3. From the Cradle/Eric Clapton 4. Blues/Jimi Hendrix 5. Turn It On, Turn It Up/Roomful of Blues 6. Some Rainy Morning/Robert Cray 7. Duke's Blues/Duke Robillard 8. Handful of Blues/Robben Ford & the Blue Line 9. Found True Love/John Hammond 10. Keb' Mo'/Keb' Mo' 11. Chill Out/John Lee Hooker 12. Cover to Cover/The Jeff Healey Band 13. Essential Blues/Various Artists (House of Blues Records) 14. One Foot In The Blues/Z. Z. Top 15. Live '92-'93/Albert Collins & the Icebreakers Mary Katherine Aldin ========================================================================= Date: Sat, 10 Feb 1996 15:00:09 -0500 Reply-To: Greg Hermanns From: Greg Hermanns Subject: Blues Bytes Just got home and the wife handed me the mail with this fat little envelope, from Bob Unger??? Oh, My, God. What a tasty batch of BLUES!!!!I've got to make a backup copy quick, 'cause I know I'm gona' wear this thing out!! Thanks and a huge round of applause to all the performers. Big thanks to Bob Unger for making it possible. And to embee and Rob for the rest......Wait a minute, I thought I just won an Oscar. Thanks for the music Bluezellers!! Greg Hermanns### ========================================================================= Date: Sat, 10 Feb 1996 12:26:56 -0500 Reply-To: 00LCSPECTOR@BSUVC.BSU.EDU From: "Lee C. Spector" <00lcspector@BSUVC.BSU.EDU> Subject: Sharriff As the unofficial plugger for Omar Sharriff (formerly Omar Shariff and still formerly, Dave Alexander, which was his name when he was originally recording on Arhoolie and it may still be listed as such), I am very happy to see the interest in his music. I am continually impressed with his work, including the two albums on Have Mercy. Unfortunately, these albums aren't selling well and Mike says that they have only sold a handful of the Badass album, which includes some real interesting blues, some jazz and a classical piece. In fact, the next Omar project as well as a project by Marcel Smith, a wonderful gospel singer who also was the lead singer of an excellent group called the Soul Prophets, are on hold. In fact, in his letter, it seemed to me that Mike was saying that if the Sharriff stuff doesn't sell, the label might be in real trouble. So for those interested, please order. You can do it over the phone or fax with the number being, 916-48-MERCY. I have absolutely no financial interest in this company, but I must admit that I have tremendous interest in some of it's output. No one else seems to want to record Sharriff, who I consider the greatest living blues piano man (just an opinion folks). Therefore, if the company goes under, my listening pleasure will diminish substantially. I suppose most of us have favorite obscure musicians that can't get a deal, and Omar is no different, but it would really be too bad if this one got away. Lee Lee C. Spector Department of Economics ========================================================================= Date: Sat, 10 Feb 1996 20:38:51 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Diversifying Blues Soloing Comments: To: bit-listserv-blues-l@uunet.uu.net Matthew O'Brien wrote: > I'm a blues enthuiast of the first order. I just bought a guitar about >a year ago and have been playing for about 6 or 7 months. Now I know most >of the chords (although I don't know 9th chords) and I have mastered the >minor pentatonic scale up and down the neck. While listening to B.B. King >records, I have picked up many of his licks in the pentatonic. But many >of his songs (and other Blues Masters' songs) do not sound as if they are >based on the minor pentatonic scale. You alluded to the mixolidian scale >in your message to Doug. Is that a mode? I've heard of the mixolidian >mode, but I don't know anything about it. Could you please explain. > My quest is to diversify my soloing, which now revolves solely around >the minor pentatonic scales. I have some licks that I like very much, but >I feel that I'm stagnating with just these few. I was wondering if you >(or somebody else) could teach me some new licks. Or if it would be >easier, could you tell me some other scales that are used in blues and >rock soloing that I could look up in books and incorporate into my >repetoire. For example, are major scales combined with the minor >pentatonic in blues solos. I would appreciate if anyone could give me >advice on how to make my soloing less repetitive and more interesting. > Thank you for your time and consideration. Shaun replied: >It is the Mixolydian mode. The Mixolydian mode is the 1,2,3,4,5,6,b7. So in >A, we have, A,B,C#,D,E,F#,G. The key notes here are the B and F# (the 6 and >9). BB King loves using the 6 and it gives him that "sweet" sound that we >all know and love. If you play the major pentatonic scale you can get a >similiar effect (1,2,3,5,6. In A, A,B,C#,E,F#). Be careful of the C# >against the D chord in an A blues. The chord is most likely to be a D7 >which contains the C. Therefore the clash. >Hope this is clear. >Shaun And I'd like to add: I'm sure this is all very good advice, but it should be remembered that none of the great blues guitarists really *think* in terms of modes or scales; they tend to think in phrases. Phrasing is the thing that makes the old cliche about "Bluesman X can say more with one note than Bluesman Y can with a hundred" true. And phrasing can't really be learned from practicing scales, it can only really be learned from listening to LOTS of blues...which, if Matthew really is a "blues enthusiast of the first order", won't be work at all, it will be a pleasure. Almost anyone can get the basic technical skills and scales down pretty quickly, and after that it's ALL listening. Scott ========================================================================= Date: Sat, 10 Feb 1996 16:14:01 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: eRIC's BLUES DATES: Feb. 11 Comments: To: Jeff Seale In-Reply-To: On Sat, 10 Feb 1996, Jeff Seale wrote: > Happy Birthday to Big Bad Smitty. Let's all give him a big cyberwish for > better health this year. If you haven't yet checked out his Black Magic > cd, Mean Disposition, you've cheated yourself out of one of the best > blues cds to come out in a long time. Second the wishes and second the rec for the CD. One thing tho. My copy says the CD is on Gene's not on Black Magic. Which one is it currently. Barry NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sat, 10 Feb 1996 16:54:57 -0600 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: Diversifying Blues Soloing Comments: To: BGSV75C@PRODIGY.COM In-Reply-To: <4fivor$qbk@usenetp1.news.prodigy.com> from "Poindexter Regan" at Feb 10, 96 08:38:51 pm In an earlier message, Poindexter Regan said: ] I'm sure this is all very good advice, but it should be remembered that ] none of the great blues guitarists really *think* in terms of modes or ] scales; they tend to think in phrases. Phrasing is the thing that makes ] the old cliche about "Bluesman X can say more with one note than Bluesman ] Y can with a hundred" true. And phrasing can't really be learned from ] practicing scales, it can only really be learned from listening to LOTS ] of blues... I agree, with the footnote that playing around with scales, learning the fingerings, is awfully helpful in terms of figuring out how to _play_ what you _hear_ of _feel_. Sometimes I'll hear a recording of myself and realize that all the music theory that I thought I'd forgotten is still there at a subliminal level, helping me figure out how to tell the story... -- * Billy Chambless | billy@cast.msstate.edu | voice: 601-688-7608 * Mississippi State University Center for Air-Sea Technology * To attain knowledge, add something every day. * To attain wisdom, remove something every day. -- Lao-tse ========================================================================= Date: Sat, 10 Feb 1996 15:02:08 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: A TRIBUTE TO JOSH WHITE Comments: cc: Jessica_Sowin@SONYMUSIC.COM This posting is dedicated to the author & music critic Robert Shelton (1926/JUN/28, CHICAGO, IL - 1995/DEC/11, BRIGHTON, UK). ============================================================================= Allow me to declare from the outset that I've been a fan of JOSH WHITE now for over 30 years, since the time I saw him in Toronto (1963). His Elektra albums - in particular "Chain Gang Songs, Spirituals & Blues" (1958) and "The Story John Henry" (1955) - are still masterpieces of black folk music. Just last year, Billboard magazine published an interesting article on just that topic and I suggest those of you who have a wider interest in blues read "Black Folk Is Vocal Minority" in the November 11, 1995 issue of Billboard. Today, this genre of folk music is continued by Tracy Chapman, Guy Davis, Ben Harper, Richie Havens, Keb'Mo (sometimes), Taj Mahal (sometimes), Odetta and Beverly & Josh White Jr., two of the 5 children born to Carol Carr and JOSH WHITE. Joshua Daniel White was born Wednesday, February 11, 1914, Greenville, SC., the son of Daisy Elizabeth Humphrey and Daniel White. His father died a very sad death, leaving a big impression on the young JOSH WHITE. So as to support the family, the then seven year old JOSH WHITE began working as a 'guide' to blind (mostly) gospel singers, including Blind Joe(l) Taggart (recording with him in 1928) and Blind Lemon Jefferson. Years later, he appeared as Blind Lemon Jefferson in the Broadway play "John Henry" (with Paul Robeson, 1940). By 1932, he recorded his first solo recordings (20 of these tracks are now on SONY/LEGACY 67001 : JOSH WHITE - BLUES SINGER 1932-1936). During this time he may have also recorded (for Decca Records) with Clarence Williams' The Southernaires but I've yet to confirm this. For the next four years, he recorded mostly blues under various names like Pinewood Tom or Tippy Barton, and some gospel as Joshua White (The Singing Christian). I'll comment on these recordings when I review the new Sony/Legacy set, but I can tell you now that if you're a fan of acoustic blues guitar, you'll need this set. Shortly after the February 26, 1936 session that produced "Silicosis Is Killin' Me" (available on the Sony/Legacy set), JOSH WHITE injured his fingers in a fall, and for the next few years he worked as an elevator operator, finally regaining his guitar skills. I don't plan to write blow-by-blow about the rest of his career and recordings, except to say that after a 1942 government-sponsored tour of Mexico, he became a cabaret-concert performer, recording mostly what we now call "folk music". His songs ("Southern Exposure", "Jim Crow Blues", "One Meat Ball", "Defense Factory Blues") became more critical of society, so much so he was called up in 1950 by the House Committee on Un-American Activities . He was also considered "uppity" - but really Josh White was just a very gifted & proud black man at a time when the entertainment industry had some deep rooted problems. No matter, JOSH WHITE was a major contributor to American Folk music. He was noted for his smooth baritone and clear diction (he was no Charley Patton!), and given the fact that he sang everything from blues, gospel, chain gang songs, to English, Scottish & Irish ballads, his achievements should be re-addressed. His influence on Harry Belafonte, Leon Bibb, Oscar Brown Jr. and Jon Hendricks is immeasurable. In June 1961, JOSH WHITE had the first of four heart attacks, plus at least one serious auto accident in 1966. On September 5, 1969, his only son Josh White Jr. - then a performer himself - visited his father just before undergoing open heart surgery. JOSH WHITE died the next day, on Saturday, September 6, at the North Shore Hospital of Long Island, Manhasset, NY. He was 55 years old, and was survived by his wife Carol Carr White, and their five children (Blondelle, Beverly, Josh Donald, Carolyn Fern and Judith). He is buried at Cypress Hills Cemetery, Glendale, NY. His 1956 book "Josh White Guitar Method" (co-written with Ivor Maroints) and Robert Shelton 1963 book "The Josh White Song Book" (co-written with Walter Raim) are now long out-of-print. For more details on his life, read Dorothy Schainman Siegel's "The Glory Road : The Story Of Josh White" (1982), which regrettably does not contain a discography. He recorded albums for the following labels : ABC-Paramount ('56-57,'61), Decca ('44-46), Elektra ('54-56,'58-61), EmArcy ('47), London ('50), Mercury ('61-63), Nixa ('56), Period/Everest ('56), Stinson ('44), Storyville ('59), and Vogue ('50). The next JOSH WHITE posting will be a review of SONY/LEGACY CD 67001 : JOSH WHITE - BLUES SINGER 1932-1936. CD DISCOGRAPHY ============== BESCOL CD 406 : JOSH WHITE/BIG BILL BROONZY - ROOTS OF THE BLUES COLLECTABLES CD 5602 : JOSH WHITE - SINGS THE BLUES & SPIRITUALS DOCUMENT CD 5194 : JOSH WHITE - COMPLETE RECORDED WORKS V. 1 1929-1933 DOCUMENT CD 5195 : JOSH WHITE - COMPLETE RECORDED WORKS V. 2 1933-1935 DOCUMENT CD 5196 : JOSH WHITE - COMPLETE RECORDED WORKS V. 3 1935-1940 DOCUMENT CD 5405 : JOSH WHITE - COMPLETE RECORDED WORKS V. 4 1940-1941 DOCUMENT CD 5216 : VARIOUS - TOO LATE, TOO LATE V. 2 (2 cuts) DOCUMENT CD 5276 : VARIOUS - TOO LATE, TOO LATE V. 3 (2 cuts) SONY/LEGACY CD 46779 : PREACHIN' THE GOSPEL : HOLY BLUES (2 cuts) SONY/LEGACY CD 47060 : GREAT BLUES GUITARISTS : STRING DAZZLERS (2 cuts) SONY/LEGACY CD 47333 : THE GOSPEL TRADITION :ROOTS & THE BRANCHES V. 1 (1 cut) SONY/LEGACY CD 47467 : LEGENDS OF THE BLUES, V. 2 (1 cut by Walter Roland) SONY/LEGACY CD 67001 : JOSH WHITE - BLUES SINGER 1932-1936 "UNCLE" eRIC ========================================================================= Date: Sat, 10 Feb 1996 17:58:16 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Correction-Hammond, Goodman muddle At 10:34 AM 2/10/96, George Macy wrote: >Benny Goodman has been credited for having the first integrated band in >history, and he does deserve credit. However, it was through the urging of >John Hammond that this came about. Hammond clearly despised racism and worked >hard for years to bring ALL musicians together in integrated clubs during an >era when it was quite fashionable for white patrons to go to black clubs but >not vice-versa. I doubt it took much to persuade Goodman to work with Teddy >Wilson or Lionel Hampton- both were superb musicians who proved to be >instrumental in the huge success of the BG band in the late 30's. Or, earlier, to work with - and have an affair with (?) - Billie Holiday - wasn't Goodman playing on her first recordings? David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Sat, 10 Feb 1996 16:30:31 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Reminder: deadline for blues-l Grammys near >As a reminder, and to new folks who have recently joined the list, I am re-posting my "blues-l Grammy" suggestion. Many folks have already voted, and I have tabulated those votes--now I am setting a deadline of 2/25 (or sooner, of course) for all votes to be in. I'll post the results to the list on February 27 (the day before the real Grammy awards are annnounced). > >How about we have our own, blues-l vote for the Grammy Awards, just to >see how far off we are from the industry voters? This year's blues >NARAS Grammy Award nominees are listed below; cast your vote by return >email (private, of course, like all voting is supposed to be!); vote >for ONE entry in each category ONLY, and I will collect and tabulate >all the votes. No write-ins allowed, since they are not allowed in the >Grammys. You may vote only once. A day or two before the REAL Grammy >Awards (which are given out this year on February 28), I will post the >results of "our" voting to the list. Obviously, participation is >entirely voluntary. > >1996 Grammy Award Nominees > >Best Traditional Blues Album: >1. Charles Brown's Cool Christmas Blues/Charles Brown >2. Them Update Blues/Lowell Fulson >3. Chill Out/John Lee Hooker >4. The Last Real Texas Blues Band Featuring Doug Sahm/Same >5. Turn It on Turn It Up/Roomful of Blues > >Best Contemporary Blues Album: >1. The Man/Clarence Gatemouth Brown >2. Live 92-93/Albert Collins & The Icebreakers >3. Some Rainy Morning/Robert Cray >4. Slippin' In/Buddy Guy >5. Blue Night/Percy Sledge > > > Mary Katherine Aldin ========================================================================= Date: Fri, 9 Feb 1996 19:33:08 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: My baby, she left me..... I accidently deleted some requests for the lyrics to "My Baby She Left Me..." I have Gary Constatine's request but the others are gone (Samar Mittel (?) was one). So those of you who would like a copy of the lyrics please e-mail again. Sorry. It was one of those mornings. BTW, I remeber a song from Van Halen's first album that has the line,"If you need a woman as bad as me then you'd better be going." Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Fri, 9 Feb 1996 19:50:28 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Blues Bytes I just got my copy of Blues Bytes today. It is great! Thanks to Bob Unger, those who helped him, and of course the Bluezeller's that played the music. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sat, 10 Feb 1996 21:23:32 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: going offline temporarily I'm going offline for about two weeks. I will post the next Billboard chart to the list, but a day or two later than usual. Keep the blues-l Grammy votes coming, but make sure you send 'em private email as I won't see anything on the list for awhile. Mary Katherine Aldin ========================================================================= Date: Sun, 11 Feb 1996 04:14:07 -0400 Reply-To: Claudio Caponi MARNR From: Claudio Caponi MARNR Subject: Otis Spann discography Steve Murray said: >Don't know if this has been on a thread before, just got here 2 weeks ago, but >Mark Naftalin features an Otis Spann discography on his web site at: > >http://www.bluespower.com/index.html Yes!!!!!!!!!!!!! I want to thank Richard Cotenas (the discography provider) and Mark Naftalin for this marvelous present to all Spannaddicts. It has a Master discography (more than 80 Kb) with all the sides Otis appeared either as a sideman or under his name, including dates, personnel, LPs they appeared, comments on sessions where the sources have contradicting information. There are also LP and Singles discographies and a bibliography of sources. I am not a completist >but< for Otis Spann, and I have enjoyed studying this discography for the last week. It has some minor errors (part of which I already pointed out to Richard in a message thanking him for the wonderful job), but, all in all, I can finally make head or tails of where the sides in my LPs and CDs come from, and of what I am missing, which, I am sad to say, is not much. I had always hoped that there were still tons of great Otis music for me to discover...:-( In the next few days I am going to ask some questions on CD availability of some session/songs (the only thing missing from the discographies). Once again, THANK YOU, Richard and Mark. Bye for now, ccaponi@dino.conicit.ve | Claudio Caponi | I've had my fun... Ministerio del Ambiente | Caracas - Venezuela | Otis Spann PS: Isn't it great when you open your mailbox and your favorite bluesman (Otis Spann for me, in case you still wondered) is on a lot of Subject lines? ========================================================================= Date: Sun, 11 Feb 1996 06:00:25 EST Reply-To: mhrmless@CONVAL.EDU From: mhrmless@CONVAL.EDU Organization: Conval Subject: B.B. King Book Due PW>------------------------------------------------------------ PW>Newly Acquired B.B. King Autobiography is among titles to launch Avon PW>hardcover list in Fall 1996 PW>I'll be first on line at the book store. I'll be second! ========================================================================= Date: Sun, 11 Feb 1996 15:47:20 +0100 Reply-To: Bengans From: Bengans Subject: Re: Elmore & Slide advice to Matthew Billy Chambless wrote: > >I admit that I learned most of my ElmoCloneIsms second-hand, >and we tended to use open E so as to allow the rhythm guitarist >the use of all them cool open-string riffs. Here=B4s a simple suggestion how to get that open string rhythm that really carries a shuffle beat, if you wanna play in D. Tune down the bottom E one whole step to a D note. ( easily done on stage inbetween two songs.) There you get the root, the five and the root one octave up in a D chord. Just position up to 5th and 7th fret for rhythm playing! Since about a year back, I ve played my Elmore stuff tuned to Db cause I was wearing out throat trying to sing Elmore the Elmore way in D, (by the way, who wouldn t?) I ve got 012 through 058 or 060 on my guitar for that tuning,otherwise the strings would dangle like overcooked spagetti. On the brand new album with my band, The Instigators, I play two Elmore songs with that tuning, Stranger Blues and Coming Home Sevenson "Time is hard baby, and hustling is really on." T-Bone Walker Sevenson "Time is hard baby, and hustling is really on." T-Bone Walker ========================================================================= Date: Sun, 11 Feb 1996 15:47:28 +0100 Reply-To: Bengans From: Bengans Subject: Re: My baby, she left me..... >BOB V. wrote: >Don't know of any guy-for-guy songs, though; that might be a first. Haven t Charles Brown recorded someting on this issue? Sevenson "Time is hard baby, and hustling is really on." T-Bone Walker Sevenson "Time is hard baby, and hustling is really on." T-Bone Walker ========================================================================= Date: Sun, 11 Feb 1996 15:47:24 +0100 Reply-To: Bengans From: Bengans Subject: Re: Jammin' with James/domestic prblms. P.W. Fenton wrote >James kept me doing "just one more" for almost an >hour. During the last two songs, I could see my wife standing in >the doorway, arms folded, foot tappin', giving that "I hope your >having a good time now" look that clearly indicates I won't be >having a good time later. Did you get grounded? Did you promise to sell your gear and donate the profits to an organization for divorced musician-wives? Sevenson "Time is hard baby, and hustling is really on". T-Bone Walker Sevenson "Time is hard baby, and hustling is really on." T-Bone Walker ========================================================================= Date: Sun, 11 Feb 1996 10:04:43 -0500 Reply-To: Jon Duttweiler From: Jon Duttweiler Subject: CBS Sunday Morning Another wonderful segment featuring the blues on CBS Sunday Morning today. This time it was a general history (*very* brief) of Chicago blues with a focus at the end on the Blues Heaven foundation. Good cross section of music. Didn't know it was coming on so didn't have a chance to tape it! Oh well. Maybe someone at CBS likes the Blues! Jon. ========================================================================= Date: Sun, 11 Feb 1996 10:15:10 EST Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Chess on TV Woke up just in time to see a piece about Chess Records and Blues Heaven on CBS Sunday Morning. Blues two weeks in a row on Sunday Morning! I wish I had known in advance so that I could have posted a notice. The segment featured interviews with Jimmy Rogers and Koko Taylor in add- ition to Shirley Dixon. Thanks CBS! Anybody know how we can get in touch with Sun. Morn. to thank them? Dave Carpenter Blues Music Director WHUS-FM Storrs, CT http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Sun, 11 Feb 1996 10:11:38 -0500 Reply-To: TNT BLUES From: TNT BLUES Organization: America Online, Inc. (1-800-827-6364) Subject: Title Correction-Chris Duarte Comments: To: bit-listserv-blues-l@uunet.uu.net I sent a message a few days ago and I called the Chris Duarte CD "Sugar Blues" ; I must correct that ,the name of it is" Texas Sugar" . Sorry, TNTBLUES ========================================================================= Date: Sun, 11 Feb 1996 10:39:09 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: A blues gallery in NYC. Thought that anyone around and in New York City would apprec- iate to know that there's a blues photography show going on @ the moment. Story to follow. Info first. The gallery is Creations 17 at 112 West 17th Street. The tel- ephone number is 212-741-9356 and ask for Marianne. Tell her Barry sent you. Hours are Mon. to Sat. or Tues to Sat. 12-6. Enjoy. Now here's the story. Went to the gallery yesterday. Walked the block. Found a door covered in black plastic behind iron gates and closed. I rang the bell. Marianne comes out. You walk down a long corridor and make a right into the gallery. Inside B&W picks of blues all around you. Here's a few. James Son Thomas Pee Wee Whitaker Roosevelt Booba Barnes Arthenice Jones Napoleon Strickland etc. Great frames - ask Marianne the story on them. All tolled - 20 photos and worth the trip. Barry NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sun, 11 Feb 1996 15:40:06 GMT Reply-To: James Elmore From: James Elmore Organization: SuperNet Inc. (908) 828-8988 Subject: Re: Seeking Otis Spann Discography (Fleetwood Mac) Comments: To: bit-listserv-blues-l@uunet.uu.net Chris McIntosh wrote: >Hi, > >I really dig Otis Spann and am looking for more recordings to check out. >. I've also heard that he plays on an album with Fleetwood >Mac, but I have'nt been able to find it. > >Thanks for any pointers. > >Later, >Chris Otis Spann is on the 1994 SIRE 2-CD set, FLEETWOOD MAC IN CHICAGO 1969 (which had several different titles, English & US, in the vinyl days). Spann's there along with Willie Dixon, S.P. Leary and other Chess session men. Now I'm not usually one to include rock acts who do blues songs as "blues artists", but I make an exception for the original PETER GREEN'S FLEETWOOD MAC. Does anyone know why the orginal albums, FLEETWOOD MAC and ENGLISH ROSE on the EPIC label here in the US, or their English equivalents, have never been released on CD? Ironically they were often re-released (once as a double album) when the pop group FLEETWOOD MAC hit it big (much to the shock of Stevie Nicks' fans, I'm sure.) ========================================================================= Date: Sun, 11 Feb 1996 11:42:44 -0500 Reply-To: Skip Montanaro From: Skip Montanaro Subject: Recent blues additions to Musi-Cal... The following artists have five or more new blues entries in Musi-Cal. Chubby Carrier, Coco Montoya, Willie "Big Eyes" Smith, "Studebaker" John Grimaldi, Jimmy Thackery, Boneheads, Christopher "Preacher Boy" Watkins, E.C. Scott, The Natural Blues, Lester "Big Daddy" Kinsey, Tommy Castro, Chris Cain, Little Mike & The Tornadoes, Joanna Connor, Eddie C. Campbell, Debbie Davies, Chris Smither, Frankie Lee Jones, Bleecker St. Skip Montanaro | Looking for a place to promote your music venue, new CD, skip@calendar.com | festival or next concert tour? Place a focused banner (518)372-5583 | ad in Musi-Cal! http://www.calendar.com/concerts/ "Used to be, a good day was when I got some work done. Now I'm happy to just make it through the mail..." -me ========================================================================= Date: Sun, 11 Feb 1996 11:47:10 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1940 - NBC Radio presented The Chamber Music Society of Lower Basin Street for the first time. The famous Blue Network series included several distinguished alumni -- among them, Dinah Shore and Zero Mostel. The chairman, or host, of the Chamber Music Society of Lower Basin Street was Milton Cross. He would say things like, "A Bostonian looks like he's smelling something. A New Yorker looks like he's found it." The show combined satire, blues and jazz and was built around what were called the three B's of music: Barrelhouse, Boogie Woogie and Blues. P.W. Fenton Tampa, Florida ---------------------------------------------------- Please visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 11 Feb 1996 11:58:24 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: TOSHI REAGON Last week you said : >>PS - Thanks to our poster PARRISHR@VITRO.COM for his pertinent >>question about Lou Reed. I hate to tell you this, but I'm a female. [ref: http://intelus.com/dcblues/mrsmax.html] Believe it or not, there are a lot of Lou Reed fans on Blues-L. Lou Reed does a really good blues called "Turn to Me" which I think is on his "New York" album or the one right after it. ====================================================================== Ken Ficara ficara@acm.org "[Bill Gates' vision looks] as much as ever like technography, in which technology, like the sex in pornography, is always satisfying." --Stephen Manes, The New York Times More quotes available at: http://www.panix.com/~ficara/quotes/quotes.cgi ========================================================================= Date: Sun, 11 Feb 1996 12:03:09 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: A blues gallery in NYC who response. In-Reply-To: <960211115731_141308874@mail06.mail.aol.com> Thanks to Joel and Tom's queries here's the artist's name- Rex Miller NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sun, 11 Feb 1996 11:58:36 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: 96 New Orleans Jazzfest I checked out OffBeat's site this morning with the hopes that some news about the performers for this years Jazzfest would be mentioned. They have the beginnings of what looks to be a great Festival. Here's a list of what I found: Confirmed and Rumored Acts of Jazz Fest 1996 Beausoleil avec Michael Doucet - , Friday, May 3 Becky Sharp - Sunday, April 28 Tab Benoit - Friday, May 3 Dee Dee Bridgewater - Sunday, April 28 Clarence "Gatemouth" Brown - Saturday, May 4 Buckwheat Zydeco - Saturday, April 27 Chubby Carrier & the Bayou Swamp Band - Saturday, May 4 James Carter - Saturday, May 4 Boozoo Chavis & the Magic Sounds - Thursday, May 2 C.J. Chenier - Saturday, May 5 Dash Rip Rock - Saturday, April 27 Geno Delafose & French Rockin' Boogie - Sunday, April 28 Dirty Dozen - Saturday, April 27 Chris Duarte - Thursday, May 2 Leroy Jones - Sunday, May 5 Salif Keita - Friday, May 3 & Saturday, May 4 Dave Matthews Band - Sunday, May 5 Kenny Neal - Saturday, May 4 Neville Brothers - Sunday, May 5 Anders Osborne - Friday, May 3 Eddie Palmieri Octet - Thursday, May 2 Phish - Friday, April 26 Michael Ray & the Cosmic Krewe - Friday, May 3 Steve Riley & the Mamou Playboys - Friday, May 3 Terrance Simien & the Mallet Playboys - Friday, April 26 Wayne Toups - Saturday, April 27 Trout Fishing in America - Friday, May 3 & Saturday, May 4 Walter "Wolfman" Washington & the Roadmasters - Saturday, April 27 Junior Wells - Saturday, April 27 (Heavily) Rumored Bands Allman Brothers - chances are good that they'll be at this year's festival Joan Baez - probably do both a set at the Fair Grounds and an evening concert. B.B. King - play both the Fair Grounds and an evening concert in 1996. Dukes of Dixieland - trad. jazz band Wynton Marsalis - Fair Grounds and do an evening concert. Joan Osborne - playing the Fair Grounds and may do a night show as well. Radiators - play the last Sunday at the Fair Grounds. subdudes - at the Fair Grounds, `'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`' Stop on by my Jazz and Blues Web Site -- http://redlt.com/tom/ Free-lance Writer--Author--Program Director WTJU 91.1--Internet Consultant ========================================================================= Date: Sun, 11 Feb 1996 12:14:54 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Joni Mitchell Blues? Pardon my ignorance, but I've been told I sound like Joni Mitchell and I was just wondering if Joni Mitchell ever did any blues. Sorry -- Joni Mitchell was beore my time. Thanks, Ruth ========================================================================= Date: Sun, 11 Feb 1996 11:55:41 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: NFCB in San Fran Are any of the radio Blues zellers going to the National Federation of Community Broadcasters Convention in San Francisco next weekend? If so I look forward to seeing you there. I have gone to these conventions for three years now and have a good time but there is never much emphasis on blues programming. If you are going, let's get together and have a drink and talk about the blues and radio. Tom `'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`' Stop on by my Jazz and Blues Web Site -- http://redlt.com/tom/ Free-lance Writer--Author--Program Director WTJU 91.1--Internet Consultant ========================================================================= Date: Sun, 11 Feb 1996 17:26:03 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Why the Blues? -Reply Comments: To: bit-listserv-blues-l@uunet.uu.net In article "David L. Prychitko" writes: >Being the language of the heart, as delta doc mentions, blues must also have >something to do with love: Love w/o blues is impossible; blues w/o love >is indefensible! This reminds me of a video (on Vestapol label if I remember correctly) I have with Son House discussing the blues. He said something like "Blues is what you have when love goes bad. I should know as I've been married five times". Art Schuna ========================================================================= Date: Sun, 11 Feb 1996 12:40:51 -0500 Reply-To: FRobinsonj@AOL.COM From: "Frank Robinson,Jr." Subject: Re: St. Louis and the first Blues-l Conference Comments: To: canorton@journalism.indiana.edu Folks, I would be willing to volunteer to help out in any possible and am at your disposal... To whoever is leading this effort for the conference, contact me by E-mail if I am needed. Frank Robinson, Jr. ========================================================================= Date: Sun, 11 Feb 1996 12:45:45 -0500 Reply-To: FRobinsonj@AOL.COM From: "Frank Robinson,Jr." Subject: Re: Blues-L Convention Folks, I am content with the location choice of St. Louis but I will go with the majority. (I'm easy if not sleazy...) Frank ========================================================================= Date: Sun, 11 Feb 1996 12:47:09 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Joni Mitchell Blues? Comments: To: PARRISHR@VITRO.COM On 11 Feb 96, PARRISHR had this to say: > Pardon my ignorance, but I've been told I sound like Joni Mitchell and > I was just wondering if Joni Mitchell ever did any blues. > Sorry -- Joni Mitchell was beore my time. > Thanks, Ruth You wouldn't call Joni, who is well within MY time, Blues. A wonderful, and creative singer, but never of the Blues. Maybe her best album was TITLED "Blue", but it was her own unique style of music. P.W. Fenton Tampa, Florida ---------------------------------------------------- Please visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 11 Feb 1996 12:50:02 -0500 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: WFBE Flint, MI Blue Highway Playlist,2/10/96 Blue Highway Playlist, 02/10/96, with host Ed Tremewan Artist. Song, Album, Label 9pm to 10 pm Luther Allison, Lets Have A Litle Talk, ... The Motown years, Motown Homesick James Built Up From The Ground Live From The Stanhope Stanhope House Melvin Taylor/Slack Band, All Your Love I miss Lovin, Melvin Taylor/Slack Band, Evidence John Mooney/Bluesiana, Junco Partners, Travelin'On, Blue Rock It Lowell Fulsom, Don't Lie, Them Update Blues, Bullseye Blues Creators Band, You Might As Well Face It, Demo tape Len Bland, I Say Whoa, For Your Love , Lucky Pride Terry Frank, Big Road Blues , Devil By Her Side , Ho-Made Kid Ramos, Baby Look At You, Two Hands One Heart, Black Top Butterfield Blues Band, Rock Me, Strawberry Jam, Winner Finis Tasby, Po Mans Blues, People Don't Care, Shanachie Johnny Hoy/Bluefish, Hidden Charms, Trollin The Hoochie , Tone Cool Downchild Blues Band, I Am Mr Downchild, Good Time Guaranteed , Blue Wave 10 pm to 11 pm Uncle Jesse White, Blues For The Sunrise Meade Lux Lewis, Rough Seas, The Piano Artistry Of..., Riverside Otis Spann, Otis In The Dark , ......... Is The Blues, Candid REunion Blue Band, Mojo Workin, A few Degrees Cooler, Ice House Long John Hunter, Nasty Ways, Border Town Legend, Alligator Cephas & Wiggins, Backwater Blues, Cool Down,Alligator Eddie Taylor, Crossroads,Long Way From Home, Blind Pig Bob Margolin, The Same Thing, My Blues& My Guitar, Alligator Too Slim/Taildraggers,Big Legs, Swamp Opera, Burnside The Quick Edwin Band, Quick Edwin's Lament, Quick Edwins Lament, Pirate Eye Chris Cain, Trouble Makin Woman, Somewhere Along The Way, Blind Pig Johnny Dyer, Feel Like Cryin Again,Jukin, Blind Pig 11 pm to 12 am Valerie Wellington, Dirty No Gooder Blues, Million Dollar Secret, Rooster Blues Karen Carrol, Vicksburg Blues, Had My Fun, Delmark Rory Block, Tallahatchie Blues, When A Woman gets the Blues,Rounder Koko Taylor, Born Under A Bad Sign, Force Of Nature, Alligator Back Track Blues Band, Pretty Pretty Baby, Boogie Shack, King Snake Joe Louis Walker, Get It Right, Blues Of The Month Club, Verve Eddie Kirkland, Pity On Me, Where You Get Your Sugar, Deluge Omar And The Howlers, Fire In The House, World Wide Open, Watermelon John Primer, Still In Love With You, The Real Deal, Code Blue Terry Evans, Blues No More, Puttin It Down, Audioquest Dr Hector/Blues Injectors, Doin The Wrong Things Right, Bad Connection, King Snake Mick Martin/Blues Rokers, Workin Man Blues, Got to Play the Blues, Blues Rock Cow Cow Davenport/Dora Carr, Cow Cow Blues, Blue Ladies, Memphis Archives BLUZ!!! Ed ========================================================================= Date: Sun, 11 Feb 1996 12:52:02 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland rgan for posting the preliminary list for the jazz fest. I havent gotten the list this early before; please tell me this is very preliminary and will fill out in an interesting way? And what the hell is PHISH doing in there????? Tom Freeland ========================================================================= Date: Sun, 11 Feb 1996 12:54:47 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Blues Guitar Techniques - Ruthie's Rant Du Jour Last week Matthew O'Brien said: > Now I know most >of the chords (although I don't know 9th chords) >and I have mastered the minor pentatonic scale up and down the neck. > While listening to B.B. King records, I have picked up many of his > licks in the pentatonic. But many of his songs (and other Blues > Masters' songs) do not sound > as if they are based on the minor > pentatonic scale. You alluded to > the mixolidian scale in your message to Doug. Is that a mode? I've > heard of the mixolidian >mode, but I don't know anything about it. Could you please explain. > My quest is to diversify my soloing, which now revolves solely > around the minor pentatonic scales. I have some licks that I like > very much, but I feel that I'm stagnating with just these few. I > was wondering if you (or somebody else) could teach me some new > licks. And Barry said: > The basic blues scale will carry you > far, but can be confining. You may also want to spend some time on > dorian modes (use the major scale of the note 1 whole tone below the > start of the scale). Besides playing and listening, you may want to > check out the Jamie Aebersold series of book/play-along CDs on blues > and jazz improvisation. Although they're slanted heavily towards > jazz players, They make great reference works, and the play along > CDs are a great substitute for a patient rhythm section. I totally agree with Barry about the play-along CDs for the rhythm. But Matthew, you have GOT to learn 9th chords. We use 'em all the time. Get yourself a good chord dictionary. And what about the major pentatonic scale? Now I hope no one minds while I rant a bit about overly technical blues guitar playing. First let me explain that I have nothing against theory. In fact, I am a classically trained musician but I find my theory training doesn't really help much in playing blues. I have hung out with a lot of guitar players who are just learning to play blues, and I think a lot of them spend too much time trying to find the "magic formula" for blues and not enough time experimenting. You can tell the ones who spend too much time thinking about it, because their leads don't flow freely. So I'll tell you how we (Max and I) do it: we collect blues guitar CDs -- everything from Robert Johnson to Luther Allison, Smokin' Joe Kubek and Stevie Ray Vaughn. Then we listen to them over and over and play along. Once we can play along (not that I can play SRV but Max can), we think about what notes we can change to make it sound different but that still fit the chord progression. It's a lot of trial and error. In the process we learn more licks and even come up with new ones. As I said before, there's no magic formula for blues guitar. Bluesellers please correct me if I'm wrong, but I think the vast majority of blues guitar playing is done with the pentatonic scale (major and minor). That's a lot of notes -- mathematically that leaves you with a nearly infinite number of variations. If you learn other scales or whatever, that's great! But don't get so caught up in theory that you lose your freedom of expression. Just my $.02. ========================================================================= Date: Sun, 11 Feb 1996 12:49:55 -0500 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: Bluzman back on AOL OK, so I can't make up my mind. I tried some other services, but AOL has the best mail program around, so in spite of its periodic meltdowns, I'm back to stay. They were nice enough to let me keep my old screen name too! So BLUZ!!! Ed ========================================================================= Date: Sun, 11 Feb 1996 17:49:32 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Josh White - hard hitting country bluesman? Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199602091244.AA19266@dragon.acadiau.ca> Rob Hutten writes: >Just checking out the Sony/Legacy Roots 'N Blues series homepages >for the new releases and I read this description of the new Josh White >release: > "20 digitally mastered recordings from one of the hardest-edged > country bluesmen of all time" >Have I not heard enough Josh White, or is this an example of >over-zealous packaging by the label? Rob - I think Josh White suffers greatly in the minds of many blues enthusiasts who remember most his late career, in which his discovery by the "folk music" crowd led him to play mostly music that would please them and of course sell records and lead to coffee house gigs. I bought the Document Complete recorded works (3 volumes) a few years ago and was really surprised. He deserves a lot more recognition as a classic pre-war bluesman. If you don't own this material, and are a fan of pre-war country blues, you will not be disappointed by this set. He performs in the Peidmont style, so don't expect the "hard hitting" style of a Delta bluesman like Charlie Patton. Even though I own the Documents, I'm considering adding the Sony set for the improved sound quality (at least I hope that's true - could someone who's heard it let me know how the sound might compare?). Art Schuna ========================================================================= Date: Sun, 11 Feb 1996 18:00:33 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: King Curtis -Reefer Smoker Comments: To: bit-listserv-blues-l@uunet.uu.net > FROM: Michael Marshall > I'm also in search of a blues tune I believe is done by King Curtis called > Reefer Smoker. You are probably thinking about King Curtis & Champion Jack Dupree's " Junker's Blues" which has an opening line of "They call me a reefer smoker, well every word they say is true". It's on "Blues At Montreux" on Atlantic (81389-2), a fine live set combining the talents of these two artists. Art Schuna ========================================================================= Date: Sun, 11 Feb 1996 13:18:29 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Blues Technique Rant Du Jour Part II Last week Dick Waterman said about Son House, also IMHO one of the greatest blues guitarists who ever lived: >Son House played his music exactly the same in front of 20,000 at a > festival or sitting on the end of the bed in a motel right after >putting on new guitar strings. He just closed his eyes, rocked back a >bit and 'went somewhere else.' [snip] And I knew that he had 'gone' >to Robinsonville or Frair's Point and that he was back in >1930-something. [snip] It defies description to watch a musician so >overcome by his own artistry that he would go into a trance that >overwhelmed him completely. I still stand by what I wrote about >Mister House in "Living Blues' after he died: >"On October 19, 1988, every blues man in the world moved up one >place. There had been a vacancy at the very top." Waterman makes a very important point here and one that I have observed as well: every really good blues guitarist I can think of "goes somewhere else" when they're heavy into their playing. So maybe the best advice I can give Matthew O'Brien and other struggling blues guitarists is to find that mental place where the leads are. THAT's the magic formula for blues! ========================================================================= Date: Sun, 11 Feb 1996 13:22:47 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Son House (cont'd) P.S. I was just wondering when Dick Waterman said: >"On October 19, 1988, every blues man in the world moved up one >place. There had been a vacancy at the very top." Do blues women get to move up too? ========================================================================= Date: Sun, 11 Feb 1996 18:20:39 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: My baby, she left me..... Comments: To: bit-listserv-blues-l@uunet.uu.net In article Bengans writes: >>BOB V. wrote: >>Don't know of any guy-for-guy songs, though; that might be a first. I think there's a CD called "Sissy Man Blues" on the Jass label which has all songs on this subject - mostly pre-war if I remember correctly. Art Schuna ========================================================================= Date: Sun, 11 Feb 1996 18:30:44 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Memphis Bluezellers Only! Comments: To: bit-listserv-blues-l@uunet.uu.net I'll be in Memphis next weekend (Friday and Saturday) and will probably have time on my hands in the evenings. Could someone let me know what's happening blues-wise next weekend, best clubs, places to go look for CDs used records, etc? Private email please. Art Schuna aaschuna@facstaff.wisc.edu ========================================================================= Date: Sun, 11 Feb 1996 18:34:41 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Magic Slim Live in Madison Comments: To: bit-listserv-blues-l@uunet.uu.net Just wanted to let people know Magic Slim tore up the Memorial Union on campus Friday night. I've seen him play 5-6 times (at least) and I would have to say these were some of his finest hours of performing that I've seen anyway. If he comes anywhere near your town, make every effort to go see him. You will not be disappointed. BTW, does anyone know who plays guitar with him these days since John Primer has gone solo? He does an excellent job of filling some pretty big shoes. Art Schuna ========================================================================= Date: Sun, 11 Feb 1996 18:41:55 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Joni Mitchell Blues? Comments: To: bit-listserv-blues-l@uunet.uu.net In article <11e249b0@vitro.com> PARRISHR writes: >Date: Sun, 11 Feb 1996 12:14:54 -0500 >From: PARRISHR >Subject: Joni Mitchell Blues? > Pardon my ignorance, but I've been told I sound like Joni Mitchell and > I was just wondering if Joni Mitchell ever did any blues. She wasn't a blues singer although she did a song with a line something about Furry Lewis singing the blues. Apparently she spent some time with him and then put together a song about. I vaguely recalled that it kind of pissed him off at the time. Can anyone remember this song & what album it's on? Art Schuna ========================================================================= Date: Sun, 11 Feb 1996 19:22:09 GMT Reply-To: "J.J. Perry" From: "J.J. Perry" Organization: Indiana University Subject: Recording Cover Versions Comments: To: bit-listserv-blues-l@uunet.uu.net My band and I are currently putting the finishing touches on some tunes to go record for (hopefully!) a possible cd release. We've written, oh, probably eight or nine tunes we definately want to do, but are unsure about doing cover tunes. My harp player figures that a couple of covers point people in the direction of your influences, and give them an idea of where you're coming from. I agree (although I don't know how we're gonna whiddle all those great tunes we would love to do down to two) for the most part, but I just don't want to get in any kind of copyright trouble. Assuming we would press, maybe 500 cds, and have it be all self-produced (not affiliated with a label or anything), how would we go about protecting ourselves when doing covers? On a somewhat related note, how do you go about getting your original tunes copyrighted? I'm sure that this has already been covered numerous times on the list, but we're new to this whole recording thing, and considering this will probably be a debt-creating, one-time-only labor of love, we want to do everything right, as much as we can. Any help would be most appreciated. J. J. ========================================================================= Date: Sun, 11 Feb 1996 15:08:07 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: 96 New Orleans Jazzfest Comments: To: tm4q@poe.acc.virginia.edu Comments: cc: BinkyBonk@aol.com After seeing Tom Morgan's post of Jazz and Heritage acts, I got a more complete printout for week2 from the New Orleans mailing list. Week 1 I'm still trying to find. Here's some additions: Thurs. May 2 Chambers Brothers Reunion, Dixie Hummingbirds, Ernie K-Doe, Michelle Shocked, Jessie Hill, Zobop of Haiti, Bruce Daigrepont, Coco Robicheaux, Indigo Girls Fri. May 3 Dr. John, Buddy Guy, Bela Fleck, Clarence Henry, Goere Porter, Joe Louis Walker Sat. May 4 Van Morrison, Allen Toussaint, Joan Osborne, Better than Ezra, Dixie Cups, Kenny Neal, the Wild Magnolias, Elder Roma Wilson, Treme Brass Band Sun May 5 Mighty Clouds of Joy, Marva Right, Earl King, Johnny Adams, Bobby Rush, Zion Harmonizers, Katie Webster, Bobby Marchan, Micheal Ward Tom Freeland ========================================================================= Date: Sun, 11 Feb 1996 12:23:07 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: My baby, she left me..... Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Art said: >I think there's a CD called "Sissy Man Blues" on the Jass label which >has all songs on this subject - mostly pre-war if I remember correctly. Nah... you're thinking of "Girlie-man Blues" by the Hans 'n Franz Blues band! groan DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Sun, 11 Feb 1996 14:37:23 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: bb king book Of course there already is a very nice authorized bio of B.B. King. The Arrival of B.B. King by Charles Sawyer, 1980, Doubleday, isbn:0-385-15929-3. The thing that's a little worrying about the press release are the following lines: > press release as forwarded from: "P.W. Fenton" > discovery by "mainstream" audiences, and his commitment to the music > he loves, unfold against the broad spectrum of people he has met and > worked with and the backdrop of the times in which he has lived. The > people, including Eric Clapton, Jeff Beck, Santana, Stevie Ray > Vaughn, > Robert Cray, Jimi Hendrix, Janis Joplin, Bonnie Raitt, Frank > Sinatra, > the Rolling Stones, and U2, are amazing, and his career spans the > creativity, turbulence, and excitement of a half-century of musical > evolution. Notice the lack of names in there like Bobby Bland? I hope it doesn't end up being like the Buddy Guy book. Guess we'll all have to wait and see. Don O. ========================================================================= Date: Sun, 11 Feb 1996 16:09:39 -0500 Reply-To: Saintelvis@AOL.COM From: Shane Rhyne Subject: An Introduction and a Question Howdy folks, I've been on lurk mode here off and on for a few months and thought it was about time I stepped forward and said hello. For the record, I've been a Blues fan since I was a kid and even let it influence my decision on what college to attend (Memphis State) even though I'm not a musician. I just wanted to be near the home of music I loved...Blues and rockabilly. Today, I work as a radio station manager in East Tennessee for a country/Bluegrass station and I've really been fascinated recently with the similarities between country Blues and early Bluegrass. It's easy to see that Bluegrass was influenced heavily by the Blues. I've noticed that Bluegrass acts will cover Blues tunes from time to time, but I've never found evidence of the reverse-- a Blues act covering a Bluegrass tune. Does anyone here listen to Bluegrass as well as the Blues and/or does anyone have information about the common history of Blues and Bluegrass that would be useful to me? Thanks in advance. Take care, Shane Rhyne (SaintElvis@aol.com) Cumberland Gap, Tennessee ========================================================================= Date: Sun, 11 Feb 1996 15:29:57 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: bb king book Comments: To: Don O In-Reply-To: <9602111437.0KJJW02@chrysalis.org> On Sun, 11 Feb 1996, Don O wrote: > Of course there already is a very nice authorized bio of B.B. King. > The > Arrival of B.B. King by Charles Sawyer, 1980, Doubleday, > isbn:0-385-15929-3. Charles used to be a regularly contributing member of blues-l. Last I spoke with him, the book was still available from the publisher. -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Sun, 11 Feb 1996 21:59:13 GMT Reply-To: Michael Twomey From: Michael Twomey Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: Joni Mitchell Blues? Art Schuna (aschuna@VMS2.MACC.WISC.EDU) wrote: : >Subject: Joni Mitchell Blues? : She wasn't a blues singer although she did a song with a line something : about Furry Lewis singing the blues. Apparently she spent some time with : him and then put together a song about. I vaguely recalled that it kind of : pissed him off at the time. Can anyone remember this song & what album it's : on? : Art Schuna Re: Furry Sings the Blues That song was on Hejira by Joni. While it is a good story song, like many of hers, it isn't very complementary towards Furry. Where with the Mingus album she really understands and sings about Mingus, here she is just the observer of an old man's exterior without understanding or respecting him. Example He points a boney finger at you and says, "I don't like you" Everybody laughs as if it's the old man's standard joke But it's true We're only welcome for a drink and a smoke. There's more, but that gives you a taste. Mike Exa ========================================================================= Date: Sun, 11 Feb 1996 17:39:16 CST Reply-To: Jerry Tyner From: Jerry Tyner >To: Blues Music List >From: Jerry Tyner > >UNSUBSCRIBE > ========================================================================= Date: Sun, 11 Feb 1996 17:40:35 CST Reply-To: Jerry Tyner From: Jerry Tyner unsubscrive ========================================================================= Date: Sun, 11 Feb 1996 17:43:12 CST Reply-To: Ted Gurley From: Ted Gurley Subject: How bout a blues-l chart I'd like to offer to compile a blues chart for the list. Here's how it would work, once a week send in a list of the top 5 or 10 blues CD's are getting played around your house or in your car. I'll compile the responses and post every other Sunday. Send me a private email with Chart in the subject. If the response is decent, this should make for an interesting chart and provide a forum for additional discussion. ------------------------------------- 02/11/96 17:43:12 Ted Gurley - Dallas, TX tgurley@.onramp.net or rampages.onramp.net/~tgurley Co-writer of "Plug-In: The Guide to Music on the Net" Look for it in March 96 from Prentice-Hall ------------------------------------- ========================================================================= Date: Sun, 11 Feb 1996 19:11:01 -0500 Reply-To: Niles Frantz From: Niles Frantz Organization: GNN Subject: Re: "Mississippi Heat" - Name of lead singer? Comments: To: bit-listserv-blues-l@uunet.uu.net In article <4ev7d7$mc0@usenetp1.news.prodigy.com> Poindexter Regan wrote: >>Do any of you blues folks know the name of the fabulous > blues band >>Mississippi Heat's Lead singer and how to contact her? > >Dietra Farr. > Deitra Farr :-) Niles A loop is a loop is a loop. ========================================================================= Date: Mon, 12 Feb 1996 00:07:37 GMT Reply-To: George Myers From: George Myers Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Bugs Henderson news anyone? Comments: To: bit-listserv-blues-l@uunet.uu.net BUgs will be at the Grand Emporium in K.C. 3/8. ========================================================================= Date: Sun, 11 Feb 1996 19:20:03 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: International Blues Radio I thought when I started taking blues radio listings a few months ago that maybe I was being a bit grandiose in making pages for places like Russia, Malaysia, and the Philippines. Lo and behold, last week I received a listing for a Moscow radio show called "All That Blues" hosted by Andrei V. Evdokimov. (I also got one from Malaysia, but it was too incomplete to use.) Just now I received this note from a gentleman in the Philippines. I thought you might like to see it. Finally, the blues is coming alive in Manila, Philippines. There is an active blues appreciation club, called simply The Blues Club. There are currently 3 blues bands, all finding weekly gigs. Several clubs and one medium-size concert venue are beginning to promote special blues nights. There's even serious talk about a genuine blues club. And just last week, a new blues radio show began: Title: The Blues Session Time: 1-2 a.m., every Saturday Host: Bob "Blues" Magoo Station: DWLA -- 105.9 This program will tap the collection of The Blues Club. Chances are very favorable for a second blues radio show hitting the airwaves by the end of February. (name deleted) Manila, Philippines Let's hear it for The Blues Club! *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Sun, 11 Feb 1996 20:43:26 -0500 Reply-To: Brian E Rice From: Brian E Rice Subject: Charles Brown's Health? The question came up the other day regarding Charles Brown's health. He had to cancel a gig here over a year ago due to illness and no one has heard much about him since. Anyone out there seen Charles lately? I hope he's back at at 'em and doing well. berice@concentric.net Brian E. Rice (Ann Arbor, MI - The home of Otis Spann Memorial Field) "The Blues ain't nothin' but a botheration on your mind." ========================================================================= Date: Sun, 11 Feb 1996 22:35:05 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Charles Brown's Health? Comments: To: berice@cris.com On February 11, Brian E. Rice asked: >>>The question came up the other day regarding >>>Charles Brown's health. He had to cancel a gig here >>>over a year ago due to illness and no one has heard >>>much about him since. Anyone out there seen >>>Charles lately? I heard he was at the Grand Emporium in Kansas City last week and kicked butt!. Great show from what I heard. Dick Waterman ========================================================================= Date: Sat, 10 Feb 1996 19:40:13 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Blues Guitar Techniques - Ruthie's Rant Du Jour Ruth wrote: > I totally agree with Barry about the play-along CDs for the rhythm. > But Matthew, you have GOT to learn 9th chords. We use 'em all the > time. Get yourself a good chord dictionary. And what about the major > pentatonic scale? Now I hope no one minds while I rant a bit about > overly technical blues guitar playing. First let me explain that I > have nothing against theory. In fact, I am a classically trained > musician but I find my theory training doesn't really help much in > playing blues. I have hung out with a lot of guitar players who are > just learning to play blues, and I think a lot of them spend too much > time trying to find the "magic formula" for blues and not enough time > experimenting. You can tell the ones who spend too much time thinking > about it, because their leads don't flow freely. So I'll tell you how > we (Max and I) do it: we collect blues guitar CDs -- everything from > Robert Johnson to Luther Allison, Smokin' Joe Kubek and Stevie Ray > Vaughn. Then we listen to them over and over and play along. Once we > can play along (not that I can play SRV but Max can), we think about > what notes we can change to make it sound different but that still fit > the chord progression. It's a lot of trial and error. In the process > we learn more licks and even come up with new ones. As I said before, > there's no magic formula for blues guitar. Bluesellers please correct > me if I'm wrong, but I think the vast majority of blues guitar playing > is done with the pentatonic scale (major and minor). That's a lot of > notes -- mathematically that leaves you with a nearly infinite number > of variations. If you learn other scales or whatever, that's great! > But don't get so caught up in theory that you lose your freedom of > expression. Just my $.02. Good advice, Ruth. To add more, if you combine the major pentatonic and the blues scale together you get the "Blues Mixolydian Scale" I was rambling on about a few days ago. Also, if you spend a bit of time workin out what notes sound good against which chord then you can play *all* the notes of the chromatic scale in blues solo over a standars I-IV-V. Of course, it sounds a little jazzy but works great on uptown blues. Also, record yourself often and listen to what you are playing. It gives you an idea of where your playing is at and what you need to work on. Sometimes it hard to listen to what you played ("Oh God I suck!") but it is worth it. You will also find that you play stuff that is actually quite good ("What the **** was that? That was me ?!? Cool!"). Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sat, 10 Feb 1996 19:44:04 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Charles Brown's Health? Brian wrote: >The question came up the other day regarding Charles Brown's health. He had >to cancel a gig here over a year ago due to illness and no one has heard >much about him since. Anyone out there seen Charles lately? I hope he's >back at at 'em and doing well. >berice@concentric.net There was an article in Charles in the LA Reader (I think. Well, it was one of those free weeklies) and he did 5 nights last week at the "Roosovelt Hotel", here in Hollywood. I didn't go but he seems to be quite active. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sun, 11 Feb 1996 22:37:13 PDT Reply-To: JEFFREY LEE HUNSICKER From: JEFFREY LEE HUNSICKER Organization: epix.net Subject: Re: Blues-L Comments: To: bit-listserv-blues-l@uunet.uu.net St.Louis is fine-I know many people will accompany me-the audience will be packed! ========================================================================= Date: Mon, 12 Feb 1996 04:17:23 GMT Reply-To: bluesdj@HALCYON.COM From: Roberta Penn Organization: Northwest Nexus Inc. Subject: BB King bio Comments: To: bit-listserv-blues-l@uunet.uu.net Yes, Rietz was with BB here in Seattle. But why would they promote the book by mentioning his bio on Gaye? There was not one interview with Marvin Gaye in the entire book and his bio of Ray Charles is fraught with inaccuracies.....it will be hard to top "The Arrival of BB King." ========================================================================= Date: Sun, 11 Feb 1996 22:30:06 CST6CDDT Reply-To: Tin Can From: Tin Can Organization: UW-Superior Subject: muddy and chess i just got the chess box (box set) by muddy waters. It includes evcerything up to 1972. Yet he died in 1983. Did he go on a different laber after the early seventies? Which one? Also what albums of his are recommendable that arent on the chess box? How is the folk singer album? Are there any muddy waters albums where eric clapton plays guitar? ie a jam session? Thanks. Pickin the blues, Eric ========================================================================= Date: Mon, 12 Feb 1996 04:41:01 GMT Reply-To: Mike Lynch From: Mike Lynch Organization: Wolfe Internet Access, L.L.C. Subject: Looking For Info On Guitarist L.V. Parr Comments: To: bit-listserv-blues-l@uunet.uu.net My partner and I are writing an article on Oceola, AR blues/R & B guitarist L.V. (Elvin) Parr. LV is 70 now and living in a rest home in Seattle, WA. LV toured thruout the South during the 50's, working with Johnny Ace, Jr. Parker, Percy Mayfield, and Earl Forest. He claims to be the guitarist on Johnny Ace's single "The Clock", and to have given a young Fenton Robinson guitar lessons. Memphis was his home base during these years. We would appreciate hearing from anyone with information about L.V. Parr or his career. Thanks in advance! Mike Lynch mlynch@wolfenet.com ========================================================================= Date: Sun, 11 Feb 1996 23:47:10 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Chess on TV Comments: To: bit-listserv-blues-l@uunet.uu.net In article <960211151509_103156.340_IHE59-1@CompuServe.COM>, "david m. carpenter" <103156.340@COMPUSERVE.COM> writes: >Anybody know how we can get in touch with Sun. Morn. to thank them? > > Try marketing@cbs.com. I had the same idea & sent an e-m, maybe if they hear from a number of people that the music segments are being appreciated they'll continue them. They seem to do a number of music segments on jazz also, but the last two weeks the segments were both blues so maybe someone on the CBS staff is a blues lover. Catbauer@vivanet.com ========================================================================= Date: Mon, 12 Feb 1996 00:13:13 -0500 Reply-To: Saintelvis@AOL.COM From: Shane Rhyne Subject: Apology Howdy folks, Earlier this morning I asked about Bluegrass and the Blues without realizing that this thread had been discussed recently. I've got a hard disk full of back-issue digests that I had to skip because of the snowstorms. As luck would have it, y'all apparently were discussing the very topic I was interested in while I was away. Sorry to revive a dead thread. I'm going to go open up those dusty digests and see what was said. Thanks to those who pointed this info out to me. Take care, Shane (SaintElvis@aol.com) Cumberland Gap, Tennessee ========================================================================= Date: Sat, 10 Feb 1996 23:03:39 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Juke or Jook? I was reading Pete Welding's liner notes for Mississipi Fred McDowell's, "I Do Not Play No Rock'n'Roll" and he spelt Juke (as in jook joint) as Jook. I thought it was usually spelt Juke when refering to jook joints. The question is is it jook or juke? Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sat, 10 Feb 1996 23:11:31 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Diversifying Blues Soloing Scott added: >And I'd like to add: > >I'm sure this is all very good advice, but it should be remembered that >none of the great blues guitarists really *think* in terms of modes or >scales; they tend to think in phrases. Phrasing is the thing that makes >the old cliche about "Bluesman X can say more with one note than Bluesman >Y can with a hundred" true. And phrasing can't really be learned from >practicing scales, it can only really be learned from listening to LOTS >of blues...which, if Matthew really is a "blues enthusiast of the first >order", won't be work at all, it will be a pleasure. Almost anyone can >get the basic technical skills and scales down pretty quickly, and after >that it's ALL listening. I agree. You have to do a lot of listening to become fluent in any style of music. Also, try copying vocal lines for phrasing. It will teach you how *not* to play which is an art in itself. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Mon, 12 Feb 1996 00:19:09 -0800 Reply-To: David Burke From: David Burke Organization: CRL Dialup Internet Access (415) 705-6060 [Login: guest] Subject: Who is Fenton Robinson? Comments: To: bit-listserv-blues-l@uunet.uu.net I was talking to Charlie Musselwhite today, and he said he was going to Chicago to record an album with Fenton Robinson..(I think that was the guy's name)..and I was thinking of Lowell Fulson..(don't ask me what the hell I was thinking..I mean Christ, I'm talking to Charlie Musselwhite). Who is this Fenton Robinson..and what's he all about?? ========================================================================= Date: Mon, 12 Feb 1996 01:34:22 -0800 Reply-To: Steve Murray From: Steve Murray Subject: Re: Juke or Jook? Comments: To: Shaun T Cronin In-Reply-To: <199602120732.XAA24761@wavenet.com> Here's the definition from Juba to Jive: A Dictionary of African-American Slang, ed. by Clarence Major (Penguin, 1994): Jook v. (1700s-1950s) African word meaning to jab or poke--as in sexual intercourse; also used in the Caribbean. See "Juke." Jook n. (1860s-1940s) a shack where one can have a good time; tavern; whorehouse; "a fun house where they sing, dance, gamble, love, and compose 'blues' songs incidentally." There seems little doubt that this sense of "jook" is derived from the earlier sense of it: to jab or poke. The word "jukebox" is based on this African word. Juke; jook n. (1650s-1960s) juka [Bantu]; dzug [Wolof]; from Gullah; "juke-house"; related to West African words dzug, dzog, dzugu; a whorehouse; roadside-inn life-style; the type of music played in a juke joint; jukebox house. The music itself is characterized by an excessive use of string instruments. Anyone been using string instruments excessively lately? Steve Murray "Mama don' 'low no banjo pickin' here" Fjord Press --Doc Watson, Mance Lipscomb, et al. Seattle, WA fjord@halcyon.com ========================================================================= Date: Mon, 12 Feb 1996 11:40:19 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Title Correction-Chris Duarte In-Reply-To: <4fl0va$4u6@newsbf02.news.aol.com> On Sun, 11 Feb 1996, TNT BLUES wrote: > I sent a message a few days ago and I called the Chris Duarte CD "Sugar > Blues" ; I must correct that ,the name of it is" Texas Sugar" . > > Sorry, > > TNTBLUES > I am confused. Does he or does he not have a second CD out. First it was "Sugar Blues" now it's "Texas Sugar", BOTH sound like a mistake for his "Texas Sugar Strat Magic" CD. eh? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [12/2/96 6:33 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 12 Feb 1996 03:09:07 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: Blues On Tap 0696 playlist Comments: To: Blucebird@aol.com, burnside@teleport.com, codeblueus@aol.com, daveb@oboe.rounder.com, bluesjazz@aol.com, aqm@earthlink.net, bluesngr@ix.netcom.com, Blacktnola@aol.com, JM1370@aol.com, wpc@netcom.com, bigmorecor@aol.com, malaco@misnet.com, shayq@banjo.rounder.com, hannibal@rykodisc.com Stan Ruffo Productions 800 N. Ben Maddox Way - Suite 2200 - Visalia, CA 93292 vox/fax (209) 625-6049 - email, steamin@valleynet.com http://www.valleynet.com/~steamin "Blues On Tap" every Sunday at 8pm Subject: Playlist 0696 - Commercial Radio Date: Feb. 11, 1996 8pm -10pm Station: KI00 99.7fm (K-eye-oh-oh), Visalia CA Program: "Blues On Tap" with Steamin' Stan Ruffo Artist Title Label Track Monster Mike Welch These Blues Are Mine Tone Cool 8 Luther Allison Blue Streak Alligator 2 Guitar Shorty Get Wise To Yourself Black Top 4 Chicago Bob Nelson Back To Bogalusa King Snake 7 Garry & the Moodswingers Go Fever Bluelight 7 Lowell Fulson Them Update Blues Bullseye 4 James Armstrong Sleeping With A StrangerHightone 2 Cephas & Wiggins Cool Down Alligator 1 Doug MacLeod Come To Find AudioQuest 10 Freddie King Live At the Electric BalBlack Top 1&2 Various The Class of '15 MCA/ Chess 15 Jesse Thomas Lookin' For That Woman Black Top 1 Bill Perry Love Scars Pointblank 6 Toni Lynn Washington Blues At Midnight Tone Cool 1 Long John Hunter Border Town Legend Alligator 1 Paul Butterfield Strawberry Jam Winner 1 Muddy Waters They Call Me Muddy WaterBlue City 8 Various Deep Blue Rounder 2-2 Johnny Dyer Jukin' Blind Pig 2 Various Genuine House' Music II Alligator 1 Teddy Morgan Ridin' In Style Antone's 2 Flamin' Amy Coleman Soul Kiss Blue Frog 11 John Hammond Found True Love Pointblank 3 Little Sammy Davis I Ain't Lyin' Delmark 5 Various 10th Anniversary SamplerBlue Wave 12 Steamin' Stan Ruffo Unreleased 10 Bobby Blue Bland Sad Street Malaco 8 Chris Cain Somewhere Along The Way Blind Pig 8 Celinda Pink Unchained SOR 3 Albert King Hard Bargain Stax 4 "Blues On Tap" reports to The Hard Report and Living Blues http://www.valleynet.com/~steamin/bot.html -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 ========================================================================= Date: Mon, 12 Feb 1996 07:38:20 -0500 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Guy Davis in Concert Comments: To: bit-listserv-blues-l@uunet.uu.net I went to see Guy Davis in concert last evening (2/11/96). He was fabulous. He presented a one man show called "The Adventures of Fishy Waters." It was about an old "hobo" traveling the rails from MIssissippi to Chicago, St Louis, etc. He is one of the most talented musicians I know. He (IMHO) plays the bottleneck and slide guitar better than most I have heard in this generation of young blues men. I loved his interpretation of "Walking Blues" and "Dust My Broom." He also has a new CD that has been reviewed in the blues mags. (damn, I should be paid for this... :-). OK name dropping time - after the concert we, including Guy, hung out at my friend's farm and we jammed into the crazy hours of the morning. If anyone is interested, Guy will be teaching blues guitar this summer at Common Ground on the Hill (one on one!) and I will be teaching a course on Racism. It is a one week "camp" with the theme "Black and White Traditions." Our humble way to bridge the gap between races in our part of the world. It also includes an interracial gospel choir (I teach some of that also) which is too much fun. NO, I am not a paid spokesperson, just had so much fun last year that I want to share my joy. We had people from all regions of the east coast and beyond. Thanks for reading, Lea Gilmore Baltimore, MD "Wild Women Don't Have the BLues" ========================================================================= Date: Mon, 12 Feb 1996 07:59:25 -0500 Reply-To: MK Sheffield From: MK Sheffield Subject: Juke or Jook? >The question is is it jook or juke? > >Shaun > Y'know, I was wondering that the other day too. Seriously. I always thought it was "juke." Mary Katherine SHEFFIELD mksheff@cennet.mc.peachnet.edu ========================================================================= Date: Mon, 12 Feb 1996 08:28:34 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day On this day in 1956 Crypt-kicker Screamin' Jay Hawkins records "I Put a Spell on You" for Okeh records in New York City. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 12 Feb 1996 08:40:54 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Juke or Jook? Comments: To: shaun@wavenet.com In a message dated 96-02-12 02:21:42 EST, you write: >The question is is it jook or juke? Usually juke but you see jook a lot. I think "jook" is an archaic form. The original band to use it in their name, the Graves' brothers Mississippi Jook Band, spelled it that way. Birney Imes' book of photographs is called Juke Joint....... Tom Freeland ========================================================================= Date: Mon, 12 Feb 1996 07:42:57 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Charles Brown's Health? In-Reply-To: Message of Sun, 11 Feb 1996 22:35:05 -0500 from > >>>>The question came up the other day regarding >>>Charles Brown's health. > He had to cancel a gig here >>>over a year ago due to illness and no one has >heard >>>>much about him since. Anyone out there seen >>>Charles lately? Charles is doing fine and his show is not to be missed. LW ========================================================================= Date: Mon, 12 Feb 1996 07:45:00 -05 Reply-To: Dana Rollins From: Dana Rollins Subject: John Perry Barlow's thoughts Comments: To: BLUES-L%BROWNVM.BROWN.EDU@AUDUCADM.DUC.AUBURN.EDU ---FORWARDED MESSAGE FOLLOWS--- > > WARNING! Long post follows... (To all of you non-Deadheads, JPB was one of the principal lyricists for Grateful Dead. He is one of the co-founders of the Electronic Frontier Foundation, an organization which "promotes freedom of expression in digital media." I highly recommend a look at their website; the address is located at the end of this post.) Katy G. ----------------- Date: 9 Feb 1996 11:53:30 From: John Perry Barlow Subject: A Cyberspace Independence Declaration Yesterday, that great invertebrate in the White House signed into the law the Telecom "Reform" Act of 1996, while Tipper Gore took digital photographs of the proceedings to be included in a book called "24 Hours in Cyberspace." I had also been asked to participate in the creation of this book by writing something appropriate to the moment. Given the atrocity that this legislation would seek to inflict on the Net, I decided it was as good a time as any to dump some tea in the virtual harbor. After all, the Telecom "Reform" Act, passed in the Senate with only 5 dissenting votes, makes it unlawful, and punishable by a $250,000 to say "shit" online. Or, for that matter, to say any of the other 7 dirty words prohibited in broadcast media. Or to discuss abortion openly. Or to talk about any bodily function in any but the most clinical terms. It attempts to place more restrictive constraints on the conversation in Cyberspace than presently exist in the Senate cafeteria, where I have dined and heard colorful indecencies spoken by United States senators on every occasion I did. This bill was enacted upon us by people who haven't the slightest idea who we are or where our conversation is being conducted. It is, as my good friend and Wired Editor Louis Rossetto put it, as though "the illiterate could tell you what to read." Well, fuck them. Or, more to the point, let us now take our leave of them. They have declared war on Cyberspace. Let us show them how cunning, baffling, and powerful we can be in our own defense. I have written something (with characteristic grandiosity) that I hope will become one of many means to this end. If you find it useful, I hope you will pass it on as widely as possible. You can leave my name off it if you like, because I don't care about the credit. I really don't. But I do hope this cry will echo across Cyberspace, changing and growing and self-replicating, until it becomes a great shout equal to the idiocy they have just inflicted upon us. I give you... A Declaration of the Independence of Cyberspace Governments of the Industrial World, you weary giants of flesh and steel, I come from Cyberspace, the new home of Mind. On behalf of the future, I ask you of the past to leave us alone. You are not welcome among us. You have no sovereignty where we gather. We have no elected government, nor are we likely to have one, so I address you with no greater authority than that with which liberty itself always speaks. I declare the global social space we are building to be naturally independent of the tyrannies you seek to impose on us. You have no moral right to rule us nor do you possess any methods of enforcement we have true reason to fear. Governments derive their just powers from the consent of the governed. You have neither solicited nor received ours. We did not invite you. You do not know us, nor do you know our world. Cyberspace does not lie within your borders. Do not think that you can build it, as though it were a public construction project. You cannot. It is an act of nature and it grows itself through our collective actions. You have not engaged in our great and gathering conversation, nor did you create the wealth of our marketplaces. You do not know our culture, our ethics, or the unwritten codes that already provide our society more order than could be obtained by any of your impositions. You claim there are problems among us that you need to solve. You use this claim as an excuse to invade our precincts. Many of these problems don't exist. Where there are real conflicts, where there are wrongs, we will identify them and address them by our means. We are forming our own Social Contract . This governance will arise according to the conditions of our world, not yours. Our world is different. Cyberspace consists of transactions, relationships, and thought itself, arrayed like a standing wave in the web of our communications. Ours is a world that is both everywhere and nowhere, but it is not where bodies live. We are creating a world that all may enter without privilege or prejudice accorded by race, economic power, military force, or station of birth. We are creating a world where anyone, anywhere may express his or her beliefs, no matter how singular, without fear of being coerced into silence or conformity. Your legal concepts of property, expression, identity, movement, and context do not apply to us. They are based on matter, There is no matter here. Our identities have no bodies, so, unlike you, we cannot obtain order by physical coercion. We believe that from ethics, enlightened self-interest, and the commonweal, our governance will emerge . Our identities may be distributed across many of your jurisdictions. The only law that all our constituent cultures would generally recognize is the Golden Rule. We hope we will be able to build our particular solutions on that basis. But we cannot accept the solutions you are attempting to impose. In the United States, you have today created a law, the Telecommunications Reform Act, which repudiates your own Constitution and insults the dreams of Jefferson, Washington, Mill, Madison, DeToqueville, and Brandeis. These dreams must now be born anew in us. You are terrified of your own children, since they are natives in a world where you will always be immigrants. Because you fear them, you entrust your bureaucracies with the parental responsibilities you are too cowardly to confront yourselves. In our world, all the sentiments and expressions of humanity, from the debasing to the angelic, are parts of a seamless whole, the global conversation of bits. We cannot separate the air that chokes from the air upon which wings beat. In China, Germany, France, Russia, Singapore, Italy and the United States, you are trying to ward off the virus of liberty by erecting guard posts at the frontiers of Cyberspace. These may keep out the contagion for a small time, but they will not work in a world that will soon be blanketed in bit-bearing media. Your increasingly obsolete information industries would perpetuate themselves by proposing laws, in America and elsewhere, that claim to own speech itself throughout the world. These laws would declare ideas to be another industrial product, no more noble than pig iron. In our world, whatever the human mind may create can be reproduced and distributed infinitely at no cost. The global conveyance of thought no longer requires your factories to accomplish. These increasingly hostile and colonial measures place us in the same position as those previous lovers of freedom and self-determination who had to reject the authorities of distant, uninformed powers. We must declare our virtual selves immune to your sovereignty, even as we continue to consent to your rule over our bodies. We will spread ourselves across the Planet so that no one can arrest our thoughts. We will create a civilization of the Mind in Cyberspace. May it be more humane and fair than the world your governments have made before. Davos, Switzerland February 8, 1996 **************************************************************** John Perry Barlow, Cognitive Dissident Co-Founder, Electronic Frontier Foundation Home(stead) Page: http://www.eff.org/ barlow Message Service: 800/634-3542 Barlow in Meatspace Today (until Feb 12): Cannes, France Coming soon to: Amsterdam 2/13-14, Winston-Salem 2/15, San Francisco 2/16-20, San Jose 2/21, San Francisco 2/21-23, Pinedale, Wyoming In Memoriam, Dr. Cynthia Horner and Jerry Garcia ***************************************************************** It is error alone which needs the support of government. Truth can stand by itself. --Thomas Jefferson, Notes on Virginia ========================================================================= Date: Mon, 12 Feb 1996 09:01:25 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Blues Bytes IS GREAT! Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I agree, this is a great tape, and it is really put together well. I'm honored to be included on a tape with such great music (I never thought I would be on a compilation tape with Gary Primich!). Thanks Bob, and everyone else who contributed to it and worked on it. -Steve Levine ========================================================================= Date: Mon, 12 Feb 1996 09:08:17 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: Who is Fenton Robinson? Comments: To: David Burke In-Reply-To: <4fmt5t$qbk@crl13.crl.com> On Mon, 12 Feb 1996, David Burke wrote: > Who is this Fenton Robinson..and what's he all about?? > A wonderful guitarist (jazz-like) and great vocalist. Wrote "Somebody Loan Me A Dime," but I think there were some big royalty problems when Boz Scaggs covered it and had a hit out of it. His SOMEBODY LOAN ME A DIME, and my personal favorite, I HEAR SOME BLUES DOWNSTAIRS (both on Alligator) are simply great recordings. Last I heard, Robinson, upset, disillisioned, or whatever, was living in Arkansas and only playing locally, although he was a Friday Night headliner at the Chicago Blues Fest last summer. IMHO, one of the underrated Great Ones. Glad to hear he's back in the studio. Dave Prychitko Blues 101, 88.9FM, WNYO-Oswego (NY) http://www.oswego.edu/~prychitk/Blues101.html for playlists and reviews ========================================================================= Date: Mon, 12 Feb 1996 09:08:50 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Juke or Jook? Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *>The question is is it jook or juke? I think that both spellings are accepted. Zora Neal Hurston spells it "jook," Little Walter spells it "juke." ========================================================================= Date: Mon, 12 Feb 1996 09:14:23 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Jammin'/Domestic Problems P.W. Fenton wrote >James kept me doing "just one more" for almost an >hour. During the last two songs, I could see my wife standing in >the doorway, arms folded, foot tappin', giving that "I hope your >having a good time now" look that clearly indicates I won't be >having a good time later. and Sevenson wrote: >Did you get grounded? >Did you promise to sell your gear and donate the profits to an >organization for divorced musician-wives? Come on, PW, you KNEW that was gonna make her mad and you did it anyway. And you expect sympathy? ========================================================================= Date: Mon, 12 Feb 1996 09:22:12 -0500 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: Joni Mitchell Blues? Comments: To: bit-listserv-blues-l@uunet.uu.net In article <11e249b0@vitro.com> PARRISHR writes: > Pardon my ignorance, but I've been told I sound like Joni Mitchell and > I was just wondering if Joni Mitchell ever did any blues. > Sorry -- Joni Mitchell was beore my time. > Thanks, Ruth The person was probably referring to the sound of her voice (kinda of throaty at times, expressive, nice range) rather than her style. Although she is a unique artist with her own unmistakable style she does display a wide range of influences. On Court and Spark she dabbles in Rock 'n Roll with "Raised on Robbery" and Jazz with the Lambert-Hendricks-Ross tune, "Twisted". As mentioned in a previous post, "Furry Sings the Blues" is not so much a Blues tune, but rather a story of her encounter with the man on a visit to Memphis. Also, just for clarification Joni is an "is", not a "was". :-) ========================================================================= Date: Mon, 12 Feb 1996 09:32:00 EST Reply-To: "ANDRE J.M. PREVOS" From: "ANDRE J.M. PREVOS" Subject: BB King's cd-rom references I read here about the new BB King's cd-rom. Since that time I have been asking all over town and in many stores around N.E Pennsylvania. Nobody knows anything about it!! Could someone provide me with references and/or address and phone number to order a copy? Private e-mail please (no need to clog up the lines). Andre JM Prevos Pennsylvania State University AXP7@psuvm.psu.edu ========================================================================= Date: Mon, 12 Feb 1996 08:37:08 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Juke or Jook? In-Reply-To: Message of Mon, 12 Feb 1996 09:08:50 -0500 from On Mon, 12 Feb 1996 09:08:50 -0500 Steve Levine said: >*>The question is is it jook or juke? > >I think that both spellings are accepted. Zora Neal Hurston spells it >"jook," Little Walter spells it "juke." RL Burnside pronounced it as "Jook".... LW ========================================================================= Date: Mon, 12 Feb 1996 08:38:08 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Jammin'/Domestic Problems In-Reply-To: Message of Mon, 12 Feb 1996 09:14:23 -0500 from On Mon, 12 Feb 1996 09:14:23 -0500 PARRISHR said: > >James kept me doing "just one more" for almost an > >hour. During the last two songs, I could see my wife standing in > >the doorway, arms folded, foot tappin', giving that "I hope your > >having a good time now" look that clearly indicates I won't be > >having a good time later. > > Come on, PW, you KNEW that was gonna make her mad and you did it > anyway. And you expect sympathy? Maybe he expects some understanding. A spouse should support something you LOVE I played Saturday night at a small club on my way to the Kinsey Report and my wife said something I never thought I'd hear from her (or anyone) "I'm disappointed that you didn't SING more ???"..So I think my singing is getting much, MUCH better. I'm trying really hard. LW btw: I shared PW's story with my wife and she said he should have told her to go on home and PW get a ride home with someone else....Makes sense to me. ========================================================================= Date: Mon, 12 Feb 1996 09:51:19 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Jazz Fest Schedule Comments: cc: BinkyBonk@aol.com The entire Jazz Fest schedule is now available on the Virtual New Orleans Page. Anyone interested in New Orleans generally out to check that page out. The Jazz Fest schedule is at: http://www.yatcom.com/~jfest Yesterday, I supplemented Tom Morgan's post with some names from week 2. Here's some more names, these from week 1: April 26: Funky Meters, Frankie Ford, ReBirth Brass Band, Continental Drifters, Rgeinald Policard & The Haitian Compas Revue, Mem Shannon and the Membership, Hackberry Ramblers April 27 Wynton Marsalis, Allman Bros., Buckwheat Zydeco, Jr. Wells, Walter Washingon, Dirty Dozen, Samite of Uganda, Sonny Landreth, Eddie Bo, D.L. Menard, Treme Brass Band April 28 Irma Thomas, George Benson, Lionel Hampton, Marcia Ball, Sweet Honey in the Rock, Snooks Eaglin,Rockin' Dopsie Jr. , Alllen Fontenot I've typed less than 1/5 of the names, and, I'm sure missed a lot that is interesting to folks here. If you are serious about going, you ought to check the web site I mentioned. Tom Freeland ========================================================================= Date: Mon, 12 Feb 1996 09:48:16 -0500 Reply-To: Erica Wissolik From: Erica Wissolik Subject: BB on Valentine's Day Just in case you didn't already know... >> http://pathfinder.com/Chat/chat.html * If you have the blues on Valentine's Day, join the Master of the Blues! Chat with all-time great BB King, on Wednesday, February 14th at 9:00 pm (EST), hosted by People. ========================================================================= Date: Mon, 12 Feb 1996 09:57:31 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Blues 101, WNYO Playlist I featured Mike Stockton, The new U.P. Wilson, the New Miss. Fred McDowell (Rounder), and Roosevelt "Booba" Barnes. The McDowell release is great down-home acoustic blues. And let me tell you, "Booba" kicks ass! There are so many good cuts off his THE HEARTBROKEN MAN, that I couldn't help myself towards the end of my show... Southside Dave Prychitko Blues 101 WNYO-Oswego Playlist for Saturday, February 10, 1996 _________________________________________________________________ ----------9:00am 1. Robert Ward, Meat Off the Bone [show opener] (BLACK BOTTOM; Black Top 2. Little Anthony and the Locomotives, Free Thinking (DON'T WAIT ON ME; Deluge) 3. Willie Dixon, It Don't Make Sense/You Can't Make Peace (v.a., RED BLOODED BLUES; Arsenal) 4. Mark Hummel, Married to the Blues (MARRIED TO THE BLUES; Flying Fish) 5. Charles Brown, Get Yourself Another Fool (DRIFTIN' BLUES; EMI) 6. B.B. King, Sweet Sixteen (LIVE AT COOK COUNTY JAIL; MCA) 7. Big Jack Johnson, Doodley Squat (DADDY, WHEN IS MAMA COMING HOME? Earwig) 8. Clarence "Gatemouth" Brown, Frosty (TEXAS SWING; Rounder) 9. Mike Stockton, Waiting Too Long (IT'S MY SOUL; Azure) 10. Mike Stockton, True Love (IT'S MY SOUL; Azure) 11. Bill Coday, Moans, Grunts, and Groans (SNEAKIN' BACK; Ecko) 12. Albert King, Sweet Fingers (FUNKY LONDON; Stax) 13. Gary Primich, Red Top (MR. FREEZE; Flying Fish) ----------10:00am 1. Fenton Robinson, Just a Little Bit (I HEAR SOME BLUES DOWNSTAIRS; Alligator) 2. James Peterson, Boat Won't Float (DON'T LET THE DEVIL RIDE; Waldoxy) 3. Albert Collins, Put the Shoe on the Other Foot (LIVE 92-93; Pointblank) 4. U.P. Wilson, Hold On Baby (THIS IS U.P. WILSON; JSP) 5. U.P. WIlson, Bad Luck and Trouble (THIS IS U.P. WILSON; JSP) 6. U.P. Wilson, You're One Woman (THIS IS U.P. WILSON; JSP) 7. Karen Carroll, Spoonful (HAD MY FUN; Delmark) 8. Corey Harris, Roots Woman (BETWEEN MIDNIGHT AND DAY; Alligator) 9. Koerner, Ray & Glover, Creepy John (BLUES, RAGS & HOLLERS; Red House) 10. Mississippi Fred McDowell, All the Way from East St. Louis (MISSISSIPPI FRED McDOWELL; Rounder) 11. Mississippi Fred McDowell, Kokomo Blues (MISSISSIPPI FRED McDOWELL; Rounder) 12. Mississippi Fred McDowell, Milk Cow Blues (MISSISSIPPI FRED McDOWELL; Rounder) 13. Mississippi Fred McDowell, Someday Baby (MISSISSIPPI FRED McDOWELL; Rounder) ----------11:00am 1. Buddy Guy, DJ Play My Blues (DJ PLAY MY BLUES; JSP) 2. Little Milton, Little Bluebird (LITTLE MILTON'S GREATEST HITS; Malaco) 3. Percy Mayfield, My Mind is Trying to Leave Me Too (LIVE; Winner) 4. Otis Spann, Steel Mill Blues (DOWN TO EARTH: THE BLUESWAY RECORDINGS; MCA) 5. Roosevelt "Booba" Barnes, How Long This Must Go On (THE HEARTBROKEN MAN; Rooster) 6. Roosevelt "Booba" Barnes, Ain't Gonna Worry About Tomorrow (THE HEARTBROKEN MAN; Rooster) 7. Roosevelt "Booba" Barnes, Tell ME What I've Done Wrong/My Last Affair (THE HEARTBROKEN MAN; Rooster) 8. Walter "Shakey" Horton, Joe Chicago (WALTER SHAKEY HORTON WITH HOT COTTAGE; Stony Plain) 9. Eddie C. Campbell, Running Wild (THAT'S WHEN I KNOW; Blind Pig) 10. Little Sonny Jones, I'm Loaded (NEW ORLEANS R&B GEMS; Black Top) 11. Roosevelt "Booba" Barnes, Blind Man/I Pity the Fool (THE HEARTBROKEN MAN; Rooster) 12. Roosevelt "Booba" Barnes, Rockin' Daddy (THE HEARTBROKEN MAN; Rooster) 13. Ellen McIlwaine, Higher Ground (THE REAL/EVERYBODY NEEDS IT; Stony Plain) ========================================================================= Date: Mon, 12 Feb 1996 10:07:45 -0500 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: Guy Davis in Concert Comments: To: LeaGil In-Reply-To: <4fncbs$1b1@newsbf02.news.aol.com> Greetings Lea, Please provide dates and addresses for the classes/sessions. How does one register? Peace, nitra On Mon, 12 Feb 1996, LeaGil wrote: > I went to see Guy Davis in concert last evening (2/11/96). He was > fabulous. He presented a one man show called "The Adventures of Fishy > Waters." It was about an old "hobo" traveling the rails from MIssissippi > to Chicago, St Louis, etc. > > He is one of the most talented musicians I know. He (IMHO) plays the > bottleneck and slide guitar better than most I have heard in this > generation of young blues men. I loved his interpretation of "Walking > Blues" and "Dust My Broom." He also has a new CD that has been reviewed > in the blues mags. (damn, I should be paid for this... :-). > > OK name dropping time - after the concert we, including Guy, hung out at > my friend's farm and we jammed into the crazy hours of the morning. > > If anyone is interested, Guy will be teaching blues guitar this summer at > Common Ground on the Hill (one on one!) and I will be teaching a course on > Racism. It is a one week "camp" with the theme "Black and White > Traditions." Our humble way to bridge the gap between races in our part > of the world. It also includes an interracial gospel choir (I teach some > of that also) which is too much fun. NO, I am not a paid spokesperson, > just had so much fun last year that I want to share my joy. We had people > from all regions of the east coast and beyond. > > Thanks for reading, > Lea Gilmore > Baltimore, MD > "Wild Women Don't Have the BLues" > ========================================================================= Date: Mon, 12 Feb 1996 10:08:02 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Juke or Jook? Comments: To: fjord@halcyon.com Steve posted various definitions of "juke" and "jook," including some of these: >Jook v. (1700s-1950s) African word meaning to jab or poke--as in sexual >intercourse; also used in the Caribbean. See "Juke." >Jook n. (1860s-1940s) a shack where one can have a good time; tavern; >whorehouse; "a fun house where they sing, dance, gamble, love, and compose >'blues' songs incidentally." >Juke; jook n. (1650s-1960s) juka [Bantu]; dzug [Wolof]; from Gullah; >"juke-house"; related to West African words dzug, dzog, dzugu; a whorehouse; >roadside-inn life-style; the type of music played in a juke joint; jukebox >house. The music itself is characterized by an excessive use of string >instruments. I'll take the last definition; I always thought it was spelled "juke" but pronounced "jook." Besides, the first two definitions shed a whole new light on my nickname....and here I thought maybe the "Freak" part could be misinterpreted!!! Karen ========================================================================= Date: Mon, 12 Feb 1996 10:08:13 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Blues Book This weekend I went to a real live bookstore (out of town, of course), where I spent a glorious half-hour perusing the music section. I'm pretty much broke, so I settled on just one, called Chicago Blues: The City & The Music. Its publication date is listed as 1975, which was a drawback, but it's got some interesting (although sometimes poorly-reproduced) photos, and I thought maybe it'd fill some gaps for me. What concerns me most is that I've never heard of the author; his name is Mike Rowe. Can anyone give me any insight on the reliability of the information? (I'm sorry if this particular book was listed/discussed/reviewed last fall when the subject of blues books was raised. Please e-mail me if you think it will bore the rest of the list. :-) ) Karen (Next time I'm gettin' the Mance Lipscomb oral history!) Oh, and btw, thanks to all who posted information on Corey Harris...I found the CD and I've been enjoying it a lot! :) ========================================================================= Date: Mon, 12 Feb 1996 10:12:50 -0500 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: Jammin'/Domestic Problems Comments: To: PARRISHR In-Reply-To: <11f4c150@vitro.com> All right folks! Let's get outta the bluzman's bizness! On Mon, 12 Feb 1996, PARRISHR wrote: > P.W. Fenton wrote > > >James kept me doing "just one more" for almost an > >hour. During the last two songs, I could see my wife standing in > >the doorway, arms folded, foot tappin', giving that "I hope your > >having a good time now" look that clearly indicates I won't be > >having a good time later. > > and Sevenson wrote: > > >Did you get grounded? > >Did you promise to sell your gear and donate the profits to an > >organization for divorced musician-wives? > > Come on, PW, you KNEW that was gonna make her mad and you did it > anyway. And you expect sympathy? > ========================================================================= Date: Mon, 12 Feb 1996 09:19:08 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: Juke or Jook? In-Reply-To: On Mon, 12 Feb 1996, L W wrote: > On Mon, 12 Feb 1996 09:08:50 -0500 Steve Levine said: > >*>The question is is it jook or juke? > > > >I think that both spellings are accepted. Zora Neal Hurston spells it > >"jook," Little Walter spells it "juke." > > RL Burnside pronounced it as "Jook".... LW Well, it's pronounced "jook", but it's spelled "Throatwarbler Mangrove". Is it just me, or is this a really lame thread? T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Don't get so caught up in theory that you lose your freedom of expression." - PARRISHR@VITRO.COM on BLUES-L, 02/11/96 ========================================================================= Date: Mon, 12 Feb 1996 16:23:12 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Juke or Jook? Comments: To: JukeFreak@AOL.COM >Steve posted various definitions of "juke" and "jook," including some of >these: > >>Jook v. (1700s-1950s) African word meaning to jab or poke--as in sexual >>intercourse; also used in the Caribbean. See "Juke." > >>Jook n. (1860s-1940s) a shack where one can have a good time; tavern; >>whorehouse; "a fun house where they sing, dance, gamble, love, and compose >>'blues' songs incidentally." >Karen This gets weird. In swedish the world "juck" describes the hip-movements used in love-making. Well, as everybody knows - the vikings went to the new world well before Columbus :-). Mr Bo ========================================================================= Date: Mon, 12 Feb 1996 09:32:13 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: On this day At 08:28 AM 2/12/96 -0500, P.W. Fenton wrote: >On this day in 1956 Crypt-kicker Screamin' Jay Hawkins records "I >Put a Spell on You" for Okeh records in New York City. > Original version, or cleaned up top-40 version? David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Mon, 12 Feb 1996 10:33:13 -0500 Reply-To: Leo Aspiras From: Leo Aspiras Subject: Blues Byte Tape - Thank You Hi all: Just wanted to extend a sincere thank you to Mr. Unger fro his monumental effort in putting together the blues byte tape......cheers and raise those mugs/glasses for bob.......also cheers for the rest of the groups/people on the tape......my band is indeed in good company....finally as bassist for Dave Sherman & The Nightcrawlers and phantom bassist for The Willy Evans Blues Trio (check out the cassette sleeve).....willy if you are out there you let your bassist take the first 6 measures and i will take the next 6 measures.......lada..... leo 'the scatman' aspiras from d.c. ========================================================================= Date: Mon, 12 Feb 1996 10:27:00 EST Reply-To: edward c liu From: edward c liu Subject: Re: Hubert in NY City (GEARHEADS ONLY) Comments: To: MILLER@SCI.WFBR.EDU Howdy Rick (& everybody else), >Could you indulge us gearheads and tell me what Hubert was playing?..guitars, >amp, etc, that you could see? I remember taking a good look at Hubert's guitar between sets. It was a Squier Stratocaster which looked relatively new, and it did say "Made in Mexico" on it. The amp was some kind of Fender non-tweed amp, but I didn't get a good look at it. I know it wasn't a 4x10 type, but can't recall if it was one 12" speaker or a 2x12 configuration. The rhythm player was playing an ES335 (maybe from 80's, if I had to guess) through a big Fender rigs -- a 4xSumpin'. I just know I was seriously drooling over his axe. Didn't catch what anybody else was playing through. -- Ed Edward C. Liu | "Don't make me nervous, 'cuz I'm holdin' edwick@cc.bellcore.com | a baseball bat." | -- Big Joe Turner, "Honey, Hush" The opinions in this message are mine and not Bellcore's. Really! ========================================================================= Date: Mon, 12 Feb 1996 07:47:30 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Feb. 12 Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ANDERSON, PINK (g/BLUESVILLE REC) b. 1900-0212, LAURENS, SC BASCOMB, PAUL (tsax) b. 1910-0212, BIRMINGHAM, AL BLAKE, EUBIE[JAMES HUBERT BLAKE] (p/comp) d. 1983-0212, BROOKLYN, NY 100 BLAKENEY, ANDY "BLAKE" (tpt/LES HITES) d. 1992-0212, BALDWIN PARK, CA 93 BRACEY, ISHMAN (g/VICTOR REC) d. 1970-0212, JACKSON, MS 69 DUNCAN, R. TODD (gospel) b. 1903-0212, DANVILLE, KY FORBES, ROY (BIM) (g) b. 1953-0212, DAWSON CREEK, BC HALL, ARSENIO (:) b. 1958-0212, CLEVELAND, OH HAMMOND, JOHN HAYS JR.(of HAMMOND ORGANS) d. 1965-0212, NEW YORK CITY, NY 76 HINES, GREGORY (v/dancer) b. 19??-0212, NEW YORK CITY, NY MARTIN, ROBERTA(of ROBERTA MARTIN SINGERS)b. 1907-0212, HELENA, AR MAYWEATHER, GEORGE "EARRING" (hca/HUTTO) d. 1995-0212, BOSTON, MA 67 MCCOY, BOB (p) d. 1978-0212, BIRMINGHAM, AL 68 MCDANIELS, GENE (v/songw) b. 1935-0212, KANSAS CITY, KS MONTANA, VINCE (o/SALSOUL ORCH) b. 1928-0212, PHILADELPHIA, PA RACKMIL, MILTON R.(co-founder:DECCA RECO) b. 1903-0212, NEW YORK CITY, NY SHAD, BOB (arr/prod/SITTIN' IN WITH) b. 1920-0212, NEW YORK CITY, NY SHOLES, STEVE (arr/prod/RCA VICTOR) b. 1911-0212, WASHINGTON, DC THOMAS, FRANK JR. (v) b. 1937-0212, JACKSON, MS WILLIAMS, CHARLES "HUNGRY" (d) b. 1935-0212, NEW ORLEANS, LA WRENCHER, JOHN "BIG" (hca) b. 1923-0212, SUNFLOWER, MS ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 12 Feb 1996 07:48:16 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Feb. 13 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BLIND BOY FULLER [FULTON ALLEN] (g) d. 1941-0213, DURHAM, NC 33 CHICAGO BEAU(LINCOLN MCGRAW-BEAUCHAMP)hca b. 1949-0213, CHICAGO, IL ERI, CHIEMI (of THE DELTA RHYTHM BOYS) d. 1982-0213, TOKYO, JAPAN 45 GOLD, JACK [JACOB GOLD] (prod/songw) b. 1921-0213, CHELSEA, MA GRAY, WARDELL [CARL WARDELL GARY] (tsax) b. 1921-0213, OKLAHOMA CITY, OK HENLEY, JOHN LEE (g) b. 1919-0213, CANTON, MS HILL, ROGER "BUCK" (tsax) b. 1927-0213, WASHINGTON, DC HITE, LES (bandleader/T-BONE WALKER) b. 1903-0213, DUQUOIN, IL KING, FLOYD (v) b. 1945-0213, NEW ORLEANS, LA LINKCHAIN, HIP [WILLIE RICHARD] (g) d. 1989-0213, CHICAGO, IL 52 MANONE, WINGY [JOSEPH MANNONE] (tpt) b. 1900-0213, NEW ORLEANS, LA PERKINS, AL (v/b g/ATCO REC) d. 1983-0213, DETROIT, MI 50 PHILLIPS, REUBEN L. (asax/LOUIS JORDAN) d. 1974-0213, SAN JUANPUERTO RICO 53 SCOTT, PURVIS (b/SUNNYLAND SLIM) d. 1984-0213, CHICAGO, IL 52 SZYMCZYK, BILL (prod/ALBERT COLLINS) b. 1943-0213, MUSKEGON, MI ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 12 Feb 1996 15:48:40 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Who is Fenton Robinson? In-Reply-To: On Mon, 12 Feb 1996, David L. Prychitko wrote: > On Mon, 12 Feb 1996, David Burke wrote: > > Who is this Fenton Robinson..and what's he all about?? > > > > A wonderful guitarist (jazz-like) and great vocalist. Wrote "Somebody > Loan Me A Dime," but I think there were some big royalty problems when > Boz Scaggs covered it and had a hit out of it. > > Didn't just cover it, but claimed it for his own. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [12/2/96 10:42 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 12 Feb 1996 10:36:15 EST Reply-To: shannon oconnor From: shannon oconnor Subject: "Reservation Blues" Has anyone read a book entitled "Reservation Blues"? It's included in my QPBC book club catalog this month. I intended to bring the blurb about it in this morning, but of course forgot it. Anyway, it's a (fictional) story about a Native American who meets Robert Johnson. Johnson gives or leaves his guitar to this fellow, and he then also inherits Johnson's musical talents. I don't know the author. Does this sound familiar? Recommendations? Reviews? Thanks. Shannon ========================================================================= Date: Mon, 12 Feb 1996 10:15:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: Re: bb king book Don O. noted with dismay the B.B. King book press release > as forwarded from: "P.W. Fenton" reciting the "broad spectrum" (that's P.R. talk, y'all) of people whom B.B. King >> "has met and > worked with >> . . .including . . . Jeff Beck, >> Santana, Stevie Ray >> Vaughn, Robert Cray, Jimi Hendrix, Janis >> Joplin, Bonnie Raitt, >> Frank Sinatra, the Rolling Stones, and U2" [plus the Unholy One] Don lamented, > Notice the lack of names in there like Bobby Bland? I'll say!!! Some list!!! What is B.B. King supposed to feel honored or something for having had the privilege of meeting these people?! To think that he should be so blessed as to gain an audience with the likes of, uh, Robert Cray! Gag me with Lucille #17! > I hope it doesn't end up being like the Buddy Guy book. Uninformed bluezellers like me would like to know a word or two about the "Buddy Guy book". What, did Buddy have the great honor of meeting Bon Jovi or something? Nauseated in Moscow, Blue Joe in Red Russia (why did they leave Cyndi Lauper out?) J.E._Downey@bakermck.com ========================================================================= Date: Mon, 12 Feb 1996 09:47:37 CST Reply-To: JBards From: JBards Subject: Re: Blues Guitar Techniques - Ruthie's Rant Du Jour Comments: To: PARRISHR So Ruth said: "So I'll tell you how we (Max and I) do it: we collect blues guitar CDs -- everything from Robert Johnson to Luther Allison, Smokin' Joe Kubek and Stevie Ray Vaughn. Then we listen to them over and over and play along. Once we can play along (not that I can play SRV but Max can)," To which my response is "Yeah, but can he play Robert Johnson?" =)Jim ========================================================================= Date: Mon, 12 Feb 1996 10:16:02 -0700 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: Missed the Boat on Blues Bytes In-Reply-To: Having just re-subscribed, I missed out on the Blues Bytes tape. Are any still available? Thanks RW ========================================================================= Date: Mon, 12 Feb 1996 11:24:57 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re: Jammin'/Domestic Problems On Mon, 12 Feb 1996, I said: > P.W. Fenton wrote > > >James kept me doing "just one more" for almost an > >hour. During the last two songs, I could see my wife standing in > >the doorway, arms folded, foot tappin', giving that "I hope your > >having a good time now" look that clearly indicates I won't be > >having a good time later. > > and Sevenson wrote: > > >Did you get grounded? > >Did you promise to sell your gear and donate the profits to an > >organization for divorced musician-wives? > > Come on, PW, you KNEW that was gonna make her mad and you did it > anyway. And you expect sympathy? > And Anita said: > All right folks! Let's get outta the bluzman's bizness! If he wants us to stay out of his business he should leave it at home! Come on, all us (Shannon, please excuse my grammar, I'm feeling quite colloquial today) performers know what we're getting into being involved with a non-performer. ========================================================================= Date: Mon, 12 Feb 1996 11:28:58 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: Blues Guitar Techniques - Ruthie's Rant Du Jour I said: "So I'll tell you how we (Max and I) do it: we collect blues guitar CDs -- everything from Robert Johnson to Luther Allison, Smokin' Joe Kubek and Stevie Ray Vaughn. Then we listen to them over and over and play along. Once we can play along (not that I can play SRV but Max can)," And Jim said: "Yeah, but can he play Robert Johnson?" Jim, it's not on the tape but he can sho nuff play some mean souped-up Robert Johnson. Isn't that what I said in my message? We just got the complete Robert Johnson boxed set. You should hear him play "Dust My Broom"! He wants a National Steel for his birthday. ========================================================================= Date: Mon, 12 Feb 1996 10:29:17 -0600 Reply-To: Roger Struve From: Roger Struve Subject: MUST BE MONDAY I have to attend an all day seminar on Active Implantable Medical Devices, so can only check on BLUES-L periodically. My observation is: Damn, it must be Monday blues at work, because there is a LOT of activity on the list today! Well, I feel 'em, Papa feels 'em, you feel 'em, and gramma over in the corner feels 'em...... regards, ddr (Have YOU called the Delta Doc Hotline yet? Don't miss this chance to critique me......(612)-484-8208.) ========================================================================= Date: Mon, 12 Feb 1996 10:46:50 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Catfish Blues Anyone have the lyrics to "Wish I was A Catfish" Speaking of catfish, my wife and I were at a resturant a couple of weeks ago. It is located on the river and their speciality is Fried Catfish. We were eating fried catfish and looking at the water and what do we see, an honest to goodness diving duck...I couldn't help but think that maybe Sleepy John was eating some fried catfish when he saw a diving duck , that inspired him to write Diving Duck Blues. LW ========================================================================= Date: Mon, 12 Feb 1996 17:19:13 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: SONY/LEGACY 47933 : SCREAMIN' JAY HAWKINS Re: On this day Comments: To: bit-listserv-blues-l@uunet.uu.net The original OKEH version of "I PUT A SPELL ON YOU" was recorded in September 1956. Most of his original OKEH recordings are available on SONY/LEGACY 47933 : SCREAMIN' JAY HAWKINS - COWS FINGERS AND MOSQUITO PIE. An alternate take is also included along with the original (& best versions) of "ALLIGATOR WINE" , "HONG KONG", "PERSON TO PERSON", "THERE'S SOMETHING WRONG WITH YOU", "LITTLE DEMON". It's a must CD if you enjoy SCRAMIN' JAY HAWKINS! The saxophone breaks by Sam "The Man" Taylor are worth the price of admission. "UNCLE" eRIC ========================================================================= Date: Mon, 12 Feb 1996 12:25:21 -0500 Reply-To: TabbMan@AOL.COM From: John Moore Subject: Re: Diversifying Blues Soloing Comments: To: bbbean@cris.com Another tool you could use to improve your soloing is a product called "Jam Trax".Basically these are cassettes with blues songs with out the leads or vocals.Each cassette has about 8 songs,in differnt keys and styles.I have 3, Modern blues,Chicago Blues,and blues....check these out ========================================================================= Date: Mon, 12 Feb 1996 12:50:00 -0500 Reply-To: "John R. Vanderpool" From: "John R. Vanderpool" Subject: Re: Mini-review of Mojo Blues - Freddie King i am pretty dissapointed in this release - it is indeed very marginal quality (and being a large live collector my limits go pretty far) if i recall i think its an audience tape (or a very weak soundboard), i'll have to give it another listen to refresh myself - if you are a big fan you'll probably like it but for the average fan, i'ld skip this one i too, of course, bought it as soon as i saw it. but it sort of ranks right up (down) there with one of the newer Albert King live releases (i forget the name, w/ the spades/cards on it, "full house" maybe?). i see another new FK live release just came out - the name of it escapes me at the moment but its in one of the latest mail order catalogs. p.s. i'm looking for DAT traders w/ Freddie and/or Albert material. fish -- remembrance is the sweetest flower, of all the world's perfuming; memory guards it sun or shower, friendship keeps it blooming - AKS 1933 for Earth Science data and information use URL http://daac.gsfc.nasa.gov/ ========================================================================= Date: Mon, 12 Feb 1996 13:21:13 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0159 From: "DUTTWEILER.J" Subject: "Very Superstitous" Date: Monday, 12 February 1996 1:20pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: "Very Superstitous" Ok, question for the group. Who wrote the song "Very Superstitous?" My brain is stuck and all I can remember is that Beck, Bogert and Appice covered this on their first album. To the best of my recollection, this is NOT the Stevie Wonder song. TIA, Jon. ========================================================================= Date: Mon, 12 Feb 1996 13:37:05 -0500 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Missed the Boat on Blues Bytes Comments: To: bit-listserv-blues-l@uunet.uu.net I missed the boat also. I would love to have a copy! Lea Gilmore Baltimore, MD ========================================================================= Date: Mon, 12 Feb 1996 12:52:58 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Buddy Guy Book Comments: To: "J.E. Downey" In-Reply-To: <"Mon Feb 12 10:15:42 199601*/G=J.E./S=Downey/O=BMMOSCOW/PRMD=BMCK/ADMD=TELEMAIL/C=US/"@MHS> On Mon, 12 Feb 1996, J.E. Downey wrote: > Uninformed bluezellers like me would like to know a word or two about > the "Buddy Guy book". What, did Buddy have the great honor of meeting > Bon Jovi or something? Differing points of view here. As I posted earlier. When I did the survey here in December of recommended blues books the Buddy Guy book was not high on the ratings as sent to me by our fellow zellers. HOWEVER, my daughter knowing my zeal for BG got me the book anyway. I read it and loved it for a few reasons. The book was an easy read. It had a lot of short event type stories. The look-see into those who appreciated BG and BGs aspirations along with his pains and successes was documented from interviews, not just opinion. As far as Bon Jovi, I think musicians appreciate other musicians beyond stylistic lines. They look at the levels of creativity & accomplishment & technical prowess and adore, idolize, like etc. each other for what they bring musically to the table-not if its the blues or not. Sounds like a familiar thread underlying this, doesn't it? Barry NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 12 Feb 1996 14:03:23 EST Reply-To: mmarsha1.ford@E-MAIL.COM From: Michael Marshall Subject: List ---- Mail Item Text Follows UMSG:FROM: USFMDH2B--IBMMAIL TO: INET --USIGLINK 02/12/96 14:00:56 To: INTERNET--IBMMAIL FROM: Michael Marshall Subject: List please remove me from the bluews list. Regards, Michael Marshall ?? List ========================================================================= Date: Mon, 12 Feb 1996 19:09:17 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Juke or Jook? Comments: To: bit-listserv-blues-l@uunet.uu.net In <199602121259.HAA19024@cennet.mc.peachnet.edu>, MK Sheffield writes: >>The question is is it jook or juke? >> >>Shaun >> > >Y'know, I was wondering that the other day too. Seriously. I always >thought it was "juke." > >Mary Katherine SHEFFIELD >mksheff@cennet.mc.peachnet.edu The few jukes I've been into that had a sign procllaiming them to be so, spelled it juke. The best jukes I've been in called themselves soul shacks or discos. B.B. Bean bbbean@cris.com Peach Orchard, MO http://www.cris.com/~bbbean ========================================================================= Date: Mon, 12 Feb 1996 14:33:14 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0189 From: "DUTTWEILER.J" Subject: "Very Superstitous" Date: Monday, 12 February 1996 2:32pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: "Very Superstitous" Leo Aspiras reminded me that the Beck, Bogert and Appice song was in fact Stevi e Wonders AND helped me realizing I was confusing it, in my mind, with Willie D ixon's "I Ain't Superstitious." Remarkable how the mind can mix things up that one knows. Thanks to all the ot hers who answered and illustrated my senility. Jon Duttweiler ========================================================================= Date: Mon, 12 Feb 1996 19:41:11 GMT Reply-To: Nate Goldshlag From: Nate Goldshlag Organization: The Internet Access Company Subject: Re: 96 New Orleans Jazzfest Comments: To: bit-listserv-blues-l@uunet.uu.net Here is the complete list, from the yatcom web site: 1996 New Orleans Jazz and Heritage Festival Heritage Fair Music Schedule FRIDAY, APRIL 26 Funky Meters, Phis, Frankie Ford, Terrance Simien, ReBirth Brass Band, Iguanas, James Rivers, Kermit Ruffins & the Barbecue Swingers, Benny Waters, Slim & the Supreme Angels, Robert Parker, Deacon John, Continental Drifters, Reginald Policard & the Haitian Compas Revue, Roland Stone, Ronnie Kole, New Leviathan Oriental Foxtrot Orchestra, Mem Shannon and the Membership, Tabby Thomas, Henry Gray, Hackberry Ramblers, Marc & Ann Savoy w/Ken Smith, Pfister Sisters, Astral Project, John Rankin, Creole Zydeco Farmers, Jon Cleary, Irene & the Mikes, Trombonee Tribute featuring Benny Powell, Slide Hampton, Steve Turre, Freddie Lonzo and Lucien Barbarin, New Orleans Ragtime Orchestra, Soul Rebels Brass Band, New Orleans Headstart Singing Angels, Frank Federico, Trombone Shorty Brass Band, Chris Ardoin, Bobby Cure & Summertime Blues, Evening Star String Band, Clyde Kerr, Jr., w/Samirah Evans, Tommy Yetta, Porgy Jones, Dynamic Smooth Family of Slidell, Brice Winston w/Eleonor Winston, Y'Shua Manzy, Fuego, Doc Houlind of Denmark-tribute to George Lewis, 9th Ward Hunters, Samba Children w/Curtis Pierre, Fortier Sr. HS Choir, Robert Jardell, SUBR Jazz Ensemble, Greg Dawson & Crosswinds, Jesuit Sr. HS Big Band, McDonough #15 #35 Choir, Dibert Elementary Folkloric Troupe, Greg Baber, Sidewalk Steppers SA&PC, McDonough #15 Elementary Band & Dance Team, Charles Jackson & the Jackson Travelers, Orleans Parish Talented in Theatre Students, Black Eagles Mardi Gras Indians, Old World Tunes & Tales, Kennedy HS Marching Band, Revolution SA&PC, Slewfoot, Calliope Puppet & Mask Theatre. SATURDAY, APRIL 27 Wynton Marsalis, Al Hirt, The Allman Brothers Band, Buckwheat Zydeco, Junior Wells, Charmaine Neville, Cyril Neville & Uptown Allstars, Walter 'Wolfman' Washington, The Heath Brothers, Dirty Dozen Brass Band, Wayne Toups & Zydecajun, Ricky Dillard's New Generation, Samite of Uganda, Sonny Landreth, Eddie Bo, Kent Johnson, Wanda Rouzan, The Crownseekers, Michael White Quartet w/Thais Clark, D.L. Menard & the Louisiana Acres, Dead Eye Dick, Sid Selvidge, Willis Prudhomme & Zydeco Express, Herman Ernest All-Star Band, Dash Rip Rock, Don Montoucet, June Gardner, Sammy Berfect & Dimensions of Faith, Hadley Castille, Treme Brass Band, The Mighty Sensations of Lake Charles, Jason Marsalis, Lump, Second Line Jammers & O.G Steppers SA&PCs, David and Roselyn, Los Sagitarios, George French's N.O. Storyville Band, Peter Martin Trio, Joe Clay & the Clements Brothers, Fred Kemp Quartet, NOCCA Jazz Ensemble, ejb, Percussin, Inc., Paulin Brothers Brass Band, Acoustic Swiftness, Brownsville, Rampart & Perdido Jazz Band, Jesse Dayton, St. Frances De Sales Golden Voices, Jeanne Bose, Cajun Fiddler Band, Original Taylor Bunch, Perfect Gentlemen & Devastating Ladies SA&PC, Smitty Short Stoppers Brass Band, Cajun French Music Assoc., Childrens Dance Team, Looney Tunes Brass Band, Junior African-American Dance Ensemble, Judy Stock Avenue Steppers & Original Step-n-style SA&PCs, New Orleans Free School Performers. SUNDAY, APRIL 28 Irma Thomas, George Benson, Lionel Hampton, Marcia Ball, Cowboy Mouth, Sweet Honey in the Rock, DeeDee Bridewater, King Floyd, Carrie Smith, Snooks Eaglin, Davell Crawford, Rockin' Dopsie, Jr., & the Zydeco Twisters, Dottie Peoples & Peoples Choice Chorale, Nicholas Payton, Charles Neville & Diversity, Jean Knight, Gregg Stafford's Jazz Hounds, Duke Dejan's Olympia Brass Band, Raymond A. Myles & the RAMs, Luther Kent & Trick Bag, Sunpie Barnes & the Louisiana Sunspots, Reggie Hall w/ Sadie Tee, All Belletto, Casa Samba, Allen Fontenot & the Country Cajuns, Pin Stripe Brass Band, Geno Delafose & French Rockin' Boogie, Germaine Bazzle, Ingrid Lucia & Flying Neutrinos, Bryan Lee and Jumpstreet Five, Ritmo Caribeno, Bob French Original Tuxedo Jazz Band, Ben Hunter the Soul Avenger, New Black Eagle Jazz Band, Pipes & Drums w/Caledonian Scottish Dancers, Mia X & Tru, UNOLV, Al & Essie Morris, Hazel & the Delta Ramblers, The Furious Five, Unknown Steppers and Devastation SA&PCs, Creole Wild West Mardi Gras Indians, New Zion Trio +1, Walter Mouton, Golden Arrows Mardi Gras Indians, John Boutte' Friendly Five Gospel Singers, Louis Cottrell, Clickin' Chickens, Little Rascals Brass Band, Premiere, Becky Sharp, Olympia Aids & Uptowners Hobo Clowns SA&PCs, SUNO Jazz Ensemble, Carrollton Hunters, The Heritage School of Music Band, Jamal Batiste, New Birth Brass Band, Angela the Yarnspinner, Producciones Mario Donate, Paul Taylor, The Untouchables, Algiers Steppers & Lady Zulu SA&PCs, Blues in the Schools, Adella, Adella the Storyteller. THURSDAY, MAY 2 Boozoo Chavis, Indigo Girls, Eddie Palmieri, Chambers Brothers Renunion, Dixie Hummingbirds, Ernie K-Doe, Michelle Shocked, Trout Fishing in America, Dewey Redmon Quartet, Banu Gibson, Jessie Hill, Chris Duarte, Zobop of Haiti, Bacoulou Folkloric Dance Company of Haiti, Tab Benoit w/ Faful Neal, Bruce Daigrepont, Basin Brothers, Coco Robicheaux, Kidd Jordan-Al Fielder & IAQ, Larry McCray, Mamou, Milton Batiste's Magnificent 7ths, Walter Payton w/Sharon Martin, Sonny Bourg's Bayou Blues, Versia, Keith Claiborne, Richwell Ison/Kirk Ford Experience w/Rahssana Ison, Storyville Stompers Brass Band, The Original Camelia Jazz Band, Don Vappie, Leviticus Gospel Choir, Tony Bazley Quintet, Bad Oyster Band, Karl Koenig, Carlos Sanchez 'Amanecer Flamenco', Tony Green Trio, The Cookie Family, Last Straws, Mas Mamones, Wallace Johnson, Bingmen, Ed Perkins, White Cloud Hunters Mardi Gras Indians, Wayne Powell & Eternity with Praise, Piney Woods Remblers, Kristi Guillory & Reveille, Gina Forsyth, Executive Steel Band, Flavor Kings, Zavier University Jazz Lab Ensemble, New Orleans Jazz Professors, Hammon State Strawberry Jammers, Gregory Boyd, Carl Mack, Bon Temps Roulez SA&PC, Gray Hawk, Ishangi Family, Bob Folse, Avondale Community Choir, Philip Melancon. FRIDAY, MAY 3 Dr. John, Buddy Guy, Bela Fleck & the Flecktones, Cassandra Wilson, Beausoleil, subdudes, Clarence 'Frogman' Henry, George Porter, Jr. & Runnin' Pardners, Joe Louis Walker, Steve Jordan w/Rio Jordan, Christianaires, Steve Riley & the Mamou Playboys, Anders Osberne, C.C. Adcock, Rosie Ledet, Alvin Batiste & the Jazztronauts, Michael Ray & the Cosmic Krewe, Sam Brothers Zydeco, Sadie Goodson, Golden Eagles, Alvin 'Red' Tyler Quartet, Placide Adams' Original Dixieland Hall Jazz Band, Jude Taylor & His Bruning Flame, Steve Masakowski, Doc Paulin's Dixieland Jazz Band, Pud Brown, Ronald James Chorale, Patrice Fisher, Pigeon Town Steppers SA&PC, J. Mondue'd, Kumbuka Drum & Dance Collective, Cool Riddums & Sista Teedy, One A-Chord, Lady Charlotte, Hot Strings, Wild Peyotes, Hennedy HS Gospel Choir, Clancy Lewis w/Sheba Kimbrough, Coushatta Dancers, Guardians of Flame, Local International Allstar Band, Chosen Few Brass Band, Oretha Castle Haley ES Choir, New Orleans Jr. High All-City Jazz Band, Aline White & Co., Big Nine & Calendar Girls SA&PCs, Chakula Cha Jua Theatre Company, Rose Ann St. Romain. SATURDAY, MAY 4 Preservation Hall Jazz Band, Pete Fountain, Van Morrison, Allen Toussaint, Jone Osborne, Lloyd Price, Clarence 'Gatemouth' Brown, Better than Ezra, Najee, Salif Keita, beau Jocque & the Zydeco Hi-Rollers, The Dixie Cups, The Williams Brothers, Ivan Neville, John Mooney & Bluesiana, James Carter, Harry Connick, Sr., Kenny Neal, The Wild Magnolias, Wallace Davenport, Oliver 'Who Shot the La La' Morgan, Chubby Carrier, Elder Roma Wilson, Keith Frank, Treme Brass Band, Victor Goins, Dukes of Dixieland, James Black Tribute Featuring Herlin Riley and Shannon Powell, Al Johnson, The Soulful Heavenly Stars, Magnolia Sisters, Woodenhead, Pinettes Brass Band, Bamboula 2000, Doreen's Jazz New Orleans, Belton Richard, Irie Vibrations, Young Tuxedo Brass Band, Kim Carson, the C.P. Love Group, Paky Saavreda's Bandido, Little Freddie King, Andrew Hall, Original Four, Jolly Bunch & Popular Ladies SA&PCs, Julio & Caesar, Larry Sieberth w/Betty Shriley, Love Alive Fellowship Choir, Ricardo Lewis Quintet, Boondoggles, All That, Luke Thompson & The Green Valley Cut Ups, Great Bright Morning Star Choir, Dillard University Jazz Band, Money Wasters, Nkrumah Better Boys & Original Black Magic Lady Steppers SA&PCs, Zion Hill BC Voices of Zion Youth Choir, Collen Salley, Crescent City Jumpers, Lightfoot, The Johnson Extensions, Lynette Braxton, Mahogany Brass Band, Azikwa Children's Percussion Ensemble. SUNDAY, MAY 5 The Neville Brothers, Dave Matthews Band, The Mighty Clouds of Joy, The Radiators, Doc Cheatham, Chris Owens, Marva Wright, C.J. Chenier & the Red Hot Louisiana Band, Ellis Marsalis, Kennie Barron Trio w/Frank Morgan, Earl King, Lou Donaldson, Zachary Richard, Jonny Adams, Bobby Rush, Zion Harmonizers, Katie Webster, Bobby Marchan, White Eagles Mardi Gras Indians, Little Queenie & Friends, Michael Ward w/Regina Carter, Balfa Toujours, Leroy Jones, New Orleans Klezmer All-stars, Los Babies del Merengue, Willie Tee, Nathan and the Zydeco Cha Chas, Shepherd Band, Louisiana Repertory Jazz Ensemble w/Joe Muranyi, Algiers Brass Band, Mohawks Mardi Gras Indians, Nasio, Vallie of Silent Men, Westbank Steppers and Jetsetters SA&PCs, Black Menace, Cheeky Blakk, The Poor Clares, Jo 'Cool' Davis, Wendell Brunious, Ironin Board Sam, Onward Brass Band, Chris Clifton, Gospel Soul Children, Young Cheyenne Mardi Gras Indians, Calliope Steppers & Double Nine Histeppers SA&PCs, Galatic, Culu Dancers, Danny Collet, Eddie LeJeune, Innsbruck Jazz Workshop of Austria, Ancestro, Last Chance, Band, Scene Bosters, Original & Lady Prince of Wales SA&PCs, Tornado Brass Band, John Lee & Heralds of Christ w/Christine Myles, UNO Jazz Band, Eric McAlister, Perlita Street Kids, High Steppers Brass Band, Young Mardi Gras Indians, Legacy, N.O. Men & Ladies Buck Jumpers SA&PCs, N'Kafu Traditional African Dance. ---------------------------------------------------------------- Nate Goldshlag "People ask me why I don't get fat nate@reflection.com it's cause I like to dance like that. I eat as much as I can hold Cambridge, MA and go out and do the zydeco." -- Marcia Ball ========================================================================= Date: Mon, 12 Feb 1996 14:58:25 -0500 Reply-To: Ed Mezynski From: Ed Mezynski Subject: blues bytes Tasty blues from all contributors, Great job by the production staff. Thanks to all of you for a great bunch o'blues. ed ========================================================================= Date: Mon, 12 Feb 1996 14:01:00 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Who is Fenton Robinson? Comments: To: "David L. Prychitko" In-Reply-To: Fenton has been living in Rockford IL for the past several years, not working as much as he should, but that's been true for his whole career even though he's always been a great recording artist. He played with Charlie Musselwhite for a couple of excellent years in the early '70s (supposedly Charlie tried to hire Luther Allison around the same time) and they toured all over the U.S., but they never recorded together. If plans proceed, they'll cut for Pointblank in April. ========================================================================= Date: Mon, 12 Feb 1996 14:44:29 PDT Reply-To: Arne Brogger From: Arne Brogger Organization: PSI Public Usenet Link Subject: Re: Joni Mitchell Blues? Comments: To: bit-listserv-blues-l@uunet.uu.net I think the closest Joni got to the blues was a tune called Furry's Blues, or some such think. Or maybe she mentioned his name in the tune. At any rate, it pissed Furry off to no end. "How come she can use my name and not send me no meney?" I heard about it for years. Arne ========================================================================= Date: Mon, 12 Feb 1996 20:02:30 GMT Reply-To: Richard Cotenas From: Richard Cotenas Organization: California State University Sacramento Subject: Re: Sitting&Thinking-Otis Spann Comments: To: bit-listserv-blues-l@uunet.uu.net RT (rtn@Q.CONTINUUM.NET) wrote: : Just let me know where I can get my hands on a copy of 'Temperatures : Rising' if you ever find one!!!The cut titled 'It's hot in here' should : most definitely be included on any further anthologies. Isn't "Temperature's rising" a cut on the Spann LP "Bigger than Colossus" with Fleetwood Mac backing? Richard ========================================================================= Date: Mon, 12 Feb 1996 14:57:56 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Josh white - hard hitting Ro> Just checking out the Sony/Legacy Roots 'N Blues series homepages Ro> for the new releases and I read this description of the new Josh White Ro> release: Ro> "20 digitally mastered recordings from one of the hardest-edged Ro> country bluesmen of all time" Ro> I'll admit that I've never heard a lot of Josh White - One or two of Ro> his early "Pinewood Tom" recordings, a video clip from the early 60's, Ro> and I have four or five 78s from the same period, and what I hear is a Ro> very good singer and guitarist with an urbane (and in the later stuff, Ro> fairly slick) style. Ro> I'd hesitate to call even his early stuff "country blues", and none Ro> of it seems particularly "hard-hitting" to me. Ro> Have I not heard enough Josh White, or is this an example of Ro> over-zealous packaging by the label? You've heard more than enough. Regardless of what those with no sense of quality claim, there was an _enormous_ flood of painfully mediocre, watered-down, sounding a little like Blues, sanitized for mass consumption garbage issued during the peak of 'race record' production. People like Josh White, Big Bill Broonzy, Terry and McGee, Lonnie Johnson, Bo Carter, and an entire army of technically proficient, yet emotionally and stylistically bankrupt, artists produced countless hundreds of mediocre recordings. Then, as now, the record companies knew that vapidity appeals to the masses. Your perceptions are correct, White was most certainly not of the 'Country Blues' ilk, and is so jejune that even associating him with real Blues may be stretching it a bit. Perhaps we could place these people in a new category of 'Afro-American folk singers' so they are not further confused with Blues singers?? Of course, this is merely the opinion of an unabashed purist who thinks that there is such a concept as quality. ... "Popularity is the hallmark of mediocrity!" Miles/Frasier --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Mon, 12 Feb 1996 21:28:33 +0100 Reply-To: Mittendorp From: Mittendorp I just got a copy of the new CD "Border town blues" of Long John Hunter on Alligator which is released recently. I think it is a great record of a great artist. I had the honor to do a European tour Long John in April last year and we are working on a new tour for Long John for January next year. Jan Mittendorp Crossroads Blues Agency The Netherlands ========================================================================= Date: Mon, 12 Feb 1996 18:27:04 GMT Reply-To: Michael Twomey From: Michael Twomey Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Blues Is Truth Foundation February 12, 1996 B.I.T. (Blues Is Truth) Foundation presents Blues on Parade. Two vibrant shows featuring the Bay Areas brightest blues artists Sunday, February 25th at Biscuits & Blues 401 Mason at Geary in San Francisco FIRST SHOW 6:00 until 8:00 PM Elmer Lee Thomas Blues Revue Chaz Katz, Pete Sears and Peter Rowan, Mark Hummel and Steve Freund, Clarence Van Hook and Will Scarlet SECOND SHOW 9:00 until Midnight Johnny Heartsman, Tommy Castro, Kenny 'Blue' Ray, Big Bones, Tattoo Blue, Killin' Floor, plus Joey Razor and the Blue Blades $15 advance / $18 door, per show or BOTH SHOWS $25 advance / $28 door B.I.T. Foundation Mission Statement: The purpose of the B.I.T. Foundation is to sustain and continue the blues Brownie McGhee and others have created as a living and dynamic art form for future generations to incorporate in their lives. The B.I.T. (Blues Is Truth) Foundation was founded as a non-profit organization by legendary blues man Brownie McGhee for the purpose of providing a music resource center and a music scholarship program. Entering his eightieth year Brownie understands that a phrase the he has used most of his life, Blues is Truth, captures and contains a significant part of his life experience. Brownie has shown that from modest beginnings one can rise and find a lifetime of joy by being an honest chronicler of life, reciting, learning and teaching, all while singing the blues. Brownie has learned many truths beginning with his life then by means of those around him, from musicians and others that came before him. He learned how to transform the feelings and emotions that he sees in himself and others around him into a concise poetry that exactly portrays in the spoken word the situation at hand. Then with years of experience guiding him, he married the poetry to the song. There are many ways to live a life. Brownie found one path that works, and works well. He would like to insure that this art form of observing life and then preserving it in song is maintained for future generations to benefit from. It was for this purpose that Brownie established the Blues is Truth Foundation. Brownie has referred to his Oakland home as the House That Blues Built for all the years that he has lived there. It is his wish that this home be preserved and serve as the heart of the Blues is Truth Foundation. The House That Blues Built is one of the resources that will be used by the Foundation to educate the public and will serve as a center for educational projects, a music scholarship resource and other materials as they are developed. Please join us at Biscuits and Blues for the B.I.T. Foundation's first fund raiser ever, featuring two captivating lineups on Sunday, February 25th. The fun begins at 6:00PM. Biscuits and Blues is located at 401 Mason at Geary in San Francisco. Tickets are available at Biscuits & Blues after February 14th. Leslie Ann Knight, B.I.T. Foundation Publicist LKnight1@aol.com ========================================================================= Date: Mon, 12 Feb 1996 16:00:13 EST Reply-To: levyt@RL.AF.MIL From: Toby Levy Subject: Leabelly biopic on Bravo Did anyone else catch the movie bio of Leadbelly that was shown on Bravo this weekend. I guess it will be shown next weekend too. It was filmed in 1976 and while it was too Hollywood for my taste it did have some nice moments and a few neat touches, like the guy who played Blind Lemon Jefferson held the guitar in that stilted way that is shown in the photo onf Blind Lemon that has come down to us. Toby ========================================================================= Date: Mon, 12 Feb 1996 20:46:39 GMT Reply-To: Ari Eisinger From: Ari Eisinger Organization: Internet Online Services Subject: Re: Josh White - hard hitting country bluesman? Comments: To: bit-listserv-blues-l@uunet.uu.net Hard-hitting sometimes. Excellent often. He was alot different in the 1930s than in the folk era. Definitely blues, not as slick as later. "Jesus Gonna Make Up My Dying Bed" is just unbelievably great! ARI EISINGER Blues and Ragtime Guitarist and Singer ==Guitar Teacher== ==(610) 259-6688== ========================================================================= Date: Mon, 12 Feb 1996 14:20:18 +0000 Reply-To: "David J. Wallace" From: "David J. Wallace" Organization: JSDA Subject: Re: Who is Fenton Robinson? > Who is this Fenton Robinson..and what's he all about?? > Fenton Robinson is a Chicago based Guitarist/Singer/Songwriter. To my knowledge he has three albums on Alligator: Somebody Loan Me a Dime (late 70s) I hear some Blues Downstairs (80ish) NightFlight (1984) All are excellent, for me nightflight is the best. Fenton Robinson plays quite exquisite (sp?) guitar throughout and sings pretty good too. Don't know what he's done since 84 tho'. David |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Theres only one way out of: The Blues, Town and Regional Planning or a spin in a Beech Baron. I Hope you never find it. ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| ========================================================================= Date: Mon, 12 Feb 1996 16:07:10 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: ATTN: dj & musicians/ Waldoxy Records/online chat Comments: To: bit-listserv-blues-l@uunet.uu.net Have you been wanting to tell Waldoxy Records what you really think? Now's your chance. Tommy Couch, Jr., president/producer, and co-producer/drummer Paul Lee will be online February 18 to answer any questions you might have, discuss upcoming releases and offer advice to young (or the not so young) musicians who'd like to break into the business. They are ready for the challenge and are ready to explain what went into the decision regarding the recent Ernie Johnson and Bobby Rush releases. They will be in Muddy's Cabin at 6pm EST which is located at http:\\www.vivanet.com\~catbauer Waldoxy Records, formed in 1991, has its roots firmly planted in the same soil that spawned the Mississippi Delta music known as "the blues." Since its inception, Waldoxy has made a commitment to produce music that although touching on various styles always remains true to its origin. As an integral part of the Malaco label family, Waldoxy has put together an ecclectic roster which includes: "In The Mood" (Ernie Johnson), "One Monkey Don't Stop One Show" (Bobby Rush), "Don't Let The Devil Ride" (James Peterson), "Sittin' Here With Nothin'" (Big Mike Griffin), "Arrival" (Keri Leigh), "South To Mississippi" (The Beat Daddys), "Choice Cuts" (King Floyd), and "Southern Shades of Blue" (Various Artists). Catbauer@vivanet.com ========================================================================= Date: Mon, 12 Feb 1996 11:33:20 -1000 Reply-To: Norman C Moody From: Norman C Moody Subject: Re: Sitting&Thinking-Otis Spann Comments: To: Richard Cotenas In-Reply-To: <4fo6cm$8ho@news.csus.edu> > > Isn't "Temperature's rising" a cut on the Spann LP "Bigger than > Colossus" with Fleetwood Mac backing? > > Richard Yes, it is, and it is absolutely bone chilling. "Stormin" Norman Moody PS It is supposedly out on CD as an import, but good luck! ========================================================================= Date: Mon, 12 Feb 1996 22:36:46 GMT Reply-To: Bob Bingham Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Bob Bingham Organization: BlueHawk Communications, Inc. Subject: Re: Recording Cover Versions Comments: To: jjperry@INDIANA.EDU On copyrighting stuff you need to contact the Library oF Congress in Washington D.C. They will send you the proper forms. If you get confused about how to fill them out just contact me and I'll walk you thru it. When you use other peoples songs you first have to contact BMI or ASCAP if you don't already know the publisher. Once you find out the publisher you need to contact the Harry Fox Agency in New York city to get the licensing to use the songs. It's relatively cheap, about 6 cents per song per cd. If you need to knoww anything else drop me a line. ========================================================================= Date: Mon, 12 Feb 1996 18:00:08 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Who is Fenton Robinson? > > Date: Mon, 12 Feb 1996 09:08:17 -0500 > On Mon, 12 Feb 1996, David Burke wrote: > > Who is this Fenton Robinson..and what's he all about?? I saw him a year or so ago in Toronto, at the Black Swan. He is a superb guitarist, coming at the blues from the jazz side of the house. His weakness, if I can call it that, is that he makes it seem too easy. He isn't a flashy performer -- he quietly does things which more famous blues guitarists would have trouble with, but unless you know guitar well, you might not realize how good he is. His picking is extremely clean -- no buzzing or messing with the amplifier, just a solid stream of perfect notes. He is also a very religious man. He is a member of the Nation of Islam, and takes its precepts very seriously. Despite living his life in bars, he doesn't drink, smoke or curse. I don't know whether his religion is a factor in this, but he is also a remarkably nice man -- chatted with people in the club before and after his sets, and was generally very friendly. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Mon, 12 Feb 1996 18:14:20 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Ruthie Needs a Drummer Bad (Professional Inquiries Only) My blues/classic rock band "Heart of Blues" needs a permanent drummer for a regular Tuesday night gig and planned additional weekend gigs in the D.C. area this spring and summer. We play a wide range of material, mostly blues and classic rock. The personnel consists of a male lead guitar player, a female rhythm/slide guitarist, and a bass player (fretless). If anyone knows of a drummer who might be interested in playing with us, please let me know. Thanks! ========================================================================= Date: Mon, 12 Feb 1996 18:11:24 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: long john hunter I just want to echo Jan's kudos for Long John's new CD, Border Town Legend, on Alligator. It's as good as his Spindletop/Black Magic CD, which is saying something! Y'all can finally hear his killer sax man, Art Lewis, on CD. I think Alligator's promotional hype may actually be true (for a change). This may well be the blues CD of the year. Long John will be at J&J Blues Bar in Fort Worth on this Saturday 2/17. I do expect to see all you DFW Blues-L'ers there. Any that don't show up will receive a Boogie Nation pizza delivered by Jim Hartac. Don "Jouke" O. (who is not related to Benny Goodman and is not associated with any of the above, especially Jim Hartac) ========================================================================= Date: Mon, 12 Feb 1996 16:50:09 -0500 Reply-To: Oded Maron From: Oded Maron Subject: Who is Fenton Robinson? In-Reply-To: David Burke's message of Mon, 12 Feb 1996 00:19:09 -0800 <4fmt5t$qbk@crl13.crl.com> From: David Burke I was talking to Charlie Musselwhite today, and he said he was going to Chicago to record an album with Fenton Robinson.. [...] Who is this Fenton Robinson..and what's he all about?? Fenton Robinson is a great singer and an innovative guitar player. He does Chicago blues with some jazzy overtones. His best stuff is "Somebody load me a dime" on Alligator and his earlier stuff on PVine and maybe Charly(?). His album on Evidence (I can't remember the name, but Richard Shurman was involved, so maybe he can supply some details) has some great moments, but is inconsistent. I have a recording of his show in last year's Chicago Blues Festival and it didn't sound like that great a show. However, an album with Musselwhite should be fabulous. Does anybody have more details - like what label, and when should it be out? Oded ========================================================================= Date: Mon, 12 Feb 1996 19:20:00 EST Reply-To: edward c liu From: edward c liu Subject: NYC Club Dates Pointer Howdy all, The latest New York City Club Dates Pointer is available for the second half of February/start of March. To receive it, send e-mail to me at: edwick@cc.bellcore.com with a subject line of "NYC CLUB DATES". Thank you for your support! -- Ed Edward C. Liu | "Don't make me nervous, 'cuz I'm holdin' edwick@cc.bellcore.com | a baseball bat." | -- Big Joe Turner, "Honey, Hush" The opinions in this message are mine and not Bellcore's. Really! ========================================================================= Date: Mon, 12 Feb 1996 17:22:39 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Fenton Robinson Fenton's Alligator stuff is fine....Another one to look for, although it'll be difficult, is a Japanese import on P-Vine called "The Mellow Blues Genius"...This has excellent blues and soul-blues sides he recorded for small Chicago labels in the 60s, including his original versions of "Somebody Loan Me a Dime" and "7-11 Blues". Charly's Blues Masterworks also has a Fenton Robinson disc of songs recorded in the early 70s....I don't care much for this, though ...Fenton doesn't even play guitar on many of the tracks. The Rounder LP "Angels in Houston" also has some of his early Duke label recordings including the standard "As the Years Go Passing By". -P ========================================================================= Date: Mon, 12 Feb 1996 16:56:27 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Jim Hartac returns? In-Reply-To: <9602121457.0L0V500@infoexch.miami.fl.us> from "Laurie Forti" at Feb 12, 96 02:57:56 pm According to Laurie "aka Jim Hartac" Forti: Regardless of what those with no sense of quality claim, there was > an _enormous_ flood of painfully mediocre, watered-down, sounding a > little like Blues, sanitized for mass consumption garbage issued > during the peak of 'race record' production. People like Josh White, > Big Bill Broonzy, Terry and McGee, Lonnie Johnson, Bo Carter, and an > entire army of technically proficient, yet emotionally and > stylistically bankrupt, artists produced countless hundreds of mediocre > recordings. Then, as now, the record companies knew that vapidity > appeals to the masses. > Your perceptions are correct, White was most certainly not of the > 'Country Blues' ilk, and is so jejune that even associating him with > real Blues may be stretching it a bit. Perhaps we could place these > people in a new category of 'Afro-American folk singers' so they are > not further confused with Blues singers?? > Of course, this is merely the opinion of an unabashed purist who > thinks that there is such a concept as quality. > Ha!, ha!...I Get it, ha! ha! You're trolling right? Ha! Ha! -P ========================================================================= Date: Mon, 12 Feb 1996 16:49:50 -0800 Reply-To: Karen Johnson From: Karen Johnson Subject: Re: Who is Fenton Robinson? >> > Date: Mon, 12 Feb 1996 09:08:17 -0500 > >> On Mon, 12 Feb 1996, David Burke wrote: >> > Who is this Fenton Robinson..and what's he all about?? > > >He is also a very religious man. He is a member of the >Nation of Islam, and takes its precepts very seriously. >Despite living his life in bars, he doesn't drink, smoke or >curse. I don't know whether his religion is a factor in >this, but he is also a remarkably nice man -- >chatted with people in the club before and after his sets, >and was generally very friendly. > >Ian Angus >"Built for comfort, not for speed" I remember that Fenton Robinson served some time in prison for manslaughter in the early or mid 70's. I believe it was vehicular manslaughter and the time was about a year. (Bonnie can correct me if I'm wrong) Do you know if that was when he converted to Islam? He is indeed quiet, gentle and unflappable. I remember seeing him on one occasion when a fight between two women broke out. Bonnie the K was there too. The fight was intense enough to involve the brandishing of broken beer bottles (like in the movies). Fenton's eyes widened ever so slightly and he backed up on the stage while continuing to play. He's always been one of my favorites. I've always hoped he would get more exposure. I'd like to seem him come to the Bay Area (where I am now)sometime. KJ in SF > ========================================================================= Date: Mon, 12 Feb 1996 20:11:48 EST Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: Chess on TV Cat wrote (re: my request for address for CBS): From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Pocono Blues Festival I'm forwarding this info for Stew Crossen, my apologies if it has already been posted. Looks like I'm going to try to get to PA for this one: I have the Pocono Blues line-up: Saturday: Lowell Fulson, Coco Montoya, Trudy Lynn, Guitar Shorty, Robert Lockwood Jr., Billy Branch or Willie Cobbs, Little Dave Thompson. Sunday: Koko Taylor, William Clarke, Syl Johnson, Joe Hughes or W.C. Clark, Chris Cain, James Peterson, Litlle Sammy Davis. Beef Stew http://www.neca.com/~bfstew ___________________________________________________________________________ ========================================================================= Date: Mon, 12 Feb 1996 19:40:26 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Re: 96 New Orleans Jazzfest Since I don't believe these have been posted yet, here are the evening concerts for Jazzfest from the New Orleans Times-Picayune: FRIDAY, APRIL 26 9 pm at the UNO Lakefront Arena - The Allman Brothers Band, The Fabulous Thunderbirds, John Mooney. SATURDAY, APRIL 27 9 pm at the UNO Lakefront Arena - B.B. King, George Benson, Raymond Myles and the RAMs. 12 pm at Praline Connection Gospel and Blues Hall - Midnight Jam with Jimmy Heath, Slide Hampton, Albert "Tootie" Hearth, Steve Turre, Wess Anderson, Nicholas Payton, Peter Martin, Rodney Whitaker, Fred Kemp, Johnny Vidacovich, David Torkanowsky, and Bill Huntington. MONDAY, APRIL 29 and TUESDAY, APRIL 30 8 pm Legends in Concert at the Palm Court Jazz Cafe - Doc Cheatham, Benny Waters, and Carrie Smith . WEDNESDAY, MAY 1 8 pm at La Louisiane Ballroom in the Ernest Morial Convention Center - Wynton Marsalis, Cassandra Wilson, Jon Hendricks, New York Voices, The Crescent City Jazz Orchestra conducted by Ellis Marsalis. THURSDAY, MAY 2 8 pm at LA Louisiane Ballroom Ernest Morial Convention Center - La Noche Latina with El Gran Combo, Eddie Palmieri, and Paky Saavedra's Bandido. FRIDAY, MAY 3 9 pm at UNO Lakefront Arena - Van Morrison, Buddy Guy, and The Radiators. 7 pm and 11 pm at Praline Connection Gospel and Blues Hall - Dew Drop Inn Revisited: New Orleans Soul Live! with Lloyd Price, Clarence "Frogman" Henry, Jean Knight, Chuck Carbo, Lil Milleet w/Cookie Gabriel, Wardell Quezerque Big Band, June Garder - Tribute to Smokey Johnson, Warren Bell, Sr. SATURDAY, MAY 4 9 pm at UNO Lakefront Arena - Indigo Girls, Joan Baez, Joan Osborne. 12 am at Praline Connection Gospel and Blues Hall - Midnight Jam with Frank Morgan, Lou Donaldson, Ellis Marsalis, Kenny Barron, Ray Drummond, Ben Reilly, Victor Goines, Marlon Jordan, Herlin Riley, Clyde Kerr Jr., Jim Singleton, and Ed Peterson. ************************************************************************ ******************************************** Bill Morgan From: The Big Easy ========================================================================= Date: Mon, 12 Feb 1996 20:58:58 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Sitting&Thinking-Johnny Shines. Continuing our tributes to Wolf Records this month - here's a fine CD by the man who turned me onto the blues. Loved by me, reviewed by Ed. JOHNNY SHINES - 1915 - 1992 (WOLF 120.914) WOLF RECORDS P.O. BOX 375 A-1120 VIENNA Like Robert Jr. Lockwood and Son House, Johnny Shines was one of the last remaining original country blues players. Like Robert Jr. Lockwood, Shines had an unfortunate association with Robert Johnson, since the two men were some of the last to perform with Johnson in his too short lifetime. While Shines himself would have probably never said ill of Johnson, the association did not aid his career as one might think, in that Shines and Lockwood were assigned the task of being the Robert Johnson revival crew while their own musical talents and contributions to the musical idiom were largely ignored. Like Son House, Johnny had a brief hiatus from the music business starting in the late 1950's, and returned after being "rediscovered" in 1964. This disc by Wolf is composed of performances recorded in the 1970's. Tracks 1 to 8 are culled from a live acoustic performance at Webster College. These tracks are done sans slide in a stark, personal manner. Tracks 9 to 12 are with the very aptly named Chicago All-Stars, with Big Walter Horton on harmonica, Sunnyland Slim on piano, Willie Dixon on bass, and Clifton James on drums. Johnny picks up his slide for some slashing, intense, primal guitar work that competes with J.B. Hutto for ferocity and raw power. As a whole, this disc shows off two sides of an amazingly talented, versatile, and perhaps under appreciated artist. WON'T YOU TELL ME MAMA / GOIN' DOWN IN THE BOTTOM / BUMBLE BEE BLUES / WORKIN' ON THE STATION / MOANIN' THE BLUES / TALKIN' / JUST A LITTLE TENDERNESS / GUITAR BOOGIE / WORRIED LIFE BLUES / FAT MAMA / HIGH ROAD BLUES / HELLO CENTRAL NYCD Takes WON'T YOU TELL ME MAMA: Johnny starts off this song with an intricate instrumental cadenza. Like the best blues, it is very simple musically but has a deep, resonating complexity and expressiveness to it. There are some especially nice bell-like bass notes before Johnny finally begins to settle in on a rhythm. Even then, he capriciously changes direction several times. When Johnny finally gets to words, he presents them with immense feeling, using his guitar to respond to his voice's call. A complex, many-layered, and deeply satisfying track. GOIN' DOWN IN THE BOTTOM: Some darker, more moody notes start off before Johnny kicks off into a relentless acoustic boogie beat. The lyrics borrow from the familiar "See See Baby," making use of the added "Lawdy mama" line after the first lyric. On this track, Johnny often uses the guitar to simultaneously mimic the lines he sings to great effect. The fingerpicking on this track is especially noteworthy. BUMBLE BEE BLUES: Johnny introduces this piece with a spoken introduction, pointing out that this Memphis Minnie song was one of the earliest ones he learned to play. The introduction is mostly done single-note style instead of fingerpicked, with Johnny returning to fingerpicking during the song itself. There's plenty of passion and fire to be found in the vocals, which are delivered with Johnny's best field-holler voice. It's on this track that Johnny sounds most like Robert Johnson, except with better recording equipment. WORKIN' ON THE STATION: This is a very complex, mid-tempo piece featuring excellent ostinato bass lines and interesting harmonies, making the guitar simulate the regular drone of a train. Johnny stretches out the closing words on many lines, adding just a touch of vibrato throughout, for an added train-whistle effect. The results are ear-grabbing and extremely compelling. In between verses, he also takes the opportunity to do some jaw-dropping wicked fingerpicking that ought to send the guitarists scrambling for their acoustics. MOANIN' THE BLUES: A false start and some laughter from Johnny kicks off this slow, aptly named blues. Indeed, the first lines are moans delivered with bone-chilling, hair-raising effect. The rest of the song is a simple 12-bar, in the same way that most of Son House's recorded output is "simple." There's a lot of subtleties to Johnny's playing, and in the way he uses his guitar to answer his voice. There's also a whoop you can't miss from an audience member in the middle of the track that's perfect. TALKIN': The Blues According to Johnny Shines. According to Johnny, there are two folks who wrote more blues than anybody alive -- Mother Nature and Father Time. This is only a sample of some of the wisdom found in this three-minute spoken track. Being able to break down the wall between performer and audience with spoken interludes like this one are what mark the truly great live performers, and this track shows Johnny's skill at it. JUST A LITTLE TENDERNESS: Another spoken introduction by Johnny before he starts into an achingly tender, soul-baring song. The guitar accompaniment is minimal, with most of the real joy in this track to be found in the richness of Johnny's voice. His use of vibrato and volume in his vocals is masterful. There are dramatic switches between gentle, heartbreaking pleads and powerful, shouted wails. His spoken interludes are an extension of those in "Talkin'," including a poignant meditation on someone contemplating suicide which ends aptly with Johnny's light touch of humor. GUITAR BOOGIE: A short acoustic riff rocker instrumental where Johnny shows off his chops, which are formidable. Again, the guitar players among you will be charging for your picks. Anybody who claims acoustic music is inherently laid back hasn't heard this track yet. WORRIED LIFE BLUES: We move from the Delta to Chicago with a classic. There is a slightly jarring transition from the prior acoustic tracks and these electric ones. Here, Johnny is less concerned with subtleties and gentleness, opting instead for some full-tilt, no-holds-barred vocals and slide guitar lines that jangle and hit with palpable impact. These tracks also underscore the fundamental connection between blues from the Delta and what happened to them when they migrated to Chicago and discovered electricity. FAT MAMA: A distant, heavily reverbed guitar introduces this fast-paced rocker. Sunnyland really goes to town under Johnny's powerful vocals. Clifton James' drumming is wildly unrestrained and astounding; heart patients should be careful listening to him, because his work here will re-set your heartbeat for a week. However, the star of this show is still Johnny, who cuts loose with some similarly unrestrained guitar soloing with tremendous ferocity and power. HIGH ROAD BLUES: The same stinging guitar work introduces this slower blues. Johnny's vocals are hard-hitting, again making devastating use of vibrato and his field-holler intensity. He also drops some razor-edged slide licks that can cut down trees. There's no real surprises here -- just some super-solid blues from Chicago done the way it ought to be. HELLO CENTRAL: Some jangling chords from Johnny lead into this last grinder. Sunnyland Slim does some especially nice work on this track, both under Johnny's vocals and in counterpoint to Johnny's guitar lines. Johnny, Big Walter, and Sunnyland decide to fight it out for dominance during the instrumental solo, which makes for a lot of complex (and heavenly) interplay between the three men. Reviewed by Edward C. Liu Copyright NY CD Blues @1995-1996 All Rights Reserved. Unauthorized use prohibited. NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 12 Feb 1996 22:40:56 -0500 Reply-To: Ken Ficara From: Ken Ficara Subject: yee ha (Apollo Theater, 3/29/96) I got tickets today for Ruth Brown, Bobby Bland and BB King at the Apollo Theater at the end of March. I can't wait -- I love Ruth, I've always wanted to see Bobby "Blue" Bland, and BB is, well, BB. Two shows, 7 and 11 pm, orchestra seats were still available this afternoon. "Thank you for calling TicketBastard, where Excessive Charges are our preferred method of payment..." :) ken ====================================================================== Ken Ficara ficara@acm.org "I'm not Ernest Hemingway." -- Joan Collins, NEW YORK DAILY NEWS, 2/10/96 More quotes available at: http://www.panix.com/~ficara/quotes/quotes.cgi ========================================================================= Date: Mon, 12 Feb 1996 22:34:08 -0500 Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Blues Book Comments: To: bit-listserv-blues-l@uunet.uu.net In article <960212100813_420518488@emout09.mail.aol.com> Karen Hanson writes: >broke, so I settled on just one, called Chicago Blues: The City & The Music. > Its publication date is listed as 1975, which was a drawback, but it's got >some interesting (although sometimes poorly-reproduced) photos, and I thought >maybe it'd fill some gaps for me. What concerns me most is that I've never >heard of the author; his name is Mike Rowe. Can anyone give me any insight >on the reliability of the information? You made a wise choice. I don't think there's a better book on Chicago blues out there (at least that I've found). I read it several years ago and still frequently pull it off the shelf as a reference source when I need info about Chicago artists. Art Schuna ========================================================================= Date: Tue, 13 Feb 1996 14:52:17 +1100 Reply-To: Daniel Bruce From: Daniel Bruce Subject: Charlie Musslewhite Guys & gals, Excitement fills me. Last night as I was listening to the only Sydmnye pure blues radio show - Stormy Monday - 102.5 Fm Monday 9-11 they were giving away free tickets to the show Charlie is doing here this week. I won two. Yee Haaa!!!!!! BTW, saw the movie devil in a blue dress the other day. Great soundtrack. -- Daniel Bruce | Genasys II Pty Ltd, Sydney, Australia | "Born under a bad sign, been down since I began to crawl | If it wasn't for Bad Luck, Wouldn't have no luck at all" | Albert King | Internet: danielb@genasys.com.au ========================================================================= Date: Mon, 12 Feb 1996 22:56:36 -0500 Reply-To: Mercergrp@AOL.COM From: Robert Pierce Mercer Subject: James Armstrong - HighTone Records Artist Thank you to all of you BLUES_L subscribers and bluenatics around the world for E-mailing your kind words about James Armstrong's "Sleeping With A Stranger" album to me. We'll try to answer all of you individually as soon as we can. Thank you especially Living Blues Magazine [US], Gandalf Magazine in Belgium, BLOCK Magazine in Holland, BAM Magazine in the U.S. for your positive reviews and stories. Any press or radio folks who have not received James's album from HighTone Records can contact the label directly or E-Mail me at mercergrp@aol.com and I'll forward your requests to them. James is working the Los Angeles and San Francisco Bay areas for the next few months [he'll open for Joe Louis Walker on the 23rd of this month at Slims in San Francisco] and will tour Europe again in late April and early May. We're trying to get a national touring agency here in the states and hope to get around the rest of the country later this year. We'll try to keep you posted here and will be happy to add any of you to our international mailing list. Thanks again, Robert Pierce Mercer, Mercer Management, International Artist Representation P.O. Box 2458 Toluca Lake, CA 91610 USA ========================================================================= Date: Mon, 12 Feb 1996 22:08:08 -0600 Reply-To: Craig Edmundson From: Craig Edmundson Subject: Howlin' Wolf image request Hello, I am in the early stages of creating a web page devoted to Howlin' Wolf. I would be grateful for any help in finding an image that won't infringe upon a copyright. Might there be "public domain" images available? Or perhaps someone knows of a "stock photo library" from which I could purchase an image? Thank you. Craig ----------------------------------- Craig L. Edmundson cedmunds@netserv.unmc.edu cedmundson@nfinity.nfinity.com http://www.nfinity/com/~cedmundson ========================================================================= Date: Tue, 13 Feb 1996 04:08:56 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Radar Labs 23 Subject: Re: Catfish Blues Comments: To: bit-listserv-blues-l@uunet.uu.net On Mon, 12 Feb 1996 10:46:50 CST, L W wrote: >Anyone have the lyrics to "Wish I was A Catfish" It starts off, "I wish I was a catfish, swimmin' in the deep blue sea. I'd have all the big-legged women a-fishin' after me." It's more a sexual brag blues than a fishing song. A good fishing song is R.L. Burnside's "Jumper on the line," and a good hunting song is Sonny Boy Williamson's "The Hunt," where he imitates various dogs on a coon hunt. Kevan Smith http://www.rlabs.com/congress/ ========================================================================= Date: Mon, 12 Feb 1996 23:28:39 -0500 Reply-To: ronald lee marrero From: ronald lee marrero Subject: Re: Catfish Blues Comments: To: cuthulu In-Reply-To: <31200e45.167214932@news.prysm.net> Don't know who wrote the lyrics. Another great fishing song is "Fishing" by Elvin Bishop on Alligator Records. ========================================================================= Date: Tue, 13 Feb 1996 00:25:19 -0500 Reply-To: Renato154@AOL.COM From: Renato Tonelli Subject: Re: bb king book/buddy guy Comments: To: don.o@chrysalis.org I missed the point about the Buddy Guy book. Could you (don.o) briefly fill me in? You got me very curious... Renato Tonelli ========================================================================= Date: Mon, 12 Feb 1996 21:34:17 +0000 Reply-To: refl@nwlink.com Comments: Authenticated sender is From: Ref Lindmark Subject: blues bytes I would like to add my thanks to Bob Unger for his effort in putting together a really nice compilation of blues. Thanks are in order to embee ( I think I know that guy on the drums) and Rob for their contribution. And a special nod to the musicians.. Without music.. there is silence.. now that would be the blues! Ref ========================================================================= Date: Mon, 12 Feb 1996 23:37:00 -0600 Reply-To: Bill Zerbe From: Bill Zerbe Subject: Cotton Candy Washington Cotton Candy Washington's new CD is now available. You may read more about her and hear samples of the new CD at http://www.qni.com/~bzerbe Bill Zerbe, Kansas City, Mo. bzerbe@qni.com ========================================================================= Date: Tue, 13 Feb 1996 07:33:02 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Blues Book Comments: To: bit-listserv-blues-l@uunet.uu.net Art Schuna wrote: > >In article <960212100813_420518488@emout09.mail.aol.com> Karen Hanson > writes: > >>broke, so I settled on just one, called Chicago Blues: The City & The Music. >> Its publication date is listed as 1975, which was a drawback, but it's got >>some interesting (although sometimes poorly-reproduced) photos, and I thought >>maybe it'd fill some gaps for me. What concerns me most is that I've never >>heard of the author; his name is Mike Rowe. Can anyone give me any insight >>on the reliability of the information? > > >You made a wise choice. I don't think there's a better book on Chicago >blues out there (at least that I've found). I read it several years ago and >still frequently pull it off the shelf as a reference source when I need info >about Chicago artists. > >Art Schuna Karen, Art's right. Mike Rowe's book "Chicago Blues" is the bible, as far as I'm concerned. He's a British blues authority (better known over there than here) who did a lot of research in Chicago c. '70 or thereabouts, and he talked to most of the right people and seems to have asked all the right questions. If you're interested in the history of the Chicago scene up to that point (and really, that's the most important era), there isn't a better book to be had. Scott ========================================================================= Date: Tue, 13 Feb 1996 08:51:18 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Fenton Robinson Comments: To: bit-listserv-blues-l@uunet.uu.net Peter Welch wrote: > >Fenton's Alligator stuff is fine....Another one to look for, >although it'll be difficult, is a Japanese import on P-Vine >called "The Mellow Blues Genius"...This has excellent blues and >soul-blues sides he recorded for small Chicago labels in the >60s, including his original versions of "Somebody Loan Me a >Dime" and "7-11 Blues". > >Charly's Blues Masterworks also has a Fenton Robinson disc of >songs recorded in the early 70s....I don't care much for this, though >....Fenton doesn't even play guitar on many of the tracks. > >The Rounder LP "Angels in Houston" also has some of his early >Duke label recordings including the standard "As the Years Go >Passing By". > >-P It should also be noted that it was Fenton Robinson's guitar licks that Stevie Ray Vaughan was copying on the song "Texas Flood"; Fenton was the guitarist on the Larry Davis original in 1958. Scott ========================================================================= Date: Tue, 13 Feb 1996 08:57:44 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Who is Fenton Robinson? Comments: To: bit-listserv-blues-l@uunet.uu.net >>> On Mon, 12 Feb 1996, David Burke wrote: >>> > Who is this Fenton Robinson..and what's he all about?? >> Also don't forget (and I posted it elsewhere too, just in case:)) that it was Fenton Robinson's guitar licks that SRV was copying on the song "Texas Flood"; Fenton was the guitarist on the 1958 original by Larry Davis. Scott ========================================================================= Date: Tue, 13 Feb 1996 06:49:54 EST Reply-To: Robert Crocker From: Robert Crocker Subject: Movie -- Deep Blues I don'tknow how many of us receive the "Bravo" network, or how consistent its offerings are, so apologies to those to whom this won't apply ... Out TV Guide here in the Toronto area lists "Deep Blues", the 1991 documentary, at 9:30 tonight, (Tuesday,) and again at 1:30 p.m. on Wednesday. I haven't seen it, but assuming that it's based on Robert Palmer's excellent book, it's got to be worth a look. Robo in Mississauga ========================================================================= Date: Tue, 13 Feb 1996 06:16:02 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Leabelly biopic on Bravo -Reply Comments: To: levyt@RL.AF.MIL I saw this movie a couple of years ago on Bravo and recorded it. I thought it was quite a thrilling movie, and it was really easy for me to believe i was watching the real Leadbelly. The pathos of the chain gang, especially the poignant moment when his sick and dying father had sojourned (correct use of the word?) to the prison camp to buy his son's freedom, and was met with the obstinate "white" camp boss, while Leadbelly lay in the "oven" outside hiding from the view of his father. The father never survived long enough for Leadbelly to see him alive again. THis scene actually brought tears to my eyes. The scene where Leadbelly was released and made his journey home, to find the "poor white trash" occupying his homestead. He was kind enough, and was leaving, but that wasn't good enough, and the occupants pointed him out to the landlord as causing trouble. They went to kill him, and Leadbelly, in turn, to protect himself, stabbed one of them.....led to his return incarceration. Very sad, but true story as far as i know. I may be wrong, and perhaps Hollywood has dramatized the story. Does anyone know for sure? regards, ddr ========================================================================= Date: Tue, 13 Feb 1996 07:26:00 EST Reply-To: "ANDRE J.M. PREVOS" From: "ANDRE J.M. PREVOS" Subject: Re. Reservation Blues _Reservation Blues_ was written by Sherman ALEXIE (born in 1966) and published in 1995 by Atlantic Monthly Press. I have not read the book but will soon since it is in the libraries, here at Penn State. Andre PREVOS Penn State University AXP7@psuvm.psu.edu ========================================================================= Date: Tue, 13 Feb 1996 06:30:30 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Bob Brozman--Slide Guitarist Extraordinaire Well, as luck would have it, the ol satellite dish, which has been frozen in place since the great Ice Storm of 1996 hit Minnesota, did suddenly fail to even deliver satellite signal on the one satellite it was stuck on. Without the distraction of TV available, i actually seem to get something constructive done! I watched, last night, the Volume 2 Video of Bob Brozman, Bottleneck Guitar. He starts off with a solo performance as an intro to the tape. Then he proceeded with the lesson. THe lesson began with another performance of a complete song with Bob actually singing it too (the lucky dawg#). Come on in my Kitchen, a classic Robert Johnson tune, that has been included in the repertoire of many a bluesman. Bob's arrangement took a tune that was done by RJ in a single chord, almost exclusively hanging around the 12th fret to slide out the main notes of the melody. Bob has seen fit to harmonize and stretch out the tune into 3 chords. His dramatic and show-off ways that struck me the first time i watched this video as being a bit "too much", struck me very differently this second time around. I had turned up the sound so as not to miss any of the harmonics and softer passages. All i can muster to say is, what an absolutely extraordinary guitar player!!!!! I've never heard a more beautiful, rich, full, exciting arrangement of COIMK. Bob's singing, while not that of Son House or Paul Geremia or certainly not Pat Donohue, was adequate, and made me quite jealous. I would be very happy to sing that way! (LW, are you listening?!) I haven't listened to the whole tape yet, even once. So, i don't know what else is coming. I kind of like to keep it a surprise, so i hope no one will expound upon the rest of the tape yet! regards, delta doc roger (Have YOU called the Delta Doc Hotline yet? (612)-484-8208.) ========================================================================= Date: Tue, 13 Feb 1996 07:35:57 -0500 Reply-To: Jonny Meister From: Jonny Meister Subject: Re: Catfish Blues At 04:08 AM 2/13/96 GMT, you wrote: >On Mon, 12 Feb 1996 10:46:50 CST, L W >wrote: > >>Anyone have the lyrics to "Wish I was A Catfish" > >It starts off, > >"I wish I was a catfish, >swimmin' in the deep blue sea. >I'd have all the big-legged women >a-fishin' after me." > >It's more a sexual brag blues than a fishing song. > >A good fishing song is R.L. Burnside's "Jumper on the line," and hmmm... I thought "Jumper" meant "sweater" and the line was a clothes line... -Jonny ******************************************** "I made it too! You see I'm here, don't you? You see I ain't dead." -Eddie "One-String" Jones ******************************************** ========================================================================= Date: Tue, 13 Feb 1996 07:00:59 -0600 Reply-To: "Norman W. Mangum" From: "Norman W. Mangum" Subject: Re: Catfish Blues > A good fishing song is R.L. Burnside's "Jumper on the line," and a good hunting > song is Sonny Boy Williamson's "The Hunt," where he imitates various dogs on a > coon hunt. Check out "Fishing Blues" by Taj Mahal - I sing it all the time. Best damn fishin' song I know. - Walker Mangum ========================================================================= Date: Tue, 13 Feb 1996 08:23:07 -0500 Reply-To: MK Sheffield From: MK Sheffield Subject: Leadbelly Bio Toby Levy said : >Did anyone else catch the movie bio of Leadbelly that was shown on Bravo this >weekend. I have a copy of that, and watch it AT LEAST once or twice a year. It's a little too "Hollywood" for my taste also (the guy from Magnum P.I. playing Leadbelly!) but still a lot of good music. Mary Katherine SHEFFIELD mksheff@cennet.mc.peachnet.edu ========================================================================= Date: Tue, 13 Feb 1996 07:56:19 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Sitting&Thinking-Johnny Shines. In-Reply-To: Message of Mon, 12 Feb 1996 20:58:58 -0500 from On Mon, 12 Feb 1996 20:58:58 -0500 Barry Silverberg said: > >JOHNNY SHINES - 1915 - 1992 (WOLF 120.914) >WOLF RECORDS P.O. BOX 375 A-1120 VIENNA > >Like Robert Jr. Lockwood and Son House, Johnny Shines was one of >the last remaining original country blues players. Like Robert >Jr. Lockwood, Shines had an unfortunate association with Robert >Johnson, since the two men were some of the last to perform with >Johnson in his too short lifetime. While Shines himself would >have probably never said ill of Johnson, the association did not >aid his career as one might think, in that Shines and Lockwood While I used to agree that Johnson's relationship to Shines hurt his career I have changed my mind. I just finished my Johnny Shines Tribute , it will be out in March (Alabama Musician) I'm not sure if I'll put it on the list. Anyway I interviewed Kent DuChaine, Peter Guralnick & John Nichalos about JS. I asked the question about RJ overshadowing JS. They replied that his "tie-in" with Johnson helped him quite a bit. People would say hey we gotta go see this guy he traveled with Robert Johnson and then they were turned on by Jonhny's individuality and saw that he was no Jonhson clone. I tend to agree that it helped his career tremendously...NOW, I used to not believe that IMHO LW >NYCD Takes > >WON'T YOU TELL ME MAMA: Johnny starts off this song with an >intricate instrumental cadenza. Like the best blues, it is very >simple musically but has a deep, resonating complexity and >expressiveness to it. There are some especially nice bell-like >bass notes before Johnny finally begins to settle in on a rhythm. >Even then, he capriciously changes direction several times. When >Johnny finally gets to words, he presents them with immense >feeling, using his guitar to respond to his voice's call. A >complex, many-layered, and deeply satisfying track. > >GOIN' DOWN IN THE BOTTOM: Some darker, more moody notes start off >before Johnny kicks off into a relentless acoustic boogie beat. >The lyrics borrow from the familiar "See See Baby," making use of >the added "Lawdy mama" line after the first lyric. On this >track, Johnny often uses the guitar to simultaneously mimic the >lines he sings to great effect. The fingerpicking on this track >is especially noteworthy. > >BUMBLE BEE BLUES: Johnny introduces this piece with a spoken >introduction, pointing out that this Memphis Minnie song was one >of the earliest ones he learned to play. The introduction is >mostly done single-note style instead of fingerpicked, with >Johnny returning to fingerpicking during the song itself. >There's plenty of passion and fire to be found in the vocals, >which are delivered with Johnny's best field-holler voice. It's >on this track that Johnny sounds most like Robert Johnson, except >with better recording equipment. > >WORKIN' ON THE STATION: This is a very complex, mid-tempo piece >featuring excellent ostinato bass lines and interesting >harmonies, making the guitar simulate the regular drone of a >train. Johnny stretches out the closing words on many lines, >adding just a touch of vibrato throughout, for an added >train-whistle effect. The results are ear-grabbing and extremely >compelling. In between verses, he also takes the opportunity to >do some jaw-dropping wicked fingerpicking that ought to send the >guitarists scrambling for their acoustics. > >MOANIN' THE BLUES: A false start and some laughter from Johnny >kicks off this slow, aptly named blues. Indeed, the first lines >are moans delivered with bone-chilling, hair-raising effect. The >rest of the song is a simple 12-bar, in the same way that most of >Son House's recorded output is "simple." There's a lot of >subtleties to Johnny's playing, and in the way he uses his guitar >to answer his voice. There's also a whoop you can't miss from an >audience member in the middle of the track that's perfect. > >TALKIN': The Blues According to Johnny Shines. According to >Johnny, there are two folks who wrote more blues than anybody >alive -- Mother Nature and Father Time. This is only a sample of >some of the wisdom found in this three-minute spoken track. >Being able to break down the wall between performer and audience >with spoken interludes like this one are what mark the truly >great live performers, and this track shows Johnny's skill at it. > >JUST A LITTLE TENDERNESS: Another spoken introduction by Johnny >before he starts into an achingly tender, soul-baring song. The >guitar accompaniment is minimal, with most of the real joy in >this track to be found in the richness of Johnny's voice. His >use of vibrato and volume in his vocals is masterful. There are >dramatic switches between gentle, heartbreaking pleads and >powerful, shouted wails. His spoken interludes are an extension >of those in "Talkin'," including a poignant meditation on someone >contemplating suicide which ends aptly with Johnny's light touch >of humor. > >GUITAR BOOGIE: A short acoustic riff rocker instrumental where >Johnny shows off his chops, which are formidable. Again, the >guitar players among you will be charging for your picks. Anybody >who claims acoustic music is inherently laid back hasn't heard >this track yet. > >WORRIED LIFE BLUES: We move from the Delta to Chicago with a >classic. There is a slightly jarring transition from the prior >acoustic tracks and these electric ones. Here, Johnny is less >concerned with subtleties and gentleness, opting instead for some >full-tilt, no-holds-barred vocals and slide guitar lines that >jangle and hit with palpable impact. These tracks also underscore >the fundamental connection between blues from the Delta and what >happened to them when they migrated to Chicago and discovered >electricity. > >FAT MAMA: A distant, heavily reverbed guitar introduces this >fast-paced rocker. Sunnyland really goes to town under Johnny's >powerful vocals. Clifton James' drumming is wildly unrestrained >and astounding; heart patients should be careful listening to >him, because his work here will re-set your heartbeat for a week. >However, the star of this show is still Johnny, who cuts loose >with some similarly unrestrained guitar soloing with tremendous >ferocity and power. > >HIGH ROAD BLUES: The same stinging guitar work introduces this >slower blues. Johnny's vocals are hard-hitting, again making >devastating use of vibrato and his field-holler intensity. He >also drops some razor-edged slide licks that can cut down trees. >There's no real surprises here -- just some super-solid blues >from Chicago done the way it ought to be. > >HELLO CENTRAL: Some jangling chords from Johnny lead into this >last grinder. Sunnyland Slim does some especially nice work on >this track, both under Johnny's vocals and in counterpoint to >Johnny's guitar lines. Johnny, Big Walter, and Sunnyland decide >to fight it out for dominance during the instrumental solo, which >makes for a lot of complex (and heavenly) interplay between the >three men. > >Reviewed by Edward C. Liu >Copyright NY CD Blues @1995-1996 All Rights Reserved. > Unauthorized use prohibited. > > > NY CD Blues - at http://www.island.net/~blues/nycd.html > 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. > 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! > Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 13 Feb 1996 09:07:01 -0500 Reply-To: bob vanarsdall From: bob vanarsdall Subject: Butterfield & Assoc questions I read with great interest the Bloomfield newsletter notes posted on Mark Naftalin's 4-11 Winner homepage (Thanks, Mark). Reading them got me back to cranking up some old Butter Band and looking up some of the references in the interviews. Unfortunately, many of the CD's mentioned can't be found locally or on the usual Net sources (CDNow, CDConnection, CDEurope, Noteworthy), and some of the musicians and references bring questions to mind. So here are a few questions for the 'zellers: 1. I seem to remember Buddy Miles got convicted and sent to prison in California. What for? How long? Is he out now? 2. The Nick Gravenites interview and the Al Kooper interview mention an album called Blues Summit in Chicago, which was supposed to be a "Muddy Waters and friends" album featuring Bloomfield. I can't find it anywhere. Is this the "Fathers and Sons" album repackaged? 3. Nick Gravenites mentions that his My Labors album was supposed to be picked up by Sony for its "Best Price" series in 1995, yet I can't find it anywhere. Anyone have any ideas on that one? 4. Can anyone lead me to a tape (since it is unavailable) of the album Live at Bill Graham's Fillmore West, which features Butterfield, Bloomfield, Gravenites, and, I think, Taj Mahal? 5. All the interview subjects mention Columbia very unflatteringly about paying artists' royalties. When reissues come out featuring old work in long-dead groups by still-living artists, say the Electric Flag, for example, do the musicians get paid some royalty or were they just paid for the session and that's all they get? Bob (who still gets chills listening to Bloomfield) ========================================================================= Date: Tue, 13 Feb 1996 09:35:54 -0500 Reply-To: hhardy@BCONNEX.NET From: Hugh Hardy Subject: mic a resonator Hey folks, can anyone suggest how a National or similar resonator guitar (metal body) should be miked for live performance in a small club? Thanks, Hugh Hardy P.S. Or do they make a pickup that works for a resonator. ========================================================================= Date: Tue, 13 Feb 1996 15:41:19 +0100 Reply-To: christia@CNN.DE.EDF.FR From: Christian ESTHER Subject: BB BLAND/LEADBELLY/SLIDE Bonjour tous !! Three things : thanks all for aswering an helping so quickly for the dates of LEADBELLY TUNES ; I (we're ) still working on it ...more soon. I'M VERY INTERESTED by the Toby Levy's mail about movie about LEADBELLY if you can make me a COPY and send it to me with "tres gentil" . I can give back copies from my collection. American TV standard ( France is SECAM or PAL) .But dont worry about that as long as you can make a copy and send it to France (Paris suburb). I have myself a page about that at home with some critics on it in Living Blues (20 years ago). I can make a and send it if you wish. I'M VERY INTERESTED too about Bobby BLUE BLAND heath . I know he had some heath troubles and I'm glad to hear he will be singing with BB and Ruth Brown. I saw BB Bland in Paris several times (mostly with the late and great Wayne Bennett who died recently). My friend Marie is quite crazy about his voice and she 's worring a lot about him ....Have a good gig and give news about it. I read a lot of things about guitar and mostly SLIDE GUITAR and as I play that thing too myself in my parisian suburb I'm curious about it. A good thing to do first is to go to Brad's Page of Steel : http://www.well.com/user/wellvis/steel.html I hope you know it . There's a lot of things mostly about steel (hawaiian guitar) and some about slide too. There's an interesting page with the list of a lot of ways to tune your steel ( and why not your guitar : I think evry slide guitarist will finish with his guitar on the laps...when you get older it's good because you must be sitting on a chair to play.) ...Bon courage !!! I heard too about how Elmore James was playing : E or D ...maybe it's Eb. When I tried to play with the record sometimes it's not exactly with A 440 !! It depends sometimes of the speed of the tape recorder and how hold and good is the tape. Sometimes when the musicians played they dont mind about being exactly tuned...with 440. Sometimes when the studio or the club is hot (or cold) the guitar tuning change...it's physical. Especially when you play slide too you can play 1/2 or 1/4 of tons like violin or acoustic bass...Remember the record where maid about 40 years ago . It the way you feel it if you prefer to play that tune in E isnstead of D it's not really a problem (except if you're trying to play together...) Bon Blues et laissez le bon temps rouler en Louisiane et ailleurs. Christian. ========================================================================= Date: Tue, 13 Feb 1996 09:43:05 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Jammin'/Domestic Problems Yesterday, LW said: >btw: I shared PW's story with my wife and she said he should have >told her to go on home and PW get a ride home with someone >else....Makes sense to me. ....OR she should have come on her own and left when she felt like it. Usually Max and I take separate vehicles when we go out to play, especially if it's a jam. Hey, life is hard enough, right? Why put unneccessary stress on your relationship? ========================================================================= Date: Tue, 13 Feb 1996 08:42:20 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: mic a resonator In-Reply-To: Message of Tue, 13 Feb 1996 09:35:54 -0500 from On Tue, 13 Feb 1996 09:35:54 -0500 Hugh Hardy said: >Hey folks, can anyone suggest how a National or similar resonator guitar >(metal >body) should be miked for live performance in a small club? > >Thanks, >Hugh Hardy > >P.S. Or do they make a pickup that works for a resonator. A pickup works and Barcus Berry among others makes PU's, but you might as well play an electric guitar. It takes away from the resonating quality. What I have found out (rather painfully) is the best way FOR ME is to use a directional mic and play through the PA. That is far and away the best results I've got. LW ========================================================================= Date: Tue, 13 Feb 1996 15:39:47 GMT Reply-To: Bob Bingham Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Bob Bingham Organization: BlueHawk Communications, Inc. Subject: Re: Bob Brozman--Slide Guitarist Extraordinaire Comments: To: roger.lew.struve@MEDTRONIC.COM Hey Roger, since you're from Minneapolis you've probably seen one of my old bands a few times. Lamont Cranston Band. My brother Charlie and I both used to play guitar in that one.I live here in Arizona now but I still have a house up by Ely,MN. I play solo now concentrating on acoustic country blues and the like. My new cd should be available at the Electric Fetus. Check it out. Incidentally I will be up in your neck of the woods this summer.So I'll probably be doing a few gigs in Minneapolis over the summer. Remember Aces,Straights,and Shuffles? That was another one of my bands.Try to stay warm in the meantime.See ya! Bob Bingham ========================================================================= Date: Tue, 13 Feb 1996 10:09:45 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Josh white - hard hitting As asinine as ever, Mr/Ms. Forti writes to the list: "People like Josh White, Big Bill Broonzy, Terry and McGee, Lonnie Johnson, Bo Carter, and an entire army of technically proficient, yet emotionally and stylistically bankrupt, artists produced countless hundreds of mediocre recordings." Just when we all thought that this portentious, pretentious, pompous correspondent had taken a long and perhaps permanent rest from Blues-L, he/she returns with a typical toss-off line which manages to diss Josh White, Big Bill Broonzy, Sonny Terry and Brownie McGhee, Lonnie Johnson (the second time around to put the boots in to one of the most influential blues artists of all the time), and Bo Carter. Dammit, here we go again! I once promised to ignore Forti altogether (including the private posts he/she sends me complaining about by bad manners), but then he/she manages to insult the memories of artists who made fine music, helped create the body of work we all love, and lived lives filled with achievement and worth. "Emotionally and stylistically bankrupt" opines the expert Mr./Ms. Forti, and any of us out here who have loved and cherished the music of these people (and, in my case, the acqaintanceship of all of them except Bo Carter, and even I'm not that old) will feel that Forti, as usual, just doesn't get it. And probably never will. Those of us who accept music that's made with humour (in Carter's case), instrumental virtuosity (Johnson), energy and entertainment (Sonny & Brownie), and lyrical grace (White's later stuff-I'm just discovering the earlier material, thanks to Sony Legacy) are well aware that these artists often made records that were less than perfect-Robert Johnson made a few, too, and so did Louis Armstrong and so did Son House. If Forti doesn't like the music of these artists, and figures it's inferior to whoever stands at the pinnacle of his/her lofty heights, then it's his/her loss. And if Forti ever gets the chance to meet B.B. King, I'd be interested in hearing King's polite response to the suggestion that Lonnie Johnson was "stylistically bankrupt". But, then, Forti probably thinks that description applies to King, too. Cheers Richard ========================================================================= Date: Tue, 13 Feb 1996 10:33:51 -0500 Reply-To: Clint.Pulley@CCIW.CA From: Clint Pulley Subject: Blues Bytes: A MAJOR Disappoinment I received my copy of Blues Bytes yesterday. I'll take the word of those who posted about the quality of the performances as the distortion level on my tape is so high (on 3 different players) that I can't bear to listen closely to it. As all tracks that I sampled exhibit similar distortion levels I'm assuming that I got a bad copy. Does anyone else have this problem? I suspect that the recording level on the box that dubbed my copy was set way too high - the playback VU on my deck reads +5 db or higher much of the time - so the tape is saturated. If this is the case then I wish more care had been taken to assure the quality of the copies. Yes, I realize that Blues Bytes was a volunteer, non-profit effort which I appreciate. I also suspect that the recordings submitted by the artists were of the highest quality possible. Unless every effort is taken to maintain the sound quality in the distribution copies then the artists are being cheated and their work misrepresented. I would certainly be reluctant to purchase recordings based on the material on Blues Bytes. Sorry to take up the bandwidth but I was really looking forward to hearing this tape. Clint -- Clint Pulley, Head of Computer Services National Water Research Institute, Environment Canada (905) 336-4930 Canada Centre for Inland Waters, Burlington, Ontario Minds are like parachutes. They only function when they are open. -James Dewar ========================================================================= Date: Tue, 13 Feb 1996 07:51:07 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Feb. 14 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ANDERSON, ERIC (g/VANGUARD REC) b. 1943-0214, PITTSBURGH, PA BLOOMFIELD, MICHAEL B. (g/BUTTERFIELD) d. 1981-0214, SAN FRANCISCO, CA 37 BRADDY, PAULINE (d/SWEETHEARTS OF RHYTHM) b. 1922-0214, MENDENHALL, MS BRADFORD, PERRY (p) b. 1893-0214, MONTGOMERY, AL BRYANT, LILLIE (of BILLY & LILLIE/SWAN RE)b. 1940-0214, NEWBURG, NY BUCKLEY, TIM (g/songw) b. 1947-0214, WASHINGTON, DC COLEMAN, GARY "BB" (prod/ICHIBAN REC) d. 1994-0214, ATLANTA, GA 47 DIXON, SKEET (v) b. 1929-0214, DODDS, WARREN "BABY" (d) d. 1959-0214, CHICAGO, IL 60 DOUCET, MICHAEL (of BEAUSOLEIL/ARHOOLIE) b. 1951-0214, SCOTT, LA FORD, FRED JR. (sax/DUKE/PEACOCK REC) b. 1930-0214, MEMPHIS, TN GORDON, BARBARA KERR (v/ROSCO GORDON) d. 1984-0214, -- GRAND, OTIS [FRED BISHTI] (g) b. 1950-0214, BEIRUT, LEBANON HAYES, KEVIN (d/ROBERT CRAY BAND) b. 1959-0214, SAN DIEGO, CA MAGIC SAM [SAMUEL GENE MAGHETT] (g) b. 1937-0214, GRENADA, MS KAUFMAN, MURRAY "THE K" (dj/WINS) b. 1922-0214, RICHMOND, VA PARKER, MACEO (sax/JAMES BROWN) b. 1943-0214, KINSTON, NC REID, CLARENCE (BLOW FLY) (v/prod) b. 1945-0214, COCHRAN, GA SAUNDERS, MERL (p/GALAXY REC) b. 1934-0214, SAN MATEO, CA ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 13 Feb 1996 09:54:53 -0600 Reply-To: Keith Castleberry From: Keith Castleberry Subject: Re: fwd: Virus Warning!!! Dear Friends in Blues-L. I don't know if this is real or not, but I wanted to forward to you all, just in case. We take in a lot of E-mail. >>To: Alan Bell >>Subject: fwd: Virus Warning!!! >>Date: Mon, 12 Feb 96 20:05:11 -0600 >>From: kwalters >> >>-- [ From: kwalters * EMC.Ver #2.5.02 ] -- >> >> >>------- FORWARD, Original message follows ------- >> >>Date: Tuesday, 13-Feb-96 08:59 AM >> >>From: Seong-Uk Choi \ Internet: (choise@khgw.info.samsung.co. >>kr) >>To: kwalters \ Internet: (kwalters@cei.net) >> >>Subject: fwd: Virus Warning!!! >> >>>Date: Tue, 13 Feb 1996 09:21:21 +0900 (JST) >>>X-Sender: nakasima@venture-web.or.jp >>>To: beto23@aol.com, amyba@microsoft.com, choise@khgw.info.samsung.co.kr, >>> planet@europa.com, dick@mr_burns.pinternet.ph.net, >>> m54017@mtc.ntnu.edu.tw, farroyo@conicit.ve, >>> MSMAIL8.ARROYOF@tsod.lmig.edu, JohnFon@aol.com, john@crosswind.com, >>> uota@isc.senshu-u.ac.jp, m-hamano@comp.hitachi.co.jp, >>> HANIUN@vaxvmsx.babson.edu, WTT@msn.com, b49bb@CUNYVM.CUNY.EDU, >>> 302452@kastanet.kao.co.jp, nishiky@sluvca.slu.edu, >>> uota@isc.senshu-u.ac.jp, gomzori@lib.bekkoame.or.jp, >>> KYI02471@niftyserve.or.jp, BXH01005@niftyserve.or.jp >>>From: "Kaoru 'K' Nakashima" >>>Subject: fwd: Virus (fwd) >>> >>>> Date: Fri, 9 Feb 96 8:10:52 EST >>>> To: , , , >>>, , , >>>, , >>>, , >>> <76435.3002@compuserve.com>, , >com> >>>> Cc: , , , >>>, , >>>, , >>>, , >>>, , >>>, , , >>>, , >>>, >>>> From: "John Goldenberg" >>>> Subject: fwd: Virus (fwd) >>>> >>>> I don't know if this is for real, but FYI none-the-less. >>>> >>>> ------------- >>>> Original Text >>>> >From Hugo Grammajo@OPS HOP17C@OPS, on 2/9/96 2:06 AM: >>>> To: Dave Pelletier@OPS HOP17B@OPS, Hugo Grammajo@OPS HOP17C@OPS >>>> >>>> Forwarded to: US ALL@MailLists@EMC >>>> cc: >>>> Comments by: Hugo Grammajo@OPS HOP17C@OPS >>>> >>>> -------------------------- [Original Message] ------------------------ >>- >>>> >>>> ------------- >>>> Original Text >>>> From: Bb , on 2/8/96 9:46 PM: >>>> To: "Igor Bezverkhny" >>>> >>>> >>>> ---------- Forwarded message ---------- >>>> Date: Thu, 8 Feb 1996 18:36:56 -0500 (EST) >>>> From: Anna Korneyeva >>>> To: pds705@casbah.acns.nwu.edu, >>>> Betty Bezverkhny , >>>> Elizabeth Ho , kbauerlei@emerald.tufts.edu, >>>> "Calvin L. Gidney" , >>>> Margaret Bruno , >>>> Maria Christi , cmonga@sloan.mit.edu, >>>> hui_Xie@brown.edu, Max Mejiborsky >>>> Subject: Virus (fwd) >>>> >>>> >>>> >>>> ---------- Forwarded message ---------- >>>> Date: Thu, 8 Feb 1996 14:18:25 -0500 >>>> From: Pamela Johnson >>>> To: akorneye@emerald.tufts.edu >>>> Subject: Virus >>>> >>>> >Date: Thu, 8 Feb 1996 12:35:18 -0500 >>>> >X-Sender: areed@acs-mail.bu.edu >>>> >Mime-Version: 1.0 >>>> >To: gluckin@bu.edu, atalhouk@bu.edu, goodsell@bu.edu, arianab@bu.edu, >>>> > wbicknel@bu.edu, dorney@bu.edu, dslawter@bu.edu, depowell@bu.edu >>, >>>> > esolano@bu.edu, josanz@bu.edu, jtodres@bu.edu, lisakj@bu.edu, >>>> > lhonig@bu.edu, mrlin@bu.edu, jdevlin@bu.edu, mtris@bu.edu, >>>> > nsoussou@bu.edu, ncreamer@bu.edu, pjohnson@bu.edu, ffeeley@bu. >>edu, >>>> > richardl@bu.edu, sarahcr@bu.edu, kenjames@bu.edu, vharik@bu.edu >>>> >From: areed@bu.edu (Amanda Reed) >>>> >Subject: Virus >>>> > >>>> >FYI a friend sent this to me: >>>> > >>>> >> Dear Friend, >>>> >> >>>> >>There is a computer virus that is being sent across the Internet. >>>> >> If you receive an e-mail message with the subject >>>> >> line "Good Times", DO NOT read the message, DELETE it >>>> >> immediately. Please read the messages below. Some miscreant >>>> >> is sending e-mail under the title "Good Times" nation wide, >>>> >> if you get anything like this, DON'T DOWN LOAD THE FILE! It >>>> >> has a virus that rewrites your hard drive, obliterating >>>> >> anything on it. Please be careful and forward this mail to >>>> >> anyone you care about. >>>> >> >>>> >>WARNING!!!!!!! INTERNET VIRUS >>>> >> >>>> >>The FCC released a warning last Wednesday concerning a >>>> >> matter of major importance to any regular user of the >>>> >> Internet. Apparently a new computer virus has been >>>> >> engineered by a user of AMERICA ON LINE that is unparalleled >>>> >> in its destructive capability. Other more well-known viruses >>>> >> such as "Stoned", "Airwolf" and "Michaelangelo" pale in such as >>>> >>"Stoned", >>>> >> "Airwolf" and "Michaelangelo" pale in >>>> >> comparison to the prospects of this newest creation by a >>>> >> warped mentality. What makes this virus so terrifying, said >>>> >> the FCC, is the fact that no program needs to be exchanged >>>> >> for a new computer to be infected. It can be spread through >>>> >> the existing e-mail systems of the Internet. Once a Computer >>>> >> is infected, one of several things can happen. If the >>>> >> computer contains a hard drive, that will most likely be >>>> >> destroyed. If the program is not stopped, the computer's >>>> >> processor will be placed in an nth-complexity infinite binary >>>> >> loop -which can severely damage the processor if left running >>>> >> that way too long. >>>> >> Unfortunately, most novice computer users will not >>>> >> realize what is happening until it is far too late. Luckily, >>>> >> there is one sure means of detecting what is now known as the >>>> >> "Good Times" virus. It always travels to new computers the >>>> >> same way in a text email message with the subject line >>>> >> reading "Good Times". Avoiding infection is easy once the reading >>>> >>"Good Times". Avoiding infection is easy once the >>>> >> file has been received- not reading it! The act of loading >>>> >> the file into the mail server's ASCII buffer causes the "Good >>>> >> Times" mainline program to initialize and execute. >>>> >> The program is highly intelligent- it will send copies of >>>> >> itself to everyone whose e-mail address is contained in a >>>> >> receive-mail file or a sent-mail file, if it can find one. It >>>> >> will then proceed to trash the computer it is running on. The >>>> >> bottom line here is - if you receive a file with the subject >>>> >> line "Good Times", delete it immediately! Do not read it" >>>> >> Rest assured that whoever's name was on the "From" line was >>>> >> surely struck by the virus. Warn your friends and local >>>> >> system users of this newest threat to the Internet! It could >>>> >> save them a lot of time and money. >>>> >>********************* >>>> >>Grace Greer >>>> >>Office of Research >>>> >> >>>> >> >>>> >>--- Internet Message Header Follows --- >>>> >>Received: from emout10.mail.aol.com (emout10.mx.aol.com [198.81.11.25]) >> >>>> by >>>> >>newsgate.dircon.co.uk (8.6.12/8.6.9) with ESMTP id SAA07187 for >>>> >>; Mon, 5 Feb 1996 18:33:14 GMT >>>> >>From: Kmarks@aol.com >>>> >>Received: by emout10.mail.aol.com (8.6.12/8.6.12) id NAA01911; Mon, 5 >>Feb >>>> >>1996 13:32:03 -0500 >>>> >>Date: Mon, 5 Feb 1996 13:32:03 -0500 >>>> >>Message-ID: <960205133201_415031477@emout10.mail.aol.com> >>>> >>To: lara@well.sf.ca.us, sanjay@cs.arizona.edu, MeredithLo@aol.com, >>>> >> steven@cco.net, Andrew_Murray@findhorn.org >>>> >>Subject: Fwd: Nasty Virus >>>> >> >>>> >> >>>> >> >>>> > >>>> > >>>> > >>>> >>>> >>>> >>>> >>>> >>>> >>> >>> >>> >>---------------------------------------------------------- >>Seong-Uk Choi Telecommunications R&D Center Samsung Electronics Co., Ltd. >>tel:82-331-280-9605 fax:82-331-280-9609 e-mail:choise@khgw.info.samsung.co. >>kr >>---------------------------------------------------------- >> >> >>------- FORWARD, End of original message ------- >> >> >> >> >Sincerely, > Alan Bell > > > Keith Castleberry WYDH 105.9 FM "The Blues Cruise" P.O. Box 710 Atmore, AL 36504-0710 ========================================================================= Date: Tue, 13 Feb 1996 08:21:31 -0800 Reply-To: Guy Tapper From: Guy Tapper Subject: Re: Movie -- Deep Blues; Catfish Blues Comments: To: Robert Crocker . > >Out TV Guide here in the Toronto area lists "Deep Blues", the >1991 documentary, at 9:30 tonight, (Tuesday,) and again at 1:30 p.m. >on Wednesday. > >I haven't seen it, but assuming that it's based on Robert Palmer's >excellent book, it's got to be worth a look. > >Robo in Mississauga Robert I haven't seen the movie, but I highly recommend the soundtrack. I bought it based on a review and it was a real eye-, er, ear-opener; my initial introduction to Jr. Kimbrough, R.L. Burnside, Booba Barnes, Lonnie Pitchford and more. Certainly not commercial music but dripping with all the stuff that makes the blues so great. BTW, it contains two "fishing" songs; RL Burnside's "Jumper on the Line" and "Catfish Blues" by Big Jack Johnson. Guy Tapper MLRG Illustration Scripps Institution of Oceanography 9500 Gilman Dr. La Jolla CA 92093-0227 (619)534-2358 (619)534-6500 fax ========================================================================= Date: Tue, 13 Feb 1996 10:10:20 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Strange Open Jam Last night I decided I would go to another town , where know one knows me and participate in their "Jam Night". My wife stayed home, btw. I knew no one at the club. I found out who was in charge and asked to play a set BY MYSELF. He said no problem, I'll put them to sleep then you can wake them up. So he gets up there with an acoustic and I'm thinking this guy is fixing to play the shit out of the guitar and make it hard for the "stranger" who is on his turf. Boy was I suprised when he did "House At Pooh Corner" and "Danny's Song"..I was thinking, man you really are putting them to sleep. He then gave me an introduction that made me think somone really good was up next. Anyway to make it shorter, I got up solo and did a set of delta blues. The applause was good the manager brought me a shot of whiskey when I finished. The first guy got back up with his band and played some good electric blues/rock as did the other kids who followed. It's amazing how good some of these younguns are They were tasteful and I think they did real well. The manager, who is in charge of booking, told me that I didn't look like a delta player, SHE said I was too nice looking....I figured that was my clue to go home and be with my wife. :-)... LW 'too clean cut to be playing delta blues' ========================================================================= Date: Tue, 13 Feb 1996 11:22:55 EST Reply-To: "Joseph V. Martin" From: "Joseph V. Martin" Subject: Devil & Mr. House; Spann; etc. I have been a lurker for a while now, and have a few assorted comments about BLUES-L. I always love to read Mr. Waterman's stories of Son House. My favorite line of Preachin' Blues goes "I want to be a Baptist preacher, so I won't have to work". My mother even grinned at that one, and we were Southern Baptist at the time. On another note, Otis Spann has always been a favorite of mine. I used to have a record of his with a brownish cover (I can't recall the name, but I think it had a picture of a mailbox). It was in all the cut-out bins and I got them for my friends as presents. Later, I loaned out my copy of the record and never got it back. I got to hear Spann in the late sixties, but he was doing more funky R&B stuff, then, and I didn't appreciate it as much as the slow blues. I did get a kick out of Lucille Spann singing "Turn up your Lovelight" and she got me to get up and dance by gesturing to me. Actually, I think she would single a guy out as a regular part of her routine. Concerning all of the debate over level of noise on the list, I have this perspective: From my point of view, the BLUES-L is one of the best lists or news groups for *low* level of noise and bickering. (I should note that I do subcribe to BLUES-L, but read it on a news reader. ) Has anyone read the newsgroups on OS2 and Windows 95? The people there get downright nasty and you can't always tell from the header if the subject is help for troubleshooting or an obscene rant about which operating system is best. For high level of noise, try reading the Neuroscience newsgroup - meant for researchers in neuroscience. Everyone considers himself /herself to be an expert on this topic, regardless of actual knowledge. For some reason, people also like to take large doses of hallucinogens and post garbled meandering messages, saying "I'm posting to Neuroscience because it's on the cutting edge". Very few researchers in Neuroscience even post to the Neuroscience newsgroup anymore. All-in-all, the blues list is the least contentious and most single-minded group that I regularly read. Your debates always seem to be about something at least tangentially interesting to someone who is a blues fanatic. You never even really get nasty when you're angry. Real blues experts consistently post to the list, and I always find pearls, without really trying too hard. I guess I am trying to tell you not to complain too much about your dynamic and healthy list... things could be alot worse! ========================================================================= Date: Tue, 13 Feb 1996 16:16:12 GMT Reply-To: Walt Fritchen <102677.204@COMPUSERVE.COM> From: Walt Fritchen <102677.204@COMPUSERVE.COM> Organization: CompuServe, Inc. (1-800-689-0736) Subject: Kenny Wayne Shepard Comments: To: bit-listserv-blues-l@uunet.uu.net Just got this kid's CD "Ledbetter Heights" and wondering why I've never heard of him before....anybody have any bio or background info???? ========================================================================= Date: Tue, 13 Feb 1996 17:31:13 +0100 Reply-To: Bengans From: Bengans Subject: Re: Jammin'/Domestic Problems LW wrote: >btw: I shared PW's story with my wife and she said he should have told her to >go on home and PW get a ride home with someone else....Makes sense to me. OOh gosh, I m touched bout how sensible some people are! BTW: any response from Fenton yet, or was he forced to unscribe? Sevenson Sevenson "Time is hard baby, and hustling is really on." T-Bone Walker ========================================================================= Date: Tue, 13 Feb 1996 10:37:42 -0600 Reply-To: Storm Bailey From: Storm Bailey Subject: Re: Blues Bytes: A MAJOR Disappoinment > ... As all tracks that I sampled exhibit similar distortion >levels I'm assuming that I got a bad copy. Does anyone else have this >problem? Nope. I'd like to join previous posters in thanking Bob U. for his work in putting the tape together--and thanks to all the contributers-- great job! Storm ========================================================================= Date: Tue, 13 Feb 1996 10:49:16 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Must be Monday - NOT! Must be Monday blues are over with, as there seems to be hardly ANY activity on BLUES-L so far today! Isn't it interesting how the Blues affect people in such a similar manner, and to such a similar proportion, and for such similar reasons (going to work on a Monday, for instance!). Just musing again, thanks for the tolerance! ddr ========================================================================= Date: Tue, 13 Feb 1996 11:53:04 -0500 Reply-To: Paul Greenbaum From: Paul Greenbaum Subject: Re: fwd: Virus Warning!!! Comments: To: Keith Castleberry In-Reply-To: <199602131554.JAA27665@mako.atmore.gulf.net> The GOOD TIMES virus is a hoax that has been circulating on the net for many months now. There is nothing to worry about. Paul Greenbaum greenbau@hal.fmhi.usf.edu ========================================================================= Date: Tue, 13 Feb 1996 10:54:54 -0600 Reply-To: Dave Daubard From: Dave Daubard Subject: Blues Cruise Playlist 2/9/96 Artist------------Title---------------Release--------------Label------- Rod Piazza- Rockin' Robin-(theme)- Harp Burn- Black top +Bobby Rush- Hen Pecked- One Monkey Don't..... Waldoxy +Little Milton-Walking the Backstreets..Greatest Hits- Malaco *Duke Tomatoe- title tune- Wild Animals- Sweetfinger +Bobby Bland- Double Trouble- Sad Street- Malaco +Big Mike Griffin-title tune- Sittin' Here with Nothing- Waldoxy +John Primer-Stop Draggin' that Chain Around-The Real Deal-Code Blue +Mem Shannon-Play that Guitar Son- Cab Driver's Blues Rykodisc +Lowell Fulson-L & L Special- Them Update Blues- Bullseye +Duke Robillard-Something to Remember.....Dukes' Blues- Pointblank +Johnny Dyer- Oh Baby- Jukin' Blind Pig +Long John Hunter-Ole Red- Border Town Legend- Alligator +Joe Guitar Hughes-Walk On- Texas Guitar Slinger- Bullseye +Rory Gallagher-I Ain't No Saint-A Blue Day for the Blues- I.R.S. + " " " -The Loop- " " " " " " " " " +John Hammond- I Hate to See You Go-Found True Love- Pointblank +Big Bill Broonzy-Ridin' On Down- Taste of Tradition- Tradition +Jesse Thomas- Boogie Woogie- Lookin' For That Woman- Black Top +Big Bill Broonzy-Baby, Please Don't Go-Taste of Tradition-Tradition +Freddie King- That's Alright- Live at the Electric Ballroom-Black top + " " - Dust My Broom- " " " " " " " William Clark-Daddy Pinnochio- Groove Time- Alligator +Tommy Castro- Sho' Enough- Exception to the Rule- Blind Pig +Monster Mike Welch-Looking Back-These Blues Are Mine- Tone-Cool +James Armstrong- Six Bar City- Sleeping with A Stranger- High Tone r McKinley Mitchel-Open House at My House-McKinley Mitchel-Waldoxy +Guitar Shorty-I'm the Clean-up Man-Get Wise to Yourself- Black Top +Little Milton-Annie Mae's Cafe- Greatest Hits- Malaco rMcKinley Mitchel-End of the Rainbow-McKinley Mitchel- Waldoxy +Jay Owens-I Heard You Love the Blues-Movin' On- Code Blue +Duke Robillard- Dyin' Flu- Dukes' blues- Pointblank +Fillmore Sims- I'm Broke Baby-It's Going to be Anytime... Uptown Video Rec +Willie Smith- Baby, Please Don't Go- Bag Full of Blues- Delmark rJeff Healey Band-Highway 49- Under Cover- Arista +Rick Holmstrom-Fooled Ya- Look Out- Black Top new release + request r in town * I also did a live interview with Duke Tomatoe early in the show. ========================================================================= Date: Tue, 13 Feb 1996 09:08:36 -0800 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Re: Who is Fenton Robinson? He also plays the sweetest version of "As The Years Go Passing By" that you would ever hear. He is not to be missed. Joe ========================================================================= Date: Tue, 13 Feb 1996 10:29:48 +0000 Reply-To: Michael Hewitt From: Michael Hewitt Subject: Re: fwd: Virus Warning!!! Comments: To: Keith Castleberry As most of you already know...the Good Times virus is a hoax. Please do not pass on the faulty info. It has been well documented that this is not an actual virus. ========================================================================= Date: Tue, 13 Feb 1996 11:25:42 -0600 Reply-To: Dave Daubard From: Dave Daubard Subject: WEFT Champaign 90.1 Top 20 Playlist for '95 A tie for # 1 Artist----------------------Release------------------Label---- 1) Lee Mc Bee & the Passions "44" Red Hot Records 1) Anson Funderburgh & the Rockets/Sam Myers-Live at G.E.-Black Top 3) Jeff Healey Cover to Cover Arista 5) Robert Cray Some Raining Morning Mercury 6) Billy Branch The Blues Keep following Me Around- Verve 7) Gary Primich - Mr. Freeze Flying Fish 8) Mark Hummel Married to the Blues " 9) Luther Allison Blue Streak Alligator 10)James Solberg See That My Grave is Kept Clean- Atomic Theory Rec 11)Jimmy Thackery & Drivers- Wild Night Out- Blind Pig 12)Coco Montoya- Got A Mind to Travel- " " 13)Rory Block- When a woman Gets the Blues- Rounder 14)Joe Louis Walker- Blues of the Month Club Verve 15)Mighty Sam McClain-Keep On Movin' Audio Quest 16)Tony Z- Get Down with the Blues- Tone-Cool 17)Jimmy Johnson- I'm A Jockey- Verve 18)Dave Spector & Bluebirds-Live in Europe- Delmark 19)Catfish Keith- Fresh Catfish- Fishtail 20)Albert Collins- Live '92/'93 Pointblank ========================================================================= Date: Tue, 13 Feb 1996 11:45:31 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: fwd: Virus Warning!!! In-Reply-To: On Tue, 13 Feb 1996, Paul Greenbaum wrote: > The GOOD TIMES virus is a hoax that has been circulating on the net for > many months now. There is nothing to worry about. > > Paul Greenbaum > greenbau@hal.fmhi.usf.edu And Paul wrote the virus, so he ought to know. [That, for the humor-impaired, is what the scientific experts call 'a joke'.] T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Don't get so caught up in theory that you lose your freedom of expression." - Ruth Parrish (PARRISHR@VITRO.COM) on BLUES-L, 02/11/96 ========================================================================= Date: Tue, 13 Feb 1996 12:13:31 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Warning: Hartac Virus Beware of the "Hartac Virus" , it totally destroys your brain cells and encourages you to trade in all your Chess & Yazoo cd's...especially the Muddy CD's.... LW 'no offense to anyone named Hartac, I just picked that out of thin air :-)' ========================================================================= Date: Tue, 13 Feb 1996 10:29:22 -0800 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Subject: Re: mic a resonator Comments: cc: hhardy@BCONNEX.NET >Hey folks, can anyone suggest how a National or similar resonator guitar >(metal >body) should be miked for live performance in a small club? > >Thanks, >Hugh Hardy > >P.S. Or do they make a pickup that works for a resonator. When miking: If possible, use two microphones, one on the f-hole, which will pick up more of the "air" sound (better bass response), and one closer to where you are picking, to get the resonator "twang" Any reasonable quality cardioid mic. will do for both these positions. I've worked with many different people's set-ups re. pick-ups on Nationals. One of the best was where the bridge and resonator had been taken apart, and a basic piezo pick-up (in one case, a medical heart monitor!) installed between the bridge and the resonator. I'm not a guitar tech., so don't ask me the details of installation. As with any piezo bridge pick-up, a close fit is the whole story. I have also mixed several bluegrass players who have used heart monitors on mandolins, and in one case, banjo, with very good results. Any others out there with similar info......? ========================================================================= Date: Tue, 13 Feb 1996 10:29:26 -0800 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Subject: Re: Josh white - hard hitting Comments: cc: rflohil@INFORAMP.NET Richard Flohil wrote: >As asinine as ever, Mr/Ms. Forti writes to the list: "People like Josh >White, Big Bill Broonzy, Terry and McGee, Lonnie Johnson, Bo Carter, and an >entire army of technically proficient, yet emotionally and stylistically >bankrupt, artists produced countless hundreds of mediocre recordings." Amen, Richard! This Forti entity is the one who is "emotionally bankrupt" or, in other words, "Got a hole in his (?) soul....) Good reply!! Roger B. ========================================================================= Date: Tue, 13 Feb 1996 10:33:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Fenton Robinson w/Hop Wilson Fenton allegedly made some recordings with Hop Wilson. They are on the recent reissue of Hop Wilson material. It doesn't sound like Fenton to me. Can anyone confirm or deny that he actually recorded with Hop Wilson? -Bonnie ========================================================================= Date: Tue, 13 Feb 1996 12:34:15 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Josh white - hard hitting In-Reply-To: Message of Tue, 13 Feb 1996 10:29:26 -0800 from On Tue, 13 Feb 1996 10:29:26 -0800 Roger B. said: >Richard Flohil wrote: >>As asinine as ever, Mr/Ms. Forti writes to the list: "People like Josh >>White, Big Bill Broonzy, Terry and McGee, Lonnie Johnson, Bo Carter, and an >>entire army of technically proficient, yet emotionally and stylistically >>bankrupt, artists produced countless hundreds of mediocre recordings." I haven't kept up with this thread, so I'm really curious to who Forti likes to listen to and who he/she thinks is "non-bankrupt"....I'm real curious LW ========================================================================= Date: Tue, 13 Feb 1996 18:52:00 GMT Reply-To: bsmithb@cix.compulink.co.uk From: Brian Smith Subject: Otis Spann/Peter Green/Fleetwood Mac Following the recent discussion on collaborations I thought I'd give a definitive answer regarding two CDs that are available in the UK. The Biggest Thing Since Colossus - Otis Spann with Fleetwood Mac This isn't actually OS with the full FM but with Peter Green, Danny Kirwan, John McVie and S P Leary. Track listing: My Love Depends on you Walkin' It Was a Big Thing Temperature is Rising (100.2F) Dig You No More Doggin Ain't Nobody's Business She Needs Some Loving I Need Some Air Someday Baby. Blues Jam in Chicago 2CD set featuring various permutations of Fleetwood Mac including Peter Green, Otis Spann, Willie Dixon, Shakey Horton, J T Brown, Guitar Buddy (in reality Buddy Guy), Honey Boy Edwards and S P Leary. Disk 1 Watch Out Ooh Baby South Indiana - take 1 South Indiana - take 2 Last Night Red Hot Jam I'm Worried I held My Baby Last Night Madison Blues I Can't Hold Out I Need Your Love I got the Blues Disk 2 World's in a Tangle Talk With You Like it This Way Someday Soon Baby Hungry Country Girl Black Jack Blues Everyday I have the Blues Rockin' Boogie Sugar Mama Homework. This has also been released under the title Blues Jam at Chess. ========================================================================= Date: Tue, 13 Feb 1996 11:00:47 -0800 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Subject: Re: Strange Open Jam LW wrote: >I didn't look like a delta player, (1) What DOES a delta player look like? (2) Whaddya you look like? - Roger B. :-) ========================================================================= Date: Tue, 13 Feb 1996 11:06:25 -0800 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Subject: Re: Devil & Mr. House; Spann; etc. Joseph V. Martin wrote: > >All-in-all, the blues list is the least contentious and most single-minded >group that I regularly read. Your debates always seem to be about something >at least tangentially interesting to someone who is a blues fanatic. You >never even really get nasty when you're angry. Real blues experts >consistently post to the list, and I always find pearls, without really >trying too hard. This is true. Compared to the newsgroups Mr. Martin mentioned, and to many others that I read consistently, the blues-l is #1 in civility (even our recent forays into PC/racism/white/black blues pale in comparison) Let's keep it that way. And keep on jawin' about BLUES. ========================================================================= Date: Tue, 13 Feb 1996 18:50:52 GMT Reply-To: Beth Oliver From: Beth Oliver Organization: The Loop Subject: Re: Charles Brown's Health? Comments: To: bit-listserv-blues-l@uunet.uu.net I spoke to Charles Brown last September at the Long Beach Blues Festival. He looked and sounded good, his only complaint was that his feet were tired, so he changed into a pair of running shoes. ========================================================================= Date: Tue, 13 Feb 1996 13:07:43 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Strange Open Jam In-Reply-To: Message of Tue, 13 Feb 1996 11:00:47 -0800 from On Tue, 13 Feb 1996 11:00:47 -0800 Roger B. said: >LW wrote: >I didn't look like a delta player, > >(1) What DOES a delta player look like? >(2) Whaddya you look like? Keep in mind, someone else said I didn't look like a delta player. I think they meant I was too clean cut and dressed too nice. I have no idea what she meant but I wasn't going to stick around and let her explain :-) LW ========================================================================= Date: Tue, 13 Feb 1996 14:54:55 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Josh white - hard hitting Comments: To: L W In-Reply-To: On Tue, 13 Feb 1996, L W wrote: > I haven't kept up with this thread, so I'm really curious to who Forti likes > to listen to and who he/she thinks is "non-bankrupt"....I'm real curious Why would anyone ask a fool their opinion? LW save us all the despair of having to listen to LF say anything - let it sleep. Barry NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 13 Feb 1996 15:01:51 -0500 Reply-To: Bill Schaumburg From: Bill Schaumburg Organization: River Bend Library System - Coal Valley, IL Subject: Re: Catfish Blues Comments: To: bit-listserv-blues-l@uunet.uu.net In-Reply-To: <199602131300.HAA09408@homer.rsoc.rockwell.com> On Tue, 13 Feb 1996, Norman W. Mangum wrote: > > A good fishing song is R.L. Burnside's "Jumper on the line," and a good > hunting > > song is Sonny Boy Williamson's "The Hunt," where he imitates various dogs on a > > coon hunt. > > Check out "Fishing Blues" by Taj Mahal - I sing it all the time. Best damn > fishin' song I know. > > - Walker Mangum > Yes and unlike this catfish stuff actually is, more or less about fishing. I also seem to remember enjoying Henry Thomas' song of the same title. Bill Schaumburg ========================================================================= Date: Tue, 13 Feb 1996 14:33:03 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: solo artists/energy A booking agent that tried to get me booked in a local club, said the club will not book solo artists. He said the reason was that one person does not generate enough energy for the "club crowd". They asked if there was someone I could get to play with me. I got to thinking, they are probally right with a "club crowd". If it's a blues show like John Hammond , there will be a blues audience who comes specifically to see JH. The other nights they are there to drink and find a hormone outlet and one guy up onstage playing blues is not going to come across too well. If it's a full band doing a "Mustang Sally/Proud Mary" medley that's what they want. So what do ya'll think, on the average night at the average club would a solo act be kind of dulll for the "mass audiences"... LW ========================================================================= Date: Tue, 13 Feb 1996 15:49:34 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Catfish Blues Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *Yes and unlike this catfish stuff actually is, more or less about *fishing. I also seem to remember enjoying Henry Thomas' song of the same *title. Then, of course, there's the old Klezmer classic "I wish I was a gefilte fish" (swimming in a horseradish sea...) :-) Sorry, It's been a long day! -Steve ========================================================================= Date: Tue, 13 Feb 1996 13:14:11 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: mic a resonator Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Roger said: (concerning mic'ing a resonator guitar) >When miking: If possible, use two microphones, one on the f-hole, which >will pick up more of the "air" sound (better bass response), and one closer >to where you are picking, to get the resonator "twang" Any reasonable >quality cardioid mic. will do for both these positions. This is a good idea, just realize there may be some phase cancellations if those mics are panned mono, since they are so close. If the system is stereo, you can pan one hard left, and the other hard right, and play with the balance out in the room. Also, you might try flipping the polarity on one of the mics if they are used in mono. Please, if at all possible maintain your distance from the mics consistently. As far as pickups for resonator guitars, I met Bob Brozman at NAMM, and I wish I had asked him what he uses... If anyone is interested, I will call National and ask what they recommend. Let me know. Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Tue, 13 Feb 1996 16:15:32 -0500 Reply-To: David Harnik From: David Harnik Subject: Blues of Happiness Hi, I've always loved the blues but only recently began a serious collection of blues CDs. I've got several CDs by Sonny Terry and Brownie Mcgee and I'm having trouble picking out the lyric on one of their tunes... On their CD, Midnight Special, track 20, The Blues of Happiness it begins: This is the blues of happiness There's a lot of things in life a man don't wanna forget There's your thoughts of me or was it sypathy The day, the day we met I'll always remember the _____ and the ______ Oh, how I suffered to preserve your pride... Can anyone fill in the blanks? Thanks, ||||| `o.O' d a v i d O ========================================================================= Date: Tue, 13 Feb 1996 15:27:49 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Fenton Robinson w/Hop Wilson Comments: To: Bonnie Kalmbach In-Reply-To: <26021310332574@vms2.macc.wisc.edu> Although Ray Topping is one of the blues world's premiere reissue compilers and discographers, he may be the only person in the world who thinks it's really Fenton and Larry Davis on those Hop Wilson cuts. Fenton says no and it doesn't really sound like him or Larry. It's just a misguided piece of guesswork on Ray's part. ========================================================================= Date: Tue, 13 Feb 1996 16:46:01 EST5EDT Reply-To: "P. Munoz" From: "P. Munoz" Organization: Fac Admin - Univ Ottawa Subject: Roy Buchanan I've just been introduced to the blues and a friend of mine gave me a listen to some of Roy Buchanan's stuff. I was wondering which is the best album of his I should purchase and what was his nature of his death. PM ========================================================================= Date: Tue, 13 Feb 1996 17:00:37 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: solo artists/energy Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU On 13 Feb 96, L W had this to say... > A booking agent that tried to get me booked in a local club, said the club > will not book solo artists. He said the reason was that one person does not > generate enough energy for the "club crowd". They asked if there was someone > I could get to play with me. > > I got to thinking, they are probally right with a "club crowd". If it's a blues > show like John Hammond , there will be a blues audience who comes specifically > to see JH. The other nights they are there to drink and find a hormone outlet > and one guy up onstage playing blues is not going to come across too well. If > it's a full band doing a "Mustang Sally/Proud Mary" medley that's what they > want. > > So what do ya'll think, on the average night at the average club would a solo > act be kind of dulll for the "mass audiences"... In most clubs that sell alcohol, that I've known, it's nearly impossible for an acoustic single to even GET anyone's attention, no less hold it. It doesn't have anything to do with the quality of the act. There is a local musician around here that plays in a Leo Kottke (Sp?) style, who is an outstanding guitar player and an excellent entertainer (Richard Gilewitz, if you ever get the chance). He sometimes plays at a bar that I go to, and when he does it's upsetting. As a fellow musician it hurts. The owner hires him because he loves the guy, but I am usually the only one who is trying to hear this guy above the din. Richard takes it in stride, and always gives 200%, but I can't stand to even watch. The only clubs that a single acoustic act can survive in are the ones that have a long standing acoustic music tradition. Frequently they don't serve alcohol. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 13 Feb 1996 16:04:23 CST Reply-To: JBards From: JBards Subject: Re[2]: Josh white - hard hitting Comments: To: emdrprac@DIRECT.CA I, too, saw the below-referenced post as yet another , ahem, 'target-rich- environment' posed by the redoubtable Mr. or Ms. Forti, but then I remembered my earlier training with behaviorally disordered children and decided that we would only be reinforcing his/her inappropriate behavior.... -Jim _______________________________________________________________________________ Subject: Re: Josh white - hard hitting From: emdrprac@DIRECT.CA at INTERNET-SH Date: 02/13/96 1:31 PM Richard Flohil wrote: >As asinine as ever, Mr/Ms. Forti writes to the list: "People like Josh >White, Big Bill Broonzy, Terry and McGee, Lonnie Johnson, Bo Carter, and an >entire army of technically proficient, yet emotionally and stylistically >bankrupt, artists produced countless hundreds of mediocre recordings." Amen, Richard! This Forti entity is the one who is "emotionally bankrupt" or, in other words, "Got a hole in his (?) soul....) Good reply!! Roger B. ========================================================================= Date: Tue, 13 Feb 1996 17:10:24 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Mail Blues A planned 2 hour interruption of my email service for an "upgrade" turned into more like 12 hours. When I finally got my mail I only had 26 messages. I know that ain't right. So I may have missed a little mail today. Apologies to anyone who may have tried to reach me. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 14 Feb 1996 11:41:11 +1300 Reply-To: MIKE GARNER From: MIKE GARNER Organization: The Waikato Polytechnic Subject: Club Recommendations Two fellow Kiwis are off to the States, soon, for extended holidays which will include as much blues as they can squeeze in. Could someon please post suggestions for blues clubs in Chicago during April? And similarly for Memphis in March/April? Many thanks, private e-mail is preferred - I'm on "no-mail" at present due to work pressure! Mike Garner New Zealand Blues Society ========================================================================= Date: Tue, 13 Feb 1996 16:02:04 CST Reply-To: JBards From: JBards Subject: Re: Kenny Wayne Shepard Comments: To: Walt Fritchen <102677.204@COMPUSERVE.COM> He's from here ( Shreveport) and his dad is in radio- a DJ/promoter and so on, which I think explains his easy entry into the PR machines of an industry that is usally a tough nut to crack. He's been touted as a bit of a prodigy, and indeed three years ago when he was 15 and playing a very good SRV imitation I suppose it was remarkable, but now at 18 or so, it seems to me that there are lots of SRV clones out there and Kenny Wayne will need to find his own style to have any staying power, particularly because he doesn't sing much. Jim in S'port _______________________________________________________________________________ Subject: Kenny Wayne Shepard From: Walt Fritchen <102677.204@COMPUSERVE.COM> at INTERNET-SH Date: 02/13/96 12:11 PM Just got this kid's CD "Ledbetter Heights" and wondering why I've never heard of him before....anybody have any bio or background info???? ========================================================================= Date: Tue, 13 Feb 1996 16:26:58 -0700 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: solo artists/energy Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU In-Reply-To: >> > So what do ya'll think, on the average night at the average club would a solo > act be kind of dulll for the "mass audiences"... > > LW > --------------------------- It'd depend on the club and if they booked solo acts on a regular basis. If this was the case, the crowd would be used to it and would know what to expect. Going into a club solo, that's known to be a rockin', get drunk, fight, get laid type of bar, would be tough. Just my 2 cents...(if it's worth it) RW ========================================================================= Date: Tue, 13 Feb 1996 22:23:09 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Wild Jimmy Spruill M.I.A.? Comments: To: bit-listserv-blues-l@uunet.uu.net I'm reposting this note I found on the Prodigy Blues bb without permission from the author, but I'm quite sure he won't mind; he's a NYC blues musician who is pretty well tied into the scene there, and he's not the kind of guy to joke around about something like this. >Board: MUSIC 2 BB Topic: BLUES Subject: WILD JIMMY SPUILL ? To: ALL From: BILL SIMS JR (KJWT46B) Time: 02/12 1:22 PM It seems Jimmy has vanished somewhere between St Petersburg Florida and NYC. He got on a bus 10 days ago in St. Pete and hasn't been heard from since. We're really kind of worried. He suffers from High Blood Pressure and hasn't been well but insist on riding the bus because of his dislike of flying, to complicate matters further he lost his wallet on the trip down and it was sent back to his wife by some good samaritan, so he has no ID. I know it's a shot in the dark but if anyone hears about a Black man 6'3" 180 lbs being found possibly suffering from memory loss give a holler. I don't know the exact route of the bus I believe it passes through Greensboro, Atlanta, major cities in Tenn.. Like I say I know it's a shot in the dark but you never know. We've got APBs with Police along the route and pictures being placed in bus stations. The fear is he may have had a stroke and may be suffering from amnesia B.S. Jr. >PRODIGY(R) interactive personal service - Date: 02/13 Time: 5:10 PM FYI, Wild Jimmy Spruill was the main session guitarist on many of the Fire/Fury/Enjoy records from '60s, and he also released a few great records of his own c. '59-'65. There was a feature on him in Living Blues not too long ago. Scott ========================================================================= Date: Tue, 13 Feb 1996 14:06:08 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: Blues Bytes a Hit! I have been enjoying Blues Bytes for several days now! I salute Bob Unger for his hard work and dedication to the project, and my thanks to all the musicians who participated in making a great Blues Bytes....Vol I. I appreciate you! Stan -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 ========================================================================= Date: Tue, 13 Feb 1996 16:34:11 CST Reply-To: JBards From: JBards Subject: Miking National guitars Comments: To: Don Cicchetti If you would, I'm still interested in perhaps getting some sort of pickup for my National Tricone. Thanks- Jim _______________________________________________________________________________ Subject: Re: mic a resonator From: Don Cicchetti at INTERNET-SH Date: 02/13/96 4:16 PM Roger said: (concerning mic'ing a resonator guitar) >When miking: If possible, use two microphones, one on the f-hole, which >will pick up more of the "air" sound (better bass response), and one closer >to where you are picking, to get the resonator "twang" Any reasonable >quality cardioid mic. will do for both these positions. This is a good idea, just realize there may be some phase cancellations if those mics are panned mono, since they are so close. If the system is stereo, you can pan one hard left, and the other hard right, and play with the balance out in the room. Also, you might try flipping the polarity on one of the mics if they are used in mono. Please, if at all possible maintain your distance from the mics consistently. As far as pickups for resonator guitars, I met Bob Brozman at NAMM, and I wish I had asked him what he uses... If anyone is interested, I will call National and ask what they recommend. Let me know. Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Tue, 13 Feb 1996 17:54:07 -0500 Reply-To: "John R. Vanderpool" From: "John R. Vanderpool" Organization: NASA/GSFC Subject: Re: Mojo Blues - Freddie King (slight correction) + Albert King stuff I wrote yesterday Re: Mojo Blues by FK: > i am pretty dissapointed in this release - it is indeed very marginal > quality (and being a large live collector my limits go pretty far) > > if i recall i think its an audience tape (or a very weak soundboard), > i'll have to give it another listen to refresh myself - if you are a > big fan you'll probably like it but for the average fan, i'ld skip this > one i was thinking of "live at the texas opry house" when i said this. both are on Collectable Records i believe - i don't have "mojo blues" but guess i'll have to pick it up too. > i too, of course, bought it as soon as i saw it. but it sort of ranks > right up (down) there with one of the newer Albert King live releases (i > forget the name, w/ the spades/cards on it, "full house" maybe?). i looked this up too, i was referring to "live from memory lane" and it has a hat & cane on the front (not cards) btw, i recently bought AK live at the san francisco blues festival, i forget the title, its from 1982 - i had most of it from FM already but this is a bit longer that what i had - it still has an annoying buzz but its not real bad - pretty good show while i'm berating things - never buy the AK at the Maintenance Shop video (circa 1981), the band he had isn't very good and he has an injured finger which just plain makes the whole affair suck - should never have been released. the muddy waters one isn't much better from the same era but a little bit - if you don't believe me i'll sell you my watched only once copies of both for $15/each ($25/both) > i see another new FK live release just came out - the name of it escapes > me at the moment but its in one of the latest mail order catalogs. this is called "live in germany" from 1975 on King Biscuit $12.99 from Noteworthy ($15.36 from CDnow for comparision) CDnow lists "live at liberty hall" which i haven't heard of either for $13.97 needless to say i'm going to get them all!!! i read on CDnow's web pages that shelter has discontinued both "texas cannonball" and "getting ready" :-( noteworthy has "getting ready" still in stock for $9.59 - they have "just pickin' for $11.99 > p.s. i'm looking for DAT traders w/ Freddie and/or Albert material. 2nd call (i got one reply and hope you hook up w/ you soon, thanx) fish ========================================================================= Date: Tue, 13 Feb 1996 18:27:20 -0500 Reply-To: "John R. Vanderpool" From: "John R. Vanderpool" Organization: NASA/GSFC Subject: wanted: recommendations on albert collins live CDs i listened to some of "live: 1992-93" and did not really like it very much, the horns were pretty bad and the playing didn't seem very good in general. i see in the noteworthy catalog they have, "live in holland" (1978) and "live in japan" (1984) - can anyone shed light on the quality of these both performance and quality-wise? thanx. later, fish -- remembrance is the sweetest flower, of all the world's perfuming; memory guards it sun or shower, friendship keeps it blooming - AKS 1933 for Earth Science data and information use URL http://daac.gsfc.nasa.gov/ ========================================================================= Date: Tue, 13 Feb 1996 15:35:46 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Pickups for National guitars Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Ok, I called National and here's the scoop on pickups: **This info ONLY applies to the Tricone reissue!** Please call National at the number below for info on pickups for other resonator guitars. National installs a "Highlander IP1X" pickup into the underside of the tricone bridge. They like it. It costs 300.00 complete. Plus shipping, of course. (Don't forget to pack the daylights out of it, and insure it adequately!) They also like the Rick Turner saddle pickup, but they are only made to order. Ask National if you want to know more. They're great people and know their stuff. Tell 'em you're a bluezeller! National Resophonic Guitars 871 Via Estaben Unit C San Luis Obispo, CA 93401 805 546-8442 DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Tue, 13 Feb 1996 19:00:20 EST Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: Pocono Blues Festival From: Roger Scharbach Subject: Get your mojo working - and answer I'll take this chance to sound silly, but as I am forced to quit my server, and therefore will no longer be reading Blues-L at least for a little while I would like to ask a simple blues question - Who or What is a Mojo?!! I've been singing about it for years but never quite figured where this comes from! Also wondering about a great old blues tune about "sweet cocaine-rambling through my brain" used to listen to it and love it, but never heard anything of the likes for many years. Does that ring a bell with anyone? Could someone recall the lines to that one? I would sure appreciate getting re-aquainted with the words ========================================================================= Date: Tue, 13 Feb 1996 19:59:55 -0500 Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Luther Allison/Amos Milburn Motown Blues Comments: To: bit-listserv-blues-l@uunet.uu.net Just picked up copies of the new blues CDs on Motown (yes I said Motown) - by Luther Allison and Amos Milburn. I've had a chance to spin through them and here are some initial takes: Luther Allison - The Motown Years 1972-76 (31453-0612-2) This has 17 tracks that collect the best in blues from the 3 LPs issued by Motown included the entire "Luther's Blues" which I think is one of the finest LA releases to date. Many of these tracks he still performs in concert today. You also get 4 tracks from the first LP Bad News Is Coming - favorites of these for me were "Little Red Rooster" and "Dust My Broom" where he does some very interesting variations on the familiar DMB guitar licks. Needless to say, this is a run don't walk release. My only regrets are that they didn't make this a 2 disc release. Amos Milburn - The Motown Sessions 1962-64 (31453-0611-2) this is an 18 track release done at the very early stages of Motown's existence. It includes the entire impossibly rare LP "Return of the Blues Boss" (according to the latest price guide I have, this may sell for $1000-2000 in M- condition, but the price isn't well established as few have been seen. I can remember few advertised over the years of scanning collector's magazines). However, there are reasons it's rare. Motown didn't know how to market blues artists, Amos was past the prime of his career and the stuff he was famous for was out of style (Aladdin label mate Charles Brown was having a similar career lull at this time) and finally, in an attempt to update his style there were some attempts to "Motownize" his blues. Needless to say, many of these attempts failed as is documented here. Some of the more interesting tracks were re-recordings of songs he did during his Aladdin period. In summary, it's damn nice to have this available again. It means I won't have to mortgage my house to buy the LP. I would recommend that those who want to learn more about Amos buy the Aladdin single disc set released on EMI. Those who like this could then go on to buy the complete Aladdin recordings on Mosaic (7 discs). Only real fans will appreciate these Motown recordings (I count myself as one of them). Art Schuna ========================================================================= Date: Tue, 13 Feb 1996 15:22:46 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Double-Entendre Blues In a couple of weeks WTJU-FM 91.1 in Charlottesville, Virginia, will being running its annual week-long Rock department fundraising marathon. As usual they've thrown out a few slots to the blues DJ's at the station, and the special show I'm doing is on "double-entendre" blues songs. I don't want to focus on explicit songs about sex, but on more subtle (or perhaps not-so-subtle) blues metaphors for sex...you know, songs about food, cars, trains, etc. that aren't really about those things. I've already compiled a pretty good list, but I'd like to hear some suggestions and favorites people may have. Thanks, -Peter ========================================================================= Date: Tue, 13 Feb 1996 18:29:28 -0700 Reply-To: Michael Heicklen From: Michael Heicklen Subject: TAPE SUBMISSIONS - SINGERS ProArt International is conducting a worldwide talent search for its initial US project. It is seeking one female and one male R&B/Pop singer with dance and movement background to perform in a band. Presales are already in place throughout Europe, and the band will tour domestically and internationally. International auditions will be held for those who's tapes are of interest. Principals include grammy winning producer with 21 gold and platinum records, and internationally recognized composer. Please submit a photo/resume along with an audio(4 track min.) or video tape to ProArt International, 8730 Sunset Boulevard, Ste. 660, Los Angeles, CA 90069 Attn: Michael Heicklen. No phone calls or e-mails please. END ---------------------------------------------------------------------------- ------ ========================================================================= Date: Tue, 13 Feb 1996 20:31:25 -0500 Reply-To: FLAMINAMY1@AOL.COM From: David Mandelbaum Subject: Re: Wild Jimmy Spruill M.I.A.? Comments: To: BGSV75C@prodigy.com Yes it is true. I have been asked to make a similar post and to give you his daughter Gaye's telephone number. Should anyone have any information that might help please call 718 515-6420. Jimmy is 62 years old. No one actually saw Jimmy get on the Bus so he could still be in that area. Also, I would like to get a picture of Jimmy on someone's Web Page. If anyone can help with that please let me know what you need. Thanks all. David ========================================================================= Date: Wed, 14 Feb 1996 01:30:26 GMT Reply-To: Steven L Combs From: Steven L Combs Organization: The World Public Access UNIX, Brookline, MA Subject: Building a xylophone Does anyone know if there is a standard formula for determining what tone will be produced by a cylinder when struck - based on the length, diameter, thickness, and material? ========================================================================= Date: Tue, 13 Feb 1996 21:23:12 -0500 Reply-To: Hortisam From: Hortisam Organization: America Online, Inc. (1-800-827-6364) Subject: Re: NE Blues Comments: To: bit-listserv-blues-l@uunet.uu.net I recently moved to the Worcester, MA area and discovered that New England has a number of good blues bands. (Originally being from the South, I can see why so many New Englanders get the blues...) Anyway, I wonder if some of you aficionados in New England might talk about some of our local bands. Most of the clubs around here are pretty run-down and smoky, but if there is a good blues band playing, the cigarette smoke might be worth it. Thanks. ========================================================================= Date: Tue, 13 Feb 1996 18:21:17 -0800 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: ? Delta Teach? Wondering if there are any teachers that anyone knows of in the L.A. area. I am interested only in learning Delta, Country blues. I can already play in other styles. I am getting very frustrated just learning from recordings and I feel that I need some teachin'. Help, Isaac aaggggghhhhhhhhhh:) ========================================================================= Date: Tue, 13 Feb 1996 17:43:36 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: Re: wanted: recommendations on albert collins live CDs Comments: To: "John R. Vanderpool" John R. Vanderpool wrote: > > i listened to some of "live: 1992-93" and did not really like it very much, > the horns were pretty bad and the playing didn't seem very good in general. > > i see in the noteworthy catalog they have, "live in holland" (1978) and > "live in japan" (1984) - can anyone shed light on the quality of these > both performance and quality-wise? thanx. > > later, > fish > > -- > remembrance is the sweetest flower, of all the world's perfuming; > memory guards it sun or shower, friendship keeps it blooming - AKS 1933 > > for Earth Science data and information use URL http://daac.gsfc.nasa.gov/ Frankly, I don't understand what more you could want from a recording! Albert Collins, Live '92 - '93 is a great CD period. Stan -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 ========================================================================= Date: Tue, 13 Feb 1996 19:30:28 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Double-Entendre Blues >I don't want to focus on explicit songs about sex, but on >more subtle (or perhaps not-so-subtle) blues metaphors for >sex...you know, songs about food, cars, trains, etc. that aren't really >about those things. > Here's a couple that I know of : Cigarette Blues (I've got Roy Book Binder's version, but according to the notes it was done by Bo Carter in 1938.) Keep on Churnin' (til the butter come), Lollipop Mama... Wynonie Harris has a bunch of excellent double-entendre jump blues - great stuff! That's just a couple - I'm sure others could come up with a good list... -Jim (hndful@uniserve.com) ========================================================================= Date: Tue, 13 Feb 1996 21:45:26 -0600 Reply-To: Craig Edmundson From: Craig Edmundson Subject: Re: Otis Spann/Peter Green/Fleetwood Mac Comments: To: Brian Smith In-Reply-To: This session has been re-issued in the US as "Fleetwood Mac in Chicago 1969" (Sire/Warner Bros./Blue Horizon 9 45283-2, (c) 1994). The order of the tracks is different from your listing, however. ----------------------------------- Craig L. Edmundson cedmunds@netserv.unmc.edu cedmundson@nfinity.nfinity.com http://www.nfinity/com/~cedmundson On Tue, 13 Feb 1996, Brian Smith wrote: > Blues Jam in Chicago 2CD set featuring various permutations of > Fleetwood Mac including Peter Green, Otis Spann, Willie Dixon, Shakey > Horton, J T Brown, Guitar Buddy (in reality Buddy Guy), Honey Boy > Edwards and S P Leary. > > This has also been released under the title Blues Jam at Chess. ========================================================================= Date: Tue, 13 Feb 1996 23:54:07 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Wild Jimmy Spruill Picture A picture of Wild Jimmy Spruill has been added to the cover of BLUES WORLD. Go to: http://www.bluesworld.com Particularly if you are located along the Eastern seaboard where Jimmy has vanished, take a look at the picture and keep an eye out for him. Jimmy Spruill is a gracious man and one hellacious guitar player and I hope he is safely found. Joel Slotnikoff Joel Slotnikoff, Publisher | BLUES WORLD e-mag Box 21652 | http://www.bluesworld.com St. Louis, MO 63109 | Acme Guitar, Blues Estafette TEL (314) 647-2447 | Blues & Rhythm: The Gospel Truth FAX (314) 647-2497 | Roots & Rhythm, Testament Records joelslot@inlink.com | SONO, Vintage Jazz Mart, Wayhi Tapes ========================================================================= Date: Tue, 13 Feb 1996 20:51:51 GMT Reply-To: Dave_J._Herda@infozone.telluride.co.us From: "Dave J. Herda" Organization: InfoZone Telluride Co (970)-728-0472 Subject: Re: Buddy Guy Book Comments: To: bsco@PANIX.COM On Mon, 12 Feb 1996, J.E. Downey wrote: > Uninformed bluezellers like me would like to know a word or two about > the "Buddy Guy book". What, did Buddy have the great honor of meeting > Bon Jovi or something? Like Barry Silverberg, I too have to disagree with the original posting. I bought the book not really expecting very much and was actually quite pleased. It was a very easy read and definitley entertaining. The stories that Buddy and the other musicians told provided a fascinating look inside the life of one of the greatest bluesmen of all time. The other book that has been discused here recently--Chicago Blues is one that I haven't been able to get through yet. It seems sort of dry and more like a history book. Does anyone else feel this way? Take it easy and keep on playin those blues. Peace--D ========================================================================= Date: Tue, 13 Feb 1996 20:37:37 GMT Reply-To: Dave_J._Herda@infozone.telluride.co.us From: "Dave J. Herda" Organization: InfoZone Telluride Co (970)-728-0472 Subject: Re: How bout a blues-l chart Comments: To: tgurley@ONRAMP.NET I'd like to offer to compile a blues chart for the list. Here's how it would work, once a week send in a list of the top 5 or 10 blues CD's are getting played around your house or in your car. I'll compile the responses and post every other Sunday. Send me a private email with Chart in the subject. *******Does this just apply to recent releases, or any blues that we play? ========================================================================= Date: Tue, 13 Feb 1996 10:38:22 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Blind James Campbell and his Nashville Street Band Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com This weekend I picked up a copy of the wonderful Arhoolie cd Blind James Campbell and his Nashville Street Band. This is a great cd by a band that does blues, country, ballads and other traditional music , on guitars, fiddles, tuba and other instruments (no harp, but that's alright, since the other instruments make up for it. It would be interesting to hear this band with a harp player). Campbell's band is a great example of the string band (or jug band) tradition. The album is a great example of how different styles and genres (ie, country and blues) were combined and played by blues musicians and "songsters." I think they were around before WWII, so they can probably be considered a prewar string band. I'll have to check the liner notes again. Does anyone know if Campbell or any of his band are still alive? The liner notes said that Campbell was born (I think) in 1900, but didn't say if or when he died. -Steve ========================================================================= Date: Wed, 14 Feb 1996 00:00:32 -0500 Reply-To: Bluesmanp From: Bluesmanp Organization: America Online, Inc. (1-800-827-6364) Subject: MOJO BLUES BAND Comments: To: bit-listserv-blues-l@uunet.uu.net Some body told me, there is a Fanclub of the austrian "MOJO BLUES BAND" inChicago. Right? Please e-mail. ========================================================================= Date: Wed, 14 Feb 1996 00:03:04 -0500 Reply-To: LLarson114 From: LLarson114 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Bob Brozman--Slide Guitarist Extraordinaire Comments: To: bit-listserv-blues-l@uunet.uu.net I was recently introduced to B. Brozman music via a tape of the Henry Kaiser Slide Guitar Project - a broadcast of a live show from Frankfurt, Germany in 1991. Features Brozman, David Lindley, Kaiser, Merle Saunders. I was very impressed. By the way - greeting from Plymouth, MN ========================================================================= Date: Wed, 14 Feb 1996 00:02:31 -0500 Reply-To: LLarson114 From: LLarson114 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: wanted: recommendations on albert collins live CDs Comments: To: bit-listserv-blues-l@uunet.uu.net I have enjoyed "Live in Holland" AKA "Albert Collins & Barrelhouse live". He is backed by a dutch band (Barrelhouse) Several long jams, which are my personal favorites "Conversation w/ Collins" "Keep your business straight" Also recommended is a 1969 performance at Fillmore West in S.F. released as "Alive & Cool" (Red House Records, UK) - for serious fans only. Not a technological landmark in recording quality. ========================================================================= Date: Wed, 14 Feb 1996 02:02:29 -0400 Reply-To: Claudio Caponi MARNR From: Claudio Caponi MARNR Subject: Spivey Records Has anything on Spivey Records ever been reissued on CD? I know the ones featuring Otis Spann have not, but does anyone know who owns the Spivey catalog, and if there is any plan of reissuing them? I seem to recall somebody mentioning he had seen an ad on a magazine selling the LPs some months ago. Is this offer still on? ccaponi@dino.conicit.ve | Claudio Caponi | I've had my fun... Ministerio del Ambiente | Caracas - Venezuela | Otis Spann ========================================================================= Date: Wed, 14 Feb 1996 01:02:19 -0600 Reply-To: Timothy M Dellinger From: Timothy M Dellinger Subject: Re: How bout a blues-l chart On blues-l you write: >once a week send in a list of the top 5 or 10 blues CD's are getting played >around your house or in your car. It looks like an aweful lot of work. Plus the data would be skewed because tape 1 of the Rhino John Lee Hooker set is the only music allowed to be played in my car. -- -- It is a miracle that curiosity survives Tim Dellinger formal education. -Albert Einstein tdelling@uiuc.edu ========================================================================= Date: Wed, 14 Feb 1996 07:29:40 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: Spivey Records Comments: To: Claudio Caponi MARNR In-Reply-To: <9602140602.AB14237@dino.conicit.ve> On Wed, 14 Feb 1996, Claudio Caponi MARNR wrote: > Has anything on Spivey Records ever been reissued on CD? I recently bought the cd "Songs We Taught Your Mother" by Victoria SPivey, Lucille Hegamin, and Alberta Hunter. I *think* that was originally on the Spivey label. (Pretty good cd, BTW). T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Don't get so caught up in theory that you lose your freedom of expression." - Ruth Parrish (PARRISHR@VITRO.COM) on BLUES-L, 02/11/96 ========================================================================= Date: Wed, 14 Feb 1996 08:48:01 -0500 Reply-To: cmasenas@vnet.ibm.com From: "Charles J. Masenas" Organization: IBM Microelectronics Division, Burlington, VT. Subject: Re: Double-Entendre Blues Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199602132022.PAA98863@poe.acc.Virginia.EDU>, Peter Welch writes: > As usual they've thrown out a few slots to the blues > DJ's at the station, and the special show I'm doing is on > "double-entendre" blues songs. > I don't want to focus on explicit songs about sex, but on > more subtle (or perhaps not-so-subtle) blues metaphors for > sex...you know, songs about food, cars, trains, etc. that aren't really > about those things. > I've already compiled a pretty good list, but I'd like to hear > some suggestions and favorites people may have. Bo Carter had only one thing on his mind his whole life. So much so that Roy Bookbinder calls him the master of the single-entendre. His less explicit songs might meet your needs. Don't put any more baking powder in your bread you see You know your biscuits are tall enough for me. And don't put any more sugar in your jelly you see you know your jelly is sweet enough for me. Some folks call you ugly And you know that that is true But there's one thing about you mama That makes me love you the way I do ... -- ------- Regards, Charles J. Masenas ========================================================================= Date: Wed, 14 Feb 1996 09:01:24 -0500 Reply-To: "Abe W. Mathews" From: "Abe W. Mathews" Subject: Re: solo artists/energy In-Reply-To: <199602132159.QAA50484@osceola.gate.net> from "P.W. Fenton" at Feb 13, 96 05:00:37 pm P. W. wrote- > The only clubs that a single acoustic act can survive in are the ones > that have a long standing acoustic music tradition. Frequently they > don't serve alcohol. The acoustic guitarist I play with was solo for many, many years before I met him. I guess that this area may be strange, as I can think of 3 or 4 solo artists who normally get the "good" gigs around here because the customers want "singalong" stuff. Most of the college students up here seem to want to get drunk and sing along with "American Pie" or "The Reek of the Edmund Fitzgerald". I met the guy when he asked me to play bass with him one night as I talked to him during a set break. He then asked me to come back, with a guitar. For the next couple of weeks, I started seeing a change in the audience. People were beginning to come to be entertained, and there was more listening and less talking going on. I thought that I was adding a new dimension to the playing, and I think my partner thought so, too. We then added a drummer, and, while we got a lot louder, the place was packed almost every weekend, and bar sales went up quite a bit. There was a trade off, though. The place we played was a bar and grill, and fewer people came to eat when we played as a band than came when we played as a duo, or the other guitar player played solo. I think that this is the reason a lot of places that have food as well as alcohol book solo artists up here, and that straight out bars seem to book the bands. Just my $0.012289734 after taxes: Abe awmathew@mtu.edu ========================================================================= Date: Wed, 14 Feb 1996 09:04:42 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Playlist: Bartender's Bop Here is my second show in a salute to the fine music that has come out of New Orleans and Louisiana. Monday's show focused on the Black Indians of New Orleans and Brass Bands. I am a great fan of the Black Indians and find their performances very exciting. In a tradition that dates at least into the 1870s it predates the recognized beginnings of Jazz and Blues and certainly incorporates both of those elements. Title Group Year Label -------------------- -------------------- ---- -------- To-wa-bac-a-way Indians 56 Folkways Red White and Blue Indians 56 Folkways Got the Golden Band Indian Songs Morton, Jelly Roll 39 Handa Wanda Wild Magnolias 74 Polydor Brother John Wild Tchapitoulas 76 Rhino Shallow Water Guardians of the 91 Candid Flame Iko Iko Wild Magnolias 90 Rounder Indian Red Golden Eagles 87 Rounder Meet De Boys At De Wild Tchapitoulas 76 Rhino Battlefront Hu-Ta-Nay Guardians of the 91 Candid Flame Sew Sew Sew Golden Eagles 87 Rounder Coconut Milk Dollis, Bo 90 Rounder Caledonia/Flip Flop Rebirth Brass Band 92 Rounder and Fly/Ragg Mopp Big Chief Wild Magnolias 90 Rounder Gimme My Money Back Treme Brass Band 93 Arhoolie My Indian Red Dr John 92 Warner Lil Liza Jane Dirty Dozen Brass 85 King Band Whop ReBirth Brass Band 94 Rounder Monkey, The Dirty Dozen Brass 90 Columbia Band `'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`' Stop on by my Jazz and Blues Web Site -- http://redlt.com/tom/ Free-lance Writer--Author--Program Director WTJU 91.1--Internet Consultant ========================================================================= Date: Wed, 14 Feb 1996 08:15:32 -0600 Reply-To: "Norman W. Mangum" From: "Norman W. Mangum" Subject: Re: Double-Entendre Blues A great one is "Play With Your Poodle". I like Lightnin' Hopkins version of it. - Walker Mangum ========================================================================= Date: Wed, 14 Feb 1996 08:17:50 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Pickups for National guitars In-Reply-To: Message of Tue, 13 Feb 1996 15:35:46 -0800 from On Tue, 13 Feb 1996 15:35:46 -0800 Don Cicchetti said: > >National installs a "Highlander IP1X" pickup into the underside of the >tricone bridge. Stwart Macdonald sells the Highlander Pickup system for a few bucks cheaper but you have to install it yo-self or get someone to do it. I think John Nicholas said it best: I asked him how he amp'd his National when he played live and he said he mic'd it. I asked if he ever comsidered using a pickup and he replied "If your playing somehere and a mic'd National can not be heard, then you might as well be playing Rock N Roll with a Strat cause nobody's listening anyway"... LW >Tell 'em you're a bluezeller! > >National Resophonic Guitars >871 Via Estaben Unit C >San Luis Obispo, CA 93401 >805 546-8442 > > >DC > > >____________________________________________________ >Don Cicchetti >La Sierra University Library Media Services >Audio/Video/Computer/Satellite >Event Services & Studio Production >dcicchet@vega.lasierra.edu > >There was a time, within the memory of some of us, >when American popular music was full of exaltation, pain & wit... >The raw intensity of Muddy Waters, >or the virile inventiveness of Duke Ellington.... > >- Robert Hughes >____________________________________________________ ========================================================================= Date: Wed, 14 Feb 1996 14:13:18 GMT Reply-To: Tommy Jansson From: Tommy Jansson Organization: Uppsala university Subject: Re: Who is Fenton Robinson? Comments: To: bit-listserv-blues-l@uunet.uu.net >Fenton has played a long long time. As Poindexter said he recorded on Duke in the late fifties. Check out Angels in Houston on Rounder. In the sixties he did Somebody lone me on Paloma (I think). In the seventies Alligator recorded him. P-Vine has reissued some of Fentons sixtiesmaterial. Black Magic also has some new recordings from 1985-1990. ========================================================================= Date: Wed, 14 Feb 1996 14:16:20 GMT Reply-To: Tommy Jansson From: Tommy Jansson Organization: Uppsala university Subject: Re: Otis Rush Comments: To: bit-listserv-blues-l@uunet.uu.net Otis Rush is said to have finished his follow-up to Ain=B4t enough comin=B4= =20 in. When will it be released? ========================================================================= Date: Wed, 14 Feb 1996 08:27:37 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Brozman I called Bob Brozman back when I had a steel DOBRO to ask him some things and when I mentioned that I had a Dobro he said "SHHHH, that word is not allowed in my house :-)".....He's quite a character and knows all there is to know about Nationals....period. He'a a great guy, but I got the feeling he could get "fiesty" real quick. LW ========================================================================= Date: Wed, 14 Feb 1996 09:42:05 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: I need more Robert Nighthawk! Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I've been listening to Robert Nighthawk a lot lately, and he's quickly becoming one of my favorite Delta/Chicago blues artists. The only albums I have by him are Bricks in my Pillow and Live on Maxwell Street. I need more. I'm ordering the Nighthawk/Houston Stackhouse Testament cd. There is a cd called Robert Nighthawk & Wampu Toasting The Blues listed on the cd connection. Is this any good? Are there any other Nighthawk albums out there that are easy to find? He was a featured artist on a local blues show recently, and the dj played a lot of stuff by him I had never heard before (including one track with Little Walter on harp!). If there is not much available on cd, isn't it time some of his work was reissued? ========================================================================= Date: Wed, 14 Feb 1996 08:48:20 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: I need more Robert Nighthawk! In-Reply-To: Message of Wed, 14 Feb 1996 09:42:05 -0500 from On Wed, 14 Feb 1996 09:42:05 -0500 Steve Levine said: >I've been listening to Robert Nighthawk a lot lately, and he's quickly >becoming one of my favorite Delta/Chicago blues artists. The only >albums I have by him are Bricks in my Pillow and Live on Maxwell >Street. I need more. I'm ordering the Nighthawk/Houston Stackhouse >Testament cd. There is a cd called Robert Nighthawk & Wampu Toasting The Testament CD is really good IMHO. I can't can't get enough Nighthawk Wasn't he a relative of Memphis Minnie (I think he was a McCoy...?) LW ========================================================================= Date: Wed, 14 Feb 1996 14:55:25 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Double-Entendre Blues Comments: To: bit-listserv-blues-l@uunet.uu.net In <96Feb13.193033pst.30867-2614+1888@haven.uniserve.com>, Jim Witteveen writes: >>I don't want to focus on explicit songs about sex, but on >>more subtle (or perhaps not-so-subtle) blues metaphors for >>sex...you know, songs about food, cars, trains, etc. that aren't really >>about those things. >> > Here's a couple that I know of : >Cigarette Blues (I've got Roy Book Binder's version, but according to the >notes it was done by Bo Carter in 1938.) Bo Carter was the King of dirty songs, and in my opinion may be the most unduly neglected bluesman on record. Anything of his would be appropriate to this show. BBB B.B. Bean bbbean@cris.com Peach Orchard, MO http://www.cris.com/~bbbean ========================================================================= Date: Wed, 14 Feb 1996 10:07:10 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0137 From: "DUTTWEILER.J" Subject: Re: Double-Entendre Blues Date: Wednesday, 14 February 1996 10:07am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: Double-Entendre Blues In-Reply-To: The letter of Wednesday, 14 February 1996 10:04am ET Seeing as how I'm listening to John Lee Hooker doing it right now, I would suggest Terraplane Blues. I like the Hook's version, but also Robert Johnson's original (I think there are two versions in the RJ box set). ========================================================================= Date: Wed, 14 Feb 1996 10:15:43 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: I need more Robert Nighthawk! Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *The Testament CD is really good IMHO. I can't can't get enough Nighthawk *Wasn't he a relative of Memphis Minnie (I think he was a McCoy...?) I think I read somewhere that his mother was a McCoy, and he sometimes used that name. I know he recorded some of his early work as Robert Lee McCoy (there's at least one with him on harp on the Yazoo "Harmonica Blues" collection). I think his real name was actually McCullum, but I'm not sure. ========================================================================= Date: Wed, 14 Feb 1996 09:23:49 -0600 Reply-To: Storm Bailey From: Storm Bailey Subject: Re: Get your mojo working - and answer >Also wondering about a great old blues tune about "sweet cocaine-rambling >through my brain" used to listen to it and love it, but never heard anything >of the likes for many years. Does that ring a bell with anyone? Could >someone recall the lines to that one? I would sure appreciate getting >re-aquainted with the words > There was something like this recorded by Jackson Browne in a motel room somewhere that that turned up on "Running on Empty"--Don't know whether the song goes farther back than that, but (if memory serves) I think the JB lp contained the printed lyrics... Storm "...almost out of blow, it's a fine line, hate to see it go" (quote, not endorsement--had to give it up :) ) ========================================================================= Date: Wed, 14 Feb 1996 09:27:10 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Get your mojo working - and answer In-Reply-To: Message of Wed, 14 Feb 1996 09:23:49 -0600 from On Wed, 14 Feb 1996 09:23:49 -0600 Storm Bailey said: >>Also wondering about a great old blues tune about "sweet cocaine-rambling >>through my brain" used to listen to it and love it, but never heard anything >>of the likes for many years. Does that ring a bell with anyone? Could >>someone recall the lines to that one? I would sure appreciate getting >>re-aquainted with the words >> >There was something like this recorded by Jackson Browne in a motel room >somewhere that that turned up on "Running on Empty"--Don't know whether >the song goes farther back than that, but (if memory serves) I think the >JB lp contained the printed lyrics... The song Jackson Browne covered was a Rev. Gary Davis tune, I think Cocaine Blues or something. Jackson changed the lyrics somewhat but If I recall he gives credit to Rev. Gary Davis....(I think it's RGD) Cocaine, running all through my brain.... LW 'I like Johnny Cash's Cocaine Blues' ========================================================================= Date: Wed, 14 Feb 1996 10:34:11 -0500 Reply-To: Dave Markovits From: Dave Markovits Subject: Johnny Winter Does anyone know if Johnny Winter is touring? I saw on the net he played a show at Tramps in NYC recently. He hasn't been through Chicago in ages. David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Wed, 14 Feb 1996 07:38:50 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Feb. 15 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ARNOLD, JAMES "KOKOMO" (g/DECCA REC) b. 1901-0215, LOVEJOY, GA BANASHAK, JOE (owner: INSTANT/MINIT REC) b. 1923-0215, BALTIMORE, MD BRADFORD, ALEX "PROF" [ALEX BRADFORD JR.] d. 1978-0215, NEWARK, NJ 51 BURTON, MORGAN J. (o/SIL AUSTIN) d. 1990-0215, PROVIDENCE, R.I.,NY 54 CASH, ALVIN (of THE CRAWLERS/REGISTERS) b. 1939-0215, ST. LOUIS, MO COLE, NAT "KING"[NATHANIEL ADAMS COLES] p d. 1965-0215, SANTA MONICA, CA 48 CROCKETT, G. L. (g) d. 1967-0215, CHICAGO, IL 38 DANDRIDGE, PUTNEY (p) d. 1946-0215, NJ 44 DAVIS, NATHAN T. (tsax) b. 1937-0215, KANSAS CITY, KS HAYNES, GEORGE "TIGER" (g/THREE FLAMES) d. 1994-0215, NEW YORK CITY, NY 79 HOLIDAY, JIMMY (v/songw) d. 1987-0215, IOWA CITY, IA 52 HOLLAND, BRIAN (prod/songw/MOTOWN) b. 1941-0215, DETROIT, MI HOPKINS, JOEL (g/LIGHTNIN' HOPKINS) d. 1975-0215, GALVESTON, TX 71 JOHNS, GLYN (prod/ROLLING STONES) b. 1942-0215, EPSOM, UK JORDAN, TAFT (tpt) b. 1915-0215, FLORENCE, SC LITTLE WALTER [MARION WALTER JACOBS](hca) d. 1968-0215, CHICAGO, IL 37 MACON, ALBERT (g/ROBERT THOMAS) b. 1920-0215, SOCIETY HILL, AL MENVILLE, MYRA (publisher/2ND LINE JAZZ) d. 1979-0215, NEW ORLEANS, LA 66 NOLAN, LLOYD (v) b. 1939-0215, BASSFIELD, MS RICHBOURG,"JOHN R."(owner:SOUND STAGE RE) d. 1986-0215, NASHVILLE, TN 75 ROBERT, AARON (g) d. 1994-0215, WATERLOO, IO 54 RUSSELL, PEE WEE (clarinet) d. 1969-0215, ALEXANDRIA, VA 62 SCHREIBER, SHERMAN (prod/ATLANTIC REC) b. 1951-0215, ROCHESTER, NY WALKER, HOMER UNCLE (bjo) b. 1898-0215, SUMMERS CTY, W. VA ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 14 Feb 1996 09:41:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Organization: NASA/GSFC Subject: Re: albert collins live CDs >i listened to some of "live: 1992-93" and did not really like it very >much, the horns were pretty bad and the playing didn't seem very good in general. >i see in the noteworthy catalog they have, "live in holland" (1978) >and "live in japan" (1984) - can anyone shed light on the quality of >these both performance and quality-wise? thanx. > later, > fish ------------- reply separator (made it myself from little dashes!)--- I got some AC live album, Frost something or other, you know Albert's thing is how everything is cold and all. Ice this, frost that. Some wise bluezeller will know the title. Anyway I got this Frost some darn thing of his as a live album and I didn't like it either. Opinions may differ, but it's too fonky and show-bizzy for me. Come to think of it, this isn't the same record, is it? Speakin' of show-bizzy, the worst offender I have in this dep't is a recording on B.B. King live at San Quentin where he does some utterly blues-less number about all of us having peace all around the world or some such happy talk. It's just one track, but mighty undesirable IMHO, with giddy blaring horns proclaiming our universal sacharine confraternity. Yucck!! . . . Yet I digress . . . The horns often seem overdone on live blues recordings generally, more fun if you're there I suppose. For Collins, I wonder if studio is best? Blue Joe in Red Russia ("got a cold, cold feelin'... it's just like ice around my heart!") J.E._Downey@bakermck.com ========================================================================= Date: Wed, 14 Feb 1996 10:44:28 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Resonator miking Comments: To: hhardy@bconnex.net Howdy there Hugh, This is a question that several of us have been grappling with for a while... that is: how to properly mike a national or dobro resonator on stage. I had a long talk with a pro sound man named Tex, who is an engineer for Taft Sound which does the sound in 3 very prominent Massachusetts blues clubs, and did our sound last week at The Plantation CLub. In his opinion, the best way to do it is a combination of microphone and pickup mounted in/on the guitar. I've been using a Shure SM57 that I bought specific- ally for this, and was using it incorrectly. I had the mike set an angle to allow free right-hand motion, and pick up sound from about 8 or so inches away. Problem with this is you've got to crank the gain up ridiculously high and end up with a lot of feedback if you're not careful, and the sound may come out sounding weak, besides. Tex said no, no, no....you've got to get the mike about an INCH from the strings, right in the middle of the guitar, leaving room to one side for your strumming/picking hand. You then crank the gain up maybe twice as high as you'd use for voice , but cut the monitor volume down about half to avoid feedback. Ideally, a pickup that goes on under the strings that would plug right into a mike jack would be used to augment this. In his opinion, a mike alone can do the job, and is used by LOTS of great resonator players. A pickup alone doesn't capture true resonator tone since a lot of that "tone" comes from sound that is projected out and away from the guitar by the resonator cones, and maybe the pickup is a little to close to the acti action. This is just the advice of one professional sound engineer, and sure as shootin' twenty other engineers will tell you twenty different techniques, all of which work well for different artists. I'm going to give this a shot myself. :) Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 14 Feb 1996 10:58:26 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Get your mojo working - and answer Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *The song Jackson Browne covered was a Rev. Gary Davis tune, I think Cocaine *Blues or something. Jackson changed the lyrics somewhat but If I recall he *gives credit to Rev. Gary Davis....(I think it's RGD) * *Cocaine, running all through my brain.... Dave Van Ronk also did a nice cover of it, and he added the spoken line "My mucus membranes are a memory!" :) ========================================================================= Date: Wed, 14 Feb 1996 10:59:43 -0500 Reply-To: Scott Mikusko From: Scott Mikusko Subject: Re: Double-Entendre Blues Comments: To: Barry Bean In-Reply-To: <4fst4t$e7f@spectator.cris.com> On Wed, 14 Feb 1996, Barry Bean wrote: I must be on this mailing list without my knowing it! Please unsubscribe this account from BLUES-L. May it's mixed up with my DANCE-L subscription. -Scott -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= Scott T. Mikusko "My patience keeps me plaintive, Internet Services Technical Support My high hopes keep me alone..." Concentric Network Corporation -Gin Blossoms "The Internet Guerilla" -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= ========================================================================= Date: Wed, 14 Feb 1996 11:00:00 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: Primich Itinerary Here we are again fans... Gary Primich's coming itinerary: 2/29. Poets/Lafayette LA 3/1. Sixth Street/Monroe LA 3/2. Margaritaville/New Orleans LA 3/7. Rick's /Tyler TX 3/8. J&J Blues Bar/Fort Worth TX 3/9. La Zona Rosa/Austin TX 3/14. Muddy Waters/Dallas TX(W/Mike Morgan) 3/16. Saxon Pub/Austin TX(South By Southwest Music Conference Showcase) 3/21. Stevie Rays/Louisville KY 3/22,23. Flytraps/Elkhart IN 3/26. Hickey Tavern/Alleghany NY 3/27. Dinasor BBQ/Syracuse NY 3/28. Hartford CT 3/29. Lafayette Tap Room/Buffalo NY 3/30. Morganfields/Portland ME 3/31. Hot Rod Cafe/Sharon PA 4/2. Slippery Noodle/Indianapolis IN Cathi N. ========================================================================= Date: Wed, 14 Feb 1996 10:34:49 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Re: I need more Robert Nighthawk! Comments: To: Steve.Levine@corp.wrgrace.com In-Reply-To: <95881359@MHS> from "Steve Levine" at Feb 14, 96 09:42:05 am According to Steve Levine: > > I've been listening to Robert Nighthawk a lot lately, and he's quickly > becoming one of my favorite Delta/Chicago blues artists. The only > albums I have by him are Bricks in my Pillow and Live on Maxwell > Street. I need more. I'm ordering the Nighthawk/Houston Stackhouse > Testament cd. There is a cd called Robert Nighthawk & Wampu Toasting > The Blues listed on the cd connection. Is this any good? Are there any > other Nighthawk albums out there that are easy to find? He was a > featured artist on a local blues show recently, and the dj played a lot > of stuff by him I had never heard before (including one track with > Little Walter on harp!). If there is not much available on cd, isn't it > time some of his work was reissued? Steve, I'm not sure, but I think the Robert Nighthawk & Wampu Toasting the Blue disc is another Robert Nighthawk...It could be the same person as the guy in the Memphis Sheiks who calls himself Robert Nighthawk II. There is an LP (Charly might have released it on CD, but I have the vinyl) called "Black Angel Blues", which has Robert's Chess material from the late 40s and early 50s. This also includes sides by his wife of the the time, Ethel Mae. I would recommend the Testament CD, which I believe has Little Walter playing harp on a couple of tracks. His pre-war recordings when he was known as Robert Lee McCoy or Robert McCollum (his real name, I believe) are available on a Wolf CD...The sound quality on this disc is so-so since the songs were obviously dubbed from worn 78s, but these are some classic pre-war Delta blues. -Peter ========================================================================= Date: Wed, 14 Feb 1996 11:22:03 -0400 Reply-To: MARCIAG@VMS.CIS.PITT.EDU From: Marcia Grodsky Subject: Blues Bytes I got my copy of Blues Bytes yesterday and it was great fun matching the music to the people whose posts I've been reading for the past two years! Of course I've long been acquainted with the talents of Billy Price (still was a treat to hear different versions of his songs!) but this was my first listen to talents like Cathi Norton, Willy Evans et al. Many thanks to Bob Unger and everyone else who made this possible. ---Marcia Grodsky ========================================================================= Date: Wed, 14 Feb 1996 08:30:18 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Pickups for National guitars Comments: To: BLUES-L@BROWNVM.BROWN.EDU. LW said: >Stwart Macdonald sells the Highlander Pickup system for a few bucks cheaper >but you have to install it yo-self or get someone to do it. National has a mounting system they developed (involving Bondo, I believe) that they know works. I'd pay the extra and have them do it. Years ago I would have done it myself, now I just want to play! >I think John Nicholas said it best: I asked him how he amp'd his National when >he played live and he said he mic'd it. I asked if he ever comsidered using a >pickup and he replied "If your playing somehere and a mic'd National can not >be heard, then you might as well be playing Rock N Roll with a Strat cause >nobody's listening anyway"... Man is he right! DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Wed, 14 Feb 1996 08:35:34 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Resonator miking Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Rick said: >This is just the advice of one professional sound engineer, and sure as >shootin' >twenty other engineers will tell you twenty different techniques, all of which >work well for different artists. I'm going to give this a shot myself. :) I want to second his opinions. Good advice! DC You cannot beat the right mic, in the right place. ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Wed, 14 Feb 1996 10:35:35 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Pickups for National guitars In-Reply-To: Message of Wed, 14 Feb 1996 08:30:18 -0800 from On Wed, 14 Feb 1996 08:30:18 -0800 Don Cicchetti said: >LW said: > >>Stwart Macdonald sells the Highlander Pickup system for a few bucks cheaper >>but you have to install it yo-self or get someone to do it. > >National has a mounting system they developed (involving Bondo, I believe) >that they know works. I'd pay the extra and have them do it. Keb Mo had National put one on his new National. I sold a fellow my National Reso-Phonic (3/4 scale, semi hollow) and gave him the Stew-Mac catalog cause he wanted a Highlander PU put in it. You can buy an external battery "kit", but this FOOL (yeah I said that) routed the guitar out in order to put the battery in it. If I had known he was going to screw up a 50's Reso- Phonic I would have not have sold it to HIM... LW "I wish I still had the Reso-Phonic' ========================================================================= Date: Wed, 14 Feb 1996 11:09:54 -0600 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Liner Notes Do people get paid for writing liner notes? Some are very informative and if published as an article they would get paid. Others are just brief descriptions or personal anecdotes. Bruce Roberts Austin, TX ========================================================================= Date: Wed, 14 Feb 1996 17:27:53 GMT Reply-To: "Kirk N.R. Graham" From: "Kirk N.R. Graham" Organization: Dalhousie University Subject: Toronto Blues Question Comments: To: bit-listserv-blues-l@uunet.uu.net I was curious if anyone knew how to find blues listings over the internet. I'm going to be in the Toronto area this summer and would love to find listings on a)the web b)through gopher c)through usenet d)anyother way. Thanks in advance, Kirk 'Harper' Graham ========================================================================= Date: Wed, 14 Feb 1996 12:25:37 -0500 Reply-To: Michael Kaloyanides From: Michael Kaloyanides Subject: Blues Bytes I would like to offer a big thank you to Bob Unger and all the other Bluezellers who contributed to making Blues Bytes such a treat. It was great to hear Cathi Norton, Willy Evans, Leo Aspiras, Ron Kraemer, and all the others after having read their posts for some time now. Dick Waterman and LW collaborating on lyrics? WOW! What's that all about? Fie on those criticizing the tape for petty shortcomings. One thing I found very interesting about the tape was the SRVaughanisms in much of the guitar playing. I didn't notice any significant Eric Clapton copping :-). What might that mean? All in all this was a great effort. THANK YOU!! Michael G. Kaloyanides Department of Music and Sound Recording University of New Haven ========================================================================= Date: Wed, 14 Feb 1996 11:41:53 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Retirement Home gig The retirement home "activities" lady called me to comfirm this Saturday's plans. She said she was spotlighting the South during February and thought the blues would fit right in. She told me to expect a lot of blues questions from the residents and wanted me to tell about the blues, bring some pictures ...etc. It will be the first time I've played "Terraplane Blues" in front of people, where most of them know what a Terraplabne is. I'm going to let them tell me about Terraplanes. My harp playing friend (first public performance) is a nervous wreck. I've talked him into singing "Trouble In Mind" and "Can't Be Satisified" , which he does well. He is becoming a very good harp player, I hope this will enocourage him to play real gigs with me. We're throwing in a couple of early R&R tunes and starting out with Hank Williams "Move It On Over" (not Thorogood's version :-)). I don't usually play that, but it will give the harp player an easy tune to start out with... The highlight will no doubt be my eight year old son, singing "Mannish Boy" or "I'm A Man"...Whichever you prefer. He's READY and wanted to know if he could try and get them to clap on "the beat"...I said "Do your thang"... LW 'the show will be captured on video" ========================================================================= Date: Wed, 14 Feb 1996 13:04:36 -0500 Reply-To: Georgem99@AOL.COM From: George Macy Subject: No Goodman,Holiday Affair In Correction- Hammond, Goodman muddle I wrote that I doubted that it took much persuasion on John Hammond's part to get Goodman together with Teddy Wilson and other African-American musicians. In response David Silberberg wrote >Or, earlier, to work with - and have an affair with (?) - Billie Holiday- wasn't >Goodman playing on her first recordings? Yes, Benny Goodman recorded occasionally with Billie Holiday starting in 1934. He and Teddy Wilson both played on a number of Holiday recordings including Miss Brown to You and What a Little Moonlight Can Do. But does this indicate that Goodman had an affair with Holiday? No. In Ross Firestone's very frank biography of BG there is no mention of an affair between the two. Goodman apparently took full advantage of his appeal as the great swing band leader in the late 30's with many female fans, but this is irrelevant to the Holiday connection! ========================================================================= Date: Wed, 14 Feb 1996 11:19:11 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0174 From: "DUTTWEILER.J" Subject: Re: Double-Entendre Blues Date: Wednesday, 14 February 1996 11:19am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: Double-Entendre Blues In-Reply-To: The letter of Wednesday, 14 February 1996 10:57am ET Terraplane blues as performed by John Lee Hooker and Roy Rogers from the Roy Rogers "Slidewinder" album: Who been driving my Terraplane, Terrapline, little girl, since I been gone? Whose been driving my Terraplane, Terrapline, Teraplane little girl, since I been gone? I flash my lights, and my horn won't even blow. Raise your hood, raise your hood, gotta check your oil this morning. Hey, raise your hood, raise your hood, mash up your hood, gonna check your oil this morning. I think you gotta lose connection, lose connection, little girl way, way down low. You gotta good little car, good little car baby, you drive it too much night and day. You gotta good little car, good little, good little car, you drive it too much, too much night and day. You gotta nice Terraplane, nice Terraplane, but it won't last long the way you drive. It seems pretty clear throughout the song what he was talking about, but, as many have pointed out before, RJ had a very imaginative way of putting things. Another good one of his would probably be Phonograph Blues (a line about "wearing my needle off" or something to that effect.) Jon Duttweiler ========================================================================= Date: Wed, 14 Feb 1996 13:46:29 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: BB King marital status? Just a point of interest....is BB married, or has he been? I have never heard mention of a particular lady in his life, although no one sings more convincing- ly of the woes between men and women. It seems like all the ladies of blues who are in his "peer group" surely do fall all over him and perform wonderfully opposite him. ...and then of course there's Lucille... Curious, Riffin Rick (((( oo-) /- Now that it's all over, all I can do is wish you well... F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 14 Feb 1996 10:50:19 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: JOSH WHITE & SONNY BOY WILLIAMSON : 1963 MERCURY SESSIONS Since I've had a few emails about the recordings made by Josh White and Sonny Boy (Rice Miller) Williamson , I've decided to post this. I first learned of these albums (MERCURY MG20724/20821 : JOSH WHITE - THE BEGINNING VOL. 1 & 2) from Mike Leadbitter (of BLUES UMLIMITED). Both albums make no mention of Sonny Boy Williamson! Maybe Mary Katherine Aldin can suggest to POLYGRAM that they should reissue both the albums on one 24 track CD. The discographical data comes from THE MERCURY LABELS : A DISCOGRAPHY V.2. See reference below for complete details on how you can acquire this discography. By the way, Sonny Boy Williamson also recorded one track ("THE MONKEY THING") with Roland Kirk as "Big Skol". It's available on Mercury MG20894 : KIRK IN COPENHAGEN (recorded at The Club Montmartre, October 1963) or the Roland Kirk boxset. Also, the 'Crawdaddy Club' set with Sonny Boy Williamson, Eric Clapton & The Yardbirds - now available on EVIDENCE CDs - was first released on Mercury Records. "UNCLE" eRIC Josh White (vcl, gtr) Sonny Boy Williamson (hca) Floyd Morris (p) Herb Brown (b) Eddie Williams (d) Chicago, Friday-Saturday, January 4-5, 1963 26876 BLUES COME FROM TEXAS MERCURY MG20724 26877 HARD-HEADED WOMAN MERCURY MG20821 26878 IN THE EVENING MERCURY MG20724 26879 EVIL HEARTED MEN MERCURY MG20724 Josh White (vcl, gtr) Sonny Boy Williamson (hca) Floyd Morris (p) Herb Brown (b) Eddie Williams (d) Chicago, Monday-Tuesday, January 7-8, 1963 26886 GOIN' DOWN SLOW MERCURY MG20821 26887 HOW LONG MERCURY MG20821 26888 'LIJAH MERCURY MG20724 26889 HOWLIN' WOLF MERCURY MG20724 26890 LULA MERCURY MG20821 26891 YOU DON'T KNOW MY MIND MERCURY MG20821 26892 DEATH COMIN' BACK AFTER YOU MERCURY MG20821 26893 SIT DOWN SERVENT UNISSUED 26894 JESUS GONNA MAKE UP MY DYING BED UNISSUED 26895 HOE BOYS, CAN'T YOU LINE 'EM MERCURY MG20724 26896 TAP 'EM UP SOLID Josh White (vcl, gtr) Bobby Scott (p) Richard Davis (b) Chicago, Wednesday, January 16, 1963 26943 SIT DOWN SERVANT MERCURY MG20724 26944 HOW ABOUT YOU MERCURY MG20821 26945 DEATH COMIN' BACK AFTER YOU UNISSUED 26946 MY FATHER IS A HUSBAND MAN MERCURY MG20724 26947 PAUL AND SILAS (1) MERCURY MG20821 26948 LULA UNISSUED (1) vcl double-tracked Josh White (vcl, gtr) Bobby Scott (p) Richard Davis (b) Chicago, Saturday, January 19, 1963 26955 HEAVEN IN MY VIEW (1) MERCURY MG20821 26956 KEY TO THE KINGDOM MERCURY MG20724 26957 JOB 19 (1) MERCURY MG20724 (1) vcl double-tracked Reference: The Mercury Labels: A Discography (Five Volumes) =============================================== Compiled by Michel Ruppli and Ed Novitsky. Greenwood Publishing Group, 88 Post Road West, Box 5007, Westport, CT.06881-5007. Toll-Free: 1-800-225-5800; Tel: 203-226-3571 ; Fax : 203-222-1502 ; Web Site or ========================================================================= Date: Wed, 14 Feb 1996 19:57:19 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: BB King marital status? Comments: To: MILLER@SCI.WFBR.EDU >Just a point of interest....is BB married, or has he been? I have never heard >mention of a particular lady in his life, although no one sings more >convincing- >ly of the woes between men and women. It seems like all the ladies of blues >who are in his "peer group" surely do fall all over him and perform wonderfully >opposite him. > >...and then of course there's Lucille... > >Curious, Yes, BB has been married and has a load of children. But He is divorced nowdays and says that he regrets getting married so early in life. Mr Bo ========================================================================= Date: Wed, 14 Feb 1996 11:00:00 PST Reply-To: Gary Joneson From: Gary Joneson Subject: Re: Toronto Blues Question Tornoto Blues Society at: http://www.io.org/~tbs/ >I was curious if anyone knew how to find blues listings over the >internet. I'm going to be in the Toronto area this summer and would love >to find listings on a)the web b)through gopher c)through usenet Gary BluesWEB http://www.island.net/~blues/ ========================================================================= Date: Wed, 14 Feb 1996 10:45:52 -0800 Reply-To: Carla From: Carla Hello! I love big-band music, and I was wondering where I could find this type of music in the stores. Are there a lot albums out on Glenn Miller, Tommy Dorsey, etc.? If anybody knows the names of these albums, please let me know. Thanks! ========================================================================= Date: Wed, 14 Feb 1996 14:02:08 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Joni and Furry's Blues Comments: To: bit-listserv-blues-l@uunet.uu.net In article , Art Schuna writes: >> Pardon my ignorance, but I've been told I sound like Joni Mitchell and >> I was just wondering if Joni Mitchell ever did any blues. > >She wasn't a blues singer although she did a song with a line something >about Furry Lewis singing the blues. Apparently she spent some time with >him and then put together a song about. I vaguely recalled that it kind of >pissed him off at the time. Can anyone remember this song & what album it's >on? Many of the rock stars of the 70s would ask to visit Furry Lewis during their stays in Memphis. Joni dropped by one afternoon, without the obligatory tribute of Pall Malls and Ten High or donation of a few dollars to the house, I might add. Several months later, Furry found out that she had "used" his name in a song, "Furry Sings the Blues." He viewed it as a case of someone using his name to make money and not as a tribute. Every after, we could get a "rise" out of Furry just by mentioning Joni's name. It was kinda entertaining. ;-) Furry had a unique perspective, to say the least. When Burt Reynolds' studio approached Furry for a cameo in "W.W. and the Dixie Dancekings," Furry's attorney, Irvin Salky, entered the negotiations. The studio had offered $5,000 and Irv was convinced he could get that doubled for Old Furry, but before he had a chance to bargain, Lee Baker put Furry in the car and they headed for Nashville. After the movie was released, Furry called Irv one day and said, "I wants to sue Burt Reynolds." Irv said, "Look, Furry, I was going to get you $10,000, but you showed up on the set before I had a chance to negotiate." Says Furry, "It ain't the money. A friend of mine saw the movie, and my name AIN'T up in lights like it should be." He was a trip! I can still picture Furry offering sips of whiskey to his visitors and then holding the bottle up to the light and squinting at it through his cataracts to see how big a gulp the guest had taken. Denise ========================================================================= Date: Wed, 14 Feb 1996 14:04:00 -0600 Reply-To: "timothy (t.b.) bosley" From: "timothy (t.b.) bosley" Subject: Robben Ford, anyone? I have a 20" x 30" autographed poster of Robben Ford and the Blue Line for _Handful of Blues_. If interested in it, email tbosley@bnr.ca with subject line Robben. ========================================================================= Date: Wed, 14 Feb 1996 15:42:17 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Seeking Info on Marcia Ball Can anyone tell me who manages, or how to contact, Marcia Ball? Thanks much! Shannon ========================================================================= Date: Wed, 14 Feb 1996 16:20:16 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0394 From: "DUTTWEILER.J" Subject: Robben Ford, anyone? Date: Wednesday, 14 February 1996 4:19pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Robben Ford, anyone? In-Reply-To: The letter of Wednesday, 14 February 1996 4:16pm ET >I have a 20" x 30" autographed poster of Robben Ford >and the Blue Line for _Handful of Blues_. If interested > in it, email tbosley@bnr.ca with subject line Robben. Yeah, how much are you offering to take it off your hands? Hey, just curious ========================================================================= Date: Thu, 15 Feb 1996 08:55:00 PST Reply-To: David Blanken From: David Blanken Subject: Re: Double-Entendre Blues >I don't want to focus on explicit songs about sex, but on >more subtle (or perhaps not-so-subtle) blues metaphors for >sex...you know, songs about food, cars, trains, etc. that aren't really >about those things. Robert Lucas does a great double-entendre blues on his "Layaway" album on Audioquest. The tune is called "Chiropractor blues" "Let me be your chiropractor, baby I want to pop a bone or two in you ..." **************************************************************************** ****** David Blanken National Library of Australia Email: D.Blanken@nla.gov.au Phone: (06) 262 1473 **************************************************************************** ****** ========================================================================= Date: Wed, 14 Feb 1996 22:07:21 GMT Reply-To: MATTHEW HASSALL From: MATTHEW HASSALL Organization: Brock University, St. Catharines Ontario Subject: Re: King Curtis -Reefer Smoker Art Schuna (aschuna@VMS2.MACC.WISC.EDU) wrote: : > FROM: Michael Marshall : > I'm also in search of a blues tune I believe is done by King Curtis called : > Reefer Smoker. : You are probably thinking about King Curtis & Champion Jack Dupree's " : Junker's Blues" which has an opening line of "They call me a reefer : smoker, well every word they say is true". It's on "Blues At Montreux" : on Atlantic (81389-2), a fine live set combining the talents of these : two artists. : Art Schuna Talkin' 'bout that groovin' album.......who is the guitar player behind the big boys? please e-mail me the answer. Matt ========================================================================= Date: Wed, 14 Feb 1996 18:11:16 -0500 Reply-To: Renato154@AOL.COM From: Renato Tonelli Subject: Re: Big Jack Johnson manager Does anyone know who manages Big Jack Johnson? Thank you in advance for any information. Renato Tonelli ========================================================================= Date: Wed, 14 Feb 1996 23:24:08 GMT Reply-To: Art Schuna From: Art Schuna Organization: UW-Madison Subject: Re: Spivey Records Comments: To: bit-listserv-blues-l@uunet.uu.net In article , tbone1@IO.COM says... > >On Wed, 14 Feb 1996, Claudio Caponi MARNR wrote: > >> Has anything on Spivey Records ever been reissued on CD? I don't think so. But the LPs are still available. Cadence magazine lists them in their catalog section and you can order directly from them. > >I recently bought the cd "Songs We Taught Your Mother" by Victoria >SPivey, Lucille Hegamin, and Alberta Hunter. I *think* that was >originally on the Spivey label. I'm pretty sure this was an Original Blues Classics Prestige/Bluesville release. I have the LP at home - definitely not Spivey Records. Spivey records have a very definite "home made" quality to their appearance. The LP you mention was too commercial looking to be a Spivey release. Art Schuna ========================================================================= Date: Wed, 14 Feb 1996 23:08:04 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: I need more Robert Nighthawk! Comments: To: bit-listserv-blues-l@uunet.uu.net Steve Levine wrote: > >I've been listening to Robert Nighthawk a lot lately, and he's quickly >becoming one of my favorite Delta/Chicago blues artists. The only >albums I have by him are Bricks in my Pillow and Live on Maxwell >Street. I need more. I'm ordering the Nighthawk/Houston Stackhouse >Testament cd. There is a cd called Robert Nighthawk & Wampu Toasting >The Blues listed on the cd connection. Is this any good? Are there any >other Nighthawk albums out there that are easy to find? He was a >featured artist on a local blues show recently, and the dj played a lot >of stuff by him I had never heard before (including one track with >Little Walter on harp!). If there is not much available on cd, isn't it >time some of his work was reissued? Steve, Robert Nighthawk began recording in the 1930s, and this stuff is worth hearing. Document *may* have a Robert Nighthawk (a/k/a Robert Lee McCoy and Robert Lee McCollum) collection--I don't know for sure. I have a few of his pre-war cuts scattered across various compilations, and they're all good. Nighthawk was one of the earliest blues artists to record for Aristocrat (which of course later became Chess). His first recordings for the label were in 1948, and he followed this up with sessions in '49, '50, and then again in '64. All of these recordings, some of which weren't originally released, have been collected on a CD called "Robert Nighthawk/ Forest City Joe--Black Angel Blues" released by Charly in England around 1991. This is an essential CD for any fan of Nighthawk, and contains some of his greatest stuff, much of it in the same mold as the "Bricks In My Pillow" album, and featuring support by Willie Dixon, Pinetop Perkins, and other veterans. There's also a female singer on a few cuts. (BTW, the Forrest City Joe stuff included on the set is kind of interesting too, although not essential. F.C.J. Pugh is the harp player that Louis Myers singled out as being one of the best he ever heard--and Louis played with Little Walter. Unfortunately, everything that FCJ recorded sounds almost exactly like John Lee Williamson, and on the 8 cuts included on this set he's backed by a not-very-sympathetic guitarist.) Anyway, this Cd might still be available; it's on Charly, and the catalog number is CD RED 29. Scott ========================================================================= Date: Wed, 14 Feb 1996 23:09:32 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Miking National guitars Comments: To: bit-listserv-blues-l@uunet.uu.net >From: Don Cicchetti >Subject: Re: mic a resonator >Comments: To: BLUES-L@BROWNVM.BROWN.EDU. >Lines: 38 >Roger said: (concerning mic'ing a resonator guitar) >When miking: If possible, use two microphones, one on the f-hole, which >will pick up more of the "air" sound (better bass response), and one closer >to where you are picking, to get the resonator "twang" Any reasonable >quality cardioid mic. will do for both these positions. >This is a good idea, just realize there may be some phase cancellations if >those mics are panned mono, since they are so close. If the system is >stereo, you can pan one hard left, and the other hard right, and play with >the balance out in the room. Also, you might try flipping the polarity >on one of the mics if they are used in mono. Don, I'm curious; wouldn't reversing the polarity of one of the two mics virtually guarentee an out-of-phase recording? I'm nowhere near an expert, but it seems to me that *much* of the signal--any frequencies that happen to be shared by both mics--would be cancelled out by doing this. So wouldn't you lose most of the mids, which is where most of the sound is on this instrument? I've recorded my resonator, and it sounds pretty good from a distance-- these were made to project a lot of sound, after all--so I would think that one close mic and another one six or so feet away would capture most of what needs to be captured. It seems that there wouldn't be any (or many) phasing problems that way because of the relatively different frequencies each mic would accetuate, and the fact that the frequencies that do overlap aren't arriving at *exactly* the same time, so they wouldn't tend cancel each other out. Or so it would seem to me...am I confused? Scott ========================================================================= Date: Wed, 14 Feb 1996 23:28:07 GMT Reply-To: Art Schuna From: Art Schuna Organization: UW-Madison Subject: Re: I need more Robert Nighthawk! Comments: To: bit-listserv-blues-l@uunet.uu.net In article <95881359@MHS>, Steve.Levine@CORP.WRGRACE.COM says... > > BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f# B > ROWN#f#EDU@s1boca.corp.wrgrace.com >To: Netnews Server > >I've been listening to Robert Nighthawk a lot lately, and he's quickly >becoming one of my favorite Delta/Chicago blues artists. The only >albums I have by him are Bricks in my Pillow and Live on Maxwell >Street. I need more. I'm ordering the Nighthawk/Houston Stackhouse >Testament cd. There is a cd called Robert Nighthawk & Wampu Toasting >The Blues listed on the cd connection. Is this any good? This is not the same artist but a guy who calls himself Robert Nighthawk II. I haven't heard it so I can't say how good it is, but I'm skeptical. There is a collection of early Robert Nighthawk on Document (he goes by the name of Robert Lee McCoy on this disc). He also plays on a few of the early tracks by Sonny Boy Williamson I on Document,but I can't remember which disc. I think there is also a disc of later Robert Nighthawk with Forrest City Joe on Charly (I think) but given Charly's legal problems, I'm not sure if this is still available. Art Schuna ========================================================================= Date: Wed, 14 Feb 1996 23:54:03 GMT Reply-To: "J.J. Perry" From: "J.J. Perry" Organization: Indiana University Subject: Willie "Big Eyes" Smith Comments: To: bit-listserv-blues-l@uunet.uu.net For all interested parties in and around Bloomington, IN (about an hour, hour and a half south of Indianapolis), WILLIE "BIG EYES" SMITH and THE LEGENDARY BLUES BAND will be appearing this Saturday, Feb. 17, at Bear's Place, 1306 E. 3rd St. Willie will be doing two shows, 7 and 10 pm, and tickets are going for a meager $7. For anyone interested, I'll be posting a review of the show on my brand new web page, at: http://silver.ucs.indiana.edu/~jjperry Right now, I don't have much up on it, but I hope to start posting different articles on blues and such, and get a web page going strong for my band, THE AUTOMATICS. Thank you much, J. J. ========================================================================= Date: Wed, 14 Feb 1996 20:08:35 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: St. Louis Welcome Blues-L Convention!! On behalf of myself and the St. Louis Blues Festival we welcome the First-ever Blues-L Convention to St. Louis over Labor Day weekend. I have been saving the responses of all who have indicated an intention to attend and of those who have offered to help. I will be in touch with you once I get a little clearer idea of the agenda. Anyone who has not posted and decides to attend should e-mail me so we can get an idea of the size of the group. As a starting point to get this going, I would ask all of you who plan to attend to e-mail me with some idea of what you would like to see happen at the event. Bear in mind that there are probably two solid days of daytime St. Louis Blues Festival acts to catch, and lots of the out-of-town acts as well as many St. Louis acts will be playing 8-12 or 9-1 in many local clubs during the evenings. Whatever else we do, we will all get the chance to meet each other, and to see plenty of good blues. The Blues Festival organizers will be assisting in arranging a block of hotel rooms, hopefully with a discount, and have offered free festival admission and backstage passes to Blues-L conventioneers. St. Louis has a long blues history from Chuck Berry, Johnnie Johnson and Little Milton to Albert King to Peetie Wheatstraw, Henry Townsend and Walter Davis. I have put a list of every St. Louis blues musician I can think of, past and present, greater and lesser, on my web page, and the list is a long one. I look forward to meeting all of you who attend and will do my best to share the blues and other delights of St. Louis with you. Joel Slotnikoff Joel Slotnikoff, Publisher | BLUES WORLD e-mag Box 21652 | http://www.bluesworld.com St. Louis, MO 63109 | Acme Guitar, Blues Estafette TEL (314) 647-2447 | Blues & Rhythm: The Gospel Truth FAX (314) 647-2497 | Roots & Rhythm, Testament Records joelslot@inlink.com | SONO, Vintage Jazz Mart, Wayhi Tapes ========================================================================= Date: Wed, 14 Feb 1996 20:00:15 EST Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: NE Blues The blues scene in New England fortunately is not suffering as other areas of the country have been (some have been discussed on the list). I can't really speak out of personal experience as far as Boston and northern N.E., but Connecticut and western Mass are loaded with clubs booking local and national artists. A fair number of local artists have gone on to national or international recognition. Among those (with apologies up front to any I miss) are: Ronnie Earl, Duke Robillard, Tony Z, Greg Piccolo, Jesse Austin (who of course is not really "local" but has been in CT long enough that some of us consider him one of our own), James Montgom- ery, Roomful of Blues (which included some of the above). There are more, but I'm trying to be relatively brief. Several other area bands are beginning to garner wider attention to some degree. A few: Garry and the Moodswingers, whose CD "Go Fever" received a fav- orable review in Living Blues and has gotten airplay accross the country; Mark Nomad, whose disc "Got to Carry On" are to be reviewed by Blues Access and Blues Review; The Sandra Wright Band; Susan Tedeschi; and Ramblin' Dan Stev- ens. There are also a good number of bands which have gotten (so far) only local or regional recognition. Some of these bands are very good, but again, I'm trying not to go on and on. Personal favorites include The Hornets and The Burt Teague Group (who are more towards blues-rock, but good). My web site (address below) includes a concert calendar which shows how busy the area is with local and national artists(I'll be updating the calendar again on Thursday). I only hope that the area can continue to support so much activity. Most of the clubs on the calendar are within an hour of Hartford, with none of them more than about two hours apart. Alright, enough from me, any other New Englanders out there? Dave Carpenter Blues Music Director WHUS-FM Storrs, CT http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Wed, 14 Feb 1996 17:02:20 -0800 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Subject: Re: Phase (was- Miking National guitars) >>From: Don Cicchetti >>Subject: Re: mic a resonator >>Comments: To: BLUES-L@BROWNVM.BROWN.EDU. >>Lines: 38 > >>Roger said: (concerning mic'ing a resonator guitar) > >>When miking: If possible, use two microphones, one on the f-hole, >which >>will pick up more of the "air" sound (better bass response), and one >closer >>to where you are picking, to get the resonator "twang" Any reasonable >>quality cardioid mic. will do for both these positions. > >>This is a good idea, just realize there may be some phase cancellations >if >>those mics are panned mono, since they are so close. If the system is >>stereo, you can pan one hard left, and the other hard right, and play >with >>the balance out in the room. Also, you might try flipping the >polarity >>on one of the mics if they are used in mono. > >Don, I'm curious; wouldn't reversing the polarity of one of the two mics >virtually guarentee an out-of-phase recording? I'm nowhere near an >expert, but it seems to me that *much* of the signal--any frequencies >that happen to be shared by both mics--would be cancelled out by doing >this. So wouldn't you lose most of the mids, which is where most of the >sound is on this instrument? > >I've recorded my resonator, and it sounds pretty good from a distance-- >these were made to project a lot of sound, after all--so I would think >that one close mic and another one six or so feet away would capture most >of what needs to be captured. It seems that there wouldn't be any (or >many) phasing problems that way because of the relatively different >frequencies each mic would accetuate, and the fact that the frequencies >that do overlap aren't arriving at *exactly* the same time, so they >wouldn't tend cancel each other out. Or so it would seem to me...am I >confused? > >Scott I would not lose too much sleep over the phase cancellation question here. To start with, if one were to closely examine the "sources" of sound on these MOST peculiar (physically/acoustically) instruments, one would realize that the very nature of the sound is of combinations of phase from at least two primary sources: the resonator, and the air being expelled from the f-holes. As far as distance miking in combination with tight miking; I have tried this in a fairly controlled setting, and I would only use it to create "room" sound. For any purists out there (I'm sometimes accused of being one!) this creates a more authentic "old-timey" kind of sound than a lot of the effects that we find in modern studios. Another good approach to recording (I thought this post dealt originally with LIVE sound re-inforcement, but hey, there ya go....): if you've got one handy, use a Neumann and set the pattern "wide" ....... this'll get the whole sound pretty much the way our human ear-holes would get it, if we were sitting right in front of the player............. (BTW - I don't intend to sound sarcastic here...... I am a lover of reso guitars, too!!) - Roger B. ========================================================================= Date: Wed, 14 Feb 1996 17:07:32 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Miking National guitars Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Previously: >>Roger said: (concerning mic'ing a resonator guitar) >>When miking: If possible, use two microphones, one on the f-hole, >which will pick up more of the "air" sound (better bass response), and one >closer to where you are picking, to get the resonator "twang" >>Any reasonable quality cardioid mic. will do for both these positions. I said >>This is a good idea, just realize there may be some phase >>cancellations if those mics are panned mono, since they are so close. >>If the system is stereo, you can pan one hard left, and the other hard right, >>and play with the balance out in the room. >>Also, you might try flipping the polarity >>on one of the mics if they are used in mono. Scott said> >Don, I'm curious; wouldn't reversing the polarity of one of the two mics >virtually guarentee an out-of-phase recording? I'm nowhere near an >expert, but it seems to me that *much* of the signal--any frequencies >that happen to be shared by both mics--would be cancelled out by doing >this. So wouldn't you lose most of the mids, which is where most of the >sound is on this instrument? This would be true for a perfectly coincident pair of mics only (the mic capsules being exactly the same distance from the sound source). The original phase problem I was warning about, was created by summing a non-coincident (*not* the same distance from the sound source) mic pair to mono. Slight movements in the front-to-back position of one mic in relationship to the other in this type of array, will cause the comb filtering (constructive and destructive interference points) of the two mics to shift rapidly and profoundly (especially in the high frequency region). Some of this phenomenon actually *depends* on the fact that the mics are in phase, as the slight delay of one of them being overlayed on the other when summed mono often creates radical cancellations. Try this: Have a friend play acoustic guitar, take two mics (make sure they use the same output pin as "hot", or they may be reversed already!), run them into your mixer, pan them both to center, listen on phones. Start with them fairly close together, and both the exact same distance from the guitar, and start sightly moving one of them further away from the guitar. The shifting frequency response as the comb filter moves around is pretty amazing. Now reverse the polarity on one of them. (swap pins 2 & 3 only, don't swap pin one with anything!) You can do this by rewiring one of the mic cords, or you can buy a "barrel" and wire it to do this. You certainly *will* still get cancellations, but because the second mic is out of phase with the first, the two waveforms don't cancel in such a radical way when they are non-coincident (in most guitar mic'ing situations). Often time you will get a fuller, and richer tone with this method, because of the way they sum. Remember, in the situation I was orignially referring to, the two mics are *already* out of phase because they are not coincident! You can be just as out of phase with acoustic delay (at a given frequency) as with polarity reversal. BTW, polarity reversal on non-coincident mic pairs is done all the time in the studio. Works great. Another reason why pro mixers have polarity switches on 'em! Hope this was helpful, and don't forget to experiment; remember some people *love* comb filters all over their recordings. >I've recorded my resonator, and it sounds pretty good from a distance-- >these were made to project a lot of sound, after all--so I would think >that one close mic and another one six or so feet away would capture most >of what needs to be captured. It seems that there wouldn't be any (or >many) phasing problems that way because of the relatively different >frequencies each mic would accetuate, and the fact that the frequencies >that do overlap aren't arriving at *exactly* the same time, so they >wouldn't tend cancel each other out. Or so it would seem to me...am I >confused? No, you're just describing two different situations. The one under discussion was a live sound mic technique, not recording, and the second mic was lots closer than six feet, as a matter of fact it was within a few inches of the distance from the sound source of the first mic. By the time you get a mic six feet back from another mic, you have so much delay, echo, and room sound happening that the comb filters aren't an issue any more. The delay is too long! In the studio, I would mic a resonator with a spaced-pair (the mics are the same distance from the sound source, but seperated from each other by various distances) of B&K's or Neumann's into a great tube mic preamp, and print in stereo to two tracks at once. Get the amount of room sound you want by moving the pair closer or further from the guitar. If you have a nice sounding room to work in, this method will knock your socks off. good luck Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Wed, 14 Feb 1996 20:07:23 -0500 Reply-To: priley@CNBCNEWS.NBC.COM From: "Patrick L. Riley" Subject: UNSUBSCRIBE I'D LIKE TO BE TAKEN OFF OF THE BLUES LIST... Because e-mail can be altered electronically, the integrity of this communication cannot be guaranteed. ========================================================================= Date: Wed, 14 Feb 1996 16:51:01 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Guitar Shorty Does anyone know if David "Guitar Shorty" Kearney's early recordings for Cobra are available on any compilations? Thanks, -Peter ========================================================================= Date: Wed, 14 Feb 1996 18:33:09 -0500 Reply-To: Dave Melton From: Dave Melton Subject: Re: Albert Collins Live CD's >>i listened to some of "live: 1992-93" and did not really like it very >>much, the horns were pretty bad and the playing didn't seem very good >in general. > >>i see in the noteworthy catalog they have, "live in holland" (1978) >>and "live in japan" (1984) - can anyone shed light on the quality of >>these both performance and quality-wise? thanx. > >> later, >> fish >------------- reply separator (made it myself from little dashes!)--- > >I got some AC live album, Frost something or other, you know Albert's >thing is how everything is cold and all. Ice this, frost that. Some >wise bluezeller will know the title. Anyway I got this Frost some >darn thing of his as a live album and I didn't like it either. >Opinions may differ, but it's too fonky and show-bizzy for me. >Come to think of it, this isn't the same record, is it? Speakin' of >show-bizzy, the worst offender I have in this dep't is a recording on >B.B. King live at San Quentin where he does some utterly blues-less >number about all of us having peace all around the world or some such >happy talk. It's just one track, but mighty undesirable IMHO, with >giddy blaring horns proclaiming our universal sacharine confraternity. >Yucck!! . . . Yet I digress . . . The horns often seem overdone on >live blues recordings generally, more fun if you're there I suppose. > >For Collins, I wonder if studio is best? > >Blue Joe in Red Russia ("got a cold, cold feelin'... it's just like >ice around my heart!") >J.E._Downey@bakermck.com ============================================ I was just going to blurt out the comment "there's one in every crowd" and leave it at that, but I decided that would just be negative BS. Albert Collins happens to be one of my favorites,and I also got to meet him and talk to him a bit when I was playing with the Debbie Davies band. I don't think I ever met anyone any nicer in the business or otherwise for that matter, so please forgive me any bias. The shows we opened up for were from the 92 and 93 era and in my opinion they were fantastic. It's OK not to like something, we all are entitled to our opinions, but I was a little bit offended by your reference "Frost some darn thing or another", let alone knocking BB King for singing about something positive. Maybe I'm being too nice, as a matter of fact, this kind of ignorance really pisses me off! Have a little respect, for what it's worth to you. And before you accuse someone of being "too Funky", (whatever that's supposed to mean), learn how to spell it first. ========================================================================= Date: Wed, 14 Feb 1996 20:38:52 -0800 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: What the heck is a Stavin Chain? Comments: To: bit-listserv-blues-l@uunet.uu.net (I'm sure that this question is fodder for somebody's FAQ-list here, I haven't seen it mentioned yet...) I was listening to Winin Boy Blues today and realized I've never had any idea what the 'Stavin Chain' is that's referred to in the song. There's a psychedelic blues/rock band here in town that calls itself Stavin Chain, so it must mean something, huh? (For that matter, what the heck does the title mean? Is the Boy drinking some wine, or complaining in a nasal tone of voice?) Clueless in New Orleans (where it's not the heat, it's the stupidity)-- --Maggie -- Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~Some mornings it's just not worth chewing through the leather straps. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Wed, 14 Feb 1996 20:53:50 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Re: Big Jack Johnson manager > Does anyone know who manages Big Jack Johnson? > Thank you in advance for any information. > > Renato Tonelli > Big Jack Johnson can be booked through Mike Beck (312/278-1352), or (if you get hold of him) Big Jack's bass player - Hooter (sp?). Since they are these days always on the road, I suggest you call Mike. Mike is a very nice fellow and very easy to deal with. Mike can also book Byther Smith for you, now that's a deal you don't want to miss!!!!!! Ranko ========================================================================= Date: Thu, 15 Feb 1996 02:51:19 GMT Reply-To: Dan Sigward From: Dan Sigward Organization: Boston University Subject: Re: I need more Robert Nighthawk! Comments: To: bit-listserv-blues-l@uunet.uu.net I can never find Bricks in My Pillow myself...is it available on CD? if so, where? Poindexter Regan (BGSV75C@PRODIGY.COM) wrote: : Steve Levine wrote: : > : >I've been listening to Robert Nighthawk a lot lately, and he's quickly : >becoming one of my favorite Delta/Chicago blues artists. The only : >albums I have by him are Bricks in my Pillow and Live on Maxwell : >Street. I need more. I'm ordering the Nighthawk/Houston Stackhouse : >Testament cd. There is a cd called Robert Nighthawk & Wampu Toasting : >The Blues listed on the cd connection. Is this any good? Are there any : >other Nighthawk albums out there that are easy to find? He was a : >featured artist on a local blues show recently, and the dj played a lot : >of stuff by him I had never heard before (including one track with : >Little Walter on harp!). If there is not much available on cd, isn't it : >time some of his work was reissued? : Steve, Robert Nighthawk began recording in the 1930s, and this stuff is : worth hearing. Document *may* have a Robert Nighthawk (a/k/a Robert Lee : McCoy and Robert Lee McCollum) collection--I don't know for sure. I have : a few of his pre-war cuts scattered across various compilations, and : they're all good. : Nighthawk was one of the earliest blues artists to record for Aristocrat : (which of course later became Chess). His first recordings for the label : were in 1948, and he followed this up with sessions in '49, '50, and then : again in '64. All of these recordings, some of which weren't originally : released, have been collected on a CD called "Robert Nighthawk/ Forest : City Joe--Black Angel Blues" released by Charly in England around 1991. : This is an essential CD for any fan of Nighthawk, and contains some of : his greatest stuff, much of it in the same mold as the "Bricks In My : Pillow" album, and featuring support by Willie Dixon, Pinetop Perkins, : and other veterans. There's also a female singer on a few cuts. (BTW, : the Forrest City Joe stuff included on the set is kind of interesting too, : although not essential. F.C.J. Pugh is the harp player that Louis Myers : singled out as being one of the best he ever heard--and Louis played with : Little Walter. Unfortunately, everything that FCJ recorded sounds almost : exactly like John Lee Williamson, and on the 8 cuts included on this set : he's backed by a not-very-sympathetic guitarist.) Anyway, this Cd might : still be available; it's on Charly, and the catalog number is CD RED 29. : Scott ========================================================================= Date: Wed, 14 Feb 1996 22:15:14 -0500 Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Double-Entendre Blues Comments: To: bit-listserv-blues-l@uunet.uu.net Bill Broonzy - "Too Many Drivers" Alberta Hunter - "My Handy Man Ain't Handy No More" - she sings about her man greasing her griddle among other things. "You Can't Tell The Difference After Dark" Art Schuna ========================================================================= Date: Thu, 15 Feb 1996 03:22:32 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: I need more Robert Nighthawk! Comments: To: bit-listserv-blues-l@uunet.uu.net In article <4fu737$c7t@news.bu.edu> Dan Sigward writes: >I can never find Bricks in My Pillow myself...is it available on CD? if so, >where? No - it's not been reissued on CD and the last catalog I got from Jazz Record Mart indicated the LP was out of print. Delmark will probably eventually get around to reissuing this but I haven't heard when. Art Schuna ========================================================================= Date: Wed, 14 Feb 1996 21:41:15 -0600 Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: Re: Albert Collins live "Live in Japan" is an excellent live album. Also, the newly released "Albert Collins and the Icebreakers: Live '92-'92" is also an excellent album. Nuri Nuri ========================================================================= Date: Thu, 15 Feb 1996 14:45:50 +1100 Reply-To: Daniel Bruce From: Daniel Bruce Subject: Re: Double-Entendre Blues Comments: To: aschuna@VMS2.MACC.WISC.EDU In-Reply-To: from "Art Schuna" at Feb 14, 96 10:15:14 pm > > Bill Broonzy - "Too Many Drivers" > Alberta Hunter - "My Handy Man Ain't Handy No More" - she sings about her > man greasing her griddle among other things. "You Can't Tell The Difference > After Dark" > > Art Schuna > My Favourite is 'The Hunter' as performed by Albert King, and I quote, 'Ain't no use to hide, Ain't no need to run I got you in the sights of my love gun' Gotta love it! -- Daniel Bruce | Genasys II Pty Ltd, Sydney, Australia | "Born under a bad sign, been down since I began to crawl | If it wasn't for Bad Luck, Wouldn't have no luck at all" | Albert King | Internet: danielb@genasys.com.au ========================================================================= Date: Wed, 14 Feb 1996 21:47:05 -0600 Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: Re: Seeking Info on Marcia Ball Comments: cc: shannon_oconnor@SWPCO.COM Marcia Ball can be reached at: Marcia Ball Band P.O. Box 2629 Austin, Texas 78768 (512) 442-7496 She does not have a (specific) manager. For booking information contact: David Hickey P.O. Box 719 Aledo, TX 76008 (817) 441-5488 David Hickey also books Anson Funderburgh, Delbert McClinton, and Houston's Miss Molly! Nuri Nuri, Host/Producer "Blues Brunch", KPFT 90.1FM - Houston > Can anyone tell me who manages, or how to contact, Marcia Ball? > > Thanks much! > > > > Shannon > > ========================================================================= Date: Wed, 14 Feb 1996 22:49:23 -0500 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Guy Davis in Concert Comments: To: bit-listserv-blues-l@uunet.uu.net Hey everyone. To registar for blues guitar classes with Guy Davis and many other courses at "Common Ground" in Western Maryland. Just call (410) 857-2771 to get a course catalogue and more information and tell them Lea sent you. It is a great week in the summer called "Traditions in Black and White." ========================================================================= Date: Wed, 14 Feb 1996 23:03:03 -0500 Reply-To: "jose.eric.s.maglanque" From: "jose.eric.s.maglanque" Subject: Gospel/Quartet recommendations What black gospel and acapella quartet singing CDs would you recommend? I'm talking soul food -- hair raising jubilees that bring tears to the eyes and pure joy to cold hearts. Please indicate, if possible, where these would be available. Thanks! - Delta Slim (who's selling his Stratocaster to feed his parched soul...) ========================================================================= Date: Wed, 14 Feb 1996 22:23:17 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Double-Entendre Blues At 9:15 PM 2/14/96, Art Schuna wrote: >Alberta Hunter - "My Handy Man Ain't Handy No More" - she sings about her >man greasing her griddle among other things. "You Can't Tell The Difference >After Dark" I should listen to it again, but... Isn't "You Can't Tell the Difference...." saying "you won't care if I'm black or white while we're making love in the dark...."? Not sure if this is really double entendre.... David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Wed, 14 Feb 1996 23:46:44 -0600 Reply-To: April Reeder From: April Reeder Subject: blues I teach a music appreciation class in a small community college in northwestern Arkansas. Some of my students are very interested in doing a project focusing on the blues. I graduated from Ole Miss several years back, where there is a fabulous blues archive. However, we have very few resources here. The library has very few music holdings, since there isn't even a music department here. I recommended two books that I have read: Deep Blues and another -- Urban Blues. Where they really need help is with some recordings. I don't know what to tell them. They want to hear some real blues -- and not the watered down versions we get here in the Ozarks. Any help would be appreciated. I am not a subscriber to the list (although I would like to be), so please respond to me individually. Thanks. Dr. Martha J. Reeder ************************************************************* * April C. Reeder (or her Dad, Larry, or her Mom, Martha), * * and Samantha J. Reeder * * e-mail ------------------ areeder@apollo.oursc.k12.ar.us * * phone and fax --------------------------- (501) 365-0095 * * Harrison, Arkansas * ************************************************************* ========================================================================= Date: Wed, 14 Feb 1996 22:39:18 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Guitar Shorty Comments: To: Peter Welch In-Reply-To: <199602142151.QAA07247@poe.acc.Virginia.EDU> The only CD I know with Guitar Shorty's Cobra tracks (which were unfortunately omitted from the Capricorn Cobra box, along with the Clarence Jolly sides with Shorty & Otis Rush on guitar) is a 1992 Czech release called Trouble In The Morning: Chicago Blues Of The Fifties (KC CD 03). I got it at Blues Record Centre in Amsterdam. They're also on the Flyright "Fishin' In My Pond" LP. ========================================================================= Date: Wed, 14 Feb 1996 20:53:21 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Phase (was- Miking National guitars) Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Roger said: >I would not lose too much sleep over the phase cancellation question here. >To start with, if one were to closely examine the "sources" of sound on >these MOST peculiar (physically/acoustically) instruments, one would >realize that the very nature of the sound is of combinations of phase from >at least two primary sources: the resonator, and the air being expelled >from the f-holes. This is unfortunately, a common misconception. No matter how complex, convoluted and out of phase the waveform coming from the resonator and the f-holes is, it is the sound we recognize as "resonator guitar". You DO NOT want to filter and comb the daylights out of it with non-coincident mics summed to mono. It will be like using a flanger with the speed set to "0"! The old ADA "Flanger" could do this, and it was really educational for people to hear just what a comb actually sounds like. Not a pretty sound. And a vastly different sound than went into the mics... The grunge guys will love it, of course ;-] DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Thu, 15 Feb 1996 00:46:29 -0500 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: Gospel/Quartet recommendations Comments: To: "jose.eric.s.maglanque" In-Reply-To: <9602150404.AA6049@CServe-Hub4.inhouse.compuserve.com> Jose, My favorites include: The Dixie Hummingbirds The Swan Silvertones (heard them last night in movie, the Big Easy) The Fairfield Four The Harmonizing Four The Pilgrim Travelers The Soul Stirrers The Davis Sisters There are many others, but it's late and I'm fading.... Peace, nitra On Wed, 14 Feb 1996, jose.eric.s.maglanque wrote: > What black gospel and acapella quartet singing CDs would you recommend? I'm > talking soul food -- hair raising jubilees that bring tears to the eyes and > pure joy to cold hearts. Please indicate, if possible, where these would be > available. Thanks! > > - Delta Slim (who's selling his Stratocaster to feed his parched soul...) > ========================================================================= Date: Thu, 15 Feb 1996 08:40:44 +0100 Reply-To: BIBGA@HHS.SE From: Gorgen Antonsson Subject: Robert Nighthawk disco --Boundary (ID CtklVIm8o2wfiq9JFUKlxA) Content-type: TEXT/PLAIN; CHARSET=US-ASCII Robert Nighthawk [pseud. for Robert Lee McCollum] on record Basic discographical information is to be found in Robert M.W. Dixon's & John Godrich's "Blues & gospel records 1902-1943", p. 467-468, (Storyville, 1982), and Mike Leadbitter's, Leslie Fancourt's & Paul Pelletier's "Blues records 1943-1970 vol. 2" (Record Information Services, cop. 1994), p. 309-311. Below is a run-down of his recordings with notes on currently available or most recent issues: 1937-1940 rec. are on "Complete recorded works in chronological order" (Wolf (Austria) WBCD-002) [as Robert Lee McCoy]. His early rec. might disappoint those who've heard his later rec.; still quite good if a bit "samey". 1948-1950 & 1964 Chess rec. are collected on "Black angel blues" (Charly (UK) CD RED 29). This record also includes Forest City Joe's Chess rec. You will probably NOT find this in U.S. stores due to the U.S. court ruling in the MCA vs. Charly case over rights to the Chess catalogue. Four of the best tracks (which means his VERY best) are available on "Drop down mama" (Chess (US) CH-93002). 1951-1952 United rec. are on "Bricks in my pillow" (Pearl PL-11). Almost as good as his Chess sides. Unfortunately not as yet issued on CD. 1964 Decca rec. 2 tracks on anthology "Blues Southside Chicago" (Decca (UK) LP 4748 = Decca (UK) TAB 3). Robert Nighthawk are also on Walter Horton and Johnny Young tracks on this LP. No CD issue. Sep 1964 private rec. on "Live on Maxwell Street" (Rounder 2022). Great atmosphere! No extra tracks on CD, unfortunately, only a prolonged interview. 1964 Testament rec. are on "Masters of modern blues" (Testament TCD 5010). Bonus tracks as compared to LP (T-2215). This CD also includes Houston Stackhouse with Nighthawk on guitar. This made it onto my list of "Five best of 1995" in a reviewers' survey in the Swedish blues magazine Jefferson! 28 Aug 1967. 3 tracks on "Mississippi Delta blues vol. 1" (Arhoolie CD 401). Good field rec. on an anthology with mainly country blues. Gorgen Antonsson --Boundary (ID CtklVIm8o2wfiq9JFUKlxA)-- ========================================================================= Date: Wed, 14 Feb 1996 00:59:45 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Double-Entendre Blues Has anyone mentioned "What's the Matter With the Mill?" by Memphis Minnie and Kansas Joe McCoy? Also, Robert Johnson's "Terraplane Blues" was a more than a about cars, was it not? Dave Hole, the Australian slide master has a song called "The Plumber" which, in a way, is about work around the house. And, not really a blues song, but there is AC/DC's tribute to ballroom dancing, "Big Balls". Actually, most of AC/DC's songs a double-entendres if notjust straight out single-entendre, or is that just entendre or am I rambling at this late hour:-) Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 15 Feb 1996 09:07:01 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: I need more Robert Nighthawk! Comments: To: bit-listserv-blues-l@uunet.uu.net Steve Levine wrote: >*The Testament CD is really good IMHO. I can't can't get enough Nighthawk >*Wasn't he a relative of Memphis Minnie (I think he was a McCoy...?) > >I think I read somewhere that his mother was a McCoy, and he sometimes >used that name. I know he recorded some of his early work as Robert Lee >McCoy (there's at least one with him on harp on the Yazoo "Harmonica >Blues" collection). I think his real name was actually McCullum, but >I'm not sure. Steve, Regarding Robert Lee McCoy/McCollum/Nighthawk's harmonica recordings, he did some, but the cut credited to him on the Yazoo harmonica collection isn't one one of them. That's a mistake that grew out of someone making an ill-informed assumption that was transformed through the magic of the printed page into the realm of fact. (Just goes to show....) Actually, the harp player on pianist Lee Brown's side on the Yazoo harp collection is the enormously talented but little known Rhythm Willie. Look for an article I wrote on Willie in Blues & Rhythm magazine sometime in the future; I think I've cleared up some of the mystery regarding his identity, and also his miscrediting on several recordings. Scott ========================================================================= Date: Thu, 15 Feb 1996 09:11:28 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: I need more Robert Nighthawk! Comments: To: bit-listserv-blues-l@uunet.uu.net Dan Sigward wrote: > >I can never find Bricks in My Pillow myself...is it available on CD? if so, >where? > Dan, I don't think it's out on CD anywhere yet, but I do believe that Delmark owns the masters (they released "Bricks..." on their Pearl subsidiary, I think), and they do plan to eventually have all of their blues vinyl out on CD. Hopefully this one won't be too long a wait. Scott ========================================================================= Date: Thu, 15 Feb 1996 05:08:50 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Sitting&Thinking-Silver Cross Gospel I have waited patiently to post this review - and as luck would have it there has recently been a request for some rousing gos- pel music. Hold on to your hats. This CD is not just plain ol' gospel - it's way more and a true delight. This is a get-under- threat-of-death-disc. THE SILVER CROSS GOSPEL STORY (Wolf #WBJ 019) WOLF RECORDS P.O. BOX 375 A-1120 VIENNA AUSTRIA I am about to introduce you to the most astonishing gospel CD I've ever heard. It is 50's, 60's and 70's doo wop music, mixed with some R&B and then gospel tinged. It not only sings about revelation - IT IS REVELATION. Around 1963 Skippy Wallace founded a label called Silver Cross. Skippy also owned a series of other Blues and R&B labels as well as two R&B record stores. He was a true entrepreneur in the black music genres. All of this was based in Boston and Silver Cross brought out some of the area's small, unsung gospel groups. The music here is very much rooted in the group sounds and the doo wop music those of us in your 40's know well and those of us under 40 probably have rediscovered. What you are about to hear is a potpourri of this delicious brand of music. Sadly in 1970 Skippy folded the label. This compendium is quite a different take on gospel than you are used to. I think it will entrance you and make you a fan. Again sadly, this may be the only recorded take of this sound. I sure hope I'm wrong. TWO WINGS / FAITH / MEMORIES / TESTIFY / I WAS STANDING / COME OVER HERE / DAY BY DAY / LOVE LIFTED ME / WHERE SHALL I GO / ON THE BATTLEFIELD / I'VE GOT MY TICKET / TOO CLOSE / LORD HEAR ME CRY / A REAL GOOD SOLDIER / THAT MAN NAMED JESUS / MAY THE LORD BE WITH YOU / THE WORLD IS NOT MY HOME / WORKING ON THE BUILDING / I'VE BEEN LIFTED / STREET OF THE CITY / ROUGH + ROCKY ROAD / WORKIN' ON THE ROAD NY CD Takes TWO WINGS / FAITH: These cuts were done by a gospel family featuring the Reverend Huston Crayton who played guitar and was accompanied by his singing family - mother Handsome and her three children, Joyce, Rosemary and Huston Jr. Both songs open with Huston Jr.'s big bass guitar playing, and pit him on side one against his sister Joyce and on side two his mother Handsome. Joyce's voice is a feverishly pitched and high energy one that would remind you of Louie Lymon or his brother Frankie at their peak. Her youthful, almost falsetto sound, pulls no punches. Handsome on the other hand has a husky, grownup, churchbred sound. Both of the cuts are filled with lots of instrumentation and feature strong vocal backups. Side two is the more true to the roots gospel sound - taken from R&B - while side one could have been done by the Ronettes or any of the 60's girls groups. Side one flies for it's entire run and side two is easy and dreamy doo wop music. These cuts could not have been more properly placed, than at the start of this CD. I will go on record and say that if this is not the best gospel CD you'll ever hear, it is damn close. MEMORIES / TESTIFY: The next cuts form the only two recordings the Lord's Messengers did for Silver Cross. Of particular note here is the falsetto lead of Charles Tate countered by the bass of Nathaniel Davis. The balance of the group consists of Marion Newton, Willie Ferguson, James Dumas and Charles Jordan. The opening refrains belie it's gospel, but the vocals tell another tale. There is all the classic accapella features here and some great harmony. These are the kids on the corner, or the boys in the bathroom vocalizing between classes. Awesome leads taken by Tate and Davis playing the falsetto right off the deep bass and some monstrously good backup by the rest. This is doo wop captured in it's bed and delivered safely. I WAS STANDING / COME OVER HERE: This is the Lynn Harmonizers, who were named after their hometown of Lynn Massachusetts and consisted of two sets of brothers - the Suggs brothers, Isaiah and Otis and the Woods Brothers, Robert and John. Instruments are evident, but play only a small role. They introduce the group as does the opening spoken lyrics. An easy guitar riff holds the back while the group claps the base to this song and the voices meld. This is not big fronts by individuals as the Lord's Messengers, but rather a more fully integrated and group sounding quartet. DAY BY DAY / LOVE LIFTED ME: The Biblicals are the group on this set of cuts and they were responsible for the label's only record to be successful. They also were one of the only groups on these cuts to go on and sing gospel professionally. The group was made up of Reverend Charles E. Simmons, his wife Mary, Reverend Milton Hollins, his wife Helen, the Reverend Joe Smith and Johnny Ruth. This group gets a strong backing from a piano and organ. The pacing to cut one is slow meandering gospel and side two gets up. The front male vocals here are rougher than any of the groups up to now - but when the ladies hit the stage, it's like being back in another age and time. The nice counter between the down and raspy male leads and the angelic sweetness of the ladies makes this a strong two punch combination. WHERE SHALL I GO / ON THE BATTLEFIELD: These are The Sons of David, comprised of lead singer Ernest Frazier, accompanied by Robert Holmes, Leon Goodman, George Smith, George Chandler with Lucius Sparks and Robert Jackson (both of whom were not part of the original group. Ernest Frazier is delicious. He is big in his take and makes quite a lot of sound spew forth. Both cuts start out in an easy laid back sound. Cut one takes only twenty seven seconds before it hits high gear and side two stays easy throughout. I'd easily vote Where Shall I Go as one of the premier cuts to this disc. After The Sons Of David spellbind you, where can you go. Don't leave yet there is more to come. I'VE GOT MY TICKET / TOO CLOSE: The Brooklin Allstars were a New York based group - from Brooklyn, N.Y. They recorded these cuts for a Brooklyn based label - Gospel Recordings, and Skippy White leased the two sides. The big feature on these sides is the huge bass lead of Thomas Spann. New York has always had a lot to offer and the Allstars are certainly on the scorecard - even though noone, I would guess, has ever heard of them. I know there is at least one CD that is available with more of this groups work and my next venture is to search it out. Two cuts were enough to make me want more. LORD HEAR ME CRY: This side returns to the opening group - The Crayton Singers and the incredible Joyce Crayton. Another rock and roller, with all the fury of the first cut and solidly places this group as gospel greats, even though their output was only minimal. A REAL GOOD SOLDIER / THAT MAN NAMED JESUS / MAY THE LORD BE WITH YOU / THE WORLD IS NOT MY HOME / WORKING ON THE BUILDING: The Bullock Brothers was made up of five brothers - George, Robert, Clifton, Richard and Walter. Their first few sides were released on the Savoy label and then they came over to Skippy White and Silver Cross. These are their Silver Cross cuts although the personnel had already changed from the originals listed. Check out the acoustic guitar here set in front of the church organ. This is again harmony, backing a featured lead vocalist. The guitar stays beneath the vocals and provides an undercurrent with its incessant and drumlike picking. The singing too is done in that formula doo wop drone, that was very reminiscent of both the times and the music. Side two pops in tempo yet stays with the same single fronted vocal and the beat driven guitar. The remaining sides play off this styling, but add a few turns of their own. A nice five song set by a good gospel group. I'VE BEEN LIFTED / STREET OF THE CITY: These two sides are by the Sons of David who earlier graced us with Where Shall We Go and On The Battlefield. Both of these sides have a beat driving them. The first one has fury in its shoes while the second is tamer. They do deliver church - brother, they do. GET ABOARD QUICKLY, BEFORE THE TRAIN LEAVES. I promise the ride will be worth the fare. ROUGH + ROCKY ROAD / WORKIN' ON THE ROAD: Wolf closes this look- listen with The Winds Of Harmony. This group, as it says in the liner notes are all unknown. The only piece of information we get is that a Charles Jackson wrote the sides. The mystery group follows the lead of Sam Cooke. You can hear his vocals and his selected backings and arrangements. No, it isn't Mr. Cooke - but the sound is right off of his gospel cuts. It is not a copy though. This is a legitimate, fresh group of singers who happened to have lived in the days of the great Sam and styled similarly. I will say it again - find this CD as fast as you can. It will do more than please you - IT WILL AMAZE YOU. Reviewed by Barry Silverberg Copyright NY CD Blues @1995-1996 All Rights Reserved. Unauthorized use prohibited. NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 15 Feb 1996 05:09:30 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Sitting&Thinking-J. Monque'D. J. MONQUE'D - BUTTER CHURNIN' MAN (WOLF 120.610) WOLF RECORDS P.O. BOX 375, A-1120 VIENNA AUSTRIA Wolf Records has done blues lovers everywhere a great service in introducing a very talented artist, whose name is pronounced, according to the comprehensive notes, Jay Monkey Dee. His heritage is as rich and complex as the gumbo they make in his native New Orleans. Besides a deep booming voice he plays a mean harp. The nine original songs on this cd display great creativity. He has ten musicians cycling in and out amongst the songs to form his backup band. The band's New Orleans flavor is delectable. One word of warning: you may want to play this one when the children are not around to hear it, because not only is Monque fond of the double entendre, he also slips a few "explicit" words onto this cd. HURRICANE / RICE AND GRAVY FEVER / ALONE IN THIS WORLD / AIN'T EVIL NO MORE / GENTILLY LILLY / KEY TO THE HIGHWAY / NEXT TIME YOU SEE ME / BUTTER CHURNIN' MAN / KILLING FLOOR / CHROMATIC FEVER / EASTABOGA BOOGIE MAN / ITCHY KITCHY KOO NYCD Takes HURRICANE: With a whoosh of tropical wind, the band launches into a mid tempo rocker as Monque belts out his memories of the worst storm to hit the Gulf Coast during his lifetime, Hurricane Camille. You get just a taste of Monque's harp before it is consumed by the sound of wind. RICE AND GRAVY FEVER: Here's a truly delightful and original slow blues. Using a smattering of Creole patois, Monque paints a picture of Bayou life: "I was raised where black coffee tastes like sweet cherry wine." With bass, drums, two guitars, and a piano to back him, this has a full rich sound. His harp solo is as luxurious as it is accomplished. ALONE IN THIS WORLD: Monque breaks into a boogie to tell the world how sad he is at the passing of his mother. His band plays a mean boogie and Monque's harp is about as soulful as a harp can get. AIN'T EVIL NO MORE: Monque admits to a lying, cheating past, but he has changed his ways and reformed. He has to, or his woman will leave him. This shuffle blues will have you up and dancing in no time. GENTILLY LILLY: His woman is so fine she gives Monque the willies. What a hot jump blues this is! Sonny Leyland's piano is center stage and the band hangs tight around it. KEY TO THE HIGHWAY: This is the first of three covers on the album. Monque's powerful voice does more than justice to this blues classic, and Jack Cole plays a heart felt solo on the guitar. And of course Monque blows his brains out on his harp. NEXT TIME YOU SEE ME: Here's an uptempo version of the Junior Parker classic. This is a bragging song, something Monque does better than most blues singers. His pride and self assurance burst from the cd like a ray of light. Once again Jack Cole's guitar work shines. BUTTER CHURNIN' MAN: This is the centerpiece of the album as well as being the title track. It stretches over eleven minutes long as Monque tells the story of his formative years, growing up on his grandparents' farm. Here's where you'll find his finest harp playing on the cd. The song begins with an extensive recitation by Monque while the band plays a beautiful slow blues in the background. Don't expect to hear this song on the radio, though, as it Monque slips in a swear word or two and fills the song with double meanings that will go over only the very youngest heads. Monque breaks into song halfway through the track and from that point it becomes a very pretty soulful blues with every musician at the top of his form. KILLING FLOOR: Has there ever been a bad cover of this Howling Wolf classic? It's a great song and this is a great cover. Wolf is the singer that Monque most resembles anyway, so this song is a natural. CHROMATIC FEVER: The chromatic harp is many times more difficult to turn into a soulful blues instrument than the traditional blues harp, but Monque displays great technique in this instrumental set to a shuffle beat. This one's all Monque and its quite a show piece. EASTABOGA BOOGIE MAN: This and the next number are played just by Monque and the piano player, Sonny Leyland. Not that anyone else is needed here. Sonny boogies at a furious rate as Monque tells the story of a legendary piano player who learned from the master Cow Cow Davenport. ITCHY KITCHY KOO: Monque closes the cd with a risque rocker that, although it's an original, sounds like it would have been a hit on the 50s rock charts if it could have gotten by the censors. At any rate this song is a lot of fun. Hopefully this is not the last we will hear from J. Monque'D. Reviewed by Toby Levy Copyright NY CD Blues @1995-1996 All Rights Reserved. Unauthorized use prohibited. NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 15 Feb 1996 05:12:41 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day On this day in 1965, Fenton Robinson recorded "Somebody Loan Me A Dime", in Chicago, Illinois. (Source - HOB Archives) P.W. Fenton Tampa, Florida ---------------------------------------------------- Please visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Thu, 15 Feb 1996 11:20:18 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: I need more Robert Nighthawk! In-Reply-To: On Thu, 15 Feb 1996, Art Schuna wrote: > In article <4fu737$c7t@news.bu.edu> Dan Sigward writes: > > >I can never find Bricks in My Pillow myself...is it available on CD? if so, > >where? > > No - it's not been reissued on CD and the last catalog I got from Jazz > Record Mart indicated the LP was out of print. Delmark will probably > eventually get around to reissuing this but I haven't heard when. > > Art Schuna > I have it on vinyl but it is warped beyond reason and I sure would like the CD . I am pretty sure it is a Paula recording. Does Delmark have their catalog? I don't know how these things work. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [15/2/96 6:09 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 15 Feb 1996 11:23:36 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: I need more Robert Nighthawk! In-Reply-To: <4fut3l$2ha@usenetp1.news.prodigy.com> OOPS. not Paula but Pearl phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [15/2/96 6:09 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 15 Feb 1996 11:22:22 GMT Reply-To: Steve Leigh From: Steve Leigh Organization: A poorly-installed InterNetNews site Subject: Re: Miking National guitars Comments: To: bit-listserv-blues-l@uunet.uu.net I'd like to know. Let me know if you find anything out. Thanks. --Steve >If anyone is interested, I will call National and ask what they recommend. >Let me know. >Don >____________________________________________________ >Don Cicchetti >La Sierra University Library Media Services >Audio/Video/Computer/Satellite >Event Services & Studio Production >dcicchet@vega.lasierra.edu >There was a time, within the memory of some of us, >when American popular music was full of exaltation, pain & wit... >The raw intensity of Muddy Waters, >or the virile inventiveness of Duke Ellington.... >- Robert Hughes >____________________________________________________ ========================================================================= Date: Thu, 15 Feb 1996 12:24:00 PST Reply-To: Dave Tearle From: Dave Tearle Subject: Backing Singers... who'd have 'em eh?? What experience does anyone have of having/being backing singers in a semi-pro band? I have the opportunity to had two backing singers in my band. This is something that you don't see often in semi-pro bands. Why? I'd be interested in your views. To start the ball rolling here is an extract from a (mail) conversation between a friend and myself on the subject. He sent me some pros/cons/thoughts and this is my reply: >Pros. >Improved sound on some songs. I'm sure it could sound very professional. >How many do you want to feature them in? Not all certainly. Perhaps only 3 or 4. With Julie maybe featuring on 1 or 2. It's one thing that will be established with them from the start. This also raises the issue of stage management. Movement between numbers and placing in small settings are all important. >Looks good, possibly. Punters and payers like a visual show almost as much >as the sound, sometimes. This is a big pro for me, along with the overall sound. I'm am always fascinated by backing singers (male or female) good ones look very professional in themselves. I think that holding the audiences attention is very important and I think that they do. >More versatility, giving as yet un-thought of potential. Although the raw R&B goes down a treat I like the idea of 'The Blues Experience'. Many people think blues is of one ilk (sp) drab, sorrowful etc. But there is quite a bit of variety. There is also a lot of great classics that non-bluesy people haven't heard but when they do they hook 'em. Satisfy Susie for one. >Cons (Mr Negative here) >Less money. More mouths to feed. None of us are in it for the money (I don't think so anyway). We will still have the same money available to the band for group equipment and who knows a more interesting act may demand higher fees. >More complexity, arranging gigs The larger the repertoire the less dependent we would be, bearing in mind the fact that they would not be singing on all the numbers. So we could still do a gig or two with say the current set or such. >More egos to satisfy. What are they like? The terms of the arrangement must be agreed at the start. >More things to go wrong. Eeek! >Less control over the sound. The control is the same. The constraints are changed. >Correct me if I'm wrong , but the sort of blues that you play is male vocal >orientated. Many male and female blues artists have female backing singers regardless of the lyrics or have I missed the point. >THOUGHTS. >Sort out the exact format from the start. >Are they an adjunct to the band as a feature only or will they want more? >See some other bands with this sort of line up. Talk to them. >I have never seen any semi-pro bands with female backing singers. >The main question is I repeat, what are the individuals like? Are they >flexible and easy going and quite happy to go along with what you want? >A couple of practice sessions would answer most questions. All the best to each Dave Tearle UK ========================================================================= Date: Thu, 15 Feb 1996 06:04:15 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: BluesBytes Received my copy yesterday. A real class job. Gary Constantine >> gconstan@ccinet.ab.ca << If you're lookin' for a perfect woman you're gonna' die a lonely man .............. Joe Louis Walker ========================================================================= Date: Thu, 15 Feb 1996 07:58:07 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Bricks In My Pillow I know the subject was Robert Nighthawk, but a version I really like is on Houston Stackhouse's ..??? on GENES. The latest HS CD... LW ========================================================================= Date: Thu, 15 Feb 1996 09:08:41 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: I need more Robert Nighthawk! Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *I can never find Bricks in My Pillow myself...is it available on CD? if so, *where? I have it on cassette and I've never seen it on cd. -Steve ========================================================================= Date: Thu, 15 Feb 1996 06:26:51 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Guitar Shorty >The only CD I know with Guitar Shorty's Cobra tracks (which were >unfortunately omitted from the Capricorn Cobra box, along with the >Clarence Jolly sides with Shorty & Otis Rush on guitar) is a 1992 Czech >release called Trouble In The Morning: Chicago Blues Of The Fifties >(KC CD 03). I got it at Blues Record Centre in Amsterdam. They're also >on the Flyright "Fishin' In My Pond" LP. Does anyone know why they were omitted from the set? It seems like they included every cough and sneeze put out by Otis Rush and Magic Sam on that set (which is a great set, by the way), so it seems strange that they'd not put at least one or two on it. Also, is Capricorn working on any new boxes? I've got the Fire/Fury, Cobra, and Jewel/Paula sets, and they're all fabulous. -Jim (hndful@uniserve.com) ========================================================================= Date: Thu, 15 Feb 1996 09:28:38 +0000 Reply-To: Richard Kahn and Tiffany Winne From: Richard Kahn and Tiffany Winne Organization: Puss Inc. Subject: Blues Wedding? Hey! Anyone out there know of possible bands that would make my wedding reception a down home jook (i.e. juke!)? I'll be having it in Rhinebeck, NY (in between Albany and NYC) June 7, 1997. I'd really appreciate anyone's comments because without them I'm doomed to THE STEINBERG FOUR in tuxes playing midi versions of Kool and the Gang's CELEBRATION deep into the night.... -- Richard and Tiffany (richard @user1.channel1.com) "The Blues had a baby and they called it Rock n' Roll..." ========================================================================= Date: Thu, 15 Feb 1996 06:22:38 -0800 Reply-To: Rich DelGrosso From: Rich DelGrosso Subject: Signing off for Mardi Gras SIGN-OFF BLUES-L ========================================================================= Date: Thu, 15 Feb 1996 09:39:00 -0500 Reply-To: David Harnik From: David Harnik Subject: Blues of Happiness Hi, I've always loved the blues but only recently began a serious collection of blues CDs. I've got several CDs by Sonny Terry and Brownie Mcgee and I'm having trouble picking out the lyric on one of their tunes... On their CD, Midnight Special, track 20, The Blues of Happiness it begins: This is the blues of happiness There's a lot of things in life a man don't wanna forget There's your thoughts of me or was it sympathy The day, the day we met I'll always remember the _____ and the ______ Oh, how I suffered to preserve your pride... Can anyone fill in the blanks? Thanks, ||||| `o.O' d a v i d O ========================================================================= Date: Thu, 15 Feb 1996 08:47:31 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Johnny Winter Comments: To: Dave Markovits In-Reply-To: Johnny Winter is planning a New Jersey show in March but for now all his plans involve sticking close to his New York City home. ========================================================================= Date: Thu, 15 Feb 1996 08:49:19 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Otis Rush Comments: To: Tommy Jansson In-Reply-To: <4fsqrk$g9a@columba.udac.uu.se> Otis Rush hasn't even started his next CD, or decided on a label, musicians, etc. he and his manager hope to do something soon but there are a lot of things to work out first. ========================================================================= Date: Thu, 15 Feb 1996 09:52:39 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Mad Max ISO Bassist/Vocalist Mad Max & the Blues Kings, a Washington, D.C.-area based blues band, are looking for a bass player who can also sing. Please contact me or call (301) 622-1074 if you have any leads. Thanks! Ruth ========================================================================= Date: Thu, 15 Feb 1996 09:27:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re[2]: Albert Collins Live CD's I was saying I found an Albert Collins recording show-bizzy and didn't like it and I got my first real flame ever on the list! As for show-bizzy in particular, I wound up saying the following, and then my unknown correspondent lowered the boom! >>, the worst offender I have in this dep't is a recording >>on >B.B. King live at San Quentin where he does some utterly >>blues-less number about all of us having peace all around the world >>or some such >happy talk. It's just one track, but mighty >>undesirable IMHO, with >giddy blaring horns proclaiming our >>universal sacharine confraternity. Yucck!! . . . Yet I digress . . >> The horns often seem overdone on >live blues recordings >>generally, more fun if you're there I suppose. > >For Collins, I >>wonder if studio is best? > >Blue Joe in Red Russia ("got a cold, cold feelin'... it's just like ice around my heart!") >>J.E._Downey@bakermck.com ============Flame Separator====================================== >I was just going to blurt out the comment "there's one in every >crowd" and leave it at that, but I decided that would just be >negative BS. It does seem kind negative. >Albert Collins happens to be one of my favorites, Mine too. >and I also got to meet him and talk to him a bit when I was >playing with the Debbie Davies band. I don't think I ever met anyone >any nicer in the business or otherwise for that matter, I'm certain that must be true. The good humor comes out in his wonderful music. >so please forgive me any bias. That really depends on the nature of the bias. >The shows we >opened up for were from the 92 and 93 era and in my opinion they were >fantastic. I'm sure it was great. My post was about the recording, not the show. >It's OK not to like something, we all are entitled to our >opinions, Right-ee-oh! >but I was a little bit offended by your reference >"Frost some darn thing or another" Touchy, touchy >, let alone knocking BB King for singing about >something positive. Well, I basically *hate* the recording and this is a discussion group, so I figured maybe I would be allowed to state an opinion even if it doesn't suit you. > Maybe I'm being too nice, Doubtful. > as a matter of fact, this kind of ignorance really pisses me >off! Have a little respect, for what it's worth to you. And you say *you* were offended by *my* post?! > And before >you accuse someone of being "too Funky", (whatever that's supposed to >mean), learn how to spell it first. The spelling "fonky" was intentional. I didn't accuse someone, I said it about the recording. And this was signed by whom, incidentally? Joe in Moscow J.E._Downey@bakermck.com ========================================================================= Date: Thu, 15 Feb 1996 09:59:05 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Organization: IQuest Internet Services Subject: Re: Otis Rush Comments: To: Tommy.Jansson@BIBLUTB.UU.SE In this month's Blues Revue Otis only says he wants to do an album THIS YEAR, as long as he found the right musicians. I'm still waiting for the release of "Live and Awesome", as advertised on CD Now for the last three months. RJ Bauman > Otis Rush is said to have finished his follow-up to Ain't enough comin' > in. When will it be released? > > ========================================================================= Date: Thu, 15 Feb 1996 14:55:21 GMT Reply-To: "Shane K. Bernard" From: "Shane K. Bernard" Organization: Texas A&M (student) Subject: New Cajun & Creole R&B Book Comments: To: bit-listserv-blues-l@uunet.uu.net 'Swamp pop' is Cajun and Creole rhythm and blues invented in the 1950s and early '60s; it hails from South La. and East Texas. For a free flyer on my forthcoming book on swamp pop (to be published in August by the Univ. Press of Miss., and including an optional 14-track CD of swamp pop classics), send snail-mail address to: skb8721@tam2000.tamu.edu And check out the Swamp Pop Music Pages at: http://http.tamu.edu:8000/~skb8721/swamp.html SKB Cajun in Exile ========================================================================= Date: Thu, 15 Feb 1996 14:54:51 GMT Reply-To: George Myers From: George Myers Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Seeking Info on Marcia Ball Comments: To: bit-listserv-blues-l@uunet.uu.net Marcia will also be on the Ultimate Rhythm & Blues Cruise 5/25-6/1 departing from Genoa to Naples, Palermo, Sardinia, Corsica, Marseilles, and Cannes along with Luther Allison, Buckwheat Zydeco, John Mayall, Little Charlie, Louisiana Red, Rudy Rotta, John Mooney, and Katy Webster. ========================================================================= Date: Thu, 15 Feb 1996 15:38:45 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Signing off et al In-Reply-To: On Thu, 15 Feb 1996, Rich DelGrosso wrote: > SIGN-OFF BLUES-L > There have been several posts RE: signing off so it bears extracting the following from the FAQ as a "GENTLE" (but firm) reminder: N.B. N.B. N.B. N.B. N.B. N.B. N.B. N.B. N.B. N.B. N.B. ====================================================== The following commands should be sent to: listserv@brownvm.brown.edu. ====================================================== N.B. N.B. N.B. N.B. N.B. N.B. N.B. N.B. N.B. N.B. N.B. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! DO NOT SEND THEM TO THE LIST ADDRESS, !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! which would cause you request to be sent to the entire list and newsgroup without causing the listserv to act on your command. The subject line should be blank, and the message content should be as follo= ws: TO SUBSCRIBE: SUBSCRIBE BLUES-L TO UNSUBSCRIBE: SIGNOFF BLUES-L phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [15/2/96 10:32 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 15 Feb 1996 09:32:39 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Re[2]: Albert Collins Live CD's In-Reply-To: Message of Thu, 15 Feb 1996 09:27:00 -0500 from I happen to agree with Mr Downey. WE should be able to voice our opinion without someone jumping down our throat. It's all a matter of taste and the person who flamed him needs to realize that not everybody likes the same thing. If Mr Downey had trashed someone as a person, instead of a recording he didn't like, I could understand the flaming. I don't understand falming someone just because they didn't dig the same recording as you.... If you have noticed, I have TRIED to keep any negative opinion about a performr or recording to myself. I got tired of having to defend my OPINION. No one person has a patent on opinions, so realize that others may have a different one... LW 'walked out on Albert Collins live TWICE, but I love his recordings' ========================================================================= Date: Thu, 15 Feb 1996 10:50:22 +0000 Reply-To: Richard Kahn and Tiffany Winne From: Richard Kahn and Tiffany Winne Organization: Puss Inc. Subject: Re: Mojo working- and answer --To the original post of "wasn't there a song about 'sweet cocaine ramblin' through my brain'" Storm posted that it could be found on Jackson Brown's Running on Empty album (where he, Lee Sklar, and Glenn Fry all do a line at the end, by the way). I just wanted to say that there's more to it than that....the album itself, I believe correctly identifies the song as Blind Gary Davis's. However, the version itself seems to owe more to the famous Village rendition done by folk/blues meister Dave Van Ronk- Cocaine Blues...and I think he credits it to Luke Jordan, who again, I believe has a copyright on it. So...I'm not sure if either of these versions are what the original poster was thinking of, but it does seem like yet another case of bluesman, er- persons, all playing versions of some previous juke or hollar and claiming it as there own. Certainly, however, by the time were talking Van Ronk or Jackson Browne though, weve gotten about as far away from the original as we could! Actually, that's not true- Pearl Jam's version might be farther... Peace, RVK -- Richard and Tiffany (richard @user1.channel1.com) "The Blues had a baby and they called it Rock n' Roll..." ========================================================================= Date: Thu, 15 Feb 1996 10:55:45 +0000 Reply-To: Richard Kahn and Tiffany Winne From: Richard Kahn and Tiffany Winne Organization: Puss Inc. Subject: Need John Lee Hooker help!!! Could anyone please help me before I go crazy! I swear some years back I came across a print of a John lee album called something like -"Born in Mississippi Raised up in Tennessee". This particular release had Hook's version of "Goin Down Slow" with Van the Man Morrison crooning along with him. There's something about these two together that really appeals to me and I LOVE that SONG...so I've got to find myself a copy of this! But everywhere I check, I'm told that theres' no record of any such thing. Am I going completely mad? I think I must be because in the wave of JLH re-releases, I've never seen anything like this. And no I'm not talking about Never get out of these blues alive, etc. Thanks! P, Rvk -- Richard and Tiffany (richard @user1.channel1.com) "The Blues had a baby and they called it Rock n' Roll..." ========================================================================= Date: Thu, 15 Feb 1996 07:57:07 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Feb. 16 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BLACKWELL, OTIS (v/songw) b. 1932-0216, BROOKLYN, NY BONO, SONNY(SONNY&CHER)(prod/SPECIALTY R) b. 1935-0216, DETROIT, MI BROWN, WILLIAM "BOY" (dj/MOTOWN) d. 1976-0216, BEAUMOUT, TX 48 CHANEY, HERMAN "SONNY" (lead/THE JAGUARS) b. 1939-0216, DALLAS, TX CHRISTLIEB, PETE (tsax) b. 1945-0216, LOS ANGELES, CA CLAYTON, JEFF (asax) b. 1955-0216, VENICE, CA DELAUNAY, CHARLES (discographer) d. 1988-0216, CHANTILLY, FRANCE 77 DOGGETT, BILL (o/HONKY TONK) b. 1916-0216, PHILADELPHIA, PA FOWLKES, CHARLIE (bsax/TINY BRADSHAW) b. 1916-0216, BROOKLYN, NY FRAZIER, CALVIN H. (g/T. J. FOWLER) b. 1915-0216, OSCEOLA, AR GEDDINS, BOB (prod/songw) d. 1991-0216, OAKLAND, CA 78 INGRAM, JAMES (v) b. 19 -0216, AKRON, OH LEWIS, BOBBY (v/TOSSIN' & TURNIN') b. 1927-0216, INDIANAPOLIS IN MACHITO [FRANCISCO PEREZ GUTIERREZ] (v) b. 1912-0216, HAVANA, CUBA TAYLOR, TED (v/songw) b. 1934-0216, OKMULGEE, OK ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 15 Feb 1996 10:00:10 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Gospel/Quartet recommendations At 11:03 PM 2/14/96 -0500, jose.eric.s.maglanque wrote: >What black gospel and acapella quartet singing CDs would you recommend? I'm >talking soul food -- hair raising jubilees that bring tears to the eyes and >pure joy to cold hearts. Please indicate, if possible, where these would be >available. Thanks! > IMO, you must start with the Soul Stirrers - particularly with Sam Cooke as first lead, altho don't overlook those with R H Harris. There are about 5 or six CD re-releases of the Specialty stuff from the fifties. Sam Cooke may have been the best singer of them all, and his pre-pop work with the Soul Stirrers is, IMO again, his best work. After the Soul Stirrers, I like the Pilgrim Travellers and Swan Silvertones (also on Specialty) from the late forties / early fifties, and the Fairfield Four (on Nashboro) from the late fifties / early sixties. For older, "jubilee" type singing, try the Golden Gate Jubilee Quartet from the thirties / forties. David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Thu, 15 Feb 1996 11:19:51 -0500 Reply-To: DSNYPC@AOL.COM From: Paul Christie Subject: News of a killer Australian blues guitarist. Hello fellow blues lovers. A quick note to tell you about a discovery I have made. The artist's name is Kevin Borich. He is from Sydney Australia and I just got a hold of a copy of a double live CD pack recorded in Cairns Australia. One CD features national steel with rhythm section, the other - features the most passionatley played, soulful stratocaster. The recording is superb, extremely clear, featuring a rock solid and tight section. The playing is A1. It's interesting to hear the difference between the electric and acoustic approach. He has succeeded with both. The songs are mostly his own but the recorings include compositions from Elmore James, Rufus Thomas and Willie Dixon etc. 22 tracks in all. I sourced some information on Kevin and he has jammed with Stevie Ray; and Carlos Santana apparently loves him and says so in at least two articles I recieved. Kevin jammed with Carlos on two Santana tours of Australia. The press articles about him are very impressive indeed and he is a fantastic slide player to boot. His music is available only by direct mail from him. I got it from an Australian connection. He can be contacted by fax on 011-612-389-2225, that's direct to his house! My feeling is that if you want something quite rare and unique this record is just that. My office is in the Tribeca film center here in NY. My pals in the complex are nuts about Kevin's records. When I first got them , I played them non stop. Actually thought I would get complaints! Now, the Miramax development office, Harvey Keitel's office, Matonti's office - all are fans. So that's it for now. Caught the Robert Johnson documentary the other night which was really interesting. Great! Enjoy the grooves, greetings to all, all the best. Paul Christie. ========================================================================= Date: Thu, 15 Feb 1996 11:24:14 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Valentine's Day Hope you all had a nice Valentine's Day. Max gave me a Dunlop Crybaby as a present. Some girls get flowers for Valentine's Day. Some girls get perfume or candy. I get a wah-wah pedal. Which was really cool -- I'd wanted one for years! Now I can play Voodoo Child (Slight Return) just like Hendrix :) and add a little pizzazz to Rocky Mountain Way. P.S. He also gave me a gigantic Mylar heart balloon tied to a teddy bear in a bubble and a card that says "I love you the coolest." What a guy! We're saving all our cards to each other so that when we're famous we can sell them to some publisher for some scandalous amount of money, like John and Yoko. - Ruth, who hopes no one calls her "The Yoko Ono of the Blues" ========================================================================= Date: Thu, 15 Feb 1996 10:29:25 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Valentine's Day In-Reply-To: Message of Thu, 15 Feb 1996 11:24:14 -0500 from On Thu, 15 Feb 1996 11:24:14 -0500 PARRISHR said: > P.S. He also gave me a gigantic Mylar heart balloon tied to a > teddy bear in a bubble and a card that says "I love you the > coolest." What a guy! We're saving all our cards to each other That's wierd he sent the same thing to my sister, oh well you know musicians LW 'I'm kidding, I don't even have a sister' ========================================================================= Date: Thu, 15 Feb 1996 10:07:23 CST Reply-To: JBards From: JBards Subject: Re[2]: Charles Brown's Health? Comments: To: Beth Oliver I just received a post on another BB service from a friend who saw him perform in Napa Valley this weekend-she said the show was excellent, didn't mention anything about his health , so I presume it's okay. -Jim _______________________________________________________________________________ Subject: Re: Charles Brown's Health? From: Beth Oliver at INTERNET-SH Date: 02/15/96 1:11 AM I spoke to Charles Brown last September at the Long Beach Blues Festival. He looked and sounded good, his only complaint was that his feet were tired, so he changed into a pair of running shoes. ========================================================================= Date: Thu, 15 Feb 1996 11:35:50 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Signing off et al Comments: cc: Allan Rollins On 15 Feb 96, Pat Hertel had this to say: > > There have been several posts RE: signing off so it bears > extracting the following from the FAQ as a "GENTLE" > (but firm) reminder: > > > N.B. N.B. N.B. N.B. N.B. N.B. N.B. N.B. N.B. N.B. N.B. > ====================================================== > > The following commands should be sent to: > > listserv@brownvm.brown.edu. > > ====================================================== > N.B. N.B. N.B. N.B. N.B. N.B. N.B. N.B. N.B. N.B. N.B. > > > !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! > DO NOT SEND THEM TO THE LIST ADDRESS, > !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! > > which would cause you request to be > sent to the entire list and newsgroup without causing the listserv to act > on your command. > > The subject line should be blank, and the message content should be as follo= > ws: > > TO SUBSCRIBE: > > SUBSCRIBE BLUES-L > > TO UNSUBSCRIBE: > > SIGNOFF BLUES-L Along these same lines.... In the past, when a person subscribed to Blues-l, the listserv would automatically send them a copy of the Blues-l FAQ, this is no longer happening. I recently received private mail from several different people, all asking me how to subscribe. When I explained the procedure I asked them to please advise me as to whether or not they received the FAQ. None of them did, so it's apparently not working. Does anybody know why? And more importantly, does anyone know how to correct this? P.W. Fenton Tampa, Florida ---------------------------------------------------- Please visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Thu, 15 Feb 1996 10:38:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Re: I need more Robert Nighthawk! Comments: To: BGSV75C@PRODIGY.COM >>I think I read somewhere that his mother was a McCoy, and he sometimes >>used that name. I know he recorded some of his early work as Robert Lee >>McCoy (there's at least one with him on harp on the Yazoo "Harmonica >>Blues" collection). I think his real name was actually McCullum, but >>I'm not sure. In the first article in "Nothing but the Blues" (I think written by the book's editor, Lawrence Cohn) it says that Charlie McCoy and Robert McCoy were related. Memphis Minnie was married to "Kansas Joe" McCoy, Charlie's brother. -Bonnie ========================================================================= Date: Thu, 15 Feb 1996 10:54:04 -0600 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: Valentine's Day Comments: To: PARRISHR@VITRO.COM In-Reply-To: <1235ef80@vitro.com> from "PARRISHR" at Feb 15, 96 11:24:14 am In an earlier message, PARRISHR said: ] some scandalous amount of money, like John and Yoko. - Ruth, who ] hopes no one calls her "The Yoko Ono of the Blues" Much better than being called "The Linda McCartney of the Blues" obBluesContent: On a barroom jukebox last night, I heard a Tina Turner cut of "Rock Me". If you haven't heard this sexiest version of a sexy song, let me summarise: We had to go home early. -- * Billy Chambless | billy@cast.msstate.edu | voice: 601-688-7608 * Mississippi State University Center for Air-Sea Technology * To attain knowledge, add something every day. * To attain wisdom, remove something every day. -- Lao-tse ========================================================================= Date: Thu, 15 Feb 1996 12:07:16 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Just Don't Call Me the Linda McCartney of Blues I said: >>- Ruth (who hopes no one calls her "The Yoko Ono of the Blues") And Billy said: >Much better than being called "The Linda McCartney of the Blues" I have given that a lot of thought, Billy, and for that very reason you will notice that I am NOT on Max's tape. He and his band are light years ahead of me! ========================================================================= Date: Thu, 15 Feb 1996 09:02:47 -0800 Reply-To: Jordan From: Jordan Organization: I Know Where You Want To Go But You Can't Get There From Here Subject: Re: Liner Notes Comments: To: bit-listserv-blues-l@uunet.uu.net In article <960214110954.d2a@TSBME.STATE.TX.US>, Bruce Roberts wrote: > Do people get paid for writing liner notes? Some are very informative > and if published as an article they would get paid. Others are just > brief descriptions or personal anecdotes. > > Bruce Roberts > Austin, TX -- Down these mean streets, a man must go. - Raymond Chandler - ========================================================================= Date: Thu, 15 Feb 1996 12:10:59 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: News of a killer Australian blues guitarist. Comments: To: DSNYPC@AOL.COM On 15 Feb 96, Paul Christie had this to say: > Hello fellow blues lovers. A quick note to tell you about a discovery I have > made. The artist's name is Kevin Borich. He is from Sydney Australia and I > just got a hold of a copy of a double live CD pack recorded in Cairns > Australia. One CD features national steel with rhythm section, the other - > features the most passionatley played, soulful stratocaster. The recording is > superb, extremely clear, featuring a rock solid and tight section. The > playing is A1. It's interesting to hear the difference between the electric > and acoustic approach. He has succeeded with both. > The songs are mostly his own but the recorings include compositions from > Elmore James, Rufus Thomas and Willie Dixon etc. 22 tracks in all. > I sourced some information on Kevin and he has jammed with Stevie Ray; and > Carlos Santana apparently loves him and says so in at least two articles I > recieved. Kevin jammed with Carlos on two Santana tours of Australia. The > press articles about him are very impressive indeed and he is a fantastic > slide player to boot. > His music is available only by direct mail from him. I got it from an > Australian connection. > He can be contacted by fax on 011-612-389-2225, that's direct to his house! > My feeling is that if you want something quite rare and unique this record is > just that. > My office is in the Tribeca film center here in NY. My pals in the complex > are nuts about Kevin's records. When I first got them , I played them non > stop. Actually thought I would get complaints! Now, the Miramax development > office, Harvey Keitel's office, Matonti's office - all are fans. > So that's it for now. Caught the Robert Johnson documentary the other night > which was really interesting. Great! > Enjoy the grooves, greetings to all, all the best. > > Paul Christie. Is this an instrumental album? (Recently someone here was looking for Blues instrumentals). You mentioned "songs" but you never said anything about lyrics or vocals, so I assume there aren't any, or needn't be any. P.W. Fenton Tampa, Florida ---------------------------------------------------- Please visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Thu, 15 Feb 1996 12:14:55 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Double-Entendre Blues I have been suprised that no one has mentioned Roosevelt Sykes, so well known for his material within this genre: Try his, "If You See Kay" Say it . . . say it again ... say it fast . . . Naughty . . . Dick Waterman ========================================================================= Date: Thu, 15 Feb 1996 09:29:45 -0800 Reply-To: Eric LeBlanc-CISTI Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Eric LeBlanc-CISTI Organization: BC Tel Advanced Communications Subject: Re: Double-Entendre Blues Comments: To: Jinxblues@AOL.COM Always a favorite that IF YOU SEE KAY! By the way, the version I have is by MEMPHIS SLIM (on one of his BLUESVILLE OBC CD sets). eRIC ========================================================================= Date: Thu, 15 Feb 1996 12:43:00 EST Reply-To: edward c liu From: edward c liu Subject: Re: BB King marital status? Howdy all, Riffin' Rick asked: >Just a point of interest....is BB married, or has he been? I have never heard >mention of a particular lady in his life, although no one sings more >convincingly of the woes between men and women. If I remember my details right, he was married at least once to a woman who also doubled as his buisness manager. They were going through some really rough times in the 70's, but the wife was making moves to reconcile. At that point, B.B. released "The Thrill Is Gone," and I don't believe it was a coincidence. They were divorced shortly thereafter. And, as someone else had mentioned, he does have several children. The source is Charlie Sawyer's _The Arrival of B.B. King_, BTW -- something I think no B.B. fan should be without. It includes a picture of B.B. with one of his sons who was acting as his valet at the time. -- Ed Edward C. Liu | "Don't make me nervous, 'cuz I'm holdin' edwick@cc.bellcore.com | a baseball bat." | -- Big Joe Turner, "Honey, Hush" The opinions in this message are mine and not Bellcore's. Really! ========================================================================= Date: Thu, 15 Feb 1996 13:57:07 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: Blues Bytes - oops. Just got my copy of Blues Bytes (thanks, Bob!). Of course, now that it's all done I notice the boo-boo I made. Despite what my liner notes say, Dave Sherman & The Nightcrawlers are not members of The Willie Evans Blues Trio :-) One of those stupid typesetting mistakes - my apologies, folks. -Rob ps: Kudos to all the musicians - great job! ========================================================================= Date: Thu, 15 Feb 1996 12:53:28 EST Reply-To: John Doukas From: John Doukas Subject: B. Goodman & B. Holiday Contrary to what was suggested by George Macy, Benny Goodman and Billie Holiday were (most likely) romantically involved in the mid 1930's. My source is the liner notes to Columbia's 3 cd Billie Holiday box set. Personally, I don't think that this is very significant to their music or to music history in general, but the topic allows me to recommend this box set. Columbia initially released a multi-volume series entitled "The Quintessential Billie Holiday"; the box set is a "best of" from this series. I think that a lot of people have "heard of" Billie Holiday, but not really "heard" her. People usually are familiar with her Decca recordings (which are very heavy on string arrangements, and to my mind less intimate) and the Diana Ross bio-pic feature (which stresses her personal problems over her musical accomplishments). Holiday's work is much more than either of these. The Columbia box set features a tremendous overview of what is probably her best work. In it you'll hear some of her earliest recordings (Goodman plays on these, and in my opinion it was his best work), many recordings accompanied by small groups culled from Teddy Wilson's and Count Basie's bands (often featuring Lester Young in some of his best ballad work), and some "mature" recordings near the end of her career. One interesting aspect of this music, from a blues viewpoint, is to hear Holiday sing "popular" songs accompanied by "jazz" musicians and yet produce an overall "blue" feeling. ========================================================================= Date: Thu, 15 Feb 1996 17:40:30 GMT Reply-To: Nate Goldshlag From: Nate Goldshlag Organization: The Internet Access Company Subject: Re: 96 New Orleans Jazzfest Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199602111658.LAA150366@poe.acc.Virginia.EDU>, Tom Morgan wrote: > I checked out OffBeat's site this morning with the hopes that some news > about the performers for this years Jazzfest would be mentioned. They > have the beginnings of what looks to be a great Festival. Here's a list > of what I found: > > Confirmed and Rumored Acts of Jazz Fest 1996 There are no more rumors. Check out the official Jazz Fest site at http://www.nojazzfest.com for the schedule. Nate ---------------------------------------------------------------- Nate Goldshlag "People ask me why I don't get fat nate@reflection.com it's cause I like to dance like that. I eat as much as I can hold Cambridge, MA and go out and do the zydeco." -- Marcia Ball ========================================================================= Date: Thu, 15 Feb 1996 12:13:00 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: Valentine's Day In-Reply-To: <9602151654.AA01195@Mars.CAST.MsState.Edu> On Thu, 15 Feb 1996, Billy Chambless wrote: > In an earlier message, PARRISHR said: > > ] some scandalous amount of money, like John and Yoko. - Ruth, who > ] hopes no one calls her "The Yoko Ono of the Blues" > > Much better than being called "The Linda McCartney of the Blues" Look on the bright side, Ruth: no one's mentioned Courtney Love yet. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Don't get so caught up in theory that you lose your freedom of expression." - Ruth Parrish (PARRISHR@VITRO.COM) on BLUES-L, 02/11/96 ========================================================================= Date: Thu, 15 Feb 1996 13:24:33 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Eddie Kirkland comin' to Wormtown I just read in the local paper that Eddie Kirkland who's mostly known for his work with John Lee Hooker and Otis Redding, will be playing next Thursday at the Plantation Club (where *I* just played :) here in Worcester, Mass. I don't know his stuff at all, but it seems like a safe bet to catch this one. Can anybody tell me about him? Good show? What style blues and R&B should I expect? Similarities to whom.....?? His photo in the paper looks very flamboyant! Thanks guys! Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 15 Feb 1996 12:26:40 CST Reply-To: JBards From: JBards Subject: Re: Mad Max ISO Bassist/Vocalist Comments: To: PARRISHR I sing second bass.... -J _______________________________________________________________________________ Subject: Mad Max ISO Bassist/Vocalist From: PARRISHR at INTERNET-SH Date: 02/15/96 11:45 AM Mad Max & the Blues Kings, a Washington, D.C.-area based blues band, are looking for a bass player who can also sing. Please contact me or call (301) 622-1074 if you have any leads. Thanks! Ruth ========================================================================= Date: Thu, 15 Feb 1996 13:30:25 -0500 Reply-To: Bernard Chazelle From: Bernard Chazelle Subject: SRV unplugged I heard from the grapevine that SRV and Joe Satriani appeared together in the MTV Unplugged series. Is that true?? If so, I would love to know if there's a video of it that's available to the public. [My apologies if this matter was discussed earlier. I am new to this mailing list.] Bernard Chazelle ========================================================================= Date: Thu, 15 Feb 1996 12:26:43 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Billie Holiday/LSTB I plan on watching the movie "Lady Sings The Blues" this weekend. We are severe Billie Holiday fans and I'm curious if it's worth watching. LW ========================================================================= Date: Thu, 15 Feb 1996 12:10:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Re: New Cajun & Creole R&B Book Comments: To: skb8721@TAM2000.TAMU.EDU > >'Swamp pop' is Cajun and Creole rhythm and blues invented in the 1950s >and early '60s; it hails from South La. and East Texas. I think there was a "Swamp-Pop" tune with the rather intriguing title: "She just kept on chewing gum." Does Shane or anyone know who the artist or label was? It *is* a rather funny (albeit self-deprecating) song. -Bonnie ========================================================================= Date: Thu, 15 Feb 1996 10:42:19 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: PLAYLIST : 14/FEB/1996 Here's yesterday's playlist. "UNCLE" eRIC ---------------------------------------------------------------------------- | 10th YEAR, PROGRAM #529 : "LET THE GOOD TIMES ROLL" - 14/FEB/96 | | --------------------------------------------------------------------- | B b MAGIC SAM (1937/FEB/14, GRENADA, MS - 1969/DEC/01, CHICAGO, IL) R L b OTIS GRAND (1950/FEB/14, BEIHUT, LEBANON) | U BOB THIELE (1922/JUL/27, BROOKLYN,NY - 1996/JAN/30, NEW YORK CITY,NY) 'n E | S > BLIND BOYS OF ALABAMA/DEE DANIELS - METROPOLITAN UNITED - SUN/MARCH 3 B | | |b/d=born/died on this day| | --------------------------- GOSPEL 'n SOUL & ROCK 'n ROLL ----------------- | ARTIST SONG TITLE DISTRIBUTOR YYMM ---------------------------------------------------------------------------- AM I BLACK ENOUGH BIG GANGSTER / THE O'JAYS SONY CD 77 ARMSTRONG, JAMES SIX BAR CITY HIGHTONE CD 95 ARDOIN, AMEDE OBERLIN w/DENNIS MCGEE ARHOOLIE CD 3408 BIG BLUES HONKS & I'VE GOT A GAL / AL SMITH FANTASY CD 5909 >BLIND BOYS ALABAMA KING JESUS (live) w/CLARENCE FOUNTAIN HOUSE OF CD 9501 >BLIND BOYS ALABAMA HEAVEN ON MY MIND w/CLARENCE FOUNTAIN FANTASY CD 5602 >BLIND BOYS ALABAMA BROTHER MOSES w/CLARENCE FOUNTAIN ELEKTRA CD 92 dBLOOMFIELD, MIKE STOP (inst) SONY CD 6805 CAJUN FAIS DO-DO MA NEGRESSE / NATHAN ABSHIRE ARHOOLIE CD 6605 CARBO, CHUCK BARBER'S BLUES w/FRED KEMP DENON ROUCD 95 dDODDS, BABY drums HARMONICA RAG (inst) / SONNY TERRY CAPITOL CD 4703 bDOUCEL, MICHAEL ONE STEP A' AMEDE (inst) ARHOOLIE CD 89 EARWIG RECORDS 16TH STICK CANDY / LOVIE LEE EARWIG CD 9209 bFORD, FRED barisax KEEP ON DOGGIN' / ROSCOE GORDON MCA CD 56 GOSPEL @ NEWPORT GONNA LAY DOWN MY SWORD / JOSEPH SPENCE VANGUARD CD 6607 bGRAND, OTIS COMMON SENSE w/CURTIS SALGADO SEQUEL CD 9401 bGRAND, OTIS THEY KILLED CRAZY HORSE inst/JOE HOUSTON JSP CD 94 bGRAND, OTIS NO LOVE IN MY HEART (live) w/ROY OAKLEY SEQUEL CD 95c bGRAND, OTIS SRV (inst) w/JOE LOUIS WALKER FANTASY CD 9011 bGRAND, OTIS DON'T LEAVE ME BABY / PHILLIP WALKER JSP CD 9205 bGRAND, OTIS DOWN THRU' THE YEARS / GUITAR SHORTY JSP CD 9105 GUITAR SHORTY YOU DON'T TREAT ME RIGHT DENON BT CD 9510 HAWKINS, JAY SCREAM PERSON TO PERSON SONY CD 5705 I HAVE TO PAINT MY.. CHICAGO BLUES / SIDNEY MAIDEN ARHOOLIE CD 60 IN THE KEY OF BLUES NUMBER NINE / ROOSEVELT SYKES FANTASY CD 6003 INTRUDERS WHEN WE GET MARRIED w/SAM BROWN SONY CD 7006 KING, ALBERT HEART FIXING BUSINESS w/AL JACKSON JR. FANTASY CD 6711 LEE, BONNIE GOT THE BLUES 'BOUT MY BABY w/B. BRANCH DELMARK CD 9408 LITTLE WALTER TEENAGE BEAT (inst) w/LUTHER TUCKER MCA CD 5607 LOUISIANA RED E STREET BRIDGE EARWIG CD 82 bMAGIC SAM EAZY, BABY (live) EVIDENCE CD 6910 bMAGIC SAM song LOOK WHATCHA DONE / EDDIE C. CAMPBELL DENON ROOCD 7706 bMAGIC SAM OUT OF BAD LUCK w/OTIS SPANN INTERSTATCD 66 bMAGIC SAM I JUST WANT A LITTLE BIT w/EDDIE SHAW DELMARK CD 6810 bMAGIC SAM song ALL OF YOUR LOVE / SLY JOHNSON DELMARK CD 9405 bMAGIC SAM LOOKIN' GOOD (inst) w/MIGHTY JOE YOUNG DELMARK CD 6707 MAYS, JOHNNY LIVING IN THE SHADOW w/DAN KENNEDY MMK CD 94 MCILWAINE, ELLEN DANGER ZONE PERCY MAYFIELD song STONY PL CD 82 MEMPHIS SLIM MEMPHIS BOOGIE (inst) w/WILLIE DIXON EVIDENCE CD 6310 MILLER, AL RED TOP BOOGIE (inst) DELMARK CD 9402 MILLS BROTHERS TILL THEN MCA CD 4402 MR. B (MARK BRAUN) DOWN THE ROAD APIECE BLIND PIGCD 71 O, TONY BLUES BAND OH, BABY w/PINETOP PERKINS DELUGE CD 95 bPARKER, MACEO tsax I GOT THE FEELIN' / JAMES BROWN POLYGRAM CD 6802 PRIMICH, GARY EASY RIDIN' MAMA FLYING FICD 95 SLY & FAMILY STONE FUN SONY CD 68 STAPLE SINGERS RIGHT DECISION w/POPS STAPLES SONY CD 8505 STARS OF THE APOLLO I GOT AN UNCLE IN HARLEM / HOT LIPS PAGE SONY CD 4903 TAYLOR, EDDIE CROSSROADS w/LOUIS MYERS BLIND PIGCD 7712 THIELE, BOB prod BRAND NEW HOUSE / OTIS SPANN MCA CD 6608 THIELE, BOB prod SHAKE IT BABY / JOHN LEE HOOKER MCA CD 6511 THIELE, BOB prod WATCH YOURSELF / B. B. KING MCA CD 6712 ---------------------------------------------------------------------------- ========================================================================= Date: Thu, 15 Feb 1996 13:43:34 -0400 Reply-To: MARCIAG@VMS.CIS.PITT.EDU From: Marcia Grodsky Subject: Charlie Sawyer's book on BB King & related matters Several people mentioned Charlie Sawyer's book, "The Arrival of BB King" in response to news of the other book. Charlie's book *is* still available. He recently updated it for a new German edition that came out around BB's birth- day. The book is available at most Towers or can be ordered from the publisher, DaCapo. However, if you want to order a copy directly from Charlie, he'll sign it and include a copy of the updated chapter and new forward. He'll also give you $1 off list price ($12 including shipping). For more info, you can email Charlie at: sawyer@fas.harvard.edu Charlie is considering publishing the update chapter on the net, and if anybody has suggestions he would appreciate hearing them. He also asks that his old friends from blues-l cc him, if possible, on matters that concern him. Several people mentioned the BB King interactive CD ROM recently and might be interested in knowing that the manufacturers licensed some of Charlie's photos for the project. If you'd like to see some other photos of Charlie's, he has some great photos of BB, Howlin Wolf, and Big Mama Thornton on Mai Cramer's web site: http://www.realblues.com:4100/photo4.html There's also some other interesting things at this site. ---Marcia Grodsky ========================================================================= Date: Thu, 15 Feb 1996 12:48:17 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Sitting&Thinking-Silver Cross Gospel >At 05:08 AM 2/15/96 -0500, Barry Silverberg wrote: >>I have waited patiently to post this review - and as luck would >>have it there has recently been a request for some rousing gos- >>pel music. Hold on to your hats. This CD is not just plain ol' >>gospel - it's way more and a true delight. This is a get-under- >>threat-of-death-disc. >> >>THE SILVER CROSS GOSPEL STORY (Wolf #WBJ 019) >>WOLF RECORDS P.O. BOX 375 A-1120 VIENNA AUSTRIA >> As a token of appreciation to Barry for writing this review, I will let him believe - FOR ONE DAY ONLY - that he spells our name correctly: This is an outstanding album, terrific gospel by some relatively unknown groups, full of forties / fifties style vocal harmonies with some sixties-style instrumentation. Question: my copy says "Volume 1", which at least implies a volume 2: is one available, or is one to come? David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Thu, 15 Feb 1996 10:56:18 -0800 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Re: I need more Robert Nighthawk! Comments: To: Steve.Levine@CORP.WRGRACE.COM Steve, Robert Nighthawk is featured on a Red Lightnin' LP called "An Offer You Can't Refuse" released under Big Walter Horton's and Paul Butterfield's name. The Big Walter cuts are incredible. Awesome harp tone and amplified to the limit with some great backig from Robert Nighthawk. The Butterfield stuff is okay, but not essential. There is loads of Robert Nighthawk available. He recorded for Bluebird, Chess, United (or States) and Testament. His sounds vary from recording to recording. Sometimes his slide work sounds like Elmore James, other times Muddy Waters, and occasionally Earl Hooker. (Although it could be argued that they were influenced by Nighthawk.) I love the Live On Maxwell Street release. It always makes we crave a Polish Sausage sandwich and grape soda from Jimmy's on Maxwell and Halsted. I really miss Maxwell Street on a Sunday AM. There was nothing like it. Incredibly raw, powerful music played from the soul. Feelin' kind of homesick, Joe ========================================================================= Date: Thu, 15 Feb 1996 20:05:06 +0100 Reply-To: Ingvald Bergsagel From: Ingvald Bergsagel Organization: Telenor Media Subject: Any questions for Robben Ford? Comments: To: bit-listserv-blues-l@uunet.uu.net I'll probably be meeting Robben Ford backstage when he's playing here in Oslo on wedensday the 21th. Anything you'd like to know 'bout the man? -- Ingvald Bergsagel Origo ========================================================================= Date: Thu, 15 Feb 1996 13:02:51 CST Reply-To: Ted Gurley From: Ted Gurley Subject: Re: What the heck is a Stavin Chain? Comments: To: Maggie Mortensen It was written: >I was listening to Winin Boy Blues today and realized I've never had any >idea what the 'Stavin Chain' is that's referred to in the song. > According to my favorite resource "From Juba to Jive" A Stavin Chain is: "(noun) The name of a man who became the mythical black southwestern sexual hero of the ballad, "Winning Boy Blues," by Jelly Roll Morton; also could be inferred Jelly Roll's peer in prowess; a lady's man; a ramblin man." Maybe a sentence would be: Look at that Stavin Chain dancing with that girl. I guess you could say today's synonym would be "stud." ------------------------------------- 02/15/96 13:02:51 Ted Gurley - Dallas, TX tgurley@.onramp.net or rampages.onramp.net/~tgurley Co-writer of "Plug-In: The Guide to Music on the Net" Look for it in March 96 from Prentice-Hall ------------------------------------- ========================================================================= Date: Thu, 15 Feb 1996 19:23:19 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Double-Entendre Blues Comments: To: bit-listserv-blues-l@uunet.uu.net In <960215121453_145010731@emout09.mail.aol.com>, Dick Waterman writes: >I have been suprised that no one has mentioned Roosevelt Sykes, so well known >for his material within this genre: Good call, Dick. I've been doing a version of Roosevelt's Ice Cream Freezer long enough that its become one of my signature songs. Great stuff. BBB B.B. Bean bbbean@cris.com Peach Orchard, MO http://www.cris.com/~bbbean ========================================================================= Date: Thu, 15 Feb 1996 19:33:15 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Blues Hall of Fame nominees include two 'zellers Comments: To: bit-listserv-blues-l@uunet.uu.net Congratulations to Dick Waterman and Dick Shurman for appearing on the list of Blues Hall of Fame (non-performer category) nominees. Since someone is sure to ask, the Blues Hall of Fame (in something near its 17th year) is selected by a two step process. The Blues Foundation sends a nominating form to 100 or so blues writers, DJs, and other recognized authorities. These forms are collected, and the same group votes on inductees in each category. Since someone is also sure to ask - I am a nominator, but have no other official affiliation with the Blues Foundation, The Republican Party, IBM, Mary Katherine Aldin, or anyone else paranoid about the use of their name. I speak only for me, and am often of two minds on many issues. Please feel free to ignore this post without fear of recrimination. Wash behind your ears. BBB B.B. Bean bbbean@cris.com Peach Orchard, MO http://www.cris.com/~bbbean ========================================================================= Date: Thu, 15 Feb 1996 13:44:43 CST Reply-To: JBards From: JBards Subject: Re: Billie Holiday/LSTB Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu It'll give you the blues, for sure, but maybe not in the way you think. -J _______________________________________________________________________________ Subject: Billie Holiday/LSTB From: ISTS024%UABDPO.BITNET@brownvm.brown.edu at INTERNET-SH Date: 02/15/96 1:31 PM I plan on watching the movie "Lady Sings The Blues" this weekend. We are severe Billie Holiday fans and I'm curious if it's worth watching. LW ========================================================================= Date: Thu, 15 Feb 1996 13:56:10 -0600 Reply-To: Bruce Roberts From: Bruce Roberts Subject: SXSW I was just checking out the South by Southwest schedule. They've got some interesting people this year. Smokey Wilson, Lavelle White, Mem Shannon, Syl Johnson, Corey Harris, Long John Hunter, CJ Chenier, Lonnie Brooks, and Texas Johnny Brown. Are there any Blues-L musicians performing this year? Bruce Roberts Austin, TX ========================================================================= Date: Thu, 15 Feb 1996 15:01:31 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Sitting&Thinking-Silver Cross Gospel Comments: To: David Silberberg In-Reply-To: <199602151848.MAA21597@flowbee.interaccess.com> On Thu, 15 Fev 1996, David Silverberg wrote: > This is an outstanding alvum, terrific gospel vy some relatively unknown > groups, full of forties / fifties style vocal harmonies with some > sixties-style instrumentation. > Question: my copy says "Volume 1", which at least implies a volume 2: is > one availavle, or is one to come? I find no reference in their catalog of a 2nd volume. Vut it does seem that there should ve more material availavle. In one of my next letters to them I will inquire. NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 15 Feb 1996 20:06:29 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: BLUES WORLD Re: Charlie Sawyer's book on BB King & related Comments: To: bit-listserv-blues-l@uunet.uu.net I SECOND THAT EMOTION. SAWYER'S BOOK IS A MUST READ IF YOU'RE A TRUE FAN OF MR. B. BY THE WAY, THE NEXT ISSUE OF BLUES & RHYTHM (#107/MARCH 1996) HAS AN ARTICLE ON B. B. KING BY CHARLES SAWYER CALLED "THE RISE AND RISE OF B. B. KING". FOR DETAILS ON HOW TO SUBSCRIBE TO B&R, VISIT THE BLUES WORLD WEB SITE . I ALSO BELIEVE SAWYER IS WORKING ON A REVISED EDITION WHICH I HOPE WILL CONTAIN A COMPLETE DISCOGRAPHY. "UNCLE" eRIC ========================================================================= Date: Thu, 15 Feb 1996 13:48:03 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Billie Holiday/LSTB At 12:26 PM 2/15/96 CST, L W wrote: >I plan on watching the movie "Lady Sings The Blues" this weekend. We are >severe Billie Holiday fans and I'm curious if it's worth watching. > >LW > > NO NO NO ! ! ! (IMHO, of course). 1. Diana Ross is no actress, and she is certainly no Billie Holiday. 2. As John Doukas said in a previous message today, the movie concentrates on her sad and tragic personal problems, but joy of her artistry doesn't come thru at all. Listen, instead, to Lady singing the jazz music, particularly the music from the thirties: the Columbia box is a good place to start. Re: the possible affair with Benny Goodman: I originally brought it up (yesterday or the day before), and I got my inference from the liner notes to the Columbia box set, too. I agree with John: "Personally, I don't think that this is very significant to their music or to music history in general", but it is a nice bit of gossippy curiousity. A recent biography of Ms. Holiday, by I forget who, talks about her free and easy sexuality, with both men and women. David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Thu, 15 Feb 1996 14:25:56 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Sitting&Thinking-Silver Cross Gospel Comments: To: Barry Silverberg At 03:01 PM 2/15/96 -0500, Barry Silverberg wrote: > >On Thu, 15 Fev 1996, David Silverberg wrote: >> This is an outstanding alvum, terrific gospel vy some relatively unknown >> groups, full of forties / fifties style vocal harmonies with some >> sixties-style instrumentation. >> Question: my copy says "Volume 1", which at least implies a volume 2: is >> one availavle, or is one to come? > > I find no reference in their catalog of a 2nd volume. Vut > it does seem that there should ve more material availavle. > In one of my next letters to them I will inquire. > Ha ha - bery good - I'll gibe you credit - I habe no comevack for that. Ooops...... Back on topic - I'm reminded of Stan Freberg's (sp?) "United States of America Vol. 1 - there never was a Vol. 2. David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Thu, 15 Feb 1996 14:32:19 -0600 Reply-To: Mark Gobeyn From: Mark Gobeyn Subject: Robert Pete Williams Would someone be kind enough to let me know the year in which Robert Pete Williams' album "Sugar Farm" was recorded/released? Many thanks, mark ========================================================================= Date: Thu, 15 Feb 1996 13:10:24 -0500 Reply-To: "Margaret B. Ober" From: "Margaret B. Ober" Subject: P. Christie's Killer Australian Paul, can you give a bit more information about how to obtain the Borich CD's? Like what information does he need on his fax? My address so he can mail me with the rest, or a real order and my VISA number, or something in-between? Is the 2 CD pack the only thing available or does he have other stuff? Do Tell. Maggie ========================================================================= Date: Thu, 15 Feb 1996 15:43:05 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Blues Hall of Fame nominees include two 'zellers Comments: To: bbbean@cris.com, mkaldin@beachnet.com In a message dated 96-02-15 15:13:56 EST, bbbean@CRIS.COM (Barry Bean) writes: >Since someone is also sure to ask - I am a nominator, but have no >other official affiliation with the Blues Foundation, The Republican >Party, IBM, Mary Katherine Aldin, or anyone else paranoid about the use of >their name. I speak only for me, and am often of two minds on many >issues. >Please feel free to ignore this post without fear of recrimination. Wash >behind your ears. This non-disclaimer is a pretty snotty shot at a blues-list member who happens to be on no-mail status for a few days. It also is an attempt by the poster to create the entirely false impression that he has no connection to the Blues Foundation. Barry Bean was on the Blues Foundation board up until last year or the year before, and was on for a number of years. Barry Bean's wife is the editor of the Handy Blues Award program, and, as such, is very much still connected to the Blues Foundation. As I recall the posts, Mary Katherine Aldin expressed annoyance at a post by Bean that (untruthfully) cited her as a Handy nominator AND called Barry Bean on a prior attempt to appear disinterested. She was not expressing paranoia, but rather a refusal to have her name used in a process with which she was not connected. I believe Bean also cited other "nominators" who did not have connections to the process, all in an apparent attempt to lend credibility to the process. Tom Freeland ========================================================================= Date: Thu, 15 Feb 1996 15:56:56 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Hammond & Robillard @ Tornado Alley Tonight Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com John Hammond and Duke Robillard are playing at Tornado Alley in Wheaton, MD tonight. The Scatman and I (and hopefully some out of town Blues-lers) will probably be there. Should be a good show. If you're planning on going, and you want to meet us, mail me privately. I'm going nomail because tomorrow I leave for New Orleans! -Steve ========================================================================= Date: Thu, 15 Feb 1996 21:45:13 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Eddie Kirkland comin' to Wormtown Comments: To: MILLER@SCI.WFBR.EDU >I just read in the local paper that Eddie Kirkland who's mostly known for h= is >work with John Lee Hooker and Otis Redding, will be playing next Thursday a= t >the Plantation Club (where *I* just played :) here in Worcester, Mass. I >don't know his stuff at all, but it seems like a safe bet to catch this one= . >Can anybody tell me about him? Good show? What style blues and R&B should >I expect? Similarities to whom.....?? His photo in the paper looks very >flamboyant! > >Thanks guys! > >Riffin Rick (((( > oo-) > /- > I ve seen him a couple of times ten to fifteen years ago and he s a great bluesman known for high energy shows with long sets (and songs). Don t know nothing about his present band. Mr Bo ========================================================================= Date: Thu, 15 Feb 1996 16:10:33 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: Re[2]: Charles Brown's Health? Comments: To: JBards In-Reply-To: <9601158244.AA824407269@mail-sh.lsumc.edu> I just saw Charles Brown last night, and he sounded great. I spoke to him briefly and he was in good spirits. Jim On Thu, 15 Feb 1996, JBards wrote: > I just received a post on another BB service from a friend who saw him perform > in Napa Valley this weekend-she said the show was excellent, didn't mention > anything about his health , so I presume it's okay. > -Jim > _______________________________________________________________________________ > Subject: Re: Charles Brown's Health? > From: Beth Oliver at INTERNET-SH > Date: 02/15/96 1:11 AM > > I spoke to Charles Brown last September at the Long Beach Blues Festival. > He looked and sounded good, his only complaint was that his feet were > tired, so he changed into a pair of running shoes. > ========================================================================= Date: Thu, 15 Feb 1996 15:18:46 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Blues Hall of Fame nominees include two 'zellers Comments: To: Barry Bean In-Reply-To: <4g01pr$96k@spectator.cris.com> Who's going to break it to my wife that I'm a non-performer??? ========================================================================= Date: Wed, 14 Feb 1996 13:29:05 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: News of a killer Australian blues guitarist. Kevin Borich has been around for years. His band, "The Kevin Borich Express" used to tour all the time up and down the East Coast of Oz (and other areas as well, I presume). One of the forst songs I ever learnt to play on electric was a Kevin Borich tune. Al I remeber was that it was more rock than blues but still a cool tune. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 15 Feb 1996 16:32:18 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Johnny Copeland Heart Fund Well, I didn't see anyone post a review of the show at Tramps last night so here goes... Verve Records (Johnny's label) supplied a great group of performers to raise money for Johnny Copeland's heart condition. Tix were $25, the musicians donated their time, and the place was packed. Johnny can sleep a little better. The lineup in order of appearnace: Larry Garner Billy Branch Charles Brown Lucky Peterson Larry McCrae Clarence Gatemouth Brown Larry Garner contributed three songs that showed his Louisiana roots with mostly upbeat boogie numbers. He got the crowd worked up with some friendly and funny asides. He stayed on with the house band in backing up Billy Branch. Mr. Branch donated a few over-the-top numbers wailing on his harp. His playing was truly explosive. Introduced as the heir to the Chicago harp legacy (Little Walter, et al), he certainly blasted through any conventional definition of that genre. Next, the house band was dismissed and Charles Brown and his band came on (stand up bass, guitar, tenor sax, drums, and Charles on piano). Mr. Brown must be the smoothest bluesman on the planet. He played about 4 tunes all of them more captivating than the last. The band was tight and Charles' piano was laid back and intoxicating. Lucky Peterson came on next as the house band returned (including the excellent Danny Draher...possibly New York's greatest blues guitarist). Lucky stuck with the guitar (no keyboards from him tonight). He really got the crowd's attention with his forceful soloing style. He literally tore the house down with a 5-string solo sauntering throughout the audience for 15 minutes. Somehow, even with the broken string, that fifteen minutes never sounded boring. Larry McCrae came next. A nice guitar style and rich vocals, Larry got strong kudos from the audience. And finally, Gatemouth Brown came out to close out the night. Brandishing a cowboy hat, cowboy boots, and a pipe, Gatemouth ripped through a couple of his most famous tunes. He then brought the house down with a scorching fiddle tune. Unfortunately, there was no jam session at the end. I headed out at about 1 am. BTW I went to this show alone, because my friend bailed out at the last minute. What I'm wondering is, are there other folks out there that go to shows alone sometimes? What a show! Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" :) ========================================================================= Date: Thu, 15 Feb 1996 16:34:00 EST Reply-To: edward c liu From: edward c liu Subject: Re: Double-Entendre Blues Howdy all, Has anybody mentioned Dinah Washington's "Dentist Man(?)" ? She's got a priceless line in there about how the dentist checks her out and says she's got a cavity that needs fillin'. It's also, as far as I know, the only blues song that uses the word "novocain." Another great double entendre is Ruth Brown's "If I Can't Sell It (I'm Gonna Sit Down On It)" on her _Blues on Broadway_ disc. I'd imagine Sony's _Hot Nuts and Lollypops_ disc on their "Roots N' Blues" series would have plenty of double- entendre (and probably a healthy dollop of single-entendre, too). Sorry if I'm posting redundant information -- I seem to have lost an entire day's worth of digest. -- Ed Edward C. Liu | "Don't make me nervous, 'cuz I'm holdin' edwick@cc.bellcore.com | a baseball bat." | -- Big Joe Turner, "Honey, Hush" The opinions in this message are mine and not Bellcore's. Really! ========================================================================= Date: Thu, 15 Feb 1996 16:44:11 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman d Max & the Blues Kings, a Washington, D.C.-area based blues band, are looking for a bass player who can also sing. Please contact me or call (301) 622-1074 if you have any leads. Thanks! Ruth ******************* You are really lucky on this one, Ruthie. Just up the road in Baltimore is a guy named Cal Ripken, Jr., and he has played bass (i.e. second base) for about 2200 straight gigs and never missed a single play date. Of course, you'd have to do something about that ugly haircut. (Foreign subscribers, please forgive this joke about American sports figures.) Dick Waterman ========================================================================= Date: Thu, 15 Feb 1996 16:36:00 EST Reply-To: Robert Page From: Robert Page Subject: Albert Collins: Live Joe wrote: >I got some AC live album, Frost something or other, you know Albert's >thing is how everything is cold and all. Ice this, frost that. Some >wise bluezeller will know the title. Anyway I got this Frost some >darn thing of his as a live album and I didn't like it either. >Opinions may differ, but it's too fonky and show-bizzy for me. >Come to think of it, this isn't the same record, is it? Speakin' of >show-bizzy, the worst offender I have in this dep't is a recording on >B.B. King live at San Quentin where he does some utterly blues-less >number about all of us having peace all around the world or some such >happy talk. It's just one track, but mighty undesirable IMHO, with >giddy blaring horns proclaiming our universal sacharine confraternity. >Yucck!! . . . Yet I digress . . . The horns often seem overdone on >live blues recordings generally, more fun if you're there I suppose. >For Collins, I wonder if studio is best? Jeez, Joe, talk 'bout yer different strokes fer different folks In a word, NO.. I'm one of those that believes that they'll NEVER be enough live Albert Collins out there. I also had met Albert a couple of times, and can echo the comments about his being a great person. It IS too bad you'll never be able to experience the live show firsthand. Albert was an performer unlike any other. The energy, and connection with the crowd, which Albert brought to each performance, was unlike anything I've ever seen from any other musician. And his horn sections were invariably top-notch (ever heard of A.C. Reed, or the Memphis Horns, or Gabe Fleming...each of these guys are/were - in Gabe's case- among the finest and most sought after musicians around). For 14 years, I tried to make sure I got a recording of each Collins show I would go see. Since Albert's passing a couple of years ago, I have also sought out others' recordings of Albert's live shows. As a result I have found that there are others out there with a similar passion for Albert's live music, though there'll never be enough for my tastes.... Another live album of Albert's that doesn't get enough mention is called Molten Ice, which is from a live show in Toronto, Canada in '73 (I'm working from memory here). Great performance, and a rare glimpse of Albert's live performance from an era in which no other (that I have ever come in contact with) live recordings are available. Together with Alive & Cool (from '69) on Red Lightnin records Live with Barrelhouse (from '79) Frozen Alive ('82) and Live '92/'93 Collins fans have a pretty good selection of material to sample from a wide swath of Alberts career. Personally, I'd really like to see another recording from the '78 - '79 era, in the States, and one from the '85 - '86 era. I really hope the latest release is doing great and that more live stuff will be forthcoming in the future. For anyone into seeing Albert on video, you might want to check out the movie 'Adventures in Babysitting' in which Albert plays a cameo role and provides some of the music (there's a really cool part where the main characters are on the run and burst into a bar where Albert is playing ....ahhh I'd better not), or buy the video 'Further On Up The Road' which features Albert Collins, Roy Buchanan, and Lonnie Mack. On that one, there is a sequence showing Albert playing an acoustic guitar, which is pretty cool, also. There's a good bit of interesting music by Albert Collins out there, but not nearly enough. Bob Page ========================================================================= Date: Thu, 15 Feb 1996 16:57:04 -0500 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: Robert Pete Williams Comments: To: Mark Gobeyn In-Reply-To: <199602152032.OAA28163@bradley.bradley.edu> On Thu, 15 Feb 1996, Mark Gobeyn wrote: > Would someone be kind enough to let me know the year in which Robert > Pete Williams' album "Sugar Farm" was recorded/released? > Many thanks, > mark According to BLUES WHO'S WHO, it was recorded in Munich for the Blues Beacon label in 1972. Brenda Bogert Louisville KY ========================================================================= Date: Fri, 16 Feb 1996 09:03:58 -1000 Reply-To: Andrew Gregg From: Andrew Gregg Subject: Re: News of a killer Australian blues guitarist. Comments: To: Jim Witteveen >Is this an instrumental album? (Recently someone here was looking >for Blues instrumentals). You mentioned "songs" but you never said >anything about lyrics or vocals, so I assume there aren't any, or >needn't be any. > >P.W. Fenton >Tampa, Florida I think all of the songs have vocals - he sings kind of like a cross of Johnny Cash & George Thorogood (huh??). ********************************************************************** * Andrew Gregg * * * Dept of Primary * I see angels on Ariels * * Industry * in leather & chrome * * ooOO00OOoo * Swooping down from heaven * * Email : * to carry me home * * mpagregg@aries.dpi.tas.gov.au * * * * - Richard Thompson * ********************************************************************** ========================================================================= Date: Thu, 15 Feb 1996 22:02:24 +0000 Reply-To: Cees Verburg From: Cees Verburg Organization: Delft University of Technology, Dept. of Electrical Engineering Subject: Canned Heat still alive? Comments: To: bit-listserv-blues-l@uunet.uu.net Hi, Can anybody tell me Canned Heat since the death of Bob Hite is still alive? I know thay made a terrible album in the late eighties. Since then I never heard from them. Who did? Cees Verburg cverburg@icns.nl Cees Verburg cverburg@icns.nl ========================================================================= Date: Thu, 15 Feb 1996 17:19:01 -0500 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: Gospel/Quartet recommendations Comments: To: David Silberberg In-Reply-To: <199602151600.KAA09444@psycfrnd.interaccess.com> David, Apparently, you haven't heard Johnny Taylor or Rev. Julius Cheeks with the Soul Stirrers. Sam Cooke was good,... listen to the others and let me know what you think. Sistah nitra On Thu, 15 Feb 1996, David Silberberg wrote: > At 11:03 PM 2/14/96 -0500, jose.eric.s.maglanque wrote: > >What black gospel and acapella quartet singing CDs would you recommend? I'm > >talking soul food -- hair raising jubilees that bring tears to the eyes and > >pure joy to cold hearts. Please indicate, if possible, where these would be > >available. Thanks! > > > > IMO, you must start with the Soul Stirrers - particularly with Sam Cooke as > first lead, altho don't overlook those with R H Harris. There are about 5 > or six CD re-releases of the Specialty stuff from the fifties. > > Sam Cooke may have been the best singer of them all, and his pre-pop work > with the Soul Stirrers is, IMO again, his best work. > > After the Soul Stirrers, I like the Pilgrim Travellers and Swan Silvertones > (also on Specialty) from the late forties / early fifties, and the Fairfield > Four (on Nashboro) from the late fifties / early sixties. > > For older, "jubilee" type singing, try the Golden Gate Jubilee Quartet from > the thirties / forties. > > > David Silberberg Woman I love has two teeth > davidis@interaccess.com Solid Gold > Got a lien on my body > Mortgage on my soul > > Johnny Shines > ========================================================================= Date: Thu, 15 Feb 1996 23:19:35 GMT Reply-To: Bob Bingham Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Bob Bingham Organization: BlueHawk Communications, Inc. Subject: Re: Josh white - hard hitting Comments: To: Mr@lvls.bluehawk.com, forti@lvls.bluehawk.com, and@lvls.bluehawk.com, his@lvls.bluehawk.com, wife@lvls.bluehawk.com, better@lvls.bluehawk.com, get@lvls.bluehawk.com, into@lvls.bluehawk.com, a@lvls.bluehawk.com, new@lvls.bluehawk.com Heres a suggestion for Mr Forti and his audibly bankrupt spouse. Go back to listening to Hermans Hermits and the Jackson Five cause obviously you don't have a clue when it comes to whats what with the blues! ========================================================================= Date: Thu, 15 Feb 1996 14:33:48 -0800 Reply-To: Steve Murray From: Steve Murray Subject: Universal Black Pages Hi folks, Here's a great Web site I just found that links to all kinds of black culture: http://www.gatech.edu/bgsa/blackpages.html Check it out. Steve Murray "It's hot in here Fjord Press I believe I need some air" Seattle, WA --Otis Spann fjord@halcyon.com ========================================================================= Date: Thu, 15 Feb 1996 23:29:43 GMT Reply-To: Bob Bingham From: Bob Bingham Organization: BlueHawk Communications, Inc. Subject: Re: Josh white - hard hitting Comments: To: bit-listserv-blues-l@uunet.uu.net Mr Forti and his audibly bankrupt spouse should go back to listening to Hermans Hermits and the Jackson Five cause they obviously don't have a clue as to what blues music is all about.Why are geeks like this always trying to get their two bits in. Must be the "wanna be" syndrome. ========================================================================= Date: Thu, 15 Feb 1996 15:00:56 -0500 Reply-To: Dave Melton From: Dave Melton Subject: Apology re: Albert Collins live CD's Joe and John, I guess I owe you both an apology. I made a hasty judgement when I read your post,and apparently misinterpreted it as generally bashing. Emotions can cloud reality as I'm sure you are also aware, and in this case I let that happen. Whether or not I liked the way you said what you said shouldn't have made a difference. I agree we should all be free to express ourselves here, that's what it's all about. So I hope you will except my apology, sorry this learning experience was at your expense. Sorry to the rest of you folks, too. Sincerely, Dave Melton P.S.I did'nt intentionally write that anonymous ========================================================================= Date: Thu, 15 Feb 1996 22:51:13 GMT Reply-To: Adi From: Adi Organization: DYA Subject: Looking for a Hammon B-3 Comments: To: bit-listserv-blues-l@uunet.uu.net Hope someone can help me : I`m looking for a great shaped Hammond B-3 organ + a Leslie cabinet, to buy. Thank`s Adi Degani New-York, NY ========================================================================= Date: Wed, 14 Feb 1996 17:01:00 -0800 Reply-To: Richard Norton From: Richard Norton Organization: Fullerton College, CA Subject: BLUES-L CONFR ATTENTION !!! DISCOUNT WHOLESALE TRAVEL. For those of you blues travelers attending the blues-l confrence in St. ======================================================================== Fullerton College claims no responsibility to the opinion expressed above (This is an automatic stamp from our Email system and not from the user.) ======================================================================== ========================================================================= Date: Fri, 16 Feb 1996 10:22:21 +1100 Reply-To: Daniel Bruce From: Daniel Bruce Subject: Re: P. Christie's Killer Australian Comments: To: mbo@AVERY.MED.VIRGINIA.EDU In-Reply-To: from "Margaret B. Ober" at Feb 15, 96 01:10:24 pm > > Paul, can you give a bit more information about how to obtain the Borich > CD's? Like what information does he need on his fax? My address so he can > mail me with the rest, or a real order and my VISA number, or something > in-between? Is the 2 CD pack the only thing available or does he have > other stuff? Do Tell. > > Maggie > FYI, Kevin Borich is not anew name to Australians. he has been on the Aussie scene for many years mostly in a more rock vein with some bleus influence. He has released a few local albums over the years. I have never found him to be that exciting but I haven't heard this new disk either. Just thought you might want to know. -- Daniel Bruce | Genasys II Pty Ltd, Sydney, Australia | "Born under a bad sign, been down since I began to crawl | If it wasn't for Bad Luck, Wouldn't have no luck at all" | Albert King | Internet: danielb@genasys.com.au ========================================================================= Date: Thu, 15 Feb 1996 17:25:26 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: going it alone Comments: To: James Leftwich In-Reply-To: On Thu, 15 Feb 1996, James Leftwich wrote: > BTW I went to this show alone, because my friend bailed out at the last > minute. What I'm wondering is, are there other folks out there that go > to shows alone sometimes? Yeah, my wife doesn't really like to go to blues shows, so I usually go alone (unless of course all the S. Texas Blues-L'ers show up!). -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Thu, 15 Feb 1996 17:29:24 -0600 Reply-To: Billy Chambless From: Billy Chambless Subject: Blues Bytes I've waited a bit to add my $.02 to the general discussion of the BluesBytes tape, because I wanted togive it a serous listen or three before posting. I don't have much to add to what's been said -- more thanks to Bob for putting it together, lotsa thanks for the performers and everyone else involved. One thing I was _very_ suprised and pleased to see was the amount of original material. _Original_ originals, too -- not rehashes. Even the covers were well done and well chosen. This is coming from someone who thinks anyone who's doing yet another cover of "Stormy Monday" should have to file an environmental impact statement! I'm purposely avoiding commenting on individual acts; all I can say is there's not a dog in the bunch, which is rare in compilations, even of "name brand" artists. Pardon the rambling -- I just hadda express my enjoyment of the tape, and my appreciation to all who worked on it. [ more tangent ] About the time I found BLUES-L, I was beginning to wonder if I was the only old fart around who still like real music. Glad to know it ain't so. [ last tangent ] To Cathi Norton: Baby, I'll never, ever call you "ma'am". And I'd only help you across the street if you were staggering worse than I was. ;) -- * Billy Chambless | billy@cast.msstate.edu | voice: 601-688-7608 * Mississippi State University Center for Air-Sea Technology * To attain knowledge, add something every day. * To attain wisdom, remove something every day. -- Lao-tse ========================================================================= Date: Thu, 15 Feb 1996 18:37:55 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: Looking for a Hammon B-3 Comments: To: Adi In-Reply-To: <4g0dd1$k8s@park.interport.net> > Hope someone can help me : > I`m looking for a great shaped Hammond B-3 organ + a Leslie cabinet, to > buy. > > Thank`s > > Adi Degani > New-York, NY You and every other keyboardist with good taste... Good Luck! Dave Prychitko ========================================================================= Date: Thu, 15 Feb 1996 18:51:42 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Double-Entendre Blues For double entendre blues ... - Get any of Dana Gillespie's CDs on Ace. - And then get lots of Denise Lasalle. - And "The Right Key but the Wrong Keyhole" by Charmaine Neville - And look for "Take Out Your False Teeth Daddy" by Margie Day Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Thu, 15 Feb 1996 18:51:43 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Double-Entendre Blues Ed L wrote > > Has anybody mentioned Dinah Washington's "Dentist Man(?)" ? Actually titled "Long John Blues" -- and truly great. There is also a fine version of it by Esther Phillips on her "Confessing the blues" album. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Wed, 14 Feb 1996 23:28:11 GMT Reply-To: Jack Oudiz From: Jack Oudiz Subject: Re: I need more Robert Nighthawk! Comments: To: bit-listserv-blues-l@uunet.uu.net Scott, I have a heartbreaking story re: Bricks in My Pillow which involves a used record purchase which was left in the car on a very hot Sacramento day. The upshot is that it is now a very sad looking ashtray which I never did get to listen to. Sigh. Jack ========================================================================= Date: Thu, 15 Feb 1996 17:36:06 -0800 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Re: Sitting&Thinking-J. Monque'D. Comments: To: bit-listserv-blues-l@uunet.uu.net Barry Silverberg wrote: > > J. MONQUE'D - BUTTER CHURNIN' MAN (WOLF 120.610) > WOLF RECORDS P.O. BOX 375, A-1120 VIENNA AUSTRIA Hey, the first newsgroup post I've seen anywhere about a New Orleans institution. J. Monque'D is a true original, even by local standards. (Almost no one calls him 'Jay' or 'Monk', BTW, always the whole name, pronounced just as Barry wrote--Jay Monkey Dee, or Jay Monka Dee. In addition to Barry's acute analyses, I can only add that Monque'D and his band put on a whale of a live jump blues show. He also made some bluesy TV commercials for the Louisiana lottery which show his mouth full of gold teeth to full advantage. (He's a big, heavyset white guy, so the gold teeth make for an even more, uh, arresting image, since we're only used to seeing that particular facial enhancement custom practiced by black folks here.) He also has a vivid reputation for employing the career embellishment that P.W. recently referred to in the recent 'bluesman fibs' thread here--a certain willingness to sacrifice accuracy for the sake of color. Claims to have been raised by a black family in the Mississippi Delta. He recently was on trial in New York State for making obscene and threatening telephone calls (to an ex-wife--or current wife, don't really remember which), and had a son returned to him after something like 12 years of the kid being held by kidnappers. All these tales get used to pretty hilarious effect in his live shows, where he turns everything into fodder for his blues-based raconteuring from the stage. A good time is pretty much guaranteed if this man comes to your town. -- Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Some mornings it's just not worth chewing through the leather straps. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Fri, 16 Feb 1996 00:14:33 GMT Reply-To: "M.Peters" <76702.3352@COMPUSERVE.COM> Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: "M.Peters" <76702.3352@COMPUSERVE.COM> Subject: Re: Spivey Records Comments: To: ccaponi@CONICIT.VE The Spivey Catalogue is owned by Spivey Records c/o Leonard Kunstadt 65 Grand Avenue Brooklyn, NY USA 11205 Mr. Kunstadt founded Spivey Records with Victoria Spivey and was her long time companion. None of the material has been released on CD, as he strongly believes in the vinyl medium. He has the entire catalogue available and is open for business. He is reachable by hard copy mail only. ========================================================================= Date: Thu, 15 Feb 1996 19:22:22 -0500 Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Double-Entendre Blues Comments: To: bit-listserv-blues-l@uunet.uu.net In article David Silberberg writes: >At 9:15 PM 2/14/96, Art Schuna wrote: >>Alberta Hunter - "My Handy Man Ain't Handy No More" - she sings about her >>man greasing her griddle among other things. "You Can't Tell The Difference >>After Dark" >Isn't "You Can't Tell the Difference...." saying "you won't care if I'm >black or white while we're making love in the dark...."? I don't interpret this as a black-white thing, though I could be wrong ( wouldn't be the first time). I think it has more to do with the perceived difference between light-skinned African Americans and dark-skin African Americans. Light-skinned African-Americans were often referred to in pre- war blues tunes as being "high yellow", I think Alberta says "she may be brown as a berry, but you can't tell the difference after dark". This tune fits the double-entendre category not for this line, but because she never actually tells you what she's doing after dark. The difference between light and dark skin color must still persist as it was the subject of a Spike Lee film not too many years ago. Art Schuna (and I don't want to get into a lengthy white-black discussion again here so flame me personally - aaschuna@facstaff.wisc.edu) ========================================================================= Date: Thu, 15 Feb 1996 19:26:31 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Eddie Campbell coming to Syracuse Hey everybody in Upstate New York: One of my faves, Eddie C. Campbell, will play at the Dinosaur BBQ in Syracuse next Tuesday night, the 20th. I really enjoy his THAT'S WHEN I KNOW (Blind Pig) release. I caught him at the Chicago Blues Fest, liked what I heard. I figure he must sound even better -- he uses a hell of a lot of reverb on his ol' Jazzmaster -- in a small club setting. (Drenched reverb kinda gets lost among a 100,000 plus audience.) Unless we get hit with another cripplin' Nor'easter, you can bet I'll be watching Eddie C. next Tuesday night! Yours, Dave Prychitko Blues 101, WNYO-Oswego http://www.oswego.edu/~prychitk/Blues101.html ========================================================================= Date: Fri, 16 Feb 1996 00:29:17 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Blues Hall of Fame nominees include two 'zellers Comments: To: bit-listserv-blues-l@uunet.uu.net In article Richard Shurman writes: >Date: Thu, 15 Feb 1996 15:18:46 -0600 >From: Richard Shurman >Subject: Re: Blues Hall of Fame nominees include two 'zellers >Who's going to break it to my wife that I'm a non-performer??? I probably shouldn't say this, but what the hell....maybe she already knows??? ;-) ;-) ;-) (of course, you know this is only a joke) Art Schuna ========================================================================= Date: Thu, 15 Feb 1996 18:52:44 -0600 Reply-To: Mark Gobeyn From: Mark Gobeyn Subject: Andrew Brown A colleague of mine loaned me an Alligator compilation a few weeks ago (Living Chicago Blues vol. 5, I think) that I really liked. What really stood out for me was the stuff by Andrew Brown. Dick Shurman, I hate to impose, but could you reminisce a bit about this talented artist? Finding LPs recorded by him has thus far been a difficult task. Does anybody out there have any Andrew Brown records? ========================================================================= Date: Thu, 15 Feb 1996 00:54:04 GMT Reply-To: Undetermined origin c/o LISTSERV maintainer Comments: RFC822 error: Mail origin cannot be determined. Comments: RFC822 error: Original tag data was -> (Jack Oudiz) From: Undetermined origin c/o LISTSERV maintainer Subject: BRICKS IN MY PILLOW Comments: To: bit-listserv-blues-l@uunet.uu.net CDNow lists Bricks in My Pillow as available on cassette FYI. And yes I am affiliated and they give me at least 60% of their net profits just because I'm so damn good looking! ========================================================================= Date: Fri, 16 Feb 1996 00:34:24 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Blues Hall of Fame nominees include two 'zellers Comments: To: bit-listserv-blues-l@uunet.uu.net In article Richard Shurman writes: >Who's going to break it to my wife that I'm a non-performer??? Of course, you know my other post in reply to this response had to do with the fact that your wife probably knows that you aren't generally known as a blues performing artist who releases commercial recordings....How's that for double-entendre blues? Art Schuna ========================================================================= Date: Thu, 15 Feb 1996 19:42:53 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Sitting&Thinking-J. Monque'D. Comments: To: Maggie Mortensen In-Reply-To: <3123DF86.4FC2@accesscom.net> On Thu, 15 Feb 1996, Maggie Mortensen wrote: > Barry Silverberg wrote: > > > J. MONQUE'D - BUTTER CHURNIN' MAN (WOLF 120.610) > > WOLF RECORDS P.O. BOX 375, A-1120 VIENNA AUSTRIA Clarification. Although I posted the review it was actually written by Toby Levy. And yes it was a blaster of a tight & solid review, but hey that's Toby (one of five of us who are the NY CD Blues review team). Also for this entire month in our tribute to Wolf Records w/ lots of their delicious CD's, I'll be doing the posting, but please check the credits at the end of the review. You will note that Ed and Toby are down there as well as myself. I love getting credits - but in these cases they may not all belong to me. Barry (the non reviewer of L. Monque' -, but hey did you get ] a load of the great job I did on Silver Cross). :):):). NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 15 Feb 1996 21:15:06 -0500 Reply-To: "r.d. tebby" From: "r.d. tebby" Subject: BluesBytes - I got mine! I just got my copy today, and it's just as good as everyone says! Thanks to all our performers who contributed, and to Bob Unger for putting it all together. Reina Tebby ========================================================================= Date: Thu, 15 Feb 1996 21:37:06 EST Reply-To: Stephen MacKinnon From: Stephen MacKinnon Subject: more Robert Nighthawk Steve Levine wrote: > >I've been listening to Robert Nighthawk a lot lately, and he's quickly >becoming one of my favorite Delta/Chicago blues artists. Nighthawk's Crying Won't Help You really hit me when I first heard it. It can still bring tears to my eyes. I too have searched out all his recordings. His early work (1937-1940) recorded under the name Robert Lee McCoy is on Wolf. Sonny Boy Williamson on harp on 19 songs. (His real name was Robert McCollum. He said he adapted his mother's maiden name McCoy because when he left the south he was in "deep trouble") I have all his Chess recordings on a Japanese issue of Black Angel Blues. Includes a young Buddy Guy on 2 songs. Live On Maxwell Street is a wonderful record of a tiny slice on the music played on the legendary street. Carey Bell on harmonica on 2 songs. You will really enjoy Testament's Masters Of Moder Blues Vol 4. Little Walter on 2 songs. This is Nighthawk's second best record. The best is Bricks In My Pillow IMHO. Both hsi vocals and guitar playing are extremely powerful. You might want to also check out the Chess Blues box set (CHD4-9340). It includes two Nighthawk songs - My Sweet Lovin' Woman and Sweet Black Angel. Robert also appears here as a sideman on Koko Taylor's What Kind Of Man Is That? Among my prize possessions are a couple of Nighthawk's United 78s. Cryin' won't help you darlin' 'Cause you've been so mean to me Stephen MacKinnon ========================================================================= Date: Fri, 16 Feb 1996 13:23:00 PST Reply-To: David Blanken From: David Blanken Subject: Re: Andrew Brown >A colleague of mine loaned me an Alligator compilation a few weeks >ago (Living Chicago Blues vol. 5, I think) that I really liked. What >really stood out for me was the stuff by Andrew Brown. Dick Shurman, >I hate to impose, but could you reminisce a bit about this talented >artist? Finding LPs recorded by him has thus far been a difficult >task. Does anybody out there have any Andrew Brown records? Yes, yes, yes!! Andrew Brown's albums MUST, I repeat, MUST be reissued NOW!!! Andrew Brown was a huge talent that has been overlooked for too long now. His tracks on the Living Chicago Blues series were definite high points on an excellent set. And please, Mr Shurman, reminisce about Andrew Brown a lot, otherwise a lot of blues fans might miss out on knowing about Andrew Brown's talent. Dave ========================================================================= Date: Thu, 15 Feb 1996 21:40:30 -0500 Reply-To: Bernard Chazelle From: Bernard Chazelle Subject: blues guitar To pick or not to pick, that is my question: I'd like to hear personal experiences from (electric) blues guitarists on the subject of using a pick or not. It seems most guitarists nowadays favor using a pick. Does any of you blues guitarists out there have interesting insights to share on that topic? I've been playing the blues for years (as a hobby) but I grew up playing classical guitar, and perhaps as a result (or most likely because of my limited skills) I've never learned to be as comfortable with a pick as I am with my fingers. (It takes me longer to warm up and relax with a pick than without.) I wonder if this is a common or not-so-common phenomenon. Any advice/tips/anecdotes will be appreciated. In particular, I wonder if it's truly worth my while persevering with a pick until I master that darn piece of plastic (assuming I ever do). I am aware of some of the limitations of fingerpicking such as speed (but I don't much care about speed anyway). Are any other serious limitations (perhaps rhythms?) that make using a pick truly compelling?? After all, Otis Rush and Albert King never used picks (as far as I know), and their guitars sing like a beautiful voice. (but, of course, so many greats did use a pick... oh well) ------------- I suspect this might not be the right mailing list for that kind of discussion, since it might bore non-guitarists to death. If anyone knows what might be the *right* place in cyberspace for that sort of chat please let me know. thanks. Bernard Chazelle chazelle@cs.princeton.edu ========================================================================= Date: Thu, 15 Feb 1996 18:43:05 -0800 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Subject: Re: Blues Bytes Billy Chambless wrote: >Even the covers were well done and well chosen. >This is coming from someone who thinks anyone who's doing yet another >cover of "Stormy Monday" should have to file an environmental impact >statement! "Stormy Monday" isn't alone there!! How about "Red House", "Got My Mojo Workin'", and about two hundred thousand renditions of SRV tunes........ So, how about a new thread........ candidates for the "Top 20* Overworked & Tortured Blues Standards of All Time" - Roger B. *.......or maybe Top 100, 1,000, or....? ========================================================================= Date: Fri, 16 Feb 1996 14:01:00 PST Reply-To: David Blanken From: David Blanken Subject: Blues Bytes Although I haven't yet received my copy of BluesBytes (I'm in Australia, so I'll probably get it last :-( ), I was wondering if anybody is going to do a review of it? I would, but my band, The Streamliners, appear on the tape. I'm really interested in peoples honest opinions of our (The Streamliners') music as this is the first time our music has been heard outside of our local area (and the first time that any of my bands have recorded something in a studio that was worth a damn!) Regards, Dave **************************************************************************** ****** David Blanken National Library of Australia Email: D.Blanken@nla.gov.au Phone: (06) 262 1473 **************************************************************************** ****** ========================================================================= Date: Thu, 15 Feb 1996 21:31:46 -0600 Reply-To: Billy Chambless From: Billy Chambless Subject: 20 Most Overworked Blues Covers Comments: To: emdrprac@DIRECT.CA In-Reply-To: from "Roger B." at Feb 15, 96 06:43:05 pm In an earlier message, Roger B. said: ] So, how about a new thread........ candidates for the "Top 20* Overworked & ] Tortured Blues Standards of All Time" 1. "Hoochie Koochie Man" First of all, every version I've ever heard except for Muddy's sounded like a little kid tryin' to be big. The exception is the Allman Brothers, but theirs was more of a remake than a cover. Cultural note: If ya don't know what something is (black cat bone, mojo, John the Conqueror Root), yer gonna sound STOOPID singing about it. 2. "Crossroads" Specifically, rock bands covering Cream's version. Not really blues, but that's the point. Do you even know who Robert Johnson _was_, boy? 3. "Born Under a Bad Sign" "If it wasn't for tired songs, we wouldn't play no songs... "If it wasn't for REEEEEAAL tired songs -- "Babe! we wouldn't play no songs at all." 4. "Double Trouble" Right off, that's MY whine list. My sweetie, tho, says she better not hear Buddy Guy's "Watch Yourself" again this week. She's already threatening to beat up all the ugly chicks in the 'hood. -- * Billy Chambless | billy@cast.msstate.edu | voice: 601-688-7608 * Mississippi State University Center for Air-Sea Technology * To attain knowledge, add something every day. * To attain wisdom, remove something every day. -- Lao-tse ========================================================================= Date: Thu, 15 Feb 1996 22:58:21 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Knocking Stormy Monday? Billy Chambless wrote: >Even the covers were well done and well chosen. >This is coming from someone who thinks anyone who's doing yet another >cover of "Stormy Monday" should have to file an environmental impact >statement! It's only one of the greatest slow Blues ever written. Why would anyone want to cover it? P.W. ========================================================================= Date: Thu, 15 Feb 1996 23:29:55 -0500 Reply-To: "jose.eric.s.maglanque" From: "jose.eric.s.maglanque" Subject: YAZOO address Does Yazoo have an e-mail address? Will settle for snailmail, phone number, fax number, and contact name, though. Any info. will be appreciated. Thanks! ========================================================================= Date: Thu, 15 Feb 1996 23:40:38 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: 20 Most Overworked Blues Covers Comments: To: billy@CAST.MSSTATE.EDU On 15 Feb 96, Billy Chambless had this to say: > ] So, how about a new thread........ candidates for the "Top 20* Overworked & > ] Tortured Blues Standards of All Time" > 3. "Born Under a Bad Sign" > "If it wasn't for tired songs, we wouldn't play no songs... > "If it wasn't for REEEEEAAL tired songs -- > "Babe! we wouldn't play no songs at all." Maybe your problem is tired bands. Once again you've selected a CLASSIC Blues song. It got to be classic, 'cause it's so damn good. ========================================================================= Date: Thu, 15 Feb 1996 23:57:24 -0500 Reply-To: Kevrave From: Kevrave Organization: America Online, Inc. (1-800-827-6364) Subject: Rootin' Around Column Comments: To: bit-listserv-blues-l@uunet.uu.net Like it, hate it, you're forced to read it. Here's the latest long-winded bleat from your least qualified critical voice... Y'all enjoy! KR ================================ SOUND VIEWS, Vol. 39, February/March 1996 "Rootin' Around" "Bessie Smith was the engineer, and I'm just ridin' on the train!" - Ms. Z.L. Hill, owner, Riverside Hotel, Clarksdale, Miss. For a round-trip ticket on the Pan Americana Special -- with stops at the Mississippi hotel where Bessie Smith died and Ike Turner put the finishing touches on Jackie Brenston's "Rocket 88" and nearly 50 other dusty, magical locales -- look no further than Holding On: Dreamers, Visionaries, Eccentrics and Other American Heroes (Norton), a wondrous collection of interviews and oral histories compiled by writer/producer David Isay for his NPR radio show of the same name. The 216-page book (featuring dignified b&w photographs from Brooklyn's Harvey Wang) and 11-track companion CD on the Shanachie label introduce us to a staggering variety of passionate dreamers and twitching geniuses on the edges of civilization (an Idaho cave dweller, a Basque-speaking mountain shephard and a Death Valley playwright), sanity (the keeper of the world's longest diary, a cackling Hula Ville museum proprietor) and, of course, the outer boroughs (sparkling-eyed Brooklyn checker aces, the cantankerous Coney Island Chamber of Commerce chief). They're all rockers, in a holy, liminal sense of the word, dwelling on the fringes and trying to wring something pure out of an increasingly sanitized, generic American scene. Memphis savant Charlie Feathers has been doing just that for 40-odd years, hiccuping and cooing his dark country/rockabilly musings for pennies while his Sun Records brethren moved onto glitzier surroundings. Tip Top Daddy -- Unissued Acoustic Demos, 1958-73 (Norton) is a staggering reminder of just how weird and powerful things can get when you leave Charlie alone with a battered acoustic and a sonorous echo. For a smoother, warmer splash of the Mud Island sound, turn to the Memphis Shieks' second release, Diamond in the Bluff (Inside Sounds), a swaying, gravel-voiced blend of lazy country blues and acoustic swing. Or journey back to the roaring '20s where it all got started with The Memphis Jug Band's propulsive, kazoo-powered State of Tennessee Blues (Memphis Archives) and the stride-righteous Piano Wizards (Memphis Archives). This raucous collection of '20s and '30s keyboard stompers kicks off with Meade Lux Lewis's ripping "Honky Tonk Train" and motors through 17 others by Pete Johnson, Jabo Williams, Fats, Earl and The Duke. If jumped-up, jazzy r&b is what you're seeking, pick up Night Train's awkwardly titled but lovingly compiled, Music From and Inspired by the Soundtrack of "Devil in a Blue Dress." This after-hours collection of postwar jump-blues mines the heretofore unlooted vaults of L.A.'s prolific Swing Time label, giving the consumer a whole lot more Jimmy Witherspoon, Charles Brown, Ray Charles, Lowell Fulson, Johnny Otis and Jimmy McCracklin for the money than the official Sony soundtrack release. You'll get just as much music and a high-class live show to boot if you crawl out from under that rock you've been living under (basement apartment dwellers unite!) and stumble into Mondo Perso, Dan Lynch's or the Louisiana Community Bar & Grill to catch NY harp wizard Ron Sunshine in one of his various musical incarnations. His '40s jazz/r&b persona is in fine, finger-snapping form on Sumpin Jumpin (Golden Bug), a swinging, soulful collection of vintage covers and stylized originals that stomps, purrs, bops and shouts its way skyward with a little help from Sunshine's honey-tinged vocals and a killer supporting cast, including downtown veteran Joe Flood on backing vocals. Flood's fine songwriting is featuered on Almost Home (A&M), the long-awaited major-label debut of expatriate Lower East Side scenester Jono Manson, who wore Converse All-Star-sized holes in the tiny Nightingale stage alongside Simon Chardiet, Howie Wyeth and Jerry Dugger as a member of dive-bar band extraordinaire, The Worms, in the mid- to late '80s. Wyeth, Sunshine, saxman Craig Dreyer, The Allmans' Warren Haynes and Blues Traveler's John Popper, Chan Kinchla and Bob Sheehan lend their Worms-inspired talents to chunky, joyous remakes of The Mighty Sweetones' "Move Along," Flood's East Village anthem, "Miss Fabulous," and Simon's "Hangin' Out for Your Love." Four-year Santa Fe, N.M., transplant Jono also reaches into his bulging bag of clear-eyed Rocky Mountain soul numbers on the gorgeous "One Horse Town" and "Almost Home." You can take the boy out of Brooklyn, but you can't take the Brooklyn out of the boy, even if he shuffles off to The Land of Enchantment and gorges himself on frito pie and green chile stew. You can't get green chiles in the Crescent City, but you can get Dash Rip Rock. And one listen to the barnburning trio's at-the-hopping "(Let's Go) Smoke Some Pot" on the charmingly cheesy Get You Some of Me (Sector II) will have you shoving just about anything you can find down your gullet -- anything to stave off those mosh-pit munchies! Dallas's kookily kinetic 0ld 97s wax a bit more poetic about the hemped-up subject at hand on their big 10-inch record, "Stoned"/"Garage Sale" (Idol), a split EP shared with Big D alternative rockers, The Funland Band. But it's the 97s' highly addictive second album, Wreck Your Life (Bloodshot), that will really set your mind a-reeling and legs a-flailing. Fueled by a machine-gun rhythm section and Ken Bethea's veering, stuttering, upper-string twang guitar workouts, lead vocalist and acoustic guitar beater Rhett Miller half-yelps, half-croons his way around a dizzying array of bewitching ex-girlfriends, midnight border runs and ladies' room bathroom stalls. Easily the best thing that's happened to my life since I got rid of cable and become an honorary friend of the Transit Museum. On other neo-country fronts, Phoenix's Earl C. Whitehead & the Grievous Angels prove mighty, mighty worthy of inclusion on the next high-octane honky tonk mix tape with their blend of hard-chugging harmonies and soaring melodies on their debut CD, Angels and Inbreds (Bloodshot). But North Carolina's aspirationally dubbed Jolene falls prey to a bit too much Uncle Tupelo and Eddie Vedder hero worship to ever move beyond the realm of the merely pleasant on Hell's Half Acre (Ardent). When you're as big as Barry White, merely just doesn't cut it. So The Volebeats' shuffling country cover of Mr. Ecstasy's "I'm Gonna Love You Just a Little More, Baby," stands a little taller -- and wider -- than the five chiming, harmony-drenched originals which make up the rest (but not the bulk) of this Detroit band's alluring mini-CD debut, Bittersweet (Third Gear). Chicago-based Freakwater reaches back about 50 years farther in grounding its equally appealing, Carter Family-inspired stark country minimalism in a modern-day Rust Belt setting on Old Paint (Thrill Jockey), a slow-building but richly satisfying sophomore effort that makes you want to curl up in a rocking chair in front of a crackling pot-belly stove on a bitter, snow-streaked winter morning. When it's time to stoke the flames and warm your very soul, however, you'll have to turn to Richmond-based gospel firestarter Maggie Ingram. Rather than douse you with blasts of husky shouting and heavy-handed organ and piano pumping, Ingram works from the embers up, imbuing the hauntingly sparse guitar and background vocals of "Jesus Christ, The Baby" and "My Jesus, He's Pleased" with a majestic warmth that feeds upon itself in the tradition of Sam Cooke's best Soul Stirrers work. The Best of Maggie Ingram (AVI), a stunning compilation of her finest moments while under contract to the prolific Nashboro label in the mid-'60s, is gospel music that seeps effortlessly into the secular realm. When Ingram confidently declares that the spirit of Christ can be distilled and transfused like "a hypodermic needle" in the stately "My Friend, Jesus," she makes an unconscious leap from the terrifying to the sublime in a single mellifluous phrase. Richmond's a long way from the Mississippi Delta, but I have a feeling Robert Johnson's waiting in the wings. - Kevin Roe kevrave@aol.com Most of the releases reviewed in Rootin' Around can be found at Brooklyn's Holy Cow; Manhattan's Venus, Smash, Adult Crash and Norman's Sound & Vision; or via mail-order from Roots 'n' Rhythm Mail Order (510/525-1494, roots@get.hooked.net), Roundup Records (800/443-4727) or Internet music stores CDNow (www.cdnow.com) and Soundwire (www.soundwire.com). Contact info for harder-to-find labels/publishing companies is as follows: W.W. Norton & Co., (Holding On), 800-626-2242; Shanachie, 13 Laight Street, NYC 10013; Norton Records, Box 646, Cooper Station, NYC 10003; Inside Sounds & Memphis Archives, Box 171282, Memphis, TN 38187; Night Train, 200 W. 72nd St., NYC 10023; Golden Bug, 528 9th St., Brooklyn, NY 11215; Sector II, 2116 Guadalupe, Ste. 812, Austin, TX 78705, sectorII@aol.com; Idol, Box 578536, Chicago, IL 60657; Bloodshot, 912 W. Addison, Chicago, IL 60613, bludshot@mcs.com; Ardent, 2000 Madison Ave., Memphis, TN 38104, ardents@aol.com; Third Gear, Box 1886, Royal Oak, MI 48068; Thrill Jockey, Box 476794, Chicago, IL 60647; AVI, 10390 Santa Monica Blvd., Ste. 210, Los Angeles, CA 90025. PART II -- FOR THOSE WHO DARE READ ON... (FROM THE MANDATED FIFTH ANNIVERSARY ISSUE, IN WHICH YOURS TRULY TRIES TO ADD A SHEEN OF RESPECTABILITY TO HIS PITIFUL JOURNALISTIC EFFORTS) Fuzzy Dude and The F Train -- Remembrance of Sound Views Past I never planned to be a music critic. No, this glamorous life literally just fell in my lap. On the downtown 6 train, about five years ago, when I stumbled upon a tiny classified in the back of the now-defunct Perspectives entertainment weekly. "Writers wanted for new NYC music magazine," said the ad. "Send clips!" So I did. And about four weeks later I was sucking down some frothy, peach-flavored alcoholic concoction in a cramped uptown comedy club with a bubbly Middle Eastern printing company sales rep and wide-eyed Sound Views progenitors Lee and Jason (of Kuffer Nudes fame). We raised our foaming glasses to toast the release of the 16-page first issue, a rambling, ink-stained labor of love that touched upon Long Island pop, Lower East side funk/rock, several unnamed subway musicians and all of Lee's favorite hardcore bands while introducing our disheveled, wombat-like mascot, Fuzzy Dude, on the two-toned cover. We even had personals, and a t-shirt-ready No Dancing Yuppies icon, to boot. In short, a profit center waiting to explode. What happened? Well... Kuffer Nudes never provided the massive cash infusion we were all anticipating. Fuzzy Dude lit out for the coast after Nickelodeon declined to pick up his option. The yuppies just kept on dancing and dancing and dancing, as they are wont to do. And the paper got bigger and bigger, gradually picking up enough advertisers to keep Lee out of the Boerum Hill almshouse and getting us all on enough label mailing lists to keep us as informed as our competition and our favorite trade-in centers in business. What was in it for me? Sound Views was my window on the throbbing underbelly of New York -- the New York that had thus far eluded me in my Holden Caulfieldian endeavors to penetrate beyond the numbing veil of all-you-can-drink midtown happy hours, summer house phonies and bleating Bleecker St. cover bands. I was suddenly energized with a burning need to find interesting New York music so I could have something credible to report for my faceless, but loyal readers. I attended every no-cover show I could find (there were lots in those days); served coffee and cookies over the din of Chinese fiddle music and Afro-Peruvian rhythms during the sorely missed First Friday coffeehouses at the Ethnic Folk Arts Center; braved the N train at midnight to catch Astoria's hardest-working Elvis impersonator, Gregg Peters, on his glitzy home turf; trekked out among the cat-tails in the farthest reaches of Brooklyn to profile promoter Doug Tuchman's unheralded annual New York bluegrass festival; suffered insult upon insult and pissed in a hole behind the door while memorizing the complete David Allan Coe discography at the much-imitated but never-equalled Village Idiot... Did I forget anything? Oh yeah. Eating homemade gumbo with Anniston, Alabama's favorite son, George Kilby, at Fannie's Oyster Bar, where a chance seating arrangement introduced me to the wondrous Rosco Gordon, the r&b shouter who put Sun Records on the map in the early '50s and now holds court from the balcony of his Queens high-rise, waiting patiently for the world to wise up to his many talents; dragging everyone and his/her brother/sister on board the Diesel Only caravan in an effort to spread the word about the roots music mother lode being enriched nightly at dives across town by The World Famous Blue Jays, Blue Chieftains, Five Chinese Brothers, Mumbo Gumbo, Courtney & Western, The Mighty Sweetones. And riding the F train at sunset out to Coney Island for Sideshows by the Seashore, a frenzied round of skee-ball and perhaps a stopover at the greatest unknown used record store in the world, Holy Cow (on 9th St. and 7th Ave. in Park Slope), where I always managed to find at least one thing (Flamin' Groovies' Shake Some Action, Willie Nelson's Yesterday's Wine, Sweet's Desolation Boulevard) I'd been looking for all my life and more than a few things (Abba, BTO, Jim Stafford and Ray Stevens) I was too embarrassed to buy anywhere else. Along the way, I mastered the devious art of employing the semi-colon to extend even the runniest run-on sentence and stumbled upon a treasure trove of fascinating people, dingy coffee shops, forbidding back alleys, soul-stirring subway vistas and cheap refrigerator magnets. Now if I could only hock that limited-edition Fuzzy Dude bidet and get my hands on that cheap Brooklyn sublet Lee's been promising me for years, I could quit this stupid day job and open the White Castle franchise of all White Castle franchises to pay for the Gowanus Canal summer house where we can have the 10th anniversary bash of all 10th anniversary bashes. Bring your surfboard. And take the F train. - Kevin Roe ========================================================================= Date: Fri, 16 Feb 1996 00:35:41 -0500 Reply-To: sales@ESINET.COM From: sales@ESINET.COM Organization: Pegasus Software & Imaging Subject: FREE MOUSEPADS! Comments: To: bit-listserv-blues-l@uunet.uu.net Dear Cyberfriend, Give me a moment to introduce the newest, largest, fastest turnaround, best customer support , and most importantly, least expensive computer Mega-store to enter the galaxy in cyberspace, ESINET. We at ESINET pride ourselves on providing the friendly support before and after your purchase that no other online store can. Our Mega-sales team, with their Mega-knowledge, with our Mega-product line is ready to assist your hardware/software needs, just call!!! Just an example of our Mega-low prices: R A M is only $28.50 per megabyte for 30-pin and 72-pin SIMMS!!! ***FREE MOUSEPAD WITH EVERY ORDER*** Check out our website for our latest hot sheet of Mega-deals and give us a call. We are the friendliest folks in space. 1-800-443-3229 ask for our Mega Sales Department http://esinet.com/upgrade.htm email: Sales@ESINET.com Sincerely, ESINET Staff ========================================================================= Date: Thu, 15 Feb 1996 21:24:56 GMT Reply-To: Dave_J._Herda@infozone.telluride.co.us From: "Dave J. Herda" Organization: InfoZone Telluride Co (970)-728-0472 Comments: To: Jinxblues@AOL.COM d Max & the Blues Kings, a Washington, D.C.-area based blues band, are looking for a bass player who can also sing. Please contact me or call (301) 622-1074 if you have any leads. Thanks! Ruth ******************* You are really lucky on this one, Ruthie. Just up the road in Baltimore is a guy named Cal Ripken, Jr., and he has played bass (i.e. second base) for about 2200 straight gigs and never missed a single play date. Of course, you'd have to do something about that ugly haircut.\ ----Sorry to burst your bubble and ruin your joke, but didn't Cal play shortstop? ========================================================================= Date: Fri, 16 Feb 1996 00:15:36 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Andrew Brown Comments: To: Mark Gobeyn In-Reply-To: <199602160052.SAA23044@bradley.bradley.edu> Andrew Brown was a truly outstanding singer ("vocalist extraordinaire" was how Maurice Vaughn described him to me once) and excellent guitarist with a style in between the Kings (he reminded me of Freddie physically too), Little Milton, Bobby Bland and Wayne Bennett. His Alligator cuts are excellent; so are his 45s on USA (You Better Stop was covered by Magic Sam), 4 Brothers (Byther Smith and others have covered You Ought To Be Ashamed) and Brave. His death in '85 was a big loss. The two LPs I produced in the early '80s for Black Magic and Double Trouble are hard but not impossible to find and Black Magic now owns both and plans to add other material and put out a box later this year. Andrew is one of the departed blues people I still miss the most and one of the most overlooked. He was just getting into a position to retire from his steel mill job and do some touring when his lung cancer developed. ========================================================================= Date: Fri, 16 Feb 1996 01:16:02 -0500 Reply-To: JRush11279 From: JRush11279 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Q: Blues Festival Dates? Comments: To: bit-listserv-blues-l@uunet.uu.net The Kansas City Blues and Jazz Festival is July 19, 20, 21. Will post more info on acts, etc., as they become available. However, don't be afraid to plan your trip around it, as I'm sure it will be a great time once again! ========================================================================= Date: Thu, 15 Feb 1996 22:42:34 -0500 Reply-To: Dave Melton From: Dave Melton Subject: Re: blues guitar >To pick or not to pick, that is my question: > >I'd like to hear personal experiences >from (electric) blues guitarists on the >subject of using a pick or not. >It seems most guitarists nowadays >favor using a pick. Does any of you >blues guitarists out there have interesting insights >to share on that topic? > >I've been playing the blues for years (as a hobby) >but I grew up playing classical guitar, and perhaps >as a result (or most likely because of my limited skills) >I've never learned to be as comfortable with >a pick as I am with my fingers. >(It takes me longer to warm up and relax with a pick than without.) >I wonder if this is a common or not-so-common phenomenon. > >Any advice/tips/anecdotes will be appreciated. >In particular, I wonder if it's truly worth >my while persevering with a pick until I master >that darn piece of plastic (assuming I ever do). >I am aware of some of the limitations of fingerpicking such >as speed (but I don't much care about speed anyway). >Are any other serious limitations (perhaps rhythms?) >that make using a pick truly compelling?? > >After all, Otis Rush and Albert King >never used picks (as far as I know), >and their guitars sing like a beautiful voice. >(but, of course, so many greats did use a pick... oh well) > >------------- >I suspect this might not be the right mailing >list for that kind of discussion, since it >might bore non-guitarists to death. >If anyone knows what might be the *right* >place in cyberspace for that sort of chat >please let me know. thanks. > >Bernard Chazelle >chazelle@cs.princeton.edu Bernard, Don't worry about not using a pick! Just do what feels good. I do a little of both, but mostly I play with a pick. Sometimes I drop it during a song and the tone is always twice as fat with my thumb. But, fool that I am I always pick it up again. Maybe one of these days I can just leave it on the floor. :) Dave ========================================================================= Date: Thu, 15 Feb 1996 23:06:02 -0800 Reply-To: David Burke From: David Burke Organization: CRL Dialup Internet Access (415) 705-6060 [Login: guest] Subject: Re: blues guitar Comments: To: bit-listserv-blues-l@uunet.uu.net Bernard Chazelle (chazelle@CS.PRINCETON.EDU) wrote: : To pick or not to pick, that is my question: : I'd like to hear personal experiences : from (electric) blues guitarists on the : subject of using a pick or not. : It seems most guitarists nowadays : favor using a pick. Does any of you : blues guitarists out there have interesting insights : to share on that topic? Bernard...I'm an electric blues guitarist..(just finished a f*cking HOT show!)..and I'll tell you...I use BOTH! I play primarily with a flat pick..but often palm it to use my fingers for a real percussive "plucky" type of sound. I too admire Otis Rush, Albert King, Albert Collins, et al..and have tried to NOT use a flat pick..just doesn't quite do it for me. I have a friend, Paul Dowling, who is a badass muthaf*cka..and he NEVER uses a pick..and is FAST when he wants to be..another cat in my town named Ralph Bryan plays sans pick..and he is downright DANGEROUS. To sum it up..you oughta play however you choose to play..and develop your style around that choice...It's just like me and all these other guys around here playing with heavy strings..(11's and 12's)..and this totally awesome player saying to me...Why make it any harder? I'm back to using 10's and my tendonitis is finally going away... so..my friend..do it so it sounds good to you..and don't go making it any harder! "Lonesome" Dave ========================================================================= Date: Fri, 16 Feb 1996 02:29:36 -0500 Reply-To: Fretman6@AOL.COM From: "J.B. Eanes" Subject: Fwd: Buddy Guy's club fire! --------------------- Forwarded message: Subj: Buddy Guy's club fire! Date: 96-02-15 05:10:34 EST From: Fretman6 To: BLUES-L@brownvm.edu(multiplerecipientsoflistblues-l) There was a fire onstage at Buddy Guy's Legends last Saturday night (2/9). Larry McCray was resposible for the damage. This show was smokin' from start to finish. Larry's guitar playing was in top form and his voice was it's usual strong and soulful self. I can't remember seeing these guys playing with so much fire. Larry led the band like the undiscovered superstar he is. The talent this guy has is unreal. Diversity. Underrated is an understatement. He literally ripped, burned, and carressed the guitar like no other bluesman on the scene today. Larry McCray played lengthy guitar solos without using the same phrasing twice the entire show. The one quality even some of the old greats never mastered. Buddy Guy was in the house and I overheard him mention that " I just don't have the energy these guys have". Larry and his band played atleast seven new originals and several of their choice cuts from "Delta Hurricane" and "Ambition" (Pointblank/Charisma). All the cuts off of the DH cd had a more energetic and raw sound live, without the horns of the slick studio versions. A couple of cuts that stand out in my mind were "Witchin' Moon" and of course "Last Four Nickels". The energy level in the club was at it's peak when Larry invited veteran harpist Mathew Skolr, sax man Mike Peavey and bassist Joe Thomas up for the the last few songs. The Mike Peavey band opened the show earlier and had a great sound of there own as well. If you have'nt seen Larry McCray live, you better. This guy will be on top in the near future. Among blues musicians, he is one of the most respected. Larry makes a pass through Legends every two months or so. He also works the New England and Memphis areas and in between. just for your info.... J.B. ========================================================================= Date: Fri, 16 Feb 1996 02:33:01 -0500 Reply-To: Fretman6@AOL.COM From: "J.B. Eanes" Subject: Buddy Guy's club fire! --------------------- Forwarded message: Subj: Fwd: Buddy Guy's club fire! Date: 96-02-16 02:28:08 EST From: Fretman6 To: BLUES-L@brownvm.brown.edu(multiplerecipientsoflistblues-l) --------------------- Forwarded message: Subj: Buddy Guy's club fire! Date: 96-02-15 05:10:34 EST From: Fretman6 To: BLUES-L@brownvm.edu(multiplerecipientsoflistblues-l) There was a fire onstage at Buddy Guy's Legends last Saturday night (2/9). Larry McCray was resposible for the damage. This show was smokin' from start to finish. Larry's guitar playing was in top form and his voice was it's usual strong and soulful self. I can't remember seeing these guys playing with so much fire. Larry led the band like the undiscovered superstar he is. The talent this guy has is unreal. Diversity. Underrated is an understatement. He literally ripped, burned, and carressed the guitar like no other bluesman on the scene today. Larry McCray played lengthy guitar solos without using the same phrasing twice the entire show. The one quality even some of the old greats never mastered. Buddy Guy was in the house and I overheard him mention that " I just don't have the energy these guys have". Larry and his band played atleast seven new originals and several of their choice cuts from "Delta Hurricane" and "Ambition" (Pointblank/Charisma). All the cuts off of the DH cd had a more energetic and raw sound live, without the horns of the slick studio versions. A couple of cuts that stand out in my mind were "Witchin' Moon" and of course "Last Four Nickels". The energy level in the club was at it's peak when Larry invited veteran harpist Mathew Skolr, sax man Mike Peavey and bassist Joe Thomas up for the the last few songs. The Mike Peavey band opened the show earlier and had a great sound of there own as well. If you have'nt seen Larry McCray live, you better. This guy will be on top in the near future. Among blues musicians, he is one of the most respected. Larry makes a pass through Legends every two months or so. He also works the New England and Memphis areas and in between. just for your info.... J.B. ========================================================================= Date: Fri, 16 Feb 1996 02:30:11 -0500 Reply-To: Bluesagent From: Bluesagent Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Charles Brown's Health? Comments: To: bit-listserv-blues-l@uunet.uu.net Saw Charles Brown on Christmas Eve at Yoshi's in Oakland, CA. Fantastic!!! He looked great, and seemed to be feeling even better. Don't think you need to worry. I did hear that Brownie McGhee's health has taken a turn for the worse. Sorry I don't have any details. Those of you that are concerned might contact his publicist via email at lknight1@aol.com ========================================================================= Date: Fri, 16 Feb 1996 03:08:37 -0500 Reply-To: Fretman6@AOL.COM From: "J.B. Eanes" Subject: Re: SRV unplugged Comments: To: chazelle@cs.princeton.edu Chaz, The unplugged did happen, but SRV and Satch did'nt actually play together. As far as a video being available to the public........I hav'ent heard of this being so. I'm glad I taped the show. I'm sure someone would be glad to send you a copy or trade maybe. ========================================================================= Date: Fri, 16 Feb 1996 01:02:14 -0800 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Subject: Re: 20 Most Overworked Blues Covers P.W. said, re...... (Billy Chambless, Roger B.'s thread.....) > >> ] So, how about a new thread........ candidates for the "Top 20* Overworked & >> ] Tortured Blues Standards of All Time" > >> 3. "Born Under a Bad Sign" >> "If it wasn't for tired songs, we wouldn't play no songs... >> "If it wasn't for REEEEEAAL tired songs -- >> "Babe! we wouldn't play no songs at all." THEN, P.W. SAID: >Maybe your problem is tired bands. Once again you've selected a >CLASSIC Blues song. It got to be classic, 'cause it's so damn good. As the originator of this thread (thread-bare, maybe) attempt at humour, let me clarify: It was not my intention to dishonor or poke fun at any SONG or SONGWRITER, classic or otherwise. What bugs me is the over-working by so many acts (yes, you're probably right on in calling them TIRED bands!) who can't seem to be bothered to dig out the many, many great, yet obscure blues that could stand a little "covering", but instead perform the familiar "standards". Roger B. (listening to T-Bone Walker getting it right the first time...... o.k., everybody: Flame away at me, call me a purist....) ========================================================================= Date: Fri, 16 Feb 1996 09:58:24 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: MISSISSIPPI HEAT on Belgian TV I haven't had enough time to follow blues-l this week and since I won't be ojn the net again before next frtiday, let me just announce something which might be of inbterest to zellers having some sort of access to the Public French Speaking Belgian Television RTBF. As most of you know, hopefully, MISSISSIPPI HEAT is without >>any doubts<< (and this is not just IMHO.... :-) one of the very best and most interesting Chicago Blues Band active touday n the blues scene. You hopefully also know that Pierre Lacocque (and his brother manager Michel) are originally from Belgium. Thanks to Pierre Degeneffe, they played the great SPRING BLUES FESTIVAl over here in belgium two years ago (a video with their performance was available during a while, superb sound - great) as well as a few other dates including a gig in their native village (Ransart, near Charleroi). They came back last year for a few other Europeans date (and will be back soon in november - if Europeans are interested in booking them for a date contact Jan MIttendorp who , I think, takes care of this forthcoming tours). A few motnhs before their appeareance in Ecaussinnes, a television team decided to start filming a documentary and they followed Mississippi Heat over here in Europe but also in Chicago. A 55 minutes documentary entitled "BACK TO THE ROOTS" was so produced and will be broadcated next FRIDAY FEBRARY 23rd, ON RTBF at 22.25h. I've heard from well informed persons that this will be a nice thing to watch to -and the good occasion to put my video recorder on! Also next SUNDAY FEBRUARY 18th on the German/French excellent public cultural television channel ARTE , an entire evening dedicated to NEW ORLEANS (from 20.40 up to 02.00) including documets on NO caranaval, the great Down By Law film from Jarmush and a musical document called MAGIC SOUNDS about the different NO sounds. Some European zellers will maybe remember the recent excelent documetary on the blues with Julio Finn as main "guide" and interviews and concerts featuring Jimmy lee Robinson, Deitra Farr, Willie Kent, the great Sterling Plumpp, Wiliiam ferris, Big Lucky Carter (who had to cancel a European tour which was planned around these weeks, hope he's not doinf too bad - any info would be appreciated), .... Jean-Pierre "Young Man" Urbain PS usual disclaimer: I have no relation to any of the above mentioned projects, I'm just trying to promoting artists who I think derserve it! interest in Mississippi Heat's ========================================================================= Date: Fri, 16 Feb 1996 09:59:49 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Info request: BIG LUCKY CARTER As I mentioned in my Mississippi Heat mail, Big Lucky Carter has cancelled the different Euroepans gigs he was supposed to do these weeks. Apparently for health reason although I had no confirmation of this. Does anyone out there from the Memphis Aera have any furtther info? Thanks Jean-Pierre "young man" Urbain ========================================================================= Date: Fri, 16 Feb 1996 10:03:48 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Info request: WALTER LINIGER Again an info request. I've been in contact since years with Walter Liniger (researcher/musican who played and recorded with the late James Son Thomas and formerly with the Blues Archives) by mail. Unfortunately my four last mails over the last 18 months remained unanswered (but I didn't get them back ..) and I'd really would like to get in touch with him again. Does anyone know where Walter (who was in the >>early<< days of Blues Revue writing nice things for them..) lives know (I would really be surprised to hear that he's back to his native country Switzerland!) - snail mail, tel/fax ? Private mail please. Jean-Pierre "Yougn man " Urbain ========================================================================= Date: Fri, 16 Feb 1996 04:46:12 -0600 Reply-To: topcat@COMPUTEK.NET From: "" Subject: Re: Guitar Shorty Comments: To: Peter Welch Reply-To: Peter Welch Subject: Guitar Shorty To: Multiple recipients of list BLUES-L Does anyone know if David "Guitar Shorty" Kearney's early recordings for Cobra are available on any compilations? >>I don't know about his early Cobra stuff, but 've gotta say how privliged (sp?) it was to have Shorty to play at our new BBQ 'n Blues club < The Texas Blues Cafe, which we just opened in Dallas. Seems Shorty had a cancellation and needed a gig on Saturday night, and a deal was struck for him to play at o club. I heard he was really great, but I had NO idea just HOW great he is! This was one of the best club shows I ever saw. Ever. And a couple of other folks were commenting a few days later about hov honored they were to have experienced such a performance. Absolutely incredible. The best. Folks, if SGuitar Shorty EVER plays anywhere within driving distance from you, RUN, DON'T WALK TO SEE HIM. Blues satisfaction guaranteed. This guy was a 5 year old guitar proigy who played in a blues orchestra at age 13, with his grandmothers oversight. He had guitar tutors who all told his grandmother he was way ahead of them! I believe it. Best I ever saw. He's 55 years old now. Still does running complete flips on stage!!! And while playing unbelieveable leads and doesn't miss a lick!!! Have fun wherever you see him! Richard Chalk TopCat Records ========================================================================= Date: Fri, 16 Feb 1996 12:39:47 +0200 Reply-To: Jouni Ilari Hyyti{inen From: Jouni Ilari Hyyti{inen Subject: Gospel Hummingbirds+Larry Johnson+Moscow Joe's birthday. I am connecting these messages, so it is easier to you to use your d-key. We are working on to book a gospel act to our blues festival at october. Gospel Hummingbirds has been offered us, So dear Blues-L people if you have seen this modern gospel (and Blind Big recording) band live, please send me your opinions privately. To make this message "more blues oriented" (???), I'll also ask you my dear blues-l people does anyone know who is promoting Larry Johnson today ?. We are looking a solo act to our festival, too. We don't have the money to book the "wellknown" names, because there is gonna be the same amount of people in the concert with Rory Block or with LW (I mean that they are both as wellknown here) taking into account what Finnish people know about acoustic blues after (or before) RJ... maybe 500 know who RJ was... And to make this message even more complicated. Our friend in Moscow, Blue Joe has a birthday today. So let's give him a big hand. He is a man who have guts to leave Moscow when B.B. is comin' to town. -:) -:) Jouni. ========================================================================= Date: Fri, 16 Feb 1996 02:44:28 GMT Reply-To: David Wade From: David Wade Organization: Netcom Subject: Re: Double-Entendre Blues She Wants to Sell My Monkey -- Rod Piazza or... He Can't Have My Monkey -- Valerie Wellington Backed Up Baby -- Jimmy Ley Kitchen Man -- Bessie Smith and perhaps too blatant to be double-entendres much of the material from Saffire -- The Uppity Blues Women i.e. There's Lightning in these Thunder Thighs You Got to Know How Shake the Dew off the Lily Two in the Hand is Better than One in the Bush (Mr. Insurance Man) Take Out That Thing 'Nuf for now David Wade ========================================================================= Date: Fri, 16 Feb 1996 09:12:40 -0300 Reply-To: Leonardo Kenji Shikida From: Leonardo Kenji Shikida Subject: Info: Madcat & Kane Hello ! Last year, in Nescafe & Blues, here in Brazil, we could see Madcat & Kane. I thought Madcat is nice playing and walking on the stage... Well, i was lookingfor some information about them: 1. What kind of mic does madcat use ? It seems to be a very small one, fixed on his fingers with durex. 2. Do they have released any CD or something like ? Can anyone suggest a good one for me ? Thanx in advance ! Leo ========================================================================= Date: Fri, 16 Feb 1996 07:16:06 -0500 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Double-Entendre Blues Comments: To: bit-listserv-blues-l@uunet.uu.net Another Great one: "Handy Man" He shakes my ashes, greases my griddle Churns my butter, strokes my fiddle MY man is a HANDY MAN... No that's a man!!! Lea Gilmore Baltimore, MD "Wild Women Don't Have the Blues" ========================================================================= Date: Fri, 16 Feb 1996 13:43:16 +0100 Reply-To: christia@CNN.DE.EDF.FR From: Christian ESTHER Subject: Stavin' Chain & Cannet Heat Bonjour... It was written: " The name of a man who became the mythical black southwestern sexual hero of the ballad, "Winning Boy Blues," by Jelly Roll Morton; also could be inferred Jelly Roll's peer in prowess; a lady's man; a ramblin man." According to my favorite resource "Talking that talk" from Jean Paul Levet (which is a dictionnary with most of Jazz & blues wordS translated in French) A Stavin Chain is that kind of mem : "Heros legendaire du folklore noir celebre pour ses prouesses sexuelles" He give too titles of other songs talkin about him by Johnny Temple(1938), Jazz Gillum (1938), Zu Zu Bolin' (1952)... An he gives the word of an other song using it :"Woman woman blue" by Ishan Brachey (1930): "An' I got a woman Pretty little woman She ain't anything but a Stavin' Chain 'fraid she's a married women and I'm scared to call her name" I saw the group Stavin Chain last year at the Jazz Fess . There're from la Nouvelle Orleans. I enjoyed them a lot even if I only saw the end of the show and they 're not playing only blues .The slide guitarist did sound great !!!! Does they record some CD ? I'm interested to hear more from them. Cannet Heat are still alive and well. I heard that they made a gig in Paris the last days of January with Henry Vestine and Adolfo Fito de la Parra... Bon weekend... Christian ========================================================================= Date: Fri, 16 Feb 1996 07:51:44 -0500 Reply-To: Eranosian From: Eranosian Subject: BB's cd-rom Does anyone know how to get hold of the BB King cd-rom? I've tried many local stores (RI) and a few mail order houses, with no success. (Private email ok) Thanks, Craig cee@ssd.ray.com ========================================================================= Date: Fri, 16 Feb 1996 07:54:00 -0500 Reply-To: Niles Frantz From: Niles Frantz Organization: Megaweb Subject: Re: Pocono Blues Festival Comments: To: bit-listserv-blues-l@uunet.uu.net The 1996 Pocono Blues Festival will be held Saturday and Sunday, July 27 and 28, at Big Boulder Mountain ski area in Blakeslee, PA (in the beautiful Pocono Mountains in upstate Pennsylvania). Call for more information - 717-722-0100 In article <960214000019_103156.340_IHE27-1@CompuServe.COM> david m. carpenter wrote: > Blues Festival > the "when and where" > appreciate it. > Subject: Cal Ripkin ******************* >>You are really lucky on this one, Ruthie. Just up the road in Baltimore is a >>guy named Cal Ripken, Jr., and he has played bass (i.e. second base) for >>about 2200 straight gigs and never missed a single play date. >>Of course, you'd have to do something about that ugly haircut.\ >----Sorry to burst your bubble and ruin your joke, but didn't Cal play >shortstop? Cal is indeed a shortstop. But his brother Billy is a second baseman. Bill (retired second baseman) Morgan From: The Big Easy ========================================================================= Date: Fri, 16 Feb 1996 08:26:35 EST Reply-To: george morales From: george morales Organization: TEMPLE UNIVERSITY Subject: Kenny Neal & Tinsley Ellis in concert Although the local paper is listing this concert as Mardi Gras celebration Kenny Neal and Tinsley Ellis will be performing at the Electric Factory (215-627-1332) in a free concert with Zydeco Au-Go-Go and the Wild Bunch Brass Band I have never heard Kenny Neal & Tinsley Ellis play, but I think they are Blues Guitarists. Can anyone shed any light on what to expect from Mr Neal and Mr Ellis? Thanks, George +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ | | | GEORGE MORALES GEORGEM@TEMPLEVM | | COMPUTER AND INFORMATION SERVICES GEORGEM@VM.TEMPLE.EDU | | TEMPLE UNIVERSITY (215)204-6866 | | | +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Fri, 16 Feb 1996 08:45:21 -0500 Reply-To: MojoBandit@AOL.COM From: Dave Ruthenberg Subject: Larry McCray Good to see some mention McCray. Those of us here in Michigan are very familiar with McCray who makes his home here. He has toured Europe as an opening act for Gary Moore - including opening for Moore a couple of years back in New York and LA. His live shows are phenomenal. He does indeed blister the walls. He is no longer with Pointblank. Hopefully when he releases another album it will have a more live feel to it. His previous efforts, while quite good, have been painfully overproduced. Anybody in the metro Detroit area interested in seeing McCray should know that he will be at Sisko's On The Boulevard in Taylor on Feb 23 &24. Dave ========================================================================= Date: Fri, 16 Feb 1996 08:36:31 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Jimmy Spruill Update Last night (Thursday) I spoke on the phone with Jimmy Spruill's daughter Gaye. There are no new developments in the disappearance of her father. She and her mother remain hopeful and are in good spirits, and are appreciative of all the interest this situation has attracted. WOR TV in New York apparently did a three-minute segment on the situation Wednesday. Also, the NYPD is now more actively involved in the search. This situation is becoming more serious as every day passes. It should not be happening. Gaye reiterated that it just isn't like Mr. Spruill to wander off without a word. We can only hope that the next few phone calls to her brings some good news. If you're not aware of the facts of the case, here they are as I understand them: "Wild" Jimmy Spruill was to have boarded a bus in St. Petersburg, Florida in early February bound for his home in New York City. He is without identification. He'd lost his wallet on the trip down, which was returned to his family in New York. He suffers from high blood pressure and might have been in poor health. No one witnessed him getting on the bus, so he may be in the Tampa/St. Petersburg area or anywhere along the bus route to New York. He is a black male, 62 years old, 6'3", 180 lbs., possibly wearing a moustache. If you're web browsing, please visit the following URL's for pictures and more information: http://www.bluesworld.com/Spruill.html http://www.vivanet.com/~blues/spruill.html If you manage a web site, please copy and post or link to these URL's. Gaye doesn't understand all this Internet stuff, but approves of what we're doing. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Fri, 16 Feb 1996 08:47:37 -0500 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: Johnny Winter Comments: To: bit-listserv-blues-l@uunet.uu.net In article Richard Shurman writes: >Johnny Winter is planning a New Jersey show in March but for now all his >plans involve sticking close to his New York City home. I believe this is at the Club Bene in Sayreville, a tacky dinner club but not a bad place to see a show. ========================================================================= Date: Fri, 16 Feb 1996 07:52:09 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: blues guitar In-Reply-To: Message of Thu, 15 Feb 1996 21:40:30 -0500 from On Thu, 15 Feb 1996 21:40:30 -0500 Bernard Chazelle said: > >Any advice/tips/anecdotes will be appreciated. >In particular, I wonder if it's truly worth >my while persevering with a pick until I master >that darn piece of plastic (assuming I ever do). >I am aware of some of the limitations of fingerpicking such >as speed (but I don't much care about speed anyway). >Are any other serious limitations (perhaps rhythms?) >that make using a pick truly compelling?? I used to use a pick, when I was an electric player. I started out electric but now I play acoustic sans picks. I now play electric without a pick and WOW it's 100 times better for me. You may not be able to play faster, but but double stops, octaves (ala WES) , banjo licks....etc even appregios are much easier for me. So IMVHO if you are satisfied with not using a pick why would you want to use one. I hate them suckers now LW 'obviously I couldn't palm a pick well, although I am a magician" ========================================================================= Date: Fri, 16 Feb 1996 08:11:34 -0600 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: 20 Most Overworked Blues Covers Comments: To: pwfenton@GATE.NET In-Reply-To: <199602160442.XAA25678@osceola.gate.net> from "P.W. Fenton" at Feb 15, 96 11:40:38 pm In response to my ranting about tired cover tunes, P.W. Fenton said: ] Maybe your problem is tired bands. Once again you've selected a ] CLASSIC Blues song. It got to be classic, 'cause it's so damn good. Oh, definitely. All three songs I mentioned are excellent listening; that's why it annoys me to hear them done in a lackluster, mechanical way. I think the whole point with covers, especially recording them, is that the artist should ask [him|her]self: 1) Does the world need a new version of this song? 2) Am I the person to do that? Yeah, yeah, we all have to start somewhere -- I do a lotta covers myself, but then I am a card-carryng amateur anyway. ;) Maybe I just haven't gotten over "From The Cradle". I still say that almost anybody but Muddy (including ME!) who tries to do "Hoochie Koochie Man" just sounds silly. Anybdy here heard Lou Rawls version on hteradio late at night? Weird... -- * Billy Chambless | billy@cast.msstate.edu | voice: 601-688-7608 * Mississippi State University Center for Air-Sea Technology * To attain knowledge, add something every day. * To attain wisdom, remove something every day. -- Lao-tse ========================================================================= Date: Fri, 16 Feb 1996 09:12:52 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day On this day in 1923 Bessie Smith recorded "Down Hearted Blues". (source - HOB Archives) P.W. Fenton Tampa, Florida ---------------------------------------------------- Please visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 16 Feb 1996 09:13:10 -0500 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Blues CLubs in Houston? Comments: To: bit-listserv-blues-l@uunet.uu.net I'll be in Houston 2/19 - 2/21. Can anyone recommend some good venues for live music? Thanks ========================================================================= Date: Fri, 16 Feb 1996 08:18:09 -0600 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: Knocking Stormy Monday? Comments: To: pwfenton@GATE.NET In-Reply-To: <199602160359.WAA27410@osceola.gate.net> from "P.W. Fenton" at Feb 15, 96 10:58:21 pm In an earlier message, P.W. Fenton said: ] Billy Chambless wrote: ] >cover of "Stormy Monday" should have to file an environmental impact ] It's only one of the greatest slow Blues ever written. Why would ] anyone want to cover it? I see your point; and yeah, it's a great song. It's just that it's suffered from "Smoke on the Water" syndrome. (Ack! Did I just date myself?) -- * Billy Chambless | billy@cast.msstate.edu | voice: 601-688-7608 * Mississippi State University Center for Air-Sea Technology * To attain knowledge, add something every day. * To attain wisdom, remove something every day. -- Lao-tse ========================================================================= Date: Fri, 16 Feb 1996 14:07:24 GMT Reply-To: "Mrs. Helga Verhoef" Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: "Mrs. Helga Verhoef" Organization: Knoware Internet Subject: Re: YAZOO address Comments: To: jose.eric.s.maglanque@AC.COM Shanahatchie Records handles Yazoo, specifically ask for Don Kent N.Y.C.phone # 212 334 0284 fax# 212 334 5207 Good Luck -- InHome Health Services For information: Cost-effective cognitive enhancement/life extension http://www2.smart.net/~inhome medications sent directly from Europe. Fax: +31-20-682-4441 ========================================================================= Date: Fri, 16 Feb 1996 08:14:09 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: 20 Most Overworked Blues Covers In-Reply-To: Message of Fri, 16 Feb 1996 08:11:34 -0600 from On Fri, 16 Feb 1996 08:11:34 -0600 Billy Chambless said: > >I think the whole point with covers, especially recording them, is that >the artist should ask [him|her]self: > > 1) Does the world need a new version of this song? > 2) Am I the person to do that? >I still say that almost anybody but Muddy (including ME!) who tries to >do "Hoochie Koochie Man" just sounds silly. I agree there are TONS of over worked classics, but what you have to realize is people, including myself cover a tune because we LOVE the tune. It has nothing to do with thinking we can sound like Muddy. I covered "Death Letter" which using the above statements makes it a 100% absurd thing to do. I love the damn song it means a lot to me. Just becuase I'm not Son House (actually not a pimple on his backside) doesn't mean I shouldn't do a tune that I like. Your favorite song and one that you cover, maybe on my list of "overworked", but you probally cover the song cause you like it, NOT BECAUSE YOU CAN ADD SOMETHING TO IT....If everybody was afraid to cover a classic, they would never become classics. So when listening to a cover tune, keep in mind that it could be the artists favorite tune and no one should knock him for doing a tune that means a lot to him...MVHO LW ========================================================================= Date: Fri, 16 Feb 1996 09:27:28 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Gotta love this place..... Comments: cc: Jinxblues@aol.com Where else can you go to get a joke corrected? I might have spent the rest of my life thinking that Cal Ripkin Jr. played 2nd base. P.W. Fenton Tampa, Florida ---------------------------------------------------- Please visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 16 Feb 1996 08:40:37 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: A BLUES retirement commune This is going to sound really wierd to some of ya'll, but think about it. A friend, Kitzy Morgan, who is Sam Myers "gal" has been comtemplating what she will do with Sam when he gets too old to "work". So naturally she will take him in at her house. We have a close knit group of blues fans here, about thirty or more people and we are all close friends. So the idea came up that WE could have out our own retirement home when we get older and a club that is part of it. The musicians (who can still play) will play at the club and the cover will help support the "home". The plans are seriously being made and I think we are really going to try and make it happen. All of us have committed to helping Kitzy support Sam, with supper and playing gigs with Sam. ............etc LW 'I like the idea' ========================================================================= Date: Fri, 16 Feb 1996 09:49:37 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Ruthie, Yoko, Linda & Courtney! Hey, hey, hey! Watch out now! Courtney Love is comin' on strong!! Mark my words, she's gonna make her late husband's short-lived career look like spit in a rain barrel. It ain't blues, but she's for real and bigger'n life. :) Ok, back to your regularly scheduled programming. :) Riffin Rick ...sister will do the best that she can lord, mother is dead, mother is dead. F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 16 Feb 1996 09:57:29 -0500 Reply-To: "Matthew D. Lautenschlager" From: "Matthew D. Lautenschlager" Subject: Re: Billie Holiday/LSTB Comments: To: JBards In-Reply-To: <9601158244.AA824420632@mail-sh.lsumc.edu> I love Billie Holiday. I started to listen to her when my grandparents put her on one night during thanksgiving. I was about ten years old and didn't know that it was "old music", of couse when I found out that it was, I told them that I didn't like it. Ever since that night I have been listening to her. It was a way to connect with my grandparents, who otherwise, I would just go see because they were my grandparents. Now, when I go there, it's like, "let's listen to Holi!" It's great music. Matt ========================================================================= Date: Fri, 16 Feb 1996 14:52:27 GMT Reply-To: "J.J. Perry" Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: "J.J. Perry" Organization: Indiana University Subject: Re: 20 Most Overworked Blues Covers Comments: To: billy@CAST.MSSTATE.EDU Billy Chambless wrote: >In an earlier message, Roger B. said: > >] So, how about a new thread........ candidates for the "Top 20* Overworked & >] Tortured Blues Standards of All Time" > >1. "Hoochie Koochie Man" > First of all, every version I've ever heard except for Muddy's > sounded like a little kid tryin' to be big. The exception is the > Allman Brothers, but theirs was more of a remake than a cover. > Cultural note: If ya don't know what something is (black cat bone, > mojo, John the Conqueror Root), yer gonna sound STOOPID singing about > it. > >2. "Crossroads" > Specifically, rock bands covering Cream's version. Not really blues, > but that's the point. Do you even know who Robert Johnson _was_, boy? > >3. "Born Under a Bad Sign" > "If it wasn't for tired songs, we wouldn't play no songs... > "If it wasn't for REEEEEAAL tired songs -- > "Babe! we wouldn't play no songs at all." > >4. "Double Trouble" > >Right off, that's MY whine list. > >My sweetie, tho, says she better not hear Buddy Guy's "Watch Yourself" >again this week. She's already threatening to beat up all the ugly >chicks in the 'hood. > This isn't a knock on any of these songs, they are all great, but I would just like to hear them *less*: -Mustang Sally--Too popular, everybody who isn't into blues goes crazy for this song. -Soul Man--Not really a blues, even if the Blues Brothers say so :P -Any SRV. The man was great. Read his bio and see how he dedicated himself to the cause. How many people who cover his tunes know what's going on? Not sure, but how many times have you heard "Texas Flood" or "Mary Had a Little Lamb" attributed to SRV from the stage? J. J. ========================================================================= Date: Thu, 15 Feb 1996 09:03:06 -0800 Reply-To: Jordan From: Jordan Organization: I Know Where You Want To Go But You Can't Get There From Here Subject: cmsg cancel Comments: To: bit-listserv-blues-l@uunet.uu.net cancel ========================================================================= Date: Fri, 16 Feb 1996 08:08:47 -0700 Reply-To: Jessica Jones From: Jessica Jones Subject: Want ads for musicians Hello, Does anyone know if there is an online wantads type area for bands to advertise that they are seeking a new member, or vice-versa? Private e-mail ok, but if there is one, perhaps it's address would be valuable to the list. thanks jessica jessicaj@spot.Colorado.edu ========================================================================= Date: Fri, 16 Feb 1996 09:57:42 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Just Don't Call Me the Courtney Love of the Blues Yesterday I said: >>Ruth, who hopes no one calls her "The Yoko Ono of the Blues" > and Billy said > Much better than being called "The Linda McCartney of the Blues" and T-Bone said: > Look on the bright side, Ruth: no one's mentioned Courtney Love yet. I have actually had people ask me if I've recovered from Kurt Cobain's death. It's #8 on my "Top Ten Pet Peeves of Blond Female Slide Guitarists" (http://intelus.com/dcblues/mrsmax.html) I sorta look like C.L. without all the drugs and stuff. No, I do not play her music. And I don't have a white Gibson. ========================================================================= Date: Fri, 16 Feb 1996 10:07:24 -0500 Reply-To: Dave Markovits From: Dave Markovits Subject: Larry McCray/Phil Guy Larry McCray is absolutely great live. I've had the pleasure of seeing him here in Chicago quite a few times. He opened up for one of Buddy Guy's shows last January. I saw him at the Kansas City fest a couple of years back and would definitely recommend checking him out. While his albums do definitely have a huge sounding production behind them, his shows are different. I especially like the song Soul Shine from Delta Hurricane. I went to Blues on Halsted last night(here in Chicago)to see Phil Guy. I try to catch Phil as often as possible. I really think Phil and his band are underrated as far as Blues bands go. They play tight, funky, south side blues and tend to raise some hell live. Last night some of the highlights were Everybody knows about my good thing, Stone Crazy, Mother-for-ya. Phil plays plenty of covers too. Second set he played Dock of the Bay and others. He does an absolute rippin' version of Lovelight. JSP did a good job with the best of Phil Guy 82-86. Garbage Man Blues, Tina nu, and others. He is backed up by Professor Eddie Lusk on several cuts. Buddy appears on a couple of tracks as well. Phil it up!!!! David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Fri, 16 Feb 1996 10:10:03 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Bass Players v. Base Players Yesterday I said: >Mad Max & the Blues Kings, a Washington, D.C.-area based blues band, >are looking for a bass player who can also sing. Please contact me >or call (301) 622-1074 if you have any leads. Thanks! Ruth ******************* and Waterman said: >You are really lucky on this one, Ruthie. Just up the road in >Baltimore is a guy named Cal Ripken, Jr., and he has played bass >(i.e. second base) for about 2200 straight gigs and never missed a >single play date. Of course, you'd have to do something about that > ugly haircut. Wow, thanks, Dick! What a brilliant idea! I never could have thought of it myself, being a blonde and all. And here I was looking for a MUSICIAN. Silly me! P.S. Now that I have a wah-wah pedal and have set my sights on being "the female Jimi Hendrix," I am calling myself "Ruthi" :) ========================================================================= Date: Fri, 16 Feb 1996 10:18:20 -0500 Reply-To: David Harnik From: David Harnik Subject: Blues of Happiness Hi, I've always loved the blues but only recently began a serious collection of blues CDs. I've got several CDs by Sonny Terry and Brownie Mcgee and I'm having trouble picking out the lyric on one of their tunes... On their CD, Midnight Special, track 20, The Blues of Happiness it begins: This is the blues of happiness There's a lot of things in life a man don't wanna forget There's your thoughts of me or was it sympathy The day, the day we met I'll always remember the _____ and the ______ Oh, how I suffered to preserve your pride... Can anyone fill in the blanks? Thanks, ||||| `o.O' d a v i d O I've posted the previous message before. It didn't show up in my digest so I'm posting it again. Sorry, if you've seen it twice! ========================================================================= Date: Fri, 16 Feb 1996 10:22:40 -0500 Reply-To: PARRISHR From: PARRISHR Subject: To Pick or Not to Pick Comments: To: chazelle@cs.princeton.edu Yesterday Bernard said: >I'd like to hear personal experiences from (electric) blues >guitarists on the subject of using a pick or not. >It seems most guitarists nowadays favor using a pick. >Does any of you blues guitarists out there have interesting insights >to share on that topic? >I've been playing the blues for years (as a hobby) >but I grew up playing classical guitar, and perhaps >as a result (or most likely because of my limited skills) >I've never learned to be as comfortable with >a pick as I am with my fingers. >(It takes me longer to warm up and relax with a pick than without.) >I wonder if this is a common or not-so-common phenomenon. >Any advice/tips/anecdotes will be appreciated. >In particular, I wonder if it's truly worth >my while persevering with a pick until I master >that darn piece of plastic (assuming I ever do). >I am aware of some of the limitations of fingerpicking such >as speed (but I don't much care about speed anyway). >Are any other serious limitations (perhaps rhythms?) >that make using a pick truly compelling?? I started out playing classical guitar and picked up electric about two years ago. For a long time I only fingerpicked, but as you have discovered, it is very different from fingerpicking a nylon-string guitar. I started playing with a flatpick when I joined a blues/rock band about six months ago. It definitely helps my rhythm. It's still awkward for me, but I'm starting to get used to it. At the rate I'm going I think it will take me at least a year to be able to play leads with a flatpick, but I can wait. Other people use finger and thumbpicks, so you might want to try that. My advice, keep working at it, be patient, and you'll be pleasantly surprised with the results! ========================================================================= Date: Fri, 16 Feb 1996 15:29:16 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Blues Hall of Fame nominees include two 'zellers Comments: To: bit-listserv-blues-l@uunet.uu.net In <960215154305_223040197@mail02.mail.aol.com>, Tom Freeland writes: >This non-disclaimer is a pretty snotty shot at a blues-list member who >happens to be on no-mail status for a few days. It also is an attempt by the >poster to create the entirely false impression that he has no connection to >the Blues Foundation. Barry Bean was on the Blues Foundation board up until >last year or the year before, and was on for a number of years. Barry Bean's >wife is the editor of the Handy Blues Award program, and, as such, is very >much still connected to the Blues Foundation. > >As I recall the posts, Mary Katherine Aldin expressed annoyance at a post by >Bean that (untruthfully) cited her as a Handy nominator AND called Barry Bean >on a prior attempt to appear disinterested. She was not expressing paranoia, >but rather a refusal to have her name used in a process with which she was >not connected. I believe Bean also cited other "nominators" who did not have >connections to the process, all in an apparent attempt to lend credibility to >the process. Tom - 1) Have a sense of humour. 2) I don't keep up with MKA's mail status. 3) As I posted I have no official association with the Blues Foundation. In point of fact, I resigned from the board of directors in 1993 in protest of some internal issues. I am currently not a member, paid or otherwise. I am, however, sent nominating forms for the W.C. Handy Awards and the Blues Hall of Fame. I fill them out and return them. 4) My wife is an independent graphic designer and freelance writer who contracts with the Blues Foundation to publish the Handy program and their newsletter. She also volunteers to produce the International Blues Talent Competition. I wrote a piece on blues on the internet for the 1995 Handy program, which is the sum total of my involvement in this project. I have no more affiliation with the Blues Foundation through her business than I do to any of her other clients. 5) I cited MKA's name, along with two other 'zellers as examples of the type of people that comprise the nominating list. This was simple fact to which I can attest, having been the balloting coordinator from 1990 to 1992. As I stated in the post, I am not aware of their current status. I found MKA's objection peculiar in that I did not imply any endorsement or participation by her other than being placed on the list. If she chose at that time or currently chooses not to participate, she is free to do so. To be perfectly honest, I think the credibility of the Handy Awards and the Blues Hall of Fame are independant of MKA's involvement. 6) I am offended at your suggestion that I have attempted anything less than honest. I have been a music journalist for a little over 15 years, and have satisfied my editors, readers, and listeners with my objectivity and credibility. I have made no secret of my past involvement with the Blues Foundation nor my wife's involvement. I think the Handy Awards, the Blues Hall of Fame, and the International Blues Talent Competition are vaulable institutions that have tremendous potential. I think the current administration of the Blues Foundation does a piss-poor job of realizing that potential. 7) Given that this is a free and open forum for discussion of blues issues, I feel fully justified in having an opinion on the Blues Foundation and its programs. No one has disproved the factual content of my posts. I stand to gain nothing from either endorsement or condemnation of the Blues Foundation, and have no intention of doing either. BBB B.B. Bean bbbean@cris.com Peach Orchard, MO http://www.cris.com/~bbbean ========================================================================= Date: Fri, 16 Feb 1996 09:15:12 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: A Microphone Question Tomorrow will actually be the first time I've ever had to set myself up to play. Usually the clubs have it set up or have sound people do it. I don't look forward to havint to do the setting up stuff So we only have three mic's. One is a green bullet that the harp player is going to TRY and use. He'd rather use a conventional mic, easier for him to hold....Will the bullet work well to mic a National or should it be used for vocals OR should I tell the harp player TOUGH you have to use the bullet. suggestions, please LW ========================================================================= Date: Fri, 16 Feb 1996 15:31:19 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Double-Entendre Blues Comments: To: bit-listserv-blues-l@uunet.uu.net In <199602152143.AA18504@gpo.cc.bellcore.com>, edward c liu writes: >Howdy all, > > Has anybody mentioned Dinah Washington's "Dentist Man(?)" ? >She's got a priceless line in there about how the dentist >checks her out and says she's got a cavity that needs fillin'. >It's also, as far as I know, the only blues song that uses the >word "novocain." How similar is that to Lonnie Johnson and (I think) Victoria Spivey's Toothache Blues? BBB B.B. Bean bbbean@cris.com Peach Orchard, MO http://www.cris.com/~bbbean ========================================================================= Date: Fri, 16 Feb 1996 09:35:09 -0600 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: 20 Most Overworked Blues Covers Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu In-Reply-To: from "L W" at Feb 16, 96 08:14:09 am In an earlier message, L W said: ] Your favorite song and one that you cover, maybe on my list of "overworked", ] but you probally cover the song cause you like it, NOT BECAUSE YOU CAN ADD ] SOMETHING TO IT....If everybody was afraid to cover a classic, they would ] never become classics. So when listening to a cover tune, keep in mind that ] it could be the artists favorite tune and no one should knock him for doing ] a tune that means a lot to him...MVHO Very true. I've had a few hours to reconsider my hasty post of yesterday... While I still say there's some songs I don't care if I never hear again, what LW says here is true. (thanks also tto PW Fenton for tossing me a Sack-o-Clues[tm]). There's a middle ground. I just hate to see people do covers without knowing what they're doing. The Two examples I think of now (already given) are: "We're gonna do "Crossroads" by Eroc Clapton". "We gotta request for some SRV -- here's Mary had a Little Lamb". Anyway, I spoke (wrote) too quickly and generally yesterday. If i've offended anyone, I apologise. If I've failed to offend anyone, I apologise for the omission. -- * Billy Chambless | billy@cast.msstate.edu | voice: 601-688-7608 * Mississippi State University Center for Air-Sea Technology * To attain knowledge, add something every day. * To attain wisdom, remove something every day. -- Lao-tse ========================================================================= Date: Fri, 16 Feb 1996 10:32:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM Comments: To: pwfenton@GATE.NET From: "J.E. Downey" Subject: Hoochie Coochie by Muddy Comments: cc: Carol.Matlack@BMMOSCOW.BMCK.sprint.com Billy Chambless took the opportunity to dump on the Unholy One I was glad to see, when discussing allegedly overplayed tunes: >Maybe I just haven't gotten over "From The Cradle". It's always very comforting to see this material bashed in this way. But moving right along now, Billy then had this to say: >I still say that almost anybody but Muddy (including ME!) who tries >to do "Hoochie Koochie Man" just sounds silly. Well. This makes me wonder what recording by Muddy has Muddy's "best" version of Hoochie Coochie Man on it. Just requesting your opinions my good bluezellers. I saw Sugar Blue do it live complete w/audience stroll incidentally and it was really something fabulous, very special. Sugar Blue never made it past the second verse incidentally, he was so gone by then, and still the performance took nearly half an hour. It was really great. But note, Billy said "almost" anybody would sound silly and by that I feel certain that he thereby meant to account for Sugar Blue. Anyway, what record has great Hoochie Coochie on it by Muddy? Have a great weekend, everybody! Blue Joe in Red Russia (everybody knows I'm here!) J.E._Downey@bakermck.com ========================================================================= Date: Fri, 16 Feb 1996 15:46:13 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: 20 Most Overworked Blues Covers Comments: To: bit-listserv-blues-l@uunet.uu.net My vote for the all time #1 would have to be stormy monday B.B. Bean bbbean@cris.com Peach Orchard, MO http://www.cris.com/~bbbean ========================================================================= Date: Fri, 16 Feb 1996 09:38:14 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Blues Hall of Fame nominees include two 'zellers In-Reply-To: Message of Fri, 16 Feb 1996 15:29:16 GMT from On Fri, 16 Feb 1996 15:29:16 GMT Barry Bean said: >In <960215154305_223040197@mail02.mail.aol.com>, Tom Freeland > writes: >>This non-disclaimer is a pretty snotty shot at a blues-list member who >1) Have a sense of humour. I don't think it really matters, but I have to agree with Tom, I thought it was really crappy. If it was done in "jest" I think a smiley face would have been appropiate, since you are talking about an 'eller. Regardless of who the 'eller is. The other stuff Tom mentioned I can't agree with because I don't know about it and don't really care. >To be perfectly honest, I think the credibility of the Handy Awards and >the Blues Hall of Fame are independant of MKA's involvement. I think the crossover category last year and the some of the current nominees & not being able to "write in"....etc did wonders for the credibility of the Handy's. LW 'all IMVHO' ========================================================================= Date: Fri, 16 Feb 1996 10:50:03 -0500 Reply-To: bob vanarsdall From: bob vanarsdall Subject: Re: Rhino's Blues Summit in Chicago I asked the group a question about the availability of this CD which had been mentioned in interviews with Nick Gravenites and Al Kooper in the Bloomfield Newsletter (on Mark Naftalin's 411-Winner homepage). Mark wrote me off-line that he thought it was a video only and never a CD. I called Rhino direct, and found out from them that Mark was right. It was a video taken from the PBS Soundstage series. However, the Rhino contact further said that they had had licensing problems with the release and that they recalled all available copies and that it was no longer in their catalog. He said they had it for "about a year" and that after that it was no longer available. So, for those of you who have it, you're sitting on a collector's tape. It is supposed to be a Muddy Waters tribute with Muddy, many members of the Butterfield band, including Bloomfield, Dr. John, Nick Gravenites, and Taj Mahal. Now, who's got a copy? (And Mark: relicensing opportunity for a CD?) Bob ========================================================================= Date: Fri, 16 Feb 1996 09:53:37 CST Reply-To: JBards From: JBards Subject: Re: On this day: a slight return Comments: To: "P.W. Fenton" And I'm almost suprised that nobody noticed yesterday's 16th anniversary of the death of Mike Bloomfield, may he rest in peace. -Jim _______________________________________________________________________________ Subject: On this day From: "P.W. Fenton" at INTERNET-SH Date: 02/16/96 9:01 AM On this day in 1923 Bessie Smith recorded "Down Hearted Blues". (source - HOB Archives) P.W. Fenton Tampa, Florida ---------------------------------------------------- Please visit my web page at WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 16 Feb 1996 11:08:11 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0042 From: "DUTTWEILER.J" Subject: Re: 20 Most Overworked Blues Cov Date: Friday, 16 February 1996 11:07am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: 20 Most Overworked Blues Cov In-Reply-To: The letter of Friday, 16 February 1996 9:59am ET Just by way of comparison, agreeing with LW that a classic becomes a classic because people LOVE the song and it has a universal appeal the speaks to the human condition: have you ever noticed how many different *recorded* versions there are of, say, Bach, Mozart or Beehthoven's works there are? Every HS band in the country performs these type of classics yearly. Why? Because they are magnificent compositions that have timeless appeal. I probably rather hear somebody do a fairly decent rendition of "Stormy Monday" or "Five Long Years" then a poorly written "original" they think is the *next* classic. Not knocking people's efforts, but CLASSICS are classics for a REASON ========================================================================= Date: Fri, 16 Feb 1996 11:17:05 EST Reply-To: levyt@RL.AF.MIL From: Toby Levy Subject: Attention Lyrics fans! I've been meaning to post this all week, but I kept forgetting to bring the book in to work. Today I remembered. I was in a music store over the past weekend and saw a rack of books called "Paperback Songs." One of them was entitled "The Blues" It included the melody line, chords and lyrics for 111 songs. all for $5.95 Its published by Hal Leonard Corp., box 13819 Milwaukee, WI 53213 I love one of the statements in the front of the book: "The musical skills necessary to successful use of this book are minimal." Hey, my kinda book! The other titles in this series (all $5.95) listed in the back of the book are: The Beatles Chords for keyboard & guitar Classic Rock Country Hits The Rock & Roll Collection Toby ========================================================================= Date: Fri, 16 Feb 1996 16:26:18 GMT Reply-To: Tommy Jansson From: Tommy Jansson Organization: Uppsala university Subject: Re: wanted: recommendations on albert collins live CDs Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199602132327.SAA21551@daacdev1.stx.com>,=20 fish@DAACDEV1.STX.COM says... >i see in the noteworthy catalog they have, "live in holland" (1978) and >"live in japan" (1984) - can anyone shed light on the quality of these >both performance and quality-wise? thanx. > On >Live in Holland Collins plays with dutch musicians. The sound is good= =20 and Albert plays well, but the band is not the Icebreakers. Live in Japan has excellent sound and is very funky. Collins excels in=20 hard boiling rhythms, but...It should be heard live. A.C Reed sings on=20 one tune and that one is more of a standard shuffle. And , yes. I believe= =20 Collins plays a looong Stormy Monday. Alligator has released another livealbum, Alive and cool, but I think=20 it=B4s kind of boring. Buy Live in Japan, turn up the volume and shuffle your feet! =20 =20 >-- ========================================================================= Date: Fri, 16 Feb 1996 11:39:33 -0500 Reply-To: BLUESROCCO@AOL.COM From: Jim Rocco Subject: Re: 20 Most Overworked Blues Covers Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu We as musicians must carry on the blues tradition. "Walkin' Blues","Dust My Broom",Ramblin.....",etc., etc.,are all covers of covers performed,recorded,and claimed as "original" since before Muddy or Johnson or even before Son House himself. Individual songs can capture the spirit and hardships of a particular time of our history. These songs must be covered, good or bad, to be presented to future generations of blues fanatics to enjoy and cover in thier own style. Foghat recorded a song by Willie Dixon, "I Just Want To Make Love To You", and brought rythym and blues to a whole different culture of humans making it possible for a whole segment of the population to learn the names of Howling Wolf, T-Bone Walker, Robert Johnson, Freddie,Albert,and B.B. King, Son House, Blind Willie McTell, Sonny Boy Williamson, need I continue? I'm not singleing out Foghat by any means because many people covered many tunes and we should be grateful they have. No matter how much I love listening to Elmore James sing and slide his way through "The Sky Is Crying", I am very thankful I have a version by Stevie Ray Vaughn to listen to. And let us sing praise to the likes of George Thorogood for his covers of John Hooker and others. Covers? Yeah, sometimes I hate them, some I refuse to play, some bring a whole different thing to the world, like Led Zep's version of Willie's Whole Lotta Love and You Shook Me. Yeah, we need covers, no matter how close or distant they appear to be to the original. Jim Rocco ========================================================================= Date: Fri, 16 Feb 1996 10:38:34 CST Reply-To: JBards From: JBards Subject: Getting to second bass Comments: To: PARRISHR Hey, what's all this I hear about some guy named Cal playing a mean bass??? Oh, that's "base".... ....nevermind. _______________________________________________________________________________ Subject: Bass Players v. Base Players From: PARRISHR at INTERNET-SH Date: 02/16/96 10:25 AM Yesterday I said: >Mad Max & the Blues Kings, a Washington, D.C.-area based blues band, >are looking for a bass player who can also sing. Please contact me >or call (301) 622-1074 if you have any leads. Thanks! Ruth ******************* and Waterman said: >You are really lucky on this one, Ruthie. Just up the road in >Baltimore is a guy named Cal Ripken, Jr., and he has played bass >(i.e. second base) for about 2200 straight gigs and never missed a >single play date. Of course, you'd have to do something about that > ugly haircut. Wow, thanks, Dick! What a brilliant idea! I never could have thought of it myself, being a blonde and all. And here I was looking for a MUSICIAN. Silly me! P.S. Now that I have a wah-wah pedal and have set my sights on being "the female Jimi Hendrix," I am calling myself "Ruthi" :) ========================================================================= Date: Fri, 16 Feb 1996 10:46:25 CST Reply-To: JBards From: JBards Subject: Re: To Pick or Not to Pick Comments: To: PARRISHR Yes, and guitarists of note who do NOT use a pick, or seldom use them, include Jimmy Rogers and Jimmy Vaughn. I think good ole flesh works particularly well - tonewise- when the instrument of choice has a naturally high timber, like a Strat, Tele or Rick. On the other hand, 335s and instruments of that ilk that are fairly dark to start with seem to profit from the additional attack of a pick. just my $.02- Jim _______________________________________________________________________________ Yesterday Bernard said: >I'd like to hear personal experiences from (electric) blues >guitarists on the subject of using a pick or not. >It seems most guitarists nowadays favor using a pick. >Does any of you blues guitarists out there have interesting insights >to share on that topic? >I've been playing the blues for years (as a hobby) >but I grew up playing classical guitar, and perhaps >as a result (or most likely because of my limited skills) >I've never learned to be as comfortable with >a pick as I am with my fingers. >(It takes me longer to warm up and relax with a pick than without.) >I wonder if this is a common or not-so-common phenomenon. >Any advice/tips/anecdotes will be appreciated. >In particular, I wonder if it's truly worth >my while persevering with a pick until I master >that darn piece of plastic (assuming I ever do). >I am aware of some of the limitations of fingerpicking such >as speed (but I don't much care about speed anyway). >Are any other serious limitations (perhaps rhythms?) >that make using a pick truly compelling?? I started out playing classical guitar and picked up electric about two years ago. For a long time I only fingerpicked, but as you have discovered, it is very different from fingerpicking a nylon-string guitar. I started playing with a flatpick when I joined a blues/rock band about six months ago. It definitely helps my rhythm. It's still awkward for me, but I'm starting to get used to it. At the rate I'm going I think it will take me at least a year to be able to play leads with a flatpick, but I can wait. Other people use finger and thumbpicks, so you might want to try that. My advice, keep working at it, be patient, and you'll be pleasantly surprised with the results! ========================================================================= Date: Fri, 16 Feb 1996 11:55:26 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: A Microphone Question Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU On 16 Feb 96, L W had this to say: > Tomorrow will actually be the first time I've ever had to set myself up to > play. Usually the clubs have it set up or have sound people do it. I don't > look forward to havint to do the setting up stuff > > So we only have three mic's. One is a green bullet that the harp player is > going to TRY and use. He'd rather use a conventional mic, easier for him to > hold....Will the bullet work well to mic a National or should it be used for > vocals OR should I tell the harp player TOUGH you have to use the bullet. By NO means use the bullet on vocals OR your national. The bullet is a copy of an unbelievably cheap and cheezy mike that came into favor with harp players because it is so prone to distortion (which is often mistaken for excitement and power IMO) I wish I was in your neighborhood. I'd lend you another mic so nobody would get stuck with it. P.W. Fenton Tampa, Florida ------------------------------------------------------------- "Age is a question of mind over matter. If you don't mind, it don't matter." - Leroy Robert "Satchel" Paige, 1906-1982 When in cyberspace, visit my web pages at http://www.gate.net/~pwfenton/ ------------------------------------------------------------- ========================================================================= Date: Fri, 16 Feb 1996 11:59:33 -0500 Reply-To: BLUESROCCO@AOL.COM From: Jim Rocco Subject: Re: Double-Entendre Blues Comments: To: bbbean@cris.com Thanks BBB !! I was wondering if anyone caught that ========================================================================= Date: Fri, 16 Feb 1996 09:02:35 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: blues guitar Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Bernard said: >To pick or not to pick, that is my question: > >I'd like to hear personal experiences >from (electric) blues guitarists on the >subject of using a pick or not. >It seems most guitarists nowadays >favor using a pick. Does any of you >blues guitarists out there have interesting insights >to share on that topic? I used to use a pick only for most tunes, and then fingers only (Travis style) for others. I started playing strats a few years ago, and the shape of the top, being swept back where my arm rests, places my hand at a much better angle to use fingers than a flat-top guitar does. So, I have developed a hybrid style of using the pick AND middle and ring fingers. When "finger-picking" in this way, you are limited to the equivilent of three fingers (unless you can use your picking hand pinkie, and I can't) because your thumb and forefinger are holding the pick. But this has not been a broblem. This hybrid method works super for me. I can pull the strings up and pop 'em on the frets (ala Mark Knopfler), I can finger pick, I can pick triads in unison for jazzy comping type stuff, and I can really dig in for lead with the pick. (BTW I use a small jazz style pick and it helps with this technique) Also, if I'm playing lead, and I really want to fly, and do a big string jump, I can easily grab the string I'm going to with a finger, where the pick might not get there in time. Works for me. Being able to use your fingers as well as a pick give you vastly more expressive range IMO. >I've been playing the blues for years (as a hobby) >but I grew up playing classical guitar, and perhaps >as a result (or most likely because of my limited skills) >I've never learned to be as comfortable with >a pick as I am with my fingers. >(It takes me longer to warm up and relax with a pick than without.) >I wonder if this is a common or not-so-common phenomenon. This is really common. Don't feel obligated to use a pick. Lots of great players don't! If you want that pick sound (and I suspect you do, or you wouldn't have written this) you'll need to get your pick technique together. Try one of the little picks, to me they feel more like an extension of your fingertip. Oh, and forget the "thumb on the back of the neck and arch the fingers" business they teach you in classical guitar. There are *some* blues things you can do this way, and you will use that technique at times, BUT, with healthy size steel strings at all, you will not develop a good side-to-side vibrato unless the neck is in your palm, and you pivot on the base of your forefinger. Get BB's video tape on playing blues! It will make this really clear. >Any advice/tips/anecdotes will be appreciated. >In particular, I wonder if it's truly worth >my while persevering with a pick until I master >that darn piece of plastic (assuming I ever do). >I am aware of some of the limitations of fingerpicking such >as speed (but I don't much care about speed anyway). >Are any other serious limitations (perhaps rhythms?) >that make using a pick truly compelling?? Nah, you can play the daylights out of blues guitar, kick butt all over the street, without a pick and don't let anyone tell you otherwise! >After all, Otis Rush and Albert King >never used picks (as far as I know), >and their guitars sing like a beautiful voice. >(but, of course, so many greats did use a pick... oh well) What do YOU want to sound like? >I suspect this might not be the right mailing >list for that kind of discussion, since it >might bore non-guitarists to death. >If anyone knows what might be the *right* >place in cyberspace for that sort of chat >please let me know. thanks. oh, there's lots of guitar folks on this list.... oh yes.. good luck! DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Fri, 16 Feb 1996 18:11:14 +0100 Reply-To: Bengans From: Bengans Subject: Re: blues guitar >To pick or not to pick, that is my question: > MESSAGE EDITED I wonder if it's truly worth >my while persevering with a pick until I master >that darn piece of plastic (assuming I ever do). >I am aware of some of the limitations of fingerpicking such >as speed (but I don't much care about speed anyway). >Are any other serious limitations (perhaps rhythms?) >that make using a pick truly compelling?? Reflection no 1. I am definitally a pick-boy, however, I tend to put the pick between my teeth a number of times during a show. I think that using a pick can t be substituted by flesh some times- and vice versa. For instance, when you wanna play a Louisiana type slow shuffle in E with a steady beat, using the pick played near the bridge is the best way to get the "twang thang". Also I find it very hard to solo in a swing-type shuffle (T-Bone Walker for example) without loosing my timing in the solo structure without the pick. If you wanna go totally Johnny guitar Watson, or Albert,for that matter,you gotta finger it. You can t beat the kind of attack you get when striking the single strings to where you almost snap them. I play quite a bit of slide too, and when I play solo I use my fingers a lot. At the same time as striking the notes (with my index finger mostly) I can damp the rest of the strings to prevent unwanted notes. Regarding Otis Rush and pickstyle: I seem to recall an interview a couple of years ago where Otis said that he could play a whole gig WITH a flatpick and the next night WIHTOUT one. >I suspect this might not be the right mailing >list for that kind of discussion, since it >might bore non-guitarists to death. >If anyone knows what might be the *right* >place in cyberspace for that sort of chat >please let me know. thanks. > >Bernard Chazelle >chazelle@cs.princeton.edu Reflection no 2 I think that this IS a good spot to address these kinda questions, there are several guitarists here who can give advices, and for that matter it is definitely a blues topic. Sevenson "Time is hard baby, and hustling is really on" T-Bone Walker ========================================================================= Date: Fri, 16 Feb 1996 12:22:15 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: To Pick or Not to Pick Comments: To: JBards I agree with Jim, it depends a lot on your equipment. I play a '65 Silvertone which has a very deep, resonant tone and can sound muddy without a pick. It also depends on what I'm playing, because if I'm playing rhythm on a slow blues like "Red House" I use just the bottom two strings and fingerpick with my thumb and index finger. That technique gives it an almost bass-like quality. It's harder to do that on a fast boogie like "Big Boss Man" so for that I would use a pick. For quiet, slow songs like "Can't You See" I turn the treble up and strum with my thumb. When I'm playing lead on slide I usually fingerpick because generally the songs are slow enough to play by fingerpicking. I use my nail AND the ball of my finger when I pick -- varies the attack and gives the notes more body. ______________________________ Reply Separator _________________________________ Subject: Re: To Pick or Not to Pick Author: "JBards" at Internet Date: 2/16/96 10:46 AM Yes, and guitarists of note who do NOT use a pick, or seldom use them, include Jimmy Rogers and Jimmy Vaughn. I think good ole flesh works particularly well - tonewise- when the instrument of choice has a naturally high timber, like a Strat, Tele or Rick. On the other hand, 335s and instruments of that ilk that are fairly dark to start with seem to profit from the additional attack of a pick. just my $.02- Jim _______________________________________________________________________________ Yesterday Bernard said: >I'd like to hear personal experiences from (electric) blues >guitarists on the subject of using a pick or not. >It seems most guitarists nowadays favor using a pick. >Does any of you blues guitarists out there have interesting insights >to share on that topic? >I've been playing the blues for years (as a hobby) >but I grew up playing classical guitar, and perhaps >as a result (or most likely because of my limited skills) >I've never learned to be as comfortable with >a pick as I am with my fingers. >(It takes me longer to warm up and relax with a pick than without.) >I wonder if this is a common or not-so-common phenomenon. >Any advice/tips/anecdotes will be appreciated. >In particular, I wonder if it's truly worth >my while persevering with a pick until I master >that darn piece of plastic (assuming I ever do). >I am aware of some of the limitations of fingerpicking such >as speed (but I don't much care about speed anyway). >Are any other serious limitations (perhaps rhythms?) >that make using a pick truly compelling?? I started out playing classical guitar and picked up electric about two years ago. For a long time I only fingerpicked, but as you have discovered, it is very different from fingerpicking a nylon-string guitar. I started playing with a flatpick when I joined a blues/rock band about six months ago. It definitely helps my rhythm. It's still awkward for me, but I'm starting to get used to it. At the rate I'm going I think it will take me at least a year to be able to play leads with a flatpick, but I can wait. Other people use finger and thumbpicks, so you might want to try that. My advice, keep working at it, be patient, and you'll be pleasantly surprised with the results! ========================================================================= Date: Fri, 16 Feb 1996 08:50:40 -0800 Reply-To: Steven Eaton From: Steven Eaton Subject: Re: Rhino's Blues Summit in Chicago Comments: cc: rvana@INTERPATH.COM At 10:50 AM 2/16/96 -0500, you wrote: >I asked the group a question about the availability of this CD which had >been mentioned in interviews with Nick Gravenites and Al Kooper in the >Bloomfield Newsletter (on Mark Naftalin's 411-Winner homepage). Mark wrote >me off-line that he thought it was a video only and never a CD. > >I called Rhino direct, and found out from them that Mark was right. It was >a video taken from the PBS Soundstage series. However, the Rhino contact >further said that they had had licensing problems with the release and that >they recalled all available copies and that it was no longer in their >catalog. He said they had it for "about a year" and that after that it was >no longer available. > >So, for those of you who have it, you're sitting on a collector's tape. It >is supposed to be a Muddy Waters tribute with Muddy, many members of the >Butterfield band, including Bloomfield, Dr. John, Nick Gravenites, and Taj >Mahal. > >Now, who's got a copy? (And Mark: relicensing opportunity for a CD?) > >Bob > >Dear Bob: My copy is signed by Buddy Miles. I didn't see Taj Mahal on it, but includes Buddy Miles, Koko Taylor and Willie Dixon singing a duet, Junior Wells, Johnny Winter, and of course does not list nor credit Willie Smith on drums, nor Pinetop Perkins on piano. ========================================================================= Date: Fri, 16 Feb 1996 12:37:06 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Rhino's Blues Summit in Chicago Comments: To: rvana@INTERPATH.COM On 16 Feb 96, bob vanarsdall had this to say: > So, for those of you who have it, you're sitting on a collector's tape. It > is supposed to be a Muddy Waters tribute with Muddy, many members of the > Butterfield band, including Bloomfield, Dr. John, Nick Gravenites, and Taj > Mahal. > > Now, who's got a copy? (And Mark: relicensing opportunity for a CD?) I have a copy. Got it as soon as it came out. Taj Mahal had nothing to do with it. It features Muddy, Mike Bloomfield, Nick Gravenites, Junior Wells, Koko Taylor, Willie Dixon, Johnny Winter, Dr. John, and Buddy Miles, and a totally uncredited Pinetop Perkins (Muddy squeezes his name into a song). It was recorded in 1974 for Chicago Public Television. Muddy spends the whole concert on a stool, except for "Mojo" where he is seen briefly jumping from the stool and getting a solid case of "Happy Feet". It also feature a lot of Muddy playing his tele, and an incredible 9 minute "Long Distance Call". There is a scene when all of the "special guests" arrive for rehearsal, and Dr. John presents Muddy with some "Hoo Doo", a Mojo he had specially blessed for Muddy. Muddy is clearly moved by the gift. Later, Dr. John confesses to Koko how nervous he was playing with her at a recent Blues festival. When she attempts to dismiss his modesty, he says "Along side of an ORIGINATOR, I feel like nothin' but a stone DUPLICATOR". It's a wonderful video. I'll bet some retailers still have copies. P.W. Fenton Tampa, Florida ------------------------------------------------------------- "Age is a question of mind over matter. If you don't mind, it don't matter." - Leroy Robert "Satchel" Paige, 1906-1982 When in cyberspace, visit my web pages at http://www.gate.net/~pwfenton/ ------------------------------------------------------------- ========================================================================= Date: Fri, 16 Feb 1996 09:50:55 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Feb. 17 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ADAMS, J. T. (g/BLUESVILLE REC) b. 1911-0217, MORGANFIELD, KY ANDERSON, MARIAN (v/gospel) b. 1902-0217, PHILADELPHIA, PA BARTON, LOU ANN (v/ANTONE'S REC) b. 1954-0217, FORT WORTH, TX BISHOP, WALLACE (d/LES HITES) b. 1906-0217, CHICAGO, IL BLAIRE, SALLIE (v/CAB CALLOWAY) d. 1992-0217, BALTIMORE, MD 68 BRAMHALL, DOYLE SR. (d/ANTONES REC) b. 1949-0217, TX BROOKS, HARVEY OLIVER (songw) b. 1899-0217, PHILADELPHIA, PA DAVIS, WILL (p/PAUL BASCOMB) b. 1926-0217, CHICAGO, IL DIAL, HARRY (d/prod/owner: DIAL REC) b. 1907-0217, BIRMINGHAM, AL EDWARDS, TOMMY(v/sw/IT'S ALL IN THE GAME) b. 1922-0217, RICHMOND, VA JONES, ORVILLE "HOPPY" (b v/INK SPOTS) b. 1905-0217, CHICAGO, IL KING,BETTY JACKSON(gospel/JACKSONIAN TRIO)b. 1928-0217, CHICAGO, IL LOWE, SAMMY (R&B prod/arr/tpt) d. 1993-0217, BIRMINGHAM, AL 74 MCGILL, MICHAEL "MICKEY" (of THE DELLS) b. 1937-0217, CHICAGO, IL MCMAHON, ANDREW "BLUEBLOOD" (b) d. 1984-0217, MONROE, LA 57 MONK, THELONIOUS (p) d. 1982-0217, WEEHAWKEN, NJ 64 RIVERS, AL (of THE INK SPOTS) d. 1993-0217, PORTLAND, OR 65 SMITH, MORGAN S.(APOLLO THEATRE photograp)d. 1993-0217, MANHATTAN, NY 83 WATTS, NOBLE "THIN MAN" (tsax) b. 1926-0217, DELAND, FL ------------------------------------------------------------------------------- ========================================================================= Date: Fri, 16 Feb 1996 17:40:16 GMT Reply-To: "Beverly K. Montgomery" From: "Beverly K. Montgomery" Organization: Northeast GA Internet Access, Inc. Subject: Re: Josh White - Hard Hitting Comments: To: bit-listserv-blues-l@uunet.uu.net I am a big fan of Josh White. "Purists" seem to ignore his later work, but I think it is great, particularly the guitar work. Does anybody know of plans to re-release any of his Elektra albums on cd? I am particularly interested in "Josh At Midnight" and "Josh White - The Story of John Henry, Ballads, Blues, and Other Songs" and "Josh White - Chain Gang Songs, Spirituals, and Blues". - Bev - ========================================================================= Date: Fri, 16 Feb 1996 12:40:08 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: 20 Most Overworked Blues Cov Comments: To: JONATXXX@GOMAIL.DOAS.STATE.GA.US On 16 Feb 96, DUTTWEILER.J had this to say: > Just by way of comparison, agreeing with LW that a classic becomes a classic > because people LOVE the song and it has a universal appeal the speaks to the > human condition: have you ever noticed how many different *recorded* versions > there are of, say, Bach, Mozart or Beehthoven's works there are? Every HS band > in the country performs these type of classics yearly. Why? Because they are > magnificent compositions that have timeless appeal. I probably rather hear > somebody do a fairly decent rendition of "Stormy Monday" or "Five Long Years" > then a poorly written "original" they think is the *next* classic. Not > knocking people's efforts, but CLASSICS are classics for a REASON If I could use a huge font on this I would: YES! P.W. Fenton Tampa, Florida ------------------------------------------------------------- "Age is a question of mind over matter. If you don't mind, it don't matter." - Leroy Robert "Satchel" Paige, 1906-1982 When in cyberspace, visit my web pages at http://www.gate.net/~pwfenton/ ------------------------------------------------------------- ========================================================================= Date: Fri, 16 Feb 1996 13:39:59 -0500 Reply-To: MK Sheffield From: MK Sheffield Subject: Re: Blues retirement community LW, I like the idea too. Awhile back, some friends and I were discussing the amazing cultural shift currently happening in retirement homes and the like. The day is coming...very, very soon...when they/WE will be rocking the wheelchairs with BB King, with Jimi Hendrix, etc. Y'know? Boggles the mind... Mary Katherine SHEFFIELD mksheff@cennet.mc.peachnet.edu ========================================================================= Date: Fri, 16 Feb 1996 13:38:39 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Amping Nationals . . . As a non-performers, this is not exactly my kind of thread. However, I saw a musican playing a National with a pickup through an amp at the San Francisco Blues Festival last September. His instrument's tone was true and not overpowering. It was a good clean sound with his picking technique very clear. Joeseph Jordan of San Francisco tells me that the musician's name is Preacher Boy and he records for Blind Pig. I suggest you might want to find out how he amplifies because he seemed to be doing it right. Dick Waterman ========================================================================= Date: Fri, 16 Feb 1996 13:40:07 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: A matter of great embarassment Although it seems that I have involved with blues music since Charley Patton, I did indeed have a life before blues. I was a sports writer. Not only that, I was a pretty good one with my own syndicated column, I wrote for national publications and even won a couple of awards. I am such a rabid baseball fan that I honor my idol Joe DiMaggio and his unform number with an alternate online name of NYYANKEE5. I can tell you the only player to finish a season with 59 home runs; the last National Leaguer to bat .400; and the only man to play in three consecutive World Series with different teams. All of which brings us to the point of my posting a message that said that Cal Ripken, Jr. played second base for Baltimore when, in fact, he has played approximately 2200 games at SHORTSTOP. Yes, I knew that. Three people picked up my mistake. Two did it with humor and one was a bit mean-spirited in embarassing him. Not to worry: I did it to myself. Reminds me of the time that I asked "Miami Vice" star Don Johnson is he knew an actor by the name of Stephen Bauer. Mr, Johnson looked me in the eye and snarled, "Yeah, he's f***ing my ex-wife." Now THAT, boys and girls, is serious embarassment. Dick Waterman ========================================================================= Date: Fri, 16 Feb 1996 12:40:14 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Bukka's National I know most of yawl have seen the picture of Bukka looking away from the camera, kind of looking in to space. I've noticed something appears to be taped to the top curve of his National's body. I've always been curious if that was some kind of pick up or a cushion or what..? Does anyone know the picture I'm talking about (there are many) and do you know what he had taped to his guitar....?? LW ========================================================================= Date: Fri, 16 Feb 1996 14:01:31 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: 20 Most Overworked Blues Covers Comments: To: BLUESROCCO@aol.com Comments: cc: mkaldin@beachnet.com In a message dated 96-02-16 12:24:25 EST, BLUESROCCO@AOL.COM (Jim Rocco) writes: >Foghat recorded a song by Willie Dixon, "I Just >Want To Make Love To You", and brought rythym and blues to a whole different >culture of humans making it possible for a whole segment of the population to >learn the names of Howling Wolf, T-Bone Walker, Robert Johnson, >Freddie,Albert,and B.B. King, Son House, Blind Willie McTell, Sonny Boy >Williamson, need I continue? Wow, Foghat did all that!? I'm gonna have to reassess them! Wait a minute, who *is* that whole segment of the population Foghat did that for? Tom Freeland ========================================================================= Date: Fri, 16 Feb 1996 19:36:06 +0100 Reply-To: Per Nielsen From: Per Nielsen Organization: Customer at DKnet Subject: Re: SRV unplugged Comments: To: bit-listserv-blues-l@uunet.uu.net In-Reply-To: <9602151830.AA28729@cs> On Thu, 15 Feb 1996, Bernard Chazelle wrote: > I heard from the grapevine > that SRV and Joe Satriani appeared > together in the MTV Unplugged series. > > Is that true?? If so, I would love to know > if there's a video of it that's available > to the public. > > [My apologies if this matter was discussed > earlier. I am new to this mailing list.] > > Bernard Chazelle > > HI! I saw it, he played a twelve string acoustic. I've got a finnish cd including that performance, but I too would like to have a video of it. -Lars ===================================================================== *------------------------------------* | Per Nielsen | *------------------------------* | N\o rgaardsvej 21 1.tv | | A few weeks of development | | DK-2800 Lyngby | | and testing can save an | | Denmark | | afternoon in the library. | | E-mail:pernil@pip.dknet.dk | *------------------------------* | URL: http://pip.dknet.dk/~pip1542 | | Home phone: +45 45 93 44 63 | | Office phone: +45 45 27 24 66 | *------------------------------------* ========================================================================= Date: Fri, 16 Feb 1996 13:56:34 -0400 Reply-To: SOO3713@ALPHA.CC.OBERLIN.EDU From: Owen Okie Subject: Chicago blues festival? Hello. Does anyone have, or know how o find details on the chicago blues festival? I'd like to know the lineup, location, how to purchase tickets,a dn stuff like that. Thanks! - Owen ========================================================================= Date: Fri, 16 Feb 1996 14:12:39 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Want ads for musicians Comments: To: jessicaj@SPOT.COLORADO.EDU On 16 Feb 96, Jessica Jones had this to say: > Hello, > Does anyone know if there is an online wantads type area for bands to > advertise that they are seeking a new member, or vice-versa? > Private e-mail ok, but if there is one, perhaps it's address would be > valuable to the list. > thanks > jessica > jessicaj@spot.Colorado.edu There are several places that feature what you are looking for. Club Web Classifieds - http://www.eclipse.net/~krs/class.html The Music Exchange - http://www.scsn.net/~musex/ Autonomy BLUES Exchange - http://www.autonomy.com/abx.htm I've run across others but I haven't got their addresses. P.W. Fenton Tampa, Florida ------------------------------------------------------------- "Age is a question of mind over matter. If you don't mind, it don't matter." - Leroy Robert "Satchel" Paige, 1906-1982 When in cyberspace, visit my web pages at http://www.gate.net/~pwfenton/ ------------------------------------------------------------- ========================================================================= Date: Fri, 16 Feb 1996 14:05:23 -0500 Reply-To: Maria Wegscheid From: Maria Wegscheid Organization: River Bend Library System - Coal Valley, IL Subject: SXSW, no blues content Comments: To: bit-listserv-blues-l@uunet.uu.net In-Reply-To: <960215135610.14ee@TSBME.STATE.TX.US> On Thu, 15 Feb 1996, Bruce Roberts wrote: > I was just checking out the South by Southwest schedule. They've got > some interesting people this year. Smokey Wilson, Lavelle White, Mem > Shannon, Syl Johnson, Corey Harris, Long John Hunter, CJ Chenier, > Lonnie Brooks, and Texas Johnny Brown. Are there any Blues-L musicians > performing this year? > > Bruce Roberts > Austin, TX > > I have to make this plug. forgive the non-blues content. A band with which I have no affiliation will be playing at SXSW. They are called the Kabalas and play what they define as "Polkadelic Klezmer". Traditional Jewish klezmer music, as well as original tunes like the Planet of the apes Polka and the Bunzuvstiel Polka. They also do a great mambo. Two accordions, a drummer and one hell of a saxophone player. They're great fun! Thanks for the soapbox, Maria ****************************************************************** "Because, after all, a person's a person, no matter how small." ----Horton Maria J. Wegscheid Bettendorf (IA) Public Library mwegsche@libby.rbls.lib.il.us My opinions, as stated in this posting, are just that -- mine. ========================================================================= Date: Fri, 16 Feb 1996 14:13:47 -0500 Reply-To: Maria Wegscheid From: Maria Wegscheid Organization: River Bend Library System - Coal Valley, IL Subject: attending shows alone Comments: To: bit-listserv-blues-l@uunet.uu.net In-Reply-To: On Thu, 15 Feb 1996, James Leftwich wrote: > > BTW I went to this show alone, because my friend bailed out at the last > minute. What I'm wondering is, are there other folks out there that go > to shows alone sometimes? I go to shows alone sometimes. Often I have no choice. Most of my local friends either have kids who are asleep by 9 or are asleep themselves by then! I can't wait around hoping that Luther Allison will come back on a night that's more convenient for them. Friends and family do worry about me going to bars by myself, on account of me bein' a chick, dontcha know. I have to say I have never been bothered at a blues show. I'm picky about the places I go to alone and make sure I'm very polite to the bouncers and bartenders, just in case. More often than not, though, I wish someone was with me. But if my choices are going with someone who doesn't appreciate the blues, not going, or going alone -- Alone it is! ****************************************************************** "Because, after all, a person's a person, no matter how small." Maria J. Wegscheid Bettendorf (IA) Public Library mwegsche@libby.rbls.lib.il.us My opinions, as stated in this posting, are just that -- mine. ========================================================================= Date: Fri, 16 Feb 1996 10:46:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re: Apology re: Albert Collins live CD's >Joe and John, >I guess I owe you both an apology. I made a hasty judgement when I >read your post,and apparently misinterpreted it as generally bashing. >Emotions can cloud reality as I'm sure you are also aware, and in >this case I let that happen. Whether or not I liked the way you said >what you said shouldn't have made a difference. I agree we should >all be free to express ourselves here, that's what it's all about. So >I hope you will except my apology, sorry this learning experience was >at your expense. Sorry to the rest of you folks, too. > Sincerely, Dave Melton >P.S.I did'nt intentionally write that anonymous Aw shucks, Dave. Your not the first person my big mouth has irritated. Anyway, the above took a lotta class. Apology of this nature unnecessary but humbly accepted with very best wishes. Blue Joe in Red Russia (where it's *always* NINE BELOW ZERO!!) J.E._Downey@bakermck.com ========================================================================= Date: Fri, 16 Feb 1996 13:34:02 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: attending shows alone In-Reply-To: Message of Fri, 16 Feb 1996 14:13:47 -0500 from >> >> BTW I went to this show alone, because my friend bailed out at the last >> minute. What I'm wondering is, are there other folks out there that go >> to shows alone sometimes? I used to always go to shows alone when I was married to my first wife, she didn't like blues (or me :-)) so I went alone... I went to see Lil Ed (after my divorce) alone and wound up dancing all night with a young lady I knew....I then of course married her and living happily ever after. We still hope Lil Ed gets it together and plays our area really soon. So YES, before my second marriage I almost always went to shows alone, but I knew my friends would be there... Any Lil' Ed news.....???? LW btw: My wife now has e-mail, but she doesn't have access (or the time) to get on blues-l. If anyone would like to e-mail her and tell her what a fine husband she has , lemme know private mail and I'll give you her e-mail address... (maybe) ========================================================================= Date: Fri, 16 Feb 1996 14:58:21 -0500 Reply-To: HugeSmall@AOL.COM From: Boyd Small Subject: Listproc: SET BLUES-L@BROWNVM.BROWN.EDU MAIL DIGEST Comments: To: canorton@journalism.indiana.edu Hope this works. Outa town too much these days. ========================================================================= Date: Fri, 16 Feb 1996 15:01:01 -0500 Reply-To: hhardy@BCONNEX.NET From: Hugh Hardy Subject: Re: blues guitar In-Reply-To: <9602160240.AA11761@cs> Pick or not? Well , I use a pick aggressively but I also sneak in fingers 2 and 3 when needed. So I can hold the pick while finger picking. The tone is so much better for those high whining Albert King sounds. Hugh Hardy near Toronto ========================================================================= Date: Fri, 16 Feb 1996 20:01:31 GMT Reply-To: IDEA@MCR1.POPTEL.ORG.UK From: Chris Paul Subject: steve finn hello there I wonder if anyone can help? my friend steve finn is in the states at the moment. he has been playing in a bar in St Louis for 5 weeks in a trio playing in traditional irish style. (he fronts Group Cheoil - all Ireland champions though performing his own material is priority). now he is on his way to NY NY where he will stay for 2 weeks from today friday and aims to play and sing as much as possible. all plans have fallen through though . . . i`m looking for help at very short notice to fix some outings for him - opening for others, open mics, bars, coffee shops, sessions - anything considered. Steve plays guitar and sings his own songs - I can send a biog and press comment through by fax or email to interested parties, or post it to the list - and listeners find country, blues, soul, folk, rock coming through. great performer, great material. sorry if this is a little off topic, best wishes chris paul manchester, england please reply to : care@mcr1.geonet.de or phone/fax : judy baldwin in NY NY 718 72 65 425 ========================================================================= Date: Fri, 16 Feb 1996 14:13:33 -0600 Reply-To: "Norman W. Mangum" From: "Norman W. Mangum" Subject: Re: Blues CLubs in Houston? Comments: To: DMIELE@CRSGI1.ERENJ.COM I just checked the listings on http://www.compassnet.com/~hwc/musicbyvenue.html Billy Blues has live blues listed on 2/20 and 2/21. Also damn good BBQ. Their calendar has Rick Lee and the Nightowls on the 20th and Guitar Slim on the 21st. Rick Lee does a lot of SRV/Buddy Guy covers, etc. I've seen him twice. Second time was an accident. If I ever see him again, it'll be another accident. Guitar Slim is worth seeing. Very good blues. - walker mangum ========================================================================= Date: Fri, 16 Feb 1996 14:21:51 -0600 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: Double-Entendre Blues/Johnny Winter Comments: To: leagil@AOL.COM In-Reply-To: <4g1si6$l6k@newsbf02.news.aol.com> from "LeaGil" at Feb 16, 96 07:16:06 am THought I'd tie the two. How about JW's "TV Blues": "Well my baby she was cryin' for me to get my TV fixed. "She said she needed service -- and she need it mighty quick" ... "Well I got my TV workin', my old tube is like brand new" "Come a little closer -- and I'll show my tube to you". Or is that single-entendre? -- * Billy Chambless | billy@cast.msstate.edu | voice: 601-688-7608 ========================================================================= Date: Fri, 16 Feb 1996 15:35:30 -0500 Reply-To: bob vanarsdall From: bob vanarsdall Subject: Frognet Good sleuthing on the sans accent version; I was trying to reconstruct from memory - which becomes more unreliable on details like these as time goes by. Cindy Talbot has promised to circulate my resume to some folks above her, and wanted me to send a hard copy directly to Bob Hemler, the pres of Env Sys, to see about what might develop. Thanks again for your help in this. If anyone can see the advantage of the global development stuff I'm talking about, it should be ABB. B ========================================================================= Date: Thu, 15 Feb 1996 12:44:28 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: To Pick or Not to Pick I solved the problem about whether to use pick ot fingers. I use hybrid picking! Hybrid picking is used heavily in country guitar (that's where I got it from). It involves using the pick and fingers simultaenously. In Blues soloing, I tend to pick some notes, use the middle and third finger to grab the second and thirds notes in double stops and triads, use the fingers to snap the strings etc. Occasionaly, I'll palm the pick and use my thumb. When I play guitar now in blues and especially country I use hybrid picking alot. It's a technique well worth exploring. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 15 Feb 1996 12:44:22 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Too Many Baseball References! Hey, what are all these posts with references to baseball. This is an international list. A lot of people probably have no idea about who Carl Ripken is. Enough baseball. We should use a truly international game. I hereby propose that all sporting references on Blues-L should refer to cricket only. The greatest game of all played with a bat and ball. A truly international sport. Without cricket, there would be no baseball. Shaun 'Toungue fully inserted in cheek' Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Fri, 16 Feb 1996 16:20:41 -0500 Reply-To: "Daryl F. Bernard" From: "Daryl F. Bernard" Subject: Re: Larry McCray Comments: To: Dave Ruthenberg In-Reply-To: <960216084520_145762873@mail02.mail.aol.com> Likewise, I am thrilled every time I see my main Blues man's name on the list! I had the chance to meet him last summer and he was about the nicest many you could ever meet. I have enjoyed his music for several years and would cite him as the main influence on me regarding my intro to the Blues. He was in town here in mid-Michigan (where he makes his home) and was in the local radio station (he stops in there often when he's around). He is always friendly, good-natured, and very well-humored, and he always brings a guitar and does a few tunes live on the air. He did two acoustic versions of songs that will be on his upcomin album. I'm not sure of the titles, but one was "Po' Boy Born To Play The Blues" or something similar to that, and the other was "Friends." Both were OUTSTANDING, sung and played with the feeling you'd expect from a true-Blues man. Although I loved his first two records (I dodn't find them over-produced, or perhaps I just didn't mind), but listening to Larry perform these songs acoustically, I found myself wishing for an acoustic album from him....anyway..... The new album should be out within a few months, tho he's not decided on the title (most likely either _Born To Play The Blues_ or _Hometown_). He was joking around with the DJ's of this station about the gig he was scheduled to play that night in Frankenmuth (a highly German town, world famous for it's German beer, fried chicken, and the world's largest Christmas store) and the DJs were asking him if was doing an all-polka set or not. He replied by saying that he was going to play "funk-polka-African rockabilly!"...and then burst out into his trademark laughter. Truly a cool guy. Well, I'll step down off my "Larry's the best" box now. Thanks for listenin'. Daryl ========================================================================= Date: Fri, 16 Feb 1996 16:06:29 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re: attending shows alone I'd think for the most part, men and women will answer this question differently. I agree with Maria. I go alone when my friends have more important things to do (like sleep). And people do worry about me because I'm a woman--and a short, blonde one at that--but they worry in their beds and their houses while I'm out in the world. Unlike Maria, though, I *have* been bothered at blues shows...usually by a psycho weirdo who I just know is some close relation to Jeffrey Dahmer. Because of my helpless demeanor, however (okay, Cathi, stop laughing and take a d-e-e-p breath...), I can usually find someone to walk me to my car if that's a worry. Inside a public place, even among (intoxicated) music fans, I could raise quite a ruckus if someone tried to mess with me. While on vacation in Maine last year I went alone to a club in Kennebunkport (okay, I know, not a hotbed of dangerous lowbrow activities) to hear a blues act. I sat at the bar (in a crowded room) by myself and was minding my own business when a fellow tapped me on the shoulder and asked if I would do him a favor. He was a member ofthe band, you see, and wondered if I would listen while they did a quick sound check and let him know if the levels were okay. What I still wonder to this day was ...WHY ME??? Why not the guy on either side of me? Did I look like I'd know the difference?? (I *do* know the difference obviously, but still, I *do* have this blonde thing going...) And no, it wasn't a come on; he wore a wedding ring and behaved appropriately. Shannon ========================================================================= Date: Fri, 16 Feb 1996 16:31:21 -0500 Reply-To: Ed Mezynski From: Ed Mezynski Subject: Re: Blues Hall of Fame nominees include two 'zellers Comments: To: rshurman@ccs.nslsilus.org Who's going to break it to my wife that I'm a non-performer??? As long as she's satified, ain't nobody's bidness..... And congratulations on the nomination. ed mezynski ========================================================================= Date: Fri, 16 Feb 1996 16:52:56 -0500 Reply-To: bob vanarsdall From: bob vanarsdall Subject: Apologies Apologies to the list. I inadvertently sent some personal mail out to Blues-L instead of where it should have gone. Beware the fast finger and the instant directory! Bob ========================================================================= Date: Fri, 16 Feb 1996 21:10:06 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Bricks In My Pillow Comments: To: bit-listserv-blues-l@uunet.uu.net Under the Subject: Bricks In My Pillow, LW wrote: >I know the subject was Robert Nighthawk, but a version I really like is on >Houston Stackhouse's ..??? on GENES. The latest HS CD... Here's an interesting coincidence: according to the liner notes to "Robert Lee McCoy/Robert Nighthawk 1937-1940" on Wolf, it was Houston Stackhouse who taught Nighthawk to play the guitar in the first place. Scott ========================================================================= Date: Fri, 16 Feb 1996 15:58:41 CST Reply-To: JBards From: JBards Subject: Re: Amping Nationals . . . Comments: To: Jinxblues@AOL.COM Yeah, and those of us in the Dallas area have seen Jim Suhler get great sound out of what must seem to be one of the strangest setups- a Gibson P-90 pickup placed oon the surface of the National Style 0 up near the neck. -Jim _______________________________________________________________________________ Subject: Amping Nationals . . . From: Jinxblues@AOL.COM at INTERNET-SH Date: 02/16/96 1:49 PM As a non-performers, this is not exactly my kind of thread. However, I saw a musican playing a National with a pickup through an amp at the San Francisco Blues Festival last September. His instrument's tone was true and not overpowering. It was a good clean sound with his picking technique very clear. Joeseph Jordan of San Francisco tells me that the musician's name is Preacher Boy and he records for Blind Pig. I suggest you might want to find out how he amplifies because he seemed to be doing it right. Dick Waterman ========================================================================= Date: Fri, 16 Feb 1996 21:11:37 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Gospel/Quartet recommendations Comments: To: bit-listserv-blues-l@uunet.uu.net David Silberberg wrote: >IMO, you must start with the Soul Stirrers - particularly with Sam Cooke as >first lead, altho don't overlook those with R H Harris. There are about 5 >or six CD re-releases of the Specialty stuff from the fifties. >Sam Cooke may have been the best singer of them all, and his pre-pop work >with the Soul Stirrers is, IMO again, his best work. I love both Cooke's AND Harris' lead work with the Soul Stirrers, for different reasons. Harris had a gruffer, earthier sound that to me is more intensely emotional; Cooke was a little lighter-weight, but was smooth as silk. BTW, the last I heard, Rebert H. Harris, who quit the Soul Stirrers--and the music business altogether, from what I understand--in 1950 is STILL living in Chicago. Any gospel chroniclers out there who want to interview him can probably get his number from the phone book. Scott ========================================================================= Date: Fri, 16 Feb 1996 14:17:12 -0800 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Subject: Re: Bukka's National/Cal Ripken LW wrote: >I know most of yawl have seen the picture of Bukka looking away from the >camera, kind of looking in to space. I've noticed something appears to >be taped to the top curve of his National's body. I've always been curious >if that was some kind of pick up or a cushion or what..? > >Does anyone know the picture I'm talking about (there are many) and do you know >what he had taped to his guitar....?? A Cal Ripken rookie baseball card. ========================================================================= Date: Fri, 16 Feb 1996 21:09:14 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Buddy Guy Book Comments: To: bit-listserv-blues-l@uunet.uu.net Dave J. Herda said: >Like Barry Silverberg, I too have to disagree with the original posting. >I bought the book not really expecting very much and was actually quite >pleased. It was a very easy read and definitley entertaining. The stories >that Buddy and the other musicians told provided a fascinating look inside >the life of one of the greatest bluesmen of all time. The other book that >has been discused here recently--Chicago Blues is one that I haven't been >able to get through yet. It seems sort of dry and more like a history book. >Does anyone else feel this way? Take it easy and keep on playin those blues. Dave, As a big fan of Chicago blues and the musicians who pioneered the genre, I found Mike Rowe's book Chicago Blues fascinating--I read it in one sitting the first time, and have referred back to it many times since then. The only part that I found a little dry was the chapter concerned with socio-economic history of Chicago, which I already had some knowledge of. So I only skimmed that chapter. But this book was written by a someone from another country and was originally published in that country, so there obviously were valid reasons for including that. But the stuff about the music and the musicians is great, and a quarter of a century later the book is still the best thing out there IF you happen to be into the subject. Personally, I had the same reaction the the BG book that you had to this one, but for different reasons. I'm not a huge fan of BG, but hey, to each their own. Scott ========================================================================= Date: Fri, 16 Feb 1996 16:51:48 -0600 Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: Re: Blues CLubs in Houston? Comments: cc: mangum@ROSE.RSOC.ROCKWELL.COM Guitar Slim is great, but The Big Easy jam on Wednesdays is worthy of going to. A lot of times the unexpected show up, like the legendary pianist Johnny Johnson who played at the jam for over 30 minutes. Rick is good but does not do too many SRV/BG covers; he does a few Buddy and 1 or 2 Stevie's. Check out http://www.neosoft.com/~nuri Nuri >I just checked the listings on >http://www.compassnet.com/~hwc/musicbyvenue.html > >Billy Blues has live blues listed on 2/20 and 2/21. Also damn good BBQ. >Their calendar has Rick Lee and the Nightowls on the 20th and Guitar Slim >on the 21st. > >Rick Lee does a lot of SRV/Buddy Guy covers, etc. I've seen him twice. >Second time was an accident. If I ever see him again, it'll be another >accident. > >Guitar Slim is worth seeing. Very good blues. > >- walker mangum > > ========================================================================= Date: Fri, 16 Feb 1996 16:54:49 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: 20 Most Overworked Blues Covers Comments: To: Tom Freeland In-Reply-To: <960216140131_424269736@mail06.mail.aol.com> Let's not dismiss any group introduced on TV (during that big benefit for New York Public Library 15-20 years ago) by Eddie Kirkland as "The Froghats." ========================================================================= Date: Fri, 16 Feb 1996 22:49:10 GMT Reply-To: Matthew Arthur Clark From: Matthew Arthur Clark Organization: Columbia University Subject: Code Blue Records Fan Clubs Comments: To: bit-listserv-blues-l@uunet.uu.net To get on the Fan Club Mailing List for any Code Blue artist, e-mail Code Blue Records at CODEBLUEUS@aol.com. Also, don't forget to check the Code Blue WWW Site for more information on your favorite Code Blue artists including Bo Diddley, The Hoax, Sherman Robertson, John Primer, Jay Owens, Storyville, and Rick Derringer. Thanks, Matthew Clark mac44@columbia.edu ========================================================================= Date: Fri, 16 Feb 1996 00:12:48 GMT Reply-To: Kurt Derbyshire From: Kurt Derbyshire Organization: DPI Subject: Kevin Borich (was News of a killer Australian blues guitarist) Paul Christie recently posted about Kevin Borich and his double live CD. I think Paul is referring to Live At The Big Kahuna, which I thought was recorded at one of Kevin's regular gigs in Sydney (not in Cairns - although he has played here many times). Kevin came to Australia from New Zealand with the La De Das (a band that at various stages played pop, R&B, heavy rock etc) in the sixties. He has always been something of a guitar hero in the Antipodes and the live CD is a good representation of what he has been doing recently. In answer to P.W.'s enquiry, it is not an instrumental album. I can provide more detailed info on Kevin if anyone is interested. Kurt Derbyshire derbysk@ensis.nth.dpi.qld.gov.au derbysk@cnscrm001.prose.dpi.qld.gov.au ========================================================================= Date: Fri, 16 Feb 1996 18:15:22 -0500 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: attending shows alone Comments: To: shannon oconnor In-Reply-To: <9601168245.AA824516009@smtpgate.swpco.com> I dj and get free tickets sometimes. Since the price is right, "a girl's gotta go where a girl's gotta go". I sit away from the crowd, in the back or right up front. I dress down and wear my "I am not the one" look. Unless I am scheduled to go backstage or interview the artist, I leave early. I bought a cellular phone to whip out when walking alone (fingers poised on 911 ( SEND). Once in my car, I lock the doors and stop for nothing that's not red. So far, so good. nitra BTW, this is standard operating procedure when I go out at night for anything. On Fri, 16 Feb 1996, shannon oconnor wrote: > I'd think for the most part, men and women will answer this question > differently. > > I agree with Maria. I go alone when my friends have more important > things to do (like sleep). And people do worry about me because I'm a > woman--and a short, blonde one at that--but they worry in their beds > and their houses while I'm out in the world. Unlike Maria, though, I > *have* been bothered at blues shows...usually by a psycho weirdo who I > just know is some close relation to Jeffrey Dahmer. Because of my > helpless demeanor, however (okay, Cathi, stop laughing and take a > d-e-e-p breath...), I can usually find someone to walk me to my car if > that's a worry. Inside a public place, even among (intoxicated) music > fans, I could raise quite a ruckus if someone tried to mess with me. > > While on vacation in Maine last year I went alone to a club in > Kennebunkport (okay, I know, not a hotbed of dangerous lowbrow > activities) to hear a blues act. I sat at the bar (in a crowded room) > by myself and was minding my own business when a fellow tapped me on > the shoulder and asked if I would do him a favor. He was a member > ofthe band, you see, and wondered if I would listen while they did a > quick sound check and let him know if the levels were okay. What I > still wonder to this day was ...WHY ME??? Why not the guy on either > side of me? Did I look like I'd know the difference?? (I *do* know > the difference obviously, but still, I *do* have this blonde thing > going...) And no, it wasn't a come on; he wore a wedding ring and > behaved appropriately. > > > > Shannon > ========================================================================= Date: Fri, 16 Feb 1996 19:02:27 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Bukka's National >Does anyone know the picture I'm talking about (there are many) and do you know >what he had taped to his guitar....?? Yes, I know what picture you're talking about, and I remember noticing the tape, too. I thought maybe it was for reinforcement--I mean, Big Joe Williams's guitar seemed to be held together with tape--but now that I think about it, that doesn't make sense if it was made of metal. Maybe it had a sharp edge on it....? Good question, LW. Karen ========================================================================= Date: Fri, 16 Feb 1996 19:02:23 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: blues guitar >Regarding Otis Rush and pickstyle: >I seem to recall an interview a couple of years ago where Otis said that he >could play a whole gig WITH a flatpick and the next night WIHTOUT one. When I first read the note about Otis Rush not using a pick, I was puzzled, because when I saw him several months ago, I remember that he *did* use a pick. It was at B.L.U.E.S. Etc. in Chicago, which is a fairly small venue, and of course I was up close. He didn't use the pick all the time, though. I remember noticing how he tucked it between his third and fourth finger when he didn't want it. It was like a magician does with a coin across his knuckles. I was thinking of seeing him again at Legends next week....maybe if I go, I check it out again! Karen ========================================================================= Date: Fri, 16 Feb 1996 19:02:30 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Hoochie Coochie by Muddy >Well. This makes me wonder what recording by Muddy has Muddy's "best" >version of Hoochie Coochie Man on it. Just requesting your opinions >my good bluezellers. Silly question! The "original," of course! The 1954 recording with Muddy, Jimmy Rogers, Little Walter, Willie Dixon, and Fred Below is my favorite. I was listening to this tape (The Best of Muddy Waters) all last week in my car's tape player, and I was marveling at how beautiful these songs are. I think they're so perfectly balanced, instrumentally. Such powerful music from so few notes! Karen ========================================================================= Date: Fri, 16 Feb 1996 19:06:56 -0500 Reply-To: FLAMINAMY1@AOL.COM From: David Mandelbaum Subject: Jimmy Spruill, Rest In Peace Comments: To: curtis@magicnet.net I was hoping someone had already made this post. I regret to inform you that Jimmy Spruill passed away in Fayetteville, NC on his way back to New York from Florida. He was taken off the bus by an ambulance crew but died before he reached the hospital. With the family's permission I will post an address to which condolences can be sent. David ========================================================================= Date: Fri, 16 Feb 1996 18:36:15 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: The fool pool?? Bs> Why would anyone ask a fool their opinion? LW save us all the Bs> despair of having to listen to LF say anything - let it sleep. Bs> Barry I guess you have now appointed yourself as the ultimate standard of politically correct and mindlessly acceptable standardized opinions about Blues, and anyone who doesn't agree you is a "fool"?? Does the name Hitler ring a bell?? Unlike the great majority of people with opinions, I have reasons for mine. Interestingly, when I try to engage in a meaningful conversation here, and elsewhere, and try to compare the _reasons_ for various opinions, I quickly learn that my most vociferous detractors have absolutely NO reasons for their dearly held opinions. An example: when I pointed out the very significant differences in the techniques available between bottleneck guitar style and slide guitar styles, and asked for respect for the fact that bottleneck style was developed by cutting the necks of bottles, NO ONE responded to my analysis. The most vehement defenders of the ambiguous and meaningless terminology repeatedly refused to answer simple questions, thus indicating their inability to deal with the concepts. The only 'reasons' I ever got are summarized: "That's what WE (caucasian children who play make-believe Blues) call it, and WE don't care." ... Opinions are like assholes; everybody's got one! --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Fri, 16 Feb 1996 19:32:11 -0500 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Knocking Stormy Monday? Comments: To: bit-listserv-blues-l@uunet.uu.net I agree with P.W. "Stormy Monday" has to be, if not THE BEST, on of the best slow groove blues ever! Lea Gilmore Baltimore, MD "Wild Women Don't Have the Blues" ========================================================================= Date: Fri, 16 Feb 1996 15:43:51 -0800 Reply-To: CNI From: CNI Subject: Blues News & More! News from AVI and Excello Records! 1. Harp legened, Jerry McCain, participated in a live online conference on January 26th; you can read the transcript at the following web site: http://www.cnotes.com/cnotes.bios/mccaintranscript.html 2. You can receive a FREE copy of AVI's ATOMIC BEAT mail order catalog by calling 310-556-1144 or by sending your name and address to avi@cnotes.com The ATOMIC BEAT catalog features the best in Blues, Soul, R&B, Gospel, Cajun & Zydeco, 60s Garage & Psychedelia, Rockabilly, Oldies, Doo-Wop, Surf & Hot Rod, Strip & Exotica, "Roots Rock," and much much more. 3. The latest CLASSIC reissues coming from AVI/Excello include: "SLIM HARPO The Scratch: Rare & Unissued Vol. 1" (Another winner!) "Sonny Landreth: Blues Attack" "Paul Petersen: Best Of" (Yes, of _Patty Duke_ fame!) To learn more about these and all AVI/Excello reissues, visit http://www.cnotes.com/cnotes.soul.html 4. For a limited time, THE BEST OF EXCELLO RECORDS is being given away as part of a special promotion organized by CNI Telecom. For details, visit http://www.cnotes.com/telecom/cnitelpage.html Peace, C NOTES -- + Join CNI Long Distance - The Only Low Cost, FLAT RATE Long + Distance Company Supporting Peace, Human Rights, the + Environment, and the Fight Against AIDS. + Email: longdistance@cnotes.com - we'll send you a + reply within 30 seconds. + http://www.cnotes.com/telecom/cnitelpage.html + New customers receive a FREE Music CD + 100 FREE minutes! ========================================================================= Date: Fri, 16 Feb 1996 19:09:47 -0600 Reply-To: "by way of bermansj@sluvca.slu.edu Scott Berman" From: "by way of bermansj@sluvca.slu.edu Scott Berman" Subject: Re: Canned Heat still alive? (fwd) the last new canned heat recording of which i am aware was one track on "the healer" with john lee hooker. henry vestine, fido de la para and larry taylor appeared as canned heat. the healer was released in 1989. hooker's follow up tribute/compilation cd, "mr. lucky" (1991) featured larry taylor on one or two tracks. keep in mind that the heat are hard to push out the door. i would assume that with the ever resurgent interest in the blues, they will resurface somewhere along the line. as long as vestine is in the lineup, it could be worth waiting for. ========================================================================= Date: Fri, 16 Feb 1996 20:17:25 EST Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: Eddie Campbell coming to Syracuse Southern New England fans of Eddie (including me) can catch him at Black Eyed Sally's in Hartford on Friday the 23rd. Dave Carpenter Blues Music Director WHUS-FM Storrs, CT http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Fri, 16 Feb 1996 21:18:54 -0500 Reply-To: SGLIWA From: SGLIWA Organization: Delphi (info@delphi.com email, 800-695-4005 voice) Subject: Re: Andrew Brown Comments: To: bit-listserv-blues-l@uunet.uu.net Mark Gobeyn writes: >task. Does anybody out there have any Andrew Brown records? Yes, I have Andrew Brown's LP "Big Brown's Chicago Blues" on the Black Magic label. Great stuff. I never get a chance to listen to it much since I normally only have an opportunity to listen to CD's instead of vinyl. Steven James Gliwa ========================================================================= Date: Fri, 16 Feb 1996 21:58:54 EST Reply-To: Stephen MacKinnon From: Stephen MacKinnon Subject: Re: Need John Lee Hooker help!!! Richard > Could anyone please help me before I go crazy! The men in the white coats can be called off. John Lee Hooker's LP Born In Mississippi Raised Up In Tenessee (ABCX-768) was recorded in Sept. 71 and released in 73. It does indeed included Going Down with vocal help from Van Morrison. Also appearing are Luther Tucker, Don Sugarcane Harris, Steven Miller and Mark Naftalin. One of the songs is called Younger Stud (only in the 70s!) I agree that Hooker and Morrison make a dynamite combo. Going Down seems to be there first collaboration. My favourite is I Cover The Waterfront from Mr. Lucky. Stephen ========================================================================= Date: Fri, 16 Feb 1996 19:22:18 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: The fool pool?? Lauri Forti penned these words of brilliance in the latest missive to Blues-L's underlings, along with a lot of other bullshit: >... Opinions are like assholes; everybody's got one! And you, of all the people on the list, should know. Have a nice weekend. Maybe if you get off your high horse you'll find someone to hang out with. -jim (hndful@uniserve.com) ========================================================================= Date: Fri, 16 Feb 1996 21:47:30 -0500 Reply-To: "Stephen MacKinnon (by way of mshan@mail.fastlane.net Mike Shannon)" From: "Stephen MacKinnon (by way of mshan@mail.fastlane.net Mike Shannon)" Subject: Re: Need John Lee Hooker help!!! Richard > Could anyone please help me before I go crazy! The men in the white coats can be called off. John Lee Hooker's LP Born In Mississippi Raised Up In Tenessee (ABCX-768) was recorded in Sept. 71 and released in 73. It does indeed included Going Down with vocal help from Van Morrison. Also appearing are Luther Tucker, Don Sugarcane Harris, Steven Miller and Mark Naftalin. One of the songs is called Younger Stud (only in the 70s!) I agree that Hooker and Morrison make a dynamite combo. Going Down seems to be there first collaboration. My favourite is I Cover The Waterfront from Mr. Lucky. Stephen Morrison is on a cut on the 'Chill Out' CD also. It is called 'Serves me Right to Suffer'. Also has Booker T. on organ. It's excellent. ========================================================================= Date: Fri, 16 Feb 1996 23:09:47 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Brownie McGhee; Dead at 80 Walter "Brownie" McGhee, one of the last members of the famed "Class of 1915," died at Summit Medical Center, Oakland, California, on Friday, February 16th. Funeral arrangements are unknown at this time but will be posted on this list when they become available. Just for the record, Brownie came out of an eight year retirement to play the Chicago and Long Beach blues festivals in 1995. Brownie & Sonny. . . together again . . . "Let the Midnight Special shine its every loving light on me." Dick Waterman ========================================================================= Date: Fri, 16 Feb 1996 20:20:57 +0000 Reply-To: refl@nwlink.com Comments: Authenticated sender is From: Ref Lindmark Subject: Re: 20 most covered songs I for one generally enjoy hearing a group cover a classic. If they do it with respect (which means that aren't trying to create some "fusion" version or "medley" contraption) I think it is ok. Great tunes deserve to be played.. listened to.. danced to.. and played again.. (IMHO) Ref ========================================================================= Date: Fri, 16 Feb 1996 23:31:10 -0500 Reply-To: "John R. Vanderpool" From: "John R. Vanderpool" Organization: NASA/GSFC Subject: new Freddie King live CD release (is good-to-go!) the new "Live in Germany" (1975) from King Biscuit Records (Belgium) matrix KBR001 (i guess their first issue) is excellent - over 60 min of vintage soundboard FK live. check it out. i got mine from noteworthy mail order at 1-800-648-7972 i also picked up "just pickin'" which is FK's first two instrumental releases on one CD (over 70 min too i think, or close) i like it but it doesn't tear me up like some of his other stuff (considering they are from 1961 and 1965 they are pretty wild!) what does everyone think of "freddie king sings" i don't have that one and see that the same company that re-mastered "just pickin'" from the original tapes did this release too (must have access to the King studio tapes) Noteworthy also has "fathers and sons" the (IMO completely classic release) from muddy waters that is often hard to find in stores because it does not have any of the artists names on it - this recording features the incredible michael bloomfield too and is almost 70 minutes of music. i ordered "live at liberty hall" by FK from CDnow but haven't got it yet they can be reached at: 1-215-654-8076 - they are a little pricey, Noteworthy beats them on almost every disc but they have some releases that i have a hard time finding elsewhere though) you can browse their "store" via http://cdnow.com/ btw, noteworthy is at http://www.netmarket.com/noteworthy/bin/main/ "just a happy customer of both" disclaimer applies since i'm starting to sound like an advertisement here! fish -- remembrance is the sweetest flower, of all the world's perfuming; memory guards it sun or shower, friendship keeps it blooming - AKS 1933 for Earth Science data and information use URL http://daac.gsfc.nasa.gov/ ========================================================================= Date: Sat, 17 Feb 1996 00:19:47 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Brownie McGhee; Dead at 80 Comments: To: Jinxblues@aol.com In a message dated 96-02-16 23:35:19 EST, Jinxblues@AOL.COM (Dick Waterman) writes: >Walter "Brownie" McGhee, one of the last members of the famed "Class of >1915," died at Summit Medical Center, Oakland, California, on Friday, >February 16th. This is a truly sad loss, and touches me in a personal way. When I was a kid, a record that made a particularly strong impression on me was a collection from the Newport festivals; it contained one by Sonny Terry and Brownie McGhee ("Long Gone") and two by John Hurt. This was literally my introduction to blues. In the seventies, one of the first blues shows I got to see (B.B. King and Fred McDowell preceeded them) was Sonny Terry and Brownie McGhee, who came to Oxford twice. They fought and annoyed each other, but they performed, holding the audience in thrall. I sat down front from beginning to end, entranced (and, the first time, was delighted to have Brownie McGhee sign my leg cast on my then-broken leg). McGhee started recording in 1940, and began recording with Sonny Terry the next year. There aren't too many left who go back that far: Henry Townsend, Eugene Powell, Honeyboy Edwards, Robert Lockwood, and who else? Yesterday, Dick Waterman was describing to an visitor in Oxford with me the sweeping history about which Jack Owens (at 92) could speak first hand, from mules through tractors, from the great depression through the great migration to Chicago. This direct memory and connection to the beginning of recorded blues is fading fast and is almost gone. Tom Freeland ========================================================================= Date: Fri, 16 Feb 1996 23:28:04 -0600 Reply-To: Dave Daubard From: Dave Daubard Subject: Re: Duke's Blues/USA Today Comments: To: CATBAUER In-Reply-To: <4fg3nn$fib@newsbf02.news.aol.com> I was fortunate enough to buy Duke's Blues the 1st time Duke came to Champaign. Duke had about 6 different CD's set out on the stage during the break. I selected one by looking at the credits, opting for one that had Dr. John and Jimmy Vaughn helping out. After the show, the bass player recommended Duke's Blues. He called it an "inbetweener"(between Rounder & Pointblank). Thanks to Stony Plain! What a prize! One of my fav's for '95!-Swingin' Dave ========================================================================= Date: Fri, 16 Feb 1996 21:31:35 -0800 Reply-To: TLKnox@EWORLD.COM From: Terry Knox Subject: FYI Important (but no blues) Dear Bluezellers --- Beware---- Below is an excerpt from a message that has been floating around the NET. Keep in mind that IT IS A HOAX. Terry :-) ************ begin HOAX message ****************************************** ~ *** Attention *** ~ ~ It's that time again! ~ ~ As many of you know, each leap year the internet must be shut down for 24 ~ hours in order to allow us to clean it. The cleaning process, which ~ eliminates dead email and inactive ftp, www and gopher sites, allows for ~ a better-working and faster internet. ~ ~ This year, the cleaning process will take place from 12:01 a.m. GMT on ~ Feb. 29 until 12:01 a.m. GMT on March 1. During that 24-hour period, ~ five powerful internet-crawling robots situated around the world will ~ search the internet and delete any data that they find. ~ ~ In order to protect your valuable data from deletion we ask that you do ~ the following: ~ ~ 1. Disconnect all terminals and local area networks from their internet ~ connections. ~ ~ 2. Shut down all internet servers, or disconnect them from the internet. ~ ~ 3. Disconnect all disks and hardrives from any connections to the internet. ~ ~ 4. Refrain from connecting any computer to the internet in any way. ~ ~ We understand the inconvenience that this may cause some internet users, ~ and we apologize. However, we are certain that any inconveniences will ~ be more than made up for by the increased speed and efficiency of the ~ internet, once it has been cleared of electronic flotsam and jetsam. ~ ~ We thank you for your cooperation. ~ ~ Kim Dereksen ~ Interconnected Network Maintenance staff ~ Main branch, Massachusetts Institute of Technology ~ ~ Sysops and others: Since the last internet cleaning, the number of ~ internet users has grown dramatically. Please assist us in alerting the ~ public of the upcoming internet cleaning by posting this message where ~ your users will be able to read it. Please pass this message on to other ~ sysops and internet users as well. Thank you. ========================================================================= Date: Sat, 17 Feb 1996 06:53:15 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Wild Jimmy Spruill--bad news Comments: To: bit-listserv-blues-l@uunet.uu.net Once again, I'm posting a note I found on the Prodigy blues bb without the permission of the author...Board: MUSIC 2 BB >Topic: BLUES Subject: WILD JIMMY SPUILL ? From: BILL SIMS JR (KJWT46B) Time: 02/16 4:43 PM Well the worst has been realized, Wild Jimmy Sruill is no longer with us. He has been found dead of a heart attack in Fayetteville N.C. Apparently he had a heart attack on the bus and died while in route to the hospital, he was 61 years old. I'll post more details as they become available to me. B.S. Jr. >PRODIGY(R) interactive personal service - Date: 02/17 Time: 1:47 AM Scott ========================================================================= Date: Fri, 16 Feb 1996 23:38:30 -0800 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Subject: Re: Bukka's National >>Does anyone know the picture I'm talking about (there are many) and do you >know >>what he had taped to his guitar....?? Now that I've been frivolous (Cal Ripken) I'll get serious, and venture a guess ...... Maybe a piece of paper, as: possibly a set-list, a reminder of tunings, lyrics...? ========================================================================= Date: Sat, 17 Feb 1996 02:46:37 -0500 Reply-To: FRobinsonj@AOL.COM From: "Frank Robinson,Jr." Subject: Re: Brownie McGhee; Dead at 80 Comments: To: Jinxblues@aol.com Folks, What a terrible loss this is to the blues community!!! Another one of the fathers has left us. This makes it our responsibity to keep the tradition alive. If we succeed in this , then in a larger sense Mr. McGhee will live on in all of us... Frank Robinson, Jr. ========================================================================= Date: Sat, 17 Feb 1996 04:11:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re[2]: Hoochie Coochie by Muddy I was running my mouth as usual and said this: >>Well. This makes me wonder what recording by Muddy has Muddy's >>"best" >version of Hoochie Coochie Man on it. Just requesting your >>opinions >my good bluezellers. Whereupon our thoughtful correspondent Karen gently scolded me: >Silly question! The "original," of course! The 1954 recording with >Muddy, Jimmy Rogers, Little Walter, Willie Dixon, and Fred Below is >my favorite. And she added: >I was listening to this tape (The Best of Muddy Waters) all last week in >my car's tape player, and I was marveling at how beautiful these >songs are. I think they're so perfectly balanced, instrumentally. >Such powerful music from so few notes! >Karen This all sent me fortunately to my Muddy collection, to which I am so pleasurably listening even as I tap out these words. It turns out that I have two Muddy versions of Hoochie Coochie Man, one bouncily rendered with the likes of Johnny Winter and Walter Horton in 1978 on I'm Ready, and the other as compiled by Mary Katherine Aldin on One More Mile, the latter being a bit softer but very nice indeed. The "original" is what I am lacking, though, and I tend to shun "best of" collections and boxes because I like to get the original album when I can. Anyway to get this Hoochie Coochie Man 1954 "original" without buying a box or "best of"? Thanks and have a great bluesy Saturday everybody!! Blue Joe in Red Russia J.E._Downey@bakermck.com ========================================================================= Date: Sat, 17 Feb 1996 03:16:35 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: bass/base/bass This bass/base talk has reminded me of one of my favorite people, Rhandy Simmons (known around here as the fishin' musician). Rhandy played bass (the stringed thing) for Anson and the Rockets and later Mike Morgan and the Crawl. He eventually tired of the road and moved up to Lake Fork which is the big bass (fish) lake in Texas and started a bass (fish) guide service. So now he plays bass (the fish) but no longer plays bass (the stringed thing). So if you ever want to catch some bass with a bass player or play some bass with a bass catcher, I can arrange it. Fortunately, he's a tenor, otherwise this would this would go on even longer. :') Don O. ========================================================================= Date: Sat, 17 Feb 1996 11:07:08 +0100 Reply-To: Mittendorp From: Mittendorp Since this week we have our own page with all the information on the artists that we represent in Europe and also information on their European tours. The site http://www.tref.nl/3039/ondernem/e-paper/crossrds.htm Jan Mittendorp Crossroads Blues Agency The Netherlands ========================================================================= Date: Sat, 17 Feb 1996 07:31:06 -0500 Reply-To: Meadors From: Meadors Subject: Re: A Microphone Question Comments: To: pwfenton@GATE.NET >By NO means use the bullet on vocals OR your national. The bullet > is a copy of an unbelievably cheap and cheezy mike that came into > favor with harp players because it is so prone to distortion which is often mistaken for excitement and power IMO) I wish I was in your neighborhood. I'd lend you another mic so nobody would get stuck with it. Under most situations, P.W., I would agree with you (the part about not using a GB for vocals; however, you can get some very cool vocal tones from singing through a Green Bullet. The Red Devils and others have used vocals through a Green Bullet to get a retro sound. I simply suggest that no matter what, they should take their gear to somebody's garage or practice studio, set it up and find the sounds and settings they like best. There's always somebody who has extra mics laying around to borrow, too. I'm wondering if they have a PA system of some sort or just plan to play straight out of their amps. Mike Meadors Orange3@gnn.com ========================================================================= Date: Sat, 17 Feb 1996 08:01:31 -0500 Reply-To: Meadors From: Meadors Subject: Re: 20 most covered songs Comments: To: refl@NWLINK.COM I think the point that was made before re: Stormy Monday was basically this: As musicians, some of us are tired of playing Stormy Monday (admittedly a great song) every time someone wants "a slow one" or wants to sing one with the band. It's the blues equivalent of Stairway to Heaven. If someone wants to take Stormy Monday to a new place (so to speak), that would be cool. But just to play it the same way over and over, for some of us, is like taking a date to the same restaurant every damn night -- the food may be good, but, hey, honey ... let's eat somewhere else for a change tonight. >Date: Fri, 16 Feb 1996 20:20:57 +0000 >From: Ref Lindmark >Sender: Blues Music List >To: Multiple recipients of list BLUES-L >Subject: Re: 20 most covered songs > >I for one generally enjoy hearing a group cover a classic. If they >do it with respect (which means that aren't trying to create some >"fusion" version or "medley" contraption) I think it is ok. Great >tunes deserve to be played.. listened to.. danced to.. and played >again.. (IMHO) > >Ref Mike Meadors Orange3@gnn.com ========================================================================= Date: Sat, 17 Feb 1996 08:05:42 -0500 Reply-To: Meadors From: Meadors Subject: Re: bass/base/bass Comments: To: don.o@CHRYSALIS.ORG Don't forget you can string some bass or string a bass but you can't string a base. Mike Meadors Orange3@gnn.com ========================================================================= Date: Sat, 17 Feb 1996 13:22:24 +0000 Reply-To: dirk vanhove From: dirk vanhove Subject: Most essential blues albums of all times Hi everybody, My predicament: I'm working in a local public library that also offer compact discs to its patrons. Up till now our blues collection ( 200 items) was built in a somewhat haphazardly way. I'd like to change this situation as soon as possible (deadline is March 1st). Therefore I call in help of specialists. I'd like to build up a list of *the most essential blues albums of all times* i.e. the albums that should be in anybody's collection in order to have a decent idea of what the genre is all about . Only two conditions: 1) max. 20 items (lack of money, you see) 2) albums must be currently available on compact disc. Undoubtedly there should be *specialists* on this list who are willing to give a newbie (on blues and on the net) some sound advice. Mail your suggestions to my personal e-mail address, please. dvhove@unicall.be Many thanks in advance ========================================================================= Date: Sat, 17 Feb 1996 09:02:14 -0500 Reply-To: Luftr From: Luftr Organization: America Online, Inc. (1-800-827-6364) Subject: Re: John Hammond -Sr. or Jr.? -Reply Comments: To: bit-listserv-blues-l@uunet.uu.net In response to the thread about John Hammond, previous mentions are correct except that Hammond (Sr.) did not discover or significantly aid Leadbelly -- that was folklorist Alan Lomax, and his father, John Lomax, when they were doing field recordings for the Library of Congress. However, in addition to the below (Bessie Smith, Springsteen, Stevie Ray Vaughan, et al), Hammond "discovered": - Bob Dylan (known for a time at Columbia Records as "Hammond's folly," when Dylan initially seemed to be flopping); - Aretha Franklin (a great discovery, but her talent wasn;t really captured until she left Hammond & Columbia Records in the mid-'60's and moved to Atlantic, where her soul sound was developed); - George Benson - Billie Holiday - Count Basie and many, many others. FYI, John Hammond, Jr. is his son, and is a recording artist (blues) rather than a talent scout like his father. However, I have read reference to Hammond, Jr. having been one of the early people to recognize and tap the talents of Duane Allman; Hammond, Jr. used him as a session guitarist on one or two LP's in the late 1960's. Rick ========================================================================= Date: Sat, 17 Feb 1996 09:47:08 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Brownie McGhee; Dead at 80 This is a great loss. Brownie McGhee and Sonny Terry were the first bluesmen I ever saw perform alive. Back in the earky sixties, they appeared at an Ottawa (Ont) coffee house called l'Hibou. I was in my folkie phase, and they were doing the folk-blues thing. Brownie limped up to the stage, with Sonny holding on to his belt -- and they proceeded to set the place on fire. They came on as straight-from-the-plantation rural folks -- it was much later that I learned that both had had long careers as urban musicians, including a long run on broadway. Anyone\ who only knows Brownie's acoustic music of the sixties should check out his R&B recordings of the forties and early fifties -- they are a revelation. I'm pleased to say that I got to see Brownie again last year at the Chicago blues festival. He was a little slower, but still amazing. He will be missed. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Sat, 17 Feb 1996 14:38:09 GMT Reply-To: ".\\ark \\'atkins" From: ".\\ark \\'atkins" Organization: Telepath Subject: Re: SRV unplugged Comments: To: bit-listserv-blues-l@uunet.uu.net Bernard Chazelle wrote: >I heard from the grapevine >that SRV and Joe Satriani appeared >together in the MTV Unplugged series. >Is that true?? Yes and no. They appeared on the same show, but SRV had to leave early and the scheduled jam never happened. >If so, I would love to know >if there's a video of it that's available >to the public. Available from collector's only, but there is an SRV boot CD called Unplugged And Jammin' that has his set on it. /----------------------- -=[ .\\ark \\'atkins ]=- -------------------\ | markw@telepath.com . | | mark.watkins@hotelcal.com . |\/| ----_ | | http://www.telepath.com/markw . =(--)=_____ \ | | FIDO 1:147/3101 . c___ (______/ | \--------------------------------------------------------------------/ ========================================================================= Date: Sat, 17 Feb 1996 15:00:20 GMT Reply-To: Steven L Combs From: Steven L Combs Organization: The World Public Access UNIX, Brookline, MA Subject: blues guitar Although you asked for "electric" players, I'll throw my 2 cents in even though I spend most of my time on a mahogany Washburn. I started using 'tips instead of picks as a soon-to-be-frustrated bass player and just never saw the advantage in trading five meat hooks for a piece of plastic. Disadvantage of being pickless - if you start strumming a lot, the beating you put on your index finger can bug the nerves behind the nail. But I still can't stand the sound of a pick clickety-clicking across the wires - even if the audience can't hear it, I can, and it really annoys me. As always - whatever floats your boat. ========================================================================= Date: Sat, 17 Feb 1996 09:56:01 EST Reply-To: TSCHANZ@VM.TEMPLE.EDU From: "William R. Tschanz" Organization: TEMPLE UNIVERSITY Subject: Im a lucky dawg I had the pleasure of playing in blues band with a friend called "H". H worked at a major record store here on the east coast. He came to practice on night with a brown paper bag full of old cassettes. The store was cleaning out some old stock and he gathered up a few that he thought would be of interest. Poured his booty on the floor and siad, "help yourself". This was about three years ago. Today I was looking for some new cover to work on, looked into my pile of old blues cassettes and whAT DO I FIND!...ALBRT COLINS COMPLETE IMPERIAL RECORDINGS. cassette 1 & 2. (EMI) The Advance cassettes.(e4-9674(1 & 2)...for promotional use only/not for sale. With a handsome young man sitting on a stool with his bad as strat on the pink J cards. It could only be young Albert Colins........My man...........YA.... ____________________________________________________ | > | WILLIAM R. TSCHANZ TSCHANZ@VM.TEMPLE.EDU > | CIVIL ENGINEERING WRTSCHANZ@AOL.COM > | TEMPLE UNIVERSITY ----------- > |___________________________________________________> ========================================================================= Date: Sat, 17 Feb 1996 10:10:03 -0500 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Cal Ripkin Comments: To: bit-listserv-blues-l@uunet.uu.net Hey, I'm just happy to hear some "Baltimore" talk... Yours in the Blues Lea Gilmore Baltimore, MD "Wild Women Don't Have the Blues" ========================================================================= Date: Sat, 17 Feb 1996 10:20:24 EST Reply-To: TSCHANZ@VM.TEMPLE.EDU From: "William R. Tschanz" Organization: TEMPLE UNIVERSITY Subject: Lookin for Cover I'm tryin to put together a set with a light comical venue. But I am havin trouble finding the original artists because I only heard these tunes in my home as a child. I'n not quite sure of even the titles. I remember the songs the way old Silver Bullit used to do them at the piano. If anyone recognizes any of these lyrics please help???? 1. Your little poodles got long black shaggy hair,got a face like a teddy bear. Let me play with your poodle. 2. Last Saterday night when I came home as drunk as I could be. I saw a hat on the rack were my hat aughta be. I siad to my wife my darlin wife what is this thing I see. She siad you fool, you drunkin fool oh can't you plainly see. I'ts nothin but a cookin pot that you mother sent to me. 3. And it's just down the road, down the road a piece.(Then silver would whistle through a chorus) These were three of his old boogie woogie songs he used to cover. >From what I recall they were toe tappin knee slappin foot pounding numbers that i'm sure someone has heard either in a jook joint or on recorded material. Maybe some of the older fellows on the Blues-l will remember them. Respectivly speaking of course....TIA Billy the kid. ____________________________________________________ | > | WILLIAM R. TSCHANZ TSCHANZ@VM.TEMPLE.EDU > | CIVIL ENGINEERING WRTSCHANZ@AOL.COM > | TEMPLE UNIVERSITY ----------- > |___________________________________________________> ========================================================================= Date: Sat, 17 Feb 1996 15:52:51 GMT Reply-To: Ari Eisinger From: Ari Eisinger Organization: Internet Online Services Subject: Re: YAZOO address Comments: To: bit-listserv-blues-l@uunet.uu.net Yazoo is now part of Shanachie Records in Newton, NJ. ARI EISINGER Blues and Ragtime Guitarist and Singer ==Guitar Teacher== ==(610) 259-6688== jose.eric.s.maglanque (jose.eric.s.maglanque@AC.COM) wrote: : Does Yazoo have an e-mail address? Will settle for snailmail, phone number, : fax number, and contact name, though. Any info. will be appreciated. Thanks! ========================================================================= Date: Sat, 17 Feb 1996 15:58:10 GMT Reply-To: Ari Eisinger From: Ari Eisinger Organization: Internet Online Services Subject: Re: Double-Entendre Blues Comments: To: bit-listserv-blues-l@uunet.uu.net How about "The Doctor's Blues" or "Terrible Operation Blues" (two versions of the same song more or less) by Georgia Tom Dorsey and Jane Lucas? One of them is on _Georgia Tom Dorsey: Come On Mama Do That Dance_ on the Yazoo label. ARI EISINGER Blues and Ragtime Guitarist and Singer ==Guitar Teacher== ==(610) 259-6688== ========================================================================= Date: Sat, 17 Feb 1996 10:53:06 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Lil Ed > Any Lil' Ed news.....???? > > LW > Lil Ed is playing gigs with Dave Weld and the Imperial Flames. Dave Weld co-founded Lil Ed and the Blues Imperials and is an old friend of Ed's. They can be booked for shows through Mike Beck (312/278-1352) Ranko ps. Not associated with Mike Beck, Lil Ed, or anybody else. Just passing an info I got recently... ========================================================================= Date: Sat, 17 Feb 1996 11:57:43 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Re[2]: Hoochie Coochie by Muddy Comments: To: /G=J.E./S=Downey/@bmmoscow.bmck.sprint.com Joe asks: > The "original" is what I am lacking, though, and I tend to shun "best of" >collections and boxes because I like to get the original album when I >can. Anyway to get this Hoochie Coochie Man 1954 "original" without >buying a box or "best of"? I believe--somebody correct me if I'm wrong--that unless you can get a hold of an old Chess 78, you will have to buy a "Best Of" album to get this particular recording. Muddy Waters's "Best of" is not just a repackaging of hits you can find on other albums, but a compilation of songs previously released only as singles, all recorded in the time span from 1948-1954. These songs retain more of a Delta flavor than later recordings. Here you will find the aforementioned inimitable lineup of blues greats playing such classics as "I'm Ready," "I Just Want to Make Love to You," "Rollin' Stone," and "Standing Around Crying." I confess I have a sentimental bias, as this was my "eureka," so to speak; after searching for a year or so in several different directions for "that" blues sound, I finally found it in "The Best of Muddy Waters." It has since served as a springboard, leading me to other great and personally satisfying albums. At any rate, it is IMVHO, well worth the investment. Karen ========================================================================= Date: Sat, 17 Feb 1996 09:29:49 -0500 Reply-To: Dave Melton From: Dave Melton Subject: Re: Brownie McGhee; Dead at 80 >This is a great loss. > >Brownie McGhee and Sonny Terry were the first bluesmen I >ever saw perform alive. Back in the earky sixties, they >appeared at an Ottawa (Ont) coffee house called l'Hibou. I >was in my folkie phase, and they were doing the folk-blues >thing. Brownie limped up to the stage, with Sonny holding on >to his belt -- and they proceeded to set the place on fire. > >They came on as straight-from-the-plantation rural folks -- >it was much later that I learned that both had had long careers >as urban musicians, including a long run on broadway. Anyone\ >who only knows Brownie's acoustic music of the sixties should >check out his R&B recordings of the forties and early fifties -- >they are a revelation. > >I'm pleased to say that I got to see Brownie again last year at >the Chicago blues festival. He was a little slower, but still >amazing. > >He will be missed. > >Ian Angus >"Built for comfort, not for speed" =========================================== I also was very fortunate to get to see Sonny and Brownie at the Lighthouse in Hermosa Beach, CA when they still had real music. I got to sit right in front of them, and it still seems like yesterday even though it's been about 23 years or so. I know this had to happen sometime, they are all leaving us one by one. So another sad day is here, and I will just say Thanks, Brownie McGee, for a show that makes me feel good every time I think of it. Dave Melton ========================================================================= Date: Sat, 17 Feb 1996 11:28:44 CST Reply-To: COMM4065@MIZZOU1.BITNET From: Bill Benoit Subject: RL Burnside I saw RL Burnside in Columbia, MO on Thursday night. He was truly great. Junior Kimbrough was scheduled to be one of three acts (I hadn't heard of, and don't remember, who the third act was supposed to be). Paul Jones opened up (replacing Kimbrough) and I enjoyed him. After his set I went over to RL who was watching from the side of the stage and he graciously autographed the liners from two of my Burnside CDs. I mentioned that I wish I could get Bad Luck City and that I heard he had a fourth CD available in Holland, but that I couldn't. He played with a drummer and a guitar player (no bass, although during Paul Jones' set there was a bass player). On several songs both the other guitarist and RL played slide, which was great. See him if you possibly can. I can't rave enough--and if anyone can point me to where I can get Bad Luck City or the other CD from the Netherlands, I'd be grateful! Bill B ========================================================================= Date: Sat, 17 Feb 1996 09:45:00 PST Reply-To: Gary Joneson From: Gary Joneson Subject: Re: Brownie McGhee; Dead at 80 >Brownie & Sonny. . . together again . . . >"Let the Midnight Special shine its every loving light on me." It is a indeed a sad day. I was priviledged to have seen Brownie & Sonny a number of times in the 60's and 70's. There is not much nore to say as Dick said it all above. Eric Leblanc's fine tribute to Brownie McGhee that appeared on this list, is on the web at: http://www.island.net/~blues/brownie.html Gary BluesWEB http://www.island.net/~blues/ ========================================================================= Date: Sat, 17 Feb 1996 13:07:21 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this date... On this date in 1930 The Mississippi Sheiks, in their first recording session, record 8 tunes including "Sitting On Top Of The World" and "Stop And Listen Blues" for Vocalion in Shreveport, Louisiana. At the session were Walter Vincson, Lonnie Chatman, and possibly Bo Carter. P.W. Fenton Tampa, Florida ------------------------------------------------------------- "Age is a question of mind over matter. If you don't mind, it don't matter." - Leroy Robert "Satchel" Paige, 1906-1982 When in cyberspace, visit my web pages at http://www.gate.net/~pwfenton/ ------------------------------------------------------------- ========================================================================= Date: Sat, 17 Feb 1996 13:19:34 EST Reply-To: Rocco Emelio Comments: Converted from OV/VM to RFC822 format by PUMP V2.2X From: Rocco Emelio Subject: Elmore James/Dust my Broom I am hoping that someone will take a moment and shed some light on the meaning of DUST MY BROOM? Phone # 202.357.4401 Smithsonian Institution, Washington, D.C. email address REMELIO@SIVM.SI.EDU ========================================================================= Date: Sat, 17 Feb 1996 13:26:20 -0500 Reply-To: Jonny Meister From: Jonny Meister Subject: Hoochie Coochie Man Hey, JukeFreak! (Like that name....)-- John Brim's "Tough Times" came out a few months before Muddy's "Hoochie Coochie"-- very similar sound... Who knows who got what from whom.... like 'em both.. undoubtedly, Dixon had something to do with it all... -Jonny ******************************************** "I made it too! You see I'm here, don't you? You see I ain't dead." -Eddie "One-String" Jones ******************************************** ========================================================================= Date: Sat, 17 Feb 1996 13:43:04 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Leadbelly film I just caught the end of a film about Leadbelly entitled _Leadbelly_, directed by Gordon Parks and released in 1976. It seemed to focus on his prison years. A scene at the end had him recording for the Lomaxes. Can someone shed some light on this film. Is it any good? Jim Leftwich ========================================================================= Date: Sat, 17 Feb 1996 11:13:57 CST Reply-To: JBards From: JBards Subject: Re: The fool pool?? Comments: To: laurie.forti@INFOEXCH.MIAMI.FL.US Yes, and like the joke about the cajuns on the elephant, now we have two. -Jim _______________________________________________________________________________ Subject: The fool pool?? From: laurie.forti@INFOEXCH.MIAMI.FL.US at INTERNET-SH Date: 2/16/96 7:30 PM The only 'reasons' I ever got are summarized: "That's what WE (caucasian children who play make-believe Blues) call it, and WE don't care." ... Opinions are like assholes; everybody's got one! --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Sat, 17 Feb 1996 14:11:03 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Luther Alliosn - Motown. I lost the post so I hope you are listening. To whomever it was that recommended the Luther Allison Motown Years CD, GOD BLESS YOU. Picked it up this AM and doubt my ears will hear anything else for a long time. The guitar work is chilling, and Luther is Luther (perhaps @ his very best or near to it). The last week or so the hottest CD in my house has been Lut- her's Serious on Blind Pig and now this. Heaven is possible. Barry NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sat, 17 Feb 1996 14:10:45 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: They ARE makin' 'em like they usta (guitar gear) Although I would love to have a Fender endorsement deal (if anyone's listening) these comments are un-solicited and un-compensated. Last night I made a guest appearance with another band. I brought my own amp, a Fender Blues DeVille. At the end of the night, I put the cover back on the amp and carried it over to the table where my wife was sitting (along with my unfinished pint of beer). With out realizing it I must have set it down on some object, because as I walked away from it, it slowly tipped over and SLAMMED on it's face. It may have made the loudest sound it had made all night ;^) Much to my amazement, I plugged it in this morning and it poured out the same beautiful tone it always has. The gear heads like to rave on about hand-wiring and such, but this sucker sounds great, and can apparently take quite a beating, despite it's "modern construction". P.W. Fenton Tampa, Florida ------------------------------------------------------------- "Age is a question of mind over matter. If you don't mind, it don't matter." - Leroy Robert "Satchel" Paige, 1906-1982 When in cyberspace, visit my web pages at http://www.gate.net/~pwfenton/ ------------------------------------------------------------- ========================================================================= Date: Sat, 17 Feb 1996 11:22:22 -0800 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Subject: Re: Brownie McGhee; Dead at 80 I'd just like to add, by way of eulogy, my favorite Brownie McGhee anecdote. Like a couple of previous posts, mine comes from a '70's coffee-house setting, "The Hovel" in Edmonton, Alberta. Brownie & Sonny played a couple of shows there back in '73 or '74. At the first show, where I was taking care of the P.A., we had a packed house; people sitting on the floor, in the aisles, literally at Sonny & Brownie's feet. A few songs into the show, and we started hearing this irritating, rasping sound every time Brownie played the low strings of his guitar. I frantically started looking for a technical problem in the (very primitive) P.A. system. After two songs with this obnoxious sound, Brownie abruptly stopped the show, and gave a stern lecture to the crowd about how, when he first started playing, they didn't need microphones. He then glared in my direction, and exhorted me to "Just turn the damn thing off!!" It was at that moment that I looked up and saw the source of the problem: his De Armond pick-up, meant to be clipped into the round-hole of his guitar, had worked loose and was swinging from side to side everytime Brownie strummed a note! I managed to work my way close enough to the stage to point out the problem (via. hand signals) Brownie adjusted the pick-up, the show continued on, and between shows, Brownie apologized for blowing his top, we had a couple of beers, and he showed me that the real reason for the De Armond malfunctioning was that it was re-inforced with Scotch tape!! The sides of that old Martin (a D-18, I recall) were worn thin around the sound-hole - so thin that the pick-up couldn't clip-on without the tape. For several years after that, everytime our paths crossed - in Toronto, Edmonton, and Vancouver, Brownie and I would joke that "we'd better have a roll of Scotch tape handy..." etc etc. Then, one time he showed up for a concert sporting an electrified Gibson acoustic guitar - it turned out the old Martin had been stolen from him in New York City. Rest in peace, Brownie McGhee: a great bluesman and a warm, sweet human being. "I'll keep on walking, walking my blues away, I know the sun's gonna shine in my back door someday" Roger B. ========================================================================= Date: Sat, 17 Feb 1996 14:22:55 -0500 Reply-To: HippieLady From: HippieLady Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Pocono Blues Festival Comments: To: bit-listserv-blues-l@uunet.uu.net Regarding your message: <> I attended the Pocono Blues Festival last year and had a fabulous time! I was just wondering if that same charming gentleman will be the emcee this year? :) ========================================================================= Date: Sat, 17 Feb 1996 11:33:29 -0800 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Subject: Re: Leadbelly movie >I just caught the end of a film about Leadbelly entitled _Leadbelly_, >directed by Gordon Parks and released in 1976. It seemed to focus on his >prison years. A scene at the end had him recording for the Lomaxes. > >Can someone shed some light on this film. Is it any good? > >Jim Leftwich > > For what it's worth: my Leonard Maltin movie guide gives this flick 3.5 out of 4 stars, calls it "a poignant biography" featuring "stunning musical performances" of Rock Island Line, Goodnight Lirene and many more classics. It also says that Roger Mosely, as Leadbelly, is "effectively restrained" Maltin calls the film "superior entertainment" If you see it and hate it; blame Leonard, not moi. -Roger B. ========================================================================= Date: Sat, 17 Feb 1996 15:08:45 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Pocono Blues Festival Beware Comments: To: HippieLady In-Reply-To: <4g59uf$36j@newsbf02.news.aol.com> First let me say that I was at the Poconos Blues Fetsival last year and it was terrific. The setting was green and spacious. The entertainers were many and all around a good does of blues. However (not a gripe - a warning, I take my lumps and move on), I had purchased my tickets in advance at a discounted price. I had planned to attend both days of the festival. On Saturday I found out that my mother was going to go into the hospital for heart surgery. Had to leave so I went up to the agents at the festival and explained my demise. They were very curt and said no refunds - still not a problem. Their policies I respected. Here's the rub. I went out towards the front gate to sell the Sunday tickets I could not use and was stopped by a guard say- ing you can't sell these tickets near the site. The day I was selling the tickets was Saturday and the tickets were for Sun- day. So this is a beware. If there's a chance you may not be able to stay for two days don't prepay for the tickets. They'll see me again - but with a dose of resentment. And yes they put on a helluva show. Barry NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sat, 17 Feb 1996 15:31:42 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Re[2]: Hoochie Coochie by Muddy Comments: To: /G=J.E./S=Downey/@bmmoscow.bmck.sprint.com In a message dated 96-02-17 04:41:42 EST, /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM (J.E. Downey) writes: >This all sent me fortunately to my Muddy collection, to which I am >so pleasurably listening even as I tap out these words. It turns out >that I have two Muddy versions of Hoochie Coochie Man, one bouncily >rendered with the likes of Johnny Winter and Walter Horton in 1978 on >I'm Ready, and the other as compiled by Mary Katherine Aldin on One >More Mile, the latter being a bit softer but very nice indeed. The >"original" is what I am lacking, though, and I tend to shun "best of" >collections and boxes because I like to get the original album when I >can. Anyway to get this Hoochie Coochie Man 1954 "original" without >buying a box or "best of"? I suppose that would be a 78? Seriously, *all* the Chess LPs until well into the 60s were compilations of one sort or another. The single-record BEST OF MUDDY WATERS is one of the all-time great blues records. The Chess/MCA box (also compiled by Mary Katherine) is a great set, and I highly recommend it. The only alternative I know in a attempt to be thorough would be those bootleg Charly Chess sets, which are rapidly becomming unavailable and are illegal (as in no royalties paid anyone). I know what you mean about avoiding best of sets, but there aren't 'complete' (like Document sets) much available, so your alternative is to buy some sort of collection. And the MCA/Chess Muddy Waters set is it. Lately, I've been completely immersed in the MCA/Chess Howlin' Wolf set, which another list member (Richard Shurman) had annotated and co-compiled. It is a great set. I particularly appreciate the interspersed interviews, where you get to hear Howlin' Wolf talk. You ought to give these Chess boxkes a try...... Tom Freeland ========================================================================= Date: Sat, 17 Feb 1996 16:03:58 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Design a T-shirt for the 1996 Cincinnati Blues Fest The Queen City Blues Festival Poster/T-Shirt Design Contest The Greater Cincinnati Blues Society is pleased to announce a poster/T-shirt design contest for the 1996 Queen City Blues Festival. The winning design will be featured on a limited-edition poster and commemorative T-shirt which will be available at the festival in July of 1996. The winner will also receive $100 along with a commemorative poster, T-shirt, and hat. The rules are few and simple: the contest is open to anybody who wishes to submit a design. The designs must be on a medium no smaller than a standard 8 1/2" x 11" sheet of paper. The design must be transferable to the printing medium and to a T-shirt. The design must depict some aspect of the Blues world. Be sure to label your entry with your name, address, and telephone number. The winning design will be selected by the board of the Greater Cincinnati Blues Society. Deadline for the submissions of designs will be April 13, 1996. Entries submitted after this date will not be judged. All decisions are final. Bring entries to Studio 23, 1053 St. Gregory, Mt. Adams, Cincinnati. Hours are Thursdays 8:30 a.m. to 1:30 p.m., Fridays 5 p.m. to 9 p.m., and Saturdays 8:30 a.m. to 1:30 p.m. Phone is (513) 241-2802. That's about it for the formalities. Sharpen those pencils, get out the crayons and brushes, fire up that drawing/photoediting software, and go for it! Have fun with the contest and you could be immortalized on T-shirts all over town and throughout the Blues world and be $100 richer for your creative endeavors. Any questions can be taken of by calling the GCBS Hotline at (513) 684-GCBS...or e-mailing me. Shannon ========================================================================= Date: Sat, 17 Feb 1996 16:49:39 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Leadbelly / Brownie coincidence Comments: To: emdrprac@direct.ca Odd that this film, "Leadbelly," is being discussed because Brownie McGhee is one of the musicans on the soundtrack. The primary music is by HiTide Harris but Brownie & Sonny make their contributions. The lead actor, Roger E, Mosley, is probably more familiar to you as the helicopter pilot of "Magnum, PI" series fame. Among the others in the cast are Madge Sinclair and Albert Hall, both excellent actors. In a strange quirk, the Louisiana governor is played by John Henry Faulk, a radio personality who won a huge financial court fight against proponents of blacklisting back in the 1950s. This movie is not as good as the highly recommended "Sounder,' but you could do a whole lot worse. Dick Waterman ========================================================================= Date: Sat, 17 Feb 1996 14:59:01 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Feb. 18 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BALLEN, IVIN (owner: GOTHAM REC) d. 1978-0218, MIAMI, FL 69 BATTS, WILL(fiddle/JACK KELLY'S JUG BAND) d. 1956-0218, MEMPHIS, TN 52 BLANKS, BIRLEANNA (v/FLETCHER HENDERSON) b. 1889-0218, IO BURROWES, ROY (tpt/HUCKLEBUCK WILLIAMS) b. 1930-0218, KINGSTON, JAMIACA CHARLES, THOMAS "SUNNYLAND" (g) b. 1922-0218, DUMAS, AR CORDELL, DENNY (prod/owner: SHELTER REC) d. 1995-0218, DUBLIN, IRELAND 51 CRAWFORD, RANDY [VERONICA CRAWFORD] (v) b. 1952-0218, MACON, GA GILL, LEONARD (b/B. B. KING) b. 1952-0218, SHERRILL, AR HOWARD, PAUL LEROY (asax/LES HITE) d. 1980-0218, LOS ANGELES, CA 85 JACKSON, LOUVETTE (v/SPIVEY REC) d. 1988-0218, ATMORE, AL 42 JOHNSON, ALONZO "LONNIE" (g/p/vln) b. 1899-0218, NEW ORLEANS, LA JOHNSON, WALTER (d/TAB SMITH) b. 1904-0218, NEW YORK CITY, NY KEPPARD, LOUIS (g) d. 1986-0218, NEW ORLEANS, LA 98 LITTLE CAESAR [HORACE "HARRY" CAESAR] (v) b. 1926-0218, PITTSBURGH, PA SANTIAGO, HERMAN (of TEENAGERS) b. 1941-0218, NEW YORK CITY, NY SMITH, WILLIAM E. (v/PEARL BAILEY) d. 1992-0218, LOS ANGELES, CA 59 THOMAS, IRMA [IRMA LEE] (v) b. 1941-0218, PONCHATOULA, LA THOMAS, JOE "BROTHER CORNBREAD"(clarinet) d. 1981-0218, NEW ORLEANS, LA 78 WILLIAMS, EDDIE(b/JOHNNY MOORE/3 BLAZERS) d. 1995-0218, LOS ANGELES, CA 82 ------------------------------------------------------------------------------- ========================================================================= Date: Fri, 16 Feb 1996 15:47:44 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: 20 most covered songs Mike Meodors wrote: >If someone wants to take Stormy Monday to a new place (so to >speak), that would be cool. But just to play it the same way over >and over, for some of us, is like taking a date to the same >restaurant every damn night -- the food may be good, but, hey, >honey ... let's eat somewhere else for a change tonight. Mike also refferred to "Stairway to Heaven" as being overdone in the rock field. Here is a little non-blues digression. There was a TV show back in Australia a few years ago that always featured a guest band. The band could play any song that they wanted as long as it was "Stairway to Heaven." The end result was a CD that featured about 20 versions of "Stairway." You had the punk version, a rock-blues version, the Elvis version (my favourite), the opera version, the spoken word version etc. It was a brilliant concept. It's a great CD and I think I've seen it as an import in stores here in LA. It's good laugh with some great music. Back to "Stormy Monday." I agree with Mike about hearing the same song done the same way by different bands. It gets boring. It takes a little imagination to do an effective cover but the payoff is worth it. When a band takes a familiar song and changes the groove etc. it's way better than playing the song the same way as everyone else. Jr Kimbough and RL Burnside both have recorded "Old Black Mattie." Both versions are very different from each other. Compare Magic Sam's version of "San-Ho-Zay" from "Magic Sam-Live" to Freddie Kings version. Then listen to Ronnie Earl's and Debbie Davies' version to hear how a cover of a cover can affect subsequent versions of the original (shades of what Hedrix did to Dylan's "All Along the Watchtower." When I saw Dylan in '94 he played "Watchtower" and the Hendrix influence was very evident in the arrangement). So if you are going to do a cover than add something to it instead of copying others. To me the best covers are the ones where the artists try to put there own personality into the song. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sat, 17 Feb 1996 18:57:35 -0500 Reply-To: jgriffin@UH.EDU From: jgriffin@UH.EDU Organization: University of Houston Subject: Re: Blues CLubs in Houston? Comments: To: bit-listserv-blues-l@UUNet.UU.NET In article Dennis Miele writes: >Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU >Newsgroups: bit.listserv.blues-l >Comments: ******************************************************** >Comments: * The following "Approved" statement verifies header * >Comments: * information for gateway passage. No approval of the * >Comments: * content is implied. * >Approved: NETNEWS@AUVM.AMERICAN.EDU * >Comments: ******************************************************** >Posted-Date: Fri, 16 Feb 1996 09:02:58 >Path: news.uh.edu!swrinde!news-relay.us.dell.com!paladin.american.edu!auvm!clndmiele.erenj.com!DMIELE >Lines: 4 >Nntp-Posting-Host: clndmiele.erenj.com >X-Newsreader: Trumpet for Windows [Version 1.0 Rev Final Beta #10] >Message-ID: >Date: Fri, 16 Feb 1996 09:13:10 -0500 >Reply-To: Dennis Miele >Sender: Blues Music List >From: Dennis Miele >Organization: ERE >Subject: Blues CLubs in Houston? >Comments: To: bit-listserv-blues-l@uunet.uu.net >I'll be in Houston 2/19 - 2/21. Can anyone recommend some good venues for >live music? >Thanks The Jam at the Big Easy is good and so is Billy Blues, but if you get the chance, check out the "Texas Destroyers" at Shakespear's Pub on Wednesday. They play every Wednesday and the music is always good. The folks who run the place are great, the beer selection is excellent and the room itself has nice acoustics. _____________________________________________________________________ Grif JGriffin@UH.edu The views stated in this posting reflect personal opinions. ========================================================================= Date: Sat, 17 Feb 1996 20:20:37 -0500 Reply-To: Jon Duttweiler From: Jon Duttweiler Subject: Re: 20 most covered songs At 07:08 PM 2/17/96 GMT, Shaun T Cronin wrote: >So if you are going to do a cover than add something to it instead of >copying others. To me the best covers are the ones where the artists try to >put there own personality into the song. > > I don't necessarily disagree, reinterpretation can sometimes be a good thing. However, *most* bands are *NOT* of the caliber, talentwise or creatively, of a Jimi Hendrix or Magic Sam. While many may think their "addition" to a classic song somehow makes it more enjoyable, it usually simply makes it unlistenable. *Great* conductors *may* re-interpret Mozart or Bach, but few usually succeed in improving upon the original. To perform with feeling, with passion while striving to be as true to the genius of the original as possible, these are worthy goals which many would do well to pursue. I imagine there are so many mundane covers of classics because there are so many mundane bands who perform without passion or feeling. Hendrix's (to use the same examples) "genius" was equal to Dylan's, Sam Maghett's equal to Freddie King's. I'm probably safe in assuming not many who "add something" to "Stormy Monday" are equal to (nor, I hope, would claim to be) the "genius" of Aaron Walker. For what it's worth, JD ========================================================================= Date: Sat, 17 Feb 1996 20:02:30 -0600 Reply-To: Dave Daubard From: Dave Daubard Subject: Re: Info: Madcat & Kane Comments: To: Leonardo Kenji Shikida In-Reply-To: <199602161212.JAA11097@dcc.ufmg.br> Peter "Madcat" Ruth and Sheri Kane are on the Schoolkids label. Their e-mail address is label@schoolkids.com Schoolkids web page is http://www.schoolkids.com/ " " ph.# is 313-994-8031 Schoolkids is also a very cool cd shop. ========================================================================= Date: Fri, 16 Feb 1996 23:51:00 -0800 Reply-To: Richard Norton From: Richard Norton Organization: Fullerton College, CA Subject: unsubsribe unsubscribe-blues-l Tessa * 1st 2.00 #3726 * A good name is more desireable than great riches... ======================================================================== Fullerton College claims no responsibility to the opinion expressed above (This is an automatic stamp from our Email system and not from the user.) ======================================================================== ========================================================================= Date: Sat, 17 Feb 1996 19:40:41 -0800 Reply-To: Michael Hewitt From: Michael Hewitt Organization: Hilmar High School Subject: Re: Leadbelly movie Okay...so what is the title of the film? I'd like to try and locate it... -- Michael Hewitt Hilmar High School mhewitt@telis.org 7807 N. Lander Ave. Troutbusters Hilmar CA 95324 Modesto CA 209-667-5903 ex 34 "Flyfishing for trout is the closet thing to Heaven on Earth." - M. Hewitt "Nobody loves me but my mother, and she could be jivin too." - B. B. King ========================================================================= Date: Sat, 17 Feb 1996 22:39:44 EST Reply-To: Stephen MacKinnon From: Stephen MacKinnon Subject: remembering Brownie I am sure that a great number of bluezellers have fond memories of Brownie McGhee. He was an excellent guitarist in the East Coast style. I learned many of his licks from his guitar book and I passed one on to my daughter recently. Perhaps a 21 (2100?) guitar salute would be in order for Brownie. If the guitarists out there could pick up their axe and play this typical Brownie turnaround. - 4 3 2 0 2 0 - 0 0 - -4 4 3 3 2 2 1 2 1 - 1 2 - 0 1 2 2 - 4 0 Gone but not forgotten Stephen ========================================================================= Date: Sat, 17 Feb 1996 22:45:27 -0500 Reply-To: ppp_302@FREE.ORG From: ppp_302@FREE.ORG Organization: Pegasus Software & Imaging Subject: FREE ADULT SOFTWARE Comments: To: bit-listserv-blues-l@uunet.uu.net This is one of the most interesting "adults only" services I've ever seen. With Windows, my 486 and their software, I called a pretty girl's studio with my modem and watched her undress. All of this was live and in color on my computer monitor. This site keeps getting better. Now they are giving their software away for free while other similar services charge for the software. What will they think of next. Sitting at home being entertained by a beautiful girl. Talk about "safe sex"! I love it! Check out their website at http://www.videofantasy.com or get the software from their BBS 815-397-9877. This is lot's of fun. ========================================================================= Date: Sun, 18 Feb 1996 05:00:28 GMT Reply-To: Jeff Shaull From: Jeff Shaull Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Brownie McGhee; Dead at 80 Comments: To: bit-listserv-blues-l@uunet.uu.net as brownie said of the death of blind boy fuller "who's gonna carry on my bidness when i'm gone?" - CJ BKAY77A@prodigy.com ========================================================================= Date: Sun, 18 Feb 1996 00:59:42 -0500 Reply-To: Newellz From: Newellz Organization: America Online, Inc. (1-800-827-6364) Subject: attn. gearheads Comments: To: bit-listserv-blues-l@uunet.uu.net This is my first attempt at posting on this list, and I know there are not many postings about "gear", but I figured it was worth a shot. Peavey has a new combo amp out called the "Delta Blues" amp. I test drove one at my local music store and it seemed like a neat amp, 30watts w/rev&trem and a 15" speaker. I am curious to see if anyone out there has any experience with this amp, and any opinions (good/bad) about its tone, roadworthiness, bang for the buck etc.. Ed Newell newellz@aol.com ========================================================================= Date: Sun, 18 Feb 1996 06:04:31 GMT Reply-To: Ari Eisinger From: Ari Eisinger Organization: Internet Online Services Subject: Re: Gospel/Quartet recommendations Comments: To: bit-listserv-blues-l@uunet.uu.net I'm crazy about "I'll Be Rested [sic.: "Resting"] when the Roll is Called" by Blind Roosevelt Graves and Brother. It's just a guitar and a tambourine and two vocalists, and it's absolutely hair-raising. It's on the Blind Roosevelt Graves CD on the Document Label. Unfortunately, while there is another great cut and another good one, most of the songs on the CD are just ok. Does anyone else know another record that contains this phenomenal recording? ARI EISINGER Blues and Ragtime Guitarist and Singer ==Guitar Teacher== ==(610) 259-6688== ========================================================================= Date: Sun, 18 Feb 1996 02:43:08 -0500 Reply-To: HippieLady From: HippieLady Organization: America Online, Inc. (1-800-827-6364) Subject: ATTN: ARTISTS & BOOKING MGT. Comments: To: bit-listserv-blues-l@uunet.uu.net The 11th Annual WATERSIDE ARTS AND CRAFTS FESTIVAL, sponsored by the Louisville Visual Art Association, Louisville, Kentucky, is scheduled for July 5, 6, and 7, 1996. Our plan for this year's festival is to follow with Waterside's established tradition and book predominately blues and blues/rock artists and bands. Artists that have previously performed at Waterside include Tinsley Ellis, Larry McCray, Lou Ann Barton, Sue Foley, Gary Primich, Albert King, Marcia Ball, Charlie Mussellwhite, Delbert McClinton, Luther "Guitar" Johnson, and many more. Parties interested in submitting packages and product for consideration may contact us for further information via email at HippieLady@aol.com, or BevBlues@earthlink.net, or call (502) 845-2345. Regards, Beverly Howell, Howell Productions Artist Coordinator, Waterside Arts and Crafts Festival ========================================================================= Date: Sun, 18 Feb 1996 04:37:53 -0500 Reply-To: Niles Frantz From: Niles Frantz Organization: GNN Subject: Re: Pocono Blues Festival Comments: To: bit-listserv-blues-l@uunet.uu.net In article <4g59uf$36j@newsbf02.news.aol.com> HippieLady wrote: >I attended the Pocono Blues Festival last year and had a > fabulous time! I >was just wondering if that same charming gentleman will be > the emcee this >year? > >:) Yes. Niles A loop is a loop is a loop. ========================================================================= Date: Sun, 18 Feb 1996 09:39:57 GMT Reply-To: IDEA@MCR1.POPTEL.ORG.UK From: Chris Paul Subject: FO. FROM MCR1:IDEA: * request Hello there I have been trying to send this message to the list for a few days - I don't think it has arrived but if it has please excuse repeat. Best www Chris P *** Original message: Message from: MCR1:IDEA Subject: steve finn Received on: 16-02-96, 20:00:49 Receivers: INTERNET:blues-l@brownvm.brown.edu Text: hello there I wonder if anyone can help? my friend steve finn is in the states at the moment. he has been playing in a bar in St Louis for 5 weeks in a trio playing in traditional irish style. (he fronts Group Cheoil - all Ireland champions though performing his own material is priority). now he is on his way to NY NY where he will stay for 2 weeks from today friday and aims to play and sing as much as possible. all plans have fallen through though . . . i`m looking for help at very short notice to fix some outings for him - opening for others, open mics, bars, coffee shops, sessions - anything considered. Steve plays guitar and sings his own songs - I can send a biog and press comment through by fax or email to interested parties, or post it to the list - and listeners find country, blues, soul, folk, rock coming through. great performer, great material. sorry if this is a little off topic, best wishes chris paul manchester, england please reply to : care@mcr1.geonet.de or phone/fax : judy baldwin in NY NY 718 72 65 425 ========================================================================= Date: Sun, 18 Feb 1996 09:43:26 GMT Reply-To: "Mrs. Helga Verhoef" Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: "Mrs. Helga Verhoef" Organization: Knoware Internet Subject: Re: Bukka's National Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.brown.edu It was a song list -- InHome Health Services For information: Cost-effective cognitive enhancement/life extension http://www2.smart.net/~inhome medications sent directly from Europe. Fax: +31-20-682-4441 ========================================================================= Date: Sun, 18 Feb 1996 09:54:31 GMT Reply-To: "Mrs. Helga Verhoef" Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: "Mrs. Helga Verhoef" Organization: Knoware Internet Subject: Re: Bukka's National Comments: To: emdrprac@DIRECT.CA Congratulations, you've guessed it. It was indeed a set list. -- InHome Health Services For information: Cost-effective cognitive enhancement/life extension http://www2.smart.net/~inhome medications sent directly from Europe. Fax: +31-20-682-4441 ========================================================================= Date: Sun, 18 Feb 1996 04:11:26 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: long john hunter Fellow blues-l'er Scott Ferman and I caught Long John Hunter and the Walking Catfish Band last night at J&J Blues Bar in Fort Worth. Fortunately for y'all we practice catch and release. They stopped letting folks in at 10:30 pm because the joint was packed. It was standing room only up until closing at 2 am. Long John and the boys did their usual mixed sets of "dance tunes" and Long John originals. They did about half of the material off of their new CD on Alligator, Border Town Legend, a few off the Ride With Me album, and covered a few old standards. St Louis Blues was changed to Fort Worth Blues and about half a dozen new verses were added to Sweet Home Chicago. Ray Sharpe, Greg Piccolo, and members of Lucky Peterson's Band were hanging out but no jam session occurred. Long John was especially giving Ray Sharpe a hard time for coming out and not bringing a guitar. Fort Worth keyboard player Ruff Ruffner was the only one to sit in, adding piano and organ to the last set. Super sax man Art Lewis didn't make the trip this time and Kevin Brown filled in ably. They sold a ton of CDs, which was very nice to see. Long John's manager says Alligator will re-issue the Ride With Me album, but it will probably be 2 years down the road and with a re-mix. The place was so packed that Long John was twice thwarted in his attempt to take a walk with his guitar. He couldn't get past the dance floor which was packed solid and out into the aisles. There is now an "official" Long John Hunter fan club, and if you're interested you can e-mail me privately for info. Don O. ========================================================================= Date: Sun, 18 Feb 1996 07:13:11 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Eddie Campbell coming to Syracuse Comments: To: bit-listserv-blues-l@uunet.uu.net Here's the rest of Eddie's tour dates courtesy of his wife...she gave them to me over 2 weeks ago so I'm not sure about the one at Cambridge. If anyone wants to get together for the one in Syracuse e-m. 02/17/96 - Cambridge , MASS , USA, - House Of Blues w/J. C. Copeland 02/20/96 - Syracuse, NY , USA, - Dinosaur BBQ 02/21/96 - The Poconos, PA , USA, - Shenanigans 02/22/96 - NYC , NY , USA, - Manny's Car Wash 02/24/96 - Gettysburg, PA , USA, - Schoolhouse 02/15/96 - Providence , RI , USA, - Call 02/16/96 - Wlmington , DE , USA, - Logan House Catbauer@vivanet.com ========================================================================= Date: Sun, 18 Feb 1996 15:04:49 +0100 Reply-To: Bengans From: Bengans Subject: Re: They ARE makin' 'em like/ Domestic prblms Fenton wrote: >Although I would love to have a Fender endorsement deal (if >anyone's listening) these comments are un-solicited and >un-compensated. > >Last night I made a guest appearance with another band. >I brought my own amp, a Fender Blues DeVille. At the end of the >night, I put the cover back on the amp and carried it over to the >table where my wife was sitting, Well whaddaya know, your e out jammin again, still got your gear, and Mrs. is along! Status quo? Separate vehicles this time? Sevenson "Time is hard baby, and hustling is really on" T-Bone Walker ========================================================================= Date: Sun, 18 Feb 1996 15:04:53 +0100 Reply-To: Bengans From: Bengans Subject: Re: FREE ADULT SOFTWARE >This is one of the most interesting "adults only" services I've >ever seen. With Windows, my 486 and their software, I called >a pretty girl's studio with my modem and watched her undress. >All of this was live and in color on my computer monitor. >This site keeps getting better. Now they are giving their >software away for free while other similar services charge for >the software. What will they think of next. Sitting at home being >entertained by a beautiful girl. Talk about "safe sex"! I >love it! Check out their website at http://www.videofantasy.com >or get the software from their BBS 815-397-9877. This is >lot's of fun. So.... WHAT THE F*CK IS THIS DOING HERE? The only blues relation I can see, would be the person who being alone, has the blues and wants "safe sex" . Don t missunderstand, I love sex, but there are websites for that too, (I think.) Sevenson "Time is hard baby, and hustling is really on" T-Bone Walker ========================================================================= Date: Sun, 18 Feb 1996 09:59:10 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Leadbelly / Brownie coincidence >Odd that this film, "Leadbelly," is being discussed because Brownie McGhee is >one of the musicans on the soundtrack. The primary music is by HiTide Harris >but Brownie & Sonny make their contributions. >The lead actor, Roger E, Mosley, is probably more familiar to you as the >helicopter pilot of "Magnum, PI" series fame. Among the others in the cast >are Madge Sinclair and Albert Hall, both excellent actors. In a strange >quirk, the Louisiana governor is played by John Henry Faulk, a radio >personality who won a huge financial court fight against proponents of >blacklisting back in the 1950s. Something else: Madge Sinclair, whose work I have enjoyed in many TV series and movies, died a week or so ago. I'm still kicking myself that I didn't stay for Brownie's performance at the Chicago Bluesfest last year..... Karen ========================================================================= Date: Sun, 18 Feb 1996 10:14:20 -0500 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: WFBE Blue Highway Playlist for 2/17/96 Blue Highway Playlist, 02/10/96, with co-hosts David Boyd and Ed Tremewan Artist, Song, Album, Label 9pm to 10 pm Larry McCray, Something On My Mind, Live Cassette Freddie King, Let The Good Times Roll, Live/Electric Ballroom, Blacktop Jesse Thomas, Lookin For That Woman, Lookin For... , Black Top T.C.Carr/The Catch, Please Send Someone..., Blooz-It, T.C. Carr Len Bland, I Say Whoa, For Your Love , Lucky Pride Blue Steel Blues Band, These Blues is Killing Me, Live Cassette Robert Noll /Blues Mission, As The Years Go By , Happy Blues Day, Precious Artists Corey Stevens, Title Cut, Blue Drops Of Rain, Eureka Mem Shannon, Play The Guitar Son, Cab Drivers Blues, Hannibal Luther Allison, I Can Make It..... , Blue Evolution , Motown Luther Allison, Walking Papers, Blue Sreak, Alligator 10 pm to 11 pm Junior Wells, Messin With The Kid, 1957-1963, Paula Albert King, Breakin Up Somebodys Home, Ultimate Collection, Rhino Little Walter, My Babe, Essential , MCA/Chess Big Daddy Rucker, Sweet Little Angel, Memphis Blues Caravan V2, Memphis Archives John Lee Hooker, Whiskey and Wimmen, Trouble Blues, Zillion Dr. Hector/Blues Injector, City Lights, Bad Connection, King Snake Amos Milburn, Chicken Shack Boogie, Motown Seeions 1962... , Motown Homesick James, So Mean To Me, Chicago/The Blues/Today, Vangaurd Homesick James, Tell Me Baby, Live/Stanhope House, Stanhope House Little Milton, The Blues IS Alright, .....Greatest Hits, Malaco Tommy Castro, Can't Quit The Blues, Exception To The Rule, Blind Pig Cephas and Wiggins, Special Rider, Cool Down ,Alligator 11 pm to 12 am Deborah Coleman, Them Changes, Takin A Stand, New Moon Sue Foley, Howlin For My Darlin, Big City Blues , Antones Bonnie Lee, Change Your Mind, Sweetheart of the Blues, Delmark Earl King , Hunger Pains, Blue Evolution, Motown Roosevlt Booba Barnes, Ain't Going To Worry...... , The Heartbroken Man, Rooster Eric Culberson, Title Cut, Blues Is My Religion, King Snake Chicago Bob Nelson, Title Cut, Back To Bogalusa, King Snake Elvin Bishop, Another Mule Kickin...... , Ace In The Hole, Alligator Butler Twins, You Don't Need Me, Not Gonna Worry, JSP Terry Frank, Title Cut, Devil By Her Side,Ho Made Randy Volin,Stick In, Used Guitars, Volin Luther Tucker, Can't Live Without it, Sad Hours, Antones Paul Butterfield, Born In Chicago, Strawberry Jam, Winner Doyle Bramhall, Title cut, Birdnest On The Ground, Antones Otis Spann, Great Northern Stomp, ........Is The Blues, Candid ========================================================================= Date: Sun, 18 Feb 1996 10:24:50 EST Reply-To: Rocco Emelio Comments: Converted from OV/VM to RFC822 format by PUMP V2.2X From: Rocco Emelio Subject: Re: Elmore James/Dust my Broom Comments: To: joel slotnikoff In-Reply-To: note of 02/18/96 02:27 Hey buddy, yeah, I get the same sense. This seems to match the lyrics of the song. I just can't get the connection between broom and leaving. 'less perhaps with a broom you sweep certain elements from you home, like dirt and debris. So could it be possible that the folks of the day used this as a slang term to refer to sweeping in or out a person, lifestyle or attitude(s) Phone # 202.357.4401 Smithsonian Institution, Washington, D.C. email address REMELIO@SIVM.SI.EDU ========================================================================= Date: Sun, 18 Feb 1996 11:06:43 -0500 Reply-To: Vladimir Padunov From: Vladimir Padunov Subject: B.B. King at the B.B. KIng (Moscow) The following is a request for information. During his 1994 visit to St. Petersburg, B.B. King was told that there was a blues club in Moscow called the B.B. King. He liked the idea and decided to visit the club. When word reached the management of the club, the owners were afraid that he would file a law suit because of the name--as an infringement of intellectual property. So the day before he arrived in Moscow they changed all of the napkins, place mats, and the sign on the front to read "Moscow Blues Club." B.B. King showed up and was evidently disappointed by the changes until the owners explained the reasons for them. His response was something along the lines that he wasn't upset and liked the idea of having a B.B. King Club in Moscow. All of this was reported in the Moscow newspapers shortly after his visit. Now there are reports that while at the club B.B. King did a number of songs that were recorded (with or without his knowledge or consent) and that these recordings have now been released on tape or cd. I heard a cut yesterday that was allegedly from the Moscow club performance. I'd be interested in knowing whether anyone has come across this tape or cd, and whether anyone can confirm the fact of its existence. Many thanks. ============================================================================= Vladimir Padunov padunov+@pitt.edu Dept. of Slavic Languages and Literatures 1421-A Cathedral of Learning voice: 1-412-624-5713 University of Pittsburgh FAX: 1-412-624-9714 Pittsburgh, PA 15260 ========================================================================= Date: Sun, 18 Feb 1996 17:02:54 GMT Reply-To: Bob Bingham Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Bob Bingham Organization: BlueHawk Communications, Inc. Subject: Re: Leadbelly / Brownie coincidence Comments: To: JukeFreak@AOL.COM Whats the deal with the reference to High Tide Harris? I was under the impression that he was deceased. I used to play backup guitar for him from time to time when I lived in Goleta California in the early 70s. The band I played in was called Blue Midnight and featured none other than Kim Wilson on harmonica and vocals. ========================================================================= Date: Sun, 18 Feb 1996 11:24:59 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: WFBE Blue Highway Playlist for 2/17/96 Comments: To: BLUZMANED@AOL.COM On 18 Feb 96, Bluzman Ed@Aol.Com. had this to say: > Blue Highway Playlist, 02/10/96, with co-hosts David Boyd and Ed Tremewan > > Artist, Song, Album, Label > > 9pm to 10 pm > Larry McCray, Something On My Mind, Live Cassette > Freddie King, Let The Good Times Roll, Live/Electric Ballroom, Blacktop > Jesse Thomas, Lookin For That Woman, Lookin For... , Black Top > T.C.Carr/The Catch, Please Send Someone..., Blooz-It, T.C. Carr ^^^^^^^^^^^^^^^^^^^ How did you pick up on T.C. Carr? He's from my area (in fact he is nominated for a Jammy in the same catagory as I), and I'm a big fan of his. I have nicer hair than he does, though. P.W. Fenton Tampa, Florida ------------------------------------------------------------- "Age is a question of mind over matter. If you don't mind, it don't matter." - Leroy Robert "Satchel" Paige, 1906-1982 When in cyberspace, visit my web pages at http://www.gate.net/~pwfenton/ ------------------------------------------------------------- ========================================================================= Date: Sun, 18 Feb 1996 11:38:49 -0500 Reply-To: MK Sheffield From: MK Sheffield Last week, I pondered: > The day is coming...very, very soon...when they/WE will be rocking >the wheelchairs with BB King, with Jimi Hendrix, etc. Y'know? > >Boggles the mind... Well, one astute 'zeller mentioned to me that Jimi Hendrix was dead. Lest my remark confuse anyone else, I meant that we would be listening to their MUSIC at the old folks' mixers and things. I am fully aware of Hendrix' demise, just so y'all won't think I'm nuts... Any more than you probably already do... :-) Mary Katherine (The Imposter) SHEFFIELD mksheff@cennet.mc.peachnet.edu> ========================================================================= Date: Sun, 18 Feb 1996 11:43:21 -0500 Reply-To: MK Sheffield From: MK Sheffield Subject: At least this one HAS a subject (re: Blues retirement) And, the fact that I sent out a Blues-L post without a freakin' SUBJECT line should show my readiness for one of those retirement communities already... :-) (My apologies...) Mary Katherine (The AGING Imposter) SHEFFIELD mksheff@cennet.mc.peachnet.edu ========================================================================= Date: Sun, 18 Feb 1996 11:44:11 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Hooray for Etta! Found this on the House of Blues Web site. It's actually quoted from Billboard. Vintage R&B Goes "Commercial" in Europe Turn on a popular music radio station in London, England these days and you are likely to hear the consumer-friendly sounds of George Michael, Cher, Ace of Bass and... Etta James? It seems a 36-year-old recording by Etta James, "I Just Want To Be Loved By You," is the latest example of Britain's love-affair with vintage U.S. Rhythm and Blues. The singer's version of the Willie Dixon composition, released by MCA Records, sits proudly in the upper stratosphere of the U.K. sales charts and is being placed unscrupulously among the other top forty mega-hits on the air-waves. As with previous two-time R&B hits in Britain, such as Sam Cooke, Marvin Gaye and Percy Sledge, the new interest was incited by television commercial usage of the artists material. As Etta James croons "I Just Want To Make Love To You," in a spicy, sexy Diet Coke commercial, a well-muscled man is removing his shirt. James, who has been recording for over 40 years, will enjoy some extra attention from her record company, MCA, due to the TV campaign and popularity of the track. MCA will release "I Just Want To Make Love To You - The Best Of Etta James" on Feb. 26. The 20-track collection will feature "Tell Mama," "I'd Rather Go Blind," and many other respected tracks from a career that yielded 10 R&B top 10 hits in the U.S. and 18 other chart entries P.W. Fenton Tampa, Florida ------------------------------------------------------------- "Age is a question of mind over matter. If you don't mind, it don't matter." - Leroy Robert "Satchel" Paige, 1906-1982 When in cyberspace, visit my web pages at http://www.gate.net/~pwfenton/ ------------------------------------------------------------- ========================================================================= Date: Sun, 18 Feb 1996 10:52:24 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Texas Johnny Brown Schedule Got this in the mail yesterday and thought I'd pass it along. 2/22/96 Billy Blues BBQ Houston, TX 8pm - 12am 3/1/96 Big Easy Social & Pleasure Club Houston, TX 9pm - 1am (Johnny's 68th Birthday Party!!!) 3/6/96 The Ball Room, Houston, TX 9pm - 1am (Fundraiser for Teddy Reynolds) 3/9/96 Brazos Bottom Bar & Grill Richmond, TX 9pm - 1am 3/14 - 3/17 SXSW, Austin TX TBA 4/27/96 Houston International Festival, Houston, TX 1pm - 2pm 4/28/96 Bowie Street Blues Festival, San Antonio, TX 4pm - 5pm -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Sun, 18 Feb 1996 11:54:08 -0500 Reply-To: FLAMINAMY1@AOL.COM From: David Mandelbaum Subject: Jimmy Spruill condolence address Condolences for Jimmy Spruill can be sent to: Mrs. Claire Spruill 2812 Bronx Park East Bronx, NY 10467 ========================================================================= Date: Sun, 18 Feb 1996 11:02:49 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Teddy "Cry, Cry" Reynolds needs help I got this note in the mail from Texas Johnny Brown yesterday and thought I would pass it along in case anyone out there can help out. Teddy Reynolds, renowned blues keyboard player and member of the Quality Blues Band, underwent triple bypass heart surgery in October, 1995. He has been hospitalized since the first of the year to try to correct blood circulation problems in his legs. Physical therapy and rehabilitation will be required to complete his recovery. There will be a benefit on Friday, March 1, 1996 at the Big Easy Social and Pleasure Club, 5731 Kirby Dr., Houston, TX (713) 523-9999 from 9pm to 1 am. Texas Johnny Brown and the Quality Blues Band will host the fundraiser. Voluntary Donations will be collected that evening. Checks also may be made payable to Teddy Reynolds and mailed to: The Teddy Reynolds Fund c/o The Musicians Benevolent Society of Houston P.O. Box 980369 Houston, TX 77098-0369 All donations will go directly to Teddy and his family and are not tax exempt. Teddy was a studio musician in the Duke stable of musicians and played keyboards behind Junior Parker and Bobby Bland. He was also on the first live BB King and Bobby Bland album. -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Sun, 18 Feb 1996 11:57:50 EST Reply-To: MR ROBERT W BELEW From: MR ROBERT W BELEW Subject: Blues Alert ! BLUES NEWS YOU CAN USE ! May 18th, 1996 Castle McCullough in Jamestown, NC (near Greensboro and/or Highpoint) The 10th Annual Carolina "Lite" Blues Festival Brought to you by Miller Lite and the "Piedmont Blues Preservation Society" Featuring: The Misdemeanors Etta Baker The Muddy Waters Tribute Band including: Steady Rollin' Bob Margolin , Pinetop Perkins and Carey Bell Little Milton Debbie Davies Band .....and Delbert McClinton The event is held under a Huge Tent so rain or shine it is a Blast ! Food Vendors, Blues Vendors, workshops early in the day......... Tickets are $15.00 in advance $18.00 day of show all proceeds keep the Piedmont Blues Preservation Society going for another year ! PBPS Info. Line........ 910-333-1994 so if you haven't had enough after the Handy's in Memphis, I'll see you in Jamestown ! Feel Free to Print Out and Plaster Everywhere ! Block Dog JUPU38A@prodigy.com ========================================================================= Date: Sun, 18 Feb 1996 11:53:08 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Review: notfadeaway (remembering Buddy Holly) Well, if Blues Revue can review the Joan Osborne cd (What if God was one of Us), then surely I can review a Buddy Holly tribute on this list. ;-) I remember some interest in this cd late last year when the word came out about the project. notfadeaway is a tribute cd from mostly country artists covering some of Buddy Holly's more obscure songs. In fact, 3 of the songs that Buddy had recorded as a demo in his apartment in NY just before his death are done on this cd. Overall, the tribute is better than most of these projects. Ironically, the cd is on the Decca label, the label that Buddy first recorded for in 1956. His hits were recorded for the Decca subsidiaries Coral and Brunswick. 1. Peggy Sue Got Married - Buddy Holly with the Hollies - Just like Natalie Cole singing with her father, the Hollies do this song (one of the apartment demos) with Buddy. The original was remixed so that Buddy's guitar was barely audible and new music and backing vocals were added to Buddy's original vocal. The song was slowed from the original tempo, but overall, it works. 2. True Love Ways - The Mavericks (Produced by Nick Lowe) - This version is close to the original without the strings. The vocal is clean and there is very nice, simple guitar work. 3. Well... All Right - Nanci Griffith with the Crickets - Another in the spirit of the original with a twangy feel. It even has that original cymbal beat courtesy of Cricket Jerry Allison. 4. Midnight Shift - Los Lobos - This is the first to deviate significantly from the original. Los Lobos gives this rockabilly number a down and dirty feel. It took a few listens for this one to grow on me, but it's becoming one of my favorites. 5. Not Fade Away - The Band with the Crickets - Everyone in the world has done this one. Levon Helm said that when he was contacted about the project, that they had to do this one and put "3 sets of drums on it!" Levon handles the vocals and he and Jerry Allison only have 2 sets of drums. It isn't the rockinest version of this tune, but it works. There is some particularly tasty organ work by the Band's Garth Hudson. 6. Think it Over - The Tractors - These guys do a pretty faithful version of Buddy's original. Not bad, but it isn't one of my favorites on the cd. 7. Wishing - Mary Chapin Carpenter & Kevin Montgomery - This tune was written by Buddy and Bob Montgomery (Buddy's early singing partner doing Western & Bop). Bob produced this track and his son Kevin contributes vocals with Mary Chapin Carpenter. There is very nice acoustic guitar work on this track by John Jennings. Duke Levine contributes electric guitar. The vocal harmonies on this one are heavenly. One of the best on the cd. 8. Oh Boy! - Joe Ely & Todd Snider - Joe Ely rips this one up just like you would expect from Joe. He often has done this one live. Jesse Guitar Taylor adds a roaring electric guitar and Lloyd Maines adds some tasty steel in the backgroung. This one will have you bouncing off the walls! Oh Boy!!! 9. Crying, Waiting, Hoping - Marty Stuart & Steve Earle - The second of the demos that Buddy recorded in his apartment. Marty Stuart has a nasty slide guitar intro on this one. While it is very good, I think that it was just an excuse for Marty to play slide. The actual tune gets a rocking rockabilly treatment that I like a lot. I think that this one is probably closer to what Buddy wanted than that crap that Norman Petty redid with the Fireballs. 10. It Doesn't Matter Anymore - Suzy Bogguss & Dave Edmunds - Another track that is very unlike the original. This one gets the boot-scootin Nashville treatment courtesy of Dave Edmunds' production - fiddles, steel guitar, the whole nine yards. A refreshing alternative to the original with full orchestra. 11. Maybe Baby - Nitty Gritty Dirt Band - An acoustic version with nice harmonies and harmonica that more resembles the first version that Buddy recorded (which most people probably haven't heard). 12. Learning the Game - Waylon Jennings & Mark Knopfler - The last of the songs that Buddy recorded in his apartment just before his death. This one is slowed way down and has that unmistakably awesome guitar from Knopfler. Waylon turns in one of the most soulful vocals that I've ever heard by him. Perhaps because he played bass in Buddy's band on that fateful tour. This is my favorite track on the cd - worth the price of the entire cd alone! The liner notes are well written by Holly George-Warren and have quotes from the artists interspersed without. 37 years after Buddy Holly's death, this cd shows why his music will not fade away. -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Sun, 18 Feb 1996 18:12:58 GMT Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: Buddy Guy's club fire! Comments: To: Fretman6@AOL.COM On Fri, 16 Feb 1996 02:33:01 -0500, you wrote: >There was a fire onstage at Buddy Guy's Legends last Saturday night (2/9). >Larry McCray was resposible for the damage. There was a reckless post on Blues-L this week. Fires in clubs aren't funny and make for even worse subject lines. Haven't we had enough tragedy this week? *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Sun, 18 Feb 1996 10:31:32 -0500 Reply-To: Dave Melton From: Dave Melton Subject: Ventura CA locals only I'm playing at Joe Daddy's tonight with the Hammer Smith Band, and would enjoy meeting any locals on the list. Show starts at 8:30. (just come up and say hey to the g'tar player) slydemann@earthlink.net (Dave Melton) ========================================================================= Date: Sun, 18 Feb 1996 14:09:33 -0500 Reply-To: JRapp59288@AOL.COM From: Jason Rapp Subject: Re: Virus Warning!!! Comments: To: mhewitt@telis.org hvhgftyfktvh ========================================================================= Date: Sat, 17 Feb 1996 11:39:04 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: 20 most covered songs Jon Duttweiler wrote: >I don't necessarily disagree, reinterpretation can sometimes be a good >thing. However, *most* bands are *NOT* of the caliber, talentwise or >creatively, of a Jimi Hendrix or Magic Sam. While many may think their >"addition" to a classic song somehow makes it more enjoyable, it usually >simply makes it unlistenable. *Great* conductors *may* re-interpret Mozart >or Bach, but few usually succeed in improving upon the original. To perform >with feeling, with passion while striving to be as true to the genius of the >original as possible, these are worthy goals which many would do well to >pursue. I imagine there are so many mundane covers of classics because >there are so many mundane bands who perform without passion or feeling. >Hendrix's (to use the same examples) "genius" was equal to Dylan's, Sam >Maghett's equal to Freddie King's. I'm probably safe in assuming not many >who "add something" to "Stormy Monday" are equal to (nor, I hope, would >claim to be) the "genius" of Aaron Walker. While I agree with Jon on the point about bands being mundane and passionless I think that bands can and should succesfully re-interpert covers if they fell thay can do it (now we get into a problem. Who decides what is succesful?) I don't think that you need to be a genius equal to the original composer to add something to a song. Last night I went to see "The Flaming Payasos", an Asian/Latin Blues band (Yes. That's what was on the flyer). Actually, I know some of the people in the band. And I went alone (see other post). Anyway The Payasos covered "Sweet Little Angel", "Crosscut Saw", "The Outskirts of Town" and a few others that I forget. They didn't play the songs like the originals but changed the groove, added some different changes etc. I feel it is refreshing to hear blues songs reinterpreted in this way. To try and match the original is impossible. I think that re-interpretation isn't about trying to be as great as the original composer. To succesfully re-interpret a tune you don't need to be equal to the original composer. A little imigination is all you need. And the passion needed to play the song. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sat, 17 Feb 1996 11:39:11 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: going it alone As I mentioned in the overdone blues song thread, I went alone, by myself, singly, with no-one else, unaccompanied, to see a friends gig in Santa Monica. I had one friend who bailed but she had an acceptable excuse. I mentioned it to another friend and she said that she was busy. I asked another friend. He said, "Blues? I don't know. I'll probably get bored after three songs. I'm going to go see that Van Halen Tribute band instead." Oh well. As it was Pedro's band (Pedro is the only guitarist that I've been accused of being a clone of. In good humour of course but I did, and still do, play Pedro licks. Hence he calls me Pedro Jr. Pedro is one of the most distinctive blues guitarists I've ever heard. He's also a damn good one as well.) While the show was good I remembered that I hate going to shows alone. However, I promised that I would be there. But when you have a few friends to drink beers with and talk to etc. then it is more fun. It's even better when you have a date (though you'd better make sure that your date likes the music you intend to see). So would I do it again? Probably. If I say to a friend that I'm going to go to one of their shows then I'll go. I usually try and round up some people in advance. However, sometimes things don't work out. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sun, 18 Feb 1996 12:00:03 -0800 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Subject: Re: FREE ADULT SOFTWARE Hey folks!! When SPAM like this appears on our list (at it does inevitably on most lists) - if you want to DO something: (1) Don't waste OUR bandwidth by replying here, but instead: (2) Use "Cut and Paste" on your computer, to quickly fill up a "reply" TO THE SPAMMER (in this case the porno guys) ....... most servers will allow about 30k of memory per reply, so: if you simply PASTE/PASTE/PASTE their message (or some of your own hostilities), and send it, and if several blues-lers did the same, the Spammer's server would soon be full, causing his service to cut him off, warn him , etc. etc. And it beats getting mad about it!! ========================================================================= Date: Sun, 18 Feb 1996 12:05:23 -0800 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Subject: Re: 20 most covered songs Shaun Cronin wrote: >To try and match the original is impossible. I think that >re-interpretation isn't about trying to be as great as the original >composer. To succesfully re-interpret a tune you don't need to be equal to >the original composer. A little imigination is all you need. And the >passion needed to play the song. After watching the many and varied responses to this thread (which I started, I guess), I'd like to say that Shaun's reply is pretty well what I was trying to say in my (frustrated/reactive/) way. Now if only those dozens of bands would take Shaun's advice and stop trying to play note-for-note covers of the originals............ Thanks for stating it so much more calmly than I could, Shaun! Roger B. ========================================================================= Date: Sun, 18 Feb 1996 12:26:36 -0800 Reply-To: Steve Murray From: Steve Murray Subject: Re: "Reservation Blues" (LONG with sample) Comments: To: shannon oconnor In-Reply-To: <9601128241.AA824152500@smtpgate.swpco.com> Shannon, I recommend "Reservation Blues" highly. I heard/watched Sherman Alexie "perform" the first couple of chapters--the man is a born storyteller. He doesn't read, he tells it, from memory. The Seattle audience was rolling in the aisles. Sherman has a voice like no other Native American writer: he captures all the funny and absurd stuff about their lives on the reservation (he's from Wellpinit on the Spokane reservation in eastern Washington) and mixes it with satire on white folks' perception of "Induns" (as they pronounce it). BLUES CONTENT: The way he mixes Robert Johnson into the story is fresh and yet totally in keeping with the views of another kindred outsider race in this country. Here's a sample from chapter 1: -------------------- The entire reservation knew about the black man five minutes after he showed up at the crossroads. All the Spokanes thought up reasons to leave work or home so they could drive down to look the stranger over. A small man with very dark skin and huge hands, he wore a brown suit that looked good from a distance but grew more ragged, frayed at the cuffs, as he came into focus. The black man waved at every Indian that drove by, but nobody had the courage to stop, until Thomas Builds-the-Fire pulled up in his old blue van. "Ya-hey," Thomas called out. "Hey," the black man said. "Are you lost?" "Been lost a while, I suppose." "You know where you're at?" "At the crossroad," the black man said, but his words sounded like stones in his mouth and coals in his stomach. "This is the Spokane Indian Reservation," Thomas said. "Indians? I ain't seen many Indians." ... [After they introduce themselves, Thomas invites Johnson up to his house.] Johnson considered his options. Old and tired, he had walked from crossroads to crossroads in search of the woman in his dreams. That woman might save him. A big woman, she arrived in shadows, riding a horse. She rode into his dreams as a shadow on a shadowy horse, with songs that he loved but could not sing because the Gentleman might hear. The Gentleman held the majority of stock in Robert Johnson's soul and had chased Robert Johnson for decades. Since 1938, the year he faked his death by poisoning and made his escape, Johnson had been running from the Gentleman, who narrowly missed him at every stop. "Come on," Thomas said. "Hop in the van. You can crash at my place. Maybe you can play some songs." "I can't play nothin'," Johnson said. "Not ever." Copyright 1995 by Sherman Alexie ------------------------------------ Hope this gets y'all interested! Speaking as a publisher, this guy is gonna be big in American literature (wish we'd found him first). Read the book, go see him if he comes anywhere near you. No affiliation with Atlantic Monthly Press, etc. etc. Steve Murray "It's hot in here Fjord Press I believe I need some air" Seattle, WA --Otis Spann fjord@halcyon.com ========================================================================= Date: Sun, 18 Feb 1996 12:48:50 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Feb. 19 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ARMIT, IAN (p/LONG JOHN BALDRY) d. 1992-0219, ZURICH, SWITZERLAND -- BELL, EARL (g) b. 1914-0219, HERNANDO, MS BURSE, ROBERT (of THE MEMPHIS JUG BAND) b. 1891-0219, SHEFFIELD, AL DUNN, JOHNNY (tpt) b. 1897-0219, MEMPHIS, TN FORD, PATRICK (d/CHARLES FORD BAND) b. 1949-0219, WOODLAKE, CA FURBER, DOUGLAS (songw/LIMEHOUSE BLUES) d. 1961-0219, LONDON, UK 75 HALL, CLARENCE (sax/FATS DOMINO) b. 1903-0219, NEW ORLEANS, LA HOPKINS, CLAUDE D. (p) d. 1984-0219, MANHATTAN, NY 80 KING, LEE (d) b. 1948-0219, OAKLAND, CA LITTLE WHITT (JOLLY WELLS) (g/& BIG BO) b. 1931-0219, RALPH, AL MASON, DUTCH (g) b. 1938-0219, LUNENBURG, NB MASON, LILLIAN (LIL UPSTAIRS) (v/OKEH REC)d. 1988-0219, CHICAGO, IL 60 MCDOUGALL, RICHARD (p/THE CAPITOLS) d. 1984-0219, DETROIT, MI -- MORGAN, LEE (tpt) d. 1972-0219, NEW YORK CITY, NY 34 MYERS, SAM (hca/ANSON) b. 1936-0219, LAUREL, MS NORMAN,FRED (R&B arr/prod) d. 1993-0219, MANHATTAN, NY 82 PERNELL, RUDOLPH K. (g) d. 1981-0219, CHICAGO, IL -- PULLEY, CLINT (BLUES-L MEMBER) b. 1942-0219, REVELSTOKE, BC REISNER,BOB(founder:INST OF JAZZ STUDIES) d. 1974-0219, NEW YORK CITY, NY 52 ROBINSON, WILLIAM "SMOKEY" (of MIRACLES) b. 1940-0219, DETROIT, MI ROGERS, BOBBY (of THE MIRACLES) b. 1940-0219, DETROIT, MI SEAL (v) b. 1963-0219, LONDON, UK SOUTHERN, EILEEN JACKSON (author) b. 1920-0219, MINNEAPOLIS, MN SUBLETT, JOHN "BUBBLES"(of BUCK & BUBBLES)b. 1902-0219, LOUISVILLE, KY ------------------------------------------------------------------------------- ========================================================================= Date: Sun, 18 Feb 1996 16:00:55 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: FREE ADULT SOFTWARE Comments: To: emdrprac@DIRECT.CA On 18 Feb 96, Roger B. had this to say: > Hey folks!! When SPAM like this appears on our list (at it does inevitably > on most lists) - if you want to DO something: > > (1) Don't waste OUR bandwidth by replying here, but instead: > > (2) Use "Cut and Paste" on your computer, to quickly fill up a "reply" TO > THE SPAMMER (in this case the porno guys) ....... most servers will allow > about 30k of memory per reply, so: if you simply PASTE/PASTE/PASTE their > message (or some of your own hostilities), and send it, and if several > blues-lers did the same, the Spammer's server would soon be full, causing > his service to cut him off, warn him , etc. etc. > > And it beats getting mad about it!! Even simpler, and more sensible, is to just delete it and move on. The internet is getting more and more crowded daily. It just doesn't make much sense to bog it down with useless "revenge" mail, that probably won't make it to the guilty party's mailbox anyway. P.W. Fenton Tampa, Florida ------------------------------------------------------------- "Age is a question of mind over matter. If you don't mind, it don't matter." - Leroy Robert "Satchel" Paige, 1906-1982 When in cyberspace, visit my web pages at http://www.gate.net/~pwfenton/ ------------------------------------------------------------- ========================================================================= Date: Sun, 18 Feb 1996 12:56:31 -0800 Reply-To: Jonathan Duttweiler From: Jonathan Duttweiler Subject: Sitting & Thinking-Skip James. SKIP JAMES / GREATEST OF THE DELTA BLUES SINGERS (BCD 122) BIOGRAPH RECORDS / P. O. BOX 369, CANAAN, NEW YORK 12029 While one might argue with the title of this disc, it's difficult to argue with the contents! Skip James, if not the greatest, is certainly among the top three or four along with Charley Patton, Son House and Robert Johnson. Like Patton and House, James helped create and define the whole genre of Delta blues and, like those two, influenced generations of blues players after him. James' "Devil Got My Woman" is considered to be the source for Robert Johnson's "Hellhound on My Trail" and, thirty years after Johnson, Eric Clapton covered a James song, "I'm So Glad," with Cream. What sets James apart from so many other Delta stylists, even those like Patton and House, is the odd tuning of his guitar and the eerie falsetto vocals he brings to a song. Playing in what has been called the "Bentonia" style of Delta blues (Bentonia is a town in Mississippi near where, it so happens, Mr. James was born), James' work is distinctive and moving, displaying a marvelous virtuosity on guitar. While many early Delta bluesman primarily played guitar using a slide, James generally fingerpicks, eliciting more melodic progressions in his tunes. This disc was recorded in 1964, shortly after James had been "rediscovered" after a 20 year absence from performing. His extraordinary performance at the 1964 Newport Jazz Festival catapulted him back into the limelight of the blues world. This disc contains remakes of some of James' greatest songs as well as tunes that had never been recorded by James prior to this session. They feature just James and his guitar - pure unadulterated Delta blues and nothing else! If the sight of the wind blowing through a Weeping Willow could be turned into sound I imagine it would be like the music on this disc. It fills you with a restlessness and longing, deep and sorrowful and blue, and then carries you away with it as it passes. This is the sound of Mississippi, the sound of the Delta, by one of the greatest ever. Give it a listen! HARDTIME KILLING FLOOR BLUES / SICK BED BLUES / WASHINGTON D.C. HOSPITAL CENTER BLUES / DEVIL GOT MY WOMAN / ILLINOIS BLUES / I DON'T WANT A WOMAN TO STAY UP ALL NIGHT LONG / CHERRY BALL BLUES / SKIP'S WORRIED BLUES / CYPRESS GROVE BLUES / CATFISH BLUES / MOTHERLESS & FATHERLESS / ALL NIGHT LONG NY CD Takes HARDTIME KILLING FLOOR BLUES: James opens this cut up with a short arpeggio on his guitar and then joins in with that haunting voice of his. Seldom will you hear a song where melody and voice complement the subject matter as this one does. James elicits a sense of blues and despair, of being on that "killing floor," with his singing and melodic playing that sets the tone of this whole disc. SICK BED BLUES: This track was written shortly before the recording session, stemming out of his experience with the illness that wound besting him (James died of cancer in 1969). Displaying a sense of melody that is somewhat unusual in much Delta blues, this cut again features brisk fingerpicking and beautiful falsetto singing. James' playing is like the gentle lapping of the ocean waters that carry you along with it. WASHINGTON D.C. HOSPITAL CENTER BLUES: Another song written coming out of his illness, James gives his listener a "micro" biography of his life and a telling insight into his image of himself. He is a "poor man, but a good man." Perhaps he sums up the lot of many a bluesman when he writes of "being a poor man playing for a wealthy man." The same way James walks his fingers down the frets of his guitar in this song, he walks us lyrically through these experiences of his life. DEVIL GOT MY WOMAN: In this song you can hear, in both the guitar and vocals, musical characteristics that were echoed in Robert Johnson's "Hellhound on my Trail." James' playing is more forceful on this track then the previous, seeming sometimes to caresses the strings of his guitar, at others he seems to almost pluck them off the bridge. This is the longest cut on the disc, over six minutes, which gives James a chance to explore this piece for posterity in a way the three minute recording limit of the 30's could never have afforded him. ILLINOIS BLUES: James' guitar starts this cut off slowly and then picks up a brisk pace as James starts to sing. He introduces some variation from the standard blues pattern in a strong bass line played under the third line of each verse, which musically underscores his bad feelings about Illinois. Even with so many to have played Delta blues since James, this song stands out as a remarkable example of the best of the style. When James was first writing and performing this song no one, or at least very few, had done it before! I DON'T WANT A WOMAN TO STAY UP ALL NIGHT LONG: This may be as close as James gets to lighthearted on this disc. The lyric itself has a certain humorous quality in its wording and James' playing is a little "lighter" than on other tracks. James was 62 when this track was recorded, one can imagine him doing it at 30. CHERRY BALL BLUES: Those who think a slide is required to make a guitar mimic the human voice should listen to this cut. James manages, through the use of falsetto and his manner of picking the guitar, to make both "instruments" sound remarkably similar. Listen for how the guitar takes up the vocal line, and either mimics or completes it. SKIP'S WORRIED BLUES: Blues in more of a "standard" delta style, particularly in the way James plays guitar. Patterns are a bit more familiar and James' falsetto is subdued some. But there is still the wonderful way James "walks up" the bass lines with his picking. If you need a dose of the Delta, just set your player for this track, you may be "worried now, but [you] won't be worried long!" CYPRESS GROVE BLUES: In James' guitar style you can see the evolution from "folk" music played on banjo to being played on guitar. James' playing, particularly evident to me on the intro of this song, is very similar to banjo picking. Again, that wonderful bass line is evident, which James is the master at. This cut blends many common Delta themes and lyrics in that imitable Skip James style. CATFISH BLUES: James fairly "plucks" the strings on this cut rather than simply picking them. This is a dark sounding blues number with a very distinctive melodic progression in the bass. James vocals are very "deep" as if he was almost reluctant to bear his soul to this extent. MOTHERLESS & FATHERLESS: On this cut James takes a familiar Delta song and does it in his own style. This is another very dark sounding song as James spends most of his time in the lower registers of the guitar. Another fine example of early Delta blues both musically and the lyrical themes presented. ALL NIGHT LONG: James doesn't change a thing on this cut which closes out the disc. James' singing again is very dark as his playing lightens up just a little from the two previous tracks. These last few songs illustrat e that the blues sometimes really is "blue." And James shows that he was a master at communicating sad and melancholy emotions. This track, along with the whole disc, is not "light" listening. But for those who love and are intrigued by the music of the "originators," this is the real thing, full of wonderful guitar playing and singing designed to share the pathos of a whole way of life. After listening to this disc you may well agree that Skip James was in fact the "Greatest of the Delta Blues Singers." Reviewed by Jon Duttweiler Copyright NY CD Blues @1995-1996 All Rights Reserved. Unauthorized use prohibited. NY CD Blues now at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sun, 18 Feb 1996 21:19:01 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Brownie McGhee; Dead at 80 Comments: To: bit-listserv-blues-l@uunet.uu.net In <960216230945_146391638@emout10.mail.aol.com>, Dick Waterman writes: >Walter "Brownie" McGhee, one of the last members of the famed "Class of >1915," died at Summit Medical Center, Oakland, California, on Friday, >February 16th. When I was a kid just learning to play, I logged thousands of hours listening to Sonny & Brownie. They had a profound influence on my early undertsainding of the blues, and I imagine most players of my generationm would cite a similar experience. A life well lived. BBB B.B. Bean bbbean@cris.com Peach Orchard, MO http://www.cris.com/~bbbean ========================================================================= Date: Sun, 18 Feb 1996 21:11:00 GMT Reply-To: "J.J. Perry" From: "J.J. Perry" Organization: Indiana University Subject: Willie Smith Review 2/17/96 Comments: To: bit-listserv-blues-l@uunet.uu.net I have a review of the Willie Smith and his Big Eyes Blues Band up on my new web page (hint hint). Right now, I don't have much up there because I am still trying to figure out what I'm doing! However, I hope to have some different articles there soon, and this is the first. I will also have a page for my band The Automatics, with pictures, sound files, the usual (as soon as I get this stuff all together). So if you want to see my review, please go to: http://silver.ucs.indiana.edu/~jjperry Thank you much! J. J. ========================================================================= Date: Sun, 18 Feb 1996 16:19:59 -0500 Reply-To: Meadors From: Meadors Subject: Re: 20 most covered songs Comments: To: shaun@WAVENET.COM a >Jon Duttweiler wrote: > >>I don't necessarily disagree, reinterpretation can sometimes be a > good >>thing. However, *most* bands are *NOT* of the caliber, > talentwise or >>creatively, of a Jimi Hendrix or Magic Sam. While many may think > their >>"addition" to a classic song somehow makes it more enjoyable, it > usually >>simply makes it unlistenable. Many times, just a cool arrangement of a well-worn song is all that is needed to bring it out of the doldrums. Robben Ford, among others, does this all the time, with little flourishes, unexpected chording, etc. So, my point is, you don't have to be great interpreter to make an overplayed tune fresh -- just spend some quality time on making the arrangement interesting. I'd rather hear a weak attempt at restructuring a timeworn piece rather than another copy version of it. Playing songs always strikes me as being very closely tied to writing dramatic pieces. Among the many factors that contribute to audience boredom is the audience's ability to predict the outcome of a situation. How many times have you heard someone say a movie wasn't very good because it was "too predictable"? Same with a song, whether it contains lyrical content or not. Once the audience hears Stormy Monday performed the same way for the 1000th time, for example, people begin to lose interest. MUSICIANS lose interest. Yet, throw in a cool little lick here or a augmented chord over there that works with the song (not against it), and you'll notice people turning their heads in your direction. Just like Layla was rearranged from the top down by EC (for better or worse), it became interesting to listen to again because it offered us some new musical information, not the same old same old. Mike Meadors Orange3@gnn.com ========================================================================= Date: Sun, 18 Feb 1996 13:54:32 -0800 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Subject: Re: FREE ADULT SOFTWARE P.W. FENTON WROTE: >Even simpler, and more sensible, is to just delete it and move on. >>The internet is getting more and more crowded daily. It just >>doesn't make much sense to bog it down with useless "revenge" mail, >>that probably won't make it to the guilty party's mailbox anyway. You're Right!! In my anger at the Spamming, I didn't think of the "big picture" That's what the Delete button is for, all right........ ========================================================================= Date: Sun, 18 Feb 1996 17:35:51 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Graves Bros Gospel, Question to Sony (was Re: Gospel/Quartet) Comments: To: ari3@soho.ios.com In a message dated 96-02-18 01:45:05 EST, ari3@SOHO.IOS.COM (Ari Eisinger) writes: >I'm crazy about "I'll Be Rested [sic.: "Resting"] when the Roll is Called" >by Blind Roosevelt Graves and Brother. It's just a guitar and a >tambourine and two vocalists, and it's absolutely hair-raising. It's on >the Blind Roosevelt Graves CD on the Document Label. Unfortunately, >while there is another great cut and another good one, most of the songs >on the CD are just ok. Does anyone else know another record that >contains this phenomenal recording? > > There is some "ok" stuff on that CD but there are more than 2 great ones. In the first place, their version of "Woke Up This Morning With My Mind On Jesus" is great, and, in the second place, there are several wild barrelhouse numbers recorded under the name Mississippi Jook Band: "Skippy Whippy," "Barbucue Bust" and "Hitting the Bottle Stomp" (Those last two names may not be exactly right). In any event, Sony has the rights to the stuff recorded in Hattiesburg now (which includes all of the above I think, but obviously none of the Paramount sides), and some of the Mississippi Jook Band stuff has appeared on some of the various sets in the Roots N Blues series. I would check and see if they have put out any of the gospel sides on the gospel collections. I would be surprised if there are two many collections with Graves brothers stuff on it other than the Sony sets. Someone from Sony is watching this list. What's available? Tom Freeland ========================================================================= Date: Sun, 18 Feb 1996 18:28:17 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Blues 101, WNYO-Oswego playlist Yesterday's show featured Othar Turner (Sugar Ditch/Shangri-la), Jordan Patterson (JSP), and friendly competition among the two "real deals" -- Smokey Wilson and John Primer. (And now I will always read my Friday Blues-L messages -- had I done so, I would have learned of Brownie's death in time to dedicate the show to him.) Dave Prychitko Blues 101, WNYO-Oswego http://www.oswego.edu/~prychitk/Blues101.html for playlists and reviews..... Playlist for Saturday, February 17, 1996 ----------9:00am 1. Robert Ward, Meat Off the Bone [show opener] (BLACK BOTTOM; Black Top) 2. Roosevelt Dean, Fever (I DON'T WANNA LEAVE YOU; Z-K Records) 3. Walter Horton, Big Walter's Boogie (WALTER SHAKEY HORTON w/ HOT COTTAGE; Stony Plain) 4. Charlie Musselwhite, Ain't it Time (IN MY TIME; Alligator) 5. Robert Nighthawk, Black Angel Blues (ROBERT NIGHTHAWK AND HOUSTON STACKHOUSE; Testament) 6. Buddy Guy, Dedication to the Late T-Bone Walker (DJ PLAY MY BLUES; JSP) 7. Rory Block, Joliet Bound (WHEN A WOMAN GETS THE BLUES; Rounder) 8. ***Muddy Waters, Mannish Boy (HARD AGAIN; Blue Sky) 9. James Harman, Hollywood Girls (BLACK & WHITE; Black Top) 10. Othar Turner & His Rising Fife and Drum Band, Shimmy She Wobble (OTHAR TURNER AND HIS RISING FIFE AND DRUM BAND; 7" record, Sugar Ditch Action Coalition/Shangri-La) 11. Othar Turner..., Station Blues ("") 12. Junior Kimbrough, Pull Your Clothes Off (SAD DAYS, LONELY NIGHTS; Fat Possum) 13. Ellen McIlwaine, Crawling Kingsnake (THE REAL/EVERYBODY NEEDS IT; Stony Plain) 14. Louisiana Red, Sittin' Here Wondering (v.a., EARWIG RECORDS 16th ANNIVERSARY SAMPLER; Earwig) ----------10:00am 1. Magic Slim & the Teardrops, Teardrop (TEARDROP -- ZOO BAR COLLECTION vol. III; Wolf) 2. ***Charlie Sayles, Hey Joe (I GOT SOMETHING TO SAY; JSP) 3. Smokey Wilson, Smokey's Shuffle (88th STREET BLUES; Blind Pig) 4. Jim Byrnes, No Special Rider (THAT RIVER; Stony Plain) 5. Jesse "Wild Bill" Austin, Juice Head Baby (BABY'S BACK; Roesch) 6. Jordan Patterson, Funky Thang (GIVE ME A CHANCE; JSP) 7. Jordan Patterson, No Educated Woman (GIVE ME A CHANCE; JSP) 8. Jordan Patterson, Give Me a Chance (GIVE ME A CHANCE; JSP) 9. Othar Turner & His Rising Star Fife and Drum Band, My Babe (OTHAR TURNER & HIS RISING STAR FIFE AND DRUM BAND; 7" record, Sugar Ditch Action Coalition/ Shangri-La) 10. Corey Harris, Early in the Morning (BETWEEN MIDNIGHT AND DAY; Alligator) 11. Houston Stackhouse, Canned Heat (v.a., BLOW MY BLUES AWAY vol. II; Arhoolie) 12. Lurrie Bell, Longview Texas Trainwreck (MERCURIAL SON; Delmark) 13. E.C. Scott, Come Get Your Love (COME GET YOUR LOVE; Blind Pig) 14. Bill Coday, Get Your Lies Straight (SNEAKIN' BACK; Ecko) ----------11:00am 1. Billy Boy Arnold, Slick Chick (ELDORADO CADILLAC; Alligator) 2. Roosevelt "Booba" Barnes, Don't Cry No More (THE HEARTBROKEN MAN; Rooster) 3. Eddie Taylor, Peach Tree Blues (v.a., TESTAMENT RECORDS SAMPLER; Testament) 4. Howlin' Wolf, Evil (v.a., CHESS BLUES; Chess/MCA) 5. Karen Carroll, Shakey Ground (HAD MY FUN; Delmark) 6. ***Sugar Blue, I Ain't Got You (BLUE BLAZES; Alligator) 7. Smokey Wilson, Son of a... Blues Player (THE REAL DEAL; Bullseye) 8. Smokey Wilson, House in Hollywood (THE REAL DEAL; Bullseye) 9. Smokey Wilson, Sittin' in Jackson (THE REAL DEAL; Bullseye) 10. Lurrie Bell, Lurrie's Cool Groove (MERCURIAL SON; Delmark) 11. John Primer, How Long Will You Be Mine (THE REAL DEAL; Code Blue) 12. John Primer, Good Understanding (THE REAL DEAL; Code Blue) 13. John Primer, She Won't Gimme No Lovin (THE REAL DEAL; Code Blue) 14. Gary Primich, Easy Ridin' Mama (MR. FREEZE; Flying Fish) 15. Eddie C. Campbell, That's When I Know (THAT'S WHEN I KNOW; Blind Pig) *** denotes requests ========================================================================= Date: Sun, 18 Feb 1996 18:49:11 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: THE REAL DEAL: Primer vs. Wilson On yesterday's show I featured the latest from two top-notch contenders, John Primer and Smokey Wilson: John Primer, THE REAL DEAL (Code Blue/Atlantic) was just released. Smokey Wilson, THE REAL DEAL (Bullseye Blues) was released last year, and features liner notes from Syracusan acoustic-bluesman, Tom Olson. All friendly competition, of course. Without any time to submit the full blow-by-blow review, I'll just say that I'd want to give the title to Primer. (And if I could recall each and every track, I would do something cute like report the points as in a boxing match...). Heck, I can't keep Primer's cover of Willie Dixon's "Good Understanding" out of my head. On the other hand, if Primer were to enter the ring against the younger Smokey Wilson -- esp. that of 88th STREET BLUES (Blind Pig) -- then I'd definitely have to give it to Wilson. Come to think of it, screw it. There doesn't have to be a single "real deal" out there. Fact is, _both_ these guys are the real deal. If you get a chance, give 'em a listen. Dave Prychitko ========================================================================= Date: Sun, 18 Feb 1996 16:18:00 PST Reply-To: Gary Joneson From: Gary Joneson Subject: Brownie McGhee RETRO editor Nancy Eaton has a page on the WEB, "Remembering Brownie" the URL: http://www.retroactive.com/inretrospect.html Gary BluesWEB http://www.island.net/~blues/ ========================================================================= Date: Sun, 18 Feb 1996 19:18:34 -0500 Reply-To: bob vanarsdall From: bob vanarsdall Subject: Re: B.B. King at the B.B. KIng (Moscow) Vladimir asked: >Now there are reports that while at the club B.B. King did a >number of songs that were recorded (with or without his knowledge or >consent) and that these recordings have now been released on tape or cd. >I heard a cut yesterday that was allegedly from the Moscow club performance. > >I'd be interested in knowing whether anyone has come across this tape or >cd, and whether anyone can confirm the fact of its existence. Sounds like a job for our man on-the-spot in Moscow, Joe Downey. Does this list have some resources, or what? Bob ========================================================================= Date: Sun, 18 Feb 1996 21:08:53 -0500 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: "Rough and Ready Man?" Comments: To: bit-listserv-blues-l@uunet.uu.net Hey, heard this GREAT song on the radio named "Rough and Ready Man" and I want to learn it. Anyone know who sings it??? Some of the lyrics: " I want a two-fisted, double-jointed, rough and ready man..." (I'm taking applications :-> ). Thanks my blues brothers and sisters, Lea Gilmore Baltimore, MD "Wild Women Don't Have the Blues" ========================================================================= Date: Sun, 18 Feb 1996 02:04:19 GMT Reply-To: Undetermined origin c/o LISTSERV maintainer Comments: RFC822 error: Mail origin cannot be determined. Comments: RFC822 error: Original tag data was -> (Jack Oudiz) From: Undetermined origin c/o LISTSERV maintainer Subject: Re: Buddy Guy Book Comments: To: bit-listserv-blues-l@uunet.uu.net Scott. as is often the case, I completely agree on Chicago Breakdown. Of course it's a history! I wish BG's had been more of that and less fawning over SRV. There's nothing else I've seen that comes anywhere close to telling the Chicago blues story as completely and interestingly. Wish BG would write of his life and times during those days. I'm Walkin' Cause Running Won't Help Me Now ========================================================================= Date: Sun, 18 Feb 1996 02:11:29 GMT Reply-To: Jack Oudiz From: Jack Oudiz Subject: Robert Nighthawk: FU on CDs Comments: To: bit-listserv-blues-l@uunet.uu.net Scott Dirks mentioned a Chess CD featuring Nighthawk and Forrest City Joe Pugh. It is available from CD Europe (online) for 16.95. I just ordered it and looked thru many other imports. You can get many Alligator releases from Holland for $23-25!! :) By the way, the P-Vine Fenton Robinson issue that was mentioned is also available for a paltry $59.00! Jack (yeah I get my cut from these guys too, why not) ========================================================================= Date: Sun, 18 Feb 1996 19:20:49 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: cover tunes Hi bluezellers! Speaking of cover tunes, the other night I was in Seattle, and I went out with some friends, happening upon an Irish pub that was featuring a blues band! They were called the Flaming Blue Sheepshanks (not really, but it was something to that effect, honestly! - maybe a seattleite 'zeller can help me with the name?), and for a couple of hours they whaled away at Muddy, Wolf, Jimmy Reed...you name it, they covered it. A couple of acoustic guitars, bass, drums, and a wild man lead singer who had a blast along with the audience. One of the best nights out I've had in a long while. Just goes to show, the old nuggets and well-worn standards can still do the trick if they're played from the heart, with enthusiasm and flair. -Jim (hndful@uniserve.com) ========================================================================= Date: Sat, 17 Feb 1996 20:24:56 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: 20 most covered songs Mike wrote: >Many times, just a cool arrangement of a well-worn song is all that >is needed to bring it out of the doldrums. Robben Ford, among >others, does this all the time, with little flourishes, unexpected >chording, etc. So, my point is, you don't have to be great >interpreter to make an overplayed tune fresh -- just spend some >quality time on making the arrangement interesting. I'd rather >hear a weak attempt at restructuring a timeworn piece rather than >another copy version of it. In a sense, I feel that the weak attempt would be superior to a note for note copy. >Playing songs always strikes me as being very closely tied to >writing dramatic pieces. Among the many factors that contribute to >audience boredom is the audience's ability to predict the outcome >of a situation. How many times have you heard someone say a movie >wasn't very good because it was "too predictable"? True. There is a flip-side. I've enjoyed movies that have been thoroughly predictable. The reason was that there was passion put into the performances by the actors. This echoes what Jon Duttweiler said in a previous post. Am I contradicting myself now? > Same with a song, whether it contains lyrical content or not. Once the >audience hears Stormy Monday performed the same way for the 1000th >time, for example, people begin to lose interest. MUSICIANS lose >interest. Yet, throw in a cool little lick here or a augmented >chord over there that works with the song (not against it), and >you'll notice people turning their heads in your direction. Good point. It's amazing how a little change can give a song a new twist. >Just like Layla was rearranged from the top down by EC (for better or >worse), it became interesting to listen to again because it offered >us some new musical information, not the same old same old. For worse IMHO. Can't bear to hear it. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sat, 17 Feb 1996 20:25:03 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: 20 most covered songs Roger B. wrote: >Shaun Cronin wrote: > >>To try and match the original is impossible. I think that >>re-interpretation isn't about trying to be as great as the original >>composer. To succesfully re-interpret a tune you don't need to be equal to >>the original composer. A little imigination is all you need. And the >>passion needed to play the song. After reading this I'd like to add "It's about stamping the song with your personality" after the 2nd sentence. >After watching the many and varied responses to this thread (which I >started, I guess), I'd like to say that Shaun's reply is pretty well what I >was trying to say in my (frustrated/reactive/) way. > >Now if only those dozens of bands would take Shaun's advice and stop trying >to play note-for-note covers of the originals............ If a band puts their heart and soul in a performance then I don't mind note for note covers so much. However, the covers that I *remember* are by bands that stamp their own personality on the song. I do hate seeing guitarists cop solos note for note. I don't care if the guitarist can do (insert name of famous blues guitarist here). I'd rather hear what the guitarists can do. >Thanks for stating it so much more calmly than I could, Shaun! > >Roger B. Thanks Roger. I try to be a mellow sort of guy, except when the coffee kicks in or there is a post by the imitable (sp?) Laurie Fortie. :-) Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sun, 18 Feb 1996 23:22:24 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: THE REAL DEAL: Primer vs. Wilson David P. said: >John Primer, THE REAL DEAL (Code Blue/Atlantic) was just released. >Smokey Wilson, THE REAL DEAL (Bullseye Blues) was released last year, and >features liner notes from Syracusan acoustic-bluesman, Tom Olson. >All friendly competition, of course. >Without any time to submit the full blow-by-blow review, I'll just say >that I'd want to give the title to Primer. (And if I could recall each and >every track, I would do something cute like report the points as in a >boxing match...). Heck, I can't keep Primer's cover of Willie Dixon's "Good >Understanding" out of my head. I don't know the Smokey Wilson CD, so I can't comment on it, but coincidentally, I just bought the John Primer today, and I'm listening to it as I type, and I want to say, for those of us who love Chicago-style blues, it *is* the real deal! I haven't even listened to it all the way through (I'm on #8, "Cryin' for Your Love"), and already I know I like it! Karen ========================================================================= Date: Sat, 17 Feb 1996 21:18:45 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Mac Users! Non-Blues Just a quick question. What is the e-mail program of choice for Macs? I use Eudora. Is there a better share/freewafe program out there? TIA Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sun, 18 Feb 1996 23:30:27 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Li'l Ed (was Re: attending shows alone) Comments: To: L W In-Reply-To: L W, With regard to your comment about Li'l Ed getting back on track: It was reported in the Chicago Tribune on Friday that Ed has signed a one albumn deal (with Blind Pig I think) and is going to be working and recording with Dave Weld and the Imperial Flames. Weld used to be one of Ed's sidemen I believe. So there's some good news for a change. Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Mon, 19 Feb 1996 06:33:02 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: A Microphone Question Comments: To: bit-listserv-blues-l@uunet.uu.net Meadors wrote: > >>By NO means use the bullet on vocals OR your national. The bullet >> is a copy of an unbelievably cheap and cheezy mike that came into >> favor with harp players because it is so prone to distortion >which is often mistaken for excitement and power IMO) I wish I was >in your neighborhood. I'd lend you another mic so nobody would get >stuck with it. > >Under most situations, P.W., I would agree with you (the part about >not using a GB for vocals; however, you can get some very cool >vocal tones from singing through a Green Bullet. The Red Devils >and others have used vocals through a Green Bullet to get a retro >sound. > Maybe it's a minor point, but I won't let that stop me from presenting it : ): The mic of choice for most pro harp players seeking that "excitement" that PW doesn't hear :) is NOT the Shure Green Bullet, which *IS* a crappy mic--harsh, thin-sounding, and feedback-prone. The mic used for harp and vocals on the Red Devils CD and by the vast majority of pros like Kim Wilson, Rod Piazza, James Harman, William Clarke, et al, as well as such legendary harp players as James Cotton, Little Walter, Big Walter, George "Harmonica" Smith and almost everyone else is the Astatic JT-30. The Astatic Corporation also made a pretty primitive mic, which was originally used as a P.A. mic in small clubs (there are countless pictures of people like Howlin' Wolf, Jr. Wells, Muddy Waters, Elmore James and others singing through these in club performances in the '50s) and for two-way radio; it accentuates the midrange frequencies that make up most of the human voice range, making it an ideal mic for those uses in those days. By happy accident, this range is also where most harmonica sounds are, so when harp players began cupping these "vocal" mics to get more sound from their harps, "THE" harp sound was born. People commonly confuse the Shure Green Bullet and the Astatic JT-30, mainly because both are sort of bullet-shaped, as were lots of other mics from the '30s through the '50s. I think that "Green Bullet" has become sort of a generic term, like "Jello", for both of these mics, but they are two completely different mics from a technical standpoint (the GB uses a magnetic element similar to other modern day mics, where the Astatic uses a crystal or ceramic element), and don't sound anything alike IMO. I think that Shure has been able to capitalize of the relative 'catchiness' of the name Green Bullet, and sells lots of mics to unsuspecting novice harp players because of this confusion. But the 'standard', the one you hear on all the old records, and the one that's still mainly used today, is the Astatic JT-30. Which, in the final analysis (and as PW originally implied), probably isn't so great for vocals, and is definitely not the mic of choice for a guitar. Scott ========================================================================= Date: Mon, 19 Feb 1996 06:34:36 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Hoochie Coochie Man Comments: To: bit-listserv-blues-l@uunet.uu.net Jonny Meister wrote: > >Hey, JukeFreak! (Like that name....)-- > >John Brim's "Tough Times" came out a few months before Muddy's "Hoochie >Coochie"-- very similar sound... > >Who knows who got what from whom.... like 'em both.. undoubtedly, Dixon had >something to do with it all... Jonny said: >John Brim's "Tough Times" came out a few months before Muddy's "Hoochie >Coochie"-- very similar sound... >Who knows who got what from whom.... like 'em both.. undoubtedly, Dixon had >something to do with it all... I don't think Dixon had anything to do with John Brim recording "Tough Times"; he's not on the record, and it was recorded for Parrot, not Chess. But your point is well taken--who knows who did what for whom, and who did it first? All we can do is trace this stuff back as far as we have records, but who knows where the person who first recorded it got it from? I think I read somewhere one time that John Fahey wrote a college paper on the music of Robert Johnson, who of course is commonly thought of these days as one of the most important pioneers of the music. I believe Fahey was able to trace 28 of RJ's 29 songs back to earlier recordings. Scott ========================================================================= Date: Sun, 18 Feb 1996 15:18:42 CST Reply-To: Prince Of Venus From: Prince Of Venus Subject: Re: BLUES-L Convention: Preliminary Report Comments: To: Jinxblues@AOL.COM On Mon, 5 Feb 1996 21:28:15 -0500 Dick Waterman wrote: >The intial response to my suggestion of a Blues-L convention appeared to be >about one percent. ... >If this is not going to move forward unless I point to a specific >festival/city/date, I would choose the St. Louis Blues Festival over Labor >Day Weekend. I had a wonderful time there in 1995 and enjoyed my stay at a >terrific Adam's Mark Hotel. >St. Louis is a hub city of TWA for flights from major cities and it also is >served by Southwest Airlines, with outstanding bargain fares. ... >So I'll step back and let you toss some ideas around. I think that it is >important to have one travel agency coordinating the hotel bookings because >we can get a better rate if an agent can promise to deliver a block of rooms. > >Dick Waterman Yes! St Louis sounds great. I've heard nothing but good about the last few years there. Judith can get us a group rate on the hotel rooms (she'll take the usual commision but won't mark it up any for a blues-l event). Same with the air for any departing cities that we can get enough people to leave from on the same flights, though fare wars often drive prices down below the net rate (unpredictably - also, they tend to deny the special war prices on holidays). She can, of course, book any flight arrangements and hotel for any zeller's needs - they have an 800 number and they overnight documents, etc., so you guys can use her for personal travel too! Anyway, I think Dick's picked a winner w./ St. Louis and I vote Yes on the Jam session too! Mike [ Home Work Java, Web, ClientServer ] [ http://www.xnet.com/~msuffern/soundtravels.html - The Blues&Travel Site ] [ Chicago Blues Festival, Clapton, Chicago-London-Amsterdam Blues Guides ] ] --------------------------------------------------------------------- [ [ "We're gonna take control of the machinery ] [ Bad little actors that chew up the scenery ] [ Job number one is gonna be findin' a way - Todd Rundgren [TR-I]] [ That we can rave all night and meditate all day" "No World Order" ] ========================================================================= Date: Mon, 19 Feb 1996 17:30:47 +0800 Reply-To: Ronald Wiplinger From: Ronald Wiplinger Organization: Wang's Trace International Subject: *** Happy New Lunar Year *** Comments: To: bit-listserv-blues-l@uunet.uu.net **************** Happy New Lunar Year **************** ** to you and your family!! ** ** We wish you a prosperous coming year, ** ** the year of the mouse !!! ** ** ** ** Ronald ** **** http://www.trace.com.tw/HappyLunarYear.html **** ========================================================================= Date: Sun, 18 Feb 1996 15:47:01 CST Reply-To: Prince Of Venus From: Prince Of Venus Subject: Re: A Microphone Question Comments: To: Scott Dirks , "P.W. Fenton" I would say, don't use a Green Bullet on vocals or your National unless you want the crappy, distorted sound that will result. I had a blast using the Green Bullet for lead vocals once - it didn't sound 'vintage' to me, but it was... err... interesting. Just look at Hound Dog and Brew's setups for examples of what can be done with cruddy gear... Mike On Mon, 19 Feb 1996 06:33:02 GMT Scott Dirks wrote: >Meadors wrote: >> >>>By NO means use the bullet on vocals OR your national. The bullet >>> is a copy of an unbelievably cheap and cheezy mike that came into >>> favor with harp players because it is so prone to distortion >>which is often mistaken for excitement and power IMO) I wish I was >>in your neighborhood. I'd lend you another mic so nobody would get >>stuck with it. >> >>Under most situations, P.W., I would agree with you (the part about >>not using a GB for vocals; however, you can get some very cool >>vocal tones from singing through a Green Bullet. The Red Devils >>and others have used vocals through a Green Bullet to get a retro >>sound. >> > > >Maybe it's a minor point, but I won't let that stop me from presenting it >: ): >The mic of choice for most pro harp players seeking that "excitement" >that PW doesn't hear :) is NOT the Shure Green Bullet, which *IS* a >crappy mic--harsh, thin-sounding, and feedback-prone. The mic used for >harp and vocals on the Red Devils CD and by the vast majority of pros >like Kim Wilson, Rod Piazza, James Harman, William Clarke, et al, as well >as such legendary harp players as James Cotton, Little Walter, Big Walter, > George "Harmonica" Smith and almost everyone else is the Astatic JT-30. >The Astatic Corporation also made a pretty primitive mic, which was >originally used as a P.A. mic in small clubs (there are countless >pictures of people like Howlin' Wolf, Jr. Wells, Muddy Waters, Elmore >James and others singing through these in club performances in the '50s) >and for two-way radio; it accentuates the midrange frequencies that make >up most of the human voice range, making it an ideal mic for those uses >in those days. By happy accident, this range is also where most >harmonica sounds are, so when harp players began cupping these "vocal" >mics to get more sound from their harps, "THE" harp sound was born. > >People commonly confuse the Shure Green Bullet and the Astatic JT-30, >mainly because both are sort of bullet-shaped, as were lots of other mics >from the '30s through the '50s. I think that "Green Bullet" has become >sort of a generic term, like "Jello", for both of these mics, but they >are two completely different mics from a technical standpoint (the GB >uses a magnetic element similar to other modern day mics, where the >Astatic uses a crystal or ceramic element), and don't sound anything >alike IMO. I think that Shure has been able to capitalize of the >relative 'catchiness' of the name Green Bullet, and sells lots of mics to >unsuspecting novice harp players because of this confusion. But the >'standard', the one you hear on all the old records, and the one that's >still mainly used today, is the Astatic JT-30. Which, in the final >analysis (and as PW originally implied), probably isn't so great for >vocals, and is definitely not the mic of choice for a guitar. > >Scott [ Home Work Java, Web, ClientServer ] [ http://www.xnet.com/~msuffern/soundtravels.html - The Blues&Travel Site ] [ Chicago Blues Festival, Clapton, Chicago-London-Amsterdam Blues Guides ] ] --------------------------------------------------------------------- [ [ "We're gonna take control of the machinery ] [ Bad little actors that chew up the scenery ] [ Job number one is gonna be findin' a way - Todd Rundgren [TR-I]] [ That we can rave all night and meditate all day" "No World Order" ] ========================================================================= Date: Mon, 19 Feb 1996 05:38:20 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1878 Thomas Alva Edison patented the phonograph. He was trying to make an automatic telegraph, but we shouldn't hold that against him. The first recording played to the public was "Mary Had A Little Lamb". (Buddy Guy doesn't look that old, does he?) P.W. Fenton Tampa, Florida ------------------------------------------------------------- "Age is a question of mind over matter. If you don't mind, it don't matter." - Leroy Robert "Satchel" Paige, 1906-1982 When in cyberspace, visit my web pages at http://www.gate.net/~pwfenton/ ------------------------------------------------------------- ========================================================================= Date: Mon, 19 Feb 1996 03:59:33 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: BOT Playlist 2/18/96 Comments: To: Blucebird@aol.com, burnside@teleport.com, codeblueus@aol.com, daveb@oboe.rounder.com, bluesjazz@aol.com, aqm@earthlink.net, Blacktnola@aol.com, JM1370@aol.com, malaco@misnet.com, shayq@banjo.rounder.com, VentRec@aol.com Comments: cc: Harp-L@garply.com Stan Ruffo Productions 800 N. Ben Maddox Way - Suite 2200 - Visalia, CA 93292 vox/fax (209) 625-6049 - email, steamin@valleynet.com http://www.valleynet.com/~steamin "Blues On Tap" every Sunday at 8pm Subject:Playlist 0796 - Commercial Radio Date: Feb. 18, 1996 8pm -10pm Station:KI00 99.7fm (K-eye-oh-oh), Visalia CA Program:"Blues On Tap" with Steamin' Stan Ruffo Artist Title Label Track Little Mike Flynn's Place Flying Fish 14 The Pounders Rockin' the Blues Vent 4 Rod Piazza Harpburn Black Top 4 Various Blues Fest of the 70's Rhino 18 Various Blues Evolution Sampler Motown 6 William Clarke Groove Time Alligator 10 Tommy Castro Execption To The Rule Blind Pig 7 Various Ichiban Family Music Ichiban 6 Various Slide Guitar Blues Icehouse 7 Eddie Kirkland Where You Get Your SugarDeluge 5 Guy Forsyth Needle Gun Antone's 11 Various The Class of '15 MCA/ Chess 3 James Harman Black & White Black Top 7 Omar & the HowleWorld Wide Open Watermelon 10 Freddie King Live Electric Ballroom Black Top 4 Bessie Smith The Complete Recordings Columbia 17 Eric Culberson Blues Is My Religion King Snake 4 Long John HunterBorder Town Legend Alligator 7 Jesse Thomas Lookin' For That Woman Black Top 6 Bill Coday Sneakin ' Back Ecko 6 Champion Jack DuForever And Ever Bullseye 2 Otis Rush So Many Roads Delmark 2 William Clarke Blowin' Like Hell Alligator 11 Monster Mike WelThese Blues Are Mine Tone-Cool 10 Mark May & the ACall On The Blues Icehouse 1 Robert Lucas Layaway AudioQuest 4 "Blues On Tap" reports to The Hard Report and Living Blues http://www.valleynet.com/~steamin/bot.html Living Blues Top 20 will be forthcoming a week early because there will not be a show airing on 2/25/96 as I will be in visiting several cities in the south between 2/23 and 3/2. (New Orleans, Memphis, Birm, Atlanta) However, the first anniversary of Blues On Tap will air March 3rd. -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 ========================================================================= Date: Mon, 19 Feb 1996 06:41:06 -0600 Reply-To: Roger Struve From: Roger Struve Subject: On this day... -Reply Comments: To: pwfenton@GATE.NET And I thought, "Mary had a little Lamb" was a SRV tune! ddr (smiling) ========================================================================= Date: Mon, 19 Feb 1996 08:45:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: B.B. King at the B.B. KIng (Moscow) Well! First, Vladimir wrote the following: >>Now there are reports that while at the [Moscow club known as B.B. >>King, the real B.B. King] did a >>number of songs that were >>recorded (with or without his knowledge or >>consent) and that these >>recordings have now been released on tape or cd. >>I heard a cut >>yesterday that was allegedly from the Moscow club performance. >> I'd be interested in knowing whether anyone has come across this >>tape or >>cd, and whether anyone can confirm the fact of its >>existence. And then Bob put it to me: >Sounds like a job for our man on-the-spot in Moscow, Joe Downey. Does >this list have some resources, or what? >Bob So here's what I got to say, with my humble thanks to Bob for the introduction: This performance was supposedly around a year ago (I wasn't yet here in this resplendent capital), and indeed apparently took place in the scuzzy, overcrowded, miniscule, astoundingly smokey "B.B. King" club, where you'd better grab one of the five or six tables around 7 pm and eat/drink all night long in order to see an 11 O'clock show, which is virtually bound to disappoint in any event. The key must be to pace yourself. The idea of B.B. King somehow setting up to play and actually performing in this depressing little subterranean crevice strains the imagination, but evidently it did happen. I have never heard of the bootleg, but as I think about it, the Russian ingenuity in the realm of alternative income generation would virtually guarantee it. (The old Russian curse goes: May you have to live on only one income.) Incidentally, I believe the Kevin Costner movie "Water World" (a.k.a. "Fishtar", a.k.a. "Kevin's Gate") opened in bootleg format here at your local kiosk *before* its U.S. release. I am about to go on NOMAIL (sometime tomorrow) till the end of the month as I'm headed down southeast somewhere, so I can't really pursue this interesting B.B. King rumor yet. But if it's not too late, I'll take a look in early March. I have met a couple of Russian guys in the Blues Rhythm Section (they do *try,* my good bluezellers) and they may know something. To my most extreme frustration, B.B. King himself (whom I have never seen) will be here for I think three performances during the one week I am gone, in a decent hall as I understand it. We don't get a whole lotta that kinda thing here, mind you. "If it wasn't for bad luck. . ." I s'ppose somebody'll bootleg this upcoming performance as well, now that I think of it. Blue Joe in Red Russia (where its *always* NINE BELOW ZERO!!) J.E._Downey@bakermck.com ========================================================================= Date: Mon, 19 Feb 1996 09:15:14 -0500 Reply-To: Meadors From: Meadors Subject: Re: A Microphone Question Comments: To: RWHD17B@PRODIGY.COM Comments: cc: world@mail-e2a-service.gnn.com You wrote: The mic > used for >harp and vocals on the Red Devils CD and by the vast majority of > pros >like Kim Wilson, Rod Piazza, James Harman, William Clarke, et al, a >s well >as such legendary harp players as James Cotton, Little Walter, Big > Walter, > George "Harmonica" Smith and almost everyone else is the Astatic > JT-30. > >People commonly confuse the Shure Green Bullet and the Astatic JT-3 >0, >mainly because both are sort of bullet-shaped, as were lots of > other mics >from the '30s through the '50s. I think that "Green Bullet" has > become >sort of a generic term, like "Jello" ... Well, I must say that I really am learning a lot by subscribing to this newsgroup. For over twenty years I've played harp and for most of those years, through a Green Bullet. In fact, I've worked through one Bullet and had to buy another. Not being a student of the harmonica but rather a casual player, I assumed, as many do, that the Green Bullet was the way to go. I had heard of other players using an Astatic but never really got into reading about it enough to realize that it is THE mic to use for Chicago blues. I bought a funky Wurlitzer mic many years ago, too, that is bullet shaped, but the feedback makes it unplayable. Thanks to Scott, I will now be purchasing a new Astatic (from Kevin's?). I've been playing out of a Super Deluxe II with one 15" and probably would be better off with something that has 4 tens. Is that right? Again, what a great newsgroup! I've learned more these past two months about the technical side of harp than in twenty years of haphazardly screwing around with it. Best wishes, Mike Meadors Orange3@gnn.com ========================================================================= Date: Mon, 19 Feb 1996 14:12:06 GMT Reply-To: Geir OEien From: Geir OEien Organization: Hogskolen i Stavanger Subject: ONE OF FOUR NORWEGIANS RETURNS TO THE US... Comments: To: bit-listserv-blues-l@uunet.uu.net Hi everybody, do any of you remember the long-winded story published on blues-l in the autumn of 1995, the tale of four Norwegian guys traveling through the land of the blues in the summer of '95...? Well, one of those guys - me, that is - is going back! Strictly business trip this time, and only to ATLANTA, GEORGIA, and only forthe period March 16 - March 21... but that doesn't mean I am not interested in catching up with the local blues happenings and blues people while I'm there! Therefore, if anyone has any recommendations for shows, clubs, artists, record stores, and so on, I would be happy to receive them. Also, if any of you blues-l'ers are interested in meeting up, maybe to enjoy a meal, some music, and some serious blues chat in this period, please e-mail me! Hope to hear from some of you - any comments welcome to e-mail address oien@hsr.no Cheers, Geir Oien, Stavanger, Norway. PS. Btw, I was the one who wrote most of that long-winded story... DS. ========================================================================= Date: Mon, 19 Feb 1996 08:35:17 CST6CDT Reply-To: "Sara C. Oxton" From: "Sara C. Oxton" Organization: University of Minnesota Subject: Born Too Late/Brownie Comments: To: Jinxblues@aol.com News of Brownie McGhee's death reminds me of my first "blues discovery." When I was an aspiring rebel, I used to listen to the college radio station in my neighborhood. They had a way-out, alternative format that was consistent with my mindset at the time. Anyways, one evening I was tuned in and the djay was talking about an artist who had died that week. The artist was Lightning Hopkins and this djay played nothing but Lightning for his entire show. I was enthralled. To this day, I regard Lightning Hopkins as my Blues hero number one and will always regret that I found out about him too late. He turned me on to a musical style that I've grown to love and devote a substantial part of my life to. Lightning taught me another important lesson: No one will be around forever, and we should seize opportunities to see the artists playing live whenever we can. Unfortunately, I don't always listen to that advice, and Brownie McGhee now joins the list of artists that I never saw perform. This is a very self-indulgent post; thanks for reading. Still waiting to see Yank Rachell, Bill Doggett, and Henry Townsend.... Sara ========================================================================= Date: Mon, 19 Feb 1996 09:45:36 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Liner notes Comments: cc: Bruce Roberts Bruce Roberts asked, "Do people get paid to write liner notes?" Darned right we get paid for liner notes! Those of us on the list who do this for a living-or a part of a living-certainly do! Richard Shurman, Mary Katherine Aldin, Richard the Younger and yours truly for starters (and I'm sure there are more) do all sorts of work in this field, and our fees (well, MY fees!) range between $150 and $300, with more when elaborate and extensive research is called for. I'm just about to do notes for a five-CD Sleepy LaBeef set, and I've just done some extensive ones for a Jim Croce project, and some short ones for the new Holmes Brothers album on Stony Plain. Mary Katherine does a superb job-check out her notes for the new Vanguard Newport Festival blues and gospel records-and her only rival (if she'll forgive me!) is my mate Colin Escott here in Toronto, who's done marvellous notes for Hank Williams reissues and even the new Perry Como box set! Seriously, good liner notes provide info on the music and the artist, and set a "tone" for the release; hopefully they enhance the listening process. Richard the Elder ========================================================================= Date: Mon, 19 Feb 1996 08:53:09 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: TJB Schedule Correction & Teddy Reynolds Comments: cc: William Shute There was a mistake in the schedule I posted earlier: ---------- Forwarded message ---------- From: jgriffin@UH.EDU >2/22/96 Billy Blues BBQ Houston, TX 8pm - 12am CORRECTION Johnny's 68th Birthday Party >3/1/96 Big Easy Social & Pleasure Club Houston, TX 9pm - 1am CORRECTION Fundraiser for Teddy Reynolds Here is some more news about Teddy: Jeff, I have just recently started working at U of H and suddenly have access to all these toys. Anyway, I've seen your name pop up a few times and I appreciate the plugs for TJB. The above list needs some corrections. The show at Billy Blues on the 22nd is JB's Birthday and the March 1 date at the Big Easy is Teddy's fund raiser. Very large thanks for putting this news out. I visited Teddy on Thursday of last week and he has lost a bunch of weight. The places on his leg where they pulled the veins for his bi-pass are finally starting to heal, but, because of the circulation problems he has had, he is going to lose a couple of toes on his right foot. He's in good spirits though and he should be getting out of the hospital soon. Once again, Thanks for the help. _____________________________________________________________________ Grif JGriffin@UH.edu The views stated in this posting reflect personal opinions. ========================================================================= Date: Mon, 19 Feb 1996 09:26:41 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: cd sale & Otis Spann I was in Best Buy this weekend and picked up Otis Spann - Blues Never Die on cd for 7.99. They also had lots of Albert King (Blues at Sunset and others), a Brownie McGhee (on Prestige) a few Lightnin Hopkins on Prestige, and some Jazz stuff (Monk) as well. All cds were 7.99. BTW, the Otis Spann is great! James Cotton is an underappreciated blues talent, IMHO. -Jeff (no affiliation, blah, blah, blah) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Mon, 19 Feb 1996 15:33:46 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: A Microphone Question Comments: To: bit-listserv-blues-l@uunet.uu.net In , Prince Of Venus writes: >I would say, don't use a Green Bullet on vocals or your National unless >you want the crappy, distorted sound that will result. > >I had a blast using the Green Bullet for lead vocals once - it didn't sound > 'vintage' >to me, but it was... err... interesting. A primitive sound is good for a novelty, and sometimes I sing through my bullet while I'm playing, but like habanero peppers and chewing tobacco, a little bad'll do ya. BBB B.B. Bean bbbean@cris.com Peach Orchard, MO http://www.cris.com/~bbbean ========================================================================= Date: Mon, 19 Feb 1996 15:47:30 GMT Reply-To: Tommy Jansson From: Tommy Jansson Organization: Uppsala university Subject: J. Rosenquist dead. Comments: To: bit-listserv-blues-l@uunet.uu.net One of swedens most active bluesreporters, Janne Rosenquist, died in=20 diabetes a couple of weeks ago. He died at 49 years of age. He was among=20 the ten first members in Scandinavian Blues Association and he worked to=20 spread the blues from 1969 and forward. I didn=B4t know him personally bu= t=20 he his articles made me discover Mckinley Mitchell, ZZ Hill, James Carr,=20 Spencer Wiggins. If it hadn=B4t been for him I=B4d still be listening jus= t to=20 Muddy Waters! The Scandinavian Blues Association has started a=20 memorialfund in behalf of Mr Rosenquists memory. He will be missed among=20 the swedish blueslovers. =20 ========================================================================= Date: Mon, 19 Feb 1996 09:36:04 CST Reply-To: JBards From: JBards Subject: Re: Mac Users! Non-Blues Comments: To: Shaun T Cronin First Choice is not shareware but it's supposed to be really good. We use Lotus CC mail and it crashes frequently. jim _______________________________________________________________________________ Subject: Mac Users! Non-Blues From: Shaun T Cronin at INTERNET-SH Date: 2/18/96 11:45 PM Just a quick question. What is the e-mail program of choice for Macs? I use Eudora. Is there a better share/freewafe program out there? TIA Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Mon, 19 Feb 1996 16:11:59 GMT Reply-To: Art Schuna From: Art Schuna Organization: UW-Madison Subject: Regional Blues Styles Comments: To: bit-listserv-blues-l@uunet.uu.net I've been reading Bruse Bastin's book, "Red River Blues" which is a great history of Southeast US blues styles and about half way through it, I began to think that the Southeast or Piedmont style of blues doesn't exist anymore. Sure, Cephas & Wiggins play in a Piedmont style and there may be pockets of local artists who play in that style, but I can't think of other commercial artists. This got me to thinking about Barry's post asking for help in recognizing regional styles. I wonder if the reason for his problem is that regional styles are less recognizable today than they were in the pre-60s era. The blues developed at a time when we didn't have recordings or media. An artist learned from those around him and they didn't travel all as much as today's artists so exposure to other styles was limitted. Records helped to spread styles, but I would wonder whether they had much effect in the 20s and 30s. My guess is that stores stocked the 78s that customers requested and they would tend to request artists that they may have heard so there would be few Piedmont artists' recordings in the Delta for example. Radio changed that to some degree initially and to a much larger degree today. If you look at playlists posted to Blues-L you find most DJs cover the full range of blues styles. Early radio was probably more regionallized. I was in Memphis last weekend and tuned into WEVL on Friday night. I was surprised to hear that the DJ I listened to played pre-60s Delta blues only, I can't remember even hearing any Chicago artists. When he played Sonny Boy II, it was Jackson, MS Trumpet label recordings, not Chess. Now this was just a one shot listen and may not be typical of the station or that DJ, but I wonder if this kind of play list would tend to keep the regional style alive. The Delta style of playing still exists and is very much alive. You can hear it in the Fat Possum artists (RL Burnside, Jr. Kimbrough, Paul Wine Jones, Cedell DAvis), even though technically these artists aren't geographically in the Delta. Big Jack Johnson, Lonnie Pitchford and a number of other artists old and new would also be included. Until recently, these artists played mainly in the local jukes and learned from each other. The older practitioners of course learned from the Masters. But, watching the Burnside family and Kenny Brown backing RL, you can bet that this tradition will continue. West Coast blues style still exists but I'm not aware of any younger artists to take there place. Charles Brown and Lowell Fulsom would fit this style. It has a jazz influence not heard elsewhere and T-Bone Walker was a major influence on the development of this style. (again, if anyone knows of newer commercial artists who fit this style, let me know). West Side Chicago blues was a later development and some of the originators are still playing. Examples of artists in this style Otis Rush and Luther Allison. It has a more urban sound than the Classic Chicago, delta-influence blues and some rock influence. I'm not sure of this, but I wonder if people like Chuck Berry may have influenced this style. The Classic Chicago style is alive in that a number of the originators and those who played with them are still performing. I am concerned about the future of this style except for people who mostly cover the classic artists and there songs. I think I can pick out a distinct Texas blues guitar style as it can be instantly recognizable to me even if I don't know the artist. But I would be hard pressed to try to describe it. There also seems to be many new artists who play in this same style so it seems healthy. Many new artists are fans of the music before they become performers and have the luxury of hearing and buying a wide variety of styles. They may bave teachers who have them practice songs from a wide variety of styles. Earlier artists' mentors were less likely to have a number of styles that they could teach their disciples. Also, I think there is a greater tendency for a new artist to try to emulate a performer than a performance style (e.g. the Stevie Ray Vaughn clone discussion). Another factor is where the artist grew up. If you live in an area that does not have a recognizable blues tradition, you're probably more likely to play in a variety of styles (my theory only). Well, I could go on and on. As I told Barry in a private post, it's President's Day and I'm on a holiday so I have. Since I don't traditionally celebrate the holiday, I have extra time on my hands. But I would be interested in the comments of others on this. I would be especially interested in those who disagree with those "unhealthy" blues regional styles and what new commercial artists you think fit that style. The best way to learn about styles is to find recordings by those classic artists who fit that that style. A standard reference like Cohn's book, Nothing But the Blues or books that cover the regional styles could give you a list of the artists. Art Schuna ========================================================================= Date: Mon, 19 Feb 1996 10:31:32 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Born Too Late/Brownie -Reply Comments: To: soxton@CHE2.CHE.UMN.EDU Sage advice! Too bad we wait to eulogize these guys AFTER they're gone, instead of before. How many of the nice posts already posted on BLUES-L since Feb. 16 would Mr. McGhee have liked to read, which now are impossible to convey. I say, write now, eulogize later! humbly with sadness, delta doc roger ========================================================================= Date: Mon, 19 Feb 1996 10:47:10 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0073 From: "DUTTWEILER.J" Subject: "Monster" Mike Welch Date: Monday, 19 February 1996 10:47am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: "Monster" Mike Welch I've been reading some press lately about this "kid" from Boston, I think, named Mike Welch. He has a CD out on Tone-Cool titled "These Blues Are Mine." Anybody out there know anything about him? Is he just the latest guitar "wunderkind," or can he really play some blues? Just curious. JD ========================================================================= Date: Mon, 19 Feb 1996 11:38:26 -0500 Reply-To: Dave Markovits From: Dave Markovits Subject: Fat Possum Show Chicagoans had the pleasure of the Fat Possum crew returning Saturday night. The show was at Buddy Guy's Legends. There were more people in that club than I have ever seen, it was loaded. Even for Buddy shows they sell a limited amount of tix. A great time though. Firstly Dave Thompson; I don't have Dave's record. A couple of friends really enjoy it. This is the third time I have seen him perform. I don't see where the raving comes from. I am just not inspired, he's a good warmup band. The first two times I saw him I considered it to be Kinsey Report light. If you listen to clean contemporary Blues he might be your bag. The show was a decent start though. Paul "Wine" Jones; What can I say? I haven't seen Paul on any trips to Mississippi and he's never played here. He was killer. Lot's of boogie, some of it was in the Burnside vein ,but totally different. He rocked up a storm and had the place moving. I know he's from the Delta. Does anyone know where he lives? R.l. Burnside; R.L. took the stage at 1:00 a.m. He rocked it. Goin' Down South, Shake em' on Down, Boogie till the break of day. Kenny Brown and R.l. complimented each other extraordinarily well. I have seen R.l. a lot in every setting you can imagine. Brown was on top of his game when he was told to lead a few times. R.l. joked as he always does and really seemed to enjoy himself. The cover was 10 bucks.(well worth it!) The club had posted announcements saying Junior Kimbrough was supposed to be there. It didn't say it in the Reader(newspaper) My friend called Friday and Legends said the aforementioned were playing with that other guy. My friend said Junior Kimbrough and they said yes. The club should know who they booked and who they didn't oh well . You should definitely check these guys out if they hit your town. The m.c. introduced R.L. as being from Hollingsworth, Mississippi if you can believe that. Oh well. Happy Bluesin' David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Mon, 19 Feb 1996 11:53:18 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Jeff Seale & James Cotton Comments: To: Jeff Seale In-Reply-To: On Mon, 19 Feb 1996, Jeff Seale wrote: > James Cotton is an underappreciated blues talent, IMHO. If you are talking about the "real world" then certainly he is not underappreciated - he's unknown. As far as the blues world goes I disagree. I don't know many blues fans who do not know the name, respect the man or listen to his material. Barry - gonna drop a JC into the carousel right now to be sure he's not underappreciated :). NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 19 Feb 1996 11:43:29 EST Reply-To: TSCHANZ@VM.TEMPLE.EDU From: "William R. Tschanz" Organization: TEMPLE UNIVERSITY Subject: the chase is on....... Thank you very much fellow blues-l'rs for your responces. I believe that with your help I will now be able to put together a very special set not often heard in this area. Thanks again.....and keep those toes a-tappin. Best Wishes to you all...........Billy the Kid. ____________________________________________________ | > | WILLIAM R. TSCHANZ TSCHANZ@VM.TEMPLE.EDU > | CIVIL ENGINEERING WRTSCHANZ@AOL.COM > | TEMPLE UNIVERSITY ----------- > |___________________________________________________> ========================================================================= Date: Mon, 19 Feb 1996 09:35:01 -0800 Reply-To: SarasotaSlim@EWORLD.COM From: Gene Hardage Subject: Re: WFBE Blue Highway Playlist for 2/17/96 Comments: To: BLUZMANED@aol.com To whom should I send one of my CDs for your radio shows? Thanks Gene Hardage 813/822-6615 fax 822-6601 ========================================================================= Date: Mon, 19 Feb 1996 12:56:55 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Regional Blues Styles Comments: To: aaschuna@facstaff.wisc.edu, mkaldin@beachnet.com In an excellent post on regional blues styles, Art Schuna writes: > I wonder if the reason for his problem is that >regional styles are less recognizable today than they were in the pre-60s >era. -- In the portion I cut, Art proposes that nationally oriented playlists have caused regional styles to be 'swamped.' I think that is true, but an even greater impact is that local independent labels are not as active as they once were. In the 50s through 70s, there were a number of record labels in Memphis recording local music and even pushing regional styles into the national scene: Sun, Stax, Hi, Goldwax, and (no blues content) Ardent, for instance. Similar local labels can be listed for New Orleans and Louisiana, or, for that matter, Detroit, Chicago, etc. I don't think Memphis is alone in loosing this vibrant independent scene. There are still good independents out there, but not in numbers. >The blues developed at a time when we didn't have recordings or media. An >artist learned from those around him and they didn't travel all as much as >today's artists so exposure to other styles was limitted. That one I disagree with. One of the astounding things about both Memphis and Dockery, Mississippi as "incubators" for the blues is the incredible variety of blues styles (from all regions) that could be heard in those places. The list of musicians who could be heard playing in jukes or even on the streets in those places from the beginning of blues is literally astounding. I do know of places that developed insular styles of their own, apparently through isolation (Bentonia, for instance, home of Skip James and Jack Owens) or that preserved older styles because of the stability of the community (fife and drum in Como, for instance), but the really spectatular developments in blues history have been in communities where there were a lot of new people moving in and out. Here I go back to the people coming into Dockery in the teens and twenties and Memphis in the twenties and thirties (or yet again in the late forties and fifties). Chicago in the forties may be an even better example. >I was in Memphis last >weekend and tuned into WEVL on Friday night. I was surprised to hear that >the >DJ I listened to played pre-60s Delta blues only, I can't remember even >hearing any Chicago artists. When he played Sonny Boy II, it was Jackson, MS >Trumpet label recordings, not Chess. Now this was just a one shot listen and >may not be typical of the station or that DJ, but I wonder if this kind of >play list would tend to keep the regional style alive. I know that radio show-- it is the "blues cruise," with Captain Pete and for years has been one of the great blues radio shows I know. The dj knew blues figures for years, and plays the real thing. I may not have the name right; Barry Bean is out there on this list somewhere and correct me if I'm wrong. I think you happened on a "Memphis only" show. Some nights he gets obsessed other things; one night it was Muddy Waters and Redd Foxx comedy routines alternating (many of which were not quite suitable for airplay, but the dj didn't care). Probably the best show was one night during which the dj and R.L. Burnside drank beer, played blues records (lotsa Muddy that night), and R.L. performed a few. I have that one on tape. Anyone in town for Memphis in May should check that show out. >The Delta style of playing still exists and is very much alive. You can hear >it in the Fat Possum artists (RL Burnside, Jr. Kimbrough, Paul Wine Jones, >Cedell DAvis), even though technically these artists aren't geographically in >the Delta. Welllllllll--- I've gone into this one before. R.L. and Jr. are "culturally" not the delta. R.L. has much stronger musical ties to the delta than Jr., but they are not (and this is more than a technical quible) Delta blues. What they do represent, though, is surviving regionalism. R.L. has clear connections in material and performance to Fred McDowell and Como, MS, right on the edge of the Delta (and very near Chulahoma, where they perform). Junior is evermore a product of the area of the hills he has never left. Tom Freeland ========================================================================= Date: Mon, 19 Feb 1996 12:58:45 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Liner notes Comments: To: rflohil@inforamp.net It should be noted that liner notes is an officially recognized category by the recording industry and the Grammy they present is exactly the same of "Song of the Year" or any other. With all due respect to Mary Katherine Aldin, Richard The Elder and others, the most sought after writer in this particular field is Peter Guralnick. He has won at least one ("Sam Cooke: Live at the Club Harlem") and has many other nominations. I should also add that Peter does not select his projects based on money or label size. If he likes the music, he'll do it. Dick Waterman ========================================================================= Date: Mon, 19 Feb 1996 13:10:32 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Blues on TV Tomorrow night (Tuesday) at 9 P.M. on the Disney Channel - The excellent 1972 film, "Sounder" which features music performed by Taj Mahal, will be shown. It is repeated at 3:35 AM in case you miss it and want to set the VCR. P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 19 Feb 1996 13:32:23 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Blues on TV WEDNESDAY, FEBRUARY 21st 6:00 pm - BRAVO - The South Bank Show: In Search of Robert Johnson - John Hammond reviews the career of the legendary blues man P-Dub Tampa, Florida ----------------------------------------------------------------------- Go check out Dick Waterman's snapshots on the web somewhere ----------------------------------------------------------------------- ========================================================================= Date: Mon, 19 Feb 1996 11:02:01 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Feb. 20 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BRACKEN, JAMES C. (co-owner: VEE JAY REC) d. 1972-0220, CHICAGO, IL 62 BRYANT, BEULAH [BLOOMA WALTON] (v) b. 1918-0220, DAYTON, AL CHAVEZ, MANUEL "MANNY" (of THE JAGUARS) b. 1937-0220, LOS ANGELES, CA COOPER, PAUL (b v/THE NYLONS) b. 1950-0220, CHATTANOOGA, TN MCCALLA, NATHAN C. (owner : CALLA REC) d. 1980-0220, FORT LAUDERDALE, FL -- MOORE, PHIL (arr/BLACK & WHITE REC) b. 1918-0220, PORTLAND, OR WILSON, NANCY (v) b. 1937-0220, CHILLICOTHE, OH WORTHINGTON, HAL (of THE UNIFICS) d. 1990-0220, WASHINGTON, DC 42 YANCEY, JIMMY (p) b. 1898-0220, CHICAGO, IL ------------------------------------------------------------------------------- ========================================================================= Date: Sun, 18 Feb 1996 18:58:38 GMT Reply-To: Undetermined origin c/o LISTSERV maintainer Comments: RFC822 error: Mail origin cannot be determined. Comments: RFC822 error: Original tag data was -> (Jack Oudiz) From: Undetermined origin c/o LISTSERV maintainer Subject: Re: THE REAL DEAL: Primer vs. Wilson Comments: To: bit-listserv-blues-l@uunet.uu.net YEah Primer is the real deal alright. If this album doesn't establish both he and Billy Branch as the premier bluesmen of their generation than all hope is lost. And anyone who still thinks that traditional Chicago blues needs to be "modernized" after listening to this CD ought to just stop smoking those funny smelling cigarettes. This album is a masterpiece! ========================================================================= Date: Mon, 19 Feb 1996 19:35:30 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: Brownie McGhee; Dead at 80 Barry Bean (bbbean@CRIS.COM) wrote: : When I was a kid just learning to play, I logged thousands of hours : listening to Sonny & Brownie. They had a profound influence on my early : understanding of the blues, and I imagine most players of my generationm : would cite a similar experience. A life well lived. Amen to that, Barry. New Year's 1965. I'd been playing guitar for about a year and a half. Some friends of mine were having a New Year's party in Sequim, Washington, on the Straight of Juan de Fuca about 100 miles from Seattle. I was 18, my parents didn't like my friends, didn't trust me to take off for a couple days and forbade me to go. I picked up my guitar and walked out the door, an act of defiance that changed my life. Somebody at the party put on a Fantasy LP of Sonny and Brownie. "What the hell is THAT," I wanted to know. Suddenly, all that Kingston Trio stuff I'd been playing disappeared in a puff of smoke. When I got back to Seattle I went looking for that Fantasy album. I never did find it, but I did find several others, including Folkways FM 2327 (Sonny and Brownie Sing). That 1958 album still defines the basis of every acoustic blues I play today. All that syncopated backbeat stuff...I'm proud to say I stole it from Brownie. In 1978, Sonny and Brownie played the Rainbow in Seattle, where I gigged occasionally and was unofficial house photographer. I brought some photos down to Brownie at the sound check. (I brought some for Sonny, too, but...well, you know...he couldn't exactly look at 'em and say, "Cool.") Brownie jumped up on stage and wanted to play a bit, and he had his electric piano set up. He picked up his guitar, I sat down at the piano, and for the next 15 or 20 minutes we played all that stuff I'd been stealing for 13 years. He looked over at me and grinned that big beaming smile that was part of his trademark. I tell ya folks, if it gets any better than that I haven't heard about it. "My burden's so heavy I can hardly see Look's like everybody is down on me But that's alright, I don't worry 'Cause there will be a better day." (Better Day) ============================================================================ Jef Jaisun eljefe@netcom.com ============================================================================ -- ========================================================================= Date: Mon, 19 Feb 1996 14:40:51 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Brownie McGhee on Morning Edition (Public Radio) This morning, Morning Edition ran a nice tribute to Brownie McGhee. Bob Edwards narrated it, and it included excerpts from an interview he did last year with McGhee, and recordings through various stages of McGhee's career, both with and without Sonny Terry. There was even discussion of the period during which McGhee recorded R&B. Tom Freeland ========================================================================= Date: Mon, 19 Feb 1996 17:05:26 GMT Reply-To: Patrik_Urbansson@online.idg.se From: Patrik Urbansson Organization: IDG Online, Stockholm, Sweden Subject: Writers in USA again First of all I would like to thank everyone who answered my email about a columnist for Crossroads newsletter. Second I would like to apologize for not making myself clear. Crossroad Blues Society and our newsletter are not in any way commercial and therefore not able to pay a columnist. We all work for free and we always depend on people who wants to work for free. I don't know if a Blues society in USA works this way but this is how it works in Sweden. Speaking for myself, I see this as a chance to get writing experience and a chance to use my computer. As you understand I'm still looking for a writer (or someone with the ambition to be a writer, or someone who just likes to write) who wants to write about the Blues scene and life in USA, sort of bringing our members closer to the Blues, and you have to do it for free. The newsletter is issued four times a year and I would like 400-500 words each time and the material will not be translated. If I'm asking to much just ignore me.:-) Patrik ========================================================================= Date: Mon, 19 Feb 1996 12:01:19 -0800 Reply-To: Steve Murray From: Steve Murray Subject: Fwd: Brownie McGhee is dead (from Reuters} just came over the wire: Monday February 19 7:40 AM EST Blues Great Brownie McGhee Dies SAN FRANCISCO (Reuter) - Blues great Walter Brownie McGhee, who formed a long-running duo with Saunders ``Sonny Terry'' Terrell, has died of cancer at a California hospital, a nursing supervisor said Sunday. He was 80. McGhee died last Friday at Summit Medical Center in Oakland, the city where he lived, the supervisor said. Singer-guitarist McGhee was best known for his partnership with Terrell, who died in 1986. The pair recorded dozens of albums over a career that spanned four decades, toured around the world and also appeared on Broadway and in movies. McGhee, born in Knoxville, Tennessee, suffered from polio as a child which left him with a limp. He dropped out of school at 13 to become a full-time musician. In 1939, he formed a partnership with Terrell, a blind harmonica player, and the pair became well-known for songs like ``Baseball Boogie'' and ``So Much Trouble''. The duo, who had their heyday in the 1950s and early 60s, often shared the bill with musicians Leadbelly and Woody Guthrie. ``I didn't know whether we would turn out to be a great team. But we did,'' McGhee said in an interview published last year, refering to his partnership with Terrell. ``We didn't go up and down, we went straight up and left footprints in the sand of time.'' Making a stand against racism, McGhee refused to play at venues where whites and blacks were segregated. McGhee and Terrell appeared in the original 1955 production of ``Cat on a Hot Tin Roof'' and in several movies, including the 1957 film ``A Face in the Crowd''. McGhee, who also made a number of television appearances, was inducted into the Blues Hall of Fame in 1989. McGhee and his wife Ruth, now deceased, had five children. ========================================================================= Date: Mon, 19 Feb 1996 12:02:20 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: A TRIBUTE TO BROWNIE MCGHEE (1 of 4) Comments: cc: LKnight1@aol.com, tony@bluestb.demon.co.uk WALTER BROWN "BROWNIE" MCGHEE was born Tuesday, November 30, 1915, Knoxville, TN. He died on Friday, February 16, 1996, Oakland, CA., Summit Medical Center. The following was posted on November 30, 1995 & is available on Gary Joneson's BLUESWEB site . I'm reposting it for those who do not have a web browser or who have just joined BLUES-L. "Probably the most underrated, or at least underappreciated, bluesman on the planet, Brownie McGhee is a master musician whose most familiar recordings have for some time been out of vogue with current tastes in blues. The same music that made Brownie and his partner Sonny Terry a hot item during the boom years of folk music now tends to be dismissed as too smooth and folksy for contemporary fans, not raw enough for country blues aficionados, and not hard-hitting enough for the more electric-oriented crowd. While perhaps the folk-blues routine was overdone, it is still a disservice to dismiss Brownie McGhee and his music, for he has written and recorded many fine blues in a variety of styles since his recording career began in 1940. For ears not attuned to the folk idiom, McGhee's 40s output as the Piedmont successor to Blind Boy Fuller, the early postwar electric guitar combo sides from New York, and various post-Sonny Terry albums with different bands will all provide different and sometimes surprising perspectives; for the folk/blues fan, the Terry-McGhee collaborations still set the standard." ~ Jim O'Neal, ALL-MUSIC GUIDE "Brownie McGhee was among the last generation of blues musicians with deep country and traditional ties that maintained some level of popularity into the '50s. The onslaught of electrified, urban blues would change the music's direction and result in many Delta and country artists losing stature among the genre's core constituency. But McGhee managed to continue working, both with longtime musicaL companion Sonny Terry, and as a solo act." ~Ron Wynn, ALL-MUSIC GUIDE I've asked Tony Burke , editor of BLUES & RHYTHM : THE GOSPEL TRUTH, if he would share with us the Brownie McGhee tribute published in BLUES & RHYTHM #105 (December 1995). For subscription information to B&R, email or visit their Web Site on BLUES WORLD /. As for details concerning Brownie's The B.I.T. Foundation (Blues Is Truth), a non-profit organization "devoted to the blues and will support music students with scholarships, musicians and researchers of the blues with a variety programs", Leslie Ann Knight , his biographer, will be glad to email you details. While you're at it, ask Leslie about the new Australia CD featuring Brownie McGhee & The Elmer Lee Thomas Blues Revue. pt. 2 : HAPPY BIRTHDAY, BROWNIE MCGHEE pt. 2 : BLUES & RHYTHM feature pt. 3 : HAPPY BIRTHDAY, BROWNIE MCGHEE pt. 3 : BLUES & RHYTHM feature con't pt. 4 : HAPPY BIRTHDAY, BROWNIE MCGHEE pt. 4 : CD DISCOGRAPHY ========================================================================= Date: Mon, 19 Feb 1996 13:05:53 -0500 Reply-To: Peter Welch From: Peter Welch Subject: McGhee & Spruill...New York Blues Legends Sad weekend indeed for Blues fans. I second all the tributes to Brownie McGhee...Even NPR this morning did a story on Brownie, including mentioning his more uptown R&B recordings in the early 50s, a period in his career that is often overlooked. For a good sampling of these, check out Brownie's "Jumpin' The Blues" LP on the Savoy Jazz label (if you're lucky enough to find it) or the Brownie McGhee CD on the British "Travelin' Man" label. The Savoy stuff is great, but unfortunately it's now out of print. Maybe Denon will reissue it on disc. Wild Jimmy Spruill's death was equally sad. One of the greatest session guitarists ever, rivalling people like Mickey Baker and Wayne Bennett, Jimmy Spruill's best work was for Bobby Robinson's Fire/Fury label in New York. Of course, his most famous solo is on Wilbert Harrison's "Kansas City", where "Wild" certainly fits with his style. A few years ago, the British Krazy Kat label issued a terrific LP called "Jimmy Spruill, The Hard Grind Bluesman", which is definitely worth seeking out. This has some of the few instrumentals under his own name plus other rockin' cuts backing other Fire artists. I believe there is a CD version of this on the Japanese P-Vine label, which will probably cost you $20 or more. Although I'm not that familiar with Jimmy's more recent recordings, which he would sell at his shows, I understand they are pretty good as well. (I know some others on this list are more familiar with his cassette releases.) Brownie McGhee & Jimmy Spruill, two New York/East Coast blues greats whom we should never forget. -P ========================================================================= Date: Mon, 19 Feb 1996 12:29:54 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: A TRIBUTE TO BROWNIE MCGHEE (2 of 4) Comments: cc: LKnight1@aol.com, tony@bluestb.demon.co.uk Published in BLUES & RHYTHM : THE GOSPEL TRUTH (issue #105, December 1995). For subscription information to B&R, email or visit their Web Site on BLUES WORLD . A WHOLESALE DEALIN' PAPA - BROWNIE McGHEE AT 80 by Chris Smith Eighty years ago the blues harvest had a good vintage, as the 1995 Chicago Blues Festival noted in making its theme the class of 15: MCAs recent tie-in CD features Muddy Waters, Robert Lockwood, Honeyboy Edwards, Memphis Slim, Johnny Shines and Willie Dixon. Also on board are Wynonie Harris (born 1913, but what the hell) and Brownie McGhee. It's sad, if not surprising, that most of those names are now dead, and it's also sad that while Lockwood and Edwards get their full share of attention from the blues media, Brownie McGhee is often overlooked, and sometimes slighted when he is noticed. Until he needed a passport in 1958, Brownie himself thought that his date of birth was 30 November 1914, and indeed he celebrated his 80th birthday last year; but the official records say 1915, so enabling us to note the anniversary a second time. This article looks back over a very long career of performing and recording, and tries to point readers in the direction of a few recordings that may provoke a reassessment of Walter Brown McGhees talents. The obvious place to begin is the Columbia Legacy double CD (475700 2), which contains all (or perhaps not quite all - see sidebar) of Brownies OKeh/Columbia recordings, alternate takes, unissued sides and all. Blues lovers will be forever in Larry Cohn's debt for this release, although I suspect that few of them will want to play all 41 tracks on the trot. They are the work of a youngster who was already much more than the Blind Boy Fuller #2 that OKeh wanted to market: Brownie was already a strong songwriter, with a fluent guitar style and a clear, confident delivery. Heard at length, these early sides can blend into each other, but they are obviously the work of an up and coming musician. It's impossible to discuss Brownie McGhee without mentioning Sonny Terry, whose harmonica had replaced that of Jordan Webb by 1942; they had successful separate careers as both name artists and accompanists, but Sonny and Brownie were for years inseparable in the minds of blues fans. They don't seem to have been close friends: Kent Cooper overheard a bitter argument in 1968 about the split of a fee for a concert that happened in 1940! Nevertheless, together they had a drawing power that they didn't possess apart. By the time the duo split up in 1982, they were like a couple stuck in a bad marriage: there's a CD of a 1980 gig in Germany (I deliberately omit details), which shows how bad things had got, with Terry playing across McGhees singing, and McGhee playing in impossible keys for Terry. In their prime, though, they were a live act to reckon with: try At The 2nd Fret (OBCCD-561-2), cut in Philadelphia in 1962, to hear them as a flawless team, supporting and pushing each other, and manipulating the audience with a careful mix of jokes and charm. In the rediscovery era of the sixties, Terry and McGhee seemed old hat, the sort of thing that appealed to - yuk! - jazzers. They were also not the new blues fans idea of a blues singer. Brownie, in particular, was articulate, almost cultivated in his diction; on live recordings, he sometimes sounds like Duke Ellington when he addresses the audience. One of Brownie's best songs was called Living With The Blues, but like Big Bill Broonzy, he seemed to be presenting, rather than living, the blues - and like Broonzy, he fell out of favour when the ideal blues singer became either a demon-haunted illiterate who had come straight from the bottomlands onto the stage, or a ferociously amplified Chicagoan with an all-electric band rampaging behind him. I exaggerate, of course, but so did those who reacted against McGhee's so-called folk-blues. The folk-blues phobics were usually unaware that in the forties and fifties McGhee had pursued a successful career in New York making tough R&B recordings that were aimed squarely at black purchasers. With electric guitar, saxes, and rocking piano, these are a fine body of work, and Brownie was not without his share of hits: the suave My Fault, with Hal Singer on tenor, was a massive seller, and the romping Baseball Boogie spawned follow-ups in New Baseball Boogie and Robbie Doby Boogie, in praise of black players Jackie Robinson and Larry Doby. Bruce Bastin has made the case for Brownie's recordings from this era both in print - see Red River Blues - and on disc: Travelin Man CD 04 and Krazy Kat CD 08 (a Jack Dupree record with McGhee prominent in accompaniment) should not be missed. Other CDs in this vein are Climbin Up (Savoy Jazz SV-0256) and Hometown Blues (Columbia Legacy JK/T 53625), which contains recordings made for Bob Shad's Sittin In With. There's as yet no sign of a CD transfer for the brilliant Jumpin The Blues (Savoy LP 1204), but we can hope. There's still plenty of good stuff unreissued, too, like the amazing Christine (Harlem 2323). ... continued in next posting pt. 1 : HAPPY BIRTHDAY, BROWNIE MCGHEE pt. 1 pt. 3 : HAPPY BIRTHDAY, BROWNIE MCGHEE pt. 3 : BLUES & RHYTHM feature con't pt. 4 : HAPPY BIRTHDAY, BROWNIE MCGHEE pt. 4 : CD DISCOGRAPHY ========================================================================= Date: Mon, 19 Feb 1996 15:45:19 -0500 Reply-To: HippieLady From: HippieLady Organization: America Online, Inc. (1-800-827-6364) Subject: Re: THE REAL DEAL: Primer vs. Wilson Comments: To: bit-listserv-blues-l@uunet.uu.net I have em both. They're both "real deals." :) Beverly ========================================================================= Date: Mon, 19 Feb 1996 13:14:33 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: A TRIBUTE OF BROWNIE MCGHEE (3 of 4) Comments: cc: LKnight1@aol.com, tony@bluestb.demon.co.uk Published in BLUES & RHYTHM : THE GOSPEL TRUTH (issue #105, December 1995). For subscription information to B&R, email or visit their Web Site on BLUES WORLD . BROWNIE'S FIRST RECORDING? by Chris Smith Precious Lord by Brother George and His Sanctified Singers is said to have been recorded on 19 June 1940 at a Blind Boy Fuller session, and the personnel is given by B&GR as Fuller, guitar, Sonny Terry, harmonica, and Bull City Red, vocal/washboard. Bruce Bastin pointed out the presence of a second harmonica, aurally Jordan Webb, in Red River Blues, but there seemed to me to be another problem, in that the singers dignified clearly articulated, rather stiff baritone sounds nothing like Bull City Red. Then it dawned on me: if Jordan Webb, who was Brownie McGhees harp player at the time, was present at the session, it seems logical that McGhee should have been too. J.B. Long, having just begun to manage McGhee and Webb, would have wanted OKeh to audition them, the more so, perhaps, since Fuller was very ill by this time. The matrix number of Precious Lord is WC-3154; 3150 to 3153 by Charlie Spand were made the previous day, and I suspect that 3154 was also cut on 18 June, before the Fuller session, and without his knowledge. The singing on Precious Lord is lower pitched and less relaxed than we are used to from McGhee, but this is explicable by a combination of the sacred song text and debut nerves. Guido van Rijn, who had research questions of his own to ask Brownie, kindly offered to make enquiries on my behalf. I quote from Guidos letter to me: I asked if he ever recorded with Blind Boy Fuller. No, he had never been in the same studio with Fuller. I next played him Precious Lord and he was amazed. It was definitely Fuller on guitar and McGhee himself singing. Brownie laughed loudly: this was really impossible, someone had doctored two recordings. This was perhaps not the best way to frame the question, but the fact remains that Brownie recognises himself singing on Precious Lord. Obviously, the recording can't have been doctored as he suggested, and since Brownie insists that he never recorded with Fuller, the presumptive lineup becomes: McGhee, vocal/guitar, Terry and Webb, harmonicas, and Red, washboard, making this both the first Brownie McGhee record, and the first Sonny Terry and Brownie McGhee record. ... continued in next posting pt. 4 : HAPPY BIRTHDAY, BROWNIE MCGHEE pt. 4 : CD DISCOGRAPHY ========================================================================= Date: Mon, 19 Feb 1996 13:20:27 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: A TRIBUTE TO BROWNIE MCGHEE (4 of 4) (CD DISCOGRAPHY) Comments: cc: LKnight1@aol.com, tony@bluestb.demon.co.uk WALTER BROWN "BROWNIE" MCGHEE ----------------------------------------------------- 1915/NOV/30, KNOXVILLE, TN - 1996/FEB/16, OAKLAND, CA Yes, I'm a storyteller. I'm an entertainer, not a musician. I do use music, song and speaking to entertain. Musicians are a dime a dozen. Some people play too good. I never wrote a song I thought would sell. I wrote a song that would remind me of my memories. They remind me that I survived. Brownie McGhee March 26, 1995 Legendary blues man Walter Brown McGhee, affectionately known as Brownie virtually worldwide, died at Summit Medical Center in Oakland, California on Friday February 16th, 1996. Services will be held Noon Saturday February 24th at Fuller's Funeral Home, 4647 East 14th Street, Oakland, CA 94601 USA 510 436-3181. ~ Leslie Ann Knight, B.I.T. Foundation Publicist Feb 19, 1996 I'd like to thank Leslie Ann Knight for her help with this CD Discography. She tells me that Brownie's latest CD "Brownie's Blues" is available from Bob McKinnon, Goldstar Associates, P.O. Box 161, Gymea, 2227, N.S.W., Australia Tel: 011 61 2 521-6566 ; Fax 011 61 2 521-6277. According to the Newsletter of The Sydney Blues Society, The Blues Times #39 (Nov 1995), the editor Joe Macneil had this to say about the CD : "We've had a listen to the album tonight while doing the newsletter. We can thoroughly recommend this CD for all fans of acoustic Blues. The harmonica playing is first rate and Brownie is still as great as ever. Buy and enjoy!" SELECTED CD DISCOGRAPHY : BROWNIE MCGHEE ======================= A & M CD 829 : BROWNIE MCGHEE/SONNY TERRY - SONNY & BROWNIE ACE (UK) CD 502 : STICK MCGHEE & HIS SPO-DEE-O-DEE BUDDIES (2 Brownie) BESCOL CD 368 : BROWNIE MCGHEE/SONNY TERRY - GIANTS OF THE BLUES BLUE ROCK-IT CD 104 : BROWNIE MCGHEE - FACTS OF LIFE CAPITOL 2CD 29376 : VARIOUS - REDISCOVERED BLUES (w/Hopkins,Big Joe,Terry) CASTLE CD 120 : BROWNIE MCGHEE/SONNY TERRY - 1958 LONDON SESSIONS CHARLY CD 1109 : BROWNIE MCGHEE/SONNY TERRY - DRINKING IN THE BLUES COLLECTABLES CD 5171 : BROWNIE MCGHEE/SONNY TERRY - 1958 LONDON SESSIONS DCC DCZ CD 1081 : VARIOUS - HOPKINS/MCGHEE/TERRY - BLUES HOOT DRIVE CD 41005 : BROWNIE MCGHEE/SONNY TERRY - PO' BOYS FANTASY OBC CD 536 : BROWNIE MCGHEE/SONNY TERRY - AT SUGAR HILL FANTASY OBC CD 541 : BROWNIE MCGHEE/SONNY TERRY - JUST A CLOSER WALK WITH.. FANTASY OBC CD 561 : BROWNIE MCGHEE/SONNY TERRY - AT THE 2ND FRET FANTASY OBC CD 505 : BROWNIE MCGHEE - BROWNIE'S BLUES FANTASY CD 24708 : BROWNIE MCGHEE/SONNY TERRY - BACK TO NEW ORLEANS FANTASY CD 24721 : BROWNIE MCGHEE/SONNY TERRY - MIDNIGHT SPECIAL FANTASY CD 24723 : BROWNIE MCGHEE/SONNY TERRY - CALIFORNIA BLUES GOLDSTAR ASSOCIATES : BROWNIE MCGHEE & ELMER LEE THOMAS BLUES REVUE LEGACY CD 368 : BROWNIE MCGHEE/SONNY TERRY - GIANTS OF THE BLUES MAINSTREAN CD 902 : BROWNIE MCGHEE/SONNY TERRY - HOMETOWN BLUES MCA CD 3373 : VARIOUS - THE CLASS OF 15 (2 Brownie & Terry) MOBILE FIDEL CD 641 : BROWNIE MCGHEE/SONNY TERRY - SONNY & BROWNIE RHINO CD 70665 : VARIOUS - A TRIBUTE TO LEADBELLY RHINO CD 71295 : BROWNIE MCGHEE - RAINY DAY (Blue Labor/Tomato set) SAVOY JAZZ CD 256 : BROWNIE MCGHEE/SONNY TERRY - CLIMBIN' UP SEQUEL CD 120 : BROWNIE MCGHEE/SONNY TERRY - 1958 LONDON SESSIONS SMITHSONIAN CD 40011 : BROWNIE MCGHEE/SONNY TERRY SMITHSONIAN CD 40034 : BROWNIE MCGHEE - FOLKWAYS YEARS 1945-59 SONY 2CD 52933 : BROWNIE MCGHEE - COMPLETE (Okeh Recordings) (2CD) SONY CD 53625 : BROWNIE MCGHEE/SONNY TERRY - HOMETOWN BLUES STORYVILLE CD 8005 : BROWNIE MCGHEE/SONNY TERRY - VOL. 5 - BLUES MASTERS TOMATO CD269610 : BROWNIE MCGHEE - RAINY DAY TRAVELIN' MAN CD 4 : BROWNIE MCGHEE - 1944-55 pt. 1 : HAPPY BIRTHDAY, BROWNIE MCGHEE pt. 1 pt. 2 : HAPPY BIRTHDAY, BROWNIE MCGHEE pt. 2 : BLUES & RHYTHM feature pt. 3 : HAPPY BIRTHDAY, BROWNIE MCGHEE pt. 3 : BLUES & RHYTHM feature con't ========================================================================= Date: Mon, 19 Feb 1996 13:32:24 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Liner notes >It should be noted that liner notes is an officially recognized category by >the recording industry and the Grammy they present is exactly the same of >"Song of the Year" or any other. ...and good liner notes and a nice booklet and cover are (to me at least) extremely important in chosing which cd. to get. I think Rhino does a fantastic job along with several other re-issue companies... if I have a choice between a cd with no notes and one that has a set of notes, pics, etc, I'll take the one with the notes and booklet even if it costs a couple of bucks more. Which is what kind of frustrates me about BB King's Live at the Regal and several other cd's that MCA has released - sure they're cheap, but the packaging is a real dissapointment. Anyone know if they'll be re-doing these in the future with good package and info, or do they want to keep them as budget Nice Price disks on the sales racks? Oh yeah, one other thing to the liner notes writers out there...what kind of editorial freedom is there? Some of the best liner notes I've read (the notes for Rhino's British Invasion Set and Blues Masters Series) seem like they've been written with complete independance of the writer; some of the worst I've read have seemed like the writer was a shill for the company (like the Hollywood Dave Clark set, where the liner notes read like they were written by Dave himself). -Jim (hndful@uniserve.com) ========================================================================= Date: Mon, 19 Feb 1996 15:30:21 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Regional Styles Art Shuna raises an interesting point. I'm thinking just how much DOES the region of the bluesartist matter. For instance, Mississippi John Hurt grew up in inarguably the Mississippi Delta fertrue! But he doesn't play anything like a Delta Bluesman (in the generic sense of Son House, R. Johnson, Bukka White, etc.) He would most properly be referred to as a Piedmont style player. Delta Doc roger on the other hand, while of extremely limited repertoire, grew up in the Mississippi Valley, and now lives at the MOUTH of the Mississippi River....about as opposite as you can be to have grown up in the Mississippi Delta, but his style is inarguably Delta Blues. Are there other blatant examples of Bluesmen from "one region" sounding like bluesmen from another defined "region"? Perhaps the advent of radio and mass communications blurred the distinctions that might have been more pronounced before the advent of mass commumications. (by advent, i mean the growing body of those enabled to tap into the mass communication phenomena---for instance, a family in Miss. finally getting a radio, then a tv, etc.) ddr ========================================================================= Date: Mon, 19 Feb 1996 16:47:06 -0500 Reply-To: Skip Montanaro From: Skip Montanaro Subject: "Harmonica" Fats & Bernie Pearl - need a bluezeller in LA to help... I met Harmonica Fats and Bernie Pearl at the Folk Alliance Conference over the weekend and picked up their new CD ("Blow, Fat Daddy, Blow!", Bee Bump Records, CD 05) for my son, Joe. He loved it. I also got a "private" showcase by them when I showed up for the guerilla showcase in their room Saturday night about 11. It was awhile before anyone else showed up, so I got treated to several songs with a "solo audience". I especially liked "She's Way Out Of My Class" and "Blues for Mrs. B". The album is dedicated to Fats' late wife. I know little about them. Fats (Harvey Blackston) looks to be in his 70's or 80's. He lives in Watts and Bernie lives in Long Beach. They've been playing together with a band since '86 and as a duo for the past couple years. Fats' health doesn't seem real great at least from the casual encounters I had with him at the conference. I'm looking for a little assistance from a bluezeller in the LA area. Bernie, who does the business end of things for them, books their LA dates but doesn't have access to the Internet. Is there a 'zeller in the LA area who would be willing to keep in touch with Bernie and submit their dates to Musi-Cal? I'll get things set up at this end so you can submit things to the calendar as easily as possible. Other blues-related notes from FA... I attended a "Women in Blues in the Round" event at FA that Sandy Ross organized. I didn't make it for the whole thing (there was just too much music going on all over the place - I was constantly moving from one showcase to another). Besides Sandy, I saw Penny Lang, Ann Armstrong, Adie Grey, and Christina Olsen. I think there were a couple other performers who left before I got there as well. All solo, all acoustic, all cooked! Warning - this was definitely blues from a women's perspective. If you guys out there are worried about bruising your male egos, you might want to pass on their music... :-) I heard a bluesy clip from Chuck Brodsky's Web site at NOMA in a panel session where I was a panelist. You might want to tune your web radios to station http://songs.com/noma/cb/cbmusi.html and select the Victrola by "Blow 'Em Away". Just don't hop in your car and start cruising the freeways right afterwards... Skip Montanaro | Looking for a place to promote your music venue, new CD, skip@calendar.com | festival or next concert tour? Place a focused banner (518)372-5583 | ad in Musi-Cal! http://www.calendar.com/concerts/ "Used to be, a good day was when I got some work done. Now I'm happy to just make it through the mail..." -me ========================================================================= Date: Mon, 19 Feb 1996 15:51:22 -0600 Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: In search of a song! I am trying to find the original author of a song called "When the Rain Came". All I know about it is that it was purchased from Big Sambo Young in Houston, Texas. Any information would be greatly appreciated. Nuri Nuri ========================================================================= Date: Mon, 19 Feb 1996 14:04:25 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: SATCH SATCHELL, SAXOPHONIST, DIES AT 55 Comments: cc: Rory62@aol.com "Satch" Satchell, original sax player with The Ohio Untouchables/The Ohio Players, has died. Form in 1959 (Dayton, OH.), The Ohio Untouchables supplied the backup on a few classic deep-soul sides produced by Robert West, including the early recordings of Wilson Pickett with The Falcons : "I Found A Love" (LuPine,'62), "Take This Love I've Got" (Atlantic,'63) and "Let's Kiss And Make Up" (Atlantic,'63). As the Ohio Untouchables, they recorded (for LuPine) "She's My Heart's Desire" ('62), "I'm Tired" ('64), "Love Is Amazing" ('63) and "Forgive Me, Darling" ('63). All these recordings feature the interplay between Robert Ward's guitar and Satch's quivering tenor sax. The sound they captured in the studio is now familar to those who have Robert Ward's Black Top CDs (1063, 1088, 1089). After little success as The Ohio Untouchables, Ward left, and the group renamed themselves The Ohio Players, recording for TRC ('67), Compass ('68), Capitol ('68), finally having some success when they joined Armen Boladian Detroit-based Westbound label ('71-73) with hits like "Ecstasy" ('73) and "Funky Worm" ('73). But their horn-based street-funk really found a home when they joined Mercury Records, recording Top 10 R&B hits like "Fire" ('74), "Fopp" ('76), "O-H-I-O" ('77), "I Want To Be Free" ('75), "Jive Turkey" ('74), "Love Roller Coaster" ('75), "Skin Tight" ('74), "Sweet Sticky Thing" ('75) and "Who'd She Coo?" ('76). The Polygram CD 528102 : "Funk On Fire" is the best collection of their Mercury Recordings. Serious fans should check Michel Ruppli and Ed Novitsky's THE MERCURY LABELS : A DISCOGRAPHY (see reference below) for session details to their many Mercury albums. During this time, the group was plagued by federal tax claims, so much so that Satch Satchell himself served jail time (1982) for under- reporting income he earned during this time. After leaving The Ohio Players in 1978, he formed his own band (Satch & Co.), playing mostly around Dayton, OH. Clarence G. Satchell died of a brain aneurysm at The Good Samaritan Hospital, on Saturday, December 30, 1995, Dayton, OH. He was 55, and was survived by his wife (Rafat Nasrin Satchell), his father, a son, five daughters and six grandchildren. CD DISCOGRAPHY (featuring SATCH SATCHELL) ============== ACE/WESTBOUND CD 004 : OHIO PLAYERS - PAIN ACE/WESTBOUND CD 014 : OHIO PLAYERS - PLEASURE ACE/WESTBOUND CD 026 : OHIO PLAYERS - ECSTASY ACE/WESTBOUND CD 062 : PHIO PLAYERS - ORGASM CHARLY CD 8030 : OHIO PLAYERS - SUMMERTIME KTEL/QWIL CD 3058 : KOOL & THE GANG/OHIO PLAYERS POLYGRAM CD 528102 : OHIO PLAYERS - FUNK ON FIRE: MERCURY ANTHOLOGY (2CD) POLYGRAM CD 824461 : OHIO PLAYERS - GOLD POLYGRAM CD 848345 : OHIO PLAYERS - SKIN TIGHT POLYGRAM CD 848346 : OHIO PLAYERS - FIRE POLYGRAM CD 848347 : OHIO PLAYERS - HONEY POLYGRAM CD 848348 : OHIO PLAYERS - CONTRADICTION POLYGRAM CD 848349 : OHIO PLAYERS - ANGEL POLYGRAM CD 848350 : OHIO PLAYERS - MR. MEAN POLYGRAM CD 848351 : OHIO PLAYERS - JASS-AY-LAY-DEE PRIME CUTS CD 2122 : OHIO PLAYERS - LONELY STREET RELIC CD 7012 : THE FALCONS - I FOUND A LOVE (w/The OHIO UNTOUCHABLES) TIS CD 0370424 : OHIO PLAYERS - PAIN TIS CD 0371421 : OHIO PLAYERS - PLEASURE TIS CD 0372626 : OHIO PLAYERS - ECSTASY TIS CD 0376228 : OHIO PLAYERS - ORGASM : BEST OF WESTBOUND YEARS WESTBOUND CD 2015 : OHIO PLAYERS - PAIN Reference ========= The Mercury Labels: A Discography (Five Volumes) Compiled by Michel Ruppli and Ed Novitsky. Greenwood Publishing Group, 88 Post Road West, Box 5007, Westport, CT.06881-5007. Toll-Free: 1-800-225-5800; Tel: 203-226-3571 ; Fax : 203-222-1502 ; Web Site or ========================================================================= Date: Mon, 19 Feb 1996 16:02:13 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Nothin' But the Blues Playlist Here's the playlist for Friday's edition of "Nothin' But the Blues" on WTJU, FM 91.1, Charlottesville, Virginia. This week, the obligatory Mardi Gras/New Orleans show...I love this stuff, 2 hours didn't even scratch the surface of what I could play. City of New Orleans: Sonny Boy Williamson II (Clownin' with the World; Alligator CD) Mojo Boogie: J.B. Lenoir (From Korea to Vietnam; Blues Encore CD) Mardis Gras Mambo: The Meters (Mardi Gras in New Orleans, Vol. 2 (VA); Mardi Gras CD) Big Chief: Professor Longhair (Mardi Gras in New Orleans (VA); Mardi Gras CD) Junker Blues: Champion Jack Dupree (Junker Blues; Travelin' Man LP) Junco Parnter: James "Wee Willie" Wayne (Travelin' from Texas to New Orleans, Sundown LP) Stack-a-Lee, Part 1: Archibald (The New Orleans Sessions; Krazy Kat LP) She Ain't Got No Hair: Professor Longhair (Mardis Gras in New Orleans; Nighthawk LP) The Fat Man: Fats Domino (Legendary Masters; UA LP) Ain't Gonna Do It: Dave Bartholomew (The Genius of Dave Bartholomew (VA); EMI/Imperial CD) Blues Jump the Rabbit: Big Joe Turner (Jumpin' with Joe; EMI/Aladdin/Imperial CD) Good Rockin' Tonight: Roy Brown (Good Rocking Tonight; Route 66 LP) 3x7=21: Jewel King (The Genius of Dave Bartholomew (VA); EMI/Imperial CD) New Orleans Lover Man: Chubby Newsome (The Original Hip Shakin' Mama; Official LP) Pony Tail: T-Bone Walker (The Genius of Dave Bartholomew (VA); EMI/Imperial CD) Later for You Baby: Guitar Slim (The Thinkgs That I Used to Do; Ace LP) Bumpity Bump: Smiley Lewis (Imperial Musicians 1951-62: The Rhythm in Rhythm & Blues (VA); EMI LP) Sick and Tired: Chris Kenner (The Genius of Dave Bartholomew (VA); EMI/Imperial CD) What's Wrong: James "Sugar Boy" Crawford (Chess New Orleans (VA); MCA/Chess CD) She Walks Right In: Professor Longhair (New Orleans Piano; Atlantic CD) Who's Been Foolin' You: Big Boy Myles (Specialty, New Orleans, Vol. 1; Ace LP) Educated Fool: Amos Milburn & Charles Brown (Ace Story, Vol.2; Ace CD) Rockin' Pneumonia & The Boogie Woogie Flu: Art Neville & Larry Williams (Mard Gras Rock & Roll; Ace LP) Hip Hip Hooray: Eddie Bo (Chess New Orleans (VA); MCA/Chess CD) Zing Zing: Art Neville (Mardis Gras Rock & Roll; Ace LP) Eating and Sleeping: Earl King (Creole Kings of New Orleans (VA); Specialty CD) The Git Back: Joe "Guitar" Morris (We Got a Party (VA); Rounder LP) Slow Down: Larry Williams (Dizzy Miss Lizzy; Ace LP) Ooh-Wow: Roy Montrell (Creole Kings of New Orleans, Vol. 2; Specialty CD) The Big Beat: Fats Domino (The Fabulous Mr. D; Imperial LP) Well, I'll Be John Brown: Huey Smith & The Clowns (Rock & Roll Revival; Ace CD) Slippin' and Slidin': Little Richard (The Essential Little Richard; Specialty LP) Don't You Know Yockomo: Huey Smith & The Clowns (Rock & Roll Revival; Ace CD) Ain't it the Truth: Eddie Bo (Carnival Time (VA); Rounder LP) Private Eye: Wallace Johnson (Gumbo Stew (VA); Ace CD) Mama & Papa: Earl King (Trick Bag; Imperial LP) Occapella: Lee Dorsey (Freedom for the Funk; Charly CD) Iko, Iko: Dr. John (Mos' Scocious: The Dr. John Anthology; Rhino CD) Big Chief, Part 2: Professor Longhair (Mardi Gras in New Orleans (VA); Mardi Gras CD) Travellin' Mood: Dr. John (Mos' Scocious: The Dr. John Anthology; Rhino CD) -Peter If you're in the central Virginia area, don't forget to tune in and pledge your support to the 1996 WTJU Rock Marathon fundraiser...7 straight days of special shows. Don't miss my show, "Big Ten Inch Records: Double-Entendre Blues". ========================================================================= Date: Mon, 19 Feb 1996 17:32:05 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Liner notes Comments: To: Jim Witteveen In-Reply-To: <96Feb19.133227pst.30925-4438+96@haven.uniserve.com> Not only are liner notes so essential as a listener - but for a reviewer it is a godsend. Imagine reviewing a disc, hearing one smart guitar in the back or a set of fingers over the keys, and being unable to tell who it is (worst case but there are some). Also in reviewing a disc a little read-see sort of sets a tone. The more read-see you get sometimes the more mood can be set as you play on. I often hear something on a disc and find that it is critical that I have a place to turn to see if there perhaps is some reference to what I think I heard. Just as good in depth reviews are useful in selecting purchases so is good liners from many vantage points both as a writer and as a listener. Even when I ain't reviewin' - I'm sure readin'. Barry NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 19 Feb 1996 17:40:58 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Regional Styles Comments: To: roger.lew.struve@medtronic.com, mkaldin@beachnet.com In a message dated 96-02-19 17:17:04 EST, roger.lew.struve@MEDTRONIC.COM (Roger Struve) writes: >For instance, Mississippi John Hurt grew up in inarguably the Mississippi >Delta fertrue! But he doesn't play anything like a Delta Bluesman (in the >generic sense of Son House, R. Johnson, Bukka White, etc.) He would most >properly be referred to as a Piedmont style player. Couple of things about this post. In the first place, Avalon (where Hurt lived) is an odd place. Perhaps "non-typcial" is better. It is quite literally right on the edge of the Delta. The hills stop abruptly at Choctaw bluff; to get to Hurt's grave, you drive up that bluff, and along its precipise to the family grave site. And the area immediately around Avalon settled before the part of the Delta associated with Delta blues-- Mal Maison, just down Hwy 7 from Avalon, is the former plantation of Greenwood LeFlore, the Choctaw chief and later Mississippi legislature who gave Greenwood and LeFlore County their name. The area he lived was settled in the 1830s, a good 60 years prior to the area around Dockery and Drew where Delta blues probably originated. (Mal Maison's name, for those who are wondering, was taken directly from the house of Napoleon Bonaparte outside Paris. LeFlore delivered speeches in Choctaw and French to the presumably stupified Mississippi Legislature, and died a unionist buried in the American flag during the Civil War). Back to the point, Avalon is a border town, like Como (home of Fred McDowell). While it is phyically *in* the Delta, barely (by maybe 150 yards?), it is has a regional subculture different from the North Delta. Listen to Hurt's accent, which is typical of the Avalon-Charleston area. Compare it to Son House or Muddy Waters on the Library of Congress recordings. They are quite distinct. To my ears, Hurt *does* bear a strong resemblance to peidmont playing, but I wonder if that is not a chronological thing rather than a regional style thing. Hurt seems to me connected with ragtime and other pre-"delta blues" styles, styles that run much purer in Piedmont music than they run in the heart of the Delta. Final note: Like Howlin' Wolf, Bukka White was born and largely raised in the part of the Hills of Mississippi called the Prarie Region (White near Aberdeen, and Wolf near West Point) but arrived in the North Delta in early adulthood and fell under the influence of Charley Patton, an influence that lasted a lifetime for both of them. Tom Freeland ========================================================================= Date: Mon, 19 Feb 1996 14:58:33 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: Re: "Monster" Mike Welch Comments: To: "DUTTWEILER.J" DUTTWEILER.J wrote: > > Date: Monday, 19 February 1996 10:47am ET > To: Internet > From: DUTTWEILER.J@GOMAIL > Subject: "Monster" Mike Welch > > I've been reading some press lately about this "kid" from Boston, I think, > named Mike Welch. He has a CD out on Tone-Cool titled "These Blues Are Mine." > Anybody out there know anything about him? Is he just the latest guitar > "wunderkind," or can he really play some blues? Just curious. > > JD JD, I really like the CD, "These Blues Are Mine". He can play! And I must say he sings remarkably well for his age too. It is refreshing to hear a young new-comer that doesn't sound like a SRV clone. The CD features 12 tracks either written or co-written by Mike Welch. The tunes cover a variety of styles. I am equally impressed with the rhythm guitar player, George Leroy Lewis. He uses a Leslie, to GREAT effect. Also Jon Ross on Bass and Warren David Grant on Drums round out the rhythm section for a band that sounds extremely tight. Stan -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 ========================================================================= Date: Mon, 19 Feb 1996 18:29:06 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Liner notes And while I'm on the subject: As a disk jockey, my pet peave is the all-too-common-these-days practice of putting out CDs with ... --the tracks unnumbered in the notes. Makes playing the right track more difficult than necessary. -- no track times. Makes planning a show more difficult than necessary. These problems seem to occur most commonly on independent CDs. If you want airplay for your productions, avoid these two errors, and DJs will love you. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Mon, 19 Feb 1996 18:29:06 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Liner notes I am a dedicated fan of great liner notes -- and,. more to the point, a virulent critic of bad or inadequate liner notes. One source of consistently bad liner notes is the UK Ace label. Ray Topping deserves enormous credit for putting out a lot of otherwise inaccessible material -- why can't he carry through with notes which actually provide concrete information. Recording and release dates, session personnel -- these are usually missing, while pages are devoted to subjective musings. A U.S. label which seems to be following in the Ace tradition is Night Train. They have issued some excellent collections of late forties R&B, but the notes range from weak to non-existent. If they have (as they say) used the original acetates, then they must have more information than they print. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Mon, 19 Feb 1996 18:20:10 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Sitting&Thinking-The Real Deal Primer These first notes were not in the review but I must add them. John Primer's new Code Blue CD is a go-get. He has popped the music for a larger audience without leaving the blues. It is a real deal acc- omplishment. Going back in time his roots belie how tremendous his skills and roots are - Magic Slim, acoustic runaways and now a shot at exposure to a much wider audience and hopefully real dollars for his pockets. John deserves quite a lot. He has paid his dues for a long time and now that he peeks out from under the covers (although his Wolf releases we very solid and in no way under the covers) let us give him his due attention at the front of the stage, GO JOHN GO should be everyone's roar. This month is Wolf for NY CD Blues so here's a back look at Mr. JP. NOTE: review is by Edward Liu - me, I'm just the mailman this month. JOHN PRIMER - BLUES BEHIND CLOSED DOORS (WOLF 120.875) WOLF RECORDS P.O. BOX 375 A-1120 VIENNA In 1948, Muddy Waters slipped a slide on his finger and plugged in his guitar to record "I Can't Be Satisfied," simultaneously inventing electric slide guitar and Chicago blues. Chicago has given the music world a bounty of tremendously talented slide guitar players, with players like Elmore James, J.B. Hutto, Hound Dog Taylor, Lefty Dizz, and (more recently) Lil' Ed Williams joining Muddy. There's a new face joining this crowd now, and the name attached to it is John Primer. A veteran of the modern Chicago blues scene, John Primer plays the blues with fire and finesse. This disc, his third for the Austrian Wolf label, feels like something that would have come out of an impromptu jam session in the Chess studios during the 1950's. Providing 5 original tunes and backed by Magic Slim and the Teardrops (a formidable Chicago band in their own right), John serves up some fresh, hot off the grill, 100% genuine grade A Chicago blues. Dig in! 1839 / SOMEBODY HAVE MERCY / GOOD MORNING HEARTACHE / DON'T YOU HEAR ME CRYIN' FOR YOU / BLUES BEHIND CLOSED DOORS / I'M JUST YOUR FOOL / SMOKESTACK / NEXT TIME YOU SEE ME / COUNTRY BOY / YES, I'M CRAZY 'BOUT MY BABY / IT AIN'T EASY BEING EASY / TORE DOWN NYCD Takes 1839: John starts off this disc with a slow-tempo take on an Elmore James tune. The vocals are cleaner than Elmore's, but they have the same sense of deep-seated urgency. The backing by Magic Slim and the Teardrops, supplemented by Stanley Banks on piano, is minimal, except for the occasional fill from Stanley. Magic's guitar and Nick Holt's bass match each other note-for-note in a single, relentless riff, resulting in a hypnotic, mantra-like effect. SOMEBODY HAVE MERCY: John covers Sam Cooke's classic, speeding up the tempo just a touch. John's vocals are more reminiscent of Otis Rush than Sam Cooke, as he takes a restrained tenor with just a bit of rasp and just the right touch of vibrato. In addition, the dueling guitar riffs between John and Magic Slim are a treat, full of lean, spartan, Chicago grace. This time, the Teardrops are supplemented wonderfully by the Chicago Playboys Horns, consisting of Charles Kimble on sax, Big James Montgomery, and Mike Barber on trumpet. GOOD MORNING HEARTACHE: A classic down-in-the-bottom Chicago guitar riff kicks off this slow blues sizzler. John takes the primal track in his vocals, doing a straightforward, borderline shout which is startling in its simple directness. He also takes the spotlight in guitar chores, loading up the spaces between his vocals with overdriven guitar riffs and a powerful slide solo. DON'T YOU HEAR ME CRYIN' FOR YOU: A variation on Elmore James' "Dust My Broom" lick kicks off this chunky blues shuffle. The song is a variation on Junior Parker's "Cryin' For My Baby," and the vocals are a fitting homage to Junior, especially John's moans after he asks "Don't you hear me callin' for you." The slide solo taken by John is straightforward and full of urgency and drive. BLUES BEHIND CLOSED DOORS: Some stinging, hard-edged slide kicks into this slow blues torch-song. John tosses all subtlety out the window, starting off the song with the immortal pick-up line, "Baby take off all of your clothes." The song is a pure joy, with John's burning, lusty vocals being matched perfectly with his singing slide work. Stanley is back again for some added piano fills that counterpoint with John's slide superbly. Simply seven minutes of Chicago blues heaven. I'M JUST YOUR FOOL: Billy Branch comes on board with the Teardrops for this Little Walter Jacobs classic. Billy's harp is wonderful, full of the same overloaded distortion that Little Walter was so damn good at. The solo segments have plenty of Little Walter-esque touches to them, but there's still plenty of Billy Branch in them. Magic Slim and the Teardrops provide some terrific, churning backing work, keeping this tune on track and moving. SMOKESTACK: In a change of pace, Johnny B. Moore's acoustic slide guitar takes over for Magic Slim. Billy Branch hangs around for some clean harp fills, though. The song is a variation on "Got My Mojo Working," slowed down a bit and with a more easygoing, swinging rhythm to it. John's vocals are also very relaxed and laid-back. The "jam session" feel is especially prevalent on this track; the song is done loose, uninhibited, and strictly for fun. It succeeds spectacularly. NEXT TIME YOU SEE ME: John revisits the Junior Parker classic, doing Herman proud. This version sticks very closely to Junior's 1956 classic, although with a much more spare band arrangement. In this version, the instrumental highlights come from John's slide rather than the harmonica (oddly enough, Billy Branch is absent from this track). There's also some fluid keyboard work in the background provided by Stanley Banks. COUNTRY BOY: A burning slide guitar intro leads into a nasty blues groove. Nobody could do this one like Muddy, and it is to John's credit that he doesn't try to make this a Muddy Waters impersonation contest. There are very Muddy-esque touches to the slide work and the vocals, but they both remain distinctly John Primer. Billy Branch's harp work, dueling with and providing fill-ins for John's vocals and guitar. Earl Howell punctuating every now and again with a cymbal crash, but the Teardrops hang in the background for this song. YES, I'M CRAZY 'BOUT MY BABY: A swinging, uptempo 12-bar. The Teardrops shift up into the next gear, turning up the energy on this track. John's vocals have a nice rasp to them. For a change, John opts to set down his slide, proving he's just as good at conventional guitar. Billy Branch provides a terrific harp solo as well. IT AIN'T EASY BEING EASY: Another variation on "Dust My Broom," this time loaded to the gills with vibrato, is the foundation of this rocking John Primer original. The rasp in John's voice is easier to spot, another fact that makes this disc feel all the more like a live session. The slide solos are fluid and smooth, but still keep an edge -- kind of like a slightly more refined, not quite as over-the-top J.B. Hutto. TORE DOWN: The closing track is a dynamite cover of Freddie King's classic. The Chicago Playboys are back to give this track a boisterous, upbeat feel. The Teardrops kick into turbocharged high gear for this track, kicking up a fuss underneath John's tough, no-nonsense vocals. John doesn't attack his solos with total abandon -- he keeps just enough abandon around to make you feel like he is completely, 100% in control of everything he's doing. The light that burns twice as bright burns half as long, and this four-minute track burns very, very brightly. Reviewed by Edward C. Liu Copyright NY CD Blues @1995-1996 All Rights Reserved. Unauthorized use prohibited. NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 19 Feb 1996 23:42:20 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Brownie McGhee Tribute Addition Comments: To: bit-listserv-blues-l@uunet.uu.net I was truly saddened to hear of Brownie McGhee's death and can kick myself for missing his performance at the Chicago Blues Festival last summer but unfortunately could not attend Sunday's performance. I did want to let you know about a rare Brownie McGhee performance than even many B McG fanatics may not know about. "Circle Blues Session 1946" (Southland CD SCD-9) - This CD has 11 tracks by Dan Burley and His Skiffle Band and 6 tracks by Brownie and Stick McGhee. The Skiffle Band included Brownie and Sticks McGhee on guitars and Pops Foster (on Bass). These are Sticks' first recordings. Dan Burley was a boogie woogie pianist and my favorites on of his sides are Big Cat, Little Cat and Hersal Thomas' "Rocks", which was one of the first published boogie woogie tunes. All of these tracks were recorded on June 11, 1946 (4 years to the day before my birthday, as if you care). I'm used to boogie woogie music played by solo piano or piano duets or trios. The 4 piece band playing this style of music is kind of unusual. The guitars either strum chords to match the right hand playing of the piano or play solos that would be played by the right hand (treble) of the piano if it were a solo piece. Burley does the vocals on 5 of the group recordings, the rest of his are instrumental. Sticks and Brownie trade off on vocals on their 5 duet tracks. I would recommend this disc to any Brownie McGhee fan. It might be somewhat difficult to find in your CD stores since it comes from a small New Orleans independent label with limitted distribution. Also, since it's not clearly labeled as a Brownie McGhee recording you might find it in the Various artists section or even the Jazz section. I've seen it listed in the Rhythm & Blues catalog (unfortunately unreviewed). I picked up mine from CDConnection. Worth the extra effort to find if you are a fan of the McGhees' or Boogie Woogie music. Art Schuna ========================================================================= Date: Mon, 19 Feb 1996 18:07:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Willie Smith in Madison 2/16/96 The night before the Bloomington show, Willie "Big Eyes" Smith played the University of Wisconsin student union in the fine old German style beer hall "Der Rathskeller". Many blues musicians have preceeded Willie's band in that location including Mance Lipscomb, Robert Pete Williams, Magic Sam, Otis Rush to Artie "Blues Boy" White (the Wolf and Hubert played in the same building but in the bigger theatre). Willie's band included Madison Slim on harp - and he turned in quite a few well-done Little Walter classics. The band was one heckava polished ensemble and Willie was a joy to listen to as well as watch. I like drummers who do lots of different things and make many different sounds all during a number as opposed to the metronomes who wait until beckoned for a solo and then go crazy. The crowd was *VERY* into it; but then a lot of people from Chicago come to school here and are very knowledgeable about blues when they get here. The show was free and many 18 to 20 years olds were enthusiastically taking in the sounds and dancing up a storm with other folks of all ages. The band never quit that shuffle beat - varying the tempo only slightly, and the crowd in front of the bandstand didn't either. I bought his excellent new CD "Bag Full of Blues" for my visiting brother and sister-in-law. As I stepped down from the stage, a young woman stopped me breathlessly - "how much does he want for his CD??" ($15.00) Then she pressed ahead and bought one. Willie's sales were brisk. This band is very good - his young lead guitarist, rhythm guitar, and bass all were excellent and enthusiastic. Then I led my relatives down the street to catch Jr. Wells' last set. Jr. (dressed in bright yellow trousers, yellow shirt, some glitzy suspenders, and white Homburg hat) and his "big band" were laying down some mellow but bouncy tunes - more in a soul vein. We agreed that we preferred Willie Smith. Next Friday, Vance Kelly will at the Union. On Saturday, Maurice John Vaughn comes to town and the week after that Eddie King will be here. He's booked with Dave Chastain - has anyone heard them together; what does the latter sound like (not blues-rock I hope-I hope I hope).?? -Bonnie ========================================================================= Date: Mon, 19 Feb 1996 18:21:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: THE REAL DEAL:Primer,wilson,Griswalds Art and Roman Griswald of Toledo, Ohio also have a new self- produced album called "The Real Deal". It's on cassette only and has been out for close to a year. It's not quite as good as "Full Time Blues" but it has the oft-requested rollicking crowd pleaser "Big Old Butt" on it. "Who's got a big old butt?" (name of fan or band member) got a big ol' butt. What's s/he doing?? Shaking that big ol' butt". and on and on and on - until almost everybody in the joint is named and still the crowd wants to go on. They squeal with delight at the opening chords. Maybe they're easily pleased in Toledo, but I'm from there and I like it too. PS Art's guitar has that stinging West Side tone like that of Otis Rush and Magic Sam and a high voice that easily soars into falsetto. Roman has a deep rich baritone and plays a very soulful keyboard. They are originally from Arkansas. Be sure to request "Big Ol' Butt" when they come to your town. -Bonnie ========================================================================= Date: Tue, 20 Feb 1996 05:39:25 GMT Reply-To: dresserd@DNS.NXI.COM From: Derek Dresser Organization: Agate Internet Services (AIS) Subject: Dream about Son House Comments: To: bit-listserv-blues-l@uunet.uu.net Last night I had a dream about Son House. Yes, I know that is kind of weird. Basically, it went like this. I found out that Son House had worked in my town while I had been living here. I didn't know it while he was here, but I found out that he had been working at the local public school and my sister who is actually a teacher, though not at the local school, had worked with him. In the dream, he was young and very congenial. My sister knew him but didn't know how much it would mean to me to meet him. I didn't meet him, but there were some scenes in the dream where I saw him. Unfortunately, I didn't find out that he had been working in my town until after he passed away. I literally woke up sobbing at the missed opportunity. I knew I had missed something unbelievably important. Just dreaming about Son House means something very important to me, although I'm not sure what yet. I study with Paul Rishell, one of the few men to actually learn stuff directly from Son House. Comments?, Analysis? Derek dresserd@nxi.com web pages I put up for Paul http://www.nxi.com/WWW/rishell ========================================================================= Date: Mon, 19 Feb 1996 21:19:52 -0600 Reply-To: Keith Castleberry From: Keith Castleberry Subject: Monster Mike Welch - These blues are mine This is a new album out on the Tone-Cool by "Monster" Mike Welch. The album is called "These blues are Mine". Mike is a 16 year old who already has had a good bit of experience in playing the blues. Most new albums coming out lately have several great cuts mingled with a few "clunkers"...not so on this album! Every cut is a gem. The sound quality is superb as well. Without going into a great deal of history and info on each individual cut on the "Monster"'s album, just trust me on this one. Add this to your collection...at once! Keith Castleberry WYDH 105.9 FM "The Blues Cruise" P.O. Box 710 Atmore, AL 36504-0710 ========================================================================= Date: Mon, 19 Feb 1996 21:56:23 -0600 Reply-To: Keith Castleberry From: Keith Castleberry Subject: Monster Mike Welch In addition to my re-post on Monster Mike Welch, here are some concert dates for the group.... Feb 20.....Smith's Old Bar..........Atlanta 21.....House of Blues...........New Orleans (so close and so far away) 22.....Stevie Ray's................Louisville 23.....North Star Bar............Philadelphia 24.....Met.............................Providence On the Tone-Cool Label Keith Castleberry WYDH 105.9 FM "The Blues Cruise" P.O. Box 710 Atmore, AL 36504-0710 ========================================================================= Date: Mon, 19 Feb 1996 22:24:47 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Re: Monster Mike Welch - These blues are mine > > This is a new album out on the Tone-Cool by "Monster" Mike Welch. The album > is called "These blues are Mine". Mike is a 16 year old who already has had > a good bit of experience in playing the blues. Most new albums coming out > lately have several great cuts mingled with a few "clunkers"...not so on > this album! Every cut is a gem. The sound quality is superb as well. Without > going into a great deal of history and info on each individual cut on the > "Monster"'s album, just trust me on this one. Add this to your > collection...at once! > > > > Keith Castleberry > WYDH 105.9 FM > "The Blues Cruise" > P.O. Box 710 > Atmore, AL 36504-0710 > Oh, please! It is nice to support young musicians, but it is not nice to mislead us old people. Mike Welch (he is anything but "Monster" in any sense) is having sex first time and his partner's name is blues guitar. If you are lucky to survive his opening instrumental, you definitely won't survive his vocals from there on. I can only say: "Mike, find a steady girlfriend (style) and work on it for years to come - this is just a promising beginning." Far from RUN-DON'T-WALK kinda album. What I wanted to say; yes, buy this album if you have some money left after buying new John Primer, new Johnny Dyer, new Guitar Shorty, "new" Freddy King, new Long John Hunter, new.... Ranko ========================================================================= Date: Mon, 19 Feb 1996 22:26:00 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: Liner notes Comments: To: Richard Flohil In-Reply-To: Those writers who excel at writing liner notes _deserve_ to be paid and paid well. I can't begin to relate how much I've learned by reading the notes. It can't be the easiest job editing a piece for use as liner notes either. There is nothing more frustrating (well except if the album sucks) than getting a CD with little or no documentation. Kudos to all on the list who engage in this important and oft overlooked profession. ROb Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Tue, 20 Feb 1996 00:19:59 -0500 Reply-To: Jonny Meister From: Jonny Meister Subject: Johnny Copeland's new CD Johnny Copeland's latest CD is out in Europe, not in the U.S. Would someone who can get it be interested in trading it with me for a CD out here? Please respond privately to blues@bluesnet.com If more than one person responds, I will select one to trade with. You know, I wonder why we don't use this list for this purpose more often. I know Americans are always looking for blues CDs from Japan and Europe and could trade American CDs back. -Jonny ******************************************** "I made it too! You see I'm here, don't you? You see I ain't dead." -Eddie "One-String" Jones ******************************************** ========================================================================= Date: Tue, 20 Feb 1996 00:50:38 -0500 Reply-To: WEBreen From: WEBreen Organization: America Online, Inc. (1-800-827-6364) Subject: AZ Blues Blast - W.C. Clark - WOW Comments: To: bit-listserv-blues-l@uunet.uu.net Really enjoyed this years Blues Blast, sponsored by the Phoenix Blues Society. Lineup on Sunday included: Rob Rio, King of Boogie Woogie piano! (also played between sets) Big Nick and the Gila Monsters, local band Sam Taylor Band, featuring Heather Hardy W. C. Clark Charles Brown Soul Drivers Angela Strehli, backed by the Soul Drivers Highlights: Charles Brown was cool, with his smooth, jazz-tinged blues and R&B. Resplendent in a black and gold cape and gold hat! Danny Caron on guitar. W. C. Clark the Godfather of Austin Blues! WC was the real surprise and treat for me. He sounded alot like Freddie King to me. I picked up his CD Heart of Gold on Black Top at the festival and was blown away by it! It has a much more R&B, soul blues feel to it to me, with lots of horns (Mark Kazanoff and the Kamikaze horns) and organ in the mix along with W.C's tasty guitar work. Good vocals too. the liner notes explain how he played with Stevie Ray Vaughn - in fact he co-wrote Cold Shot. This is his first nationally distributed CD and it is long overdue. Austin's best kept secret is finally out. RUN don't walk to pick this up. Soul Drivers - a West Coast group with a great harp player, Andy Santana. Angela - seemed to be suffering from a cold. Her voice wasn't too strong. But she still tried to give it her all. All in all, a great day for the Blues in Arizona. ========================================================================= Date: Tue, 20 Feb 1996 01:11:24 -0500 Reply-To: JCOLE3M From: JCOLE3M Organization: America Online, Inc. (1-800-827-6364) Subject: hooker? Comments: To: bit-listserv-blues-l@uunet.uu.net Anyone know if John lee Hooker still performs? I would love a schedule of events he is performing at if anyone has it. Thanks, mc ========================================================================= Date: Tue, 20 Feb 1996 01:20:26 -0500 Reply-To: JCOLE3M From: JCOLE3M Organization: America Online, Inc. (1-800-827-6364) Subject: ohio blues? Comments: To: bit-listserv-blues-l@uunet.uu.net Recently moved to Ohio. Would like to know best clubs and performers in the state? ========================================================================= Date: Mon, 19 Feb 1996 22:50:09 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Sideways in Paradise Howdy bluezellers! I know this album is a couple of years old now, and I'm sure many of you have it, but Sideways in Paradise by Jimmy Thackery and John Mooney is quite simply the best acoustic blues album that I've heard (of the acoustic blues recorded in the last ten years, anyway). I picked it up early last week, and this album has been playing at home and in my truck for the past week constantly - the vocals are raw and fantastic, the playing is impeccable, the original tracks are well-written, and the cover tunes are well-chosen and amazingly interpreted. Take Time, Bump and Grind, and their version of Bukka's Jitterbug Swing are outstanding, and there's not a bum track on the whole album. And for an album that was recorded 'poolside in a Jamaican villa', the sound quality is great. I'm not too familiar with their other work, but I'll be checking it out, to be sure. If you haven't got it, get it! Two thumbs up here! -Jim (hndful@uniserve.com) ========================================================================= Date: Tue, 20 Feb 1996 01:18:30 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Happy Mardi Gras Hope everyone has a very happy Mardi Gras, or if you don't celebrate it, just a fat Tuesday. Bill From: The Big Easy ========================================================================= Date: Tue, 20 Feb 1996 07:38:13 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Willie Smith in Madison 2/16/96 Comments: To: bit-listserv-blues-l@uunet.uu.net > Next Friday, Vance Kelly will at the Union. On Saturday, >Maurice John Vaughn comes to town and the week after that Eddie >King will be here. He's booked with Dave Chastain - has anyone heard them >together; what does the latter sound like (not blues-rock I hope-I hope >I hope).?? > > -Bonnie Bonnie, Glad to hear Willie went over well in Madison; he's a great guy, and he's been out in the trenches for a long time. He's worked hard for any success he achieves. He's got a really nice CD (his best ever as a leader, IMO) out on a decent label, and has his best band in years. About Dave Chastain, if it's the guy I'm thinking of, it's not blues-rock, it's rock-rock. Unless he's jumped on a new bandwagon that happened to be cruising by recently. Scott ========================================================================= Date: Tue, 20 Feb 1996 04:44:40 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1962 - America's first space hero, John Glenn, made space history. Glenn orbited the earth three times in 4 hours, 55 minutes, causing Lightnin' Hopkins to record "Happy Blues For John Glenn". P.W. Fenton Tampa, Florida ------------------------------------------------------------- "Age is a question of mind over matter. If you don't mind, it don't matter." - Leroy Robert "Satchel" Paige, 1906-1982 When in cyberspace, visit my web pages at http://www.gate.net/~pwfenton/ ------------------------------------------------------------- ========================================================================= Date: Tue, 20 Feb 1996 09:25:00 PST Reply-To: Dave Tearle From: Dave Tearle Subject: Backing Singers Does anybody have any experience with/as backing singers in a semi-pro situation? I didn't get any replies (not that I expect to:>)) to my previous posting. I don't know if the posting did not hit the list or I touched a raw nerve with something I said. Someone enlighten me please :>) Dave Dave.Tearle@PS.CO.UK ========================================================================= Date: Tue, 20 Feb 1996 20:34:32 +0000 Reply-To: Ian L Hughes From: Ian L Hughes Subject: Jukebox problem Maybe someone out there can help me with a little problem I regularly encounter on a Friday evening. At the end of every week, I (like many other people on this list, I assume) like to indulge in a few cleansing ales to unwind and prepare for the weekend. I usually end up staying rather late. The problem is this. The pub has a jukebox, and when the time comes when a little blues is called for, I find myself feeding the machine and playing whatever I can find. This invariably amounts to George Thorogood, since that's all that's on there that is even remotely related to the blues. And certain tracks keep getting played over and over. People are getting a little tired of this - I know, I've been told repeatedly. I am not the only one who plays George, however, so other customers have the same problem. I have spoken to the management about the situation, and they tell me that if I can nominate a suitable CD that is available in Australia, they'll give it a go, purely to reduce the incidence of George-playing to a reasonable level. Question: Can anyone out there suggest a suitable CD (either single artist or compilation) which would fit the bill? Private email would probably be the way to go with this one. TIA Ian Hughes ========================================================================= Date: Tue, 20 Feb 1996 10:45:52 +0000 Reply-To: "David J. Wallace" From: "David J. Wallace" Organization: JSDA Subject: Live at the Regal Notes (was Liner notes) Jim Witteveen Wrote: Which is what kind of frustrates me about BB King's Live at > the Regal and several other cd's that MCA has released - sure they're cheap, > but the packaging is a real dissapointment. Anyone know if they'll be > re-doing these in the future with good package and info, or do they want to > keep them as budget Nice Price disks on the sales racks? > The MFSL Remastered release has copies of the original liner notes from both the 1965 and 71? releases. The sound is so much better than the decidedly 'thin' MCA release its worth the extra $20. I'm not kidding its an absolute revelation if you have the set up to hear it. Much bigger improvement IMO than the Sony (R) Super BitMap (TM) process renders. See Ya, David ********************************************************** Q>- Whats the difference between God and a pilot? A>- God doesn't think he's a pilot. ---------------------------------------------------------- Visit my Flying in the United States web page at: http://web.nexor.co.uk/users/jpo/av-usfly.html ********************************************************** ========================================================================= Date: Tue, 20 Feb 1996 15:07:08 +0100 Reply-To: christia@CNEN.DE.EDF.FR From: christia@CNEN.DE.EDF.FR Subject: Leadbelly movies Salut Brownie ! Mardi Gras Bonjour.... In living blues #30 (nov dec 76) there's some critics about LEADBELLY moviedirected by Gordon Parks ( who made Shaft ) . Filmed for Paramount Pictures with Roger E. Mosley as Leadbelly and produced by Marc Merson. Roy C. Ames did not seems to enjoy that movie . He copyrighed it in 77 ( !) and write this : (...) : means I cut some pieces of the text because cant type all but trying to respect the thought of the writer. I promise to do it so here it is . "Home of brave, land of the free, I don't wanta be mistreated by no bourgoisie..." Huddie Ledbetter once sang, in the choleric, irascible voice of one singulary weary of his lot in life. The raucous, diabolical man would be seething if he were alive to view the moveie currently bearing his name. Even in death he is tyrannized by bourgoisie culture taht plagued him during his life; only Hollywood hokum and joke- 'em mentality with conpulsion to recast his life into its own mold. This purely revisionist biography not only fails to portray the renowned folk/bluesman exraordinaire with any real accuracy or pathos; its mauldin sentimentality and contrived melodrama pale in comparaison to his life he really led" (...) "The movie's failure was a fait accompli before the cameras rolled: there is an unwritten Hollywood formula which says if someone's life is interesting enought to film, it will be even more interesting if it is revised, dressed up and glamorized- and the film is based up on a biography written by John and Alan Lomax" (...) "Leadbelly 's real life seems more gripping than any of the fantasy Hollywood has conjured up. For example, the movie shows him going to jail for fighting a red neck who insulted him. Actually, it was for beating a woman who dared turn him down. At age seven he slugged his father with poker to make him quit bickering with his mother.(...) The movie represents him as a compassionate but indiscriminate womanizer, while in real life he was brutal and arrogant. (...) The encouter with Blind Lemon Jefferson though, is not acceptable.(...) And all that potential poignacy of the music is lost,(...) This approch worked in fairy tale made of life of Billy Holiday (Lady sings the Blues) because she was more aimable and amenable than the rough, boisterous demon of an black man called Lead Belly. (...) I would prefer a true, unromanticzed documentary story of Lead Belly's life and music using original recordings, some actual film footage shot in his later years (including the in famous March of Time documentary showing Lomax leading the chained and prison-striped singer north to "Civilization!") still photos, interviews with those who knews him, and perhaps some old film and photos of what Leadbelly'South really looked like, along with enlightenning and truthly commentary. commentary. Technically speaking, the film LEADBELLY is so flawlessly done that it's all very entertaining. But as it COULD HAVE BEEN...well, may I suggest that in Leadbelly's life and music is the grit that could have made an emotionally stirring masterpiece ?" So here it is without trying to do polemics at least this movie did exist and nobody did made any documentary about Leadbelly's life ( I do hope I'm wrong !). At least if that movie made some poeple listen to Leadbelly music( and Blues ) maybe it was worth. I heard the same critics about Charlie Parker's movie ("Bird") by Clint Eastwood. At least I'm sure that a lot of poeple now are listening Parker because they saw that film. It's the same for "Crossroad" too and Robert Johnson and others. I know too there're not so much film ( and pictures ) about blues musicians. Seems like if fortunalety we can hear ( because it makes money ) .filming black musician was not worth .Do you imagine REAL movies with REAL Robert Johnson or Charly Patton : when they recorded the speaking film (cinema parlant) did exist ! Even for Parker in the 50's it exist only maybe only 10mn filmed (without music !) and jazz and blues movies are not so much indeed. Fortunalety if since the 6O's it's has been going better I just want to say that the missing of movies about pre war music and culture seems like a comtempt to them. (2 pictures of R. Johnson, same for Lemon, for B Blake, fortunately there'is more about leadbelly ...) But I hope I'm wrong : Does anybody know about some 30's, 40's, 50's treasures unshown still in his basement or video library ? I'm intersted to know whether exist Books doin report about them. If it doesn't maybe ther re some work to do about it ....a kind of Goldrich & Dixon or Leadbetter & Slaven... To be back to leadbelly as says Colombo , from the serial, when he arrested Johnny Cash : " a man singing like that is not really bad ". We all know that. Hot links and smalltalks too about Brownie : Last week I was listening to a tune "John Henry" with Leadbelly Sonny Terry and Brownie Mc Gee...and I had a tought about him . He played with him too. Remember him in the movie "ANGEL HEART" by Alan Parker where Brownie is an actor and "play" a bluesman... Salut ! Christian ========================================================================= Date: Tue, 20 Feb 1996 08:21:35 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: SATCH SATCHELL, SAXOPHONIST, DIES AT 55 An addition to eRIC's discography: REL7094 WARD*ROBERT HOT STUFF RELIC 3/95 This is an amazing disc, one of my favorites of last year. It includes the earliest recordings of the Ohio Untouchables with Satchell and Robert Ward (with original versions of several of the songs that Ward has recently recut for Black Top), and some great early Wilson Pickett/Falcons sides as well. This was a revelation to me - the roots of the raw, screaming soul that Pickett has since exemplified are right here! EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Tue, 20 Feb 1996 08:53:18 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: Leadbelly movies Salut Brownie ! In-Reply-To: <9602201407.AA10749@foncaoga> On Tue, 20 Feb 1996 christia@CNEN.DE.EDF.FR wrote: [REVIEW SNIPPED] I agree with a lot of what this viewer said, but when the hell has Hollywood EVER done a good job at portraying ANYTHING? I mean, we are talking about an industry that find regular employment for *Pauly* *Shore*, fergawdsake! T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "You've got to inspect your horn, boy." 'And wash it every day.' - Crow, MST3K ("Mr. B. Natural") ========================================================================= Date: Tue, 20 Feb 1996 10:09:46 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Born too Late/Brownie Sara Oxton made an strong point in her touching tribute to Brownie McGhee-"...another important lesson: No one will be around forever, and we should seize opportunities to see the artists playing live whenever we can. Unfortunately, I don't always listen to that advice...." I missed Elmore James, Joe Venuti, and Sonny Boy Williamson when I had the chance, and I just missed Jay McShann when he was playing in town... Sara's right; we're not here for long, but when you consider how enriched our lives have been by music and musicians-particularly those of us who love the blues-we have to make the effort to support artists, particularly in a live context, whilen they (and ourselves!) are still around. Brownie was a special man; charming, funny, grumpy, quick with a song, and with a heart as big as a house. And the first man I ever met with a TV in his car, a CB radio, and personalized Tennessee license plates (WALK ON). And trust Sara; she's right. Support these artists NOW, not by buying their posthumous albums... Richard the Elder ========================================================================= Date: Tue, 20 Feb 1996 10:09:58 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Liner notes Ian Angus rightly puts the boot to sleeve notes on the Ace label (also Charly), which fail to provide accurate material on basic "when, where and who" information. Even worse, of course, are the recent Tomato reissues, which manage to print wonky poetry and hippy-dip musings and NEVER tell where the music came from. The late Pete Welding, who wrote many of them, knew better-but obviously couldn't present the information for good reason. The reason, of course, is that the provenance of the music is suspect-do Ace (and other suspect labels) have the rights to issue this material? Are royalties being paid? Are the artists involved (or even aware) of these records? In short, is this stuff bootlegged? In those cases, the notes will be threadbare-or padded with puffery! I'm always equally depressed by budget issues with totally inadequate or even non-existent notes (MCA budget line reissues, for instance); hell, for $100 I'll write the damned notes! But remember, folks, that most record companies are selling plastic, metal, glass and paper-and they begrudge paying additional money if they don't have to. Richard the Elder PS: Richard Waterman (The Younger) was right in noting that Peter Guaralnick is the king of sleeve note writers; he vies with Colin Escott (and, once, I was privileged to eat Greek food with both of them in Toronto). Boy, that puts one's own "talents" in perspective! ========================================================================= Date: Tue, 20 Feb 1996 09:06:28 -0600 Reply-To: Keith Castleberry From: Keith Castleberry Subject: Ranko's Trashing of Monster Mike Welch >> >> This is a new album out on the Tone-Cool by "Monster" Mike Welch. The album >> is called "These blues are Mine". Mike is a 16 year old who already has had >> a good bit of experience in playing the blues. Most new albums coming out >> lately have several great cuts mingled with a few "clunkers"...not so on >> this album! Every cut is a gem. The sound quality is superb as well. Without >> going into a great deal of history and info on each individual cut on the >> "Monster"'s album, just trust me on this one. Add this to your >> collection...at once! >> >> >> >> Keith Castleberry >> WYDH 105.9 FM >> "The Blues Cruise" >> P.O. Box 710 >> Atmore, AL 36504-0710 >> > > > Oh, please! It is nice to support young musicians, but it is not > nice to mislead us old people. Mike Welch (he is anything but > "Monster" in any sense) is having sex first time and his partner's > name is blues guitar. If you are lucky to survive his opening > instrumental, you definitely won't survive his vocals from there on. > > I can only say: "Mike, find a steady girlfriend (style) and work on it > for years to come - this is just a promising beginning." Far from > RUN-DON'T-WALK kinda album. > > What I wanted to say; yes, buy this album if you have some money left > after buying new John Primer, new Johnny Dyer, new Guitar Shorty, > "new" Freddy King, new Long John Hunter, new.... > > Ranko > > >Sorry Ranko, I stand by my recommendation. I love all the albums you have mentioned, but IMHO it would not hurt to expand your vision of the Blues past the old guards of the Blues. MMW is a refreshing sound; and as you say "a beginning". But, how many artists can say that their first effort debuted #6 on the Blues Breaker Chart, or any chart. Mike's vocals on the album, IMO are right up there with the best; of course, he is only 16 and hasn't had his vocal cords subjected to the whiskey and cigarettes to give him that "Bluesy" sound that you may like. I say, buy this album first, before the **classics** you have mentioned; for a little differant tangent on the Blues. I'm not trying to trash your view of the Blues, but loosen up and enjoy a new branch. Keith Castleberry WYDH 105.9 FM "The Blues Cruise" P.O. Box 710 Atmore, AL 36504-0710 ========================================================================= Date: Tue, 20 Feb 1996 10:41:42 -0500 Reply-To: USBLUE5@AOL.COM From: "Gordon, Rich" Subject: Sunday Night Blues 2/18/96 Playlist 10pm Tab Benoit, Voodoo On The Bayou, Nice And Warm, Justice Lynn August, Losing Hand, Creole Cruiser, Black Top C.J.Chenier, Man Smart Woman Smarter, Too much Fun, Alligator Neville Brothers, Day To Day Thing, Family Groove, A&M Dr.John, Iko Iko, The Ultimate Dr.John, Warner Bros. Chuck Carbo, Hey Mardi Gras(Here I Am), The Barber's Blues, Rounder Craig Brenner, Backstage Boogie, Play It Again Professor, CBM Bill Wharton & The Ingredients, Cookin', Ichiban Martin, Bogan & The Armstrongs, Do You Call That A Buddy, That Old Gang Of Mine, Flying Fish Marcia Ball, Red Beans, Blue House, Rounder Buckwheat Zydeco, Bayou Girl, Five Card Stud, Island Rebirth Brass Band, King Jordan's Second Line, Rebirth Kickin' It Live, Rounder 11pm Dirty Dozen Brass Band, Mardi Gras In New Orleans, Louisiana Spice, Rounder Merl Saunders, Play The Paris Blues, It's In The Air, SumerTone Snooks Eaglin, Josephine, Soul's Edge, Black Top Professor Longhair, Big Chief, Crawfish Fiesta, Alligator Little Sonny, I Would If I Could, New Orleans R&B Gems, Black Top Kenny Neal, Hoodoo Moon, Hoodoo Moon, Alligator Irma Thomas, I Never Fool Nobody But Me, True Believer, Rounder Nathan & The Zydeco Cha Chas, Mardi Gras Zydeco, Your Mama Don't Know, Rounder Katie Webster, After You Get Rid Of Me, The Swamp Boogie Queen, Alligator Chubby Carrier, Rock Me Baby, Dance All Night, Blind Pig Maria Muldaur, Don't You Feel My Leg, Louisiana Love Call, Black Top Dr.John, Goin' Back To New Orleans, Goin' Back To New Orleans, Warner Bros Rich Gordon Sunday Night Blues 10pm To Midnight WXRX 104.9 FM Rockford, IL ========================================================================= Date: Tue, 20 Feb 1996 09:55:50 -0700 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: Phoenix/Tucson Guitar Shops In-Reply-To: A friend is visiting the Phoenix/Tucson areas and is interested in checking out some good guitar shops. Anyone recommend any? Would be greatly appreciated. Thanks RW wack_ron/rfh@sask.aecl.ca ========================================================================= Date: Tue, 20 Feb 1996 08:13:03 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Feb. 21 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BLACKWELL,FRANCIS "SCRAPPER"(g/LEROY CARR)b. 1903-0221, SYRACUSE, SC CHARLES, BOBBY [ROBERT C. GUIDRY] (songw) b. 1938-0221, ABBEVILLE, LA DAMERON, TADD (awesome arr) b. 1917-0221, CLEVELAND, OH DRAHER, DANNY (g/Buttlerfield) b. 1953-0221, INDIANAPOLIS, IN GEFFEN, DAVID (owner : GEFFEN REC) b. 1943-0221, BROOKLYN, NY HARRIS, COREY (g/ALLIGATOR REC) b. 1969-0221, DENVER, CO JESSYE, EVA (lead/EVA JESSE GOSPEL CHOIR) d. 1992-0221, ANN ARBOR, MI 97 KAUFMAN, MURRAY "THE K" (NYC dj/WINS) d. 1982-0221, LOS ANGELES, CA 60 RUCKER, RHONDA [RHONDA LYNN HICKS] (v) b. 1961-0221, LOUISVILLE, KY SEARS, AL BIG (tsax) b. 1910-0221, MACOMB, IL SIMONE, NINA [EUNICE KATHLEEN WAYMON] (p) b. 1932-0221, TRYON, NC STRONG, NOLAN (lead/THE DIABLOS) d. 1977-0221, DETROIT, MI 43 VOGEL-RAPP, JANET (of THE SKYLINERS) d. 1980-0221, PITTSBURGH, PA 37 ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 20 Feb 1996 11:16:02 -0500 Reply-To: "P.W. Fenton" From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Ranko's Trashing of Monster Mike Welch Comments: To: Keith Castleberry Keith Castleberry wrote: >Sorry Ranko, I stand by my recommendation. I love all the albums you have > mentioned, but IMHO it would not hurt to expand your vision of the Blues > past the old guards of the Blues. MMW is a refreshing sound; and as you say > "a beginning". But, how many artists can say that their first effort debuted > #6 on the Blues Breaker Chart, or any chart. Mike's vocals on the album, IMO > are right up there with the best; of course, he is only 16 and hasn't had > his vocal cords subjected to the whiskey and cigarettes to give him that > "Bluesy" sound that you may like. I say, buy this album first, before the > **classics** you have mentioned; for a little differant tangent on the > Blues. I'm not trying to trash your view of the Blues, but loosen up and > enjoy a new branch. Is there any place on the WWWeb where you can download samples of this guy, and decide for yourself? Without having heard a note, I'm forced to lean towards Ranko's assessment. I'm not about to plunk down money on a 16 year old Blues artist that I haven't heard. All of the child prodigy Blues acts that I have heard, cleary owe their success to the novelty of their age, and wouldn't get noticed otherwise. -- P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 20 Feb 1996 11:39:30 EST Reply-To: Wayne Winkler From: Wayne Winkler Organization: East Tennessee State University Subject: Brownie McGhee in Chicago I had the opportunity to briefly interview Brownie McGhee following his set at the 1995 Chicago Blues Festival. Before going backstage, Brownie's daughter warned me not to ask any questions about Sonny Terry. I met Brownie backstage at the Petrillo Music Shell, while Magic Slim and the Teardrops were playing. We talked a bit about Tennessee - I live about 15 miles from Kingsport, where Brownie grew up - and about New York. Brownie's comment: "New York wasn't shit. They didn't want to hear the blues in New York." He said the tale of how he and Sonny got to New York was "a million-dollar story" that would someday be told. I hope he got the chance to tell it before he passed. I wouldn't have minded sticking around and getting some of that story - Brownie was in a good mood and seemed willing to talk - but a Tribune reporter was waiting his turn and Brownie's daughter was signalling me to wrap it up. Does anyone know of an extensive interview with Brownie? He was quite a guy and I'd like to read or hear more of his viewpoint. Wayne Winkler WETS-FM Johnson City, Tennessee ========================================================================= Date: Tue, 20 Feb 1996 11:00:04 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Ranko's Trashing of Monster Mike Welch -Reply Comments: To: edsel@ATMORE.GULF.NET I trust Ranko's judgement on this....but, the rejoinder of .... "the album broke out at #6....." Nothing in this world that is popular is necessarily good. If it is good, AND popular, imho, it is just coincidence. Like WIlly Brown said in :"Crossroads", you're lacking mileage! regards, ddr ========================================================================= Date: Tue, 20 Feb 1996 13:15:37 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: Two photos of Lemon? (was: leadbelly movies) Comments: To: christia@cnen.de.edf.fr In-Reply-To: <9602201407.AA10749@foncaoga> from "christia@cnen.de.edf.fr" at Feb 20, 96 03:07:08 pm > (2 pictures of R. Johnson, same for Lemon There are two photos of Blind Lemon??? I've only seen the one with the tiny guitar strapped on with a piece of string... with the "Coridially Yours, Blind Lemon Jefferson" written on it by some studio guy... -Rob ========================================================================= Date: Tue, 20 Feb 1996 17:22:18 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: Happy Mardi Gras Bill Morgan (wmorga@BIGEASY.COM) wrote: : Hope everyone has a very happy Mardi Gras, or if you don't celebrate : it, just a fat Tuesday. : Bill : From: The Big Easy STOP! You're killing me! Zulu rolled two hours ago, and I'm stuck in Seattle with the gumbo blues again. Throw me something, mister! ============================================================================ Jef Jaisun eljefe@netcom.com ============================================================================ -- ========================================================================= Date: Tue, 20 Feb 1996 12:25:41 -0500 Reply-To: Bernard Chazelle From: Bernard Chazelle >old Blues artist that I haven't heard. All of the child prodigy Blues acts >that I have heard, cleary owe their success to the novelty of their age, and >wouldn't get noticed otherwise. There is some truth to that. But there are exceptions, eg, Junior Wells, Shuggie Otis. Bernard Chazelle ========================================================================= Date: Tue, 20 Feb 1996 12:36:12 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0022 From: "DUTTWEILER.J" Subject: Re: Ranko's Trashing of Monster Date: Tuesday, 20 February 1996 12:36pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: Ranko's Trashing of Monster In-Reply-To: The letter of Tuesday, 20 February 1996 12:28pm ET PW's assessment was precisely why I asked the question in the first place - people tend to marvel at "children" who are seemingly precocious, no matter what the field. I was wondering if Welch was more of the same, or of a more legitamate stature. It is *hard* to imagine a 16 year old (somehow I thought he was a little older than that) has much to say, blues wise, to the world that isn't being said much better by established (older?) artists. Wouldn't mind giving him a listen, though, to see for myself. JD ========================================================================= Date: Mon, 19 Feb 1996 14:20:51 PST Reply-To: Carol Ayres From: Carol Ayres Subject: Re: Canned Heat still alive? (fwd) I saw Canned Heat three months ago at a club just outside Sacramento. The drummer (don't know his name) is the only remaining original member of the band. They were to be recording a new album to be out sometime early '96 (if I remember correctly). For the last six months, they've had Robert Lucas (formerly of Luke and the Locomotives from southern California) as their lead singer. Personally, I like his style and have been following him for years and I'm glad to see he's signed on with Canned Heat. I'm hoping it will be a mutually beneficial arrangement. - Carol At 07:09 PM 2/16/96 -0600, you wrote: >the last new canned heat recording of which i am aware was one track on "the >healer" with john lee hooker. henry vestine, fido de la para and larry >taylor appeared as canned heat. the healer was released in 1989. hooker's >follow up tribute/compilation cd, "mr. lucky" (1991) featured larry taylor on >one or two tracks. > >keep in mind that the heat are hard to push out the door. i would assume >that with the ever resurgent interest in the blues, they will resurface >somewhere along the line. as long as vestine is in the lineup, it could be >worth waiting for. > > ========================================================================= Date: Tue, 20 Feb 1996 13:05:24 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: Ranko's Trashing of Monster Mike Welch -Reply Comments: To: Roger Struve In-Reply-To: I previewed ten CDs last night at home. MMW's was one of them. Usually I try to pick three or four cuts for my show (in the case of Roosevelt Booba Barnes I think I played five the other week, it was so good). I picked two of the shortest cuts on MMW's release. Look, he'll be treated really well the next couple years, and he'll have lots of fun. But, outside his age, I can't say there is anything at all special about the release. Given so much of the truly good stuff out on the market (and I include in that non-"purist" material such as Mem Shannon, Ellen McIlwaine, Snooks Eaglin, and on and on and on), MMW is no standout. There are indeed lots of alternative, competing branches... and some bear truly remarkable fruit. IMHO, MMW is not all that sweet (and least not yet). On the other hand, they say "De gustibus non est disputandum." So, spend your money and be your own judge. Dave Prychitko ========================================================================= Date: Tue, 20 Feb 1996 12:12:42 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Ace Records Comments: To: Richard Flohil In-Reply-To: Ace Records is NOT a bootleg label!!!!! Their lack of discographical info is due to an unfortunate reluctance on the part of at least one of their experts to share his information with the world. ========================================================================= Date: Tue, 20 Feb 1996 13:24:25 -0500 Reply-To: Meadors From: Meadors Comments: To: chazelle@CS.PRINCETON.EDU You wrote: All of the child > prodigy Blues acts > >that I have heard, cleary owe their success to the novelty of > their age, and > >wouldn't get noticed otherwise. > Stevie Wonder isn't blues, but he certainly is an example of someone who at an early age had his thing together musically. While it's true that many teens get attention because of their age alone, I don't think you can make a blanket statement that every young player only has his/her youth as a drawing point. The proof's in the listening. Mike Meadors Orange3@gnn.com ========================================================================= Date: Tue, 20 Feb 1996 13:38:20 -0500 Reply-To: Jerry Zolten From: Jerry Zolten Subject: Re: Canned Heat I didn't catch this whole thread and may be repeating info already made available. However, though I can't speak for the state of the group, as of last year, Richard Hite was alive and well acting as curator for the blues museums on Beale Street and across from the Peabody Hotel in Memphis. It was my understanding he occassionally went out with the band. Might try contacting him in Memphis. ========================================================================= Date: Tue, 20 Feb 1996 12:35:08 CST Reply-To: JBards From: JBards Subject: Re[2]: Happy Mardi Gras Comments: To: Jef Jaisun In contrast, I, up here in Shreveport at the other end of the state, am giving thanks that I am NOT in New Orleans this week. If you're not really in the moood, Mardi Gras is a pain in the *** . A lot of people I know down there traditionally find this a pleasent week to go the Caribbean, check out the sights in Dallas, or stay home and recover from that peridontal surgery they've been putting off. Seriously, when I lived in Baton Rouge I used to do Mardi Gras every three or four years, just for the experience- I'd get down there and thenremember why I had skipped the last 2 or 3 years. Mardi Gras is something really special, but it is also a real effort to survive it. -Jim ( I'll make the gumbo) _______________________________________________________________________________ Subject: Re: Happy Mardi Gras From: Jef Jaisun at INTERNET-SH Date: 02/20/96 12:19 PM Bill Morgan (wmorga@BIGEASY.COM) wrote: : Hope everyone has a very happy Mardi Gras, or if you don't celebrate : it, just a fat Tuesday. : Bill : From: The Big Easy STOP! You're killing me! Zulu rolled two hours ago, and I'm stuck in Seattle with the gumbo blues again. Throw me something, mister! ============================================================================ Jef Jaisun eljefe@netcom.com ============================================================================ -- ========================================================================= Date: Tue, 20 Feb 1996 13:35:41 -0500 Reply-To: Sam Lawton From: Sam Lawton Subject: San Francisco Bay Blues I'm going to be visiting the fair city by the bay from February 24 through 27 and would appreciate any info on blues clubs or performances during that period. (There doesn't seem to be much information available via the web.) ========================================================================= Date: Tue, 20 Feb 1996 13:41:36 -0500 Reply-To: "John R. Vanderpool" From: "John R. Vanderpool" Organization: NASA/GSFC Subject: guitar shorty - whaddya think of his current live shows? guitar shorty is playing my local juke joint (tornado alley, wheaton, MD) this thursday (22-feb) and i'm just wondering what folks think of him, i've never heard any of his music... thanx, fish ========================================================================= Date: Tue, 20 Feb 1996 12:38:30 -0600 Reply-To: Keith Castleberry From: Keith Castleberry Subject: Monster Mike Is there any place on the WWWeb where you can download samples of this guy, and decide for yourself? Without having heard a note, I'm forced to lean towards Ranko's assessment. I'm not about to plunk down money on a 16 year old Blues artist that I haven't heard. All of the child prodigy Blues acts that I have heard, cleary owe their success to the novelty of their age, and wouldn't get noticed otherwise. -- P.W. Fenton Tampa, Florida Sorry, I checked with Tone-Cool, their page doesn't have sound yet. I don't know of another place to listen, other than your stereo, concerts --- or maybe a local DJ would play "These Blues are Mine" for you. Keith Keith Castleberry WYDH 105.9 FM "The Blues Cruise" P.O. Box 710 Atmore, AL 36504-0710 ========================================================================= Date: Tue, 20 Feb 1996 13:54:13 -0500 Reply-To: "P.W. Fenton" From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Child Prodigy? Comments: To: Bernard Chazelle Bernard Chazelle wrote: > >>old Blues artist that I haven't heard. All of the child prodigy Blues acts >>that I have heard, cleary owe their success to the novelty of their age, and >>wouldn't get noticed otherwise. > > There is some truth to that. > But there are exceptions, eg, Junior Wells, Shuggie Otis. > > Bernard Chazelle Huh? Junior Wells... child prodigy? -- P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 20 Feb 1996 13:49:05 -0500 Reply-To: "P.W. Fenton" From: "P.W. Fenton" Organization: The Second Ward Subject: Popular vs. Good Comments: To: Roger Struve Roger Struve wrote: > > I trust Ranko's judgement on this....but, the rejoinder of .... "the album > broke out at #6....." > > Nothing in this world that is popular is necessarily good. > > If it is good, AND popular, imho, it is just coincidence. > > Like WIlly Brown said in :"Crossroads", you're lacking mileage! I hope I don't ruffle feathers, but I must disagree with this, whole heartedly. I think that is an elitist and ego-based attitude. I think that if a majority of folks like something, it must be good, and deserves merit and recognition. If something is popular, and I don't care for it, then that makes MY taste more unique and "of center". I don't think that a minority determines what's "good". -- P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 20 Feb 1996 13:18:18 CST Reply-To: JBards From: JBards Subject: Kenny Wayne Shepard and Mike Welch Comments: To: "David L. Prychitko" Interestingly enough, there hasn't been much discussion on the board of the Kenny Wayne Shepard phenomenon- and I would echo your comment that " outside of his age" I don't see what the big deal is, but he's got the number 2 record on the blues charts right now. I heard last night that he's just signed a deal to open for Buddy Guy this spring and open for the Eagles on their European tour this summer- since he's a home-town boy I have every reason to wish him well, but really I've been listening to Smokin Joe Kubek in the car all weekend and there's no comparison. Anyone else have any thoughts? Jim _______________________________________________________________________________ Subject: Re: Ranko's Trashing of Monster Mike Welch -Reply From: "David L. Prychitko" at INTERNET-SH Date: 02/20/96 12:59 PM I previewed ten CDs last night at home. MMW's was one of them. Usually I try to pick three or four cuts for my show (in the case of Roosevelt Booba Barnes I think I played five the other week, it was so good). I picked two of the shortest cuts on MMW's release. Look, he'll be treated really well the next couple years, and he'll have lots of fun. But, outside his age, I can't say there is anything at all special about the release. Given so much of the truly good stuff out on the market (and I include in that non-"purist" material such as Mem Shannon, Ellen McIlwaine, Snooks Eaglin, and on and on and on), MMW is no standout. There are indeed lots of alternative, competing branches... and some bear truly remarkable fruit. IMHO, MMW is not all that sweet (and least not yet). On the other hand, they say "De gustibus non est disputandum." So, spend your money and be your own judge. Dave Prychitko ========================================================================= Date: Tue, 20 Feb 1996 14:19:18 EST Reply-To: "Steve A. Fowlkes" From: "Steve A. Fowlkes" Subject: "Monster" Mike Welch ============================================================================= I've been reading some press lately about this "kid" from Boston, I think, named Mike Welch. He has a CD out on Tone-Cool titled "These Blues Are Mine." Anybody out there know anything about him? Is he just the latest guitar "wunderkind," or can he really play some blues? Just curious. JD ============================================================================= I was not impressed with this CD at all. If you like Blues then you probably WON'T like this disc. ...saf ========================================================================= Date: Tue, 20 Feb 1996 14:42:15 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: eRIC's BLUES DATES: Feb. 21 Comments: To: James Carmin In-Reply-To: <199602201612.IAA17177@desiree.teleport.com> > Here's a few dates (b. born, d. death) for tomorrow. If you have any > corrections/additions, let me know at leblanc@dao.nrc.ca. > > ------------------------------------------------------------------------------- > artist notes/full name yyyy-mmdd, city/county state age > ------------------------------------------------------------------------------- > DRAHER, DANNY (g/Buttlerfield) b. 1953-0221, INDIANAPOLIS, IN > ------------------------------------------------------------------------------- > Happy birthday to New York's finest blues guitarist! Danny has played with virtually everyone included almost the entire roster of Verve Records last week at the Johnny Copeland tribute. How ever tasteful he is! Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" :) ========================================================================= Date: Tue, 20 Feb 1996 15:08:15 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0105 From: "DUTTWEILER.J" Subject: Popular vs. Good Date: Tuesday, 20 February 1996 3:07pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Popular vs. Good In-Reply-To: The letter of Tuesday, 20 February 1996 2:43pm ET PW wrote: >I hope I don't ruffle feathers, but I must disagree with this, whole >heartedly. I think that is an elitist and ego-based attitude. I think that >if a majority of folks like something, it must be good, and deserves merit >andrecognition. If something is popular, and I don't care for it, then that >makes MY taste more unique and "of center". I don't think that a minority >determines what's "good". I disagree, but not whole heartedly ;-), with PW here. I think just because a lot of people like something, it is not necessarily good, which is not the same as saying if *I* don't like it, no matter how many do like it, its *not* good. Frankly, in music, as in literature and art, I think works that stand the test of time are "good," while those that don't are not, no matter how manydo or don't like it at the time it was produced. A great number of TV shows are extremely poplular, but, as I learned in JR 101,most people tune to the "least objectionable" program. This trend to LOP is evident in most areas of creative endeavors that seek to make a profit by selling the product of those endeavors (and I'm all in favor of making a profit). In many cases what sells is not necessarily what is "good," but what is simply the least objectionable, by comparison to the rest of the products offered in the marketplace. But what endures the test of time, what will still be listened to 10, 20, 30 years from now, that is what is truly "good." We still read Shakespeare, Twain, Dickens, Poe, the Bible, etc., etc., etc., because these works or authors were, indeed, GOOD. When I listen to music I ask myself, will I want to still listen to this in a year, 5 years, etc.? Do I think this music will stand the test of time? Of course, there is not way to know with certainty now, but then, I haven't bought any Michael Jackson in my whole life (but I still got some Otis Redding, Sam Cooke, I bought years ago and I still *listen to it). Just my thought on the subject, JD ========================================================================= Date: Tue, 20 Feb 1996 15:52:15 -0500 Reply-To: Bernard Chazelle From: Bernard Chazelle Subject: Re: Child Prodigy? Comments: To: pwfenton@GATE.NET >>> Huh? Junior Wells... child prodigy? Didn't he perform with Tampa Red at age 14 or so (hey, Welch is already an old guy :-). But my favorite story is Junior (age 16 or so) sneaking into the Ebony Lounge and begging Muddy to let him play, only to steal the show under the unamused glare of Little Walter... (This story might be apocryphal but it's a nice story anyway.) Bernard Chazelle PS: while on the subject of Jr Wells, let me recommend to anyone his classic "Hoodoo Man Blues" album. After all these years of listening to it I am still overwhelmed by the emotional power of that music. ========================================================================= Date: Tue, 20 Feb 1996 16:32:23 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: You're Always Too Late . . . I read Sara Oxton's regrets at not having seen Brownie McGhee in Chicago last summer and it reminded me of as conversation that I had with Mary Katherine Aldin when she was urging me to stop being computer illiterate and get online. She told me that I had the obligation to continually remind blues fans of those artists who had died before these fans became aware of their greatest - both as musicians and also as people. It's like watching a carousel move in a slow circle. No matter at what point you choose to stop on board, you are going to be too late for someone. It is simply a matter of enjoying that which exists around you at any given time. I still believe that knowing Magic Sam was one of the great joys of my life. I didn't get to see Elmore James. We are within five years of the next century, and I had the honor of working with magnificent artists who were born in the 19th century. This doesn't mean that I am any better . . any smarter . . any wiser. No. . just older. Ok, so you missed Brownie. Now don't make the mistake of passing up Jack Owens . . or Robert Lockwood . . or Diamond Teeth Mary. There will be new blues fans after the turn of the century and they will lament at missing some of the artists that you had a chance to see. Brownie lived to be 80. Magic Sam died at 32. Assume nothing . . . I could go on at ponderously boring length about the imperative significance of not allowing these opportunities to slip away but this is a list of blues fans and, hopefully, we recognize the fragile nature of mortality. Someone posted recently that Robert Lockwood stopped a show to scold a photographer who was bothering him during performance. Good, I'm glad. It shows that even at his age. he still cares enough about his music that the presentation of his artistry is important stuff and not some rote exercise. May it ever be thus . . . Dick Waterman ========================================================================= Date: Mon, 19 Feb 1996 13:37:57 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Kenny Wayne Shepard and Mike Welch Jim wrote: >Interestingly enough, there hasn't been much discussion on the board of the >Kenny Wayne Shepard phenomenon- and I would echo your comment that " outside of >his age" I don't see what the big deal is, but he's got the number 2 record on >the blues charts right now. I heard last night that he's just signed a deal to >open for Buddy Guy this spring and open for the Eagles on their European tour >this summer- since he's a home-town boy I have every reason to wish him well, >but really I've been listening to Smokin Joe Kubek in the car all weekend and >there's no comparison. >Anyone else have any thoughts? Jim, do not get me started (too late). I was debating whether to get into this thread as KWS was covered in the SRV clone thing awhile back and I've also been involved in thread over on the Texasflood list as well (that was fun). But, would I miss a chance to rant and rave? Not likely. KWS is techinically a talented guitarist. He can do SRV. Cool, but so can I if I want to and so can quite a few guitarists on this list (actually I was jamming on "Riviera Paradise" and "Lenny" last night at rehearsal). The trouble is, he has recorded a CD that basically is a SRV rip-off and is being lauded as the next big blues-guitar thing. Give me a break! The only talent that KWS has shown to the public is that he can play SRV. How about some originality. Acknowledging your influences is fine but a whole album is a little too much. IMHO. Ok, IMAO (a is for arrogant) opinion there are a number of reasons for KWS. He is well connected. That helps. Two, SRV was incredibly popular and inspired a quite loyal following. Some people seem to think that if they can get someone who sounds like SRV and can play SRV then they are a great player. Ha! Technically it's there but thats it. There's nothing more. I think it's time for people to let SRV go and check out all the other players out there who have their own style and play equally as well, if not better than KWS. I mean, put Luther Allison adnd KWS on the same stage and we'll see who comes off breathing. The third reason is the whole child prodigy thing. "He's 18! He sounds just like SRV! He a genius! He's a great guitar player!" I think the logic in this line if thinking is a tad out of whack. KWS is young. Hopefully, he has been listening to the criticism and that he'll try and break out of the SRV mold (people also say that he is a nice guy so that counts) but until he does then I, for one, will not be worshipping him as the next guitar god. Greatness comes form taking the music somewhere new where it hasn't been before. Not from slavish imitations. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Mon, 19 Feb 1996 13:38:04 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Popular vs. Good Comments: cc: pwfenton@GATE.NET PW Fenton wrote: >I hope I don't ruffle feathers, but I must disagree with this, whole >heartedly. I think that is an elitist and ego-based attitude. I think that >if a majority of folks like something, it must be good, and deserves merit >and recognition. If something is popular, and I don't care for it, then that >makes MY taste more unique and "of center". I don't think that a minority >determines what's "good". Well my feathers aren't ruffled I am inclined to disagree slightly. The sucess of Kenny G, IMHO (IMAO? IME(elitist)O) leads me to believe that popular ain't always good. There are some poplar artists that are good. There are also some who are not. That fact that a majority of people like something is not a reccomendation. It has been said that you will never go broke under estimating the public. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Tue, 20 Feb 1996 16:58:57 -0500 Reply-To: "P.W. Fenton" From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Popular vs. Good Comments: To: "DUTTWEILER.J" DUTTWEILER.J wrote: > Frankly, in music, as in literature and art, I think works that stand > the test of time are "good," while those that don't are not, no matter how > manydo or don't like it at the time it was produced. > > A great number of TV shows are extremely poplular, but, as I learned in JR > 101,most people tune to the "least objectionable" program. This trend to LOP > is evident in most areas of creative endeavors that seek to make a profit by > selling the product of those endeavors (and I'm all in favor of making a > profit). In many cases what sells is not necessarily what is "good," but what > is simply the least objectionable, by comparison to the rest of the products > offered in the marketplace. Do you seriously think that people entering a CD shop must buy SOMETHING. Do you think that upon finding nothing they want, THEY DROP FIFTEEN BUCKS FOR THE ONE THEY DISLIKE THE LEAST? I have never bought any recording because it was the least objectionable. (I've voted that way several times.) If I don't like anything on TV I turn it off. I'm not compelled to watch the least objectionable thing on. All of those pieces of art that have "stood the test of time" were, and continue to be popular. They don't survive if they are unpopular. Just because something that's popular DOESN'T survive the test of time does not mean that it wasn't good. It means that it wasn't timeless. "Popular" is only a put-down in the minds of them that ain't. -- P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 20 Feb 1996 17:14:10 -0500 Reply-To: "P.W. Fenton" From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Popular vs. Good Shaun T Cronin wrote: > It has been said that you will never go > broke under estimating the public. YOU are the public. That's what you think of yourself? -- P.W. Fenton Tampa, Florida Check out my Blues web page at http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 20 Feb 1996 17:32:00 EST Reply-To: William Pollak From: William Pollak Subject: Dzondria LaIsaac (was Re: Liner notes) In-Reply-To: Your message of "Tue, 20 Feb 96 10:09:58 EST." The Queen (or King, as the case may be) of the liner notes writers has to be the immortal Dzondria LaIsaac, who wrote liner notes for Duke and Peacock LPs in the 1950s and 1960s. The notes to the Bobby Bland and Junior Parker albums on Duke, the O.V. Wright and Joe Hinton albums on BackBeat, and above all the Johnny Ace Memorial album on Duke contain some of the purplest prose ever written. Talk about informative: On the notes to the original issue of "Two Steps From the Blues," LaIsaac tells us, among other interesting facts, that Bobby Bland is a shy guy with the ladies who enjoys attending baseball games. On the notes to "A Christian Testimonial" by the Dixie Hummingbirds, LaIsaac tells us that bass singer William Bobo, known for the deep, rich tone of his voice, was actually a tenor until he fell asleep outside one cold evening and awakened to find his voice miraculously transformed. I could be wrong, but my guess is that "Dzondria LaIsaac" was yet another pseudonym for Mr. Don Robey, Duke Records president, booking agent, nightclub owner, and Renaissance Man, who collected a royalty on just about every record on his labels by affixing his pseudonym "Deadric Malone" to the writer credits. Bill P. Bill Pollak, Technical Communication Carnegie Mellon U., Software Engineering Institute Pittsburgh, PA 15213-3890 email: wp@sei.cmu.edu ========================================================================= Date: Tue, 20 Feb 1996 16:59:13 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 02 / 21 B O R N : ARCHER, HARRY ( HARRY AURACHER Born:1888 CRESTON, IA Career:LEADER / COMPOSER Style:BIG BAND With:HARLEN THOMPSON / HOWARD JOHNSON / PAUL WHITEMAN VACHE, WARREN,JR Born:1951 RAHWAY, NJ. Career:CORNET Style:JAZZ / BIG BAND With:Benny Goodman / Scott Hamilton BLACKWELL,FRANCIS "SCRAPPER" Born:1903 SYRACUSE, SC Career:GUITAR Style:BLUES With:LEROY CARR CHARLES, BOBBY [ROBERT C. GUIDRY] Born:1938 ABBEVILLE, LA Career:SONGWRITER Style: BLUES DRAHER, DANNY Born:1953 INDIANAPOLIS, IN Career:GUITAR Style:BLUES With:Buttlerfield RUCKER, RHONDA [RHONDA LYNN HICKS] Born:1961 LOUISVILLE, KY Career:SINGER Style:BLUES SEARS, AL "BIG" (ALBERT OMEGA ) Born:1910 MACOMB, IL Career:TENOR SAX Style:BLUES / JAZZ With:Paul Craig / Chick Webb / Zack Whyte / Helen Humes / Bernie Young / Elmer Snowden / Andy Kirk / Lionel Hampton Duke Ellington / Johnny Hodges SIMONE, NINA [EUNICE KATHLEEN WAYMON] Born:1932 TRYON, NC Career:PIANO / SINGER Style:BLUES / JAZZ With:Mel Torme / Francis Faye / Russ Garcia / Johnny Hartman Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Tue, 20 Feb 1996 15:03:35 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Child Prodigies Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Hi Everybody! I do a lot of recording for our music department here, as well as for several orchestras and choirs in the area. This has brought me into contact with a lot of conductors and music educators. We see child prodigies all the time, and it is a whole different thing from the inside, believe me. *Most* of them never deliver on their obvious gifts. Among the reasons for this that I have observed: Too much exposure too soon. Too much money too soon. Too much travel too soon. Too much praise and fawning-over too soon. Too few genuine challenges that force them to grow and require them to actually apply themselves Too little calm-and-normal childhood. Too little parenting. No one they can turn to for the *truth*.. My little nephew showed amazing promise on the piano a few years ago, and some of my relatives started predicting huge success for him, and calling him a "concert pianist" and all that kind of crap... I'll tell you what I told them. Where's his metronome? (he was practicing without one, and it showed) STOP LYING TO HIM ABOUT HOW GOOD HE IS, AND NEVER CALL HIM A "CONCERT PIANIST" AGAIN! He's a kid fer pete's sake! So they say "why not"? And I said: "Let's assume he's really gifted, let's assume he's really good enough to go to Julliard. Now, what happens when he gets there and *every single student* is as good or better than he is, while he has been *coasting* for the last five years? When he should have been applying himself, his silly family is calling him "genius" and "prodigy" and "concert pianist" all the time. The applause and over-praise of his small town crowd have lied to him, in a profound way about the actual price of success. This is why "child prodigies" so often end up a mess or dead at their own hands. Don't forget the amazing "child prodigy" Danny Gatton.... I told them to challenge that kid, keep him away from sycophants, stop overpraising him, give him a practice schedule, give him time for free-form practice, but make him use a metromone for much of his practice. Find him a great teacher, and as he achieves each goal, praise him appropriately and MOVE ON to the next challenge. Keep "raising the bar", keep challenging him, and NEVER EVER let him think it will be easy or that he's got it made. Find him a great mentor who will give him a real sense of how high the bar actually *is* in the pro world.... Scary stuff, but if he's gifted, and has desire, he will rise to the level he needs to. In pop and blues it's even worse with promotors and agents actively hyping the child prodigy angle. It's a miracle if these kids ever actually get a real career and an actual life. So I guess I would like to see less hype and more calm as we welcome these younger gifted musicians to the scene. Maybe if we don't believe their publicity, they might start to question it too.... couldn't hurt. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production & Event Services dcicchet@vega.lasierra.edu I looked over Jordan, and what did I see An Eldorado comin' after me comin' for to carry me home.. -- Dizzy Gillespie ____________________________________________________ ========================================================================= Date: Tue, 20 Feb 1996 18:09:44 +0000 Reply-To: Richard Kahn and Tiffany Winne From: Richard Kahn and Tiffany Winne Organization: Puss Inc. Subject: Re: Monster Mike Welch Listen- I've heard a few cuts off of the guys album and saw him play about a week and a half ago here in Boston. If I remember correctly, which is hard these days, it was $8 at the door...which is pushing it, in my opinion, unless the show's good. I mean I've seen Buddy Guy for $10,etc. So...anyhow, I'll say this about the show. It was good. I didn't feel ripped by my $8 at all- there's one thing you can say about 16yr olds, theyve got a lot of energy to spend. On the technical side, it seems to me that the guy- in homage I'm sure- basically copies a lot of classic blues stuff and makes it his own...again, if my memory serves me right, I can remember picking up on a heavy Guitar Slim tendency in his phrasing. Finally, taking the album into account as well, I'd say that if youre into fourth generation electric blues then there's no way you shouldn't give the Monster a listen, as he'll only get better with age. It's not at all clear to me though that being able to copy phrasing should earn you respect as a "bluesman", or that the type of phrasing Monster Mike is into is even "great blues". SOrry so incoherent...i'm going to bed. -- Richard and Tiffany (richard @user1.channel1.com) "The Blues had a baby and they called it Rock n' Roll..." ========================================================================= Date: Tue, 20 Feb 1996 18:15:37 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: You're Always Too Late . . . Comments: To: Dick Waterman In-Reply-To: <960220163222_427309751@emout08.mail.aol.com> re: Dick Waterman's excellent analysis of not missing the greats takes me back to a thread a while back of what to buy - CDs from current artists or past artists. I remember pointing out that if the living are not supported (CD purchases and going to the live concerts) they will wither on the vine. Dick's point adds a new dimension (at least re: going to live shows) - we will wither on the vine. P.S. Saw Larry Garner this week LIVE at Terra Blues NY & his per- formance was smooth, elegant and full of the blues. Terra was a packed house (nice to see) and Larry looked happy being there as well as playing. Played with the audience and to the audience & that is one reason to be there live. These men and women of the blues (all genre's perhaps) want to touch us and they get the op- portunity to when the action is live. Very well stated Dick - thanks. Barry NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 20 Feb 1996 18:49:49 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Women harmonica players Quick query: Does anyone know of any women blues harmonica players? My buddy Holger Petersen needs this for his Saturday Night Blues radio show, and he's come up with Big Mama Thornton, and hit a blank. Any ideas, information, recorded suggestions? Thanks in advance, Richard the Elder ========================================================================= Date: Mon, 19 Feb 1996 15:50:54 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Popular vs. Good PW wrote: >YOU are the public. That's what you think of yourself? Well, I just sent a reply to PW (and I didn't save it) so I'll try and re-write it here. Sorry to sound arrogant but when I see, hear and read about the proliferation in belief about UFOs, psychics, creationism, -your favourite conspiracy theory here-, that the end of the world is nigh etc. it seems that a significant section of the public is gullible and devoid of any skill in critical thinking. The media doesn't help and is guilty of letting people believe that some of this crap is true. This crosses over into the media as well. A lot of the movies, music, books etc that are popular are worthless. There are a lot of good ones though. Still, there is a lot of stuff, blues for example, that people don't know about that is way better than anything else out ther. Hence my frustration at SRV clones given the position of the "next-great-blues-hope" at the expense of more deserving artists. End rant. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Wed, 21 Feb 1996 10:43:00 PST Reply-To: David Blanken From: David Blanken Subject: Otis Rush recording Greetings all! I was in my local record store the other day, when I noticed that they had a new (to me) Otis Rush CD available. It is a live recording from 1986, recorded in Japan with Otis backed by a band called Break Down. The label it was on was called Sequel. Does anyone (Mr Shurman?) know of this recording and if so, what are its merits/demerits? Cheers, Dave **************************************************************************** ****** David Blanken National Library of Australia Email: D.Blanken@nla.gov.au Phone: (06) 262 1473 **************************************************************************** ****** ========================================================================= Date: Tue, 20 Feb 1996 19:01:58 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Ace Records Richard Shurman rightly pointed out that Ace Records was NOT a bootleg label, and I apologise if I gave the impression that I thought it was. I was confused by a relationship which I thought existed between Ace and another label, and I may have done Ace an injustice I sincerely regret. But, like Richard, I still wish they did the sort of notes that Colin Escott (and Mr. Shurman) write ALL the time! Again, sorry for the misunderstanding and my mistake. (Who says I can't be graceful when I screw up? I'm learning, I'm learning!) Richard the Elder ========================================================================= Date: Tue, 20 Feb 1996 19:01:51 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Blues Photos--Below? Someone mentioned photos of blues musicians....and I'm reading this book called Chicago Blues....and I happened to think...I've never seen a picture of Fred Below. That seems odd, considering he was omnipresent during the 50's and 60's.... Has anyone ever seen a picture of him? If so, where? And I wonder why there's not a picture of him in this book... Karen ========================================================================= Date: Tue, 20 Feb 1996 19:12:06 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Monster Mike Welch Comments: To: Richard Kahn and Tiffany Winne In-Reply-To: <312A0E68.6658@user1.channel1.com> Did anyone ever think that maybe MMW is not being delivered for the "blues audience" but rather for the larger and much more $$ lucrative audience - so our comments are interesting, but maybe misdirected. Sort of like us discussing Mel Torme. I assume a label like ToneCool (Rounder) knows what they are doing. Maybe we don't. Barry As a reference to the first post - the discussion has interest, but in a larger scope let's realize that we are just a smallish hit in the music market (one I love, but nonetheless teensy). I BTW have heard the disc and reviewed it. The kid's voice has a way to go. His strumming on the other hand is charged. Whe- ther he's copying licks or not - he can play the guitar. A final note and this is very personal for me. Every time that we narrow the scope of the blues - we hinder it's growth. I am of the mind buy what you like just don't knock the fringes it's where the next wave comes from. And tying this all back to the Real Deal thread - that new disc by John Primer has a rock edge to it. I personally like that disc a lot and the rock edge has the added bonus of more dollars for John and maybe bigger shows and more CD's. Certainly he deserves that much. Everyone here knows that if they were giving away bigger quarters for some ol big swing guitarwork Furry would've let 'em have it. After all he was working. NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Wed, 21 Feb 1996 00:29:53 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Blues Alert ! Comments: To: bit-listserv-blues-l@uunet.uu.net In article <097.01473969.JUPU38A@prodigy.com> MR ROBERT W BELEW writes: >BLUES NEWS YOU CAN USE ! >Brought to you by Miller Lite and the "Piedmont Blues Preservation >Society" >Featuring: The Misdemeanors > Etta Baker > The Muddy Waters Tribute Band including: Steady >Rollin' Bob Margolin , Pinetop Perkins and Carey >Bell > Little Milton > Debbie Davies Band > .....and Delbert McClinton Yikes!! Although this sounds like a fine festival, it proves my point in an earlier post.... I don't see a single artist here that I would call "Piedmont" style blues yet it's sponsored by the Piedmont Blues PRESERVATION Society. Art Schuna ========================================================================= Date: Tue, 20 Feb 1996 15:35:48 -0800 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Re: Popular vs. Good Comments: To: bit-listserv-blues-l@cs.washington.edu P.W. Fenton wrote: > All of those pieces of art that have "stood the test of time" were, and > continue to be popular. They don't survive if they are unpopular. Just > because something that's popular DOESN'T survive the test of time does not > mean that it wasn't good. It means that it wasn't timeless. This seems like a really fuzzy distinction to me ("good" vs "timeless"). I agree with your point that "good" is "what people like". I guess I think "really good" is what "lots of people like, even across gaps in time or culture". > "Popular" is only a put-down in the minds of them that ain't. Or, as David Lee Roth said, "the reason rock critics like Elvis Costello more than me is that more rock critics look like Elvis Costello than look like me" Adrian ========================================================================= Date: Tue, 20 Feb 1996 20:49:06 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Piedmont style (was Re: Blues Alert !) Art said, concerning a festival lineup I didn't copy & paste: >Yikes!! Although this sounds like a fine festival, it proves my point in an >earlier post.... I don't see a single artist here that I would call >"Piedmont" style blues yet it's sponsored by the Piedmont Blues PRESERVATION >Society. I recently got two new albums of acoustic blues--Guy Davis, STOMP DOWN RIDER and Corey Harris, BETWEEN MIDNIGHT AND DAY. Both do songs in something close to Piedmont style. Davis does "Georgia Rag" (McTell) and Harris does a couple, as I recall, including a Fuller song. What do you think? Do these qualify? Am I understanding "Piedmont style"? At any rate, my little world is brightened by these two young acoustic players. I just hope they continue. Karen ========================================================================= Date: Tue, 20 Feb 1996 20:58:00 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Blues Photos--Below? Comments: To: JukeFreak@aol.com On February 20, the well-named JUKEFREAK, Karen Hanson said: >>>Someone mentioned photos of blues musicians....and >>>I'm reading this book called Chicago Blues....and I >>>happened to think...I've never seen a picture >>>of Fred Below. That seems odd, considering he was >>>omnipresent during the 50's and 60's.... Has anyone >>>ever seen a picture of him? If so, where? And I >>>wonder why there's not a picture of him in this >>>book... I have many photographs of Fred, mostly taken during the Junior Wells tour of Africa during the winter of 1967-1968. Others in the band were Willie Monroe (bass); Willie Williams (vocals); Doug Fagan (sax) and Lefty Diz (guitar). I will make them available for tickets to a Cubs' game . . . . Dick Waterman ========================================================================= Date: Tue, 20 Feb 1996 18:01:37 -0800 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Subject: Re: Blues Alert ! >>Brought to you by Miller Lite and the "Piedmont Blues Preservation >>Society" > >>Featuring: The Misdemeanors >> Etta Baker >> The Muddy Waters Tribute Band including: Steady >>Rollin' Bob Margolin , Pinetop Perkins and Carey >>Bell >> Little Milton >> Debbie Davies Band >> .....and Delbert McClinton >Yikes!! Although this sounds like a fine festival, it proves my point in an >earlier post.... I don't see a single artist here that I would call >"Piedmont" style blues yet it's sponsored by the Piedmont Blues PRESERVATION >Society. > >Art Schuna Maybe they all drink Miller beer. ========================================================================= Date: Tue, 20 Feb 1996 21:03:15 -0500 Reply-To: 00LCSPECTOR@BSUVC.BSU.EDU From: "Lee C. Spector" <00lcspector@BSUVC.BSU.EDU> Subject: chld prodigies Wasn't there an 8 year old prodigy by the name, I think, of Robinson some years back? Now there was a guy who really experienced the blues, he says sarcasticly. Lee Lee C. Spector Department of Economics ========================================================================= Date: Wed, 21 Feb 1996 03:04:20 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Radar Labs 23 Subject: Re: Ranko's Trashing of Monster Mike Welch Comments: To: bit-listserv-blues-l@uunet.uu.net On Tue, 20 Feb 1996 09:06:28 -0600, Keith Castleberry wrote: >>Sorry Ranko, I stand by my recommendation. I love all the albums you have >mentioned, but IMHO it would not hurt to expand your vision of the Blues >past the old guards of the Blues. MMW is a refreshing sound; and as you say >"a beginning". But, how many artists can say that their first effort debuted >#6 on the Blues Breaker Chart, or any chart. Mike's vocals on the album, IMO >are right up there with the best; of course, he is only 16 and hasn't had >his vocal cords subjected to the whiskey and cigarettes to give him that >"Bluesy" sound that you may like. I say, buy this album first, before the >**classics** you have mentioned; for a little differant tangent on the >Blues. I'm not trying to trash your view of the Blues, but loosen up and >enjoy a new branch. Monster Mike Welch is a very derivative blues guitarist. There is nothing original nor anything inspiring in his music -- he copped all his riffs. His singing is a joke. He has a cranked-up telecaster sound that really gets on your nerves, and he plays everything much, much too fast. There is neither elegance nor emotion in his phrasing. He's just a white kid with a guitar pretending to play the blues, and he is best put in perspective as a novelty act. I listened to the CD and was completely unimpressed. Save your money. Kevan Smith http://www.rlabs.com/congress/ ========================================================================= Date: Tue, 20 Feb 1996 21:26:57 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Otis Rush recording Comments: To: David Blanken In-Reply-To: <312B6780@smtp.nla.gov.au> Live In Japan 1986 originally appeared on P-Vine in Japan, last year I think. The pros are that it's long and Otis is in good form. Drawbacks are that it's basically the same material his fans have on other live LPs (same repertoire, I mean), it's not his working band and the guitar tone sounds a little different than I'm used to, probably due to not having his own amp in Japan. I'd think his fans would grab it no matter what, and nobody who chances on it wouldn't enjoy it, but it's not essential for most people or the best introduction to Otis. Nothing wrong with one more nice option for hearing his music and via a legit release, anyhow! ========================================================================= Date: Tue, 20 Feb 1996 21:33:40 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: child prodigies Comments: To: "Lee C. Spector" <00lcspector@BSUVC.BSU.EDU> In-Reply-To: <01I1G7RHRREW8ZET34@BSUVC.bsu.edu> You mean Sugar Chile Robinson. Also worth pondering are George Benson's first single at age 12(?)-- hearing him sing "It Should Have Been Me" before his voice changed is a treat-- and Dallas' immortal Little Gary Ferguson. Little Gary and the Babysitters (including Gatemouth Brown) waxed the unforgettable "Love That Babysitter" and "I'm A Bad Bad Boy" when Gary was a lad, and he was on "The Beat!!!!" TV show with Gate. ========================================================================= Date: Tue, 20 Feb 1996 04:10:24 GMT Reply-To: Undetermined origin c/o LISTSERV maintainer Comments: RFC822 error: Mail origin cannot be determined. Comments: RFC822 error: Original tag data was -> (Jack Oudiz) From: Undetermined origin c/o LISTSERV maintainer Subject: Louisiana Red Comments: To: bit-listserv-blues-l@uunet.uu.net Anybody else listen to that new Louisiana Red (recorded in 1982) on Earwig? Man that is some hair raising sheet. Overamped slashing slide and that deep deep blues. Can't stop listening. Jack "Take your hand outta my pocket, Ain't nothing belongs to you in there" Take your hand off my pocket Take your eyes off my whiskey at the bar ========================================================================= Date: Wed, 21 Feb 1996 04:49:44 GMT Reply-To: Jeffrey Daniels From: Jeffrey Daniels Organization: UMR Missouri's Technological University Subject: Raleigh/Durham Blues Scene Comments: To: bit-listserv-blues-l@uunet.uu.net I am thinking about taking a job in the Raleigh/Durham area and was wondering is there any type of blues scene there. If you could email me with any info on the area I would appreciate it. Jeff Daniels ========================================================================= Date: Tue, 20 Feb 1996 22:32:40 -0600 Reply-To: Keith Castleberry From: Keith Castleberry OK...so I see there's either a love or mucho dislike for Mike Welch on the old Blues-L. However, being in the **Like** camp, I want to reiterate that whether you like or dislike the Monster, I think he will be around for quite some time. Now you can sit back and refuse to allow one iota of change in your listening habits, and that's OK...if you're a big Jimi Hendrix Fan (I am) he may be releasing a new one next week... and another the week after...and another the week after. We are going to need replacements for the "old guard" one day. Let's encourage the new guys when we get a chance. The point I'm trying to make here is music, even the Blues changes. Some of the guys we love and listen to over and over again, sound very similar...Coincidica? you be the judge. Just think of the mail we could have written if we had the Internet when Blues went electric. The Monster is a change. The Monster also copies some riffs. I dare you musicians out there on the Blues-L to tell me you haven't! Get real. Now as far as his voice (Let's dissect the kid and see what makes him tick) IMHO I like it. That's My opinion. It appears that there are perhaps a lot of others who like it also. Now wouldn't that be something...a guy playing Blues that crosses over to the **real** world. Hey everybody buys his album and all of a sudden....Blues is being played all over the country!! What? Everybody that likes the album begins to wonder, Hmmm, I wonder if there are other artist that plays like this guy? And they begin to buy BLUES albums. And they all lived happily ever after. :-) Good Story, But back to reality. Music is subjective to the listener. I am sorry some of you guys do not care for the music, but I am also happy for those who are turned on to it. I firmly believe that this one will be a classic and am praying that there will be a second. The Classics are great, not trying to demean them in the least, but "they" also copy riffs (to an extreme) and sometimes tend to blend together. Monster Mike is a pleasant change to the **standard** and I like it, and so there! (and there again!) Ok I'm through with this, music is IMO subjective to the listener...no matter what. Like it or not. I like it. If you don't, sorry 'bout that, we'll get together on another artist, I'm sure. Bye ya'll. Keith Castleberry WYDH 105.9 FM "The Blues Cruise" P.O. Box 710 Atmore, AL 36504-0710 ========================================================================= Date: Wed, 21 Feb 1996 00:59:17 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Child prodigies When I was booking Buddy Guy many years ago, he played the Governor's Tavern in Buffalo, NY. After the gig he told me, "That owner (James Peterson) got a kid ain't but four, five years old and he plays the piano standing up in front of the keys and that little sucker can flat out play!" The kid was (is) Lucky Peterson so you can take from that whatever you want. Dick Waterman ========================================================================= Date: Wed, 21 Feb 1996 02:09:28 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Comments: To: Keith Castleberry Keith Castleberry wrote: > > OK...so I see there's either a love or mucho dislike for Mike Welch on the > old Blues-L. > > Keith Castleberry > WYDH 105.9 FM > "The Blues Cruise" > P.O. Box 710 > Atmore, AL 36504-0710 Well....I still like what I hear coming from that rhythm guitar going through the leslie.......Makes me wanna try blowin' a little harp through a leslie. Ya c wadim sayn, yeh! -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 ========================================================================= Date: Wed, 21 Feb 1996 02:25:46 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: Re: Women harmonica players Comments: To: Richard Flohil Richard Flohil wrote: > > Quick query: Does anyone know of any women blues harmonica players? My > buddy Holger Petersen needs this for his Saturday Night Blues radio show, > and he's come up with Big Mama Thornton, and hit a blank. Any ideas, > information, recorded suggestions? > > Thanks in advance, > > Richard the Elder Little Annie Raines...< Great! plays a lot with Paul Rishell (Tone-Cool) -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 ========================================================================= Date: Wed, 21 Feb 1996 05:34:43 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1930, Memphis Minnie recorded her first hit, "Bumble Bee", for Vocallion in Memphis P.W. Fenton Tampa, Florida ------------------------------------------------------------- "Age is a question of mind over matter. If you don't mind, it don't matter." - Leroy Robert "Satchel" Paige, 1906-1982 When in cyberspace, visit my web pages at http://www.gate.net/~pwfenton/ ------------------------------------------------------------- ========================================================================= Date: Wed, 21 Feb 1996 11:23:10 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Women harmonica players In-Reply-To: On Tue, 20 Feb 1996, Richard Flohil wrote: > Quick query: Does anyone know of any women blues harmonica players? My > buddy Holger Petersen needs this for his Saturday Night Blues radio show, > and he's come up with Big Mama Thornton, and hit a blank. Any ideas, > information, recorded suggestions? > There was one written up in (I think it was) Blues Revue ony about two issues ago. Sorry I can't remember the name but maybe this will jog someones memory or at least provide a "lead". phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [21/2/96 6:06 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 21 Feb 1996 11:44:31 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: More on the kids I have an irrational dislike for the "Monster" because of an item reported on this hallowed list. If I remember more or less correctly there was a ceremony at the Boston HOB (was it the year before last?) when Dan Ackroyd(?) handed the Monster one of Albert King's guitars. This really bothered me because it was hyped as Albert's passing on to the next generation yada yada yada. I don't presume to know what Albert would have thought. The irony in all of this "disapproval" of kiddie blues is that the odds are that most of them WILL end up being true monsters of the blues and we, the disapproving, will be rooting around in the bins for their "early years" CDs :):):) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [21/2/96 6:34 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 21 Feb 1996 11:32:01 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Kenny Wayne Shepard and Mike Welch and ... Comments: cc: ar550@FreeNet.Carleton.CA In-Reply-To: <199602202132.NAA21356@wavenet.com> All in all I (for one) will have to hear these kids before I buy. I bought the Nathan Cavaleri CD (remeber him?) and was mostly disappointed. And what ever happened to the Derek(?) Trucks? ... I think I will suggest a kid's night to my "local DJ". How's about it Mr Beaudry? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [21/2/96 6:26 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 21 Feb 1996 12:10:04 GMT Reply-To: Steven L Combs From: Steven L Combs Organization: The World Public Access UNIX, Brookline, MA Subject: scales question __________________ __________________ X O O O O O X O O __________________ __________________ O __________________ __________________ O O O O O O O O __________________ __________________ O O O __________________ __________________ O O O O O X = root note ; If the left scale is F minor pentatonic, what do you call the right scale (same root note, but scale shifted 3 frets) ? ========================================================================= Date: Wed, 21 Feb 1996 07:29:06 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1965, El Hajj Malik El Shabazz, better known as Malcolm X, American Black nationalist, was assassinated. ========================================================================= Date: Wed, 21 Feb 1996 11:45:05 +0000 Reply-To: RASTBURY From: RASTBURY Subject: Piedmont Blues (was Blues Alert !) Art Schuna wrote "I don't see a single artist here that I would call "Piedmont" style blues yet it's sponsored by the Piedmont Blues PRESERVATION Society." Surely North Carolina born Etta Baker qualifies as a Piedmont artist, both by birth and in style. I agree that none of the rest (in so far as I've heard of them - I know nothing of the Misdemeanors) could be so classified. Ray Astbury ========================================================================= Date: Tue, 20 Feb 1996 21:28:25 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: PRODUCER HUEY MEAUX ON THE RUN!! Comments: To: bit-listserv-blues-l@moderators.uu.net FROM THE HOUSTON CHRONICLE NEWSPAPER ONLINE 9:27 PM 2/7/1996 Search is on for suspected child abuser By S.K. BARDWELL Copyright 1996 Houston Chronicle Authorities launched an international search Wednesday for a Houston music producer, charged with child pornography and cocaine possession and sexual assault of a child, who failed to show up in court. Huey P. Meaux, 66, forfeited bonds totaling $130,000 by skipping his court appearance Wednesday. He is being sought on a new felony arrest warrant stemming from his absence. "Our feeling is he is out of the country right now," said Dwayne Wright, a Houston Police Department juvenile sex crimes investigator. Wright said Meaux is known to have ties in Mexico -- it is rumored he keeps a home there -- as well as in Europe. Rumors also have surfaced that Meaux, said to be worth about $30 million, has money in Swiss bank accounts, although Wright said investigators have found no evidence of that. Meaux's bond required that he undergo weekly drug tests and be fitted with an electronic monitor. He failed to report to the probation department Monday to fulfill those requirements. A hearing was scheduled Wednesday for Meaux to explain his failure to appear, and he again was absent. Police have learned he was still in town Monday and was having his telephone service disconnected. Edd Blackwood, whose bonding company posted Meaux's bonds after Meaux was arrested Jan. 29, said some of Meaux's friends fear he might attempt suicide. "I certainly would not eliminate it as a possibility," said Meaux's attorney, Rick Stover. "He was very upset after he left court last week." Police discovered Wednesday that four men in a rental truck removed all the furniture from Meaux's home in the 11100 block of Sageorchard Court Sunday. His cars were removed from the property as well. Those cars, a white 1984 Mercedes bearing Texas license plate FXT-11C and a white 1995 Buick bearing PFB-44S, remained missing Wednesday. Also missing was James Davis, a close business associate of Meaux's. Wright and Blackwood said Davis had accompanied Meaux to their offices and had been at Meaux's house when Meaux was arrested. Wright said he believes Davis and Meaux probably are traveling together. Anyone with information about the producer's whereabouts is asked to call police at 731-5376, Blackwood at 1-800-222-BAIL, or Crime Stoppers at 222-TIPS. Blackwood is offering a reward of up to $10,000 in the case, in addition to the reward of up to $1,000 offered by Crime Stoppers. Dick DeGuerin, an attorney representing a woman who alleges in a lawsuit that Meaux sexually abused her, said Meaux's disappearance was expected. "He's been abusing young girls for many years, and he got caught. He knows he's facing spending probably the rest of his life in prison,"DeGuerin said. DeGuerin said his client and other women who say Meaux abused them are safe for now from the threat of retaliation. "The fact that's he's running means he doesn't have time to retaliate," DeGuerin said. Asked whether he considered Meaux a dangerous man, Wright, the HPD investigator, replied: "I consider the people he hangs around with ... yes, dangerous." In addition to HPD and Blackwood's team of bounty hunters, Meaux is being sought by the criminal warrants division of the Harris County Sheriff's Department and the Gulf Coast Violent Offender's Task Force. During his long career in the music industry, Meaux has recorded the work of a number of well-known artists, including the Sir Douglas Quintet, Freddie Fender, "Rockin' " Sidney Simien and Mickey Gilley. Police say Meaux used drugs to lure numerous children into the "playroom" at the back of his leased Sugar Hill Recording Studio offices at 5626 Brock. Officers who raided those offices Jan. 29 on a tip confiscated hundreds of videotapes and more than 1,000 Polaroid photos showing Meaux in sexual encounters with girls as young as 8, although the typical age ranged from 13 to 15. One young boy also was involved, police said. The back room of the offices contained a king-size bed, wall mirrors in which Meaux could be seen in the films, instructing the girls and operating the camera, and a doctor's examining table complete with stirrups. About 15 grams of cocaine was found in his office, officers said. After authorities charged Meaux with possession of cocaine and child pornography, women came forward saying Meaux had sexually abused them when they were children or teen-agers. This led to the sexual assault of a child charges. Attorneys DeGuerin and Percy Isgitt, who represent Shannon McDowell Brasher in the civil case, will be in court again this morning for a hearing. Isgitt said Meaux will face no further charges if he fails to appear, since he was served with a citation in the lawsuit last week and the period during which he may reply has not ended. Wright said that wherever Meaux has gone, "I feel confident, it will take some time, but we will find him. Anybody who wears a badge will be looking for him. Anybody who knows him will be looking for him." DeGuerin pointed out that Meaux will "have to watch his back, no matter where he goes -- Mexico, the Caymans, Brazil, anywhere. No one has any sympathy for a child molester." Ultimately, Wright thinks two patterns of behavior will be Meaux's undoing. "One is, he's addicted to cocaine. He can't get off the stuff, been using it for years," the investigator said. "The other is, he likes being around people, and he likes to brag,"Wright said. "When he got his presidential pardon in the '80s, he has bragged about it since." That pardon came after Meaux had served 14 months in federal prison in the late 1960s for violating the Mann Act. He and his partner, the late Charlie Booth, were convicted of transporting a minor to a recording convention in Nashville for "immoral purposes." "He can't keep his mouth shut,"Wright said of Meaux. *** ========================================================================= Date: Wed, 21 Feb 1996 07:55:10 -0500 Reply-To: Niles Frantz From: Niles Frantz Organization: Megaweb Subject: Re: Pocono Blues Festival Comments: To: bit-listserv-blues-l@uunet.uu.net Here is updated information on artists confirmed at this time to appear at the 1996 Pocono Blues Festival: 1996 Pocono Blues Festival July 27 & 28, 1996 At Big Boulder Lake in the Pocono Mountains in upstate Pennsylvania. Featuring: Koko Taylor, Lowell Fulson, Robert Jr. Lockwood, William Clarke, Syl Johnson, Trudy Lynn, Guitar Shorty, Chris Cain, Larry Garner, Willie Cobbs, Little Sammy Davis, James Peterson, Little Dave Thompson, Kelly Joe Phelps and more. For information, call (717) 722-0100. Hope to see you there. Niles Frantz Emcee, Pocono Blues Festival In article <960213011151_103156.340_IHE106-4@CompuServe.COM> david m. carpenter wrote: >I'm forwarding this info for Stew Crossen, my apologies if > it has already been >posted. Looks like I'm going to try to get to PA for this > one: > >I have the Pocono Blues line-up: Niles A loop is a loop is a loop. ========================================================================= Date: Wed, 21 Feb 1996 07:51:59 -0500 Reply-To: Bluesmanp From: Bluesmanp Organization: America Online, Inc. (1-800-827-6364) Subject: LOUSIANA RED Info for Blues Clubs and Societies Comments: To: bit-listserv-blues-l@uunet.uu.net LOUSIANA RED, a living legend on his own, will tour the Mid West and the Eastern U.S. from sept 1 to sept. 13 with the austrian MOJO BLUES BAND, one of the best bluesbands in Europe. Dates still avaible for bookings are Sept. 1-5 (6,7 Philadelphia allready booked, 8-9 Wash. D.C.area) and Sept.10 to 12 . For booking information please e-mail me or schubert@access.digex.net ========================================================================= Date: Wed, 21 Feb 1996 05:08:43 -0800 Reply-To: Mark Naftalin From: Mark Naftalin Subject: 411-Winner Announces: Modern Blues Recordings -- The Full Story Modern Blues Recordings is a small but premier catalogue of blues releases. Label owner Daniel Jacoubovitch has carefully restored and remastered some of Freddy King's and Albert King's most important and toughest early recordings. The Freddy King reissues include the classic "Freddy King Sings." Daniel has also done new recording with New Orleans legend Tommy Ridgley and blues harpman Little Hatch, and has recorded a rocking piano anthology with Clayton Love, Johnnie Johnson and the late Jimmy Vaughn. The full story on Modern Blues Recordings is now on 411- Winner. 411-Winner also embraces information on Winner artists (Paul Butterfield Blues Band, Percy Mayfield, Ron Thompson, Mark Naftalin), an extensive Otis Spann discography, the publication "Bloomfield notes" (all issues), and an archive of blues-related materials. I am not connected, biz-wise, to Modern Blues Recordings. Daniel Jacoubovitch is my friend and musical associate and it's a pleasure to extend webspace to his excellent label. Mark Naftalin 411-Winner (The Winner Info-Page) ========================================================================= Date: Wed, 21 Feb 1996 14:27:12 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: LOUSIANA RED Info for Blues Clubs and Societies >LOUSIANA RED, a living legend on his own, will tour the Mid West and the >Eastern U.S. from sept 1 to sept. 13 with the austrian MOJO BLUES BAND, >one of the best bluesbands in Europe. Dates still avaible for bookings are > >Sept. 1-5 (6,7 Philadelphia allready booked, 8-9 Wash. D.C.area) and >Sept.10 to 12 . >For booking information please e-mail me or >schubert@access.digex.net This is something not to be missed! Louisiana Red has been living in Germany for many years now and is one of the absolutely best exponents of the electrified Mississippi-blues today. Always with a new song in his head Red keeps the blues alive with personal and heartfelt lyrics about what goes on in the world. Mr Bo ========================================================================= Date: Wed, 21 Feb 1996 07:33:08 CST Reply-To: William Shute From: William Shute Subject: Brownie McGhee/misc. comments From: Bill Shute With the passing of the great Brownie McGhee, I think it should be mentioned that one aspect of his life/career that hasn't received the publicity it should (Mr. McGhee having been a self-effacing man) is his activity on behalf of progressive political causes. He was quite politically active in the l940s, but since he was old enough to remember the New Deal, the Scottsboro Boys, and the like, B McG continued to be animated by this progressive spirit in the post-WWII era, particularly in the late 50s, early 60s (A friend of mine who is an investigative journalist remembers him from this era). If your knowledge of McGhee is just a general familiarity with his work with Sonny Terry, then I would recommend scoring the beautiful Columbia/Legacy 2-CD set, THE COMPLETE BROWNIE MCGHEE, featuring 47 (!!!!!) songs from l940-41. These sessions show an already mature bluesman influenced by both the Tennessee string band tradition and the Piedmont style--and a moving and truth-telling blues poet. McGhee's LARGE body of work spanning five decades will continue to speak to future generations eloquently long after you and I have departed this world. A fine obit on Mr. McGhee appeared on page B11 of the New York Times, Mon. Feb l9th, l996. This piece reminds us of B McG's political side, including his working with Woody Guthrie and having shared a house with Guthrie AND Leadbelly in the l940s. I had also forgotten his work on the stage, in the well-known Finian's Rainbow AND Cat on a Hot Tin Roof AND Langston Hughes' Simply Heaven. (hey, I actually saw the film BOOK OF NUMBERS in a theatre in the early 70s) What a giant he was, is, and always will be... ------------------------ Misc. comments... happy birthday wishes go out to Texas Johnny Brown, who will be 68 tomorrow. That new Billy Boy Arnold album on Alligator, ELDORADO CADILLAC, hasn't been out of my car cassette deck in weeks. Also, my girlfriend and I have been dancing a lot to two CDs recently: the collection of Mary Wells "Atco" sides on Ichiban Soul Classics, and the reissue of Lee Allen's super-rare "ember" album WALKIN WITH MR> LEE, on Collectables. I hear that Sony/Legacy has finally put out the Emmitt Miller and His Georgia Crackers CD...if anyone has reviewed it on blues-l, I must have missed it and would appreciate your forwarding me a copy of the review. on a related note, both the CD box set of his recordings and the new biography are out on the great MILTON BROWN, the bluesiest of the great Western Swing artists of the l930s. Finally, I ran a film festival last week at San Antonio college, and one the 11 films we screened was REET, PETITE, AND GONE with Louis Jordan, June Richmond (of Andy Kirk fame), and in the role of the sleazy attorney, Lorenzo Tucker, "the black Valentino." It was a smash hit with the audience of approx. 100, and people were stamping their feet and clapping along with the songs. ("The Deal is Real"!!) Belated Valentine's wishes to Cathi N. and Denise T.! Bill Shute San Antonio, TX ========================================================================= Date: Wed, 21 Feb 1996 07:39:30 CST Reply-To: William Shute From: William Shute Subject: Glen Alyn in San Antonio From: Bill Shute Blues scholar/blues musician/Mance Lipscomb biographer GLEN ALYN will be here in San Antonio, Texas for two days, February 25-26, making a bookstore appearance, doing a concert/presentation at San Antonio College, and playing a few private parties. Contact me for further info as a friend of mine is organizing this. The bookstore appearance and concert at SAC are FREE and open to all. Bill Shute San Antonio, TX ========================================================================= Date: Wed, 21 Feb 1996 08:39:08 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0270 From: "DUTTWEILER.J" Subject: Re: Popular vs. Good Comments: To: pwfenton@GATE.NET Date: Wednesday, 21 February 1996 8:38am ET To: Internet, GO-MAIN.PWFENTO2@DOASMAIN.SNADS From: DUTTWEILER.J@GOMAIL Subject: Re: Popular vs. Good In-Reply-To: The letter of Tuesday, 20 February 1996 4:56pm ET >Do you seriously think that people entering a CD shop must buy SOMETHING. Do >you think that upon finding nothing they want, THEY DROP FIFTEEN BUCKS FOR THE >ONE THEY DISLIKE THE LEAST? Yes, I seriously do, because I, unfortunately, did it often in my youth and know that people with money "burning a whole their pockets" will often buy things they wish they hadn't, especially when the want to be entertained. >I have never bought any recording because it was the least objectionable. >(I'vevoted that way several times.) If I don't like anything on TV I turn it >off. I'm not compelled to watch the least objectionable thing on. You are a discriminating person, you refuse to settle - most people are not like that, otherwise the quality of TV, movies, music, etc., would be higher than it is. >All of those pieces of art that have "stood the test of time" were, and >continue to be popular. They don't survive if they are unpopular. Just >because something that's popular DOESN'T survive the test of time does not >mean that it wasn't good. It means that it wasn't timeless. This is provably untrue. Many artists who were *never* popular in their own time have been the ones who, today, are considered the greatest (Van Gogh (sp?)comes to mind), this has happened over and over throughout history. I assert that "good" equates to "timeless" or "enduring" NOT to popular. >"Popular" is only a put-down in the minds of them that ain't. I'm NOT saying "popular" is a put down, but rather that it doesn't equate to "good." Many things that are not "good" are "popular." To use a political analogy that will not offend anyone's sensibilities (and if it does they deserve to be offended) is that Hitler and the Nazi party were *immensely* popular in Germany in the 1930's, yet were patently NOT good. Popular can be good, e.g. the Frasier TV show, but more often than not, unfortunately, is not good. JD ========================================================================= Date: Wed, 21 Feb 1996 09:13:27 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Regional Blues Styles Comments: To: bit-listserv-blues-l@uunet.uu.net In article <4ga7gf$2opa@news.doit.wisc.edu>, Art Schuna writes: > I was in Memphis last >weekend and tuned into WEVL on Friday night. I was surprised to hear that >the >DJ I listened to played pre-60s Delta blues only, I can't remember even >hearing any Chicago artists. When he played Sonny Boy II, it was Jackson, MS >Trumpet label recordings, not Chess. Now this was just a one shot listen and >may not be typical of the station or that DJ, but I wonder if this kind of >play list would tend to keep the regional style alive. Cap'n Pete has the Friday 9:00 p.m. to midnight show on WEVL. He tends to pick themes for each hour or sometimes for an entire show. I remember his tribute to Albert Collins--a scorcher, of course. Other shows have started with five or six songs by a single artist, such as Muddy or Etta, and then he gets into something totally different for the balance. I'm glad Art got to hear Cap'n Pete and wish all of you could. He's really very special. Dee Henderson, real name, has been hosting the show for 14 years or more. He has a sixth grade education, because he had to pick cotton back then, but he makes the most of it and is known for researching obscure releases at the library and in the collections of fans and giving them airplay. His lack of "sophistication" is very charming. On more than one occasion when a record started to skip or a tape stalled, he would say matter-of-factly, "That song don't wanna play." One night he announced that he had a very serious case of the blues himself and that we would hear mostly music and little from the host of the Blues Cruise. I know this doesn't exactly address Art's comments, but I wanted a chance to tell you about this great friend of Memphis blues lovers. Denise ========================================================================= Date: Wed, 21 Feb 1996 14:15:46 GMT Reply-To: Ari Eisinger From: Ari Eisinger Organization: Internet Online Services Subject: Re: Two photos of Lemon? (was: leadbelly movies) Comments: To: bit-listserv-blues-l@uunet.uu.net Rob Hutten (rob.hutten@ACADIAU.CA) wrote: : > (2 pictures of R. Johnson, same for Lemon : There are two photos of Blind Lemon??? I've only seen the one : with the tiny guitar strapped on with a piece of string... with : the "Coridially Yours, Blind Lemon Jefferson" written on it by : some studio guy... : -Rob And written in the same handwriting as "Cordially Yours, Blind Blake" on the Blind Blake picture! ARI EISINGER Blues and Ragtime Guitarist and Singer ==Guitar Teacher== ==(610) 259-6688== ========================================================================= Date: Wed, 21 Feb 1996 09:28:42 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Child Prodigies Comments: To: dcicchet@vega.lasierra.edu I agree with everything Don said about child prodigies and how to keep them on track. Danny Gatton is a good example of what happens to child prodigies. The best thing one can do for a child prodigy IMHO is arrange for them to be around someone who's better than they are. (There's always someone better!) Being a female guitar player is a novelty too, like a child prodigy, and raises similar issues. It means that I don't have to play as well as a male to be told I'm good by some people. I try to stick with people who will give me honest, constructive criticism and hang out with guitarists who are better than I. I always learn something, and it gives me something to aspire to -- a challenge. ========================================================================= Date: Wed, 21 Feb 1996 08:47:03 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Two photos of Lemon? (was: leadbelly movies) In-Reply-To: Message of Wed, 21 Feb 1996 14:15:46 GMT from On Wed, 21 Feb 1996 14:15:46 GMT Ari Eisinger said: >Rob Hutten (rob.hutten@ACADIAU.CA) wrote: >: > (2 pictures of R. Johnson, same for Lemon > >: There are two photos of Blind Lemon??? I've only seen the one >: with the tiny guitar strapped on with a piece of string... with >: the "Coridially Yours, Blind Lemon Jefferson" written on it by >: some studio guy... >: -Rob > >And written in the same handwriting as "Cordially Yours, Blind Blake" on >the Blind Blake picture! I only know of one, with the tie drawn in and the guitar strap absurdly too loose. I noticed the Blin Blake and Lemon singature being the same also LW > ARI EISINGER >Blues and Ragtime Guitarist and Singer > ==Guitar Teacher== > ==(610) 259-6688== ========================================================================= Date: Wed, 21 Feb 1996 10:24:09 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: your mail Comments: To: Stan Ruffo In-Reply-To: <312AEF58.105@valleynet.com> > Well....I still like what I hear coming from that rhythm guitar > going through the leslie.......Makes me wanna try blowin' a > little harp through a leslie. Ya c wadim sayn, yeh! > > -- > Stan Ruffo Productions "Blues On Tap" The group Badfinger did that back in the early seventies, though it's not as up-front as in the MMW album. I always liked that toned-down guitar-through-Leslie effect, as long as it ain't overdone. Dave Prychitko ========================================================================= Date: Wed, 21 Feb 1996 09:27:01 -0600 Reply-To: Storm Bailey From: Storm Bailey Subject: Piedmont Blues (the names we weave) (was Alert!) >Art Schuna wrote "I don't see a single artist here that I would call >"Piedmont" style blues yet it's sponsored by the Piedmont Blues >PRESERVATION Society." Maybe our friends in NC could tell us what the name's sposed to mean... Is it a blues preservation society in the piedmont or a society for preserving piedmont blues?? (just like we might ask whether R Rogers' band is supposed to be rhythm kings from the delta or kings of delta rhythms.....to recall a past question/complaint) just musing, Storm ========================================================================= Date: Wed, 21 Feb 1996 09:29:45 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: retirement home show We played the retirement home thing Saturday and it was much more enjoyable than playing at a club full of teenagers that are drunk and on the "hunt" These people paid attenion and enjoyed it. The harp player who played for the first time in public was GREAT. He said he knew he was going to be OK when I asked the sweet old lady on the fron row if she heard much blues coming up and she replied "I didn't come up, I was around the corner"..She stomped her feet and smiled had a great time. My little boy carried on like Rod Piazza I think I will encourage him to perform/ They asked us back and we said yes. It felt good to see them enjoy it. A definite "warm & fuzzy". They even asked good questions and toe of them had actually owned a Terraplane...Great time I'd much rather play for folks like that than getting a few bucks to entertain a crowd that treats you like background music....We'll be doing it again and I will push the harp player to play some clubs with me. He has gotten really good.I tore ligaments in my foot, but now I'm back.... LW ========================================================================= Date: Wed, 21 Feb 1996 07:39:44 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Feb. 22 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BAILEY, DAVE (d) b. 1926-0222, PORTSMOUTH VA BALLARD, FLORENCE (of THE SUPREMES) d. 1976-0222, DETROIT, MI 33 BANSTORY, LUNY (bjo/COOKESY & LEECAN) d. 1926-0222, NEW YORK CITY, NY __ BIHARI, SAUL(owner:MODERN/RPM/FLAIR RECOR d. 1975-0222, LOS ANGELES, CA 54 CHANDLER, KERMIT (g/THE SHEPPARDS) d. 1981-0222, CHICAGO, IL 37 CREACH, JOHN PAPA(vln/JEFFERSON AIRPLANE) d. 1994-0222, LOS ANGELES, CA 76 EUROPE, JAMES REESE (songw/EUBIE BLAKE) b. 1881-0222, MOBILE, AL GREEN, HARRIETTE (of BARRY WHITE) b. 1952-0222, NASHVILLE, TN HENDRICKS, BOBBY (v/THE DRIFTERS) b. 1938-0222, COLUMBUS, OH JACKSON, BILL(g/TESTAMENT/STORYVILLE REC) b. 1906-0222, GRANITE, MD JONAS, JOE (hca/TOPCAT REC) b. 1937-0222, BEAUMONT, TX K-DOE, ERNIE [ERNEST KADOR JR.] (v/MINIT) b. 1936-0222, NEW ORLEANS, LA KAY, GEORGE WILLIAM (author/2ND LINE) b. 1910-0222, SPRINGFIELD, OH KEELS, JAMES (b v/CBS TRUMPETEERS) b. 1922-0222, COLUMBIA, SC LIGGIONS, DAVE (v) d. 1985-0222, DALLAS, TX 72 MCKENDRICK, MIKE LITTLE (g) d. 1961-0222, CHICAGO, IL 64 ROBERTS, ROY (g) b. 1942-0222, LIVINGSTONE, TN RUSHEN, TOM (of the CHARLIE PATTON song) b. 1898-0222, TYLERTOWN, MS STEWART, REX (tpt) b. 1907-0222, PHILADELPHIA, PA TATE, GEORGE "BUDDY" (tsax) b. 1915-0222, SHERMAN, TX WALKER, T-BONE JR. [R. S. RANKIN] (g) b. 1933-0222, ROYSE CITY, TX WILDER, JOE (tpt/ROY BROWN/MILLINDER) b. 1922-0222, COLWYN, PA WILLIAMS, CLAUDE (g/violin/JAY MCSHANN) b. 1908-0222, MUSKOGEE, OK ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 21 Feb 1996 10:54:02 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Monster Mike Welsh, local perspective Hi guys... I've been out a few days and returned to find all this discussion of the young lad from Boston. Being's I'm in the neighborhood (ie just outside Boston) I thought I'd add to the fracas. I've never seen Mike, but I think his Dad is on- line with us from time to time as he's also in the Worcester, Mass. area. Mike has got some good PR people working for him, I'll tell you that, because here in his (small) home state, this kid is EVERYWHERE! I can't open a blues or entertainment publication without seeing his mug and story. Every club I play in, seems he was "just there". I listen to the local blues shows and hear their weekly calendars and he's hittin' this market HEAVY. The kid's busy, I'll give him credit for that. As for his playing, I can't speak from personal experience. Haven't seen him or heard him. My bass player and his wife have seen him and they were unimpres-se- sed. These two practically LIVE in blues clubs (they have no kids...) and go to see everybody, and I trust their judgement, so I haven't gone to see him myself. I don't want to slam the kid, having not seen him personally. I'm happy that someone so young is doing so well in blues, but I'm always leery that these young guns are milking the "prodigy" nipple for all it's worth, like child actors who burn out young and then fade away. My 2 cents... Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 20 Feb 1996 08:19:39 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: scales question Steven L Combs asked: >__________________ __________________ > X O O O O O X O O >__________________ __________________ > O >__________________ __________________ > O O O O O O O O >__________________ __________________ >O O O >__________________ __________________ > O O O O O > >X = root note ; If the left scale is F minor pentatonic, what do you >call the right scale (same root note, but scale shifted 3 frets) ? Looks like F Major Pentatonic to me. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Wed, 21 Feb 1996 11:41:48 -0500 Reply-To: Meadors From: Meadors Subject: Monster Mike and the Republican Party Re: Monster Mike The way everybody picks and bitches at each other here on Blues-L, we might as well be the Republican Party. Mike Meadors Orange3@gnn.com ========================================================================= Date: Wed, 21 Feb 1996 08:45:55 -0800 Reply-To: James Carmin From: James Carmin Subject: Liner Notes / Willie Dixon Speaking of incomplete liner notes, I just picked up WILLIE DIXON's I AM THE BLUES (on Columbia) and I'm enjoying it a whole lot. And while Pete Welding's liner notes are interesting, the only mention of personnel is that Willie has a "hand-picked crew of Chicago blues veterans." Kind of a large flaw from an information POV. So Bluezellers: who's backing the Back Door Man on this disc? James C. jcarmin@teleport.com ========================================================================= Date: Wed, 21 Feb 1996 16:27:57 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Women harmonica players Comments: To: bit-listserv-blues-l@uunet.uu.net Richard Flohil wrote: > >Quick query: Does anyone know of any women blues harmonica players? My >buddy Holger Petersen needs this for his Saturday Night Blues radio show, >and he's come up with Big Mama Thornton, and hit a blank. Any ideas, >information, recorded suggestions? > Richard, As suggested elsewhere, there's Little Annie Raines, who I keep hearing good things about, but have never heard yet. Check out Grace Brim, who recorded in the early '50s with her husband John Brim and Sunnyland Slim. She wasn't a great harp player (there don't seem to be any really great female harp players), but she was OK, and she did some records. Scott ========================================================================= Date: Wed, 21 Feb 1996 10:51:20 CST Reply-To: JBards From: JBards Subject: Re: Monster Mike Welsh, local perspective Comments: To: MILLER@SCI.WFBR.EDU Well a friend from a local radio station just dropped by with the CD, so I'll post my totally un-regionally-biased $.02's worth later.... -Jim _______________________________________________________________________________ Subject: Monster Mike Welsh, local perspective From: MILLER@SCI.WFBR.EDU at INTERNET-SH Date: 02/21/96 10:41 AM Hi guys... I've been out a few days and returned to find all this discussion of the young lad from Boston. Being's I'm in the neighborhood (ie just outside Boston) I thought I'd add to the fracas. I've never seen Mike, but I think his Dad is on- line with us from time to time as he's also in the Worcester, Mass. area. Mike has got some good PR people working for him, I'll tell you that, because here in his (small) home state, this kid is EVERYWHERE! I can't open a blues or entertainment publication without seeing his mug and story. Every club I play in, seems he was "just there". I listen to the local blues shows and hear their weekly calendars and he's hittin' this market HEAVY. The kid's busy, I'll give him credit for that. As for his playing, I can't speak from personal experience. Haven't seen him or heard him. My bass player and his wife have seen him and they were unimpres-se- sed. These two practically LIVE in blues clubs (they have no kids...) and go to see everybody, and I trust their judgement, so I haven't gone to see him myself. I don't want to slam the kid, having not seen him personally. I'm happy that someone so young is doing so well in blues, but I'm always leery that these young guns are milking the "prodigy" nipple for all it's worth, like child actors who burn out young and then fade away. My 2 cents... Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 21 Feb 1996 12:07:22 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Long live the Million Dollar Secret! (I was a little late (although now I'm happy) getting serviced from Rounder Records, so I don't know just how old this release is... if it just came out several weeks ago or several months ago, I don't know. It carries a 1995 date, on the Rooster Label.) I've just "discovered" Valerie Wellington and her MILLION DOLLAR SECRET. It appeared in 1983, and has been reissued on cd last year. Valerie Wellington was a young Chicago area singer who worked with Lefty Dizz, Son Seals, Jimmy Johnson, and many others. She was only twenty three when she recorded this album, but her voice was full of blues passion. Simply beautiful. Plenty of standards ("Cold, Cold Feeling", "Smokestack Lightning", "Bad Avenue", etc.) as well as some fine originals. I recall LW asking about top female singers in league with Koko... well Valerie _was_. Unfortunately, one learns from the liner notes that she died of a brain aneurysm in January 1993. If you enjoy Koko, you should enjoy Valerie Wellington -- she "could've" been one of the greats. If you're a big Magic Slim & the Teardrops fan, this may be a must-get release. Slim and the boys (Primer, brother Nick and Nate Applewhite) back Valerie on most of the tracks. And look at the guest list: Johnny Littlejohn, Sunnyland Slim, Billy Branch, Aron Burton, and Casey Jones. In my opinion, MILLION DOLLAR SECRET is one hell of a find. This album's a treasure. Dave Prychitko Blues 101, WNYO-Oswego ========================================================================= Date: Wed, 21 Feb 1996 12:12:58 -0500 Reply-To: 00LCSPECTOR@BSUVC.BSU.EDU From: "Lee C. Spector" <00lcspector@BSUVC.BSU.EDU> Subject: riddles Riddle # 1: What do Buster Benton, Andrew Brown, Elbie Bowser, Robert Lockwood, Omar Sharriff, Skeeter Brandon, Aron Burton, Willie Cobbs, Snooks Eaglin, Lowell Fulson, Jimmy McCracklin, Cash McCall, Memphis Slim, Big Maceo, Calvin Owens, Jimmy Rogers, and Sam Burkardt all have in common? Answer: They all have gotten less space on blues-l than a 16 year kid who is called Monster. Riddle # 2: What does this signal to record (cd) companies when those supposedly in the know, spend all this time on the Monster, and so very little time on folks like the above. Answer: I'm afraid that it tells them that more people will buy the Monster than will buy someone like Lockwood. Riddle # 3: How does it affect the ability of some the above artists to get recording contacts, etc.? Answer: I don't know, but if we don't talk about them, why should the general public be concerned and why should they buy their albums. I'm sorry buy I find this thread outrageous. When I joined blues-l, it seems to me that we spent more time talking about little known artists with incredilbe talent. I had thought before I joined that I had all the good stuff, but boy was I educated quickly, It was on blues-l that I first heard about the wonderful Erbie Bowswer and Calvin Owens. The highlight of my musical experience in the past 5 years is when Billy Price introduced me to O.V. Wright. My cd collection has become so much richer due blues-l. But lately, it doesn't seem like we spend much time talking about our recent "Great Finds". Instead, it's Clapton, Living Blues' editorial policy and now a 16 year boy called Monster. Let's start a new thread. Who is your favorite obscure blues person who you recently discovered and who is obsessing you? Mine, is a blues/soul guy named Sam Dees. Thanks for letting me blow off some steam. Lee Lee C. Spector Department of Economics ========================================================================= Date: Wed, 21 Feb 1996 17:14:47 GMT Reply-To: Matthew Arthur Clark From: Matthew Arthur Clark Organization: Columbia University Subject: KOKO TAYLOR IN NYC - IRVING PLAZA Comments: To: bit-listserv-blues-l@uunet.uu.net On March 1st, Koko Taylor and her Blues Machine will be performing at New York's Irving Plaza. Opening for Koko Taylor will be the Holmes Brothers. Doors open at 9pm. Tickets are $16 in advance, $18 the day of the show. Tickets can be ordered through Ticketmaster at (212) 307-7171 or at the Irving Plaza box office. Irving Plaza is located at 17 Irving Place at 15th St. Be sure to catch this exciting and memorable event. ========================================================================= Date: Wed, 21 Feb 1996 11:29:27 CST Reply-To: JBards Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: JBards Subject: Re: Kenny Wayne Shepard and Mike Welch Comments: To: "David L. Prychitko" Whoa, I just picked up the Monster Mike Welch Cd and noticed that it is produced by a "Richard Rosenblatt". If memory serves, was it not Mr. Rosenblatt who started this thread? I don't want to seem hypercritical or anything, but I think it would be a bit more genuious if one were to mention that he or she had a relationship with the artist when posts of this nature go out- as in , "Hey, I just produced this kid's first album and I think he's really hot." -Jim ========================================================================= Date: Wed, 21 Feb 1996 12:34:34 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Elvin Bishop/Hound Dog Taylor I was listening to "Keeping the Seventies Alive" last night on the radio, on my way to see Eddie Campbell. There was a very brief interview segment with Elvin Bishop. He said he was "with" Hound Dog Taylor (among others) before joining Butterfield. Can anybody shed a little more light on this (Mark, you out there?)? In what capacity? Did he record anything with Hound Dog? Etc. Dave Prychitko p.s.: Really enjoyed Eddie Campbell at the Dinosaur last night. He had that glittery, hot pink Jazzmaster, a ton of reverb, plenty of rhythmic grooves and Magic Sam-like leads. Good stuff! ========================================================================= Date: Wed, 21 Feb 1996 12:23:47 -0500 Reply-To: Michael Kaloyanides From: Michael Kaloyanides Subject: Re: scales question Comments: To: Steven L Combs In-Reply-To: On Wed, 21 Feb 1996, Steven L Combs wrote: > __________________ __________________ > X O O O O O X O O > __________________ __________________ > O > __________________ __________________ > O O O O O O O O > __________________ __________________ > O O O > __________________ __________________ > O O O O O > > X = root note ; If the left scale is F minor pentatonic, what do you > call the right scale (same root note, but scale shifted 3 frets) ? > Steve, This is F major pentatonic if F is the tonic and the notes are F, G, A, C, and D. If you consider D the tonic of this same scale, then it is D minor pentatonic. Major pentatonic scales, though heard in blues, are more characteristic (in the U.S.) of Country & Western, Bluegrass, and Southern Rock. Michael G. Kaloyanides Department of Music & Sound Recording University of New Haven ========================================================================= Date: Wed, 21 Feb 1996 11:39:06 -0600 Reply-To: T-Bone From: T-Bone Subject: Cephas and Wiggins Has anyone found the new Cephas and Wiggins cd in a store yet? I've been all over metro DC (their hometown) and can't find it for love or money. I can, however, buy enough Kenny Wayne Sheperd music to choke a horse (which would be about 40 seconds worth). T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "You've got to inspect your horn, boy." 'And wash it every day.' - Crow, MST3K ("Mr. B. Natural") ========================================================================= Date: Wed, 21 Feb 1996 09:54:26 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Comments: To: BLUES-L@BROWNVM.BROWN.EDU. Keith Castleberry said: (edit edit) >OK...so I see there's either a love or mucho dislike for Mike Welch on the >old Blues-L. However, being in the **Like** camp, I want to reiterate that >whether you like or dislike the Monster, I think he will be around for quite >some time. Now you can sit back and refuse to allow one iota of change in >your listening habits, and that's OK...if you're a big Jimi Hendrix Fan (I >am) he may be releasing a new one next week... and another the week >after...and another >the week after. We are going to need replacements for the "old guard" one >day. Let's encourage the new guys when we get a chance. The point I'm trying >to make here is music, even the Blues changes. The point Keith is missing however, is that *this group* of all people will support and praise an artist to the sky if they move us. Blues-L is a very knowledgable and passionate group, you can't impress them with "child blues prodigy" hype and generalities about "changing listening habits". As we say in the studio, "There's two things in recording: cheap talk, and what's on tape" And maybe it ain't on the tape in this guy's case! Maybe it will be as he gets older. We all hope so. But I'll say this, there is no group of people on the face of the earth hoping, wishing, and looking for new blood in the blues than THIS one. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production & Event Services dcicchet@vega.lasierra.edu I looked over Jordan, and what did I see An Eldorado comin' after me comin' for to carry me home.. -- Dizzy Gillespie ____________________________________________________ ========================================================================= Date: Wed, 21 Feb 1996 11:58:25 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 02/22 B O R N : ALLEN, 'SNAGS" ( NAPOLEON ALLEN ) Born:1915 MACON, GA Career:PIANO Style:BLUES / JAZZ / BIG BAND With:Billie Holiday / Dinah Washinoton / The Supremes BAILEY, DAVE ( SAMUEL DAVID ) Born:1926 PORTSMOUTH, VA Career:DRUMMER Style:JAZZ With:JOHNNY HODGES / CHARLIE MINGUS / GERRY MULLIGAN / CURTIS FULLER / CLARK TERRY / BOB BROOKMEYER EDWARDS, BASS ( HENRY ) Born:1898 ATLANTA, GA Career:TUBA / BASS Style:JAZZ / BIG BAND LaBARBERA, JOE (JOSEPH JAMES) Born:1948 MOUNT MORRIS, NY Career:DRUMMER Style:JAZZ With:Frankie Randall / Buddy Rich / Gap Mangione / Woody Herman / Chuck Mangione / Jim Hall / Phil Woods / Bill Evans LOMBARDI, CLYDE Born:1922 NEW YORK, NY Career:BASS Style:JAZZ / BIG BAND With:Red Norvo 1942-43 / Boyd Raeburn 1945 / Benny Goodman 145-46 / Charlie Ventura 1947-48 MASON, HARVEY Born:1947 ATLANTIC CITY, NJ Career:DRUMMER Style:JAZZ / BIG BAND MITCHELL, WHITEY (GORDON B. ) Born:1932 HACKENSACK, NJ Career:BASS Style:JAZZ / BIG BAND STEVENSON, STEVE ( TOMMY ) Born:1914 ????? Career:TRUMPET Style:BLUES / JAZZ / BIG BAND With:Jimmie Lunceford / Blanche Calloway / Don Redman / Slim Gaillard / Coleman Hawkins / Lucky Millinder / Cootie Williams STEWART, REX ( WILLIAM ) Born:1907 PHILADELPHIA, PA Career:CORNET / LEADER Style:JAZZ / BIG BAND With:Elmer Snowden / Fletcher Henderson / McKinney's Cotton Pickers / Luis Russell / Duke Ellington TARTO, JOE ( VINCENT JOSEPH TORORIELLO ) Born:1902 NEWARK, NJ Career:TUBA / BASS / ARRANGER Style:JAZZ / BIG BAND With:Cliff Edwards / Paul Specht / Sam Lanin / Vincent Lopez /Chick Webb / Fletcher Henderson / Roger Wolfe Kahn TATE, BUDDY ( GEORGE HOLMES TATE ) Born:1914 SHERMAN, TX Career: TENOR SAX tyle:BLUES /JAZZ / BIG BAND With:Troy Fioyd / Andy Kirk / Count Basie / Nat Towles / Replaced Herschel Evans in Count Basie band 1939; remained with Basie ten years / Lucky Millinder / Hot Lips Page WILDER, JOE ( JOSEPH BENJAMIN WILDER ) Born:1922 COLWYN, PA Career:TRUMPET Style:JAZZ / BIG BAND With:Lionel Hampton / Jimmie Lunceford / Lucky Millinder / Sam Donahue / Herbie Fields / Noble Sissle WILLIAMS, FIDDLER CLAUDE Born:1908 MUSKOGEE, OK Career:VIOLIN /GUITAR Style:BLUES / JAZZ / BIG BAND With:Andy Kirk / Count Basie on guitar / Four Shades of Rhythm / Austin Powell / Roy Milton / Jay McShann YSAGUIRRE, BOB Born:1897 BELIZE, BRITSH HONDURAS Career:BASS / TUBA Style:JAZZ / BIG BAND With:Amos White / Armand J. Piron / Elmer Snowden / Fletcher Henderson / Horace Henderson / nine years with Don Redman FOR A LISTING OF THOSE THAT PASSED AWAY IN THIS MONTH PLEAS GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Wed, 21 Feb 1996 12:13:59 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Mike Welch I haven't heard Monster Mike's cd, yet. I had the opportuniy to take it, but I wasn't in the mood. Does his age have anything to do with the music. I used to talk to his father frequently and I like him a lot and from what he has said I think Mike has his mind in the right place and will be around for a long time. LW ========================================================================= Date: Wed, 21 Feb 1996 13:25:13 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0140 From: "DUTTWEILER.J" Subject: Re: Kenny Wayne Shepard and Mike Comments: To: jbards@MAIL-SH.LSUMC.EDU Date: Wednesday, 21 February 1996 1:25pm ET To: Internet, GO-MAIN.JBARDS@DOASMAIN.SNADS From: DUTTWEILER.J@GOMAIL Subject: Re: Kenny Wayne Shepard and Mike In-Reply-To: The letter of Wednesday, 21 February 1996 1:10pm ET While loathe to take responsibility for it, I cannot allow someone else to be defamed. I innocently asked a question about "Monster" Mike Welch, curious as to whether he was a legitamate blues "find," or simply another, as I put it in the original post, "wunderkind." Seems to me a perfectly acceptable use of this forum. If I, or anyone else, were interested in generating publicity, I think this would have backfired seeing as how the discussion as generated more negatives about MMW then positives. Again, however, I defend the practice of asking questions about artists we are unfamiliar with whether they are 16 year old white "pretendors" or 75 year old blues legends. JD ========================================================================= Date: Wed, 21 Feb 1996 13:35:52 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: "...who is obsessing you?" Comments: To: 00LCSPECTOR@BSUVC.BSU.EDU On 21 Feb 96, Lee C. Spector had this to say... > Who is your favorite obscure blues person who you recently discovered > and who is obsessing you? Mine, is a blues/soul guy named Sam Dees. I guess Mem Shannon would qualify. I hope he doesn't stay "obscure" for long, though. His CD "A Cab Driver's Blues" is a rare gem. Solid, authentic, inventive, funky, working man's Blues. Mem is a good writer, singer, and player. The CD may be the Blues' first "concept album". Highly recommended. P.W. Fenton Tampa, Florida ------------------------------------------------------------- While you are in cyberspace, visit the Tomb of the Unknown Bluesman at http://www.gate.net/~pwfenton ------------------------------------------------------------- ========================================================================= Date: Wed, 21 Feb 1996 13:39:16 EST Reply-To: george morales From: george morales Organization: TEMPLE UNIVERSITY Subject: mike welch live in Phila PA in today's paper there is an ad for the North Star Bar and Monster Mike Welch will be playing there on Fri Feb 23 at 10 pm. Tickets are $6. The bar's phone numbers are 215-235-star and 1-800-Whats-hip I am not affilated with the bar, etc. +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ | | | GEORGE MORALES GEORGEM@TEMPLEVM | | COMPUTER AND INFORMATION SERVICES GEORGEM@VM.TEMPLE.EDU | | TEMPLE UNIVERSITY (215)204-6866 | | | +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Wed, 21 Feb 1996 13:42:51 EST Reply-To: george morales From: george morales Organization: TEMPLE UNIVERSITY Subject: Info on Bill Perry Blues Band The local weekly paper here in Phila PA is advertising a show by Virgin/Point Blank artist Bill Perry Blues Band Has anyone seen them in concert? TIA, George +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ | | | GEORGE MORALES GEORGEM@TEMPLEVM | | COMPUTER AND INFORMATION SERVICES GEORGEM@VM.TEMPLE.EDU | | TEMPLE UNIVERSITY (215)204-6866 | | | +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Wed, 21 Feb 1996 10:45:00 PST Reply-To: Gary Joneson From: Gary Joneson Subject: Re: riddles The term obssessed is a little heavy for me, but my CD player is seeing a lot of a delighful recent find, Little Whitt & Big Bo, "Moody Swamp Blues" on the Vent Label. As the liner notes say this is a first CD for these two gentlemen who have been playing for a long time. >Who is your favorite obscure blues person who you recently discovered >and who is obsessing you? Mine, is a blues/soul guy named Sam Dees. Gary BluesWEB http://www.island.net/~blues/ ========================================================================= Date: Wed, 21 Feb 1996 13:49:00 EST Reply-To: Robert Page From: Robert Page Subject: Touring info - Otis Rush, Jimmy Dawkins, or Hubert Sumlin I'd be interested in whether Jimmy Dawkins Hubert Sumlin or Otis Rush have been performing, or are about to perform in venues in your area. I'd also be grateful for any reviews or comments that folks who might see these artists' performances may be able to share with us. There may be others here who would be similarly interested in this info. Bob Page ========================================================================= Date: Wed, 21 Feb 1996 13:19:04 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: Regional Styles In-Reply-To: <960219174057_226052207@mail02.mail.aol.com> On Mon, 19 Feb 1996, Tom Freeland wrote: > In a message dated 96-02-19 17:17:04 EST, roger.lew.struve@MEDTRONIC.COM > (Roger Struve) writes: > > >For instance, Mississippi John Hurt grew up in inarguably the Mississippi > >Delta fertrue! But he doesn't play anything like a Delta Bluesman (in the > >generic sense of Son House, R. Johnson, Bukka White, etc.) He would most > >properly be referred to as a Piedmont style player. [SNIP] > To my ears, Hurt *does* bear a strong resemblance to peidmont playing, but I > wonder if that is not a chronological thing rather than a regional style > thing. Hurt seems to me connected with ragtime and other pre-"delta blues" > styles, styles that run much purer in Piedmont music than they run in the > heart of the Delta. I'm hardly an expert (I don't even play one on tv), but I've been doing some work on a web page about Piedmont blues. The experts feel that the blues arrived/arose in the southeast at least ten years after it did in Texas and the Delta, if not more. Several Piedmont artists, including Blind Willie McTell and Rev. Gary Davis mentioned that when they were first learning to play, there wasn't any blues that they knew of. (I don't have my notes handy, but I think McTell mentioned 1910 or 1914 as the first year he heard blues; his memory was pretty accurate on a lot of other things, unlike mine, unfortunately.) Many Piedmont artists, even those born a bit later (like John Cephas and Archie Edwards) play(ed) pre-blues songs like _John Henry", etc. Now, since Hurt came from a sort of "border" area of the Delta, as you said, and since he might have learned guitar before/as/right after the blues came to town, his playing/repertoire could reflect that: Hurt learned guitar at a roughly similar point in musical evolution to Blind Willie McTell, albeit seperated by a few years and quite a few miles. Again, much of this is all IMnsHO, and if there's anyone who has a different opionion, I'd be happy to hear it.. But, to throw out a red herring, wasn't Charlie Patton's repertoire roughly half non-blues (at least how we'd describe it)? No scholar, just a longtime blues fan. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "You've got to inspect your horn, boy." 'And wash it every day.' - Crow, MST3K ("Mr. B. Natural") ========================================================================= Date: Wed, 21 Feb 1996 14:09:14 -0500 Reply-To: Oded Maron From: Oded Maron Subject: Ronnie Earl's latest CD I managed to get my hands on an advanced copy of Ronnie Earl's upcoming CD, called "Grateful Heart: Blues and Ballads". It's on Bullseye and should be out 3/19. A short review: this is a _lot_ more laid back and jazzy than anything that he's ever done. It is, if you will, his "birth of cool" CD. Most tunes are very slow, starting with the ambient "Alabama" (Coltrane?) which sets the pace for the rest of the disk. A lot of them have a lengthy, meandering introduction before getting to the meat of the tune. For me, this CD is just a little too laid back. I wish several tunes were shortened, and several ("For Abby", "Isabella", "Little Flower") replaced with more swinging/rocking songs, if only for a change of pace. This is not Ronnie's most intense album. It seems that he's more interested in sounding cool and refined, and unfortunately it makes the music sound like it's coming from the head rather than from the heart. On the other hand, there is still a handful of incredibly beautiful tunes: a great version of Ray Charles' "Drown in my own tears", a beatlesque "Skyman" (dedicated to Duane), "Mr. B.K.", and the acoustic "Song for a sun" (dedicated to Carlos Santana). So for fans, it is not a total lose. However, I would not recommend this as the instrumental disk to start off with - try "Still River" or "Language of the Soul" instead. Oded ========================================================================= Date: Wed, 21 Feb 1996 14:36:55 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Blues on TV (tonight) BRAVO Wed Feb 21 6-7pm South Bank Show In Search of Robert Johnson "In Search of Robert Johnson". John Hammond reviews the career of legendary blues singer Robert Johnson. BRAVO Wed Feb 21 8-10pm Listen Up: The Lives of Quincy Jones (1990) ** (PG-13) Celebrity interviews and archival clips profile music's Quincy Jones and his wide career. PG-13: Language. BRAVO Wed Feb 21 11-1:10am Leadbelly (1976) *** (PG) Huddie Ledbetter's songs and 12-string guitar show his hard life and prison time. With: Roger E. Mosley, Paul Benjamin, Madge Sinclair. PG: Adult Situations. DISCOVERY CHANNEL Wed Feb 21 10-11pm The Promised Land "Standing at the Crossroads". Rural Southerners assimilate into Chicago's culture. DISCLAIMER: I don't even get Bravo, and my TV will let me see, but my vcr won't let me record, the Discover Channel. I'm just reporting this for the lucky ones. P.W. Fenton Tampa, Florida ------------------------------------------------------------- While you are in cyberspace, visit the Tomb of the Unknown Bluesman at http://www.gate.net/~pwfenton ------------------------------------------------------------- ========================================================================= Date: Wed, 21 Feb 1996 14:33:47 -0500 Reply-To: Dave Markovits From: Dave Markovits Subject: Owens and Spires Can anyone tell me if Jack Owens/Bud Spires have anything released. I've been searching a lot of bins and can't find anything. David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Wed, 21 Feb 1996 13:29:07 CST Reply-To: JBards From: JBards Subject: Re[2]: Kenny Wayne Shepard and Mike Comments: To: "DUTTWEILER.J" Well then, I stand corrected, and I apologise for any confusion that I might have caused: there is certainly no need for anyone to "defend the practice of asking questions". In the even one has a realtionship or interest in an artist, project ( eg, "The Blues Cruise" that Mr. Myers posts bout so frequently) I just think that it would be appropriate to state that interest. -jim ___________________________________________________________________________ Subject: Re: Kenny Wayne Shepard and Mike From: "DUTTWEILER.J" at INTERNET-SH Date: 2/21/96 1:11 PM Date: Wednesday, 21 February 1996 1:25pm ET To: Internet, GO-MAIN.JBARDS@DOASMAIN.SNADS From: DUTTWEILER.J@GOMAIL Subject: Re: Kenny Wayne Shepard and Mike In-Reply-To: The letter of Wednesday, 21 February 1996 1:10pm ET While loathe to take responsibility for it, I cannot allow someone else to be defamed. I innocently asked a question about "Monster" Mike Welch, curious as to whether he was a legitamate blues "find," or simply another, as I put it in the original post, "wunderkind." Seems to me a perfectly acceptable use of this forum. If I, or anyone else, were interested in generating publicity, I think this would have backfired seeing as how the discussion as generated more negatives about MMW then positives. Again, however, I defend the practice of asking questions about artists we are unfamiliar with whether they are 16 year old white "pretendors" or 75 year old blues legends. JD ========================================================================= Date: Wed, 21 Feb 1996 13:45:24 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Blues @ SXSW (Austin) Here's a preliminary list of blues bands that will be at SXSW in Austin March 14-17 Lou Ann Barton Pat Boyack & Prowlers Lonnie Brooks Sarah Brown Trio TEXAS JOHNNY BROWN CJ Chenier Rosie Flores (not blues, but MARCIA G will WALK all the way to Austin ;-) ) Guy Forsythe Long John Hunter Teddy Morgan & the Sevilles Kelly Joe Phelps Gary Primich Mem Shannon Kenny Wayne Shepherd (oops, I said blues, didn't I?) :-) Lavelle White Smokey Wilson -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I told my love my last goodbye, \ / my very, very last goodbye. \( I hang my head and the tears just cry. I'm a thousand miles from home. -Joe Ely ========================================================================= Date: Wed, 21 Feb 1996 14:53:32 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Touring info - Otis Rush, Jimmy Dawkins, or Hubert Sumlin Comments: To: Robert Page In-Reply-To: <9602211849.AA03014@umsa.umd.edu> On Wed, 21 Feb 1996, Robert Page wrote: > I'd be interested in whether > Hubert Sumlin > have been performing, or are about to perform in venues in your area. > I'd also be grateful for any reviews or comments that folks who might see > these artists' performances may be able to share with us. Some time back (not too far) we had a New Yawk City blues-l meet at Terra Blues and Hubert Sumlin was there. Ed Liu posted a re- view here of the show and it should be available at our web-page. Not the first time Hubert was at Terra Blues & hopefully not the last. BTW, Terra is turning out to be one of NY's premier spots for blues listening. It's a smallish room - holds 200+ and most important the acoustic are made for listening not for blasting a persons ears off. You can sit relatively close and not need any plugs. Also you can hear the music as it's played from any van- tage in the bar. Front is tables and then the bar, with another table area at the very back. The atmosphere is easy, they don't push drinks on you if you're not of the mind. The shows are not overpriced and the talent consistently comes in. Last weekend I heard Charlie Sayles and coming up is Smokey Wilson and others. Well recommended and I believe the performers do 3 sets/night. I also have been there early before the headliner came on and they had some good early bird blues as well - 7PM, 8PM etc. Barry NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Wed, 21 Feb 1996 12:08:09 -0800 Reply-To: Steve Murray From: Steve Murray Subject: Re: Monster Mike and the Republican Party Comments: To: Meadors In-Reply-To: <199602211643.LAA17295@mail-e2a-service.gnn.com> We Democrats just hit Delete. Blues content: The Discovery channel show on migration to Chicago is great, don't miss it! Especially the part about the Cairo bridge... Steve Murray "It's hot in here Fjord Press I believe I need some air" Seattle, WA --Otis Spann fjord@halcyon.com ========================================================================= Date: Wed, 21 Feb 1996 19:28:54 GMT Reply-To: Michael Twomey From: Michael Twomey Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: guitar shorty - whaddya think of his current live shows? John R. Vanderpool (fish@DAACDEV1.STX.COM) wrote: : guitar shorty is playing my local juke joint (tornado alley, wheaton, MD) : this thursday (22-feb) and i'm just wondering what folks think of him, : i've never heard any of his music... : thanx, : fish Don't miss him. Stay for the end of the show when he does front flips not rolls as part of the finalie and never misses a beat. Hope that he plays "Hard Life" for 30 minutes. This is one strong electric player. You'll never forget this show. Go. Mike ========================================================================= Date: Wed, 21 Feb 1996 14:10:45 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Monster Mike and the Republican Party In-Reply-To: Message of Wed, 21 Feb 1996 12:08:09 -0800 from On Wed, 21 Feb 1996 12:08:09 -0800 Steve Murray said: >We Democrats just hit Delete. and have been for years and years.... LW ========================================================================= Date: Wed, 21 Feb 1996 15:23:59 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Mem Shannon Let me second a recent post by P.W.: Mem Shannon's latest CD certainly seems to be one of blues' first "concept albums" and is a whole lotta fun. The interspersed interviews with his customers makes for great listening, and ties the songs together remarkably well (although some Grandmas, children, and others might be put off by the -- thankfully unexpurgated -- swearing among Mem's customers). I'd love to play some of these interviews over the radio, along with the songs... but I really don't care to become the Howard Stern of Oswego Radio. Dave Prychitko Blues 101, WNYO-Oswego p.s.: some folks have asked if I live in Lake Oswego, Oregon. No, I live in the "original" Oswego -- in upstate New York. The "other" Oswego in Oregon was settled by folks originally from Oswego, NY. In fact, there's also an Oswego near Aurora, just outside Chicago. Who knows how many are in between. What were the orginal Oswegonians thinking each time they settled a new town: "This looks like a good place to settle down. What should we call it?" (pause) "How about Oswego." ??? ========================================================================= Date: Wed, 21 Feb 1996 15:53:21 EST Reply-To: Wayne Winkler From: Wayne Winkler Organization: East Tennessee State University Subject: Valerie Wellington In addition to Valerie Wellington's recently re-released *Million Dollar Secret* on Rooster, there is a cut - just one - on Alligator's 1987 release *The New Bluebloods*. This LP features cuts from the Kinsey Report, the late Professor Eddie Lusk with Gloria Hardiman, Li'l Ed, Melvin Taylor, Sons of Blues, Maurice John Vaughn, John Watkins, and Dion Payton (w/Joanna Connor on guitar). Great LP. Valerie was also well known in Chicago for her commercials for the Tribune, seen on WGN-TV. She was a very talented woman, who sang opera and acted as well as being a first-rate blues singer...a real talent who is missed. Wayne Winkler WETS-FM, Johnson City, TN ========================================================================= Date: Wed, 21 Feb 1996 20:57:53 GMT Reply-To: "Jennifer A. Zogott" From: "Jennifer A. Zogott" Organization: New York University Subject: Re: Johnny Winter Comments: To: bit-listserv-blues-l@uunet.uu.net Dennis Miele (DMIELE@CRSGI1.ERENJ.COM) wrote: : In article : Richard Shurman writes: : >Johnny Winter is planning a New Jersey show in March but for now all his : >plans involve sticking close to his New York City home. : I believe this is at the Club Bene in Sayreville, a tacky dinner club but not : a bad place to see a show. It's on March 23. JZ * * * "How many bubbles in soap? How many chews in gum? How many rolls in a wheel? Where did eyeballs come from?" - Screamin' Jay Hawkins ========================================================================= Date: Wed, 21 Feb 1996 21:05:07 GMT Reply-To: "Jennifer A. Zogott" From: "Jennifer A. Zogott" Organization: New York University Subject: Re: Johnny Copeland Heart Fund Comments: To: bit-listserv-blues-l@uunet.uu.net James Leftwich (leftwich@CLOUD9.NET) wrote: : Well, I didn't see anyone post a review of the show at Tramps last night : so here goes... : Verve Records (Johnny's label) supplied a great group of performers to : raise money for Johnny Copeland's heart condition. Tix were $25, the : musicians donated their time, and the place was packed. Johnny can sleep : a little better. : The lineup in order of appearnace: : Larry Garner : Billy Branch : Charles Brown : Lucky Peterson : Larry McCrae : Clarence Gatemouth Brown It was a great show. But just because it isn't precisely blues doesn't mean that you shouldn't mention Randy Weston's set, which was after Lucky Peterson's and before Larry McCray's. Weston, a much admired jazz pianist and a close friend of Copelnd's (they met in Africa), played a set with two saxes (one doubled on flute). It didn't seem to be to everyone's liking - perhaps a bit avant-garde - but I liked it, and it *did* occur. According to Buddy Fox, who was largely responsible for organizing the event as well as much of the fund-raising effort on Johnny's behalf, about $7,000 was raised ($100 VIP tickets were sold in addition to the $25 general admission). Johnny was hospitalized again a couple of days ago - he'd had surgery about 10 days before the benefit to replace the LVAD (heart assist device), and an infection has developed. It's being treated, but he won't make his 2/29 gig at Manny's Car Wash. Tentative plans are for his band to play, possibly with Johnny's daughter Shamika singing. Jennifer * * * "How many bubbles in soap? How many chews in gum? How many rolls in a wheel? Where did eyeballs come from?" - Screamin' Jay Hawkins ========================================================================= Date: Wed, 21 Feb 1996 16:30:45 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Long live the Million Dollar Secret! Comments: To: "David L. Prychitko" In-Reply-To: David - welcome aboard. This is one of the best discs ever done and she was HUGE. I've been mentioning and mentiong and mention- ing this discs for nigh 1/2 year now. I have a great story about it if you have a moment. I made a July 4th party last year & the theme was Texas to Louisiana to Zydeco and back to Texas music - at about the 2 or 3 hour mark I decided to play my favorite side on the disc Cold Cold Feeling (with a great Primer as lead axe). I did and then I proceeded to go back to the regular planned mu- sic agenda of TX and LA and Zydeco. 11 set of eyes peer down at me and I got the message LEAVE VALERIE ON. So I did and subseq- uently 10 of the 11 people bought their own copy. I know I have told this story before, but it goes so far to really communicate the real value in this CD. It is a GET-UNDER-THREAT-OF-DEATH-CD. Also agreed she is a Koko contender. I muse often what if she'd lived on - what would we be hearing from her now and how amazing might her voice and talents have grown. "sob". Barry On Wed, 21 Feb 1996, David L. Prychitko wrote: > I've just "discovered" Valerie Wellington and her MILLION DOLLAR SECRET. It > appeared in 1983, and has been reissued on cd last year. Valerie > Wellington was a young Chicago area singer who worked with Lefty Dizz, > Son Seals, Jimmy Johnson, and many others. She was only twenty three > when she recorded this album, but her voice was full of blues passion. > Simply beautiful. Plenty of standards ("Cold, Cold Feeling", "Smokestack > Lightning", "Bad Avenue", etc.) as well as some fine originals. > > I recall LW asking about top female singers in league with Koko... well > Valerie _was_. > > Unfortunately, one learns from the liner notes that she died of a brain > aneurysm in January 1993. > > If you enjoy Koko, you should enjoy Valerie Wellington -- she "could've" > been one of the greats. If you're a big Magic Slim & the Teardrops fan, > this may be a must-get release. Slim and the boys (Primer, brother Nick > and Nate Applewhite) back Valerie on most of the tracks. And look at the > guest list: Johnny Littlejohn, Sunnyland Slim, Billy Branch, Aron Burton, > and Casey Jones. > > In my opinion, MILLION DOLLAR SECRET is one hell of a find. This album's a > treasure. > > > Dave Prychitko > Blues 101, WNYO-Oswego > NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Wed, 21 Feb 1996 21:25:48 GMT Reply-To: Sean Kilback From: Sean Kilback Organization: Island Internet Inc. - (604) 753-2383 Subject: Going to London,Eng - What to see/do? Comments: To: bit-listserv-blues-l@uunet.uu.net hi everyone, I'm going to be in London, England for the week of Feb 23 - March 9. Any blues-l members know of any cool jazz/blues/rock spots or upcoming shows not to miss? Any info is greatly appreciated! Thanks, Sean ========================================================================= Date: Wed, 21 Feb 1996 16:39:42 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Jr. Kimbrough and R.L. Burnside in MUSICIAN Comments: cc: mkaldin@beachnet.com The current (April, 1996?) issue of MUSICIAN magazine has an article by Ted Drowzdowski (who I think writes for the Boston PHOENIX) about Jr. and R.L. I have not seen it yet, but hear that it is good. Tom Freeland ========================================================================= Date: Wed, 21 Feb 1996 16:36:16 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0254 From: "DUTTWEILER.J" Subject: Re: Monster Mike and the Republi Comments: To: fjord@HALCYON.COM Date: Wednesday, 21 February 1996 4:35pm ET To: Internet, GO-MAIN.FJORD@DOASMAIN.SNADS From: DUTTWEILER.J@GOMAIL Subject: Re: Monster Mike and the Republi In-Reply-To: The letter of Wednesday, 21 February 1996 4:00pm ET When will that show be on the Discovery Channel? ========================================================================= Date: Wed, 21 Feb 1996 16:58:29 +0000 Reply-To: Richard Kahn and Tiffany Winne From: Richard Kahn and Tiffany Winne Organization: Puss Inc. Subject: Re: Blues on t.v. tonight P.W.- I respect your posts so please don't take this the wrong way...in fact, it's really intended as a joke. But WHAT does the man who wrote the SANFORD AND SON THEME (a.k.a. Quincy Jones) have to do with this list! Peace in blues, RVK -- Richard and Tiffany (richard @user1.channel1.com) "Me and yo' momma on a coal oil can, You jumped out screamin' 'Coal Oil Man!" ========================================================================= Date: Wed, 21 Feb 1996 22:01:43 GMT Reply-To: Art Schuna From: Art Schuna Organization: UW-Madison Subject: Re: PRODUCER HUEY MEAUX ON THE RUN!! Comments: To: bit-listserv-blues-l@uunet.uu.net In article <824851705.11725@bluestb.demon.co.uk>, tony@BLUESTB.DEMON.CO.UK says... > >FROM THE HOUSTON CHRONICLE NEWSPAPER ONLINE > >Meaux has recorded the work of a number of >well-known artists, including the Sir Douglas Quintet Maybe the SDQ will have to rewrite their famous hit and title it "He's About A Mover" :) Art Schuna ========================================================================= Date: Wed, 21 Feb 1996 16:01:37 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: "...who is obsessing you?" Comments: To: "P.W. Fenton" In-Reply-To: <199602211835.NAA50206@osceola.gate.net> I want to second Paul Fenton's recommendation of the Mem Shannon CD. The music is interesting, pesonal and certainly competent, and the format (with the recordings of taxicab dialogue) makes it perhaps the most unique blues CD in at least the last year. I had nothing to do with this one, but recommend it wholeheartedly as a breath of fresh air and an unusually fascinating listen for those who can stand a whole CD without any SRV-clone sounds. ========================================================================= Date: Wed, 21 Feb 1996 22:13:07 GMT Reply-To: Art Schuna From: Art Schuna Organization: UW-Madison Subject: Emmit Miller (was Re: Brownie McGhee/misc. comments) Comments: To: bit-listserv-blues-l@uunet.uu.net In article <19960221.083541.365549.NETNEWS@AUVM.AMERICAN.EDU>, WSHUTE@ACCDVM.ACCD.EDU says... >I hear that Sony/Legacy has finally put out the Emmitt Miller and His >Georgia Crackers CD...if anyone has reviewed it on blues-l, I must have >missed it and would appreciate your forwarding me a copy of the review. I don't think anyone has reviewed this but I just picked up a copy on Monday. I've only had one chance to listen to it and unfortunately was doing other things at the time so these are very preliminary first impressions. Emmitt was a white performer who did shows in black face. The Georgia Crackers included the Dorsey Brothers (before their big band days) and Eddie Lang on guitar - these guys were no slouches. This disc is sort of a missing link with a lot of early country performers - Bob Wills, Jimmy Rogers (I hope I have that spelling right - The Singing Brakeman) and Hank Williams Sr were all said to have been influenced by him. In fact, one of Hank's hits was directly lifted from Emmit. This disc may not be for everyone, although some of these tunes show an early blues influence. Emmit was apparently heavily influenced in his performing style by African American performers in his youth. Bill, based on what I know of your musical taste, I'm surprised you haven't already snapped this up. A must for roots music collectors. The liner notes for this set are outstanding. Art Schuna ========================================================================= Date: Wed, 21 Feb 1996 22:14:33 GMT Reply-To: Art Schuna From: Art Schuna Organization: UW-Madison Subject: Re: Cephas and Wiggins Comments: To: bit-listserv-blues-l@uunet.uu.net In article , tbone1@IO.COM says... > >Has anyone found the new Cephas and Wiggins cd in a store yet? If you mean the one on Alligator, it's available. Art Schuna ========================================================================= Date: Thu, 22 Feb 1996 01:30:15 GMT Reply-To: dresserd@DNS.NXI.COM From: Derek Dresser Organization: Agate Internet Services (AIS) Subject: Re: Women harmonica players Comments: To: bit-listserv-blues-l@uunet.uu.net Richard Flohil wrote: >Quick query: Does anyone know of any women blues harmonica players? My >buddy Holger Petersen needs this for his Saturday Night Blues radio show, >and he's come up with Big Mama Thornton, and hit a blank. Any ideas, >information, recorded suggestions? >Thanks in advance, >Richard the Elder Annie Raines is a contemporary female blues harp player. She is excellent and has played with the best. She tours with Country/Delta blues artist, Paul Rishell. They have a web site for more info http://www.nxi.com/WWW/rishell Derek ========================================================================= Date: Wed, 21 Feb 1996 17:47:12 CST6CST Reply-To: DFRANZEN@LTC2.ROCH.EDU From: Deborah Lynn Franzen Organization: Rochester Community College Subject: Who's hot and who's not Hi all. I've gotten a bit out of touch with the music scene since I'm in school full-time, and was hoping you might be willing to tell me who is new that's worth running out and buying. Thanks ========================================================================= Date: Wed, 21 Feb 1996 14:54:24 -0800 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Re: Buddy Guy Book I thought the funniest section of the Buddy Guy book was the exchange between Sonny Boy Williamson and Little Walter about a mutual female friend in the South. That section has me rolling on the floor. Joe ========================================================================= Date: Wed, 21 Feb 1996 14:54:25 -0800 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Fabulous Fishheads My wife and I were just talking about the 1995 Chicago Blues Festival where we had seen the Fabulous Fishheads playing at Navy Pier. It reminded me of a video that I had seen in Chicago around Christmas time. The video was performed by the Fabulous Fishheads which consisted of Bob Levis, Harlan Terson and a few other people I didn't recognize, but the singer / harmonica player looked familiar, but I can't remember who it was. Does anyone in Chicago know who this guy is? He sounded like Mark Hannon, but I amnot sure. Joe ========================================================================= Date: Wed, 21 Feb 1996 14:54:25 -0800 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Harp Blowout Comments: cc: harp-l@garply.com I'll bet y'all thought this was gonna be about the Mark Hummel California Blowout series, but it isn't. Last Friday night, I was in Austin, TX at Antones and got an opportunity to check out Lazy Lester and Snooky Pryor. Lazy Lester put on a pretty good show. He did several Jimmy Reed tunes and a few of his own. He also made an interesting comment about one of his tunes, "Sugar Coated Love" that had been done by loads of people and he said he never made a dime off of the covers. He said something to the effect that the publicity was great, but you can't eat a publicity sandwich. Awesome harp playing by a swamp blues legend. Snooky Pryor has incredible tone. One of the first men to play amplified harmonica in Chicago. His set consisted of one driving shuffle after another. He played for almost 90 minutes. Pretty good for a guy his age. He also was there to record another CD for Antones. His show was awesome. Raw and powerful. Overall, it was a blast. Joe ========================================================================= Date: Wed, 21 Feb 1996 18:31:06 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: Who's hot and who's not Comments: To: Deborah Lynn Franzen In-Reply-To: <2BECE603466@ltc2.roch.edu> On Wed, 21 Feb 1996, Deborah Lynn Franzen wrote: > Hi all. I've gotten a bit out of touch with the music scene since > I'm in school full-time, and was hoping you might be willing to > tell me who is new that's worth running out and buying. Why that's easy -- MONSTER MIKE WALSH, he debuted #6 on the Bluesbreaker Charts!!! :*} (Seriously, Deborah, your question is sooooo general that you might get barraged with anything that strikes anyone's fancy. What do _you_ like about the blues? Folks here could give you meaningful suggestions if they have an idea as to your own tastes and preferences. Without it, what the heck, I'll suggest MMW above, 'cause I got nothing to lose.) Dave Prychitko ========================================================================= Date: Wed, 21 Feb 1996 18:34:07 -0500 Reply-To: SAVBLUES From: SAVBLUES Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Larry McCray Comments: To: bit-listserv-blues-l@uunet.uu.net Saw your letter on Larry Mccray and couldn't help but to write to you to let you know that in addition to all the great things you say about Larry, He is the headliner at a free Blues festival that I produce thats held on the oceanfront in Jacksonville Beach Fl. Dates are April 12-14. I'm really excited about it Thanks Slammin' Sammy the V ========================================================================= Date: Wed, 21 Feb 1996 18:56:41 CST6CST Reply-To: RMCTIGHE@LTC2.ROCH.EDU From: Rosalie Mctighe Organization: Rochester Community College Subject: 15-year-old what's the name of the fifteen-year-old who has just hit the charts as an up-and-coming blues guitarist? ========================================================================= Date: Wed, 21 Feb 1996 18:54:00 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: Touring info - Otis Rush, Jimmy Dawkins, or Hubert Sumlin Comments: To: Robert Page In-Reply-To: <9602211849.AA03014@umsa.umd.edu> I had the pleasure of seeing Hubert at Terra Blues (with three fellow blues-l folks) Feb. 1. He put on a good show. Otis was in town the next week (I was out-of-town). All three regularly come through New York City. Jim On Wed, 21 Feb 1996, Robert Page wrote: > I'd be interested in whether > > Jimmy Dawkins > Hubert Sumlin > or > Otis Rush > > have been performing, or are about to perform in venues in your area. > > I'd also be grateful for any reviews or comments that folks who might see > these artists' performances may be able to share with us. > > There may be others here who would be similarly interested in this info. > > Bob Page > ========================================================================= Date: Wed, 21 Feb 1996 18:58:34 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Sitting&Thinking-Eddie Taylor This one I take the flak for :):):). EDDIE TAYLOR - Bad Boy (Wolf 120.711) WOLF RECORDS P.O. BOX 375 A-1120 VIENNA AUSTRIA The accolades for Eddie Taylor are numerous, but one thing everyone says is "he knew music". He had a timing as well as a sense of precision that made cuts shine. He knew how to set up an arrangement to maximize it's power. He would always hit the right note and then cut to another as if liquid were the magic glue. These sides are a fine compilation of listening to the full scope of this incredible bluesman. Siding Eddie is a very nice cast, all well heeled and polished musicians in their own right. There's Johnny B. Moore on guitar, Willie Kent on bass, Larry and Tim Taylor on drums and Eddie's wife Vera on several vocals. Your living room is the perfect place for this set, so sit back and enjoy. BAD BOY / TAKE YOUR HANDS DOWN / MOON IS RISING / PINK CHAMPAGNE / KEEP ON PUSHING / I HAVE THE BLUES / I FOUND OUT / LONG HOME BLUES / I DO KNOW RIGHT FROM WRONG / LOOK OVER YONDERS WALL / THREE O'CLOCK IN THE MORNING / I GOT LONG TO STAY / LOOK OUT / ALL YOUR LOVIN / FEEL LIKE JUMPING / YOU MAKE ME SEE / BIG TOWN PLAYBOY NY CD Takes BAD BOY: The opening notes are high squeals, as if they rolled out of an harmonica. Eddie has his guitar tuned upper register and pointed right at the mic. His vocals have a strong current to them and they too are right in the front. You should note the fact that Eddie and company are playing with no hesitancy. All of the music is front and center, ferocious and delicious and fully entertaining. TAKE YOUR HANDS DOWN: Still sounding full out, the pacing is slower and more single note attack style. Eddie's voice has that nice high nasal sound that Jimmy Reed and others made trademarks. Of course you should know that Eddie was a major force in the development of Jimmy Reed's sound, so his approach here is no mystery - just good straight powerhouse blues. Willie Kent really shines on this cut. MOON IS RISING: The slide guitar takes over the chores for this slow grinder. Eddie pulls the notes for all they are worth here and the slide is like a dot on the top of each "i". A very well done and honest piece of music. PINK CHAMPAGNE: Now the beat heads out Texas way. It's a dance hall tune with a quick slippery feel. Eddie's vocals here get a bit deeper and the guitarwork lowers as well. The overall feel is like a heightened version of a Lightnin' Hopkins side with lots of well orchestrated electric string picking. KEEP ON PUSHING: Eddie Taylor slows the pace and brightens his guitar. The sound here is right in your face and clear as a bell. A very nice crisp attack on this cut. I HAVE THE BLUES: Back up in tempo and fuller in the band sound, this side is Chicago par excellence. It also has a strong clubby feel and Vera Taylor appears for the singing honors. She's a big sounding woman with a slight rasp, but plenty of good tones. I FOUND OUT: This side is quite complex. The strumming is a mixture of up and down takes that move the music across a rather broad spectrum. The real ability and virtuosity of Eddie Taylor is very evident here. Once again Vera takes the mic in hand and belts the blues on a smooth slow dragging tune. One of the best to this full set. LONG HOME BLUES: Here Eddy takes back the singing chores. His vocals are set back almost in an echo effect and the guitar is only a pacesetter, played just to keep the beat. Nothing here is dominant in a side that blends all of the pieces into a single and mellow harmonic effect. I DO KNOW RIGHT FROM WRONG: Eddie once again chooses a rather complex guitar style. His strumming is very reminiscent of the prior side but there are fills that take this piece up a notch. There is also has an expanded stage here for the drums. His vocals here are very strong and rich sounding. LOOK OVER YONDERS WALL: The opening half-slide notes will speak right to you. Eddie is now paced up a bit with a strong backing from the other musicians and plenty of his signature guitar right up front. His picking is strong and includes a lot of notes tied into each small run and riff. THREE O'CLOCK IN THE MORNING: Eddie now sets everything down. The guitar register is bassier, the timing is slower, his vocals are broodier. This is traditional Chicago based blues in a big way. I GOT LONG TO STAY: In counterpoint to the prior side the tempo gets another life. Eddie Taylor doesn't stay anywhere for long. This set of sides has moved from the deep dark side of the blues to the dance floor and back. Eddie hasn't missed a side and each cut he takes drives you further and further into a fuller and a deeper appreciation of how masterful he was. Every cut speaks miles about his mastery and artistry. LOOK OUT: Here's a Shirelle's type tune with Vera Taylor in gear from the very first notes. This easily could have been a Motown sound, although the rough raw edge places it more south in Muscle Shoals perhaps, where the singers had a fire that their northern counterparts missed. ALL YOUR LOVIN: A couple of fire and ice plucks on the guitar and once again Vera lays on a strong 70's chart tune. Perfectly sung and more than perfectly backed by Eddie and the gang. FEEL LIKE JUMPING: As the name implies - you'll feel like jumping. This is a tune that will bring on memories of Junior Parker except that the music is solidly rooted in the sounds of the big Windy City. No mistaking it - Eddie Taylor has absorbed a lot of music and he uses it all in winding this tune, that tune or any tune that he touches. There is just so much big music that Eddie makes and Wolf has done a great job on this CD of capturing a lot of it. YOU MAKE ME SEE: Here again the pace slows, the voice gets fronted and the side winds on. This is a rather down the middle good solid blues tune, with some clear picking by Eddie, and also some wild little runs set inside the overall basic blues attack of this side. BIG TOWN PLAYBOY: The title cut is the rap to this CD. It opens on the musicians chit chatting a bit, followed by the session man calling out instructions, and even speaking over the actual tune. He calls for a few restarts and finally gets one. I like this, as it adds a real recording session flavor to the CD which has been splendid. It gives a look see into what really goes into cutting a side, let alone a whole CD. Bravo all around and in memory of the late great Eddie Taylor. Reviewed by Barry Silverberg Copyright NY CD Blues @1995-1996 All Rights Reserved. Unauthorized use prohibited. NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Wed, 21 Feb 1996 16:13:34 -0500 Reply-To: David Melton From: David Melton Subject: Re: You're Always Too Late . . . Comments: To: Jinxblues@aol.com > . . . > >Dick Waterman wrote:I could go on at ponderously boring length about the >imperative significance >of not allowing these opportunities to slip away but this is a list of blues >fans and, hopefully, we recognize the fragile nature of mortality. ======================================= Amen, brother! Here's one of my regrets that hopefully taught me not to pass up those special opportunities. Back in the summer of 90 I was invited by a friend (fellow musician) backstage to meet the T-Birds who were playing at the Strand in Torrance (CA). I was going to go but ended up having a gig that night. How was I to know Stevie Ray was going to sit in with them, and it would end up being my only chance to meet him. I passed up many a chance to see him play and never did. 99% of the time I would rather be playing than watching, but that would have been an exception. Dave Melton ========================================================================= Date: Thu, 22 Feb 1996 11:20:31 +1100 Reply-To: Daniel Bruce From: Daniel Bruce Subject: Cephas & Wiggins New Album For whoever it was asking about Cephas & Wiggins new album, it is on sale at CD World for $9.77. Hope this helps -- Daniel Bruce | Genasys II Pty Ltd, Sydney, Australia | "Born under a bad sign, been down since I began to crawl | If it wasn't for Bad Luck, Wouldn't have no luck at all" | Albert King | Internet: danielb@genasys.com.au ========================================================================= Date: Wed, 21 Feb 1996 19:24:46 -0500 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: chld prodigies Comments: To: "Lee C. Spector" <00lcspector@BSUVC.BSU.EDU> In-Reply-To: <01I1G7RHRREW8ZET34@BSUVC.bsu.edu> On Tue, 20 Feb 1996, Lee C. Spector wrote: > Wasn't there an 8 year old prodigy by the name, I think, of Robinson > some years back? Now there was a guy who really experienced the blues, > he says sarcasticly. Lee That was Frankie "Sugar Chile" Robinson. He was born in Detroit in 1940. By the age of 2 he was playing boogie piano. He made his first record at age 6 and appeared in a Van Johnson movie that same year. By the time he was 9, he had been signed by Capitol and had several hits under his belt. During his career, he entertained at a party for President Truman, made several short films, and toured Europe. By the early 50's, he had inexplicably slipped into obscurity. At last report, he had returned to Detroit and was tending bar. I have a video of him playing his 1949 hit "Numbers Boogie". He's an energetic and talented performer, but his feet don't even reach the pedals! Brenda Bogert Louisville KY ========================================================================= Date: Wed, 21 Feb 1996 19:30:39 -0500 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: Women harmonica players Comments: To: Richard Flohil In-Reply-To: On Tue, 20 Feb 1996, Richard Flohil wrote: > Quick query: Does anyone know of any women blues harmonica players? My > buddy Holger Petersen needs this for his Saturday Night Blues radio show, > and he's come up with Big Mama Thornton, and hit a blank. Any ideas, > information, recorded suggestions? I see that several folks have mentioned Little Annie Raines. There is also Gaye Adegbalola of Saffire. Brenda Bogert Louisville KY ========================================================================= Date: Wed, 21 Feb 1996 19:44:39 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: Who's hot and who's not In-Reply-To: Okay, now I'm starting to get it. This evening we had two posts from two different names at the .ROCH.EDU address: one asked innocently (as she studies so hard she hasn't time to check out music) who's hot on the charts and could be recommended. I fell for that one, and offered a reply to the list. The next one -- I hit delete just as I noticed the same university address -- asked who's the young hot kid out there playing all that great music. I might be paranoid, but so be it: I'm suspicious as hell now. Virtual marketing for the less-than-virtually authentic blues. Dave Prychitko ========================================================================= Date: Wed, 21 Feb 1996 16:23:49 CST Reply-To: JBards From: JBards Subject: Re[2]: Monster Mike Comments: To: Steve Murray Well on first listen the verdict on Mike is mixed. The whole thing is, he's /very good/ ....for his age. If he were a 30 something touring musician like Debbie Davies I'd say he's pretty mediocre. Compared to a seasoned professional, his solos are somewhat...ummm, I don't want to disparage here....pointless. A good solo poses a question, builds on a theme, creates tension and resolves it. At this point, Mike's solos sound more like collections of riffs and scales. I wouldn't say "aimless noodling" but neither would I say "tight and tasteful and deliberatly contructed- no wasted notes". Of course, I've had Joe Kubek ( Texas Cadiallac, a great album) on the CD player in the car for the last couple of days, and he's admittedly a hard act to follow. Vocals: just okay, not bad, not that great in comparison to the general competition. For a 16-year-old, though, pretty good. I'd worry that he tries too hard for that raspy sound and may scar or permanently injure his vocal chords. So is Mike good? Yes, he's VERY good for his age, technically proficient and he knows where all the notes are. His slide work shows some promise. But the problem is, when you put out a CD and start touring and getting promotional support, you've stepped out of the schoolyard and into competition with a lot of older, very talented, extremely seasoned and sophisticated and perhaps then the only appropriate comparisons are with the mainstream up-and-coming field- Debbie Davies, Joe Kubek, Coco Montoya and so on. At this point, it is unfair to use the qualifier " for his age". So, ignoring his age, Kevan Smith's analysis was pretty correct. His instrumental proficiency is okay, though pretty derivative and a bit...well, he has trouble articulating a theme, building interest in the solo, and closing. He gets about a C- for singing. Would I go out of my way to see him right now? Probably not. He certainly has the /potential/ to develop into a potent force on the scene, but I think he needs about 20 years worth of marinading in diverse musical styles and forms before they start pushing him out front. At least 10. To paraphrase: "He's no Eric Clapton" ( who was a phenom at 18, remember, and kept going.) -Jim ========================================================================= Date: Wed, 21 Feb 1996 20:10:07 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: Who's hot and who's not In-Reply-To: Little Milton, Big Time Sarah, Frankie Lee, Eddie Cleanhead Vinson, John Mooney, The Holmes Bros., Gatemouth Brown, Dr. Ross, Dr. John, R.L. Burnside, Bessie Smith, Professor Longhair, Roy Buchanan, Bobby Rush, Junior Kimbrough, Mississippi Fred McDowell, Koko taylor, Hound Dog Taylor, Brewer Phillips, Eddie Taylor, Eddie C. Campbell, Little Sonny Jones, James Cotton, Elmore James, James Harmon, James Peterson, Lucky Peterson, Jordan Patterson, Charlie Saylies, Charlie Musselwhite, Floyd Dixon, Little Walter, Howling Wolf, Roosevelt Booba Barnes, Buster Benton, Fenton Robinson, Jimmy Johnson, Robert Johnson, Ellen MclIwaine, Dave Edwards, Sunnyland Slim, Muddy Waters, Mississippi Fred Hurt, Leadbelly, Peg Leg Howell, B.B. King, Albert King, Albert Collins, Valerie Wellington, Magic Slim, John Primer, Big Walter Horton, Son Seals, Eddy Clearwater, Big Bill Broonze, Hip Linkchain, Roomful of Blues, Long John Hunter, Little Buster and the Soul Brothers, Lightnin Hopkins, Paul Geremia, Paul "Wine" Jones, Walter "Wolfman" Washington, Percy Mayfield, Eddie Shaw, Vaan Shaw, Lefty Dizz, Left Hand Frank, Son House, Tampa Red, Louisiana Red, Blind Blake, Blind Lemon Jefferson... ...living or dead, and off the top of my head, these folks are hot, sista! Dave Prychitko Damn, I've been on this machine too flippin' long today. ========================================================================= Date: Wed, 21 Feb 1996 20:02:46 EST Reply-To: MR ROBERT W BELEW From: MR ROBERT W BELEW Subject: Re: Piedmont Style bit.listserv.blues-l [2] Blues Alert ! aschuna@VMS2.MACC.WISC.EDU In article <097.01473969.JUPU38A@prodigy.com> MR ROBERT W BELEW writes: >BLUES NEWS YOU CAN USE ! >Brought to you by Miller Lite and the "Piedmont Blues Preservation >Society" >Featuring: The Misdemeanors > Etta Baker > The Muddy Waters Tribute Band including: Steady >Rollin' Bob Margolin , Pinetop Perkins and Carey >Bell > Little Milton > Debbie Davies Band > .....and Delbert McClinton >Yikes!! Although this sounds like a fine festival, it proves my point in an >earlier post.... I don't see a single artist here that I would call >"Piedmont" style blues yet it's sponsored by the Piedmont Blues PRESERVATION >Society. >Art Schun We are still Preserving the Blues ! The Piedmont Blues Preservation Society tries hard to put together a good mix for these festivals that includes all Blues styles...... Granted, this year it is lacking in this catagory but there are several acts that they tried to snag that were unavailable due to scheduling conflicts. This is a week long event that I'm sure will include some real Blues from and of the Piedmont. The name Piedmont Blues Preservation Society does not imply that we intend to preserve "Only" Piedmont style blues. It is where you can find us though. It would be difficult to have nothing but "Piedmont" style Blues artists at each and every event and still draw from the many and diverse base of blues fans that we are grateful to have. I haven't read your post that you mention but I will go try to find it. Have I come to the wrong place to share Blues News ? The Blues comes in many styles ! Block Dog ========================================================================= Date: Wed, 21 Feb 1996 17:06:36 -0800 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: (no Blues)Respond to the government's Internet Censorship (fwd) ----------------------------------------------------------------------------- > >>>>>To whoever may read this, > >>>>>This is not a typical chain letter, in that by passing it on to as > >>>>>many people as you can, you are taking part in what may yet become > >>>>>the world's biggest practical joke. The U.S. Government has recently > >>>>>passed an act which enforces censorship on the internet. A group of > >>>>>internet users has now come together to kick back at this oppression, > >>>>>and have a bit of fun at the same time. > >>>>>The aim of this exercise is to re-establish the United States as "The > >>>>>land of the Free", not a fascist state where freedom of speech and > >>>>>thought are curtailed. Communist Russia fell as a result of such > >>>>>limits being placed upon the minds of the general populus. > >>>>>On receiving this letter, please pass it on to as many friends or > >>>>>E-mail lists as you can. We predict that if everybody copies the > >>>>>letter to 5 other addresses, by February 29th 1996, this letter > >>>>>should have reached in excess of 2 million people. That's when the > >>>>>fun begins........ > > > >>>>>On February 29th, please send the message: > >>>>> > >>>>> Dear Mr. President, > >>>>> Do you remember this: > >>>>> > >>>>>And afterwards enclose the pre-typed copy of the Bill of rights. By > >>>>>sending the letter on the date above, you will contribute to either > >>>>>one huge petition for freedom, or else lead to a crash of the > >>>>>whitehouse server.Send all letters to: > > >>>>> ___President@Whitehouse.gov___ > >>>>> > >>>>>Remember that solidarity is the key to success > >>>>> THE BILL OF RIGHTS > >>>>> > >>>>> > >>>>> > >>>>> > >>>>> > >>>>> Amendment I > >>>>> Congress shall make no law respecting an > establishment of > religion, or > >>>>> prohibiting the free exercise thereof; or abridging the freedom of > >>>>> speech, or of the press; or the right of the people peaceably to > >>>>> assemble, and to petition the government for a redress of grievances. > >>>>> > >>>>> Amendment II > >>>>> A well regulated militia, being necessary to the security of a free > >>>>> state, the right of the people to keep and bear arms, shall not be > >>>>> infringed. > >>>>> > >>>>> Amendment III > >>>>> No soldier shall, in time of peace be quartered in any house, without > >>>>> the consent of the owner, nor in time of war, but in a manner to be > >>>>> prescribed by law. > >>>>> > >>>>> Amendment IV > >>>>> The right of the people to be secure in their persons, houses, papers, > >>>>> and effects, against unreasonable searches and seizures, shall not be > >>>>> violated, and no warrants shall issue, but upon probable cause, > >>>>> supported by oath or affirmation, and particularly describing the > >>>>> place to be searched, and the persons or things to be seized. > >>>>> > >>>>> Amendment V > >>>>> No person shall be held to answer for a capital, or otherwise infamous > >>>>> crime, unless on a presentment or indictment of a grand jury, except > >>>>> in cases arising in the land or naval forces, or in the militia, when > >>>>> in actual service in time of war or public danger; nor shall any > >>>>> person be subject for the same offense to be twice put in jeopardy of > >>>>> life or limb; nor shall be compelled in any criminal case to be a > >>>>> witness against himself, nor be deprived of life, liberty, or > >>>>> property, without due process of law; nor shall private property be > >>>>> taken for public use, without just compensation. > >>>>> > >>>>> Amendment VI > >>>>> In all criminal prosecutions, the accused shall enjoy the right to a > >>>>> speedy and public trial, by an impartial jury of the state and > >>>>> district wherein the crime shall have been committed, which district > >>>>> shall have been previously ascertained by law, and to be informed of > >>>>> the nature and cause of the accusation; to be confronted with the > >>>>> witnesses against him; to have compulsory process for obtaining > >>>>> witnesses in his favor, and to have the assistance of counsel for his > >>>>> defense. > >>>>> > >>>>> Amendment VII > >>>>> In suits at common law, where the value in controversy shall exceed > >>>>> twenty dollars, the right of trial by jury shall be preserved, and no > >>>>> fact tried by a jury, shall be otherwise reexamined in any court of > >>>>> the United States, than according to the rules of the common law. > >>>>> > >>>>> Amendment VIII > >>>>> Excessive bail shall not be required, nor excessive fines imposed, nor > >>>>> cruel and unusual punishments inflicted. > >>>>> > >>>>> Amendment IX > >>>>> The enumeration in the Constitution, of certain rights, shall not be > >>>>> construed to deny or disparage others retained by the people. > >>>>> > >>>>> Amendment X > >>>>> The powers not delegated to the United States by the Constitution, nor > >>>>> prohibited by it to the states, are reserved to the states > >>>>> respectively, or to the people. > >>>>> ------------------------------------- > > > > > > ========================================================================= Date: Wed, 21 Feb 1996 20:52:43 -0500 Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Piedmont style (was Re: Blues Alert !) Comments: To: bit-listserv-blues-l@uunet.uu.net In article <960220204905_427549079@emout07.mail.aol.com> Karen Hanson writes: >I recently got two new albums of acoustic blues--Guy Davis, STOMP DOWN RIDER >and Corey Harris, BETWEEN MIDNIGHT AND DAY. Both do songs in something close >to Piedmont style. Davis does "Georgia Rag" (McTell) and Harris does a >couple, as I recall, including a Fuller song. What do you think? Do these >qualify? I really enjoy the Corey Harris but haven't heard the Guy Davis disc yet. Both songs you mention are covers of Piedmont artist tunes, but Harris and probably Davis aren't Piedmont artists. Harris is an example of a blues fan who became a performer. He knows and can play in the style of numerous artists, but he is not a Piedmont artist since he doesn't play strictly, or even mainly in that style. He has become a blues "universalist" for lack of a better term and can't be labeled a regional artist. I don't know anything about Davis to know if he fits a similar definition. Art Schuna ========================================================================= Date: Wed, 21 Feb 1996 21:05:05 -0500 Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Touring info - Otis Rush, Jimmy Dawkins, or Hubert Sumlin Comments: To: bit-listserv-blues-l@uunet.uu.net In article <9602211849.AA03014@umsa.umd.edu> Robert Page writes: > Jimmy Dawkins >I'd also be grateful for any reviews or comments that folks who might see >these artists' performances may be able to share with us. Jimmy Dawkins was in Madison in the last month - his backup band was Eddie Shaw with his son Eddie Vaan Shaw on second guitar. They played a fine show, but since it was a shared bill, Eddie Vaan & rhythm section played a few, Eddie Shaw got up and added sax on a few then Jimmy Dawkins got up and played a few tunes in each set. This was all excellent but I was hoping to see a little more of a cutting contest between Jimmy and Eddie Vaan, which would have been excellent. Instead, Eddie Vaan kind of laid back and showed his respect for his elders when Jimmy joined in. I'm not sure how this compares to Jimmy's usual show, because I guess his usual band was stuck out east somewhere. It was still great to see all 3 artists at once, however. Art Schuna ========================================================================= Date: Wed, 21 Feb 1996 21:10:57 -0500 Reply-To: Renato154@AOL.COM From: Renato Tonelli Subject: Re: Liner notes Informative liner notes are an essential part of the package for me. Badly written or poorly researched liner notes really turn me off. I've come to the conclusion that labels which tend to skimp on well-informed liner notes probably do so because they don't want to be bothered; or they don't want to pay for them. This is frustrating to many of us who are interested in both the music and its history. Renato Tonelli ========================================================================= Date: Thu, 22 Feb 1996 02:01:22 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Owens and Spires Comments: To: bit-listserv-blues-l@uunet.uu.net In article Dave Markovits writes: >Can anyone tell me if Jack Owens/Bud Spires have anything released. >I've been searching a lot of bins and can't find anything. There Testament label release was reissued this past year. If you can't find in the bins, ask a store to order it for you. It should be easy to obtain. Art Schuan ========================================================================= Date: Thu, 22 Feb 1996 02:12:03 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Piedmont Style Comments: To: bit-listserv-blues-l@uunet.uu.net In article <097.01764898.JUPU38A@prodigy.com> MR ROBERT W BELEW writes: >Have I come to the wrong place to share Blues News ? >The Blues comes in many styles ! By all means no, this is the right place to share this news. The gist of the previous post was that there appears to be no up and coming Piedmont artists to carry on the fine tradition of this great style of music. I asked if anyone knew of artists other than Cephas & Wiggins who play predominantly in this style and who would have commercial recordings. So far, no suggestions. But since you are associated with the Piedmont Blues Preservation group, maybe you would know of artists who fit this style of playing. Art Schuna ========================================================================= Date: Wed, 21 Feb 1996 20:29:33 -0600 Reply-To: Katie Strunc From: Katie Strunc Subject: Celestian Speakers Dear Blues lovers, My Dear friend is moving to NEW YORK to go into the ministry. He has sold everything he owns and all that remains is a pair of CELESTIAN DL 10...150 WATT STEREO SPEAKERS. They cost $600. He will sell for $300. >These are quailty speakers, cheap. He also has a new Microwave oven for $75.00. email me silver@flash.net You can hear some back breakin', knee foldin', tounge twistin', tear jerkin, heart throbin' gut wrenchin', ...mind blowin' blues on a set of speakers like these. Write, CD Strunc silver@flash.net ========================================================================= Date: Wed, 21 Feb 1996 21:35:30 -0500 Reply-To: Mark Jacobson From: Mark Jacobson Subject: Re: Kenny Wayne Sheppard I also want to echo sentiments about KWS. They have been hyping him on the local radio WHCN as the newest and best blues artist around, and have him up here for a Mardi Gras show. While he does play technically well, I also do not find anything that grabs me in his playing, and am saddened that more exposure does not go to artists who deserve play and recognition. I have been listening to CDs of Dave Spector and Joe Kubick this week for my enjoyment.... ========================================================================= Date: Wed, 21 Feb 1996 20:41:49 -0600 Reply-To: Keith Castleberry From: Keith Castleberry Subject: JBard & Bad Taste; My Apology to the Group WELL, SORRY.....JBard. I guess I'm the guy who kept it going then. Anyway, I sent you a private post to you so the whole world didn't have to know about your Goofup, but since you must Public Post, let me say that the original post was to give my opinion to a question on Monster Mike Welch. If you need instructions on how to private post so that eveyone doesn't have to be bored to death on our little snip attack, let me know and I'll send you a manual. My apologies to the Blues-L group on this public post. Since the snip was sent public I felt a (childish) need to respond public. Apologies have already been sent- but now we have two of you claiming responsibility for starting this! =) Jim _______________________________________________________________________________ Subject: Re: Kenny Wayne Shepard and Mike Welch From: edsel@atmore.gulf.net (Keith Castleberry) at INTERNET-SH Date: 02/21/96 5:03 PM Sorry, I'm the guy who started this. Better post a "I'm sorry" to Mr. Rosenblatt. >Whoa, I just picked up the Monster Mike Welch Cd and noticed that it is produced >by a "Richard Rosenblatt". If memory serves, was it not Mr. Rosenblatt who >started this thread? I don't want to seem hypercritical or anything, but I think >it would be a bit more genuious if one were to mention that he or she had a >relationship with the artist when posts of this nature go out- as in , "Hey, I >just produced this kid's first album and I think he's really hot." > >-Jim > > Keith Castleberry WYDH 105.9 FM "The Blues Cruise" P.O. Box 710 Atmore, AL 36504-0710 Keith Castleberry WYDH 105.9 FM "The Blues Cruise" P.O. Box 710 Atmore, AL 36504-0710 ========================================================================= Date: Wed, 21 Feb 1996 22:05:27 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: "Gatemouth" Brown on TNN So did anybody else catch Clarence "Gatemouth" Brown playing his blues on the Prime Time Country show on TNN? How about that! He wore a cowboy hat and boots, too. ;-) Karen ========================================================================= Date: Thu, 22 Feb 1996 14:49:00 PST Reply-To: David Blanken From: David Blanken Subject: Gear talk: Fender '65 Deluxe Reverb reissue Hi! I'm thinking of trading my Fender '63 Vibroverb reissue amp on a new Fender '65 Deluxe Reverb reissue (I'm getting more modern in my amp sounds :-). I was wondering if anyone has any opinions of this amp? I haven't had a chance to test drive the Deluxe yet, but I am attracted to the fact that it is a smaller amp (power wise and size wise). Any comments/criticisms? Regards, Dave **************************************************************************** ****** David Blanken National Library of Australia Email: D.Blanken@nla.gov.au Phone: (06) 262 1473 **************************************************************************** ****** ========================================================================= Date: Wed, 21 Feb 1996 05:14:16 GMT Reply-To: Jack Oudiz From: Jack Oudiz Subject: Re: Valerie Wellington Comments: To: bit-listserv-blues-l@uunet.uu.net Amen. I spent a few days with Billy Branch last year and we got to talking about Valerie who was a very close friend of his. He said that there is hardly a day that goes by in Chicago when someone doesn't bring up Valerie's name still. Take your hand off my pocket Take your eyes off my whiskey at the bar ========================================================================= Date: Thu, 22 Feb 1996 05:21:59 GMT Reply-To: malachi From: malachi Organization: inav.net Subject: Re: Kenny Wayne Shepard and Mike Welch and ... Comments: To: bit-listserv-blues-l@uunet.uu.net In article , phertel@CMC.DOE.CA says... > > All in all I (for one) will have to hear these >kids before I buy. I bought the Nathan Cavaleri >CD (remeber him?) and was mostly disappointed. > And what ever happened to the Derek(?) Trucks? ... > > I think I will suggest a kid's night to >my "local DJ". How's about it Mr Beaudry? > >phertel@cmc.doe.ca > OR bv808@freenet.carleton.ca >Local Time [21/2/96 6:26 AM] >"Wednesday's worse..." I purchased the Kenny Wayne Shepherd CD he has been getting alot of air play in this area. I'm very impressed. Cant wait to see him live. Buy it especially if you enjoy the Stevie Ray edge, He does however put his own soul into his music and take it another step further. ========================================================================= Date: Thu, 22 Feb 1996 05:36:02 GMT Reply-To: malachi From: malachi Organization: inav.net Subject: Re: Kenny Wayne Shepherd Comments: To: bit-listserv-blues-l@uunet.uu.net The CD is worth every penny. Buy it. He has Stevie Ray style and the talent to do it right. Very impressed. Please pso any TOUR INFO. cant wait to see him live. ========================================================================= Date: Wed, 21 Feb 1996 22:59:08 -0700 Reply-To: Jeff Birk From: Jeff Birk Subject: Dangerous songs to drive to I can't help it. Every time I listen to Albert Collins' "Frosty" from the Live '92-'93 CD while driving, one of two things happens: 1. I pull up to people who give me a look like, "What in THE HELL is he listening to?, or "Ooohhh.....that poor boy...... he must have some type of condition." or.... 2. I almost cause an accident because my feet and hands are just going crazy. There is no way I can keep still and drive when my car CD player gets to selection #5 on that disc. How 'bout it? What are some other dangerous songs you simply can't drive to? I'm sure some of us have some great selections as well as stories. Jeff ========================================================================= Date: Thu, 22 Feb 1996 07:16:40 GMT Reply-To: Andrew Moodie From: Andrew Moodie Organization: The National Capital FreeNet, Ottawa, Ontario, Canada Subject: Question...A song called CHICKEN HEADS It's written by guys named Carter and Rush. It's on Jimmy Johnson's 'Bar Room Preacher' album on Alligator and it's on an obscure James Cotton record. Has anyone else recorded it, who are Carter and Rush? Just curious. It's a very cool song. AJM ========================================================================= Date: Wed, 21 Feb 1996 23:20:41 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: Going NOM for a week! Fellow zellers, After I do up my LB TOP-20, I'll be going No Mail for a week as I leave for a tour-de-south. I'm already looking forward to getting back just so I can see what's going on here. Regards, Stan -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 ========================================================================= Date: Thu, 22 Feb 1996 09:39:54 +0200 Reply-To: Jouni Ilari Hyyti{inen From: Jouni Ilari Hyyti{inen Subject: Otis Rush: Live In Japan 1986 (Sequel) There has been some talk about this Cd, so.... Otis had a Japanese band "Break Down" on this one . It has Yoichiro Hatta and Fusanosuke Kondo on guitars. Kenji Morita on bass and Akihiro Okachi is playing the drums. There are also some special guests: Charles Shimizu on Piano and Organ, Chikashi Takagi on Tenor Sax and Weeping Harp Senoh on Harmonica. The song list: Tops//All your Love//Please,Please,Please//Killing Floor//Stand By Me//Lonely Man//Double Trouble//Right Place, Wrong TIme//Got My Mojo Working//Gambler's Blues. This Cd has songs like Stand By Me and Please, Please, Please on it. It remains me about one Otis Live cassette (bootleg). Called live at Club 47 1-18-1967 at Cambridge Mass. Also other bluesmen have covered Stand By me like The Late great (wake up our twin cities folks) Oliver "Sonny" "Cat Daddy" Rodgers or Rogers (both names were used, at least in the liner notes) version of Stand My Be is good to have. About "Mojo" Otis turns it to almost a Novelty number. And heck why not. Please Please Please is also great. That whistling falsetto + biting guitar. amen, I am floored. What about the next one from the old warhorses stable. Killing floor. the both japanese guitar players have a solo spot on it. Lonely Man. Yes. This old Little Milton warhorse or also Booba Barnes with the name of "Heart Broken Man" is something extra. My memory is on fulltime vacation but if I remember right Mr. Rush has never recorded this song before. All Your Love and Double Trouble. the later is better this time, even he has some problems with the band on it. everything has said about these two. MINOR KEY IS THE BETTER KEY. AND OTIS IS THE MASTER OF THE MINOR KEY. Right Place, Wrong Time. Well if this song is on the cd on your player it is then right place, right time. Tops with introduction of the show and the Gambler's blues. How to play blues guitar, lessions numbers 4239 (improvisation with choruses) and 9421 (the timing, the space and the hit). Overall impact. He has some problems with the band. In some songs it takes some time to find the same tempo. but these are just minor league problems, the point is that Mr. Rush is a great bluesman. Don't hesitate to buy this CD. Maybe it is not his best, but the worst of Mr. Rush is better that the most of the rest. ups. sorry. And he was only his 20's when the old cobras were made. and on the liner notes Mr. Neil Slaven bring this old subject again on the map. He wrotes " Allthough Ike Turner played most of the lead guitar on the The original recordings of All Your Love and Double Trouble"... What is the blues-l decision on this thread ?. I have seen him three times. First One was a disaster, second was "good", The third one made me a "rushitan". Yours in Blues Jouni, three times a fool=thrafool ========================================================================= Date: Wed, 21 Feb 1996 23:58:35 -0500 Reply-To: David Melton From: David Melton Subject: Re: Sitting&Thinking-Eddie Taylor Comments: To: Barry Silverberg Ah, Eddie Taylor. Now that's the stuff! Thanks for the great review. He's definitely one of my favorites. Any aspiring young blues guitar player's time would be well spent studying the way Eddie put it all together.Come to think of it, I think I'll pick this one up and do a little woodshedding myself! The Eddie Taylor clone market seems to be wide open ! :> Dave Melton ========================================================================= Date: Wed, 21 Feb 1996 00:00:56 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Who's hot and who's not Comments: cc: prychitk@OSWEGO.OSWEGO.EDU Dave Prychitko wrote: >Little Milton, Big Time Sarah, Frankie Lee, Eddie Cleanhead Vinson, John >Mooney, The Holmes Bros., Gatemouth Brown, Dr. Ross, Dr. John, R.L. >Burnside, Bessie Smith, Professor Longhair, Roy Buchanan, Bobby Rush, >Junior Kimbrough, Mississippi Fred McDowell, Koko taylor, Hound Dog >Taylor, Brewer Phillips, Eddie Taylor, Eddie C. Campbell, Little Sonny >Jones, James Cotton, Elmore James, James Harmon, James Peterson, Lucky >Peterson, Jordan Patterson, Charlie Saylies, Charlie Musselwhite, Floyd >Dixon, Little Walter, Howling Wolf, Roosevelt Booba Barnes, Buster >Benton, Fenton Robinson, Jimmy Johnson, Robert Johnson, Ellen MclIwaine, >Dave Edwards, Sunnyland Slim, Muddy Waters, Mississippi Fred Hurt, >Leadbelly, Peg Leg Howell, B.B. King, Albert King, Albert Collins, >Valerie Wellington, Magic Slim, John Primer, Big Walter Horton, Son >Seals, Eddy Clearwater, Big Bill Broonze, Hip Linkchain, Roomful of >Blues, Long John Hunter, Little Buster and the Soul Brothers, Lightnin >Hopkins, Paul Geremia, Paul "Wine" Jones, Walter "Wolfman" Washington, >Percy Mayfield, Eddie Shaw, Vaan Shaw, Lefty Dizz, Left Hand Frank, Son >House, Tampa Red, Louisiana Red, Blind Blake, Blind Lemon Jefferson... > >...living or dead, and off the top of my head, these folks are hot, sista! > After posting such an amazing list of blues artists who can argue with Dave. I can! (in a very light-hearted manner), Where is Magic Sam!?! Still a damn fine list of *essential listening*. While I don't have everybody on the list I'm wotking towards it. Good Work ,Dave. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Wed, 21 Feb 1996 00:01:02 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Re[2]: Monster Mike Jim Bards wrote: >Well on first listen the verdict on Mike is mixed. > >The whole thing is, he's /very good/ ....for his age. If he were a 30 something >touring musician like Debbie Davies I'd say he's pretty mediocre. Compared to a >seasoned professional, his solos are somewhat...ummm, I don't want to disparage >here....pointless. A good solo poses a question, builds on a theme, creates >tension and resolves it. At this point, Mike's solos sound more like >collections >of riffs and scales. I wouldn't say "aimless noodling" but neither would I say >"tight and tasteful and deliberatly contructed- no wasted notes". Of course, >I've had Joe Kubek ( Texas Cadiallac, a great album) on the CD player in the >car >for the last couple of days, and he's admittedly a hard act to follow. This a great description of a what a solo is. It should tell a story. It should reflect the theme of the song. Whether it is Mississippi Fred McDowell making his slide sound like a voice, Hendrix using his guitar to describe the sounds of war or BB King nailing you with one note they were all telling a story. This is what all improvisors should aim for. I for one have a long way to go. But it is a worthy goal to aim for. Big snip >To paraphrase: "He's no Eric Clapton" ( who was a phenom at 18, remember, and >kept going.) I think that Clapton was a rare exception. Dick Waterman also pointed out James Peterson as an example of a child prodigy that made it through. However I agree with Don C in that child prodigies tend to burn out real quick. Even though I tend to dismiss kids like Mike Welch and KWS I do hope that they prove me wrong. The kids have potential. I hope that they get to realize their potential. But until they "prove themselves" I ain't going to bother (but I wish them all the best). Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Wed, 21 Feb 1996 00:01:20 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: "...who is obsessing you?" He's not unknown but I have an obsession for Magic Sam. God knows how many times I've listened to "Magic Sam-Live." Why, which I'm doing again right now. Shain Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Wed, 21 Feb 1996 00:04:57 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Kenny Wayne Shepherd >The CD is worth every penny. Buy it. He has Stevie Ray style and the >talent to do it right. Very impressed. Please pso any TOUR INFO. cant >wait to see him live. He may have the SRV style but what else does he have to offer? Originality? Buy it? Why, when there are better and more desreving players out there? Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 22 Feb 1996 02:12:00 CST6CDDT Reply-To: Tin Can From: Tin Can Organization: UW-Superior Subject: red house There are so many versions of the song red house by hendrix. I would like to know just how many versions there are total off this song recorded by hendrix and what albums they appear on. I can think of the are you experienced version, the live at winterland version, the live at isle of wight version, the woodstock version, the 2 versions on the new posthumous album "blues", the kiss they sky version (which features jimi saying i was cookin there", and the jimi hendrix concert version. ========================================================================= Date: Thu, 22 Feb 1996 01:13:06 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: LB Top20 BOT Comments: To: shayq@banjo.rounder.com, malaco@misnet.com, Blacktnola@aol.com, bluesjazz@aol.com, daveb@oboe.rounder.com Comments: cc: Harp-L@garply.com Stan Ruffo Productions 800 N. Ben Maddox Way - Suite 2200 - Visalia, CA 93292 vox/fax (209) 625-6049 - email: steamin@valleynet.com WWW http://www.valleynet.com/~steamin To: Jim McGrath Subject: Living Blues - Top Twenty Date: Oct. 30, 1995 Station: KI00 99.7fm (K-eye-oh-oh) Program: "Blues On Tap" with Steamin' Stan Ruffo Sundays at 8pm Artist Title Label Freddie King Live At The Electric Black Top Long John Hunter Border Town Legend Alligator Johnny Dyer Jukin' Blind Pig Cephas & Wiggins Cool Down Alligator Jesse Thomas Lookin' For That Woman Black Top Tommy Castro Exception To The Rule Blind Pig Bobby Blue Bland Sad Street Malaco Various Blues Fest 70's Rhino Guitar Shorty Get Wise To Yourself Black Top Bill Perry Love Scars Pointblank William Clarke Groove Time Alligator Monster Mike Welch These Blues Are Mine Tone Cool Little Sammy Davis I Ain't Lyin Delmark John Hammond Found True Love Pointblank Otis Rush So Many Roads Delmark Living Blues Top 20 submitted February 22, 1996. Blues On Tap will not be aired 2/25/96. (only 15 titles for February 1996) -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 ========================================================================= Date: Thu, 22 Feb 1996 01:26:13 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: LB Top20 BOT- corrected! Comments: To: shayq@banjo.rounder.com, malaco@misnet.com, Blacktnola@aol.com, bluesjazz@aol.com Comments: cc: Harp-L@garply.com Stna Ruffo Productions 800 N. Ben Maddox Way - Suite 2200 - Visalia, CA 93292 vox/fax (209) 625-6049 - email: steamin@valleynet.com WWW http://www.valleynet.com/~steamin To: Jim McGrath Subject: Living Blues - Top Twenty Date: February 23, 1996 Station: KI00 99.7fm (K-eye-oh-oh) Program: "Blues On Tap" with Steamin' Stan Ruffo Sundays at 8pm Artist Title Label Freddie King Live At The Electric Black Top Long John Hunter Border Town Legend Alligator Johnny Dyer Jukin' Blind Pig Cephas & Wiggins Cool Down Alligator Jesse Thomas Lookin' For That Woman Black Top Tommy Castro Exception To The Rule Blind Pig Bobby Blue Bland Sad Street Malaco Various Blues Fest 70's Rhino Guitar Shorty Get Wise To Yourself Black Top Bill Perry Love Scars Pointblank William Clarke Groove Time Alligator Monster Mike Welch These Blues Are Mine Tone Cool Little Sammy Davis I Ain't Lyin Delmark John Hammond Found True Love Pointblank Otis Rush So Many Roads Delmark Living Blues Top 20 submitted February 23, 1996. Blues On Tap will not be aired 2/25/96. (only 15 titles for February 1996) -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 ========================================================================= Date: Thu, 22 Feb 1996 02:36:47 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: Re: More on the kids Comments: To: Pat Hertel (text deleted) > The irony in all of this "disapproval" of kiddie blues >is that the odds are that most of them WILL end up >being true monsters of the blues and we, the disapproving, >will be rooting around in the bins for their "early years" >CDs :):):) I wish I could agree with you, however, I think that we will all be looking at our collection in 10 years time saying "what da' hell did I buy that shit for"? Hoping I'm wrong, Gary ............ (text deleted) Gary Constantine >> gconstan@ccinet.ab.ca << If you're lookin' for a perfect woman you're gonna' die a lonely man .............. Joe Louis Walker ========================================================================= Date: Thu, 22 Feb 1996 11:50:37 +0200 Reply-To: Jouni Ilari Hyyti{inen From: Jouni Ilari Hyyti{inen Subject: Re: Otis Rush: Live In Japan 1986 (Sequel) In-Reply-To: On Thu, 22 Feb 1996, I wrote with an empty space in my head that... > > Lonely Man. Yes. This old Little Milton warhorse or also Booba Barnes > with the name of "Heart Broken Man" is something extra. My memory is on > fulltime vacation but if I remember > right Mr. Rush has never recorded this song before. > HAH, I went back to home and I picked up one LP from my collection. and yes the time of endless humilation strikes again... On his classic RIGHT PLACE,WRONG PLACE album is a version of "Lonely Man". aaaaaaaaaaaaaaaaaaaaaaaaaarrrrgghgh, I should had remembered. well from the positive side of this subject I improved me cycle record from home to the univercity (with a big box on my head also). jouni tour de France, here I come... ========================================================================= Date: Thu, 22 Feb 1996 11:57:37 +0100 Reply-To: christia@CNEN.DE.EDF.FR From: christia@CNEN.DE.EDF.FR Subject: Seeking desesperalty 2nd pictures of Lemon +B.Benton Riddle # 1: What do Buster Benton ? Paris 22 fev... Salut ! Answer: I'm afraid that Buster Benton died and as I didn't hear about it in the Blues-L . I heard it on a french broadcast tuesday night as I phoned to the speaker (Christian Gualdi) to give him the bad news about Brownie...I enjoyed him several times in his Parisian gigs with the Son Of the Blues featuring Billy Branch. I didn't hear a lot about Brownie in French TV , papers and broadcast except in my friend on the radio. So long "sweet 94" ! Have a jam with Brownie and all the others ! Sorry for the mistake about the TWO pictures of Blind Lemon... I apolozige if I gave a false joy "une fausse joie". I know there 's only one ! I mean that there're not so much films and photos about pre-war bluesmen. Dick Waterman seems to have the blues... >From Clifton Chenier cover of Memphis Slim : "tous les jours mon coeur est bleu " Salut . Have good, true and live music even if it is NOT blues. Christian. ========================================================================= Date: Thu, 22 Feb 1996 06:22:20 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Re: hooker? Comments: To: bit-listserv-blues-l@uunet.uu.net 02/15/96 San Mateo , CA , USA , Blues on B 02/25/96 Los Angeles , CA , USA , Universal Ampitheatre Catbauer@vivanet.com ========================================================================= Date: Thu, 22 Feb 1996 11:33:30 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Eddie Taylor I am a big fan but I found one of his latest rereleases "Long Way From Home" to have a recording quality that was a "Long Way" from good. Sure it's a live recording but it sounds like someone did it with one of those Fisher Price recorders. I have heard "boots" with better quality. The material itself was not completely satisfying either. For the most part he sounds tired and "off". There is s slight spark in his rendition of "I Don't Know" but he has certainly been in better voice. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [22/2/96 6:25 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 22 Feb 1996 06:43:48 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Popular vs. Good/A referral Comments: To: bit-listserv-blues-l@uunet.uu.net Dear Friends, I can do no better service than to recommend two slim books by Tom Wolfe (you know, the Southerner who wears decadent pastel suits??) Mr. Wolfe wrote about modern art and modern architecture--read here "popular"-- in "The Painted Word" and "From Bauhaus to Our House." I've never encountered anything which pierces the vail more effectively of the tastes imposed from above than Wolfe describes in these two little masterpieces. Yes, there is a conspiracy among the intellectual elite and the corporate moguls to make certain things chic to us hound dogs. As the author points out somewhat happily, the public's needs and tastes tend to override, eventually, this mandate from On-High. The public was told that the work of an artist who stood back and hurled cans of paint at a canvas was "ART". The public was told that a certain symmetric arrangement of cinderblocks, all identical, was architecture. For a while, both theories were enthusiastically propigated. But we peasants didn't buy the kindergarten art, and we started hanging rugs and tapestries and family pictures on the cinderblock walls, destroying the creator's vision of uniformity. We displayed a distinct and stubborn tendency to be individuals in the face of these movements toward collectivism, and we won out. If the blues is nothing else, it is about the individual finding meaning and solace in a song or a style of song. Close your eyes and listen. If it comforts or moves you, then it's good. And who cares about 'popular?' What's the old saying?? "One man's trash is another man's treasure." Denise ========================================================================= Date: Thu, 22 Feb 1996 06:43:57 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Blues Photos--Below? Comments: To: bit-listserv-blues-l@uunet.uu.net In article <960220205800_328183665@emout08.mail.aol.com>, Dick Waterman writes: >I have many photographs of Fred, mostly taken during the Junior Wells tour of >Africa during the winter of 1967-1968. Others in the band were Willie Monroe >(bass); Willie Williams (vocals); Doug Fagan (sax) and Lefty Diz (guitar). >I will make them available for tickets to a Cubs' game . . . . > > Dear List Members, I don't have tickets to the Cubs, but I do know that Dick has some wonderfully amusing anecdotes from that trib to Africa in 67-68. Coax it out of him and you'll be rewarded in triplicate. Denise ========================================================================= Date: Thu, 22 Feb 1996 07:29:28 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: "Gatemouth" Brown on TNN Comments: To: JukeFreak@AOL.COM On 21 Feb 96, Karen Hanson had this to say... > So did anybody else catch Clarence "Gatemouth" Brown playing his blues on the > Prime Time Country show on TNN? How about that! He wore a cowboy hat and > boots, too. ;-) I missed it, but that is what Gatemouth always wears. "Born in Louisiana, raised on the Texas side." P.W. Fenton Tampa, Florida ------------------------------------------------------------- While you are in cyberspace, visit the Tomb of the Unknown Bluesman at http://www.gate.net/~pwfenton ------------------------------------------------------------- ========================================================================= Date: Wed, 21 Feb 1996 08:15:35 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Liner Notes Dick Shurman rightly points out that Ace is not a bootleg label, unlike Charly. But, to return to the original discussion, it is ironic how often the bootleg labels have better liner notes than the law-abiding ones. Looking through my LPs and CDs, I find that many of those questionable European reissue labels -- Charly, Jukebox Lil, Roots, Route 66 and others -- carry more information about the recordings and artists than the respectable labels. I suspect that this is because many boots are put out by fans and collectors , while many legal recordings are put out by faceless men in grey suits who care only about the number of units sold. Sometimes we get both worlds -- the recent MCA/Chess reissues, the Stax-Volt collections, Rhino's collections, etc. Would that tere were more of them! Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Thu, 22 Feb 1996 07:15:43 -0600 Reply-To: "Norman W. Mangum" From: "Norman W. Mangum" Subject: Re: Glen Alyn in San Antonio > From: Bill Shute > > Blues scholar/blues musician/Mance Lipscomb biographer GLEN ALYN will > be here in San Antonio, Texas for two days, February 25-26, making > a bookstore appearance, doing a concert/presentation at San Antonio > College, and playing a few private parties. Contact me for further > info as a friend of mine is organizing this. The bookstore appearance > and concert at SAC are FREE and open to all. Glen's biography of Mance, "I Say Me For a Parable" (one of Mance's expressions, and the title of one of his songs), is a MUST for anyone that is interested in country blues. Mance Lipscomb was a really fine person - a true gentleman (as I also think of Mississippi John Hurt), and Glen's book is written with a loving touch that was developed through Glen's own relationship with Mance. The book is a little bit hard to find - I found it at a Bookstop in Houston in the "regional" section. I don't know if it is being widely distributed outside of Texas or not. Glen also has a companion CD that was just released entitled "Tellin' Stories, Sangin' 'Bout Suppas" that is also very good. He alternates between performing Lipscomb tunes and between telling stories about Mance. I would also consider this CD a MUST for any country blues fan. - Walker Mangum (just a country blues fan - not associated with Glen Alyn) ========================================================================= Date: Thu, 22 Feb 1996 08:25:57 -0500 Reply-To: Niles Frantz From: Niles Frantz Organization: GNN Subject: Re: riddles Comments: To: bit-listserv-blues-l@uunet.uu.net In article <01I1H32VCI2A8ZEUNA@BSUVC.bsu.edu> Lee C. Spector wrote: >Who is your favorite obscure blues person who you recently > discovered >and who is obsessing you? I've been listening quite a bit to a wonderful CD on the New Moon Blues label called "Introducing Roy Roberts." Roberts, apparently from Greensboro, North Carolina, sings blues and soul with conviction and authority. Niles A loop is a loop is a loop. ========================================================================= Date: Thu, 22 Feb 1996 07:33:52 -0600 Reply-To: "Norman W. Mangum" From: "Norman W. Mangum" Subject: Re: "Gatemouth" Brown on TNN Comments: To: JukeFreak@AOL.COM > So did anybody else catch Clarence "Gatemouth" Brown playing his blues on the > Prime Time Country show on TNN? How about that! He wore a cowboy hat and > boots, too. ;-) He's a Texan! He ALWAYS wears his hat & boots! - Walker Mangum (Houston, TX) ========================================================================= Date: Thu, 22 Feb 1996 07:55:54 CST6CDT Reply-To: "Sara C. Oxton" From: "Sara C. Oxton" Organization: University of Minnesota Subject: Re: You're Always Too Late Comments: To: Jeff Seale I heartily agree with DW's musings on the fragility of life. Here in Minnesota, we've witnessed two Blues lives being tragically cut short. Two years ago in September, Dalton Reed died in his hotel room here. His two albums for Rounder had established him as a frontrunner of modern soul music. The Twin Cities was the first out-of-town show he performed after the release of "Louisiana Soul Man" and was a repeat destination for him over his short career. Four years ago, Thunderbird Davis died onstage at the Blues Saloon. Right in the middle of "What Else is There to Do," he caved in. I was standing right in front of him. Rather than the shock and sadness that would have been appropriate at that moment, many of the patrons stormed the front door and demanded their money back. I heard people regrouping, trying to decide which bar to go to next. Meanwhile, Thunderbird lie dead on the stage. Yes Jinx, life is a fragile thing and I think we, as respectable Blues-liners, realize the magnitude of what we see when we attend live shows. But given the conduct of my fellow Twin Citians on that night, I have serious doubts about the rest of the great unwashed. Sara ========================================================================= Date: Thu, 22 Feb 1996 07:53:24 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: Piedmont Style In-Reply-To: On Thu, 22 Feb 1996, Art Schuna wrote: > I asked > if anyone knew of artists other than Cephas & Wiggins who play predominantly > in this style and who would have commercial recordings. So far, no > suggestions. I must have missed this message. (I unsubbed this weekend when I made the mistake of trying to visit friends in Durham. Did you know that the state of Virginia owns exactly one snowplow?) Anyway, there are a few artists who have commercial recordings available. Archie Edwards, Etta Baker, and John Jackson spring to mind. Their recordings aren't easy to find, but they're out there. There is also the local (DC) artist Rick Franklin and the duo of Warner Williams and Jay Summerhour. I don't know if they have any commercial recordings available; but if any record person is out there reading this, look up these guys. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "You've got to inspect your horn, boy." 'And wash it every day.' - Crow, MST3K ("Mr. B. Natural") ========================================================================= Date: Thu, 22 Feb 1996 08:09:22 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Who's hot and who's not In-Reply-To: Message of Wed, 21 Feb 1996 19:44:39 -0500 from On Wed, 21 Feb 1996 19:44:39 -0500 David L. Prychitko said: > > >Virtual marketing for the less-than-virtually authentic blues. &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& Are you implying that she was asking about Keb' Mo...? LW ========================================================================= Date: Thu, 22 Feb 1996 08:21:29 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Drugs in the early Delta I was starting to read Stephen Calts book about Charley Patton and drugs were brought up right at the first. I don't recall ever reading about the early delta blues guys doing drugs, except for Sterno/"canned heat"... I know jazz guys smoked a lot of herb... I have to ask is ANY Calt book worth reading, especially the above LW ========================================================================= Date: Thu, 22 Feb 1996 08:24:06 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Kids vs others A lot of people are trashing the "kids" that are coming out and I'm sure Stevie Wonder faced the same problems. I would like to point out that I feel about the same way you guys do about the "young-uns" as I do about Keb' Mo. His recordings should be in the easy listening category. His Cd with a couple of sub-par blues congs won a Handy So if this pisses you off, I'm sorry, but the young-uns CAN NOT be worse than "Keb Mo's cd....I honestly beleive that Mike Welch will be around longer than former rock/pop and now easy listening blues/pop Handy Award winner Keb MO...... You ask why would I trash Lord Keb', I ask you the same why pick on the young folks.....???? I would venture to say (never heard Welch...YET) that MMW has 80% more blues on his CD than Mr Mo.....Even though I admit the last time I saw Keb Boone, oops Keb Mo I enjoyed him more. I spemt some time talking gear and such with him backstage. I think he's a great guy, but for his CD to win a Handy over blues legend Honeyboy Edwards says tons about MARKETING Sorry but if ya'll can trash the young "pretenders" then I feel I can trash the older pretenders... That's MHO and flames will be ignored...Sorry tired of hearing the kids being trashed...... LW 'I'd rather own Thriller than Keb Mo's CD" ========================================================================= Date: Thu, 22 Feb 1996 06:49:20 -0800 Reply-To: Guy Tapper From: Guy Tapper Subject: Re: red house Comments: To: Tin Can >There are so many versions of the song red house by hendrix. I would >like to know just how many versions there are total off this song >recorded by hendrix and what albums they appear on. I can think of >the are you experienced version, the live at winterland version, the >live at isle of wight version, the woodstock version, the 2 versions >on the new posthumous album "blues", the kiss they sky version (which >features jimi saying i was cookin there", and the jimi hendrix >concert version. Hendrix in the West 2 versions(?) on the 4cd Stages box Guy Tapper MLRG Illustration Scripps Institution of Oceanography 9500 Gilman Dr. La Jolla CA 92093-0227 (619)534-2358 (619)534-6500 fax ========================================================================= Date: Thu, 22 Feb 1996 14:56:44 +0000 Reply-To: "timothy (t.b.) bosley" From: "timothy (t.b.) bosley" Subject: Texas Alexander If anyone has heard both the Document and Match Box discs, which would you recommend? ========================================================================= Date: Thu, 22 Feb 1996 10:02:02 EST Reply-To: sfowlkes@VNET.IBM.COM From: "Steve A. Fowlkes" Subject: Re: You're Always Too Late *** Reply to note of 02/22/96 09:43 Steve A. Fowlkes ETYA/200-3 606-243-1473 T/L 545-1473 CICS Technical Support Integrated Systems Solutions Corporation (ISSC), Lexington, KY SUBJECT: Re: You're Always Too Late ========================================================= Rather than the shock and sadness that would have been appropriate at that moment, many of the patrons stormed the front door and demanded their money back. I heard people regrouping, trying to decide which bar to go to next. Meanwhile, Thunderbird lie dead on the stage. ========================================================= Wow...sort of puts things into perspective on how the average Joe really feels about a Blues person... ...saf ========================================================================= Date: Thu, 22 Feb 1996 09:00:44 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Question...A song called CHICKEN HEADS Comments: To: Andrew Moodie In-Reply-To: Chicken Heads is a Bobby Rush song; the authors are him and producer Calvin Carter. ========================================================================= Date: Thu, 22 Feb 1996 09:02:18 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Otis Rush: Live In Japan 1986 (Sequel) Comments: To: Jouni Ilari Hyyti{inen In-Reply-To: Ike Turner did play a lot of the lead on Double Trouble, but not on All Your Love. ========================================================================= Date: Thu, 22 Feb 1996 10:05:54 EST Reply-To: William Pollak From: William Pollak Subject: Re: Question...A song called CHICKEN HEADS Comments: To: Andrew Moodie In-Reply-To: Your message of "Thu, 22 Feb 96 02:16:40 EST." Andrew Moodie writes >It's written by guys named Carter and Rush. >It's on Jimmy Johnson's 'Bar Room Preacher' album on Alligator >and it's on an obscure James Cotton record. Has anyone else >recorded it, who are Carter and Rush? >Just curious. It's a very cool song. Bobby Rush recorded the original version. ========================================================================= Date: Thu, 22 Feb 1996 09:06:55 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Hawkeye Herman Home Page A very delightful fellow that i met at the Miss. Valley Blues Festival named Hawkeye Herman sent me a snail post card with this home page address. I have not looked at it yet, but am relaying the address as requested. http://www.fortnet.org/~seldmfed/hawkeye.htm He plays a mean national! regards, delta doc roger ========================================================================= Date: Thu, 22 Feb 1996 10:24:35 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: "Who is obsessing you?..." I always love to read which artists are getting blues-Lers max attention. Right now, I just can't get enuff of Sonny Boy, Little Walter, and my man Hubert Sumlin. Damn, that man can play. ...so distracted I can't get any work done, Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 22 Feb 1996 10:50:28 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Drugs in the early Delta Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu In a message dated 96-02-22 09:50:40 EST, ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU (L W) writes: >I was starting to read Stephen Calts book about Charley Patton and drugs >were brought up right at the first. I don't recall ever reading about the >early delta blues guys doing drugs, except for Sterno/"canned heat"... > >I know jazz guys smoked a lot of herb... > >I have to ask is ANY Calt book worth reading, especially the above There is a lot of ax-grinding in that Charley Patton book, and a lot of gratuitous attacks on other early bluesmen. Plus some attacks on David Evans' arguments about tradition in the Drew area that I understand to be largely animated by a personal grudge. While I think Evans argument has a lot of deep flaws, the Patton book does not really respond to it so much as assert loudly its stupidity. I *did* read the thing all the way through, which I could not bring myself to do with the Skip James book (which managed to be even more badly written). It is really sad that Gayle Dean Wadlow's research did not find a better co-author. There is no question about drugs playing a role in the lives of some early bluesmen. How many songs are there about Cocaine are there out of Memphis, alone? "Cocaine Habit Blues" by the Memphis Jug Band is an obvious one. I will never forget reading in the Memphis Commercial Appeal's 75 years ago today column a note that (about 1911 I think) that, because of problems with drug abuse, the city had passed an ordinance limiting the amount of cocaine an individual could purchase at a pharmacy to several *pounds* (I think it was 2?) a *day.* Tom Freeland ========================================================================= Date: Thu, 22 Feb 1996 15:46:50 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Radar Labs 23 Subject: Re: scales question Comments: To: bit-listserv-blues-l@uunet.uu.net On Wed, 21 Feb 1996 12:10:04 GMT, Steven L Combs wrote: >X = root note ; If the left scale is F minor pentatonic, what do you >call the right scale (same root note, but scale shifted 3 frets) ? I can't read your tab. Would you post it in notes? Kevan Smith http://www.rlabs.com/congress/ ========================================================================= Date: Thu, 22 Feb 1996 08:01:02 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Feb. 23 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BANKS, STANLEY F. (b/ESTHER PHILLIPS) b. 1952-0223, NEW YORK CITY, NY BOONE, RICHARD (v/tbn/COUNT BASIE) b. 1930-0223, LITTLE ROCK, AR CLARK, JUNE (tpt) d. 1963-0223, NEW YORK CITY, NY 62 CLEMMONS, T. L. (g/COMBO REC) b. 1919-0223, KANSAS CITY, MO DAE, SONNY (lead/THE KNIGHTS) d. 1987-0223, PHILADELPHIA, PA 58 DEMPS, LARRY (of THE DRAMATICS) b. 1949-0223, DETROIT, MI DIXON, LUCILLE (b/SWEETHEARTS OF RHY) b. 1923-0223, HARLEM, NY FRANKLIN, MELVIN (bass v/THE TEMPTATIONS) d. 1995-0223, LOS ANGELES, CA 52 JACKSON, GRAHAM (p/accordian) b. 1903-0223, PORTSMOUTH, VA JOHNSON, HAROLD "MONEY"(tpt/LOUIS JORDAN) b. 1918-0223, TYLER, TX KYLE,BILLY (p/LIONEL HAMPTON/BRADSHAW) d. 1966-0223, YOUNGSTOWN, OH 51 LANDERS, WES (d/PAUL GAYTEN) d. 1993-0223, NEW YORK CITY, NY 67 LIM, HARRY (co-owner: KEYNOTE/LENOX REC) b. 1919-0223, BATAVIA, JAKARTA LITTLE WALTER J. (WESTBROOK) (hca/BOBBIN) b. 1924-0223, ST. LOUIS, MO MORAND, HERB (tpt/HARLEM HAMFATS) d. 1952-0223, NEW ORLEANS, LA 47 WINTER, JOHNNY (g) b. 1944-0223, BEAUMONT, TX ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 22 Feb 1996 11:09:07 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: "Who is obsessing you?..." Comments: To: MILLER@sci.wfbr.edu My latest BLUES obsession is Howlin' Wolf. I know that is not obscure but I it is astounding stuff. Has there ever been a more spectacular recording debut than "Moaning at Midnight"? Outside the area of blues, I am listening a LOT to 60s Kinks and a Chicago acoustic country group named Freakwater and a Texas bluegrass band named Bad Livers (one of the all-time great band names). Tom Freeland ========================================================================= Date: Thu, 22 Feb 1996 10:13:34 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: "Who is obsessing you?..." These days I can't get enough of new Syl Johnson on Delmark and all three Byther Smith CDs I have. Syl's album, combination of two sounds I LOVE - Memphis soul and blues is wonderful. I get chills along my spine every time I hear his singing Gheto Woman (not THAT B.B. King song - also my favorite). Although he sings "I was born to be a looser", Byther Smith is a winner to me. Can't wait to see him here in Iowa City in June. These two artists desrve much more attention than they receive. Forget Monsters and other Sheppards - BUY Syl and Byther!!!!!! Ranko ========================================================================= Date: Thu, 22 Feb 1996 11:30:06 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Little Walter question for Mary Katherine Aldin Hi Mary Katherine, my apologies for not writing directly....couldn't find your address. :) I was driving around with my harp player the other day and he had on a Little Walter tape which featured liner notes that you had written. Always a nice surprise, and SO informative! :) I think the album was "Hate To See You Go"? He had another tape too called "Big Boss Harmonica", which had no notes or credits or anything at all. One thing we couldn't find anywhere was any mention of whom Little Walter is playing with. Who are the guys in the band? The guitar work sounds a lot like Hubert Sumlin, maybe? Willie Dixon on bass?? Otis Spann on keys possibly? Just semi-educated guessing here. Fred Below on drums? Can you fill me in? Thanks a bunch! :) Regards, Riffin Rick ps my non-cyber pal is just impressed all to hell that I can just gab with such blues authorities on the Internet. :) :) Me too, actually. :) F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 22 Feb 1996 11:51:11 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0528 From: "DUTTWEILER.J" Subject: "Who is obsessing you?..." Date: Thursday, 22 February 1996 11:50am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: "Who is obsessing you?..." In-Reply-To: The letter of Thursday, 22 February 1996 10:58am ET I want to put my $.02 in for the Mem Shannon release others have raved about, as well as another that I have spent alot of time with lately, TRE, "Delivered For Glory - Reclaiming the Blues" CD on JSP. Tre is L. V. Banks' son, was one of the "40 under 40" in LB a few issues back and this CD is a treasure. Of course, I've found myself listening to a lot of Hooker these days, as well. JD ========================================================================= Date: Thu, 22 Feb 1996 10:58:12 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: Who's hot and who's not Comments: To: L W In-Reply-To: On Thu, 22 Feb 1996, L W wrote: > On Wed, 21 Feb 1996 19:44:39 -0500 David L. Prychitko said: > > > > > >Virtual marketing for the less-than-virtually authentic blues. > &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& > > Are you implying that she was asking about Keb' Mo...? > LW No, not at all. Dave Prychitko ========================================================================= Date: Thu, 22 Feb 1996 11:58:47 -0500 Reply-To: Michael Kaloyanides From: Michael Kaloyanides Subject: Re: Kenny Wayne Sheppard Comments: To: Mark Jacobson In-Reply-To: <199602220238.VAA10439@mail-e2a-service.gnn.com> On Wed, 21 Feb 1996, Mark Jacobson wrote: > I also want to echo sentiments about KWS. They have been hyping him on the > local radio WHCN as the newest and best blues artist around, and have him up > here for a Mardi Gras show. Do any Bluezellers have any details about the Mardi Gras 96 show in the Hartford, CT area this saturday (2/24)? Also I heard that Saffire will also be in the area this weekend. Any info would be greatly appreciated. Michael G. Kaloyanides Department of Music & Sound Recording University of New Haven ========================================================================= Date: Wed, 21 Feb 1996 09:17:27 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Kids vs others LW wrote: >I would like to point out that I feel about the same way you guys do about the >"young-uns" as I do about Keb' Mo. His recordings should be in the easy >listening category. His Cd with a couple of sub-par blues congs won a Handy >So if this pisses you off, I'm sorry, but the young-uns CAN NOT be worse >than "Keb Mo's cd....I honestly beleive that Mike Welch will be around longer >than former rock/pop and now easy listening blues/pop Handy Award winner Keb >MO...... > >You ask why would I trash Lord Keb', I ask you the same why pick on the young >folks.....???? I would venture to say (never heard Welch...YET) that MMW has >80% more blues on his CD than Mr Mo.....Even though I admit the last time I >saw Keb Boone, oops Keb Mo I enjoyed him more. I spemt some time talking gear >and such with him backstage. I think he's a great guy, but for his CD to win >a Handy over blues legend Honeyboy Edwards says tons about MARKETING I didn't think I was an easy litening sort of guy but I quite liked Keb Mo's CD. There were obvious references to blues greats of yore and nods to a more modern direction. If he won a Handy over Honeybay Edwards it isn't Keb Mo's fault. But I do agree with LW (I think that he was alluding to this) that it isn't right that the newer guys get the promotion that the older guys never recieve. A little more should be done to promote the blues artists that are still recording great albums. Promotion in magazines like Living Blues isn't enough. You are preaching to the converted. To use Honeyboy Edwards as an example. It would be great to see him promoted in Rolling Stone. I am heartend though by the relative sucess of RL Burnside and Jr Kimbough. They seem to be popping up everywhere. I'm not saying that Honeyboy Edwards should tour with The Jon Spencer Blues Explosion but it seems to have helped RL Burnside. Now correct me if I'm wrong but didn't a lot of '60s rock bands put great but largely forgotten/unknown blues artists on the same concert leading to greater exposure hence spreading the name and stature (and record sales) of some artists. Could it happen again? >Sorry but if ya'll can trash the young "pretenders" then I feel I can trash >the older pretenders... I don't think that Keb Mo is a pretender. He is trying to take the music somewhere. I think artists like Keb Mo are important for the blues. For any music to survive it has to move with the times. Still, artists like Corey Harris are as equally important. They remind us where the blues came from. Both are valid. Just different shades of blue. >That's MHO and flames will be ignored...Sorry tired of hearing the kids being >trashed...... Consider this a difference of opinion with no flaming intended. Maybe if they stopped touting these kids as the next blues great in waiting then I (and other poeple) will stop thrashing them. Maybe we should start thrashing the media and PR departments. Shaun (all my IMHO etc) Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 22 Feb 1996 11:17:29 -0600 Reply-To: Rob Varak From: Rob Varak Subject: New Ray Charles Has anybody heard the new Ray Charles CD. I'm not sure of the title, but it was something a little cheesy. Being Brother Ray, it can't be all bad. Rob (who wishes he were old enough to run for president now) Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Wed, 21 Feb 1996 09:24:39 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Lucky Peterson (Red Faced Departmant) In a post I sent last night made an error in a post concerning Mike Welch, Child prodigiees etc. I was referring to Lucky Peterson, the son of James Peterson. Thanks to Dick Waterman for pointing this out. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Wed, 21 Feb 1996 09:24:43 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: "Who is obsessing you?..." Rick Miller wrote: >...so distracted I can't get any work done, I'm running late because I'm listening to RL Burnside's "Too Bad Jim" for the hunderedth time. Time to go. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 22 Feb 1996 12:24:31 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Little Walter question for Mary Katherine Aldin Comments: To: MILLER@sci.wfbr.edu Comments: cc: mkaldin@beachnet.com In a message dated 96-02-22 12:11:56 EST, MILLER@SCI.WFBR.EDU () writes: >I was driving around with my harp player the other day and he had on a Little >Walter tape which featured liner notes that you had written. Always a nice >surprise, and SO informative! :) I think the album was "Hate To See You Go"? >He had another tape too called "Big Boss Harmonica", which had no notes or >credits or anything at all. One thing we couldn't find anywhere was any >mention >of whom Little Walter is playing with. Who are the guys in the band? The >guitar work sounds a lot like Hubert Sumlin, maybe? Willie Dixon on bass?? >Otis Spann on keys possibly? Just semi-educated guessing here. Fred Below >on drums? I talked to Mary Katherine, told her about your question, and she asked me to tell the entire list that she is nomail for at least another week. I've forwarded a lot of mail to her, so she will see some highlights for the last week, particularly the tributes to Brownie McGhee. I'm sending this one on, also, Rick. Tom Freeland ========================================================================= Date: Thu, 22 Feb 1996 09:01:55 GMT Reply-To: Dave_J._Herda@infozone.telluride.co.us From: "Dave J. Herda" Organization: InfoZone Telluride Co (970)-728-0472 Subject: Freddy King This past week I came across Freddy King Live at the Electric Ballroom for the first time and absolutely loved it. I played Big Legged Woman and was very impressed. I also came across a couple King tracks on a Rhino sampler and am listening to his version of Going Down for the third time in a row. Quality stuff, this giant of a man could sure wail on his axe. Sounds a little like Buddy Guy when he just goes nuts (like on the album Stone Crazy). Even though I can't afford it, I'm breaking down and ordering a King album. I am leaning towards live in Electric but that's because it is the only one I have heard. Is there a single King album that is better? Take it easy and keep on playin those blues! Peace--D ========================================================================= Date: Thu, 22 Feb 1996 09:07:41 GMT Reply-To: Dave_J._Herda@infozone.telluride.co.us From: "Dave J. Herda" Organization: InfoZone Telluride Co (970)-728-0472 Subject: Re: Dangerous songs to drive to Comments: To: JBirk@VINCA.COM I haven't tried it yet, but I don't think I could drive while listening to Going down by Freddy King. Every time I hear it, I freak out and start playing air guitar. I know it sounds weird, but this song really rocks. Peace--D ========================================================================= Date: Thu, 22 Feb 1996 11:51:21 +0000 Reply-To: SCOTTJ@ACAD.RIPON.EDU From: John Scott Subject: Larry McCray I recently subscribed to this list mainly because I've moved to central Wisconsin and have hardly any way of finding out about any blues concerts or even recent C.D. releases. I do have transportation and would be more than willing to drive to Chicago, but I don't know where to go once I'm there. Also, I heard Larry McCray open for Robert Cray ywice in the past couple of years and I remember learning that he is from somewhere near Chicago. I did not see any kind of address in his "Delta Hurricane" C.D. booklet and I was wondering if anyone who might read this either knows how to reach him or knows how to get a concert schedule of possible shows in my area. Thanks! ========================================================================= Date: Thu, 22 Feb 1996 18:12:26 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Syl Johnson? In-Reply-To: <199602221613.KAA13341@picasso.ccad.uiowa.edu> On Thu, 22 Feb 1996, Ranko Vujosevic wrote: > These days I can't get enough of new Syl Johnson on Delmark > and all three Byther Smith CDs I have. > > I can't get enough of Byther Smith but I know nothing of Syl Johnson. How do they compare? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [22/2/96 12:59 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 22 Feb 1996 13:20:45 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Going No-Mail for A While... Just to let y'all know that at the end of the day I'm going no-mail and taking off Saturday for London to see everyone's favorite endless-BLUES-L-thread-generating (non)Blues guy, Eric Clapton. And to see London, too. And hopefully not get maimed, injured, or blown up by my over-zealous ancestral countrymen. Take care of each other until I get back. Shannon P.S. If anyone knows where I can purchase Kevlar undergarments, please e-mail!! :) ========================================================================= Date: Thu, 22 Feb 1996 12:44:54 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 02/23 B O R N : BOONE, RICHARD 1930 LITTLE ROCK, AR Career:SINGER / TROMBONE Style:JAZZ / BIG BAND BOSE, STERLING ( STERLING BEMONT BOSE ) Born:1906 FLORANCE, AL Career:CORNET / TRUMPET Style:TRAD / JAZZ / BIG BAND With:Arcadia Serenaders, 1924-6 / Jean Goldkette 1927 / Victor Young / Ben Pollack 1930. / Joe Haymes 1935-37 / Ray Noble / Benny Goodman / Glenn Miller / Bob Crosby / Bob Zurke / Jack Teagarden / Eddie Condon BROOKS, JOHN BENSON Born:1917 HOULTON, ME Career:COMPOSER / ARRANGER / PIANO Style:TRAD / JAZZ / BIG BAND With: Eddie DeLange / Boyd Raeburn / Tommy Dorsey / Jimmy Dorsey / Les Brown / Randy Brooks CARISI, JOHNNY ( JOHN E ) Born:1922 HASBROUCK HEIGHTS, NJ Career:COMPOSER / ARRANGER /TRUMPET Style:JAZZ / BIG BAND With:Babe Russin / Glenn Miller / Ray McKinley / Charlie Barnet / Claude Thornhill / Marvin Stamm / 1969 became a member of the faculties at Manhattan School of Music and Queens College, CUNY JOHNSON, MONEY ( HAROLD JOHNSON ) Born:1918 TYLER, TX Career:TRUMPET Style:JAZZ / BIG BAND With:Red Calhoun / John White / Henry Thompson / Nat Towles / Horace Henderson / Count Basie / Cootie Williams / Lucky Millinder / Louis Jordan / Lucky Thompson / Pananma Francis / Buddy Johnson / Cozy Cole / Mercer Ellington / Earl Hines / Duke Ellington LIM, HARRY Born:1919 JAKARTA Career:RECORD PRODUCER Style:JAZZ / BIG BAND MARTYN, BARRY Born:1941 LONDON, UK Career:DRUMMER / LEADER Style:JAZZ OVERTON, HALL F. Born:1920 BANGOR, MI Career:PIANO / COMPOSER / TEACHER Style:JAZZ / BIG BAND WINTER, JOHNNY Born:1944 BEAUMONT, TX Career:GUITAR Style:BLUES FOR A LISTING OF THOSE THAT PASSED AWAY IN THIS MONTH PLEAS GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Thu, 22 Feb 1996 12:43:29 -0600 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: New Ray Charles > Has anybody heard the new Ray Charles CD. I'm not sure of the > title, but it was something a little cheesy. Being Brother Ray, it can't > be all bad. He's coming out with a book about his early years and the CD is sort of to go along with the book. The CD is suppose to be a collection of his favorite songs. Bruce Roberts Austin, TX ========================================================================= Date: Thu, 22 Feb 1996 12:38:02 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Kids vs others In-Reply-To: Message of Wed, 21 Feb 1996 09:17:27 -0800 from On Wed, 21 Feb 1996 09:17:27 -0800 Shaun T Cronin said: > >Maybe if they stopped touting these kids as the next blues great in waiting >then I (and other poeple) will stop thrashing them. Maybe we should start >thrashing the media and PR departments. I think the label that markets Keb Mo compared him to Robert Johnson and that IMHO is more absurd than the above I have no real problems with Keb, I was just trying to say that Mike Welch or Kenny Wayne have as much right to be conisidered "legit" as does any other new artists. You do realize that Keb's first recording was a rock/pop attempt before he became "blues" (I don't consider him blues, sorry MHO)..I do like him as a person and the last show I saw him do was good. He has a really good personality as a performer. LW ========================================================================= Date: Thu, 22 Feb 1996 13:46:18 -0500 Reply-To: bob unger From: bob unger Subject: Blues-zelle kids.... In keeping with the current thread about kids and blues, I thought I would like to remind you all of all the fine talented kids who appear on BluesBytes. Folks, these kids are The Real Deal, too. Run, Do Not Walk to the nearest mailbox and send away for your copy now!!!! Seriously, peoples, there are only 17 copies left. We're 17 copies away from a donation from Blues-L to either Willie Dixons Blues Heaven or The Delta Blues Museum or The Rhythm And Blues Foundation. If you've been putting off ordering, you might want to take the time and do it now before it's too late. If you need the ordering info, e-mail me privately...... So, does anybody have any ideas on what would be the coolest way to present our donation....... BU bob@sun.bnkst.edu ========================================================================= Date: Thu, 22 Feb 1996 12:46:13 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Ridin the Blind What is the "blind"...as in leaving this morning, if I have to ride the blind LW ========================================================================= Date: Thu, 22 Feb 1996 12:49:45 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Best "debut" Someone mentioned "Moanin' At Midnight" as being such a great "debut" album I was curious to what some of ya'll's favorite debut recordigs are: Freddy King Sings works for me LW ========================================================================= Date: Thu, 22 Feb 1996 13:59:04 -0500 Reply-To: bob unger From: bob unger Subject: Re: "Who is obsessing you?..." Right now, I'm being obsessed with "25 Years of Blues on Rounder Records" 2 songs are really mind-stickers - Larry Davis "Help The Poor" (I have another fabulous version of this song on a yet to be released cd) and Ronnie Earl "Green Light". I know it's not very "popular", but half the time I listen to instrumentals. Really heart-felt, gut-wrenching, soulful playing can say to me, just as much as a vocal....an example: Listen to Lucky Peterson's "Tribute To A King". Man, I get frightened when I listen to that...... BU bob@sun.bnkst.edu ========================================================================= Date: Thu, 22 Feb 1996 14:04:29 -0500 Reply-To: Paul Deeds From: Paul Deeds Subject: Re: Drugs in the early Delta In-Reply-To: On Thu, 22 Feb 1996, L W wrote: > I have to ask is ANY Calt book worth reading, especially the above I found his book about Skip James rather enlightening ... and would recommend it highly. Paul Deeds ========================================================================= Date: Thu, 22 Feb 1996 18:30:17 +0000 Reply-To: "timothy (t.b.) bosley" From: "timothy (t.b.) bosley" Subject: Hash Brown _T is for Texas_ is something that has been on my list of things to get for awhile. Recently I picked up his other disc, _Rollin' Blues_, when I ran across it locally. To anyone who has or has heard both, how would you rate them relative to one another? ========================================================================= Date: Thu, 22 Feb 1996 11:28:51 CST Reply-To: JBards From: JBards Subject: Monster Mike review, Pt.2 Comments: To: Shaun T Cronin I've now finished the entire Monster Mike Cd, and I have to take back some of what I originally reported (below). The fact is, much of the soloing is lame, vacant, aimless noodling. It's not enough to just "know where the notes are" and to have some technical proficiency. ( In this regard, Kenny Wayne Shepard stands heads above MMW, because he at least knows how to put together some good improvisation, if only in a rather narrow and imitative vein.) There is one cut- # 11, I think - that is a jam of mind-numbing dullness; it is almost imcomprehensible that it is included on the CD release. Please, give me Keith Richards or JJ Cale's basement/back porch tapes over this insipid pap. I'm still not saying MMW doesn't have a lot of potential. What I am saying is that even ostentibly very talented kids like MMW ( and KWS) would be better served by spending a lot more time as back-up players, developing mature styles, before being pushed to the front of the stage. I'm not interested in hearing someone who is "very good for being only sixteen". I just want to hear very good music, regardless of whether it's an 18-year-old Clapton, a 35 year old Debbie Davies, a 45 year old Coco Montoya, or a 65 year old Guitar Shorty. Jim Bards(ley) _______________________________________________________________________________ Subject: Re: Re[2]: Monster Mike From: Shaun T Cronin at INTERNET-SH Date: 02/22/96 2:19 AM Jim Bards wrote: >Well on first listen the verdict on Mike is mixed. > >The whole thing is, he's /very good/ ....for his age. If he were a 30 something >touring musician like Debbie Davies I'd say he's pretty mediocre. Compared to a >seasoned professional, his solos are somewhat...ummm, I don't want to disparage >here....pointless. A good solo poses a question, builds on a theme, creates >tension and resolves it. At this point, Mike's solos sound more like >collections >of riffs and scales. I wouldn't say "aimless noodling" but neither would I say >"tight and tasteful and deliberatly contructed- no wasted notes". Of course, >I've had Joe Kubek ( Texas Cadiallac, a great album) on the CD player in the >car >for the last couple of days, and he's admittedly a hard act to follow. This a great description of a what a solo is. It should tell a story. It should reflect the theme of the song. Whether it is Mississippi Fred McDowell making his slide sound like a voice, Hendrix using his guitar to describe the sounds of war or BB King nailing you with one note they were all telling a story. This is what all improvisors should aim for. I for one have a long way to go. But it is a worthy goal to aim for. Big snip >To paraphrase: "He's no Eric Clapton" ( who was a phenom at 18, remember, and >kept going.) I think that Clapton was a rare exception. Dick Waterman also pointed out James Peterson as an example of a child prodigy that made it through. However I agree with Don C in that child prodigies tend to burn out real quick. Even though I tend to dismiss kids like Mike Welch and KWS I do hope that they prove me wrong. The kids have potential. I hope that they get to realize their potential. But until they "prove themselves" I ain't going to bother (but I wish them all the best). Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 22 Feb 1996 11:43:27 -0800 Reply-To: alleycat@scn.org From: SCN User Subject: music in BMW 381i commercial Anyone know what the music is in the BMW commercial? I can't afford the car, but maybe I can afford the CD of the music! thanks! ========================================================================= Date: Thu, 22 Feb 1996 11:47:33 -0800 Reply-To: alleycat@scn.org From: SCN User Subject: Richard "Rabbit" Brown (ca 1880-1937) Anyone know if there are any CD's of this early blues performer? His most famous number is "James Alley Blues". ========================================================================= Date: Thu, 22 Feb 1996 14:48:14 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0031 From: "DUTTWEILER.J" Subject: Best "debut" Put me in for "Hoodoo Man Blues," Junior Wells (seeing as how I've got him in the old discman right now ) JD ========================================================================= Date: Thu, 22 Feb 1996 20:56:56 +0100 Reply-To: Mittendorp From: Mittendorp Organization: Crossroads Subject: European tours We are working on a lot of European tours for American blues artists and it is our intention to give some information on these artists and their European activities. At the moment we have the following artists scheduled: Dave MacKenzie - March RJ Mischo & his Red Hot Bluesband - April Percy Strother Band - May King Brothers - May Big Boy Henry & Lightnin Wells - May Soul Drivers - March and May 'Diamond' Jim Greene - June Roy Roberts - August/Sept Little Smokey Smothers - Sept/Oct Lou Ann Barton/Derek O'Brien - October Mississippi Heat - Nov Long John Hunter - January '97 If there is any interest from European promoters feel free to contact me. Jan Mittendorp Crossroads Blues Agency e-mail crossrds@tref.nl web http://www.tref.nl/3039/ondernem/e-paper/crossrds.htm ========================================================================= Date: Thu, 22 Feb 1996 14:04:30 -0600 Reply-To: Roger Struve From: Roger Struve Subject: QUESTION? I was just reading the post about Syl Johnson and Byther Smith. I've never even heard of these guys. When realizing this, especially in light of the recent discussions about one man's garbage is another man's treasure.....i started thinking how really efficacious it would be to be able to download some wav. files on all these guys (and wymmen) starring on BLUES-L. Is there a place (homepage?) where something could be set up so that we all can sample these lesser known blues entities? I realize now that my blues interest had been too narrowly focused on just one or two artists. BUT....the rub is that i am too stingy to spend money on something as important to me as the BLUES, solely based on someone else's opinions. I NEED to HEAR it for myself. So whatcha yawl think of this? best regards, delta doc roger ========================================================================= Date: Thu, 22 Feb 1996 15:12:36 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Best "debut" Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu In a message dated 96-02-22 14:39:08 EST, you write: >Someone mentioned "Moanin' At Midnight" as being such a great "debut" album > >I was curious to what some of ya'll's favorite debut recordigs are: > >Freddy King Sings works for me > >LW I was referring more to the *individual recording* of "Moaning at Midnight"-- the incredible accomplishment of that amazing sound on that amazing recording, the first one he had ever made. Looked at from any direction: How new it must have sounded at the time; how spectacularly it uses the sound of the electric guitar *AND* the amplified voice; and how it KEEPS ON sounding stunningly new, today, almost every time I hear it. The moaning at the start of that song rivets my attention every time it plays. Tom Freeland ========================================================================= Date: Thu, 22 Feb 1996 11:33:42 CST Reply-To: JBards From: JBards Subject: Re: Dangerous songs to drive to Comments: To: Jeff Birk for me, this would be Jim Suhler and Monkeybeat's "Shake"...wonderful swamp- boogie blues. And aptly named. -Jim _______________________________________________________________________________ Subject: Dangerous songs to drive to From: Jeff Birk at INTERNET-SH Date: 02/22/96 12:30 AM I can't help it. Every time I listen to Albert Collins' "Frosty" from the Live '92-'93 CD while driving, one of two things happens: 1. I pull up to people who give me a look like, "What in THE HELL is he listening to?, or "Ooohhh.....that poor boy...... he must have some type of condition." or.... 2. I almost cause an accident because my feet and hands are just going crazy. There is no way I can keep still and drive when my car CD player gets to selection #5 on that disc. How 'bout it? What are some other dangerous songs you simply can't drive to? I'm sure some of us have some great selections as well as stories. Jeff ========================================================================= Date: Thu, 22 Feb 1996 15:13:45 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: Ridin the Blind Comments: To: L W In-Reply-To: I think it is "riding the blinds". I think it refers to a boxcar, like jumping on a train. Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" :) On Thu, 22 Feb 1996, L W wrote: > What is the "blind"...as in leaving this morning, if I have to ride the blind > > LW > ========================================================================= Date: Thu, 22 Feb 1996 15:13:11 -0400 Reply-To: MARCIAG@VMS.CIS.PITT.EDU From: Marcia Grodsky Subject: Re: Blues @ SXSW (Austin) Comments: To: seale@BIOC02.UTHSCSA.EDU I hate to take issue with my pal Jeff, but my reputation's at stake here! I didn't say I'd walk to Texas to see Rosie Flores; I said I'd walk to see the Rosie Flores-Wanda Jackson tour. Big difference --- Wanda's a rockabilly legend who's on my "must see before one of us dies" list right along with the blues legends. But I *would* walk to Austin for SXSW if only to see Lavelle White, if Hotel Lulu wasn't already booked. I've been raving about her since I heard the first cuts on the Antone's Women release; waited breathlessly for her first CD and wore out two copies (didn't know you could wear out a CD til then) and am now waiting just as eagerly for her new one. Isn't it do out soon? I've also never had a chance to see Long John Hunter --- that would be another treat. In addition to all the great blues acts that Jeff mentioned, there's a lot of other music booked for SXSW that I know would appeal to a lot of people on Blues-L --- some of my favorites include Junior Brown, Ted Roddy and (sep- ately) his act The Naughty Ones, The Tailgators, Teisco Del Rey, Ronnie Daw- son and Don Walser. I'd like to hear from anybody who does get to go (you can tell me about the non-blues acts off-list). ---Marcia ========================================================================= Date: Thu, 22 Feb 1996 12:20:36 -0800 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Re: "Who is obsessing you?..." Comments: To: "" In-Reply-To: <01I1IDYCWBHU001JSK@SCI.WFBR.EDU> I have not been able to stop listening to Blind Lemon Jefferson, Blind Willie Mctell, Sleepy John Estes, and the great Bukha White. Lately the electric thang just doesn't do it for me. Isaac ========================================================================= Date: Thu, 22 Feb 1996 15:32:57 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: Best "debut" In-Reply-To: Without a doubt, DAYS OF FUTURE PASSED, by the Moody Blues. Err, wait, L.W. meant real blues. That's hard. How about Burnside's TOO BAD JIM (I know Bad Luck City appeared earlier, but...). Dave Prychitko ========================================================================= Date: Thu, 22 Feb 1996 15:38:08 -0500 Reply-To: Dave Markovits From: Dave Markovits Subject: Blues on the Tube >To: markovits >From: John Sturm/IS/CCC >Date: 22 Feb 96 11:04:12 EDT >Subject: Blues on the Tube > >I watched the Promise Land episode on Chicago last night. It is part of a >series showing this week on Discovery. I did not tape the episode. There were >a lot of snippets of classic blues in the background music. There was also a 2 >or 3 minute segment on the blues. This inlcluded some pretty common footage: >Robert Nighthawk on Maxwell Street and Howling Wolf on that pop music show when >he was introduced by Brian Jones. There was also a brief interview with >Honeyboy Edwards. Last night on Bravo they played "Leadbelly," the 1975 film >biography on Hudie Ledbetter. It was pretty good and I did tape it. Following >"Leadbelly" they ran "Searching for Robert Johnson." Even though it started >after midnight AND I own the video I stayed up and watched it (because I'm an >idiot). I know I've bitched about this in the past but it is actually a pretty >good history lesson on RJ. Interviews with Honeyboy, Johnny Shines, a couple >of RJ researchers, and many folks that new RJ make it quite interesting. What >I don't dig about this film are the scenes of John Hammond Jr. playing RJ songs >while sitting in a boxcar, kneeling down on his knees at a Delta crossroads, >and walking through a cemetary at night while some dry ice machine blows mist >across the scene to make it eerie. I believe that JH Jr should not have used >this film to showcase JH Jr. He's a damn fine musician but there's no >mistaking him for RJ. > >David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Thu, 22 Feb 1996 15:43:19 -0500 Reply-To: Ed Mezynski From: Ed Mezynski Subject: Piedmont questions...answered >Art Schuna wrote "I don't see a single artist here that I would call >"Piedmont" style blues yet it's sponsored by the Piedmont Blues >PRESERVATION Society." said ]Maybe our friends in NC could tell us what the name's sposed to mean... ] ]Is it a blues preservation society in the piedmont or a society for ]preserving piedmont blues?? ] ](just like we might ask whether R Rogers' band is supposed to be ]rhythm kings from the delta or kings of delta rhythms.....to recall ]a past question/complaint) Living here in the heart of Carolina, perhaps I can shed some light on this thread. The Piedmont is a geographical area of NC. It was/is the home of Piedmont style blues. The Piedmont Blues PRESERVATION Society, in my humble opinion is dedicated to preserving blues for the people of the Piedmont, and not necessarily only Piedmont Blues. I'll ask someone there when I go to the fest. Last year two of my band members went to this fest and had nothing but good things to say. I'm a member of the Triangle Blues Society and I know that we do not play only triangular blues or trios. The Triangle is created by the cities of Chapel Hill, Durham and Raleigh. Your's in the backbeat, ed mezynski ========================================================================= Date: Thu, 22 Feb 1996 11:34:35 CST Reply-To: JBards From: JBards Subject: Re: Gear talk: Fender '65 Deluxe Reverb reissue Comments: To: David Blanken The Vibroverb reissue was a wonderful amp, and I would carefully demo the new Deluxe before making up my mind. -J _______________________________________________________________________________ Subject: Gear talk: Fender '65 Deluxe Reverb reissue From: David Blanken at INTERNET-SH Date: 02/21/96 10:50 PM Hi! I'm thinking of trading my Fender '63 Vibroverb reissue amp on a new Fender '65 Deluxe Reverb reissue (I'm getting more modern in my amp sounds :-). I was wondering if anyone has any opinions of this amp? I haven't had a chance to test drive the Deluxe yet, but I am attracted to the fact that it is a smaller amp (power wise and size wise). Any comments/criticisms? Regards, Dave **************************************************************************** ****** David Blanken National Library of Australia Email: D.Blanken@nla.gov.au Phone: (06) 262 1473 **************************************************************************** ****** ========================================================================= Date: Thu, 22 Feb 1996 12:53:21 -0800 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Subject: Re: Freddy King > Is there a single King album that is better? Take it >easy and keep on playin those blues! I don't know what Live at The Electric Ballroom is like; but my favorite(s) have always been: My Feeling For the Blues ( Atlantic 90352-2) - From a French session with King Curtis, Cornell Dupree (wah-wah rhythm guitar at times (!)) and French sidemen. For older material, I like "Freddy King Sings" (Modern Blues MBCD 722) Roger B. ========================================================================= Date: Thu, 22 Feb 1996 13:59:00 -0700 Reply-To: bmpech@MSCD.EDU From: Bruce Pech Subject: Re: Ridin the Blind Comments: To: L W In-Reply-To: On Thu, 22 Feb 1996, L W wrote: > What is the "blind"...as in leaving this morning, if I have to ride the blind > > LW LW -- I think it refers to hopping a freight train. Another expression, to "ride the rods," meant riding underneath a boxcar on the undercarriage. I'm not sure what "blinds" are. Anyone? -- BP Boullder, CO ========================================================================= Date: Thu, 22 Feb 1996 15:35:57 EST Reply-To: LCORBETT@MAINE.MAINE.EDU From: LCORBETT@MAINE.MAINE.EDU Organization: University of Maine System Subject: Re: Piedmont Style Comments: To: BIT-LISTSERV-BLUES-L@UUNET.UU.NET The variety in blues styles is wonderful, I am glad that there is such diversity, it keeps me digging and listening. I thought I read somewhere that regional location and whom an artist may have been influenced by before records became widely available might have helped create this variety in styles. The individual artist of course creates the final product, makes it real unique. For me Blind Blake and Blind Boy Fuller exemplify this particular style of blues, but did they not travel to the north to record? Somewhere again I thought that many who went to New York to record might have been influenced by TiN Pan Alley styles of music...the ragtime edge...if this is so then where and what is the true pedimont sound? Paul Rishell, (on ToneCool Label) does a great interpretation of the above mentioned artist, for another current artist carrying on the tradition, but again he lives in Cambridge Mass. The point I'm trying to get across is how much is it regional and how much individual in any particular style? ========================================================================= Date: Mon, 22 Jan 1996 20:49:04 GMT Reply-To: jackieo@MIDTOWN.NET From: jackieo@MIDTOWN.NET Subject: Re: Otis Rush: Live In Japan 1986 (Sequel) Comments: To: bit-listserv-blues-l@uunet.uu.net Richard Shurman wrote: >Ike Turner did play a lot of the lead on Double Trouble, but not on All >Your Love. Was it Big Walter who did all the harp work on Otis's Cobra recordings? ========================================================================= Date: Thu, 22 Feb 1996 13:08:23 -0800 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Subject: Re: Blues on the Tube >>To: markovits >>From: John Sturm/IS/CCC In the above e-mail: (someone?) wrote: (..... about "Searching For Robert Johnson") >I don't dig about this film are the scenes of John Hammond Jr. playing RJ songs >while sitting in a boxcar, kneeling down on his knees at a Delta crossroads, >and walking through a cemetary at night while some dry ice machine blows mist >across the scene to make it eerie. I believe that JH Jr should not have used >this film to showcase JH Jr. He's a damn fine musician but there's no >mistaking him for RJ. Mistaking?? What? I am positive no-one in their right mind would mistake a living, white man for a long-dead black man. > I believe that JH Jr should not have used this film to showcase JH Jr. Nonsense! John Hammond very tastefully plays EXCERPTS of his interpretations of RJ songs, and in no way does this "showcase" him to the detriment of what he does so very well, in this documentary: telling the story of Robert Johnson, his times, and where he came from. John has also been drawing attention to, and introducing new audiences to, the music of RJ for a long, long time. True, some of the "theatrics" in the documentary "Searching for Robert Johnson" might wear a little thin on you, but I don't think it's fair to imply that John Hammond is anything but sincere in his love for, and dedication to, the music and memory of Robert Johnson. - Roger B. ========================================================================= Date: Thu, 22 Feb 1996 20:38:16 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Liner Notes / Willie Dixon Comments: To: bit-listserv-blues-l@uunet.uu.net Under the Subject: Liner Notes / Willie Dixon, James Carmin wrote: >Speaking of incomplete liner notes, I just picked up WILLIE DIXON's I AM >THE BLUES (on Columbia) and I'm enjoying it a whole lot. >And while Pete Welding's liner notes are interesting, the only mention of >personnel is that Willie has a "hand-picked crew of Chicago blues >veterans." >Kind of a large flaw from an information POV. >So Bluezellers: who's backing the Back Door Man on this disc? According to Willie Dixon's book "I Am The Blues", the line-up on that album was: W. D., vocals & bass Big Walter Horton, harmonica Sunnyland Slim or Lafayette Leake, piano (presumably they're both present but not on the same songs) Johnny Shines, guitar Clifton James, drums Scott ========================================================================= Date: Thu, 22 Feb 1996 20:37:07 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Eddie Taylor Comments: To: bit-listserv-blues-l@uunet.uu.net About Eddie Taylor, Pat Hertel wrote: >I am a big fan but I found one of his latest rereleases >"Long Way From Home" to have a recording quality that >was a "Long Way" from good. Sure it's a live recording >but it sounds like someone did it with one of those >Fisher Price recorders. I have heard "boots" with >better quality. >The material itself was not completely satisfying >either. For the most part he sounds tired and "off". > There is s slight spark in his rendition of "I Don't Know" >but he has certainly been in better voice. I, on the other hand, love this release. I think it's great. I think the recording quality is excellent. It just goes to show...well, something or other, I guess "to each their own". I was just talking to a friend of mine, who is a serious Eddie Taylor disciple (and played with him many times) about how some people think ET's great, and other people don't. My friend said "Eddie was one of those guys that some people just don't GET--they don't understand what he was going for, so they don't recognize it when he got it." I guess you (and the reviewer from Blues Revue) just don't "get" Eddie Taylor. Scott ========================================================================= Date: Thu, 22 Feb 1996 20:56:34 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Little Walter question for Mary Katherine Aldin Comments: To: bit-listserv-blues-l@uunet.uu.net " wrote: > >Hi Mary Katherine, my apologies for not writing directly....couldn't find > your address. :) > >I was driving around with my harp player the other day and he had on a Little >Walter tape which featured liner notes that you had written. Always a nice >surprise, and SO informative! :) I think the album was "Hate To See You Go"? >He had another tape too called "Big Boss Harmonica", which had no notes or >credits or anything at all. One thing we couldn't find anywhere was any mention >of whom Little Walter is playing with. Who are the guys in the band? The >guitar work sounds a lot like Hubert Sumlin, maybe? Willie Dixon on bass?? >Otis Spann on keys possibly? Just semi-educated guessing here. Fred Below >on drums? Rick, Since MK isn't around, I can probably help you, but I'll need more info. Every Little Walter LP/CD that's ever been released is a compilation of his earlier singles, and all of these collections contain material that was recorded over a period of several years at least. His bands changed frequently over the years, but if you have a question about a specific song or songs I can probably tell you who was on it and when it was recorded. Guitarists who recorded with Little Walter included Robert Jr. Lockwood, Dave Myers, Louis Myers, Luther Tucker, Jimmie Lee Robinson, Freddie Robinson, Jimmy Rogers, Muddy Waters, and Buddy Guy...sorry, no Hubert Sumlin on any of his recordings. If there's a string bass present, it's probably Dixon, although Ernest "Big" Crawford was used on at least one session. On drums it was usually Fred Below, with occasionally Odie Payne, George Hunter, or Billy Stepney. Otis Spann played piano on some, and Lafayette Leake piano or organ on a few. Scott ========================================================================= Date: Thu, 22 Feb 1996 20:35:44 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Sugar Chile Robinson (was: child prodigies) Comments: To: bit-listserv-blues-l@uunet.uu.net On Tue, 20 Feb 1996, Lee C. Spector wrote: >> Wasn't there an 8 year old prodigy by the name, I think, of Robinson >> some years back? Now there was a guy who really experienced the blues, >> he says sarcasticly. Lee Brenda Bogert replied: >That was Frankie "Sugar Chile" Robinson. He was born in Detroit in 1940. >By the age of 2 he was playing boogie piano. He made his first record at >age 6 and appeared in a Van Johnson movie that same year. By the time he >was 9, he had been signed by Capitol and had several hits under his >belt. During his career, he entertained at a party for President Truman, >made several short films, and toured Europe. By the early 50's, he had >inexplicably slipped into obscurity. At last report, he had returned to >Detroit and was tending bar. >I have a video of him playing his 1949 hit "Numbers Boogie". He's an >energetic and talented performer, but his feet don't even reach the pedals! I've seen that video too, and also an album (don't know if it's on CD) on maybe Charly or Ace compiling a of a bunch of Robinson's recordings, which are indeed pretty good...for a child prodigy : ). In the liner notes to the album, it's stated that he disappeared without a trace, and no one (in music, anyway) seemed to know what ever became of him. Well, I know. A couple of years ago I was doing research on something else, going through old Chicago Defender newspapers, when an article in a July 1957 edition with this headline caught my eye: "'Sugar Chile', Child Pianist? He's Dr. Frank Robinson, Surgeon" The complete text of the article follows: "Olivet, Mich--(ANP)--Remember "Sugar Chile" Robinson, the boogie woogie, piano playing, scat singing child prodigy of the post-war years? Whatever happened to him? Sugar Chile, who, at the ripe old age of 15, quit the entertainment business in favor of a college education, is now a pre-med student at tiny Olivet College here, and wants to make a comeback in the public eye as "Dr." Frank Robinson. Two years ago it was that Sugar Chile walked out of the entertainment spotlight with, at his young age, a veritable fortune of $100,000 (in a trust fund) to become a man of medicine. Before that, for some nine or ten years, he had captivated audiences throughout the world with his somewhat unorthodox piano style. Truly a child prodigy, Sugar Chile could read at the age of two; and by the time he was three years old, could plaay most popular songs he heard-- but because of his very young years, was reduced to striking the keys with his fists and elbows, because he wasn't strong enough to use is fingers. Seemingly unaffected by the heights to which he rose in his earlier life, Frank (and that happens to be his name) is studying hard to become a doctor. He still like to pound out a little boogie now and then, but enjoys playing ballads also. The only thing which has not changed is Sugar Chile's size. He was small as a youngster, and now is only 4 feet 8 inches tall. He weighs less than 100 pounds." I've never followed up with any research on Sugar Chile's whereabouts after 1957, but this article implies that he was only 17 years old then, which would make him 56 now. If Sugar Chile did in fact become a Dr., perhaps Olivet College might have some record or alumni update of where he went after leaving there. Any researchers out there interested in a new project? Scott Dirks ========================================================================= Date: Thu, 22 Feb 1996 16:24:45 -0500 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: New Ray Charles Comments: To: Rob Varak In-Reply-To: I don't know what's new but I just bought RAY SINGS THE BLUES. It's classic. Also purchased JIMMY REED and REALLY THE BLUES by Bobby Bland. I'm listening to it now, so-o-o gotta go.... nitra On Thu, 22 Feb 1996, Rob Varak wrote: > Has anybody heard the new Ray Charles CD. I'm not sure of the > title, but it was something a little cheesy. Being Brother Ray, it can't > be all bad. > > Rob (who wishes he were old enough > to run for president now) > > Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu > LaGrange, Il USA > "Giving money and power to government is like > giving whiskey and car keys to teenage boys"--P.J. O'Rourke > ========================================================================= Date: Mon, 22 Jan 1996 21:05:31 GMT Reply-To: jackieo@MIDTOWN.NET From: jackieo@MIDTOWN.NET Subject: Re: Monster Mike and the Republican Party Comments: To: bit-listserv-blues-l@uunet.uu.net Meadors wrote: >Re: Monster Mike >The way everybody picks and bitches at each other here on Blues-L, >we might as well be the Republican Party. Actually Mike, Ive been involved in one way or another with blues bulletin boards for nigh on 5 years now and turned several of the record labels/magazines on to the internet early on and I must say that the Blues-l is one of the tamest and most boring such format I've ever encountered. If it were'nt for the occasional strong opinions and even mild flames it would be a total snoozefest. If all you want to read are reviews that sound like they were written by promo guys then why not just stick to reading liner notes. ========================================================================= Date: Thu, 22 Feb 1996 16:30:19 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On TV tonight Please somebody watch this for me, I'd would be if I had BRAVO 10:00 pm - BRAVO - Say Amen, Somebody: 1982 gospel special with Willie Mae Ford Smith, Thomas A. Dorsey, Zeila Jackson Price, the Barrett Sisters and the O'Neal Twins (airs again at 4:00 am) enjoy, P.W. Fenton Tampa, Florida ------------------------------------------------------------- While you are in cyberspace, visit the Tomb of the Unknown Bluesman at http://www.gate.net/~pwfenton ------------------------------------------------------------- ========================================================================= Date: Thu, 22 Feb 1996 15:28:42 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Monster Mike and the Republican Party In-Reply-To: Message of Mon, 22 Jan 1996 21:05:31 GMT from >that the Blues-l is one of the tamest and most boring such format I've >ever encountered. If it were'nt for the occasional strong opinions and Please explain how Blues-l is boring and what the other lists do that attract people like yourself... LW 'so we can avoid doing it' ========================================================================= Date: Thu, 22 Feb 1996 16:34:40 -0500 Reply-To: Bernard Chazelle From: Bernard Chazelle > What is the "blind"...as in leaving this morning, if I have to ride the blind Isn't that "to hop a train" ? Bernard Chazelle ========================================================================= Date: Thu, 22 Feb 1996 14:55:58 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Ridin the Blind -Reply Comments: To: ISTS024%UABDPO.BITNET@uunet.uu.net That was a railroad car. They shut the door and you were "blind" as to where you were or where you were going to get there! So riding the blind was jumping a freight car....an economical although somewhat dangerous (railway bosses were generally pretty nice-not!) means of getting around. regards, delta doc roger ========================================================================= Date: Thu, 22 Feb 1996 15:01:12 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Lyrical Questions In Dust my Broom, he sings "so that man you're loving.......such........can't get in my room. ANyone know the missing word(s)? How about in another song, he sings "(give those women) such a long ol lonesome home" what does this mean? thanks, delta doc roger (i checked out Hawkeye Herman's web page.....pretty interesting, and the sound bite was mighty tasty!) ========================================================================= Date: Thu, 22 Feb 1996 15:38:32 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: Kids vs others Comments: To: L W In-Reply-To: LW Wrote: I think the label that markets Keb Mo compared him to Robert Johnson and that IMHO is more absurd than the above - - - - - - - - - -- - - -- - - - - - - - - - - - - - - - - - - - - - - - Of course Sony compared him to Robert Johnson. They are trying to sell records. That's what they do and that's what puts food on the table for th Mo' family :) and many other musicians. You don't sell albums by comparing new blues artists to nobodies. You gotta drop the BIG names. Anybody who has _any_ appreciation for the blues knows that the two are muscially incomparable, but that doesn't mean that the rcord company is "wrong" for doing so. I don't mean to flame LW or anyone else. It's just that there is a strong undercurrent on the list against the marketing of certain artists. This doesn't always make sense. Sure, it'd be cool if some of these companies promoted some of the older or different artists more, but you can't fault the record execs for trying to sell records. That's just silly. Rob PS Not that I wouldn't love to see Robert Jr. Lockwood get a Handy award, but how many records did he sell? (JUST KIDDING!!!!) Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Thu, 22 Feb 1996 16:38:34 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Dangerous songs to drive to One of the joys of having a Saturday night gig in Tampa, is the 34 mile drive that happens to correspond with the "Gospel" show on WMNF 88.5 FM (listener sponsored radio). A week ago at about the 1/3 mark in the trip a recording came on that was so intense, I ACTUALLY pulled over to the side of the road till it was over. It was The Florida Mass Choir singing "I Feel Good" from an album called "Now I Can See" on Malaco. I'm hoping it's in the mailbox when I get home tonight, because I ordered it this week. P.W. Fenton Tampa, Florida ------------------------------------------------------------- While you are in cyberspace, visit the Tomb of the Unknown Bluesman at http://www.gate.net/~pwfenton ------------------------------------------------------------- ========================================================================= Date: Thu, 22 Feb 1996 15:38:58 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: Best "debut" Comments: To: L W In-Reply-To: Ummm...Keb Mo'?? :):):) Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Thu, 22 Feb 1996 15:44:35 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: Ridin the Blind Comments: To: L W In-Reply-To: L W, Steve Cushing from Blues Before Sunrise did an interview with Honeyboy Edwards once and they discussed this. It meant riding on the _outside_ of a boxcar on the side opposite that which passed the station. That way, the RR cops or people at the station wouldn't see ya. Rob PS It's a great interview BTW. Honeyboy goes to great lengths in explaining why he was every bit as good as Muddy, and how he should've been the one to "make it". I gotta dig up that tape... Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke On Thu, 22 Feb 1996, L W wrote: > What is the "blind"...as in leaving this morning, if I have to ride the blind > > LW > ========================================================================= Date: Thu, 22 Feb 1996 16:48:38 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Some of the Best "debuts" Comments: To: "DUTTWEILER.J" In-Reply-To: Vance Kelly - Call Me (Wolf #120.877) Does anyone know what he is up to. This CD (especailly the cut Wall to Wall) was voted best debut CD or something like that and then nothing. Lonnie Shields - Portrait (Rooster) I know Lonnie had another CD in the making and was planning to then turn his attentions to a gospel based CD but as yet I hear nothing coming from this terrific bluesman. His live show last year at a club near the Poconos festival blew the roof off the club he was in - so when will he do more. I am waiting. JSP, JSP, JSP, John finds a lot of great artists who do top flight CD's and then move on. The list here is too long - but several have been mentioned on the list in the last few months. Charlie Sayles, Larry Garner, TuTu Jones, John Pa- tterson, U.P. Wilson (love him) and as Jon Duttweiler noted Tre. Very impressive set of debut albums. If you're really looking for new talent JSP is a good starting point. BTW next month is JSP month for NY CD Blues so a lot of the artists and CD's will be reviewed, and at the site there'll be even more. Barry NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Fri, 23 Feb 1996 08:52:36 +1100 Reply-To: Daniel Bruce From: Daniel Bruce Subject: Re: Dangerous songs to drive to Comments: To: JBirk@VINCA.COM In-Reply-To: from "Jeff Birk" at Feb 21, 96 10:59:08 pm > > I can't help it. Every time I listen to Albert Collins' "Frosty" from the Live > '92-'93 CD while driving, one of two things happens: > > 1. I pull up to people who give me a look like, "What in THE HELL is he > listening to?, or "Ooohhh.....that poor boy...... he must have some type of > condition." > > or.... > > 2. I almost cause an accident because my feet and hands are just going > crazy. There is no way I can keep still and drive when my car CD player > gets to selection #5 on that disc. > > How 'bout it? What are some other dangerous songs you simply can't > drive to? I'm sure some of us have some great selections as well as > stories. > > Jeff > The most dangerous ones I have found are Smokestack Lightnin' by Howlin Wolf. The start is so soft that it makes you turn the volume up and then Wolf kicks in a blows you back in your seat. The other one is Black Magic Woman by Santana from the Live in South America disc. Some of the guitar on that track is breathtaking. I first listened to it in my car on the way home afetr I bought it and it really shocked me. Gotta love it. Also, this morning on the way to work I'm sure people thought I was mad when I was yelling al9ong with Bald Head by Prof LOnghair. Great Track. see ya!!! -- Daniel Bruce | Genasys II Pty Ltd, Sydney, Australia | "Born under a bad sign, been down since I began to crawl | If it wasn't for Bad Luck, Wouldn't have no luck at all" | Albert King | Internet: danielb@genasys.com.au ========================================================================= Date: Fri, 23 Feb 1996 08:50:40 -1000 Reply-To: Andrew Gregg From: Andrew Gregg Subject: Re: Ridin the Blind Comments: To: Jim Witteveen >To: ISTS024%UABDPO.BITNET@brownvm.brown.edu >From: mpagregg@aries.dpi.tas.gov.au (Andrew Gregg) >Subject: Re: Ridin the Blind > >>What is the "blind"...as in leaving this morning, if I have to ride the blind > > When Robert Johnson sang '..Well, leavin' this mornin' if I have to, go ride the blinds' I always thought he has refering to hoboing on a train. I think the 78 Quarterly RJ story refered to it as that. Can anyone else check? ========================================================================= Date: Thu, 22 Feb 1996 16:52:51 -0500 Reply-To: Dave Markovits From: Dave Markovits Subject: Johnny Winter Hi Folks; Thanks to everyone for their Johnny Winter leads. I did some additional investigating and here's the scoop. JW will be playing at the Club Bene'in Morgan, New Jersey on Sat. March 23rd. Showtime is 9:00 p.m. admission is 22.50. There is an optional dinner at 7:00p.m. for an additional 12.00. This place is a supper club(I don't know if that's good or bad.) The club holds 700 people. I am planning to go to New York that weekend and then whipping over to the show. If anyone has any info. about the club, good or bad please let me know. There are no tix available, you have to make reservations. If anyone wants to check out this show let me know. Later, David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Thu, 22 Feb 1996 16:58:28 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Hooked on (at the moment) Walter Horton - Fine Cuts (Blind Pig) 'specially the cut Hobo Blues (a 1 minute and 15 second piece of heaven). Barry NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 22 Feb 1996 17:19:10 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Monster Mike and the Republican Party Comments: To: jackieo@MIDTOWN.NET In-Reply-To: <4gimer$8ko@ulysses.midtown.net> Hey Jackie O - weren't you here a while ago and tried then to get flame fests going but when I called you on it - you took flight. So you're back - too bad. NOBODY fall for it. He comes and goes and this is the sum total of his contri- butions. Trouble trouble. I ran a check on his address & begosh if memory serves me right it was blanked out. Ciao Jackie - Barry (who only reviews what I can recommend, and if I can not - I pass it by). On Mon, 22 Jan 1996 jackieo@MIDTOWN.NET wrote: > Actually Mike, Ive been involved in one way or another with blues > bulletin boards for nigh on 5 years now and turned several of the > record labels/magazines on to the internet early on and I must say > that the Blues-l is one of the tamest and most boring such format I've > ever encountered. If it were'nt for the occasional strong opinions and > even mild flames it would be a total snoozefest. If all you want to > read are reviews that sound like they were written by promo guys then > why not just stick to reading liner notes. > NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 22 Feb 1996 22:14:22 GMT Reply-To: "J.J. Perry" Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: "J.J. Perry" Organization: Indiana University Subject: Re: "Who is obsessing you?..." Comments: To: bob@SUN.BNKST.EDU bob unger wrote: >Right now, I'm being obsessed with "25 Years of Blues on Rounder Records" >2 songs are really mind-stickers - Larry Davis "Help The Poor" (I have another >fabulous version of this song on a yet to be released cd) and Ronnie Earl "Green >Light". I know it's not very "popular", but half the time I listen to >instrumentals. Really heart-felt, gut-wrenching, soulful playing can say to Yeah, you know, I've been thinking about that "Green Light" too. I am a sucker for instrumentals; I've tried in vain to get my band to do more instrumentals, but some people don't think the audience will "get it" unless they have words to paint the pictures in their heads. Oh well. Lately, my obsessions have been: Gary Primich-"Mr Freeze" (especialy the cuts "Bad Poker Hand," "Slap You Silly" and "Red Top"; Any Magic Sam, recently the new one "The Late Great..."; A great Louis Jordan disc I found called "Rock and Roll"; That new Eddie Taylor is great, the new Otis Rush, a whole bunch of stuff. Also picked up that John Primer "Real Deal," but haven't had a chance to get into it yet. But what I've heard of it is great, a real tough Chicago sound. J. J. ========================================================================= Date: Thu, 22 Feb 1996 15:07:04 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: "Who is obsessing you?..." Comments: To: bob unger In-Reply-To: <199602221859.NAA03052@sun.bnkst.edu> On Thu, 22 Feb 1996, bob unger wrote: > Listen to Lucky Peterson's "Tribute > To A King". Man, I get frightened when I listen to that...... Awesome pick Bob and :) he was pretty hot as a kid wasn't he? Just agreeing that this is a ferocious piece of music - could last the night just on this one cut. Barry NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Fri, 23 Feb 1996 09:27:00 PST Reply-To: David Blanken From: David Blanken Subject: Re: Hash Brown >_T is for Texas_ is something that has been on my list of >things to get for awhile. Recently I picked up his other >disc, _Rollin' Blues_, when I ran across it locally. To >anyone who has or has heard both, how would you rate them >relative to one another? I don't have a copy of "Rollin' Blues" (it's on MY list of things to get), but I have a copy of "T is for Texas". I think it's a great CD! Being a guitar player I was initially disappointed that Hash doesn't play a lot of guitar, but the guitar he does play is fantastic! He is truely a great blues guitar player, playing for the song and not playing just to show off his "chops". Bottom line: Buy It! Dave ========================================================================= Date: Thu, 22 Feb 1996 17:45:16 -0500 Reply-To: Dave Markovits From: Dave Markovits Subject: The Tube The critique I posted on the Leadbelly story, Robert Johnson, and Promised land were those of a friend. I haven't seen these. Thanks, David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Thu, 22 Feb 1996 14:27:47 -0800 Reply-To: James Carmin From: James Carmin Subject: Re: Ridin the Blind >Jim Leftwich says: >I think it is "riding the blinds". I think it refers to a boxcar, like >jumping on a train. Yep; Paul Oliver in BLUES FELL THIS MORNING explains that the "blinds" are the baggage cars next to the tender (the tender is the car attached to the locomotive for carrying fuel and water), which are blind because they have no side door. He writes, "Sitting on the step he would be safe and out of reach of the "brake-man's" club, but to reach the blinds he had to come close to the tender and risk being observed." Risky business. James C. jcarmin@teleport.com ========================================================================= Date: Thu, 22 Feb 1996 23:36:45 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: One Bluesman's Disaster While Micheal Brown, guitarist for a longtime staple blues band in Montreal (The Stephen Barry Band) was at a gig, the store nextto his flat had an explosion and fire. He has literaly lost EVERYTHING except what he had with him at the gig. This includes several instruments and, perhaps most devastating of all, a blues collection comprised of more than 4000 recordings, many of which are irreplacable. A benefit concert is scheduled for 9 Mar. Unless another venue is found, it is to occurr at a private residence (they had to act fast, he has nothing). To find out where the benefit is, or where to send donations or even to just give advice you are invited to leave your name and number with the CBC radio "Homerun" program at (514)790-3283 phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [22/2/96 18:18 PM] "Thursday's always sad..." ========================================================================= Date: Thu, 22 Feb 1996 16:02:42 -0500 Reply-To: David Melton From: David Melton Subject: Re: red house Comments: To: Tin Can At 9:12 PM 2/21/96, Tin Can wrote: >There are so many versions of the song red house by hendrix. I would >like to know just how many versions there are total off this song >recorded by hendrix and what albums they appear on. I can think of >the are you experienced version, the live at winterland version, the >live at isle of wight version, the woodstock version, the 2 versions >on the new posthumous album "blues", the kiss they sky version (which >features jimi saying i was cookin there", and the jimi hendrix >concert version. =================================================================== There was a Guitar Player magazine "soundpage" a couple of years ago with a previously unreleased version which was said to be "the slowest". I don't have the issue in front of me so sorry I cant remember the date. Dave Melton ========================================================================= Date: Thu, 22 Feb 1996 17:54:23 -0600 Reply-To: ".\\ark \\'atkins" From: ".\\ark \\'atkins" Subject: Re: Should we compile an De> From: DERRICK Sorensen > A comprehensive boot list would be good, too. De> Mark, by this do you mean that instructions should be included in the De> FAQ on how to obtain the bootlist. I would think that a list of titles with dates and venues or a very brief description would be appropriate. As far as frequently askes ?s go, this one is more of a _constantly_ asked question. Frankly, what I'd _like_ to see is a web site as good as the one for Neil Young. Check out http://www.bridge.net/~hyperust/ to see what I'm talking about. /----------------------- -=[ .\\ark \\'atkins ]=- -------------------\ | markw@telepath.com . | | mark.watkins@hotelcal.com . |\/| ----_ | | http://www.telepath.com/markw . =(--)=_____ \ | | FIDO 1:147/3101 . c___ (______/ | \--------------------------------------------------------------------/ ========================================================================= Date: Thu, 22 Feb 1996 19:03:13 -0500 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: Richard "Rabbit" Brown (ca 1880-1937) Comments: To: SCN User In-Reply-To: <199602221947.LAA03678@scn.org> On Thu, 22 Feb 1996, SCN User wrote: > Anyone know if there are any CD's of this early blues performer? His > most famous number is "James Alley Blues". The Document CD THE GREATEST SONGSTERS (DOCD-5003) has his complete recorded out put -- five of the six songs that he recorded for Victor in New Orleans on March 11, 1927. Those songs are: "James Alley Blues", "Never Let the Same Bee Sting You Twice", "I'm Not Jealous", "Mystery of the Dunbar's Child", and "Sinking of the Titanic". (His recording "Great Northern Blues" was never issued.) "James Alley Blues" is also available on the Yazoo release BLUES FROM THE WESTERN STATES (1927-1949), an excellent album which also features Jesse Thomas, Ramblin' Thomas, King Solomon Hill, Texas Alexander, Little Hat Jones and Oscar Woods. Brenda Bogert Louisville KY ========================================================================= Date: Thu, 22 Feb 1996 19:11:46 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Ridin the Blind Comments: To: mpagregg@dpi.tas.gov.au In a message dated 96-02-22 18:56:24 EST, mpagregg@DPI.TAS.GOV.AU (Andrew Gregg) writes: >When Robert Johnson sang '..Well, leavin' this mornin' if I have to, go ride >the blinds' I always thought he has refering to hoboing on a train. I think >the 78 Quarterly RJ story refered to it as that. Can anyone else check? Good memory. in 78Q No. 4 there is an article by Stephen Calt called "The Idioms Of Robert Johnson." On page 59 it says: "ride the blinds. 'Well leavin' this morning' if i have to go, go ride the blinds 'I been mistreated an' I don't mind dyin'.' ('Walkin' Blues: 1936) 'A conventional hoboing term for cadging a train ride on an empty boxcar , or between cars.'" LW, you've managed (directly and indirectly) to bring up Stephen Calt twice in one day!? Tom Freeland ========================================================================= Date: Thu, 22 Feb 1996 16:19:30 -0500 Reply-To: David Melton From: David Melton Subject: Re: Dangerous songs to drive to Comments: To: Dave_J._Herda@INFOZONE.TELLURIDE.CO.US At 4:07 AM 2/22/96, Dave J. Herda wrote: > I haven't tried it yet, but I don't think I could drive while listening >to Going down by Freddy King. Every time I hear it, I freak out and start >playing air guitar. I know it sounds weird, but this song really rocks. > > > > > > ============================================================================ First one that comes to my mind in this category would be Elmore James' "You Gotta Move" Dave Melton ========================================================================= Date: Thu, 22 Feb 1996 19:57:47 -0500 Reply-To: Debra Eisert From: Debra Eisert Subject: Traffic accident blues Probably listening to Buddy Guy's *Damn Right I've Got the Blues* is my most dangerous. The album just speaks to me,] and I get totally carried away. Of course, listening to Saffire's *Middle Aged Blues* is dangerous for all others. I can't resist singing along (why does my husband hate that? I don't understand!! ) and my voice can shatter all the windshields on I 75! /*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/* Debra Eisert Librarians can find debra@iglou.com more fun! Cincinnati OH 45240 /*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/* mq ========================================================================= Date: Thu, 22 Feb 1996 17:10:36 -0500 Reply-To: David Melton From: David Melton Subject: L.A. area only (others may delete) I'm playing down at the Irvine Hyatt with Robert Lucas this friday night (23rd) Just wanted to invite anyone on the list in the general area to come on down! It starts at 9 and it's right off I-5 at Jamboree. Hope to see y'all there. Dave Melton ========================================================================= Date: Thu, 22 Feb 1996 20:03:25 -0500 Reply-To: Harpophone@AOL.COM From: "" Subject: Re: Hash Brown Timothy Bosley wrote: >_T is for Texas_ is something that has been on my list of >things to get for awhile. Recently I picked up his other >disc, _Rollin' Blues_, when I ran across it locally. To >anyone who has or has heard both, how would you rate them >relative to one another? Have played with Hash Brown on and off since his inception. Am going to Dallas to do his live internet show from The Bone in Deep Ellum on Tuesday, Feb 27 at 10:00 pm (??) Central Time web site audionet.com. (Moving there, too ...we're hooking up again after 14 years. Too long, but sometimes you rarely get to play with those who you most want to and do it best with.) T-Bone to a T., and he does the rest, too. If you haven't seen him live, though, you're missing his great talent for "on-the-spot" lyrics. I've seen him profess for 45 minutes on one subject. On Rollin Blues, check out his On the Prowl. This was composed on the spot in response to it being pointed out that one of his friends was out with "another woman." He's loved by one and all in Dallas, where he holds forth nightly. T is For Texas, big band, lots of special friends, Darril, Sam Myers (Zuzu Bollin's last recording), and the Texas horns, with Kaz. All arch top work. Rollin Blues, shows of his trio (lots of guitar work) and his original ditties. Magic Dave Therault ..............In the tradition (all but lost?) of blues as commentary on ... ========================================================================= Date: Wed, 21 Feb 1996 17:04:09 +0000 Reply-To: Jack Oudiz Comments: Authenticated sender is From: Jack Oudiz Subject: Re: Monster Mike and the Republican Party Comments: To: Barry Silverberg I don't know who you are bud but you got the wrong guy. I've never heard from you before and can't say that I've missed it. If you want to check me out I'd be glad to provide all the references including being former president of local blues society. As for my references to pablum reviews that read like liner note hype, funny that you should be the one to speak up.... Not trying to start any flame war but before you get into someone's face check your facts out. Some people are likely to jump into your shit big time bud. Believe it I won't take any flight. ========================================================================= Date: Fri, 23 Feb 1996 01:23:06 GMT Reply-To: Bo Baber From: Bo Baber Organization: Quantum Networking Solutions, Inc. Subject: Fingers Taylor On Tour!!!!!!!! Comments: To: bit-listserv-blues-l@uunet.uu.net The Original Coral Reefer, The Original Harpoon Man, Fingers Taylor is going on Tour! Here are the dates for the first leg of his Spring tour. Date Venue City State 03/01/96 Proud Larry's Oxford, MS 03/02/96 Blue's City Cafe Memphis, TN 03/03/96 Huey's MidTown Memphis, TN 03/08/96 Billy Blues Houston, TX 03/09/96 Doctor Rockit's Corpus Christi, TX 03/15/96 Sebastion Beach Inn Melbourne, FL 03/16/96 BackRoom Del Ray, FL 03/17/96 To be announced Sarasota, FL 03/18/96 Pleasure Island Jazz Co. Orlando, FL 03/19/96 Skipper's Smoke House Tampa,FL 03/20/96 Peter's LA. Cuisine Fort Myers, FL 03/22/96 Musicians Exchange Fort Lauderdale, FL 03/23/96 Tobacco Road Miami, FL 03/25/96 Margaritaville Key WestFL 04/05-06/96 Bally's Tunia, MS For more information on Fingers and his tour, check out his Web Page at: http://www.mcs.net/~scotth/fingers ========================================================================= Date: Thu, 22 Feb 1996 17:45:34 -0800 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Subject: Re: Monster Mike and the Republican Party >Meadors wrote: > >>Re: Monster Mike > >>The way everybody picks and bitches at each other here on Blues-L, >>we might as well be the Republican Party. > >Actually Mike, Ive been involved in one way or another with blues >bulletin boards for nigh on 5 years now and turned several of the >record labels/magazines on to the internet early on and I must say >that the Blues-l is one of the tamest and most boring such format I've >ever encountered. If it were'nt for the occasional strong opinions and >even mild flames it would be a total snoozefest. If all you want to >read are reviews that sound like they were written by promo guys then >why not just stick to reading liner notes. Strong Opinion: Bull***t!! ========================================================================= Date: Thu, 22 Feb 1996 17:42:22 -0800 Reply-To: TGB From: TGB Subject: Re: Richard "Rabbit" Brown (ca 1880-1937) Comments: To: SCN User In-Reply-To: <199602221947.LAA03678@scn.org> On Thu, 22 Feb 1996, SCN User wrote: > Anyone know if there are any CD's of this early blues performer? His > most famous number is "James Alley Blues". > Document has an excellent CD called "The Great Songsters", which features complete output of Rabbit Brown (I prefer "Mystery of the Dunbar Child"), Hambone Willie Newborne (original version of "Rollin' & Tumblin"), and complete (I think) 20's recordings by Miss. John Hurt. Well worth finding. tgb ========================================================================= Date: Fri, 23 Feb 1996 02:29:07 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Radar Labs 23 Subject: John Hammond Comments: To: bit-listserv-blues-l@uunet.uu.net Anyone else digging this Found True Love release as much as me? He's one white guy who goes into my book of CAN play the blues. My favorite song so far is Howlin' for my Darlin'. I think he plays in the older style, but manages to keep it fresh. The pieces seem less concerned with arrangement and technique (although they are certainly there) than with feeling. It's the knid of music you can sit down with a shot glass and a smoke, and just flow .... bye bye troubles! Kevan Smith http://www.rlabs.com/congress/ ========================================================================= Date: Thu, 22 Feb 1996 21:59:55 EST Reply-To: Stephen MacKinnon From: Stephen MacKinnon Subject: poor liner notes solution As a student of the blues, I always appreciate good liner notes. Over the years I have probably learned more about blues artists from liner notes than any other source. Occassionally when I encountered a good review or article I will stuff it into the LP jacket. Thus augmenting the liner notes. Now that blues-l arrivals daily on my computer, I have continued the habit. If there appears a really good posting on an artist or CD I have, then I will print it and include it with the CD. Perhaps we could develop an archives of liner notes here on blues-l. Those great records with poor or non-existent liner notes would no longer have to be incomplete. Stephen ========================================================================= Date: Fri, 23 Feb 1996 03:11:33 GMT Reply-To: Andrew Moodie From: Andrew Moodie Organization: The National Capital FreeNet, Ottawa, Ontario, Canada Subject: Bobby Rush: recordings available?? Thanks to everyone with the answer to my question on his song CHICKEN HEADS. I'm interested in knowing more about this guy and if his recordings are out on any label right now. AJM ========================================================================= Date: Thu, 22 Feb 1996 22:46:04 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Is this worth six bucks ? I'm leaving for the Bay Area to attend Brownie McGhee's funeral so I will be out of the loop for a few days. In the meantime, I wanted to pass along the lineup for the Wisconsin Delta Blues Festival that was held at Beloit College in 1970. I just found a copy of the program while digging in a a drawer. The entire festival was booked and promoted by students at the school. Friday night: Roosevelt Sykes, Robert Pete Williams, Jimmy Dawkins, Fred McDowell, Furry Lewis, Carey Bell, Eddie Taylor, Otis Rush. Saturday night: Rev, Robert Wilkens, Johnny Shines, Mance Lipscomb, Johnny Young, Big Walter Horton, J.B. Hutto, Son House. Free afternoon guitar styles workshop: McDowell, Shines, Wilkens, Lipscomb. Free afternoon piano styles workshop: Sykes, Lafayette Leake. Free film viewing: "The Blues" by Samuel Charters; "My Life in The Blues" by Lightning Hopkins. Festival ticket price: $4.00 per night or $6.00 for both nights. Is this worth six bucks? Dick Waterman ========================================================================= Date: Thu, 22 Feb 1996 20:54:43 -0800 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Subject: Re: Blues on the Tube John Sturm/IS/CCC I thoroughly enjoyed the interpretations provided by Robert >Johnsons contemporaries as I found them to legitimate living historical >connections to the man himself. Oh, no!! Now, let's get all semantic and opinionated over the word "legitimate..... :-) >I mean, if one is going to make a documentary film about Robert Johnson >why would he assume >that the viewer would be interested in hearing a >modern day performer's interpretations of >those songs. Probably because he (or the producer) thought it would be nice to have some music along with the story. >Though I find him a technically adept guitar player I feel that his music >lacks sincere emotion. >Just my opinion of course. Fair enough. Whether one likes Hammond or not, I think you have to admit that he is a valuable exponent of the Delta style. - Roger B. ========================================================================= Date: Thu, 22 Feb 1996 23:45:53 -0600 Reply-To: Tom Kraft From: Tom Kraft Subject: Re: "Who is obsessing you?..." Comments: To: MILLER@SCI.WFBR.EDU At 10:24 AM 2/22/96 -0500, Rick wrote: >I always love to read which artists are getting blues-Lers max attention. >Right now, I just can't get enuff of Sonny Boy, Little Walter, and my man >Hubert Sumlin. Damn, that man can play. > >...so distracted I can't get any work done, > >Riffin Rick (((( > oo-) Rick, Since Hubert is your man, I'm sure you can help me. I have "My Guitar and Me" and the Howlin' Wolf Chess Box. I definitely need more. Where can I get some more? What's your favorite? Eager awaiting this response, Tom Kraft ========================================================================= Date: Thu, 22 Feb 1996 22:57:01 -0800 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Subject: Freddy King - CORRECTION! I posted without thinking!! The personnel on "My Feeling For The Blues" are not "French side-men" as I said. (I was carrying on two trains of thought - they collided!!) Personnel on "My Feeling..." is: F.K.: guitar/vocal, George Coleman, Frank Wess, tenor sax; Trevor Lawrence, Willie Bridges, tenor/baritone sax; Ernie Royal, Martin Banks, trumpets; George Stubbs, piano; Cornell Dupree, rhythm guitar; Jerry Jemmott, bass; Kenneth Rice, drums Arrangements are by Donnie Hathaway Tenor sax/arrangements King Curtis Harmonica (2 tracks) Hugh McCracken Recorded at Atlantic Studios, 1969 or 1970. - Roger B. ========================================================================= Date: Thu, 22 Feb 1996 17:17:51 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Drugs in the early Delta Comments: To: bit-listserv-blues-l@uunet.uu.net In , L W writes: >I was starting to read Stephen Calts book about Charley Patton and drugs >were brought up right at the first. I don't recall ever reading about the >early delta blues guys doing drugs, except for Sterno/"canned heat"... > >I know jazz guys smoked a lot of herb... > >I have to ask is ANY Calt book worth reading, especially the above > >LW I can't speak to the second question, but up here in the North end of the Delta, every farm boy knew that there was some sort of "weed" that would get you high in the 20s. BBB B.B. Bean bbbean@cris.com Peach Orchard, MO http://www.cris.com/~bbbean ========================================================================= Date: Fri, 23 Feb 1996 09:00:01 +0100 Reply-To: BIBGA@HHS.SE From: Gorgen Antonsson Subject: Re: Texas Alexander Just a mix-up; Texas Alexander's complete rec. are on the Matchbox LABEL, which is DISTRIBUTED by Document (and compiled by Document owner Johnny Parth). So there is no choice as there are no alternatives! (The music is gooooood.) Gorgen Antonsson, Stockholm ========================================================================= Date: Thu, 22 Feb 1996 01:24:52 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Is this worth six bucks ? Comments: cc: Jinxblues@AOL.COM Dick Waterman wrote: >I'm leaving for the Bay Area to attend Brownie McGhee's funeral so I will be >out of the loop for a few days. In the meantime, I wanted to pass along the >lineup for the Wisconsin Delta Blues Festival that was held at Beloit College >in 1970. I just found a copy of the program while digging in a a drawer. The >entire festival was booked and promoted by students at the school. > >Friday night: Roosevelt Sykes, Robert Pete Williams, Jimmy Dawkins, Fred >McDowell, Furry Lewis, Carey Bell, Eddie Taylor, Otis Rush. > >Saturday night: Rev, Robert Wilkens, Johnny Shines, Mance Lipscomb, Johnny >Young, Big Walter Horton, J.B. Hutto, Son House. > >Free afternoon guitar styles workshop: McDowell, Shines, Wilkens, Lipscomb. >Free afternoon piano styles workshop: Sykes, Lafayette Leake. > >Free film viewing: "The Blues" by Samuel Charters; "My Life in The Blues" by >Lightning Hopkins. > >Festival ticket price: $4.00 per night or $6.00 for both nights. > >Is this worth six bucks? > >Dick Waterman Six bucks? Worth way more. A bargain at any price. How I wish I could of been there! Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 22 Feb 1996 01:25:02 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Dangerous songs to drive to I would say Buckwheat Zydeco's version of "Hot Tamale Baby" and also "Orange Blossom Special" by the Hellecasters. These songs move and if you are not careful you'll be doing way more than the speed limit. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 22 Feb 1996 01:25:06 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Blues-L is not boring It seems that Jackie O was upset that Blues-L is not a flame fest with name-calling and mud-slinging flying all over the place. Well, we on Blues-L like to try and keep our disagreements civil. While the odd heated excahnge does happen most of us know each other by now and if somebody disagrees with our opinions we accept that. We may still argue about things but we don't let it degenerate into an immature flame fest. Blues-L is for people to get together and discuss the music. I tend to think of it as a few fellow travellers gathering in a nice cozy pub drinking good (Australian) beer and rambling on about the blues. I've had to say this twice in the last week but I hope Blues-L remains a haven from the immature and stupid flaming that goes on elsewhere. We don't have to agree but that doesn't mean that we have to attack each other. There have/are a lot of great threads that involve people sharing info. You are more than welcome to contribute to Blues-L but if you want flaming and other assorted stupidity the go elsewhere. Shaun BTW, is there such thing as virtual beer? Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Fri, 23 Feb 1996 05:29:07 GMT Reply-To: CKUT_online@babylon.montreal.qc.ca From: CKUT online Organization: Babylon, Montreal, Canada Subject: Re: Owens and Spires Comments: To: aschuna@VMS2.MACC.WISC.EDU and don't forget the soundtrack to "Deep Blues" ========================================================================= Date: Fri, 23 Feb 1996 11:15:04 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Piedmont Blues, Blues-L reviews... Hi, I'm back after a week of absence on Blues-L and just wanted to express my sadness w.r.t to both Brownie and Jimmy Spruill's deaths. Both will be missed! Thanks as always to eRic for his mails. I took some time this morning to read rapidly the hundreds of mails that where sent on Blues-L since last friday and just wanted to add/express a few things . Piedmont discussion: I liked very much the various discussions about regional styles which, IMHO, increase the signal to noise ratios of this list. Nevertheless, in response to Art's (interesting - as always) mails, I'd like to say that there are certainly still several traditional blues artists which you could easily labelled as Piedmont blues artists. Algia Mae Hinton is one of the example that come to my mind. She's a delicious African -Amerian vclist/guitarist who unfortunately has -up to my lnopwldge- only recorded a few tunes which are now quite difficult to find out (altough her Audio Arts EP might may still be available somewhere). I'm however certain that she still plays (often in Folk festivals I think). Big Boy Henry is another good artists which you could still classify as a Piedmont artists, he has numerous things out which are still available: a recent very good Blue Moon Cd (which I reviwed here a few months ago), an Erwin album, two Swingmaster LPs, some home made tapes, ... and also appears on the excellent Music Maker anthology "Came So far". Also on this last anthology, you'll find BISHOP MANNING -now almost exclusively playing traditional gospel- with some great Peidmont influenced guitar work. As was mentioned, Etta Baker is another which really is in the Piedmont tradition. If my memory works well, Tim Duffy was planning to record her for his Music Maker label. Actually, I'm quite convinced that there are still original traditional artists around playing Piedmont stuff. But these are outside the gig/commercial circuit and exception made of a very few guys like Tim Duffy or Axel Kustner, there aren't simply enough people in the blues biz interested in finding out where there are, what they do, ... One of the potential reasons for this lack of interest was advanced by researcher/producer/field recorder Axel Kustner in a recent Juke Blues article: the almost zero sales potential!!! which for example explains why Leo Bruin from Swingmaster still has dozens of wondefull country blues recordings he did in the 80's which he never published for this reason. He still has numerous LPs in stock from counry blues artsist. I just hope that Tim Duffy will continue his work of producing rather unknown traditional (mostly) East Coast blues artist on his Music Makr label and that Leo Bruin will continue to produce Cds (his first is a Bunside set which I also reviewd here a while ago). (and while we're discussing this, check Joel Slotnikoff's Blues World site <> for more about Music Maker and their excellent products). . The issue of the nature of the reviews that are sent to Blues-L has again come on the list. In a recent post Jack Oudiz said "I must say that the Blues-l is one of the tamest and most boring such format I've ever encountered. If it were'nt for the occasional strong opinions and even mild flames it would be a total snoozefest. If all you want to read are reviews that sound like they were written by promo guys then why not just stick to reading liner notes" I don't know if Jack's appreciation was directed to me and to some of the reviews I sent in the past on Blues-L but I just want to -again- clarify things and that's also an answer to some private mails I received a while agao. I don't want to start an endless discussion/flame war (I'm getting tired of these) and I obviously only speak for myself but want to make things clear: when I arrived on Blues-L in 1994, I asked if people where interested that I sent regularly reviews on the list as I do write for mags (and I have always been UNPAID and even did put some money into it!!!). The answer was yes from many zellers. So I started to send from time to time rapdily written draft of reviews which were indeed almost always positive once. Why? Simply because the time I have to spend on blues-L is very LIMITED due to mu busy prof. occupations which have really nothing to do with the blues. On the other hand, reviews are what they are, personnal reactions to artists and recordings. Given the musical/historical knowledge of the reviewer, his personnal way of interpreting what the blues is all about, his appreciation of styles, the way he is able to compare an album with the remaining production of an artist and/or with the curent production, ... reviews are always at least partly subjective. And yes, I prefer to stay silent when I don't like something that I know many people do like because -apparently- they are not looking for the same things that I'm looking for in the blues. As Tim Moody once said here (when he was still with us on Blues-L): If you don't have anything positive to say, don't say nothing. That's why I try to use my limited time to express my enthousiasm for people/artists/records/reissues I think deserve more recognition. A final and last point on this issue, from the last dozen of CD's I've talked about on Blues-L, only two were received as promo copies!! So if people dont want to see my reviews anymore, just let me know and if they find Blues-L so boring -everybody is entitled to his own opinion-, why staying on it?? Jean-Pierre Urbain "Blues is MUCH more than just music, isn't it?" P.S. Reactions are welcome by >>private<< mail J.URBAIN@KE.RULIMBURG.NL P.S.2. Disclaimer: no relation to any of the labels mentioned above!! ========================================================================= Date: Fri, 23 Feb 1996 07:19:38 -0500 Reply-To: Jon Duttweiler From: Jon Duttweiler Subject: Re: Blues-L is not boring Comments: To: shaun@WAVENET.COM At 04:38 AM 2/23/96 GMT, you wrote: >BTW, is there such thing as virtual beer? > Sure, try "The Real Beer Page" and you can probably find a few dozen (don't have the URL off hand, but just do a search in Yahoo and you'll find it) And just have to disagree with you one little bit - not >austrailian< beer, but either a good American micro-brew or German beer. JD ========================================================================= Date: Fri, 23 Feb 1996 06:32:34 -0600 Reply-To: Roger Struve From: Roger Struve Subject: -Reply Comments: To: owner-blues-l@BROWNVM.BROWN.EDU ???????? that was not my email post you were quoting....i am JH's biggest fan.....i would never say anything like what YOU erroneously quoted to me. ddr ========================================================================= Date: Fri, 23 Feb 1996 06:34:58 -0600 Reply-To: Roger Struve From: Roger Struve Comments: To: owner-blues-l@BROWNVM.BROWN.EDU WHY AM I RECEIVING ALL THIS ERRONEOUSLY ADDRESSED MAIL? TOM KRAFT'S RESPONSE TO RIFFIN' RICKS POST IS NONE OF MY BUSINESS. PLEASE STRAIGHTEN THIS OUT. THANKS, DELTA DOC ROGER ========================================================================= Date: Fri, 23 Feb 1996 07:53:50 EST Reply-To: "David A. Pimmel" <103300.3331@COMPUSERVE.COM> From: "David A. Pimmel" <103300.3331@COMPUSERVE.COM> Subject: Copeland,Brooks Have any insiders on the list heard if and when Johnny Copeland or Lonnie Brooks new albums are going to hit the states? In conversations, almost a year ago with members of each's band, they indicated that these two were recording new stuff. Also, it is too bad to hear that Johnny Copeland is back in the hospital. HE is a truly great artist adn I really hope to have many more chances to see him. David Pimmel 103300.3331@compuserve.com ========================================================================= Date: Fri, 23 Feb 1996 07:56:35 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... This may not be "Blues", but it sure made this boy "blue", when on this day in 1960 - wrecking crews began to demolish the venerable home of the Brooklyn Dodgers (Ebbets Field in New York City) on this day. The wrecking ball came in a little high and outside... P.W. Fenton Tampa, Florida ------------------------------------------------------------- "Age is a question of mind over matter. If you don't mind, it don't matter." - Leroy Robert "Satchel" Paige, 1906-1982 When in cyberspace, visit my web pages at http://www.gate.net/~pwfenton/ ------------------------------------------------------------- ========================================================================= Date: Fri, 23 Feb 1996 08:23:04 EST Reply-To: "David A. Pimmel" <103300.3331@COMPUSERVE.COM> From: "David A. Pimmel" <103300.3331@COMPUSERVE.COM> Subject: Re: Kids vs others LW wrote: > 80% more blues on his CD than Mr Mo.....Even though I admit the last time I > saw Keb Boone, oops Keb Mo I enjoyed him more. I spemt some time talking gear > and such with him backstage. I think he's a great guy, but for his CD to win > a Handy over blues legend Honeyboy Edwards says tons about MARKETING Well, LW, I disagree about Keb 'Mo. I saw him in Chicago performing with Honeyboy Edwards and others and he showed nothing but the respect these great bluesman deserve. He sat in back and played ryhthm to their leads. Very nice meeting of the young and the old. Awards are by their very nature popularity contest and the intangibles play a large part, so things like being unusual or different help. That is why young blues artist have an advantage. I would call Keb 'Mo a blues artist and I would place him a more repectful position than a 16 year old SRV wannabe. The way he played with the older generation showed me he had a lot of respect and admiration for the traditional blues, and not a lot of needless flash and corporate backing (though I will admit he does have a lot of corporate backing, it just doesn't show in his playing or performance) I also think his CD is quite good. And so did my brother. I made a tape with 3 or 4 cuts off of about a dozen new CDs I had and told my brother to pick which one he wanted for Christmas. He choose the Keb 'Mo. And I've alwaydss thought he had really good taste. For comparison the orignal list included the most recent stuff from Billy Branch, Son Seals, Henry Qualls, Kenny Neal, Luther Allison, Carey Bell, Ray Bailey, Holmes Brothers,Wille Kent, Dalton Reed, Harlem Boys Choir, and others. I was expecting him to take the Carey Bell. David Pimmel 103300.3331@compuserve.com ========================================================================= Date: Fri, 23 Feb 1996 08:28:41 EST Reply-To: george morales From: george morales Organization: TEMPLE UNIVERSITY Subject: Upcoming live blues in Phila PA, Here are some upcoming live blues in Phila 2/23 - north star bar - mike welch 2/1 - jake & olivers - clarence spady 2/28 - cowboy & the texas twisters - warmdaddy's 2/29 - koko taylor - warmdaddy's +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ | | | GEORGE MORALES GEORGEM@TEMPLEVM | | COMPUTER AND INFORMATION SERVICES GEORGEM@VM.TEMPLE.EDU | | TEMPLE UNIVERSITY (215)204-6866 | | | +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Fri, 23 Feb 1996 07:56:39 -0500 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: On TV tonight Comments: To: "P.W. Fenton" In-Reply-To: <199602222129.QAA33816@osceola.gate.net> PW, SAY AMEN should be available at your local library. If it is not, ask them to get it for you through InterLibraryLoan. It's a wonderful documentary of Thomas Dorsey, Sallie Martin and other (Chicago) pioneers in gospel music. Enjoy!! nitra On Thu, 22 Feb 1996, P.W. Fenton wrote: > Please somebody watch this for me, I'd would be if I had BRAVO > > 10:00 pm - BRAVO - Say Amen, Somebody: 1982 gospel special with Willie > Mae Ford Smith, Thomas A. Dorsey, Zeila Jackson Price, the Barrett > Sisters and the O'Neal Twins (airs again at 4:00 am) > > enjoy, > > P.W. Fenton > Tampa, Florida > > ------------------------------------------------------------- > While you are in cyberspace, visit the Tomb of the > Unknown Bluesman at http://www.gate.net/~pwfenton > ------------------------------------------------------------- > ========================================================================= Date: Fri, 23 Feb 1996 08:42:32 EST Reply-To: apaul@CLIFF.WHOI.EDU From: Alora Paul Subject: and also on this day...Joe Turner my desk calendar tells me that Joe Turner was inducted into the Rock and Roll Hall of Fame in 1987. "Although Joe Turner never learned to read or write, the consummate Kansas City blues performer could tirelessly ad-lib verses for hours on end. He was also know for his vocal enthusiasm, shouting lyrics in a passionate appeal. 'When I started out, they didn't have no mikes, so I had to learn to sing without 'em.' Turner once said "Fill up a room without a mike". Turner's charisma also filled up the rooms where he performed such songs as "Oke-She-Moke-She-Pop" and "Blues Jumped the Rabbit." I haven't ever heard these songs myself, but didn't JT come up on the list recently? hope R&R HOF doesn't mind this public service announcement. alora apaul@whoi.edu ========================================================================= Date: Fri, 23 Feb 1996 08:57:08 -0500 Reply-To: MojoBandit@AOL.COM From: Dave Ruthenberg Subject: Re: Blues-L Is Not Boring Amen Shaun. I have been sitting back and staying out of the fray but feel I must say something at this point. A month ago I recommended Blues-l to my readers based on the vast knowledge and maturity of those on the list. I can only imagine what those who have recently signed up must be thinking about my recommendation. Name calling and personal attacks have no place on this list. Those who find Blues-l boring, fine. But childish flames do nothing to add to the arguments of those who feel that way. Regarding the reviews that appear on this list, again those who enjoy flaming others will no doubt find the reviews somewhat timid. But I believe there is a reason for that. From what I have seen it is obvious that those who provide reviews to this list only provide reviews to recordings they personally enjoy. If it is one that is not to the liking of a reviewer, they leave it alone. After all, why slam somebody because you don't personally like their music. A lot of effort goes into these recordings. Probably the best way for people to know that their recording is not acceptable, is when it is ignored. My suggestion? Let's leave this thread alone and move on. Dave ========================================================================= Date: Fri, 23 Feb 1996 08:59:30 -0500 Reply-To: cmasenas@vnet.ibm.com From: "Charles J. Masenas" Organization: IBM Microelectronics Division, Burlington, VT. Subject: Re: Blues on the Tube Comments: To: bit-listserv-blues-l@uunet.uu.net In article , "Roger B." writes: > John has also been drawing attention to, and introducing new audiences to, > the music of RJ for a long, long time. True, some of the "theatrics" in > the documentary "Searching for Robert Johnson" might wear a little thin on > you, but I don't think it's fair to imply that John Hammond is anything but > sincere in his love for, and dedication to, the music and memory of Robert > Johnson. I agree. Hammond is devoted. I appreciated his efforts. -- ------- Regards, Charles J. Masenas ========================================================================= Date: Fri, 23 Feb 1996 09:18:51 -0500 Reply-To: Toronto Blues Society From: Toronto Blues Society Subject: blues @ folk alliance Comments: cc: programming@harbourfront.on.ca i've just returned from washington d.c. and the annual Folk Alliance Conference. blues makes up only a small part of the conference, ie. satan & adam were one of 18 acts selected by the showcase committee, harmonica fats and bernie pearl had a very active booth in the trade show room, guy davis was part of an "alternative" showcase. the conference moves to toronto next year and i am interested in increasing the participation of the blues community. partly because memphis will be the host city in 1998. partly because it makes sense. if you or your blues society, record company, mgmt company or anything wish to be involved please drop me a line. i have been in touch with the blues foundation folks and will be trying to develop some blues specific panels and showcases. there were over 1,500 delegates in d.c., we expect that number to increase in 1997, the hotel rate is about $70cdn... derek andrews ========================================================================= Date: Fri, 23 Feb 1996 14:50:30 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: BLUES ESTAFETTE on Blues World You hopefully all by now know that Europe's number one festival (and maybe also one of the best in the world...) takes place each year in November in Utrecht, Holland. I just saw, while doing my weekly visit to Joel Slotnikoff's BLUES WORLD, <> that Joel has done some great -as always-work in giving space for Jaap Hindrix to provide us with very useful infos related to the Blues Estafette. In particular, we are now able to find the complete programs of the different editions (and so see what you've missed if you haven't been there - speaking for European zellers obviously-) since 1981 and we even have already a few names for the 1996 edition which will take place next november. So just visit Jaap's webpage on Blues World (http://www.bluesworld.com/Estafette.html). The first act announcements for 1996 include Little Milton, Roscoe Chenier, King Alex & The Untouchables from Kansas City, Willie Foster, the hca player from Greenville, MS and Charles Wilson, Milton's nephew, who has several albums out, one on Ichiban and a new one on Ecko. Jean-Pierre "Young Man" Urbain P.S. usual disclaimer: not related to the Blues Estafette nor to BW nor to anything else mentioned here. ========================================================================= Date: Fri, 23 Feb 1996 09:22:35 -0500 Reply-To: Stephanie Manna From: Stephanie Manna Subject: Re: Bobby Rush: recordings available?? On Feb 23, 1996 03:11:33, 'Andrew Moodie ' wrote: >Thanks to everyone with the answer to my question on his song >CHICKEN HEADS. I'm interested in knowing more about this guy and >if his recordings are out on any label right now. > >AJM Bobby Rush's newest CD is on the Malaco/Waldoxy label entitled,"One Monkey Don't Stop No Show". Its got a good review in the Jan/Feb issue of Living Blues by Jim DeKoster. ========================================================================= Date: Fri, 23 Feb 1996 08:41:48 -0600 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: Blues @ SXSW (Austin) > In addition to all the great blues acts that Jeff mentioned, there's a lot > of other music booked for SXSW that I know would appeal to a lot of people > on Blues-L --- some of my favorites include Junior Brown, Ted Roddy and (sep- > ately) his act The Naughty Ones, The Tailgators, Teisco Del Rey, Ronnie Daw- > son and Don Walser. > > I'd like to hear from anybody who does get to go (you can tell me about the > non-blues acts off-list). SXSW has a web site if you want to find out more information about it. It's http://www.sxsw.com/sxsw/ and it has a listing of all the groups playing. For those who don't know about South by Southwest, it was originally set up as a way to get musicians together with record executives. They have seminars during the day and live music at night. It's a four day event and each night clubs have about five different bands playing. You buy a wrist band to get into any club (use to cost $5, now $40). The main problem is its turned into a monster event. Most clubs in Austin are very small and fill up quickly. And if there's a band or musician that you really want to see, chances are that many others want to also. Last year Johnny Cash came in and played a set at Emo's (this is where the Butthole Surfers play) and basically you had to know someone to get in. This year Iggy Pop is coming to town (I wonder if he'll play at the Broken Spoke). Bruce Roberts Austin, TX ========================================================================= Date: Fri, 23 Feb 1996 08:52:10 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Sunflower Festival Dates I'm trying to "reserve" some vacation days for My favorite festival, The Sunflower Festival. Can anyone tell me the exact dates.... (btw: my wife's favorite is Beale Street) LW ========================================================================= Date: Fri, 23 Feb 1996 10:00:16 +0000 Reply-To: Richard Kahn and Tiffany Winne From: Richard Kahn and Tiffany Winne Organization: Puss Inc. Subject: Re: Blues On Tube-TO J. Hammond or Not? Dave- I'm all with you about the Robert Johnson special and J.H.'s shots of himself, etc. I also didn't appreciate the sort of macho "I'm gonna go travelling in the home of the delta and this white boy is gonna uncover the secrets because of all white boys out there I can speak the language" thing that was presented in the film. But yes, I taped it and watched it too. And I'm also a J. Hammond jr fan...i mean, how many concerts have I caught? But there was something silly and pretentious about that show and I'm not sure I'll ever see jr. the same way again... p.s. If it took alan lomax 20 years to penetrate the secret society of black delta tradition, how was I to believe that J.H. with camera crew could just show up and reveal mysteries? peace, RVK -- Richard and Tiffany (richard @user1.channel1.com) "The Blues had a baby and they called it Rock n' Roll..." ========================================================================= Date: Fri, 23 Feb 1996 06:55:35 -0800 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Re: Dangerous songs to drive to Comments: To: bit-listserv-blues-l@cs.washington.edu Master Mechanic by Johnny Winter. Actually I'm usually playing this after having fixed something on my car so it's doubly dangerous 'cause a) the music is distracting and b) my car may or may not be working correctly! Adrian non-blues alternative: David Bowie's "Fashion" turn to the left--turn to the right--beep beep! ========================================================================= Date: Fri, 23 Feb 1996 09:20:21 -0600 Reply-To: Storm Bailey From: Storm Bailey Subject: snoozefest ...you say [blues-l] will kill me, well come on and dig my grave ========================================================================= Date: Fri, 23 Feb 1996 15:13:56 GMT Reply-To: Scott Barretta From: Scott Barretta Organization: Lund University Subject: Re: Ridin the Blind Comments: To: bit-listserv-blues-l@uunet.uu.net Bruce Pech wrote: > > On Thu, 22 Feb 1996, L W wrote: > > > What is the "blind"...as in leaving this morning, if I have to ride the blind > > > > LW > > LW -- > I think it refers to hopping a freight train. Another expression, to > "ride the rods," meant riding underneath a boxcar on the undercarriage. > I'm not sure what "blinds" are. Anyone? > -- BP Boullder, CO Paul Oliver explains in Blues Fell This Morning (p.69 in the recent Cambridge edition)that the "blinds" are: "the baggage cars next to the tender, which are "blind" or, in other words, have no side door. Sitting on the step he [the illegal rider] would be out of reach of the "brake-man's" club, but to reach the blinds he had to come close to the tender and risk being observed doing so" ========================================================================= Date: Fri, 23 Feb 1996 15:57:36 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Info request: BOM-BAY CARTER, BOBBY DAVIS, .. Still in relation to some research I'm actually conducting on Carl Jones and C&J, I would be happy to get some info on several people who recorder for CJ /Firma, .. The first one is guitarist/bass player Bom-Bay Carter who came to Europe in the 70's at least once and was discussed in one of Jim O'Neal's Living Blues artcile in 1975 (Apparently also in Obrecht's Guitar Player from 1980 - if someone has a copy of it I would be happy to hear it). I may have missed it but I'm currently trying to find out if he is still active and if yes if how it could be possible to get in touch with him. If I'm not wrong he was born in 1950 and I don't remember having heard or read things about him over the last 10 years (but I may be wrong obviously). Drummer/singer/organist Top Hat Davis who recorded in the 60's for various labels (Bandera, ...) also did some cuts for Firma and C&J and I'm also not a able to find out is he is still with us. Finally, does someone knows if Cary S. Baker (who ran Blue Flame) is still active in the music world? Again, address/tel/fax would be welcome by private E-mail please. Thanks a lot. Jean-Pierre "Young Man" Urbain ========================================================================= Date: Fri, 23 Feb 1996 07:24:43 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Feb. 24 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BERTRAND, JIMMY (d/washboard) b. 1900-0224, BILOXI, MS BLEDSOE,JETHROE(lead/SPIRIT OF MEMPHIS QT)d. 1993-0224, MEMPHIS, TN 75 BUFORD, OTIS LITTLE d. 1983-0224, ST. LOUIS, MO -- CALDWELL, TOY T. JR. (g/MARSHALL TUCKER) d. 1993-0224, MOORE, SC 45 CHAMBLEE, EDDIE (tsax) b. 1920-0224, ATLANTA, GA CHESSLER, DEBORAH (manager/THE ORIOLES) b. 1923-0224, BALTIMORE, MD HARPER, JOE (g) d. 1973-0224, WASHINGTON, DC 42 HARRISON, GEORGE (not Feb 25) b. 1943-0224, LIVERPOOL, UK HILL, LILLIE MAE (v) b. 1935-0224, COAHOMA CTY, MS HUNTER, TY (v/VOICE MASTERS/ORIGINALS) d. 1981-0224, DETROIT, MI 38 JONES, PAUL (v) b. 1942-0224, PORTSMOUTH, UK KENT, WILLIE (b g/DELMARK/BIG BOY REC) b. 1936-0224, SUNFLOWER CTY, MS LAW, DON (CBS a&r/prod/ROBERT JOHNSON) b. 1902-0224, LONDON, UK LOCKE, HOYT "DR. BOP " (R&B dj/WAWA) d. 1976-0224, MILWAUKEE, WI 48 MICKLE, ELMON "DRIFTIN' SLIM" (hca) b. 1919-0224, KEO, AR MEMPHIS SLIM [JOHN LEN "PETER" CHATMAN](p)d. 1988-0224, PARIS, FRANCE 72 MERIWETHER, ROY (p/CAPITOL REC) b. 1943-0224, DAYTON, OH MILLER, JOHNNY (b/NAT KING COLE TRIO) b. 1915-0224, PASADENA, CA NEWMAN, DAVID "FATHEAD" (tsax) b. 1933-0224, DALLAS, TX RAKLIFF, LEONARD(of UNIVERSAL RECORD DIST)d. 1993-0224, PHILADELPHIA, PA 69 RAY, JOHNNIE [JOHN ALVIN RAY] (v) d. 1990-0224, LOS ANGELES, CA 63 ROBINSON, A. C. REV. (gospel) d. 1980-0224, SAN FRANCISCO, CA 64 SHAW, TOM (g/BLUE GOOSE/ADVENT REC) d. 1977-0224, SAN DIEGO, CA 68 VENSON, TENNER "PLAYBOY" (d/hca) d. 1985-0224, CHICAGO, IL 72 WILLIAMS, ULYSSES KAE (R&B dj/manager) b. 1921-0224, DENMARK, SC ------------------------------------------------------------------------------- ========================================================================= Date: Fri, 23 Feb 1996 09:41:51 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Muddy Waters Charley Box I saw the MW 9 CD box set from the "EVIL" Charley records. It has all of his Chess recordings except for Super Sessions. Anyone have an opinion on this set....Sound quality and what not....I know about Charley and royalties. I'm curious about this box set. It certianly has more than the domestic Chess box..... Thanks LW ========================================================================= Date: Fri, 23 Feb 1996 10:43:30 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Songs I Have To Pull Off the Road For Yesterday Jeff Birk posed the musical question, "what songs make you run off the road?" Songs that give me incredible endorphin highs and make me have to pull off onto the shoulder of the Beltway include: 1. "The Pits" -- Danny Gatton 2. Eric Clapton's version of Son House's "Floating Bridge" from the album "Another Ticket" 3. "Santa Claus" -- Sonny Boy Williamson 4. "Ball and Chain" -- Janis Joplin 5. "Ball and Chain" -- version by my fiance, "Mad" Max Vadi 6. Max's version of "Might as Well Get Drunk" 7. "Square Bizness" by Smokin' Joe Kubek, a really cool instrumental blues 8. "Walk With You" by Smokin' Joe Kubek 9. My version of "Rocky Mountain Way" (not to sound like a fathead) 10. "Turn to Me" by Lou Reed, a pretty cool blues in its own right (from "New Sensations) ========================================================================= Date: Fri, 23 Feb 1996 07:52:28 -0800 Reply-To: James Carmin From: James Carmin Subject: James Cotton: BEST OF THE VERVE YEARS I'm obsessing right now with James Cotton's BEST OF THE VERVE YEARS playing on my Mac's cd player. As has been noted before, this is some very fine, fine music, some of the BEST Cotton I've heard with some excellent sidemen too. I'm a big Luther Tucker fan. And it's amazing how Cotton's "Down at Your Buryin'" sounds remarkably like the later Little Charlie & the 'Cats's "V-8 Ford." Hmmm..., that's ok I like 'em both. James C. jcarmin@teleport.com ========================================================================= Date: Fri, 23 Feb 1996 11:27:43 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Eddie Kirkland in Worcester (review) Well kiddies, went to see Mr. Kirkland at the Plantation Club in Worcester last night, and man, my ass is draggin'. :) That's a good sign from a review standpoint. But I must say I don't know how to do a review of a show like this. In a nutshell, a good show. But it can be broken down into the good, the bad & the ugly. Very, very ugly. Here goes.... The band is absolutely awesome! I mean AWESOME. These 3 mostl unlikely, geeky lookin' white kids in their 20's in crummy jeans, t-shirts and obligatory plaid overshirts (untucked) got onstage and my wife and I thought, "What? Did they hire some cheesy grunge band to open the show?" It took no less than 10 seconds for me to eat my words and become riveted!! These three kids laid down the tightest, most seamless and tasteful groove that I have ver heard from any blues band anywhere. I honestly mean that. It was perfection. And they were a blast to watch, with youthful enthusiasm and energy they bopped and shuffled around the stage, exuberant and happy to be playing the blues to a packed house that was eating it up. The guitar player floored me. I don't know where guys so young learn to play like this. On a blonde Es335 plugged straight into a "Classic" Ampeg 410, he played smooth rhythms and shuffles up and down the neck with the taste and finesse of Hubert Sumlin 's best stuff. When he wanted to, and thankfully it was often, he would launch into upbeat jump blues and swing lead-work all over the neck flawlessly that reminded me a lot of Brian Setzer and Danny Gatton. Playing leads as fast and effortlessly with CHORDS as I can manage single-note work on a good day. I can't say enough about this kid, Mike somebodyorother. He was worth the admis- sion. The rhythm guys, bass & drums were equally as talented, energetic and flawless. These 3 pieces of the band were as one. Incredible talent. WELL>..............and then there's Eddie Kirkland. Well, I was sorta warned about him. I'm gonna make the rest of this brief. Mr Kirkland should retire from guitar playing, period. Great voice, great stage presence, great energy and emotion, but the WORST guitar playing I have ever suffered through from an artist I paid to see. His guitar playing (through complete pieces-of-crap guitars that I wouldn't give away at a yard sale and way too many effects pedals as well) was 1% genius, and 99% just plain awful. To try to recall it for you makes me shudder. However, his band covered for him so well that I think most in the audience just didn't hear it or were so absorbed in the great groove laid down by the band that they just let it slide, over and over again. Bad. They played 2 sets over 2 hours each!!! Man, they just wore us out! Kirkland would have played til dawn if they'd let him. Terrific energy. Between sets they just hung out, gabbed with the patrons, and Kirkland never left the stage. He signed autographs ad nauseum. We bought him a drink and my wife chatted with him for a bit. Me? I was over with the guitar player. :) :) He was so humble and just happy to see such a big, warm crowd out on a Thursday. He couldn't get over it. He was afraid they were too loud. He said "Man, we never have to play this loud, my amp is overheating". I assured him they were just right, which they were, and the sound engineer did a really good job of mixing them for this room, as they always do at The Plantation. Last words: Eddie Kirkland is a good show in the $5-10 range. If you're NOT a musician and don't hear missed notes and out-of-key, tangential lead solos, you'll love this show. ANd when Kirkland puts his guitar down and just sings and plays harp, it's 10 times better. He's got that aura of the bluesmen from the "old guard". And his band is phenomenal. Glad I went. Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 23 Feb 1996 16:33:57 +0000 Reply-To: "timothy (t.b.) bosley" From: "timothy (t.b.) bosley" Subject: Re: Robben Ford, anyone? J Duttweiler (JONATXXX@GOMAIL.DOAS.STATE.GA.US) wrote: : > I have a 20" x 30" autographed poster of Robben Ford : > and the Blue Line for _Handful of Blues_. If interested : > in it, email tbosley@bnr.ca with subject line Robben. : : Yeah, how much are you offering to take it off your hands? : Hey, just curious Funny you should ask. I wanted 110% of what I had in it - a 10% profit isn't unreasonable, is it? Who's got a calculator handy....what's 110% of nothing? Looks like nothing....guess it's free. That was my intent but I wasn't going to say that. Just the poster by itself..I would have said free to the first to respond. Since everyone had signed it, I wanted to be certain that whoever got it would appreciate it - and the only way I could think to do that was see what they were willing to give for it. There was some interest after my first posting. Then I followed up asking what they were willing to give in exchange.....either I never heard anything else or no one was willing to give anything for it. Of course, they had no way of knowing I wasn't really going to accept what they offered but it's too late now. So what all of this means is that I still have it. I won it in a drawing. Why enter the drawing if I don't care for Robben Ford? I wanted the frame. It didn't hurt any that they used real glass either. Most posters/prints/lithos that I've seen have some sheet of plastic. Anyway, I put the frame to good use and I have this unwanted poster. So I could just do something like the contests that have been on here where people write saying why they want it but I don't really want to do it that way. What about it 'zellers, does anyone have an idea of how I can give it away and be certain that someone who'd really appreciate it gets it? ========================================================================= Date: Fri, 23 Feb 1996 11:36:44 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Kevlar (sorry, no blues content) Yesterday Shannon said: > P.S. If anyone knows where I can purchase Kevlar undergarments, > please e-mail!! :) Shannon, I'm e-mailing you my Kevlar brassiere that I wear in case I have to open for an ex-boyfriend musician when his wife is in the audience. But I'll need it back! :) -- Ruth, reflecting on the potential downside of learning guitar techniques from significant others ========================================================================= Date: Fri, 23 Feb 1996 10:37:20 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Info request: BOM-BAY CARTER, BOBBY DAVIS, .. Comments: To: Jean-Pierre Urbain In-Reply-To: <01I1K4T4W9GI001ACW@RL0002.RULIMBURG.NL> Bom-Bay Carter: haven't seen or heard about him for about fifteen years. If anyone runs into Magic Slim or Brewer Phillips, they might be able to shed some light. Bom-Bay's father Dan Richmond wrote some of the songs Jimmy Rogers recorded for Shelter (and the CJ 45) which have been reissued by Capitol. Maybe Jimmy knows something about Bom-Bay. Bobby Davis is still around working occasionally. Otis Rush took him to NY as a drummer about a year or so ago; he also works sometimes as a keyboard player and was Albert Collins' bassist in Houston back in the '50s. I've also heard he was in Percy Mayfield's car wreck. Unfortunately, he's one of the most psychotic, dangerous Chicago blues people and has been banned from some clubs. Cary Baker has been a busy publicist in L.A. for many years. I don't have an address or name of his company, but someone else (maybe Mary Katherine Aldin) could probably supply the information. ========================================================================= Date: Fri, 23 Feb 1996 13:33:00 -0300 Reply-To: Miguel Garcia From: Miguel Garcia Organization: Odonto Line BBS Subject: SIG Hello !! How may I SIGNOFF this Area ?? Help me !! regards miguel Garcia -------------------------------------------------------------------- ** Odonto Line BBS **** Sistema Odonto Line ** Provider ** -------------------------------------------------------------------- +55-11-521-7345 Postmast@Odonto.com.br Odontologic Systems ========================================================================= Date: Fri, 23 Feb 1996 10:49:50 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Free VENT CD I have a cd on VENT records. It is the POUNDERS and they are rock/blues. It's not my thang. If you like ROCK (with some blues) you will like it, if you don't like that kind of stuff please do not respond.... Free to the first one to respond private mail LW ========================================================================= Date: Fri, 23 Feb 1996 11:56:42 +0000 Reply-To: Richard Kahn and Tiffany Winne From: Richard Kahn and Tiffany Winne Organization: Puss Inc. Subject: Songs I have to pull off the road for: There's so many of course- 1) There's a particular live james brown- Ibelieve maybe at Montreux?- where he does a preaching rap into the most ethereal and passionate It's a Man's, Man's, Man's World...where if there was ever any mistaking that the song was so poignantly about the power of Woman, it couldn't be missed on this recording. makes you wonder how the guy could be a wife beater? 2) May I have a talk with you- Howlin' Wolf 3) Worried Blues- Buddy Guy and finally 4) When something is wrong with my baby- The Holmes Brothers. A great song, period. But when given the blues/gospel tinge of the Brothers, wow! I mean, anyone who hasn't had a taste of Popsy's astounding falsetto has to get themself a listen. Wendell's gravelly vocals are also extremely poignant here as a counter point. This one I have literally had an accident because of! P.S. one more I can think of- blues related- I believe it's Peter Tosh on the lead vocals, but with Bob Marley and the Wailers and it's found on Bob's Concrete Jungle L.P...."400 years" is the name of the song. Never have I felt such deep religiousity insisting/coaching me into political rebellion like I have here. Makes me believe that NOW is the time to STRIKE before the world suffers any more! Peace, RVK -- Richard and Tiffany (richard @user1.channel1.com) "The Blues had a baby and they called it Rock n' Roll..." ========================================================================= Date: Fri, 23 Feb 1996 11:55:26 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Muddy Waters Charley Box Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu In a message dated 96-02-23 11:22:05 EST, ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU (L W) writes: > >I saw the MW 9 CD box set from the "EVIL" Charley records. It has all of his >Chess recordings except for Super Sessions. Anyone have an opinion on this >set....Sound quality and what not....I know about Charley and royalties. I'm >curious about this box set. It certianly has more than the domestic Chess >box..... >Thanks Well, I have the "real" Muddy Box, and I hate the idea that that Charley box rips off the label, the artists, and even cribs layout, photos, captions and etc. from Mary Katherine's liner notes for the "real" Muddy Box, not crediting anyone, BUT You gotta love having access to all those recordings. The sound quality is good. It is very close to complete up to a point, and that point is so late in the game you get essentially everything. As much as I appreciate the work of compilers, I like being able to "compile" for myself from these complete sets. At the time I bought it, the price was startlingly low. This one's a big yes for you, I would think, LW. It *does* lack some of the stuff on ONE MORE MILE.... Tom Freeland ========================================================================= Date: Fri, 23 Feb 1996 12:26:29 -0500 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: Gear talk: Fender '65 Deluxe Reverb reissue Comments: To: bit-listserv-blues-l@uunet.uu.net In article <312CF268@smtp.nla.gov.au> David Blanken writes: >I'm thinking of trading my Fender '63 Vibroverb reissue amp on a new Fender >'65 Deluxe Reverb reissue (I'm getting more modern in my amp sounds :-). >I was wondering if anyone has any opinions of this amp? I haven't had a >chance to test drive the Deluxe yet, but I am attracted to the fact that it >is a smaller amp (power wise and size wise). IMHO the DR reissue does not match up to the original and it is very expensive. Check it out carefully before making a decision. You may also want to scour the used market for the "real thing" ========================================================================= Date: Fri, 23 Feb 1996 11:41:38 -0700 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: New Guitar - no blues In-Reply-To: Hey Zellers, After a year of groping, I finally went for broke and bought a Taylor 410 Dreadnaught yesterday. What a piece of work! Special thanks to Don Cichetti (sp?) for introducing me to these fine guitars. Many years of enjoyment is coming my way. :) RW ========================================================================= Date: Fri, 23 Feb 1996 11:50:45 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Blues Bytes & obsessing I was enjoying Blues Bytes on the way to work this morning and this stuff almost made me wreck a few times. Good stuff and thanks to Bob Unger and the guys for all the work! As far as obsessing, BIG BAD SMITTY - Mean Disposition - Black Magic -Jeff (if I like Blues Bytes, am I a purist? ) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / Reuben Stewart \ / February 19, 1996 \( Rest in peace, Mr. S. http://bioc02.uthscsa.edu/~seale/mrsym.html ========================================================================= Date: Fri, 23 Feb 1996 17:40:12 GMT Reply-To: Beth Oliver From: Beth Oliver Organization: The Loop Subject: Re: Liner Notes / Willie Dixon Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199602211645.IAA26434@desiree.teleport.com>, James Carmin wrote: > Speaking of incomplete liner notes, I just picked up WILLIE DIXON's I AM > THE BLUES (on Columbia) and I'm enjoying it a whole lot. > > And while Pete Welding's liner notes are interesting, the only mention of > personnel is that Willie has a "hand-picked crew of Chicago blues > veterans." > > Kind of a large flaw from an information POV. > > So Bluezellers: who's backing the Back Door Man on this disc? > > James C. > jcarmin@teleport.com Funny you should mention this. I pulled out my copy of I AM THE BLUES just yesterday and listened to it for the first time in about a year. It's a great cd, but I'm frustrated at not knowing who is playing on all of the songs. I would love to know who the other artists are. Beth Oliver ========================================================================= Date: Fri, 23 Feb 1996 11:47:30 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Black History Month THIS IS NOT INTENDED TO START TROUBLE OR RACE DISCUSSIONS: The month of February is BHM (or is it MARCH ?)...Anyway I thought it was in February. There is a TOTAL lack of blues being mentioned in anything I've seen or read about in my area. The "Promised Land" on Discovery has been the only thing that had a touch of the music that BLACKS created. I'm very disappointed in the black population HERE for not including, a MAJOR part of their heritage in any of their programs. I don't mean to play down all the contributions that blacks have made, but I honestly can't think of a more important one that the MUSIC (could be my ignorance). THEIR music has shaped all music since, from Billy Raye Cyrus to Micheal Jackson. SO WHY DO THEY IGNORE IT....? It can't be because of the bad memories that it brings back, because they do not ignore slavery during the month, nor the civil rights movement. Should I have presented a program to local libraries on blues and the contributions that it made to modern music. Has it got to the point, that it takes a white person to educate THEM about THEIR heritage and music. I really don't understand why they ignore the BLUES....Has it been ignored in your neighborhoods.....If it hasn't been ignored was it the blacks who presented it or the whites.... LW 'very disappointed in the blacks in charge" btw: I used the term "blacks" because it is Black History Month and not Afro- American History Month...Kind of hard to figure out sometimes for me sometimes...If I'm wrong and it is Afro-American History month, my apologies.... ========================================================================= Date: Fri, 23 Feb 1996 10:58:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Hubert touring Hubert Sumlin will be motoring over to Mad-town from his current residence in Milwaukee on March 6th. He will be jamming with local musicians guitarist Mel Ford (pretty good) and the funky drummer himself, Clyde Stubblefield. Bonnie the K. (ps - Mr. Stubblefield is also a cat lover and has two of the furry creatures. I, myself, have more - a LOT more.) ========================================================================= Date: Fri, 23 Feb 1996 13:03:38 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: Songs I Have To Pull Off the Road For Comments: To: Rob Hutten You know what, Rob, I think "Floating Bridge" was written by Sleepy John Estes now that I think about it. Sorry! It's a great tune. ______________________________ Reply Separator _________________________________ Subject: Re: Songs I Have To Pull Off the Road For Author: Rob Hutten at Internet Date: 2/23/96 1:48 PM > 2. Eric Clapton's version of Son House's "Floating Bridge" from the > album "Another Ticket" Whooooooooah.. Son House had a tune called "Floating Bridge" ??? And I've never heard of it???????? Any idea what album it was released on? -Rob ========================================================================= Date: Fri, 23 Feb 1996 13:15:39 -0500 Reply-To: BLUES4EVR From: BLUES4EVR Organization: America Online, Inc. (1-800-827-6364) Subject: Re: One Bluesman's Disaster Comments: To: bit-listserv-blues-l@uunet.uu.net In article , Pat Hertel writes: >Subject: One Bluesman's Disaster >From: Pat Hertel >Date: Thu, 22 Feb 1996 23:36:45 +0000 > > While Micheal Brown, guitarist for a longtime staple >blues band in Montreal (The Stephen Barry Band) >was at a gig, the store nextto his flat had an explosion and fire. >He has literaly lost EVERYTHING except what he had with him at the gig. > This includes several instruments and, perhaps most >devastating of all, a blues collection comprised of >more than 4000 recordings, many of which are irreplacable. > > A benefit concert is scheduled for 9 Mar. Unless another >venue is found, it is to occurr at a private residence >(they had to act fast, he has nothing). > To find out where the benefit is, or where to send >donations or even to just give advice you are invited >to leave your name and number with the CBC radio "Homerun" >program at (514)790-3283 > >phertel@cmc.doe.ca > OR bv808@freenet.carleton.ca >Local Time [22/2/96 18:18 PM] >"Thursday's always sad..." > > Call the Red Cross,Good Will or any charity organizations in the area and see if they will help out. Call the welfare office and see what can be done. Also, he has his life so he really "didn't lose" everything. Just think if he had been home when this happened! Aslo, he has friends like you so he is still a rich man. I'm sorry I can't help out right now due to my own financial situation but I wish you the best. Good luck, Ken BLUES4EVR@aol.com ========================================================================= Date: Fri, 23 Feb 1996 10:41:30 -0800 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Subject: Re: Blues On Tube-TO J. Hammond or Not? >Richard Kahn and Tiffany Winne Wrote: (referring to "Searching For Robert Johnson") >I also didn't appreciate the sort of macho "I'm gonna go >travelling in the home of the delta and this white boy is gonna >uncover the secrets because of all white boys out there I can speak >the language" thing that was presented in the film. I DON'T APPRECIATE your usage of quotation marks to ascribe YOUR cultural paranoia to either Mr. Hammond or the producers of the show. What do you mean by ..."because OF ALL WHITE BOYS out there I can speak the language...." ? >p.s. If it took alan lomax 20 years to penetrate the secret society of >black delta tradition, how was I to believe that J.H. with camera crew >could just show up and reveal mysteries? >peace, RVK I really don't think there was any attempt to "reveal mysteries" here - aside from the theatrics (which, yes, I agree they were superfluos and a bit hokey at times) - the film merely evoked the mystical aspects of the legends that surround RJ, the Devil, etc. Roger B. ========================================================================= Date: Fri, 23 Feb 1996 12:31:47 -0800 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Re: "Who is obsessing you?..." Comments: To: bit-listserv-blues-l@uunet.uu.net DUTTWEILER.J wrote: >Of course, I've found myself listening to a lot of Hooker these days, as >well. Amen, bruh...ever since I bought the old JLH's on CD, "Boogie Chillen" and "Boom Boom" seem to have taken up permanent residence on my player's cartridge...alongside "Chill Out". Can't seem to ever get enough of his work with Van Morrison...love their two voices together. (BTW, for those with an inclination toward bluesy jazz, Morrison's work with Georgie Fame on their new album is pretty fabulous, with lots of good work by Fame on the B3, especially a great version of Julian Adderley's tune, "Sack o' Woe", a tune that definitely goes on my list of best song titles ever. Highly recommended album.) -- Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~Some mornings it's just not worth chewing through the leather straps. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Fri, 23 Feb 1996 13:54:59 -0500 Reply-To: Steve Penn From: Steve Penn Organization: The Dorsai Embassy, Inc. Subject: R. Johnson Transcriptions Comments: To: bit-listserv-blues-l@uunet.uu.net Can anyone tell me which book they believe has the most faithful transcriptions of Robert Johnson's songs? I'm specifically referring to TAB/Notation for guitar. ========================================================================= Date: Fri, 23 Feb 1996 14:13:55 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: Blues-L is not boring Comments: To: Jon Duttweiler In-Reply-To: <1.5.4b11.16.19960223121938.25df0b94@popd.ix.netcom.com> On Fri, 23 Feb 1996, Jon Duttweiler wrote: > At 04:38 AM 2/23/96 GMT, you wrote: > > >BTW, is there such thing as virtual beer? > > > > Sure, try "The Real Beer Page" and you can probably find a few dozen (don't > have the URL off hand, but just do a search in Yahoo and you'll find it) > > And just have to disagree with you one little bit - not >austrailian< beer, > but either a good American micro-brew or German beer. > > JD > My home page has a collection of the *best* beer sites on the Web. More on the way including a CD giveaway contest. http://www.cloud9.net/~leftwich ========================================================================= Date: Fri, 23 Feb 1996 14:09:08 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: One Bluesman's Disaster Comments: To: Pat Hertel In-Reply-To: On Thu, 22 Feb 1996, Pat Hertel wrote: > This includes several instruments and, perhaps most > devastating of all, a blues collection comprised of > more than 4000 recordings, many of which are irreplacable. Seems we need a good new thread... So, what if your cd/tape/lp collection was lost to fire. What are the first five recordings (they have to be in print) you would start your new collection with? Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" :) ========================================================================= Date: Fri, 23 Feb 1996 14:20:18 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: Black History Month Comments: To: L W In-Reply-To: Isn't it peculiar that the shortest month of the year they choose for BHM. The "Man" at work? Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" :) ========================================================================= Date: Fri, 23 Feb 1996 13:32:37 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Found out the answer. So, it isn't BLUES-L that was doing it, and despite what our server says, i found another fellow that has a listserv subscription, and he started getting the same crap i did about 2 days ago. Sorry, but i need to know things......this is maddening....i can't reply anymore, can't tell what the subject is, have to page through all that manure to see what the message is....then i can delete it! Your patience is/was appreciated....even though ya may have wondered if i had lost it! Have a great weekend bluesellers..... delta doc roger ========================================================================= Date: Fri, 23 Feb 1996 19:33:19 GMT Reply-To: Art Schuna From: Art Schuna Organization: UW-Madison Subject: Re: Piedmont Style Comments: To: bit-listserv-blues-l@uunet.uu.net In article <96053.153557LCORBETT@MAINE.MAINE.EDU>, LCORBETT@MAINE.MAINE.EDU For me Blind Blake and Blind Boy Fuller >exemplify this particular style of blues, but did they not travel to >the north to record? Somewhere again I thought that many >who went to New York to record might have been influenced by TiN Pan Alley >styles of music...the ragtime edge...if this is so then where and what is >the true pedimont sound? Paul Rishell, (on ToneCool Label) does a great >interpretation of the above mentioned artist, for another current artist >carrying on the tradition, but again he lives in Cambridge Mass. The >point I'm trying to get across is how much is it regional and how much >individual in any particular style? Many artists travelled North to New York, Chicago, and even Grafton, Wisconsin (where I'm sure they got a lot of polka band influences while passing through Milwaukee). But seriously, most of the accounts I've read about these recording trips (in the pre-war era anyway) were short trips to record then travel back to their homes. I doubt there would be much influence exerted from musical styles of these areas unless they stayed. New York has never really been known as a hotbed of the blues, even though they have a very rich jazz tradition. Paul Rishell may play a good Piedmont style but only because he studied the music - he's a blues fan first who learned to play the styles that interested him when he became a performer. Art Schuna ========================================================================= Date: Fri, 23 Feb 1996 19:44:09 GMT Reply-To: Art Schuna From: Art Schuna Organization: UW-Madison Subject: Re: Muddy Waters Charley Box Comments: To: bit-listserv-blues-l@uunet.uu.net In article <960223115523_429823514@mail04.mail.aol.com>, Skipjames@AOL.COM says... >You gotta love having access to all those recordings. The sound quality is >good. It is very close to complete up to a point, and that point is so late >in the game you get essentially everything. As much as I appreciate the work >of compilers, I like being able to "compile" for myself from these complete >sets. At the time I bought it, the price was startlingly low. This one's a >big yes for you, I would think, LW. It *does* lack some of the stuff on ONE >MORE MILE.... About half of the ONE MORE MILE set is not on the Charley box and definitely one to own even if you own the Charley. This may be your only chance to own the Charley box as I have seen that domestic sources for this seems to be drying up. Art Schuna ========================================================================= Date: Fri, 23 Feb 1996 13:29:36 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: Black History Month In-Reply-To: On Fri, 23 Feb 1996, L W wrote: > THIS IS NOT INTENDED TO START TROUBLE OR RACE DISCUSSIONS: > > The month of February is BHM (or is it MARCH ?)...Anyway I thought it was in > February. There is a TOTAL lack of blues being mentioned in anything I've > seen or read about in my area. The "Promised Land" on Discovery has been the > only thing that had a touch of the music that BLACKS created. I'm very > disappointed in the black population HERE for not including, a MAJOR part of > their heritage in any of their programs. I don't mean to play down all the > contributions that blacks have made, but I honestly can't think of a more > important one that the MUSIC (could be my ignorance). THEIR music has shaped > all music since, from Billy Raye Cyrus to Micheal Jackson. SO WHY DO THEY > IGNORE IT....? It can't be because of the bad memories that it brings back, > because they do not ignore slavery during the month, nor the civil rights > movement. > > Should I have presented a program to local libraries on blues and the > contributions that it made to modern music. Has it got to the point, that it > takes a white person to educate THEM about THEIR heritage and music. > > I really don't understand why they ignore the BLUES....Has it been ignored in > your neighborhoods.....If it hasn't been ignored was it the blacks who > presented it or the whites.... > > LW 'very disappointed in the blacks in charge" > > btw: I used the term "blacks" because it is Black History Month and not Afro- > American History Month...Kind of hard to figure out sometimes for me > sometimes...If I'm wrong and it is Afro-American History month, my > apologies.... As always, this is all IMnsHO. I think that reason #1 would be: in general, the members of the popular press and popular media, that great legion of writers under pressure from editors/producers to tell us the Truth, are complete and total idiots. Now there are exceptions, but when I read something in a "respected" newspaper about a subject where I have more than passing knowledge (the internet, astronomy/science, basketball) I am amazed at what gets passed on as "fact", and what gets left out. Many of these articles are misleading, incomplete, or flat out wrong. So I often wonder just how accurate the news on politics, etc, is. That the media would miss a connection as obvious as blues and black history month is no surprise to me. Reason #2: The main media centers do not coincide with major blues centers. Now, before I get a lot of angry e-mail from people in New York and LA, yes, you do have blues scenes there, but it's nothing like what can be found in The Flyover Zone. The major blues centers in the US are Chicago, Mississippi and/or Memphis, Austin, etc. Notice that these places tend to fall between the mountain ranges. The media centers (NY, LA, DC) do not. Now, admittedly, DC does have a decent blues scene, but: 1) DC is more of a NEWS center than a PRODUCTION center. 2) DC tends to ignore anything that isn't "important", as defined by people like George Will and Sam Donaldson. 3) Though DC has a decent scene, it's small compared to Indianapolis' and Naptown ain't exactly Blues Central. So the media can safely ignore the blues. After all, it's only popular in the South and Midwest, and if it were REALLY important, it would be popular in New York or LA, right? Reason #3: In addition to being idiots (in general), the press come from middle class backgrounds. They are probably more comfortable talking to the black middle class than the black lower class, unless there is something really negative going on (crime, drugs, unemployment, Shaquille O'Neal's free throw shooting). BHM is supposed to be positive, so the people in the press will go to Howard University to talk to a professor of African-American History, but would Larry King give Jack Owens the time of day? There are probably other reasons. But you guys are probably already sick of my bitching about the press. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "You've got to inspect your horn, boy." 'And wash it every day.' - Crow, MST3K ("Mr. B. Natural") ========================================================================= Date: Fri, 23 Feb 1996 19:34:30 GMT Reply-To: Rob Crossland From: Rob Crossland Organization: Active Graphics Subject: Canned Heat UK dates Comments: To: bit-listserv-blues-l@uunet.uu.net Have just read in Q today 23/02 that Canned Heat have Uk date(s) in February. Am I too late ? Information gladly received. Many thanks, Rob Crossland ========================================================================= Date: Fri, 23 Feb 1996 13:58:51 -0600 Reply-To: Roger Struve From: Roger Struve Subject: -Reply Comments: To: owner-blues-l@BROWNVM.BROWN.EDU Why can't we all be Americans? (or whatever other country you're from.....sometimes people forget that there ARE other than USA contributors to this list!). They won't do blues on our local PBS channel 2 (KTCA). It is because it reminds the Americans who coincidentally are black, or their oppresive past. To them, as it was explained to me by my black friends, Rap and/or hip hop is their "blues" now. They chastise me for "pretendin'" to be a bluesman....supposedly i can't understand the blues....well not all my friends, who coincidentally are black, one from the Louisianna area, i'll never forget that look on his face when we went to my place after lunch (a 27 oz. Killian's Red, i discovered, makes you want to play the blues REAL BAD!)...and i played for him on my Duolian....he just sat there kind of stunned, and then told me that he was a bass player, and he'd never seen anyone keep perfect time like that solo...and that what i was playing was definitely authentic delta music.....i was pretty high by that point! BUT, the only blues i've seen on channel 2 was SRV....he's too popular NOT to be played...but Hammond....no way...it' s not aired here...i had to get it off of PBS on satellite....and now, PBS has eliminated 3 of their 4 feeds, and one of the eliminated feeds was S. Carolina Educational TV which DID air all the good blues stuff. Conspiracy seems to exist everywhere these days when it comes to the blues in politically correct (read fascist) Minnesota. I don't mean to provide flame material here....just relatin' the facts as they were told to me...and making some observations based on historical happenings and parallels that might be drawn to present day american activities of suppression. best regards, ddr ========================================================================= Date: Fri, 23 Feb 1996 11:22:22 -0800 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Re: "Who is obsessing you?..." John Primer's, The Real Deal. I really dig the cut with John playing slide and Billy Branch sucking on that chromatic thing. It is absolutely fabulous. The version of "She Won't Give Me No Loving" is very cool. The whole damn disc is my Pick of '96 and it's only February. It was very hard to get the wife to let go of this CD. I told her she could have sole possession of Bonnie Lee's, Sweetheart of the Blues CD for a while. Joe ========================================================================= Date: Fri, 23 Feb 1996 13:37:29 -0600 Reply-To: T-Bone From: T-Bone Subject: Beer WAS: Blues-L is not boring In-Reply-To: On Fri, 23 Feb 1996, James Leftwich wrote: > On Fri, 23 Feb 1996, Jon Duttweiler wrote: > > At 04:38 AM 2/23/96 GMT, you wrote: > > >BTW, is there such thing as virtual beer? > > > > Sure, try "The Real Beer Page" and you can probably find a few dozen (don't > > have the URL off hand, but just do a search in Yahoo and you'll find it) > > My home page has a collection of the *best* beer sites on the Web. More > on the way including a CD giveaway contest. Or if you're really into virtual beer, you can buy Coors Light. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "You've got to inspect your horn, boy." 'And wash it every day.' - Crow, MST3K ("Mr. B. Natural") ========================================================================= Date: Fri, 23 Feb 1996 14:02:36 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Dangerous songs to drive to "No Woman - No Cry" - Bob Marley - I just get too lost in the song to address the "real world" while I'm listenning.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Fri, 23 Feb 1996 14:01:59 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: -Reply In-Reply-To: Message of Fri, 23 Feb 1996 13:58:51 -0600 from > >They won't do blues on our local PBS channel 2 (KTCA). It is because it >reminds the Americans who coincidentally are black, or their oppresive >past. To them, as it was explained to me by my black friends, Rap and/or I've heard that argument before and somehow it doesn't hold water when the same people who do not want to be reminded , build a civil rights museum to show what they have overcome....Doesn't make sense to me, but it's not supposed to. LW ========================================================================= Date: Fri, 23 Feb 1996 15:09:54 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Black History Month Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU On 23 Feb 96, L W had this to say: > THIS IS NOT INTENDED TO START TROUBLE OR RACE DISCUSSIONS: A foreboding disclaimer if ever there was one. > The month of February is BHM (or is it MARCH ?)...Anyway I thought it was in > February. There is a TOTAL lack of blues being mentioned in anything I've > seen or read about in my area. The "Promised Land" on Discovery has been the > only thing that had a touch of the music that BLACKS created. I'm very > disappointed in the black population HERE for not including, a MAJOR part of > their heritage in any of their programs. Does the black population in Alabama pretty much control the media? I somehow doubt it. The whole premise of the question is misdirected, misguided, and insensitive. Further, you seem to think that the Blues would represent a "MAJOR" part of African American heritage. Would you think that Bluegrass, for instance, is a MAJOR part of "white european" heritage? Or might there be a few other things that would loom larger than the development of Bluegrass? I don't know... say... atomic energy or something like that. You might want to take advantage of "Black History Month" and go to the library and learn something about the many, far more important, contributions of African Americans than Blues. Blues may hold a special interest for you, but there are far greater contributions to your own culture that originated in the minds of African Americans. I'd suggest you visit some of these websites, in an effort to arm yourself with knowledge before you speak again about "THEM". http://www.ai.mit.edu/~isbell/HFh/black/bhcal-toc.html http://lcweb.loc.gov/exhibits/African.American/intro.html http://www.gatech.edu/bgsa/blackpages.html http://www.lib.berkeley.edu/MRC/AfricanAmVid.html http://www.misha.net/~desktop/naacp.htm and an important one for you to see: http://www.lib.lsu.edu/lib/chem/display/faces.html > I don't mean to play down all the > contributions that blacks have made, but I honestly can't think of a more > important one that the MUSIC (could be my ignorance). Could be. > THEIR music has shaped > all music since, from Billy Raye Cyrus to Micheal Jackson. SO WHY DO THEY > IGNORE IT....? It can't be because of the bad memories that it brings back, > because they do not ignore slavery during the month, nor the civil rights > movement. > > Should I have presented a program to local libraries on blues and the > contributions that it made to modern music. Has it got to the point, that it > takes a white person to educate THEM about THEIR heritage and music. Sure is a lot of "us" and "them" in this post. Who's "us" and who's "them"? Do you lump all African Americans together in some sort of a group? Do you include yourself in some other group? > LW 'very disappointed in the blacks in charge" Blacks in charge??????? Blacks in charge??????? of what? You never cease to amaze me, LW. > btw: I used the term "blacks" because it is Black History Month and not Afro- > American History Month...Kind of hard to figure out sometimes for me > sometimes...If I'm wrong and it is Afro-American History month, my > apologies.... If I were black, I'm certain I would be far less concerned with whether you referred to me as Black, or African American, than I would be for you referring to me as "THEM". LW... you make it very hard for me to be civil. P.W. Fenton Tampa, Florida ------------------------------------------------------------- "Age is a question of mind over matter. If you don't mind, it don't matter." - Leroy Robert "Satchel" Paige, 1906-1982 When in cyberspace, visit my web pages at http://www.gate.net/~pwfenton/ ------------------------------------------------------------- ========================================================================= Date: Fri, 23 Feb 1996 14:22:22 -0600 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Texas Piano Players I picked up a couple CD's that I've been playing a lot. Alex Moore "From North Dallas to the East Side" (Arhoole CD 408) and Robert Shaw "The Ma Grinder" (Arhoole CD 377). Alex Moore plays a more Boogie- Woogie/Blues piano, while Robert Shaw plays in the Barrellhouse/ Ragtime tradition. The Alex Moore CD (77 min.) comes with some very entertaining liner notes by Paul Oliver. The Robert Shaw CD (72 min) has more infromative liner notes by Mack McCormick. Robert Shaw was born around Houston. He travelled around and eventually became part of the "Santa Fe" group. He finally settled down here in Austin and opened a grocery store. An interesting tidbit, the back page of the liner notes has a picture of Robert Shaw playing piano and using his left hand like a "karate chop" to play the bass notes. The caption said that there were several barrellhouse piano players who had crippled hands and developed unique styles of hammering out the bass. I would recommend these CD's to anyone who enjoys good Blues piano. Bruce Roberts Austin, TX ========================================================================= Date: Fri, 23 Feb 1996 15:11:38 -0500 Reply-To: Maria Wegscheid From: Maria Wegscheid Subject: portland, oregon Well, I posted last week about attending shows alone and have since gotten invitations from across the country! How generous of everyone. Unfortunately, no one from Portland answered so I have to make this public plea. I will be in Portland during the last week of March. Can anyone tell me what are the must-sees and must-dos? They don't necessarily have to be blues related, but I personally think that would be a bonus. I'm going to be there with not one, but TWO, of my supervisors from work. Our library director (The Big Kahuna) really loved Saffire when I recommended them to her. Can anyone help me to score more points with my bosses? Thanks in advance, maria ****************************************************************** "Because, after all, a person's a person, no matter how small." ----Horton Maria J. Wegscheid Bettendorf (IA) Public Library mwegsche@libby.rbls.lib.il.us My opinions, as stated in this posting, are just that -- mine. ========================================================================= Date: Fri, 23 Feb 1996 15:31:55 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Black History Month Comments: To: leftwich@CLOUD9.NET On 23 Feb 96, James Leftwich had this to say: > Isn't it peculiar that the shortest month of the year they choose for > BHM. The "Man" at work? > > Jim Leftwich > leftwich@cloud9.net > "I'm on cloud9!" :) At the beginning of the month I posted a description of how "Black History Month" came into being. Perhaps you missed it. Here it is again, for you and anyone else who missed it. --------------------------------------------------- Black History Month =================== In 1915, Carter G. Woodson, a historian keenly interested in education, founded the Association for the Study of Negro Life and History. It was through this organization that he began pressing for a "Negro History Week" as a mechanism for exploring the contributions of Black Americans. This dream became reality in 1926. Woodson chose the second week of February because two persons he felt had dramatically affected the lives of Black Americans were born during that month: Abraham Lincoln and Frederick Douglass. It would be much later, in 1976, when the now-renamed Association for the Study of Afro-American Life and History would succeed in promoting this week into Black History Month. ------------------------------------------------------------ Incidentally, James, Mr. Woodson was himself a black man. P.W. Fenton Tampa, Florida ------------------------------------------------------------- "Age is a question of mind over matter. If you don't mind, it don't matter." - Leroy Robert "Satchel" Paige, 1906-1982 When in cyberspace, visit my web pages at http://www.gate.net/~pwfenton/ ------------------------------------------------------------- ========================================================================= Date: Fri, 23 Feb 1996 15:35:22 EST Reply-To: "Steve A. Fowlkes" From: "Steve A. Fowlkes" Subject: Black History Month Comments: To: ISTS024@UABDPO.DPO.UAB.EDU LW...Blacks include all forms Black music in its celebration of Black History Month. Blues is not the only music that Blacks have contributed to this country. Also, Music is NOT the biggest contribution that Blacks have made...why would you think that? What are you using to "size" the contributions of Blacks? The greatest Blacks or African- Americans (not Afro-Americans) were not musicians. Dr. Martin Luther King Jr., Thurgood Marsharll, George Washington Carver, Lewis Latimer, Constance Motley, Carl Rowan, Benjamin Banneker, Frederick Douglass, John Langston, W.E.B. DuBois, John Davis, John Lee (not Hooker), Charlotte Ray, Mary Ann Shadd Cary, Shirley Graham, William Hastie, Edger Nixon, Theodore Howard, Henry Flipper, J.H. Smith, Thomas Griffith, C.B. Scott...were not musicians. I love Blues...but I don't expect everyone to love it as I do. I wish more Blacks listened to Blues. But people have to move on and create new things. THERE IS STILL A LARGE BLACK BLUES AUDIENCE. The thing is, most Blacks and Whites don't party together... Also, keep in mind that music is entertainment, it's for partying! The Blues is an African-American art form. So is Jazz...and Rap...and Soul...and what ever music is in the future. Okay...I try not to post much but when things are really off base, I have to say something. Enjoy the Blues, but don't think that it can tell the whole Black experience or that it is Blacks greatest contri- bution to this country. If any of you are really interested in learning about Black culture, you will have to go much further than the Blues. ...saf...and don't get me started on some of these book you read... ========================================================================= Date: Fri, 23 Feb 1996 14:41:04 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: B H M apology I was obviously mistaken about the contributions that blacks have made. I will study more about it. I now understand why the blues have been left out. I kind of thought the blues played a major part of black history...It's not the first time I was wrong and hopefully won't the last time. LW btw: PW you were very civil and I appreciate that ========================================================================= Date: Fri, 23 Feb 1996 14:53:07 +0000 Reply-To: "David J. Wallace" From: "David J. Wallace" Organization: JSDA Subject: Re: Going No-Mail for A While... Comments: To: shannon oconnor Shannon Wrote: to see London, too. And hopefully not get maimed, injured, or blown > up by my over-zealous ancestral countrymen. > I'm gonna get torn to pieces for this I guess but I can't let it pass, no way, your countrymen are not over zealous they are peace loving people like any other. They just happen to have an organization, the IRA that claims, in the name of the people, with no elected mandate, that it has the right to murder, and their is no other word for it, in the name of freedom. The IRA has, and hopefully never will represent the views of the majority of people in Ireland. Sorry, but you hit a bit of a nerve here. BTW this is not in any way a personal attack, I'm sure your comment was purely in jest, it's just thats its not terribly funny right now. Apologies for the lack of blues content, David ********************************************************** Q>- Whats the difference between God and a pilot? A>- God doesn't think he's a pilot. ---------------------------------------------------------- Visit my Flying in the United States web page at: http://web.nexor.co.uk/users/jpo/av-usfly.html ********************************************************** ========================================================================= Date: Fri, 23 Feb 1996 21:02:10 GMT Reply-To: Stephanie Manna From: Stephanie Manna Subject: Florida gigs available/March Any blues national recording artists looking for gigs in Florida, I have March 1&2,15&16,29&30 available. Email me: bluemoon@usa.pipeline.com ========================================================================= Date: Fri, 23 Feb 1996 16:35:59 -0500 Reply-To: Kenhaub@AOL.COM From: Ken Haubrock Subject: different blues styles definitions - being new to this area, can anyone give me a rundown of the different styles that blues are played in (eg, delta, piedmont, chicago, ???) and the simple (is that possible?) definitions of each of these styles? any clue would be helpful. thanks kah ========================================================================= Date: Fri, 23 Feb 1996 15:38:43 -0600 Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: Texas Johnny Brown Last night I went to Billy Blues club here in Houston to be part of the celebtration for Texas Johnny Brown's 68th birthday party. Brown perfomed all night until the last set when he invited friends of his to join him on stage. If you ever get a chance to see Brown DON'T MISS HIM. He is an exquisite sweet man who performs and sings with a lot of soul. He played originals as well as covers including a George Benson tune that sounded just like the original but a twist of Texas blended into it. His keyboard player's name is Reinhart; don't know who he is, but he is absolutely amazing. The rhythm section comprised of Joe Griffin and Dan --- who kept a beat worthy of attention. Those of you who know something about Brown might know that he wrote the song "Two Steps from the Blues" which was made famous by Bobby "Blue" Bland. A show not to be missed! Nuri Nuri, Host/Producer "Blues Brunch", KPFT 90.1FM - Houston ========================================================================= Date: Fri, 23 Feb 1996 17:28:28 -0500 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: Black History Month Comments: To: L W In-Reply-To: LW, Black History Month is NOT for Blacks only. Suggestion: why don't you go to your local public school or library and offer a savings bond for the best essay on a legendary blues artist. A $50. certificate would set you back, maybe $30 or $40 dollars. Besides that, it's tax deductible. Let me know how it turns out. nitra On Fri, 23 Feb 1996, L W wrote: > THIS IS NOT INTENDED TO START TROUBLE OR RACE DISCUSSIONS: > > The month of February is BHM (or is it MARCH ?)...Anyway I thought it was in > February. There is a TOTAL lack of blues being mentioned in anything I've > seen or read about in my area. The "Promised Land" on Discovery has been the > only thing that had a touch of the music that BLACKS created. I'm very > disappointed in the black population HERE for not including, a MAJOR part of > their heritage in any of their programs. I don't mean to play down all the > contributions that blacks have made, but I honestly can't think of a more > important one that the MUSIC (could be my ignorance). THEIR music has shaped > all music since, from Billy Raye Cyrus to Micheal Jackson. SO WHY DO THEY > IGNORE IT....? It can't be because of the bad memories that it brings back, > because they do not ignore slavery during the month, nor the civil rights > movement. > > Should I have presented a program to local libraries on blues and the > contributions that it made to modern music. Has it got to the point, that it > takes a white person to educate THEM about THEIR heritage and music. > > I really don't understand why they ignore the BLUES....Has it been ignored in > your neighborhoods.....If it hasn't been ignored was it the blacks who > presented it or the whites.... > > LW 'very disappointed in the blacks in charge" > > btw: I used the term "blacks" because it is Black History Month and not Afro- > American History Month...Kind of hard to figure out sometimes for me > sometimes...If I'm wrong and it is Afro-American History month, my > apologies.... > ========================================================================= Date: Fri, 23 Feb 1996 17:28:48 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Liner Notes / Willie Dixon Comments: To: betholiver@LOOP.COM On 23 Feb 96, Beth Oliver had this to say: > In article <199602211645.IAA26434@desiree.teleport.com>, James Carmin > wrote: > > > Speaking of incomplete liner notes, I just picked up WILLIE DIXON's I AM > > THE BLUES (on Columbia) and I'm enjoying it a whole lot. > > > > And while Pete Welding's liner notes are interesting, the only mention of > > personnel is that Willie has a "hand-picked crew of Chicago blues > > veterans." > > > > Kind of a large flaw from an information POV. > > > > So Bluezellers: who's backing the Back Door Man on this disc? > > > > James C. > > jcarmin@teleport.com > > Funny you should mention this. I pulled out my copy of I AM THE BLUES > just yesterday and listened to it for the first time in about a year. > It's a great cd, but I'm frustrated at not knowing who is playing on all > of the songs. I would love to know who the other artists are. > > Beth Oliver My CD has full liner notes by Pete Welding but includes this listing: Willie Dixon, vocals, bass Walter "Shakey" Horton, harmonica Sunyland Slim and Lafayette Leake, piano (doesn't say who plays what cuts) Johnny Shines, guitar Clifton James, drums P.W. Fenton Tampa, Florida ------------------------------------------------------------- "Age is a question of mind over matter. If you don't mind, it don't matter." - Leroy Robert "Satchel" Paige, 1906-1982 When in cyberspace, visit my web pages at http://www.gate.net/~pwfenton/ ------------------------------------------------------------- ========================================================================= Date: Fri, 23 Feb 1996 22:24:33 GMT Reply-To: "Jennifer A. Zogott" From: "Jennifer A. Zogott" Organization: New York University Subject: Re: Info on Bill Perry Blues Band Comments: To: bit-listserv-blues-l@uunet.uu.net george morales (GEORGEM@VM.TEMPLE.EDU) wrote: : The local weekly paper here in Phila PA is advertising a show by : Virgin/Point Blank artist Bill Perry Blues Band : Has anyone seen them in concert? : TIA, : George : +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ : | | : | GEORGE MORALES GEORGEM@TEMPLEVM | : | COMPUTER AND INFORMATION SERVICES GEORGEM@VM.TEMPLE.EDU | : | TEMPLE UNIVERSITY (215)204-6866 | : | | : +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Yep. I like them a lot. Perry is a great guitarist, great singer, very charismatic performer. The album's good, too. Jennifer * * * "How many bubbles in soap? How many chews in gum? How many rolls in a wheel? Where did eyeballs come from?" - Screamin' Jay Hawkins ========================================================================= Date: Fri, 23 Feb 1996 17:55:23 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Black History Month No comment about some of the other things in original note, but in response to: >Should I have presented a program to local libraries on blues and the >contributions that it made to modern music. Has it got to the point, that it >takes a white person to educate THEM about THEIR heritage and music. Billy Branch and the Blues in the Schools program have done wonderful things with educating school kids about the blues in particular and music in general. In fact, he was just at our local community college on Tuesday performing for and playing with area school children. (Wish I could have been there!) The area I live in has a substantial Black population (the schools are 70% Black), so Black History Month is a big thing around here. The important thing, I think, is that it is celebrated by ALL people. (Btw, I don't like the "us" & "them" stuff either.) Karen (Thumper today) ========================================================================= Date: Fri, 23 Feb 1996 17:21:01 -0600 Reply-To: ".\\ark \\'atkins" From: ".\\ark \\'atkins" S R V Pi> From: "Rick Piering" Pi> or any tape for that matter. Any UNATHORIZED duplication of a Pi> cd/tape/album whatever is illegal, that's what copywrites are all Pi> about. Thus, making a tape of a cd that I purchased is illegal (I Pi> don't get consent from the record co.), but it been going on since Pi> recording devices have been made. I assume you meant to say "any duplication". This is wrong. It is perfectly legal for you to make a copy of a CD you have purchased, but only for your own private use. The only stipulation is that you can't sell it or give it away. Pi> of you been to a used record store and seen all of the bootlegs they Pi> sell for profit and I don't see any of those places being shut down. The FEDs shut down several in NYC in the last couple of months, and promise to shut down more if other retailers don't get the message. CD Now, for instance, got the message and promptly removed all bootlegs from its catalog. Pi> Furthermore, check out a magazine called "Goldmine" it is an Pi> exhaustive list of bootlegs for sale on everyone who ever recorded Pi> (with some exceptions). So your point is that if they are advertised they must be legal? Pi> I'm suree record co. wouuld be more concerned Pi> with those places, than with individuals dotted around the world. This is probably true. Pi> Last, I highly doubt any reecord company wouuld give authorization to Pi> contributing to such a tape for a whole mess of reasons. Plus, how Pi> many co. would have to be contacted and the amount of red tape would be Pi> drowning. Ditto. Pi> If someone wants to take on such a noble adventure, I'm sure you'll Pi> get a lot of "no"s. Now don't anyone take this the wrong way, I just Pi> don't believe the concern. OK, you are hereby nominated to distribute the tape ;). While some of the smaller labels might look the other way, I'd be willing to bet that the management and labels of major-players like David Bowie would have a slightly different view. But like you say, what they don't know won't hurt them. /----------------------- -=[ .\\ark \\'atkins ]=- -------------------\ | markw@telepath.com . | | mark.watkins@hotelcal.com . |\/| ----_ | | http://www.telepath.com/markw . =(--)=_____ \ | | FIDO 1:147/3101 . c___ (______/ | \--------------------------------------------------------------------/ ========================================================================= Date: Fri, 23 Feb 1996 18:22:55 -0800 Reply-To: Gail McIntosh From: Gail McIntosh Subject: Nashville Music Awards On February 21, The Nashville Music Awards were held at the Ryman Auditorium. It's an annual event that recognizes talent of all genres based in or with some kind of Nashville affiliation. Rounder recording artist Tracy Nelson won Best Blues Album of the Year with her release, "I Feel So Good." Since my list of award-winners is limited to Rounder artists, I'd appreciate seeing the comprehensive listing if anyone has it. thanks much. ___________________________________________________ ___________________________________________________ The Rounder Records Group gailm@rounder.com One Camp St. Cambridge, MA 02140 http://harp.rounder.com ___________________________________________________ ___________________________________________________ ========================================================================= Date: Fri, 23 Feb 1996 18:55:17 -0500 Reply-To: RsprBlues From: RsprBlues Organization: America Online, Inc. (1-800-827-6364) Subject: Springing the Blues Web Site Comments: To: bit-listserv-blues-l@uunet.uu.net Hi, blues fans! Springing the Blues -- an awesome festival in Jacksonville Beach, FL April 12-14 -- is debuting their web site! Check it out at http://www.springingtheblues.com Let me know what you think about it! Betsy Veal RsprBlues@aol.com ========================================================================= Date: Fri, 23 Feb 1996 19:07:43 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Nashville Music Awards Comments: To: Gail McIntosh In-Reply-To: I don't know the others but for anyone interested this is a take on the CD and also congrats to Ronnie Narmour, another feather Ronnie that you and Rounder deserve + I believe the Handy nomination too? Congratulations Gail - way to go! To all - this review is Ed Liu's. I'd love the mail but he gets the credit. TRACY NELSON - I FEEL SO GOOD (ROUNDER 3133) ROUNDER RECORDS CORP. ONE CAMP STREET CAMBRIDGE, MA 02140 BOOKING - RNA/RONNIE NARMOUR TEL: 512-416-1300 FAX: 512-416-1300 e-mail RNABooking@aol.com If you can really judge a person by the friends she keeps, then friends like Delbert McClinton, Al Kooper, Reese Wynans, and the Memphis Horns show that Tracy Nelson is clearly a musical force to be reckoned with. However, this wouldn't be too hard to figure out if she were singing solo in a one room country shack. Since her days with the legendary band Mother Earth, Tracy has been perfecting her blending of blues, rock, country, and R&B. This album, her follow-up to her 1993 Rounder release "In The Here And Now," puts her firmly and triumphantly back into the music world. Backed by a crack squad of instrumentalists, including the gentlemen mentioned above, Tracy delivers up a half-hour of solid blues and R&B. It's chicken soup for your soul, just what the doctor ordered if you think there's nothing new under the sun. However, I won't dare call this disc "satisfying" -- by the end of it, you're going to be kicking, screaming, and begging for more more MORE! Tracy Nelson is one of the finest living blues vocalists today, bar none. Listen to this disc and you'll find this, if anything, is an understatement. I WANT TO KNOW / I NEED ALL THE HELP I CAN GET / DON'T GO NO FURTHER / SEND ME TO THE 'LECTRIC CHAIR / WORDS UNSPOKEN / THE FOOL / I LIVE OFF THE LOVE YOU GIVE ME / I FEEL SO GOOD / MEET ME HALFWAY / LOVE WON'T COME NYCD Takes I WANT TO KNOW: A medium tempo number with an infinitely funky, Latin-influenced beat kicks off this disc. Tracy double-tracks her vocals, harmonizing with herself beautifully, and delivering the non-double-tracked portions of the track with fire and panache. Mike Henderson on guitar provides minimal guitar chords to accompany the superb drum work of John Gardner and Glen Worf's bass. Also, guest Al Kooper provides plenty of funk on keyboards. I NEED ALL THE HELP I CAN GET: Tracy takes a crack at a tune by Delbert McClinton about what hits in the wake of a deserted lover. Delbert's lyrics are wonderful, as always, reaffirming his status as one of the premier blues and R&B songwriters of our time. Tracy belts out the song with conviction, dropping her tough alto. She doesn't so much sing the song as attack it or dominate it, shaming it into submission. The presence of the Memphis Horns, Reese Wynans on acoustic piano, and Delbert McClinton himself on harp doesn't hurt, either. DON'T GO NO FURTHER: This classic by Willie Dixon gets the swing treatment by Tracy and the band. Tracy belts out the song with the same overwhelming power in her vocals as Muddy Waters had in the original. She sounds like a younger Koko Taylor, singing with the same force of conviction that Koko has. On this track, you'll hear a fire and a spirit that simply isn't found anymore. SEND ME TO THE 'LECTRIC CHAIR: Mike Henderson and Glen Worf trade in their electric instruments for a National steel and an upright for this spectacular invocation to the spirit of Bessie Smith. Tracy's vocal performance is staggering, rivaling any of Bessie Smith's own recordings. It's as if Bessie herself were transported to a modern day recording studio -- the only thing missing from the track is the surface noise. Nobody since Bessie could deliver a lyric asking for the death penalty without sounding foolish, but Tracy pulls it off wonderfully. WORDS UNSPOKEN: A tender, bittersweet ballad written by Tracy herself. Tracy shows a much more tender, vulnerable side for this recording, packing an immense amount of emotion into every word. She doesn't belt out the song as hard as she has on the previous tracks, opting instead to instill her vocals with many, many beautiful, subtle nuances. The band is down to a trio, with Reese Wynans on organ and piano, Michael Rhodes on bass, and John Gardner on drums. The smaller band really lets Tracy's vocals take center stage for a deeply moving, tremendously heartfelt, and simply gorgeous performance. THE FOOL: A variation on the "Smokestack Lightning" riff kicks off this slower, churning blues. Again, Tracy avoids the powerhouse approach, which would have come off as overblown. Instead, she delivers her vocals in a low, near-tenor register, keeping the volume down as well. The results are smoldering and tremendously sultry, filled with tension that releases itself only occasionally. She double-tracks her own background vocals again, sharing them with Rebecca Russell. John Gardner's drumming is worthy of special note again -- he sets a standard for lesser drummers to follow. I LIVE OFF THE LOVE YOU GIVE ME: This is a lean, country-inflected number. Tracy gets to deliver most of her vocals with only John Gardner's spare drumming behind her. She shows a tremendous amount of control in her vocals, adding just the right touches of vibrato. She also knows when to sustain the notes for maximum effect and when to really cut loose, belting out her vocals for punctuation. I FEEL SO GOOD: Delbert returns to provide harp for this Big Bill Broonzy classic. The band plays it as a straight 16-bar blues, providing a basic shuffle rhythm underneath Tracy's vocals. Tracy's vocals are more laid-back for this track, but still full of feeling. Mike Henderson provides both electric and National steel guitar solos, and Gary Nicholson provides a rhythm track with a second National. The older, steely tone of the Nationals in addition to Tracy's vocals add up to a real load of character for this track. MEET ME HALFWAY: A rollicking, blues-based rock number penned by John Hiatt, another wonderful modern songwriter. Tracy's performance is straightforward, but richly detailed and wonderful. A full complement of three backup singers let Tracy add an extra layer to the chorus section, adding to the vocals the same way the Memphis Horns added to the instruments on the second track. Al Kooper and Reese Wynans get to duel and play off each other on keyboards. Mike Henderson also provides some wicked electric slide. LOVE WON'T COME: One last, tender ballad to this all-too-short disc. Be warned -- this track packs a heavy emotional wallop. Tracy's vocals are gospel-tinged, gentle and deeply moving as she sings forlornly about loneliness. She trades off with Maura O'Connell, who provides some vocals as wonderfully moving as Tracy's. The two of them singing together can bring tears to your eyes. The Memphis Horns return, and the effect of hearing them behind these two singers (and Rebecca's backup) is heart stopping. Reviewed by Edward C. Liu Copyright NY CD Blues @1995-1996 All Rights Reserved. Unauthorized use prohibited. NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sat, 24 Feb 1996 01:42:55 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: red house Comments: To: bit-listserv-blues-l@uunet.uu.net In article Guy Tapper writes: >>There are so many versions of the song red house by hendrix. I would >>like to know just how many versions there are total off this song Somewhere around this house I have a flexi-disc 45 of Red House which came in a magazine, Guitar Player maybe. It was said to have not been issued anywhere before. I can't remember what the source of this version was... hidden too deep in the archives and the recesses of my mind. Art Schuna ========================================================================= Date: Fri, 23 Feb 1996 19:56:29 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: different blues styles definitions - In-Reply-To: <960223163556_331064188@mail04.mail.aol.com> On Fri, 23 Feb 1996, Ken Haubrock wrote: > being new to this area, can anyone give me a rundown of the different styles > that blues are played in (eg, delta, piedmont, chicago, ???) and the simple > (is that possible?) definitions of each of these styles? > any clue would be helpful. [Folks, bear with me. Most of us have seen these answers before, so I'm going to take a weak stab at humor. For *real* info about this, check out http://www.vivanet.com/~blues/rural.html if you are webbed.] As many people on this list already know, there are many different types of blues. The oldest form is thought to be the Delta blues, which came from ancient Greece. According to _The_Legend_of_Bursitis_ by Fesces, there were three forms of blues older than this: Alpha blues, Beta blues, and Gamma blues. However, it is unknown whether these blues really existed or are used as a way for historians to get grant money. Another form of blues, common in these parts, is the Piedmont blues. This arose when the federal government deregulated the airline industry, resulting in some airlines going out of business. The first to go out of business was Piedmont Airlines, hence the name. The Piedmont blues followed the migration north to DC, in hopes of feeding at the public trough, but there they ran into the DC blues. Now, DC is not normally known for the blues, mainly because Washington acts as a carrier for the blues, like Typhoid Mary, especially as we approach April 15. The Chicago blues is found amongst twenty-eight basketball franchises who know they have no chance for homecourt advantage throughout the NBA playoffs. I myself have the blue jean blues; I cannot find a pair of Levi's in my size, since they are all being worn by 5'6" junior high kids who, from what I gather, think it trendy to carry their packed lunch in their trouser crotch. The St. Louis Blues are not really the blues, but they can still play spoiler for the Stanley Cup. The Texas blues is really popular now that the Southwest Conference is merging with the Big 8. However, this blues requires paying thousands of dollars to football players who can't read all the numbers on the gear shift knob of their free car so only drug dealers and politicians can afford this. (In the DC blues, the line between these two classes of people tend to blur.) There is the white boy blues, which is commonly found amongst longtime blues fans who like Stevie Ray Vaughan but despise him for all the no-talent child prodigies and wannabes he gave rise to. Surprisingly, there is also British blues. This can take two forms. The first form is found amongst the British themselves, and is thought to arise from the food. The second form of British blues is found amongst blues fans and their problems with people who shout "Dude!", "Clapton is God!", and "Be quiet, _Baywatch_ is on!" The second type of British blues is thought by many to be an earlier form of white boy blues. [If I offended someone, I apologize. Well, not really.] T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "You've got to inspect your horn, boy." 'And wash it every day.' - Crow, MST3K ("Mr. B. Natural") ========================================================================= Date: Sat, 24 Feb 1996 01:56:26 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Syl Johnson? Comments: To: bit-listserv-blues-l@uunet.uu.net In article Pat Hertel writes: >Date: Thu, 22 Feb 1996 18:12:26 +0000 >From: Pat Hertel >Subject: Syl Johnson? >On Thu, 22 Feb 1996, Ranko Vujosevic wrote: >> These days I can't get enough of new Syl Johnson on Delmark >> and all three Byther Smith CDs I have. >> >> > I can't get enough of Byther Smith but I know nothing >of Syl Johnson. How do they compare? They are like apples and oranges, but then I happen to like both apples and oranges.... Enough frivolity. I am a real fan of Syl's early work for the Hi label. I was really excited when I saw he was coming to Madison. In fact, I encouraged a bunch of friends to join me on the Memorial Union Terrace on the Lake Mendota shore to drink a few beers and see him. Unfortunately, he had the worst band backing him possible. I don't know what the story was behind this, but it really was not a pretty sight or sound. This was shortly after the Delmark release and that discouraged me from buying it. After seeing multiple favorable posts to blues-l and Ranko' s recommendation above I finally got around to buying it...TONIGHT! When I got home, it was the first thing I did after openning the door (and walking my 2 dogs, of course). Let me tell you this is one fantastic disc - it's every bit as good of his Hi record work. Recommended for any blues or soul/ blues fan. Don't wait 6-8 months like I did. Byther is very good also. I pretty much buy everything I find by him without waiting for the reviews. It's just a different style of blues. Art Schuna ========================================================================= Date: Fri, 23 Feb 1996 21:10:58 -0500 Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Some of the Best "debuts" Comments: To: bit-listserv-blues-l@uunet.uu.net In article Barry Silverberg writes: > Vance Kelly - Call Me (Wolf #120.877) > Does anyone know what he is up to. Yes, I do. He's playing the Memorial Union in Madison this evening and it's free. You can bet I'll be there. Bonnie told me she'll be there. Art Schuna ========================================================================= Date: Fri, 23 Feb 1996 18:33:25 -0500 Reply-To: David Melton From: David Melton Subject: Re: One Bluesman's Disaster Comments: To: James Leftwich At 2:09 PM 2/23/96, James Leftwich wrote: >On Thu, 22 Feb 1996, Pat Hertel wrote: > >> This includes several instruments and, perhaps most >> devastating of all, a blues collection comprised of >> more than 4000 recordings, many of which are irreplacable. > >Seems we need a good new thread... > >So, what if your cd/tape/lp collection was lost to fire. What are the >first five recordings (they have to be in print) you would start your new >collection with? > >Jim Leftwich >leftwich@cloud9.net >"I'm on cloud9!" :) > > ======================================================================== I don't want to throw water on the fire or anything, but when I think of losing my stuff in a fire I can't get past the feeling sick in my stomach. I guess I'm just too imaginative. :) Dave Melton ========================================================================= Date: Fri, 23 Feb 1996 16:48:52 -0500 Reply-To: "Margaret B. Ober" From: "Margaret B. Ober" Subject: Black History Month LW wrote of Black History Month programs: > I really don't understand why they ignore the BLUES... A few weeks ago, when BB King spoke to the National Press Club, he lamented the lack of interest in the blues among young African Americans. He seemed (this is from memory, so don't flame me if I get it skewed) to think that they were not interested in the "old folks' music" that their grandparents had listened to. Is it possible that those putting together BHM presentations have this same point of view? If so, it's a damn shame. Talk about ROOTS! just about $0.015 Maggie ========================================================================= Date: Thu, 22 Feb 1996 19:58:07 GMT Reply-To: Jack Oudiz From: Jack Oudiz Subject: Re: "Who is obsessing you?..." Comments: To: bit-listserv-blues-l@uunet.uu.net Someone mentioned Byther Smith...what an underappreciated monster. The lean, mean killer himself. You really want to appreciate the man read the liner notes to I'm A Mad Man, not the usual hype but pure literature in the best Robert Palmer tradition. Myself I can't get enough of the Earwig Louisiana Red release. Makes my loins quiver baby. Take your hand off my pocket Take your eyes off my whiskey at the bar ========================================================================= Date: Fri, 23 Feb 1996 22:59:40 -0500 Reply-To: Meadors From: Meadors Subject: Smallness Comments: To: mwegsche@LIBBY.RBLS.LIB.IL.US You write: >****************************************************************** >"Because, after all, a person's a person, no matter how small." > ----Horton >How 'bout this: "You're never too small to hit the big time" ---- Webb Wilder (idol of idle youth and the last of the real he men) > Mike Meadors Orange3@gnn.com ========================================================================= Date: Fri, 23 Feb 1996 23:15:46 -0500 Reply-To: BLUESROCCO@AOL.COM From: Jim Rocco Subject: Fender Quad Reverb Any Opinion? Selling my '68 Quad Reverb. I'm orignal owner. Clear sound all volumes. No rips or stains. What the heck is it worth? ========================================================================= Date: Fri, 23 Feb 1996 22:40:59 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Black History Month At 3:48 PM 2/23/96, Margaret B. Ober wrote: >A few weeks ago, when BB King spoke to the National Press Club, he lamented >the lack of interest in the blues among young African Americans. He seemed >(this is from memory, so don't flame me if I get it skewed) to think that >they were not interested in the "old folks' music" that their grandparents >had listened to. >Is it possible that those putting together BHM presentations have this >same point of view? If so, it's a damn shame. Talk about ROOTS! Every time this thread comes up, I keep thinking, well - but then, I don't listen to any Klesmer music, and "Bie mir bis du schoen" (sp? for all of it) is the closest I ever get to roots music of MY people. LW, assuming that Watkins is an English name, do you listen to many madrigals? Margaret (if Ober is a German name), do you listen to much old German music? For most of us reading Blues-L, our favorite music is not that of our particular ethnic group. Why "should" African-Americans be any diferent? Each generation, of whatever ethnic group, has to find it's own music and other forms of art. David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Fri, 23 Feb 1996 23:38:38 -0600 Reply-To: Timothy M Dellinger From: Timothy M Dellinger Subject: Re: R. Johnson Transcriptions In bit.listserv.blues-l you write: >Can anyone tell me which book they believe has the most faithful >transcriptions of Robert Johnson's songs? I'm specifically referring to >TAB/Notation for guitar. I am particularly fond of Scott Ainslie and Dave Whitehall's book published by Hal Leonard. (HL00694799). It is complete, accurate, and has good essays and pictures in the front. -- -- It is a miracle that curiosity survives Tim Dellinger formal education. -Albert Einstein tdelling@uiuc.edu ========================================================================= Date: Thu, 22 Feb 1996 23:34:32 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Little Charlie and The Nightcats Friend of mine was selling some CDs that he had leftover from his days working at a radio station. I noticed he had Little Charlie and The Nightcats' "Night Vision." I had heard good things about the band so I gave hin 5 bucks and he gave me the CD. I took it home and I'm quite impressed. Good lyrics and great songs. Very impressed by the guitar of Little Charlie Batty. He has managed to distill his influences into a personal style that is quite refreshing to hear in today's market of SRV wanna-be's. I have the Alligator 20th Anniversry Collection and I remember their contribution was quite good. Other reccomendations? BTW, will going to see Rosie Flores, the upcoming Rockabilly/Country artist. Have heard really good things about her and she is playing here in Hollyweird and a friend has agreed to go with me (I *hate* going alone). I'll try and post a review (yeah, it's not really blues but there will be a heavy blues influence if she takes after early Wanda Jackson). Alber Lee is also on the same bill. I should come out of there sufficiently humbled as a guitarist. Rosie is supposed to be a mean guitarist to boot. Can't wait. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 22 Feb 1996 23:34:49 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: One Bluesman's Disaster James Leftwich wrote: >So, what if your cd/tape/lp collection was lost to fire. What are the >first five recordings (they have to be in print) you would start your new >collection with? First thing I would do is sit down and cry. Seriously. For blues albums (I have a lot of other stuff as well) I would go out and buy Magic Sam "Live", Son House "The Columbia Recordings" and a lot of beer. Next on the list would be RL Burnside's "Too Bad Jim", Muddy Waters', "Hard Again" and Magic Sam's "West Side Soul." Then a whole lot more beer. Man this thread scares me just thinkin' about it. Chills up and down my spine. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 22 Feb 1996 23:34:59 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Drugs in the early Delta Barry Bean wrote: >I can't speak to the second question, but up here in the North end of the >Delta, every farm boy knew that there was some sort of "weed" that would >get you high in the 20s. There is a comedy tune called "Wildwood Weed" that sounds like it was based on this. It's a country tune that is a parody of the country standard "Wildwood Flower." Fun song. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 22 Feb 1996 23:35:03 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Composing Solos and Robert Johnson Heard an interesting theory about Robert Johnson today. A friend told me that he had heard that the solos on Robert Johnson's recording were more than likely composed. The evidence being that the alternate takes are very similiar to the originally released tracks. Comments? Next question to all you "improvisors" out there. How much actual improvising do you do? In blues and jazz I tend to improvize all the time i.e. each time I play the same song I never play the same thing twice. In the rock bands i play in I tend to "compose" the solo. After jamming on the songs for a while I keep the licks that sound best and make only small changes during the solo section. I recently laid down tracks on a demo and for the solo I too three takes which were generally the same. As it was a rock song with specified solo break I worked out something that (hopefully) created some excitement and led back into the tune. My theory is that rock is limited to a degree in terms of soloing (unless it Hendrix). Stay with the stuff that works. Blues, to me, offers a lot more freedom, even if it is just one chorus. Blues is a little more flexible. If you need an extra chorus it is easy to add one in. Just IMHO. Comments? Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sat, 24 Feb 1996 08:55:32 GMT Reply-To: tdevit3@NEWS-S01.NY.US.IBM.NET From: tdevit3@NEWS-S01.NY.US.IBM.NET Subject: Gatemouth Brown on Gitanes Comments: To: bit-listserv-blues-l@uunet.uu.net Just to hand...new Gatemouth Brown 'Long Way Home'...excellent diverse material and guests include EC, Ry Cooder, Sonny Landreth, Leon Russell, Maria Muldaur, Bobby Charles ..and John D Loudermilk on guess what. As well, the backing band is the great Amos Garrett, Willie Weeks, Jim Keltner, Bobby Campo, George Bitzer and Teddy Jack. ========================================================================= Date: Sat, 24 Feb 1996 04:24:52 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: gary primich I got a chance to see good ol' Gary Primich last night at the Blue Cat in Dallas and had a fine time as always. Gary and the boys put on a fine show and you should catch them if they come your way. Gary will be back in the studio in May to cut his next CD. This time for Blacktop. Tonight E.C. Scott. Don O. ========================================================================= Date: Sat, 24 Feb 1996 04:52:56 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: dfw only If you're outside the Dallas/Fort Worth area please ignore. Once again I'm going to harangue y'all about upcoming road shows that deserve your support. I'm not associated with any of these venues or artists, but I will probably be at all of these shows and I'd like to see some of our many local blues-l'ers there, too. As always, these are subject to change so call ahead and check your local listings. Jimmy Johnson (not the football coach with the hair-The BLUESMAN) March 2, J&J in Fort Worth Smokey Wilson March 8, Blue Cat in Dallas Smokey Wilson March 9, J&J Sonny Rhodes March 14, Blue Cat Sonny Rhodes March 16, J&J Lee McBee (his birthday) March 22 & 23, Blue Cat Taj Mahal April 4, Caravan of Dreams in Fort Worth Mem Shannon April 12, Blue Cat Coco Montoya April 20, Blue Cat Jimmy Rogers and Long John Hunter are tentative at the Blue Cat in May Don O. ========================================================================= Date: Sat, 24 Feb 1996 11:26:25 +0000 Reply-To: dirk vanhove From: dirk vanhove Subject: 10 is enough (WAS : Most essential blues albums of all times) Hi blues -fans, I'm repeating my *acute* problem. See below. Thanks Joel, Steve and Stephen for quick response. Sorry Terry and Debra, I can't help you with a nice list of albums - not yet. Therefore I am repeating my question a second time. This time a hit of 10 album titles would be nice (This should make it easier for people willing to respond but getting worn out by hard thinking.) Thanks in advance On 17th of February I wrote: >Hi everybody, > >My predicament: I'm working in a local public library that also offer compact discs to its patrons. Up till now our blues collection ( 200 items) was built in a somewhat haphazardly way. I'd like to change this situation as soon as possible (deadline is March 1st). Therefore I call in help of specialists. I'd like to build up a list of *the most essential blues albums of all times* i.e. the albums that should be in anybody's collection in order to have a decent idea of what the genre is all about . > Only two conditions: 1) max. 20 items (lack of money, you see) 2) albums must be currently available on compact disc. >Undoubtedly there should be *specialists* on this list who are willing to give a newbie (on blues and on the net) some sound advice. > >Mail your suggestions to my personal e-mail address, please. > >dvhove@unicall.be > ========================================================================= Date: Sat, 24 Feb 1996 10:43:01 -0300 Reply-To: Hudson Carvalho Bianchinni From: Hudson Carvalho Bianchinni Subject: Re: Free VENT CD Comments: To: L W In-Reply-To: On Fri, 23 Feb 1996, L W wrote: > I have a cd on VENT records. It is the POUNDERS and they are rock/blues. It's > not my thang. If you like ROCK (with some blues) you will like it, if you > don't like that kind of stuff please do not respond.... > > Free to the first one to respond private mail > > LW > I WANT IT!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Bluzsudson. ========================================================================= Date: Sat, 24 Feb 1996 08:08:55 -0500 Reply-To: Jabsood From: Jabsood Organization: America Online, Inc. (1-800-827-6364) Subject: Michael Powers ? Comments: To: bit-listserv-blues-l@uunet.uu.net Hello Folks, There is an exceptionally gifted guitarist by the name of Michael Powers who plays a Hendrix style blues. He performs in various clubs in NYC. I'm wondering whether people have heard of him outside of the city's blues enthusiasts ? I've heard that he is a prominent name but I want to verify that. BTW - I recommend him wholeheartedly to any blues affectionado. The man will not disappoint you. Regards, John ========================================================================= Date: Sat, 24 Feb 1996 08:44:43 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Michael Powers ? Comments: To: Jabsood In-Reply-To: <4gn2l7$sgj@newsbf02.news.aol.com> John, I am trying to determine if there are 2 Michael Powers in NYC. I know of one who plays at Terra Blues and the shows I saw was just him and an acoustic guitar - not Hendrix style at all. I know he also does a show there with a band & not solo - is his band show Hendrix style or are there 2 MP's in NYC. Obviously I have not seen his band show, just his solo acoustic one. Barry On Sat, 24 Feb 1996, Jabsood wrote: > Hello Folks, > There is an exceptionally gifted guitarist by the name of Michael Powers > who plays a Hendrix style blues. He performs in various clubs in NYC. I'm > wondering whether people have heard of him outside of the city's blues > enthusiasts ? I've heard that he is a prominent name but I want to verify > that. > BTW - I recommend him wholeheartedly to any blues affectionado. The man > will not disappoint you. > Regards, > John NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sat, 24 Feb 1996 08:37:15 -0500 Reply-To: Jon Duttweiler From: Jon Duttweiler Subject: Re: Black History Month Comments: To: davidis@INTERACCESS.COM At 12:08 AM 2/24/96 GMT, you wrote: >Every time this thread comes up, I keep thinking, well - but then, I don't >listen to any Klesmer music, and "Bie mir bis du schoen" (sp? for all of >it) is the closest I ever get to roots music of MY people. > >snip< > >For most of us reading Blues-L, our favorite music is not that of our >particular ethnic group. Why "should" African-Americans be any diferent? > Good point, David. However, when I go to an Oktoberfest celebration I listen to German music and, generally, drink German beer and, always, eat German food (and yes, "Duttweiler" is a German name - 4th generation immigrant!). I usually don't make a big deal of *my* ethnic roots, but when it's appropriate I try not to leave any of it out! JD ========================================================================= Date: Sat, 24 Feb 1996 08:37:11 -0500 Reply-To: Jon Duttweiler From: Jon Duttweiler Subject: Re: Black History Month Comments: To: mbo@AVERY.MED.VIRGINIA.EDU At 10:28 PM 2/23/96 GMT, you wrote: >A few weeks ago, when BB King spoke to the National Press Club, he lamented >the lack of interest in the blues among young African Americans. He seemed >(this is from memory, so don't flame me if I get it skewed) to think that >they were not interested in the "old folks' music" that their grandparents >had listened to. >Is it possible that those putting together BHM presentations have this >same point of view? If so, it's a damn shame. Talk about ROOTS! > >just about $0.015 Living in what has been called the "capital" of the "new South," an area if not dominated, then certainly heavily influenced by its black population (the population of the City of Atlanta itself is overwhelmingly black, with the local government reflecting that representation) I can tell you that, while not a central focus of the month, the blues is certainly recognized, along with jazz, as an important aspect of black america's cultural legacy. My family and I were in a local Media Play (a combo music/video/book/software store) which had a prominent display of material centered around the BHM theme. A couple of the books were about blues and also in the display were some blues CDs, notably Atlantic's Blues box set, a Bessie Smith box (one of the volumes in Sony's series) and some other generic blues box set. I was very heartened by the prominent presence blues had, as I was disheartened that my wife and I were the only people of a "pale complexion" perusing the display. Anyway, the blues is *not* forgotten in this part of the South! JD ========================================================================= Date: Sat, 24 Feb 1996 13:41:05 GMT Reply-To: mckenzie@ipcs.demon.co.uk From: "Ian K. McKenzie" Subject: Eric Clapton (no strings!) I though some of you people might be interested in the following poem which was published in The Independent, a national daily newspaper in the UK. Clapton just started his two weeks (or whatever it is) at the Albert Hall. Clapton at the Albert Hall by Martin Newall, Independent Feb 23, 1996. As "Slowhand" in the Yardbirds Then Cream, he could enthral. His wah-wah wacking Worship Gave blues an overhaul. He didn't dance around much He hardly changed a string, He made a classic, Layla - I bought the bloody thing. Now several bearded teachers Of geography and science All want to watch him wielding His wood and wire appliance. And every time it happens, Their families say its odd So many menopausal men Still think of him as God. And so for twelve nights only A rough return to roots The blues, as played by white men In beige Armani suits. Get corporate nostalgic Arrange to book a stall And see how many trolls it takes To fill the Albert Hall. *********************************************** Ian K. McKenzie University of Portsmouth England *********************************************** ========================================================================= Date: Sat, 24 Feb 1996 09:45:29 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: One Bluesman's Disaster James Leftwich wrote: > > >So, what if your cd/tape/lp collection was lost to fire. What are the > >first five recordings (they have to be in print) you would start your new > >collection with? I'd replace my boxed sets (assuming the insurance paid up) starting with ... Willie Dixon Chess Box Muddy Waters Chess Box Stax Volt Singles Volume 1 Louis Jordan: Let the Good Times Roll If I were limited to single CDs, I'd have a very hard tme deciding. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Sat, 24 Feb 1996 09:36:26 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Composing Solos and Robert Johnson Comments: To: shaun@WAVENET.COM On 22 Feb 96, Shaun T Cronin had this to say: > As it was a > rock song with specified solo break I worked out something that (hopefully) > created some excitement and led back into the tune. My theory is that rock > is limited to a degree in terms of soloing (unless it Hendrix). Stay with > the stuff that works. > > Blues, to me, offers a lot more freedom, even if it is just one chorus. > Blues is a little more flexible. If you need an extra chorus it is easy to > add one in. > > Just IMHO. Comments? Shaun, I think you may have inadvertently nailed precisely what, in my opinion, has gone _wrong_ with "contemporary" Blues. A coherent solo that generates some excitement and then, as you say, leads back into the song, is what makes the recordings of post-war Chicago Blues so great. A meandering, lengthy, dynamically narrow, but gymnastic exercise in guitar aggression is what Blues soloing has become. Contemporary Blues musicians are fond of the assumption that the time restraints of disc cutting equipment are what kept early Blues solos to such a short length. I'm not so sure that was the case. I believe that early Bluesman realized that, in a recording, of a musical form that is as intrinsically repetitive as the 12 bar - I, IV, V progression, a long and wandering solo becomes a crashing bore. A solo that may be perfectly appropriate in a room full of happy, sweating, dancing, and drinking individuals, is entirely inappropriate in the permanent recording of a song. When you listen to something like the Howlin' Wolf Box set you hear recordings of some of the best guitar solos on record. Most of them last no more than one verse, yet they are exciting, inventive, coherent, and propel the listener along the path set by the song. Today, when you listen to the work of some of the "young guns" we have been discussing here lately, you hear long demonstrations of 6 string acrobatics that are occasionally interrupted by brief snatches of "song". To me, that represents the "wrong turn" that much of contemporary Blues has taken. The sad part for me is that, for the most part, this has been the "white" contribution to the Blues. The "Hoochie Coochie Man" is now the "guitar gunslinger". It is no wonder to me that African Americans have turned to other musical forms to convey their messages, and entertain. P.W. Fenton Tampa, Florida ------------------------------------------------------------- "Age is a question of mind over matter. If you don't mind, it don't matter." - Leroy Robert "Satchel" Paige, 1906-1982 When in cyberspace, visit my web pages at http://www.gate.net/~pwfenton/ ------------------------------------------------------------- ========================================================================= Date: Fri, 23 Feb 1996 10:13:57 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Anyone else dislike the way these messages come across or is it my server? All my BLUES-L messages come in as coming from (owner) BLUES-L. THere never is a subject line (unless it simply says reply), and i am forced to look at all the computer lingo listing the 2334992 servers that the message went through to get to me, read the entire message to even find out who wrote the post. IS this a new thing for BLUES-L? Or has my server somehow changed its format? Please respond to me privately.... thanks, delta doc roger ========================================================================= Date: Sat, 24 Feb 1996 15:15:06 GMT Reply-To: Patrik_Urbansson@online.idg.se From: Patrik Urbansson Organization: IDG Online, Stockholm, Sweden Subject: Swedish Blues Festival The third Monsteras Blues Festival (Sweden) will be held 16-18 May. Artist lineup: Fabulous Thunderbirds feuturing Kim Wilson (USA), Louisiana Red Bluesband (USA) featuring Sven Zetterberg (Sweden), The Holmes Brothers (USA), L.A Jones (USA), Sam Mitchel (GB), Pelle Lindberg & The Bluesblasters (Sweden), Al's Bluesband (Sweden), Blue Hammer (Sweden), HP-Lange and Thomas Holm (Denmark), Homesick Mac (Sweden), Bluesrockers feuturing Janne Sjostrom (Sweden), Tor Einar Jacobsen (Norway), Johnny Augland (Norway), J'Jivers (Sweden), Jake and the Spitfire (Sweden), The Instigators (Sweden), Wollves (Sweden), Monsteras Bluesband (Sweden), HOBO Bluesband (Sweden), Wentus Bluesband (Finland), Trick Bag (Sweden) and On Cue (Sweden). Patrik ========================================================================= Date: Sat, 24 Feb 1996 10:41:17 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1927 the Memphis Jug Band completed their first recording session in Memphis (for Victor), Will Shade, Ben Ramey, Will Weldon, and Charlie Polk record Sun Brimmers Blues. (contributed by Tom Freeland) On this day in 1996, P.W. Fenton & The Second Ward will open for Blues Legend James Cotton at one venue, quickly pack up, drive 15 miles, unpack, and then play at a second venue till closing time. P.W. Fenton Tampa, Florida ------------------------------------------------------------- "Age is a question of mind over matter. If you don't mind, it don't matter." - Leroy Robert "Satchel" Paige, 1906-1982 When in cyberspace, visit my web pages at http://www.gate.net/~pwfenton/ ------------------------------------------------------------- ========================================================================= Date: Sat, 24 Feb 1996 16:03:52 GMT Reply-To: Lily Sazz From: Lily Sazz Organization: Trailblazers Subject: HAMILTON Charity Jams Comments: To: bit-listserv-blues-l@uunet.uu.net I have posted this on behalf of the Frendz For Charity band. Some of us Trailblazers have been there for the last 2 weeks in a row, and can attest to the fact that this is a very happenin' jam, and Ivorys is a lovely place. Great way to spend a cold winter's Sunday afternoon. - Lily Sazz trailblazers@hookup.net http://www.hookup.net/~lilysazz/ "FRENDZ FOR CHARITY" and the GOOD SHEPHERD CENTRE HOST LIVE MUSIC IN HESS VILLAGE EVERY SUNDAY AFTERNOON! Come on out and enjoy an afternoon of Blues, Rhythm and Blues, and good ol' Rock 'n' Roll music with the "FRENDZ and special guests band" .... all seasoned professional musicians. At the same time, you can help the Good Shepherd Centre provide food and clothing for the less fortunate in our community. When: Every Sunday afternoon Time: 2:00 P.M. to 5:00 P.M. Where: Ivorys Restaurant, 25 Hess St. S, Hess Village, downtown Hamilton Ivorys restaurant is located on Hess Street - just north of Main Street - from the Q.E. take the Main Street East exit - Hess crosses Main about 2 kilometres east - turn left on Hess - Ivorys is on the right in the 2nd block. The food at Ivorys is excellent! - So's the music... If you miss that good ol' blues sound, come on down and join us for an afternoon of good times and fun... and help out your less fortunate neighbours. Cash donations or non-perishable food items welcomed. (Tax receipts will be issued for all cash donations $10.00 and over) For further information contact: Mike Dowson (905) 333-3304 (Burlington) ========================================================================= Date: Sat, 24 Feb 1996 16:27:29 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Vance Kelly Show Review Comments: To: bit-listserv-blues-l@uunet.uu.net First of all I have to say I really like Vance's Wolf release, "Call Me". With that said, Vance's show last night wasn't all that great. He got off to a bad start by showing up 20 minutes after his starting time. The band quickly got their gear on stage (I was actually amazed how quickly this was done). I would say his show was only about 1/3 blues - the rest being Motown, Stax R&B and other assorted dance tunes. The blues he played was very well done and he clearly demonstrated the chops he displays on CD. His set list included My Girl (Smokey Robinson & Miracles), Mustang Sally ( Wilson Pickett), a medley of Kansas City/Sweet Home Chicago, the Kit Kat candy bar commercial, She'll Be Comin' Around the Mountain, Night Shift and Superstition (Stevie Wonder). A highlight for me was a blues song with the line "I came home one morning to find my baby making love with the garbage man". Not a pretty sight, if you think about that one awhile. But great blues. This tune seemed familiar to me - does anyone know the title and who might have originally performed it? I'd also be curious to know if this is Vance's usual play list or if he felt he need to insert a lot frat rock dance music for the college crowd. A lot of people were dancing, but then they also were dancing for Willie "Big Eyes" Smith and Magic Slim at prior weeks' shows performing more traditional blues. Art "hell, maybe I'm just a purist" Schuna ========================================================================= Date: Sat, 24 Feb 1996 20:01:41 GMT Reply-To: "Dena A. Whitebirch" From: "Dena A. Whitebirch" Subject: Re: Blues @ SXSW (Austin) Comments: To: bit-listserv-blues-l@uunet.uu.net Jeff Seale wrote: >Here's a preliminary list of blues bands that will be at SXSW in Austin >March 14-17 >Kenny Wayne Shepherd (oops, I said blues, didn't I?) :-) What format would you call Kenny Wayne Shepherd? ========================================================================= Date: Sat, 24 Feb 1996 12:26:40 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Garbage Man Blues Comments: To: Art Schuna In-Reply-To: Art, That title is standard fare for Phil Guy. He does it on his JSP CD's and on brother Buddy's JSP CD's as well. I can not say though who did it first - but he does do it. Barry NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sat, 24 Feb 1996 12:29:01 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Vance Kelly Show Review Comments: To: Art Schuna In-Reply-To: My feeling from his Wolf disc was that he was pretty rounded as a performer and liked to set the place to dancing. My 1st pick on his CD is Wall to Wall which certainly gets the feet to moving. Don't recall off hand but memory says that a few other tracks on that CD were equally dance oriented. Barry NY CD Blues - at http://www.island.net/~blues/nycd.html 1. New Reviews weekly + DISCOUNTS ON CD'S direct from the labels. 2. COME AND PLAY the new NY CD BLUES SCRAMBLE - WIN SOME CD'S!!!! Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sat, 24 Feb 1996 12:32:12 -0500 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: Vance Kelly Show Review Comments: To: Art Schuna In-Reply-To: On Sat, 24 Feb 1996, Art Schuna wrote: > First of all I have to say I really like Vance's Wolf release, "Call Me". > With that said, Vance's show last night wasn't all that great. > A highlight for me was a blues song with the > line "I came home one morning to find my baby making love with the garbage > man". Not a pretty sight, if you think about that one awhile. But great > blues. This tune seemed familiar to me - does anyone know the title and who > might have originally performed it? The song is "Garbage Man Blues". Maurice John Vaughn does a great version of it on his album GENERIC BLUES, but I don't know if his is the original. Muddy Waters also did a "Garbage Man Blues" about his baby running off with the garbage man. A sample of the lyrics: I don't know where she is I don't know where she's going Come back to me, baby My can is overflowing Brenda Bogert Louisville KY ========================================================================= Date: Sat, 24 Feb 1996 13:27:11 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Women harmonica players Phew-thanks to all who provided names of women harmonica players. More than a dozen posts (on the list and privately) mentioned Little Annnie Raines, one or two mentioned Gaye in Saffire; one mentioned Grace Brim. Thanks to all who responded; the messages have been forwarded to Saturday Nights Blues' Holger Petersen. It seems there's a huge gap here that needs filling-if there's only one "full-time" female blues harmonica player active in North America, there's an opportunity for people like Ms. Parrish and Ms. Norton, who with hard work, study, and application, should be able to learn what is (they tell me) a relatively easy instrument to play (although harder to play well). Then we can launch them with a major publicity campaign (I'm up for it) on Blues-L and on the Saturday Night Blues radio show up in Canada (this connection is a given). Let's see if we can encourage a new woman blues star on what is apparently, for women, a rare instrument. Meanwhile, I'm off to the store to find a Little Annie Raines record. Richard the Elder ========================================================================= Date: Sat, 24 Feb 1996 12:38:54 -0600 Reply-To: Scott Ferman From: Scott Ferman Subject: Blues Interview on the Radio - Sunday morning On Sunday morning, 2/25 NPRs Weekend Edition is supposed to have an interview with Bo Diddley. He is receiving a lifetime achievment award from a blues organization (I didn't catch which one). There are also supposed to be interviews/discussions with/about the other current year award winners. (Long John Hunter last Saturday, Gary Primich last night, E.C. Scott tonight, Smokey Wilson next weekend. It has been a wonderful year for live blues in DFW. You can keep your wannabes, this is the real stuff!) Scott Dallas, Texas ========================================================================= Date: Sat, 24 Feb 1996 10:38:21 -0800 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Subject: Re: One Bluesman's Disaster I had the same thing happen (rip-off tho - not a fire....) My Insurance co. very kindly agreed to replace with "like title" - and in the case of over 400 blues CDs and sets, they only failed to replace 5 or six....... My first few were the box sets, as mentioned in Ian Angus's post : Willie Dixon Chess Box Muddy Waters Chess Box Stax Volt Singles Volume 1, also : Chess Blues (4 cd set) The Essential Little Walter (Chess) Elmore James: The Complete Fire/Enjoy Sessions (Collectables) The Great Blues Men (Vanguard) Best of The Chicago Blues (Vanguard) The Best of Mississippi John Hurt (Vanguard) Robert Johnson - The Complete Recordings (Columbia) ...... and anything/everything by Freddy King Roger B. ========================================================================= Date: Sat, 24 Feb 1996 10:38:25 -0800 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Subject: Re: Composing Solos I normally try to preserve bandwidth on this list by editing lengthy messages down to what I wish to comment on. In this case, the entire message bears repeating. P.W. Fenton spoke with 100% clarity when he echoed Shaun Cronin's earlier post, re. soloing. (sorry, Shaun, but I did cut yours out..... Roger B.) Guitarists (and ALL soloists): ARE YOU LISTENING???? >Shaun, I think you may have inadvertently nailed precisely what, in >my opinion, has gone _wrong_ with "contemporary" Blues. A coherent >solo that generates some excitement and then, as you say, leads back >into the song, is what makes the recordings of post-war Chicago Blues >so great. > >A meandering, lengthy, dynamically narrow, but gymnastic exercise in >guitar aggression is what Blues soloing has become. > >Contemporary Blues musicians are fond of the assumption that the time >restraints of disc cutting equipment are what kept early Blues solos >to such a short length. I'm not so sure that was the case. I >believe that early Bluesman realized that, in a recording, of a >musical form that is as intrinsically repetitive as the 12 bar - I, >IV, V progression, a long and wandering solo becomes a crashing bore. >A solo that may be perfectly appropriate in a room full of happy, >sweating, dancing, and drinking individuals, is entirely >inappropriate in the permanent recording of a song. > >When you listen to something like the Howlin' Wolf Box set you hear >recordings of some of the best guitar solos on record. Most of them >last no more than one verse, yet they are exciting, inventive, >coherent, and propel the listener along the path set by the song. > >Today, when you listen to the work of some of the "young guns" we >have been discussing here lately, you hear long demonstrations of >6 string acrobatics that are occasionally interrupted by brief >snatches of "song". To me, that represents the "wrong turn" that much >of contemporary Blues has taken. > >The sad part for me is that, for the most part, this has been the >"white" contribution to the Blues. The "Hoochie Coochie Man" is now >the "guitar gunslinger". It is no wonder to me that African Americans >have turned to other musical forms to convey their messages, and >entertain. ========================================================================= Date: Sat, 24 Feb 1996 11:22:22 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Feb. 25 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BROWN, ANDREW (g/ALLIGATOR REC) b. 1937-0225, JACKSON, MS COX, IDA [IDA PRATHER] (v/songw) b. 1896-0225, TOCCOA, GA DASH, JULIAN (tsax/ERSKINE HAWKINS) d. 1974-0225, NEW YORK CITY, NY 57 ENLOW, ARNOLD "BUDDY" (d/ECKSTINE) d. 1988-0225, PHILADELPHIA, PA 54 GOODY, SAM (of SAM GOODY RECORD STORE) b. 1904-0225, MANHATTAN, NY JACKSON, JOHN H. (g/ARHOOLIE REC) b. 1924-0225, WOODVILLE, VA LACEY, WILLIE J. (g/studio blues) b. 1915-0225, SELMA, AL LONG, J. B. (a&r/BLIND BOY FULLER) d. 1975-0225, BURLINGTON, NC 71 MINNIE (JUKE BLUES' office cat) d. 1989-0225, LONDON, UK 15 PARHAM, TINY (p) b. 1900-0225, WINNIPEG, MANITOBA ------------------------------------------------------------------------------- ========================================================================= Date: Sat, 24 Feb 1996 19:50:37 GMT Reply-To: Mike Lynch From: Mike Lynch Organization: Wolfe Internet Access, L.L.C. Subject: Re: Question...A song called CHICKEN HEADS Comments: To: bit-listserv-blues-l@uunet.uu.net Andrew Moodie wrote: >It's written by guys named Carter and Rush. >It's on Jimmy Johnson's 'Bar Room Preacher' album on Alligator >and it's on an obscure James Cotton record. Has anyone else >recorded it, who are Carter and Rush? >Just curious. It's a very cool song. >AJM I believe "Chicken Heads" is a Bobby Rush tune. Rush is a vocalist and harp player still active today. My favorite version of this tune was done by Mighty Joe Young. My band currently includes the song in our set list. Mike "Harmonica Playoy" Lynch Seattle, WA ========================================================================= Date: Sat, 24 Feb 1996 12:09:21 -0800 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Subject: Re: [delivery failure to nls@m1.interserv.com] This server is FULL..... I guess. If you're in the SEATTLE area, and aren't getting much blues-l mail, this could be the reason...... >The message that you sent to the above recipient was not delivered. All mail >sent to this account will continue to be returned until the recipient has >removed enough mail to lower the mailbox size below the system mailbox limit. > >-- > >Interserv Network Operations Center Postmaster@interserv.com >2001 6th Ave. Suite 3025B noc@interserv.net >Seattle, WA. 95121 CompuServe/Internet Division ========================================================================= Date: Sat, 24 Feb 1996 15:27:50 -0500 Reply-To: Jabsood From: Jabsood Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Michael Powers ? Comments: To: bit-listserv-blues-l@uunet.uu.net Barry, Its is indeed the same person. Powers does an acoustic set at Terra Blues every Monday at 7:00 (the early set). But he plays with his band (Michael Powers and the Power Keg) generally on Friday nights at 10:00. His band features him on *electric* guitar, a drummer and a bass guitarist. I've seen both of his sets. His acoustic set is not in Henrdix style, but his late Friday night gig certainly is. His ability to improvise on any theme and maintain continuity is extraordinary. I'm sure you are aware that to really play J. Hendrix, you must be able to improvise at will. Heck, he even throws in a number or two with his teeth :-). Check him out - you *won't* be disappointed. John ========================================================================= Date: Sat, 24 Feb 1996 15:45:53 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: [delivery failure to nls@m1.interserv.com] Comments: To: emdrprac@DIRECT.CA On 24 Feb 96, Roger B. had this to say: > This server is FULL..... I guess. If you're in the SEATTLE area, and > aren't getting much blues-l mail, this could be the reason...... > > > > >The message that you sent to the above recipient was not delivered. All mail > >sent to this account will continue to be returned until the recipient has > >removed enough mail to lower the mailbox size below the system mailbox limit. > > > >-- > > > >Interserv Network Operations Center Postmaster@interserv.com > >2001 6th Ave. Suite 3025B noc@interserv.net > >Seattle, WA. 95121 CompuServe/Internet Division Nope... this is bouncing back, to anyone who posts to the list, from COMPUSERVE because some Blues-L member's mailbox is full. It has nothing to do with our listserv. I'll get another one for this message... and so on... P.W. Fenton Tampa, Florida ------------------------------------------------------------- "Age is a question of mind over matter. If you don't mind, it don't matter." - Leroy Robert "Satchel" Paige, 1906-1982 When in cyberspace, visit my web pages at http://www.gate.net/~pwfenton/ ------------------------------------------------------------- ========================================================================= Date: Sat, 24 Feb 1996 15:04:39 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: BORN 02/25 B O R N : ANDRUS, DUTCH ( MERVIN ANDRUS ) 02 25 1912 NEW ORLEANS, LA DRUMMER / TRUMPET TRAD / JAZZ SS President / During the fifties he recorded on Southland Records / His performing career ended when he was shot in the neck by a stranger in 1980. The assault left him an invalid. HUTCHINSON, RALPH 02 25 1925 NEWCASTLE, UK TROMBONE JAZZ / BIG BAND Bill Russo 1949 / Herbie Fields 1950 / Muggsy Spanier / Played modern trombone in England, switched to Dixieland KATZ, FRED ( FREDRICK ) 02 25 1919 NEW YORK, NY CELLO JAZZ NEWSOM, TOMMY (THOMAS PENN ) 02 25 1929 PORTMOUTH, VA. ALTO SAX / TENOR SAX JAZZ / BIG BAND Tonight Show Band PARHAM, TINY ( HARTZELL STRATHDENE ) 02 25 1900 KANSAS CITY, MO PIANO / LEADER / ARRANGER / ORGAN JAZZ / BLUES Arranged for King Oliver / Earl Hines / Worked in Chicago as organist in clubs, hotels and theatres PERSSON, AKE 02 25 1932 HASSELHOLM, SWEDEN 02 TROMBONE JAZZ RANDI, DON (DON SCHWARTZ ) 02 25 1937 new york, ny PIANO JAZZ COX, IDA(IDA PRATHER) JANE SMITH / VELMA BRADLEY / KATE LEWIS 02 25 1896 TOCCOA, GA SINGER BLUES "Stump" Evans GOODY, SAM 02 25 1904 MANHATTAN, NY OWNER JAZZ / BLUES / BIG BAND SAM GOODY RECORD STORE JACKSON, JOHN H. 02 25 1924 WOODVILLE, VA GUITAR BLUES ARHOOLIE RECORDS LACEY, WILLIE J. 02 25 1915 SELMA, AL GUITAR BLUES FOR A LISTING OF THOSE THAT PASSED AWAY IN MARCH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Sat, 24 Feb 1996 21:47:00 GMT Reply-To: George Myers From: George Myers Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: John Hammond Comments: To: bit-listserv-blues-l@uunet.uu.net John is out on tour with the Duke Robillard Band. One tour stop will be at the Grand Emporium in KC 3/23. ========================================================================= Date: Sat, 24 Feb 1996 21:45:52 GMT Reply-To: George Myers From: George Myers Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Info on Bill Perry Blues Band Comments: To: bit-listserv-blues-l@uunet.uu.net Bill Perry will be at the Grand Emporium in KC 3/12. And, Hi Jennifer! ========================================================================= Date: Sat, 24 Feb 1996 21:52:00 GMT Reply-To: George Myers From: George Myers Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Little Charlie and The Nightcats Comments: To: bit-listserv-blues-l@uunet.uu.net Charlie will be on the Ultimate Rhythm & Blues Cruise 5 sailing from Genoa 5/25 with Luther Allison, John Mayall, Buckwheat Zydeco, Marcia Ball, Louisiana Red, Rudy Rotta, John Mooney, and Katie Webster. ========================================================================= Date: Sat, 24 Feb 1996 21:49:24 GMT Reply-To: George Myers From: George Myers Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Kenny Wayne Shepard and Mike Welch and ... Comments: To: bit-listserv-blues-l@uunet.uu.net Kenny will be at the Grand Emporium in KC 3/24 ========================================================================= Date: Sat, 24 Feb 1996 21:53:38 GMT Reply-To: George Myers From: George Myers Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Louisiana Red Comments: To: bit-listserv-blues-l@uunet.uu.net Louisiansa Red will be on the Ultimate Rhythm & Blues Cruise 5 sailing from Genoa May 25 with Luther Allison, Buckwheat Zydeco, John Mayall, Katie Webster, Marica Ball, Little Charlie and the Nightcats, John Mooney, and Rudy Rotta. ========================================================================= Date: Sat, 24 Feb 1996 17:16:10 -0500 Reply-To: Bernard Chazelle From: Bernard Chazelle Subject: random thoughts Some personal reflections inspired by the ongoing discussion on why it is that black musicians don't seem more "gung-ho" about the blues. ** This is a bit long so feel free to skip and delete. ** Even a diehard blues fanatic like me must admit that in the context of Afro-American music, the blues is but one star in a galaxy of stars (although one very near my heart). To preface this, let me say that IMHO by any measure of range, depth, originality, creativity, richness, influence, endurance, etc, black music towers over the entire 20th century musical landscape. (And this is not meant to belittle the accomplishments of giants such as Stravinsky or Bartok or many others. On the contrary.) It is also in my mind America's supreme cultural contribution to the world. (I am usually hesitant in making sweeping statements like this but, hey, sometimes one must simply overcomes one's hesitations...) Once, a colleague of mine to whom I expressed my awe that so much happened in black music in so little time (and under such difficult conditions) replied to me: "you know, it really all goes from Coleman Hawkins to Coleman Hawkins". What he meant was not that Hawkins did it all but that he witnessed it all: blues, dixieland, ragtime, swing, bebop, soul, cool, free, funk, fusion, etc, etc. All in the span of a single lifetime, the creative force of black music has been simply astonishing. I love jazz, especially Coltrane, and I often wonder how one person could have composed such different kinds of music. It seems that as soon he mastered a new idea he would shed it and move on to conquer new heights. European classical music, on the other hand, likes to milk any new cow for all its worth. (This is not meant pejoratively. I love classical music.) As a result, it has evolved fairly slowly and conservatively over centuries. Conservatively is the key word: Now more than ever, it likes to "conserve". But Bach improvised all the time. Schubert played in taverns not unlike a bluesman. Nowadays no one plays Schubert in taverns. And for improvisation, well, switch one note for one you feel "fits" your mood better in a Chopin prelude at Carnegie Hall and your piano career is over. Sure I am overstating my point, but for the better or the worse (in my opinion mostly the worse) there's a pervasive "museum" attitude in classical music circles. By contrast, black music is the opposite of conservative or museum-oriented: it constantly innovates and develops and moves forward. Unlike its classical music cousin, it is still played in taverns (they are called clubs now) and good improvisation gets you hired not fired. Also, it blurs the elitist (and mostly artificial) distinction between popular art and high art. Robert Johnson's "Crossroads" and Coltrane's "Naima" touch my heart is similar ways. Which one is high art, which one is pop art? The question strikes me as meaningless. Back to my point. Every few years jazz has reinvented itself from the ground up. As a result, the story of black music reads like history in fast-forward. For us living in 1996 this is very lucky, for it gives us a huge pool to choose from without having to wait hundreds of years (which most of us can't do). Perhaps this phenomenon is why African-Americans don't seem to have a "fixation" on the blues. (Well, fortunately, some do.) OK, this is guess work. (I am not a music scholar.) But I figure, if Coltrane had had a fixation on any particular strand of music his creative range would not have been a fraction of what it was. Instead, he was always on the lookout for musical ideas to borrow from all corners (including the modal style of Indian music) and integrate into his compositions. Hard to believe but evidently Charlie Parker would "study" country music (Bird, country music??) because he knew it had something to offer him. And he was right. Those guys had insatiable musical curiosity. Never stuck in one style. Of course, at the same time you find many black artists who have directed their genius toward exploring the blues idiom while shunning other influences (God bless them! I owe them my love of the blues.) This diversity of approach to music (some cultivating traditions, others constantly innovating) is also what makes black music so rich. One need not be Coltrane or Parker to be creative. One can be traditional *and* creative (eg, John Lee Hooker?) But on the whole, with some notable exceptions, black music seems inherently of the "radically innovative" variety (whatever that really means). It seems more interested in creating new stuff and trying out new ideas than in building one style and "perserving" it. So, perhaps that's why black musicians are not so fixated on the blues: maybe they are simply too busy innovating and charting out new courses. So, yes the blues is just one spark in the fireworks of black music, but that's ok with me. The blues is still very "special". Why? Because one can be a fine bluesman and not know a thing about jazz, but one cannot be a truly fine jazzman and not be able to play the blues (man, Trane and Bird could play those blues...) Bernard Chazelle PS: sorry for this interminable post. ========================================================================= Date: Sat, 24 Feb 1996 17:33:12 -0500 Reply-To: Lacook01@AOL.COM From: "Lorri A. Cook" Subject: Changing the Subject I, for one, will be eternally grateful for the diversion supplied by Billy Price on Blues-L. If I read one more message about blues "wunderkinder"... Thanks for givng us something else to be "obsessed" with. --Lacook01 (Lorri Cook) ========================================================================= Date: Sat, 24 Feb 1996 18:45:23 -0500 Reply-To: RNABooking From: RNABooking Organization: America Online, Inc. (1-800-827-6364) Subject: Gary Primich Itinerary Comments: To: bit-listserv-blues-l@uunet.uu.net Feb. 24.....................San Antonio, TX- Billy Blues Feb. 29.....................Lafayette, LA- Poet's March 1....................Monroe, LA- Sixth Street March 2....................New Orleans, LA- Margaritaville March 7...................Tyler, TX- Rick's March 8...................Ft. Worth, TX- J & J's Blues Bar March 16................Austin, TX- Saxon Pub- SXSW Showcase March 22-23...........Elkhart, IN- Fly Traps March 26.................Allegany, NY- Hickey Tavern March 27..................Syracuse, NY- Dinosaur BBQ March 28..................Hartford, CT- Municipal Cafe March 29...................Buffalo, NY- Lafayette Tap Room March 30..................Portland, ME- Morganfield's March 31...................Sharon, PA- Hot Rod Cafe April 2.........................Indianapolis, IN- Slippery Noodle April 3.........................Detroit, MI- Memphis Smoke April 4.......................Grand Rapids, MI- Rhythm Kitchen April 5........................Chicago, IL- B.L.U.E.S. Etc. April 6.......................Madison, WI- Harmony Bar April 9.......................Lincoln, NE- Zoo Bar April 10.....................Omaha, NE- McKenna's April 11.....................Wichita, KS- Panama Red's April 12......................Ames, IA- Maintanence Shop April 13.....................St. Louis, MO- Off Broadway April 14.....................Memphis, TN- Huey's April 23-28................Key West, FL- Margaritaville April 29......................Coco Beach, FL- Club Coconut May 3..........................Tallahassee, FL- Dave's CC Club May 4.........................Melbourne Beach, FL- Sebastion Beach Inn May 5-6.....................Jacksonville Beach, FL- Tortuga's May 7-8.....................Sarasota, FL- 5:00 Club May 9..........................St. Petersburg, FL- Ringside May 10........................Del Ray Beach, FL- Backroom May 11.......................Ft. Meyers, FL- Shooter's May 24......................Dallas, TX- Blue Cat May 25........................Ft. Worth, TX- J & J's Blues Bar June 12......................Sherman Oaks, CA- Cozy's June 13......................Ventura, CA- Joe Daddy's June 14......................Long Beach, CA- Blue Cafe June 15.......................Hermosa Beach, CA- Cafe Bugaloo Review "Mr. Freeze" at: http://www.island.net/~blues/nycd.html under RNA reviews. ========================================================================= Date: Sat, 24 Feb 1996 18:54:52 -0500 Reply-To: RNABooking From: RNABooking Organization: America Online, Inc. (1-800-827-6364) Subject: Miss Lavelle White Itinerary Comments: To: bit-listserv-blues-l@uunet.uu.net Feb. 29.................Austin, TX- Antone's March 1 & 8.........Austin, TX- Continental Club (Happy Hour w/ T.D. Bell) March 13..............Austin, TX- Austin Music Awards Show March 15..............Austin, TX- Antone's SXSW Showcase March 21 & 28.....Austin, TX- Antone's April 5....................Austin, TX- Continental Club April 6....................Dallas, TX- Blue Cat Blues April 12...................Austin, TX- Top of the Marc April 25...................Tyler, TX- Rick's April 26...................Ft. Worth, TX- J & J's Blues Bar April 27...................Houston, TX- International Festival April 28....................San Antonio, TX- Bowie Street Blues Festival May 10-11..............Tallahassee, FL- Dave's CC Club May 12-18..............Florida (TBA) June 19..................Sherman Oaks, CA- Cozy's June 20..................Ventura, CA- Joe Daddy's June 21...................Long Beach, CA- Blue Cafe June 22....................Monterey, CA- Monterey Bay Blues Festival June 24....................Salt Lake City, UT- Dead Goat Saloon June 26.....................Denver, CO- Brendan's June 28....................Lincoln, NE- Zoo Bar June 29.....................Madison, WI- Harmony Bar June 30.....................Minneapolis, MN- West Bank Blues Festival June 3.......................Grand Rapids, MI- WLAV Blues on the Mall July 7.........................Davenport, IA- Mississippi Valley Blues Festival Review "Miss Lavelle" at: http://www.island.net/~blues/nycd.html under RNA reviews Lavelle White biography at: http://www.island.net/~blues/lavelle.html ========================================================================= Date: Sat, 24 Feb 1996 19:11:05 -0500 Reply-To: RNABooking From: RNABooking Organization: America Online, Inc. (1-800-827-6364) Subject: Teddy Morgan Itinerary Comments: To: bit-listserv-blues-l@uunet.uu.net February 26-29......................Contis, France- Chez Dan's March 1-2.................................Barcelona, Spain- La Boite March 6.....................................Girona, Spain- Platea March 7.....................................Bilbao, Spain- The Paladium March 8-9..................................Zaragoza, Spain- Cafe Hispano March 10...................................Tarrega, Spain- La Central March 15...................................Austin, TX- Antone's SXSW Showcase March 29.....................................Waco, TX- Buzzard Billy's March 30, April 4 & 11..............San Marcos, TX- Cafe on the Square April 12..........................................Ft. Worth, TX- J & J's Blues Bar April 13...........................................Dallas, TX- Blue Cat Blues April 17..........................................Columbia, MO- Mojo April 18.........................................Wichita, KS- Panama Red's April 19..........................................Lawrence, KS- Jazzhaus April 20..........................................Kansas City, MO- Grand Emporium (w/ Johnny Reno) April 21..........................................Kansas City, MO- Grand Emporium April 23..........................................Lincoln, NE- Zoo Bar April 24..........................................Omaha, NE- McKenna's April 25...........................................Freeport, IL- Crosswinds Blues Society April 27..........................................Madison, WI- Harmony Bar May 1..............................................St. Joseph, MI- Private Party May 2...............................................Chicago, IL- B.L.U.E.S. Etc. May 3...............................................South Bend, IN- Madison Oyster Bar May 4...............................................Grand Rapids, MI- Rhythm Kitchen May 8...............................................Louisville, KY- Stevie Ray's May 9...............................................Indianapolis, IN- Slippery Noodle May 10.............................................Cleveland, OH- Wilbert's May 11.............................................St. Joseph, MI- Czar's May 15.............................................Syracuse, NY- Dinosaur BBQ May 17..............................................New York, NY- Manny's Car Wash May 18..............................................Cambridge, MA- House of Blues May 25.............................................Charlotte, NC- Double Door May 27..............................................Chattanooga, TN- Sandbar May 28...............................................Atlanta, GA- Blind Willie's May 31- June 1.................................Alpine, TX- Railroad Blues June 2.................................................Tucson, AZ- Rialto June 4...............................................Phoenix, AZ- Rhythm Room June 5................................................Long Beach, CA- Blue Cafe June 6.................................................Ventura, CA- Alexander's June 7..................................................Hermosa Beach, CA- Cafe Bugaloo June 8..................................................Sherman Oaks, CA- Cozy's June 13.................................................San Francisco, CA- DNA Club June 16.................................................San Francisco, CA- Cafe DuNord Review Antone's release "Flying in Style" at: http://www.island.net/~blues/nycd.html under RNA reviews. ========================================================================= Date: Sat, 24 Feb 1996 19:14:10 -0500 Reply-To: RNABooking From: RNABooking Organization: America Online, Inc. (1-800-827-6364) Subject: Tracy Nelson Itinerary Comments: To: bit-listserv-blues-l@uunet.uu.net Confirmed dates: April 5..............................Philladelphia, PA- Tin Angel (solo) April 6..............................Pawling, NY- Towne Crier (solo) April 27...........................New Orleans, LA- WWOZ Benefit w/ Marcia Ball- Maple Leaf May 4..............................Memphis, TN- Beale Street Music Festival Sept. 28..........................San Francisco, CA- San Francisco Blues Festival Oct. 12.............................Helena, AR- King Bisquit Blues Festival ========================================================================= Date: Sat, 24 Feb 1996 19:20:54 -0500 Reply-To: RNABooking From: RNABooking Organization: America Online, Inc. (1-800-827-6364) Subject: Mike Morgan & the Crawl Itinerary Comments: To: bit-listserv-blues-l@uunet.uu.net May 9............................Wichita, KS- Panama Red's May 10-11.....................Lincoln, NE- Zoo Bar May 12............................Omaha, NE- McKenna's May 15............................Rockford, IL- Big Cities May 16............................Grand Rapids, MI- Rhythm Kitchen May 17............................Cleveland, OH- Wilbert's May 21.............................Indianapolis, IN- Slippery Noodle May 22.............................St. Louis, MO- Off Broadway May 23.............................Louisville, KY- Stevie Ray's May 24-25........................Elkhart, IN- Fly Traps May 29...............................Syracuse, NY- Dinosaur BBQ May 30..............................Hartford, CT- Black-eyed Sally's May 31..............................Sommerville, MA- Johnny D's June 1...............................New York, NY- Manny's Car Wash June 14-15........................Memphis, TN- B.B. King's Review Black Top release "Ain't I Worried No More" at: http://www.island.net/~blues/nycd.html under RNA reviews ========================================================================= Date: Sat, 24 Feb 1996 19:51:43 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Josh white - hard h Mi> From: Bob Bingham Mi> Heres a suggestion for Mr Forti and his audibly bankrupt spouse. Spouse?? And _I_ thought I am single! ... "I never get tired of your ... wit!" King Chicken/Duckman --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Sun, 25 Feb 1996 01:42:40 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Blues-zelle kids.... Comments: To: bit-listserv-blues-l@uunet.uu.net bob unger We're 17 copies away from a donation from Blues-L to either Willie Dixons >Blues Heaven or The Delta Blues Museum or The Rhythm And Blues >Foundation. If I had a vote, which I don't think I do because I didn't get a copy of the tape, I'd vote to give the money to The Delta Blues Museum. Both of the other organizations seem to host regular megabuck-a-plate fundraising dinners, and get LOTS of mainstream media attention and superstar time and $ donations. The Delta Blues Museum seems to be a much more grass- roots organization, and probably needs (and would appreciate) the donation a lot more. Plus, as far as I know, neither of the other organizations has a museum or any other place that's open to any blues fan who walks in off the street, and that's what the Delta Blues Museum is all about. Not affiliated, etc., but would like to be able to visit the Delta Blues Museum next time I'm in Clarksdale, and unless they get some funding.... Scott ========================================================================= Date: Sun, 25 Feb 1996 01:25:48 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Little Charlie and The Nightcats In-Reply-To: <199602240729.XAA14874@wavenet.com> On Thu, 22 Feb 1996, Shaun T Cronin wrote: > today's market of SRV wanna-be's. I have the Alligator 20th Anniversry > Collection and I remember their contribution was quite good. Other > reccomendations? > > IMHO their best (by far) was "All the Way Crazy" IMHO you can't own LC and the N without having this one. Humble shmumble. GET IT! phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [24/2/96 20:08 PM] "Saturday I go out to play..." ========================================================================= Date: Sat, 24 Feb 1996 20:45:48 GMT Reply-To: Jerry Dallal From: Jerry Dallal Organization: The World Public Access UNIX, Brookline, MA Subject: Q: Frank Stokes Has anyone tabbed out his music (commercial or private)? I know about Stephan Grossman's tab for How Long and It Won't be Long Now but I haven't been able to locate anything else. Can anyone provide some pointers? Thanks. ========================================================================= Date: Sat, 24 Feb 1996 22:44:17 -0500 Reply-To: bob unger From: bob unger Subject: blues-l donation On the subject of the BluesBytes blues-l donation, Mr. Scott Dirks wrote: >the tape, I'd vote to give the money to the Delta Blues Museum. Both of >the other organizations seem to host regular megabuck-a-plate fundraising >dinners, and get LOTS of mainstream media attention and superstar time Folks, I ask you to please keep in mind the grass roots of ALL 3 of these organizations. ALL of these organizations are in existence to keep the blues alive...to help the performers...to teach the meaning of blues music. The amount of money each of these organizations recieve to keep on keeping on, should not sway you in your feelings about who should get our money. They are all doing it for the same cause....to keep this music and it's history alive......vote with your heart first! BU bob@sun.bnkst.edu ========================================================================= Date: Sat, 24 Feb 1996 23:09:10 -0500 Reply-To: ghost From: ghost Subject: Re: Keb Mo I saw Keb Mo do a free concert last summer in Copley Square. He was opening for a band which didn't want (understandably) to come out in the impending rain, so they let Mo come back for all the encores he justly got while they waited for it to either rain or clear (it rained). Mo played a few Robert Johnson songs & in my opinion, he, like about 99% of the people I hear play Robert Johnson songs, young or old, black or white, didn't have the intensity or any other aspect of personality to really bring them across, though he was technically very proficient. A lot of people are justly fascinated by Johnson & his music, but they just aren't mean &/or driven enough to become like Johnson for the space of the song. After this rather tame tribute-to-the-blues opener, Mo went on to play about a 1/2 hour or so of originals that sounded to me like very early Motown, Smokey Robinson, Sam Cooke kind of songs. *These* are what won him the many encores. Only the late Ted Hawkins could also write current songs that had that early pop-soul "sense of wonder" in them. "I just saw your face & I'm in love" songs. They were wonderful. They made me happy to hear them, lighthearted. If I was sure the CD had those songs on it & not tame covers of Johnson, I'd have bought it. If Mo gets as famous as his promoters want him to be, I hope it will be for songs like the ones I heard & not tame covers of Johnson songs. ========================================================================= Date: Sun, 25 Feb 1996 04:26:54 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Women harmonica players Comments: To: bit-listserv-blues-l@uunet.uu.net Richard Flohil wrote: It seems there's a huge gap here that needs filling-if there's only >one "full-time" female blues harmonica player active in North America, >there's an opportunity for people like Ms. Parrish and Ms. Norton, who with >hard work, study, and application, should be able to learn what is (they >tell me) a relatively easy instrument to play (although harder to play >well). Richard, "They" are wrong. Scott ========================================================================= Date: Sun, 25 Feb 1996 00:40:31 -0500 Reply-To: BOYDMT From: BOYDMT Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Chicago blues festival? Comments: To: bit-listserv-blues-l@uunet.uu.net Don't know the lineup or details on the Chicago Blues Festival, but there's no charge or tickets required. When the dates are announced, you just go to Grant Park in Chicago & listen. Mike ========================================================================= Date: Sat, 24 Feb 1996 22:05:17 PST Reply-To: "D. ALLEN SIMPSON" From: "D. ALLEN SIMPSON" Subject: Blues This Week on Network TV First off, thanks to all of the other bluezellers for their cable blues sitings/updates, etc. Since I don't have cable TV, I don't monitor what might be coming up. That said, it has been rather dry lately for blues on network TV, but finally some blues-related stuff is on the horizon... MOnday, 2/26: Bonnie Raitt w/Bo Diddley (Tonight Show w/Jay Leno - Jay has Bonnie on some often she has become a staple!) Thurs., 2/29: Allman Bros. Band (Letterman - although they don't really do blues stuff much anymore, I thought I would at least mention their upcoming appearance. Their most "interesting" appearance was last year on the Conan O'Brien show when John Lydon, better known as JOhnny Rotten of the Sex Pistols preceded them when he was plugging his new autobiog., & said some things about such "dinosaurs" as the Allman Bros. Band being the reason for the start of the Sex Pistols. I was surprised to see none of the band members come after Mr. Lydon. No such potential fireworks this week...) Doug S. ========================================================================= Date: Sun, 25 Feb 1996 07:47:42 GMT Reply-To: bluesdj@HALCYON.COM From: Roberta Penn Organization: Northwest Nexus Inc. Subject: Michael Powers Comments: To: bit-listserv-blues-l@uunet.uu.net There is also a Michael Powers in Seattle who plays blues and jazz guitar. His last disc was a blues CD that he put out himself at Christmas, although it wasn't strictly blues, some jazz, reggae, even a little pop. ========================================================================= Date: Sun, 25 Feb 1996 07:53:17 GMT Reply-To: bluesdj@HALCYON.COM From: Roberta Penn Organization: Northwest Nexus Inc. Subject: Cary Baker (no blues content) Comments: To: bit-listserv-blues-l@uunet.uu.net You can reach Cary Baker by email at chi2la@aol.com ========================================================================= Date: Sun, 25 Feb 1996 07:59:00 GMT Reply-To: bluesdj@HALCYON.COM From: Roberta Penn Organization: Northwest Nexus Inc. Subject: Chicken heads Comments: To: bit-listserv-blues-l@uunet.uu.net And the Kinsey Bros. did a version of it too. ========================================================================= Date: Sun, 25 Feb 1996 08:01:14 GMT Reply-To: bluesdj@HALCYON.COM From: Roberta Penn Organization: Northwest Nexus Inc. Subject: Re: "Gatemouth" Brown on TNN Comments: To: bit-listserv-blues-l@uunet.uu.net I suspect we'll be seeing a lot of "Gate" everywhere in the next couple of months. He's touring in conjunction with the latest batch of Capitol re-releases!!!! ========================================================================= Date: Sun, 25 Feb 1996 13:02:47 GMT Reply-To: mckenzie@ipcs.demon.co.uk From: "Ian K. Mckenzie" Subject: R. Johnson Transcriptions Comments: To: Steve Penn In-Reply-To: <4gl2i3$1pt@dorsai.dorsai.org> On Fri, 23 Feb 1996 13:54:59 -0500, you wrote: >Can anyone tell me which book they believe has the most faithful >transcriptions of Robert Johnson's songs? I'm specifically referring to >TAB/Notation for guitar. One first class book is Robert Johnson: At the Crossroads - The Authoratative Guitar Transcriptions. By Scott Ainslie and Dave Whitehall. published by Hal Leonard Publishing Corp. Milwaukee. It's got tab and musical notation + ther whole of the lyric and some commentary. The cover price is $19.95 + tax. *********************************************** Ian K. McKenzie University of Portsmouth England *********************************************** ========================================================================= Date: Sun, 25 Feb 1996 09:38:24 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Florida dates open? A couple of days ago, someone posted a note about a Florida club which had some dates open and was looking for performers. Could that person (or someone who saves messages better than I do) please e-mail me the info again? I know of a leading Canadian blues band which will be in FL in the next month or so and has some open days, and I said I'd check this for them. (Okay, it's Downchild.) Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Sun, 25 Feb 1996 10:34:28 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: blues @ folk alliance Derek Andrews of the Toronto Blues Society recently posted a note to encourage greater participation by the blues community in the activities of the North American Folk Music and Dance Alliance. I'd like to second his appeal. It's self-evident that many of us (most of us?) are also interested in many other kinds of music apart from blues. It's also self-evident that blues are part of North American folk music (however you define "folk music"), and it's a fact that blues societies in many cities are well organized and seriously active in the promotion of blues artists and the music generally. The "folk" community as a whole, in my view, can well do with some of the energy and promotional skill of the blues community (I've long been part of both up here in Canada), and it would be nice if some of that energy-and some more of our music-were added to the Folk Alliance, particularly when it holds its annual conference. The affair in Washington was amazing. Apart from the numbers of Blues-L people I was privileged to meet, and who were generous and pleasant to a fault, the music was rich and extremely varied. The Folk Alliance is splendidly organized, and conducted its event with a rich sense of social occasion-this is a time when the Pete Seegers can (and do) mix with angry political skinhead folk bands, cowboy singers, singer-songwriters, old bluesmen (John Jackson gave a wonderful workshop), nascent rock and rollers and just about every other kind of music you can categorize and a lot you can't. If Folk Alliance failed on any count, it lacked "world music" (a horrid term, but you know what I mean) and it lacked black American music. Next year, in Toronto in February, the organization holds its ninth conference at the Westin Harbour Castle Hotel, and while the weather will be cold the welcome will be warm. Derek-one of the most dedicated and knowledgeable music programmers anywhere-is one of the directors of Folk Alliance, and like the rest of us up here who are involved, wants to encourage any ideas, suggestions, and participation from blues musicians and organizations. Please think about this and take part, If more blues people were onside and informed about Folk Alliance, there would be more work opportunities for blues players, and the natural synergy between the various kinds of music, including blues, would be enhanced. And the year after Toronto, Folk Alliance is in Memphis for its 10th anniversary event. Let's get the blues involved now, in preparation! Richard the Elder ========================================================================= Date: Sun, 25 Feb 1996 09:31:55 -0600 Reply-To: ".\\ark \\'atkins" From: ".\\ark \\'atkins" Subject: Leslie FAQ A while back there was a discussion about Stevie's occasional use of a Leslie cabinet, and there was a mini-debate about what a Leslie was and how it works. For any gear-heads with an insatiable appetite for such info, I submit the following URL. It is the FAQ for Hammond/Leslie and it has everything you could want to know about the subject. http://ddi.digital.net/~bbaker/files/faq.txt /----------------------- -=[ .\\ark \\'atkins ]=- -------------------\ | markw@telepath.com . | | mark.watkins@hotelcal.com . |\/| ----_ | | http://www.telepath.com/markw . =(--)=_____ \ | | FIDO 1:147/3101 . c___ (______/ | \--------------------------------------------------------------------/ ========================================================================= Date: Sun, 25 Feb 1996 10:50:40 -0500 Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Women harmonica players Comments: To: bit-listserv-blues-l@uunet.uu.net In article Richard Flohil writes: > Meanwhile, I'm off to the store to find a Little Annie Raines record. Richard - You might have a little trouble finding a Little Annie Raines record. She's only on a few tracks of Paul Rishell's disc "Swear to Tell the Truth". As I remember, my copy (bought at the Miss. Valley Blues Fest and signed by Annie & Richard) had a sticker letting me know that Ronnie Earl & band were on it but no mention of Annie. I understand Annie & Paul have a disc with equal billing due out shortly on Tone Cool Art Schuna ========================================================================= Date: Sun, 25 Feb 1996 16:02:58 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Interesting Blues Progression Comments: To: bit-listserv-blues-l@uunet.uu.net I've been doing a little Memphis blues aural research in preparation for a guest spot on Bonnie Kalmbach's "Two For the Blues" radio show lately and was playing different versions of "That's All Right, Mama" this morning. I first played Big Boy Crudup's original from 1946, followed by Elvis' debut release from 1954 and then Crudup's 1962 recording for the Fire label. The original is a very earthy blues - about as "country" as country blues gets, very raw. Elvis then takes this song and creates a blues/country/rockabilly sound with some of the raw edges shaved off - it still has a tremendous amount of energy. The 1962 Crudup is interesting as it seems to borrow a lot of the performance style from Elvis' version. I found this to be a very interesting comparison and recommend those who have copies of these 3 versions to play them in succession. Art Schuna ========================================================================= Date: Sun, 25 Feb 1996 16:36:53 GMT Reply-To: Ari Eisinger From: Ari Eisinger Organization: Internet Online Services Subject: Re: Richard "Rabbit" Brown (ca 1880-1937) Comments: To: bit-listserv-blues-l@uunet.uu.net TGB (tgb@CRL.COM) wrote: [snip] : Document has an excellent CD called "The Great Songsters", which features : complete output of Rabbit Brown (I prefer "Mystery of the Dunbar Child"), : Hambone Willie Newborne (original version of "Rollin' & Tumblin"), and : complete (I think) 20's recordings by Miss. John Hurt. Well worth finding. : tgb It's Hambone Willie _Newbern_. This wonderful CD does have the complete 1920s recordings of Hurt, all of which were made in 1928. ARI EISINGER Blues and Ragtime Guitarist and Singer ==Guitar Teacher== ==(610) 259-6688== ========================================================================= Date: Sun, 25 Feb 1996 12:01:58 -0600 Reply-To: Chris McIntosh From: Chris McIntosh Organization: Web Marketing Subject: Re: red house Comments: To: Tin Can The best version I've ever heard is on "Hendrix in the West" which I have on vinyl. To my knowledge it hasn't been released on CD (unless under a different name). It was recorded at the San Diego Sports Arena with Mitch Mitchell and Noel Redding. I'd be very interested in info on this recording being available on CD. -- Chris McIntosh Check out my home page at: http://www.webmkt.com/parkplace/chris.htm ========================================================================= Date: Sun, 25 Feb 1996 12:32:58 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: blues @ folk alliance Derek Andrews of the Toronto Blues Society recently posted a note to encourage greater participation by the blues community in the activities of the North American Folk Music and Dance Alliance. I'd like to second his appeal. It's self-evident that many of us (most of us?) are also interested in many other kinds of music apart from blues. It's also self-evident that blues are part of North American folk music (however you define "folk music"), and it's a fact that blues societies in many cities are well organized and seriously active in the promotion of blues artists and the music generally. The "folk" community as a whole, in my view, can well do with some of the energy and promotional skill of the blues community (I've long been part of both up here in Canada), and it would be nice if some of that energy-and some more of our music-were added to the Folk Alliance, particularly when it holds its annual conference. The affair in Washington was amazing. Apart from the numbers of Blues-L people I was privileged to meet, and who were generous and pleasant to a fault, the music was rich and extremely varied. The Folk Alliance is splendidly organized, and conducted its event with a rich sense of social occasion-this is a time when the Pete Seegers can (and do) mix with angry political skinhead folk bands, cowboy singers, singer-songwriters, old bluesmen (John Jackson gave a wonderful workshop), nascent rock and rollers and just about every other kind of music you can categorize and a lot you can't. If Folk Alliance failed on any count, it lacked "world music" (a horrid term, but you know what I mean) and it lacked black American music. Next year, in Toronto in February, the organization holds its ninth conference at the Westin Harbour Castle Hotel, and while the weather will be cold the welcome will be warm. Derek-one of the most dedicated and knowledgeable music programmers anywhere-is one of the directors of Folk Alliance, and like the rest of us up here who are involved, wants to encourage any ideas, suggestions, and participation from blues musicians and organizations. Please think about this and take part, If more blues people were onside and informed about Folk Alliance, there would be more work opportunities for blues players, and the natural synergy between the various kinds of music, including blues, would be enhanced. And the year after Toronto, Folk Alliance is in Memphis for its 10th anniversary event. Let's get the blues involved now, in preparation! Richard the Elder ========================================================================= Date: Sun, 25 Feb 1996 13:14:44 -0500 Reply-To: Niles Frantz From: Niles Frantz Organization: GNN Subject: Pocono Update #2 (w/new 800 #) Comments: To: bit-listserv-blues-l@uunet.uu.net 1996 Pocono Blues Festival July 27 & 28, 1996 Big Boulder Lake (in the beautiful Pocono Mountains in upstate Pennsylvania) Saturday, July 27 Main stages - Lowell Fulson, Chris Cain, Trudy Lynn, Guitar Shorty, Robert Jr. Lockwood, Willie Cobbs, Little Dave Thompson. Indoor stage, plus workshops - Paul Rishell and Little Annie Raines. Sunday, July 28 Main stages - Koko Taylor, William Clarke, Syl Johnson, Phillip Walker, James Peterson, Larry Garner, Little Sammy Davis. Indoor stage, plus workshops - Kelly Joe Phelps, Little Sammy Davis. Lodging and accommodations are available within 15-20 minutes of the festival site. Call for information, (800) 468-2442. Niles Frantz Emcee, Pocono Blues Festival ========================================================================= Date: Sun, 25 Feb 1996 13:24:57 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: mike morgan and the crawl To the dates from > From: RNABooking you can add: March 1, Blue Cat Blues, Dallas Their new album "Looky Here" is due out May 21. Don O. ========================================================================= Date: Sun, 25 Feb 1996 13:25:00 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: E.C. Scott I just got in from seeing E.C. Scott's show, and I emphasize the word *show*, at the Blue Cat in Dallas. A very fine night out. She has an excellent, band, "Smoke", and one of the tightest stage shows I have seen in quite awhile. This was definitely the first time I have seen a whole band dressed in tuxedos on the Blue Cat stage. Then they changed from black coats to white at the break! Let me tell y'all, this lady can belt 'em out. She knows how to mix up a show so both the dancers and the blues fuddy duddies like me are happy. A nice mix of Motown soul dance songs with her very nice originals, some of which are blues, some are R&B or soul. All very nicely done in a tightly staged performance. This show is definitely major festival ready. If you've enjoyed her debut CD, "Come and Get Your Love" on Blind Pig Records, you are only vaguely aware of how good she is. There are several verses to her great song "You Got the Wrong Number" that are NOT on the album. I can tell you they include Betsy Ross and Lorraine Bobbit, but you'll have to see her live to get the whole story. Or ask E.C. when she gets back home and back on Blues-L (she is on here, remember?). I ain't tellin'. At the end of the show she does this crazy medley that includes pieces of everything from "Achy Breaky Heart" to "I'm Too Sexy". Don't shudder. She makes it work. For the final set, she went offstage, did a quick change while the band played, and came back in an outrageous purple outfit with a 2 foot spiraling purple hat to do "You Can Leave Your Hat On". I sure hope my pictures come out. I'm happy to say there was a very nice crowd at the Blue Cat. Standing room only most of the night and a lot of folks still there right up to closing. For those of you in the Fort Worth area, here's a tip. E.C. plans to take the band to the Sunday jam at J&J Blues Bar (2/25) and "tear the place up". Guess where I'll be tonight. Don O. not associated with the venue or E.C., but I wish I could buy stock ========================================================================= Date: Sun, 25 Feb 1996 14:56:02 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: James Cotton last night As regular L-ers may know, my band had the distinct honor and pleasure of opening for a "real" Blues legend, Mr. James Cotton. The experience brings to mind the recent thread about trying not to miss the opportunity to see these wizards while they are still in our midst. Many of us communicated our regrets about various wasted opportunities to see our heroes before it was too late. I urge you all not to let that happen in the case of James Cotton. James can still blow. In fact, that is one powerful harp blower. As is traditional with a lot of the elders of the Blues, James' band plays several numbers before James makes a dramatic entrance. I was sitting alone with him backstage while his band was cooking onstage. His road manager had minutes ago handed him a mic in preparation for his entrance. Part of the standard act is that James begins playing off stage. As James sat across from me waiting for his cue he looked as tired and worn as 50 years of nearly non-stop Bluesing could make a person. His recent health problems, I'm sure, have taken their toll as well. But when the signal was given, he rose from the chair, brought the mic and harp up to his mouth and let loose with the most amazingly LOUD blast of harp I've ever heard. Right there in the room with me, without amplification, he blew a single note louder than I thought was possible from a harmonica. And he held it as he walked up the steps and then out onto the stage. Suddenly, this visibly weary man, switched on, like an appliance, and blew with an authority and vitality that any younger man would be proud of. Please don't miss an opportunity to see this man when he comes your way. His band was tight, and top notch. James, and all the members of his band and staff were gracious, accommodating, and supportive. They paid us some really wonderful compliments after our set that left us with more than enough energy to face the rest of the night, which included traveling to another gig, setting up, and playing till 2:30 A.M. P.W. Fenton Tampa, Florida ------------------------------------------------------------- "Age is a question of mind over matter. If you don't mind, it don't matter." - Leroy Robert "Satchel" Paige, 1906-1982 When in cyberspace, visit my web pages at http://www.gate.net/~pwfenton/ ------------------------------------------------------------- ========================================================================= Date: Sun, 25 Feb 1996 14:08:36 -0600 Reply-To: "Alice E. Brown" From: "Alice E. Brown" Subject: Eureka Springs Blues Festival I have just received a mailing on the Eureka Springs Blues Festival. The dates are May 30,31, June 1,2. The headliner is Bo Diddley, backed by the Cate Brothers band. Also on the bill is Keb' Mo', Martin Simpson, Jimmy Thackery & the Drivers, Canned Heat, Chubby Carrier, & the Bayou Swamp Band, Tab Benoit, Kenny Neal, Raful Neal, Jackie Neal, Baby Jason & the Spankers, Kelly Joe Phelps,and Deborah Coleman. The phone no. is (501)253-5366. And now for the obligatory disclaimer. I have no financial stake in this other than the(excessive amount) money I expect to spend at this event. I hope some blues-lers make this year. Alice ========================================================================= Date: Sun, 25 Feb 1996 20:16:40 GMT Reply-To: John Senior From: John Senior Subject: please unsubscribe me. I apologise for sending this to the wrong address but I seem to have lost the admin address - but anyway, could someone in charge please unsubscribe me from the digest mailing list I've enjoyed reading the list but I don't log in often enough anymore and the volume of mail is overwhelming me. Cheerio and thanks, John. ========================================================================= Date: Tue, 2 Jan 1996 15:26:38 -0500 Reply-To: Jon Duttweiler From: Jon Duttweiler Subject: Luther Allison: Motown Years If you are a fan of Luther Allison's last two Alligator releases (or almost any LA for that matter) and do not already own his three Motown releases, the new Luther Allison, "The Motown Years: 1972-1976" is a go get NOW CD. Luther burns it up on guitar - yet a little leaner then his most recent recordings. His voice is in *great* shape. This is an all around winner. Besides the wonderful music it has superior liner notes. Oh, and as an added bonus it includes a live cut from Luther's 1972 appearance at the Ann Arbor Blues Festival. Run, don't walk, and get this wonderful release from the blues giant just getting his just desserts! JD (who, btw, has *no* affiliation, promotional or otherwise, with Luther Allison and/or Motown Records - just an LA *fanatic*!) ========================================================================= Date: Sun, 25 Feb 1996 12:56:47 PST Reply-To: "D. ALLEN SIMPSON" From: "D. ALLEN SIMPSON" Subject: Blues This Week On Network TV First off, thanks to all of the cable subscribers you monitor upcoming blues on cable shows. Since I don't have cable TV, I don't monitor upcoming blues events on cable. That said, it has been rather dry for blues lately on network TV, but here is this week's lineup: Monday, 2/26: Bonnie Raitt & Bo Diddley (Tonight Show w/Jay Leno: Bonnie has become a regular musical guest on the Leno show, so here's hoping they start booking more blues artists!) Thurs., 2/29: Allman Bros. Band (Letterman: they really don't do a lot of blues music anymore, but at least this is close to some blues) And depending on when you receive your ACL PBS shows, a full hour of the Allman Bros. Band may already have aired in your area. It was scheduled for 2/24, but in the L.A. area we get the shows a week later, so it will be airing 3/1 where I am, and probably a week after that in Alaska. 3/2: Roy Orbison (ACL: a full hour of his 1983 show; not really blues, but an opportunity that may never materialize again, so I thought I'd post the info. Again, it will air a week later on the west coast.) Doug S. ========================================================================= Date: Sun, 25 Feb 1996 15:59:09 -0500 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." hts theme was "All Kinds Of Blues", although I missed some of the variations, such as Piedmont, I tried to cover as much as I could. I hope to do an "East Coast Style" show in the near future, and will be hapy to accept suggestions from fellow 'zellers. Heres the list Artist, song, album, label 9 to 10pm Eddie Clearwater, Muddy Waters Goin to Get Clear, Boogie my Blues, Delmark CeDell Davis, Fattnin' Frogs for Snakes, The best off ..., Fat Possum T.C.Carr/the Catch, Saqlty Dog, Blooz-It, T.C. Roy Roberts, Sweet as a Honey Bee,A woman Needs Love, Roy Roberts Sonny Landreth, Key To The Highway, Blues Attak, AVI ========break========= Robert Noll, I'll Play The Blues For You, Happy Bluesday, Precious Artists The Hopkins Brothers, Black Hannah, Lightnin, Joel & John Henry, Arhoolie Bobby Murray, Vicky, The Blues Is Now, Viceroots Corey Stevens/Texas Floood, Goin Crazy, Blue Drops Of Rain, Eureka ========break========= Gatemouth Brown(request), Alligator Eatin Dog, No Lookin Back, Alligator Muddy Waters, Sad Letter, Mississippi, Masters Music Chicago Bob Nelson, Been Down So Long, Back To Bogalusa, King Snake Sonny Moorman/Dogs, Roadhouse Blues,LIVE, 706 Records 10 to 11 pm Houston Stackhouse, Bricks in my Pillow, Cryin' wont help You, GENES Blues Creators Band, You Might AS Well Face It, cassette single Earl King,Three Knocks On My Door, Blues Evolution, Motown Bobby Blue Bland, I Wanna Tell You About the Blues, Sad Street, Malaco =========Break====== Len Bland, For Your Love, Title Cut, Lucky Pride Catfish Hodge Band, Bad News Good News, Eyewitness Blues, GENES Mem Shannon, My Babys Been Watchin' TV, A cb Drivers Blues, Hannibal Dicky Williams, President Of The Blues, Full Grown Man, Ichiban ========break======== Big Joe Williams, King Biscuit Stomp, ...../9 string Guitar, Smithsonian Luther Allison, Drivin' Wheel, The Motown Years 1972/76, Motown Big Al Dupree, Wee Baby Blues,Swings The Blues, Dallas Blues Society Pinetop Perkins,, Kidney Stew Blues,...& The Blue Ice Band, Earwig Eric Culberson, I'm Gonna Lose You, Blues Is My Religion, King Snake 11 to Midnight Valerie Wellington, Cold Cold Feeling, Million $ Secret, Rooster Denise LaSalle, The Sweeter The Man, Still Bad, Malaco Hadda Brooks, I Feel So Good, Doggone Blues Sampler, Pointblank Sue Foley, Give Me Time, Without A Warning, Antones ============break======== Kenny Wayne Shepard(request), While We Try, Ledbetter Heights, Giant Cephas & Wiggins, Right Of Way Blues, Cool Down, Alligator Stevie Ray Vaughan(request), Flood/Texas, Bluesmansters Vol 2, Rhino =========break======= B.B. King, Sweet Sixteen, Live At The Apollo, GRP Randy Volin, 44 Blues, Used Guitars, Volin Theodis Ealy, Youre On My Mind, Stuck Between/Rhythm & Blues, Ichiban Byther Smith, I'm Broke, Blues Knights, Evidence Memphis Slim, Eagle Rock(Cow Cow Blues), Memphis Blues, Olympic LP BLUZ!!!!!! Ed ========================================================================= Date: Sat, 24 Feb 1996 13:56:52 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Rosie Flores, Albert Lee, Ron Coleman (Live Review) Last night I went down to Jack's Sugar Shack here in lovely Hollywood to check out upcoming country/rockabilly artist, Rosie Flores, country guitar legend, Albert Lee and singer/songwriter Ron Coleman (played with the Everly Brothers and has written a few top 10 tunes. Remember the song by T-Bone Burnette way back in the eighties, "Tired of Toein' the Line"?). I under the assumption that Ron Coleman would play first then Albert Lee then Rosie Flores. I was wrong. They all were going to play at the same time. It was more of a loose jam. Ron would choose and sing a song then Rosie then Albert. The atmosphere was pretty loose. So, how was it? Absolutly amazing. Guitarheads will know of Albert's rep and he did not disappoint. He was in amazing form all night. Never did he play the same thing twice. There were a lot of fellow GITers in the audience and we spent most of the night with our eyes glued to the fretboard of Alberts guitar. He played his Music Man signature model and an early '60s esquire. I didn't really get a good look at his amp. It had "HD-130" on the grille cloth. Rosie Flores has a new fan. Me. As a vocalist she does remind me a lot of her main influence, Wanda Jackson. She has a great voice for both country and the rockabilly rave-ups she does. And she one hell of mean guitar player. And I mean mean! While Albert Lee is dexterity,technique and clean, Rosie is a few notes, choice riffs and dirty. She takes a few choice notes and then hits you over the head with them. She has attitude! Her guitar style is a great contrast to Albert. Both were playing real well. I did overhear Rosie saying that she didn't think that she was playing all that well. Well, I thought she played great. Can't wait to see her on a good night. She played a Strat through tweed covered Fender. Don't know if it was a Bassman or a Blues Deville/Deluxe. Almost forgot Ron Coleman. Ron stuck to acoustic rhythm in the traditional country singer mold. Ron is a great singer but I think he was a little overshadowed by all the guitar slingiing that was going on. However, Ron did keep things together. They covered a heap of great country/rockabilly songs. Three great sets. Merle Haggard, Elvis and many more were represented (I can't remember all of them). In the first set calls for Albert Lee's signature song, "Country Boy" started to be heard and at the end of the second set he obliged. I had to be picked up after the floor at the end. I was blown away. Albert just laid down chorus after chorus of absolutely astounding guitar. He then let Rosie have a go. Now, myself being a mere mortal, would of probably panicked and run off the stage screaming "I am not worthy!" but Rosie gaves us a a lesson about how to be yourself. She again played a few well chosen licks that with attitude, humour and timing won evryone over. She more than held her own against Albert. She didn't need to play like him. When confronted by someone like that she told us, "Don't worry. Just be yourself." Then Albert had another go and that was almost too much for me. It was astounding diplay of guitar, And I was up close to the stage. If you are in the LA area then try and check one or all of these artists out. I think that loose jam between the three of them is a semi-regular thing. If they do it again I know I'll be there. A great evening of music. For guitarists: Albert often solos using a delay (Lexicon) set to repeat a dotted eight after the note (an eight note played very staccoto). After the show I asked him how he gets the delay to be in time to the tempo of the song. He said (for last night at least) he used a preset delay time (about 300ms). He had no idea if it was going to be in sync. He just went for it. And it worked. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sat, 24 Feb 1996 13:57:05 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Composing Solos As PW said in his fine post, "inadvertently" is right. I was thinking along a different tangent but PW has raised a very important point. Roger B was right to repost the message. Just a few things. I did see Albert Lee last night. As amazing as his playing was on most of the songs he only took one chorus. Only on a few songs did he cut loose and take multiple choruses. He kept something in reserve. This was one of the many lessons I learnt at last nights show. I want to also clarify the reference to Hendrix. Hendrix was, IMHO, one of the few guitarist who could take extended solos and keep themes running through them. There a are few cases of blatant excess but Hendrix was one of the great improvisors. There is a 10 minute version of "Stone Free" on "The Jimi Hendrix Concerts" that is amazing. Over 6 minutes, Hendrix really builds the solo and brilliantly sets up the return to the song. That is one example (and there are others, "Machine Gun" from "Band of Gypsies." is another). Note that on his studio albums, most of Hendrix' solos are short, to the point and brilliantly executed. The trouble is that a lot of guitarists picked up on the concept of extended solos ("Yeah! I played a 25 minute solo, dude!") but not the concept of building the soloing, developing themes then setting up the return. Bernard Chazelle (in another post) also mentioned the great classical composers were great improvisors. They had to be. They often had to compose pieces on the spot. That is improvisation. I agree with Bernard that the classical music has lost this tradition. Unless you are a genius then 12 bars is enough for most of us. Trying to craft a solo that expresses what you feel is damn hard enough. Why complicate the problem by overplaying and losing sight of the goal. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sun, 25 Feb 1996 14:22:40 +0000 Reply-To: "Terry L. Odor" Comments: Authenticated sender is From: "Terry L. Odor" Subject: Re: E.C. Scott Hi all: If Don O's kind comments piqued your interest here is E.C.'s schedule: Fri. Mar 1 DelRay Beach,FL Backroom Blues Lounge Mon. Mar 4 Orlando, FL Pleasure Island Sat. Mar 16 San Jose, CA Scallawags Thurs. Mar 21 San Fran.,CA Lou's Pier 47 Fri. Mar 29 San Fran.,CA Biscuits & Blues Sat. Mar 30 San Fran.,CA Biscuits & Blues Thurs. Apr 13 San Fran.,CA Lou's Pier 47 Fri. Apr 26 San Fran.,CA Biscuits & Blues Sat. Apr 27 San Fran.,CA Biscuits & Blues Thurs. May 16 San Fran.,CA Lou's Pier 47 Fri. Jun 7 San Fran.,CA Biscuits & Blues Sat. Jun 8 San Fran.,CA Biscuits & Blues Sat. Jun 15 San Jose, CA Scallawags Thurs. Jun 20 San Fran.,CA Lou's Pier 47 Don O. said: ======================================================= I just got in from seeing E.C. Scott's show, and I emphasize the word *show*, at the Blue Cat in Dallas. A very fine night out. She has an excellent, band, "Smoke", and one of the tightest stage shows I have seen in quite awhile. This was definitely the first time I have seen a whole band dressed in tuxedos on the Blue Cat stage. Then they changed from black coats to white at the break! Let me tell y'all, this lady can belt 'em out. She knows how to mix up a show so both the dancers and the blues fuddy duddies like me are happy. A nice mix of Motown soul dance songs with her very nice originals, some of which are blues, some are R&B or soul. All very nicely done in a tightly staged performance. This show is definitely major festival ready. If you've enjoyed her debut CD, "Come and Get Your Love" on Blind Pig Records, you are only vaguely aware of how good she is. There are several verses to her great song "You Got the Wrong Number" that are NOT on the album. I can tell you they include Betsy Ross and Lorraine Bobbit, but you'll have to see her live to get the whole story. Or ask E.C. when she gets back home and back on Blues-L (she is on here, remember?). I ain't tellin'. At the end of the show she does this crazy medley that includes pieces of everything from "Achy Breaky Heart" to "I'm Too Sexy". Don't shudder. She makes it work. For the final set, she went offstage, did a quick change while the band played, and came back in an outrageous purple outfit with a 2 foot spiraling purple hat to do "You Can Leave Your Hat On". I sure hope my pictures come out. I'm happy to say there was a very nice crowd at the Blue Cat. Standing room only most of the night and a lot of folks still there right up to closing. For those of you in the Fort Worth area, here's a tip. E.C. plans to take the band to the Sunday jam at J&J Blues Bar (2/25) and "tear the place up". Guess where I'll be tonight. Don O. not associated with the venue or E.C., but I wish I could buy stock ====================================================== Terry http://www.teleport.com/~tlo/ (updated 10/28/95) ========================================================================= Date: Sun, 25 Feb 1996 14:47:42 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Feb. 26 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BIG MACEO [MAJOR MERRIWEATHER] (p/songw) d. 1953-0226, CHICAGO, IL 47 CASH, JOHNNY (g/songw) b. 1932-0226, KINGSLAND, AR DOMINO, ANTOINE "FATS" (p/IMPERIAL REC) b. 1928-0226, NEW ORLEANS, LA ELDRIDGE, ROY (tpt) d. 1989-0226, VALLEY STREAM,LI NY 78 GAILLARD, BULEE "SLIM" (g/p/SLIM & SLAM) d. 1991-0226, LONDON, UK 75 GARNES, SHERMAN (of TEENAGERS) d. 1977-0226, NEW YORK CITY, NY 36 GUNTER, CORNELL (of THE COASTERS/FLAIRS) d. 1990-0226, NORTH LAS VEGAS, NV 51 HITE, BOB "THE BEAR" (of CANNED HEAT) b. 1943-0226, TORRANCE, CA JOHNSON, WILLIE (g/HOWLIN' WOLF) d. 1995-0226, CHICAGO, IL 71 JONES, REUNALD (tpt/BASIE) d. 1989-0226, LOS ANGELES, CA 78 MCLAUGHLIN, OLLIE (prod/owner: KAREN REC) d. 1984-0226, DETROIT, MI 57 MOODY, JAMES (tsax) b. 1925-0226, SAVANNAH, GA MOORE, MEL (v/tpt/MILLINDER/ERNIE FIELDS) d. 1989-0226, NEW YORK CITY, NY 65 OSCHER, PAUL (hca) b. 1947-0226, BROOKLYN, NY PICHON, WALTER G. "FATS" (p) d. 1967-0226, CHICAGO, IL 60 RUSSELL,BILL(prod/owner:AMERICAN MUSIC RE)b. 1905-0226, CANTON, MO WHITE, BOOKER T. "BUKKA" (g) d. 1977-0226, MEMPHIS, TN 70 ------------------------------------------------------------------------------- ========================================================================= Date: Sun, 25 Feb 1996 17:56:25 -0500 Reply-To: Stephanie Manna From: Stephanie Manna Subject: James Peterson itinerary 2/27 Blind Willies,Atlanta,Ga. 2/28 The Filling Station,Sheffield,Al 2/29 The Coffee Grounds,Terre Haute,Ind 3/1&2 Kingston Mines,Chicago,Il 3/6 Skips,Angola,Ind 3/7 Moondogs,Pittsburg,Pa 3/8 Ringside Cafe,Springfield,Oh 3/9 Czars,St. Joesph,Mi 3/14 Stevie Rays,Louisville,Ky 3/15 Madison St Oyster Bar,South Bend,In 3/16 Three Fingers Pub,Oshgosh,Wi 3/17 The Bullpen,Rock Island,Il 3/21 Terra Blues,New York,N.Y. 3/22,23 TBA 3/27-31 Recording new CD,Jackson,Ms. 4/12&13 Renaissance Jazz & Blues,Ft. Myers,Fl. 4/16-21 Margaritaville,Key West,Fl 4/27 Ala. Blues Society Festival,Tuscaloosa,Al 4/29,30 Beach Club,Siesta Key,Fl 5/10 Blackeyed Sallys,Hartford,Ct 5/18 River St. Jazz & Blues,Plains,Pa 5/25 Down Home Blues Festival,Huntsville,Al 5/31,6/1 Kingston Mines,Chicago,Il 6/15 Caruthersville Blues Festival,Caruthersville,Mo 7/6 Mississippi Valley Blues Festival,Davenport,Ia 7/12&13 Kingston Mines,Chicago,Il 7/26 Wilberts,Cleaveland,Oh 7/28 Poconos Blues Festival 7/30 Dinasours BBQ,Syracuse,NY ========================================================================= Date: Sun, 25 Feb 1996 17:13:08 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 02/26 B O R N : EDWARDS, TEDDY ( THEODORE MARCUS EDWARDS ) Born:1924 JACKSON, MS Career:ALTO SAX / TENOR SAX / LEADER Style:JAZZ / BLUES / BIG BAND With:Danny Horton / Lawrance Marable / Nathanial Weeks / Howard McGhee / Dexter Gordon / Red Callender / Jimmy Rowles HARDY, HAGOOD Born:1937 ANGOLA, IN Career:VIBES Style:JAZZ With:Gigi Gryce 1961 / Herbie Mann 1961-62 / Martin Denny / George Shearing / Sol Yaged / Mal Waldron / Ted Curson / Marty Napoleon HUTTON, BETTY ( ELIZABETH JUNE THORNBURG ) Born:1921 BATTLE CREEK, MI Career:SINGER Style:BIG BAND With:VINCENT LOPEZ / MOVIES MOODY, JAMES Born:1925 SAVANNAH, GA Career:ALTO SAX / TENOR SAX / CLARINET / FLUTE Style:JAZZ / BLUES / BIG BAND With:Dizzy Gillespie / Gene Ammons / Sonny Stitt / 1949 record I'm in the Mood for Love. PELL, DAVE Born:1925 BROOKLYN, NY Career:TENOR SAX / ALTO SAX / LEADER Style:JAZZ / BIG BAND With:Les Brown / Bob Astor / Bobby Sherwood / Tony Pastor / Bob Crosby / A&R man for Liberty Records in 60s PHILLIPS, FLIP ( JOSEPH EDWARD PHILLIPS ) Born:1915 BROOKLYN, NY Career:TENOR SAX Style:JAZZ / BIG BAND With:Frankie Newton 1940-41 / Larry Bennett 1942-43 / Woody Herman / Gene Krupa trio,1959 / Benny Goodman YAMASHITO, YOSUKE Born:1942 TOKYO, JAPAN Career:PIANO Style:JAZZ FOR A LISTING OF THOSE THAT PASSED AWAY IN MARCH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Sat, 24 Feb 1996 15:54:42 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Long Beach Blues Festival Dates The 17th Annual Long Beach Blues Festival will be held on Labor Day weekend. The 31st of August and the 1st and 2nd of September. Yes, it's three days this year! That's all I know. It was announced on KLON yesterday. Line-up to be announced. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sun, 25 Feb 1996 23:47:30 GMT Reply-To: namit malhotra From: namit malhotra Organization: Internet Direct Subject: ERIC CLAPTON BLUES VIDEO--HELP? Comments: To: bit-listserv-blues-l@uunet.uu.net Watched public tv about 2 months ago and saw a eric cl;apton documentary featuring him play tons of blues numbers with lots of interviews and blues greats anyone have any idea what this video is ,if one can buy it thanks namit nmalhotr@direct.ca ========================================================================= Date: Sun, 25 Feb 1996 18:36:48 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: "...who is obsessing you?" This week, it's Lillian Leach and the Mellows, a pre-doo-wop r&b vocal group from the mid fifties that I just discovered on a couple of the Relic CDs. Outstanding R&B vocal performances by this bronx group, especially on the 8 or so accapella "practice sessions" songs. Not exactly blues, but close enough for me, on a nice spring week-end.... David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Sun, 25 Feb 1996 16:59:03 -0800 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Subject: Re: Composing Solos Shaun T Cronin wrote: >Unless you are a genius then 12 bars is enough for most of us. Trying to >craft a solo that expresses what you feel is damn hard enough. Why >complicate the problem by overplaying and losing sight of the goal. Well, I think most reasonably competent guitarists (or any soloist, for that matter) should be able to extend into 24 bars and make a coherent transition from the melody through some improvisations, take it up a notch or two, and bring it back to the song structure. Go beyond 24 bars, and, yes, the chances of slipping into Wank Mode goes up, exponentially. Roger B. (safe in the rhythm section!!) ========================================================================= Date: Sun, 25 Feb 1996 20:26:51 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: TV that might interest a zeller. MONDAY, FEBRUARY 26th 12 noon - BRV - Leadbelly: 1976 tribute to Huddie 'Leadbelly' Ledbetter, legendary blues composer and folksinger 11:35 pm - NBC - Jay Leno: Bonnie Raitt and Bo Didley 1:00 am - DIS - Going Home: 1994 profile of Aretha Franklin, The Queen of Soul, guests include Bonnie Raitt, Gloria Estefan, Rod Stewart and Smokey Robinson WEDNESDAY, FEBRUARY 28th 7:00 am - CBS - CBS This Morning: Grammy preview with Joan Osborne & Bonnie Raitt 12:35 pm - BRV - Say Amen, Somebody: 1982 gospel special with Willie Mae Ford Smith, Thomas A. Dorsey, Zeila Jackson Price, the Barrett Sisters and the O'Neal Twins 8:00 pm - CBS - Grammy Awards: performers include Joan Osborne, Itzak Perlman, Shania Twain, Boyz II Men, Coolio, Mariah Carey, Hootie & the Blowfish, Alanis Morissette, TLC, Seal, Dwight Yoakam ========================================================================= Date: Sat, 24 Feb 1996 19:13:05 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Composing Solos Comments: cc: emdrprac@DIRECT.CA Roger B. wrote: >Well, I think most reasonably competent guitarists (or any soloist, for >that matter) should be able to extend into 24 bars and make a coherent >transition from the melody through some improvisations, take it up a notch >or two, and bring it back to the song structure. > >Go beyond 24 bars, and, yes, the chances of slipping into Wank Mode goes >up, exponentially. OK Roger, I'll see you at 24 bars. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sat, 24 Feb 1996 19:22:56 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Blues @ SXSW (Austin) Dena A. Whitebirch wrote: >What format would you call Kenny Wayne Shepherd? Clone rock? Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sun, 25 Feb 1996 17:35:00 -1000 Reply-To: George Seaman CRL From: George Seaman CRL Subject: Roy Bucannan Aloha to all, This is my first post to this list. Just like to hear if any one enjoyed Roy Bucannans' rifts as much as I do. I belive he was the first ( excuse my youth) who played longer than 24 chord rifts. I belive he had one that was 64 chords but please I might not have counted properly. Unfortunetly my amp died and I can't bust out the record. You do have to skip any vocals on his albums, but he could play. ***************************** * George Seaman CRL * * email - hi-tech@aloha.com * ***************************** ========================================================================= Date: Sun, 25 Feb 1996 20:06:14 -0500 Reply-To: David Melton From: David Melton Subject: Re: Composing Solos Comments: To: emdrprac@DIRECT.CA At 4:59 PM 2/25/96, Roger B. wrote: >Shaun T Cronin wrote: > >>Unless you are a genius then 12 bars is enough for most of us. Trying to >>craft a solo that expresses what you feel is damn hard enough. Why >>complicate the problem by overplaying and losing sight of the goal. > > >Well, I think most reasonably competent guitarists (or any soloist, for >that matter) should be able to extend into 24 bars and make a coherent >transition from the melody through some improvisations, take it up a notch >or two, and bring it back to the song structure. > >Go beyond 24 bars, and, yes, the chances of slipping into Wank Mode goes >up, exponentially. > > >Roger B. > >(safe in the rhythm section!!) > > > =============================================================================== Sometimes I think it takes as much of of a genius to really say it all in a l2 bar solo as it does to go on and on and keep climbing. For me anything more than 24 bars begins to become a challenge unless the elusive window of inspiration opens up in front of me (profound, isn't it) :) If I have a choice, I always follow my gut which usually tells me when to quit. And with that in mind, I'll follow my own advice and quit over-tawkin'! Dave Melton ========================================================================= Date: Sun, 25 Feb 1996 23:08:49 -0500 Reply-To: Jonny Meister From: Jonny Meister Subject: Re: Interesting Blues Progression Comments: To: aschuna@VMS2.MACC.WISC.EDU At 04:02 PM 2/25/96 GMT, you wrote: >I've been doing a little Memphis blues aural research in preparation for a >guest spot on Bonnie Kalmbach's "Two For the Blues" radio show lately and >was playing different versions of "That's All Right, Mama" this morning. I >first played Big Boy Crudup's original from 1946, followed by Elvis' debut >release from 1954 and then Crudup's 1962 recording for the Fire label. The >original is a very earthy blues - about as "country" as country blues gets, >very raw. Elvis then takes this song and creates a blues/country/rockabilly >sound with some of the raw edges shaved off - it still has a tremendous >amount of energy. The 1962 Crudup is interesting as it seems to borrow a >lot of the performance style from Elvis' version. I found this to be a >very interesting comparison and recommend those who have copies of these 3 >versions to play them in succession. > >Art Schuna > "That's All Right Mama" comes from Blind Lemon Jefferson's "That Black Snake Moan"-- the title verse of "That's All Right" is a verse in the Jefferson song. -Jonny ******************************************** "I made it too! You see I'm here, don't you? You see I ain't dead." -Eddie "One-String" Jones ******************************************** ========================================================================= Date: Mon, 26 Feb 1996 04:40:30 GMT Reply-To: Matthew Arthur Clark From: Matthew Arthur Clark Organization: Columbia University Subject: Bo Diddley on the Tonight Show on Monday Comments: To: bit-listserv-blues-l@uunet.uu.net Bo Diddley will be on the Tonight Show with Jay Leno on Monday night. Be sure to catch a performance by this legendary artist and be on the lookout for his new CD in May. Matt Clark mac44@columbia.edu Code Blue Records - http://www.columbia.edu/~mac44 ========================================================================= Date: Sat, 24 Feb 1996 22:40:13 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: HOB Radio Hour Here in LA on KSCA FM 101.9 at 9:00pm (just before Dr Demento) there is the House of Blues Radio Hour hosted by Jake Elwood (Dan Akroyd). I quite enjoy listening to as the programming is quite good. Last week was a show dedicated to New Orleans music and this week (actaully as I'm writing this) the show is about Sonny Rhodes. He has a new album, "Out Of Control" out and they are previewing tracks (it sounds good). Sonny is talking to Jake Elwood in between songs. Also played Albert Collins/Johnny Copeland/Robert Cray's version of T-Bome shuffle and a collaboration between Taj Mahal and Sonny Rhodes, "Big Legged Woman" (had me on the floor laughing). And if you ever wondered why he wears a turban? He had an accident with his hair (it's a long story) and he doesn't have much anymore. If I can, when Sonny Rhodes stops by LA again I'll try and be there. Any other reccomendatioms. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sun, 25 Feb 1996 22:55:07 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Coco Montoya/Jimmy Smith/Jake Somebody, guitar prodigy Howdy bluezellers...I'm back after a four-day absence during which I neglected to go no-mail. I was forced to (gulp, sniff) delete every one of my messages after trying to sort them, save them...being a compulsive person who's hard drive is rapidly becoming blues-l's archives. So if on the odd chance you happened to send me something of any import, could you resend it? But it's interesting that the subject of child prodigies came up, because I happened to see one live on Friday night at BBKing's in L.A....but I digress. I took a bit of a trip to L.A., having an airmiles ticket that was fast reaching expiry date, and wanting to try my luck on the Jeopardy test (failed... :-( ). Saw a couple of great shows, though - jazz organist Jimmy Smith at the Catalina Bar & Grill in Hollywood, and Coco Montoya at BBKing's in plastic city USA, Universal City Walk. The jazz was impeccable, bluesy, and most entertaining - a lot of fun - some great guitar work, `Nature Boy' done duet with guitar and flute, and Jimmy Smith, the consummate showman. A great night (and I didn't even get mugged walking back to my hotel through Hollywood at 1 AM!!!) Then Friday it was off to BBKing's to see Coco Montoya. He blew me away. His slow blues literally brought tears to my eyes - amazing playing, passion , and emotion - breathtaking. (although the family from Wisonsin that sat behind me drove me to the brink of mass murder with their constant yammering). This guy has got style, smoothness, and a great stage presence - his music speaks volumes, particularly the slow blues, which went on for ten minutes plus (remember when I said I didn't like long songs? I take it all back!) - his organist was fantastic, offsetting Coco's guitar perfectly - these guys were having a lot of fun, and it showed. Coco did this one bit where he made his guitar talk as he mouthed the words during "Money See, Monkey Do" (I'd say he learned a thing or two from Albert Collins during his time with the master!), and it was hilarious. And like all great performers, he's not afraid to be the sideman in his own band - the keyboard player got a lot of solo space, and he did a great job while Coco sat back adding fills. What a fantastic show!!! I had only seen Coco Montoya once, a couple of years ago with John Mayall, and he made that show for me, but I haven't got his album yet, so I didn't know - this guy can SING, too!!! wow is all i can say. amazing. (And I'm not exagerrating!) Now I hope he comes to Vancouver so I can see him again! Now, the opening act on the other hand... JAKE ROBERTS (? I think that was his Last name), 15 year old Child Prodigy from guess where, Austin Texas!!! HE CAN'T PLAY PAST NINE O'CLOCK BECAUSE OF CHILD lABOUR LAWS!!! Two interminably long sets prior to Montoya's appearance on stage, during which he did a reasonable Stevie Ray, and a not too too bad impersonation (well, it was mediocre I guess) of Albert King... but do we really need some kid who doesn't even shave yet to sing "Personal Manager" and "Laundromat Blues"? It was darn near pathetic, particularly when the curd-eating L.A. Yuppies sitting in front of me were going gaga over his repetitive stock triplets and cliches, getting his autograph and saying he was going to be a big star some day... And then they left before Coco got on!!! I just don't understand people sometimes... As it was, a good time. I didn't have a chance to see Billy Boy Arnold like I wanted to (no car, taxi extortionists..err...drivers costing what they do...), but it was great. Bluezellers in L.A. - musically, you've got it made!!! (And I even think I saw Shaun Cronin at the Hollywood McDonald's on Thursday night!) tired but happy, -Jim (hndful@uniserve.com) ========================================================================= Date: Sat, 24 Feb 1996 23:19:55 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Composing Solos Comments: cc: slydemann@EARTHLINK.NET Dave Melton wrote: > Sometimes I think it takes as much of of a genius to really say it all in a >l2 bar solo as it does to go on and on and keep climbing. For me anything >more than 24 bars begins to become a challenge unless the elusive window >of inspiration opens up in front of me (profound, isn't it) :) If I have >a choice, I always follow my gut which usually tells me when to quit. >And with that in mind, I'll follow my own advice and quit over-tawkin'! I agree with Dave. Trying to say it all in 12 bar solo is damn hard. To do it right does take genius. I do like to go into guitar wank land and play multiple choruses when practicing or rehearsing. It is fun to do. But when I'm playing live no way. Short and too the point. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sat, 24 Feb 1996 23:20:02 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Great Blues Guitar Solos The recent thread on overplaying etc has led me to think about what I consider the great blues solos (Guitar only. Sorry). Here they are and why. BB King "Everday I have the Blues"-"Live at the Regal" Sheer bloody excitement. The opening chorus sets up the whole song. The second 24 bar chorus with the tone change the jazzy licks and immaculate taste sum up the whole BB King style. IMHO, this is a *must* learn solo. Magic Sam "You Were Wrong"-"Live" This ranks with BB's aforementioned solo in terms of sheer excitement. This song races along and Magic's unison bends that open the solo just nail you in the gut and leave you winded. The shift in dynamics in the second chorus with Magic Sam going quiet and muted is a sucker punch that sets you up for the knockout that hits you on the 4 chord. This solo leaves you battered and bruised. Albert King "Crosscut Saw"-"King of The Blues Guitar" To me, the best Albert King solo on record. This is also one of my favourite blues songs of all time. With the wide bends, the famous Albert King licks, the use of *space* (a concept that we soloists tend to forget about) this is *the* Albert King solo. Bill Dogget "Honky Tonk"-"Original Blues" Ok. Bill played organ but I forget the name of the guitarist. This is one of the most perfectly constructed solos ever. You *cannot* play this tune and not play this solo. I have, and will use, the licks from this solo all the time. If you call yourself a blues guitarist you have absolutly *no excuse* for not knowing this solo. Albert Collins/Robert Cray/Johhny Copeland "Blackjack"-"Showdown" If you were ever to ask what "headcuttin'" is all about then this song is a prime example. Robert Cray starts out and let's everyone know what the stakes are. Johhny Copeland see Robert and raises hime. Then Albert Collins lets everyone know who's the boss. He sees everybody then takes the winnings and goes home. Great song with three great solos. This is all IMHO. Comments and your choices (for any instrument) are appreciated. Note that the longest solo is three bars. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sun, 25 Feb 1996 01:23:04 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Coco Montoya/Jimmy Smith/Jake Somebody, guitar prodigy Jim wrote about his LA adventure: >(And I even think I saw Shaun Cronin at the Hollywood McDonald's on Thursday >night!) >(And I even think I saw Shaun Cronin at the Hollywood McDonald's on Thursday >night!) Good lord no! The only people who go in there are tourists and the local crazies. What makes you think I was there? I have enough of them just walking up Hollywood Boulevard going to school. The bums tend to piss me off a little ("gimme a quarter!"). Best requests. I swear some people decked out in punk regalia were saying "Spare change for acid?" one night and the other day a girl said to me "A big kiss for a quarter?" I not sure how those rates compare to the ahh, well, more inclusive services offered on Sunset but, while flattered, I wasn't interested. Yes, Hollyweird lives up to it's name. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Mon, 26 Feb 1996 04:41:31 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1955 LaVern Baker appeals to Congress in a letter to Michigan Representative Charles Digges Jr., to revise the Copyright Act of 1909 so recording artists can be protected against "note-for-note copying" of already recorded R&B tunes and arrangements by white artists and arrangers. P.W. Fenton Tampa, Florida ------------------------------------------------------------- "Age is a question of mind over matter. If you don't mind, it don't matter." - Leroy Robert "Satchel" Paige, 1906-1982 When in cyberspace, visit my web pages at http://www.gate.net/~pwfenton/ ------------------------------------------------------------- ========================================================================= Date: Mon, 26 Feb 1996 09:38:39 GMT Reply-To: tdevit3@NEWS-S01.NY.US.IBM.NET From: tdevit3@NEWS-S01.NY.US.IBM.NET Subject: Re: Freddy King Comments: To: bit-listserv-blues-l@uunet.uu.net Have not yet heard Ballroom...but , if you can still get them, two Modern Blues CDs (Freddy Fing Sings and Just Picking) are well-presented versions of the Federal classics, as is the UK Charly CD Takin' Care of Business. ========================================================================= Date: Mon, 26 Feb 1996 04:50:11 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Rumble And Scratch Capitol Compiles Blues Favorites on CD-ROM ========================================== One of the oldest forms of American music is about to be immortalized in one of the newest forms of American technology. This March, Capitol Records plans to release a CD-ROM compilation of Blues masters called "Rumble and Scratch." The CD-ROM features arresting multi-media presentations on a variety of musicians, such as T-Bone Walker, John Lee Hooker, Muddy Waters, Son House, Lowell Fulson, Z.Z. Hill, and Mississippi Fred McDowell. Complete with an array of visual and written information about the players and their unique music, this CD-ROM promises to deliver even more than incredible songs from the collection of renowned artists. Source: ICE Magazine ========================================================================= Date: Mon, 26 Feb 1996 05:00:11 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: New Blues Releases this week (From the HOB website) FEBRUARY 26: New Blues Releases: Taj Mahal - "Phantom Blues"/ Private Lonnie Brooks - "Roadhouse Rules"/ Alligator Ernie Johnson - "In The Mood"/ Waldoxy Hadda Brooks - "Time Was When"/ Pointblank Tony Coleman (drummer for B.B.King) - "Out In The Open"/ King Snake Ace Moreland - "Keepin' A Secret"/ King Snake Reissues, Collections and Greatest Hits: Bois Sec Ardoin & Canray Fontenot - "Le Musique Creole"/ Arhoolie Big Maceo - "The Victor- Bluebird Recordings: Chicago 1945 - 1947"/ BMG Tampa Red - "The Complete Bluebird Recordings Vol. Two 1937 -1938"/ BMG Sonny Boy Williamson (I) - "The Complete Bluebird Recordings Vol. One 1937 - 1938"/ BMG Memphis Slim - "The Bluebird Sessions 1940 - 1941"/ BMG John Mayall - "The Blues Alone"/ Mobile Fidelity Ultradiscs B.B. King - "Lucille"/ Mobile Fidelity Ultradiscs Little Richard - "Shag On Down By The Union Hall"/ Specialty Camille Howard - "Volume Two: X-Temporaneous Boogie"/ Specialty Freddie King - "Live At The Electric Ballroom 1974"/ Black Top Jesse Thomas - "Lookin' For That Woman"/ Black Top Irma Thomas - "Best Of"/ Razor and Tie Canned Heat - "Vintage"/ Sundazed ========================================================================= Date: Mon, 26 Feb 1996 06:34:28 -0500 Reply-To: MacRockin From: MacRockin Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Ridin the Blind Comments: To: bit-listserv-blues-l@uunet.uu.net I was wondering about this "ridin' the blind" thing one time and asked Johnny Shines about it. He told me that it was riding (hoboing) in a certain spot on a train-- mainly on the side AWAY from the station, since the train detectives were usually standing there watching as it went through. I seem to remember him saying that a good "blind spot" was just a couple of cars behind the engine--on the opposite side from the engineer, but I suppose that would depend on the way the train was set up. Made good sense to me. Johnny also told me that a fellow he was riding next to-- on top of the train--was shot in the head by those private train detectives, and he barely got away with his own life by jumping off. Mike McCracken ========================================================================= Date: Mon, 26 Feb 1996 07:51:29 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: Guitar by Phone (long) Hello everyone... I wanted to tell you about something our own Ari Eisinger is up to. He's been giving Stuart (my own version of Mad Max!) guitar lessons by phone! Yes, I know...I didn't think it would work either. But I was wrong. Ari, as you may know, is an excellent finger-picking blues guitar player. He's developing this method of teaching by phone. I've watched Stuart and Ari negotiate these lessons and have been very surprised to see how much/fast Stuart's improved. I asked Ari how he would describe the lessons and he's what he said about how they work: "Before each lesson, I send the new material (tablature) to the student. This material is to be ignored until the lesson, because we'll go over it by phone. Meanwhile, the student is practicing the material we went over during the last lesson. "At each lesson, first we go over what the student practiced from the previous lesson and I make suggestions and point out mistakes. This is where I get to be better than any video tape or book, because a book can't do this, and it's very important. "Then we go over the new piece that should have arrived in the mail. To do this I record the piece at full speed and then very slowly. Stuart tapes me by simply placing the tape recorder in front of his speakerphone, which he says gives rather poor quality recordings but recordings on which he can hear exactly what I'm doing, which is the most important thing. The recordings would I'm sure be better in quality if the student were to make them by taping directly through the phone (some answering machines can do this, and I'm sure Radio Shack has the necessary equipment, although I haven't priced it.) "Once we've finished recording the piece, the student slowly works his way through the tablature for the piece and I make corrections. After this, the student cannot play the piece because this requires alot of practice, but s/he at least has gone through it once and some pitfalls have been covered. "In addition, the student must have a speakerphone and some way of recording what comes over the phone lines. Also, the student pays for the call. "My feeling about these phone lessons is that they'll never be as good as in-person lessons, but they will often be better than the alternatives available to people who don't live near someone who teaches the kind of music they're interested in learning. For people who don't live near such a teacher, the alternatives are tab books, video tapes, audio tapes and cd roms, none of which can give the student the kind of feedback that is so important in learning any advanced techniques. "I also think that for these lessons to work well the student needs to be talented and should have some experience playing and listening to guitar music, although s/he need not have done any fingerpicking." As for Stuart's reaction to the lessons, I can tell you that he has been very excited and enthusiastic about them. Each time he masters another lesson he plays it for every hapless victim in the vicinity. I think the dog needs deep therapy. I suspect he's secretly considering selling his Dick Tracy Crimestopper Wristwatch to finance more, but I can't be sure. I get an enthusiastic "yes!" when I ask him to give me comments so I can tell you how much he likes this novel way of learning, but short of standing over him with a ruler poised above his hands, I can't get him to write letters in any timely fashion. He does, however, give his unqualified endorsement (which he'll deliver to me to print "tomorrow")! But patience is not one of my reigning virtues (sigh), so today's the day. Ari is simply excellent as a guitar player of pre-war blues, ragtime, etc. Such excellent players in that style are fairly rare in my experience. As a believer in the idea that the best lessons are learned directly from a teacher (as opposed to books, etc.), I was excited by the possibility that such learning might be available though the student might be some distance away from the teacer. As Ari mentioned, it's probably not as good as sitting in the same room, but it's sure workable, and the student CAN get real feedback and correction. At any rate, I think this is a cool idea which, in Stuart's case, worked very well. I wanted you to know about it. I'm not affiliated with Ari Eisinger in any way except for friendship (yea) and that thousand dollars he said he'd send me if I said all the above (JUST KIDDING, LW!).... But I'm sure he'd be tickled to hear any feedback you have on this idea of his. Here's his address: ARI EISINGER ari3@soho.ios.com (610) 259-6688 So feel free to contact him friends (smile)...I'll teach HIM to give my dog manic episodes! Cathi N. ========================================================================= Date: Mon, 26 Feb 1996 08:04:13 EST Reply-To: "David A. Pimmel" <103300.3331@COMPUSERVE.COM> From: "David A. Pimmel" <103300.3331@COMPUSERVE.COM> Subject: Re: James Cotton last night P.W., I have seen similar behavior in blues people before with regards to the transformation when they start playing. Before the set they are tired and dragging and then the music starts and something inside just wells up and comes forth. Best example I can think of is Johnny Copeland. I saw him about two weeks before he first went into the hosipital. He walked on stage slowly, and looked tired and ill. Even at the time I said, gee Johnny don't look so good. I was actually expecting a shortened set, but no, with each number Copeland got more and more energy until at the end of the night he looked like he could have kept going for another two or three hours. It was actually somewhat moving to see someone getting that much enjoyment out of giving other people enjoyment. David Pimmel 103300.3331@compuserve.com ========================================================================= Date: Mon, 26 Feb 1996 08:20:10 -0500 Reply-To: BLUES4EVR From: BLUES4EVR Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Composing Solos Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199602260308.TAA16268@wavenet.com>, Shaun T Cronin writes: >> >>Go beyond 24 bars, and, yes, the chances of slipping into Wank Mode goes >>up, exponentially. > >OK Roger, I'll see you at 24 bars. > >Shaun > > after 24 bars anyone would be in the Wank Mode, >8 ) Ken BLUES4EVR@aol.com Keep on keepin' on, that's all we can do ========================================================================= Date: Mon, 26 Feb 1996 07:53:41 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Black History Month In-Reply-To: Message of Fri, 23 Feb 1996 22:40:59 -0600 from On Fri, 23 Feb 1996 22:40:59 -0600 David Silberberg said: > >LW, assuming that Watkins is an English name, do you listen to many >madrigals? Margaret (if Ober is a German name), do you listen to much old >German music? I did not realize the impact "old German music" has made on out society, I didn't know you can walk into ALMOST any large store and hear music that was influenced by German music...I didn't know that the best selling music in the WORLD was influenced by German music....I guess I didn't realize the impact German music has made on modern day music. Think about it without the influence of German music, TV commercials , Grammy Awards and such would be totally 0. LW ========================================================================= Date: Mon, 26 Feb 1996 07:59:41 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Tracy Nelson Itinerary In-Reply-To: Message of Sat, 24 Feb 1996 19:14:10 -0500 from On Sat, 24 Feb 1996 19:14:10 -0500 RNABooking said: >May 4..............................Memphis, TN- Beale Street Music >Festival Looking forward to this, anyone that can hang with Koko Taylor's power is a must see IMHO. I've looked for TN CD's, but they are NONE in the blues section she must sell out quick. Which of her recordings will convince me that she is in the league with the Queen Of The Blues.... Thanks LW ========================================================================= Date: Mon, 26 Feb 1996 08:56:43 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Composing Solos Comments: To: BLUES4EVR In-Reply-To: <4gsc2a$mtl@newsbf02.news.aol.com> Even though a lot of readers probably won't think this is blues, one notable exception to the "24 bars and out" rule was Wes Montgomery (and anyone who doesn't think he could play fabulous blues is missing something). He had a well-established pattern of constructing his solos to start with single notes, then shift to his patented octaves, then go to chorded soloing. But in his case, it was a logical construction that went somewhere, not just redundancy or noodling. ========================================================================= Date: Mon, 26 Feb 1996 09:12:32 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: PBS SRV Tribute It appears the SRV Tribute will be on PBS this Sunday in my 'hood. I know it's been on in other areas, so if you've seen it could you tell me what to expect and who will be appearing. I'm also curious is it worth watching...? THANKS LW 'who knows that Old German music has influenced eveything from the Stones to Travis Tritt' (learn something new everyday on Blues-l) ========================================================================= Date: Mon, 26 Feb 1996 07:24:04 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Feb. 27 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ADAMS, JO JO "DR." (v/ALADDIN/PARROT REC) d. 1988-0227, CHICAGO, IL -- ANDERSON, MARIAN (gospel) b. 1897-0227, PHILADELPHIA, PA ATTWELL, WINIFRED (p/BOOGIE WOOGIE) d. 1983-0227, SYDNEY, AUSTRALIA 69 ATWATER, LEE (g/blues POLITICAN) b. 1951-0227, ATLANTA, GA BAILEY, MILDRED [MILDRED RINKER] (v) b. 1907-0227, TEKOA, WA BOONE, CHESTER(tpt/SAMMY PRICE/JOE PULLUM)b. 1906-0227, HOUSTON, TX DAVIS-EASLEY, MARLENA (of THE ORLONS) d. 1993-0227, PHILADELPHIA, PA 48 DEAN, SARA (v/LOUIS ARMSTRONG) d. 1988-0227, PHILADELPHIA, PA 76 DEPAUL, GENE V.(sonwriter/COW COW BOOGIE) d. 1988-0227, LOS ANGELES, CA 68 DIXON, LUCILLE (b/SWEETHEARTS OF RHYTHM) b. 1923-0227, NEW YORK CITY, NY GARLOW, CLARENCE J. "BON TON" (g) b. 1911-0227, WELSH, LA GEORGE, JIMMY (prod/MOTOWN/MERCURY REC) b. 1940-0227, AMARILLO, TX GORDON, DEXTER KEITH (tsax) b. 1923-0227, LOS ANGELES, CA ISAACS, IKE (b) d. 1981-0227, ATLANTA, GA 57 JOHNSON, J. C. [JAY CEE JOHNSON](p/songw) d. 1981-0227, NEW YORK CITY, NY 84 KAPLAN, BRUCE (founder: FLYING FISH REC) b. 1945-0227, CHICAGO, IL MONTRELL, ROY EUSTIS (g/FATS DOMINO) b. 1928-0227, NEW ORLEANS, LA PANASSIE, HUGUES (discographer/JAZZ HOT) b. 1912-0227, PARIS, FRANCE POWELL, JESSE (tsax/JUBILEE REC) b. 1924-0227, FORT WORTH, TX RADCLIFFE, FREDDY (d/LIONEL HAMPTON) d. 1962-0227, WASHINGTON, DC 44 VERRETT, HARRISON (g/FATS DOMINO) b. 1909-0227, NAPOLEONVILLE, LA WATSON, LEO (v/SPIRITS OF RHYTHM) b. 1898-0227, KANSAS CITY, MO ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 26 Feb 1996 08:26:17 -0700 Reply-To: Jessica Jones From: Jessica Jones Subject: KC Blues Fest Lineup Hello, Anybody know the lineup for this summer's festival in KC? I checked the blues link and it still has last year's page. Thanks jessica jessicaj@spot.Colorado.edu ========================================================================= Date: Mon, 26 Feb 1996 16:31:50 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: German music LW 'who knows that Old German music has influenced eveything from the Stones to Travis Tritt' (learn something new everyday on Blues-l) Thats right! German music has always influenced the history of mankind: " I can=B4t listen to more Wagner because it makes me wanna invade Poland" (Woody Allen) ========================================================================= Date: Mon, 26 Feb 1996 08:01:09 -0500 Reply-To: David Melton From: David Melton Subject: Re: Great Blues Guitar Solos Comments: To: Shaun T Cronin At 11:20 PM 2/24/96, Shaun T Cronin wrote: > > >Bill Dogget "Honky Tonk"-"Original Blues" > >Ok. Bill played organ but I forget the name of the guitarist. This is one >of the most perfectly constructed solos ever. You *cannot* play this tune >and not play this solo. I have, and will use, the licks from this solo all >the time. If you call yourself a blues guitarist you have absolutly *no >excuse* for not knowing this solo. > =============================================================================== The guitar player was the late great Billy Butler, and I agree with Shaun, this is one of the greatest solos ever. Dave Melton ========================================================================= Date: Mon, 26 Feb 1996 11:00:43 -0500 Reply-To: Rags From: Rags Subject: NAT_DEE_WILLIAMS_&_WDIA_IN_MEMPHIS!!! Hi folks.... On my way to work, I heard on WDUQ 90.5 Pittsburgh, Rev. Dwight Gatemouth Moore and others speak on the role of the first Black DJ on Radio....NAT DEE WILLIAMS at WDIA in Memphis TN, the 50,000 W station which was touted to have covered 10 % of the black popluation in US.... Rev Moore said in his own words he ran away from home with Ma Rainey ('s troupe I presume) and that Nat Dee Williams was like a teacher to him.... Any more info on the first AfroAmerican DJ and about the WDIA_Memphis-BLUES connection. Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ It's dark And I'm Wearing Sunglasses......... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Mon, 26 Feb 1996 10:52:17 -0600 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: German music > LW 'who knows that Old German music has influenced eveything from the Stones > to Travis Tritt' (learn something new everyday on Blues-l) > > > Thats right! German music has always influenced the history of mankind: > " I can=B4t listen to more Wagner because it makes me wanna invade Poland" > (Woody Allen) Didn't the Germans invent the Harmonica? Bruce Roberts Austin, TX ========================================================================= Date: Mon, 26 Feb 1996 11:55:54 -0500 Reply-To: Rags From: Rags Subject: NAT_DEE_WILLIAMS_&_WDIA_MEMPHIS!!! > Hi folks.... > On my way to work, I heard on WDUQ 90.5 Pittsburgh, > Rev. Dwight Gatemouth Moore and others speak on the role of > the first Black DJ on Radio....NAT DEE WILLIAMS at WDIA > in Memphis TN, the 50,000 W station which was touted to have > covered 10 % of the black popluation in US.... > Rev Moore said in his own words he ran away from > home with Ma Rainey ('s troupe I presume) and that Nat Dee Williams > was like a teacher to him.... > Any more info on the first AfroAmerican DJ and about the > WDIA_Memphis-BLUES connection. > Peace to U..... Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ It's dark And I'm Wearing Sunglasses......... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Mon, 26 Feb 1996 12:20:12 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: DC Blues Society Jam Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com The next free DC Blues Society blues jam will be on this Sunday, March 3, at Food For Thought (1738 Connecticut Ave. NW) from four - eight PM. All musicians are welcome to perform. There is no cover and DC Blues Society members get a 10% discount on food and drink. For more information call the DC Blues Society at (202) 828-3028 or visit the DC Blues Home Page at http://intelus.com:80/DCBlues/ ========================================================================= Date: Mon, 26 Feb 1996 12:38:49 -0500 Reply-To: James Leftwich From: James Leftwich Subject: John Hammond on radio Hey, I caught the tail end of a live John Hammond show on WFUV 90.7 (New York). Did anyone catch the entire show for trade? Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" :) ========================================================================= Date: Sun, 25 Feb 1996 09:44:51 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Composing Solos Comments: cc: rshurman@ccs.nslsilus.org Richard Shurman wrote: >Even though a lot of readers probably won't think this is blues, one >notable exception to the "24 bars and out" rule was Wes Montgomery (and >anyone who doesn't think he could play fabulous blues is missing >something). I don't understand. There are actually people who think that Wes could not play blues. When I listen to Wes that's all I hear. The blues coming in from all over the place. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Mon, 26 Feb 1996 09:48:46 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Composing Solos and Robert Johnson Shaun said: >Heard an interesting theory about Robert Johnson today. A friend told me >that he had heard that the solos on Robert Johnson's recording were more >than likely composed. The evidence being that the alternate takes are very >similiar to the originally released tracks. Comments? It's quite likely they were composed. You can come up with the coolest improvised solo you ever heard, and the timing and phrasing will be off, because there is insufficient intent. You didn't "mean" to play it. So improvisation is fine, but we usually end up formalizing and improving the improvisations into something more effective. Sometimes improvisation, to me, is literally "hearing" the solo ahead of where you are playing it. This ALWAYS produces my best playing. It makes me play melodically and soulfully. But it is not ready for recording until I take those great ideas and "finish" them, if you will. >Next question to all you "improvisors" out there. How much actual >improvising do you do? In blues and jazz I tend to improvize all the time >i.e. each time I play the same song I never play the same thing twice. In >the rock bands i play in I tend to "compose" the solo. After jamming on the >songs for a while I keep the licks that sound best and make only small >changes during the solo section. I recently laid down tracks on a demo and >for the solo I too three takes which were generally the same. As it was a >rock song with specified solo break I worked out something that (hopefully) >created some excitement and led back into the tune. My theory is that rock >is limited to a degree in terms of soloing (unless it Hendrix). Stay with >the stuff that works. I try to bring the blues influence into rock, (in the sense of expressiveness and emotion, not in the senses of blues-rock) which I think is what made Jimi so cool. I suspect Jimi "heard" the solo as he was playing it most of the time. Rock is so dang boring today because it is so predictable and safe. Even metal and alternative are pretty contrived and conservative in general. I suspect, with players of Jimi's caliber, there is *no difference* between improvisation and composition. I suspect that he could compose as he was improvising, that very little of it was an accident! Know what I mean? Yet even Jimi refined and polished his stuff for recording. I think the romantic notion of someone playing timeless, perfect music right off the top of their heads is a silly myth, a durable one, but silly anyway. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production & Event Services dcicchet@vega.lasierra.edu I looked over Jordan, and what did I see An Eldorado comin' after me comin' for to carry me home.. -- Dizzy Gillespie ____________________________________________________ ========================================================================= Date: Mon, 26 Feb 1996 12:16:12 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Composing Solos In-Reply-To: Message of Sun, 25 Feb 1996 09:44:51 -0800 from On Sun, 25 Feb 1996 09:44:51 -0800 Shaun T Cronin said: >Richard Shurman wrote: > >>Even though a lot of readers probably won't think this is blues, one >>notable exception to the "24 bars and out" rule was Wes Montgomery (and >>anyone who doesn't think he could play fabulous blues is missing >>something). > >I don't understand. There are actually people who think that Wes could not >play blues. When I listen to Wes that's all I hear. The blues coming in >from all over the place. "If someone can't see the connection between Wes and Lightin', something's wrong with 'em" Doug MacLeod LW ========================================================================= Date: Mon, 26 Feb 1996 13:04:02 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 02/27 B O R N : AARON, ROBERT Born:1948 NEW YORK, NY Career:KEYBOARDS Style:JAZZ BAILEY, MILDRED ( MILDRED RINKER ) Born:1907 TEKOA, WA Career:SINGER/ PIANO Style:JAZZ / BLUES / BIG BAND With:Paul Whiteman / husband Red Norvo / George Jessel / Willard Robison / Benny Goodman BOONE, CHESTER Born:1906 HOUSTON, TX Career:TRUMPET / SINGER Style:JAZZ / BLUES / BIG BAND With:Dee Johnson Band / Troy Floyd / Herschel Evans / Grant Moore Band / Louis Jordan / Lloyd Phillips / Sammy Price / Kaiser Marshall / Horace Henderson / Buddy Johnson / Luis Russell HOOPER, LES Born:1940 BATON ROUGE, LA Career:COMPOSER / PIANO / ARRANGER Style:JAZZ JONES, HAROLD (J.) Born:1940 RICHMOND, IN Career:DRUMMER Style:JAZZ / BLUES / BIG BAND MOST, ABE ( ABRAHAM MOST ) Born:1920 NEW YORK, NY Career:CLARINET / ALTO SAX / FLUTE Style:JAZZ / BIG BAND With:Les Brown / Tommy Dorsey / settled in Calif.as studio musician PANASSIE, HUGUES Born:1912 PARIS, FRANCE Career:WRITER JAZZ / BLUES With:HOT JAZZ WATSON, LEO Born:1898 KANSAS CITY, MO Career;SINGER / DRUMMER / TROMBONE Style:JAZZ / BLUES / BIG BAND Vocalist of 30s and 40s with wild scat style / Teddy Bunn / Artie Shaw / Gene Krupa 1938 / Jimmy Mundy 1939 / Slim Gaillard 1946 / Charley Raye 1948 WAYNE, CHUCK ( CHARLES JAGELKA ) Born:1923 NEW YORK, NY Career:GUITAR JAZZ / BLUES / BIG BAND With:Clarence Profit / Nat Jaffe / Joe Marsala 1944-46 / Woody Herman / Phil Moore Four / Barbara Carroll / Alvy West / George Shearing 1949 to 1952 / Joe Puma 1972-73 WILLIAMS, JOHN B Born:1941 NEW YORK, NY Career:BASS Style:JAZZ / BIG BAND GARLOW, CLARENCE Born:1911 WELSH, LA Career:FIDDLE / ACCORDIAN / GUITAR / SINGER Style:BLUES GORDON, DEXTER KEITH Born:1923 LOS ANGELES, CA Career:TENOR SAX / LEADER JAZZ / BLUES / BIG BAND With:Lionel Hampton 1943-45 / Lee Young / Jesse Price / Louis Armstrong / Billy Eckstine / Gene Ammons KAPLAN, BRUCE Born:1945 CHICAGO, IL Career:FOUNDER FLYING FISH RECORDS Style:BLUES FLYING FISH RECORDS MONTRELL, ROY EUSTIS Born:1928 NEW ORLEANS, LA Career:GUITAR Style:BLUES With:FATS DOMINO VERRETT, HARRISON Born:1909 NAPOLEONVILLE, LA Career:GUITAR Style:BLUES With:FATS DOMINO FOR A LISTING OF THOSE THAT PASSED AWAY IN MARCH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Mon, 26 Feb 1996 13:37:17 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Open E/D questions I started out playing slide with open D, but after I started using A/G I stopped using E/D. I like the delta sound and the use of a lot of chord forms in the open G/A. Unfortunately I haven't found many chord forms for 1,4,5 in E/D tuning. I know the 5th and 7th fret, I also know how to make a 7th at the first & third fret using the bottom three strings in the shae of an "F" (or Fmajor7th) Can anyone e-mail me some other chord forms in those tunings. LW ========================================================================= Date: Mon, 26 Feb 1996 14:25:52 -0400 Reply-To: sands2@MARSHALL.EDU From: Jim Sands Subject: Re: Black History month Good point. One of my freind who writes features for the Herald-Dispatch (Huntington, W. Va.) and I questioned why no one mentions the blues during BHM. People may want to downplay the slavery issue, but like it or not, most slaves were black, and it just so happes that they made some of the most influential music of the twentieth century. Jim Sands Marshall University ========================================================================= Date: Mon, 26 Feb 1996 13:02:18 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Internet Blues is Back on the air! Well, after playing my first show for two months, Heart & Soul Volume 2 is finally on the air for those of you who are interested. This week's focus is on some of the originators - Skip James, Blind Willie Johnson, and Henry Thomas, along with tracks by Jerry McCain, Charlie Musselwhite, and the Port of Harlem Jazzmen. So if you're interested, check it out at http://sdf-radio.colossus.net/slot4.html and use your RealAudio player to tune in. Actually, the acoustic stuff doesn't sound half bad, surprisingly enough, and it probably sounds even better if you've got a good computer and connection. Enjoy! Disclaimer: I'm a rank amateur and I'm doing this for fun and enjoyment. If you have any comments or anything, just e-mail me privately. See ya. -Jim (hndful@uniserve.com) ========================================================================= Date: Mon, 26 Feb 1996 15:59:55 -0500 Reply-To: bob vanarsdall From: bob vanarsdall Subject: Re: Constructed Solos For my ears one of the most enduring guitar solos is by Mike Bloomfield about 3 minutes into the song "Another Country" on the Electric Flag album. It comes right after a very 60's sound collage, begins with jazzy quiet guitar chording and then takes off and builds with more instruments coming in. His tone and attack both become more "electric" after each 12 bars, and as each of the other instruments come in he goes more to single string work and it gets tastier and more Bloomfield-like. By the time the horns come in, it is a blues phenomenon, stinging and playing against the horns. If that one doesn't get you, as Louis Jordan says, "...Jack, you're dead." Bob ========================================================================= Date: Mon, 26 Feb 1996 16:15:22 -0500 Reply-To: Laura Fowler From: Laura Fowler Subject: ?? on A.J. Croce Hello all! Last night A.J. Croce was featured on Austin City Limits. Who can tell me how old this fellow is? Also how many albums he has out and how long he has been performing. His voice did not match his youthful looks. Thanks. Laura Fowler lfowler@capcon.net ========================================================================= Date: Mon, 26 Feb 1996 23:01:23 GMT Reply-To: Rennie Selkirk From: Rennie Selkirk Organization: NASA-Ames Research Center Subject: Piano player on "Freddy King Sings"? Comments: To: bit-listserv-blues-l@uunet.uu.net Howdy, zellers, Just picked up a tape of this classic LP from '60-'61, I guess. No musician credits though. Anybody know the lineup, especially that impeccable piano player? It wouldn't be someone like Lloyd Glenn would it (just guessing)? Thanks in advance, Rennie ========================================================================= Date: Mon, 26 Feb 1996 14:54:26 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Red House query Help me out here gang. Blues-Ler Chris McIntosh has been searching out different versions of Red House by Jimi and has gotten some interesting responses. Now, I was *SURE* that Red House was a cover (that Jimi made famous) of an older original from the 1950s. I checked all my Hendrix cds and they all credit Hendrix as the author of that song. Am I on drugs? I was positive that someone else did that song way before Jimi got his hands on it. Liner notes say I'm wrong, but we know how song credits go in the blues world. Can anybody back me up on this? Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Mon, 26 Feb 1996 15:09:28 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: One Bluesman's Disaster...cause for blues. In 1985, less than a year after we were married, my wife and I lost everything we owned, including our beloved pets, to a fire which burned the 3-storey victorian home where we were renting to the ground. Being newlyweds, had not yet insured our collective household...just hadn't gotten to it yet. Over ten years later, we are still paying for our losses. My only guitar at the time, a Yamaha dreadnought, survived, the case having literally burned off around it. The best support you'll get is from the Red Cross. They are an amazing network of support agencies. Wish I could help more. ..feelin the blues for our Canadian neighbor, Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Mon, 26 Feb 1996 17:53:34 -0600 Reply-To: SPRINGJ@NORTHERNLIGHTS.LIB.MN.US From: SPRINGJ@NORTHERNLIGHTS.LIB.MN.US SUBSCIBE BLUES-L JEAN SPRING ========================================================================= Date: Mon, 26 Feb 1996 18:54:07 -0500 Reply-To: USBLUE5@AOL.COM From: "Gordon, Rich" Subject: WXRX Sunday Night Blues Playlist 2/25/96 10pm Kenny Wayne Shephard, (Let Me Up) I've Had Enough, Ledbetter Heights, Giant Bobby Murray, The Future Is Now, The Blues Is Now, Vice Roots - Brownie McGhee & Sonny Terry, Walk On, The Real Blues Brothers, Dunhill Roy Roberts, My Baby Left Me, A Woman Needs Love, CD Hatchery - John Hammond, First time I Met The Blues, Found True Love, Pointblank Duke Robillard, Love Slipped In, Duke's Blues, Pointblank- - Bitter Sage, Cold Supper Blues, Blooze For Youze, Star Center Rocordin B.B.King, To Know You Is To Love You, Modern Blues Of The '70's, Rhino - Van Morrison, Blues In The Night, How Long Has This Been Going On, Verve Bobby Rush, Cut Me In, One Monkey Don't Stop No Show, Waldoxy - Jimmy Witherspoon, Goin' Down Slow, Live At The Mint, On The Spot Homesick James, Gotta Move, Live At The Stan Hope House, Stan Hope 11pm Bonnie Raitt, The Road's My Middle Name, Nick Of Time, Capitol Little Milton, Anna Mae's Cafe, Greatest Hits, Malaco - Cephas & Wiggins, No Ice In My Bourbon, Cool Down, Alligator Jesse Thomas, Lookin' For That Woman, Lookin' For That Woman, Black Top - Long John Hunter, Nasty Ways, Border Town Legend, Alligator Omar & the Howlers, Highway 49, World Wide Open, Watermelon - Buddy Guy, Please Don't Drive Me Away, Slippin' In, Silvertone Bill Perry, Fade to Blue, Love Scars, Pointblank - Theodis Ealey, Bluesman Lover, Stuck Between Rhythm & Blues, Ichiban Tommy Castro, Nasty Habits, Exception To The Rule, Blind Pig - Dicky Williams, Everything Is Everything, Full Grown Man, Ichiban Ernie Johnson, Bouncin' Back, In The Mood, Waldoxy Rich Gordon Sunday Night Blues 10pm to Midnight WXRX 104.9 FM 2830 Sandy Hollow Road Rockford, IL 61109 ========================================================================= Date: Mon, 26 Feb 1996 16:00:41 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Billboard Magazine blues chart for week ending March 2, 1996 The following is the Billboard Magazine blues chart for the week ending 3/2/96. 1. Greatest Hits/Stevie Ray Vaughan & Double Trouble 2. Ledbetter Heights/Kenny Wayne Shepherd 3. From The Cradle/Eric Clapton 4. Blues/Jimi Hendrix 5. Turn It On Turn It Up/Roomful of Blues 6. Some Rainy Morning/Robert Cray 7. Duke's Blues/The Duke Robillard Band 8. Handful of Blues/Robben Ford & the Blue Line 9. Keb' Mo'/Keb' Mo' 10. Found True Love/John Hammond 11. One Foot In The Blues/Z.Z. Top 12. Chill Out/John Lee Hooker 13. Sad Street/Bobby "Blue" Bland 14. Cover To Cover/The Jeff Healey Band 15. Essential Blues/Various Artists (House of Blues Records) Mary Katherine Aldin Mary Katherine Aldin ========================================================================= Date: Tue, 27 Feb 1996 11:10:47 +1100 Reply-To: Daniel Bruce From: Daniel Bruce Subject: A Great tape I made Guys & Gals, About 2 years ago, before I married my lovely wife I made her a tape of some great music to show her my tastes in music. About 1 1/2 years ago, the tape broke and the tape was thrown into the mess under my stereo. When my brother was visting ( a technically minded soul ) I got him to fix it for me. And Now I CAN'T SEEM TO STOP LISTENING TO IT!!!!!!!!!! Anyway, I thought I would tell you what it contains...... I'm Ready from the Fathers & Sons record on Chess featuring Mussy, Otis Spann, Paul Butterfield, Mike Bloomfield etc etc Baby Grand - Billy Joel & Ray Charles (The best track ever recorded by Billy Joel) Everybody needs somebody to love - Wilson Pickett (Put's the blues brothers to shame) Purple Haze - Jimi Hendrix (Gotta love it) Chip Chip - Gene McDaniels ( I love this song - so does my wife) Ain't no love in the heart of the city - Bobby 'Blue' Bland (A great track from a great album - Dreamer on Abc ) Dixie Chicken - Little Feat (A really fun track) What's going on - Marvin Gaye ( A classic soul tune) Ooo Baby Baby - Smokey Robinson & the Miracles ( Is there a greater voice in the history of Popular music?????????) When you Dance - Catfish ( An australian band led by former Cold Chisel piano player Don Walker. BTW, does anyone outside of Australia on this list know either Cold Chisel, Catfish or Don Walker) Chain of Fools - Aretha Franklin ( A classic track from the Queen of Soul) Baby I need your Lovin' - Four Tops (Great harmonies, great tune) The Middle Aged Blues - Saffire (One of the best original blues songs of the last 10 years) You're always on my mind - Sam Cooke (Ooh Yeah!!!) Hit the Road Jack - Ray Charles Damn Right , Ive got the blues - Buddy Guy (This song blows me away every time) Black Magic Woman/ Gypsy Queen - Santana (this is from the Live in South America CD - great version) Try a Little Tenderness - Otis Redding (You can see Otis nearly crying as he sings this one) Born under a bad sign - Albert King (The greatest blues song of all time - Watch out incoming flames) The Things that I used to do - Rockin' Dopsie & the Zydeco Twisters (of his last CD Louisiana Music , love it) Crazy - Patsy Cline (Yeah I know, I know - what a voice though) Don't Answer the Door - B.B King (A great non PC track , this version from the live album - Blues is King) Wang Dang Doodle - Koko Taylor (What a great version!!!! The best version of this song IMHO) Out of Sight - James Brown (What would this tape be without the Godfather of Soul) Hellhound on my Trail - Robert Johnson (This doesn;t really fit with the other stuff but it;'s a classic) The Story of Bo Diddley - Bo Diddley (This is very funny stuff) Bald Head - professor Longhair (What a piano player, This is one of the funniest songs I have ever heard) That's it but do you see how you could listen to that for days..... I don't really know why I'm telling you this but It's a good way to carry on about the music I love (You may have noticed it ain't all blues but hey it's great music!!) See ya!! (BTW, my last day on the list will be this friday!!!) -- Daniel Bruce | Genasys II Pty Ltd, Sydney, Australia | "Born under a bad sign, been down since I began to crawl | If it wasn't for Bad Luck, Wouldn't have no luck at all" | Albert King | Internet: danielb@genasys.com.au ========================================================================= Date: Mon, 26 Feb 1996 19:32:31 EST Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: Women harmonica players In article Richard Flohil writes: > Meanwhile, I'm off to the store to find a Little Annie Raines record. Hi Richard, You can also find her on a Susan Tedeschi Band disc. I don't have the disc with me, but if you can wait a few days I can get ordering info for you. Dave Carpenter Blues Music Director WHUS-FM Storrs, CT http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Mon, 26 Feb 1996 19:32:27 EST Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Eddie C. and Steve Campbell Hi All! I'm forwarding the following post for Stew Crossen (who is still unable to post to the list) and want to second the comments contained in his review. As we were talking today, we are concerned about now being spoiled. This show was so good we wonder if we'll enjoy upcoming nights (we'll be out there trying). I can't say enough about Eddie and the band, musically and personally. Don't miss them if they are coming anywhere near you! Truly great music and a group of truly terrific people! Dave Carpenter WHUS-FM Storrs, CT On Friday night, February 23rd, Eddie C. Campbell and his band played Black Eyed Sally's in Hartford, CT. And what a show it was! When we first walked in (early as usual), Eddie was sitting at a table with one of my regular listeners, Barry Gallardo. I shook Eddies's hand and welcomed him to Hartford. He introduced himself to my party which included Dave Carpenter. Eddie and I chatted for a few moments. I asked how the new family was doing and he said, "Driving me crazy." At 10:00 sharp, Eddie took the stage. His first set was smooth. In his layed back and mellow style he warmed up through several tunes from "Thats When I Know", his recent Blind Pig album. The band consisted of: Eddie C. Campbell on vocals and guitar Otis White on vocals and keyboards Willie Black on bass and Robert "Huckleberry Hound" Wright on drums The crowd started to thin out as the "after work and dinner types" began leaving to head back to the suburbs (if they only knew what was coming)! Fortunately thru the evening more people started arriving and the club filled back up. At 11:30 (after 1 1/2 hours of play) Eddie and the band took a break. Three of us went outside to "catch some fresh air". We had just gotten outside when Willie Black, Eddie's bass player walked up to us and jumped into the converstaion. He's been with Eddie for 38 years! I went back inside and found Dave Carpenter near the kitchen talking with Otis White the keyboard player, who is a charming man and great player. I stopped to say hello to Huck who was sitting at the bar surrounded by a number of fans. Huck is a man of few words and the conversation can be limited, but the grooves he lays down for Eddie speak volumes. Around 12:15/12:30, Eddie went back on stage for the second set. After a couple of songs Eddie invited Steve "Soupman" Campbell, (who was sitting at our table and BTW is not related to Eddie!) up to play harp. Steve took the stage, his pockets filled with every size and key of harp ever made. Well, Eddie let'em have it with both barrels! The band started off slow and easy, but was soon changing keys and rhythms. The band would make a change and you could see Eddie give Steve one of those "what you gonna do now" looks! Steve played well and Eddie let him go after three or four numbers. (BTW, Steve is the vocalist and harp player for Hot Hammer Soup, a Springfield, MA based Chicago style Blues band.) A short while later with the band playing an infectious and primal groove, Eddie steps down from the stage and walks thru the audience, playing. He stops at tables and offers his guitar to anyone who will take it and play. Several people did, including the clubs sound man. Eddie then straps the guitar back on and while he's playing, walks right out the front door of the club and up Asylum avenue, around the building and back in thru the kitchen! After the show, we thanked Eddie and the band for coming to Hartford and treating us to the best show I've heard in a very long time. Don't miss this very special guitarist, vocalist and band leader. In my opinion, Eddie C. Campbell is national treasure. He's welcome in Connecticut anytime! Stew Crossen (Beef Stew) WCCC Radio 243 South Whitney Street Hartford, CT 06105 http://www.neca.com/~bfstew Beef Stew http://www.neca.com/~bfstew ========================================================================= Date: Mon, 26 Feb 1996 16:41:08 -0500 Reply-To: David Melton From: David Melton Subject: Re: Composing Solos Comments: To: Shaun T Cronin At 9:44 AM 2/25/96, Shaun T Cronin wrote: >Richard Shurman wrote: > >>Even though a lot of readers probably won't think this is blues, one >>notable exception to the "24 bars and out" rule was Wes Montgomery (and >>anyone who doesn't think he could play fabulous blues is missing >>something). > >I don't understand. There are actually people who think that Wes could not >play blues. When I listen to Wes that's all I hear. The blues coming in >from all over the place. > >Shaun > >Shaun Cronin 'The Blues is what exists between a man and a >shaun@wavenet.com woman.' Son House and John Lee Hooker. =============================================================================== Wes could do no wrong in my book. Coming from the blues with ears as big as the sky, he just let the music play through HIM. He seemed to be permanently tapped into an endless supply of ideas that flowed on and on. Yup, he's an exception all right. Even though he stretched beyond many people's boundaries of what they would consider blues, he never lost me. ========================================================================= Date: Mon, 26 Feb 1996 18:19:19 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Re: NAT_DEE_WILLIAMS_&_WDIA_IN_MEMPHIS!!! Comments: To: srn@formtek.com In-Reply-To: <199602261607.LAA04002@mirage.formtek.com> from "Rags" at Feb 26, 96 11:00:43 am In another time and place, Rags said: > > Hi folks.... > On my way to work, I heard on WDUQ 90.5 Pittsburgh, > Rev. Dwight Gatemouth Moore and others speak on the role of > the first Black DJ on Radio....NAT DEE WILLIAMS at WDIA > in Memphis TN, the 50,000 W station which was touted to have > covered 10 % of the black popluation in US.... > Rev Moore said in his own words he ran away from > home with Ma Rainey ('s troupe I presume) and that Nat Dee Williams > was like a teacher to him.... > Any more info on the first AfroAmerican DJ and about the > WDIA_Memphis-BLUES connection. > Peace to U..... There is a great book out about Nat and WDIA, I think it is called Wheelin' On Beale. Tom `'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`' Stop on by my Jazz and Blues Web Site -- http://redlt.com/tom/ Free-lance Writer--Author--Program Director WTJU 91.1--Internet Consultant ========================================================================= Date: Mon, 26 Feb 1996 17:42:25 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: And the winner is...results of the Blues-l Grammy poll The "real" Grammy Awards will be given out in a day or two, but here now are the blues-l voters' choices. In the category of Best Traditional Blues album: the winner is John Lee Hooker/Chill Out (which won by ONE VOTE over the runner-up, Charles Brown's Cool Christmas Blues, so don't let anybody ever tell you your vote doesn't count... In the category of Best Contemporary Blues Album the winner is Albert Collins & the Icebreakers/Live '92-'93 by a landslide, with three times as many votes as the runner-up, the Buddy Guy Slippin' In album I am not going to the Grammys this year (when you're not nominated for anything you have to PAY TO GET IN, which costs about $350/ticket, so I'll stay home and watch it on TV for free) but will post the "real" results as they are announced. Wonder how close we came to the NARAS voters??? ....stay tuned! Mary Katherine Aldin Mary Katherine Aldin ========================================================================= Date: Mon, 26 Feb 1996 20:47:57 -0500 Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Johnny Copeland - The Early Years Comments: To: bit-listserv-blues-l@uunet.uu.net On an unusually warm weekend, I spent some time on my back porch with my portable monophonic record player and a stack of 45s I bought last summer and never got around to listening to yet. This is a favorite summer activity, but highly unusual in Madison in February. In the stack was a Mercury label Johnny Copeland 45 "Rock And Roll Lily/It Don't Bother You" (71280X45). This is Johnny's first 45 from 1958. The surprising thing is that this thing is ROCKIN'. The A side makes Johnny sound like Mercury's answer to Little Richard. The B side is a typical for the period R&B ballad. Instrumentation includes sax, piano, drums & bass. Blues Records Vol. 1 lists Johnny on guitar, but if he's playing one, it's pretty low in the mix (maybe I'd hear him on my HI fi). Copeland cut a number of small label sides in the early 60s. Has anyone heard these? Are they more R&B or blues oriented? Are any of these collected anywhere? Also, since Mercury will soon reissue a bunch of early blues/R&B soon does anyone know if this Copeland issue will be on it? Art Schuna ========================================================================= Date: Mon, 26 Feb 1996 18:05:18 -0500 Reply-To: David Melton From: David Melton Subject: Re: Freddy King - CORRECTION! Comments: To: emdrprac@DIRECT.CA At 10:57 PM 2/22/96, Roger B. wrote: >I posted without thinking!! > >The personnel on "My Feeling For The Blues" are not "French side-men" as I >said. (I was carrying on two trains of thought - they collided!!) > >Personnel on "My Feeling..." is: > >F.K.: guitar/vocal, George Coleman, Frank Wess, tenor sax; Trevor >Lawrence, Willie Bridges, tenor/baritone sax; Ernie Royal, Martin Banks, >trumpets; George Stubbs, piano; Cornell Dupree, rhythm guitar; Jerry >Jemmott, bass; Kenneth Rice, drums > >Arrangements are by Donnie Hathaway >Tenor sax/arrangements King Curtis >Harmonica (2 tracks) Hugh McCracken >Recorded at Atlantic Studios, 1969 or 1970. > >- Roger B. ============================================================================== This is one of my favorite records also. Highly underated IMHO! The rendition of "Stormy Monday" ranks right up there with T-Bone's original and Bobby Bland's cover (in my book of course) I also really like the version of "Ain't Nobody's Business What We Do" and Willie Mabon's "I Don't Know", and really everything else. It's really a shame the record didn't do as well compared to the Shelter stuff which is classic in itself. However, Leon gets on my nerves with some of those arrangements. (God bless him for getting Freddie heard by a lot more of the general listening public.) Am I in trouble? Don't get me wrong, some of the best stuff was the Shelter stuff and I Actually have Leon to thank for turning me on to Freddie. (One of my first blues records was "The Best of Freddie King" Anyway enough babbling for now. Dave Melton ========================================================================= Date: Tue, 27 Feb 1996 01:52:05 GMT Reply-To: "Rae B. Creedle" From: "Rae B. Creedle" Organization: InfiNet Subject: Re: ERIC CLAPTON BLUES VIDEO--HELP? Comments: To: bit-listserv-blues-l@uunet.uu.net In message <4gqsb9$jsr@aphex.direct.ca> - namit malhotra w rites: :> :>Watched public tv about 2 months ago and saw a eric cl;apton :>documentary featuring him play tons of blues numbers with lots of :>interviews and blues greats :> :>anyone have any idea what this video is ,if one can buy it :> :> :>thanks :> :>namit :>nmalhotr@direct.ca This video was supposed to be released last year, but never was. There was apparently some legal problem about obtaining the rights. Rae B. Creedle ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ raebc@roanoke.infi.net ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ========================================================================= Date: Tue, 27 Feb 1996 01:48:17 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Lil Green Comments: To: bit-listserv-blues-l@uunet.uu.net If you read my other post on Johnny Copeland, you already know my porch story. Well another 45 I found in this stack was Lil Green's "Romance In The Dark/Why Don't You Do Right" (Groove 45 4G-5004 on a Green label). Side A is written by Lil and "Willie Broonzy" who I assume is Big Bill. The A side sounds to me like Broonzy on guitar. Blues Records Vol. 1 does not list this 45 or any sessions with Broonzy. Would anyone know when this 45 might have been released and who was on this session? Could this be a reissue of work done pre-1943 and therefore not in Blues Records? Art Schuna ========================================================================= Date: Tue, 27 Feb 1996 02:31:33 GMT Reply-To: Matthew Arthur Clark From: Matthew Arthur Clark Organization: Columbia University Subject: Code Blue WWW Update-(w/tour date info) Comments: To: bit-listserv-blues-l@uunet.uu.net New features on the Code Blue Records WWW Site include: In Artists and CD's - Track listing for the soundtrack to Heaven's Prisoners - released April 23, 1996. In Sound and Pictures - Pictures of John Primer in Chicago February 2-9. In Events - Tour Dates for Bo Diddley, John Primer, and Sherman Robertson The Code Blue Records WWW Site is located at: http://www.columbia.edu/~mac44 Also, be sure to catch Bo Diddley on the Tonight Show on Monday, February 26 with Bonnie Raitt. Thanks, Matt Clark mac44@columbia.edu ========================================================================= Date: Mon, 26 Feb 1996 20:17:22 -0800 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Mem Shannon: Coming to your town? Comments: To: bit-listserv-blues-l@uunet.uu.net My favorite local New Orleans blues heartthrob (okay, maybe second--if we count Walter "Wolfman" Washington) is finally going out on tour! Do your blues-loving self a favor and get yourself a dose of cab drivin' blues at a saloon near you; believe me, you won't regret it. (And if you don't believe me, ask P-Dubbleyou!) March 15-Friday-La Zona Rosa-Austin TX (South by Southwest showcase) March 17-Sunday-Tulane University- New Orleans LA March 28-Thursday- House of Blues- Cambridge MA March 29-Friday- The Bottom Line- New York NY March 30-Saturday- Tin Angel- Philadelphia PA (WXPN New Music Showcase) April 11-Thursday- Antone's- Austin Tx April 12-Friday- Blue Cat Blues- Dallas TX April 13-Saturday- Yaga's Cafe- Galveston TX April 26-Friday- JazzFest - New Orleans LA Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~Some mornings it's just not worth chewing through the leather straps. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Mon, 26 Feb 1996 18:48:25 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Johnny Copeland - The Early Years Comments: To: Art Schuna At 08:47 PM 2/26/96 -0500, Art Schuna wrote: >On an unusually warm weekend, I spent some time on my back porch with my >portable monophonic record player and a stack of 45s I bought last summer >and never got around to listening to yet. This is a favorite summer >activity, but highly unusual in Madison in February. > >In the stack was a Mercury label Johnny Copeland 45 "Rock And Roll Lily/It >Don't Bother You" (71280X45). This is Johnny's first 45 from 1958. The >surprising thing is that this thing is ROCKIN'. The A side makes >Johnny sound like Mercury's answer to Little Richard. The B side is a >typical for the period R&B ballad. Instrumentation includes sax, piano, >drums & bass. Blues Records Vol. 1 lists Johnny on guitar, but if he's >playing one, it's pretty low in the mix (maybe I'd hear him on my HI fi). >Copeland cut a number of small label sides in the early 60s. Has anyone >heard these? Are they more R&B or blues oriented? Are any of these >collected anywhere? Also, since Mercury will soon reissue a bunch of early >blues/R&B soon does anyone know if this Copeland issue will be on it? > >A No, the Copeland material won't be on the forthcoming Mercury blues set as the set covers only 1945-1955 and so his stuff missed it by a few years. When I get some energy I plan to post the entire (8 CD) Mercury Blues track listing to blues-l. It's due out in early June; just finished proofreading the booklet (80 pages) which looks great. > > Mary Katherine Aldin ========================================================================= Date: Mon, 26 Feb 1996 19:39:20 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Lil Green Comments: To: Art Schuna At 01:48 AM 2/27/96 GMT, Art Schuna wrote: >If you read my other post on Johnny Copeland, you already know my porch >story. Well another 45 I found in this stack was Lil Green's "Romance In >The Dark/Why Don't You Do Right" (Groove 45 4G-5004 on a Green label). >Side A is written by Lil and "Willie Broonzy" who I assume is Big Bill. >The A side sounds to me like Broonzy on guitar. Blues Records Vol. 1 does >not list this 45 or any sessions with Broonzy. Would anyone know when this >45 might have been released and who was on this session? Could this be a >reissue of work done pre-1943 and therefore not in Blues Records? > >Bingo. Romance In The Dark was cut on May 9, 1940 and yes that is Big Bill Broonzy on guitar. The other track, Why Don't You Do Right, was recorded on April 23, 1941. Since both songs were hits for her on 78, it makes sense that they would be comboed on a later 45 release. > > Mary Katherine Aldin ========================================================================= Date: Mon, 26 Feb 1996 11:30:47 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Memphis in May? Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com Can anyone tell me the dates for the Memphis in May festival? Also, how early should I make hotel reservations if I go? Thanks, Steve Levine ========================================================================= Date: Tue, 27 Feb 1996 00:30:12 -0500 Reply-To: Markmojo From: Markmojo Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Canned Heat still alive? Comments: To: bit-listserv-blues-l@uunet.uu.net Yeah, I heard the latest configuration live in San Jose about 1.5 years ago. They did a fairly decent rock/blues show. Also, they had a new release about a year ago. Also they're playing in SF at the Maritime Hall in the next few weeks. ========================================================================= Date: Tue, 27 Feb 1996 00:07:49 -0500 Reply-To: SLIPERYNDL From: SLIPERYNDL Organization: America Online, Inc. (1-800-827-6364) Subject: Re: New Blues Releases this week Comments: To: bit-listserv-blues-l@uunet.uu.net Yank Rachell has just released a new album on our label Slippery Noodle Sound on 2/25/96. It an all acoustic studio recording. David Morgan plays backup and produced the album. call 1-800-SN1-BLUS for more info Thanks Hal ========================================================================= Date: Tue, 27 Feb 1996 06:12:13 GMT Reply-To: Terry Slade From: Terry Slade Organization: Internet Oklahoma Subject: Re: Jr. Kimbrough and R.L. Burnside in MUSICIAN Comments: To: bit-listserv-blues-l@uunet.uu.net Thanks for posting this. I would have missed it. It is the April issue and not a bad article. Also discusses other Fat Possum artists. In article <960221163942_428272447@mail02.mail.aol.com>, Skipjames@AOL.COM says... > >The current (April, 1996?) issue of MUSICIAN magazine has an article by Ted >Drowzdowski (who I think writes for the Boston PHOENIX) about Jr. and R.L. I >have not seen it yet, but hear that it is good. > >Tom Freeland ========================================================================= Date: Tue, 27 Feb 1996 07:10:09 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: Too Many Baseball References! Shaun T Cronin (shaun@WAVENET.COM) wrote: : 'The Blues is what exists between a man and a : woman.' Son House and John Lee Hooker. Okay, I'll bite. Which one's the woman? :) ============================================================================ Jef Jaisun eljefe@netcom.com With tongue firmly planted in the cheek of his baseball mitt... ============================================================================ -- ========================================================================= Date: Tue, 27 Feb 1996 07:28:10 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: blues @ folk alliance Richard Flohil (rflohil@INFORAMP.NET) wrote: : And the year after Toronto, Folk Alliance is in Memphis for its : 10th anniversary event. Let's get the blues involved now, in preparation! Er, yeah...and let's also see if the Folk Alliance people can figure out how to read a calendar so they don't schedule any more conferences during Mardi Gras. ;) ============================================================================ Jef Jaisun eljefe@netcom.com ============================================================================ -- ========================================================================= Date: Tue, 27 Feb 1996 07:40:53 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: Women harmonica players Richard Flohil (rflohil@INFORAMP.NET) wrote: : Quick query: Does anyone know of any women blues harmonica players? My : buddy Holger Petersen needs this for his Saturday Night Blues radio show, : and he's come up with Big Mama Thornton, and hit a blank. Any ideas, : information, recorded suggestions? Well, there's Therese Tice, formerly of Chicago and now of Ferndale, WA. I met her in 1989 at the Alaska State Fair, then bumped into her last month in friggin' Melaque, Mexico! The girl plays a mean harp, and really cranked it at a jam session we had at the hotel. Unfortunately, I don't think she's done any recording. You can contact her c/o 3004 Vallette, Bellingham, WA 98226. ============================================================================ Jef Jaisun eljefe@netcom.com ============================================================================ -- ========================================================================= Date: Tue, 27 Feb 1996 04:47:51 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1930, Lizzie Miles recorded "Yellow Dog Gal Blues". On this day in 1956, Little Richard's first Number One R&B hit, "Slippin' and Slidin'," backed with "Long Tall Sally," is released on Specialty. P.W. Fenton Tampa, Florida ------------------------------------------------------------- "Age is a question of mind over matter. If you don't mind, it don't matter." - Leroy Robert "Satchel" Paige, 1906-1982 When in cyberspace, visit my web pages at http://www.gate.net/~pwfenton/ ------------------------------------------------------------- ========================================================================= Date: Tue, 27 Feb 1996 04:56:40 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Alligator 25th Anniversary - question Comments: cc: Richard Shurman I just ran across this news item... Alligator Records Releases Rarities This year Alligator Records is celebrating its 25th anniversary. In honor of the quarter of a century the label has spent making music, plans are being made to release a "25th Anniversary Collection" this summer. The set will include a number of rarities for collectors, including unreleased tracks from Roy Buchanan, Hound Dog Taylor, and "Showdown," the Grammy-winning project by Albert Collins, Robert Cray and Johnny Copeland. (Source: ICE Magazine) My question is for "Showdown"'s producer, Mr. Shurman... How much more "Showdown" material is there? How come it hasn't surfaced before now? P.W. Fenton Tampa, Florida ------------------------------------------------------------- "Age is a question of mind over matter. If you don't mind, it don't matter." - Leroy Robert "Satchel" Paige, 1906-1982 When in cyberspace, visit my web pages at http://www.gate.net/~pwfenton/ ------------------------------------------------------------- ========================================================================= Date: Tue, 27 Feb 1996 06:13:51 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Sitting&Thinking-Blackie/Smothers. BOSTON BLACKIE & OTIS 'BIG SMOKEY' SMOTHERS - CHICAGO BLUES SESSION VOLUME 1 (WOLF 120.847) WOLF RECORDS P.O. BOX 375, A-1120 VIENNA AUSTRIA The Blues may have been born in the Mississippi delta, but Mecca for post-war blues musicians was the city of Chicago. Many clubs were available for them to play in and make a little money. Still, there were more bluesmen than clubs and others took to playing along the Maxwell Street market area. This cd is a commemoration of two lesser known Chicago bluesmen, both of whom died in 1993. Big Smokey's talents are displayed in seven tracks, four recorded in 1984 with the great guitarist Eddie Taylor producing and sitting in, and three recorded in 1991 with the wonderful Billy Branch on blues harp. Blackie has six tracks all recorded in 1992. The richness of the music on this cd is testimony to just how deep the talent runs in Chicago. I CAN'T JUDGE NOBODY / HELLO LITTLE SCHOOLGIRL / SAD SAD DAY / DO THE THING / ABC BLUES / LOUISE / HEY BABY / HOW MUCH MORE LONG / GIVE ME BACK THAT WAY / BLUES ALL DAY LONG / I'VE BEEN DRINKING MUDDY WATER / ABC BLUES TAKE 2 / FIND ME ANOTHER BABE NYCD Takes I CAN'T JUDGE NOBODY: Smokey and Eddie Taylor shine here and on the next three cuts. This leisurely paced blues has Smokey decrying all the gossip mongers. He is not about to do any judging, because he could be wrong. Smokey's guitar solo is sparse but effective. HELLO LITTLE SCHOOLGIRL: This is not John Lee Williamson's classic, but Smokey's sentiments are the same. It's a delightful rolling Jimmy Reed style blues, the kind Eddie Taylor does so well. Both Eddie and Smokey solo here. SAD SAD DAY: This sad slow blues gives author credits to Muddy Waters. It's a song of loss and the grief that attends it. The singer's woman had been cheating on him but he didn't find out about it until she left for good. Smokey's stinging guitar pays homage to Muddy without imitating him. DO THE THING: Here's a toe tapping boogie. This sounds like something Smokey could play for about a half an hour in a club while the patrons worked themselves into a lather on the dance floor. ABC BLUES: Blackie's band takes over this and the next three tracks. He opts for a much more modern sound, somewhat akin to the Buddy Guy style. Blackie's mastery of his instrument leaps out at the listener as soon as he unleashes his first solo. The title of the song should be ADC (Aid to Dependent Children) Blues, since in the song Blackie sings "My woman she don't work nowhere, I believe she gets a check from ADC, and I feel so bad now, baby, Lord that woman's check means so much to me." LOUISE: This is an exciting rendition of a Howling Wolf composition. Blackie is pleading with Louise to come back home. She's tried the other fish in the pond, he says, and now she's chewing up the bones. This rolling mid tempo blues is a good vehicle for Blackie's singling and playing. HEY BABY: Blackie's mad in this original song. He found out his woman was leading him along with "squeezing and teasing" when all the time she was getting ready to dump him. Blackie does some nice duet work with second guitarist Luther Adams. HOW MUCH MORE LONG: Here's an uptempo blues written by the late great J. B. Lenoir. The band is pumping as Blackie yells, whistles and stomps encouragement to them. In this song Blackie is wondering how long it will take for his woman to call him on the phone. GIVE ME BACK THAT WAY: We return to Smokey for this and the next two tracks. The change from these three songs and the earlier four songs is dramatic, mainly due to the addition of Billy Branch to the band. The title of this song should be "Give Me Back That Wig" as Smokey tells his woman to give him back the things he gave her to make her attractive, to include teeth and a wooden leg! The call and response between Smokey and Billy is exciting. BLUES ALL DAY LONG: This is the longest cut on the album and it is a luxurious study in the slow blues format. Billy Branch is marvelous here. He barely stops to take a breath for the nearly eight minutes of the song. His back fills enhance Smokey's stinging guitar solos. Second guitarist John Primer takes a pretty solo in this number. I'VE BEEN DRINKING MUDDY WATER: Smokey's last number on this cd is an original shuffle blues. Once again Billy Branch really sparkles and takes a Big Smokey Smothers song to greater heights. ABC BLUES TAKE 2: Boston Blackie returns to close out the cd on this and the next song. Here's another take on the song heard earlier on this cd. This one carries a much more intense guitar solo by Boston Blackie. FIND ME ANOTHER BABE: This one's almost a soul number, as Blackie expresses his joy in finally finding true love. Blackie is an effective soul singer and this song shows the diversity of the talent that was snuffed out when he was shot down by a fellow bluesman before he reached his fiftieth birthday. Reviewed by Toby Levy Copyright NY CD Blues @1995-1996 All Rights Reserved. Unauthorized use prohibited. NY CD Blues - We are moving to a new site, watch for details Blues reviews as always -- CD's and Live + a few new surprises Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 27 Feb 1996 07:15:18 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Blues in the Philippines I'm passing this on for Bob Magoo, radio host for the first (and only) blues radio show in Manila, Philippines. His e-mail address is pmail@stn1.mailstation.net ----------------------------------- Feb. 27,1996 Dear fellow Bluesman, My name is Bob Magoo, Production Director for DWLA-FM 105.9, a rock station here in Manila. My address is 15th floor, Philcomsen Building, Ortigas Ave. Pasig, Metro Manila. I'd like to inform you that we have just started a 1 hour Blues program called BLUES SESSIONS, which features the best of the Blues from past to present. We would appreciate it very much if you could plug this on the net, also that we need the latest news on the Blues music scene to make our show more interesting. We also have a BLUES CLUB which has a good following and we intend to get a E-Mail address in the future. I'll get back to you soon in the future. oh yeah, does anyone know the current mailing address of ERIC CLAPTON as I am a big fan since I was a kid, and am dying to see him perform here in Manila again, I missed his concert here back in 1980 or was it '79? I had tickets but never used them because I had to go out of town as my wife at that time had a miscarridge out in the province, it was a big emergency. Hoping to recieve a reply by mail at the address above. My biggest dream is to meet ERIC CLAPTON in person. Thanks a lot in advance. from: BOB "Blues" MAGOO MailStation Net Public E-mail Account *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Tue, 27 Feb 1996 07:28:29 -0500 Reply-To: "Eliot C. Williams" From: "Eliot C. Williams" Subject: Re: Lil Green Comments: To: Art Schuna "Romance in the dark" was cut 5/9/40 in Chicago. Personnel were Green, Broonzy on guitar, Jack Dupree on piano, and one A. Collins on bass (not Albert). "Why don't you do right" was recorded 4/23/41 in Chicago. Green on vocals, Broonzy on guitar, Ransom Knowling on bass, and S. Henry on piano. Green toured with Broonzy and Tiny Bradshaw's orchestra in the early 40s. EW Eliot Williams University of Wisconsin Department of Medicine ecwillms@macc.wisc.edu ========================================================================= Date: Tue, 27 Feb 1996 21:58:09 +0900 Reply-To: Toshiro Watabe From: Toshiro Watabe Organization: BEKKOAME//INTERNET Inc. Tokyo, Japan. Subject: Re: Otis Rush Comments: To: bit-listserv-blues-l@uunet.uu.net In article , Richard Shurman wrote: > Otis Rush hasn't even started his next CD, or decided on a label, > musicians, etc. he and his manager hope to do something soon but there > are a lot of things to work out first. I'm really looking forward to his next CD, Otis Rush is one of the greatest. How about GITNES label? ========================================================================= Date: Tue, 27 Feb 1996 07:36:51 CST Reply-To: William Shute From: William Shute Subject: March "Ichiban Soul Classics" releases From: Bill Shute Blues-l interest has been strong in the fine Ichiban Soul Classics series, many of them--the Lorraine Ellison, Barbara Lynn, Doris Troy, Cissy Houston, and Arthur Conley sets in particular--already being regarded as "classics" in themselves among soulsters worldwide. It is certainly refreshing to see this material coming out on a US label yet treated with the seriousness and attention to detail one would expect from a euro label! For the benefit of those who are not on the Ichiban mailing list, here are the next two releases, scheduled for mid-late March ZZ HILL "Love is So Good When You're Stealing It" reissue of late 70s Columbia albums "Let's Make A Deal" and "The Mark of ZZ" Ichiban Soul Classics SCL 2112 with universal love/this time they told the truth/stop by and love me sometime/that's all that's left/you got me doing the disco/a message to the ladies/let's make a deal/love is so good when you're stealing it/need you by my side/near but yet so far/let's have a party/i wanna dance with you/ just because we're no longer lovers/i want to be your every need/whip it to me baby/i don't want our love to be no secret/i will understand/ tell it like it is DENISE LA SALLE "Before You Take It To The Streets--The ABC/MCA Years" Ichiban Soul CLassics SCL 2113 with sit down and hurt awhile/second breath/love me right/before you take it to the streets/one life to live/workin overtime (lp version)/feet don't fail me/you oughta thank me/talking bout my best friend/tighten up on your good thing/you'll never get your hooks in my man/giving up/too little in common to be lovers/live medley of make me yours,precious precious,trapped by a thing called love ------------------------------------------- Although not on Ichiban, a soul gem I've been playing the heck out of is the UK album "Different Strokes" by Joe Tex, over 70 minutes of mostly unissued material, including the instant classics "All A Man Needs Is HIs Woman's Love" and "She Said Yeah," and also a dynamite unreleased duet with Mable John (!!!!!). I believe it's on Charly. Also in heavy rotation in the Shute family home and car: LONNIE JOHNSON Vol. 1--1925-26 (Document) STEVE GIBSON AND THE RED CAPS "Boogie Woogie on a Saturday Night" (Bear Family comp of early 50s RCA sides) JOE "GUITAR" HUGHES "Texas Guitar Slinger" (Bullseye Blues) TED RODDY "Full Circle" (Hightone) "Jazzin' The Blues, Vol. 1" (Document) "Early Negro Vocal Groups, Vol. 3" (Document) DUANE EDDY "Twistin' n Twangin" (German RCA/BMG) LOWELL FULSON "Them Update Blues" (Bullseye Blues) ACE CANNON "Tuff Sax/Moaning Sax" (HI UK) LEE ALLEN "Walkin' With Mr. Lee" (Collectables) DOUG SAHM "Texas Road Runner--The Renner Sides" (Moonshine) "The Obscure and Neglected Chicagoans 1925-1929" (IAJRC) THE ROCKIN REBELS "Tom Shannon Presents The Rockin Rebels" (ACE UK) JOE TURNER AND THE TRUMPET KINGS (Fantasy/Pablo--with Roy Eldridge, Clark Terry, Dizzy Gillespie, Harry 'Sweets' Edison) BILL BLACK'S COMBO "Solid & Raunchy/Movin'" (HI UK) FLETCHER HENDERSON "Fletcher Henderson and the Blues Singers" Vols. 1-2, (Document, circa l921-1925) MARGARET LEWIS "Lonesome Bluebird" (ACE UK) I'm looking forward to the release of that new George Paulus-produced ANDRE WILLIAMS album, featuring Dick Taylor on lead guitar. Bill Shute San Antonio, TX ========================================================================= Date: Tue, 27 Feb 1996 08:09:07 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Freddy King - CORRECTION! In-Reply-To: Message of Mon, 26 Feb 1996 18:05:18 -0500 from On Mon, 26 Feb 1996 18:05:18 -0500 David Melton said: >This is one of my favorite records also. Highly underated IMHO! >The rendition of "Stormy Monday" ranks right up there with T-Bone's original >and IMHO There is NO version that is in the T-Bone league on this tune and any other tune T-Bone did. T-BONE IMHO was the greatest...I love Freddie, ALbert ...etc, but when it comes to the KING of electric blues T-BONE can not be touched....Just MHO LW ========================================================================= Date: Tue, 27 Feb 1996 06:59:12 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Part One of tracklisting for Mercury Blues 1945-1955 box set WARNING, this is a somewhat long post. The actual title of this 8-CD set (*for which I am the associate producer and wrote one of the four sets of liner notes*) is "The Mercury Blues and Rhythm Story, 1945-1955." The set is presented by geographical region, with two CDs being devoted to each area. How much does it overlap with the "radio box," Art Schuna asked? I don't know--I don't have that one yet! Maybe someone who has that one and reads this will have the patience and typing stamina to let us know...but please understand that is is a final, can't change it now, already mastered, book already typeset project. So I can't change anything. OK? I have only got so much typing energy and right now have limited time, so am going to do each of the four areas separately. I'll try to do another later today and maybe the other two tomorrow. Volume One, MIDWEST BLUES CD One 1. Four Jumps of Jive/It's Just The Blues 2. Sippie Wallace with Albert Ammons & His Rhythm Kings/Bedroom Blues 3. " " " " " " /Buzz Me 4. T-Bone Walker/My Baby Left Me 5. " " " /Come Back To Me Baby Blues 6. " " " /She Is Going To Ruin Me 7. Dinah Washington/Joy Juice 8. Julia Lee/If It's Good 9. " " /She Me Missouri Blues 10. " " /Dream Lucky Blues 11. Albert Ammons, His Piano & Rhythm Kings with Mildred Anderson/Doin' The Boogie Woogie 12. Albert Ammons, His Piano & Rhythm Kings/Suitcase Blues 13. Myra Taylor/Tell Your Best Friend Nothing 14. Eddie "Cleanhead" Vinson & His Orchestra/Railroad Porter's Blues 15. " " " " /Gonna Send You Where I Got You From 16. Gene Ammons Sextet with Earl Coleman/Hold That Money 17. Myra Taylor/I'm In My Sins This Morning 18. " " /Booted 19. Dinah Washington/Long John Blues 20. Big Bill Broonzy & His Fat Four/(I'm A) Wanderin' Man 21. " " " " " " /I Love My Whiskey 22. " " " " " " /You've Been Mistreatin' Me 23. " " " " " " /I Stay Blue All The Time 24. " " " " " " /Water Coast Blues 25. St. Louis Jimmy/Shame On You Baby 26. " " " /I'm Not Satisfied Volume One, MIDWEST BLUES CD Two 1. Sunnyland Slim & His Sunny Boys/Mud Kickin' Woman 2. " " " " " /Every Time I Get To Drinkin' 3. Memphis Slim & His Orchestra/Train Is Comin' 4. " " " " /The Question 5. Ray Snead/I'm A Good Rockin' Daddy 6. Memphis Slim & His Orchestra/Drivin' Me Mad 7. " " " " /Never Let Me Love 8. " " " " /Train Time 9. " " " " /Blue Evening 10. Big Bill Broonzy/Get Back 11. " " " /Willie Mae 12. " " " /I Know She Will 13. Big Bill Broonzy & His Big Little Orchestra/Leavin' Day 14. " " " " " " " " /South Bound Train 15. " " " " " " " " /Tomorrow 16. " " " " " " " " /You Changed 17. Robert Jr. Lockwood & His Band/(I'm Gonna) Dig Myself A Hole 18. " " " " " " /Dust My Broom 19. " " " " " " /Glory For Man 20. " " " " " " /My Daily Wish 21. Memphis Slim & His Orchestra/No Mail Blues 22. " " " " " /You're Gonna Need My Help 23. Sunnyland Slim & His Trio/Aint' Nothing But a Child 24. " " " " " /Brown Skinned Woman 25. " " " " " /Hit The Road Again 26. " " " " " /Gin Drinkin' Baby 27. Sax Mallard & His Orchestra with Andrew Tibbs/Leap Year Blues V Mary Katherine Aldin ========================================================================= Date: Tue, 27 Feb 1996 08:59:16 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Alligator 25th Anniversary - question Comments: To: "P.W. Fenton" In-Reply-To: <199602270959.EAA56532@osceola.gate.net> There wasn't much left over from "Showdown!" The cut on the 25th Anniversary collection is a Collins-Copeland version of Guitar Slim's "Something To Remember You By." There was also an unfinished Cray version of "You're Gonna Need Another Favor" and a Collins-Copeland "Travelin' South" which isn't nearly as hot as the other versions Albert has recorded. As to why they're still in the can, they weren't as good as the issued stuff and Bruce just didn't get around to it. The Buchanan cut is a 1987 version of Link Wray's "Jack The Ripper." ========================================================================= Date: Tue, 27 Feb 1996 09:02:41 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Stormy Monday Comments: To: L W In-Reply-To: I beg to differ-- as great as T-Bone was, Bobby Bland's version of this song may well be the best ever. It's more dynamic and better sung, for starters. Don't get me wrong; T-Bone wrote the book on a lot of modern blues, but supposedly even he expressed his admiration for what Bland and Wayne Bennett did with "Stormy Monday." ========================================================================= Date: Tue, 27 Feb 1996 09:06:10 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Stormy Monday In-Reply-To: Message of Tue, 27 Feb 1996 09:02:41 -0600 from On Tue, 27 Feb 1996 09:02:41 -0600 Richard Shurman said: >I beg to differ-- as great as T-Bone was, Bobby Bland's version of this >song may well be the best ever. It's more dynamic and better sung, for >starters. Don't get me wrong; T-Bone wrote the book on a lot of modern >blues, but supposedly even he expressed his admiration for what Bland and >Wayne Bennett did with "Stormy Monday." I think the Bobby Bland version is great, but I still prefer T-Bone. I may need to give them another listen. I listen to a whole lot of T-Bone so I'm probally biased as hell when it comes to the MAN LW ========================================================================= Date: Tue, 27 Feb 1996 14:53:43 GMT Reply-To: Steven L Combs From: Steven L Combs Organization: The World Public Access UNIX, Brookline, MA Subject: Roy Bucannan Well, I think it's Roy Buchanan, but we know who you mean. I played a tape of Roy's "Dual Soliloquies" in the church prior to my wedding last year as mood music. Followed Roy with Bonnie Raitt, Enya, and entered on Yngwie Malmsteem's "Golden Dawn". Our reception was an open mic/blues jam at the place where my wife and I met during an open mic night. But back on topic - I borrowed a 2 CD set that has the above number and several other gems - anybody know the name of the set (Roy Buchanan Anthology, maybe) or who puts it out? ========================================================================= Date: Tue, 27 Feb 1996 09:15:17 -0600 Reply-To: Dave Daubard From: Dave Daubard Subject: Blues Cruise Playlist 2/23/96 Artist---------Title-------------------Release-----------Label------- Rod Piazza -Rockin'Robin- Harp Burn- black top +Joanna Connor-Never Been Rocked Enough-Rock & Roll Gypsy- Ruf Records +Lowell Fulson-Think About It- Them Update Blues- Bullseye +Theodis Ealey-Blues Man Lover- Stuck Between Rhythm & Blues-Ichiban +John Primer-She Won't Gimme No Lovin'-The Real Deal- Code Blue +Long John Hunter-Marfa Lights- Border Town Legend- Alligator +Smokey Wilson-How Smokey Feels- 88th St. blues- Blind Pig + " " Smokey's Shuffle- " " " " " Dave Weld & Imperial Flames-Trouble, Trouble-Rough Rockin' ? (import) +Bill Perry- Title tune- Love Scars- Pointblank Koko Taylor-Born Under a Bad Sign-Force of Nature- Alligator +Dickey Williams-Stronger- Full Grown Man- Ichiban +Freddie King-Key to the Highway-Live at the Electric Ballroom-Black Top +Jerry Lightfoot/Essentials-Change My Way-Burning Desire-Connor Ray Rec +Mem Shannon- Got to Go- Cab Driver's Blues- Rykodisc +Rory Gallagher-Stomping Ground-A Blue Day for the Blues- I.R.S. Gary Primich- Route 90- Mr. Freeze- Flying Fish Lee McBee/Passions-Train Fare- "44" Red Hot Records rMuddy Waters/Mike Bloomfield-Long Distance Call-blue guitar box-Sequel +Sunnyland Slim-Jammin'/Sam- Chicago Jump- Evidence +Duke Robillard-Midnight Cannonball-Duke's Blues- Pointblank +Jesse Thomas- Behind Closed doors-Lookin' For that Woman- Black Top Jr. Parker- Stand By Me- Junior's Blues- Duke Kelly Joe Phelps-Hard Time Killin'Floor Blues-Lead Me On- Burnside Rec. +J.B.Lenoir-Feel So Good- Vietnam Blues- Evidence rRev. Gary Davis-Samson & Delilah-From Blues to Gospel- Biograph Hot Tuna- Down & Out- Live at Sweetwater- Relix John Hammond-Who Do You Love-So Many Roads- Vanguard rFast Johnny Ricker-Wrong Place, Wrong Time-K.C.Blues'90's-Red Hot Rec Rod Piazza & MF-Down So Long-Live at B.B.'s- Big Mo +Robt.Nighthawk II-Shake Yours-Toastin' the Blues- Inside Memphis +Omar & Howlers-Lowdown Dirty Blues-World Wide Open- Watermelon Rec +Tommy Castro-Me & My Guitar- Exception to the Rule- Blind Pig the Hoax-20 Ton Weight- Sound Like This- Code Blue Dave Weld & IF- J.C.- Rough Rockin' in Chicago- ? +Mule Newman- Mystery Train- Mule Newman- Mule Music +Rick Holmstrom-title tune- Lookout Holmes- Black Top +Sonny Landreth-Frisco Bay- +Sunnyland Slim-Halsted St. Jump-Chicago Jump- Evidence new release + request r ========================================================================= Date: Tue, 27 Feb 1996 07:30:57 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Feb. 28 Here's a few dates (b. born, d. death) for tomorrow and February 29th. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ACKLIN, BARBARA (v/BRUNSWICK REC) b. 1943-0228, CHICAGO, IL BOBO, WILLIE [WILLIAM CORREA] (perc) b. 1934-0228, NEW YORK CITY, NY COX, TAYLOR H. SR. (MOTOWN'S ARTIST DEPT) b. 1926-0228, CLARKSBURG, W. VA CROOK, GENERAL (R&B arr) b. 1945-0228, MT. BYOU, MS EMBRY, SYLVIA "QUEEN" (b/JIMMY DAWKINS) d. 1992-0228, CHICAGO, IL 50 FAHEY, JOHN (g) b. 1939-0228, TAKOMA PARK, MD FOSTER, BOBBY (v) b. 1942-0228, TCHULA, MS GAYLE, CHARLES (tsax) b. 1939-0228, BUFFALO, NY HALL, JUANITA (v) d. 1968-0228, BAY SHORE,L.I., NY 65 JACKSON, G. P. ("GP") (g) d. 1990-0228, KANSAS CITY, MO 69 JACQUET, RUSSELL (v/tpt) d. 1990-0228, LOS ANGELES, CA 72 JOHNSON, EDITH NORTH (v/p/PARAMOUNT REC) d. 1988-0228, ST. LOUIS, MO 85 JONES, BRIAN (g/ROLLING STONES) b. 1942-0228, CHELTENHAM, UK JONES, MAX (author/critic) b. 1917-0228, LONDON, UK KIMBLE, WALTER "SHANE" (tsax) d. 1988-0228, NEW ORLEANS, LA 49 LYMON, FRANKIE (lead/THE TEENAGERS) d. 1968-0228, HARLEM, NY 25 METCALF, LOUIS (tpt/BESSIE SMITH) b. 1905-0228, WEBSTER GROVES, MO MILLER, BETTYE (v/p) d. 1977-0228, KANSAS CITY, MO 49 MOORE, BILLY (p/arr/DELTA RHYTHM BOYS) d. 1989-0228, COPENHAGEN, DENMARK 71 MORRISON, EDDIE (dj/RAY BRYANT) d. 1987-0228, CHICAGO, IL 61 NELSON, WALTER "PAPOOSE" (g/FATS DOMINO) d. 1962-0228, NEW YORK CITY, NY -- TERRASI, JOE "LITTLE" (BLUES-L MEMBER) b. 1968-0228, DETROIT, MI WALKER, INA BEATRICE (v/PHILLIP WALKER) d. 1992-0229, OAKLAND, CA -- WILLIAMS, BILL (g/BLUE GOOSE REC) b. 1897-0228, RICHMOND, VA WILLIAMS, ELBERT "SKIPPY"(tsax/MILLINDER) d. 1994-0228, NEW YORK CITY, NY 77 ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 27 Feb 1996 10:24:28 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: Flohil request Sorry all, but my address for Richard the large/greater/elder refuses to help me. Richard... Please send snail mail so I can send you blues gymnastics! Cathi N. ========================================================================= Date: Tue, 27 Feb 1996 10:35:50 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Yet another reason to get up early Sunday SUNDAY, MARCH 3rd 9:00 am - CBS - Sunday Morning: Bonnie Raitt P.W. Fenton Tampa, Florida ------------------------------------------------------------- While you are in cyberspace, visit the Tomb of the Unknown Bluesman at http://www.gate.net/~pwfenton ------------------------------------------------------------- ========================================================================= Date: Tue, 27 Feb 1996 09:27:56 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: Stormy Monday In-Reply-To: On Tue, 27 Feb 1996, L W wrote: > On Tue, 27 Feb 1996 09:02:41 -0600 Richard Shurman said: > >I beg to differ-- as great as T-Bone was, Bobby Bland's version of this > >song may well be the best ever. It's more dynamic and better sung, for > >starters. Don't get me wrong; T-Bone wrote the book on a lot of modern > >blues, but supposedly even he expressed his admiration for what Bland and > >Wayne Bennett did with "Stormy Monday." > > I think the Bobby Bland version is great, but I still prefer T-Bone. I may need > to give them another listen. I listen to a whole lot of T-Bone so I'm probally > biased as hell when it comes to the MAN LW I'll add my biased opinion to back up LW that T-Bone was the best. And [SHAMELESS PLUG, SHAMELESS PLUG] I have a web page on him at http://www.io.com/~tbone1/blues/tbone.html T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "You've got to inspect your horn, boy." 'And wash it every day.' - Crow, MST3K ("Mr. B. Natural") ========================================================================= Date: Tue, 27 Feb 1996 09:24:37 CST Reply-To: William Shute Comments: Resending note of 27 Feb 96 07:36:51 CST from William Shute From: William Shute Subject: March "Ichiban Soul Classics" releases From: *** Resending note of 02/27/96 07:36 Date: 27 Feb 96 07:36:51 CST From: William Shute To: blues-l@brownvm.brown.edu From: Bill Shute Blues-l interest has been strong in the fine Ichiban Soul Classics series, many of them--the Lorraine Ellison, Barbara Lynn, Doris Troy, Cissy Houston, and Arthur Conley sets in particular--already being regarded as "classics" in themselves among soulsters worldwide. It is certainly refreshing to see this material coming out on a US label yet treated with the seriousness and attention to detail one would expect from a euro label! For the benefit of those who are not on the Ichiban mailing list, here are the next two releases, scheduled for mid-late March ZZ HILL "Love is So Good When You're Stealing It" reissue of late 70s Columbia albums "Let's Make A Deal" and "The Mark of ZZ" Ichiban Soul Classics SCL 2112 with universal love/this time they told the truth/stop by and love me sometime/that's all that's left/you got me doing the disco/a message to the ladies/let's make a deal/love is so good when you're stealing it/need you by my side/near but yet so far/let's have a party/i wanna dance with you/ just because we're no longer lovers/i want to be your every need/whip it to me baby/i don't want our love to be no secret/i will understand/ tell it like it is DENISE LA SALLE "Before You Take It To The Streets--The ABC/MCA Years" Ichiban Soul CLassics SCL 2113 with sit down and hurt awhile/second breath/love me right/before you take it to the streets/one life to live/workin overtime (lp version)/feet don't fail me/you oughta thank me/talking bout my best friend/tighten up on your good thing/you'll never get your hooks in my man/giving up/too little in common to be lovers/live medley of make me yours,precious precious,trapped by a thing called love ------------------------------------------- Although not on Ichiban, a soul gem I've been playing the heck out of is the UK album "Different Strokes" by Joe Tex, over 70 minutes of mostly unissued material, including the instant classics "All A Man Needs Is HIs Woman's Love" and "She Said Yeah," and also a dynamite unreleased duet with Mable John (!!!!!). I believe it's on Charly. Also in heavy rotation in the Shute family home and car: LONNIE JOHNSON Vol. 1--1925-26 (Document) STEVE GIBSON AND THE RED CAPS "Boogie Woogie on a Saturday Night" (Bear Family comp of early 50s RCA sides) JOE "GUITAR" HUGHES "Texas Guitar Slinger" (Bullseye Blues) TED RODDY "Full Circle" (Hightone) "Jazzin' The Blues, Vol. 1" (Document) "Early Negro Vocal Groups, Vol. 3" (Document) DUANE EDDY "Twistin' n Twangin" (German RCA/BMG) LOWELL FULSON "Them Update Blues" (Bullseye Blues) ACE CANNON "Tuff Sax/Moaning Sax" (HI UK) LEE ALLEN "Walkin' With Mr. Lee" (Collectables) DOUG SAHM "Texas Road Runner--The Renner Sides" (Moonshine) "The Obscure and Neglected Chicagoans 1925-1929" (IAJRC) THE ROCKIN REBELS "Tom Shannon Presents The Rockin Rebels" (ACE UK) JOE TURNER AND THE TRUMPET KINGS (Fantasy/Pablo--with Roy Eldridge, Clark Terry, Dizzy Gillespie, Harry 'Sweets' Edison) BILL BLACK'S COMBO "Solid & Raunchy/Movin'" (HI UK) FLETCHER HENDERSON "Fletcher Henderson and the Blues Singers" Vols. 1-2, (Document, circa l921-1925) MARGARET LEWIS "Lonesome Bluebird" (ACE UK) I'm looking forward to the release of that new George Paulus-produced ANDRE WILLIAMS album, featuring Dick Taylor on lead guitar. Bill Shute San Antonio, TX ========================================================================= Date: Tue, 27 Feb 1996 20:03:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: "Down Home in Dallas" I just bought a CD on Trix called "Down Home in Dallas" (as yet unlistened to) by Willie Willis and the Wildcatters. I never hear of him and them before. What do y'all, especially you Texians, know about this band? -Bonnie ========================================================================= Date: Tue, 27 Feb 1996 19:40:53 -0800 Reply-To: Gail McIntosh From: Gail McIntosh Subject: Re: A.J Croce Laura Fowler wrote: >Hello all! Last night A.J. Croce was featured on Austin City Limits. >Who can tell me how old this fellow is? Also how many albums he has out >and how long he has been performing. His voice did not match his >youthful looks. Thanks. I would've responded directly to Laura but I'd like to spread the word of a true talent. A.J. is the 24-year-old son of Jim Croce. He's been playing the piano since he was about 6 yrs old. "As categories go," he comments, "I would call my music rhythm & blues, with elements of New Orleans, jazz, rock & roll, country, even folk" (taken from the Private Music web site). He has two records out, both on Private, one self-titled and the most recent titled "That's Me In the Bar." I only have have his first release and it's quite dynamic. I caught him live a few years ago in S.F. at the Great American Music Hall. The guy plays and sings with a lotta of heart & soul - really carried the show. Incidentally, I have no affiliation with AJ or Private Music - just a fan of good music. __________________________________________________________ ___________________________________________________________ gailm@rounder.com One Camp St. Cambridge, MA 02140 http://harp.rounder.com or gopher harp.rounder.com ___________________________________________________________ ___________________________________________________________ ========================================================================= Date: Tue, 27 Feb 1996 16:19:18 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Part One of tracklisting for Mercury Blues 1945-1955 box set Comments: To: Mary Katherine Aldin In-Reply-To: <199602271459.GAA20478@frisbee.beachnet.com> There does seem to be a fair amount of overlap between the Mercury "Blues, Boogie & Bop" set (the one that looks like an old radio) and the forthcoming "Mercury Blues" set. From MKA's listings, there's overlap with Sippie Wallace, Julia Lee, Myra Taylor and Albert Ammons; probably Eddie Vinson too. From the west coast part of "Mercury Blues" which I annotated, most of the Jimmy Witherspoon material is on both sets. ========================================================================= Date: Tue, 27 Feb 1996 16:09:40 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 02/28 B O R N : ASMUSSEN, SVEND Born:1922 COPENHAGEN, DENMARK Career:VIOLIN / SINGER Style:JAZZ / BIG BAND Popular throught Scandinavia BOBO, WILLIE ( COREA WILLIAM ) Born:1934 NEW YORK, NY Career:PERCUSIONIST / LEADER Style:JAZZ / BLUES / BIG BAND CASTLE, LEE (LEE CASTALDO) BORN:1915 NEW YORK, NY CAREER:TRUMPET / LEADER STYLE:BIG BAND WITH:Joe Haymes 1935 / Artie Shaw 1936 / Tommy Dorsey 1937 / Red Norvo / Dick Stabile / Glenn Miller / Jack Teagarden / Will Bradley / Featured soloist with Dorsey Brothers, 1953-5. DOUGLAS, BILL ( WILLIAM ) Born:1923 LOS ANGELES, CA Career:DRUMMER Style:JAZZ / BIG BAND GARRETT, DONALD ( RAFAEL ) Born:1932 EL DORADO, AR Career:BASS Style:JAZZ / BLUES GROSZ, MARTY ( MARTIN OLIVER ) Born:1930 BERLIN, GERMANY Career:GUITAR / BANJO / SINGER Style:TRAD / JAZZ With:Dick Wellstood / Tommy Benford / Dave Remington 1955-56 / Art Hodes 1957 / Albert Nicholas 1959 GWALTNEY, TOMMY ( THOMAS O. GWALTNEY ) Born:1921 NORFOLK, VA Career:CLARINET / VIBES Style:JAZZ With:Sol Yaged 1946-1947 / Bobby Hackett 1956-1957 / Billy Butterfield 1958-1959 / Charlie Byrd 1962 METCALF, LOUIS JR Born:1905 WEBSTER GROVES, MO Career:TRUMPET Style:BLUES / TRAD / JAZZ / With:Bessie Smith TORREGANO, JOSEPH Born:1952 NEW ORLEANS, LA Career:CLARINET Style:TRAD / JAZZ With:Doc Paulin band 1971-1972 / Fairview Baptist Brass Band / Gibson / Young Tuxedo / Onward and Olympia Brass Bands / Was associate curator of the New Orleans Jazz Museum in the seventies. Taught at Universitv of New Orleans JONES, MAX Born:1917 LONDON, UK Career:WRITER Style:BLUES / JAZZ AUTHER / CRITIC WILLIAMS, BILL Born1897 RICHMOND, VA Career:GUITAR Style:BLUES With:BLUE GOOSE RECORDS FOR A LISTING OF THOSE THAT PASSED AWAY IN MARCH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Tue, 27 Feb 1996 13:59:31 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Living Blues Hi Everybody! Well, oddly enough, I have never really read a copy of "Living Blues" before. Last weekend, I saw the current issue at a bookstore and picked it up. We have had so many discussions about it, I felt I should make my mind up about it. Well, I'm here to tell you that I think it is a really bitchin' magazine! I LOVED it. They really do good research and there is so much information and historical background for the articles. You rarely find that in mass-market magazines, and it is very welcome. There is a lot of soul and love put into this journal. The Luther Allison article was great, and the reviews were super, and there were lots of ads where you could order discs that you can't usually find in the stores. If you haven't read "Living Blues" give it a chance before you criticize it. If you love the Blues, you will love this magazine. DC Not affiliated with LB, and a *certified failure* at being a good white liberal. ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production & Event Services dcicchet@vega.lasierra.edu I looked over Jordan, and what did I see An Eldorado comin' after me comin' for to carry me home.. -- Dizzy Gillespie ____________________________________________________ ========================================================================= Date: Tue, 27 Feb 1996 16:13:27 EST Reply-To: William Pollak From: William Pollak Subject: Re: March "Ichiban Soul Classics" releases Comments: To: William Shute In-Reply-To: Your message of "Tue, 27 Feb 96 07:36:51 CST." <19960227.083942.794025.NETNEWS@AUVM.AMERICAN.EDU> Bill Shute writes >For the benefit of those who are not on the Ichiban mailing list, here >are the next two releases, scheduled for mid-late March >ZZ HILL >"Love is So Good When You're Stealing It" >reissue of late 70s Columbia albums "Let's Make A Deal" and "The Mark of ZZ" >Ichiban Soul Classics SCL 2112 >DENISE LA SALLE >"Before You Take It To The Streets--The ABC/MCA Years" >Ichiban Soul CLassics SCL 2113 [song lists deleted] Oh boy. The ZZ Hill album "Let's Make a Deal" is terrific. I raved about it last month on this list. Be forewarned that the Denise LaSalle ABC/MCA years will include a healthy dose of disco. Although I intend to buy this and expect to find some gems, these were not Denise's best years. I'd love to see a reissue of her material on Westbound, recorded in Memphis by Willie Mitchell with the Hi Rhythm Section. Her output for the past 10 years or so on Malaco is also outstanding. ========================================================================= Date: Tue, 27 Feb 1996 09:18:09 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0207 From: "DUTTWEILER.J" Subject: No mail coming... Sorry for the lack of blues content, but when I got to work this morning there were *no* messages from Blues-L, when usually there are a few dozen. I didn't know if my server (which screws up almost daily) was the problem or if we were experiencing a problem with the list again. Here's a blues thought: (since I'm not over my infatuation with "The Motown Years" from Luther Allison yet) Luther Allison was making blues recordings 25 years ago that most artists still can't touch today Question: Given the veracity of the above statement, *why* is LA only now getting the recognition he deserves? (I know, this could be asked of a number of blues "stars".) JD ========================================================================= Date: Tue, 27 Feb 1996 15:48:04 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Brownie McGhee Obit in NY Times Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com Can anyone tell me what day the New York Times ran Brownie McGhee's obituary? Thanks, Steve ========================================================================= Date: Tue, 27 Feb 1996 14:58:31 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Busting with joy This was actually an answer to a Ron Kraemer question about how my band did this weekend when we opened for James Cotton. He was kind enough to ask me 5 times to post it to the whole list. So here it is. I was busting to tell everybody anyway. --Begin forwarded message-- Basically, it was a triumph. It was easily the largest crowd I've played to, and rarely an envious position (to precede the person the crowd is really there for). I did ALL originals, and won them over with the FIRST SONG. I actually overheard someone in the audience say to his neighbor, after the applause died down for the first song... "this is the WARM-UP act????" I can't tell you how great I felt playing to a big crowd of real Blues lovers and going over so well. When our set was over, I went back stage to get the box I keep my small gear in, and as I came down the stairs from the stage, James Cotton's guitar player and keyboard player were standing at the bottom of the steps looking rather cross. I kind of slowed down, looking at them, wondering if those scowls were really directed towards me. As I passed them, one said to the other, "They got some f**ing nerve.... playing that good and being all white boys". Then James grabbed my hand and said, "You were really good. I enjoyed that." I practically couldn't see at that point, I was so dizzy with joy. I eventually made my way through the audience to get to where they sold the beer I wanted so badly, and it took me 15 minutes to go fifty feet. Everyone wanted to tell me how much they enjoyed us. I even overheard someone telling the owner "I wouldn't mind if those guys played all night". (That was of course BEFORE James hit the stage). Bouyed by the experience, our second gig of the night was even better. We were enflamed with confidence, and put on our best show ever. -- end forwarded message -- P.W. Fenton Tampa, Florida ------------------------------------------------------------- While you are in cyberspace, visit the Tomb of the Unknown Bluesman at http://www.gate.net/~pwfenton ------------------------------------------------------------- ========================================================================= Date: Tue, 27 Feb 1996 13:55:16 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: ?? on A.J. Croce Comments: To: Laura Fowler In-Reply-To: <199602262115.QAA16001@transcom.capcon.net> I have his first album, "That's Me by the Bar". It's cool, but not really blues. It's actually kinda hard for me to classify his music. It's very roots-oriented, but he adds an interesting touch of jazz or pop here and there. Cool vocals too. There are a bunch of excellent musicians guesting as well. Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke On Mon, 26 Feb 1996, Laura Fowler wrote: > Hello all! Last night A.J. Croce was featured on Austin City Limits. > Who can tell me how old this fellow is? Also how many albums he has out > and how long he has been performing. His voice did not match his > youthful looks. Thanks. > > Laura Fowler > lfowler@capcon.net > ========================================================================= Date: Tue, 27 Feb 1996 11:46:54 -0800 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Subject: HELP!! Ackkkkk!! Someone Help Me!! I can't seem to get the right phrasing for the Master Robot at LISTSERV@BROWNVM.brown.edu to understand me..... I wish to SET NOMAIL, or whatever I'm supposed to say to stop mail, but remain subscribed. I've tried several variations, and keep getting "say what..." type replies..... Never done this before; can someone help me ?? Private e-mail, naturally. Thanks!! Roger B. ========================================================================= Date: Tue, 27 Feb 1996 12:56:00 MST Reply-To: DSILVA From: DSILVA Subject: Re: Stormy Monday I must agree with Richard Shurman that Bobby Bland's rendition of "Stormy Monday" is superb. I am looking for a CD by Bobby Bland and was wondering if anyone had any favorites or suggestions. My resources are rather limited since I live in a small community but the local store could order something in if I had more information. Doris Silva dsilva@lab1.cotr.bc.ca Cranbrook, British Columbia, Canada ========================================================================= Date: Tue, 27 Feb 1996 11:14:01 -0800 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Subject: Off Line for a while Hi, All..... I've got to go offline for a week or so. We're destroying, er, what's that word?.... ah yes; RENOVATING our old house, and the craziness and noise (not to mention exhaustion) leaves me not enough time to check out the ton of wonderful stuff you Blues Zealots deposit in my mailbox every day.... I hate long goodbyes (sob!), so ..... adios for now....... I'll still check the e-mail of course, so if you want to reach me back channel........ emdrprac@direct.ca Roger B. ========================================================================= Date: Tue, 27 Feb 1996 22:08:10 -0500 Reply-To: Dave Markovits From: Dave Markovits Subject: Honeyboy/Syl Hey Folks, For anybody coming to Chicago, have I got a show for you. Fitzgeralds in Berwyn is keeping their tradition of booking great shows. On March 9th they are having a show with David "Honeyboy" Edwards, Syl Johnson, and Kid Johnny Lang. I don't know anything about kid Johnny Lang though. Delta Blues and the R and B of Syl, a not miss. One problem with Syl's shows of late are band selection. When he plays with the funky Chicago Playboys he tears it up. Sometimes he plays with a different backup group and can be disappointing. I am not sure of their names but they have a hard time following Syl's style. Either way I gotta go. Honeyboy hasn't played here since around Thanksgiving. Syl will be playing again March 23rd at Legends. (The Playboys usually back him up there)unless they are booked at the Checkerboard Lounge that weekend. Enjoy, David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Tue, 27 Feb 1996 10:20:24 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Willie Dixon "I Am The Blues" personnel While I was offline someone asked who the musicians were on the Willie Dixon Columbia LP "I Am The Blues," since this information is not given in the liner notes. Blues Records Volume One (Ledbitter and Slaven) gives the following information: Willie Dixon with The Chicago All-Stars: Shakey Jake Harris, hca; Johnny Shines, gtr; Sunnyland Slim, pno; Clifton James, dms. Mary Katherine Aldin ========================================================================= Date: Tue, 27 Feb 1996 10:20:22 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Somebody looking for Cary Baker? While I was set to nomail someone apparently asked about Cary Baker, and that message was forwarded to me. He lives here in L.A. and is the Vice President of Promotions and Publicity for Jac Holzman's new record label (sorry, the name escapes me). He's happily married (I went to his wedding a couple years back) and working hard. Mary Katherine Aldin ========================================================================= Date: Tue, 27 Feb 1996 10:05:01 -0800 Reply-To: Jef Jaisun From: Jef Jaisun Subject: Too Many Baseball References (Re-sent due to initial delivery system failure. -- Jef) > > Shaun T Cronin (shaun@WAVENET.COM) wrote: > > > > : 'The Blues is what exists between a man and a > > : woman.' Son House and John Lee Hooker. > > > > Okay, I'll bite. Which one's the woman? :) > > > > ============================================================================= > > Jef Jaisun eljefe@netcom.com > > > > With tongue firmly planted in the cheek of his baseball mitt... > > ============================================================================= ========================================================================= Date: Tue, 27 Feb 1996 10:03:03 -0800 Reply-To: Jef Jaisun From: Jef Jaisun Subject: Blues at Folk Alliance (Re-sent due to delivery failure. -- Jef) > > Richard Flohil (rflohil@INFORAMP.NET) wrote: > > : And the year after Toronto, Folk Alliance is in Memphis for its > > : 10th anniversary event. Let's get the blues involved now, in preparation! > > > > Er, yeah...and let's also see if the Folk Alliance people can figure out > > how to read a calendar so they don't schedule any more conferences during > > Mardi Gras. ;) > > > > ============================================================================= > > Jef Jaisun eljefe@netcom.com > > ============================================================================= ========================================================================= Date: Tue, 27 Feb 1996 10:01:33 -0800 Reply-To: Jef Jaisun From: Jef Jaisun Subject: Re: Women harmonica players (This looks forwarded because it was bounced back to me last night. --Jef) > > > > Richard Flohil (rflohil@INFORAMP.NET) wrote: > > : Quick query: Does anyone know of any women blues harmonica players? My > > : buddy Holger Petersen needs this for his Saturday Night Blues radio show, > > : and he's come up with Big Mama Thornton, and hit a blank. Any ideas, > > : information, recorded suggestions? > > > > Well, there's Therese Tice, formerly of Chicago and now of Ferndale, WA. > > I met her in 1989 at the Alaska State Fair, then bumped into her last > > month in friggin' Melaque, Mexico! The girl plays a mean harp, and really > > cranked it at a jam session we had at the hotel. Unfortunately, I don't > > think she's done any recording. > > > > You can contact her c/o 3004 Vallette, Bellingham, WA 98226. > > > > ============================================================================= > > Jef Jaisun eljefe@netcom.com > > ============================================================================= > > > > -- > > > ========================================================================= Date: Tue, 27 Feb 1996 13:04:45 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: NAT_DEE_WILLIAMS_&_WDIA_IN_MEMPHIS!!! > Rev Moore said in his own words he ran away from > home with Ma Rainey ('s troupe I presume) and that Nat Dee Williams > was like a teacher to him.... This was probably "Memphis Ma Rainey" who was not the same as the recording/touring artist of the 1920s. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Tue, 27 Feb 1996 10:35:46 -0700 Reply-To: Jessica Jones From: Jessica Jones Subject: Bleecker St. demise Bleecker St., an acoustic blues trio with two cds out, is breaking up. They will be playing a few more gigs through mid March, and then they will be officially done. The guys are attempting a civil breakup, a sort of no-fault divorce, as many of you know, this is not easily done. In any case, Washboard Chaz, percussionist extraordinaire, is now available and seeking work with accomplished, professional blues musician(s), touring, studio, etc.,etc. He has played on stage, and in the studio with musicians such as John Hammond, Bonnie Raitt, Tim O'Brien, Molly O'Brien. He is willing to consider moving if the right combination occurs. He is a songwriter, hand- drum player, full-kit drums player, and vocalist (tenor) e-mail to jessicaj@spot.Colorado.edu snail: 6604 Kalua Boulder, CO 80301 ========================================================================= Date: Tue, 27 Feb 1996 12:24:49 -0500 Reply-To: Ed Mezynski From: Ed Mezynski Subject: Bonnie Raitt on Fresh Air / Waterman Last night Bonnie Raitt was the guest on Fresh Air, an NPR show out of Philly. She brought lots of records that have influenced her and her style. Very nice interview. She gives lots of credit to folks like McDowell, Sippie Wallace, BB and all the folks she met through Dick Waterman and his efforts to keep blues alive way back when. So, I'd just like to say thanks to Dick Waterman and all the other folks who worked so hard to keep the music we love alive back before we even knew we loved it, or knew it existed. thanks ed ========================================================================= Date: Tue, 27 Feb 1996 12:12:46 -0500 Reply-To: Ed Mezynski From: Ed Mezynski Subject: Fab t-birds/mighty flyer question I heard this past weekend that Jimi Bott, the long time drummer for the Mighty Flyers has joined the Fabulous Thunderbirds. Has anyone seen either of these bands lately, or can anyone substantiate this rumor. Thanks thanks ed ========================================================================= Date: Tue, 27 Feb 1996 08:49:07 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Part Two, Mercury Blues box tracklisting Part two of the ongoing listing of the contents of The Mercury Blues And Rhythm Story, 1945-1955, *for which I am associate producer and wrote one of the four sets of liner notes* : Volume Two, SOUTHWEST BLUES CD Three 1. Jay McShann with Crown Prince Waterford/Garfield Avenue Boogie 2. " " " " /Crown Prince Boogie 3. Jay McShann with Jimmy Witherspoon/Shipyard Woman Blues 4. Jay McShann with Walter Brown/W.B. Blues 5. " " " /Sloppy Drunk 6. " " " /Lovin' a Beggar 7. Alma "The Lollipop Mama" Mondy/Miss Lollipop's Confession 8. " " " " /Love Troubles 9. " " " " /Baby Get Wise 10. Roy Byrd & His Blues Jumpers/Byrd's Blues 11. " " " " /Her Mind Is Gone 12. " " " " /Bald Head 13. " " " " /Hey Now Baby 14. " " " " /Oh Well 15. George Miller & His Mid-Driffs/Boogie's the Thing 16. Little Joe Gaines/She Won't Leave No More 17. Hosie Dwine Craven/Mercury Boogie 18. Roy Byrd & His Blues Jumpers/Hadacol Bounce 19. " " " " /Longhair Stomp 20. " " " " /Been Fooling Around 21. " " " " /Between The Night And Day 22. Alma "The Lollipop Mama" Mondy/Streetwalkin' Daddy 23. " " " " /A Job For A Jockey 24. " " " " /Still My Little Angel Child 25. Lee Graves/Cloudy Weather Blues 26. " "/Sixty Years And A Day Volume Two SOUTHWEST BLUES CD Four 1. Lee Graves/Papa Said Yes, Mama Said No No No 2. " " /I'm From Texas 3. Luther Stoneham/Sittin' Here Wonderin' 4. " " " /January 11, 1949 Blues 5. L.C. "Lightnin' Jr." Williams/I Don't Want No Woman 6. " " " " " /Louise 7. " " " " " /I Don't Like To Travel 8. Smokey Hogg/Miss Georgia 9. " " /She's Always On My Mind 10. " " /Dirty Mistreater 11. " " /I'm Looking For My Baby 12. Violet Hall/(All Alone) I Sit And Cry 13. " " /Six Foot Papa (I'm A Whole Lot Of Woman 14. John Hogg/Got A Mean Woman 15. " " /Why Did You Leave Me 16. Lightnin' Hopkins/Sad News From Korea 17. " " " /Let Me Fly Your Kite 18. " " " /Gone With The Wind 19. " " " /She's Almost Dead 20. Elmore "Elmo" Nixon/(In Love With A) Married Woman Blues 21. " " " /Playboy Blues 22. " " " /Cave Man Blues 23. " " " /Million Dollar Blues 24. Lightnin' Hopkins/Ain't It A Shame 25. " " " /Crazy 'Bout My Baby Mary Katherine Aldin ========================================================================= Date: Tue, 27 Feb 1996 16:43:42 +0000 Reply-To: Bob Bingham From: Bob Bingham Subject: Honky Tonk Hey Dave, That guitar player you were referring to on Honky Tonk was none other than Billy Butler. Agreat but rather obscure player. He made at least 1 solo album that my brother used to have but I heard it many years ago and can't recall the title. The last time I saw Billy play was on a tv special with Ruth Brown and Charles Brown. He was sitting in a chair in the backup bandbut on I tune he proceeded to play some signature licks. I recognized the style and sure enough Charles acknowledged him as Billy Butler. Billy was more of a jazz tinged player but when he played blues he got right to the point. Since the discussion lately seems to be about playing extended solos that don't say anything I think pointing out this particular masterpiece was appropriate. I read an interview with Lewis Meyers one time where the interviewer asked him what he thought of Ronnie Earl. He replied to the best of my recollection " He's a great player but he doesn't have anything to say". I personally think Ronnie's a fabulous player but I can appreciate where Lewis is coming from also. Just listen to the guitar solo on Rockin Daddy by Howlin Wolf. It's either Hubert or Willie Johnson. A truly great player only requires 12 to 24 bars to get the message out. That why all these young guitar prodigys are all on the wrong trail. It's simply not how much you say it's how you say it. And personally if you don't say it in a succinct manner your risking boring me to death. Anybody can get up in a bar with a reasonable amount of technical skill Play a 10 minute solo and the audience will go nuts. My father always referred to the politician Hubert Humphrey as the "Vacuous Yacker". The equates very nicely with what I hear going on with modern electric blues today. Musicians nowadays need to learn how to focus on the quality of the message rather than the quantity then maybe the real essence of what this music is all about will emerge. ========================================================================= Date: Tue, 27 Feb 1996 08:37:33 -0800 Reply-To: James Carmin From: James Carmin Subject: Jazz Record Mart address A friend of mine (not me unfortunately) is heading to Chi Town in a week and I wanted him to visit Jazz Record Mart (maybe he'll bring me back something). Can someone inform me of its address? And is it still a mighty fine music store? James C. jcarmin@teleport.com ========================================================================= Date: Tue, 27 Feb 1996 13:34:33 PST Reply-To: ftoral@meyosp.mecon.ar From: Toral Fernando Subject: Re: Who is obsessing you? I've spent the whole weekend with "If heartaches were nickels" by Kenny Neal... I think there's a lot to hear by KN in the next years, when he'll surely become one of the best bluesmen of the decade. I also enjoy "Past, Present and Future" by Aron Burton. Anybody knows if there's any new release? Another question: Is there any South American tour programmed for the next months. We're hungry for the blues here!!! ========================================================================= Date: Mon, 26 Feb 1996 08:37:24 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Alligator 25th Anniversary - question There was mention of unreleased Hound Dog Taylor. Does anyone have anything on this? Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Tue, 27 Feb 1996 14:34:37 +0000 Reply-To: "David J. Wallace" From: "David J. Wallace" Organization: JSDA Subject: Bizarre dream Comments: cc: pwfenton@GATE.NET Hey, I think I'm spending too much time around here, since in a bizarre dream, the PW Fenton and the Second Ward box set appeared on my CD shelf. Photos and everything - no shit, sadly I woke up in a sweat before any music was played, and also before the Korean Girl in the corner said or did anything. Figure that out. PW, I'd say this is a good sign, n'est pas? Right, I'm off to the phycotherapist, David J. Wallace ********************************************************** Q>- Whats the difference between God and a pilot? A>- God doesn't think he's a pilot. ---------------------------------------------------------- Visit my Flying in the United States web page at: http://web.nexor.co.uk/users/jpo/av-usfly.html ********************************************************** ========================================================================= Date: Tue, 27 Feb 1996 14:24:15 +0000 Reply-To: "David J. Wallace" From: "David J. Wallace" Organization: JSDA Subject: Killer four pack (some reviews) Hey bluezellers, Its about time I posted sometihing so I'll tell you about a fabulous package of discs that just landed on my doormat from the U.S. Ritual thanks to the Down Home Music Store, of El Cerrito CA, (no affiliation) for not killing this ex CA resident with shipping charges. Philip Walker: Working Girl Blues, Black Top. After reading how good it was on the list I ordered it. Yup, its a good un all right. Mixing three different linups, and recording in LA, ans New Orleans Walker effectively demonstrates he is comfortable with various styles from the straight ahead blues of the opening track to the jump blues of 'bad luck' to the exuberent Zydeco finale.. Walker plays three different guitars - Strat, Telecaster and Gibson LP? to great effect, and vocalizes superbly throughout, bringing thoughts of a younger rougher Lowell Fulson to mind. Heck of a record from a guy whos been around for ages,but never crossed my path before. Son Seals 'Midnight Son' Alligator. Son Seals is another guy who should have crossed my path ages ago but didn't for one reason or another. This record battles a very thin mix, a product I guess of the fact that it dates from 1976 when Alligator was still a tiny fledgling label (BTW congrats on 25 years of success to Alligator), still for all its apparent thin-ness this is one hell of a burner. Son's guitar sizzles throughout, especially on the slower selections. His vocals display fine depth combining a soulful nonchalance sp (can you have that?) with a closely guarded meaness lurking just below the surface waiting, ever ready to come grab you straight out of your boots. The band is pretty solid too, changing from the gospel of I Believe to the medium funk of some of the selections to the albums high point - the killer slow blues that closes it, who's title eludes me. Definately reccomended if you haven't heard Son Seals before - I'm hooked. Third in David's catch up quick roadshow is: Roy Buchanan's 'When a guitar sings the blues' on Alligator. Clearly by 1985 Alligator had improved its technical standards since the sound on this one is excellent which is a good job since Buchanans playing is awesome (I will never, ever, ever use that word again I promise). The disc opens with an slow instrumental with commentary, neatly explaining how it is to sing with ones guitar rather than ones voice, however I couldn't help but wish that there was less talking so I could concentrate on the playing. The album continues without ever falling into the trap of over exhuberent guitar antics, Otis Clay gusts on one track, doing an adequate job, but not quite as good a job as the liner notes proclaim. But since the object of the excersise is to hear the wonderful noises that Buchanan can make with his humble Telecaster, It's not a problem. Its a rels shame Buchanan met such an unfortunate end. How'd I miss this guy? Finally Magic Sam's Black Magic popped out of the box. NYCD blues reviewed this a while back (no affil) , and I stand by all that was said then. This is IMO his finest work, if it lacks the looseness of West Side Soul it more than makes up for it in the sheer emotion that Maghett brings to each and every cut. Superb throughout, simply superb, superb, superb, supurb. but then I'm a Magic Sam fan anyway. Well there you go some blues from this Godforsaken corner of England I find myself stuck in. David J. Wallace ********************************************************** Q>- Whats the difference between God and a pilot? A>- God doesn't think he's a pilot. ---------------------------------------------------------- Visit my Flying in the United States web page at: http://web.nexor.co.uk/users/jpo/av-usfly.html ********************************************************** ========================================================================= Date: Tue, 27 Feb 1996 09:48:29 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Theory Revisited A couple of weeks ago, we were discussing music theory, and whether or not the study of it helped blues musicians, or merely got in the way of the emotion and spontaneity. >From Mojo Magazine, February, 1996, in the cover article about Howling Wolf: "Wolf ran his band like a machine, dictating what clothes they should wear, paying their union dues, finding them accommodation, and, in Sumlin's case, organising guitar lessons: 'I had just started playing with him, man, and I wasn't seasoned good enough, and Wolf said, "Hey Hubert, tomorrow I want you to go with me, I'm gonna show you something I think you are going to like." Sure enough, he took me downtown to the Chicago Conservatory of Music, where Wolf took lessons, and then he paid for two years' lessons for me. It was some opera guitar player, name was Gowalski, he was playing symphonies over in Europe and now he's teaching me scales and stuff!'" Billy Boy Arnold quote in the same article: "Wolf would be sitting in the corner with his spectables on in intermission, studying his book; he went to night school, he took music lessons, he was always trying to advance." So it seems that the Wolf, at least, didn't think that studying cramped his style.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Tue, 27 Feb 1996 09:24:37 CST Reply-To: William Shute Comments: Resending note of 27 Feb 96 07:36:51 CST from William Shute From: William Shute Subject: March "Ichiban Soul Classics" releases From: *** Resending note of 02/27/96 07:36 Date: 27 Feb 96 07:36:51 CST From: William Shute To: blues-l@brownvm.brown.edu From: Bill Shute Blues-l interest has been strong in the fine Ichiban Soul Classics series, many of them--the Lorraine Ellison, Barbara Lynn, Doris Troy, Cissy Houston, and Arthur Conley sets in particular--already being regarded as "classics" in themselves among soulsters worldwide. It is certainly refreshing to see this material coming out on a US label yet treated with the seriousness and attention to detail one would expect from a euro label! For the benefit of those who are not on the Ichiban mailing list, here are the next two releases, scheduled for mid-late March ZZ HILL "Love is So Good When You're Stealing It" reissue of late 70s Columbia albums "Let's Make A Deal" and "The Mark of ZZ" Ichiban Soul Classics SCL 2112 with universal love/this time they told the truth/stop by and love me sometime/that's all that's left/you got me doing the disco/a message to the ladies/let's make a deal/love is so good when you're stealing it/need you by my side/near but yet so far/let's have a party/i wanna dance with you/ just because we're no longer lovers/i want to be your every need/whip it to me baby/i don't want our love to be no secret/i will understand/ tell it like it is DENISE LA SALLE "Before You Take It To The Streets--The ABC/MCA Years" Ichiban Soul CLassics SCL 2113 with sit down and hurt awhile/second breath/love me right/before you take it to the streets/one life to live/workin overtime (lp version)/feet don't fail me/you oughta thank me/talking bout my best friend/tighten up on your good thing/you'll never get your hooks in my man/giving up/too little in common to be lovers/live medley of make me yours,precious precious,trapped by a thing called love ------------------------------------------- Although not on Ichiban, a soul gem I've been playing the heck out of is the UK album "Different Strokes" by Joe Tex, over 70 minutes of mostly unissued material, including the instant classics "All A Man Needs Is HIs Woman's Love" and "She Said Yeah," and also a dynamite unreleased duet with Mable John (!!!!!). I believe it's on Charly. Also in heavy rotation in the Shute family home and car: LONNIE JOHNSON Vol. 1--1925-26 (Document) STEVE GIBSON AND THE RED CAPS "Boogie Woogie on a Saturday Night" (Bear Family comp of early 50s RCA sides) JOE "GUITAR" HUGHES "Texas Guitar Slinger" (Bullseye Blues) TED RODDY "Full Circle" (Hightone) "Jazzin' The Blues, Vol. 1" (Document) "Early Negro Vocal Groups, Vol. 3" (Document) DUANE EDDY "Twistin' n Twangin" (German RCA/BMG) LOWELL FULSON "Them Update Blues" (Bullseye Blues) ACE CANNON "Tuff Sax/Moaning Sax" (HI UK) LEE ALLEN "Walkin' With Mr. Lee" (Collectables) DOUG SAHM "Texas Road Runner--The Renner Sides" (Moonshine) "The Obscure and Neglected Chicagoans 1925-1929" (IAJRC) THE ROCKIN REBELS "Tom Shannon Presents The Rockin Rebels" (ACE UK) JOE TURNER AND THE TRUMPET KINGS (Fantasy/Pablo--with Roy Eldridge, Clark Terry, Dizzy Gillespie, Harry 'Sweets' Edison) BILL BLACK'S COMBO "Solid & Raunchy/Movin'" (HI UK) FLETCHER HENDERSON "Fletcher Henderson and the Blues Singers" Vols. 1-2, (Document, circa l921-1925) MARGARET LEWIS "Lonesome Bluebird" (ACE UK) I'm looking forward to the release of that new George Paulus-produced ANDRE WILLIAMS album, featuring Dick Taylor on lead guitar. Bill Shute San Antonio, TX ========================================================================= Date: Tue, 27 Feb 1996 18:23:52 -0500 Reply-To: Peter Leftwich From: Peter Leftwich Subject: testing down is your crap down? ========================================================================= Date: Tue, 27 Feb 1996 22:17:08 GMT Reply-To: "Jennifer A. Zogott" From: "Jennifer A. Zogott" Organization: New York University Subject: Re: Eddie Kirkland in Worcester (review) Comments: To: bit-listserv-blues-l@uunet.uu.net RickMillerMILLER@SCI.WFBR.EDU wrote: : Well kiddies, went to see Mr. Kirkland at the Plantation Club in Worcester : last night, and man, my ass is draggin'. :) That's a good sign from a review : standpoint. But I must say I don't know how to do a review of a show like this. : In a nutshell, a good show. But it can be broken down into the good, the bad : & the ugly. Very, very ugly. Here goes.... : The band is absolutely awesome! I mean AWESOME. These 3 mostl unlikely, geeky : lookin' white kids in their 20's in crummy jeans, t-shirts and obligatory plaid : overshirts (untucked) got onstage and my wife and I thought, "What? Did they : hire some cheesy grunge band to open the show?" It took no less than 10 seconds : for me to eat my words and become riveted!! These three kids laid down the : tightest, most seamless and tasteful groove that I have ver heard from any blues : band anywhere. I honestly mean that. It was perfection. If these are the guys I'm thinking about, the drummer was Andy Plaisted and the guitarist Mike something (I can't quite remember his last name, but I think it's Italian), if those names ring any bells. I don't know who's playing bass with them. Nice guys, very talented. Jennier * * * "How many bubbles in soap? How many chews in gum? How many rolls in a wheel? Where did eyeballs come from?" - Screamin' Jay Hawkins ========================================================================= Date: Tue, 27 Feb 1996 22:49:44 GMT Reply-To: BluesBabe From: BluesBabe Organization: SoVerNet, Inc. Subject: Re: Kids vs others Comments: To: bit-listserv-blues-l@uunet.uu.net Caught Keb Mo's show last summer. It was the first time I had seen or heard of him. I really enjoyed him. It was an out door, day long concert in the Vermont hills. Alot of people not really into blues sat up and listened. His 1/2 hour on stage let me wanting for more. Come back soon Mo. ========================================================================= Date: Tue, 27 Feb 1996 23:14:23 GMT Reply-To: BluesBabe From: BluesBabe Organization: SoVerNet, Inc. Subject: Re: Blues on the Tube Comments: To: bit-listserv-blues-l@uunet.uu.net "Roger B." wrote: >>>To: markovits >>>From: John Sturm/IS/CCC >In the above e-mail: (someone?) wrote: (..... about "Searching For Robert >Johnson") >>I don't dig about this film are the scenes of John Hammond Jr. playing RJ songs >>while sitting in a boxcar, kneeling down on his knees at a Delta crossroads, >>and walking through a cemetary at night while some dry ice machine blows mist >>across the scene to make it eerie. I believe that JH Jr should not have used >>this film to showcase JH Jr. He's a damn fine musician but there's no >>mistaking him for RJ. >Mistaking?? What? I am positive no-one in their right mind would mistake >a living, white man for a long-dead black man. >> I believe that JH Jr should not have used this film to showcase JH Jr. >Nonsense! John Hammond very tastefully plays EXCERPTS of his >interpretations of RJ songs, and in no way does this "showcase" him to the >detriment of what he does so very well, in this documentary: telling the >story of Robert Johnson, his times, and where he came from. > John has also been drawing attention to, and introducing new audiences to, >the music of RJ for a long, long time. True, some of the "theatrics" in >the documentary "Searching for Robert Johnson" might wear a little thin on >you, but I don't think it's fair to imply that John Hammond is anything but >sincere in his love for, and dedication to, the music and memory of Robert >Johnson. >- Roger B. I missed the Robert Johnson show;:((( I saw the other two and they were done well Would LOVE to see the R.J, special. any one know if Discovery is planning a rerun? ========================================================================= Date: Tue, 27 Feb 1996 22:17:38 -0500 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: ?? on A.J. Croce Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199602262115.QAA16001@transcom.capcon.net> Laura Fowler writes: >Hello all! Last night A.J. Croce was featured on Austin City Limits. >Who can tell me how old this fellow is? Also how many albums he has out >and how long he has been performing. His voice did not match his >youthful looks. Thanks. All I know for sure is that his father was singer/songwriter Jim Croce (anyone remember the 70's?) who died in a plane crash when A.J. was quite young. He doesn't really remember his father and feels no musical connection to him. ========================================================================= Date: Tue, 27 Feb 1996 15:56:10 -0500 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Black History Month Comments: To: bit-listserv-blues-l@uunet.uu.net How ARRORGANT of LW to make such a statement. Am I the ONLY African-American on this list???? If so, let me educate you. To you "da blues" may just be some music that sounds good. Yeah, black folks singing pretty and talking about pain. Well, that pain was real and LW we sure don't need YOU to educate us about it. I am shocked at your audacity. Yes, blues is a major aspect of our history, but it is not the ONLY aspect. From the beginning, you think that we can sing and dance, in fact, for a long time that is all we were ALLOWED to do, but we also can write, add, subtract, speak, build nations and transform nations. That history needs to be told also. LW and others who just don't get it: Maybe young African-Americans don't embrace this music because of the pain associated with it. It MAY be an attempt not to resurrect images of cotton, lynchings, white hoods, etc. I am relatively young (30) and when I hear this music I hear more than 12 bars and more than SRV, I hear my aunts and uncles and mother and father and cousins telling me about ME. Yes, I do believe that blacks need to be more involved with the literary preservation of this music and this is the motivation for my writing a book on contemporary women blues artist, but can't you UNDERSTAND the hesitation??? If not, just drop me a not and I am sure I can help out. Lea Gilmore Baltimore, MD "Wild Women Don't Have the Blues" ========================================================================= Date: Tue, 27 Feb 1996 15:35:32 -0500 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: BluesBytes is great! Comments: To: bit-listserv-blues-l@uunet.uu.net I just got my copy of BluesBytes and it really is an excellent collection. Thanks Bob for doing such a wonderful job. Oh yes, there are some VERY talented members of the blues-l list...I'm impressed. Maybe next time I can sit in for MY version of "Stormy Monday" (yeah, I know that will start you talkin... :-). Lea Gilmore Baltimore, MD "Widl Women Don't Have the Blues" ========================================================================= Date: Tue, 27 Feb 1996 13:15:47 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Internet Blues is Back on the air! Comments: To: bit-listserv-blues-l@uunet.uu.net In article <96Feb26.130227pst.30850-28102+1715@haven.uniserve.com>, Jim Witteveen writes: > the Port >of Harlem Jazzmen. So if you're interested, check it out at I love that cd and am surprised to see it. Where did you come across it & what did you like about it? Cat Catbauer@vivanet.com ========================================================================= Date: Tue, 27 Feb 1996 11:09:19 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: Noodle on blues-L! RE: From: SLIPERYNDL Organization: America Online, Inc. (1-800-827-6364) Subject: Re: New Blues Releases this week Yank Rachell has just released a new album on our label Slippery Noodle Sound on 2/25/96. It an all acoustic studio recording. David Morgan plays backup and produced the album. call 1-800-SN1-BLUS for more info Thanks Hal - - - - - - - - - Well well.. Hal Yeagy, head of Slippery Noodle Sound (Indianapolis, Indiana) has joined Blues-L. Here's the Yank information. Welcome Hal -- hope you'll keep us informed as to your catalog and new releases! Cathi N. ========================================================================= Date: Wed, 28 Feb 1996 15:01:18 +1100 Reply-To: Daniel Bruce From: Daniel Bruce Subject: Re: Stormy Monday Comments: To: DSILVA@LAB1.COTR.BC.CA In-Reply-To: <31335C84@msmailgwy.cotr.bc.ca> from "DSILVA" at Feb 27, 96 12:56:00 pm > > I must agree with Richard Shurman that Bobby Bland's rendition of "Stormy > Monday" is superb. > > I am looking for a CD by Bobby Bland and was wondering if anyone had any > favorites or suggestions. My resources are rather limited since I live in a > small community but the local store could order something in if I had more > information. > > Doris Silva > dsilva@lab1.cotr.bc.ca > Cranbrook, British Columbia, Canada > A good start to the majesty that is Bobby Blue Bland would be the Best of on MCA (Also nice price which makes it even better). After that there is the album 'Two Steps from the blues' on MCA considered by many to be his best or 'Dreamer' on abc another graet album. If you are feeling rich there is a 2cd compliation available called somehting like the Duke years which is where the first two disks come from. Hope this helps -- Daniel Bruce | Genasys II Pty Ltd, Sydney, Australia | "Born under a bad sign, been down since I began to crawl | If it wasn't for Bad Luck, Wouldn't have no luck at all" | Albert King | Internet: danielb@genasys.com.au ========================================================================= Date: Tue, 27 Feb 1996 23:24:18 -0500 Reply-To: Rags From: Rags Subject: Re: NAT_DEE_WILLIAMS_&_WDIA_IN_MEMPHIS!!! Comments: To: ianangus@DIS.ON.CA In-Reply-To: <9602271256.aa07351@admin.dis.on.ca> from "Ian Angus" at Feb 27, 96 01:04:45 pm > > Rev Moore said in his own words he ran away from > > home with Ma Rainey ('s troupe I presume) and that Nat Dee Williams > > was like a teacher to him.... > > This was probably "Memphis Ma Rainey" who was not the same > as the recording/touring artist of the 1920s. > > Ian Angus > "Built for comfort, not for speed" > Wow is this Memphis Ma Rainey also well known as a blues singer... pardon my ignorance in asking....do u know if Rev Moore "ran" away with her like 'eloping" or did she also have a troupe which he joined Any ideas... Thanks BLUES BY NITE COOL BY DAY!!! ---------------------------- Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ It's dark And I'm Wearing Sunglasses......... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Tue, 27 Feb 1996 22:49:47 -0600 Reply-To: Keith Castleberry From: Keith Castleberry Subject: Alligator 25th Ann. - Q I thought I read someone saying that Elvin Bishop played with Hound Dog Taylor? If so, is this going to be on Alligator's new album? Also, PLEASE somebody re-release Elvin's Capricorn albums. I'll pay double. triple. Keith Castleberry WYDH 105.9 FM "The Blues Cruise" P.O. Box 710 Atmore, AL 36504-0710 ========================================================================= Date: Wed, 28 Feb 1996 05:30:56 GMT Reply-To: cjg6159 From: cjg6159 Organization: New York University Subject: Blues Party & CDA Protest! Comments: To: bit-listserv-blues-l@uunet.uu.net The "12-B-6 Band" will be hosting a benefit performance Saturday, March 9, 11PM at the Sun Mountain Cafe, 82 West Third St, NYC. Proceeds will go to support "Committee 451", the nationwide law students' protest of the so-called Communications Decency Act. The band is an assemblage of players from other New York City blues bands, and we'll be playing *genuine* stuff from Elmore James, Freddie King, T-Bone Walker, Albert King, and of course, lots of Muddy. Cover is only $5, and how often can you fight on-line censorship and groove to some houserockin' music at the same time? For more info, buzz me at cjg6159@is.nyu.edu. Peace, Charles ========================================================================= Date: Wed, 28 Feb 1996 00:47:40 EST Reply-To: DR JAMES E HILL JR From: DR JAMES E HILL JR Subject: IMMEDIATE NEWS REALEASE Comments: To: bgrass-l@ukcc.bitnet, brass@geomag.gly.fsu.edu, emusic-d@american.edu, emusic-l@american.edu, filmus-iubvm@ucs.indiana.edu, mlol@wariat.org FROM: J.E. HILL MULTIMEDIA COMPANY CONTACT: Jmccompany@aol.com http://www.totalmarketing. com/fourthgn DATE: Immediate SUBJECT: Video/CD-ROM Learning Available On-Line (NEWS RELEASE) J.E. Hill MultiMedia Company has announced the availability of their new 7,000 title catalog of Educational & Informational how-to-videos and CD-ROMs on-line at their new Internet site on the World Wide Web. The site offers full access to the best in learning Video/CD-ROMs from the company's extensive line. Site visitors can browse the catalog, learn more about specific titles and topics or order directly while on-line. According to company President, James Hill, Videos and CD-ROMs are quickly becoming an essential information resource used by teachers, librarians, home schoolers, and do-it-your-self practitioners. Mr. Hill went on to say that "the information super-highway is the greatest information resource ever, and having our products available there will help Internet users get the kinds of information they want and need." J.E. Hill Multimedia centers its marketing around the Internet catalog. The Internet catalog is organized into dozens of subjects for people and business of all types, interests and needs. Titles are available on subjects as varied as Academics, Children's learning, Computers, Hobbies, Pets, Health, and much more. Mr. Hill added, "with our on-line catalog we are able to offer new titles constantly without the burden of printing, so we expect to be able to provide our customers with the newest and best learning products available, every day." See the catalog on-line at: http://www.totalmarketing.com/fourthgn Sincerely, J.E. Hill MultiMedia ========================================================================= Date: Wed, 28 Feb 1996 00:03:22 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: willie willis > From: Bonnie Kalmbach > Subject: "Down Home in Dallas" > > I just bought a CD on Trix called "Down Home in Dallas" (as > yet > unlistened to) by Willie Willis and the Wildcatters. I never hear of > him > and them before. What do y'all, especially you Texians, know about > this band? Willie has been plying around the Dallas area since about 1955. He was born 12/12/32 in Fairfield, Texas. Willie plays guitar and sings. He did some recording for the Ride label in 1960, the Kris label in 1983, and did an album for Soul Staff Records (in Compton, CA) "Blues Food For the Soul" in 1988. The last has one of the cheesiest blues album covers I have yet seen (a collage of poorly trimmed photographs of soul food on a plate with Willie in the middle). There were two different versions of this album, one with "Black Night" and one without. Last year he recorded a new album at Audio Dallas studio and the producer promptly left town without paying for the session (or so I hear 3rd hand). I believe Willie eventually was able to obtain the tapes for himself. About a year or so ago, he appeared at one of the major European fests (Estaffette?, I'm not sure). Until last year, his main gig was at an Italian restaurant on Greenville Avenue called Flip's Wine Bar. He spent many years there playing Friday and Saturday nights. About the time of recording his last album and his European trip there was some kind of ruckus between him and Flip's and he doesn't seem to play there much anymore. In fact, he doesn't seem to be playing much at all lately. Willie's sax player, Wilford Sims, recently did a session with Bob Kirkpatrick for JSP. I haven't heard of the Trix album before so I'm not sure what is on it or who the band is. His live show has always relied very heavily on old standards. I don't know of any major interviews with Willie, locally or in the blues press. He has always been on my "to do" list. Don O. ========================================================================= Date: Wed, 28 Feb 1996 01:57:34 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: One small joke . . . No one has ever said that I had much of a sense of humor . . . however . . this joke came upon me and I thought I'd pass it along. Feel free to appropriate it as your own and claim full credit. These blue guitar phenoms are getting younger and younger but last night I heard one who was the youngest of all. HOW YOUNG WAS HE ? This kid was so young that when he did "Stormy Monday," his eagle flew on Tuesday . . . Dick Waterman ========================================================================= Date: Wed, 28 Feb 1996 00:24:43 -0700 Reply-To: DeWayne Brown From: DeWayne Brown Subject: Thanks! Not sure whether it is appropriate here but....I gotta say this is a great forum. I have been on this list only two weeks, and it has rekindled my smouldering love for the blues. It also brought back forgotten days of trekking through the backwoods of Virginia (Pulaski) and West Virginia for hours just to sit (drink alittle wine) and listen to 5-10 men of all ages make their own blues. No jobs, no money, a little wine, and an old shack they called home. They WERE THE BLUES, and the most contented people I had ever met. And being a "white guy" allowed this experience for a few summers in my youth, I never did learn to play the guitars or the harps (I can play a mean gutbucket), but I did learn one thing. Blues ain't about colour or race, it's about the heart and the soul. Anyway..... being transplanted from the Blue Ridge to the Frozen north, I would appreciate hearing about who's coming to the Alberta area. I'm starting to develop a drooling problem reading about all the gigs in the States. It would be great to have some of your bands up here. I would also be interested in what magazines I can order from the states to get me back in touch with whats happening in the world of Blues. Dew. DeWayne Brown, Director CROSSROADS Outreach (Edmonton Alberta Canada) voice: (403) 474-7421 fax: (403) 471-2311 email: dewbr@freenet.edmonton.ab.ca ========================================================================= Date: Wed, 28 Feb 1996 00:03:00 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Too Many Baseball References Jeff Jaisun wrote: >(Re-sent due to initial delivery system failure. -- Jef) > > >> > Shaun T Cronin (shaun@WAVENET.COM) wrote: >> > >> > : 'The Blues is what exists between a man and a >> > : woman.' Son House and John Lee Hooker. >> > >> > Okay, I'll bite. Which one's the woman? :) >> > Why, it's the one in the middle. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Wed, 28 Feb 1996 07:49:31 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Piano player on "Freddy King Sings"? Comments: To: bit-listserv-blues-l@uunet.uu.net Rennie Selkirk wrote: > >Howdy, zellers, > >Just picked up a tape of this classic LP from '60-'61, I guess. >No musician credits though. Anybody know the lineup, especially >that impeccable piano player? It wouldn't be someone like Lloyd >Glenn would it (just guessing)? Rennie, I don't have this particular record, but if it's on the King label it's probably Sonny Thompson, who was present on almost most of F. King's recordings for the label except for a single session in '66. Scott ========================================================================= Date: Wed, 28 Feb 1996 07:44:20 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Johnny Copeland - The Early Years Comments: To: bit-listserv-blues-l@uunet.uu.net >At 08:47 PM 2/26/96 -0500, Art Schuna wrote: (about Johnny Copeland) >>Copeland cut a number of small label sides in the early 60s. Has anyone >>heard these? Are they more R&B or blues oriented? Are any of these >>collected anywhere? Also, since Mercury will soon reissue a bunch of early >>blues/R&B soon does anyone know if this Copeland issue will be on it? Art, Roy C. Ames at Home Cooking Records has released at least two collections of Johnny Copeland's early singles; I have one called "The Copeland Collection Vol. 1" which collects mostly material from '63-'64. I've seen the other one (presumably Vol. 2), but never picked it up. I believe the same label has released a collection that does have "Rock & Roll Lily" on it though. I don't know of any other collections of Copeland's early stuff, I do know however that, in keeping with the Roy C. Ames tradition, Johnny says he has never seen any royalties on these, so let your conscience be your guide. The material on the record I have sounds like Johnny was casting around for a style that would click for him...there are some nice cuts, but if I remember right (I haven't listened to it in a while) much of it was fairly generic--various combinations of soul, R&B and R&R. Scott ========================================================================= Date: Wed, 28 Feb 1996 09:46:47 GMT Reply-To: tdevit3@NEWS-S01.NY.US.IBM.NET From: tdevit3@NEWS-S01.NY.US.IBM.NET Subject: Re: Piano player on "Freddy King Sings"? Comments: To: bit-listserv-blues-l@uunet.uu.net The band listing on my 'Freddy King Sings' CD is: Sonny Thompson- piano Bill Willis- bass Phillip Paul- drums Clifford Scott - Tenor Sax (some tracks) ========================================================================= Date: Wed, 28 Feb 1996 05:16:15 -0500 Reply-To: Ted Dames From: Ted Dames Subject: Peter Gallager(minimal blues) My appologizes for using the list. Peter, Lost your address and I went no-mail the other day. I don't think I'll get a chance to get to Amsterdam this trip. Try to get to Bruge the weekend of the 16th for a GREAT American blues band.....Microwave Dave and the Nukes. I'll be at 953530 from the 1st to the 3rd. Have a bier for me and I'll do the same. Next time! Ted Thanks people! bandana@fast.net is Ted Dames (aka A. Pepperhead)- Sauce Maker and Resident Bon Vivant at Bandana's Serious Pepper Products located in Sub-Tropical S.E. Pennsylvania Producers of All Natural, Salt and Additive Free, Hot Pepper Sauces. "You're SO good....I'm gonna put you inna bag and zip you up!........... then squeeze you out a little at a time." - Smokey Wilson ========================================================================= Date: Wed, 28 Feb 1996 07:16:51 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1959, bullets became objects of desire. Cashbox magazine introduced the red bullet to it's music charts to indicate records which were headed up the charts, as in "number 11 with a bullet". P.W. Fenton Tampa, Florida ------------------------------------------------------------- While you are in cyberspace, visit the Tomb of the Unknown Bluesman at http://www.gate.net/~pwfenton ------------------------------------------------------------- ========================================================================= Date: Wed, 28 Feb 1996 13:17:09 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Western Canada: Request I would like to swap (new for new) for, or find out where I can get a hold of: The latest CD from "Back Alley John" (Calgary, ex from Ottawa) The CD from the group "Incognito" (Vancouver) anyone? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [28/2/96 8:10 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 28 Feb 1996 08:44:08 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Re: blues @ folk alliance Jef Jaisun complained that the Folk Alliance event clashes with Mardi Gras. I never saw Mardi Gras as a "music" event (although I'll bet some readers in N.O. will set me right!), so I don't know whether or not this was a consideration. What I do know is that there are dozens and dozens of important music events-and I think this is one of the MOST important-and they're bound to clash with SOMETHING, SOMEWHERE. But the quantity and variety of music-needing only some more blues to spice it up-at the Folk Alliance event is without comparison. And in Toronto next year it'll be even better! (Hey, I'm already starting to bug Waterman (Richard the Younger) about coming up to the cold!) Richard the Elder ========================================================================= Date: Tue, 27 Feb 1996 22:52:24 -0700 Reply-To: Michael Heicklen From: Michael Heicklen Subject: SHOULD I SHOP THROUGH AN ATTORNEY? There is little doubt that the intricacies of a label deal warrant hiring an attorney. The difficulty comes prior to that long-awaited offer - should you hire an attorney to shop your music to find the deal? That question permeates the industry because of the catch twenty-two situation created by litigation and gun-shy labels. Most large and medium sized labels (some smaller independents have an open door policy) will not open unsolicited submissions for fear of copyright infringment accusations. In recent years, there has been a rash of litigation; where unrepresented artists submitted material, and then claimed that a song published by the label under a different name was derivative of their controlled composition(s). Today, unless a performer has representation by someone personally acquainted with the labels, the chances of a young or budding artist getting material heard are virtually nil. In short, the labels are listening to material submitted by someone they know, trust, and have worked with or were acquainted with in the past. That leaves the performer looking to make submissions with limited options. First, he/she can invite the label reps to a live performance and hope they show (though many do so quietly, if at all, because the same copyright infringement concerns hold true for live performances); or he/she can hire someone to do the shopping for them. There are several types of independent professionals that are held in sufficient regard for their submissions to be heard: 1) An ex-A&R executive with strong label contacts 2) A manager or agent 3) A music attorney. Ex-A&R execs have access to every level of the music industry, and can most likely observe and consider you without you ever knowing. Generally, they are extremely knowlegable about the music business, and the up-and-coming performers. Chances are they will know you long before you ever know of or meet them - and if they think you need more development or are not right for their projects, you will never meet them. They are well insulated, and very difficult to get to. On managers and agents, it is easier to get into their offices, but harder to get them to commit. This is another classic catch twenty-two situation. You can't get work until you get established management - and vice versa. Since most managers and agents work strictly on commission, they seldom want to hear from young and budding performers unless they have something on the fire - further, they can't be blamed. Many, many managers and agents have spent many years and dollars developing acts that have never made a penny, due to performer dropouts, substance abuse, boredom, lack of patience, etc. Like any good businessman, the managers and agents want to maximize their income, and minimize their expenditures. That is best done through signing proven sellers with a track record. That leaves the option of an entertainment attorney. On the upside, entertainment attorneys are generally available to young and budding performers. On the downside, most entertainment attorneys charge an hourly rate for shopping (with a per project minimum), and it can get quite expensive. When considering an attorney, remember this: Just like every other facet of the world, attorneys are not cut from the same cloth: There are scores of accomplished attorneys with solid connections who are accessible. Most local bars (in the legal sense) have referral services, and there are a slew of legitimate industry publications. Further, the Web has several prominent music attorneys on line, a few of which have question and answer and referral boards. Most accomplished music attorneys turn down more artists than they accept, since their reputation with the labels depends on the saleability of their submissions. If the attorney is perceived by the industry as having "lost his ears," his submissions will be given lower regard. Most established attorneys have taken years to garner these connections, and they will not jeopardize them. Notwithstanding, there are lawyers from which you should take heed. First, a small band of attorneys will submit anyone or anything just to collect the hourly fee (which is almost always substantial). They have few connections, and engage in the same activities you would - they put together a tape and a package, and send it to a name on a mailing list. These attorney's reputations generally preceed them, and their submissions almost always end up in the trash. Further, because they don't know anyone (or have undermined their credibility with the people they do know by submitting junk), they are in no better position than you to get the material heard. Second, there are litigation attorneys looking to make the transition to transactional work. Having a personal injury attorney (with no entertainment experience) submit your material is slightly more valuable than hiring a dermatologist to conduct your heart surgery. In determining whether an attorney is right for you, consider the following: 1. A valuable entertainment attorney should be able to pick up the phone and get more done in ten minutes than you could get done in ten months. If the attorney you're talking to doesn't have these connections, it will take him the same 10 months as you to make them - you might as well do it yourself. Same amount of time; alot cheaper. 2. Remember, this is your money, and you are buying a service. Don't be afraid to conduct a thorough examination of the attorney, including asking for references, prior accomplishments, group affiliations, label contacts, how long in the entertainment business, etc. There is much an accomplished attorney can, and will, tell you about his business, affiliates and associates that does not violate the attorney/client privilege. Most entertainment attorneys are proud of what they have accomplished. The attorney/client privilege lies with and protects the client, not the attorney. Thus, any lawyer who uses the attorney/client privilege to avoid giving you information about him/herself is probably hiding something. 3. Find out the fee structure right away. A few lawyers will shop on spec (if they really believe in you), and take a percentage of the advance upon signing. Most require an hourly rate and a percentage on the backend. A few simply charge a higher hourly rate, and no percentage. In California, lawyers must get a written fee agreement with the client unless waived, so it is usually discussed up front. In other states, the rules vary. Take the initiative in this area, as you should know from the outset what to expect. In short, approach an entertainment attorney as you would any other business relationship. Do your homework. ________________________________________________________________________________ Michael Heicklen is an entertainment attorney in southern California with a focus on music. He clientele includes artists, labels, producers, publishers, and composers. He runs a free advice line from his web site: http://www.primenet.com/~mjh, and can be reached by e-mail at "mjh@primenet.com" or "clare21@ix.netcom.com." ========================================================================= Date: Wed, 28 Feb 1996 09:34:29 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: SHOULD I CHOP THROUGH AN ATTORNEY? Comments: To: Michael Heicklen On 27 Feb 96, Michael Heicklen had this to say... > There is little doubt that the intricacies of a label deal warrant hiring an > attorney. The difficulty comes prior to that long-awaited offer - should you > hire an attorney to shop your music to find the deal? :::::snip out rest of sales pitch:::::: Your chasing the wrong ambulance, Michael. You don't want Blues artists... they don't make any money. There's nobody to cash in on here. You want budding young "rock" stars, or "rap" stars. ========================================================================= Date: Wed, 28 Feb 1996 07:36:42 -0700 Reply-To: Jessica Jones From: Jessica Jones Subject: Washboard Chaz Just realized belatedly that in my previous post about the end of Bleecker St. I did not make it clear that Washboard Chaz's main claim to fame is being, as John Hammond says, "The best there is" on the washboard. For many of you, that would be obvious, but I wanted to clarify. jessica ========================================================================= Date: Wed, 28 Feb 1996 09:40:32 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Rare Buddy? I was stumbling my way around the All Music Guide when I bumped into a list of other peoples albums that Robert Nighthawk appeared on. Listed was a 1979 release on the "Blues Ball" label by Buddy Guy, called "Got To Use Your Head". Does anyone have this record... or know anything about it? It's full of great musicians. Any one know of any reissue prospects? P.W. Fenton Tampa, Florida ------------------------------------------------------------- While you are in cyberspace, visit the Tomb of the Unknown Bluesman at http://www.gate.net/~pwfenton ------------------------------------------------------------- ========================================================================= Date: Mon, 26 Feb 1996 19:10:11 -0500 Reply-To: Brian E Rice From: Brian E Rice Subject: Re: ?? on A.J. Croce At 04:15 PM 2/26/96 -0500, you wrote: >Hello all! Last night A.J. Croce was featured on Austin City Limits. >Who can tell me how old this fellow is? Also how many albums he has out >and how long he has been performing. His voice did not match his >youthful looks. Thanks. > >Laura Fowler >lfowler@capcon.net > A.J. is in his early twenties and, though he doesn't play off it, he is the son of the late Jim Croce. He has one CD that I know of on the Private Music label called simply "A. J. Croce". I believe there's another one due out, but am not positive. I got a chance to see him live at the Ann Arbor Blues & Jazz Festival two years ago. I'm telling you, the kid stole the show, IMHO. berice@concentric.net Brian E. Rice (Ann Arbor, MI - The home of Otis Spann Memorial Field) "The Blues ain't nothin' but a botheration on your mind." ========================================================================= Date: Wed, 28 Feb 1996 08:47:58 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Johnny Copeland - The Early Years Comments: To: Scott Dirks In-Reply-To: <4h114k$4kk@usenetw1.news.prodigy.com> Route 66 Records issued a couple LPs of early Copeland stuff and although their royalties rates aren't great, at least there are/were royalties. I believe Copeland is part of the class action suit against Roy Ames and doubt that Johnny would encourage anyone to help put money into Roy's pocket. Another wild song from Johnny's first session (the "Rock & Roll Lilly" session) is Teddy Reynolds' "Puppy Dogs." Teddy's redone it a couple times, but not with the same energy or even approach. I know it's on one of the Dutch Texas anthologies on Moonshine (LP); the 45 was on Mercury. Johnny likes to sing it off stage just to clown around, but doesn't want to record it; too bad! ========================================================================= Date: Wed, 28 Feb 1996 09:52:59 -0500 Reply-To: Sue Lange From: Sue Lange Subject: For the Boston Area My band, CeLange, has just released a CD of Blues/Rock music which is getting a little airplay in the Boston area. I would like to follow this up with performances up there. Does anybody have any suggestions for clubs to contact? (besides the House of Blues-I already know about that one.) ========================================================================= Date: Wed, 28 Feb 1996 08:53:16 -0600 Reply-To: bolt From: bolt Subject: Hopkins/White New Rose CDs Was wondering if anyone had any info on the New Rose/Fan Club CD's "Shake That Thing" by Lightnin' Hopkins and "Shake Em Down" by Bukka White. Are these releases specific to this label or repackages available elsewhere? Also, looking for a CD of Lightnin' Hopkins "Blues Train" on Mainstream. If anyone has suggestions please let me know. I just joined the newsgroup and am looking forward to the discussions. Reg Burns +++++++++++++++++++++++++++++++++++++++++++++++++ + I'll listen to reason when it comes out on CD + + + + bolt@neosoft.com + +++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Wed, 28 Feb 1996 08:54:43 CST Reply-To: "Dave Luciani, CE Video" From: "Dave Luciani, CE Video" Organization: University of Wisconsin-Extension Subject: Need Blues info for the Twin Cities I'm going to be in St. Paul tomorrow night, (2/29) anybody know of any good blues, whether local or national that will be in town or in Minneapolis? I'm dying to hear some live blues! Thanks. - Dave "Hey ya everyone, ya know the blues has got me on the run. My guitar's gone a rockin' tone....and we just gonna keep partyin' on." - Jimmie Vaughan ========================================================================= Date: Wed, 28 Feb 1996 10:09:32 EST Reply-To: "Alan Rollins (904)487-1078" From: "Alan Rollins (904)487-1078" Subject: Off Line Sorry for any problems that this may have caused and may yet be causing but, I am having big time problems with my server. I am told that by Thursday P.M. they will go away. However at this time I am facing the prospect of having over 13,000 messages which translates into more than five hours just to down load. Momma should have warned me of these things, but as B B King has often eluded, she may have been jiving me too. I am having fun and I do lve these Blues. ========================================================================= Date: Wed, 28 Feb 1996 07:35:36 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Feb. 29 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- DORSEY, JIMMY (cl) b. 1904-0229, SHENANDOAH, PA HORTON,VAUGHN (songw/CHOO CHOO CH'BOOGIE) d. 1988-0229, NEW PORT RICHEY, FL 75 SIMS, FRANKIE LEE (g/SPECIALTY REC) b. 1906-0229, NEW ORLEANS, LA STANTON, JOHN H. JR. (prod/ORPHEUS REC) b. 1955-0229, WARREN, MERVYN (of TAKE 6) b. -0229. HUNTSVILLE, AL ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 28 Feb 1996 15:57:03 GMT Reply-To: Stephanie Manna From: Stephanie Manna Subject: Cummings Prison Farm Song..Help Anyone know who recorded,wrote this song? Came out around 1967/1968. Thanks in advance,Stephanie email to: bluemoon@usa.pipeline.com ========================================================================= Date: Wed, 28 Feb 1996 10:08:26 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Public Radio's "Blues Before Sunrise" >From Crain's Chicago Business, week-ending 3/3/96 (a weekly covering business news in Chicago): BROADCAST BLUES "Blues Before Sunrise" may sail into the sunset if a financial angel can't be found in the next five months. A weekly radio series of classic blues music produced at WBEZ-FM in Chicago since 1980, the five-hour show went national in 1990 and is carried by 50 public radio stations from midnight Saturday to 5 a.m. Sunday. But come July 1, the show will lose its national status unless host/producer Steve Cushing can find $75,000 to cover annual costs of satellite distribution. "I know most corporations (supporting public radio or television) are looking for (ratings) numbers. We can't offer big numbers, but it's great image-building," says Mr. Cushing, 43, who launched a similar show in 1972 while a student at Columbia College. "This is great American music. It has an audience. It deserves to stay in front of the audience." "Blues Before Sunrise" could continue as a local show, Mr. Cushing says, but he concedes, "I'm not sure how much enthusiasm I'd have (to continue) if the whole network crashed at this point." David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Wed, 28 Feb 1996 09:58:19 -0600 Reply-To: T-Bone From: T-Bone Subject: Shameless plug ... shmeless plug ... WAS Noodle on blues-L! In-Reply-To: On Tue, 27 Feb 1996, Cathi Norton wrote: >> From: SLIPERYNDL >> Organization: America Online, Inc. (1-800-827-6364) >> Subject: Re: New Blues Releases this week >> >> Yank Rachell has just released a new album on our label >> Slippery Noodle Sound on 2/25/96. It an all acoustic >> studio recording. David Morgan plays backup and produced >> the album. call 1-800-SN1-BLUS for more info >> Thanks >> Hal > - - - - - - - - - > Well well.. > > Hal Yeagy, head of Slippery Noodle Sound (Indianapolis, > Indiana) has joined Blues-L. Here's the Yank information. > > Welcome Hal -- hope you'll keep us informed as to your > catalog and new releases! Since I seem to be slipping into shameless plug mode lately, I'll tell you all that there is a web page about Yank available at http://www.io.com/~tbone1/blues/yank.html T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "You've got to inspect your horn, boy." 'And wash it every day.' - Crow, MST3K ("Mr. B. Natural") ========================================================================= Date: Wed, 28 Feb 1996 10:18:16 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Need Blues info for the Twin Cities -Reply Comments: To: LUCIANI@PRINTING.UWEX.EDU In St. Paul, you can almost always find blues at the Blues Saloon (upstairs bar---don't go to the downstairs bar---yuck). Sometimes the Cedar Cultural Center in Minneapolis on the WEst Bank (close to Cedar-Riverside intersection) will have great music (not always blues, but always good stuff). Fine Line Cafe in downtown Minneapolis has alot of blues. The thing to do when you get in town is get a free copy of the Twin Cities Reader, and also City Pages. These are FULL of all the music there is in the twin cities. ALSO.....YOU DON"T WANT TO MISS OUT on this opportunity to call the Delta Doc Roger Hotline! It will be a local call! SMILE (612)-484-8208. (you won't need to use the "612" when in town!) regards, delta doc roger (Disclaimer: i have no monetary connection to the Delta Doc Roger Hotline!) ========================================================================= Date: Wed, 28 Feb 1996 10:35:27 CST Reply-To: JBards From: JBards Subject: Re[2]: SHOULD I CHOP THROUGH AN ATTORNEY? Comments: To: "P.W. Fenton" My understanding always was that you should cut against the grain instead of chopping through attorneys..... Jim _______________________________________________________________________________ Subject: Re: SHOULD I CHOP THROUGH AN ATTORNEY? From: "P.W. Fenton" at INTERNET-SH Date: 02/28/96 9:31 AM On 27 Feb 96, Michael Heicklen had this to say... > There is little doubt that the intricacies of a label deal warrant hiring an > attorney. The difficulty comes prior to that long-awaited offer - should you > hire an attorney to shop your music to find the deal? :::::snip out rest of sales pitch:::::: Your chasing the wrong ambulance, Michael. You don't want Blues artists... they don't make any money. There's nobody to cash in on here. You want budding young "rock" stars, or "rap" stars. ========================================================================= Date: Wed, 28 Feb 1996 11:21:22 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Re: NAT_DEE_WILLIAMS_&_WDIA_MEMPHIS!!! Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199602261702.MAA04256@mirage.formtek.com>, Rags writes: > Any more info on the first AfroAmerican DJ and about the >> WDIA_Memphis-BLUES connection. There's a book titled "Wheelin' on Beale" that's exclusively about WDIA. I haven't read it, but it's all over the bookstores in Memphis. One that I have read and recommend very highly is "Beale Black & Blue" by Margaret McKee and Fred Chisenhall. There's a lot of info about Nat D. Williams, as well as interviews and bios of Beale Street greats. Pub'd by LSU Press, Baton Rouge, ISBN 0-8071-1886-9, $11.95 in paper. Denise ========================================================================= Date: Wed, 28 Feb 1996 11:45:37 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Sovtek Tubes (for gearheads only) No Blues!! My fellow gearheads.... I just had my Fender BluesDeVille 410 re-tubed on the pre-amp side with Sovteks tubes and my amp is like a new instrument! This is weird, because I talked to the Fender technical people and they told me that Fender uses Sovteks as origi- nal equipment, they just have the Fender name printed on the glass, yet these tubes are noticeably "hotter" than the stock Fenders and cause the amp to sound like it "breaks up" and gets that sweet "crunch" much more easily and almost sounds like the DRIVE channel is on, when it ain't. In a nutshell, what happened is that one of the Fender stock tubes had become highly microphonic, so I went to buy a Fender replacement tube. Store gave me a Sovtek and said this is what Fender uses. Ok fine. Put the tube in and the amp began to hum. Brought the amp in for the Fender factory tech to look at and he said it was the replacement tube. So we popped in another new Sovtek. Hum gone. But he noticed that the adjacent tube was also becoming microphonic, so we replaced that one, and I said "f- it, let's do 'em all, these factory tubes have seen a LOT of playing time, wear and tear." Played this puppy for this first time re-tubed last night, and WOW! Amazing. Question: Anybody else have this experience with Sovtek tubes, OR is this simply what happens when you replace any tired old tubes with fresh ones? Fender swears they are the same tubes. I don't remember my amp being this "hot" brand new with stock tubes. Pat Hertel, you there? I remember you looking for some more crunch out of your DeVille 410. Maybe this is the answer? Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 28 Feb 1996 08:50:14 -0800 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Re: Stormy Monday. I love the Bobby Bland version. They horns really get to me. They add something that isn't in the T-Bone Walker version. Bobby Bland's voice adds extra some soul that T-Bone Walker couldn't deliver. I dig the T-Bone version. I purchased the 6 disc Mosaic box set several years ago. After listening to the whole thing a couple times. It made me wish my CD player had a shuffle play feature. I think the James Cotton version is pretty neat too. Although, from what I can remember it is pretty similar to the Bobby Bland version. I wish I had a dollar for everytime this song has been played in bars through- out the world. Joe ========================================================================= Date: Wed, 28 Feb 1996 10:55:33 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Stormy Monday. In-Reply-To: Message of Wed, 28 Feb 1996 08:50:14 -0800 from On Wed, 28 Feb 1996 08:50:14 -0800 Joe Lempkowski said: > >I think the James Cotton version is pretty neat too. Although, from what >I can remember it is pretty similar to the Bobby Bland version. On the Cotton CD "Mighty Long Time" Wayne Bennet plays the guitar on Stormy Monday and that could be the reason it's similar to Bland's What other tunes did Wayne Bennet "shine" on....? LW ========================================================================= Date: Wed, 28 Feb 1996 11:57:30 -0500 Reply-To: Rags From: Rags Subject: Re: Public Radio's "Blues Before Sunrise" Comments: To: davidis@INTERACCESS.COM In-Reply-To: <199602281608.KAA23116@thymaster.interaccess.com> from "David Silberberg" at Feb 28, 96 10:08:26 am Its a shame if "BLUES BEFORE SUNRISE" sinks coz' of financial reasons.... I listen to it daily on WDUQ 90.5 Pittsburgh where it is relayed live I presume from Chicago at 3 in the morn' Its probably the best BLUES SHOW around on the dial for among others it goes back to real gem pre-war recordings I have larnt and am still learning about the history of blues thanks to that program.... "MAY THE SUN NEVER SHINE ON THE BLUES BEFORE SUNRISE" ps>>> Now I remember listening to BBS in Boston on daily basis but while driving thru Central PA I heard it continually for hours on a Saturday nite - Sunday morn'...which is the live one and which is recorded ???? Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ It's dark And I'm Wearing Sunglasses......... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Wed, 28 Feb 1996 11:58:49 -0500 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Re: B H M apology Comments: To: bit-listserv-blues-l@uunet.uu.net Your apology was eloquently stated. I apologize if my response was harsh. But you must understand that this is PERSONAL to me not just a cultural exchange. Take care. Lea Gilmore Baltimore, MD ========================================================================= Date: Wed, 28 Feb 1996 11:36:08 -0600 Reply-To: Dave Daubard From: Dave Daubard Subject: Re: Blues Cruise Playlist 2/23/96 [delivery failure to nls@m1.interserv.com] (fwd) I'll try sending this again ---------- Forwarded message ---------- Date: Tue, 27 Feb 1996 07:44:49 -0800 From: Interserv Operations To: ddaubard@prairienet.org Subject: Re: Blues Cruise Playlist 2/23/96 [delivery failure to nls@m1.interserv.com] -- Interserv Network Operations Center Postmaster@interserv.com 2001 6th Ave. Suite 3025B noc@interserv.net Seattle, WA. 95121 CompuServe/Internet Division -----[ Orginal mail message follows ]------------- > > Artist---------Title-------------------Release-----------Label------- > Rod Piazza -Rockin'Robin- Harp Burn- black top > +Joanna Connor-Never Been Rocked Enough-Rock & Roll Gypsy- Ruf Records > +Lowell Fulson-Think About It- Them Update Blues- Bullseye > +Theodis Ealey-Blues Man Lover- Stuck Between Rhythm & Blues-Ichiban > +John Primer-She Won't Gimme No Lovin'-The Real Deal- Code Blue > +Long John Hunter-Marfa Lights- Border Town Legend- Alligator > +Smokey Wilson-How Smokey Feels- 88th St. blues- Blind Pig > + " " Smokey's Shuffle- " " " " " > Dave Weld & Imperial Flames-Trouble, Trouble-Rough Rockin' ? (import) > +Bill Perry- Title tune- Love Scars- Pointblank > Koko Taylor-Born Under a Bad Sign-Force of Nature- Alligator > +Dickey Williams-Stronger- Full Grown Man- Ichiban > +Freddie King-Key to the Highway-Live at the Electric Ballroom-Black Top > +Jerry Lightfoot/Essentials-Change My Way-Burning Desire-Connor Ray Rec > +Mem Shannon- Got to Go- Cab Driver's Blues- Rykodisc > +Rory Gallagher-Stomping Ground-A Blue Day for the Blues- I.R.S. > Gary Primich- Route 90- Mr. Freeze- Flying Fish > Lee McBee/Passions-Train Fare- "44" Red Hot Records > rMuddy Waters/Mike Bloomfield-Long Distance Call-blue guitar box-Sequel > +Sunnyland Slim-Jammin'/Sam- Chicago Jump- Evidence > +Duke Robillard-Midnight Cannonball-Duke's Blues- Pointblank > +Jesse Thomas- Behind Closed doors-Lookin' For that Woman- Black Top > Jr. Parker- Stand By Me- Junior's Blues- Duke > Kelly Joe Phelps-Hard Time Killin'Floor Blues-Lead Me On- Burnside Rec. > +J.B.Lenoir-Feel So Good- Vietnam Blues- Evidence > rRev. Gary Davis-Samson & Delilah-From Blues to Gospel- Biograph > Hot Tuna- Down & Out- Live at Sweetwater- Relix > John Hammond-Who Do You Love-So Many Roads- Vanguard > rFast Johnny Ricker-Wrong Place, Wrong Time-K.C.Blues'90's-Red Hot Rec > Rod Piazza & MF-Down So Long-Live at B.B.'s- Big Mo > +Robt.Nighthawk II-Shake Yours-Toastin' the Blues- Inside Memphis > +Omar & Howlers-Lowdown Dirty Blues-World Wide Open- Watermelon Rec > +Tommy Castro-Me & My Guitar- Exception to the Rule- Blind Pig > the Hoax-20 Ton Weight- Sound Like This- Code Blue > Dave Weld & IF- J.C.- Rough Rockin' in Chicago- ? > +Mule Newman- Mystery Train- Mule Newman- Mule Music > +Rick Holmstrom-title tune- Lookout Holmes- Black Top > +Sonny Landreth-Frisco Bay- > +Sunnyland Slim-Halsted St. Jump-Chicago Jump- Evidence > > new release + > request r > ========================================================================= Date: Wed, 28 Feb 1996 10:38:55 -0700 Reply-To: Michael Heicklen From: Michael Heicklen Subject: Re: SHOULD I CHOP THROUGH AN ATTORNEY? Comments: To: "P.W. Fenton" Dear Mr. Fenton: Thanks for your input. I'm sorry that you see information as a sales pitch. For the record, several of my label clients are blues labels, and I am well aware of the financial standing of most unsigned blues acts. You're entitled to your opinion, and it is duly noted. Good luck. At 09:34 AM 2/28/96 -0500, P.W. Fenton wrote: >On 27 Feb 96, Michael Heicklen had this to say... > >> There is little doubt that the intricacies of a label deal warrant hiring an >> attorney. The difficulty comes prior to that long-awaited offer - should you >> hire an attorney to shop your music to find the deal? > >:::::snip out rest of sales pitch:::::: > >Your chasing the wrong ambulance, Michael. You don't want Blues >artists... they don't make any money. There's nobody to cash in on >here. You want budding young "rock" stars, or "rap" stars. > > ========================================================================= Date: Wed, 28 Feb 1996 11:44:34 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: Public Radio's "Blues Before Sunrise" Comments: To: David Silberberg In-Reply-To: <199602281608.KAA23116@thymaster.interaccess.com> I'm not a big one for kicking and hollering about causes on this forum, but this one is SPECIAL!! BBS is _the best_ blues radio show going, and it deserves to be supported. No other show that I have heard feautres such a diverse array of blues, R&B, "Hep Harmony", comedy etc. Steve Cushing does a wonderful job of presenting a tremendous cross section of traditional african-amercian entertainment history. This is not one that we should let get away, people. Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Wed, 28 Feb 1996 12:47:25 -0500 Reply-To: Georgem99@AOL.COM From: George Macy Subject: Re: Fab t-birds/mighty flyer question I saw the Fabulous Thunderbirds on Feb. 20 '96 in Burlington, VT and the drummer was the T'birds longtime drummer Fran Christina. The Mighty Flyers are one of the best bands I've ever seen and heard- I hope there will be no shake-up in personnel! They've all been a great combination for many years. By the way, the T'birds played well but TOO LOUD. Ears were ringing 24 hrs later. Board operators please take note- beyond 120db, it all turns to mush. In small clubs ear shattering volume is absolutely pointless and painful. Vocals, harp solos, guitar solos were indistinguishable at this particular T'birds appearance! ========================================================================= Date: Wed, 28 Feb 1996 12:48:17 -0500 Reply-To: James Leftwich From: James Leftwich Subject: CD giveaway contest Hey, In conjunction with Jessica Sowin and SONY Legacy, I am please to announce a CD giveaway contest on my Jim's Blues N Brews page. Answer a simple trivia question and be entered to win Emmett Miller: The Minstrel Man >From Georgia. Miller has influenced countless musicians with his unique blackface act. Point your browser to Jim's Blues N Brews: http://www.cloud9.net/~leftwich Good Luck! Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" :) ========================================================================= Date: Wed, 28 Feb 1996 09:58:31 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Sovtek Tubes (for gearheads only) No Blues!! Riffin Rick said: >My fellow gearheads.... > >I just had my Fender BluesDeVille 410 re-tubed on the pre-amp side with Sovteks >tubes and my amp is like a new instrument! This is weird, because I talked to >the Fender technical people and they told me that Fender uses Sovteks as origi- >nal equipment, they just have the Fender name printed on the glass, There's actually several tube manufacturers is Russia. It doesn't surprise me that they are different. >yet these >tubes are noticeably "hotter" than the stock Fenders and cause the amp to >sound like it "breaks up" and gets that sweet "crunch" much more easily and >almost sounds like the DRIVE channel is on, when it ain't. They may have swapped 12AT7's for 12AX7's. Unless your tube was defective the gain should be pretty close on all tubes of the same type. !2AX7's are hotter (more gain) than 12AT7's and will break up faster. 12AT7's are better for those who want to get the whole amp saturated, and 12AX7's are better for those who want more gain, sooner. They interchange just fine. >In a nutshell, what happened is that one of the Fender stock tubes had become >highly microphonic, so I went to buy a Fender replacement tube. Store gave me >a Sovtek and said this is what Fender uses. Ok fine. Put the tube in and the >amp began to hum. Brought the amp in for the Fender factory tech to look at >and he said it was the replacement tube. So we popped in another new Sovtek. >Hum gone. But he noticed that the adjacent tube was also becoming microphonic, >so we replaced that one, and I said "f- it, let's do 'em all, these factory >tubes have seen a LOT of playing time, wear and tear." You should know that preamp tubes last nearly forever. I wouldn't change them, no matter how much hard use they get until they go bad in some way. I found a French Amperex EF86 in an old tube mic mixer that had decades of use on it. Put it in my Matchless. Best sounding tube I've ever heard in my life. Don't change preamp tubes unless they are bad. Rectifier tubes last at least five to ten years typically if they are a quality tube to begin with. Power amp tubes should be changed every six months to a year depending on how much the amp gets used and how hard. >Played this puppy for this first time re-tubed last night, and WOW! Amazing. Nothing like a great amp working right! >Question: Anybody else have this experience with Sovtek tubes, OR is this > simply what happens when you replace any tired old tubes with > fresh ones? Fender swears they are the same tubes. I don't > remember my amp being this "hot" brand new with stock tubes. Do you have your old tubes? If so, check to see if they are the same type as the new ones. If they are not, that is where the gain is coming from. If they are, then the amp came with some really crappy tubes. No surprise. My Fender 4-10 reissue and Blues Deluxe both came with some of the crappiest tubes I have ever seen.... Now quit doodling with your amp and practice! (he tells himself...) ;-] DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production & Event Services dcicchet@vega.lasierra.edu I looked over Jordan, and what did I see An Eldorado comin' after me comin' for to carry me home.. -- Dizzy Gillespie ____________________________________________________ ========================================================================= Date: Wed, 28 Feb 1996 10:20:27 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Lawyers on Blues-L Dear blues fans, Far be it from ME to be the one to defend lawyers... ;-] BUT.... Don't you think that some of us are being a little too hard on ole Michael? Trust me, in the music biz, you WILL need a lawyer if you expect to be treated fairly by the record companies. Imagine going to a typical car dealership as a 10 year old, and expecting to be treated well and fairly in your car purchase..... You're sharkmeat, bub... THAT's what it's like to deal with the music biz without a great lawyer on YOUR side, only it's actually a lot worse... Met someone a couple days ago who runs a nice local home studio. Ten years ago, he got a big record deal from "Nashville", with a $300,000.00 advance... whew.. so they fly him to Nashville, pick him up in a stretch limo, put him up in a five-room suite at the big fancy hotel, and have him singing on demos the next day... Only one big problem.... He did not have a good lawyer and EVERY SINGLE LIMO RIDE, and EVERY SINGLE FANCY MEAL, and EVERY SINGLE DAY IN THE HOTEL, AND PHONE CALL, are all *BILLED AGAINST RECORD SALES"!! Did they tell him that in "Nashville"? What do YOU think? He went broke in a hurry needless to say. A good lawyer would have: negotiated a reasonable (lots less than 300,000.00) advance (it's called an *advance* because you OWE it to them btw) negotiated a decent royalty rate, promotion commitment, returns policy, and recoupables etc... told him to *fly coach* to Nashville and stay in the dang Motel Six, rent a Subaru to drive, and PUT THE MONEY IN THE BANK dammit! This poor guy would have had a heart attack if he knew the hourly rate of that stupid limo and the daily rate of that pretentious suite etc etc, and known who was paying for it all.... yes people need to be smarter, BUT you will need a good lawyer in this biz... yes you will. DC so what is black and brown and looks great on a lawyer? A DOBERMAN! ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production & Event Services dcicchet@vega.lasierra.edu I looked over Jordan, and what did I see An Eldorado comin' after me comin' for to carry me home.. -- Dizzy Gillespie ____________________________________________________ ========================================================================= Date: Wed, 28 Feb 1996 10:29:27 -0800 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Subject: Re: HELP!! Thanks to all who straightened me out on how to "Nomail" from the list for a while. -Roger B. ========================================================================= Date: Wed, 28 Feb 1996 12:34:21 CST6CDT Reply-To: "Sara C. Oxton" From: "Sara C. Oxton" Organization: University of Minnesota Subject: Re: Need Blues info for the Twin Cities Comments: To: "Dave Luciani, CE Video" If you're in St. Paul, Minneapolis is a heartbeat away and on Thursday night Dave Ray and Tony Glover have a regular gig at the Times Bar & Cafe on Nicollet Ave. downtown. There's no cover charge and the music, obviously, is wonderful. Tell 'em Sara sent you. Sara Oxton ========================================================================= Date: Wed, 28 Feb 1996 13:09:46 -0500 Reply-To: Roosterman@AOL.COM From: Roosterman@AOL.COM Subject: Do your part for the arts Comments: To: GeoDre@aol.com, BluesPoet@aol.com, gwarren@jax-inter.net, blueman@computek.net, Niles.Frantz@alz.org, Katedahl@aol.com, Packod@aol.com, Blacktnola@aol.com, ROBlues@aol.com, BluesStuff@aol.com, RNABooking@aol.com, BobFiehweg@aol.com, TIMSALIVE@aol.com, tpmoody@sp-eug.com, gailm@rounder.com, HCBECK@aol.com, YaniBeGood@aol.com, HippieLady@aol.com, Msbeale@aol.com, JWRQ54A@prodigy.com, Zartak@aol.com, ATBandTBA@aol.com, BLUESFLA@aol.com, blueslvr@sirius.com, tony@bluestb.demon.co.uk, BluesBeats@aol.com, Jinxblues@aol.com, Dblues145@aol.com, sharpei@bright.net, louisx@echonyc.com, aumack@prenhall.com, CRAWFORD@admin.msoe.edu, Burnrose@aol.com, ARec@aol.com, Klato2@aol.com, current@cob.ohio-state.edu, zomboy@servtech.com, GuitFiend@aol.com, 70763.763@compuserve.com, SWolfson@aol.com, Terrillvl@aol.com, Steins4@aol.com, LengsFilm@aol.com, MURPH@maine.maine.edu, FMR@vm.cpd.ua.es, jmreedy@rmii.com, tbosley@bnr.ca, RiverBlue1@aol.com, sales@acerecords.co.uk, mgreen4@ix.netcom.com, gutber@chemie.fu-berlin.de, jervin@instanet.com, rfuller@mkdirect.com, scripto@skynet.be, ZydecoGal@aol.com, nelpub@ix.netcom.com, 72604.1547@compuserve.com, Beertrav@aol.com, BluesJazz@aol.com, 103074.3276@compuserve.com, ChukLandis@aol.com, jflynn@lps.esu18.k12.ne.us, bill@gis.mces.msstate.edu, DStevn@aol.com, BucknBronx@aol.com, BluesNYC@aol.com, ROSEBUDUS@aol.com, JMcleod476@aol.com, HRoat@aol.com, BLUESWHOS@aol.com, JKulp@aol.com, SONGBEAR@aol.com, GeoBear@aol.com, Amallegory@aol.com, BassHarper@aol.com, SAINTCROIX@aol.com, Artw37@aol.com, Bottlenekk@aol.com, bfokim@ubvms.cc.buffalo.edu, jim.trageser@sdcs.org, levyt@rl.af.mil, Skipjames@aol.com, YankMee@aol.com, BJAMRECORD@aol.com, IchibanR@aol.com, dexter@lightlink.com, jbeeson@weber.ucsd.edu, johnbunch , terryfurlong , mikelynch <75453.3214@compuserve.com>, brianlynch , mikelynch <102113.770@compuserve.com>, joeymeyer , jefjaisun , rob@acadiau.ca, hauben@columbia.edu, curtis@magicnet.net, alhanda , "alanc.rollin" This is being forwarded to you by Cary Wolfson at BLUES ACCESS magazine. If you want to be removed from my mailing list just e-mail me, no flames necessary. From: Jamie Barnett To: IGS Everyone USA Subject: FW: do your part for the arts Date: Tuesday, February 27, 1996 8:40AM ---------- >> Mail*Link(r) SMTP FWD>Doing your part for the ARTS >> >> >> Dear Friends, >> >> PBS, NPR (National Public Radio), and the arts are facing major cutbacks in >> funding. In spite of the efforts of each station to reduce spending costs >> and streamline their services, the government officials believe that the >> funding currently going to these programs is too large a portion of funding >> for something which is seen as "unworthwhile". Currently, taxes from the >> general public for PBS equal $1.12 per person per year, and the National >> Endowment for the Arts equals $.64 a year in total. >> >> A January 1995 CNN/USA Today/Gallup poll indicated that 76% of Americans wish >> to keep funding for PBS, third only to national defense and law enforcement >> as the most valuable programs for federal funding. >> Each year, the Senate and House Appropriations commitees each have 13 >> subcommitees with jurisdiction over many programs and agencies. Each >> subcommitee passes its own appropriation bill. The goal each year is to have >> each bill signed by the beginning of the fiscal year, which is October 1. In >> the instance of the Corporation of Public Broadcasting, the bill determines >> the funding for the next three years. When this issue comes up in 1996, the >> funding will be determined for fiscal years 1996-1998. >> The only way that our representatives can be aware of the base of support for >> PBS and funding for these types of programs is by making our voices heard. >> Please add your name to this list if you believe in what we stand for. This >> list will be forwarded to the President of the United States, the Vice >> President of the United States, and Representative Newt Gingrich, who is the >> instigator of the action to cut funding to these worthwhile programs. >> If you happen to be the 50th, 100th, 150th, etc. signer of this >> petition, please forward a copy to wein2688@blue.univnorthco.edu. If that >> address is inoperative, please send it to: >> kubi7975@blue.univnorthco.edu. >> >> This way we can keep track of the lists and organize them. Forward this to >> everyone you know, and help us to keep these programs alive. >> >> Thank you. >> >> ------------------------------------------------------------------------ >> >> 1.) Elizabeth Weinert, student, University of Northern Colorado, Greeley, >> Colorado. >> 2.) Robert M. Penn; San Francisco, CA >> 3.) Gregory S. Williamson, San Francisco, CA >> 4.) Daniel C. Knightly, Austin, TX >> 5.) Andrew H. Knightly, Los Angeles, CA >> 6.) Aaron C. Yeater, Somerville, MA >> 7.) Tobie M. Cornejo, Washington, DC >> 8.) John T. Mason, Dalton, MA >> 9.) Eric W. Fish, Williamstown, MA >> 10.) Courtney E. Estill, Hamilton College, NY >> 11.) Vanessa Moore, Northfield, MN >> 12.) Lynne Raschke, Haverford College, PA >> (originally Minnesota) >> 13.) Deborah Bielak, Haverford, PA >> 14.) Morgan Lloyd, Haverford, PA 19041 >> 15.) Galen Lloyd, Goucher College, MD >> 16.) Brian Eastwood, University of Vermont, VT >> 17.) Elif Batuman, Harvard University, MA >> 18) Kohar Jones, Yale University, CT >> 19.) Thomas J. Piernikowksi, Yale University, CT >> 20.) Anne Ackerman, Yale University, CT >> 21.) Robert Lopez, Yale University, CT >> 22.) Juliane Crump, Sherman Oaks, CA (Yale University, CT) >> 23) Liane N.K. Mark, Honolulu, HI (Yale University, CT) >> 24) Evan A. Robertson, Montclair, NJ (Yale University, CT) >> 25) Adam N.Gray, Yale University, CT. >> 26) Charlotte Pearson, Yale University, CT. >> 27) sarah burke, yale university, ct. >> 28) Carrie Gervais, University of Michigan, Ann Arbor >> 29) Steve Maringer, University of Michigan, Ann Arbor >> 30) Jessica Chaffin, University of Michigan. Ann Arbor >> 31) Jessica Lieberman, University of Michigan. Ann Arbor >> 32) Amit Ray, University of Michigan. Ann Arbor >> 33) Josette Banks, University of Michigan. Ann Arbor >> 34) Angela Napili, University of Michigan, Ann Arbor. >> 35) Deborah Rossum, Stanford University, Stanford, CA >> 36) Sidney L. Greenblatt, Syracuse University, Syracuse, NY >> 37) Philippa Levine,USC, Los Angeles,CA >> 38) Susan Wadley, 302 Carlton Drive, Syracuse NY 13214 >> 39) Gloria Goodwin Raheja, University of Minnesota >> 40) Kirin Narayan, University of Wisconsin >> 41) Sabina Magliocco, University of California - Berkeley >> 42) Fabian Alfie, University of Wisconsin, Milwaukee >> 43) Olivia E. Sears, Stanford University >> 44) LeRoy Villanueva, New York, NY 10012 >> 45) Mary Mills, New York, NY 10019 >> 46) Sidney "Skip" Greenblatt, Syracuse, NY >> 47) Jennifer Davis Jones, Youngstown, OH 44511 >> 48) Dale Anthony Girard, Long Island City, NY 11101 >> 49) Janine Hawley, Long Island City, NY 11101 >> 50) Jill Blalock, New York, NY 10025 >> 51) Matthew Lord, New York, NY 10025 >> 52) Erin Caves, New York, NY 10025 >> 53) John Baril, Yale University, New Haven, CT 06511 >> 54) Mark Lawson, Yale University, New Haven, CT 06511 >> 55) Liza Vest, Yale School of Drama, New Haven, CT >> 56) Kristin Nieuwenhuis, New York, NY 10003 >> 57) Bill Havens, New York, NY 10003 >> 58) Eric Hager, Portland, Me 04101 >> 59) Maribeth Hunter, Philadelphia, PA 19125 >> 60) Cecile Kuznitz. Palo ALto, CA 94306 > 61) Steve Rappaport. San Francisco, CA 94117 > 62) Joan Moelis. San Francisco, CA 94117 >> 63) Brian Kiernan, Boulder, CO 80302 > 64) Cary Wolfson, Boulder, CO 80304 ========================================================================= Date: Wed, 28 Feb 1996 12:37:26 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: Long John Hunter If anyone comes across extra copies of Long John Hunter's "Smooth Magic" or "Texas Border Town Blues" on Double Trouble Records I would love to swap. I'm trying to find 2 copies of each. Thanks. Don O. ========================================================================= Date: Wed, 28 Feb 1996 13:37:16 -0500 Reply-To: Stephanie Manna From: Stephanie Manna Subject: Terra Haute,In area James Peterson will be at the Coffee Grounds,423 Wabash Ave,Terre Haute, Thursday,Feb.29 @ 9-12:00. Check out "Don't Let the Devil Ride". Homepage: http://misnet.com:80/malaco/blues/jpeterson ========================================================================= Date: Wed, 28 Feb 1996 12:09:09 -0700 Reply-To: Michael Heicklen From: Michael Heicklen Subject: Re: SHOULD I CHOP THROUGH AN ATTORNEY? Mr. Fenton: This is the last time I will address this issue. First, it appears you have taken it upon yourself to speak for the list. If you had something private to say, you could have sent it privately. Second, I have been a member of this group for several months, and you seem to be one of the people who is constantly (even chronically) rendering opinions and putting forth "information" on every conceivable issue, whether solicited or not. Third, I have worked in "the blues" long enough to know all the information you seem to be pushing on me. Last, the article was meant to be informational - about the options for shopping oneself. It was information I have knowledge of, because I work with it every day. If you wish to see it as advertising, that is your right - and if you wish to discredit it over a vast mailing list, that is also your right. However, it fascinates me that someone so concerned about others pushing "information" seems to have a need to correspond to thousands of people with his unsolicited opinions. The truth is, I have a sufficient clientele that I have no need or desire to take food out of the mouths of starving artists. As for my practice, if artists don't have sufficient funds, I am one of the few attorneys (if they have prospect), that will shop them on spec. As for the commercial prospect for blues, on an individual basis, you are correct. However, blues records can sell in the 50,000-100,000 range depending on the artist, and you don't need a platinum album to make a living. Blues accounts for roughly 3% of the market, and the artists have the same shopping concerns as performers in any other genre. Getting a deal and making a living beats the hell out of making nothing and "living for your art." I was under the impression there might be some blues artists on this list that could benefit from this information. Clearly, I was wrong. So good luck, and if you are a musician, I wish you luck doing it your way. At 01:19 PM 2/28/96 -0500, P.W. Fenton wrote: >On 28 Feb 96, Michael Heicklen had this to say... > >> Dear Mr. Fenton: >> >> Thanks for your input. I'm sorry that you see information as a sales pitch. >> For the record, several of my label clients are blues labels, and I am well >> aware of the financial standing of most unsigned blues acts. > >I'm sorry you can't be honest enough to admit when you're >advertising. No one here asked you for this "information". You >posed the question, and then you answered it: People should use an >attorney to shop record deals.... oh by the way, I'm a music >attorney. > >Anyway I was talking about the financial status of SIGNED Blues >acts. It's an awful small pie you want a piece of if you are fishing >here. There's only one platinum Blues album ever been recorded, and >that took a pop star (Eric Clapton). > >P.W. Fenton >Tampa, Florida > >------------------------------------------------------------- >While you are in cyberspace, visit the Tomb of the >Unknown Bluesman at http://www.gate.net/~pwfenton >------------------------------------------------------------- > > ========================================================================= Date: Wed, 28 Feb 1996 11:17:50 -0500 Reply-To: David Melton From: David Melton Subject: Re: Fab t-birds/mighty flyer question Comments: To: Georgem99@AOL.COM At 12:47 PM 2/28/96, George Macy wrote: >I saw the Fabulous Thunderbirds on Feb. 20 '96 in Burlington, VT and the >drummer was the T'birds longtime drummer Fran Christina. > >The Mighty Flyers are one of the best bands I've ever seen and heard- I hope >there will be no shake-up in personnel! They've all been a great combination >for many years. > >By the way, the T'birds played well but TOO LOUD. Ears were ringing 24 hrs >later. Board operators please take note- beyond 120db, it all turns to mush. > In small clubs ear shattering volume is absolutely pointless and painful. > Vocals, harp solos, guitar solos were indistinguishable at this particular >T'birds appearance! HUH? WHAT DID YOU SAY? Let me point my good ear your way. I agree about the volume but it's probably too late for me :) Too loud isn't a good loud. Dave Melton ========================================================================= Date: Wed, 28 Feb 1996 19:23:58 GMT Reply-To: Stephanie Manna From: Stephanie Manna Subject: Florida club scene/March Some of the dates in Florida I am aware of: Sebastian Beach Inn,7035 HWY A1A,Melbourne Beach,Fl:407-728-4311 Feb.29:Smokey Wilson March 1:Sherman Robertson March 2:Double Threat March 8 The Nighthawks March 9 Derek Trucks March 10 William Clarke March 15 Fingers Taylor March 16 Iko-Iko March 22 Dr Hector & Groove Injectors March 23 The Downchild Blues Band March 29 Matt "Guitar " Murphy The Renaissance Jazz & Blues,8695 College Pkway,Ft.Myers 941-482-4459: March 1:Bobby Parker March2: Lil Jimmie Reed March 15: Piano Bob & Snowman The Five Oclock Club,1930 Hillview St.,Sarasota,Fl 941-366-5555 March 4:Smokey Wilson March 5:Mark May] March 7:Rock Bottom & Cutaways March 8&9: Liz Pennock & Dr. Blues March 13:The Downchild Blues Band March 15&16&20&21:Queenie & the Kingbees March24:All day/night jam:Give Hunger the Blues March 27&28: Built for Comfort March 29&30: Sarasota Slim ========================================================================= Date: Wed, 28 Feb 1996 11:44:04 -0500 Reply-To: David Melton From: David Melton Subject: Re: Sovtek Tubes (for gearheads only) No Blues!! Comments: To: Don Cicchetti At 9:58 AM 2/28/96, Don Cicchetti wrote: > >>Question: Anybody else have this experience with Sovtek tubes, OR is this >> simply what happens when you replace any tired old tubes with >> fresh ones? Fender swears they are the same tubes. I don't >> remember my amp being this "hot" brand new with stock tubes. > >Do you have your old tubes? If so, check to see if they are the same type >as the new ones. If they are not, that is where the gain is coming from. >If they are, then the amp came with some really crappy tubes. No >surprise. My Fender 4-10 reissue and Blues Deluxe both came with some of >the crappiest tubes I have ever seen.... If the original tubes you had were real tinny and crappy sounding they could have been the ones made in China. They came stock in my Fender reissue Bassman 410 , and when I switched it was night and day. I have preferred American tubes as the tone and roundness of sound seems to have been better. BUT, Recently I had to overhaul my 67 Super Reverb and it was re-tubed with Sovtecs, which is all that's really available any more unless you get lucky or turn to the vintage tube market, which can be a rip-off. At first they sounded okay but a little bit tinny, but as they burned in they have become every bit as warm as the old Philcos I had. They didn't seem to really change the gain, but along with the repairs to my amp it now kicks buttox. So I'm not afraid to use them any more. But if I could find some old brand new Sylvania 6L6's..... Dave Melton ========================================================================= Date: Wed, 28 Feb 1996 19:36:40 GMT Reply-To: Stephanie Manna From: Stephanie Manna Subject: James Peterson:Chicago area interest only >James Peterson will be performing March 1&2 at The Kingston Mines,2548 N. >Halstead,Chicago at 10:30-3:30AM. Check out his homepage: >http://misnet.com:80/malaco/blues/jpeterson ========================================================================= Date: Wed, 28 Feb 1996 14:08:35 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Questions for John Primer I will be asking John Primer some questions for our newsletter soon, and was wondering whether fellow blueselers might be interested in asking him questions, in addition to ones I prepared. Please send questions in private. I will post the interview on Blues-L. Ranko ========================================================================= Date: Wed, 28 Feb 1996 15:19:56 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Lawyers on Blues-l It's is pretty well established here, (and elsewhere), that we just don't quote and respond to PRIVATE mail in PUBLIC. This, however, is what our new member, Attorney Michael Heicklen has done. Quoted my private mail to him, in a public reply to the list. I had no intention of discussing his character, or my feelings toward lawyers in general, in public. He has overridden that. I apologize if remarks of mine that were meant to be private offended anyone. My only public post was my first, the one where I suggested that a Blues list probably wasn't a very profitable place to solicit clients. All other correspondence was private (from this end). P.W. ========================================================================= Date: Wed, 28 Feb 1996 14:24:14 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 02/29 B O R N : COLE, RICHIE ( RICHARD ) Born:1948 TRENTON, NJ Career:ALTO SAX Style;JAZZ / BIG BAND With:Buddy Rich / Lionel Hampton / Doc Severinsen / Eddie Jefferson DORSEY, JIMMY Born:1904 SHENANDOAH, PA Career:ALTO SAX / CLARINET / LEADER Style:JAZZ / BIG BAND With:Scranton Sirens / California Ramblers / Red Nichols / Jean Goldkette / Ben Pollack / Paul Whiteman / Bobby Byrne / Don Matteson / George Thow / Bobby Van Epps / Jack Stacy / Skeets Herfurt / Ray McKinley / Bob Eberly / Phil Washburn / June Richmond / Helen O'Connell / Kitty Kallen / Kay Weber / Martha Tilton / Frances Langford also recorded with the band in the mid-thirties RUTHERFORD, PAUL Born:1940 GREENWICH, LONDON, UK Career:TROMBONE Style:JAZZ With:Neil Ardley / John Stevens / Trevor Watts / Tony Oxley SIMS, FRANKIE LEE Born:1906 NEW ORLEANS, LA Career:GUITAR Style:BLUES With:T-Bone Walker / Mephis Slim / Smokey Hogg FOR A LISTING OF THOSE THAT PASSED AWAY IN MARCH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Wed, 28 Feb 1996 14:27:13 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Roy Ames, Johnny Copeland, Pete Mayes Thought I would tie a few threads together here... Recently, I found the Pete Mayes cd on Collectables (licensed from Roy Ames). I really wanted this cd, but knowing that Pete does not get royalties from it, I passed on it for the time. I contacted another Blues-L'er in Houston who managed to get Pete Mayes' address for me. I then bought this wonderful cd and am sending $5 to Pete because I bought a cd of his music that he doesn't make a dime off of. I had thought of offering up copies of this tape, much in the spirit of Blues Bytes and giving all the money to Pete, but Collectables' lawyers would be on me fast. So, if you find something on that label licensed from Roy Ames, try to get a contact address for the artist and send them a few bucks if you buy the cd. A donation to the Johnny Copeland heart fund might be appropriate for the Johnny Copeland stuff on Collectables. -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / Reuben Stewart \ / February 19, 1996 \( Rest in peace, Mr. S. ========================================================================= Date: Wed, 28 Feb 1996 15:45:06 -0500 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: Stormy Monday Comments: To: DSILVA In-Reply-To: <31335C84@msmailgwy.cotr.bc.ca> Doris, I recently purchased Really the Blues by BB Bland (in concert). It includes all the the favorites: St. James Infirmary, I'll Take Care of You, Stormy Monday and more. The CD is on the Monad label (132 Crosby St. Soho, NY 10012). His humor alone is worth the price of the CD. Hope you enjoy it as much as I do. Peace, nitra On Tue, 27 Feb 1996, DSILVA wrote: > I must agree with Richard Shurman that Bobby Bland's rendition of "Stormy > Monday" is superb. > > I am looking for a CD by Bobby Bland and was wondering if anyone had any > favorites or suggestions. My resources are rather limited since I live in a > small community but the local store could order something in if I had more > information. > > Doris Silva > dsilva@lab1.cotr.bc.ca > Cranbrook, British Columbia, Canada > ========================================================================= Date: Wed, 28 Feb 1996 15:46:23 EST Reply-To: ron kraemer From: ron kraemer Subject: Shameless Plug Time! Just got a call from my Harp Man, Kevin. He tells me we'll be opening up for Doug Jay and Little Sammy Davis! on Sunday, April 28th at the Sports Zone in Levittown, PA. One hour set for us from 2-3pm, followed by a great afternoon of Blues by some monster Harp players. My new rhythm section (different from the BluesBytes crew) will be honed and ready. Geez, I'm feeling like P.W. Fenton! :) Gushingly, Ron ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters (and in another life....) Ron Kraemer and the Hurricanes ************************************************************ ========================================================================= Date: Wed, 28 Feb 1996 14:37:06 -0600 Reply-To: T-Bone From: T-Bone Subject: Archie Edwards I'm working on an Archie Edwards web page, and I remember seeing someone mention an interview with him in an issue of Living Blues. At elast I think it was LB. Does anyone know which issue this is in? T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "You've got to inspect your horn, boy." 'And wash it every day.' - Crow, MST3K ("Mr. B. Natural") ========================================================================= Date: Wed, 28 Feb 1996 13:28:14 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Part Three: Mercury Blues Box tracklisting (long) Continuing the tracklisting for the Mercury Blues & Rhythm Story (my previous statements re my direct involvement in this project apply to this as well). Volume 3 : EAST COAST BLUES CD Seven 1. Bill Samuels & the Cats 'n'Jammers Three/Jockey Blues 2. Eddie "Mr. Cleanhead" Vinson & His Orchestra/Cherry Red Blues 3. " " " " /Somebody's Gotta Go 4. " " " " /Too Many Women Blues 5. " " " " /Just a Dream 6. " " " " /I Like To Be Home Blues 7. " " " " /Cleanhead Blues 8. " " " " /When A Woman Loves Her Juice 9. " " " " /Kidney Stew Blues 10. " " " " /King For A Day Blues 11. " " " " /Old Maid Boogie 12. Helen Humes/Jet Propelled Papa 13. The Trenier Twins/Hey,Sister Lucy! 14. Eddie "Mr. Cleanhead" Vinson & His Orchestra/When I Get Drunk 15. " " " " /Oil Man Blues 16. " " " " /Ever-Ready Blues 17. " " " " /Have You Ever Missed Your Baby 18. " " " " /Some Women Do 19. " " " " /Alimony Blues 20. " " " " /I Took The Front Door In 21. Dinah Washington/Record Ban Blues 22. " " /Good Daddy Blues 23. " " /Baby Get Lost 24. " " /Fine Fine Daddy 25. " " /Please Send Me Someone To Love 26. Junior Tamplin/Under The Viaduct (in Atlanta G.A) 27. " " /Love Is A Sin Volume 3 : EAST COAST BLUES CD Eight 1. Joyce Jackson/Lonely Blues 2. " " /Body Rocking Daddy 3. " " /Lovin' Blues 4. Dinah Washington/New Blowtop Blues 5. Joe Houston/Worry, Worry, Worry 6. "Manhattan Paul" Bascomb/Mumbles Blues 7. Buddy Johnson & His Orchestra With Ella Johnson/Hittin' On Me 8. Zilla Mays w/John Peek & The Blues Caravan/Don't Give My Good Love Away 9. " " " " " " /Thank You 10. " " " " " " /The Other Side 11. Buddy Johnson & His Orchestra with Ella Johnson/I'm Just Your Fool 12. " " " " with Ricky Harper/Shut Your Big Mouth 13. Stomp Gordon/Sloppy Daddy Blues 14. " " /Juicy Lucy 15. " " /What's Her Whimsey, Dr.Kinsey? 16. " " /Walk Around The Corner 17. Dinah Washington/Short John 18. Jay Hawkins/This Is All 19. " " /What That Is 20. " " /(She Put The) Wamee (On Me) 21. " " /Well I Tried 22. " " /Talk About Me 23. Titus Turner/Sweet and Slow 24. " " /Big John 25. " " /All Around The World 26. Arthur Prysock/Woke Up This Morning Mary Katherine Aldin ========================================================================= Date: Wed, 28 Feb 1996 16:54:35 -0500 Reply-To: BLUESROCCO@AOL.COM From: Jim Rocco Subject: Re: Composing Solos Comments: To: shaun@wavenet.com Comments: cc: blues-L@brownnvm.brown.edu While we are discussing Wes Montgomery's ability to play blues (and blues he can do) Let me please make a plug for my man........Django !!!! This man could make his guitar reflect ANY mood he was in ! Thanks..............I just wanted to say that ! Rocco ========================================================================= Date: Wed, 28 Feb 1996 16:56:39 -0500 Reply-To: "Abe W. Mathews" From: "Abe W. Mathews" Subject: Re: SHOULD I CHOP THROUGH AN ATTORNEY? In-Reply-To: <199602281909.MAA23017@usr2.primenet.com> from "Michael Heicklen" at Feb 28, 96 12:09:09 pm OK. Here we go. I'm gonna try my hardest to avoid any burbot jokes, so bear with me: BTW, what do you call 2000 lawyers at the bottom of.......Nevermind. :-P Michael Heicklen responds to P.W. in public in the following manner: > Mr. Fenton: > > This is the last time I will address this issue. First, it appears you have > taken it upon yourself to speak for the list. If you had something private > to say, you could have sent it privately. So could you have sent it privately. I could have sent this privately, as well, but one good turn..... And while P.W. does not speak directly for the list, he's been around for quite a while, and I for one respect his opinions greatly. In my experience, if P-Dub calls it a trout, than I can be pretty sure it's a trout. > Second, I have been a member of > this group for several months, and you seem to be one of the people who is > constantly (even chronically) rendering opinions and putting forth > "information" on every conceivable issue, whether solicited or not. Third, > I have worked in "the blues" long enough to know all the information you > seem to be pushing on me. Second point: If you've been a list member for a while, have you posted before? If you have, and I've missed it, I apologize in advance. If you haven't, P.W. was probably reacting that way because he'd never seen you around here before. Whether you meant it or not, if it was your first post, your introduction to the list was a rant about problems that, while they do exist, could result in direct finiancial gain for you. If you had gotten to know some members first, this might not have happened. In the past, we've had "unsolicited" mail from people who's only reason for being on this list (if they were on the list at all) was for self-promotion or other financial gain. That's not the primary reason for this list. If that's not the way you intended it, my apologies, but I took your first post to be at least mildly self-serving. Third point: So you're an expert on the blues. OK. We probably have a couple of dozen experts on this list. Unproven statements about experience rarely account for a hill of beans on the internet. > Last, the article was meant to be informational - > about the options for shopping oneself. It was information I have knowledge > of, because I work with it every day. If you wish to see it as advertising, > that is your right - and if you wish to discredit it over a vast mailing > list, that is also your right. However, it fascinates me that someone so > concerned about others pushing "information" seems to have a need to > correspond to thousands of people with his unsolicited opinions. Here's the difference. P.W. rarely creates threads that might somehow mysteriously gain him clients (except for gig announcements and web page listings, I know, it's a double standard). P.W. is one of those people who keeps topics rolling, enticing people out into the open and getting them to respond. Love him or hate him, P.W. inspires opinions. And he gets people talking. That's worth something. Your post was not in response to anything that I saw beforehand. Here's an example of if it had been different: Let's say we were discussing B.B. King, and the fact that a certain "R. Taub" took half of the royalties on most of the early songs that B.B. did due to fictitious writing credits. If you followed up that post with a discussion of why this was a great example of needing a good lawyer, I'm positive that no one would have taken offense. > I was under the impression there might be some blues artists on this list > that could benefit from this information. Clearly, I was wrong. So good > luck, and if you are a musician, I wish you luck doing it your way. And then a stab at P.W.'s chances as a musician! WOW! I'm impressed. Listen. I don't claim to speak for the list, either. I've gotten to know quite a few people well here, and made some connections that I hope will last for the rest of my life. This is a good list. We'd all like to see it stay that way. That's why people are getting uptight. I have no intention of making this sound like a personal attack, or a lesson in Nettiquette. You have every right to post anything you want to blues-l. You pay for your service, you get to post. And the rest of the list then has the right to flame you for every word you say, just like I'm probably going to get flamed for writing this. Hoping I didn't get you too angry. Abe awmathew@mtu.edu ========================================================================= Date: Wed, 28 Feb 1996 15:49:22 -0800 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: JazzFest info site/House of Blues Comments: To: bit-listserv-blues-l@uunet.uu.net The House of Blues has created an official JazzFest web site in conjunction with the New Orleans Jazz & Heritage Foundation . It's at http://www.nojazzfest.com. Whatever else you think about the House of Blues, I think most music fans here in New Orleans would agree that they've been an admirable corporate citizen, donating time and resources to elevate the entire industry and community, with an acceptable level of commercial self-promotion. This site's a good example, with lots of info and even a message bulletin board, and a minimum of flacking. I was one of many French Quarter residents who anticipated the worst before they opened here, and am happy to have had to change my mind about their mission and level of community involvement. I'm sure they'll use the site to promote HOB events during the Fest, but I'd be equally willing to bet that they created and maintain this site entirely on their own nickel (except for what appears to be some sponsorship from Quarterdeck) without the Foundation or the city kicking in. --Maggie -- Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Some mornings it's just not worth chewing through the leather straps. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Wed, 28 Feb 1996 16:21:12 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Stormy Monday Comments: To: Anita Samuel In-Reply-To: Unfortunately, the Monad Bobby Bland CD is a bootleg and should be avoided. (At least it's not a scratchy old LP on another label with overdubbed applause and extravagant b.s. liner notes, like the Monad Albert King CD!) The "real" Stormy Monday by Bland is on Here's The Man and the two-CD Turn On Your Love Light on MCA. There's also an edited version on The Best Of Bobby Bland, but don't settle for it! ========================================================================= Date: Wed, 28 Feb 1996 17:26:20 -0500 Reply-To: Dave Markovits From: Dave Markovits Subject: Steve Cushing Blues Before Sunrise is just about the best Blues show there is. I really don't know anything that compares to it. WBEZ in Chicago has already cut two hours of their nightly Jazz programming. They have come under a lot of fire for programming changes in the last couple of years. They moved from their prehistoric studios on Adams in the Loop to newly revamped studio's at Chicago's newly revamped Navy Pier. From what I remember I believe their rent is free. I also believed they declared bankruptcy before the move. New City(paper)and the Reader have both done stories. Enough is enough BBS cannot die. There is no better Blues history lesson than Steve's show. It is tastefully done and people all over enjoy it. I'm sorry, is 75 grand that much, for one of Chicago's most artistic exports; Blues Before Sunrise. No way. David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Wed, 28 Feb 1996 15:35:28 -0700 Reply-To: Jessica Jones From: Jessica Jones Subject: Re: Lawyers on Blues-L Comments: To: Don Cicchetti In-Reply-To: <199602281822.KAA16090@inet.lasierra.edu> I thought it was a helpful, informative post as well. jessica ========================================================================= Date: Wed, 28 Feb 1996 14:56:24 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Part Four Mercury Blues tracklisting (long) Herewith the last installment of the tracklisting for the Mercury Blues & Rhythm DStory box set. See previous installments for staement of my personal involvement with this set. Volume 4 - WEST COAST BLUES CD Five 1. Jay McShann & His Sextette w/Jimmy Witherspoon/ Ernestine 2. " " " " /Roll On Katy 3. " " " " /Voodoo Woman Blues 4. " " " " /I Want A Little Girl 5. " " " " /Bar Fly Blues 6. " " " " /Please Stop Playing These Blues, Boy 7. " " " " /All My Geets Are Gone 8. " " " " /Strange Woman Blues 9. Vivian Greene/Bowlegged Boogie 10. " " /He's The Man (He's Tall and Cool) 11. " " /Red Light 12. Smiley Turner/When A Man Has The Blues 13. " " /Lonely Boy Blues 14. Billy Valentine/Beer Drinking Baby 15. Chuck Norris & His Guitar/What's Good For One's Good For All 16. " " " " /Kinda Sick, Mostly Worried 17. " " " " /Hey Everybody 18. Frankie Ervin w/Austin McCoy & His Combo/I'd Rather Be Like A Hermit 19. " " " " " " /High School Baby 20. Big Jim Wynn & His Band/West Coast Lover 21. " " " " /Dog House Blues 22. Meredith Howard/Just Kiss Me Once (And You'll Be Back) 23. Ike Lloyd/Worrying Blues 24. " " /Boogie On The 88 25. " " /I Only Want Your Love 26. J.D. Edwards/West Coast Blues 27. Red Johnson & His Orchestra/Mama Does The Boogie (Washington Ave. Boogie) Part 4 : WEST COAST BLUES CD 6 1. Johnny Otis & His Orchestra/Call Operator 210 2. " " " /Baby Baby Blues 3. " " " /Gypsy Blues 4. " " " /Sugar Sugar 5. " " " /Last Mile 6. " " " /The Candle's Burning Low 7. " " " /The Love Bug Boogie 8. " " " /Brown Skin Butterball 9. " " " /The Game Is Over 10. Pat Valdelar/Keep Your Hand On Your Heart 11. " " /Rock Me Baby 12. Ray Johnson/Boogie The Blues 13. " " /House of Blues 14. " " /I'll Never Let You Go 15. " " /Smilin' Blues 16. Herbert "Woo Woo" Moore/Something's Wrong 17. " " " /Five Long Letters 18. Mel Walker/Unlucky Man 19. " " /My Baby 20. " " /Another Sad Night 21. " " /Feelin' Mighty Lonesome 22. " " /I Have Decided 23. Joe Liggins & His Orchestra/They Were Doing The Mambo 24. " " " " /Honeydrippin' Daddy 25. " " " " /Yeah, Yeah, Yeah 26. Rollee McGill/In My Neighborhood 27. " " /Rhythm Rockin' Blues Mary Katherine Aldin ========================================================================= Date: Wed, 28 Feb 1996 16:59:26 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Stormy Monday At 04:21 PM 2/28/96 -0600, Richard Shurman wrote: > The "real" Stormy Monday by Bland is on Here's The Man >and the two-CD Turn On Your Love Light on MCA. There's also an edited >version on The Best Of Bobby Bland, but don't settle for it! > > I agree - get the two "double CDs" - "Pity the Fool" and "Love Light", the best of Bland on Duke / Peacock. David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Wed, 28 Feb 1996 15:47:31 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Bootlegs, Royalties (was Re: Stormy Monday) >Unfortunately, the Monad Bobby Bland CD is a bootleg and should be >avoided. (At least it's not a scratchy old LP on another label with >overdubbed applause and extravagant b.s. liner notes, like the Monad >Albert King CD!) The "real" Stormy Monday by Bland is on Here's The Man >and the two-CD Turn On Your Love Light on MCA. There's also an edited >version on The Best Of Bobby Bland, but don't settle for it! This leads me to another question about bootlegs/lack of royalties being paid to the artists - is or is not Charly a label that pays royalties? I know this question has been asked before on the list, but I don't recall if it was ever definitively answered (my apologies for being repetitive if it was already answered). I must thank the members of this list for bringing the issues of royalties to my attention; prior to joining Blues-L and reading posts about money being held from the people who made the music in the first place, I never really gave it much thought, but now I'd much rather buy my music from reputable companies, and it's unfair to a label if they are wrongly accused of not paying royalties (as well as being wrong, IMHO, for us to support companies that really don't.) So if someone could clear this up, I'd be much obliged. -Jim (hndful@Uniserve.com) ========================================================================= Date: Thu, 29 Feb 1996 11:05:38 +1100 Reply-To: Daniel Bruce From: Daniel Bruce Subject: Stormy Monday (fwd) > Guys & Gals These are a couple of posts I did about a year ago about Stormy Monaday . I thought they would add to the discussion. Hope you find them interesting > In response to the recent discussions of Stormy Monday, I decided to > create a compliation tape of all the versions of Stormy Monday in my > collection so as to do a comparison. > > Ther versions I found are as follows:- > > Bobby Bland - From his 'Here's the man' MCA album and also on the > greatest hits album. > > Elmore James - From his Chess recordings. Found on his Chess album w/ > John Brim > > Van Morrison & jimmy Witherspoon - This is medley from Van's recenmt > live album > > Junior Wells & Buddy Guy - From one of their 60's vanguard albums. The > album is credted solely to Junior but Buddy is on it. > > Jimmy Witherspoon - From a cheap compilation album called something > like 'Blues Greatest Hits' > > T-Bone Walker - From his original Black & White sessions on a Charly > CD called 'Low Down Blues'. > > B B King & Albert Collins - From BB's 'Blues Summit' album > > Albert King - from Thursday night in San Francisco . This one is live. > > Little Milton - From a chess compilation album called The Best of > Chess Blues (double album) > > Allman Brothers Band - From Live at the Fillmore > > Bobby Bland & B B KIng - From Together again live > > Foreday Riders - An australian blues band from a 70's album of theirs. > > I will be listening to the tape a few times and try to give my opinion > of each track. > > So far, I would say the Bobby Bland version is my favourite but have > certainly not found any of them repulsive. I am sure there are more > versions of this song around and in fact as I type this I remebered > another one in my collection. (a ratherpoor version as I recall) > > Anyway, hope this is of interest and will report soon. > -- > Daniel Bruce | Genasys II Pty Ltd, Sydney, Australia > | "Born under a bad sign, been down since I began to crawl > | If it wasn't for Bad Luck, Wouldn't have no luck at all" > | Albert King > | Internet: danielb@g2syd.genasys.com.au > > -- Daniel Bruce | Genasys II Pty Ltd, Sydney, Australia | "Born under a bad sign, been down since I began to crawl | If it wasn't for Bad Luck, Wouldn't have no luck at all" | Albert King | Internet: danielb@genasys.com.au ========================================================================= Date: Thu, 29 Feb 1996 11:06:03 +1100 Reply-To: Daniel Bruce From: Daniel Bruce Subject: Stormy Monday - Cont (fwd) > Here is the other one!!!!!!! > A few random opinions...... > > Bobby Bland - A wonderful version. Very emotive singing, you can feel > the pain with him. I love his voice, its very bluesy and mellow. The > version is based on the voice with minimal ionstrumentation. I'd say > 9, a great version by a great singer. > > Elmore James - A very different version to the last. Very 'crude' :-) > The usual elmo style gruff vocals but effective. Tough slide work. > Another enjoyable version. 8 > > Van Morrison w/ Jimmy Witherspoon - Medley with Have you ever loved a > woman & No Rollin Blues. Van is in good form, some lovely organ by > Georgie Fame. Jimmy does not sing on the Stormy Monday part, but takes > the lead on the otehr two songs. I like it. 8 > > Junior Wells & Buddy Guy - A quiet song from these two. Some > absolutely beautiful understated guitar from Buddy. This track shows > him as the guitarist we know he is. Nice Vocals by Junior. No harp. > Another classy version. 8.5 > > Jimmy Witherspoon - Very straight version probably from the sixties. > nicely sung but does not stand out. 7 > > T-Bone Walker - A version by the writer of the song. I was suppirsed > at the distinct lack of guitar on this track. Very horn driven > version. Highlights T-Bone good vocal abilities. Although he wrote it > I don;t see this version as difinitive. Good tho' 8 > > That is all for now................... > -- > Daniel Bruce | Genasys II Pty Ltd, Sydney, Australia > | "Born under a bad sign, been down since I began to crawl > | If it wasn't for Bad Luck, Wouldn't have no luck at all" > | Albert King > | Internet: danielb@g2syd.genasys.com.au > > -- Daniel Bruce | Genasys II Pty Ltd, Sydney, Australia | "Born under a bad sign, been down since I began to crawl | If it wasn't for Bad Luck, Wouldn't have no luck at all" | Albert King | Internet: danielb@genasys.com.au ========================================================================= Date: Wed, 28 Feb 1996 15:30:46 CST Reply-To: JBards From: JBards Subject: Re[2]: Sovtek Tubes (for gearheads only) No Blues!! Comments: To: David Melton I think we may be missing a point here, too. ( Probably the stock Fenders were Chinese, which are mostly s**t.) When you retube your power section, you MUST rebias for the new tubes. Sovteks take quite a different pull than, say, RCAs or Sylvanias. There's also an issue about whether you want to bias hot or cool, whether you're going for a more driven, browner sound or a cooler, more glassy tone. A good technician will negotiate the setup with you according to your tastes. Finally, substituting a 12AX7 for a 12AT7 in the first position is an old trick to give more punch and gain for most Fender amps. You can also drop down to a 12AU7 for a much cleaner, glassy sound. And while Don is right about preamp tubes not wearing out, I would recommend to anyone out there upgrading your 12AX7s to the Sovtex 12AX7WXTs, which are much more clean and dynamic than anything else I've tried. -Jim, gearhead supreme _______________________________________________________________________________ Subject: Re: Sovtek Tubes (for gearheads only) No Blues!! From: David Melton at INTERNET-SH Date: 02/28/96 3:19 PM At 9:58 AM 2/28/96, Don Cicchetti wrote: > >>Question: Anybody else have this experience with Sovtek tubes, OR is this >> simply what happens when you replace any tired old tubes with >> fresh ones? Fender swears they are the same tubes. I don't >> remember my amp being this "hot" brand new with stock tubes. > >Do you have your old tubes? If so, check to see if they are the same type >as the new ones. If they are not, that is where the gain is coming from. >If they are, then the amp came with some really crappy tubes. No >surprise. My Fender 4-10 reissue and Blues Deluxe both came with some of >the crappiest tubes I have ever seen.... If the original tubes you had were real tinny and crappy sounding they could have been the ones made in China. They came stock in my Fender reissue Bassman 410 , and when I switched it was night and day. I have preferred American tubes as the tone and roundness of sound seems to have been better. BUT, Recently I had to overhaul my 67 Super Reverb and it was re-tubed with Sovtecs, which is all that's really available any more unless you get lucky or turn to the vintage tube market, which can be a rip-off. At first they sounded okay but a little bit tinny, but as they burned in they have become every bit as warm as the old Philcos I had. They didn't seem to really change the gain, but along with the repairs to my amp it now kicks buttox. So I'm not afraid to use them any more. But if I could find some old brand new Sylvania 6L6's..... Dave Melton ========================================================================= Date: Wed, 28 Feb 1996 16:44:07 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Sovtek Tubes (for gearheads only) No Blues!! The Supreme Gearhead ;-] said: >I think we may be missing a point here, too. ( Probably the stock Fenders were >Chinese, which are mostly s**t.) Got THAT right! >When you retube your power section, you MUST >rebias for the new tubes. Sovteks take quite a different pull than, say, RCAs >or >Sylvanias. Yes, all true. >Finally, substituting a 12AX7 for a 12AT7 in the first position is an old trick >to give more punch and gain for most Fender amps. You can also drop down to a >12AU7 for a much cleaner, glassy sound. And while Don is right about preamp >tubes not wearing out, I would recommend to anyone out there upgrading your >12AX7s to the Sovtex 12AX7WXTs, which are much more clean and dynamic than >anything else I've tried. And if you happen to run across some NOS (new old stock) Telefunken or Mullard 12AX7's or 12AT7's they're even better! (yeah and only $50.00 each if you can find 'em!!!) Seriously though, Jim is giving you all some great advice. the bottom line is to get informed and even more important, find a GOOD amp tech and trust them. To be serious about guitar amp tone, you must know a good tech. A dialed-in amp is so much better you won't even believe it. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production & Event Services dcicchet@vega.lasierra.edu I looked over Jordan, and what did I see An Eldorado comin' after me comin' for to carry me home.. -- Dizzy Gillespie ____________________________________________________ ========================================================================= Date: Thu, 29 Feb 1996 00:47:21 GMT Reply-To: Stephanie Manna From: Stephanie Manna Subject: Huntsville,Al bluesdates Kaffeeklatsch,103 Jefferson St.,Huntsville,Al 205-536-7993 Check out the clubs new website: http://www.klatsch.com. March 1:Microwave Dave and the Nukes March 5: Radio Kings March 7: Keitha March 8 Tom Lenahan March 9 Wendy Beckerman March 15 Clifford Curry Blues March 16 Texans March 28 Blues Vision March 30 Billy C Farlow ========================================================================= Date: Wed, 28 Feb 1996 20:14:00 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: Cummings Prison Farm Song..Help >Anyone know who recorded,wrote this song? Came out around 1967/1968. Thanks >in advance,Stephanie > >email to: bluemoon@usa.pipeline.com It's 'Cummins Prison Farm', not Cummings, and it was recorded and written by Calvin Leavy for Soul Beat/Blue Fox (issue no 100 in both cases) in Little Rock, Arkansas in 1968. Leavy v/g with 'Tod, organ, Robert Tanner, g; Hosea LEavy, b; Maurice Haygood, d. Chris Smith (chris@skerries.demon.co.uk) Always check your references, and never neglect an opportunity to empty your bladder - The Duke of Wellington (not checked). ========================================================================= Date: Wed, 28 Feb 1996 20:51:54 -0500 Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Part One of tracklisting for Mercury Blues 1945-1955 box set Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199602271459.GAA20478@frisbee.beachnet.com> Mary Katherine Aldin writes: >two CDs being devoted to each area. How much does it overlap with the >"radio box," Art Schuna asked? I don't know--I don't have that one yet! >Maybe someone who has that one and reads this will have the patience and >typing stamina to let us know I don't have much typing stamina, but I do have the radio box so I'll just delete the titles that aren't dupes and let you, Mary Katherine, do the work! >Volume One, MIDWEST BLUES >CD One >2. Sippie Wallace with Albert Ammons & His Rhythm Kings/Bedroom Blues >3. " " " " " " /Buzz Me >8. Julia Lee/If It's Good >9. " " /She Me Missouri Blues >10. " " /Dream Lucky Blues >11. Albert Ammons, His Piano & Rhythm Kings with Mildred Anderson/Doin' The >Boogie Woogie >12. Albert Ammons, His Piano & Rhythm Kings/Suitcase Blues >14. Eddie "Cleanhead" Vinson & His Orchestra/Railroad Porter's Blues >15. " " " " /Gonna Send You Where I Got You From So that makes 8 of 25 on disc one and no overlap on disc 2. I'd say not enough to worry about. BTW, I've always thought Sax Mallard is the greatest name for a sax player. Art Schuna ========================================================================= Date: Wed, 28 Feb 1996 19:45:03 -0600 Reply-To: T-Bone From: T-Bone Subject: L+R records I have looked in vain for L+R releases on cd. Did they go belly-up, get bought out, think that the cd was a passing fad like 8-tracks, etc, or do I need to kick the heinders of local music store owners and managers? My old tapes of L+R releases are getting pretty old, and I'd like to know if these are available on cd. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "You've got to inspect your horn, boy." 'And wash it every day.' - Crow, MST3K ("Mr. B. Natural") ========================================================================= Date: Wed, 28 Feb 1996 21:35:13 -0500 Reply-To: David Rotenstein From: David Rotenstein Subject: Ziggy's Blues IS Back! Ziggy's Blues is back bigger and better with some great interviews with blues legends. Drop by for a quick look at its new URL: http://www.sas.upenn.edu/~drotenst/ziggy.htm Sorry for the delay in getting it back up. Look for more interviews to be added soon. Already loaded are: John Hammond Roy Book Binder B.B. King Lil' Charlie Baty Tinsley Ellis Sun Ra Koko Taylor Sugar Blue C.J. Chenier Chubby Carrier and more. . . Enjoy. Ziggy. ========================================================================= Date: Wed, 28 Feb 1996 21:45:58 -0500 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: Stormy Monday Comments: To: Richard Shurman In-Reply-To: Richard, How do you know which labels or titles are bootleg? Would you provide a list (if you have one) so that we might avoid purchase of stolen blues and gospel music? Asante sana, nitra <<<>>><<<>>><<<>>><<<>>><<<>>><<<>>><<<>>><<<>>><<<>>><<<>>><<>>><<<>>><<<>><< On Wed, 28 Feb 1996, Richard Shurman wrote: > > Unfortunately, the Monad Bobby Bland CD is a bootleg and should be > avoided. (At least it's not a scratchy old LP on another label with > overdubbed applause and extravagant b.s. liner notes, like the Monad > Albert King CD!) The "real" Stormy Monday by Bland is on Here's The Man > and the two-CD Turn On Your Love Light on MCA. There's also an edited > version on The Best Of Bobby Bland, but don't settle for it! > ========================================================================= Date: Wed, 28 Feb 1996 19:57:37 -0700 Reply-To: Michael Heicklen From: Michael Heicklen Subject: Re: Lawyers on Blues-L Comments: To: Don Cicchetti Don: Thanks for the vote of confidence (all but the doberman comment - which by the way - I happen to have one). Since you brought up these issues, lets talk about them. >Only one big problem.... > >He did not have a good lawyer >and EVERY SINGLE LIMO RIDE, >and EVERY SINGLE FANCY MEAL, >and EVERY SINGLE DAY IN THE HOTEL, AND PHONE CALL, > >are all *BILLED AGAINST RECORD SALES"!! It is normal procedure for costs and expenses to be billed against royalties. however, in this instance, here is my hypothosis: The label had a bulk discount for the fancy meals, hotel, phone calls and limos. So, for every dollar actually they spent, they charged triple or quadruple that to the Artist's account. >Did they tell him that in "Nashville"? What do YOU think? In almost all states, ignorance is not an excuse. You are presumed to have read any documentation, regardless of the complexity (with some states excepting type that it too small), that you sign. >A good lawyer would have: > >negotiated a reasonable (lots less than 300,000.00) advance >(it's called an *advance* because you OWE it to them btw) I understand your thinking, but in fact, I would have done just the opposite - attempted to get a higher advance. Only 20% of the albums produced make money. That means, for 80% of the artists, the only money they will ever see will be the advance. You're right that the advance is chargeable against royalties, but it is NEVER (unless you really flub big) reimburseable from the dollars originally tendered. >negotiated a decent royalty rate, promotion commitment, returns policy, and >recoupables etc... Can't address these without knowing the terms. > >told him to *fly coach* to Nashville and stay in the dang Motel Six, rent a >Subaru to drive, and PUT THE MONEY IN THE BANK dammit! Sometimes, you can get the label to pick up certain charges, especially if they are courting. This stuff should have been thrown in. This poor guy would have had a heart attack if he knew the hourly rate of >that stupid limo and the daily rate of that pretentious suite etc etc, and >known who was paying for it all.... > >yes people need to be smarter, BUT you will need a good lawyer in this >biz... yes you will. > > >DC > >so what is black and brown and looks great on a lawyer? > >A DOBERMAN! > > >____________________________________________________ >Don Cicchetti >La Sierra University Library Media Services >Audio/Video/Computer/Satellite >Studio Production & Event Services >dcicchet@vega.lasierra.edu > > >I looked over Jordan, and what did I see >An Eldorado comin' after me >comin' for to carry me home.. > >-- Dizzy Gillespie >____________________________________________________ > > ========================================================================= Date: Wed, 28 Feb 1996 19:09:38 -0500 Reply-To: David Melton From: David Melton Subject: Re: Stormy Monday (fwd) Comments: To: Daniel Bruce I didn't see T-Bone's version on your tape! Better give that one a listen before the T-Bone guys come after you:) That's where it all started. Out of the versions you have, I pick the Bobby Bland. ========================================================================= Date: Wed, 28 Feb 1996 21:17:52 CST6CDDT Reply-To: Tin Can From: Tin Can Organization: UW-Superior Subject: forward could someone forward this to whoever the person was who wrote the message in the first place? thanks ========================================================================= Date: Wed, 28 Feb 1996 21:21:25 CST6CDDT Reply-To: Tin Can From: Tin Can Organization: UW-Superior Subject: missing the person who wrote the message to this list with the address ppp_302@FREE.ORG could i please have their new address since this old one doesnt seem to work. ========================================================================= Date: Wed, 28 Feb 1996 17:30:59 -1000 Reply-To: George Seaman From: George Seaman Subject: Re: Steve Cushing Comments: To: Dave Markovits In-Reply-To: I agree with You. We had ( repeat had ) BBS (blues before sunrise) on our public radio station but lack of funding caused it to be dropped. I listened when ever I could, and supported the station but... Here in Hawaii we get little of the life blood of Blues. Although Jr.Wells will be here (on Friday 03-01-96 7:30pm Castle HS for those who might be reading from here). I surely miss BBS and you folks should fight and support to keep it on the air. Peter Cushing has a good understanding & knowledge of the Blues (IMHO). I would find it a sad day indeed if a city the size of Chicago (which I visit occasionally) cannot find a way to keep BBS going. Aloha G.Seaman CRL email hi-tech@aloha.com ========================================================================= Date: Wed, 28 Feb 1996 23:51:07 -0500 Reply-To: Meadors From: Meadors Subject: Re: Ziggy's Blues IS Back! Comments: To: davidsr@CITY-NET.COM Went to your site but got timed out and it wouldn't load. Now ain't that the blues? Mike Meadors Orange3@gnn.com ========================================================================= Date: Wed, 28 Feb 1996 21:10:31 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Brownie McGhee Mary Katherine Aldin says: This post, which will interest many folks on the blues list, was on the bluegrass list I also subscribe to; I'm forwarding it for your edification/enjoyment. Forwarded message follows: Date: Wed, 28 Feb 1996 23:57:48 -0500 >>From: "Shane S. Rhyne" >Subject: Re: Brownie McGhee > >Howdy folks, > >Bruce Kallick mentioned the passing of Brownie McGhee and I thought I'd add >this piece of trivia... > >Walter "Brownie" McGhee lived in Knoxville, Tennessee for much of his youth >(World War I and the Roaring 20s.) As a boy Brownie was crippled by polio. He >got around mainly by riding in a wooden cart pulled on a stick by his younger >brother, Granville. Most likely, this is how Granville acquired the nickname >"Stick." > >As youngsters Brownie and Stick often sang at many of the black Baptist >churches in the area (keep in mind that every sort of institution was >segregated at this era in history. Curiously, churches are still primarily a >segregated community event...but that's another lecture altogether...). >Brownie and Stick said that what little money they had went toward purchasing >Jimmie Rodgers records and other country and blues recordings of the day, >including the Carter Family and others. > >Surgery when he was in his 20s restored Brownie's ability to walk on his own. >He formed a string band and began touring East Tennessee before eventually >heading to New York to seek his fortune. Most of the jazz and blues producers >in NYC found Brownie's Piedmont-style blues a bit too country for their >tastes. Brownie, for the record, never differentiated between bluegrass, >blues, folk or country music. He apparently called it all "cornfield" music. >(But what *is* cornfield music anyway? ) > >Of course, we know that Brownie went on to eventual fame as a blues musician. >His brother Stick, incidentally, found fame as well if at least as a footnote >in the history of rock-and-roll. Stick is the author of "Drinking Wine, >Spo-Dee-O-Dee," made famous by Jerry Lee Lewis. > >I happened to stumble on much of this information in a fine book called >_Knoxville's Secret History_ by Jack Neely. It's been a great way for me to >dig up all sorts of trivia about my home region and to learn some great >details of East Tennessee's contributions to music, literature, art, politics >and other details of life. (This region seems to seems to suffer from a >combination of low self-esteem and historical amnesia.) > >For the record, I oughta offer standard disclaimers about the book and its >publishers while I'm here. I suppose I should attempt to add some BG content, >but I'll let you come up with your own. There's enough potential tangents in >the above post to come up with a dozen bg-related posts. > >Take care, > >Shane (shanerhyne@aol.com) >Clinton, Tennessee > > Mary Katherine Aldin ========================================================================= Date: Thu, 29 Feb 1996 16:09:00 PST Reply-To: David Blanken From: David Blanken Subject: Re: Steve Cushing >Peter Cushing has a good understanding & knowledge of the Blues (IMHO). I would find it a sad day ^^^^^^^^^^^^^ I know a lot of different things can be construed to be blues .... but Hammer Horror films? [insert BIG smiley here] -Dave- ========================================================================= Date: Wed, 28 Feb 1996 21:53:42 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: The "real" (as opposed to blues-l) Grammy winners The 1996 Grammy winners: Best Traditional Blues Album: John Lee Hooker/Chill Out Best Contemporary Blues Album: Buddy Guy/Slippin' In Mary Katherine Aldin ========================================================================= Date: Thu, 29 Feb 1996 05:54:06 GMT Reply-To: Ian Ferrier <74730.3726@COMPUSERVE.COM> From: Ian Ferrier <74730.3726@COMPUSERVE.COM> Organization: Wired on Words Subject: Re: Help with Muddy Waters Comments: To: bit-listserv-blues-l@uunet.uu.net The Chess Records Muddy Waters "box set" collection also has a lot of the early work you're talking about. Don't have it in front of me so I can't tell you the order number, but CHESS is now available thru MCA -- Ian Ferrier (74730.3726@compuserve.com) ========================================================================= Date: Wed, 28 Feb 1996 20:28:36 -1000 Reply-To: George Seaman From: George Seaman Subject: Re: Opps Steve (PETER) Cushing Comments: To: David Blanken In-Reply-To: <31363FBE@smtp.nla.gov.au> Opps... In my hurry to post this before Dinner I inserted Peter Cushing for Steve Cushing (no relation I belive) Sorry. I also have to add I get to eat my words again I just checked the new program guide and found that we still have BBS it plays M-F 12am-1am on KIPO 89.3FM. Hope you can understand me with my foot in my mouth. On Thu, 29 Feb 1996, David Blanken wrote: > >Peter Cushing has a good understanding & knowledge of the Blues (IMHO). I > would find it a sad day > ^^^^^^^^^^^^^ > > I know a lot of different things can be construed to be blues > .... but Hammer Horror films? > [insert BIG smiley here] > > -Dave- > ========================================================================= Date: Thu, 29 Feb 1996 01:54:54 -0500 Reply-To: Rags From: Rags Subject: BLUES_BEFORE_SUNRISE!!! Looks like from George previous email regarding Steve Cushing that I was right about the program being actually live daily M thru F 3:00 EST to 4:00 EST.... Cool....I feel good to know I am hearing it live from Chicago here in the burgh.... MAY THE SUN NEVER SHINE ON THE BLUES BEFORE SUNRISE!! ----------------------------------------------------- MAY THE SUN NEVER SHINE ON THE BLUES BEFORE SUNRISE!! ----------------------------------------------------- MAY THE SUN NEVER SHINE ON THE BLUES BEFORE SUNRISE!! ----------------------------------------------------- ps>>> Dave Bruebeck won Lifetime Achievement Award @ Grammy's Pat Meteney, cCoy Tyner...were other winners in JAZZ and JLH won for BLUES Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ It's dark And I'm Wearing Sunglasses......... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Thu, 29 Feb 1996 01:07:37 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Stormy Monday Comments: To: Anita Samuel In-Reply-To: I don't have a comprehensive list of which labels are bootlegs and some mix it up with legit releases, but 1) there are a few with well-established track records which may include court cases, like Charly and 2) when a label like Monad comes out of nowhere and puts out a bunch of live recordings by real big blues and jazz names (Bland, King, Ray Charles, etc.) plus uses real cheap packaging, not to mention the previously mentioned overdubbing of an old Albert King studio LP with applause and making a bunch of ridiculous claims about it being a terrific live show, doesn't it get a little suspicious? ========================================================================= Date: Thu, 29 Feb 1996 00:45:01 -0500 Reply-To: Gary Boudreaux From: Gary Boudreaux Organization: Macintosh Consulting Services Subject: Re: Piano player on "Freddy King Sings"? Comments: To: bit-listserv-blues-l@uunet.uu.net In article <4gte43$5jq@onramp.arc.nasa.gov>, Rennie Selkirk wrote: >Just picked up a tape of this classic LP from '60-'61, I guess. >No musician credits though. Anybody know the lineup, especially >that impeccable piano player? It wouldn't be someone like Lloyd >Glenn would it (just guessing)? Sonny Thompson - piano Bill Willis - bass Phillip Paul - drums Clifford Scott - tenor sax on 3 songs ========================================================================= Date: Thu, 29 Feb 1996 08:47:40 +0100 Reply-To: BIBGA@HHS.SE From: Gorgen Antonsson Subject: Bukka & Hopkins on Fan Club Someone, I lost the original message, asked about CD's with Bukka White, and Lightnin' Hopkins on Fan Club. I reviewed the Hopkins for Swedish blues mag Jefferson some years back; it's his Fire recordings with sound quality inferior to Krazy Kat LP release - a probable boot. Bukka White's "Shake 'em on down" is his 1963 Takoma rec.; also probably a bootleg. Legit issues of these are on Takoma CDP 72701 (US) or Sonet SNTCD 609 (Eu). Gorgen Antonsson, Stockholm ========================================================================= Date: Thu, 29 Feb 1996 03:50:20 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Gabriel Appreciation Day To celebrate blues disc jockey Gabriel's 44 years in St. Louis blues radio I am throwing Gabriel Appreciation Day at Off Broadway nightclub on Saturday April 6th. Featured performers include Henry Townsend, Silvercloud, Big Bad Smitty, Clara McDaniel and Bennie Smith. A special highlight of the evening will be Gabriel himself performing his infamous "The Buzzard Lope," and with Bennie Smith, his old compadre, there on stage with him, perhaps a few more. Gab has not played out since the 50s so this will be a unique opportunity for a whole new generation of St. Louis blues lovers to see him perform. Gabriel had his own band in St. Louis in the '50s (he played trumpet naturally) and also started a number of small labels (Joyce, Yvette, Royal American, Ultrasonic) that issued some truly fabulous 45s including the first one ever by Tina Turner ("Boxtop" by Little Ann, Ike and Bennie). Gabriel's incredible, unique body of production will be reissued by Jim O'Neal in the near future. Gabriel's unique sense of humor and knowledge and love of the blues permeate his radio show. He's on Sunday nights from 10 'til 3 in the morning, so those of you who come to St. Louis for the Blues-L convention will get the chance to hear this totally unique radio personality if you're not too worn out by that hour. Sadly, Gabriel's hearing has gotten very bad, but he still manages, with headphones, to do his thing as wonderfully as ever. ========================================================================= Date: Thu, 29 Feb 1996 09:23:12 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Welcome to Chris Smith Browsing the mails that were sent yesterday I was planning to answer to the 'Cummins Prison Farm' reference when I saw that Chris Smith had already anwered the question. I may be wrong (correct me if necessary) but I think this is Chris first mail on Blues-L so let me publicly welcome Chris here! With Chris on the list we know have >>again<< one of the most knowledgeable person in the blues world joining us. Chris was editor of Talking Blues, has been reissuing pre-war blues on Policy Wheel and is best know also for his many insightfull contributions to Juke Blues, Blues & Rhythm ,... Thanks for being here and I hope we'll hear often from you. Jean-Pierre Urbain P.S. Chris: are your Curlew cassettes (1001-1003) still available? If yes, please reserve me a copy of each! ========================================================================= Date: Thu, 29 Feb 1996 09:27:52 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Info request: Mack Simmons I've already more than once mentioned here on Blues-L the very interesting work that Bill Rowe is doing in the UK through his CAREER DISCOGRAPHIES. Three volumes have been published up to now and the fourth issue should among other things include a complete Little Mack Simmons discography. A few weeks ago Bill sent me a first draft of this disco which btw looks very impressive as it includes both the cuts where Mck Simmons was leader and accompanist (and belive me it's a hard work) . Now there are a few point which seem to remain unclear and I think we might to help Bill with these. I therefore decided to send these to the list in the hope someone might shed some light on these issues: - Details about Johnny Young Blues On Blues LP1005 recorded in 1971 in Chicago with Little Mack Simmons in harmonica (track listing, ...) - Session date and detail of LaNoRmaya 3939 - Titles recorded at the Sky Hero Studio in Chicago circa 1979 under the name of Rev Malcolm Simmons. - Does Simmons play on the 1981 Lee Shot Willimas sides? (Tchula, 4-Way) - Detail on the Leric unissued sides from september 1982. - Details on the following LPs (if someone had these, a copy of the cover and sleeve notes would be really appreciated Fax: +32-41-71 30 02) : SIMMONS LP-PMS 2010 (Was this ever issued ??) SIMMONS LP ??? "I Believe in Love - How About You? SKY HERO LP ??? My Message Is Love SIMMONS LP 1313 by Arelean Brown BAR-BARE LP 1034 P.WIllie Buck 4-WAY MB 8101 Lee Shot Williams Blues on Blues LP1005 Johnny Young - More details also on the provenance of "Key to the Highway"/"Inflation Blues" which are issued on Wolf CD120.295. Are these actually Bea and Baby sides? - Is LITTLE MACK "Sad Love"/"I love You Mazy" on Hytone119, really Little Mack Simmons? Any help would be welcome and I'll transmit the details to Bill Rowe as soon as I receive them (naturally with credit to the person who helped finding these detail out). Thanks a lot. Jean-Pierre "Young Man" Urbain P.S. Disclaimer: not affiliated to Career Disco, just a reader who values very much Bill Rowe's work!! ========================================================================= Date: Thu, 29 Feb 1996 09:36:19 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Info request (again) : Carl Schneider OK, It's me again and I agree that I ask much more than I tell these days :-), but I'm quite busy with both my work here as well as with my research on Carl Jones work. In relation to this I try to locate "Cowboy" Carl Schneider, who reissued a bunch of C.J. sides on his Neon label in the 80's. Adress, fax, tel would be welcome by private E-mail. Jean-Pierre Urbain ========================================================================= Date: Thu, 29 Feb 1996 07:14:21 -0500 Reply-To: "jose.eric.s.maglanque" From: "jose.eric.s.maglanque" Subject: Origin Jazz Library Origin Jazz Library was a seminal player in the blues record business in the 60's and 70's. Their anthologies then were fantastic and, for many, started it all. Does the company still exist/do business? Have they been taken over or bought? Where can you get OJL nowadays? I will appreciate any info (specifically: e-mail and snailmail address, fax/phone no.) thru private e-mail. Thanks! ========================================================================= Date: Thu, 29 Feb 1996 08:13:59 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Lawyers on Blues-L It is inappropriate to respond to private mail in public. However, I don't agree with PW about the original post. I thought uit met all the criteria for being viewed as a superior post -- it was informative, well written, and contained no explicit self-promotion at all. I am in no need of an entertainment lawyer (and given my inability to carry a tune, I never will need one) but the article gave me some new insights into the nature of the music business, something which is very much a part of the blues. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Thu, 29 Feb 1996 08:24:47 EST Reply-To: george morales From: george morales Organization: TEMPLE UNIVERSITY Subject: SRV Tribute airing on PBS 3/2/96 For those in the PA,DE and NJ areas of the USA, i noticed that on Sat 3/2/96 at 9:45 pm on channel 12(PBS) the SRV tribute will be aired until 11 pm followed by Road Tested(Bonnie Raitt concert) There will be performance footage and interviews with fans of SRV such as BB King, Buddy Guy, Eric Clapton and Jimmie Vaughn George +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ | | | GEORGE MORALES GEORGEM@TEMPLEVM | | COMPUTER AND INFORMATION SERVICES GEORGEM@VM.TEMPLE.EDU | | TEMPLE UNIVERSITY (215)204-6866 | | | +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Thu, 29 Feb 1996 08:19:52 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: Lawyers I have to second Ian Angus's thoughts on the lawyer post: "I thought uit met all the criteria for being viewed as a superior post -- it was informative, well written, and contained no explicit self-promotion at all." I didn't have a feeling he was selling anything, and believe me, I could have used this basic information only a short while ago when I was trying to negotiate a record deal. I learned a lot of it by paying a lawyer (a good one, btw, who gave me a "break" on rates) to educate me. Painful, expensive, and not something I'd love to do with my spare time/not-spare-money. I still want to thank Don C. and a couple of other good friends for insisting I find a lawyer to do that negotiation, for I would have been royally _____. The evil word as far as I'm concerned isn't so much "lawyer" as it is "business" (when associated with music). But business exists and is a huge part of it, so we'd better learn about it. This lesson has been a hard one for musicians since time began. I think having a lawyer willing to answer basic questions/offer some information on "how it works" to the uninitiated (i.e., myself) is a valuable thing. Cathi N. ========================================================================= Date: Thu, 29 Feb 1996 08:35:26 EST Reply-To: "David A. Pimmel" <103300.3331@COMPUSERVE.COM> From: "David A. Pimmel" <103300.3331@COMPUSERVE.COM> Subject: Re: Who is obsessing you? Toral Fernando wrote > I've spent the whole weekend with "If heartaches were nickels" by Kenny > Neal... I think there's a lot to hear by KN in the next years, when he'll surely > become one of the best bluesmen of the decade. As good as Kenny Neal's version of this song is, I prefer Billy Branch's cover on his his THE BLUES KEEP FOLLOWING ME AROUND cd. The song was written by Warren Haynes. Anyone have any info on him? This track, and in fact this whole album, features Billy wonderful harp work and Carl Weathersby's skilled guitar. Highly recommended if you want to hear some of the artist who will continue the blues tradition well into the next century. David Pimmel 103300.3331@compuserve.com ========================================================================= Date: Thu, 29 Feb 1996 08:49:22 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Lawyers on Blues-L Comments: To: Ian Angus On 29 Feb 96, Ian Angus had this to say... > It is inappropriate to respond to private mail in public. > > However, I don't agree with PW about the original post. > I thought uit met all the criteria for being viewed as a > superior post -- it was informative, well written, and > contained no explicit self-promotion at all. You are not saying so here, but I think that you and others may think that I have some objection to promoting yourself on Blues-L. I don't, and I never have. If it's related to what we are all here for, I say promote away. Unlike some, I recognized Attorney Heicklen's post as a bit of self promotion, however informative it was, and responded by suggesting that shopping an unsigned Blues artist probably wouldn't be very profitable (seeing as how the signed ones don't make all that much money). The private exchange that followed (at least private on my part) had to do with Attorney Heicklen feeling offended at the idea that I could interpret his post as having an ulterior motive. I didn't, and don't object to such self promotion, and I never suggested that Attorney Heicklen should not post such here. Our only differences are based on the fact that I don't believe that he did not intend to promote himself when he first made his "informative" post, (and a certain predisposition on my part in regards to lawyers in general). ========================================================================= Date: Thu, 29 Feb 1996 13:54:05 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Lawyers on Blues-L In-Reply-To: <9602290805.aa08373@admin.dis.on.ca> On Thu, 29 Feb 1996, Ian Angus wrote: > It is inappropriate to respond to private mail in public. > > However, I don't agree with PW about the original post. > I thought uit met all the criteria for being viewed as a > superior post -- it was informative, well written, and > contained no explicit self-promotion at all. I do think PW over-reacted somewhat. Past history on the list has part to play in it. He meant well. As I believe the lawyer probably meant well. I found his post interesting in either case. > > I am in no need of an entertainment lawyer (and given my inability > to carry a tune, I never will need one) Who knows, you may need one on that account, you know, assault with a deadly weapon :):):) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [29/2/96 8:46 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 29 Feb 1996 09:02:44 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Public posting of private mail. I'll take the flak on this one. It is really easy for someone to take a swipe at someone publicly and then go private w/ the rest of the conversation. The person dumped on loses twice - first they are publicly flamed and then flamed again for going public with private mail. Hard to know how to clear your name. Also would like to add my vote for our blues-l lawyer's post - 9000+bytes of information. I didn't find it offensive or self promoting - but hey I'm a sucker for information. Barry WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 29 Feb 1996 09:24:49 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Lawyer Clark Blues (a plea to stop chopping) Comments: To: mjh@primenet.com In a half-hearted attempt to bring this thread around to the ACTUAL content of this list, I am pointing out that Sleepy John Estes had NO problem with lawyers and in fact wrote a wonderful song, "Lawyer Clark Blues," about a specific Lawyer: Now, Mr. Clark is a lawyer, He's the goodest I've ever seen, He's the first man that proved that Water'd run upstream You know, I like Mr. Clark, Yes, he really is my friend He say if I just stay out of the grave Oh, John, I'll see you won't go to the pen. The lyrics to this song have a permanent place on my law office bulletin board. What brought this on? In a message dated 96-02-28 13:21:41 EST, mjh@PRIMENET.COM (Michael Heicklen) wrote two snotty responses to P.W.'s slightly snotty reply to lawyer Heicklen's obvious bit of unsought solicitation of clients. (I'm not going to quote them, they've gotten kinda boring). I thought PW had kind of covered it, so I didn't see the need to respond (other than to private email PW that, as a lawyer, I didn't much like the concept of chopping attorneys). Tom Freeland ========================================================================= Date: Thu, 29 Feb 1996 09:25:21 -0500 Reply-To: Meadors From: Meadors Subject: Re: Public posting of private mail. My vote on the lawyer thing is the same as my vote on any of the letters you don't like in this group: If it bothers you, just delete it and go on. Maybe the offender's comments might be of value to someone else in the group. Just delete and let it go ... Mike Meadors Orange3@gnn.com ========================================================================= Date: Thu, 29 Feb 1996 06:43:42 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Lawyers on Blues-L Not to speak for PW or anything, but can't you folks see that this was a blatant advertisement for personal services? To deny it is ridiculous, in my opinion. There are plenty of people on this list who are involved with record labels, artists, you name it. And some promotion is involved at times, to a certain extent. HOWEVER... I think all bluezellers are far more forgiving and accepting (and enjoy posts from) people who post helpful info regularly - on any topic that is brought up, if they have something interesting or informative to add. Witness the reaction to the John Lee goofs (not Rosebud, but the cosmic pizza/fluffy the cat guys), Doyle whatsisname with his guitar string, and now the lawyer - all first posts to the list, all ticked some people off. I've got no problem if the lawyer does a bit of shameless self-promotion...but contribute something to the list, and make yourself known to list members before starting! All IMHO, of course. -Jim (hndfuL@uniserve.com) ========================================================================= Date: Thu, 29 Feb 1996 07:19:23 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Mar. 1 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BELAFONTE,HARRY (v) b. 1927-0301, HARLEM, NY BROWN, DANNY (owner: JEWEL BOX REVUE) d. 1976-0301, HALLANDALE, FL -- CONNORS, NORMAN (d) b. 1948-0301, PHILADELPHIA, PA DAVIS, WALTER (p/BLUEBIRD REC) b. 1912-0301, GRENADA, MS DAVIS, WARREN (of THE MONOTONES) b. 1939-0301, NEWARK, NJ GLEASON, RALPH J. (music critic) b. 1917-0301, NEW YORK CITY, NY GREEN, FREDDIE (g/COUNT BASIE) d. 1987-0301, LAS VEGAS, NV 75 HARRIS, JOE (asax/FATS DOMINO) d. 1980-0301, NEW ORLEANS, LA 60s HEGAMIN, LUCILLE [LUCILLE NELSON] d. 1970-0301, NEW YORK CITY, NY 75 HOLIDAY, CLARENCE E. (g/BILLIE'S father) d. 1937-0301, DALLAS, TX 38 KAPP, DAVE (prod/owner: KAPP REC) d. 1976-0301, NEW YORK CITY, NY 72 MARSH, DAVE (music critic) b. 1950-0301, PONTIAC, MI MITCHELL, WILLIE (tpt/arr/prod/HI REC) b. 1928-0301, ASHLAND, MS PAYNE,ODELL"ODIE" JR. (d/ELMORE JAMES) d. 1989-0301, CHICAGO, IL 62 PERRY, EMORY"JOHNNY" (of MARVIN & JOHNNY) b. 1928-0301, SHERMAN, TX PINDER, RAYMOND (of PINDAR FAMILY/SPENCE) d. 1981-0301, NASSAU, BAHAMAS 73 SAIN, OLIVER JR. (prod/tsax) b. 1932-0301, DUNDEE, MS SHARP, ELLIOT (E#) (g) b. 1951-0301, CLEVELAND, OH TIMMONS, BOBBY (p/RIVERSIDE REC) d. 1974-0301, NEW YORK CITY, NY 38 WASHINGTON, LEROY (g/EXCELLO REC) b. 1932-0301, PALMETTO, LA ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 29 Feb 1996 07:21:58 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Mar. 2 Here's a few dates (b. born, d. death) for Saturday. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BATES, LEROY "LEFTY" (g) d. 1991-0302, INDIANAPOLIS, IN 66 CARLTON, LARRY (g) b. 1948-0302, TORRENCE, CA CHAMBERS,WILLIE(of THE CHAMBERS BROTHERS) b. 1938-0302, LEE COUNTY, MS CHRISTIAN, CHARLIE (g) d. 1942-0302, NEW YORK CITY, NY 25 DARBY, TEDDY BLIND (g) b. 1906-0302, HENDERSON, KY DAVIS, EDDIE "LOCKJAW" (tsax) b. 1921-0302, NEW YORK CITY, NY DUNN, ROY (g/TRIX REC) d. 1988-0302, ATLANTA, GA 66 GALLAGHER, RORY (g) b. 1948-0302, BALLYSHANNON,IRELAN HALL, BOB (songw) d. 1984-0302, -- HARRIS, JAMES "SHAKEY JAKE" (hca) d. 1990-0302, PINE BLUFF, AR 68 KEEPNEWS, ORRIN(co-founder:RIVERSIDE REC) b. 1923-0302, NEW YORK CITY, NY LIGHTFOOT, GEORGE "PAPA" (hca) b. 1924-0302, NATCHEZ, MS PINKSTON, THOMAS L. (g/vln) d. 1980-0302, MEMPHIS, TN 79 ROBINSON, JAMES "BAT THE HUMMING BIRD"(p) d. 1957-0302, ST. LOUIS, MO 53 SAUNDERS, THEODORE "RED" (d) b. 1912-0302, MEMPHIS, TN STERLING, ARNOLD (asax/JIMMY MCGRIFF) b. 1938-0302, BALTIMORE, MD TRENIER, CLIFF (of THE TRENIER TWINS) d. 1983-0302, LAS VEGAS, NV 63 ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 29 Feb 1996 07:22:40 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Mar. 3 Here's a few dates (b. born, d. death) for Sunday. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BLAINE, JERRY (owner: JUBILEE-JOSIE REC) d. 1973-0303, LONG ISLAND, NY 62 GARRISON, JIMMY (b/JOHN COLTRANE) b. 1934-0303, MIAMI, FL HAMLETT, ROBERT (of FAIRFIELD FOUR) b. 1931-0303, NASHVILLE, TN HARRINGTON, HOUSTON H.(owner:ATOMIC-H REC)b. 1924-0303, MACON, MS MOORE, WILLIAM "RAGTIME MILLIONAIRE" (g) b. 1893-0303, TAPPAHANNOCK, VA PARKER, HERMAN "LITTLE JUNIOR" (hca) b. 1927-0303, WEST MEMPHIS, AR PRIMER, JOHN [ALFONZO PRIMER] (g) b. 1946-0303, CAMDEN, MS SMALLS, CLIFF (p/EARL BOSTIC) b. 1918-0303, CHARLESTON, SC STACKHOUSE,HOUSTON JR. (of KING BIS FEST) b. 1956-0303, WEST HELENA, AR WEINBERG, RALPH (promoter) d. 1953-0303, COLUMBIA, SC 57 ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 29 Feb 1996 07:23:22 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Mar. 4 Here's a few dates (b. born, d. death) for Monday. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ARMSTRONG, HOWARD (of MARTIN,BOGAN & ) b. 1909-0304, LA FOLLETTE, TN GOOD ROCKIN' CHARLES[HENRY LEE BESTER](hcab. 1933-0304, TUSCALOOSA, AL GREENFIELD, HOWIE (songw) d. 1986-0304, LOS ANGELES, CA 49 GRIMES, LLOYD "TINY" (g) d. 1989-0304, NEW YORK CITY, NY 72 HODES, ART (p) d. 1993-0304, HARVEY, IL 88 JOHNSON, WILLIE (g/HOWLIN' WOLF) b. 1923-0304, LAKE CORMORANT, MS MAKEBA, MIRIAM [ZENSI MIRIAM MAKEBA] (v) b. 1932-0304, JOHANNESBURG,AFRICA MANUEL, RICHARD (of THE BAND) d. 1986-0304, WINTER PARK, FL 40 MATTHEWS, DAVID (p/arr/JAMES BROWN) b. 1942-0304, SONORA, KY MCNAIR, BARBARA (v) b. 1939-0304, RACINE, WS REESE, NAT (g) B. 1924-0304, SALEM, VA ROBESON, ORLANDO (v/CLAUDE WILLIAMS) b. 1909-0304, TULSA, OK SCHLITTEN, DON (owner: XANADU REC) b. 1932-0304, NEW YORK CITY, NY SHAW, TOM (g/BLUE GOOSE/ADVENT REC) b. 1908-0304, BRENHAM, TX SILVER, AL (owner: HERALD/EMBER REC) d. 1992-0304, FORT LAUDERDALE, FL 78 WALKER, WILLIE BLIND (g) d. 1933-0304, GREENVILLE, SC 37 WILLIAMS, BERT (v/black vaudville) d. 1922-0304, NEW YORK CITY, NY 47 WOMACK, BOBBY [ROBERT DWAYNE WOMACK] (v) b. 1944-0304, CLEVELAND, OH ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 29 Feb 1996 07:24:15 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Mar. 5 Here's a few dates (b. born, d. death) for Tuesday. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BELUSHI, JOHN "JAKE BLUES" (v/BLUES BROS) d. 1982-0305, HOLLYWOOD, CA 33 HOWELL, JOSHUA BARNES "PEG LEG" (g) b. 1888-0305, EATONTON, GA LENOIR, J. B. (g) b. 1929-0305, MONTICELLO, MS MACKEY, BERNARD (of THE INK SPOTS) d. 1980-0305, MIAMI, FL 70 MCFARLAND, RICO (g/JAMES COTTON) b. 1960-0305, CHICAGO, IL MCKEE, JULIUS (of THE DIRTY DOZEN) b. 1967-0305, NEW ORLEANS, LA NATHAN, SYD (owner: KING/FEDERAL REC) d. 1968-0305, MIAMI BEACH, FL 63 PETERS, LOWELL (lead/THE SOUTHERNAIRES) b. 1903-0305, CLEVELAND, TN POTTER, TOMMY (b/CHARLIE PARKER) d. 1988-0305, 69 RODGERS, GENE (p/arr/BEACON REC) b. 1910-0305, NEW YORK CITY, NY SAUNDERS, THEODORE "RED" (d/OKEH REC) d. 1981-0305, CHICAGO, IL 68 TAYLOR,JAMES A.(lead/BIRMINGHAM SUNLIGHTS)b. 1951-0305, BIRMINGHAM, AL TUCKER, TOMMY [ROBERT HIGGINBOTHAM] (g) b. 1933-0305, SPRINGFIELD, OH WASHINGTON, BERNIE (1st Black DJ) d. 1989-0305, PITTSBURGH, PA 83 WATERS, WILSON "LIT" (of FAIRFIELD FOUR) b. 1931-0305, NASHVILLE, TN WILLIS, RUTH (v/BLIND WILLIE MCTELL) d. 1962-0305, ATLANTA, GA 64 ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 29 Feb 1996 07:24:58 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Mar. 6 Here's a few dates (b. born, d. death) for Wednesday. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- AUSTIN, BILLY (songw/LOUIS JORDAN) b. 1896-0306, DENVER, CO CALLENDER, GEORGE "RED" (b/EXCLUSIVE REC) b. 1916-0306, HAYNESVILLE, VA CLARK, DAVE (promoter/songw/MALACO REC) b. 1909-0306, JACKSON, TN DURHAM, EDDIE (tbn/g/arr/BASIE) d. 1987-0306, BROOKLYN, NY 80 HAWKINS, "WALKIN' & TALKIN' BILL" (dj) d. 1975-0306, CLEVELAND, OH 65 JACKSON, PERCY JR. (conga/JIMMY FORREST) b. 1929-0306, ST. LOUIS, MO JOHNSON, MATTIE (of THE STARS OF FAITH) d. 1988-0306, WASHINGTON, DC -- JONES, BOBBY (tsax) d. 1980-0306, MUNICH, GERMANY 51 JONES, LARRY LEE (d) b. 1953-0306, CHICAGO, IL LEWIS, WALTER "FURRY" (g) b. 1893-0306, GREENWOOD, MS MONTGOMERY, JOHN LESLIE "WES" (g) b. 1923-0306, INDIANAPOLIS, IN RASCOE, MOSES LEE (g/FLYING FISH REC) d. 1994-0306, LEBANON, PA 76 RUTH, THURMON(lead/SELAH JUBILEE SINGERS) b. 1914-0306, POMARIA, SC SEALE, JEFF (BLUES-L MEMBER) b. 1966-0306, LUBBOCK, TX VANDERPOOL, SYLVIA (of MICKEY & SYLVIA) b. 1936-0306, NEW YORK CITY, NY WATKINS, LOVELACE (v) b. 1938-0306, NEW BRUNSWICK, NJ WILLS, BOB (fiddle/TEXAS PLAYBOYS) b. 1905-0306, KOSSE, HALL CTY, TX WILSON, DELROY (v) d. 1995-0306, KINGSTON, JAMAICA 46 WILSON, MARY (of THE SUPREMES) b. 1944-0306, GREENVILLE, MS ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 29 Feb 1996 07:25:50 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Mar. 7 Here's a few dates (b. born, d. death) for Thursday. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BOHANNON, HAMILTON FRANK (d/arr/MOTOWN) b. 1942-0307, NEWNAN, GA CRAWFORD, ERNEST "BIG" (b/MUDDY WATERS) d. 1956-0307, MEMPHIS, TN 64 CURTIS, JAMES "PECK"(d/KING BISCUIT BOYS) b. 1912-0307, BENOIT, MS KLINK, AL (tsax/IN THE MOOD) d. 1991-0307, BRADENTON, FL 75 SMITH, WILLIE (asax) d. 1967-0307, LOS ANGELES, CA 57 YOUNG, LEE (d/LESTER YOUNG) b. 1917-0307, NEW ORLEANS, LA ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 29 Feb 1996 07:26:46 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Mar. 8 Here's a few dates (b. born, d. death) for March 8. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BARKSDALE, DON (owner: RHYTHM REC) d. 1993-0308, OAKLAND, CA 69 BURROW, CASSELL (v/d) b. 1914-0308, GALLOWAY, TN CALLENDER, GEORGE "RED" (b/EXCLUSIVE REC) d. 1992-0308, SAUGUS, CA 76 CHIN, NAPPY [CLARENCE RICHARD EVANS] (g) d. 1972-0308, DALLAS, TX 37 CHITTISON, HERMAN (p/ETHEL WATERS) d. 1967-0308, CLEVELAND, OH 58 COLEMAN, GEORGE (tsax/B. B. KING) b. 1935-0308, MEMPHIS, TN DAMERON, TADD (p/arr) d. 1965-0308, NEW YORK CITY, NY 48 ECKSTINE, BILLY (v/tbn/EARL HINES) d. 1993-0308, PITTSBURGH, PA 78 GORDY,RAYNOMA MAYBERRY (owner:SHRINE REC) b. 1937-0308, DETROIT, MI HALL, AL (b/owner: WAX REC) b. 1915-0308, JACKSONVILLE, FL HARTLEY, KEEF (d) b. 1944-0308, PRESTON, UK HOUSER, JOHN JR.(flute/BRADSHAW/SAUNDERS) d. 1974-0308, CHICAGO, IL 54 LOPEZ, JUAN (accordian/TEX-MEX) b. 1922-0308, JACKSON CTY, TX MCKERNAN, RON "PIGPEN"(hca/GRATEFUL DEAD) d. 1973-0308, CORTE MADERA, CA 27 PALMER, SINGLETON (b/tpt/JIMMY FORREST) d. 1993-0308, ST. LOUIS, MO 80 RAGUSA, PETE (d/NIGHTHAWKS) b. 1949-0308, WASHINGTON, DC ROBICHAUX, JOE (p/songw) b. 1900-0308, NEW ORLEANS, LA SHERRELL, CHARLES "SWEET" (v/JAMES BROWN) b. 1943-0308, NASHVILLE, TN SILVA, MICHAEL (d/BLACK & BLUE REC) d. 1990-0308, PARIS, FRANCE 64 SPECTER, JACK (dj) d. 1994-0308, GARDEN CITY, NY 66 STEADMAN, JOHN (owner: JSP REC) b. 1954-0308, LONDON, UK SZABO, GABOR (g) b. 1936-0308, BUDAPEST, HUNGARY TURNER, DANNY (asax/tsax) b. 1920-0308, FARRELL, PA WALKER, JIMMY (p) b. 1905-0308, MEMPHIS, TN WEST, MATTHEW "MAC" (of THE SPIDERS) b. 1926-0308, NEW ORLEANS, LA WOLFF, FRANCIS (co-owner: BLUE NOTE REC) d. 1971-0308, NEW YORK CITY, NY 64 YOUNG, G. D. (fife & drums) d. 1979-0308, TYRO, MS 82 ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 29 Feb 1996 07:27:37 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Mar. 9 Here's a few dates (b. born, d. death) for March 9. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BATES, WILLIAM "LEFTY" (b/VEE JAY REC) b. 1920-0309, LEIGHTON, AL BLACKWELL, BUMPS (p/prod/SPECIALTY REC) d. 1985-0309, HACIENDA HEIGHTS,CA 66 CROSSE, GAY S. (sax/GOTHAM REC) d. 1971-0309, CLEVELAND, OH 54 FORD, BILLY (of BILLY & LILLIE/SWAN REC) b. 1925-0309, BLOOMFIELD, NJ HUGHES, STEVE (hca/HEADS UP REC) b. 1948-0309, TX KING BISCUIT BOY [RICHARD NEWELL] (hca) b. 1944-0309, HAMILTON, ONTARIO LAQUATRA, JACK (VJM 78 collector) d. 1987-0309, PITTSBURGH, PA 78 LEE, LAURA [LAURA NEWTON RUNDLESS] (v) b. 1945-0309, CHICAGO, IL NELSON, CLARENCE (g) d. 1986-0309, MEMPHIS, TN 52 OSBORNE, JEFFREY (lead/L.T.D.) b. 1948-0309, PROVIDENCE, RI PRICE, LLOYD (v/p/songw) b. 1933-0309, NEW ORLEANS, LA SELLERS, THOMAS COLEMAN (prod/MOTOWN) d. 1988-0309, WAYNE, PA 39 SMITH, KEELY (v/LOUIS PRIMA) b. 1932-0309, NORFOLK, VA STUCKEY, HENRY (g/SKIP JAMES) d. 1966-0309, JACKSON, MS 69 SUGGS, JAMES DOUGLAS "J. D." (g) b. 1886-0309, KOSCIUSKO, MS VAUGHN,JIMMY(p/ALBERT KING/PHILLIP WALKER)d. 1991-0309, ST. LOUIS, MO 65 WHITE, GEORGIA [GEORGIA LAWSON] (p) b. 1903-0309, SANDERSVILLE, GA WOMACK, HARRY (of VALENTINOS/WOMACK BROS) d. 1974-0309, LOS ANGELES, CA 28 ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 29 Feb 1996 10:39:10 -0500 Reply-To: Matth54041@AOL.COM From: Matthew Collins Subject: Re: Lawyers on Blues-L Comments: To: hndful@uniserve.com Dear Jim, I thought his post was informative. If it contained self promotion, it also contained information every musician should know about. Kind regards, Mitch Collins From: James Carmin Subject: Lots of eRIC's DATES Sorry for posting eRIC's DATES a bit early, but I'm off to Houston (where coincidentally WC Clark is playing tomorrow night) and Orlando; so this means I'm NO MAIL right about now. Your regularly scheduled DATES will begin again on March 10. James C. jcarmin@teleport.com ========================================================================= Date: Thu, 29 Feb 1996 11:09:51 -0500 Reply-To: Rags From: Rags Subject: JLH_WINS!! Reminded me of BoogieNation's Pizza With JLH winning a Grammy, I thought of those terrible days when we discussed BoogieNation's Pizza ;) ;) Has JLH collaborated with other BLUES or JAZZ or even ROCK/POP artists... Any albums BLUEZELLERS can recommend... I have a 2 CD set called ALONE....complete ACOUSTIC stuff with JLH and his guitar recorded live.....Its on TOMATO RECORDS I believe....and its awesome.....I got the 2 CD set for about 7 or 8 bucks....the fellas at the shop did not know the value of it I presume.... ;) Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ It's dark And I'm Wearing Sunglasses......... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Thu, 29 Feb 1996 11:20:33 -0500 Reply-To: Rags From: Rags Subject: ROOTS+BLUES_NEXUS!!! I listen a lot to "World Music"....and have seen a definite connection between Roots music from Western Africa and Blues I am making this list of "BLUESY" music from different countries Anybody who has stuff to add to it...is most welcome... Country/Region Bluesy Music is called ------------------------------------------------------ Portugual FADO India GHAZAL Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ It's dark And I'm Wearing Sunglasses......... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Thu, 29 Feb 1996 11:36:59 -0500 Reply-To: Toronto Blues Society From: Toronto Blues Society Subject: grammy award - rob bowman Comments: cc: rflohil@INFORAMP.NET hey bluzellers, beyond the predictable nods to mr. hooker and mr. guy at this year's grammy awards, looms a local hero from our neck of the woods, rob bowman. previously nominted twice in the same category, liner notes, rob has finally been acknowledged for his tireless work and his specialty, the world of stax records. the work he has been acknowledged for, "the complete stax-volt soul singles, volume 3: 1972-75" is one in a series of liner note assignments that the prolific bowman has handled. if you have read them, or know of rob's work, you probably realize that the the guy is seriously inspired and driven. his mission in life seems to be to inform as many people as possible about the joys of funky soul music, a laudible mission indeed. locally, rob also teaches at york university, runs a record store (kops kollectibles/vortex), advises on various committees and arts councils and stimulates the world with provocative thought where ever he goes. his recent dedication to his stax book has taken him out of circulation more than we like. but,... we here in toronto are very proud that he has been acknowledged, and i just wanted to share that with you all. regards, derek andrews. derek andrews toronto blues society: http://www.io.org/~tbs/ harbourfront centre (973-4744, fax 973-8729) DAYTIME EMAIL: programming@harbourfront.on.ca http://www.ffa.ucalgary.ca/harbour/dwa/ ========================================================================= Date: Thu, 29 Feb 1996 10:12:36 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: Lawyer Clark Blues (a plea to stop chopping) In-Reply-To: <960229092448_156419718@mail06.mail.aol.com> On Thu, 29 Feb 1996, Tom Freeland wrote: > (other than to private email PW that, as a lawyer, I didn't much like the > concept of chopping attorneys). I agree. Shredding is much better. (Joke! It's a joke! Quit slapping!) T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "You've got to inspect your horn, boy." 'And wash it every day.' - Crow, MST3K ("Mr. B. Natural") ========================================================================= Date: Thu, 29 Feb 1996 10:30:42 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Was that your choice Just curious: out of all the NEW blues recordings you heard during 1995 was Buddy Guy and JLH YOUR favorites.... I did not hear the JLH cause I prefer JLH alone and his last couple that Roy Rogers produced did not move ME in the way that JLH should move me. I did listen to the Buddy Guy and that was not MY favorite, It didn't qualify as a "keeper" in my collection. I don't know if William Clarke's "Groove Time" was a '95 release or not, but as far as modern (mass acceptable) blues goes, that was the best new release I have heard in a long, long time. I can't think of many new recordings that move me. I was listening to Blind Willie Johnson Sunday morning (a very appropiate time for BWJ) and I told my friend that when there is stuff such as BWJ, Magic Sam, Wolf...etc I have no desire to buy a new recording. I guess that's a bad way to be, but I'm very satisified with those guys..... What was YOUR favorites for 1995 LW ========================================================================= Date: Thu, 29 Feb 1996 12:02:44 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: Origin Jazz Library Comments: To: "jose.eric.s.maglanque" In-Reply-To: <9602291215.AA1105@CServe-Hub4.inhouse.compuserve.com> I think they're distributed by Fantasy Records. Sorry I don't have the address handy. Jim Leftwich leftwich@cloud9.net come win a CD at Jim's Blues N Brews: http://www.cloud9.net/~leftwich On Thu, 29 Feb 1996, jose.eric.s.maglanque wrote: > Origin Jazz Library was a seminal player in the blues record business in the > 60's and 70's. Their anthologies then were fantastic and, for many, started it > all. > > Does the company still exist/do business? Have they been taken over or > bought? Where can you get OJL nowadays? I will appreciate any info > (specifically: e-mail and snailmail address, fax/phone no.) thru private > e-mail. Thanks! > ========================================================================= Date: Thu, 29 Feb 1996 15:31:16 EST Reply-To: Jim Miller From: Jim Miller Subject: Another Rule! Comments: To: BLUES-L So if you are new to this list you must contribute for a while. Then you have gained the right to solicit or promote or whatever. The thing I like about Blues-l rules is that they can always be overuled by the delete key. And by the way, I really am enjoying the little soap operas here on the list. Will LW recover from his unintended racial insensitivity? Will PW and friends convince the list that the lawyer was just a snotty novice? Does Mad Max really exist? I am SERIOUS folks,I really do get a kick out of all these little dramas. It sure beats the hell out of all those tiresome " Can anyone name blues songs that have amphibians as a topic" kind of posts. If blues is about emotion and everyday life we might as well have it displayed on the internet. Keep on emoting! ========================================================================= Date: Thu, 29 Feb 1996 09:13:58 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Lawyers on Blues-L Michael said: >Since you brought up these issues, lets talk about them. > >>Only one big problem.... >> >>He did not have a good lawyer >>and EVERY SINGLE LIMO RIDE, >>and EVERY SINGLE FANCY MEAL, >>and EVERY SINGLE DAY IN THE HOTEL, AND PHONE CALL, >> >>are all *BILLED AGAINST RECORD SALES"!! > >It is normal procedure for costs and expenses to be billed against >royalties. however, in this instance, here is my hypothosis: The label had >a bulk discount for the fancy meals, hotel, phone calls and limos. So, for >every dollar actually they spent, they charged triple or quadruple that to >the Artist's account. oh boyyy.... You know something, it's also normal procedure in human relationships to TELL people this stuff. But because it is buried in the contract somewhere, and they treat the artist as an adversary, the artist MUST have proper representation to advise him/her. Obviously I am blending the law and morals here... But I submit it is the seperation of law and morals that has brought the legal system to its present morass >>Did they tell him that in "Nashville"? What do YOU think? > >In almost all states, ignorance is not an excuse. You are presumed to have >read any documentation, regardless of the complexity (with some states >excepting type that it too small), that you sign. See above. Remember that many young artists are wrapped up in their music and actually trust these friendly big-shot types. The artist's ignorant naivety doesn't make it *right* to treat them so cynically and rapaciously. >>A good lawyer would have: >> >>negotiated a reasonable (lots less than 300,000.00) advance >>(it's called an *advance* because you OWE it to them btw) > >I understand your thinking, but in fact, I would have done just the opposite >- attempted to get a higher advance. Only 20% of the albums produced make >money. That means, for 80% of the artists, the only money they will ever see >will be the advance. You're right that the advance is chargeable against >royalties, but it is NEVER (unless you really flub big) reimburseable from >the dollars originally tendered. Well I know several people who were sued by the label to recoup advances. They ended up bankrupt. Also, newly-rich artists often whizz away those big advances on toys and two years later are suicidal. Big advances, and the lifestyle changes that often accompany them, often ruin careers. Personally I would *refuse* a big advance and negotiate for limits on returns, recoupables, and recording costs, and the right to renegotiate the royalty rate on the second album. I'm in it for the long run. Imagine what it feels like to move back in with your mom after getting a $300,000.00 advance two years earlier. Does *wonders* for your state of mind I'm sure, and that is bound to screw up your songwriting. >>told him to *fly coach* to Nashville and stay in the dang Motel Six, rent a >>Subaru to drive, and PUT THE MONEY IN THE BANK dammit! > >Sometimes, you can get the label to pick up certain charges, especially if >they are courting. This stuff should have been thrown in. But it all comes out of the artist's pocket at some point doesn't it? Walk into the meeting, tell them "I don't WANT the stupid limo, I don't need the hotel". Rent the Subaru, show up an hour early for sessions ready to go, avoid all the high-life excesses, and grind their BUTTS off in negotiations. Don't be a chump, make them take you seriously. There is no free lunch. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production & Event Services dcicchet@vega.lasierra.edu I looked over Jordan, and what did I see An Eldorado comin' after me comin' for to carry me home.. -- Dizzy Gillespie ____________________________________________________ ========================================================================= Date: Thu, 29 Feb 1996 12:47:59 -0500 Reply-To: Dave Markovits From: Dave Markovits Subject: Tiptitina's What happened to Tip's? I heard that they had closed. Supposedly it was up for sale. I have heard from several people that it is closed. Can anyone confirm this or give me anymore information. I love this place, a New Orleans treasure. David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Thu, 29 Feb 1996 12:37:38 -0400 Reply-To: sands2@MARSHALL.EDU From: Jim Sands Subject: information request I am currently working on a research paper concerning the blues. I've been able to find volumes of information on the music from the delta, Texas, and Chicago, but I have not had any luck finding out about musicians from Appalacia. If anyonehas any (ans I mean ANY) information concerning the blues in Appalacia please post it on the list or E-mail me directly. Thank you. Jim Sands sands2@marshall.edu ========================================================================= Date: Thu, 29 Feb 1996 12:01:29 -0600 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: Was that your choice > What was YOUR favorites for 1995 Albert Collins and The Icebreakers (Live '92 - '93). Bruce Roberts Austin, TX ========================================================================= Date: Thu, 29 Feb 1996 12:51:16 -0500 Reply-To: B CHICAGO From: B CHICAGO Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Long live the Million Dollar Secret! Comments: To: bit-listserv-blues-l@uunet.uu.net back in the spring of 1988 valerie & koko taylor performend at blue chicago blues bar in chicago on a friday & saturday. it was probably the best blues show that i have ever seen. valerie did alot of besse smith songs & she stole the show. ========================================================================= Date: Thu, 29 Feb 1996 18:03:12 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Origin Jazz Library In-Reply-To: On Thu, 29 Feb 1996, James Leftwich wrote: > I think they're distributed by Fantasy Records. Sorry I don't have the > address handy. > This it? FANTASY INC., SPECIALTY RECORDS, 2600 10TH ST., BERKELEY, CA. 94710-9887 phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [29/2/96 13:01 PM] "Thursday's always sad..." ========================================================================= Date: Thu, 29 Feb 1996 11:07:17 -0700 Reply-To: Michael Heicklen From: Michael Heicklen Subject: Re: Lawyers on Blues-L Comments: To: Don Cicchetti Don: The points you make are excellent, and it really depends on the individual. There are no hard and fast, set in stone, contract provisions in a recording deal - its all about what you can negotiate. The more they want you, the more non-recoupable perks (an better terms) you can get at their expense. And by the way, there is not necessarily a correlation between your being in it for the long run, and the label being so. The label will base its decision on economics, not ability or personality (though some, if they have a large enough investment, will stick it out to the last minute). The truth is, most record companies commit to a single L/P or E/P (sometimes without even the obligation to release, just to make the recording), with numerous options. These options are at the sole discretion of the label - and are NEVER good for the artist - NEVER (or at least I have not seen a single instance in which they have been). Under these circumstances, it is the label that holds most of the cards, and they decide whether the artist is in it for the long run. Getting additional compensation or advances up front can actually increase your chances of having the options optioned (if that's a sentence). Just like gambling, if the first album is a bomb, the more money the label has in the deal, the more likely it may be to put in additional cash in an attempt to recoup with a subsequent album. Further, once an artist gets a deal of that magnitude, I always suggest he IMMEDIATELY (do not pass go, do not collect $200.00 before doing so), IMMEDIATELY, IMMEDIATELY (times ten) hire a trustworthy business manager. Business managers fulfill a very specific role. They are usually a combination of an accountant and an investment broker type, and they know how and where to put the money to protect it. Anyway, back to the grind, and talk to you later. Michael Heicklen At 09:13 AM 2/29/96 -0800, Don Cicchetti wrote: >Michael said: > >>Since you brought up these issues, lets talk about them. >> >>>Only one big problem.... >>> >>>He did not have a good lawyer >>>and EVERY SINGLE LIMO RIDE, >>>and EVERY SINGLE FANCY MEAL, >>>and EVERY SINGLE DAY IN THE HOTEL, AND PHONE CALL, >>> >>>are all *BILLED AGAINST RECORD SALES"!! >> >>It is normal procedure for costs and expenses to be billed against >>royalties. however, in this instance, here is my hypothosis: The label had >>a bulk discount for the fancy meals, hotel, phone calls and limos. So, for >>every dollar actually they spent, they charged triple or quadruple that to >>the Artist's account. > >oh boyyy.... You know something, it's also normal procedure in human >relationships to TELL people this stuff. But because it is buried in the >contract somewhere, and they treat the artist as an adversary, the artist >MUST have proper representation to advise him/her. > >Obviously I am blending the law and morals here... But I submit it is the >seperation of law and morals that has brought the legal system to its >present morass > > >>>Did they tell him that in "Nashville"? What do YOU think? >> >>In almost all states, ignorance is not an excuse. You are presumed to have >>read any documentation, regardless of the complexity (with some states >>excepting type that it too small), that you sign. > >See above. Remember that many young artists are wrapped up in their music >and actually trust these friendly big-shot types. The artist's ignorant >naivety doesn't make it *right* to treat them so cynically and rapaciously. > > > >>>A good lawyer would have: >>> >>>negotiated a reasonable (lots less than 300,000.00) advance >>>(it's called an *advance* because you OWE it to them btw) >> >>I understand your thinking, but in fact, I would have done just the opposite >>- attempted to get a higher advance. Only 20% of the albums produced make >>money. That means, for 80% of the artists, the only money they will ever see >>will be the advance. You're right that the advance is chargeable against >>royalties, but it is NEVER (unless you really flub big) reimburseable from >>the dollars originally tendered. > > >Well I know several people who were sued by the label to recoup advances. > >They ended up bankrupt. Also, newly-rich artists often whizz away those >big advances on toys and two years later are suicidal. Big advances, and >the lifestyle changes that often accompany them, often ruin careers. > >Personally I would *refuse* a big advance and negotiate for limits on >returns, recoupables, and recording costs, and the right to renegotiate the >royalty rate on the second album. I'm in it for the long run. > >Imagine what it feels like to move back in with your mom after getting a >$300,000.00 advance two years earlier. Does *wonders* for your state of >mind I'm sure, and that is bound to screw up your songwriting. > > >>>told him to *fly coach* to Nashville and stay in the dang Motel Six, rent a >>>Subaru to drive, and PUT THE MONEY IN THE BANK dammit! >> >>Sometimes, you can get the label to pick up certain charges, especially if >>they are courting. This stuff should have been thrown in. > >But it all comes out of the artist's pocket at some point doesn't it? > >Walk into the meeting, tell them "I don't WANT the stupid limo, I don't >need the hotel". > >Rent the Subaru, show up an hour early for sessions ready to go, avoid all >the high-life excesses, and grind their BUTTS off in negotiations. > >Don't be a chump, make them take you seriously. > >There is no free lunch. > > > >DC > > >____________________________________________________ >Don Cicchetti >La Sierra University Library Media Services >Audio/Video/Computer/Satellite >Studio Production & Event Services >dcicchet@vega.lasierra.edu > > >I looked over Jordan, and what did I see >An Eldorado comin' after me >comin' for to carry me home.. > >-- Dizzy Gillespie >____________________________________________________ > > ========================================================================= Date: Thu, 29 Feb 1996 13:20:43 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: amphibians Jim Miller wrote ... > I am SERIOUS folks,I really do get a kick out of all these little > dramas. It sure beats the hell out of all those tiresome " Can anyone name blues > songs that have amphibians as a topic" kind of posts. Now there is a topic for a thread! - Alligator Meat (Joe Swift/Johnny Otis) (my personal favorite) - Frog Legs (Early Lloyd Price) - Fattening Frogs for Snakes Any more? Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Thu, 29 Feb 1996 11:21:24 -0700 Reply-To: Michael Heicklen From: Michael Heicklen Subject: Lawyer Clark Blues (a plea to stop chopping) What brought this on? In a message dated 96-02-28 13:21:41 EST, mjh@PRIMENET.COM (Michael Heicklen) wrote two snotty responses to P.W.'s slightly snotty reply to lawyer Heicklen's obvious bit of unsought solicitation of clients. (I'm not going to quote them, they've gotten kinda boring). Tom Freeland Who's soliciting? Remember Mr. Freeland, polls have shown the country is rejecting negative advertising. ========================================================================= Date: Thu, 29 Feb 1996 12:23:34 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: 1995 favorites 1. Syl Johnson "Back to game again" (Delmark) 2. RL Burnside "Too Bad Jim" (Fat Possum/Capricorn) (if we consider it 1995 release) 3. Mississippi Fred McDowell (Rounder) 4. Paul "Wine" Jones "Mule" (Fat Possum/Capricorn) 5. Big Maybelle "The Complete OKEH Sessions" (Sony-Legacy) (I know this is re-issue, and I know this is from 1994, but I bought it in 1995 and this is one of the BEST DAMN albums I bought in my ENTIRE life!!!! Big Maybelle is BIG) Ranko ========================================================================= Date: Thu, 29 Feb 1996 13:25:28 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Tiptitina's Comments: To: Markovd@metamor.com In a message dated 96-02-29 13:23:58 EST, Markovd@METAMOR.COM (Dave Markovits) writes: >What happened to Tip's? I heard that they had closed. Supposedly >it was up for sale. I have heard from several people that it is >closed. Can anyone confirm this or give me anymore information. >I love this place, a New Orleans treasure. Positively still open, ran a full schedule during Mardi Gras (including the apparently-now-annual P-Funk show). Tom Freeland ========================================================================= Date: Thu, 29 Feb 1996 13:19:33 EST Reply-To: george morales From: george morales Organization: TEMPLE UNIVERSITY Subject: LIve blues in Phila PA, USA Two upcoming live blues performances are 2/29/96 - KOKO TAYLOR at Warmdaddy's 4 So. Front St Phila PA 3/3/96 - CLARENCE SPADY at Jake & Oliver's 22 S. Third St Phila this is a "house of brews fest" featuring sampling of 100 american microbrews and imported specialty beers 3/9/96 - JAMES COTTON at the Electric Factory 7th & Willow with The Nighthawks and Paul Geremia as opening acts Johnny Meister from WXPN will be hosting the show +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ | | | GEORGE MORALES GEORGEM@TEMPLEVM | | COMPUTER AND INFORMATION SERVICES GEORGEM@VM.TEMPLE.EDU | | TEMPLE UNIVERSITY (215)204-6866 | | | +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Thu, 29 Feb 1996 18:39:41 -0600 Reply-To: Patrik Urbansson From: Patrik Urbansson Sorry to have to post this to the list but I have been unable to email Rosebud agency. About Monsteras Blues Festival (Sweden). Contact Calle Engstrom at Tel/Fax +49 499 173 85. Best regards Patrik New email: patrik.urbansson@public.kalmar.se ========================================================================= Date: Thu, 29 Feb 1996 13:27:19 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: amphibians Comments: To: Ian Angus On 29 Feb 96, Ian Angus had this to say... > Jim Miller wrote ... > > > I am SERIOUS folks,I really do get a kick out of all these little > > dramas. It sure beats the hell out of all those tiresome " Can anyone name blues > > songs that have amphibians as a topic" kind of posts. > > Now there is a topic for a thread! > > - Alligator Meat (Joe Swift/Johnny Otis) (my personal favorite) > > - Frog Legs (Early Lloyd Price) > > - Fattening Frogs for Snakes > > Any more? "It's Not Easy Being Green" by Kermit P.W. Fenton Tampa, Florida ------------------------------------------------------------- While you are in cyberspace, visit the Tomb of the Unknown Bluesman at http://www.gate.net/~pwfenton ------------------------------------------------------------- ========================================================================= Date: Thu, 29 Feb 1996 13:48:38 -0400 Reply-To: Ian Angus From: Ian Angus Subject: One Monkee As a result of 2 CD purchased I made yesterday, I can pose these R&B/Blues trivia questions... Q. What do the following artists have in common: Sticks McGhee; Big Maybelle; Sonny Terry & Lightnin Hopkins; Joe Tex; The Honeycones; Bobby Rush A. All of them recorded a song called "One Monkee Don't Stop No Show." Q. So what? Lots of songs are recorded by multiple artists. A. This is not one song recorded by six artists. It is SIX DIFFERENT SONGS, all with the same title, "One Monkee Don't Stop No Show." I don't know of any other title which has been used this often for completely different songs. Can anyone suggest any? (And can anyone find a seventh "One Monkee" song?) Ian Angus ("Built for comfort, etc.") PS: I plan to play all six on Blue Soul on Wednesday March 13 (CKLN-FM, 88.1, Wednesdays, 8pm to 10pm) If you're nearby, listen in. -- ============================================================ IAN ANGUS Tel: 905-686-5050 ext 222 Angus TeleManagement Group Fax: 905-686-2655 8 Old Kingston Road e-mail: ianangus@angustel.ca Ajax Ontario Canada L1T 2Z7 http://www.angustel.ca ============================================================ ========================================================================= Date: Thu, 29 Feb 1996 15:03:05 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: bluesnet.com is not BluesNet First of all, my apologies for the low blues content of this post. As many of you know, I've been running a web site called BluesNet for a couple of years. However, in December someone registered "bluesnet.com" as an internet domain name. Just to avoid confusion, I want to stress that neither I nor my BluesNet web site are in no way affilliated with anyone hailing from "bluesnet.com". -Rob ps: The URL for my BluesNet site is: http://dragon.acadiau.ca/~rob/blues/ ========================================================================= Date: Thu, 29 Feb 1996 13:04:26 CST Reply-To: JBards From: JBards Subject: Re: Another Rule! Comments: To: Jim Miller You know, my take on this is a little different from both the group that was "for" the lawyer's post and the group that was "agin". And first, to clarify: PW never complained about the self-promotional nature of the original post. He complained that /a private email was made public/. That certainly violates all convention, irrefutably. Maybe it was just a newbie error, but really, ANYONE should know better, if he understood it was a private and not a public email. Second, as to self-promotion: I don't object to self-promotion if: (1) it is obviously labelled as such- as in " Oh, and by the way, I'm a lawyer and I have some vacant billable 1/4 hours, should anyone need some legal help. In this instance I felt a bit suckered in by the post, since when one gets to the end of what was ( to give him credit) an otherwise well-written and interesting discourse, one is suddenly solicited by the closing. This is a little disengenuous, I think. It gives me the impression that the writeer did not post to participate in the group conversation, but rather only to self-promote, and it makes me feel a little used. Which brings me to the second point: I don't have any problem with anyone who participates here also popping up occasionally to say " hey, guess what, I'm playing at Fatso's on Friday! Come See Me!" or " Lucky Peterson is playing at the Emporium on Saturday the 5th." I do get irritated when writers show up ONLY to promote their venues, and not to particpate in other aspects of the dialog, like Mr. Myers of the Emporium fame, above, who posts only to promote his bar ( which is a GREAT place, I've been there) or the Blues Cruise. I think it's rude as hell, but I doubt there's anything I can do to change this, since he did the same thing on Prodigy for years and probably doesn't read anyone else's posts unless one of his bookings shows up in the subject line. It's a shame, too, because being in the business as long as he has and being around all these great acts, I think he's got to have something to say. That's my $.02's worth for the day. -Jim _______________________________________________________________________________ Subject: Another Rule! From: Jim Miller at INTERNET-SH Date: 02/29/96 11:58 AM So if you are new to this list you must contribute for a while. Then you have gained the right to solicit or promote or whatever. The thing I like about Blues-l rules is that they can always be overuled by the delete key. And by the way, I really am enjoying the little soap operas here on the list. Will LW recover from his unintended racial insensitivity? Will PW and friends convince the list that the lawyer was just a snotty novice? Does Mad Max really exist? I am SERIOUS folks,I really do get a kick out of all these little dramas. It sure beats the hell out of all those tiresome " Can anyone name blues songs that have amphibians as a topic" kind of posts. If blues is about emotion and everyday life we might as well have it displayed on the internet. Keep on emoting! ========================================================================= Date: Thu, 29 Feb 1996 13:13:04 CST Reply-To: William Shute From: William Shute Subject: What was YOUR choice (reply) From: Bill Shute To give yet another plug to a few favorites which I feel are also among the BEST of '95 and overlooked by the Grammy Awards, JIMMY DAWKINS B Phur Real LOWELL FULSON Them Update Blues GUY FORSYTH BAND Needle Gun DOUG SAHM Last Real Texas Blues Band LITTLE BUSTER AND THE SOUL BROTHERS RIght On Time newest Larry Garner on Verve/Gitanes (sorry, forgot the name) JOE GUITAR HUGHES Texas Guitar Slinger (Billy Boy Arnold's new one I'd choose, but most of us didn't hear it until Jan. 96) Like LW, I prefer Mr. Hooker WITHOUT Roy Rogers. As for Buddy Guy's latest, it's solid, but it's not STONE CRAZY. There's my $.02 worth. Bill Shute San Antonio, TX (happy Sadie Hawkins day to you all!) ========================================================================= Date: Thu, 29 Feb 1996 14:16:08 -0500 Reply-To: TomFinn107@AOL.COM From: Tom Finnegan Subject: Roy Buchanan-trade & buy If anyone knows of any Roy material out there, I am very interested. I have some great tapes of him to trade. ========================================================================= Date: Wed, 28 Feb 1996 13:15:56 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: amphibians At 01:20 PM 2/29/96 +0000, Ian Angus wrote: >Now there is a topic for a thread! > >- Alligator Meat (Joe Swift/Johnny Otis) (my personal favorite) > >- Frog Legs (Early Lloyd Price) > >- Fattening Frogs for Snakes > "Walkin' the Frog" - Rufus Thomas "One Frog Don't Stop No Show" - Joe Tex "You and Me and a Frog Named Blue" - every kid who ever took three accoustic guitar lessons.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Thu, 29 Feb 1996 13:21:51 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: New John Primer - review HERE IS REVIEW OF NEW JOHN PRIMER. FORGIVE ME MY ENGLISH, DIDN'T HAVE TIME TO WORK ON IT MORE. Ranko John Primer "Real Deal" Code Blue/Atlantic 82863-2 It doesn't happen often that you wish that the warm-up bend takes a little more time and that the entrance of the leading performer is delayed. That exactly happened to me every time I saw a Magic Slim and the Teardrops show. Not to take anything from Magic Slim, he is a legendary bluesman and great performer, but John Primer and the Teardrops usually put quite a show for a warm-up band. That was also an occasion to hear John Primer as the bandleader, singer and the lead guitarist. Magic Slim had one of the best sidemen in the blues business! On his first album for Code Blue label, titled "Real Deal," John Primer proves that he is a good band leader as well. This time, John Primer and producer, Mike Vernon, put together an exciting band that included harpist Billy Branch, bassist Johnny B. Gayden, drummer Earl Howell, and rhythm guitarist Jake Dawson. After years of playing with Muddy Waters, Willie Dixon, and Magic Slim, a few obscure solo albums, expectations were high for this album. And John Primer delivered! The sound is pure Chicago blues at its best! It is a blend of six originals and six covers of more or less obscure songs. The album opens with Bob Greenlee's "Stop Draggin' That Chain Around." It sets the tone for the entire album with Primer's clean and melodic solos, confident if not great singing, and James Cotton style harp riffs by one of the best young harp players in the Chicago blues scene, Billy Branch. The best value of this album is its consistency. Songs are well crafted and performed and there are no leftovers included. Primer's originals are good songs that show various influences, but all performed in a unique John Primer style. "Still in Love With You" shows the influence of 13 years spent with Magic Slim; this song could very well fit in a Magic Slim album. "How Long Will You Be Mine" is a John Primer's interpretation of the Elmore James slide riff. "I called My Baby" sounds like Muddy Waters in his Blue Sky days. Although influences are obvious, each songs is also obviously a typical John Primer. Funky Albert King's "She Won't Gimme No Lovin'," one of John Primer's live favorites, and rockin' original "Cryin' For Your Love" will with no doubt be crowd favorites. The album closes with original and hard-rocking "Tired and Worried." John Primer may be tired after spending time recording this album, but we can only appreciate his effort and remain less worried for the future of the blues. Last but not least, the production of this album, done by Mike Vernon, is right on the money - the way a Chicago blues album should be produced. The sound is clean but not overproduced, all instruments are easy to hear. This album is highly recommended. It is a Chicago blues sound of 90's. We can only hope that John Primer's solo carrier will pick up and he receive well deserved recognition. ========================================================================= Date: Thu, 29 Feb 1996 19:22:21 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: amphibians In-Reply-To: <9602291312.aa19633@admin.dis.on.ca> On Thu, 29 Feb 1996, Ian Angus wrote: > > Now there is a topic for a thread! > > - Alligator Meat (Joe Swift/Johnny Otis) (my personal favorite) > > - Frog Legs (Early Lloyd Price) > > - Fattening Frogs for Snakes > > Any more? Hawkins, Screamin' Jay Voodoo Jive Alligator Wine Lester, Lazy Harp & Soul Alligator Shuffle Walker, Joe Louis Blue Soul Alligator Clarke, William Serious Intentions Chasin' The Gator Heat, Mississippi Learned The Hard Way Bullfrog Hop Thackery, Jimmy Trouble Man Bullfrog phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [29/2/96 14:15 PM] "Thursday's always sad..." ========================================================================= Date: Thu, 29 Feb 1996 14:30:12 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: amphibians Comments: To: pwfenton@gate.net In a message dated 96-02-29 14:16:36 EST, pwfenton@GATE.NET (P.W. Fenton) writes: >> - Alligator Meat (Joe Swift/Johnny Otis) (my personal favorite) >> >> - Frog Legs (Early Lloyd Price) >> >> - Fattening Frogs for Snakes You CAN'T forget "Ain't Got No Home" ("I can sing like a frog" and "I'm a lonely frog") by Clarence "Frogman" Henry Tom Freeland ========================================================================= Date: Thu, 29 Feb 1996 19:36:30 GMT Reply-To: william higdon From: william higdon Organization: michigan state university Subject: Music Theory/Blues Comments: To: bit-listserv-blues-l@relay2.uu.net Last year I took a music theory course, and learned the basics about scales, intervals. since then I've learned "the 12 bars", where all of the notes in the G major pentatonic scale are on the guitar (and all of a sudden I can kinda play solos!). These days whenever I read tab (often), I think about whethter I'm playing a 3rd, 7th or whatever. My playing has come a long way in a year or so, so I would encourage anyone who's remotely interested in this direction to pursue it. I want to know if someone could recommend a good book on music theory which is very applicable to guitar. thanks. Observation. In the couple of insructional videos I have, rarely is anything said about the theory. Does, "if you teach me a song I can play for a day; teach me the theory I can play for a lifetime - and won't need to buy anymore of your videos" hold?? I don't know enough to know. ========================================================================= Date: Thu, 29 Feb 1996 13:51:07 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Music Theory/Blues In-Reply-To: Message of Thu, 29 Feb 1996 19:36:30 GMT from On Thu, 29 Feb 1996 19:36:30 GMT william higdon said: > >Observation. In the couple of insructional videos I have, rarely is >anything said about the theory. Does, "if you teach me a song I can >play for a day; teach me the theory I can play for a lifetime - and Or teach me the theory and I can TALK about it for a lifetime. Thinking while playing, is like thinking while having sex. A mind is for thinking , a heart is for expressing. So you either think about it or you express it... LW 'IMHO' ========================================================================= Date: Thu, 29 Feb 1996 14:58:40 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: NY CD Blues - New Site. As of tomorrow we will be moving to a new web address - http://www.panix.com/~bsco/ If you have us bookmarked please make the change. If you have a web site and have us linked, please change the link. If you have a web site and don't have us linked, please add. Also if you have a site come to our Links page and check if you are in it. If not drop us a line and we will add your link. You can get to our Links by going to our main page above and click the Links button. But the real news is the new format. We'll now be offering the complete catalogs of the blues labels. You can simply come to the site and download the entire blues catalog output along w/ Artists / Titles / CD # and in many cases the reviews as well. This project will take time. Some labels are complete at this time and some are undergoing updates. We'll try to add as many as possible in the shortest period of time but there is only 5 of us and we do the reviews too. Barry - making the blues easier and more enjoyable. P.S. would appreciate comments when you get there and don't be shy - we can take the praise :). (please note the smiley) WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 29 Feb 1996 13:48:55 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: amphibians In-Reply-To: <960229143011_434754840@mail04.mail.aol.com> Does "Eisenhower Blues" count? T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "You've got to inspect your horn, boy." 'And wash it every day.' - Crow, MST3K ("Mr. B. Natural") ========================================================================= Date: Thu, 29 Feb 1996 15:21:05 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Brownie McGhee funeral program I have about a dozen programs from the Brownie McGhee funeral held in Oakland on February 24th. If any libraries, schools, organizations, etc. wish to have one, send me private EMail (with your address) and I will mail them off. Any contributions can be made to the Blues Is Truth Foundation and their address in included in the program. Dick Waterman ========================================================================= Date: Thu, 29 Feb 1996 15:13:51 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: DC area 'zellers: RADIO KINGS Comments: To: bit-listserv-blues-l@uunet.uu.net This is good news for DC area 'zellers. The Radio Kings will be appearing at Cool Hands in Falls Church this Friday night. Show starts at 9:00 or so, after dinner, and the cover is $3 or maybe $5, but there's no cover if you arrive before 9:00. For more details call Cool Hands at 703-241-7511. Don't miss this great band!! I won't. Denise Missing Beale Street for a while. :-( ========================================================================= Date: Thu, 29 Feb 1996 15:24:44 -0500 Reply-To: "Alan C. Rollins" From: "Alan C. Rollins" Subject: List Owner Blues My apologies to one & all. Been off line since Friday. This mess was created by Sprint when they disconnected lines to my online service rather than connect. The lines to be connected were already late by more than a week. Results were that I kept getting a busy signal and or bounced off line until the message load was too big to handle via the usual route. (More than 20,000) I am not sure what all this has done to Blues-L. I do know that the messages I tried to send from another computer have been returned to me. I am guessing all of you have been having the same problem. This brings up another problem. I need some form of back up as every day since July is okay for now but if I need to travel in my work or for pleasure there could be a problem. Leza, my wife, is willing to cover for some of the over nites due to work. However I am having trouble convincing her that she should stay home from festivals and the like. All suggestions welcomed. Again I am sorry for the recent problems. ACR ========================================================================= Date: Thu, 29 Feb 1996 15:31:22 -0500 Reply-To: Rags From: Rags Subject: W_C_HANDY_96_Nominees!!! are listed at http://www.vivanet.com/~blues/handy96.html the text there said its copyrighted by the author so i am not able to share it here.... however i have sent an email to the author asking if its ok to share the info with bluezellers ;) oh....no attorney for me...can't afford the expenses ;) Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ It's dark And I'm Wearing Sunglasses......... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Thu, 29 Feb 1996 14:41:42 -0600 Reply-To: Storm Bailey From: Storm Bailey Subject: Re: amphibians If an alligator is an amphibian, so is a Crawling Kingsnake (so, for that matter, is a Diving Duck...) Storm ========================================================================= Date: Thu, 29 Feb 1996 15:43:08 -0500 Reply-To: 00LCSPECTOR@BSUVC.BSU.EDU From: "Lee C. Spector" <00lcspector@BSUVC.BSU.EDU> Subject: ojc It was actually Original Jazz Classics and Original Blues Classics. They are available at most stores such as Best Buy etc. Actually, one can get them, sometimes for $8. I think Fantasy just put out 4 or 5 samplers of the best of the blues stuff. Therefore, you might want to look in the various bin as well. There is alot of wonderful jazz stuff from Prestige, Jazzland and Riverside under the OJC cover. Lee Lee C. Spector Department of Economics ========================================================================= Date: Thu, 29 Feb 1996 16:27:11 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: St. Louis guitarist Herman "Ace" Wallace has died Herman "Ace" Wallace passed away last night after long complications from diabetes. Ace had his own group in the '50s called Ace Wallace and the Trumps. He played in Gabriel's band and on numbers of the Gabriel recordings soon to be issued by Rooster, and also with Big George and the Houserockers. Ace's life story is now posted on BLUES WORLD e-mag, http://www.bluesworld.com. ========================================================================= Date: Thu, 29 Feb 1996 13:14:55 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Skip James Hi all...back to the blues... I recently picked up Skip James' Vanguard album 'Today', and I absolutely love it. His vocals and guitar work combine to produce some powerful blues; I'd heard that these two later albums were inferior to his earlier work, but I must say that, although they may not match the sheer power of the earlier stuff, they are still well worth having (especially with the nice, clear sound they are much easier on the ears for casual listening). A question: if anyone knows, can you explain the tunings he used? I know he used a rather unusual tuning to achieve his signature sound, but I don't know which. Thanks. -Jim (hndful@uniserVe.com) ========================================================================= Date: Thu, 29 Feb 1996 16:30:45 -0500 Reply-To: "Daryl F. Bernard" From: "Daryl F. Bernard" Subject: Re: amphibians Comments: To: Ian Angus In-Reply-To: <9602291312.aa19633@admin.dis.on.ca> On Thu, 29 Feb 1996, Ian Angus wrote: > Jim Miller wrote ... > > > > > songs that have amphibians as a topic" kind of posts. > > Now there is a topic for a thread! > > - Alligator Meat (Joe Swift/Johnny Otis) (my personal favorite) > Surely you are aware that alligators are in the Class Reptilia, not the Class Amphibia. Bt just in case you didn't..... Daryl ========================================================================= Date: Thu, 29 Feb 1996 15:31:03 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: New John Primer - review Comments: To: Ranko Vujosevic In-Reply-To: <199602291921.NAA09630@picasso.ccad.uiowa.edu> Nice to see a review of John Primer's tasty new CD, but unfortunate (and perhaps interesting) that pianist Dave Maxwell wasn't mentioned despite his strong contribution. This same thing happened all the time to Rick Kreher when he played guitar with Muddy for 3 years, and to Tony Z. when he played keyboards on the Lee "Shot" Williams CD. I don't want to get us back into the "R-word" thread, but perhaps someone else will detect the common factor in these three situations. ========================================================================= Date: Thu, 29 Feb 1996 16:41:23 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: amphibians Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com In Robert Nighthawk's "You Missed a Good Man" (one of my favorite Nighthawk songs), he says something about being "built like a tadpole." ========================================================================= Date: Thu, 29 Feb 1996 15:06:01 -0700 Reply-To: Michael Heicklen From: Michael Heicklen Subject: Thanks from the Attorney Ladies and Genlemen: I would like to thank everyone, one and all, for their input (positive or negative) on my article. At the very least, it was read and received by many members, and regardless of the controversy, sparked thought about the underlying issues. For anyone who is interested, feel free to contact me with basic questions. >From time to time, I will be writing similar articles on all aspects of the music "business", and am open to suggestions if there are specific topics you would like to see addressed. Further, if I get an an inquiry to which the answer is particularly informative (upon permission by the inquirer), I will post it to the group. Michael Heicklen ========================================================================= Date: Thu, 29 Feb 1996 21:59:43 GMT Reply-To: Dan Sigward From: Dan Sigward Organization: The Whole Earth 'Lectronic Link, Sausalito, CA Subject: John Primer again... Comments: To: bit-listserv-blues-l@uunet.uu.net I just wanted to thank whoever recently recommended John Primer's latest CD "The Real Deal". I did not realize until after purchasing the cd that Primer n fact plays second guitar for Magic Slim and the Teardrops. I saw Slim in Boston about 4 weeks ago and the show was fantastic. I walked away very impressed with the second guitarist, not then realizing this was Primer. The brief sets Primer played leading the Teardrops before SLim came on stage were impeccable. Primer has a great stage presence and helped keep the crowd excited throughout an overall excellent Magic Slim show. And I second the prior account of Primer's CD "The Real Deal" with Billy Branch on harp. It's an absolutely solid CHicago blues cd with excellent guitar and sing-it-like-you-mean-it singing. The liner notes say the album is in the "traditional" CHicago style. But, much like Jimmy Rogers' recent releases, I have a hard time thinking of anything that sounds so fresh and vital as "traditional". The style maybe 40 years old, but its just flat out good music just the same. Dan Sigward ========================================================================= Date: Thu, 29 Feb 1996 17:04:16 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Was that your choice Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *What was YOUR favorites for 1995 Mem Shannon "A Cab Driver's Blues" (I bought it this year, but I think it came out in 95) The more I listen to this album, the more I like it. It also got me ready for New Orleans before I left, since some of the cab conversations give you a taste of some of the people who live there (and some of the tourists). Jordan Patterson and the DC Hurricane "Give Me a Chance" Great debut by a very talented, young local singer and harp player who has become a pretty good friend of mine. I'm a little biased since it's local, but it's a great album. Corey Harris "Between Midnight and Day" What can I say that hasn't already been said about this one? Another great debut album by a very talented young artist. Little Walter "Blues With a Feeling" A reissue, but probably the most important Chicago blues harp album out since, well since the first volume of the LW reissue. The alternate takes of "Juke" and other instrumentals, and the previously unreleased version of "Drifting Blues" are almost worth the price of the entire two cd set. Great reissue work by blues-l's Mary Katherine Aldin. Honorable Mention: "Blues Bytes: The Music of Blues-L" Because it was made by blues-l folks and it is very diverse. -Steve Levine ========================================================================= Date: Thu, 29 Feb 1996 14:17:09 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: amphibians This thread is really hopping along. I have a funny feeling that there is a limited number of songs about amphibians so this thread may croak soon. But I'm green with envy at the knowledge that you all have dispalyed. I wish I could of toad the line on this thread. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 29 Feb 1996 16:18:23 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: SRV TRIBUTE AIRING ON PBS 3/2 > From: george morales > > For those in the PA,DE and NJ areas of the USA, i noticed that on > Sat 3/2/96 at 9:45 pm on channel 12(PBS) the SRV tribute will be > aired > until 11 pm followed by Road Tested(Bonnie Raitt concert) > There will be performance footage and interviews with fans of SRV > such as BB King, Buddy Guy, Eric Clapton and Jimmie Vaughn I don't know about all areas of the country, but here in Dallas the same show is scheduled but will NOT be shown. Apparantly some kind of royalty or other problem cropped up with the broadcast and it has been pulled, at least here in Big D. Craig Hopkins of the SRV fan club has confirmed it with PBS channel 13 in Dallas. Hope your area fairs better. Don O. ========================================================================= Date: Thu, 29 Feb 1996 16:36:32 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: WAS THAT YOUR > From: L W > What was YOUR favorites for 1995 Sort of in order: Mem Shannon-A Cab Driver's Blues-Hannibal Joe Guitar Hughes-Texas Guitar Slinger-Bullseye Nolan Struck & King Edward-Brother to Brother-Paula Joey Gilmore-Just Call Me Joey-Wilbe Casey Jones-On My Way to Chicago-Airwax Larry Garner-You Got to Live a Little-verve Albert Collins-Live 92/93-Pointblank Billy Boy Arnold-Eldorado Cadillac-Alligator Smokey Wilson-The Real Deal-Bullseye Melvin Taylor and the Slack band-Evidence Joe Louis Walker-Blues of the Month Club Luther Tucker and the Ford Blues Band-Blue Rock it Gary Primich-Mr Freeze-Flying Fish John Lee Hooker-Chill Out-Pointblank Carey Bell-Deep Down-Alligator Jimmy Dawkins-B Phur Real-Ichiban 1995 was a darned good year for new blues releases. keep an ear out for Dicky Willams-Full Grown Man-Ichiban which I've been enjoying this week. Don O. ========================================================================= Date: Thu, 29 Feb 1996 21:34:29 EST Reply-To: Jim Miller From: Jim Miller Subject: Skip James Comments: To: BLUES-L Skip James may have been great but I bet he didn't have any songs about amphibians. I'm starting to think that maybe there is too much knowledge about the blues on this list. Is that possible? ========================================================================= Date: Thu, 29 Feb 1996 14:46:08 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Music Theory/Blues >On Thu, 29 Feb 1996 19:36:30 GMT william higdon said: >> >>Observation. In the couple of insructional videos I have, rarely is >>anything said about the theory. Does, "if you teach me a song I can >>play for a day; teach me the theory I can play for a lifetime - and And LW said: >Or teach me the theory and I can TALK about it for a lifetime. Thinking while >playing, is like thinking while having sex. A mind is for thinking , a heart >is for expressing. So you either think about it or you express it... Funny thing "hearts"... take out the brain and you don't feel a darn thing... We feel with our brains, not our hearts. In the best musicians, there is no wall, no dicotomy, no polarity, between thinking and expressing. They are the same act. The deepest emotions are those informed by the greatest awareness of the issues involved. Properly applied and absorbed, theory becomes *part* of our intuition and expression, not its opposite. We think *constantly* while playing great music. If not, our fingers are just repeating patterns that don't mean anything, while the crowd ignores us. And since you raise the anaolgy of sex here..... great lovers always think while having sex, just like music, it's theory, orchestration, and arrangement as well as expression. A symphony of life and love, or a shuffle if you will. There is a famous quote about music that goes: "What we do on stage is technique, and sometimes the Gods visit" Substitute "theory" for technique and you get my point. Both statements are true. You have to love the blues before you can play the blues, but assuming the passion and commitment is there, theory never hurt anyone and helped most. In my case, I'm known as a "feel" player, with "heart" who plays from the "gut".... But that commitment is expressed largely through -thinking- and the knowledge of my art and craft. the whole theory versus feeling debate is bollocks...... DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production & Event Services dcicchet@vega.lasierra.edu I looked over Jordan, and what did I see An Eldorado comin' after me comin' for to carry me home.. -- Dizzy Gillespie ____________________________________________________ ========================================================================= Date: Thu, 29 Feb 1996 18:04:58 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: amphibians > Does "Eisenhower Blues" count? > Depends on whether you extend the category to include reptiles. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Thu, 29 Feb 1996 23:11:55 GMT Reply-To: Stephanie Manna From: Stephanie Manna Subject: Mem Shannon I've read and heard from others much about Mem Shannon's," Cab Driver Blues". It makes me curious as to how his show is performed, since the songs include conversations with customers in his cab; which I find original and interesting. Anyone seen his live show? ========================================================================= Date: Thu, 29 Feb 1996 17:46:37 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 03/01 B O R N : BAKER, KENNY ( KENNETH ) Born:1921 WITHERNSEA, ENGLAND Career:TRUMPET / FLUGELHORN / ARRANGER Style:JAZZ With:TED HEATH / GEORGE CHISSHOLM / LEW STONE CONNORS, NORMAN ( NORMAN CONNORS JR ) Born:1947 PHILADELLPHIA, PA Career: DRUMMER / COMPOSER Style:JAZZ / BLUES Marion Brown / Sun Ra / Jackie McLean / Archie Shepp / Sam Rivers / Pharoah Sanders / Eddie Henderson / Gary Bartz / Carlos Garnett / Herbie Hancock. DEEMS, BARRETT Born:1914 SPRINGFIELD, IL Career:DRUMMER Style:TRAD / JAZZ / BIG BAND With:Paul Ash / Joe Venuti 1938-1944 / Red Norvo 1948 / Charlie Barnet 1951 / Muggsy Spanier 1952 / Louis Armstrong May 1954 GLEASON, RALPH J. Born:1917 NEW YORK, NY Career:JAZZ WRITER Style:JAZZ / BIG BAND Jazz Information / Down Beat / San Francisco Chronicle JONES, EDWARD Born:1929 NEW YORK, NY Career:BASS Style:JAZZ / BIG BAND With:Count Basie MILLER, GLENN ( ALTON GLENN ) Born:1904 CLARINDA, IA Career:TROMBONE / LEADER Style:JAZZ / BIG BAND With:Boyd Senter / Max Fisher / Georgie Stoll / Ben Pollack / Paul Ashe / Red Nichols / Smith Ballew / the Dorsey Brothers / Ray Noble / Clyde Hurley / Paul Tanner / Jim Priddy / Al Klink / Hal McIntyre / Ernie Caceres / Tex Beneke / Maurice Purtill / Rollie Bundock / Chummy MacGregor / Billy May / Ray Anthony / Trigger Alpert / Jack Lathrop / Charlie Spivak / Claude Thornhill / Jerry Gray / Ray Eberle Paula Kelly and the Modernaires / Gail Reese / Linda Keene / Dorothy Claire / Marian Hutton / Skip Nelson POWELL, BENNY ( BEJAMIN GORDON ) Born:1930 NEW ORLEANS, LA CAREER:TROMBONE STYLE:JAZZ / BIG BAND WITH:King Kolax 1946 / Ernie Fields 1947, Lionel Hampton 1948-5l / Count Basie Oct.1951 POWELL, Teddy ( ALFRED PAOLELLA ) BORN:1906 OAKLAND, CA.CAREER:VIOLIN / SINGER / GUITAR / ARRANGER / LEADER STYLE:JAZZ / BIG BAND WITH:Abe Lyman / Barry Galbraith / Wilbur Hoffman / Dave Bastien / Louis Fromm / Chuck Gentry / Irving Fazola / Carmen Mastren / Charlie Ventura / Pete Candoli / Milt Bernhart / Irving Goodman / Pete Skinner / George Koenig / Gus Bivona / Don Lodice / Pete Mondello / Milt Raskin / Ben Heller / Tom D'Agostino / SCHELLING, AUGIE ( AUGUST SCHELLING ) BORN:1905 NEW ORLEANS, LA CAREER:DRUMMER STYLE:TRAD / JAZZ WITH:Ellis Stratakos / the Prima-Sharkey orchestra / the New Orleans Rhythm Masters / Wingy Manone SMITH, BEN ( BENJAMIN J.SMITH ) BORN:1905 MEMPHIS, TN CAREER:ALTO SAX / TENOR SAX / CLARINET STYLE:TRAD / JAZZ WITH:Blanche Calloway / Charlie Gaines / Benny Carter / Jabbo Smith 1938 / Hot Lips Page / Lucky Millinder / Andy Kirk / Snub Mosley / Fess Williams / LeRoy Smith 1935 / Claude Hopkins 1936 SHORE, DINAH ( FRANCES ROSE SHORE ) BORN:1917 WINCHESTER, TN CAREER:SINGER STYLE:BIG BAND WITH:Xavier Cugat / On radio show Chamber Music Society of Lower Basin Street in 1940 / Unsuccessful auditions with Benny Goodman, Tommy and Jimmy Dorsey BELAFONTE,HARRY BORN:1927 HARLEM, NY Career:SINGER Style: BLUES / FOLK DAVIS, WALTER Born:1912 GRENADA, MS Career:PIANO / SINGER Style:BLUES BLUEBIRD RECORDS MITCHELL, WILLIE Born:1928 ASHLAND, MS Career:TRUMPET / ARRANGER / PRODUCER Style:BLUES With:HI REORDS SHARP, ELLIOT (E#) Born:1951 CLEVELAND, OH Career:GUITAR Style:BLUES SAIN, OLIVER JR Born:1932 DUNDEE, MS Career:PRODUCER / TENOR SAX Style:BLUES WASHINGTON, LEROY Born:1932 PALMETTO, LA Career:GUITAR Style:BLUES With:EXCELLO RECORDS FOR A LISTING OF THOSE THAT PASSED AWAY IN MARCH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Thu, 29 Feb 1996 17:50:44 -0800 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Re: Rumble And Scratch/Capitol Records site Comments: To: bit-listserv-blues-l@uunet.uu.net P.W. Fenton wrote: > This March, Capitol > Records plans to release a CD-ROM compilation of Blues masters called > "Rumble and Scratch." > > The CD-ROM features arresting multi-media presentations on a variety > of musicians, such as T-Bone Walker, John Lee Hooker, Muddy Waters, > Son House, Lowell Fulson, Z.Z. Hill, and Mississippi Fred McDowell. > Complete with an array of visual and written information about the > players and their unique music, this CD-ROM promises to deliver even > more than incredible songs from the collection of renowned artists. This sounded interesting enough to me that I went in search of a Capitol Records web site to see if they're flacking it yet, and yes they have a massive site at www.caprec.com, but it's such an overwhelming example of maniacal overdesigning that I came away dazed and headachey--and I've got a pretty zippy system and a month-old version of Netscape. There's a *huge* amount of interesting stuff to search for (audio clips, video, bio data, tour info, discogs, etc.) on an arrestingly eclectic variety of musicians, but the proliferation of "enhancements" made me feel like I needed to download the site's user manual to get anywhere. Multiple frames and online forms, overly cutesy names of services (you go to the 'Pink Pussycat' vault to search for video--yecch) with massive graphic bin-maps...I can't imagine wanting to go back there often no matter HOW fast it downloaded to my desktop. Too bad...they had a lot of artists I hadn't heard of in awhile and would have searched around for. --Maggie -- Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Some mornings it's just not worth chewing through the leather straps. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Thu, 29 Feb 1996 19:09:28 -0500 Reply-To: USBLUE5@AOL.COM From: "Gordon, Rich" Subject: Re: Was that your choice Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu Albert Collins and the Ice Breakers...Live 92/93....Pointblank. Rich Gordon WXRX 104.9 FM Rockford, IL ========================================================================= Date: Thu, 29 Feb 1996 18:04:30 -0800 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: No Day Job for Jelly Roll Morton Comments: To: bit-listserv-blues-l@uunet.uu.net A nice person share this story with me when I quizzed him about his sig line, which was a snippet of this tale. Morton apparently was able to indulge an indifference to Mammon that no musician I've ever known was able to afford. "Albert Nichols remembered an evening excursion with Morton on Manhattan's 52nd Street, a thoroughfare packed with jazz clubs and ringing with the new swing music that Morton disdained. At the Famous Door, Morton sipped a Coke and listened to the John Kirby Sextet, whose clarinetist was Morton's old side man, Russell Procope. At intermission Procope persuaded Morton to sit in for pianist Billy Kyle on the next set. "When they went back on," remembered Nichols, "Jelly got on that piano, and with all due respect to Billy Kyle, it was a different sound. Without any practice Jelly played all their scores, and the people said, 'Who is that?'" The manager immediately offered Morton a job alternating with the Kirby band, promising to pay him well. "Man I play for pleasure. I don't care what I make, I'm Jelly Roll Morton. There ain't that much money, man. How much I owe you for that Coke?" ...circa 1940 I believe my correspondent said this was quoted from an old Time-Life series on the Giants of Jazz. __________________________________ -- Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Some mornings it's just not worth chewing through the leather straps. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Fri, 1 Mar 1996 00:33:27 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Part Two, Mercury Blues box tracklisting Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199602271649.IAA20914@frisbee.beachnet.com> Mary Katherine Aldin writes: The following tracks on the Mercury box are also on the Blues, Boogie & Bop Radio Box set >CD Three >1. Jay McShann with Crown Prince Waterford/Garfield Avenue Boogie /Crown Prince Boogie >3. Jay McShann with Jimmy Witherspoon/Shipyard Woman Blues >4. Jay McShann with Walter Brown/W.B. Blues /Sloppy Drunk /Lovin' a Beggar >10. Roy Byrd & His Blues Jumpers/Byrd's Blues /Her Mind Is Gone /Bald Head /Hey Now Baby /Oh Well >18. Roy Byrd & His Blues Jumpers/Hadacol Bounce /Longhair Stomp /Been Fooling Around /Between The Night And Day There is no overlap with disc 4. Art Schuna ========================================================================= Date: Thu, 29 Feb 1996 17:01:52 -0500 Reply-To: David Melton From: David Melton Subject: Re: Music Theory/Blues Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU I can relate to what LW says. To add my 2 cents- When you are thinking about playing, you are finding the notes. When you are playing from your heart, the notes find you. Dave Melton =============================================================================== At 1:51 PM 2/29/96, L W wrote: >On Thu, 29 Feb 1996 19:36:30 GMT william higdon said: >> >>Observation. In the couple of insructional videos I have, rarely is >>anything said about the theory. Does, "if you teach me a song I can >>play for a day; teach me the theory I can play for a lifetime - and > >Or teach me the theory and I can TALK about it for a lifetime. Thinking while >playing, is like thinking while having sex. A mind is for thinking , a heart >is for expressing. So you either think about it or you express it... > >LW 'IMHO' ========================================================================= Date: Fri, 1 Mar 1996 01:07:13 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Part Three: Mercury Blues Box tracklisting (long) Comments: To: bit-listserv-blues-l@uunet.uu.net These tracks are also on the Blues Boogie & Bop Box set: >Volume 3 : EAST COAST BLUES >CD Seven >2. Eddie "Mr. Cleanhead" Vinson & His Orchestra/Cherry Red Blues /Somebody's Gotta Go /Too Many Women Blues /Just a Dream /Cleanhead Blues /When A Woman Loves Her Juice /Kidney Stew Blues /King For A Day Blues /Old Maid Boogie >12. Helen Humes/Jet Propelled Papa >14. Eddie "Mr. Cleanhead" Vinson & His Orchestra/When I Get Drunk /Oil Man Blues /Ever-Ready Blues Art Schuna ========================================================================= Date: Thu, 29 Feb 1996 18:52:23 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: Skip James In-Reply-To: <"54831292206991/370592@SPEEDY"@shawnee.edu> On Thu, 29 Feb 1996, Jim Miller wrote: > I'm starting to think that maybe there is too much knowledge about the blues > on this list. Is that possible? Maybe. After a two-hour NASA meeting today with all the people saying 'I don't want to take up too much time' then doing it anyway, I am throughly convinced that there is such a thing as being overeducated. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "You've got to inspect your horn, boy." 'And wash it every day.' - Crow, MST3K ("Mr. B. Natural") ========================================================================= Date: Thu, 29 Feb 1996 17:06:50 -0800 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Re: Music Theory/Blues Comments: To: L W In-Reply-To: On Thu, 29 Feb 1996, L W wrote: > On Thu, 29 Feb 1996 19:36:30 GMT william higdon said: > > > >Observation. In the couple of insructional videos I have, rarely is > >anything said about the theory. Does, "if you teach me a song I can > >play for a day; teach me the theory I can play for a lifetime - and > > Or teach me the theory and I can TALK about it for a lifetime. Thinking while > playing, is like thinking while having sex. A mind is for thinking , a heart > is for expressing. So you either think about it or you express it... Exactly, and something that I learned about playing blues is that you really aughta be focused on what you are expressing while playing. and not the notes. feel should always come before technique and flash. Once you have a direction or emotion to express then you can wale away if that is your thing. Blues man... dig it, Isaac ========================================================================= Date: Thu, 29 Feb 1996 23:51:32 GMT Reply-To: "M.Peters" <76702.3352@COMPUSERVE.COM> Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: "M.Peters" <76702.3352@COMPUSERVE.COM> Subject: Re: Great Blues Guitar Solos Comments: To: shaun@WAVENET.COM The guitar solo on Bill Doggett's "Honky Tonk" was played by the late great Billy Butler. ========================================================================= Date: Fri, 1 Mar 1996 01:40:43 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Part Four Mercury Blues tracklisting (long) Comments: To: bit-listserv-blues-l@uunet.uu.net This is the last installment in my report of the overlap between the Blues, Boogie & Bop Radio Box and this upcoming set. In summary, I don't believe there is enough overlap to be of much concern to most. If you don't already own the Radio Box, I think this new set would be more in line with the tastes of most readers of this list. For example, you don't see any Buddy Rich on this set! If you have an interest at all in blues or R&B from this period, this looks like an important set. >Volume 4 - WEST COAST BLUES>CD Five >1. Jay McShann & His Sextette w/Jimmy Witherspoon/ Ernestine >2. " " " " /Roll On Katy >3. " " " " /Voodoo Woman Blues >4. " " " " /I Want A Little Girl >5. " " " " /Bar Fly Blues >6. " " " " /Please Stop Playing These Blues, Boy >7. " " " " /All My Geets Are Gone >8. " " " " /Strange Woman Blues These two artists aren't dupes but I did want to comment on them as I own both of the original 45s Pat Valdelar/Keep Your Hand On Your Heart /Rock Me Baby I found this 45 shortly after reading an old Blues Unlimited (#147, Spring 1986) article on the Dew Drop Inn. A prominent hostess for the Inn was PATSY Valdeler, a transvestite performer for the club. She is mentioned in several places in the article and there are also 2 photos of her. Galen Garts' "First Pressings" Vol. 3, 1953 mentions that Pat Valdeler was one of 4 New Orleans artists added by A&R Director WD Kilpatrick to the label in that year. The 45 is listed as being a new release the week of July 25, 1953. Is this a strange coincidence or is Pat and Patsy the same artist? I've always wondered whether Mercury may have made this connection after they signed him/her and whether that may be why it's the only 45 released by Pat? Mary Katherine, did you happen to find anything about this in the archives? Herbert "Woo Woo" Moore/Something's Wrong /Five Long Letters Nothing quite as interesting to say about this 45 except it was another one of the discs I was playing on my old monophonic record player on the back porch this past weekend. I thought it was one fine disc. Look forward to seeing the boxset. Art Schuna ========================================================================= Date: Fri, 1 Mar 1996 01:49:57 GMT Reply-To: David Wade From: David Wade Organization: Netcom Subject: Re: Fab t-birds/mighty flyer question Comments: To: bit-listserv-blues-l@uunet.uu.net >>I heard this past weekend that Jimi Bott, the long time drummer for theMighty Flyers has joined the Fabulous Thunderbirds. Has anyone seen eitherof these bands lately, or can anyone substantiate this rumor. Thanks ed>> I cannot talk with authority but.... I saw RP and the Flyers Feb 9 and they were intact. I am aware that a couple of the current T-Birds came from the James Harmon Band, though. I have seen Jimi Bott play with any number of other people/groups and it would not surprise me if he filled-in with them for a night or two. I hope he stays with the Flyers but if he leaves it gives me another reason to see the group again to see his replacement. (as if I need another reason...) David ========================================================================= Date: Thu, 29 Feb 1996 18:12:17 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Music Theory/Blues Comments: cc: dcicchet@vega.lasierra.edu Don C said: Snip >You have to love the blues before you can play the blues, but assuming the >passion and commitment is there, theory never hurt anyone and helped most. > >In my case, I'm known as a "feel" player, with "heart" who plays from the >"gut".... > >But that commitment is expressed largely through -thinking- and the >knowledge of my art and craft. > >the whole theory versus feeling debate is bollocks...... This a great summation of the how theory/heart thread. Let's leave this pointless discussion alone. Do what feels right by you. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 29 Feb 1996 18:12:28 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Thanks from the Attorney Comments: cc: mjh@PRIMENET.COM As someone who is finding himself becoming more and more involved in the music biz the piece that Michael Heicklen wrote was very valuable. Here's at least one Bluezeller (and I think that Cathi Norton was another) who, being not very wise to ways of the goings on in the music industry, would like to thanks to Michael. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 29 Feb 1996 21:11:46 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: Welcome to Chris Smith >Browsing the mails that were sent yesterday I was planning to answer to the >'Cummins Prison Farm' reference when I saw that Chris Smith had already >anwered the question. I may be wrong (correct me if necessary) but I think >this is Chris first mail on Blues-L so let me publicly welcome Chris here! > >With Chris on the list we know have >>again<< one of the most knowledgeable >person in the blues world joining us. Chris was editor of Talking Blues, has >been reissuing pre-war blues on Policy Wheel and is best know also for his >many insightfull contributions to Juke Blues, Blues & Rhythm ,... > >Thanks for being here and I hope we'll hear often from you. > >Jean-Pierre Urbain > >P.S. Chris: are your Curlew cassettes (1001-1003) still available? If yes, >please reserve me a copy of each! Thanks Jean-Pierre. He flatters me, I should tell anyone who's interested. What I do know is where to find things out, and what I try to do is to think sensibly about what I find. Jan-Pierre and anyone else who might want them, the Curlews are long deleted I'm afraid. (Even deader than Policy Wheel, before anyone asks about that.) On a more positive note, I hear George Paulus has a CD coming of Rev. Charlie Jackson (who was on 1001) with the Eldorados. Should be a killer! Chris Smith (chris@skerries.demon.co.uk) Always check your references, and never neglect an opportunity to empty your bladder - The Duke of Wellington (not checked). ========================================================================= Date: Thu, 29 Feb 1996 21:45:18 -0500 Reply-To: BLUES4EVR From: BLUES4EVR Organization: America Online, Inc. (1-800-827-6364) Subject: When it's too damn loud (Re: Fab t-birds/mighty flyer question) Comments: To: bit-listserv-blues-l@uunet.uu.net I carry a set of earplugs with me whenever I go out. You only have one set of ears to last your entire life. My right ear rings constantly and believe me, it's no fun. Also, be careful when listening or playing through headphones, it's easy to make your ears ring. Your hearing is a precious commodity that can't be replaced! Regards, Ken Keep on keepin on, that's all we can do >Subject: Re: Fab t-birds/mighty flyer question >From: David Melton >Date:Wed, 28 Feb 1996 11:17:50 -0500 > >At 12:47 PM 2/28/96, George Macy wrote: >>(good stuff deleted(sorry) >>By the way, the T'birds played well but TOO LOUD. Ears were ringing 24 hrs >>later. Board operators please take note- beyond 120db, it all turns to mush. >> In small clubs ear shattering volume is absolutely pointless and painful. >> Vocals, harp solos, guitar solos were indistinguishable at this particular >>T'birds appearance! > >HUH? WHAT DID YOU SAY? Let me point my good ear your way. I agree about >the volume but it's probably too late for me :) Too loud isn't a good loud. > > Dave Melton ========================================================================= Date: Fri, 1 Mar 1996 02:55:37 GMT Reply-To: Bluesbabe Suzzie From: Bluesbabe Suzzie Organization: SoVerNet, Inc. Subject: Re: SRV TRIBUTE AIRING ON PBS 3/2 Comments: To: bit-listserv-blues-l@uunet.uu.net Don O wrote: > > From: george morales > > > > For those in the PA,DE and NJ areas of the USA, i noticed that on > > Sat 3/2/96 at 9:45 pm on channel 12(PBS) the SRV tribute will be > > aired > > until 11 pm followed by Road Tested(Bonnie Raitt concert) > > There will be performance footage and interviews with fans of SRV > > such as BB King, Buddy Guy, Eric Clapton and Jimmie Vaughn >I don't know about all areas of the country, but here in Dallas the same show >is scheduled but will NOT be shown. Apparantly some kind of royalty or other >problem cropped up with the broadcast and it has been pulled, at least here in >Big D. Craig Hopkins of the SRV fan club has confirmed it with PBS channel 13 >in Dallas. Hope your area fairs better. >Don O. Want to thank you for that infro..... I would of missed it for sure. I have direct tv so should be able to pick it up from 2or3 different areas. SRV fans..........Video must..... SRV live at the el Mocambo . Thanks again Don. Loving the blues, Babe ========================================================================= Date: Thu, 29 Feb 1996 14:00:35 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Re: amphibians In-Reply-To: <9602291312.aa19633@admin.dis.on.ca> from "Ian Angus" at Feb 29, 96 01:20:43 pm According to Ian Angus: > > Jim Miller wrote ... > > > I am SERIOUS folks,I really do get a kick out of all these little > > dramas. It sure beats the hell out of all those tiresome " Can anyone name blues > > songs that have amphibians as a topic" kind of posts. > > Now there is a topic for a thread! > > - Alligator Meat (Joe Swift/Johnny Otis) (my personal favorite) > > - Frog Legs (Early Lloyd Price) > > - Fattening Frogs for Snakes > > Any more? "Meet Me at Froggy Bottom"...Various people have done variations on this song. "Call of the Gators"...Willis Jackson...Okay, I know, it's an instrumental. "Bullfrog Blues"...Various. -Peter ========================================================================= Date: Fri, 1 Mar 1996 00:12:29 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: Gabriel Appreciation Day >To celebrate blues disc jockey Gabriel's 44 years in St. Louis blues radio >I am throwing Gabriel Appreciation Day at Off Broadway nightclub on >Saturday April 6th. Featured performers include Henry Townsend, >Silvercloud, Big Bad Smitty, Clara McDaniel and Bennie Smith. I hope you're going to video the occasion, Joel. Should be a historic night. Wish I was there! Best Chris Smith (chris@skerries.demon.co.uk) Always check your references, and never neglect an opportunity to empty your bladder - The Duke of Wellington (not checked). ========================================================================= Date: Thu, 29 Feb 1996 15:58:00 -0500 Reply-To: "M. B. Ober" From: "M. B. Ober" Subject: Re: Music Theory/Blues >From LW: > Thinking while playing, is like thinking while having sex. A mind is for >>thinking , a heart is for expressing. So you either think about it or you >>express it... True, as far as it goes, but I'd rather be bedded by somebody who knows what he's doing and why--so well he doesn't HAVE to think about it anymore. (I tried a smiley but couldn't find one with a dreamy expression) I'd say help Mr Higdon learn his theory so when he wows a room he knows what he did and can repeat the achievement at will. Maggie ========================================================================= Date: Fri, 1 Mar 1996 00:52:20 -0500 Reply-To: BluesBeats@AOL.COM From: Joseph Jordan Subject: (SF) Bay Area Blues Beat March '96 Hi Blues-Ellers, Here is the monthly column I write for the Long Beach, California based, Southland Blues. Take a moment with this one if you will and consider donating to the Foundation mentioned at the bottom. Although I'm not in any way affiliated with B.I.T., I feel it is a worthy endeavor. Thanks, Joseph San Francisco For inclusion in the March 1996 issue of Southland Blues Bay Area Blues Beat by Joseph Jordan SAN FRANCISCO: Heaven has called another blues singer back home. Sad days and treasured memories abound in the Bay Area and literally among music-fans world-wide. Walter Brown McGhee, 80-year old American music legend, has left us with a rich cultural legacy that will last as long as music is played, stories are told and the ever-loving light shines from the Midnight Special. "Brownie" had one of the most durable and appreciated careers in the blues. His life represents an absolutely priceless chronicle of what it was to be an African-American musician in this century. A longtime Oakland resident, much beloved by the community and the world, his gentle-bearing, irascibility, story-telling prowess and musical genius will live on in our hearts and minds. You can read his compelling story and hear his brilliant music in many other places, so I won't try to recap his remarkable, one-of-a-kind career here. But I will tell you something you may not have heard about yet Brownie's family and friends have committed their time and energies in what was to become his last project, the Blues Is Truth Foundation, established in 1995. Some of the Foundation's major goals are to benefit students through scholarships and to develop an educational and musical resource center in Brownie's Oakland home, or as he so often called it, "the house that blues built." The first major event the Foundation held to kick start itself was in late February at San Francisco's Biscuits and Blues supper club. The evening featured prominent Bay Area musicians and nationally-known McGhee friends and disciples. It was a very special night of memories and music. The B.I.T. Board, which includes Brownie's beloved daughter Vilhelmina, will be making exciting announcements in the future. I'll keep you updated. If you'd like to, the McGhee family requests fans and friends donate to the Blues Is Truth Foundation in Brownie's memory. Donations, which are tax-deductible, can be mailed to: B.I.T. Foundation 688 43rd Street Oakland, CA 94609 The Foundation's phone number is: 510-655-7363. Less than a year ago, Brownie said, "I'm a storyteller. I'm an entertainer, not a musician. I do use music, song and speaking to entertain. I never wrote a song I thought would sell. I wrote a song that would remind me of my memories. They remind me that I survived." Thanks for surviving so long and indeed, for everything, Brownie. Rest in peace. With any luck, we'll see you later. And I'll see you next month, my blues brothers and sisters. As always, if you have any blues, views or news you wish to share, or if there is anything you want to know about the greater Bay Area blues scene, e-mail me at sobluesmag@aol.com or write me care of the Southland Blues office. - End - ========================================================================= Date: Fri, 1 Mar 1996 02:36:59 -0500 Reply-To: BOYDMT From: BOYDMT Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Constructed Solos Comments: To: bit-listserv-blues-l@uunet.uu.net Bob, I'm amazed that someone feels the same way I do about Bloomfield's solo work on "Another Country". Never hear it spoken of anymore. What is most striking about the solo is how he changes rhythms, tones, and styles so apparently effortlessly and yet still continues to fluidly build the level of emotion in the solo as he goes. Just was very surprised someone else also recognizes the brilliance of this particular performance. Mike ========================================================================= Date: Fri, 1 Mar 1996 02:05:42 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: KNON LB poll feb KNON Top 20 Blues Albums February 1996 Living Blues Poll 89.3 FM Dallas, Texas 55,000 watts artist/album/label 1 Long John Hunter/Border Town Legend/Alligator 2 Guitar Shorty/Get Wise to Yourself/Blacktop 3 Mojo Buford/Still Blowin Strong/Blue Loon 4 Albert King/Hard Bargain/Stax 5 John Primer/The Real Deal/Code Blue 6 Freddie King/Live at the Electric Ballroom, 1974/Blacktop 7 Joe Guitar Hughes/Texas Guitar Slinger/Bullseye 8 Duke Robillard/Duke's Blues/Pointblank 9 Johnny Dyer/Jukin'/Blind Pig 10 Little Milton/Little Milton's Greatest Hits/Malaco 11 Mem Shannon/A Cab Drivers Blues/Hannibal 12 Little Cooper/Baby I'm Back/Black Magic 13 Sista Monica/Get Out of My Way/Thunderbird 14 Cephas & Wiggins/Cool Down/Alligator 15 Gary Primich/Mr Freeze/Flying Fish 16 Jesse Thomas/Lookin For that Woman/Blacktop 17 Little Walter/Blues With a Feeling/MCA/Chess 18 Rick Holmstrom/Lookout/Blacktop 19 Chicago Bob Nelson/Back to Bogalusa/King Snake 20 Bobby Rush/One Monkey Don't Stop No Show/Waldoxy end ========================================================================= Date: Fri, 1 Mar 1996 02:05:44 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: new blues feb. The following blues CDs were received at KNON FM, Dallas, Texas during February 1996. Freddie King/Live at the Electric Ballroom/Blacktop Chicago Bob Nelson/Back To Bogalusa/King Snake Eric Culberson/Blues is My Religion/King Snake Bobby Bland/Sad Street/Malaco Bobby Rush/One Monkey Don't Stop No Show/Waldoxy Bill Perry/Love Scars/Pointblank Theodis Ealey/Stuck Between Rhythm and Blues/Ichiban Lady Blue and the Tramp/Livin and Lovin the Blues/Bear Dixie Stompers/Stock Yards Strut/Delmark Charles Rust/Do It In Style/Bahoomba Mule Newman/Mule Newman/self Josh White/Blues Singer 1932-36/Columbia Taj Mahal/Phantom Blues/Private U.P. Wilson/This is U.P. Wilson/JSP Dicky Williams/Full Grown Man/Ichiban Bessie Smith/Final Chapter/Columbia end ========================================================================= Date: Fri, 1 Mar 1996 03:38:29 -0500 Reply-To: BLUES4EVR From: BLUES4EVR Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Lawyers on Blues-L Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199602291348.IAA03620@osceola.gate.net>, "P.W. Fenton" writes: stuff deleted: >. Our only differences are based on the fact >that I don't believe that he did not intend to promote himself when >he first made his "informative" post, (and a certain predisposition >on my part in regards to lawyers in general). Since PW Fenton doesn't know the lawyer, professionally or personally, he has no basis in fact as to how he came to his conclusion other than a predisposed bias that comes across as arrogant and petulant. I suggest Mr. Fenton take a Logic class at his local community college to clear his thinking and keep his personal rantings off off this group. The information presented by the lawyer was presented in a factual and educational manner. As far being accepted by the group or posting other stuff before posting something like this...grow up guys....the group is for everyone...not just the oldtime "clique" that passes judgement on others based on an unsubstantiated belief or a misinformed interpretation. So everytime you have a thought please Think Before You Post..PW Fenton's rant added nothing to the group. So let get back to the blues before everyone get the blues over this. IMHO, of course, Regards, Ken Keep on keepin' on, that's all we can do ========================================================================= Date: Fri, 1 Mar 1996 08:48:11 GMT Reply-To: "Mrs. Helga Verhoef" Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: "Mrs. Helga Verhoef" Organization: Knoware Internet Subject: Re: Skip James Comments: To: hndful@UNISERVE.COM The strings are tuned to an open e-minor chord. Sometimes the actual pitch may be lower, but the fingering is an open e-minor chord. Skippy called it "cross-note" I assume because the E note can be played in 3 places, on the low E(sixth string), at the middle E4th string the D is tuned up a full tone to E) and at the high E(first string) The other open tuning he used (Special Rider) is spanish tuning, or open G -- InHome Health Services For information: Cost-effective cognitive enhancement/life extension http://www2.smart.net/~inhome medications sent directly from Europe. Fax: +31-20-682-4441 ========================================================================= Date: Fri, 1 Mar 1996 05:40:17 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Duke Robillard & John Hammond (long) Comments: To: bit-listserv-blues-l@uunet.uu.net I never thought I'd make it through the snow to the show but arrived at the Lafayette Taproom in Buffalo shortly before John Hammond finished his first set. After reading how quiet people were during his show in DC I was curious what would happen here (well, this was Buffalo land of chicken wings & the Bills: ) )...they loved him and the only sound I heard from the crowd was applause.. It is always amazing to see how the crowd reacts to him. From the look of awe on most faces, I think you could honestly say he held them in the palm of his hand, not bad for his first time there. After JH finished his set he zipped into the dressing room to wind down and after a short break Duke Robillard casually wandered up to the stage to tune up. A few minutes later the rest of the band came out & I finally heard several of the tunes off of "Duke's Blues" plsyed live. Without fail Duke played a wonderful set. It's nice to see the band enjoying themselves while they work instead of simply going thru the motions. While I love both Duke Robillard & John Hammond I have to confess the only reason I drove 2 hours in the snow to another club was to see them together. I finally heard Duke mention John Hammond's name from the stage as I was getting ready to leave and out comes John with an electric guitar...he asked if we heard Duke call him and stood by waiting to go on. I joked about having missed most of his first set and now that he had his other guitar I'd be forced to stay another few minutes because the only time I'd ever heard him play electric was on lps. Well, the few minutes turned into another 1 1/2 hours. Duke actually played a couple more number while John stood by waiting (in front of the outside door in sub zero weather). John Hammond spent the entire time chatting with a fan who had also driven from Rochester. The man told John how much he enjoyed the shows he's been to (a lot of shows over the years from the sound of it) including the last show he saw in Rochester at the Creek a few months ago. It was so neat just being able to sit there and listen to them talk, he & John talked about Jack Owens, the Robert Johnson special, little towns in the south, the old BK Lounge & the King Biscuit festival.... I'm always impressed with JH's graciousness, he was waiting to go onstage but spent an incredibly long time talking with this man. He could have easily given him short answers and wandered back into the dressing room but he answered all the questions, asked some questions himself and gave some pretty indepth answers. Just for the record, like most musicians you have to catch them at the right time. If they're wandering around prior to the show or after the last set you can usually depend on them signing autographs or talking for a bit but they normally like to gather their thoughts or tune up in between sets. After what seemed a lifetime, Duke and John took the stage together. I heard John singing, "To Tired" and decided I could stay a little longer, then the Howlin' Wolf tune, then "Crosscut Saw" and I knew if I left before they got off the stage I'd regret it. Duke was hot, John was hot, the sax player Gordon was fantastic...they are only playing a limited number of dates together, if you have a chance to catch them together do it. Seeing John Hammond & Duke Robillard play that last set together was fantastic. They were completely sold out & turned people away at the door the entire evening so call for tickets asap if you plan to go to a show, the tour dates are on the Rosebud Agency web pages and in Musi-Cal. Catbauer@vivanet.com ========================================================================= Date: Fri, 1 Mar 1996 05:40:07 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Who is obsessing you? Comments: To: bit-listserv-blues-l@uunet.uu.net In article <9602271333.aa18561@meyosp.mecon.ar>, Toral Fernando writes: > >Another question: Is there any South American tour programmed for the next >months. We're hungry for the blues here!!! > > Duke Robillard 05/29/96,Sao Paulo,Brazil,Nescafe Blues Festival John Hammond 05/29/96,Sao Paulo,Brazil,Nescafe Blues Festival (after seeing Duke & John play together last night, I'd suggest you make plans to see this show) 05/30/96,Rio de Janeiro,BRAZIL, Robert Cray 03/07/96,Curitiba,BRAZIL,Aeroanta 03/08/96,Santos,BRAZIL,Cadillac Cafe 03/09/96, Belo Horizonte,BRAZIL,Galpao dos Anoradas 03/12/96,Sao Paulo,BRAZIL,The Palace 03/13/96,Sao Paulo,BRAZIL,The Palace 03/15/96,Rio de Janeiro,BRAZIL,The Metro 03/16/96,Rio de Janeiro,BRAZIL,The Metro Catbauer@vivanet.com ========================================================================= Date: Fri, 1 Mar 1996 09:16:31 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: Skip James Comments: To: inhome@knoware.nl In-Reply-To: <4h6dkb$eil@news.knoware.nl> from "Mrs. Helga Verhoef" at Mar 1, 96 08:48:11 am > The strings are tuned to an open e-minor chord. Sometimes the > actual pitch may be lower, but the fingering is an open e-minor chord. Just to spell it out, the tuning is E B E G B E (low to high) Same tuning Booker White used for most of his slide tunes, btw... > The other open tuning he used (Special Rider) is spanish tuning, or open > G which is D G D G B D (again, low to high) Skip also used standard tuning occassionally - "Drunken Spree" from his 1931 session is in standard, as is "I Don't Want No Woman To Stay Out All Night Long" on the Melodeon LP "Greatest Of The Delta Blues Singers". -Rob ========================================================================= Date: Fri, 1 Mar 1996 08:45:38 -0500 Reply-To: Stephanie Manna From: Stephanie Manna Subject: Tampa Bay Blues Festival Yahoo! Off to the Tampa Bay Blues Festival this weekend. I went last year and it was a VERY well done festival.Its right on the water at Vinoy Waterfront Park in downtown St.Petersburg.Plenty of reasonably priced food and drink,space to lay a blanket down and great entertainment as well as sound and stage. If your anywhere in the area its worth the drive. Saturday,March 2 lineup: 1-2 Erica Guerin,2:30-3:30 Jordan Patterson,4:30-5:30 Savoy Brown,6-7:30 Son Seals,8-9:30 The Fabulous Thunderbirds. Sunday,March 3 lineup: 1-2 Backtrack Blues Band, 2:30-3:30 Sherman Robertson,4:30-5:30 Bobby Parker,6-7:30 Jimmy Thackery, 8-9:30 Clarence Carter. For more info:813-381-7272 ========================================================================= Date: Fri, 1 Mar 1996 07:56:09 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Music Theory/Blues In-Reply-To: Message of Thu, 29 Feb 1996 14:46:08 -0800 from On Thu, 29 Feb 1996 14:46:08 -0800 Don Cicchetti said: > >We feel with our brains, not our hearts. Have you ever had a broken brain because of someone you loved...? Sure the brain sends the signals, but the receptor can either act on it or let the brain keep sending signals. I think people with dysfuntional brains can have a broken heart and many can play music. >And since you raise the anaolgy of sex here..... great lovers always think >while having sex, just like music, it's theory, orchestration, and >arrangement as well as expression. A symphony of life and love, or a >shuffle if you will. I disagree 100%..If it's orchestrated it's planned, if it's planned it's dull as hell. Ok honey it's 10:00 time for sex. That doesn't make a great lover, at least not for me... I don't think it's impossible to be an educated musician with feeling. the original poster asked why the videos ignored theory and I think it's because they are trying to teach you to play, not to think about playing.. To each his own: You think about it, while I play it.... LW 'respecting Don C's opinion abd meaning nothing offensive" ========================================================================= Date: Fri, 1 Mar 1996 09:01:56 -0500 Reply-To: Dan Bowden From: Dan Bowden Subject: Hop Wilson Can anyone give me any information on Hop Wilson? I'm working on a project that includes his tune, Dance To It (Chicken Stuff). This track is very cool and I'd like to know more about him. Thanks, Dan Bowden Blues and Jazz Guitar Transcriptions http://members.aol.com/dbow/index.htm ========================================================================= Date: Fri, 1 Mar 1996 09:14:31 -0500 Reply-To: jlafave@NYLINK.ORG From: "" Subject: SRV Tribute In regard to the SRV tribute program - the special will not air on PBS in March as previously hoped. PBS had to withdraw the program due to complications arising from the planned SONY release of the video and CD. PBS does hope to make the program available to its stations in June or August. They are offering the SRV Retrospective - a program featuring his Austin City Limits as a replacement. Jan LaFave Mountain Lake Public Television ========================================================================= Date: Fri, 1 Mar 1996 09:26:24 -0500 Reply-To: Dave Markovits From: Dave Markovits Subject: Lil' Ed/ Dave Weld Went to B.L.U.E.S. last night for Lil' Ed/Dave Weld and the Imperial Flames. A great show. These two guitar players compliment each other extraordinaily well. Ed walked from the small stage on bar stools to the bar and walked across/layed across the bar as he set the place into a frenzy. Everybody was dancing and smiling and killing those work day Blues. Weld is great at working the crowd and they never stop smiling. If they take to the road this summer, check 'em out. They are playing tonight(Friday)and Saturday as well. David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Fri, 1 Mar 1996 08:29:39 CST Reply-To: William Shute From: William Shute Subject: happy birthday WILLIE MITCHELL!!! From: Bill Shute Today, March 1, is the 68th birthday of one of the most important forces in post-WWII music, and one of the all-time giants of MEMPHIS MUSIC, trumpeter/composer/bandleader/producer/hipster/clubowner WILLIE MITCHELL. In the few minutes I can steal from my regular activities at work to write this, I can't do justice to Mr. Mitchell's work, except to say that he pioneered a sound that sold millions of copies worldwide, changed the face of soul music forever, and is still in wide demand today. Pick up that copy of the wonderful 3-CD HI TIMES--THE HI RECORDS R&B YEARS boxset that you SHOULD have in your collection...not only is the first disc chock full of Mitchell's own recordings, but almost everything on the 3-disc set was produced by Mitchell. Those immortal singles and albums by Al Green, Ann Peebles, OV Wright, Syl Johnson, Otis Clay, and dozens of other lesser-known but equally deserving soulsters are the work of PRODUCER Willie Mitchell. Unlike his competition across town, Jim Stewart and later Al Bell, Mitchell had a thorough grounding in the technical side of music--harmony, theory, arranging--and thus he could find a way to actually execute the "harmonies in his head" and create rich and spicy and supple and seductive musical grooves that redefined the "Memphis Sound"---danceable AND romanceable music, but music with layers of complexity and subtlety. I have been listening to some Willie Mitchell records and Willie Mitchell productions for twenty-five years (!!! the same copies, actually!) and I have never grown tired of them and I keep hearing new harmonies, new juxtapositions of instruments, new grooves. Many moons ago I posted lists of the mid-priced and full-priced UK reissues of the HI catalog (no, I didn't save them, so don't ask) on blues-l, and I would encourage you all to pick up any you see. Any of the many various artists HI-UK comps will be packed with Willie Mitchell productions. HI-FIDELITY (HI UK LOLOCD) I see often for ten bucks or so. Let's not forget Mitchell's many many wonderful instrumental recordings... hits like 20-75 and Soul Serenade have entered the collective unconscious of folks over 30 (and even if you don't know them, you'd "know" them when I played them for you), and his albums have stood the test of time. Just yesterday, in anticipation of his b-day, Mary Anne and I danced to Mitchell's entire SOLID SOUL album, and I've had a tape of ON TOP in my car tapedeck continually this week. As someone who began in music during the tail-end of the swing era, Mitchell realizes the possibilities of doing new and fresh arrangements of other people's hits--putting his own stamp on them while retaining those melodic qualities and chord changes that led to the songs' becoming hits in the first place. While Mitchell covered on the above albums tunes you might expect such as "Grazing in the Grass" and "The Horse,"it's especially amazing what he did with Paul Desmond's "Take Five" (it cooks!), Cream's "Sunshine of Your Love," Richard Berry's "Louie Louie," and even the insipid pop hit "Windy" (the latter featuring Mitchell's understated yet full, and slightly tart trumpet work--a shame he didn't feature himself more prominently on some of those records). The Solid Soul/On Top reissue is HI UK CD 120, while Ooh Baby You Turn Me On and Soul Serenade are on HI UK CD 132. A more recent taste of mr. mitchell can be found on the 2-cd set MEMPHIS SOUL NIGHT IN EUROPE (Waylo/MMS CD 903112.2) from l990. A Mitchell-led band of Memphis-ites plays the master's own 20-75, and backs Lynn White, Otis Clay, Ann Peebles,and David Hudson. What I would have given to have seen THAT show, but it's here LIVE for you as a consolation prize. And let's not forget Willie Mitchell's club in Memphis, which I want to visit when I go to Memphis this summer on a musical pilgrimage. What a man!!! Thank you, Willie Mitchell, for the many YEARS of joy and stimulation your recordings and productions have given this listener. Many of you blues-l-ers (Bill P., Jyrki, James, Denise, etc. etc.) could give your own testimonials about Willie Mitchell, and I hope some of you do, the way we had all the birthday testimonials for Bob Koester of Delmark. The heck with all this jingoistic crap we are hearing on the campaign trail and from the White House--it's people like Willie Mitchell who make me proud to be an American!!! And as I've said before, I may live in Texas and love it, but I think my musical soul resides in Memphis. Bill Shute San Antonio, TX ps, let's not forget Mitchell as a discoverer of new talent, either. He heard in Al Green something few others did when Green was a little known singer, loaning Green money to get back home and asking AG to get back in touch when AG made it to Memphis. He knew that Green had that ineffable SOMETHING, and he knew that perhaps HE could be the one to help Al Green find it within himself. The result was/is some of the most transcendent recordings ever made. Let's hope there's a big birthday party for Willie Mitchell somewhere tonight!!!!! ========================================================================= Date: Fri, 1 Mar 1996 08:33:00 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: The Live Albert Collins Albert Collins Live 92/93 seems to have been THE favorite release for 95 for most 'ellers. I didn't keep up with the Grammy stuff, was it nominated. It sure seems to be really popular amongst everyone. This fool hasn't even heard it yet, you can bet the ranch, that I will be listening to it this weekend LW 'feeling a bit deprived' ========================================================================= Date: Fri, 1 Mar 1996 14:35:53 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: The "real" (as opposed to blues-l) Grammy winners Comments: To: bit-listserv-blues-l@uunet.uu.net In <199602290553.VAA28342@frisbee.beachnet.com>, Mary Katherine Aldin writes: >The 1996 Grammy winners: > >Best Traditional Blues Album: John Lee Hooker/Chill Out >Best Contemporary Blues Album: Buddy Guy/Slippin' In > >Mary Katherine Aldin Boy, there's two unkown artists who got the big break! Thank God for the Grammies! BBB B.B. Bean bbbean@cris.com Peach Orchard, MO http://www.cris.com/~bbbean ========================================================================= Date: Fri, 1 Mar 1996 09:46:04 -0500 Reply-To: Toronto Blues Society From: Toronto Blues Society Subject: world music - blues (long) Comments: cc: froots@cityscape.co.uk, fentunes@planet.eon.net, Susan Martinez Thu, 29 Feb 1996, Rags aka srn@FORMTEK.COM wrote... I listen a lot to "World Music"....and have seen a definite connection between Roots music from Western Africa and Blues i find this an interesting thread, but i am less interested in a list of genres, than a list of artists. for example virtually all indian sarod players bend notes like blues guitarists. ali akbar khan is at the top of the heap, imho, but i wouldn't suggest that "indian classical" music is a blues friendly zone. of more interest is the (west) african musician pool that has connected with blues players or blues festivals. in toronto, i have presented tao ravao & vincent bucher (madagascar/france) and boubacar traore (mali) previously to positive (blues) audience response. we are currently checking out lobi traore and habib konte for this year's festival. imho, the impact of the ali farka toure/ry cooder's "talking timbuktu" success has been surprisingly absent from this list. i'd like to share with my fellow bluezellers a fascinating chain of events regarding a local blues guitarist who goes by the name "madagascar slim". slim had been known for many years as a workman like chicago style blues guitarist, playing mostly with steven c. and the red rockets (the red rocket is slang for the toronto transit commission buses). slim showed up to see a concert of his fellow malagasy musician, tao ravao several years ago and was blown away by the cultural crossover. the following year, slim showed up to catch a concert by another malagsy act, tarika. this time he was so taken with the traditional/contemporary blend of the music, he actually followed the band on the road. i had heard that these contacts had inspired slim to rekindle his own trad. chops and he was invited to play a toronto blues society concert called "roots of the blues" featuring two similarly large and funky bands from toronto, downchild and afronubians. that concert was very well received and slim provided the link or glue between the two dissimilar groups with a mix of malagasy music and blues, for the first time in public (spring 1995, bamboo club). when it came time for me to select an appropriate opening act for ali farka toure's free concert in my "africaribeat" theme last august, i turned to slim. knowing the importance of the gig, he just about died, but got busy organizing the next step of his transition to his new hybrid of african blues music. he invited 2 relatives (who had accompanied him at the bamboo) and 3 of this regular blues buddies (bass/drums/guitar) to make up the band that did the opening for the ali slot. the concert had been anticipated by all the folks that had expected to see ali perform with ry the previous year (you may or may not have heard about the ill fated tour that was derailed by civil strife in ali's home country, mali). needless to say, slim pulled off a great, if somewhat tenative, show in front of about 5,000 people at toronto's waterfront (august, 1995, harbourfront centre). one further development (i doubt that it will be the last) in this turn of events had slim apply to the canada coucil for a grant that it offers to artists who wish to study with their mentors. [slim had met a granting officer (i know this may sound like a foreign language to some u.s. readers) at a canada council seminar on financial support for blues musicians hosted by the toronto blues society, between his two public appearances.] to his amazement, slim received a $15,000 grant to travel to madagascar to study music. en route, he will be connecting in london, england with the leader of tarika, yanche (sp?) who has been invited to produce some tracks on slim's new cd of malagasy blues. when i ran into yanche at the womex conference in brussels this past october, she informed me that she now performs one of slim's tunes to much approval of her audience, often closing the show. i hope i have not distracted the die hard blues nuts out there too far from the usual course of discussion, but this tale of cross cultural blues development has been too unbelieveable not to share with others. if you wish to send me private mail on this to hear of other aspects of the tale, please do so. regards, derek andrews. cc. ian anderson/folk roots magazine, rick fenton/saturday night blues. ========================================================================= Date: Fri, 1 Mar 1996 09:53:05 -0500 Reply-To: RhythmShrk@AOL.COM From: Bernie Clarke Subject: Re: Fab t-birds/mighty flyer question In a message dated 96-02-27 23:03:34 EST, you write: > >I heard this past weekend that Jimi Bott, the long time drummer for the >Mighty Flyers has joined the Fabulous Thunderbirds. Has anyone seen either >of these bands lately, or can anyone substantiate this rumor. Thanks >thanks >ed I had not heard this, but I think Jimi is one of the all time greatest drummers around. If this means his stock is going up, then good for him! Bernie Clarke ========================================================================= Date: Fri, 1 Mar 1996 08:47:55 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Jimi's Collection I got a free Guitar Player Mag (I wouldn't dare buy one, hate it), but there is an article on Hendrix's LP collection. There were plenty of Muddy Waters (incuding Electric Mud), Elmore James only one JLH, the JLH is backed by The Muddy Waters band. There was not much mention of Coltrane. He had a lot of Mayall and the 'breakers , with EC, Mick Taylor....etc. There are some more like one Smoky Smothers, Jr. Wells..... There is a REAL short article on Long John Hunter and Buddy Flett, otherwise I found nothing interesting..... LW ========================================================================= Date: Fri, 1 Mar 1996 09:01:27 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Fab t-birds/mighty flyer question In-Reply-To: Message of Fri, 1 Mar 1996 09:53:05 -0500 from On Fri, 1 Mar 1996 09:53:05 -0500 Bernie Clarke said: >In a message dated 96-02-27 23:03:34 EST, you write: > >> >>I heard this past weekend that Jimi Bott, the long time drummer for the >>Mighty Flyers has joined the Fabulous Thunderbirds. Has anyone seen either >>of these bands lately, or can anyone substantiate this rumor. Thanks >>thanks >>ed > >I had not heard this, but I think Jimi is one of the all time greatest >drummers around. If this means his stock is going up, then good for him! I seriously doubt Jimi Bott left the Flyers. The Flyers is one of the reasons he wanted to play drums. He (IMHO) would not be moving up at all. He would be going way down. I think the Flyers are one of the best blues bands going. I don't think the 'birds style would fit Bott's style. There would be no swinging tunes like The Stinger. I would be very, suprised, not to mention disapponited LW ========================================================================= Date: Fri, 1 Mar 1996 10:15:11 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Music Theory/Blues Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu In a message dated 96-03-01 09:31:07 EST, you write: >I don't think it's impossible to be an educated musician with feeling. the >original poster asked why the videos ignored theory and I think it's because >they are trying to teach you to play, not to think about playing.. > >To each his own: You think about it, while I play it.... It seems to me that LW could not be more wrong. The process of learning a craft (including art or musical performance) involves mastering the elements of that craft until you can produce effortlessly--without thinking. Learning the 'rules'-- the theory behind the elements-- has several benefits. The learning process can lead you into dead ends, or can produce 'rough spots' that dont work in your style. The rules can help you around these problems, and are a short cut that will help prevent you from beating your head against a wall. Further, theory gives you a language with which to communicate with other artists. Like the other guys in the band, for instance. Once in a while, you will meet someone whose instinctive grasp of technique is so great that they seem to have been effortless all along. Those folks are rare, though, and the ones I have met (including some world-class arists) *still* had an understanding of the underlying issues of theory and in fact could talk about it (when they would) in ways that made me both realize how much a grasp of these technical issues is the basis for great art. LW's reply seems to equate calculation and planning-to-death with understanding of theory (in art or sex). This misses the entire point of understanding theory. In fact, I suspect that musicians who *don't* grasp the underlying rules or think about them are far more their prisoner than those who do. Tom Freeland ========================================================================= Date: Fri, 1 Mar 1996 09:15:07 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Favorite Quotes I'd like to know some of ya'lls favorite quotes about blues or by bluesmen some of mine are Son House: "That stuff they call blues today, that's not blues, that's Monkey Junk" (not verbatim, I got a cd made of my demo I named it MONKEYJUNK) Muddy Waters: "Don't listen for the changes, feel for the changes" (great, great advice) Lightin' Hopkins: "Lightin' change when Lightin' want to change" (when ZZ TOP was backing Lightin' and Gibbons said something like you missed the change) There are a bunch more, what are some of yours LW ========================================================================= Date: Fri, 1 Mar 1996 09:25:46 -0600 Reply-To: Bennett Pearce From: Bennett Pearce Organization: UAB Pediatric Cardiology Subject: Re: amphibians Comments: To: bit-listserv-blues-l@uunet.uu.net In article <9602291312.aa19633@admin.dis.on.ca>, Ian Angus wrote: > > Any more? > > Ian Angus > "Built for comfort, not for speed" "I'm just like a Mississippi bullfrog sittin' on a hollow stump I got so many women I don't know which way to jump"- Big Joe Turner (my fav is the Jerry Lee Lewis version. -- Bennett Pearce, MD ========================================================================= Date: Fri, 1 Mar 1996 09:25:20 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: happy birthday WILLIE MITCHELL!!! > > What a man!!! Thank you, Willie Mitchell, for the many YEARS of joy > and stimulation your recordings and productions have given this listener. > ... > > Bill Shute > San Antonio, TX > Yes, indeed!!! Being a huge fan of Al Green, Otis Clay, and Syl Johnson, I can only be thankful to Willie Mitchell for helping these artists get their break. I second Bill's recommendation of 3-CD HI TIMES--THE HI RECORDS R&B YEARS. Also, these days I have been listening again Pops Staples' "Peace to the Neighborhood." Willie Mitchell co-produced 4 songs on this album. Ranko ========================================================================= Date: Fri, 1 Mar 1996 10:32:53 -0500 Reply-To: RhythmShrk@AOL.COM From: Bernie Clarke Subject: Re: Fab t-birds/mighty flyer question In a message dated 96-03-01 10:08:59 EST, you write: >>>I heard this past weekend that Jimi Bott, the long time drummer for the >>>Mighty Flyers has joined the Fabulous Thunderbirds. Has anyone seen either >>>of these bands lately, or can anyone substantiate this rumor. Thanks >>>thanks >>>ed >> >>I had not heard this, but I think Jimi is one of the all time greatest >>drummers around. If this means his stock is going up, then good for him! > >I seriously doubt Jimi Bott left the Flyers. The Flyers is one of the reasons >he wanted to play drums. He (IMHO) would not be moving up at all. He would be >going way down. I think the Flyers are one of the best blues bands going. I >don't think the 'birds style would fit Bott's style. There would be no >swinging >tunes like The Stinger. I would be very, suprised, not to mention >disapponited > >LW > > I'm sure that Jimi is such a agood drummer that he could find a place in just about any blues-based band. Secondly, he is a professional musician and although Rod Piazza is well known in our little world, The Fab T-birds are well known in the real world and make a lot more money. The opportunity to play with a great band like the T Birds for real "folding money" would be a big incentive. Jimi can't be making too much with the Mighty Flyers (at least not as much as he's worth.) Bernie Clarke (Big $ and great music is weighs more to the working musician than small $ and greater music.) ========================================================================= Date: Fri, 1 Mar 1996 10:24:01 -0500 Reply-To: leddy@A1.POLICE.UPENN.EDU From: Gerald Leddy Subject: Philly Dates Just a few more dates for anyone interested: Dave Van Ronk - Sunday, 03 March, 7:30pm at the Cherry Tree Music Co-Op, 3916 Locust on the Univ. Penna. campus 215.386.1640 Taj Mahal/Keb Mo' - Tuesday, 09 April, 8pm at the Keswick Theatre, Easton and Glenside Rds, Glenside (just NW of city). (Jonny Miester hosting????) 215.572.7650 Jerry. ========================================================================= Date: Fri, 1 Mar 1996 09:37:16 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Fab t-birds/mighty flyer question In-Reply-To: Message of Fri, 1 Mar 1996 10:32:53 -0500 from On Fri, 1 Mar 1996 10:32:53 -0500 Bernie Clarke said: >> >I'm sure that Jimi is such a agood drummer that he could find a place in just >about any blues-based band. Secondly, he is a professional musician and >although Rod Piazza is well known in our little world, The Fab T-birds are >well known in the real world and make a lot more money. The opportunity to >play with a great band like the T Birds for real "folding money" would be a You are 100% right, my error, I think Jimi could play just about any music blues or otherwise. I didn't think the T-Birds were that big anymore. I never hear of them much. I do recall reading about Kid Ramos, I honestly didn't know that the T-birds were still a major band. I thought after Tuff Enuff died down, that they were just as popular as most of the other blues bands. Keep in mind I live in Alabama and "Walking Tall" just hit the video stores :-) LW ========================================================================= Date: Fri, 1 Mar 1996 08:41:15 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: When it's too damn loud Previously: >I carry a set of earplugs with me whenever I go out. You only >have one set of ears to last your entire life. My right ear rings >constantly and believe me, it's no fun. Also, be careful when >listening or playing through headphones, it's easy to make >your ears ring. Your hearing is a precious commodity that >can't be replaced! Couple points 1 When your ears are ringing the next day, you have recieved PERMANENT HEARING DAMAGE! 2. Bring plugs as a last resort. But COMPLAIN *LOUDLY* to the FOH mixer, and the venue management. Use words like "lawyer" a lot. I hate to be so extreme, but I know my industry and eight out of ten live sound operators are either incompetent, deaf themselves, or simply don't give a s___ becaause "it's rock and roll man!" To HELL with that. Make your voice heard. Sooner or later someone is going to sue these bozos and maybe we will get a break. Live sound should not average over 100db, with 110db peaks. At that level, it is loud enough for musical expression, yet loud enough to hear all of the softer stuff as well, yet the system stays within linearity (doesn't turn to mush) and the room is not overloaded with sound pressure (ditto). This won't change till we force the issue. Don Oh, and BTW tinnitus (constant ringing from too much high SPL exposure) has driven people to the surgeon to get their auditory nerves cut (total deafness) wearing white noise generators to mask it, and even suicide to get *rid of* that constant noise in their head. This is serious, folks. ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu I looked over Jordan, and what did I see An Eldorado comin' after me comin' for to carry me home.. -- Dizzy Gillespie ____________________________________________________ ========================================================================= Date: Fri, 1 Mar 1996 08:47:52 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Jimi's Collection Comments: cc: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU LW wrote: >I got a free Guitar Player Mag (I wouldn't dare buy one, hate it), but there >is an article on Hendrix's LP collection. There were plenty of Muddy Waters >(incuding Electric Mud), Elmore James only one JLH, the JLH is backed >by The Muddy Waters band. There was not much mention of Coltrane. He had a lot >of Mayall and the 'breakers , with EC, Mick Taylor....etc. There are some more >like one Smoky Smothers, Jr. Wells..... Is this the latest issue? I hope so. It sounds like a good read. IMHO, Guitar Player is the *best* mag for guitartists around. It coves all styles and has great lessons. Guitar Player has always supported the blues. Now some issue are sparse on blues coverage but some are overflowing with blues. But GP usually is good at covering all styles. I did a post late last year that outlined articles on blues guitarists in all the 95 issues. I don't know why you don't like it. Personally, I think it it's great. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Fri, 1 Mar 1996 08:47:59 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Music Theory/Blues Comments: cc: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU LW wrote (in response to Don C): >>And since you raise the anaolgy of sex here..... great lovers always think >>while having sex, just like music, it's theory, orchestration, and >>arrangement as well as expression. A symphony of life and love, or a >>shuffle if you will. > >I disagree 100%..If it's orchestrated it's planned, if it's planned it's >dull as hell. Ok honey it's 10:00 time for sex. That doesn't make a great >lover, at least not for me... Well do you need some theory when it comes to sex. You got to know where all the pieces fit so to speak. When Don mentioned that sex is "just like music, it's theory, orchestration, and arrangement" I don't think he meant that sex or music should be planned out. Who wants to hear a solo that just starts form nowhere and goes nowhere. I would rather be seduced by an artist (in the musical sense) who carefully arranges and orchestrates their solo so that it builds up to the climax. A good musicain (like a good lover) doesn't just go in there and start banging away. There is a whole lot more involved as Don pointed out. >I don't think it's impossible to be an educated musician with feeling. the >original poster asked why the videos ignored theory and I think it's because >they are trying to teach you to play, not to think about playing.. > >To each his own: You think about it, while I play it.... I don't think that any of us who know theory think "hmmm...a G7 chord. Shall I use the arpeggio, blues scale, mixolydian, lydian dominant or altered?" If we are musicians we just play like you and everybody else. Shaun BTW, Writing this post was like walking a tightrope. You should of seen the metaphors and expressions I wanted to use when comparing music and sex:-) Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Fri, 1 Mar 1996 12:05:21 -0500 Reply-To: 00LCSPECTOR@BSUVC.BSU.EDU From: "Lee C. Spector" <00lcspector@BSUVC.BSU.EDU> Subject: Mitchell Thanks to Bill Shute for his tribute to Willie Mitchell. I agree with most of what he says, although I'm not a big fan of his recent stuff with Lynn White. My one complaint about Mitchell is that he didn't record Quiet Elegance enough. There is only one album, as far as I can tell, but it is some of the best women group r&b/soul ever recorded, in my opinion. Wonderful stuff. Lee Lee C. Spector Department of Economics P.S. I'm also sure that there are some of us who would have liked him to have recorded Jean Plum some more as well. ========================================================================= Date: Fri, 1 Mar 1996 12:11:18 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Cathi on BLuesBytes :) Comments: To: canorton@journalism.indiana.edu Get Back Baby!!!! :) :) Cathi, as the sole representation of blues-l women on the BluesBytes tape, you do women of blues proud!! Fellas, I don't know about you, but I am totally smitten with Cathi's voice. :) Sultry and sexy. Wow! Cathi, promise us you'll be on the next tape as well, maybe 3 or 4 cuts?! :) Nice stuff, Cath', A fan, Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 1 Mar 1996 09:22:10 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Lawyers on Blues-L Ken said: >Since PW Fenton doesn't know the lawyer, professionally or >personally, he has no basis in fact as to how he came to his >conclusion other than a predisposed bias that comes >across as arrogant and petulant. I suggest Mr. Fenton >take a Logic class at his local community college to >clear his thinking and keep his personal rantings off >off this group. As someone who disagreed with PW myself, I have to suggest that you could criticize his response without being so patronizing towards him. The above personal attack and characterization belongs in an AOL chat room, not on this list. >The information presented by the lawyer was presented >in a factual and educational manner. As far being accepted >by the group or posting other stuff before posting something >like this...grow up guys....the group is for everyone...not >just the oldtime "clique" that passes judgement on others >based on an unsubstantiated belief or a misinformed >interpretation. What "clique"?? this is the most open group I have ever seen. This stupid characterization and criticism is totally uncalled for. Want to join the group Ken? Be nice, and lay off the personal stuff even if PW (or DC for that matter) steps in it. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu I looked over Jordan, and what did I see An Eldorado comin' after me comin' for to carry me home.. -- Dizzy Gillespie ____________________________________________________ ========================================================================= Date: Fri, 1 Mar 1996 11:52:12 CST Reply-To: Edward Komara From: Edward Komara Subject: Origin Jazz Library Origin Jazz Library (or just plain ol' OJL) was one of THE pioneering prewar blues reissue programs--and it should not be mistaken for the Fantasy Original Jazz Classics. OJL was run by Bill Givens and Pete Whelan (the 78 Quarterly guy, not to be confused with the late Pete Welding). As the various 78s of the prewar greats Charlie Patton, Son House, Skip James etc were recovered, Givens and Whelan made sure those sides were reissued first on OJL. And not only were the records great, so were the notes! Written by the likes of Bernard Klatzko, David Evans, Gayle Wardlow, the notes were the first to delve into what is now the core aspects of prewar blues. Which leads to the obligatory question: what do I think are the best OJL albums... Jeez, OJL-2 (Really! The Country Blues) is great, and the Henry Thomas Lp, not to mention the Charlie Patton's. But I would to say that OJL 12 and 13, In The Spirit vols. 1 and 2, are THE ones: sacred sides by Bukka White, Skip James, Charlie Patton, the early sanctified (Church of God, Holiness) peformances led by Elder Bryant, and McIntorsh and Edwards--and those sanctified sides are so fervent and wild, they make the idea of selling one's soul to the devil just to play better guitar seem pretty worthless--whew! Plus notes on sanctified by Bernard Klatzko that still hold up after 30 years. Now where can one get OJL issues I have no idea. I have seen some copies in the Stackhouse Delta Record Mart in Clarksdale run by Jim O'Neal (it has a big full-page ad in every issue of Living Blues) so you can write or call to see what is still there. But I have been wondering if there may be unsold stock, as the Blues Archive has an incomplete set of the OJL series (which ran to about 30 or so LPs), and I want to complete it. I may very well contact Pete Whelan on this question, although I would be grateful any information from anyone who does know for sure. Edward Komara, Ole Miss ========================================================================= Date: Fri, 1 Mar 1996 10:17:42 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: My last word on theory Hi Everybody! In the final analysis, you either get it or you don't. In a sense LW and I are both right. In the new Guitar Player, (LW hates it?? whew... ok I'll leave that one alone) John McLaughlin said: "You can't think and play at the same time". Coming from such an accomplished musician, with so much theory background, that kind of threw me. I thought about it for a while, and I think he meant that you can't *reflect* or *ponder* or learn something new in an intellectual sense while playing, and that is very true. BUT, when you start with musical talent (prerequisite for all this) and passion, then learn theory and technique from teachers who share your passion, you eventually incorporate all that theory into your intuitive abilities. There is no dichotomy between the two. Those who try to seperate theory and feeling are nuts; you cannot play worth a damn without both. Those who fear or dislike theory are saying more about their own insecurities than about music itself. Oh, and by the way.... All this chatter about feeling, technique, and theory, this very activity we are doing... I hate to tell you this Leonard, but WE'RE DOING MUSIC THEORY! It's like the silly guy who says "I don't believe in philosophies, and don't have one" *of course he does* it's just a bloody stupid one that will limit him the rest of his life. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu I looked over Jordan, and what did I see An Eldorado comin' after me comin' for to carry me home.. -- Dizzy Gillespie ____________________________________________________ ========================================================================= Date: Fri, 1 Mar 1996 13:10:29 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: Dr. David Evans on BluesNet! I *finally* finished transcribing and editing my interview with Dr. David Evans, blues researcher, scholar, columnist and performer. Dr. Evans discussed in some detail the revival scene of the 60s, the state of the folk blues today, as well as touching on his encounters with many prominant blues people: Booker White, Skip James, Jack Owens, Son House, Fred McDowell, Babe Stovall, Sleepy John Estes, Hammy Nixon, Jesse Mae Hemphill, John Hurt, Al Wilson, Roosevelt Holts, Pete Welding, John Fahey, Robert Pete Williams... you get the idea. He also gets in a good jab at Stephen Calt :-) The complete interview can be found on BluesNet: http://dragon.acadiau.ca/~rob/blues/ If you don't have web access, email me and I'll get a copy out to you via email. Hope you enjoy it - your comments (good or bad) are more than welcome. -Rob ========================================================================= Date: Fri, 1 Mar 1996 14:24:15 -0500 Reply-To: "Lost John From: "Lost John Subject: theory etc...(again) Comments: cc: johnc@vedge.com Hi to all - Don Cicchetti wrote... >BUT, when you start with musical talent (prerequisite for all this) and >passion, then learn theory and technique from teachers who share your >passion, you eventually incorporate all that theory into your intuitive >abilities. >There is no dichotomy between the two. >Those who try to seperate theory and feeling are nuts; you cannot play >worth a damn without both. >Those who fear or dislike theory are saying more about their own >insecurities than about music itself. I'd have to second this summation. As a player (blues and otherwise) who's been at it on and off for the better part of the last 30 years, I know I don't like to listen to players who may have the greatest intentions and emotion in the world, but whose playing stinks. At the same time, I've also heard many players who can rattle off note-for-note solos by some of my favorite players, but their lack of emotional involved-ness with it is obvious. As a result, its about as enjoyable as listening to my cat hork up furballs. I think we're talking more about technique here than theory, but technique and emotion are not mutually exclusive ingredients in the makeup of an enjoyable player. On the contrary, I think, as Don does, that you can't have one without the other. If a student wishes to explore music theory in the interest of making him/herself an all-around better musician (i.e., improving technique), then I think he or she should be encouraged to do so. I've often been asked why I don't write my own material. I usually answer that a) I don't think I'm particularly good at it, b) There's already such great existing stuff out there to learn how to play already. Why not learn it and hopefully put my own spin on it. Sometimes I'll ask players just that: "Why not learn it ?". When the answer is "Oh, I only do original stuff, man", chances are the player is just plain lazy (i.e., "saying more about their own insecurities than music itself"). As a newbie, I hope the opinion expressed doesn't offend anyone. You crew seem to have some pretty heated discussions (flamefests, actually). Seeya -- _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ _/ JC /\ _/ _/ ______________ || _/ _/ \__________ / || _/ _/ ________ ___/ John Carley || _/ _/ \______ / johnc@vedge.com || _/ _/ ____ ___/ (514)332-6430 x232 || _/ _/ \__ / Visual Edge Software Ltd. |\||/| _/ _/ _____/ 3950 Cote Vertu, Suite 100 \ / _/ _/ \/ Montreal, Quebec, Canada / \ _/ _/ ( ) _/ _/ \____/ _/ _/ (graduate of the Yogi Berra school of elocution) _/ _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ ========================================================================= Date: Fri, 1 Mar 1996 14:26:32 -0500 Reply-To: Rags From: Rags Subject: BLUES_FESTIVALS_LISTINGS!!! Hi folks.... where can i get a comprehensive list of all the BLUES FESTIVALS....all across the country.... so i can plan my year accordingly ;) Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ It's dark And I'm Wearing Sunglasses......... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Fri, 1 Mar 1996 16:15:59 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: Favorite Quotes Comments: To: ISTS024@UABDPO.BITNET In-Reply-To: from "L W" at Mar 1, 96 09:15:07 am > I'd like to know some of ya'lls favorite quotes about blues or by bluesmen "All songs are folk songs. Have you ever seen a horse sing?" - Brownie McGhee "What is the Blues? Who has the Blues? Sometimes the best Christian in the world have the Blues quicker than a sinner do, 'cause the average sinner ain't got nothing to worry about. He do what he please, go where he please, use what he please. But a Christian is obligated to certain things and obligated not to do certain things. That sometimes cause a Christian to take the Blues. What is Blues then? It's a worried mind. It boils down to worry. Sometimes you worry so, it cause you to jump off the 'Frisco bridge up here, worry you so it cause you to stick a gun in you... that's all, it's worry. Some folks say, "well, he went out of his head." Well, if it's worry cause you to go out of your head, that's what it is. But that's the Blues." - Rev. Rubin Lacy "The blues is not a plaything like some people think they are." - Son House "The blues is about a woman." - Sam Chatmon "You can write the truth with the blues." - Booker White -Rob ========================================================================= Date: Fri, 1 Mar 1996 15:19:30 -0500 Reply-To: Rags From: Rags Subject: BLUES_FESTIVALS_LISTING!!! Hi folks.... where can i get a comprehensive list of all the BLUES FESTIVALS....all across the country.... so i can plan my year accordingly ;) Peace to U..... Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ It's dark And I'm Wearing Sunglasses......... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Fri, 1 Mar 1996 12:46:18 -0500 Reply-To: David Melton From: David Melton Subject: Re: Fab t-birds/mighty flyer question Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU At 9:01 AM 3/1/96, L W wrote: >On Fri, 1 Mar 1996 09:53:05 -0500 Bernie Clarke said: >>In a message dated 96-02-27 23:03:34 EST, you write: >> >>> >>>I heard this past weekend that Jimi Bott, the long time drummer for the >>>Mighty Flyers has joined the Fabulous Thunderbirds. Has anyone seen either >>>of these bands lately, or can anyone substantiate this rumor. Thanks >>>thanks >>>ed >> >>I had not heard this, but I think Jimi is one of the all time greatest >>drummers around. If this means his stock is going up, then good for him! > >I seriously doubt Jimi Bott left the Flyers. The Flyers is one of the reasons >he wanted to play drums. He (IMHO) would not be moving up at all. He would be >going way down. I think the Flyers are one of the best blues bands going. I >don't think the 'birds style would fit Bott's style. There would be no swinging >tunes like The Stinger. I would be very, suprised, not to mention disapponited > >LW =============================================================================== I can tell you that I have heard from a very reliable source that it is true that Jimi Bott has indeed left the Flyers to join the T-Birds. I Have worked with Jimi and I can say he can play other styles. I think it's great that he has moved on so that other aspects of his talent can be showcased. He's one of the best drummers I've worked with and a nice guy to boot. I'm sure he will be missed with the Flyers but wait and see, I bet everybody will end up happy. Dave Melton ========================================================================= Date: Fri, 1 Mar 1996 13:21:34 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Favorite Quotes > >Lightin' Hopkins: "Lightin' change when Lightin' want to change" >(when ZZ TOP was backing Lightin' and Gibbons said something like you >missed the change) Actually, I believe this quote was in response to ZZTop's drummer, Frank Beard, when he was much younger (before ZZTop hit the big time). Personally, I couldn't imagine telling Lightnin' that he changed in the wrong spot! And on some of Lightnin's recordings with small groups you can definitely hear that Lightnin' did change when he wanted to, and the other guys usually had a bit of trouble keeping up. -Jim (hndful@uniserve.com) ========================================================================= Date: Fri, 1 Mar 1996 13:39:54 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Dr. David Evans on BluesNet! >I *finally* finished transcribing and editing my interview with >Dr. David Evans, blues researcher, scholar, columnist and performer. >The complete interview can be found on BluesNet: > > http://dragon.acadiau.ca/~rob/blues/ I just read the interview - good job, Rob! I recommend it to all Bluezellers for some interesting reminiscences and thought-provoking stuff! Especially interesting to me was what Dr.Evans mentioned about non-critical thinking about the lyrics to some of the old country Blues, and the comparison between Blues and today's rap music. Makes you think... -Jim (hndfuL@uniserve.com) ========================================================================= Date: Fri, 1 Mar 1996 16:39:11 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Favorite Quotes "I can't stand to sing the same song the same way two nights in succession, let alone two years or ten years. If you can, then it ain't music, it's close-order drill or exercise or yodeling or something, not music." Billie Holiday (1915-59) P.W. Fenton Tampa, Florida ------------------------------------------------------------- "Age is a question of mind over matter. If you don't mind, it don't matter." - Leroy Robert "Satchel" Paige, 1906-1982 When in cyberspace, visit my web pages at http://www.gate.net/~pwfenton/ ------------------------------------------------------------- ========================================================================= Date: Fri, 1 Mar 1996 16:59:48 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: Origin Jazz Library >Which leads to the obligatory question: what do I think are the best OJL >albums... Jeez, OJL-2 (Really! The Country Blues) is great, and the >Henry Thomas Lp, not to mention the Charlie Patton's. But I would to say >that OJL 12 and 13, In The Spirit vols. 1 and 2, are THE ones: sacred >sides by Bukka White, Skip James, Charlie Patton, the early sanctified >(Church of God, Holiness) peformances led by Elder Bryant, and McIntorsh >and Edwards--and those sanctified sides are so fervent and wild, they >make the idea of selling one's soul to the devil just to play better >guitar seem pretty worthless--whew! Plus notes on sanctified by Bernard >Klatzko that still hold up after 30 years. > One of those albums 'In The Spirit' albums is where I first heard the astounding old time country musician Alfred G. Karnes and his harp-guitar, doing 'I Am Bound For The Promised Land'. It's available on Yazoo CD 2013, 'Music of Kentucky Vol. 1', and if you've never heard it, you're in for a *big* treat. The rest of the CD is pretty stunning too - and so is Volume 2, come to think of it. There's very little of the OJL catalogue that's not been subsequently reissued, first on LPs, now on CD, but they still stand as outstanding compilations of their kind; not surprising, perhaps, as OJL were among the first in the field, and could put out the best, not the rest. Chris Smith (chris@skerries.demon.co.uk) "Best wishes and your truly, jivin' Mr Hopkins blues" (Brownie McGhee) ========================================================================= Date: Fri, 1 Mar 1996 16:08:31 CST Reply-To: JBards From: JBards Subject: Re[2]: Lawyers on Blues-L Comments: To: BLUES4EVR Hello? one last time, Ken: PW didn't , as in DID-NOT, object to the original lawyerly post. He even said he LIKED it. He objected to a private email he echanged with the original author being quoted by the original lawyer-author in public, a faux pas of great proportions which I expect was a mistake, that the private post wasn't recognized as such. A few other objections of varying degrees to the mildly slef-promotional aspects of the post were voiced by others, but NOT by PW, and the general concensus seems to be that the lawyerly post and the lawyerly writer are an interesting addition to the conversation here. Oh, and I flamed George Myers for his relentless self-aggrandizing and non-participatory promotion of the Grand Emporium and the Blues Cruise, which are his business/projects. Other than that, it's been a quiet week in Lake Woebegone. Your post reminds me of a joke: An internist, a pathologist, and a surgeon are out duck hunting. The internist goes first...a bird is flushed out the reeds and take off across the sky: the internist says "Hmmm, webbed feet, it quacks, must be a duck..." BLAM! and the dog runs out and brings back a duck. The pathologist goes next, same thing happens... he says " Hmmm, ascending at a 40-degree angle, head extended, green band around the neck, must be a Mallard..." BLAM! and the dog brings back a mallard duck. Then it's the surgeon's turn, and there's a rustling in the bushes and he turns and fires away, sawgrass and cat-o-nine tails flying wildly everywhere....the dog trots and returns with something. "Thank God!", the surgeon says. "It's a duck!" So the moral of the story is to figure out what you're aiming at and why before you let fly with the buckshot. -Jim, live from the med school here in Louisiana. _______________________________________________________________________________ Subject: Re: Lawyers on Blues-L From: BLUES4EVR at INTERNET-SH Date: 03/01/96 3:22 AM In article <199602291348.IAA03620@osceola.gate.net>, "P.W. Fenton" writes: stuff deleted: >. Our only differences are based on the fact >that I don't believe that he did not intend to promote himself when >he first made his "informative" post, (and a certain predisposition >on my part in regards to lawyers in general). Since PW Fenton doesn't know the lawyer, professionally or personally, he has no basis in fact as to how he came to his conclusion other than a predisposed bias that comes across as arrogant and petulant. I suggest Mr. Fenton take a Logic class at his local community college to clear his thinking and keep his personal rantings off off this group. The information presented by the lawyer was presented in a factual and educational manner. As far being accepted by the group or posting other stuff before posting something like this...grow up guys....the group is for everyone...not just the oldtime "clique" that passes judgement on others based on an unsubstantiated belief or a misinformed interpretation. So everytime you have a thought please Think Before You Post..PW Fenton's rant added nothing to the group. So let get back to the blues before everyone get the blues over this. IMHO, of course, Regards, Ken Keep on keepin' on, that's all we can do ========================================================================= Date: Fri, 1 Mar 1996 16:19:13 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 03/02 B O R N : CARLTON, LARRY ( EUGENE CARLTON ) Born:1948 TORRANCE, CA Career:GUITAR Style:JAZZ / ROCK Vicki Carr / Andy Williams / Crusaders / Joni Mitchell / Tom Scott's L. A. Express / Steely Dan CLAYTON, KID ( JAMES CLAYTON Born:1902 JASPER COUNTY, MS Career:TRUMPET Style:TRAD / JAZZ With:Jack Carey / John Handy DAVIS EDDIE "LOCKJAW" Born:1921 New York, NY Career:TENOR SAX / LEADER Style:JAZZ / BIG BAND With:Cootie Williams 1942-1944 / Lucky Millinder / Andy Kirk / Louis Armstrong / Count Basie / Shirley Scott HALL, RAM ( MINOR HALL ) Born:1897 SELLERS, LA Career:DRUMMER Style:TRAD / JAZZ With:Oke Gaspard / King Oliver / Jimmie Noone / Mutt Carey KEEPNEWS, ORRIN 03 Born:1923 NEW YORK, NY Career:RECORD PRODUCER / WRITER Style: JAZZ / BIG BAND co-founder:RIVERSIDE RECORDS KIMBALL, NARVIN Born:1909 NEW ORLEANS, LA Career:BANJO / BASS Style:TRAD / JAZZ With:Papa Celestin NEIDLINGER, BUELL Born:1936 NEW YORK, NY Career:BASS / TEACHER Style:JAZZ NELOMS, BOB ( ROBERT JAMES ) Born:1942 DETROIT, MI Career:PIANO / TEACHER Style:JAZZ SAUNDERS, RED ( THEODORE ) Born:1912 MEMPHIS, TN Career:DRUMMER / LEADER Style:JAZZ / BLUES / BIG BAND Stomp King / Tiny Parham / subbed with Louis Armstrong All Stars / Duke Ellington / Woody Herman / Art Hodes / Little Brother Montgomery (1969) WATKINS, DOUG ( DOUGLAS ) Born:1934 DETROIT, MI Career:BASS Style:JAZZ STERLING, ARNOLD Born:1938 BALTIMORE, MD Career: ALTO SAX Style:BLUES With:JIMMY MCGRIFF LIGHTFOOT, GEORGE "PAPA" Born:1924 NATCHEZ, MS Career:HARMONICA Style:BLUES GALLAGHER, RORY Born:1948 BALLYSHANNON, IRELAND Career:GUITAR Style:BLUES DARBY, TEDDY BLIND 1905 HENDERSON, KY Career:Guitar Style: BLUES CHAMBERS,WILLIE 1938 LEE COUNTY, MS Style:BLUES With:THE CHAMBERS BROTHERS FOR A LISTING OF THOSE THAT PASSED AWAY IN MARCH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Fri, 1 Mar 1996 14:22:17 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Dr. David Evans on BluesNet! Comments: To: Rob Hutten At 01:10 PM 3/1/96 -0400, Rob Hutten wrote: >I *finally* finished transcribing and editing my interview with >Dr. David Evans, blues researcher, scholar, columnist and performer. > >If you don't have web access, email me and I'll get a copy out to >you via email. > Have no time these days for anything--sigh--could you possibly email it to me? Would really appreciate it. Best, Mary Katherine Aldin ========================================================================= Date: Fri, 1 Mar 1996 17:32:36 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson e a review of John Primer's tasty new CD, but unfortunate (and >perhaps interesting) that pianist Dave Maxwell wasn't mentioned despite >his strong contribution. I agree totally! I had never heard (or heard of) Maxwell before, but I certainly sat up and took notice on this album. He really stands out, which is not easy to do on an album with such great musicians on it. I mentioned online in another place that he is a "helluva player" (first thing that came into my mind), and I'd like to repeat that sentiment here! Karen Not affiliated with anybody or anything No web page No title No quote Just an ordinary fan :) ========================================================================= Date: Fri, 1 Mar 1996 22:34:44 GMT Reply-To: Bluesbabe Suzzie From: Bluesbabe Suzzie Organization: SoVerNet, Inc. Subject: Re: No Day Job for Jelly Roll Morton Comments: To: bit-listserv-blues-l@uunet.uu.net Maggie Mortensen wrote: >A nice person share this story with me when I quizzed him about his sig line, >which was a snippet of this tale. >Morton apparently was able to indulge an indifference to Mammon that no >musician I've ever known was able to afford. >"Albert Nichols remembered an evening excursion >with Morton on Manhattan's 52nd Street, a >thoroughfare packed with jazz clubs and ringing >with the new swing music that Morton disdained. >At the Famous Door, Morton sipped a Coke and >listened to the John Kirby Sextet, whose clarinetist >was Morton's old side man, Russell Procope. >At intermission Procope persuaded Morton to >sit in for pianist Billy Kyle on the next set. "When >they went back on," remembered Nichols, "Jelly >got on that piano, and with all due respect >to Billy Kyle, it was a different sound. Without >any practice Jelly played all their scores, and >the people said, 'Who is that?'" > The manager immediately offered Morton a job >alternating with the Kirby band, promising to pay >him well. "Man I play for pleasure. I don't care >what I make, I'm Jelly Roll Morton. There ain't >that much money, man. How much I owe you >for that Coke?" >...circa 1940 >I believe my correspondent said this was quoted from an old Time-Life series >on the Giants of Jazz. >__________________________________ >-- >Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA >~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ >Some mornings it's just not worth chewing through >the leather straps. >~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ What a unique story; I just finished reading Jellyrolls autobiography and that story sounds just like him :))) thanks for sharing ,....... Loving the Blues, Babe. ========================================================================= Date: Fri, 1 Mar 1996 17:51:16 -0500 Reply-To: Rags From: Rags Subject: DAMN_BLUES!!!! well i got them lawyer blues........ geeeee enough is enough.... seems like some people wanna talk about everything except them blues... *sigh*** Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ It's dark And I'm Wearing Sunglasses......... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Fri, 1 Mar 1996 23:04:22 GMT Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: information request (Appalachia) Comments: To: sands2@MARSHALL.EDU On Thu, 29 Feb 1996 12:37:38 -0400, Jim Sands wrote: >I have not had any luck finding out about >musicians from Appalacia. If anyonehas any (ans I mean ANY) information >concerning the blues in Appalacia please post it on the list or E-mail me >directly. I often refer to "The Blackwell Guide To Recorded Blues," edited by Paul Oliver and published by Blackwell Publishers in Oxford, England and Cambridge, Mass. (and who also happen to own my employer!). I have the 1992 edition (and wonder if there's a later one. It could use some updating.) ISBN 0-631-18301-9 It's got 12 chapters, each written by different folks about different regions and eras. Bruce Bastin wrote one called "Texas And The East Coast" that would be of some help to you. (Dick Shurman, by the way, contributed "Postwar Texas And The West Coast.") There will be a web site opening soon devoted to Piedmont blues, but I'll let the maker tell you about that. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Fri, 1 Mar 1996 18:11:21 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Favorite Quotes "Playing live electric Blues is definitely a love-hate thing. I just loaded my van with equipment in the middle of a pouring rain, so I'm in the hate phase right now." Me, March 1, 1996 P.W. Fenton Tampa, Florida ------------------------------------------------------------- "Age is a question of mind over matter. If you don't mind, it don't matter." - Leroy Robert "Satchel" Paige, 1906-1982 When in cyberspace, visit my web pages at http://www.gate.net/~pwfenton/ ------------------------------------------------------------- ========================================================================= Date: Fri, 1 Mar 1996 23:15:46 GMT Reply-To: "M.Peters" <76702.3352@COMPUSERVE.COM> Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: "M.Peters" <76702.3352@COMPUSERVE.COM> Subject: Re: Brownie McGhee Obit in NY Times Comments: To: Steve.Levine@CORP.WRGRACE.COM That was Monday, February 19th, 1996. ========================================================================= Date: Fri, 1 Mar 1996 18:28:59 -0500 Reply-To: RNABooking From: RNABooking Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Fab t-birds/mighty flyer question Comments: To: bit-listserv-blues-l@uunet.uu.net One of the bands that I represent, Teddy Morgan & the Sevilles, just faxed me from Spain to tell me that his drummer, Steve Mugalion, is going to go to work for Piazza when they (Teddy) get back from Europe. Man, I'm gonna miss that drummer...he really fit in well with Teddy. Steve played with Rick Holstrom and Johnny Dior for a while before moving to Austin to join Teddy. ========================================================================= Date: Fri, 1 Mar 1996 17:52:44 -0700 Reply-To: DeWayne Brown From: DeWayne Brown Subject: Can't get enough Anyone recommend a good book on "Who's who in the Blues"? Thanks, Dew. DeWayne Brown, Director CROSSROADS Outreach (Edmonton Alberta Canada) voice: (403) 474-7421 fax: (403) 471-2311 email: dewbr@freenet.edmonton.ab.ca ========================================================================= Date: Fri, 1 Mar 1996 19:27:37 -0800 Reply-To: Maggie Mortensen Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Maggie Mortensen Organization: Exarch Services Subject: Re: Mem Shannon/Live Performance Comments: To: Stephanie Manna Stephanie Manna wrote: > > I've read and heard from others much about Mem Shannon's," Cab Driver > Blues". It makes me curious as to how his show is performed, since the > songs include conversations with customers in his cab; which I find > original and interesting. Anyone seen his live show? I've been wondering about this myself, and will be in a position to tell you on Sunday, since I'm going to his show here in New Orleans on Saturday night (March 2nd). His management was kind enough to actually look up my phone number and invite me as a guest, after seeing all the drumbeating I've been doing for him on Blues-L and elsewhere. I've only seen Mem perform a couple of times here, and never since his 'Cab Driver Blues' CD came out. (His management has been keeping his local performances to a minimum...a wise ploy, IMHO.) Never fear...I'll give a full review of what I see/hear Saturday. I even plan to makes notes of the songs and sequence, since I can seldom trust my memory on such matters. --Maggie -- Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Some mornings it's just not worth chewing through the leather straps. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Fri, 1 Mar 1996 19:15:31 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: information request (Appalachia) In-Reply-To: <199603012303.SAA21416@magicnet.magicnet.net> On Fri, 1 Mar 1996, Curtis Hewston wrote: > On Thu, 29 Feb 1996 12:37:38 -0400, Jim Sands wrote: > > >I have not had any luck finding out about > >musicians from Appalacia. If anyonehas any (ans I mean ANY) information > >concerning the blues in Appalacia please post it on the list or E-mail me > >directly. [SNIP] > There will be a web site opening soon devoted to Piedmont blues, but > I'll let the maker tell you about that. Huh? What? Jim, I haven't received your original e-mail yet. I am working on a Piedmont blues page, but I only have one or two things up right now, and no pictures. If you send me private e-mail, I might be persuaded to change the protections on the files to world-readable. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "You've got to inspect your horn, boy." 'And wash it every day.' - Crow, MST3K ("Mr. B. Natural") ========================================================================= Date: Fri, 1 Mar 1996 21:54:58 GMT Reply-To: Dave Harris From: Dave Harris Organization: cybergate.inc Subject: Southern Thailand Jazz and Blues Fest 1996 Comments: To: bit-listserv-blues-l@uunet.uu.net This is the updated Show and Band List for the Southern Thailand Jazz and Blues Festival April 1996 Ko Samui Island, Surat Thanee Province Apr 3 Perform at Chaweng beach, Apr 4 Perform at hotels in Ko Samui Apr 5 Perform at Chaweng beach, Ko Samui Apr 6 No performances scheduled Phuket Island Apr 7 Perform at Karon Circle, Phuket Apr 8 Perform at hotels in Phuket Apr 9 Perform at Patong beach, Phuket Apr 10 No performances scheduled Apr 11 No performances scheduled Hadd Yai, Songkla Province Apr 12 Perform at Songkla Apr 13 Perform at hotels in songkla Apr 14 Perform at Hadd Yai List of bands: - OROBOROS - MURRAY, RJFSKI & HILL - HONK, WAIL & MOAN - WESTERN JAZZ QUARTET - HOWARD LESHAW - ABBY RABINOVITZ & KALEIDOSCOPE - BOY THAI The Festival is being sponsored and arranged by The Tourism Authority of Thailand Region 4. 73-5 Phuket Rd. Phuket, Thailand ph 66-76-212-213 ========================================================================= Date: Fri, 1 Mar 1996 21:04:23 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: Favorite Quotes Jim Witteveen wrote: >> I'd like to know some of ya'lls favorite quotes about blues or by bluesmen > > >"All songs are folk songs. Have you ever seen a horse sing?" > - Brownie McGhee > This one is usually attributed to Big Bill Broonzy - I actually have a dictionary of quotations with it in - although I've also seen it as by Louis Armstrong (unlikely, I'd have thought). Chris Smith (chris@skerries.demon.co.uk) "Best wishes and your truly, jivin' Mr Hopkins blues" (Brownie McGhee) ========================================================================= Date: Fri, 1 Mar 1996 20:18:27 -0800 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Why am I getting this error message when posting? (no blues content) Comments: To: bit-listserv-blues-l@uunet.uu.net For the last week or so, whenever I post to Blues-L I get mail returned with the following error message; can anybody explain? It seems that my posts are still going through to the list (judging by private email responses), but I don't see them echoed to the UseNet group. ???? TIA-- Maggie Original returned mail begins here: ---------------------------------------- Subject: Re: Re: Mem Shannon/Live Performance [delivery failure to nls@m1.interserv.com] Date: Fri, 1 Mar 1996 18:05:09 -0800 From: Interserv Operations To: exarch@ACCESSCOM.NET References: 1 , 2 The message that you sent to the above recipient was not delivered. All mail sent to this account will continue to be returned until the recipient has removed enough mail to lower the mailbox size below the system mailbox limit. -- Interserv Network Operations Center Postmaster@interserv.com 2001 6th Ave. Suite 3025B noc@interserv.net Seattle, WA. 95121 CompuServe/Internet Division -----[ Orginal mail message follows ]------------- ========================================================================= Date: Fri, 1 Mar 1996 21:27:18 -0500 Reply-To: SGLIWA From: SGLIWA Organization: Delphi (info@delphi.com email, 800-695-4005 voice) Subject: Re: Bo Diddley on the Tonight Show on Monday Comments: To: bit-listserv-blues-l@uunet.uu.net Matthew Arthur Clark writes: >be on the lookout for his new CD in May. New CD?! What new CD? I've been waiting for years for Bo Diddley to put out an album worthy of his tremendous talent. This guy deserves a big comeback and another shot "in the spotlight." Do you have any info on this new CD? Steven James Gliwa ========================================================================= Date: Sat, 2 Mar 1996 02:58:38 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Willie Dixon's "I Am The Blues" personnel Comments: To: bit-listserv-blues-l@uunet.uu.net Mary Katherine Aldin wrote, under the Subject: Willie Dixon "I Am The Blues" personnel >While I was offline someone asked who the musicians were on the Willie Dixon >Columbia LP "I Am The Blues," since this information is not given in the >liner notes. Blues Records Volume One (Ledbitter and Slaven) gives the >following information: >Willie Dixon with The Chicago All-Stars: Shakey Jake Harris, hca; Johnny >Shines, gtr; Sunnyland Slim, pno; Clifton James, dms. This is obviously a case of Ledbitter and Slaven getting their "Shakey"s mixed up; the harp player on that album is clearly Walter "Shakey" Horton. Any harp player could instantly hear the difference between Big Walter and Shakey Jake...I guess neither Slaven nor Ledbitter play(ed) harp : ) Scott ========================================================================= Date: Sat, 2 Mar 1996 03:00:37 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Bootlegs, Royalties (was Re: Stormy Mo Comments: To: bit-listserv-blues-l@uunet.uu.net Jim Witteveen wrote about: Re: Bootlegs, Royalties (was Re: Stormy Monday) >This leads me to another question about bootlegs/lack of royalties being >paid to the artists - is or is not Charly a label that pays royalties? I >know this question has been asked before on the list, but I don't recall if >it was ever definitively answered (my apologies for being repetitive if it >was already answered). Jim, I don't know whether Charly makes a practice of *never* paying royalties, but I've talked to a couple of people (Billy Boy Arnold and Jimmy Rogers) who have had their early recordings reissued by the label, and they've said that *they* never saw a dime from Charly. I've also read that the ownership of the company is hidden within a tangled web of holding companies and such that makes it almost impossible for the long arm of the law to reach them, at least with regard to bootlegging allegations. I can tell you this from my own experience: A few years ago I wrote a story that was published in the British blues magazine Blues & Rhythm, and the magazine used a photo that I had shot to go along with the story; I was clearly credited as both the author and the photographer. About a year later Charly released their "Complete Little Walter" box set, and my photo was used in the accompanying booklet WITHOUT any photo credit; Charly had copied it directly out of Blues & Rhythm and not credited me or the magazine. A friend who saw the box set at a store in England told me about this, so I wrote to Charly expressing some minor displeasure, and suggesting at the very least they could send me a copy of the box set. I didn't hear back from them, and in some later correspondance with discographer Les Fancourt (who has writen some liner notes for Charly) I mentioned this. He said he'd talk to someone over there about it, which he apparently did, because a couple of weeks later a copy of the box set showed up in the mail. So it appears that SOMEONE there has some sort of conscience, but I doubt that I would have ever seen or heard anuthing from them again if Les hadn't stepped in on my behalf. Having said all that, I have to admit that I have bought several Charly releases in the past, and probably would again -although I don't feel good about it. Whatever else they do, they ARE often making music available that no one else is bothering to, and for the collector this is a good thing. So as I've said before, quoting Rice Miller, "Let Your Conscience Be Your Guide". Scott ========================================================================= Date: Sat, 2 Mar 1996 02:55:43 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Public Radio's "Blues Before Sunrise" Comments: To: bit-listserv-blues-l@uunet.uu.net Someone wrote under the Subject: Public Radio's "Blues Before Sunrise" >From Crain's Chicago Business, week-ending 3/3/96 (a weekly covering >business news in Chicago): >BROADCAST BLUES >"Blues Before Sunrise" may sail into the sunset if a financial angel can't >be found in the next five months. >A weekly radio series of classic blues music produced at WBEZ-FM in Chicago >since 1980, the five-hour show went national in 1990 and is carried by 50 >public radio stations from midnight Saturday to 5 a.m. Sunday. But come July >1, the show will lose its national status unless host/producer Steve Cushing >can find $75,000 to cover annual costs of satellite distribution. >"I know most corporations (supporting public radio or television) are >looking for (ratings) numbers. We can't offer big numbers, but it's great >image-building," says Mr. Cushing, 43, who launched a similar show in 1972 >while a student at Columbia College. "This is great American music. It has >an audience. It deserves to stay in front of the audience." >"Blues Before Sunrise" could continue as a local show, Mr. Cushing says, but >he concedes, "I'm not sure how much enthusiasm I'd have (to continue) if the >whole network crashed at this point." I'm not in a position to write a check to keep Blues Before Sunrise on the air, but if I was, I certainly would. I do want to let all bluezellers know that this is without a doubt the best blues radio show I've ever heard in my 20+ years as a blues fan, and deserves any support we can give it. Yes, I'm totally biased; Steve is a long time friend, a neighbor, and I played in a band with him for several years. But even if I didn't know him, I'd still be a huge fan of his radio show. Blues Before Sunrise is unlike any other blues program I've ever heard, and Steve consistantly plays things that you will NEVER hear anywhere else on the radio. The show is subtitled "The Blues Heritage Showcase"; there are regular features on things like classic blues singers from the 1920s, blues balladeers from the '30s and '40s, "hep harmony" groups like Three Cats & A Fiddle, early jump-swing bands, black comedians like Moms Mabley, gospel groups like The Golden Gate Quartet and The Soul Strirrers, and on and on and on. All of these things and more are indeed part of "blues heritage", and sadly most of them don't get any exposure at all these days, even on blues programs...except for Blues Before Sunrise. In addition to all of the above, you'll also hear great pre-war blues artists from Papa Charlie Jackson through Robert Johnson and EVERYONE in between, classic post-war Chicago, Texas, West Coast, and every other type of modern blues, rare and un-reissued 78s, interviews with people like Robert Jr. Lockwood, Eddie Boyd and many, many others (last week Steve interviewed Jimmy 'T-99' Nelson), and some often insightful commentary on many of the above artists and subjects. The only thing you won't hear much of on the show (although there *is* some) is blues that was recorded during the last 20 years or so--as Cushing points out, that's the stuff you can hear on every other blues show anyway, and he wants to play the good stuff that everyone else either isn't aware of, ignores, or doesn't have access to. Cushing is not just a blues scholar, either (although he probably is near the top of that field); he played drums with Magic Slim & The Teardrops all through the 1970s, when they were still basically a "ghetto" band, and Steve almost lost his life when he was shot at one of their gigs. He's also a songwriter, a record producer, and has the biggest record collection I've ever seen. Blues Before Sunrise is a radio show that should be required listening for anyone who considers themself a blues fan. It would be a real shame if his show was taken off the air because of some political b.s. within NPR that cut his funding, but Cushing is making every effort to keep the show on the air. He's already invested over 15 years, and somewhere into the hundreds of thousands of dollars of his own money into the show--now he's looking for either corporate or private funding or some sort of grant that will allow him to keep doing so. If anyone has any ideas or suggestions that might lead to a solution the funding problems being faced by Blues Before Sunrise, you can call Steve Cushing at (708) 771-2135. Scott P.S. I have no financial interest or connection to the show in any way (other than contributing during the local NPR fundraisers), but I'd be really, REALLY disappointed if I couldn't listen to Blues Before Sunrise anymore. "May The Sun Never Rise On The Blues Before Sunrise Network". P.P.S.: Rags wrote: > > Its a shame if "BLUES BEFORE SUNRISE" sinks coz' of financial > reasons.... > I listen to it daily on WDUQ 90.5 Pittsburgh where it is > relayed live I presume from Chicago at 3 in the morn' Blues Before Sunrise is sent up to the sattelite uplink from midnight to 5am on Saturday night/Sunday morning Chicago time. Some stations carry it "live" during that time slot, others record it then and play it back wherever it fits into their own schedules--it seems that in Pittsburgh it's played back in one hour segments, one day at a time. ========================================================================= Date: Fri, 1 Mar 1996 22:09:17 -0500 Reply-To: Rags From: Rags Subject: ERROR_MESSAGE!!! I have been getting the error message too same Maggie has been.... Looks like one of the bluezellers adress is screwed up so the email forwarded to him/her bounces back... What do other bluezellers think??? or is it something else... Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ It's dark And I'm Wearing Sunglasses......... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Sat, 2 Mar 1996 03:03:01 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Elvin Bishop/Hound Dog Taylor Comments: To: bit-listserv-blues-l@uunet.uu.net Keith Castleberry wrote: >I thought I read someone saying that Elvin Bishop played with Hound Dog >Taylor? If so, is this going to be on Alligator's new album? Keith, I don't think Elvin ever recorded with Hound Dog, but he did contribute to a Hound Dog Taylor tribute CD that's supposed to be in the works at Alligator. I'm kind of curious about what unissued stuff will be included in the 25th anniversary CD too (which is seperate from the Hound Dog tribute), because Bruce Iglauer has said in the past that there isn't much in the "vaults" that's never been issued; he's always been pretty efficient about recording only enough stuff for each album he releases. Scott ========================================================================= Date: Fri, 1 Mar 1996 22:23:37 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Favorite Quotes "The secret of music is in the altos and the baltos . . it's in the highness and the lowness of the pitch." -Son House ========================================================================= Date: Fri, 1 Mar 1996 22:23:11 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman n March 1, the well-named JUKEFREAK (Karen Hanson) said: >>>I agree totally! I had never heard (or heard of) >>>Maxwell before, but I certainly sat up and took >>>notice on this album. He really stands out, which >>>is not easy to do on an album with such great >>>musicians on it. I mentioned online in another place >>>that he is a "helluva player" (first thing that came >>>into my mind), and I'd like to repeat that sentiment >>>here! Dave Maxwell did some years in one of Bonnie Raitt's early bands and has logged many road miles playing with James Cotton, Jimmy Rogers and dozens of others. He is the kind of guy who just sits back there and makes the front man (or woman) sound better because of tasty things that he adds to the music. He is one of the nice people in the blues business and any added visibility and appreciation that he can get will come with my highest recommendation. Dick Waterman ========================================================================= Date: Fri, 1 Mar 1996 21:05:36 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: information request (Appalachia) In-Reply-To: On Fri, 1 Mar 1996, T-Bone wrote: > On Fri, 1 Mar 1996, Curtis Hewston wrote: > > On Thu, 29 Feb 1996 12:37:38 -0400, Jim Sands wrote: > > > > >I have not had any luck finding out about > > >musicians from Appalacia. If anyonehas any (ans I mean ANY) information > > >concerning the blues in Appalacia please post it on the list or E-mail me > > >directly. > > [SNIP] > > > There will be a web site opening soon devoted to Piedmont blues, but > > I'll let the maker tell you about that. > > Huh? What? > > Jim, I haven't received your original e-mail yet. I am working on a > Piedmont blues page, but I only have one or two things up right now, and > no pictures. If you send me private e-mail, I might be persuaded to > change the protections on the files to world-readable. Sorry, I forgot to add this: go out and buy "Red River Blues" by Bruce Bastin. (ISBN 0-252-06521-2) It is by far the best resource I've found. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "You've got to inspect your horn, boy." 'And wash it every day.' - Crow, MST3K ("Mr. B. Natural") ========================================================================= Date: Fri, 1 Mar 1996 22:33:04 -0500 Reply-To: Rags From: Rags Subject: MY_OWN_QUOTE!!! BLUES BY NITE COOL BY DAY!!!! Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ It's dark And I'm Wearing Sunglasses......... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Fri, 1 Mar 1996 22:35:04 -0500 Reply-To: Rags From: Rags Subject: BO_DIDDLEY_JUNIOR!!! Bo Diddley Junior.....son of the senior plays in regular jam sessions at CLUB CAFE, South Side, Pittsburgh... Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ It's dark And I'm Wearing Sunglasses......... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Thu, 29 Feb 1996 20:43:37 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: THE AMAZING DALORES On a recent trip to the big city I picked up the following CD. THE AMAZING DALORES STOP MESSIN' WITH MY MIND UPSTART RECORDS 011 I don't want to be overly critical BUT.......this CD likely rates as the worst of my collection. I don't even know where to begin to describe it. Anyone know anything more about this performer? Thanx, Gary ............. Gary Constantine >> gconstan@ccinet.ab.ca << If you're lookin' for a perfect woman you're gonna' die a lonely man .............. Joe Louis Walker ========================================================================= Date: Sat, 2 Mar 1996 03:44:02 GMT Reply-To: Al Kaplan From: Al Kaplan Organization: University of Kentucky Computing Services Subject: Alvin Lee Comments: To: bit-listserv-blues-l@uunet.uu.net For all you Alvin Lee fans, please note that he has a new CD called "Live in Vienna." The tracks are a mix of songs from his two most recent CDs on Viceroy and some old stuff from the Ten Years After days. Like so many of the British blues guitarists who have been around for 25 or so years, this guy actually gets better with age. The flat-out speed is still there, but it fits in much better with the song structure, rather than just doing speed for speed's sake. Sure, some of the cuts are closer to rock, but it all has a blues base. In particular, check out the 10 minute version of "Help Me." Even the Ten Year's After stuff sounds fresh. I couldn't believe that I actually enjoyed another version of "Going Home" and "Good Morning Little School Girl." Give it a try. Al ========================================================================= Date: Fri, 1 Mar 1996 23:00:16 -0500 Reply-To: Mercergrp@AOL.COM From: Robert Pierce Mercer Subject: James Armstrong Euro-dates April and May The following dates are confirmed for HighTone Records artist James Armstrong April 26..........Terneuzen - Porgy & Bess April 27..........Sittard - Take a Walk Festival April 28..........Eindhoven - Effenaar Club with Guy Forsythe April 29..........Den Haag - Paard April 30..........Open date looking for a venue at the moment May 01..........Rotterdam - Rotown May 02..........Amsterdam - Paradiso - with the Fabulous Thunderbirds May 03..........Essegem - Blues Festival May 04..........Hellendoorn - The Laantaarn May 05..........Gronigen - Festival For additional information in Europe contact Double You/Mojo Concerts in Holland 31 15 2159551 FAX 31 15 2138680 In America contact Mercer Management/International Artist Representation 818 508 7258 FAX 818 508 9237 E-Mail mercergrp@aol.com ========================================================================= Date: Fri, 1 Mar 1996 23:00:59 -0500 Reply-To: Mercergrp@AOL.COM From: Robert Pierce Mercer Subject: Jimi Bott - MIGHTY FLYERS to Thunderbirds Regarding the Bott Thunderbirds question, it's true, Jimi starts tonight with the Fabulous Thunderbirds. I no longer manage the FLYERS but I phoned Bill Stuve after seeing the original posting here and he confirmed the rumor. Bott is terrific and I think it's good for him and the T-Birds. Robert Pierce Mercer ========================================================================= Date: Fri, 1 Mar 1996 22:38:00 -0600 Reply-To: "timothy (t.b.) bosley" From: "timothy (t.b.) bosley" Subject: Autographed Robben Ford Poster After careful consideration, I have decided that the poster goes to Gary Constantine (gconstan@ccinet.ab.ca). ========================================================================= Date: Fri, 1 Mar 1996 21:00:33 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Bo Diddley's new CD Comments: To: SGLIWA At 09:27 PM 3/1/96 -0500, SGLIWA wrote: > >New CD?! What new CD? I've been waiting for years for Bo Diddley to put >out an album worthy of his tremendous talent. >>This guy deserves a big comeback and another shot "in the spotlight." >>Do you have any info on this new CD? > Bo Diddley was given a Lifetime Achievement Award last night at the Rhythm & Blues Foundation's Pioneer Awards here in Hollywood. During his acceptance speech and performance he announced that his new CD will be out "in a month or two" and I *think* said it will be on Atlantic Records. > > Mary Katherine Aldin ========================================================================= Date: Fri, 1 Mar 1996 23:31:25 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: LA Bluzellers-Little Charlie and The Nightcats Reading the LA Weekly today and it seems that Little Charlie and The Nightcats are going to be at Jacks Sugar Shack (Hollywood and Vine) on March 15th. It looks like I will more than likely be going with a few guys form school (sorry to Dave Melton who I think has a gig the same night in Santa Monica. Please forgive me as I was going to go). There are any other LA Bluzellers interested in going let me know and let's try and meet up. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Fri, 1 Mar 1996 23:31:30 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: theory etc...(again) John "Lost John" Carly wrote: >I'd have to second this summation. As a player (blues and otherwise) >who's been at it on and off for the better part of the last 30 years, I >know I don't like to listen to players who may have the greatest >intentions and emotion in the world, but whose playing stinks. You know, if a somebody is playing with emotion I don't really care if thrie technique is off. That's the reason why I really like Neil Young, Hound Dog Taylor, Left Dizz etc. as guitarists. Techinically, their playing (and often tuning) sucks but the emotional content (IMHO) blasts through all that. Still, it takes a very gifted artist to do that. >At the same time, I've also heard many players who can rattle off >note-for-note solos by some of my favorite players, but their lack of >emotional involved-ness with it is obvious. As a result, its about as >enjoyable as listening to my cat hork >up furballs. > >I think we're talking more about technique here than theory, but >technique and emotion are not mutually exclusive ingredients in the >makeup of an enjoyable player. On the contrary, I think, as Don does, >that you can't have one without the other. I'll add my agreement on this idea. I also think that creativity is involved. You can know all the hot licks in the world but without creativity (in putting them together) you are lost. >If a student wishes to explore music theory >in the interest of making him/herself an all-around better musician >(i.e., improving technique), then I think he or she should be encouraged >to do so. Music theory is *good*. It is up to the individual whether they should learn it or not. A past thread on this list has shown that quite a lot of great blues musicians knew theory. I never judge a player (as some people I know have) on whether they know theory or not. It's emotional impact. >I've often been asked why I don't write my own material. I usually >answer that a) I don't think I'm particularly good at it, b) There's >already such great existing stuff out there to learn how to play >already. Why not learn it and hopefully put my own spin on it. > >Sometimes I'll ask players just that: "Why not learn it ?". >When the answer is "Oh, I only do original stuff, man", chances are the >player is just plain lazy (i.e., "saying more about their own >insecurities than music itself"). At the moment I prefer being a side-man. In the original projects that I've been involved in it's been the case of "Here's the song. Just come up with you parts and then let's rehearse it." I quite like that. However, one original project has taken off so it looks like I will be writing a little. I also am/will play in a Top-40 country and a classic rock/top 40 band. I tend to approach it a little like John said he does. I'll learn it, play it the way the crowd wants it but my own spin on things will be in there. >As a newbie, I hope the opinion expressed doesn't offend anyone. You >crew seem to have some pretty heated discussions (flamefests, actually). Well even after the most heated discusions we tend to go to the vitual pub and have a virtual beer. As long as you don't start trying to convince us that in open D tuning we should refer to the G string as "the F# string" as in "I broke my F# string. Can you get me a new one?" You'll be fine. Not that you would. This (I hope) is an obtuse reference to previous thread:-) Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Fri, 1 Mar 1996 23:31:43 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: world music - blues (long) Comments: cc: tbs@IO.ORG Derek Andrews wrote: >imho, the impact of the ali farka toure/ry cooder's "talking timbuktu" >success has been surprisingly absent from this list. Ali Farka Toure has been mentioned a few times on the list by me and a few others. "Talking TimbuktU" is a great album but I would reccomend "West African Blues" or "The River." These albums really show how Toure's music is very much blues. >i hope i have not distracted the die hard blues nuts out there too far from >the usual course of discussion, but this tale of cross cultural blues >development has been too unbelieveable not to share with others. if you >wish to send me private mail on this to hear of other aspects of the tale, >please do so. IMHO, if a die hard blues nut doesn't think Ali Farke Toure is the blues then they have a problem. As much as we all love to talk about the blues it's good to hear about where the music came from. I would love to hear more. Could you e-mail me? Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sat, 2 Mar 1996 03:36:15 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: information request (Appalachia) >On Thu, 29 Feb 1996 12:37:38 -0400, Jim Sands wrote: > >>I have not had any luck finding out about >>musicians from Appalacia. If anyonehas any (ans I mean ANY) information >>concerning the blues in Appalacia please post it on the list or E-mail me >>directly. > >I often refer to "The Blackwell Guide To Recorded Blues," edited by >Paul Oliver and published by Blackwell Publishers in Oxford, England >and Cambridge, Mass. (and who also happen to own my employer!). I >have the 1992 edition (and wonder if there's a later one. It could >use some updating.) ISBN 0-631-18301-9 > >It's got 12 chapters, each written by different folks about different >regions and eras. Bruce Bastin wrote one called "Texas And The East >Coast" that would be of some help to you. (Dick Shurman, by the way, >contributed "Postwar Texas And The West Coast.") > >There will be a web site opening soon devoted to Piedmont blues, but >I'll let the maker tell you about that. > > > >*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* >Howard just pointed with his gun and said, "That way. Down Highway 61." > >curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ >*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* John Cowley is just finishing the updated version of 'Blackwell's', so it should be available soonish. Chris Smith (chris@skerries.demon.co.uk) "Best wishes and your truly, jivin' Mr Hopkins blues" (Brownie McGhee) ========================================================================= Date: Sat, 2 Mar 1996 02:31:32 +0600 Reply-To: toulouse@comm.net From: toulouse Organization: Toulouse Enterprises, Inc Subject: Re: Tiptitina's Comments: To: bit-listserv-blues-l@uunet.uu.net Tom Freeland wrote: > Positively still open, ran a full schedule during Mardi Gras (including the > apparently-now-annual P-Funk show). I think that the P-Funk show is quickly becoming a semi-annual thing, and judging from the success, it could be a quarterly. Tipitina's rolls on. ========================================================================= Date: Sat, 2 Mar 1996 05:15:19 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Bo Diddley's new CD Comments: To: Mary Katherine Aldin In-Reply-To: <199603020500.VAA04315@frisbee.beachnet.com> On Fri, 1 Mar 1996, Mary Katherine Aldin wrote: > Bo Diddley was given a Lifetime Achievement Award last night at the Rhythm & > Blues Foundation's Pioneer Awards here in Hollywood. During his acceptance > speech and performance he announced that his new CD will be out "in a month > or two" and I *think* said it will be on Atlantic Records. Actually it will be on Code Blue - a division of Atlantic ... Barry WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sat, 2 Mar 1996 07:38:42 -0800 Reply-To: "R.J. Bauman" From: "R.J. Bauman" Organization: Union Federal Savings Bank Subject: Re: Favorite Quotes Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu Yank Rachel has always been fond of saying, "I've had the blues so long they done turned into the blacks." Everyone seems to react each time they hear it as if they never heard that before, and Yank gets a big kick out of it. RJ Bauman L W wrote: > > I'd like to know some of ya'lls favorite quotes about blues or by bluesmen > some of mine are > > Son House: "That stuff they call blues today, that's not blues, that's Monkey > Junk" (not verbatim, I got a cd made of my demo I named it MONKEYJUNK) > > Muddy Waters: "Don't listen for the changes, feel for the changes" > (great, great advice) > > Lightin' Hopkins: "Lightin' change when Lightin' want to change" > (when ZZ TOP was backing Lightin' and Gibbons said something like you > missed the change) > > There are a bunch more, what are some of yours > LW ========================================================================= Date: Fri, 1 Mar 1996 05:57:48 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: Ray Bailey Picked up: RAY BAILEY SATAN'S HORN ZOO 72445 11082-2 It's a rather strange and in some ways wonderful blues CD that I find I rather enjoy. Unfortunately there is no information available from the limited liner notes. Anybody know anything about this artist? Thanx, Gary ............ Gary Constantine >> gconstan@ccinet.ab.ca << If you're lookin' for a perfect woman you're gonna' die a lonely man .............. Joe Louis Walker ========================================================================= Date: Sat, 2 Mar 1996 09:00:52 -0500 Reply-To: bob vanarsdall From: bob vanarsdall Subject: Re: Southern Thailand Jazz and Blues Fest 1996 Among the bands posted (and I'd have a hard time having the blues in Phuket) > List of bands: > - OROBOROS > - MURRAY, RJFSKI & HILL > - HONK, WAIL & MOAN > - WESTERN JAZZ QUARTET > - HOWARD LESHAW > - ABBY RABINOVITZ & KALEIDOSCOPE > - BOY THAI A blast from the dusty past. Is that Abby and Kaleidoscope any relation at all to the Kaleidoscope of the mid-60's, in which David Lindley got his start? Bob ========================================================================= Date: Sat, 2 Mar 1996 09:00:56 -0500 Reply-To: bob vanarsdall From: bob vanarsdall Subject: Re: Dave Maxwell Dick quoted Karen: >n March 1, the well-named JUKEFREAK (Karen Hanson) said: >>>>I agree totally! I had never heard (or heard of) >>>Maxwell before, but I >certainly sat up and took >>>notice on this album. He really stands out, >which >>>>is not easy to do on an album with such great >>>musicians on it. I >mentioned online in another place >>>that he is a "helluva player" (first >thing that came >>>>into my mind), and I'd like to repeat that sentiment >>>here! > >Dave Maxwell did some years in one of Bonnie Raitt's early bands and has >logged many road miles playing with James Cotton, Jimmy Rogers and dozens of >others. He is the kind of guy who just sits back there and makes the front >man (or woman) sound better because of tasty things that he adds to the >music. He is one of the nice people in the blues business and any added >visibility and appreciation that he can get will come with my highest >recommendation. But I must have passed through Karen's original message. What album is she talking about (on which Maxwell appears with other great musicians)? Won't hurt to repost it to the list. While we're at it, whatever happened to Freebo, who played with Bonnie for so many years? Bob ========================================================================= Date: Sat, 2 Mar 1996 06:08:54 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Rooster Blues - recommendations wanted Greetings Bluezellers! It seems like the local record store has greatly expanded their blues section, and among other labels, they are now selling cd's put out by the Rooster Blues label. These include Eddy Clearwater and Willie Cobbs. So my question is this: what's your favorite Rooster blues release, and what do you think of the two artists I just mentioned? ....going to get a second job to afford the new disks, -Jim (hndful@uniserve.com) ...also going to see the Blind Boys in Burnaby, B.C. tonight - it's gonna be a blast! ========================================================================= Date: Thu, 2 Mar 1995 15:09:28 -0600 Reply-To: Patrik Urbansson From: Patrik Urbansson Subject: Bluesbyte artists? I've listened to the Bluesbyte tape a lot and I really like it. But there is one thing I would like and that is to know more about the artists, especially Billy Price, Cathi Norton and Dr.Swamp. Introduce yourself please:-) Patrik ========================================================================= Date: Sat, 2 Mar 1996 09:35:00 -0500 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: Dave Maxwell Comments: To: bob vanarsdall In-Reply-To: On Sat, 2 Mar 1996, bob vanarsdall wrote: > Dick quoted Karen: > > >n March 1, the well-named JUKEFREAK (Karen Hanson) said: > > >>>>I agree totally! I had never heard (or heard of) >>>Maxwell before, but I > >certainly sat up and took >>>notice on this album. He really stands out, > >Dave Maxwell did some years in one of Bonnie Raitt's early bands and has > >logged many road miles playing with James Cotton, Jimmy Rogers and dozens of > >others. > But I must have passed through Karen's original message. What album is she > talking about (on which Maxwell appears with other great musicians)? > > Won't hurt to repost it to the list. Dave Maxwell is featured on John Primer's *excellent* new album THE REAL DEAL (Code Blue/Atlantic 82863-2). The other all-stars on this recording are Billy Branch, Jake Dawson, Johnny B. Gayden and Earl Howell. I don't happen to believe the usual argument that the blues has to evolve in order to hold the interest of the record-buying public. Primer & company present the best of 1950's-era Chicago blues in a way that sounds fresh, exciting & *REAL*. Brenda Bogert Louisville KY ========================================================================= Date: Sat, 2 Mar 1996 09:51:31 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Rooster Blues - recommendations wanted Comments: To: Jim Witteveen In-Reply-To: <96Mar2.060857pst.30740-5648+747@haven.uniserve.com> On Sat, 2 Mar 1996, Jim Witteveen wrote: > Greetings Bluezellers! It seems like the local record store has greatly > expanded their blues section, and among other labels, they are now selling > cd's put out by the Rooster Blues label. These include Eddy Clearwater and > Willie Cobbs. So my question is this: what's your favorite Rooster blues > release, and what do you think of the two artists I just mentioned? 1. Rooster does not have a bad disc in their catalog. 2. Willie Cobbs is a solid harp player but beyond that he is a major song writer. His songs always pop up in the odd- est places on other CD's I listen to. 3. Eddie Clearwater - is Eddie Clearwater. Both CD's are of high caliber listening. One is live and one is studio if I remember correctly. 4. THE ABSOLUTE 1 ROOSTER CD YOU SHOULD OWN IS (AND I'LL SAY IT 1,000,000 TIMES) VALERIE WELLINGTON'S - MILLION DOLLAR $ECRET. 5. The Lonnie Pitchford is excel and the Lonnie Shields also. I prefer the Lonnie Shields. Barry WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sat, 2 Mar 1996 09:53:53 EST Reply-To: William Pollak From: William Pollak Subject: Re: Favorite Quotes In-Reply-To: Your message of "Fri, 01 Mar 96 22:23:37 EST." <960301222335_157900480@emout08.mail.aol.com> "You know, old folks say, it's a long lane don't have no end and a bad wind don't never change. But one day, back when Hoover was president, I was driving my cart down Beale Street, and I seen a rat, sitting on top of a garbage can, eating a onion, crying." --Furry Lewis, quoted in Stanley Booth's *Rythm Oil* Bill Pollak, Technical Communication Carnegie Mellon U., Software Engineering Institute Pittsburgh, PA 15213-3890 email: wp@sei.cmu.edu ========================================================================= Date: Sat, 2 Mar 1996 10:06:00 EST Reply-To: "ANDRE J.M. PREVOS" From: "ANDRE J.M. PREVOS" Subject: Lawyers? Liars? Layers? I have just finished lowering the hood of my asbestos suit. The problem with electronic mail is that it becomes very difficult to see whether the lawyer lies. When you stand in front of the lawyer and you see his/her lips move, s/he is lying. But, on the other hand, a good typist, not moving his/her lips while typing may fool some of us! Ow! Hell. forgot to renew my fire insurance!! Andre Prevos. ========================================================================= Date: Sat, 2 Mar 1996 15:14:28 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Mojo Buford Mystery Comments: To: bit-listserv-blues-l@uunet.uu.net I found a 45 yesterday on the Mojo label with vocals by Little Mojo and accompaniment by the Jesters (not the vocal group Jesters, but guitar, bass, sax and drums). The titles are "Mojo Rockin'"/"Paula". I think this is a vanity press as there is no label information or catalog number - each side just gives the matrix number for that side (also printed in the dead wax) L08W-0514/L08W-0513. The Mojo Rockin' tune is a rocker which sounds like late 50s early 60s and Paula is a ballad. Jerry Osborne's "Rockin' Records" price guide lists this 45 as being by George Buford. The unusual thing is that there is no harp and no blues here. Little Mojo is credited with vocals only on the label. Blues Records does not list this 45. The first title by him they do list is in 1963. Can anyone verify whether this is Mojo Buford in his "rocking" years? Art Schuna ========================================================================= Date: Sat, 2 Mar 1996 15:17:09 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: amphibians Comments: To: bit-listserv-blues-l@uunet.uu.net Black Snake Moan - Blind Lemon Jefferson Art Schuna ========================================================================= Date: Sat, 2 Mar 1996 04:47:11 -0500 Reply-To: CARLOS ALBERTO VELASQUEZ ZULETA From: CARLOS ALBERTO VELASQUEZ ZULETA Subject: A COLOMBIAN BLUES FAN SALUTE YOU Hello. Sorry for my poor knowlwdge of english language. Despite the lack of blues scene in my country, I have get a little of music from some famous and not so famous bluesmen. I had do it because I love blues, that music is wonderful, and I don't say anymore because my english is not enough to express. I would like to get music, information and other things from some bluesmen (not the white and estylized blues but the original blues) and I thank you do. My adress is ecvz025@apolo.eafit.edu.co Thank you very much, I'l wait yor answer. CARLOS ALBERTO VELASQUEZ. ========================================================================= Date: Sat, 2 Mar 1996 15:26:38 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: John Primer again... Comments: To: bit-listserv-blues-l@uunet.uu.net In article <4h57kf$nj4@nkosi.well.com> Dan Sigward writes: >I saw Slim in Boston about 4 weeks ago and the show was fantastic. I >walked away very impressed with the second guitarist, not then realizing >this was Primer. The brief sets Primer played leading the Teardrops >before SLim came on stage were impeccable. Primer has a great stage >presence and helped keep the crowd excited throughout an overall >excellent Magic Slim show. Although you will hear Primer on most recordings by Magic Slim, he is currently not touring with him (at least he didn't in Madison this past month). I don't know who the second guitarist was, but I agree he was excellent. John is touring independently these days. Art Schuna ========================================================================= Date: Sat, 2 Mar 1996 15:53:54 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: amphibians Comments: To: bit-listserv-blues-l@uunet.uu.net In article Art Schuna writes: >Black Snake Moan - Blind Lemon Jefferson I'll correct my mistake before someone else does - Snakes fit into the reptile category (I think, it's been too many years since I had to memorize this) for those into the phylla of the animal kingdom. Art Schuna ========================================================================= Date: Sat, 2 Mar 1996 11:08:21 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Dave Maxwell Comments: To: rvana@interpath.com Bob asks: >But I must have passed through Karen's original message. What album is she >talking about (on which Maxwell appears with other great musicians)? I was replying to Dick Shurman's reply to the review of John Primer's new CD, The Real Deal. Personnel includes John Primer (who is terrific!), Billy Branch on harp, Jake Dawson on guitar, Johnny B. Gayden on bass, Dave Maxwell on piano, and Earl Howell on drums. I can't stop listening to this album! :) My previous post that you quoted somehow got sent to the list with "No Subject"; that could be why you missed it. I don't know how that happened. My reply feature automatically adds the subject line. Karen ========================================================================= Date: Sat, 2 Mar 1996 11:08:47 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: Willie Dixon's "I Am The Blues" personnel Scott Dirks wrote >Mary Katherine Aldin wrote, under the Subject: >Willie Dixon "I Am The Blues" personnel > >>While I was offline someone asked who the musicians were on the Willie >Dixon >>Columbia LP "I Am The Blues," since this information is not given in >the >>liner notes. Blues Records Volume One (Ledbitter and Slaven) gives the >>following information: >>Willie Dixon with The Chicago All-Stars: Shakey Jake Harris, hca; >Johnny >>Shines, gtr; Sunnyland Slim, pno; Clifton James, dms. > >This is obviously a case of Ledbitter and Slaven getting their "Shakey"s >mixed up; the harp player on that album is clearly Walter "Shakey" Horton. > Any harp player could instantly hear the difference between Big Walter >and Shakey Jake...I guess neither Slaven nor Ledbitter play(ed) harp : ) > >Scott I would doubt that Neil and Mike were to blame. Most likely a case of the typesetter (me, I'm afraid!) going onto autopilot, and the proofreaders not spotting it. These things happen, even in the best-regulated households. Betwen us, we managed to leave out a complete Walter Davis Victor session! Chris Smith (chris@skerries.demon.co.uk) "Best wishes and your truly, jivin' Mr Hopkins blues" (Brownie McGhee) ========================================================================= Date: Sat, 2 Mar 1996 11:09:00 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: Southern Thailand Jazz and Blues Fest 1996 Bob Vandarsall wrote: >Among the bands posted (and I'd have a hard time having the blues in Phuket) etc chopped > Sorry to disappoint y'all, but if you're thinking what I think you're thinking, it's pronounced Pooket. Chris Smith (chris@skerries.demon.co.uk) "Best wishes and your truly, jivin' Mr Hopkins blues" (Brownie McGhee) ========================================================================= Date: Sat, 2 Mar 1996 11:17:29 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: amphibians Art Schuna wrote >Black Snake Moan - Blind Lemon Jefferson > >Art Schuna Sorry, Art, that's a reptile. Chris Smith (chris@skerries.demon.co.uk) "Best wishes and your truly, jivin' Mr Hopkins blues" (Brownie McGhee) ========================================================================= Date: Sat, 2 Mar 1996 12:03:51 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Theory vs. Expression LW said: > Thinking while playing, is like thinking while having sex. A mind is >for thinking , a heart is for expressing. So you either think about >it or you express it... and Maggie said: >True, as far as it goes, but I'd rather be bedded by somebody who >knows what he's doing and why--so well he doesn't HAVE to think about >it anymore. I tried a smiley but couldn't find one with a dreamy >expression) I'd say help Mr Higdon learn his theory so when he wows >a room he knows what he did and can repeat the achievement at will. Maggie, I think you are confusing theory with technique. I know plenty of really, really good self-taught guitarists who don't know a thing about traditional music theory and can't even read music, like my fiance, Max. But he's figured out the techniques to get the job done in terms of expressing himself. Also it doesn't hurt to have great equipment :) ========================================================================= Date: Sat, 2 Mar 1996 09:15:39 -0500 Reply-To: David Melton From: David Melton Subject: Re: Dave Maxwell Comments: To: bob vanarsdall Bob Vanarsdall wrote: >While we're at it, whatever happened to Freebo, who played with Bonnie for >so many years? > Freebo is alive and well and playing with the Zydeco Party Band here in the LA area. ========================================================================= Date: Sat, 2 Mar 1996 09:33:03 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Bo Diddley's new CD Comments: To: Barry Silverberg At 05:15 AM 3/2/96 -0500, Barry Silverberg wrote: > >On Fri, 1 Mar 1996, Mary Katherine Aldin wrote: >> Bo Diddley was given a Lifetime Achievement Award last night at the Rhythm & >> Blues Foundation's Pioneer Awards here in Hollywood. During his acceptance >> speech and performance he announced that his new CD will be out "in a month >> or two" and I *think* said it will be on Atlantic Records. > > Actually it will be on Code Blue - a division of Atlantic ... >Barry's mention of the Code Blue label triggered something in what passes for my brain; I actually wrote a lengthy piece about this new Bo Diddley CD (in my column in the March issue of ICE magazine) and then forgot all about it. So for those who want a few more details on BO's latest, I'll just crib from my own writing: It's set for early May release--guests on it include Keith Richards and Ron Wood, Jimmie Vaughan, The Shirelles, Richie Sambora, Johnnie Johnson and Billy Boy Arnold. Tracks were recorded in London, New York, Chicago, Los Angeles and Austin. > Mary Katherine Aldin ========================================================================= Date: Sat, 2 Mar 1996 09:33:07 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Favorite Quotes A I don't know if it counts as a "favorite" quote, but Willie Dixon once said (on my radio show) "I'm getting so old, I don't even buy green bananas no more" Mary Katherine Aldin ========================================================================= Date: Sat, 2 Mar 1996 12:34:12 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Theory vs. Expression Comments: To: PARRISHR On 2 Mar 96, PARRISHR had this to say: > Maggie, I think you are confusing theory with technique. I know > plenty of really, really good self-taught guitarists who don't know a > thing about traditional music theory and can't even read music, like > my fiance, Max. But he's figured out the techniques to get the job > done in terms of expressing himself. Also it doesn't hurt to have > great equipment :) No, Maggie isn't confusing theory with technique. A really good self taught guitarist knows a whole lot of theory. He may not know all the labels for it, but he understands the the relationships between notes. I'll bet that Max can make a diminished chord, and I'll bet he knows that any note in it can be the root of the chord. That is theory. He could know that and not know the words "diminished" or "root", and it would still be music theory. I'll bet that, being a good Blues player, he knows plenty of "turn-arounds". Well, knowing the phrases and harmonies that lead the ear of the listen to expect a return to the root chord (the turn-around) is music theory. Technique, on the other hand, is mechanical. It's the "how" I will play this note, as opposed to "which" note I will play. How you pick, pluck, snap, bend, squeeze, shake, slide, finger, etc. I think many of the folks in this debate that think they don't need theory, and/or are better off without it, just don't realize what theory is. It's inseparable from the music. Ignore it, and you will clear the room of listeners fast. P.W. Fenton Tampa, Florida ------------------------------------------------------------- To experience blatant self-promotion, visit my web pages at http://www.gate.net/~pwfenton/ ------------------------------------------------------------- ========================================================================= Date: Sat, 2 Mar 1996 09:54:54 -0500 Reply-To: David Melton From: David Melton Subject: Re: LA Bluzellers-Little Charlie and The Nightcats Comments: To: Shaun T Cronin At 11:31 PM 3/1/96, Shaun T Cronin wrote: >Reading the LA Weekly today and it seems that Little Charlie and The >Nightcats are going to be at Jacks Sugar Shack (Hollywood and Vine) on >March 15th. It looks like I will more than likely be going with a few guys >form school (sorry to Dave Melton who I think has a gig the same night in >Santa Monica. Please forgive me as I was going to go). There are any other >LA Bluzellers interested in going let me know and let's try and meet up. > >Shaun > >Shaun Cronin 'The Blues is what exists between a man and a >shaun@wavenet.com woman.' Son House and John Lee Hooker. I just wanted to thank Shaun for the support. It just so happens that this is the first gig I've done under my own name in over a year and is very important to me. I'm not Little Charlie (he's great I've seen him many times) but I am no amatuer either. Music is my life, and this is basically a door gig which means if I don't break even I pay the band members out of my own pocket. I'm trying to get a semi regular thing going where I feature local top notch blues artists like I did acouple of years ago. These in the past included Coco Montoya, Finis Tasbi, Doug McCloud, the Texicali horns, Catfish Hodge, Denny Freeman, Mitch Kashmir, and others. So maybe next time you decide to publicly encourage the local troup to join you somewhere else (I was soon going to announce this gig on here) I hope you will consider first other people's feelings and second - you might not know what you are missing! :) ========================================================================= Date: Sat, 2 Mar 1996 10:25:57 -0500 Reply-To: David Melton From: David Melton Subject: Re: Freebo Comments: To: bob vanarsdall Sorry if this message is a repeat. It got sent back to me claiming that it had already been sent, but I'm sure I only sent it once. Anyway, here it is again. Bob Vanarsdall wrote: >While we're at it, whatever happened to Freebo, who played with Bonnie for >so many years? > Freebo is alive and well and playing with the Zydeco Party Band here in the LA area. ========================================================================= Date: Sat, 2 Mar 1996 10:29:47 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: LA Bluzellers-Little Charlie and The Nightcats Dave Melton wrote: > So maybe next time >you decide to publicly encourage the local troup to join you somewhere else >(I was soon going to announce this gig on here) I hope you will consider >first other people's feelings and second - you might not know what you are >missing! :) This is where I take my foot out of my mouth so I can prostrate myself in-front of Dave and ask for forgiveness. I did not mean to pre-empt Dave and I should of been more considerate. I should of realized how important music is to the people playing it. Sorry. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sat, 2 Mar 1996 10:18:34 -0800 Reply-To: Beth Oliver From: Beth Oliver Organization: The Loop Subject: Re: Fab t-birds/mighty flyer question Comments: To: bit-listserv-blues-l@uunet.uu.net In article <4h5l45$2gs@dfw-ixnews1.ix.netcom.com>, David Wade wrote: > >>I heard this past weekend that Jimi Bott, the long time drummer for > theMighty Flyers has joined the Fabulous Thunderbirds. Has anyone seen > eitherof these bands lately, or can anyone substantiate this rumor. > Thanks > ed>> > > I cannot talk with authority but.... I saw RP and the Flyers Feb 9 and > they were intact. I am aware that a couple of the current T-Birds came > from the James Harmon Band, though. I have seen Jimi Bott play with > any number of other people/groups and it would not surprise me if he > filled-in with them for a night or two. I hope he stays with the > Flyers but if he leaves it gives me another reason to see the group > again to see his replacement. (as if I need another reason...) > David Spoke to Jimi myself. Yes, he is in fact going with the T-birds, but he's not sure of the exact date. He's been with the Flyers for 10 years and says he's ready for a change. He also said that before joining the Flyers his two favorite bands were the Flyers and the T-birds. So this is like a dream come true for him. Kid Ramos is the guitar player who recently joined the T-birds and was formerly with Harman. Beth ========================================================================= Date: Sat, 2 Mar 1996 13:47:12 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: Theory vs. Expression Comments: To: "P.W. Fenton" In Maggie's message, she said, and I interpreted, that she wanted someone who "knew what he was doing [technique] and why [theory]." I stand partially corrected -- of course Max knows theory but he doesn't think about it that way. If you ask Max to explain blues lead playing, he will show you the pattern for the pentatonic scale on the fretboard and tell you that that is the pattern for the "right notes." And yes, Max knows some very complicated chords and written some very complicated, jazz-like progressions without knowing what they're called. I think he looks at theory as an organizational tool for music. ______________________________ Reply Separator _________________________________ Subject: Re: Theory vs. Expression Author: "P.W. Fenton" at Internet Date: 3/2/96 12:34 PM On 2 Mar 96, PARRISHR had this to say: > Maggie, I think you are confusing theory with technique. I know > plenty of really, really good self-taught guitarists who don't know a > thing about traditional music theory and can't even read music, like > my fiance, Max. But he's figured out the techniques to get the job > done in terms of expressing himself. Also it doesn't hurt to have > great equipment :) No, Maggie isn't confusing theory with technique. A really good self taught guitarist knows a whole lot of theory. He may not know all the labels for it, but he understands the the relationships between notes. I'll bet that Max can make a diminished chord, and I'll bet he knows that any note in it can be the root of the chord. That is theory. He could know that and not know the words "diminished" or "root", and it would still be music theory. I'll bet that, being a good Blues player, he knows plenty of "turn-arounds". Well, knowing the phrases and harmonies that lead the ear of the listen to expect a return to the root chord (the turn-around) is music theory. Technique, on the other hand, is mechanical. It's the "how" I will play this note, as opposed to "which" note I will play. How you pick, pluck, snap, bend, squeeze, shake, slide, finger, etc. I think many of the folks in this debate that think they don't need theory, and/or are better off without it, just don't realize what theory is. It's inseparable from the music. Ignore it, and you will clear the room of listeners fast. P.W. Fenton Tampa, Florida ------------------------------------------------------------- To experience blatant self-promotion, visit my web pages at http://www.gate.net/~pwfenton/ ------------------------------------------------------------- ========================================================================= Date: Sat, 2 Mar 1996 18:31:16 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Blues Before Sunrise station list Comments: To: bit-listserv-blues-l@uunet.uu.net There's been some discussion here about the syndicated NPR program "Blues Before Sunrise--The Blues Heritage Showcase" recently, and it occurs to me that there are probably folks out there who may have access to the show and don't know it. Since I personally feel that anyone who considers themself a blues fan *needs* to hear this show, and since the host of the show is a friend of mine, I asked him for a list of all the radio stations nationwide that carry the show. I don't have the exact dial positions for these stations, but here are the cities and call letters for all the radio stations currently on the "Blues Before Sunrise Network": KTOO-FM Juneau, AK KFSK-FM Petersburg, AK KCAW-FM Sitka, AK KSTK-FM Wrangell, AK WQPR-FM Muscle Shoals, AL WUAL-FM Tuscaloosa, AL KBSA-FM El Dorado, AR KUOP-FM Stockton, CA KALW-FM San Francisco, CA WFIT-FM Melbourne, FL WUCF-FM Orlando, FL WUWF-FM Pensacola, FL KIPO-FM Honolulu, HI KUNI-FM Cedar Falls, IA KUNY-FM Mason City, IA KBSU-FM Boise, ID KBSM-FM McCall, ID WBEZ-FM Chicago, IL (this is where the program originates) KRPS-FM Pittsburg, KS WFPL-FM Louisville, KY KLSA-FM Alexandria, LA KRVS-FM Lafayette, LA KDAQ-FM Shreveport, LA KSLU-FM Hammond, LA KTLN-FM Thibodaux, LA WUMB-FM Boston MA WFPB-FM Falmouth, MA WBPR-FM Worcester, MA WGVU-FM Grand Rapids, MI WEMU-FM Ypsilanti, MI KSMU-FM Springfield, MO KSMS-FM Point Look, MO KKFI-FM Kansas City, MO KCND-FM Bismarck, ND WFUV-FM Bronx, NY WCPN-FM Cleveland, OH WMUB-FM Oxford, OH WDUQ-FM Pittsburgh, PA WQLN-FM Erie, PA WITF-FM Harrisburg, PA WETS-FM Johnson City, TN WMOT-FM Murfreesboro, TN KEDT-FM Corpus Christi, TX KLDN-FM Redland, TX KSTX-FM San Antonio, TX KOCV-FM Odessa, TX KDRT-FM Victoria, TX KSER-FM Lynnwood, WA KWSU-FM Pullman, WA If Blues Before Sunrise is on in your town, you owe it to yourself to hear this show--and you owe it to blues fans everywhere to help support it. There's nothing else like it on the radio anywhere. Is there a need for this discalimer? Although I know the host, I stand to gain nothing from the continued availability of his show other than a broader understanding and appreciation of blues music and it's heritage. Scott ========================================================================= Date: Sat, 2 Mar 1996 15:11:01 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Sam Carr! Frank Frost! T-Model Ford! Tonight in Oxford! Be There! There is a new place in Oxford called BLIND JIM'S. Its sort of a fascimile of a juke joint, with some Ole Miss themes overlayed on that. Its a nice place, serves beer and red beans and rice, sandwiches. They plan to have live blues all the time (blues only). Tonight, for their second weekend they have scheduled: Sam Carr, Frank Frost, and T-Model Ford! This should be really great. Last week, T-Model played TEN HOURS, getting in serious juke joint mode. I plan to be there tonight, it should be really really great. STANDARD DISCLAIMER: Even though this is a really, really small town and I've lived here my whole life I DON'T EVEN KNOW THESE PEOPLE. I have no idea who runs Blind Jim's although some of my friends know them. Tom Freeland ========================================================================= Date: Sat, 2 Mar 1996 15:22:30 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: Rooster Blues - recommendations wanted Comments: To: Jim Witteveen In-Reply-To: <96Mar2.060857pst.30740-5648+747@haven.uniserve.com> On Sat, 2 Mar 1996, Jim Witteveen wrote: > Greetings Bluezellers! It seems like the local record store has greatly > expanded their blues section, and among other labels, they are now selling > cd's put out by the Rooster Blues label. These include Eddy Clearwater and > Willie Cobbs. So my question is this: what's your favorite Rooster blues > release, and what do you think of the two artists I just mentioned? Eddie Clearwater's is a must-get for Clearwater fans. My favorite is Valerie Wellington's MILLION DOLLAR SECRET, and also Roosevelt "Booba" Barnes's THE HEARTBROKEN MAN, which offers some great raw blues, and vocals that hint of _both_ Little Milton and Howlin' Wolf. Booba's a blast. Hope you enjoy these as much as I do... Dave Prychitko ========================================================================= Date: Sat, 2 Mar 1996 20:28:42 GMT Reply-To: Matthew Arthur Clark From: Matthew Arthur Clark Organization: Columbia University Subject: Re: Bo Diddley on the Tonight Show on Monday Comments: To: bit-listserv-blues-l@uunet.uu.net Steven, I work part-time for Code Blue Records and, yes, I do have information on the new Bo Diddley album. In May, the legendary artist will release a brand new album on Code Blue Records to commemorate 40 years in the music business. This album, produced by Code Blue chief Mike Vernon, will include a number of famous guest stars including Keith Richards, Ronnie Wood, Jimmie Vaughan, Johnnie Johnson, Billy Boy Arnold, The Shirelles, and Richie Sambora. The album, called A Man Amongst Men, is due in stores on May 14, 1996. I heard a little bit of it while I was at the office this week and it sounded great. I'm really looking forward to it. Bo Diddley is currently touring the United States and Canada. Tour dates can be found at the Code Blue Records home page at: http://www.columbia.edu/~mac44 If you have any other questions, please feel free to e-mail either me or CODEBLUEUS@aol.com Thanks, Matt Clark mac44@columbia.edu ========================================================================= Date: Sat, 2 Mar 1996 15:59:26 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Amphibian blues Okay you guys, get with the program. Alligators are reptiles, not amphibians. :) :) Your resident biologist on-line, Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Sat, 2 Mar 1996 21:39:01 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Jimi's Collection (& Smokey Smothers) Comments: To: bit-listserv-blues-l@uunet.uu.net Shaun T Cronin wrote: > >LW wrote: > >>I got a free Guitar Player Mag (I wouldn't dare buy one, hate it), but there >>is an article on Hendrix's LP collection. There were plenty of Muddy Waters >>(incuding Electric Mud), Elmore James only one JLH, the JLH is backed >>by The Muddy Waters band. There was not much mention of Coltrane. He had a lot >>of Mayall and the 'breakers , with EC, Mick Taylor....etc. There are some more >>like one Smoky Smothers, Jr. Wells..... > >Is this the latest issue? I hope so. It sounds like a good read. IMHO, >Guitar Player is the *best* mag for guitartists around. It coves all styles >and has great lessons. Guitar Player has always supported the blues. Now >some issue are sparse on blues coverage but some are overflowing with >blues. But GP usually is good at covering all styles. I did a post late >last year that outlined articles on blues guitarists in all the 95 issues. > >I don't know why you don't like it. Personally, I think it it's great. > >Shaun I agree with Shaun. Guitar Player is without a doubt the most blues- friendly guitar magazine out there, thanks mainly to editor Jas Obrecht, who is a serious blues advocate and genuine authority on the subject. In my own limited experience as a blues guitarist, GP has proven to be the most thorough and consistantly interesting guitar magazine I've found. I'm also VERY interested to hear that Jimi Hendrix had a Smokey Smothers LP in his collection...Big Smokey was a very good friend of mine, and is one of the major reasons I'm as deep into blues today as I am. He was a wonderful bluesman and a wonderful guy, but I'm surprised to find out that someone as musically sophisticated as Hendrix (whom I'm also a big fan of) was interested in someone whose style was as rough and elemental as Smokey's was. Big Smokey Smothers' (not to be confused with his younger brother Abe "Little Smokey" Smothers) music was kind of a cross between Jimmy Reed and Muddy Waters, and didn't have much to do with the modern styles epitomized by the various Kings--although Freddie King did play guitar behind Smokey on several of Smokey's early '60s recordings. BTW, Eric Clapton has been performing Big Smokey's "Can't Judge Nobody" in his live shows for the past couple of years. And maybe this deserves another subject heading, but I thought I read or heard somewhere at least a couple of years ago that an English label was going to be reissuing a bunch of King/Federal recordings, and that some previously unissued Smokey Smothers would be included in the reissue series. I've never seen any of this anywhere--does anyone know anything about it? Scott ========================================================================= Date: Sat, 2 Mar 1996 22:02:19 GMT Reply-To: "." <102650.1043@COMPUSERVE.COM> From: "." <102650.1043@COMPUSERVE.COM> Organization: . Subject: The BEST (or FAV.) Blues album?? Comments: To: bit-listserv-blues-l@uunet.uu.net *Box set of Robert Johnson *Bo Carter - 1929-30 *bb. King - Back in the Alley ========================================================================= Date: Sat, 2 Mar 1996 16:18:34 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: JIMI'S COLLEC In Shapiro and Gleebeek's book, Electric Gypsy, one of the nice color plates is a 1967 publicity photo of Jimi with an LP copy of The Best of Elmore James sitting on his lap. Don O. ========================================================================= Date: Sat, 2 Mar 1996 22:02:06 GMT Reply-To: David Poole From: David Poole Organization: Pipeline USA Subject: Radio Kings Comments: To: bit-listserv-blues-l@uunet.uu.net These giuys are great. I got "Live At BB Kings" and immediately went out for "It Ain't Easy". Good stuff!! ========================================================================= Date: Sat, 2 Mar 1996 22:19:18 GMT Reply-To: Barry <76702.3526@COMPUSERVE.COM> From: Barry <76702.3526@COMPUSERVE.COM> Organization: KBFH Subject: Trower, Canned Heat, Gary Moore.. Comments: To: bit-listserv-blues-l@uunet.uu.net Hi All! While this is a bit self-serving, it is my labor of love and thus had to shout it out... We (King Biscuit Flower Hour Records) just released some great live rock & blues CDs from Robin Trower, Canned Heat (features unreleased and classic old blues tunes such as "Don't Know Where She Went" by Willie Evans), Humble Pie (with Marriot and Clemson!), and Greg Lake (with Gary Moore). Please check them out, I think they will be enjoyed! -Barry ========================================================================= Date: Sat, 2 Mar 1996 17:53:53 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Can't get enough DeWayne Brown asks > Anyone recommend a good book on "Who's who in the Blues"? Thanks, Dew. I have several, and I have yet to find a single volume which covers the subject adequately. I find myself turning to these two frequently: "The Guiness Who's Who of Blues" (Guiness Publishing 1993) "The Big Book of Blues." by Robert Santelli (Penguin, 1993) Unless you are a dedidated minutiae fanatic, DON'T get "Blues Who Who" by Sheldon Harris. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Sat, 2 Mar 1996 17:53:53 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: amphibians and reptiles and purists Blues purists don't bother me, but I am seriously concerned about the sudden appearance of "amphibian purists." Don't these self-appointed experts understand that many of us just love scaly animals of all kinds, and we aren't concerned about these arbitrary divisions you want to force on us? Let's just enjoy the cold blood and stop all this speciesism. :-) Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Sat, 2 Mar 1996 22:49:46 GMT Reply-To: Diana Shonk From: Diana Shonk Organization: Across The Board and The Blues Audience Newsletter Subject: Re: Women harmonica players Comments: To: bit-listserv-blues-l@uunet.uu.net We have Annie Raines and Cheryl Arena here in New England. They bioth have many years under their belts. Two completely different styles of playing, tho. Annie Raines tours all over the country and the world with Paul Rishell. They have a very traditional Blues sound. They play alot of songs from the thirties, and Paul has developed an individual sound of his own singing and playing dobro, (and other guitars) You can learn more about Annie Raines through The Blues Audience newsletter, and Cheryl Arena plays with a (Stevie Ray style) Band called The Kat In The Hat. They are very loud, but good strong players for that style. ========================================================================= Date: Sat, 2 Mar 1996 22:51:14 GMT Reply-To: Diana Shonk From: Diana Shonk Organization: Across The Board and The Blues Audience Newsletter Subject: Re: Women harmonica players Comments: To: bit-listserv-blues-l@uunet.uu.net I forgot to mention that Annie Raines can be heard on Paul Rishell's album Swear To Tell The Truth on Tone Cool Records. ========================================================================= Date: Sat, 2 Mar 1996 22:58:02 GMT Reply-To: Diana Shonk From: Diana Shonk Organization: Across The Board and The Blues Audience Newsletter Subject: Re: Eddie Taylor Comments: To: bit-listserv-blues-l@uunet.uu.net WHat record label is it on? ========================================================================= Date: Sat, 2 Mar 1996 15:21:17 -0500 Reply-To: David Melton From: David Melton Subject: Re: Favorite Quotes Comments: To: Mary Katherine Aldin At 9:33 AM 3/2/96, Mary Katherine Aldin wrote: >A >I don't know if it counts as a "favorite" quote, but Willie Dixon once said >(on my radio show) > > "I'm getting so old, I don't even buy green bananas no more" > >Mary Katherine Aldin =============================================================================== Which reminds me of my favorite quote, also by Willie Dixon on Howlin' Wolf's "Had My Fun"- (Correct me if I'm wrong but I believe the Wolf and Willie trade off in the song) " I did not say that I was a millionaire. But I have spent more money than a millionaire. Cause if I had kept all the money that I had already spent, I'd have been a millionaire a long time ago" (close as I can remember without the record to listen to) Dave Melton ========================================================================= Date: Sat, 2 Mar 1996 18:05:48 -0500 Reply-To: JCOLE3M From: JCOLE3M Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Elmore James/Dust my Broom Comments: To: bit-listserv-blues-l@uunet.uu.net to dust yo broom means to cut outa town, leave yo woman and all that shit behind ========================================================================= Date: Sat, 2 Mar 1996 15:23:48 -0800 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Re: amphibians and reptiles and purists Comments: To: bit-listserv-blues-l@cs.washington.edu Ian Angus wrote: > > Blues purists don't bother me, but I am seriously > concerned about the sudden appearance of "amphibian purists." > > Don't these self-appointed experts understand that many of us > just love scaly animals of all kinds, and we aren't concerned about But one of the very characters that defines amphibians is their *lack* of scales. If dilletantes persist in lumping crocodiles and bullfrogs then all the rich evolutionary heritage embodied in these proud lines will be lost. And then where will we be? > these arbitrary divisions you want to force on us? Let's just > enjoy the cold blood and stop all this speciesism. Adrian (fish got scales too, and clams got feet) ========================================================================= Date: Sat, 2 Mar 1996 16:07:37 -0500 Reply-To: David Melton From: David Melton Subject: Re: Women harmonica players Comments: To: Diana Shonk At 5:49 PM 3/2/96, Diana Shonk wrote: >We have Annie Raines and Cheryl Arena here in New England. They bioth >have many years under their belts. Two completely different styles of >playing, tho. Annie Raines tours all over the country and the world with >Paul Rishell. They have a very traditional Blues sound. They play alot >of songs from the thirties, and Paul has developed an individual sound >of his own singing and playing dobro, (and other guitars) > >You can learn more about Annie Raines through The Blues Audience >newsletter, and Cheryl Arena plays with a (Stevie Ray style) Band called >The Kat In The Hat. They are very loud, but good strong players for that >style. =============================================================================== We in the LA area have Kelley Rucker. She was with the Debbie Davies band when I joined about 5 years ago and Now I think she is with BB Chun King. She's definitely worth checking out. Dave Melton ========================================================================= Date: Sat, 2 Mar 1996 19:47:38 -0500 Reply-To: HippieLady From: HippieLady Organization: America Online, Inc. (1-800-827-6364) Subject: URGENT LETTER FROM STEVE FERGUSON Comments: To: bit-listserv-blues-l@uunet.uu.net Steve Ferguson, of the Midwest Creole Ensemble, asked me to post the following letter to the public on his behalf, since he does not currently have access to online services or the Internet. Howell Productions does not currently serve as Steve s management, representative, or agency. We have agreed to post this letter at his request, and will direct all responses back to him. Beverly Howell, Howell Productions: HippieLady@aol.com BevBlues@earthlink.net ------------------ To the friends and fans of my Midwest Creole Ensemble, you who are also my brothers and sisters, by the law of solidarity that connects us as participants in the Human Ensemble: I feel a sense of urgency to communicate with you in regards to canceled engagements between February 29 and March 2, 1996. For reasons I could not control, I simply had no percussionist for those particular engagements. The percussionist that was supposed to perform with me had to cancel with little advance notice. For three stressful days, I tried earnestly to find an appropriate replacement, but to no avail. As most of you know, percussion is an extremely important parust qualify if I am to give you a quality performance, but unfortunately, my decision to cancel, rather than take advantage of yourself and the club owners by knowingly giving you a fraudulent performance, has not taken place without a price. Miss Harriet Kyriakos, now my former agent, whose name and address is on the back of my CD, Mama-U-Seapa, attempted to impose ultimatums on me by insistence that I perform with any percussionist available, regardless of skill or familiarity with my music. As common sense can tell you, such greedy and ill-advised insistence would have done little more than take your hard-earned money in exchange for a musical catastrophe. As I told Miss Kyriakos, so I tell you, I do not serve my fans uncooked meat. If I would have performed on those nights that I canceled, I would have simply taken ruthless advantage of the clubs: Mojo s in Columbia, MO, Grand Emporium in Kansas City, MO, and Off Broadway in St. Louis, MO, and most of all, you, my wonderful fans. The price I ve had to pay for doing what I believe was the considerate thing to do, has not only been the loss of three engagements, which I personally needed for my own well-being, but also the loss of an agent, under threat that Miss Kyriakos would dismiss me as an artist who performed under her personal bookings, unless I agreed to perform with an unprepared percussionist on February 29, March 1 and 2. My friends and fans, I cannot be true to my conscience as a creative and performing artist unless I m willing to make decisions that are true to my conscience in all areas of life. If I must be disliked or oppressed for being true to my convictions or conscience, so be it, but I cannot change what I believe, or discontinue actions according to such belief, for fear of disapproval or industry-imposed sanctions. I would plead with you, my friends and fans, to abstain from painting a bitter picture of the music industry, as there are many wonderful contributors to the arts, in low and high places throughout the industry. But, I would also make you fully aware that the industry is ultimately dependent on yourselves, as the buyer. Therefore, agents, managers, and promoters have an important responsibility to guide you in the direction of fulfilling quality art form, rather than distributing non fulfilling, poor quality art form, with full awareness of such incompetence. Such irresponsible individuals ultimately damage the image of the music industry, and I would plead with the industry itself to protect it s image by taking action against such individuals. I conclude this explanation of an uncalled-for wound in my personal performing career, by requesting your participation and support, through sharing copies of this letter with any and every person who might be concerned, the following establishments in particular: Mojo s 1013 Park Ave. Columbia, MO 65201 Grand Emporium, Inc. 3832 Main Kansas City, MO 64111 Off Broadway 3509 Lemp St. Louis, MO 63123 Your letters to the aforementioned establishments, or anyone concerned, would be most appreciated, and for those who would like to book myself with the Midwest Creole Ensemble, arrangements can be made with me personally, through emailing me via Howell Productions, Inc., at either of the two following addresses, until such time as I have secured another booking agent: HippieLady@aol.com BevBlues@earthlink.net Before I close, I would like to prepare you for a possible negative response to this letter. On three occasions, and three occasions only, have I failed to appear for performances since 1986. Two of those occasions were due to illness, and the third was the incident I m presently writing about. Any outside statement that speaks contrary to what I ve just stated is simply not true. I cannot thank you enough for taking the time to read this letter. I only hope you realize that in supporting the arts, you are supporting yourself, and your human companions, as we are all interrelated through the law of solidarity I began this letter with. Your Friend, Steve Ferguson ========================================================================= Date: Sun, 3 Mar 1996 00:51:28 GMT Reply-To: Dan Day From: Dan Day Organization: Sirius Connections Subject: Re: Constructed Solos Comments: To: bit-listserv-blues-l@uunet.uu.net Bob, Mike Wouldn't be surprised if Carlos Santana picked up on that groove. It's a very good precursor. Dan In article <4h69er$f1p@newsbf02.news.aol.com>, BOYDMT wrote: > Bob, > I'm amazed that someone feels the same way I do about Bloomfield's solo > work on "Another Country". Never hear it spoken of anymore. What is most > striking about the solo is how he changes rhythms, tones, and styles so > apparently effortlessly and yet still continues to fluidly build the level > of emotion in the solo as he goes. > > Just was very surprised someone else also recognizes the brilliance of > this particular performance. > > Mike ========================================================================= Date: Sat, 2 Mar 1996 18:54:05 -0800 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Favorite Quotes Comments: To: bit-listserv-blues-l@uunet.uu.net A deejay on our local public radio station, WWOZ, was playing some old recordings of stride pianist Burt Bales today, and I was inspired to call and tell her the following true story about him. In the late 70s I was working in a joint in San Francisco (the Washington Square Bar & Grill) that had live blues and jazz solo pianists playing every night, some of whom were legends. Burt Bales played every Sunday night in the barroom, and was much beloved by us employees and a hard core of ardent stride piano fans. He was an irascible old gent, amusingly lecherous and mischevious even then, in what were obviously the last years of his life. He used to bring all us waitstaff little bitty pot brownies every Sunday. One Sunday a patron who had obviously overindulged his thirst ambled up to where Burt was playing, tapped him on the shoulder and slurred, "Hey buddy, wouldja know anyplace around here where I can go to hear some live music?" And without missing a note or even looking up, Burt growled back at him "Yeah, I sure do, and I'll tell you all about it as soon as I'm finished typing this letter." --Maggie -- Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ "I'm not sure but I think that ALL music started in New Orleans." --Ernie K-Doe ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Sun, 3 Mar 1996 01:35:38 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Eddie Taylor Comments: To: bit-listserv-blues-l@uunet.uu.net Diana Shonk wrote: > >WHat record label is it on? Eddie Taylor's "Long Way From Home" (a fine CD, IMHO) is on the Blind Pig label. I'm still curious about the person who posted the original note under this subject (I've forgotten who it was)...You said you're a big famn of Eddie Taylor, but you don't like this release. Which Eddie Taylor release *do* you like if you don't like this one? Because other than his few sides for Vee Jay in the '50s, I don't think he did much that could be called "better" than "Long Way From Home". Scott ========================================================================= Date: Sat, 2 Mar 1996 19:19:40 -0700 Reply-To: Michael Heicklen From: Michael Heicklen Subject: Re: Freebo Comments: To: David Melton At 10:25 AM 3/2/96 -0500, David Melton wrote: >Sorry if this message is a repeat. It got sent back to me claiming that >it had already been sent, but I'm sure I only sent it once. Anyway, here >it is again. > > >Bob Vanarsdall wrote: > >>While we're at it, whatever happened to Freebo, who played with Bonnie for >>so many years? >> > >Freebo is alive and well and playing with the Zydeco Party Band here >in the LA area.... ...as well as working on several studio projects. ========================================================================= Date: Sat, 2 Mar 1996 22:10:48 -0500 Reply-To: SRVEWF@AOL.COM From: Don Hammond Subject: Re: SRV Tribute Comments: To: jlafave@nylink.org Can you tell us the date of the SRV replacement show? ========================================================================= Date: Sat, 2 Mar 1996 21:33:22 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 03/03 B O R N : ALLEN, HENRY SR Born:1877 NEW ORLEANS, LA Career:TRUMPET Style:TRAD / JAZZ led a brass band that played in and around New Orleans for more than 10 years / Father of Henry Red Allen Bigard, Barney ( Albany Leon Bigard ) Born:1906 NEW ORLEANS, LA Career:CLARINET Style:TRAD / JAZZ With:Albert Nicholas / Luis Russell / King Oliver / Charlie Elgar / Duke Ellington / Louis Armstrong / Ben Pollack / Muggsy Spanier / Rex Stewart 1966 and 1967 / Art Hodes BURROUGHS, CLARK Born:1930 LOS ANGELES, CA Career:SINGER Style:JAZZ With:the Hi-Lo's / Singers Unlimited GARRISON, JIMMY ( JAMES EMORY GARRISON ) Born:1934 MIAMI, FLCareer: BASS Style:JAZZ / BLUES With:Philly Joe Jones / Curtis Fuller / Benny Golson / Lennie Tristano / Ornette Coleman / John Coltrane / Hampton Hawes / Archie Shepp / Elvin Jones GASCA, LUIS ( LOUIS ANGEL ) Born:1940 HOUSTON, TX Career:TRUMPET / FLUGELHORN / MELLOPHONE Style:JAZZ / BIG BAND With:Perez Prado / Stan Kenton / Maynard Ferguson / Lionel Hampton / Woody Herman / Mongo Santamaria / Janis Joplin / Van Morrison / Carlos Santana / Count Basie / Cal Tjader George Duke / Joe Henderson / Lew Tabackin / Herbie Hancock / Richard Davis JONES, CHESTER Born:1913 NEW ORLEANS, LA Career:DRUMMER Style:TRAD / JAZZ With:George Lewis / Eureka Brass Band MOORE, WILLIAM "RAGTIME MILLIONAIRE" Born:1893 TAPPAHANNOCK, VA Career:GUITAR Style:BLUES PARKER, JUNIOR aka LITTLE JUNIOR PARKER ( HERMAN PARKER JR ) Born:1927 WEST MEMPHIS, AR Career:SINGER / HARMONICA / COMPOSER Style:BLUES With:HOWLIN' WOLFE PRIMER, JOHN [ALFONZO PRIMER] Born:1946 CAMDEN, MS Career:GUITAR Style:BLUES SARGENT, KENNY Born:1906 CENTRALIA, IL Career:SINGER Style:BIG BAND With:Charlie Fulcher 1928-29 / Blue Steele 1929-30 /Francis Craig 1930-31 / Glen Gray 1931-1942 / Long late-night disc jockey on Dallas radio. SMALLS, CLIFF ( CLIFTON ARNOLD SMALLS ) Born:1918 CHARLESTON, SC Career:PIANO / TROMBONE / ARRANGER Style:JAZZ / BLUES / BIG BAND With:Carolina Cotton Pickers / Earl Hines / Billy Eckstine / Earl Bostic / Bennie Green / Paul Williams / accompanied singer Clyde McPhatter / Brook Benton for seven years in late 1950s and early 1960s / Smokty Robinson / Ella Fitzgerald / Reuben Phillips' Big Band at the Apollo Theater, N.Y. / Sy Oliver's Band STACKHOUSE,HOUSTON JR Born:1956 WEST HELENA, AR Career: SINGER / GUITAR Style:BLUES With:KING BISCUT FESTIVAL VENTURA, CAROL Born:1937 Career:SINGER Style: BIG BAND FOR A LISTING OF THOSE THAT PASSED AWAY IN THIS MONTH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Sat, 2 Mar 1996 23:57:58 -0500 Reply-To: Rags From: Rags Subject: POCONOS!!! The Poconos Roots Festival is JUNE 22 /23 of this year and the Poconos Blues Festival is JULY 27/28 '96 complete schedule is @ Call for more information - (800) 468-2442. 1st ANNUAL AMERICAN ROOTS FESTIVAL JUNE 22 & 23, 1996 Saturday, June 22nd: LABEL 11:30 to 12:20 The Burns Sisters Philo 12:30 to 1:30 Chris Smither Hightone 1:45 to 3:00 Big Sandy & the Fly Rite Boys Hightone 3:15 to 4:30 Steve Ferguson & the Midwest Creole Ensemble School Kids 4:45 to 6:00 Geno DelaFose & French Rockin' Boogie Rounder 6:15 to 7:30 Sleepy LaBeef Rounder 7:45 to 9:30 Joe Ely MCA inside the lodge: 3:15 to 4:15 The Burns Sisters Philo 4:45 to 6:00 Chris Smither Hightone Sunday, June 23rd: 11:30 to 12:20 The Persuasions Bullseye 12:30 to 1:30 Wayne Hancock Deja-Disc 1:45 to 3:00 The Blazers Rounder 3:15 to 4:30 Del McCoury Rounder 4:45 to 6:00 Nathan & the Zeydeco Cha Chas Rounder 6:15 to 7:30 Ronnie Dawson Crystal Clear 7:45 to 9:30 CJ Chenier & the Red Hot Louisiana Band Alligator inside the lodge: 3:15 to 4:30 Wayne Hancock Deja-Disc 5TH ANNUAL POCONO BLUES FESTIVAL July 27 & 28, 1996 Saturday, July 27th: 11:30 to 12:20 Little Dave Thompson Fat Possum 12:30 to 1:30 Willie Cobbs Rooster Blues 1:45 to 3:00 Robert Lockwood Junior Evidence 3:15 to 4:30 Guitar Shorty Black Top 4:45 to 6:00 Trudy Lynn Ichiban 6:15 to 7:30 Chris Cain Blind Pig 7:45 to 9:30 Lowell Fulson Bullseye inside the lodge: 1:45 to 3:00 Paul Rishell & Little Annie Raines Tone-Cool 4:45 to 6:00 Paul Rishell & Little Annie Raines Tone-Cool Sunday, July 28th: 11:30 to 12:20 Little Sammy Davis Delmark 12:30 to 1:30 Larry Garner Verve 1:45 to 3:00 James Peterson Waldoxy 3:15 to 4:30 Phillip Walker Blacktop 4:45 to 6:00 Syl Johnson Delmark 6:15 to 7:30 William Clarke Alligator 7:45 to 9:30 Koko Taylor Alligator inside the lodge: 12:30 to 1:30 Kelly Joe Phelps Burnside 3:15 to 4:30 Little Sammy Davis Delmark 5:00 to 6:00 Kelly Joe Phelps Burnside Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ It's dark And I'm Wearing Sunglasses......... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Sat, 2 Mar 1996 21:52:34 -0700 Reply-To: Michael Heicklen From: Michael Heicklen Subject: What's the Deal with Publishing? Copyright issues can be confusing, because there are several different legal concepts working in tandem. For a record deal, first there is the copyright issue in the master recordings (the finalized recorded tapes from which the album will be made). Second, there is the name, likeness, etc. of the artist, which comes under a different legal precept altogether. Last, there is the song itself (the music and lyrics), which is generally referred to as "publishing and performance rights." Because the ideas are related, often times the concepts are inadvertently entwined. Yet, in order to understand the performer's rights v. the writer's rights, they must be separated. In a record deal, the performers' rights in master recordings are almost always transferred to the label. Another words, in consideration for the label putting up the funds to make the record, it receives full ownership rights in and to the masters in perpetuity. A clause typically looks something like this (in pertinent part): "For good and valuable consideration, [artist] hereby grants, transfers, conveys and assigns, directly to [label] the entire right, title and interest throughout the universe, including without limitation, the copyright, the right to secure copyright registration and any and all copyright renewals, in and to all master recordings and videos that embody the performances of the artist and in and to all artwork." The term copyright literally means the right to copy. Thus, in the above clause, the performer(s) is/are turning over ownership rights, and thereby granting the label the perpetual right to copy the performance onto a record, exploited for any commercial purpose, without compensating the performer. However, the performer generally receives net royalties (after expenses) on all albums sold, in consideration of the original performance. Another words, the performer receives compensation for his work in the studio in the form of a net royalty, but he/she can't stop the label from doing whatever it wants with the masters (including selling them, releasing them, shelving them, or putting out compilations). Sometimes, more powerful performer(s) are able to license (grant rights without giving up ownership) the masters to the label, or restrict the labels' usage - the most likely of which is to force a release with a minimum number of copies and certain amount of advertising - but new or budding performer(s) have very little leg room here. Once a label owns enough masters, it is said to have a catalogue. Many labels release catalogue material in compilation form, putting numerous reknowned artists on a single L/P. Catalogue values have skyrocketed in the past few years. Next, the performer(s) owns the right to his name, likeness, or other identifying factors, as well as (usually) the name of the band. However, the label can't sell records unless it has the right to use these items. In actuality, this is not a copyright issue, but it must be dealt with or the label(s) will end up putting out blank CD's of the master recording. A typical paragraph looks something like this (in pertinent part): "[Label] and any person, firm or corporation affiliated with [label] shall have the perpetual, worldwide right to use and permit others to use [artist's] name (both legal and professional), likenesses, and other identification and biographical material concerning [artist] in connection with the master recordings..." Note that the performer has not received a single additional penny, outside of his/her net royalties, for signing away any of these rights. The third concept is copyrights in the music and lyrics. There are countless examples of bands being torn apart because of these rights, known as publishing and performance rights. For today, we'll discuss only publishing. Songwriters receive additional (often times very significant) monies for granting labels the right to copy their songs onto a commercially released record (there are exceptions, but they need not be dealt with here). The complication comes when the songwriter(s) is/are also a member of the band (commonly known as "controlled compositions"). Some bands have a partnership agreement that allows all members to share in this additional income, but most often, only the writers receive the money. The United States Copyright Laws mandate a minimum rate to be paid to songwriters every time the song is "copied" (other than the initial release, where the amount is negotiable). Thus, if the label makes 1,000 copies to be sold in stores, the songwriter is entitled to 1,000 times the statutory rate (or if an initial release, a negotiated amount, generally 75% of the statutory rate). >From time to time, the statutory amount increases, but generally it is around 6.61 cents per selection, with a 10 selection maximum per album. Thus, the writers make an additional 66.10 cents for every album that is sold commercially. Also, and this is very important, the labels do not deduct the cost of production, etc. from this income (known as "mechanical royalties") because the label does not own the music as it does the masters, it is licensing it; herein lies the bone of contention with most bands. While the bandmembers have signed away their rights in the masters, and are waiting until after recoupment of production, advertising, and promotional expenses to get their royalties, the bandmember/writer(s) are often getting 66.10 cents or better per album from the very first album sold. Thus, it is possible for the performer/bandmembers to make nothing (aside from splitting the advance), while the writer/bandmember makes literally tens of thousands of dollars. ______________________________________________________________________________ Michael Heicklen is an entertainment attorney located in Los Angeles, CA. He runs a free advice line for basic questions, and can be reached by e-mail at "mjh@primenet.com", or "clare21@ix.netcom.com. http://www.primenet.com/~mjh. Feel free to contact me with any questions or particular topics you would like to see addressed. ========================================================================= Date: Sun, 3 Mar 1996 05:15:10 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Can't get enough Comments: To: bit-listserv-blues-l@uunet.uu.net Ian Angus wrote: > >DeWayne Brown asks >> Anyone recommend a good book on "Who's who in the Blues"? Thanks, Dew. > >I have several, and I have yet to find a single volume which covers >the subject adequately. I find myself turning to these two >frequently: > >"The Guiness Who's Who of Blues" (Guiness Publishing 1993) > >"The Big Book of Blues." by Robert Santelli (Penguin, 1993) > >Unless you are a dedidated minutiae fanatic, DON'T get >"Blues Who Who" by Sheldon Harris. I don't think you need to be a minutiae fanatic to appreciate Sheldon Harris' book, although it probably won't be very exciting for a novice blues fan. The two main problems with "Blues Who's Who" are 1., it's not a good "read", because all it contains is a list of artists, and chronological lists of their documented achievements. 2., It contains a lot of "folkie" and English artists who really can't be considered blues artists by today's standards. But it does contain info on plenty of important artists who aren't covered in the other two books you recommended (both of which are quite good, I agree), and if someone is really looking for a book that adheres to the "who's who" format, this one fits the bill. I'd recommend it next after the above mentioned books. There is a book I'd recommend that blues fans stay away from; I can't think of the title, but the author is Gerard Herzaft. It's presented as something like the two books Angus recommended, but is filled with factual errors and subjective opinions presented as historical facts. Mr. Herzaft meant well, I'm sure, but... Scott ========================================================================= Date: Sun, 3 Mar 1996 02:38:21 -0400 Reply-To: Claudio Caponi MARNR From: Claudio Caponi MARNR Subject: I am the lucky winner! Server problems have confined me mostly to lurker mode lately. I am taking this rare opportunity to send an email without having it bounced back (hopefully) to let you all know that I am the lucky/happy winner of the NY CD Blues Wolf contest. I can hardly wait to receive Johnny B. Moore CD and want to thank publicly (sp?) Barry Silverberg and all the guys at NY CD. BTW, the NY CD Blues site is great, full of all the great reviews we see regularly on blues-l (and many more), and the scramble contests are big fun, specially if you win them :-) It is just amazing all the work and time that these guys must spend on updating this site. I recommend it to all bluezellers: http://www.panix.com/~bsco I would include a standard disclaimer here (I have always wanted to do that...:-)), but I doubt anyone in his right mind could even think that someone in Venezuela could have any financial or commercial interest in NY CD... ccaponi@dino.conicit.ve | Claudio Caponi | I've had my fun... Ministerio del Ambiente | Caracas - Venezuela | Otis Spann ========================================================================= Date: Sat, 2 Mar 1996 23:21:55 -0500 Reply-To: David Melton From: David Melton Subject: Re: What's the Deal with Publishing? Comments: To: Michael Heicklen At 9:52 PM 3/2/96, Michael Heicklen wrote: >Another words, the performer receives compensation for his work in the >studio in the form of a net royalty, but he/she can't stop the label from >doing whatever it wants with the masters (including selling them, releasing >them, shelving them, or putting out compilations). Does this also include alteration of the masters for example adding or replacing tracks? Dave Melton ========================================================================= Date: Sun, 3 Mar 1996 02:06:50 EST Reply-To: Joseph Leichter From: Joseph Leichter Subject: Koko Taylor in Rhode Island W ooooooooooooooooow! Great blues moment number 1,638: While one of her guitarists did that thing in E , the Queen sang those words-"There's two, two trains comin'....niether one...runs my way...the one runs at midnight...etc.." DId a hellified "Wang-DangeDoodle"....everything she touched turned to the blues....... did "Hound Dog"...... what a show!!! (too bad it was cut short for some local radio station frat/dance party...arrrrrgh...I'm begining to dislike the once great Lupo's) Joe Leichter http://www.panix.com/~timothy/joe.html Saffire *who*? ========================================================================= Date: Sun, 3 Mar 1996 05:26:10 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Can't get enough Comments: To: Scott Dirks In-Reply-To: <4hb9su$1b4i@usenetw1.news.prodigy.com> On Sun, 3 Mar 1996, Scott Dirks wrote: > There is a book I'd recommend that blues fans stay away from; I can't > think of the title, but the author is Gerard Herzaft. It's presented as > something like the two books Angus recommended, but is filled with > factual errors and subjective opinions presented as historical facts. Mr. > Herzaft meant well, I'm sure, but... I cannot vouch for the factual errors in this book or the op- inions mistaken for fact but this was the first book I bought when I became interested in the blues, and what I will say is that Mr. Herzafts recommendations of albums to get by artists was consistently on the mark. Not disagreeeing with Scott on this except to say that for someone looking to start a record collection of the blues this is a concise and on target refer- ence. I have spoken with others who likewise don't think Mr. Herzafts book is a get - but I think it is. Barry WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sun, 3 Mar 1996 09:35:59 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1931 - Cab Calloway and his Orchestra recorded Minnie the Moocher on Brunswick Records. It was the first recording of the famous bandleader's theme song. The song was featured prominently in the motion picture, The Blues Brothers (1980), starring John Belushi and House of Blues frontman, Dan Ackroyd. P.W. Fenton Tampa, Florida ------------------------------------------------------------- To experience blatant self-promotion, visit my web pages at http://www.gate.net/~pwfenton/ ------------------------------------------------------------- ========================================================================= Date: Sun, 3 Mar 1996 09:41:46 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Also on this day... On this day in 1955 - A truck driver from Tupelo, MS made his first-ever TV appearance. Elvis Aron Presley was featured on Louisiana Hayride. This prompted promoters to send Elvis to New York City to audition for Arthur Godfrey's immensely popular and career-making Talent Scouts program. Talent coordinators and Godfrey are said to have passed on Elvis appearing on the show. Not much later, he was tossed out of the Grand Ole Opry as well, and told to "go back to driving a truck." The rest, as they say, is history. Elvis and his manager went on to make a gazzilion dollars putting a white face on black music. P.W. Fenton Tampa, Florida ------------------------------------------------------------- To experience blatant self-promotion, visit my web pages at http://www.gate.net/~pwfenton/ ------------------------------------------------------------- ========================================================================= Date: Sun, 3 Mar 1996 10:23:38 -0500 Reply-To: "Eliot C. Williams" From: "Eliot C. Williams" Subject: copyright law and home taping I'd like to ask Mr. Heicklen for some information on a subject that's come up several times in the past on the list, to wit: what restrictions do copyright laws place on taping of commercially available recordings for personal use? I would assume that it is not illegal for someone to copy a recording that he/she owns for his/her personal use, although I've heard statements to the contrary. How about giving away tapes of commercial recordings or making tapes from recordings loaned by others? I assume that it's not kosher to sell such tapes for a profit. And what about the practice of some used record stores that are willing to "rent" (or sell and repurchase for a couple of bucks less) CDs, presumably for the purpose of taping? Eliot Williams University of Wisconsin Department of Medicine ecwillms@macc.wisc.edu ========================================================================= Date: Sun, 3 Mar 1996 10:42:56 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: "Giant Step" personnel query I was just listening to Taj Mahal's "Giant Step" album. It's on a twofer I bought, along with "De Ole Folks At Home". Unfortunately, this twofer is devoid of any liner notes at all. I was wondering if someone could tell me the name of the electric guitar soloist on the tune "Bacon Fat". Taj calls out to "Larry" who I assume to be the soloist. (Very tasteful laid back solo BTW) P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 3 Mar 1996 11:05:29 -0500 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: "Giant Step" personnel query Comments: To: "P.W. Fenton" In-Reply-To: <199603031546.KAA26610@osceola.gate.net> On Sun, 3 Mar 1996, P.W. Fenton wrote: > I was just listening to Taj Mahal's "Giant Step" album. It's on a > twofer I bought, along with "De Ole Folks At Home". Unfortunately, > this twofer is devoid of any liner notes at all. I was wondering if > someone could tell me the name of the electric guitar soloist on the > tune "Bacon Fat". Taj calls out to "Larry" who I assume to be the > soloist. (Very tasteful laid back solo BTW) According to BLUES RECORDS 1943-1970, VOL. 2, the performers include: Taj Mahal (vocals, harmonica, guitar, banjo), Jesse Ed Davis (organ, piano, guitar), Gary Gilmore (bass) and Chuck Blackwell (drums). Brenda Bogert Louisville KY ========================================================================= Date: Sun, 3 Mar 1996 09:28:34 -0700 Reply-To: Michael Heicklen From: Michael Heicklen Subject: Re: What's the Deal with Publishing? Comments: To: David Melton David: Adding and replacing tracks are generally just more work in the studio (I presume you're talking about the making or altering tracks in production, as opposed to post). If the musicians are union, they simply receive an additional sum equal to the daily union rate times of the number of additional days in the studio. It almost never affects the royalty rate. At 11:21 PM 3/2/96 -0500, David Melton wrote: >At 9:52 PM 3/2/96, Michael Heicklen wrote: > > >>Another words, the performer receives compensation for his work in the >>studio in the form of a net royalty, but he/she can't stop the label from >>doing whatever it wants with the masters (including selling them, releasing >>them, shelving them, or putting out compilations). > > >Does this also include alteration of the masters for example adding or >replacing tracks? > > >Dave Melton > > ========================================================================= Date: Sun, 3 Mar 1996 16:37:04 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Smokey Smother's King recordings (was Re: Hendrix's collection) Comments: To: bit-listserv-blues-l@uunet.uu.net In article <4haf5l$ufe@usenetz1.news.prodigy.com> Poindexter Regan writes: >And maybe this deserves another subject heading, but I thought I read or >heard somewhere at least a couple of years ago that an English label was >going to be reissuing a bunch of King/Federal recordings, and that some >previously unissued Smokey Smothers would be included in the reissue >series. I've never seen any of this anywhere--does anyone know anything >about it? The March 15 issue of Goldmine has an ad that lists a bunch of new King label releases - but on a US label (King, naturally, though I can't tell from the ad who's really behind it). There are a series of single discs - Roy Brown but mostly vocal group, 5 titles of Risque Blues and a 4 CD R&B box set. Since the company listing it (Golden Gallery) mainly sells R&B, there may be more blues related titles by the same company. I haven't seen reviews on any of these so I can't vouch for sound/selection quality. Smokey isn't specifically mentioned in any of the ad copy, but it looks like the start of a big King reissues, so keep your eyes open. Art Schuna ========================================================================= Date: Sun, 3 Mar 1996 16:39:44 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: amphibians and reptiles and purists Comments: To: bit-listserv-blues-l@uunet.uu.net In article <3138D884.B55@fish.washington.edu> Adrian Spidle writes: >of scales. If dilletantes persist in lumping crocodiles and >bullfrogs then all the rich evolutionary heritage embodied in these >proud lines will be lost. And then where will we be? Back in the primordial ooze perhaps!! Art Schuna ========================================================================= Date: Sun, 3 Mar 1996 11:52:04 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Overnight Sensation Dept. Being in a Taj Mahal mood this morning, I eventually worked my way up to his 1991 album, "Like Never Before". Lo and behold, singing back-up on the first cut, "Don't Call Us", is none other than "overnight sensation" Sheryl Crow, the woman who made so many here upset by appearing on the House of Blues TV show, and winning an armload of Grammies last year. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 3 Mar 1996 11:49:09 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Blind Willie's (Atlanta) Online This week's Creative Loafing Online web site has an interesting feature article on the Atlanta blues club Blind Willie's. It's at: http://www.cln.com/atl/CONTENTS.HTM Creative Loafing is a very good weekly entertainment publication available in several southeastern cities. From the Contents page, you can also scroll down to Vibes/Soundboard to get to the city's weekly club listings. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Sun, 3 Mar 1996 16:57:38 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Rhythm & Blues Foundation Awards Ceremony Comments: To: bit-listserv-blues-l@uunet.uu.net The Saturday NY Times had a nice review of the Rhythm & Blues Foundation's Award Ceremony held last Thursday night. Johnny Guitar Watson received a Pioneer Award. Additional winners included Bobby Womack, Dave Batholomew, the Cadillacs, Chantels, Betty Everett, the Flamingos, Eddie Floyd, the Isley Brothers, Jay McShann, Johnny Taylor and Doris Troy. Bo Diddley received a lifetime achievement award. In addition to the recognition, the artists received cash awards totalling $225,000. The article mentioned efforts by the Foundation to improve the royalties paid to artists with reissues. Some of them including Polygram and BMG have not changed terms of old contracts. Others, like EMI (reissuers of the recent Capitol Records Blues series) have forgiven all debts for releases prior to 1972, and raised it's royalty rate to 10%. The going rate on older contracts was in the 2-4% range, while present day stars can negotiate >20% deals. Of course, you could say a contract is a contract but isn't there some room for fairness? Obviously, there is for some companies. Art Schuna ========================================================================= Date: Sun, 3 Mar 1996 12:28:31 -0500 Reply-To: EmiNet Domain News Admin From: EmiNet Domain News Admin Subject: news article for your approval Comments: To: bit-listserv-blues-l@uunet.uu.net Newsgroups: bit.listserv.blues-l Path: news From: sonnyboy@emi.net (Bluesman) Subject: Re: L+R records X-Newsreader: Forte Free Agent 1.0.82 Sender: news@emi.net (EmiNet Domain News Admin) Organization: EmiNet Domain Internet Services (407)731-0222 Message-ID: References: X-Nntp-Posting-Host: ttydb.emi.net Date: Sun, 3 Mar 1996 17:16:28 GMT T-Bone wrote: >I have looked in vain for L+R releases on cd. Did they go belly-up, get >bought out, think that the cd was a passing fad like 8-tracks, etc, or do >I need to kick the heinders of local music store owners and managers? My >old tapes of L+R releases are getting pretty old, and I'd like to know if >these are available on cd. >T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) >"You've got to inspect your horn, boy." >'And wash it every day.' > - Crow, MST3K ("Mr. B. Natural") Some of the L+R stuff is being reissued by the 'Evidence' label, at a better price too! Check it out! Leif ========================================================================= Date: Sun, 3 Mar 1996 12:38:33 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Florida Cliub Scene/March Steppahnie Manna has done a good job alerting those of you in sunny Florida about various clubs. May I have everyone's indulgence (especially PW's!) and post the current schedule of the Downchild Blue Band's Florida tour? Any Blues-L members who go to hear them might mention that Flohil posted the info; it might even earn you a beer from bandleader Donnie Walsh (a.k.a. Mr. Downchild). And I hope the band fulfils my prophecy that even up here in the frozen north we can still create hot music! Downchild will be at: March 13 - Sarasaota (5 o'clock Club) March 15 - Fort Myers (Shooters) March 16 - Ft. Pierce (Treasure Coast Blues Fest. BBQ Cook Off) afternoon show at 2.30 p.m. March 16 - Ft. Lauderdale (Musicians Exchange) Evening performance March 17 - Tampa (Skipper's Smokehouse) Afternoon performance 4:00-8:00 p.m. March 23 - Sebastian (Sebastian Beach Inn) Hope y'all enjoy the band! Richard the Elder (Yes, I AM involved with these guys; for 26 years now!) ========================================================================= Date: Sun, 3 Mar 1996 09:42:16 -0500 Reply-To: David Melton From: David Melton Subject: Re: What's the Deal with Publishing? Comments: To: Michael Heicklen >>At 9:52 PM 3/2/96, Michael Heicklen wrote: >> >> >>>Another words, the performer receives compensation for his work in the >>>studio in the form of a net royalty, but he/she can't stop the label from >>>doing whatever it wants with the masters (including selling them, releasing >>>them, shelving them, or putting out compilations). >> >> >=========================================================================== >===== >> >> Actually what I mean is, can the owners of the master go over the band's head and alter the tapes for example: Say they aren't happy with a particular track, can they bring in an outsider without the permission of the band and change the track? Dave Melton ========================================================================= Date: Sun, 3 Mar 1996 09:48:47 -0500 Reply-To: David Melton From: David Melton Subject: Re: "Giant Step" personnel query Comments: To: "P.W. Fenton" At 5:42 AM 3/3/96, P.W. Fenton wrote: >I was just listening to Taj Mahal's "Giant Step" album. It's on a >twofer I bought, along with "De Ole Folks At Home". Unfortunately, >this twofer is devoid of any liner notes at all. I was wondering if >someone could tell me the name of the electric guitar soloist on the >tune "Bacon Fat". Taj calls out to "Larry" who I assume to be the >soloist. (Very tasteful laid back solo BTW) > >P.W. Fenton >Tampa, Florida >http://www.gate.net/~pwfenton/ ======================================================================== That guitar player was the late great Jesse Ed Davis. Dave Melton ========================================================================= Date: Sun, 3 Mar 1996 11:39:06 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Jimi's Collection (& Smokey Smothers)/ UK King Reissues Comments: To: Poindexter Regan In-Reply-To: <4haf5l$ufe@usenetz1.news.prodigy.com> 1. That was an interesting article on Hendrix's LP collection. However, keep in mind that he moved around a whole lot and had a pretty casual attitude towards his records, so this was probably just what he had on hand in one place at one time. Still a pretty tasty selection, though! He was raised with a cousin named Pernell Alexander who's a guitarist and who used to tell me about Jimi as a kid sitting on his bed playing broom guitar (appropriately) along with Elmore and Muddy singles. 2. The last British company I know of that tried to do a King/Federal reissue program was Ace, in the '80s. They came to the U.S., did a lot of research in the vaults and planned some very nice releases but got essentially no cooperation from the U.S. owners ("we'll send you what we want to when we feel like it") and the project died. ========================================================================= Date: Sun, 3 Mar 1996 12:55:15 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: "Giant Step" personnel query Comments: To: David Melton On 3 Mar 96, David Melton had this to say: > At 5:42 AM 3/3/96, P.W. Fenton wrote: > >I was just listening to Taj Mahal's "Giant Step" album. It's on a > >twofer I bought, along with "De Ole Folks At Home". Unfortunately, > >this twofer is devoid of any liner notes at all. I was wondering if > >someone could tell me the name of the electric guitar soloist on the > >tune "Bacon Fat". Taj calls out to "Larry" who I assume to be the > >soloist. (Very tasteful laid back solo BTW) > > > That guitar player was the late great Jesse Ed Davis. > > Dave Melton Thank you, and sorry to everyone for the bum steer. Taj shouts "Mr. Davis!" before the guitar solo. I guess my semi-functional brain must have attached "Larry" to "Davis" when I posed that question. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 3 Mar 1996 13:18:08 -0500 Reply-To: a From: a Subject: boutros boutros Comments: To: ALLMUSIC@AMERICAN.EDU Comments: cc: aon@overpass.seng.calpoly.edu, bagpipe@cs.dartmouth.edu, BGRASS-L@UKCC.UKY.EDU, brass@geomag.gly.fsu.edu, BtL@bullwinkle.ucdavis.edu, Crowes@unex.ucla.edu, TREPAN-D@BROWNVM.BROWN.EDU, eerie-indiana@sfu.ca.ca Hey, hey, I found this page about Boutros Boutros!!! Can you believe it?? They sound crazy! This is no self-promotion... I can tell ya that! http://www.tufts.edu/~ewarasta/comments.html ========================================================================= Date: Sun, 3 Mar 1996 11:11:00 PST Reply-To: Gary Joneson From: Gary Joneson Subject: Florida Club Scene/March > Any Blues-L members who go to hear them might mention that Flohil >posted the info; it might even earn you a beer from bandleader Donnie Walsh >(a.k.a. Mr. Downchild). And I hope the band fulfils my prophecy that even >up here in the frozen north we can still create hot music! Having seen Donnie and Downchild many times, in a variety of forms and venues over the past 25 years, I can only say if he is in your area see him! He never puts on a bad show, get your dancin' shoes on, plus he is one hellava nice guy, he has paid his dues and stayed true to the blues! > Downchild will be at: > March 13 - Sarasaota (5 o'clock Club) > March 15 - Fort Myers (Shooters) > March 16 - Ft. Pierce (Treasure Coast Blues Fest. BBQ Cook Off) > afternoon show at 2.30 p.m. > March 16 - Ft. Lauderdale (Musicians Exchange) Evening performance > March 17 - Tampa (Skipper's Smokehouse) Afternoon performance >4:00-8:00 p.m. > March 23 - Sebastian (Sebastian Beach Inn) > >Richard the Elder >(Yes, I AM involved with these guys; for 26 years now!) Nope, I'm not involved with these guys, but I catch them when ever I can. Gary BluesWEB http://www.island.net/~blues/ ========================================================================= Date: Sun, 3 Mar 1996 14:34:26 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Kenny Neal Disappoints I saw Kenny Neal here in Orlando over a year ago. On the way to the club from Jacksonville, his van caught on fire, and the band lost most of their equipment. The club scraped together new instruments from the music store next door, and he and the band came on -- an hour late -- and tore the house down. It was a great night. Now I rant. Last night, he was back again at the same club (The Junkyard) -- packed with maybe 300 of us. Again, he was an hour late. He came on with a cursory "Thanks for your patience," then proceeded to walk through a wholly uninspired, emotionally detached 40-minute first set before exiting stage left. My friend and I asked for and received our $8 covers and did the same. It astounded me that the whole room wasn't up in arms. I didn't see anybody else do likewise. Am I crazy or did they deserve better? Hundreds of folks make reservations, hire babysitters, arrange rides, spend a few hours' pay for a night of world-class blues and stand for this crap? So now Kenny Neal joins Sugar Blue on my list of arrogant and overblown blues acts. (TIP: When you're an hour late for a gig, it's probably not wise to open with a "Since I Met You Baby" sing-along. ANOTHER TIP: Get hungry, and stay hungry.) *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Sun, 3 Mar 1996 20:12:44 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Music Theory/Blues Comments: To: bit-listserv-blues-l@uunet.uu.net In <199603011643.IAA21995@wavenet.com>, Shaun T Cronin writes: >LW wrote (in response to Don C): > >>>And since you raise the anaolgy of sex here..... great lovers always think >>>while having sex, just like music, it's theory, orchestration, and >>>arrangement as well as expression. A symphony of life and love, or a >>>shuffle if you will. >> >>I disagree 100%..If it's orchestrated it's planned, if it's planned it's >>dull as hell. Ok honey it's 10:00 time for sex. That doesn't make a great >>lover, at least not for me... I have occasion to play with a pretty broad ange of players from music PhDs to field hands to high school pep band veterans, and can tell you that the common thread among the good players throughout this range is that they spend time learning as much as they can about theory, other genres, other instruments, etc. The most formulaic, dull players in this bunch all play one instrument, in one style, and pooh pooh the idea that they need to practice anything except the partiocular songs we'll be performing. The difference is that a player schooled (however informal it may be) in music theory, acquainted with scales and chords doesn't have to worry about reaching for a wrong note. They have the vocabulary to say what they want when they want. A player with no grounding is usually stuck to learning songs rote and will fall back into a standard 12 bar progression 9 times out of 10. When I practice, I practice fundamentals. I run scales, I play chords. I play classical exercises and transcribe solos. When I play, all that stuff is incorporated into my vocabulary so that I don't have to think about what to play. This debate resurfaces from time to time in blues circles and I've always thought it an insult to blues players. To suggest that less knowledge is more is at best a naive justification for the lack of formal training of blues musicians. At its worst, the argument suggests that great bluesmen are idiot savants. I've had the opportunity to get to know a number of the Sun and Chess pioneers, and grew up with rural players, and they all emphasized the importance of learning more, playing more. BBB B.B. Bean bbbean@cris.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Sun, 3 Mar 1996 20:19:28 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Theory vs. Expression Comments: To: bit-listserv-blues-l@uunet.uu.net In <13880040@vitro.com>, PARRISHR writes: > Maggie, I think you are confusing theory with technique. I know > plenty of really, really good self-taught guitarists who don't know a > thing about traditional music theory and can't even read music, like > my fiance, Max. But he's figured out the techniques to get the job > done in terms of expressing himself. Also it doesn't hurt to have > great equipment :) Theory is not only taught at universities and played by musicians in tuxes. Does Max know what a I IV V progression is? Bet he does. I'll bet he could spot the difference between a major chord and a minor chord in an instant. I'll bet he even understands about changing the progression or throwing in some dissonant chords to build tension and then releasing it with a big consonant chord. I'll bet that most of that figuring out he did wasn't figuriong out which pick to use for Stormy Monday, but was figuring out how to make it more soulful and emotive. That was learning theory. BBB B.B. Bean bbbean@cris.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Sun, 3 Mar 1996 15:37:48 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: amphibians and reptiles and purists > But one of the very characters that defines amphibians is their *lack* > of scales. If dilletantes persist in lumping crocodiles and > bullfrogs then all the rich evolutionary heritage embodied in these > proud lines will be lost. And then where will we be? This is just the sort of thing that caused me to cancel my subscription to "Living Amphibians" magazine. I'm much happier with "Cold Blooded Review," because it doesn't exclude certain animals on the basis of their skin. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Sun, 3 Mar 1996 12:44:14 -0500 Reply-To: David Melton From: David Melton Subject: Re: Overnight Sensation Dept. Comments: To: "P.W. Fenton" At 6:52 AM 3/3/96, P.W. Fenton wrote: >Being in a Taj Mahal mood this morning, I eventually worked my way >up to his 1991 album, "Like Never Before". Lo and behold, singing >back-up on the first cut, "Don't Call Us", is none other than >"overnight sensation" Sheryl Crow, the woman who made so many here >upset by appearing on the House of Blues TV show, and winning an >armload of Grammies last year. > > > >P.W. Fenton >Tampa, Florida >http://www.gate.net/~pwfenton/ =============================================================================== While we're on the subject of Taj Mahal, a couple of weeks ago on KLON's "Nothing but the Blues" program Taj wass live in the studio and besides playing a couple of cuts from his new LP, played live in the studio. It was some really great acoustic pickin'. I think he just made up something on the spot. Did anyone out there happen to tape this?? (Los Angeles area but the show I believe is also sydicated to various spots across country) Dave Melton slydemann@earthlink.net ========================================================================= Date: Sun, 3 Mar 1996 15:18:59 -0500 Reply-To: dennisr From: dennisr Subject: PBS SPECIAL - STEVIE RAY VAUGHN: A RETROSPECTIVE * STEVIE RAY VAUGHN: A RETROSPECTIVE Thursday, 3/7 (10-11:20 pm ET) PBS stations Legends of the blues world join Jimmie Vaughan in saluting his younger brother, the late Stevie Ray Vaughan, in the first televised tribute to the young bluesman. Brother Jimmie leads a "who's who" of blues masters, including B.B. King, Eric Clapton, Buddy Guy, Robert Cray, Bonnie Raitt, Dr. John, Art Neville and former members of Stevie Ray's band, Double Trouble, Chris Layton, Tommy Shannon and Reese Wynans. Stereo. ========================================================================= Date: Sun, 3 Mar 1996 15:36:37 -0500 Reply-To: David Levitsky From: David Levitsky Subject: Re: Theory vs. Expression At 08:19 PM 3/3/96 GMT, you wrote: >In <13880040@vitro.com>, PARRISHR writes: >> Maggie, I think you are confusing theory with technique. I know >> plenty of really, really good self-taught guitarists who don't know a >> thing about traditional music theory and can't even read music, like >> my fiance, Max. But he's figured out the techniques to get the job >> done in terms of expressing himself. Also it doesn't hurt to have >> great equipment :) > I'll bet that most of that figuring out he >did wasn't figuriong out which pick to use for Stormy Monday, but wasfiguring out how to make it more soulful and emotive. That was learning >theory. > Speaking from strictly personal experience, I know that I noodled around with pentatonic scales for about 15 years, until I finally got a teacher that taught me the basics of theory (especially the importance of mjor third on the I, minor third on the IV,etc.) This basic theoretical knowledge made it _so_ much easier for me to develop new ideas - and to raise my playing about the trite sounding level that it had been at for so long. Granted, there are many, many players who know one iota about theory, and some of them excel. But it's my feeling that most of the good ones without theoretical training are practicing the theory at the "gut" level - they've heard what sounds right, and absorbed it. However, for the overwhleming masses of players, I believe that it is pretty much essential to learn the basics of blues theory to know when to play what, and what sounds right on any given chord, and what sounds wrong. An analogy - try building a cool home without a blueprint or knowldege of carpentry. It's possible, but the odds obvioulsy will be stacked way in you favor if your get the theory down. David Levitsky Brooklyn, USA ========================================================================= Date: Sun, 3 Mar 1996 15:35:45 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Upcoming releases March 5 Lucky Peterson - Lifetime (Verve) The Bar-Kays - Do You See What I See (Stax) Eddie Floyd - California Girl/Down To Earth (two LPs on one CD) (Stax) The Staple Singers - City In The Sky (with four bonus tracks from the Wattstax album) (Stax) March 12 Jimmy Hall - Rendezvous With Blues (Capricorn) Johnny Winter - Livin' In The Blues (rare pre-Columbia demos '65-'68) and Ease My Pain (demos, '60-'67) (Sundazed) March 19 Rory Block - Tornado (guests include Paul Shaffer, David Lindley, and Mary Chapin Carpenter) (Rounder) Pat Boyack & The Prowlers - On The Prowl (Bullseye Blues) Ronnie Earl & The Broadcasters - Grateful Heart: Blues And Ballads (Bullseye Blues) Harmonica Fats And Bernie Pearl - Blow, Fat Daddy, Blow! (Bee Bump) Bill Kirchen - Have Love, Will Travel (Black Top) Ron Levy - Zim Zam Zoom: Acid Blues On B-3 (Bullseye Blues) Doug MacLeod - You Can't Take My Blues (all acoustic except for three tracks, on which special guests include Carey Bell, Jimi Bott, Bill Stuve, Jeff Turmes and Heather Hardy) (AudioQuest) Paul Oscher (former harp player for Muddy Waters) - Knockin' On The Devil's Door (Vice Roots) Sonny Rhodes - Out Of Control (King Snake) Floyd Dixon - The Complete Aladdin Recordings (Capitol) Z.Z. Hill - The Complete Hill Recordings (Capitol) Pee Wee Crayton - The Complete Aladdin & Imperial Recordings (Capitol) Amos Milburn - Best Of The Aladdin Recordings (Capitol) Various artists - Livin' With The Blues Vol. One (Capitol) Lonnie Brooks - Live At Pepper's 1968 (Black Top) Various artists - Ann Arbor Blues And Jazz Festival Vol. Three (with Roosevelt Sykes & Victoria Spivey)(Schoolkids) Various artists - Ann Arbor Blues And Jazz Festival Vol.Four (with Big Walter Horton & King Biscuit Boys) (Schoolkids) March 26 Sister Sarah Brown - Sayin' What I'm Thinkin' (Blind Pig) The Gales Brothers - Left Hand Brand (House of Blues) Cissy Houston - Face To Face (House of Blues) Jimmy Rip - Way Past Blue (House of Blues) Studebaker John & The Hawks - Studebaker John & The Hawks (Blind Pig) Various artists - Hot Biscuits (label sampler) (House of Blues) Robert "Bilbo" Walker - Promised Land (Rooster Blues) Foree "Guitar" Wells - It's A New Day, Brother (Rooster Blues) Denise LaSalle - Before you Take It To The Streets (Ichiban/Soul Classics) Z.Z. Hill - Love Is So Good When You're Stealing It (Ichiban/Soul Classics) P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 3 Mar 1996 14:13:07 -0700 Reply-To: Michael Heicklen From: Michael Heicklen Subject: Re: What's the Deal with Publishing? Comments: To: David Melton David: It all depends on what is negotiated, but for new acts, generally yes. At 09:42 AM 3/3/96 -0500, David Melton wrote: >>>At 9:52 PM 3/2/96, Michael Heicklen wrote: >>> >>> >>>>Another words, the performer receives compensation for his work in the >>>>studio in the form of a net royalty, but he/she can't stop the label from >>>>doing whatever it wants with the masters (including selling them, releasing >>>>them, shelving them, or putting out compilations). >>> >>> >>=========================================================================== >>===== >>> >>> > >Actually what I mean is, can the owners of the master go over the band's >head and alter the tapes for example: Say they aren't happy with a >particular track, can they bring in an outsider without the permission of >the band and change the track? > >Dave Melton > > ========================================================================= Date: Sun, 3 Mar 1996 13:22:11 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: BB King in Guitar World I was browsing the latest issue of Guitar World (Eddie Van Halen and Bill Corbham (sp?) on the cover) and BB King is now onboard with an instructional column. Hopefull he will show those obnoxious shredders who read the magazine a thing or two. IMHO, while Guitar World occasionaly features a great article there is too much attention paid to shred and Eddie Van Halen (who I quite like but enough is enough). Having BB is a great step forward though. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sun, 3 Mar 1996 13:22:17 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: More Copywright Questions My questions are for those who write article and those who create lesson plans for their students. THe question is what do you need to do to copyright an article/lesson plan? I have heard that just using the coipyright symbol and then your name and date is enough. Then I heard that this wasn't the case. Can someone help? Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sun, 3 Mar 1996 16:57:14 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: Kenny Neal Disappoints Comments: To: Skipjames@aol.com >Now, admittedly, Kenny Neal is not Jr. Wells, and both deserve censure for >cheating the crowds, but I wouldnt write him off because of one >unprofessional night. True, and as it turns out (P.W. tells me), he played an unscheduled show at the (free) Tampa Bay Blues Festival (100 miles west) yesterday afternoon, so he probably wasn't ready to go last night. So for one night at least, "disappoints" is the operative word. I suppose I'll get over it, and hope for better luck next year. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Sun, 3 Mar 1996 16:13:14 -0800 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: ...and the nominees for the 1996 Big Easy Awards are..... Comments: To: bit-listserv-blues-l@uunet.uu.net Here they are--the nominees for New Orleans' best musical artists of calendar year 1995. What a great town: this has got to be the only local music awards show anywhere that has not just one, but TWO categories for brass street bands. Anyone wishing to bemoan the dearth of Nevilles on this list (there's only one) would be well advised to direct flames at someone other than me; I'm not on any voting committees. (The entire list, including theater awards, will appear in the March 6th issue of Gambit Newsweekly, and probably on their web site as well: www.gambit-no.com.) BEST BLUES ARTIST: Gatemouth Brown, Snooks Eaglin, Larry Garner, Corey Harris, Mem Shannon BEST RHYTHM & BLUES: Eddie Bo, Davell Crawford, Ernie K-Doe, Tommy Ridgeley BEST ZYDECO: Beau Jocque & The Zydeco Hi-Rollers, C.J. Chenier & The Red Hot Louisiana Band, Nathan Williams & The Zydeco ChaChas BEST CAJUN: Balfa Toujours, Steve Riley & The Mamou Playboys, Wayne Toups & Zydecajun BEST TRADITIONAL JAZZ: Leroy Jones, Kermit Ruffins & The Barbecue Swingers, Gregg Stafford & The Jazz Hounds BEST CONTEMPORARY JAZZ: Nicholas Payton, Ed Petersen, Mark Whitfield BEST TRADITIONAL BRASS BAND: Algiers Brass Band, Olympia Brass Band, Treme Brass Band BEST CONTEMPORARY BRASS BAND: Rebirth Brass Band, Soul Rebels Brass Band, Li'l Rascals Brass Band BEST GOSPEL GROUP OR INDIVIDUAL: Jo Cool Davis, Raymond Myles & The Crownseekers, The Zion Harmonizers BEST GOSPEL CHOIR: Tyrone Foster & The Arc Angels, The Gospel Soul Children, The Greater St. Stephens Choir BEST ROCK ARTIST: Better Than Ezra, Cowboy Mouth, Dash Rip Rock BEST ROOTS ROCK: Sonny Landreth, Ivan Neville, Anders Osborn BEST RAP ARTIST: Mystikal, Partners-n-Crime, Ricky Bee BEST AFRICAN/REGGAE ARTIST: Bamboula 2000, The Shepherd Band, T-Roy & The Vibes BEST COUNTRY/FOLK: The Cox Family, The Swingin' Haymakers, Mike West BEST LATIN ARTIST: Bob Folse & Fuego, Los Babies Del Merengue, Mas Mamones BEST EMERGING GROUP OR ARTIST: Corey Harris, Rosie Ledet, Irvin Mayfield BEST MALE PERFORMER: Johnny Adams, Mystikal, Kermit Ruffins BEST FEMALE PERFORMER: Leigh Harris, Betty Shirley, Marva Wright BEST ALBUM OF THE YEAR: 'Big Butter & Egg Man' - Kermit Ruffins; 'Gimme My Money Back' - Treme Brass Band; 'Mystikal' - Mystikal -- Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 'I'm not sure, but I think that ALL music started in New Orleans.' --Ernie K-Doe ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Sun, 3 Mar 1996 17:25:32 -0500 Reply-To: Brian E Rice From: Brian E Rice Subject: Re: Upcoming releases At 03:35 PM 3/3/96 +0000, P. W. Fenton wrote: >Various artists - Ann Arbor Blues And Jazz Festival Vol. Three (with Roosevelt >Sykes & Victoria Spivey)(Schoolkids) >Various artists - Ann Arbor Blues And Jazz Festival Vol.Four (with Big Walter >Horton & King Biscuit Boys) (Schoolkids) Ahhh, now if only Atlantic Records would only re-issue that highlights LP they put out years ago, with Bonnie Raitt/Sippie Wallace doing Women Be Wise, etc. berice@concentric.net Brian E. Rice (Ann Arbor, MI - The home of Otis Spann Memorial Field) "The Blues ain't nothin' but a botheration on your mind." ========================================================================= Date: Sun, 3 Mar 1996 16:42:28 -0600 Reply-To: Dave Daubard From: Dave Daubard Subject: Blues Cruise Playlist 3/1/96 Artist-----------Title-------------Release----------------Label------ Rod Piazza & MF-Rockin' Robin- Harp Burn- Black Top +John Primer-I Called My Baby- The Real Deal- Code Blue Nappy Brown-Hidden Charms- Tore Up- Alligator Bob Brozman-Never Hit the Same Place Twice-Truckload of Blues-Rounder +Long John Hunter-Rooster & the Hen-Border Town Legend- Alligator rBryan Lee-I Wanna Live in Memphis-Braille Blues Daddy- Justin Time +Smokey Wilson-You Better Watch Yourself-88th St. Blues- Blind Pig +Guitar Shorty-title tune- Get Wise to Yourself- Black Top John Brim-Jump with Me- The Ice Cream Man- Tone-Cool +Duke Robillard-My Heart is Crying-Duke's Blues- Pointblank +Bobby Bland- title tune- Sad Street- Malaco +Little Milton-I Was Trying to Not Break Down-Greatest Hits- " Smokin' Joe Kubek-Must Have Missed A Turn somewhere-Texas Cadillac-Bullseye Prowlers-Gas Station Man- Breakin' In Bullseye +Guy Forsyth- Son's House- Needle Gun- Antones +John Hammond-Howlin' For My Darling-Found True Love- Pointblank +Big Mike Griffin-High Maintainence Woman-Sittin'Here/Nothing-Waldoxy +Freddie King-Dust My Broom- Live at the Electric Ballroom- Black Top + " " -Hideaway(medley) " " " " " " " +Albert King-Got to Be some Changes Made-Hard Bargain- Stax Duffy Bishop band-Reckless Blues-Bottlied Oddities- Burnside Rec. +Camille Howard-Thrill Me- X-temporaneous Boogie- Specialty + " " -title tune- " " " " Debbie Davies- You were Wrong- Loose Tonite- Blind Pig " " - This Man is Killing Me-" " " " +Rick Holmstrom-A good One- Lookout Black Top + " " " -The Floater- " " " Frank Frost-My Back Scratcher-Jelly Roll blues- Paula +Lee McBee- title tune- "44" Red Hot Rec. *Keith & Kathy Harden-Mixed Up-Live on Blues Cruise- * " " " -Love Contest-" " " * " " " -Paying the Cost" " " * " " " -Teardrops " " " * " " " -I Sing the Blues" " " * " " " -Crossroads " " " +Cephas & Wiggins-title tune-Cool Down- Alligator new release + request r local & live in studio * note: Keith & Kathy came to the studio to help promote a benefit for WEFT which they are taking part in tonite at the Blind Pig Night Club. ========================================================================= Date: Sun, 3 Mar 1996 16:52:09 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: jimmy johnson > Verve recording artist Jimmy Johnson played to a packed house at J&J > Blues Bar > in Fort Worth last night. I guess the third time's the charm. The > last two > times he played J&J things happened. The first time some fool > knocked down a > power pole with a car and ended their gig about 11:30. It sure was > dark in > that club. The second time, there was a nasty thunderstorm, even by > Texas > standards, and only the hardiest blues fools (like me) showed up. > This night > the weather was fine, the power poles were secure, and a full house > heard some > fine blues that lasted until after 2 am. Three great mixed sets > with music for > the dancers (midnight hour) and a bunch of his originals (Heap See, > I'm a > Jockey, etc). The dance floor was bustling right up to closing even > though not > one of his songs involved amphibians. There was an extra extended > dance mix > version of Chicken Heads that was wonderful. Wes Race was hanging > out and > commented between Jimmy, his band, and all the crazy Fort Worth > dancers it was > almost as good as the West side of Chicago. Jimmy did some real > nice Albert > King covers, too. The evening ended with with a nice jumping encore > rendition > of Hideaway, complete with Magic Slim-isms (I wanna put a tiger in > your tank, > park my car in your garage, go fishin in your pond-but I don't want > to catch > nothin', etc). Way too much fun for just $8 american money. > > Jimmy has another album to do for Verve and I'm sure looking forward > to it. > They are headed back to Chicago tonight. Lucky Chicago. > > Don O. > another minutiae obsessed lover of Blues Who's Who by Sheldon > Harris ========================================================================= Date: Sun, 3 Mar 1996 18:58:16 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 03/04 B O R N : FORD, RICKY ( RICHARD ALLEN ) Born:1954 BOSTON, MA Career:TENOR SAX Style:JAZZ / BLUES / BIG BAND With:Duke Ellington Orchestra / Charles Mingus / Mingus Dynasty /Lionel Hampton / Abdullah Ibrahi GARBAREK, JAN Boorn:1947 MYSEN, NORWAY Career:TENOR SAX / SOPRANO SAX / FLUTE Style:JAZZ / POP GORMAN, ISRAEL Born:1895 OAKVILLE, LA Career:CLARINET Style:TRAD / JAZZ With:Chris Kelly / Louis Dumaine / Buddy Petit / Lee Collins / Kid Rena / Kid Howard MATTHEWS, DAVID Born:1942 SONORA, KY Career:ARRANGER / COMPOSER / RECORD PRODUCER / PIANO Style:JAZZ With:Ben Pollack 1935 / Jimmy Dorsey 1936-37 / Benny Goodman 1937-39 / Harry James 1939-41 / Hal McIntyre 1941-2 / Woody Herman 1942-43 / Stan Kenton / Charlie Barnet PARKER, WILLIE Born:1875 NEW ORLEANS, LA Career:CLARINET / BASS DRUM Style:TRAD / JAZZ With:James A. Palao / Terminal Brass Band / Eureka Brass Band / Lyons Brass Band PAXTON, GEORGE Born:1916 Career: ARRANGER / LEADER /PUBLISHER Style:BIG BAND With:Ina Ray Hutton / Bunny Berigan / Teddy Powell / Vaughn Monroe / Charlie Spivak / Alan Dale / Liza Morow / Boomie Richman / Paxton entered music publishing and recording RENDELL, DON PERCY Born:1926 PLYMOOUTH, UK Career:TENOR SAX / CLARINET Style:JAZZ / BIG BAND ROBESON, ORLANDO Born:1909 TULSA, OK Career:SINGER Style:BLUES / JAZZ / BIG BAND With:Claude Hopkins / Louis Metcalf / Clarence Love SHEW, BOBBY Born:1941 ALBUQUERQUE, NM Career:TRUMPET / FLUGELHORN / LEADER Style:JAZZ / BIG BAND With:Tommy Dorsey Orchestra under Sam Donahue / Woody Herman (1965) / Buddy Rich (1966-67 / Toshiko Akiyoshi-Lew Tabackin Big Band TOUFF, CY Born:1927 CHICAGO, IL Career:BASS TRUMPET / TRUMPET Style:JAZZ / BIG BAND With:Jimmy Dale / Jay Burkhardt / Charlie Ventura / Ray McKinley / Boyd Raeburn / Red Saunders / Woody Herman / Switched to bass trumpet after hearing Johnny Mandel play one WARREN, FRAN Born:1926 BRONX, NY Career:SINGER Style:BIG BAND With:Art Mooney / Randy Brooks / Charlie Barnet / Claude Thornhill ARMSTRONG, HOWARD Born:1909 LA FOLLETTE, TN Career: Style:BLUES With:MARTIN,BOGAN & ARMSTRONG FOR A LISTING OF THOSE THAT PASSED AWAY IN THIS MONTH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Sun, 3 Mar 1996 19:45:33 -0500 Reply-To: MaryA NBP From: MaryA NBP Organization: America Online, Inc. (1-800-827-6364) Subject: Boston Blues Benefit Comments: To: bit-listserv-blues-l@uunet.uu.net The Boston Blues Society PO Box 15718 Boston, MA 02215 Phone: (617) 876-BLUE Fax: (617) 237-5272 e-mail: maryanbp@aol.com Contact: Mary Melodee Alarie FOR IMMEDIATE RELEASE March 1, 1996 BOSTON BLUES SOCIETY FUND RAISER TO FEATURE WINNERS OF NATIONAL BLUES TALENT COMPETITION The Boston Blues Society is a non-profit, all volunteer organization. Our mission is to perpetuate blues music and it's culture through the publication of a bi-monthly newsletter and a "Schoolin' The Blues" program in local elementary and high schools. We are proud to be part of the "Nor' East Blues Showcase" that will eventually be a series of 4 television programs featuring Boston's thriving Blues scene. The programs will be aired later this year on Boston Neighborhood Network TV 3 and many other local stations. Each show will be comprised of taped live performances by local bands, new and established alike- all performing original material. Holly Harris, W. C. Handy Award winning host of WBOS Radio's "Blues On Sunday" program will conduct interviews with musicians and other local representatives of the Boston Blues community. The live performance segment of the show will be taped at Harpers Ferry in Allston. Alexis Allston will be joined on stage for hosting duties along with Greg Sarni, "True Blues" DJ at 100.1 WBRS. The next event is Monday, March 18 when New Hampshire based "The Movers" will be headlining. The Movers are the 1995 winner of The Boston Battle of the Blues Bands and went on to take first place at The Blues Foundation's International Blues Talent Competition last fall in Memphis. Two other local blues talents, Vykki Vox & The Soul Searchers and The Wildcats will begin the evening. All proceeds from the performances will benefit The Boston Blues Society. Donations are only $4.00 per person. For more information contact The Boston Blues Society at 617-876-BLUE. -END- ========================================================================= Date: Sun, 3 Mar 1996 20:08:34 -0500 Reply-To: Greg Hermanns From: Greg Hermanns Subject: John Hammond "CATBAUER" was impressed with John Hammond being so personable; well he is impressive professionally and personally. I was there, one hot day at the New Orleans Jazz Fest probably 10 years ago. Then again in December '95 in Dayton,Ohio at a tiny club. JH is a great musician and one of the finest, 'easiest to talk to' personalities you'll ever meet. Greg Hermanns ========================================================================= Date: Sun, 3 Mar 1996 20:14:30 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: URGENT LETTER FROM STEVE FERGUSON Comments: To: HippieLady@aol.com In presenting Steve Ferguson's version of an unpleasant episode, I wonder if you made an attempt to contact Harriet Kyriakos to get her side of the story. This list should not be subjected to knee-jerk animosity toward agents. If there is more to this story, lets' hear it. I consider Ms. Kyriakos guilt of nothing until I see something more than one side of a dispute. Dick Waterman ========================================================================= Date: Sun, 3 Mar 1996 22:39:49 GMT Reply-To: CKUT_online@babylon.montreal.qc.ca From: CKUT online Organization: Babylon, Montreal, Canada Subject: Re: LA Bluzellers-Little Charlie and The Nightcats Comments: To: shaun@WAVENET.COM Let me know how the show is. We're expecting Little Charlie in Montreal at the end of April and a lot of us are really looking forward to the show. As far as I know this will be their first visit here. John Detcheverry P.S. This is my first note to Blues-L. I host "Cha Cha Cha in Blue",a blues show on CKUT every Sunday night. ========================================================================= Date: Sun, 3 Mar 1996 20:43:00 -0500 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Little Milton on the Mind Comments: To: bit-listserv-blues-l@uunet.uu.net I am telling you, when Little Milton sings "Little Bluebird" or " Basement Blues" it just sends chills up and down my spine. He is truly one of the masters of "slow-grind" blues. Can anyone rec. any other great Little Milton cuts? ( Man, I sure hope I got those song titles right...) Lea Gilmore Baltimore, MD "Wild Women Don't Have the Blues" ========================================================================= Date: Sun, 3 Mar 1996 23:03:23 GMT Reply-To: CKUT_online@babylon.montreal.qc.ca From: CKUT online Organization: Babylon, Montreal, Canada Subject: Re: Western Canada: Request Comments: To: phertel@CMC.DOE.CA You can get in touch with Incognito through their management: Rob Montgomery P.O. Box Point Grey, R.P.O. Vancouver, B.C. V6R 4P1 (604) 731-6148 I have both of these cd's and, surprisingly, neither of them includes a record company name or address. John Detcheverry ========================================================================= Date: Sun, 3 Mar 1996 21:05:44 -0500 Reply-To: Jordan Barrett Kessler From: Jordan Barrett Kessler Organization: Columbia University Subject: Re: blues and folk Comments: To: bit-listserv-blues-l@uunet.uu.net In-Reply-To: On Sun, 25 Feb 1996, Richard Flohil wrote: > It's also self-evident that blues are part of North American folk music > (however you define "folk music") In response to this statement, I would like to ask whether blues really is folk music. For guidance, I've turned to an article by musicologist Simon Frith entitled "What Is Good Music?" In this article, Frith argues that music can only be understood by reference to the different discourses in which gpeople discuss music. One of these discourses, according to Frith, is "the folk music world." In the folk world, "ideally, there is no separation of art and life." Frith goes on to explain that the folk world "emphasises the importance of tradition, has its own archives and scholars, and focuses on "purity and the correct (traditional) way of doing things." In addition to the folk world, Frith also posits the existence of another discourse, the "commercial music world." In this world, "musical value and monetary value are equated." It seems to me that blues is not purely folk music. Rather, it seems that elements of the "commercial music world" are present in the blues as well. Surely, the blues emphasises tradition, but it also values new, up-and-coming acts. While the blues, like folk music, attempts to erase the separation of life and art, it is mass-distributed in the form of mass-produced CDs by record companies attempting to turn a profit. Jordan Kessler jbk1@columbia.edu ========================================================================= Date: Sun, 3 Mar 1996 21:10:20 -0500 Reply-To: BLUES4EVR@AOL.COM From: BLUES4EVR@AOL.COM Subject: Re: Re[2]: Lawyers on Blues-L In a message dated 96-03-01 17:14:01 EST, you write: From: jbards@mail-sh.lsumc.edu (JBards) If JBARDS would read my post again it is obvious that he missed my point(maybe he should clean his scope). My objection was based on Fentons conclusion where he states "that he did not believe" the lawyer. This has no basis in fact because Fenton only has his predisposed bias(as he admits) to go on. Again, all of you should take a Logic class and clear up your thinking and how you reach your conclusions. IMHO, of course, Ken BLUES4EVR@aol.com >JBARDS@mail-sh.Isumc.edu on 3/1 writes: >Hello? > >one last time, Ken: PW didn't , as in DID-NOT, object to the original >lawyerly >post. He even said he LIKED it. > >He objected to a private email he echanged with the original author being >quoted >by the original lawyer-author in public, a faux pas of great proportions >which I >expect was a mistake, that the private post wasn't recognized as such. > >A few other objections of varying degrees to the mildly slef-promotional >aspects >of the post were voiced by others, but NOT by PW, and the general concensus >seems to be that the lawyerly post and the lawyerly writer are an interesting > >addition to the conversation here. Oh, and I flamed George Myers for his >relentless self-aggrandizing and non-participatory promotion of the Grand >Emporium and the Blues Cruise, which are his business/projects. > >Other than that, it's been a quiet week in Lake Woebegone. Your post reminds >me >of a joke: > >An internist, a pathologist, and a surgeon are out duck hunting. The >internist >goes first...a bird is flushed out the reeds and take off across the sky: the > >internist says "Hmmm, webbed feet, it quacks, must be a duck..." BLAM! and >the >dog runs out and brings back a duck. >The pathologist goes next, same thing happens... he says " Hmmm, ascending at >a >40-degree angle, head extended, green band around the neck, must be a >Mallard..." BLAM! and the dog brings back a mallard duck. > >Then it's the surgeon's turn, and there's a rustling in the bushes and he >turns >and fires away, sawgrass and cat-o-nine tails flying wildly everywhere....the > >dog trots and returns with something. > >"Thank God!", the surgeon says. "It's a duck!" > >So the moral of the story is to figure out what you're aiming at and why >before >you let fly with the buckshot. > >-Jim, live from the med school here in Louisiana. >_____ ========================================================================= Date: Sun, 3 Mar 1996 21:36:48 +0000 Reply-To: davids@CWV.NET Comments: Authenticated sender is From: David Shrewsbury Subject: Re: information request (Appalachia) Date: Fri, 1 Mar 1996 23:04:22 GMT Reply-to: Curtis Hewston From: Curtis Hewston Subject: Re: information request (Appalachia) To: Multiple recipients of list BLUES-L On Thu, 29 Feb 1996 12:37:38 -0400, Jim Sands wrote: >I have not had any luck finding out about >musicians from Appalacia. If anyonehas any (ans I mean ANY) information >concerning the blues in Appalacia please post it on the list or E-mail me >directly. Interested in Appalachian Music, huh? Find out if your local public radio station carries a show called "Mountain Stage" on Sundays around 2 - 3 p.m. "Mountain Stage" is a weekly program broadcast from Charleston, West Virginia that features a wide variety of Appalachian Music, including blues, folk, rock, and jazz. Some notable guests in the last 1 1/2 years include G.E. Smith, Joan Baez, R.E.M., The Indigo Girls, plus many blues guitarists, pianists, and saxophone players. Mountain Stage is broadcast to 23 different countries and is carried in about 45 states. I hope you find what you're looking for. davids@cwv.net ========================================================================= Date: Sun, 3 Mar 1996 21:13:10 PDT Reply-To: us002838@INTERRAMP.COM From: us002838@INTERRAMP.COM Organization: PSI Public Usenet Link Subject: Re: Re[2]: Lawyers on Blues-L Comments: To: bit-listserv-blues-l@uunet.uu.net They eat their young... A man walkign down a street past an antique store, ventured in. Seeing a brass figure, he inquired, "what's that?" The proprietor replyed, "...Why, that's the magical brass rat." "How much?" "The rat is $10, but the story behind it is $1000" "I'll just take the rat" proceediung down the street with his new purchase, the man noticed rats, tens at first, then hundreds, then thousands, emerging from buildings, sewers, talent agencies, and all of them, following him. Gaining on him. Getting closer and closer. The man began to trot. Then to run. As fast as he could. Faster and faster...closer and closer.... Finally, he came to The River. Throwing the brass rat into its swirling currents, he watched as the hoard of rats dove in after it, and drowned. Walking back up of the street from whence he came, he returnd to the antique shop. As he walked in the door, the proprietor spoke, "I see you've come for the story of the brass rat..." "No," said the man, "I just want to know if you have any brass lawyers..." Arne Brogger ========================================================================= Date: Sun, 3 Mar 1996 22:37:11 -0500 Reply-To: FRobinsonj@AOL.COM From: "Frank Robinson,Jr." Subject: Re: Backing Singers and Other Ramblings Comments: To: Dave.Tearle@ps.co.uk Dave and all y'all blues-lellers, I have backed up some singers and regional/national acts such as Luther "Houserocker" Johnson, Chicago Bob Nelson and Chick Willis. (for the record, my little band is called Frankie Lee Robinson and the Solid Senders ) >From my experience, the main job of a backup band/singer/accompanyist is to at all costs, make the front person sound as good as possible and not attract undue attention to oneself. Many musicians these days, seem to have to a significant degree, lost the art of true ensemble playing. The blues, jazz , music in general needs players who LISTEN to each other, the front person and the audience. Listening is a not a skill acquired at birth. It takes concentration, an ability to look past one's own ego and the ability to empathize with others. How does this apply to backing up singers/acts you ask? I shall attempt to answer that query with a concrete example. I think that Robert Junior Lockwood is the ultimate backup artist. He embodies the LISTENING principle to me at least. He is one of the finest blues guitarists around and a front person himself. For years he backed up major and minor artists, and on all those recordings and perfomances, He places a definative signature on the melodies and arrangement. When I listen to his recordings with Little Walter for instance, I do not immediately hear his guitar playing. In other words , I am not distracted from Little Walter's subtlety and nuances by Roberts' subtlety and nuances. He meshes with the band because he LISTENS. So anyway, the bottom line is LISTEN and you will be amazed at the power you will command. thank for allowing me to ramble a bit... what do y'all think? Frank Robinson ========================================================================= Date: Sun, 3 Mar 1996 23:22:04 -0500 Reply-To: HippieLady@AOL.COM From: Beverly Howell Subject: Fwd: URGENT LETTER FROM STEVE FERGUSON ... --------------------- Forwarded message: Subj: Re: URGENT LETTER FROM STEVE FERGUSON Date: 96-03-03 22:37:27 EST From: HippieLady To: Jinxblues In a message dated 96-03-03 20:13:54 EST, you write: << In presenting Steve Ferguson's version of an unpleasant episode, I wonder if you made an attempt to contact Harriet Kyriakos to get her side of the story. This list should not be subjected to knee-jerk animosity toward agents. If there is more to this story, lets' hear it. I consider Ms. Kyriakos guilt of nothing until I see something more than one side of a dispute. >> Yes, Dick, I have made an attempt to contact Ms. Kyriakos, and will be offering to post on her behalf as well. Beverly ========================================================================= Date: Sun, 3 Mar 1996 21:32:00 PST Reply-To: Gary Joneson From: Gary Joneson Subject: Incognito Comments: cc: CKUT_online@BABYLON.MONTREAL.QC.CA You can also contact them through "Tank" Doucette's page at: http://www.axionet.com/mac/tank/ or throught the Incognito page at: http://www.axionet.com/mac/incognito/ >You can get in touch with Incognito through their management: > Rob Montgomery > P.O. Box > Point Grey, R.P.O. > Vancouver, B.C. V6R 4P1 > (604) 731-6148 Gary BluesWEB http://www.island.net/~blues/ ========================================================================= Date: Mon, 4 Mar 1996 03:09:25 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Black Show Flyers Albert King in East St. Louis, Big Jack Johnson in Clarksdale, Alvin Cash in Chicago, more, now up on BLUES WORLD. Wild Jimmy Spruill obituary, the Return of Canned Heat new on Blues & Rhythm page. Joel Slotnikoff, Publisher | BLUES WORLD e-mag Box 21652 | http://www.bluesworld.com St. Louis, MO 63109 | Acme Guitar, Blues Estafette TEL (314) 647-2447 | Blues & Rhythm: The Gospel Truth FAX (314) 647-2497 | Roots & Rhythm, Testament Records joelslot@inlink.com | SONO, Vintage Jazz Mart, Wayhi Tapes ========================================================================= Date: Mon, 4 Mar 1996 00:27:38 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Backing Singers and Other Ramblings Frank Robinson jr. wrote: >I shall attempt to answer that query with a concrete example. I think that >Robert Junior >Lockwood is the ultimate backup artist. He embodies the LISTENING principle >to me at >least. He is one of the finest blues guitarists around and a front person >himself. As a guitarist I think that Robert's playing on Little Walter's "Shake Dancer" is one of the greatest rhythm guitar tracks on a blues album. It's almost a textbook case on how to back up a front man. Learning "Shake Dancer" was, and still is, a great source of inspiration for blues rhythm guitar. Good call, Frank. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Mon, 4 Mar 1996 08:20:07 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Can't get enough Comments: To: bit-listserv-blues-l@uunet.uu.net Barry Silverberg wrote: > >On Sun, 3 Mar 1996, Scott Dirks wrote: >> There is a book I'd recommend that blues fans stay away from; I can't >> think of the title, but the author is Gerard Herzaft. It's presented as >> something like the two books Angus recommended, but is filled with >> factual errors and subjective opinions presented as historical facts. Mr. >> Herzaft meant well, I'm sure, but... > > I cannot vouch for the factual errors in this book or the op- > inions mistaken for fact but this was the first book I bought > when I became interested in the blues, and what I will say is > that Mr. Herzafts recommendations of albums to get by artists > was consistently on the mark. Not disagreeeing with Scott on > this except to say that for someone looking to start a record > collection of the blues this is a concise and on target refer- > ence. I have spoken with others who likewise don't think Mr. > Herzafts book is a get - but I think it is. Barry, Hmmm. I can't in good conscience recommend a book that attempts to be a definitive work and falls so short. Not that there *is* a definitive work out there yet, but there are lots of books that are a lot closer than Herzaft's is. If you're not particularly concerned with all those bothersome things like facts and objectivity, or if you don't know any better, then sure, Herzaft's book probably will work for you. As for a concise and on target reference for someone who is looking to start a blues record collection, I believe there IS a definitive work available, and it's not Herzaft's book. It's "The Blackwell Guide To Blues Records", edited by Paul Oliver and published by Blackwell Publishing. Not only does this book perfectly accomplish what it sets out to do, it's also a great all around history of the music, and a pretty easy read. I'd also recommend this book to anyone (and there have been several requests for this here lately) who wants to learn the distinctions between the various blues styles such as Texas, Chicago, Delta and etc. Respected experts on the various genres all have chapters in this book describing the styles and distinctions, and recommending examples, and THESE people know what they're talking about and get their facts straight. This book is highly recommend to all blues fans. Scott ========================================================================= Date: Mon, 4 Mar 1996 08:25:13 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Favorite Quotes Comments: To: bit-listserv-blues-l@uunet.uu.net "It don't mean a thing if it ain't got that swing." "There's no such thing as 'good' music and 'bad' music, because bad music isn't music." I've heard both of these attributed to Duke Ellington, but I don't know for sure. Scott ========================================================================= Date: Mon, 4 Mar 1996 05:31:00 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Sitting&Thinking-Dicky Williams. I think Don O. mentioned this a while back and the review just came in so I thought it opportune to share it ..... DICKY WILLIAMS - FULL GROWN MAN ICHIBAN #1186 ICHIBAN RECORDS P. O. BOX 724677, ATLANTA, GA. 30339 TEL: 770-419-1414 FAX: 770-419-1230 Raleigh, North Carolina's Dicky Williams began composing songs at 11 years old. While entertaining his fellow Army troops, he mastered piano and got a bit of recognition. On his second Ichiban album, released late 1995, he has given production chores to Bryan Cole, drummer for Atlanta's finest white Blues band the Shadows. Bryan has also recently produced superfine soulful Blues singers Francine Reed and Trudy Lynn. Co-producing and mixing was done by veteran Jim O'Neill. On FULL GROWN MAN, Dicky Williams gave keyboard duties to Steve McRay, while Marvin Taylor and Jody Worrell share guitar space, and Tony Cunningham plays bass. Nothing here is groundbreaking, but the band is both consistent and hard driving, providing alot of grease, spit polish, and dramatics from beginning to end. EVERYTHING IS EVERYTHING / EVERYBODY'S A FOOL FOR SOMEBODY / I LIKE TO LOVE YOU / MAN / BEER DRINKIN' MAN / OUR LOVE NEEDS A TUNE-UP / FALL OUT OF LOVE / PRESIDENT OF THE BLUES / STRONGER NY CD - Takes EVERYTHING IS EVERYTHING: Dicky's loud, expressive voice leads the steady keyboards and calm guitar through a pinch of jazzy undertones. By mixing the heartbreak of B.B. King's "The Thrill Is Gone" with the contemporary strains of Robert Cray, this Travis Haddix tune explains the difficulties affecting urban society. EVERYBODY'S A FOOL FOR SOMEBODY: Like many Blues artists before him, Williams exclaims how he's just a "fool for some girl". Tony Cunningham's bass gets pumped in next to the inviting guitar licks and soulful, thick electric piano. I LIKE TO LOVE YOU: Williams' spoken introduction expresses his eternal love for a girl (hopefully not the cheatin' kind discussed later on "Beer Drinkin' Man"). This soulful ballad escapes the Blues category, but its gently pristine piano, soothing guitar, and colorful bass paint a '70's Soul-styled groove that'll hook fans familiar to the Memphis Sound. This seductively sensitive, in the pocket song contains no filler. MAN: Cliche ridden to the max, this older but wiser song sounds like a perfect sequel to Muddy Waters "I'm A Man". Williams' sounds assured, the guitars sizzle, and the punctual stops rely on the timing of bassist Cunningham and drummer Cole. BEER DRINKIN' MAN: No matter what race, this beer guzzling tale shows the uncertainty and sense of loss suffered by an innocent victim at the expense of a pack of drunken wolves. Trumpet, tenor sax, and trombone fill the empty spaces as Williams talk-sings about his lubricated dilemma. It's sort of like Otis Redding! OUR LOVE NEEDS A TUNE-UP: An upfront horn arrangement sparkles as guitar / bass / percussion work like a finely tuned engine. This features some of Williams most impressive singing, too. Call it a sweaty workout blending R & B with the Blues. FALL OUT OF LOVE: Piano and drums enter after a short spoken word intro. The backing vocals offer tear stained sentiments, helped along in mood by a thrifty orchestral keyboard setting. Williams seems resigned to the fact he's just a fool in a difficult love prognosis. PRESIDENT OF THE BLUES: A Howlin' Wolf / Muddy Waters styled honey dripper, this features dark, brooding piano, curly guitars, and full throttle vocals which are reminiscent of B.B. King. STRONGER: Coming full circle, Williams displays tendencies which make Robert Cray such a fine contemporary Blues master: smoky vocals, punctual horns, crisp arrangements, and slinky guitar work. Reviewed by John Fortunato Copyright NY CD Blues - 1996 WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 4 Mar 1996 10:37:23 +0000 Reply-To: "David J. Wallace" From: "David J. Wallace" Organization: JSDA Subject: Re: copyright law and home taping Comments: To: "Eliot C. Williams" Eliot C. Williams wrote: what restrictions do > copyright laws place on taping of commercially available recordings for > personal use? I would assume that it is not illegal for someone to copy a > recording that he/she owns for his/her personal use, I'm not Mr Heicklen, but it seems to me the answer is on the disc itself, the bit around the edges where it usually says: any copying, broadcasting, public performance etc prohibited. I've always understood that copying for any reason is illegal, certainly, if you're copying someone elses disc for your use. See ya, David J. Wallace ********************************************************** Q>- Whats the difference between God and a pilot? A>- God doesn't think he's a pilot. ---------------------------------------------------------- Visit my Flying in the United States web page at: http://web.nexor.co.uk/users/jpo/av-usfly.html ********************************************************** ========================================================================= Date: Mon, 4 Mar 1996 06:22:17 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Can't get enough Comments: To: Poindexter Regan In-Reply-To: <4he93n$o4m@usenetz1.news.prodigy.com> On Mon, 4 Mar 1996, Poindexter Regan wrote: > Barry, Hmmm. I can't in good conscience recommend a book that attempts > to be a definitive work and falls so short. Not that there *is* a > definitive work out there yet, but there are lots of books that are a lot > closer than Herzaft's is. If you're not particularly concerned with all > those bothersome things like facts and objectivity, or if you don't know > any better, then sure, Herzaft's book probably will work for you. Methinks you misread my post. What I said was that the recom- mendations of CD's for purchase was excellent. At the time I bought this book - exactly as you say "I didn't know better", but I still found the album recommendations to be stellar. As for the requests for a book to explain the various styles, of the blues, that was me. And upon recommendation I purcha- sed the noted Blackwell's guide. Looks like it is all you say it is - 'cept I haven't gotten to it (setting a new blues web site takes a bit of time). It is next on my read list though. > > As for a concise and on target reference for someone who is looking to > start a blues record collection, I believe there IS a definitive work > available, and it's not Herzaft's book. It's "The Blackwell Guide To > Blues Records", edited by Paul Oliver and published by Blackwell > Publishing. Not only does this book perfectly accomplish what it sets > out to do, it's also a great all around history of the music, and a > pretty easy read. I'd also recommend this book to anyone (and there have > been several requests for this here lately) who wants to learn the > distinctions between the various blues styles such as Texas, Chicago, > Delta and etc. Respected experts on the various genres all have chapters > in this book describing the styles and distinctions, and recommending > examples, and THESE people know what they're talking about and get their > facts straight. This book is highly recommend to all blues fans. > > Scott > WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 4 Mar 1996 12:02:07 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: amphibians In-Reply-To: On Sat, 2 Mar 1996, Art Schuna wrote: > In article Art Schuna writes: > > >Black Snake Moan - Blind Lemon Jefferson > > I'll correct my mistake before someone else does - Snakes fit into > the reptile category (I think, it's been too many years since I had to > memorize this) for those into the phylla of the animal kingdom. > > Art Schuna > I believe he was referring more to the amphibious lifestyle than to Amphibia (otherwise the choices woulde be rather limited). Some snakes might fit in there, whereas, ahem, some neotenic amphibians might not. I knew that degree in Zoology would come in handy some time :):):) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [4/3/96 6:34 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 4 Mar 1996 13:03:43 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: world music - blues (long) >>Derek Andrews wrote: >> >>>imho, the impact of the ali farka toure/ry cooder's "talking timbuktu" >>>success has been surprisingly absent from this list. >> >>Ali Farka Toure has been mentioned a few times on the list by me and a few >>others. "Talking TimbuktU" is a great album but I would reccomend "West >>African Blues" or "The River." These albums really show how Toure's music >>is very much blues. >> >>>i hope i have not distracted the die hard blues nuts out there too far fr= om >>>the usual course of discussion, but this tale of cross cultural blues >>>development has been too unbelieveable not to share with others. if you >>>wish to send me private mail on this to hear of other aspects of the tale= , >>>please do so. >> >>IMHO, if a die hard blues nut doesn't think Ali Farke Toure is the blues >>then they have a problem. As much as we all love to talk about the blues >>it's good to hear about where the music came from. I would love to hear >>more. Could you e-mail me? >> > But It=B4s important to remember that Ali Farka Toure is realy inspired by american soul and blues, especially John Lee Hooker. Inspiration travels freely in the world today and his music is not really traditional. Mr Bo ========================================================================= Date: Mon, 4 Mar 1996 12:12:43 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Eddie Taylor In-Reply-To: <4hat1a$2acg@usenetw1.news.prodigy.com> On Sun, 3 Mar 1996, Scott Dirks wrote: > > Eddie Taylor's "Long Way From Home" (a fine CD, IMHO) is on the Blind Pig > label. > > I'm still curious about the person who posted the original note under > this subject (I've forgotten who it was)...You said you're a big famn of > Eddie Taylor, but you don't like this release. Which Eddie Taylor > release *do* you like if you don't like this one? Because other than his > few sides for Vee Jay in the '50s, I don't think he did much that could > be called "better" than "Long Way From Home". > That would be me. To say I don't like the release is overstating it. I just didn't like the recording quality. My favourite would have to be "Big Town Playboy". (haven't seen it on CD). phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [4/3/96 6:34 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 4 Mar 1996 06:14:59 -0600 Reply-To: Todd Ehlers From: Todd Ehlers Subject: SRV on IPT Iowa Bluesellers: The SRV tribute that's been mentioned will air on Iowa Public TV Saturday, March 16 at 11:30 PM. The show description as listed in "Advance," IPT's monthly guide, is as follows: STEVIE RAY VAUGHAN: A TRIBUTE This tribute to the late bluesman features his brother Jimmie leading blues masters B.B. King, Eric Clapton, Buddy Guy, Rob- ert Cray, Bonnie Raitt, Dr. John, Art Neville and Vaughan's former band members. (Stereo) There's a terrific but tiny picture in the mag. It shows a stage with Jimmie facing BB, Chris Layton, Cray, Buddy, EC, Bonnie, and Tommy Shannon. Everyone's holding a guitar and playing. The show appears to be 90 minutes long. On Friday, March 23, IPT will broadcast an Austin City Limits with Leroy Parnell and A.J. Croce. I recall talk of Croce in recent weeks on blues-l, so here's a chance to check him out. On the blues fringe, there's also a 1961 concert of Nat Cole, a 1994 Johnny Cash concert film in b/w (_I'm _ watching that one!), and a 90 minute bluegrass history of interest to pickers called "High Lonesome: The Story of Bluegrass Music," all playing this month yet on IPT. I can't help but think that many other PBS stations around the country will carry these too. Hope this "picks" the interest of some 'zellers. Todd E. -- ___ ___/ / I do not resent criticism, even when, for the sake of / emphasis, it parts for the time with reality. / Churchill, House of Commons, 1941 ========================================================================= Date: Mon, 4 Mar 1996 07:56:45 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: ...and the nominees for the 1996 Big Easy Awards are..... Comments: To: Maggie Mortensen In-Reply-To: <313A359A.CF7@accesscom.net> On Sun, 3 Mar 1996, Maggie Mortensen wrote: > BEST ZYDECO: Beau Jocque & The Zydeco Hi-Rollers, FYI -- this is a great nomination. BJ has some of the toughest sounding vocals going and his music really moves. He is steep- ed in the blues/zydeco end of the genre much as Clifton Chenier was and is well worth a listen to. His "Pick Up On This" Roun- der CD is well worth the dollars. If you're planning a party he is not the one to open up with - noone will ever sit down, they will rock from the moment he hits the carousel on. Barry (a.k.a. TS) WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 4 Mar 1996 08:03:34 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1877 Emile Berliner invented the microphone. It was, many years later, used to record Otis Rush's opening wail in "I Can't Quit You", and to capture Willie Dixon speaking the words "Great Googly Moogly". P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 4 Mar 1996 07:12:40 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Theory vs. Expression -Reply Comments: To: PARRISHR@VITRO.COM Show me any original Bluesperson who took lessons other than "show me how you do that" type of stuff (like Robert Johnson getting taught how to play by the ":real " king of the Delta Blues, Son House). I don't know a thing about music theory. But i know how to talk to you with my heart through the medium of my guitar., I am firmly convinced that knowing theory will obscure and/or narrow the scope of what you play. I don't expect nor require anyone else to agree with me. This is just my personal feeling about it. ========================================================================= Date: Mon, 4 Mar 1996 07:16:59 -0600 Reply-To: Roger Struve From: Roger Struve Subject: When it's too damn loud -Reply Comments: To: dcicchet@lasierra.edu Take it from Delta Doc Roger. Don is absolutely correct. I can't hear for manure in my right ear, and have about 40% hearing left in my other ear. Prognosis isn[t good, as it continues to deteriorate. Damn those lousy earphones and loud bands i used to go see. ddr ========================================================================= Date: Mon, 4 Mar 1996 13:45:41 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: Lawyers Cathi Norton (canorton@JOURNALISM.INDIANA.EDU) wrote: : I didn't have a feeling he was selling anything, and : believe me, I could have used this basic information only a : short while ago when I was trying to negotiate a record : deal. I learned a lot of it by paying a lawyer (a good : one, btw, who gave me a "break" on rates) to educate me. : Painful, expensive, and not something I'd love to do with : my spare time/not-spare-money. I still want to thank Don : C. and a couple of other good friends for insisting I find : a lawyer to do that negotiation, for I would have been : royally _____. The evil word as far as I'm concerned isn't : so much "lawyer" as it is "business" (when associated with : music). But business exists and is a huge part of it, so : we'd better learn about it. This lesson has been a hard : one for musicians since time began. And I'm going with Cathi. I found all the flames before I got to Michael's first post, and the only problem I see here is the exceedingly thin skin certain list members have. Not to mention their vague hintings at superiority. You know what? That makes me puke. I'm one of those blues musicians who's been screwed by a record label or two. I found every single point in Michael's initial post to be accurate. I kept looking for the "advertisment." There was none. I don't know Michael Heicklen and I've never had any dealings with his firm, or even seen his web page, but I know what happens when a musician "negotiates" with a record label. I've got a friend in Nashville with half a dozen major hits, and he's living like a pauper because he signed the wrong deal. A good attorney could probably have spared him. There seems to be a real disparity here between people who are guarding their "turf" and those who wander in and unknowingly violate the turf "rules." I'm not a big fan of fascism. You want to do that, go hang out in the Buchanan for President room. Or start your own blues list, like Doyle-the-Clapton-String-Guy. Otherwise, lighten up. It's getting real old. ============================================================================ Jef Jaisun eljefe@netcom.com "Get your face off of my bayonet." --S. Feldthouse ============================================================================ -- ========================================================================= Date: Mon, 4 Mar 1996 08:50:47 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Theory vs. Expression -Reply Comments: To: Roger Struve On 4 Mar 96, Roger Struve had this to say... > I am firmly convinced that knowing theory will obscure and/or narrow the > scope of what you play. What an bizarre concept. Acquiring more knowledge obscures your vision and narrows your scope??? Is that really what you are saying? It seems rather faulty just on it's surface. Is this something that you think applies only to Blues? Or do you think that knowledge of spelling and grammar would adversely affect writers of fiction and prose? P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 4 Mar 1996 13:54:27 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: JIMI'S COLLEC Don O (don.o@CHRYSALIS.ORG) wrote: : In Shapiro and Gleebeek's book, Electric Gypsy, one of the nice color plates is : a 1967 publicity photo of Jimi with an LP copy of The Best of Elmore James : sitting on his lap. You might like to know that Cesar Gleebek has never sent a copy of that book to the Hendrix family, who helped him immensely. At least he hadn't as of last Thursday.;| ============================================================================ Jef Jaisun eljefe@netcom.com ============================================================================ -- ========================================================================= Date: Mon, 4 Mar 1996 08:01:51 CST Reply-To: William Shute From: William Shute Subject: Blackwell Guide to Soul Recordings From: Bill Shute The Blackwell Guide to Soul Recordings ed. by Robert Pruter Cambridge, MA: Blackwell, l993 ISBN 0-631-18595-X It's easy to criticize reference books that try to deal with broad, difficult-to-define genres of music. Something has to be left out or be given short shrift or the book would be too long; alternately, less worthy items may be included in the interest of "comprehensiveness." A reference book on "soul," with a focus on recordings, would seem to be one of those nearly impossible tasks, but this book, which I've had for a few years but reread this weekend, manages to pull it off. Beginning with l950s artists who foreshadowed the genre but who would certainly be labelled "r&b", the book breaks down Soul into regional classifications (with each section being a mini-chronological history of R&B-into-soul-into-funk) with the two final chapters being on Euro-soul (and many will feel that THAT chapter could have been deleted! but then this book was commissioned by a UK publisher!) and "funk and later trends," which brings the book up through the early 90s. The chapters are written by such well-known and respected authorities as Peter Grendysa, Wayne Jancik, Dan Nooger, Pruter himself (who wrote the superb CHICAGO SOUL book), Bill Dahl, and Jeff 'almost slim' Hannusch. Pruter wisely decided to include long out-of-print albums on artists who are as-yet unrepresented on CD (Billy Butler, The Artistics, Jimmy Hughes, Joe Hinton, Shorty Long, Nolan Strong), which helps the reader keep an eye out for used vinyl and/or upcoming CD issues. The book is easy-to-read, and easy to USE when you are in search of a certain artist...or want to explore an area that sounds potentially interesting to you. The book's strongest section, for me, is the first chapter on "proto-soul" (Ray Charles, Nappy Brown, Billy Wright, Little Esther, Little Richard, JAmes Brown, et al) which makes the evolution of the music quite clear; the weakest element of the book is that Memphis lacks its own section and is not given the depth and breadth it requires (altho most "major" Memphis artists are mentioned).The Nashville and Louisiana coverage could also be improved, but I suppose you have to draw the line somewhere. .As I have worked on reference books myself, I know that many of the arbitrary inclusion/exclusion decisions are made by the publishers, NOT by the hired outside editor, so Pruter can't be blamed here. If you're into the "soul" side of R&B, this book is one you'll find yourself pulling off the shelf quite often. Even if you think you're somewhat knowledgeable about soul, it's handy to have all the info in one place... and i must admit that I learned about some lesser-known characters such as Shorty Long, Bobby Patterson, Little Joe Cook, Brenda and the Tabulations,, and Honey and the Bees. Of course, artists who never put out an album and have never been the subject of an overseas reissue album (the Royalettes, for instance) are not included, but if you're that keen of a fan, you're gonna be following the reish scene pretty closely anyway. The reissue programs at Ace, Ichiban, and obscure overseas outfits such as the UK "Goldmine Soul Supply" have already dated the book somewhat, but I highly recommend it and commend the editor and authors for a job well done!!! Bill Shute San Antonio, TX ps, hey, did any of you Austinites see Cookie and the Cupcakes during their two-day stand at the Continental Club? I didn't hear about the gig until 7pm on the second night! Please let blues-l know what it was like if you were there!!! ========================================================================= Date: Mon, 4 Mar 1996 08:03:45 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Kenny Neal Disappoints In-Reply-To: Message of Sun, 3 Mar 1996 14:34:26 -0500 from On Sun, 3 Mar 1996 14:34:26 -0500 Curtis Hewston said: > >So now Kenny Neal joins Sugar Blue on my list of arrogant and overblown >blues acts. (TIP: When you're an hour late for a gig, it's probably not >wise to open with a "Since I Met You Baby" sing-along. ANOTHER TIP: Get >hungry, and stay hungry.) I had the same experience a GREAT show, then a lackluster show a few months later. He was late to the first one (got arrested) and the first one was great The second one was uninspired. I've spent a lot of time talking to Kenny and he is not an arrogant overblown blues act. No way, shape or form. Kenny Neal is a great guy but I'll admit one of the shows I saw was uninspired. Arrogant and overblown no way.....IMHO LW ========================================================================= Date: Mon, 4 Mar 1996 09:07:48 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Fixing listserv problems Rocco Emelio just wrote me asking how to fix a specific problem with our listserv. Well Rocco indeed has a problem because his system wouldn't accept my reply. So here is information for Rocco and anyone else with a listserv problem. The only one who can help straighten things out for you is Alan Rollins, blzlynx@polaris.net He maintains the list, and can delete your old membership. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 4 Mar 1996 08:13:01 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Re: Theory vs. Expression -Reply -Reply As a degreed Physicist, and as a musician of sorts, i can say with some relavance that learning something that the Brain uses, such as the other subjects you mentioned, would be enhanced, such as the rudimentary skills of grammar and spelling, although these are only important to the extent that you can use them to express "brain" ideas. When it comes to my heart, it communicates any way it can. Talk about illogic, you are demonstrating a great deal of it this very moment. These original BLUESGUYs that you keep proliferating your concept that only "they" count, as compared to all these wannabe "white boys": has anyone of them ever taken a theory lesson? Did this lack of musical theory keep "YOU" from thinking their music is the best? Do you think that if the first inventor of blues had taken theory lessons, that would not have limited his scope of what music was about? Do you not see that blues emanated partly from not knowing theory? In Physics, Einstein was a dropout in school, yet his Physics took the rank of great innovators like Newton. Only perhaps, Stephen Hawkings has surpassed Einstein in coming up with new innovation, and he attests that it is because it's all he can do anymore is think. (He is in a wheelchair with no ability to move except his little finger that he uses a computer to talk with.) Hawkings admits that he had no use for school, and that he never really wanted to study. His confinement is relative to his innovation . Again, i say that training can smother innovation. ddr ========================================================================= Date: Mon, 4 Mar 1996 09:20:07 -0500 Reply-To: Erica Wissolik From: Erica Wissolik Subject: More Copywright Questions -Reply All of your copyright questions can be answered by looking at the copyright circulars on the Library if Congress; home page: http://www.loc.gov or you can telnet to marvel.loc.gov To answer the question below, under the law that went into effect on Jan 1, 1978, all works created on or after that date, are automatically protected from the moment of creation, whether or not the creator registers the work with the Library. So, yea, you are protected merely by using the copyright symbol. Erica >>> Shaun T Cronin 03/03/96 04:22pm >>> THe question is what do you need to do to copyright an article/lesson plan? I have heard that just using the coipyright symbol and then your name and date is enough. Then I heard that this wasn't the case. Can someone help? >>>>>>>>> ========================================================================= Date: Mon, 4 Mar 1996 08:19:41 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Mo' Theory Since I helped instigate this theory poop, I'd like to say: That Roger Struve does use theory when he knows to slide from the third to the fifth fret or use the 1,4,5 progression. I think of theory as knowing the tonics, sub-dom, dominate...etc in every key. I think of it as knowing what makes a chord a diminshed chord, knowing the chord structure and WHY. I don't think of theory as knowing that a E9-7th would sound cool in a situation, but knowing why and the relationship it has to the related chords. So MOST all musicians know theory. If we talk about yesterday, it doesn't make us historians, even though we are discussing history. So it be fair to say that if I mention how my weekend went, then I am having a history discussion or just talking about my experiences... Theory is a broad term and after this thread, I've realized that my eight yr old son, knows theory..... I have to disagree with Delta Doc , I think all the knowledge you can get is good. That doesn't mean you have to use it. I studied theory pretty deep for a while because it's interesting, but I haven't had the opportunity in blues playing to tell a fellow player "I think we should subsitute the dominant for the tonic in the last bar"...Most would look at me like I was some kind of nut..... LW 'I forgot most of the theory, because I stopped studying and started playin' ========================================================================= Date: Mon, 4 Mar 1996 10:26:06 -0500 Reply-To: Andre Prevos From: Andre Prevos Subject: "Transylvania Blues" To Bluezellers: Last week-end, I was in Wilmington, DE, listening to Temple's radio program of blues and jazz and, I heard a tune called "Transylvania Blues". But I could not get the name of the artist(s) who interpreted the song. Has anyone heard of this tune and would anyone be so kind as to let me know about the artist and the record where the tune has been recorded. Thank you for your help. Private mail please, Andre. Andre J.M. Prevos AXP7@psu.edu "Les buissons s'allument Les poignards se levent." J.P. Capdevielle. ========================================================================= Date: Mon, 4 Mar 1996 09:36:36 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Theory v. Expression Barry said: >Theory is not only taught at universities and played by musicians in >tuxes. Does Max know what a I IV V progression is? Bet he does. I'll >bet he could spot the difference between a major chord and a minor >chord in an instant. I'll bet he even understands about changing the >progression or throwing in some dissonant chords to build tension and >then releasing it with a big consonant chord. I'll bet that most of >that figuring out he did wasn't figuriong out which pick to use for >Stormy Monday, but was figuring out how to make it more soulful and >emotive. That was learning theory. Yes, Max knows what a I-IV-V progression is although he might not describe it that way. I'm sure he knew the progression for many years before he found out what it was called. He has also created some very complex, jazz-like chord progressions without knowing terms like "dissonant chord" and "consonant chord." However, Max also spends an incredible amount of time fiddling with his amps and stuff, trying out new brands of strings, etc. to get the "perfect" tone. Even the pick is important. He takes regular size picks and whittles them down to the "perfect" size. He can play with a standard size pick, but he can play better with a smaller one. I think the point is, the music is inside him, and the guitar, amps, pick, slide, and whatever else he's using are just tools to communicate the music inside to other people. ========================================================================= Date: Mon, 4 Mar 1996 08:45:34 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: HOB radio - Little Buster Yeah, I know I just said a dirty word ;-) I listened to the HOB radio show yesterday morning and I must say that it improved 100% from when it was first on. The guest yesterday was Little Buster. I had never heard of him before and they featured music from his first cd that was awesome. Anybody got more info on Little Buster? All that bitching that we did back when the show first started must have been heard by someone at HOB. The last few shows that I have heard have been very good. The only guitar wanking yesterday was on the Bluesbreaker, I can't remember who it was though. -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / Reuben Stewart \ / February 19, 1996 \( Rest in peace, Mr. S. ========================================================================= Date: Mon, 4 Mar 1996 07:59:10 -0700 Reply-To: Jessica Jones From: Jessica Jones Subject: Re: Fab t-birds/mighty flyer question Comments: To: RNABooking In-Reply-To: <4h817r$152@newsbf02.news.aol.com> Spoke with Fran Christina on Friday. He said he'd be home from the road, and finished with his T-birds playing on March 17. Then he said he'd be biding his time, playing locally and lookin' to see what's out there. Said it'd been a great 20 years, but change is good. jessica ========================================================================= Date: Mon, 4 Mar 1996 07:12:11 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Theory vs. Expression -Reply -Reply > The Delta Doc wrote: >> >>Again, i say that training can smother innovation. > >You ask for examples of original blues guys who had `theory training'..., while advancing your theory (whoops!) that learning music theory is not a good thing for a blues musician. Well, here's a question: give me an example of someone who's blues were smothered by learning theory. > >Also, I think we may be working at a misunderstanding of what theory is - if you know what I-IV-V means, that's theory! I dunno...we've all had this discussion before and we probably will again, but I simply do not understand (honestly!) this viewpoint... > >-Jim (hndful@uniserve.com) > ========================================================================= Date: Mon, 4 Mar 1996 07:22:51 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Blind Boys performance happy monday bluezellers... Well, I saw the Five Blind Boys of Alabama again on Saturday night - unfortunately it turned out to be a bit of a disappointment (although definitely not the fault of the Blind Boys themselves). What happened? 1. While undoubtedly countless hundreds of drug dealers, gun smugglers, and riffraff were running madly across the border into Canada, our finest were holding up three seventy year old blind men at the Peace Arch border crossing, causing them to show up late. You can never be too careful, I guess. 2. I found out that soundmen that work in churches are even more incompetent than those who work in nightclubs - every time Clarence Fountain hit his trademark basso profundo, a noise like a honking sax came out of the speakers, and sound problems delayed the start of the concert... 3. Clarence Fountain was recovering from pneumonia - he definitely gave it a valiant effort, and he's a great showman and an unbelievably powerful singer, but he probably should have been in bed with some lemon tea. So the performance only lasted about an hour - the harmonies were great, the spirit was there, and it was a good night, all told - just not quite as good as last year. These guys are wonderful, and I highly recommend that when they come to your town, see 'em while you can (even if you haven't set foot in church since your christening :-) ). They're treasures. -Jim (hndful@uniserve.com) ========================================================================= Date: Mon, 4 Mar 1996 10:26:53 -0500 Reply-To: "Daryl F. Bernard" From: "Daryl F. Bernard" Subject: Re: amphibians Comments: To: Art Schuna In-Reply-To: Must I give you folks a course in Biology with a lecture on the Classification scheme? Snakes (along with alligotors, as previously noted) are in the Class Reptilia, not Amphibia. Check your texts before posting please! Or I'll have to keep you over for detention ;) Daryl On Sat, 2 Mar 1996, Art Schuna wrote: > Black Snake Moan - Blind Lemon Jefferson > > Art Schuna > ========================================================================= Date: Mon, 4 Mar 1996 10:29:01 -0500 Reply-To: "Daryl F. Bernard" From: "Daryl F. Bernard" Subject: Re: amphibians and reptiles and purists Comments: To: Ian Angus In-Reply-To: <9603021746.aa05618@admin.dis.on.ca> Thats just it, Ian, amphibians are scaleLESS, not scaly. Now, back to those swampy blues... Daryl On Sat, 2 Mar 1996, Ian Angus wrote: > Blues purists don't bother me, but I am seriously > concerned about the sudden appearance of "amphibian purists." > > Don't these self-appointed experts understand that many of us > just love scaly animals of all kinds, and we aren't concerned about > these arbitrary divisions you want to force on us? Let's just > enjoy the cold blood and stop all this speciesism. > > :-) > > Ian Angus > "Built for comfort, not for speed" > ========================================================================= Date: Mon, 4 Mar 1996 10:35:09 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Theory vs. Expression -Reply -Reply Comments: To: roger.lew.struve@medtronic.com In a message dated 96-03-04 09:35:39 EST, roger.lew.struve@MEDTRONIC.COM (Roger Struve) writes: >Talk about illogic, you are demonstrating a great deal of it this very >moment. These original BLUESGUYs that you keep proliferating your concept >that only "they" count, as compared to all these wannabe "white boys": has >anyone of them ever taken a theory lesson? Did this lack of musical theory >keep "YOU" from thinking their music is the best? A lot of folks have a romantic notion of the "natural" artist, someone who creates from "instinct" with no appreciation of technique. This notion is an insult to self-taught artists who have to build their own grasp of the rules, and an insult to artists who learn the rules of an established tradition. I don't know too many people who have retained this romantic ideal after extensive exposure to a true artist in any form. The real irony here is that an understanding of theory is more important to improvisational or creative playing than it is to at least the early stages of old-fashioned music lessons (the piano training of my youth, for instance). I was trained with standard piano lessons, and got quite good at it. To learn to play a sloppy barrelhouse style of piano I had to first *learn* theory-- learn how those blues songs are structured before I could learn to play them on my own as opposed to learning how to copy what someone else had done. I have a suggestion to Roger. The most plain-spoken individual with an obvious connection to the early bluesmen still living is Robert Lockwood. I would love to hear him reply to your suggestions that the original bluesmen lacked an intellectual understanding of the structure of this music. Perhaps you should ask him. Tom Freeland ========================================================================= Date: Mon, 4 Mar 1996 10:37:58 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Theory vs. Expression -Reply -Reply Comments: To: Roger Struve On 4 Mar 96, Roger Struve had this to say... > I see the point of what other's have said about you responding directly to > an individual vs. sending it out to all BLUEs-L. I have no idea what you are suggesting there, Roger. Do you think this discussion of Theory vs. Expression is inappropriate for public posting on Blues-L? What are you saying? > As a degreed Physicist, and as a musician of sorts, i can say with some > relavance that learning something that the Brain uses, such as the other > subjects you mentioned, would be enhanced, such as the rudimentary skills > of grammar and spelling, although these are only important to the extent > that you can use them to express "brain" ideas. When it comes to my heart, > it communicates any way it can. Roger, as a passer of High School biology, I can tell you with some certainty that your heart pumps blood through the rest of your body, and does very little communicating with the cognitive portions of your brain, (and therefore is of little use in the playing of music). Music, passion, heartache, love, creativity are brain functions. Music theory is the grammar and spelling of musical expression. > Talk about illogic, you are demonstrating a great deal of it this very > moment. These original BLUESGUYs that you keep proliferating your concept > that only "they" count, as compared to all these wannabe "white boys": has > anyone of them ever taken a theory lesson? Did this lack of musical theory > keep "YOU" from thinking their music is the best? I don't recall proposing any concept of "original BLUESGUYs" counting, and "wannabe 'white boys'" not. I would never say such a racist thing, and I don't believe any such thing either. As for whether or not the "originators" knew anything about music theory, I suspect that many of them did. I'm not enough of a historian to cite any particular facts to support that notion, as I can imagine that you could not support a notion that they lacked such knowledge. > Do you think that if the first inventor of blues had taken theory lessons, > that would not have limited his scope of what music was about? I sort of doubt that there was any one "inventor" of the Blues, but if there was, I don't believe that a knowledge of the rudiments of music would have done anything but provide support for the "invention" of the Blues. The Blues is FAR MORE STRUCTURED a form than most any other western form of music. > Do you not > see that blues emanated partly from not knowing theory? I do not think the Blues developed from ignorance. I think that like any development in the arts, it grew out of what came before it. > In Physics, > Einstein was a dropout in school, yet his Physics took the rank of great > innovators like Newton. Only perhaps, Stephen Hawkings has surpassed > Einstein in coming up with new innovation, and he attests that it is > because it's all he can do anymore is think. (He is in a wheelchair with > no ability to move except his little finger that he uses a computer to talk > with.) Hawkings admits that he had no use for school, and that he never > really wanted to study. His confinement is relative to his innovation . Stephen Hawking studied adamantly every single theory about the nature of the universe and it's physical laws that went before him. Without such knowledge he would have been unable to postulate his own advancements on those theories. To think otherwise is to seriously deprive yourself. He may have had misgivings about the structure of his schooling, but he sure didn't share your fear of knowledge. Dr. Hawking would never support your notion that knowledge hinders creativity. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 4 Mar 1996 07:51:32 -0500 Reply-To: David Melton From: David Melton Subject: Re: Theory vs. Expression -Reply Comments: To: Roger Struve At 7:12 AM 3/4/96, Roger Struve wrote: >Show me any original Bluesperson who took lessons other than "show me how >you do that" type of stuff (like Robert Johnson getting taught how to play >by the ":real " king of the Delta Blues, Son House). > >I don't know a thing about music theory. But i know how to talk to you >with my heart through the medium of my guitar., > >I am firmly convinced that knowing theory will obscure and/or narrow the >scope of what you play. > >I don't expect nor require anyone else to agree with me. This is just my >personal feeling about it. =============================================================================== If you are playing music, then you know theory. Whether or not you can recite the mechanics of what you are doing does not matter. Knowing music theory has helped my playing a great deal, but when I play I no longer conciously think about it. For me learning theory years ago has done nothing but expand the scope of what I can play. I have always been an ear player and mostly I learned off records or by watching somebody play. I've forgotten a lot of stuff but what stuck with me has done nothing but help my playing.I can't think of an original blues person off the top of my head that took lessons, but I strongly suspect that your challenge will bring them out of the woodwork. I respect your opinion, but after reading it I finally had to put out my view on this subject. Dave Melton ========================================================================= Date: Mon, 4 Mar 1996 09:41:35 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Theory vs. Expression -Reply -Reply In-Reply-To: Message of Mon, 4 Mar 1996 10:35:09 -0500 from On Mon, 4 Mar 1996 10:35:09 -0500 Tom Freeland said: >I have a suggestion to Roger. The most plain-spoken individual with an >obvious connection to the early bluesmen still living is Robert Lockwood. I >would love to hear him reply to your suggestions that the original bluesmen >lacked an intellectual understanding of the structure of this music. Perhaps >you should ask him. I think that's a BAD example. You picked a bluesman who also did a jazz thing in the album Contrasts. A better example would be someone who is strictly blues, I think Lockwood is an exception to this situation. I don't agrue with what you said, but I argue with the example. Doug MacLeod who graduated from Berkley said he had to forget all that he learned, in order to PLAY again. Kenny Burrell told him to learn it ALL, then forget it and play what you play. There are countless examples, if Muddy knew more theory he would not have been so limited and played something other than that same ole tired slide lick. If Robben Ford knew LESS theory and played more in the basic pentatonic scale with the basic 1,4,5 progession all the time, some of you would like him more.. Not disagreeing at all, but saying there are examples from both sides. YOU NEED TO KNOW THEORY, not "classroom" theory, but PLAYERS THEORY....IMHO LW ========================================================================= Date: Mon, 4 Mar 1996 10:57:19 -0500 Reply-To: BLUESROCCO@AOL.COM From: Jim Rocco Subject: Re: Mo' Theory Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu If the drummer is brushing out a cool rhythm and the bass is thumpin' a cool I..IV..V progression.......there's not much need for a lot of theory learning here. Just express yourself with the scales and arpeggios you've been blasting on and enjoy ! That's for the entertainment value of your music. The majority of the audience expects and demands that. HOWEVER, If you desire to compose or otherwise enhance the world with YOUR music, the working knowledge of music theory is essential. If not just for the time saved by not having to invent the music wheel every time you try to compose, then to derive your own formula from other previous masters. It's true..."There's no song you can sing that can't be sung.......". Music theory teaches us what moves us. We dont have to study the effects it has on people....we know what moves us....we just have to learn the short-cuts to get us there..........That's music theory! Tomorrow I'm flying to Delhi,India. My day job as electronic engineer gets me all over the world. Having played sax and electric bass for the past 40 years has given me the chances to learn from and play with the worlds foremost musicians and composers. I have been studying Indian music for the past two weeks diligently. Not just mimicing it but studying it. When you realize there are 22 notes per octave, think of the possibilities! Until I began studying it,all I thought it was was the indiscriminant plucking of the sitar and tambura and the random thumping of the mridanga. Now I realize that these cats are saying something and I'm beginning to understand it. I may never truely appreciate it , but at least I can grasp the meaning of it. Ravi watch out! I am a blues purest. I only "enjoy" the blues style of my choice. Luckily for me my moods range from deep depression after being shit-canned from a job and a marriage to a uphoric state after finally nailing that broad who sat across from me in homeroom,. so I can "get off",so to speak, on all types of blues. I can "play" all types of blues(not to get into the black man/white man argument here) but I can only compose in a couple styles. Music theory is demanded here to compose in the rest. I will NOT permit myself to study theory on the other styles for fear of ruining my performance and love for the ones I truely love.. Thank you all for the soap-box. You may agree or disagree, I thank you in advance for your opinions and comments ========================================================================= Date: Mon, 4 Mar 1996 10:57:06 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Little Buster and the Soul Brothers Someone had asked about Little Buster. He's from Long Island, and plays some fine R&B. I've listened to his RIGHT ON TIME (Bullseye), which is pretty good. Plan to feature it on my show soon. Dave Prychitko ========================================================================= Date: Mon, 4 Mar 1996 10:04:08 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Mo' Theory In-Reply-To: Message of Mon, 4 Mar 1996 10:57:19 -0500 from On Mon, 4 Mar 1996 10:57:19 -0500 Jim Rocco said: >Music theory teaches us what >moves us. Listening and playing teaches us WHAT moves us, theory teaches us WHY it moves us (ie: tension, movement...etc). Some people could care less WHY, but I think every musician is concerned with WHAT LW ========================================================================= Date: Mon, 4 Mar 1996 11:18:38 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: upcoming releases I found that information on upcoming Blues releases at the website of ICE Magazine. There is lots of good info there. You can visit it yourself at: http://www.icemagazine.com?~ice/ Disclaimer: I am in no way affiliated with ICE magazine, but a good friend of ours is ;^) P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 4 Mar 1996 10:16:10 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Theory vs. Expression -Reply Comments: To: David Melton In-Reply-To: I hate to burst a balloon, but MANY of the greatest Chicago blues guitarists since the '50s have taken lessons from guitarist Reggie Boyd who is heavy on theory and many others have gone to some formal training. It's hardly ever how they first learned to play, but they have felt that some systematic knowledge could add to their ability. ========================================================================= Date: Mon, 4 Mar 1996 10:12:55 CST Reply-To: William Shute From: William Shute Subject: Okeh/Loma soul reissues From: Bill Shute MAJOR LANCE "The Best of Major Lance--Everybody Loves a Good Time" 2-cd set Legacy/Epic E2K 66988 40 tracks released l995 various artists "Loma Records" (The Best of Loma Records--The Rise and Fall of a l960s Soul Label) 2-cd set Warner Archives 2-45711 released l995 50 tracks These two double-CD sets are not new, but are new to me as I just bought them over the weekend. Both are models of how to do a major-label reissue and I want to publicize both for the benefit of those who haven't yet got them. The Major Lance set is a reminder of how major a figure he was back in the l960s. Noone would label Lance a "great singer" in the technical sense, but he managed (along with producer Carl Davis and arrangers Riley Hampton and Johnny Pate) to create an instantly-identifiable sound that was danceable, uptown (lots of brass), and bright-sounding. Of course, those instant-classic tunes composed for him by Curtis Mayfield had something to do with it--Delilah, The Monkey Time, Um Um Um Um Um, Hey Little Girl, etc. But, and this is an important point, after Lance stopped relying on Mayfield for the songs and Davis for the production (the 2nd CD documents that transition), he managed to diversify his "formula" sound and produced material that echoed Motown and Southern Soul in some ways while keeping those uniquely Lance qualities that made him a star. One later Okeh session was actually produced by Billy Sherrill--and the two tracks from that session, Investigate ...and It's The Beat..., are songs with catchy melodies, insistent rhythms, hot playing, and solid vocalizing from the Major. They only made "bubbling under" status on the charts, but should find a place on YOUR top ten. Bill Dahl's liners are exciting, and the whole set has the quality of Legacy's Okeh reissues of Chuck Willis and Big Maybelle. There's no personnel listing, but I guess I'm too much of a purist. I know Jessica from Legacy reads blues-l, so hats off to Adam Block and Bob Irwin for this essential set. Good songwriting was the foundation of so much classic soul, and 2 CDs is really NOT too much Major Lance for the casual listener. I had guests in and out most of the weekend as I played this over and over, and everyone loved it and enquired about getting a copy. I remember seeing the pic of the Major at a l994 or 93 Chicago Blues Festival, and he looked good. It was nice to see him "back" as he passed away soon after. I'm sure some of you reading this were at that gig. One interesting tidbit in Dahl's liners is that Lance co-led a band with Robert Ward while the two of them were in prison in the l970s! ------- The two-CD set documenting Warner Brothers' LOMA subsidiary is part of the same Warner ARchives series that had a solid Everly Brothers' two-disc-set and, of more interest to blues-l-ers, a fine single-disc Tony Joe White set that was discussed a lot here a year or so ago. Loma existed circa l964-68, and relied largely on acquired masters, so there really is not a "loma sound." Producers as diverse as Ike Turner, James Brown, Frank Slay (of Freddy Cannon/Rockin' Ramrods fame), Jerry Ragovoy, and the Hooven-Winn team (who later brought you The Count Five!) marketed their wares on Loma. The label was initially headed by former King-Federal promo man Bob Krasnow (best known to many for starting Blue Thumb records), then headed by DJ Russ Regan, then it floundered around without a direction and eventually died. The best known artists here--Ike and Tina Turner (with some hot classics such as Finger Poppin and Tell Her I'm NOt HOme), The Olympics (Good Lovin' and a wonderful raunchy garage-feel cover of "Rainin in my Heart), Lorraine Ellison (the majestic, symphonic "Stay With Me" and others)-- might be the ones that convince you to buy this, but the lesser known artists will intrigue most listeners, and the three-in-a-row series of James Brown productions by Walter Foster, Baby Lloyd, and Bobby Bennett and the Dynamics are almost worth the price of the set in themselves. I had never heard of the Marvellos or Roy Redmond, but I'm happy to have made their acquiantance here, and now I have a desire to hear more Linda Jones and JJ Jackson. Loma recorded very little "down home" soul. The southern soul purist should look elsewhere. However, the set should satisfy those who want a well-programmed, diverse collection of tracks that epitomize SOME OF the diversity of l960s soul. Soul was as diverse a genre as "rock" in the l960s, in its own way. As more and more material is reissued, I am even more in awe of the amazing spirit of creativity that blossomed then. It's great to see the majors mining their rich archives in such a quality way...yet still producing a commercial product. Legacy in particular could keep churning out Okeh reissues for years with all the riches in the vaults. When Legacy puts out Walter Jackson and Billy Butler sets, I'll be the first in line to buy them! Bill Shute San Antonio, TX ========================================================================= Date: Mon, 4 Mar 1996 11:47:30 -0500 Reply-To: "Lost John From: "Lost John Subject: PBS SPECIAL - SRV etc. Yesterday dennisr posted this: >* STEVIE RAY VAUGHN: A RETROSPECTIVE >Thursday, 3/7 (10-11:20 pm ET) PBS stations >Legends of the blues world join Jimmie Vaughan...... I find this a little confusing, as just last week, someone from Mountain Lake Public Television (PBS in Plattsburgh, NY, I think) said that PBS was obliged to pull the special because of some legal reason concerning Sony/CBS. I forget who the poster was, but if he or she could straighten us out on this one, I'd appreciate it. Is this a different special or was there an eleventh-hour change of heart (or legalities). Thanks -- _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ _/ JC /\ _/ _/ ______________ || _/ _/ \__________ / || _/ _/ ________ ___/ John Carley || _/ _/ \______ / johnc@vedge.com || _/ _/ ____ ___/ (514)332-6430 x232 || _/ _/ \__ / Visual Edge Software Ltd. |\||/| _/ _/ _____/ 3950 Cote Vertu, Suite 100 \ / _/ _/ \/ St. Laurent, Quebec, Canada / \ _/ _/ ( ) _/ _/ \____/ _/ _/ (graduate of the Yogi Berra school of elocution) _/ _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ ========================================================================= Date: Mon, 4 Mar 1996 10:51:31 -0600 Reply-To: Keith Castleberry From: Keith Castleberry Subject: Cookin' up the Blues Here's something neat. Tabasco brand pepper sauce is offering a "Blues" cookbook. It has excellent photos of many Blues artists (Kenny Neal, Buddy Guy, Koko Taylor, Earl King.......more). Cost is $7.00. Has some Blues content, but mostly their recipes. Well worth the price. I'm not affiliated with Tabasco (other than useing it a lot). Keith Castleberry WYDH 105.9 FM "The Blues Cruise" P.O. Box 710 Atmore, AL 36504-0710 ========================================================================= Date: Mon, 4 Mar 1996 12:00:08 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Theory vs. Expression -Reply -Reply Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu In a message dated 96-03-04 11:21:52 EST, you write: >I think that's a BAD example. You picked a bluesman who also did a jazz thing >in the album Contrasts. A better example would be someone who is strictly >blues, I think Lockwood is an exception to this situation. I don't agrue with >what you said, but I argue with the example. It was a joke, LW (and i just told someone else that you would be one of the ones who would get the joke, too). I think someone who suggested to Lockwood that bluesmen played without an understanding of theory would never forget the encounter. And probably not be able to talk for a few days, either. I don't think Lockwood would have an patience at all with Roger's suggestions. And, given Lockwoods history (this isnt just longevity, look at the man's resume as a bluesman), discounting him for versatility seems absurd. >There are countless examples, if Muddy knew more theory he would not have >been so limited and played something other than that same ole tired slide lick. There are folks on the list who know better than I know, but if Robert Palmer is to be believed in DEEP BLUES, Muddy Waters understood what he did AND how it differed from what the 'white guys' did-- he understood the use of microtones and notes played around and not on the beat, and the degree to which those effects were essential to deep blues. He also understood the way playing in electric bands, and playing with musicians not schooled in that style of playing, had a direct influence in removing some of the subtleties of deep blues. I think you are confusing technical issues (how many notes one can play) with theory. Listen to the acoustic Muddy Waters on ONE MORE MILE, early Chicago Muddy Waters, and PLANTATION RECORDINGS, and tell me there isn't an aural basis for the things that Palmer quotes Muddy Waters as saying in DEEP BLUES. ========================================================================= Date: Mon, 4 Mar 1996 10:56:19 -0600 Reply-To: Roger Struve From: Roger Struve Subject: MY OPINION ON THEORY FIRST, i said this was only my personal opinion. SECOND, i did try to say that anyone should agree with me. THIRD, i said that i do not expect anyone to agree with me. IS this not Amerika? Do i not have a right to believe or have an opinion of my own? I would NEVER try to influence any one of you dear people on BLUES-L. I respect you all very much. ' BUT, i don't intend to learn theory....i still believe that it would hinder MY development, and i PREFER to do it my own way. Thanks to all that felt impelled to email me personally, even two of you who felt it was your need to belittle me for having an opinion that you did not agree with. I WAS NOT criticizing any original bluesguys. But i doubt that any of them took theory lessons. I never said they were ign ora nt.....they were innovators, which i respect ab ove all other qualities (except honesty and love in your heart). I am considered one of the top engineers in my field. I am the original inven tor of the totally implantable variable rate peristaltic drug pump. BUT, i have no training in engineering at all! My peers respect me very much, (or so they say). Many of my managers have told me that the work i do is innovative and they attribute it to the fact that i have no engineering formal training which they believe is responsible for me imagining and being creative, unlike others who DO have the training an d they['re alike as peas in a pod as far as that they all KNOW what's possible and WHAT's not. (that was a quote). most respectfully, ddr ========================================================================= Date: Mon, 4 Mar 1996 12:08:09 -0500 Reply-To: 00LCSPECTOR@BSUVC.BSU.EDU From: "Lee C. Spector" <00lcspector@BSUVC.BSU.EDU> Subject: Rooster I may be completely crazy, but it seems to me that Otis Clay:Live in Japan was once on Rooster. If I am right, than this is my favorite Rooster album. In any case, in my opinion, this is the greatest live album of all time. Does anyone else have a favorite live album? Lee Lee C. Spector Department of Economics ========================================================================= Date: Mon, 4 Mar 1996 10:13:49 -0700 Reply-To: Michael Heicklen From: Michael Heicklen Subject: Home Copying - the Answer (sort of) Dear Listmembers: My original private e-mail answer to Eliot is reproduced below. I didn't originally post it to the group, because I felt it was a few details short of complete. However, there appears to be significant group interest, so below are my first installment, keeping in mind that as soon as I get a chance (hopefully by late this week, early next week), I will research and post the missing pieces. Thanks for your patience. =========================================================================== ========= "Remember, we're still talking about the right to copy, so in the literal sense, any reproduction of copyrighted material runs afoul of the law. It makes sense when you think about it. For every album copied, there is a lost sale. On the issue of home recording, there was a court case pending several years ago re: copying of audio for home use, and the US legislature, who writes these laws, made it clear that the intent of the statute was not to prohibit harmless personal use copying. I don't know the outcome of the court case (would have to look it up). In any event, I'm sure that even if the right to make home copies does exist for audio by court decree (as it does for video by statute), distribution of those copies would certainly be prohibited, unless within some statutory exception. As for the rights to resell the record itself, there is a doctine known as "first-sale," which allows the owner of a record to resell it without obligation to the copyright holder. In other words, once the copyright owner sells the first copy of something (such as an album or CD), he has no further control over its resale. Thus, if you want to sell your old records off the back of a truck at twice what you paid for them, it may violate some other law, but not the copyright laws. As for rental, it differs for videos and audio. In short, the legislature ratified the 1984 anti-rental bill on a trial basis, and it is illegal for anyone to currently rent out records. The provision was set to expire in 1997. I looked through the 1995 copyright revisions, and this section was included, so presumably it was extended beyond 1997, but I cannot say for sure, as I looked it up on the internet, and there were no accompanying notes. In any event, it is currently illegal to rent. Last, The "first-sale" doctrine includes a record store's ability to resell used CD's, and neither the record company nor the copyright holder receives compensation on this - so everybody in the industry is in an uproar. There has been some lower level litigation, and the matter has yet to be settled. In the mean time, the stores can continue selling used CD's." Take care. Michael Heicklen ========================================================================= Date: Mon, 4 Mar 1996 10:18:52 -0700 Reply-To: Michael Heicklen From: Michael Heicklen Subject: Re: More Copywright Questions -Reply Comments: To: Erica Wissolik Erica is right on this. However, 1) You don't need to use the symbol (it is optional) 2) If you don't register, you lose certain important rights until registered. 3) Without initial registration, it is harder to prove you're the author on the back end. I highly recommend registering all material. It cheap, easy, and gives you the ultimate protection up front. At 09:20 AM 3/4/96 -0500, Erica Wissolik wrote: >All of your copyright questions can be answered by looking at the copyright >circulars on the Library if Congress; home page: > >http://www.loc.gov >or you can telnet to marvel.loc.gov > >To answer the question below, under the law that went into effect on Jan 1, >1978, all works created on or after that date, are automatically protected from >the moment of creation, whether or not the creator registers the work with the >Library. So, yea, you are protected merely by using the copyright symbol. > >Erica > >>>> Shaun T Cronin 03/03/96 04:22pm >>> >THe question is what do you need to do to copyright an article/lesson plan? >I have heard that just using the coipyright symbol and then your name and >date is enough. Then I heard that this wasn't the case. Can someone help? >>>>>>>>>> > > ========================================================================= Date: Mon, 4 Mar 1996 09:29:54 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Theory vs. Expression -Reply -Reply Not again! DIE VILE THREAD, DIE! DIE! DIE! (hack,hack,hack) Now, where the hell is my coffee. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Mon, 4 Mar 1996 09:30:01 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: world music - blues (long) Comments: To: Bo Carlsson Bo wrote: >But It=B4s important to remember that Ali Farka Toure is realy inspired by >american soul and blues, especially John Lee Hooker. Inspiration travels >freely in the world today and his music is not really traditional. I'm not saying that you are wrong but have you read any interviews etc. that state this. I do hear JLH in a few songs but there are (with my limited knowledge of traditional African music) a few songs that seem the be very traditional but firmly connected to the blues. Ali Farka Toure and RL Burnside aren't that far apart. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. =20 ========================================================================= Date: Mon, 4 Mar 1996 12:35:07 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Re[2]: Theory vs. Expression -Reply -Reply Roger S. has raised some points about theory vs. expression that have really made me think and refine my ideas about the issue. I thought it was worth sharing. Roger said: >Show me any original Bluesperson who took lessons other than "show me >how you do that" type of stuff (like Robert Johnson getting taught how >to play by the ":real " king of the Delta Blues, Son House). >I don't know a thing about music theory. But i know how to talk to you >with my heart through the medium of my guitar., I said: >I think most bluesicians would agree with you. The above statement >could have been made by Max or most of the blues guitarists I know, >and that's how most of them, myself included, learned to play blues >guitar. IMHO, however, on blues-l the sample is biased. It's been my >experience that most bluesicians outside of blues-l are self-taught >and as a rule don't have much formal education, therefore they tend >to eschew formal methodology, although obviously theory is implicit >in blues. I would guess most blues-lers are college educated, which >means they have a predisposition for formal methodology such as music >theory. I see that some blues-lers find the formal methodology of >music theory helpful. I find the formal methodology useful in >studying classical music and jazz, but I personally do not find it >helpful for playing blues. I think it is safe to assume Robert Johnson, Son House and Muddy Waters didn't know anything about formal music theory. On the other hand, B.B. King is somewhat of a scholar from what I understand and does know about theory and it hasn't hurt his playing any :) ========================================================================= Date: Mon, 4 Mar 1996 10:36:15 -0700 Reply-To: Michael Heicklen From: Michael Heicklen Subject: Re: More Copywright Questions-correction Comments: To: Erica Wissolik Erica is right on this. However, 1) You don't need to use the symbol (it is optional) - 2) If you don't register, you lose certain important rights until registered. 3) Without initial registration, it is harder to prove you're the author on the back end. I highly recommend registering all material. It cheap, easy, and gives you the ultimate protection up front. JUST WANTED TO CLARIFY THAT WE ARE TALKING ABOUT US COPYRIGHT LAWS. At 09:20 AM 3/4/96 -0500, Erica Wissolik wrote: >All of your copyright questions can be answered by looking at the copyright >circulars on the Library if Congress; home page: > >http://www.loc.gov >or you can telnet to marvel.loc.gov > >To answer the question below, under the law that went into effect on Jan 1, >1978, all works created on or after that date, are automatically protected from >the moment of creation, whether or not the creator registers the work with the >Library. So, yea, you are protected merely by using the copyright symbol. > >Erica > >>>> Shaun T Cronin 03/03/96 04:22pm >>> >THe question is what do you need to do to copyright an article/lesson plan? >I have heard that just using the coipyright symbol and then your name and >date is enough. Then I heard that this wasn't the case. Can someone help? >>>>>>>>>> > > ========================================================================= Date: Mon, 4 Mar 1996 17:33:36 +0000 Reply-To: "mike (m.f.) leipe" From: "mike (m.f.) leipe" Organization: bnr Subject: Re: Favorite Quotes Comments: To: bit-listserv-blues-l@uunet.uu.net Not totally blues-related, but... "Black people been going out shaking their behinds for centuries... so what am I supposed to get so excited about, man?" - Ray Charles on Elvis -- ----------------------------------------------------------------------------- | Mike Leipe | "There's only two things in life, but I forget | | Nortel Wireless Networks | what they are." - John Hiatt | | Ottawa, Canada |--------------------------------------------------| | (613) 765-3206 | * My opinions, not Nortel's * | ----------------------------------------------------------------------------- ========================================================================= Date: Mon, 4 Mar 1996 18:40:46 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: world music - blues (long) Comments: To: Shaun T Cronin >Bo wrote: > >>But It=B4s important to remember that Ali Farka Toure is realy inspired by >>american soul and blues, especially John Lee Hooker. Inspiration travels >>freely in the world today and his music is not really traditional. > >I'm not saying that you are wrong but have you read any interviews etc. >that state this. I do hear JLH in a few songs but there are (with my >limited knowledge of traditional African music) a few songs that seem the >be very traditional but firmly connected to the blues. Ali Farka Toure and >RL Burnside aren't that far apart. > >Shaun Yes, I have read interviews where mr Toure says that Hooker has been a big influence. I recall that he also mentioned Otis Redding. I have no way to check my old issues of different magazines at the moment so I can=B4t give any pointers about where to find them. I think this is great as is all the Caribean influences in african pop. Bo ========================================================================= Date: Mon, 4 Mar 1996 09:57:55 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Theory vs. Expression -Reply -Reply Delta doc said: edit edit >Do you think that if the first inventor of blues had taken theory lessons, >that would not have limited his scope of what music was about? Do you not >see that blues emanated partly from not knowing theory? WAIT A BLOODY MINUTE! whew, did you say that? Those who invent and shape entire genres of music most certainly DO and DID know theory, whether or not they went to school for it. If they did not know theory, they would have been a blacksmith or a physicist, NOT a musician! You CANNOT CREATE GREAT MUSIC without knowledge of its rules and mechanics, whether or not that knowledge was gained in a formal setting. Primitivist mythologies of the blues and it's founders as illiterate semi-savages who "played from their hearts" are bullshit... Sorry Roger, they might not have known the terminology, but they KNEW the music. The main reason they didn't know the terminology is because of the bigotry of their age which kept them from schools and universities. Once again, those who dump on theory are those who fear it, and fear always comes from ignorance. >In Physics, >Einstein was a dropout in school, yet his Physics took the rank of great >innovators like Newton. Only perhaps, Stephen Hawkings has surpassed >Einstein in coming up with new innovation, and he attests that it is >because it's all he can do anymore is think. (He is in a wheelchair with >no ability to move except his little finger that he uses a computer to talk >with.) Hawkings admits that he had no use for school, and that he never >really wanted to study. His confinement is relative to his innovation . Einstein went back, didn't he.... And Hawking is being disingenious. Regardless of his current methodologies, he is *able* to think about the things he does only because he has a solid foundation in physical theory. Do you think that we are *born* with a foundation in astrophysics?? Without that foundation would be watching Hulk Hogan and thinking of Oprah and you know it. >Again, i say that training can smother innovation. And I say innovation that is that easily smothered is probably over-leveraged mediocrity. The one valid objection to music schooling is the schools who turn out clones with lots of technique, and no interpretation. That is not the fault of schooling itself, but is the result of the limited vision of those teachers and that institution. As someone who records for a great school of music, I can tell you that the students who come here with a gift, leave with a better, stronger, more intuitive, and powerful, gift. Let's let the blues founders out of the "primitive savage" box ok? DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu I looked over Jordan, and what did I see An Eldorado comin' after me comin' for to carry me home.. -- Dizzy Gillespie ____________________________________________________ ========================================================================= Date: Mon, 4 Mar 1996 11:58:12 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Re: Rooster > > I may be completely crazy, but it seems to me that Otis Clay:Live in > Japan was once on Rooster. If I am right, than this is my favorite > Rooster album. In any case, in my opinion, this is the greatest live > album of all time. Does anyone else have a favorite live album? Lee > > > Lee C. Spector > Department of Economics > You are crazy: Otis Clay: Soul Man, Live in Japan is on Bullseye Blues (Rounder Group) You are not crazy: It is one of the gratest albums of all time and a MUSt for all soul music lovers. I saw him live few months ago, and I can testify he still has lots of soul left in him. Ranko ========================================================================= Date: Mon, 4 Mar 1996 17:52:19 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Eddie Taylor Comments: To: bit-listserv-blues-l@uunet.uu.net Pat Hertel responded to: > >> Because other than his >> few sides for Vee Jay in the '50s, I don't think he did much that could >> be called "better" than "Long Way From Home". >> with: > > That would be me. > To say I don't like the release is overstating it. I just didn't like >the recording quality. My favourite would have to be "Big Town Playboy". >(haven't seen it on CD). Pat, Well there ya go. "Big Town Playboy" is his Vee Jay reissues. Do you really think the recording quality of "Long Way From Home" is that bad? My copy sounds fine, and waaaay better sonically than my copy of "Big Town Playboy". Also better than a lot of other modern era live recordings. Scott ========================================================================= Date: Mon, 4 Mar 1996 18:14:50 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Theory vs. Expression -Reply Comments: To: bit-listserv-blues-l@uunet.uu.net In , Roger Struve writes: >Show me any original Bluesperson who took lessons other than "show me how >you do that" type of stuff (like Robert Johnson getting taught how to play >by the ":real " king of the Delta Blues, Son House). Would Willie Dixon count? I could name others of his caliber, if it would matter. >I am firmly convinced that knowing theory will obscure and/or narrow the >scope of what you play. Knowing more=playing less? Aside from arguing that you probably know lots of theory already (ever notice how you play differently when you play country music and blues? Ever change from the C to the F to the G? Ever use a capo?), your statement pushes the idiot savant model of musicianship. > >I don't expect nor require anyone else to agree with me. This is just my >personal feeling about it. If this were true you would not post. It wouldn't be necessary. For that matter, if learning can adversly effect your playing, aren't you taking a big chance by reading blues-l? BBB B.B. Bean bbbean@cris.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Mon, 4 Mar 1996 13:18:11 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: Cookin' up the Blues Comments: To: Keith Castleberry In-Reply-To: <199603041651.KAA13953@mako.atmore.gulf.net> Can you provide an address/phone number? Jim come win a CD at Jim's Blues N' Brews: http://www.cloud9.net/~leftwich On Mon, 4 Mar 1996, Keith Castleberry wrote: > Here's something neat. Tabasco brand pepper sauce is offering a "Blues" > cookbook. It has excellent photos of many Blues artists (Kenny Neal, Buddy > Guy, Koko Taylor, Earl King.......more). Cost is $7.00. Has some Blues > content, but mostly their recipes. Well worth the price. > > I'm not affiliated with Tabasco (other than useing it a lot). > > > > Keith Castleberry > WYDH 105.9 FM > "The Blues Cruise" > P.O. Box 710 > Atmore, AL 36504-0710 > ========================================================================= Date: Mon, 4 Mar 1996 19:10:34 +0100 Reply-To: Ingvald Bergsagel From: Ingvald Bergsagel Organization: University of Oslo Subject: #BLUES on IRC Comments: To: bit-listserv-blues-l@nac.no There's a rather inactive channel on IRC by the name of #BLUES. Hope some of you are interested in joining in from time to time. Or: if is there another channel discussing blues, I'd like to get a little hint... Ingvald Bergsagel -- Ingvald Bergsagel - Rostedsgate 9 - 0178 OSLO - NORWAY - 22113552 ========================================================================= Date: Mon, 4 Mar 1996 13:19:52 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: PBS SPECIAL - STEVIE RAY VAUGHN: A RETROSPECTIVE Comments: To: dennisr In-Reply-To: <199603032018.PAA08429@lightning.mgl.ca> Does anyone knowif this will this be airing in New York City? Jim come win a CD at Jim's Blues N' Brews: http://www.cloud9.net/~leftwich On Sun, 3 Mar 1996, dennisr wrote: > * STEVIE RAY VAUGHN: A RETROSPECTIVE > > Thursday, 3/7 (10-11:20 pm ET) PBS stations > Legends of the blues world join Jimmie Vaughan in saluting his younger > brother, the late Stevie Ray Vaughan, in the first televised tribute to the > young bluesman. Brother Jimmie leads a "who's who" of blues masters, > including B.B. King, Eric Clapton, Buddy Guy, Robert Cray, Bonnie Raitt, > Dr. John, Art Neville and former members of Stevie Ray's band, Double > Trouble, Chris Layton, Tommy Shannon and Reese Wynans. Stereo. > ========================================================================= Date: Mon, 4 Mar 1996 10:28:16 -0800 Reply-To: Guy Tapper From: Guy Tapper Subject: Re: PBS SPECIAL - SRV etc. Another thing to remember when discussing PBS programming on the list is that, unlike the commercial networks, public broadcasting is much more closely controlled by local affiliates. Therefore, dates and times, and even whether or not a program will be presented at all, vary from one PBS station to another, so it is important to watch local listings and not rely on information from people in other communities. Guy Tapper MLRG Illustration Scripps Institution of Oceanography 9500 Gilman Dr. La Jolla CA 92093-0227 (619)534-2358 (619)534-6500 fax ========================================================================= Date: Mon, 4 Mar 1996 18:37:17 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Cookin' up the Blues In-Reply-To: <199603041651.KAA13953@mako.atmore.gulf.net> On Mon, 4 Mar 1996, Keith Castleberry wrote: > Here's something neat. Tabasco brand pepper sauce is offering a "Blues" > cookbook. It has excellent photos of many Blues artists (Kenny Neal, Buddy > Guy, Koko Taylor, Earl King.......more). Cost is $7.00. Has some Blues > content, but mostly their recipes. Well worth the price. > > I'm not affiliated with Tabasco (other than useing it a lot). > > > I have noted that this is also available from Alligator Records. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [4/3/96 13:34 PM] "They call it stormy monday..." ========================================================================= Date: Mon, 4 Mar 1996 13:39:56 -0500 Reply-To: "Lost John From: "Lost John Subject: PBS SPECIAL - SRV etc... Hi to all - Yesterday, dennisr posted the following: >* STEVIE RAY VAUGHN: A RETROSPECTIVE >Thursday, 3/7 (10-11:20 pm ET) PBS stations >Legends of the blues world join Jimmie Vaughan in saluting his younger >brother, the late Stevie Ray Vaughan, in the first televised tribute to >the >young bluesman. Brother Jimmie leads a "who's who" of blues masters, >including B.B. King, Eric Clapton, Buddy Guy, Robert Cray, Bonnie >Raitt, >Dr. John, Art Neville and former members of Stevie Ray's band, Double >Trouble, Chris Layton, Tommy Shannon and Reese Wynans. Stereo. I find this a little bit confusing, considering that a Blues-L subscriber from Mountain Lake Television (PBS in Plattsburgh NY, I believe) told us last week that PBS had to pull the show for legal reasons re:SONY/CBS. Is this a different special or was there a last-minute change of heart (or legalities) with respect to the one originally referred to ? If the PBS person could straighten us out on this one (sorry, I forgot your name, Jan ??) I'd really appreciate it. -- _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ _/ JC /\ _/ _/ ______________ || _/ _/ \__________ / || _/ _/ ________ ___/ John Carley || _/ _/ \______ / johnc@vedge.com || _/ _/ ____ ___/ (514)332-6430 x232 || _/ _/ \__ / Visual Edge Software Ltd. |\||/| _/ _/ _____/ 3950 Cote Vertu, Suite 100 \ / _/ _/ \/ Montreal, Quebec, Canada / \ _/ _/ ( ) _/ _/ \____/ _/ _/ (graduate of the Yogi Berra school of elocution) _/ _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ ========================================================================= Date: Mon, 4 Mar 1996 13:11:17 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Nothin' But the Blues Playlist Below is the playlist from this past Friday's special "Double-Entendre" Blues show for the Rock department's fund-raising marathon on WTJU, FM 91.1, Charlottesville, Virginia. I managed to bring in $285.00 in pledges. I'd like to thank those Blues-L folks who chimed in with their double-entendre blues suggestions. Big 10 Inch Record - Bull Moose Jackson I Like My Baby's Pudding - Wynonie Harris Airplane Blues - Helen Humes Jelly Roll Man - Bill Simpson Hot Cross Buns - Paul Gayten Whole Lotta Meat - B.B. King Do You Want It - Julia Lee My Starter Won't Start - Lightnin' Slim Your Car Machine - Guitar Tommy Moore Hydramatic Woman - Joe Hill Louis Autombolie - Lightnin' Hopkins Terraplane Blues - Robert Lockwood Motor Head Baby - Johnny "Guitar" Watson Cadillac Baby - Roy Brown Baby Ride with Me - Howlin' Wolf Too Many Drivers - Lowell Fulson Big Rear Window - Phillip Walker Diggin' My Potatoes - Washboard Sam Play With Your Poodle - Tampa Red Jelly Roll Bert - Johnny Temple Sugar in My Bowl - Angela Brown Cigarette Blues - Roy Bookbinder Wang Dang Doodle - Terry Garland My Daddy was a Jockey - John Lee Hooker I'm Your Doctor - Muddy Waters Bad Blood - Champion Jack Dupree Ice Cream Man - John Brim Lemon Squeezin' Daddy - Nappy Brown Let Your Daddy Ride - John Lee Hooker It's Mighty Crazy - Lightnin' Slim Fan It - Lightnin' Hopkins Little Girl Sing Ding-a-Ling - Dave Bartholomew You Played on My Piano - Helen Humes Big Long Slidin' Thing - Dinah Washington -Peter ========================================================================= Date: Mon, 4 Mar 1996 14:44:26 -0500 Reply-To: bob unger From: bob unger Subject: PBS Schedule on WWW PBS has a web site with their broadcast schedule for your area. The site address is www.pbs.org Click on schedule, then click on your state. It will show all the stations in your area that carry PBS. Click on your station and it shows there schedule for the next 2 weeks. For those in the NY area, channel 13 is NOT scheduled to carry SRV. I haven't checked 21 (WLIW) yet..... BU bob@sun.bnkst.edu ========================================================================= Date: Mon, 4 Mar 1996 14:54:14 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0007 From: "DUTTWEILER.J" Subject: Home Copying - the Answer (sort MJH wrote: >For every album copied, there is alost sale. This is a specious argument that the RIAA has been hyping for years. If I copy an album or CD which I bought for my own personal use, that does NOT mean if I couldn't copy it I would by a tape of it. NOR does it necessarily follow that if a friend of mine makes me a copy ofa CD he/she bought that means I won 't go out and buy a copy myself, or if he/she could not make me a copy that I would go out and buy one. Personal home taping *may* deprive reocrd companies of a miniscule amount of sales, but no where in the billions of dollars range that they have traditionally claimed. >On the issue of home recording, there was a court case pending >several years ago re: copying of audio for home use, and the US legislature, >who writes these laws, made it clear that the intent of the statute was not >to prohibit harmless personal use copying. I don't know the outcome of the >court case (would have to look it up). If my memory serves me, the current law specifically exempts home taping *and* applied a small tax to blank tape sales to make up for the "loss" record companies experienced. The law also specifically limited digital technology at the urging/insistence of the RIAA so that consumers could not take advantage of making copies in the digital domain. With the advent of recordable CDs, and the cost of producing a CD so low, this limitation is shown to bemore and more ludicrous and heavy handed. JD ========================================================================= Date: Mon, 4 Mar 1996 19:57:46 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Blues Theory and education Comments: To: bit-listserv-blues-l@uunet.uu.net Several 'zellers have suggested that they consider the learning of theory to be irrelevant to, or posibly an impedance to playing blues. I stand opposed to any such idea, but here's a related question for the "theory is bad" crowd: What do you think of efforts by Willie Dixon, Billy Branch, countless blues societies and foundations, the NEA and others to educate youngsters about the blues? Will the presence of formal education (and the dreaded theory) diminish their ability to play meaningful blues? BBB B.B. Bean bbbean@cris.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Mon, 4 Mar 1996 15:05:51 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Bartender's Bop Playlist Here is this morning's how which featured some new releases by John Hammond, Linda Hopkins and the Cat Mary. . Last week's show which was a fundraiser called "Rockin in the Forties" is available from my web site. Tom Title Group Year Label -------------------- -------------------- ---- -------------- Doctor Thrill Good Coday, Bill 95 Ecko Don't Drive Me Away Brown, Charles 92 Bullseye Blues You could Have Had Hopkins, Linda 95 Quicksilver me Crazy 'Bout An Cooder, Ry 80 Warner Bros Automobile Sweet Knees and the Cat Mary 95 Orchard Backbones Let's Burn Down the James, Etta 74 MCA Cornfield Smoke Filled Room Thomas, Irma 92 Rounder Trouble You Can't Cooder, Ry 79 Warner Bros Fool Me Her High Lonesome the Cat Mary 95 Orchard Day Car of Your Dreams, Taj Mahal 96 Private The Blues No More Eavans, Terry 95 Audio Quest Tell Me You'll Wait Brown, Charles 92 Bullseye Blues For Me Big Bad Bill is Cooder, Ry 78 Warner Bros Sweet William Now Her Love is Enough Coday, Bill 95 Ecko to Put in Collard Greens Blind Leading the Bogart, Deanna 92 Flying Fish Blind Henry's Rain the Cat Mary 95 Orchard All the Way Down James, Etta 73 MCA Which Came First Cooder, Ry 82 Warner Bros Evolution Blues Hammond, John 96 Point Blank Put Your Colthes Off Kimbrough, Junior 94 Fat Possum Goin to Brownsville Cooder, Ry 70 Warner Bros Flaming the Flames Taj Mahal 95 Private You and Me Eaglin, Snooks 95 BlackTop Great Dreams From Cooder, Ry Warner Bros Heaven Stop on by my Jazz and Blues Web Site http://redlt.com/tom/ Free-lance Writer--Author--Program Director WTJU 91.1--Internet Consultant ========================================================================= Date: Mon, 4 Mar 1996 14:31:21 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Blues Theory and education In-Reply-To: Message of Mon, 4 Mar 1996 19:57:46 GMT from On Mon, 4 Mar 1996 19:57:46 GMT Barry Bean said: > >What do you think of efforts by Willie Dixon, Billy Branch, countless >blues societies and foundations, the NEA and others to educate youngsters >about the blues? Will the presence of formal education (and the >dreaded theory) diminish their ability to play meaningful blues? First of all Billy Branch and the others can not teach formal education. Where did Billy get his music degree...???? Do you mean they are teaching them WHAT to play or WHY to play it. There is a difference. I know that putting my car car in drive and pushing the gas pedal will make it go. So would you say that since I know WHAT makes it go, then I know about car mechanics...? Now if I knew WHY the car went, when I pushed the gas pedal then I would know about car mechanics. Does knowing that sticking your finger in a light socket will shock the piss out of you make you an electrician...? Knowing WHY it would shock you, would come closer to qualifying you as knowledgeable in electrical theory. A science knows WHY and experience knows WHAT don't confuse WHAT with WHY LW ========================================================================= Date: Mon, 4 Mar 1996 15:40:37 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Musing over Hubert Wow! I am repeatedly floored by Hubert Sumlin's guitar work on the Wolf's "Change My Way" album. The more I listen to it, the more impressed I am with his subtlety, finesse and style. I also have commented in th past about his nice solo work on his own album "Blues Guitar Boss" more recently, but I like the older stuff much better. For starters, tone. ANybody know what Hubert was playing back in them days, the 50's with the Wolf? His sound is really F A T and smooth. It's gotta be a Gibson something-or- other, or maybe another archtop type? Anybody know? Any Blues-Ler out there see him in his early days? Nowadays he uses a Strat and his sound is entirely different....cleaner & leaner. More treble-y. ......just musing out loud to ya'all here.......... -Riffin Rick ps..for you gearheads/harp players....my harp guy just bought (actually, traded for ) a mint condition 1958(?) Gibson Falcon tweed amp, all original. You wanna talk tone? *whew!* :) F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Mon, 4 Mar 1996 15:39:14 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Steel Guitar Rag questions Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I have versions of "Steel Guitar" rag by four different artists, and I'm wondering who wrote it, and when the lyrics were added. There is a version by Sylvester and Weaver on the Columbia slide guitar collection. Steve James plays a similar version on "Two Track Mind" (great acoustic album, btw), and he credits it to Sylvester & Weaver. There is a version by Merle Travis on "The Best of Merle Travis" with lyrics. Finally, there is an electric version by Earle Hooker on "Two Bugs and a Roach." His version is credited to himself. Did Merle Travis write the lyrics or was there a version with lyrics before his? And were Sylvester and Weaver the original authors and the first to record it? -Steve ========================================================================= Date: Mon, 4 Mar 1996 20:34:15 GMT Reply-To: william higdon From: william higdon Organization: michigan state university Subject: Music Theory/Blues (original poster) Comments: To: bit-listserv-blues-l@relay2.uu.net The original post inquired whether anyone could recommend a book on music theory which I might find useful as a blues guitar "student". I would still appreciate any suggestions. In my opinion (based only on trying to play guitar for 14 years), if a person is failing as a guitar player (as judged by him/her self!) then they might find it darn helpful to learn a little theory. It is OK that not every music maker is a gifted musician, right? I fall in this category, but on second thought I feel like a gifted musician because it pays me back BIGTIME. Thank you blues-l folks for being an important part of that. Bill Higdon ========================================================================= Date: Mon, 4 Mar 1996 14:48:54 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Rooster Comments: To: Ranko Vujosevic In-Reply-To: <199603041758.LAA21144@picasso.ccad.uiowa.edu> Ranko was half right; Otis Clay Live In Japan was on LP on Rooster Blues before it came out on Bullseye. It was first released on a Japanese label. ========================================================================= Date: Mon, 4 Mar 1996 14:58:47 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 03/05 B O R N : BURNS, DAVE ( DAVID ) Born:1924 PERTH AMBOY, NY Career:TRUMPET / FLUGELHORN / PIANO / TEACHER Style:JAZZ / BIG BAND LEVY, LOUIS ( LOUIS A LEVY ) Born:1928 CHICAGO, IL Career:PIANO Style:JAZZ / BIG BAND With:George Auld / Chubby Jackson / Boyd Raeburn / Woody Herman / Tommy Dorsey / Dave Pell / Shorty Rogers / Peggy Lee LITTLE, WILBUR ( WESTON ) Born:1928 PARMELE, NC Career:BASS Style:BLUES PEMBERTON, BILL ( WILLIAM MCLANE ) Born:1918 NEW YORK, NY Career:BASS Style:JAZZ / BLUES / BIG BAND With:Frankie Newton / Mercer Ellington's Band 1946 / Billy Kyle 1948 / Herman Chittison / Eddie South / Art Tatum / Johnny Hodges / Billy Strayhorn / Lucky Millinder / Earl Hines / Budd Johnson / Claude Hopkins ROGERS, GENE (EUGENE ) Born:1910 NEW YORK, NY Career:PIANO / COMPOSER / ARRANGER / LEADER Style:JAZZ / BIG BAND TOYAMA, YOSHIO Boorn:1944 TOKYO, JAPAN Career:TRUMPET Style:TRAD / JAZZ With:Barry Martyn's "Legends of Jazz / Alton Purnell / Louis Nelson / Returned to Japan because of immigration trouble WASSERMAN, EDDIE (EDWARD JOSEPH ) Born:1923 SMACKOVER, AR Career:TENOR SAX / CLARINET / FLUTE Style:BLUES / JAZZ / BIG BAND YUKL, JOE ( JOSEPH ) Born:1909 NEW YORK, NY Career:TROMBONE / LEADER Style:JAZZ / BIG BAND With:Roger Wolfe Kahn / Red Nichols / Dorsey Brothers / Frank Trumbauer / Ben Pollack / Ted Fio Rito / coached James Stewart for his part in 'The Glenn Miller Story' FOR A LISTING OF THOSE THAT PASSED AWAY IN THIS MONTH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Mon, 4 Mar 1996 14:50:08 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Blues Theory and education -Reply Comments: To: bbbean@CRIS.COM If willie dixon wanted to take a theory lesson, that was his perogative. If i had said that i thot theory was not relevant to everyone, i would have stated it so. I merely said that for me, i am not going to take a theory lesson. Why do you guys insist that you know better? Why do yawl persist in expounding on my original statement, projecting such irrelevancies to my own personal opinion for what is my way of doing it, such as no blues education in the schools, or naming me a bunch of great musicians that did take theory? (I only stated my opinion on what is right for me....period.) Your only valid perogative is to agree or disagree with my opinion. To expound/predict/predicate other examples based on my personal opinion is merely creating argument where none exists before. ddr ========================================================================= Date: Mon, 4 Mar 1996 14:57:15 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Canned heat still ali Cv> I saw Canned Heat three months ago at a club just outside Sacramento. Cv> The drummer (don't know his name) is the only remaining original Cv> member of the band. The original drummer was Frank Cook when I lived with Bob Hite and Alan Wilson in Topanga Canyon in 1967. He has long since been replaced. ... "Have you seen the world lately, I mean _really_ seen it??" Duckman --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Mon, 4 Mar 1996 14:57:20 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Used blues bytes 4 sale One once-listened-to BluesBytes 1996 for sale; half price. Private e-mail only. Thanks. ... "Damn you all. I told you so!" H. G. Wells --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Mon, 4 Mar 1996 16:00:08 -0500 Reply-To: jlafave@NYLINK.ORG From: "" Subject: SRV Tribute In response to Lost John and others: My latest information is that PBS will NOT air the SRV Tribute with Jimmie V, BB King, Eric Clapton etc. due to complications arising from the SONY planned release of the tribute on video and cd and some royalty problems with musicians. PBS (check with your local station) will offer SRV A RETROSPECTIVE - a program of highlights from SRV's Austin City Limits appearances as a replacement. Many stations went to print with their program guide before the change was announced. Jan LaFave Mountain Lake Public Television jlafave@nylink.org ========================================================================= Date: Mon, 4 Mar 1996 13:10:54 -0800 Reply-To: Jef Jaisun From: Jef Jaisun Subject: Re: JIMI'S COLLEC [delivery failure to nls@m1.interserv.com] (fwd) I've been getting this message a lot lately, but obviously the mail is getting through eventually. So, pardon if my posts turn up twice (like that baseball thing). Is anyone else getting their stuff bounced back? Jef -----------------------Interserv Operations wrote------------------------ > From root@m1.interserv.com Mon Mar 4 06:15:35 1996 > Date: Mon, 4 Mar 1996 06:10:10 -0800 > Message-Id: <199603041410.GAA11629@m1.interserv.com> > To: eljefe@netcom.com > References: <9603021618.0MWU302@chrysalis.org> > In-Reply-To: > X-Loop: postmaster@interserv.com > From: Interserv Operations > Subject: Re: Re: JIMI'S COLLEC [delivery failure to nls@m1.interserv.com] > Precedence: bulk > > The message that you sent to the above recipient was not delivered. All mail > sent to this account will continue to be returned until the recipient has > removed enough mail to lower the mailbox size below the system mailbox limit. > > -- > > Interserv Network Operations Center Postmaster@interserv.com > 2001 6th Ave. Suite 3025B noc@interserv.net > Seattle, WA. 95121 CompuServe/Internet Division > > -----[ Orginal mail message follows ]------------- > > > > > > Don O (don.o@CHRYSALIS.ORG) wrote: > > : In Shapiro and Gleebeek's book, Electric Gypsy, one of the nice color plates is > > : a 1967 publicity photo of Jimi with an LP copy of The Best of Elmore James > > : sitting on his lap. > > > > You might like to know that Cesar Gleebek has never sent a copy of that > > book to the Hendrix family, who helped him immensely. At least he hadn't > > as of last Thursday.;| > > > > > > ============================================================================= > > Jef Jaisun eljefe@netcom.com > > ============================================================================= > > > > -- > > > ========================================================================= Date: Mon, 4 Mar 1996 15:14:06 -0600 Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: Re: PBS Schedule on WWW After you check the web site, you may want to call the PBS station in your area. I checked with mine and they gave me information not mentioned in the (generic) listing. They did not have a license for the SRV tribute show (with JV, BB King, EC, etc...) and so they will air other SRV shows. Nuri Nuri, Host/Producer "Blues Brunch", KPFT 90.1FM - Houston >PBS has a web site with their broadcast schedule for your area. The site >address is www.pbs.org Click on schedule, then click on your state. It >will show all the stations in your area that carry PBS. Click on your >station and it shows there schedule for the next 2 weeks. > >For those in the NY area, channel 13 is NOT scheduled to carry SRV. I haven't >checked 21 (WLIW) yet..... > >BU >bob@sun.bnkst.edu > > ========================================================================= Date: Mon, 4 Mar 1996 15:06:10 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Music Theory/Blues (original poster) In-Reply-To: Message of Mon, 4 Mar 1996 20:34:15 GMT from On Mon, 4 Mar 1996 20:34:15 GMT william higdon said: >The original post inquired whether anyone could recommend a book on >music theory which I might find useful as a blues guitar "student". >I would still appreciate any suggestions. Somewhere on one of those guitar FTP sites there is something called a Jazz Primer, it is ALL THEORY. Download and print it, it is about 100 pages long after you've mastered that, take a class in Music Theory from a qualified music theory teacher, who majored (at least minored) in Music in college. You wouldn't go to a doctor that didn't have a degree, so why study music from someone who never got a music degree. The Theory Of Music is not something to take lightly (as some of US have) it is a SCIENCE that is taught in many major universities. So seriously download that Jazz Primer and then enroll in a Theory Of Music course. How many folks (especially the ones who spoke loudest) have a degree in music or even studied music theory at a university...(Mel Bay doesn't count :-) LW ' never underestimate the value of education' ========================================================================= Date: Mon, 4 Mar 1996 13:27:04 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Other mailing lists? Can anybody tell me if there are mailing lists for jazz and songwriting? I know there's a songwriting newsgroup, which is quite interesting, but I can't keep up with newsgroups all the time. Thanks! -Jim (hndful@uniserve.com) ========================================================================= Date: Mon, 4 Mar 1996 16:33:16 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0065 From: "DUTTWEILER.J" Subject: Re: Blues Theory and education LW wrote: >A science knows WHY and experience knows WHAT >don't confuse WHAT with WHY I think you may be confusing "why" with "how." If you're gonna nitpick you might as well pick the right nit JD ========================================================================= Date: Mon, 4 Mar 1996 14:52:19 -0600 Reply-To: Keith Castleberry From: Keith Castleberry Subject: Cookin' up the Blues, part 2 Sorry, my 1st post didn't have address for the Cookbook. Address for Cookin' up the Blues: McIlhenny Company Avery Island, LA 70513 $7.00 Keith Castleberry WYDH 105.9 FM "The Blues Cruise" P.O. Box 710 Atmore, AL 36504-0710 ========================================================================= Date: Mon, 4 Mar 1996 16:57:01 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: information request (Appalachia) Comments: To: David Shrewsbury In-Reply-To: <199603040237.VAA01465@ns1.cwv.net> > On Thu, 29 Feb 1996 12:37:38 -0400, Jim Sands wrote: > >I have not had any luck finding out about > >musicians from Appalacia. If anyonehas any (ans I mean ANY) information > >concerning the blues in Appalacia please post it on the list or E-mail me > >directly. > > Interested in Appalachian Music, huh? Find out if your local public > radio station carries a show called "Mountain Stage" on Sundays > around 2 - 3 p.m. "Mountain Stage" is a weekly program broadcast > from Charleston, West Virginia that features a wide variety of Appalachian > Music, including blues, folk, rock, and jazz. Some notable guests in > the last 1 1/2 years include G.E. Smith, Joan Baez, R.E.M., The > Indigo Girls, plus many blues guitarists, pianists, and > saxophone players. > Mountain Stage is broadcast to 23 different countries and is > carried in about 45 states. I hope you find what you're looking for. > > davids@cwv.net > Mountain Stage can be heard on WFUV 90.7 FM in New York City every Friday at 2 pm Jim come win a CD at Jim's Blues N' Brews: http://www.cloud9.net/~leftwich ========================================================================= Date: Mon, 4 Mar 1996 16:18:10 -0600 Reply-To: Keith Castleberry From: Keith Castleberry Subject: Re: SRV Tribute NOTE - SRV special was on my TV last night. Very good. Was on the PBS Fundraiser Telethon. >In response to Lost John and others: > >My latest information is that PBS will NOT air the SRV Tribute with Jimmie >V, BB King, Eric Clapton etc. due to complications arising from the >SONY planned release of the tribute on video and cd and some royalty >problems with musicians. > >PBS (check with your local station) will offer SRV A RETROSPECTIVE - a >program of highlights from SRV's Austin City Limits appearances as a >replacement. > >Many stations went to print with their program guide before the change was >announced. > >Jan LaFave >Mountain Lake Public Television >jlafave@nylink.org > > Keith Castleberry WYDH 105.9 FM "The Blues Cruise" P.O. Box 710 Atmore, AL 36504-0710 ========================================================================= Date: Mon, 4 Mar 1996 17:17:47 EST Reply-To: ron kraemer From: ron kraemer Subject: CBS Sunday Morning I caught CBS-SM's piece on the Rhythm and Blues Foundation's awards ceremony, and was quite moved. Especially the woman who sang the duet with Jerry Butler. Someone please help me with her name. She was described as being in "failing health", and said herself that (paraphrasing) "in all her years of performing, it was the first award she had ever received." Then, to see and hear her sing, I literally had tears well up in my eyes watching! Another one of those artist transformations where she, just by the sheer love of the music, seemed to be transported to an earlier time in her career. If I hadn't caught the part of her bad health, I never would've guessed it. My musical listening history never made it to artists such as Jerry Butler and the other honorees, as I went from Genesis/Led Zep/Neil Young STRAIGHT to the Blues, but watching ALL of them was extremely humbling. What superb performers they were, and must've been in their heyday. If I could exhibit on stage 1% of the charisma, stage presence, and FEELING that these artists showed, I'd at least feel I was heading in the right direction. I don't know if the votes have been tabulated from the BluesBytes $$$, but we would not go wrong as a group if we directed some or all of it to the Rhythm and Blues Foundation. Ron ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters (and in another life....) Ron Kraemer and the Hurricanes ************************************************************ ========================================================================= Date: Mon, 4 Mar 1996 23:37:14 +-100 Reply-To: Ron Alflen From: Ron Alflen Subject: Please Help,..... Need Robben Ford Lyrics Hi, We (dutch bluesband) are looking for the lyrics of the Robben Ford song: = "He don't play nothing but the blues" I think its on the "Mystic Miles" = CD I got the song on cassette but we dutch-a-boys-notta-good-english-speak. Anyway its hard to hear what he's singing and i can't find it on a = lyrics server on WWW. Any(american)one wanna help us? Thanks!!! Ron Alflen ========================================================================= Date: Mon, 4 Mar 1996 17:34:40 EST Reply-To: ron kraemer From: ron kraemer Subject: What's Obsessing You? BlueBytes, that's what! Man-o-maneschevitz! I'll chime in and agree with my buddy Riffin' Rick....Cathi Norton is Sultry-'n-Sexy, with a capital S. Kudos to Bob Unger, Embee, and everyone else in compiling it, and the overflow of talent that I heard. It's quite an honor for my (at the time) 2-month old band to be included with such truly fine musicians and lovers of the Blues. Talk about not wanting to drop the ball! Ron ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters (and in another life....) Ron Kraemer and the Hurricanes ************************************************************ ========================================================================= Date: Mon, 4 Mar 1996 17:57:10 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Florida club scene Stephanie Manna has done a good job alerting those of you in sunny Florida > about various clubs. May I have everyone's indulgence (especially PW's!) > and post the current schedule of the Downchild Blue Band's Florida tour? > Any Blues-L members who go to hear them might mention that Flohil > posted the info; it might even earn you a beer from bandleader Donnie Walsh > (a.k.a. Mr. Downchild). And I hope the band fulfils my prophecy that even > up here in the frozen north we can still create hot music! > Downchild will be at: > March 13 - Sarasaota (5 o'clock Club) > March 15 - Fort Myers (Shooters) > March 16 - Ft. Pierce (Treasure Coast Blues Fest. BBQ Cook Off) > afternoon show at 2.30 p.m. > March 16 - Ft. Lauderdale (Musicians Exchange) Evening performance > March 17 - Tampa (Skipper's Smokehouse) Afternoon performance > 4:00-8:00 p.m. > March 23 - Sebastian (Sebastian Beach Inn) > Hope y'all enjoy the band! > > Richard the Elder > (Yes, I AM involved with these guys; for 26 years now!) > ========================================================================= Date: Mon, 4 Mar 1996 14:51:02 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Blues Theory and education -Reply Go away evil vile thread!! die die die DC ========================================================================= Date: Mon, 4 Mar 1996 22:45:44 GMT Reply-To: Bluesbabe From: Bluesbabe Organization: SoVerNet, Inc. Subject: Re: SRV on IPT Comments: To: bit-listserv-blues-l@uunet.uu.net Todd Ehlers wrote: >Iowa Bluesellers: >The SRV tribute that's been mentioned will air on Iowa Public TV Saturday, >March 16 at 11:30 PM. The show description as listed in "Advance," IPT's >monthly guide, is as follows: >STEVIE RAY VAUGHAN: A TRIBUTE >This tribute to the late bluesman features >his brother Jimmie leading blues masters >B.B. King, Eric Clapton, Buddy Guy, Rob- >ert Cray, Bonnie Raitt, Dr. John, Art Neville >and Vaughan's former band members. (Stereo) >There's a terrific but tiny picture in the mag. It shows a stage with Jimmie >facing BB, Chris Layton, Cray, Buddy, EC, Bonnie, and Tommy Shannon. >Everyone's holding a guitar and playing. >The show appears to be 90 minutes long. >On Friday, March 23, IPT will broadcast an Austin City Limits with Leroy >Parnell and A.J. Croce. I recall talk of Croce in recent weeks on blues-l, >so here's a chance to check him out. >On the blues fringe, there's also a 1961 concert of Nat Cole, a 1994 Johnny >Cash concert film in b/w (_I'm _ watching that one!), and a 90 minute >bluegrass history of interest to pickers called "High Lonesome: The Story of >Bluegrass Music," all playing this month yet on IPT. I can't help but think >that many other PBS stations around the country will carry these too. >Hope this "picks" the interest of some 'zellers. >Todd E. >-- >___ ___/ > / I do not resent criticism, even when, for the sake of > / emphasis, it parts for the time with reality. > / Churchill, House of Commons, 1941 Can you Pleaseeeeeee tell me , anyone out there; when the S.R.V. tribute will be shown on the PBS station out of Denver Col. I:M in Vermont but recieve this station thru Direct T:V, Satallite ; thnx bluesbabe Suzzie ========================================================================= Date: Mon, 4 Mar 1996 18:19:00 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: More Copyright Questions -Reply Michael points out: >However, >1) You don't need to use the symbol (it is optional) >2) If you don't register, you lose certain important rights until registered. >3) Without initial registration, it is harder to prove you're the author on >the back end. >I highly recommend registering all material. It cheap, easy, and gives you >the ultimate protection up front. Also, if I'm not mistaken, posting a note on a newsgroup or a bulletin board also constitutes publication. Those of you who write anything which could be considered a review, no matter how informal, might want to be sure to keep a dated copy of it (a printout, perhaps). And does it go without saying that you shouldn't use anyone's comments or anecdotes without written permission? Karen (not a lawyer, but always wary of copyrights!) ========================================================================= Date: Mon, 4 Mar 1996 17:13:38 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Re: Rooster RS>Ranko was half right; Otis Clay Live In Japan was on LP on Rooster Blues RS>before it came out on Bullseye. It was first released on a Japanese label. I can vouch for that LP on Rooster Blues. I have a copy of it. Bill Morgan From: The Big Easy ========================================================================= Date: Mon, 4 Mar 1996 18:41:27 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: Theory vs. Expression -Reply Dave Melton wrote: >At 7:12 AM 3/4/96, Roger Struve wrote: >>Show me any original Bluesperson who took lessons other than "show me how >>you do that" type of stuff (like Robert Johnson getting taught how to play >>by the ":real " king of the Delta Blues, Son House). >> >>I don't know a thing about music theory. But i know how to talk to you >>with my heart through the medium of my guitar., >> >>I am firmly convinced that knowing theory will obscure and/or narrow the >>scope of what you play. >> >>I don't expect nor require anyone else to agree with me. This is just my >>personal feeling about it. >=============================================================================== >= > >If you are playing music, then you know theory. Whether or not you can >recite the mechanics of what you are doing does not matter. Knowing >music theory has helped my playing a great deal, but when I play I >no longer conciously think about it. For me learning theory years ago >has done nothing but expand the scope of what I can play. I have always >been an ear player and mostly I learned off records or by watching >somebody play. I've forgotten a lot of stuff but what stuck with me >has done nothing but help my playing.I can't think of an original >blues person off the top of my head that took lessons, but I strongly >suspect that your challenge will bring them out of the woodwork. >I respect your opinion, but after reading it I finally had to put >out my view on this subject. > >Dave Melton I'll just point out Jesse Thomas as an undoubted original bluesperson who took lessons. Before he did so he was copping Lonnie Johnson and Blind Blake licks, afterwards he had his own musical voice, and could deploy it in settings from solo voice and guitar to rough juke joint band,to smooth night club band to R&B combo. (And when he was over 80 I saw him play a dynamite jazz version of 'Sunny Side of the Street'.) This is my first and last contribution to this debate, which the pro-theory side has won, even if the pro-ignorance side won't admit it. Chris Smith (chris@skerries.demon.co.uk) "What's the use of gettin' sober, when you're gonna get drunk again?" (Louis Jordan) ========================================================================= Date: Mon, 4 Mar 1996 18:21:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: new BB Bio I was just perusing Publishers' Weekly (it was a few months old and I passed it on to a colleague - so I don't have the exact issue) but it said that an authorized autobiography by B.B. King (co-written with someone) was in the works and may be out this year. -Bonnie ========================================================================= Date: Mon, 4 Mar 1996 16:53:13 -0500 Reply-To: David Melton From: David Melton Subject: Re: Steel Guitar Rag questions Comments: To: Steve.Levine@CORP.WRGRACE.COM At 3:39 PM 3/4/96, Steve Levine wrote: >I have versions of "Steel Guitar" rag by four different artists, and >I'm wondering who wrote it, and when the lyrics were added. > >There is a version by Sylvester and Weaver on the Columbia slide guitar >collection. Steve James plays a similar version on "Two Track Mind" >(great acoustic album, btw), and he credits it to Sylvester & Weaver. >There is a version by Merle Travis on "The Best of Merle Travis" with >lyrics. Finally, there is an electric version by Earle Hooker on "Two >Bugs and a Roach." His version is credited to himself. > >Did Merle Travis write the lyrics or was there a version with lyrics >before his? And were Sylvester and Weaver the original authors and the >first to record it? > >-Steve =============================================================================== I don't remember on what album, but I have heard a non-slide instramental version of steel guitar rag done by Earl Hooker. Dave Melton ========================================================================= Date: Mon, 4 Mar 1996 20:07:35 -0500 Reply-To: bob unger From: bob unger Subject: copyright myth? Just wondering.....I've always heard about the poor man's copyright and was wondering exactly how valid it is. I, personally dont know anybody who has done this, but how valid, legally, is it to send yourself registered mail with your creation (music, artwork, written works) and then when you recieve it, file it away, unopened until such day as you have to prove that it is yours. You'll have a dated, unopened envelope, that was registered with the post office, proving that you created this "masterpiece" at the date it was registered. Is this just urban myth or is there any validity to this? BU bob@sun.bnkst.edu ========================================================================= Date: Mon, 4 Mar 1996 20:09:04 -0500 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: Steel Guitar Rag questions Comments: To: Steve Levine In-Reply-To: On Mon, 4 Mar 1996, Steve Levine wrote: > I have versions of "Steel Guitar" rag by four different artists, and > I'm wondering who wrote it, and when the lyrics were added. > > There is a version by Sylvester and Weaver on the Columbia slide guitar > collection. Steve James plays a similar version on "Two Track Mind" > (great acoustic album, btw), and he credits it to Sylvester & Weaver. > There is a version by Merle Travis on "The Best of Merle Travis" with > lyrics. Finally, there is an electric version by Earle Hooker on "Two > Bugs and a Roach." His version is credited to himself. > > Did Merle Travis write the lyrics or was there a version with lyrics > before his? And were Sylvester and Weaver the original authors and the > first to record it? This song has had a fascinating history -- from pioneer blues recording to country and western standard. It was written by Louisville guitarist Sylvester Weaver and recorded by him on the OKeh label on November 2, 1923. Weaver recorded the tune again on April 13, 1927, this time adding another chorus to the original. Harvey & Johnson, a white duo, recorded it in 1930. On September 29, 1936 Bob Wills and his Texas Playboys recorded the song as "Steel Guitar Rag", featuring the fabulous Leon McAuliffe on electric steel guitar. This is the version that became a C&W hit. Incidentally, McAuliffe took songwriter credit for his version and Weaver never received a penny from it. Merle Travis wrote lyrics for the song and recorded it as "Steel Guitar Rag" in 1947. Earl Hooker recorded his version in 1953. Pen & Brenda Bogert Louisville KY ========================================================================= Date: Mon, 4 Mar 1996 20:20:30 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: new BB Bio Comments: To: KALMBACH@macc.wisc.edu On March 4, Bonnie Kalmbach said: >>>I was just perusing Publishers' Weekly (it was a few >>>months old and I passed it on to a colleague - so I >>>don't have the exact issue) but it said that an >>>authorized autobiography by B.B. King (co-written >>>with someone) was in the works and may be out this >>>year. BB's co-writer is David Ritz who co-authored outstanding recent biographies of Jerry Wexler, Etta James, Ray Charles ("Brother Ray") and many others. If you don't think he is a souful enough white cat, he has written dozens of songs including "Sexual Healing" for Marvin Gaye. BB is in good hands here and it should be a fine piece of reading once it is available. Dick Waterman ========================================================================= Date: Tue, 5 Mar 1996 01:18:54 GMT Reply-To: Bo Baber From: Bo Baber Organization: Quantum Networking Solutions, Inc. Subject: Fingers Taylor On Tour!!!!!!!!!! Comments: To: bit-listserv-blues-l@uunet.uu.net Fingers Taylor is going on Tour!!!!!! Here are the dates that are available now: Date Venue City State 03/08/96 Billy Blues Houston, TX 03/09/96 Doctor Rockit's Corpus Christi, TX 03/15/96 Sebastion Beach Inn Melbourne, FL 03/16/96 BackRoom Del Ray, FL 03/17/96 To be announced Sarasota, FL 03/18/96 Pleasure Island Jazz Co. Orlando, FL 03/19/96 Skipper's Smoke House Tampa, FL 03/20/96 Peter's LA. Cuisine Fort Myers, FL 03/22/96 Musicians Exchange Fort Lauderdale, FL 03/23/96 Tobacco Road Miami, FL 03/25/96 Margaritaville Key West, FL 04/05-06/96 Bally's Tunia, MS The Tour will be continue in April and maybe May so check out Fingers' Web Page for more dates: http://www.mcs.net/~scotth/fingers ========================================================================= Date: Tue, 5 Mar 1996 01:37:37 GMT Reply-To: Diana Shonk Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Diana Shonk Organization: Across The Board and The Blues Audience Newsletter Subject: Re: HOB radio - Little Buster Comments: To: seale@BIOC02.UTHSCSA.EDU Little Buster and The Souls Brothers put out a great record RIGHT ON TIME on Bullseye Blues CD -BB9562. Get it, you'll love it. DIana Shonk Publisher The Blues Audience newsletter ========================================================================= Date: Mon, 4 Mar 1996 21:13:19 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Copyright questions At the risk of incurring legal wrath or providing less-than-helpful information, 30 years of fulltime work in the music business (24 of them with a performing rights organization) has proved to my own satisfaction that young songwriters spend a great deal too much time worrying about copyright and not enough time creating material. The fact is that your new song is not worth very much (except, of course, to yourself and your friends) if it is not recorded, getting airplay, being covered by other artists, and being in general circulation. At that time, you will hopefully have coped with the various methods of copyright protection, or made a deal with a publisher and had him/her cover it. Despite all the protection in the world, there is no certainty that you won't get flak from somebody-the music biz rule is: "Get a hit, get a writ." Somebody, somewhere will claim they wrote it before you did, and if you don't believe me, ask George Harrison, Billy Joel, and all the others who have had to face spurious (and in some cases successful) law suits. It's a rough world out there, but creating more and better work-and getting it recorded (by yourself of others)-is better than endless worrying about protecting your ass. And, like I said, the bigger the hit you eventually get (you should be so lucky; getting hit by lightning on a golf course is more likely) the bigger the lawsuit you'll probably have to face! Richard the Elder (Who only wrote the lyrics to one song, and so far has earned almost $13.00-Canadian-in royalties; and hasn't been sued yet). ========================================================================= Date: Tue, 5 Mar 1996 01:58:48 GMT Reply-To: Diana Shonk From: Diana Shonk Organization: Across The Board and The Blues Audience Newsletter Subject: Re: Boston Blues Benefit Comments: To: bit-listserv-blues-l@uunet.uu.net AND-----The 1995 Winners of The National Blues Talent Competition -THE MOVERS- schedule of performances for the month (and every month) can be found in The Blues Audience newsletter. e-mail me if you are interested in knowing more about both the Band and/or the newsletter. dshonk@top.monad.net ========================================================================= Date: Mon, 4 Mar 1996 21:14:56 -0500 Reply-To: USBLUE5@AOL.COM From: "Gordon, Rich" Subject: Sunday Night Blues 3/3/96 Playlist 10pm Magic Dick & J.Geils, Iodine In My Coffee, Bluestime, Rounder John Primer, Blind Man Blues, The Real Deal, Code Blue - John Lee Hooker, Chill Out, Chill Out, Pointblank Bobby Blue Bland, Mind Your Own Business, Sad Street, Malaco - Savoy Brown, You're In For A Big Surprise, Bring It Home, Viceroy Chicago Bob Nelson, Going Home, Back To Bogalusa, King Snake - Homesick James, Tell Me Baby, Live At The Stan Hope House, Stan Hope House Duke Robillard, Don't Treat Me Like That, Duke's Blues, Pointblank - Eric Culberson & Erok Band, Morning Light Blues, Blues Is My Religion, King Snake Little Milton, The Blues Is Alright, Greatest Hits, Malaco - Melvin Taylor, Talking To Anna Mae (Part 1), Play The Blues For You, Evidence Luther Allison, Part Time Love, Motown Years 72-76, Motown - Jesse Thomas, Jack Of Diamonds, Lookin' For That Woman, Black Top Cephas & Wiggins, The Blues Will Do Your Heart Good, Cool Down, Alligator 11pm Johnny Winter, No More Doggin', Hey, Where's Your Brother?, Pointblank - Buddy Guy, Little Dab Will Do, Slippin' In, Silvertone Otis Rush, Homework, Ain't Enough Comin' In, Mercury - Tab Benoit, Shining Moon, Nice And Warm, Justice John Hammond, I Hate To See You Go, Found True Love, Pointblank - John Mayall & Bluesbreakers, Ramblin' On My Mind, Bluesbreakers, London Mike Morgan & The Crawl, Ain't Worried No More, Ain't Worried No More, Black Top - Albert Collins, Too Many Dirty Dishes, Cold Snap, Alligator Van Morrison, Moondance, How Long Has This Been Going On?, Verve - Dr.John, Cabage Head, Goin' Back To New Orleans, Warner Brothers Willie Dixon, I Ain't Superstitious, I Am The Blues, Columbia - Gary Moore, Midnight Blues, Still Got The Blues For You, Charisma Rich Gordon Sunday Night Blues 10pm to Midnight WXRX 104.9 FM Rockford, IL ========================================================================= Date: Mon, 4 Mar 1996 20:27:09 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Theory vs. Expression -Reply > At 7:12 AM 3/4/96, Roger Struve wrote: > >Show me any original Bluesperson who took lessons other than "show me how > >you do that" type of stuff (like Robert Johnson getting taught how to play > >by the ":real " king of the Delta Blues, Son House). I suppose this all hinges on who counts as an "original Bluesperson" -- but Charles Brown was classically trained. So also was Camille Howard. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Mon, 4 Mar 1996 20:00:56 -0700 Reply-To: Michael Heicklen From: Michael Heicklen Subject: Re: copyright myth? Comments: To: bob unger This question comes up frequently. Since a copyright is effective as it is being typed on the page (or laid down in any other permanent form), the "poor man's copyright" is actually a misnomer. The real poor man's copyright is simply taking the material and putting it down in permanent form. Many people talk about sending it to themselves in a sealed envelope so, if necessary, they can open it in court, hoping the date on the envelope will verify the date they composed it. Of course, the other side will most likely claim that envelopes can be manipulated, and that it proves nothing (steaming, etc.). Example: What about the idea that the claimant planned to make copyright claims, and regularly sent himself empty envelopes. When he was privy to a hit, he composed a derivative composition and stuck it in one of the envelopes. Think the victim can't become the villan on such tenuous ground? Past experience tells us otherwise. As I said before, it is best to register your stuff. Cheap, fast and easy. At 08:07 PM 3/4/96 -0500, bob unger wrote: >Just wondering.....I've always heard about the poor man's copyright and >was wondering exactly how valid it is. I, personally dont know anybody >who has done this, but how valid, legally, is it to send yourself >registered mail with your creation (music, artwork, written works) and >then when you recieve it, file it away, unopened until such day as you >have to prove that it is yours. You'll have a dated, unopened envelope, >that was registered with the post office, proving that you created this >"masterpiece" at the date it was registered. Is this just urban myth or >is there any validity to this? > >BU >bob@sun.bnkst.edu > > ========================================================================= Date: Mon, 4 Mar 1996 21:59:39 EST Reply-To: William Pollak From: William Pollak Subject: Re: happy birthday WILLIE MITCHELL!!! Comments: To: William Shute In-Reply-To: Your message of "Fri, 01 Mar 96 08:29:39 CST." <19960301.095433.566726.NETNEWS@AUVM.AMERICAN.EDU> Here are some of the reasons that I have for joining Texas soul scholar Bill Shute in wishing Willie Mitchell a belated happy birthday: The O.V. Wright recordings on BackBeat, especially "You're Gonna Make Me Cry" and "Eight Men, Four Women." Al Green, both the big hits--I'll never forget the first time I heard "Tired of Being Alone" and realized that soul music would survive the deaths of Sam and Otis--and the great album cuts like "Rhymes," "Old Time Lovin," "Free at Last," and "Oh What a Wonderful Thing Love Is." The Denise LaSalle records on Westbound such as "Trapped By a Thing Called Love" and "Man-Sized Job." "Touch of the Blues," a great straight-ahead LP recorded by Bobby Bland late in his career for Duke, most of which should be on the next MCA box that Dick Shurman is busy documenting. My vote for the most perfect three-minute soul record ever produced: "I'm Gonna Tear Your Playhouse Down" by Ann Peebles. What could have possessed those male rock singers to cover this song, after Peebles and Mitchell proved conclusively that it *has* to be sung by a woman. "I Needed Somebody"--as close as secular music ever gets to the stark honesty and depth of gospel. Quiet Elegance, featuring Frances Gearing, one of the great unknown soul stylists. The equally obscure Jean Plum, wrapped in lush string arrangements that exemplify Willie Mitchell's gothic period. Especially "Loneliness Is Because of You." The living embodiment of the soul tradition and subject of so many well-deserved raves on this list, MR. OTIS CLAY!!!! All the great pop records that were never hits but should have been for the great Syl Johnson. The horn shout in "I Wanna Take You Home to See Mama." The groove of "Let Yourself Go." And all those wonderful album cuts in which Mitchell stretched traditional song structures and turned them upside down and inside out: I Hate I Walked Away is one of many examples. The chill that goes down your spine when Syl threatens the guy on the pay phone in "Watch What You Do to Me." The desperation of "Please Don't Give Up On Me." "Could I Be Falling In Love With You." The many, many now-obscure one-shots that Mitchell produced, too numerous to mention. Happy birthday, Willie Mitchell! Bill P. ========================================================================= Date: Mon, 4 Mar 1996 20:50:26 -0800 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Live Review: Mem Shannon 3/2/96 at Bugsy's-New Orleans Comments: To: bit-listserv-blues-l@uunet.uu.net So, Saturday night March 2nd, I not only had the pleasure of seeing Mem Shannon & band live for the first time since the release of his album 'Cab Driver's Blues', but also had that pleasure enhanced by meeting bluezeller Bill Morgan and his brother at the show. (Also met Mem and his manager and record label rep.) Mem opened with Boogie Thang, to a very sparse but appreciative crowd, a good midtempo warmup tune with solos for everyone; then Nothin' Nice, followed by Albert Collins' tune Black Cat Bone (with a particularly AC-like guitar solo). Watchin' Ophra Winfrey Again provided Mem the opportunity to engage in some amusing stage chat, and a song whose title I'm not clear on but might be 'Dream Woman' used an indeed dream-like arrangement, slow and mournful. 'You Might Be the One' (the song that commemorates his father's many long years of labor in a lumber yard) seemed to heat up the ensemble, and here provides me with an opportunity to rave about the sax player, a young man named Lance Ellis, who for me was really the high point of the night. (You knew it was coming, Bill.) His playing ranged between a very percussive, Maceo-like style on the more driving songs, and a romantic, crooning melodiousness that reminded me of Lester Young. He really was terrific, and so was Jackie Banks on keyboards. Questioning the manager revealed that the whole ensemble has been together many years (and their rapport sure showed it), and was the same lineup as on the Cab Driver album, with the exception of the drummer. The remainder of the set consisted of Just Can't Sleep, Still Called the Blues, and one or two titles I think I forgot to write down as the liquor kicked in. Then --voila-- Cab Driver's Blues. In answer to many speculations here, no, Mem doesn't try to replicate any of the passenger conversations that are on the album (really, how could he?), but the Cab Driver tune did inspire a very funny discourse on the janitorial work involved in driving around a bunch of drunks who saw fit to consume New Orleans' notorious Lucky Dogs (street-vendor hot dogs) at four a.m. after trying to drink Bourbon Street dry. In fact, Mem's droll sense of humor informs just about everything he does...you get the impression that he has a true sense of wonder at the absurdities of life, and all that irony can't help but infect the music. Just seems like someone you'd like to sit next to at dinner. And his slightly warbly vocal style is the perfect complement to that humorous nature. The crowd thickened up considerably halfway through the first set, and seemed to be there expressly to see the band, despite the fact that this joint (Bugsy's) is directly across the street from the Convention Center and prone to draw business tourists. There was little enough chatter to make me think that they really came to listen...in fact, Bill Morgan and I might have been among the worst offenders, as we took the opportunity to become acquainted. All in all, a polished performance from someone who looks like the pro that years of toiling on Bourbon Street has undoubtedly made him. If I had any quibble, it might be that there were too few uptempo numbers for my personal taste; in fact, I don't think I heard one song that was really danceable. But that's a pretty small caveat. Another personal note: I found it really refreshing to see a five-piece blues band lineup composed of all Black members, a couple of whom were pretty young--under 35 or so. Can't really recall the last time I saw that happen. A highly recommended show if Mem & the Membership come to a venue near you. --Maggie -- Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Some mornings it's just not worth chewing through the leather straps. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Mon, 4 Mar 1996 19:15:16 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Copyright questions Richard the Elder signed off in the following manner: >(Who only wrote the lyrics to one song, and so far has earned almost >$13.00-Canadian-in royalties; and hasn't been sued yet). Okay, you've got us all (well, at least me, that is) curious - what was the song??? -Jim (hndful@uniserve.com) ========================================================================= Date: Tue, 5 Mar 1996 03:22:58 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Musing over Hubert Comments: To: bit-listserv-blues-l@uunet.uu.net " wrote: >ANybody know what Hubert was playing back in them days, the 50's with the Wolf? >His sound is really F A T and smooth. It's gotta be a Gibson something-or- >other, or maybe another archtop type? Anybody know? Any Blues-Ler out there >see him in his early days? Nowadays he uses a Strat and his sound is entirely >different....cleaner & leaner. More treble-y. > >.......just musing out loud to ya'all here.......... > > -Riffin Rick > > > > >ps..for you gearheads/harp players....my harp guy just bought (actually, traded >for ) a mint condition 1958(?) Gibson Falcon tweed amp, all original. >You wanna talk tone? *whew!* :) > Rick, About Hubert, there are lots of pictures of him from the late '50s and early '60s, and he seems to have played just about everything *except* an archtop. I've seen pictures of him in a club playing a Les Paul Gold Top, some sort of Dano or Silvertone, a Strat, and in the early '60s he played some bizarro-shaped Italian maded guitar. I've also seen pictures of him playing through a late '50s Magantone amp during that era. HOWEVER....it seems to me that Hubert has *always* gone for a clean, trebly tone, even on those '50s recordings. Could it be that you're mistaking the HEAVY tone of Willie Johnson for Hubert's playing on some of those early Wolf songs? About the Gibson amps, don't spread it around! I won't be able to find any more of my "secret weapons" if word gets out! Those are great harp amps--just ask Kim Wilson. He's used them on both of his solo CDs. Scott ========================================================================= Date: Mon, 4 Mar 1996 19:49:44 -0500 Reply-To: David Melton From: David Melton Subject: Re: Hubert could be Willie Comments: To: MILLER@SCI.WFBR.EDU Riffin Rick Wrote: ANybody know what Hubert was playing back in them days, the 50's with the Wolf? His sound is really F A T and smooth. It's gotta be a Gibson something-or- other, or maybe another archtop type? Anybody know? Any Blues-Ler out there see him in his early days? Nowadays he uses a Strat and his sound is entirely different....cleaner & leaner. More treble-y. =============================================================================== It is possible that you are hearing Willie Johnson or Jodie Williams who did most of the older Howlin Wolf stuff from the fifties. I don't have the album "Change my Way" so I could be wrong but the way you are describing the tone it sounds like Willie Johnson. Alex Schultz described it to me once as "the tone of doom". Dave Melton ========================================================================= Date: Mon, 4 Mar 1996 22:50:09 -0500 Reply-To: James Leftwich From: James Leftwich Subject: help me Should I see Lonnie Shields or Fenton Robinson this weekend? I don't know much about either. Conserve traffic...private email preferred. Jim Leftwich come win a CD at Jim's Blues N' Brews: http://www.cloud9.net/~leftwich (no gimmick...answer a trivia question and be entered to win) ========================================================================= Date: Mon, 4 Mar 1996 19:56:01 -0800 Reply-To: David Burke From: David Burke Organization: CRL Dialup Internet Access (415) 705-6060 [Login: guest] Subject: Booba Barnes Albums? Comments: To: bit-listserv-blues-l@uunet.uu.net I've read some stuff about Booba Barnes...basically that he's one bad muthaf*cka! Does this guy have anything out there on CD, vinyl, tape? I've tried to find him a few times in the blues bins at my local stores..with no luck. However..on those occasions..I haven't had time to ask the clerk about it. Anybody have any info?? "Lonesome" Dave ========================================================================= Date: Mon, 4 Mar 1996 23:51:16 -0500 Reply-To: Jonny Meister From: Jonny Meister Subject: Theory vs. Boredom Arghhhh! Enough is enough. Let's drop this one... hell, it seems all that anyone knows about theory anyway is I-IV-V and pentatonic scales.... ========================================================================= Date: Mon, 4 Mar 1996 22:35:15 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: BOT Playlist (Special) 3/3/96 Comments: To: Blucebird@aol.com, burnside@teleport.com, codeblueus@aol.com, daveb@oboe.rounder.com, bluesjazz@aol.com, aqm@earthlink.net, Blacktnola@aol.com, JM1370@aol.com, malaco@misnet.com, shayq@banjo.rounder.com, VentRec@aol.com Comments: cc: Harp-L@garply.com Stan Ruffo Productions 800 N. Ben Maddox Way - Suite 2200 - Visalia, CA 93292 vox/fax (209) 625-6049 - email, steamin@valleynet.com http://www.valleynet.com/~steamin "Blues On Tap" every Sunday at 8pm Subject: Playlist 0996 - Commercial Radio Date: Mar. 3, 1996 8pm -10pm Station: KI00 99.7fm (K-eye-oh-oh), Visalia CA Program: "Blues On Tap" with Steamin' Stan Ruffo Special: One Year Anniversary - "The Blues Of New Orleans" Artist Title of Release Label Track Chuck Carbo The Barber's Blues Rounder 1 Johnny NIcholas Thrill On The Hill Antone's 9 Sugar Boy Crawford Chess New Orleans MCA Chess 1-3 Davell Crawford Let Them Talk Rounder 12 The Kingsmen Louie Louie Retro 2 Professor Longhair 20th Anni. Coll. Alligator 1-4 CJ Chenier Too Much Fun Alligator 7 Fernest Arceneaux Zydeco Stomp JSP 8 Eddie Bo Chess New Orleans MCA Chess 1-22 Fats Domino Greatest Hits MCA 16 Little Sonny Jones N.O. R&B Gems Black Top 6 Gary US Bonds Greatest Hist MCA 3 Myles & Dupont Chess New Orleans MCA Chess 2-14 Marcia Ball Blue House Rounder 11 Snooks Eaglin Soul's Edge Black Top 11 Slim Harpo The Scratch AVI / Excello 17 Champion Jack Dupree Forever and Ever Bullseye 6 Tuts Washington Louisiana Spice Rounder 1-4 Taj Mahal Phantom Blues Private Music 7 Reggie Hall Chess New Orleans MCA Chess 2-19 Bo Dollis and Wild Mag Louisiana Spice Rounder 1-12 Earl King Hard River To Cross Black Top 6 Walter Wolfman WashingtoThe First Five Years Pointblank 4 Tommy Ridgley Since The Blues Began Black Top 7 Phillip Walker Working Girl Blues Black Top 9 Little Richard The Best of The 50's Priority 1 Lloyd Price The Best of The 50's Priority 6 Clifton Chenier Chess New Orleans MCA Chess 1-18 Clifton Chenier Chess New Orleans MCA Chess 1-19 Huey "Piano" Smith The Best of The 50's Priority 13 Geno Delafose Louisiana Spice Rounder 2-11 CJ Chenier Too Much Fun Alligator 4 Chuck Carbo The Barber's Blues Rounder 11 Kid Ramos Two Hands, One Heart Black Top 16 "Blues On Tap" reports to The Hard Report and Living Blues http://www.valleynet.com/~steamin/bot.html -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 ========================================================================= Date: Mon, 4 Mar 1996 23:03:48 -0800 Reply-To: Chris Adams From: Chris Adams Subject: Re: Steel Guitar Rag/Sylvester Weaver In-Reply-To: <199603050513.AAA26279@listserv.brown.edu> Can't say for sure who the author of the song was, but the "Sylvester and Weaver" that you speak of is actually Sylvester Weaver, ONE white blues/old time country guitar player. Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us > > ------------------------------ > > Date: Mon, 4 Mar 1996 15:39:14 -0500 > From: Steve Levine > Subject: Steel Guitar Rag questions > > I have versions of "Steel Guitar" rag by four different artists, and > I'm wondering who wrote it, and when the lyrics were added. > > There is a version by Sylvester and Weaver on the Columbia slide guitar > collection. Steve James plays a similar version on "Two Track Mind" > (great acoustic album, btw), and he credits it to Sylvester & Weaver. > There is a version by Merle Travis on "The Best of Merle Travis" with > lyrics. Finally, there is an electric version by Earle Hooker on "Two > Bugs and a Roach." His version is credited to himself. > > Did Merle Travis write the lyrics or was there a version with lyrics > before his? And were Sylvester and Weaver the original authors and the > first to record it? > > -Steve > ========================================================================= Date: Tue, 5 Mar 1996 05:14:25 -0500 Reply-To: "Serdar Mert (IIBF 2)" From: "Serdar Mert (IIBF 2)" ok ========================================================================= Date: Tue, 5 Mar 1996 08:41:10 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Can't get enough Comments: To: bit-listserv-blues-l@uunet.uu.net Barry Silverberg wrote: > >On Mon, 4 Mar 1996, Poindexter Regan wrote: >> Barry, Hmmm. I can't in good conscience recommend a book that attempts >> to be a definitive work and falls so short. Not that there *is* a >> definitive work out there yet, but there are lots of books that are a lot >> closer than Herzaft's is. If you're not particularly concerned with all >> those bothersome things like facts and objectivity, or if you don't know >> any better, then sure, Herzaft's book probably will work for you. > > Methinks you misread my post. What I said was that the recom- > mendations of CD's for purchase was excellent. At the time I > bought this book - exactly as you say "I didn't know better", > but I still found the album recommendations to be stellar. Barry, No, I read your post just fine. If you'll recall, the original note was a request for recommendations for a blues who's who type of book, and that's what I was addressing. Herzaft's isn't a good one, and I was recommending some that think are good. As for a record collector's guide, I don't know specifically which recordings he recommended--maybe they're great--but I would be more apt to take a subjective recommendation from someone who knows his subject than someone who doesn't. It's like I said earlier, I'm sure Herzaft means well--and I'm sure you do too--but his book is closer to the bottom of the recommeded list than the top. Scott ========================================================================= Date: Tue, 5 Mar 1996 04:11:58 -0500 Reply-To: Chris Smith From: Chris Smith Subject: follow up on cummins prison farm Daniel David Linde pointed out to me that his copy shows composer as Bob Cole. So does my Charly LP with the alternate take. Oops. Sorry, Bob, thanks, Daniel. If y'all are planning to record the number, don't believe what I say! Take a look in BU 82 page 13 for a picture and short biography by Calvin's then manager. Also see 'Blues & Rhythm' 84 for an article on Hosea Leavy, Calvin's brother, with more info on 'Cummins Prison Farm'. Chris Smith (chris@skerries.demon.co.uk) "What's the use of gettin' sober, when you're gonna get drunk again?" (Louis Jordan) ========================================================================= Date: Tue, 5 Mar 1996 04:15:51 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: Steel Guitar Rag/Sylvester Weaver Christopher Adams wrote >Can't say for sure who the author of the song was, but the "Sylvester and >Weaver" that you speak of is actually Sylvester Weaver, ONE white >blues/old time country guitar player. > > >Christopher Adams >Automated Systems >Oregon State Library >chris@sparkie.osl.state.or.us > > Let's not let that statement get loose in the world! Sylvester Weaver was black, from Louisville, and has two complete works CDs on Document. He was a fine guitar player, and wrote some nice lyrics. So did his associate Walter Beasley. ('If a toad-frog had wings, he would fly around, Would not have his bottom bompin'-stompin' on the ground' is a favourite, and a fine piece of biological research for the amphibian lovers.) Chris Smith (chris@skerries.demon.co.uk) "What's the use of gettin' sober, when you're gonna get drunk again?" (Louis Jordan) ========================================================================= Date: Tue, 5 Mar 1996 01:54:42 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: world music - blues (long) Comments: To: Bo Carlsson Bo wrote: > >Yes, I have read interviews where mr Toure says that Hooker has been a big >influence. I recall that he also mentioned Otis Redding. I have no way to >check my old issues of different magazines at the moment so I can=B4t give >any pointers about where to find them. I think this is great as is all the >Caribean influences in african pop. Thanks. IMHO, Ali Farka Toure's melding of influences is amazing. When I was in Japan, I had cable radio. One channel (out of 400) was African pop. That music is amazing stuff. Combinig an obvious Western influence with their own thing. I love it. Hopefully, I'll get to explore the music a little more. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. =20 ========================================================================= Date: Tue, 5 Mar 1996 10:20:10 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: Copyright questions Richard Flohil (rflohil@INFORAMP.NET) wrote: : Somebody, somewhere will claim they wrote it before you did, and if : you don't believe me, ask George Harrison, Billy Joel, and all the others : who have had to face spurious (and in some cases successful) law suits. : Doo-lang, doo-lang, doo-lang... "It's all one big note." --Frank Zappa ============================================================================ Jef Jaisun eljefe@netcom.com ============================================================================ -- ========================================================================= Date: Tue, 5 Mar 1996 05:18:43 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Blues on TV Tuesday March 5th 2:00 pm - BRV - Opening Shot: teenage blues guitar wiz Smokin' Joe Bonamassa 9:00 pm - TNN - Prime Time Country: Wylie, Steve Azar, Osborne Brothers, Kenny Neal (airs again at 1:00 am) ========================================================================= Date: Tue, 5 Mar 1996 05:18:43 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1955, in the wake of the continual controversy surrounding offensive R&B records, BMI, the largest organization of music publishers. releases plans to tighten controls on objectional lyrics. BMI never gave clearance to nearly a dozen singles, some like Big Joe Turner's "Shake Rattle & Roll" became major hits. ========================================================================= Date: Tue, 5 Mar 1996 11:22:08 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Booba Barnes Albums? In-Reply-To: <4hge0h$p7j@crl5.crl.com> On Mon, 4 Mar 1996, David Burke wrote: > I've read some stuff about Booba Barnes...basically that he's one bad > muthaf*cka! Does this guy have anything out there on CD, vinyl, tape? > I've tried to find him a few times in the blues bins at my local > stores..with no luck. However..on those occasions..I haven't had time to > ask the clerk about it. Anybody have any info?? > This actually apropos another thread that's going on. He has an album out on Rooster (also on CD) called "Heart Broken Man". I like it very much indeed. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [5/3/96 6:12 AM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 5 Mar 1996 08:28:46 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: First slide recording? (was: Steel Guitar Rag) Comments: To: bogert@IGLOU.COM In-Reply-To: from "Brenda Bogert" at Mar 4, 96 08:09:04 pm > This song has had a fascinating history -- from pioneer blues recording > to country and western standard. It was written by Louisville guitarist > Sylvester Weaver and recorded by him on the OKeh label on November 2, > 1923. I remember reading somewhere that this was either the first slide guitar recording ever, or the first slide guitar recording by a black man. I can't for the life of me remember where I read this - can anyone confirm? ========================================================================= Date: Tue, 5 Mar 1996 07:40:51 EST Reply-To: levyt@RL.AF.MIL From: Toby Levy Subject: SITTING & THINKING: Buddy Guy at Burnley Festival THE 2ND ANNUAL BURNLEY BLUES FESTIVAL (JSPCD 238) JSP RECORDS PO BOX 1584 LONDON N3 3NW ENGLAND The town of Burnley in England was turned into a mini-Chicago for five nights in April of 1990. This cd documents the highlights of the festival. The first two songs belong to Buddy Guy, just a year before his career-making "Damn Right I've Got the Blues" cd. These two songs make up the first 25 minutes of the 75 minute cd. No other reason is really needed to make a blues fan want to purchase this cd. But the rest of the cd, comprised of performances by Carey Bell, four of Carey's blues playing sons, Louisiana Red, Angela Brown, and Lucky Lopez Evans, contains a lot of very enjoyable music. ALL YOUR LOVE / WHEN THE SUN GOES DOWN / I'M GOING UPSTAIRS / IT'S SO EASY TO LOVE YOU / LOCKED UP SO LONG / NO LUCK / I WISH I COULD LEAD MY LIFE AGAIN / KITCHEN MAN / LET'S MOVE TOGETHER / I'VE GOT A GOOD THING / SOMETHING WRONG WITH ME / PAYCHECK NY CD-Takes ALL YOUR LOVE: Buddy Guy certainly knows how to take a familiar blues song and make it his own. Here, with just enough singing to show off his soulful voice, he stretches All Your Love in all possible directions for over thirteen minutes. His guitar murmurs, cries, wails, screams the blues. For anyone who has never seen Buddy live, this will give some idea of what all the excitement is about. And this live album is very raw. You can tell there have been no attempts to "level" the sound. When Buddy cranks, be prepared to adjust the volume on your set. Buddy is ably assisted by Dave Bainbridge on piano. WHEN THE SUN GOES DOWN: Buddy slows it down for this one, and plays the heck out of his guitar for over twelve minutes. On this and the previous number he is backed up by three of Carey Bell's sons: Lurrie on guitar, Tyson on bass and James on drums. Lurrie plays very much in the style of Buddy Guy and they are very compatible. Most of this song Buddy plays very lyrically, but a couple of times he bursts into pyrotechnics worthy of Jimi Hendrix. Buddy says "We're gonna have some fun tonight. Play so funky they can smell it." He sure isn't kidding. I'M GOING UPSTAIRS: The headliners on this and the number are Carey and Lurrie Bell. Carey and the rest of the Bells get into a Howling Wolf groove and boogie down for about six minutes. Carey Bell has a wonderful voice and Lurrie Bell's guitar talents are in full evidence here. IT'S SO EASY TO LOVE YOU: THis is a strange number. It's a slow blues that might have come from the Muddy Waters band of the 50s. Carey and Lurrie sort of twist it by playing jazzy runs on the harp and guitar. To me it kind of sounds like blues from Bizzaro World. Carey's voice is as wonderful as ever. LOCKED UP SO LONG: Louisiana Red takes over here and on the next two numbers. Carey Bell plays on harp here before turning harp duties over to his son Steve for the next two numbers. "This is my prison song" Red yells at the start of the song as he belts out Robert Johnson licks on his guitar. Red's always original lyrics are interesting. "I wish that big old sun would burn these chains off my legs, I'd get out of this chain gang, see the free world again." NO LUCK: This is a wonderful shuffle blues, enhanced in great part by the effectiveness of Steve Bell on the harp. To these ears he's already surpassed his father on his instrument. Red tells his tale of woe: never having any luck. "Muddy Waters told me, son keep on playing the blues, cause one day you're bound to win, but right now you're gonna lose." I WISH I COULD LEAD MY LIFE AGAIN: Red plays in the style of Elmore James while he sings his highly personal lyrics. "When I lived in New Jersey, things didn't work good over there." The rest of the band cooks as Red sings the song directly to the Bells: "Lurrie, it's terrible to be alone." Lurrie and Red do some nice duet work on this number. KITCHEN MAN: The microphone is passed to Angela Brown for this and the next two numbers. She is accompanied by her regular piano player, Christian Christi. Fans of the blues group Saffire will be startled by the stylistic similarity of Angela Brown. She has a fine full blues voice and goes through the whole cupboard to praise her man. LET'S MOVE TOGETHER: Could this have been a hit in England? The crowd starts going wild the moment the first notes of the piano are played. Although not a blues song, its a beautiful haunting lament. The lyrics, which should be very positive, talking of two people building a life together, are song in the saddest way, almost as though the singer feels the relationship is doomed from the start. I'VE GOT A GOOD THING: Christian Christi rolls out a boogie and Angela says "Hello, ladies" and proceeds to brag about how great her relationship is with her man. Christian's piano playing here is a showcase of what boogie woogie should sound like. SOMETHING WRONG WITH ME: Lucky Lopez Evans closes the cd with the last two tunes. Lucky plays guitar and is backed by what has become the JSP house band. Lucky has obviously studied at the feet of BB King; both Lucky's voice and guitar paying homage to the great BB. This slow blues gives plenty of space for Lucky's nice guitar solos. PAYCHECK: Lucky's second number is a rhythm and blues complaint about never having enough money to make ends meet. "Paycheck to paycheck, the money's spent before it's made," Lucky sings. The vast majority of us can certainly relate to this song. Reviewed by Toby Levy Copyright NY CD Blues - 1995 WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs ========================================================================= Date: Tue, 5 Mar 1996 08:26:57 EST Reply-To: "David A. Pimmel" <103300.3331@COMPUSERVE.COM> From: "David A. Pimmel" <103300.3331@COMPUSERVE.COM> Subject: Re: Ray Bailey Gary Constantine asked about Ray Bailye. I have also had the pleasure of hearing Ray Bailey debnut release, SATAN's HORN and must concur, it is a wonderful CD and a very promising start. I also had the pleasure of seeing, hearing, and briefly talking to Ray at the Mississippi Valley Blues Festival back in July. He was a very nice personable young artist with a lot of talent and a unique, original take on the blues. I believe he is from the LA area. David Pimmel 103300.3331@compuserve.com ========================================================================= Date: Tue, 5 Mar 1996 08:29:29 -0500 Reply-To: "Abe W. Mathews" From: "Abe W. Mathews" Subject: Gearhead stuff - Vintage Instruments OK, sorry in advance that this is off-topic, but I had an interesting conversation with my father a while back, and I thought at least a couple of you would get a kick out of it. My parents came up to visit for a weekend, and on Sunday morning, my dad is sitting there reading my current Vintage Guitar Magazine (great magazine, BTW), and he says to me: "Abe, do you have the money to buy this?" So I look, and it's a Pre-CBS Fender Jazzmaster, all original, and the asking price is like $1800. So I said, "Nope. Don't have that kind of money." My fatehr says, "But look at this idiot! He's asking $5000 for a beat up Strat of the same age, but he's got no idea what this Jazzmaster is worth!" Thinking that my dad had completely lost his marbles, I remembered that he hadn't seen "vintage mania" before. I asked him to explain, and he told me that when he was growing up (when these guitars were new, not vintage), NOBODY wanted a Strat. They were considered poorly made instruments that you could not keep in tune. Then one of his friends got a Jazzmaster, and it was heaven. My father went so far as to compare his best friend's 59 strat to a Chevy Chevette, and the Jazzmaster to a Mercedes. He then saw what his "crappy, never in tune, poorly intonated" Les Paul Jr. was worth, and I thought the poor guy was gonna start crying. My father also can't believe that people pay as much as they do for those "crappy, distorting" Tweed, brown, and blackface Fender amps, when those "sweet and clean" Silverfaces are so darn cheap. Everyone hated the old Fenders when they were new. My father, who taught me to play guitar in the first place, sat there and told me that my old heavy metal Kramers and Ibanez's were at least 500 times the guitars that were available back then, and he could not believe that ANYONE would pick a vintage strat for $5000, when you could buy a Jazzmaster for under $2000, or an Ibanez for under $500. I guess it just goes to show that guitars are like snails. To quote a really awesome sig file I saw, "One man's french delicacy is another man's buttered garden pest." Keep in mind that this is just one man's opinion, but hey, he's my dad. I have to believe him! :) Abe awmathew@mtu.edu ========================================================================= Date: Tue, 5 Mar 1996 08:26:55 EST Reply-To: "David A. Pimmel" <103300.3331@COMPUSERVE.COM> From: "David A. Pimmel" <103300.3331@COMPUSERVE.COM> Subject: Re: Little Milton on the Mind Comments: cc: LeaGil LeaGil asked for Little Milton info Little Milton's 2 CD Chess set, WELCOME TO THE CLUB: THE ESSENTIAL CHESS RECORDINGS ranks among the greatest recordings of soul blues you are going to find anywhere. An amazing of 48 tracked recorded by Milton in the 60's. In fact I'm listening to it right now. David Pimmel 103300.3331@compusereve.com ========================================================================= Date: Tue, 5 Mar 1996 09:05:26 -0500 Reply-To: Erica Wissolik From: Erica Wissolik Subject: copyright myth? -Reply Yes its valid but if you should need to go before judge, your case will rest soley on your own testimony and you will have to convince a judge that you properly mailed the package to yourself and that it has never been tampered with or opened while in your possession. But save yourself the trouble. The difference between the cost of mailing a registered package and the $20. registration fee is probably only a couple of bucks. Just go ahead and mail it to the copyright office. Besides, there is something else that no one has mentioned. If the LC finds out that there is an item out there that has never been registered with the Copyright office, we have every right to come after you and ask for 2 best-copies of whatever you are claiming rights to - its called a mandatory deposit. Whether or not you register the copyright with the LC is separate from the fact that everyone in this country who claims a copyright must deposit the items with the LC. If you don't, the LC asks nicely for copies...the first time. The second time there is a fine, the third time the fine gets LARGER. There's a pretty good book written by The Bay Area Lawyers for the Arts called "Musicians Guide to Copyrights." You might want to check it out. Erica >>> bob unger 03/04/96 08:07pm >>> Just wondering.....I've always heard about the poor man's copyright and was wondering exactly how valid it is. I, personally dont know anybody who has done this, but how valid, legally, is it to send yourself registered mail with your creation (music, artwork, written works) and then when you recieve it, file it away, unopened until such day as you have to prove that it is yours. You'll have a dated, unopened envelope, that was registered with the post office, proving that you created this "masterpiece" at the date it was registered. Is this just urban myth or is there any validity to this? BU bob@sun.bnkst.edu ========================================================================= Date: Tue, 5 Mar 1996 14:28:24 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Theory vs. Expression -Reply -Reply Comments: To: bit-listserv-blues-l@uunet.uu.net In , L W writes: >On Mon, 4 Mar 1996 10:35:09 -0500 Tom Freeland said: >>I have a suggestion to Roger. The most plain-spoken individual with an >>obvious connection to the early bluesmen still living is Robert Lockwood. I >>would love to hear him reply to your suggestions that the original bluesmen >>lacked an intellectual understanding of the structure of this music. Perhaps >>you should ask him. > >I think that's a BAD example. You picked a bluesman who also did a jazz thing >in the album Contrasts. A better example would be someone who is strictly >blues, I think Lockwood is an exception to this situation. Versatility counts against a player? With VERY few exceptions, the major blues players and pioneers spent time playing jazz, gospel or country. Likewise, the pioneers and major players in these genres have spent time with the blues. Great players are musicians first, and bluesmen second. BBB B.B. Bean bbbean@cris.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Tue, 5 Mar 1996 09:25:51 -0500 Reply-To: Dave Markovits From: Dave Markovits Subject: Ray Bailey I also saw ray Bailey at the Mississippi Blues fest in Davenport last July. He is from Los Angeles. His mother is the proprieter of Babe and Ricky's. It's a neighborhood joint in South Central. It is listed in the Jazz and Blues lovers Guide to the U.S. I haven't been there before, a friend has and said it's a great room with great music. Ray is known to be there when not on tour. Enjoy; David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Tue, 5 Mar 1996 09:33:26 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: First slide recording? (was: Steel Guitar Rag) Rob Hutten wrote >> This song has had a fascinating history -- from pioneer blues recording >> to country and western standard. It was written by Louisville guitarist >> Sylvester Weaver and recorded by him on the OKeh label on November 2, >> 1923. > >I remember reading somewhere that this was either the first slide guitar >recording ever, or the first slide guitar recording by a black man. >I can't for the life of me remember where I read this - can anyone >confirm? First slide guitar recording by a black solo guitarist, probably - it's the first blues guitar solo on record. First slide guitar recording ever, certainly not- there were hundreds, maybe thousands of Hawaiian guitar pieces on disc by 1923. Chris Smith (chris@skerries.demon.co.uk) "What's the use of gettin' sober, when you're gonna get drunk again?" (Louis Jordan) ========================================================================= Date: Tue, 5 Mar 1996 08:38:31 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Favorite LIVE recordings What are some of ya'lls favorite LIVE recordings (blues only) Brownie & Sonny - Live At The 2nd Fret Muddy - Miss Muddy Live KOKO - Audience with the queen Tell me more I don't know many..... Thanks LW ========================================================================= Date: Tue, 5 Mar 1996 09:39:33 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: What's Obsessing You? Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com Cephas & Wiggins "Cool Down" - Great new album by DC's local acoustic blues heroes, featuring probably the best traditional acoustic blues harp player in the world. Cephas & Wiggins "Flip, Flop and Fly" - I got this one a couple of years ago and I didn't like it much because of all the extra instruments (Clarinet, piano, drums, etc.). I've been listening to it lately because my duo is covering one of the songs on it ("No Loving Baby Now") and I've really gotten into it. Now I find that the other instruments add a lot to their style, and C&W sound great with a band. The Best of Merle Travis Hank Williams' Greatest Hits - What can I say? I've been on a serious country kick for about a week (probably because of the article on dj Eddie Stubbs in this week's Wshington City Paper). -Steve ========================================================================= Date: Tue, 5 Mar 1996 15:45:12 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: (No-blues cont.): Mailer problems Our mailer has been almost down since last friday the only thing I know is that a number of mails were sent to me but never arrived, If some of you did post me anything privatly, I would be glad if you could resend me a copy. My reviews of the Hopkins TRadition reissues (which apparently never arrived) will also be resent end of this week. Thanks to you all Jean-Pierre Urbain ========================================================================= Date: Tue, 5 Mar 1996 10:02:33 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Favorite LIVE recordings Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *What are some of ya'lls favorite LIVE recordings (blues only) * *Brownie & Sonny - Live At The 2nd Fret *Muddy - Miss Muddy Live *KOKO - Audience with the queen * How could you forget the mother of all live blues albums - BB Live at the Regal? Muddy "Mississippi" Waters Live is also a classic, and the album that turned me on to the blues. -Steve ========================================================================= Date: Tue, 5 Mar 1996 16:09:12 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Favorite LIVE recordings Comments: To: ISTS024@UABDPO.BITNET >What are some of ya'lls favorite LIVE recordings (blues only) > >Brownie & Sonny - Live At The 2nd Fret >Muddy - Miss Muddy Live >KOKO - Audience with the queen > >Tell me more I don't know many..... > >Thanks > >LW Here is some that pops up right away. Robert Lockwood jr - Live in Japan BB King - Live at the Regal BB King - Blues is King Albert King - Live wire, Blues Power Otis Rush - So many roads Magic Sam - Live (on Delmark) I love live recordings! I bought The Red Devils used a couple of days ago and really like the energy, a bit to heavy maybe but it has a underlaying feeling of danger that i like. Bo Carlsson ========================================================================= Date: Tue, 5 Mar 1996 10:29:14 -0500 Reply-To: bob unger From: bob unger Subject: Re: Favorite LIVE recordings What come's to mind immediately, is Rod Piazza "Live at B.B. Kings" SMOKIN! Of course in the next few minutes, alot more will come to (my very small) mind! BU bob@sun.bnkst.edu ========================================================================= Date: Tue, 5 Mar 1996 09:31:16 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Bobby Bland OK, you're only allowed one Bobby Bland recording (and the recent Best of Duke compilations DONT COUNT). Which one do you get? I think that I choose Two Steps from the Blues, but I haven't heard all of Blands stuff. -Jeff (can we start Theory-L for all that clutter?) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / Reuben Stewart \ / February 19, 1996 \( Rest in peace, Mr. S. ========================================================================= Date: Tue, 5 Mar 1996 10:29:36 -0500 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: Theory vs. Expression -Reply Comments: To: bit-listserv-blues-l@uunet.uu.net In article Roger Struve writes: >Show me any original Bluesperson who took lessons other than "show me how >you do that" type of stuff (like Robert Johnson getting taught how to play >by the ":real " king of the Delta Blues, Son House). >I am firmly convinced that knowing theory will obscure and/or narrow the >scope of what you play. Mojo magazine recently had a great article on Howlin' Wolf. They mention how after arriving in Chicago, Wolf took guitar lessons and was always trying to learn more about the guitar. ========================================================================= Date: Tue, 5 Mar 1996 07:44:19 -0500 Reply-To: David Melton From: David Melton Subject: Re: Canned heat still ali Comments: To: laurie.forti@INFOEXCH.MIAMI.FL.US At 2:57 PM 3/4/96, Laurie Forti wrote: > Cv> I saw Canned Heat three months ago at a club just outside Sacramento. > Cv> The drummer (don't know his name) is the only remaining original > Cv> member of the band. > The original drummer was Frank Cook when I lived with Bob Hite and >Alan Wilson in Topanga Canyon in 1967. He has long since been >replaced. > > >... "Have you seen the world lately, I mean _really_ seen it??" Duckman > >--- > ~ Blue Wave/QWK v2.20 ~ =============================================================================== Laurie is certainly correct. Frank is a doctor now but still plays for fun. I played a gig with him about a year ago at a little place called the Cinema in Culver City. Dave Melton ========================================================================= Date: Tue, 5 Mar 1996 07:42:32 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Ray Bailey Comments: To: Dave Markovits At 09:25 AM 3/5/96 -0500, Dave Markovits wrote: >I also saw ray Bailey at the Mississippi Blues fest in Davenport >last July. He is from Los Angeles. His mother is the proprieter >of Babe and Ricky's. It's a neighborhood joint in South Central. >It is listed in the Jazz and Blues lovers Guide to the U.S. > I haven't been there before, a friend has and said it's a great >room with great music. Ray is known to be there when not on tour. > Living Blues Magazine Issue 120 page 83 contains a short mention of Ray Bailey as part of the 25th Anniversary issue's "Forty Under 40" story. Btw, Laura Mae Gross, owner of Babe and Ricky's Lounge in South Central, is not Ray Bailey's actual mother, but rather his musical or spiritual "mother" (in quotes). His real mother was a professional musician, played the saxophone. I did an interview with him, and I swear it was published, but I can't remember where!! (They say that the mind is the second thing to go....) Mary Katherine Aldin ========================================================================= Date: Tue, 5 Mar 1996 15:39:57 GMT Reply-To: "J.J. Perry" Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: "J.J. Perry" Organization: Indiana University Subject: Re: Booba Barnes Albums? Comments: To: phertel@CMC.DOE.CA Pat Hertel wrote: >On Mon, 4 Mar 1996, David Burke wrote: > >> I've read some stuff about Booba Barnes...basically that he's one bad >> muthaf*cka! Does this guy have anything out there on CD, vinyl, tape? >> I've tried to find him a few times in the blues bins at my local >> stores..with no luck. However..on those occasions..I haven't had time to >> ask the clerk about it. Anybody have any info?? >> > > This actually apropos another thread that's going on. He has an album >out on Rooster (also on CD) called "Heart Broken Man". I like it >very much indeed. > I have "Heart Broken Man" as well, and it is well worth the search. They have the ads for Rooster in Living Blues, so it shouldn't be too hard to get (have never seen it in the stores). Booba also has a couple of tracks on the "Deep Blues" soundtrack, phenomenal stuff. Well worth the price, with Junior Kimbrough, R.L. Burnside, Big Jack Johnson, etc etc. Great introduction to that whole Mississippi scene. J. J. ========================================================================= Date: Tue, 5 Mar 1996 16:09:45 +0000 Reply-To: Bob Bingham From: Bob Bingham I've been following this lively discussion about theory vs. ignorance and the argument seems to be more of an apples versus oranges thing. I always get disgusted when I read stuff by people trying to intellectualize the blues. This music is about, first and formost, emotion. Thats right all you musical know it alls.If you want to waste your time argueing about which came first, the cart or the horse, please do! In the meantime I think I'll go listen to some Mance Lipscomb tunes. P.S. As a professional blues guitarist who's worked with both Luther Allison and Kim Wilson among others, I have only this to say. Neither of the previous mentioned names had any formal theory instruction and it doesn't seem to have affected their playing. Put that in your pipe and smoke it! ========================================================================= Date: Tue, 5 Mar 1996 11:08:04 -0500 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: MY OPINION ON THEORY Comments: To: bit-listserv-blues-l@uunet.uu.net In article Roger Struve writes: >FIRST, i said this was only my personal opinion. >SECOND, i did try to say that anyone should agree with me. >THIRD, i said that i do not expect anyone to agree with me. >IS this not Amerika? Do i not have a right to believe or have an opinion >of my own? This is NOT Amerika this is Usenet, a global community (sarcasm noted). Yes you have a right to your opinion. BUT, by stating opinions in this forum you automatically invite discussion, including agreement and dissent. Otherwise, why post in the first place? None of the responses I've read have been inflammatory, but all expressed equally valid opinion. Just because you did not expect anyone to agree is not reson to expect no one to reply. I don't think any of the posters attempted to change your mind. >I would NEVER try to influence any one of you dear people on BLUES-L. I >respect you all very much. >' >BUT, i don't intend to learn theory....i still believe that it would hinder >MY development, and i PREFER to do it my own way. I believe in your original post you stated that theory would inhibit everyone's creativity. >Thanks to all that felt impelled to email me personally, even two of you >who felt it was your need to belittle me for having an opinion that you did >not agree with. >I WAS NOT criticizing any original bluesguys. But i doubt that any of >them took theory lessons. I never said they were ign ora nt.....they were >innovators, which i respect ab ove all other qualities (except honesty and >love in your heart). > I am considered one of the top engineers in my field. I am the original >inven tor of the totally implantable variable rate peristaltic drug pump. >BUT, i have no training in engineering at all! My peers respect me very >much, (or so they say). Many of my managers have told me that the work i >do is innovative and they attribute it to the fact that i have no >engineering formal training which they believe is responsible for me >imagining and being creative, unlike others who DO have the training an d >they['re alike as peas in a pod as far as that they all KNOW what's >possible and WHAT's not. (that was a quote). My urge here is to be sarcastic and say "Well, then let's just discard the entire system of formal education, throw the kids out in to the world and see what happens!" - but I won't. :-) Certain people (myself included) operate better in some situations without benefit of formal education. I have advanced in the field of computers and LANs mostly (but not completely) through self-education. My guitar playing vastly improved when I stopped taking lessons and started playing with other (more capable) musicians (although I have learned much valuable theory since). This approach is not for everyone and I would never make a global statement about which approach is more valuable. I do think that most fields would be severely damaged if formal education was bypassed in favor of the "I'll just wing it!" approach. Formal education provides effective transfer of standards and practices so that novices have a common frame of reference and don't have to reinvent the "totally implantable variable rate peristaltic drug pump" everytime they want to use it. If it works for you (and me), go for it! But, be careful about endorsing this method for others who may not be so well suited for it. ========================================================================= Date: Tue, 5 Mar 1996 11:36:43 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Johnnie Johnson has new booking agency Johnnie is no longer with Headline Talent. He is now with TCI. Phone number for TCI is (212) 730-2701. I have no connection whatsoever with TCI, and am simply a fan on Johnnie's and hope he gets lots of work. Joel Slotnikoff Joel Slotnikoff, Publisher | BLUES WORLD e-mag Box 21652 | http://www.bluesworld.com St. Louis, MO 63109 | Acme Guitar, Blues Estafette TEL (314) 647-2447 | Blues & Rhythm: The Gospel Truth FAX (314) 647-2497 | Roots & Rhythm, Testament Records joelslot@inlink.com | SONO, Vintage Jazz Mart, Wayhi Tapes ========================================================================= Date: Tue, 5 Mar 1996 10:25:44 -0600 Reply-To: Bennett Pearce From: Bennett Pearce Organization: UAB Pediatric Cardiology Subject: SRV: Reese Wyanns Comments: To: bit-listserv-blues-l@uunet.uu.net The SRV retrospective aired in my area recently and I was really impressed with the piano/synth/organ playing of Reese Wyanns. Can anyone tell me if he has recorded any solo projects or what he is up to these days? -- Bennett Pearce, MD ========================================================================= Date: Tue, 5 Mar 1996 10:36:45 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: SRV: Reese Wyanns In-Reply-To: Message of Tue, 5 Mar 1996 10:25:44 -0600 from On Tue, 5 Mar 1996 10:25:44 -0600 Bennett Pearce said: >The SRV retrospective aired in my area recently and I was really impressed >with the piano/synth/organ playing of Reese Wyanns. Can anyone tell me if >he has recorded any solo projects or what he is up to these days? I remember reading somehere that had Reese been able to sing better he would have been an Allman Brother instead of Gregg....I think I read that anyway Could be wrong (always a first time :-)) LW ========================================================================= Date: Tue, 5 Mar 1996 11:00:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: COPYRIGHT SHMOPPYRIGHT! Erica says: >If the LC >finds out that there is an item out there that has never been >registered with the Copyright office, we have EVERY RIGHT TO COME >AFTER YOU and ask for 2 best-copies of whatever you are claiming >rights to - its called a mandatory deposit. Whether or not you >register the copyright with the LC is separate from the fact that >everyone in this country who claims a copyright must deposit the >items with the LC. If you don't, the LC asks nicely for copies...t >he first time. The second time there is a fine, the third time the >fine gets LARGER. So, Erica, uh . . . what's LC (seriously)? Anyways, I guess you got no right to come after me nohow cuz I'm BLUE JOE IN RED RUSSIA (where it's *always* NINE BELOW ZERO, but at least you can curl up with a first release Hollywood blockbuster brazenly on sale at any kiosk for 3 bucks, plus cheap cheap tapes and CDs (guess they're able to do it cuz of the volume and all)). * * * * * * copyright 1996 by BLUE JOE IN RED RUSSIA, all rights reserved. This E-mail constitutes best copy filing with as-yet unidentified LC (kindly make second copy internally). J.E. Downey@bakermck.com ========================================================================= Date: Tue, 5 Mar 1996 08:38:27 -0800 Reply-To: CNI From: CNI Subject: Atomic Beat Comments: To: "cnotes@cnotes.com" As a reminder, AVI Entertainment is offering their free ATOMIC BEAT mail order catalog on the web; simply complete the form on: http://www.cnotes.com/cnotes.soul.com The ATOMIC BEAT catalog features the best in Blues (focus on the classic Excello Records reissues), Soul, R&B, Gospel, Cajun & Zydeco, 60s Garage & Psychedelia, Rockabilly, Oldies, Doo-Wop, Surf & Hot Rod, Strip & Exotica, "Roots Rock," and much much more. Mike Corso <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> C NOTES INTERACTIVE ------------> http://www.cnotes.com Online Music Marketing Web Page Design Independent Communications Consultant <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> ========================================================================= Date: Tue, 5 Mar 1996 12:14:23 EST Reply-To: "Steve A. Fowlkes" From: "Steve A. Fowlkes" Subject: Little Buster and the Soul Brothers Edward "Little Buster" Forehand plays excellent Blues and his new CD, "Right On Time", is superb. Sort of reminds me of Little Milton. ...saf ========================================================================= Date: Tue, 5 Mar 1996 11:06:46 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Hohner Harp Question A friend just bought a new Special 20 harp. He said some of the holes are screwed and he thinks it has been played before he bought it. I called the store and since I'm friends with the owner he will exchange it. The owner said that he has had a lot of problems with Hohner and Special 20's and Hohner refused to take them back. He said that he was pushing Lee Oscars because they are more reliable. Opinions PLEASE So have any of you had any problems with defective Hohners...? (esp 20s) LW ========================================================================= Date: Tue, 5 Mar 1996 11:29:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Willie Mitchell I really enjoyed Bill Pollak's post on Willie Mitchell. I also think that Ann Peebles' "I'm gonna tear your playhouse down" is wonderful. What else has Quiet Elegance recorded? I'm familiar with the cut on the "Hi - the RnB Years). Are any of their recordings on CD? I think I prefer Syl Johnson's version of "Take me to the River" and O.V. Wright's "Rhymes" to Al Green's smoother originals. -Bonnie ========================================================================= Date: Tue, 5 Mar 1996 17:21:08 +0000 Reply-To: Marybeth Hamilton From: Marybeth Hamilton Subject: New Orleans Jazzfest Could someone please forward me a list of the dates and tentative performers for this year's Jazzfest? One was circulating earlier, but I stupidly deleted it. Thanks in advance. Marybeth mhamilt@ihr.sas.ac.uk ========================================================================= Date: Tue, 5 Mar 1996 09:38:22 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Movie soundtrack, blues-related Just got a one-sheet from Code Blues Records regarding a forthcoming CD that is the soundtrack to a soon-to-be-released film called Heaven's Prisoners. The track listing is: Good Morning Little Schoolgirl/Junior Wells Born Under A Bad Sign/Albert King Red House/Buddy Guy Baby Bee/Kenny Neal I Never Loved A Man (The Way That I Love You)/Aretha Franklin The Thrill Is Gone/B.B. King Bo's Bounce/C.C. Adcock Twenty Ton Weight/The Hoax The Things (That) I Used To Do/Stevie Ray Vaughan & Double Trouble I Ain't Gonna Suffer No More/John Lee Hooker Don't Answer The Door, Pts. 1 & 2/B. B. King Good Moanin' Blues/Walter "Shakey" Horton It Hurts To Love Someone/Eddie "Guitar Slim" Jones Since movie soundtracks are generally racked in stores separately from blues releasess, if this listing interests you you might want to check out the soundtracks section -- the release date (for the CD, don't know about the film) is April 23. I have no affiliation with Code Blue Records, or the film Heaven's Prisoners, nor any other connection whatever with this release. Mary Katherine Aldin ========================================================================= Date: Tue, 5 Mar 1996 11:33:05 -0700 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: Re: Reese Wyanns/Obessions In-Reply-To: Reese Wyanns appeared on Colin James' last recording, Bad Habits, which BTW is one of my most favorite discs. Very funky electric slide guitar. Saw Colin James last Friday - excellent performance, terrible sound. What's obsessing me - 1) New sweetheart :) 2) My new Taylor guitar 3) 400+ albums tht I just started to listen to after 5 yrs LIFE IS GRAND! Ron ========================================================================= Date: Tue, 5 Mar 1996 12:34:00 -0500 Reply-To: bob vanarsdall From: bob vanarsdall Subject: SugarPie deSanto? Heard a cut on the radio the other day by Ms. deSanto ("Soulful Dress", announced to be her signature song). Any recommendations on best albums for her? Anyone have bio information? Bob ========================================================================= Date: Tue, 5 Mar 1996 11:49:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Rooster Well, some of my favorite "Roosters" are "Low Blows" an anthology of Chicago 70's blues harp. Good Rockin'Charles is on that and he has his own Rooster album (originally on a Dutch label - Black Magic or Double Trouble). I 'spect we will have to wait for that one to come out on CD probably because Charles wasn't very well known nationally. But "Good Rockin' Charles" is still a very good harp album IMO. Maybe the Stackhousse has some vinyl copies left. Another good Rooster still not on CD is "Bad Situation" (about 1985) by Big Daddy and the Kinsey Report. This album is all Big Daddy's - there are no blues-rock excesses that the Kinsey Report on it's own is known for. There are some fine Muddy-style pieces with good slide work and the title track is an up-tempo soul style piece that reminds me - even big Daddy's singing - of 60's Albert King. I love the '94 Rooster release "Can't Sleep at Night" by Rawls and Luckett who have been compared to Sam and Dave. Well, not quite, I'd say, but they did comprise O.V Wright's last back-up band and are a fine southern soul vocal duo. "Clarksdale, Mississippi: Coahoma the Blues" isn't on Rooster exactly; it was recorded for the Delta Blues Museum, but it was recorded, mostly, I think, at Rooster and features all local/excellent Clarkdale musicians Big Jack Johnson, Arthniece Jones, Mr.Johnny, James "Superchikan" Johnson, Sam Carr playing guitar and singing about his mean "Black Haired Woman". It's available on cassette from the Delta Blues Museum. But it is true that just as with Arhoolie and Testament, there are no bad Roosters. -Bonnie ========================================================================= Date: Tue, 5 Mar 1996 12:52:31 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: Hohner Harp Question Comments: To: L W In-Reply-To: > So have any of you had any problems with defective Hohners...? (esp 20s) I'm just an amateur, but I've had no luck with the Marine Bands or the Big River Harps. I do like the occassionally nice Golden Melody. Check out the Harp-L list... this stuff is discussed practically every week. Dave Prychitko ========================================================================= Date: Tue, 5 Mar 1996 18:20:11 GMT Reply-To: William Pollak From: William Pollak Organization: The Software Engineering Institute Subject: Re: Bobby Bland In article , Jeff Seale writes: |> OK, you're only allowed one Bobby Bland recording (and the recent Best |> of Duke compilations DONT COUNT). Which one do you get? I think that I |> choose Two Steps from the Blues, but I haven't heard all of Blands stuff. |> |> -Jeff (can we start Theory-L for all that clutter?) |> "Two Steps" is the one most people would mention, and it is certainly a great album. "Little Boy Blue" might be the best vocal performance Bobby ever delivered. I like the slightly jazzier, slightly more mature later Duke albums a little bit better than the earlier ones like "Two Steps." I would go with "Ain't Nothing You Can Do": great version of "Black Night" with a wonderful solo by Wayne Bennett, great version of "Reconsider Baby," and a bunch of terrific songs like "Loneliness Hurts" and "Steal Away." Bill Pollak, Technical Communication Carnegie Mellon U., Software Engineering Institute Pittsburgh, PA 15213-3890 email: wp@sei.cmu.edu ========================================================================= Date: Tue, 5 Mar 1996 10:33:55 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Favorite LIVE recordings Magic Sam "Live". It's the one I always come back to. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Tue, 5 Mar 1996 13:27:23 -0500 Reply-To: Rags From: Rags Subject: NEW_ORLEANS_JAZZ_FEST_SCHEDULE 1996 NEW ORLEANS JAZZ & HERITAGE FESTIVAL Friday April 26 funky Meters, Phish, Frankie Ford, Terrance Simien, ReBirth Brass Band, Iguanas, James Rivers, Kermit Ruffins & the Barbecue Swingers, Benny Waters, Slim & the Supreme Angels, Robert Parker, Deacon John, Continental Drifters, Reginald Policard & the Haitian Compas Revue, Roland Stone, Ronnie Kole, New Leviathan Oriental Foxtrot Orchestra, Mem Shannon & the Membership, Tabby Thomas, Henry Gray, Hackberry Ramblers, Marc & Ann Savoy w/ Ken Smith, Pfister Sisters, Astral Project, John Rankin, Creole Zydeco Farmers, Jon Cleary, Irene & the Mikes, Trombone Tribute feat. Benny Powell, Slide Hampton, Steve Turre, Freddie Lonzo and Lucien Barbarin, New Orleans Ragtime Orchestra, Soul Rebels Brass Band, New Orleans Headstart Singing Angels, Frank Federico, Trombone Shorty Brass Band, Chris Ardoin, Bobby Cure & Summertime Blues, Evening Star String Band, Clyde Kerr, Jr. w/ Samirah Evans, Tommy Yetta, Porgy Jones, Dynamic Smooth Family of Slidell, Brice Winston w/ Eleonor Winston, Y'iacute;Shua Manzy, Fuego, Doc Houlind of Denmark - tribute to George Lewis, 9th Ward Hunters, Samba Children w/ Curtis Pierre, Fortier Sr. HS Choir, Robert Jardell, SUBR Jazz Ensemble, Greg Dawson & Crosswinds, Jesuit Sr. HS Big Band, McDonogh #35 Choir, Dibert Elementary Folkloric Troupe, Greg Baber, Sidewalk Steppers SA & PC, McDonogh #15 Elementary Band & Dance Team, Charles Jackson & the Jackson Travelers, Orleans Parish Talented in Theatre Students, Black Eagles Mardi Gras Indians, Old World Tunes & Tales, Kennedy HS Marching Band, Revolution SA & PC, Slewfoot, Calliope Puppet & Mask Theatre Saturday April 27 Wynton Marsalis, Al Hirt, The Allman Brothers Band, Buckwheat Zydeco, Junior Wells, Charmaine Neville, Cyril Neville & Uptown Allstars, Walter lWolfmann Washington, The Heath Brothers, Dirty Dozen, Wayne Toups & Zydecajun, Ricky Dillard's New Generation, Samite of Uganda, Sonny Landreth, Eddie Bo, Kent Jordan, Wanda Rouzan, The Crownseekers, Michael White Quartet w/ Thais Clark, D.L. Menard & the Louisiana Aces, Dead Eye Dick, Sid Selvidge, Willis Prudhomme & Zydeco Express, Herman Ernest All-Star Band, Dash Rip Rock, Don Montoucet, June Gardner, Sammy Berfect & Dimensions of Faith, Hadley Castille, Treme Brass Band, The Mighty Sensations of Lake Charles, Jason Marsalis, Lump, Second Line Jammers & O. G. Steppers SA & PCs, David & Roselyn, Los Sagitarios, George French's New Orleans Storyville Band, Peter Martin Trio, Joe Clay & the Clements Brothers, Fred Kemp Quartet, N.O.C.C.A. Jazz Ensemble, Percussion, Inc., Paulin Brothers Brass Band, Acoustic Swiftness, Brownsville, Rampart & Perdido Jazz Band, True Believers, Golden Star Hunters, Loyola University Jazz Band, Jesse Dayton, St. Frances De Sales Golden Voices, Jeanne Bose, Cajun Fiddler Band, Original Taylor Bunch, Perfect Gentlemen & Devastating Ladies SA & PCs, Smitty Short Stoppers Brass Band, Cajun French Music Assoc. Children's Dance Team, Looney Tunes Brass Band, Junior African-American Dance Ensemble, Judy Stock, Avenue Steppers & Original Step-n-Style SA & PCs, New Orleans Free School Performers Sunday, April 28 Irma Thomas, George Benson, Lionel Hampton, Marcia Ball, Cowboy Mouth, Sweet Honey in the Rock, DeeDee Bridgewater, King Floyd, Carrie Smith, Snooks Eaglin, Davell Crawford, Rockinm Dopsie, Jr. & the Zydeco Twisters, Dottie Peoples & Peoples Choice Chorale, Nicholas Payton, Charles Neville & Diversity, Jean Knight, Gregg Stafford's Jazz Hounds, Duke Dejan's Olympia Brass Band, Raymond A. Myles & The RAMs, Luther Kent & Trick Bag, Sunpie Barnes & the Louisiana Sunspots, Reggie Hall w/ Sadie Tee, Al Belletto, Casa Samba, Allen Fontenot & the Country Cajuns, Pin Stripe Brass Band, Geno Delafose & French Rockin Boogie, Germaine Bazzle, Ingrid Lucia & Flying Neutrinos, Bryan Lee & Jumpstreet Five, Ritmo Caribeno, Bob French Original Tuxedo Jazz Band, Ben Hunter the Soul Avenger, New Black Eagle Jazz Band, Pipes & Drums w/ Caledonian Scottish Dancers, Mia X & Tru, UNLV, Al & Essie Morris, Hazel & the Delta Ramblers, The Furious Five, Unknown Steppers & Devastation SA & PCs, Creole Wild West Mardi Gras Indians, New Zion Trio + 1, Walter Mouton, Golden Arrows Mardi Gras Indians, John Boutte, Friendly Five Gospel Singers, Louis Cottrell, Clickin Chickens, Little Rascals Brass Band, Premiere, Becky Sharp, Olympia Aids & Uptowner's Hobo Clowns SA & PCs, SUNO Jazz Ensemble, Carrollton Hunters, The Heritage School of Music Band, Jamal Batiste, New Birth Brass Band, Angela the Yarnspinner, Producciones Mario Donate, Paul Taylor, The Untouchables, Algiers Steppers & Lady Zulu SA & PCs, Blues in the Schools, Adella, Adella the Storyteller Thursday, May 2 Boozoo Chavis, Indigo Girls, Eddie Palmieri, Chambers Brothers Reunion, Dixie Hummingbirds, Ernie K-Doe, Michelle Shocked, Trout Fishing in America, Dewey Redman Quartet, Banu Gibson, Jessie Hill, Chris Duarte, Zobop of Haiti, Bacoulou Folkloric Dance Company of Haiti, Tab Benoit w/ Raful Neal, Bruce Daigrepont, Basin Brothers, Coco Robicheaux, Kidd Jordan-Al Fielder & IAQ, Larry McCray, Mamou, Milton Batiste's Magnificent 7ths, Walter Payton w/ Sharon Martin, Sonny Bourg's Bayou Blues, Versia, Keith Claiborne, Richwell Ison/Kirk Ford Experience w/ Rahssana Ison, Storyville Stompers Brass Band, The Original Camelia Jazz Band, Don Vappie, Leviticus Gospel Choir, Tony Bazley Quintet, Bad Oyster Band, Karl Koenig, Carlos Sanchez lAmanecer Flamenco, Tony Green Trio, The Coolie Family, Last Straws, Mas Mamones, Wallace Johnson, Bingemen, Ed Perkins, White Cloud Hunters Mardi Gras Indians, Wayne Powell & Eternity with Praise, Piney Woods Ramblers, Kristi Guillory & Reveille, Gina Forsyth, Executive Steel Band, Flavor Kings, Xavier University Jazz Lab Ensemble, New Orleans Jazz Professors, Hammond State Strawberry Jammers, Gregory Boyd, Carl Mack, Bon Temps Roulez SA & PC, Gray Hawk, Ishangi Family, Bob Folse, Avondale Community Choir, Philip Melancon Friday May 3 Dr. John, Buddy Guy, Bela Fleck & the Flecktones, Cassandra Wilson, BeauSoleil, subdudes, Clarence Frogman Henry, George Porter, Jr. & Runnin Pardners, Joe Louis Walker, Steve Jordan w/ Rio Jordan, Tommy Ridgely, Marlon Jordan, Christianaires, Steve Riley & the Mamou Playboys, Anders Osborne, C.C. Adcock, Rosie Ledet, Alvin Batiste & the Jazztronauts, Michael Ray & the Cosmic Krewe, Sam Brothers Zydeco, Sadie Goodson, Golden Eagles, Alvin Red Tyler Quartet, Placide Adams' Original Dixieland Hall Jazz Band, Jude Taylor & His Burning Flame, Steve Masakowski, Doc Paulin's Dixieland Jazz Band, Pud Brown, Ronald James Chorale, Patrice Fisher, Pigeon Town Steppers SA & PC, J. Monqued, Kumbuka Drum & Dance Collective, Cool Riddims & Sista Teedy, One A-Chord, Lady Charlotte, Hot Strings, Wild Peyotes, Kennedy HS Gospel Choir, Clancy Lewis w/ Sheba Kimbrough, Coushatta Dancers, Guardians of Flame, Local International Allstar Jazz Band, Diamonds, Royann & Jim Calvin, Louisiana Tech Jazz Band, Chosen Few Brass Band, Oretha Castle Haley ES Choir, New Orleans Jr. High All-City Jazz Band, Aline White & Co., Big Nine & Calendar Girls SA & PCs, Chakula Cha Jua Theatre Company, Rose Anne St. Romain Saturday May 4 Preservation Hall Jazz Band, Pete Fountain, Van Morrison, Allen Toussaint, Joan Osborne, Lloyd Price, Clarence lGatemouthn Brown, Better Than Ezra, Najee, Salif Keita, Beau Jocque & the Zydeco Hi-Rollers, The Dixie Cups, The Williams Brothers, Ivan Neville, John Mooney & Bluesiana, James Carter, Harry Connick, Sr., Kenny Neal, The Wild Magnolias, Wallace Davenport, Oliver Who Shot the La La Morgan, Chubby Carrier, Elder Roma Wilson, Keith Frank, Treme Brass Band, Victor Goines, Dukes of Dixieland, James Black Tribute feat. Herlin Riley and Shannon Powell, Al Johnson, The Soulful Heavenly Stars, Magnolia Sisters, Woodenhead, Pinettes Brass Band, Bamboula 2000, Doreenms Jazz New Orleans, Belton Richard, Irie Vibrations, Young Tuxedo Brass Band, Kim Carson, The CP Love Group, Paky Saavredra's Bandido, Little Freddie King, Andrew Hall, Original Four, Jolly Bunch & Popular Ladies SA & PCs, Julio & Caesar, Larry Sieberth w/ Betty Shirley, Love Alive Fellowship Choir, Ricardo Lewis Quintet, Boondoggles, All That, Luke Thompson & the Green Valley Cut Ups, Great Bright Morning Star Choir, Dillard University Jazz Band, Money Wasters, Nkrumah Better Boys & Original Black Magic Lady Steppers SA & PCs, Zion Hill BC Voices of Zion Youth Choir, Colleen Salley, Crescent City Jumpers, Lightfoot, The Johnson Extensions, Lynette Braxton, Mahogany Brass Band, Azikwa Children's Percussion Ensemble Sunday May 5 The Neville Brothers, Dave Matthews Band, The Mighty Clouds of Joy, The Radiators, Doc Cheatham, Chris Owens, Marva Wright, C.J. Chenier & the Red Hot Louisiana Band, Ellis Marsalis, Kenny Barron Trio w/ Frank Morgan, Earl King, Lou Donaldson, Johnny Adams, Zachary Richard, Bobby Rush, Zion Harmonizers, Katie Webster, Bobby Marchan, White Eagles Mardi Gras Indians, Little Queenie & Friends, Michael Ward w/ Regina Carter, Balfa Toujours, Leroy Jones, New Orleans Klezmer Allstars, Los Babies del Merengue, Willie Tee, Nathan & the Zydeco Cha Chas, Shepherd Band, Louisiana Repertory Jazz Ensemble w/ Joe Muranyi, Algiers Brass Band, Mohawks Mardi Gras Indians, Nasio, Valley of Silent Men, Westbank Steppers & Jetsetters SA & PCs, Black Menace, Cheeky Blakk, The Poor Clares, Jo Cool Davis, Wendell Brunious, Ironin Board Sam, Onward Brass Band, Chris Clifton, Gospel Soul Children, Young Cheyenne Mardi Gras Indians, Calliope Steppers & Double Nine Highsteppers SA & PCs, Galactic, Culu Dancers, Danny Collet, Eddie LeJeune, Innsbruck Jazz Workshop of Austria, Ancestro, Last Chance Band, Scene Boosters, Original & Lady Prince of Wales SA & PCs, Tornado Brass Band, John Lee & Heralds of Christ w/ Christine Myles, U.N.O. Jazz Band, Eric McAllister, Perlita Street Kids, High Steppers Brass Band, Young Mardi Gras Indians, Legacy, N.O. Men & Ladies Buck Jumpers SA & PCs, NKafu Traditional African Dance.... Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ It's dark And I'm Wearing Sunglasses......... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Tue, 5 Mar 1996 13:48:02 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Copyright questions In response to overwhelming public demand (one post from Jim Witteveen-a fellow Dutchman, I suspect) I am pleased to report that the one song I wrote was, in fact, a spoken word piece, with musical accompaniment, on an album by Bobby Watt, a Scottish folksinger who lives and works (mostly as a stonemason) just outside Toronto. My "lyrics" are a subtle, moving exploration of the plight of the Scottish immigrants who came to Canada mid-way through the last century from the Isle of Arran (where Bobby Watt is from) and settled in Quebec. Did I say "subtle, moving"? Well, they were meant that way, but listeners will have to decide for themselves. Meanwhile, as I mentioned, I am swimming in money from this thing, which frequently gets aired on the CBC. Meanwhile, Bobby still hasn't paid me any mechanical royalties, although I'm told the record has sold some 4,000 copies - i.e., that's 6 cents X 4,000 = $240.00 Canadian, less 10 per cent allowance for promo copies, and less the cost of my lawyer to get the money out of a frugal Scotsman. Stuff it; not worth the bother! Gang awa' and hoots mon, Richard the Elder ========================================================================= Date: Tue, 5 Mar 1996 13:41:24 EST Reply-To: george morales From: george morales Organization: TEMPLE UNIVERSITY Subject: Re: fav live cd/music on tv one of my favorite live cd's is the rolling stones Love You Live, this double cd steered me towards muddy waters and howlin wolf. i found a neat site on the web that features a list of music on tv, both cable and broadcast. the address is: http://www.satchmo.com/rockontv/ my current favorite live recording features muddy waters and johnny winter "missisippi muddy live" (?) george +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ | | | GEORGE MORALES GEORGEM@TEMPLEVM | | COMPUTER AND INFORMATION SERVICES GEORGEM@VM.TEMPLE.EDU | | TEMPLE UNIVERSITY (215)204-6866 | | | +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Tue, 5 Mar 1996 12:48:21 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Bobby Bland Comments: To: Jeff Seale > From: Jeff Seale > OK, you're only allowed one Bobby Bland recording (and the recent Best > of Duke compilations DONT COUNT). Which one do you get? I think that I > choose Two Steps from the Blues, but I haven't heard all of Blands stuff. I'd vote for "Here's the Man" (Duke LP, not sure about CD availability) - one of the greatest soul albums ever, not a clinker on it. Inclues "Turn on your lovelight", "Stormy Monday", "Blues in the night" and Bland's take on Charlie Rich's country-soul classic "Who will the next fool be?". EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Tue, 5 Mar 1996 10:42:46 -0800 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Organization: Internet Direct Subject: Re: Live Recordings Comments: To: bit-listserv-blues-l@uunet.uu.net I always loved "The Blues: A Real Summit Meeting" which was rec'd live at Newport 1973, I believe. A 2 CD set, it features Muddy Waters, Eddie "Cleanhead" Vinson, Jay McShann, Gatemouth Brown, Lloyd Glenn, B.B. King, Big Mama Thornton, Arthur "Big Boy" Crudup. Some of these artists are only one track, mind you - so don't go ordering it blind, unless you love most/all these performers. Particularily of note are Lloyd Glenn (3 tracks) and Muddy (3 tracks) Muddy does an absolutely dazzling slide solo on "Long Distance Call"!! -Roger B. ========================================================================= Date: Tue, 5 Mar 1996 12:56:32 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Hohner Harp Question Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu > From: L W > A friend just bought a new Special 20 harp. He said some of the holes are > screwed and he thinks it has been played before he bought it. I called the > store and since I'm friends with the owner he will exchange it. The owner > said that he has had a lot of problems with Hohner and Special 20's and > Hohner refused to take them back. He said that he was pushing Lee Oscars > because they are more reliable. Opinions PLEASE If you're talking strictly about reliability/durability I'd agree that Lee Oskars are better than Hohners of almost any model (also more expensive). If you're talking about any other aspect of the instrument (eg, tone) you get into a very subjective area and you will find lots of harp players on either side of the fence. Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Tue, 5 Mar 1996 19:46:15 GMT Reply-To: namit malhotra From: namit malhotra Organization: Internet Direct Subject: Taj Mahal:Dancing the Blues Any thoughts? Comments: To: bit-listserv-blues-l@uunet.uu.net I am being offered this cd for a cheap cheap price... any thoughts if its any good--ive never heard the band if anyone can tell me what to expect? thanks namit malhotra nmalhotr@direct.ca ========================================================================= Date: Tue, 5 Mar 1996 12:10:34 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: SRV: Reese Wyanns >The SRV retrospective aired in my area recently and I was really impressed >with the piano/synth/organ playing of Reese Wyanns. Can anyone tell me if >he has recorded any solo projects or what he is up to these days? I'm not sure what else he's been up to, but I do know he did some great keyboard work on Colin James' 1993 album with A Roomful of Blues - Colin James and the Little Big Band... great jump blues - if you don't have it, get it! :-) -Jim (hndful@uniserve.com) ========================================================================= Date: Tue, 5 Mar 1996 14:34:35 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Muddy & Otis Spann I saw a cd in the local shop called Muddy Waters & Otis Spann _Collaboration_ It was on the Tomato label. What the heck is this and is it any good? -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / Reuben Stewart \ / February 19, 1996 \( Rest in peace, Mr. S. ========================================================================= Date: Tue, 5 Mar 1996 14:34:04 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Rooster Comments: To: Bonnie Kalmbach In-Reply-To: <26030511494577@vms2.macc.wisc.edu> The Good Rockin' Charles LP was originally on Mr. Blues, a U.S. label. It was a really nice session (I was there and did the notes) that deserves a CD release. Some leftovers are on "Low Blows." There may be no bad Roosters, but are the ones where people ignore the liner notes "little-read Roosters?" ========================================================================= Date: Tue, 5 Mar 1996 14:35:57 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Bobby Bland Comments: To: William Pollak In-Reply-To: <4hi0kr$534@news.sei.cmu.edu> Anyone who's read my chapter in the Blackwell Guide knows I'm very partial to Here's The Man! I also think Touch Of The Blues is a very overlooked later Duke LP. It will all be included in the third volume of Duke stuff on MCA, due out in mid-June. ========================================================================= Date: Tue, 5 Mar 1996 14:43:00 CST Reply-To: William Shute From: William Shute Subject: favorite "live" recordings, etc. From: Bill Shute in no particular order, my favorite "live" blues recordings are 1) Buddy Guy Live at the Checkerboard Lounge (old JSP lp which I think has been reished on CD); 2) the Black Top "Blues-A-Rama" album that features the Grady Gaines Review 3) Skip James live at the 2nd Fret, Philadelphia 4) Etta James Rocks The House (is that the name of it? the live one from the early 60s) 5) Rod Piazza and the Mighty Flyers Live at BB King's 6) The Groundhogs, Hoggin' The Stage (2 lps and 1 ep, Psycho Records, UK) 7) Side one of the John Mayall album "Primal Solos"-- w/ Clapton and Bruce, live at the Flamingo Club l966 8) ANY live Hound Dog Taylor recordings and a classic live album that "led me into the blues" was Five Live Yardbirds (and while on that, I don't want to forget The Downliners Sect "At Nite in Gt. Newport St." ep) I'd also like to champion some live in Germany tracks I have by Billy Childish and the Milkshakes doing R&B covers (a la Soldier of Love, etc.) in the style of the l961-62 Star-Club-period Beatles Also, Little Richard's musical sequences in the film THE GIRL CAN'T HELP IT and James Brown's performance on THE TAMI SHOW might have been on film, but I saw them as a kid and I was never the same again... And while we're talkin' about TV/film, how about Freddie King's amazing performances on THE!!! BEAT tv show that were released on a video a year or two back. and getting back to records, Lightnin' Hopkins at Swarthmore College... well, I'd better stop now... Hey, here's a new thread I'll throw out and see if anyone grabs... WORST Live Blues CD or LP... (perhaps we should divide this up into two sub-categories: a) authorized by the artist; b) NOT authorized by the artist. Then we could do worst RECORDING vs worst PERFORMANCE also...) Hey, anything to supplant the Theory vs Not Theory yawnfest (altho that DID generate some fine and eloquent explanations of the applications of musical knowledge)! Bill Shute San Antonio, TX ps, another live blues recording I played the grooves off of in my adolescence was the live versions of Dust My Broom and Frosty by Earl Hooker on side two of the old Arhoolie lp HIS FIRST AND LAST RECORDINGS, which I hope are available again on CD. and for hot British R&B, try the two volumes of KINGSIZE TAYLOR AND THE DOMINOS "Live Im Star Club" on German Ariola lp's BTW, is it true that Chubby Checker once recorded a live album with the Q65 or one of those Dutch R&B/punk bands from the 60s? ========================================================================= Date: Tue, 5 Mar 1996 14:44:05 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Muddy & Otis Spann In-Reply-To: Message of Tue, 5 Mar 1996 14:34:35 -0600 from On Tue, 5 Mar 1996 14:34:35 -0600 Jeff Seale said: >I saw a cd in the local shop called Muddy Waters & Otis Spann _Collaboration_ >It was on the Tomato label. What the heck is this and is it any good? I asked this same question some while back and the concensus was. It is not that good, very poor sound quality. I passed on it, I haven't heard a single good thing about it... LW ========================================================================= Date: Tue, 5 Mar 1996 14:48:32 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: No Elmore videos..WHY...? I'm just wondering why no Elmore video has surfaced. Someone has to have Elmore footage. Has anyone ever heard of any Elmore videos. It's hard to believe that during his time he was not "filmed"...... If I recall someone said there is no Elmore videos around, but I have to wonder why... Anyone know why.....I betcha there is some Elmore footage somewhere LW ========================================================================= Date: Tue, 5 Mar 1996 16:06:46 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: SugarPie deSanto? Sugar Pie Desanto is one of my favorite soul singers. She was born Umpeylia Masema Balinton, on October 16, 1935, and is still going strong, living in the San Francisco area, I believe. She recorded mainly for Chessin 1959-66. Never had a big hit, but did okay with I Want to Know, Soulful Dress, Slip-In Mules (an answer to High-Heel Sneakers) and In the Basement (a duet with Etta James.) She is tiny (4'11") with a huge voice -- Johnny Otis (who seems to have discovered more singers and invented more nicknames than anyone else in the business) named her "Little Miss Sugar Pie." She was known for very raunchy behaviour on stage. Chess/MCA put out a collection called "Down in the Basement" on LP in 1988. I don't know if it's available on CD. There is also a Sugar Pie Desanto collection on Charly (I know...) called "Use What You Got." She appears on one of the "American Folk Blues" recordings from Europe, and has appeared on some West Coast anthologies. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Tue, 5 Mar 1996 21:05:50 +0000 Reply-To: Bob Bingham From: Bob Bingham Subject: Re: [delivery failure to nls@m1.interserv.com] >Date: Tue, 5 Mar 1996 08:41:29 -0800 >To: mitawan@CYBERVAULT.COM >References: 16094509301010@cybervault.com >X-Loop: postmaster@interserv.com >From: Interserv Operations >Subject: Re: [delivery failure to nls@m1.interserv.com] >Precedence: bulk > >The message that you sent to the above recipient was not delivered. All mail >sent to this account will continue to be returned until the recipient has >removed enough mail to lower the mailbox size below the system mailbox limit. > >-- > >Interserv Network Operations Center Postmaster@interserv.com >2001 6th Ave. Suite 3025B noc@interserv.net >Seattle, WA. 95121 CompuServe/Internet Division > >-----[ Orginal mail message follows ]------------- > > >> >> I've been following this lively discussion about theory vs. ignorance and >> the argument seems to be more of an apples versus oranges thing. I always >> get disgusted when I read stuff by people trying to intellectualize the >> blues. This music is about, first and formost, emotion. Thats right all you >> musical know it alls.If you want to waste your time argueing about which >> came first, the cart or the horse, please do! In the meantime I think I'll >> go listen to some Mance Lipscomb tunes. >> P.S. As a professional blues guitarist who's worked with both Luther Allison >> and Kim Wilson among others, I have only this to say. Neither of the >> previous mentioned names had any formal theory instruction and it doesn't >> seem to have affected their playing. Put that in your pipe and smoke it! >> > ========================================================================= Date: Mon, 4 Mar 1996 16:38:10 EST Reply-To: MR ROBERT W BELEW From: MR ROBERT W BELEW Subject: Reese Wynans Update SUBJECT: Re: Reese Wyanns/Obessions Reese is playing with "The Bluebloods" which includes Mike Henderson, Glenn Worf and John Gardner. They can be seen on most any Monday night at the Bluebird Cafe, Nashville. (who said you can't hear good blues in Music City ?) (check schedule first though !) Watch for their "Live at the Bluebird" recording to be issued on Dead Reckoning label sometime in the fall of '96 or spring of '97. You can pester Dead Reckoning at 1-800-442-DEAD. Tell J.D. I sent ya ! They also backed Tracy Nelson on her award winning release "I Feel So Good". (I'm sure you all knew that though.) Block Dog ========================================================================= Date: Mon, 4 Mar 1996 16:41:12 EST Reply-To: MR ROBERT W BELEW From: MR ROBERT W BELEW Subject: Keeny Neal Disappoints ? SUBJECT: Re: Kenny Neal Disappoints > I've spent a lot of time talking to Kenny and >he is not an arrogant overblown blues act. No way, shape or form. Kenny was on the bill at the 9th annual Carolina "Lite" Festival last year and I have to say that I was astounded by the electricity that permeated the air under that big tent. Damn did they jam ! Kenny jumped into the crowd and circled the area while he did a great solo. After the Festival was over he showed up at a little place in Highpoint, NC called Triangle Billiards and set the night on fire again. (Triangle Billiards is also where Bob Margolin held the release party for his newest release.) I'm sure all these blues acts have bad nights with the hours that they keep. Block Dog Piedmont Blues Peservation Society ========================================================================= Date: Tue, 5 Mar 1996 21:21:40 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: (no subject given) Comments: To: bit-listserv-blues-l@uunet.uu.net Bob Bingham wrote: (edited) >P.S. As a professional blues guitarist who's worked with both Luther Allison >and Kim Wilson among others, I have only this to say. Neither of the >previous mentioned names had any formal theory instruction and it doesn't >seem to have affected their playing. Put that in your pipe and smoke it! Bob, I've been following this silly argument from the sidelines too, and I tend to agree that it's pointless. Some legitimate blues guys have formal training, some don't. So what? But you might want to ask Kim about that again...didn't he play trumpet in a school band? I don't think they let you in without some formal schooling on the instrument. Scott ========================================================================= Date: Tue, 5 Mar 1996 14:49:06 -0800 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Re: SRV: Reese Wyanns Comments: To: bit-listserv-blues-l@cs.washington.edu Bennett Pearce wrote: > > The SRV retrospective aired in my area recently and I was really impressed > with the piano/synth/organ playing of Reese Wyanns. Can anyone tell me if > he has recorded any solo projects or what he is up to these days? No idea what he's up to now, but you can check out some Proto-Reese on Jerry Jeff Walker's late 70s post-Lost Gonzo Band recordings. Great stuff... Adrian ========================================================================= Date: Tue, 5 Mar 1996 17:51:29 -0500 Reply-To: John Kearney From: John Kearney Organization: Mojo Hound Sound Subject: Re: Favorite LIVE recordings Comments: To: bit-listserv-blues-l@uunet.uu.net A friend played Etta James, Live In San Francisco for me last Saturday. This has gone immediately to my short list of GREAT live blues recordings. Great vocals, a tight tight tight band, in-the-club production, and a gritty funky feel that you just have to wallow in. Dig it, jk ___________________________________________________________________ | John Kearney | Outside of a dog a book is man's best friend. jkearney@radix.net | Inside of a dog it's too dark to read. Ijamsville, MD | Groucho Marx | -------------------------------------------------------------------- ========================================================================= Date: Tue, 5 Mar 1996 17:20:24 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 03/06 B O R N : BOYKINS, RONNIE Born:1935 CHICAGO, IL Career:BASS Style:JAZZ With:Sun Ra / Bill Barron / Elmo Hope / Roland Kirk / Charlies Taylor / Sarah Vaughan / Mary Lou Williams BROTZMANN, PETER Born:1941 REMSCHEID, GERMANY Career:TENOR SAX Style:JAZZ / BIG BAND With:Mike Mantler / Carla Bley / Don Cherry / Cecil Taylor /. Sonny Sherock CALLENDER RED ( GEORGE ) Born:1918 Richmond, VA Career:Bass / Leader Style:TRAD / JAZZ / BLUES / BIG BAND With:Louis Armstrong / Nat'King' Cole / Errol Garner / Johnny Otis / Jerry Fielding KENYATTA, ROBIN ( PRINE ROLAND HAYNES ) Born:1942 MONCKS CORNER, SC Career:ALTO SAX / LEADER Style:JAZZ With:Bill Dixson / Rosewll Rudd / Sonny Stitt / Barry Miles / Walter Booker LOGAN, ELLA (ELLA ALLAN) Born:1913 GLASGOW, SCOTLAND Career:SINGER Style:BIG BAND With:Abe Lyman McGHEE, HOWARD Born:1918 TULSA, OK Career:TRUMPET Career:JAZZ / BIG BAND With:Art Bronson / Lionel Hampton / Karl George / Ernie Royal / Joe Newman / Andy Kirk / Charlie Barnet / George Auld / Coleman Hawkins / Woody Herman / Georgie Auld / Billy Eckstine MIKKELBORG, PALLE Born:1941 COPENHAGEN, DENMARK Career:TRUMPET / FLUGELHORN / COMPOSER Style:JAZZ Wit:Alix Riel / Thomas Clausen / Neil Henning Orsted Pedersen / Karan Krog / Gil Evans MONTGOMERY, WES (JOHN LESLIE ) Born:1925 INDIANAPOLIS, IN Career:GUITAR / LEADER Style:JAZZ / BIG BAND With:Lionel Hampton / Gene Morris / Sonny Parker / Montgomery Johnson Quintet / John Coltrane PIZZARELLI, JOHN ( PAUL JR ) Born:1960 PATERSON, NJ Career:GUITAR / SINGER Style:JAZZ Son of Bucky Pizzarelli / Tony Monte's trio PURIM, FLORA Born:1942 RIO DE JANEIRO, BRAZIL Career:SINGER Style:JAZZ With:Stan Getz / Duke Pearson / Gil Evans / Chick Corea ROOT, BILL ( WILLIAM ROOT ) Born:1934 PHILADELPHIA, PA Career:DRUMMER / ALTO SAX Style:JAZZ / BIG BAND With:Roy Eldridge 1951 /alto with Hal McIntyre 1952 / Red Rodney / Benny Green 1953-54 / Sonny Stitt TOLLIVER, CHARLES 1940 JACKSONVILLE, FL Career:TRUMPET / COMPOSER Style:JAZZ / BIG BAND With:Jackie McLean / Art Blakey / Sonny Rollins / Gerald Wilson / Max Roach / John Hicks / Cecil McBee / Reggie Workman AUSTIN, BILLY Born:1896 DENVER, CO Career:GUITAR Style:BLUES LOUIS JORDAN FOR A LISTING OF THOSE THAT PASSED AWAY IN THIS MONTH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Tue, 5 Mar 1996 15:43:40 -0800 Reply-To: John Childress From: John Childress Subject: Tampa Bay Blues Festival A friend and I just got back from this festival and I wanted to post a few thoughts. We flew there from San Francisco partly because of the line-up and partly for the promise of some sunny weather. We were not disappointed on either count. I liked the fact that there were not a huge number of performers on the bill. This gave each a good amount of time to limber up and show what they could do. The highlights for me were the expected and the unexpected: The Fabulous Thunderbirds were outstanding, as they have been every time I have seen them. I have long been a Son Seals fan but have never had the opportunity to see him perform.....this was a dynamite experience. This group could headline anytime, anyplace. Clarence Carter, while maybe not the traditional sense of blues, was a great way to close out the show. Just a good performer! Also a great show by Bobby Parker though he is not one of my favorites. The unexpected came from Jordan Patterson, who I had never heard before, and Sherman Robertson who even with a sore throat and sound problems was fantastic. I'm already out trying to find new cd's. The Backtrack Blues Band was very good and I especially liked the lead guitar player, Spider something. He led a couple of songs, notably Iron Man was great and a favorite among the in-crowd of locals, and should probably be doing more of the leads and singing. We missed Erica Guerin, the opening act on Saturday. All in all it was a great weekend. Thanks to RL and all the folks who put on the show and gave us info about the clubs, hotels and good eats. A quick question as well; we went to the Bayou Cafe on Saturday night and heard a group called the Rhythem Reviews and a dynamite young lady by the name of Velma something. Who is she????????????? For you locals this young lady is not to be missed. Guaranteed. John ========================================================================= Date: Tue, 5 Mar 1996 16:08:09 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: favorite "live" recordings, etc. Bill Shute listed the following as some of his fave live albums: > >in no particular order, my favorite "live" blues recordings are >3) Skip James live at the 2nd Fret, Philadelphia >and getting back to records, Lightnin' Hopkins at Swarthmore College... I must agree with the Lightnin' Hopkins pick - Live at Swarthmore is my favorite Lightnin' album - he sounds like he's having a ball, and includes great versions of Mojo hand, My Black Cadillac, and Ain't it Crazy - this is a must have for any Lightnin' fan. About this Skip James album - I've never seen it - what label is it on, when was it released? -Jim (hndful@uniserve.com) ========================================================================= Date: Tue, 5 Mar 1996 13:11:45 +0600 Reply-To: toulouse@comm.net Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: toulouse Organization: Toulouse Enterprises, Inc Subject: Re: New Orleans Jazzfest Comments: To: Marybeth Hamilton Marybeth Hamilton wrote: > > Could someone please forward me a list of the dates and tentative > performers for this year's Jazzfest? One was circulating earlier, but I > stupidly deleted it. Thanks in advance. > > Marybeth > > mhamilt@ihr.sas.ac.uk You can find Jazz Fest info at: http://www.nojazzfest.com/ ========================================================================= Date: Wed, 6 Mar 1996 00:24:33 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: favorite "live" recordings, etc. Comments: To: bit-listserv-blues-l@uunet.uu.net In article <19960305.155714.034785.NETNEWS@AUVM.AMERICAN.EDU> William Shute writes: >And while we're talkin' about TV/film, how about Freddie King's amazing >performances on THE!!! BEAT tv show that were released on a video a year or >two back. This is definitely one to find. Quite a bit of this comes from a 1966 recordings of Freddie from the tv show mentioned above. Definitely a flashback piece - with go-go dancers, etc. Freddie is at his peak here. There's also video from a Swedish (I think) TV appearance which was from the 70s, but THE!!! BEAT portion is the main reason to go for this video. It was put out by Vestapol (catalog # 13014). Art Schuna ========================================================================= Date: Tue, 5 Mar 1996 20:01:05 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Archie Edwards So I'm listening to this 1981 American Folk Blues CD and I'm thinking.....Archie Edwards, yeah.... But then, not having one of those nifty Who's Who books (I saw the Harris one once--It was like fifty bucks or something), I don't know anything about Archie Edwards. Can someone enlighten me and also tell me what recordings are available? Karen P.S. While we're looking....how about Larry Johnson? (Sorry if these are "dumb" questions---no, I'm not!--I think it's a more relevant topic of conversation than the comparative characteristics of amphibians and reptiles! Btw, who was nicknamed "Turtle"? That's not a trivia question. I just remember reading it someplace and now I can't remember.) ========================================================================= Date: Tue, 5 Mar 1996 19:10:09 -0600 Reply-To: "Larry A. Bowers" From: "Larry A. Bowers" you may live longer than me, but.... you won't outlive me ========================================================================= Date: Tue, 5 Mar 1996 20:04:57 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Blues-like bs Pw> Shaun, I think you may have inadvertently nailed precisely what, in Pw> my opinion, has gone _wrong_ with "contemporary" Blues. Pw> A meandering, lengthy, dynamically narrow, but gymnastic exercise in Pw> guitar aggression is what Blues soloing has become. Pw> Today, when you listen to the work of some of the "young guns" we Pw> have been discussing here lately, you hear long demonstrations of Pw> 6 string acrobatics that are occasionally interrupted by brief Pw> snatches of "song". To me, that represents the "wrong turn" that much Pw> of contemporary Blues has taken. Pw> The sad part for me is that, for the most part, this has been the Pw> "white" contribution to the Blues. At the risk of tarnishing Pw>'s public image by my agreeing with him; I whole heartedly agree!!. The incredible musical diversity, beauty, and creativity of the older Country styles has, indeed, given way to mindless rock'n'rollers and their Blues-like guitar pyrotechnics. ... "A nobel spirit embiggens the smallest man!" Jebediah Springfield --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Tue, 5 Mar 1996 20:41:40 -0500 Reply-To: StanhopeHs From: StanhopeHs Organization: America Online, Inc. (1-800-827-6364) Subject: NJ's Premier Blues Club Comments: To: bit-listserv-blues-l@uunet.uu.net The Stanhope House 201 347 0458 March schedule Wed. 6 - Matt "Guitar" Murphy... one of the most respected figures in the music world today. For the past two decades, matt has performed with virtually every great blues artist and has been heralded as one of the best guitarists of our time. Matt was featured on both Blues brothers albums and had a featured role in the film "The Blues brothers" Thur. 7 - WNTI presents The Health and Happiness show... showtime 9pm Fri. 8 - Queen bee and the Blue Hornet Band... soulful blues Sat. 9 - Maynard Silva and the New Hawks... composer, singer, harmonica player and slide guitar wizard Silva has mastered a Blues language that's rare and electrifying. A student of Blues greats Bukka White and JB Hutto, he has assembled a dynamic band to include "Silverstone" Steve from the original Hawks. Fri. 15 - Debbie Davies... passionate, exceptional guitar and vocals. Formerly with Albert Collins. '96 WC Handy Award Nominee. Fem Fest '95 Sat. 16 - Crescent City Maulers... jumpin' rockin' honkin' wild high energy swing blues. Come out and celebrate St. Patty's Day. Drink specials and door prizes. Thur. 21 - The Partners... original music Fri. 22 - Joanna Connor... her slide guitar playing is a combination of razor sharp and hard hitting conventional Blues. An aggresive player she has toured nationally and internationally and has earned a reputation as a dedicated and talented contemporary musician. Sat. 23 - Loup Garou... you haven't heard Zydeco until you've heard this band!!! Sun. 24 - WNTI Benefit with Kings in Disguise and Laurie Cagno... $10. donation will go towards keeping freeform radio alive in Northwest New Jersey. Fri. 29 - Billy Hector and the Fairlanes... Rockin' Blues Sat. 30 - Bobby Rush... Composer, singer and player of 7 instruments, Bobby has been recording for over 30 years. A distinctive blend of soul, funky blues and R&B with a unique show that includes stories, dancers, singers and all around outrageous fun. ========================================================================= Date: Tue, 5 Mar 1996 21:04:27 -0800 Reply-To: "R.J. Bauman" From: "R.J. Bauman" Organization: Union Federal Savings Bank Subject: Re: Favorite LIVE recordings Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu L W wrote: > > What are some of ya'lls favorite LIVE recordings (blues only) > > Brownie & Sonny - Live At The 2nd Fret > Muddy - Miss Muddy Live > KOKO - Audience with the queen > > Tell me more I don't know many..... > > Thanks > > L W For the upteenth time..... "Etta James Rocks the House." Recorded in the early '60's, most of this set was supposed to be a warmup set. It's AWESOME. Probably the best cover of "Baby, What You Want Me To Do" ever.But that's not all....... Also, Lightnin' Hopkins at Swarthmore College. Great interplay with the audience. You already know about "Live At The Regal" , but what about "Blues is King", which I prefer (BB King, duhh.......) You also probably know all about Albert King's ".......Night in SF" albums and "Blues at Sunrise/Sunset" albums. I agree with your opinion of "Mississippi Muddy Waters Live." But the best live recording out there is still................ "Kiss Alive I" ..... for those nights when you feel like looting , pillaging , or just jumping up and down on the couch. RJ Bauman (to steal LW's phrase, flames cheerfully ignored) ========================================================================= Date: Wed, 6 Mar 1996 03:05:11 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: New Orleans Jazzfest toulouse (toulouse@COMM.NET) wrote: : You can find Jazz Fest info at: http://www.nojazzfest.com/ Is this finally up and running? Last time I checked there was notihng on it. ============================================================================ Jef Jaisun eljefe@netcom.com ============================================================================ -- ========================================================================= Date: Tue, 5 Mar 1996 22:09:17 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: A Slight Problem Gaynell, a funny thing happened today at work. One of my co-workers was sent home and may be fired for either sending or receiving a fax about some freelance work. (Not the same web site co-worker I told you about today.) It all sure took me by surprise. I've had my share of employer grief, but never for using the fax machine! I guess things are pretty squirrley there these days -- business ain't so good and tensions are kinda high. So anyway, I guess we'd better *not* do any correspondence by that fax -- number (407) 677-9254, in case you have it programmed someplace. And depending on who may be overhearing us, our phone conversations may have to be sort of one-way. Until today, I really had no idea how they felt about that sort of thing. And very bad timing indeed! Christ, I think I need to turn up the blues over there! *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Tue, 5 Mar 1996 22:51:44 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: A Bigger Slight Problem Man, I cannot believe I did that! My sincerest apologies for sending my work fax woes to the whole damn world. Won't happen again. Blues-L is now off my nicknames list. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Wed, 6 Mar 1996 04:30:52 +0000 Reply-To: Bob Bingham From: Bob Bingham Subject: Re: [delivery failure to nls@m1.interserv.com] >To: Blues-L@BROWNVM.BROWN.EDU >From: mitawan@cybervault.com (Bob Bingham) >Subject: Re: [delivery failure to nls@m1.interserv.com] > >>Date: Tue, 5 Mar 1996 08:41:29 -0800 >>To: mitawan@CYBERVAULT.COM >>References: 16094509301010@cybervault.com >>X-Loop: postmaster@interserv.com >>From: Interserv Operations >>Subject: Re: [delivery failure to nls@m1.interserv.com] >>Precedence: bulk >> >>The message that you sent to the above recipient was not delivered. All mail >>sent to this account will continue to be returned until the recipient has >>removed enough mail to lower the mailbox size below the system mailbox limit. >> >>-- >> >>Interserv Network Operations Center Postmaster@interserv.com >>2001 6th Ave. Suite 3025B noc@interserv.net >>Seattle, WA. 95121 CompuServe/Internet Division >> >>-----[ Orginal mail message follows ]------------- >> >> >>> >>> I've been following this lively discussion about theory vs. ignorance and >>> the argument seems to be more of an apples versus oranges thing. I always >>> get disgusted when I read stuff by people trying to intellectualize the >>> blues. This music is about, first and formost, emotion. Thats right all you >>> musical know it alls.If you want to waste your time argueing about which >>> came first, the cart or the horse, please do! In the meantime I think I'll >>> go listen to some Mance Lipscomb tunes. >>> P.S. As a professional blues guitarist who's worked with both Luther Allison >>> and Kim Wilson among others, I have only this to say. Neither of the >>> previous mentioned names had any formal theory instruction and it doesn't >>> seem to have affected their playing. Put that in your pipe and smoke it! >>> >> > ========================================================================= Date: Tue, 5 Mar 1996 20:14:27 GMT Reply-To: Dave_J._Herda@infozone.telluride.co.us From: "Dave J. Herda" Organization: InfoZone Telluride Co (970)-728-0472 Subject: Re: Favorite LIVE recordings Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU Freddie King--Live at the Electric Ballroom--1974. This album rocks from start to finish. Besides the live show, the album also features a couple of acoustic tunes from a radio interview. Freddie on acoustic is pretty sweet. Enjoy the album and keep on playin those blues. Peace--D ========================================================================= Date: Tue, 5 Mar 1996 20:17:23 GMT Reply-To: Dave_J._Herda@infozone.telluride.co.us From: "Dave J. Herda" Organization: InfoZone Telluride Co (970)-728-0472 Subject: Re: Favorite LIVE recordings Comments: To: bob@SUN.BNKST.EDU B.B. Live at Cook County Jail--Very Fine! ========================================================================= Date: Tue, 5 Mar 1996 23:18:15 -0600 Reply-To: Keith Castleberry From: Keith Castleberry Subject: Favorite "Live" (not recording) THE best "I" have seen/heard was Johnny Winter - Birmingham, AL 1973. Really was the turning point on blues. Was in his rockin' blues days. But, what a show. The start-up band was James Gang (post-Joe Walsh) and then Brownsville Station (Cub Coda) then JOHNNY WINTER. I guess that tells my age on this one. Any way, I've been scowering the Blues bins for JW ever since. Keith Castleberry WYDH 105.9 FM "The Blues Cruise" P.O. Box 710 Atmore, AL 36504-0710 ========================================================================= Date: Wed, 6 Mar 1996 00:48:47 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Hip blues record stores Here in St. Louis there's an independant record store that handles both new and used records and CDs. They're called Vintage Vinyl. If you're looking for a hard to find blues release in this town they are your only good chance. I am curious if there are similar stores in other places, one's that specialize in blues, or at least have a knowledgable staff and a really good selection of blues? If anyone on Blues-L knows of such a store I'd appreciate knowing about it by private e-mail. And no, I have no affiliation with Vintage Vinyl whatsoever. Joel Slotnikoff ========================================================================= Date: Wed, 6 Mar 1996 02:56:23 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: No Elmore videos..WHY...? LW wrote >I'm just wondering why no Elmore video has surfaced. Someone has to have Elmore >footage. Has anyone ever heard of any Elmore videos. It's hard to believe >that during his time he was not "filmed"...... > >If I recall someone said there is no Elmore videos around, but I have to wonder >why... > >Anyone know why.....I betcha there is some Elmore footage somewhere > >LW I don't see why it should be hard to believe he was not filmed; but as it happens, his manager had movies made for promo purposes. Calm down, now - they got lost when he moved house. See BU 73 and weep. Chris Smith (chris@skerries.demon.co.uk) "What's the use of gettin' sober, when you're gonna get drunk again?" (Louis Jordan) ========================================================================= Date: Wed, 6 Mar 1996 00:36:24 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Favorite "Live" (not recording) Definately the late Jazz saxaphonist George Adams at "The Blue Note" in Fukuoka, Japan (I lived in Southern Japan for a few years) in 1992 (I think). It was the most amazing show I've ever seen..Thinking about it still gives me goose bumps. It was that good. George came out sat down and talked, in a Miles Davis like rasp, for a few minutes (last show of the tour) about how much he had enjoyed Japan etc. He then said "Let's play some blues." With that the band kicked into the most awesome jazz/blues I have ever heard since. It blew me away. I sat there for the rest of the night with a huge grin on my face enjoying some of the most incredible jazz and blues I have ever heard. His playing was stunning (as was the rest of the band). By the far the most moving concert I have ever been priveliged to witness. George was obviously very ill at the time. He did a lot of coughing that night. My friend, who accompanied me, later said that she saw him coughing blood. It wasn't much later that I heard he had died only a few months after that show. It is almost impossible to describe how I felt watching him play that night. Absolute pure joy is the best I can come up with. Maybe he knew that time was short. Whatever, he touched my soul. I still am yet to see a better live show. I don't think I'll ever will. A far distant second is Buddy Guy's set at the 1995 Long Beach Blues Festival. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Wed, 6 Mar 1996 01:16:15 -0800 Reply-To: Jef Jaisun From: Jef Jaisun Subject: Why, there they are now, officer! (no blues content) For those of you wondering who's been gumming up the e-mail... I'm gonna take a wild guess (from my radio daze) and say CKUT is a college radio station. "Yo, Hosers! Take off, eh?" Jef Jaisun -----------------------Post Office wrote------------------------ > From Post_Office@babylon.montreal.qc.ca Tue Mar 5 21:30:49 1996 > From: Post_Office@babylon.montreal.qc.ca (Post Office) > Reply-To: Post_Office@babylon.montreal.qc.ca > To: eljefe@netcom.com > Subject: NDN: Re: New Orleans Jazzfest > Date: 06 Mar 1996 03:45:21 GMT > Message-Id: <752394171.46832512@babylon.montreal.qc.ca> > Organization: Babylon, Montreal, Canada > > Sorry. Your message could not be delivered to: > > CKUT online (Mailbox or Conference is full.) > ========================================================================= Date: Wed, 6 Mar 1996 11:30:46 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: need info on virus-warning Sorry to post this to the whole list. A couple of times the past year there has appeared a warning for the "Good times" virus. I remember that people has responded by saying it dosn=B4t exist but I need more facts. How long ha= s the Good-times warning been around? Does anybody know where it originated? Our local newspaper had an article about the virus today - They must have lifted a mail from the Net and just translated it. I want to set everything straight. Private mail please. Bo Carlsson ========================================================================= Date: Wed, 6 Mar 1996 05:01:31 -0500 Reply-To: "Serdar Mert (IIBF 2)" From: "Serdar Mert (IIBF 2)" ok 78e3b6 ========================================================================= Date: Tue, 5 Mar 1996 23:57:02 GMT Reply-To: David Poole From: David Poole Organization: Pipeline USA Subject: Re: #BLUES on IRC Comments: To: bit-listserv-blues-l@uunet.uu.net I visit there regularly. No one's ever there. Hope the posting may stir up some interest and action! ========================================================================= Date: Wed, 6 Mar 1996 07:15:30 EST Reply-To: William Pollak From: William Pollak Subject: Quiet Elegance (was Re: Willie Mitchell) Comments: To: Bonnie Kalmbach In-Reply-To: Your message of "Tue, 05 Mar 96 11:29:00 CDT." <26030511290458@vms2.macc.wisc.edu> Bonnie Kalmbach writes >What else has Quiet Elegance recorded? I'm familiar with the cut on the >"Hi - the RnB Years). Are any of their recordings on CD? Everything they recorded with Willie Mitchell for Hi, including some unreleased recordings, is on "You've Got My Mind Messed Up," Hi UK CD 109. This is an import, but I got a copy through CDNow. There are a few dogs on this CD, but for the most part it is incredibly great. In addition to lead singer Frances Gearing, the group also included Lois Reeves, Martha Reeves' sister. Bill P. Bill Pollak, Technical Communication Carnegie Mellon U., Software Engineering Institute Pittsburgh, PA 15213-3890 email: wp@sei.cmu.edu ========================================================================= Date: Wed, 6 Mar 1996 07:34:37 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1857 the United States Supreme Court ruled that Blacks were not citizens. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 6 Mar 1996 08:09:08 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0144 From: "DUTTWEILER.J" Subject: Re: Favorite LIVE recordings Listed in no particular order, except by artist (maybe): Otis Rush - So Many Roads - Tops - Live in Europe BB King - At the Regal - Blues is King - Cook County Jail Albert King - Live at the Filmore, both Wednesday AND Thursday nights Albert Collins - Live '92 - 93 The Allman Bros. - The Filmore Concerts (the 1992 Remixed version) - not soley blues, but killer nonetheless May think of some more later, but that's what I've listened to recently and keep coming back to often JD ========================================================================= Date: Wed, 6 Mar 1996 14:16:55 GMT Reply-To: sylviap@cartermill.com From: "sylviap@cartermill.com" Subject: INFO ON CLAPTON Clapton has been inspirated by several big musicians blues but is there someone called Hammonds or Hammond, who would you think CLapton define as tis big masters? Thank you very much Marie ========================================================================= Date: Wed, 6 Mar 1996 14:19:03 +0100 Reply-To: Peter Gallagher From: Peter Gallagher Subject: Re: Blues-like bs Comments: To: laurie.forti@INFOEXCH.MIAMI.FL.US Comments: cc: gach@xs4all.nl In-Reply-To: <9603052004.0S7N800@infoexch.miami.fl.us> from "Laurie Forti" at Mar 5, 96 08:04:57 pm My sentiments exactly. The most disappointing two gigs I went to recently were Ronnie Earl and Robben Ford, both of whom bored me to death with endless guitar-solo's and left me wondering at the end of the night: "where's the BLUES in all of this.??!!" The only saving grace was Candye Kane who played as an unadvertised afterthought after Robben Ford. She and her band were great fun and they played some great jump-blues to boot! The "blues" might be undergoing a revival of interest, but some of the stuff being flaunted as "blues" makes me wonder! Regards, PeterG "It's blues, Jim, but not as we know it!" :) > Pw> Shaun, I think you may have inadvertently nailed precisely what, in > Pw> my opinion, has gone _wrong_ with "contemporary" Blues. > > Pw> A meandering, lengthy, dynamically narrow, but gymnastic exercise in > Pw> guitar aggression is what Blues soloing has become. > > Pw> Today, when you listen to the work of some of the "young guns" we > Pw> have been discussing here lately, you hear long demonstrations of > Pw> 6 string acrobatics that are occasionally interrupted by brief > Pw> snatches of "song". To me, that represents the "wrong turn" that much > Pw> of contemporary Blues has taken. > > Pw> The sad part for me is that, for the most part, this has been the > Pw> "white" contribution to the Blues. > > At the risk of tarnishing Pw>'s public image by my agreeing with > him; I whole heartedly agree!!. The incredible musical diversity, > beauty, and creativity of the older Country styles has, indeed, given > way to mindless rock'n'rollers and their Blues-like guitar > pyrotechnics. > > > ... "A nobel spirit embiggens the smallest man!" Jebediah Springfield > > --- > ~ Blue Wave/QWK v2.20 ~ > > -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internt: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Wed, 6 Mar 1996 08:27:20 EST Reply-To: "David A. Pimmel" <103300.3331@COMPUSERVE.COM> From: "David A. Pimmel" <103300.3331@COMPUSERVE.COM> Subject: Re: Favorite LIVE recordings Comments: To: LW I'd just like to one to the grwoing list of great live stuff. Lonnie Brooks, BAYOU LIGHTNIN STRIKES recorded at BLUES ETC. in Chicago. David Pimmel 103300.3331@compuserve.com ========================================================================= Date: Wed, 6 Mar 1996 08:40:31 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Derringer out of ammo? Hey, where on earth is Rick Derringer these days? Anybody know? If you listen to his early work with Johnny Winter and then again 20 years later on the SRV tribute album "Hats Off to Stevie Ray", you realize this guy can really play some mean blues. I mean, he plays the shit outa that Strat of his, and always could. So what the heck? Where is he, and how come he's not out there giving us some hot blues??? Despite the pop albums that he coughed up in his career, and recently wasn't it a stint with Joan Jett(?)...it seems like blues are in his veins. Listenin' and wonderin'..... Riffin Rick (((( oo-) /- ..no rock'n'roll hoochie-coo here....! F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 5 Mar 1996 08:33:00 EST Reply-To: MR ROBERT W BELEW From: MR ROBERT W BELEW Subject: Reese Wynans Update SUBJECT: Re: Reese Wyanns/Obessions Reese is playing with "The Bluebloods" which includes Mike Henderson, Glenn Worf and John Gardner. They can be seen on most any Monday night at the Bluebird Cafe, Nashville. (check schedule first though !) Watch for their "Live at the Bluebird" recording to be issued on Dead Reckoning label sometime in the fall. You can pester Dead Reckoning at 1-800-442-DEAD. Tell J.D. I sent ya ! They also backed Tracy Nelson on her award winning release "I Feel So Good". (I'm sure you all knew that though.) Block Dog ========================================================================= Date: Wed, 6 Mar 1996 08:46:00 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Attention Guitarists I just stumbled onto the greatest guitar website. Only visit if you have LOTS of time. I've never seen so many guitar related links. http://www2.utep.edu/~dgreiner/guitar.htm P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 5 Mar 1996 08:33:56 EST Reply-To: MR ROBERT W BELEW From: MR ROBERT W BELEW Subject: Kenny Neal Disappoints ? SUBJECT: Re: Kenny Neal Disappoints > I've spent a lot of time talking to Kenny and >he is not an arrogant overblown blues act. No way, shape or form. Kenny was on the bill at the 9th annual Carolina "Lite" Festival last year and I have to say that I was astounded by the electricity that permeated the air under that big tent. Damn did they jam ! Kenny jumped into the crowd and circled the area while he did a great solo. After the Festival was over he showed up at a little place in Highpoint, NC called Triangle Billiards and set the night on fire again. (Triangle Billiards is also where Bob Margolin held the release party for his newest release.) I'm sure all these blues acts have bad nights with the hours that they keep. ========================================================================= Date: Wed, 6 Mar 1996 08:54:08 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0166 From: "DUTTWEILER.J" Subject: favorite "live" recordings, etc. Can't believe I forgot two of my favorites in my last list: The "hottest" live album around: SonSeals, "Live and Burning" and as others have mentioned, "Muddy 'Mississippi' Waters Live" Both are ESSENTIAL JD ========================================================================= Date: Wed, 6 Mar 1996 09:17:46 -0500 Reply-To: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM From: Jim Smith Subject: Freddie King Live (Was Re: Favorite LIVE recordings) In-Reply-To: <1636888574.10299121@infozone.telluride.co.us> Is this Black Top release a re-release of the TopCat CD from last year? Jim Smith >Freddie King--Live at the Electric Ballroom--1974. This album rocks from >start to finish. Besides the live show, the album also features a couple of >acoustic tunes from a radio interview. Freddie on acoustic is pretty sweet. >Enjoy the album and keep on playin those blues. > > > > >Peace--D > ========================================================================= Date: Wed, 6 Mar 1996 08:11:31 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Favorite "Live" (not recording) In-Reply-To: Message of Tue, 5 Mar 1996 23:18:15 -0600 from On Tue, 5 Mar 1996 23:18:15 -0600 Keith Castleberry said: >THE best "I" have seen/heard was Johnny Winter - Birmingham, AL 1973. Really >was the turning point on blues. Was in his rockin' blues days. But, what a >show. > >The start-up band was James Gang (post-Joe Walsh) and then Brownsville >Station (Cub Coda) then JOHNNY WINTER. Are you 100% sure The James Gang was there, or was it Brownsville Station, Foghat, then JW....At Rickwood Field in B'ham....I was at that show and I'm almost positive it was Foghat, could have been a different show, but I doubt it...Could also be that I don't remember much of that show...I think it was in 1972... LW ========================================================================= Date: Wed, 6 Mar 1996 15:20:30 GMT Reply-To: sylviap@cartermill.com From: "sylviap@cartermill.com" Subject: HELP INFO CLAPTON Clapton has been inspirated by several big blues musicians. Is there someone called Hammonds or Hammond? Who would you think Clapton define as its masters? Thank you very much Marie ========================================================================= Date: Wed, 6 Mar 1996 09:20:11 -0500 Reply-To: Dave Markovits From: Dave Markovits Subject: Live albums My personal favorite (as of late) is Solomon Burke "Live at the House of Blues" on Black Top. The big man is backed by a small orchestra practically. I nearly wore out this cd when I got it. I enjoy putting it on when the Blues hit hard. It can fix anything; examples, girlfriend leaves you, your dog runs away, lose your job, taxes etc. Give it a listen, I guarantee you won't be disappointed. On another note, off to see Phillip Walker at KoKo Taylor's club tonight. Has anyone seen him recently? What's he like? I called the club last night and they said the cover was 3bucks. Considering KoKo's is a tourist spot (I really only go there if I can't see the act elsewhere) I assume this is a mistake. They do have great acts there and I have had fun. It's corporate owned by ala carte entertainment and they just don't seem to know too much about Blues.(That's my club complaint)Then again they did open on Division street. The Blues is something you feel, David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Wed, 6 Mar 1996 09:17:30 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Archie Edwards Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, JukeFreak/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=JukeFreak#a#AOL#f#COM@s1boca.corp.wrgrace.com *So I'm listening to this 1981 American Folk Blues CD and I'm *thinking.....Archie Edwards, yeah.... But then, not having one of those *nifty Who's Who books (I saw the Harris one once--It was like fifty bucks or *something), I don't know anything about Archie Edwards. Can someone *enlighten me and also tell me what recordings are available? He's from DC and I've seen him many times. When I was an undergard at University of Maryland, he used to perform for the folklore classes I took. He has also played at many DC Blues Society and other local events. He has one cd that I know of, called "Blues and Bones," on Mapleshade. It also features Marc Wenner on harp and a bones player called "Mr. Bones" on dry bones. I have the Mapleshade cd at home, and I can get you their address if you want it. -Steve Levine ========================================================================= Date: Wed, 6 Mar 1996 09:15:12 -0500 Reply-To: RsprBlues From: RsprBlues Organization: America Online, Inc. (1-800-827-6364) Subject: looking for the blues in Dallas Comments: To: bit-listserv-blues-l@uunet.uu.net I'm going to be in Dallas this weekend -- can anyone recommend some good blues clubs? I'm specifically hoping for something on Sunday or Monday night 3/10 or 3/11. Please e-mail me off-list -- thanks! Betsy Betsy.Veal@rssrspr.com ========================================================================= Date: Wed, 6 Mar 1996 09:22:39 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Favorite LIVE recordings Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com Two more I just remembered: Walter Horton "Little Boy Blue" - Probably the only decent live Horton recording available, with Ronnie Earle and Sugar Ray Nocia (who sings and plays harp on three songs before Big Walter takes over). Blues At Newport - Great album for its variety, and an important record of the 60's blues revival. Lots of nice performances on here too. -Steve Levine ========================================================================= Date: Wed, 6 Mar 1996 15:41:03 +0100 Reply-To: "F. van der Leeuw" From: "F. van der Leeuw" Subject: Re: Favorite LIVE recordings In-Reply-To: <960306132719_103300.3331_IHH55-2@CompuServe.COM> How about these (artists in alphabetical order): Luther Allison: - south side safari - live - live in Paris - power wire blues Eddy Clearwater: black night Jimmy Dawkins: - come back baby - I want to know Buddy Guy & Stevie Ray Vaughan: it's still called the blues This one contains only 4 songs, among which one of 25 minutes, and another one of 18 minutes. If you like Guy&Vaughan duets, make sure you get this one!!! Lightnin' Hopkins: live at the bird lounge J.B. Hutto: - Live 1977 - live at Shaboo Inn Louisiana Red: the rising sun collection Magic Slim: all his live recordings, but especially Born on a bad sign & Let me love you Mighty Joe Young: Live at the Wise Fools Pub Frank van der Leeuw Amsterdam ========================================================================= Date: Wed, 6 Mar 1996 08:40:07 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Phillip Walker In-Reply-To: Message of Wed, 6 Mar 1996 09:20:11 -0500 from On Wed, 6 Mar 1996 09:20:11 -0500 Dave Markovits said: > >On another note, off to see Phillip Walker at KoKo Taylor's club tonight. >Has anyone seen him recently? What's he like? I called the club last night >and they said the cover was 3bucks. Considering KoKo's is a tourist spot I saw Phillip Walker about a year ago and he was VERY, VERY good. I highly recommend seeing him. We had at least an hour drive to go see him and we'd welcome the opportunity to do it again. Very good show. I'd like to know your thoughts after you see him... LW ========================================================================= Date: Wed, 6 Mar 1996 08:45:41 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Lonnie Johnson Which Lonnie Jonhson recording best shows his guitar prowness. I've listened to a couple and both have very little guitar playing. Which one with Eddie Lang would be a good one to have. LW ========================================================================= Date: Wed, 6 Mar 1996 08:53:21 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Derringer out of ammo? Comments: To: "" In-Reply-To: <01I20G0WQ34Y0048K2@SCI.WFBR.EDU> Rick Derringer had a blues-rock CD out on Blues Bureau Intl. a couple years ago and recently recorded for Code Blue. ========================================================================= Date: Wed, 6 Mar 1996 06:42:26 -0800 Reply-To: Karen Johnson From: Karen Johnson Subject: Re: SugarPie deSanto? >Sugar Pie Desanto is one of my favorite soul singers. She was born >Umpeylia Masema Balinton, on October 16, 1935, and is still going >strong, living in the San Francisco area, I believe. > >> >She is tiny (4'11") with a huge voice -- Johnny Otis (who seems to have >discovered more singers and invented more nicknames than anyone else >in the business) named her "Little Miss Sugar Pie." She was known for >very raunchy behaviour on stage. > >>Ian Angus >"Built for comfort, not for speed" When I first moved to San Francisco in 1978, I went to a small club to see Freddie Roulette. Sugar Pie DeSanto was on the same bill. I had never heard of her, but I have never forgotten the experience. She wore a skin tight sequined gown and put on a startlingly raunchy show indeed. She has the most extraordinary muscle control--that is, flexing ability. Since the club was so intimate it was a very up close and personal adventure. Also, Etta James talks about Sugar Pie in her autobiography. KJ in SF > Karen Johnson Library System Manager University of San Francisco 2130 Fulton St. San Francisco, CA 94117 (415)666-2759 Phone (415)666-2233 FAX ========================================================================= Date: Wed, 6 Mar 1996 08:59:00 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Derringer out of ammo? In-Reply-To: Message of Wed, 6 Mar 1996 08:53:21 -0600 from On Wed, 6 Mar 1996 08:53:21 -0600 Richard Shurman said: >Rick Derringer had a blues-rock CD out on Blues Bureau Intl. a couple >years ago and recently recorded for Code Blue. I'll never forget the fold out album (RnR Hoochie Coo ??) with Rick in the center in silver tight pants, silver gloves and makeup on...I kind of lost respect for him after that. Didn't he play with the Real McCoys. LW ========================================================================= Date: Wed, 6 Mar 1996 10:22:13 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Favourite live recordings I've not gone through ALL the stuff today, but I have to throw three more into the pot: 1) B.B. King Live at the Regal (probably the best example of audience-performer interaction you can get, although the sleeve notes on the CD at pretty threadbare). 2) Sam Cooke Live (actually there are two I like; a gospel one on Specialty, and the one RCA eventually put out on RCA cut in a toilet night club in Miami; I don't think that's on CD yet) 3) Solomon Burke Live at the House of Blues (on Black Top via Rounder-a totally over the top r&b show; Solomon Burke is the best classic r&b singer working today, and his live show-which I've had the good fortune to see a number of times-is astonishing. Period.) Richard the Elder ========================================================================= Date: Wed, 6 Mar 1996 09:14:05 -0600 Reply-To: Bennett Pearce From: Bennett Pearce Organization: UAB Pediatric Cardiology Subject: Muddy Question Comments: To: bit-listserv-blues-l@uunet.uu.net I had a Muddy record a long time ago and it had a song that had a line that went "I've been dogged by women but that don't mean a thing". Does anyone know if this has been released on CD or what the title of the song is? It may have been on one of the Muddy in London sessions. -- Bennett Pearce, MD ========================================================================= Date: Wed, 6 Mar 1996 10:45:01 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Derringer out of ammo? Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu In a message dated 96-03-06 10:33:36 EST, ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU (L W) writes: >>Rick Derringer had a blues-rock CD out on Blues Bureau Intl. a couple >>years ago and recently recorded for Code Blue. > >I'll never forget the fold out album (RnR Hoochie Coo ??) with Rick in the >center in silver tight pants, silver gloves and makeup on...I kind of lost >respect for him after that. Didn't he play with the Real McCoys. Yes, he did. Seems kind of funny to have "lost respect" at that late date for the guy who burst upon the scene with "Hang On Sloopy." He and his brother (on drums?) were both in the McCoys. Tom Freeland ========================================================================= Date: Wed, 6 Mar 1996 10:46:27 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: HARP-L info (was Re: Hohner Harp Question) Comments: To: Steve Smith In-Reply-To: <199603052333.JAA29571@ephp.dep.sa.gov.au> I couple people asked about Harp-L. The listserve address is: MXserver@WKUV1.WKU.EDU do the typical request: SUBSCRIBE HARP-L "your name" Cheers, and keep blowin'. Dave Prychitko ========================================================================= Date: Wed, 6 Mar 1996 10:52:22 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Favourite live recordings Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com One more - James Brown Live at The Apollo, 1962 "Let me hear ya say 'Ow!' Don't just say 'Ow!' say 'OWWW!'" ========================================================================= Date: Wed, 6 Mar 1996 11:04:18 -0500 Reply-To: Brenda Bogert From: Brenda Bogert Subject: Re: Lonnie Johnson Comments: To: L W In-Reply-To: On Wed, 6 Mar 1996, L W wrote: > Which Lonnie Jonhson recording best shows his guitar prowness. I've listened > to a couple and both have very little guitar playing. Which one with Eddie > Lang would be a good one to have. My favorite is the Roots N' Blues volume "Steppin On the Blues". Includes duets with Eddie Lang, solos and accompaniments to Victoria Spivey and Texas Alexander. All were recorded 1925-32. Pen Bogert Louisville KY ========================================================================= Date: Wed, 6 Mar 1996 08:22:02 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Freddie King Live (Was Re: Favorite LIVE recordings) Comments: To: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM Yes, it is. t 09:17 AM 3/6/96 -0500, Jim Smith wrote: > Is this Black Top release a re-release of the TopCat CD from last year? > > Jim Smith > > >>Freddie King--Live at the Electric Ballroom--1974. This album rocks from >>start to finish. Besides the live show, the album also features a couple of >>acoustic tunes from a radio interview. Freddie on acoustic is pretty sweet. >>Enjoy the album and keep on playin those blues. >> >> >> >> >>Peace--D >> > > Mary Katherine Aldin ========================================================================= Date: Wed, 6 Mar 1996 11:17:37 -0500 Reply-To: bob unger From: bob unger Subject: Favorite live recordings I see whenever B.B. is mentioned, it's been Live At The Regal, but what about Blues Is King. I get chills with that one....I prefer that one over The Regal.. BU bob@sun.bnkst.edu ========================================================================= Date: Wed, 6 Mar 1996 17:27:43 +0100 Reply-To: Bengans From: Bengans Subject: HELP:Sonny Boy II lyrics A friend o mine is planning to record the Sonny Boy song "Cool,Cool Blues" from the Arohoolie album King biscuit time. Were two big question marks on the second verse: " Everybody tells me....lives in the neighborhood.....bla bla bla". Can someone help me/my friend on with this verse? Sevenson "Time is hard baby, and hustling is really on". T-Bone Walker ========================================================================= Date: Wed, 6 Mar 1996 11:18:11 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: HARP-L info (was Re: Hohner Harp Question) Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *MXserver@WKUV1.WKU.EDU * *do the typical request: * *SUBSCRIBE HARP-L "your name"* Actually, the address changed a few months ago. To subscribe, send a message to majordomo@garply.com That says: subscribe Harp-L ========================================================================= Date: Wed, 6 Mar 1996 11:26:01 -0500 Reply-To: MojoBandit@AOL.COM From: Dave Ruthenberg Subject: Blues Rag interviews now on the Web Thanks to NY CD Blues, some of the interivews that have appeared in the Blues Rag to date, are now available on the Web. If you are interested in John Hammond, Tinsley Ellis or Robert Jones, check it out at: http://www.panix.com/~bsco/interviews/index.html Dave ========================================================================= Date: Wed, 6 Mar 1996 10:17:35 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Favorite live recordings In-Reply-To: Message of Wed, 6 Mar 1996 11:17:37 -0500 from On Wed, 6 Mar 1996 11:17:37 -0500 bob unger said: >I see whenever B.B. is mentioned, it's been Live At The Regal, but what about >Blues Is King. I get chills with that one....I prefer that one over The >Regal.. >From a guitar playing standpoint I agree that "Blues Is King" is the ONE, but the showmanship & audience rapport on "Regal" is as good as it gets IMHO. "How Blue Can You Get" on Live At The Regal just tears me to pieces, the energy level is amazing for a recording. I like ALbert King's "Blues At Sunrise" and I think his audience rapport is nice, but BB has them (and me) in his palm on LATR. I have friends who expected BB's guitar to be the star on LATR and it took them awhile to appreciate the recording. It is an unmatched live recording for ME. Duanne Allman wore out several LATR LPs until they were completely white and listening to his "BB Medley" it's quite obvious that he listened to it several million times. LW "I gave you seven children, now you want to give them back" ========================================================================= Date: Wed, 6 Mar 1996 12:45:42 +0000 Reply-To: "David J. Wallace" From: "David J. Wallace" Organization: Department of Fruitless Research Subject: Reviews: Calvin Owens and Esther Phillips Hey Bluzellers, Got some more reviews for y'all from cold and dank Limeyland. Calvin Owens: True Blue, Sequel NEX CD260 TRUE BLUE/ HOT BURNING FEVER/ DON'T YOU WANT A MAN LIKE ME/ TEXAS STOMP/ SITTING HERE/ SWEET MEAT/ CHERRY RED/ WOKE UP SCREAMING/ LICK OR SPLIT/ DEVIATION/ DONT YOU WANT A WOMAN LIKE ME/ DREAMS COME TRUE/ TRUE BLUE. Calvin Owens: Thats Your Booty, Coast to Coast records THATS YOUR BOOTY/ EAT WHERE YOU SLEEP/ ONE OF THOSE NIGHTS/ TEXAS RED SHUFFLE/ TRUMPET BLUE/ SHOW ME/ ALL MY FAULT/ ON MY FEET AGAIN/ THE BLUES I HAVE FRO YOU/ THE DOG/ VINCENT VAN GOGH/ HOW LONG/ TAKE TIME TO LOVE/ MR HEAD Calvin Owens, Houston based trumpeter and former long time BB King bandmember and musical director has been embarking on an ambitious solo career. So far he has these two records from 1993 and 1995 respectively. And a very positive start they are. True Blue was recorded in Belgium, with a Belgian rhythm section and East European? string quartet and a legion of horns. True Blue also features BB King burbling away nicely on four tracks, and Johnny Copeland gruffly vocalizing on three tracks. Unknown female singer BJ Scott also contributes vocals on two, and David 'Fat Head' Newman Blows his sax on two. So with the talent firmly in place does it work? The answer is a resounding yes. If you like this idiom, i.e huge orchestra of horns going hell for leather, and rest assured I do, this is for you. There is plenty of variety, some of the more soulful tunes such as the Copeland sung Cherry Red serving as a nice interlude between the serious horn attacks on True Blue or Lick or Split. Calvin himself sings on a couple, displaying a rich grainy quality, but ultimately a trumpeters voice, although Hot Burning Fever is worth the price of admission in its own right, my Brit Pop (read Brit Travesty and all thats wrong with England, oops me Brit bashing again :-)) loving housemate, commenting 'cool' which is a hell of an achievement for Calvin Owens. Calvin Owens followed True Blue with Thats Your Booty on Coast to Coast which features many of the same personnel as True Blue, with some important additions. Otis Clay contributes vocals on two tracks, a superb Eat Where You Sleep and a simply marvellous The Blues I have For You. Ruby Wilson, believe it or not BB Kings former bus drivers wife, produces enough thrust to loft a 767 with a hurting One of Those Nights and a neat On My Feet Again. Archie Ball also contributes three fine performances, and just for good measure Calvin himself demonstates he can do far more than just play trumpet. This is a different performance to True Blue, in that its is bigger on finesse than muscle and exhibits more variety. It also has the obligatory 'what the f*ck' track, exemplified here by Vincent VanGogh, and by Deviation on the first album. Take a listen, you'll know what I mean, then write me back with what drugs you think were involved, and I'm sure you'll agree that they provide a very nice change of pace. So Calvin Owens has two great albums, very different albums, but also very worthwhile albums, with the second being the more satisfying in the long run, whilst the first is about as much bang for the buck as you can get. Esther Phillips: Confessin' the Blues: Sequel RSACD 807 I'M GETTIN' 'LONG ALL RIGHT/ I WONDER/ CONFESSIN THE BLUES/ ROMANCE IN THE DARK/ CC RIDER/ CHERRY RED/ IN THE EVENIN/ I LOVE PARIS/ IT COULD HAPPEN TO YOU/ BYE BYE BLACBIRD This CD reissues a 1966 studio session with a 1970 live session. The studio session comprises the first seven tracks, recorded with a massive 'jazz orchestra' it is also by far the more wortwhile of the two. Esther Phillips injects a certain quality into some well played but ultimately generic backings and songs. Gettin' 'Long Alright, CC Rider and Cherry Red are its best shots, but its all intimate, charming jazzy blues, perfect for cheering up cold dark nights in Limeyland, and as a neat change of pace after another hectic day in research land. (I'm outta here in seven weeks - Wahoo). The second session is probably worthy, but just to much like jazz for me, so I shall reserve comment, concluding with the thought that whils't this isn't an essential CD I'd really hate to be without it. Well that's all for now from Limeyland, hope someone out there bothers to read this far, and finds this useful. David J. Wallace ********************************************************************* Q>- How do Flight Attendants and Cockpit crews perform oral sex? A>- They stand on opposite sides of the terminal and yell "F*ck you!" --------------------------------------------------------------------- Visit my Flying in the United States web page at: http://web.nexor.co.uk/users/jpo/av-usfly.html ********************************************************************* ========================================================================= Date: Wed, 6 Mar 1996 13:17:30 +0000 Reply-To: "David J. Wallace" From: "David J. Wallace" Organization: Department of Fruitless Research Subject: Re: Movie soundtrack, blues-related Mary Katherine Aldin wrote, related to movie soundtracks: > > The Thrill Is Gone/B.B. King Thrill is gone also featured in Heat, which BTW IMHO is an awesome movie. David J. Wallace ********************************************************************* Q>- How do Flight Attendants and Cockpit crews perform oral sex? A>- They stand on opposite sides of the terminal and yell "F*ck you!" --------------------------------------------------------------------- Visit my Flying in the United States web page at: http://web.nexor.co.uk/users/jpo/av-usfly.html ********************************************************************* ========================================================================= Date: Wed, 6 Mar 1996 11:54:31 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: Archie Edwards >*So I'm listening to this 1981 American Folk Blues CD and I'm >*thinking.....Archie Edwards, yeah.... But then, not having one of those >*nifty Who's Who books (I saw the Harris one once--It was like fifty bucks or >*something), I don't know anything about Archie Edwards. Can someone >*enlighten me and also tell me what recordings are available? > >He's from DC and I've seen him many times. When I was an undergard at >University of Maryland, he used to perform for the folklore classes I >took. He has also played at many DC Blues Society and other local events. > >He has one cd that I know of, called "Blues and Bones," on Mapleshade. >It also features Marc Wenner on harp and a bones player called "Mr. >Bones" on dry bones. I have the Mapleshade cd at home, and I can get >you their address if you want it. > >-Steve Levine If you want to read about Archie (and Bowling Green John Cephas), try 'Virginia Piedmont Blues' by Barry Lee Pearson (college prof and musician who has played with both of them). University of Pennsylvania Press, ISBN 0-8122-1300-9. Cost me 19 pounds over here, so probably about that in $$, Very readable and not heavy going, despite the University Press imprint. Chris Smith (chris@skerries.demon.co.uk) "What's the use of gettin' sober, when you're gonna get drunk again?" (Louis Jordan) ========================================================================= Date: Wed, 6 Mar 1996 11:04:08 CST Reply-To: JBards From: JBards Subject: Re[2]: No Elmore videos..WHY...? Comments: To: Chris Smith What the heck is "BU 73"???? Jim, clueless as usual.. _______________________________________________________________________________ Subject: Re: No Elmore videos..WHY...? From: Chris Smith at INTERNET-SH Date: 03/06/96 2:38 AM LW wrote >I'm just wondering why no Elmore video has surfaced. Someone has to have Elmore >footage. Has anyone ever heard of any Elmore videos. It's hard to believe >that during his time he was not "filmed"...... > >If I recall someone said there is no Elmore videos around, but I have to wonder >why... > >Anyone know why.....I betcha there is some Elmore footage somewhere > >LW I don't see why it should be hard to believe he was not filmed; but as it happens, his manager had movies made for promo purposes. Calm down, now - they got lost when he moved house. See BU 73 and weep. Chris Smith (chris@skerries.demon.co.uk) "What's the use of gettin' sober, when you're gonna get drunk again?" (Louis Jordan) ========================================================================= Date: Wed, 6 Mar 1996 12:12:15 EST Reply-To: ron kraemer From: ron kraemer Subject: Re: Taj Mahal:Dancing the Blues Any thoughts? Comments: cc: nmalhotr@direct.ca Namit Malhotra asked about the above... I say, get it at the 'cheap cheap price'. There are 2 songs on it that I really like... Track 3 - Strut Track 6 - Blue Light Boogie ..and are sure to be worth the price. I enjoy the beginning of the disc (Songs 1,2 and either 4 or 5...can't recall names) and am working on those mentioned above with my band. It's my first intro to Taj's music, and am myself open to other suggestions. Anyone? Ron ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters (and in another life....) Ron Kraemer and the Hurricanes ************************************************************ ========================================================================= Date: Wed, 6 Mar 1996 12:15:01 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: Lonnie Johnson LW wrote >Which Lonnie Jonhson recording best shows his guitar prowness. I've listened >to a couple and both have very little guitar playing. Which one with Eddie >Lang would be a good one to have. > >LW Columbia/Legacy 46221 'Steppin' On The Blues' is legit and has good sound. 'Lonnie Johnson Vol. 3' (Document DOCD-5065) and Vol. 4 (Document DOCD-5066) between them have *all* the duets with Lang. Volumes 5, 6 and 7 (5067/8/9) are good showcases for his guitar work, too. *Absolutely essential* is RST Blues Documents BDCD-6024, which has the prewar Deccas, probably the summit of his solo guitar work; I think this is the only source for them on CD at present. His early 60s stuff for Bluesville reissued on OBC is nice, although if you don't like ballads you may find some of it trying. I recommend OBCCD 531-2 - 'Blues And Ballads' and OBCCD 570-2 - 'Blues, Ballads and Jumpin' Jazz', both with Elmer Snowden. (Do I like ballads, or what?) Speaking of jazz, check out Lonnie's easy to find early recordings where he sat in with Louis Armstrong's Hot Seven and Duke Ellington - and try 'Stompin' At The Penny' (Columbia/Legacy 57829), recorded with Jim McHarg's Metro Stompers when he was 66 years old; it starts with a version of 'China Boy' that'll set your underwear alight. That should be enough to get you going! Disclaimer: I wrote the notes for the Document and Blues Documents CDs, but I don't get a royalty on sales; I'm just a big LJ fan (18 CDs, 5 LPs.) Chris Smith (chris@skerries.demon.co.uk) "What's the use of gettin' sober, when you're gonna get drunk again?" (Louis Jordan) ========================================================================= Date: Wed, 6 Mar 1996 12:17:11 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: Phillip Walker LW wrote >On Wed, 6 Mar 1996 09:20:11 -0500 Dave Markovits said: >> >>On another note, off to see Phillip Walker at KoKo Taylor's club tonight. >>Has anyone seen him recently? What's he like? I called the club last night >>and they said the cover was 3bucks. Considering KoKo's is a tourist spot > >I saw Phillip Walker about a year ago and he was VERY, VERY good. I highly >recommend seeing him. We had at least an hour drive to go see him and we'd >welcome the opportunity to do it again. Very good show. I'd like to know your >thoughts after you see him... > >LW I second the above. One of the most under-appreciated blues performers around, and a real gentleman, too. Chris Smith (chris@skerries.demon.co.uk) "What's the use of gettin' sober, when you're gonna get drunk again?" (Louis Jordan) ========================================================================= Date: Wed, 6 Mar 1996 12:22:08 EST Reply-To: ron kraemer From: ron kraemer Subject: Favorite LIVE recordings I definitely agree with the 'BB at the Regal' and 'Muddy Mississippi Waters' calls, and would like to add a personal favorite that I didn't see mentioned... The Allman Bros. - Live at the Fillmore East (Side 1) This, more than anything, etched my Blues Path in stone. Ron ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters (and in another life....) Ron Kraemer and the Hurricanes ************************************************************ ========================================================================= Date: Wed, 6 Mar 1996 12:21:29 -0500 Reply-To: Rags From: Rags Subject: TORONTO_JAZZ_FEST!!! I keep hearing on our public radio station...that the Toronto Jazz Fest is cool.... any ideas folks.... ps>>> for blues and jazz go HAND in HAND :) Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ It's dark And I'm Wearing Sunglasses......... "What's the use of gettin' sober, when you're gonna get drunk again?" +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Wed, 6 Mar 1996 11:21:12 -0600 Reply-To: Roger Struve From: Roger Struve Subject: IF YOU don't try this, you WILL have a good case of the BLUES! This may be one of the most famous sandwiches in the world....Mazlak's Garlic Beef. Stan is dead, but delta doc roger (ex food critic) figured out the recipe, and this is my present to everyone on BLUES-L for my birthday! IN CROCKPOT (OFF): SOAK OVERNIGHT: 2 whole garlic bulbs-all cloves quartered and halved, 1/2 cup of Kikkoman Soy Sauce, and 1/4 cup olive oil. NEXT DAY ADD: 1 diced onion, 1 and 1/2 cups beef stock (Swanson brand is good if you don';t have homemade), 1 Tsp Black Pepper, 1 Tsp. Salt, 6 oz of stale beer or fresh beer, and one 3-4 lb. whole sirloin or sirloin tip roast. TURN CROCK POT ON, LOW, for 8-10 hours, and serve with generous portions of the sauce on Pumpernickel or Rye hard rolls! Enjoy, delta doc roger ( i'll GARE-OWN-TEE (ala Justin Wilson) that your home will be vampire free after creating this delicacy!) Hope my present won't offend anyone, but i got the blues today, and it made me feel better to send this off to yawl. Peace. ========================================================================= Date: Wed, 6 Mar 1996 11:42:09 CST Reply-To: JBards From: JBards Subject: list participants question Comments: To: Bennett Pearce A friend of mine asked me to write a review on the Monster Mike Welch CD and I thought I'd reference the responses here on the blues-l. Does anyone know the total list enrollment and/or versus the core number of frequent participants? I'd guess there are maybe 250 or so consistent posters versus maybe 1500 or more enrolled? Jim (Oh, and last chance to get in your comments about MMW.) ========================================================================= Date: Wed, 6 Mar 1996 12:55:27 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: SugarPie deSanto? Karen Johnson wrote: > >When I first moved to San Francisco in 1978, I went to a small club to see >Freddie Roulette. Sugar Pie DeSanto was on the same bill. I had never heard >of her, but I have never forgotten the experience. She wore a skin tight >sequined gown and put on a startlingly raunchy show indeed. She has the >most extraordinary muscle control--that is, flexing ability. Since the club >was so intimate it was a very up close and personal adventure. > >Also, Etta James talks about Sugar Pie in her autobiography. > >KJ in SF >> >Karen Johnson >Library System Manager >University of San Francisco >2130 Fulton St. >San Francisco, CA 94117 >(415)666-2759 Phone >(415)666-2233 FAX So Karen - or anyone else - is Freddy Roulette still around and playing? I saw Sugar Pie in Holland last November, and can confirm she's great fun - dances like James Brown used to. There was a fine LP on Jasman, 'Hello San Francisco', which I think has been transferred to CD, but I don't know label or number. Check it out, if you can. Chris Smith (chris@skerries.demon.co.uk) "What's the use of gettin' sober, when you're gonna get drunk again?" (Louis Jordan) ========================================================================= Date: Wed, 6 Mar 1996 12:02:20 -0600 Reply-To: Storm Bailey From: Storm Bailey Subject: Re: Taj Mahal:Dancing the Blues Any thoughts? > ...It's my first intro to Taj's music, and am >myself open to other suggestions. Anyone? > > Ron Try "Taj Mahal" - (with Ry Cooder & Jesse Ed Davis contributing on guitar) This version of "Statesboro Blues" is the blueprint for the one the Allman bros. did, if you're into that sort of thing. A fine addition to your collection of "Walking blues" versions... Storm ========================================================================= Date: Wed, 6 Mar 1996 11:47:51 -0500 Reply-To: MojoBandit@AOL.COM From: Dave Ruthenberg Subject: Re: Favorite live recordings Some of my favorites include: 1)"Roots of Rhythm and Blues (A tribute to the Robert Johnson Era)" Columbia CK 48584 While Columbia took great pains to capitalize on the Robert Johnson revival, this compiliation recorded live at the Smithsonian Festival of American Folklife is a classic. Featuring the likes of Johnny Shines and Lonnie Pitchford, it does recall that era of the blues. 2)Gary Moore "Blues Alive" Charisma 0777 7 87798 27 While not everybody's cup of tea, if you are at all into fiery (yet melodic) electric guitar work, this is the one to check out. 3)Albert King "Live Wire/Blues Power" Stax SCD-4128-2 IMHO one of the finest live recordings of Albert King. Dave ========================================================================= Date: Wed, 6 Mar 1996 10:09:35 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Hip blues record stores Joel said: >Here in St. Louis there's an independant record store that handles both new >and used records and CDs. They're called Vintage Vinyl. If you're looking >for a hard to find blues release in this town they are your only good >chance. > >I am curious if there are similar stores in other places, one's that >specialize in blues, or at least have a knowledgable staff and a really >good selection of blues? > >If anyone on Blues-L knows of such a store I'd appreciate knowing about it >by private e-mail. > >And no, I have no affiliation with Vintage Vinyl whatsoever. Why keep it private? Cool thread. My vote is for Lamarr's in Long Beach CA. great selection, and they LOVE the blues. Lots of musicians hang out there, and they know all they upcoming shows. Not to be missed if you are in the El Lay area. Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu I looked over Jordan, and what did I see An Eldorado comin' after me comin' for to carry me home.. -- Dizzy Gillespie ____________________________________________________ ========================================================================= Date: Wed, 6 Mar 1996 12:16:23 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Favorite live recordings In-Reply-To: Message of Wed, 6 Mar 1996 11:47:51 -0500 from On Wed, 6 Mar 1996 11:47:51 -0500 Dave Ruthenberg said: >Some of my favorites include: > >1)"Roots of Rhythm and Blues (A tribute to the Robert Johnson Era)" Columbia >CK 48584 >While Columbia took great pains to capitalize on the Robert Johnson revival, >this compiliation recorded live at the Smithsonian Festival of American >Folklife is a classic. Featuring the likes of Johnny Shines and Lonnie >Pitchford, it does recall that era of the blues. I gave this a listen while I was writing the Johnny Shines tribute and asked Kent DuChaine about it. He said it was one of the greatest experiences he ever had, being around all the different types of blues and performers. He also said that some of the songs on the recording were cut way short and he had it all on video. JFTR: Kent did not keep that video nor any of the recordings he and Johnny did that were never released. He gave them ALL to Johnny's widow, after Johnny's death. I agree, that is a very good recording and has different types of blues on it. LW ========================================================================= Date: Wed, 6 Mar 1996 13:31:09 -0500 Reply-To: Leigh Nystrom From: Leigh Nystrom Subject: Guitar Slim's guitar Does anybody know what kind of guitar and amp Guitar Slim used on "Things That I Used to Do"? It's such a great full-yet-biting sound, one that you don't hear much (at least not these days). I was thinking that sound must be from old soapbar P-90 pickups. And why oh why can't musicians and producers try to capture that raw kind of sound nowadays, instead of the boring overly-processed sounds that plague modern blues recordings? Thanks, -Leigh Nystrom ========================================================================= Date: Wed, 6 Mar 1996 12:25:53 EST Reply-To: KCARLSON@WHQPC4.ETN.COM From: KCARLSON@WHQPC4.ETN.COM Subject: SRV - PBS SPECIAL Apparently which shows will air varies a LOT by station. On KTCA in Mpls/St. Paul, they will not be airing the SRV special any time in March. They did say they would be taking the program off the satellite feed, and to check again when the April program schedule comes out..they may air it sometime then. Checking out the PBS Web site, the KTCA monthly highlights lists a program called "Great Drives", which features, among four other "celebrity drivers", Levon Helm on Highway 61, pursuing "...the restless spirit of blues master Robert Johnson." Keith Carlson Mpls, MN ========================================================================= Date: Wed, 6 Mar 1996 13:18:29 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: list participants question Comments: To: JBards In-Reply-To: <9602068261.AA826141289@mail-sh.lsumc.edu> >From the archives at Brown: * Total number of "concealed" subscribers: 21 * Total number of users subscribed to the list: 1382 (non-"concealed" only) * Total number of local node users on the list: 2 (non-"concealed" only) -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / Reuben Stewart \ / February 19, 1996 \( Rest in peace, Mr. S. ========================================================================= Date: Wed, 6 Mar 1996 13:24:21 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 03/07 B O R N : CLARK, MAHLON BRYAN Born:1923 PORTSMOUTH, VA Career:CLARINET / TENOR SAX / FLUTE Style:JAZZ / BIG BAND With:Dean Hudson / Will Bradley / Ray McKinley / Ray Linn COTTRELL, LOUIS ( ALBERT )JR Born:1911 NEW ORLEANS, LA Career:CLARINET / ALTO SAX / TENOR SAX Style:TRAD / JAZZ With:Golden Rule Band / Sidney Desvigne / William Ridgely / Don Albert / Kid Howard / Paul Barbarin PAVAGEAU, SLOW DRAG ( ALCIDE PAVAGEAU ) Born:1888 NEW ORLEANS, LA Career:GUITAR / BASS Style:TRAD / JAZZ With:Bunk Johnson / George Lewis / Herb Morand ROBERTSON, ZUE C. ALVIN Born:1891 NEW ORLENAS, LA Career:TROMBONE Style:JAZZ / BLUES / BIG BAND With:Cornelius Tillman / Olympia Band / Manuel Perez / Richard M. Jones / John Robichaux / Jelly Roll Morton / King Oliver / W. C. Handy YOUNG, LEE ( LEONIDES RATMOND YOUNG ) Born:1917 NEW ORLEANS, LA Career:DRUMMER Style:JAZZ / BLUES / BIG BAND With:Mutt Carey's Jeffersonians / Buck Clayton / Eddie Barefield / Fats Waller / Eddie Mallory / Les Hite / then from 1938-40 regular studio work for M.G.M.,Paramount / Lionel Hampton / Nat King' Cole Trio FOR A LISTING OF THOSE THAT PASSED AWAY IN THIS MONTH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Wed, 6 Mar 1996 13:19:29 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Favourite live recordings Comments: To: Richard Flohil At 10:22 AM 3/6/96 -0500, Richard Flohil wrote: >2) Sam Cooke Live (actually there are two I like; a gospel one on >Specialty, and the one RCA eventually put out on RCA cut in a toilet night >club in Miami; I don't think that's on CD yet) Isn't the latter the "Live at the Harlem Square Club"? If so, it is on CD - excellent, grittier, "playing to a black audience" view of Mr. Cooke. David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Wed, 6 Mar 1996 14:11:44 -0500 Reply-To: Jordan Barrett Kessler From: Jordan Barrett Kessler Organization: Columbia University Subject: Re: Blues-like bs Comments: To: bit-listserv-blues-l@uunet.uu.net In-Reply-To: <9603052004.0S7N800@infoexch.miami.fl.us> > Pw> Shaun, I think you may have inadvertently nailed precisely what, in > Pw> my opinion, has gone _wrong_ with "contemporary" Blues. > > Pw> A meandering, lengthy, dynamically narrow, but gymnastic exercise in > Pw> guitar aggression is what Blues soloing has become. > > Pw> Today, when you listen to the work of some of the "young guns" we > Pw> have been discussing here lately, you hear long demonstrations of > Pw> 6 string acrobatics that are occasionally interrupted by brief > Pw> snatches of "song". To me, that represents the "wrong turn" that much > Pw> of contemporary Blues has taken. > > Pw> The sad part for me is that, for the most part, this has been the > Pw> "white" contribution to the Blues. First of all, this argument seems to be racist. Inevitably, there are plenty of white guitarists who perform subtle, meaningful solos and plenty of black ones who simply attack the guitar. Musicians are just people, and some people communicate better than others, whether they be white or black. Secondly, although poor guitar solos are, of course, unpleasant to listen to, the blues song that's centered around guitar solos isn't necessarily bad. Since the late 1960's, the guitar-solo driven song is simply the form that most blues have taken, just as guitarist/vocalist/harpist ensemble playing was the form the blues took in the 1950s. Just as there are good and bad practictioners of post-'60s blues, there were talented and untalented practitioners of 1950s blues. In the 1960s, the immense commercial power of rock and roll, as well as the interest rock fans have in the blues, rubbed off on the blues. Like it or not, this is what happened, and it can't be reversed. Few blues players growing up in the 70's or '80s, whether black or white, can avoid knowing about this process and feeling its effects. Those who do try to ignore it, such as Keb Mo and Corey Harris, seem to me to be caught in the past. Someone like Corey Harris adds little to the meaning of the forms that someone like Blind Willie McTell used, for he lives in a different time and a different place. Consequently, Harris's music can be nothing but a second-hand interpretation of McTell's style, as opposed to a primary creation in his own style, or in the today's prevelant style. Inevitably, blues musicians can't escape the musical forms that have composed the blues throughout its history, but I would much hear someone like Harris do something of his own, something more relevant to the world that he and we live in today. Certainly, there is much guitar noodling going on, but there have been a preponderance of bad musicians in any age. The way to improve blues music is not to encourage artists to rehash the rythmic and formulaic innovations of country blues, but rather, to urge them to properly use and improve upon the forms that the blues takes in our day and age. ========================================================================= Date: Wed, 6 Mar 1996 13:35:50 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Blues-like bs In-Reply-To: Message of Wed, 6 Mar 1996 14:11:44 -0500 from On Wed, 6 Mar 1996 14:11:44 -0500 Jordan Barrett Kessler said: >preponderance of bad musicians in any age. The way to improve blues >music is not to encourage artists to rehash the rythmic and >formulaic innovations of country blues, but rather, to urge them to >properly use and improve upon the forms that the blues takes in our day >and age. ***************************************** I will not touch that race issue, but I would like to know what are the forms that the blues have taken in our day and age. IMHO the blues don't change. I don't understand and I would like to know about them "forms" you mentioned LW "I hope this doesn't mean I have to trade my National for a Synth-Axe" ========================================================================= Date: Wed, 6 Mar 1996 11:49:55 -0700 Reply-To: Alan Wong From: Alan Wong Subject: Theory vs. Expression -Repl High Speed Digital & Analog Products Dept TRW Electronics Systems & Technology Division From the Desk of Alan Wong (M5/1454a x45008) 3/6/96 11:31 AM Subject Theory vs. Expression -Reply Well zellers, I've been following this thread for a little bit. Admittedly, I'm just a lurker, and don't have that much to contribute to the discussion. I have to say there is a lot to be said for knowing your theory AND being able to play it w/o thinking "I'm playing the mixolydian scale". The whole point of learning theory is to expand your ears so that you can physically play what you hear in your head, and play something that will give emotional impact. As a guitar player, I know that I need to play b5s and 9s and 13s, when we play Stormy Monday (or any Tbone type of song). I know I'm playing horn comps when I play along with RP & the Mighty Flyers. I also know TO avoid doing those things when we play Muddy Waters songs and to go for a more "Delta" style. I know when I play country songs to start playing out of the major scale instead of the minor scale (ie stop playing Albert King licks. Darn! :) As a music-lover & a musician, I just can't see how anyone would not want to learn more & to be able to play with more versatility (sorry Roger). However, along with the "anti-theory" crowd, I'd say that that the audience is the ultimate deciding factor. Except for the "musos", most folks can't tell if you're playing out of the Dorian-scale or the harmonic minor-scale or the "blues scale" (whatever any of that means). They'll just tell you if it sounds good to them & if it fits the song. Isn't that what you're after if you play? LW is right. PLAYING THEORY is the best thing. It's better than PLAYING w/o knowing theory OR playing BADLY w/knowing theory (a la Yngwie). Roger has the right to feel the way he feels, but I hope he agrees with me :) Alan.Wong@trw.com ========================================================================= Date: Wed, 6 Mar 1996 13:55:45 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Musicians: Hard work pays off I want to share this: My friend got a harmonica for his birthday a few years ago, but never did really blow it. I started going over with my guitar and encouraging him to just play the damn thing and have fun, regardless of how he sounded. Well he got hooked on playing. EVERY single night he goes home puts on Sonny Boy (II) or Little Walter (one of those 99.9% of the time) and plays along with them. I recently let him borrow an amp and this guy has improved like crazy. All he does now is play harp, from the time he gets home from work till he goes to bed he is blowing a harp. He's played in public one time at the retirement home and did a very good job. Last night we played and his playing, blew me (and himself, he admitted it) away. He just keeps getting better and better. He is a fine example of determination and PRACTICE. He doesn't know anything about music, but gee-whiz he can blow that harp. LW 'very proud of my friend and playing partner' ========================================================================= Date: Wed, 6 Mar 1996 14:53:15 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Favorite quotes Hey, we can't forget the perennial favorite by Albert King: "See, when you over-play, you get too loud. And people are gonna mistake what you are doing for a hole in the air." These are immortal words. Learn 'em, love 'em, LIVE 'em. :) Riffin Rick -supporter of the succinct guitar solo and champion of the single-note lead, -graduate of the Albert King "Make your statement and paralyze me" School of blues guitar phrasing. :) :) F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 6 Mar 1996 20:14:52 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: going No-mail I'll be going no-mail for a few days Going to see the parentals in Fort Myers on the week-end. They seem to have quite a few venues there but I gather that in honour of my coming there ain't much going on in 'em. :) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [6/3/96 15:12 PM] "Wednesday's worse..." ========================================================================= Date: Wed, 6 Mar 1996 14:10:20 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Theory vs. Expression -Repl In-Reply-To: Message of Wed, 6 Mar 1996 11:49:55 -0700 from On Wed, 6 Mar 1996 11:49:55 -0700 Alan Wong said: > >As a guitar player, I know that I need to play b5s and 9s and >13s, when we play Stormy Monday (or any Tbone type of song). >I know I'm playing horn comps when I play along with RP & >the Mighty Flyers. I also know TO avoid doing those things >when we play Muddy Waters songs and to go for a more "Delta" >style. I know when I play country songs to start playing >out of the major scale instead of the minor scale (ie stop >playing Albert King licks. Darn! :) As a music-lover & a >musician, I just can't see how anyone would not want to learn >more & to be able to play with more versatility (sorry Roger). The question is WHY do you not play those "T-bone chords" when playing Muddy tunes. I think Delta Doc (who admitted to not knowing theory) knows what to play and what not to play, but WHY is when the Theory lessons should come into play. I certainly don't want to start the thread again, but I have reconsidered my stance. I wish I would have retained my limited theory knowledge. I think it would help me to know which chord resolves into anther and what not. It would help me keep from being boring. PLEASE don't start it again, I was just letting some of you know that I'm not always ignorant. LW 'who uses an occasional 9th on some of Muddy's stuff" ========================================================================= Date: Wed, 6 Mar 1996 15:30:33 -0600 Reply-To: topcat@COMPUTEK.NET From: "" Subject: Re: Freddie King Live (Was Re: Favorite LIVE recordings) Comments: To: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM Yes, this Blacktop release is the same as the TopCat Sub-release titled "This Is The Blues" which was bought from us by Blacktop about one week before our official release date last year. They just HAD to have it. They decided to re-name it "Live At the Electric Ballroom". Richard Chalk TopCat Records > Is this Black Top release a re-release of the TopCat CD from last year? > Jim Smith >Freddie King--Live at the Electric Ballroom--1974. This album rocks from >start to finish. Besides the live show, the album also features a couple of >acoustic tunes from a radio interview. Freddie on acoustic is pretty sweet. >Enjoy the album and keep on playin those blues. > > > > >Peace--D > <---- End Included Message ----> ========================================================================= Date: Wed, 6 Mar 1996 15:33:26 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: FYI... PBS/Stevie Ray special...Boston area. I called the mothership, WGBH ch.2 in Boston about the putative Stevie Ray Retrospective special. I was really bummed to find out not only were they not airing it, when it seemed like all my fellow Zellers around the country might get a peek-see, but the programming guy had never even HEARD of it and couldn't find it anywhere in his future bookings for stuff that will air on that channel for a LONG WAY into this year. To quote my friend Ted, "what's up with that?" Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 6 Mar 1996 15:55:13 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Favorite quotes Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I think it was Luther Alison who said: "The Gate can do more with a guitar than a monkey can do with a peanut!" Another favorite: "When I die, they're gonna say 'He couldn't play sh*t, but he sure made it sound good!'" -Hound Dog Taylor ========================================================================= Date: Wed, 6 Mar 1996 15:12:24 -0600 Reply-To: bolt From: bolt Subject: Favorite Live Shows Remembering favorite (in order) live shows: 1) Luther Allison 2) John Hiatt 3) Buddy Guy/John Campbell 4) Some jam I wondered upon in Maxwell Street area 5) Guy Clark 6) Joe Ely Reg Burns +++++++++++++++++++++++++++++++++++++++++++++++++ + I'll listen to reason when it comes out on CD + + + + bolt@neosoft.com + +++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Wed, 6 Mar 1996 16:14:02 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Hohner harps quality Comments: To: ISTS024 Funny you should ask this question, LW. About a year ago, when my band was really getting cookin' and we started to finally play out a LOT, my harp guy started blowing out his Hohners left and right. I mean, like every gig and every rehearsal another one would go flat on him. Now, he'd been playing them (Hohners) for over 20 years and never encountered this. So I posed a similar question to the group and a bunch of people replied that Hohner quality had plummetted and Lee Oscars were the way to go. So, I gave this info to Pat, and he refused to buy Japanese harps when he'd been playing those American Hohners for so long. But his wallet finally succumbed and he bought Lee Oscars in the vital keys to start with. Well, he's a Lee Oscar man now. He went out soon after and bought Lee Oscars in every single key, and doubles of the most used ones (yeah, spent a few hundred bucks on harps). I don't think he's blown out a single Oscar in the year or so that he's owned them, and Pat is (to put it mildly) a highly energetic harp player. In the end, the capital outlay $$$ has been worth it. From what I hear, more and more players are switching. Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 6 Mar 1996 15:28:35 CST Reply-To: JBards From: JBards Subject: Re[2]: Derringer out of ammo? Comments: To: Skipjames@AOL.COM The cycle appears to be: 1) break on the scene with the McCoys, engender no respect at all. 2) do major session gigs with Steely Dan and others, holding own with Larry Carlton, Skunk Baxter and other major axe-slingers. Stock goes way up. 3) experience ( apparently) a major flame-out in the 80s. Stock takes a dive. -Jim _______________________________________________________________________________ Subject: Re: Derringer out of ammo? From: Skipjames@AOL.COM at INTERNET-SH Date: 03/06/96 3:20 PM In a message dated 96-03-06 10:33:36 EST, ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU (L W) writes: >>Rick Derringer had a blues-rock CD out on Blues Bureau Intl. a couple >>years ago and recently recorded for Code Blue. > >I'll never forget the fold out album (RnR Hoochie Coo ??) with Rick in the >center in silver tight pants, silver gloves and makeup on...I kind of lost >respect for him after that. Didn't he play with the Real McCoys. Yes, he did. Seems kind of funny to have "lost respect" at that late date for the guy who burst upon the scene with "Hang On Sloopy." He and his brother (on drums?) were both in the McCoys. Tom Freeland ========================================================================= Date: Wed, 6 Mar 1996 15:47:51 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Musicians: Hard work pays off At 01:55 PM 3/6/96 CST, L W wrote: Well he got hooked on playing. EVERY single night he goes home puts >on Sonny Boy (II) or Little Walter (one of those 99.9% of the time) and plays >along with them. I recently let him borrow an amp and this guy has improved >like crazy. All he does now is play harp, from the time he gets home from >work till he goes to bed he is blowing a harp. Isn't there some kind of joke about this? "Don't you ever have sex?" "What - and miss my turn at bat?" David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Wed, 6 Mar 1996 15:06:39 -0600 Reply-To: bolt From: bolt Subject: Favorite Live Recordings My favorites (very guitar oriented): Luther Allison - "Sweet Home Chicago", "Live In Paris", "More From Berlin" Roy Buchanan - "Live Stock" Lightnin' Hopkins - "Swarthmore Concert" Son House - "The Oberlin Concert" Joe Hughes - "Live In Vredenberg" Albert King - Anything live. B.B. King - Anything Live. Freddie King - Anything live. Magic Sam - "Live" Robert Nighthawk - "Live On Maxwell Street" Otis Rush - "So Many Roads - Live In Concert", "Tops", "Blues Interaction - Live In Japan 1986" Various - All of the "American Folk Blues Festival" material. Muddy Waters - "Muddy Waters Chicago 1979", "Muddy "Mississippi" Waters" U.P. Wilson - "Texas Blues Party, Vol. 1" Reg Burns +++++++++++++++++++++++++++++++++++++++++++++++++ + I'll listen to reason when it comes out on CD + + + + bolt@neosoft.com + +++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Wed, 6 Mar 1996 14:14:23 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Movie soundtrack, blues-related Speaking of blues soundtracks, have any bluezellers heard the complete soundtrack to THings to Do in Denver When You're Dead? I've heard a couple of tracks on the radio (Take out Some Insurance by Jimmy Reed and something by Warren Zevon), and it sounds like a good soundtrack... -Jim (hndful@uniserve.com) ========================================================================= Date: Wed, 6 Mar 1996 17:14:38 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Mail delivery failure...what gives??? Anybody else getting these messages from ?? Once again, every time I post to Blues-L somebody's server says "you can't send that here!". :( Aaaaaaaaarrrghh! This is annoying. Sorry, no blues content....venting. Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 6 Mar 1996 17:52:43 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Mississippi Heat Webpage! The excellent Chicago band, Mississippi Heat now have their own webpage. It's at: http://www.ucls.uchicago.edu/mi/ They promise audio and video in the near future, but it's well worth the visit now. No connection to Mississippi Heat. Joel Slotnikoff Joel Slotnikoff, Publisher | BLUES WORLD e-mag Box 21652 | http://www.bluesworld.com St. Louis, MO 63109 | Acme Guitar, Blues Estafette TEL (314) 647-2447 | Blues & Rhythm: The Gospel Truth FAX (314) 647-2497 | Roots & Rhythm, Testament Records joelslot@inlink.com | SONO, Vintage Jazz Mart, Wayhi Tapes ========================================================================= Date: Wed, 6 Mar 1996 16:53:02 -0600 Reply-To: Bill Balcerzak From: Bill Balcerzak Subject: Frank Swan Does anyone know Frank Swan? He's a drummer/bassist who (I think) played on the Alligator Big Walter release. He's also played with Howlin' Wolf and was a big influence with Zora Young, getting her to switch from R&B to blues. I'd like to know if/what else he's recorded and other bands/folks he's played with. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Bill Balcerzak (Ball-sir-zak) /* bill@gis.mces.msstate.edu Extension GIS, Box 9642 /* TEL: 601.325.8321 Mississippi State, MS 39762 /* FAX: 601.325.7844 ========================================================================= Date: Wed, 6 Mar 1996 15:08:30 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Son House estate gets (long overdue) royalties I just learned the GREAT news that as of tomorrow Mrs. Evie House will be receiving a check from SONY Records in the amount of $28,000+ as royalty restitution for SONY's reissue of the Son House "Father of the Folk Blues" LP onto CD. In the years since this was released (late '92?) onto CD, the estate has seen zero money from it; no publishing, no artist's royalties. no songwriter's royalties. Writer Dave Marsh opened the door with an initial contact with someone at SONY, and since then Dick Waterman has been negotiating with SONY on the estate's behalf for a long, long time--and this check was finally cut yesterday. For all the years of work, not a penny of commission is being subtracted; the entire amount is going directly to Son House's widow and daughter. As far as I know this is the largest single amount of royalties recovered for a country blues artist in history. All this amount is artist's royalties, btw; a further check for songwriter royalties (estimated to be about $8500.00) will be forthcoming soon. For all the (true) stories we read and hear about blues musicians getting screwed, it feels very good to be able to report some GOOD news once in awhile. Every now and then, the good guys win one. Mary Katherine Aldin ========================================================================= Date: Wed, 6 Mar 1996 15:28:32 -0800 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Re: Favorite Live Recordings Comments: To: bit-listserv-blues-l@cs.washington.edu Maybe my cd/lp collection isn't big enough but I don't really have any favorite live albums, with one big exception being KoKo Taylor's "audience with the queen". Adrian (waiting hoping the Kinsey Report will have a live album) ========================================================================= Date: Wed, 6 Mar 1996 17:29:40 CST Reply-To: JBards From: JBards Subject: Re: Mail delivery failure...what gives??? Comments: To: MILLER@SCI.WFBR.EDU I'm getting two of the durn things nearly everytime I send an outgoing message to the list. GRRRRR>>>>>> Jim _______________________________________________________________________________ Subject: Mail delivery failure...what gives??? From: MILLER@SCI.WFBR.EDU at INTERNET-SH Date: 03/06/96 4:58 PM Anybody else getting these messages from ?? Once again, every time I post to Blues-L somebody's server says "you can't send that here!". :( Aaaaaaaaarrrghh! This is annoying. Sorry, no blues content....venting. Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 6 Mar 1996 19:38:43 -0500 Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Re[2]: No Elmore videos..WHY...? Comments: To: bit-listserv-blues-l@uunet.uu.net In article <9602068261.AA826138936@mail-sh.lsumc.edu> JBards writes: >What the heck is "BU 73"???? BU is Blues Unlimited, a British blues magazine which is sadly no longer with us. It was an early pioneer in blues journalism (at least a pioneer in the sense that it was strictly blues) and one of the finest. 73 refers to issue 73. Art Schuna ========================================================================= Date: Wed, 6 Mar 1996 19:49:04 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Favorite quotes Comments: To: Steve.Levine@corp.wrgrace.com On March 5, Steve Levine noted this quote: ********************* Another favorite: "When I die, they're gonna say 'He couldn't play sh*t, but he sure made it sound good!'" -Hound Dog Taylor ********************** Not only is this an accurate quote, it is available on a terrific shirt from Alligator Records' merchandising. There is a great shot of "The Dog" on the front and on the back is this quote superimposed over a huge photograph of his hand. In case you don't know, Mister Taylor had a visible sixth finger. Dick Waterman (I bought mine at their booth at the Mississippi Valley Blues Festival.) ========================================================================= Date: Wed, 6 Mar 1996 20:18:52 -0500 Reply-To: Meadors From: Meadors Subject: Re: Favorite live recordings After much thought, I've decided my favorite live blues recordings were anything by Muddy Waters (obvious reasons) and anything by the Siegel-Schwall Band (what a fun band -- they used dynamics like no one else) ... Mike Meadors Orange3@gnn.com ========================================================================= Date: Wed, 6 Mar 1996 18:07:41 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Favourite live recordings Comments: To: davidis@interaccess.com On March 6, David Silberberg replied to Richard (The Elder) Flohil's previous post and said: >>>Isn't the latter the "Live at the Harlem Square >>>Club"? If so, it is on CD - excellent, grittier, "playing >>>to a black audience" view of Mr. Cooke. Peter Guralnick won a Grammy for his album notes on this package and they serve as a terrific introduction for those who have yet to move on to reading his books. Dick Waterman A disclaimer in order that Waterman & Guralnick have been running buddies for many years. ========================================================================= Date: Wed, 6 Mar 1996 20:27:09 -0500 Reply-To: Meadors From: Meadors Subject: Re: SugarPie deSanto? Comments: To: chris@SKERRIES.DEMON.CO.UK >Karen Johnson wrote: >> >>When I first moved to San Francisco in 1978, I went to a small > club to see >>Freddie Roulette. So ??? ... How was Freddie R? Mike Meadors Orange3@gnn.com ========================================================================= Date: Wed, 6 Mar 1996 18:42:08 -0700 Reply-To: DeWayne Brown From: DeWayne Brown Subject: Feedback/Distortion Just picked up "Blues" by Jimi Hendrix, and am really impressed...almost. On the second cut; Born under a bad sign, about 3min 30sec into it, I'm getting uncharacteristic distortion (even for Jimi). Non of my buds have the CD and my music stores are out of it and it's 2 weeks before they'll get one in. I'm wondering if this is a bad CD or something I have to put up with. A little of the same on the 5th cut also. Also, (thanks to Blues-L) I picked up my first Son House CD; "The 1970 London Sessions. Is this one of his best? I'm thirsty for more! Thanks, Dew. ========================================================================= Date: Mon, 4 Mar 1996 18:51:18 EST Reply-To: director@DJSA.COM From: director@DJSA.COM Organization: Online Service Subject: DJSA's Who's Who Guide Just a message to let you know that DJSA's Who's Who Guide is located at http://www.djsa.com/whoswho1.htm The guide is packed with listings and links of WWW Sites and is accessible from any browser. The guide is written in html and also links each site to the Home Page(s) that have been prepared by each company, educational facility, government or information provider. It is a great way to "surf the net". If you prefer, you can download the guide from our location. Just telnet to djsa.com and download djswww02.exe. If you would like to add a FREE listing to this Guide, you can do so by sending five lines (see below) by reply to this message. Line 1...................Name of Company Line 2...................E-Mail Addresses (two max) Line 3...................WWW Address Line 4...................Modem Number and/or Telnet Address Line 5...................Description of Service (70 char max) We can activate your WWW Site so that it can be accessed directly >from the Who's Who Guide. You can also receive E-mail from the Guide. The is a small charge for activation but the listing is free for all. Thanks! DJSA Bulletin Board, Inc. http://www.djsa.com telnet://djsa.com ftp://djsa.com ========================================================================= Date: Wed, 6 Mar 1996 21:52:40 -0500 Reply-To: Jordan Barrett Kessler From: Jordan Barrett Kessler Organization: Columbia University Subject: Re: Blues-like bs Comments: To: bit-listserv-blues-l@uunet.uu.net In-Reply-To: >In response to the following posting: > > > Pw> Shaun, I think you may have inadvertently nailed precisely what, in > > Pw> my opinion, has gone _wrong_ with "contemporary" Blues. > > > > Pw> A meandering, lengthy, dynamically narrow, but gymnastic exercise in > > Pw> guitar aggression is what Blues soloing has become. > > > > Pw> Today, when you listen to the work of some of the "young guns" we > > Pw> have been discussing here lately, you hear long demonstrations of > > Pw> 6 string acrobatics that are occasionally interrupted by brief > > Pw> snatches of "song". To me, that represents the "wrong turn" that much > > Pw> of contemporary Blues has taken. > > > > Pw> The sad part for me is that, for the most part, this has been the > > Pw> "white" contribution to the Blues. > > First of all, this argument seems to be racist. Inevitably, there are > plenty of white guitarists who perform subtle, meaningful solos and > plenty of black ones who simply attack the guitar. Musicians are just > people, and some people communicate better than > others, whether they be white or black. > > Secondly, although poor guitar solos are, of course, unpleasant to listen > to, the blues song that's centered around guitar solos isn't > necessarily bad. Since the late 1960's, the guitar-solo > driven song is simply the form that most blues have taken, just as > guitarist/vocalist/harpist ensemble playing was the form the blues took in > the 1950s. Just as there are good and bad practictioners of post-'60s > blues, there were talented and untalented practitioners of 1950s blues. > > In the 1960s, the immense commercial power of rock and roll, as > well as the interest rock fans have in the blues, rubbed off on the > blues. Like it or not, this is what happened, and it can't be reversed. > Few blues players growing up in the 70's or '80s, whether black or white, > can avoid knowing about this process and feeling its effects. > > Those who do try to ignore it, such as Keb Mo and Corey Harris, seem to me > to be caught in the past. Someone like Corey Harris adds little to the > meaning of the forms that someone like Blind Willie > McTell used, for he lives in a different time and > a different place. Consequently, Harris's music can be nothing > but a second-hand interpretation of McTell's style, as opposed to a > primary creation in his own style, or in the today's prevelant style. > Inevitably, blues musicians can't escape the > musical forms that have composed the blues throughout its history, but I > would much hear someone like Harris do something of his own, something > more relevant to the world that he and we live in today. > > Certainly, there is much guitar noodling going on, but there have been a > preponderance of bad musicians in any age. The way to improve blues > music is not to encourage artists to rehash the rythmic and > formulaic innovations of country blues, but rather, to urge them to > properly use and improve upon the forms that the blues takes in our day > and age. > > Jordan Kessler > jbk1@columbia.edu ========================================================================= Date: Thu, 7 Mar 1996 03:25:33 GMT Reply-To: jkp@mailhost.accesscom.net From: Jimmy Pollard Organization: AccessCom Subject: Re: Steel Guitar Rag questions Comments: To: bit-listserv-blues-l@uunet.uu.net In article , slydemann@EARTHLINK.NET says... > >At 3:39 PM 3/4/96, Steve Levine wrote: >>I have versions of "Steel Guitar" rag by four different artists, and >>I'm wondering who wrote it, and when the lyrics were added. >> >>There is a version by Sylvester and Weaver on the Columbia slide guitar >>collection. Steve James plays a similar version on "Two Track Mind" >>(great acoustic album, btw), and he credits it to Sylvester & Weaver. >>There is a version by Merle Travis on "The Best of Merle Travis" with >>lyrics. Finally, there is an electric version by Earle Hooker on "Two >>Bugs and a Roach." His version is credited to himself. >> >>Did Merle Travis write the lyrics or was there a version with lyrics >>before his? And were Sylvester and Weaver the original authors and the >>first to record it? >> >>-Steve >======================================================================== ======== > >I don't remember on what album, but I have heard a non-slide instramental >version of steel guitar rag done by Earl Hooker. > >Dave Melton Dave I can't remember his name because I don't have the album in front of me, but Steel Guitar Rag was written by the original steel player with 'Bob Will's and his Texas Playboy's. Check any 'Bob Will's' tribute albums. There are several. In particular: 'The last time around' with Bob Wills and Merle Haggard, Asleep at the Wheel has a tribute album that won a Grammy. If I remember the guy's name (and I'm embarrassed because I know it like the back of my hand) I'll forward it to you. Jimmy Pollard jkp@mailhost.accesscom.net ========================================================================= Date: Thu, 7 Mar 1996 03:29:11 GMT Reply-To: jkp@mailhost.accesscom.net From: Jimmy Pollard Organization: AccessCom Subject: Re: New Orleans Jazzfest Comments: To: bit-listserv-blues-l@uunet.uu.net In article , mhamilt@SAS.AC.UK says... > >Could someone please forward me a list of the dates and tentative >performers for this year's Jazzfest? One was circulating earlier, but I >stupidly deleted it. Thanks in advance. > >Marybeth > >mhamilt@ihr.sas.ac.uk MaryBeth: I don't know who's going to be here this year, but Jazzfest is always the last weekend in April through the first weekend in May. Runs about 10 days with full weekends and several acts at different clubs and venues around New Orleans all week. Got anymore questions, e-mail me a jkp@mailhost.accesscom.net Jimmy Pollard ========================================================================= Date: Wed, 6 Mar 1996 22:40:36 -0500 Reply-To: USBLUE5@AOL.COM From: "Gordon, Rich" Subject: Re: SRV: Reese Wyanns Comments: To: pedp102@uabdpo.dpo.uab.edu Time to fire up the lava lamp....believe it or not....I did get these confirmed by Reese one night in the bar at the Blackhawl Hotel in Davenport, IA....he played keyboards on the second album by Captain Beyond,,Sufficiently Breathless...he was kinda hanging around the studio when they thought keyboards would be a nice touch. Rich Gordon WXRX 104.9 FM Riockford, IL ========================================================================= Date: Thu, 7 Mar 1996 05:09:53 GMT Reply-To: Matthew Arthur Clark From: Matthew Arthur Clark Organization: Columbia University Subject: Re: Derringer out of ammo? Comments: To: bit-listserv-blues-l@uunet.uu.net Rick, Rick Derringer has recently been signed to Code Blue Records and is working on an album for release later this year. Matt Clark mac44@columbia.edu Code Blue Records -> http://www.columbia.edu/~mac44 ========================================================================= Date: Wed, 6 Mar 1996 23:35:32 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: Lonnie Johnson Comments: To: L W In-Reply-To: LW, There is some sweet guitar on the "Blues and Ballads" album featuring LJ and Elmer Snowden. It's electric, and the style strikes me as almost like proto-T-Bone Walker. I have Vol. 1, and I can't wait to get my hands on the next one. I have to warn you, however, that there is little "country blues" on the record. If you're looking for his older acoustinc stuff I guess the Columbia album is the way to go. Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Wed, 6 Mar 1996 21:48:15 -0800 Reply-To: Karen Johnson From: Karen Johnson Subject: Re: SugarPie deSanto? >>Karen Johnson wrote: >>> >>>When I first moved to San Francisco in 1978, I went to a small >> club to see >>>Freddie Roulette. > >So ??? ... How was Freddie R? >Mike Meadors >Orange3@gnn.com Regrettably my recollection of Freddie is not quite as vivid as that of Ms. Sugar Pie. His performance was elegant, subdued and I know he played his classic version of Summertime (possibly because I requested it, but probably it was already planned). I was sitting very close since there was hardly anyone there that night (it was a week night) and can picture him quite clearly seated at his steel guitar dressed in simple dark clothes. However specific details of the music (other than recalling that I really enjoyed the performance) escape me but the overall impression remains. Like Chris, I await further updating details from those more in touch than I. KJ > ========================================================================= Date: Thu, 7 Mar 1996 02:30:12 -0500 Reply-To: WEBreen From: WEBreen Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Little Milton on the Mind Comments: To: bit-listserv-blues-l@uunet.uu.net I agree! I just listened to it over the weekend. Great stuff. Check his new one, Live From Westville Prison. Enjoy! --bill-- ========================================================================= Date: Thu, 7 Mar 1996 02:50:55 -0600 Reply-To: topcat@COMPUTEK.NET From: "" Subject: Re: Freddie King Live (Was Re: Favorite LIVE recordings) Comments: To: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM Yes, this Blacktop release is the same as the TopCat Sub-release titled "This Is The Blues" which was bought from us by Blacktop about one week before our official release date last year. They just HAD to have it. They decided to re-name it "Live At the Electric Ballroom". Richard Chalk TopCat Records > Is this Black Top release a re-release of the TopCat CD from last year? > Jim Smith >Freddie King--Live at the Electric Ballroom--1974. This album rocks from >start to finish. Besides the live show, the album also features a couple of >acoustic tunes from a radio interview. Freddie on acoustic is pretty sweet. >Enjoy the album and keep on playin those blues. > > > > >Peace--D > <---- End Included Message ----> <---- End Included Message ----> ========================================================================= Date: Thu, 7 Mar 1996 01:30:58 -0700 Reply-To: Michael Heicklen From: Michael Heicklen Subject: Re: DJSA's Who's Who Guide Comments: To: director@DJSA.COM >Line 1...................Michael J. Heicklen, Esq. >Line 2...................mjh@primenet.com, clare21@ix.netcom.com >Line 3...................http://www.primenet.com/~mjh >Line 4...................none >Line 5...................Entertainment attorney with a focus on music. Represents labels, talent and producers. Transactional (no litigation). Work includes negotiation, drafting, shopping, and publishing. Runs a free advice board on "the business of show business" on Hollywood Connect (faculty member). > > JUST THE FREE LISTING PLEASE. > >DJSA Bulletin Board, Inc. >http://www.djsa.com >telnet://djsa.com >ftp://djsa.com > > ========================================================================= Date: Thu, 7 Mar 1996 00:56:39 -0800 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Organization: Internet Direct Subject: Son House royalties Comments: To: bit-listserv-blues-l@uunet.uu.net Mary Katherine Aldin wrote: > > I just learned the GREAT news that as of tomorrow Mrs. Evie House will be > receiving a check from SONY Records in the amount of $28,000+ as royalty > restitution for SONY's reissue of the Son House "Father of the Folk Blues" This IS really wonderful to hear!! Thanks, Mary Katherine, for posting it. >Writer Dave Marsh opened the door with an initial > contact with someone at SONY, and since then Dick Waterman has been > negotiating with SONY on the estate's behalf for a long, long >time-- ..... and congrats to all who crusaded for the payment(s). - Roger B. ========================================================================= Date: Thu, 7 Mar 1996 10:29:29 +0100 Reply-To: Peter Gallagher From: Peter Gallagher Subject: Taj Mahal "Going Home" Comments: To: baileyst@MARTIN.LUTHER.EDU In-Reply-To: from "Storm Bailey" at Mar 6, 96 12:02:20 pm My first encounter with Taj Mahal was in about 1981, in Dublin. I was simply tagging along with some friends, whoe expected a reggae artist... As it happened, I could only get a ticket where I was seated away from the friends. To make a long story short, Taj blew _me_ away but left the friends disappointed (they can be excused for expecting a reggae artist as he plays such diversified stuff and even had steel drums in his band at one stage). I have several of his albums, but th one I like the most is "Going Home". This album has straight blues and some folk songs, with such gems as "Satisfied'n'tickled too", "Frankie and Albert", "Brown-eyed Handsome man", "Sweet home chicago" (with the pointer Sisters doing backing vocals), "Statesboro' Blues", etc. This album has appealed to a lot of friends who are not necessarily blues fans and I'd recommend it highly. Regards, PeterG -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Thu, 7 Mar 1996 04:37:42 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Muddy Waters cabin sold to HOB Did the header get your attention? It's serious. I live in Oxford, MS, about an hour from Clarksdale. I've heard rumors emanating from the Delta (pretty reliable ones) that the Stovalls have sold the remains of Muddy Waters cabin to House of Blues. This will be an interesting test of HOB's sincerity; what exactly are they going to do with the cabin? In situ, it is a historic site, and probably elligible for the National Registry. Moved, it is not. Are they going to make this part of their fake juke joint circuses? Or are they going to do something with it there, ideally in conjunction with folks who know about preserving and maintaining such landmarks (isn't there a museum right there in town that might have some interests in that direction??). The question here is whether this artifact is treated seriously and with respect, or whether it becomes a traveling prop for the Blues Brothers. And, if there is any chance of saving the cabin as it is, then perhaps we on the blues list should start beating the drums to that end. Anyone have any comments on this? I believe HOB does monitor this list; I would be interested in seeing what they have to say? And PLEASE don't direct any flames about this my way. I certainly don't think this is a swell idea. Tom Freeland (having tossed a hand grenade into the room, sits back to observe the results) ========================================================================= Date: Thu, 7 Mar 1996 05:00:13 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Muddy Waters cabin sold to HOB Comments: To: Skipjames@aol.com On 7 Mar 96, Skipjames@aol.com had this to say: > Did the header get your attention? It's serious. > > I live in Oxford, MS, about an hour from Clarksdale. I've heard rumors > emanating from the Delta (pretty reliable ones) that the Stovalls have sold > the remains of Muddy Waters cabin to House of Blues. > > This will be an interesting test of HOB's sincerity; what exactly are they > going to do with the cabin? In situ, it is a historic site, and probably > elligible for the National Registry. Moved, it is not. Are they going to > make this part of their fake juke joint circuses? Or are they going to do > something with it there, ideally in conjunction with folks who know about > preserving and maintaining such landmarks (isn't there a museum right there > in town that might have some interests in that direction??). > > The question here is whether this artifact is treated seriously and with > respect, or whether it becomes a traveling prop for the Blues Brothers. And, > if there is any chance of saving the cabin as it is, then perhaps we on the > blues list should start beating the drums to that end. > > Anyone have any comments on this? I believe HOB does monitor this list; I > would be interested in seeing what they have to say? And PLEASE don't direct > any flames about this my way. I certainly don't think this is a swell idea. > > Tom Freeland (having tossed a hand grenade into the room, sits back to > observe the results) > Judgement of the House of Blues seems just a tad premature based on just a "pretty reliable rumor". It seems to me that if the Stovals intended to sell the property and a developer bought the land for a single family housing development, the cabin might be bulldozed and carted away before any of us even knew about it. If it turns out that it was indeed purchased by the House of Blues we are probably lucky. In any event, I think we ought to have some solid facts about the situation before we start either condemning or praising the House Of Blues. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Thu, 7 Mar 1996 01:56:01 -0800 Reply-To: Mark Naftalin From: Mark Naftalin Subject: 411-Winner Announces: Michael Bloomfield Discography Jan Mark Wolkin, publisher of "Bloomfield notes," has assembled a Michael Bloomfield discography covering 7" singles, LP's, CD's, movie soundtracks, and TV & movie appearances. The discography, which includes both authorized releases and bootlegs, is updated as projects come to light. The Michael Bloomfield discography is now on 411-Winner (The Winner Info-Page). 411-Winner also embraces information on Winner artists (Paul Butterfield Blues Band, Percy Mayfield, Ron Thompson, Mark Naftalin), an extensive Otis Spann discography, the publication "Bloomfield notes" (all issues), poetry and essays by Francis Clay (legendary Muddy Waters percussionist), a selection of blues publicity photos, and an archive of other blues-related materials. Mark Naftalin 411-Winner (The Winner Info-Page) ========================================================================= Date: Thu, 7 Mar 1996 05:02:20 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: (Fwd) Re: Son House estate gets (long overdue) royalties On 6 Mar 96, Mary Katherine Aldin had this to say: > House's widow and daughter. As far as I know this is the largest single > amount of royalties recovered for a country blues artist in history. All > this amount is artist's royalties, btw; a further check for songwriter > royalties (estimated to be about $8500.00) will be forthcoming soon. > For all the (true) stories we read and hear about blues musicians getting > screwed, it feels very good to be able to report some GOOD news once in > awhile. Every now and then, the good guys win one. 3 Cheers for Dick Waterman. What a wonderful friend had Son House. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Thu, 7 Mar 1996 11:15:44 +0100 Reply-To: Bengans From: Bengans Subject: HELP:Sonny Boy II lyrics A friend o mine is planning to record the Sonny Boy song "Cool,Cool Blues" from the Arohoolie album King biscuit time. We re two big question marks on the second verse: " Everybody tells me....lives in the neighborhood.....bla bla bla". Can someone help me/my friend on with this verse? Sevenson "Time is hard baby, and hustling is really on". T-Bone Walker ========================================================================= Date: Thu, 7 Mar 1996 05:14:55 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1955 Carl Perkins' "Blue Suede Shoes" entered the R&B charts, marking the first ever "crossover" from Country and Western to Rhythm and Blues. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Thu, 7 Mar 1996 05:26:45 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Matt "Guitar" Murphy Comments: To: bit-listserv-blues-l@uunet.uu.net Is anyone else going to the show at Manny's in NYC on Thursday night (3/7)? We'll be there around 9-9:30 to meet a couple others from online. You should be able to pick us out of the crowd easily, I'll have on a Son House t-shirt from the "Dick Waterman" collection of fine clothing for 'zellers. : ) Come say "Hi" & let us know how you liked the show. Cat Catbauer@vivanet.com ========================================================================= Date: Thu, 7 Mar 1996 20:35:27 +0900 Reply-To: "R.St. Pierre" From: "R.St. Pierre" Subject: Re: BLUES-L Digest - 5 Mar 1996 to 6 Mar 1996 The best live blues album? John Mayall's Turning Point!! Of course. Well, I may be prejudice. I saw them do the same performances at the Newport Jazz Festival just before or after the album was recorded. Sincerely, The Saint "I know so many songs to describe the condition I'm in." ========================================================================= Date: Thu, 7 Mar 1996 11:48:39 GMT Reply-To: ".ark 'atkins" From: ".ark 'atkins" Organization: Telepath Subject: Re: copyright law and home taping Comments: To: bit-listserv-blues-l@uunet.uu.net >Eliot C. Williams wrote: > what restrictions do >> copyright laws place on taping of commercially available recordings for >> personal use? I would assume that it is not illegal for someone to copy a >> recording that he/she owns for his/her personal use, It is perfectly legal to copy a recording that you've paid for as long as you neither sell it nor give it away. Check out this URL for more complete info: http://www.clari.net/brad/copymyths.html. /----------------------- -=[ .\\ark \\'atkins ]=- -------------------\ | markw@telepath.com . | | mark.watkins@hotelcal.com . |\/| ----_ | | http://www.telepath.com/markw . =(--)=_____ \ | | FIDO 1:147/3101 . c___ (______/ | \--------------------------------------------------------------------/ ========================================================================= Date: Thu, 7 Mar 1996 06:59:35 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Catalogs On Line - If you are interested make note of the following catalogs as on line at our web site. If you're not interested it's ok, hit the delete key now. Where noted we have included artist/title/CD#s so that it'll be easy to get a quick take, and download for any of the labels mentioned. Hopefully makes it easier for everyone. No - not affiliated with any labels, just affiliated w/Ed, Toby and Jon. On Line Now Alligator (partial listing with reviews) Arhoolie (complete with some reviews) Audioquest (complete with all but 1 review) Blind Pig (complete with some reviews - all will be coming) Delmark (partial listing with reviews) JSP (complete with all 50+ CD's reviewed) RNA Booking (partial with all reviewed) Winner (complete with all reviews) Wolf (partial with reviews) Coming Up Biograph (complete list with all reviews) Code Blue (complete list with all reviews) Modern Blues (complete with all reviews) Stony Plain (complete with all reviews) Vent (complete with all reviews) Wanui (complete with all reviews) Barry WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 7 Mar 1996 11:52:09 GMT Reply-To: ".ark 'atkins" From: ".ark 'atkins" Organization: Telepath Subject: Re: SRV on IPT Comments: To: bit-listserv-blues-l@uunet.uu.net Bluesbabe wrote: >Can you Pleaseeeeeee tell me , anyone out there; when the S.R.V. >tribute will be shown on the PBS station out of Denver Col. I:M >in Vermont but recieve this station thru Direct T:V, Satallite ; thnx >bluesbabe Suzzie Due to some last minute problems over distribution rights, broadcast of the SRV tribute has been postponed. In it's place will be the recently broadcast compilation of his two Austin City Limits appearances. This would be the same as the commercially available Live From Austin video. /----------------------- -=[ .\\ark \\'atkins ]=- -------------------\ | markw@telepath.com . | | mark.watkins@hotelcal.com . |\/| ----_ | | http://www.telepath.com/markw . =(--)=_____ \ | | FIDO 1:147/3101 . c___ (______/ | \--------------------------------------------------------------------/ ========================================================================= Date: Thu, 7 Mar 1996 12:14:49 GMT Reply-To: Martin Green From: Martin Green Organization: De Montfort University, Leicester Subject: Re: world music - blues (long) Comments: To: bit-listserv-blues-l@uunet.uu.net In article , Bo Carlsson writes: > But It=B4s important to remember that Ali Farka Toure is realy inspired by > american soul and blues, especially John Lee Hooker. Inspiration travels > freely in the world today and his music is not really traditional. > Mr Bo There is a some truth in what you say, though AFTs style was developed long before he heard any Afro-American music. He has expressed the wish of meeting JLH (inspired by JLH is stretching it a bit) on a several occassions, the reason is plainly obvious the style of the two performers is very obvious. Stating AFTs style is not traditional is rather flawed, how many blues performers in the US genuinely sound like JLH as much as AFT does, very, very few. Now AFT sounded like this before he had heard JLHs music, which would point to his music being traditional. Added to this that JLH has stated he was taught to play the guitar by his step-father at a relatively early age, now virtually nothing is known of this character but it would be reasonable to assume he was born in the mid-nineteenth century and probably picked up the style from his elders, if this was the case that would date the style to around the turn of the eighteenth century at the latest. Now we are close to the time of the slave trade from Africa still being active, now where did most of these captives come, (West Africa - which happens to be the same area of AFTs upbringing). So to state the music of AFT is not traditional is rather strtching it a bit, though I would agree that music genres do increasingly merge with each other which was displayed with the Timbuktu album. Take it easy, Mart. ========================================================================= Date: Thu, 7 Mar 1996 06:54:29 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Theory vs. Expression -Repl -Reply Well, i've done a lot of thinking about this......it isn't like i'm a hard headed bluesman.....i think about adverse and contrary opinions.....sometimes i change a little, other times i only shore up even more my original thoughts. But some insight came to me about the fact that i don't intend to learn theory.....its because: It would take the thrill of discovery away from me in learning to play blues.....it's kind of like, well, yeah, you can tell me all about the theory, but please, mother, i'd rather do it myself (if anyone remembers that old, old commercial!)....so, it's basically like i get excited when i discover a new lick (even if theory is responsible for the lick....it just seems neater to me to find it like a half dollar hid in the sand on the beach, or discovering that lost pirate treasure kind of feeling)! This isn't very succinct, but does anyone know what i'm trying to say here? ddr ========================================================================= Date: Thu, 7 Mar 1996 07:54:13 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: copyright law and home taping Comments: To: ".ark 'atkins" On 7 Mar 96, .ark 'atkins had this to say... > >Eliot C. Williams wrote: > > > what restrictions do > >> copyright laws place on taping of commercially available recordings for > >> personal use? I would assume that it is not illegal for someone to copy a > >> recording that he/she owns for his/her personal use, > > It is perfectly legal to copy a recording that you've paid for as long > as you neither sell it nor give it away. Check out this URL for more > complete info: http://www.clari.net/brad/copymyths.html. That's not exactly true. There are instances where you can be considered to be denying the owner a potential sale. For instance, it is permitted for you to make a copy to use, in order to prevent loss or damage to the original, but you must not use them both. It is legal to make a copy to listen to on your car tape deck, however if you are listening to it in the car, and your wife is listening to the original at home, your copy has denied the owner a sale, and would be considered a violation. The website you listed does not talk about copyright in terms of copying recordings at all. It only talks about copyright in relation to postings on usenet. It has nothing to say about "copyright law and home taping", the subject of this thread. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 6 Mar 1996 06:03:06 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: Re: SugarPie deSanto? Comments: To: bob vanarsdall >Heard a cut on the radio the other day by Ms. deSanto ("Soulful Dress", >announced to be her signature song). Any recommendations on best albums for >her? Anyone have bio information? > >Bob The Only Sugar Pie DeSanto I have been able to find is: SUGAR PIE DESANTO USE WHAT YOU GOT CHESS/CHARLY/CEDAR CD RED 33 This CD is distributed in Canada by Fusion III; a company in Montreal. As other people have said she has a real James Brown feel about her. Great party disk. Get it if you can find it. Gary ................ Gary Constantine >> gconstan@ccinet.ab.ca << If you're lookin' for a perfect woman you're gonna' die a lonely man .............. Joe Louis Walker ========================================================================= Date: Thu, 7 Mar 1996 14:00:00 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: world music - blues (long) Comments: To: Martin Green >So to state the music of AFT is not traditional is rather strtching it a bi= t, >though I would agree that music genres do increasingly merge with each othe= r >which was displayed with the Timbuktu album. > Yes, your right I was stretching it too much. I guess I meant that what you hear in Mr Toures music that sound most close to blues might be of american roots but I didn=B4t meen to say that he doesn=B4t play traditional african music. But on the other hand, Im just a swedish talkin swede that learned some english from the blues - makes it a bit hard tobe precise sometimes. Bo ========================================================================= Date: Thu, 7 Mar 1996 08:18:43 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Theory vs. Expression -Repl -Reply Comments: To: Roger Struve On 7 Mar 96, Roger Struve had this to say... > But some insight came to me about the fact that i don't intend to learn > theory.....its because: It would take the thrill of discovery away from > me in learning to play blues.....it's kind of like, well, yeah, you can > tell me all about the theory, but please, mother, i'd rather do it myself > (if anyone remembers that old, old commercial!)....so, it's basically like > i get excited when i discover a new lick (even if theory is responsible for > the lick....it just seems neater to me to find it like a half dollar hid in > the sand on the beach, or discovering that lost pirate treasure kind of > feeling)! This isn't very succinct, but does anyone know what i'm trying > to say here? I know exactly what you are talking about, and it is a very exciting experience. But I'm trying to tell you that learning some music theory would bring about an avalanche of such discoveries. To use your analogy, instead of possibly digging up a beach that nobody goes to, it sends you to the beaches where such discoveries are likely. The discoveries would be just as exciting, and personal, but you'd come away with a better idea of where to look, and why. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 7 Mar 1996 08:32:47 EST Reply-To: Rocco Emelio Comments: Converted from OV/VM to RFC822 format by PUMP V2.2X From: Rocco Emelio Subject: unsubscribe *** Resending note of 03/07/96 08:31 Sorry this is going out to the list. I sent an email to the list manager. no response. so .... the email account that needs deleting is MNHAD009@SIVM.SI.EDU Not the address that shows up on this heading. thanks Phone # 202.357.4401 Smithsonian Institution, Washington, D.C. email address REMELIO@SIVM.SI.EDU ========================================================================= Date: Thu, 7 Mar 1996 13:28:53 GMT Reply-To: Steven L Combs From: Steven L Combs Organization: The World Public Access UNIX, Brookline, MA Subject: Ramblin' Rose references In the Grateful Dead song "Ramblin' Rose" there are references that I don't recognize. Can anyone identify: Mojo Hand Billy Sunday Crazy Otto ? ========================================================================= Date: Thu, 7 Mar 1996 13:46:11 GMT Reply-To: Steven L Combs From: Steven L Combs Organization: The World Public Access UNIX, Brookline, MA Subject: Blues Caboose I have this crazy dream. There is a B&M train caboose on the lot where I work. I have agreed to buy it and have it 60% paid off. I've also done a lot of work painting and refinishing the wood paneling inside. There are bunks that sleep 3, cafe tables in the cupola, a functioning kerosene heater, and a wired fuse box. My goal is to mount it on a flatbed (I have pictures of an identical caboose mounted in this way) and make it mobile. The Blues Caboose could park itself alongside a tavern, at a music festival, at a fair, etc. The idea would be to have blues jams in, on, around the caboose where the local jammers would be taped playing with the Blues Caboose players and for a small fee, take home a tape of themselves playing out before an audience. Additional money could be made either by charging the host location for the presence/performance of the Blues Caboose and whatever concession sales we might choose to undertake. I think this idea could work. But I am pained by the slow progress of paying of the caboose and getting it roadworthy, since I only have whatever spare cash I can muster to work with. The caboose sale agreement is in the name of Syncorswim, Inc. a company I created for such endeavors. Syncorswim, Inc. has 13 stockholders and owns 37 acres of property in central Maine. I am posting this to inquire if someone might be interested in a project like this. All questions and comments welcomed. Sincerely, Steven Lee Combs director - Syncorswim, Inc. ========================================================================= Date: Thu, 7 Mar 1996 10:00:50 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: Muddy Waters cabin sold to HOB In-Reply-To: <960307043739_343683473@emout07.mail.aol.com> from "Tom Freeland" at Mar 7, 96 04:37:42 am > I live in Oxford, MS, about an hour from Clarksdale. I've heard rumors > emanating from the Delta (pretty reliable ones) that the Stovalls have sold > the remains of Muddy Waters cabin to House of Blues. > [...] > > Anyone have any comments on this? I believe HOB does monitor this list; I > would be interested in seeing what they have to say? And PLEASE don't direct > any flames about this my way. I certainly don't think this is a swell idea. I too would like to hear HOB's plans for the cabin. If it involves moving it from it's original site, I would be more than willing to help organize a petition against any such action. Let's get the official word from HOB first. -Rob ========================================================================= Date: Thu, 7 Mar 1996 09:07:16 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Copyrights and Home Taping A really excellent set of FAQs on copyright law can be found at: http://www.cis.ohio-state.edu/hypertext/faq/usenet/Copyright-FAQ/top.html Section 3 actually addresses the issue of home taping and reveals that recent Congressional legislation gives home tapers rather broad protection from lawsuit. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 7 Mar 1996 08:28:01 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Blues Caboose -Reply Comments: To: syncswim@WORLD.STD.COM First thing you should do is figure out how you are going to motivate this caboose? It basically needs an engine (locomotive) nicht wahr? (is it not true?) Then figure out if the rail lines have any objection to your choo choo train using their lines. If they allow it, how expensive is the license to use their tracks? If all this goes well, then i, for one, would be terribly excited to be involved in such a project. regards, delta doc roger ========================================================================= Date: Thu, 7 Mar 1996 09:34:55 -0500 Reply-To: "Lost John From: "Lost John Subject: Re: Fave Live Recordings One that comes to mind for me is: John Mayall - Jazz-Blues Fusion (1970 or 71) recorded at colleges in Boston and NY. More of that tour was released later on "Movin' On". Freddie Robinson's guitar playing on these is amazingly clean, fluid, and soulful. What ever happened to this guy? Anyone know ? -- _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ _/ JC /\ _/ _/ ______________ || _/ _/ \__________ / || _/ _/ ________ ___/ John Carley || _/ _/ \______ / johnc@vedge.com || _/ _/ ____ ___/ (514)332-6430 x232 || _/ _/ \__ / Visual Edge Software Ltd. |\||/| _/ _/ _____/ 3950 Cote Vertu, Suite 100 \ / _/ _/ \/ Montreal, Quebec, Canada / \ _/ _/ ( ) _/ _/ \____/ _/ _/ (graduate of the Yogi Berra school of elocution) _/ _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ ========================================================================= Date: Thu, 7 Mar 1996 09:46:55 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Hip Blues Record Stores In Toronto, Kops Kollectibles on Queen Street West neat University Ave. And, hey, one of the owners is Rob Bowman, of Grammy Award winning fame (for the liner n otes on the Stax/Volt stuff. Nice store, nice people, the best gospel section I've seen in ages, tons of second hand stuff. Tell them I sent you-I may yet get a discount on that Lonnie Donegan box set! Richard the Elder ========================================================================= Date: Thu, 7 Mar 1996 08:35:28 -0600 Reply-To: Cathi Norton From: Cathi Norton Subject: Explosion (Dave Melton?) Hello all... Some sort of explosion has affected the mailer here at work. I lost everything -- ALL the messages I had this morning. So please know this should I not answer a message you sent. Hope to be "dug out" by tomorrow morning. Also...Dave Melton: I saw that you'd given me a snail mail address, but it, too, was pulverized. Could you please re-send? I have taping plans this weekend. Also I thought I saw a really good Hound Dog Taylor quote I wanted to keep -- can someone please re-send? Thanks for your patience everybody -- have a good one. Cathi N. ========================================================================= Date: Thu, 7 Mar 1996 09:17:37 -0600 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: Muddy Waters cabin sold to HOB > > I live in Oxford, MS, about an hour from Clarksdale. I've heard rumors > > emanating from the Delta (pretty reliable ones) that the Stovalls have sold > > the remains of Muddy Waters cabin to House of Blues. > > [...] > > > > Anyone have any comments on this? I believe HOB does monitor this list; I > > would be interested in seeing what they have to say? And PLEASE don't direct > > any flames about this my way. I certainly don't think this is a swell idea. > > I too would like to hear HOB's plans for the cabin. If it involves > moving it from it's original site, I would be more than willing to help > organize a petition against any such action. Let's get the official > word from HOB first. E-mail: hobinfo@houseblues.com ========================================================================= Date: Thu, 7 Mar 1996 10:30:01 -0400 Reply-To: GORDONJ@CC.DENISON.EDU From: Josh Gordon Subject: Muddy's cabin to HOB >> I live in Oxford, MS, about an hour from Clarksdale. I've heard rumors >> emanating from the Delta (pretty reliable ones) that the Stovalls have sold >> the remains of Muddy Waters cabin to House of Blues. >> [...] >> >> Anyone have any comments on this? I believe HOB does monitor this list; I >>would be interested in seeing what they have to say? And PLEASE don't direct >> any flames about this my way. I certainly don't think this is a swell idea. >I too would like to hear HOB's plans for the cabin. If it involves >moving it from it's original site, I would be more than willing to help >organize a petition against any such action. Let's get the official >word from HOB first. >-Rob Moving Muddy's cabin would not necessarily be a bad thing. From what I've read, scavengers and souvenier-seekers have been dismantled much of the cabin, and that at the current rate the entire thing will practically be gone. ========================================================================= Date: Thu, 7 Mar 1996 10:29:49 -0500 Reply-To: RsprBlues From: RsprBlues Organization: America Online, Inc. (1-800-827-6364) Subject: MSN picks Springing the Blues web site Comments: To: bit-listserv-blues-l@uunet.uu.net Hey, everyone! I'm just so excited....our web site for the Springing the Blues Festival in Jacksonville Beach, FL was just picked by the Microsoft Network (MSN) as one of their top picks for the week in the Travel & Lesire category. If you want to check out the site, head over to http://www.springingtheblues.com Let me know what you think about it! And, many thanks to everybody who gave me tips on great blues spots in Dallas--I'm really looking forward to being there this weekend! Lovin' those blues... Betsy ========================================================================= Date: Thu, 7 Mar 1996 10:43:38 -0500 Reply-To: RhythmShrk@AOL.COM From: Bernie Clarke Subject: Re: Hohner harps quality In a message dated 96-03-06 16:20:10 EST, you write: > >Funny you should ask this question, LW. About a year ago, when my band was >really getting cookin' and we started to finally play out a LOT, my harp guy >started blowing out his Hohners left and right. I mean, like every gig and >every rehearsal another one would go flat on him. Now, he'd been playing >them >(Hohners) for over 20 years and never encountered this. So I posed a similar >question to the group and a bunch of people replied that Hohner quality had >plummetted and Lee Oscars were the way to go. > >So, I gave this info to Pat, and he refused to buy Japanese harps when he'd >been playing those American Hohners for so long. But his wallet finally >succumbed and he bought Lee Oscars in the vital keys to start with. Well, >he's a Lee Oscar man now. He went out soon after and bought Lee Oscars in >every single key, and doubles of the most used ones (yeah, spent a few >hundred >bucks on harps). I don't think he's blown out a single Oscar in the year or >so that he's owned them, and Pat is (to put it mildly) a highly energetic >harp player. > >In the end, the capital outlay $$$ has been worth it. From what I hear, more >and more players are switching. > > I'll throw my .02 in too. First Hohner harps are not American, they are German. I use exclusively Hohner Marine Band harp and have for the last six years. Most blues players still use them. The problem that I have had with them recently lies in the fact that they don't appear to be "set up" correctly as they come off of the assembly line. Primarily the reed gaps must be adjusted so that the reed responds and does not "choke" when you try to play it forcefully. This is of greater concern on draw reed than blow reeds. I do this by slipping a single edge razor blade under the reed and gently tweak it back until the tip is maybe the thickness of a dime off the top of the reed plate. If you are also reslly adventureous, you can try things to seal the harps and make them more tight. I have tried a light coat of clear silicone on the wooden comb. Tthere are also some non-toxic industrial lubricants that you can soak the comb with which will prevent it from expanding and cutting your lip. The main thing to achieve in a harmonica is airtightness and proper reed adjustments. There is a fellow named Joe Fillisko who advertises in the harp rags and takes Marine Bands and modifies them replacing the nasty nails with screws. That I would think would be pretty easy to do with a drill press while they are still nailed together. Then he rolls the back flap of metal on the coverplate to make the cover stronger (This I understand is how they were pre-war.) He has a silicone gasket that he puts between the comb and reedplates to make them more airtight. His harps are beautiful, but they are upwards of $50 a piece. That's why I started working on my own harps. I figure that I can experiment on the old ones and now I have started setting up my new harps when I get them from the store. I have to say that a good Marine Band is the best harp that you'll ever play. I can understand why folks shy away from them, but as a pro, I feel that I have to use the best harp I can get with THE BEST SOUND. If I have to tweak a Hohner for 15 minutes before I take it out, then that's what I have to do, but I'll still play Marine Bands until someone else makes something that sounds and feels better to me or until the quality gets so bad that I can't tweak them myself Bernie Clarke ========================================================================= Date: Thu, 7 Mar 1996 10:43:39 -0500 Reply-To: RhythmShrk@AOL.COM From: Bernie Clarke Subject: Bernie Clarke and the Rhythm Sharks Comments: To: harp-l@garply.com Shameless self promotion time! My band, the Rhythmsharks and I will be in Syracuse tonight at the Dinosaur BBQ and at Bud's Lakefront on Saturday. Every Sunday we host an open blues jam at Rooter's in the Valley Plaza on S. Salina St. Come out and see us! We were just nominated in the "Best Blues Band" category for a Syracuse Area Music (Sammy) award. Bernie Clarke ========================================================================= Date: Thu, 7 Mar 1996 10:35:30 -0500 Reply-To: Vicki Bean From: Vicki Bean Organization: America Online, Inc. (1-800-827-6364) Subject: Internat'l Blues Talent Competition Comments: To: bit-listserv-blues-l@uunet.uu.net Would like input on making some changes on the Blues Foundation's International Blues Talent Competition. Any comment? Please contact me by private email. Thanks! V. Bean ========================================================================= Date: Thu, 7 Mar 1996 11:27:05 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Garlic Beef locale? This recipe wouldn't be from this place in nordeast Minneapolis where they play "pulltabs" and drink Leinies and Pig's Eye on tap, would it? I'm gonna try this recipe TONIGHT! Watch out, blues vampires! Away! Away! :) Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 7 Mar 1996 11:29:34 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Cool Blues Record Stores In this part of the world: (1) Stackhouse over in Clarksdale a really cool mess of a store, still a lot of vinyl (45s even) and a lot of stuff that has just hung around long enough to startle you by being there in the bins. A bunch of p-vine stuff, and, of course, Jim O'Neal's Rooster recordings. And Jim is the friendliest/vaguest "sales clerk" (I used that word with reservations) you will ever encounter. Please have correct change ready. Blues memorabilia for tourists (Sonny Boy Corn Meal, etc), and Jim O'Neal's map, which is very entertaining and is indispensible for a tour of the Delta's blues sites. Don't go with a specific item in mind (other than that map).... (2) Ikey's in Holly Springs this one is based on my brother's recommendation. It is a tiny place with ONLY vinyl and tapes, but has a lot of 'local hero' R.L. Burnside's stuff (or has had). And R.L. hangs out there a good bit. (3) Uncle Buck's on the Square in Oxford DISCLAIMER: my brother owns an interest in this one. Bucks has a really good blues section (and country, world beat, and rock). my brother, who works there, is quite knowledgable about blues. A friendly and recommended stop if you are in Oxford. (4) Shangri La Records in Memphis. Most reliable place to find out what's going on in Memphis, with a good tour guide to Memphis. I think they're still selling bricks salvaged from the Stax studio site. A good selection of local stuff. The great record store up there was Home of the Blues, downtown. They guy was a real fan and stocked reissues going back years and years. Its long gone, but was essential to my early learning about blues. (4) In New Orleans, the Louisiana Music Factory has been mentioned a couple of times on this list. It has a fair number of 78s, but they are in very very bad condition and very overpriced. It has a huge selection of new and used blues, jazz, and Louisiana everything. The Magic Bus is a used record store in the Quarter that has a lot of used vinyl, among which are some interesting collectors items (an Otis Redding EP, etc.; got my brother the first Johnny Cash LP on Sun for his birthday). They KNOW what these things are worth, so you will find no bargains. But very interesting stuff, blues, R&B, New Orleans, and rock, and some things you dont often see (wanna drop a few hundred bucks for the Beatles YESTERDAY TODAY AND TOMORROW in the butcher block cover?). I never had much luck with blues in the Record Rons stores. Memphis has had good places over the years. ========================================================================= Date: Thu, 7 Mar 1996 11:55:27 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Reese Wyanns! Comments: To: USBLUE5@AOL.COM No WAY!! :) I thought I was the only person on this planet who ever even HEARD of Captain Beyond, let alone knew who any of the personnel were!! Wow! What a flashback! Didn't they have that incredibly young guy from Iron Butterfly on guitars? ".....Dancing madly backwards...on a sea of air..." [can't believe I remember those lyrics] Trippin'..... Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 7 Mar 1996 12:44:06 -0600 Reply-To: Art Schuna From: Art Schuna Subject: 1996 ARSC Awards Finalists I found the following list of finalists for the ARSC Awards on 78-L. I deleted all titles that had limited interest to Blues-l >Finalists Announced: 1996 ARSC Awards for Excellence > >The following finalists have been announced in the competition for the 1996 >ARSC Awards for Excellence in Historical Recorded Sound Research. The >works, representing the best published research of 1995, were chosen from a >large field of nominees. The winner in each category will be selected by a >seven-member Blue Ribbon Awards panel, consisting of experts in several >fields of study, and will be announced at the ARSC Annual Conference in >Kansas City, Missouri, May 8-11, 1996 (see separate release). >RECORDED JAZZ, BLUES OR GOSPEL >Billie Holiday, by Stuart Nicholson, discography by Phil Schaap (U.K.: >Victor Gollancz, 1995; U.S.: Northeastern Univ. Press, 1995). >Desert Sands: The Recordings and Performances of Stuff Smith, by Anthony >Barnett (Lewes, England: Allardyce, Barnett, Publishers, 1995; U.S.: >Berkeley, CA: SPD). >John Coltrane: A Discography and Musical Biography, by Yasuhiro Fujioka >with Lewis Porter and Yoh-ichi Hamada (Scarecrow Press, 1995). >A Life in Ragtime: Jim Europe, by Reid Badger (Oxford Univ. Press, 1995). >Woody Herman: Chronicles of the Herds, by William D. Clancy with Audree >Coke Kenton (Schirmer Books, 1995). Sorry - not too much blues here but I thought you'd be interested who was nominated. Definitely a jazz bias here. >RECORDED ROCK, RHYTHM & BLUES OR SOUL >"The Five Royales," by Seamus McGarvey, with discography by Michel Ruppli >and J. Taylor Doggett, in Juke Blues, Nos. 31-33 (Summer 1994, >Winter/Spring & Summer 1995) >"Julia Lee," notes by Bill Millar, discography by Charles J. Haddix & >Richard Weize, Bear Family CD set (1995). >Rock Mr. Blues: The Life and Music of Wynonie Harris, by Tony Collins (NH: >Big Nickel Publications, 1995). >Rocket Man: The Encyclopedia of Elton John, by Claude Bernardin and Tom S >tanton (Greenwood Press, 1995). Of these, I've only had the pleasure of reading the Five Royales series from Juke Blues. It was excellent. If your interested in this, contact Dick Shurman. He's the US distribution maven for Juke Blues. >ABOUT ARSC > >The Association for Recorded Sound Collections is a non-profit organization >founded in 1966 and dedicated to the preservation and study of recordings >in all fields of music and speech. Its membership includes private >collectors and representatives of some of the world's largest public record >archives. ARSC publishes a research Journal, a Newsletter and other >publications, sponsors an annual conference, and awards grants to >individuals doing research in recorded sound. Art Schuna ========================================================================= Date: Thu, 7 Mar 1996 11:18:55 -0700 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: Re: Reese Wyanns/Captain Beyond In-Reply-To: <01I2217CMT5Y004I8I@SCI.WFBR.EDU> Wow! Flashback is right! Didn't remember till I read Rick's lyric quote. I may be mistaken but I think it was "on a frozen sea of air". That whole time frame around then is pretty fuzzy; you know - age and all. Takes me back..... RW (put my dog down yesterday. Tough call) ========================================================================= Date: Thu, 7 Mar 1996 10:44:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re: Muddy Waters cabin sold to HOB TOM FREELAND POSTED THE FOLLOWING PROVOCATIVE INFORMATION: (I snipped it up just a little) > This will be an interesting test of >HOB's sincerity; what exactly are they going to do with the cabin? >In situ, it is a historic site, and probably elligible for the >National Registry. Moved, it is not. Are they going to make this >part of their fake juke joint circuses? Or are they going to do >something with it there, ideally in conjunction with folks who know >about preserving and maintaining such landmarks (isn't there a museum >right there in town that might have some interests in that >direction??). >The question here is whether this artifact is treated seriously and >with respect, or whether it becomes a traveling prop for the Blues >Brothers. And, if there is any chance of saving the cabin as it is, >then perhaps we on the blues list should start beating the drums to >that end. Can Tom or some knowledgable Bluezeller give us some more information about the history/nature of Muddy's Cabin? If we are going to take a principled stand about something, all of us should be informed. I feel personally grateful to Tom for raising urgent concerns over what could turn out to be the desecration of a national, nay, world cultural treasure. BLUE JOE IN RED RUSSIA J.E._Downey@bakermck.com ========================================================================= Date: Thu, 7 Mar 1996 11:10:12 CST Reply-To: JBards From: JBards Subject: Re: Feedback/Distortion Comments: To: DeWayne Brown If it sounds like intermittent skipping it could be the Cd or could be the laser in your CD player is starting to go out. Otherwise, that's probably just the recording. Jim _______________________________________________________________________________ Subject: Feedback/Distortion From: DeWayne Brown at INTERNET-SH Date: 03/07/96 12:18 AM Just picked up "Blues" by Jimi Hendrix, and am really impressed...almost. On the second cut; Born under a bad sign, about 3min 30sec into it, I'm getting uncharacteristic distortion (even for Jimi). Non of my buds have the CD and my music stores are out of it and it's 2 weeks before they'll get one in. I'm wondering if this is a bad CD or something I have to put up with. A little of the same on the 5th cut also. Also, (thanks to Blues-L) I picked up my first Son House CD; "The 1970 London Sessions. Is this one of his best? I'm thirsty for more! Thanks, Dew. ========================================================================= Date: Thu, 7 Mar 1996 17:34:40 +0000 Reply-To: "timothy (t.b.) bosley" From: "timothy (t.b.) bosley" Subject: Re: Reviews: Calvin Owens and Esther Phillips David J. Wallace had this to say re Calvin Owens: >Calvin Owens: True Blue, Sequel NEX CD260 >Calvin Owens: Thats Your Booty, Coast to Coast records > >So Calvin Owens has two great albums, very different albums, but also >very worthwhile albums, with the second being the more satisfying in >the long run, whilst the first is about as much bang for the buck as >you can get. I've not heard _Thats Your Booty_ but _True Blue_ is available on TopCat CD TC02932. I did a review of this one long ago. Fine album - highly recommended. I thoroughly enjoyed the album from start to finish and, when I got it, I really didn't think I would care for it at all. Main interest is more along the lines of rural/country blues....this is a jazzy/big band sound. The incredible vocals of Ms. B.J. Scott were a real treat. Johnny Copeland performs vocals on a few of the tunes and does a superb job. I found Woke Up Screaming (v. Copeland) and Dreams Come True (v. Scott) are probably my two favorites (though there's not a thing that I dislike). DCT is an answer to WUS....I can't help but think that to work the two of them together and have Copeland and Scott perform it as a duo would be simply amazing. ========================================================================= Date: Thu, 7 Mar 1996 11:11:25 -0700 Reply-To: Michael Heicklen From: Michael Heicklen Subject: Re: DJSA's Who's Who Guide My apologies about this ... it was a mistake to send it to the list. I was trying to send it to the DSJA bulletin board - but it was late, and I didn't notice the address. At 01:30 AM 3/7/96 -0700, Michael Heicklen wrote: >>Line 1...................Michael J. Heicklen, Esq. >>Line 2...................mjh@primenet.com, clare21@ix.netcom.com >>Line 3...................http://www.primenet.com/~mjh >>Line 4...................none >>Line 5...................Entertainment attorney with a focus on music. >Represents labels, talent and producers. Transactional (no litigation). >Work includes negotiation, drafting, shopping, and publishing. Runs a free >advice board on "the business of show business" on Hollywood Connect >(faculty member). >> >> >JUST THE FREE LISTING PLEASE. > > > >> >>DJSA Bulletin Board, Inc. >>http://www.djsa.com >>telnet://djsa.com >>ftp://djsa.com >> >> > > ========================================================================= Date: Thu, 7 Mar 1996 12:13:02 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Muddy's cabin/HOB Does anyone remember when I JOKINGLY made the prediction that HOB was going to buy Muddy's Cabin and televise a disco show from there. It was something to that effect...I wish I would have never said that, now. I wish I could find it in the archives, it was of course pretty stupid at the time. WOW LW ========================================================================= Date: Thu, 7 Mar 1996 12:30:35 CDT Reply-To: Mike Davis From: Mike Davis Organization: N.C.T.R. Subject: Re: Reese Wynans/ Alan Haynes Reese is also on Alan Haynes' Wishing Well cd from last year, along with Chris Layton and Tommy Shannon. This is a excellent blues cd I highly recommend it. Great singing and guitar playing by Alan Haynes who's originally from Houston and now living in Austin. Check the cd out it's on Focus Records. Later, Mike Davis BTW: Reese was also in Second Coming along with Dickey Betts before Dickey joined the Allman Brothers. ========================================================================= Date: Thu, 7 Mar 1996 12:41:45 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Cool Blues Record Stores Also in New Orleans, try Jim Russell's Rare Records on Magazine St. They have a remarkable and huge collection of old 45s, including a lot of original Chess and Excello stuff that you just don't see anywhere else, plus a lot of older New Orleans records (Ric/Ronn/Minit and vintage Imperial). Prices are no bargain, though... Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Thu, 7 Mar 1996 12:55:45 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Ramblin' Rose references Comments: To: Steven L Combs > From: Steven L Combs > In the Grateful Dead song "Ramblin' Rose" there are references that > I don't recognize. Can anyone identify: > Mojo Hand > Billy Sunday > Crazy Otto Billy Sunday was a baseball player-turned-evangelist. Crazy Otto fronted a polka band. A Mojo Hand was a talisman or charm of variable composition said to confer good luck and improved sexual potency upon the bearer. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Thu, 7 Mar 1996 18:34:57 GMT Reply-To: nns@SOAR.COM From: nns@SOAR.COM Subject: Moderated group posting Comments: To: bit-listserv-blues-l@uunet.uu.net Newsgroups: bit.listserv.blues-l Path: not-for-mail From: John Pike Subject: Help with a couple of names Message-ID: <313F2C1D.7A57@soar.com> Date: Thu, 07 Mar 1996 10:34:05 -0800 X-Mailer: Mozilla 2.0 (Win16; I) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Lines: 17 I hope that this is the appropriate kind of post here. This is the first time that I've either read or posted this newsgroup. There was a young black performer on the "House of Blues" show a couple of months ago who plays fingerstyle blues on both an acoustic guitar and a steel bodied resonator. I'm terrible with names and can't remember what he called himself and I would really like to find his CD. Also I saw a movie the other night called "Love And a .45" where the main protagonist is sitting in some kind of neon strip joint. There is a performer on the stage playing some really distorted shuffle blues. I'd also like to find out his name. If anyone can help I would most definately appreciate it. I'm terrible at remembering names. John ========================================================================= Date: Thu, 7 Mar 1996 13:20:17 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 03/08 B O R N : BEAU HEINIE (HENINRICH JOHN BEAU ) Born:1911 Calvary, WI Career:CLARINET / TENOR SAX Style:TRAD / JAZZ / BIG BAND With:Johnny 'Scat' Davis / Red Nichols 1940 / Tommy Dorsey 1940-1943 / Benny Goodman COLEMAN, GEORGE Born:1935 MEMPHIS, TN Career:TENOR SAX / ALTO SAX Style:BLUES With:B.B. KING DONAHUE, SAM (KOONTZ ) Born:1918 DETROIT, MI Career:TENOR SAX / TRUMPET / LEADER Style:JAZZ / BIG BAND With:Gene Krupa 1938-1940 / Harry James / Benny Goodman October 1940 / Tommy Dorsey / fronted Billy May Band / Stan Kenton HUDSON, WILL Born:1908 BARSTOW, CA Career:LEADER / COMPOSER / ARRANGER Style:JAZZ / BIG BAND arranger with Fletcher Henderson / Cab Calloway / Don Redman / Andy Kirk / Earl Hines / Louis Armstrong / Jimmie Lunceford / Ina Ray Hutton / Ruth Gaylor / Jane Dover / Elyse Cooper / Kay Kenny / Gus Bivona HYMAN, DICK ( RICHARD ROVEN HYMAN ) Born:1927 NEW YORK, NY Career:PIANO / ORGAN / ARRANGER Style:JAZZ / BIG BAND With:Victor Lombardo Orch / Tony Scott / Red Norvo / Miles Davis / Flip Phillips / Benny Goodman / Alvy West LYTTON, PAUL Born:1947 LONDON, UK Career: DRUMMER Style:BLUES MITCHELL, GEORGE ( LITTLE MITCH ) Born:1899 LOUISVILLE, KY Career:CORNET Style:JAZZ With:Carroll Dickerson / Doc Cook / Jimmie Noone / Lil Armstrong / Earl Hines ROBICHAUX, JOSEPH Born:1900 NEW ORLEANS, LA Career:PIANO Style:TRAD / JAZZ With:Lizzie Miles / George Lewis / Preservation Hall SZABO, GABOR Born:1936 BUDAPEST, HUNGARY Career:GUITAR / LEADER Style:JAZZ With:Chico Hamilton / Charles Lloyd / Lena Horne TURNER, DANNY ( JAMES DANIAL ) Born:1920 FARRELL, PA Career:ALTO SAX / TENOR SAX Style: BLUES / JAZZ With:Gerald Wilson / Billie Holiday / Milt Buckner / Machito / Dakota Station / Jack McDuff / Ray Charles / Jimmy Witherspoon / Pat Martino / Jimmy McGriff / Count Basie WILLIAMS, JAMES Born:1951 MEMPHIS, TN Career:PIANO Style:BLUES FOR A LISTING OF THOSE THAT PASSED AWAY IN THIS MONTH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Thu, 7 Mar 1996 19:21:22 GMT Reply-To: Bluesbabe From: Bluesbabe Organization: SoVerNet, Inc. Subject: Re: Favorite quotes Comments: To: bit-listserv-blues-l@uunet.uu.net Dick Waterman wrote: >On March 5, Steve Levine noted this quote: > ********************* >Another favorite: "When I die, they're gonna say 'He couldn't play >sh*t, but he sure made it sound good!'" > -Hound Dog Taylor > ********************** > Not only is this an accurate quote, it is available on a terrific >shirt from Alligator Records' merchandising. >There is a great shot of "The Dog" on the front and on the back is this quote >superimposed over a huge photograph of his hand. In case you don't know, >Mister Taylor had a visible sixth finger. >Dick Waterman >(I bought mine at their booth at the Mississippi Valley Blues Festival.) Where can I get one of these t- shirts .. WHAT a perfect gift for a bluzzer friend of mine. Didn,t know about the sixth finger but its a must to check out. ========================================================================= Date: Thu, 7 Mar 1996 19:25:20 GMT Reply-To: Ian Angus From: Ian Angus Organization: Angus TeleManagement Group Subject: Re: Ramblin' Rose references Comments: To: bit-listserv-blues-l@uunet.uu.net Steven L Combs wrote: > In the Grateful Dead song "Ramblin' Rose" there are references that >I don't recognize. Can anyone identify: >Mojo Hand >Billy Sunday >Crazy Otto Mojo Hand is a song by Lightnin Hopkins Billy Sunday was an evangelist of the highly conservative variety. Chicago, another song says, is "the town that Billy Sunday could not shut down." Crazy Otto was a piano player, in the 40s and 50s I think. Ian Angus "Too young to remember these things" ========================================================================= Date: Thu, 7 Mar 1996 19:32:12 GMT Reply-To: Ian Angus From: Ian Angus Organization: Angus TeleManagement Group Subject: Re: Hip Blues Record Stores Comments: To: bit-listserv-blues-l@uunet.uu.net Richard Flohil wrote: >In Toronto, Kops Kollectibles on Queen Street West neat University Ave. >And, hey, one of the owners is Rob Bowman, of Grammy Award winning fame >(for the liner n otes on the Stax/Volt stuff. Nice store, nice people, the >best gospel section I've seen in ages, tons of second hand stuff. I'm a fan of Kops, too, but my favorite independent Toronto record store is Back Beat, on Dundas East near Church. Lots of used blues and R&B, and a good selection of import CDs. BTW, I recently returned from a trip to the U.S., where I checked out a lot of the "discount" CD stores (Towers, Best Buy etc.) I found a. They had titles that are very hard to get in Canada, primarily labels which don't have Canadian distribution. BUT b. For labels which are available in Canada, Toronto prices are substantially lower in most cases. Typically, US discount stores seem to sell for about the same sticker price as Sam the Record Man in Toronto -- but Sam's prices are in Canadian dollars! So we pay about 40% less (plus GST, of course). -- ============================================================ IAN ANGUS Tel: 905-686-5050 ext 222 Angus TeleManagement Group Fax: 905-686-2655 8 Old Kingston Road e-mail: ianangus@angustel.ca Ajax Ontario Canada L1T 2Z7 http://www.angustel.ca ============================================================ ========================================================================= Date: Thu, 7 Mar 1996 14:47:13 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: FINAL WORD on SRV Retro/PBS for Boston Area: Get mad! Okay New Englanders, get pissed now. After having crawled the PBS website for an hour, and seeing that the national satellite feed for the SRV show is scheduled for tonight, and after havng read about it repeatedly here from Blues-Lers various posts, I called PBS/WGBH ch2 in Boston on it AGAIN. Again I talked to their programming guy who this time at least acknowledged that he knew the satellite broadcast feed was tonight. He said flatly and completely UN-apologetically (in fact he interrupted me) "No, we're not going to show it." Me: Not at ANY time? on either of your two sister stations that serve greater Boston and central Massachusetts. Him: No. We show thousands of quality broadcasts that our viewers enjoy and we just have to make our choices. We're not going to show this one. Me: You know, people all over the country have been dying to see this show and people are on the INternet and at your Website like gangbusters clamoring for schedule information for this special. Him: We show thousands of quality boradcasts and we have to make our choices. Me: You have a LOT of member viewers like me who are blues fans and would very much like to see this special. A lot of CONTRIBUTING blues fans who will be very unhappy about this. (nicely) Him: (rudely) Sir, I will take that into consideration, but we show thousands of quality broadcasts and we will not be showing this one on WGBH. ...and that's the way it went. I am bullshit about this (to use the local vernacular). He made it clear that he wasn't even considering it. What a shmuck. If YOU are a WGBH member/viewer from the greater Boston area, I implore you to call WGBH in Boston at (617) 492-2777 right away and ask for the programming manager and politely but firmly let them know that you and your MANY blues- loving/ member friends would REALLY like to see this show. I'm really tired of Peter, Paul & Mary and Pavarotti, Domingo, and Caruso. Damn it, I'm paying for some blues and no commercials. Thanks gang! Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 7 Mar 1996 14:49:06 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Moderated group posting Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *There was a young black performer on the "House of Blues" show a couple *of months ago who plays fingerstyle blues on both an acoustic guitar and *a steel bodied resonator. I'm terrible with names and can't remember *what he called himself and I would really like to find his CD. That was probably Keb Mo or Corey Harris. *Also I saw a movie the other night called "Love And a .45" where the main *protagonist is sitting in some kind of neon strip joint. There is a *performer on the stage playing some really distorted shuffle blues. I'd *also like to find out his name. That was Rev. Horton Heat, a modern rockabilly singer/guitarist. ========================================================================= Date: Thu, 7 Mar 1996 15:07:23 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Rev. Horton Heat Comments: To: Steve.Levine@corp.wrgrace.com On 7 Mar 96, Steve.Levine@corp.wrgrace.com had this to say... > *Also I saw a movie the other night called "Love And a .45" where the main > *protagonist is sitting in some kind of neon strip joint. There is a > *performer on the stage playing some really distorted shuffle blues. I'd > *also like to find out his name. > > That was Rev. Horton Heat, a modern rockabilly singer/guitarist. > If that's the same Rev. Horton Heat that mixes up a big pot of gumbo on stage, there's nothing rockabilly about him (in my book). He's CHOCK full of soul. I was very impressed with the show he put on at last year's Tarpon Springs Blues Festival. Played some really fine Black Gospel based stuff. He had more soul than most of the acts calling themselves Blues. I really enjoyed his whole set. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 7 Mar 1996 14:30:46 -0600 Reply-To: Roger Struve From: Roger Struve Subject: FINAL WORD on SRV Retro/PBS for Boston Area: Get mad! Comments: To: MILLER@SCI.WFBR.EDU -Reply Welcome to the wonderful world of PBS.....they want us to send em money, but they're a bunch of ripe ones if ya ask me to try and deal courteously with em.....ain't no way! ddr ========================================================================= Date: Thu, 7 Mar 1996 15:39:31 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: 5th Annual Sonny Boy 2 Fundraiser 3/24 Comments: To: bit-listserv-blues-l@uunet.uu.net Hi Folks! BlueSunJay@aol.com asked me to post this press release to the list. BTW, hope I see some of you there. Denise +++++++++++++++++++++++++++++ FOR IMMEDIATE RELEASE FIFTH ANNUAL SONNY BOY MUSEUM BENEFIT TO BE HELD AT BB KINGS On March 24th, BB King's Blues Club at 143 Beale St., Memphis, TN., will host the Fifth Annual Sonny oy Williamson Blues Museum Benefit Spectacular, a fund-raiser for the facility in Helena, AR. Alec 'Rice' Miller, better known as Sonny Boy Williamson, legendary singer, songwriter, and harmonica player, lived much of his life in Helena, and returned from his extensive travels to die there in 1965. One of the bluesdom's most prolific tunesmiths, he penned many classics of the genre, covered by artists from Mose Allison to the Allman Brothers. Since acquiring a vacant department store in downtown Helena in late 1994, The Sonny Boy Blues Society, sponsor organization for the museum as well as for the King Biscuit Blues Festival, has presented several notable events in the building's ground-floor "performance hall". Rock & Roll pioneer Ronnie Hawkins was one such recent performer. Funds raised from the event at BB King's, as well as those from other activities, will be used for maintenance, memorabilia acquisition, and general operating expenses. Entertainers scheduled to appear at the March 24th event include Kim Wilson, the museum's national spokesman, living legend Rufus Thomas, The King B's, John "So Blue" Weston & Mark Simpson, Lee Baker & The Agitators, Blinddog Smokin', Nashville's Blues Queen Marion James & The Turbanaires, Blind Mississippi Morris, guitar prodigy Sean Costello & The Counts of Rhythm featuring Billy Gibson, the Michael Burkes Blues Band, R & B chanteuse Reba Russell, and Frank Frost & The Jelly Roll Kings featuring Sam "Nighthawk" Carr. Other surprise guests are sure to be in attendance. "The party gets better every year," Sonny Boy Blues Society historian Bubba Sullivan said, "The performers, all of whom donate their time & talent, and of course believe in the 'cause', put on incredible shows. The fans get more than their moneys' worth, and at the same time, help keep this great American musical heritage alive and thriving." Admission to the show is by way of a $15 donation to the non-profit Sonny Boy Blues Society. The doors at BB's open at 2:00pm, with showtime at 3:00pm. An auction of blues memorabilia will take place during the show. For more information, call 901-524-KING or 501-338-3501. ========================================================================= Date: Thu, 7 Mar 1996 16:37:16 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0147 From: "DUTTWEILER.J" Subject: FIfiNAL WORD on SRV Retro/PBS fo Date: Thursday, 7 March 1996 4:36pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: FIfiNAL WORD on SRV Retro/PBS for > > Welcome to the wonderful world of PBS.....they want us to send em money, > but they're a bunch of ripe ones if ya ask me to try and deal courteously > with em.....ain't no way] > > > ddr That's what's wrong with almost everything funded by the Government. They want your money but are totally unresponsive once they get it. Let them compete with the rest of the industry and they'll start putting on what their subscribers want to see. JD ========================================================================= Date: Thu, 7 Mar 1996 15:53:09 -0600 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: Rev. Horton Heat > On 7 Mar 96, Steve.Levine@corp.wrgrace.com had this to say... > > > *Also I saw a movie the other night called "Love And a .45" where the main > > *protagonist is sitting in some kind of neon strip joint. There is a > > *performer on the stage playing some really distorted shuffle blues. I'd > > *also like to find out his name. > > > > That was Rev. Horton Heat, a modern rockabilly singer/guitarist. > > > > If that's the same Rev. Horton Heat that mixes up a big pot of gumbo > on stage, there's nothing rockabilly about him (in my book). He's > CHOCK full of soul. I was very impressed with the show he put on at > last year's Tarpon Springs Blues Festival. Played some really fine > Black Gospel based stuff. He had more soul than most of the acts > calling themselves Blues. I really enjoyed his whole set. Your talking about someone else. Rev. Horton Heat (at least the one I've seen many times) is very Rockabilly. He has a three piece band with a nice stand-up bass. He's from Dallas (or at least used to live in Dallas). He puts on a great show. Bruce Roberts Austin, TX ========================================================================= Date: Thu, 7 Mar 1996 15:44:53 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: FIfiNAL WORD on SRV Retro/PBS fo In-Reply-To: Message of Thu, 7 Mar 1996 16:37:16 GMT from On Thu, 7 Mar 1996 16:37:16 GMT DUTTWEILER.J said: >> >> Welcome to the wonderful world of PBS.....they want us to send em money, >> but they're a bunch of ripe ones if ya ask me to try and deal courteously >> with em.....ain't no way] > >That's what's wrong with almost everything funded by the Government. They >want your money but are totally unresponsive once they get it. Let them >compete with the rest of the industry and they'll start putting on what their >subscribers want to see. I saw the Retrospective and keep in mind it is reruns that PBS HAS ALREADY SHOWN. I have no problem with PBS (in my area) hell we still get ACL , you think I'm going to complain... The Retrospective is TWO ACL episodes of SRV that PBS was responsible for showing in the first place, it's kind of hard to come down on them for not showing it AGAIN. The SRV TRIBUTE is a different story, what I've heard is SONY blocked it not PBS. So if that pisses you off take it out on SONY and not PBS. The retrospective is not a big deal, just get Live At The El Macombo (sp) and watch it, then you don't have to sit through the fund raising and the show is much better...IMHO LW 'I can't defend the rude guy on the phone' ========================================================================= Date: Thu, 7 Mar 1996 17:26:00 EST Reply-To: edward c liu From: edward c liu Subject: S&T LIVE: Saffire - The Uppity Blues Women Howdy all, A (slightly time-delayed) live review of these 3 great ladies of the blues. -- Ed Edward C. Liu | "Don't make me nervous, 'cuz I'm holdin' edwick@cc.bellcore.com | a baseball bat." | -- Big Joe Turner, "Honey, Hush" The opinions in this message are mine and not Bellcore's. Really! *------------------------------cut heer------------------------------* SAFFIRE - THE UPPITY BLUES WOMEN LIVE AT THE STANHOPE HOUSE, STANHOPE, NJ February 17, 1996 Gaye Adegbalola - Vocals, Guitar, Harmonica Andra Faye McIntosh - Vocals, Mandolin, Bass, Guitar, Fiddle Ann Rabson - Vocals, Guitar, Piano A warning to males with fragile egos -- don't go see Saffire-The Uppity Blues Women. You could be taken out of the show curled up in a fetal position mumbling for your mommy. For the rest of us, though, the wonderful music of Saffire-The Uppity Blues Women provides the most fun you can have with your clothes on. Formed in 1988, Saffire serves up a unique brand of acoustic blues (sans drums) that defies conventions and categories. The Handy-award winning trio appeared at the historic Stanhope House, pumping out plenty of red-hot blues to counter the cold weather outside. Founding member Gaye Adegbalola took duties on guitar and harmonica. She's the person you want on your side when the Revolution hits. Although she can be warm, tender, and funny to those she likes (as she proved on her harp-driven rendition of "Sweet Black Angel"), she can also be a true terror to those who cross her (demonstrated amply with her crowd-pleasing "Bitch With A Bad Attitude"). Her voice is a husky alto dripping with attitude that wraps itself around the most shocking lyrics with the greatest of ease. She is also an extremely gifted songwriter; many of Saffire's originals, including crowd favorite "The Middle Aged Blues Boogie," were penned by Gaye. Andra Faye McIntosh, who celebrated her birthday the night before, alternated between mandolin, upright bass, guitar, and fiddle. Her voice is a sweet soprano that can range from the lilting, tender, sensitive beauty of Lonnie Mack's classic "Falling Back In Love With You" to the risque, bawdy pleasures in "If Love Hurts, You're Not Doing It Right" and "Lightning In These Thunder Thighs." This last song also showcased some of her infinitely funky bass work, present throughout the evening when she wasn't picking out a storm on mandolin or tossing in some tasty, country-flavored blues fiddle. Ann Rabson, the other founding member of the three, sat for most of the night -- at the piano, tossing off some stunning work. Her wonderful high-alto voice delivers lyrics in a mostly clean, easy-going way. "Easy-going" doesn't mean "easy-listening," though -- the same delivery kicked up plenty of dust during her "Music Makin' Mama." You could really sink your teeth into her piano work; some barrelhouse that would make Sunnyland Slim proud propelled the Saffire original "Shake The Dew Off the Lily" and Lucille Bogan's "Sloppy Drunk." Ann also picked up her guitar named Minnie to back up Gaye, dropping some Chet Atkins-like fingerpicking on "Don't Treat Your Man Like a Dog." These three women, formidable individually, link up to create a three-headed, six-armed fire-breathing blues monster, capable of utterly demolishing the myth that acoustic music is or needs to be "mellow." If the electricity went out in the Stanhope House, these three women could have powered the lights and sound equipment themselves. At times, Gaye seemed like she could hardly control herself, jumping off the stage to mess with the crowd. Her take on Willie Dixon's "Wang Dang Doodle" brought down the house as she lead the audience in a hand-clapping, foot-stomping sing-along. A similar effect was seen for Gaye's "Tomorrow Ain't Promised." Andra pumped up the intensity for Koko Taylor's "Love Me To Death," capturing Koko's intensity with less scratch. Ann got into the act in her "Sloppy Drunk," and all three kicked up their heels for a rousing "Fool's Night Out" for their encore. Gaye also showed a side not often seen on record (though we can still hope) with a daring a cappella gospel-tinged tune sung after the encore. The song writing of Saffire was strongly showcased during the evening. Ann's wry delivery wrung plenty of laughs out of her "OBG Why Me Blues," perhaps the first blues penned about a visit to the gynecologist. She also kicked the band into the upper stratosphere for "Rocketship Blues," maybe the first barrelhouse blues that can double as an astronomy lesson. Andra led some beautiful harmonizing in "Because Of You," an upbeat tune we can only hope will appear on their new album. The band also introduced the crowd to another Adegbalola creation to close out the second set. "Blues Don't Know" is a slow, low-down, swampy blues groove that brings the news (as if it needed to be told) that the blues doesn't know anything about race, creed, color, or sex. The set also had its share of older classics by those who were Uppity before Saffire, and some other tunes given the Uppity treatment. Gaye gave a nod to blueswoman Ida Cox, giving some wonderful, crowd-pleasing performances of "Wild Women Don't Get the Blues" and "One Hour Mama." Memphis Minnie, dubbed "the first Uppity Blues Woman" by the band, was represented by Andra's sweet "In My Girlish Days." The band borrowed two by Alligator artist and Nightcat Rick Estrin; the dry, witty humor of Rick's lyrics in "Dump That Chump" and "If You Dig It, Don't Do It" fit Saffire wonderfully well. Ann led the band to some down and dirty places with Johnny Copeland's "Nobody But You," which had enough bump and grind to turn a porterhouse into ground beef. Saffire combines the old and the new into a delectable blend that puts a fresh spin on the blues. Their song writing skills are tremendous, and I've never seen a trio of such multi-talented musicians anywhere else. On top of all that, they're a hell of a lot of fun -- something that too many bands seem to forget these days. Minnie, Ida, Big Mama, and Bessie must be proud. Reviewed by Edward C. Liu Copyright 1996 NY CD Blues -- Unauthorized use prohibited WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs ========================================================================= Date: Thu, 7 Mar 1996 18:10:38 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Hip Blues Record Stores: Summary, additions Don Cicchetti is right, no reason to keep this private. Here's the list so far: Joe's Record Paradise, Montgomery County, Maryland Phantasmagoria, Montgomery County, Maryland Car City Records, Grosse Pointe, Michigan Jazz Record Mart, Chicago, Illinois Village Music, Mill Valley, California Lamarr's, Long Beach, California Stackhouse Records, Clarksdale, Mississippi Ikey's, Holly Springs, Mississippi Uncle Buck's On The Square, Oxford, Mississippi Shangri La Records, Memphis, Tennessee Louisiana Music Factory, New Orleans, Louisiana Jim Russell's Rare Records, New Orleans, Louisiana Kops Kollectibles, Toronto, Canada Back Beat, Toronto, Canada Vintage Vinyl, St. Louis, Missouri. Bubba's Wine Corner, Helena, Arkansas To these I would add: Tower Records in New Orleans has a magnificent selection and books Pluto Records, Utrecht, Holland Floyd Soilleau's place in Ville Platte stocks most of his cajun and zydeco releases, including many 45s. Jacques Perrin's store in Paris, he publishes Soul Bag, does someone have the name? The original Down Home Music retail store in El Cerrito. I've never been there but I've heard great there's a great display of Chris Strachwitz's poster collection, can anyone verify? Gotta be ones in Boston, New York, L.A. can anyone help? How about the Pacific Northwest? What about England? Does Red Lick have a retail store? Isn't there a place called Mole something? Any others? Joel ========================================================================= Date: Thu, 7 Mar 1996 16:53:40 -0600 Reply-To: Roger Struve From: Roger Struve Subject: FIfiNAL WORD on SRV Retro/PBS fo -Reply Comments: To: JONATXXX@GOMAIL.DOAS.STATE.GA.US Same way i feel about our local PBS channel 2 KTCA TV Minneapolis/ST. Paul Minnesota....they're totally unresponsive and right now they trying desperately to get everyone to send in money....its the only time they have any thing interesting on....and they STILL won;'t air any blues because they say it isn't politically correct. Damn...i hate PC....and not just because i'm a Mac User either!!!!! regards, delta doc roger ========================================================================= Date: Thu, 7 Mar 1996 17:13:39 CST Reply-To: JBards From: JBards Subject: Re: FIfiNAL WORD on SRV Retro/PBS fo Comments: To: "DUTTWEILER.J" Ya know, it's funny, I don't have nearly that kind of interaction with Public TV or Public Radio, and I strongly support both. I'm sitting here listening to All Things Considered right now as I try to finsih up my workday, and I sure as hell wouldn't have access to this quality of national and international reporting through the commercial networks. And if I had to rely on the private sector to provide all my TV programming, long experience shows that I'd be stuck with the relative quality of Roseanne and Geraldo Rivera, instead of being able to watch a really magnificent version of "Much Ado About Nothing" by Kenneth Brannagh as I did last weekend or "Austin City Limits" one of my very most favorite shows. I send a good donation to both each year and I think it, and my tax dollars, are very well spent. You might take note that it is the same people who are trying to do away with public funding for NPR and PBS who are also trying to kill the National Endowement for the Arts on the same marketplace theorem. I don't buy it. -Jim _______________________________________________________________________________ Subject: FIfiNAL WORD on SRV Retro/PBS fo From: "DUTTWEILER.J" at INTERNET-SH Date: 03/07/96 4:45 PM Date: Thursday, 7 March 1996 4:36pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: FIfiNAL WORD on SRV Retro/PBS for > > Welcome to the wonderful world of PBS.....they want us to send em money, > but they're a bunch of ripe ones if ya ask me to try and deal courteously > with em.....ain't no way] > > > ddr That's what's wrong with almost everything funded by the Government. They want your money but are totally unresponsive once they get it. Let them compete with the rest of the industry and they'll start putting on what their subscribers want to see. JD ========================================================================= Date: Thu, 7 Mar 1996 18:29:37 -0500 Reply-To: Rags_on_Gras From: Rags_on_Gras Subject: SAFFIRE - THE UPPITY BLUES WOMEN I recall seeing them at last year's Pittburgh Blues Festival... they are cool and carry lot of punch in their music Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ It's dark And I'm Wearing Sunglasses......... "What's the use of gettin' sober, when you're gonna get drunk again?" +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Thu, 7 Mar 1996 19:38:59 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Keb' Mo' Comments: To: bit-listserv-blues-l@uunet.uu.net I was fortunate enough to listen to a few tracks of the newest Keb' Mo' release due out on the Okeh label in May. The 2 tunes I heard were "That's Not Love" & "More Than One Way Home." I admit being a fan, but in all honesty I feel if the 2 I heard are any indication of how the remaining tracks will sound it will be some of Keb' Mo's best work. "More Than One Way Home" is a different sound for him and I would suggest that anyone catching one of his upcoming shows ask if he'd be willing to play a little of either song. He also has a fan club now and the e-m address for anyone interested is Kebmoblu@aol.com. (and to avoid confusion, I'm not the head of the fan club & don't work for him but probably should ) Catbauer@vivanet.com ========================================================================= Date: Thu, 7 Mar 1996 20:51:00 EST Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: Fave Live Recordings Freddy Robinson is now Abu Talib. His album The Real Thing at Last (on Son Pat records)was reveiwed favorably in Living Blues #116. Dave Carpenter Blues Music Director WHUS-FM Storrs, CT http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Thu, 7 Mar 1996 20:51:02 EST Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: Matt "Guitar" Murphy I can't make it to N.Y., but I'll probably catch him Friday at The Arch Street Tavern in Hartford. Dave Carpenter Blues Music Director WHUS-FM Storrs, CT http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Thu, 7 Mar 1996 21:59:10 -0500 Reply-To: Stephanie Manna From: Stephanie Manna Subject: HELP!!Closing Club The 3 Fingers Pub in Oshgosh,Wi. called today to let me know that they will close permanantly this weekend and my artist, James Peterson was scheduled to play there on Saturday, March 16th! He will be at the Madison St.Oyster Bar on Friday March 15 and The Bullpen,Rock Island, Il. on March 17. Any possible gig in WI., IL., IA.,IN. for March 16(Saturday) would be greatly appreciated since they are out on tour from Florida. Anyone want to get married that day? ( they could have a great blues wedding!) Thanks in advance for any help I get, Stephanie Manna ========================================================================= Date: Wed, 6 Mar 1996 21:56:16 EST Reply-To: MICHAEL C THOMPSON From: MICHAEL C THOMPSON Subject: Muddy and Lefty Hey Blues-L people! I just got a recording of Muddy Waters playing with Mick Jagger, Keith Richards, Ron Wood, Buddy Guy, Junior Wells, and someone named Lefty Diz. Who is Lefty Diz? Anyone know? Also, the date is supposed to be 1981. Could this be right? The show is from The Checkerboard in Chicago IL. Anyone remember any such show? ========================================================================= Date: Thu, 7 Mar 1996 15:30:46 CST Reply-To: JBards From: JBards Subject: Re: Rev. Horton Heat Comments: To: "P.W. Fenton" I know of the guy who does the gumbo routine, and I didn't think his name was Horton Heat ( I could be wrong, though, it's happened before.) The Rev. Horton Heat is, indeed- I've got one of his CDs- a madcap rockabilly- some might say psychobilly- guitarist extraordinaire. Jim _______________________________________________________________________________ Subject: Rev. Horton Heat From: "P.W. Fenton" at INTERNET-SH Date: 03/07/96 3:19 PM On 7 Mar 96, Steve.Levine@corp.wrgrace.com had this to say... > *Also I saw a movie the other night called "Love And a .45" where the main > *protagonist is sitting in some kind of neon strip joint. There is a > *performer on the stage playing some really distorted shuffle blues. I'd > *also like to find out his name. > > That was Rev. Horton Heat, a modern rockabilly singer/guitarist. > If that's the same Rev. Horton Heat that mixes up a big pot of gumbo on stage, there's nothing rockabilly about him (in my book). He's CHOCK full of soul. I was very impressed with the show he put on at last year's Tarpon Springs Blues Festival. Played some really fine Black Gospel based stuff. He had more soul than most of the acts calling themselves Blues. I really enjoyed his whole set. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 7 Mar 1996 22:00:55 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Not my day - Double correction Today has been my day for posting misinformation. I can tell you about two instances. I hope there weren't more. First, the glowing review, about the non-rockabilly guy I was calling Rev. Horton Heat was in fact about Bill Wharton of Bill Wharton and The Ingredients. My thanks to Don O. for setting me straight on that one, and my apologies to Horton and Wharton. Second, my description of restrictions on home taping, were based on knowledge that was apparently, like myself, just a few years too old. While I was exploring the site I posted about, that contained more detailed info on the home the taping issue, I learned that recent acts of Congress have made specific law concerning home taping, and the original poster was quite correct. You may copy anything you've bought, for just about any purpose, except selling it or giving it away. The baloney that I added was incorrect. My apologies to all concerned. Now I'm going to retire for the evening before I foul up anything else today. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Thu, 7 Mar 1996 22:09:55 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Muddy Waters cabin sold to HOB Comments: To: /G=J.E./S=Downey/@bmmoscow.bmck.sprint.com Comments: cc: LstInOzone@aol.com In a message dated 96-03-07 13:09:48 EST, you write: >Can Tom or some knowledgable Bluezeller give us some more information >about the history/nature of Muddy's Cabin? If we are going to take a >principled stand about something, all of us should be informed. I >feel personally grateful to Tom for raising urgent concerns over what >could turn out to be the desecration of a national, nay, world >cultural treasure. The best source for information about Muddy Waters' cabin is the booklet accompanying THE COMPLETE PLANTATION RECORDINGS on Chess/MCA. Mary Katherine Aldin's photos document the cabin in 1989 (roofless but still very solid hand-hewn log cabin). The liner notes describe Lomax's trips to Mississippi to make the recordings in 1941 and 1942, and the fact that a number of the recordings were made by Lomax on the front porch of the cabin. This is a historical site of great importance for obvious reasons, but think further. There are not too many historical sites in Mississippi associated with the *recording* of great blues music. The grave sites in the delta are quite moving, but this one is an important key to a blues man's life and art. This is where he lived, was 'discovered,' and in a large sense began his recording career. And it isn't just the pile of logs. Look at the setting on the booklet to PLANTATION RECORDINGS. An understanding of this cabin will be impossible if it is riped from its context. I am fully aware that the cabin has been left to deteriorate and is not being cared for. That doesn't mean that the solution is to take it from its site and send it on tour. Tom Freeland ========================================================================= Date: Fri, 8 Mar 1996 03:42:29 GMT Reply-To: cjg6159 From: cjg6159 Organization: New York University Subject: Anti-Censorship Benefit Blues Party! Comments: To: bit-listserv-blues-l@uunet.uu.net Hey, all! Just wanted to remind you fine folks that the Blues Party to benefit the law students' movement against on-line censorship is: Sat. Nite, March 9th 11PM Sun Mountain Cafe 82 West 3rd Street, New York Between Thompson & Sullivan streets We'll be playing lots of *genuine* blues from Muddy, Little Walter, Alberts King & Collins, and lots of Elmore, too. How often do you get to hear live blues AND fight on-line censorship? If you want to learn more about the movement or the CDA, you can check out the following web pages: http://www.hotwired.com/userland/24/silentprotest.html http://www.aclu.org/cyber-liberties Peace! ========================================================================= Date: Thu, 7 Mar 1996 21:34:46 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Muddy Waters cabin sold to HOB Comments: To: Skipjames@AOL.COM At 10:09 PM 3/7/96 -0500, Tom Freeland wrote: >In a message dated 96-03-07 13:09:48 EST, you write: > >>Can Tom or some knowledgable Bluezeller give us some more information >>about the history/nature of Muddy's Cabin? If we are going to take a >>principled stand about something, all of us should be informed. I >>feel personally grateful to Tom for raising urgent concerns over what >>could turn out to be the desecration of a national, nay, world >>cultural treasure. > >The best source for information about Muddy Waters' cabin is the booklet >accompanying THE COMPLETE PLANTATION RECORDINGS on Chess/MCA. Mary Katherine >Aldin's photos document the cabin in 1989 (roofless but still very solid >hand-hewn log cabin). The liner notes describe Lomax's trips to Mississippi >to make the recordings in 1941 and 1942, and the fact that a number of the >recordings were made by Lomax on the front porch of the cabin. And for another photo (taken by John Work III on the Lomax/Work field recording trip) of Muddy Waters and Son Simms sitting on the front porch of the cabin, actually playing (or at least holding) their instruments, see the later MCA release "One More Mile"--although the photo really belongs on "The Complete Plantation Recordings," it s\did not become available to me for use until after that set had been released; but I felt it so important that we used it on the One More Mile set just so people could see that moment of history. >This is a historical site of great importance for obvious reasons, but think >further. There are not too many historical sites in Mississippi associated >with the *recording* of great blues music. The grave sites in the delta are >quite moving, but this one is an important key to a blues man's life and art. > This is where he lived, was 'discovered,' and in a large sense began his >recording career. > >And it isn't just the pile of logs. Look at the setting on the booklet to >PLANTATION RECORDINGS. An understanding of this cabin will be impossible if >it is riped from its context. > >I am fully aware that the cabin has been left to deteriorate and is not being >cared for. That doesn't mean that the solution is to take it from its site >and send it on tour. > >My understanding of this situation is that HOB plans to remove the cabin from its site, and take it around the country (someone I know called it Isaac Tigrett's Traveling Salvation Show) from one House of Blues club to another, displaying it at each club for a period of time. I am appalled, and stunned, at this organization's insensitivity, but not at all surprised. This kind of action is just another example of the direction they have been taking since day one. With deep pockets and shallow history, buying their way to credibility in the blues world seems to be their modus operandi. But I see no viable solution to this, since Mr. Stovall, of Stovall's Plantation, owns the cabin (as he owns the land it sits on) and has the right to dispose of his property, regardless of its historical or musical importance, any way he chooses. What a shame that some *real* blues preservation outfit didn't make it their business to buy and preserve this important site long ago; that way it could have stayed where it belongs, restored to its original condition, rather than becoming part of the Blues Brothers sideshow. > > Mary Katherine Aldin ========================================================================= Date: Fri, 8 Mar 1996 01:11:55 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Jazz Fest Workshops For anyone coming to the New Orleans Jazz and Heritage Festival this year here is one of the hidden jewels of the event. The Jazz Fest Workshops. These are held at various schools around town, primarily for the benefit of the students, but they are entirely free and open to the public and you get to see the artists in a unique, close-up setting. Friday April 26 Theater of Performing Arts (near the French Quarter) 10 AM Ricky Dillard with choirs 1:30 PM Wynton Marsalis with a band Monday April 29 Noon Dillard University Lawless Chapell (not too far from the Fairgrounds) Sweet Honey In The Rock 1:45 PM Behrman Elementary, Mario Donate Puppet show Tuesday April 30 10 AM McDonough 35 High School, Maggie Brown, singer 7 PM Praline Connection Hall, Mor Thiam, African Dance and Drum Wednesday May 1 10 AM O P Walker High School, Regina Carter, jazz violin 3 PM Xaviaer University Gold Rush Room, Harold McKinney & Wendel Harrison Thurday May 2 10 AM Xavier Prep, Cassandra Wilson Noon Gregory Jr High, Lloyd Price? 2 PM NOCCA Outdoor patio, Dewey Redman (sax) w/ NOCCA kids Friday May 3 10 AM Theater Performing Arts Zobop & Macoulous Dance Company 1 PM Southern University Auditorium, Najee (saxophone.) I've been working these shows for six or seven years now and can attest that they are a unique, entertaining, free musical experience. Joel Slotnikoff, Publisher | BLUES WORLD e-mag Box 21652 | http://www.bluesworld.com St. Louis, MO 63109 | Acme Guitar, Blues Estafette TEL (314) 647-2447 | Blues & Rhythm: The Gospel Truth FAX (314) 647-2497 | Roots & Rhythm, Testament Records joelslot@inlink.com | SONO, Vintage Jazz Mart, Wayhi Tapes ========================================================================= Date: Fri, 8 Mar 1996 01:01:20 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: Fave Live Recordings Comments: To: "Lost John In-Reply-To: <313EF40F.41C67EA6@vedge.com> Joe Louis Walker: LIVE AT SLIM'S BB King: LIVE AT THE REGAL RPATMF: LIVE FROM BB KINGS Buddy Guy and Jr. Wells: DRINKIN' TNT AND SMOKIN' DYNAMITE Just some of my favorites. While not blues, the GREATEST live album ever IMHO is Jerry Lee Lewis LIVE FROM STAR CLUB. Heaven should be just like this. Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Thu, 7 Mar 1996 15:43:07 -0500 Reply-To: NICETY27 From: NICETY27 Organization: America Online, Inc. (1-800-827-6364) Subject: live blues in detroit area - motor city josh Comments: To: bit-listserv-blues-l@uunet.uu.net every sunday night - ted's pub, clawson, (810) 435-4755 every tuesday night - sisko's, taylor, (313) 278-5340 every thursday night - attic bar, hamtramck, (313) 365-4194 march 13, - blue goose, st. clair shores, (810) 294-0690 march 20, 27, - ralph and myrtles, madison hghts., (810) 541-7463 march 8, 9 - drink stadium, taylor, (313) 383-0232 march 15 - attic bar, hamtramck (313) 365-4194 march 16 - long branch, taylor, (313) 291-7372 march 22 - the entourage, wyandotte, (313) 283-5222 **to receive a monthly update concerning dates and appearances of funky, delta, chicago, original blues that you can't refuse...send your name and address to: motor city josh, p.o. box 463076, mt. clemens, mi 48046-3076. ========================================================================= Date: Fri, 8 Mar 1996 00:14:35 -0500 Reply-To: David Melton From: David Melton Subject: Re: Theory vs. Expression - Dave's last Comments: To: Roger Struve At 6:54 AM 3/7/96, Roger Struve wrote: it just seems neater to me to find it like a half dollar hid in >the sand on the beach, or discovering that lost pirate treasure kind of >feeling)! This isn't very succinct, but does anyone know what i'm trying >to say here? > >ddr =============================================================================== Dave's analogy of Rogers analogy (My final contibution on this subject:) I think I know what you are trying to say.You are just about to start digging in your favorite area when along comes some guy (theory) who starts telling you how, when and where to dig . Even though he may be right you would like him to get lost because it's much more fun not to know what you are going to find. Is that close? Well, the way I see it, the music is there waiting for us. How we go about finding it is up to us and contributes to the individuality that we all have. Make sense? I don't know but it sounded good at the time. (I better watch out, I'm starting to answer myself:) More power to you, Roger! Dave Melton ========================================================================= Date: Fri, 8 Mar 1996 03:08:19 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Muddy and Lefty Comments: To: QGGD91A@prodigy.com On March 7, Michael Thompson asked: >>>Who is Lefty Diz? Anyone know? He was a very flamboyant guitarist who played in all of the Chicago clubs. He played with Junior Wells for many years, including a lengthy African tour during the 1967-1968 winter. I think there was one CD done prior to his death from cancer about three years ago. Dick Waterman ========================================================================= Date: Fri, 8 Mar 1996 08:52:00 GMT Reply-To: Mr G M Smith From: Mr G M Smith Subject: Gatemouth Article I don't know if it's available in the US where most subscribers seem to be,but UK publication "The Guitar Magazine" (aka TGM) has a fine piece on Gatemouth Brown this month. Fans of his out there,no matter how devoted,can rest assured that your opinion of him is nowhere near as high as his own. UK lurkers should be aware that this week's usually dismal "Cue the Music" on ITV at 1.25am (I think) features the very wonderful Luther Allison in concert. Set those VCR's! Yours, Garry Smith. ========================================================================= Date: Fri, 8 Mar 1996 05:19:52 -0500 Reply-To: "jose.eric.s.maglanque" From: "jose.eric.s.maglanque" Subject: Question: Legends of the Blues CD Can somebody kind enough provide (private e-mail) the artist and track listing for the Legends of the Blues (Vol. 1 & 2), Good Time Blues, and Raunchy Business CDs on Columbia. Are these good buys? ========================================================================= Date: Fri, 8 Mar 1996 01:41:23 GMT Reply-To: ".ark 'atkins" From: ".ark 'atkins" Organization: Telepath Subject: Re: Home Copying - the Answer (sort Comments: To: bit-listserv-blues-l@uunet.uu.net "DUTTWEILER.J" wrote: >This is a specious argument that the RIAA has been hyping for years. If I >copy an album or CD which I bought for my own personal use, that does NOT mean >if I couldn't copy it I would by a tape of it. NOR does it necessarily follow >that if a friend of mine makes me a copy ofa CD he/she bought that means I won >'t go out and buy a copy myself, or if he/she could not make me a copy that I >would go out and buy one. Personal home taping *may* deprive reocrd companies >of a miniscule amount of sales, but no where in the billions of dollars range >that they have traditionally claimed. Not to mention the fact that they never seem to consider that taping and the exposure it provides actually generates subsequent sales for many. >>On the issue of home recording, there was a court case pending >>several years ago re: copying of audio for home use, and the US legislature, >>who writes these laws, made it clear that the intent of the statute was not >>to prohibit harmless personal use copying. I don't know the outcome of the >>court case (would have to look it up). >If my memory serves me, the current law specifically exempts home taping *and* As long as you mean taping of something you paid for. >applied a small tax to blank tape sales to make up for the "loss" record >companies experienced. Copyright law states that it is perfectly legal to make copies for personal use. The tax was specifically added to DAT tape, and it is meant to cover artist royalties - not record company profits. It's not clear to me whether the DAT tax is also meant to cover for the sins of analog tapers as well. Anybody know? /----------------------- -=[ .\\ark \\'atkins ]=- -------------------\ | markw@telepath.com . | | mark.watkins@hotelcal.com . |\/| ----_ | | http://www.telepath.com/markw . =(--)=_____ \ | | FIDO 1:147/3101 . c___ (______/ | \--------------------------------------------------------------------/ ========================================================================= Date: Fri, 8 Mar 1996 12:10:48 +0100 Reply-To: christia@CNEN.DE.EDF.FR From: christia@CNEN.DE.EDF.FR Subject: Roulette/Randy Rare/Soul Bag Paris, 8 March, in the morning... About Freddy Roulette: Freddy Roulette is playing on last Randy Rare CD "On love" only one quick tune unfortunately.Randy seems to be well connected with him. I talk with him in Paris before a concert he made for his new CD "To Love" The gig was good ( he palyed with a trio and he speak a perfect french). Randy used to paly with John Mayall. he play too on Freddie Roulette "Sweet Funky Steel" He told me Freddy Roulette was fine and he hope to bring on tour with him (Maybe in Paris ...) You'll find more detail about him at RESMO ( they maid the CD): http://www.xmission.com/~gastown/RESMO/french.html Go to his Home page and you'll find a picture of him jamming in Paris with Cannet Heat (that's for C.H. fans). Larry Taylor is playig on R.R. CD too with a lot of guests. Randy made a nice interview of Freddy on Brad's page of steel. You'll find more info about Freddy and other steel guitarists here too. >>About Jacques Perin's store in Paris, he publishes Soul Bag, does someone have >>the name? Of course I've got it :Boogie,61 rue Louise Michel, 92 Levallois Perret (FRANCE) til : 33 [1]-47-57-64-66.(Tube station : Louise Michel) Levallois Perret is a town in close suburb of Paris... In the last issue there're a lot about Interenet and some about BLUE-Liste Unfortunately I will UNSUSCRIBE Blue-l for a while because I leave Paris for my work... but I'm glad because maybe I hope to meet a bluezeller in PERSON in the country where I'm going !!! A plus, Salut ! Christian With BLUE-L: "tous les jours mon coeur est bleu" (Clifton Chenier'song from : "Evryday I have the blues"...but Clifton says "Evryday my heart is blue".. ========================================================================= Date: Fri, 8 Mar 1996 12:27:57 GMT Reply-To: Tommy Jansson From: Tommy Jansson Organization: Uppsala university Subject: Re: Favorite live recordings Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199603070103.UAA22739@mail-e2a-service.gnn.com>, Orange3@GNN.COM says... > >After I read through the long long list I noticed that no one mentioned THE live bluesalbum, Lonnie Brooks on Black Magic. "I got a sweet little angel I love the way she spreads her legs...." ========================================================================= Date: Thu, 7 Mar 1996 05:49:45 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: Re: Rev. Horton Heat Comments: To: JBards (TEXT DELETED) >The Rev. Horton Heat is, indeed- I've got one of his CDs- a madcap rockabilly- Any suggestions as to the best CD to buy? (TEXT DELETED) Thanx, Gary ............ Gary Constantine >> gconstan@ccinet.ab.ca << If you're lookin' for a perfect woman you're gonna' die a lonely man .............. Joe Louis Walker ========================================================================= Date: Fri, 8 Mar 1996 08:10:28 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Muddy and Lefty Yes, Lefty Dizz did malke an album on the JSP label out of the UK, called Ain't It Nice to be Loved. Assorted members of the Bell family (I presume they're related!) are on the session, cut in 1989 - Lurrie Bell (gtr), Carey Bell (harp on two tracks), Tyson Bell (bass), James Bell (drums) and Jerry Soto, the engineer on the session, plays piano on two tracks. Johmn Stedman contributes some nice notes, and expresses the hope that Lefty's posthumous rep "soars as it should." I remember him when he worked with Buddy Guy; he was pretty flash then, but Buddy always ran rings around him. I also remember him as a very warm-hearted guy, but that might be the whiskey and the years talking. In any event, the record's not bad at all-I'm playing it now-but it is journeyman bar blues and far from a "must" in your collection, although I'm pleased it's in mine. Not every bluesman can be star, and Lefty never was, but it's people like him who do a lot of the grunt work, and we should appreciate them for that. Richard the Elder. ========================================================================= Date: Thu, 7 Mar 1996 06:03:55 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: Rounder Records 8-CD's !!!!! Found a great buy recently that would enhance any music lovers collection. It's a 8 CD collection from Rounder Records called: THE REAL MUSIC BOX 25 YEARS OF ROUNDER RECORDS @-CD's each of Blues, Louisiana Music, Bluegrass and Folk plus a bonus disk of assorted artists that record for Rounder. Nine disks all together. Here's the good part. I paid only $30 (Canadian) for the set. That's about $1.98 (US). The blues set alone was worth the price with recordings by artists as diverse as Robert Nighthawk, Ted Hawkins, Tracy Nelson and Johnny Nocturne. I've only listened to one of the Blues CD's but so far I am very impressed. Give it a try. Oh yeah....... All of the usual stuff about no vested interst applies. Thanx, Gary .............. Gary Constantine >> gconstan@ccinet.ab.ca << If you're lookin' for a perfect woman you're gonna' die a lonely man .............. Joe Louis Walker ========================================================================= Date: Fri, 8 Mar 1996 08:29:55 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Gatemouth article G.M. Smith posted about a UK magazine article on Gatemouth Brown, and commented: "Fans of his out there,no matter how devoted,can rest assured that your opinion of him is nowhere near as high as his own." Oh, yes - Gatemouth is indeed an irascible old fart, and highly talented though he is, his comments on his contempories are withering. I only Gate once, with his amiable and long-suffering manager Jim Bateman (one of the princes of this world), and the old man launched into a tirade about B.B. King ("he's just one great big jive mutha") and Muddy Waters ("who did he think he was? Man, he was nothing special!") Somehow, I've never got up the energy to go see him again, although I heard he might be doing some Canadian folk festivals this summer, so I might fall over him again. But I'm not buying him a drink! Richard the Elder ========================================================================= Date: Fri, 8 Mar 1996 08:40:06 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1968, Bill Graham, owner of the the Fillmore, San Francisco's legendary rock ballroom, opens the Fillmore east in an abandoned movie theater on Second Avenue and Sixth Street in New York City. The opening bill features Albert King, Tim Buckley, and Big Brother and the Holding Company. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 8 Mar 1996 07:46:28 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Live Blues recordings I'm surprised that no one mentioned Freddie King - Live at Antibes, especially since this list is probably single handedly responsible for its being unavailable. A favorite from my hometown is PJ Belly and the Lone Star Blues Band - White Boys with Potential. Daniel and his magic guitar doing BB King is pretty good and my friend Elvis T. Busboy sings some pretty mean covers of Ray Charles and Wilson Pickett. -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / Reuben Stewart \ / February 19, 1996 \( Rest in peace, Mr. S. ========================================================================= Date: Fri, 8 Mar 1996 05:51:44 -0800 Reply-To: Jonathan Duttweiler From: Jonathan Duttweiler Subject: Re: *FINAL* FINAL WORD ON SRV/PBS In answer to all who have defended the status quo of PBS (and thrown the NEA in to it), saying the quality of programing would necesarily drop to that of (gasp, horrors, ech, ech, ech) "commercial" TV: What about the Discovery Channel, A&E, Lifetime, etc? Competing does *not* mean one has to be the same. (And PBS, NPR and, especially, the NEA produce a *LOT* of crap as well as "quality"). JD ========================================================================= Date: Fri, 8 Mar 1996 09:09:06 -0500 Reply-To: Erica Wissolik From: Erica Wissolik Subject: Rev. Horton Heat Recommendation -Reply >>>>>>Any suggestions as to the best CD to buy? Gary ............ >>>>>>>>>> Most of his stuff is on Sub Pop. (http://www.subpop.com/) I'd recommend the LP/ CD "The Full Custom Gospel Sounds Of... " and a single (in glorious vinyl) called "Psychobilly Freakout". Erica ========================================================================= Date: Fri, 8 Mar 1996 14:13:19 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Rev. Horton Heat Comments: To: bit-listserv-blues-l@uunet.uu.net In <960307155309.1493@TSBME.STATE.TX.US>, Bruce Roberts writes: >Your talking about someone else. Rev. Horton Heat (at least the one >I've seen many times) is very Rockabilly. He has a three piece band >with a nice stand-up bass. He's from Dallas (or at least used to live >in Dallas). He puts on a great show. The good revereend cooks on stage, alright, but there's no gumbo. He refers to his music as Psych-billy, and it lives up to its name. He's got the most outrageous high energy show I've ever seen. Great stuff. BBB B.B. Bean bbbean@cris.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Fri, 8 Mar 1996 09:16:33 -0500 Reply-To: Ed Mezynski From: Ed Mezynski recipients ========================================================================= Date: Fri, 8 Mar 1996 08:19:35 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: HOB's Cabin Is there not some kind of National Historical Society that would come in and say 'NO, It is an historical landmark'......If what's been said about moving it around like an exhibition is true, then I'M PISSED. I used to have Howard Stovall's e-mail address and I lost it, if I still had it I would post it and encourage ALL to let him know what he's done. My favorite picture of Muddy's cabin is ME sitting in the door and playing my guitar. The Stovall's had written warnings on the cabin about messing with it. They appeared to care. I don't like this.. LW ========================================================================= Date: Fri, 8 Mar 1996 09:42:21 -0500 Reply-To: RsprBlues From: RsprBlues Organization: America Online, Inc. (1-800-827-6364) Subject: MSN picks Springing the Blues site Comments: To: bit-listserv-blues-l@uunet.uu.net Sorry for the repeat if you've already seen this...but I got error messages from when I posted yesterday, so here goes again. The webmaster at Microsoft Network sent me an e-mail yesterday saying that MSN has chosen the Springing the Blues web site as one of their picks of the week in the Travel & Leisure category. Wow! Just thought I'd pass along that tidbit....you can see the site at http://www.springingtheblues.com And, many thanks to all who gave me tips on the blues in Dallas. I'm really looking forward to my trip out there! Lovin' those blues...Betsy RsprBlues@aol.com ========================================================================= Date: Fri, 8 Mar 1996 14:43:54 GMT Reply-To: Weidel From: Weidel Organization: Not at This Time Subject: Re: Long John Hunter Comments: To: bit-listserv-blues-l@uunet.uu.net In article <9602281237.0HQFZ02@chrysalis.org>, don.o@CHRYSALIS.ORG wrote: > If anyone comes across extra copies of Long John Hunter's "Smooth Magic" or > "Texas Border Town Blues" on Double Trouble Records I would love to swap. I'm > trying to find 2 copies of each. Thanks. Extra Copy? It took me months to find one copy of "Border Town Legend" The earlier CD was even tougher ( Ride With Me - Spindletop Records) Bob Weidel ========================================================================= Date: Fri, 8 Mar 1996 10:05:45 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Muddy and Lefty Yes, Lefty Dizz did make an album on the JSP label out of the UK, called Ain't It Nice to be Loved. Assorted members of the Bell family (I presume they're related!) are on the session, cut in 1989 - Lurrie Bell (gtr), Carey Bell (harp on two tracks), Tyson Bell (bass), James Bell (drums) and Jerry Soto, the engineer on the session, plays piano on two tracks. John Stedman contributes some nice notes, and expresses the hope that Lefty's posthumous rep "soars as it should." I remember him when he worked with Buddy Guy; he was pretty flash then, but Buddy always ran rings around him. I also remember him as a very warm-hearted guy, but that might be the whiskey and the years talking. In any event, the record's not bad at all-I'm playing it now-but it is journeyman bar blues and far from a "must" in your collection, although I'm pleased it's in mine. Not every bluesman can be star, and Lefty never was, but it's people like him who do a lot of the grunt work, and we should appreciate them for that. Richard the Elder. ========================================================================= Date: Fri, 8 Mar 1996 14:51:06 GMT Reply-To: Weidel From: Weidel Organization: Not at This Time Subject: Re: Rooster Blues - recommendations wanted Comments: To: bit-listserv-blues-l@uunet.uu.net In article <96Mar2.060857pst.30740-5648+747@haven.uniserve.com>, Jim Witteveen wrote: > Greetings Bluezellers! It seems like the local record store has greatly > expanded their blues section, and among other labels, they are now selling > cd's put out by the Rooster Blues label. These include Eddy Clearwater and > Willie Cobbs. So my question is this: what's your favorite Rooster blues > release, and what do you think of the two artists I just mentioned? Lonnie Shields has some nice stuff on Rooster; also Booba Barnes' Heartbroken Man. You ought to write to them down in Clarksdale. They have a catalog with unique offerings, including an invaluable blues map. Don't worry if you don't hear from them right away, they operate on SCT Standard Clarksdale Time. Bob Weidel ========================================================================= Date: Fri, 8 Mar 1996 09:59:46 -0500 Reply-To: Dave Markovits From: Dave Markovits Subject: Gatemouth Brown I think Gate's shows rock more than ever. You can't miss him. He will be at Buddy Guy's Legends 3/30. David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Fri, 8 Mar 1996 10:03:13 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Those error messages Comments: To: rsprblues@aol.com On 8 Mar 96, RsprBlues had this to say: > Sorry for the repeat if you've already seen this...but I got error > messages from when I posted yesterday, so here goes again. Those error messages, although annoying, are to be deleted and ignored. There is no need to re-post any of your messages. The error messages are coming to us from two other systems and have nothing to do with Blues-l itself. The only person who can stop these is our "listowner", Alan Rollins who doesn't seem to be reading his e-mail, or following the list. I have sent him many messages, and others have also. Perhaps he doesn't want to be "listowner" any more. I have no idea who to contact at Brown about it. Last time I tried I got no response from them. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 8 Mar 1996 10:31:22 -0500 Reply-To: bob unger From: bob unger Subject: HOB rumors People..... can ya'all just stop and take a deep breath for a minute. SOmebody posted a rumor...A RUMOR...which mean sit might or might not be true and there have been all sorts of posts about the desecration of Muddys cabin....being dismantled....taken on a tour...being opened for visitors. The fact is...we dont know the facts! Ya'all are getting your blood pressure up and your eyeballs are gonna pop outta your head over..... speculation and fear of the unknown! This one post about the possible sale of Muddys cabin is spawning alot of unfounded rumors and it's starting to create confusion...that's not good folks. Let's find out the FACTS first before we start ballooning things way out of proportion..... BU bob@sun.bnkst.edu ========================================================================= Date: Fri, 8 Mar 1996 08:32:23 EST Reply-To: george morales From: george morales Organization: TEMPLE UNIVERSITY Subject: buudy guy,others live in phila pa tonight at the electric factory in phila pa james cotton is featured the phone number is 215-568-3222 tickets go on sale today for BUDDY GUY at the Keswick Theatre Glenside PA may 9 phone number is 572-7650 Kenny Wayne Shepard at the TLA on 3/16/96 215-922-1011 Byther Smith & the night riders,Phila Blues Machine concert at the Commodore Barry Club 3/16 215-849-5465 or 215-8931145 +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ | | | GEORGE MORALES GEORGEM@TEMPLEVM | | COMPUTER AND INFORMATION SERVICES GEORGEM@VM.TEMPLE.EDU | | TEMPLE UNIVERSITY (215)204-6866 | | | +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Fri, 8 Mar 1996 09:52:31 CST Reply-To: William Shute From: William Shute Subject: paging Leo the Scatman...and others From: Bill Shute sorry for posting this to all blues-l, but last weekend all my files were deleted by my employer, so I lost everyone's e-mail addresses. Leo the Scatman, I have that tape for you...get back in touch and give me your e-mail. Also, anyone else with whom I've communicated off network, I'd appreciate your sending me your e-mail addresses. I will write them down this time!!! Thanks... Bill Shute San Antonio, TX (wshute@accdvm.accd.edu) who's waitin' for Joe Guitar Hughes to come back to SA next weekend and for Guy Forsyth to come back later this month to Cibolo Creek. Can one of our Austin crew comment on Texas Johnny Brown's appearance at SXSW? Richard the Elder: try to catch TJB while at SXSW. Perhaps he can be your next Stony Plain artist? BTW, that Skip James "Live At The 2nd Fret" album I mentioned the other day as a favorite live album has been reissued along with the 4 songs issued in the early-mid 60s on Herwin 78s as SKIP JAMES "Live l964-65", a CD on the Document label (check Document's ads in Living Blues/Blues Revue for #--I don't have it with me here at work). ========================================================================= Date: Fri, 8 Mar 1996 10:45:52 -0500 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Lookin' for a song... Comments: To: bit-listserv-blues-l@uunet.uu.net Do any of my fello bluezy folks know the song that the following lyrics can be found in: " I talked to my landlord and he said girl don't worry about the rent, You lay still a little while longer baby, and your rent won't cost a cent." Thanks for the help! Lea Gilmore Baltimore, MD "Wild Women Don't Have the Blues!" ========================================================================= Date: Fri, 8 Mar 1996 10:03:45 -0600 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: HOB rumors Comments: To: bob@SUN.BNKST.EDU In-Reply-To: <199603081531.KAA22968@sun.bnkst.edu> from "bob unger" at Mar 8, 96 10:31:22 am In an earlier message, bob unger said: ] Let's find out the FACTS first ] before we start ballooning things way out of proportion..... What? And violate the long-standing traditions that have made made Usenet and the Internet the amazing Infomercial SuperCollider that we know and love? [ close-smilied for the humor-impaired ] -- * The most exciting phrase to hear in science, the one that heralds new * discoveries, is not "Eureka!" (I found it!) but "That's funny ..." * -- Isaac Asimov ========================================================================= Date: Fri, 8 Mar 1996 11:06:39 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Muddy's Cabin Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu There is an organization out there that each year identifies the 10 most endangered historical sites in the United States. Does anyone out there know this org.? Its name or address? This sounds like material for a Nexis search? Tom Freeland ========================================================================= Date: Fri, 8 Mar 1996 11:03:16 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Top Ten Plans HOB Has for Muddy's Cabin Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com While I also think the (rumored) plans for HOB buying Muddy's Cabin are horrible, I can't help but see a humorous side. I don't mean to offend anyone on the list, and I don't mean any disrespect to the memory of Muddy and what he means to the music we all love. (Flames will be ignored) Just a little comic relief: Top Ten Plans HOB has for Muddy s Cabin 10. The first Stoval Hooters 9. Use wood to make harmonicas for John Popper 8. Use as rustic outhouse for LA House Of Blues 7. Who the hell is this Muddy dude anyways? 6. Toll booth for new HOB Blues Brothers Draw Bridge (for the sequel) 5. Take it on Lollapaloser tour 4. Trade it for a used Clapton guitar string 3. Sell it to Boogie Nation for JLH resonaphonic healing/prayer chamber 2. Take pictures of rock stars in it and make millions off of picture book. 1. Two words: Hootie's Cabin! ========================================================================= Date: Fri, 8 Mar 1996 10:07:48 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Doug MacLeod's Newest I see DM has a new release for th 19th of this month called "You Can't Take My Blues" on Audioquest. Has anyone heard any advance listening...? He said this one would be even more "stripped down" than "Come To Find"... I anxiously await this release, as I do all of Doug's recordings. Any word about it...? LW ========================================================================= Date: Fri, 8 Mar 1996 10:19:36 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Those error messages Comments: To: "P.W. Fenton" In-Reply-To: <199603081507.KAA61220@osceola.gate.net> I sent a note to the postmaster at interserv this a.m. telling him that he could take care of this problem by setting the idiot's subscription to nomail. I haven't heard from this person yet. So, just ignore those error messages. Everything is fine. -j. ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / Reuben Stewart \ / February 19, 1996 \( Rest in peace, Mr. S. ========================================================================= Date: Fri, 8 Mar 1996 11:16:34 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Twist and Shout to Reopen! Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I just read in the Washington Post that the Twist and Shout club is scheduled to reopen in early April. The Twist and Shout was a club in Bethesda that was owned by Mark Gretchell, who now owns Tornado Alley (he opened TA when the Twist and Shout was shut down). The Mary Chapin-Carpenter song "Down at the Twist and Shout" was inspired by the club. I was underage when it was open, so I never got to experinece any shows there, but apparently it was one hell of a blues spot. I'm sure some of you DC area blues-lers have seen shows there or performed there. Gretchell will be reopening it, and hopefully it will be like Tornado Alley (my favorite local blues club). Just wanted to pass on the good news. -Steve Levine ========================================================================= Date: Fri, 8 Mar 1996 11:34:10 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Those error messages Comments: To: Jeff Seale On 8 Mar 96, Jeff Seale had this to say: > I sent a note to the postmaster at interserv this a.m. telling him > that he could take care of this problem by setting the idiot's subscription > to nomail. I haven't heard from this person yet. > > So, just ignore those error messages. Everything is fine. I did that a week ago and no one from interserv has responded. I even sent mail to the individual who's name appears on their domain registration, and recieved no reply from him either. Our "listowner" could set this account to nomail, or delete it. But he doesn't pay any attention to the list, or his email from list members. He doesn't even READ Blues-l. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 8 Mar 1996 12:31:24 -0500 Reply-To: Dave Markovits From: Dave Markovits Subject: Byther Smith I must highly recommend going to see Byther Smith. George posted he was playing in Philly. You owe it to yourself to see this serious focused Bluesman. A great songwriter. Rocks on guitar. His next lp is due out on Chicago's Delmark records.(I can't wait) David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Fri, 8 Mar 1996 12:49:40 -0500 Reply-To: TabbMan@AOL.COM From: John Moore Subject: Re: Muddy and Lefty Comments: To: Jinxblues@aol.com I have Leftys cd at home,i like it..... also on the cd is Carey and Lurie Bell....Lefty was one of the first blues artists ive ever seen,that was back in the early 80's,It was allways a party ========================================================================= Date: Fri, 8 Mar 1996 12:40:33 -0500 Reply-To: GLMcKeag@AOL.COM From: GLMcKeag@AOL.COM Subject: Blues News Hello, I'm Mac, press agent for Norton Buffalo, virtuoso harp player for Steve Miller's Blues Band for twenty years. Norton and his band The Knockouts have just cut a new blues album that's super, featuring Elvin Bishop, Merle Saunders, etc. Norton has been on 80 albums, has two Platinum, 4 gold records, Bammys, a Grammy with Roy Rogers, the great slide guitar player. Watch for Norton touring with Steve Miller and the Doobies. Norton plays harp with both bands on tour. For Fan club info, press info, tour info, contact me at: GLMCKEAG@aol.com or snail mail 3600 Garvin Ave. Richmond, CA 94805 Thank you for all the good work you do on behalf of the blues. All the best, Mac ========================================================================= Date: Fri, 8 Mar 1996 17:46:25 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Radar Labs 23 Subject: Re: FIfiNAL WORD on SRV Retro/PBS fo Comments: To: bit-listserv-blues-l@uunet.uu.net On Thu, 7 Mar 1996 16:37:16 GMT, "DUTTWEILER.J" wrote: >That's what's wrong with almost everything funded by the Government. They >want your money but are totally unresponsive once they get it. Let them >compete with the rest of the industry and they'll start putting on what their >subscribers want to see. Most of the money for PBS comes from individuals and businesses. Less than 18 percent comes from the CPB. Both are privately owned non-profits. You could eliminate government funding completely, and the networks would survive; they'd just be forced to rely more on corporate sponsorship. PBS, CPB and NPR provide invaluable services -- you can't put a dollar amount on their content, because they educate, inform and entertain with high-quality artistic, cultural, scientific programming. It puts us in touch with our history, our heritage, and our humanity. You can, and in fact MUST, put a dollar amount on commercial television -- it's called advertising. Kevan Smith http://www.rlabs.com/congress/ ========================================================================= Date: Fri, 8 Mar 1996 13:03:00 EST Reply-To: edward c liu From: edward c liu Subject: S&T: Lefty Dizz _Ain't It Nice To Be Loved_ LEFTY DIZZ / AIN'T IT NICE TO BE LOVED (JSP 259) JSP RECORDS P.O. BOX 1584 LONDON N3 3NW ENGLAND The photo of Lefty Dizz on the cover of this CD tells you just about everything you need to know about him. Impeccably dressed in a dark blue suit, complete with fedora and red handkerchief, and toting a Stratocaster battered nearly to bare wood, Lefty looks like the stereotypical bluesman. He plays like one, too. This guitar player out of Chicago definitely did not get the attention he deserved, either in his lifetime or posthumously. He combines the energy of Hound Dog Taylor and J.B. Hutto with the articulation of T-Bone Walker and Magic Sam, and tops it all off with smoky, powerful vocal performances. Backed by Carey Bell and his sons, this is one of the criminally few albums which Lefty recorded before his recent passing. This is 100% pure rough-and-tumble Chicago blues the way it used to be. Lefty steamrollers through numbers, and he sounds like he could have play all night and all day. The best you can do is just try to keep up. CLOUDY WEATHER / THAT'S ALRIGHT IN THE DARK / I FEEL LIKE JUMPING / BAD AVENUE / AIN'T IT NICE TO BE LOVED / LOOK ON YONDER'S WALL / TOO LATE / SADIE / WHERE THE HELL WERE YOU WHEN I GOT HOME?! NYCD Takes CLOUDY WEATHER: Lefty leads off with a blasting guitar intro with both energy and fierce articulation. His vocals are shouted with the same energy and authority. This is a man who really knows what he's doing. The rhythm section of Tyson Bell and James Bell on bass and drums provides plenty of groove, all the more remarkable considering neither of them were old enough to vote when this track was recorded. THAT'S ALRIGHT IN THE DARK: Lefty slows it down for this Junior Parker classic. The vocals are down and dirty, evoking images of Hound Dog Taylor. The guitar playing by Lefty and Lurrie Bell is done the same way, will leave dirt under your fingernails. A bit of help from Carey Bell on harmonica adds just the right smoky Chicago touch to it. I FEEL LIKE JUMPING: This riff-rocker shows off Lefty's strong, shouted vocals. His vocals are full of energy, backed with a tremendous groove laid down by the band. The solo is raw and primal, but still manages to keep a sharp edges on all the notes. It's a devastating combination. BAD AVENUE: An incendiary guitar intro by Lefty introduces this track written by Lefty, which perhaps has even more relevance today than it did when it was written. His spoken intro, accompanied with his tasty guitar licks, evokes images of Albert King's "Answer to the Laundromat Blues." He then proceeds to take you down to Bad Avenue, with vocals and guitar licks full of grit. The arrangement is fittingly sparse, with Lurrie Bell laying down excellent rhythm guitar backing. The growls and grunts by Lefty are icing on the cake. AIN'T IT NICE TO BE LOVED: The title track to this CD is a slow blues sizzler. Lefty adds a bit of reverb and maybe even a Leslie to the guitar, giving it a warm warbling sound. A great Chicago blues love song, which disposes of the sappy romantics. The solos are spartanly lean, with no flash or theatrics, and they don't need any. Straight-ahead sultry Chicago blues. LOOK ON YONDER'S WALL: Lefty gives his touch to this Elmore James classic. This number delivers the goods with pile-driver force. Lurrie Bell's guitar playing is razor-sharp, and Lefty provides harmonica backing. This number sounds like a one-take wonder -- something that could have come out of Chicago from the Chess brothers. Be on the lookout for some great drum fills by James Bell as well. TOO LATE: Another blues classic packed with energy and raunch. The band motors along on this one, giving this track a sense of urgency and importance, as do Lefty's vocals. Listen for the point when the band kicks into high gear, which also marks the entrance of Carey Bell's excellent harmonica accompaniment. And if you thought that was all they had, listen again for when they kick it up another notch. SADIE: A tribute to Hound Dog Taylor, full of distortion and dirt. It's a fitting tribute, with Lefty providing a guitar part that's got Hound Dog's same energy and boisterousness. The riffs and the lyrics are simple and straightforward, and that's exactly what makes them great. The warble to Lefty's guitar is back and adds a nice touch. WHERE THE HELL WERE YOU WHEN I GOT HOME?!: Borrowing the Elmore James "Dust My Broom" lick, Lefty blasts into this high-energy rocker. The band abandons whatever sensitivity they may have had on the title track and lets Lefty get mad. There's some great piano backing by Jerry Soto as well. The vocal delivery is powerful, and the guitar fill-ins pack a wallop. You'll be left wondering why this one isn't a blues classic. Reviewed by Edward C. Liu Copyright 1996 NY CD Blues -- Unauthorized use prohibited WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs -- Ed Edward C. Liu | "Don't make me nervous, 'cuz I'm holdin' edwick@cc.bellcore.com | a baseball bat." | -- Big Joe Turner, "Honey, Hush" The opinions in this message are mine and not Bellcore's. Really! ========================================================================= Date: Fri, 8 Mar 1996 18:07:11 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Hip Blues Record Stores: Summary, additions Comments: To: bit-listserv-blues-l@uunet.uu.net In Chicago, the big daddy of them all is the Jazz Record Mart, which has been in business in Chicago for something like 35 years. They've recently moved (after 33 years at the same location), and the new place doesn't have the ambience of the old one (where Big Joe Williams used to live in the basement, and Mike Bloomfield, Charlie Musselwhite, Bruce Iglauer and various other blues folks have worked at various times), but it's still the coolest place for jazz & blues in the city. Lotsa vinyl new & used, large selection of 78s and a player to listen to them on, and lots of blues related things such as magazines, books, t-shirts and etc. for sale. They also have a peformance space with a piano where they present some live blues and jazz acts. Scott Not really affiliated, but they *have* given me a line of credit there! ========================================================================= Date: Fri, 8 Mar 1996 18:19:07 GMT Reply-To: Peter Orelup From: Peter Orelup Organization: Silicon Graphics, Inc. Subject: Looking for Carl Martin recordings Comments: To: bit-listserv-blues-l@uunet.uu.net A guitarist named Carl Martin has three tracks on Yazoo L-1016, "Guitar Wizards (1926-1935)", and I love all three. I haven't been able to track down any other Carl Martin recordings. The notes mention that he backed up Tampa Red and Bumble Bee Slim in Chicago, but I'm hoping there are other Carl Martin recordings out there. I'd appreciate any leads you may have. Thanks, Pete ------ Pete Orelup, Silicon Graphics, Inc. (peteo@sgi.com) (415) 933-3697, Fax: (415) 390-6175, MS: 2L-178 URL: http://reality.sgi.com/employees/peteo/ ========================================================================= Date: Fri, 8 Mar 1996 10:21:55 +0000 Reply-To: ksailors@hooked.net Comments: Authenticated sender is From: "Kenneth M. Sailors" Subject: Percey Mayfield Chords For some time now, I have been trying to find the changes to Percey Mayfield's "Please send me somene to love". I first heard this song on Paul Butterfield's Better Days waaaaaay back in 70-something. I swore that someday I would learn it. I've tried working it out & believe I'm pretty damn close but if someone knows where I can get the actual sheet on this I'd be forever much obliged. Thanks, Ken ========================================================================= Date: Fri, 8 Mar 1996 10:43:29 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: Re: Doug MacLeod's Newest Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU L W wrote: > > I see DM has a new release for th 19th of this month called "You Can't Take > My Blues" on Audioquest. Has anyone heard any advance listening...? > > He said this one would be even more "stripped down" than "Come To Find"... > I anxiously await this release, as I do all of Doug's recordings. > > Any word about it...? > > LW LW, I expect to have it in a few days. I too am looking forward to it. I spoke with Doug about two weeks ago, and he said as you indicate it will be way stripped down. I can add the Carey Bell appears on the new release....More later Stan -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 ========================================================================= Date: Fri, 8 Mar 1996 10:47:05 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: Re: Lookin' for a song... Comments: To: LeaGil LeaGil wrote: > > Do any of my fello bluezy folks know the song that the following lyrics > can be found in: > > " I talked to my landlord and he said girl don't worry about the rent, > You lay still a little while longer baby, and your rent won't cost a > cent." > > Thanks for the help! > > Lea Gilmore > Baltimore, MD > "Wild Women Don't Have the Blues!" I don't know the source of those lyrics....but it sounds like one I would like to hear the rest of. Stan -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 ========================================================================= Date: Thu, 7 Mar 1996 22:44:49 GMT Reply-To: Rennie Selkirk From: Rennie Selkirk Organization: SGG NASA-Ames Research Center Subject: Otis Rush info Comments: To: bit-listserv-blues-l@uunet.uu.net Two Otis questions: I have tape cassettes of the Cobra reissue (Paula) and the live 'So Many Roads' on Delmark. Neither of these have the liner notes that are probably on the CD versions. I'd like to know the personnel on the former (track by track NOT necessary) and on the live set where and when it was recorded. By the way, thanks to all those who replied to my recent query on my "Freddy King SIngs!" tape. I went ahead and got the Federal/Ace reissue CD ("The Influential Early Recordings") which has the info I wanted in the first place. Thanks in advance, Rennie ========================================================================= Date: Fri, 8 Mar 1996 18:06:13 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Muddy and Lefty Comments: To: bit-listserv-blues-l@uunet.uu.net Richard Flohil wrote: > > Yes, Lefty Dizz did make an album on the JSP label out of the UK, called > Ain't It Nice to be Loved. Assorted members of the Bell family (I presume > they're related!) are on the session, cut in 1989 - Lurrie Bell (gtr), > Carey Bell (harp on two tracks), Tyson Bell (bass), James Bell (drums) and > Jerry Soto, the engineer on the session, plays piano on two tracks. > John Stedman contributes some nice notes, and expresses the hope > that Lefty's posthumous rep "soars as it should." I remember him when he > worked with Buddy Guy; he was pretty flash then, but Buddy always ran rings > around him. I also remember him as a very warm-hearted guy, but that might > be the whiskey and the years talking. > In any event, the record's not bad at all-I'm playing it now- but it > is journeyman bar blues and far from a "must" in your collection, although > I'm pleased it's in mine. Not every bluesman can be star, and Lefty never > was, but it's people like him who do a lot of the grunt work, and we should > appreciate them for that. > >Richard the Elder. There are also some Lefty Dizz recordings spread around a few European anthology CDs, I believe. Around the time of his death, there was a lot of talk that he'd recorded an album's worth of tunes, recorded in Chicago, that would be released pending the resolution of some unspecified legal problems--but as far as I know, nothing has seen the light of day yet. Scott ========================================================================= Date: Fri, 8 Mar 1996 13:58:47 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: Hip Blues Record Stores: Summary, additions Joel Slotnikoff wrote: > >Jacques Perrin's store in Paris, he publishes Soul Bag, does someone have >the name? >The original Down Home Music retail store in El Cerrito. I've never been >there but I've >heard great there's a great display of Chris Strachwitz's poster >collection, can anyone verify? >Gotta be ones in Boston, New York, L.A. can anyone help? How about the >Pacific Northwest? >What about England? Does Red Lick have a retail store? Isn't there a place >called Mole something? > >Any others? > >Joel Jacques Perin's shop is 'Boogie' at 61 rue Louise Michel, 92300 Levallois-Perret, which is a suburb of Paris. The shop is a few hundred metres from the Levalois-Perret metro station. In France and Belgium, all shops in the chain called FNAC (sic, and don't ask me how you say it) seem to be excellent - they also have fine book sections, including English language. Red Lick don't have a retail outlet - and as someone who lives in the Scottish bit of the United Kingdom, I'd like to stress with a :-) that Red Lick are in Wales, not England. Mole Jazz is in London - I don't have the address, but it's right by King's Cross rail and tube (subway) station. Virgin Record Stores are very variable in their blues coverage, but the megastore in London's Oxford Street is good for blues, also for 'world music'. (In that line, incidentally, also try Stern's in Marylebone Road, by Warren Street tube station.) UK branches of Tower are pretty good. Decoy Records in Manchester are recommended if you're ever in that city. In Germany, Frankfurt's WOM (World of Music) is good, and there's an amazing shop in Cologne whose name I forget - amazing both for stock and because it doesn't take credit cards - didn't as of last year, anyway. There are NO decent blues record shops in Florence, Italy, nor in Budapest, Hungary! Disclaimer: all the above are personal opinions only. I have no business connection with any retailer named - except that most of them have lightened my wallet from time to time. Chris Smith (chris@skerries.demon.co.uk) "What's the use of gettin' sober, when you're gonna get drunk again?" (Louis Jordan) ========================================================================= Date: Fri, 8 Mar 1996 14:20:57 -0500 Reply-To: "Lost John From: "Lost John Subject: PBS follies/SRV etc... Comments: cc: johnc@vedge.com Just an anecdote to share...maybe ya hadda' be there, but... Just last weekend, one of the two PBS stations I can receive in the Montreal area (it was either Plattsburg NY or Burlington VT) held one of their seemingly never ending beg-a-thons. As their last "special feature" late Sunday night, after the umpteenth presentation of YET ANOTHER Peter, Paul & Mary concert, (which I'm sure many Muffy's and Brad's and their 2.5 children gobbled up) they aired the Austin City Limits SRV retrospective, which I presume many of have us have seen and enjoyed numerous times. During the first pledge break, the on-air talking head who was all sweetness during the PP&M special had a pained look on her face suggesting that she had just bitten into a moose turd - obviously was not having a good time, had no use for this music, had zero familiarity with it, and just wanted to get the hell outta' there and go home. Maybe she was tired. But wait... When describing a video that they give away for pledging at the $120 level, she listed off several tracks, including "Voodoo Chilly" ! Her co-host for that portion of the grovel-fest was a fairly knowledgeable kid from the local rock/blues FM station, so he kind of compensated for her completely inappropriate presence for this program, although he looked like he was looking for a hole to crawl into during that gaffe. Let's hope this personality/program mismatch is not indicative of PBS's G.A.S. level (give-a-sh*t) when it comes to listener input and feedback. Have a good weekend -- _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ _/ JC /\ _/ _/ ______________ || _/ _/ \__________ / || _/ _/ ________ ___/ John Carley || _/ _/ \______ / johnc@vedge.com || _/ _/ ____ ___/ (514)332-6430 x232 || _/ _/ \__ / Visual Edge Software Ltd. |\||/| _/ _/ _____/ 3950 Cote Vertu, Suite 100 \ / _/ _/ \/ Montreal, Quebec, Canada / \ _/ _/ ( ) _/ _/ \____/ _/ _/ (graduate of the Yogi Berra school of elocution) _/ _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ ========================================================================= Date: Fri, 8 Mar 1996 11:48:00 PST Reply-To: Gary Joneson From: Gary Joneson Subject: Re: Looking for Carl Martin recordings Comments: cc: peteo@FORD.ENGR.SGI.COM >A guitarist named Carl Martin has three tracks on Yazoo L-1016, "Guitar >track down any other Carl Martin recordings. The notes mention that he DOCD 5229 (Document Label) Carl Martin (1930-1936) Willie Blackwell (1941) If you have a WEB browser a lot of the Document catalog is online at: http://www.island.net/~blues/strategy.htm >backed up Tampa Red and Bumble Bee Slim in Chicago, but I'm hoping there >are other Carl Martin recordings out there. I'd appreciate any leads >you may have. Gary BluesWEB http://www.island.net/~blues/ ========================================================================= Date: Fri, 8 Mar 1996 15:05:42 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: The PBS furor that I started! Now hold on there LW and Jim B. , don't you guys get off on a tangent here. :) My initial complaint was that I'm having trouble with MY LOCAL PBS, the mother- ship WGBH in Boston. PBS in general, I don't have a problem with. I too am a contributor and listen to NPR. I'm pretty sure Delta Doc Roger was echoing my experience with his own, the formidable Minnesota public broadcasting has a national reputation for quality, but (I think) his own experience with them is the same as mine was...frustrating. Sorry Roger, hope I'm not speaking out of place here. I definitely DON'T want PBS and Austin City Limits to go away. I'd just like to GET it here in my neighborhood. Sabe, amigos? Riffin Rick as for the Sony SRV/retrospective....hey we'll deal with that next. :) F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 8 Mar 1996 20:35:25 GMT Reply-To: "J.J. Perry" From: "J.J. Perry" Organization: Indiana University Subject: Re: Muddy and Lefty Comments: To: bit-listserv-blues-l@uunet.uu.net Dick Waterman wrote: >On March 7, Michael Thompson asked: > >>>>Who is Lefty Diz? Anyone know? > >He was a very flamboyant guitarist who played in all of the Chicago clubs. He >played with Junior Wells for many years, including a lengthy African tour >during the 1967-1968 winter. >I think there was one CD done prior to his death from cancer about three >years ago. > >Dick Waterman Yeah, Lefty Dizz has a solo cd out from a few years ago, can't remember the name, but I do believe it's on JSP Records. J. J. ========================================================================= Date: Fri, 8 Mar 1996 16:01:00 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Looking for Carl Martin recordings Comments: To: Gary Joneson In-Reply-To: On Fri, 8 Mar 1996, Gary Joneson wrote: > >A guitarist named Carl Martin has three tracks on Yazoo L-1016, "Guitar > >track down any other Carl Martin recordings. The notes mention that he > DOCD 5229 (Document Label) Carl Martin (1930-1936) Willie Blackwell (1941) Another CD with plenty of Carl Martin is Wolf #WSE 114 - Carolina Blues. 1st 15 cuts are Carl Martin with various accompanying mu- sicians and the final six cuts are Brownie McGhee. The dates for the Carl Martins cuts are 1930 thru 1936. Cut 1 and 2 are Tenne- ssee and the balance are all Chicago dates. No city is given for the McGhee's. Barry WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Fri, 8 Mar 1996 16:24:55 -0400 Reply-To: SOO3713@ALPHA.CC.OBERLIN.EDU From: Owen Okie Subject: Lightning Hopkins Just got Hopkins' album Texas Blues, I've alos got Hootin the Blues and I have to have more! :) Ok, I'm sure Hopkins ahs many albums on CD. Any recommendations? Owen ========================================================================= Date: Fri, 8 Mar 1996 13:38:19 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: HOB's Cabin Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU At 08:19 AM 3/8/96 CST, L W wrote: >Is there not some kind of National Historical Society that would come in and >say 'NO, It is an historical landmark'......If what's been said about moving >it around like an exhibition is true, then I'M PISSED. > >I used to have Howard Stovall's e-mail address and I lost it, if I still had it >I would post it and encourage ALL to let him know what he's done. > >My favorite picture of Muddy's cabin is ME sitting in the door and playing my >guitar. > >The Stovall's had written warnings on the cabin about messing with it. They >appeared to care. I don't like this.. > Someone just this morning emailed me privately with a (paraphrapsed) message "we've got to stop them!" To which I replied, how can anyone stop them? House of Blues has the winning hand here: unbridled arrogance combined with an apparently limitless supply of money. They think they can buy anything, including credibility in the blues world. I fail to see how "we" can stop them---can anyone out there afford to make Mr. Stovall a higher offer? I sure can't. And remember, this is still Mr. Stovall's land, his property, and his right to do whatever he pleases with it, including bulldoze it to build condos if he so chooses. I bet you fifty cents HOB comes up with a bundle of good excuses for doing this, all about educating the masses and "saving" it for the future, > Mary Katherine Aldin ========================================================================= Date: Fri, 8 Mar 1996 13:38:22 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: HOB rumors Comments: To: bob unger At 10:31 AM 3/8/96 -0500, bob unger wrote: >People..... can ya'all just stop and take a deep breath for a minute. >SOmebody posted a rumor...A RUMOR...which mean sit might or might not be >true and there have been all sorts of posts about the desecration of >Muddys cabin....being dismantled....taken on a tour...being opened for >visitors. The fact is...we dont know the facts! Ya'all are getting your >blood pressure up and your eyeballs are gonna pop outta your head over..... >speculation and fear of the unknown! This one post about the possible sale >of Muddys cabin is spawning alot of unfounded rumors and it's starting to >create confusion...that's not good folks. Let's find out the FACTS first >before we start ballooning things way out of proportion..... > I agree with your premise; however, this is not a rumor. The negotiations are underway. Mary Katherine Aldin ========================================================================= Date: Fri, 8 Mar 1996 16:35:44 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Looking for Carl Martin recordings Comments: To: peteo@ford.engr.sgi.com On March 8, Peter Orelup asked: >>>I'm hoping there are other Carl Martin recordings >>>out there. I'd appreciate any leads you may have. He was part of a trio called Martin, Bogan & Armstrong that did a nifty little album for a label called Mountain Railroad. It wasn't blues but more a combinations of 1930s pop songs, old standards and show tunes. Someone on the list should know if this has been reissued on another label. It was 'feel good' music and they played with great energy and genuine affection for each other. Dick Waterman ========================================================================= Date: Fri, 8 Mar 1996 15:43:02 -0600 Reply-To: Larry Kirchmer From: Larry Kirchmer Subject: Captain Beyond Dancing madly backwards Dancing on a sea Racing on my memories I'm glad I set my dreams Tip toe, tip toe quickly Forget about your cares And remember underneath you Is just a sea of air. I still have the original album with the 3-D cover and Polydor has released it as a CD (from Japan, no,less, with lyrics in Japanese). Members were Rod Evans - vocals, Bobby Caldwell - drums, Rhino - guitar and Lee Dorman - bass. Pleasant flashbacks to you. ========================================================================= Date: Fri, 8 Mar 1996 21:47:09 +0000 Reply-To: "timothy (t.b.) bosley" From: "timothy (t.b.) bosley" Subject: Opinions Wanted - 2 Books I'd like to hear what you think about: 1. The Spirituals and the Blues, James H. Cone, Orbis Books, 1991 2. Blues and Evil, Jon Michael Spencer, Univ of Tenn Press, 1993 ========================================================================= Date: Fri, 8 Mar 1996 16:45:59 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: HOB Cabin -What can we do to stop it? For starters, I suggest we make this a public relations nightmare for the House of Blues. Maybe one of our Mississippi Lers (are you listening Waterman?) could contact the local TV stations and explain to them why it's something they should champion. Maybe we could all start pounding HOB's L.A, Ofices with snail mail. (I'll post the address in a few minutes.) Maybe we can generate some publicity about a possible boycott of all HOB franchises. Maybe some of the Blues-Lers lucky enough to have either a print or radio presence can let all the Blues fans know what they are trying to do. We don't have to buy the thing to force them to do right by it. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 8 Mar 1996 17:25:48 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Carl Martin Recordings Testament 5006 The Chicago String Band features Martin in the company of Johnny Young, John Lee Granderson and Big John Wrencher. A terrific set. Joel Slotnikoff Joel Slotnikoff, Publisher | BLUES WORLD e-mag Box 21652 | http://www.bluesworld.com St. Louis, MO 63109 | Acme Guitar, Blues Estafette TEL (314) 647-2447 | Blues & Rhythm: The Gospel Truth FAX (314) 647-2497 | Roots & Rhythm, Testament Records joelslot@inlink.com | SONO, Vintage Jazz Mart, Wayhi Tapes ========================================================================= Date: Fri, 8 Mar 1996 13:33:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: HOB's Cabin If we stop and think about it - it does not compute, as they say: 1) the Cabin is a major tourist attraction and photographs of it (in it's original and current state) figure prominently in the Delta Blues Museum. I seriously doubt even the Clarksdale Chamber of Commerce or Missisippi division of tourism would sanction its going. 2) It is doubtful that the Stovall family needs the money. Bonnie the K. ========================================================================= Date: Fri, 8 Mar 1996 14:29:36 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: More on Gatemouth Hi all. This talk about Gatemouth Brown's personality reminded me of an interview I read done by Jim George and published in Guitar World's Guitar Legends Publication of 1994. Here's some quotes: On T-Bone Walker: He was a good blues player, but he never grew, simply because he was to negative...I listened to T-Bone for a while, but after I saw he wasn't goin' anyplace but where he was, I had to go off and leave him at the post. On Chuck Berry: ...he's not a very good guitar player. He's a clown. He runnin' all over the guitar, just like anyone of those old rock players would do, and makin' no sense... On B.B. King: ...Oh man, come on! Give me a break!... On music in general: ...I don't hardly listen... I don't like the modern music... they're playin' the same old thing... I can't stand negative or self-pitying music in no form... ...and much, much more! This was one of the most interesting interviews I've read, because he hates blues, rock, country, gospel...you name it, and he's not afraid to tell anyone about it. Interesting dude! -Jim (hndful@uniserve.com) ========================================================================= Date: Fri, 8 Mar 1996 17:48:57 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Amphibians > Octegenarians: songs about aging. I have been asked to assist with a blues program in conjunction with the 1996 Summer Geriatric Institure being held by St. Louis University. This program will provide a nice gig for serveral older local bluesmen. My contact there, Diana Fabacher, has asked me to assemble a list of blues songs that deal with the topic of aging. Goin' Down Slow by St. Louis Jimmy immediately springs to mind. Anyone got any more? Thanks, Joel Slotnikoff Joel Slotnikoff, Publisher | BLUES WORLD e-mag Box 21652 | http://www.bluesworld.com St. Louis, MO 63109 | Acme Guitar, Blues Estafette TEL (314) 647-2447 | Blues & Rhythm: The Gospel Truth FAX (314) 647-2497 | Roots & Rhythm, Testament Records joelslot@inlink.com | SONO, Vintage Jazz Mart, Wayhi Tapes ========================================================================= Date: Fri, 8 Mar 1996 17:34:21 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: Looking for Carl Martin recordings Pete Orelup wrote >A guitarist named Carl Martin has three tracks on Yazoo L-1016, "Guitar >Wizards (1926-1935)", and I love all three. I haven't been able to >track down any other Carl Martin recordings. The notes mention that he >backed up Tampa Red and Bumble Bee Slim in Chicago, but I'm hoping there >are other Carl Martin recordings out there. I'd appreciate any leads >you may have. > >Thanks, > >Pete > >------ >Pete Orelup, Silicon Graphics, Inc. (peteo@sgi.com) >(415) 933-3697, Fax: (415) 390-6175, MS: 2L-178 >URL: http://reality.sgi.com/employees/peteo/ I have in my collection, and so should you: Carl Martin/Willie '61' Blackwell: 'Complete prewar recordings' Document DOCD-5229 Martin, Bogan And Armstrong: 'The Barnyard Dance' Rounder 2003 Martin, Bogan And Armstrong: 'Martin Bogan And Armstrong' Flying Fish 003 The Chicago String Band: 'The Chicago String Band' Testament TCD 5006 Document and Testament are CDs, the other two are LPs that may or may not have been transferred to CD. You'll discover that he was also a helluva fiddle player. Enjoy! Best Chris Smith (chris@skerries.demon.co.uk) "What's the use of gettin' sober, when you're gonna get drunk again?" (Louis Jordan) ========================================================================= Date: Fri, 8 Mar 1996 17:33:34 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: HOB Investors Disney recently secured an equity investment in House of Blues. Other investors in House of Blues include: Dan Aykroyd; Aerosmith; John Goodman; Isaac Hayes; Carly Simon; Jim Belushi; George Wendt; Joe Walsh; Harvard Management Company, an affiliate of Harvard University; Chemical Ventures Capital Associates; the London-based Gartmore Company; Silver Ventures, Inc. and the Platinum Group. ========================================================================= Date: Fri, 8 Mar 1996 22:42:54 GMT Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: Muddy and Lefty Comments: To: MICHAEL C THOMPSON On Wed, 6 Mar 1996 21:56:16 EST, you wrote: >Who is Lefty Diz? Anyone know? I don't know much about him either, except that he toured Europe in late 1979 with Jimmy Johnson, Johnny "Big Moose" Walker, Willie James Lyons, and maybe Odie Payne. Being left-handed, he played his strat upside down ala Hendrix. You can see a really great picture of him playing in Gothenburg, Sweden at: http://www.vivanet.com/~blues/gallery3.html *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Fri, 8 Mar 1996 16:19:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Talkin' with Hubert I asked Hubert Sumlin Wednesday night just what kind of guitar he played with Wolf on their 50's and 60's Chess recordings. He replied "I was playing a Les Paul Gibson! Now I have a Rickenbacker." A little later I asked again because I wasn't sure I would remember - he grinned and said "o-oh yes you will!!" Hubert was in a very upbeat and amiable mood all evening; he knew he was the subject of much hero-worship not only from the audience, but from the local back-up band as well. Reverential awe was written all over the bass player's face. (The "band" is actually a group of fine local musicians who jam every Wednesday night at the Club Tavern in Middleton, WI, just outside the infamous Mad-town. Their "funky drummer" is none other than Clyde Stubblefield. He and Hubert seemed to have a special rapport. Hubert did several familiar old Wolf tunes such as "Howlin for my Darlin'" with those great stinging metallic guitar tones. He was relaxed and having a great time - both on and off the bandstand. As the band was playing a few introductory numbers, a young lady got a bit carried away and was writhing about on the floor - legs waving in the air. Sitting next to Hubert, I watched him take it all in with a mischievous grin. He looked great - slim and trim and much younger than his years, a several people commented. He wore sharp red suspenders, white shirt, tan tie and hat with a small red feather in the brim. He said he began playing professionally at the age of seventeen. He was born in Greenwood, Mississippi, but his parents moved to Hughes, Arkansas, not far from Memphis, when he was still a child. "So did you hear a lot of blues on the radio?" I queried "Oh, did I ever" he answered and was about to elaborate when a man came up to him and stated: "Hubert, you have enriched my life!" - what a wonderful thing to say! Hubert just stopped for a minute and then said "Why thank you!!" I added later "you have enriched many peoples lives" (and I think I said also "which is one of the best things that we can hope for in this life). He smiled warmly and patted me on the shoulder - I was in blues seventh heaven. I noted his chain smoking as he waited to go on; I asked him if I could buy him a drink and he asked for Budweiser. Three middle-aged guys at the bar who seemed like regular patrons, were trying to figure out who the headlined guest was: ("they said he was Herbert somebody". I asked if they ever heard of Howlin'Wolf. They had so I told them Hubert was his right hand man. "Oh, thank you for that!" one said. Hubert doesn't play much in his current home base of Milwaukee but he remembers playing there often with Wolf, as well as here in Madison ( However, a year ago, Mayor Norquist of Milwaukee did proclaim a "Hubert Sumlin Day"). I asked him if he remembered his '71 gig here when Wolf was driving a light blue Buick station wagon with a U-Haul trailer on the back. "I remember that car!" he said, and he remembered that Sunnyland, Willie Williams, and Andrew McMahon came along, as well as Eddie Shaw. He was impressed to learn that the show had been sold out for two weeks prior. He does tour quite a bit and said one of his favorite places to play was Australia. He had once toured there for "twelve days coast to coast" and that the people were there were just great! He was mightily impressed with Australian blues fans and wants to go back. He asked me where he had seen me before - I said it was probably at Helena a couple of years ago, when he arrived and played with Big Bad Smitty. He said that he had just recently talked to Smitty on the telephone. Hubert drove over from Milwaukee with guitarist Perry Weber, who used to be with Jim Liban. He said he would be back - and for sure he will receive another warm welcome as well as much downright adulation. -Bonnie ========================================================================= Date: Fri, 8 Mar 1996 17:12:48 -0600 Reply-To: Storm Bailey From: Storm Bailey Subject: Re: Amphibians > Octegenarians: songs about aging. >My contact there, Diana Fabacher, has asked me to assemble a list of blues >songs that deal with the topic of aging. Goin' Down Slow by St. Louis Jimmy >immediately springs to mind. Anyone got any more? >Thanks, >Joel Slotnikoff Young-fashioned Ways.. ========================================================================= Date: Fri, 8 Mar 1996 23:06:21 GMT Reply-To: "J. Wade Luther" From: "J. Wade Luther" Organization: MindSpring Enterprises Subject: Re: Rev. Horton Heat Comments: To: bit-listserv-blues-l@uunet.uu.net "P.W. Fenton" wrote: > >> That was Rev. Horton Heat, a modern rockabilly singer/guitarist. >> >If that's the same Rev. Horton Heat that mixes up a big pot of gumbo >on stage, there's nothing rockabilly about him (in my book). He's >CHOCK full of soul. I was very impressed with the show he put on at >last year's Tarpon Springs Blues Festival. Played some really fine >Black Gospel based stuff. He had more soul than most of the acts >calling themselves Blues. I really enjoyed his whole set. >P.W. Fenton >Tampa, Florida >http://www.gate.net/~pwfenton I believe Bill Wharton is the performer you are referring to who cooks the gumbo on stage...while "Wharton" rhymes with "Horton", the similarity between the 2 pretty much ends there! Wade wluther@mindspring.com ********************* ******************** *********************** ********************************************************************************* You can't win if you don't bet, but if you lose all your chips you can't bet. ********************************************************************************* The best time to plant a tree was 20 years ago -- the 2nd best time is right now. ********************************************************************************* wluther@mindspring.com ********************************************************************************* ========================================================================= Date: Fri, 8 Mar 1996 17:24:03 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: HOB Cabin -What can we do to stop it? Comments: To: "P.W. Fenton" In-Reply-To: <199603082150.QAA36426@osceola.gate.net> Here's the address for the branch of the National Parks Service that might be able to help. There wasn't a phone number listed. Anyone else come up with anyone else who might be able to help? National Historic Landmarks Program History Division National Park Service P.O. Box 37127 Washington, DC 20013-7127 -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / Reuben Stewart \ / February 19, 1996 \( Rest in peace, Mr. S. ========================================================================= Date: Fri, 8 Mar 1996 23:12:43 GMT Reply-To: Bluesbabe From: Bluesbabe Organization: SoVerNet, Inc. Subject: Re: Keb' Mo' Comments: To: bit-listserv-blues-l@uunet.uu.net CATBAUER wrote: >I was fortunate enough to listen to a few tracks of the newest Keb' Mo' >release due out on the Okeh label in May. The 2 tunes I heard were "That's >Not Love" & "More Than One Way Home." I admit being a fan, but in all >honesty I feel if the 2 I heard are any indication of how the remaining >tracks will sound it will be some of Keb' Mo's best work. "More Than One >Way Home" is a different sound for him and I would suggest that anyone >catching one of his upcoming shows ask if he'd be willing to play a little >of either song. He also has a fan club now and the e-m address for anyone >interested is Kebmoblu@aol.com. (and to avoid confusion, I'm not the head >of the fan club & don't work for him but probably should ) >Catbauer@vivanet.com I caught Keb Mo by chance at a summer Vt, fest and have been anxiously awaiting more news about him. He left the crowd of 30000 wanting for more. thanks for sharing the E-Mail address and the scoop on his up comming new release,I>m sure we will be hearing a lot more of Keb in the future . He is most enjoyable . ========================================================================= Date: Fri, 8 Mar 1996 18:25:14 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: HOB Cabin On 8 Mar 96, Jeff Seale had this to say: There was a document containing the House of Blues Corporate Office mailing address at the HOB website yesterday. It is no longer there, so I can't supply the address that I said I would. Does anyone have their mailing address? P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 8 Mar 1996 17:33:58 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Those darned error messages - fix Got this note from someone at interserv. Maybe this has fixed the problem! -Jeff ---------- Forwarded message ---------- From: James Bruner To: Jeff Seale Cc: Interserv Operations Subject: Re: Live Blues recordings [delivery failure to nls@m1.interserv.com] I've configured this user's account to not accept mail. [---------------------------------------------------------] James Bruner SPRY/CompuServe Internet Division jtb@spry.com [---------------------------------------------------------] >The message that you sent to the above recipient was not delivered. All mail >sent to this account will continue to be returned until the recipient has >removed enough mail to lower the mailbox size below the system mailbox limit. ========================================================================= Date: Fri, 8 Mar 1996 17:46:16 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: HOB by email and the WEB Well, I poked around the HOB Web and this is what I found: HOB New Media Contact: Contact: Michelle Steinberg/Chris Carrico 213-848-2577 email Marc Shiller (VP HOB New Media Division): mschiller@houseblues.com Mailing list: hobinfo@houseblues.com Web Site (no way to directly contact them here) http://hob.com/hob.html ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / Reuben Stewart \ / February 19, 1996 \( Rest in peace, Mr. S. ========================================================================= Date: Fri, 8 Mar 1996 18:57:38 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Amphibians > Octegenarians: songs about aging. Comments: To: baileyst@martin.luther.edu In a message dated 96-03-08 18:50:13 EST, baileyst@MARTIN.LUTHER.EDU (Storm Bailey) writes: >>My contact there, Diana Fabacher, has asked me to assemble a list of blues >>songs that deal with the topic of aging. Goin' Down Slow by St. Louis Jimmy >>immediately springs to mind. Anyone got any more? >>Thanks, >>Joel Slotnikoff > >Young-fashioned Ways.. Memphis Jug Band "The Old Folks Started it" Tom Freeland ========================================================================= Date: Fri, 8 Mar 1996 19:02:46 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: Looking for Carl Martin recordings Comments: To: Chris Smith In-Reply-To: <826313825.7251.0@skerries.demon.co.uk> What does this Carl Martin sound like anyway? Is he worth searching out? Jim Leftwich come win a CD at Jim's Blues N' Brews: http://www.cloud9.net/~leftwich (Emmett Miller giveaway will end soon to be replaced with another Roots N Blues artist) ========================================================================= Date: Fri, 8 Mar 1996 10:10:31 CST Reply-To: JBards From: JBards Subject: Re[2]: Rev. Horton Heat Comments: To: Gary Constantine No, I've only got the one, and I can't remember the title offhand. I do remember that it's not ( like listening to the Hellcasters) music you want to play if you have, or are working on, a headache, unless you're a glutton for punishment. =) Jim _______________________________________________________________________________ Subject: Re: Rev. Horton Heat From: gconstan@ccinet.ab.ca (Gary Constantine) at INTERNET-SH Date: 03/08/96 6:53 AM (TEXT DELETED) >The Rev. Horton Heat is, indeed- I've got one of his CDs- a madcap rockabilly- Any suggestions as to the best CD to buy? (TEXT DELETED) Thanx, Gary ............ Gary Constantine >> gconstan@ccinet.ab.ca << If you're lookin' for a perfect woman you're gonna' die a lonely man .............. Joe Louis Walker ========================================================================= Date: Fri, 8 Mar 1996 19:26:11 -0500 Reply-To: SJOblues@AOL.COM From: SJOblues@AOL.COM Subject: Greater Cincinnati Blues Society Home Page! The Greater Cincinnati Blues Society has lurched into the computer age and has established our very own web page! Check us out at http://ourworld.compuserve.com/homepages/gcbs. Suggestions for improvements are welcome. Shannon (Writing from home, and therefore masquerading as SJOblues@aol.com). ========================================================================= Date: Fri, 8 Mar 1996 18:57:11 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: HOB Investors In-Reply-To: <199603082237.RAA31336@osceola.gate.net> On Fri, 8 Mar 1996, P.W. Fenton wrote: > Disney recently secured an equity investment in House of Blues. Well, then we can rest assured that the worst will happen. Shit, BILL GATES couldn't take on Disney. Game over, man. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Now, I don't want to offend women, some of whom are total babes." - Tony Kornheiser, "Pumping Irony" ========================================================================= Date: Fri, 8 Mar 1996 18:54:24 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: HOB's Cabin In-Reply-To: <26030813334841@vms2.macc.wisc.edu> On Fri, 8 Mar 1996, Bonnie Kalmbach wrote: > 2) It is doubtful that the Stovall family needs the money. America is a wealthy enough nation that "need" is no longer as strong a driving force as it once was. You know it's times like this that I wish my great-great-grandfather hadn't thought to himself "I know I know I could lose 1500 acres of Kentucky horse farm, but what are the odds of me dealing him an inside straight flush?" T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Now, I don't want to offend women, some of whom are total babes." - Tony Kornheiser, "Pumping Irony" ========================================================================= Date: Sat, 9 Mar 1996 02:34:08 +0100 Reply-To: Jonny Jxrgensen From: Jonny Jxrgensen Organization: SN Internett Subject: Astatic question Comments: To: bit-listserv-blues-l@uunet.uu.net I have an Astatic JT30H that I would like to add volume control to. What size potmeter should I use,and are there other things I'll have to consider about. -- J.J. -NORWAY- ========================================================================= Date: Sat, 9 Mar 1996 02:46:08 +0100 Reply-To: Jonny Jxrgensen From: Jonny Jxrgensen Organization: SN Internett Subject: Astatic question. Comments: To: bit-listserv-blues-l@uunet.uu.net I have an Astatic JT30H that I would like to add volume control to. What size potmeter should I use, and are there other things I'll have to consider about? -- J.J. -NORWAY- ========================================================================= Date: Fri, 8 Mar 1996 19:44:31 -0800 Reply-To: Maggie Mortensen Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Maggie Mortensen Organization: Exarch Services Subject: Re: Amphibians > Octegenarians: songs about aging. Comments: To: Joel Slotnikoff Joel Slotnikoff wrote: > > My contact there, Diana Fabacher, has asked me to assemble a list of blues > songs that deal with the topic of aging. Goin' Down Slow by St. Louis Jimmy > immediately springs to mind. Anyone got any more? > C'mon, Joel, you just GOTTA use Clarence Carter's 'Granpa Can't Fly His Kite 'Cause Granma Won't Give Him No Tail'. --Maggie -- Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Some mornings it's just not worth chewing through the leather straps. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Fri, 8 Mar 1996 19:56:06 -0800 Reply-To: Maggie Mortensen Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Maggie Mortensen Organization: Exarch Services Subject: Re: Jazz Fest Workshops Comments: To: Joel Slotnikoff Joel Slotnikoff wrote: ...a lot of good stuff about the workshops held at JazzFest each year. Hidden Jewels is right, Joel. Last year I was dazzled for days by the fact that I was able to attending a workshop to hear the words and music of my favorite living jazz composer, Abdullah Ibrahim, spoken from a few feet away on the stage of a high school gymnasium! And to be able to just stand up and ask any question you want...it was an awe-inspiring experience in every sense. And these workshops aren't much promoted, so they're usually pretty sparsely attended--though that won't, I'm sure, be true of Wynton's session. --Maggie -- Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Some mornings it's just not worth chewing through the leather straps. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Fri, 8 Mar 1996 20:08:07 -0800 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Charly a no-no? Comments: To: bit-listserv-blues-l@uunet.uu.net Ian Angus wrote: > collection on Charly (I know...) called "Use What You > Got." Does the parenthesized comment mean that Charly recordings are ill-regarded? This is probably old hat to y'all, but doesn't seem like anything I'd find in a FAQ. I only own one Charly recording, and don't remember seeing this discussed here before, but are their recordings considered disreputable? --Maggie -- Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Some mornings it's just not worth chewing through the leather straps. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Fri, 8 Mar 1996 21:46:37 -0500 Reply-To: MojoBandit@AOL.COM From: Dave Ruthenberg Subject: This whole HOB/Muddy Mess I, like most everyone else on the list, am greatly disturbed at the recent events in Clarksdale regarding the Muddy Waters cabin. Can we stop it? Probably not. As Mary Katherine Aldin correctly pointed out, HOB has deeper pockets than most if not all of us. While we can't stop it, we can protest it. To that end, I would encourage everyone to post to the HOB e-mail address that was given. We can be heard. I will run an editorial in my publication, the Blues Rag, condemming this latest move by HOB. Finally, regarding the Clarksdale Chamber of Commerce; The last time I was in Clarksdale (about 2 years ago), the Chamber gave nary a word about Clarksdale's blues heritage, preferring a strange slogan of "be the big frog in our small pond." It was almost as if the Chamber was intentionally ignoring the blues heritage of Clarksdale. Afraid we can't count on them to do anything in this area. Wow, am I bummed out. I'm glad I got a picture of me in front of that cabin before HOB grabbed it! Dave Ruthenberg Publisher - The Blues Rag "Detroit's Comprehensive Source for Blues News." ========================================================================= Date: Fri, 8 Mar 1996 21:58:07 -0500 Reply-To: Harpophone@AOL.COM From: "" Subject: Re: Astatic question. You write: >I have an Astatic JT30H that I would like to add volume control to. >What size potmeter should I use, and are there other things I'll have to >consider about? I don't like volume controls because: 1. I haven't found any that don't cut tone with the slightest roll off 2. I prefer a playing situation where the band is working the dynamics through expression alone. That means the guitar player isn't cranking up everytime his lead comes. You just player little more energetically at times. Then if you want to raise or lower the volume for the whole tune just go back to your amp and set it. I don't know... Harpo "People keep on buggin' me, buggin me fron near and far. I just want to be left alone, left alone to play me guitar." --L.A. Jones ========================================================================= Date: Sat, 9 Mar 1996 03:00:03 GMT Reply-To: "J.J. Perry" From: "J.J. Perry" Organization: Indiana University Subject: HOB/Delta Blues Museum/Muddy's Cabin Comments: To: bit-listserv-blues-l@uunet.uu.net Last I heard, wasn't Muddy's cabin supposed to be built up inside the Delta Blues Museum for preservation? What happened to this idea? Is the cabin now being "sold" rather than "donated?" If HOB buys or puts money towards the cabin to move it to the Museum as was originally planned, bravo. If it's not, as most of us suspect, and will instead be used as some sort of backing prop for Joan Jett, we have to do something. Let's see what HOB has in mind, and then overreact. But I think that we cover a lot of ground worldwide on this list, and I think that we could generate a lot of interest in helping to keep the cabin in the Delta, gimmick-free. J. J. ========================================================================= Date: Sat, 9 Mar 1996 03:04:22 GMT Reply-To: "Rory R. Wicks" From: "Rory R. Wicks" Organization: Law Offices of Rory R. Wicks Subject: Re: Muddy Waters cabin sold to HOB Comments: To: bit-listserv-blues-l@uunet.uu.net >In a message dated 96-03-07 13:09:48 EST, it was written: > >>Can Tom or some knowledgable Bluezeller give us some more information >>about the history/nature of Muddy's Cabin? > >Another source for information about Muddy Waters' cabin is Alan Lomax' book, "The Land Where Blues Began" (Delta 1993), the winner of the National Book Critics Circle Award. Lomax returned to the Delta in 1942, to record Robert Johnson, but was informed by Robert's mother that he had passed. Lomax then asked Son House whether anybody continued to play in the Delta style and was told" "An old boy called Muddy Waters round Clarksdale, he learnt from me and Little Robert, and they say he gettin to be a pretty fair player - that's one." David Edwards later told Lomax: "Well now, if you want my favorite, I believe the best we got around here, besides me, is a fellow name McKinley Morganfield. We calls him Muddy Waters for short." During July 1942, Lomax set up a recording machine in a room off the commissary of Sherrod Plantation to record Muddy. Waters walked in barefoot with no guitar - he'd lent it to a friend. Using Lomax' Martin, Muddy then recorded "Country Blues". Later that summer, Muddy recorded "I'm Bound To Write You" and "You Gonna Miss Me". Lomax included these songs in the first Library of Congress release of country blues works. Muddy's cabin should stay in Coahoma. House of Blues should preserve it for the people of Mississipi. rory@connectnet.com ========================================================================= Date: Sat, 9 Mar 1996 03:00:26 GMT Reply-To: s-lMiramar Associates From: s-lMiramar Associates Organization: adnc.com Subject: s-l...Renters .... Buy a Home with No $$ Downs-l Comments: To: bit-listserv-blues-l@uunet.uu.net WOULD YOU CONVERT YOUR CURRENT RENTAL PAYMENTS INTO MORTGAGE PAYMENTS ON A NEW HOME IF THE DOWN PAYMENT AND CLOSING COSTS WERE TAKEN CARE OF FOR YOU?................................................. IF YOUR EMPLOYER GAVE YOU AN INCREASE IN YOUR TAKE HOME PAY TO COVER THE LEASE PAYMENTS ON A NEW CAR WOULD YOU TRADE YOUR OLD CAR AND LEASE A NEW ONE?............................................ If you answered YES to both questions I have a program which can make this a reality for you...................NOW................ NEW HOME - What may be the most fantastic government give-away began in March 1994 when the Clinton Administration expanded the FHA 203K loan program. This loan permits investors, like the company I represent, to buy a home, that you select, and acquire a government backed loan greater than the cost of the property. This loan can be assumed by qualified buyer with no down payment required. Yes, that's right, the investor can buy the home, add a modest profit and sell it to you with no out of pocket costs and sell it to you at the bank appraised value. NEW CAR - This company has added a unique twist which allows you the opportunity to lease a new car and also receive an increase in your take home pay to cover the payments. The increase does not cost your employer a dime. EARN MORE MONEY - You can become a representative, like myself, and communicate this incredible program to others and earn a small fortune. MORE INFORMATION - I am just one of several thousand independent contractors through out the United States and I would like to send you this nationally recognized company's promotional package on how you can buy a home, trade your old car and lease a new one, increase your take home pay and have the opportunity to make more money. To cover my costs for the package with shipping and handling, please send $5.00 in cash, personal check or money order to I apologize if you feel that this post is not in the proper place, but, we're looking for you! People that are renting, and don't know how to buy a new home are the people that need us the most. We're real....we close residential real estate transactions across the United States daily. The next one can be yours. MIRAMAR ROAD ASSOCIATES 6920 Miramar Road Ste. 207 San Diego, CA 92121.2641 Name ________________________________ Address ________________________________ City ________________________________ State ______________ Zip ___________ Telephone (opt) ______________________________ No salesperson will call. Your information will be held strictly confidential. ========================================================================= Date: Fri, 8 Mar 1996 22:13:59 -0500 Reply-To: RAGS_trips_on_GRAS From: RAGS_trips_on_GRAS Subject: MELLON_JAZZ_FESTIVAL!!! The Mellon Jazz Festival in Pittsburgh which focusses to encourage young and upcoming talent in the Jazz scene will be held April 27-28, '96 @ the Carnegie in Pittsburgh. Pittsburgh's own Jazz talent and Nationally known artists will participate in the Jazz Workshops and Festival. Check it out!!! Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ It's dark And I'm Wearing Sunglasses......... "What's the use of gettin' sober, when you're gonna get drunk again?" +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Fri, 8 Mar 1996 23:10:57 -0500 Reply-To: MOUNTLION@AOL.COM From: Jeff Yelton Subject: Arthur Edwards Hey, Juke. Don't know if this helps, but Arthur Edwards played bass for T-Bone Walker's band in the late 1940s. What year was he in the American Folk Blues Festival? ========================================================================= Date: Fri, 8 Mar 1996 23:11:06 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: HOB & the Muddy Cabin: SOME SUGGESTIONS Comments: cc: PKYVKY@aol.com In a message dated 96-03-08 22:35:37 EST, jperry writes: >If HOB buys or puts money towards the cabin to move it to the Museum >as was originally planned, bravo. If it's not, as most of us suspect, >and will instead be used as some sort of backing prop for Joan Jett, >we have to do something. > >Let's see what HOB has in mind, and then overreact. But I think >that we cover a lot of ground worldwide on this list, and I think >that we could generate a lot of interest in helping to keep the >cabin in the Delta, gimmick-free. The problem with moving the cabin (as a matter of history) is that moving the cabin would diminish its historical value, by a lot. A lot of the history is that site-- that site and the cabin both communicate volumes about the history of the Delta in the last 60 years, or even longer (does anyone know when that was built? Isn't it hand-hewn timbers? It has to be over 100 years old). The obvious problem with leaving it in site is how to preserve it and how to deal with the fact that it is on private property. I would rather see it moved to a nearby museum than become a part of the HOB erzatz juke joint empire. The problem with waiting for HOB to act is that they aren't about to publicize the process of acquiring the cabin. They do not want the public to participate in the process of deciding what they are going to do, because the interested public is not very likely to use it. If we want to influence the process, we had better act NOW. I have talked to a couple of folks in the local blues community, and am continuing to follow this. It would seem to me that: (1) Someone should contact the delta blues museum to find out if they are taking a position on this or staying out of it. If they are unwilling to take a position it is going to be difficult to find an appropriate alternative site and that issue will have to be faced. Further, any serious effort to set up an alternative has to involve an established institution for both credibility reasons and fund raising reasons. Put simply, without the Blues Museum or something quite like it, this would be very very hard. (2) The only real hope is to shame the HOB out of doing the wrong thing. They have to be very public-relations oriented because of the kind of business they are in. They obviously don't care a lot about the blues community itself, but perhaps enough of a stink could be created to cause ripples outside this community. I have already contacted folks I know in the blues press; i'm thinking about other angles. To shame HOB we have to act to bring this to public attention *before* they are commited to a course of action. One problem here is that the HOB's money runs long and deep in advertising and contributions all over the place, and some obvious voices of protest could be silenced by HOB's cash. (3) One issue that this seems to clearly involve but that I am not sure how to raise is the co-option of a part of black culture by House of Blues. They are buying a chunk of black history and culture about which they have nothing to do and making it part of a commercial of some sort. This is not unlike their fake juke joints, but at least for the tin on the juke they tore down a cotton gin no one cared about. Tom Freeland ========================================================================= Date: Fri, 8 Mar 1996 23:20:49 -0500 Reply-To: Tallyho8@AOL.COM From: Jerry Gordon/Evidence ANYONE PLEASE HELP ME TO DISENGAGE FROM THE BLUES LIST. I CAN'T HANDLE THE VOLUME OF MAIL. PLEASE STOP. ========================================================================= Date: Fri, 8 Mar 1996 20:31:58 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Re[2]: Rev. Horton Heat There are three albums (as far as I know) by the Reverend Horton Heat. "Smoke 'Em if You Got 'Em", "The Full Custom Gospel Sounds of The Reverend Horton Heat" and "Liqour in the Front". This is most definatley psychobilly. It's loud, fast and raw. It's probably the music that Sun Records would of created if the artists had a Marshall stack back in the fifties. Reccomended but not for the faint of heart. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Fri, 8 Mar 1996 20:32:09 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Son House estate gets (long overdue) royalties I've been a little quiet this week as it's been a week full of ups and downs, little time and a heavy dose of the blues. However coming home a few days ago and reading the news about Son House's estate was a big boost. Somehow, it made everything seem allright. A big thanks to Dick Waterman and all those involved in making sure the estate recieved what was due. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Fri, 8 Mar 1996 23:59:36 -0500 Reply-To: RAGS_trips_on_GRAS From: RAGS_trips_on_GRAS Subject: AFTER_HOURS!!! There is a song by Pinetop Perkins BLUES AFTER HOURS which introduces MAE CRAMER's blues show on WGBH 89.7 FM Boston... There is the same tune donno by whom JAZZ AFTER HOURS which introduces JIM WILKE's jazz show from Seattle relay live throughout US. Anybody know which is the original and which is the cover!!! I like both... ps>>> Listening to Jazz After Hours now here in the PITT and miss Ms MAE's Blues After Hours from Boston :( Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ It's dark And I'm Wearing Sunglasses......... "What's the use of gettin' sober, when you're gonna get drunk again?" +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Sat, 9 Mar 1996 00:18:12 -0500 Reply-To: RAGS_trips_on_GRAS From: RAGS_trips_on_GRAS Subject: ANTONE's Hi folks... any idea about ANTONE's in Austin and the role it has played in bringing BLUES to the fore... Is an essay/article/book available on this BLUES BY NITE, COOL BY DAY :) Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ PRESERVE HISTORY, SAVE MUDDY's CABIN!!!! +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ "What's the use of gettin' sober, when you're gonna get drunk again?" +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Sat, 9 Mar 1996 01:17:37 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: House of Blues Phone and Fax Per PW Fenton's request: The House of Blues phone number (in LA) is (213) 650-0247. The fax is (213) 650-1603 Joel Slotnikoff Joel Slotnikoff, Publisher | BLUES WORLD e-mag Box 21652 | http://www.bluesworld.com St. Louis, MO 63109 | Acme Guitar, Blues Estafette TEL (314) 647-2447 | Blues & Rhythm: The Gospel Truth FAX (314) 647-2497 | Roots & Rhythm, Testament Records joelslot@inlink.com | SONO, Vintage Jazz Mart, Wayhi Tapes ========================================================================= Date: Fri, 8 Mar 1996 22:45:44 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Confessions of GIT Grad Well I am jumping the gun a little but today was my last day of classes at GIT. I have a test next week and then graduation (Beer!) but for all intents and purposes it's over. I know that there are former students of GIT on this list but here are my observations about going to school and playing the blues and what it does for you. IMHO, Knowledge is a damn good thing. I know much more about music than when I entered a year ago. It has allowed me to play music and appreciate music that I never had thought I would ever try to play. It allows me to communicate musical ideas to other musicians quite easily. But has it hurt my blues playing? I think not. I spent a lot of time sitting down and playing with Keith Wyatt (can play any blues guitar style at a drop of a hat), Pedro Wyant (a big influence on my playing, a great blues guitarist (his "slide" licks played without a slide are amazing) and a great guy, and Steve Trovato (Steve is known for his country playing but he is a hell of a blues player). These guys all stressed laying back, finding the groove and playing only when needed. They mentioned nothing about theory (unless asked). They, and other blues players who have musical knowledge, understand that you forget all that when playing the blues. After being "indoctrinated" with theory:-) I still have a great love for Son House, Lefty Dizz, Hound Dog Taylor etc. Theory doesn't matter. Whether you know it or not doesn't matter. It's what comes form your heart. Yeah, I will get jazzy on a uptown blues but you won't find me playing an altered lick during a Muddy Waters song. The whole experience at GIT was great. I recommend it for those who are interested in expanding their stylistic range or learning more about the guitar. It's also great place to network and establish yourself in LA as a musician. Even though it looks like I'll be playing country and Top 40 instead of blues for a while (cash gigs:-)) I'll get there in the end. I was standby to go and do a blues/R&B gig last night but they found a replacement (believe me, I hoped they wouldn't :-)) But by the end of the month I'll be playing "new country" down Orange county way. "Music Starts at 10, Fights at 11." It's a gig and it will be fun. The thing I learn't that I would like to pass on is never be down on someone because they have no musical knowledge. It doesn't matter. You are a good musician whether you know what's going on or not. Also, never be down on someone because they are an educated musician. It's what they play. The whol arguement about whether so-and-so is better than what-his-name because so-and-so knows/does not know theory is false. It's all about what is in the heart. Shaun BTW, Here is a quick look into GIT humour. Note that MI really means Musicians Institute Why does MI stand for? Monk Institute. Why is a MI party like a post office? All mail (male). A lot of guys at MI really have the blues:-) Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sat, 9 Mar 1996 02:34:53 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Aging Conference, Aging Songs, Delta Blues Museum Thanks to all who have suggested aging songs. Any more out there? Also, I neglected to mention that John Ruskey, Curator of the Delta Blues Museum will be coming to St. Louis to address the "Blues and Aging" portion of the Conference. Joel Slotnikoff Joel Slotnikoff, Publisher | BLUES WORLD e-mag Box 21652 | http://www.bluesworld.com St. Louis, MO 63109 | Acme Guitar, Blues Estafette TEL (314) 647-2447 | Blues & Rhythm: The Gospel Truth FAX (314) 647-2497 | Roots & Rhythm, Testament Records joelslot@inlink.com | SONO, Vintage Jazz Mart, Wayhi Tapes ========================================================================= Date: Fri, 8 Mar 1996 02:24:37 EST Reply-To: MR TERRY W SPRING From: MR TERRY W SPRING Subject: Blues CD Stores In my few short monthes in the Seattle area, the largest selection of blues CD's (and any other kind of music) I have found is at Silver Platters. There are several locations in the Seattle-Tacoma area. If there is a specialty store of some kind around, I would like to hear about it. ========================================================================= Date: Sat, 9 Mar 1996 08:16:57 GMT Reply-To: Andrew Moodie From: Andrew Moodie Organization: The National Capital FreeNet, Ottawa, Ontario, Canada Subject: Is There Any Howlin' Wolf On Film? I've seen his appearance on Shindig w/ the Stones. Is that the only Wolf film there is? I wanna see more. AJM ========================================================================= Date: Sat, 9 Mar 1996 00:59:10 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: Re: Astatic question Comments: To: Jonny Jxrgensen Jonny Jxrgensen wrote: > > I have an Astatic JT30H that I would like to add volume control to. > What size potmeter should I use,and are there other things I'll have to > consider about. > -- > > J.J. -NORWAY- JJ, If you want to put in the same value Astatic uses, then that would be a 500k pot. If you want to place it in the rear hole, again same as the company currently does, then you will need a pot with a 3/4" bushing (the threaded part). A company which supplies guitar parts such as All Parts could supply you with the perfect pot for about $8 US. I hope that helps. Stan -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 ========================================================================= Date: Sat, 9 Mar 1996 04:11:08 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: Looking for Carl Martin recordings >What does this Carl Martin sound like anyway? Is he worth searching out? > > >Jim Leftwich > >come win a CD at Jim's Blues N' Brews: http://www.cloud9.net/~leftwich >(Emmett Miller giveaway will end soon to be replaced with another > Roots N Blues artist) To quote Bruce Bastin in 'Red River Blues' - 'a highly accomplished and sophisticated guitarist, somewhat in the manner of Big Bill Broonzy.' I'd add that when he wanted to he could play at the speed of light. Also a fine fiddler. Is he worth searching out? If you like good acoustic guitar blues, definitely. Chris Smith (chris@skerries.demon.co.uk) "What's the use of gettin' sober, when you're gonna get drunk again?" (Louis Jordan) ========================================================================= Date: Sat, 9 Mar 1996 09:41:05 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: House of Blues Phone and Fax Comments: To: Joel Slotnikoff On 9 Mar 96, Joel Slotnikoff had this to say: > Per PW Fenton's request: > > The House of Blues phone number (in LA) is (213) 650-0247. > The fax is (213) 650-1603 Thanks, Joel, but what disappeared from their website, and what I was asking for, is their mailing address. It was there thursday, gone friday. The phone numbers are at the bottom of all their press releases. BTW, I wrote email to Marc Schiller on thursday asking him to tell me the facts about the rumored plans for Muddy's cabin. Marc has always been responsive to me, as I have always been a supporter of HOB and their right to make money. But as of this writing, he has not responded at all. Maybe he's out of town and not reading his email, or maybe... he just doesn't want to tell me the truth. No way to tell. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Sat, 9 Mar 1996 09:46:14 CST Reply-To: JBards From: JBards Subject: Re[2]: *FINAL* FINAL WORD ON SRV/PBS Comments: To: Jonathan Duttweiler I think Kevan Smith has already given an excellent reply to this post, so I won't repeat his points, but a couple of others bear consideration: First, Discovery, A&E, Lifetime (and you omitted "BRAVO") all good networks IMHOP, are carried on the cable/satellite universe, and therefore draw their very small marketshare from a very large base, providing them the critical mass to survive on commercial sales. PBS has some limited national syndication, but the network itself is a confederation of local stations, organized mostly on a statewide basis except in larger states: therefore, a good portion of the PBS hours are dedicated toward local service. What you see on PBS divides into three segments: national programming required to be carried by all stations; programming downloaded from the national level but carried at the discretion of the local station, and locally produced programming. Second, because PBS is offered over the airwaves (as well as cable) and is locally operated, its potential base for commercial support is quite different from nationally distributed networks like A&E. Hence comparing its survivability without any public support to A&E is a comparison that limps badly, if not fails altogether. Second, Jon points out that NPR, PBS and "especially" the NEA produce "...a LOT of crap...". What's the big mystery here? In the first place, what is "crap" to your mind ( or mine) may be worthwhile and interesting to someone else. Second, the fact that these entities are not commercially supported allows them the freedom for experimentation- hopefully pushing the envelope- and sometimes experimentation fails. Mediocrity is the product of a consistent drive down the middle of the road, isn't it? The arts are supposed to challenge and experiment. Finally, the NEA doesn't "produce" anything, it merely funds. A lot of what it funds is cutting edge, and some of what it funds flops, and some of what's left is just a matter of taste and/or interpretation. I'd still hate to think that the NEA is not a valuable part of our society. I'd suggest "Leaving Town Alive " by John Frohnmeyer for enlightenment in this regard, if you're interested in learning how the NEA really works, what it's supposed to do, and the difficulty of its service. Hoope this helps.- Jim _______________________________________________________________________________ Subject: Re: *FINAL* FINAL WORD ON SRV/PBS From: Jonathan Duttweiler at INTERNET-SH Date: 3/8/96 6:42 PM In answer to all who have defended the status quo of PBS (and thrown the NEA in to it), saying the quality of programing would necesarily drop to that of (gasp, horrors, ech, ech, ech) "commercial" TV: What about the Discovery Channel, A&E, Lifetime, etc? Competing does *not* mean one has to be the same. (And PBS, NPR and, especially, the NEA produce a *LOT* of crap as well as "quality"). JD ========================================================================= Date: Sat, 9 Mar 1996 10:58:06 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Amphibians > Octegenarians: songs about aging. > > My contact there, Diana Fabacher, has asked me to assemble a list of blues > > songs that deal with the topic of aging. Goin' Down Slow by St. Louis Jimmy > > immediately springs to mind. Anyone got any more? 63 Year Old Mama by Koko Taylor Old Folks Boogie by The Boys from Fresno Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Sat, 9 Mar 1996 10:58:06 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Charly a no-no? Maggie M wrote > Ian Angus wrote: > > collection on Charly (I know...) called "Use What You > > Got." > > Does the parenthesized comment mean that Charly recordings are > ill-regarded? It is widely asserted that Charly doesn't pay royalties to artists, copyright owners, or anyone else whose music it releases. They recently lost a court case in which MCA said that Charly had illegally issued Chess recordings which MCA has the rights to. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Sat, 9 Mar 1996 15:42:32 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Amphibians > Octegenarians: songs about aging. Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199603082230.QAA06197@thor.inlink.com> Joel Slotnikoff writes: >My contact there, Diana Fabacher, has asked me to assemble a list of blues >songs that deal with the topic of aging. Goin' Down Slow by St. Louis Jimmy >immediately springs to mind. Anyone got any more? How about "Old and Gray" by Howlin' Wolf. I think it's on one of the Bear Memphis Days CDs. Art Schuna ========================================================================= Date: Sat, 9 Mar 1996 11:19:00 EST Reply-To: "ANDRE J.M. PREVOS" From: "ANDRE J.M. PREVOS" Subject: Fantastic Record Shops (French) To the person who mentioned Jacques Perin's recor5d store in Paris. The store is named "Boogie" and is located in the suburbs in the city of Levallois-Perret. To go there, take the subway to station "Louise Michel." The store is on rue Louise Michel, number 63. Perin, a good friend of mine, is the founder-publisher of Soul Bag, the French blues magazine published non-stop since 1965. If you go there, tell him I sent you. By the way, I am associated with _Soul Bag_ (I contribute regularly) but since this is a not-for-profit magazine, I, like all the contributors, is not paid for the essays. By the way, if you go there, do be aware that Screaming Jay Hawkins lives nearby and may well be visiting the shop. This is also a place to meet with many blues musicians, both French and American who are staying in (Luther Allison for example) or passing through mParis. Andre JM Prevos Pennsylvania State University Worthington Scranton Campus ========================================================================= Date: Sat, 9 Mar 1996 08:45:18 -0800 Reply-To: Robert Georgi From: Robert Georgi Subject: Muddy's Cabin Comments: To: "mschiller@houseblues.com" Marc Schiller Vice President House of Blues, New Media Div. I urge you to reconsider your rumored negotiations to purchase Muddy Waters' cabin from the Stovall family. This site has a special=20 significance to all African-Americans and particularly to historians, = anthropologists, and in general, to all who love the blues. It would be = a=20 travesty to comercially exploit such an acknowledged historical = landmark. Before proceeding, please consider the negative publicity and general ill will toward HOB that buying and dismantling this cultural treasure = is=20 sure to engender. Thank you. Robert Georgi =20 ========================================================================= Date: Sat, 9 Mar 1996 11:51:08 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Is There Any Howlin' Wolf On Film? Comments: To: da586@freenet.carleton.ca On March 9, 1996, Andrew Moodie asked about Howling Wolf on film and added: >>>I've seen his appearance on Shindig w/ the Stones. >>>Is that the only Wolf film there is? I wanna see >>>more. I was in Los Angeles at that time (April, 1965) with Son House and we went to the studio where they were taping "Shindig." Wolf was in ecstasy to be with Son again after not having seen him for about 25 years. I took a photograph of them - the only one that exists of them together - and Wolf is beaming with joy as he sits with his arm over Son's shoulder. While this weas happening, only one Rolling Stone had the curiosity to know this old man that Wolf was so elated to see again. He came over and introduced himself to Mister House, chatted for a few minutes and then went back and told the others in the group who he was. Question: Which Stone was it? Answer: It was Brian Jones. Dick Waterman ========================================================================= Date: Sat, 9 Mar 1996 12:00:52 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Charly a no-no? YES! Maggie Mortensen (who've I've discovered is obviously the Queen of New Orleans-and I can't wait to go there and meet her!) asks whether Charly is a no-no. On my view, yes; Charly's a no-no. Charly, it is understood by all and sundry, prefers not to pay royalties to artists, their estates, or the record companies whose music is appropriated. They have lost countless legal battles, most recently to MCA, but the relative commercial unimportance of the music they take makes sueing them a complicated, expensivce, and therefore pointless exercise. As has been pointed out before, they've stolen some wonderful music over the years (including all the Chess stuff) and made it available at very low price; Whether we wish to be accessories to misappropriation, or buy goods with doubtful provenance, is up to us, n'est pa? Richard the Elder ========================================================================= Date: Sat, 9 Mar 1996 16:43:37 GMT Reply-To: Ari Eisinger From: Ari Eisinger Organization: Internet Online Services Subject: Re: s-l...Renters .... Buy a Home with No $$ Downs-l Comments: To: bit-listserv-blues-l@uunet.uu.net Call me crazy, but I insist this posting does not belong on this newsgroup. ARI EISINGER Blues and Ragtime Guitarist and Singer ==Guitar Teacher== ==(610) 259-6688== ========================================================================= Date: Sat, 9 Mar 1996 11:55:09 -0500 Reply-To: PARRISHR From: PARRISHR Anyone out there in blues-l today? I will be working all weekend AND I have no music here. I seriously have the blues! ========================================================================= Date: Sat, 9 Mar 1996 10:05:02 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Comments: To: PARRISHR PARRISHR wrote: > > Anyone out there in blues-l today? I will be working all weekend AND > I have no music here. I seriously have the blues! I feel for you! Even a day with no music would be....unbearable Stan -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 ========================================================================= Date: Sat, 9 Mar 1996 12:51:30 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: (Fwd) Re: HOB - Rumor Control I just got a response from Marc Schiller (of HOB) we should have some word about the cabin soon. Here is Marc's response and my query to him that I sent Thursday, March 7th. ------- Forwarded Message Follows ------- Date: Sat, 9 Mar 1996 09:44:07 -0800 To: "P.W. Fenton" From: mschiller@earthlink.net (Marc Schiller) Subject: Re: Rumor Control Hey Paul - Thanks for the email. Let me look into it and get back to you. I appreciate the message. I'll try to get a response right away. Honestly, I don't really know but will check. Best, Marc Marc Schiller Vice President House of Blues New Media Phone: 213-848-BLUE Fax: 213-650-1603 Internet: mschiller@houseblues.com AOL: HOBJAZZ@aol.com URL: http://hob.com >On the Blues-L listeserv a rumor has started that the House of Blues has >purchased >Muddy Waters cabin from the Stoval Plantation. Already, people are >speculating >it's possible fate. Could you address this rumor via e-mail to me so that >I can >forward som FACTS to the subscribers. People are acting very critical when they >don't actually know if the purchase is fact, and what HOB's intentions are >if it is fact. >I'd like to set the record straight. > >P.W. Fenton > >pwfenton@gate.net P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Sat, 9 Mar 1996 12:02:50 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 03/09 B O R N : ASH, VIC ( VICTOR ) Born:1930 LONDON, ENGLAND Career:TENOR SAX / CLARINET / FLUTE Style:JAZZ / BIG BAND With:Kenny Baker (1951-3) / Vic Lewis's orchestra (1953-6) / Miles Davis / Dizzy Gillespie / Dave Brubeck / Ray Charles (1961) / John Dankworth 1963-1965 / Frank Sinatra / Shirley MacLaine COLEMAN, ORNETTE Born:1930 FT. WORTH, TX Career:ALTO SAX / COMPOSER / LEADER Style:JAZZ With:DON CHERRY SMITH, KEELY (DOROTHY JACQUELINE ) Born:1932 NORFOLK, VA. Career:SINGER POP / JAZZ With:HUSBAND LOUIS PRIMA BATES, WILLIAM "LEFTY" BORN:1920 LEIGHTON, AL CAREER:BASS STYLE:BLUES VEE JAY RECORDS FOR A LISTING OF THOSE THAT PASSED AWAY IN THIS MONTH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Sat, 9 Mar 1996 10:08:22 -0800 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Subject: HOB cabin protest Hi folks. Even tho' I'm "No-mail" still (another week to go??) I luckily logged on in time to read all the news about the "House of Blue$" purchase attempts of Muddy's cabin. I urge all blues-l people to send an e-mail of protest to Mr. Schiller at the following address: ( Thanks to Jeff Seale for providing the addresses, which I duplicate here....) Contact: Michelle Steinberg/Chris Carrico 213-848-2577 email Marc Shiller (VP HOB New Media Division): mschiller@houseblues.com Mailing list: hobinfo@houseblues.com Web Site (no way to directly contact them here) http://hob.com/hob.html **************************************************************************** THIS IS MY BRIEF LETTER THAT I SENT TODAY: ---------------------------------- Dear Mr. Schiller, Concerning the HOB plans to purchase the cabin where Muddy Waters was born and raised: Please reconsider how much you would be interfering with the cultural history of the Mississippi Delta and its music, were you to remove this historic landmark from its original place. While it is true that the cabin needs some protection from souvenir hounds, there are other parties interested in preserving it at its present location and making it a recognized historical landmark. It would be a travesty for your company to treat Muddy's birthplace in the same manner that the Hard Rock Cafe treats things like Buddy Holly's guitar. Yours truly, Roger Brant ========================================================================= Date: Sat, 9 Mar 1996 13:11:57 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: HOB - Urgent Before everyone starts sending Marc Schiller angry letters, please realize that his area of responsibility is for the House of Blues' web pages, internet live events, and special projects involving the developement of CD-ROMs and such. He has told me he doesn't know anything about the cabin situation, but will find out for us. I have no reason whatsoever to disbelieve him. I have enjoyed a pleasant relationship with the man. Please, if you use his address to protest, indicate that you realize he is not responsible, and that you wish for him to pass the message on to the corporate officers. Thanks, P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Sat, 9 Mar 1996 14:54:40 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: HOB - Urgent Comments: To: pwfenton@gate.net In a message dated 96-03-09 13:36:03 EST, pwfenton@GATE.NET (P.W. Fenton) writes: > >Before everyone starts sending Marc Schiller angry letters, please >realize that his area of responsibility is for the House of Blues' >web pages, internet live events, and special projects involving the >developement of CD-ROMs and such I have real concerns about the utility of firing loud complaints at HOB, at this stage. What do we want them to do? How do we get them to do that? No one seems to be discussing this other than to complain about HOB's possible aquisition of the cabin. One thing seems clear to me: Regardless of the truth of the rumor (I believe them based on the sources), it seems to me critical that the blues community generally work toward some preservationist solution for that cabin, or it will be gone, either through rot or being sold. Tom Freeland ========================================================================= Date: Sat, 9 Mar 1996 14:51:11 -0500 Reply-To: SAVBLUES From: SAVBLUES Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Phillip Walker Comments: To: bit-listserv-blues-l@uunet.uu.net I am glad to see others who appreciate the tremendous artistry of Phillip Walker. I have had the pleasure and honor to present Phillip and his band on several occasions here in Jacksonville Beach, Fla and on each and every one of them, everyone was astounded by the level of Blues honesty in his performance and by his interaction with the audience before and after each set. He is deserving of the praise Guitar Magazine gave him, saying he is " one of the Blues most important performers in the world". I am happy to announce that Phillip Walker and his band will be the closing act at the 1996 Springing The Blues Festival in Jacksonville Beach on Sunday April 14. If you need more info check out our Web Site at: http://www.springingtheblues.com Sam Veal Festival Director ========================================================================= Date: Sat, 9 Mar 1996 12:10:46 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Is There Any Howlin' Wolf On Film? Comments: To: Andrew Moodie At 08:16 AM 3/9/96 GMT, Andrew Moodie wrote: >I've seen his appearance on Shindig w/ the Stones. Is that the >only Wolf film there is? I wanna see more. >AJM > > He appeared (for one song only) in the 1970 film "Festival," a documentary of the Newport Folk Festivals by Murray Lerner. It is not available on home video as far as I know. Mary Katherine Aldin ========================================================================= Date: Sat, 9 Mar 1996 15:23:52 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: HOB/Disney Press Release DISNEY AND HOB ENTERTAINMENT, INC. ANNOUNCE CREATIVE VENTURE Lake Buena Vista, Fla. -- The Walt Disney Company and HOB Entertainment, Inc. (House of Blues) have announced a creative business partnership in which the two companies will explore and develop a wide range of opportunities in the entertainment arena. The new arrangement will utilize the creative resources of both companies to consider launching concert tours, creating and managing music festivals, developing interactive and online software, producing radio and television programming as well as establishing House of Blues locations worldwide. "This exciting venture brings together two dynamic entertainment companies," said Michael Eisner, chairman and chief executive officer of The Walt Disney Company. "The possibilities are endless." "The arrangement between HOB Entertainment, Inc. and The Walt Disney Company is a great opportunity for both companies to reach and entertain millions of young people worldwide," said Isaac Tigrett, the founder of HOB Entertainment. Disney recently secured an equity investment in House of Blues. Other investors in House of Blues include: Dan Aykroyd; Aerosmith; John Goodman; Isaac Hayes; Carly Simon; Jim Belushi; George Wendt; Joe Walsh; Harvard Management Company, an affiliate of Harvard University; Chemical Ventures Capital Associates; the London-based Gartmore Company; Silver Ventures, Inc. and the Platinum Group. As part of the agreement, House of Blues will break ground on its newest and largest restaurant/music venue to be built near Pleasure Island at Walt Disney World Resort in Florida. Future expansion includes sites nationwide as well as other Disney locations around the world. The 1,500-person-capacity House of Blues at Walt Disney World Resort will be modeled after the venue on Sunset Boulevard in Los Angeles, its theme a tribute to the history of the blues. The sounds of blues and blues-influenced performers such as Eric Clapton, Bob Dylan, James Brown, John Lee Hooker, Buddy Guy, Hootie & the Blowfish, Dave Matthews Band or Sheryl Crow can be heard on any given night. House of Blues will combine a premier restaurant offering eclectic southern fare including jambalaya, catfish and homemade bread pudding with the most technically advanced live concert venue. It will host a myriad of works of original African American folk art by Delta-based artists such as Jimmie Lee Suddoth, Howard Finster, Mose Tolliver and Richard Burnside. House of Blues also will feature a retail store with definitive CDs, clothing, folk art and blues accessories. The recent worldwide "blues explosion" has paved the way for this unique new venue. House of Blues features some of the best acts on the music circuit seven days a week at its other locations in the French Quarter of New Orleans, Sunset Strip in Hollywood, Calif. and Harvard Square in Cambridge, Mass. The House of Blues site is part of an overall expansion of Pleasure Island and Disney Village Marketplace which includes new celebrity nightclubs, a performing arts theater, an expanded 24-screen movie complex, star-name restaurants and two Disney superstores. The project is scheduled for completion by 1997. HOB Entertainment, Inc. is a global entertainment company that houses the following entities under its umbrella: House of Blues Music Company (distributed through Private Music/BMG); House of Blues Productions, Inc. that co-produces "Live From the House of Blues" with Time Warner on TBS as well as The House of Blues Radio Hour hosted by Elwood Blues (Dan Aykroyd); House of Blues Breaks and "Live from the House of Blues" (distributed by CBS Radio Networks); and House of Blues New Media. Since House of Blues inception, it has established the International House of Blues Foundation, a non-profit 501 (c)(3) organization. Its primary goal is to promote racial harmony through educational outreach, re-establishing art and music curriculums in public schools. Copyright c 1995 House of Blues New Media ========================================================================= Date: Sat, 9 Mar 1996 12:38:25 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Billboard blues chart for week of March 16, 1996 Here is the Billboard magazine blues chart for the week of March 16, 1996. * = new on chart this week 1. Ledbetter Heights/Kenny Wayne Shepherd 2. Greatest Hits/Stevie Ray Vaughan & Double Trouble 3. Phantom Blues/Taj Mahal * 4. From the Cradle/Eric Clapton 5. Blues/Jimi Hendrix 6. Duke's Blues/The Duke Robillard Band 7. Chill Out/John Lee Hooker 8. Found True Love/John Hammond 9. Some Rainy Morning/Robert Cray 10. Turn It On, Turn It Up/Roomful of Blues 11. Keb' Mo'/Keb' Mo 12. Handful of Blues/Robben Ford & the Blue Line 13. Slippin' In/Buddy Guy 14. One Foot In The Blues/Z. Z. Top 15. Cover to Cover/The Jeff Healey Band Mary Katherine Aldin ========================================================================= Date: Sat, 9 Mar 1996 20:38:14 GMT Reply-To: "m.lee" From: "m.lee" Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: THE BLUES LINE - got it? I'm trying to identify a poem about a bride who disappears and is found decades later in a trunk, where she apparently playfully hid from her husband. I combed Granger's Index to Poetry, and I am unable to lay my hands on the last lead, "Packing trunk blues," from the anthology THE BLUES LINE: A COLLECTION OF BLUES LYRICS, compiled by Eric Sackheim, published in 1969 and as a paperback in 1975. Can anyone help me out with identifying the story line, so I'll know whether the book is worth searching down? Thanks very much for your help mikaline mikaline@netcom.com ========================================================================= Date: Sat, 9 Mar 1996 15:30:00 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 03/10 B O R N : ABNEY, John ( JOHN Donald ABNEY ) Born:1923 BALTIMORE, MD Career:PIANO Style:JAZZ / BLUES / BIG BAND With:Bubby Johnson / Eddie Gibbs (1947) / Snub Mosely band 1948 / Wilbur De Paris 1948-1949 / Bill Harris-Kai Winding combo 1951 / Chuck Wayne, 1952 / at NBC in NYC 1960 / Los Angeles in 1962 / Stanley Wilson / Benny Carter BEIDERBECKE, BIX ( Leon Bismarek Bix,BEIDERBECKE ) Born:1903 DAVENPORT, IA Career:CORNET / PIANO / COMPOSER Style:JAZZ With:PAUL WHITEMAN / Frankie Trumbauer / Jean Goldkette Castaign, Johnny Born:1912 NEW ORLEANS, LA Career:DRUMMER Style:TRAD / JAZZ With:Sharkey / Tony Almerico / Earl Dantin CLARKE, PETE ( FRANK ) Born:1911 BIRMINGHAM , AL Career:ALTO SAX / BARITONE SAX / CLARINET Style:TRAD / JAZZ / BIG BAND With:Wayman Carver's Ramblers 1929 / Chick Webb 1930-1936 / Louis Armstrong / Teddy Wilson / Rex Stewart / Don Redman / John Kirby / Danny Barker DeROSE, PETER Born:1900 NEW YORK, NY Career:COMPOSER Style:POP / BIG BAND FREIDMAN, DAVID ( DAVE ) Born:1944 NEW YORK, NY Career:VIBES / MARIMBA Style:JAZZ HUTTON, MARION Born:1919 LITTLE ROCK, AR Career:SINGER Style:BIG BAND With:GLEN MILLER LEWIS, SON FEWCLOTHES ( ROBERT LEWIS ) Born:1900 NEW ORLEANS, LA Career:BASS DRUMMER Style:TRAD / JAZZ With:One of the great bass drummers of the New Orleans marching bands / Chris Kelly / Kid Rena / Eureka Brass Band MOHOLO, LOUIS ( LOUIS T. MOHOLO ) Born:1940 CAPE TOWN, SOUTH AFRICA Career:DRUMMER / SINGER Style: BLUES TRENNER, DONN ( DONALD R. ) Born:1927 NEW HAVEN, CT Career:PIANO Style:JAZZ / BLUES FOR A LISTING OF THOSE THAT PASSED AWAY IN THIS MONTH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Sat, 9 Mar 1996 16:04:19 CST Reply-To: JBards From: JBards Subject: Re: Is There Any Howlin' Wolf On Film? Comments: To: Jinxblues@AOL.COM Not suprising. Until he went off the deep end with his chemical enhancements, Brian was the most creative and musically versatile of the Stones. He's responsible for the sitar work on "Satanic Majesty's Request" and a lot of the early slide work on their R&B numbers. I still think their first five albums were the best. (great story though, and I do recall seeing at least one clip of Wolf singing- he was really working up a frenzy, seemed almost to be having a fit- that was definitly not from "Shindig". ) -Jim _______________________________________________________________________________ Subject: Is There Any Howlin' Wolf On Film? From: Jinxblues@AOL.COM at INTERNET-SH Date: 03/09/96 11:30 AM On March 9, 1996, Andrew Moodie asked about Howling Wolf on film and added: >>>I've seen his appearance on Shindig w/ the Stones. >>>Is that the only Wolf film there is? I wanna see >>>more. I was in Los Angeles at that time (April, 1965) with Son House and we went to the studio where they were taping "Shindig." Wolf was in ecstasy to be with Son again after not having seen him for about 25 years. I took a photograph of them - the only one that exists of them together - and Wolf is beaming with joy as he sits with his arm over Son's shoulder. While this weas happening, only one Rolling Stone had the curiosity to know this old man that Wolf was so elated to see again. He came over and introduced himself to Mister House, chatted for a few minutes and then went back and told the others in the group who he was. Question: Which Stone was it? Answer: It was Brian Jones. Dick Waterman ========================================================================= Date: Sat, 9 Mar 1996 14:29:17 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: CBS Sunday Morning Comments: To: ron kraemer At 05:17 PM 3/4/96 EST, ron kraemer wrote: >I caught CBS-SM's piece on the Rhythm and Blues Foundation's awards ceremony, >and was quite moved. Especially the woman who sang the duet with Jerry >Butler. Someone please help me with her name. She was described as being in >"failing health", and said herself that (paraphrasing) "in all her years of >performing, it was the first award she had ever received." Then, to see and >hear her sing, I literally had tears well up in my eyes watching! Another >one of those artist transformations where she, just by the sheer love of the >music, seemed to be transported to an earlier time in her career. If I >hadn't caught the part of her bad health, I never would've guessed it. > I think that the performer you described is Betty Everett. Mary Katherine Aldin ========================================================================= Date: Sat, 9 Mar 1996 22:47:06 GMT Reply-To: David and Lisa King From: David and Lisa King Organization: Netcom Subject: Rocky Mountain Blues Anson Funderburgh & the Rockets with Sam Meyers will be performing at the Little Bear in Evergreen, Colo. on Sunday March 10th Upcoming Little Bear shows include: March 15,16 & 17 Bugs Henderson and Shuffle King March 24 Coco Montoya At the Ogden Theater in Denver: BUDDY GUY April 23 Fox Theater in Boulder: CHRIS DUARTE March 29 ========================================================================= Date: Sat, 9 Mar 1996 17:01:44 CST Reply-To: JBards From: JBards Subject: Recommended Open Tunings? Comments: To: Mary Katherine Aldin I've been piddling with open G for a while and would like try some other open tunings conducive to blues. Any recommendations for favorites tunings, and examples of their use? (The tunings themselves would be appreciated , too-) Thanks- Jim ========================================================================= Date: Sat, 9 Mar 1996 23:31:38 GMT Reply-To: "J.J. Perry" Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: "J.J. Perry" Organization: Indiana University Subject: Re: Is There Any Howlin' Wolf On Film? Comments: To: jbards@MAIL-SH.LSUMC.EDU JBards wrote: >(great story though, and I do recall seeing at least one clip of Wolf singing- >he was really working up a frenzy, seemed almost to be having a fit- that was >definitly not from "Shindig". ) >-Jim I think the clip you're referring to was shown on the Eric Clapton/ Martin Scorcese "Blues" special on PBS last year. I saw the clip, the first time I had ever seen Wolf *move*, and it was scary! Maybe if someone has a copy of that Clapton show, they can find out where the Wolf footage comes from. J. J. ========================================================================= Date: Sat, 9 Mar 1996 18:43:47 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: HOB & the Muddy Cabin: Tom Freeland wrote: >The problem with moving the cabin (as a matter of history) is that moving the >cabin would diminish its historical value, by a lot. A lot of the history is >that site-- that site and the cabin both communicate volumes about the >history of the Delta in the last 60 years, or even longer (does anyone know >when that was built? Isn't it hand-hewn timbers? It has to be over 100 >years old). According to Francis Davis in his book, The History of the Blues..., the cabin is over 100 years old and is constructed of cypress from nearby forests. Davis mentions the idea of moving the cabin to the Delta Blues Museum or the Carnegie Public Library in Clarksdale. He also mentions that the site is plagued by vandals and souvenir-seekers. Two photographs are included; the cabin is roofless and on an obvious path of deterioration. > The obvious problem with leaving it in site is how to preserve >it and how to deal with the fact that it is on private property. I would >rather see it moved to a nearby museum than become a part of the HOB erzatz >juke joint empire. Yeah, me too. Karen ========================================================================= Date: Sat, 9 Mar 1996 18:38:16 -0600 Reply-To: 305 Spin From: 305 Spin Subject: HOB's Cabin I was sitting here browsing my e-mail and listening to The Complete Plantation Recordings of Muddy Waters. (with those wonderful liner notes by list'r Mary Katherine Aldin!). Anyway, I was just thinking about all the wonderful blues experiences I have had in the last year including discovering new talent, catching legends on stage and in the street, reissues of some great old music, new issues of some great new music. But when you listen to these recordings, it all comes full circle. This is where our hearts dig in. Here in Sedalia, Missouri, we finally cherish our cultural heritage of the time when Scott Joplin worked on our main street, met John Starke and published The Maple Leaf Rag. Obviously, this was in reference to the club he worked frequently, The Maple Leaf Club. The building which housed this club was still in existence until the late '50's when a fire next door partially damaged it. Needless to say, they tour down the whole block of these longstanding historic structures. Now we have an international Ragtime Festival under a tent on an empty parking lot. It's gone, it will never come back and you can't rebuild it. Once the cabin is gone, it will never come back and you won't be able to rebuild it. j LORINE 305 Spin "I saw a big ugly dog on the way to work" srv@305spin.com 305 S. Ohio Avenue Sedalia, MO 65301 ========================================================================= Date: Sat, 9 Mar 1996 18:57:26 -0600 Reply-To: bolt From: bolt Subject: Houston - Photos & Jam Thursday March 07 here in Houston, the Houston Blues Society co-sponsored the opening of the photo exhibit "The Blues Is A Feeling" by noted photographer James Fraher. Music was provided by the great Texas Pete Mayes & the House Rockers. Many of Houston's Blues greats were in attendance...Joe "Guitar" Hughes, Texas Johnny Brown, Grady Gaines, Carol Fran and Clarence Holloman, Jimmy "T-99" Nelson, Milton Hopkins, Big Roger Collins, Walter "Big Thunderbird" Price, Jerry Lightfoot, Kinny Adair, Big Robert Smith, on and on... Needless to say, it turned into one big jam session. Not sure how long the photo exhibit is going on, but if you're in Houston drop by Butera's (4621 Montrose) and check it out. Reg Burns +++++++++++++++++++++++++++++++++++++++++++++++++ + I'll listen to reason when it comes out on CD + + + + bolt@neosoft.com + +++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Sat, 9 Mar 1996 20:01:00 -0500 Reply-To: Paul Deeds From: Paul Deeds Subject: Re: Amphibians > Octegenarians: songs about aging. In-Reply-To: <199603082230.QAA06197@thor.inlink.com> On Fri, 8 Mar 1996, Joel Slotnikoff wrote: > My contact there, Diana Fabacher, has asked me to assemble a list of blues > songs that deal with the topic of aging. Goin' Down Slow by St. Louis Jimmy > immediately springs to mind. Anyone got any more? Robert Pete Williams: Almost Dead Blues I've Grown So Ugly Free Again, Prestige/Bluesville Death Blues Doctor Blues Blues Masters, Storyville Talkin' Blues Talkin' Blues Angola Prisoner's Blues, Arhoolie Death Comes Creepin' In Your Room When A Man Takes The Blues, Arhoolie I Want To Die Easy Skip James: Washington D.C., Hospital Center Blues Live, Document Someday You Gotta Die Sickbed Blues Devil Got My Woman, Vanguard I've Grown So Ugly by Robert Pete Williams is a great song .. Paul Deeds ========================================================================= Date: Sat, 9 Mar 1996 01:43:18 GMT Reply-To: Jack Oudiz From: Jack Oudiz Subject: Re: Otis Rush info Comments: To: bit-listserv-blues-l@uunet.uu.net No the liners on the Paula CD suck as well. But here's the lineup: I Can't Quit You Baby Sit Down Baby Big Walter, Red Holloway, (tenor) Lafayette Leake, Wayne Bennett!!!!, Willie Dixon, Al Duncan drums Violent Love My Love Will Never Die Harold Ashby, tenor, same as above Groaning the Blues If You Were Mine Little Walter, Jody Williams!!!!!, Odie Payne Jr drums, rest same as #1 Three Times a Fool She's a Good Un Reggie Boyd, gtr, Harold Ashby tnr, W. Dixon,b, Odie Payne drms, L.Leake pno It Takes Time Checking on My Baby H Ashby, tnr, Little Brother Montgomery pno, Louis Meyers,gtr, w.Dixon, b, Fred Below,drms Double Trouble Keep on Loving Me Baby All Your Love Ike Turner!!!!,gtr, Little Brother, pno, Jackie Brenston, baritone, H. Ashby tnr, W Dixon, b Billy Gayles, drms So Many Roads recorded July 20, 29, 1975 Hybia Park, Tokyo ========================================================================= Date: Sat, 9 Mar 1996 21:58:20 -0600 Reply-To: bolt From: bolt Subject: Luther Allison Got word from Delmark that Luther Allison's "Love Me Mama" will be reissued in CD format some time in Late 1996. It's great that Mr. Allison is finally getting some much deserved attention. Do not miss him in person if you ever get the chance. +++++++++++++++++++++++++++++++++++++++++++++++++ + I'll listen to reason when it comes out on CD + + + + bolt@neosoft.com + +++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Sun, 10 Mar 1996 03:55:14 GMT Reply-To: Lily Sazz From: Lily Sazz Organization: Trailblazers Subject: New Improved Trailblazers Homepage! Comments: To: bit-listserv-blues-l@uunet.uu.net http://www.hookup.net/~lilysazz/ new!!!! video clips!!!!! new soundbytes!!!!! etc.!!!!!!! ========================================================================= Date: Sun, 10 Mar 1996 04:43:15 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Is There Any Howlin' Wolf On Film? Comments: To: bit-listserv-blues-l@uunet.uu.net SUBJECT: Re: Is There Any Howlin' Wolf On Film? Andrew Moodie wrote: > >I've seen his appearance on Shindig w/ the Stones. Is that the >only Wolf film there is? I wanna see more. >AJM There is some professionally shot (but horribly edited) footage of him playing at the Newport (Folk?) Festival c. '65, that has shown up on a documentary somewhere--I've seen it, but can't remember where right now, sorry. There's also some really interesting amateur b&w film shot of him playing a theater somewhere in Europe in the early '60s--there's no sound, but the performance looks wild. Wolf's swinging a guitar around, dancing, and having a grand time by all appearances. Unfortunately there's no sound on this, but some of it is included in the Hubert Sumlin documentary that was produced about 10 years ago. Scott ========================================================================= Date: Sun, 10 Mar 1996 00:06:04 -0500 Reply-To: MOUNTLION@AOL.COM From: Jeff Yelton Subject: Muddy's Cabin and historic site preservation Comments: cc: Skipjames@aol.com Just been reading the digests of the last two days. It would be a great shame if the cabin is moved from its present setting, no matter who owns it or for what purpose. It also would be a great shame if it just decays in place, which will eventually happen if it doens't have a roof. Someone suggested that we contact the Landmark Program of the National Park Service. That will not help. The Landmark Program administers a relatively small number of landmark sites that are on federal property. What someone in Mississippi could do is contact the State Historic Preservation Officer in Mississippi. This office would be in the Mississippi Department of Natural Resources or something with a very similar name. *One polite call* should determine if Stovall Plantation, including the cabin, is on something called the National Register of Historic Places. The Register, which the federal and state governments have to deal with, contains archaeological sites, historic structures, and similar resources that have been deemed significant and worthy of preservation. I would not be surprised if the Plantation already is on the Register. If not, there already may be correspondace about it on file. Almost certainly, the cabin, if not the entire complex of older buildings, is eligible. *Unfortunately*, being on the National Register does not offer complete protection. It only means that a government-funded project has to avoid or otherwise mitigate damage. A private landowner, using private funds, can do whatever he pleases. However, state preservation officers frown on this sort of thing. They can, bearing in mind their limited resources, provice help and advice. I think if the State got a 'suit-and-tie' call from a list member (i.e. Tom) who happens to be an attorney (i.e. Tom) in Mississippi, politely requesting information, this might be helpful. Burning the Blues Brothers in effigy won't do a thing. Love, Jeff (who used to read Blues-L so he WOULDN'T have to think about historic preservation matters.....) 8-) ========================================================================= Date: Sun, 10 Mar 1996 00:15:53 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Muddy's Cabin and historic site preservation Comments: To: MOUNTLION@aol.com In a message dated 96-03-10 00:05:02 EST, Jeff wrote: << One polite call* should determine if Stovall Plantation, including the cabin, is on something called the National Register of Historic Places. The Register, which the federal and state governments have to deal with, contains archaeological sites, historic structures, and similar resources that have been deemed significant and worthy of preservation. I would not be surprised if the Plantation already is on the Register. If not, there already may be correspondace about it on file. Almost certainly, the cabin, if not the entire complex of older buildings, is eligible >> It is eligible (I am almost sure). It is not in the registry (I didn't check but someone checked for me). << I think if the State got a 'suit-and-tie' call from a list member (i.e. Tom) who happens to be an attorney (i.e. Tom) in Mississippi, politely requesting information, this might be helpful. Burning the Blues Brothers in effigy won't do a thing. >> I'm working on this angle, myself. The state department of archives does a lot of this work in Mississippi, and even administers a few historical sites of national importance (the Windsor ruins, some of the Indian sites, and I think Jefferson college near Natchez) Tom Freeland ========================================================================= Date: Sat, 9 Mar 1996 21:18:19 -0800 Reply-To: Mark Davis From: Mark Davis Subject: Hi Everyone I just got on this list and am looking forward to getting to know everyone. Im a guitar player (been playing 30 years) and I love The Blues. I'll lurk around a few days and see whats up and you will probably see me reply from time to time about subjects that interest me. I heard there are alot of blues freaks here so I must be in the right place! Looking forward to meeting some new people here. ========================================================================= Date: Sun, 10 Mar 1996 07:23:19 GMT Reply-To: Andrew Moodie From: Andrew Moodie Organization: The National Capital FreeNet, Ottawa, Ontario, Canada Subject: Where's Johnny Winter? I hear that he's sticking close to home these days. I saw a brief not about him playing in New Jersey recently. Were Jeff Ganz and Tom Compton with him? Is he ok? Any word of a tour? AJM ========================================================================= Date: Sun, 10 Mar 1996 02:09:45 -0600 Reply-To: bolt From: bolt Subject: Lefty Dizz I wanted to send a thanks to you all of you that turned me on to Lefty Dizz. I got the JSP CD and really enjoyed it. If it wasn't for y'all (Texan) I'd have never been able to enjoy his music. This list has been very beneficial to me, and I 'm looking forward to future posts from all of y'all... Take care from Houston. Reg Burns +++++++++++++++++++++++++++++++++++++++++++++++++ + I'll listen to reason when it comes out on CD + + + + bolt@neosoft.com + +++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Sun, 10 Mar 1996 00:35:31 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: Re: Hi Everyone Comments: To: Mark Davis Mark Davis wrote: > > I just got on this list and am looking forward to getting to know everyone. > > Im a guitar player (been playing 30 years) and I love The Blues. > > I'll lurk around a few days and see whats up and you will probably see me > reply from time to time about subjects that interest me. > > I heard there are alot of blues freaks here so I must be in the right place! > > Looking forward to meeting some new people here. Welcome! Good you could join us. I am mostly a lurker, but from time to time I pitch in. There is a good discussion going on right now about the House of Blues and Muddy's Cabin. Stan -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 ========================================================================= Date: Sun, 10 Mar 1996 10:11:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re: HOB can be lobbied Upon reading P.W. Fenton's report that >> Disney recently secured an >>equity investment in House of Blues, T-Bone groaned: >Well, then we can rest assured that the worst will happen. Shit, BILL >GATES couldn't take on Disney. Game over, man. Well. That's too defeatist for sure. I don't know about Gates, but the good people of the greater Washington, D.C. area drove Disney out of the region with it's Mickey Mouse tail between its legs when Disney tried to turn the rolling Virginia countryside into a grotesque carnival of pavement and singing George Washingtons. It was done with sheer determination, nothing more. Even the supposed champion-of-the-people, the Washington Post cozied up to Disney in one of its most disgraceful forays (e.g., one Stephanie Mansfield wrote an unforgiveable column mocking the opponents of these callous corporate zillionaires). Yet the people prevailed, through sheer will and hard work. So, it can be done. BLUE JOE IN RED RUSSIA J.E._Downey@bakermck.com "Now, I don't want to offend women, some of whom are total babes." - Tony Kornheiser, "Pumping Irony" ========================================================================= Date: Sun, 10 Mar 1996 07:16:29 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Mar. 10 Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ABNEY, DON (p/BILLY WILLIAMS) b. 1923-0310, BALTIMORE, MD BIRCH, GAYLORD (d/CHARLES BROWN) b. 1946-0310, SAN FRANCISCO, CA BURNS, KENNETH "JETHRO" (mandolin) b. 1920-0310, KNOXVILLE, TN DEBARGE, BUNNY (v/DEBARGE) b. 1955-0310, GRAND RAPIDS, MI EARL, RONNIE [RONALD EARL HORVATH] (g) b. 1953-0310, NEW YORK CITY, NY FOWLER, SAM (hca/BIG JOE WILLIAMS) b. 1909-0310, TULLULAH, LA GORGEOUS GEORGE [THEOPHILUS O. GEORGE](v) b. 1942-0310, TAMO, AR GREEN, DOCK (of 5 CROWNS/DRIFTERS) d. 1989-0310, QUEENS, NY 54 JACKSON, ADAM (lead/THE JESTERS) b. 1938-0310, NEW YORK CITY, NY LANG, EDDIE LITTLE [EDDIE LANGLOIS] (g) d. 1985-0310, SLIDELL, LA 49 MEAUX, HUEY P. (prod/songw) b. 1929-0310, KAPLAN, LA RASBERRY, RAYMOND (p/RASBERRY SINGERS) b. 1930-0310, AKRON, OH REYNOLDS, JOE BLIND (g) d. 1968-0310, MONROE, LA 68 SHARIFF, OMAR [DAVE ALEXANDER ELAM] (p) b. 1938-0310, SHREVEPORT, LA SMITH, LLOYD "FATMAN" (v/PEACOCK/GOTHAM) d. 1989-0310, PHILADELPHIA, PA 67 STEPHENSON, JAMES "GUITAR SLIM" (g) b. 1915-0310, UNION CTY, SC WILLIAMS,BERNARD"BUNNY"(tsax/TRUMPET REC) b. 1924-0310, MAGNOLIA, MS ------------------------------------------------------------------------------- ========================================================================= Date: Sun, 10 Mar 1996 07:17:10 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Mar. 11 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BARTON,LATTELLE (hca/LITTLE WALTER'S cousib. 1943-0311, MARKSVILLE, LA BROWN, DUSTY (hca/PARROT REC) b. 1929-0311, TRALAKE, MS CARPENTER, IKE (p/MODERN/DECCA Rec) b. 1920-0311, DURHAM, NC COTTRELL,LOUIS JR.(clarinet/ESTHER BIGEOU)b. 1911-0311, NEW ORLEANS, LA HIGGINS, TERENCE (of THE DIRTY DOZEN) b. 1970-0311, NEW ORLEANS, LA JIMENEZ, FLACO (accordian/TEX-MEX) b. 1939-0311, SAN ANTONIO, TX KRAHMER, CARLO (owner: ESQUIRE REC) b. 1914-0311, LONDON, UK LINCOLN, CHARLIE (g/BARBECUE BOB) b. 1900-0311, LITHONIA, GA LYNN, CHERYL (v) b. 1957-0311, LOS ANGELES, CA MANDEL, HARVEY (g) b. 1945-0311, DETROIT, MI MCFERRIN, BOBBY (v) b. 1950-0311, NEW YORK CITY, NY MITCHELL, BILLY (tsax) b. 1926-0311, KANSAS CITY, MO TERRY, SONNY (hca/BROWNIE MCGHEE) d. 1986-0311, MINEOLA, NY 74 WELK, LAWRENCE (WELK MUSIC/VANGUARD REC) b. 1903-0311, STRASBURG, ND WIFFEN, DAVID (g) b. 1942-0311, ENGLAND ------------------------------------------------------------------------------- ========================================================================= Date: Sun, 10 Mar 1996 15:37:11 GMT Reply-To: bluedog From: bluedog Organization: Pipeline USA Subject: Great Live Recording Comments: To: bit-listserv-blues-l@uunet.uu.net Hi! I've got a cd that stays in my changer. It's Dave Specter & the Bluebirds/Live In Europe on Delmark Records. Features Tad Robinson on vocals and harp. Bluebird Blues and Wag's Blues are great tracks. Good stuff! -- bluedog ========================================================================= Date: Sun, 10 Mar 1996 17:16:54 +0100 Reply-To: Bengans From: Bengans Subject: Re: Charly a no-no? Ian Angus said: > >It is widely asserted that Charly doesn't pay royalties to artists, copyri= ght >owners, or anyone else whose music it releases. They recently lost >a court case in which MCA said that Charly had illegally issued >Chess recordings which MCA has the rights to. > I get very confused, (yet not surprised,) hearing from various sources in the U.S. that Charly is a rip-off label. I work for a Bengna s Records in Gothenburg, Sweden, and over the years I ve bought tons of CD:s from Charly Records, I ve never heard anyone working in this business in Europe bringing this issue to the surface. I sell one compilation at a lower price than the other, more or less complete collections with artists like Reed, Wolf, L.Walter, Muddy, Elmore and just about EVERY blues artst worth mentioning. I=B4ve seen long-sought-for artists works that s been reissued over the years, much to my customers and my own delight. Well, one wonders: 1.How have they obtained the sessiontapes illegally for all this stuff over the years, ( yes I know that *some* CD:s have been manufactured off the LP:s). 2. How can they continue reissuing old recordings if the business is aware of the above "U.S. facts". Charly is certainly not on the market acting like you would expect a bootleg label to. They ve got their own cataloge, they were represented at MIDEM 96, (one of the biggets exhibitions for the record industry in the world.) They have distributors in most European countries. If they *are* a bootleg company, shouldn t it be piece of cake for the publishers/rights owners to take some action on this? I feel bad knowing that the artists and their families are gettintg ripped for each copy of a Charly product that I sell, but at the same time if I wouldn t sell Charly at all, my days as one of Scandinavia s best blues stores would come to a quick end. I guess my blues quote comes in handy here. Sevenson "Time is hard baby, and husling is really on." T-Bone Walker ========================================================================= Date: Sun, 10 Mar 1996 11:50:18 -0500 Reply-To: PHWoolfman@AOL.COM From: Pete Wulforst Subject: What's wrong with the blues? Have been following the "blues-bs" topic. Differences of opinion are healthy and help us all assert our individuality. But I can't help but be put off by peolpe who want to tell me " what is 'wron' with the blues today". Who is anyone among us to make such a judgement. We all have our opinions, and there is plenty of divers blues and other music around to satisfy anyone's cravings. When I play, I feel no allegiance to stay within any parameters except those that please me. Guess that's why I had to give up playing for a living, huh. Robben Ford, Bill Frisell, and Larry Coryell have recorded great blues guitar tracks that build upon, rather than slavishly imitate their precursors. Bet some of you would have really pissed when Muddy went electric, huh? By the way, thanks to the subscriber who praised George Adams - he could reaaly wail on the blues, as witnesed not only by his own recordings, but also those with Mingus. Pete wUlforst "PHWoolfman" ========================================================================= Date: Sun, 10 Mar 1996 17:14:13 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Two For The Blues - 3/9/96 Comments: To: bit-listserv-blues-l@uunet.uu.net Last night I had the honor of serving as guest host with Bonnie Kalmbach on her radio program here in Madison on WORT. Here is my playlist. It was a tribute to Memphis artists and Memphis radio circa 1952. I'm sending the list as an attached file (which I've never done on this particular newsreader) so I hope it works. If not, I'll repost tomorrow. ========================================================================= Date: Sun, 10 Mar 1996 09:25:55 -0800 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: thanks-Kimbrough, and Dizz I just wanted to also thank the list for turning me on to some incredible musicians. The first Cd that I bought from recommendations from Blues-L was Junior Kimbrough. Man, He is a miracle of music. SOul just spillin out of my speakers, ouch. After that someone recommended Lefty dizz and again I was very happy with what I heard. So thank you all- you guys Rock Isaac Any other suggestions feel free to E-mail me Personnaly ========================================================================= Date: Sun, 10 Mar 1996 12:29:05 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Looking for Carl Martin recordings Comments: To: leftwich@cloud9.net In a message dated 96-03-08 19:28:13 EST, leftwich@CLOUD9.NET (James Leftwich) writes: >What does this Carl Martin sound like anyway? Is he worth searching out? > > > ========================================================================= Date: Sun, 10 Mar 1996 11:28:16 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Phil Guy There was a rumor going around at least one Chicago club last night that Phil Guy was killed in a California car wreck yesterday. Ebven though I'd rather not get any response, can anyone confirm this and provide details if it's true? My server is having a problem sending messages to the .edu domain so I'm using a secondary address to send this; please reply to rshurman@ccs.nslsilus.org Thanks! ========================================================================= Date: Sun, 10 Mar 1996 13:39:08 -0500 Reply-To: Andre Prevos From: Andre Prevos Subject: Transylvania Blues? To Bluezellers: Last week-end, I was in Wilmington, DE, listening to Temple's radio program of blues and jazz and, I heard a tune called "Transylvania Blues". But I could not get the name of the artist(s) who interpreted the song. Has anyone heard of this tune and would anyone be so kind as to let me know about the artist and the record where the tune has been recorded. Thank you for your help. Private e-mai (at address above)l please, Andre. Andre J.M. Prevos AXP7@psu.edu "Les buissons s'allument Les poignards se levent." J.P. Capdevielle. ========================================================================= Date: Sun, 10 Mar 1996 12:52:58 -0500 Reply-To: GDKimball From: GDKimball Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Recommended Open Tunings? Comments: To: bit-listserv-blues-l@uunet.uu.net Jim, Try open D: DADFsharpAD. A fairly simple song in this tuning is "Vestapol." Elizabeth Cotton's version is a classic. (Vestapol is also one name for this tuning). Or perhaps Rev. Robert Wilkins, That's No Way to Get Along, (the Prodigal Son). A very complex and raggy piece is Blind Blake's Police Dog Blues. Bring all the strings up a full step and you get open E, which many have used. Take the Fsharp down a half step to F, and you get "cross note" tuning (D minor) used by Booker White and Skip James (Devil Got My Woman). Gregg in Richmond ========================================================================= Date: Sun, 10 Mar 1996 18:22:38 GMT Reply-To: katherine tanton From: katherine tanton Organization: the doc pointer band Subject: The Doc Pointer Band... Comments: To: bit-listserv-blues-l@uunet.uu.net The DOC POINTER BAND out of Austin, TX. is about to release their debut CD.. This self titled work in a combination Blues, Soul & Rock n' Roll orginals that will really turn you on...Doc Pointer on Harp & Vocals, the lovely Miss Kathy Weed on Bass and Vocals, Jow Alton on Guitar and Vocals and Britt Jones on Drums...This release should hit the regional record stores by mid-april...To order a copy e-mail us @ pointer@bga.com.. If you like the blues..... This in one band to watch... ========================================================================= Date: Sun, 10 Mar 1996 14:26:47 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 03/11 B O R N : ELLINGTON, MERCER ( MERCER KENNEDY ELLINGTON ) Born:1919 WASHINGTON, D. C. Career:TRUMPET / ARRANGER / LEADER Style:JAZZ / BIG BAND With:Dizzy Gillespie / Clark Terry / Calvin Jackson / arrangements B. Strayhorn / Wendell Marshall / Butch Ballard / Carmen McRae McFERRIN, BOBBY Born:1950 NEW YORK, NY Career:SINGER Style:JAZZ With:Wynton Marsalis / Wayne Shorter / the Manhattan Transfer MILLER, CHARLIE K Born:1915 NEW ORLEANS, LA Career:TROMBONE Style:TRAD / JAZZ With:Irving Fazolal / Augie Schellang / Leon Prima / Sharkey / George Hartman / Member of the Dawn Busters MILLS, JACKIE Born:1922 NEW YORK, NY Career:DRUMMER Style:JAZZ / BIG BAND MITCHELL, BILLY Born:1926 KANSAS CITY, MO Career:TENOR SAX Style:JAZZ / BLUES / BIG BAND MOLE, MIFF (IRVING MILFRED ) Born:1898 LONG ISLAND, NY Career:TROMBONE Style:JAZZ / BIG BAND With:Ray Miller 1924 / Ross Gorman 1925 / Red Nichols / Bix Beiderbecke / Roger Wolfe Kahn / Don Voorhees / Paul Whiteman / Benny Goodman / Muggsy Spanier MOREHOUSE, CHAUNCEY Born:1902 NIAGURA FALLS, NY Career:DRUMMER Style:JAZZ / BIG BAND With:Paul Specht 1922 / Howard Lanin and Ted Weems 1925 / Jean Goldkette 1925-7. Don Voorhees / Studio drummer 1929 PURNELL ALTON Born:1911 NEW ORLEANS, LA Career:PIANO / SINGER Style:JAZZ With:Isaiah Morgan / Alphonse Picou / 'Big Eye' Louis Nelson / Sidney Desvigne / Bunk Johnson / George Lewis / Joe Darensbourg / Kid Ory / Andrew Blakeney / Teddy Buckner / Ben Pollack / Barney Bigard / Young Men of New Orleans. Rena, Joseph Born:1897 NEW ORLEANS, LA Career:DRUMMER Style:TRAD / JAZZ With his brother, Kid Rena / Wesley Don's Liberty Bell Orchestra / he retired from music to become an Evangelical Baptist preacher. WELK, LAWRENCE Born:1903 STRAUSBURG, ND Career: ACCORDION / LEADER Style:BIG BAND With:Lincoln Bold / Gordon Maile / Frankie Sanders / Lois Best / Walter Bloom / Jules Herman / Mildred Stanley / Bob Paige / Jayne Walton / Jo Ann Hubbard / Bobby Beers / Joan Mowery / Roberta Lynn / Alice Lon BROWN, DUSTY Born:1929 TRALAKE, MS Career:SINGER / HARMONICA Style:BLUES LINCOLN, CHARLIE Born:1900 LITHONIA, GA Career:GUITAR / SINGER Style:BLUES FOR A LISTING OF THOSE THAT PASSED AWAY IN THIS MONTH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Sun, 10 Mar 1996 20:22:23 +0000 Reply-To: Byron Foulger From: Byron Foulger Subject: Charly records I think I've got to say a little bit in defence of Charly in respect of them issuing Chess material etc, I don't think they're quite as bad as painted on this listing. I accept they're no angels, especially nowadays, but remember that Charly , along with Ace in the UK, were one of the pioneering reissue labels 15-20 years ago, anyone with a half decent blues/R&B collection must/should have a number of their issues, they even leasded material from MCA for some R&B & R'billy albums, but, as far as I believe: 1)Chess trax, they did, at the time, say 10+ years ago (along with other European labels), lease this stuff 'genuinely' (again as far as I KNOW) from "Red Dog' of California, who at the time 'supposedly' owned the Chess catalog, but MCA subsequently 'disputed' that, Charly apparently didn't accept that and continued to issue the Chess product. Again, as far as I know the court decision re MCA & Charly apparently is only operative in U.S. (or at least not in UK!) As regards roylaties, it probably depends on the terms of the leasing agreements, but generally I'd have thought that any royalties were the responsbility of the owners, the company who lease the material effectively paying their 'share' via the leasing agreement, no? This is why Katie Webster won't play 'live' any of the stuff Flyright have put out from Jay Miller's trax, Flyright say it's his problem as regards their agreement with him. 2) As far as I know at least up to a 'few years' ago Charly leased material 'legally', Vee Jay, Sun and many other labels, I don't seen how they could have put out so much previously unissed material if they hadn't leased the stuff correctly and obtained tapes etc., whether they still have valid contracts etc to do this now, could be debatable however. 3)Having said all that, it does appear that Charly have not always had a lilywhite approach in later years, accepted, just have a look at how many times they've reissued and reissued and reissued the same stuff!, but you don't HAVE to buy it Byron ========================================================================= Date: Sun, 10 Mar 1996 21:19:55 GMT Reply-To: Dan Sigward From: Dan Sigward Organization: The Whole Earth 'Lectronic Link, Sausalito, CA Subject: Re: Rooster Blues - recommendations wanted Comments: To: bit-listserv-blues-l@uunet.uu.net The Willie Cobbs and Booba Barnes CDs on Rooster are both solid, but my favorite Rooster release is Lonnie Pitchford's "All Around Man". Lonnie plays some excellent acoustic blues, a killer version of C.C. Rider and a few perfectly understated and groovin' tunes with an electric band. What I like most about all the Rooster releases is that the production is excellent. Jim O'Neal makes the music shine through without any excessive electronic noises or gimmicks. Dan Sigward Weidel (mweidel@CYBERENET.NET) wrote: : In article <96Mar2.060857pst.30740-5648+747@haven.uniserve.com>, Jim : Witteveen wrote: : > Greetings Bluezellers! It seems like the local record store has greatly : > expanded their blues section, and among other labels, they are now selling : > cd's put out by the Rooster Blues label. These include Eddy Clearwater and : > Willie Cobbs. So my question is this: what's your favorite Rooster blues : > release, and what do you think of the two artists I just mentioned? : Lonnie Shields has some nice stuff on Rooster; also Booba Barnes' : Heartbroken Man. : You ought to write to them down in Clarksdale. They have a catalog with : unique offerings, including an invaluable blues map. Don't worry if you : don't hear from them right away, they operate on SCT Standard Clarksdale : Time. : Bob Weidel ========================================================================= Date: Sun, 10 Mar 1996 16:32:23 -0500 Reply-To: Jonny Meister From: Jonny Meister Subject: Re: songs about aging. Eddie "Cleanhead" Vinson "Past Sixty Blues" Travis Haddix "Nobody Wants You When You're Old & Grey" Larry Garner "All Night Long" this last one on the LP "Chemical City Shakedown!" on Sidetrack label ("it takes you all night long to do what you used to do all night long..." -Jonny ========================================================================= Date: Sun, 10 Mar 1996 15:49:11 -0800 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Re: Charly a no-no? YES! Comments: To: bit-listserv-blues-l@uunet.uu.net Richard Flohil wrote: > >Whether we wish to be accessories to misappropriation, or > buy goods with doubtful provenance, is up to us, n'est pa? Not being a collector, for me this is a no-brainer. Thanks to Richard, Ian, PW, et al who clued me in to this company's bad behavior. I'll vote with my feet. > Maggie Mortensen (who've I've discovered is obviously the Queen of New > Orleans-and I can't wait to go there and meet her!) asks whether Charly is > a no-no. As kind as Richard is to say this, I believe Irma Thomas is still the holder of that particular titular crown. --Maggie Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 'I'm not sure, but I think that ALL music started in New Orleans.' --Ernie K-Doe ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Sun, 10 Mar 1996 17:31:02 -0600 Reply-To: Bill Balcerzak From: Bill Balcerzak Subject: Re: Muddy's Cabin and historic site preservation (fwd) > Burning the Blues Brothers in effigy won't do a thing. Maybe not but it would sure make me feel good! ========================================================================= Date: Sun, 10 Mar 1996 18:41:10 -0500 Reply-To: USBLUE5@AOL.COM From: "Gordon, Rich" Subject: Re: Looking for Carl Martin recordings Comments: To: Jinxblues@aol.com There is one on Flying Fish called This Old Gang Of Mine...Martin, Bogan and the Armstrongs....I saw them here in Rockford with Steve Goodman. Rich Gordon WXRX Sunday Night Blues Rockford, IL ========================================================================= Date: Sat, 9 Mar 1996 23:34:19 GMT Reply-To: Jack Oudiz From: Jack Oudiz Subject: Re: Otis Rush info (Jack Oudiz) Comments: To: bit-listserv-blues-l@uunet.uu.net Following personnel on Otis' s Cobra singles: Big Walter, hma (Can't Quit You Baby) Little Walter, hma ( Groaning the Blues) Willie Dixon, b Otie Payne Jr, drm Fred Below, drm Al Duncan, drm Billy Gayles, drm Lafayette Leake, pno Little Brother Montgomery, pno Wayne Bennett, gtr Jody Williams, gtr Ike Turner, gtr Louis Meyers, gtr Harold Ashby, tnr Jackie Brenston, baritone Not a bad bunch there!!!!! So Many Roads recorded July 20, 29 1975 - Tokyo, Japan Jack ========================================================================= Date: Sun, 10 Mar 1996 19:33:00 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Invitation Comments: To: curtis@magicnet.net, FSMcLean@aol.com, mcarroll@cftnet.com, hermes@math.usf.edu, BobSoulman@aol.com, RMABRY@pilot.lsus.edu, Zaphkiel , bluesfla@aol.com, leagil@aol.com The all new, all improved, all Blues, way cool P.W. FENTON & THE SECOND WARD homepages are waiting for your visit. http://www.gate.net/~pwfenton and of course don't forget the Blues-l Shopping Center http://www.gate.net/~pwfenton/blues-l.html ========================================================================= Date: Sun, 10 Mar 1996 19:45:34 -0500 Reply-To: "jose.eric.s.maglanque" From: "jose.eric.s.maglanque" Subject: Even better.... was Re: Hip Blues Records Stores ... I enjoin Bluesellers to volunteer the e-mail and snailmail address, phone and fax nos. of these stores. That would be very valuable to all members of the list as well as our own personal blues friends/network not on the list (such as our fledgling Blues Society here in Manila). Somebody could compile a database (how about it, Joel?) and come up with a FAQ or something... ========================================================================= Date: Sun, 10 Mar 1996 16:50:02 PST Reply-To: "D. ALLEN SIMPSON" From: "D. ALLEN SIMPSON" Subject: Blues This Week on Networks Not much to recommend this week. The closest thing to blues is: Ray Charles, Letterman Show, Weds. 3/20. (Hey, can't go wrong, there!) Doug ========================================================================= Date: Sun, 10 Mar 1996 19:47:43 -0500 Reply-To: Niles Frantz From: Niles Frantz Organization: GNN Subject: Re: Favorite LIVE recordings Comments: To: bit-listserv-blues-l@uunet.uu.net In article L W wrote: >What are some of ya'lls favorite LIVE recordings (blues > only) That is a difficult question to answer. It certainly is hard to narrow it down to one or two (so I won't). I will, however, try not to be repetitive of other posts. - The two Antone's Anniversary Anthologies - Albert Collins' two live albums on Alligator - The Best of Mississippi John Hurt, Vanguard - Buddy Guy, Live at the Checkerboard Lounge, JSP - Albert King, Live Wire/Blues Power, MFSL CD - Magic Sam, Live, Delmark - Otis Rush, So Many Roads, Delmark - The two live Joe Louis Walker CDs on Hightone Niles A loop is a loop is a loop. ========================================================================= Date: Sun, 10 Mar 1996 18:51:33 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Re: Rooster Blues - recommendations wanted > : > Greetings Bluezellers! It seems like the local record store has greatly > : > expanded their blues section, and among other labels, they are now selling > : > cd's put out by the Rooster Blues label. These include Eddy Clearwater and > : > Willie Cobbs. So my question is this: what's your favorite Rooster blues > : > release, and what do you think of the two artists I just mentioned? > "Fistful of dollars" on Lonnie Shields' "Portrait" gotta be one of the funkiest blues songs. Great song. "Portrait" is a very good album, with its blues songs of much better quality than the Memphis sound-based soul/blues songs on it. Ranko ========================================================================= Date: Sun, 10 Mar 1996 19:54:02 -0500 Reply-To: "jose.eric.s.maglanque" From: "jose.eric.s.maglanque" Subject: Who knows FirstSearch text delivery? I just received a couple of e-mails from First Search Mail text delivery giving me an artist and track listing for Columbia's Hot Nuts & Lollypops, Good Time Blues, Legends of the Blues. This is obviously in response to a request/query I made on the List. Who was the person kind enough to forward these info? Please tell me how I can do it myself. The e-mail address given is oclc-fs @ oclc.org (First Search Mail)... I've attached one FirstSearch reply below. Thanks. - Delta Slim >>>>>>>>>> ___________________________________________________________________________________________________________________________________________________________________________________________________________________ To: jose eric s. maglanque cc: From: oclc-fs @ oclc.org (First Search Mail) @ internet Date: 03/08/96 07:02 PM Subject: FirstSearch text delivery ___________________________________________________________________________________________________________________________________________________________________________________________________________________ ------------------------------------------------------------ PLEASE DO NOT REPLY OR SEND MESSAGES TO THIS EMAIL ADDRESS. ------------------------------------------------------------ ACCESSION: 24576497 TITLE: Raunchy business hot nuts & lollypops. PLACE: New York : PUBLISHER: Columbia, YEAR: 1991 PUB TYPE: Recording FORMAT: 1 sound cassette : analog, 1 7/8 ips, Dolby processed. SERIES: Roots n' blues NOTES: Program notes on container insert. Parental advisory -- explicit lyrics. Sam-- the hot dog man (Lil Johnson) -- My stove's in good condition (Lil Johnson) -- Wipe it off (Lonnie Johnson) -- The best jockey in town (Lonnie Johnson) -- Shave 'em dry I (Lucille Bogan) -- Shave 'em dry II (Lucille Bogan) -- He's just my size (Lillie Mae Kirkman) -- If it don't fit (don't force it) (Barrel House Annie) -- Furniture man blues pt. 1 & pt. 2 (Lonnie Johnson/Victoria Spivey) -- My pencil won't write no more (Bo Carter) -- Banana in your fruit basket (Bo Carter) -- Get 'em from the peanut man (Hot nuts) (Lil Johnson) -- Get 'em from the peanut man (The new hot nuts) (Lil Johnson) -- Driving that thing (Mississippi Shieks) -- Bed spring poker (Mississippi Sheiks) -- Lollypop (Hunter and Jenkins) -- Meat cuttin' blues (Hunter and Jenkins) -- You got to give me some of it (Buddy Moss) -- Butcher shop blues (Bernice Edwards). Various performers. MUSIC NO: CT46783; Columbia SUBJECT: Blues (Music) Jazz vocals. ------------------------------------------------------------ Thanks for using FirstSearch. This e-mail account is only for distribution of FirstSearch documents. Please contact your librarian with comments or concerns. ------------------------------------------------------------ ========================================================================= Date: Sun, 10 Mar 1996 18:18:00 -0700 Reply-To: The Wiebes From: The Wiebes Subject: Jelly 292 Does any one know of a recording of Jelly 292, other than Hendrix. ========================================================================= Date: Sun, 10 Mar 1996 19:44:23 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: HOB can be lobbied In-Reply-To: <"Sun Mar 10 10:11:14 199600*/G=J.E./S=Downey/O=BMMOSCOW/PRMD=BMCK/ADMD=TELEMAIL/C=US/"@MHS> On Sun, 10 Mar 1996, J.E. Downey wrote: > Upon reading P.W. Fenton's report that > >> Disney recently secured an > >>equity investment in House of Blues, > > T-Bone groaned: > > >Well, then we can rest assured that the worst will happen. Shit, BILL > >GATES couldn't take on Disney. Game over, man. > > Well. That's too defeatist for sure. The former employees of Disney don't call it "Mauschwitz" for nothing. > I don't know about Gates, but > the good people of the greater Washington, D.C. area drove Disney out > of the region with it's Mickey Mouse tail between its legs when Disney > tried to turn the rolling Virginia countryside into a grotesque > carnival of pavement and singing George Washingtons. It was done with > sheer determination, nothing more. Uh, and the fact that some rather influential people in the local scene live in that area. I live in metro DC, and there was a lot of money and political clout (if you'll pardon the redundancy) fighting against Disney on that. > Even the supposed > champion-of-the-people, the Washington Post cozied up to Disney in one > of its most disgraceful forays (e.g., one Stephanie Mansfield wrote an > unforgiveable column mocking the opponents of these callous corporate > zillionaires). Don't trust any newspaper over thirty pages. The more I read of the Post (and that's daily), the less I believe it. > Yet the people prevailed, through sheer will and hard > work. And through power, money, and influence (which are, admittedly, intertwined). If Disney had tried to build the theme park in a place with a lower income population (like, say, where I live), there would have already been a groundbreaking ceremony on tv hosted by Katie Couric. > So, it can be done. I know it can be done. *IF* the HOB is going to buy the cabin and we intend to fight it (and you can count me in), then we have to know what we're up against. I do not intend to give up; that's not what this country's about. *IF* this rumor turns out to be true, I'll join in. (And I know a chink in Disney's armor that could be useful.) But it won't be easy. As a wise philosopher once said, "Don't fuck with the Mouse." T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Now, I don't want to offend women, some of whom are total babes." - Tony Kornheiser, "Pumping Irony" ========================================================================= Date: Sun, 10 Mar 1996 15:12:47 GMT Reply-To: "Lea A. Gilmore" From: "Lea A. Gilmore" Organization: Erols Internet Services Subject: e-mail madness & blues... Comments: To: bit-listserv-blues-l@uunet.uu.net Hello fellow zellers. Not trying to confuse anyone, but I have a completely new e-mail address (in addition to AOL). I don't understand this Eudora mail madness and am just generally lost. If anyone gets this e-mail system, drop me a line. I need the help... By the way, I just got an INCREDIBLE B.B. King CD. He is singing Gospel! It is called "Swing Low Sweet Chariot." Check it out. Lea Gilmore Baltimore, MD "Wild Women Don't Have the Blues!" ========================================================================= Date: Mon, 11 Mar 1996 01:05:30 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Muddy's Cabin: Some facts I was unable to reach Howard Stovall by phone but I was in Clarksdale over the weekend and these are the facts that I have gathered. If you don't like what you are reading, remember that I am only the messenger: The Stovall family and House Of Blues have reached an agreement for Muddy's Cabin to be LEASED for a period of five years. The building was damaged by a storm a few years ago and is now falling victim to termites, wood rot and the other rigors of age. It is apparent that the structure will not last more than another few years without major renovation. HOB will pay the full costs of restoring the building and will then have the right to take it out of Coahoma County and tour it for the five year period. A marker of some type will be placed at the present location of the cabin explaining its absence and making sure that visitors know that it will be returned. The Stovall Family will received $100,000, in five annual payments of $20,000. The family is bypassing any personal compensation and the money is being gifted to the Sunflower Blues Festival with all of this amount being used for increased talent budget and insure that the festival continues its national visibility. If you are unhappy with the thought of Muddy's Cabin showing up in Hollywood with Dan Ackroyd on hand, get used to the idea because it is going to happen. The fact of the matter is that a crumbling and collapsing old building is going to be renovated and restored by a corporate entity. In exchange, this business gets the loan of the building for a five year period before returning it to its present location, much better able to withstand the Delta weather conditions. I don't see this as winner/loser situation. We could not expect the Stovall family to become art patrons and pay restoration costs out of their own pocket. If some of you find it distasteful and repugnant that Muddy's Cabin is going on tour to promote a chain of music clubs, this would appear to be a decision that each of you will make individually. Dick Waterman ========================================================================= Date: Mon, 11 Mar 1996 05:57:07 GMT Reply-To: Ron From: Ron Organization: WT.net Subject: (no subject) Comments: To: bit-listserv-blues-l@uunet.uu.net -- "THE KINGS OF BAYOU SOUL" Please review our new homepage site. Now with sights & sounds! If you could provide a link we would appreciate it. The address is: http://web.wt.net/~gnote/lol2.htm Thanks Ron Please e-mail back with your homepage address if we can provide a link. ========================================================================= Date: Mon, 11 Mar 1996 01:56:47 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Record Stores, Aging songs: summaries. Here's the summary of hip blues record stores. If the senders will supply address and phone info I will save, compile and repost it. Summary of blues songs on aging follows record store list. Good lists, thanks to all who contributed. Joel Joe's Record Paradise, Montgomery County, Maryland Phantasmagoria, Montgomery County, Maryland Car City Records, Grosse Pointe, Michigan Jazz Record Mart, Chicago, Illinois Village Music, Mill Valley, California Lamarr's, Long Beach, California Stackhouse Records, Clarksdale, Mississippi Ikey's, Holly Springs, Mississippi Uncle Buck's On The Square, Oxford, Mississippi Shangri La Records, Memphis, Tennessee Poplar Tunes, Poplar @ Danny Thomas Blvd. Memphis, Tennessee Louisiana Music Factory, New Orleans, Louisiana Kops Kollectibles, Toronto, Canada Vintage Vinyl, 6610 Delmar, St. Louis, Missouri 63110 (314) 721-4096 Bubba's Wine Corner, Helena, Arkansas Tower Records, New Orleans, Louisiana Pluto Records, Utrecht, Holland Boogie, 61 rue Louise Michel, 92300 Levallois-Perret, Paris, France Down Home Music El Cerrito, California Silver Platters, Seattle, Washington (chain) Mole Jazz, London, England Virgin Record Store, Oxford Street, London, England Decoy Records, Manchester, England World of Music, Frankfort, Germany ??, Cologne, Germany Record Town, Fort Worth, Texas forever Young, Arlington & Irving, Texas Collectors Records, Dallas, Texas Mr. Blues Records, Dallas, Texas Music Mania, Austin, Texas Waterloo, Austin, Texas Antone's Record Store, Austin, Texas MusicMania, Austin, Texas Blues Songs about aging Young Fashion Ways--Muddy Waters The Old Folks Started It--Memphis Jug Band Too Old To Think--Rice Miller Old Age Boogie--Roy Brown Grandpa Stole My Baby--Roy Brown 63 Year Old Mama--Koko Taylor Old Folks Boogie--The Boys From Fresno Old And Gray--Howlin' Wolf--Memphis Days--Bear Family Robert Pete Williams: Almost Dead Blues, I've Grown So Ugly, Death Blues-- Prestige Bluesville Doctor Blues, Talkin' Blues--Blues Masters--Storyville Talkin' Blues--Angola Prisoner's Blues--Arhoolie Death Comes Creepin' In Your Room, I Want To Die Easy--When A Man Takes The Blues--Arhoolie Skip James: Washington D.C. Hospital Center Blues--Live--Document Someday You Gotta Die--ibid Sickbed Blues--Devil Got My Woman--Vanguard Too Old To Think--SonnyBoy Williamson II Getting Older Every Day--Big Bill Broonzy Pension Blues--duskey Dailey Get Away Old Woman--Jazz Gillum I Feel That Old Age Comin' On--Wynonie Harris Gettin' Old Blues--Johnny Temple Dear Old Daddy--Leadbelly Granpa Can't Fly His Kite 'Cause Granma Won't Give Him No Tail--Clarence Carter Past Sixty Blues--Eddie Vinson Nobody Wants You When You're Old & Gray--Travis Haddix All Night Long--Larry Garner ========================================================================= Date: Sun, 10 Mar 1996 23:18:36 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: Re: Muddy's Cabin: Some facts Comments: To: Jinxblues@AOL.COM Dick Waterman wrote, in part: > The fact of the matter is that a crumbling and collapsing old building is > going to be renovated and restored by a corporate entity. In exchange, this > business gets the loan of the building for a five year period before > returning it to its present location, much better able to withstand the Delta > weather conditions. > I don't see this as winner/loser situation. We could not expect the Stovall > family to become art patrons and pay restoration costs out of their own > pocket. If some of you find it distasteful and repugnant that Muddy's Cabin > is going on tour to promote a chain of music clubs, this would appear to be a > decision that each of you will make individually. > > Dick Waterman It could be a lot worse. Stan -- Stan Ruffo Productions http://www.valleynet.com/~steamin ========================================================================= Date: Sun, 10 Mar 1996 23:38:32 -0800 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Taj M. Phantom I just picked Taj Mahals new Phantom Blue Cd, and I must say I am impressed. Taj is Kicking down some nice playin, along with some even better singing. I didn't think that his last couple of records were worth getting but when I demoed this one in the store I was blown away. Next to De Ole Folks At Home, album I think this could be some of his best recorded work. The recording has Clapton and Raitt as guests and They both provide exceptional performances, Even though I am not to into Eric he does play well on these tunes. Lovin' in my baby's eyes, is played exceptionally well, with 12 string and Dobro. Unfortunately this is the only dobro on the record. LOVE HER WITH A FEELING, is a keeper even if Clapton is playing on it. Over all this is a really cookin Record, Check it out Y'all/ Isaac ========================================================================= Date: Mon, 11 Mar 1996 02:30:15 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Re: John Hammond Comments: To: bit-listserv-blues-l@uunet.uu.net In article <4go10k$nie@usenetw1.news.prodigy.com>, George Myers writes: >John is out on tour with the Duke Robillard Band. >One tour stop will be at the Grand Emporium in KC 3/23. > > Both tour dates are on the Rosebud Agency web pages and Musi-Cal. I had been told John Hammond recently did a show with G Love in NYC, did anyone see it? Catbauer@vivanet.com ========================================================================= Date: Mon, 11 Mar 1996 00:06:38 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: BOT Playlist 3/10/96 Comments: To: smpotato@aus.computize.com, Blucebird@aol.com, codeblueus@aol.com, daveb@oboe.rounder.com, bluesjazz@aol.com, aqm@earthlink.net, Harp-L@garply.com, Blacktnola@aol.com, JM1370@aol.com, wpc@netcom.com, shayq@banjo.rounder.com, blues@tiac.net, VentRec@aol.com Stan Ruffo Productions 800 N. Ben Maddox Way - Suite 2200 - Visalia, CA 93292 vox/fax (209) 625-6049 - email, steamin@valleynet.com http://www.valleynet.com/~steamin "Blues On Tap" every Sunday at 8pm Subject: Playlist 1096 - Commercial Radio Date: Mar. 10, 1996 8pm -10pm Station: KI00 99.7fm (K-eye-oh-oh), Visalia CA Program: "Blues On Tap" with Steamin' Stan Ruffo Artist Title Label Track Tommy Castro Exception To The Rule Blind Pig 9 Dicky Williams Full Grown Man Icbian 8 Don McMinn Pain Killer Blues Icehouse 2 John Primer The Real Deal Code Blue 2 Camille Howard X-Temporaneous Boogie Specialty 23 Reverend Billy C. Wirtz Song Of Faith and InflamHightone 15 Brint Anderson Homage To Elmore Tomato 17 Reunion Blues Band Back Home To Clarksdale Icehouse 1-10 Little Richard Shag On Down... Specialty 7 Luther Allison The Motown Years 72-76 Motown 1 Mark Sallings Let It Be Known Vent 3 Various Booze & The Blues Columbia/Legacy 9 Sonny Rhodes Out Of Control King Snake 7 Saffire Old,New,Borrowed & Blue Alligator 13 Greg Piccolo Acid Blue Fantasy 1 Howlin' Wolf Chicago Blue Tomato 3 Elmore James 20 Greatest Hits Blue City 9 Taj Mahal Phantom Blues Private Music 7 Various Blues Masters Vol 1 Rhino 1 Long John Hunter Border Town Legend Alligator 7 Slim Harpo The Scratch Excello 1 The Movers Love My Baby Independent 3 The Movers Love My Baby Independent 4 The Bruce Brothers Band Little Hound Blues Blueshound 2 Emmett Miller The Minstrel Man From GAColumbia/Legacy 6 Lightn' Hopkins Los Angeles Blues Rhino 3 Paul Rishell Swear To Tell The Truth Tone - Cool 12 Rod Piazza Blues In The Dark Black Top 11 "Blues On Tap" reports to The Hard Report and Living Blues http://www.valleynet.com/~steamin/bot.html -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 ========================================================================= Date: Mon, 11 Mar 1996 09:20:00 GMT Reply-To: Mr G M Smith From: Mr G M Smith Subject: Ageing Blues Try "Look At Granny Run-Run" by Howard Tate,also performed by Ry Cooder on "Bop 'Til You Drop". Yours, Garry Smith (who's glad the Druids didn't play Blues,or HOB'd be bidding for Stonehenge) ========================================================================= Date: Mon, 11 Mar 1996 11:41:02 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Lefty & others in Gothenburg Comments: To: Curtis Hewston Lets Go to the great gallery of pictures taken in Gothenburg by Torsten Stahlberg. It brings back found memories of those vibrant, soulfull years when Gothenburgs Blues Society was in full swing. Many great memories for me and, I think, everybody active during the years when the dollar was cheap, time was plenty and the music was everything. This was my musical schooling! And I learned a lot of other stuffs too. Join me on memory lane! Mr Bo here it is: http://www.vivanet.com/~blues/gallery4.html ========================================================================= Date: Mon, 11 Mar 1996 12:35:48 +0100 Reply-To: BIBGA@HHS.SE From: Gorgen Antonsson Subject: Re: Carl Martin Just so no one buys BOTH the Document CD with Carl Martin's prewar output, as recommended by Chris Smith, AND the Wolf set, recommended by Young Barry of N.Y. - they include the SAME recordings. The Document is the one to get, IMO. Gorgen Antonsson ========================================================================= Date: Mon, 11 Mar 1996 07:30:54 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Muddy's Cabin: Some facts Comments: To: Jinxblues@aol.com On 11 Mar 96, Jinxblues@aol.com had this to say... > The Stovall family and House Of Blues have reached an agreement for Muddy's > Cabin to be LEASED for a period of five years. The building was damaged by a > storm a few years ago and is now falling victim to termites, wood rot and the > other rigors of age. It is apparent that the structure will not last more > than another few years without major renovation. > HOB will pay the full costs of restoring the building and will then have the > right to take it out of Coahoma County and tour it for the five year period. > A marker of some type will be placed at the present location of the cabin > explaining its absence and making sure that visitors know that it will be > returned. > Dick Waterman While a traveling cabin is a pretty tacky idea, the restoration and return, along with the Sunflower Festival getting a nice piece of change is a fine idea. I'm down with it. You'll hear no more bellyaching from me. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 11 Mar 1996 08:18:05 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Charly a no-no? Bengans wrote: > et very confused, (yet not surprised,) hearing from various sources in > the U.S. that Charly is a rip-off label. I work for a Bengna s Records in > Gothenburg, Sweden, and over the years I ve bought tons of CD:s from Charly > Records, > I ve never heard anyone working in this business in Europe bringing this > issue to the surface. One of the difficulties, as I understand it, is that copyright laws in the EC are pretty lax in this area. Some countries, at least, allow production of large numbers of CDs which would be called bootleg in North America. > 2. How can they continue reissuing old recordings if the business is aware > of the above "U.S. facts". It takes a lot of money to fight a cvopyright case in court. The record labels have the money, but the material Charly issues has not, in the past, been viewed as worth protecting by the labels. So the artists and writers, who should get royalties, are the victims. This is changing as the big labels see opportunities to sell the old music -- thus the successful MCA suit against Charly. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Mon, 11 Mar 1996 08:10:35 -0500 Reply-To: Meadors From: Meadors Subject: House of Boos Comments: To: Jinxblues@AOL.COM It IS distasteful that the cabin will be used for crass commercialistic purposes; on the other hand, it's great that it will be restored. I think, though, that's it's too bad that HOB didn't simply restore the cabin out of respect/community service in the first place, without taking some kind of commercial advantage of the situation. This was, no doubt, a decision made by some marketing people who haven't grown up listening to Muddy Waters and think that this is a swell idea. Dan Ackroyrd, Aerosmith, and the other investors should be ashamed of themselves allowing this to happen. They obviously care little about Muddy Waters or blues music, for that matter. There is something to be said for preserving the dignity of such sites that Ackroyrd and his friends just don't seem to understand. Very disappointing. Mike Meadors Orange3@gnn.com ========================================================================= Date: Mon, 11 Mar 1996 07:38:57 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Billboard blues chart for week of March 16, 1996 Comments: To: Mary Katherine Aldin In-Reply-To: <199603092038.MAA06193@frisbee.beachnet.com> On Sat, 9 Mar 1996, Mary Katherine Aldin wrote: > Here is the Billboard magazine blues chart for the week of March 16, 1996. > * = new on chart this week > > 3. Phantom Blues/Taj Mahal * I saw this in the local Blockbastard and was wondering if anyone has heard it yet. Looked pretty good, but I don't have any Taj yet... -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / Reuben Stewart \ / February 19, 1996 \( Rest in peace, Mr. S. ========================================================================= Date: Mon, 11 Mar 1996 09:08:02 -0500 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: Who knows FirstSearch text delivery? Comments: To: "jose.eric.s.maglanque" In-Reply-To: <9603110055.AA2985@CServe-Hub4.inhouse.compuserve.com> Jose, FirstSearch is a product of OCLC, a major database in libraryland. Call your largest library and ask if they have FirstSearch. Your librarian can teach you how to use it. Peace, nitra On Sun, 10 Mar 1996, jose.eric.s.maglanque wrote: > I just received a couple of e-mails from First Search Mail text delivery giving > me an artist and track listing for Columbia's Hot Nuts & Lollypops, Good Time > Blues, Legends of the Blues. This is obviously in response to a request/query > I made on the List. > > Who was the person kind enough to forward these info? Please tell me how I can > do it myself. The e-mail address given is oclc-fs @ oclc.org (First Search > Mail)... I've attached one FirstSearch reply below. > > Thanks. > > - Delta Slim > > >>>>>>>>>> > ___________________________________________________________________________________________________________________________________________________________________________________________________________________ > To: jose eric s. maglanque > cc: > From: oclc-fs @ oclc.org (First Search Mail) @ internet > Date: 03/08/96 07:02 PM > Subject: FirstSearch text delivery > ___________________________________________________________________________________________________________________________________________________________________________________________________________________ > > ------------------------------------------------------------ > PLEASE DO NOT REPLY OR SEND MESSAGES TO THIS EMAIL ADDRESS. > ------------------------------------------------------------ > > ACCESSION: 24576497 > TITLE: Raunchy business > hot nuts & lollypops. > PLACE: New York : > PUBLISHER: Columbia, > YEAR: 1991 > PUB TYPE: Recording > FORMAT: 1 sound cassette : analog, 1 7/8 ips, Dolby processed. > SERIES: Roots n' blues > NOTES: Program notes on container insert. > Parental advisory -- explicit lyrics. > Sam-- the hot dog man (Lil Johnson) -- My stove's in good > condition (Lil Johnson) -- Wipe it off (Lonnie Johnson) -- The > best jockey in town (Lonnie Johnson) -- Shave 'em dry I (Lucille > Bogan) -- Shave 'em dry II (Lucille Bogan) -- He's just my size > (Lillie Mae Kirkman) -- If it don't fit (don't force it) (Barrel > House Annie) -- Furniture man blues pt. 1 & pt. 2 (Lonnie > Johnson/Victoria Spivey) -- My pencil won't write no more (Bo > Carter) -- Banana in your fruit basket (Bo Carter) -- Get 'em > from the peanut man (Hot nuts) (Lil Johnson) -- Get 'em from the > peanut man (The new hot nuts) (Lil Johnson) -- Driving that thing > (Mississippi Shieks) -- Bed spring poker (Mississippi Sheiks) -- > Lollypop (Hunter and Jenkins) -- Meat cuttin' blues (Hunter and > Jenkins) -- You got to give me some of it (Buddy Moss) -- Butcher > shop blues (Bernice Edwards). > Various performers. > MUSIC NO: CT46783; Columbia > SUBJECT: Blues (Music) > Jazz vocals. > > > ------------------------------------------------------------ > Thanks for using FirstSearch. > This e-mail account is only for distribution of FirstSearch documents. > Please contact your librarian with comments or concerns. > ------------------------------------------------------------ > ========================================================================= Date: Mon, 11 Mar 1996 09:37:41 -0600 Reply-To: Art Schuna From: Art Schuna Subject: Two For The Blues 3/9/96 --=====================_826587461==_ Content-Type: text/plain; charset="us-ascii" Well, as I feared when my newsgroup reader at home only sent 5 lines, the playlist for my 1952 Memphis radio tribute did not arrive. I know the reader I'm using here will send the attachment, so here's another stab at it. For those who missed the first post, this was a radio show broadcast last Saturday on WORT, Bonnie Kalmbach's show. The theme was Memphis and an attempt to recreate the music Dewey Phillips might have played on his show, Red Hot & Blue. Most of the tunes were released in 1952, give or take a few months. I also included a segment in tribute to Memphis pre-war artists. I ran out of time to include most of a section I had planned for the 1960's Memphis blues rediscovery period. Maybe another time.... Art Schuna --=====================_826587461==_ Content-Type: text/plain; charset="us-ascii" Content-Disposition: attachment; filename="PLAYLST3.96" PLAYLIST FOR "TWO FOR THE BLUES" 3/9/96 This is the play list for the above radio show with artist/song title/source. The Dewey piece is an aircheck from Memphis radio station, WHBG. The 1952 set is an attempt to recreate a playlist that Dewey might have used from recordings released that year. Intro Pete "Guitar" Lewis-Raggedy Blues/Scratchin'/Charly 268 1. Dewey Phillips radio segment - 1952 -Piano Red - Dig That Boogie -Amos Milburn - Put Something in My Hand -Rosco Gordon - No More Doggin' -Lowell Fulsom - Mean Old Lonesome Song >From Red Hot & Blue - Memphis Archives (MA7016 1952 set (I cheated plus or minus 6 months but for the most part these are tunes released in '52) Memphis Recording Services set 2. Jackie Brenston - Rocket 88 3. Billy Love - Juiced 4. Rosco Gordon - Booted >From Chess Rhythm & Roll Disc 1 (CHD4-9352) 5. Howlin' Wolf - The Wolf Is At Your Door/Memphis Days Vol. 2, Bear Family (BCD15500) 6. B.B. King - My Own Fault/Crown LP (CLP5188) Set 3 7. Mr. Sad Head - Sad Head Blues /Rock 'N' Roll Party, Vol. 1/RCA (9773-2-R) 8. Big Maybelle - Gabbin' Blues/Complete Okeh Sessions 1952-55 Epic/Okeh/Legacy (EK53417) 9. Wynonie Harris - Lovin' Machine/Bloodshot Eyes-Best of/Rhino (R2 71544) 10. Woo Woo Moore - Five Long Letters/Mercury 45 (70204-X45) 11. Louis Jordan - Slow Down/Let The Good Times Roll/Bear Family (BCD15557-7) Set 4 12. Floyd Dixon - Operator 210/The Aladdin Record Story/EMI (E2 30883) 13. Dinah Washington - TV Is The Thing/Complete Dinah Washington on Mercury Vol. 3/Mercury (834 675-2) 14. Amos Milburn - Roll Mr. Jelly/Complete Aladdin Amos Milburn/Mosaic (MD7-155) 15. Little Esther - Aged And Mellow/Better Beware/Charly (248) 16. Smiley Lewis - Lilly Mae/Shame, Shame, Shame/Bear Family (BCD15745) Set 5 17. Sonny Boy Williamson - Do It If You Wanna/King Biscuit Time/Arhoolie (310) 18. Willie Love - V-8 Ford/Clownin' With The World/Acoustic Archive but I think this is now on Alligator 19. Willie Mabon - I Don't Know/The Seventh Son/Charly(CDBM44) 20. Eddie Boyd - Five Long Years/Chicago Piano 1951-58/Paula (PCD15) 21. Roy Milton - Night and Day (I Miss You So)/Roy Milton & His Solid Senders/Specialty (SPCD7004) MEMPHIS ARTISTS TRIBUTE Set 6 22. Memphis Jug Band - Memphis Jug-Blues/Document (DOCD5021) 23. Memphis Minnie & Kansas City Joe -Bumble Bee/Document (DOCD5028) 24. Robert Wilkins - Rolling Stone Part 1/Document (DOCD5014) 25. Furry Lewis - Kassie Jones Part 1/In His Prime/Yazoo (1050) 26. Frank Stokes - Memphis Rounder Blues/Creator of the Memphis Blues/Yazoo (1056) 27. Sonny Boy Nelson - Tony Blues/Memphis Blues Caravan Vol.1 /Memphis Archives (MA7008) Outro Albert King - Look Out/Live Wire/Blues Power/Stax (SCD4128) --=====================_826587461==_-- ========================================================================= Date: Mon, 11 Mar 1996 09:12:36 -0500 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: HOB can be lobbied Comments: To: T-Bone In-Reply-To: TBone, Excuse my lack of knowledge, but what is 'Mauschwitz" nitra On Sun, 10 Mar 1996, T-Bone wrote: > On Sun, 10 Mar 1996, J.E. Downey wrote: > > Upon reading P.W. Fenton's report that > > >> Disney recently secured an > > >>equity investment in House of Blues, > > > > T-Bone groaned: > > > > >Well, then we can rest assured that the worst will happen. Shit, BILL > > >GATES couldn't take on Disney. Game over, man. > > > > Well. That's too defeatist for sure. > > The former employees of Disney don't call it "Mauschwitz" for nothing. > > > I don't know about Gates, but > > the good people of the greater Washington, D.C. area drove Disney out > > of the region with it's Mickey Mouse tail between its legs when Disney > > tried to turn the rolling Virginia countryside into a grotesque > > carnival of pavement and singing George Washingtons. It was done with > > sheer determination, nothing more. > > Uh, and the fact that some rather influential people in the local scene > live in that area. I live in metro DC, and there was a lot of money and > political clout (if you'll pardon the redundancy) fighting against Disney > on that. > > > Even the supposed > > champion-of-the-people, the Washington Post cozied up to Disney in one > > of its most disgraceful forays (e.g., one Stephanie Mansfield wrote an > > unforgiveable column mocking the opponents of these callous corporate > > zillionaires). > > Don't trust any newspaper over thirty pages. The more I read of the Post > (and that's daily), the less I believe it. > > > Yet the people prevailed, through sheer will and hard > > work. > > And through power, money, and influence (which are, admittedly, > intertwined). If Disney had tried to build the theme park in a place with > a lower income population (like, say, where I live), there would have > already been a groundbreaking ceremony on tv hosted by Katie Couric. > > > So, it can be done. > > I know it can be done. *IF* the HOB is going to buy the cabin and we > intend to fight it (and you can count me in), then we have to know what > we're up against. I do not intend to give up; that's not what this > country's about. *IF* this rumor turns out to be true, I'll join in. (And > I know a chink in Disney's armor that could be useful.) But it won't be > easy. As a wise philosopher once said, "Don't fuck with the Mouse." > > T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) > "Now, I don't want to offend women, some of whom are total babes." > - Tony Kornheiser, "Pumping Irony" > ========================================================================= Date: Mon, 11 Mar 1996 09:07:10 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Ageing Blues Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com "I Feel That Old Age Coming On" by Winonie Harris. ========================================================================= Date: Mon, 11 Mar 1996 09:18:20 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Re: Record Stores, Aging songs: summaries. Comments: To: joelslot@inlink.com In-Reply-To: <199603110638.AAA00414@thor.inlink.com> from "Joel Slotnikoff" at Mar 11, 96 01:56:47 am In another time and place, Joel Slotnikoff said: > > > Blues Songs about aging > > Young Fashion Ways--Muddy Waters Joel, here are some others that I din't see on your list Group Title Year Label -------------------- -------------------- ---- --------- Curtis, Mac Grandaddy's Rockin King Gates, Rev J M Death's Black Train RCA Is Coming Harris, Wynonie Grandma Plays the 49 Numbers Hunter, Ivory Joe Old Man's Boogie 50 Route 66 Ink Spots Don't Let Old Age 37 Creep Up On You Jordan, Louis Jack You're Dead 46 Jordan, Louis Don't Burn the 47 Candle at Both Ends Jordan, Louis Stone Cold Dead in 45 MCA the Market Kenner, Chris Grandma's House 55 Little Esther Aged and Mellow 52 Blues Radcilff, Bobby There's A Cold Grave 94 Black Top In Your Way Saffire Middle Aged Blues Alligator Stevenson, George Meet Me At Grandma's 54 Joint Taylor, Koko 63 Year Old Mama 93 Vinson, Eddie Old Maid Boogie 46 Verve Wilson, Roma Death Ain't Nothing Arhoolie But A Thief and a Robber Tom `'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`' http://redlt.com/tom/ -- Home of Jazz Roots & Record Companies on the Web Free-lance Writer--Author--Program Director WTJU 91.1--Internet Consultant ========================================================================= Date: Mon, 11 Mar 1996 09:34:33 -0500 Reply-To: "M. B. Ober" From: "M. B. Ober" Subject: Re: Ageing Blues Middle Aged Blues Boogie Saffire ========================================================================= Date: Mon, 11 Mar 1996 06:43:31 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Muddy's Cabin: Some facts Dick Waterman wrote the following: >The Stovall family and House Of Blues have reached an agreement for Muddy's Cabin to be LEASED for a period of five years. The building was damaged by a storm a few years ago and is now falling victim to termites, wood rot and the other rigors of age. It is apparent that the structure will not last more than another few years without major renovation. >HOB will pay the full costs of restoring the building and will then have the right to take it out of Coahoma County and tour it for the five year period. A marker of some type will be placed at the present location of the cabin explaining its absence and making sure that visitors know that it will be returned. The Stovall Family will received $100,000, in five annual payments of $20,000. The family is bypassing any personal compensation and the money is being gifted to the Sunflower Blues Festival with all of this amount being used for increased talent budget and insure that the festival continues its national visibility. And i reply: Well, folks, this doesn't sound too bad to me! Sounds great as a matter of fact. I'm no big fan of HOB (when I was in L.A. the headliner was famed blues songstress Jody Watley), but here's a case of a corporation taking some initiative to save a historic landmark when the parks and other govt. organizations were probably out somewhere buying $500.00 toilets. Say what you will about dragging this thing all over the countryside (to me, to see a restored cabin ripped out of it's context would be practically meaningless anyway, as far as that goes), but this is going to save the cabin, and kudos to them. -Jim (hndful@uniserve.com) (Also demonstrates the dangers of reacting before all the facts are known...) ========================================================================= Date: Mon, 11 Mar 1996 11:41:05 -0300 Reply-To: Leonardo Kenji Shikida From: Leonardo Kenji Shikida Subject: Robert Cray in Belo Horizonte, Brazil It was Saturday, 9. I went there to see a nice show, i payed about US$ 25 too see the worst blues show of my life. Excuse me Cray fans, but he plays like a robot. No jams, no feeling, no fun at all. I expected much more . Kenji ========================================================================= Date: Mon, 11 Mar 1996 08:42:57 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Robert Cray in Belo Horizonte, Brazil In-Reply-To: Message of Mon, 11 Mar 1996 11:41:05 -0300 from On Mon, 11 Mar 1996 11:41:05 -0300 Leonardo Kenji Shikida said: >It was Saturday, 9. I went there to see a nice show, i payed about US$ 25 too >see the worst blues show of my life. Excuse me Cray fans, but he plays like a >robot. No jams, no feeling, no fun at all. I expected much more . Sounds like his recent recordings to ME...IMHO. What did you expect lots of fire and intensity.....WHY IMHO no offense to Cray fans LW ========================================================================= Date: Mon, 11 Mar 1996 09:03:07 -0600 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: ANTONE's > Hi folks... > any idea about ANTONE's in Austin > and the role it has played in bringing BLUES to the > fore... I can't really say what impact Antone's has had on the Blues for the rest the country, but its had a tremendous impact here in Austin. The list of performers over the past 20 years is a Who's Who of the Blues world. And Clifford Antone has kept the club open because he has a deep love of the Blues (this is not a money making operation). Bruce Roberts Austin, TX ========================================================================= Date: Mon, 11 Mar 1996 09:14:32 -0600 Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: Re: Houston - Photos & Jam The exhibit is part of Photo Fest and should stay for 1 month. However, the interest and attendance was so great that it might be extended till April. Nuri Nuri, Host/Producer "Blues Brunch", KPFT 90.1FM-Houston >Thursday March 07 here in Houston, the Houston Blues Society co-sponsored >the opening of the photo exhibit "The Blues Is A Feeling" by noted >photographer James Fraher. Music was provided by the great Texas Pete Mayes >& the House Rockers. Many of Houston's Blues greats were in >attendance...Joe "Guitar" Hughes, Texas Johnny Brown, Grady Gaines, Carol >Fran and Clarence Holloman, Jimmy "T-99" Nelson, Milton Hopkins, Big Roger >Collins, Walter "Big Thunderbird" Price, Jerry Lightfoot, Kinny Adair, Big >Robert Smith, on and on... Needless to say, it turned into one big jam session. > >Not sure how long the photo exhibit is going on, but if you're in Houston >drop by Butera's (4621 Montrose) and check it out. > >Reg Burns >+++++++++++++++++++++++++++++++++++++++++++++++++ >+ I'll listen to reason when it comes out on CD + >+ + >+ bolt@neosoft.com + >+++++++++++++++++++++++++++++++++++++++++++++++++ > > ========================================================================= Date: Mon, 11 Mar 1996 09:28:30 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: $$$ making blues clubs Someone mentioned that Antones was not a money making blues club, I don't think I've ever heard of a "legit" blues club being a money making venue. I'm sure there are some, can you name some. I can't LW ========================================================================= Date: Mon, 11 Mar 1996 10:33:36 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: A coupla SRV questions for yas. Two things: I woke up this morning to my classic rock station (WZLX Boston) playing some acoustic SRV that I've never heard. It was "Pride And Joy" and Stevie was unaccompanied and playing an acoustic 12 string. It was superb. Where is this from and is this acoustic SRV on cd anywhere? Second, someone said to me the other day that SRV is "mulatto", ie a white parent and a black parent. I had never heard this before, and Stevie and Jimmie sure don't look it. This guy was adamant about it though. Can you knowledgable Blues-lers help me out here? tanx, Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Mon, 11 Mar 1996 10:26:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM Comments: cc: PKYVKY@aol.com From: "J.E. Downey" Subject: Re: HOB/Muddy Cabin: SUGGESTIONS jperry wrote, and others have indicated: >>Let's see what HOB has in mind, and then overreact. IMHO, this is a true case of he-who-hesitates-is-lost. As Tom Freeland has pointed out, any purchaser would be delighted for the public to "wait and see". Then, the deal goes through, and the only thing to discuss is how it was a shame and all, and oh, does anybody have the Sports Page? Mary Katherine already confirmed that the negotiations are underway. Incidentally, any further talk about restraining "rumors" at this point IMHO would be self-destructive, extremely naive, and a wonderful gift to the purchaser. I would compare it to someone heading to court to face an eviction proceeding saying to themselves, aw shucks, I could get a lawyer, but why should I presume that the landlord really wants me out? Why rush to judge the landlord without ALL the facts? I'll just see how it goes, that would be more polite. On the other hand, it is quite true that we need all the facts we can get. And finally, we should not consider trusting anyone at HOB to give them to us, although there is no harm in finding out what they have to say. jperry continued: >>But I think >>that we cover a lot of ground worldwide on this list, and I think >>that we could generate a lot of interest in helping to keep the >>cabin in the Delta, gimmick-free. I definitely agree. In reply to jperry, Tom Freeland had a lot of thoughtful things to say, including: >The problem with waiting for HOB to act is that they aren't about to >publicize the process of acquiring the cabin. They do not want the >public to participate in the process of deciding what they are going >to do... Having the public participate in the process IMHO is the last thing in the world HOB would wish to do. Their interest is to provide the world with a fait-accompli, with no public discussion whatsoever. Tom continued: >If we want to influence the process, we had better act NOW. I strongly agree! >I have talked to a couple of folks in the local >blues community, and am continuing to follow this. It would seem to >me that: (1) Someone should contact the delta blues museum to find >out if they are taking a position on this or staying out of it. If >they are unwilling to take a position it is going to be difficult to >find an appropriate alternative site and that issue will have to be >faced. Further, any serious effort to set up an alternative has to >involve an established institution for both credibility reasons and >fund raising reasons. Put simply, without the Blues Museum or >something quite like it, this would be very very hard. (2) The only >real hope is to shame the HOB out of doing the wrong thing. They >have to be very public-relations oriented because of the kind of >business they are in. They obviously don't care a lot about the >blues community itself, but perhaps enough of a stink could be >created to cause ripples outside this community. I have already >contacted folks I know in the blues press; i'm thinking about other >angles. To shame HOB we have to act to bring this to public >attention *before* they are commited to a course of action. One >problem here is that the HOB's money runs long and deep in >advertising and contributions all over the place, and some obvious >voices of protest could be silenced by HOB's cash. (3) One issue that this seems to clearly involve but that I am not sure how to raise >is the co-option of a part of black culture by House of Blues. They >are buying a chunk of black history and culture about which they have >nothing to do and making it part of a commercial of some sort. This >is not unlike their fake juke joints, but at least for the tin on the >juke they tore down a cotton gin no one cared about. Tom's above words are all very thoughtful and well-reasoned. We should also focus on broadening the opposition. Would, say, Bonnie Raitt have a position on whether HOB should tear up Muddy's Cabin and turn it into a carnival prop? How about that bearded guy (what's his name again?) who recorded From The Cradle? (I think he was English or something.) Would he have a view, and maybe some of his friends? Or I don't know, would B.B. King wanna thing the thing desecrated? If we formed an organization, would someone like this serve on it? I don't know much about Mississippi, but any enlightened governor should have interest in such a thing. If managed correctly, the property should have tourist appeal. What does the Mississippi Congressional delegation think? Any chance of turning the site into a park? Will Mississippi willingly throw away a cultural treasure? Will the Delta Blues Museum not take a principled stand (i.e., can they be bought off with some disgusting "contribution" by the usurper)? Finally, if HOB is hell-bent on buying it and no other solution is found, HOB should not move it, but preserve it in a dignified way. They can still tout the fact that they did that, and for heaven's sake they could move a model from club to club if they were so inclined. They could announce, with justified pride, that they restored the original, and to please visit same when in Mississippi. Speaking of credibility, I wonder what ours is like, and whether we shouldn't have a formal name like "International Society for the Advancement of the Blues", some such. Just an idea, because maybe it would sound better than "we're on this list". Who's gonna make these phone calls, BTW? I'll be happy to call or fax from this snowy capital if it helps, just lemme know. It seems to me someone should probably be to some extent "in charge" of this effort, though, and I am afraid it cannot be me. Don't lose heart, my good Bluezellers! Sometimes nothing is a pretty cool hand. BLUE JOE IN RED RUSSIA J.E._Downey@bakermck.com ("all of the above just MHO") ========================================================================= Date: Mon, 11 Mar 1996 09:34:27 CST Reply-To: JBards From: JBards Subject: Re: Robert Cray in Belo Horizonte, Brazil Comments: To: Leonardo Kenji Shikida I don't know what it is about Cray, he seem sto run very hot and cold. I've seen play masterful sets, having the audience in the palm of his hand, and other times he seems to be quite flat. Go figgure... -Jim _______________________________________________________________________________ Subject: Robert Cray in Belo Horizonte, Brazil From: Leonardo Kenji Shikida at INTERNET-SH Date: 03/11/96 9:27 AM It was Saturday, 9. I went there to see a nice show, i payed about US$ 25 too see the worst blues show of my life. Excuse me Cray fans, but he plays like a robot. No jams, no feeling, no fun at all. I expected much more . Kenji ========================================================================= Date: Mon, 11 Mar 1996 07:35:33 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Mar. 12 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ANDREWS, RUDY [RUDY STACKHOUSE] (v) b. 1947-0312, HOLLANDALE, MS CHESS, LEONARD S.(prod/founder:CHESS REC) b. 1917-0312, MOTOL, POLAND CLEVELAND, ANDREW W. (prod/MOTOWN) b. 1930-0312, PITTSBURGH, PA DAVIS, JOHN "BIG" (of SEA IS. SINGERS) b. 1903-0312, ST. SIMONS IS. GA DIXON, JESSY (p/gospel) b. 1938-0312, SAN ANTONIO, TX FULLER, JESSE "LONE CAT" (g/fotdfo) b. 1896-0312, JONESBORO, GA GREEN, JACK (b/PRETTY THINGS) b. 1951-0312, GLASGOW, SCOTLAND JACKSON, MARLON (of JACKSONS) b. 1957-0312, GARY, IN JARREAU, AL (v) b. 1940-0312, MILWAUKEE, WI JOHNSON, HALL (of the HALL JOHNSON CHOIR) b. 1888-0312, ATHENS, GA KAYE, LARRY (lead/THE QUOTATIONS) b. 1942-0312, BROOKLYN, NY LEADBITTER, MIKE(founder:BLUES UNLIMITED) b 1942-0312, SIMLA, INDIA MOLTON, FLORA E. (g/gospel) b. 1908-0312, LOUISA CTY, VA NELSON, ROMEO (p) b. 1902-0312, SPRINGFIELD, TN OVERSTREET, ROBERT LEE (of ARHOOLIE REC) b. 1949-0312, DE QUINCY, LA PARKER, CHARLIE (asax) d. 1955-0312, NEW YORK CITY, NY 34 PAYNE, BILL (p/LITTLE FEAT) b. 1949-0312, WACO, TX SCORSONE, JACK (of THE GRADUATES) b. 1940-0312, BUFFALO, NY TAYLOR, ALEX (v/HIGHTONE REC) d. 1993-0312, SANFORD, FL 46 TAYLOR, JAMES VERNON (g/songw) b. 1948-0312, BOSTON, MA WALKER, GEORGE "CHICKEN" (g/d) b. 1937-0312, MEMPHIS, TN WILFORD-SMITH, FRANCIS (of MAGPIE PIANO) b. 1927-0312, RUGBY, UK WILLIAMS, L. C. (v/GOLD STAR REC) b. 1924-0312, MILLICAN, TX ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 11 Mar 1996 10:48:43 -0500 Reply-To: "Munson, Bill" From: "Munson, Bill" Subject: David Wiffen - Mar 11 Blues Dates Nice to see the great David Wiffen get a bit of profile, if only because it's his birthday. Kinda unfair to list him as a guitarist though, as he's best recognized, I think, as a songwriter ("Driving Wheel" by Tom Rush and "More Often Than Not" by Ian and Sylvia). And then there are his considerable vocal talents. as displayed on his two lovely versions of B. Johnson's classic "Since I Fell For You" (on the first LP from '64 and the second LP from '71) and many other songs. Bill Munson bmunson@itac.ca ========================================================================= Date: Mon, 11 Mar 1996 09:52:01 CST Reply-To: William Shute From: William Shute Subject: Motown's Blues Evolution CD From: Bill Shute various artists MOTOWN'S BLUES EVOLUTION 20 tracks circa l960-75 Motown 31453-0613-2 released l996 This fascinating compilation of blues/r&B/R&B-flavored soul recorded for Motown over fifteen years appeared in my record store with no fanfare or ads I have seen in mags, but it should interest MANY blues-l folks and is beautifully put together. The 3 tracks from l961 by Mable John (the first female signed by Berry Gordy) are songs I've wanted to hear for years. At this time, Tamla still had that "small label" sound with a cheap piano sound and not-always- in-tune backing singers, but Mable belts it out in a much more powerful way than she did on most of her stax-volt sessions, where she had refined her sound and brought more subtlety into her delivery. Now I want to hear all 4 (is that how many there were?) singles she did for Tamla! 6 tracks are here by "singin'"Sammy Ward, dating from 60, 61, and 64. The earlier tracks feature his deep-soul vocalizing and a wonderful uncredited gtrist who reminds me of Artistic-records-period Buddy Guy in some ways (tho it's not BG). There are 3 tracks from Amos Milburn from 62-64 (Motown also has an entire Milburn CD which I also bought and recommend...if the idea of a more "mature" Amos Milburn interests you). The unreleased "I"m In My Wine" is a lyrical cousin to his classic alcohol anthems, but it's again more laid-back, more "mature." I'm more laidback and mature than when I first heard AM's music, so it sounds nice to me. He still had his effortless sense of the hip, but I can't imagine anyone under 35 buying a copy of his l962-64 music back then. This would have appealed to the PARENTS of Motown record buyers. The 3 Earl King tracks are a revelation, all unreleased. As I heard them for the first time, I marvelled at how Motown got a New Orleans sound in Detroit. However, reading the liner notes explained that--King brought up a band with Joe Jones (who also produced the session and whose sound is quite influential here--see my review of the Sequel Joe Jones album from last year), Esquerita on keyboards (!!!!!!), and Wardell Quezergue on tpt. These are a fine complement to his imperial work, collected on that old French "Trick Bag" album on Pathe Marconi EMI (at least, that's where I have that material), and his unpredictable gtr and wise, ironic lyric- writing are as good as ever. Many would feel the album is "worth it" for these 3 tracks alone. Arthur Adams was a new name to me, and he has two tracks here. On first listening, I thought the band was amazing, like a non-New-Orleans version of that supple, seamless Meters-style funk-R&B. Looking at the credits, it's no wonder the band is in such a supple groove...it's some of the old Jazz Crusaders (Joe Sample, Wilton Felder, Wayne Henderson). These were of course recorded in LA. Adams is yet another fine deep=soul singer, and "Let Me Love You Tonight" ought to be filed away in the "bedroom soul" shelf in your collection. The final three tracks are from Luther Allison. His work for Tamla/Motown has been much discussed and much dismissed on blues-l (at least in comparison with the other periods in his career). One track is here from each of his three albums on Gordy Records. The version of dust my broom has some tasty playing from Mr. Allison and a "freak-out" ending that I like--the other two tracks are OK tunes that have some blues content while attempting to satisfy the marketplace demands of the day. Motown now has a full CD comp of material from Allison's 3 lps. Bill Dahl should have been allowed to write longer, more detailed liner notes, but as always he gets a lot of essential info across in the few hundred words he was allowed. HOwever, knowing something about Sammy Ward would be helpful, and other than the fact that he made these recordings, nothing else is said. What a tease! Overall, this is a fascinating odds-n-sods collection that should interest any 60s R&B fan. The EARLY Tamla/Motown material by folks who did not go on to be big Motown stars ought to be reissued, and this collection is a nice start. The Milburn collection is nice too. I'll probably pass on the Allison collection as he has never been one of my favorite artists, but a sampling from his 3 lps is probably better for the average fan than getting them complete on 3 CDs. I look forward to more reissues of this type from Motown. Bill Shute San Antonio, TX also scored the new Long John Hunter BORDER TOWN LEGEND on Alligator. Thankfully, it wasn't produced by Bruce I.; the songwriting is great; and in some ways it's even better than his Spindletop album,IMHO, which I loved/love. It will surely be one of my "best of '96." I hope Mr. Hunter is able to take advantage of the visibility Alligator will give him. As a player, Hunter isn't really reminiscent of anyone. Like Jimmy Dawkins, he seems to have developed independently of the various "Schools" of gtr playing. His lyrics are also quite witty and quite wise. Texas blues fans should get it ASAP. ========================================================================= Date: Mon, 11 Mar 1996 10:00:33 -0700 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: Colin James at the Juno Awards In-Reply-To: <960229141608_336853646@mail06.mail.aol.com> Colin James won the Best Male Vocalist at the 96 Juno (Canadian Music) Awards last night. Was sure good to see a bluesman pick this up. RW ========================================================================= Date: Mon, 11 Mar 1996 11:07:11 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0196 From: "DUTTWEILER.J" Subject: $$$ making Blues Clubs Date: Monday, 11 March 1996 11:07am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: $$$ making Blues Clubs LW wrote: > > Someone mentioned that Antones was not a money making blues club, I don't > think I've ever heard of a "legit" blues club being a money making venue. > I'm sure there are some, can you name some. I can't > Based on a recent article in the local Creative Loafing, I tend to believe that Blind Willie's here in Atlanta makes money, though how much I cannot attest to. They are celebrating their 10th Anniversary here and started, literally, on a shoestring. They concentrate on "national" talent in order to draw the crowds. JD ========================================================================= Date: Mon, 11 Mar 1996 10:33:42 -0600 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: A coupla SRV questions for yas. > Two things: > > I woke up this morning to my classic rock station (WZLX Boston) playing some > acoustic SRV that I've never heard. It was "Pride And Joy" and Stevie was > unaccompanied and playing an acoustic 12 string. It was superb. Where is > this from and is this acoustic SRV on cd anywhere? I think that's on the MTV "Unplugged" CD. > Second, someone said to me the other day that SRV is "mulatto", ie a white > parent and a black parent. I had never heard this before, and Stevie and > Jimmie sure don't look it. This guy was adamant about it though. False. Bruce Roberts Austin, TX ========================================================================= Date: Mon, 11 Mar 1996 11:31:30 -0500 Reply-To: RAGS_trips_on_GRAS From: RAGS_trips_on_GRAS Subject: CABIN_ON_WHEELS!! I think its a ridicuous idea to move the cabin around... Gee...what next... are all the national historic sites gonna be moved around on wheels....can anyone imagine for example all the National Historic Sites from Boston moved around!! Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ PRESERVE HISTORY, SAVE MUDDY's CABIN!!!! +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Mon, 11 Mar 1996 10:43:18 -0600 Reply-To: Storm Bailey From: Storm Bailey Subject: Re: A coupla SRV questions for yas. > >I woke up this morning to my classic rock station (WZLX Boston) playing some >acoustic SRV that I've never heard. It was "Pride And Joy" and Stevie was >unaccompanied and playing an acoustic 12 string. It was superb. Where is >this from and is this acoustic SRV on cd anywhere? > Rick, I think this was on some sort of an "MTV uplugged" compilation disc-- a year or so old... (The only SRV on it) Storm ========================================================================= Date: Mon, 11 Mar 1996 10:57:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Wilson Pickett Can anyone help this person? If so, please reply to the address below, but you can tell me too. Thanks, Bonnie From: IN%"birdman@pacific.net.sg" "(Stephen Bird)" To: KALMBACH@MACC.WISC.EDU Subject: (no subject) Dear Bonnie, Thanks for your help a few weeks ago when I was trying to find out about a particular version of St. James Infirmary (actually I'm still trying). I currently live in Singapore where it's very hard to get any information about music that isn't mainstream. So I'm hoping you can help me again. Wilson Pickett seems to have dropped off the face of the earth. Do you have any idea what has happened to him? Is he still alive (I'm sure he is)? Is he still involved in the music business? Does he ever perform ? I'd be interested in any information you may have about him, or any suggestions as to who I should contact to find out. Thanks again, Bonnie Best regards Cindy ========================================================================= Date: Mon, 11 Mar 1996 11:10:19 CST Reply-To: JBards From: JBards Subject: Re: $$$ makingGrand Emporium? Comments: To: "DUTTWEILER.J" I wonder if maybe the Grand Emporium in Kansas City is? They book national acts and serve very good food and have a line of barbecue sauce, too. George Myers could tell us if he shows up . I wish we had something of that type here in Shrevesville, but Cowboys and James Burton's club- which has his son's (cover ) band as the house band seem to be the strongest thing going. -Jim _______________________________________________________________________________ Subject: $$$ making Blues Clubs From: "DUTTWEILER.J" at INTERNET-SH Date: 03/11/96 11:02 AM Date: Monday, 11 March 1996 11:07am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: $$$ making Blues Clubs LW wrote: > > Someone mentioned that Antones was not a money making blues club, I don't > think I've ever heard of a "legit" blues club being a money making venue. > I'm sure there are some, can you name some. I can't > Based on a recent article in the local Creative Loafing, I tend to believe that Blind Willie's here in Atlanta makes money, though how much I cannot attest to. They are celebrating their 10th Anniversary here and started, literally, on a shoestring. They concentrate on "national" talent in order to draw the crowds. JD ========================================================================= Date: Mon, 11 Mar 1996 11:28:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Phil Guy/Aging Blues I just did a NEXIS (a world-wide on-line news database) search and found nothing current on Phil Guy. He is booked to play here in a couple of weeks. Aging Blues: I like Jerry McCain's "I'm gonna get all the Loving I can get, before I get too old!" from "I Got the Blues All Over Me" on Wild Dog/Ichiban. This is the first line - it may not be the exact title. -Bonnie ========================================================================= Date: Mon, 11 Mar 1996 12:06:33 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Ageing Blues There is a couple of tunes on Champion Jack Dupree's recording "One Last Time" ( I think that's the title)...They may be the same tune, but it's about growing old and nobody really cares for you anymore. Not a very happy tune in the least. The other (maybe the same one) is about sending flowers will I'm alive, cause I can't use no flowers down in hell. Some powerful stuff and an all around great recording and I think it was his last recording. LW ========================================================================= Date: Mon, 11 Mar 1996 10:34:20 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Phil Guy Comments: To: Bonnie Kalmbach At 11:28 AM 3/11/96 CDT, Bonnie Kalmbach wrote: >I just did a NEXIS (a world-wide on-line news database) search and found >nothing current on Phil Guy. He is booked to play here in a couple of weeks. > Bonnie, I think that you may have hit on the solution to the Phil Guy mystery re his possible death in a car accident, as posted by Dick Shurman. Would you be willing to call the venue where he is booked to play, and ask THEM to call whoever they booked him from, to confirm whether the gig is still happening? Obviously his management or booking agency will be most up to date on what is really happening. If he has in fact died, they will notify the venue that the gig is cancelled. You can then post theinfo to the list. Many thanks, Mary Katherine ========================================================================= Date: Mon, 11 Mar 1996 13:48:04 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Matt "Guitar" Murphy live If you recall, I posted a quandary last week...should I see Lonnie Shields or Fenton Robinson...I chose option 'C', Matt "Guitar" Murphy... For NYC blues-l folks, let me recommend The Turning Point in Piermont, NY. It's just over the Tappan Zee bridge in a quaint little town with nice restaurants. Shows run from $5 - $20. They draw quality blues acts consistently. Give a call and get a monthly schedule: 914-359-1089. Now to the show. I noticed mr. murphy practicing (unplugged) runs on his Gibson guitar before the show. Do you musicians out there do that too? I'm curious to know how bluesfolk warm up before a show... He started right at 11pm. Strangely introducing the band before they'd played a note. The lineup: electric guitar, electric bass, tenor sax, keyboards, drums. Sorry I didn't catch their names. Things were jazzy to start...during the first tune he handed solos to each musician. IMHO this was not a good way to engage the audience. My father kept asking me, "Is this blues?" After about a half hour of "noodling" around with uninspired instrumentals, mr. murphy invited a singer onstage. I had thought he was just some friend from the audience. I later learned he's part of the band. Anyway, he got things hopping. His voice was rich and got the crowd working with some call and response. As per mr. murphy's guitar playing, he was quite good. He's certainly more than simply a guy who played in the Blues Brothers (he did humor the crowd with a closing number, Soul Man). In his solos he seemed to add a jazzy edge going beyond a simple pentatonic routine. His demeanor was quite refreshing: laid back and friendly. The rest of the band performed admirably as well. The sax was tasteful if a bit loud at times. The keyboard seemed a bit out of the mix, tho his solos sounded pretty solid. With a competent vocalist, Matt "Guitar" Murphy shines. His playing is tasteful and as a bandleader he befriends his audience. I just hope he engages his audience a bit earlier in the future. So, did anyone catch the Lonnie Shields or Fenton Robinson show? What did I miss? Jim Leftwich leftwich@cloud9.net come win a CD at Jim's Blues N' Brews: http://www.cloud9.net/~leftwich ========================================================================= Date: Mon, 11 Mar 1996 13:45:03 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: Charly a no-no? Ian Angus wrote in answer to Bengans: > >One of the difficulties, as I understand it, is that copyright laws >in the EC are pretty lax in this area. Some countries, at least, >allow production of large numbers of CDs which would be called >bootleg in North America. This is not quite right. EU countries used to have different copyright periods, and some record companies took advantage of that to issue - legally! - stuff like early Elvis in Denmark (20 year copyright), then claim that EU freedom of trade laws allowed them to make sales throughout the EU. This was ruled unlawful, and as of 1/1/96 the EU countries implemented a uniform copyright period of the lifetime of the right holder plus 75 years. That was the longest period, enforced in Germany, and it now applies throughout the EU. As a result, a lot of famous literature that went out of copyright in Britain after 50 years suddenly came back into copyright! > Ian also wrote > >It takes a lot of money to fight a copyright case in court. The >record labels have the money, but the material Charly issues has not, > in the past, been viewed as worth protecting by the labels. So >the artists and writers, who should get royalties, are the victims. >This is changing as the big labels see opportunities to sell the >old music -- thus the successful MCA suit against Charly. Byron Foulger's comments in this thread are pertinent here. Like him, I don't reckon Charly to be angels - their 'Sing' and 'Official' labels (based in Denmark, see above) were blatant bootleg operations - but quite a lot of their releases have been legitimately licensed. And Byron is right that any royalties due to the artist are normally determined by the original agreement, if any, between the artist and whoever made/owns the master recordings. I know that a lot of times artists were ripped off when they made the original recordings, but the licensing company is not answerable for that; any ground for dispute is between the artist, the original company and whatever corporate conscience the latter may have. (I recall that Columbia paid Booker White when they reissued his 1940s recordings on LP, although legally they didn't have to.) I also know, of course, that usually blues artists or their heirs don't have the resources to take on the industry, and here I'd like to add my thanks to Dick Waterman for his efforts on Evie House's behalf. Disclaimer to the above: I'm not a lawyer, and this is a layman's understanding of the position. Don't rely on it in court, either in the EU or the USA! I think we should all bear in mind that 'the truth is rarely pure and never simple'. The HOB/Muddy furore and its outcome may show that, too; it may not be a perfect result, but it's about the best we can expect in the real world. So far, nobody in this forum seems to have congratulated the Stovall family on ensuring the preservation of the cabin, eventually in its rightful location, and at the same time taking $100,000 off HOB for the promotion of the blues in a better way than HOB does it. (If you did, and I missed your posting, forgive me.) Chris Smith (chris@skerries.demon.co.uk) "What's the use of gettin' sober, when you're gonna get drunk again?" (Louis Jordan) ========================================================================= Date: Mon, 11 Mar 1996 14:12:01 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: That Garlic Beef recipe from last week! By the way......I *DID* make that recipe that very night that it was posted here on Blues, as I promised to do. Ate it the next day, as prescribed..... :) :) :) Yuuuuuuuuuuuuuuummmmmmmmmmmmmm!! :) :) Ya gotta try it, follow the recipe pretty exactly, and you'll dig this stuff. The fam and I just scarfed it bigtime on gorgeous hard rolls. We're just finishing the leftovahs. Excellent stuff. My variation: Had no brewskies in the house, so had it with a lovely Chilean merlot. Mmmmmm! (used the last beer in the recipe) My caveat: I cooked a 3.58 lb tip roast for exactly 9 hrs on LOW, and it came out well done. Like, pot roast falling-apart well done. So, if you want it a tad rarer or more medium, keep an eye on the clock and KNOW THY CROCKPOT. We really enjoyed it and licked our fingers repeatedly to BB King at the Regal. :) Bon appetit! Riffin Rick (chin drippin' au jus!) F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Mon, 11 Mar 1996 14:11:39 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Which John Hurt cd should I buy? Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I did a search on cdconnection for the Mississippi John Hurt song "Let the Mermaids Flirt With Me," and I found two cds: Memorial Anthology (GEN9906) and Last Sessions (VAN79327). The Genes album is about twice as expensive as the Vanguard, but I assume it has more material. Can anyone recommend which one to get, or is there another John Hurt album with "Let the Mermaids..."? -Steve Levine ========================================================================= Date: Mon, 11 Mar 1996 14:44:55 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Wierd Sam Myers story At last nights local blues society meeting (Sam's gal is a member) they took up a collection for Sam. It was said that Sam has had his harps stolen TWICE IN A ROW. He doesn't have harps, so naturally hasn't been playing with Anson. Something doesn't sound right about this story. Wouldn't Anson and the others him out on getting some harps. This just doesn't sound right to me, something doesn't add up. Anson is a nice guy and wouldn't let something like Sam's harps getting stolen TWICE happen. Has anyone seen Anson and The Rockets lately...? Was Sam playing with them. They raised 100 bucks for Sam to get some more harps. Am I the only one that has trouble with this story....Couldn't they buy some harps and take it out of Sam's "cut" or something....I don't understand the deal on this.... LW ========================================================================= Date: Mon, 11 Mar 1996 13:01:52 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: The Stovall Family (was: Charly a no-no?) Chris wrote: So far, nobody in this forum seems to have congratulated the Stovall >family on ensuring the preservation of the cabin, eventually in its >rightful location, and at the same time taking $100,000 off HOB for the >promotion of the blues in a better way than HOB does it. (If you did, and I >missed your posting, forgive me.) Actually, Chris, I thought about that after I sent my last post. Three cheers to the Stovall family. I don't know much about them (other than what I read in Deep Blues, but that was written nearly 20 years ago), but they sound like good folks, and they deserve our cheers. I don't know how wealthy they are, but that 100,000 dollars undoubtedly means more to them than to the HoB folks, and it was great that they donated it to the Sunflower River Festival (esp. since I'll be there this summer! :-) Good for them. -Jim (hndful@uniserve.com) ========================================================================= Date: Mon, 11 Mar 1996 15:16:02 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 03/12 B O R N : Born:1944 ARTESIA, CA Career:ALTO SAX / FLUTE Style:JAZZ With:Buddy Rich / Stan Kenton / Harry James JARREAU, AL Born:1940 MILWAUKEE, WI Career:SINGER Style:JAZZ JOHNSTON, ROGER Born:1918 NEW ORLEANS, LA Career:DRUMMER Style:TRAD / JAZZ With:Santo Pecora / Leon Prima / Sharkey / Roy Liberto / Dukes of Dixieland LAWSON, HUGH ( RICHARD JEROME ) Born:1935 DETROIT, MI Career:PIANO / COMPOSER / ARRANGER Style:BLUES / JAZZ MAIDEN, WILLIE ( WILLIAM RALPH ) Born:1928 DETROIT, MI Career:COMPOSER / ARRANGER / TENOR SAX / BARITONE SAX Style:JAZZ / BIG BAND With:Maynard Ferguson / Charlie Barnet / Stan Kenton PARISH, MITCHELL Born:1911 NEW YORK, NY Career:LYRICIST Style:POP / BIG BAND SUGGS, PETER Born:1909 PADUCAH, KY Career:DRUMMER / VIBES Style:JAZZ / BIG BAND FULSON, LOWELL Born:1921 TULSA, OK Career:SINGER / GUITAR Style:BLUES FOR A LISTING OF THOSE THAT PASSED AWAY IN THIS MONTH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Mon, 11 Mar 1996 15:01:26 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: The Stovall Family (was: Charly a no-no?) In-Reply-To: Message of Mon, 11 Mar 1996 13:01:52 -0800 from On Mon, 11 Mar 1996 13:01:52 -0800 Jim Witteveen said: >Chris wrote: > So far, nobody in this forum seems to have congratulated the Stovall >>family on ensuring the preservation of the cabin, eventually in its >>rightful location, and at the same time taking $100,000 off HOB for the >>promotion of the blues in a better way than HOB does it. (If you did, and I >>missed your posting, forgive me.) I'm still not sure it was such a good idea. I see the reasoning behind it and I do know Howard Stovall works hard on making the Sunflower Festival better and better. Still I'm not sure. Keep in mind when you do go the Sunflower Festival you WILL NOT see Muddy's cabin on Stovall's Plantation. I'm just glad I got to see it before the HOB "renovates" it. I hope they don't use aluminum siding and put Pontiac Sunbird ads all over it. I'm not convinced it's a great idea, but it's none of my business. It would make me feel better if they did not move it. It belongs in MISSISSIPPI and nowhere else...That's my opinion and I guess I should be thankful they didn't buy ALL of Clarksdale, renovate it and travel it around. Sorry and JFTR I have tons of respect for Mr. Stovall LW 'as always speaking his mind on something that's none of his business' ========================================================================= Date: Mon, 11 Mar 1996 21:06:13 GMT Reply-To: ee95dpc@brunel.ac.uk From: David Paul Champion Organization: Brunel University, Uxbridge, UK Subject: Re: Duke Robilard Comments: To: bit-listserv-blues-l@uknet.ac.uk This isn't the best news group for this question I know, but duke was mentioned the other day so i thought I would post it. I have an album by Duke that has Cadelac Slim, Jumping the Blues, and one with the words 'She ment me for someone exactly like you'. On it. Does anyone know the name of this album, as I only have a bit of it on tape. Also, does anyone know of any other albums duke did, or any artists, albums that are like this album, as although i am a blues man through and through, I do rather like this album. Please help if you can. Dave (SPUD). ========================================================================= Date: Mon, 11 Mar 1996 15:47:06 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Phil Guy Scott Cameron has verified that the Phil Guy rumor was just a rumor and that Phil is thankfully okay. ========================================================================= Date: Mon, 11 Mar 1996 21:57:35 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Muddy's Cabin - Stovall Response Comments: To: bit-listserv-blues-l@uunet.uu.net I sent Howard Stovall an e-mail (We're acquaintences, both of us being in blues, cotton, and promotions) and suggested that he might want to enter the fray and quell rumours/answer questions on the HOB/Muddy's Cabin issue. He is eager to avoid a mailbox full of protests from well-meaning Muddy fans, and opted to ask me to post his reply. Lest anyone be confused, I am in no way associated with Stoval Plantation, HOB, Disney, nor anyone else associated with the venture. Howard's response to my inquiry follows: Begin quoted text ------------- The Muddy Waters Cabin has not been sold, and no plans exist to sell the Cabin. Period. End of discussion as far as that is concerned. We are presently working with the House of Blues to explore several options for renovation and preservation of the Cabin. In no case would this involve our selling the Cabin. The Cabin is owned by the Stovall family, who have borne the cost of its preservation (such as it is) without financial or other help from any entity. Our goal, as it has always been, is to ensure that the Cabin remains for the next generation of Blues fans who might want to see it. We have no desire for financial gain from this endeavor. When an arrangement has been made, with HOB or anyone else, regarding the long term preservation of this historic structure, I will update the music world at large. Until then, this idle speculation only serves to demean those who choose to rely on rumor and innuendo for their source of conversation -- virtual or otherwise. Those who have a moral aversion to our working with the most successful commercial enterprise associated with Blues today are reminded that efforts of this magnitude require a significant amount of money and expertise. If you think Newt and the Washington boys are going to come to our rescue, think again. A prudent compromise of "purism" may, indeed, be in the best interests of future Blues lovers, who, fifty years from now, will care less about the structure of the deal made to preserve the Cabin, than the fact that it still stands for their benefit. End quoted text -------------------------------------------------- B.B. Bean bbbean@cris.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Mon, 11 Mar 1996 21:32:13 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Phil Guy/Aging Blues Comments: To: bit-listserv-blues-l@uunet.uu.net Bonnie Kalmbach wrote: > >I just did a NEXIS (a world-wide on-line news database) search and found >nothing current on Phil Guy. He is booked to play here in a couple of weeks. Bonnie, I just spoke with Scott Cameron, who is the manager of Phil Guy's brother Buddy. Scott said he's been answering calls for the last two days from frantic folks who've heard this rumor, and he assures me that it is NOT TRUE. He told me that a woman claiming to be Phil Guy's manager called the Kingston Mines blues club in Chicago a few nights ago and said that Phil had been killed in a car wreck. Not being able to confirm or dispel the story at the time (it was something like 3:00am-- the club was open til 5:00am), someone announced this story from the stage, and that's where the rumor started. Scott assured me that this woman could not have been Phil's manager, and that Phil is just fine. It sounds like it must have been just a sick prank. Scott ========================================================================= Date: Mon, 11 Mar 1996 22:19:02 GMT Reply-To: Art Schuna From: Art Schuna Organization: UW-Madison Subject: Re: Motown's Blues Evolution CD Comments: To: bit-listserv-blues-l@uunet.uu.net In article <19960311.110049.509335.NETNEWS@AUVM.AMERICAN.EDU>, >MOTOWN'S BLUES EVOLUTION >20 tracks circa l960-75 >Motown 31453-0613-2 >released l996 I'll have to agree with Bill on this review. Overall, a very interesting compilation. I did not find this in the Blues section of my favorite Madison music store, but in the Rock & Roll oldies section. >The final three tracks are from Luther Allison. His work for Tamla/Motown >has been much discussed and much dismissed on blues-l (at least in comparison >with the other periods in his career). One track is here from each of his >three albums on Gordy Records. The version of dust my broom has some tasty >playing from Mr. Allison and a "freak-out" ending that I like--the other >two tracks are OK tunes that have some blues content while attempting to >satisfy the marketplace demands of the day. Motown now has a full CD comp >of material from Allison's 3 lps. The people dissing Luther's Motown work never heard the LP "Luther's Blues" which is included (justifiably) in it's entirety on this CD. To my ears, it's the finest thing he's ever done (even better than the Alligator). I haven't heard the other 2 LPs but the tracks included on this latest CD are all pretty fine. I think his last LP (with maybe only 2 or 3 tracks on the CD release), was probably considered to be unsuccessful in it's blues-soul fusion attempt. Art Schuna ========================================================================= Date: Mon, 11 Mar 1996 16:18:44 CST Reply-To: JBards From: JBards Subject: Re: Wierd Sam Myers story Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu Does sound weird....I can't imagine Charley's or some of the other good music stores there who work with the musicans letting Sam go without harps, regardless of how strange the theft part sounds . -JIm _______________________________________________________________________________ Subject: Wierd Sam Myers story From: ISTS024%UABDPO.BITNET@brownvm.brown.edu at INTERNET-SH Date: 03/11/96 3:56 PM At last nights local blues society meeting (Sam's gal is a member) they took up a collection for Sam. It was said that Sam has had his harps stolen TWICE IN A ROW. He doesn't have harps, so naturally hasn't been playing with Anson. Something doesn't sound right about this story. Wouldn't Anson and the others him out on getting some harps. This just doesn't sound right to me, something doesn't add up. Anson is a nice guy and wouldn't let something like Sam's harps getting stolen TWICE happen. Has anyone seen Anson and The Rockets lately...? Was Sam playing with them. They raised 100 bucks for Sam to get some more harps. Am I the only one that has trouble with this story....Couldn't they buy some harps and take it out of Sam's "cut" or something....I don't understand the deal on this.... LW ========================================================================= Date: Mon, 11 Mar 1996 18:15:15 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Charly a no-no? Chris Smith wrote: > Byron is right > that any royalties due to the artist are normally determined by the > original agreement, if any, between the artist and whoever made/owns the > master recordings. I know that a lot of times artists were ripped off when > they made the original recordings, but the licensing company is not > answerable for that; I certainly am not going to defend the record of the labels which originally issued blues and R&B works in the United States. With a tiny handful of exceptions, they signed artists to one-sided deals which pretty much guaranteed that the record company never pade a pennty in royalties. Even worse, some big labels have refused to renegotiate those deals. Fantasy, for example, still says Carla Thomas owes them money, so they don't pay her any royalties on reissues. However, MCA has retroactively changed the commission arrangements on Chess/Checker, which it owns, so artists on reissues get royalties typical of the 1990s. not the 1950s. That means that if Charly had dealt with MCA for its many, many Chess releases, the artists would have been paid. Instead, Charly chose to deal with a company whose credentials were known to be questionable -- I've heard some say that it was actually set up by Charly to do the deal -- just to avoid paying appropriate royalties. I agree, it isn't black and white. But Charly, which poses as a label which is devoted to this music, deserves censure in this case. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Tue, 12 Mar 1996 09:58:00 PST Reply-To: David Blanken From: David Blanken Subject: Re: Duke Robilard >This isn't the best news group for this question I know, but duke was >mentioned the other day so i thought I would post it. I have an album by >Duke that has Cadelac Slim, Jumping the Blues, and one with the words 'She >ment me for someone exactly like you'. On it. Does anyone know the name of >this album, as I only have a bit of it on tape. Also, does anyone know of >any other albums duke did, or any artists, albums that are like this album, >as although i am a blues man through and through, I do rather li >ke this album. >Please help if you can. > >Dave (SPUD). Hey, Dave! This album is called "Swing" and was released on the Rounder label in the eighties (1985??). It is a great album and shows yet another side to the formidable Duke Robillard's repertoire. He did another jazz/swing album in the early nineties on the Rounder label called "After hours swing session" which has players from Roomful of Blues, Duke's old band. It sounds like they are having LOTS of fun. Highly recommended. Dave *************************************************** David Blanken National Library of Australia Email: dblanken@nla.gov.au Phone: (06) 262 1473 "You can write the truth with Blues" - Bukka White *************************************************** ========================================================================= Date: Mon, 11 Mar 1996 08:43:43 -0800 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Organization: Internet Direct Subject: Gatemouth's mouth Comments: To: bit-listserv-blues-l@uunet.uu.net Comments: cc: hndful@uniserve.com Jim Witteveen wrote: > > Hi all. This talk about Gatemouth Brown's personality reminded me of an > interview I read done by Jim George and published in Guitar World's Guitar > Legends Publication of 1994. Here's some quotes: (snip: lengthy quotes of Gatemouth's opinions on B.B., T-Bone, Chuck Berry...) This reminded me of the time in '82 when my band backed-up Gatemouth at a folk festival. For hours before we were due on main stage, Gate sat around regaling us with stories, and many of his strange (and quite negative!) opinions. Finally, the girl-friend of our guitarist could stand no more - after hearing Gate denounce B.B. King.... ("That old Mississippi blues.... pitiful... it's depressing, man..."), she stood up, and said "Well, I love B.B. King, man, and you're just full of s**t!" The man is well-named: out of his large mouth came some pretty extreme stuff! I still love Gatemouth's music, and yes, he is quite a fine player; but - whoa!! somebody .....quick!! Get out the respect medicine!! Somebody, put down the Putdown Man!! - Roger B. ========================================================================= Date: Mon, 11 Mar 1996 18:43:18 -0500 Reply-To: Meadors From: Meadors Subject: Re: Wierd Sam Myers story Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU >At last nights local blues society meeting (Sam's gal is a member) > they took >up a collection for Sam. It was said that Sam has had his harps > stolen TWICE >IN A ROW. I heard that the House of Blues people took the harps and have them on tour right now somewhere in Montana. Mike Meadors Orange3@gnn.com ========================================================================= Date: Mon, 11 Mar 1996 18:50:45 -0500 Reply-To: Chris Smith From: Chris Smith Subject: buddy lucas Does anyone know Buddy Lucas's true first name? He was a tenor sax and harmonica player in New York in the fifties, who made a lot of records as leader that are not very bluesy - he's not in 'Blues Records' 2 for that reason - but he played on quite a number of blues sessions. I'm wondering if he's the 'Maxwell Lucas' who plays tenor on Stick McGhee's 14 Jan 1953 King session. Thanks for your help. Chris Smith (chris@skerries.demon.co.uk) "What's the use of gettin' sober, when you're gonna get drunk again?" (Louis Jordan) ========================================================================= Date: Mon, 11 Mar 1996 19:13:31 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: A Letter from Howard Stovall I spoke to Howard Stovall mid-afternoon on March 11, 1996 and he asked me to post the following message. BEGIN QUOTE: The Muddy Waters Cabin has not been sold, and no plans exist to sell the Cabin. Period. End of discussion as far as that is concerned. We are presently working with the House of Blues to explore several options for renovation and preservation of the Cabin. In no case would this involve our selling the Cabin. The Cabin is owned by the Stovall family, who have borne the cost of its preservation (such as it is) without financial or other help from any entity. Our goal, as it has always been, is to ensure that the Cabin remains for the next generation of Blues fans who might want to see it. We have no desire for financial gain from this endeavor. When an arrangement has been made, with HOB or anyone else, regarding the long term preservation of this historic structure, I will update the music world at large. Until then, this idle speculation only serves to demean those who choose to rely on rumor and innuendo for their source of conversation -- virtual or otherwise. Those who have a moral aversion to our working with the most successful commercial enterprise associated with Blues today are reminded that efforts of this magnitude require a significant amount of money and expertise. If you think Newt and the Washington boys are going to come to our rescue, think again. A prudent compromise of "purism" may, indeed, be in the best interests of future Blues lovers, who, fifty years from now, will care less about the structure of the deal made to preserve the Cabin, than the fact that it still stands for their benefit. CLOSE QUOTE Dick Waterman ========================================================================= Date: Mon, 11 Mar 1996 09:57:19 CST Reply-To: JBards From: JBards Subject: Re[2]: Robert Cray in Belo Horizonte, Brazil Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu Funny, I thought "Some Rainy Morning" was great, a return to more blues-oriented style and away from the R&B direction he'd been heading in the previous two albums. -J _______________________________________________________________________________ Subject: Re: Robert Cray in Belo Horizonte, Brazil From: ISTS024%UABDPO.BITNET@brownvm.brown.edu at INTERNET-SH Date: 03/11/96 9:38 AM On Mon, 11 Mar 1996 11:41:05 -0300 Leonardo Kenji Shikida said: >It was Saturday, 9. I went there to see a nice show, i payed about US$ 25 too >see the worst blues show of my life. Excuse me Cray fans, but he plays like a >robot. No jams, no feeling, no fun at all. I expected much more . Sounds like his recent recordings to ME...IMHO. What did you expect lots of fire and intensity.....WHY IMHO no offense to Cray fans LW ========================================================================= Date: Mon, 11 Mar 1996 19:48:09 -0500 Reply-To: James Leftwich From: James Leftwich Subject: It's not unheard of Blues-l people maybe should know that displanting landmarks such as this can have good results. The Temple of Dendur was brought to New York City from Egypt and has given thousands of visitors a taste of Egypt they never could have gotten. While the Mississippi Delta is more accessible than Egypt, it is still a place many will never visit. Whatever is done, if tasteful it should have our support. Jim Leftwich leftwich@cloud9.net come win a CD at Jim's Blues N' Brews: http://www.cloud9.net/~leftwich ========================================================================= Date: Mon, 11 Mar 1996 18:35:04 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Motown's Blues Evolution CD Comments: To: Art Schuna In-Reply-To: <4i28sm$1k8o@news.doit.wisc.edu> On Mon, 11 Mar 1996, Art Schuna wrote: Following up on Bill Shute's post ... > The people dissing Luther's Motown work never heard the LP "Luther's Blues" > which is included (justifiably) in it's entirety on this CD. To my ears, > it's the finest thing he's ever done (even better than the Alligator). I > haven't heard the other 2 LPs but the tracks included on this latest CD are > all pretty fine. I think his last LP (with maybe only 2 or 3 tracks on the CD > release), was probably considered to be unsuccessful in it's blues-soul fusion > attempt. I'll have to second this rec. of Art's once again. When he recommended it I was out the door to pick it up for 2 reasons, 1. it was Luther and 2. Art recommended it. I really like Luther and the touch of soul with R&B on these cuts are broadening of one's appreciation of this by far a huge bluesman. Luther does have a great set of chops and his vocals do shine through. All of his work shows off his vocal abilities but blues is the lesser venue vs. R&B and soul to strut that stuff. Art's rec of Luther's talking guitar cut is another reason to own this CD & Luther's Blues is a session that everyone should one in one form or another. Barry (following the above leads - no indents on this followup post). WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 11 Mar 1996 19:54:01 -0500 Reply-To: PHWoolfman@AOL.COM From: Pete Wulforst Subject: Robert Cray, T-birds (sort of long) I noticed a little Robert Cray-bashing, so as a major fan, just wanted to add my two cents: 1. Can't comment on the live problem, since the few times I've seen hin, he was superb. 2. Someone said (roughly) "Why would you expect fire from R.C., given his last few albums." I can only reiterate what that I once told someone who thought Cray was too "slick", that in order to appreciate him you had to be able to conjure up Marvin Gaye and Howlin' Wolf simultaneously. Works for me. Also, I read a real bashing of the latest T-bird's disc, in CD REview, I think. Funny thing, I was never a big fan, but I am completely under the spell of a non=12-bar tune "Memory from Hell". Anybody else out ther hooked on that one? ========================================================================= Date: Mon, 11 Mar 1996 20:01:21 -0500 Reply-To: VT From: VT Subject: REVIEW - Live - Clarence Spady @ the Bayou 96.03.09 96.03.09 CLARENCE SPADY @ the Bayou Mt. Vernon, NY (914-668 2634) Clarence Spady is not a big name. He does have one album published in 1994 on a small label, and this is the first time he's played at the Bayou. But this is a name to watch. Good blues band, but what really knocked me out was a number - a cover they did in the third and final set - not strictly blues, but hey, wait till you hear them....... I walked in about 11:30PM about mid-way into the first of three sets - on stage was a three piece band, with the guitarist playing some pretty tasty stuff with a slight tinge of jazz. There was a Hammond organ and drums - no bassist, the bass was played on the organ pedals. Clarence, a smallish guy (about the same size as Kenny Neal) was wearing a brown knitted hat and facially vaguely like Hendrix. According to the CD sleeve notes he was in 3rd grade in December/1969 - which puts him in his mid 30s? although he looked more in his late twenties. The lead in to the next song sounded somewhat like the intro to "Stormy Monday" and I was expecting that song, but to my surprise was "BUILT FOR COMFORT" the Willie Dixon song made famous by Howlin' Wolf. This was quite a different version, it grooves along in mid-tempo. Clarence sang with a gritty voice (somewhat like Lucky Peterson) and played an Ibanez Artist guitar (looked like a scaled down 335) through a Peavy amp getting this great tone. His licks and solos were very tasty. The organ solo really shouted the blues - as Clarence said: Mark Hamza will take us to church. The chuck-a-chucka sound on the guitar introduced the next song (you know like the intro to "Voodoo Child (Slight Return)" thing - strumming with the strings damped). The rhythms was a shuffle mixed in with a slight feel of reggae - again the song surprised me "EVERYDAY I HAVE THE BLUES". I really am beginning to warm to this band, they just seem to bring something fresh to their covers without tainting them. Clarence announced the next number as "JUST ABOUT US" off their CD. This started (er-hum) a bit like George Benson - s-m-o-o-t-h lite jazz, but nice melodic lyrical playing developing into a more uptempo and hard edged instrumental. The tone on the guitar was beautiful, and the Hammond was, well, wonderfully Hammond...... They closed out the set with a mid to fast tempo boogie that really moved along. I didn't catch the title to this one - the lyrics went "...come back baby and please be mine, call me up now any old time....", the guitar wailed, the organ bass pedals pumped the rhythm. (for some reason the riffs reminded me of a fast "Everyday I have the Blues"...:-) Great! A shuffle starts the next set (ah, has my musical cognisance improved? no, the tune was "T-BONE SHUFFLE") again nice tempo - I'd say: perfect, for the time and place. There's an old jazz term for this - it grooves. The guitar again - I hate repeating myself - was "tasty"..... I know the band's format is the same, but they did get this Jimmy Smith trio feel - overall blues funky groove. Nice piece of interplay - call and response between the guitar and organ. Obviously contributing strongly to this groove was the one person whom I have not yet mentioned - the drummer - Shorty Parham, a man who played with the Wicked Pickett in the early days. Mid to slow blues - wailing guitar - this one really builds in intensity, the lyrics contain "Leave My Little Girl Alone" and could have been the title. Mid to uptempo shuffle brings in a song with words "Miss Me When I'm Gone......". Clarence gets this crying tone from his guitar. Shorty gets in some telling emphasizing fills. Very enjoyable. Clarence starts on this typical slow blues riff, and Shorty's on the vocals - well really he's just moaning along - he actually says "I don't know the words, so I just moan along......". This is either a long intro or it just segues into "BEFORE YOU ACCUSE ME" in the same slow low down tempo with Shorty providing supporting moans. Again we get a really good guitar solo - no, not show-boating, just good and enjoyable. A new number to be on their new CD which they're in the process of recording - "KNOCK ME DOWN (BUT YOU CAN'T KNOCK ME OUT)". Clarence says that his dad told him if he didn't know the words, just sing the lyrics (must be a member of the Blues-L!). A gentle lyrical intro belies the grooving mid tempo shuffle. The guitar solo is played in parts in octaves singing over the steady rhythm laid down by drums and the organ bass pedals. Shorty's vocal spot - about a girl and a 5.0 car - of course "MUSTANG SALLY". Clarence get behind the drums, and Shorty plays guitar with bare fingers. He doesn't get such a cutting tone as Clarence, but a much softer almost baritone sound. His playing is more than adequate, but he's a much better drummer, however he does get some nice bends out. Shorty's voice is mellow and he gets the bend to his vocals somewhat like Stevie Wonder. This turns out to be quite a long number with one of the Bayou's residents getting up to sing a verse. This is fun and grooves right along. And that ended the second set - time flies when you're enjoying yourself. The final set started at 2:00AM with Son Seal's "BAD AXE" they are definitely in the groove with this funky clucking riff, there's something about the bass and the bass drum hitting it at the same time. The same riff/groove continues on guitar drums and bass pedals, but the organ is now playing a familiar riff - hmmm... what is it? Of course once the words start there is no mistaking it - James Brown's "SEX MACHINE" - told you these guys are funky. The organ bass pedals are pumping the rhythm. "Get up, get on up..." the audience are up on their feet dancing now - two ladies are up front now doing formation dancing like part of the stage art. I don't think I need to ask "are we having fun yet?" This is just one long groove - the riff continues and runs into "LICKIN' STICK" another James Brown favorite, mixing in Sly and the Family Stone's "TAKE YOU HIGHER". It's not only the band that's found the groove, the audience has too. The pace changes to a slow groove - it's an instrumental - but I'm starting to recognize it - "JUST MY IMAGINATION", nicely done, yes, it still reminds me of George Benson. Clarence broke a string toward the end, but the band finished without sounding if anything was amiss. While Clarence changed strings, Mark led and played (Back at the) "CHICKEN SHACK" one of my favorite Jimmy Smith things. A Latin groove - it's Santana's "OYE COMO VA" (strictly speaking this is really a Tito Puente tune). Well if I was impressed with Clarence's guitar playing so far, I'm completely bowled over by this. During his solo, Clarence used beautiful sustains and feedback and really made his guitar sing and cry. This had all the right feel without it being mistaken for a Santana copyist. This was their last number, but the rest of the audience must have felt the same way as I did, and they were called back for more. Clarence and Shorty started as Mark had to change back to his playing shoes (remember he plays the organ bass pedals). When Mark joins in they do this one stop thing then two times and launch into this mid tempo shuffle with words "... I ain't lying or trying to fake it, you can tell by looking at my face, goodness sake, give me a break, only so much a man can take" the guitar break cries. The song appears to end, then they go into double time. The guitar line is the same and there are those one time and two times stops. This really moves and finally had to come to an end. I'm left breathless, and it's 3 AM. Go see Clarence Spady. They are based out of the Poconos in Scranton, Pennsylvania. Their CD "Nature of the Beast" is on the Blues Street label (#BSCD 001). The CD liner notes gives a contact number for Blues Street, for bookings and ordering CDs: (717) 341 9122 (I have no affiliation with Clarence Spady or Blues Street.) -- Vincent vt@usa.pipeline.com -------------------------------------------------------------------------------- BTW - I tried sending this once over 20 hours ago (late last night) but it doesn't appear to have been posted. ========================================================================= Date: Mon, 11 Mar 1996 19:14:39 -0600 Reply-To: Pat H Webb From: Pat H Webb Subject: Progressive Jazz/Blues ?? Hello, I've only been a member a couple of days & would like to introduce myself and also see if any of you can try to "define" a sound I call progressive jazz/blues. I'd love to find some CD's of it. I'm a 51-yr old female born and raised in Faytteville, TN (USA) (approx 80 mi S of Nashville and 30 Mi N of Huntsville, AL). Currently living in Houston, TX. I love a wide variety of music as a "listener". I was certainly raised on and still love 50's-60's rock 'n roll, and Blues, Soul/R&B, and what we called Negro spiritual music, yet am still not too fond of most country music. I have over 1,000 audio CD collection and would love to increase it with more Blues. Anyway, I "have a sound in my head" I keep hearing and haven't been able to find if it really has a name or is published. I'd say in period 1963 - 1967 in Huntsville, AL night clubs we listened to live bands' jam sessions we called progressive jazz. I can only describe it as plenty of horn w/piano & bass (jazz) music that was non-structured/progressive--happy-happy, free-soaring music and then in same song would break into some low-down soul/blues music and then maybe back to the jazz, all in the same song. Most instrumental, some vocal on blues. Published music I liked at the time and still enjoy are Jimmy Reed (my very favorite), Al Hirt, Pete Fountain, Buddy Rich, Herb Alpert. I also love Buddy Guy, Eric Clapton, Stevie RV, Albert Collins, Albert King, John Lee Hooker, Professor Longhair, Etta James and collections like complete Stax singles and Atlantic R&B 1947-1974. Any comments/help appreciated. If it's "jazz", I haven't found it there either. --- ================================== * Pat Webb(pwebb@hal-pc.org) * ================================== ========================================================================= Date: Mon, 11 Mar 1996 20:21:56 -0500 Reply-To: mjg@bradley.bradley From: mjg@BRADLEY.BRADLEY Subject: lonnie pitchford/rooster The recent discussion of the Rooster Blues label and its various releases has been interesting and informative. I, like many of you, think that Roosevelt Barnes' "Heartbroken Man" is a superlative disc. For those of you who like the Kimbrough/Burnside sound, this record is definitely for you. And, as an added bonus, the lyrics are actually discernible. But my favorite Rooster record is no doubt Lonnie Pitchford's "All Around Man." This is an extraordinary attempt to pay homage to the traditional Delta blues style, but to do so in a way that is extremely original (you'll have to listen to the record to know what the hell I'm talking about here). If you think that the recent Keb Mo and Corey Harris records represent positive contemporary attempts to resurrect the traditional delta style, then you will be massively pleased to hear the Pitchford release. The Corey Harris record is okay, but the Keb Mo album doesn't even come close to "All Around Man." For me, Lonnie Pitchford's record represents a breath of fresh air, and a positive indication that acoustic blues music continues as a viable African-American art form. BTW, a belated "happy birthday" to the late great J.B. Lenoir (whose lyrics continue to speak truth to power). mark in peoria ========================================================================= Date: Tue, 12 Mar 1996 01:22:26 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Wierd Sam Myers story Comments: To: bit-listserv-blues-l@uunet.uu.net In article L W writes: >Has anyone seen Anson and The Rockets lately...? Was Sam playing with them. I saw Anson and the Rockets with Sam Myers at BB's in Memphis about 3 weeks ago. You better believe he had his harps that night! Played some mighty fine sets. I went with a group of people who weren't too knowledgeable about blues, but one of them said he had a Stevie Ray Vaughn CD. Anson & Band played a few tunes without Sam and I think everyone at our table were grooving with the band. Then Sam came out and just blew everyone away...and that was before he whipped his harp out on them. After that, the people I was with started asking me, "Now who are these guys?" I think I might just have made a few converts that night. : ) Art Schuna ========================================================================= Date: Mon, 11 Mar 1996 20:24:35 EST Reply-To: Joseph Leichter From: Joseph Leichter Subject: Re: Muddy's Cabin: Some facts Why stop there, Mr. Ack-roid??? Why not just dig up the bones of Muddy himself and parade those around?? I can see it now--Madonna singing "Like a Virgin" from inside the cabin.... Christ, and people rip *Clapton* for alleged exploitation of the blues... First Albert King's Flying V and now this...I want to puke... Well, that's my $.02.... ========================================================================= Date: Mon, 11 Mar 1996 20:25:55 -0500 Reply-To: SGLIWA From: SGLIWA Organization: Delphi (info@delphi.com email, 800-695-4005 voice) Subject: MCA's Buddy Guy Chess Recordings Booklet Comments: To: bit-listserv-blues-l@uunet.uu.net I Just bought the two CD set, "The Complete Chess Studio Recordings" by Buddy Guy on MCA. It's a great set but there's one big problem: The enclosed 19 page booklet contains pages 3-18 of notes and pictures from a collection by Miklos Rosza including pictures of Edward G. Robinson and Sabu! Apparently there was a major mistake in the collating of the pages of the booklet. The only thing relative to Buddy Guy is the outside page! You can imagine my disappointment! Did anyone else have this problem with their set? Unfortuneately this was the last copy available at the store (Best Buy) so I can't exchange it there. Does anyone know if I can get a new booklet from MCA? Steven James Gliwa ========================================================================= Date: Mon, 11 Mar 1996 20:59:11 -0500 Reply-To: USBLUE5@AOL.COM From: "Gordon, Rich" Subject: Sunday Night Blues 3/10/96 Playlist 10pm B.B.King, Everybody's Had The Blues, Blues Summit, MCA Sonny Rhodes, Pickin' Your Bones, Out Of Control, KingSnake - Basement Blues Band, Evil, Basement Blues, Local Little Walter, Boom Boom, The Blues-Volume 4, Chess - Rory Block, Mississippi Bottom Blues, Tornado, Rounder Reunion Blues Band, Hi Heel Sneakers, Back Home To Clarksville, Icehouse - John Lee Hooker, One Bourbon,One Scotch & One Beer, Chill Out, Pointblank Saffire-The Uppity Blues Woman, There's Lightning In These Thunder Thighs, Old,New,Borrowed & Blue. Alligator - Ron Levy's Wild Kingdom, Lonely Avenue, Zim Zam Zoom, Bullseye The Band, Ramble Jungle, High On The Hog, Pyramid - Sonny Terry, I Got My Eyes On You, Whoopin', Alligator Wynonie Harris, Wynonie's Blues, Everybody Boogie, Delmark - Johnny Payne & The Good Time Junkies, Damned If I Do Damned If I Don't, 101 In The Shade, JP>J Ronnie Earl & The Broadcasters, Soundcheck, Grateful Heart, Bullseye 11pm Koko Taylor, Born Under A Bad Sign, Force Of Nature, Alligator Pat Boyack & The Prowlers, Sugar, On The Prowl, Bullseye - Brownie McGhee, Daisy, The Fokways Years 45-59, Smithsonian Folkways Blu Lu Barker, Buy Me Some Juice, Don't You Feel My Leg, Delmark - Muddy Waters, Deep Down In Florida, Muddy Mississippi Waters Live, Blue Sky Lucille, Beggar Blues, Lucille, Blues Works - Doc Pomus, Naggin' Wife Blues, Blues Around The Clock, Delmark Howard & The White Boys, The Blues Are Killin' Me, Strung Out On The Blues, Mighty Tiger - Buddy Guy, I Smell Trouble, Slippin' In, Silvertone Ace Moreland, No No Henrietta, Keepin' A Secret, KingSnake - Josh White, Milk Cow Blues, Blues Singer 32-36, Columbia Don McMinn, House Of the Rising Sun, Painkiller Blues, Icehouse Rich Gordon Sunday Night Blues 10pm to Midnight WXRX 104.9 FM Rockford, IL ========================================================================= Date: Mon, 11 Mar 1996 19:24:35 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: MCA's Buddy Guy Chess Recordings Booklet Comments: To: SGLIWA At 08:25 PM 3/11/96 -0500, SGLIWA wrote: >I Just bought the two CD set, "The Complete Chess Studio Recordings" by >Buddy Guy on MCA. It's a great set but there's one big problem: >>The enclosed 19 page booklet contains pages 3-18 of notes and pictures from >a collection by Miklos Rosza including pictures of Edward G. Robinson and >Sabu! Apparently there was a major mistake in the collating of the pages >of the booklet. The only thing relative to Buddy Guy is the outside page! >You can imagine my disappointment! Did anyone else have this problem with >their set? Unfortuneately this was the last copy available at the store >(Best Buy) so I can't exchange it there. DDoes anyone know if I can get a new booklet from MCA? > > Yes, you can get a new booklet from MCA. Mail the old one and a letter explaining the problem to: Andy McKaie, VP of Special Markets MCA Records 70 Universal City Plaza, 3rd Floor Universal City CA 91608 Mary Katherine ========================================================================= Date: Mon, 11 Mar 1996 22:46:15 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: It's not unheard of > Blues-l people maybe should know that displanting landmarks such as this > can have good results. The Temple of Dendur was brought to New York City > from Egypt and has given thousands of visitors a taste of Egypt they > never could have gotten. Of course those are visitors to new York, not visitors to Egypt. The European/North American habit of plundering the cultural treasures of other nations for displays in museums, etc., is replicated within North America by our remarkable willingness to dig up native peoples' graves for display. Now we put the homes of black musicians on trailers to show them off out of their geographic and cultural context, so that visitors can claim that they have "seen the real thing" -- as if a shack outside of the Delta has anything to do with Muddy Waters. The tragic part is, that by doing whatever it is doing, HOB is probably preserving Muddy's home, at least in the physical sense. Our society has no practical way to preserve this heritage in its original context. But Muddy's cabin on tour, like an Egyptian tomb in New York City, is just about as authentic as Main Street in Disney World. End of rant. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Mon, 11 Mar 1996 22:43:13 EST Reply-To: Joseph Leichter From: Joseph Leichter Subject: Re: Ageing Blues Has "Goin' Down Slow" been mentioned ?? ========================================================================= Date: Tue, 12 Mar 1996 04:19:38 GMT Reply-To: Jeffrey Daniels From: Jeffrey Daniels Organization: UMR Missouri's Technological University Subject: Movie soundtrack, blues-related Comments: To: bit-listserv-blues-l@uunet.uu.net Speaking of the "Things To Do In Dever When Dead" there is a couple of Buddy Guy numbers also, "She's A Superstar" and a new on with the Nevel Bro. The whole soundtrack is very good. ========================================================================= Date: Mon, 11 Mar 1996 23:48:29 -0500 Reply-To: BAJammin From: BAJammin Organization: America Online, Inc. (1-800-827-6364) Subject: Walkin' Blues on 78 RPM Playlist, WTJU Charlottesville, 3/10/96 Comments: To: bit-listserv-blues-l@uunet.uu.net John Jackson............................Flat Foot & Buck Dance Steamboat Whistle Blues Cephas & Wiggins......................Action Man, Cool Down Twelve Gates To The City Lightnin' Wells...........................One Way Gal, Gospel Train Rising Star Fife & Drum Band.....Shimmie She Wobble Trixie Smith...............................The World's Jazz Crazy and So Am I Clementine Smith.......................Nobody Knows What A Red Head Woman Can Do Sara Martin w/ Sylvester Weaver..My Man Blues John Jackson.............................If Hattie Wants To Lu, Let Her Lu Like A Man I'm A Bad, Bad Man Big Bill Broonzy..........................Stove Pipe Stomp, Starvation Blues Nashville Jug Band......................Dallas Rag Joseph Spence...........................I'm Going To Live That Life Robert Johnson...........................I'm A Steady Rollin' Man, Hellhound On My Trail Blind Lemon Jefferson..................Easy Rider Blues, Match Box Blues Charlie Patton.............................Mississippi Bo Weavil Blues, Shake It and Break It Rory Block.................................Three Is A crowd, Blues Again Nasville Jug Band........................Titanic Cephas & Wiggins.......................Man Without A Future, No Ice In My Bourbon Bill Adams WTJU 91.1 ========================================================================= Date: Mon, 11 Mar 1996 23:48:29 -0500 Reply-To: BAJammin From: BAJammin Organization: America Online, Inc. (1-800-827-6364) Subject: Piedmont Blues Fans Comments: To: bit-listserv-blues-l@uunet.uu.net It's been over a month since I last signed on here. A lot's been happening. I last left everyone hanging with news of a Feb. 3rd John Jackson concert at the Prism in Charlottesville, Va. Well due to inclement & snowy weather he was unable to make it down. We had a snow concert anyway though hosted by ___________ Gap (there's a gap in my memory, folks, sorry) with Kathy Berry who were all snowed in after their Prism concert the night before. Several other C'ville musicians braved the weather to come down and jam also so a good time was had by all:) Mr. Jackson will be appearing this weekend, March 16, though, so hopefully the weather will be good. I plan to attend and will post a review. ========================================================================= Date: Tue, 12 Mar 1996 00:08:16 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: Record Stores, Aging songs: summaries. Tom Morgan wrote: >In another time and place, Joel Slotnikoff said: >> >> >> Blues Songs about aging >> >> Young Fashion Ways--Muddy Waters > >Joel, here are some others that I din't see on your list > > Group Title Year Label > -------------------- -------------------- ---- --------- > Curtis, Mac Grandaddy's Rockin King > Gates, Rev J M Death's Black Train RCA > Is Coming > Harris, Wynonie Grandma Plays the 49 > Numbers > Hunter, Ivory Joe Old Man's Boogie 50 Route 66 > Ink Spots Don't Let Old Age 37 > Creep Up On You > Jordan, Louis Jack You're Dead 46 > Jordan, Louis Don't Burn the 47 > Candle at Both Ends > Jordan, Louis Stone Cold Dead in 45 MCA > the Market > Kenner, Chris Grandma's House 55 > Little Esther Aged and Mellow 52 > Blues > Radcilff, Bobby There's A Cold Grave 94 Black Top > In Your Way > Saffire Middle Aged Blues Alligator > Stevenson, George Meet Me At Grandma's 54 > Joint > Taylor, Koko 63 Year Old Mama 93 > Vinson, Eddie Old Maid Boogie 46 Verve > Wilson, Roma Death Ain't Nothing Arhoolie > But A Thief and a > Robber > > Tom Some of these are about death, not aging. All of us are gonna die, but not all of us are gonna get old. I'm ok, because only the good die young - said with a :-) - I think! Chris Smith (chris@skerries.demon.co.uk) "What's the use of gettin' sober, when you're gonna get drunk again?" (Louis Jordan) ========================================================================= Date: Tue, 12 Mar 1996 00:50:19 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: Ageing Blues >There is a couple of tunes on Champion Jack Dupree's recording "One Last >Time" ( I think that's the title)...They may be the same tune, but it's about >growing old and nobody really cares for you anymore. Not a very happy tune >in the least. The other (maybe the same one) is about sending flowers will I'm >alive, cause I can't use no flowers down in hell. Some powerful stuff and an >all around great recording and I think it was his last recording. > >LW You have the CD title correct: the song is 'Give Me Flowers While I'm Livin'', originally recorded 25 November 1941 (as 'Bring Me Flowers While I'm Living') by Peetie Wheatstraw. With macabre appropriateness, it was Peetie's last session - 21 December he died in a car crash. Composer credits on the original are to 'Green-Oden'. Oden is St Louis Jimmy, of 'Going Down Slow' and other cheery little numbers. 'Green' might be pianist Lee Green, I guess. Chris Smith (chris@skerries.demon.co.uk) "What's the use of gettin' sober, when you're gonna get drunk again?" (Louis Jordan) ========================================================================= Date: Tue, 12 Mar 1996 05:23:35 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: The Stovall Family (was: Charly a no-no?) Jim wrote: > > >Actually, Chris, I thought about that after I sent my last post. Three >cheers to the Stovall family. I don't know much about them (other than what >I read in Deep Blues, but that was written nearly 20 years ago), but they >sound like good folks, and they deserve our cheers. I don't know how wealthy >they are, but that 100,000 dollars undoubtedly means more to them than to >the HoB folks, and it was great that they donated it to the Sunflower River >Festival (esp. since I'll be there this summer! :-) Good for them. > >-Jim (hndful@uniserve.com) Here's a quote from 'Beale Black and Blue' by McKee and Chisenhall (1981 - a good read, recently republished by Da Capo, I think): 'Stovall's youngest son Robert, who lived in Chicago, had brought his niece and nephew from Mississippi to a club where Muddy was playing. When Muddy found out they were there, he asked them to stand up and introduced them to the crowd at the nightclub. 'These are my people,' he said.' Chris Smith (chris@skerries.demon.co.uk) "What's the use of gettin' sober, when you're gonna get drunk again?" (Louis Jordan) ========================================================================= Date: Tue, 12 Mar 1996 11:58:23 +0100 Reply-To: Peter Gallagher From: Peter Gallagher Subject: Well done Dick Waterman!!! Comments: To: Jinxblues@AOL.COM In-Reply-To: <960311191330_443821192@emout05.mail.aol.com> from "Dick Waterman" at Mar 11, 96 07:13:31 pm I was most delighted and relieved to read the statement from Mr. Stovall regarding Muddy's cabin. Hats off to the Stovall's for their staunch determination to preserve the cabin and thereby an important piece of _world_ heritage. Well done Dick Waterman for making the step to investigate the matter and get the real (happy), facts from "the horse's mouth", and thus putting so many people out of their worries. regards, PeterG -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Mon, 11 Mar 1996 20:17:16 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: Re: Billboard blues chart for week of March 16, 1996 Comments: To: Jeff Seale Jeff Seale wrote: > > On Sat, 9 Mar 1996, Mary Katherine Aldin wrote: > > > Here is the Billboard magazine blues chart for the week of March 16, 1996. > > * = new on chart this week > > > > 3. Phantom Blues/Taj Mahal * > > I saw this in the local Blockbastard and was wondering if anyone has heard > it yet. Looked pretty good, but I don't have any Taj yet... > > -Jeff > > ****************************************************************************** > __ Jeff Seale > | |___ University of Texas Health Sciences Center @ San Antonio > ___|* | EMail seale@bioc02.uthscsa.edu > \ | > \/\ / Reuben Stewart > \ / February 19, 1996 > \( Rest in peace, Mr. S. I would say Taj goes full circle on this cd. Quite a variety. A little country flavored (Lovin' In My Baby's Eyes). Some New Orleans rock and roll,(Ooh Poo Pah Doo, I Need Your Loving, Let The Four Winds Blow). Jump,(The Hustle Is On). Funk,(The Car Of My Dreams) Some R&B and of course some Blues. While the majority of the tunes on the cd are covers, Taj does a nice job, and I must admit several of the tunes were favorites of mine when they were done by their original artists. Big time Taj fans are going to like this one. Stan -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 ========================================================================= Date: Tue, 12 Mar 1996 06:04:47 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: The Stovall Family (was: Charly a no-no?) >On Mon, 11 Mar 1996 13:01:52 -0800 LW said: >>Chris wrote: >> So far, nobody in this forum seems to have congratulated the Stovall >>>family on ensuring the preservation of the cabin, eventually in its >>>rightful location, and at the same time taking $100,000 off HOB for the >>>promotion of the blues in a better way than HOB does it. (If you did, and I >>>missed your posting, forgive me.) > >I'm still not sure it was such a good idea. I see the reasoning behind it and >I do know Howard Stovall works hard on making the Sunflower Festival better and >better. Still I'm not sure. Keep in mind when you do go the Sunflower Festival >you WILL NOT see Muddy's cabin on Stovall's Plantation. I'm just glad I got to >see it before the HOB "renovates" it. I hope they don't use aluminum siding and >put Pontiac Sunbird ads all over it. I'm not convinced it's a great idea, but >it's none of my business. It would make me feel better if they did not move >it. It belongs in MISSISSIPPI and nowhere else...That's my opinion and I guess >I should be thankful they didn't buy ALL of Clarksdale, renovate it and travel >it around. Sorry and JFTR I have tons of respect for Mr. Stovall > > >LW 'as always speaking his mind on something that's none of his business' Actually, I agree with LW, but there's an old saying that 'the best is the enemy of the good' - in other words, if we insist on the perfect solution, we won't get it, and likely we'll get something worse. Chris Smith (chris@skerries.demon.co.uk) "What's the use of gettin' sober, when you're gonna get drunk again?" (Louis Jordan) ========================================================================= Date: Tue, 12 Mar 1996 08:57:53 +0100 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Mike Leadbitter I'm so busy that I haven't been able to read all the blues-l digest files I received over the last ten days but I really wanted to send this note since today, march 12th, is Mike LEADBITTER birthday. He would have been 54 years old. I am among those who still believe in 1996 that he was one of the most (if not the most) important and sensible writter/journalist/scholar the blues has known. Wherever your soul is Mike, thanks for what you did for the blues. I never get tired of re-reading you. Jean-Pierre "Young" Urbain.. who is unfortunately too young to have had the opportunity to meet him. ========================================================================= Date: Tue, 12 Mar 1996 07:48:05 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: EU copyright laws Gorgen Antonsson wrote to me a propos my posting on Charly, and you may be interested in what he says: >Hi, you're a WEE bit of the mark with your comment on EU copyright laws on >Blues-L; 75 years applies to AUTHORS' rights - "recorded sound" is protected >50 years after release [not "after recording" as it was in several countries, >including Sweden, some years back]. Chris Smith (chris@skerries.demon.co.uk) "What's the use of gettin' sober, when you're gonna get drunk again?" (Louis Jordan) ========================================================================= Date: Tue, 12 Mar 1996 08:04:21 EST Reply-To: levyt@RL.AF.MIL From: Toby Levy MEMPHIS COUNTRY BLUES RECORDINGS VOLUME 1 (JSPCD 603) JSP RECORDS PO BOX 1584 LONDON N3 3NW ENGLAND When you look at the map of the United States, it's easy to see how Memphis became a blues mecca in the Roaring Twenties. Just over the northwest border of Mississippi, directly south of Chicago, a major port on the Mississippi River, this city HAD to become a major gathering place as the twentieth century began to accelerate. This cd can be seen as two snapshots of the city taken almost seventy years ago. The first photo is a winter scene, with two major figures and two shadowy figures laying down their blues in field recording studios during the first four days of February, 1928. The artists, Frank Stokes, Tommy Johnson, Ishman Bracey and Rosie Mae Moore, display a diverse array of styles. The second photo is a summer scene, with Frank Stokes laying down nine tracks over four days at the end of August, 1928. More than a trip down memory lane, this music has a timeless beauty just as vital today as when it was shouted above the rugged crowds that filled the clubs and saloons of Memphis so long ago. DOWNTOWN BLUES / BEDTIME BLUES / WHAT'S THE MATTER BLUES / STAGGERING BLUES / HA-HA BLUES / SCHOOL GIRL BLUES / STRANGER BLUES / COOL DRINK OF WATER BLUES / BIG ROAD BLUES / BYE BYE BLUES / MAGGIE CAMPBELL BLUES / SATURDAY BLUES / LEFT ALONE BLUES / MISTREATIN' BLUES / IT WON'T BE LONG NOW / NEHI MAMA BLUES / I GOT MINE / STOMP THAT THING / 'TAINT NOBODY'S BUSINESS - PART 1 / 'TAINT NOBODY'S BUSINESS - PART 2 / TAKE ME BACK / HOW LONG / NY CD-TAKES DOWNTOWN BLUES: Frank Stokes is first up, playing with a second, unidentified guitarist. Frank plays in a rolling, bouncy style, a slight cry to his voice, challenging anyone to deny the assertions of the lyrics. "This is 1928, and it must be a brand new year" he asserts in the first verse, hoping this year will deliver more success than the past. BEDTIME BLUES: Here Frank suffers through a relationship with a "jealous minded woman." The beautiful guitar playing has almost a ragtime rhythm to it. WHAT'S THE MATTER BLUES: Frank starts this one with a nice guitar picking introduction. The matter, Frank explains, is that his girl has left him, and she was the only one for him. This cut contains Frank's best guitar playing. STAGGERING BLUES: Rosie Mae Moore takes over the microphone for this and the next four songs. On this and the next two she utilizes Charlie McCoy's considerable guitar talents. Rosie's voice is strident and whiskey hardened. She sounds as if she could be heard over the most raucous audience. She sings this song directly to "Mr. Charlie" Mccoy. HA-HA BLUES: It's a bitter laugh, as Rosie has just received a "Dear Rosie" letter from her man saying goodbye. Rosie's response is to "skip out tonight, gonna ha-ha-ha." This song has a strong Ethel Waters influence. SCHOOL GIRL BLUES: Back to a more traditional country blues style, Rosie is the little school girl who gets tempted by "a brown skinned man" on her way to school. Charlie Mccoy does some nice soloing here. STRANGER BLUES: For Rosie's last number Charlie Mccoy plays mandolin and Ishman Bracey takes over guitar duties. Rosie is a poor stranger who arrives in town to ease her troubled mind. Defiantly, Rosie states "before I stand to be mistreated, girls, I'd take Morphine and die." COOL DRINK OF WATER BLUES: Now Tommy Johnson enters the studio. This and the next three songs comprise his first recordings, playing his guitar, with Charlie McCoy backing him up. Using a moan that comes close to a yodel, Johnson is a total original. BIG ROAD BLUES: Life's too tough to go it alone and if Tommy can't carry his girl down that big road, he'll carry someone else. Recorded during the same session, Tommy's vocal style is completely different from the previous song. Singing in a deeper voice, he sounds just as committed, just as wonderful, but totally different. BYE BYE BLUES: Tommy's heading off down the road, won't be back to fall. And if he meet's his good gal, he won't be back at all. Charlie McCoy plays his guitar like a mandolin, decorating this slow sweet blues like icing on a cake. MAGGIE CAMPBELL BLUES: It looks like Maggie walking toward us down the road, but why is she walking so slow? Tommy never explains it, preferring to reiterate the verses from the songs he sang previously. What's new here is the idea that he's going to use chewing gum to blow his blues away! SATURDAY BLUES: Ishman Bracey takes over here, again using the omnipresent Charley McCoy on second guitar. Bracey learned his blues by guiding Blind Lemon Jefferson all around the delta. Bracey has a interesting tone to his voice, as he tells of his regular woman taking his pocket change while his sometimes woman wants to do the same. LEFT ALONE BLUES: This the last of Ishman's all too brief appearance on this cd. This slow blues finds Ishman at the railroad station bemoaning the loss of his woman. Not only did the train take his woman, it blew black smoke all over him. MISTREATIN' BLUES: It's now late summer in Memphis and we return to Frank Stokes for the rest of the cd. Playing solo on this and the next four cuts, he sounds like he's having a great time in the studio. This is another song with a ragtime feel to it. IT WON'T BE LONG NOW: Frank is leaving, he can't take it any more. He doesn't want gravy went when it gets cold. But while he's fixing to go, he plays some angelic sheets of music on his guitar. NEHI MAMA BLUES: Who knows what a nehi woman is? Whatever she is, the nehi women drive frank crazy, but he can't live without them. "They can eagle rock you, they can stop you from them things that you used to do." I GOT MINE: Another ragtime number, this one tells the story of Frank losing everything in a craps game except for one dollar. The motto of this rollicking song is that money isn't everything! STOMP THAT THING: Frank slows it down while he sings about the bad effects a lifetime of drink has done to him. He knows its bad, he can't stay away from it and he's getting sick and tired of "hearing that ding dong ring." 'TAINT NOBODY'S BUSINESS - PART 1: Frank is joined here and for the rest of the songs by a second guitarist, Dan Sane. Frank sings this ragtime classic with gusto, picking his guitar to perfection. 'TAINT NOBODY'S BUSINESS - PART 2: This must have been recorded for the flip side of the record. A little slower, a little more bluesy, Frank continues to assert his right to privacy. TAKE ME BACK: Frank's down on his knees begging for another chance. He'll treat his woman right, he'll give her all his money. From the amount of times Frank sings the words, his woman is going to need a lot of convincing. HOW LONG: It's been a long time since Frank had any loving. A mournful blues sung by a lonely man. The beautiful guitar playing is the only solace. Reviewed by Toby Levy Copyright NY CD Blues - 1996 WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs ========================================================================= Date: Tue, 12 Mar 1996 07:55:33 CST6CDT Reply-To: "Sara C. Oxton" From: "Sara C. Oxton" Organization: University of Minnesota Subject: Re: Wierd Sam Myers story Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu I am familiar with the first "theft" of Sam's harmonicas. During the summer of '94 while the band was in Europe, the harmonicas got left behind, along with Sammy's beautiful customized holster. The blame for that mishap falls squarely on Anson's shoulders. When they last played here in December, Sam was indeed playing his own harmonicas, and sounded exceptionally good. Of late, I haven't seen a touring schedule for the band, not in Pollstar, not in any of the club calendars I receive, no place. The blame for that falls squarely on David Hickey's shoulders (their booking agent in Fort Worth). Somehow, these guys have been relegated to second- class standing. Their talent merits much more. If they're taking up a collection for new harps rather than paying for them themselves, it's probably because they're not making any money from their shows. Sam's gal??? I thought I was Sam's gal! _________________________________________ Sara C. Oxton Executive Secretary University of Minnesota Department of Food Science & Nutrition 1334 Eckles Ave. St. Paul, MN 55108 Ph: (612) 624-2782 Fax: (612) 625-5272 soxton@che2.che.umn.edu ========================================================================= Date: Tue, 12 Mar 1996 13:05:00 GMT Reply-To: Mr G M Smith From: Mr G M Smith Subject: Muddy's Cabin,UK Perspective It is with some interest that I've followed the debate re Muddy's Cabin,this being a site of WORLD importance. Now,I'm unlikely ever to see it,as even when I do revisit the US,the odds on me dragging She Who Is To Be Obeyed out to the back of beyond to view,what is to her,a badly maintained garden shed are pretty dam' slim. However,like so many things we'll never see,it's enriching just to know it's there. Mr Stovall's letter certainly cleared the air and I would suggest to those who care that this is the best deal you're EVER going to get to preserve this artefact. One or two thoughts do spring to mind. Several correspondents have, in the past,displayed points of view which suggest that they lean politically to the right,that the Buck is king,if you can afford it it's yours and if you can't,tough. Well,this is the natural consequence of such beliefs; a society where everything has a price and nothing has a value. Don't feel embarassed,it's getting worse here too. Can we assume also that those who were most critical of HOB will be campaigning for the return of Native American remains and artefacts to their rightful owners? It hurts,doesn't it,when something you care about is touted around out of context and thereby demeaned. Yours, Garry Smith. PS I hear the Prince Formerly Known as Charles bangs out a fair shuffle on his cello. Anybody from HOB care to make an offer? We'll throw in his brothers and father for nothing. ========================================================================= Date: Tue, 12 Mar 1996 08:35:10 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: lonnie pitchford/rooster In-Reply-To: <199603120115.TAA03005@bradley.bradley.edu> On Mon, 11 Mar 1996 mjg@BRADLEY.BRADLEY wrote: > But my favorite Rooster record is > no doubt Lonnie Pitchford's "All Around Man." This is an extraordinary attempt > to pay homage to the traditional Delta blues style, but to do so in a way that > is extremely original (you'll have to listen to the record to know what the > hell I'm talking about here). I'll second Mark on this. I bought this cd on a whim (back when I had enough cash for whims). A definite favorite. In addition to being a good blues guitarist, Pitchford also plays (and makes) one-strings. > If you think that the recent Keb Mo and Corey > Harris records represent positive contemporary attempts to resurrect the > traditional delta style, then you will be massively pleased to hear the > Pitchford release. I'd say "impressed" instead of "pleased", but that's just semantics. (Should I make a comment about anti-semantic-ism? No, I didn't think so.) T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Now, I don't want to offend women, some of whom are total babes." - Tony Kornheiser, "Pumping Irony" ========================================================================= Date: Tue, 12 Mar 1996 09:33:30 -0400 Reply-To: Ian Angus From: Ian Angus Subject: Blue Soul Playlist March 13 Here is the Playlist for BLUE SOUL, for Wednesday March 13. (8pm-10pm, CKLN 88.1 FM, Toronto) March 8 was International Womens Day, so this show is almost entirely devoted to blues and R&B by women, except for a segment devoted to songs entitled "One Monkee Don't Stop No Show." If you're in the area, call me to say hello during the show. The studio phone number is 416-595-1655. Koko Taylor's in Town .....Koko Taylor: Wang Dang Doodle .....Koko Taylor: Let the Juke Joint Jump Boogie Down .....Hadda Brooks: Swingin the Boogie .....Downchild with Jane Vasey: Tryin to Keep Her 88s Straight .....Unknown: I Wonder Who's Boogiein My woogie Now .....Mabel Scott: Elevator Boogie .....Memphis Minnie: Shout the Boogie .....Camille Goward: Money Blues .....Jimmie & Jeannie Cheatham: Don't Boogie With Your Black Drawers Off Mellow Down .....Theresa Malenfont: January: .....Rita Ghent: Gee Baby Middle Aged Blues .....Cathi Norton: Get Back Baby .....Saffire: Middle Aged Blues Boogie Monkee Business .....Sticks McGhee: One Monkee Don't Stop No Show .....Big Maybelle: One Monkee Don't Stop No Show .....Sonny Terry: One Monkee Don't Stop No Show .....Joe Tex: One Monkee Don't Stop No Show .....Honey Cone: One Monkee Don't Stop No Show .....Bobby Rush: One Monkee Don't Stop No Show .....Judy Brown: Monkee Business Snokey Joe's Cafe Original Cast .....Trouble .....Don Juan .....Saved Lavern Baker Live in LA .....Sugar Daddy .....Slow Rollin Mama Does Size Count? .....Dana Gillespie: Big Fat Mamas are Back in Style .....Dinah Washington: Fine Fat Daddy .....Sugar Pie Desanto: Use What You Got .....Jani Lauzon: 99 Lbs Wrap Up .....Etta James: W-O-M-A-N ---------- Ian Angus ========================================================================= Date: Tue, 12 Mar 1996 10:02:00 +0000 Reply-To: tkelley@ARL.MIL From: Troy Kelley Organization: ARL Subject: Re: A coupla SRV questions for yas. >I woke up this morning to my classic rock station (WZLX Boston) playing some >acoustic SRV that I've never heard. It was "Pride And Joy" and Stevie was >unaccompanied and playing an acoustic 12 string. It was superb. Where is >this from and is this acoustic SRV on cd anywhere? --- Maybe they got a hold of that MTV unplugged stuff that Stevie did. I wish they would distribute that on video!! It was a great performance. He blew Joe Satriani away. >Second, someone said to me the other day that SRV is "mulatto", ie a white >parent and a black parent. I had never heard this before, and Stevie and >Jimmie sure don't look it. This guy was adamant about it though. I don't think so. I have seen pictures of his parents in a book that I have and I don't recall being surprised that one of them was black. They just looked like average white folk to me. Troy ========================================================================= Date: Tue, 12 Mar 1996 09:14:40 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Delta Harp & Slide Duos Can someone recommend some acoustic "duos" where one played RAW delta type slide and the other played harp. It doesn't really have to be acoustic, but it does have to be a duo. I'd like a entire cd of something like this, the closest I have is Johnny Shines/Snooky Pryor. Too Wet To Plow has some also, I need some more of that type.....Thanks Are Cephas & Wiggins recordings very raw....? LW ========================================================================= Date: Tue, 12 Mar 1996 15:12:13 GMT Reply-To: "Jennifer A. Zogott" From: "Jennifer A. Zogott" Organization: New York University Subject: Re: Derringer out of ammo? Comments: To: bit-listserv-blues-l@uunet.uu.net Matthew Arthur Clark (mac44@VANAKAM.CC.COLUMBIA.EDU) wrote: : Rick, : Rick Derringer has recently been signed to Code Blue Records and is working : on an album for release later this year. : Matt Clark : mac44@columbia.edu : Code Blue Records -> http://www.columbia.edu/~mac44 Saw him play twice within the past year at Manny's Car Wash in NYC - a short set at a Johnny Copeland benefit, and a solo show a month or so later. Well-attended, well-received. Jennifer * * * "How many bubbles in soap? How many chews in gum? How many rolls in a wheel? Where did eyeballs come from?" - Screamin' Jay Hawkins ========================================================================= Date: Tue, 12 Mar 1996 15:20:01 GMT Reply-To: "Jennifer A. Zogott" From: "Jennifer A. Zogott" Organization: New York University Subject: Re: Looking for Carl Martin recordings Comments: To: bit-listserv-blues-l@uunet.uu.net Gordon, Rich (USBLUE5@AOL.COM) wrote: : There is one on Flying Fish called This Old Gang Of Mine...Martin, Bogan and : the Armstrongs....I saw them here in Rockford with Steve Goodman. : Rich Gordon : WXRX Sunday Night Blues : Rockford, IL Steve Goodman covered the song "The Barnyard Dance" which I believe Martin wrote. One of the Armstrongs in Martin, Bogan and the Armstrongs is the remarkable swing fiddler Howard Armstrong, whom I believe is the only surviving member. Jennifer * * * "How many bubbles in soap? How many chews in gum? How many rolls in a wheel? Where did eyeballs come from?" - Screamin' Jay Hawkins ========================================================================= Date: Tue, 12 Mar 1996 15:19:58 GMT Reply-To: Diana Shonk From: Diana Shonk Organization: Across The Board and The Blues Audience Newsletter Subject: Re: Amphibians > Octegenarians: songs about aging. Comments: To: bit-listserv-blues-l@uunet.uu.net "I Feel That Old Age Comin' On" a is either Wynonnie Harris or Smiley Lewis. I could be wrong, I can hear it in my head, I am just not good at remembering the names of anything. ========================================================================= Date: Tue, 12 Mar 1996 15:24:08 GMT Reply-To: "Jennifer A. Zogott" From: "Jennifer A. Zogott" Organization: New York University Subject: Re: Where's Johnny Winter? Comments: To: bit-listserv-blues-l@uunet.uu.net Andrew Moodie (da586@FREENET.CARLETON.CA) wrote: : I hear that he's sticking close to home these days. I saw a brief : not about him playing in New Jersey recently. Were Jeff Ganz and : Tom Compton with him? Is he ok? Any word of a tour? : AJM He played recently (1/31, as I recall) at Tramps in NYC. Ganz is not with him. He's playing Club Bene in NJ on 3/23, with Jon Paris opening. As I understand it, this is kind of a warm-up, since he hasn't played in a couple of years. No tour is planned yet, as far as I know, but he'll probably be going into the studio this year. I liked the Tramps show, but I'd never seen JW before. Those who were more familiar with his live work said the show was kind of limp. JZ * * * "How many bubbles in soap? How many chews in gum? How many rolls in a wheel? Where did eyeballs come from?" - Screamin' Jay Hawkins ========================================================================= Date: Tue, 12 Mar 1996 15:35:19 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: Wierd Sam Myers story Comments: To: bit-listserv-blues-l@uunet.uu.net In , L W writes: >At last nights local blues society meeting (Sam's gal is a member) they took >up a collection for Sam. It was said that Sam has had his harps stolen TWICE >IN A ROW. He doesn't have harps, so naturally hasn't been playing with Anson. > >Something doesn't sound right about this story. Wouldn't Anson and the others >him out on getting some harps. This just doesn't sound right to me, something >doesn't add up. Anson is a nice guy and wouldn't let something like Sam's harps >getting stolen TWICE happen. Doesn't sound weird at all to me. In fact, I've had my harps stolen THREE TIMES! You can send your donations directly to me in Peach Orchard. Sounds to me like his good gal needed some new shoes. I actually did have a set of harps stolen once (they were in my car after a gig on Beale - the stole the car to carry the harps, I guess), but for the most part, who the hell wants a used harmonica? I'd also imagine that Sam makes enough to afford a new set of harps frm time to time without needing any help from a blues society. Better check out the story (right after you send me a donation, of course). BBB B.B. Bean bbbean@cris.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Tue, 12 Mar 1996 07:40:33 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Mar. 13 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BARKER, DANNY (g) d. 1994-0313, NEW ORLEANS, LA 85 BLANCHARD, TERENCE (tpt/ART BLAKEY) b. 1962-0313, NEW ORLEANS, LA BROWN, JOHN B. (b/SNUB MOSLEY) b. 1906-0313, DAYTON, OH CAVANAUGH,DAVE (tsax/prod/CAPITOL R) b. 1919-0313, ST. PAUL, MN FORD, JIMMY (asax/MILT LARKINS) d. 1994-0313, HOUSTON, TX 66 GAZZARRI, BILL ("GODFATHER OF ROCK&ROLL") d. 1991-0313, WEST HOLLYWOOD, CA 67 HAYES, CLANCY (bjo) d. 1972-0313, SAN FRANCISCO, CA 63 KING, SAUNDERS (g/S. K. BLUES) b. 1909-0313, STAPLE, LA LIGHTNIN' SLIM [OTIS V. HICKS] (g) b. 1913-0313, ST. LOUIS, MO MITCHELL, RICHARD "BLUE"(tpt/JOHN MAYALL) b. 1930-0313, MIAMI, FL PATTERSON, BOBBY (v) b. 1944-0313, DALLAS, TX PRICE, TONI (v/ANTONE'S REC) b. 1961-0313, PHILADELPHIA, PA SEDAKA, NEIL (p/songw) b. 1939-0313, BROOKLYN, NY SHAD, BOB (arr/prod/SITTIN' IN WITH) d. 1985-0313, LOS ANGELES, CA 65 STOLLER, MIKE (songw/LEIBER & STOLLER) b. 1933-0313, BELLE HARBOR,LI NY TAYLOR, MELVIN (g/EDDIE SHAW) b. 1959-0313, JACKSON, MS WILLIAMS, DAVE "FAT MAN" (p) d. 1982-0313, NEW ORLEANS, LA 61 WILLIAMS, WILLIE "ROUGH DRIED" (d) b. 1922-0313, LAKE VILLAGE, AR WOODFORK, BOB "POOR" (g) b. 1925-0313, LAKE VILLAGE, AR ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 12 Mar 1996 10:35:02 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Delta Harp & Slide Duos Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, ISTS024/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=ISTS024#p#UABDPO#f#BITNET#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *Can someone recommend some acoustic "duos" where one played RAW delta type *slide and the other played harp. It doesn't really have to be acoustic, but *it does have to be a duo. I'd like a entire cd of something like this, the *closest I have is Johnny Shines/Snooky Pryor. Too Wet To Plow has some *also, I need some more of that type.....Thanks Peter "Madcat" Ruth and Sherry Kane play some acoustic delta stuff on Madcat & Kane. The cd has different styles (delta, Chicago, jazz) of mostly standard covers. I'm sure you must have some of the early Muddy Waters/Little Walter sides - Their version of "Rolling and Tumbling" is about as raw as it gets. -Steve ========================================================================= Date: Tue, 12 Mar 1996 09:37:57 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Wierd Sam Myers story In-Reply-To: Message of Tue, 12 Mar 1996 15:35:19 GMT from On Tue, 12 Mar 1996 15:35:19 GMT Barry Bean said: > >Sounds to me like his good gal needed some new shoes. I actually did have >a set of harps stolen once (they were in my car after a gig on Beale - the His "good gal" is a very good person and a great friend of mine. She would not intentionally mislead ANYONE. She wasn't at this particular meeting. I'm sure the story came from her, because she's always looking out for Sam. I don't buy the whole story, but I trust Kitzy without reservations...PERIOD >the hell wants a used harmonica? I'd also imagine that Sam makes enough to >afford a new set of harps frm time to time without needing any help from a >blues society. Better check out the story (right after you send me a Sadly that's not true LW ========================================================================= Date: Tue, 12 Mar 1996 10:27:55 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Greater Cincinnati Blues Society Web Page Some of you BLUES-L folks have already visited the GCBS web page and have e-mailed me at my home address with compliments and questions. Thanks for the good words! Before the question-askers think I'm ignoring them, let me clarify that I had nothing to do with designing and have nothing to do with maintaining the web page at this time. That's all in the capable hands of the page's creator, Jean Fudge. For those of you who have questions or are seeking advice on your own blues society web pages, please e-mail Jean at 102505.3647@compuserve.com. (I don't remember if there's a direct connection to Jean's e-mail from the web page or not.) Since I'm not quite organized enough to have your questions with me here at work or Jean's e-mail address at home, I hope this helps! Shannon P.S. For those interested, journeying to London to see Eric Clapton, that miscreant Brit pseudo-Blues guy, was FANTASTIC. I recommend it highly. ========================================================================= Date: Tue, 12 Mar 1996 09:56:28 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: Delta Harp & Slide Duos In-Reply-To: On Tue, 12 Mar 1996, L W wrote: > Can someone recommend some acoustic "duos" where one played RAW delta type > slide and the other played harp. It doesn't really have to be acoustic, but > it does have to be a duo. I'd like a entire cd of something like this, the > closest I have is Johnny Shines/Snooky Pryor. Too Wet To Plow has some > also, I need some more of that type.....Thanks Check out their Blind Pig cd "Back to the Country". It was recorded after Shines had had to quit playing guitar, but Johnny's singing was still great. And Snooky was fantastic, as usual. > Are Cephas & Wiggins recordings very raw....? I wouldn't describe them as "raw". They play primarily in the Piedmont style, which I love but which doesn't sound raw compared to Delta blues. That's not to take anything away from Piedmont blues or from C&W, though. They play some of the best blues today regardless of style, and they have done some fantastic guitar-and-harp numbers with great playing and great lyrics. ("Sweet Bitter Blues" springs to mind. I love the line "I'm blue as indigo, my baby she just left town.") They have done some numbers you might be interested in if you're looking for rawer blues: Dog Days of August, Highway 301 Blues, and a few Skips James covers. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Now, I don't want to offend women, some of whom are total babes." - Tony Kornheiser, "Pumping Irony" ========================================================================= Date: Tue, 12 Mar 1996 11:30:54 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Gatemouth's mouth Comments: To: emdrprac@direct.ca On March 12, Roger N quoted a Jim Witteveen story about Gatemouth Brown and said: >>>This reminded me of the time in '82 when my band >>>backed-up Gatemouth at a folk festival. For hours >>>before we were due on main stage, Gate sat around >>>regaling us with stories, and many of his strange >>>(and quite negative!) opinions. Finally, the >>>girl-friend of our guitarist could stand no more - >>>after hearing Gate denounce B.B. King.... ("That old >>>Mississippi blues.... pitiful... it's depressing, man..."), >>>she stood up, and said "Well, I love B.B. King, man, >>>and you're just full of s**t!" A few years ago, a blues publication out of New England did a lengthy interview with Gatemouth in which he claimed that he 'knew' that Elvis had bought "That's All Right, Mama" from Big Boy Crudup for ten dollars and he 'knew' that Big Mama Thornton had been cheated out of her songwriting money for "Hound Dog" and he went on at great length. Neither statement contains a shed of facts but the reader makes the assumption that any grizzled blues veteran speaks the truth from actual experience. Actually, just the opposite is true. As the years pass, survivors recall events in the manner that casts themselves in the best light. People in the media (print, radio, TV, etc.) should be aware that if people make statements that are found to be libel or slander, they can be held accountable as co-defendents. Dick Waterman ========================================================================= Date: Tue, 12 Mar 1996 10:29:26 CST Reply-To: William Shute From: William Shute Subject: New Orleans next week (query) From: Bill Shute One of my best friends is going to New Orleans next week, accompanied by her significant other (also a good pal of mine!), and looking to have a great musical time in New Orleans (they won't be there during the festival). Could someone take a minute and let me know some places (musical venues, clubs, restaurants, cultural things, etc.) that she shouldn't miss? I know this lady would appreciate things "off the beaten path" and her tastes are diverse.I will forward your responses to her (she's not on blues-l, but loves the blues and is a native of Mississippi). Thanks in advance!(she'll be there next week, week of Mon. March 18) (I will probably use whatever tips you can provide when I hit New Orleans within the next year...) Bill Shute San Antonio, TX ========================================================================= Date: Tue, 12 Mar 1996 11:33:05 EST Reply-To: "Steve A. Fowlkes" From: "Steve A. Fowlkes" Subject: Robert Cray What do you guys want Cray to do? The man is excellent. I really love his live shows. He gives me what I go to see. A relaxed, excellent performance. ...saf ========================================================================= Date: Tue, 12 Mar 1996 11:40:40 EST Reply-To: "Steve A. Fowlkes" From: "Steve A. Fowlkes" Subject: Robert Cray Forget the Robert Cray post...I wish I could have recalled it. Sometimes I forget to whom I'm talking. Sometimes I forget that most of you are Rock fans. ...saf ========================================================================= Date: Tue, 12 Mar 1996 10:25:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: term definition wanted Could someone please define "stop-time" for me? Also "back-beat". I think I know what they mean, but not precisely. Thanx. music theory-challenged, Bonnie the K. ========================================================================= Date: Tue, 12 Mar 1996 11:48:26 EST Reply-To: "Steve A. Fowlkes" From: "Steve A. Fowlkes" Subject: Muddy's Cabin? Is Muddy's legacy really in the cabin or are YOU trying to put it there? His legacy is really in the music that he left for us to enjoy. ...saf ========================================================================= Date: Tue, 12 Mar 1996 10:45:59 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Gatemouth's mouth In-Reply-To: Message of Tue, 12 Mar 1996 11:30:54 -0500 from On Tue, 12 Mar 1996 11:30:54 -0500 Dick Waterman said: > >A few years ago, a blues publication out of New England did a lengthy >interview with Gatemouth in which he claimed that he 'knew' that Elvis had >bought "That's All Right, Mama" from Big Boy Crudup for ten dollars and he >'knew' that Big Mama Thornton had been cheated out of her songwriting money >for "Hound Dog" and he went on at great length. >Neither statement contains a shed of facts but the reader makes the >assumption that any grizzled blues veteran speaks the truth from actual >experience. I have heard on several occasions that "Hound Dog" was a BMT song and she was cheated. I tend to believe it and I would like to know the first time it was recorded and who recorded it. I have no facts to back it up, just like there are no hard facts on Memphis Minnie and "When The Leeve Breaks" I know Gatemouth talks a lot of trash, but a friend hangs him some and thinks he's a sweetheart. I think Lockwood (right or wrong) has trashed many performrs also. Lockwood speaks his mind, just like Gatemouth. At least some of the Lockwood stuff I've read he didn't hold anything back. No offense to Lockwood or Gatemouth. I think Lockwood should win any blues guitar award that's awarded, each and every year. I can't name a better blues guitar player than Robert Jr. Lockwood.... LW ========================================================================= Date: Tue, 12 Mar 1996 10:54:17 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Robert Cray In-Reply-To: Message of Tue, 12 Mar 1996 11:33:05 EST from On Tue, 12 Mar 1996 11:33:05 EST Steve A. Fowlkes said: >What do you guys want Cray to do? The man is excellent. I really love his >live shows. He gives me what I go to see. A relaxed, excellent performance. If I want relaxed, I'll go see Kenny G. I don't care for his more recent recordings. That's just my taste, it's no reflection on his talent. I never trashed him (recently) as someone said, he just doesn't move me. I've never seen him live and unless he's a at festival I sure I won't. I don't like relaxed music, unless it's Charles Brown or instrumental music. So if you like Robert that's great, alot of people do like him. I still listen to his first couple recordings, but that's all the RC I need. LW ========================================================================= Date: Tue, 12 Mar 1996 10:59:28 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Muddy's Cabin? In-Reply-To: Message of Tue, 12 Mar 1996 11:48:26 EST from On Tue, 12 Mar 1996 11:48:26 EST Steve A. Fowlkes said: >Is Muddy's legacy really in the cabin or are YOU trying to put it there? >His legacy is really in the music that he left for us to enjoy. If the Leaning Tower of Pisa moved to B'ham Alabama would that change it's meaning. If the Statue Of Liberty moved to Wisconsin would the legacy still be there. Have you ever been to the Delta....? LW ========================================================================= Date: Tue, 12 Mar 1996 09:56:50 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Gatemouth's mouth Comments: To: Jinxblues@AOL.COM At 11:30 AM 3/12/96 -0500, Dick Waterman wrote: >O >A few years ago, a blues publication out of New England did a lengthy >interview with Gatemouth in which he claimed that he 'knew' that Elvis had >bought "That's All Right, Mama" from Big Boy Crudup for ten dollars and he >'knew' that Big Mama Thornton had been cheated out of her songwriting money >for "Hound Dog" and he went on at great length. >Neither statement contains a shed of facts but the reader makes the >assumption that any grizzled blues veteran speaks the truth from actual >experience. >Actually, just the opposite is true. As the years pass, survivors recall >events in the manner that casts themselves in the best light. > Along these lines: some years ago Amy Van Singel (then Amy O'Neal) told me a theory she had developed, which was basically that as blues musicians get older, and do more and more frequent interviews, they tend to develop a "set line" of patter, repeating the same stories word for word each time they tell them, until it gets to a point where they have everything memorized. All future interviews then become a matter of hearing the same stories again and again...and the only way to get anything new or fresh out of them is to have enough inventiveness and imagination to ask entirely off-the-wall questions that they have never been asked before, forcing them to think think think instead of just repeating their stories. And Amy was absolutely right--asking different questions does indeed provoke different answers, and the musicians seem to enjoy talking to someone who has done enough pre-interview homework to be able to ask different and more in-depth questions. > Mary Katherine Aldin ========================================================================= Date: Tue, 12 Mar 1996 12:50:53 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Jessie Mae Hemphill Can one of our Mississippians tell us how Jessie Mae is doing nowadays? It's been a while since we gave her a hand. It would be good to know if she is doing better, or if she needs some more help with things. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 12 Mar 1996 19:02:13 +0100 Reply-To: Bengans From: Bengans Subject: Re: Ageing Blues Leichter wrote: >Has "Goin' Down Slow" been mentioned ?? I think that song originally was written about going down slow from a VD (syphilis) rather than from aging. Am I correct? Sevenson "Time is hard baby, and hustling is really on". T-Bone Walker ========================================================================= Date: Tue, 12 Mar 1996 11:55:16 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Gatemouth's mouth At 10:45 AM 3/12/96 CST, L W wrote: > >I have heard on several occasions that "Hound Dog" was a BMT song and >she was cheated. I tend to believe it and I would like to know the first time >it was recorded and who recorded it. I have no facts to back it up, just like >there are no hard facts on Memphis Minnie and "When The Leeve Breaks" > I never thought there was any question but that Lieber / Stoller wrote "Hound Dog" - in some places I've read that they wrote it specifically for Ms. Thornton, but in any case, they wrote it. Elvis (as I've read) apparently heard the song in a completely diferent version - the one he ultimately used - done by a lounge act in Vegas. BTW, Thornton's version spawned some answer songs, in particular, "Bear Cat" by either Rufus Thomas or Junior Parker (I forget which) on Sun while Phillips was still recording black performers. David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Tue, 12 Mar 1996 13:08:19 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: term definition wanted Comments: To: KALMBACH@macc.wisc.edu In a message dated 96-03-12 12:21:59 EST, KALMBACH@MACC.WISC.EDU (Bonnie Kalmbach) writes: >Could someone please define "stop-time" for me? Also "back-beat". >I think I know what they mean, but not precisely. Thanx. "Stop-time" dates back to ragtime as far as I know. There are several great Scott Joplin rags that use stop-time (one even has it in the title I think?); the one that comes to mind is "The Ragtime Dance," in which the next-to-last theme uses stop time. The stop time works something like this (from memory): The melody 'hits' syncopated just after the one and on the 2 and 3 and then EVERYTHING stops for the 4 and the next one, hitting on the 2 and three and then stopping again on the 4. da-dada-da (rest rest) da-dada-da (rest rest) like that (if we had a piano here it would be easier to demonstrate ) Stop time is used a LOT in dixieland, too. It is really dramatic. Usually the music hits really hard on the "on" beats and then goes dead and dramatically quiet. Tom Freeland (ragtime? on the blues list?) ========================================================================= Date: Tue, 12 Mar 1996 13:20:08 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: New Orleans next week (query) Comments: To: William Shute On 12 Mar 96, William Shute had this to say... > From: Bill Shute > > One of my best friends is going to New Orleans next week, accompanied > by her significant other (also a good pal of mine!), and looking to have > a great musical time in New Orleans (they won't be there during the festival). > > Could someone take a minute and let me know some places (musical > venues, clubs, restaurants, cultural things, etc.) that she shouldn't miss? > I know this lady would appreciate things "off the beaten path" and > her tastes are diverse.I will forward your responses to her (she's not on > blues-l, but loves the blues and is a native of Mississippi). > > Thanks in advance!(she'll be there next week, week of Mon. March 18) > (I will probably use whatever tips you can provide when I hit New Orleans > within the next year...) > > Bill Shute > San Antonio, TX For music, they need to get a current copy of Offbeat. It's a free pulp magazine that covers the music scene. My advice if they are into Blues is to find out where Marva Wright is playing. The need to go to the French Market Area of the Quarter and find the Lafitte National Park System office located behind the strip of stores on Decatur St. (towards the river). They offer several different FREE guided tours of such things as the Garden District, French Quarter, and Cemetaries. The tours are top notch and the guides are all well educated. The price is right as well. If they want to have some great home style New Orleans soul food they should try Rita's on Chartres Street, about 2 or 3 blocks east of Jackson Square in the quarter. The food is great, and the prices are reasonable. (When I say east, I'm guessing. It's hard to get any directions in N.O. If you face the front of St. Louis Cathedral in Jackson square, the direction I'm calling east is to the right.) While they're there, right at the corner of St. Ann's and Chartres Street is a fabulous place to buy sandwiches, pastries, and omlettes. Most of the Blues venues are outside the French Quarter and provide a good reason to ride the St. Charles streetcars. The only places to see Blues in the Quarter are the Old Absinthe Bar on Bourbon, and occasionally... The House of Blues. I have NEVER had a bad meal in New Orleans, anywhere. For something different and inexpensive, go to "Mothers" downtown and have a Po'Boy sandwich. Get their house specialty with plenty of "debris". Avoid lunch hour, as it is very popular with folks who work downtown. "Mother's" made me one of the best sandwiches I have ever eaten..period! P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 12 Mar 1996 13:21:44 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Beale Street Festival artists The Beale Street festival artists are apparently starting to become public. I haven't heard the blues tent names yet, but a couple of names are really interesting (Van Morrison and P-Funk interest anyone?). Also have heard Allman Bros and Dave Matthews (under my personal so-what category). Does anyone else out there have a more complete more confirmed list? Tom Freel ========================================================================= Date: Tue, 12 Mar 1996 13:17:13 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0608 From: "DUTTWEILER.J" Subject: James Cotton - Best of Verve Yea Date: Tuesday, 12 March 1996 1:17pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: James Cotton - Best of Verve Years Many thanks to those who recomended awhile back James Cotton's "Best of the Verve Years." Got it in the mail yesterday and its every bit as good as was said. JD ========================================================================= Date: Tue, 12 Mar 1996 13:26:08 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Gatemouth's mouth Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU On 12 Mar 96, ISTS024%UABDPO.BITNET@BROWNVM had this to say... > On Tue, 12 Mar 1996 11:30:54 -0500 Dick Waterman said: > > > >A few years ago, a blues publication out of New England did a lengthy > >interview with Gatemouth in which he claimed that he 'knew' that Elvis had > >bought "That's All Right, Mama" from Big Boy Crudup for ten dollars and he > >'knew' that Big Mama Thornton had been cheated out of her songwriting money > >for "Hound Dog" and he went on at great length. > >Neither statement contains a shed of facts but the reader makes the > >assumption that any grizzled blues veteran speaks the truth from actual > >experience. > > I have heard on several occasions that "Hound Dog" was a BMT song and > she was cheated. I tend to believe it and I would like to know the first time > it was recorded and who recorded it. I have no facts to back it up, just like > there are no hard facts on Memphis Minnie and "When The Leeve Breaks" Big Mama Thornton said herself that she wrote the song, and her version was, indeed, recorded before Elvis'. Lieber & Stoller were, at the time, friends of Big Mama Thornton's, and may have helped with the song, but later claimed it as their own when Elvis recorded it. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 12 Mar 1996 19:37:20 +0100 Reply-To: Bengans From: Bengans Subject: From Sweden to New Orleans/Chicago =46ellas! March 25th is a big day for me, I flying from where the polarbears walk the streets to where the only cold walking the streets is an iced drink in plastic cup. Yes New orleans here I come. It=B4s been much too long since the last time (3yrs). A friend o mine is getting married and I ve told him that I just can t come due to economy. ....what I did? I sold my 1934 National Duolian to a buddy o mine. No regrets, heck, I m about to have a mexican combination plate at the Country =46lame, I m gonna bowl and dance (maybe) at old Johnny Blancard=B4s Bowling Lanes. I m gonna eat some deepfried catfish at Frankie and Johnny s, I m even gonna have a cup at Cafe du Monde sitting facing Jackson Square thinking how many hangovers Dave Robicheaux chased away here. I m gonna bet with the tapdancers on Burbuon St. where I got my shoes from, NOT! So if you here about a guy working at the Picayune getting married the last weekend in March DON T TELL HIM THAT I M COMING IN! On the 30th I m Chicago bound (Have you cleaned out the room for me yet,Poindexter?) I t was a helluva guitar! Wailon Sevenson "Time is hard baby, and hustling is really on". T-Bone Walker ========================================================================= Date: Tue, 12 Mar 1996 11:35:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Muddy's Cabin L W wrote: >If the Leaning Tower of Pisa moved to B'ham Alabama would that change it's >meaning. If the Statue Of Liberty moved to Wisconsin would the legacy still >be there. Have you ever been to the Delta....? Well now, the London Bridge was moved to Arizona and we do have a Statue of Liberty (a fascimile from the eyes up to the crown) that University of Wisconsin students put up in the winter on frozen Lake Mendota. It's the subject of one of the university's best selling post cards. I know that 30-something Howard Stovall plays keyboard in Arthniece Jones Stone Gas [blues] Band. He's the only white guy in the band and a lady in Clarksdale once told me that if Howard's grandaddy knew this, he'd be spinnin' in his grave. Since the cabin looks nothing as it did when Muddy lived there, it might be nice to have it restored. But then again there's a school of thought that says things should be left as they are. They aren't gonna restore the Parthenon, even though it was intact until the nineteenth century when it was hit by an artillery shell and gunpowder was being stored in it. -Bonnie ========================================================================= Date: Tue, 12 Mar 1996 10:38:13 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: Re: New Orleans next week (query) Comments: To: William Shute William Shute wrote: > > From: Bill Shute > > One of my best friends is going to New Orleans next week, accompanied > by her significant other (also a good pal of mine!), and looking to have > a great musical time in New Orleans (they won't be there during the festival). > > Could someone take a minute and let me know some places (musical > venues, clubs, restaurants, cultural things, etc.) that she shouldn't miss? > I know this lady would appreciate things "off the beaten path" and > her tastes are diverse.I will forward your responses to her (she's not on > blues-l, but loves the blues and is a native of Mississippi). > > Thanks in advance!(she'll be there next week, week of Mon. March 18) > (I will probably use whatever tips you can provide when I hit New Orleans > within the next year...) > > Bill Shute > San Antonio, TX If you have access, I would suggest a peak at www.neosoft.com/~offbeat Stan -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 ========================================================================= Date: Tue, 12 Mar 1996 10:57:53 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: term definition wanted Comments: To: Skipjames@AOL.COM At 01:08 PM 3/12/96 -0500, Tom Freeland wrote: >In a message dated 96-03-12 12:21:59 EST, KALMBACH@MACC.WISC.EDU (Bonnie >Kalmbach) writes: > >>Could someone please define "stop-time" for me? Also "back-beat". >>I think I know what they mean, but not precisely. Thanx. > >"Stop-time" dates back to ragtime as far as I know. There are several great >Scott Joplin rags that use stop-time (one even has it in the title I think?); >the one that comes to mind is "The Ragtime Dance," in which the next-to-last >theme uses stop time. The stop time works something like this (from memory): > The melody 'hits' syncopated just after the one and on the 2 and 3 and then >EVERYTHING stops for the 4 and the next one, hitting on the 2 and three and >then stopping again on the 4. >da-dada-da (rest rest) da-dada-da (rest rest) >like that (if we had a piano here it would be easier to demonstrate ) Bonnie : for an exact demonstration of what Tom Freeland is talking about here, listen to Pine Top's Boogie Woogie by Pine Top Smith (Vocalion 1245). Probably on one of those Magpie Piano Blues reissues. It's always easier to listen to an example of something, then reading what Tom wrote will be like a light bulb going off. Best, Mary Katherine > ========================================================================= Date: Tue, 12 Mar 1996 13:53:40 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Gatemouth's mouth LW wrote: > I have heard on several occasions that "Hound Dog" was a BMT song and > she was cheated. I tend to believe it and I would like to know the first time > it was recorded and who recorded it Big Mama Thornton was the first to record "Hound Do," in 1953, accompanied by the Johnny Otis Orchestra. She was a vocalist with Otis's band at the time. However, the song was written by Jerry Lieber and Mike Stoller. The only real dispute about authorship relates to Johnny Otis's role. The original release listed the authors as Lieber, Stoller & Otis, but his name was later removed. Otis has always claimed that Lieber & Stoller brought the song to him, but he rewrote some verses, so he had a right to writer's credit. He says that L&S were minors at the time, and took advantage of that fact to break the contract with him and deny him all rights to the song. L&S, of course, disagree. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Tue, 12 Mar 1996 13:52:46 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: New Orleans next week (query) Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *(When I say east, I'm guessing. It's hard to get *any directions in N.O. If you face the front of St. Louis Cathedral *in Jackson square, the direction I'm calling east is to the right.) That reminds me of what Mem Shannon tells some of the tourists in his cab,"When you get to this town, you've got to throw the compass out." ========================================================================= Date: Tue, 12 Mar 1996 19:55:07 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Gatemouth's mouth Comments: To: ISTS024@UABDPO.BITNET >On Tue, 12 Mar 1996 11:30:54 -0500 Dick Waterman said: >> >>A few years ago, a blues publication out of New England did a lengthy >>interview with Gatemouth in which he claimed that he 'knew' that Elvis had >>bought "That's All Right, Mama" from Big Boy Crudup for ten dollars and he >>'knew' that Big Mama Thornton had been cheated out of her songwriting money >>for "Hound Dog" and he went on at great length. >>Neither statement contains a shed of facts but the reader makes the >>assumption that any grizzled blues veteran speaks the truth from actual >>experience. >LW said: >I have heard on several occasions that "Hound Dog" was a BMT song and >she was cheated. I tend to believe it and I would like to know the first time >it was recorded and who recorded it. I have no facts to back it up, just like >there are no hard facts on Memphis Minnie and "When The Leeve Breaks" The song was written by Lieber n Stoller and first recorded by Big Mama Thornton with Johnny Otis. She has claimed that the ad libs was her contributions and that she should have had writer credits for them. Mr Bo ========================================================================= Date: Tue, 12 Mar 1996 13:02:45 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Beale Street Festival artists > > The Beale Street festival artists are apparently starting to become public. > I haven't heard the blues tent names yet, but a couple of names are really > interesting (Van Morrison and P-Funk interest anyone?). Also have heard > Allman Bros and Dave Matthews (under my personal so-what category). Does > anyone else out there have a more complete more confirmed list? > > Tom Freel > Are you kidding me? Van Morrison and P-Funk. That's two out of three one my must-see-before-they-or-I-die, with Tom Waits left for better days. Gotta go to Memphis!!! Allman's can only bring some nostalgic on old days when I worn out a vinyl copy of Brothers and Sisters back in old communist world. But Dave Matthews, please... it is "elevator music for yuppies" IMO. Anyway, I have my place reserved on a floor in a room with two die-hard-blues-fans ladies for the Fest. Unless, they take pitty on my old bones and invite me into the bad. Than I am afraid I might have too much blues to stand. Ranko ps. Hope they will have some real blues artists as well. ========================================================================= Date: Tue, 12 Mar 1996 13:55:00 EST Reply-To: "Dinty W. Moore" From: "Dinty W. Moore" Subject: Archie Edwards Jerry Zolten writes (through my account): I am temporarily off-line, but I want to immodestly direct those who have asked about Archie Edwards to my article about Archie in the latest issue of LIVING BLUES (w/Corey Harris on the cover.) Jerry ========================================================================= Date: Tue, 12 Mar 1996 13:04:38 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Beale Street Festival artists In-Reply-To: Message of Tue, 12 Mar 1996 13:02:45 -0600 from On Tue, 12 Mar 1996 13:02:45 -0600 Ranko Vujosevic said: > > Allman's can only bring some nostalgic on old days when I worn out > a vinyl copy of Brothers and Sisters back in old communist world. > But Dave Matthews, please... it is "elevator music for yuppies" IMO. I saw the Allmans at the Beale Street Fest and NEVER, EVER again will I do that We were miserable, it was packed and then the "Bros" didn't do a thing for me. They usually release the full lineup in April I think. You can call the number get on a "fax list" and they will fax you the lineup when it comes out. All I know is Tracey Nelson will be there. LW ========================================================================= Date: Tue, 12 Mar 1996 14:01:22 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Alvin Youngblood Hart Comments: To: bit-listserv-blues-l@uunet.uu.net I just heard a tape and there's some nice work on it, there's a couple tracks with Taj Mahal on it. Acoustic, rootsy sound. I let the local club owner borrow it and he booked the guy for a festival in May he was so impressed. Has anyone else heard it yet? Catbauer@vivanet.com ========================================================================= Date: Tue, 12 Mar 1996 11:00:37 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: Re: Gatemouth's mouth Comments: To: Mary Katherine Aldin Mary Katherine Aldin wrote: > > At 11:30 AM 3/12/96 -0500, Dick Waterman wrote: > >O > >A few years ago, a blues publication out of New England did a lengthy > >interview with Gatemouth in which he claimed that he 'knew' that Elvis had > >bought "That's All Right, Mama" from Big Boy Crudup for ten dollars and he > >'knew' that Big Mama Thornton had been cheated out of her songwriting money > >for "Hound Dog" and he went on at great length. > >Neither statement contains a shed of facts but the reader makes the > >assumption that any grizzled blues veteran speaks the truth from actual > >experience. > >Actually, just the opposite is true. As the years pass, survivors recall > >events in the manner that casts themselves in the best light. > > > > Along these lines: some years ago Amy Van Singel (then Amy O'Neal) told me a > theory she had developed, which was basically that as blues musicians get > older, and do more and more frequent interviews, they tend to develop a "set > line" of patter, repeating the same stories word for word each time they > tell them, until it gets to a point where they have everything memorized. > All future interviews then become a matter of hearing the same stories again > and again...and the only way to get anything new or fresh out of them is to > have enough inventiveness and imagination to ask entirely off-the-wall > questions that they have never been asked before, forcing them to think > think think instead of just repeating their stories. And Amy was absolutely > right--asking different questions does indeed provoke different answers, and > the musicians seem to enjoy talking to someone who has done enough > pre-interview homework to be able to ask different and more in-depth questions. > > > Mary Katherine Aldin Excellent point! Stan -- Stan Ruffo Productions "Blues On Tap" http://www.valleynet.com/~steamin ========================================================================= Date: Tue, 12 Mar 1996 14:06:22 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Koko Taylor on TV 3/14 Comments: To: bit-listserv-blues-l@uunet.uu.net Koko Taylor will be on Fox TV's NY Undercover on March 14th to sing "Wang Dang Doodle." Catbauer@vivanet.com ========================================================================= Date: Tue, 12 Mar 1996 14:19:26 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Gatemouth's mouth Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu On March 12, Mister Shoot From The Mouth LW said: >>>I have heard on several occasions that "Hound Dog" >>>was a BMT song and she was cheated. I tend to >>>believe it and I would like to know the first time >>>it was recorded and who recorded it. I have no facts >>>to back it up Listen up, Leonard . . . The fact that Willa Mae Thornton recorded "Hound Dog" before Elvis Presley is not the issue here. Neither one of them wrote the song and that is what we are talking about. The song was written by Mike Stoller (Happy Birthday tomorrow) and Jerry Leiber so the composer's royalties from both versions go to them. See if you can follow this simple example, Leonard . . . . . If some huge superstar recording artist covers a Muddy Waters recording that was written by Willie Dixon, the Waters (i.e. Morganfield) estate gets ZIP. The writer's royalties go to - yes - the writer. Dick Waterman ========================================================================= Date: Tue, 12 Mar 1996 13:23:12 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Gatemouth's mouth In-Reply-To: Message of Tue, 12 Mar 1996 14:19:26 -0500 from On Tue, 12 Mar 1996 14:19:26 -0500 Dick Waterman said: > >Listen up, Leonard . . . >The fact that Willa Mae Thornton recorded "Hound Dog" before Elvis Presley is >not the issue here. >Neither one of them wrote the song and that is what we are talking about. >The song was written by Mike Stoller (Happy Birthday tomorrow) and Jerry >Leiber so the composer's royalties from both versions go to them. I asked a simple question about whether or not she was the first to record it. I did not imply (in no way) that because she was the first to record it that she wrote it. It was a question that I was curious about, I found the answer and it wasn't YOU who provided it. I did say I had read that she wrote it, but it was not related to the first recording of it. I'm sorry if I offended you, but at least I was not a smartass about it, oh yeah THE BIRTHDAY IS NOT THE ISSUE HERE.....(Oh well I blew the smartass part :-)) LW 'Shocked at the lack of class shown by your post..PERIOD' ========================================================================= Date: Tue, 12 Mar 1996 14:44:08 -0500 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: Progressive Jazz/Blues ?? Comments: To: Pat H Webb In-Reply-To: <2.2.32.19960312011439.008e7f08@hal-pc.org> Pat, John Coltrane and Pharoah Saunders played progressive jazz. If you need specific titles of albums, I'll check for you on Sunday when I go in to the radio station. Peace, nitra PS Welcome! Great group, as you will see. On Mon, 11 Mar 1996, Pat H Webb wrote: > Hello, I've only been a member a couple of days & would like to introduce > myself and also see if any of you can try to "define" a sound I call > progressive jazz/blues. I'd love to find some CD's of it. > > I'm a 51-yr old female born and raised in Faytteville, TN (USA) (approx 80 > mi S of > Nashville and 30 Mi N of Huntsville, AL). Currently living in Houston, TX. > I love a wide variety of music as a "listener". I was certainly raised on > and still love 50's-60's rock 'n roll, and Blues, Soul/R&B, and what we > called Negro spiritual music, yet am still not too fond of most country > music. I have over 1,000 audio CD collection and would love to increase it > with more Blues. > > Anyway, I "have a sound in my head" I keep hearing and haven't been able to > find if it really has a name or is published. I'd say in period 1963 - 1967 > in Huntsville, AL night clubs we listened to live bands' jam sessions we > called progressive jazz. I can only describe it as plenty of horn w/piano & > bass (jazz) music that was non-structured/progressive--happy-happy, > free-soaring music and then in same song would break into some low-down > soul/blues music and then maybe back to the jazz, all in the same song. > Most instrumental, some vocal on blues. > > Published music I liked at the time and still enjoy are Jimmy Reed (my very > favorite), Al Hirt, Pete Fountain, Buddy Rich, Herb Alpert. I also love > Buddy Guy, Eric Clapton, Stevie RV, Albert Collins, Albert King, John Lee > Hooker, Professor Longhair, Etta James and collections like complete Stax > singles and Atlantic R&B 1947-1974. > > Any comments/help appreciated. If it's "jazz", I haven't found it there either. > > > > > > --- > ================================== > * Pat Webb(pwebb@hal-pc.org) * > ================================== > ========================================================================= Date: Tue, 12 Mar 1996 12:39:07 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: term definition wanted Isn't Muddy Waters' "Mannish Boy" stop time? As for a backbeat, I know what one is but I have no idea how to explain it correctly (I'm only a guitarist:-)). To me, a backbeat is where the snare drom seems to be slighlty behind the beat which strengthens the groove and makes the some songs incredibly powerful. I for one would also like to see a good definition of 'backbeat'. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Tue, 12 Mar 1996 14:51:33 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 03/13 B O R N : BLANCHARD, TERENCE Born:1962 NEW ORLEANS, LA Career:TRUMPET / LEADER Style:JAZZ With:Donald Harrison / Art Blakey BROWN, JOHN ( JOHN BENJAMIN PEABODY BROWN ) Born:1906 DAYTON, OH Career:BASS Style:JAZZ / BLUES / BIG BAND With:Herbert Cowens'Royal Garden Orchestra / Sam Wooding / Snub Mosley / Stuff Smith / Claude Hopkins / Wilbur de Paris / Herman Chittison / Jonah Jones HAGGART, BOB Born:1914 NEW YORK, NY Career:BASS / ARRANGER Style:JAZZ / BIG BAND With:Bert Brown / Bob Sperling / Bob Crosby / The World's Greatest Jazz band HAYNES, ROY ( OWEN ) Born:1926 ROXBURY,MA Career:DRUMMER Style;JAZZ / BIG BAND HUTTON, INA RAY ( ODESSA COWAN ) Born:1915 CHICAGO, IL Career:LEADER ALL GIRL ORCHESTRA Style:JAZZ ALL GIRL ORCHESTRA / Will Hudson JACKSON, LOOCHIE ( ALBER JACKSON ) Born:1898 NEW ORLEANS, LA Career:TROMBONE Style:TRAD / JAZZ With:Elton Theodore Orchestra / Tuxedo Brass Band / Young Tuxedo Brass Band KATZ, DICK ( RICHARD AARON KATZ ) Born:1924 BALTIMORE, MD Career:PIANO / ARRANGER Style:JAZZ / BIG BAND With:Al Casey /Ben Webster / Chuck Wayne / Don Elliott / Tony Scott / Kai Winding-J. J. Johnson KAYE, SAMMY Born:1910 ROCKY RIVER, OH Career:LEADER Style:BIG BAND With:Tommy Ryan / Clyde Burke / Don Cornell / Arthur Wright / Marty McKenna / Allan Foster / Billie Williams / Frank Blake / Lloyd Gillion / Oscar Reitz / Jimmy Brown / Charlie Wilson / Ralph Flanagan LAINE, FRANKIE ( FRANK PAUL LOVECCHIO ) Born:1913 CHICAGO, IL Career:SINGER POP / BIG BAND With:Buck Clayton / Sir Charles Thompson MITCHELL, BLUE ( RICHARD ALLEN ) With:1930 MIAMI, FL Career:TRUMPET Style:JAZZ / BLUES / BIG BAND WILLIAMS, JOHNNY ( JOHN JR ) Born:1908 MEMPHIS, TN Career:BASS / TUBA Style:JAZZ LIGHTNIN' SLIM ( OTIS HICKS ) Born:1913 ST.LOUIS, MO Career:GUITAR Style:BLUES With:SLIM HARPO WOODFORK, BOB "POOR" Born:1925 LAKE VILLAGE, AR Career:GUITAR Style:BLUES CAVANAUGH,DAVE Born:1919 ST.PAUL, MN Career:TENOR SAX / PRODUCER Style:JAZZ / BLUES With:CAPITOL RECORDS KING, SAUNDERS Born:1909 STAPLE, LA Career:GUITAR Style:BLUES PATTERSON, BOBBY Born:1940 DALLAS. TX Career:SINGER Style:BLUES PRICE, TONI Born:1961 PHILADELPHIA, PA Career:SINGER Style:BLUES TAYLOR, MELVIN Born:1959 JACKSON, MS Career:GUITAR Style:BLUES With:EDDIE SHAW WILLIAMS, WILLIE "ROUGH DRIED" Born:1922 LAKE VILLAGE. AR Career:DRUMMER Style:BLUES With:E.HOOKER FOR A LISTING OF THOSE THAT PASSED AWAY IN THIS MONTH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Tue, 12 Mar 1996 15:38:24 -0500 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Muddy's Cabin: Some facts Comments: To: bit-listserv-blues-l@uunet.uu.net I agree with P.W., that although a traveling cabin is kind of "tacky," it is not a bad idea. There ARE real benefits for everyone. I support it. Lea Gilmore Baltimore, MD ========================================================================= Date: Tue, 12 Mar 1996 20:54:12 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Koko Taylor on TV 3/14 In-Reply-To: <4i4hve$moq@newsbf02.news.aol.com> On Tue, 12 Mar 1996, CATBAUER wrote: > Koko Taylor will be on Fox TV's NY Undercover on March 14th to sing "Wang > Dang Doodle." > For those in shooting range she is at the Cafe' Campus in Montreal TONIGHT. For $4.00(Cdn) I think it may be well worth going don't you? {:o) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [12/3/96 15:50 PM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 12 Mar 1996 13:02:33 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Monkees (was Blue Soul Playlist March 13) >Monkee Business >.....Sticks McGhee: One Monkee Don't Stop No Show >.....Big Maybelle: One Monkee Don't Stop No Show >.....Sonny Terry: One Monkee Don't Stop No Show >.....Joe Tex: One Monkee Don't Stop No Show >.....Honey Cone: One Monkee Don't Stop No Show >.....Bobby Rush: One Monkee Don't Stop No Show >.....Judy Brown: Monkee Business Frankly, I always thought Davy Jones could stop a show... or was it Peter Tork? :-) -Jim (hndful@uniserve.com) ========================================================================= Date: Tue, 12 Mar 1996 13:10:59 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Delta Harp & Slide Duos (plus a bit on J.Thackery) >On Tue, 12 Mar 1996, L W wrote: >> Can someone recommend some acoustic "duos" where one played RAW delta type >> slide and the other played harp. It doesn't really have to be acoustic, but >> it does have to be a duo. I'd like a entire cd of something like this, the >> closest I have is Johnny Shines/Snooky Pryor. Too Wet To Plow has some >> also, I need some more of that type.....Thanks Well, this guy plays some of the roughest, rawest (and best, IMHO) acoustic slide and blows the odd harmonica - Robert Lucas. Get 'Usin Man Blues' - it's great. Also, this isn't slide and harmonica, but 'Sideways in Paradise' by Thackery and Mooney is one of my favorite blues albums EVER. 'Bump and Grind' is amazing - I don't know if it's exactly what you're looking for, but it's pretty darn good anyway. -Jim (hndful@uniserve.com) BTW, after getting Sideways in Paradise, I picked up Jimmy Thackery's 'Trouble Man' album and, I'm sorry to say, was mightily disappointed. The mix is murky, the vocals are good, but buried, the guitar production was off, and the drums were lumpy and too heavy on the hi-hat and cymbals at the same time. The production on this disk leaves much to be desired (even though the songs and singing are quite good). How do his other albums compare? ========================================================================= Date: Tue, 12 Mar 1996 16:12:05 -0500 Reply-To: James Leftwich From: James Leftwich Subject: festivals on CD? It seems many folk/blues festivals in the '60s made their way to vinyl. Why aren't current festivals being released on CD? Or are there any I should know about... Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" :D come win a CD at Jim's Blues N' Brews: http://www.cloud9.net/~leftwich ========================================================================= Date: Tue, 12 Mar 1996 16:15:21 -0500 Reply-To: Chris Smith From: Chris Smith Subject: buddy lucas I got replies from eRIC LeBlanc and Byron Foulger, so thanks to them and no need for anyone else to dig out the info. Chris Smith (chris@skerries.demon.co.uk) "What's the use of gettin' sober, when you're gonna get drunk again?" (Louis Jordan) ========================================================================= Date: Tue, 12 Mar 1996 16:29:16 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0754 From: "DUTTWEILER.J" Subject: born 03/13 Date: Tuesday, 12 March 1996 4:28pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: born 03/13 In-Reply-To: The letter of Tuesday, 12 March 1996 4:25pm ET And, we might add, my daughter who was born in 1987 on March 13 and, even though she is hearing impaired, has an appreciation for the blues. Forgive a shameless plug for my beauty - but she deserves it JD ========================================================================= Date: Tue, 12 Mar 1996 14:50:17 CST Reply-To: William Shute From: William Shute Subject: Re: Hound Dog re: Gatemouth's mouth From: Bill Shute The "lounge version" of HOUND DOG from which Elvis supposedly got his RCA version was performed by Freddie Bell and His Bell Boys. It's on their "wing" label album "Rock and Roll All Flavors". They are best described as being in the "jive" vein a la Jimmy Cavello and His Houserockers (in other words, Louis Prima would be their main man) or perhaps Eddie Fontaine(I would presume Elvis heard it while in Vegas doing that disasterous gig backed by the Freddie Martin big band. A set from that gig appeared on the old lp box set "Elvis--A Golden Celebration" and some of those tracks were on the recent Elvis l950s box CD set). The Wing album is super-rare. I saw recently that Bear Family is doing a Bell comp...perhaps it's on there. Bell's early 60s album (with his wife, whose name escapes me) on the 20th Century label is a dud...avoid it. I can't believe that Elvis had not heard Big Mama Thornton's version of Hound Dog, even if he may have borrowed aspects of the Freddie Bell arrangement for his own recording (and when you hear Bell's version, you'll know that Elvis' doesn't sound much like Bell's). After all, 1) Elvis was a regular listener to R&B radio and 2) Rufus Thomas recorded a famous "answer" to Hound Dog, "Bear Cat," for producer Sam Phillips with which Elvis must have been familiar. a footnote to a footnote... Bill Shute San Antonio, TX ps, speaking of "jive" acts of the l950s, is anyone else out there a fan of Chuck Miller? Now there's someone Bear Family ought to do a comp on (and I'm sure they eventually will!!!). I'm also a big admirer of Bill Haley, as un-PC as it may be to admit it! Perhaps I should lobby Bear Family to do a boxset of Haley's Mexican recordings? ========================================================================= Date: Tue, 12 Mar 1996 16:30:56 -0500 Reply-To: Meadors From: Meadors Subject: Re: Delta Harp & Slide Duos (plus a bit on J.Thackery) Comments: To: hndful@UNISERVE.COM Norton Buffalo w/ Roy Rogers. Mike Meadors Orange3@gnn.com ========================================================================= Date: Tue, 12 Mar 1996 21:58:57 GMT Reply-To: Stephanie Manna From: Stephanie Manna Subject: South Bend,In/March 15 James Peterson will perform at Madison St Oyster Bar,402 E Madison St.,South Bend,In on March 15, 10-2. Through cold,snow and dark of night the bluesman keeps on to bring the blues to you.(He could be back in sunny Florida). Please come out and enjoy some very original blues. Stephanie ========================================================================= Date: Tue, 12 Mar 1996 16:14:13 -0600 Reply-To: bolt From: bolt Subject: Taj/Bhat/? CD? Recently saw a CD with Taj Mahal, someone (I believe) named Bhat and another World Music individual. Looked very similar to the Cooder/Toure CD, may be by the same label. I really enjoy the Cooder/Toure CD and was wondering if someone may have some recommendations on the Taj disc. Thanks. Reg Burns +++++++++++++++++++++++++++++++++++++++++++++++++ + I'll listen to reason when it comes out on CD + + + + bolt@neosoft.com + +++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Tue, 12 Mar 1996 21:55:06 GMT Reply-To: Stephanie Manna From: Stephanie Manna Subject: Louisville,Ky /March 14 James Peterson will perform at Stevie Rays Blues Bar,230 E.Main St.,Louisville,Ky on Thursday, March 14, 8:30-12:30. Hope all in the area will get out and support the blues and have a great time in doing so.Stephanie ========================================================================= Date: Tue, 12 Mar 1996 14:21:00 -0800 Reply-To: James Carmin From: James Carmin Subject: Johnny B Moore: 911 BLUES Just picked up this new Wolf release (120.873) and I'm here to tell you it's one major fine cd. Right now as I type, Johnny B. is singing and playing a fine guitar and Billy Branch is backing him with some excellent harp (Hey LW: you listening?). Other sidemen in these various sets include Willie Kent, Cleo Williams, John Primer, Eddie Shaw and Detroit Junior. So in other words, how could this not be GREAT? James C. jcarmin@teleport.com ========================================================================= Date: Tue, 12 Mar 1996 14:50:19 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: born 03/13 At 04:29 PM 3/12/96 GMT, DUTTWEILER.J wrote: >In-Reply-To: The letter of Tuesday, 12 March 1996 4:25pm ET > > >And, we might add, my daughter who was born in 1987 on March 13 and, even >though she is hearing impaired, has an appreciation for the blues. >>Forgive a shameless plug for my beauty - but she deserves it Well, now, wait just a minnit here! If we are allowed to mention our children, I hereby nominate two of mine for birthday congrats---my youngest daughter, Jennifer Yarrow Aldin-Howell, who turned 26 last week (on March 5), and my son, Joshua Miles Aldin, whose 19th birthday is today. Two amazing and wonderful people, and I'm blessed to be their mother. Mary Katherine Aldin > ========================================================================= Date: Tue, 12 Mar 1996 16:47:00 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: term definition wanted At 12:39 PM 3/12/96 -0800, Shaun T Cronin wrote: >Isn't Muddy Waters' "Mannish Boy" stop time? > >As for a backbeat, I know what one is but I have no idea how to explain it >correctly (I'm only a guitarist:-)). To me, a backbeat is where the snare >drom seems to be slighlty behind the beat I thought a back beat was merely accentuating the two- and four- beat, as opposed to the one- and three-. That has always been my cut-off point for R & R as opposed to R & B, especially when discussing which is the first R & R record.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Tue, 12 Mar 1996 16:45:03 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: born 03/13 In-Reply-To: Message of Tue, 12 Mar 1996 14:50:19 -0800 from On Tue, 12 Mar 1996 14:50:19 -0800 Mary Katherine Aldin said: >At 04:29 PM 3/12/96 GMT, DUTTWEILER.J wrote: >> >>And, we might add, my daughter who was born in 1987 on March 13 and, even >>though she is hearing impaired, has an appreciation for the blues. >>>Forgive a shameless plug for my beauty - but she deserves it >Well, now, wait just a minnit here! If we are allowed to mention our >children, I hereby nominate two of mine for birthday congrats---my youngest >daughter, Jennifer Yarrow Aldin-Howell, who turned 26 last week (on March >5), and my son, Joshua Miles Aldin, whose 19th birthday is today. Two >amazing and wonderful people, and I'm blessed to be their mother. OK: My lovely wife's b'day is Friday March 15th, but I'm not telling her age E-mail her and wish her a happy birthday (if you want to) bwatkins@icare.opt.uab.edu Thanks LW ========================================================================= Date: Tue, 12 Mar 1996 17:49:45 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: Mike Leadbitter Jean-Pierre Urbain wrote: >I'm so busy that I haven't been able to read all the blues-l digest files I >received over the last ten days but I really wanted to send this note since >today, march 12th, is Mike LEADBITTER birthday. He would have been 54 years >old. I am among those who still believe in 1996 that he was one of the most >(if not the most) important and sensible writter/journalist/scholar the >blues has known. > >Wherever your soul is Mike, thanks for what you did for the blues. >I never get tired of re-reading you. > 'The most important and sensible'? Well, 'comparisons are odorous', and I'd hate to line up Mike Leadbitter, Paul Oliver, Mack McCormick, Jim O'Neal and Alan Lomax (and many others), and make a choice of the most important! And Mike did have some unreasonable prejudices - like against Sonny & Brownie. BUT I do want to second Jean-Pierre's motion that we should remember Mike's achievements. He sure was important. A lot of what he knew was only in his head, too, and when he died it went with him forever. So it goes. Chris Smith (chris@skerries.demon.co.uk) "What's the use of gettin' sober, when you're gonna get drunk again?" (Louis Jordan) ========================================================================= Date: Tue, 12 Mar 1996 18:06:37 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: BEALE STRT FEST LINEUP. WOW!! This is what I know about the Beale St. Fest Lineup: This not ever name (i got tired). I am not leaving anyone out on purpose. Does anyone see anything interesting here? May3 Anson & the Rockets, Coco Montoya, Dave Mathews Band, Herman Green, Joan Baez, Joe Ely, Luther Allison, Otis Rush, R. L. Burnside, Todd Snider May 4 Alex Chilton, Almman Bros, Blue Mountain, Bobby Rush, Bottle Rockets, Dave Thompsn Band, Doyle Bramhall & the Memphis Horns, Fishbone, George Clinton & P-Funk, John Mayall and the Bluesbreakers, Reba Russell Band, Robben Ford, Shiley Brown, Tracy Nelson May 5 Ben Harper, Big Mike Griffin, Blind Boys of Alabama, Gatemouth Brown, Duke Robillard, John Hammond, Macia Ball, Robert Jr. Lockwood, Sam Moore, Shawn Colvin, subduedes, Van Morrison Adavnce tickets are $13, $16 at the gate, 3 day pass for $30. They are available from the Ticketbastard (901-525-1515) Looks like *I'm* going to be there all three days. Thanks to Dick Waterman for pointing out it was in yesterdays paper (and dropping a copy by my office) and the Memphis Commercial Appeal for running the info. Tom Freeland ========================================================================= Date: Tue, 12 Mar 1996 18:13:24 -0500 Reply-To: PHWoolfman@AOL.COM From: Pete Wulforst Subject: Re: Robert Cray In other words, if you don't like it, it can't be good blues? I've been a blues/rock/r&b/jazz fan for 30 yrs, as well as a player. I guess I just don't always see sharply defined lines, and neither apparently does Robt Cray. Pete Wulforst Hampstead Md ========================================================================= Date: Tue, 12 Mar 1996 18:15:04 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: Gatemouth's mouth Mary Katherine Aldin wrote in response to Dick Waterman: >>Neither statement contains a shed of facts but the reader makes the >>assumption that any grizzled blues veteran speaks the truth from actual >>experience. >>Actually, just the opposite is true. As the years pass, survivors recall >>events in the manner that casts themselves in the best light. > >> >Along these lines: some years ago Amy Van Singel (then Amy O'Neal) told me a >theory she had developed, which was basically that as blues musicians get >older, and do more and more frequent interviews, they tend to develop a "set >line" of patter, repeating the same stories word for word each time they >tell them, until it gets to a point where they have everything memorized. >All future interviews then become a matter of hearing the same stories again >and again...and the only way to get anything new or fresh out of them is to >have enough inventiveness and imagination to ask entirely off-the-wall >questions that they have never been asked before, forcing them to think >think think instead of just repeating their stories. And Amy was absolutely >right--asking different questions does indeed provoke different answers, and >the musicians seem to enjoy talking to someone who has done enough >pre-interview homework to be able to ask different and more in-depth questions. >> >Mary Katherine Aldin Barry Lee Pearson's book 'Sounds so Good to Me: the Bluesman's Story' is an interesting discussion of this phenomenon. One chapter is called 'You know what you're going to get now?' after what Hound Dog Taylor allegedly said to Louis Myers when he heard Myers had an album out in France: 'Oh oh. you know what you're going to get now? Interviews!' (Told to Pearson by Jim O'Neal, and attributed to Dick Shurman - who can perhaps confirm or otherwise.) Chris Smith (chris@skerries.demon.co.uk) "What's the use of gettin' sober, when you're gonna get drunk again?" (Louis Jordan) ========================================================================= Date: Tue, 12 Mar 1996 18:23:54 -0500 Reply-To: MojoBandit@AOL.COM From: Dave Ruthenberg Subject: Blues Reading A friend of mine who is just now starting to dig the blues asked me for suggestions on blues reading material and I came up with these: 1)Feel Like Going Home by Peter Guralnick 2) I Am The Blues by Willie Dixon 3)The Legacy of the Blues by Sam Charters 4) The Land Where the Blues Began by Alan Lomax (my personal fave) 5)Deep Blues by Robert Palmer Just wondering if anybody else out there has other suggestions. Dave Ruthenberg ========================================================================= Date: Tue, 12 Mar 1996 18:33:03 -0500 Reply-To: SIYOTANKA@AOL.COM From: Jeff Greenberg Subject: Re: term definition wanted Comments: To: KALMBACH@macc.wisc.edu In a message dated 96-03-12 11:53:14 EST, you write: >Could someone please define "stop-time" for me? Also "back-beat". >I think I know what they mean, but not precisely. Thanx. Stop Time: This is when the rhythmic backing plays on the first beat of a measure (or every two or four, or whatever) and is silent for the rest of that time. The beat continues while a soloist or vocalist continues. An example of this would be the opening of "Heartbreak Hotel". Back Beat: A strong accent on the 2nd and 4th beat of a measure in 4/4. ========================================================================= Date: Tue, 12 Mar 1996 18:38:18 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Johnny B Moore: 911 BLUES Comments: To: James Carmin In-Reply-To: <199603122220.OAA21550@desiree.teleport.com> On Tue, 12 Mar 1996, James Carmin wrote: > Just picked up this new Wolf release (120.873) and I'm here to tell you > it's one major fine cd. Right now as I type, Johnny B. is singing and > playing a fine guitar and Billy Branch is backing him with some excellent > harp (Hey LW: you listening?). Also of note is his prior release on Wolf of Lonesome Blues (Wolf #120.851) w/as above some acoustic guitar this time pitted against the harp of Lester Davenport (no slouch). Other musicians include same Willie Kent (he sure do get around) Eddie Taylor and Tim Taylor. And coming soon to a grocery store near you :) a new Johnny B. Moore CD on Delmark - no details yet, but it has been recorded and I guess waiting for CD'ing. Barry WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 12 Mar 1996 23:33:48 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Statue of Liberty in Wisconsin (was Re:Muddy's Cabin) Comments: To: bit-listserv-blues-l@uunet.uu.net In article L W writes: >If the Leaning Tower of Pisa moved to B'ham Alabama would that change it's >meaning. If the Statue Of Liberty moved to Wisconsin would the legacy still >be there. Have you ever been to the Delta....? Now here's an interesting story, though it ain't the blues. Actually, the Statue of Liberty WAS in Madison this winter, sitting on frozen Lake Mendota behind the Memorial Union on campus. In the late '70s some students were running for UW student government on a platform that included moving the Statue to Madison if they won. Well, they were elected and used student government fees to create a head and shoulders, arm and torch which was then put out on the lake. It looked like the statue had been dropped through the ice and most of it was below ice level. The statue was called an "ice fishing shack" to make it legal for them to leave it there. For those of you who've never lived in areas where the ice freezes, an ice fishing shack is a structure that allows you to keep warm while your waiting for your fish to take the bait. This first statue was destroyed by arsonists. The next year, the same group rebuilt the Statue and made it fire proof. It was used for a couple of years, then put into storage as it was deteriorating. This past winter, the structure was renovated and once again blessed our shores only to be damaged in a wind storm. So, you see, there is a place for the Statue of Liberty in Wisconsin. Art Schuna Obligatory blues content: If you want to hear Robert Cray play the blues, go out and buy James Armstrong's new CD "Sleeping With A Stranger" on Hightone. This disc sounds like Cray would have if he continued in the style of his first 2 or 3 releases. ========================================================================= Date: Tue, 12 Mar 1996 18:47:27 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Blues Reading Comments: To: Dave Ruthenberg In-Reply-To: <960312182352_166988128@emout08.mail.aol.com> On Tue, 12 Mar 1996, Dave Ruthenberg wrote: > A friend of mine who is just now starting to dig the blues asked me for > suggestions on blues reading material and I came up with these: > 1)Feel Like Going Home by Peter Guralnick > 2) I Am The Blues by Willie Dixon > 3)The Legacy of the Blues by Sam Charters > 4) The Land Where the Blues Began by Alan Lomax (my personal fave) > 5)Deep Blues by Robert Palmer > Just wondering if anybody else out there has other suggestions. You asked Dave - here goes ..... --------------------------------------------------------------------- Books to get. The ratings are based on Barry's personal interpretations of the zeal of the responses and the actual number of responses for each book listed below. Hope this is of use to others. It was for me. 8 1/2* Sweet Soul Music - Guralnick 5 1/2* Land Where The Blues Began - Lomax 5* Chicago Blues - Rowe 3* Big Road Blues - Evans 3* Nothin But The Blues - Cohn 3* Rhythm Oil - Booth 3* Blues Fell This Morning - Oliver 2 1/2* Early Downhome Blues - Titon 2* Blues On CD - Murray 2* It Came From Memphis - Gordon 2* Country Blues - Charters 2* Feel Like Going Home - Guralnick 2* History Of The Blues - Davis 2* Honkers And Shouters - Shaw 2* A Left Hand Like God - Silvester 2* Songsters And Saints - Oliver 2* South To Louisiana - Broven 2* Walkin To New Orleans - Broven 2* Sound Of The City - Gillett 2* Good Rockin Tonite - Escott & Hawkins 1 1/2* Lost Highway - Guralnick 1* Face Of Black Music - Wilmer 1* I Say Me For A Parable - Alyn 1* Story Of The Blues - Oliver 1* Been Here And Gone - Ramsey 1/2* Blues From The Delta - Ferris ?* Damn Right I've Got The Blues - Guy WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 12 Mar 1996 18:50:30 -0500 Reply-To: BluesBeatM@AOL.COM From: BluesBeatM@AOL.COM Subject: Join newgroup Could we rejoin newgroup? ========================================================================= Date: Tue, 12 Mar 1996 16:26:18 -0500 Reply-To: David Melton From: David Melton Subject: Re: Muddy's Cabin? Comments: To: "Steve A. Fowlkes" At 11:48 AM 3/12/96, Steve A. Fowlkes wrote: >Is Muddy's legacy really in the cabin or are YOU trying to put it there? >His legacy is really in the music that he left for us to enjoy. > >...saf Muddy's music came from his life experience that started with that cabin. IMHO, if you get disconnected from where the music came from, I don't see how it can be appreciated in it's entirety. ========================================================================= Date: Tue, 12 Mar 1996 19:19:38 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Robert Cray Comments: To: Pete Wulforst In-Reply-To: <960312181316_244403141@mail02.mail.aol.com> On Tue, 12 Mar 1996, Pete Wulforst wrote: > In other words, if you don't like it, it can't be good blues? I've been a > blues/rock/r&b/jazz fan for 30 yrs, as well as a player. I guess I just > don't always see sharply defined lines, and neither apparently does Robt > Cray. > Pete Wulforst Hampstead Md Yo Peter. Nice response. Someone once passed on the phrase to me of "big ears". Sounds like you got em. I find they come in real handy and sure as hell expand my listening pleasures. Barry WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Wed, 13 Mar 1996 00:29:29 GMT Reply-To: bluesbabe From: bluesbabe Organization: SoVerNet, Inc. Subject: Re: A coupla SRV questions for yas. Comments: To: bit-listserv-blues-l@uunet.uu.net "" wrote: >Two things: >I woke up this morning to my classic rock station (WZLX Boston) playing some >acoustic SRV that I've never heard. It was "Pride And Joy" and Stevie was >unaccompanied and playing an acoustic 12 string. It was superb. Where is >this from and is this acoustic SRV on cd anywhere? >Second, someone said to me the other day that SRV is "mulatto", ie a white >parent and a black parent. I had never heard this before, and Stevie and >Jimmie sure don't look it. This guy was adamant about it though. >Can you knowledgable Blues-lers help me out here? >tanx, >Riffin Rick >F.J.(Rick)Miller >Senior Research Assistant, >& Marine Facilities Manager >Worcester Foundation for Biomedical Research >"Miller@Sci.WFBR.Edu" >*************************************************************************** Rick a lot of your questions about S.R.V. can be answered in the book titled" Stevie Ray soul to soul" written by Keri Leigh Published by Taylor Publishing Co. 1993 $18.95 bluesbabe ========================================================================= Date: Tue, 12 Mar 1996 19:49:30 -0500 Reply-To: Harpophone@AOL.COM From: "" Subject: Re: Wierd Sam Myers story On Tue, 12 Mar 1996 15:35:19 LW wrote in response to GMT and others: > >Sounds to me like his good gal needed some new shoes. I actually did have >a set of harps stolen once (they were in my car after a gig on Beale - the >>His "good gal" is a very good person and a great friend of mine. She would >>not intentionally mislead ANYONE. She wasn't at this particular meeting. I'm >>sure the story came from her, because she's always looking out for Sam. >>I don't buy the whole story, but I trust Kitzy without reservations...PERIOD >the hell wants a used harmonica? I'd also imagine that Sam makes enough to >afford a new set of harps frm time to time without needing any help from a >blues society. Better check out the story (right after you send me a >>Sadly that's not true Right, LW xabout Sam not having the money. These guys may be touring the country and making records, but they don't get much more than a few hundred bucks a night more than a top local act in a city, and they have road expenses, plus down time between tours. Nobody does it to get rich. When you take a man's tools, you take away the resource he has to earn the money to replace them, anyway. I just spent a week in Dallas and I know how everyone is rallying around to help get the harps replaced. Intrumental in this is Hash Brown, who plays the city almost nightly and has raised most of the money (he has fronted the rest of the money out of pocket until the donations come in for the rest). Hash is a magnificent human, who maintains a set of his own harps just for when Mr. Sam Meyers shows up at one of his gigs (which is almost every night that the Rockets are home). He and a few of the brothers and sisters keep up with Sam, who is a great gentleman, to help him get places, as he is nearly blind. Magic Dave "People keep on buggin' me, buggin' me from near and far. I just want to be left alone, left alone to play my guitar." --L.A. Jones ========================================================================= Date: Tue, 12 Mar 1996 18:50:51 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: Blues Reading Comments: To: Dave Ruthenberg In-Reply-To: <960312182352_166988128@emout08.mail.aol.com> On Tue, 12 Mar 1996, Dave Ruthenberg wrote: > A friend of mine who is just now starting to dig the blues asked me for > suggestions on blues reading material and I came up with these: > > 1)Feel Like Going Home by Peter Guralnick > 2) I Am The Blues by Willie Dixon > 3)The Legacy of the Blues by Sam Charters > 4) The Land Where the Blues Began by Alan Lomax (my personal fave) > 5)Deep Blues by Robert Palmer > > Just wondering if anybody else out there has other suggestions. Red River Blues by Bruce Bastin. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "I'm not surprised he's gay. He never had a crush on Emma Peel." - J.N. Jackson ========================================================================= Date: Tue, 12 Mar 1996 18:56:55 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: Statue of Liberty in Wisconsin (was Re:Muddy's Cabin) In-Reply-To: On Tue, 12 Mar 1996, Art Schuna wrote: > Now here's an interesting story, though it ain't the blues. Actually, the > Statue of Liberty WAS in Madison this winter, sitting on frozen Lake Mendota > behind the Memorial Union on campus. In the late '70s some students were > running for UW student government on a platform that included moving the > Statue to Madison if they won. Well, they were elected and used student > government fees to create a head and shoulders, arm and torch which was then > put out on the lake. It looked like the statue had been dropped through the > ice and most of it was below ice level. The statue was called an "ice > fishing shack" to make it legal for them to leave it there. For those of > you who've never lived in areas where the ice freezes, an ice fishing shack > is a structure that allows you to keep warm while your waiting for your fish > to take the bait. This first statue was destroyed by arsonists. The next > year, the same group rebuilt the Statue and made it fire proof. It was used > for a couple of years, then put into storage as it was deteriorating. This > past winter, the structure was renovated and once again blessed our shores > only to be damaged in a wind storm. So, you see, there is a place for the > Statue of Liberty in Wisconsin. I know this is REALLY drifting off-topic, but one of the students who was elected was a fellow named Jim Mallon, who is now the producer of the funniest show on tv, Mystery Science Theater 3000. Well, maybe not entirely off-topic, since one of the writers/actors is a huge blues fan and has made a few blues jokes. Oh, and Art? Saying "an ice fishing shack is a structure that allows you to keep warm" is pretty damn misleading. Especially when your grandfather misjudges the thickness of the ice and uses you as the thickness tester. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "I'm not surprised he's gay. He never had a crush on Emma Peel." - J.N. Jackson ========================================================================= Date: Tue, 12 Mar 1996 20:09:36 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: An Extraordinary Blues Site! It's with psychotic envy that I introduce a new blues web site called "The Blue Flame Cafe." Al Perry, its creator, has done a tremendous job with way more than 100 bios, from Texas Alexander to Jimmy Yancey, and many of them with wav files. There's more to do yet, and he calls it "roughly presentable," but this is already a blues web resource like no other. The Blue Flame Cafe: http://www.surfin.com/TheBlueFlameCafe It's best seen with Netscape 2.0, cuz it uses frames. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Tue, 12 Mar 1996 19:23:55 -0800 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Re: That Garlic Beef recipe/Where Am I? Comments: To: bit-listserv-blues-l@uunet.uu.net Garlic Beef recipe last week??? How'd I miss that? Is my server stirring rec.food.recipes into bit.listserv.blues-L? -- Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ "I'm not sure, but I think that ALL music started in New Orleans." --Ernie K-Doe ========================================================================= Date: Tue, 12 Mar 1996 19:21:18 -0800 Reply-To: Maggie Mortensen Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Maggie Mortensen Organization: Exarch Services Subject: Re: Wilson Pickett Comments: To: Bonnie Kalmbach , birdman@pacific.net.sg Bonnie Kalmbach wrote: > > Can anyone help this person? If so, please reply to the address below, > but you can tell me too. Thanks, Bonnie > Wilson Pickett seems to have dropped off the face of the earth. Do you > have any idea what has happened to him? > Is he still alive (I'm sure he is)? Is he still involved in the music > business? Does he ever perform ? I'm happy to report that The Wicked Pickett is still kickin' it live, and performs around the South Louisiana area pretty frequently. He was in New Orleans a couple of weeks ago (appearing at a casino), and often plays the jukes that dot Acadiana (Lafayette/Breaux Bridge/Lake Charles area). I was in Lafayette during Mardi Gras, and he played the city's big party there. Don't know of any recording efforts, though. I saw him once (in St. Martinville) about three years ago, and though he's still pretty damn skippy on stage, that growlin' shoutin' style has taken its toll on his voice. --Mags -- Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ "I'm not sure, but I think that ALL music started in New Orleans." --Ernie K-Doe ========================================================================= Date: Tue, 12 Mar 1996 19:28:57 -0800 Reply-To: Maggie Mortensen Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Maggie Mortensen Organization: Exarch Services Subject: Re: Progressive Jazz/Blues ?? Comments: To: Pat H Webb Pat, I think you're ripe for buying music by Walter 'Wolfman' Washington, my favorite local soul/blues performer here in New Orleans. All the description you gave fits his music to a T: very bluesy, with a jump side, a jazz side, and soulful horns, with a mix of instrumental and vocal. Given your affinity for gospel music, Marva Wright might fit the bill too. Email me if you haven't heard of them, and I'll send you a list of recordings you might be interested in. --Maggie Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ "I'm not sure, but I think that ALL music started in New Orleans." --Ernie K-Doe ========================================================================= Date: Wed, 13 Mar 1996 01:52:22 GMT Reply-To: Stephanie Manna From: Stephanie Manna Subject: Too Bad Oshgosh..hello Middleton,Wi Another blues club has bit the dust, 3 Fingers Pub,Oshgosh,Wi called to say they were closing. My artist, James Peterson lost his gig there for March 16. It has been picked up by The Club Tavern,1915 Branch St., Middleton,Wi. Hope all will come out for a great artist and a great night and keep the blues alive in Middleton,Wi. Stephanie ========================================================================= Date: Tue, 12 Mar 1996 21:01:51 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: Gatemouth's mouth LW wrote in part: >On Tue, 12 Mar 1996 11:30:54 -0500 Dick Waterman said: >> >>A few years ago, a blues publication out of New England did a lengthy >>interview with Gatemouth in which he claimed that he 'knew' that Elvis had >>bought "That's All Right, Mama" from Big Boy Crudup for ten dollars and he >>'knew' that Big Mama Thornton had been cheated out of her songwriting money >>for "Hound Dog" and he went on at great length. >>Neither statement contains a shed of facts but the reader makes the >>assumption that any grizzled blues veteran speaks the truth from actual >>experience. > >I have heard on several occasions that "Hound Dog" was a BMT song and >she was cheated. I tend to believe it and I would like to know the first time >it was recorded and who recorded it. I have no facts to back it up > This is a long-running controversy. Bill Millar's book 'The Coasters' pages 34-6 has comments from Big Mama, Johnny Otis and Leiber & Stoller, plus history of the court cases (Don Robey v Sun, Syd Nathan v Leiber & Stoller). The relevant stuff is too long for me to quote here, and probably the book is hard to find now, but the conclusion I draw is that L&S wrote 'Hound Dog', and Big Mama and JO were doing what Dick said - casting themselves in the role of ripped-off victims. (Which no doubt they often were, but not, I think, this time.) If anyone is interested to read what Bill says, send me your fax number by private email, and I'll put a photocopy down the wires to ya. First time it was recorded was indeed by Big Mama Thornton, 13 August 1952, on Peacock 1612. Chris Smith (chris@skerries.demon.co.uk) "What's the use of gettin' sober, when you're gonna get drunk again?" (Louis Jordan) ========================================================================= Date: Wed, 13 Mar 1996 02:31:47 GMT Reply-To: "Lea A. Gilmore" From: "Lea A. Gilmore" Organization: Erols Internet Services Subject: Carol Fran and Clarence Holliman Comments: To: bit-listserv-blues-l@uunet.uu.net I just recently picked up a CD by these two and I think they are great! Can anyone tell me more about them? I really would like to know more about Carol Fran? Do they still perform and what area are they based? I figure since someone on this list ALWAYS knows the answer - who better to turn too. ========================================================================= Date: Tue, 12 Mar 1996 18:56:16 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: BEALE STRT FEST LINEUP. WOW!! Tom wrote about the Beale St. Fest Lineup: > Does anyone see anything interesting here? and then lists the following (among others): Coco Montoya, Joe Ely, Luther Allison, Otis Rush, R. L. Burnside, John Mayall and the Bluesbreakers, Blind Boys of Alabama, Gatemouth Brown, Duke Robillard, John Hammond, Marcia Ball, Robert Jr. Lockwood, Van Morrison >Advance tickets are $13, $16 at the gate, 3 day pass for $30 Interesting? INTERESTING??? Are you trying to torture us here??? This comes painfully close to being my dream festival.... anybody got any spare plane tickets and maybe a little cash layin around? -Jim (hndful@uniserve.com, wishing he had never heard of the @%&@ internet so he would be left in the dark about these things...) ========================================================================= Date: Tue, 12 Mar 1996 21:50:52 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: Muddy's Cabin? steves fowlkes wrote: >Is Muddy's legacy really in the cabin or are YOU trying to put it there? >His legacy is really in the music that he left for us to enjoy. > >...saf True, but reductive. I was immensely moved when I visited Florence to think I was walking up a steep flight of steps that are mentioned by Dante in his 'Divine Comedy', and that we'd trodden the same path nearly 700 years apart. It gives you a sense of the reality of the past to do that kind of thing, or indeed to visit Muddy's cabin. In the latter case, it's also worth meditating on what Muddy achieved, given the circumstances in which he started out. Music is much more than the noise it makes. Chris Smith (chris@skerries.demon.co.uk) "What's the use of gettin' sober, when you're gonna get drunk again?" (Louis Jordan) ========================================================================= Date: Tue, 12 Mar 1996 19:24:42 -0800 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Organization: Internet Direct Subject: Cabin On Tour? Comments: To: bit-listserv-blues-l@uunet.uu.net I, too, am more pleased than not to read of the compromise reached in the HoB/Stovall thing. I'd rather that HoB tour the Winnebago that the "Good Ole Boys" used in the Blues Brothers' movie: it would be more relevant to the HoB mind-set and idea of "blues" As to whether or not we were all over-reacting: Who's to say how much just the amount of chit-chat that was generated affected the HoB decision? Adverse publicity and all...... Roger B. ========================================================================= Date: Tue, 12 Mar 1996 20:08:05 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: term definition wanted David Dilberg wrote: > > >I thought a back beat was merely accentuating the two- and four- beat, as >opposed to the one- and three-. > >That has always been my cut-off point for R & R as opposed to R & B, >especially when discussing which is the first R & R record.... I have a funny feeling I was thinking of something else and promptly became confused.:-) Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Tue, 12 Mar 1996 22:15:14 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Special Request (gearheads please) Hi all. Sorry for the lack of blues content, but this guy's been looking for an answer to his question all over the place, but he ain't getting a response. I haven't got the slightest, but I figured some of you gearheads would have some idea. Thanks. (His e-mail address is at the bottom). -jim >Which amp (preferably tubes) would give me the closest thing to the classic >surf sound of the early 60's without blasting my neighbours to hell? I think >the following list has some potential, but your commentor insight would be >much appreciated. So, here's the list: Vibro-King 59 Bassman Re-Issue 63 Vibroverb Re-Issue 65 Deluxe Reverb Re-Issue Thanks for any comment you can provide Denis Brochu (dbrochu@odyssee.net) ========================================================================= Date: Wed, 13 Mar 1996 01:15:07 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: term definition wanted Bonnie Kalmbach wrote: >Could someone please define "stop-time" for me? Also "back-beat". >I think I know what they mean, but not precisely. Thanx. > > music theory-challenged, > Bonnie the K. Stop-time: (part of 'New Grove Dictionary of Jazz' entry): 'An ensemble or pianist repeats in rhythmic unison a simple one- or two-bar pattern consisting of sharp accents and rests, while the soloist takes command. Meter and tempo remain intact; only the texture of the accompaniment changes. ... A more recent type of stop time occurs in urban blues and related popular genres where, in the four opening bars of the twelve bar progression, the group places a heavy accent on the downbeat of each bar and then gives way to the singer.' Backbeat: (same source, from entry 'Beat'): 'Backbeats are the beats occupying the weakest metrical positions in the bar - in a 4/4 or 12/8 bar the second and fourth beats. In jazz characterized as having a 'heavy backbeat' these metrical impulses are consistently stressed, generally by strokes on the snare drum, or comping by the rhythm section, or both.' There's some technnical language in the above, but nothing too heavy, I hope. A 'rest' is a silence, which is probably the important point. If you have music and silence in a rhythmic pattern, that's stop time. Bet Beethoven didn't know that when he wrote 'da-da-da-dummm'! Chris Smith (chris@skerries.demon.co.uk) "What's the use of gettin' sober, when you're gonna get drunk again?" (Louis Jordan) ========================================================================= Date: Wed, 13 Mar 1996 01:22:10 -0500 Reply-To: CCWatt From: CCWatt Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Billboard blues chart for week of March 16, 1996 Comments: To: bit-listserv-blues-l@uunet.uu.net That's two solid recommendations on that Taj Mahal Phantom CD -- gotta get it! Meanwhile, any recommendations on earlier Taj Mahal blues material reissued on CD? I like him but I don't have much of his stuff. I had "Oh So Good and Blues" many, many years ago, but it got stolen and some of his later stuff is less bluesy. Not too many specialty shops out my way, would appreciate info on readily (commercially? yuk!) available stuff. By the way, I'm new to newsgroups -- should I prepare for an onslaught? Colin ========================================================================= Date: Wed, 13 Mar 1996 01:24:55 -0500 Reply-To: CCWatt From: CCWatt Organization: America Online, Inc. (1-800-827-6364) Subject: Re: term definition wanted Comments: To: bit-listserv-blues-l@uunet.uu.net >Could someone please define "stop-time" for me? Also "back-beat". >I think I know what they mean, but not precisely. Thanx. Actually, "Stop Time" is the special button available on some of the pricier digital alarm clocks. It is usually right next to the "snooze" button. It is particularly handy for Monday mornings. "Back-beat" is a different matter altogether -- that's what the boss does an hour or two after you've used the "Stop Time" button. Talk about Blue! Just kidding. I'm new here. Perhaps I should introduce myself... or perhaps the above was introduction enough? Either way, here I am, and I'm enjoying some of the messages (though I'm already tiring of Muddy's Cabin -- I think the Stovall's response is adequate). Colin ========================================================================= Date: Wed, 13 Mar 1996 01:09:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM Comments: To: bit-listserv-blues-l@uunet.uu.net From: "J.E. Downey" Organization: Internet Direct Subject: Re: Cabin On Tour? Roger B. wrote: >I, too, am more pleased than not to read of the compromise reached in >the HoB/Stovall thing. Not me. I am somewhat relieved (like Roger, I suppose), but irritated that it has come to this at all. Unlike Lea, I certainly do NOT support it. Like LW, I have doubts about the whole thing. It may or may not be the best thing for the preservation of the cabin and if it is the best thing, that is very sad IMHO. Roger continued: >As to whether or not we were all >over-reacting: Who's to say how much just the amount of chit-chat >that was generated affected the HoB decision? Adverse publicity and >all...... Well, I most emphatically have no apology to make. The much-reviled rumors were all true, all true. They are indeed picking the cabin up and moving it around like some carnival attraction, just as had been said. The only wrinkle is that they will supposedly return it after five long years. Incidentally, if the rumors had not been completely true, as they are, I would also definitely have no apology to make. It is fitting and right to say the least IMHO that we have concerns about these types of issues, that we discuss them, and that we consider what to do about them. So, I am very glad that Tom Freeland raised it, and very appreciative of Dick Waterman's efforts (whatta guy!) in checking it out. BLUE JOE IN RED RUSSIA J.E._Downey@bakermck.com ========================================================================= Date: Tue, 12 Mar 1996 23:34:51 -0500 Reply-To: David Melton From: David Melton Subject: Re: Billboard blues chart for week of March 16, 1996 Comments: To: CCWatt At 1:22 AM 3/13/96, CCWatt wrote: >That's two solid recommendations on that Taj Mahal Phantom CD -- gotta get >it! > >Meanwhile, any recommendations on earlier Taj Mahal blues material >reissued on CD? I like him but I don't have much of his stuff. I had "Oh >So Good and Blues" many, many years ago, but it got stolen and some of his >later stuff is less bluesy. Not too many specialty shops out my way, >would appreciate info on readily (commercially? yuk!) available stuff. > >By the way, I'm new to newsgroups -- should I prepare for an onslaught? > >Colin =============================================================================== I don't know if it is out on CD, but try "Natch'l Blues"(spelling may be wrong) His first three records are still my favorite, the other two being "Giant Step" and Taj Mahal (don't remember title but has "Statesboro blues) Dave Melton ========================================================================= Date: Wed, 13 Mar 1996 02:00:37 -0600 Reply-To: bolt From: bolt Subject: Garlic Beef & Matt Murphy Can vouche for the potency of the garlic beef, prepared it for the me and the wife (with gobs of horseradish) then headed out to see Matt "Guitar" Murphy at a venue here in Houston. Pity my friend Nuri Nuri (host of the award winning "Blues Brunch" show on KPFT radio) who sat beside me at Mr. Murphy's show, I was belching garlic all night long...boy was it great. Don't miss Mr. Murphy if he comes your way. A really tight band, Matt's a real professional! Reg Burns +++++++++++++++++++++++++++++++++++++++++++++++++ + I'll listen to reason when it comes out on CD + + + + bolt@neosoft.com + +++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Wed, 13 Mar 1996 00:02:56 -0800 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Re: Taj/Bhat/? CD? Comments: To: bolt In-Reply-To: <199603122214.QAA13076@sam.neosoft.com> The guytaj is playing with is named, Vishnu Mahan Bhatt. I don't know what label it is on. Ry Cooder recorded an album with Bhatt and recieved a grammy for it last year. That Cd. is IMHO exceptional. If you like Indian music, but are not into the strict classical indian music Check this out. V.M.Bhatt is the best slide player I have ever heard. I look forword to hearing Taj play with him, that cd, is going on my list of to buy really soon. peace, Isaac On Tue, 12 Mar 1996, bolt wrote: > Recently saw a CD with Taj Mahal, someone (I believe) named Bhat and another > World Music individual. Looked very similar to the Cooder/Toure CD, may be > by the same label. I really enjoy the Cooder/Toure CD and was wondering if > someone may have some recommendations on the Taj disc. Thanks. > > Reg Burns > +++++++++++++++++++++++++++++++++++++++++++++++++ > + I'll listen to reason when it comes out on CD + > + + > + bolt@neosoft.com + > +++++++++++++++++++++++++++++++++++++++++++++++++ > ========================================================================= Date: Wed, 13 Mar 1996 01:20:37 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Dilberg? Comments: cc: davidis@INTERACCESS.COM My apologies to David Silberberg. I just saw the message I sent to Blues-L on return and saw the slight error in the spelling of his name. I have no idea where "Dilberg" came from. Except I had just read an interview with the creator of the "Dilbert" comic strip. The subconcious can be quite a menace. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Wed, 13 Mar 1996 02:08:57 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: ?Wolf Records Address? Any chance I could get someone to post or email Wolf Records address? TIA Stan -- Stan Ruffo Productions "Blues On Tap" http://www.valleynet.com/~steamin ========================================================================= Date: Wed, 13 Mar 1996 10:27:51 GMT Reply-To: ee95dpc@brunel.ac.uk From: David Paul Champion Organization: Brunel University, Uxbridge, UK Subject: Duke Robillard Comments: To: bit-listserv-blues-l@uknet.ac.uk This is probably not the right news group to ask this question, but duke was mentioned in someones mail. I have a bit of an album by duke with Cadellac Slim, Jumping the Blues, and a song with 'She ment me for someone exactly like you' in it. Does antone know what this album is called? Does anyone know of any other albums he did, or other albums/artists that are similar to this album, as though I am a blues man through and through, I do like duke, and would like to hear some more of him. Thanks. Dave (SPUD). ========================================================================= Date: Wed, 13 Mar 1996 02:57:01 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: Re: Hound Dog re: Gatemouth's mouth William Shute wrote: > > From: Bill Shute > > The "lounge version" of HOUND DOG from which Elvis supposedly...snip > 1) Elvis was a regular listener to R&B radio and 2) Rufus Thomas recorded > a famous "answer" to Hound Dog, "Bear Cat," for producer Sam Phillips > with which Elvis must have been familiar. Foonote to a footnote, etc.... Sam Phillips actually wrote the lyrics to "Bear Cat" only a few weeks after BMT's Hound Dog was released. He had the DJ, Rufus Thomas come in and cut it. Shortly after the release of Bear Cat, Don Robey of Peacock Records sued Sam Phillips for copyright infringement regarding Hound Dog and won. "I should have known Better", Phillips later remarked to Robert Palmer. "The melody was exactly the same as theirs." Stan -- Stan Ruffo Productions "Blues On Tap" http://www.valleynet.com/~steamin ========================================================================= Date: Wed, 13 Mar 1996 11:17:10 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: ?Wolf Records Address? In-Reply-To: <31469EB9.3CDB@valleynet.com> On Wed, 13 Mar 1996, Stan Ruffo wrote: > Any chance I could get someone to post or email > Wolf Records address? > WOLF/DOCUMENT RECORDS, P. O. BOX 375, A-1120 WIEN, VIENNA, AUSTRIA tel: ++43 1 512 48 03 fax: ++43 1 513 55 49 phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [13/3/96 6:06 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 13 Mar 1996 06:54:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Backbeat? It would be interesting for me to get a definitive answer to what is "backbeat", as someone raised. As you know, it comes up in the Chuck Berry number, Rock 'n Roll Music. "It's got a back beat, you can't lose it!" As background, there was this, to me, terrific flick where Keith Richards got together a lot of people who have played Chuck Berry's stuff, I'm pretty sure the movie is called Hail, Hail Rock N' Roll. Anyway, I think it is Etta James (blues content) in there (and I could be wrong definitely) who sings repeatedly "It's got a *black* beat you can't lose it." A black beat. Black. This makes me wonder if when that brown-eyed handsome man wrote the song, the reference was really to "black", and that "back" was just word play. Further, one wonders if a "back beat" exists in music at all, as to which I am sure our theorists can edify us. Notably, one will find no shortage of people who will say "I always thought a back beat meant" X or Y, but I have never gotten an authoritative response to what would seem like an answerable question. So, I wonder if someone who really knows, KNOWS the answer could just tell us. Thank you for your attention to this humble request. BLUE JOE IN RED RUSSIA J.E._Downey@bakermck.com ========================================================================= Date: Wed, 13 Mar 1996 06:22:58 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: CeDell Davis ...TO Trade.... Have a copy of: "Cedell Davis - The Best of.", that I would like to trade. Any offers? Thanx, Gary .......... ========================================================================= Date: Wed, 13 Mar 1996 07:39:08 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: CeDell Davis ...TO Trade.... In-Reply-To: <3146CC32.7758@ccinet.ab.ca> On Wed, 13 Mar 1996, Gary Constantine wrote: > Have a copy of: "Cedell Davis - The Best of.", that I would like to > trade. > Any offers? You'll have to throw in a draft pick. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "I'm not surprised he's gay. He never had a crush on Emma Peel." - J.N. Jackson ========================================================================= Date: Wed, 13 Mar 1996 14:52:09 +0100 Reply-To: Peter Gallagher From: Peter Gallagher Subject: Re: Carol Fran and Clarence Holliman Comments: To: lgilmore@MAIL.EROLS.COM In-Reply-To: <4i5c2j$j9q@news7.erols.com> from "Lea A. Gilmore" at Mar 13, 96 02:31:47 am I had the pleasure of seeing them at the Blues Estafette in Utrecht, Netherlands in (I think) 1993. They were a fantastic pair. Carol has a LOT of charm and communicated a lot with the audience. They are married, I believe, and got on really well together and between them they conjured up a really intimate blues atmosphere. They were one of the most popular acts and not surprisingly - Carol really can howl out the blues with a BIG voice. Maybe you could fill us in on the CD you mentioined - I'd love to get a copy. regards, PeterG > > I just recently picked up a CD by these two and I think they are great! > Can anyone tell me more about them? I really would like to know more > about Carol Fran? Do they still perform and what area are they based? I > figure since someone on this list ALWAYS knows the answer - who better to > turn too. > > -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Wed, 13 Mar 1996 08:19:39 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Blues This Week on Networks Comments: To: bit-listserv-blues-l@uunet.uu.net Actually Koko Tayor is doing a guest shot on a show on the Fox Network on Thursday called NY Undercover. Have no idea what the show is about but the press release said she'd be singing Wang Dang Doodle. Catbauer@vivanet.com ========================================================================= Date: Wed, 13 Mar 1996 08:02:11 CST Reply-To: William Shute From: William Shute Subject: blues hyperbole/thanks for N.O. info From: Bill Shute If YOU were asked to name someone who could be described as "one of the greatest blues singers of the last four decades," who would you choose? There are certainly many many fine candidates for that honor. HOWEVER, I think you would probably list 23,753 names before you even considered giving Gregg Allman (?!?!?!) that label. Well, he IS given that label in a cover story in the new Blues Revue. There are undoubtedly good things to be said about Gregg Allman--I wouldn't know, I've never understood the appeal of the Allman Brothers and Gregg Allman in particular (Duane's appeal I understand!)--but this kind of empty hyperbole drains the language of any meaning. I felt similarly when BR compared Honey Piazza with Otis Spann a while back. Now, Honey is a good player, but I can't believe SHE of all people would ever claim that. If everyone is "the greatest," then the term loses any meaning and we may as well be reading hype-laden press releases written by people's management firms. And I doubt that THEY would even make such outlandish claims. I'll still read BR for David Evans, Jas Obrecht, and the other excellent contributors who can be found in BR's pages, but a cover story like this and such an outlandish, superlative off-base statement blows the general credibility of this mag as far as I'm concerned. While this "blues revival" we're in the midst of has given many fine underrecorded artists the chance to make records and has undoubtedly given concert work to folks who'd be relying on their day jobs otherwise, I sometimes wish blues-chic would go away when I see things such as this. ------------------------------ On a more positive note, thanks to the kind folks who answered my query for info about New Orleans, I've forwarded them to my pal Marge and I KNOW she'll have a great time. Thanks to Bruce Roberts, M K Aldin, Dave Markowitz, Stan Ruffo, P W Fenton, Mr. Sevenson, James Foster, Dick Waterman, Jim McGlynn, Bill Morgan, George McClellan, and anyone else I forgot to mention. Bill Shute San Antonio, TX Still blasting my copy of Billy Boy Arnold's "Eldorado Cadillac" (Alligator) in the car tape deck. That and the new Long John Hunter album certainly have gotten l996 off to a GREAT start for Alligator...and for this listener! ========================================================================= Date: Wed, 13 Mar 1996 06:23:41 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Blues/African music link Hi there 'zellers... A few days ago someone brought up the connection between African music and the blues - well, this morning I had the good fortune to hear a group called Black Umfalosi (this spelling is probably wrong) for an hour of interviews and songs on the radio - it was absolutely fantastic. I could definitely hear the connection between this style of a cappella vocal group music from Zimbabwe and gospel music - similar to Ladysmith Black Mambazo - very powerful, beautiful harmonies. Wow! -Jim (hndful@uniserve.com) BTW, I'm sure I read somewhere as well that Ali farke Toure was Africa's biggest John Lee Hooker fan, indicating that he has taken a lot of blues influence into his own traditional music (as opposed to the other way around). ? I'd love to read something by someone who actually knows... :-) ========================================================================= Date: Wed, 13 Mar 1996 08:47:15 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Apology to Mr Waterman I want to publicly apoligize to Dick Waterman, I think I called him a smartass (or implied), So Mr. Waterman (who my wife and I respect a whole lot) please accept my apologies. I didn't like the tone of your post, but that's no reason for me to be a butt.... I'm sincerely sorry, Thanks LW btw: Sorry for the wasted bandwidth, but since I said it in public, I wanted to apologize in public ========================================================================= Date: Wed, 13 Mar 1996 07:03:05 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: This week's Internet Blues Hi all. The newest hour of my internet blues show is on the air (finally!) They've got it set up for RealAudio 2.0, so the audio quality is decidedly better than previous shows, thankfully. This week's lineup includes a couple of tracks each by Blind Willie McTell, Champion Jack Dupree, Screamin' Jay Hawkins, as well as tracks by Ted Hawkins, Albert Collins, and Lightnin' Hopkins. In case you happen to be pinin' for Christmas, this show was supposed to be aired Christmas week, so there's even a couple of Christmas songs... :-) Thanks to all who've tuned in so far - we're number one on the SDF-Radio charts! Our URL is http://sdf-radio.colossus.net - come on by. -Jim (hndful@uniserve.com) Standard disclaimer: no money has changed hands on this show (other than performance royalties :-) ) ========================================================================= Date: Wed, 13 Mar 1996 08:43:28 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Gatemouth's mouth Comments: To: Chris Smith In-Reply-To: <826662360.27664.0@skerries.demon.co.uk> Yes, I did hear Hound Dog "warn" Louis Myers about interviews and yes, often one gets rote answers to overasked questions. One of the best examples of this syndrome was Johnny Shines, one of the most perceptive and articulate blues artists but who went on automatic pilot around the 1,000th time someone asked him what he remembered about some guy named Johnson he knew in the '30s. At least maybe that's better than getting DIFFERENT answers to the same questions. ========================================================================= Date: Wed, 13 Mar 1996 10:19:52 -0500 Reply-To: Ed Mezynski From: Ed Mezynski Subject: Muddy's Mobile Home Maybe HOB will have the good sense to hire Norm Abrams and the staff of This Old House to do a proper renovation. The whole project would be filmed, and broadcast in weekly installments, tapes and transcripts would be available for $29.95. A detailed drawing will be offered at the end of the broadcast. The Car Guys could be consulted for proper axle placement and wheel alignment. This is an idea that really has some potential. Blues content: Back beat - Playing slightly behind the 2 & 4, almost imperceptively so. More felt than counted. You know it when you hear/feel it, when you don't it's Rock and Roll. ed mezynski ========================================================================= Date: Wed, 13 Mar 1996 10:23:52 -0400 Reply-To: Late Night Tiger Cam From: Late Night Tiger Cam Subject: Ali Farka Toure/John Lee Hooker >-Jim (hndful@uniserve.com) >BTW, I'm sure I read somewhere as well that Ali farke Toure was Africa's >biggest John Lee Hooker fan, indicating that he has taken a lot of blues >influence into his own traditional music (as opposed to the other way >around). ? I'd love to read something by someone who actually knows... :-) The following is from Francis Davis's book: _The History of the Blues: The Roots, the Music, the People from Charley Patton to Robert Cray_ pp. 33-4. "To make matters more confusing, African music is beginning to betray the influence of the blues. Take the case of Ali Farka Toure, a native of Mali in his middle fifties who's recognized as a master of the one-string gurkel. 'American blues, to me, just means a mix of various African sounds,' he has said, expressing a romantic point of view probably held by more Americans than Africans. 'It's not American music, it's African music directly imported from Africa.' Toure is a fan of John Lee Hooker. '[The first time I heard him] I didn'at actually think he was American,' Toure told the British music critic Philip Watson in an interview published in _The Wire_. "AS I was listening to him I picked up my traditional guitar and played exactly the same thing, and it was after that that I thought I should do more with my music because he was producing something second hand. I decided that I should show people where this music came from.' You see the problem. Though the evidence of Hooker's music is Toure's is often pointed to as evidence of Africa's influence on th eblues, it's really the other way around." ========================================================================= Date: Wed, 13 Mar 1996 09:18:16 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: blues hyperbole/thanks for N.O. info In-Reply-To: Message of Wed, 13 Mar 1996 08:02:11 CST from On Wed, 13 Mar 1996 08:02:11 CST William Shute said: >choose? There are certainly many many fine candidates for that honor. >HOWEVER, I think you would probably list 23,753 names before you >even considered giving Gregg Allman (?!?!?!) that label. >Well, he IS given that label in a cover story in the new Blues Revue. I like Gregg's singing (for a white person) and may IMHO be one of the better white singers. I agree with you about blues singers as a whole, there are many, MANY I'd put before GA. I don't consider the Allmans a blues band, but a band that can play blues. I find that ABSURD,also. BR had a great issue at Christmas with Muddy, Otis and Little Walter. >empty hyperbole drains the language of any meaning. I felt similarly when >BR compared Honey Piazza with Otis Spann a while back. Now, Honey is I read that and I thought they were comparing her style to Otis Spann's. I would find comparing the talents of the two, ABSURD. LW ========================================================================= Date: Wed, 13 Mar 1996 07:32:32 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Mar. 14 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------ artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BAKER, RONNIE (g/b/O'JAYS/TRAMMPS/TSOP) b. 1940-0314, PHILADELPHIA, PA BIG TWIST [LARRY NOLAN] (v/ALLIGATOR REC) d. 1990-0314, BROADVIEW, IL 53 BILLINGS, FRANK "JOSH" (d) d. 1957-0314, NEW YORK CITY, NY 53 COHN, SONNY (tpt/RED SAUNDERS) b. 1925-0314, CHICAGO, IL DAVIS, BILLY (d/SONNY STITT) d. 1981-0314, WILMINGTON, DE 43 HILL, ERNEST "BASS" (b/SAMMY PRICE) b. 1900-0314, PITTSBURGH, PA JONES, HERB (of THE JONES BROTHERS) d. 1988-0314, BOSTON, MA 80 JONES, LINDA (v/HYPNOTIZED) d. 1972-0314, NEW YORK CITY, NY 28 JONES, QUINCY (prod/tpt) b. 1933-0314, CHICAGO, IL PHILLIPS, PHIL (v/SEA OF LOVE) b. 1931-0314, LAKE CHARLES, LA POMUS, DOC [JEROME SOLON FELDER](v/songw) d. 1991-0314, NEW YORK CITY, NY 65 PUCCI, MARK L. (vp/CAPRICORN REC) b. 1947-0314, IRVINGTON, NJ SCOTT, SHIRLEY (o) b. 1934-0314, PHILADELPHIA, PA STRUVE, ROGER "DELTA DOC"(BLUES-L MEMBER) b. 1949-0314, DAVENPORT, IO WILLIAMS, ROBERT PETE (g) b. 1914-0314, ZACHARY, LA ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 13 Mar 1996 07:43:26 -0800 Reply-To: James Carmin From: James Carmin Subject: Paul deLay & Good News I just learned that the EVIDENCE label has picked up PAUL DELAY which means much wider distribution of the fine music by this great harpist, singer and songwriter. Evidence will release Paul's *new* cd probably in October (tentatively titled "Ocean of Tears") and will be the first since "Paulzilla" in '92; this is the first of a 3 year, 3 record deal so we should be hearing a lot more of Paul soon. Evidence is ALSO planning a compiliation of Paul's two most recent cds (on the Criminal label), "Paulzilla" and "The Other One" (originally released in '90). The music on these discs is wonderful, so if you don't already have them, check it out when you see the new Evidence title scheduled for release at the end of April as "Take It From the Turnaround." Disclaimer time: not affiliated whatsoever other than I try to see Paul, guitarist Peter Dammann, keyboardist Louis Pain and the rest of the band whenever possible! James C. jcarmin@teleport.com ========================================================================= Date: Wed, 13 Mar 1996 10:45:15 -0500 Reply-To: bob unger From: bob unger Subject: 9 left!!! I still have 9 copies left of the infamous BluesBYtes tape. At the risk of sounding like PBS...."Come on folks! We can do it! We're only $90 away from our goal! If you contribute now, you'll recieve a wonderful collection of blues songs performed by our very own members! And if you act now, I'll send you the copy WITHOUT Peter, Paul and Mary...the copy WITHOUT Pavorotti, Domingo and that other guy! The copy you'll recieve will have songs recorded by blues-l's own Cathi Norton! - and BTW, a BIG round of congratulations on the release of her cd today "Various Stages Of Undress" Let's give it up for Cathi! Also on this tape is an origianl composition with words written by Dick "Jinxblues" Waterman, Bob VanArsdall and inspired by blues-l's own infamous LW!!! Performed by Bo Carllsson and the Nightcats! We also have the legendary Billy Price and.....oh, some many talented others, just too numerous to mention! So come on, folks, let's reach our goal so we can make our contribution to one of these fine organizations - Blues Heaven - The Delta Blues Mueseum - The Rhythm & Blues Foundation Contact me privately for ordering info..... BU bob@sun.bnkst.edu ========================================================================= Date: Tue, 12 Mar 1996 10:39:02 EST Reply-To: MR LARRY H LETTS From: MR LARRY H LETTS Subject: Koko Taylor in Marquette Koko Taylor has blessed this small collage town in the U.P. of Michigan with a show on March 30th. Can anyone tell me what to expect as far as who is in her back-up band,( keyboards? horns? ) and what kind of set list she is currently doing. Any info would be appreciated. Thanks, Larry ========================================================================= Date: Wed, 13 Mar 1996 10:50:41 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: blues hyperbole/thanks for N.O. info On 13 Mar 96, ISTS024%UABDPO.BITNET@BROWNVM had this to say... > I like Gregg's singing (for a white person) and may IMHO be one of the > better white singers. You just gotta love that LW. He spends half his time making remarks like the one above, and the other half apologizing for them. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 13 Mar 1996 09:51:02 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: blues hyperbole/thanks for N.O. info In-Reply-To: Message of Wed, 13 Mar 1996 10:50:41 -0500 from On Wed, 13 Mar 1996 10:50:41 -0500 P.W. Fenton said: >On 13 Mar 96, ISTS024%UABDPO.BITNET@BROWNVM had this to say... > >> I like Gregg's singing (for a white person) and may IMHO be one of the >> better white singers. > >You just gotta love that LW. He spends half his time making remarks >like the one above, and the other half apologizing for them. I think black singers and white singers are apples and oranges. That's all This one deserves no apology, the other apology didn't either, but I did it anway, becuase I don't like to be hateful, regardless if someone was hateful to me. LW 'it's not about race , it's about fruits :-)' btw: You gotta love PW he spends most of his time worrying about what I said Why don't you clean up your own yard before you worry about someone else's At least send it private mail no one wants to hear you whine all the time ========================================================================= Date: Wed, 13 Mar 1996 10:49:51 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: blues hyperbole/thanks for N.O. info Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, WSHUTE/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=WSHUTE#a#ACCDVM#f#ACCD#f#EDU@s1boca.corp.wrgrace.com *If YOU were asked to name someone who could be described as "one of *the greatest blues singers of the last four decades," who would you *choose? There are certainly many many fine candidates for that honor. *HOWEVER, I think you would probably list 23,753 names before you *even considered giving Gregg Allman (?!?!?!) that label. *Well, he IS given that label in a cover story in the new Blues Revue. Bill, I was also surprised by the latest Blues Revue. I won't be renewing my subscription. It's probably just a matter of time before John Popper appears on the cover! -Steve ========================================================================= Date: Wed, 13 Mar 1996 09:57:52 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Riverbank Blues Fest To supplement listing of blues festivals published in the newest issue of Living Blues (they had TBA for our fest): name: Riverbank Blues Festival place: On the bank of Iowa River by the Iowa Memorial Union, Iowa City date: June 22 time: 11:00 am tickets: $3 (was last year, I think it will remain the same this year) artists (in order of appearance): Shade of Blue Louis McTizic Byther Smith Big Jack Johnson and Lester Davenport Ranko ========================================================================= Date: Wed, 13 Mar 1996 11:11:00 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: blues hyperbole/thanks for N.O. info Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU On 13 Mar 96, ISTS024%UABDPO.BITNET@BROWNVM had this to say... > btw: You gotta love PW he spends most of his time worrying about what I said > Why don't you clean up your own yard before you worry about someone else's > At least send it private mail no one wants to hear you whine all the time You do me a favor LW. The first time you read an insensitive racist remark like "I like Gregg's singing (for a white person)" come from me, you be sure and call me on it. Of course I worry about what you say... you never do. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 13 Mar 1996 11:16:37 -0500 Reply-To: Charles d'Orban From: Charles d'Orban Subject: Preston Shannon Can anyone tell me something about Preston Shannon and whether his 1994 CD on Bullseye (Break the ice) is worth acquiring? Charles d'Orban ========================================================================= Date: Wed, 13 Mar 1996 10:53:04 -0500 Reply-To: Toronto Blues Society From: Toronto Blues Society Subject: taj-bhatt CD Comments: cc: froots@cityscape.co.uk >Recently saw a CD with Taj Mahal, someone (I believe) named Bhat and another >World Music individual. Looked very similar to the Cooder/Toure CD, may be >by the same label. I really enjoy the Cooder/Toure CD and was wondering if >someone may have some recommendations on the Taj disc. Thanks. > > dear Reg Burns, the cooder/toure cd "talking timbuktu" was recorded by world circuit of england. i believe rykodisc is the distributor in the u.s. the cooder/bhatt cd and the taj mahal/bhatt cd's are produced by a california based label called, water lily. vishwa mohan bhatt won the world music grammy for his collaboration with cooder, "meeting by the river" bhatt plays a guitar like instument that he created called the "mohan vina", it looks and sounds a little like a guitar. his mentor is ravi shankar. from the october 1994 cover story in folk roots magazine, " ...like a 1920s jazz archtop f-hole guitar. it looks basically like an old jazz guitar with the exception that the neck has an extension on the top-side, about two inches wide, that runs the whole length of it. that extension has keys and there are twelve sympathetic strings that run under and parallel to the main strings. the sympathetic strings like many indian instruments can be tuned to the notes of the rag (an alternative to raga). there are eight main strings, of which three are the main playing strings and five are the drone strings. those eight strings are terminated on pegs at the head like a normal guitar. so there eight playing strings and twelve sympathetic strings." its a great article that explains the water lily sessions in santa barbara that vishwa did with taj, "mumtaj muhal", chinese er'hu player jie bing chen "silk, jade and the begging bowl", and jerry douglas "bourbon and rose water". i gather that water lily has released 3 CDs from the session now. i don't have contact information for the label. folk roots is a great magazine and i recommend a subsciption to any world music or folk music fan. there is regular blues info too! contact info for folk roots magazine can be had via: froots@cityscape.co.uk derek andrews derek andrews toronto blues society: http://www.io.org/~tbs/ harbourfront centre (973-4744, fax 973-8729) DAYTIME EMAIL: programming@harbourfront.on.ca http://www.ffa.ucalgary.ca/harbour/dwa/ ========================================================================= Date: Wed, 13 Mar 1996 10:28:34 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 03/14 B O R N : BROWN, LES ( LESTER RAYMOND ) Born:1912 REINERTON, PA Career:LEADER / COMPOSER / ARRANGER Style:BIG BAND with: Billy Butterfield / Butch Stone / Arnold Fishkin / Ray Linn / Gus Bivona / Shelley Manne / Frank Comstock / Hank D'Amico / Jimmy Zito / Dick Noel / Hal McKusick / Barney Kessel / Randy Brooks / Ted Nash / Teddy Walters / Stumpy Brown / Warren Covington / Jimmy Rowles / Tony Rizzi / Joe Mondragin / Jackie Mills / Buddy Childers / Bob Fowler / Ray Asche / Ray Leatherwood / Dave Pell / Al Curtis / Wes Hensel / Jack Sperling / Abe Aaron / Miriam Shaw / Betty Bonney / Ralph Young / Doris Day / Eileen Wilson / Ray Kellogg / Lucy Ann Polk / Jo Ann Greer / Butch Stone /Rolly Bundock / Milt Bernhart COHN, SONNY ( GEORGE THOMAS ) Born:1925 CHICAGO, IL Career:TRUMPET Style:JAZZ / BIIG BAND With:COUNT BASIE DE FAUT, VOLLY (VOLTAIRE ) Born:1904 LILLE ROCK, AR Career:TENOR SAX / ALTO SAX / CLARINET / VIOLIN Style:TRAD / JAZZ / BIG BAND With:New Orleans Rhythm Kings 1923 / Art Kassel / Muggsy Spanier / Jelly Roll Morton / Merritt Brunies / Isham Jones / Jean Goldkette JONES, QUINCY ( DELIGHT, JR. ) Born:1933 CHICAGO, IL Career:ARRANGER / COMPOSER / LEADER / TRUMPET / PIANO Style:JAZZ / BIG BAND With:Lionel Hampton / Ray Anthony MOONEY, JOE Born:1911 PATERSON, NJ Career:SINGER / PIANO / ACCORDION Style:JAZZ / BIG BAND With:The Sunshine Boys / Sauter-Finegan MURPHY, MARK ( HOWE ) Born:1932 SYRACUSE, NY Career:SINGER Style:JAZZ With:Steve Allen / Al Cohn SCOTT, SHIRLEY Born:1934 PHILADELPHIA, PA Career:ORGAN / SINGER Style:JAZZ / BLUES TESCHEMACHER, FRANK Born:1906 KANSAS CITY, MO Career:CLARINET / ALTO SAX / TENOR SAX Style:JAZZ / BIG BAND With:Husk O'Hare / Sig Meyers / Ben Pollack / Ted Lewis / Red Nichols / Jess Stacy / Jan Garber / Wild Bill Davison TANA, AKIRA Born:1952 PALO ALTO, CA Career:DRUMMER Style:JAZZ With:Zoot Sims / Al Cohn / Carole Sloan / James Moody FOR A LISTING OF THOSE THAT PASSED AWAY IN THIS MONTH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Wed, 13 Mar 1996 11:34:10 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: Koko Taylor in Marquette Comments: To: MR LARRY H LETTS In-Reply-To: <096.03453517.LNXY19A@prodigy.com> On Tue, 12 Mar 1996, MR LARRY H LETTS wrote: > Koko Taylor has blessed this small collage town in the U.P. of Michigan > with a show on March 30th. Can anyone tell me what to expect as far as who > is in her back-up band,( keyboards? horns? ) and what kind of set list she > is currently doing. Any info would be appreciated. > > > Thanks, Larry Say ya to da U.P, eh! I can only tell you that the Flat Broke Blues Band will be opening for Koko in Marquette. My brother in law plays rhythm guitar in the band, and they opened last fall for a Koko show in Chicago (with Shirley King singing a few numbers with them). I don't think Koko's band will have horns, but I may be wrong. Yours, Dave Prychitko Blues 101, 88.9 FM, WNYO Oswego, NY, and undergrad alumnus of NMU (Marquette, MI). ========================================================================= Date: Wed, 13 Mar 1996 10:38:07 -0600 Reply-To: Dave Daubard From: Dave Daubard Subject: Blues Cruise Playlist 3/8/96 artist---------title---------------Release---------------Label Rod Piazza- Rockin' Robin- Harp Burn- Black Top Hound Dog Taylor-Give Me Back My Wig-H.D.Taylor & HRkers-Alligator +Smokey Wilson-Standing at the Crossroads-88th St. Blues- Blind Pig +Jay Owens- title tune- Movin' On- Code Blue Jimmy Thackery-Rude Mood- Empty Arms Motel- Blind Pig +Long John Hunter-Arkansas- Border Town Legend- Alligator Jr. Wells- Everybody's Gettin' Some-same- Telarc Sunnyland Slim-Halsted St. Jump-Chicago Jump- Evidence +Bobby Rush-title tune- One Monkey Don't...... Waldoxy Smokin'Joe Kubek-Smokin'Joe's Cafe-Steppin'Out Texas Style-Bullseye +Sonny Rhodes-Power of the Boogie-Out of Control- Kingsnake + " " -Don't Have the Blues Anymore-Out of Control- " " Barbara Lynn-Payback- So Good- Bullseye Zora Young- Stumbling Blocks & Stepping Stones-Travelin'Light-Deluge Rec Marcia Ball-title tune- Blue House- Rounder +Rory Block-Mississippi Bottom Blues-Tornado- " +Joanna Connor-Slippin'Away-Rock & Roll Gypsy- Ruf Records Trudy Lynn- Pay the Price- 24 Hour Woman- Ichiban +Blu Lu Barker-Don't You Feel My Leg-......at the Apollo- Delmark +Camille Howard-Viper Boogie- X-temporaneous Boogie- Specialty +Rick Holmstrom-On Your Rocker- Lookout- Black Top +Duke Robillard-Something to Remember Me By-Dukes'Blues- Pointblank Bryan Lee- Let Me Down Easy- The Blues Is...... Justin Time Rec +Corey Harris-Bukka's Jitterbug Swing-Between Midnight & Day-Alligator +Craig Benner-Big Chief- Play It Again, Professor- Craig Benner Music Mitch Woods- That Will Never Do-Solid Gold Cadillac- Blind Pig +John Hammond-I Hate to See You Go-Found True Love- Pointblank Kelly Hunt- Sad Cafe- Kelly Hunt- 88 Records Nappy Brown-Fishin' Blues- Apples & Lemons- Ichiban Smokin'Joe Kubek-Little Girl-Chain Smokin'Texas Style- Bullseye Studebaker John-Boogie Walk- Too Tough- Blind Pig Al Green/Lyle Lovett-As Time Slips Away-Rythm, Country,& Blues-MCA +Willie Clayton-One Night Stand- At His Best- Ichiban Mighty Joe Young-Turning Point-Mighty Joe Young- Quicksilver +Mem Shannon-If This Ain't the Blues-Cab Driver's Blues- Rykodisc +Smokey Wilson-Sun is Shining- 88th St. Blues- Blind Pig Hound Dog Taylor-55th St. Boogie-H.D.Taylor & Houserkers-Alligator +Sunnyland Slim-Jammin' with Sam- Chicago Jump- Evidence +Rick Holmstrom-Lucky Lou- Lookout- Black Top notes: The show's theme was celebrating the retirement of Coach Lou Henson from 21 yrs. as head coach of Fighting Illini basketball. The Mighty Blue Kings returned to the Blind Pig Co. to play Sat. & Sun. to packed houses. Sam Burkhart, who played sax with Sunnyland Slim, is a member of this jumping, swing band from Chicago. Jr. Wells plays next week. Corey Harris is later in the month & Smokin' Joe Kubek will play next month. new release + ========================================================================= Date: Wed, 13 Mar 1996 12:04:13 -0500 Reply-To: 00LCSPECTOR@BSUVC.BSU.EDU From: "Lee C. Spector" <00lcspector@BSUVC.BSU.EDU> Subject: Muddy's House If they take Muddy's house on the road, what do you think will be the opening act. Lee Lee C. Spector Department of Economics ========================================================================= Date: Wed, 13 Mar 1996 11:06:59 -0600 Reply-To: James Foster From: James Foster Subject: Re: Preston Shannon Comments: To: Charles d'Orban At 11:16 AM 3/13/96, Charles d'Orban wrote: >Can anyone tell me something about Preston Shannon and whether his 1994 CD >on Bullseye (Break the ice) is worth acquiring? > >Charles d'Orban Preston Shannon is a fine soul-blues performer from Memphis. He regularly plays all along Beale Street and is as nice a guy as you could hope to meet. He "Shannon-izes" most cover tunes and has written some good original material. His CD has some good Memphis soul cuts, though it seems to regularly find it's way into the discount bins here in Austin. Anyway, I enjoy his work and. if you are a fan of Mephis soul-blues, you should give it a listen. James Foster ========================================================================= Date: Wed, 13 Mar 1996 10:53:22 CST Reply-To: ISTS024@UABDPO.BITNET From: Use Less Subject: Carol Fran and CH I first heard Carol Fran on Anson's "Tell Me What You Want To Hear" Carol and Sam do a renter/landlord kind of thing. I was knocked out by Carol. I went out and bought Carol Fran & CH "Soul Sensation" on Blacktop and WHEW the lady can sing, Clarence plays some tasty guitar, but it's Carol's vocals that move me. I highly recommend "Soul Sensation". There next release and I can't recall the title was (IMHO) not as good as SS. LW ========================================================================= Date: Wed, 13 Mar 1996 11:47:25 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re[2]: blues hyperbole Okay, I've tried my damnedest to stay out of these sorts of interactions on the BLUES-L, but I just cannot restrain myself on this one. I can feel my blood pressure rising... LW said: "I think black singers and white singers are apples and oranges. That's all This one deserves no apology, the other apology didn't either, but I did it anway, becuase I don't like to be hateful, regardless if someone was hateful to me. LW 'it's not about race , it's about fruits :-)'" That has to be one of THE most racist comments I have EVER seen on this list! I can't begin to express the depth of my amazement that ANYONE could say such a thing. Anyone on this list (or any human being who listens to music) can tell you that black singers can sound like "white" singers, white singers can sound like "black" singers, adult singers can sound like "children," children can sound like "adults," men can sound like women, women can sound like men, Swedish singers can sound like Swahilis, Irish singers can sound like Costa Ricans... The list goes on and on. STYLES differ. And yes, the physiology of the human throat and vocal instrument can vary. But believe me, I've studied vocal physiology; training and style is where the differences originate. Not in SKIN COLOR! Shannon ========================================================================= Date: Wed, 13 Mar 1996 12:10:00 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Apology to Mr Waterman Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu On March 14, LW posted : >>>I want to publicly apoligize to Dick Waterman, I think >>>I called him a smartass (or implied) Let's clear the air on one point here: I seem to have (unfortunately) been gifted with some status as a fragile flower who must be treated with dainty concern. I have slogged my way through 30 years plus of confrontation and massive amounts of rejection in the music business. When I started out managing Son House and Skip James, I fought for whatever bookings were available with the managers of Jesse Fuller and Rev. Gary Davis. I managed Buddy Guy in an intense business rivalry against Albert King. I managed Junior Wells fighting for bookings with James Cotton. When I started with Bonnie Raitt, the early rivals were Pheobe Snow and Janis Ian, the later ones were Linda Ronstadt and Emmylou Harris. But I remained good friends with both these agents and the artists themselves. My first job in the music business was in the office of Manny Greenhill (Folklore Productions), and he is still an active agent, representing Doc Watson, Dave Van Ronk and others. If I had clients fighting for bookings with him, he would slice me and dice me all day long but the friendship would endure because we both love the music. The purpose of this list is to promote our common affinity for blues music and, hopefuly, provide advice and guidance to those people who are continually joining us. There is no question that LW punched my buttons the other day and I may have scorched the earth a bit in my reply. However, no one on this list has greater affection for the music of Johnny Shines and Charles Brown than LW, and he is to be admired for the way in which he serves as their advocate. If you do not like what I say, treat me just like another shirt hanging out there on the line. One member on this list told me he thought I was a dog. I replied that he was a hydrant and our relationship would continue as it had in the past. Dick Waterman ========================================================================= Date: Wed, 13 Mar 1996 12:18:41 -0500 Reply-To: Charles d'Orban From: Charles d'Orban Subject: Mumtaz Mahal (was:Taj/Bhat/? CD?) Comments: cc: bolt@NEOSOFT.COM >Date: Tue, 12 Mar 1996 16:14:13 -0600 >From: bolt >Subject: Taj/Bhat/? CD? > >Recently saw a CD with Taj Mahal, someone (I believe) named Bhat and another >World Music individual. Looked very similar to the Cooder/Toure CD, may be >by the same label. I really enjoy the Cooder/Toure CD and was wondering if >someone may have some recommendations on the Taj disc. Thanks. > >Reg Burns The CD to which you are referring is: BHATT/MAHAL/RAVIKIRAN -- MUMTAZ MAHAL WATERLILY ACOUSTICS 7840 46 2 Vishwa Mohan (V.M.) Bhatt is an Indian musician who plays slide guitar on a home-made instrument which has drone strings. The effect is sort of like "slide sitar". Previously Bhatt did an album with Ry Cooder: MEETING BY THE RIVER COODER/BHATT WATERLILY ACOUSTICS 7840 29 2 I think that the album with Cooder is the more interesting of the two as there is more "conversation" between the 2 players. On Mumtaz Mahal, Taj basically plays some of the songs he knows or has written (eg. Come on in my kitchen, Johnny too bad, Stand by me), while the 2 Indian musicians accompany him. The album disappointed me at 1st (compared with Meeting by the river) but is graduall growing on me. Maybe I would give it 6 (out of 10). NB. Just my humble opinion. Bhatt has also done a collaboration with Jerry Douglas (the dobro player) which I just ordered yesterday, so I can't comment on it yet. But an article in Acoustic Guitar says that it s the best of the 3 collaborations. Taj has played with Ali Farka Toure on the AFT album before the collaboration with Cooder. I think its "The Source" (also on Hannibal). If you like the one with Cooder, you'll like this as well. Charles d'Orban ========================================================================= Date: Wed, 13 Mar 1996 11:24:32 CST Reply-To: William Shute From: William Shute Subject: Robert Pete Williams' birthday From: Bill Shute Just a short note in praise of the late Robert Pete Williams. Like John Lee Hooker or Lightnin Hopkins, Mr. Williams was one of the great stream-of-consciousness blues poets. Not only would every performance of a song be quite different, he would "follow the song" wherever it led him. He was unconcerned with regular bar structure or chord changes, yet he knew EXACTLY what he was doing. The form of his music was "ever becoming" (as jazz player Leo Smith once put it about a VERY different kind of music). A performer like Robert Pete Williams puts himself out on the limb with each performance--at its best, this kind of blues (similar to what Bukka White labelled "Sky Songs") is one of the most transcendent aesthetic experiences there is. Yes, there are people such as Henry Qualls or Louisiana Red who still work in the improvisational vein to some extent, but no one (IMHO) was the equal of Robert Pete Williams in that department. It was the power and spontaneity and vision and REALITY of Robert Pete Williams, Hooker, Hopkins, et al that led me to the insight that the blues is such a profound and compelling artistic form, not just "a kind of music I like." Some of today's "blues-lite" performers should be locked in a room with a Robert Pete Williams CD programmed on "repeat" for a weekend or two. All of my Robert Pete Williams is on vinyl. Perhaps someone can mention some available CDs so blues-l-ers unfamiliar with his work can sample it. After a Williams performance, I am literally speechless (and I never had the privilege of seeing him live). There's nothing left to be said, and any attempt at "analysis" would be superfluous. He is one of the best examples of the bluesman as truth-telling shaman, one of the African retentions found in blues. Blues Revue would NOT label him "one of the best blues singers of the last four decades" Bill Shute San Antonio, TX ========================================================================= Date: Wed, 13 Mar 1996 18:22:44 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Muddy's House Comments: To: 00LCSPECTOR@BSUVC.BSU.EDU >If they take Muddy's house on the road, what do you think will >be the opening act. Lee > >Lee C. Spector >Department of Economics It has just got to be Cleanhead Vinsons comb or, if thats to expensive, Hound Dog Taylors signature (originaly written by Lieber n Stoller). Or why not a big cage with PW and LW facing each other with a computer each and a big display for the audience to watch. Mr Bo (who is quite funny if compared to many white swedish comedians) ========================================================================= Date: Wed, 13 Mar 1996 09:35:25 +0000 Reply-To: Eric Porcher From: Eric Porcher Organization: IVL Technologies Subject: Anson Funderburgh CD faves I have the CD "Thru the Years, A Retrospective" and especially like the most recent two thirds of the tracks and all the Sam Meyers stuff. Can anyone recommend the must-haves for these guys? Eric Porcher ========================================================================= Date: Wed, 13 Mar 1996 12:05:00 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Paul deLay & Good News Comments: To: James Carmin In-Reply-To: <199603131543.HAA15010@desiree.teleport.com> I've heard six songs from Paul deLay's forthcoming CD and it's really outstanding. Glad they found a label! ========================================================================= Date: Wed, 13 Mar 1996 18:12:54 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Koko Taylor in Marquette In-Reply-To: On Wed, 13 Mar 1996, David L. Prychitko wrote: > On Tue, 12 Mar 1996, MR LARRY H LETTS wrote: > > > Koko Taylor has blessed this small collage town in the U.P. of Michigan > > with a show on March 30th. Can anyone tell me what to expect as far as who > > is in her back-up band,( keyboards? horns? ) and what kind of set list she > > is currently doing. Any info would be appreciated. > > > > > > Thanks, Larry > > Say ya to da U.P, eh! > > I can only tell you that the Flat Broke Blues Band will be opening for > Koko in Marquette. My brother in law plays rhythm guitar in the band, > and they opened last fall for a Koko show in Chicago (with Shirley King > singing a few numbers with them). > > I don't think Koko's band will have horns, but I may be wrong. > Saw her last night: 2 guitars (ES-135ish Washburn and Strat),bass drums and keyboards (Korg) No horns. Did "Mother nature" and "Wang Dang Doodle" among many others. She does a very long set and most of it is "jump". The guy who drives the bus brings hankies between songs because she really works up a sweat. It's a show well worth seeing though I could have done without the constant "Koko Taylor!, KoKo Taylor!" hype. She's damn good but I think her rep. is overblown (just MHO). What will forever endear her to me is the time she took to sign my CD insert, she took more care over the "K"s in KoKo than others take over the whole "Best wishes yata yata ...." Sorry I couldn't catch the names but I was much impressed by the bandleader (on the Washburn). The brother-in-law was no slouch either. No one enjoyed the music more though, than the young guy on the bass :). Excellent keyboard, pretty standard drummer (large kit). Good show, well put together and rehearsed. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [13/3/96 12:59 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 13 Mar 1996 12:09:42 CST Reply-To: ISTS024@UABDPO.BITNET From: Use Less Subject: I'm a racist Ok getting tired of being called a racist. I would like to know am I racist against whites or blacks. My daughters best friend is a black guy, he stays at our house a lot, she likewise visits his house. They go out together, as friends, I suppose. She buys him presents, he buys her presents. He eats supper with us some....etc So would a racist against blacks permit his 17 yr old daughter to be alone with a black person.... I married a WHITE woman, would a racist against whites marry a white woman. Which am I....? I can't be both. I know someone is going to find something racially insensitive about this post I fully expect it, but don't just say it, explain it. Thanks LW Private mail will suffice, unless you'd like to tell the entire list. ========================================================================= Date: Wed, 13 Mar 1996 12:25:45 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: no subject (file transmission) Comments: To: Article@picasso.ccad.uiowa.edu, on@picasso.ccad.uiowa.edu, Robert@picasso.ccad.uiowa.edu, Pete@picasso.ccad.uiowa.edu, W.@picasso.ccad.uiowa.edu, repost@picasso.ccad.uiowa.edu, for@picasso.ccad.uiowa.edu, new@picasso.ccad.uiowa.edu, members@picasso.ccad.uiowa.edu ROBERT PETE WILLIAMS By Ranko Vujosevic Robert Pete Williams is without doubt the most important discovery of Dr. Harry Oster. This article is intended to present this extraordinary blues musician by compiling biographical information from the liner notes in Arhoolie's CD release of Robert Pete Williams' "When a Man Takes the Blues" (395) written by Chris Strachwitz (in quotes), and in person, telephone, and e-mail interviews with Dr. Harry Oster, Dick Waterman, and Dave Moore. "Robert Williams (Pete is a nickname acquired as a teenager) was born on March 14, 1914 in Zackary, La., just north of Baton Rouge. His parents were sharecroppers and he was one of nine children. With almost no education he worked most of his life on farms, as a barrel maker, on highway crews, levee camps, and at many other varied jobs while playing dances and country parties on the side. Impressed by several local blues singers, among them Walker Green, Willie Hudson, and Dan Jackson, young Robert learned to play both bottle neck style and regular guitar. Blind Lemon Jefferson was his favorite. Robert Pete Williams was convicted of murder and sent to Angola prison on April 6, 1956." Dr. Harry Oster first recorded Robert Pete Williams in Angola prison. BN: How did you find out about Robert Pete Williams? Harry Oster: I have no recollection on how I met him. I think probably when the Recreational Director of Angola Prison referred me to the prisoner who was the director of choir, and then performers there referred me to others who knew worksongs, blues, spirituals. I went from there to record in camps, just where they lived, the ones who were entitled to work in fields. I guess he must have just shown up in one of the sessions I had in his camp. BN: Was he ever recorded before you recorded him? HO: No, he wasn't. BN: What was he in prison for? HO: He killed a man. He said it was a mistake. He went to a bar and somebody attacked him. He insisted the person attacked him thinking he was somebody else. He defended himself and killed the man who attacked him. He was serving a life sentence for the murder when I met him. BN: What made you interested in recording him? HO: He played in a style that isn't really traditional in terms of twelve bar blues, in terms of more basic harmonic progression. It's very free-floating sort of form that's probably typical of early blues before the form hardened into a very specific mold. Maybe first blues recording albums were pretty free with the form. Robert Pete Williams was a true blues singer who improvised almost everything that he did. Songs wouldnUt be the same if he repeated the same song twice. It was a very spontaneous, free-falling process with a logic of emotional association. BN: How many times did you record him? HO: I recorded him over several years. I kept on recording him after he got out of prison. There is a record I did with him for Prestige Records entitled "Free Again," after he was released from the prison. He later did concerts in different parts of the country and did one, I guess in Berkeley or San Francisco, and Chris Strachwitz taped him there and he used some of the things he taped for some of Robert Pete albums released on Arhoolie. BN: You brought a guitar for him to play? HO: Yes. A lot of these recording were done with the guitar of my own, a twelve string guitar I had. BN: Did you record him in long sessions? HO: Oh, yes! It was usually hours of recordings. BN: Did he have songs prepared for you? HO: No, he improvised almost everything? BN: Lyrics also? HO: Yes. If you go through a lot of his stuff it is very difficult to pin it down because it wonders a lot. He may not have a name for the song so he ends up giving it name as part of the first line, or something he mentions in passing. I recorded him a lot of times. There were few performers I recorded endlessly, and he was the one of them. BN: Did you get along well with him? HO: Oh yes. He was a very gently, sweet-natured person. BN: You also helped him get out of prison. How did that go? HO: I made a record and sent it to the governor and parole board and suggested that I thought he was not really a violent person by nature and easy to get along with and not likely to make trouble again. BN: What happened to him after he was released from prison? HO: He was on parole and could not leave the state. Actually, I had an invitation to bring him to Newport Folk and Jazz festivals and I tried to as hard as I could to get him out of state but the governor wouldn't let him out. BN: Did he receive any royalty money from records you made with him? HO: Oh, yes. I gave him some money. It was not much though. BN: What do you know about his life in '70s? HO: He passed through periodically. He did touring every now and then. He lived in Louisiana and had a little farm, he was share-cropper I think. He would perform when he got a chance. Craig, manager of Real Records here in Iowa City, has records of Robert Pete Williams that somebody made. Dave Moore went down to see him not too long before he died. I lot of people looked him up. He got recorded in lots of places where he performed. "Robert Pete Williams was paroled in December of 1959. He was paroled to a farmer in Denham Springs, La., who had heard and was deeply moved by the remarkable recording and offered Robert Pete a job. After several years of semi-freedom during which time he was not allowed to travel, full pardon was finally granted to Robert Pete Williams in 1964, just in time for him to make an appearance at the Newport Folk Festival." One of the few people who had personal and professional ties with Robert Pete Williams during '60s and '70s was blues promoter Dick Waterman. Dick WatermanUs agency, Avalon Productions, managed blues legends such as Son House, Mississippi John Hurt and Mississippi Fred McDowell. Dr. Harry Oster joined me in interrogating Dick Waterman about Robert Pete WilliamsUs life in years following the full pardon. BN (Ranko): When did you first heard about Robert Pete Williams and when did you first meet him? Dick Waterman: I recall that I had heard of Robert Pete Williams just prior to actually seeing him for the first time at the 1964 Newport Folk Festival. It is important to put this in a historical context: he was a 'murderer' and we were dumb naive Cambridge whiteboy folkies. We were paralyzed with actual apprehension about what it was like to meet someone who had actually taken another person's life, understand? I spoke with RPW on Newport grounds and recall that he was dressed in a black suit, shirt & tie, porkpie straw hat and around his neck had a twisted coathanger with a kazoo, He was sweating heavily wearing the clothes that Louisiana prison authorities had given him to wear out of state. We spoke a bit and he was polite and suspicious that any white person was familiar with his name and music. He was not afraid, just very guarded with very little to say, BN (Harry Oster): Robert Pete Williams used to drink fifth of whiskey every day. Did he have alcohol problem later on and how did that affect his performances? DW: Because I have never been much of a drinker myself, Robert Pete rarely drank during the daytime although I recall that I kept bourbon and vodka in the house. Yes, he would drink during performance situations and occasionally too much. I can hear his old stuff and know exactly how much he's had to drink by his voice. BN (Ranko): Have you witnessed any of his recording sessions? Was he still pretty much making up lyrics and music at the recording time, or was he coming to studio with more or less ready material? DW: I never attended any actual recording sessions except to bring him to the house of Bruce Jackson, well respected writer who then did hours of conversation and music taking all day with Robert Pete Williams. I think that Bruce Jackson is on the faculty of SUNY Buffalo or University of Buffalo or someplace up there. He is a world respected penologist or whatever they call experts on prisons. BN (Ranko): Having been so close to him, please share with us some of your impressions of him as a person. DW: I have many stories about Robert Pete and how incredibly superstitious he was. He believed in mojos, john the congaroo, sacks around the neck, etc. Had an incredible fear of graveyards and would go through a whole ritual performance whenever walking past one. I have many stories of how he dealt with illiteracy in various forms. BN (Ranko): He never had any big commercial success. What do you think is the reason? Why didn't his brand of blues find way to more broader audience? DW: That was because his music never got updated or became any form of 'entertainment.' He played the same raw style from first to last. Finally, I talked to Iowa City's own folk and blues musician, Dave Moore, who met Robert Pete Williams in one of his "searching for blues legends" trips around Mississippi and Louisiana in '70s. BN: First, Dave tell us how you perceive Robert Pete Williams as a blues musician. Do you play any of his songs in your concerts? Dave Moore: I have a few of his recordings and I like them for, you know, they have this kind of misterious open-ending quality. Apart for a lot of other blues players he played in minor keys. He has this very, sometimes personnal, intensity in his writing and singing and it is almost scary. The images are pretty scary, I thought, when I first heard him. I never learned to play any of his songs. My guess is, I am not certain it is true, but my guess is that his songs were probably completely improvised on the spot. An I remember reading he had this concept of "air music," pulling his music out of air, or something. I always felt like it did not make sense to take one of his songs and learn it note for note and word by word, because the magic in his songs was so personal. He influenced me as a guitar player though. At the time I first heard his music, I had not been playing playing too much in minor keys, and the idea of playing the blues in a minor key appealed to me. BN: You saw Robert Pete Williams playing. Where and when was that? DM: It was approximately twenty years ago. I had a job on an off-shore oil rig South. I would work for a month and a have a week off. In those weeks, I would go exploring Mississippi and Louisiana. So, one week I went to the New Orleans Heritage and Jazz Festival and saw him playing there. I did not speak with him there, I just listened to his music and enjoyed it. I was interested in speaking with him but he seemed so distant and within himself. I have taken notes of album covers before I went South for this job, about Robert Pete, Fury Louis, R.L. Burnside, and other people, that I visited during my stay there. So during one of my off weeks I decided to go and visit Robert Pete on his farm in Rosedale, I think was the name of the town. BN: Did you have problems finding him? DM: I got to the town and I asked where he was and nobody knew where he was and someone told me that he lived in a town three or four miles south. So I went to that town and asked around and got some directions to his house. BN: Was he friendly and willing to spend some time with you? DM: Absolutely! Every time I went and saw these blues guys and knocked on their door I would say something like, " My name is Dave Moore, I am a fan of his music, I just stopped by for a few minutes to say hello.' So I would give them opportunity to say, "Hello and Good-buy." But everybody I ever met immediately invited me in those house. In my mind, I was 20 years old, I thought these blues players were so great I assumed they had a lots of visitors. Actually, I don't think they had very many visitors and they were flattered and happy that someone would come. So, it was the same with Robert Pete Williams. I knocked on his door and spent an entire day talking to him and it was entirely his idea. BN: So what did you guys talk about? DM: I remember we talked a lot about religion. He was an incredible religious person. We talked almost entirely about religion. He sent this wife to get a lot of beer and we drunk a lot. He had his wife, who was a very nice woman too, begin preparing dinner that included, you know, green beans and corn bread and all that stuff. BN: Did you guys play any music? DM: I was a harmonica player back then, and I have distinct memories of playing music with these other blues guys I visited, but I don't have a memory of playing harmonica with him. One reason is that I never asked these guys if they wanted to play and a lot of them did. But Robert Pete, I don't believe he played, but he did speak about his music. I think the reason I was not so interested in hearing him playing was because the things he began to talk about were so interesting. He went on joyfully talking about his relationship with Jesus and Christian religion, in a very down-home, open-hearted, folksy way. In many ways the way he spoke I felt a lot like his songs. He just seemed to seat back and pull his ideas out of the air, and speak with a wild look in his face. Mostly we talked about his life in the context of his spiritual beliefs. We also talked about his town. I remember he had a truck and collected copper and scrap metal, and stuff like that. That evening, he really wanted me to spend a night. But I was tired and I felt I needed a little bit of space, so I went to a motel. BN: You actually met him about five or six years before his death. How did he look? DM: He was a healthy man. He looked strong and healthy. He was very passionate. He would stand up and gesture dramatically, look right at me, eye to eye as he was laying some idea on me. It was intense, I can tell you that. "Robert Pete's intensely personal and emotional blues were never quite the kind of extrovert entertainment which was successful at the festivals. He had a hard time making ends meet and putting food on the table. Robert Pete continued to perform and record extensively to the end of '70s, but sickness overtook him and he died on December 31, 1980. He was buried at Southern Memorial Gardens in the Parish of East Baton Rouge, in the Masonic Garden, Lot 5-C, Space 1." Robert Pete Williams's CD Discography (compiled by Eric LeBlanc): Arhoolie 394 Volume 1: "I'm As Blue As A Man Can Be" Arhoolie 395 Volume 2: "When A Man Takes The Blues" Fantasy 553 "Free Again" Gnp/Crescendo 649 "Legacy Of The Blues" Gnp/Crescendo 10019 Volume 9: "Legacy Of The Blues" Storyville 8001 Volume 1: "Blues Masters: Robert Pete Williams" ========================================================================= Date: Wed, 13 Mar 1996 13:40:49 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Bartenders's Bop Playlist:1951 Here is Monday's hosw. I have decided to do a series of shows over the next couple of months dedicated to single years. The first of these looks at 1951. Tom Title Group Year Label -------------------- -------------------- ---- ----------- Beale Street ona Boze, Calvin 51 Route 66 Saturday Night Looking For A Man Little Esther 51 Charly I Want A Lavender Baker, Bea 51 OKeh Cadillac Rock My Soul August, Jospeh 51 Route 66 Life is Too Short Walker, T-Bone 51 Aladdin I'm a Bad Bad Girl Little Esther 51 Charly I Shouldn't Cry But Stevenson, Kitty 51 Jukebox Lil I Do Stuttering Blues Five Scamps 51 OKeh Chew Tobacco Rag Millinder, Lucky 51 Jukebox Lil Tell Me What's the Walker, T-Bone 51 Aladdin Reason Your Daddy's Doggin Allen, Connie 51 Jukebox Lil Around Work Baby Work Darnell, Larry 51 OKeh Grape Vine, The Moore, Melvin 51 Jukebox LIl Hey Now Charles, Ray 51 Ebony Good Man Stevenson, Kitty 51 Jukebox Lil Let's Jump Tonight Willis, Chuck 51 OKeh Player Piano Boogie Davis, Martha 51 Jukebox Lil One Mint Julep Clovers 51 Jukebox Lil Deacon Moves In Dominoes 51 Charly Sweet Tooth For My Four Buddies 51 Savoy Baby Honey, I Don't Want Ravens 51 OKeh You Hucklebuck With Five Keys 51 Charly Jimmy Fool Fool Fool Clovers 51 Atlantic How Do You Expect Me Five Keys 51 Charly To Get It Don't You Know I Clovers 51 Atlantic Love You So I'm Gonna Build On Soul Stirrers 51 Specialty That Shore Weekday Blues Williams, Joe 51 Okeh You're the Doctor Davis, Martha 51 Jukebox Lil You Lied Hunter, Ivory Joe 51 Route 66 Welcome Blues Walker, T-Bone 51 Aladdin Catch Young Treat Em Davis, Bill 51 OKeh Rough Tell Em Nothin Lies Lies Lies Allen, Annisteen 51 Offical Hurricane Lover Motley, Frank 51 Gotham Brother's Blues Brown, Little 51 OKeh Brother Title Group Year Label -------------------- -------------------- ---- ----------- I'm About To Lose My Walker, T-Bone 51 Aladdin Mind Cloudy Day Blues Allen, Anisteen 51 Official Good Time Sue Boze, Calvin 51 Route 66 Hey Bartender Give Williams, Joe 51 OKeh That Man A Drink Slippin and Slidin Boze, Calvin 51 Route 66 `'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`' http://redlt.com/tom/ -- Home of Jazz Roots & Record Companies on the Web Free-lance Writer--Author--Program Director WTJU 91.1--Internet Consultant ========================================================================= Date: Wed, 13 Mar 1996 12:56:15 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: blues hyperbole/thanks for N.O. info In-Reply-To: <5671D3A0@MHS> On Wed, 13 Mar 1996, Steve Levine wrote: > I was also surprised by the latest Blues Revue. I won't be renewing my > subscription. It's probably just a matter of time before John Popper > appears on the cover! Yeah, topless with the cast of _Friends_. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "I'm not surprised he's gay. He never had a crush on Emma Peel." - J.N. Jackson ========================================================================= Date: Wed, 13 Mar 1996 13:12:47 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: Robert Pete Williams' birthday In-Reply-To: 19960313.112433.WSHUTE@SACADMIN On Wed, 13 Mar 1996, William Shute wrote: > Just a short note in praise of the late Robert Pete Williams. [EXCELLENT (and accurate) ASSESSMENT SNIPPED] > All of my Robert Pete Williams is on vinyl. Perhaps someone can mention > some available CDs so blues-l-ers unfamiliar with his work can sample it. I bought the Sonet cd he recorded in the Legacy of the Blues series. I saw the Memphis Slim disk in the series this past weekend, so I assume it can still be ordered. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "I'm not surprised he's gay. He never had a crush on Emma Peel." - J.N. Jackson ========================================================================= Date: Wed, 13 Mar 1996 14:42:10 -0500 Reply-To: bob unger From: bob unger Subject: paging M.K. Aldin Sorry for the non-blues content....Mary Katherine, I had your e-mail address but it's among the clutter...it'll take me years to dig it out. Could you write me please......Thnx Bob Unger bob@sun.bnkst.edu ========================================================================= Date: Wed, 13 Mar 1996 14:29:08 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re: I'm a racist According to my Webster's: "RACISM -- A belief that race is the primary determinant of human traits and capacities and that racial differences produce an inherent superiority of a particular race." Making the comment that Gregg Allman is a good "white" singer is clearly a RACIST remark. If you're tired of being called a racist, LW, the obvious solution is to think about what you're posting and cease with the blatantly racist content. Would a racist against blacks let his teenage daughter associate with black teenager(s)? Sure he would. And feel "inherently superior" at his obvious lack of a racist agenda. In an ideal world, you would see your daughter's friends as her friends and observe their humanity and interaction, NOT keep tabs on their skin color and pride yourself on your acceptance of their interracial interaction. Would a racist against whites marry a white woman? Sure. See above. There are sharply varying degrees of racist beliefs and behaviors. Appreciating and sharing racial differences--where they exist--adds to the richness of the HUMAN race. However, delineating and ranking racial differences--however subtly--sets off the warning bells. Shannon ========================================================================= Date: Wed, 13 Mar 1996 14:17:55 -0600 Reply-To: Bruce Roberts From: Bruce Roberts Subject: I Don't Care Hey, I don't care if LW is or is not a racist. I don't care if someone else THINKS he's a racist or not. I don't care what LW think about Dick Waterman and I don't care what Dick Waterman thinks about LW. Why don't you all just take this CRAP off line! Bruce Roberts Austin, TX ========================================================================= Date: Wed, 13 Mar 1996 20:07:59 GMT Reply-To: Matthew Arthur Clark From: Matthew Arthur Clark Organization: Columbia University Subject: CODE BLUE RECORDS WWW SITE HAS MOVED Comments: To: bit-listserv-blues-l@uunet.uu.net The Code Blue Records WWW Site has moved to: http://www.codeblue-records.com Please note the change and stop by for information on your favorite Code Blue artists including Bo Diddley, The Hoax, John Primer, and Storyville. Matthew Clark mac44@columbia.edu ========================================================================= Date: Wed, 13 Mar 1996 14:35:33 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: blues hyperbole/thanks for N.O. info Comments: To: Steve Levine In-Reply-To: <5671D3A0@MHS> On Wed, 13 Mar 1996, Steve Levine wrote: > I was also surprised by the latest Blues Revue. I won't be renewing my > subscription. It's probably just a matter of time before John Popper > appears on the cover! Yeah, excluding the Christmas issue, the content of the last several issues of Blues Revue convinced me to not renew my subscription. If I want stories on Janis Joplin, Jimi Hendrix, and Gregg Allman, I'll buy Rolling Stone, thank you. -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / Reuben Stewart \ / February 19, 1996 \( Rest in peace, Mr. S. ========================================================================= Date: Wed, 13 Mar 1996 14:35:07 -0700 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: Re: I Don't Care In-Reply-To: <960313141755.6b6@TSBME.STATE.TX.US> > Hey, I don't care if LW is or is not a racist. I don't care if > someone else THINKS he's a racist or not. I don't care what LW > think about Dick Waterman and I don't care what Dick Waterman > thinks about LW. Why don't you all just take this CRAP off line! > > > Bruce Roberts > Austin, TX > I'll second that!! RW ========================================================================= Date: Wed, 13 Mar 1996 14:52:10 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Koko Taylor in Marquette Comments: To: Pat Hertel In-Reply-To: I can't remember who Koko's rhythm section is, but the guitarists are Vino Louden (who's been with her for awhile and was with Otis Clay before Koko) and Luke Strong (short white redhead, replaced Eddie King a few months ago). ========================================================================= Date: Wed, 13 Mar 1996 13:33:59 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Special Request (gearheads please) Comments: cc: dbrochu@odyssee.net Jim W. said: (who me? a gearhead?? nah...) > Hi all. Sorry for the lack of blues content, but this guy's been looking >for an answer to his question all over the place, but he ain't getting a >response. I haven't got the slightest, but I figured some of you gearheads >would have some idea. >Thanks. (His e-mail address is at the bottom). -jim > >>Which amp (preferably tubes) would give me the closest thing to the classic >>surf sound of the early 60's without blasting my neighbours to hell? I think >>the following list has some potential, but your commentor insight would be >>much appreciated. So, here's the list: > >Vibro-King >59 Bassman Re-Issue >63 Vibroverb Re-Issue >65 Deluxe Reverb Re-Issue >Thanks for any comment you can provide >Denis Brochu (dbrochu@odyssee.net) Very interesting... Listen, that surf sound is DEFINED by Dick Dale, and he uses unbelievably big strings (#14 on the high E), high action, and a double-picking attack that literally melts picks! Dick's hands are like vises... couple points: 1 You simply won't get that sound with wimpy little strings. 2. Leo Fender developed an amp just for Dick that could stand up to his incredible attack, I'm trying to remember, it may have been the Super Reverb. Dig out your old Guitar magazines for a Dick Dale interview and you can find this out. The amp was extra powerful, and had great reverb which Dick uses in copious amounts. 3. There is no way on earth to sound like Dick Dale *quietly*. It's like trying to play like Pete Townshend, only politely! If you don't want to turn up, you will not get that sound IMO. Of course surf guitar, even at its loudest doesn't approach metal SPL levels. thank goodness. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu I looked over Jordan, and what did I see An Eldorado comin' after me comin' for to carry me home.. -- Dizzy Gillespie ____________________________________________________ ========================================================================= Date: Wed, 13 Mar 1996 16:39:01 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: Carol Fran and Clarence Holliman Peter Gallagher wrote in answer to Lea Gil: >I had the pleasure of seeing them at the Blues Estafette in Utrecht, >Netherlands in (I think) 1993. > >They were a fantastic pair. Carol has a LOT of charm and communicated a >lot with the audience. They are married, I believe, and got on really >well together and between them they conjured up a really intimate blues >atmosphere. > >They were one of the most popular acts and not surprisingly - >Carol really can howl out the blues with a BIG voice. > >Maybe you could fill us in on the CD you mentioined - I'd love to get a copy. >regards, >PeterG > > >> >> I just recently picked up a CD by these two and I think they are great! >> Can anyone tell me more about them? I really would like to know more >> about Carol Fran? Do they still perform and what area are they based? I >> figure since someone on this list ALWAYS knows the answer - who better to >> turn too. >> They're Houston based; there's an article on Clarence in Juke Blues 16, and on both of them in Soul Bag 129 (in French). The CD referred to is probably Black Top 1071. Chris Smith (chris@skerries.demon.co.uk) "I'm a man of no convictions - at least, I think I am." (Christopher Hampton) ========================================================================= Date: Wed, 13 Mar 1996 16:31:02 -0500 Reply-To: Sriram Dayanand From: Sriram Dayanand Subject: John Hammond hi 'yall, I saw John Hammond live in Toronto on Monday and need some info about his CDs. Is there recorded stuff of his (preferably live) with his acoustic material ? I mean, just John, his guitar and his harp ? Also can you give me a vrief description of his other recorded material ? I want to go on a Hammond-binge ! Oh by the way, I though the show was AWESOME !! =sriram= ******************************************************************** Sriram Dayanand email: sriram@aw.sgi.com Alias | Wavefront R&D Toronto, Canada Ph: (416) 362-8558 x314 ========================================================================= Date: Wed, 13 Mar 1996 16:39:15 -0500 Reply-To: Michael Kaloyanides From: Michael Kaloyanides Subject: Re: Backbeat? Comments: To: "J.E. Downey" In-Reply-To: <"Wed Mar 13 06:54:57 199600*/G=J.E./S=Downey/O=BMMOSCOW/PRMD=BMCK/ADMD=TELEMAIL/C=US/"@MHS> Chris Smith's post gives an accurate description of what a backbeat is. Perhaps I can explain the concept in simpler terms. The vast majority of American songs or tunes are in the time signature of 4/4 (or 12/8 which is conceptually close enough to 4/4 to be heard as 4/4 time). This includes most compositions in the traditions we identify as jazz, blues, rhythm & blues and rock and roll. The most significant characteristic of 4/4 time is that each measure in the tune contains a pattern of 4 beats of varying accent or stress, equally-spaced in time: /1 2 3 4/. Please think of the "/" as bar lines, vertical lines that separate the measures in a piece of music. The most confusing thing about the concept of time signature and beat is that they are conceptual and implied rather than performed and audible. That is, the pattern of 4 equally-spaced beats exist in the structure of each measure but the musicians may not actually be playing the beats. They are there and felt by musicians, listeners, and dancers alike, but they don't have to be audible events. Classical music also often uses 4/4 time, but differs in the way it stresses the four beats. Typical classical compositions in 4/4 stress beat 1 (the downbeat) the most, beat 3 less so, and give beats 2 and 4 little or no stress. What form this stress or accent takes is hard to explain but usually takes the form of louder notes, percussive sounds and generally more sonic heft. So in classical music in 4/4 time, beats 1 and 3 are most important and beats 2 and 4 least important. In American musics, on the other hand, beats 2 and 4 in 4/4 time are the stressed beats and 1 and 3 are typically unstressed. As Chris' definition explained, the drummer in American musics makes these stresses audible by striking the snare drum loudly and closing the high hat on beats 2 and 4. Listen to almost any of your urban or city blues recordings and you will hear the strokes on beats 2 and 4 by the drummer. Other musicians will also emphasize these beats in various ways. When you dance, stomp, clap or nod to American musics those of you who are hipsters do it on beats 2 and 4 of each measure. THESE STRESSED OR EMPHASIZED BEATS 2 AND 4 OF 4/4 TIME ARE CALLED THE BACKBEAT OR BACKBEATS AND ARE A DEFINING CHARACTERISTIC OF AMERICAN MUSICS JUST AS THE BLUES SCALE IS. I hope this makes sense and is some value to you. This is a difficult topic to explain and understand because beat is a musical element that is more of an idea than a sound. Michael G. Kaloyanides Department of Music & Sound Recording Univesity of New Haven ========================================================================= Date: Wed, 13 Mar 1996 17:07:25 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Special Request (gearheads please) Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *2. Leo Fender developed an amp just for Dick that could stand up to his *incredible attack, I'm trying to remember, it may have been the Super *Reverb. Dig out your old Guitar magazines for a Dick Dale interview and *you can find this out. The amp was extra powerful, and had great reverb *which Dick uses in copious amounts. I think it was the Showman, but I'm not sure. It says somewhere in the liner notes of the Best of Dick Dale cd. I don't know much about guitars and equipment, but I doubt a reissue 59 Bassman would get you that sound. I have one, and it doesn't have reverb. Maybe if you used one with some kind of reverb unit or effect you could get that sound, but I think that most surf players use amps with built in reverb. Somday I'm going to sit down and transcribe all of those surf guitar classics to harp and become the King of the Surf Harmonica! :-) -Steve ========================================================================= Date: Wed, 13 Mar 1996 14:28:47 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: Re: Koko Taylor in Marquette Comments: To: Richard Shurman Richard Shurman wrote: > > I can't remember who Koko's rhythm section is, but the guitarists are > Vino Louden (who's been with her for awhile and was with Otis Clay before > Koko) and Luke Strong (short white redhead, replaced Eddie King a few > months ago). For as long as I can recall, Koko refers to her band as "The Blues Machine". Stan -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 ========================================================================= Date: Wed, 13 Mar 1996 21:07:00 EST Reply-To: Jim Miller From: Jim Miller Subject: Authentic Comments: To: BLUES-L There is one thing that troubles me about the HOB thread concerning the Muddy Water's cabin tour. We attack (and I believe with some justification) the notion that ripping out this building is commercialization of the worst kind and by removing this structure from its' original geographical context the authenticity of the experience of seeing the cabin is lost. Yet when Joe Slick and the Mudcats (white guys with graduate degrees) play at the local tavern and sing about their mojos and saddling up their ponys a lot of us on this list go into fits of rage if anyone dares question this obvious removal of a musical experience from its original context. PLEEESE don't get me wrong , I don't like what HOB is doing and I believe if you want to sing about going to Chicago then go for it. (Hell, i've done it many times) But , how can one be wrong and the other OK? Where do you draw the line? What is the criteria to justify one and not the other? I'm sure there is an answer but I can't for the moment think of one. One last thing. I think there is a deep divide on this list between those who cannot stand blues rock and those that really like it. It may manifest itself as black blues vs. white blues or in a variety of other ways but these two factions have been at each others throat for years and will continue to do so for a long time to come. ========================================================================= Date: Wed, 13 Mar 1996 14:24:03 -0500 Reply-To: rags From: rags Subject: VISHWA_MOHAN_BHATT+TAJ_MAHAL!!! The music VIshwa Mohan Bhatt is called Fusion Jazz for there is blend of Western musical concepts with Classical Indian Music... Quoting>>>> from Ragas for Guitar by Jeffrey Pepper Rodgers Accoustic Guitar, July/August 1991 On the other side of the globe, a brilliant gu1tarist named Vishwa Mohan Bhatt continues the Indian tradition of importing and transforming foreign instruments; violin and mandolin, for instance, have taken on new identities and playing techniques in India. Bhatt plays traditional ragas with a slide on a lap-style guitar he calls the Mohan vina, which has a slew of additional strings: eight tuned on the peghead plus 12 sympathetic strings that run below them. Slide is a perfect vehicle for snaking Indian melodies, and Bhatt has developed a mastery of the instrument that has to be heard to be believed. ------------------------------------------------------------------------------- <<< From: rags Subject: MALI_BLUES!!! At last BLUEZELLERS are talking about my fav ALI FARKA TOURE here is info I got about Ali Farka Toure Ali Farka Toure Ali Farka Toure was born in 1949 in Niafounke into a North Malian noble family who trace their roots back to the Spanish Moors who first crossed the Sahara to control the salt and gold trade. In 1956, after a chance meeting with the director of Guinea's National Ballet, Keita Fodeba, Toure made the decision to learn the guitar. It was a prescient choice as today Toure is known as the Bluesman of Africa because of his highly distinctive blues style that's a cross-mix of the Arabic-influenced Malian sound with American blues reminicent of bluesmen such as John Lee Hooker, Lightnin' Hopkins, and Big Joe Williams. He most commonly tours with his brother on calabash, and cousin on congas. ------------------------------------ Partial Discography: Ali Farka Toure (Shanachie, CD) Ali Farka Toure (Mango Records) Ali Farka Toure 1987 (World Circuit, UK) features 10 all-acoustic songs The River 1989 (World Circuit, UK) guests include Rory Mcleod, Steve Williamson, and Chieftains Sean Keane and Kevin Conneff. The Source 1992 (World Circuit, UK) guests include Taj Mahal, and tabla player Nitin Sawney. Talking Timbuktu 1994 (Hannibal/World Circuit, UK/Rykodisk HNCD-1381) with Ry Cooder, this recording topped many indie charts within days of it's release. A definite must have. Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Wed, 13 Mar 1996 14:35:31 -0500 Reply-To: rags From: rags Subject: Re: Apology to Mr Waterman Comments: To: Jinxblues@aol.com In-Reply-To: <960313120959_245005819@emout04.mail.aol.com> from "Dick Waterman" at Mar 13, 96 12:10:00 pm Mr. Dick Waterman.... U are ok and cool :) Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Wed, 13 Mar 1996 18:01:00 -0500 Reply-To: bob vanarsdall From: bob vanarsdall Subject: Double Entendres I get tired of listening to the same damn things on the radio, and from time to time just hit the "scan" button to see if there is anything that piques my interest on some station I don't normally listen to. I hit a song today which had me grinning from ear to ear, and the ghosts of Memphis Minnie and Bessie Smith would be proud to see the double- (and single-) entendre idiom is still being kept lively. Not blues, but sure could be. Joan Osborne's "Right-Hand Man" Chorus goes - "I've been on the floor, looking for a chair. Been on a chair looking for a couch, Been on a couch, looking for a bed, Looking for my right-hand man." Bob (may have gotten some of the words wrong, I was driving and laughing at the time...) ========================================================================= Date: Wed, 13 Mar 1996 18:41:26 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: blues hyperbole/thanks for N.O. info Comments: To: WSHUTE@accdvm.accd.edu Thank you!!! I'm grateful to find out I'm not the only one who was repulsed by BR's cover! I about gagged! >I've never understood the appeal of the Allman Brothers and Gregg >Allman in particular (Duane's appeal I understand!)- Same here! And as for the classification of the Allman Brothers as a blues band--my brain understands, but my heart does not. To me, they're a Southern rock band, sitting right there next to Marshall Tucker and Lynard Skynard. Now, I *like* Southern rock--you know--but it's not blues to me. >I'll still read BR for David Evans, Jas Obrecht, and the other >excellent contributors who can be found in BR's pages, but a cover story >like this I wholeheartedly agree! There's a wonderful story on Jimmie Lee Robinson--why isn't *he* on the cover? His contributions to the blues are certainly greater than Allman's. I think it's just a ploy to sell magazines. Greg Allman is, I suppose, a more recognizable face than Jimmie Lee Robinson. In fact, BR's last two covers have been bogus. Last time, with a cover story featuring Otis Rush, they used a photo with Buddy Guy in the foreground and Otis in the background (think about it). To make matters worse, this photo was originally used in the fall 1994 issue of Guitar Player magazine. And, of course, there was the holiday issue with Muddy Waters playing left-handed. I hope the flip was done intentionally---although I can see no good reason for it--but if it was accidental, I think it's very sad. Thanks for posting the note! Karen ========================================================================= Date: Wed, 13 Mar 1996 23:53:50 GMT Reply-To: bluesbabe From: bluesbabe Organization: SoVerNet, Inc. Subject: Re: I'm a racist Comments: To: bit-listserv-blues-l@uunet.uu.net Use Less wrote: >Ok getting tired of being called a racist. I would like to know am I racist >against whites or blacks. >My daughters best friend is a black guy, he stays at our house a lot, she >likewise visits his house. They go out together, as friends, I suppose. She >buys him presents, he buys her presents. He eats supper with us some....etc >So would a racist against blacks permit his 17 yr old daughter to be alone >with a black person.... >I married a WHITE woman, would a racist against whites marry a white woman. >Which am I....? I can't be both. >I know someone is going to find something racially insensitive about this post >I fully expect it, but don't just say it, explain it. >Thanks >LW >Private mail will suffice, unless you'd like to tell the entire list. I have been fighting the acts of prejudice people ALL my life;;;; I believe it is THE major sickness that has ever been inflicted on the people of the world; I know that there will never be a cure found in my life time. I can only hope that some small act I can perform toward the cure helps! I am glad you are on my side . You sound a far cry from being a racist to me and am glad your in my corner! I am not afraid to admit it to the whole list !!!!!!I I;m White and I guess you could call me prejudice becouse I HATE BIGOTS!!!!! ========================================================================= Date: Wed, 13 Mar 1996 19:21:40 -0500 Reply-To: Jonny Meister From: Jonny Meister Subject: Re: racist At 12:09 PM 3/13/96 CST, LW wrote: >Ok getting tired of being called a racist. I would like to know am I racist >against whites or blacks. > >My daughters best friend is a black guy, he stays at our house a lot, she >likewise visits his house. They go out together, as friends, I suppose. She >buys him presents, he buys her presents. He eats supper with us some....etc > >So would a racist against blacks permit his 17 yr old daughter to be alone >with a black person.... > >I married a WHITE woman, would a racist against whites marry a white woman. > >Which am I....? I can't be both. > >I know someone is going to find something racially insensitive about this post >I fully expect it, but don't just say it, explain it. > >Thanks >LW > >Private mail will suffice, unless you'd like to tell the entire list. > I don't know if you're a racist or not, but you do post an *awful* lot of messages.... so, could you (and anyone like you who must have a lot more time on their hands than I do) show some restraint? Do I care who your daughter's friends are???? I'd rather read about something relevant to the subject-- like the new Apollo reissues on Delmark (Wynonie Harris!!!) or the new Harmonica Fats/ Bernie Pearl CD (yeah!!)-- jeeeeeeeeeeeeeeeeeeeeeeeezzzz............... -Jonny ========================================================================= Date: Wed, 13 Mar 1996 18:34:23 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: sam myers' harps Ok, here is the semi-official story of what happened with Sam Myers. Several weeks ago, Sam was hanging out at the Thursday blues jam down at Schooners and someone snuck out with Sam's harp case. Hash Brown managed to get Sam's endorsement with Hohner re-instated and bought Sam a new case full of harps, at cost, with his own credit card. Total $380. Since then, Hash and his band have been taking up collections at all their gigs and blues jams to cover the cost of the harps. They are only about $100 away from having the whole cost payed off. Hash is sure they will take care of that this weekend. Bottom line: Sam has harps and the money is taken care of. Sam's previous harp loss occurred in Europe about a year and a half ago. Anson also lost a guitar in the same incident. Supposedly, they know the wherabouts of both, but have been unsuccessful in getting them returned. On the subject of Anson and Sam not working much, Hash suggested the following: The band usually takes a break about this time to do income tax and rest up for the big Spring festival season. Plus, Anson was married last Summer and has chosen to take a little more time off to be with the Mrs. They have at least 2 gigs scheduled around here at the end of the month. The above from a phone conversation with Hash Brown this afternoon. Don O. ========================================================================= Date: Wed, 13 Mar 1996 18:38:18 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: blues hyperbole/thanks for N.O. info Comments: To: T-Bone In-Reply-To: T-Bone wrote that the next cover of BR may be: Yeah, topless with the cast of _Friends --------------------------------------------------------------------------- In which case I will be the first in line! :) Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Wed, 13 Mar 1996 17:59:06 -0600 Reply-To: akapil@MEDICINE.BSD.UCHICAGO.EDU From: "" Subject: Re: I don't care I second that too. No matter how diplomatically you say "sorry for wasting band space" the point is you still are. Its like when people say "I don't mean to be rude but........." Please keep personal squables out of this list. Thanks Adit. Aditya Kapil, PhD IBD Research Center Department of Medicine University of Chicago Ph: (312) 702 2283 FAX: (312) 702 2281 ========================================================================= Date: Tue, 12 Mar 1996 20:18:42 EST Reply-To: MR ROBERT W BELEW From: MR ROBERT W BELEW Subject: SRV/PBS I picked up the new TV Guide today and what did I see ! Saturday Night is gonna be a sit in front of the tube and groove night ! At 8:00pm Jimmy Buffett for two hours and then...... The SRV retrospective from 10:00 - 11:30 pm ! Cool, Block Dog ========================================================================= Date: Tue, 12 Mar 1996 20:15:23 EST Reply-To: MR ROBERT W BELEW From: MR ROBERT W BELEW Subject: Beale St. Festival I sure hope those of you that are going to Memphis in May are also planning to go to the W.C. Handy Awards. I went last year and I couldn't believe the small turnout. I think they said there were about 1200 people. I got front row seats at the last minute and there were front row seats empty for an awesome show which included Ruth Brown, Dr. John, Rory Block, Jr. Kimbrough, the return of Syl Johnson, Buddy Guy, J. Geils and Magic Dick, Charlie Musslewhite and bunches more. The tickets include the post awards jam at B.B. Kings Club and that alone made it worth the trip. These blues masters don't get warmed up until after 1:00am ! You can also do the Midnight on the Mississippi jam for just $16.00. This year it is sponsored by Pointblank/Virgin and Gibson. That is on Friday. Last year we cruised with Tracy Nelson, J. Geils and Magic Dick, Ron Levy, Smokin' Joe Kubec and B'nois King. It's a three hour boat ride that will singe the hair on the back of your neck...... I'll see you in Memphis ! Block Dog ========================================================================= Date: Thu, 14 Mar 1996 01:28:08 GMT Reply-To: Robert Belew From: Robert Belew Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: A coupla SRV questions for yas. Comments: To: bit-listserv-blues-l@uunet.uu.net >I woke up this morning to my classic rock station (WZLX Boston) playing some >>acoustic SRV that I've never heard. It was "Pride And Joy" and Stevie was >>unaccompanied and playing an acoustic 12 string. It was superb. Where is >>this from and is this acoustic SRV on cd anywhere? I think this on the MTV Unplugged collection. ========================================================================= Date: Wed, 13 Mar 1996 21:05:38 -0500 Reply-To: Michael Kaloyanides From: Michael Kaloyanides Subject: Dick Dale Comments: To: Don Cicchetti In-Reply-To: <199603132136.NAA04832@inet.lasierra.edu> Don Cicchetti wrote: > Dick's hands are like vises... I've heard stories of Dick Dale at the conclusion of a concert grabbing this mass of unbelievably heavy strings and literally ripping them off his guitar with one mighty pull! Michael G. Kaloyanides ========================================================================= Date: Thu, 14 Mar 1996 02:24:15 GMT Reply-To: Rennie Selkirk From: Rennie Selkirk Organization: SGG NASA-Ames Research Center Subject: Re: Musing over Hubert Comments: To: bit-listserv-blues-l@uunet.uu.net "" wrote: > >ANybody know what Hubert (Sumlin) was playing back in them days, the >50's with the Wolf? >His sound is really F A T and smooth (snip) When I saw Hubert with the Wolf in '68, he was using a Vox teardrop guitar. As far as I can remember he had that inimitable squawky sound with the cheezy overdrive ( I USED to have an audience tape of this performance, ) that he had on the Chess recordings of the late 50s early 60s. Which sound I LOVE by the way. A Howlin Wolf record doesn't sound right without it in the forefront (cf. the Clapton dominance of the London sessions.) I don't know if that's the sound you're talkin' about, but I also hear it on the Live at Alice's (?) recording from 1972. To my ears, Hubert's trademark tone of old requires you get a tired old amp of fairly low power (like, say, a well-worn brown Vibrolux), plug in a solid body guitar of indifferent pedigree (avoid Fenders if possible here; try an old Silvertone if possible or the aforementioned Vox) and then turn it up to ten to iron out the treble except on real hard pick attack. Voila, instant "Ain't Superstitious!" Cheers, Henry J. Boogie ========================================================================= Date: Thu, 14 Mar 1996 02:35:51 GMT Reply-To: Mark Rader Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Mark Rader Organization: Communications Accessibles Montreal, Quebec Canada Subject: Re: HOB - Urgent Comments: To: Skipjames@AOL.COM maybe an independent corp dedicated to the preservation of the cabin, should be established and a fund set up where as blues fans could contribute adn maybe the building could be purchased as a group. this would not be that difficult to orchestrate. perhaps arrangements could be amade to make the site a hisotical site. i of course have no idea who owns the property. ========================================================================= Date: Wed, 13 Mar 1996 22:12:38 -0400 Reply-To: Late Night Tiger Cam From: Late Night Tiger Cam Subject: SRV question >I woke up this morning to my classic rock station (WZLX Boston) playing some >acoustic SRV that I've never heard. It was "Pride And Joy" and Stevie was >unaccompanied and playing an acoustic 12 string. It was superb. Where is >this from and is this acoustic SRV on cd anywhere? It is on the MTV Unplugged Collection, and I agree it is superb. There are a couple other semi-bluesy songs on it. There's Eric Clapton doing (if I remember correctly) "Before you Accuse Me", and Lenny Kravitz performing "Are you gonna go my way" as a slow blues. The latter is very good also, IMHO. ========================================================================= Date: Wed, 13 Mar 1996 22:31:55 -0500 Reply-To: "Eliot C. Williams" From: "Eliot C. Williams" Subject: Carol Fran & Clarence Hollimon Carol Fran is from Lake Charles, LA and has been recording since the late 50s. She cut a number of swamp pop/R&B sides for several small south Louisiana labels through the mid-60s. The best of these was probably a version of the Platters' "The Great Pretender" on Lyric (with Cookie and the Cupcakes). I'm not sure if she recorded at all in the 70s and 80s prior to her 90s renaissance. Clarence Hollimon is probably best known as a guitarist in the Duke/Peacock house band, backing singers like Bobby Bland, Junior Parker, O.V. Wright, and Joe Hinton in the 50s and 60s. If I'm not mistaken he's now married to Fran. Eliot Williams University of Wisconsin Department of Medicine ecwillms@macc.wisc.edu ========================================================================= Date: Wed, 13 Mar 1996 19:51:57 -0800 Reply-To: Sangree Froelicher From: Sangree Froelicher Subject: Re: BEALE STRT FEST LINEUP. WOW!! Comments: To: Tom Freeland In-Reply-To: <960312180634_444799054@mail04.mail.aol.com> The Beale Street Fest sounds like a rockin' good time, I wouldn't miss Ben Harper, John Hammond, Van Morrison, or Robben Ford. I've seen/heard them all live in Seattle at our annual arts (musical, visual, literary) festival called Bumbershoot(another name for umbrella) and each artist enthused a soulful deep nod with every thumping beat. Maybe I'll get to Beale street someday! Enjoy and please gives us BLUES-L scribers you're review of the festival. SMF On Tue, 12 Mar 1996, Tom Freeland wrote: > This is what I know about the Beale St. Fest Lineup: > > This not ever name (i got tired). I am not leaving anyone out on purpose. > Does anyone see anything interesting here? > > May3 > Anson & the Rockets, Coco Montoya, Dave Mathews Band, Herman Green, Joan > Baez, Joe Ely, Luther Allison, Otis Rush, R. L. Burnside, Todd Snider > > May 4 > Alex Chilton, Almman Bros, Blue Mountain, Bobby Rush, Bottle Rockets, Dave > Thompsn Band, Doyle Bramhall & the Memphis Horns, Fishbone, George Clinton & > P-Funk, John Mayall and the Bluesbreakers, Reba Russell Band, Robben Ford, > Shiley Brown, Tracy Nelson > > May 5 > Ben Harper, Big Mike Griffin, Blind Boys of Alabama, Gatemouth Brown, Duke > Robillard, John Hammond, Macia Ball, Robert Jr. Lockwood, Sam Moore, Shawn > Colvin, subduedes, Van Morrison > > Adavnce tickets are $13, $16 at the gate, 3 day pass for $30. They are > available from the Ticketbastard (901-525-1515) > > Looks like *I'm* going to be there all three days. > > Thanks to Dick Waterman for pointing out it was in yesterdays paper (and > dropping a copy by my office) and the Memphis Commercial Appeal for running > the info. > > Tom Freeland > ========================================================================= Date: Wed, 13 Mar 1996 23:21:19 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: I don't care I'm sorry that some of you don't care. Many of us do care. The fact is, over the years, Blues-l has become something more than a cold impersonal mailing list. It is, to aremarkable extent, a virtual blues society, an electronic community. I have never met PW Fenton, or LW, or Bonnie the K, or the three Richards, or Cathi Norton, or eRic or many others. I frequently disagree with all of them. But I do care what they think, say, and feel. It is all part of this community. If you just want the dry discussion part of Blues-l, you're welcome here ... use your delete key and you won't have to listen to the side chat. But you'll be missing much of what makes Blues-l the best list on the net. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Wed, 13 Mar 1996 03:54:55 GMT Reply-To: Jack Oudiz From: Jack Oudiz Subject: Re: term definition wanted Comments: To: bit-listserv-blues-l@uunet.uu.net Bonnie Kalmbach wrote: Bonnie, one of the most successful practitioners of stop time on the piano was Willie Mabon. Listen to "I'm Mad" for example. Take your hand off my pocket Take your eyes off my whiskey at the bar ========================================================================= Date: Wed, 13 Mar 1996 04:09:06 GMT Reply-To: Jack Oudiz From: Jack Oudiz Subject: Re: Blues Reading Comments: To: bit-listserv-blues-l@uunet.uu.net Deep Blues is a must as you mentioned. But also: Looking Up at Down: The Emergence of Blues Culture William Barlow One of the most thooughtful and comprehensive books on the subject Urban Blues Charles Keil A landmark book and a Handy winner a coupla years back Chicago Breakdown (or Chicago Blues as reissued) Mike Rowe The best book on Chicago blues period. Music of the Common Tongue Christopher Small A fascinating and extremely important work tracing the history of African music and culture and its influence on American music. The Bluesman The Musical Heritage of Black Men and Women in the Americas Julio Finn (brother of Billy Boy Arnold and a respected blues man himself) A unique perspective I've not found expressed anywhere else Rythm Oil Stanley Booth Just a real fun book! History of Blues This is a brand new one and I'm halfway thru it. Don't have it here so can't give you any more info now. Very well written and very opiniated (a plus in my book). I read everything I can get my hands on. I've tried to list some that are not the usual ethnomusicologist treatises. Take your hand off my pocket Take your eyes off my whiskey at the bar ========================================================================= Date: Wed, 13 Mar 1996 04:17:06 GMT Reply-To: Jack Oudiz From: Jack Oudiz Subject: Re: sam myers' harps Comments: To: bit-listserv-blues-l@uunet.uu.net That's a story with a very welcomed happy ending. Hash is a prince aside from a helluva honker. You might tell him that for a while I was convinced that Hash Brown was a pseudonym for Kim Wilson! :) It's hard to fathom a lower life form than one that would steal a musician's gear. Take your hand off my pocket Take your eyes off my whiskey at the bar ========================================================================= Date: Wed, 13 Mar 1996 22:42:06 -0600 Reply-To: Keith Castleberry From: Keith Castleberry Subject: Q-Boston Blues Bars - April Anybody in Boston have any ideas where a South Alabama guy can hear some sho' nuff Blues in Boston. I'll be there around April 19 & 20. Also, what's the weather like that time of the year. It will be HOT down here, but need feedback on how much to pack for up there. Keith Castleberry WYDH 105.9 FM "The Blues Cruise" P.O. Box 710 Atmore, AL 36504-0710 ========================================================================= Date: Thu, 14 Mar 1996 13:56:52 +0900 Reply-To: "R.St. Pierre" From: "R.St. Pierre" Subject: Live Blues Albums Let me add my favorite, meaning I believe I've played this album/cd/lp more than any other live blues recording. John Mayall, The Turning Point I may be prejudice as I saw the group performing live the same material a few weeks before or after the Filmore date at the Newport Jazz Festival. The show opened with the Newport All Stars (yuck), Miles Davis (a bit too much), John Mayall a delight and closed with Frank Zappa, who was great but I think a bit miffed because he left stage after his set was over without a word and with no encore. People wanted some nasty vocals, or requests, or something and were calling out. Frank wanted to do jazz, I suppose, and was disappointed that the audience wasn't more receptive to leaving the vocals out of it and enjoying blues and jazz which is what a festival like the Newport Jazz Festival is all about. Ron (The Saint) St. Pierre "I know so many songs to describe the conditon I'm in. ========================================================================= Date: Thu, 14 Mar 1996 01:03:47 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: Muddy's House >>If they take Muddy's house on the road, what do you think will >>be the opening act. Lee >> >>Lee C. Spector >>Department of Economics > >It has just got to be Cleanhead Vinsons comb or, if thats to expensive, >Hound Dog Taylors signature (originaly written by Lieber n Stoller). Or why >not a big cage with PW and LW facing each other with a computer each and a >big display for the audience to watch. >Mr Bo (who is quite funny if compared to many white swedish comedians) Swedish comedians? Is that like 'great English lovers'? Chris Smith (chris@skerries.demon.co.uk) "I'm a man of no convictions - at least, I think I am." (Christopher Hampton) ========================================================================= Date: Wed, 13 Mar 1996 21:58:13 -0800 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Organization: Internet Direct Subject: Congrats to Stovalls Comments: To: bit-listserv-blues-l@uunet.uu.net Chris Smith (chris@skerries.demon.co.uk) WROT: > So far, nobody in this forum seems to have congratulated the Stovall >family on ensuring the preservation of the cabin, eventually in its >rightful location, and at the same time taking $100,000 off HOB for >the promotion of the blues in a better way than HOB does it. (If you >did, and I missed your posting, forgive me.) Good point. Anyone know how to contact Stovalls? ========================================================================= Date: Thu, 14 Mar 1996 01:22:48 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: Blues/African music link >Hi there 'zellers... > >A few days ago someone brought up the connection between African music and >the blues - well, this morning I had the good fortune to hear a group called >Black Umfalosi (this spelling is probably wrong) for an hour of interviews >and songs on the radio - it was absolutely fantastic. I could definitely >hear the connection between this style of a cappella vocal group music from >Zimbabwe and gospel music - similar to Ladysmith Black Mambazo - very >powerful, beautiful harmonies. Wow! > >-Jim (hndful@uniserve.com) > >BTW, I'm sure I read somewhere as well that Ali farke Toure was Africa's >biggest John Lee Hooker fan, indicating that he has taken a lot of blues >influence into his own traditional music (as opposed to the other way >around). ? I'd love to read something by someone who actually knows... :-) Just want to put my two cents worth in here for Machanic (sic) Manyeruke and the Puritans from Zimbabwe. Machanic is a member of the Harare Salvation Army, and his electric guitar-led music sounds like the Staple Singers singing in Shona! If you can find his CD you'll love it. It was/maybe still is on Cooking Vinyl COOKCD 025 in Britain, where it sold very poorly, of course, being wonderful. Don't know if anyone licensed it in the States. Chris Smith (chris@skerries.demon.co.uk) "I'm a man of no convictions - at least, I think I am." (Christopher Hampton) ========================================================================= Date: Wed, 13 Mar 1996 22:59:31 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: I don't care >I'm sorry that some of you don't care. Many of us do care. > The fact is, over the years, Blues-l has become something more than a cold >impersonal mailing list. >But I do care what they think, say, and feel. It is all part > of this community... >But you'll be missing much of what makes Blues-l the best list >on the net. Amen, Ian! In the six months or so that I've been a 'Zeller, I feel like I've made friends (or at least acquaintances) all over North America and the world, for that matter. I'm on several mailing lists (none with the volume of this one, thankfully :-) )... they're very business-like, you ask your question (on topic only please, or get your face bitten off), you get your one-sentence answer, and you move on. You've got your information, nothing more, nothing less. But in my mind, Blues-L is different. I know LW likes to thrust his foot deep into his own mouth on occasion; I know PW would like to insert his foot into LW's mouth (with force, generally) as well, I known Blue Joe will regularly report from Red Russia... I know Don Cicchetti is in fact the biggest gearhead on the planet... Ian spells monkey with two e's... Shaun Cronin does _not_ eat at Hollywood McDonalds... Ruthie loves Max... Laurie hates nearly everything and everyone... I asked about Rooster Blues - about a dozen people responded with enthusiasm. This morning I asked a completely off-topic question about surf guitar for a guy who's been posting messages on newsgroups for weeks and getting nothing; within hours I had several helpful responses (Denis says thanks, by the way!) Sniff... sobb... I'm getting emotional here... :-) Thanks all, keep it up, Blues-L rules! -Jim (hndful@uniserve.com) ========================================================================= Date: Wed, 13 Mar 1996 23:26:16 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Great English lovers?? Comments: To: Chris Smith At 01:03 AM 3/14/96 -0500, Chris Smith wrote: >>>If they take Muddy's house on the road, what do you think will >>>be the opening act. Lee >>> >>>Lee C. Spector >>>Department of Economics >> >>It has just got to be Cleanhead Vinsons comb or, if thats to expensive, >>Hound Dog Taylors signature (originaly written by Lieber n Stoller). Or why >>not a big cage with PW and LW facing each other with a computer each and a >>big display for the audience to watch. >>Mr Bo (who is quite funny if compared to many white swedish comedians) > >Swedish comedians? Is that like 'great English lovers'? > Actually, no, it's more like great American beer..... Mary Katherine ========================================================================= Date: Thu, 14 Mar 1996 07:48:28 GMT Reply-To: Steven Hawkins From: Steven Hawkins Organization: Sound Advice Limited's Internet Access for KC Subject: Re: John Hammond Comments: To: bit-listserv-blues-l@uunet.uu.net CATBAUER wrote: >In article <4go10k$nie@usenetw1.news.prodigy.com>, George Myers > writes: >>John is out on tour with the Duke Robillard Band. >>One tour stop will be at the Grand Emporium in KC 3/23. >Both tour dates are on the Rosebud Agency web pages and Musi-Cal. I had >been told John Hammond recently did a show with G Love in NYC, did anyone >see it? Hi everyone, Just wanted to tell you'all how much I enjoy reading this list and how much I look forward to reading all the new posts. I might even throw in my 2 cents in from time to time. I just bought tickets for the John Hammond/ Duke Robillard show here in KC at the Grand emporium on 3/23, and I'll let you'all know what you missed after the show. I can't wait... Later. Steve Hawkins shawkins@sound.net ========================================================================= Date: Thu, 14 Mar 1996 07:54:40 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: blues hyperbole/thanks for N.O. info Comments: To: bit-listserv-blues-l@uunet.uu.net Karen Hanson wrote: > >Thank you!!! I'm grateful to find out I'm not the only one who was repulsed >by BR's cover! I about gagged! You already know how >I< feel. > >Same here! And as for the classification of the Allman Brothers as a blues >band--my brain understands, but my heart does not. To me, they're a Southern >rock band, sitting right there next to Marshall Tucker and Lynard Skynard. > Now, I *like* Southern rock--you know--but it's not blues to me. Amen, twice. (snippety snip) >I wholeheartedly agree! There's a wonderful story on Jimmie Lee >Robinson--why isn't *he* on the cover? Make that thrice. (more snippety) > I think it's just a ploy to sell magazines. Nothing wrong with selling magazines. But there IS something wrong with misrepresenting one's self. If it's a blues magazine, put a blues guy (or gal) on the cover. I mean, really, studies have been done that show that magazines with Princess Di's picture on the cover sell more copies than magazines without it. Do you suppose BR knows about this yet? And when they find out, how long will it be before they get some hack to try and invent a connection between the blues and her formal royal whatver- ness? Scott ========================================================================= Date: Thu, 14 Mar 1996 08:43:10 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Muddy's House Comments: To: Chris Smith >>>If they take Muddy's house on the road, what do you think will >>>be the opening act. Lee >>> >>>Lee C. Spector >>>Department of Economics >> >>It has just got to be Cleanhead Vinsons comb or, if thats to expensive, >>Hound Dog Taylors signature (originaly written by Lieber n Stoller). Or why >>not a big cage with PW and LW facing each other with a computer each and a >>big display for the audience to watch. >>Mr Bo (who is quite funny if compared to many white swedish comedians) > >Swedish comedians? Is that like 'great English lovers'? > > >Chris Smith (chris@skerries.demon.co.uk) >"I'm a man of no convictions - at least, I think I am." (Christopher >Hampton) Nope. I think its closer to Classy Americans Mr Bo ========================================================================= Date: Thu, 14 Mar 1996 08:07:04 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: I'm a racist Comments: To: bit-listserv-blues-l@uunet.uu.net shannon oconnor wrote: > (edit) shannon oconnor wrote: (edit) > > LW, the obvious solution is to think > about what you're posting That'll never do...we'll never hear from LW again. And I LIKE reading his posts, even when I don't agree with them, which is most of the time. LW, speak your mind. If no one ever said anything prococative, this place would be REALLY dull. Scott ========================================================================= Date: Wed, 13 Mar 1996 21:18:54 GMT Reply-To: Ian Angus From: Ian Angus Organization: Angus TeleManagement Group Subject: Re: Monkees (was Blue Soul Playlist March 13) Comments: To: bit-listserv-blues-l@uunet.uu.net Jim Witteveen wrote: >>Monkee Business >>.....Sticks McGhee: One Monkee Don't Stop No Show > >Frankly, I always thought Davy Jones could stop a show... or was it Peter >Tork? :-) > My inability to spell Monkey is once again revealed for all to see. I always thought Peter Tork could stop a clock. -- ============================================================ IAN ANGUS Tel: 905-686-5050 ext 222 Angus TeleManagement Group Fax: 905-686-2655 8 Old Kingston Road e-mail: ianangus@angustel.ca Ajax Ontario Canada L1T 2Z7 http://www.angustel.ca ============================================================ ========================================================================= Date: Thu, 14 Mar 1996 08:09:30 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Muddy's House Comments: To: bit-listserv-blues-l@uunet.uu.net Chris Smith wrote: > >>>If they take Muddy's house on the road, what do you think will >>>be the opening act. Lee >>> >>>Lee C. Spector >>>Department of Economics >> >>It has just got to be Cleanhead Vinsons comb or, if thats to expensive, >>Hound Dog Taylors signature (originaly written by Lieber n Stoller). Or why >>not a big cage with PW and LW facing each other with a computer each and a >>big display for the audience to watch. >>Mr Bo (who is quite funny if compared to many white swedish comedians) > >Swedish comedians? Is that like 'great English lovers'? Hey Chris, I know some Swedes who are REALLY funny...though unfortunately for them, it's often unintentional. Scott ========================================================================= Date: Thu, 14 Mar 1996 00:46:42 -0800 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: ?Washboard? Need help in l.a This has low blues content but it's there. DOES ANYONE KNOW A WASHBOAD PLAYER IN L.A I am making a recording soon and wan't to have one sit in. ALSO---------- DOES ANYONE KNOW WHERE/HOW/ to get the right washboard. I am very interested in figuring out how to play a washboard so if someone can clue me in.!!!! please do THANKS IN ADVANCE----- Isaac (I-DOG) ========================================================================= Date: Thu, 14 Mar 1996 03:22:10 -0600 Reply-To: ERIN WEINBERG From: ERIN WEINBERG Subject: Re: Tracy Conover In-Reply-To: <199603140511.AAA24912@listserv.brown.edu> Who is this chick? I know she's got Chris Duarte's original drummer on percussion/vocals, and she's being called the "female Duarte..."-I read her interview in Texas Beat - but should I go catch her opening up for Storyville @ Antones on the 23rd? I probably will anyway, I hear she goes crazy with her Strat, but I kind of want some input... ========================================================================= Date: Thu, 14 Mar 1996 09:34:44 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Muddy's House Comments: To: Scott Dirks >Chris Smith wrote: >> >>>>If they take Muddy's house on the road, what do you think will >>>>be the opening act. Lee >>>> >>>>Lee C. Spector >>>>Department of Economics >>> >>>It has just got to be Cleanhead Vinsons comb or, if thats to expensive, > >>>Hound Dog Taylors signature (originaly written by Lieber n Stoller). Or >why >>>not a big cage with PW and LW facing each other with a computer each >and a >>>big display for the audience to watch. >>>Mr Bo (who is quite funny if compared to many white swedish comedians) >> >>Swedish comedians? Is that like 'great English lovers'? > >Hey Chris, I know some Swedes who are REALLY funny...though unfortunately >for them, it's often unintentional. > >Scott Thanks a load Scott! May Svenningsson forever stay in your house and your beard grow inwards! :-) Bo ========================================================================= Date: Thu, 14 Mar 1996 08:42:02 -0500 Reply-To: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM From: Jim Smith Subject: John Hammond Comments: To: sriram@AW.SGI.COM In-Reply-To: <199603132131.QAA13616@jasmine.alias.com> There are 2 solo live CDs that I know of. "Solo" on Vanguard is from about 1976 and "Live" on Rounder is from the mid 80s. Both are good but I prefer the "Live". >hi 'yall, > >I saw John Hammond live in Toronto on Monday and >need some info about his CDs. > >Is there recorded stuff of his (preferably live) with >his acoustic material ? I mean, just John, his guitar >and his harp ? > >Also can you give me a vrief description of his other >recorded material ? I want to go on a Hammond-binge ! > >Oh by the way, I though the show was AWESOME !! > > =sriram= > > > >******************************************************************** >Sriram Dayanand email: sriram@aw.sgi.com >Alias | Wavefront R&D >Toronto, Canada Ph: (416) 362-8558 x314 > ========================================================================= Date: Thu, 14 Mar 1996 09:03:51 -0500 Reply-To: Jerry Zolten From: Jerry Zolten Subject: Archie Edwards For those interested in the latest about Mr. Edwards, look for my article in the latest issue of LIVING BLUES. If nothing else, the fotos are great, especially the one of Archie surrounded by guitars in his Washington, DC barber shop ========================================================================= Date: Thu, 14 Mar 1996 06:17:34 -0600 Reply-To: Roger Struve From: Roger Struve Subject: John Hammond -Reply Comments: To: sriram@AW.SGI.COM There's no doubt about it....John Hammond solo on the stage himself with his guitar, his stompin' boot, and his harp and voice----there's nothing like it anywhere. For those interested in the acoustic John Hammond.....Try Solo on Vanguard CD it was recorded live in 1976 at the Vanguard in NYC. Also is the LIVE CD on Rounder (i believe) that was recorded in the early 80's at McCabe's on the West Coast. IF you can find the LP's, then go for Can't Beat the Kid on Vanguard, and also Footwork on Vanguard. Both of these albums have an acoustic side and an electric side. The acoustic side alone is worth the price of the LP. If you like video, the John Hammond Starlicks Master Series Instruction Video has 4 stellar performances by John of "My Daddy was a Jockey, taught me how to ride---i;m not sure of the actual title of this song, but that's the famous opening line, Drop Down Mama--which is the best performance of this song i've ever seen, Preachin' Blues, and Kind Hearted Woman Blues.....all of these are absolute must haves in any serious John Hammond enthusiast's collection. Also, if you can find the episode of Austin City Limits where Shaw n Colvin puts on a stellar performance (acoustic) for the first half hour, and John does the second half hour, this is a real treat. Also, even harder to find is the Lonesome Pine Special of John Hammond with Robert Lockwood Jr. There are rumours of John being on tv in New York, but i've never seen these. He also appears on John Lee HOoker and Friends, doing the duet as an opening number with JLH. SO, enjoy.....i think he's one of the best there ever will be. best regards, one year older today delta doc roger ========================================================================= Date: Thu, 14 Mar 1996 08:00:00 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Tracy Conover Comments: To: ERIN WEINBERG Comments: cc: William Shute In-Reply-To: On Thu, 14 Mar 1996, ERIN WEINBERG wrote: > Who is this chick? I know she's got Chris Duarte's original drummer on > percussion/vocals, and she's being called the "female Duarte..."-I read > her interview in Texas Beat - but should I go catch her opening up for > Storyville @ Antones on the 23rd? I probably will anyway, I hear she goes > crazy with her Strat, but I kind of want some input... Crazy is a good word. She also has the most annoying, screamy voice I've heard. I've seen her twice and the second time was an accident. I'll not make that mistake again. HOWEVER. you should go and see her and decide for yourself. -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / Reuben Stewart \ / February 19, 1996 \( Rest in peace, Mr. S. ========================================================================= Date: Thu, 14 Mar 1996 09:23:29 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: "One Day At A Time Sweet Jesus" I received this post today, and not having the answer at my fingertips thought I'd post it to Blues-L on behalf of the sender, Rebecca Geiger. Perhaps someone in Blues-L can help her? Please send the answer to her. Joel Slotnikoff BLUES WORLD >Date: Wed, 13 Mar 1996 22:55:13 -0500 >X-Sender: rdgeiger@pop.atl.mindspring.com >Mime-Version: 1.0 >To: joelslot@inlink.com >From: rdgeiger@mindspring.com (Rebecca Geiger) > >I got your address from the World Wide Web searching for a song whose first >line is something like: "One day at a time, Sweet Jesus." or "Just one >day....." >Do you have a recording of or including such a song or have any ideas how I >might look for it? >Please email me at rdgeiger@mindspring.com. >Thank you very much, >Rebecca Geiger ========================================================================= Date: Thu, 14 Mar 1996 09:05:52 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Birfday Wishes Comments: To: Roger Struve A great big Happy Birthday to the Delta Doc... Roger Struve P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 14 Mar 1996 06:08:32 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Mar. 15 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BELL, AL (of STAX REC/BELLMARK REC) b. 1940-0315, LITTLE ROCK, AR BENNETT, AL (owner: HI REC) d. 1989-0315, SHERMAN OAKS, CA 62 AVAKIAN, GEORGE (prod) b. 1919-0315, ARMAVIR, USSR CLARK, SPENCER W. (sax) b. 1908-0315, BALTIMORE, MD COODER, RY [RYLAND PETER COODER] (g) b. 1947-0315, LOS ANGELES, CA COOPER, LES (p/WIGGLE WOBBLE) b. 1931-0315, NORFOLK, VA D'ARBY, TERENCE TRENT (v) b. 1962-0315, NEW YORK CITY, NY DOUGLAS, AL (g/GARRY & MOODSWINGERS) b. 1958-0315, PARIS, FRANCE FONTANA, D. J.[DOMINIC JOSEPH FONTANA](d) b. 1931-0315, SHREVEPORT, LA FREEMAM, LAWRENCE "BUD" (tsax) d. 1991-0315, CHICAGO, IL 84 GREEN, CLARENCE (g/DUKE/CHESS REC) b. 1929-0315, GALVESTON, TX HARRINGTON, JOE (v) b. 1950-0315, MARIANNA, FL HILL, BERTHA "CHIPPIE" (v) b. 1905-0315, CHARLESTON, SC HOPKINS, LIGHTNIN' [SAMUEL HOPKINS] (g) b. 1912-0315, CENTERVILLE, TX JAMES, HARRY (tpt) b. 1916-0315, ALBANY, GA LLOYD, CHARLES (tsax) b. 1938-0315, MEMPHIS, TN LUNDY, B. T. (tsax) d. 1991-0315, MONTREAL, PQ 69 MACDONALD, RALPH (g/prod/publisher) b. 1944-0315, NEW YORK CITY, NY MARDIN, ARIF (a&r/prod/ATLANTIC REC) b. 1932-0315, ISTANBUL, TURKEY PANCOAST, ACE (arr/AMERICAN BANDSTAND) d. 1991-0315, PHILADELPHIA, PA 85 ROCKWELL [KENNEDY GORDY] (v) b. 1964-0315, DETROIT, MI SCOTT, HOWARD (g/WAR) b. 1946-0315, SAN PEDRO, CA SMITH, CLARENCE "PINETOP"(p/BOOGIE WOOGIE)d. 1929-0315, CHICAGO, IL 25 STONE, SLY[SYLVESTER STEWART](prod/songw) b. 1943-0315, DALLAS, TX YOUNG, LESTER "PRES" (tsax) d. 1959-0315, NEW YORK CITY, NY 49 ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 14 Mar 1996 09:07:50 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: blues hyperbole/thanks for N.O. info Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, RWHD17B/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=RWHD17B#a#PRODIGY#f#COM@s1boca.corp.wrgrace.com *Nothing wrong with selling magazines. But there IS something wrong with *misrepresenting one's self. If it's a blues magazine, put a blues guy *(or gal) on the cover. I mean, really, studies have been done that show *that magazines with Princess Di's picture on the cover sell more copies *than magazines without it. Do you suppose BR knows about this yet? And *when they find out, how long will it be before they get some hack to try *and invent a connection between the blues and her formal royal whatver- *ness? Maybe they'll have Cher on the cover, and have a story about Gregg Allman's ex-wife. :) -Steve ========================================================================= Date: Thu, 14 Mar 1996 09:23:56 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: "Bluesland" in Clarksdale I just discovered another great Blues resource on the web. "Bluespeak" a Memphis area Blues magazine has a web version at: http://www.memphismojo.com/bluespk/ Check it out. Here's a great sample of what you'll find there. Train station renovation leads Clarksdale rebirth By Norm Shaw The train station sits on the edge of downtown Clarksdale, abandoned and run down, like so many other small-town stations that are long past their heyday. Broken or boarded-up windows, kicked-in doors and trash are the dominant features. It is hard to imagine it as anything but an eyesore. The people who owned it figured they could sell it to someone who wanted it for the brick and copper. But Skip Henderson sees something else. Henderson sees a public facility, with a performance hall featuring state-of-the-art sound and recording equipment. He sees a blues club. He sees a restaurant. He sees Bluesland. Welcome to Skip Henderson's world, where all is possible and the only limits are budgetary and energy. And after spending a few hours with Henderson, you soon realize there may well be no limits. Henderson heads a drive to renovate Clarksdale Station into a blues tourist attraction. It is a goal he has been chasing for a few years and led him to buy the station. As his idea grew and he gained support, an amazing thing happened. It all worked out. "I bought it, and then we got the grant," Henderson says while sitting behind his brand-new computer. "I couldn't own the building under the terms of the grant, so I had to sell it back to the county." "The grant," usually said in reverential tones, is the thing that made all the difference in Henderson's plan. It gave him the freedom to build his dream and it gave him instant respect in the community. A million dollars can do that for you. "I remember I went home and told my family I was selling my guitar business and buying a train station in Clarksdale," Henderson says. "My wife was crying. My mother was crying. And then they found out no trains were coming through the station and they really thought I was crazy. "Actually, my wife and mother didn't cry, but they were skeptical. And then the $1 million came through. That made believers out of everybody. It was real sweet." It wasn't just Henderson's family that became believers after the $1,018,862 grant came from the Mississippi Department of Transportation. City and county officials in Clarksdale began to see the potential for blues heritage tourism in a big way as well. "Sometimes people from the outside can see something and can be more enthusiastic than local people," says Ron Hudson, head of the Clarksdale Chamber of Commerce and Tourism Commission. "Skip is such an enthusiastic guy, with so many ideas. He's the type of person needed to get a project like this off the ground." Hudson said Bluesland at Clarksdale Station is exactly what the city needs to boost tourism. County Administrator Hugh Jack Stubbs agrees. "We really think this project has a lot of potential," Stubbs says. What Henderson will do with the $1 million is potentially one of the biggest boons for blues in the Delta. He will turn the railway station that once was the gateway to the north for such blues greats as Muddy Waters into a public performance hall. The hall will be available to all kinds of music and all kinds of performers. "The Rev. Willie Morganfield (a first cousin to Muddy Waters) can bring his choir in to perform. And they can make a live direct-to-DAT recording. They can then reproduce it as a cassette, and they can do all that right there. It will offer multiple benefits laid one on top of another." The developer also sees a good bit of irony in the project. The 13,000-square-foot station was built in 1926, and in keeping with the times, it included virtually two of everything. One side for whites, the other for blacks. The mirror-image design creates unique opportunities, such as putting a drink station in the old ticket booth, which will create one side for a bar and one side alcohol free. "In the white dining room, we want to put a soul-food restaurant," he says. "I love the irony of that." Bluesland Inc. also is a way Henderson says he can give back to the community. Benefit shows will be a big part of the performance hall. The restaurant will be a pass-through for community restaurants ("Abe's Ribs closes at 9 p.m., but we'll be able to sell Abe's Ribs until 2 a.m.," Henderson says). The interest in giving back to the community comes naturally to Henderson. He worked in Juvenile Justice on the East Coast for several years before opening a vintage guitar shop. He first came to the Delta at the urging of Billy Gibbons of ZZ Top. He now feels completely at home in the South, and will be moving his family to Clarksdale next spring. His enthusiasm for Clarksdale is apparent as he tools around town in his vintage, fire-engine red Cadillac Coupe Deville. A visit to the Delta Blues Museum in the Clarksdale Library brings smiles and waves from all the employees. He talks excitedly about the people who have signed the guest registry at the museum. The visitors in the week prior had come from Egypt, Australia, Colombia, Kazikstan, Italy, Portugal, Mexico, England and more. These are the people Henderson sees flocking to Bluesland. "It's amazing to me," he says. "There are people coming (to the museum) from all over the world, but my mailman has never been here." The station renovation, which should be completed by next fall, is the first step in many that Henderson sees for his ventures in Clarksdale. He plans to make guitars, sell guitar strings, help expand and move the Delta Blues Museum, and continue his work through the non-profit Mt. Zion Fund to honor blues greats no longer alive. A crowded palette. But somehow you get the impression Skip Henderson is up to the task. As with the train station, Henderson often sees opportunity where others see despair. As he drives away from the station, he tells the story about driving around Clarksdale with a real estate agent. As they drove down Issequena Avenue, past a boarding house, the agent pointed to a group of African-American men sitting on the sidewalk drinking from brown paper bags. "The Realtor said, 'To us, this is the blues,'" Henderson says while shaking his head. "I see this as a human resource," he continues. Some local folks are threatened by what they see on Issequena, Henderson says. "I see these guys as survivors. Who knows, one of these old guys must have heard Charley Patton. It just makes you wonder." Clarksdale should be happy Henderson is wondering about the town's future. He may well be its savior. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 14 Mar 1996 09:44:14 -0500 Reply-To: rags From: rags Subject: JOHN_HAMMOND_IN_PITT!!!! John Hammond will be playing in the Pittsburgh area the following days.... March 29 @ IUP Indiana University of Pennsylvania as part of the IUP Blues and Jazz Fest March 30 @ Graffiti, Pittsburgh GOTTA CHECK IT OUT FOLKS IN THE PITT AREA or FOLKS TRAVELING TO THE PITT AREA!!!! Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ BLUES OVERTOOK ME LAST NITE :) :) +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Thu, 14 Mar 1996 09:52:59 -0500 Reply-To: rags From: rags Subject: ROBERT_JOHNSON+JOHN_HAMMOND_NEXUS!! Hi folks... Last nite I got the complete recordings of ROBERT JOHNSON.....the essential thing.... :) :) In it I remember seeing a picture of John Hammond and some mention of his connection with Robert Johnson... I did not read the whole story..... Can anybody shed some light...I can't wait to get home put them Robert Johnson recordings.....and "feel" the blues Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Thu, 14 Mar 1996 10:11:48 -0500 Reply-To: "Lost John From: "Lost John Subject: John Hammond Just saw John Hammond last night at Club Soda in Montreal. Great room, great sound, great crowd, and AMAZING show. Whoever posted the query about great Slide & Harp duos... I think John Hammond qualifies as one. -- _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ _/ JC /\ _/ _/ ______________ || _/ _/ \__________ / || _/ _/ ________ ___/ John Carley || _/ _/ \______ / johnc@vedge.com || _/ _/ ____ ___/ (514)332-6430 x232 || _/ _/ \__ / Visual Edge Software Ltd. |\||/| _/ _/ _____/ 3950 Cote Vertu, Suite 100 \ / _/ _/ \/ Montreal, Quebec, Canada / \ _/ _/ ( ) _/ _/ \____/ _/ _/ (graduate of the Yogi Berra school of elocution) _/ _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ ========================================================================= Date: Thu, 14 Mar 1996 15:16:47 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: I'm a racist Comments: To: bit-listserv-blues-l@uunet.uu.net In , Use Less writes: >Ok getting tired of being called a racist. I would like to know am I racist >against whites or blacks. > >My daughters best friend is a black guy, he stays at our house a lot, she >likewise visits his house. They go out together, as friends, I suppose. She >buys him presents, he buys her presents. He eats supper with us some....etc I'll bet your daughter has Methodist friends, too. Do you feel compelled to tell us about them? BBB B.B. Bean bbbean@cris.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Thu, 14 Mar 1996 10:34:30 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: "Backbeat" discussion and definition. I'm enjoying and learning from reading this thread. How would you guys dfine oops....define the unusual staccato syncopation that's used in the drumming on Willie Dixon's "I Am The Blues" album? Is this back beat? It's wonderfully unusual and the accented beat always seems to be just a hair behind Willie's bass notes. My band had been working on "I Can't QUit You Babe", which on the surface seems a nice, simple slow blues in G, but no way! To get that unique drumming and Willie's idiosyncratic bass line down is a real challenge. We're pretty damned close, I'm happy to say, but it takes real concentration for my drummer. So....is this backbeat? Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 14 Mar 1996 07:47:50 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: blues hyperbole/thanks for N.O. info Comments: To: Steve.Levine@CORP.WRGRACE.COM At 09:07 AM 3/14/96 -0500, Steve Levine wrote, re Blue Revue: >*Nothing wrong with selling magazines. But there IS something wrong with >*misrepresenting one's self. If it's a blues magazine, put a blues guy >*(or gal) on the cover. Yes, and speaking of misrepresenting onself for profit: if it's calling itself a House of Blues, it should have blues music on the inside, too. Or is this just a new trend? MAry Katherine Aldin > ========================================================================= Date: Thu, 14 Mar 1996 07:47:43 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: ?Washboard? Need help in l.a Comments: To: Isaac Sprintis At 12:46 AM 3/14/96 -0800, Isaac Sprintis wrote: >This has low blues content but it's there. > >DOES ANYONE KNOW A WASHBOAD PLAYER IN L.A >I am making a recording soon and wan't to have one sit in. > >ALSO---------- DOES ANYONE KNOW WHERE/HOW/ to get the right washboard. > >I am very interested in figuring out how to play a washboard so if >someone can clue me in.!!!! please do >THANKS IN ADVANCE----- > I know some washboard players in L.A., but they're all zydeco musicians, not blues players. You might just write me off-list and let me know whether you're interested? Mary Katherine Aldin > > ========================================================================= Date: Thu, 14 Mar 1996 10:57:39 -0500 Reply-To: LKnight1@AOL.COM From: Leslie Ann Knight Subject: Joey Razor and the Blue Blades Comments: To: SOBLUESMAG@aol.com, Crawfy1@aol.com, adamk@cmsa.berkeley.edu, Speedo777@aol.com, sbrubake@trmx3.dot.ca.gov, Lrucker@aol.com, PNeel89564@aol.com, Roosterman@aol.com, murranch@ix.netcom.com, JAZZINFO@jazznow.com Press Release Fremont, CA . . . Joey Razor and the Blue Blades release an outstanding jump-blues CD titled "Joint B Jump!." It's jam-packed with splendid originals. If you like to dance, this is the band you must experience live. -------------------------------- " . . . Very tasty player and the whole band is solid with good keys, swinging guitar, nice sax and a good band feel . . . This is way better than 90 percent of what I receive." Bruce Iglauer, President Alligator Records -------------------------------- Joey Razor and the Blue Blades Performance calendar: The Zone Saturday, March 30 1102 West Evelyn, Sunnyvale JJ's Lounge Friday, April 5th JJ's presents Joey Razor and the Blue Blades CD Release party! 3439 Stevens Creek Boulvard, San Jose Boulevard Bar & Grill Saturday, April 6 17285 Skyline Boulevard, Woodside C.S. Riff's Saturday, April 13th 1505 South Winchester Boulevard, San Jose ========================================================================= Date: Thu, 14 Mar 1996 17:31:32 +0100 Reply-To: bengans From: bengans Subject: Re: Muddy's House/SWEDISH COMEDIANS >>>Mr Bo (who is quite funny if compared to many white swedish comedians) >> >>Swedish comedians? Is that like 'great English lovers'? > >Hey Chris, I know some Swedes who are REALLY funny...though unfortunately >for them, it's often unintentional. > >Scott Scott watch yourself, You know I ll be at your door in no time! That WONT me funny,-for you! Sevenson "Time is hard baby, and hustling is really on." T-Bone Walker ========================================================================= Date: Thu, 14 Mar 1996 17:31:35 +0100 Reply-To: bengans From: bengans Subject: Re: Muddy's House/Swedish com. >>>Swedish comedians? Is that like 'great English lovers'? >> >>Hey Chris, I know some Swedes who are REALLY funny...though unfortunately >>for them, it's often unintentional. >> >>Scott > >Thanks a load Scott! >May Svenningsson forever stay in your house and your beard grow inwards! :-) >Bo So is EVERYBODY teaming up on me. Sevenson against the bluezellers. Yeah, come on, I ll take care of you, one by one! I ll put you all in Muddy s cabin and send you on a world tour! "THE ONE ROOM COUNTRY SHACK TOUR", Sponsored by Crate &Barrel! I think that was a little funny, and it WAS intentional! Sevenson ========================================================================= Date: Thu, 14 Mar 1996 08:28:55 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: I'm a racist Die stupid thread die die die.... take it up with your therapist. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu I looked over Jordan, and what did I see An Eldorado comin' after me comin' for to carry me home.. -- Dizzy Gillespie ____________________________________________________ ========================================================================= Date: Thu, 14 Mar 1996 10:39:57 -0600 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: ROBERT_JOHNSON+JOHN_HAMMOND_NEXUS!! > Hi folks... > Last nite I got the complete recordings of > ROBERT JOHNSON.....the essential thing.... :) :) > In it I remember seeing a picture of John Hammond > and some mention of his connection with Robert Johnson... > I did not read the whole story..... > Can anybody shed some light...I can't wait to get > home put them Robert Johnson recordings.....and "feel" the > blues They're talking about John Hammond Sr. who put on a couple of concerts at Carnegie Hall in NY city call "Spiritals to Swing" in the late 30's. It was a major event that launched several careers. John Hammond had toured the country looking for undiscovered talent and he came across Robert Johnson and signed him up for the concert, but he died before the concert. Of course this would have been major exposure for Robert Johnson at a time when his career was about to take off. Bruce Roberts Austin, TX ========================================================================= Date: Thu, 14 Mar 1996 11:32:25 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: Steve James, Pt. I (long) Hi y'all... Well you sure are an entertaining lot. I tune in every day because where else could I find people who are so good at being you people? Only you -- you're the best at it! I'm impressed. But enough of you -- I confess (a pox on you Unger) that my CD is rumored to be out, though nary a copy has yet crossed my palm. I will shamefully plug it ONCE when I see the damage. Thank yous to those of you who have written me encouraging things...very, very appreciated. But enough of me -- how about something on Steve James? To be published in the April issue of BluesIndy: Stopping Time By Cathi Norton Steve James is a road philosopher. Born 45 (1950) years ago in New York City, Steve first attraction to music came through his dad's records, an eclectic collection which included "Rock Island Line" by Leadbelly..."the coolest thing in the world!" At 13 he learned how to play guitar, and by age 16 was pretty much of a blues hound. New York was fertile ground for a young music lover when Steve was coming up. The Folk Revival was in full swing; and musical greats like Son House, Brownie McGee, Furry Lewis, Doc Watson, and Mississippi John Hurt were a fact of life. Around 1970 Steve left for Tennessee on a vacation and fell in love with the music and lifestyle there. So he packed up and moved, staying until 1977 when prospects of work drew him to San Antonio, Texas. He moved on to Austin in 1993 and is now developing an international reputation as a master of acoustic fingerpicking blues. He would probably wince at any description of his music, but hey -- categories tend to give all musicians a rash. I've heard his style described as "hillbilly country blues," but well, as I said...that's rash talk. Steve is currently about to release his third CD on the Antone's label (out of Austin), entitled "Art & Grit." His first and second CDs, "Two-Track Mind," and "American Primitive" respectively, have firmly established him as a fingerstylist to reckon with. Recent tours in Brazil and Europe have amassed an international following clamoring for his return. They'll get their wish in April when he'll play several dates there before hitting the Midwestern states of the U.S. in May. I had a chance to talk with him just prior to his European departure. Cathi: Well, tell me about your first guitar. Steve: My dad had a guitar my grandfather gave him, a 1940's Harmony, which I wish I still had. My dad had a great record collection and I guess the first blues I heard were Leadbelly and Josh White, although I didn't know they were "blues" at the time. Cathi: Did you take guitar lessons? Steve: I'm mostly self-taught, but I did get some lessons. I learned how to play fingerstyle guitar from a guy named Joseph Williams. He was a gospel guitar player who lived in White Plains, NY. He was giving guitar lessons to people in the neighborhood where I grew up, and he came around in his Cadillac. He was a very impressive guy. Cathi: (Laughs) Those gospel people, you know they all drive Cadillacs. Steve: Really (laughs). He was also a fabulous guitar player. He was the first guy that showed me how to play fingerstyle; showed me the right way. I think the first thing I learned was "Oh Mary Don't You Weep, Don't You Mourn." I still remember how to play it as a matter of fact, in the key of C -- the way he showed me. He also showed me some boogie-woogie bass lines and blues figures and things like that. At the time, well, young people don't have the differentiative intellect that older people are blessed with so.... I just learned that stuff along with all the Chuck Berry licks and Ventures songs; I was trying to play bass at the time as well -- electric bass. So it was basically that kind of thing, you know -- put ketchup on your cornflakes. And it was only a few years later when I heard people like Mississippi John Hurt, that what Mr. Williams had showed me began to really make sense. And by that time I was pretty much of a blues nut. I went to all the concerts with my friends; we saw things that a lot of us wouldn't realize how important they were 'til much later in our lives. Cathi: Is that where you ran in to Jesse Thomas? I heard that you played with him but is that where you heard of him? Steve: Yeah, sort of in that same period. As I got more progressively into it, you know, I started to play and heard Jesse's records. The first time I heard Jesse Thomas was about 1969 or 70. I was starting to get into the re-issue things and people that had 78s and I heard Jesse Thomas. I went ahead and got after it. He was always a really -- kind of a God. I thought he was one of the really great ones. Cathi: How would you describe your style Steve? Steve: I would describe it as my style. Cathi: (Laughs). Okay...but is there like a definitive style that's the Steve James style? Steve: Well like I told you earlier, I'm largely self-taught, so the way I play is pretty much what I've figured out. I had good pointers along the way, starting with Mr. Williams. Then I was privileged to get pointers along the way or to play with different musicians. Like in the 70's when I was living in Tennessee, I met with Sam McGee and had a marathon guitar session with him. He gave me a lot of pointers about the hillbilly blues connection, which he was into. And when I lived in Memphis, I spent a lot of time with Furry Lewis who I've always thought was the very soul of guitar economy. He was just so beautiful to all of us -- all of us younger people that wanted to learn and hang out. He was a great guy. And also his guitar arrangements, to me, were fantastic. I really like people like Lonnie Johnson or Big Bill Broonzy -- the real guitar scientists of the early blues. I really dug people like Furry or Frank Stokes...guys who would just play this very simple statement, that the more you listen to it, the more happens. And that's what Furry was like to me; he didn't play a whole lot of notes,...just played this fantastic...it was always the song you know. Cathi: Do you think that old-style, fingerpicking country blues is growing? Steve: Well yeah...there are a lot more people....see the thing is with blues and folk music -- your roots music if you will -- one of the things that makes it attractive to me is it's a hands-on kind of thing. I find that a lot of my fans, a lot of the people that go to my shows, are people who actually play themselves or who actively collect records and are into that kind of style. And the music has some relevance in their lives aside from the fact that it's just some pop thing, you know, like they just go into a record store and buy whoever's cardboard statue is in the front there. Cathi: (Laughs) Absolutely. Do you think it's important for people to be aware of the roots of the music to really play it with heart? Steve: Well yeah, because music to me...one of the things that makes music attractive to me is that it stops time. You can listen to, say, a Lonnie Johnson record from 1926, and you can listen to a record that just came out yesterday, and there's a commonality. It's not like a car from 1926 and a car from now. You know they're very much different. But in music there's a core thing there and it has to do with what you were saying before: the spirit of it. Cathi: Yes, that's an interesting way to put it -- stopping time. I think that's true, because it doesn't really matter when you put your music out -- it's there...it's always there. Steve: Exactly. You can listen to Otis Rush play -- I mean he's playing right now, but it's just a pure expression of the human spirit that's always existed. A man's Buddha nature if you will. Cathi: (Laughs) So do you feel like you have kind of mission to keep this music alive or are you just on your personal musical quest? Steve: Well, I don't know about the mission part of it. Also,...a lot of people talk about keeping the blues alive or keeping the music alive or something like that. Well music will always live; music was here before us and music will be after us on some plane. So there'll always be music. I feel very much when I'm playing I want people to know about other musicians that play in my style or with the kind of spirit that I'm interested in. And also I remember when I was a kid how difficult it was for me to get information. When I was first learning I remember how valuable it was for me for somebody to say to me: "Frank Stokes." So I could just run down to the music store and say "Do you have any Frank Stokes records?" And they'd go "No." And then I'd go to 20 different music stores and find somebody that did and then take the record home and go "YEP!" I think music is a form of disseminating not only feeling but information...it's my job! Cathi: Do you think the sources of information, and resources now, are more widely available? Well, maybe not though, because you came up in New York and that's kind of like a hub for resources. Steve: Well, I'll say this -- although we'll never see Mississippi John Hurt living on this particular astral plane again, it's much easier to get recordings and video/film and stuff like that of early American music of all kinds, than it used to be. I used to have to crawl across broken glass to get a Leadbelly record. My first Leadbelly record I bought at a used bookstore somewhere -- just happened to find it. Now you can get everything Leadbelly every recorded on CD -- no problem. Just go to Tower Records -- it's THERE! Barbecue Bob? When I was learning how to play the only way you could listen to Barbecue Bob was to know somebody that had the 78. And now you can get the complete recorded works of Barbecue Bob in chronological order. Cathi: (laughs) Steve: I highly suggest you do it! Cathi: Tell me about the differences in your three albums. You told me during your first, "Two-Track Mind," you were in more of a somber mood. Steve: Yeah, "Two-Track Mind" was a process of calling on my spirits. That was a great record because I went back to a lot of old tunes you know.. Sort of went to the fathers for help on that one. That's a very beautiful, very simple record. Cathi: Just kind of elemental? Steve: I tried to keep it that way, yeah. I recorded a lot of stuff when I was doing that -- the "Two-Track Mind" record. I even tried some electric stuff and tried a whole bunch of tunes, and I basically selected the ones that were on that record because they were the ones that seemed to hold together best for me. (to be continued....) ========================================================================= Date: Thu, 14 Mar 1996 11:34:08 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: Steve James, Pt. II (long) Part II of Interview with Steve James: - - - - - - - - - Cathi: You're not worried so much about technique anymore...it's comfortable for you now? Steve: Yeah, well I don't worry that much about technique -- not when I'm recording. Like the "American Primitive" record and "Art & Grit" as well, we recorded everything at once. We don't use overdubbing; we just go ahead and play the songs. When I'm recording I like to play songs whether I've written them, or whether they're adaptations from tradition or whatever. Cathi: Yeah, I talked to Stuart Sullivan (engineer) about that. He was telling me you and Gary (Primich) are big fans of "straight-up" recording. Steve: Yeah, I always like to get in there because a lot of my favorite records that I learned from, listened to and thought were great, were made by musicians that just knew the songs; knew what they wanted to say; went in there; got the mics set up right; turned on the machines and played. And Stuart Sullivan of course is a wonderful vehicle -- engineers like Stuart -- if you want to do something like that. Cathi: So have you just kind of come by your knowledge of the blues over a lifetime of experience? Of course you've studied it by living it.... Steve: No...I've studied too; I'm bookish; I like to read and for a long time -- I think still -- I like to go around and try and find little power spots, you know, of music. Cathi: (laughs) Steve: 'Cause music is kind of -- I try to never lose sight of the fact that music is a way of expressing the human condition. And maybe even a higher condition as a matter of fact -- as much as I know about that. But yeah, if I find out that there's some people playing some kind of music that they've been doing for a long time, in this one particular place -- and I find out about it, then I tend to go to that place and find those people and you know, play a little guitar with 'em. I like it and I've been doing it for a long time. Cathi: Connecting in a spirit-way. Steve: Well, you know, music is spirit. I've spent a lot of time studying chord inversions and learning things and writing things for guitar and stuff like that, but yeah, if the spirit's not there, then it ain't music. Cathi: Well, I've had this question on my mind recently -- about what happens when a performer plays. I tried to talk to John Hammond about it -- he THROWS himself into his performance...something is HAPPENING there, a complete involvement that exists beyond the audience. Know what I mean? Steve: Well, you are kind of channeling. The more you play, the more it happens. And John Hammond is a good example.... He's one of my favorite performers--period. And I've seen him do so many knocked-out shows, that I've really -- and played with him on so many gigs you know? I've seen him do that thing. I think with John it's very plain that John Hammond at full cry is like a lightening rod for a higher.... Cathi: That's what I think too, and actually I think he agreed with me but he said it's too difficult to explain. Steve: Yeah it is kind of difficult to explain because sometimes when we're playing it's almost like we're not there. Cathi: Exactly...exactly...getting out of the way. Steve: It's more of a question of getting out of the way and letting the music take over. Cathi: On your new CD -- "Art & Grit" -- who played what? Steve: Well, on the "Art-Grit" project I worked with Gary (Primich) -- who is, you know, a big musical bud. We've been playing and recording together for a long time. And also Danny Barnes and Mark Rubin from "Bad Livers" -- likewise musical compadres. And then also, miraculously, while I was doing the first "Art-Grit" sessions back in June, it just so happened that Cindy Cashdollar was in town. She's one of my favorite players -- plays steel guitar with "Asleep at the Wheel," and also plays great dobro and Hawaiian guitar. Not only that, but Bob Brosman who I think is the guy that knows most about slide guitar of anybody that I've ever played with.... He and I are also old friends, and he just happened to be in town. We played a show together and the very next day he was able to come to the studio. So Cindy played on the record; Bob Brosman played on the record; and also, miraculously as well, Ann Rabson (the piano player with the "Uppity Blues Women") who is also a great friend and a big favorite of mine musically, happened to be in Indianapolis en route to California or something -- at the time of the sessions. She re-routed her travel to be in Austin at the time of the sessions, so she also plays piano on it. Cathi: Can't wait to hear it. I loved the different styles of the first two albums. But I particularly liked the Tampa Red tune on "American Primitive." Steve: Yeah, I'll tell you! Have you ever heard Tampa Red's version? You ought to listen to it. It's a very interesting comparison to my version. Tampa Red was one of the guys that I listened to a lot. He was one of the really original slide guitar scientists. He really had it wired... nailed. He was doing things which I think at the time, nobody had really ever done before. And so if you're going to play slide guitar, you gotta listen to Tampa Red -- Tampa Red, Blind Willie Johnson, people like that, who were at the very basics of the style. It's good to listen to 'em because then you understand the soil that the entire tree is planted in. Cathi: You take things that you've heard, or learned or enjoy and then you put your twist on them for recording right? Steve: Well..right..that's it. I just take songs that I like and then I play them as though I were me. Cathi: (Laughs) Good. Well you picked up some things directly from the original "fertilizer." Do you think it's important to have those things passed directly from original guys or can you do it with records, tabs and books? Steve: No I think that it's like I say -- it's a channeling thing. A lot of people "observe" about my original songs on my records -- it's been actually observed by critics or people that review records, that my tunes sound like "original Country blues." Well, that's 'cuz they are! (laughs) Cathi: Right (laughs). Steve: I tell you what...I can't say how important it was for me to see people like Mississippi John Hurt or Son House performing live. That was great and an opportunity that, of course, nobody will ever have again. But the main thing, I think, for a musician, is to play like yourself. So then basically any experience that you have seeing somebody else play, can just be tangential to you developing your own style, which is the really important thing. Cathi: What guitars do you favor? Steve: Well I have a National Style "O" -- one that the National Resophonic Company made for me out there in San Luis Obispo (CA), which is wonderful. And I also have a Collings guitar...a C-10 and then quite a bit when I'm traveling overseas, I got this guitar -- a 1939 National Trojan. It's wood-body National guitar and I've sort of customized it. Cathi: You use fingerpicks don't you Steve? Steve: Quite often, yeah. When I'm performing live I usually use fingerpicks, yeah. And then I also play mandolin...a 1923 Gibson A2 Snakehead. Cathi: Ahah! What do you like string-wise? Steve: Well my strings are made by a company in California in Goleta, CA, called "Guadalupe Custom Strings." I tend to use heavy gauge strings. Cathi: Do you have a sharp attack? Steve: Sharp ATTACK? Yah! Down at Collings they call me "The Claw!" (Laughs) I got a little bit of a right hand on me you know what I mean?!? Cathi: (Laughs) I believe you. Steve: But that just goes with the territory. I mean the people that I learned from showed me how to play that way. Go out there and get some volume out of the instrument you know? It just sounds nice if you're getting the instrument to perform -- just open it up. Cathi: Do you like the new Nationals or standard guitar for slide playing? Steve: This National Style "O" -- I have, four different National instruments, and I think that what National is making now is comparable, or maybe superior to, the vintage instrument. Cathi: You're talking about the re-issue Nationals? Steve; Yeah, yeah, well the Nationals that are being made in San Luis Obispo, CA right now. I've compared my Style "O" which is modeled after a 1930's model Style "O" -- to a lot of vintage ones and I think that the National's got 'em whipped. Cathi: So you're not having any trouble making a living with this style of music -- with the Steve James style of music (laughs)? Steve: Well, it all depends on what you consider style (laughs). Did Mississippi John Hurt have trouble getting work? Cathi: I don't know! Steve: Sure he did. He was retired for a long time and worked on a farm. He didn't sell...things he made back in the '20s. I always think about that when I have what you call a "career reversal." Cathi: I call it a "house-painting period." Steve: Yeah...no, as a matter of fact lately I've been blessed. I've been traveling a lot and doing a lot of gigs and getting a lot of recognition for the music I've been playing. Then again there's been large periods of time when I've augmented my living as a musician by unloading container trailers full of crinkle-cut french fries... Cathi: (Laughs)... Steve: It's just part of the process you know. Cathi: I absolutely agree. So you're coming through the Midwest in May. Where will you be playing? Steve: Well, if I remember correctly, May 3 -- A Blues Society gig at the Guitar Emporium (Louisville, KY); May 4 -- Blues Alliance Festival (Columbus, OH-Marriot North); May 8 -- Shuba's Tavern (Chicago, IL); and May 10 -- Front Porch (Valparaiso, IN). Cathi: And the other thing I wanted to know is what advice you would give a budding fingerstyle blues player these days? Steve: Oh Gosh! That's a hard one! Well, you know I don't have to give much advice to fingerstyle blues players. Except for just use heavier strings and play all the bass notes with your thumb -- don't use your finger to play the bass notes... Cathi: And persist. Steve: Well, yeah, but like that's a whole thing -- it's really a question -- that's the "life" thing right there. Because it doesn't matter whether you're a finger-style blues guitar player, or whether you're a maintenance plumber or whether you're a Buddhist monk -- the whole thing is persist -- go on. Don't forget why you're here. Just go ahead and do it. ------------- (Now back to your regularly scheduled personalities... Cathi N.) ========================================================================= Date: Thu, 14 Mar 1996 10:33:14 +0600 Reply-To: toulouse@comm.net From: toulouse Organization: Toulouse Enterprises, Inc Subject: Re: I Don't Care Comments: To: bit-listserv-blues-l@uunet.uu.net Bruce Roberts wrote: > > Hey, I don't care if LW is or is not a racist. I don't care if > someone else THINKS he's a racist or not. I don't care what LW > think about Dick Waterman and I don't care what Dick Waterman > thinks about LW. Why don't you all just take this CRAP off line! > > Bruce Roberts > Austin, TX Hey Bruce, I don't care what you don't care about, so keep your "CRAP" offline. There, see how stupid it sounds? You can always pass it by. ========================================================================= Date: Thu, 14 Mar 1996 10:39:52 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: ?Washboard? Need help in l.a Comments: To: isprints@indy1.calarts.edu In a message dated 96-03-14 04:21:32 EST, isprints@INDY1.CALARTS.EDU (Isaac Sprintis) writes: >ALSO---------- DOES ANYONE KNOW WHERE/HOW/ to get the right washboard. Personally, if I wanted a real blues-type washboard, I would go to Schwab's in Memphis, where they have had them in stock since way back when they were objects of utility for launderers. And, who knows, perhaps Abe Schwab remembers which ones the jug bands favored. You'll have to ask someone from California what to do in the Los Angeles area. Tom Freeland ========================================================================= Date: Thu, 14 Mar 1996 12:14:19 -0500 Reply-To: Paul Deeds From: Paul Deeds Subject: Re: Robert Pete Williams' birthday In-Reply-To: <19960313.122629.411086.NETNEWS@AUVM.AMERICAN.EDU> On Wed, 13 Mar 1996, William Shute wrote: > All of my Robert Pete Williams is on vinyl. Perhaps someone can mention > some available CDs so blues-l-ers unfamiliar with his work can sample it. I agree fully with your thoughts on Robert Pete. As far as releases on CD, I would recommend both of the Arhoolie discs, "When A Man Takes The Blues" and "I'm As Blue As A Man Can Be", and on Prestige, "Free Again". I have two other discs, "Sante Fe Blues" on Blues Collection (a French label) -- which are his last recordings, and "Blues Masters" on Storyville. On "Blues Masters" he plays a lot of slide guitar, and Big Joe Williams sits in on kazoo on a number of songs. It is a fairly interesting disc for these reasons, but decidely not his most compelling work. The music on "Sante Fe Blues" is definetly not among his best. There seems to be an inspiration missing that was present on a lot of his earlier recordings. I would be curious to know if there are any other notable Robert Pete Williams discs available. I have bought every one that I have seen. Has the material from the Arhoolie album "Talkin' Prisoner's Blues" ever been released on CD? (especially the title song -- which is one of the saddest blues songs I've ever heard) Thanks, Paul Deeds ========================================================================= Date: Thu, 14 Mar 1996 11:12:02 -0600 Reply-To: Roger Struve From: Roger Struve Subject: ONCE AGAIN.....! THERE IS NO JOHN HAMMOND, SR. THERE IS NO JOHN HAMMOND, JR. The use of these descriptory terms is an insult to one of the greatest bluesmen of all time, John Paul Hammond, who is the son of John Henry Hammond (now deceased). John Hammond, the son, is a famous bluesman in his own right. Imagine growing up under the shadow of such a famous father. YOU TOO, WOULD WANT your own recognition for your own accomplishments....separate from and at least equal to that of the famous father. He has always resented the use of Jr. with his name. It is neither correct usage in any sense of the word, and it is also insulting to a person who deserves far more respect than that! regards, delta doc roger ========================================================================= Date: Thu, 14 Mar 1996 12:30:09 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: eRIC's BLUES DATES: Mar. 15 Comments: To: James Carmin In-Reply-To: <199603141408.GAA11985@desiree.teleport.com> On Thu, 14 Mar 1996, James Carmin wrote: > Here's a few dates (b. born, d. death) for tomorrow. If you have any > corrections/additions, let me know at leblanc@dao.nrc.ca. > > ------------------------------------------------------------------------------- > artist notes/full name yyyy-mmdd, city/county state age > ------------------------------------------------------------------------------- > COODER, RY [RYLAND PETER COODER] (g) b. 1947-0315, LOS ANGELES, CA Happy Birthday to the greatest living slide guitarist! _Paris, Texas_ has to be the greatest soundtrack ever. If only he'd tour the States. Anyone know what he's up to lately? Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" :D come win a CD at Jim's Blues N' Brews: http://www.cloud9.net/~leftwich ========================================================================= Date: Thu, 14 Mar 1996 12:12:08 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Musing over Hubert Comments: To: Rennie Selkirk In-Reply-To: <4i800f$fgf@onramp.arc.nasa.gov> For what it's worth, when I saw Hubert in '68-69, he had a Gretsch Country Gentleman guitar (which he said Chet Atkins had given him). ========================================================================= Date: Thu, 14 Mar 1996 13:18:39 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Clarksdale's future (long, very long) On Thursday, March 14, PW Fenton quoted the following article: OPEN QUOTE: Train station renovation leads Clarksdale rebirth By Norm Shaw The train station sits on the edge of downtown Clarksdale, abandoned and run down, like so many other small-town stations that are long past their heyday. Broken or boarded-up windows, kicked-in doors and trash are the dominant features. It is hard to imagine it as anything but an eyesore. The people who owned it figured they could sell it to someone who wanted it for the brick and copper. But Skip Henderson sees something else. Henderson sees a public facility, with a performance hall featuring state-of-the-art sound and recording equipment. He sees a blues club. He sees a restaurant. He sees Bluesland. Welcome to Skip Henderson's world, where all is possible and the only limits are budgetary and energy. And after spending a few hours with Henderson, you soon realize there may well be no limits. Henderson heads a drive to renovate Clarksdale Station into a blues tourist attraction. It is a goal he has been chasing for a few years and led him to buy the station. As his idea grew and he gained support, an amazing thing happened. It all worked out. "I bought it, and then we got the grant," Henderson says while sitting behind his brand-new computer. "I couldn't own the building under the terms of the grant, so I had to sell it back to the county." "The grant," usually said in reverential tones, is the thing that made all the difference in Henderson's plan. It gave him the freedom to build his dream and it gave him instant respect in the community. A million dollars can do that for you. "I remember I went home and told my family I was selling my guitar business and buying a train station in Clarksdale," Henderson says. "My wife was crying. My mother was crying. And then they found out no trains were coming through the station and they really thought I was crazy. "Actually, my wife and mother didn't cry, but they were skeptical. And then the $1 million came through. That made believers out of everybody. It was real sweet." It wasn't just Henderson's family that became believers after the $1,018,862 grant came from the Mississippi Department of Transportation. City and county officials in Clarksdale began to see the potential for blues heritage tourism in a big way as well. "Sometimes people from the outside can see something and can be more enthusiastic than local people," says Ron Hudson, head of the Clarksdale Chamber of Commerce and Tourism Commission. "Skip is such an enthusiastic guy, with so many ideas. He's the type of person needed to get a project like this off the ground." Hudson said Bluesland at Clarksdale Station is exactly what the city needs to boost tourism. County Administrator Hugh Jack Stubbs agrees. "We really think this project has a lot of potential," Stubbs says. What Henderson will do with the $1 million is potentially one of the biggest boons for blues in the Delta. He will turn the railway station that once was the gateway to the north for such blues greats as Muddy Waters into a public performance hall. The hall will be available to all kinds of music and all kinds of performers. "The Rev. Willie Morganfield (a first cousin to Muddy Waters) can bring his choir in to perform. And they can make a live direct-to-DAT recording. They can then reproduce it as a cassette, and they can do all that right there. It will offer multiple benefits laid one on top of another." The developer also sees a good bit of irony in the project. The 13,000-square-foot station was built in 1926, and in keeping with the times, it included virtually two of everything. One side for whites, the other for blacks. The mirror-image design creates unique opportunities, such as putting a drink station in the old ticket booth, which will create one side for a bar and one side alcohol free. "In the white dining room, we want to put a soul-food restaurant," he says. "I love the irony of that." Bluesland Inc. also is a way Henderson says he can give back to the community. Benefit shows will be a big part of the performance hall. The restaurant will be a pass-through for community restaurants ("Abe's Ribs closes at 9 p.m., but we'll be able to sell Abe's Ribs until 2 a.m.," Henderson says). The interest in giving back to the community comes naturally to Henderson. He worked in Juvenile Justice on the East Coast for several years before opening a vintage guitar shop. He first came to the Delta at the urging of Billy Gibbons of ZZ Top. He now feels completely at home in the South, and will be moving his family to Clarksdale next spring. His enthusiasm for Clarksdale is apparent as he tools around town in his vintage, fire-engine red Cadillac Coupe Deville. A visit to the Delta Blues Museum in the Clarksdale Library brings smiles and waves from all the employees. He talks excitedly about the people who have signed the guest registry at the museum. The visitors in the week prior had come from Egypt, Australia, Colombia, Kazikstan, Italy, Portugal, Mexico, England and more. These are the people Henderson sees flocking to Bluesland. "It's amazing to me," he says. "There are people coming (to the museum) from all over the world, but my mailman has never been here." The station renovation, which should be completed by next fall, is the first step in many that Henderson sees for his ventures in Clarksdale. He plans to make guitars, sell guitar strings, help expand and move the Delta Blues Museum, and continue his work through the non-profit Mt. Zion Fund to honor blues greats no longer alive. A crowded palette. But somehow you get the impression Skip Henderson is up to the task. As with the train station, Henderson often sees opportunity where others see despair. As he drives away from the station, he tells the story about driving around Clarksdale with a real estate agent. As they drove down Issequena Avenue, past a boarding house, the agent pointed to a group of African-American men sitting on the sidewalk drinking from brown paper bags. "The Realtor said, 'To us, this is the blues,'" Henderson says while shaking his head. "I see this as a human resource," he continues. Some local folks are threatened by what they see on Issequena, Henderson says. "I see these guys as survivors. Who knows, one of these old guys must have heard Charley Patton. It just makes you wonder." Clarksdale should be happy Henderson is wondering about the town's future. He may well be its savior. CLOSE QUOTE I was in Clarksdale last weekend trying to sort out the facts of the Muddy Cabin's confusion and spent a lot of time with Skip Henderson discussing his plans for the depot. This guy is a true visionary. You may not always agree with what he is attempting, but he plainly sees issues on a huge scale and has ambitious goals for the depot. The first thing that Blues-L people should know is that the Delta Blues Museum is no longer located in the Carnegie Public Library. It is a very long complicated story, best understood by Clarksdale residents. It has to do with library funding and the Museum paying rent to the city, etc. The Museum is now located in a small store front down the street but Skip Henderson envisions that the Delta Blues Museum will occupy a section of the depot with another portion being the home of Jim O'Neal's Stackhouse Record Store and a studio for Rooster Records. There will be an area set aside for food and a live music performance stage setting. This is only the basic framework for what are long range plans to bring a reawakening of blues appreciation to the city of Clarskdale. Skip Henderson is painting his vision on a very broad canvas but his kind of hands-on enthusiasm just might pull it off. If Henderson & O'Neal are successful, you'll be able to pop a cold one, eat some barbeque and listen to Jack Johnson or Lonnie Pitchford or Arthneice Jones play live music while flipping through an awesome selection of authentic blues Cds and 45s in the retail store. Hey . . . it could happen . . . Dick Waterman ========================================================================= Date: Thu, 14 Mar 1996 13:12:44 EST Reply-To: dgross@XCALIBUR.IINC.COM From: dgross@XCALIBUR.IINC.COM Subject: Christina/Bott (was Re: T-Birds/Mighty Flyers) I talked with Fran Christina last night after the T-Birds show here in Rochester. He's playing the next three (if I remember right) shows with them, then Jimi's taking over. I asked him "Where to from there?" and he said he's just going to stay around home for a while, perhaps take some metalworking and woodworking classes (he built a drum set earlier in his career "on a whim," and still uses the snare from it (a DEEP, wonderful sounding snare...:-) Sounds like he wants to try something like that again...). To paraphrase him, he said "after 20 years with the T-Birds, it's time to figure out what I'm going to do when I grow up." :-) He said he's going to keep playing, and maybe if the right offer comes up in the future, he may tour again. But for now, it seems he's really looking forward to some time "off the road." I was really glad to see and meet one of the great Texas blues drummers on one of his last gigs with the T-Birds. About a million and one questions/comments popped into my head on the way home (don't you hate when that happens?), but I at least remembered to get the full scoop for the BLUES-L. Of course, I couldn't help but remember, since up until Tuesday it was unclear as to whether Jimi or Fran was drumming... --Dan Gross dgross@iinc.com (It was a really good show, BTW :-) -- Dan Gross Programmer by day, Drummer by night. Elba, NY Blues fan all the time... dgross@iinc.com http://www.iinc.com/~dgross ========================================================================= Date: Thu, 14 Mar 1996 13:45:23 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: ROBERT_JOHNSON+JOHN_HAMMOND_NEXUS!! >> Hi folks... >> Last nite I got the complete recordings of >> ROBERT JOHNSON.....the essential thing.... :) :) >> In it I remember seeing a picture of John Hammond >> and some mention of his connection with Robert Johnson... >> I did not read the whole story..... >> Can anybody shed some light...I can't wait to get >> home put them Robert Johnson recordings.....and "feel" the >> blues > >They're talking about John Hammond Sr. who put on a couple of concerts >at Carnegie Hall in NY city call "Spiritals to Swing" in the late 30's. >It was a major event that launched several careers. John Hammond had >toured the country looking for undiscovered talent and he came across >Robert Johnson and signed him up for the concert, but he died before the >concert. Of course this would have been major exposure for Robert >Johnson at a time when his career was about to take off. > >Bruce Roberts >Austin, TX Not quite right - Hammond wanted to sign Johnson for the concert on the basis of his records, but learned he was already dead. See his autobiography. Chris Smith (chris@skerries.demon.co.uk) "I'm a man of no convictions - at least, I think I am." (Christopher Hampton) ========================================================================= Date: Thu, 14 Mar 1996 18:47:30 GMT Reply-To: bbbean@cris.com From: Barry Bean Organization: Concentric Internet Services Subject: Re: ?Washboard? Need help in l.a Comments: To: bit-listserv-blues-l@uunet.uu.net In <960314103951_350986622@mail02.mail.aol.com>, Tom Freeland writes: >In a message dated 96-03-14 04:21:32 EST, isprints@INDY1.CALARTS.EDU (Isaac >Sprintis) writes: > >>ALSO---------- DOES ANYONE KNOW WHERE/HOW/ to get the right washboard. > >Personally, if I wanted a real blues-type washboard, I would go to Schwab's >in Memphis, where they have had them in stock since way back when they were >objects of utility for launderers. And, who knows, perhaps Abe Schwab >remembers which ones the jug bands favored. I've had the rare and distinct honor of recording on washboard (jug and kazoo as well) a couple of times, and can assure you that the best washboard to use is, as with all jug band instruments, the one in the junk store or barn nearest you. It will ideally be free or have a tiny price tag. BBB B.B. Bean bbbean@cris.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Thu, 14 Mar 1996 13:40:35 +0000 Reply-To: tkelley@ARL.MIL From: Troy Kelley Organization: ARL Subject: Re: BLUES-L Digest - 12 Mar 1996 to 13 Mar 1996 ---------------------------------------------------------------------- -Date: Tue, 12 Mar 1996 22:15:14 -0800 -From: Jim Witteveen -Subject: Special Request (gearheads please) - Hi all. Sorry for the lack of blues content, but this guy's been looking -for an answer to his question all over the place, but he ain't getting a -response. I haven't got the slightest, but I figured some of you gearheads -would have some idea. -Thanks. (His e-mail address is at the bottom). -jim >Which amp (preferably tubes) would give me the closest thing to the classic >surf sound of the early 60's without blasting my neighbours to hell? I think >the following list has some potential, but your commentor insight would be >much appreciated. So, here's the list: Vibro-King 59 Bassman Re-Issue 63 Vibroverb Re-Issue 65 Deluxe Reverb Re-Issue Thanks for any comment you can provide Denis Brochu (dbrochu@odyssee.net) ----- Vibro-King - Very expensive amp (1500 bucks if your lucky), but worth every penny. Definitly one of the best sounding clean amps I have ever heard. The fat switch on it is really cool too and you can really get some great SRV tones from it. Surf sounds? I don't know - probably - but for 1500 dollars it had better rub my feet when the gig is over too. 59 Bassman Re-Issue - If I am not mistaken, the re-issue doesn't have reverb. I know the original Bassman did not, but I am not sure about the reissue. The Fender blues deluxe and blues deville amps were basically 59 bassman amps with some reverb and distortion. Not my first choice for a suft guitar sound. VibroVerb - From what I heard SRV had two vibroverbs amps that were one serial number apart and he bought them at separate times. VibroVerb is a great working man's amp. I always like the 4X10 combination on any amp. Surf sounds? Probably... Deluxe Reverb - Now your getting into some good reverb. I think this would be a pretty good choice for surf guitar. I think you can get 50 watt versions too, which might make your neighbors happy. Also consider.... Twin reissue - 100 watts will probably make your neighbors pretty upset, and this amp is HEAVY, but it is the best sounding clean amp ever made, without a doubt. Pro Reverb - If you want great sounding reverb - this is the amp. This is probably my first choice for surf guitar music. I think this Dick Dale's amp (The surf guitar god). Troy "Gearhead" Kelley ========================================================================= Date: Thu, 14 Mar 1996 13:03:55 -0600 Reply-To: bolt From: bolt Subject: Re: Clarksdale's future (long, very long) >Skip Henderson is painting his vision on a very broad canvas but his kind of >hands-on enthusiasm just might pull it off. >If Henderson & O'Neal are successful, you'll be able to pop a cold one, eat >some barbeque and listen to Jack Johnson or Lonnie Pitchford or Arthneice >Jones play live music while flipping through an awesome selection of >authentic blues Cds and 45s in the retail store. >Hey . . . it could happen . . . > >Dick Waterman > I hope there's a cemetary next door, that's where I'd want to rest. Reg Burns +++++++++++++++++++++++++++++++++++++++++++++++++ + I'll listen to reason when it comes out on CD + + + + bolt@neosoft.com + +++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Thu, 14 Mar 1996 19:22:44 GMT Reply-To: Peter Orelup From: Peter Orelup Organization: Silicon Graphics, Inc. Subject: Your favorite acoustic Fred McDowell Comments: To: bit-listserv-blues-l@uunet.uu.net First, I'd like to thank everyone who responded to my request for Carl Martin recordings. I can only think of one other newsgroup or list that has such passionate, well informed, and helpful readers. I'm trying to decide which Fred McDowell to buy. I've got the 4-CD Sounds of the South box, which has quite a few Fred McDowell tracks, but I'm hungry for more of his acoustic slide guitar. The All Music Guide seems to like Arhoolie 1108-304-4, Fred McDowell: Mississippi Delta Blues. I'd probably choose that unless someone can convince me otherwise. Any advice would be appreciated. Thanks, Pete ------ Pete Orelup, Silicon Graphics, Inc. (peteo@sgi.com) (415) 933-3697, Fax: (415) 390-6175, MS: 2L-178 URL: http://reality.sgi.com/employees/peteo/ ========================================================================= Date: Thu, 14 Mar 1996 13:49:16 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: "One Day At A Time Sweet Jesus" Comments: cc: rdgeiger@mindspring.com I believe this was a late 70s country-gospel hit for Cristy Lane. It was popular enough that it should still be available as a reissue in one form or another. Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Thu, 14 Mar 1996 13:24:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM Comments: To: bit-listserv-blues-l@uunet.uu.net From: "J.E. Downey" Organization: Concentric Internet Services Subject: Be kind to LW week >>Ok getting tired of being called a racist. I would like to know am I >>racist >>against whites or blacks. >>My daughters best friend is a >>black guy, he stays at our house a lot, she >>likewise visits his >>house. They go out together, as friends, I suppose. She >>buys him >>presents, he buys her presents. He eats supper with us some....etc >I'll bet your daughter has Methodist friends, too. Do you feel >compelled to tell us about them? I think this level of hostility is unnecessary. I've definitely got a big mouth myself, so mea culpa, but I am always proud of the List for its immense decency. It's been a truly great group through all of our disagreements. BLUE JOE IN RED RUSSIA (LW patiently taught me what is a John-de-Conqueroot when I had one growing in my back yard and did not even know it!) J.E._Downey@bakermck.com ========================================================================= Date: Thu, 14 Mar 1996 15:31:37 -0500 Reply-To: Dave Markovits From: Dave Markovits Subject: R.l./Junior Previously R.l. Burnside and the Fat Possum tour played here in Chicago . New City wrote an obnoxios preview of the show(even though the author kind of recommended it)New City is a free arts paper similar to the reader. I wrote a letter to the editor, they published it this week page 2 . Another guy wrote a letter as well. If you're in Chicagoland pick it up. I will post their preview-review and my letter tomorrow. Happy Bluesin' David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Thu, 14 Mar 1996 13:41:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM Comments: To: Chris Smith From: "J.E. Downey" Subject: Re: Great English lovers?? At 01:03 AM 3/14/96 -0500, Chris Smith wrote: >>>>If they take Muddy's house on the road, what do you think will >>>>be the opening act. Lee >>>> >>>>Lee C. Spector >>>>Department of Economics >>>It has just got to be Cleanhead Vinsons comb or, if thats to >>>expensive, >>>Hound Dog Taylors signature (originaly written by Lieber >>>n Stoller). Or why >>>not a big cage with PW and LW facing each other >>>with a computer each and a >>>big display for the audience to watch >>>Mr Bo (who is quite funny >>>if compared to many white swedish >>>comedians) >>>Swedish comedians? >>>Is that like 'great English >>>lovers'? >> Actually, no, it's more like great American beer..... >>Mary Katherine Or maybe like great Russian blues bands. And hey, which Mary Katherine is this, the Great Luminary, or a certain Mary Katherine SHEFFIELD (bloody impostor!!)? Or maybe some other as-yet undiscovered phony Mary Katherine? Just curious. BLUE JOE IN RED RUSSIA (where jazz is king (bleahhh!)) J.E._Downey@bakermck.com ========================================================================= Date: Thu, 14 Mar 1996 15:33:49 -0500 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Re: I'm a racist Comments: To: bit-listserv-blues-l@uunet.uu.net Well since I believe that one has the right to say, what one wants to say to a certain extent (I am the Assistant Dir. of the ACLU of MD - I better feel that way!), I encourage LW to keep with his provocative and mostly misdirected posts. But his anwser to the "racist" question was from the school of thought that "me racist...some of my best friends are black!" (I'd be a rich woman if I had a dime for all the times I have heard that one). But do you think that he would feel the same way of his daughter's "best friend" became her husband? ...think about it. Lea Gilmore Baltimore, MD "Everyday I Have the Blues" ========================================================================= Date: Thu, 14 Mar 1996 15:14:33 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: "One Day At A Time Sweet Jesus" Comments: To: Eliot Williams In-Reply-To: <334BE7F0273@heme.medicine.wisc.edu> This was the theme for Pervis Spann's radio show in Chicago a few years ago. (He went from "The All Night Blues Man" to "the Mid Day Gospel Man.") ========================================================================= Date: Thu, 14 Mar 1996 16:22:02 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Robert Pete Williams & Angola Prison March 14th marks the birthday of Robert Pete Williams and I thought about him last night when I went to see the film :"Dead Man Walking," which is about a convict on death row at Angola State Prison. Robert served seven years in Angola and might well have died there (he was sentenced to 'natutral life') if Dr. Harry Oster had not recorded him there. Most of the Robert Pete Williams' Angola material has been issued in CD format by Arhoolie in recent years. It is chilling to hear him lightly brush the strings of a borrowed 12-string and whisper "Some got six months / Some got a solid year / But me and my buddy / We got a lifetime here." For those of you who might see "Dead Man Walking," the final credits list the late Allison Minor as the co-ordinator of the Louisiana music heard on the soundtrack CD. Ms. Minor (along with Quint Davis) was a co-founder of the New Orleans Jazz & Heritage Festival and also was responsible for the late career successes of Professor Longhair. She died much too young and will be greatly missed. Dick Waterman ========================================================================= Date: Thu, 14 Mar 1996 16:29:53 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Your favorite acoustic Fred McDowell Comments: To: peteo@ford.engr.sgi.com On March 14, Pete Orelup said: >>>The All Music Guide seems to like >>>Arhoolie1108-304-4, Fred McDowell: Mississippi >>>Delta Blues. I'd probably choose that unless >>>someone can convince me otherwise. Any advice >>>would be appreciated. There is a new release of a1962 session done in Fred's tralier in Como, Mississippi. It is Rounder CD-2138 and contains a full 20 selections including all of his best known material. Dick Waterman ========================================================================= Date: Thu, 14 Mar 1996 15:32:31 -0600 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: I'm a racist Comments: To: leagil@AOL.COM In-Reply-To: <4i9vrd$kp3@newsbf02.news.aol.com> from "LeaGil" at Mar 14, 96 03:33:49 pm In an earlier message, LeaGil said: ] misdirected posts. But his anwser to the "racist" question was from the ] school of thought that "me racist...some of my best friends are black!" ] (I'd be a rich woman if I had a dime for all the times I have heard that ] one). But do you think that he would feel the same way of his daughter's ] "best friend" became her husband? ...think about it. Well...hmmm... "Me? A liberal? Hey, some of my best friends are racists. But let my daughter marry one? That's different...." Semi-bluesContent-lousy-pun: I think I'm muddying the waters. -- * The most exciting phrase to hear in science, the one that heralds new * discoveries, is not "Eureka!" (I found it!) but "That's funny ..." * -- Isaac Asimov ========================================================================= Date: Thu, 14 Mar 1996 15:31:34 -0700 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: Re(2): I'm a racist In-Reply-To: <4i9vrd$kp3@newsbf02.news.aol.com> > But do you think that he would feel the same way of his daughter's > "best friend" became her husband? ...think about it. > > Lea Gilmore > Baltimore, MD > "Everyday I Have the Blues" > Sorry. No time to think about this. More important things to think about RW ========================================================================= Date: Wed, 13 Mar 1996 16:46:00 EST Reply-To: MR ROBERT W BELEW From: MR ROBERT W BELEW Subject: Re: Beale St. Festival Howdy, The W.C. Handy Awards are on May 2nd and the Festivals run thru the 5th ! The W.C. Handy Award tickets are available from The Blues Foundation (of course). They can be reached at 901- 527-2583 or fax: 901-529- 4030. The address would be: The Blues Foundation 174 Beale Street Memphis, TN 38103 See Ya there ! Now for the Memphis In May Fest. Contact: MIM @ 901- 525-4611 ========================================================================= Date: Thu, 14 Mar 1996 16:59:38 -0500 Reply-To: LLarson114 From: LLarson114 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Taj/Bhat/? CD? Comments: To: bit-listserv-blues-l@uunet.uu.net I have this CD and play it often. Indian sitar-like music meets the delta blues. I generally enjoy mixing different styles so you may take that into account. I have some solo stuff from Bhatt - more taditional Indian music on slide guitar. He have also recently release similar work with Dobro guitarist Jerry Douglas. Lecording quality is ussually excellent. ========================================================================= Date: Thu, 14 Mar 1996 14:26:04 -0800 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Re: eRIC's BLUES DATES: Mar. 15 Comments: To: James Leftwich In-Reply-To: Ry Cooder has been playing around L.A====== In Cognito playing with a band with his son. (along with doing all his other things) Ry is playing friday night at 9:00 at the Fai Do DO, so I hope that some L.A. cats can catch it. I know that I will. Peace, Isaac On Thu, 14 Mar 1996, James Leftwich wrote: > On Thu, 14 Mar 1996, James Carmin wrote: > > > Here's a few dates (b. born, d. death) for tomorrow. If you have any > > corrections/additions, let me know at leblanc@dao.nrc.ca. > > > > ------------------------------------------------------------------------------- > > artist notes/full name yyyy-mmdd, city/county state age > > ------------------------------------------------------------------------------- > > COODER, RY [RYLAND PETER COODER] (g) b. 1947-0315, LOS ANGELES, CA > > Happy Birthday to the greatest living slide guitarist! _Paris, Texas_ > has to be the greatest soundtrack ever. If only he'd tour the States. > Anyone know what he's up to lately? > > > Jim Leftwich > leftwich@cloud9.net > "I'm on cloud9!" :D > > come win a CD at Jim's Blues N' Brews: http://www.cloud9.net/~leftwich > ========================================================================= Date: Thu, 14 Mar 1996 16:46:50 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 03/15 B O R N : AVAKIAN, GEORGE Born:1919 ARMAVIR, RUSSIA Career:RECORD PRODUCER / WRITER / CRITIC Style:JAZZ / BIG BAND With:COLUMBIA RECORDS BURKE, VINNIE ( VINCENT BUCCI ) Born:1921 NEWARK, NJ Career:BASS / LEADER Style:JAZZ With:Joe Mooney / Tony Scott / Cy Coleman trio / Sauter-Finegan / Marian McPartland CLARK, SPENCER W. Born:1908 BALTIMORE, MD Career:BASS SAX / CORNET Style:BIG BAND With:California Ramblers / Bud Freeman / Jack Purvis / Babe Russin / Will Osborne / Fred Waring (1932 / Ozzie Nelson / Irving Conn (1933-1936 / Dick Stabile (1936-1938 COODER, RY [RYLAND PETER COODER] Born:1947 LOS ANGELES, CA Career:GUITAR Style:BLUES D'ARBY, TERENCE TRENT Born:1962 NEW YORK, NY Career:SINGER Style:BLUES FONTANA, D. J.[DOMINIC JOSEPH FONTANA] Born:1931 SHREVEPORT, LA Career:DRUMMER Style:BLUES GREEN, CLARENCE Born:1929 GALVESTON, TX Career:GUITAR Style:BLUES With:DUKE / CHESS RECORDS HARRINGTON, JOE Born:1950 MARIANNA, FL Career:SINGER Style:BLUES HILL, BERTHA "CHIPPIE" Born:1905 CHARLESTON, SC Career:SINGER Style:Blues / JAZZ / BIG BAND HOPKINS, LIGHTNIN' [SAMUEL HOPKINS] Born:1912 CENTERVILLE, TX Career:GUITAR / ORGAN / PIANO Style:BLUES JAMES, HARRY (HARRY HAAG JAMES ) Born:1916 ALBANY, GA Career:TRUMPET / LEADER Style:JAZZ / BIG BAND With:Herman Waldman / Ben Pollack / Benny Goodman / Vido Musso / Sam Marowitz / Glenn Herzer / Leo Zorn / Clint Davis / Lou Horvath / Henry Jaworski / Corky Corcoran / Willie Smith / Buddy Rich / Ray Conniff / Sam Donahue / Juan Tizol / Conrad Gozzo / Jackie Mills / Ray Sims / Louis Bellson / Sonny Payne / Gus Bivona / Connie Haines / Frank Sinatra / Dick Haymes / Lynn Richards / Helen Forrest / Kitty Kallen LLOYD, CHARLES Born:1938 MEMPHIS, TN Career:TENOR SAX Style:JAZZ / BIG BAND MACDONALD, RALPH Born:1944 NEW YORK, NY Career:GUITAR / PRODUCER / PUBLISHER Style:BLUES McPARTLAND, JIMMY ( JAMES DUGALD ) Born:1907 CHICAGO, IL Career:CORNET Style:TRAD / JAZZ / BIG BAND With:Austin High Gang / Art Kassel / Ben Pollack / Bud Freeman / Peanuts Hucko / Tony Parenti MYERS, AMINA CLAUDINE Born:1943 BLACKWELL, AR Career:PIANO / ORGAN / SINGER Style: BLUES / JAZZ ROCKWELL [KENNEDY GORDY] Born:1964 DETROIT, MI career:SINGER Style:BLUES TAYLOR, CECIL ( PERCIVAL ) Born:1933 NEW YORK, NY Career:PIANO / COMPOSER Style:JAZZ FOR A LISTING OF THOSE THAT PASSED AWAY IN THIS MONTH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Thu, 14 Mar 1996 22:44:11 GMT Reply-To: Lily Sazz From: Lily Sazz Organization: Trailblazers Subject: Going to Baltimore... any suggestions? Comments: To: bit-listserv-blues-l@uunet.uu.net Hey Bluezellers! I just found out that I'm heading to Baltimore and I'm looking for stuff to do there, relating to - what else, the blues! My two free evenings will be next Weds/Thurs, (March 21/22). I know that Bela Fleck is playing in Owings Mills on the 21st. Can someone tell me how far that is from Baltimore? Any other suggestions? Any jams, for example? Any jams with keyboards there, since I won't have mine? I'm hoping to hear from you Baltimore bluezellers with info. Thanks! Email me at lilysazz@hookup.net Lily Sazz The Trailblazers trailblazers@hookup.net http://www.hookup.net/~lilysazz/ ========================================================================= Date: Thu, 14 Mar 1996 22:53:45 GMT Reply-To: Beth Oliver From: Beth Oliver Organization: The Loop Subject: Jake Andrews Comments: To: bit-listserv-blues-l@uunet.uu.net Jake Andrews was brought to my attention recently. I haven't heard or seen him yet. He's a young guy who plays guitar out of Austin. I would like to know if anyone has heard him play, if so, what was his show like? Thank you, Beth Oliver ========================================================================= Date: Thu, 14 Mar 1996 16:10:09 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Jake Andrews >Jake Andrews was brought to my attention recently. I haven't heard or >seen him yet. He's a young guy who plays guitar out of Austin. I would >like to know if anyone has heard him play, if so, what was his show like? He's a fifteen year old kid who can play the guitar like a whiz. I've seen him once, and if he's still at it when he's thirty I'll go see him. Right now he's got nothing to say, and he spends plenty of time saying it. -Jim (hndful@uniserve.com) ========================================================================= Date: Thu, 14 Mar 1996 23:58:44 +0100 Reply-To: Johnny Skaaning From: Johnny Skaaning Organization: Fjollenistisk Institut Subject: Ronnie Earl Comments: To: bit-listserv-blues-l@uunet.uu.net Hi guys ! I am a big fan of Ronnie Earl. I am wondering if Ronnie earl ever recorded with Sugar Ray & the Blue Tones before he joined the Roomful of Blues ? If you have information of such a recording, I'd be very happen to hear from you. I've learned that there is a new release coming at march 19. (' Grateful Heart - Blues and ballads ') Have you heard about that one ? And do you know who is his co-players on it ? I am also interested in video recordings with Mr. Earl. Kindly ... Carsten Larsson - Copenhagen Denmark. ========================================================================= Date: Thu, 14 Mar 1996 16:17:11 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Robert Pete Williams & Angola Prison >March 14th marks the birthday of Robert Pete Williams and I thought about him >last night when I went to see the film :"Dead Man Walking," which is about a >convict on death row at Angola State Prison. Robert served seven years in >Angola and might well have died there (he was sentenced to 'natutral life') >if Dr. Harry Oster had not recorded him there. Two questions from someone who knows next to nothing about RP Williams: Why was he there (Angola), and why was he released? I'd love to have this cleared up for me. Thanks! -Jim (hndful@uniserve.com) ========================================================================= Date: Thu, 14 Mar 1996 13:17:06 -0700 Reply-To: beer@wic.net Comments: Authenticated sender is From: Don Beer Subject: Joe Cocker Could someone please tell me where I can send Joe Cocker fan mail? ========================================================================= Date: Thu, 14 Mar 1996 18:28:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: MS Heat in St.Louie Mississippi Heat will be appearing at the St.Louis Blues Festival in September. All you Blues-zellers going to the gathering of the tribe will be in for a treat. They were in town last Friday and sounding just as good as ever. I interviewed them on the air. These veteran musicians have been together about four years and being with this band is one of the best experiences they've had in their musical careers - they all say that. In their collective experience they've played with all the greats - James Wheeler with Otis Rush among others, Bob Stroger with Sunnyland and Hubert for two, Billy Flynn with Jimmy Dawkins (I've never heard anyone come as close as Billy to Dawkins' style - he can also do Earl Hooker, Robert Nighthawk and Tampa Red. Deitra Farr is an excellent and spirited vocalist but they all sing - except for maybe their fine drummer Allen Kirk, and extremely talented harp-man Pierre Lacocque. They will be playing here in Madison monthly - lucky us! Their first CD "Straight to the Heart" has now been re-issued and re-mastered. The late Robert Covington was lead vocalist on that one. Their CD's are still not in the stores - so remember to bring some extra cash when they're in your vicinity. -Bonnie PS they will also be at the Toledo Rock n' Rhythm Festival in late May. ========================================================================= Date: Thu, 14 Mar 1996 19:39:10 -0500 Reply-To: Jon Duttweiler From: Jon Duttweiler Subject: Sitting & Thinking - Long John Hunter Bill Shute, at the end of a recent post, mentioned the new album by Long John Hunter. Below is a recent review of this wonderful CD. LONG JOHN HUNTER - BORDER TOWN LEGEND ALLIGATOR # 4839 ALLIGATOR RECORDS POST OFFICE BOX 60234, CHICAGO, IL 60660 TEL: 1-800-344-5609 FAX: 312-274-3391 Texas blues, from T-bone Walker and U. P. Wilson to Albert Collins and Johnny Copeland, there's something about 'em that seems to jump off the disc at you. That certain swing, that Texas swagger, that knife-edged guitar attack that seems to come at you like a razor sharp bowie, slicing you straight to the bone. No matter who seems to be doing the playing, like a good bowl of "Pecos Red," you can always tell the imitators from the real thing. And let me tell you, Long John Hunter is the REAL thing! Another "overnight sensation" who has worked 40 years to make it "big," Long John lives up to the title of this, his debut on a "national" label. Born in 1931, Hunter began playing guitar in 1953, influenced by B. B. King. In the mid-50s he played on shows with such blues greats as Little Milton and Johnny Copeland. Then, from 1957 to 1970, Hunter forged his brand of blues in the crucible of the Mexican border town of Juarez, right across the Rio Grande from El Paso, Texas. As THE house band at the Lobby Bar in Juarez for thirteen years, Hunter combined the blues of greats like BB, Muddy Waters and Jimmy Reed, with the rhythms of Little Richard and Chuck Berry to keep the patrons of the bar interested and coming back. Don't be mistaken, Long John is blues and far from a one dimensional player, as he proves on this disc. Joined by what appears to be a cast of, if not thousands, then dozens, Hunter cranks out some of the tastiest and most varied Texas blues since Albert Collins. Joe Kelley and Derek O'brien join Long John on guitar, along with Michael Henry Martin for a couple of tracks. Horn players appearing include: Keith Winking and Martin Banks, trumpet; Kaz Kazanoff and Art Lewis, tenor saxes; Red Rails, baritone sax. Johnny Nichols plays piano and D. B. Cooper joins in on organ for one track. On bass are Dave Keown and Sarah Brown, and Kevin Taylor provides the drum work. This group is tight and solid and sounds as if they've been playing together for years. Give this disc a listen, 'cause the "legend's" come to life! T-BONE INTENTIONS / ICE COLD / OLE RED / MARFA LIGHTS / NASTY WAYS / GRITS AIN'T GROCERIES / ARKANSAS / ROOSTER & THE HEN / LONE STAR SHOOTOUT / EVERYBODY KNOWS / ROAD HOG / JOHN'S FUNK NY CD Takes T-BONE INTENTIONS: Listening to the first few notes on this track you almost think it's Albert Collins - stinging single string attack with a swinging rhythm section keeping a shuffle beat. Hunter's sound is a little fatter then Collins', but very similar phrasing and economy of notes. This track includes a big horn section that swings right along with the rest of the band, and Johnny Nichols' piano is rolling right along with them. This Hunter original sets the pace for the rest of the disc and lets you know right off you're in for a treat! ICE COLD: The title sounds like Albert Collins, but here Hunter really displays the influence of T-bone Walker. Big horn arrangement, very smooth vocals, Hunter has taken Walker's style and put '90s production to it. Another Hunter original, this track has a moderate to slow tempo with a rock solid rhythm backing. Johnny Nichols again displays some fine left had work to go along with Hunter's stinging leads. OLE RED: From T-bone blues, Hunter shifts on this track to early fifty's style r&b that was the precursor to rock 'n' roll. The band rocks along in a quasi Chuck Berry rhythm and Hunter overlays that knifing guitar work. This is a novelty song of sorts about a fictional character, "Ole Red," who is a modern day "Stagger Lee." Great jumping tune with Art Lewis blowing a killer sax! MARFA LIGHTS: Marfa is a small town on US 67 at the edge of the Big Bend country in west Texas. Hunter uses the backdrop of this mid-tempoed shuffle to tell about the strange lights of the region which many believe to be UFO's. Whatever the reality of the lights, this cut swings with Art Lewis' and Kaz Kazanoff's tenor saxes and the fine rhythm section Hunter assembled for this disc. Down in the mix Nichols is practically pounding the ivories as Hunter lays out his liquid guitar lines. NASTY WAYS: Another Hunter original, this track is classic Texas swing. Here one sees the lines between some Country & Western and Blues start to get fuzzy. Even Hunter's voice gets a touch of "twang" to it, as does his guitar. Yet, underlying it all, is a blues sensibility that is unmistakable. This song definitely kept 'em swingin' in the Lobby! GRITS AIN'T GROCERIES: In one of the few covers on the disc, Long John takes this Ike Turner number and puts a West Texas touch to it. This track swings more than it jumps, and Hunter brings it off without a hitch. The horns and rhythm section are out-front more on this track then Hunter's guitar, yet he shows that his vocals are as strong as his guitar playing. ARKANSAS: Transport the Savoy ballroom down to West Texas, take Count Basie and put T-bone Walker with him and you have the sound of this track. Another mid-tempo number with a swinging beat to it, Hunter gets a big, fat sound out his guitar while D. B. Cooper underlies the whole thing with his organ work. Art Lewis has an opportunity to show off his tenor sax again, and makes the most of it. Put this on guys, and your spouse will have you up and dancing with her! ROOSTER & THE HEN: Hunter kicks this track off making his guitar sound like the clucking of a hen, while the band lays down a steady rhythm backing. This track has a "west coast" sensibility to it, smooth and fluid, with the band maintaining a nice, funky groove. Hunter's bites off the notes as he plays mid-way through this track, a very nice change of pace and showing he's certainly not a one dimensional player. LONE STAR SHOOTOUT: Opening up with some honky tonk piano, this track shifts back into high gear for a guitar "shoot-out." With the band jumping behind him, Hunter takes first cut and then gives way to Derek O'brien, an Austin, Texas, guitarist, who plays some incendiary guitar. Johnny Nicholas, who had been playing piano, takes a crack at guitar and shows that he knows that instrument as well. Joe Kelley, who's been playing rhythm guitar, then gets a chance to shine, as he does. Finally, the shoot-out turns to "Guitar" Jake Andrews before Long John proves why it's HIS record. A good time guaranteed for all! EVERYBODY KNOWS: Another change of gears, this tune gives Hunter a chance to display his "soul" side. A moderately tempoed ballad, this cut features Hunter's vocals and the horn work of Martin Banks and Kaz Kazanoff, none of which disappoints. This track again proves that Hunter has more than one side to him. Another nice change of pace. ROAD HOG: Reminiscent of "(I'm A) Road Runner," this track has a deep groove and heavy backbeat. Art Lewis steps out front first on tenor sax and Dave Keown anchors the whole thing playing some incredibly reverberant acoustic bass. Long John's guitar work again shows a wonderful sense of timing and an understanding that it's not just notes that make a guitar player. JOHN'S FUNK: As the title suggests, Hunter and band get funky on this track. A solid groove underlies the whole cut, giving Hunter and saxophonist Lewis a rock steady backdrop for their solos. Hunter throws in some seventies style vocal interjections (HUH!) and the band funks away closing out the track and the disc. Hunter is not "traditional" blues, he's a stylist who brings together many varied streams and puts his own stamp on them. If you like Texas blues, just as hot and spicy as real Texas chili, then give Long John Hunter a listen. His blues is as big and brassy as Texas itself! Reviewed by Jon Duttweiler Copyright NY CD Blues @1995-1996 All Rights Reserved. Unauthorized use prohibited. WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 14 Mar 1996 18:50:16 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Allison Miner JI>From: Dick Waterman JI>Subject: Robert Pete Williams & Angola Prison JI>To: Multiple recipients of list BLUES-L JI>For those of you who might see "Dead Man Walking," the final credits list th JI>late Allison Minor as the co-ordinator of the Louisiana music heard on the JI>soundtrack CD. JI>Ms. Minor (along with Quint Davis) was a co-founder of the New Orleans Jazz JI>Heritage Festival and also was responsible for the late career successes of JI>Professor Longhair. She died much too young and will be greatly missed. JI>Dick Waterman I too saw the movie and it's a great soundtrack. I can't think of anything that Allison Miner touched that turned sour -- the Fess successes are exhibit A. I have great memories of multiple experiences at the Music Heritage Stage where Allison was the interviewer. She easily was the best interviewer on that stage, the most engaging and the best informed. She was able to adapt to unexpected situations such as when Dewey Balfa took ill during what would have been his final Jazzfest, and she had to interview some of his band members instead. That interview never sagged and turned into a profound tribute. She also hosted some interviews that turned humorous, such as an Earl King interview in which he insisted that the song "Big Chief" was about his mother and a Randy Newman interview in which he expressed continuing fears about the combustibility of the Cuyahoga River. That small festival that Allison Miner helped start in Congo Square now brings over 400,000 people to an expanded seven-day festival at the Fairgrounds (about 35% of whom are from out of state). In addition to managing Fess, she managed the Rebirth Brass Band, the Wild Magnolias, Wille Tee and his brother Earl Turbinton, and was instrumental in starting our fine community radio station, WWOZ Lots of New Orleanians will have special thoughts of her for seven days in April and May. Allison Miner 1949-1995. Bill Morgan From: The Big Easy ========================================================================= Date: Thu, 14 Mar 1996 19:58:23 -0500 Reply-To: LZirlin@AOL.COM From: Larry Zirlin Subject: Re: ROBERT_JOHNSON+JOHN_HAMMOND_NEXUS!! That's John Hammond's father, the producer: Bessie Smith, Bob Dylan, Bruce Springsteen. > Last nite I got the complete recordings of > ROBERT JOHNSON.....the essential thing.... :) :) > In it I remember seeing a picture of John Hammond > and some mention of his connection with Robert Johnson... > I did not read the whole story..... L. Zirlin ========================================================================= Date: Fri, 15 Mar 1996 00:37:00 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Your favorite acoustic Fred McDowell Comments: To: bit-listserv-blues-l@uunet.uu.net In article <960314162222_446500277@mail04.mail.aol.com> Dick Waterman writes: >There is a new release of a1962 session done in Fred's tralier in Como, >Mississippi. It is Rounder CD-2138 and contains a full 20 selections >including all of his best known material. The Rounder Fred release mentioned here is really a fine piece of work. These were recorded shortly after his discovery. The Arhoolie is also nice, but they are studio sessions done a couple of years later. I only count 4 tracks on the Rounder that are covered on the later Arhoolie sessions so you could easily own both sets (if not now, maybe later). Art Schuna ========================================================================= Date: Fri, 15 Mar 1996 01:03:58 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Delmark Apollo Reissues Comments: To: bit-listserv-blues-l@uunet.uu.net Delmark has gotten around to issuing 3 new sets from the Apollo label that I got around to purchasing. Here's the lowdown, Brown; the scoop, Betty Boop; I'm on my way into town! Wynonie Harris - Everybody's Boogie (DE-683) contains Wynonie's complete output for the label. All 18 tracks were recorded in 1945 and feature Illinois Jacquet and Jack McVea on sax. They were recorded shortly after Wynonie left the Lucky Millinder band where he got his start. This is a fine set for people who enjoy blues shouters. Highly recommended. Blu Lu Barker, Wee Bea Booze & Baby Dee - Don't You Feel My Leg (DE-684) Some people may not buy this because it's a compilation of performers most people haven't heard before but it would be their loss. This set is worth the price for the title track, which many of you may remember from a cover version done in more recent years by Maria Muldauer (?? Not sure if I've got that right or not). The rest of this set is also very fine but they are all bonus tracks to me after the title track. Willie Bryant - Blues Around the Clock (DE-685) Willie was once emcee at the Apollo theater and had his own big band. In the mid '40s he turned to blues singing. Additional performers on this disc include Doc Pomus (4 tracks) who would later go on to greater fame as a song writer but as a blues shouter, he was no slouch. Laurel Watson is a female blues vocalist with 2 tracks on this disc that are also very fine. Bob Range was a trombonist who got his chance at vocals on 4 tracks here. A couple of the Bryant tracks here are in more of a crooner style than the blues, and miss the mark as far as I am concerned. This includes the opening track, "Amateur Night in Harlem", but once your past these you'll find most of the rest to your liking if you are a fan of 1940s R&B. Tab Smith plays the sax on about 6 of these tracks. All of these discs have been restored using the Cedar process to remove as much surface noise as possible from the sources used. For the age of the recordings, sound quality are as good as you're likely to find for the period. Keep those Apollo releases coming! Art Schuna ========================================================================= Date: Thu, 14 Mar 1996 19:31:48 -0600 Reply-To: "by way of jgriffin@Jetson.uh.edu Joe Griffin" From: "by way of jgriffin@Jetson.uh.edu Joe Griffin" Subject: Re: Backbeat? >Michael G. Kaloyanides >Department of Music & Sound Recording >Univesity of New Haven I really liked your explanation of the basic concepts of what "back beat" means. To take it one step farther, I have always tried to define the "back beat" in three distinct ways. I know this may sound strange but bear with me while I try to explain. 1). If you play the snare directly on 2 and 4 as in the case of synthesized drums, you get a pop feel to the tune. An example would be "That's Just The Way It Is" by Bruce Hornsby. The back beat is right there but it will never grab your attention as being anything but background filler. Additionally, this has also become the standard for studio players who will give you exact volume and meter on every note. It makes recording much simpler. 2). The second option is refered to as playing "top side". This is like playing just ahead of the 2 & 4. How many times have you gone to hear a band live and the song starts off with a nice feel and then doubles tempo before it's over with. Since the back beat is the predominate beat in American music, if you push or play top side it normally cause the music to rush. This is a common occurence in young players who are trying to pump energy into their performance. I have rarely seen bands who could play consistently with a drummer who is playing top side except in those cases when all the players are extremely good, they play well together as an ensemble and they all can feel that type of groove. Normally it lends itself to rushing all night. 3). The last option, and my personal preference is playing back side. This is like playing just behind the 2 & 4. One example that can clearly be heard is "Hold On, I'm Coming", by Sam & Dave. Really a lot of the "soul music" era tunes of the the mid sixties had this feel. Do yourself a favor and listen to "Midnight Hour" as it was recorded and compare it mentally to the last live band you heard play it. I can almost 100% guarantee that it's going to be played too fast and will sound more like Ike & Tina's version of "Proud Mary" than the soulful tune that it is. When the drummer plays back side it creates the space for the natural cohesion between a drummer's right foot and the bass player's lines. When you hear it, you know it, and it's what I like to call "A Fat Man Sittin' On The Groove" and there is nothing finer for a drummer. Anyway, all of what I'm talking about is a feel type thing. One neat side effect though is that this is a concept that helps promote consistant meter. It may sound weird it's always worked well for me. _____________________________________________________________________ Grif JGriffin@UH.edu The views stated in this posting reflect personal opinions. ========================================================================= Date: Fri, 15 Mar 1996 08:54:49 +0700 Reply-To: "Peter E. Beal" From: "Peter E. Beal" Subject: Re: Your favorite acoustic Fred McDowell Comments: To: Peter Orelup In-Reply-To: <4i9rm4$m76@fido.asd.sgi.com> On Thu, 14 Mar 1996, Peter Orelup wrote: > The All Music Guide seems to like Arhoolie 1108-304-4, Fred McDowell: > Mississippi Delta Blues. I'd probably choose that unless someone > can convince me otherwise. Any advice would be appreciated. Where can one access the All Music Guide? ========================================================================= Date: Fri, 15 Mar 1996 01:49:18 GMT Reply-To: Lucy Dueck private account From: Lucy Dueck private account Organization: U of Toronto Zoology Subject: Re: I'm a racist Comments: To: bit-listserv-blues-l@uunet.uu.net > ... And I LIKE reading his (LW's) posts, even when I don't agree > with them... LW speak your mind. If no one ever said anything > provocative, this place would be REALLY dull. Amen! I always read an LW post, no matter what it's about -- at least it's interesting! ========================================================================= Date: Thu, 14 Mar 1996 20:10:10 -0600 Reply-To: bolt From: bolt Subject: Re: Your favorite acoustic Fred McDowell >To: "Peter E. Beal" >From: bolt@neosoft.com (bolt) >Subject: Re: Your favorite acoustic Fred McDowell > >>On Thu, 14 Mar 1996, Peter Orelup wrote: >> >>> The All Music Guide seems to like Arhoolie 1108-304-4, Fred McDowell: >>> Mississippi Delta Blues. I'd probably choose that unless someone >>> can convince me otherwise. Any advice would be appreciated. >> >>Where can one access the All Music Guide? >> >> > >Available at most book stores and also at: > >http://www.allmusic.com/amg/music_root.html > >Reg Burns > +++++++++++++++++++++++++++++++++++++++++++++++++ + I'll listen to reason when it comes out on CD + + + + bolt@neosoft.com + +++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Thu, 14 Mar 1996 21:12:12 -0500 Reply-To: Greg Hermanns From: Greg Hermanns Subject: Re: Muddys Cabin Man, that's scary things, them rumors. Thanks to Dick and BBean for some timely news on the situation. Hey, it could be far worse...like the cabin just turning to dust and a few rusty nails in a few more untouched years. Ya, driving it through town on a trailer is a little distasteful, but thats the payback to HOB for restoring the cabin. In my mind i'm hoping they do a great restoration job on the place! Play On Greg Hermanns ========================================================================= Date: Thu, 14 Mar 1996 21:14:00 -0500 Reply-To: CRSO.Blues-L@canrem.com From: Sue Molyneaux Organization: CRS Online (Toronto, Ontario) Subject: Paul Butterfield Hi all... I was recently contacted by a Paul Butterfield fan in France. He was wondering if Butterfield ever recorded anything with Janis Joplin (I'm a Joplin fan). I'm not aware of any performances, LPs, or even concerts where they performed together. Can someone help me on this? Sue sue.molyneaux@canrem.com ========================================================================= Date: Fri, 15 Mar 1996 02:26:21 GMT Reply-To: bluedog From: bluedog Organization: Pipeline USA Subject: Re: Preston Shannon Comments: To: bit-listserv-blues-l@uunet.uu.net Yes! The Preston Shannon cd "Break The Ice" is great. Great horn section! PS is a very good Live performer.Crosscut Saw is a great rendetion. Enjoy! -- bluedog ========================================================================= Date: Thu, 14 Mar 1996 18:47:04 PST Reply-To: "D. ALLEN SIMPSON" From: "D. ALLEN SIMPSON" Subject: Upcoming Blues/blues-related on networks Tues. 3/19- On Later With Greg Kinnear (John Stewart hosting): John Doe (member of X, roots rocker on solo stuff, actor) Sat. 3/23 (or thereabouts)- Austin City Limits: Los Lobos (supporting their new album) and Joe Ely (roots rock/country). --Check local listings, this airs Fri. 3/29 in the L.A. area. Weds. 3/20- [I'm out of order, now] Letterman: Ray Charles Late night lineups are posted twice weekly or so at: http://www.interbridge.com/lineups.html and Austin City Limits lineups can be found at: http://www.pbs.org (under programs) Doug S. ========================================================================= Date: Thu, 14 Mar 1996 23:13:23 EST Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Help w/mail problem The following is being forwarded for Stew Crossen: snip --------------------------------------------------snip Hello Bluezellers, Since late January, I have been unable to post to Blues-L. I can't even unsubscribe! Alan Rollins was working on the situation and he thought he'd have it fixed soon, and now, I not able to e-mail Alan! My server, software, hardware and phone lines have all been checked out and are fine. Blues-L is the only place on the planet that I cannot send e-mail to. Is there someone out there, who can offer any assistance? Stew Crossen (Beef Stew) ------------ The Blues Playground Radio Program 50,000 watts of Blues Power Hosted by Beef Stew http://www.neca.com/~bfstew bfstew@neca.com WCCC Radio 107 FM - 243 So. Whitney St. - Hartford, CT 06105 Phone: 860.233.4426 - Phax: 860.232.6511 ------------------- ========================================================================= Date: Thu, 14 Mar 1996 23:18:34 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: Beale St. Festival Comments: To: MR ROBERT W BELEW In-Reply-To: <097.03560334.JUPU38A@prodigy.com> Can someone relieve of some confustion... Is the Beale St Festival part of Memphis in May or are they separate entities? What days are the festival? Are hotels hard to come by during the blues festival? Are many of you going (anyone interested in sharing a room?)? Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" :D come win a CD at Jim's Blues N' Brews: http://www.cloud9.net/~leftwich ========================================================================= Date: Thu, 14 Mar 1996 22:18:24 -0800 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Re: "Bluesland" in Clarksdale Comments: To: bit-listserv-blues-l@uunet.uu.net P.W. Fenton wrote: > Train station renovation > leads Clarksdale rebirth > > By Norm Shaw > The hall will be available to > all kinds of music and all kinds of performers. > "The Rev. Willie Morganfield (a first cousin to Muddy Waters) can > bring his choir in to perform. And they can make a live direct-to-DAT > recording. They can then reproduce it as a cassette, and they can do > all that right there. It will offer multiple benefits laid one on top > of another." Hmmmm......House of Clarksdale? -- ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ I just *hate* what Louis Prima did to that song by the Village People. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Thu, 14 Mar 1996 23:55:24 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Beale St. Festival Comments: To: leftwich@cloud9.net In a message dated 96-03-14 23:34:44 EST, leftwich@CLOUD9.NET (James Leftwich) writes: >Can someone relieve of some confustion... > >Is the Beale St Festival part of Memphis in May or are they separate >entities? What days are the festival? Are hotels hard to come by during >the blues festival? Are many of you going (anyone interested in sharing >a room?)? Memphis in May is a month long series of events than includes (on other weekends) a barbecue competitionl and a sunset symphony on the same site as the Beale St. Fest. The festival has gone on since 1977; this year it is May 3, 4, and 5 (it always coincides with the 2nd weekend of Jazz Fest). I already posted the schedule a couple of days ago. Tom Freeland ========================================================================= Date: Thu, 14 Mar 1996 10:42:33 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: ROBERT_JOHNSON+JOHN_HAMMOND_NEXUS!! Comments: To: srn/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=srn#a#FORMTEK#f#COM@s1boca.corp.wrgrace.com, BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com * Last nite I got the complete recordings of * ROBERT JOHNSON.....the essential thing.... :) :) * In it I remember seeing a picture of John Hammond * and some mention of his connection with Robert Johnson... * I did not read the whole story..... * Can anybody shed some light...I can't wait to get * home put them Robert Johnson recordings.....and "feel" the * blues Hammond's father (also name dJohn Hammond) tried to get Johnson for his "Spirituals to Swing" concert in 193? (I believe 1938, but I'm not sure). Johnson had already been murdered by the time Hammond started looking for him and Hamond ended up getting Big Bill Broonzy. Hammond's son grew up listening to Johnson, Son House, Sleepy John Estes, etc. and being strongly influenced by all of them. Now he covers many of Johnson's songs and he narrated the recent video about him. Enjoy the cds - they have some of the best, and most influental, delta blues ever recorded on them. -Steve ========================================================================= Date: Fri, 15 Mar 1996 00:57:30 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Ageing Songs, Hip Record Stores summaries Thanks one and all for your contributions. Here are the ageing songs if any of you DJs out there want them for a "theme" show. Quite a few here, perhaps a previously unremarked theme area in blues, not as prevalent as man/woman troubles, but quite a few here. The Hip Record Stores List, as far as I've got it, is posted on BLUES WORLD. Additional information is still welcome. Joel Slotnikoff Young Fashion Ways--Muddy Waters The Old Folks Started It--Memphis Jug Band Too Old To Think--Rice Miller Old Age Boogie--Roy Brown Grandpa Stole My Baby--Roy Brown 63 Year Old Mama--Koko Taylor Old Folks Boogie--The Boys From Fresno Old And Gray--Howlin' Wolf--Memphis Days--Bear Family Robert Pete Williams--Almost Dead Blues, I've Grown So Ugly, Death Blues-- Prestige Bluesville, Doctor Blues, Talkin' Blues--Blues Masters--Storyville Talkin' Blues--Angola Prisoner's Blues--Arhoolie, Death Comes Creepin' In Your Room, I Want To Die Easy--When A Man Takes The Blues--Arhoolie Skip James--Washington D.C. Hospital Center Blues--Live--Document Someday You Gotta Die--ibid, Sickbed Blues--Devil Got My Woman--Vanguard Too Old To Think--SonnyBoy Williamson II Getting Older Every Day--Big Bill Broonzy Pension Blues--Duskey Dailey Get Away Old Woman--Jazz Gillum I Feel That Old Age Comin' On--Wynonie Harris Gettin' Old Blues--Johnny Temple Dear Old Daddy--Leadbelly Granpa Can't Fly His Kite 'Cause Granma Won't Give Him No Tail--Clarence Carter Nobody Wants You When You're Old & Gray--Travis Haddix Give Me Flowers While I'm Livin'--Champion Jack Dupree--One Last Time (originally recorded 25 November 1941 as Bring Me Flowers While I'm Livin') With macabre appropriateness, it was Peetie's last session. 21 December he died in a car crash. Composer credits on the original are to "Green-Oden". Oden is St. Louis Jimmy, of "Goin' Down Slow" and other cheery little numbers. "Green" might be pianist Lee Green. Grandaddy's Rockin--Mac Curtis--King Death's Black Train Is Comin'--Rev JM Gates--RCA Grandma Plays The Numbers--Wynonie Harris Old Man's Boogie--Ivory Joe Hunter--Route 66 Don't Let Old Age Creep Up On You--Ink Spots Louis Jordan: Jack You're Dead, Don't Burn The Candle At Both Ends, Stone Cold Dead In The Market Grandma's House--Chris Kenner Aged And Mellow Blues--Little Esther There's A Cold Grave In Your Way--Bobby Radcliff--Black Top Middle Aged Blues--Saffire--Alligator Meet Me At Grandma's Joint--George Stephenson 63 Year Old Mama--Koko Taylor Old Maid Boogie--Eddie Vinson--Verve Past Sixty Blues--Eddie Vinson Nobody Wants You When You're Old And Gray--Travis Haddix All Night Long--Larry Garner Death Ain't Nothing But A Thief And A Robber--Roma Wilson--Arhoolie Look At Granny Run Run--Howard Tate ========================================================================= Date: Fri, 15 Mar 1996 00:47:16 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: ROBERT_JOHNSON+JOHN_HAMMOND_NEXUS!! Rags wrote: > Hi folks... > Last nite I got the complete recordings of > ROBERT JOHNSON.....the essential thing.... :) :) > In it I remember seeing a picture of John Hammond > and some mention of his connection with Robert Johnson... > I did not read the whole story..... > Can anybody shed some light...I can't wait to get > home put them Robert Johnson recordings.....and "feel" the > blues > > The picture in the RJ booklet is of John Hammond Jr (1910-87) (or 'the original Sonny Boy Hammond', as he's known to insiders), father of the John Hammond whom Rags knows and loves, who I guess must be John Hammond III. Dad was - with no disrespect - far more important in the history of jazz and blues than his wee boy. He was born into a wealthy family, and put a lot of his own money into promoting jazz. He was a producer at Columbia from the early 30s, supervising important sessions by Fletcher Henderson, Benny Carter and Benny Goodman (whose brother-in-law he was). He got Charlie Christian into the Goodman band: Goodman wouldn't have a solo guitarist, so Hammond just put him on the stand one night. Goodman glared, struck up 'Rose Room', waited for Christian to foul up his solo - he didn't, needless to say, they jammed on it for 3/4 hour and the rest was history. He supervised Teddy Wilson's sessions with Billie Holiday and set up Bessie Smith's last session. Hammond did a lot to promote Count Basie's Orchestra, and in 1938/9 he organised the 'From Spirituals to Swing' concerts - and they among other things jump started the boogie woogie craze. The RJ nexus is that he wanted Johnson for the 1938 concert, but of course it was too late. So he went to look for Blind Boy Fuller, who was in jaill, and that's how Sonny Terry got his break. In later years Hammond also signed to Columbia George Benson, Aretha Franklin (one of his few failures - she had to go elsewhere to make it), Bob Dylan and Bruce Springsteen. Did I mention he was also an important and influential critic, and a stalwart worker for racial equality? Chris Smith (chris@skerries.demon.co.uk) "I'm a man of no convictions - at least, I think I am." (Christopher Hampton) ========================================================================= Date: Fri, 15 Mar 1996 01:22:45 -0500 Reply-To: StanhopeHs From: StanhopeHs Organization: America Online, Inc. (1-800-827-6364) Subject: Rosco Gordon Comments: To: bit-listserv-blues-l@uunet.uu.net Looking for Rosco Gordon. Anyone with information please reply.. phone number helpful. Thank you in advance ========================================================================= Date: Fri, 15 Mar 1996 00:20:14 -0800 Reply-To: The Blue Flame Cafe From: The Blue Flame Cafe Organization: Compu-Net DFW's Premiere Internet Access Provider Subject: Blues Encyclopedia on the WWW Comments: To: bit-listserv-blues-l@uunet.uu.net Comments: cc: ljperry@ix.netcom.com The Blue Flame Cafe is here! Come see the first blues encyclopedia on the Web. Over 100 artists--complete with bios, wavs, pics and more. We need your feedback, so drop by and tell us what you think. http://www.surfin.com/TheBlueFlameCafe Al Perry L.J. Perry ========================================================================= Date: Fri, 15 Mar 1996 02:30:05 -0500 Reply-To: VentRec From: VentRec Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Ronnie Earl Comments: To: bit-listserv-blues-l@uunet.uu.net Ronnie Earl's "Blues and Ballads" is out and Features Per Hanson (drums), Rod Carey(bass), and Bruce Katz (Piano and B3 organ). It's real laid back and jazzy--dedicated to Rahsaan Roland Kirk, John Coltrane and Duane Allman. Mike McCracken ========================================================================= Date: Fri, 15 Mar 1996 01:38:18 -0800 Reply-To: The Blue Flame Cafe From: The Blue Flame Cafe Organization: Compu-Net DFW's Premiere Internet Access Provider Subject: Re: Robert Pete Williams & Angola Prison Comments: To: bit-listserv-blues-l@uunet.uu.net Born into a sharecropping family, Williams grew up in Zachary, a small hamlet outside of Baton Rouge. Not until he was twenty did he begin to play the blues. Williams made his first guitar out of a sugar box. He performed at Saturday night parties and fish fries but never made enough money to support himself and his family. His wife, envious of the attention given to Williams whenever he played, supposedly burned his guitar in a jealous rage. Williams nonetheless continued to perform in rural Louisiana juke joints until 1956 when, allegedly in self-defense, he shot and killed a man. He was convicted of murder, sentenced to life in prison, and sent to Angola. There, he recorded his famous prison blues songs-"Pardon Denied Again," "Angola Penitentiary Blues," "Prisoner's Talking Blues"-for folklorists Dr. Harry Oster and Richard Allen. Other songs from the recording sessions were later released on the Folk-Lyric and Arhoolie labels. Thanks to Oster and Allen, who successfully pleaded for a pardon, Williams was released from Angola in 1959 after serving three and a half years. He died in 1980. HAPPY BIRTHDAY ROBERT PETE WILLIAMS! For more on Robert Pete Williams, visit http://www.surfin.com/TheBlueFlameCafe ========================================================================= Date: Fri, 15 Mar 1996 07:52:56 GMT Reply-To: Jim Farris From: Jim Farris Organization: Netcom Subject: Thank You, House of Blues I would like to thank the House of Blues for their efforts to renovate Muddy's Cabin. I think that it's great! For one thing, not everyone can afford to travel to Mississippi to see Muddy's birthplace. In this way, us poor folks will get a chance to see a real piece of Blues history. I, for one, intend to go see "The Cabin" when and if it comes to the San Jose area. I'll even inform my listeners, so they can have a chance to see it. Anyway, examine the alternative. Should we let Muddy's Cabin rot into a heap, so nobody gets a chance to see it? If the House of Blues is willing to put up the money for the Cabin's renovation, more power to them. Jammin' Jim Farris Late Night City Blues KKUP 91.5 FM PS Anyone with information about when Muddy's Cabin will be in the San Francisco Bay Area, please EMail it to me. I will be most appreciative, and so will my listeners. Dick Waterman wrote: >I spoke to Howard Stovall mid-afternoon on March 11, 1996 and he asked me to >post the following message. > >BEGIN QUOTE: > >The Muddy Waters Cabin has not been sold, and no plans exist to sell the >Cabin. Period. End of discussion as far as that is concerned. > >We are presently working with the House of Blues to explore several options >for renovation and preservation of the Cabin. In no case would this involve >our selling the Cabin. > >The Cabin is owned by the Stovall family, who have borne the cost of its >preservation (such as it is) without financial or other help from any >entity. Our goal, as it has always been, is to ensure that the Cabin >remains for the next generation of Blues fans who might want to see it. We >have no desire for financial gain from this endeavor. > >When an arrangement has been made, with HOB or anyone else, regarding the >long term preservation of this historic structure, I will update the music >world at large. Until then, this idle speculation only serves to demean >those who choose to rely on rumor and innuendo for their source of >conversation -- virtual or otherwise. > >Those who have a moral aversion to our working with the most successful >commercial enterprise associated with Blues today are reminded that efforts >of this magnitude require a significant amount of money and expertise. If >you think Newt and the Washington boys are going to come to our rescue, think >again. A prudent compromise of "purism" may, indeed, be in the best >interests of future Blues lovers, who, fifty years from now, will care less >about the structure of the deal made to preserve the Cabin, than the fact >that it still stands for their benefit. > >CLOSE QUOTE > >Dick Waterman ========================================================================= Date: Fri, 15 Mar 1996 09:51:31 GMT Reply-To: sylviap@cartermill.com From: "sylviap@cartermill.com" Subject: BLUES LOVERS'POINT OF VIEW Hello everybody (simple bluezy lovers and purists), I know a musician called Lucky Peterson and got the occasion to listen to his last album. I found it very good, very R&B with a marvellous voice. He plays the guitar, keybords and, with his natural instrument: his vocal chords! How will you define him? What do you think about him? Do you think it is worth to go and see him to a gig? Thank you very much! Sylvia ========================================================================= Date: Fri, 15 Mar 1996 00:04:00 GMT Reply-To: sylviap@cartermill.com From: "sylviap@cartermill.com" Subject: "I'AM A RACIST" GIVE UP PLEASE! Dearn folks, I can't believe you are talking about racism on this list which should be consacred only to this wonderful gift God gave away us MUSIC! I would like to precise that eating with a black or with a white, going out with a black or a white, receiving a black or a white etc. should not be mentioned as a performance to convince others we are not racist!! It is ridiculous! We are what we are, green or red, we are just Human being! What did we do US White? We destroyed a wonderful civilization (remember dear INDIANS!), we mtreated African as animals (Slavery periods), The White Race, The supreme race!! Ha Ha Ha it makes me laugh not with joy but with pain! White are good as they can be bad, Black are good as they can be bad! Remember all their pain, since the beginning! We can thank them to gave us the love for music, to offered us their rythm!! ANyway, if you have a black or white friend, Please do go around claiming: "Ho, I have a Black friend" "Ho, I have a White friend" as if it is a performance!!!!!!!!!!!!! Try to act as a Human being, All bloods are RED!!!!!! Bye Sylvia ========================================================================= Date: Fri, 15 Mar 1996 04:04:36 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Honest Tom Pomposello Does anyone have an address (email or snail) for Tom Pomposello? He refers in the notes to Muse LP 5131 (written after 1974) to working as a bassist on a Brownie McGhee Blue Labor session, but no issued record I know of has him credited. I'm doing a Terry/McGhee discography, and this would seem to be something I need to know about. Chris Smith (chris@skerries.demon.co.uk) "I'm a man of no convictions - at least, I think I am." (Christopher Hampton) ========================================================================= Date: Fri, 15 Mar 1996 01:15:48 -0800 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: A vision of muddy's cabin(nightmare) While driving today I heardan advertisement on the radio for a comic relief show at the Universal Amphitheter. The show will be staring "THe Blues Brothers" Dan Akroyd, with John Belushi, and Tom Arnold( I Think) So I just pictured some rendition of minnie the moocher in front of the Cabin In L.A.--------Scary huh, I pray that this doesn't come to be. On the other hand, Hell the cabin goes on tour=== I'll see it. I don't have th cashfor a vacation to the Delta so who am I to complain. peace, Isaac-< ========================================================================= Date: Fri, 15 Mar 1996 01:07:12 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: Re: Ronnie Earl Comments: To: Johnny Skaaning Johnny Skaaning wrote: > > Hi guys ! > > I am a big fan of Ronnie Earl. I am wondering if Ronnie earl ever > recorded with > Sugar Ray & the Blue Tones before he joined the Roomful of Blues ? > If you have information of such a recording, I'd be very happen to hear > from you. > > I've learned that there is a new release coming at march 19. > (' Grateful Heart - Blues and ballads ') > > Have you heard about that one ? And do you know who is his co-players on > it ? > > I am also interested in video recordings with Mr. Earl. > > Kindly ... > Carsten Larsson - Copenhagen Denmark. Carsten, In regard to your inquiry about the new Bullseye release; Grateful Heart... It features: Per Hanson - Drums Rod Carey - Bass Bruce Katz - Piano & Organ with special guest David "Fathead" Newman on tenor Sax. There are 12 tracks, four covers, the balance originals of both blues and ....jazz. -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 ========================================================================= Date: Fri, 15 Mar 1996 05:04:52 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: ONCE AGAIN.....! Roger Struve wrote >>THERE IS NO JOHN HAMMOND, SR. >> >> >>THERE IS NO JOHN HAMMOND, JR. >> >>The use of these descriptory terms is an insult to one of the greatest >>bluesmen of all time, John Paul Hammond, who is the son of John Henry >>Hammond (now deceased). >> >>John Hammond, the son, is a famous bluesman in his own right. Imagine >>growing up under the shadow of such a famous father. YOU TOO, WOULD WANT >>your own recognition for your own accomplishments....separate from and at >>least equal to that of the famous father. >> >>He has always resented the use of Jr. with his name. It is neither correct >>usage in any sense of the word, and it is also insulting to a person who >>deserves far more respect than that! >> >>regards, >>delta doc roger > >Uh-huh. Another one to delete unread. Chris Smith (chris@skerries.demon.co.uk) "I'm a man of no convictions - at least, I think I am." (Christopher Hampton) ========================================================================= Date: Fri, 15 Mar 1996 06:25:53 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Blues Encyclopedia on the WWW On 15 Mar 96, The Blue Flame Cafe had this to say: > The Blue Flame Cafe is here! Come see the first blues encyclopedia on > the Web. Over 100 artists--complete with bios, wavs, pics and more. > We need your feedback, so drop by and tell us what you think. > http://www.surfin.com/TheBlueFlameCafe > > Al Perry > L.J. Perry This is a delightful new sight. Tons of work went into putting it together. But if you want to see it, you should hurry. This disclaimer appears on the first page: "Much of the material used in The Blue Flame Cafe is taken from secondary sources. We apologize to any copyright holder whose material may be uncredited or inadvertently miscredited (see bibliography)." I don't think all the writers and publishers who's work was lifted for this new "encyclopedia" are going to be all that satisfied with an apology. The law will be on their side. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 15 Mar 1996 08:45:28 -0500 Reply-To: GUILLOTINE From: GUILLOTINE Subject: Otis Grand Can anyone send me any info about Otis? Also i urgently need the lyrics of his album "NOTHING ELSE MATTERS". Many thanx, Serdar Mert ========================================================================= Date: Fri, 15 Mar 1996 07:38:46 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: ROBERT_JOHNSON+JOHN_HAMMOND_NEXUS!! >In a message dated 96-03-15 01:09:59 EST, chris@SKERRIES.DEMON.CO.UK (Chris >Smith) writes: > >>So he went to look for Blind Boy Fuller, who was in >>jaill, and that's how Sonny Terry got his break. > >Said with some trepidation given the source: Sonny Terry? Wasn't that Big >Bill Broonzy? I'm at work and can't look it up to be sure, so I'm sending it >private. > >Tom Freeland Tom is right - Big Bill was the replacement for Robert; Terry was the replacement for Fuller. I'm posting this publicly as well as responding to Tom privately, as I don't want to start a myth! This is what comes of breaking my own rules and working from memory. Sorry. Chris Smith (chris@skerries.demon.co.uk) "I'm a man of no convictions - at least, I think I am." (Christopher Hampton) ========================================================================= Date: Fri, 15 Mar 1996 07:50:15 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: Limping toward Bethlehem Almost 14 mos. ago I decided it was back to peanut butter and banana sandwiches. No more evenings, nights, weekends. Went to the wholesale store and bought a bunch of bandaids to hold my car together one more year, chomped down on a bullet and began.... Today...my first CD of original tunes is lying on the desk in front of me. Somebody's mother is on the cover, but hey -- my tunes are inside and I've just barely come limping across the finish line. And as the coach always said: "you did it and nobody can ever take that away from you." So here's to say, good friends and fellow musicians/music lovers -- my new CD 'Various Stages of Undress" is now a done deed. It's hard to believe 14 mos. of incredible struggle went into those 53 minutes, but 'tis true. If you're a musician you won't call this a shameless plug because you know how impossibly hard it is to make money on a CD, but if you're not -- here's the shameless plug: "Various Stages of Undress" is (alas -- because I would LOVE to give every one of you a freebie) for sale. You can obtain one of these creatures through me ($15 -- send name and snail address) -- or by calling Flat Rock Records' toll-free number: 1-800-664-0628. WARNING TO BLUES POLICE: This is not a blues record. Blues can be found on it, but it is a wide variety of Cathi Norton and she ain't all blues. Thanks for my turn.... Cathi N. ========================================================================= Date: Fri, 15 Mar 1996 07:58:03 -0600 Reply-To: T-Bone From: T-Bone Subject: Pig Trader Blues [Before I start, standard disclaimer: not affilliated with the musicians, label, etc, just a fan.] I got the new Yank Rachell cd, _Pig Trader Blues_, in the mail yesterday. It's just Yank on mandolin and Indianapolis guitar player David Morgan. Now, Yank is no young guy, so his voice isn't what it used to be, but his mandolin playing is as good as ever. It's hard to believe this guy is in his mid-80s. It's even harder to believe that he began his recording career sixty-six years ago. I'll admit that there are better Yank Rachell cds out there, but _Pig Trader Blues_ is a lot better than I expected it to be, and it's a great addition to a fledgling label. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "The obvious irony is that no other country would grant [Mahmoud] Abdul-Rauf so much freedom as this oppressive one." - Tony Kornheiser, Washington Post, 3/14/96 ========================================================================= Date: Fri, 15 Mar 1996 09:26:09 -0500 Reply-To: VT From: VT Subject: (Fwd) Re: Musing over Hubert On Mar 14, 1996 12:12:08 in , 'Richard Shurman ' wrote: >For what it's worth, when I saw Hubert in '68-69, he had a Gretsch Country >Gentleman guitar (which he said Chet Atkins had given him). For what it's worth (2, too) - When I asked Hubert during June of last year in Cambridge, MA, about the guitars he played on my favorite tracks like: "Shake for Me" and "Goin' Down Slow" - that's circa 1961 (these tracks happened to be playing on the cassette in my car as I was driving him around :-) He told me he was playing a Rickenbacker and a Gibson Les Paul then. But being Hubert, he was not being definitive....:-) He currently (mainly) plays a white Fender Stratocaster - Squier Series, maple neck. One distinctive feature is that the volume control knob is red. -- Vincent vt@usa.pipeline.com ========================================================================= Date: Fri, 15 Mar 1996 09:34:23 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: Pig-trader T-bone said about Yank Rachel and his new album "Pig Trader Blues": "It's hard to believe this guy is in his mid-80s. It's even harder to believe that he began his recording career sixty-six years ago." Yup...and later this month we're throwing a bash for Yank's 86th birthday. Yank is trying to play out as much as he can, but frankly friends, he's failing. He would bust me one if he heard me say it, but I'm worried. I'm hoping to get him to sit down soon and tell me some stories of his 86 years. If he's in the mood -- I'll pass it on. Cathi N. ========================================================================= Date: Fri, 15 Mar 1996 08:46:36 -0600 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: Jake Andrews > Jake Andrews was brought to my attention recently. I haven't heard or > seen him yet. He's a young guy who plays guitar out of Austin. I would > like to know if anyone has heard him play, if so, what was his show like? He's a very talented guitar player. He's played with people like Albert King and Albert Collins and hasn't finished High School yet. His shows are good, but he's still developing. He has it down technically, but has a way to go on finding his own style. One thing he has going for him is a deep apreciation for the Blues and an understanding that there are many great guitar players besides SRV. I'm looking forward to seeing him ten years from now. Bruce Roberts Austin, TX ========================================================================= Date: Fri, 15 Mar 1996 10:09:22 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Improved and Updated DC Blues Home Page Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com Check out the DC Blues Society's site on the internet: The DC Blues Home Page, at: http://intelus.com:80/DCBlues/ Some new features have recently been added, including a Bulletin Board to discuss local blues events, and user suggested blues links (where you can read the suggestions of others and leave your own). You can also read (Warning:shameless plug!!!!) some of the articles I've written about local blues artists for Music Monthly. -Steve Levine ========================================================================= Date: Fri, 15 Mar 1996 15:16:07 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Radar Labs 23 Subject: Re: Re[2]: blues hyperbole Comments: To: bit-listserv-blues-l@uunet.uu.net On Wed, 13 Mar 1996 11:47:25 EST, shannon oconnor wrote: > STYLES differ. And yes, the physiology of the human throat and > vocal instrument can vary. But believe me, I've studied vocal > physiology; training and style is where the differences originate. > Not in SKIN COLOR! Yes, you are correct, sir. Muddy Waters sounds like Muddy Waters, John Hammond sounds like John Hammond, etc. However, there is a difference in style between "black" singing and "white" singing that derives from the differences of the two cultures. Most African Americans have a different way of speaking and singing than most Anglo Americans, just as hispanics differ from Koreans, and I say vive la difference! Celebrate diversity! I enjoy black blues performers not only for the great music, but for the cultural insight. But I also enjoy people like John Hammond, whites, who sing with feeling and play like the devil! Blues has to come from the heart, they say, and that is the ultimate measure, not skin color. _-_-_-_-_-_-_-_-_-_-_-_-_-_ WARLORD THIS SIG! Kevan Smith http://www.rlabs.com/congress/ <-- Perth shpx lbh, lbh jbeguyrff fnpx bs fuvg! _-_-_-_-_-_-_-_-_-_-_-_-_-_ WARLORD THIS SIG! ========================================================================= Date: Fri, 15 Mar 1996 09:47:53 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: King Biscuit Flower I saw on rec-music...blues that King Biscuit Flower bags with Sonny Boy's pictuee is available in Arkansas. Can anyone provide an address or a clue as to how I could go about getting one. I want one real bad. Thanks ========================================================================= Date: Fri, 15 Mar 1996 10:59:58 -0500 Reply-To: BluesBeatM@AOL.COM From: "(R. Schneider)" Subject: Re: BLUES LOVERS'POINT OF VIEW Comments: To: sylviap@cartermill.com Yes, of course, see Lucky! Here's a review from last summer. ARTPARK'S BLUES FEST '95! Yes Buffalo, from you has cometh a blues star. If you were there at Artpark on September 3rd, it was obvious and unmistakable; not one, but two standing "Os" for Lucky Peterson. He's hot as red peppa, and on guitar and organ, he's got more maneuvers than an F-16 at an air show. He opened with an incendiary take on Willie Dixon's I'm Ready, and went on from there, approaching Hendrixian heights with It Ain't Right. But he can also bring out the gentle voice of the guitar. Wending through the audience at floor level and totally unmiked, he created an intimate interlude with his powerful voice resounding on You Shook Me--a difficult thing to do in a space that vast. Lucky believes in personal contact, serenading the whole theater and lawn, before returning to the stage. He displayed his expertise on organ, and with that "heavy" band of his, brought the funkiness level to an absolute ripeness. Lucky finished by taking us to church with the moving A Change Is Gonna Come. This man has got it on all levels--the singing, the playing, and the song writing. Up next, was four-time Grammy nominee, Buckwheat Zydeco, and his fast hustlin' Louisiana band. "The music," he said, "comes from the heart and soul of Creole country." Zydeco, identified with accordion and washboard, just naturally bounces along; you can almost feel the endorphins entering your bloodstream. Even the horn section couldn't help themselves from doing a little two steppin' as they played. Squeezing a big, white accordion and in full-throated voice (sometimes using French), Buckwheat executed spicy versions of Hot Tamale and Let The Good Times Roll. However, he explores other types of music as well. Beast of Burden, Hold That Tiger, Hey Joe, and The Midnight Special were also on the playlist. The headliner of the evening was Chicago harp legend, Junior Wells. Titled the "godfather of the blues," Junior came on doing a bit of fancy footwork more reminiscent of the "godfather of soul." Those in the know applauded as he began with hits Hoodoo Man Blues and Messin' With the Kid. ========================================================================= Date: Fri, 15 Mar 1996 17:24:51 +0100 Reply-To: bengans From: bengans Subject: Selling my record, NOT! So folks, how do I go about this? I have a brand new CD with my band, The Instigators, and I d love to offer it to the Bluzellers, but since this club can t be used to sell stuff, how do I do this? Is there an authorised Blues-l record seller that I can go through to provide my classic 50 s style blues record? "Sevenson Time is hard baby, and hustling is really on." T-Bone Walker ========================================================================= Date: Fri, 15 Mar 1996 07:58:38 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Mar. 16 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BENSON, RAY (v/ASLEEP AT THE WHEEL) b. 1951-0316, PHILADELPHIA, PA BONDS, SON "BROWNSVILLE" (g/JOHN ESTES) b. 1909-0316, BROWNSVILLE, TN BRAFF, RUBY (cnt) b. 1927-0316, BOSTON, MA BURRILL, JOHN "MR. BONES" (bones) d. 1993-0316, BOSTON, MA 72 CAGE, JAMES "BUTCH" (fiddle/ARHOOLIE) b. 1894-0316, HAMBURG, MS CARLSON, HARRY (owner : FRATERNITY REC) d. 1986-0316, POMPANO BEACH, FL 81 DUDLEY, SHERMAN (owner: T.O.B.A. circuit) d. 1940-0316, BALTIMORE, MD 76 EARLEY, EDWARD J. (tbn/arr/ALBERT KING) b. 1952-0316, ST. LOUIS, MO FLAVOR FLAV (BILL DRAYTON) (PUBLIC ENEMY) b. 1959-0316, ROOSEVELT, LI GUNTER, ARTHUR (g/EXCELLO REC) d. 1976-0316, PORT HURON, MI 49 JOHNSON, BETTY (v/VOLT REC) b. 1932-0316, POSSUM WALK, NC LANE, ERNEST (v/ROOSTER BLUES REC) b. 1933-0316, CLARKSDALE, MS LESSEY, BOB (g/BRADSHAW/MILLINDER) b. 1910-0316, BRITISH WEST INDIES LUBINSKY, HERMAN G. (owner : SAVOY REC) d. 1974-0316, MONTCLAIR, NJ 77 MONTRELL, ROY EUSTIS (g/FATS DOMINO) d. 1979-0316, AMSTERDAM, HOLLAND 51 PETRILLO, JAMES C. (music union boss) b. 1892-0316, CHICAGO, IL RACHELL, JAMES "YANK" (mand/g) b. 1910-0316, BROWNSVILLE, TN RAYE, DON [DONALD WILHOITE JR.] (v/songw) b. 1909-0316, WASHINGTON, DC REED, B. MITCHELL (dj) d. 1983-0316, MALIBU, CA 56 RICHMOND, DANNIE (d) d. 1988-0316, HARLEM, NY 52 ROYAL, ERNIE (tpt) d. 1983-0316, NEW YORK CITY, NY 62 SEWARD, ALEC (g) b. 1901-0316, NEWPORT NEWS, VA SIMMONS, JOHN (lead/REFLECTIONS) d. 1989-0316, ORANGE, NY 41 SYMONDS, IVAN S. (g) d. 1991-0316, MONTREAL, PQ 57 TERRELL, TAMMI [TOMASINA MONTGOMERY] (v) d. 1970-0316, PHILADELPHIA, PA 24 WALKER, AARON THIBEAULT "T-BONE" (g/p) d. 1975-0316, LOS ANGELES, CA 64 YOUNG, JOHN (p/EDDIE CHAMBLEE) b. 1922-0316, LITTLE ROCK, AR ------------------------------------------------------------------------------- ========================================================================= Date: Fri, 15 Mar 1996 11:27:16 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: King Biscuit Flower Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu In a message dated 96-03-15 11:20:39 EST, ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU (L W) writes: > saw on rec-music...blues that King Biscuit Flower bags with Sonny Boy's >pictuee is available in Arkansas. Can anyone provide an address or a clue >as to how I could go about getting one. I want one real bad. > >Thanks > > Jim O'Neal sells them through his catalogue for Stackhouse / Rooster. If you have that catalogue, there is a picture and description. I don't have handy his number over in Clarksdale, but can get it if you don't, L.W. Tom Freeland ========================================================================= Date: Fri, 15 Mar 1996 08:24:25 -0800 Reply-To: Peter Orelup From: Peter Orelup Subject: Re: Your favorite acoustic Fred McDowell Comments: To: "Peter E. Beal" In-Reply-To: Your message of "Fri, 15 Mar 1996 08:54:49 +0700." |====== Original message from "Peter E. Beal" ======| | | On Thu, 14 Mar 1996, Peter Orelup wrote: | | > The All Music Guide seems to like Arhoolie 1108-304-4, Fred McDowell: | > Mississippi Delta Blues. I'd probably choose that unless someone | > can convince me otherwise. Any advice would be appreciated. | | Where can one access the All Music Guide? I access AMG through the CDnow web site at http://cdnow.com/. >From there, just follow the link to AMG. Pete ------ Pete Orelup, Silicon Graphics, Inc. (peteo@sgi.com) (415) 933-3697, Fax: (415) 390-6175, MS: 2L-178 URL: http://reality.sgi.com/employees/peteo/ ========================================================================= Date: Fri, 15 Mar 1996 11:33:01 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Selling my record, NOT! Comments: To: bengans On 15 Mar 96, bengans had this to say: > So folks, how do I go about this? > > I have a brand new CD with my band, The Instigators, and I d love to offer > it to the Bluzellers, but since this club can t be used to sell stuff, how > do I do this? > Is there an authorised Blues-l record seller that I can go through to > provide my classic 50 s style blues record? First, there's no reason why you can't offer your record for sale right here on Blues-L. If you were going to sell fishing rods, or vegetable slicers on Blues-L people would get upset. But telling people how they can purchase your self produced Blues CD seems a rather appropriate use of a Blues list. Second, you may or may not know, that I reserve a spot on my web pages called "The Blues-L Shopping Center" just for such advertising. The only requirement is that you are a participating member of Blues-L. If you are interested, take a look at the entries that are already there, make up something similar about your offering, and send it to me via email. I'll put it up for the world to see. the URL is: http://www.gate.net/~pwfenton/blues-l.html P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 15 Mar 1996 18:30:01 +0100 Reply-To: bengans From: bengans Subject: Input:Peavey Delta Blues Classic Guys! I ve got a Fender Bassman tweed re-issue that I like very much, but now I ve tried a Peavey Delta blues Classic amp in the store and it sounded great in my ears. I m seriousily thinking aboutr changing cause the Peavey is lighter and smaller but seems to sound very fine for my use. Does anybody have any experience with this particular Peavey amp. (Good or bad.) I d like some blues players opinion before I make the trade. ( If I do). Thanx. Sevenson "Time is hard baby, and hustling is really on." T-Bone Walker ========================================================================= Date: Fri, 15 Mar 1996 12:05:01 -0500 Reply-To: leddy@A1.POLICE.UPENN.EDU From: Gerald Leddy Subject: Blues Photos I was walking through an office at work and saw a magazine named `Live-Everything Entertainment'. Never heard of it but picked it up to browse. Inside is a four or five page spread called `Roayl Blues', photos taken by Jeff Dunas in 1994. Included are Buddy Guy, Lowell Fulson, Charles Brown, John Mayall, Jay McShann, etc.. Some real strong B&W portraits of the names kicked around here. Just in case you're interested. Usual disclaimer added, hell, I never even heard of the magazine! Jerry. ========================================================================= Date: Fri, 15 Mar 1996 18:56:01 +0100 Reply-To: bengans From: bengans Subject: Re: Anson Funderburgh CD faves Porcher asked: >I have the CD "Thru the Years, A Retrospective" and especially like the >most recent two thirds of the tracks and all the Sam Meyers stuff. Can >anyone recommend the must-haves for these guys? I say: Everythang! But first: (in following order) Talk to you by hand,Black Top 1001 (Simply one of the BEST blues records. Sam M. excluded, but some mighty fine work by Darrell Nulish ) Live at the Grand Emporium BT 1111 (the latest release from them, Great!) Various Artists, Black Top Blues-a-rama vol.1 BT 1044 (this live record contains four songs with the band and some of the best guitar playing I ve heard from Anson, SMOKING. The rest is good too. W. Ron Levy, Grady Gaines.) Rack em up BT 1049 Buy n enjoy! Sevenson "Time is hard baby, and hustling is really on".T-Bone Walker ========================================================================= Date: Fri, 15 Mar 1996 13:19:33 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Stackhouse (King Biscuit Flower) Address, etc. Stackhouse/Delta Record Mart 232 Sunflower Ave. Clarksdale, MS 38614 Tel (601) 627-2209 Fax (601) 627-9861 Joel Slotnikoff, Publisher | BLUES WORLD e-mag Box 21652 | http://www.bluesworld.com St. Louis, MO 63109 | Acme Guitar, Blues Estafette TEL (314) 647-2447 | Blues & Rhythm: The Gospel Truth FAX (314) 647-2497 | Roots & Rhythm, Testament Records joelslot@inlink.com | SONO, Vintage Jazz Mart, Wayhi Tapes ========================================================================= Date: Fri, 15 Mar 1996 13:00:16 -0500 Reply-To: Chris Smith From: Chris Smith Subject: buddy brown Can anybody tell me who Buddy Brown was in the blues verse sung by both Texas Alexander and Sleepy John Estes? I'm gonna get up in the morning, and do like Buddy Brown; Gonna eat my breakfast, and then lay back down. John said it was a friend of his in Chicago, but that seems unlikely. A character in a comic strip, maybe? Your input gratefully received. and incidentally, I believe Buster Brown the harmonica player was named after another Buster Brown - can anybody tell me about that, too? (It's not the big things in other countries, like political systems, that are hard to figure out; it's little details like these.) Chris Smith (chris@skerries.demon.co.uk) "I'm a man of no convictions - at least, I think I am." (Christopher Hampton) ========================================================================= Date: Fri, 15 Mar 1996 13:05:00 EST Reply-To: edward c liu From: edward c liu Subject: S&T: Lurrie Bell _Everybody Wants To Win_ Howdy all, Continuing the series of JSP reviews for March, and to followup on the poster who asked a while ago about the Bell family of Chicago. According to the liner notes to this disc (or the Lefty Dizz disc on JSP, whose review was posted last week), the only Bells left in the blues bizness are Carey and Lurrie -- all the others have apparently given it up. Pity. -- Ed Edward C. Liu | "Don't make me nervous, 'cuz I'm holdin' edwick@cc.bellcore.com | a baseball bat." | -- Big Joe Turner, "Honey, Hush" The opinions in this message are mine and not Bellcore's. Really! *------------------------------cut heer------------------------------* LURRIE BELL / EVERYBODY WANTS TO WIN (JSP 227) JSP RECORDS P.O. BOX 1584 LONDON N3 3NW ENGLAND If ever there was a family steeped in the blues, it's the Bells of Chicago. Father Carey, an emigre from Mississippi, is one of the finest living harmonica players and he's clearly taught his sons well. Led by son Lurrie, this album features a band chock full of the Bell boys any of whom ought to be blues stars by now. Lurrie has a very clean voice that fits the numbers selected on this album well. His guitar style is also very clean and articulated, and borrows heavily from his father's harp-playing style. This is an immensely satisfying disc, full of slow blues croons and quick shuffles; Chicago blues at its finest. EVERYBODY WANTS TO WIN / GOING BACK TO LOUISIANA / I FEEL SO BAD / 1215 W. BELMONT AVENUE / SECOND HAND MAN / THE TRAIN I RIDE / TEENIE WEENIE BIT / NO PICKS / CADILLAC ASSEMBLY LINE NYCD Takes EVERYBODY WANTS TO WIN: Some nice chunky rhythms open this mid-tempo shuffle. Lurrie's vocals are clean and smooth, evoking images of Junior Parker, Magic Sam, and Robert Cray. The arrangements are lean and sparse. Lurrie's guitar work is gripping, and actually sounds more like a harmonica solo than a regular guitar solo. Then again, if my father was Carey Bell, I'd probably play my guitar like a harmonica, too. Carey's on hand too, providing plenty of tasty Chicago harmonica. GOING BACK TO LOUISIANA: More smooth vocals by Lurrie trade off with father Carey's nasty Chicago harp on this number adapted from the Muddy Waters classic. Lurrie's guitar solo is nicely restrained and clicks together nicely with Carey's harp (or is it brother Steve Bell's? The liner notes comment that it's hard to tell which is which, and they're right. This says volumes for Steve Bell, who was just old enough to drink when this session was recorded). I FEEL SO BAD: An incongruously titled number. This uptempo boogie will make you feel anything but bad. Lurrie delivers some grit to his vocals in this number, and provides a nasty guitar solo, but that doesn't hide the fact that this is a great boogie blues. 1215 W. BELMONT AVENUE: A short, uptempo, instrumental number that will leave you wishing the track was longer. Lurrie's guitar trades off nicely with the harmonica, while the rhythm section provides great backing (listen especially for some great bass work by Tyson Bell). SECOND HAND MAN: Carey Bell opens with an overdriven blast from his harmonica, and then takes over vocal chores to this grooving shuffle. There's a distinctly different feel to this track than there is to the version Carey does on Alligator Records' "Harp Attack!" The Alligator version is a lighter, uptempo, quick-shuffle; this one is slower and grittier and hits harder. If you didn't know better, you would have thought they were different songs. Carey provides some virtuosic harmonica work on this track, and Tyson and James Bell show off on the bass and drums as well. THE TRAIN I RIDE: A driving, fast-paced train shuffle which borrows heavily from "Mystery Train." Lurrie's guitar work on lead and on rhythm is outstanding, and the drumming and bass work effectively to evoke images of endless track. The harmonica work (I'm guessing by Carey) is flawless, providing the finishing touch on this blues-train piece. TEENIE WEENIE BIT: Lurrie covers Magic Sam's groovy classic with flair. The vocals are especially smooth, and the harmonica fills between the lines are perfect. Lurrie's guitar solo smokes and smolders, giving some flash and plenty of heat. Magic Sam would have been proud The harmonica solo is also classic Carey Bell, mightily blown. NO PICKS: Another short, fast-paced shuffle instrumental. The rhythm section gives up a great shuffle for Lurrie to work with. He provides vintage Chicago blues solos, as does brother Steve. Again, the band links together nicely, driving this instrumental nicely to its all-too-short conclusion. CADILLAC ASSEMBLY LINE: A closing mid-tempo blues groove. The vocals are super smooth and silky, and the guitar solo combines restraint and energy into a dynamic, tension-filled smoker. More than adequately does justice to this Sir Mack Rice classic. Reviewed by Edward C. Liu Copyright 1996 NY CD Blues -- Unauthorized use prohibited WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs ========================================================================= Date: Fri, 15 Mar 1996 17:19:33 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Backbeat? Comments: To: bit-listserv-blues-l@uunet.uu.net "by way of jgriffin@Jetson.uh.edu Joe Griffin" wrote: > >>Michael G. Kaloyanides >>Department of Music & Sound Recording >>Univesity of New Haven > >I really liked your explanation of the basic concepts of what "back beat" >means. To take it one step farther, I have always tried to define the "back >beat" in three distinct ways. I know this may sound strange but bear with me >while I try to explain. > >1). If you play the snare directly on 2 and 4 as in the case of synthesized >drums, you get a pop feel to the tune. (edit) The best blues drummers I know call it a backbeat WHEREVER it's placed withing the groove...as long as it's in that 2 and 4 mode, it's a backbeat. >2). The second option is refered to as playing "top side". This is like >playing just ahead of the 2 & 4. (more editing) These same drummers call this "pushing the beat", but it's still a backbeat. >3). The last option, and my personal preference is playing back side. This is >like playing just behind the 2 & 4. One example that can clearly be heard is >"Hold On, I'm Coming", by Sam & Dave. Really a lot of the "soul music" era >tunes of the the mid sixties had this feel. And they call this "lag time", but once again, they're still playing the "backbeat" mode as opposed to a "shuffle", "Latin", "Rock n Roll" or whatever beat. Actually, the best blues drummers ALWAYS play lag time, regardless of the placement of the accents within the measures. It's lag time that makes the music swing, and is, IMHO, one of THE essential ingredients in blues. Without it, it just doesn't sound like blues. Scott ========================================================================= Date: Fri, 15 Mar 1996 12:32:07 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Tribune Article - Recycled Blues >From the Chicago Tribune - March 15, 1996 - in line with a couple of recent threads: Date: Friday, March 15, 1996 Source: By Bill Dahl. Special to the Tribune. Section: TEMPO Parts: 1 Copyright Chicago Tribune STALE HOME CHICAGO FOR MANY LOCAL BLUES MUSICIANS THE THRILL OF WRITING AND PERFORMING ORIGINAL TUNES IS GONE Ever vigilant in his search for fresh Chicago blues talent, Blind Pig Records co-owner Jerry Del Giudice dropped by a local nightspot recently to check out a highly touted act. Much to his dismay, the vocalist and her band plowed through one shopworn blues standard after another for a crowd dominated by tourists and conventioneers. Between sets, Del Giudice asked the singer if she had any original material in her repertoire. "She just gave me the blankest look, like she had never even considered it," he says. "She was shocked by the question." Perhaps only in suburban hotel lounges can one encounter as many overworked covers as there are in the North Side blues clubs. Song-list stagnation permeates live Chicago blues. Bands regularly headline top clubs while offering little to no fresh material. Set lists remain dominated by certified classics of decades past ("Sweet Home Chicago," "Every Day I Have the Blues," "Mustang Sally")--songs that long ago slipped into onstage cliche through their sheer predictability. The venerable idiom's stars aren't the principal offenders. Otis Rush, Lonnie Brooks and Koko Taylor, for instance, proudly boast their own sharply honed repertoires, peppered with signature hits. It's more often up-and-coming bandleaders--the ones that will ostensibly usher the idiom into the 21st Century--who willingly crank out yet another soporific "Crosscut Saw" or "Stormy Monday" for late-night revelers. A danger looms that Chicago blues may gradually become a museum piece, embalmed in time. "My big fear in blues--especially blues in Chicago on the North Side--is what I call the `Dixieland syndrome,' " says Bruce Iglauer, president of Chicago's leading blues label, Alligator Records. "I'm very worried that `Sweet Home Chicago' has become the blues version of `When The Saints Go Marching In,' and that everybody is expected to play it." Why is originality so scarce? For starters, the audience for the music has shifted drastically. Once the genre appealed primarily to the African-American population that spawned it, and was played principally for that audience at neighborhood taverns as an integral part of socializing (and still is, on a considerably smaller scale). Now it's regarded as hearty party music by young white fans who support it enthusiastically with their wallets but aren't always cognizant of the idiom's tradition. Throw in a hefty helping of well-heeled tourists who traverse the North Side scene in the name of tourism, and you have the recipe for a rather undemanding constituency. One more "Crosscut Saw" or "Got My Mojo Working" suits this neophyte throng fine. And as frequent Kingston Mines attraction Charlie Love points out, pleasing the audience is essential to any band's employment prospects. "The people, they want to hear these songs," says the guitarist. "Even if they can't speak English, they understand `The Thrill Is Gone' when it's played. Or `Sweet Home Chicago.' "You've got guys that are making a living, and they're doing what they have to do, in a professional way, to come across," says Love. Meeting audience expectations The demographics began shifting during the early 1960s, when rediscovered pre-war bluesmen were dusted off and presented as folk artists for the collegiate crowd. By the middle of the decade, young white performers such as Paul Butterfield and Charlie Musselwhite were breaking down cultural barriers with their supercharged brand of Chicago blues. As more rock fans gravitated to the music, the criteria for success changed. Loud, flashy guitar solos lessened a need for the creativity so prevalent during the 1950s, when Chicago blues was at its zenith. In the last 15 years, a mere handful of songs--the late Z.Z. Hill's "Down Home Blues" and "Someone Else Is Steppin' In," Little Milton's "The Blues Is Alright"--have graduated to legitimate standard status. None of them was cut in Chicago. Ironically there is a blues boom of sorts, with TV ad campaigns using recycled blues themes as hip background music, the House of Blues nightclub chain continuing to expand (a Chicago site is slated to open in August), and most major labels have inaugurated blues subsidiaries. Indeed there is an astonishing amount of new recordings, ranging from excellent to execrable, crowding the CD racks. Why, then, aren't a few deserving songs therein catching on as fresh cover possibilities? "Most of the blues songs that have been broken to black blues musicians have been broken on black radio," says Iglauer. "With the small amount of blues that's getting played on black radio right now, the opportunity for a number of songs to get heard is very limited." In Chicago, airplay for contemporary blues is often relegated to the wee hours of the morning or limited to public radio outlets. "A lot of times, they look at your stuff and they'll throw it over in the corner," says singer Casey Jones, operator of his own Airwax record label on the South Side. "They won't play it." Also, the potential profits for blues songwriters remain comparatively minuscule. The stakes are smaller; 50,000 albums constitutes a major seller. That generates little royalty income for songwriters specializing in the field. "There's not a lot of incentive to go out there and write a blues song when you're not really going to get any money," says composer/producer Gene "Daddy G" Barge, whose blasting sax solos ignited hits by Chuck Willis and Gary U.S. Bonds. Barge observes that some aspiring artists make the same mistake when recording that they do onstage, padding their albums with hoary oldies. "These guys rush into the studio before they get the material really picked out," says Barge, now a member of the Chicago Rhythm & Blues Kings. "They don't have all the songs. They're afraid they're going to lose their shot to record. So basically they record about three or four originals, and the rest of (the songs) are covers." A lack of good writers "Unfortunately, very few of the current school of blues artists are anything other than OK songwriters," says British producer Mike Vernon, whose Code Blue label is affiliated with Atlantic Records. "Simplicity has gone out the window for clever chord changes, or clever turnaround lyrics, which are more suited to country-and-western-type songs than they are to blues songs. "If you look at any and all of the major successes in the blues market where they've crossed over--`The Thrill Is Gone,' `I Just Want To Make Love To You,' `Dimples,' `My Babe'--they're about as simple as they bloody come," says Vernon. Stan Lewis has recorded a slew of blues legends for his Shreveport, La.-based Jewel and Ronn labels dating to 1963. He sums up the difference between then and now succinctly. "It's got to come from your heart," he says. "Those guys were hungry. When they had problems at home--women problems, money problems--that's what they wrote about. "I don't know if people are hungry enough anymore to write those type of songs like they used to." Lonnie Brooks has worked both sides of the fence. The guitarist's six Alligator albums are filled with irresistible originals showcasing his unique Chicago/Louisiana hybrid approach. Those songs make up the majority of his stage show. But it wasn't always that way. When Brooks hit town in 1959, he found that the rock 'n' roll he had played around the Gulf Coast (where he was billed as Guitar Junior) didn't cut it here. So Brooks performed a litany of blues standards until he had accumulated suitable material of his own. "You can do that for a while, and make a living doing it," says Brooks. "But the people that are here to stay forever are the ones that can do all three. I want to be a good writer, I want to be a good player, and I want to be a good singer." Kingston Mines owner Doc Pellegrino says that some artists are simply complacent. "Sometimes (their act) works, and they don't want to change," he says. "They don't want to rock the boat. They won't experiment. They don't want to rehearse." Jones, a Mines mainstay, mixes a few of his own songs with a lot of the time-tested stuff, hoping to please everyone. "I do `Dock of the Bay,' `Sweet Home Chicago,' `Next Time You See Me,' " says Jones, a stellar drummer behind Otis Rush and Albert Collins before venturing out front. "You've got to do those. "But it's not good to just do all cover songs. Hey, my songs sound just as good as anybody else's." BLUES ORIGINALS Six recent Chicago-related albums that prove quality blues songwriting isn't a lost art, yet: - Luther Allison,"Blue Streak (Alligator): The incendiary ex-West Sider (he now lives in Paris) packed his last disc with seamlessly constructed originals. Other than a revival of Magic Sam's "What Have I Done Wrong?," Allison wrote or co-wrote (with rhythm guitarist James Solberg) the entire set--notably the "socially aware "` `Move From the `Hood' and an inspired "Think With Your Heart." Billy Boy Arnold,"Eldorado Cadillac" (Alligator): The veteran Windy City harpist (source of such mid-1950s classics as "I Wish You Would" and "I Ain't Got You" for Vee-Jay) stoked his remarkable comeback with an encore set containing seven fresh originals, including "Man Of Considerable Taste," "Slick Chick," and "Been Gone Too Long." - Cicero Blake,"Just One of Those Things" (Valley Vue): Bob Jones wrote almost -half the album, contributing "Caught in the Wrong Again," "High Steppin' Mama," and three more numbers to the slickly produced 1993 set. - Detroit Junior,"Turn Up The Heat" (Blue Suit): Sly humor long has been a key factor in the compositional skills of buoyant pianist Emery "Detroit Junior" Williams Jr. (he co-wrote the often-covered "Call My Job"). The Chicago resident's latest album found him dealing with cold-hearted landlords (the title cut), nosy in-laws ("Your Family"), and the saddest words of all for the dedicated drinker, "Last Call." -Willie Kent, Too Hurt to Cry" (Delmark): Rock-solid bassist Kent leads one of the tightest outfits on the local circuit, the Gents. Eight cuts on this disc are Kent compositions; "Willie Mae" and "Blues Train" hail from the pen of Bob Jones. - Casey Jones,"(I-94) On My Way to Chicago" (Airwax): Not only does Jones rank as one of the premier drummers on the local scene, he's a pleasing vocalist and prolific writer. Jones wrote everything on this set for his own label, including the infectious title item, a storming "I Know I Got A Good Woman," and the intoxicating "Just Me And My Whiskey." ---------- David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Fri, 15 Mar 1996 13:42:05 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Backbeat? Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I thought it was a movie about some band from Liverpool. :-) ========================================================================= Date: Fri, 15 Mar 1996 11:11:05 -0800 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Re: Movie soundtrack, blues-related Comments: To: bit-listserv-blues-l@cs.washington.edu Jeffrey Daniels wrote: > > Speaking of the "Things To Do In Dever When Dead" there is a couple of > Buddy Guy numbers also, "She's A Superstar" and a new on with the Nevel > Bro. The whole soundtrack is very good. Although nowhere do they credit the movie's title to the Warren Zevon song of the same name. RRRRR Adrian (or maybe that's just a common saying that has escaped me in my mostly coastal life) ========================================================================= Date: Fri, 15 Mar 1996 20:28:48 GMT Reply-To: Undetermined origin c/o LISTSERV maintainer Comments: RFC822 error: Mail origin cannot be determined. Comments: RFC822 error: Original tag data was -> JLABR407@@news.missouri.edu From: Undetermined origin c/o LISTSERV maintainer Organization: University of Missouri - Columbia Subject: blues piano music Comments: To: bit-listserv-blues-l@uunet.uu.net I am trying to find a book of piano instruction for playing the blues. I am not interested in a collection of pieces so much as instruction. I've played the piano for about ten years so I wouldn't have to begin with the very basics. If anyone has any ideas, I'd love to hear from you. Thanks for your time. Jim Coyle c603958@showme.missouri.edu ========================================================================= Date: Fri, 15 Mar 1996 14:56:19 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Little Whitt & Big Bo Just thought I'd pass this along, former 'eller Mike McCracken played rhythm guitar , produced this CD and quit his day job to do it. SO CONGRATULATIONS to Big Bo, Little Whitt & Mike McCracken. The CD sold out and was picked up by Vent Records and reissued. So it's available again. Little Whitt and Big Bo's CD "Moody Swamp Blues" was named CD of the year by England's BLUEPRINT MAGAZINE !!!!!!!!! ========================================================================= Date: Fri, 15 Mar 1996 15:16:06 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 03/16 B O R N: 03/16 BONDS, SON "BROWNSVILLE" Born:1909 BROWNSVILLE, TN Career:GUITAR Style:BLUES With:JOHN ESTES BRAFF, RUBY ( REUBEN BRAFF ) Born:1927 BOSTON, MA Career:TRUMPET / CORNET Style:TRAD / JAZZ With:Pee-Wee Russell / Bud Freeman / Urbie Green / Edmond Hall / Joe Sullivan / George Wettling / Gene Ramey CAGE, JAMES "BUTCH Born:1894 HAMBURG, MS Career:FIDDLE Stylke:BLUES With:ARHOOLIE RECORDS FLANAGAN,TOMMY ( LEE ) Born:1930 DETROIT, MI Career:PIANO Style:JAZZ With:Dexter Gordon / Lucky Thompson / Milt Jackson / Rudy Rutherford / Billy Mitchell / Kenny Burrell / Oscar Pettiford / Ella Fitzgerald / J. J. Johnson / Miles Davis / Tyree Glenn / Harry Edison JOHNSON, BETTY Born:1932 POSSUM WALK. NC Career:SINGER Style:BLUES LANE, ERNEST Born:1933 CLARKSDALE, MS Career:SINGER Style:BLUES LESSEY, BOB 1910 BRITISH WEST INDIES Career:GUITAR Style:BLUES / JAZZ With:TINY BRADSHAW / LUCKY MILLINDER LINDBERG, JOHN ( JOHN ARTHUR III Born:1959 ROYAL OAK, MI Career:BASS Style:JAZZ RACHELL, JAMES "YANK" Born:1910 BROWNSVILLE, TN Career:MANDOLIN / GUITAR Style:BLUES RAGLIN, JUNIOR (ALVIN REDRICK ) Born:1917 OMAHA, NE Career:BASS Style:JAZZ / BIG BAND With:DUKE ELLINGTON RAPPOLO JOE ( JOESPH LEON RAPPOLO Born:1902 LUTHERAN, LA Career:CLARINET Style:TRAD / JAZZ With:Emmet Hardy / Peck Kelley / Brunis Bros / New Orleans Rhythm Kings / Albert Brunis / was committed to a mental home, where he spent the rest of his life RAYE, DON [DONALD WILHOITE JR.] Born:1910 WASHINGTON, DC Career:SINGER / SONGWRITER Style:BLUES ROBINSON, IKE (ISIAH ROBINSON ) Born:1892 THIB0DAUX, LA Career:TROMBOE Style:TRAD / JAZZ With:Thibodaux band / Kid Milton / Chris Kelly / Kid Rena's brass band / Retired about 1938 SEWARD, ALEC Born:1901 NEWPORT NEWS, VA Career:GUITAR Style:BLUES THOMPSON, JETER ( J.B. ) Born:1930 ST.LOUIS, MO Career: PIANO Style:JAZZ TORFF, BRIAN Born:1954 HINSDALE, IL Career:BASS Style:JAZZ YOUNG, JOHN MERRITT Born:1922 LITTLE ROCK, AR Career:PIANO Style:BLUES / JAZZ With:Andy Kirk 1942-45 and '46-'47 / Dick Davis 1947-'50 / Eddie Chamblee 1951-1955 FOR A LISTING OF THOSE THAT PASSED AWAY IN THIS MONTH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Fri, 15 Mar 1996 15:46:37 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Tribune Article - Recycled Blues Comments: To: David Silberberg In-Reply-To: <199603151832.MAA06796@psycfrnd.interaccess.com> The problem with the Blind Pig guy was that he was scoping the N.Side clubs. I bet he would have found some originality on the S. Side. The tourists *want* to hear that same old, same old (for the most part, I know I shouldn't generalize). I know when I was in St. Louis, there was *lots* of original stuff going on (Big Bad Smitty, Bennie Smith, David Dee, etc.) You just have to look for it. -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / Reuben Stewart \ / February 19, 1996 \( Rest in peace, Mr. S. ========================================================================= Date: Fri, 15 Mar 1996 16:43:46 -0500 Reply-To: RNABooking From: RNABooking Organization: America Online, Inc. (1-800-827-6364) Subject: Re: I'm a racist Comments: To: bit-listserv-blues-l@uunet.uu.net Shut up and dance. ========================================================================= Date: Tue, 12 Mar 1996 09:41:24 CST Reply-To: JBards From: JBards Subject: Re: That Garlic Beef recipe from last week! Comments: To: MILLER@SCI.WFBR.EDU Seems to me this recipe would be really good, maybe even great, with a pork roast substituted, too. -Jim _______________________________________________________________________________ Subject: That Garlic Beef recipe from last week! From: MILLER@SCI.WFBR.EDU at INTERNET-SH Date: 03/12/96 1:54 AM By the way......I *DID* make that recipe that very night that it was posted here on Blues, as I promised to do. Ate it the next day, as prescribed..... :) :) :) Yuuuuuuuuuuuuuuummmmmmmmmmmmmm!! :) :) Ya gotta try it, follow the recipe pretty exactly, and you'll dig this stuff. The fam and I just scarfed it bigtime on gorgeous hard rolls. We're just finishing the leftovahs. Excellent stuff. My variation: Had no brewskies in the house, so had it with a lovely Chilean merlot. Mmmmmm! (used the last beer in the recipe) My caveat: I cooked a 3.58 lb tip roast for exactly 9 hrs on LOW, and it came out well done. Like, pot roast falling-apart well done. So, if you want it a tad rarer or more medium, keep an eye on the clock and KNOW THY CROCKPOT. We really enjoyed it and licked our fingers repeatedly to BB King at the Regal. :) Bon appetit! Riffin Rick (chin drippin' au jus!) F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 15 Mar 1996 14:15:00 PST Reply-To: Gary Joneson From: Gary Joneson Subject: Re: blues piano music Comments: To: BROWNVM@BROWN.EDU >I am trying to find a book of piano instruction for playing the blues. Try the "Blues Hanon" US ISBN 0.8256.2224.7 Gary BluesWEB http://www.island.net/~blues/ ========================================================================= Date: Fri, 15 Mar 1996 17:15:57 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Department Of Factual Error (Scholars Division) & Parchman Farm There's a new book by a respected historian (David Oshinksy) called "WORSE THAN SLAVERY" PARCHMAN FARM AND THE ORDERAL OF JIM CROW JUSTICE. Seeing it in the local bookstore, I decided to flip through it (for blues content, for my interest in southern history, and in legal history). On the dust jacket is the assertion of Parchman's importance to blues history and a reference to Son House and Bukka White and "their" songs "Midnight Special" and "Parchman Farm Blues." Was anyone else aware that "Midnight Special" was either associated with Parchman or White or House? I looked in the index for White and the Lomaxes (they are there) and then opened the book literally randomly and saw the word "Dockery" and, of course, read that page. It stated that Dockery is in Coahoma County (I thought "What? Dockery is in Sunflower County, the same county as Parchman") and says something to the effect that Muddy Waters was drawn to Dockery. Muddy Waters? Dockery? Are we looking in the wrong plantation for that cabin? In any event, the guy is supposed to do a reading from the book at April in the local bookstore. Maybe I'll go ask some questions... There *does* seem to be a great deal of blues content to the book (the page on Dockery quoted one of the Dockerys and mentioned Charley Patton, for instance), so I may give it another chance. Anyone else know about the book? Tom Freeland ("I'm sitting over here in Parchman Farm / This place is loaded with rustic charm." Mose Allison) ========================================================================= Date: Thu, 14 Mar 1996 17:22:21 EST Reply-To: MS EC SCOTT From: MS EC SCOTT Subject: Blues Shows Hello everyone I will be travel to Chicago by way of Nebraska. and in the Mid-West. Would like to know about some blues shows on the way. the kind of blues shows that I like are A. doesn't play all men (more that 3 songs by women) B. Play living Artist and some dead C. Play Bobby Blue Bland and other blues artist in that vain Any out there Besides KDIA in Oakland Ca???? Thanks for your help. Scott ========================================================================= Date: Fri, 15 Mar 1996 14:38:00 PST Reply-To: Gary Joneson From: Gary Joneson Subject: Re: Little Whitt & Big Bo For those that may be interested they are the featured artists on BluesWEB for February/March, the page being at: http://www.island.net/~blues/whittbo.htm >Just thought I'd pass this along, former 'eller Mike McCracken played rhythm >guitar , produced this CD and quit his day job to do it. SO CONGRATULATIONS >to Big Bo, Little Whitt & Mike McCracken. The CD sold out and was picked up >by Vent Records and reissued. So it's available again. > >Little Whitt and Big Bo's CD "Moody Swamp Blues" was named CD of the year >by England's BLUEPRINT MAGAZINE !!!!!!!!! Gary BluesWEB http://www.island.net/~blyes ========================================================================= Date: Fri, 15 Mar 1996 16:47:42 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Tribune Article - Recycled Blues Comments: To: Jeff Seale At 03:46 PM 3/15/96 -0600, Jeff Seale wrote: > >The problem with the Blind Pig guy was that he was scoping the N.Side >clubs. I bet he would have found some originality on the S. Side. The >tourists *want* to hear that same old, same old (for the most part, I know >I shouldn't generalize). > Jeff - The North Side issue struck me, too, when I read the article.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Fri, 15 Mar 1996 22:45:43 GMT Reply-To: Ari Eisinger From: Ari Eisinger Organization: Internet Online Services Subject: Re: buddy brown Comments: To: bit-listserv-blues-l@uunet.uu.net Chris Smith (chris@SKERRIES.DEMON.CO.UK) wrote: : Can anybody tell me who Buddy Brown was in the blues verse sung by both : Texas Alexander and Sleepy John Estes? : I'm gonna get up in the morning, and do like Buddy Brown; : Gonna eat my breakfast, and then lay back down. : John said it was a friend of his in Chicago, but that seems unlikely. A : character in a comic strip, maybe? Your input gratefully received. and : incidentally, I believe Buster Brown the harmonica player was named after : another Buster Brown - can anybody tell me about that, too? : (It's not the big things in other countries, like political systems, that : are hard to figure out; it's little details like these.) : Chris Smith (chris@skerries.demon.co.uk) : "I'm a man of no convictions - at least, I think I am." (Christopher : Hampton) This line is also in a Texas Alexander recording with Little Hat Jones on guitar. The name escapes me at the moment, but it's on _Don't Leave Me Here: Blues from Texas, Arkansas and Louisiana_ on the Yazoo label. ARI EISINGER Blues and Ragtime Guitarist and Singer ==Guitar Teacher== ==(610) 259-6688== ========================================================================= Date: Fri, 15 Mar 1996 18:18:00 EST Reply-To: edward c liu From: edward c liu Subject: Cathi Norton's new CD? Howdy all, On a totally unrelated topic, Bob Unger wrote; >The copy you'll recieve will have songs recorded >by blues-l's own Cathi Norton! - and BTW, a BIG round of congratulations on >the release of her cd today "Various Stages Of Undress" Let's give it up for >Cathi! Wasn't there a BLUES-L conspiriacy afoot to put Cathi's new disc on the Billboard records chart? I know I'm gonna run out to the next CD store I see and grab a copy (or special order it ... or get it in my hot little hands ASA-Friggin-P). After hearing her on the BluesBytes tape (let's hear some applause for Bob U. while we're at it), this disc is on my Gotta Geddit list! -- Ed Edward C. Liu | "Don't make me nervous, 'cuz I'm holdin' edwick@cc.bellcore.com | a baseball bat." | -- Big Joe Turner, "Honey, Hush" The opinions in this message are mine and not Bellcore's. Really! ========================================================================= Date: Fri, 15 Mar 1996 23:58:38 GMT Reply-To: bluesbabe From: bluesbabe Organization: SoVerNet, Inc. Subject: Bentonian Blues at its best! Comments: To: bit-listserv-blues-l@uunet.uu.net There is a CD recorded by David Evens containing Bentonian Blues at its best; Jack Owens and Bud spires . The title has the word :DEVIL in it. I;m unable to find the rest of the title so can not track down the CD. Anyone have the complete title? thanks Bluesbabe ========================================================================= Date: Fri, 15 Mar 1996 19:44:02 -0500 Reply-To: Vicki Bean From: Vicki Bean Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Internat'l Blues Talent Competition Comments: To: bit-listserv-blues-l@uunet.uu.net Still looking for input on the International Blues Talent Competition sponsored by the Blues Foundation. Trying to make some changes for this year's event to benefit the blues societies and contestants even more. If you are familiar with the event and would like to help with the planning, or if you'd like info, please e-mail me. Thanks.... VBean ========================================================================= Date: Sat, 16 Mar 1996 02:12:11 GMT Reply-To: Weidel From: Weidel Organization: Not at This Time Subject: Re: King Biscuit Flower Comments: To: bit-listserv-blues-l@uunet.uu.net In article <960315112716_447170330@emout06.mail.aol.com>, Skipjames@AOL.COM wrote: > In a message dated 96-03-15 11:20:39 EST, > ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU (L W) writes: > > > saw on rec-music...blues that King Biscuit Flower bags with Sonny Boy's > >pictuee is available in Arkansas. Can anyone provide an address or a clue > >as to how I could go about getting one. I want one real bad. > > > >Thanks Try Bubba Wine's Blues Corner. 105 Cherry St. Helena, AR 72342 (501) 338-3501. Bubba has always been very helpful in the past. Bob Weidel ========================================================================= Date: Fri, 15 Mar 1996 02:10:09 GMT Reply-To: Jack Oudiz From: Jack Oudiz Subject: Re: blues hyperbole/thanks for N.O. info Comments: To: bit-listserv-blues-l@uunet.uu.net >At 09:07 AM 3/14/96 -0500, Steve Levine wrote, re Blue Revue: >>*Nothing wrong with selling magazines. But there IS something wrong with >>*misrepresenting one's self. If it's a blues magazine, put a blues guy >>*(or gal) on the cover. Was it just me or did anyone else wanna puke upon reading Andrew Robble's description of Gregg Allman as the "deepest blues"? Is this what Robert Palmer had in mind?? What a revoltin development ========================================================================= Date: Sat, 16 Mar 1996 02:27:46 GMT Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: Department Of Factual Error (Scholars Division) & Parchman Farm Comments: To: Skipjames@AOL.COM On Fri, 15 Mar 1996 17:15:57 -0500, you wrote: >There's a new book by a respected historian (David Oshinksy) called "WORSE >THAN SLAVERY" PARCHMAN FARM AND THE ORDERAL OF JIM CROW JUSTICE. Have I had too many or is this hilarious?! Go figure. I wonder if he's ever even been up 49 W! To think of the folks who would've given a Clapton string to do the fact checking for this book, or maybe that's what happened! >Tom Freeland ("I'm sitting over here in Parchman Farm / This place is loaded >with rustic charm." Mose Allison) Yes, I do believe I have had one too many. God that's funny! *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Fri, 15 Mar 1996 02:12:11 GMT Reply-To: Jack Oudiz From: Jack Oudiz Subject: The Real HOB Comments: To: bit-listserv-blues-l@uunet.uu.net File under "a picture is worth a 1000 words": The picture and accompanying caption by Alvin Younblood Hart on page 36 of the new Living Blues. Says all that needs ever be said on the subject of the HOB. Take your hand off my pocket Take your eyes off my whiskey at the bar ========================================================================= Date: Fri, 15 Mar 1996 02:17:20 GMT Reply-To: Jack Oudiz From: Jack Oudiz Subject: Re: Ronnie Earl Comments: To: bit-listserv-blues-l@uunet.uu.net >I've learned that there is a new release coming at march 19. >(' Grateful Heart - Blues and ballads ') Most prominently. David Fathead Newman. It's a very pleasing jazz/blues fusion album. However I still wonder why Mr. Earl insists on covering ground that is so infintely better played by people like Kenny Burrell and Joe Sample. Take your hand off my pocket Take your eyes off my whiskey at the bar ========================================================================= Date: Fri, 15 Mar 1996 21:47:18 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Tribune Article - Recycled Blues Comments: To: Jeff Seale In-Reply-To: Steve Tomashefsky, who did a very nice job with production and business for Delmark in the '70s and '80s, had a very good way of stating the premise of Bill Dahl's article. It may have been on the sleeve of a Jimmy Dawkins LP, but somewhere Steve made the observation that blues has become a repertory music, with a lot of emphasis on the interpretation of an established canon of work. Bill does make some good and widely recognized points. However, I can't think of a time when artists didn't favor covers of hits much more live than in the studio, partly because that's what the requests are for (then there was the time when I was rehearsing a bunch of originals with Fenton Robinson and a regular denizen of the bar where we were rehearsing came back and started telling Fenton to record "The Thrill Is Gone") and partly because that's what musicians are going to know how to play if you haven't worked with them enough to teach them your own stuff. I agree that the "Dixielandization" issue is all too real and think that in some ways blues musicians are stereotyped worse than ever, but also think that the idea of some more pristine time when people were all playing their own stuff on bandstands is probably a myth. ========================================================================= Date: Sat, 16 Mar 1996 03:44:16 GMT Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: Bentonian Blues at its best! Comments: To: bluesbabe On Fri, 15 Mar 1996 23:58:38 GMT, you wrote: >There is a CD recorded by David Evens containing Bentonian Blues at >its best; Jack Owens and Bud spires . The title has the word :DEVIL >in it. I;m unable to find the rest of the title so can not track down >the CD. Anyone have the complete title? "It Must Have Been The Devil" on Testament Records (TCD 5016), 1995. See http://www.bluesworld.com/TESTCat2.html if you can. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Fri, 15 Mar 1996 22:40:32 -0600 Reply-To: Tom Kraft From: Tom Kraft Subject: Brint Anderson Has anyone seen Brint Anderson. He will be in town tomorrow night for $6 and I was wondering if it would be worth the trip. They (venue employee) said he was from New Orleans. Any info would be appreciated. Tom Kraft ========================================================================= Date: Sat, 16 Mar 1996 00:22:46 -0500 Reply-To: James Leftwich From: James Leftwich Is Popa Chubby worth the $15 cover charge? What's he like? Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" :D come win a CD at Jim's Blues N' Brews: http://www.cloud9.net/~leftwich ========================================================================= Date: Sat, 16 Mar 1996 00:42:57 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Recycled blues--reply Dick Shurman writes: "...but also think that the idea of some more pristine time when people were all playing their own stuff on bandstands is probably a myth." It may indeed be a myth, but I'd like to think that Furry, Bukka, Skip, Son, Robert, Tommy, Charlie and others produced music of such great individuality that even when they did cover someone else's tune, they made it totally their own. And even in more recent time I would suggest that artists such as Robert Pete Williams, Junior Kimbrough, and, to a slightly lesser extent, Clifton Chenier, have produced work of startling originality. At any time, in any genre of music, their are a few true geniuses and many workaday yeoman. Joel Slotnikoff ========================================================================= Date: Sat, 16 Mar 1996 01:32:29 -0500 Reply-To: Robert Waller From: Robert Waller Subject: "Big Voice" Odem Can someone recommend for me the best "Big Voice" Odem recording? B.W. ========================================================================= Date: Sat, 16 Mar 1996 01:51:53 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: blues piano music Comments: To: c603958@showme.missouri.edu In a message dated 96-03-16 01:21:46 EST, you write: >I am trying to find a book of piano instruction for playing the blues. >I am not interested in a collection of pieces so much as instruction. >I've played the piano for about ten years so I wouldn't have to begin >with the very basics. If anyone has any ideas, I'd love to hear from you. >Thanks for your time. Eric Kriss has two books I found very good when I was trying to move from ragtime to blues/barrelhouse about 10 years ago. One (my favorite) is BARRELHOUSE AND BOOGIE PIANO (Oak Publications), which, in its day came with one of those little vinyl records. It was published in 1984. It includes "Pettie Wheatstraw Stomp," Meade Lux Lewis' "Honky Tokn Train", Walter Davis' "I Can Tell By The Way You Smell" and pieces by Jelly Roll Morton, Romeo Nelson, Cow Cow Davenport, Memphis Slim, Robert Shaw, Sunnyland Slim, and others. These are excellent transcriptions; what you have to do is master the rythmns. And it is SO MUCH FUN to get "Honky Tonk Train" cooking. I give this one a major thumbs up. A 2nd one is Kriss' SIX BLUES-ROOTS PIANISTS (Jimmy Yancy, Champion Jack Dupree, Little Brother Montgomer, Speckled Red, Roosevelt Sykes, and Otis Spann). It has "Cow Cow Blues," "Trouble No More," many others, and is also excellent. I think Kriss ran a regular column of this type in Living Blues in the 70s. There are instructional tapes and videos out there. Dr. John has a video (2 actually) on New Orleans piano styles that is very useful, and has the great advantage of getting a 'tour' of the great New Orleans piano masters with Dr. John. I haven't tried to work with that tape in the piano for a numbper of reasons, but I've watched them and am very impressed. Tom Freeland ========================================================================= Date: Fri, 15 Mar 1996 23:12:55 +0000 Reply-To: ksailors@hooked.net Comments: Authenticated sender is From: "Kenneth M. Sailors" Subject: Re: blues hyperbole (cont) > >At 09:07 AM 3/14/96 -0500, Steve Levine wrote, re Blue Revue: > >>*Nothing wrong with selling magazines. But there IS something wrong with > >>*misrepresenting one's self. If it's a blues magazine, put a blues guy > >>*(or gal) on the cover. Ok, I'll admit it, I haven't read the article but Ol' Brother Gregg has taken a lot of flack here. Are the Allman Bros. a BLUES band? Well, not really but Gregg Allman is entitled to have the blues & he is certainly entitled to SING the blues. The man can phrase, he expresses emotion & he does NOT sound contrived. He may not cut it with the purists out there but how many of us are listening (& playing) the blues because Allman and/or the band gave us that inspiration. Ken ========================================================================= Date: Sat, 16 Mar 1996 01:12:27 -0600 Reply-To: Craig Edmundson From: Craig Edmundson Subject: Re: Tribune Article - Recycled Blues Comments: To: Richard Shurman In-Reply-To: On Fri, 15 Mar 1996, Richard Shurman wrote: > but also think that the idea of some more pristine time when people were > all playing their own stuff on bandstands is probably a myth. I think that history supports Mr. Shurman's position. The "field hollers" that contributed to the birth of the blues served a cathartic function. Once this highly personal phenomenon made the transition to the Saturday night fish fry, the blues as catharsis became a community event, thereby placing demands on the artist to incorporate into his repertoire subject matter with a more universal appeal. For a convincing arguement that a bluesman tailors his repertoire to the audience, see Ferris, William R. Jr., "Racial Repertoires Among Blues Performers." ETHNOMUSICOLOGY 14 (September 1970): 439-449. cle ---------------------------------- Craig L. Edmundson cedmundson@nfinity.com cedmunds@netserv.unmc.edu http://www.nfinity.com/~cedmundson ========================================================================= Date: Sat, 16 Mar 1996 02:43:49 -0500 Reply-To: MacRockin From: MacRockin Organization: America Online, Inc. (1-800-827-6364) Subject: Little Whitt & Big Bo Comments: To: bit-listserv-blues-l@uunet.uu.net LW, Hey I'm not "former" I'm just not a daily postin' kind of guy. I do check the list daily and dive in when I feel I have something to add--which isn't often with all these "blues experts" on the list. I appreciate the post about Whitt and Bo's getting chosen as CD of the year by Scott Duncan, Editor of England's Blueprint Magazine. Man, am I flattered! We are also playing Blind Willie's in Atlanta on Sunday, April 14th and I'd love to meet any of you in the Atlanta area. It will be the first time Whitt and Bo have played in Georgia. They are much better known in Europe than in the States now after our tour last March. We're hoping to play at the St. Louis Blues fest this year too--not firm yet though. Anyone interested in helping two older bluesmen from Alabama get some recognition in their own country? Let me know, that's my main goal at this point. They are ready to go anywhere! We're working on another short tour to Europe in the fall or next summer. I'll keep you informed. If you would like to hear a sound sample of Whitt and Bo check out the web page at http://dbtech.net/ventblues PS I'm trying to remember who a guy was I met when we played at "Ain't Nothin But" in London during our tour, he was a member of the blues list but I have lost contact with him. Could you please E-mail me if you see this? Thanks... Mike McCracken (McRocken@dbtech.net) The Alabama Blues Project .....and Blues-L member ========================================================================= Date: Sat, 16 Mar 1996 08:48:18 -0500 Reply-To: Michael Meadors From: Michael Meadors Subject: BLUESONICS Just like having a new baby, you feel compelled to tell everyone, so here goes: Just put together a new band here in Savannah, the BLUESONICS. Four-piece, harp-based tunes (yours truly on voc, harp, slide, lap steel and keyboards). "Blues for Full Grown People." Thanks. You can now return to your regularly scheduled programs. Best -- Mike Meadors band: BLUESONICS "Blues for Full Grown People" ========================================================================= Date: Sat, 16 Mar 1996 09:14:57 -0500 Reply-To: laurie.forti@INFOEXCH.MIAMI.FL.US From: Laurie Forti Organization: The Info Exchange Subject: Theory vs. experience Ro> But some insight came to me about the fact that i don't intend to Ro> learn theory.....its because: It would take the thrill of discovery Ro> away from me in learning to play blues..... Maybe this will also support your decision.... From the Mix Bookshelf Summer/Fall 1995 Catalog, p. 47, (800)233-9604: "Lies My Music Teacher Told Me" by Gerald Eskelin "Dr. Eskelin feels that the majority of music theory books and instructors are passing on 'fuzzy, misleading, and sometimes downright erroneous information' to new students, resulting in a great deal of unnecessary confusion and diminished confidence. Subtitled 'Music Theory For Grownups', this book outlines and attacks popular myths and fundamental errors in music education, teaching useful (and accurate) theoretical concepts along the way with an entertaining yet informative style." (C) 1994, 176 pp., # 3058B $14.95. ... "Corruption is everywhere!" M.A.N.T.I.S. --- ~ Blue Wave/QWK v2.20 ~ ========================================================================= Date: Sat, 16 Mar 1996 08:58:29 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 03/17 B O R N: 03/17 COLE NAT "KING" ( NATHANIEL ADAMS COLES ) Born:1917 MONTGOMERY,AL Career:PIANO / SINGER / LEADER Style:JAZZ / BIG BAND Oscar Moore / Wesley Prince / Johnny Miller GRIER, JIMMIE Born:1902 PITTSBURGH, PA Career:LEADER Style: BIG BAND With:Abe Lyman / Georgie Stoll / Gus Arnheim / Larry Cotton / Harry Barris / Donald Novis / Dick Webster / Pinky Tomlin HORN, PAUL Born:1930 NEW YORK, NY Career:FLUTE / CLARINET / COMPOSER Style:JAZZ With:Sauter-Finegan / Chico Hamilton / Tony Bennett LOVETT, LEROY Born:1919 PHILADELPHIA, PA Career:PIANO / ARRANGER / RECORD PRODUCER Style:JAZZ / BLUES / BIG BAND With:Tiny Bradshaw / Luis Russell / Noble Sissle / Lucky Millinder / Cat Anderson / Mercer Ellington / Johnny Hodges MITCHELL, GROVER Born:1930 WHATLEY, AL Career:TROMBONE Style:JAZZ / BIG BAND NUNEZ, ALCIDE ( YELLOW ) Born:1884 NEW ORLEANS, LA Career:CLARINET Style:JAZZ STRONG, BENNY Born:1911 CHICAGO, IL Career:LEADER BIG BAND Band, stressed showmanship and entertainment, performed novelty numbers, sometimes swung. Strong excellent front man. Active early 70s FOR A LISTING OF THOSE THAT PASSED AWAY IN THIS MONTH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Sat, 16 Mar 1996 15:09:07 GMT Reply-To: Mark Rader From: Mark Rader Organization: Communications Accessibles Montreal, Quebec Canada Subject: test Comments: To: bit-listserv-blues-l@Moderated-Postings.CAM.ORG i just want to see if this gets posted, cause i don't know what i,m doin ========================================================================= Date: Sat, 16 Mar 1996 11:15:27 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: buddy brown Comments: To: chris@skerries.demon.co.uk In a message dated 96-03-16 01:32:22 EST, chris@SKERRIES.DEMON.CO.UK (Chris Smith) writes: >I'm gonna get up in the morning, and do like Buddy Brown; >Gonna eat my breakfast, and then lay back down. > >John said it was a friend of his in Chicago, but that seems unlikely. A >character in a comic strip, maybe? Your input gratefully received. and >incidentally, I believe Buster Brown the harmonica player was named after >another Buster Brown - can anybody tell me about that, too? Buster Brown was a long-ago cartoon strip. He had a dog named Tige. Later (long before my childhood, anyway) he became the mascot (is that the right word?) for a line of children's shoes and clothing; this was how I knew of him as a child. Remembering his clothes, they seem to me to well-predate WWI. I've checked for Buster and Buddy both in the Dictionary of American Regional English, the Reader's Enyclopedia, and the Columbia Encyclopedia all with no results. If someone out there can put their hands on one of the reference books about the history of cartooning, they should be able to find it. What's hard about this sort of stuff it that is stuff "everyone knows" and no one writes down, but is not important enough to enter into reference books, till finally it is lost to time. Sorta like late-fifties advertising jingles. (In my mind, this discussion has brought forth the theme song for Red Goose Shoes). Tom Freeland ========================================================================= Date: Sat, 16 Mar 1996 10:08:28 +0600 Reply-To: toulouse@comm.net Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: toulouse Organization: Toulouse Enterprises, Inc Subject: Re: Brint Anderson Comments: To: Tom Kraft Tom Kraft wrote: > > Has anyone seen Brint Anderson. He will be in town tomorrow night for $6 > and I was wondering if it would be worth the trip. They (venue employee) > said he was from New Orleans. Any info would be appreciated. > > Tom Kraft Brint Anderson is definitely worth the trip. Now a New Orleans resident, Brint used to live in Austin and is from Natchez, MS. Brint just recently released "Homage to Elmore" on the Tomato label. He is a fine blues and slide guitarist. When he is not doing his own thing he plays with George Porter, Jr. & the Running Pardners. Brint is not a waste of $6. Check him out, you will enjoy. Peace, toulouse@comm.net ========================================================================= Date: Sat, 16 Mar 1996 11:40:06 -0500 Reply-To: ghost From: ghost Subject: Re: Ageing Blues, bring me the flowers while I live, dark was the night cold was the ground >Date: Mon, 11 Mar 1996 12:06:33 CST >Reply-To: ISTS024%UABDPO.BITNET@BROWNVM.brown.edu >Sender: Blues Music List >From: L W >Subject: Ageing Blues >Lines: 7 >There is a couple of tunes on Champion Jack Dupree's recording "One Last >Time" ( I think that's the title)...They may be the same tune, but it's about >growing old and nobody really cares for you anymore. Not a very happy tune >in the least. The other (maybe the same one) is about sending flowers will I'm >alive, cause I can't use no flowers down in hell. Some powerful stuff and an >all around great recording and I think it was his last recording. >LW This song, which I know from Sacred Harp Singing, "Bring me the flowers while I live, something to cheer me on Useless the roses that you give after the soul is gone" turns up in a *lot* of places to a *lot* of different tunes. Its a popular sentiment, is that. I keep buying (used) bluegrass albums to see if its the same tune (even though I'm not that crazy about this particular SH setting; its a favorite song of an ex-friendly-acquaintance, & I was originally going to make a tape for them) & sometimes its related, sometimes not very. I wasn't surprised to see it turn up in the Black tradition in DuPree's cut on the Rounder 25th anniversary Blues Sampler. Here's another one for you: I won't belabor you with the details, but two weeks ago I was at an event that boggled my mind, left me reeling & I'm reeling still. Suffice to say that if there are any blues fans on here who are closet Primitive Baptists (I'm aware that usually its the other way around) who sing material out of Lloyd's Hymnal, you may not know it but you are the inheritors of a goldmine of traditional British folk tunes, in very ancient forms. Sing them into tape recorders, at some point let other people hear them, don't let them be lost. Not everyone in the world thinks this stuff sounds too wierd for words, believe me. Back to the point: One of the people at this meeting (it really was a meeting, a meeting of long-seperated people with the same music) was trying to remember the tune to a song they only knew from a tape they had out of the White Primitive Baptist tradition. The words (there *are* more words than that one 1st line; It has to be the story of burying Christ, at least in the hymn version) are in Lloyds & the song is "Dark Was The Night, Cold Was The Ground". There's a good chance the Black & White tunes to this are not related, but they might be. At any rate, I'd like to get a copy of the Black version to give & I *know* its famous but I can't remember whom its by. So tell me. ========================================================================= Date: Sat, 16 Mar 1996 10:25:27 -0800 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Blues-L Convention ?s Comments: To: bit-listserv-blues-l@uunet.uu.net Could someone post or mail me info on the Blues-L meeting slated for St. Louis? Dates? Misc. plans? I seem to have missed out on the final decision postings. TIA-- Maggie -- ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ I just *hate* what Louis Prima did to that song by the Village People. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Sat, 16 Mar 1996 12:11:32 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: A suprise in the mail On my first trip to New Orleans, I really didn't get to know the place. It was a three day stop-over in a much longer car trip to visit a friend in Shreveport. All I learned about it, was that I desperately want to go back, and despite my love for my friend, I wished I had spent more time in New Orleans. My next trip was a full week, with a room in the heart of The Quarter, directly across the street from the Presbytere, not a hundred feet from Jackson Square. The first morning my wife, Roz, and I awoke in The Quarter was way too early. We were still on our "work cycle" and hadn't yet eased into the "revelry cycle". So when we stepped out onto St. Ann's Street to walk to breakfast at the Cafe Du Monde it was only 7 A.M. On a weekend, the only thing making noise in the Quarter at that hour are the garbage trucks. However, as we approached the corner of Jackson Square, there was the distinct sound of Blues echoing through the square. There, on a bench near the corner, was a man playing a mustard yellow National Steel, singing with a powerful voice that seemed detached from his body it was so loud and true. Needless to say we stopped and listened to that tune, and then another. Just the two of us were stopped listening. A few other pedestrians walked by without even noticing it seemed. I was so astounded by this man, and so grateful to know that he even existed in this day and age, that I walked up and dropped a ten dollar bill into a container he had on the pavement. He acknowledged me with his eyes, and we strolled on towards breakfast. I was dumbfounded by how truly great he was. As we walked away my wife said, "Did you really give him TEN dollars?" I said, "Roz, the clubs in Tampa are full of musicians playing Blues and getting paid for it, and NONE of us even comes close to this guy who's sitting on a park bench, at 7 o'clock on a saturday morning, singing to no one. What a wonderful surprise to open my mailbox so many years later and see his face on the cover of Living Blues. I now know his name is "Corey Harris", and that I will definitely be hearing him again. And that's great news, indeed. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Sat, 16 Mar 1996 12:18:17 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: A surprise in the mail Curses! ANOTHER subject line misspelling. I spelled it right in the message... I swear! P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Sat, 16 Mar 1996 09:56:12 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Mar. 17 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BROWN, HAROLD RAY (d/WAR) b. 1946-0317, LONG BEACH, CA COLE, NAT "KING"[NATHANIEL ADAMS COLES] p b. 1916-0317, MONTGOMERY, AL COLLINS,CLARENCE(of LIL'ANTHONY/IMPERIALS)b. 1939-0317, BROOKLYN, NY DAVIS, ELLABELLE (v/gospel) b. 1907-0317, NEW ROCHELLE, NY DICEY, BILL (hca/SPIVEY/JSP) d. 1993-0317, MA 56 GEORGE, SAMUEL JR. (lead/THE CAPITOLS) d. 1982-0317, DETROIT, MI 39 GILES, EDDIE (g) b. 1938-0317, SHREVEPORT, LA GOLDSTEIN, KENNETH S.(owner:BLUESVILLE RECb. 1927-0317, BROOKLYN, NY GRIFFIN, CURTIS (g) b. 1930-0317, POOLE, LA HOLLYWOOD FATS (MICHAEL MANN) (g) b. 1954-0317, JOHNSON, GEORGE (of BROTHERS JOHNSON) b. 1953-0317, LOS ANGELES, CA LEE, LOVIE [EDDIE LEE WATSON] (p) b. 1923-0317, CHATTANOOGA, TN LEVY, CIV TOBY (BLUES-L member) b. 1947-0317, BRONX, NY LOVETT, LEROY (p/MILLINDER/HODGES) b. 1919-0317, PHILADELPHIA, PA MACON, Q. T. (g/PULSAR REC) b. 1934-0317, BOLIVAR, TN MILES, LIZZIE [ELIZABETH LANDREAUX] (v) d. 1963-0317, NEW ORLEANS, LA 68 MITCHELL, BOBBY (lead/THE TOPPERS) d. 1989-0317, NEW ORLEANS, LA 53 PALMER, JACK (songw/JUMPIN' JIVE) d. 1976-0317, WATERBURY, CT 75 PICONE, VITO (lead/THE ELEGENTS) b. 1940-0317, STATEN IS., NY SEBASTIAN, JOHN B. (lead/LOVIN' SPOONFUL) b. 1944-0317, NEW YORK CITY, NY SUNNYLAND SLIM [ALBERT LUANDREW] (p) d. 1995-0317, CHICAGO, IL 87 WADE, ADAM (v) b. 1937-0317, PITTSBURGH, PA ------------------------------------------------------------------------------- ========================================================================= Date: Sat, 16 Mar 1996 10:05:19 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Ageing Blues, bring me the flowers while I live, dark was the night cold was the ground Comments: To: ghost At 11:40 AM 3/16/96 -0500, ghost wrote: >> >Back to the point: > >One of the people at this meeting (it really was a meeting, a meeting of >long-seperated people with the same music) was trying to remember the tune >to a song they only knew from a tape they had out of the White >Primitive Baptist tradition. The words (there *are* more words than that one >1st line; It has to be the story of burying Christ, at least in the hymn >version) are in Lloyds & the song is "Dark Was The Night, Cold Was The Ground". >There's a good chance the Black & White tunes to this are not related, >but they might be. At any rate, I'd like to get a copy of the Black >version to give & I *know* its famous but I can't remember whom its by. >So tell me. > >Blind Willie Johnson, but there aren't any "words"--just eerie, preturnatural moaning that sounds like it comes from the depths of a very tortured soul. Amazing stuff. Mary Katherine Aldin ========================================================================= Date: Sat, 16 Mar 1996 12:19:00 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Buster Brown (was: re: Buddy Brown) At 10:15 AM 3/16/96, Tom Freeland wrote: >Buster Brown was a long-ago cartoon strip. He had a dog named Tige. Later >(long before my childhood, anyway) he became the mascot (is that the right >word?) for a line of children's shoes and clothing; this was how I knew of >him as a child. Remembering his clothes, they seem to me to well-predate >WWI. Don't know about the cartoon strip, but Buster Brown was a line of children's shoes - the dog's name was Tag, and the slogan was: "I'm Buster Brown - I live in a shoe - here's my dog Tag - he lives there, too." I remember they (the shoe company, that is) sponsored a fifties TV kids show - may have been The Buster Brown Show, or something - hosted by Andy Devine (whom we kids knew as Jingles on "Wild Bill Hickok", but was an important film comedian in the thirties and forties - he was in the first "Star is Born"). They would show old Sabu the Elephant Boy movies, as I recall, and do some stupid comedy routines with a fake frog - "Pluck your magic twanger, Froggy".... Oh, well, you had to be there.... David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Sat, 16 Mar 1996 13:33:23 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Buster Brown (was: re: Buddy Brown) Comments: To: David Silberberg On 16 Mar 96, David Silberberg had this to say: > Don't know about the cartoon strip, but Buster Brown was a line of > children's shoes - the dog's name was Tag, and the slogan was: "I'm Buster > Brown - I live in a shoe - here's my dog Tag - he lives there, too." > > I remember they (the shoe company, that is) sponsored a fifties TV kids > show - may have been The Buster Brown Show, or something - hosted by Andy > Devine (whom we kids knew as Jingles on "Wild Bill Hickok", but was an > important film comedian in the thirties and forties - he was in the first > "Star is Born"). They would show old Sabu the Elephant Boy movies, as I > recall, and do some stupid comedy routines with a fake frog - "Pluck your > magic twanger, Froggy".... > > Oh, well, you had to be there.... I resisted waxing nostalgic about all this, but I was there too. But I must agree with Tom, the dog's name was "Tige" (Not sure of the spelling but it was pronounced like the first syllable in "tiger") I had a pair of those shoes, and they had a picture of Buster and his dog looking up at you from inside the heel. I wrote a song, that I haven't done in a good while, dedicated to the late Loretta Glover, in which I suggested she should "put on her Buster Browns" and come out to dance with me. It is a Blues song, dedicated to a Blues singer, so there is our Blues content for this thread (which is really about a few old farts thinking about their childhood). The show, BTW, was called "Andy's Gang" P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Sat, 16 Mar 1996 11:42:03 -0500 Reply-To: David Melton From: David Melton Subject: RY COODER Many thanks to Isaac for his post about Ry Cooder.I attended the show at the Fai Do Do club last night. His son plays drums (very well I might add) and it was a family kind of thing. They didn't play any straight ahead blues, some reggae, Mexican kind of conglomeration with a little blues flavoring. Tasty. It was great to get a chance to see one of the masters up close. His playing was completely in the supporting role, but his sound was there and he did play slide on a couple of numbers. Well worth the trip. I told Ry that I learned of their gig on the internet, and he just sort of looked down, shook his head and said "I must really be getting old". ========================================================================= Date: Sat, 16 Mar 1996 13:38:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: King B.Flour/Pig Trader In Helena, Arkansas, if I'm not mistaken, they still produce King Biscuit flour; I would buy it there if you were planning on doing any baking with it. I don't know - but the flour in the record store may be a bit stale. But by all means check out the great selection of 45's, LP's and CD's at the Stackhouse as well as the wit, wisdom, and warmth of its proprietors. Doesn't the name of Yank's new album come from his story about when he was a child, being given a pig to raise and he traded it for a mandolin - which wasn't quite what his parents had in mind. -Bonnie ========================================================================= Date: Sat, 16 Mar 1996 11:14:28 GMT Reply-To: Dave_J._Herda@infozone.telluride.co.us From: "Dave J. Herda" Organization: InfoZone Telluride Co (970)-728-0472 Subject: Re: Blues-L Convention ?s Comments: To: exarch@ACCESSCOM.NET Could someone post or mail me info on the Blues-L meeting slated for St. Louis? Dates? Misc. plans? I seem to have missed out on the final decision postings. Ditto--D ========================================================================= Date: Sat, 16 Mar 1996 11:11:35 GMT Reply-To: Dave_J._Herda@infozone.telluride.co.us From: "Dave J. Herda" Organization: InfoZone Telluride Co (970)-728-0472 Subject: Re: Blues Shows Comments: To: LGVW90A@PRODIGY.COM Hello everyone I will be travel to Chicago by way of Nebraska. and in the Mid-West. Would like to know about some blues shows on the way. If your're near Iowa City, IA on Sunday Nights from 8-10 check out KRUI 89.7FM. You can get the station on interstate 80 when you're close enough. You won't get the station for long, but you'll definitely enjoy the cool blues that Cornbread Kelly is crankin out of the all digital station. Peace--D ========================================================================= Date: Sat, 16 Mar 1996 15:39:39 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Folk Revival Book by Rbt. Cantrell (some blues content) Robert Cantwell, the author of BLUEGRASS BREAKDOWN (a well-respected history of bluegrass music), has just published WHEN WE WERE GOOD: THE FOLK REVIVAL, Harvard Press. The cover has a Robert Crumb drawing of John Hurt, suggesting blues-rediscovery content, although a quick look at the book indicates that is probably limited. The chapters include "The New Minstrelry: Jim Crow and John Hardy," and chapters on the Almanac Singers, the Folkways Anthology, Baez and Dylan, and a couple on Newport. There is a photo of Hurt at a Newport workshop. There are a couple of references to Hurt and Muddy Waters in the index, and several to Ledbelly. No apparent mentions of Sonny Terry & Brownie McGhee, Skip James, and Son House. Anyone interested in 50s and 60s folk should probably check it out. Tom Freeland ========================================================================= Date: Sat, 16 Mar 1996 17:50:05 -0500 Reply-To: ghost From: ghost Subject: Re: Blues/African music link, ditto Gospel >Date: Wed, 13 Mar 1996 06:23:41 -0800 >Reply-To: Jim Witteveen >Sender: Blues Music List >From: Jim Witteveen >Subject: Blues/African music link >A few days ago someone brought up the connection between African music and >the blues - well, this morning I had the good fortune to hear a group called >Black Umfalosi (this spelling is probably wrong) for an hour of interviews >and songs on the radio - it was absolutely fantastic. I could definitely >hear the connection between this style of a cappella vocal group music from >Zimbabwe and gospel music - similar to Ladysmith Black Mambazo - very >powerful, beautiful harmonies. Wow! I bought the CD after a stratospheric local concert (I rarely succumb to buying the CDs right then & there; if anything, I'm usually too tired to decide) ran home & played it (ok, played it the next day; I *was* tired by the time I got home) & found it to be almost at the level of the live show. A *very* representative recording. Distributed by Rounder, I think. I heard a show a few years ago featuring "Ladysmith meets American Gospel" wherein the similarities between Ladysmith's style & the groups they were paired with were breathtaking. You wouldn't have thought the styles had been seperated for several hundred years. But you could have picked American Gospel groups where that wouldn't have been so clear at all. >BTW, I'm sure I read somewhere as well that Ali farke Toure was Africa's >biggest John Lee Hooker fan, indicating that he has taken a lot of blues >influence into his own traditional music (as opposed to the other way >around). ? I'd love to read something by someone who actually knows... :-) Well, in the interviews Toure was doing the last time he toured (no pun, not really) through here he gently joked that Hooker could be taking lessons from him. He's well aware of the similarities, but stresses that the music he is playing is not blues. Its praise songs to Allah, advice to young people, an occasional love song. The typical subjects of African songs. The blues as such was created over here. People over here think those modal patterns typical of Toure's part of Africa sound forlorn, so they expect forlorn lyrics to go with them. Over in Toure's country, he says, its "just music". ========================================================================= Date: Sat, 16 Mar 1996 15:03:33 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Folk Revival Book by Rbt. Cantrell (some blues content) Comments: To: Skipjames@AOL.COM At 03:39 PM 3/16/96 -0500, Tom Freeland wrote: >Robert Cantwell, the author of BLUEGRASS BREAKDOWN (a well-respected history >of bluegrass music), has just published WHEN WE WERE GOOD: THE FOLK REVIVAL, >Harvard Press. descriptive stuff > >Anyone interested in 50s and 60s folk should probably check it out. > Sounds interesting to me, so I headed out to a bookstore to look at it for myself. Went to not one, not two, but three of the largest national-chain bookstores in Hollywood, and none of them had it. So an independent bookstore in Oxford, MS gets it, and Hollywood, CA doesn't? And they say big cities have it better... > Mary Katherine Aldin ========================================================================= Date: Sat, 16 Mar 1996 18:08:46 -0500 Reply-To: USBLUE5@AOL.COM From: "Gordon, Rich" Subject: Beale Street Festival Recently there was information about the upcoming festival during the first weekend in May. Where can I find the detailed stuff. People in Rockford are thinkinf seriously about a road trip. Please help if you can. Thanks. Rich Gordon WXRX 104.9 FM Rockford, IL ========================================================================= Date: Sat, 16 Mar 1996 19:27:49 -0500 Reply-To: Jordan Barrett Kessler From: Jordan Barrett Kessler Organization: Columbia University Subject: Re: Blues-like bs Comments: To: bit-listserv-blues-l@uunet.uu.net In-Reply-To: On Wed, 6 Mar 1996, L W wrote: > On Wed, 6 Mar 1996 14:11:44 -0500 Jordan Barrett Kessler said: > >preponderance of bad musicians in any age. The way to improve blues > >music is not to encourage artists to rehash the rythmic and > >formulaic innovations of country blues, but rather, to urge them to > >properly use and improve upon the forms that the blues takes in our day > >and age. ***************************************** > > I will not touch that race issue, but I would like to know what are the forms > that the blues have taken in our day and age. IMHO the blues don't change. > > I don't understand and I would like to know about them "forms" you mentioned > > LW "I hope this doesn't mean I have to trade my National for a Synth-Axe" Sorry this reply comes so late, for I was out of town. In my opinion, though we can, in a sense, classify the blues as one music, it has taken many forms over the years with regard to its instrumentation, chord progressions, and the way in which its compositions are constructed. For instance, most obviously, electric blues is a different form of blues than country blues in that its instrumentation (the addition of drums, electric guitars) is different than that of country blues. The way that Albert King used soul chord progressions in the late '60s represents a different form of blues than the music of Blind Willie McTell and other Piedmont blues players, who used chord progressions taken from vaudeville and medicine show music. Finally, the way that blues music is composed has changed; in this respect as well, there are many forms of the blues. Before the late '60s, most recorded blues songs were in the 3 minute area (so that they could be played on the radio or fit on one side of a 45 r.p.m. single). Country blues singers, if they extended these performances, were likely to make them longer by adding more verses. In contrast, many recorded blues after the late '60s, following the success of records like B.B. King's "The Thrill is Gone" or Albert King's "I'll Play the Blues For You," have been longer in duration. For the most part, these songs have been lengthened by extra guitar solos, not additional vocal verses. Hopefully this elucidates my viewpoint a little bit. I look foward to any further responses. ========================================================================= Date: Sat, 16 Mar 1996 20:41:50 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Dark Is The Night, Cold Is The Ground Blind Willie Johnson recorded "a" version of a song by this name on "a" day long ago. We cannot presume that he or "it" did not have a version with words. If "ghost" would be so kind as to post the words to his "white" version, perhaps we could see if they fit in any way with Blind Willie's melodic treatment. Joel Slotnikoff ========================================================================= Date: Sat, 16 Mar 1996 20:58:41 -0500 Reply-To: MojoBandit@AOL.COM From: Dave Ruthenberg Subject: Do you remeber this r&b tune? I am working on an article on a Detroit area blues club called Buddy's Bar-B-Que. According to the current proprietors, this establishment was immortalized in the song "The House of Blue Lights" which became a hit on the Rhythm and Blues charts in the 1950s. Can anybody confirm the existence of this number and who was the artist that performed it? Thanks for your help, Dave R. ========================================================================= Date: Sun, 17 Mar 1996 02:31:09 GMT Reply-To: Robert Belew From: Robert Belew Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Do you remeber this r&b tune? Comments: To: bit-listserv-blues-l@uunet.uu.net Dave Ruthenberg wrote: > >I am working on an article on a Detroit area blues club called Buddy's >Bar-B-Que. According to the current proprietors, this establishment was >immortalized in the song "The House of Blue Lights" which became a hit on the >Rhythm and Blues charts in the 1950s. Can anybody confirm the existence of >this number and who was the artist that performed it? > >Thanks for your help, > >Dave R. I'm afraid I don't recall the author or original performer of this tune but I did have a version of it at one time by The King Biscuit Boy with a band called Crowbar on Paramount Records. I'd love to have another copy of it if anyone else knows of it's where- a- bouts. ========================================================================= Date: Sat, 16 Mar 1996 22:58:37 -0500 Reply-To: SIYOTANKA@AOL.COM From: Jeff Greenberg Subject: Re: Do you remeber this r&b tune? Comments: To: MojoBandit@aol.com In a message dated 96-03-16 21:05:42 EST, you write: <<<>>> The House of Blue Lights was recorded by Louis Jordan. It's possible that Buddy's could be the inspiration for the song, but I've always believed it was about a New Orleans whorehouse. Hmmm. Ribs and elicit sex. What a great combination! Jeff ========================================================================= Date: Sat, 16 Mar 1996 23:06:35 -0500 Reply-To: ghost From: ghost Subject: Re: Your favorite acoustic Fred McDowell >Date: Thu, 14 Mar 1996 16:29:53 -0500 >Reply-To: Jinxblues@AOL.COM >Sender: Blues Music List >From: Dick Waterman >Subject: Re: Your favorite acoustic Fred McDowell >There is a new release of a1962 session done in Fred's tralier in Como, >Mississippi. It is Rounder CD-2138 and contains a full 20 selections >including all of his best known material. I bought this at a used-recording store featuring "new CDs at used prices" about which message I figure when I see it "someone thought something was wrong with this CD. What?" They really *are* sold as though new; the store assembles the CD into its case, shrink-wraps it, & puts the bar-code sticker from Rounder on it; presumably they aren't counterfeiting these in the shrink-wrap back room. So I get the CD home, hear McDowell hit a particularly (I'm stuck on the word "particularly" this month but at least I'm finally spelling it right; help! anyway) compelling, & as I hear it on & off throughout the CD, characteristic guitar-lick & then I know (I think) what the original purchaser thought was wrong with this CD; McDowell in his infinite & timeless talent invented the sound we now know as "laser-lock, the blight of CD-players", *way* back in time to display it on this recording in 1962 almost before lasers were even invented, let alone CDs, but only as a momentary sound-effect, not as a lasting, music-stopping feature, bless him. You don't want to know about the dream I had when I fell asleep playing this (its certainly not boring but I was very tired) in which my whole family was on vacation down in Mississippi in 1962 (awake, in real real life, the Smokie Mountains National Park in Tennessee was strange enough to visit at that time) at a college auditorium in which McDowell was scheduled to play before an appreciative crowd of white southern college students (yeah, in 1962; it was a dream, remember) *but* we couldn't find our way into the auditorium although the ticket-agent/custodian kept giving us helpful directions. My mother was really interrogating him (that's the kind of thing my mother does best). It turned out to be the wrong school, & we could never get to the right one in time. I got cranky. Told you you didn't really want to know. ========================================================================= Date: Sat, 16 Mar 1996 23:06:32 -0500 Reply-To: NashHead From: NashHead Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Beale Street Festival Comments: To: bit-listserv-blues-l@uunet.uu.net MEMPHIS IN MAY BEALE STREET MUSIC FESTIVAL LINE UP: FRIDAY MAY 3 Anson & the Rockets Big Ass Truck Coco Montoya Dave Matthews Herman Green & the Green Machine Howard Jones Joan Baez Joe Ely Keith Sykes Luther Allison Michele Shocked Otis Rush R L Burnside River Bluff Clan Spacehog Todd Snider SATURDAY MAY 4 Alex Chilton Allman Brothers Band Cary Bell Blue Mountain Bobby Rush The Bottle Rockets CC Adcock The Cadillac Cowgirl Dave Thompson Doyle Bramhall + the Memphis Horns Edwin McCain Fishbone Garrison Starr George Clinton & the P Funk All Stars John Mayall the the Bluesbreakers Reba Russell Band Rev. Billy C. Wirtz Robben Ford and the Blue Line Shirley Brown Straight Up Buzz Tracy Nelson SUNDAY MAY 5 Ben Harper Big Mike Griffin Blind Boys of Alabama Gatemouth Brown Dorothy Norwood Duke Robillard Band Grace Divine Gren The Jackson Southernaires John Hammond Kenny Wayne Sheppard Lisa Loeb Marcia Ball O'Landa Draper Robert Jr. Lockwood Sam Moore Shawn Colvin the subdudes Van Morrison TIMES AND STAGES TBA Tickets are $13/day (advance) $16 day of show $30 3 day pass through TICKETMASTER Contact: MIM @ 901- 525-4611 ========================================================================= Date: Sat, 16 Mar 1996 04:27:42 GMT Reply-To: Jack Oudiz From: Jack Oudiz Subject: Don O, you da man! Comments: To: bit-listserv-blues-l@uunet.uu.net Just wanted to acknowledge the good taste of Mr O and his choice words on that new KILLER Long John Hunter release. Man am I jealous of you Ft. Worth cats. Jack O ========================================================================= Date: Sat, 16 Mar 1996 23:44:47 -0500 Reply-To: SGLIWA From: SGLIWA Organization: Delphi (info@delphi.com email, 800-695-4005 voice) Subject: Does Anyone Know MCA's Email Address? Comments: To: bit-listserv-blues-l@uunet.uu.net Can anyone tell me the email address of MCA records? I'd appreciate it very much. Thanks, Steven James Gliwa ========================================================================= Date: Sat, 16 Mar 1996 23:48:27 -0500 Reply-To: SGLIWA From: SGLIWA Organization: Delphi (info@delphi.com email, 800-695-4005 voice) Subject: They Should Reissue Phil Alvin, "Unsung Stories" On CD! Comments: To: bit-listserv-blues-l@uunet.uu.net It's about time Slash or someone else reissues "Unsung Stories" by Phil Alvin on CD. It was a nice LP from the late eighties which contained some Blues as well as other roots music covers. Steven James Gliwa ========================================================================= Date: Sat, 16 Mar 1996 23:43:00 -0500 Reply-To: SGLIWA From: SGLIWA Organization: Delphi (info@delphi.com email, 800-695-4005 voice) Subject: When Will Delmark Reissue These On CD? Comments: To: bit-listserv-blues-l@uunet.uu.net Does anyone know if Delmark has plans to reissue Junior Wells, "Blues Hit Big Town" and/or Big Joe Williams, "Piney Woods Blues?" These are both great albums and I have them both on vinyl but they are long overdue to be reissued on CD. Steven James Gliwa ========================================================================= Date: Sun, 17 Mar 1996 01:00:11 EST Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Help with mail problem The following is being forwarded again for Stew Crossen: snip --------------------------------------------------snip Hello Bluezellers, Since late January, I have been unable to post to Blues-L. I can't even unsubscribe! Alan Rollins was working on the situation and he thought he'd have it fixed soon, and now, I not able to e-mail Alan! My server, software, hardware and phone lines have all been checked out and are fine. Blues-L is the only place on the planet that I cannot send e-mail to. Is there someone out there, who can offer any assistance? Stew Crossen ------------ The Blues Playground Radio Program 50,000 watts of Blues Power The strongest FM signal in Southern New England! Sundays at 9:00 pm on WCCC 107 FM Host-programmer: Stew Crossen (Beef Stew) http://www.neca.com/~bfstew bfstew@neca.com ========================================================================= Date: Sat, 16 Mar 1996 22:42:37 -0800 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Re: Beale Street Festival Comments: To: NashHead In-Reply-To: <4ig348$oav@newsbf02.news.aol.com> OHHHHhhhhhhh, Lordy!!! I think that I will have to visit memphis, right after I whipe the drool of my keyboard! why can't they do something like this in L.A. Aaww forget it-- Thanks Nash On Sat, 16 Mar 1996, NashHead wrote: > MEMPHIS IN MAY > BEALE STREET MUSIC FESTIVAL LINE UP: > > FRIDAY MAY 3 > Anson & the Rockets > Big Ass Truck > Coco Montoya > Dave Matthews > Herman Green & the Green Machine > Howard Jones > Joan Baez > Joe Ely > Keith Sykes > Luther Allison > Michele Shocked > Otis Rush > R L Burnside > River Bluff Clan > Spacehog > Todd Snider > > SATURDAY MAY 4 > Alex Chilton > Allman Brothers Band > Cary Bell > Blue Mountain > Bobby Rush > The Bottle Rockets > CC Adcock > The Cadillac Cowgirl > Dave Thompson > Doyle Bramhall + the Memphis Horns > Edwin McCain > Fishbone > Garrison Starr > George Clinton & the P Funk All Stars > John Mayall the the Bluesbreakers > Reba Russell Band > Rev. Billy C. Wirtz > Robben Ford and the Blue Line > Shirley Brown > Straight Up Buzz > Tracy Nelson > > SUNDAY MAY 5 > Ben Harper > Big Mike Griffin > Blind Boys of Alabama > Gatemouth Brown > Dorothy Norwood > Duke Robillard Band > Grace Divine > Gren > The Jackson Southernaires > John Hammond > Kenny Wayne Sheppard > Lisa Loeb > Marcia Ball > O'Landa Draper > Robert Jr. Lockwood > Sam Moore > Shawn Colvin > the subdudes > Van Morrison > > TIMES AND STAGES TBA > Tickets are $13/day (advance) > $16 day of show > $30 3 day pass > through > TICKETMASTER > > Contact: MIM @ 901- 525-4611 > ========================================================================= Date: Sat, 16 Mar 1996 23:27:38 -0800 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Band name suggestions- !My new blues band is about to start gigging! One thing is that we don't have a name that we all like. So I would love any suggestions for a name from you all, The band is a mix of Jump, R-Billy, and a straight edge Chicago-texas blues sound. I know it sounds like alot but I think that we have a sound. Thanks, Isaac ========================================================================= Date: Sun, 17 Mar 1996 02:31:18 -0600 Reply-To: Scott Ferman From: Scott Ferman Subject: Buddy Guy Big Band? On April 29 & 30 the Caravan of Dreams in Ft. Worth is featuring the Buddy Guy Big Band. Does anyone know the specifics of this tour (musicians, playlist, etc.) that classifies Buddy as a Big Band? Thanks! Scott Dallas, TX ========================================================================= Date: Sun, 17 Mar 1996 03:47:09 -0500 Reply-To: BLUESROCCO@AOL.COM From: Jim Rocco Subject: Re: A suprise in the mail Comments: To: pwfenton@gate.net Thank you, P.W., for sharing the story of Corie Harris with us. I also have such a tale,however, mine was set in Memphis. It truely humbles me to witness just such a scene. To experience someone with such total involvment with the blues leaves me awe-struck. Sometimes its hard to think of it as much more than "a few hundred bucks and all the beer I can drink" ! Street musicians are true musicians. Thanks again. Jim Rocco " I got seven hundred dollars so dont you mess with me ! " ========================================================================= Date: Sun, 17 Mar 1996 03:44:54 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: Buster Brown (was: re: Buddy Brown) PW Fenton wrote >On 16 Mar 96, David Silberberg had this to say: > >> Don't know about the cartoon strip, but Buster Brown was a line of >> children's shoes - the dog's name was Tag, and the slogan was: "I'm Buster >> Brown - I live in a shoe - here's my dog Tag - he lives there, too." >> >> I remember they (the shoe company, that is) sponsored a fifties TV kids >> show - may have been The Buster Brown Show, or something - hosted by Andy >> Devine (whom we kids knew as Jingles on "Wild Bill Hickok", but was an >> important film comedian in the thirties and forties - he was in the first >> "Star is Born"). They would show old Sabu the Elephant Boy movies, as I >> recall, and do some stupid comedy routines with a fake frog - "Pluck your >> magic twanger, Froggy".... >> >> Oh, well, you had to be there.... > >I resisted waxing nostalgic about all this, but I was there too. But >I must agree with Tom, the dog's name was "Tige" (Not sure of the >spelling but it was pronounced like the first syllable in "tiger") I >had a pair of those shoes, and they had a picture of Buster and his >dog looking up at you from inside the heel. > >I wrote a song, that I haven't done in a good while, dedicated to the >late Loretta Glover, in which I suggested she should "put on her >Buster Browns" and come out to dance with me. It is a Blues song, >dedicated to a Blues singer, so there is our Blues content for this >thread (which is really about a few old farts thinking about their >childhood). > >The show, BTW, was called "Andy's Gang" > >P.W. Fenton >Tampa, Florida >http://www.gate.net/~pwfenton/ Hey now. c'mon! The >blues content< is harp player/singer Buster Brown, subject of my original query along with Buddy Brown (who seems to be a tougher nut to crack). I'm glad to have provided an occasion for nostalgia, anyhow, and thanks to you both and Tom Freeland for all the information. Chris Smith (chris@skerries.demon.co.uk) "I'm a man of no convictions - at least, I think I am." (Christopher Hampton) ========================================================================= Date: Sun, 17 Mar 1996 04:49:56 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: Do you remeber this r&b tune? Dave Ruthenberg wrote ><<<Bar-B-Que. According to the current proprietors, this establishment was >immortalized in the song "The House of Blue Lights" which became a hit on the >Rhythm and Blues charts in the 1950s. Can anybody confirm the existence of >this number and who was the artist that performed it?>>>> Jeff Greenberg replied > >The House of Blue Lights was recorded by Louis Jordan. It's possible that >Buddy's could be the inspiration for the song, but I've always believed it >was about a New Orleans whorehouse. Hmmm. Ribs and elicit sex. What a >great combination! > > Jeff On a quick look, I don't see 'House of Blue Lights' in the Louis Jordan discography in 'Blues Records', which I'll admit is not complete. I believe you're thinking of 'Blue Light Boogie', which is a different tune. 'House of Blue Lights' is mentioned as follows in 'Country' by Nick Tosches: 'Pianist Freddie Slack and sexy Texas singer Ella Mae Morse cut 'House of Blue Lights' for Capitol in 1946, and it was such a fine, tough rocker that Chuck Berry recorded it twelve years later' and 'Jerry Lee (Lewis) also liked the work of Merrill Moore, the popular jazz pianist from Iowa who recorded 'House of Blue Lights (1953), 'Down the Road Apiece' (1955) and other jazz-rockers for Capitol.' >From 'A Left Hand Like God' by Peter Silvester: 'House of Blue Lights' recorded in 1946 (by Freddie Slack) attempted to re-create the atmosphere of a rent party. The vocal (...) was done by Don Raye, who composed (it).' I would trust Silvester on the identity of the vocalist, rather than Tosches, whose book is great fun but somewhat carelessly researched. Chris Smith (chris@skerries.demon.co.uk) "I'm a man of no convictions - at least, I think I am." (Christopher Hampton) ========================================================================= Date: Sun, 17 Mar 1996 12:19:05 +0200 Reply-To: phil wight From: phil wight Subject: MUDDY WATERS Anybody ever read that excellent (well-ok I am baised) little Muddy discography by Wight and Rothwell published by Blues and Rhythm magazine a few years back? Muddy is listed (under the name 'Dirty Rivers') as playing guitar on the session Otis Spann cut for Prestige in 1964 but we didn't have the LP to check at the time the manuscript was put together. Having picked up the LP and on closer listening I can only hear one guitar (Pee Wee Madison) although I'm fairly sure Muddy's voice can be heard on the 'band vocal' on 'One More Mile To Go'. Anybody got any other ideas cheers the noo from Scotland.....Phil Wight phil wight ========================================================================= Date: Sun, 17 Mar 1996 12:25:25 GMT Reply-To: "." <102650.1043@COMPUSERVE.COM> From: "." <102650.1043@COMPUSERVE.COM> Organization: . Subject: I need cd source---QUESTION Comments: To: bit-listserv-blues-l@uunet.uu.net Can someone tell me where I can get a good listing of sources where I can purchase old and rare LPs on CDS. ========================================================================= Date: Sun, 17 Mar 1996 15:27:25 +0100 Reply-To: Peter Gallagher From: Peter Gallagher Subject: Happy St. Patrick's Day! A very Happy St. Patrick's day to all! regards, PeterG Obligatory blues content: this is not Dublin - this is Amsterdam on St. P's day.... -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Sun, 17 Mar 1996 10:24:18 -0500 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: WFBE Blue Highway Playlist 3/16/96 Here is my playlist for last nights show, honoring the birth dates of some of the legends of the blues from West Tennessee, plus a live interview and lots of new and recent blues. Artist, song, Album, Label 9pm to 10pm Billy Branch, Title song, The Blues Keep Following Me Around, Verve Ace Moreland, Death Leter Blues,Keepin' a Secret, King Snake Don McMinn, Title cut, Painkiller Blues, Icehouse Mitch Woods, Boogie w/the Boogie Man, Shakin' the Shack, Blind Pig Catfish Hodge, I Smell Chicago, Catfish Blues,Wild Cat ================break===================== Big Leon Brooks, Please Mr Catfish, Lets go To Town, Earwig Hollywood Fats, Caldonia, Rock This House, Black Top Johnny Dyer, Feel Like Cryin Again, Jukin, Blind Pig Chris CCain, Don't Let The Same Dog...,Somewhere Along The Way, Blind Pig ================break===================== Wille Smith, Reap What You Sow, Bag Full Of Blues, Blind Pig Joe Guitar Hughes, My Baby Told Me, Texas Guitar Slinger, Bullseye ============break===================== 10pm to 11pm Robert Pete Williams, Free Again/Almost Dead Blues, Free Again, Prestige Bluesville John Mooney/Bluesiana, Kind Hearted Woman, Live, Blue Rock'it (request) SRV, Flood Down In Texas, Rhino Bluesmasters Vol 3 =====================break================ Son Bonds, All Night Long She Walks Like My Woman Weary Worried Blues, Son Bonds/Charlie Pickett, Wolf Tommy Castro, How Long Must I Cry, Exception To The Rule, Blind Pig =====================break================== John Primer, Still In Love With You, The Real Deal, Code Blue Guitar Shorty, Smells Good, Get Wise To Yourself, Black Top =====================11 PM Break=================== LIVE ON THE AIR INTERVIEW WITH BILLY BRANCH AND CARL WEATHERSBY!!!! (BRAGGING JUST A LITTLE <>) Lucille, What Goes Around, Lucille, Icehouse Kim Lembo, Stop Messin Around, Blue Heat, Blue Wave Wee Bea Booze, Easy Riding Blues, Don't You Feel My Leg, Delmark Deborah Coleman,Evil Gals Daughter, Takin A Stand, New Moon Blues ====================break========================= Lightnin Hopkins, Short Haired Woman, Mama & Papa Hopkins, Blue Journey John Hammond, See That My Grave Is Kept Clean, John Hammond, Vanguard L'il Georgie/Shuffling Hungarians, Tear It Down, Queen Bee Kenny Wayne Shepard, Deja Voodoo, Ledbetter Heights, Giant ====================break========================= Yank Rachell, Blue and Worried Woman, Complete Recordings Vol 1, Wolf John Lee Hooker, Crawlin Kingsnake, Mr. Lucky, Pointblank Muddy Waters,You Cant Lose what..., Mississippi, Masters Leadbelly, In New Orleans, A Taste of Tradition, Tradition Mr. B, Cow Cow Blues (exit theme), Blue Ivory, Blind Pig BLUZ!!! Ed ========================================================================= Date: Sun, 17 Mar 1996 10:53:03 -0600 Reply-To: Tom Kraft From: Tom Kraft Subject: Brint Anderson I want to thank Bill and Toulouse for recommending Brint Anderson. Went to see his band last night and was very pleased. He did a great mix of Elmore James and Freddie King covers. He also did a couple Little Feat songs and two funky numbers I didn't recognize. All in all it was a very good show. Thanks again for the recomendation. I also bought his Cd "Homage to Elmore". Tom Kraft ========================================================================= Date: Sun, 17 Mar 1996 08:52:50 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Mar. 18 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- CARA, IRENE (p) b. 1959-0318, NEW YORK CITY, NY CICCHETTI, DON (BLUES-L MEMBER) b. 1953-0318, BROOKLYN, NY DRAIN, CHARLES (v/THE TABS) d. 1995-0318, ST. LOUIS, MO 55 HANAPI, MIKE (lead/KALAMA QUINTETTE) b. 1898-0318, HONOLULU, HI JOHNSON, LUTHER "GEORGE BOY/SNAKE" (g) d. 1976-0318, BOSTON, MA 41 KIMBLE, NEAL (v) b. 1934-0318, NEW ORLEANS, LA KINSEY, LESTER "BIG DADDY" (g) b. 1927-0318, PLEASANT GROVE, MS ORENDORFF, GEORGE (tpt/T-BONE WALKER) b. 1906-0318, ATLANTA, GA PICKETT, WILSON (v) b. 1941-0318, PRATTVILLE, AL PINE, COURTNEY (sax) b. 1964-0318, LONDON, UK PRIDE, CHARLEY (v) b. 1938-0318, SLEDGE, MS RAMSEY, FREDERIC JR.(prod/author/FOLKWAYS d. 1995-0318, PATERSON, NJ 80 ROBINSON, CLEOPHUS REV. (v/gospel) b. 1932-0318, CANTON, MS SCOTT, GEORGE LEWIS (of BLIND BOYS OF AL) b. 1929-0318, NOTASOGA, AL SIMON, MARC PAUL (owner : CASABLANCA REC) d. 1988-0318, SANTA MONICA, CA 42 SIMPSON, JOY (v/gospel) d. 1987-0318, CAPE TOWN,S. AFRICA 40 SMITH, ROBERT (of THE TAMS) b. 1936-0318, ATLANTA, GA SPENCE, JOSEPH (g) d. 1984-0318, NASSAU, BAHAMAS 73 ------------------------------------------------------------------------------- ========================================================================= Date: Sun, 17 Mar 1996 17:54:12 GMT Reply-To: Paolo Morati From: Paolo Morati Organization: Italia Online Subject: Zucchero (Italian Blues singer) Comments: To: bit-listserv-blues-l@uunet.uu.net ZUCCHERO, the Italian Bluesy Star. The Italian megastar Zucchero (which means Sugar - his real name is Adelmo Fornaciari) was born in Roncocesi, a village in the Italian region of Emilia Romagna, the 25th September 1955. After learning how to play the organ in the local church, at the age of 13 he was introduced to black music by an American student. Soon he begun to set up his first band, "Le nuove luci". Later he was a member of other two bands "Sugar &Daniel" and "Sugar & Candies" with whom he travelled Italy playing Blues. He made his first solo appearance at Sanremo Festival in 1982 singing "Una notte che vola via". In 1983 he entered the competition again with "Nuvola", and recorded his first album "Un po' di Zucchero". Two years later he went to USA in order to make his first bluesy album "Zucchero & the Randy Jackson Band", with the great bass player Randy Jackson and other guests. In this record there was his very first success "Donne". 1986 is the year of "Rispetto", where again Randy Jackson with Narada Michael Walden and other big musicians played. However 1987 is the year of Zucchero's "explosion": the album "Blues" become the Italian market best seller record in the history with 1,200,000 copies! His name spread all over Europe. It's also the year of two great concerts with his master: Joe Cocker. But that's not enough. In 1989 "Oro, incenso & Birra" sold more than 1,500,000 copies in Italy and other 2 millions abroad. He reached the top of UK and European charts with the single Senza una donna (Without a woman) in duet with Paul Young in 1991. Moreover, his 1991 Greatest Hits in English "Zucchero" was in the UK top 20 and he played several concerts at the Royal Albert Hall (London) together with Eric Clapton and also performed at the Freddy Mercury Tribute. He has also collaborated with stars such as the late Miles Davis, Bono, Ray Charles and also Luciano Pavarotti with whom in 1992 he recorded the duet "Miserere", taken from an other best seller album (Miserere), entering the UK charts. In 1994 he played at Woodstock 94. In 1995 was invited by Dan Akroyd to the party/concert in honour of John Belushi which took place at Los Angeles' House of Blues. His latest album "Spirito DiVino", recorded with great musicians such as Jeff Beck, Stewart Copeland, Johnny Johnson and the Memphis Horns, reached the top charts in several countries where sold more than a million CDs. The European tour was sold out everywhere and he played also in London with special guest Brian May. There is now also an English version of "Spirito DiVino" published by London records in UK and by A&M in USA (where he is going to begin a tour playing even at Los Angeles' House of Blues the 15 and 16 of April 1996) and a Spanish version as well. Zucchero Discography: 1983 Un po' di Zucchero (This is not a bluesy album, but melodical) 1985 Zucchero & The Randy Jackson Band 1986 Rispetto 1987 Blue's 1989 Oro, Incenso & Birra 1991 Zucchero (His greatest hits in English) 1991 Live at The Kremlin (Recorded live in Moscow with special guests Tony Childs and Randy Crawford). 1992 Miserere (Italian and English versions) 1994 Diamante (His greatest hits in Spanish) 1995 Spirito DiVino (Italian version published by Polygram Italia English version published by London in UK and A&M in USA Spanish version published by Polygram Latino) He has also recorded several singles in Italian as well as in English. In 1988 he recorded the Soundtrack of the Italian film "Snack Bar Budapest". He also appeares in the Soundtrack of the film "French Kiss" (1995) with the song "Feel like a woman", in the album "Pavarotti & Friends" (1993) with the tracks "L'Urlo", Miserere" (duet with Pavarotti) and "Muoio per te" (duet with Sting), and in the latest "Pavarotti & Friends - Together for The Children of Bosnia" (1996) with the tracks "Per colpa di chi" and "Cosl celeste" (duet with Pavarotti). ========================================================================= Date: Sun, 17 Mar 1996 13:16:30 -0500 Reply-To: "Alan C. Rollins" From: "Alan C. Rollins" Subject: Sac Blues Society Press Release for Angela Strehli 4-6-96 This message is actually from Sherie Brubaker it came to me as an error and I am sending it forward. Please forgive the round about. >SACRAMENTO BLUES SOCIETY > >Sac Blues Hotline 916-556-5007 > >PRESS RELEASE - PUBLIC SERVICE ANNOUNCEMENT > >Event Date: 4-6-96 >Contact: Sherie Brubaker >O: 916-654-6237 H: 916-383-6557 > >Sacramento Blues Society April 1996 Fund Raising Event >The Sacramento Blues Society (SBS) spring fund raising event features ANGELA >STREHLI backed by The Soul Drivers at the La Sierra Community Center on >Saturday April 6th. The show starts with The Hucklebucks. > >Before moving to Marin County a few years ago, ANGELA STREHLI spent 15 years at >the fulcrum of one of the most exciting blues scenes. Besides stage managing >and sound mixing at Antone's, the hotest blues club in Austin Texas, Angela >also took the stage at the end of the night with all of blues giants who played >at Antone's. When Clifford Antone felt some of the greats were under recorded, >he and Angela formed Antone's Records. > >It wasn't long before Angela was the undisputed blues queen of Austin. In 1987, >she released a stellar recording on Antone's called Soul Shake. Her next >project was Dreams Come True which united three of Austin blues divas, Marcia >Ball, Lou Ann Barton and Angela Strehli. Her latest recording on Rounder, >Blonde and Blue, has received wide acclaim. According to the San Francisco >Examiner, Angela and The Soul Drivers stole the show from headliner Robben Ford >in Dec 95 at the Filmore. > >The Soul Drivers knocked out a thousand people at one of SBS' Blues in the Park >when they delivered a rocking, funking, jumping, swinging clean sound which >held the full attention of the dancers and blues aficionados. The Soul Drivers >have performed at such prestigious events as the New Orleans Jazz and Heritage >Festival, The Monterey Pop Festival, and The Blues Hall of Fame Festival with >Jimmy Rogers, Luther Tucker and Willie Dixon. SBS is introducing The >Hucklebucks, Sacramento's newest blues band to our fans. The group plays a >variety of early jump, low down Chicago and West Coast swing blues. > >Event Date/Time: April 6 Doors open at 8 pm, Music at 9 pm > >Bands: >1st: THE HUCKLEBUCKS >2nd: ANGELA STREHLI with THE SOUL DRIVERS > >Where: La Sierra Community Center 5325 Engle Rd (between Garfield & >Walnut in Carmichael) > >Cost: SBS members $10, Public $12 >Other: This is a non-smoking event. Food and beverages available for sale. > >For More Information: > Media staff: Contact Sherie at her phone numbers above. > Public: Contact The Sacramento Blues Society Hotline 556-5007 for more >information. > >DON'T MISS THE FUN - UPCOMING SAC BLUES SOCIETY EVENTS! >4/6/96 Angela Strehli & The Soul Drivers 8pm doors open, Sat. 9pm show starts >with The Hucklebucks. $10/$12. La Sierra Community Center. 5325 Engle Road >(between Garfield & Walnut), Carmichael CA. No Smoking allowed inside the >venue. Food & beverages for sale. > >4/21/96 Mick Martin & The Blues Rockers,The Luminators, & The All Star Blues >band with Omar Sharriff, Johnny Heartsman, Jimmy Pailer & hopefully Arbess >Williams. Sac Inn, 4-10pm. $8 adv at The Beat, $10 door. 443-5210. SBS >is co-sponsor for this 5th Anniversary party for the Comic Press News. > >5/18/96 Sat. Free Blues in the Park at Tahoe Park, 12-6 pm, Benefit for Sac >Food Bank. The Bandana Band, Johnny Nocturne Band featuring Brenda Boykin, and >Johnny Nuggett's Health and Happiness Blues and Road Show. > >5/24-27/96 Memorial Weekend Sacramento Jubilee, many Blues Bands will be >featured all weekend including Mick Martin, Nitecry, Catfish & the Crawdaddies, >Lena Mosley + more. > >6/22/96 Blues Cruise on the Sacramento River. Note NEW DATE. 5-8 pm on The >Elizabeth Louise, Docked at Raley's Landing in West Sac. Call 427-3755 for info >& tickets. > >7/27/96 Blues in the Park, Noon-7 pm, with Female artists at McClatchy Park, >5th Avenue near 35th Street. Benefit for Birthing Project. Free > >8/17/96 Blues in the Park Noon-7pm, William Land Park at Amphitheater or behind >Fairy Tale Town. East of Land Park Dr. between 13th Ave and Sutterville Rd. >Free > >9/28/96 2nd Annual Blues on the Waterfront in Old Sac. Noon to 7 pm. Benefit >for the Sac Food Bank. Free > > > > > ACR ========================================================================= Date: Sun, 17 Mar 1996 13:43:16 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: How Blues-L works now Comments: To: "Alan C. Rollins" Back when the decision was made to echo Blues-l to a newsgroup (I was one of those against that idea) the echo was set up as a read/only affair. You could follow all the Blues-l traffic on the newsgroup, but you couldn't post to the list unless you were a member. This appears to have changed completely. Now absolutely anyone can post directly to the list, whether or not they are a member. I'd like to know how, and why, this change occurred. This is one of the main reasons that all of those bounce backs, and error messages wind up going out to all subscribers. With the Blues-l server set to accept and post any and all incoming e-mail this is going to get worse and worse. The original purpose of the newsgroup echo was to provide an alternate means of READING the list for people who were having difficulty with the volume of the mail. Something has taken us far away from those intentions. This also accounts for the threads that will never die syndrome as people browsing through the newsgroups come across Blues-l and start to answer posts that are months old and long forgotten by the members. I'd like to see the Blues-l echo at least return to it's READ ONLY status, and I'd like to see the listserv reject the posts of non-members (which would include error messages from compuserve) In addition, I'd like to see a return of the practice of sending a copy of the FAQ to all new subscribers. This used to be handled automatically, but now doesn't happen at all. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 17 Mar 1996 13:18:30 -0600 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: How Blues-L works now Comments: To: pwfenton@GATE.NET In-Reply-To: <199603171848.NAA38380@osceola.gate.net> from "P.W. Fenton" at Mar 17, 96 01:43:16 pm In an earlier message, P.W. Fenton said: ] I'd like to see the Blues-l echo at least return to it's READ ONLY ] status, and I'd like to see the listserv reject the posts of ] non-members (which would include error messages from compuserve) ] In addition, I'd like to see a return of the practice of sending a ] copy of the FAQ to all new subscribers. This used to be handled ] automatically, but now doesn't happen at all. Amen, and again, amen! I can handle the flamage here, but getting rid of the just-plain-noise would be nice. -- * The most exciting phrase to hear in science, the one that heralds new * discoveries, is not "Eureka!" (I found it!) but "That's funny ..." * -- Isaac Asimov ========================================================================= Date: Sun, 17 Mar 1996 17:59:14 GMT Reply-To: CKUT_online@babylon.montreal.qc.ca From: CKUT online Organization: Babylon, Montreal, Canada Subject: Re: Bentonian Blues at its best! Comments: To: aladdin@SOVER.NET The CD is "It Must Have Been The Devil" and it's available from Testament Records as Catalogue # TCD 5016. Great CD. John Detcheverry ========================================================================= Date: Sun, 17 Mar 1996 19:27:20 GMT Reply-To: George Myers From: George Myers Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: John Hammond Comments: To: bit-listserv-blues-l@uunet.uu.net He'll be at the Grand Emporium in KC with Duke Robillard 3/23 ========================================================================= Date: Sun, 17 Mar 1996 19:31:26 GMT Reply-To: George Myers From: George Myers Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Zucchero (Italian Blues singer) Comments: To: bit-listserv-blues-l@uunet.uu.net Are you going on the Ultimate Rhythm & Blues Cruise 5/25-6/1 leaving from Genoa with Luther Allison, John Mayall, Buckwheat Zydeco, Katie Webster, Little Charlie and the Nightcats, John Mooney, Marcia Ball, Louisiana Red, and your countryman Rudy Rotta? ========================================================================= Date: Sun, 17 Mar 1996 11:41:44 GMT Reply-To: Dave_J._Herda@infozone.telluride.co.us From: "Dave J. Herda" Organization: InfoZone Telluride Co (970)-728-0472 Subject: Re: Beale Street Festival Comments: To: nashhead@AOL.COM Does anyone know who is handling media relations for the festival and how I could in touch with them? Thanks for the help. Peace--D ========================================================================= Date: Sun, 17 Mar 1996 20:26:55 GMT Reply-To: Matthew Arthur Clark From: Matthew Arthur Clark Organization: Columbia University Subject: Seeking Help From DJ's Comments: To: bit-listserv-blues-l@uunet.uu.net My name is Matthew Clark. I'm currently a senior at Columbia University majoring in music. I'm writing a paper on DJ's and how their music is chosen and I was hoping that some of you DJ's out there could answer a few questions for me. Below I have included a number of questions. Any help would be greatly appreciated. Thanks again, Matthew Clark mac44@columbia.edu ------------------------------------------------------------------------ 1. How would you describe your show? 2. How is the music on your show chosen? 3. How much input does the station have on what you play on your show? 4. Do you have enough freedom or not enough freedom in choosing your playlist? 5. How often do you talk to record labels? How important is their input? 6. How much, if any, of the music on your show comes from your private collection? 7. How do you feel about the music you play? 8. What percentage of your playlist is work by major artists and how much is from lesser known artists? 9. How big is your radio station? Other comments on this subject are welcome ========================================================================= Date: Sun, 17 Mar 1996 14:47:00 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 03/18 B O R N : 03/18 CARA, IRENE Born:1959 NEW YORK, NY Career:PIANO Style:BLUES CURL, LANGSTON W Born:1899 CHARLES CITY, VI Career:TRUMPET Style:JAZZ / BIG BAND FRISELL, BILL ( WILLIAM RICHARD ) Born:1951 BALTIMORE, MD Career:GUITAR Style:JAZZ With:house guitarist at ECM / Jan Garbarek / Paul Motian GOLDKETTE, JEAN Born:1899 VALENCIENNES, FRANCE Career:PIANO / LEADER / ENTREPRENEUR Style"JAZZ / BIG BAND With:Joe Venuti / Bill Rank / Jimmy Dorsey / Tommy Dorsey, Don Murray / Howdy Quicksell / Bix Beiderbecke / Chauncey Morehouse / Russ Morgan / Spiegel Wilcox / Frank Trumbauer / Eddie Lang / Bill Challis / Danny Polo / Andy Secrest / Sterling Bose / Harold Stokes / Hoagy Carmichael / Pee Wee Hunt / Vernon Brown / Bob Strong / Victor Young / Artie Shaw / Charlie Spivak / Glenn Miller HALL, AL ( Alfred Wesley HALL ) Born:1915 JACKSONVILLE, FL Career:BASS Style:JAZZ / BIG BAND With:Teddy Wilson / Kenny Clarke / Errol Garner / Phil Moore (1965) / Benny Goodman (1966) / Hazel Scott / Tiny Grimes / Alberta Hunter HANAPI, MIKE Born:1898 HONOLULU, HI Career:LEAD SINGER Style:BLUES With:KALAMA QUINTETTE KINCAIDE, DEANE ( ROBERT ) Born:1911 HOUSTON, TX Career:ARRAINGER / LEADER / TENOR SAX Style:JAZZ / BIG BAND With:Byron Hart / Wingy Manone / Ben Pollack / Lennie Hayton / Bob Crosby / Woody Herman / Tommy Dorsey / Joe Marsala / Ray Noble / Muggsy Spanier KINSEY, LESTER "BIG DADDY" Born:1927 PLEASENT GROVE, MS Career:GUITAR Style:BLUES NARELL, ANDY Born:1954 NEW YORK, NY Career:STEEL DRUMMER Style:JAZZ ORENDORFF, GEORGE Born:1906 ATLANTA, GA Career:TRUMPET Style:BLUES / JAZZ With:T-BONE WALKER PINE, COURTNEY Born:1964 LONDON, ENGLAND Career:TENOR SAX / SOPRANO SAX Style:JAZZ With:Dwarf Steps / Freebop / Abibi Jazz Arts / Jazz Warriors SCOTT, GEORGE LEWIS Born:1929 NOTASOGA, AL Career:SINGER Style:BLUES With:BLIND BOYS OF ALABAMA VINSON, EDDIE "CLEANHEAD" Born:1917 HOUSTON, TX Career:ALTO SAX / SINGER Style:BLUES / JAZZ With:Milton Larkins / Floyd Ray / Cootie Williams FOR A LISTING OF THOSE THAT PASSED AWAY IN THIS MONTH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Sun, 17 Mar 1996 16:12:11 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: How Blues-L works now & PW's suggestions PW suggests (in reverse order) that all new subscribers should get the FAQ, automatically. I agree completely. I would think they would *want* the FAQ, although the people who most need it probably won't follow its suggestions. PW asks that non-members be barred from posting. While we occasionally (VERY RARELY) get real information from non-members, and occasionally get legitimate information requests from non-members, that is so rare (particularly compared to the error messages we don't want), I think PW's suggestion is a good one. PW also more-or-less pleads that the newsgroup echo of blues-L be returned to read only status. His most compelling reason is the way newsgroup threads linger on long after the 'real' list members have moved on to other issues (the "die-evil-thread-die" factor). I am more hesitant here because I know there are people who prefer the newsgroup format, but I think PW is right, and I think that the never-die threads both interfere with the conversation round here. So I'm with PW on that one, too. How do we make this happen? I know it is the listowner's job, but I really don't know beyond that. Tom Freeland ========================================================================= Date: Sun, 17 Mar 1996 16:07:35 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Paul Oliver on BBC (plea to British bluezellers) Did anybody tape 'Impressions' on Radio 3 last night Saturday 16 March (1155 pm to 1.00 am); I missed it, needless to say! Chris Smith (chris@skerries.demon.co.uk) "I'm a man of no convictions - at least, I think I am." (Christopher Hampton) ========================================================================= Date: Sun, 17 Mar 1996 16:46:05 -0500 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: Seeking Help From DJ's Comments: To: Matthew Arthur Clark In-Reply-To: <4ihsif$rpm@apakabar.cc.columbia.edu> On Sun, 17 Mar 1996, Matthew Arthur Clark wrote: > 1. How would you describe your show? Once or twice a month, I play blues. Alternately, I play reggae, R&B, and African music. Every Sunday I play traditional gospel. > > 2. How is the music on your show chosen? Few requests, mostly theme. > > 3. How much input does the station have on what you play on your show? > No input at all. > 4. Do you have enough freedom or not enough freedom in choosing your > playlist? Yes > > 5. How often do you talk to record labels? How important is their input? > Seldom. If they send it, I'll play it. > 6. How much, if any, of the music on your show comes from your private > collection? 99% > > 7. How do you feel about the music you play? I love what I play. Occasionally, I'll play a labels product out of courtesy, but usually, if I play it it's because I like it. > > 8. What percentage of your playlist is work by major artists and how much is > from lesser known artists? I play for sound and spirit, not name. > > 9. How big is your radio station? college radio > > Other comments on this subject are welcome > ========================================================================= Date: Sun, 17 Mar 1996 15:53:39 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: How Blues-L works now At 7:43 AM 3/17/96, P.W. Fenton wrote: >Back when the decision was made to echo Blues-l to a newsgroup (I was >one of those against that idea) the echo was set up as a read/only >affair. You could follow all the Blues-l traffic on the newsgroup, >but you couldn't post to the list unless you were a member. Paul - I don't think this is correct: I had supported a read-only mirror, but David Pimmel, I think, decided to "try out" the two-way mirror - and, as I recall, it's been that way since the beginning. People have always been able to read and post from the newsgroup, without being subscribers to blues-l. I also just "test" subscribed from my AOL account, and the listserv does automatically send this message when you subscribe: >Subj: You are now subscribed to the BLUES-L list >Date: Sun, Mar 17, 1996 5:41 PM EDT >From: BLUES-L-Request@BROWNVM.BROWN.EDU >X-From: LISTSERV@BROWNVM.BROWN.EDU (L-Soft list server at Brown >University (1.8b)) >Reply-to: BLUES-L-Request@BROWNVM.BROWN.EDU >To: DavidIS@AOL.COM (David Silberberg) > >Sun, 17 Mar 1996 16:37:15 > >Your subscription to the BLUES-L list (Blues Music List) has been >accepted. > >Please save this message for future reference, especially if you are not >familiar with LISTSERV. This might look like a waste of disk space now, >but in 6 months you will be glad you saved this information when you >realize that you cannot remember what are the lists you are subscribed >to, or what is the command to leave the list to avoid filling up your >mailbox while you are on vacations. In fact, you should create a new mail >folder for subscription confirmation messages like this one, and for the >"welcome messages" from the list owners that you will occasionally >receive after subscribing to a new list. > >To send a message to all the people currently subscribed to the list, >just send mail to BLUES-L@BROWNVM.BROWN.EDU. This is called "sending mail >to the list", because you send mail to a single address and LISTSERV >makes copies for all the people who have subscribed. This address >(BLUES-L@BROWNVM.BROWN.EDU) is also called the "list address". You must >never try to send any command to that address, as it would be distributed >to all the people who have subscribed. All commands must be sent to the >"LISTSERV address", LISTSERV@BROWNVM.BROWN.EDU (or >LISTSERV@BROWNVM.BITNET). It is very important to understand the >difference between the two, but fortunately it is not complicated. The >LISTSERV address is like a FAX number, and the list address is like a >normal phone line. If you make your FAX call someone's regular phone >number by mistake, it will be an unpleasant experience for him but you >will probably be excused the first time. If you do it regularly, however, >he will probably get upset and send you a nasty complaint. It is the same >with mailing lists, with the difference that you are calling hundreds or >thousands of people at the same time, so a lot more people get annoyed if >you use the wrong number. > >You may leave the list at any time by sending a "SIGNOFF BLUES-L" command >to LISTSERV@BROWNVM.BROWN.EDU (or LISTSERV@BROWNVM.BITNET). You can also >tell LISTSERV how you want it to confirm the receipt of messages you send >to the list. If you do not trust the system, send a "SET BLUES-L REPRO" >command and LISTSERV will send you a copy of your own messages, so that >you can see that the message was distributed and did not get damaged on >the way. After a while you may find that this is getting annoying, >especially if your mail program does not tell you that the message is >from you when it informs you that new mail has arrived from BLUES-L. If >you send a "SET BLUES-L ACK NOREPRO" command, LISTSERV will mail you a >short acknowledgement instead, which will look different in your mailbox >directory. With most mail programs you will know immediately that this is >an acknowledgement you can read later. Finally, you can turn off >acknowledgements completely with "SET BLUES-L NOACK NOREPRO". > >Following instructions from the list owner, your subscription options >have been set to "REPRO" rather than the usual LISTSERV defaults. For >more information about subscription options, send a "QUERY BLUES-L" >command to LISTSERV@BROWNVM.BROWN.EDU (or LISTSERV@BROWNVM.BITNET). > >Contributions sent to this list are automatically archived. You can get a >list of the available archive files by sending an "INDEX BLUES-L" command >to LISTSERV@BROWNVM.BROWN.EDU (or LISTSERV@BROWNVM.BITNET). You can then >order these files with a "GET BLUES-L LOGxxxx" command, or using >LISTSERV's database search facilities. Send an "INFO DATABASE" command >for more information on the latter. > >Please note that it is presently possible for anybody to determine that >you are signed up to the list through the use of the "REVIEW" command, >which returns the e-mail address and name of all the subscribers. If you >do not want your name to be visible, just issue a "SET BLUES-L CONCEAL" >command. > >More information on LISTSERV commands can be found in the LISTSERV >reference card, which you can retrieve by sending an "INFO REFCARD" >command to LISTSERV@BROWNVM.BROWN.EDU (or LISTSERV@BROWNVM.BITNET). > > >----------------------- Headers -------------------------------- >From owner-BLUES-L@BROWNVM.BROWN.EDU Sun Mar 17 16:42:04 1996 >Return-Path: owner-BLUES-L@BROWNVM.BROWN.EDU >Received: from BROWNVM.brown.edu (brownvm.brown.edu [128.148.19.19]) by >emin13.mail.aol.com (8.6.12/8.6.12) with SMTP id QAA16559 for >; Sun, 17 Mar 1996 16:42:04 -0500 >Message-Id: <199603172142.QAA16559@emin13.mail.aol.com> >Received: from BROWNVM.BROWN.EDU by BROWNVM.brown.edu (IBM VM SMTP V2R2) > with BSMTP id 9948; Sun, 17 Mar 96 16:37:15 EST >Received: from BROWNVM.BROWN.EDU (NJE origin LISTSERV@BROWNVM) by >BROWNVM.BROWN.EDU (LMail V1.2a/1.8a) with BSMTP id 8284; Sun, 17 Mar 1996 >16:37:15 -0500 >Date: Sun, 17 Mar 1996 16:37:15 -0500 >From: "L-Soft list server at Brown University (1.8b)" > >Subject: You are now subscribed to the BLUES-L list >To: David Silberberg >Reply-To: BLUES-L-Request@BROWNVM.BROWN.EDU >X-LSV-ListID: BLUES-L David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Sun, 17 Mar 1996 16:54:52 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: How Blues-L works now Comments: To: David Silberberg On 17 Mar 96, David Silberberg had this to say: > I don't think this is correct: I had supported a read-only mirror, but > David Pimmel, I think, decided to "try out" the two-way mirror - and, as I > recall, it's been that way since the beginning. People have always been > able to read and post from the newsgroup, without being subscribers to > blues-l. Originally, the procedure was that to post to the list a newsgroup reader had to subscribe and set his/her account to nomail. He/she could then read the newsgroup and post like a mamber. I don't know when it changed, but now you don't even have to post from the newsgroup. > I also just "test" subscribed from my AOL account, and the listserv does > automatically send this message when you subscribe: That is valuable enough info, but they used to get the FAQ, why not now? P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 17 Mar 1996 15:52:59 -0600 Reply-To: Bill Kolstad From: Bill Kolstad Organization: Educational Computing Network, Illinois USA Subject: Re: Muddy and Lefty Comments: To: bit-listserv-blues-l@uunet.uu.net In article <4hpsul$17ki@usenetz1.news.prodigy.com>, Scott Dirks wrote: >Richard Flohil wrote: >> >> Yes, Lefty Dizz did make an album on the JSP label out of the UK, >called >> Ain't It Nice to be Loved. Assorted members of the Bell family (I >presume >> they're related!) are on the session, cut in 1989 - Lurrie Bell (gtr), >> Carey Bell (harp on two tracks), Tyson Bell (bass), James Bell (drums) >and >> Jerry Soto, the engineer on the session, plays piano on two tracks. >> John Stedman contributes some nice notes, and expresses the >hope >> that Lefty's posthumous rep "soars as it should." I remember him when >he >> worked with Buddy Guy; he was pretty flash then, but Buddy always ran >rings >> around him. I also remember him as a very warm-hearted guy, but that >might >> be the whiskey and the years talking. >> In any event, the record's not bad at all-I'm playing it now- >but it >> is journeyman bar blues and far from a "must" in your collection, >although >> I'm pleased it's in mine. Not every bluesman can be star, and Lefty >never >> was, but it's people like him who do a lot of the grunt work, and we >should >> appreciate them for that. >> >>Richard the Elder. > >There are also some Lefty Dizz recordings spread around a few European >anthology CDs, I believe. Around the time of his death, there was a lot >of talk that he'd recorded an album's worth of tunes, recorded in Chicago, > that would be released pending the resolution of some unspecified legal >problems--but as far as I know, nothing has seen the light of day yet. That indeed is true, at least the recording part. There are a number of estate hassles due to the medical costs. I suspect that there might be a release eventually to even that account up. Re: Ain't It Nice to be Loved it is cataloged as JSPCD 259 ========================================================================= Date: Sun, 17 Mar 1996 17:20:18 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: How Blues-L works now In-Reply-To: <199603171848.NAA38380@osceola.gate.net> Hi all, Just got back from 5 days of the real blues. Family problems that would certainly be material for a blues lament. But that's not my reason for this post. Who had the audacity to start a thread about keeping out individuals who choose to join us via newsgroups. I am one such person who came here via that model and I don't think I'm that bad a neighbor (please correct me if I am wrong). When I 1st joined in blues-l it was to learn, converse and share and I've got- ten so much here I can never pay it back. DAMN IT I wouldn't deny this to anyone. Sounded very cliquish and pissy-a**ed to me so I'm glad I don't know who started this garbage. We happen to have a great list and it is to share not to hide away so folks can't get at it. Also newsgroup access is useful in that many thread the articles for you so continuity is there and many I know of discard posts after a given period. Mine only keeps posts for 5 days and then it's gone so unless it's been followed up on I doubt newsgroups are the reason for the trash that was mentioned. I also saw reference to members. Hey, someone joining via a news- group is member too. If they take the time to get aboard, read the posts and respond lets give them too a chance at the goodies. Hav- ing e-mail access is not a more-better-gooder-badge-of-membership. Sorry for the harshness - but I see red whenever I read about kee- ping the CLUB tight and not broadening it to others. Barry WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sun, 17 Mar 1996 11:28:32 -0400 Reply-To: Late Night Tiger Cam From: Late Night Tiger Cam Subject: MCA's e-mail >Can anyone tell me the email address of MCA records? I'd appreciate it >very much. > >Thanks, > >Steven James Gliwa I don't know MCA's e-mail address, but I do have a World Wide Web address: http://www.mca.com/mca_records ========================================================================= Date: Sun, 17 Mar 1996 22:47:30 GMT Reply-To: Lucy Dueck private account From: Lucy Dueck private account Organization: U of Toronto Zoology Subject: Re: "Big Voice" Odem Comments: To: bit-listserv-blues-l@uunet.uu.net Check out "Goin' to California" (1992) on Flying Fish by BB Odom and the Gold Tops - it's great! ========================================================================= Date: Sun, 17 Mar 1996 18:01:33 -0500 Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Rooster Blues Comments: To: bit-listserv-blues-l@uunet.uu.net I took Bonnie Kalmbach's suggestion and called Stackhouse/Rooster Blues in Clarksdale and purchased "Clarksdale, MS: Coahoma The Blues" and "Low Blows: An Anthology of Chicago Harmonica Blues". Both of these are fine sets - I'm particularly grateful for the Coahoma The Blues session. This was recorded in 1990 by Rooster as a fund raiser (apparently) for the Delta Blues Museum and is recordings by artists in the Clarksdale area. You get 6 tracks by Big Jack Johnson, and 3 by Sam Carr/Frank Frost. But what makes it particularly valuable are the artists you seldom hear about including Wade Walton, Johnnie Billington, CV Veal, James "Super Chikan" Johnson, Arthneice "Gasman" Porter, Willie "Rip" Butler, Welsey "Mississippi Junebug" Jefferson, Lorenzo Nicholson, and Tommy Smiley. As an overview of Delta artists, it is hard to beat. The only drawback is that it's only available on cassette (92 minutes). While they had me on the line, I was talked into purchasing their latest release, a reissue of Eddie C. Campbell's "King of The Jungle". I'm very glad they talked me into this. If you are a fan of Chicago Westside blues, this CD is a must. Eddie is backed by Carey Bell, Lurrie Bell (on Bass - two tracks), Lafayette Leake, Clifton James and Bob Stroger. Recorded in 1977 and originally released on the Mr. Blues label, Eddie never sounded hotter than he does on these recordings (IMHO). It includes 2 tracks not on the original LP - "Still a Fool" and "Look Watcha Done". Five of 12 tracks are Campbell originals. He does a fine job on the covers by Muddy Waters, Mack Rice ("Cheaper to Keep Her" - a personal favorite), Magic Slim, Willie Dixon and Percy Mayfield. The cover has a wild picture of Eddie in a hair shirt with either the biggest afro hair style or a hair hat. My bet is that it's his real hair, after all, this WAS the '70s! Dick Shurman wrote the liner notes, maybe he would know. I would call this a "run don't walk" purchase. Art "Groovin' to Eddie Campbell as I write this" Schuna ========================================================================= Date: Sun, 17 Mar 1996 23:10:32 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: How Blues-L works now Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199603171848.NAA38380@osceola.gate.net> "P.W. Fenton" writes: >Back when the decision was made to echo Blues-l to a newsgroup (I was >one of those against that idea) the echo was set up as a read/only >affair. You could follow all the Blues-l traffic on the newsgroup, >but you couldn't post to the list unless you were a member. I switched to using the newsgroup as soon as it was established to reduce the number of individual posts. It also kept me from getting those gigantic posts that overstuffed everyones mailbox when someone attempted to transfer software via post. I was always able to read and respond directly to posts from the newsgroup. I would prefer to continue to have the option of responding directly from the newsgroup as I would be far less likely to back out of the newsgroup and then post a separate email to blues-l@ brownvm. But then, maybe that's what you'd like to prevent... (he says with just a touch of sarcasm). I think the problem you are concerned about has more to do with the number of people who are part of this list. Most of the posts I see are from a core group of regular names we all recognize. I don't think the newsgroup has much to do with these problems. I still think that the best way to "get over" a bad thread is for people to ignore it. If no one posts, it will go away. Responding (as I'm doing now, for example) only prolongs the thread. (not that this is a bad thread) > This is one of the main reasons that all of those bounce backs, and error messages wind up going out to all subscribers. I would bet the newsgroup has absolutely nothing to do with this problem. A person using the newsgroup does not have a separate email address the same message goes to. These error messages occur when a someone listed as a subscriber quits reading messages and his mailbox reaches capacity. The listserver at the other end sends Brownvm.brown.edu a message saying the person's box is full and we all get this as a "reply to message" from the listserver. If no one was subscribed, and just read the messages on the Newsgroup we'd solve that problem. So the answer to the bounced messages is exactly the oppostie from the solution you propose. >This also accounts for the threads that will never die syndrome as >people browsing through the newsgroups come across Blues-l and start >to answer posts that are months old and long forgotten by the >members. I'm afraid the threads that never die are a common problem to all internet connections. I routinely read rec.music.bluenote where some threads can go on for a month or more. You just have to train yourself to skip those your not interested in. Art Schuna ========================================================================= Date: Sun, 17 Mar 1996 17:37:11 -0600 Reply-To: Stephen Douglas Powers From: Stephen Douglas Powers Subject: E-Mail address? In-Reply-To: <960316153937_353165964@emout09.mail.aol.com> Does anyone know Tom Day's E-mail address? Thanks. Steve Powers ========================================================================= Date: Mon, 18 Mar 1996 09:52:43 +1000 Reply-To: SARA KYREAKOU From: SARA KYREAKOU Can I please SUBSCRIBE BLUES-L ========================================================================= Date: Sun, 17 Mar 1996 19:39:20 -0500 Reply-To: turtle@charm.net Comments: Authenticated sender is From: The Turtle Organization: The Weightless Dog Subject: (Fwd) Chicago Blues documentary ------- Forwarded Message Follows ------- Date: Fri, 2 Feb 1996 09:43:26 -0500 To: Turtle@charm.net From: kinoint@InfoHouse.com (Kino International) Subject: Chicago Blues Hey, folks: I saw an excellent documentary on the local Howard University television station (Washington, DC) some weeks ago, and kindly, at the end of the broadcast, there was a toll-free number you could call to order a video of the film. This documentary is EXCELLENT, containing period interviews and CONCERT CLIPS of Muddy Waters and other Chicago bluesmen. I'd have to guess the thing was shot around 1969 or 1970, but no later than 1972. Much, much better than some newer blues documentaries that I've bought lately. Apparently shot by Britons, I'd never seen this before. It also contains some excellent period footage of the Maxwell Street market before it was trashed a couple years ago... Turtle AS always, for hardcore Chicago blues, visit That Blues Music Page at the Weightless Dog: http://www.charm.net/~turtle So hard core, you might get hurt! Forwarded message follows: ============================================== You can order "Chicago Blues" through Kino. You can send in a check or money order or you can order over the phone with a Mastercard of Visa. The price is $19.95 plus a $4.50 shipping charge. Thanks you. Kino International Corp. 333 West 39th Street, #503 New York, NY 10018 212 629-6880 800 562-3330 Kino International Corporation 333 W. 39th St. Suite 503 New York, NY 10018 (212)629-6880 fax: (212)714-0871 ============================================= ----------------------------------------------------------------- Visit the Weightless Dog Home Page! Blues, cats, MPEG, http://www.charm.net/~turtle music and strangeness *****Ask me about Lotus Notes, but be prepared for an answer***** ----------------------------------------------------------------- ========================================================================= Date: Mon, 18 Mar 1996 00:59:50 GMT Reply-To: Paolo Morati From: Paolo Morati Organization: Italia Online Subject: Zucchero Comments: To: bit-listserv-blues-l@uunet.uu.net ZUCCHERO, the Italian Bluesy Star. The Italian megastar Zucchero (which means Sugar - his real name is Adelmo Fornaciari) was born in Roncocesi, a village in the Italian region of Emilia Romagna, the 25th September 1955. After learning how to play the organ in the local church, at the age of 13 he was introduced to black music by an American student. Soon he begun to set up his first band, "Le nuove luci". Later he was a member of other two bands "Sugar &Daniel" and "Sugar & Candies" with whom he travelled Italy playing Blues. He made his first solo appearance at Sanremo Festival in 1982 singing "Una notte che vola via". In 1983 he entered the competition again with "Nuvola", and recorded his first album "Un po' di Zucchero". Two years later he went to USA in order to make his first bluesy album "Zucchero & the Randy Jackson Band", with the great bass player Randy Jackson and other guests. In this record there was his very first success "Donne". 1986 is the year of "Rispetto", where again Randy Jackson with Narada Michael Walden and other big musicians played. However 1987 is the year of Zucchero's "explosion": the album "Blues" become the Italian market best seller record in the history with 1,200,000 copies! His name spread all over Europe. It's also the year of two great concerts with his master: Joe Cocker. But that's not enough. In 1989 "Oro, incenso & Birra" (where played Eric Clapton and Jimmy Smith) sold more than 1,500,000 copies in Italy and other 2 millions abroad. He reached the top of UK and European charts with the single Senza una donna (Without a woman) in duet with Paul Young in 1991. Moreover, his 1991 Greatest Hits in English "Zucchero" was in the UK top 20 and he played several concerts at the Royal Albert Hall (London) together with Eric Clapton and also performed at the Freddy Mercury Tribute. He has also collaborated with stars such as the late Miles Davis, Bono, Ray Charles and also Luciano Pavarotti with whom in 1992 he recorded the duet "Miserere", taken from an other best seller album (Miserere), entering the UK charts. In 1994 he played at Woodstock 94. In 1995 was invited by Dan Akroyd to the party/concert in honour of John Belushi which took place at Los Angeles' House of Blues. His latest album "Spirito DiVino", recorded with great musicians such as Jeff Beck, Stewart Copeland, Johnny Johnson and the Memphis Horns, reached the top charts in several countries where sold more than a million CDs. The European tour was sold out everywhere and he played also in London with special guest Brian May. There is now also an English version of "Spirito DiVino" published by London records in UK and by A&M in USA (where he is going to begin a tour playing even at Los Angeles' House of Blues the 15 and 16 of April 1996) and a Spanish version as well. Zucchero Discography: 1983 Un po' di Zucchero (This is not a bluesy album, but melodical) 1985 Zucchero & The Randy Jackson Band 1986 Rispetto 1987 Blue's 1989 Oro, Incenso & Birra 1991 Zucchero (His greatest hits in English) 1991 Live at The Kremlin (Recorded live in Moscow with special guests Tony Childs and Randy Crawford). 1992 Miserere (Italian and English versions) 1994 Diamante (His greatest hits in Spanish) 1995 Spirito DiVino (Italian version published by Polygram Italia English version published by London in UK and A&M in USA Spanish version published by Polygram Latino) He has recorded also several singles in Italian as well as in English. In 1988 he recorded the Soundtrack of the Italian film "Snack Bar Budapest". He also appeares in the Soundtrack of the film "French Kiss" (1995) with the song "Feel like a woman", in the album "Pavarotti & Friends" (1993) with the tracks "L'Urlo", Miserere" (duet with Pavarotti) and "Muoio per te" (duet with Sting), and in the latest "Pavarotti & Friends - Together for The Children of Bosnia" (1996) with the tracks "Per colpa di chi" and "Cosl celeste" (duet with Pavarotti). ========================================================================= Date: Sun, 17 Mar 1996 20:21:15 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Do you remeber this r&b tune? > I am working on an article on a Detroit area blues club called Buddy's > Bar-B-Que. According to the current proprietors, this establishment was > immortalized in the song "The House of Blue Lights" which became a hit on the > Rhythm and Blues charts in the 1950s. Can anybody confirm the existence of > this number and who was the artist that performed it? "House of Blue Lights" is about a Detroit club where you could get "fryers and broilers and Detroit barbecued ribs" as well as music. It was originally recorded in 1946 by Freddie Slack and His Orchestra, with Ella Mae Morse doing the vocal. It was covered by the Andrews Sisters (!) and by Amos Milburn. It was resurrected by Merrill E. Moore in 1952, and by Chuck Miller in 1955. The latter version went to #9 on the Billboard pop charts. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Sun, 17 Mar 1996 20:21:15 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Do you remeber this r&b tune? > The House of Blue Lights was recorded by Louis Jordan. It's possible that > Buddy's could be the inspiration for the song, but I've always believed it > was about a New Orleans whorehouse. Hmmm. Ribs and elicit sex. What a > great combination! I think you are confusing this with "Blue Light Boogie," one of my favorite Jordan songs. I can't find any reference to Jordan recording House of Blue Lights. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Sun, 17 Mar 1996 20:21:15 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: How Blues-L works now > I'd like to see the Blues-l echo at least return to it's READ ONLY > status, and I'd like to see the listserv reject the posts of > non-members (which would include error messages from compuserve) > > In addition, I'd like to see a return of the practice of sending a > copy of the FAQ to all new subscribers. This used to be handled > automatically, but now doesn't happen at all. This message, and several others regarding problems people have getting in touch with Alan Robbins, raises the question of Blues-l administration. Should we appoint a new "list owner"? If so, how do we go about it? Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Sun, 17 Mar 1996 20:14:35 -0500 Reply-To: Niles Frantz From: Niles Frantz Organization: GNN Subject: Big Jack Johnson in Chicago Comments: To: bit-listserv-blues-l@uunet.uu.net Big Jack Johnson played two magnificent sets at Buddy Guy's Legends Saturday night. You don't really know how great Big Jack is until you hear him live. The albums, however good, just don't capture it. He played aching slow blues, powerhouse shuffles, jump blues, country, and jazz-like passages. His huge hands cradled that Epiphone semi-hollow like a little baby, and pure joy poured out of his amps. Johnson and crew did a lot of covers, but it all came out singularly Big Jack. Here's the set lists, as far as I could tell: Set 1 - Everyday I Have the Blues - played fast, with Jack throwing out tons of little BB-like riffs - Darling, You Know I Love you (?) - Boom, Boom, Boom (Hooker's tune) - rockin' version - The Things I Used To Do - done slow and tender - Rockin' Robin - done as an instrumental break in a slow blues instrumental - Since I Met You, Baby - You Are My Sunshine - "This is an old country song, come from where I live," Johnson said. - Don't Throw Your Love on Me So Strong - Crosscut Saw - That's Alright (Crudup) - instrumental - fast instrumental, almost a country breakdown Set 2 - Catfish Blues - Steal Away - Sweet Home Chicago (Bummer. I actually thought I might get through an entire show without hearing this song. Guess not.) - Stop This Killing - Sweet Little Angel - Dust My Broom - It Hurts Me, Too/Sitting On Top Of The World (previous two were instrumental slide guitar features) - Shake Your Moneymaker - played breathtakingly fast - square dance tune Johnson's band -- Rodger Montgomery, guitar; Hooter, bass; Chet Woodward, drums -- did a very commendable job. Montgomery is from western Pennsylvania and has his own self-produced CD. He's one to watch. Niles A loop is a loop is a loop. ========================================================================= Date: Sun, 17 Mar 1996 19:37:12 +0600 Reply-To: toulouse@comm.net Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: toulouse Organization: Toulouse Enterprises, Inc Subject: Re: Brint Anderson Comments: To: Tom Kraft Tom Kraft wrote: > > I want to thank Bill and Toulouse for recommending Brint Anderson. Went to > see his band last night and was very pleased. He did a great mix of Elmore > James and Freddie King covers. He also did a couple Little Feat songs and > two funky numbers I didn't recognize. All in all it was a very good show. > Thanks again for the recomendation. I also bought his Cd "Homage to Elmore". > > Tom Kraft Good for you Tom. You are more than welcome. Brint is a good show. You can also catch Brint in New Orleans at The Mardi Gras Cabaret and Restaurant, (fomerly known as Bugsy's, origianally known as Charlie B's) 829 Convention Center Blvd. on April 18, April 26, May 2, (during Jazz Fest), and post-fest on May 23. Brint will also be making an appearance at the Louisiana Purchase Gardens in Monroe, LA on May 11. If anyone out there can make any of these shows, you will not be disappointed. Peace, toulouse@comm.net ========================================================================= Date: Sun, 17 Mar 1996 20:45:36 -0500 Reply-To: "jose.eric.s.maglanque" From: "jose.eric.s.maglanque" Subject: help: country blues band name I'm "reforming" my band to concentrate on downhome country blues (Delta-Bentonia-Memphis-Texas-Piedmont). Can anybody suggest a good (and appropriate) band name? I think I want one with the word "jook" in it -- just sounds good... Thanks y'all... - Delta Slim ========================================================================= Date: Sun, 17 Mar 1996 19:42:01 +0600 Reply-To: toulouse@comm.net From: toulouse Organization: Toulouse Enterprises, Inc Subject: Fat Possum Miss. Juke Joint Caravan Comments: To: bit-listserv-blues-l@uunet.uu.net Hello fellow Blues-l'rs, I was curious if any of you out there had scene The Fat Possum Mississippi Juke Joint Caravan with Lil' Dave Thompson, Paul "Wine" Jones and R.L Burnside. I am interested in your opinions and reflections on the show that you saw. Thanks, Peace, toulouse@comm.net ========================================================================= Date: Sun, 17 Mar 1996 21:41:00 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: help: country blues band name Comments: To: jose.eric.s.maglanque@ac.com Comments: cc: UNCLEBUCKS@aol.com In a message dated 96-03-17 21:03:22 EST, jose.eric.s.maglanque@AC.COM (jose.eric.s.maglanque) writes: >I'm "reforming" my band to concentrate on downhome country blues >(Delta-Bentonia-Memphis-Texas-Piedmont). Can anybody suggest a good (and >appropriate) band name? I think I want one with the word "jook" in it -- >just >sounds good... Thanks y'all... > >- Delta Slim Delta-Bentonia-Memphis-Texas-Piedmont??? "Mr. Crump's Sliding Delta Blacksnake Blues" How about the Unlikely Combination? (and "Delta Slim"? Are you related to "Delta Doc?" Or "Guitar Slim, Jr.?") Tom Freeland (thinks Bentonia-style bluesmen at minimum ought to have been there). ========================================================================= Date: Sun, 17 Mar 1996 21:30:09 -0500 Reply-To: BAJammin From: BAJammin Organization: America Online, Inc. (1-800-827-6364) Subject: John Jackson Concert Comments: To: bit-listserv-blues-l@uunet.uu.net John Jackson played to a full house at the Prism in C'ville Va. in a two hour show the first hour of which was broadcast live over WTJU. He played his usual mid '50's Gibson Southern Jumbo, a banjo which he claimed he knew nothing about and a new steel bodied resonator guitar which his "boss", as he jokingly called her, gave him. This had his name and some design work embossed in the top and I'm sorry but I didn't get the maker of it. The action was set fast and he did no slide playing on it like I hoped he would but I was not dissappointed. He said,"I didn't think I was going to like it (the guitar) but, you know, it really plays right good and I've fallen in love with it." He told numerous stories about Jesse Fuller, Blind Blake and others and had an amusing way of shouting out the name of each song as he finished it. The Prism is just a coffee house in an old house so concerts are always warm and intimate there. There was much laughter and applause through both sets all the while we were getting a diverse recital of blues, rags and traditional music. The following is a partial memory of his setlist: Muleskinner Blues Get Along Home Little Cindy Brown's Ferry Blues Police Dog Blues Red River Blues Just Because Midnight Special John Henry Louis Collins San Francicso Bay Blues Flat Foot & Buck Dance Rocks and Gravel Diddie Wah Diddie If you've never had a chance to see and hear this elder blues statesman don't miss him next time around. He's well worth the ticket price. ========================================================================= Date: Sun, 17 Mar 1996 21:40:01 -0500 Reply-To: SGLIWA From: SGLIWA Organization: Delphi (info@delphi.com email, 800-695-4005 voice) Subject: Re: Does Anyone Know MCA's Email Address? Comments: To: bit-listserv-blues-l@uunet.uu.net SGLIWA writes: >Can anyone tell me the email address of MCA records? I'd appreciate it >very much. Or, how about their phone number? Thanks, Steven James Gliwa ========================================================================= Date: Sun, 17 Mar 1996 21:38:59 -0500 Reply-To: LLarson114 From: LLarson114 Organization: America Online, Inc. (1-800-827-6364) Subject: Limited edition Mick Taylor Comments: To: bit-listserv-blues-l@uunet.uu.net Anyone interested in a Limited Edition Double LP set of Mick Taylor-Gerry Groom "Once in a Blue Moon"? My copy is 1 of 1000 issued on blue vinyl and signed by Mick Taylor. EMail if interested. ========================================================================= Date: Sun, 17 Mar 1996 21:44:34 -0500 Reply-To: SGLIWA From: SGLIWA Organization: Delphi (info@delphi.com email, 800-695-4005 voice) Subject: Re: MCA's e-mail Comments: To: bit-listserv-blues-l@uunet.uu.net Late Night Tiger Cam writes: >I don't know MCA's e-mail address, but I do have a World Wide Web address: Thanks, but unfortuneately since all my disposable income goes into CD's, I'm still on-line with an old 286 and don't have Web access. I need an email address or a phone number. Thanks anyway, Steven James ========================================================================= Date: Sun, 17 Mar 1996 21:38:17 -0600 Reply-To: bolt From: bolt Subject: Re: Corey Harris >>On my first trip to New Orleans... >>I now know his name is "Corey Harris", and that I will definitely be >>hearing him again. And that's great news, indeed. >>P.W. Fenton > >Just saw Mr. Harris perform last night at the SXSW Alligator Records Review at Antone's in Austin. He did a great 45 minute set (the maximum amount given each performer). I spoke with him briefly after the set and he was such a nice person. He will be opening for Buddy Guy in Austin and Houston in late April/early May. He may be opening other dates also, but I didn't ask. > >FYI, the Alligator bill consisted of (in order) Corey Harris, Long John Hunter (highly recommended), C. J. Chenier (the crowd was jumpin') and The Lonnie Brooks Band (super). Lonnie's long awaited release on Alligator (originally due out a week or so ago) has been pushed back until Summer a least. The evening was opened up by a great set be Syl Johnson, I'm not real sure if he was part of the Alligator Review though. > >Reg Burns > > > +++++++++++++++++++++++++++++++++++++++++++++++++ + I'll listen to reason when it comes out on CD + + + + bolt@neosoft.com + +++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Mon, 18 Mar 1996 04:34:04 GMT Reply-To: Jim Farris From: Jim Farris Organization: Netcom Subject: Deacon Jones' Tour Dates I received this information from Deacon Jones booking agent, Concert Services International, out of Crystal Bay, Nevada. The following are tour dates for Deacon Jones Vortex Blues Band Making Blues History Mar. 18. Salt Lake UT Zephyr Club Mar.23 Hood River OR River City Saloon Mar.29 Evergreen CO Little Bear Saloon Apr. 2 Steamboat Sp. CO BW-3 Blues Club Apr. 5 Rapid City SD Uptown Grill Apr.13 Missoula MT Top Rat Apr.22 Salt Lake UT Dead Goat Blues Apr.23 Reno NV Del Mar Station Apr.24 Tahoe City CA Bluewater Brewing May 4 Fort Worth TX J & J Blues Bar May 10 Corpus Christi TX Dr. Rockit's Blues May 11 Houston TX Rockefellas May 14 New Orleans LA House of Blues May 23 Daytona Beach FL Mop Cat Blues Club May 25 Greenwood MI Crossroads. Festival Jun.22 Santa Cruz CA Moes Alley Jun.26 Modesto CA Woody's Jul.11 Crystal Bay NV Jim Kelley's Nugget Note: Supports THE RADIATORS OTHER DATES ARE IN PROGRESS IN OTHER AREAS Jammin' Jim Farris Late Night City Blues KKUP 91.5 FM ========================================================================= Date: Mon, 18 Mar 1996 05:16:14 GMT Reply-To: Jim Farris From: Jim Farris Organization: Netcom Subject: Re: WFBE Blue Highway Playlist 3/16/96 Hi Ed, I'm glad to see that you're back on America Online. I just wanted to let you know that the reknowned Blues keyboardist Deacon Jones (performed with John Lee Hooker, Freddie King, and everyone else in the know World) will be performing at the Crossroads Blues Festival in Greenwood, Michigan on May 25th. If you would like to get in touch with Deacon I have listed the rest of his tour dates below: Deacon Jones Vortex Blues Band Making Blues History Mar. 18. Salt Lake UT Zephyr Club Mar.23 Hood River OR River City Saloon Mar.29 Evergreen CO Little Bear Saloon Apr. 2 Steamboat Sp. CO BW-3 Blues Club Apr. 5 Rapid City SD Uptown Grill Apr.13 Missoula MT Top Rat Apr.22 Salt Lake UT Dead Goat Blues Apr.23 Reno NV Del Mar Station Apr.24 Tahoe City CA Bluewater Brewing May 4 Fort Worth TX J & J Blues Bar May 10 Corpus Christi TX Dr. Rockit's Blues May 11 Houston TX Rockefellas May 14 New Orleans LA House of Blues May 23 Daytona Beach FL Mop Cat Blues Club May 25 Greenwood MI Crossroads. Festival Jun.22 Santa Cruz CA Moes Alley Jun.26 Modesto CA Woody's Jul.11 Crystal Bay NV Jim Kelley's Nugget Jammin' Jim Farris KKUP 91.5 FM ========================================================================= Date: Mon, 18 Mar 1996 00:48:07 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: "One Day At A Time Sweet Jesus" or possibly "Just one day..." Never did get a satisfactory response looking for this song. The person who has sought my help in finding the source or the song has important personal (non-commercial) reasons for wanting to find the song so I told her I'd try again. Dig deep in those memory banks/reference books. Can anyone pin this down precisely? Joel Slotnikoff ========================================================================= Date: Sun, 17 Mar 1996 05:29:13 GMT Reply-To: Jack Oudiz From: Jack Oudiz Subject: Re: I need cd source---QUESTION Comments: To: bit-listserv-blues-l@uunet.uu.net >Can someone tell me where I can get a good listing >of sources where I can purchase old and rare LPs on >CDS. If you have access to the WWW I'd recommend you check out the following: CDNow : Most thorough listings CDWorld: Cheapest prices CDEurope: Imports baby, imports $$$$ If you need addresses just use Yahoo or Webworm or other search engine. ========================================================================= Date: Sun, 17 Mar 1996 05:30:28 GMT Reply-To: Jack Oudiz From: Jack Oudiz Subject: Re: Otis Rush info Comments: To: bit-listserv-blues-l@uunet.uu.net No the liners on the Paula CD suck as well. But here's the lineup: I Can't Quit You Baby Sit Down Baby Big Walter, Red Holloway, (tenor) Lafayette Leake, Wayne Bennett!!!!, Willie Dixon, Al Duncan drums Violent Love My Love Will Never Die Harold Ashby, tenor, same as above Groaning the Blues If You Were Mine Little Walter, Jody Williams!!!!!, Odie Payne Jr drums, rest same as #1 Three Times a Fool She's a Good Un Reggie Boyd, gtr, Harold Ashby tnr, W. Dixon,b, Odie Payne drms, L.Leake pno It Takes Time Checking on My Baby H Ashby, tnr, Little Brother Montgomery pno, Louis Meyers,gtr, w.Dixon, b, Fred Below,drms Double Trouble Keep on Loving Me Baby All Your Love Ike Turner!!!!,gtr, Little Brother, pno, Jackie Brenston, baritone, H. Ashby tnr, W Dixon, b Billy Gayles, drms So Many Roads recorded July 20, 29, 1975 Hybia Park, Tokyo ========================================================================= Date: Mon, 18 Mar 1996 00:52:50 -0500 Reply-To: "jose.eric.s.maglanque" From: "jose.eric.s.maglanque" Subject: Re: help: country blues band name Comments: To: skipjames Comments: cc: unclebucks > Tom Freeland (thinks Bentonia-style bluesmen at minimum ought to have been there). ... hmm, never thought of it that way... even robert johnson didn't have to actually hang around bentonia to learn skip james... ___________________________________________________________________________________________________________________________________________________________________________________________________________________ To: jose eric s. maglanque, blues-l @ brownvm.brown.edu @ internet cc: unclebucks @ aol.com @ internet From: Skipjames @ aol.com @ internet Date: 03/18/96 10:41 AM Subject: Re: help: country blues band name ___________________________________________________________________________________________________________________________________________________________________________________________________________________ In a message dated 96-03-17 21:03:22 EST, jose.eric.s.maglanque@AC.COM (jose.eric.s.maglanque) writes: >I'm "reforming" my band to concentrate on downhome country blues >(Delta-Bentonia-Memphis-Texas-Piedmont). Can anybody suggest a good (and >appropriate) band name? I think I want one with the word "jook" in it -- >just >sounds good... Thanks y'all... > >- Delta Slim Delta-Bentonia-Memphis-Texas-Piedmont??? "Mr. Crump's Sliding Delta Blacksnake Blues" How about the Unlikely Combination? (and "Delta Slim"? Are you related to "Delta Doc?" Or "Guitar Slim, Jr.?") Tom Freeland (thinks Bentonia-style bluesmen at minimum ought to have been there). ========================================================================= Date: Mon, 18 Mar 1996 01:09:55 -0500 Reply-To: CCWatt From: CCWatt Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Does Anyone Know MCA's Email Address? Comments: To: bit-listserv-blues-l@uunet.uu.net >SGLIWA writes: >Can anyone tell me the email address of MCA records? I'd appreciate it >very much. >>Or, how about their phone number? >>Thanks, >>Steven James Gliwa I sent e-mail to MCA from their www page today (about a program error)... it went to: cyber@mca.com Hope that helps. Colin Watt ========================================================================= Date: Mon, 18 Mar 1996 09:50:54 +0200 Reply-To: Alan Grace Comments: Authenticated sender is From: Alan Grace Organization: Biology Subject: London.Blues Anyone know of any good Blues clubs in London or Liverpool Im Going To UK next week and would appreciate any help Thanks in advance Alan ========================================================================= Date: Mon, 18 Mar 1996 03:34:04 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: E-Mail address? Steve Powers wrote > Does anyone know Tom Day's E-mail address? > Thanks. > >Steve Powers And can anyone tell us if he's still runnin' from town to town like Charley Patton said? Chris Smith (chris@skerries.demon.co.uk) 'Positive: wrong at the top of one's voice." (Ambrose Bierce) ========================================================================= Date: Mon, 18 Mar 1996 05:42:56 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: How Blues-L works now Comments: To: Barry Silverberg On 17 Mar 96, Barry Silverberg had this to say: > Hi all, > > Just got back from 5 days of the real blues. Family problems that > would certainly be material for a blues lament. But that's not my > reason for this post. Who had the audacity to start a thread about > keeping out individuals who choose to join us via newsgroups. I am > one such person who came here via that model and I don't think I'm > that bad a neighbor (please correct me if I am wrong). When I 1st > joined in blues-l it was to learn, converse and share and I've got- > ten so much here I can never pay it back. DAMN IT I wouldn't deny > this to anyone. Sounded very cliquish and pissy-a**ed to me so I'm > glad I don't know who started this garbage. > > We happen to have a great list and it is to share not to hide away > so folks can't get at it. Also newsgroup access is useful in that > many thread the articles for you so continuity is there and many I > know of discard posts after a given period. Mine only keeps posts > for 5 days and then it's gone so unless it's been followed up on I > doubt newsgroups are the reason for the trash that was mentioned. > > I also saw reference to members. Hey, someone joining via a news- > group is member too. If they take the time to get aboard, read the > posts and respond lets give them too a chance at the goodies. Hav- > ing e-mail access is not a more-better-gooder-badge-of-membership. > > Sorry for the harshness - but I see red whenever I read about kee- > ping the CLUB tight and not broadening it to others. > > Barry > > WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ > > NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs > Barry Silverberg ... bsco@panix.com Barry, I started this thread, and if you took the time to read it and understand it, you'd realize that neither I nor anybody else has suggested anything to keep people from Blues-l, and you wouldn't have lept to such a bogus conclusion. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Mon, 18 Mar 1996 05:42:57 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: (Fwd) Re: How Blues-L works now Here is the message I received from our listowner on the subject. ------- Forwarded Message Follows ------- Date: Sun, 17 Mar 1996 21:51:20 -0500 (EST) To: "P.W. Fenton" From: blzlynx@polaris.net (Alan C. Rollins) Subject: Re: How Blues-L works now Paul: You are in synch with my concerns re: the echo situation. I have put in a request with Brown to see what the pros & cons are of going to a members only posting. This would also get rid of some of the spams I get regularly. If I have to see another magazine subscription form I may puke. I also asked about the FAQ thing. Some of this will need to be done by them. If you think I am slow getting around to all the messages you need to deal with them. By the way, your point about the number of error messages is right on target because when Mr. Williams was the list owner he measured his error messages in the tens to one hundred or so. I am dealing with an average of 5,000 per day. A good deal of these are from the echo situation. ACR ========================================================================= Date: Fri, 15 Mar 1996 19:10:05 +0100 Reply-To: bengans From: bengans Porcher asked: >I have the CD "Thru the Years, A Retrospective" and especially like the >most recent two thirds of the tracks and all the Sam Meyers stuff. Can >anyone recommend the must-haves for these guys? I say: Everythang! But first: (in following order) Talk to you by hand,Black Top 1001 (Simply one of the BEST blues records. Sam excluded, but some mighty fine work by Darrell Nulish ) Live at the Grand Emporium BT 1111 (the latest release from them, Great!) Various Artists, Black Top Blues-a-rama vol.1 BT 1044 (this live record contains four songs with the band and some of the best guitar playing I ve heard from Anson, SMOKING. The rest is good too. W. Ron Levy, Grady Gaines.) Rack em up BT 1049 (A good studio session) Buy n enjoy! Sevenson "Time is hard baby, and hustling is really on".T-Bone Walker ========================================================================= Date: Fri, 15 Mar 1996 19:43:42 +0100 Reply-To: bengans From: bengans Subject: Re: Input:Peavey Delta Blues Classic LW had opinions like:: >I had the Bassman and I went to a Vibrolux that I love. I don't like Peavey >amps at all, I would NEVER, EVER recommend a Peavey over a FENDER AMP !!!!! >NEVER. I used to reason the way you do until I sat down and really played the Peavey Tweed amps whitch you unfortunately haven t bothered to do yet. People who know me know that I have travelled from Sweden to the US several times to buy Fender. I ve dragged MANY Fender amps onto the flights back home over the years so I claim to be a Fender man, BUT if something sounds good enuff to be taken for a Fender I can play that too. (I let my ears be the judge instead of prejudice and eyes.) >I would look at other smaller Fender amps before I made a trade like that. >Have you considered a Deluxe Reverb or Vibroverb reissue, they are both >really great amps I know that, and they also have GREAT price tags on. I get 3 1/2 Peavey Delta s for the price of one Vibro re-issue! And finally: here s the original qouestion I posted: Does anybody have any experience with this particular Peavey amp. (Good or bad.) Since you don t have any experience with the Peavey, why bother answering at all? Sevenson ========================================================================= Date: Sun, 17 Mar 1996 15:58:37 +0100 Reply-To: bengans From: bengans Subject: Mick Jagger/Red Devils Bootleg (Long) In the british music magazine "Q" a few issues back there was an interview with American Recordings guru, Rick Rubin, where he talked about how he got started and so on. They went through the records he produced and the man has piled hits on top of each other ever since he started. He began with rap-(aaarrghh)-music, did Slayer, The Cult ACDC,the acoustic album with Johnny Cash and one of the greatest live blues albums, Red Devils, King King. Rubin is a genius, period. Last week a friend called me and told me he just found a booleg CD from the sessions Jagger did with the Red Devils which originally was supposed to be the album for the market with Jagger on American Recordings, if Rick Rubin had had his way. In this "Q" article Rick spoke about the job as being hired by Jagger to produce the record, and it didn t seem to be totally without conflicts. Rick said that Jagger told him that, "you re a pain in the but to work with, almost like Keith". Rick said that the Jagger-album that finally got released, (BTW a great rock n roll album), turned out 75% like Rick wanted it to be, but if Mick would have left his ego at home it would hav been even better. Now,todays topic: In the article Rick said that he d wished for the Jagger/Devils-session to be released but Jagger was totally against it. (No explaination given.) So now it seems as if it s out illegally, originating from Italy, (like most European bootleg albums today.) The audio quality is not great, it sounds as if the pots were hoisted, just to hear what was going on, no EFX at all. Someone in the control room snuck a cassette tape into the machine and pushed the rec. button. The CD contains 12 different songs and some of them in several takes. I can t hear much of a differnce between the takes though, other than the tempo on a few. The material of choise is very "Chessy" and here s the song list: Mean old world (Little Walter style) Blues.w a feeling You better watch yourself, (Great drum-playing) Still a fool Checkin up on my baby (not very original-like) Talk to me baby (no slide but hca doing the intro) Evil (good band-job up until the bass starts walking and the drums shuffle, -Help!) Ain t your business Shake em on down (5 1/2 min. long groove, sounds very good and "genuine") Don t go no further (best of all the Chess-interpetations, in fact, great!) 40 days and 40 nights The sessions must have been recorded live direct in the studio, cause you can hear the intro s with the counting and chat between the musicians.With the audio-result of Jagger s Wandering Spirit CD and knowing that it was recorded with the same technnical standards as the Jagger/Devils sessions, I think that these sessions would contain some purty fine blues if it was given the same treat in mix and mastering and was given a few overdubs. Speaking bout overdubs, I must say that the weak link in this production is Jagger s vocals, in fact, in some songs it sucks really bad, especially when he s trying to be "EVOUUUL" or the lowdown husky Muddy-interpetations. So dragging Mick s ass to the studio to straighten out the vocals would be a good idea! Rubin said he hoped that Mick would reconsider and release this record in the future, and I agree. A little work on the vocals and a good mixdown runned through a TubeTech and we d hear another kick-ass blues record by the Red Devils. And Mick could tell his pals in that other band that he just recorded a real blues- record for the FIRST time! Sevenson "Time is hard baby, and hustling is really on" T-Bone Walker ========================================================================= Date: Sat, 16 Mar 1996 15:02:32 +0100 Reply-To: bengans From: bengans Subject: Re: Selling my record, Thanks! (Kinda long) I just wanted to thank ya ll for all the responses to my earlier posted question re Selling my record, NOT! In a near future I ll let the Bluzellers know how to buy The Instigators new record entitled "Rock n Bowl". - if your e interested, meanhwile, below is an outtake from linernotes to our record. Sevenson. A.K.A. Goran Goran's been involved with too many bands and recording projects to mention here, but I've listened to them all (and even played with a few of them). I can say without hesitation that The Instigators are the most exciting, most enjoyable, rockin'est blues band he's ever worked with. He's not only fully absorbed the styles of most of the blues guitar greats, he's made them his own by adding that indefinable "feel" that just can't belearned--that same thing I heard in his playing that first night in Chicago. With the intuitive, steady-swinging drums of his long-time musical colleague Jim "Six Pack" Ingvarsson, who has also spent his share of time with us exploring those same musical backroads (by the way, thanks again, Jim, for the use of your apartment!), and the solid thump of Mikael Fahleryd's stand-up bass rounding out the bottom end, The Instigators are one of the best pure blues bands working today, bar none. The Instigators' "Rock N' Bowl" is the band's debut release, and with it they display the versatility that makes them such a consistently interesting and enjoyable musical experience. As might be expected, there are nods of some of their heroes--Muddy, Elmore, Magic Sam and others--but the majority of these songs are originals that cover the full spectrum of the blues rainbow. Adapted from the linernotes written by SCOTT DIRKS ========================================================================= Date: Tue, 19 Mar 1996 11:57:00 PST Reply-To: "BT - Sandro - r.389" From: "BT - Sandro - r.389" Subject: off sub (Beatles) Hi people Could some friendly soul in this list give me an adress in Internet or Bitnet for Beatles? Thanks in advance, Chuck Adams, from Brazil ========================================================================= Date: Mon, 18 Mar 1996 08:44:56 -0500 Reply-To: bob unger From: bob unger Subject: the cabin I just heard on NY radio that the first stop and unvieling of Muddys Cabin will be at the Chicago Blues Festival....... BU bob@sun.bnkst.edu ========================================================================= Date: Mon, 18 Mar 1996 07:38:33 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: How Blues-L works now Seems to me that the solution to the problems PW has pointed out would be to find a more involved listowner rather than to restrict access to the list. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Mon, 18 Mar 1996 09:25:14 -0500 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: How Blues-L works now & PW's suggestions Comments: To: bit-listserv-blues-l@uunet.uu.net Hello from a regular newsgroup reading (and occassionaly posting) non-member! I'd just like to add my 2 cents to this debate. I have no problem joining the list and setting my account to nomail as long as I can continue to read and post via the newsgroup. I just prefer this method and I'd hate to lose it as I'd also hate to lose out on reading everyone's wonderful insights into the Blues. I am bothered as much as anyone by bounced posts and eternal threads but part of that just goes with the territory. Thanks for listening and we now return you to your regular Blues discussions.... ========================================================================= Date: Mon, 18 Mar 1996 09:33:12 -0500 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: MIDI file of T-Bone Shuffle? Comments: To: bit-listserv-blues-l@uunet.uu.net Would anyone happen to have MIDI files of this or other Blues classics? BTW in my small collection of 70 or 80 Blues CDs, it seems that T-B S is the most commonly covered tune. Is this true across a broader cross-section or just a coincidence or just an indication of my taste? ========================================================================= Date: Mon, 18 Mar 1996 09:34:08 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: Pig trader title Bonnie K said: "Doesn't the name of Yank's new album come from his story about when he was a child, being given a pig to raise and he traded it for a mandolin - which wasn't quite what his parents had in mind." Yep....in fact, on the album, he relates the story himself. Cathi N. ========================================================================= Date: Mon, 18 Mar 1996 14:33:24 GMT Reply-To: Scott Barretta From: Scott Barretta Organization: Lund University Subject: Beale Street Fest staging??? Tickets for Handy's?? Comments: To: bit-listserv-blues-l@uunet.uu.net There's few things that can pull me away from the New Orleans Jazz Fest, but the lineup in Memphis looks pretty tempting. But where does the festival actually take place?? Is Beale Street fenced off, or is it somewhere else in the city?? And how many stages at the same time?? Can it possibly match up to JazzFest as far as atmosphere?? Also, has there been a detailed posting on the Handy's, i.e. who is scheduled to play, how you can order tickets? Thanks. Personal replies welcome, but worthwhile info for a posting I think. ========================================================================= Date: Mon, 18 Mar 1996 09:40:50 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: blues hyperbole (cont) Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *> >At 09:07 AM 3/14/96 -0500, Steve Levine wrote, re Blue Revue: *> >>*Nothing wrong with selling magazines. But there IS something wrong with *> >>*misrepresenting one's self. If it's a blues magazine, put a blues guy *> >>*(or gal) on the cover. * *Ok, I'll admit it, I haven't read the article but Ol' Brother Gregg *has taken a lot of flack here. Are the Allman Bros. a BLUES band? *Well, not really but Gregg Allman is entitled to have the blues & he *is certainly entitled to SING the blues. The man can phrase, he *expresses emotion & he does NOT sound contrived. He may not cut it *with the purists out there but how many of us are listening (& playing) *the blues because Allman and/or the band gave us that inspiration. First of all, I was misquoted. I did reply to the original post about Gregg Allman and BR, but the above reply was not mine. Second, I think that Allman is a great musician, and he certainly can play the blues. The Allman Brothers are one of the bands that got me into the blues, and I have lots of respect for them and their music. "Live at The Fillmore" has some of the best live blues ever recorded. But, as good as they are, I feel that The Allman Brothers are primarily rock band - a great rock band who can play the blues. And, as good as Gregg Alllman is, there are many blues musicians who could be on the cover of BR - many who need the exposure much more than Allman does. I subscribed to BR for a year to check it out. I won't be renewing my subscription, partly for that and other recent covers. -Steve Levine ========================================================================= Date: Mon, 18 Mar 1996 14:43:51 GMT Reply-To: marc borms From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Re: S&T: Lurrie Bell _Everybody Wants To Win_ Comments: To: bit-listserv-blues-l@news.Belgium.EU.net : The opinions in this message are mine and not Bellcore's. Really! : *------------------------------cut heer------------------------------* : LURRIE BELL / EVERYBODY WANTS TO WIN (JSP 227) : JSP RECORDS P.O. BOX 1584 LONDON N3 3NW ENGLAND : If ever there was a family steeped in the blues, it's the Bells of : Chicago. Father Carey, an emigre from Mississippi, is one of the finest : living harmonica players and he's clearly taught his sons well. Led by : son Lurrie, this album features a band chock full of the Bell boys any : of whom ought to be blues stars by now. Lurrie has a very clean voice : that fits the numbers selected on this album well. His guitar style is : also very clean and articulated, and borrows heavily from his father's : harp-playing style. This is an immensely satisfying disc, full of slow : blues croons and quick shuffles; Chicago blues at its finest. A few years ago ( 7 or 8 ) I had the chance to enjoy father and son Bell together in the small Bananapeel Club in Belgium. Oh, what a night !!!! Indeed, Chicago blues at its finest. embee. ========================================================================= Date: Mon, 18 Mar 1996 07:34:02 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Mar. 19 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- COLEMAN, ORNETTE (asax) b. 1930-0319, FORT WORTH, TX DIXON, WYLIE (of WYLIE & SIMTEC) b. 1936-0319, COLUMBUS, MS GRAY, L. MICHAEL (v/gospel) d. 1988-0319, NEWARK, NJ 35 HARDING, LAVERE "BUSTER" (p/arr) b. 1917-0319, ONTARIO HART, CLYDE (p/TINY GRIMES) d. 1945-0319, NEW YORK CITY, NY 35 HENDERSON, BILL (v/VEE JAY REC) b. 1930-0319, CHICAGO, IL HENRY, CLARENCE "FROG MAN" (p) b. 1937-0319, ALGIERS, LA HOUSTON, BEE (g/ARHOOLIE REC) d. 1991-0319, LOS ANGELES, CA 52 JACKSON, WALTER (v/OKEH REC) b. 1938-0319, PENSACOLA, FL LEBLANC, ERIC S. (BLUES-L MEMBER) b. 1946-0319, ST. JOHNS, NB LUKE, ROBIN (v/SUSIE DARLIN') b. 1942-0319, LOS ANGELES, CA MABLEY, JACKIE "MOMS" (v/comedy) b. 1897-0319, BREVARD, NC MCFERRIN, BOBBY SR. (v/gospel) b. 1921-0319, MARIANNA, AR MITCHELL, WALTER LITTLE (hca/JVB REC) b. 1919-0319, NEW ORLEANS, LA PAUL, CLARENCE (arr/prod/songw/MOTOWN) b. 1928-0319, WINSTON SALEM, NC POINTER, RUTH (of THE POINTER SISTERS) b. 1946-0319, OAKLAND, CA RASFELD, MIKE (studio engineer) d. 1989-0319, CHICAGO, IL -- RUSSELL, DILLON "CURLY" (b) b. 1917-0319, NEW YORK CITY, NY RUST, BRIAN (author/discographer) b. 1922-0319, LONDON, UK SMITH, TONY S. (owner: CHARISMA/GENESIS) d. 1987-0319, JERSEY IS., UK 53 TAMPA RED(HUDSON WOODBRIDGE)(g/p/kazoo/sw)d. 1981-0319, CHICAGO, IL 77 TRISTANO, LENNIE (p) b. 1919-0319, CHICAGO, IL VAN BUREN, JAMES (p) b. 1935-0319, ARROW ROCK, MO ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 18 Mar 1996 07:34:54 -0800 Reply-To: Bob Fulkerth From: Bob Fulkerth Subject: Kiss Tomorrow Goodby In-Reply-To: <5756970519@heme.medicine.wisc.edu> Greetings all. I'm still trying to find Kiss Tomorrow Goodby, by Danny White from the late 50's early 60's. Not the PercyMayfield one. Johnny Winter did it, and (maybe) Warren Haynes, Allman's guitar player, on Tales of Ordinary Madness, now out of print. If anyone can help, I'd appreciate it. I'm also looking for the WArren Haynes "tales of . . ." cd. Thanks. Bob Fulkerth ========================================================================= Date: Mon, 18 Mar 1996 09:27:44 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Gregg Allman.....wasn't he..... Back in the hippie days, while i never indulged, it used to be said that when doing LSD, one should "Know" whom one was getting it from. The message behind this was, LSD messes with your head....be sure that you get it from someone you respect and is kind and true.....supposedly this meant that the LSD would also reflect these qualities. Get it from a "shady" character, and a big BUMMER was sure to happen. So, what am i getting at, you well may ask? How does this philosophy fit with the Blues? I mean, if a person is despicable or untrustworthy, or of low character, how does this affect or how should this affect the blues that come from this person? The reason i ask this, is that i don't respect Gregg Allman in the tiniest bit.....wasn't he the one that, in cooperation with his good buddy, Jimmy Carter, ratted on several of his friends in the music business that did drugs? Got 'em all busted....just to save his own collective hiney....or did i get this story straight? Someone please correct my alzheimer's ridden brain cells! I'll be interested in what kind of commentary this post will elicit. thank ya kindly, ddr ========================================================================= Date: Mon, 18 Mar 1996 07:36:49 -0800 Reply-To: Bob Fulkerth From: Bob Fulkerth Subject: Warren Haynes/Tales of . . . This is probably sort of a blues oriented CD. Warren plays for the Allmans now, and put out a CD called Tales of Ordinary Madness prior to Government Mule. If anyone has the "Tales . . ." CD and would be interested in selling/taping it, lets chat. It's out of print and I can't get it. BobF ========================================================================= Date: Mon, 18 Mar 1996 11:04:46 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Gregg Allman.....wasn't he..... Comments: To: Roger Struve On 18 Mar 96, Roger Struve had this to say... > So, what am i getting at, you well may ask? > > How does this philosophy fit with the Blues? I mean, if a person is > despicable or untrustworthy, or of low character, how does this affect or > how should this affect the blues that come from this person? > > The reason i ask this, is that i don't respect Gregg Allman in the tiniest > bit.....wasn't he the one that, in cooperation with his good buddy, Jimmy > Carter, ratted on several of his friends in the music business that did > drugs? Got 'em all busted....just to save his own collective hiney....or > did i get this story straight? Someone please correct my alzheimer's > ridden brain cells! > > I'll be interested in what kind of commentary this post will elicit. Roger, it sounds like Gregg would be a bad person for you to buy your drugs from, or to do your drugs with. The only way this could effect his music, and/or your perception of it, would be if either of you (or both of you) gave up drugs all together. Theoretically of course. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 18 Mar 1996 10:17:43 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: A 6yr old's music taste I was playing regular flat top guitar and amusing my six year old this weekend. He asked me to play "Tumblin & Rollin :-)". Then he asked me to snap the string on the fretboard and he took his thumb snapped the string to show me. He asked me to get the old grey guitar and do it. So I got the National and went to thumping/snapping & he was mesmerized , he loves it. I let him play my old Harmony the day before and while I was playing he said that he was snapping with his thumb the day before....He's got better music taste than a lot of people I know (better taste than some magazine editors :-)) He's also easily amusied, if my playing made him grin from ear to ear. LW ========================================================================= Date: Tue, 19 Mar 1996 01:36:31 +0900 Reply-To: MIE SENOH From: MIE SENOH Subject: Re: Robert Jr. Live in Japan Comments: To: Bonnie Kalmbach At 7:06 PM 96.2.7 -0500, Bonnie Kalmbach wrote: >One of the best things about that recording are Louis Myer's solos >on slide. They are something else. > > -Bonnie Last December,Robert Jr. Lockwood had a chance of LIVE RECORDING in Japan It will release on April from P-VINE RECORD (JAPAN) Lockwood band is Bass, Drums, Sax, Harmonica(Walace Coleman, I like him) and a Japanese Guitarist joined to support. He is a member of ROLLER COASTER . This band keep on Playing for 22years old in JAPAN! If You have a chance, listen to their album please. (released on P-VINE, VIVID SOUND) mie( micro@kiwi.co.jp) ========================================================================= Date: Tue, 19 Mar 1996 01:36:25 +0900 Reply-To: MIE SENOH From: MIE SENOH Subject: Re: Willie Mitchell Comments: To: Bonnie Kalmbach At 11:29 AM 96.3.5 -0500, Bonnie Kalmbach wrote: >I really enjoyed Bill Pollak's post on Willie Mitchell. I also think that >Ann Peebles' "I'm gonna tear your playhouse down" is wonderful. > >What else has Quiet Elegance recorded? I'm familiar with the cut on the >"Hi - the RnB Years). Are any of their recordings on CD? > >I think I prefer Syl Johnson's version of "Take me to the River" and >O.V. Wright's "Rhymes" to Al Green's smoother originals. > > Bonnie $B!!!!!! (BHi,Bonnie! Quiet Elegance is my favorite group! I have their CD "YOU'VE GOT MY MIND MESSED UP" (Cream/Hi/Demon Records Hi UK CD 109) released in 1990. It's prpbably all of their number we can listen. This project instigated by P-VINE RECORDS in JAPAN. I wish you will find this album. 1 After You 2 Mama Said 3 Do You Love Me? 4 Something You Got 5 I'm Afraid of Losing You 6 You Brought The Sun Back Into My Life 7 I need Love 8 Tired Of Being Alone 9 Will You Be My Man(In The Morning)? 10 You GOt My Mind Messed Up 11 Your Love Is Strange 12 Roots Of Love 13 Love Will Make You Feel Better 14 Have You Been Making Out OK? 15 Set The Record Straight 16 How's Your Love Life Baby? Mie (micro@kiwi.co.jp) ========================================================================= Date: Mon, 18 Mar 1996 12:43:30 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: Dark Is The Night, Cold Is The Ground In-Reply-To: <199603170122.TAA27090@thor.inlink.com> from "Joel Slotnikoff" at Mar 16, 96 08:41:50 pm > Blind Willie Johnson recorded "a" version of a song by this name on "a" day > long ago. We cannot presume that he or "it" did not have a version with > words. If I recall correctly, the liner notes to the columbia set mention that this was Johnson's reworking of a hymn from the Southern Baptist or Sanctified tradition. I've been searching for the original hymn since the columbia set came out, but ghost's post was the first real reference to it I've ever seen. Yes, Mr. Ghost, please post whatever information you have about this version of this song... -Rob ========================================================================= Date: Mon, 18 Mar 1996 09:02:29 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: what's happening? Comments: cc: "Alan C. Rollins" Sorry for posting this to the group, BUT I have sent several posts that never showed up on the list at all... Any ideas? Alan? Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu I looked over Jordan, and what did I see An Eldorado comin' after me comin' for to carry me home.. -- Dizzy Gillespie ____________________________________________________ ========================================================================= Date: Mon, 18 Mar 1996 09:45:09 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Was Samuel Barber a Bluesman? Hi Everybody! I heard the most amazing recording on the radio last night. Ran right over to the record store, but they didn't have it of course. It was a choral setting of Barber's "Adagio for Strings" by the Robert Shaw chorale. I'm telling you, I was transfixed, I literally *couldn't move* while it was on. Whew! So, I decided to tell you all a secret. I find a lot of inspiration for my guitar playing in classical music. No, not the baroque neatness or the romantic bombast, but some of the great 20th century composers like Copland, Barber, Gorecki and others. I don't steal riffs from them, I take *feelings* from them, and when the band is cooking behind me, and the moon is right, I try to reach a deeper emotional level by trying to say the things they say. I rarely approach their musical mastery, but I think their influence meshes very well with the depth and power of the blues. There is an emotional commitment in some of that music that ONLY the blues approaches in "popular" music. So I submit to those of you who have heard Barber's Adagio that he is expressing the same thing Robert Johnson, Muddy, and Freddie were. To those who haven't heard it, go right now and buy the Robert Shaw Chorale setting (they don't call it the Adagio for some reason) and if you can get through it with dry eyes you're a bigger man then I am.... (yes even you Cathi!) If you're interested I will post the exact info so you can find it, once I find it myself. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu I looked over Jordan, and what did I see An Eldorado comin' after me comin' for to carry me home.. -- Dizzy Gillespie ____________________________________________________ ========================================================================= Date: Sun, 17 Mar 1996 23:03:27 -0800 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Organization: Internet Direct Subject: Muddys Cabin (Reuters clip) Comments: To: bit-listserv-blues-l@uunet.uu.net --- I found this on the Reuters press feed tonight (for y'all that never see a newspaper...... ) - Roger ----------------------------------------------------- Muddy Waters Goes On Tour LOS ANGELES, March 17 (Reuter) - In what promises to be one of this year's more unusual tours, blues legend Muddy Waters is hitting the road -- some 13 years after his death. Or rather, the historic log cabin where he lived before he became a star is going on tour, thanks to the efforts of blues aficionados led by House of Blues founder Isaac Tigrett. The tiny dwelling, measuring 17 square feet and pre-dating the Civil War, is regarded as one of the most important relics of the blues. Waters, whose original name was McKinley Morganfield, was raised in the cabin which was located on the Stovall cotton plantation near Clarksdale, Mississippi. Several years before he moved to Chicago in the 1940s and pioneered the electric blues that gave birth to rock'n'roll, the Library of Congress recorded him playing songs in the cabin. Those songs have just been issued by MCA Music. Some eight months ago, Tigrett began a top secret effort to restore the cabin after it was destroyed by a tornado a decade ago and left to rot. Several years ago, ZZ Top guitarist Billy Gibbons was given permission to fashion a half-dozen ''Muddywood'' guitars out of the remaining floorboards. Souvenir hunters also sped up its demise. Tigrett reached an agreement with the Stovall family to rebuild it and take it on the road to blues festivals. Historical architects were brought in, old photos were perused and rough-hewn logs were taken from contemporary cabins on the property. News of the project, which cost him about $125,000, leaked out last week igniting concern among blues fanatics that Waters' legacy was being cheapened. However Tigrett said that nothing would have been left in several years' time and the cabin would help spread the blues gospel to non-believers. ``There's just not any historical blues sites, so this is why it's so important,'' Tigrett said in an interview Sunday. It is rivalled in importance by the ``crossroads'' of Mississippi's Highways 61 and 49 where ill-fated bluesman Robert Johnson supposedly sold his soul to the devil in the early century. First stop will be the Chicago Blues Festival at the end of May, where visitors can go into the cottage, view Muddy Waters memorabilia and hear his classic songs such as ``Rollin' Stone'' and ``Got My Mojo Working''. Proceeds will be given to various blues charities, such as one started by Buddy Guy to put up headstones on bluesmen's unmarked graves. Tigrett plans to take the cabin to four or five events annually for the next five years and hopes to bring it to Europe as well because that's where most blues music is bought. Then the cabin will be returned to Mississippi, either to the plantation or to the blues museum in Clarksdale. Reuters/Variety ========================================================================= Date: Sun, 17 Mar 1996 23:08:52 -0800 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Organization: Internet Direct Subject: How Blues-L works now & PW's suggestions Comments: To: bit-listserv-blues-l@uunet.uu.net Tom Freeland wrote: > PW also more-or-less pleads that the newsgroup echo of blues-L be returned to > read only status. His most compelling reason is the way newsgroup threads > linger on long after the 'real' list members have moved on to other issues > (the "die-evil-thread-die" factor). I am more hesitant here because I know > there are people who prefer the newsgroup format, but I think PW is right, > and I think that the never-die threads both interfere with the conversation > round here. So I'm with PW on that one, too. I AGREE!! Right now, I'm "No-Mail" - and the time-lag between posts and their appearance on the newsgroup is maddening!! I feel like I'm responding to the Ice Age right about now. As for the FAQ - this should be fixed! I only joined on this fall, and didn't even understand how to get mail for a month or so (meanwhile, I kept wondering where all my posts were going, waiting for them to appear...) - Roger B. (can't wait to get back to "Mail") ========================================================================= Date: Mon, 18 Mar 1996 13:08:08 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Was Samuel Barber a Bluesman? Comments: To: Don Cicchetti On 18 Mar 96, Don Cicchetti had this to say... > Hi Everybody! > > I heard the most amazing recording on the radio last night. Ran right over > to the record store, but they didn't have it of course. > > It was a choral setting of Barber's "Adagio for Strings" by the Robert Shaw > chorale. > > I'm telling you, I was transfixed, I literally *couldn't move* while it was > on. Whew! > > So, I decided to tell you all a secret. > > I find a lot of inspiration for my guitar playing in classical music. No, > not the baroque neatness or the romantic bombast, but some of the great > 20th century composers like Copland, Barber, Gorecki and others. I don't > steal riffs from them, I take *feelings* from them, and when the band is > cooking behind me, and the moon is right, I try to reach a deeper emotional > level by trying to say the things they say. I rarely approach their > musical mastery, but I think their influence meshes very well with the > depth and power of the blues. > > There is an emotional commitment in some of that music that ONLY the blues > approaches in "popular" music. > > So I submit to those of you who have heard Barber's Adagio that he is > expressing the same thing Robert Johnson, Muddy, and Freddie were. > > To those who haven't heard it, go right now and buy the Robert Shaw Chorale > setting (they don't call it the Adagio for some reason) and if you can get > through it with dry eyes you're a bigger man then I am.... (yes even you > Cathi!) > > If you're interested I will post the exact info so you can find it, once I > find it myself. The "Adagio" has been used in many films, most notably the scene where the "Elephant Man" chooses to die by sleeping like a normal human being. It is the musical embodiment of grief & sadness. Aaron Copland, and Igor Stravinsky are two that give me inspiration. Berntein also, but he borrows much from the ones we've already mentioned (borrowed is polite). P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 18 Mar 1996 12:18:57 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Buddy Guy Big Band?/Things To Do In Denver... Comments: To: Scott Ferman In-Reply-To: Buddy Guy is enlarging his band for his upcoming tour because it's in support of (finally!) his live CD, which had larger bands than his touring unit. Unless something changes at rehearsal, the extra people he's taking are Tony Z on keyboards (at least he completed his excellent work for me on a Little Smnokey Smothers set for CrossCut which is in progress), the Chicago Playboy horns (Charles Kimble on tenor and Big James Montgomery on trombone; they're on the Black Magic Lee "Shot" Williams CD and some Wolf stuff by John Primer and others plus Johnny Christian's last stuff) and Paul ??, the baritone from the Blues Swingers. Should be nice! I ran into Buddy Saturday night and asked him about the "Things To Do In Denver When You're Dead" soundtrack, which was discussed recently on this list. He said he has scenes in the movie. ========================================================================= Date: Mon, 18 Mar 1996 10:48:38 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Re: Gregg Allman.....wasn't he..... -Reply Comments: To: pwfenton@GATE.NET Actually, PW, i was being serious with this post.....here is my logical precept complete with premises and conclusion: 1. Blues is the language of the heart, 2. A low life character has compromised his "heart". Conclusion: Blues from a low life character might be undesirable. While i am sure you were jesting, let it be known that Delta Doc Roger does not imbibe in any drugs except the worst one of all....alcohol....that, and the unavoidable second worst drug in existence, second hand cigarette smoke! ( And of course, nitrous oxide at the dentists, AND an occasional Excedrin) DISCLAIMER: I am in no way associated with Excedrin, or any alcohol related business! regards, ddr ========================================================================= Date: Mon, 18 Mar 1996 10:52:06 -0600 Reply-To: Roger Struve From: Roger Struve Subject: A 6yr old's music taste -Reply Comments: To: ISTS024%UABDPO.BITNET@uunet.uu.net LET IS BE KNOWN THERE IS A MAJOR LIAR ON THE SUBSCRIPTION LIST TO BLUES-L!!!!!! He goes by the nomer, LW, and believe Delta Doc Roger, this guy can PLAY! I';ve heard his tape! Don't believe him when he starts with the open eyed dropped jaw exclamations about "(his) playing" and (his) singing. Except for a little moment of voice breakup on Death Letter, this guy is mighty fine. (and i don't mean dog food either!) regards, ddr ========================================================================= Date: Mon, 18 Mar 1996 10:33:16 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Was Samuel Barber a Bluesman? PW said: >The "Adagio" has been used in many films, most notably the scene >where the "Elephant Man" chooses to die by sleeping like a normal human >being. It is the musical embodiment of grief & sadness. I won't watch any movie that uses this profound music for such manipulative purposes. Oliver Stone did the same thing in "Platoon" and I boycotted it too! The Adagio is not about sadness IMO. As with the blues, it is about life and love and the courage they require. Only someone who has really loved and been loved can understand either. Great music should not be tied to explicit meanings through visuals. It reduces the music to merely serving a rhetorical, ideological or dramatic end, and there is SO much more to it than that. Imagine watching the soldier die in "Platoon" to Robert Johnson! Wouldn't that piss you off? Sure would piss *me* off... That film maker is expecting you to then forever associate that piece with a gruesome battlefield death. It's bull, and artistic appropriation of the cheapest sort. Write your own damn sad music for the guy to die to.... >Aaron Copland, and Igor Stravinsky are two that give me inspiration. >Berntein also, but he borrows much from the ones we've already >mentioned (borrowed is polite). Yeah, and speaking of Copland, those weenies at Oldsmobile ought to be flogged for using his stuff in ther stupid car ads. (yeah I know it's an old amish melody, does that make it better?) When you hear "Appalacian Spring" do you REALLY want to see an *Oldsmbile* in your mind??? weenies! (this is not a flame of Paul... It is tangental to his point, not a direct response) DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu I looked over Jordan, and what did I see An Eldorado comin' after me comin' for to carry me home.. -- Dizzy Gillespie ____________________________________________________ ========================================================================= Date: Mon, 18 Mar 1996 18:25:11 GMT Reply-To: Curtis Hewston From: Curtis Hewston Subject: A Tribute To ERic Comments: To: James Carmin On Mon, 18 Mar 1996 07:34:02 -0800, James Carmin wrote: >------------------------------------------------------------------------------- >artist notes/full name yyyy-mmdd, city/county state age >------------------------------------------------------------------------------- >LEBLANC, ERIC S. (BLUES-L MEMBER) b. 1946-0319, ST. JOHNS, NB >------------------------------------------------------------------------------- A very happy 50th to you! And my great thanks for doin' what you do! *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Mon, 18 Mar 1996 12:39:29 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Chicago Blues Festival lineup Okay, I'm only going to do this once... Chicago Blues Festival May 31-June 2, 1996 preliminary lineup Fri. 5/31 Front Porch: Otha Turner fife & drum Santeria--Armando Sanchez Blues In The Schools Homesick James Dave Myers Diamond Teeth Mary Corey Harris Crossroads: Unsigned guitarists: Quintus McCormick, Anthony Palmer, Will Crosby (Jimmy Dawkins, mc) Juke Joint (new stage): Eddie Shaw Billy Branch/Carl Weathersby Lonnie & Ronnie Baker Brooks Corey Harris Fernando Jones bandshell (6-9:30; they're stopping earlier this year, and also overlapping early with other stages for the first time): Sons of Blues Wolf tribute with Eddie Shaw/Little Smokey/Hubert Sumlin/Abb Locke/ Chico Chism/Lester Davenport Lonnie Brooks Sat. 6/1: Front Porch: Otha Turner Corey Harris Sunnyland Slim Memorial Piano Set Honeyboy Edwards Vance Kelly Crossroads: Studebaker John & Big Mojo Elem Karen Carroll & Lurrie Bell Michael Hill's Blues Mob Juke Joint: Michael Hill Sugar Blue Corey Harris Ichiban Women: Trudy Lynn & Francine Reed Petrillo (5-9:30): Phil Guy, Chi. Playboys and Nellie Travers Sugar Blue Ichiban Women Sun. 6/2: Front Porch: Otha Turner Guy Davis Remembering Rev. Gary Davis: David Bromberg, Andy Cohen, Manny Greenhill, Tiny Robinson Corey Harris Remembering Rev. Robert Wilkins: David Evans, Lane Wilkins, Eric Nosen Paul Geremia Homesick James Crossroads: Pistol Pete Pete Mayes/Jimmy Nelson/Johnny Brown Bobby Parker Juke Joint: Red House feature Corey Harris Long John Hunter "special guest" Petrillo: Willie Clayton Sue Conway Long John Hunter Screamin' Jay Hawkins And yes, it's still free... For more information, call the Mayor's Office of Special Events at 312-744-3315, Internet access is http://www.ci.chi.il.us Enjoy! ========================================================================= Date: Mon, 18 Mar 1996 10:37:09 GMT Reply-To: Dave_J._Herda@infozone.telluride.co.us From: "Dave J. Herda" Organization: InfoZone Telluride Co (970)-728-0472 Subject: Re: Fat Possum Miss. Juke Joint Caravan Comments: To: toulouse@comm.net toulouse wrote: I was curious if any of you out there had scene The Fat Possum Mississippi Juke Joint Caravan with Lil' Dave Thompson, Paul "Wine" Jones and R.L Burnside. I am interested in your opinions and reflections on the show that you saw. Thanks, I saw the caravan play Iowa City last summer and it was amazing. Kimbrough didn't make the show because of illness but the rest of them blew me away. R.L. was more intense than I had hoped for and Paul Jones came from nowhere to almost steal the show. Finding more talent for the buck (I think we paid a $4 cover) would have been all but impossible. If you have the chance, go give R.L. and the crew a listen and keep on playin those blues! PEace--D ========================================================================= Date: Mon, 18 Mar 1996 12:59:17 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 03/19 B O R N : 03 /19 BABASIN, HARRY Born:1921 DALLAS, TX Career:BASS Style:JAZZ / BIG BAND CASE, RUSS Born:1912 HAMBURG, IA Career:LEADER Style:BIG BAND With:Frankie Trumbauer / Paul Whiteman / Benny Goodman / Hal Kemp / Raymond Scott / pop music director for Victor Records DIXON, WYLIE Born:1936 COLUMBUS, MS Career: ?? Style:BLUES With:WYLIE & SIMTEC ELIAS, ELIANE Born:1960 SAL PAULO, BRAZIL Career:KEYBOARDS / PIANO / SINGER Style:JAZZ Sebastao Tapajos / Steps Ahead / Randy Brecker / Married to Randy Brecker HENDERSON, BILL ( WILLIAM RANDALL ) Born:1930 CHICAGO, IL Career:SINGER / ACTOR Style:JAZZ / BIG BAND With:RAMSEY LEWIS HENRY, CLARENCE "FROG MAN" Born:1937 LGIERS, LA CAREER:PIANO / SINGER Style:BLUES JACKSON, WALTER Born1938 PENSACOLA, FL Career:SINGER Style:BLUES With:OKEH RECORDS LEWIS, STEVE Born:1890 NEW ORLEANS, LA Career:PIANO / COMPOSER Style:TRAD / JAZZ LONGO, MIKE ( MICHAEL,JOSEPH ) Born:1939 CINCINNATI, OH Career:PIANO / COMPOSER Style:JAZZ / BIG BAND MABLEY,"MOMS" ( JACKIE MABLEY ) Born:1897 BREVARD, NC Career:SINGER ( COMEDY ) Style:BLUES METTOME, DOUG ( DOUGLAS VOLL ) Born:1925 SALT LAKE CITY, UT Career:TRUMPET Style:JAZZ / BIG BAND MORGAN, ANDREW Born:1903 PENSACOLA, FL Career:CLARINET / TENOR SAX / ALTO SAX Style:TRAD / JAZZ RUST, BRIAN ( ARTHUR LOVELL ) Born:1922 LONDON, UK Career:DISCOGRAPHER Style:JAZZ / BIG BAND SCHNITTER, DAVID ( BERTRAN ) Born:1948 NEWARK, NJ Career:TENOR SAX Style:JAZZ TRISTANO, LENNIE ( LEONARD JOSEPH ) Born:1919 CHICAGO, IL Career:PIANO / ARRANGER / COMPOSER / TEACHER Style:JAZZ VAN BUREN, JAMES Born:1935 ARROW ROCK, MO Career:PIANO Style:BLUES WINCHESTER, LEM ( LEMUEL DAVIS ) Born:1928 PHILADELPHIA, PA Career:VIBES Style:JAZZ FOR A LISTING OF THOSE THAT PASSED AWAY IN THIS MONTH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Mon, 18 Mar 1996 14:00:36 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Was Samuel Barber a Bluesman? Comments: To: Don Cicchetti On 18 Mar 96, Don Cicchetti had this to say... > PW said: > > >The "Adagio" has been used in many films, most notably the scene > >where the "Elephant Man" chooses to die by sleeping like a normal human > >being. It is the musical embodiment of grief & sadness. > > I won't watch any movie that uses this profound music for such manipulative > purposes. > > Oliver Stone did the same thing in "Platoon" and I boycotted it too! > > The Adagio is not about sadness IMO. As with the blues, it is about life > and love and the courage they require. Only someone who has really loved > and been loved can understand either. > > Great music should not be tied to explicit meanings through visuals. It > reduces the music to merely serving a rhetorical, ideological or dramatic > end, and there is SO much more to it than that. > > Imagine watching the soldier die in "Platoon" to Robert Johnson! > > Wouldn't that piss you off? Sure would piss *me* off... > > That film maker is expecting you to then forever associate that piece with > a gruesome battlefield death. It's bull, and artistic appropriation of > the cheapest sort. > > Write your own damn sad music for the guy to die to.... > > >Aaron Copland, and Igor Stravinsky are two that give me inspiration. > >Berntein also, but he borrows much from the ones we've already > >mentioned (borrowed is polite). > > Yeah, and speaking of Copland, those weenies at Oldsmobile ought to be > flogged for using his stuff in ther stupid car ads. (yeah I know it's an > old amish melody, does that make it better?) > > When you hear "Appalacian Spring" do you REALLY want to see an *Oldsmbile* > in your mind??? > I think you have it backwards. The directors of these films and commercials are not trying to make the viewer associate the music with the scene. They are hoping the effect of the music will rub off on your perception of the scene. They don't want you to think of Oldsmobiles when you hear Copland. They want you to associate the postive feelings you get from the Copland music with the Oldsmobile. An important distinction. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 18 Mar 1996 14:02:13 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: A Tribute To ERic Comments: To: Curtis Hewston On 18 Mar 96, Curtis Hewston had this to say... > On Mon, 18 Mar 1996 07:34:02 -0800, James Carmin wrote: > > >------------------------------------------------------------------------------- > >artist notes/full name yyyy-mmdd, city/county state age > >------------------------------------------------------------------------------- > > >LEBLANC, ERIC S. (BLUES-L MEMBER) b. 1946-0319, ST. JOHNS, NB > > >------------------------------------------------------------------------------- > > A very happy 50th to you! And my great thanks for doin' what you do! Here, here! What he said.... with a cherry on top! P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 18 Mar 1996 13:55:55 -0500 Reply-To: Tom Powers From: Tom Powers Subject: Billie Branch on Tour Harp great Billie Branch and Sons of the Blues are embarking on a eastern tour this week. I only have the first two dates but will list the entire tour later this week. Billie does not do many tours so don't pass up this opportunity to see one of the finest harp players in the world March 21, 1996 Whiting Auditorium Flint, Mi March 22 and 23 1996 Memphis Smoke Royal Oak, Mi Tom Powers Flint, Michigan ========================================================================= Date: Mon, 18 Mar 1996 14:09:00 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Gregg Allman.....wasn't he..... -Reply Comments: To: Roger Struve On 18 Mar 96, Roger Struve had this to say... > Actually, PW, i was being serious with this post.....here is my logical > precept complete with premises and conclusion: > > 1. Blues is the language of the heart, 2. A low life character has > compromised his "heart". Conclusion: Blues from a low life character > might be undesirable. Quite a bit of Blues has come from low life characters. Much of it "classic". A song about going out to find your woman and shoot her isn't exactly from the moral high ground. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 18 Mar 1996 13:26:04 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re: Was Samuel Barber a Bluesman? Comments: To: Don Cicchetti The following is an attached Text item from cc:Mail. It contains information that had to be encoded to ensure successful transmission through various mail systems. To decode the file use the UUDECODE program. --------------------------------- Cut Here --------------------------------- begin 644 TextItem M5&AI6]U(`T*:VYO=R!W:&%T($D@=&AI;FL@87)O=6YD M($9R:61A>2X-"@T*+4II;0T*7U]?7U]?7U]?7U]?7U]?7U]?7U]?7U]?7U]? M7U]?7U]?7U]?7U]?7U]?7U]?7U]?7U]?7U]?7U]?7U]?7U]?7U]?7U]?7U]? M7U]?7U]?7PT*4W5B:F5C=#H@5V%S(%-A;75E;"!"87)B97(@82!";'5E2$-"@T*22!H96%R9"!T:&4@;6]S="!A;6%Z M:6YG(')E8V]R9&EN9R!O;B!T:&4@2!D:61N M)W0@:&%V92!I="!O9B!C;W5R6]U+"!)('=A M&5D+"!)(&QI=&5R86QL>2`J8V]U;&1N)W0@;6]V92H@=VAI M;&4@:70@=V%S#0IO;BX@(%=H972!T;R!R96%C:"!A(&1E97!E6EN9R!T;R!S87D@=&AE('1H:6YG2X@("!)(')A M2!A<'!R;V%C:"!T:&5I<@T*;75S:6-A;"!M87-T97)Y+"!B=70@22!T M:&EN:R!T:&5I6]U)W)E(&EN=&5R M97-T960@22!W:6QL('!O6]U(&-A;B!F M:6YD(&ET+"!O;F-E($D-"F9I;F0@:70@;7ES96QF+@T*#0I$0PT*#0H-"E]? M7U]?7U]?7U]?7U]?7U]?7U]?7U]?7U]?7U]?7U]?7U]?7U]?7U]?7U]?7U]? M7U]?7U\-"D1O;B!#:6-C:&5T=&D-"DQA(%-I97)R82!5;FEV97)S:71Y($QI M8G)AGIY($=I;&QE From: Joe Lempkowski Subject: Some new stuff... I went CD shopping this weekend and picked up some new / used stuff. I haven't had a chance to listen to all of it yet. Beyond Another Wall - The George Gruntz Concert Jazz Band This was recorded in China. This tour included Billy Branch and Carl Weathersby on several cuts. The first time I listened to this I was shocked. I've listened to it several times and it grows on me more and more. It wasn't easy to find, but it is pretty cool. Perhaps this is one direction the blues is moving. Johnny B. Moore - 911 Blues This disc is awesome. There are several originals and a few covers. Johnny B is a great bluesman. Hoperfully, this recordings will get him some of the recognition he deserves. Although, I haven't seen him perform live, Johnny B doesn't fit the typical "North Side Chicago" stereotype. Sugar Blue - Blue Blazes I picked this up real cheap. I was expecting much considering the bad reviews this recording received when it first came out. I like it. He is an incredible harmonica player and I like this disc. I've listened to it three of four times since Saturday evening. Willie "Big Eyes" Smith - Bag Full Of Blues This album consists of 50s-style Chicago blues. Both Kim Wilson and Ron Moss blow in the Little Walter tradition. This is a very good album. Willie Smith's singing has greatly improved since the Legendary Blues Band days. Little Sonny - New King Of The Blues I haven't listened to this, but I have really high hopes for this CD. According to the liner notes, Little Sonny is "The Man" who revolutionized harmonica playing by blowing and sucking on the instrument. I know this will certainly change my style of playing the harmonica. Junior Wells - Messin' With The Kid (1957 - 1963) Had this stuff on vinyl. Needed it on CD. The vinyl was pretty well worn. These cuts are classic. Magic Slim - Live At The Zoo Bar (Volume 1) Eddie C. Campbell - King Of The Jungle Noble "Thin Man" Watts - Return Of The Thin Man Haven't heard the above CDs yet. ========================================================================= Date: Mon, 18 Mar 1996 19:41:15 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Was Samuel Barber a Bluesman? In-Reply-To: <199603181807.NAA14400@osceola.gate.net> The Adagio you are referring to was the "theme music" for the movie "Platoon" phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [18/3/96 14:37 PM] "They call it stormy monday..." ========================================================================= Date: Mon, 18 Mar 1996 11:47:43 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Was Samuel Barber a Bluesman? previously, >> When you hear "Appalacian Spring" do you REALLY want to see an *Oldsmbile* >> in your mind??? PW said: >I think you have it backwards. The directors of these films and >commercials are not trying to make the viewer associate the music >with the scene. They are hoping the effect of the music will rub off >on your perception of the scene. They don't want you to think of >Oldsmobiles when you hear Copland. They want you to associate the >postive feelings you get from the Copland music with the Oldsmobile. > >An important distinction. Well who knows what they were thinking, but for me it cheapens the piece. I *will* remember the dying soldier or the Oldsmobile the next time I hear those pieces if I watch their stuff, and I hate being manipulated like that. Maybe our brains work differently.... At any rate, the point was that this great music is an influence in my playing, even in my blues playing. Do you guys/gals find it to be so for you? DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu I looked over Jordan, and what did I see An Eldorado comin' after me comin' for to carry me home.. -- Dizzy Gillespie ____________________________________________________ ========================================================================= Date: Mon, 18 Mar 1996 13:30:00 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: Gregg Allman.....wasn't he..... -Reply In-Reply-To: On Mon, 18 Mar 1996, Roger Struve wrote: > Actually, PW, i was being serious with this post.....here is my logical > precept complete with premises and conclusion: > > 1. Blues is the language of the heart, 2. A low life character has > compromised his "heart". Conclusion: Blues from a low life character > might be undesirable. Then explain Skip James. Hardly a gut you'd want to hang out with, but when you hear his Paramount recordings, ... T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "The obvious irony is that no other country would grant [Mahmoud] Abdul-Rauf so much freedom as this oppressive one." - Tony Kornheiser, Washington Post page D9, 3/14/96 ========================================================================= Date: Mon, 18 Mar 1996 13:50:33 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Was Samuel Barber a Bluesman? In-Reply-To: Message of Mon, 18 Mar 1996 11:47:43 -0800 from On Mon, 18 Mar 1996 11:47:43 -0800 Don Cicchetti said: > >I *will* remember the dying soldier or the Oldsmobile the next time I hear >those pieces if I watch their stuff, and I hate being manipulated like >that. Carly Simon has said on numerous occasions that the ketchup commercial featuring her tune "Anticipation" made everyone think of ketchup when they heard the song after that. I think she regretted it being used in the commercial. >At any rate, the point was that this great music is an influence in my >playing, even in my blues playing. Do you guys/gals find it to be so for >you? In my case any music that has feeling (ie: from the heart and not the pocket) is an influence on me. We talked about theory the other day and whether or not lots of theory knowledge takes away from the feeling. When we went to see Chet Atkins with the symphony playing before him, I gotta tell you I was BLOWN away by the symphony. It was so powerful and to think the music was ALL created without use of electronics....etc. It was just live right in front of you, it was almost more than I could handle. I was on the verge of tears (seriously). I don't know if recorded orchestra music would move me like that on a consistent basis, but that night it was very, very powerful. They are, I assume highly schooled in theory, so it was proven to me that you can be schooled and move someone as stubborn as myself. Chet entertained me, but the symphony MOVED me. INCREDIBLE music (IMHO) LW >____________________________________________________ >Don Cicchetti >La Sierra University Library Media Services >Audio/Video/Computer/Satellite >Studio Production, Event Services, Academic support >dcicchet@lasierra.edu > > >I looked over Jordan, and what did I see >An Eldorado comin' after me >comin' for to carry me home.. > >-- Dizzy Gillespie >____________________________________________________ ========================================================================= Date: Mon, 18 Mar 1996 14:57:58 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Billie Branch on Tour Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *Harp great Billie Branch and Sons of the Blues are embarking on a eastern *tour this week. I only have the first two dates but will list the entire *tour later this week. He'll be at Tornado Alley March 28. I don't mean to nitpick, but I'm pretty sure he spells his name "Billy." He will also be participating in the DC Blues Society's "East of the River Blues" program on March 28, at 1 pm at Birney Elementary School. For more information about the East of the River Blues call the DC Blues Hotline at (202) 828-3028 or read about it on the DC Blues Home Page at: http://intelus.com:80/DCBlues/eor.html -Steve Levine ========================================================================= Date: Mon, 18 Mar 1996 12:42:46 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Muddys Cabin (Reuters clip) -Reply Comments: To: emdrprac@DIRECT.CA Interesting article on Muddy's Cabin. IT raises a question in my mind that even puzzled the Greenwood Festival Committee when i attended the 1st Annual Mississippi Crossroads Blues Festival a few years ago. It seems to me that the crossroads mentioned in the article was the "same" crossroads that was being sold on T shirts....but what confused everybody was that the crossroads of Highways 61 and 49 was an intersection in Clarksdale, if i recall correctly from memory! So.....the obvious question is: Did Clarksdale originate (the intersection looked like maybe it was THE major intersection of the town (at least at 2am Sunday morning after a blues festival and no place to roost it looked major) around the legendary Crossroads or is there another crossroads "explanation" for all this confusion? I think they mentioned in Greenwood that the movie "Crossroads" used a different crossroads and according to the "locals" was quite fixed up for the movie! regards, delta doc roger ========================================================================= Date: Mon, 18 Mar 1996 14:04:09 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Gregg Allman.....wasn't he..... -Reply In-Reply-To: Message of Mon, 18 Mar 1996 13:30:00 -0600 from On Mon, 18 Mar 1996 13:30:00 -0600 T-Bone said: >> >> 1. Blues is the language of the heart, 2. A low life character has >> compromised his "heart". Conclusion: Blues from a low life character >> might be undesirable. > >Then explain Skip James. Hardly a gut you'd want to hang out with, but >when you hear his Paramount recordings, ... Bukka White, Son House, Johnny Shines, Leadbelly....etc the list goes on served time in prison. Charley Patton was expelled from Dockery's for beating the women. Tommy Johnson & many others abused "canned heat/Sterno" and countless other bluesmen/women abused booze and drugs. I think sometimes doing the "wrong" thing, living through it, repenting from it builds character. (not that all of the above repented from it or lived through it) I would like to see the list of early blues men/women who did no wrong... (I know there's plenty) If you judge people on their past mistakes, you never give them a chance for "redemption" (IMHO) So let the one(s) without sin cast the first stone..... LW 'unfortunately I can't be first, I can't even get in the line' ========================================================================= Date: Mon, 18 Mar 1996 14:12:59 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: A Tribute To ERic Comments: To: Curtis Hewston In-Reply-To: <199603181823.NAA02379@magicnet.magicnet.net> On Mon, 18 Mar 1996, Curtis Hewston wrote: > On Mon, 18 Mar 1996 07:34:02 -0800, James Carmin wrote: > >------------------------------------------------------------------------------- > >artist notes/full name yyyy-mmdd, city/county state age > >------------------------------------------------------------------------------- > >LEBLANC, ERIC S. (BLUES-L MEMBER) b. 1946-0319, ST. JOHNS, NB > >------------------------------------------------------------------------------- > A very happy 50th to you! And my great thanks for doin' what you do! I'll second that one. In fact I'll 50th that one. Barry WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 18 Mar 1996 14:44:10 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Muddys Cabin (Reuters clip) At 11:03 PM 3/17/96 -0800, you forwarded from a Reuters article: > >Tigrett plans to take the cabin to four or five events annually for >the next five years and hopes to bring it to Europe as well >because that's where most blues music is bought. >Reuters/Variety > > I don't believe it - the part about "that's where most blues music is bought." David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Mon, 18 Mar 1996 14:16:47 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re[2]: Gregg Allman.....wasn't he..... -Reply Comments: To: "P.W. Fenton" The following is an attached Text item from cc:Mail. It contains information that had to be encoded to ensure successful transmission through various mail systems. To decode the file use the UUDECODE program. --------------------------------- Cut Here --------------------------------- begin 644 TextItem M4F]B97)T($IO:&YS;VX@:&EZ>F]W;G-E;&8@=V%S(&YO="!S;R!N:6-E(&$@ M<&5R2XN+@T*#0H^($%C M='5A;&QY+"!05RP@:2!W87,@8F5I;F<@6]U&%C=&QY M(&9R;VT@=&AE(&UO From: David Silberberg Subject: Re: eRIC's BLUES DATES: Mar. 19 At 07:34 AM 3/18/96 -0800, James Carmin wrote: >Here's a few dates (b. born, d. death) for tomorrow. If you have any >corrections/additions, let me know at leblanc@dao.nrc.ca. > >------------------------------------------------------------------------------- >artist notes/full name yyyy-mmdd, city/county state age >------------------------------------------------------------------------------- >LEBLANC, ERIC S. (BLUES-L MEMBER) b. 1946-0319, ST. JOHNS, NB No question - happy fiftieth - to a major treasure of blues-l.... Celebrate the beginning of your second half-century in style.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Mon, 18 Mar 1996 14:53:48 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re[2]: help: country blues band name Comments: To: Skipjames@AOL.COM The following is an attached Text item from cc:Mail. It contains information that had to be encoded to ensure successful transmission through various mail systems. To decode the file use the UUDECODE program. --------------------------------- Cut Here --------------------------------- begin 644 TextItem M2F]O:R!J97)K2!B86YD('1O(&-O;F-E;G1R871E(&]N M(&1O=VYH;VUE(&-O=6YT2!S=6=G97-T(&$@ M9V]O9"`H86YD#0H^87!P > Actually, PW, i was being serious with this post.....here is my logical > precept complete with premises and conclusion: > > 1. Blues is the language of the heart, 2. A low life character has > compromised his "heart". Conclusion: Blues from a low life character > might be undesirable. > I dunno, Doc...I guess it depends on how one defines "low life character"... The greatest blues harp player ever, Little Walter, could possibly have been considered a "low life" character (alcohol-induced, of course). Or how about Leadbelly? -Peter ========================================================================= Date: Mon, 18 Mar 1996 13:35:34 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Barber recording info. For those of you who would like to get the recording I was raving about, here's the info. It is called: "Evocation of the Spirit" by The Robert Shaw Festival Singers It includes works by: Gorecki Part Martin Barber Schoenberg it is Telarc CD-80406 Really nice stuff. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu I looked over Jordan, and what did I see An Eldorado comin' after me comin' for to carry me home.. -- Dizzy Gillespie ____________________________________________________ ========================================================================= Date: Mon, 18 Mar 1996 13:41:27 -0800 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Re: Input:Peavey Delta Blues Classic Comments: To: bengans In-Reply-To: O.K, I have played through one of those tweed Peavey's and they are good. I would say they are better than the Fender Blues Deluxe, Deville amps. The only thing is about both the Fender's and the Peavey's is the way those damn little amps are built. First of all you got a P.C. board that has all your sound going through it. No wires, your tone is passing through a little coper tracing. Well unfortunetely that is the norm , what should not be the norm is having the tubes and pots(nobs) connected to the board. Truthfully the only way to get beyond this, without spending the motherload, is to buy used. If you have to buy new,?, the peavey's are quite good. But I would recommend about any siverface 70's Fender, over any of those low end(under a grand) fenders. You can probably get the used ones for less, and they will last you longer. Now if you have bucks to spend you can go Matchless, Kendrick, Or even(kinda) Fender Custom Shop. It all come down to what sounds good. So enjoy, Peace, Isaac ========================================================================= Date: Mon, 18 Mar 1996 15:45:07 -0600 Reply-To: Bill Balcerzak From: Bill Balcerzak Subject: Re: Muddys Cabin (Reuters clip)) David Silberberg writes: >I don't believe it - the part about "that's where most blues music is bought." About the Reuters article: >>Tigrett plans to take the cabin to four or five events annually for >>the next five years and hopes to bring it to Europe as well >>because that's where most blues music is bought. Don't sound right to me either. Anybody have any information on this? Maybe sales records in Europe verse U.S.? ========================================================================= Date: Mon, 18 Mar 1996 15:52:32 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Gregg Allman.....wasn't he..... -Reply At 02:04 PM 3/18/96 CST, L W wrote: I think sometimes doing >the "wrong" thing, living through it, repenting from it builds character. >(not that all of the above repented from it or lived through it) > >I would like to see the list of early blues men/women who did no wrong... >(I know there's plenty) > > >If you judge people on their past mistakes, you never give them a chance for >"redemption" (IMHO) > OK - but - when is enough enough? Or do we just say that if they have some kind of talent - for blues, for basketball, for science, for business - they can "repent" and "build character" - if not, they can just suffer in hell? Sometimes, maybe, it IS up to us sinners to cast the stones - to maybe say the music is good, but the musician is a schmuck.... But, then again, there IS the music (or some other talent). My "feminist" influences say that I shouldn't support the music of Ike Turner. But how can I not listen to an important R & B figure (as well as a defining voice in the transition of R & B to R & R)? Ah, well, that's my dilemma, now, isn't it.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Mon, 18 Mar 1996 16:59:51 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Input:Peavey Delta Blues Classic Comments: To: Isaac Sprintis On 18 Mar 96, Isaac Sprintis had this to say... > O.K, I have played through one of those tweed Peavey's and they are > good. I would say they are better than the Fender Blues Deluxe, Deville > amps. The only thing is about both the Fender's and the Peavey's is the > way those damn little amps are built. First of all you got a P.C. board > that has all your sound going through it. No wires, your tone is > passing through a little coper tracing. Well unfortunetely that is the > norm , what should not be the norm is having the tubes and pots(nobs) > connected to the board. Issac, there is no difference in your "tone" running through a wire or a PC board tracing. People who prefer point to point wiring over PC boards do so because they believe point to point wiring is more reliable, (less subject to breakage), and easier to repair (and modify). It has no effect on the sound of the amplifier. Also, when you say "I have played through one of those tweed Peavey's and they are good.", are you talking about the "Delta Blues Classic" or one of the other tweed amps? (like the Classic 50) P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 18 Mar 1996 13:52:23 -0800 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Re: Re[2]: help: country blues band name Comments: To: James Bardsley In-Reply-To: <9602188271.AA827189628@mail-sh.lsumc.edu> What is this????? I cant undecode it, I don't have a undecoder? What is up with this? Why must it be encoded to ensure succesfull transmission? Peace, Isaac On Mon, 18 Mar 1996, James Bardsley wrote: > The following is an attached Text item from cc:Mail. It contains > information that had to be encoded to ensure successful transmission > through various mail systems. To decode the file use the UUDECODE > program. > --------------------------------- Cut Here --------------------------------- > begin 644 TextItem > M2F]O:R!J97)K M7U]?7U]?7U]?7U]?7U]?7U]?7U]?7U]?7U]?7U]?7U]?7U]?7U]?7U]?7U]? > M7U\-"E-U8FIE8W0Z(%)E.B!H96QP.B!C;W5N=')Y(&)L=65S(&)A;F0@;F%M > M90T*1G)O;3H@("`@4VMI<&IA;65S0$%/3"Y#3TT@870@24Y415).150M4T@- > M"D1A=&4Z("`@(#`S+S$X+SDV("`R.C0U(%!-#0H-"DEN(&$@;65S M871E9"`Y-BTP,RTQ-R`R,3HP,SHR,B!%4U0L(&IO M;G%U94!!0RY#3TT-"BAJ;W-E+F5R:6,N M"@T*/DDG;2`B2!B86YD('1O(&-O;F-E;G1R871E(&]N > M(&1O=VYH;VUE(&-O=6YT M<&AI2!S=6=G97-T(&$@ > M9V]O9"`H86YD#0H^87!P M22!W86YT(&]N92!W:71H('1H92!W;W)D(")J;V]K(B!I;B!I="`M+0T*/FIU > M M96QT82!3;&EM#0H-"D1E;'1A+4)E;G1O;FEA+4UE;7!H:7,M5&5X87,M4&EE > M9&UO;G0_/S\-"B)- M:V4@0FQU97,B#0I(;W<@86)O=70@=&AE(%5N;&EK96QY($-O;6)I;F%T:6]N > M/PT*#0HH86YD(")$96QT82!3;&EM(C\@07)E('EO=2!R96QA=&5D('1O(")$ > M96QT82!$;V,_(B!/ M96QA;F0@*'1H:6YK A;75M(&]U9VAT('1O(&AA=F4@8F5E;@T*=&AE > end > ========================================================================= Date: Mon, 18 Mar 1996 14:31:43 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Blues Low-Lifes: Was Gregg Allman Did anyone else notice how WELL ole Gregg played the dope dealer in the movie "Rush" whew.... DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu I looked over Jordan, and what did I see An Eldorado comin' after me comin' for to carry me home.. -- Dizzy Gillespie ____________________________________________________ ========================================================================= Date: Mon, 18 Mar 1996 10:40:15 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re: Warren Haynes/Tales of . . . Comments: To: Bob Fulkerth The following is an attached Text item from cc:Mail. It contains information that had to be encoded to ensure successful transmission through various mail systems. To decode the file use the UUDECODE program. --------------------------------- Cut Here --------------------------------- begin 644 TextItem M5')Y($-$(%=O2!C86X@9V5T(&%L M;6]S="!A;GET:&EN9RX-"@T*+4II;2P@8F%C:R!F6YE2!-861N97-S M('!R:6]R('1O#0I';W9E6]N92!H87,@=&AE M(")486QE From: T-Bone Subject: Re: Gregg Allman.....wasn't he..... -Reply In-Reply-To: <199603182152.PAA21062@flowbee.interaccess.com> On Mon, 18 Mar 1996, David Silberberg wrote: > At 02:04 PM 3/18/96 CST, L W wrote: > >I think sometimes doing > >the "wrong" thing, living through it, repenting from it builds character. > >(not that all of the above repented from it or lived through it) > > > >I would like to see the list of early blues men/women who did no wrong... > >(I know there's plenty) > > > > > >If you judge people on their past mistakes, you never give them a chance for > >"redemption" (IMHO) > > > > > OK - but - when is enough enough? Or do we just say that if they have some > kind of talent - for blues, for basketball, for science, for business - they > can "repent" and "build character" - if not, they can just suffer in hell? > > Sometimes, maybe, it IS up to us sinners to cast the stones - to maybe say > the music is good, but the musician is a schmuck.... > > But, then again, there IS the music (or some other talent). My "feminist" > influences say that I shouldn't support the music of Ike Turner. But how > can I not listen to an important R & B figure (as well as a defining voice > in the transition of R & B to R & R)? > > Ah, well, that's my dilemma, now, isn't it.... Here's a wacky idea you don't hear too much anymore: how about leaving forgiveness up to the individual who's doing the forgiving? Isn't that one of the ideas behind the Constitution, freedom of choice? I know, I know, preachers, lawyers, and politicians don't like the idea of personal decisions and responsibility. (Which, of course, is precisely my point.) T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "The obvious irony is that no other country would grant [Mahmoud] Abdul-Rauf so much freedom as this oppressive one." - Tony Kornheiser, Washington Post page D9, 3/14/96 ========================================================================= Date: Mon, 18 Mar 1996 22:40:39 GMT Reply-To: mcgirr@Blues.Surf.Tach.Net From: Matt Organization: Tach Net Patron Subject: Re: help: country blues band name Comments: To: bit-listserv-blues-l@uunet.uu.net "jose.eric.s.maglanque" wrote: >I'm "reforming" my band to concentrate on downhome country blues >(Delta-Bentonia-Memphis-Texas-Piedmont). Can anybody suggest a good (and >appropriate) band name? I think I want one with the word "jook" in it -- just >sounds good... Thanks y'all... >- Delta Slim Delta Slim and the Bayou Jooks ========================================================================= Date: Mon, 18 Mar 1996 14:47:00 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Input:Peavey Delta Blues Classic Isaac said: >O.K, I have played through one of those tweed Peavey's and they are >good. I would say they are better than the Fender Blues Deluxe, Deville >amps. The only thing is about both the Fender's and the Peavey's is the >way those damn little amps are built. First of all you got a P.C. board >that has all your sound going through it. No wires, your tone is >passing through a little coper tracing. Well unfortunetely that is the >norm , what should not be the norm is having the tubes and pots(nobs) >connected to the board. Truthfully the only way to get beyond this, >without spending the motherload, is to buy used. > If you have to buy new,?, the peavey's are quite good. But I >would recommend about any siverface 70's Fender, over any of those low >end(under a grand) fenders. You can probably get the used ones for less, >and they will last you longer. Now if you have bucks to spend you can go >Matchless, Kendrick, Or even(kinda) Fender Custom Shop. >It all come down to what sounds good. So enjoy, All true. One more thing, The Silverface's are often trashed and never sounded good to begin with, but they are a great, cheap basis for a hotrod amp. Tim Pinnell of San Diego CA's "Top Gear" pro shop, did a hotrod amp for me based on a Silverface Princeton Reverb I picked up for cheap. He basically built a Fender "Super" output stage (40 watts), and kind of a combination AC-30 and tweed bassman front end and retained the great tube driven reverb, and added a nice 12" speaker. What a nice amp! As loud as you should ever need, and the tone is almost as nice as my Matchless DC-30 for under 850.00 including the original amp. Just wonderful tone. No Peavey or stock Fender (except for the custom shop amps) can approach it IMO. As far as the Peavey goes, you must understand how hard it is for toneheads to trust ole' Hartley when he sells them a "Delta Blues Classic" out of one side of his mouth and a "New REVOLUTIONARY TUBE SIMULATOR" solid state amp out of the other.... yikes... Is Peavey about tone, or about marketing? you be the judge... And I am one that can conceive of a solid state amp with great tone. haven't SEEN one yet, but I can conceive of it. I tell recording clients to buy a great limited production amp if they can afford it, if not, a hotrod based on an old Silverface is tough to beat. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu I looked over Jordan, and what did I see An Eldorado comin' after me comin' for to carry me home.. -- Dizzy Gillespie ____________________________________________________ ========================================================================= Date: Mon, 18 Mar 1996 22:45:14 GMT Reply-To: mcgirr@Blues.Surf.Tach.Net From: Matt Organization: Tach Net Patron Subject: The Kingsnakes Comments: To: bit-listserv-blues-l@uunet.uu.net Used to follow a band out of NY called "The Kingsnakes" Lead singer and harp player was some of the best stuff I've ever encountered. Guy's name was Pete McMahon. I understand the Kingsnakes broke up in the early 90s and I'd like to see if Pete has been recording any since then. Any leads? Regards, Matt ========================================================================= Date: Mon, 18 Mar 1996 18:09:54 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Big Jack Johnson in Chicago Comments: To: Niles@news-e2a.gnn.com >Big Jack Johnson played two magnificent sets at Buddy Guy's >Legends Saturday night. Darn! Sounds like I missed a good one! Thanks for the posting the description! Wasn't it Johnson playing with the New Africa String Band at Chicago Blues Festival last year? I really enjoyed them (despite the rain). I thought I heard they had a CD scheduled for release last fall, but I didn't see or hear about anything. >- Sweet Home Chicago (Bummer. I actually thought I might get >through an entire show without hearing this song. Guess not.) Yeah! I feel the same way! I saw Jimmy Rogers last November, and he began talking about how he really loved being home in Chicago, especially after being away for a while, and I thought--in fact, I was chanting under my breath--"Chicago Bound," "Chicago Bound".....and doggone it if he didn't do "Sweet Home" instead! Oh, well, I love him singing anything! I'm going to see him for the third time April 13. Karen ========================================================================= Date: Mon, 18 Mar 1996 18:26:44 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Gregg Allman.....wasn't he..... -Reply > On Mon, 18 Mar 1996, Roger Struve wrote: > > > Actually, PW, i was being serious with this post.....here is my logical > > precept complete with premises and conclusion: > > > > 1. Blues is the language of the heart, 2. A low life character has > > compromised his "heart". Conclusion: Blues from a low life character > > might be undesirable. In factm however, the places where blues has grown and prospered have been the "low life" parts of town, and especially in towns like Memphis, Kansas City and Chicago when mob-run businesses and municipal corruption were the norm. I think it could be seriously argued that crime, criminal behaviour, and personal irresponsibility have been fundamental to the blues -- the singer who goes on the road may be a romantic figure in retrospect, but to his family he was probably a no-good lazy no-account who abandoned his family for the devil's music. My reading of blues history finds many admirable individuals --- but also quite a few I wouldn't care to hang around with. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Mon, 18 Mar 1996 18:26:44 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: List owner -- a retraction I wrote a message suggesting that we consider getting a new listowner. This was based on my understanding that Alan Rollins no longer wanted to do the job. He has informed me that this is not true, that he is doing his best in face of an enormous workload. I therefore withdraw my suggestion, with apologies to Alan. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Tue, 19 Mar 1996 10:24:57 -1000 Reply-To: Andrew Gregg From: Andrew Gregg Subject: Re: Input:Peavey Delta Blues Classic Comments: To: "P.W. Fenton" Comments: cc: Jim Witteveen >Issac, there is no difference in your "tone" running through a wire >or a PC board tracing. Thats a debatable point, P.W. If you talk to Ken Fischer of Trainwreck he believes that there is a tone difference in solid core wire as apposed to braided core (lifted from a guitar player review of one of his amps), let alone PC board to PTP. >and easier to repair Hallelujiah (sp??) to that. My 1964 vibroverb looks like it would be a piece of cake to fix. ********************************************************************** * Andrew Gregg * * * Dept of Primary * I see angels on Ariels * * Industry * in leather & chrome * * ooOO00OOoo * Swooping down from heaven * * Email : * to carry me home * * mpagregg@aries.dpi.tas.gov.au * * * * - Richard Thompson * ********************************************************************** ========================================================================= Date: Mon, 18 Mar 1996 18:53:41 -0500 Reply-To: Strict Low From: Strict Low Organization: America Online, Inc. (1-800-827-6364) Subject: Re: How Blues-L works now & PW's suggestions Comments: To: bit-listserv-blues-l@uunet.uu.net >>PW also more-or-less pleads that the newsgroup echo of blues-L be returned to read only status. His most compelling reason is the way newsgroup threads linger on long after the 'real' list members have moved on to other issues (the "die-evil-thread-die" factor). I am more hesitant here because I know there are people who prefer the newsgroup format, but I think PW is right, and I think that the never-die threads both interfere with the conversation round here. So I'm with PW on that one, too.<< Count me as VERY opposed to limiting posts from the newsgroup format. I MUCH prefer newsgroups, as it isn't necessary fro me to download the 80% of conversations I'm not interested in. With the newsgroup format I can easily select the topics I am interested in and only then tie up my connection transferring data. Although some might consider it a plus, limiting newsgroup access would vecessarily limit or eliminate my interest in the group. I just don't have time to sift through 30-80 extra e-mails per day. BBB - Bean & Bean Cotton Company / Bean Farms http://www.cris.com/~Bbbean ========================================================================= Date: Mon, 18 Mar 1996 15:58:27 -0800 Reply-To: Paul Berggren From: Paul Berggren Organization: CRL Network Services (415) 705-6060 [Login: guest] Subject: SRV unpugged show Comments: To: bit-listserv-blues-l@uunet.uu.net Does anyone have the SRV Unplugged show from MTV? Please Please Please email me if you do. I'm dying for a copy of this and I don't mind paying a little if I have to. Thank you, Paul Berggren Email: bpaul@crl.com ========================================================================= Date: Mon, 18 Mar 1996 19:21:08 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Input:Peavey Delta Blues Classic Comments: To: Andrew Gregg On 19 Mar 96, Andrew Gregg had this to say: > >Issac, there is no difference in your "tone" running through a wire > >or a PC board tracing. > > Thats a debatable point, P.W. If you talk to Ken Fischer of Trainwreck he > believes that there is a tone difference in solid core wire as apposed to > braided core (lifted from a guitar player review of one of his amps), let > alone PC board to PTP. If you talk to someone who sells amplifiers he's liable to tell you anything. Talk to someone who is not going to profit from what he can get people to believe. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Mon, 18 Mar 1996 19:58:29 EST Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: Big Jack Johnson in Chicago Got to second Niles' comments about seeing Jack live. I saw him at the Hungry Tiger here in CT where the stage is so small that Jack's mike stand had to be placed on the floor in front of the stage. No matter, Jack and the band (also Roger Montgomery Band) gave one of the best shows I've ever seen. If you live in Southern New England he'll be playing at Husky Blues in Storrs on Saturday March 23rd and at Black Eyed Sally's in Hartford on Friday April 5th. GO!!!! Dave Carpenter Blues Music Director WHUS-FM Storrs, CT http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Mon, 18 Mar 1996 17:28:41 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Input:Peavey Delta Blues Classic Previously: >On 19 Mar 96, Andrew Gregg had this to say: > >> >Issac, there is no difference in your "tone" running through a wire >> >or a PC board tracing. >> >> Thats a debatable point, P.W. If you talk to Ken Fischer of Trainwreck he >> believes that there is a tone difference in solid core wire as apposed to >> braided core (lifted from a guitar player review of one of his amps), let >> alone PC board to PTP. > >If you talk to someone who sells amplifiers he's liable to tell you >anything. Talk to someone who is not going to profit from what he can >get people to believe. This argument (printed circuit vs. point to point) goes round and round forever. Let me make the following points: 1. The mic preamps I use to record large orchestras are made with PC boards, not point-to-point wiring. They are so clean and so clear sounding that you can pick out the triangle player in the back row. With my B&K mics (ruler flat) the tonal response is absolutely natural, and the distortion is not worth talking about. Don't tell ME that PC boards hurt sound quality. It's BS... AND, No guitar amp, (for that matter any tube circuit) has that kind of resolution, tubes simply have too much distortion. So how will you HEAR these "pc-board artifacts" in a tube circuit if they are not audible in a 3000.00 mic pre?? 2. Nonetheless, many amp gurus say that pc boards hurt amp tone. I submit that this may be true and the reasons could be that tubes are very microphonic, (yes even good tubes) and pc boards *resonate* differently than components securely attached to a chassis. Also pc boards MUST be designed right or you can get inductive and capacitive effects on the board. My experience is that guitar amp companies aren't very good at designing solid-state circuitry. A perfect example is the Fender "Blues Deluxe". Nice sounding amp for the money, but the tone goes to hell when you turn the reverb on.... Why? Because the solid state driver and return circuitry for the reverb pan are really poorly designed... Oh, and because they are on a PC board, they are really hard to mod... I'll bet if you take the PC boards designed for guitar amps to a real pro-audio R&D firm and have them looked over, you will find very poorly designed pc boards. So in some sense you CAN say that pc board amps don't sound as good. The amp guys put all their BEST work into point to point stuff. But there is nothing in the basic physics of it to make it that way. There may be some slight effects from the stranded wire used in PTP versus solid traces at the impedances seen in tube circuits, but I don't believe it is of a large magnitude. Could a pc board amp be made that would equal a PTP? I think so. Me? When I first played my new Matchless, I was so knocked out by it that I couldn't have cared less if they had pc boards, point to point, or little brown hamsters in treadmills going round and round.... If Mark says he needs point to point to get *that sound* it's bloody fine with me! DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu I looked over Jordan, and what did I see An Eldorado comin' after me comin' for to carry me home.. -- Dizzy Gillespie ____________________________________________________ ========================================================================= Date: Mon, 18 Mar 1996 21:05:15 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Sherman Robertson/Syracuse Comments: To: bit-listserv-blues-l@uunet.uu.net Going to the Sherman Robertson show at the Dinosaur in Syracuse on 3/19. I talked to the owner of the club today to get the time and he asked if I had seen him before beofre I could answer he proceeded to tell me Sherman's last show was one of the best shows he had. I'm hoping he'll be playing some of his new cd. If anyone else wants to get together before the show e-m privately. We are leaving Rochester around 5 and plan to eat there...best BBQ in town. Catbauer@vivanet.com ========================================================================= Date: Mon, 18 Mar 1996 01:50:42 GMT Reply-To: Jack Oudiz From: Jack Oudiz Subject: Re: Fat Possum Miss. Juke Joint Caravan Comments: To: bit-listserv-blues-l@uunet.uu.net >I was curious if any of you out there had scene The Fat Possum >Mississippi Juke Joint Caravan with Lil' Dave Thompson, Paul "Wine" >Jones and R.L Burnside. I am interested in your opinions and reflections >on the show that you saw. I saw them at last year's Chicago Blues Fest and I loved them but then I am extremely biased in that I'm nuts about Burnside and Junior Kimbrough. Dave Thompson is one of the brightest "new" talents around and he gave a rousing performance as one would expect from listening to his debut CD. Jack O ========================================================================= Date: Mon, 18 Mar 1996 21:12:44 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Keb' Mo'/Rochester Comments: To: bit-listserv-blues-l@uunet.uu.net Keb' Mo' will be doing an early show March 31 at the Creek in Rochester. Should be a great night, I heard he may try out a couple of new ones. I also found out there's some people coming in from Toronto for the show, if it's anyone on the list e-m. Catbauer@vivanet.com ========================================================================= Date: Tue, 19 Mar 1996 02:53:50 GMT Reply-To: bluesbabe From: bluesbabe Organization: SoVerNet, Inc. Subject: Re: How Blues-L works now Comments: To: bit-listserv-blues-l@uunet.uu.net Barry Silverberg wrote: > Hi all, > Just got back from 5 days of the real blues. Family problems that > would certainly be material for a blues lament. But that's not my > reason for this post. Who had the audacity to start a thread about > keeping out individuals who choose to join us via newsgroups. I am > one such person who came here via that model and I don't think I'm > that bad a neighbor (please correct me if I am wrong). When I 1st > joined in blues-l it was to learn, converse and share and I've got- > ten so much here I can never pay it back. DAMN IT I wouldn't deny > this to anyone. Sounded very cliquish and pissy-a**ed to me so I'm > glad I don't know who started this garbage. > We happen to have a great list and it is to share not to hide away > so folks can't get at it. Also newsgroup access is useful in that > many thread the articles for you so continuity is there and many I > know of discard posts after a given period. Mine only keeps posts > for 5 days and then it's gone so unless it's been followed up on I > doubt newsgroups are the reason for the trash that was mentioned. > I also saw reference to members. Hey, someone joining via a news- > group is member too. If they take the time to get aboard, read the > posts and respond lets give them too a chance at the goodies. Hav- > ing e-mail access is not a more-better-gooder-badge-of-membership. > Sorry for the harshness - but I see red whenever I read about kee- > ping the CLUB tight and not broadening it to others. > Barry for two days I have been preparing a letter regarding this article .. you just said it ALL for me ! thank you ! B.B. ========================================================================= Date: Tue, 19 Mar 1996 03:23:35 GMT Reply-To: bluesbabe From: bluesbabe Organization: SoVerNet, Inc. Subject: The Levee Band in New Orleans Comments: To: bit-listserv-blues-l@uunet.uu.net I was recently fortunate enough to encounter the LeVee Band /Janet Lynn. If you are in New Orleans I highly suggest you check out an enjoyable evening with this band. I understand they also play in neighboring states... Mississippi , Fla. ,Alabama etc, They ARE a DELIGHT . ========================================================================= Date: Mon, 18 Mar 1996 20:23:20 -0800 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Re: Input:Peavey Delta Blues Classic Comments: To: "P.W. Fenton" In-Reply-To: <199603182158.QAA52858@osceola.gate.net> I know that there is not a difference in the actuall tone. But if you have any problems with a Capacitor or a Resistor, Or if you want to change something in the amp it is virtually impossible. Also I own a Fender "The Twin" Which has a The P.C. Board connected to the Pots. And Those Damn little pots have broken on me several times, couse of the way they are made I would have to pay over 200$ to fix it. That sucks, its only pot. Along with that if your P.C Board amp happens to get any dammage on that little board. You can kiss your little amp good bye. All it takes it a little crack.---- And to answer your question, i do not rememer the model, I tried out two one with 4 tens (Bassman 59' style) the other with one twelve. I believe they were both 50 watt amps. Peace, Isaac On Mon, 18 Mar 1996, P.W. Fenton wrote: > On 18 Mar 96, Isaac Sprintis had this to say... > > > O.K, I have played through one of those tweed Peavey's and they are > > good. I would say they are better than the Fender Blues Deluxe, Deville > > amps. The only thing is about both the Fender's and the Peavey's is the > > way those damn little amps are built. First of all you got a P.C. board > > that has all your sound going through it. No wires, your tone is > > passing through a little coper tracing. Well unfortunetely that is the > > norm , what should not be the norm is having the tubes and pots(nobs) > > connected to the board. > > Issac, there is no difference in your "tone" running through a wire > or a PC board tracing. People who prefer point to point wiring over > PC boards do so because they believe point to point wiring is more > reliable, (less subject to breakage), and easier to repair (and > modify). It has no effect on the sound of the amplifier. > > Also, when you say "I have played through one of those tweed > Peavey's and they are good.", are you talking about the "Delta Blues > Classic" or one of the other tweed amps? (like the Classic 50) > > > P.W. Fenton > Tampa, Florida > http://www.gate.net/~pwfenton > ========================================================================= Date: Mon, 18 Mar 1996 20:28:00 +0000 Reply-To: ksailors@hooked.net Comments: Authenticated sender is From: "Kenneth M. Sailors" Subject: Sir Doug Hey! I'm an old fan of Dough Sahm's but I lost touch. I see he has been puttin' out some Texas Blues recordings. Any opinions on these? Thanks, ken ========================================================================= Date: Tue, 19 Mar 1996 04:40:38 GMT Reply-To: ghost From: ghost Organization: Harvard University Subject: Re: Dark Is The Night, Cold Is The Ground Comments: To: bit-listserv-blues-l@moderators.uu.net In article <199603181643.AA18220@dragon.acadiau.ca> Rob Hutten writes: >If I recall correctly, the liner notes to the columbia set mention >that this was Johnson's reworking of a hymn from the Southern >Baptist or Sanctified tradition. I've been searching for the >original hymn since the columbia set came out, but ghost's post >was the first real reference to it I've ever seen. > >Yes, Mr. Ghost, please post whatever information you have about this >version of this song... > >-Rob Regarding the words to "Dark Was The Night, Cold Was The Ground": That will be easy; as soon as there is another batch of Lloyd's hymnals made available to buy from I'll buy one, & I'll probably see someone who has one already whom I'm comfortable to ask about it sometime this spring or summer. The words are in it. I'll post them when I get them. (Mary Katherine Aldin, don't you have a copy?) Regarding the tunes: The Blind Willie Johnson version, from the Black tradition, you already know. Are there any other renditions from the Black tradition on record? The White Primitive Baptist version was what the person at the party was trying to recollect. It wasn't, they said, something they had grown up singing, though most of the other material that evening was; it was something they had on a personal tape. They were trying to see if the people they were singing with had heard their version, of which they could only sing the 1st line to their satisfaction, but the other people had not. At some point a lot of the proceedings of that weekend will be made available to the Sacred Harp public, as the whole point of the weekend was to document via recording a form of Sacred Harp singing by a group of people who split off from all the other singers about the time of the Civil War; the people gave their northern hosts permission to record for this purpose. The singing from Lloyd's Hymnal was not advertised as part of this weekend meeting & was a complete surprise to me. That the tunes, & style of singing, so thoroughly resemble British folk tunes & the singing styles of British singing families the Copper Family & the Watersons, & of Irish sean-nos singers, completely blew me away. The person looking for a matching version of "Dark Was The Night" was not from this split-off Sacred Harp group, but obviously came from a long line of people who had continually sung tunes from Lloyd's Hymnal, same as the split-off Harpers had. I don't know if that one line of "Dark Was The Night" will be on the official tapes of the weekend. I could, I guess, annoy the party in question next time I see them by trying to get them to sing the whole song, presuming they'd gone back & learned it, into my little tape recorder, but I doubt I'd get very far this way. We can ask LW, as the resident deep-south male representative on this list, what he thinks of such an approach. (I know you're one of a few, not the only, LW, but somehow I think your answer would be most representative of the party in question.) I think I would get "polited" to death, & regarded very warily (as if I'm not already) from then on. We'll just have to wait for what we can get *voluntarily*. I've probably way overstepped the bounds of propriety by mentioning anything about this on the blues list, & I probably should have just e-mailed a few people privately or even asked the blues buyer in HMV, but I guess this was my chance to shout out "But "Dark Was The Night" is *Famous*!!!!", which I didn't do at the party because there were a few too many pedants at that weekend already, of which I'm probably one, & I didn't want to break the spell. That whole weekend was under a very strong spell. The religious participants probably wouldn't like that word. Their own terminology has to do with "The Presence of G-d is among us". While I'm on the same topic: One of the reasons, I think, that this wonderful singing from Lloyd's Hymnal was a secret from the traveling squad of northerners into Sacred Harp for so long was the attitude a lot of the Sacred Harpers, both north & south, have towards music: Material in the Sacred Harp is written down & highly arranged; its a hybrid between folk & classical music. It is not, traditionally, sung like classical music at all, but the distinct impression given by many of its northern fans is that they'd like it to be. That's the way *they* sing it. A lot of them are completely disrespectful of southern singing styles & tunings, considering any variance from what *they* consider "right" to be caused by ignorance; a few more regard them as quaint & of historical significance, but would never try to sing that way themselves. The southerners regard the written-down material in Sacred Harp as part of their proud historical legacy, even though they don't sing it, or write it when they write it themselves, in accordance with the rules of modern classical music, because "people respect written-down music". The material in Lloyd's is not sung to written-down tunes, & as such the singers of it thought, probably correctly for the most part, that the visiting northerners wouldn't have any respect for it at all. This is religious music, sung with great passion & intensity, but over even that sung with great respect. The tuning & voices used are may be as unfamiliar to some of you as blues tunings & styles were to some of your ancestors. When people who claim to be knowledgable turn up their nose at something beautiful, the price they pay is never getting to hear any more of it ever again. This is probably why this music was kept secret for so long. I've only been traveling to Sacred Harp singings, which *are* open to the public, unlike family or church traditions of singing from Lloyd's, for a year & even so have gotten deeply embedded in this southern singing tradition; I may lose my voice soon, but I don't think I'm ever going to stop traveling to these singings. There are a few people recording, with permission, selected singings so that the styles the songs are sung in will not die with the people singing them. Few of the children of the old-timers want to sing this music, & even fewer of *their* children do. I hate to see it wind up entirely in the hands of northern classical choristers out for a lark into what they consider exotic territory that they're rapidly rendering far less exotic, or, for that matter, well-meaning non-religious (or wrong-religion) northern folkies like me. I'd like to ask: Is anyone doing similar recording projects among the Black counterparts to these traditions? I don't mean only Black Sacred Harp; there has been probably more video documentation of Black Sacred Harp than of White until recently (Bill Moyers is fascinated with the Black Sacred Harp tradition, & has included the Wiregrass Singers in several documentaries), though the audio record is sadly lacking (the available CD on New World, called "The Colored Sacred Harp" after the book of material, written by Black singers, sung on it, was recorded after, to quote various people, "many of the best singers had already died", but its a good one anyway. Everyone agrees, however, that "The Colored Sacred Harp" never really caught on among Black singers, & their best singing was usually done from the White community's books. If I play my cards right I might get access to private recordings to Black Sacred Harp, as well as to the White style I'm trying to learn how to sing). I mean styles of hymn-singing as well, in Black churches throughout America, that never hit the big-time. I know that the Fiske Jubilee Singers' neo-classical style had a major influence on gospel singing in its era (Linda Tillery's singing group has some unkind things to say about that; the part of their show where they do a segment Fiske-style has them all pulling on little white gloves, putting on straw sun-hats, crossing their legs in "formal southern lady-like" fashion & fanning themselves while singing little bitten-off syllables). Aretha Franklin's Detroit style became a style of rock&roll, not just of gospel, as Sam Cooke's style had before her. But what about the many other styles? There would seem to be, because there would *have* to be, as many seperate singing styles in Black Gospel as there are in blues, simply because the people providing the intial ingredients into the mix came from many different parts of Africa, & the singing styles vary vastly over different parts of Africa. Is there anyone cataloging private recordings of this, or even collecting them? I know Bernice Johnson Reagon did a terrific series on the roots of Black Gospel, which I heard about every other one of (I hope they run it again before PBS is entirely dismantled) but the segments I heard focused, probably in the interest of "radio-friendliness", mostly on professional choirs & groups in formal recording sessions; what you would want to check would take place mostly in small churches & in people's homes, & I've heard some evidence (which means I once stood outside a church in Central Square & listened in) that its still going on today. As always, its very important to record the old people who aren't influenced by any other style, because they don't *know* any other style, before they all die. Looking at people's religious music is the best way to hear their most ancient music. People don't usually want, or allow, their religious music to be messed with. What happened with Sacred Harp is an anomoly rather than the rule, & I don't have the words to express how glad I am that some of the original hymns that were "adapted" survived in their original form. ========================================================================= Date: Tue, 19 Mar 1996 00:02:26 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: Chicago Blues Festival lineup Comments: To: Richard Shurman In-Reply-To: Dick, Just wondering about the location of the Juke Joint stage. Do they have an area picked out (like maybe the corner you suggested last year)? Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Mon, 18 Mar 1996 22:32:35 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: Re: Sir Doug Comments: To: ksailors@HOOKED.NET Kenneth M. Sailors wrote: > > Hey! > I'm an old fan of Dough Sahm's but I lost touch. > I see he has been puttin' out some Texas Blues recordings. > Any opinions on these? > Thanks, ken I have Doug Sahm's cd, The Last Real Texas Blues Band on Antone's label from 1994. I really like it. I would say it is a real mix of swamp rock, r&b, and Texas Blues. High point: Great musicianship from all on the recording! Stan -- Stan Ruffo Productions "Blues On Tap" http://www.valleynet.com/~steamin ========================================================================= Date: Tue, 19 Mar 1996 07:29:48 GMT Reply-To: Jim Farris From: Jim Farris Organization: Netcom Subject: Deacon Jones Hi Joe, On Mon, 18 Mar 1996 11:54:07 -0800, joey@osmosys.incog.com (Joe Lempkowski) wrote: > >Is Deacon Jones no longer in the Bay Area? I remember he was a regular at >JJ's in Mtn View, but I hadn't heard anything about him in a while. > Deacon hasn't played in Mtn. View for years, but he still performs with Rick Baker who sand with the Bucket of Blues on many of Deacon's Mtn. View shows. He moved away from his beautiful East Palo Alto home many years ago now. He was living in LA for a few years. Now he's based in the city of Copperopolis, California. He recently started a tour to promote his recent CD release Makin' Blues History. The first leg of the tour went very well, and they're about to start the second leg. It's good to see that Deacon is finally getting the recognition he deserves. He will be performing at Moe's Alley in Santa Cruz in late June. I will be posting updates to the L about his appearances as I get more information. Jammin' Jim Farris KKUP 91.5 FM ========================================================================= Date: Tue, 19 Mar 1996 11:29:43 GMT Reply-To: Steve Leigh From: Steve Leigh Organization: MISHA Group, Inc Subject: Mississippi Valley Blues Fest lineup? Comments: To: bit-listserv-blues-l@uunet.uu.net Anyone seen a line-up yet for the Mississippi Valley Blues Fest this year? --Steve ========================================================================= Date: Mon, 18 Mar 1996 22:14:12 GMT Reply-To: Dave_J._Herda@infozone.telluride.co.us From: "Dave J. Herda" Organization: InfoZone Telluride Co (970)-728-0472 Subject: Beale St. press passes? Does anyone know who is handling media relations for the festival and how I could get in touch with them to secure a couple of press passes? Thanks for the help. ========================================================================= Date: Tue, 19 Mar 1996 07:28:00 EST Reply-To: "ANDRE J.M. PREVOS" From: "ANDRE J.M. PREVOS" Subject: Sugar Blue The recent posts about Sugar Blue have led me to tell you about a good interview in the latest issue (No. 17) of _Solo Blues_ (the Spanish blues magazine). First, a word of warning, the intyerview is in Spanish. Second, if you want to subscribe, write me and I'll give you the details. Third, Javier Rodriguez, the magazine founder and editor is a good friend of mine and I contribute reviews to the magazine (like European not-for-profit entities, neither I nor the other contributors receive any money for our contributions). Finally, _Solo Blues_ does not appear on a very regular basis, more like when there is enough or when Javier (an artist) has time to put it together. Andre JM PREVOS Penn State University--Worthington Scranton Campus axp7@psu.edu ========================================================================= Date: Tue, 19 Mar 1996 13:05:16 GMT Reply-To: Al Kaplan From: Al Kaplan Organization: Univ. of KY College of Dentistry Subject: Re: The Kingsnakes Comments: To: bit-listserv-blues-l@uunet.uu.net In article <4ikojv$5l6@Pulsar.Tach.Net>, mcgirr@BLUES.SURF.TACH.NET says... > >Used to follow a band out of NY called "The Kingsnakes" >Lead singer and harp player was some of the best stuff I've >ever encountered. Guy's name was Pete McMahon. >I understand the Kingsnakes broke up in the early 90s and >I'd like to see if Pete has been recording any since then. > > >Any leads? > Pete McMahon is is on the latest Savoy Brown disc. He is the lead singer and still plays harp, but not as much as with the Kingsnakes. The recording is more blues oriented than much of Savoy Brown's previous work and is well worth having. Al ========================================================================= Date: Tue, 19 Mar 1996 08:20:08 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0348 From: "DUTTWEILER.J" Subject: Re: Gregg Allman.....wasn't he.. Date: Tuesday, 19 March 1996 8:20am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: Gregg Allman.....wasn't he.. >Here's a wacky idea you don't hear too much anymore: how about leaving >forgiveness up to the individual who's doing the forgiving? Isn't that one >of the ideas behind the Constitution, freedom of choice? I know, I know, >preachers, lawyers, and politicians don't like the idea of personal >decisions and responsibility. (Which, of course, is precisely my point.) > Actually, I don't know that the Constitution has much to say at all about "freedom of choice," though much about individual "liberty," which *may* be quite a different proposition altogether. I will say your generalizations about "preachers, lawyers and politicians" is far too broad. In our society, unfortunately, the religious/theological ideas people are exposed to are equivalent to the "popular" music most are exposed to- usually meaningless pap designed to appeal to the lowest common denominator and bring in money. There are theolgical views which strongly stress individual responsibility. However, this is not the same as saying a person is simply free to do what he/she chooses. Actions which are harmful to oneself, others or society as a whole always have consequences, which may not always be readily apparent at first. I believe that the "golden rule" is a "self-evident" principle of life and might be stated as: anything you would not want someone to do to you is obviously wrong for you to do to another. If the religious system you adhere to does *not* bring you closer to the ideal, then something is wrong with it, no matter how much rhetoric it is couched around. That's my sermon for the month. On a blues-related subject, I really had the blues this weekend, as one of my harddrives crashed and, of course, I had not backed it up JD ("backups are for sissies " - used with thanks to Barry Silverberg) ========================================================================= Date: Tue, 19 Mar 1996 08:21:08 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0349 From: "DUTTWEILER.J" Subject: Re: Sherman Robertson/Syracuse Date: Tuesday, 19 March 1996 8:21am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: Sherman Robertson/Syracuse Catbauer wrote: >Going to the Sherman Robertson show at the Dinosaur in Syracuse on 3/19. I >talked to the owner of the club today to get the time and he asked if I >had seen him before beofre I could answer he proceeded to tell me >Sherman's last show was one of the best shows he had. I'm hoping he'll be >playing some of his new cd. If anyone else wants to get together before >the show e-m privately. We are leaving Rochester around 5 and plan to eat >there...best BBQ in town. I have not seen Sherman Robertson, but his CD on Code Blue, "I'm the Man," is absolutely fantastic. Wonderful mixture of West Coast, Texas and soul blues styles. Check him out, you won't be disappointed. JD (who has no financial interest in either SR or Code Blue records) ========================================================================= Date: Tue, 19 Mar 1996 08:48:59 -0500 Reply-To: FORCELLAD@CCSUA.CTSTATEU.EDU From: Domenic Forcella Subject: VENT RECORDS Greetings, does anyone know how I can get in touch with Vent. I caanot get e-mail through but my e-mail address, VentRec@aol.com, does not deliver. I do a blues show Traveling with the Blues and want to include some of their CD collection. Also, looking for Charlie Sayles on JSP. The local, knowledge, record store I buy from is having trouble getting his CDs. Lastly, I saw Bill Dicey's name and it brought back some fond memories of the DC Blues Society jams. I'd like to purchase a cd or two with Bill on Harp. Any help greatly appreciated. Domenic Forcella Traveling with the Blues ========================================================================= Date: Tue, 19 Mar 1996 07:51:20 -0600 Reply-To: James Foster From: James Foster Subject: Re: Sir Doug Comments: To: ksailors@HOOKED.NET At 8:28 PM 3/18/96, Kenneth M. Sailors wrote: >Hey! >I'm an old fan of Dough Sahm's but I lost touch. >I see he has been puttin' out some Texas Blues recordings. >Any opinions on these? >Thanks, ken Doug Sahm's last record, "The Last Real Texas Blues Band", is a live CD, recorded over a few nights at Antone's. Sahm is joined by a plethora of great players, including Rocky Morales, Derek O'Brien, George Rains, Jack Barber, and others. This is Sahm's tribute to the music of his youth. He covers tunes by Bobby Bland and Lowell Fulsom as well as paying tribute to all the great "triplet" swampy music from Louisiana and Port Arthur (Clifford Antone's home town, so he always love those great tunes!). This is a fun album...I saw Sahm with most of these guys and others at a show at Antone's last year and it was fantastic...a FULL HORN SECTION, two/three guitars, piano, organ drums and Sahm leading the way in his inimitable fashion. By the way, Sahm has just finished a new album with the Texas Tornadoes, with production by Jim Dickinson. They played over the weekend with 600 other bands during the SXSW music convention/festival. James Foster ========================================================================= Date: Tue, 19 Mar 1996 08:44:09 EST Reply-To: levyt@RL.AF.MIL From: Toby Levy Subject: SITTING & THINKING: Walter Horton's Little Boy Blue WALTER HORTON / LITTLE BOY BLUE (JSPCD 208) JSP RECORDS PO BOX 1584 LONDON N3 3NW ENGLAND So many great harmonica players have participated in the development of the sound of Chicago Blues. Little Walter and the two Sonny Boy Williamsons immediately come to mind. Walter Horton came to Chicago in 1954 and quickly became known as the best harp sideman in the city. He never became well known due to the fact that he was satisfied to augment the music of other artists, seldom taking the forefront on stage or in the recording studio. He was perhaps most famous for taking Junior Wells' place in Muddy Waters' band after Junior got drafted. This cd shows just what a tragedy it was that Walter Horton did not record more often. This cd was recorded live in 1980 about a year before Walter Horton passed away. The album begins with three songs recorded before Walter comes out on stage. I CRY FOR YOU / LORD KNOWS I TRIED / COUNTRY GIRL / WALTER'S SHUFFLE / LITTLE BOY BLUE / IT'S NOT EASY / TWO OLD MAIDS / WHAT'S ON YOUR WORRIED MIND / WALTER'S SWING NY CD-Takes I CRY FOR YOU: Walter's backup band is capably led by harp player and vocalist Sugar Ray. They lay into a danceable groove and put down tasty licks while warming up the audience awaiting the appearance of Big Walter. LORD KNOWS I TRIED: This long slow blues features some very impressive guitar work by Ronnie Earl Horvath. Ronnie very clearly has studied Buddy Guy's guitar style, and without being imitative carries off several extended guitar solos very nicely. If you are a Buddy Guy fan, you will be pleasantly surprised by this number. COUNTRY GIRL: The last of Sugar Ray's warmup numbers is a mid-tempo boogie in which Sugar Ray does some very good Sonny Boy Williamson style riffs on the blues harp. Little Anthony on the piano adds some flair to the number. WALTER'S SHUFFLE: At last its time to bring out the main man, and he immediately shows why he is so highly regarded by other harmonica masters. In this instrumental he pretty much gives a clinic in how the harp should be played. Chords, single notes played in a flurry or drawn out almost to infinity...he does it all. And he has impeccable timing. You feel like you are floating along on a cloud listening to this song. LITTLE BOY BLUE: Walter lets loose his deep rich voice on this slow blues. He sounds more than a little like Muddy Waters. "I got girl over yonder, she likes to hear me play this song," Walter sings and its easy to see why. You can hear him pouring his heart into every note of the solos. He starts his second solo at the very top note of his harp and ever so slowly descends down the scale, as the guitar player eases into a call and response with him that is just a joy to hear. IT'S NOT EASY: Walter starts this mid tempo instrumental off with some of the "warbling" sounds he makes by shaking his head as he plays the harp, which gained him the nickname of "Shakey," which reportedly did not enjoy being called. Walter carries the entire burden of this song effortlessly. Its almost like a four minute solo. TWO OLD MAIDS: An uptempo romp with Walter exclaiming "Put the kettle on, I'm on my way back home!" With the exuberance of the weary traveler who is finally nearing his destination, Walter coaxes joyful noises from his instrument as he sighs with satisfaction throughout the song. WHAT'S ON YOUR WORRIED MIND: We return to Muddy's domain as Ronnie Horvath's stinging guitar directs Walter to ever darker, bluer areas. This luxuriously slow blues explores the concern felt by the singer when his woman suddenly stops acting like she loves him. Once again the interplay between the guitar and the harp are nothing short of delightful. WALTER'S SWING: Walter closes out the portion of the live concert that we get to hear with a fabulous boogie that truly rocks the house. As in previous instrumentals, it's ALL Walter, playing continuously, originally and beautifully throughout the number. As in all good cds, it leaves you begging for more. As a headline performer, Big Walter Horton was criminally under recorded. Reviewed by Toby Levy Copyright NY CD Blues - 1995 ========================================================================= Date: Tue, 19 Mar 1996 08:02:09 -0600 Reply-To: James Foster From: James Foster Subject: ERIC LeBLANC: HAPPY BIRTHDAY AND MORE Comments: cc: leblanc@DAO.NRC.CA A happy belated birthday to Eric LeBlanc. Eric hasn't been posting here as regularly as in the past, but Eric has been for many of us an importnat part of this on-line community. I still have hundreds of his multi-page posts on everyone from the Swan Silvertones to Johnny Shines. Eric is now reviewing records for Roots 'N Rhythym mail-order as well as working as an "information professional" in Canada. Three or for years ago, when this list had only around 50 people on it, Eric would patiently answer all my questions, particularly tapping his exhaustive knowledge of gospel and vocal groups. He has certainly contributed greatly to making blues-l an informative place for music lovers. Let's wish him again a Happy Birthday and I, for one, look forward to his next posts. James Foster ========================================================================= Date: Tue, 19 Mar 1996 09:01:04 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: The Kingsnakes Comments: To: Matt In-Reply-To: <4ikojv$5l6@Pulsar.Tach.Net> On Mon, 18 Mar 1996, Matt wrote: > Used to follow a band out of NY called "The Kingsnakes" > Lead singer and harp player was some of the best stuff I've > ever encountered. Guy's name was Pete McMahon. > I understand the Kingsnakes broke up in the early 90s and > I'd like to see if Pete has been recording any since then. > > > Any leads?> > Regards, > > Matt The Kingsnakes were based in Syracuse and you're right, they broke up. If I recall correctly McMahon now plays in the latest resurrection of Savoy Brown (with Kim Simmonds, of course) and they just put a CD out last year. (Kim Simmonds lives somewhere just outside of... Oswego, NY) Hope it helps... Dave Prychitko Blues 101, WNYO-Oswego +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Tranquillo Leonardo Giancarlo "The Tranquil Lion" d. Feb 25, 1996 Rest in Peace, Grandpa +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Tue, 19 Mar 1996 09:06:36 EST Reply-To: ron kraemer From: ron kraemer Subject: Pittsburgh, PA 'Zellers Comments: cc: srn@formtek.com Sorry for the specific post. I'll be in Pittsburgh for a wedding this coming weekend (March 23-25). I doubt I can bag the wedding for some good Blues on Saturday (the Big Day), but I'll have a Blues Itch that'll need scratching on Sunday, the 24th. Any suggestions on clubs to attend, performers to "Not Miss", or open jams? Sunday may not be a normally big night, but it'll be MY big night. :) Rags, what's happenin' in your corner? Thanks for your indulgence, folks. Ron ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters (and in another life....) Ron Kraemer and the Hurricanes ************************************************************ ========================================================================= Date: Tue, 19 Mar 1996 09:32:46 -0500 Reply-To: "Alan C. Rollins" From: "Alan C. Rollins" Subject: "The House of Blue Lights" I am forwarding this on behalf of bluesdj@halcyon.com Ian Angus writes: >> > I am working on an article on a Detroit area blues club called Buddy's >> > Bar-B-Que. According to the current proprietors, this establishment was >> > immortalized in the song "The House of Blue Lights" which became a hit on the >> > Rhythm and Blues charts in the 1950s. Can anybody confirm the existence of >> > this number and who was the artist that performed it? >> >> "House of Blue Lights" is about a Detroit club where you could >> get "fryers and broilers and Detroit barbecued ribs" as well as >> music. >> >> It was originally recorded in 1946 by >> Freddie Slack and His Orchestra, with Ella Mae Morse doing >> the vocal. It was covered by the Andrews Sisters (!) and by >> Amos Milburn. >> >> It was resurrected by Merrill E. Moore in 1952, and by >> Chuck Miller in 1955. The latter version went to #9 on >> the Billboard pop charts. >> >> Ian Angus >> "Built for comfort, not for speed" >> >>>>> >Mitch Woods also did a great version of this tune. > > ACR ========================================================================= Date: Tue, 19 Mar 1996 09:42:31 -0500 Reply-To: "Lost John From: "Lost John Subject: House of Blue Lights This song was also recorded by Ben Sidran on his album "Don't Let Go" in the early seventies. -- _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ _/ JC /\ _/ _/ ______________ || _/ _/ \__________ / || _/ _/ ________ ___/ John Carley || _/ _/ \______ / johnc@vedge.com || _/ _/ ____ ___/ (514)332-6430 x232 || _/ _/ \__ / Visual Edge Software Ltd. |\||/| _/ _/ _____/ 3950 Cote Vertu, Suite 100 \ / _/ _/ \/ Montreal, Quebec, Canada / \ _/ _/ ( ) _/ _/ \____/ _/ _/ (graduate of the Yogi Berra school of elocution) _/ _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ ========================================================================= Date: Tue, 19 Mar 1996 09:48:46 -0500 Reply-To: "Alan C. Rollins" From: "Alan C. Rollins" Subject: Served out Hello Folks: A house keeping note. Many of, if not most of, the error messages I get have the served out message attached. This happens often times because a subscriber has changed on-line services or their employer might have changed it for them. The results are that you maybe subscribed under conflicting addresses. This is why it is important to give us your actual name at the time you subscribe. This way it is easier for me to find you in this situation. Some of the time this happens it is because somebody got ten free hours and is now gone. Other times I do not know why-in the-H--- it is happening and only via trial and error will we find it. Mucho Gracias ACR ========================================================================= Date: Tue, 19 Mar 1996 09:42:20 -0500 Reply-To: David Goldstein From: David Goldstein Subject: Los Angeles Clubs/Dates I will be LA from May 15-19. Would love to see some blues. Staying in Marina del Rey. What's up?! If the river was whiskey And I was a diving duck, I would dive to the bottom and never would come up.. McKinley Morganfield ========================================================================= Date: Tue, 19 Mar 1996 09:01:15 -0600 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Texas Johnny Brown I finally had a chance to see Texas Johnny Brown at SXSW sunday night at Antone's. After hearing so much about him from Bill Shute and Jeff Seale, I was really looking forward to the show. And he did not disapoint me. This man is a master showman who really knows how to work a crowd. His band was the first of five that night. He had worked the crowd up so much he could have stayed there all night long and they could have sent the other bands home (nobody would have complained). And considering most people were there to see Lee Rocker and Sham that's saying a lot. He has a nice mix, he can go from pure Blues to Funk to Rock -n- Roll. He is not only a talented guitar player, but has a great voice. The only problem with the show is it was too short (only an hour). I'm hoping he'll come back and do a full show some day. Bruce Roberts Austin, TX ========================================================================= Date: Tue, 19 Mar 1996 10:00:18 -0500 Reply-To: Debra Eisert From: Debra Eisert Subject: blues/rock influence HELP! My brain is not working. I will be doing a short (20 min.) presentation to a class of 12 year olds on the Delta and the migration north. Perfect opportunity to bring in the Blues. I want to show the influence of the blues on rock. Some performers -- Clapton, the Stones, the Allmans -- are obvious. But to a 12 year old, they are dinosaurs. Can you help me with some rock performers that have been influenced by the Blues that would be kewl to a 12 year old? Thanks -- I know that you folks will come through! /*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/ Debra Eisert "I have a new philosophy - debra@iglou.com I'm only going to dread one day at Cincinnati OH a time!" -- Charles Schulz /*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/ mq ========================================================================= Date: Tue, 19 Mar 1996 09:06:16 CST Reply-To: William Shute From: William Shute Subject: Impressions ABC-Paramount lp's now on CD From: Bill Shute I'm supposed to be off work this week, but alas there is much to do and if I don't do it it won't get done, so here I am. And with very few people here, I can blast music while I work...which leads me to this post. One of the biggest newsitems on the soul reissue front is that the UK "Kent" label (Ace's soul/dance subsidiary) has reissued the first FOUR ABC-Paramount albums, circa l963-65, by the Curtis Mayfield-led Impressions, two to a CD, on two CDs. The first CD has the first two albums: THE IMPRESSIONS THE NEVER ENDING IMPRESSIONS the second CD has the third and fourth albums: KEEP ON PUSHING PEOPLE GET READY Sound is great (from master tapes), both front and rear covers (and record labels!) are reproduced, they're legit (licensed from MCA, who own ABC-Paramount catalog)---but OH, that music! I've been continually playing the Sony Legacy Major Lance 2CD set with all those great Mayfield compositions, so hearing the master himself and crew performing yet more of those classic songs is an absolute joy! I really feel that they redefined secular group-vocalizing. The way the three vocalists work together--sometimes reminding me of a pre-war New Orleans jazz combo where the three lead horns all play "around" the melody without any of them ever stating it directly--is sublime. In fact, when I finish work today, I am going to be doing some yard-work for a friend and plan to listen to this music as I pull weeds, stack old boards, repair the tin roof, etc. I don't have the stock numbers with me here. If you need them, let me know (I'll be back on line next Mon.). I think there are three more ABC-Paramount albums--perhaps Kent can do a twofer of #5 and 6, and then do #7 with some non-lp 45s (if there are any) and unissued stuff? AS they say on those beer commercials, it doesn't get any better than this... Bill Shute San Antonio, TX ========================================================================= Date: Tue, 19 Mar 1996 07:14:48 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Some new albums (to me) Hi all. Just wanted to report on a few albums that I picked up last week - Willie Cobbs' Down to Earth (Rooster Blues), Fred McDowell and the Hunter's Chapel Singers of Como, Miss.'s Amazing Grace (Testament), and Coco Montoya's Got a Mind to Travel (Blind Pig) - they couldn't be more different, but they're all great and I unreservedly recommend 'em all. Down to Earth features a program made up of Cobbs' original songs, including 'You Don't Love Me', and some great backing work by a band that includes, among others, Rawls and Luckett. My only complaint about this album is that I wish the great harp work (which reminds me at times, along with Cobbs' vocals, of Sonny Boy Williamson II) was more up front in the mix. Otherwise this is a great release. If you like Fred McDowell's other work, or if you're a gospel fan, then Amazing Grace is a great album (and one of my favorite Testament releases, to go back to a thread of a couple of months back) - the slide work is great, as usual; the vocals, by Annie McDowell, Fannie Davis, Grace Bowden, and James Collins are down to earth and come straight from the heart, and definitely not as polished as the gospel groups of the fifties era. Good stuff, to say the least! As for Coco Montoya's debut solo album, this one is great. A couple of weeks ago I wrote about his concert in L.A. which I was at, and I'm just as impressed with this album as with his live performance. His guitar work, especially on the slow Blues, literally brings tears to my eyes, and his vocals are powerful and right on the mark (he actually sounds a lot like Jimmy Johnson to my ears). Keyboard player Benny Yee is great in a supporting role (and even better in concert, if you get a chance to see them). A great album!!! -Jim (hndful@uniserve.com) ------------------------------------------------------------ Check out 'Heart and Soul', a new hour of blues, gospel, and jazz every week on SDF-Net Community Radio - http://sdf-radio.colossus.net. ------------------------------------------------------------ ------------------------------------------------------------ Check out 'Heart and Soul', a new hour of blues, gospel, and jazz every week on SDF-Net Community Radio - http://sdf-radio.colossus.net. ------------------------------------------------------------ ========================================================================= Date: Tue, 19 Mar 1996 07:28:17 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Mar. 20 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BALFA, DEWEY (fiddle/cajun) b. 1927-0320, BAYOU GRAND, LA BALL, MARCIA (p/ROUNDER) b. 1949-0320, ORANGE, TX BLEYER, ARCHIE (owner: CADENCE REC) d. 1989-0320, SHEBOYGAN, WS 79 BUTLER, BILLY (g/BILL DOGGETT) d. 1991-0320, TEANECK, NJ 66 COE, JIMMY (asax/UNITED REC) b. 1921-0320, TOMPKINSVILLE, KY EDWARDS, FRANK (g/TRIX REC) b. 1909-0320, WASHINGTON, GA HANKINS, PAUL "TALL" (g/p) b. 1937-0320, MOBILE, AL HARRIS, NORMAN (g/PHILADELPHIA INTERN) d. 1987-0320, PHILADELPHIA, PA 39 LAY, SAM (d/MUDDY WATERS) b. 1935-0320, BIRMINGHAM, AL LEE, SPIKE [SHELTON JACKSON LEE] (prod) b. 1957-0320, ATLANTA, GA RIVERS, JOE (of JOHNNIE & JOE/CHESS REC) b. 1937-0320, CHARLESTON, SC SHAW, EDDIE (tsax/not 0917) b. 1937-0320, STRINGTOWN, MS THARPE, ROSETTA SISTER (g/DECCA REC) b. 1915-0320, COTTON PLANT, AR VAUGHAN, JIMMIE (g/FABULOUS THUNDERBIRDS) b. 1951-0320, DALLAS, TX VAUGHN,JIMMY(p/ALBERT KING/PHILLIP WALKER)b. 1925-0320, CHICAGO, IL WHITE, PRINCESS (v) d. 1976-0320, MANARONECK, NY 95 WRIGHT, MARVA (v/TIPITINA'S) b. 1948-0320, NEW ORLEANS, LA ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 19 Mar 1996 09:40:56 CST Reply-To: William Shute From: William Shute Subject: Roy Buchanan--more Swan session work From: Bill Shute Those of you who, like me, collect and enjoy Roy Buchanan's early-mid 60s session work will definitely want to pick up this CD of Danny and the Juniors "Swan" sessions, recorded l960-62. Buchanan appeared on many "Swan" sides (such as Freddy Cannon) and sides for related Philly labels. This period is well documented on the UK Krazy Kat lp "The Early Years" (I think that's the title...or In The Beginning or something like that). You haven't lived until you've heard Buchanan's version of After Hours from this period--tho a cover of Jimmy Nolen's cover of the song, Roy makes it his own and this tune ALWAYS nails me to the wall, as does Mule TRain Stomp from this period. And I still treasure my orig. 45 of The Jam parts 1 and 2 by Bobby Gregg and Friends. Anyway, here's the info on the DAnny and the Juniors sessions: DANNY AND THE JUNIORS "Back To The Hop--The Swan Recordings l960-62" Rollercoaster(UK) CD RCCD 3005 27 tracks there are five tracks here that feature Roy Buchanan January 16,l962 Medley: The Twist/Mother's Club Twist (take 5, prev. unissued) (take six, with a guest vocal by Freddy Cannon, was issued on Swan lp 506 various artists "Twistin' All NIght Long"--that isn't on here and CAnnon doesn't sing on this) When the Saints go TWistin' in (take 1, prev. unissued) (take two, with Cannon on guest vocal, appeared on the above swan lp also) ****both of the above feature hot, distortion-laden solos from our man! ------------------------------------------ January l9, l962 **** Tallahassee Lassie (take 7--orig. issued on Swan lp 506) This arrangement is similar to the one found on Cannon's first Swan album, The Explosive Freddy CAnnon, which was VASTLY different from the orig. 45 that was a smash hit and made CAnnon a star. Roy plays rhythm only on this and does not take a solo, tho he's audible. ------------------------------------------------------ February 1, l962 Doin' The Continental Walk (take 1, prev. unissued) ******Roy WAILS on this take of the song Doin the Continental Walk (take ten, issued as Swan 45 S-4100) ******a sax solo replaces Roy on this take, tho he is still audible throughout playing "chunka-chunka" rhythm and a fill here and there ------------------------------------------------------- Much of the rest of the album is twist-oriented, which is oK by me as I've always loved those early 60s Philly dance records, although some of the album is mediocre novelty songs that aren't funny and experiments that don't really come off well. Still, the five Buchanan tracks--especially the three with GREAT solos--will be of interest to many. Just thought y'all would want to know... Bill Shute San Antonio, TX hey, speaking of philly, I hear from a friend in the record biz that FINALLY we might be seeing some legal reissues of the Cameo/Parkway/Wyncote/et al labels material via Allen Klein's ABKCO, perhaps this coming fall of 96. While Klein will never win any personality contests, his outfit certainly did a WONDERFUL job on the SAR Records box set...and the reissue of SAm Cooke's NIght Beat...so if those standards are brought to the Cameo/Parkway stuff, it ought to be first-rate. I also want to plug the Stax reissue CD of two albums by The Mar-Keys: DAMIFIKNOW/MEMPHIS EXPERIENCE. 'Been playing that CD when I haven't had Major Lance, The Impressions, or the new Long John Hunter on recently. ========================================================================= Date: Tue, 19 Mar 1996 15:32:45 GMT Reply-To: Tommy Jansson From: Tommy Jansson Organization: Uppsala university Subject: Jesse Green Comments: To: bit-listserv-blues-l@uunet.uu.net Whatever happenened to Otis Rush=B4 long time drummer Jesse Green(e?)? I=20 know that he had his own bluesband around 1980, but after that I lost=20 track of him. Has he done any recordings? Does he still play?=20 Peace Tommy ========================================================================= Date: Tue, 19 Mar 1996 07:55:01 -0800 Reply-To: James Carmin From: James Carmin Subject: Re: Fat Possum Miss. Juke Joint Caravan toulouse@comm.net said: >I was curious if any of you out there had scene The Fat Possum >Mississippi Juke Joint Caravan with Lil' Dave Thompson, Paul "Wine" >Jones and R.L Burnside. I am interested in your opinions and reflections >on the show that you saw. I caught this last year in Portland and liked most of it a lot. Paul Jones opened and he was a surprise to me then; his rawness and sincerity really appealed to me. And he set the tone just right for Jr. Kimborough to hit the stage for his minimalist blues. Junior's mesmerizing guitar kept the flow moving quite nicely, but the pace reamined slow, dragging a bit at times (still, I really like Jr.'s style). Then RL came out with his band and he brought the house down with his liveliness, his great timing, and his charisma. The band took a break but RL played some solo guitar and again the crowd went crazy (me too, cause he was wonderful). After RL, Dave Thompson came on with his band and I have to say it was a bit of a disappointment. His music was way too electric and rock oriented to be with the rest of his Possum colleagues. Don't get me wrong, he's a talented guitar player and an ok vocalist, but I pictured him at a blues festival being much more interesting than tied in with these great Northern Mississippi talents at this small venue. James C. jcarmin@teleport.com ========================================================================= Date: Tue, 19 Mar 1996 10:55:57 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: VENT RECORDS Comments: To: Domenic Forcella In-Reply-To: <960319084859.2021ad94@CCSUA.CTSTATEU.EDU> On Tue, 19 Mar 1996, Domenic Forcella wrote: > Also, looking for Charlie Sayles on JSP. The local, knowledge, record > store I buy from is having trouble getting his CDs. re: Charlie Sayles CD Go out to our web-site and click on the JSP button, then take a peek at the bottom of the page for CD Offer. You will find the Charlie Sayles + 20 other JSP CD's all at $13 delivered. There is no financial interest we have in JSP or the offer - just one of our good deeds for you and John Stedman. Address is below at http://www.panix.com/~bsco/ for main site or http://www.panix.com/~bsco/jsp/ for JSP's CD's direct I would recommend the new U.P. Wilson - This Is U.P. Wilson as a definite get. IMHO, maybe the disc of the year. Keep it in mind when you check it out. BTW, the offer is over at the end of this month. Barry WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 19 Mar 1996 10:46:42 -0500 Reply-To: LKnight1@AOL.COM From: Leslie Ann Knight Subject: RETRO Comments: To: SOBLUESMAG@aol.com, Crawfy1@aol.com, adamk@cmsa.berkeley.edu, Speedo777@aol.com, sbrubake@trmx3.dot.ca.gov, Lrucker@aol.com, PNeel89564@aol.com, Roosterman@aol.com, murranch@ix.netcom.com, JAZZINFO@jazznow.com, ReNoRu@aol.com Roots music lovers, I d like to introduce you to RETRO, an exciting online magazine dedicated to everything that was ever cool. My friend Nancy Eaton is the editor and promotes roots music through RETRO. Nancy, a former Apple employee, is using the latest medium to talk about everything that s vintage. This is a high quality site for content. I highly recommend you check it out. Leslie Ann Knight ************************** SAN FRANCISCO, CA --March 18, 1996-- Just two weeks after it launched on the Worldwide Web, RETRO (http://www.retroactive.com) -- the website devoted exclusively to celebrating classic 20th century entertainment, design and lifestyles --is already being cited as one of the hotspots of the Internet. RETRO announced today that it has been awarded "Site of the Week" by Worldwide Web industry guru Crystal Waters at www.typo.com "This daily-updated web zine is definitely the bees knees. Or at the very least, wicked swell, man. Cool," says Waters, who awards recognition to websites she feels are exemplary. Waters is editor of The Net, formerly editor of Computer Life, online editor of Ziffnet Mac and an associate editor of the Mac Home Journal. She also teaches web design at the San Francisco Digital Media Center. "We're thrilled that RETRO is getting recognition from people like Crystal Waters who are leaders in this medium," says RETRO editor Nancy Eaton. RETRO launched its service in March, 1996 and is comprised of news, articles, music and information directories, covering various aspects of classic 20th century design and entertainment. Information in RETRO changes frequently each week. Visitors to RETRO will discover timeless gems from the past that can expand and enrich their entertainment horizons, and also a place to network and interact with kindred spirits. RETRO is a Sunnyvale, CA-based company founded by Apple Computer veteran Nancy Eaton in August 1995. At Apple, Eaton most recent position was as Manager of Entertainment for eWorld, Apple's online service. Michael Markman, former head of Apple Computer's Worldwide Advertising and Creative Services, is RETRO's Vice President and Creative Director. RETRO is available on the World Wide Web through commercial online services or through direct Internet access at http://www.retroactive.com -0- NOTE TO EDITORS: In the World Wide Web address noted in this news release, there is a double slash between http: and www.retroactive.com. In the Internet/email address noted in this release, there is an "at" symbol between nancy and retroactive.com. These symbols may not appear properly in some systems. CONTACT: RETRO, LLC, Sunnyvale, CA Nancy Eaton, Editor 408/736-6511 Day / Eve. 408/736-9825 Fax nancy@retroactive.com MAR 18,1996 ========================================================================= Date: Tue, 19 Mar 1996 10:08:40 CST6CDT Reply-To: "Sara C. Oxton" From: "Sara C. Oxton" Organization: University of Minnesota Subject: Re: Tribune Article - Recycled Blues Comments: To: Richard Shurman Speaking of Dixielandization... I love the Chicago Symphony, but I sure wish they'd quit covering Beethoven and Mozart. _________________________________________ Sara C. Oxton Executive Secretary University of Minnesota Department of Food Science & Nutrition 1334 Eckles Ave. St. Paul, MN 55108 Ph: (612) 624-2782 Fax: (612) 625-5272 soxton@che2.che.umn.edu ========================================================================= Date: Tue, 19 Mar 1996 16:04:22 GMT Reply-To: Scott Ainslie From: Scott Ainslie Organization: Cattail Music Subject: Re: ROBERT_JOHNSON+JOHN_HAMMOND_NEXUS!! In article <199603141459.JAA07636@mirage.formtek.com>, rags wrote: > Hi folks... > Last nite I got the complete recordings of > ROBERT JOHNSON.....the essential thing.... :) :) > In it I remember seeing a picture of John Hammond > and some mention of his connection with Robert Johnson... > I did not read the whole story..... > Can anybody shed some light...I can't wait to get > home put them Robert Johnson recordings.....and "feel" the > blues > >You've enjoyed reading the notes and listening to Johnson's recordings by now, I hope. Robert's playing shows the influences of many of the best Delta players. You may enjoy listening to Son House, Lonnie Johnson, Skip James, Charlie Patton and Kokomo Arnold, to name a few. When I was working on "Robert Johnson/At The Crossroads" I had the good fortune to consult with Don Law's son (Law was the producer of the sessions during which Johnson recorded) and learned a new wrinkle in Law's perception of Robert as a "shy musician of perhaps 18 or 19." I hope you'll enjoy this anecdote from the book's bio: "According to Law's son, Don Law, Jr., both his parents had vivid memories of Johnson. His mother, Hazel Maxfield Law, a concert pianist, remarked about Johnson's hands which with their long, graceful fingers showed excellent proportions for an instrumentalist. she also remembered that when they were walking on the street with Robert and trying to carry on a conversation with him, Johnson would keep falling in a few steps behind them. They would encourage him to step up and walk with them, which he would do for a few steps, only to fall in quietly behind them again. As Don Law, Jr. tells it, it was awkward for all of them. "Don Law, Sr. was British and apparently quite an easy-going, relaxed sort of man. As a Briton, he was naturally not raised or vested in the culture of the Black or White South. Johnson's reticence about walking and conversing with them must have seemed foreign to Law and he put it down in his mind to shyness. But Robert's behavior in the mid-1930's, in the white business districts of downtown San Antonio and Dallas with a well-dressed white couple must have differed wildly from his behavior on his own turf in the joints, alleyways and street corners of the Delta. His recorded performances alone completely contradict this impression---exposing the passion and magnetism of the 25 year old musician." Scott Ainslie (ainslie1@ix.netcom.com) ========================================================================= Date: Tue, 19 Mar 1996 11:39:44 -0500 Reply-To: "William E. Forrester" From: "William E. Forrester" Subject: Re: The Kingsnakes Comments: To: "David L. Prychitko" In-Reply-To: On Tue, 19 Mar 1996, David L. Prychitko wrote: > On Mon, 18 Mar 1996, Matt wrote: > > > Used to follow a band out of NY called "The Kingsnakes" > > Lead singer and harp player was some of the best stuff I've > > ever encountered. Guy's name was Pete McMahon. > > I understand the Kingsnakes broke up in the early 90s and > > I'd like to see if Pete has been recording any since then. > > > > > Any leads?> > The Kingsnakes were based in Syracuse and you're right, they broke up. > If I recall correctly McMahon now plays in the latest resurrection of > Savoy Brown (with Kim Simmonds, of course) and they just put a CD out > last year. > > (Kim Simmonds lives somewhere just outside of... Oswego, NY) Pete McMahon recently left Savoy Brown and is in the process of putting together a group of his own. Bill Forrester ========================================================================= Date: Tue, 19 Mar 1996 11:47:32 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Where is the 'crossroads?' Comments: To: roger.lew.struve@medtronic.com On March 19, Delta Doc Rogers asked: >>>It seems to me that the crossroads mentioned in the >>>article was the "same" crossroads that was being sold >>>on T shirts....but what confused everybody >>>was that the crossroads of Highways 61 and 49 was >>>an intersection in Clarksdale, if i recall correctly >>>from memory! Highways #49 and #61 overlap and intersect continually in the area south of Claksdale. A person has dozens of opportunities to photograph road signs showing the two routes 'crossing' each other. That photographer (guy from Detroit) happened upon one random photo angle. John Ruskey, acting director of the Delta Blues Museum, knows which specific intersection is supposed to be 'the place' where Robert Johnson made his pact with the devil. Also remember that there was an 'old 61' which is quite different from the 'new 61' and it is very possible that this site - even if it did exist - was never paved and is still dirt roads out in the fields somewhere. I find it bizarre that I am even addressing this subject seriously since I am a proponent of the theory that this entire 'crossroads deal' is a cop out rationale for those who don't acknowledged that Robert Johnson was one extremely talented musician. (Happy Birthday, Eric . . . . . ) Dick Waterman ========================================================================= Date: Tue, 19 Mar 1996 10:50:33 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Where is the 'crossroads?' In-Reply-To: Message of Tue, 19 Mar 1996 11:47:32 -0500 from On Tue, 19 Mar 1996 11:47:32 -0500 Dick Waterman said: >I find it bizarre that I am even addressing this subject seriously since I am >a proponent of the theory that this entire 'crossroads deal' is a cop out >rationale for those who don't acknowledged that Robert Johnson was one >extremely talented musician. > >(Happy Birthday, Eric . . . . . ) I agree, it takes away from his talent and the work that he put into improving his playing. I'm curious did any of the artists you were associated with ever speak of the "crossroads deal" ....(if you can share any of that info)... I know Tommy Johnson claimed he made a deal up until his death in the 50's... THANKS LW 'I agree on the Happy Birthday to Eric, also' ========================================================================= Date: Tue, 19 Mar 1996 11:00:40 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re: Some new albums (to me) Comments: To: Jim Witteveen Just trying once again to see if my system is sending real communication instead of garbage...glad you caught on to Coco's solo album. I think it and Smokin' Joe Kubek's "Howlin At the Moon" are the best new releases of last year. -Jim _______________________________________________________________________________ Subject: Some new albums (to me) From: Jim Witteveen at INTERNET-SH Date: 03/19/96 10:23 AM Hi all. Just wanted to report on a few albums that I picked up last week - Willie Cobbs' Down to Earth (Rooster Blues), Fred McDowell and the Hunter's Chapel Singers of Como, Miss.'s Amazing Grace (Testament), and Coco Montoya's Got a Mind to Travel (Blind Pig) - they couldn't be more different, but they're all great and I unreservedly recommend 'em all. Down to Earth features a program made up of Cobbs' original songs, including 'You Don't Love Me', and some great backing work by a band that includes, among others, Rawls and Luckett. My only complaint about this album is that I wish the great harp work (which reminds me at times, along with Cobbs' vocals, of Sonny Boy Williamson II) was more up front in the mix. Otherwise this is a great release. If you like Fred McDowell's other work, or if you're a gospel fan, then Amazing Grace is a great album (and one of my favorite Testament releases, to go back to a thread of a couple of months back) - the slide work is great, as usual; the vocals, by Annie McDowell, Fannie Davis, Grace Bowden, and James Collins are down to earth and come straight from the heart, and definitely not as polished as the gospel groups of the fifties era. Good stuff, to say the least! As for Coco Montoya's debut solo album, this one is great. A couple of weeks ago I wrote about his concert in L.A. which I was at, and I'm just as impressed with this album as with his live performance. His guitar work, especially on the slow Blues, literally brings tears to my eyes, and his vocals are powerful and right on the mark (he actually sounds a lot like Jimmy Johnson to my ears). Keyboard player Benny Yee is great in a supporting role (and even better in concert, if you get a chance to see them). A great album!!! -Jim (hndful@uniserve.com) ------------------------------------------------------------ Check out 'Heart and Soul', a new hour of blues, gospel, and jazz every week on SDF-Net Community Radio - http://sdf-radio.colossus.net. ------------------------------------------------------------ ------------------------------------------------------------ Check out 'Heart and Soul', a new hour of blues, gospel, and jazz every week on SDF-Net Community Radio - http://sdf-radio.colossus.net. ------------------------------------------------------------ ========================================================================= Date: Tue, 19 Mar 1996 12:14:50 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Gregg Allman...wasn't he..???? I don't have anything significant to add, I just feel like sending e-mail this morning, so here are today's insignifica from Riffin Rick: :) -Yep, I'd say Gregg probably smoked a fair bit o' dope in his day, and despite those evils, is a pretty fair musician. -Back around 1970 or so, he owned an old Rolls Royce which reportedly was the only Rolls in Atlanta, so when Governor Carter needed a nice car to pick up dignitaries at the airport, etc, he rented Gregg's Rolls. -Even if he IS a bad, bad man...he outlived his brother. Alas, I miss Duane. -And I agree, he DID play a convincing dope dealer in the film RUSH, but that character's head meets the business end of a large guage shotgun in his Mercedes at the end of the film...so we can sleep better now. :) -Hey, he had a kid with Cher with the word "blue" as part of his name! Cool. -My harp player has a dog named Blue. Coincidence? Call Agents Mulder & Scully! -The dog Blue was shot by a pissed off neighbor. More coincidence you say? -If it's true that Gregg ratted out his drug using friends to keep his own hide from a long-term visit to a state penitentiary.....ummmmmmm.....hard to say how many of us would have done time to save the butts of people breaking the law, even if you don't agree with the law. -Lastly, good or bad, Gregg plays a mean, MEAN Hammond B-3 and is a avid lover and supporter of Blues. -Me too. Ciao! F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 19 Mar 1996 11:36:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: King Biscuit Festival dates ddoes anyone out there know if the King Biscuit blues Festival in Helena Arkansas wil be on the first or second weekend in October this year? (Last year it was on the first weekend, after having been on the second for many years.) Thanx, Bonnie ========================================================================= Date: Tue, 19 Mar 1996 11:42:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: eRIC's dAY! Many Happy Returns to Uncle eRIC the "Date Man" from Bonnie the K. In addition to being a priceless resource on this list, he agrees with me often - what more could I ask? -BK ========================================================================= Date: Tue, 19 Mar 1996 10:05:42 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Input:Peavey Delta Blues Classic Isaac said: (in regards to the point to point vs ps thread) >I know that there is not a difference in the actuall tone. But if you >have any problems with a Capacitor or a Resistor, Or if you want to >change something in the amp it is virtually impossible. Capacitors and resistors are a breeze to change on a pc board! You just pop one out, pop the new one in, 5 minutes max. You can even change values if you want to. What is hard is redesigning the circuit on a pc-board circuit, but even that is done all the time. Ever see a bunch of jumper wires and cut traces on a pc board? That's the company doing a "rev" on your product just before it goes out the door. >Also I own a >Fender "The Twin" Which has a The P.C. Board connected to the Pots. And >Those Damn little pots have broken on me several times, couse of the way >they are made I would have to pay over 200$ to fix it. That sucks, its >only pot. Once again, the guitar amp companies tend to do really lousy solid state circuit design. There's no excuse for these kind of breakages. It should not cost that much to repair BTW unles the board is busted. >Along with that if your P.C Board amp happens to get any >dammage on that little board. You can kiss your little amp good bye. >All it takes it a little crack.---- Little cracks a repairable with epoxy and a couple of jumper wires. In the case of really big cracks, swapping out the whole board should not even cost that much. Yeah, it might be a couple hundred or so, but that's less than a new amp isn't it? The whole issue of ptp vs pc board is silly. Both work fine when well designed and pc board construction can save the purchaser lots of money. Now if the amp companies would just learn how to do it.. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu I looked over Jordan, and what did I see An Eldorado comin' after me comin' for to carry me home.. -- Dizzy Gillespie ____________________________________________________ ========================================================================= Date: Tue, 19 Mar 1996 17:53:10 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Muddys Cabin (Reuters clip) Comments: To: bit-listserv-blues-l@uunet.uu.net David Silberberg wrote: > >At 11:03 PM 3/17/96 -0800, you forwarded from a Reuters article: > >> >>Tigrett plans to take the cabin to four or five events annually for >>the next five years and hopes to bring it to Europe as well >>because that's where most blues music is bought. > >>Reuters/Variety >> >> > > >I don't believe it - the part about "that's where most blues music is bought." David, I'm with you; just ask any U.S. blues label where the biggest market is for the music, here or there. There are a bunch of isolated small markets over there, but there is one REALLY big market spread across the entire country here. Scott ========================================================================= Date: Tue, 19 Mar 1996 17:59:01 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Muddys Cabin (Reuters clip) -Reply Comments: To: bit-listserv-blues-l@uunet.uu.net Roger Struve wrote: (edit) >So.....the obvious question is: Did Clarksdale originate (the intersection >looked like maybe it was THE major intersection of the town (at least at >2am Sunday morning after a blues festival and no place to roost it looked >major) around the legendary Crossroads or is there another crossroads >"explanation" for all this confusion? I think they mentioned in Greenwood >that the movie "Crossroads" used a different crossroads and according to >the "locals" was quite fixed up for the movie! The last time I was there the "crossroads" of 49 and 61 (actually not a "cross" but more of a "T" intersection) was on the outskirts of town, just east I believe. (Maybe a local can verify this.) Although it may technically be part of Clarksdale now, there wasn't much town around it. Scott ========================================================================= Date: Tue, 19 Mar 1996 18:15:10 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: LEGACY 66999 : EMMETT MILLER - MINSTREL MAN FROM GEORGIA Comments: To: bit-listserv-blues-l@uunet.uu.net Columbia-Legacy 66999 EMMETT MILLER - Minstrel Man From Georgia (1928-1929) ============================================================================== Finally available to the general public (collectors would have some of these on the long out-of-print The Old Masters OTM 1 album), you can now hear for yourself what all the excitement is about. Dr. Charles Wolfe's notes outline what little we know about this Macon, GA.-born blackfaced singer, comedian & entertainer, whose unique vocal styling included unexpected short falsetto or yodel "vocal" tricks. It was unique at the time, and influenced pioneers like Jimmy Rodgers, Hank Williams and Bob Wills. Of the 20 tracks of this CD, two comedy routines ("The Lion Tamers","You Lose") are included as a hint of how he must have been on the vaudeville circuit. A careful listen to these routines will bring a smile to your face, especially if you enjoy the dry musical humor of Leon Redbone and Roy Book Binder. All 20 tracks are accompanied by his Georgia Crackers, a studio group made up of stellar players like Jimmy Dorsey (cl), Tommy Dorsey (tbn), Manny Klein (tpt) and Eddie Lang (gtr) - players that, in my opinion, raises the quality of the these recordings. The interplay between the players & Emmett Miller is quite outstanding. As Wolfe points out, most of the songs recorded were covers of previously recorded material, a common practice in the 20s as recordings were made so as to sell sheet music. As the arrangements were usually the same, it was Miller's interpretation & singing style that made his versions so endearing - so much so, that Hank Williams' "Lovesick Blues", Eddy Arnold's "Anytime and Bob Wills' "Right Or Wrong" all owe there success to Emmett Miller's orginal versions as heard on this CD. In tracing the origins of many of these songs, readers should be aware that often the originals were recorded by the classic ladies of vaudeville blues, performers like Bessie Brown ("The Blues Singer (From Alabam')"), Lucille Hegamin ("Sweet Mama (Papa's Getting Mad)",Clementine Smith ("Big Bad Bill Is Sweet William Now") and Mamie Smith ("I Ain't Gonna Give Nobody None O' This Jelly Roll", "Lovin' Sam (The Sheik Of Alabam')"). It is possible that the producer of his recordings, Ralph Peer, had a lot to do with him recording these songs, as Peer had been the producer of Mamie Smith, and would go on to form Southern Music & Peer International. No matter, this is one of the best CDs this year, and should not be missed if you enjoy the roots of blues, and of course, if you're a fan of Ray Benson (of Asleep At The Wheel), Roy Book Binder, Ry Cooder, Tommy Duncan, Leon Redbone, Hank Williams and Bob Wills. Contents : (20 tracks, 62 min.) 1. God's River - 2. I Ain't Got Nobody - 3. Lovesick Blues - 4. The Lion Tamers - 5. Anytime - 6. St. Louis Blues - 7. Take Your Tomorrow - 8. Dusky Stevedore - 9. I Ain't Gonna Give Nobody None O' This Jelly Roll - 10. (I Got A Woman Crazy For Me) She's Funny That Way - 11. You Lose - 12. Right Or Wrong 13. That's The Good Old Sunny South - 14. You're The Cream In My Coffee - 15. Lovin' Sam (The Sheik Of Alabam') - 16. Big Bad Bill Is Sweet William Now - 17. The Ghost Of The St. Louis Blues - 18. Sweet Mama (Papa's Getting Mad) - 19. The Pickaninnies' Paradise - 20. The Blues Singer (From Alabam') ========================================================================= Date: Tue, 19 Mar 1996 13:36:45 -0500 Reply-To: James Leftwich From: James Leftwich Subject: CONTEST WINNER Thank you to all who entered my CD giveaway contest. We have a winner. Paul Greenbaum congratulations! A copy of Emmitt Miller: The Minstrel Man From Georgia is his. Stay tuned for another CD giveaway. Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" :D come visit me at Jim's Blues N' Brews: http://www.cloud9.net/~leftwich ========================================================================= Date: Tue, 19 Mar 1996 13:46:00 EST Reply-To: edward c liu From: edward c liu Subject: More gearhead stuff (was Re: Input:Peavey Delta Blues Classic) Howdy all, While we're kind of on the topic of gear...(sorry all youse non-guitar-player types), does anybody have any opinions on the new Ampeg reissues of their Jet and ReverbRocket amps? I tried out one of the little Jet-12T's (12" speaker, 15 watts, what looked like a spring-reverb unit and vibrato built-in) with my stock AmStd Strat and found that, if I was *ABLE* to play worth an exon, I could probably do a pretty good Magic Sam impersonation with one of these amps. And there ain't a swatch of tweed on 'em =8^). The 15-watt Jet was running about $350, and I'm guessing that the 35-watt version with the 12" speaker would run about the same price as a Peavey Classic 30. I guess this thread could also extend to general quality of Ampegs back when these amps were new (Don C?)... -- Ed Edward C. Liu | "Don't make me nervous, 'cuz I'm holdin' edwick@cc.bellcore.com | a baseball bat." | -- Big Joe Turner, "Honey, Hush" The opinions in this message are mine and not Bellcore's. Really! ========================================================================= Date: Tue, 19 Mar 1996 10:58:39 -0800 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Re: How Blues-L works now Comments: To: bit-listserv-blues-l@cs.washington.edu I've been thinking about this and I suppose I don't have a problem w/ restricting posts to members (as long as that includes members who are permanently nomail and use the ng as access; our mail server crashes left right and center and listservs are the bane of its existence), but the faq would need to be posted each and every week, so people who want to join would be able to learn how. Adrian ========================================================================= Date: Tue, 19 Mar 1996 13:04:20 -0600 Reply-To: akapil@MEDICINE.BSD.UCHICAGO.EDU From: "" Subject: Re: blues/rock influence Hi, A lot of the lead solos played by the guitarist of Pearl Jam are based primarily on the pentatonic scale. The scale has of course been the mainstay of atleast 90% of all blues leads. Maybe you could take the kids in that direction. I am not a music theory guru but I think a lot of 'zellers will tell you that the pentatonic scale is the essence of a lot of rock we hear today. The contemporary stuff is of course based on older classic rock like Led Zepplin (a band I'm sure most 12 year olds have either heard or heard of). Led Zep guitarist Jimmy Page (though I personally do not consider him to be one for the blues purist) exhausted the pentatonic scale in his lead solos. You could probably even find some covers the band did of songs originally by the blues giants and play it for the tots! You can hear the influences quite clearly. All the best. Adit. >HELP! My brain is not working. I will be doing a short (20 min.) >presentation to a class of 12 year olds on the Delta and the migration >north. Perfect opportunity to bring in the Blues. I want to show the >influence of the blues on rock. Some performers -- Clapton, the Stones, >the Allmans -- are obvious. But to a 12 year old, they are dinosaurs. >Can you help me with some rock performers that have been influenced by >the Blues that would be kewl to a 12 year old? > >Thanks -- I know that you folks will come through! > >/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/ >Debra Eisert "I have a new philosophy - >debra@iglou.com I'm only going to dread one day at >Cincinnati OH a time!" -- Charles Schulz >/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/ > > > >mq > > Aditya Kapil, PhD IBD Research Center Department of Medicine University of Chicago Ph: (312) 702 2283 FAX: (312) 702 2281 ========================================================================= Date: Tue, 19 Mar 1996 18:55:01 GMT Reply-To: "J.J. Perry" From: "J.J. Perry" Organization: Indiana University Subject: Re: House of Blue Lights Comments: To: bit-listserv-blues-l@uunet.uu.net "Lost John wrote: >This song was also recorded by Ben Sidran on his album "Don't >Let Go" in the early seventies. Also done by George Thorogood on his "More George Thorogood and the Destroyers" album. J. J. ========================================================================= Date: Tue, 19 Mar 1996 13:05:04 -0700 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: More Amp Talk In-Reply-To: <199603191807.KAA26569@inet.lasierra.edu> While we're discussing amps here, has anyone had any experience with Fender ProSonic? There's one at my local music store for a whopping $1600.00 Can. A Deluxe Reverb Re-issue is $929.00 BTW. Thanks, RW ========================================================================= Date: Tue, 19 Mar 1996 13:44:37 EST Reply-To: Joseph Leichter From: Joseph Leichter Subject: Buddy Whittington I just saw John Mayall at Lupo's in Providence, RI the other night and was thoroughly impressed by his new guitarist, Buddy Whittington, who seemed to be very Freddy King-like (i.e, same type of phrasing, vibrato, even played a few FK standards-"Big Legged Woman").Aside from what Mayall mentioned about him-- that he was, not surprisingly, from Texas, I know nothing about the man...does anyone have any info on him?? (He had what looked like a late 50's strat that just *sang*!!!) PS: That monster mike will be in town soon...is he worth the 5 bucks? (that is, can he play any Muddy//Jimmy Rogers guitar lines?? Which reminds me, I once saw Pintetop with an *awful* backup band..the guitarist was all flash..since he hadn't bothered to learn the guitar lines to "Mojo", his barre (sp?) chords made it sound like an "oom-paah" sort of thing..Christ, Why don't they just put Akroyd's boyhood home on tour..I'd personally like the opportunity to spit on it....) Arrrrrrrgh ========================================================================= Date: Tue, 19 Mar 1996 19:13:26 GMT Reply-To: Ken Peace From: Ken Peace Organization: U-NET limited Subject: Re: London.Blues Comments: To: bit-listserv-blues-l@uunet.uu.net >Anyone know of any good Blues clubs in London or Liverpool Im Going >To UK next week and would appreciate any help Thanks in advance If you are in Liverpool next wednesday (27th) come down to Hartley's Wine Bar on the Albert Dock, Liverpool where my band Down at Antone's are playing. Liverpool is not a blues city, everyone's too cool and trendy by far, but Hartley's is all there is. Come and say hello, I'm the fat harmonica player in the blue suit. Ken ========================================================================= Date: Tue, 19 Mar 1996 11:13:38 -0800 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Re: Billy Branch on Tour Tom writes: >Harp great Billie Branch and Sons of the Blues are embarking on a eastern >tour this week. I only have the first two dates but will list the entire >tour later this week. Billie does not do many tours so don't pass up this >opportunity to see one of the finest harp players in the world This is a great opportunity for those of you on the Eastern U.S. The S.O.B.'s are a really hot group. If you get the opportunity, you owe it to yourself to check them out. Billy & Co. put on an incredible show. They did a two- week stint in California back in December. My wife and I attended virtually every night and were treated to some fabulously electrifying music. The S.O.B.s consist of: Billy Branch. Billy is an incredible talent. He is a true harp hero. He has been playing professionally for nearly 20 years. He spent six years with Willie Dixon and the Chicago Blues All Stars. He learned his trade from some of the best harp players to have walked the earth: Big Walter Horton, Junior Wells, Carey Bell, and James Cotton. He is a very gifted harp player and his singing is very good. He has appeared on over 60 recordings and is one of the most sought after harp players in the world today. Billy recently recorded his second album for Verve / Gitanes and has a new harmonica instructional video geared toward beginners. Carl Weathersby. Carl is an amazing guitar player and possesses one of the most soulful voices around. Carl has been playing professionally for over eighteen years. He learned how to play from Albert King. His recorded work with Billy Branch, Carey Bell and Robert Covington has received tremendous critical acclaim. Additionally, he is an incredibly gifted songwriter. "The Blues Follow Me Around" was recently nominated for a W.C. Handy award. Carl recently recorded his first album for Evidence. Nick Charles. Nick is a great bass player. He also has a boatload of experience having playing with Son Seals for several years. He has been a member of the S.O.B.'s since the summer of '95. Mose Rutues. Mose is a great drummer and a very good vocalist. He has been with the S.O.B.'s since the early 80's. He has also played with Joe Tex and several other notable artists that I can't remember right now. (I guess I just had a brain freeze.) The S.O.B.'s are a fabulous bunch of guys. Every one of them is a warm, friendly person and a very gifted musician and bluesman. They also are very involved in the community spreading the history and tradition of the Blues to the younger generation through the Blues In The Schools program. For the past several years, some of their students have been featured on the Front Porch Stage at the Chicago Blues Festival. So as Billy would say, "Support your S.O.B.'s." Cheers, Joe P.S. I am in no way associated with or related to any of the S.O.B.'s. I am just a huge fan. ========================================================================= Date: Tue, 19 Mar 1996 14:28:00 -0500 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: Input:Peavey Delta Blues Classic Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199603191807.KAA26569@inet.lasierra.edu> Don Cicchetti writes: >Isaac said: (in regards to the point to point vs ps thread) >>Along with that if your P.C Board amp happens to get any >>dammage on that little board. You can kiss your little amp good bye. >>All it takes it a little crack.---- >Little cracks a repairable with epoxy and a couple of jumper wires. In >the case of really big cracks, swapping out the whole board should not even >cost that much. Yeah, it might be a couple hundred or so, but that's less >than a new amp isn't it? Not by much! :-) ========================================================================= Date: Tue, 19 Mar 1996 11:45:46 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: More Amp Talk Ron said: >While we're discussing amps here, has anyone had any experience with >Fender ProSonic? There's one at my local music store for a whopping >$1600.00 Can. A Deluxe Reverb Re-issue is $929.00 BTW. Prosonic? Very nice! I heard it at NAMM, and was quite impressed. Try for a decent discount. At that price range check out some of the Victorias too. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu I looked over Jordan, and what did I see An Eldorado comin' after me comin' for to carry me home.. -- Dizzy Gillespie ____________________________________________________ ========================================================================= Date: Tue, 19 Mar 1996 14:50:32 EST Reply-To: ron kraemer From: ron kraemer Subject: Over-done (?) standards Well, folks, we had our FIRST request for "Mustang Sally" this past weekend. A few "well-oiled" young ladies were screaming for it all during our second set. We've never done it...never even practiced it. Luckily, my drummer knows the words and him and I did a quick learn after the set ended. We played it to open our 3rd set. All I could think was... "We're not in Blues-L anymore, Toto". :) ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters (and in another life....) Ron Kraemer and the Hurricanes ************************************************************ ========================================================================= Date: Tue, 19 Mar 1996 11:51:16 +0000 Reply-To: Rob Moore From: Rob Moore Organization: Netcom Subject: Re: Input:Peavey Delta Blues Classic bengans wrote: > > Guys! > > I ve got a Fender Bassman tweed re-issue that I like very much, but now I > ve tried a Peavey Delta blues Classic amp in the store and it sounded great > in my ears. I m seriousily thinking aboutr changing cause the Peavey is > lighter and smaller but seems to sound very fine for my use. > > Does anybody have any experience with this particular Peavey amp. (Good or bad.) > I d like some blues players opinion before I make the trade. ( If I do). > Thanx. > > Sevenson > "Time is hard baby, and hustling is really on." T-Bone Walker I owned and used a PV Classic 50 2x12 for about 4 months (not the same config. as the 1x15? Delta Classic, but close). I sold it in favor of a beat-up looking but killer sounding '65 BF Deluxe Reverb...here's why IMHO: I didn't need 2 channels (why pay for something I didn't need?). The PV clean channel was OK with the presence knob turned up, but the Deluxe is a MUCH more vibrant and responsive amp. The PV drive channel is fine for high gain Marshall type sound, but nothing a decent stomp box couldn't give you. Granted the PV is a more "versatile" amp, but I wanted the killer clean tone first and foremost. It really boiled down to the output tubes, and I found I don't like EL84's. Of all the players I enjoy listening too, the Fender and 6V6 and 6L6 amps are ever present. To my ears and eyes, the only thing that was "blues" about the PV was the tweed styling...which, as stated in the Amp Summit in GP Mag., only Fender and Carvin have true heritage in making. As per pc board vs. point-to-point, I thought about reliability and the cost of parts and service. My Deluxe is 30 years old and still cooking (having replaced about $30.00 worth of caps and resistors). How much does it cost to service and/or replace a pc board in a modern amp? And what will the PV Classic series be doing in 30 years? I don't know. But I obviously agree with the guy who uses the SF Princeton. In any event, good luck and you're dead on with letting your ears be your guide. ========================================================================= Date: Tue, 19 Mar 1996 15:11:03 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 03/20 B O R N : 03/20 BALES, BURT ( BURTON FRANK BALES ) Born:1916 STEVENSVILLE, MT Career:PIANO / LEADER Style:TRAD / JAZZ With:CHAUNCEY OLCOTT / J. KEIRN BRENNAN / GEORGE GRAFF,JR. BROWN, DONALD Born:1954 HERNANDO, MS Career:PIANO Style:JAZZ With:ART BLAKEY / FREDDIE HUBBARD / LOCKJAW DAVIS CAIAZZA, NICK Born:1914 NEW CASTLE, PA Career:TENOR SAX / CLARINET Style:TRAD / JAZZ / BIG BAND With:JOE HAYMES / MUGGYS SPANIER / LOUIS ARMSTRONG / JACK TEAGARDEN / PAUL WHITEMAN / BENNY GOODMAN CHESTER, BOB Born:1908 DETROIT, MI Career:LEADER Stylew:BIG BAND With:Arnold Johnson / Irving Aaronson / Paul Specht / Ben Bernie / Ben Pollack / Russ Morgan / Joe Harris / Johnny Bothwell / Bill Harris /Herbie Steward / John La Porta CHRISTENSEN, JON Born:1943 OSLO, SWEDEN Career:DRUMMER Style:JAZZ With:BUD POWELL / SONNY STITT / DON ELLIS / DON BYAS / KARIN KROG / KENNY DORHAM /JAN GARBAREK / KEITH JARRETT / PALLE DANIELSSON DIXON, MORT Born:1892 NEW YORK, NY Career:LYRICIST Style:POP / BIG BAND Famous songs: That Old Gang of Mine / Bye Bye Blackbird /I'm Looking Over a Four-Leaf Clover / Would You Like to Take a Walk? / I Found a Million Dollar Baby / River, Stay 'Way from My Door ELGART, LARRY Born:1922 NEW LONDON, CT Career:ALTO SAX Style:BIG BAND With:Bob Astor / Charlie Spivak / Woody Herman / Red Norvo / Freddie Slack / Jerry Wald 1941-1942 GARDNER, KENNY Born:1913 ??? Career:SINGER Style:BIG BAND With:Guy Lombardo from 40s into 70s. MABERN, HAROLD JR. Born:1936 MEMPHIS, TN Career:PIANO / COMPOSER Style:JAZZ McPARTLAND, MARION (MARGARET MARION TURNER) Born:1920 SLOUGH, UK Career:PIANO Style:JAZZ Wife of Jimmy McPartland / Bill Crow / Joe Morello / Benny Goodman NELSON, OZZIE ( OSWALD GEORGE Born:1906 JERSEY CITY, NJ Career:LEADER / TV Style:BIG BAND With: wife Harriet Hilliard / Joe Penner / Bo Ashford / Harry lohnson / Abe Lincoln / father of Ricky Nelson RUSSO, SONNY ( SANTO ) Born:1929 NEW YORK, NY Career:TROMBONE Style:JAZZ / BIG BAND THARPE, SISTER ROSETTA ( ROSETTA NUBIN ) Born:1915 COTTON PLANT, AR Career:SINGER / GUITAR Style:JAZZ / GOSPEL With:Cab Calloway / Lucky Millinder / Marie Knight VAUGHAN, JIMMIE Born:1951 DALLAS, TX Career:GUITAR Style:BLUES WHITEMAN, PAUL Born:1890 DENVER, CO Career:VIOLIN / LEADER Style:BIG BAND With:Henry Busse / Ferde Grofe / Mike Pingatore / Ross Gorman / Harry Reser / Frank Siegrist / Roy Matson /Jim Cassidy / Don Clark / Henry Lange / Wilbur Hall / Chester Haslitt / Billy Murray / Charlie Strickfadden / Jack Fulton / Kurt Dieterle / Mischa Russell / Charles Gaylord / Matty Malneck / Ray Turner / Nat Shilkret / Red Nichols / Jimmy Dorsey / Charlie Margulis / Tommy Dorsey / Mike Trafficante / Bill Challis / Bix Beiderbecke / Frankie Trumbauer / Hoagy Carmichael / Roy Bargy / Lennie Hayton / Bill Rank / Fud Livingston / Harry Goldfield / Andy Secrest / Bunny Berigan / Jack Teagarden, /Charlie Teagarden, / Carl Kress / Frank Signorelli / Murray McEachran / Buddy Weed / Artie Shapiro / Billy Butterfield / Bing Crosby / Al Rinker / Harry Barris / Mildred Bailey / Jack Fulton / Johnny Mercer / Joan Edwards / Dolly Mitchell / Ramona FOR A LISTING OF THOSE THAT PASSED AWAY IN THIS MONTH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Tue, 19 Mar 1996 15:05:43 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re[2]: More Amp Talk Comments: To: Don Cicchetti I think Victorias are going to start closer to $1295, and they're not discounted. My 3 x10" Bandmaster Vic was about $1450. On the other hand, they're worth it, and having examined and lived with Mark's work ( as of today, he's still making them himself, hasn't hired any help yet, but volume is going to force him to soon) they're still handmade by Mark to his very exacting standards. I'd be very confident you wouldn't have any problems with a Vic: on the other hand, my repairman buddy up in NY says he's got droves of the new Fender Blues Deville and such coming in, shoddy worksmanship. One would hope the custom shop line is better put together. -Jim _______________________________________________________________________________ Subject: Re: More Amp Talk From: Don Cicchetti at INTERNET-SH Date: 03/19/96 2:55 PM Ron said: >While we're discussing amps here, has anyone had any experience with >Fender ProSonic? There's one at my local music store for a whopping >$1600.00 Can. A Deluxe Reverb Re-issue is $929.00 BTW. Prosonic? Very nice! I heard it at NAMM, and was quite impressed. Try for a decent discount. At that price range check out some of the Victorias too. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu I looked over Jordan, and what did I see An Eldorado comin' after me comin' for to carry me home.. -- Dizzy Gillespie ____________________________________________________ ========================================================================= Date: Tue, 19 Mar 1996 16:23:31 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is Comments: RFC822 error: Incorrect or incomplete address field found and ignored. Comments: RFC822 error: Incorrect or incomplete address field found and ignored. Comments: RFC822 error: Incorrect or incomplete address field found and ignored. Comments: RFC822 error: Mail origin cannot be determined. Comments: RFC822 error: Original tag data was -> "R.J. Bauman" From: Undetermined origin c/o LISTSERV maintainer Subject: ACL this week Comments: To: Scott Barretta ==========* AUSTIN CITY LIMITS "Los Lobos/Joe Ely" Saturday, 3/23 (9-10:00 pm ET) One of America's best rock 'n' roll bands, Grammy-winning Los Lobos premieres tunes from their new album, "Colossal Head." Roadhouse rocker Joe Ely returns to Austin City Limits to perform new music from his latest album, "Letter to Laredo," featuring the flamenco guitar mastery of Dutch guitarist Teye. Stereo/Surround Sound============ A review in Musician of the new CD mentions a delta blues number as a highlight of the album. RJ Bauman ========================================================================= Date: Tue, 19 Mar 1996 13:49:44 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: More gearhead stuff Ed said: > While we're kind of on the topic of gear...(sorry all youse >non-guitar-player types), does anybody have any opinions on the >new Ampeg reissues of their Jet and ReverbRocket amps? I tried >out one of the little Jet-12T's (12" speaker, 15 watts, what looked >like a spring-reverb unit and vibrato built-in) with my stock AmStd >Strat and found that, if I was *ABLE* to play worth an exon, I >could probably do a pretty good Magic Sam impersonation with one >of these amps. And there ain't a swatch of tweed on 'em =8^). > > The 15-watt Jet was running about $350, and I'm guessing that >the 35-watt version with the 12" speaker would run about the same >price as a Peavey Classic 30. > > I guess this thread could also extend to general quality of >Ampegs back when these amps were new (Don C?)... You know, I can't speak about the old Ampegs. We never used 'em when I was a kid. Always wanted a Marshall, like Jimi's... I have heard that the new Ampegs sound good, and it sounds like you liked the one you heard. The price is certainly right. I'll bet that there are lots of cheap SS components in there for reverb drive and return and other stuff, as well as a SS rectifier. That doesn't mean it don't sound good! Listen closely to it with your guitar, and spend some real time with the amp in the store. (Just don't play "Freebird" dammit...) and see if you like it more or less after an hour. If you are starting to like it less after playing it for a while, think how you'll feel in a week or two... Like the Fender "Blues Deluxe" these Ampegs may be a really nice sounding tube (more or less) amp for cheap. Just know about the shortcuts they took to make it cheap before you buy. There is no free lunch. My hotrod Princeton was about 700.00, my hotrod Vibro Champ was about 900.00, and my Matchless DC-30 was 2900.00 and worth every penny. So it may be the bargain of the decade, or an el-cheapo you sell after 2 months. You decide. In the end, there is great music being made every night on cheap amps, and no one in the crowd minds! The one thing I had a real problem with on these amps was that the one I saw had most of it's knobs missing. I tried pulling on one of the remaining ones, and yes they come off really easy and the pots are these really cheesy 1/8-inch plastic-shaft cheapos. Yes amps get thrashed in the music store, BUT some of the amps hold together on the floor and some don't. Again, look at the price! If it sounds good to you, get it, and watch out for the knobs. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu I looked over Jordan, and what did I see An Eldorado comin' after me comin' for to carry me home.. -- Dizzy Gillespie ____________________________________________________ ========================================================================= Date: Tue, 19 Mar 1996 17:09:00 -0500 Reply-To: "Daryl F. Bernard" From: "Daryl F. Bernard" Subject: Re: Deacon Jones Comments: To: Jim Farris In-Reply-To: <4ilnjh$30i@dfw-ixnews2.ix.netcom.com> Wasn't Deacon Jones a defensive back of linebacker for the LA Rams back in the late 60s/early 70s that earned his fame by taking the heads off of ball carriers with his own special technique of clothslining them? Or, maybe thats not the same Deacon Jones you were talking about...... Daryl ========================================================================= Date: Tue, 19 Mar 1996 16:09:40 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Jesse Green Comments: To: Tommy Jansson In-Reply-To: <4imk2t$1l5g@columba.udac.uu.se> The last I knew (over ten years ago), Jesse Green was still in Boston, where he relocated from Chicago. Otis Rush had an acetate of an album Jesse recorded, but I don't know if it was ever released. Supposedly he came back to Chicago when Otis unretired in '84 to rejoin Otis, who told him something like "I'm rusty myself, I can't afford to have a drummer who's rusty too." So he played for a bit with Lonnie Brooks, and that ws the last I heard. Maybe Guitar Junior Johnson knows... ========================================================================= Date: Wed, 20 Mar 1996 08:14:04 +1000 Reply-To: Daniel.BRUCE@DBRUCE.LMS.WBC.WESTPAC.TELEMEMO.AU From: Daniel.BRUCE@DBRUCE.LMS.WBC.WESTPAC.TELEMEMO.AU Guys & Gals, How have things been while I've been gone. Unfortunately I cannot resubscribe to blues-l at this stage. It would cause too much mail and the business unit I work for would get charged. I would find it difficult to build a business case for this. However, should you wish to contact me mail me at Daniel.Bruce@bruced.lms.wbc.westpac.telememo.au Anyway the new job is going well. Here is a list of some great albums I have purchased recently, Melvin Taylor & the Slack Band - Evidence . An excellent guitarist with his own style. The Holmes brothers - Jubilation - Real World. What a great album of Gospel tunes. Duke Robbillard - Duke's Blues - This is a fantastic album and probably his best yet. Jay Owens - the Blues Soul of. Got this one cheap, excellent album. Jimmy Rogers - Feelin' good. The Jimmy Rogers tracks are excellent. Three of the tracks are instrumentals by Ronnie Earl I believe. Not in the same class. Anyway, see you guys later. Daniel Bruce ========================================================================= Date: Tue, 19 Mar 1996 17:23:47 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Honest Tom Pomposello Thanks to all who sent addresses (snail and e) and a phone no for Tom. Y'all can quit now! (I already sent a message to say this, I thought, soI must be doing something wrong.) Chris Smith (chris@skerries.demon.co.uk) 'Positive: wrong at the top of one's voice." (Ambrose Bierce) ========================================================================= Date: Tue, 19 Mar 1996 17:35:22 -0500 Reply-To: Jonny Meister From: Jonny Meister Subject: Copeland's new CD Still looking for someone who has easy access to Johnny Copeland's latest CD on Verve (probably someone in Europe) to get it for me in return for a U.S. CD of your choice..... I think there are other new ones on Verve not out in the States yet either-- Europeans in EC countries should have an easy time getting them (please let me know what else is new on Verve). Thanks. -Jonny ========================================================================= Date: Tue, 19 Mar 1996 17:57:49 -0500 Reply-To: Debra Eisert From: Debra Eisert Subject: Re: blues/rock influence Comments: To: "" In-Reply-To: <199603191904.NAA24296@medicine> Thanks -- I knew that bluezellers would help me get this act together! /*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/ Debra Eisert "I have a new philosophy - debra@iglou.com I'm only going to dread one day at Cincinnati OH a time!" -- Charles Schulz /*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/ mq ========================================================================= Date: Tue, 19 Mar 1996 23:18:17 GMT Reply-To: Steven L Combs From: Steven L Combs Organization: The World Public Access UNIX, Brookline, MA Subject: Gregg Allman's losing sleep. . . I'm sure Gregg Allman is real worried that y'all might pass judgement on his moral fitness to sing the blues. But let's get this straight - it wasn't his drug use that was objectionable but his ratting on others? And by "drugs" we don't include nicotine (more addictive than cocaine or heroin according to Surgeon General Koop) or alcohol (the most heavily abused drug in America). So, Gregg is being dismissed for turning in "drug" users, by people who allegedly don't use "drugs". Yeah, right. I can smell hypocrites burning in their own fat. ========================================================================= Date: Tue, 19 Mar 1996 23:28:07 GMT Reply-To: Jeffrey Daniels From: Jeffrey Daniels Organization: UMR Missouri's Technological University Subject: Corey Harris Live? Comments: To: bit-listserv-blues-l@uunet.uu.net I am going to see Corey Harris this Friday in St. Louis and I was wondering if anyone had seen him recently and what did you think? Jeff The happiest I've ever been Is when my feet are on the road to sin... M.Ball All I want is less to do, more time to do it, and more money for not getting it done. Is this not the greatest time in the history of the world to be a beer drinker? ########################################################### # Jeff Daniels # # JAD@UMR.EDU # # 573-368-3530 # # Home Brewer, DJ, Music Reviewer, and Slacker # # # ########################################################### ========================================================================= Date: Tue, 19 Mar 1996 19:40:46 -0500 Reply-To: "jose.eric.s.maglanque" From: "jose.eric.s.maglanque" Subject: have Dobro, will travel... ... for the first time in decades here in manila a local store has started distributing Dobro guitars. the wood-bodies fetch for approx. $1,500, steel for $2,700... i'm pretty sure i'm not gonna get enough money to buy any of these in this lifetime but i was wondering: are these prices fair? how much does these kyna guitars cost in yer parts? how about all-steel bodied Nationals --- new and/or used (which is what i really want)? private responses pls... thanks y'all... ========================================================================= Date: Tue, 19 Mar 1996 16:46:25 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Gregg Allman's losing sleep. . . Steven L Combs said: > I'm sure Gregg Allman is real worried that y'all might pass >judgement on his moral fitness to sing the blues. But let's get this >straight - it wasn't his drug use that was objectionable but his ratting >on others? And by "drugs" we don't include nicotine (more addictive than >cocaine or heroin according to Surgeon General Koop) or alcohol (the most >heavily abused drug in America). So, Gregg is being dismissed for >turning in "drug" users, by people who allegedly don't use "drugs". >Yeah, right. >I can smell hypocrites burning in their own fat. Sooo drugs iz drugs! is that it? Oh jeez, hasn't this tired old song-and-dance died yet? Hey Steve! The 60's are over. 1. The comments about Gregg were largely in jest, though his behavior over the years has certainly caused some loss of respect to occur. You will not restore that respect with THIS argument. 2. Do you think *only* people who NEVER use tobacco, booze, illegal narcotics or cheeseburgers can speak out against drugs?? Do you think that the brain damage/memory loss/character deterioration caused by years of weed/coke/whatever illegal drug use can be excused by pointing at Miller Lite and Marlboro's and squealing: "Hypocrites! Hypocrites!!" ???? Well just keep squealin' son, maybe in a thousand years someone will buy that line.... Hell, *they're* drinking a rumncoke dammit! It's OK for me to smoke dope every day and be stupid!! They're HYPOCRITES! That's spelled: H-uh...-Y-P-O-C-R-Y....no wait I! yeah I-T-E-S. so there. oh, what were we talking about?? The use of one drug DOES NOT justify the use of another. The logical connection is not there unless you are trying really hard to justify using or selling illegals. Oh, and by the way, it was the *drug culture* that slammed Gregg the hardest for turning in his roadie. Not the "hypocrites". Personally, I think it may be time for legalizing drugs, registering addicts, and investing our millions in education/prevention, but this list is concerned with the Blues. As far as Gregg goes, he's got some real strong points and some weak ones. Would he have less weak points with less drug abuse? Maybe. But in the end, it's either on the disc or it's not. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu I looked over Jordan, and what did I see An Eldorado comin' after me comin' for to carry me home.. -- Dizzy Gillespie ____________________________________________________ ========================================================================= Date: Tue, 19 Mar 1996 19:47:52 EST Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: Buddy Whittington Hi Joseph et al, I saw Mayall and co. at the Iron Horse in Northampton, MA last night and was also impressed with Buddy's playing.He's been with John for about three years now and I've seen them a few times since he joined the Bluesbreakers. I was impressed the first time I saw him shortly after he joined, but last night noticed how he's proges- sed since that first time. Buddy is from Fort Worth (I'm sure we have someone from that area in our midst who can provide some details) and after opening for John one night, he gave his card to John expecting absolutely nothing to come of it. When Coco left, John called and Buddy jumped at the chance. What impressed me as much (if not more than) as his playing last night was how friendly he is. Even when some loud drunk people approached him and acted like jerks, he went far out of his way to be nice to them. While I didn't catch all the details (see above louts), he said his guitar is some- what of a "mongrel." The body is late 50's or early 60's, but the neck and perhaps other parts have been replaced. BTW, the Bluesbreakers have a new bass player, John Paulus. Anybody have any info about him? They're headed for The Turning Point in (I think) Piermont, NY and then to Alex- andria, VA. Dave Carpenter Blues Music Director WHUS-FM University of Connecticut Storrs, CT http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Tue, 19 Mar 1996 19:47:55 EST Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: Sherman Robertson/Syracuse Fans of Sherman in Southern New England can see him at The Maple Tree Cafe in Simsbury, CT on Friday March 22nd and at Theodore's in Springfield, MA on Sat- urday March 23rd. Dave Carpenter Blues Music Director WHUS-FM Storrs, CT http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Tue, 19 Mar 1996 19:27:29 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: ACL this week Comments: To: rjbauman@iquest.net In-Reply-To: FWIW, the new Los Lobos album definitely has a lot of blues feel about it. Of course it also has a little funk, country, mexican etc. I've only just got the album, but after 1 listen I'm already hooked. It features some tremendous guitar as well. Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Tue, 19 Mar 1996 20:36:41 -0500 Reply-To: drum0909@GROVE.UFL.EDU From: drum0909@GROVE.UFL.EDU Subject: newsletter What does it cost to subscribe to your email newsletter? Thank you, Steve Peterson ========================================================================= Date: Wed, 20 Mar 1996 01:45:19 GMT Reply-To: Weidel From: Weidel Organization: Not at This Time Subject: Re: Robert Pete Williams & Angola Prison Comments: To: bit-listserv-blues-l@uunet.uu.net In article <96Mar14.161719pst.34804-19502+616@haven.uniserve.com>, Jim Witteveen wrote: > >March 14th marks the birthday of Robert Pete Williams and I thought about him > >last night when I went to see the film :"Dead Man Walking," which is about a > >convict on death row at Angola State Prison. Robert served seven years in > >Angola and might well have died there (he was sentenced to 'natutral life') > >if Dr. Harry Oster had not recorded him there. > > Two questions from someone who knows next to nothing about RP Williams: Why > was he there (Angola), and why was he released? I'd love to have this > cleared up for me. Thanks! Jim He did time for murder. Robert Pete always claimed it was self-defense. I believe Oster had something to do with his release, evidently the Louisiana authorities felt he could be another Leadbelly. Bob Weidel ========================================================================= Date: Tue, 19 Mar 1996 18:01:36 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Gregg Allman's losing sleep. . . If I remember an article I read (it was in Guitar World a few years back) it seemed that the roadie who Greg Allman allegedly turned in for drugs willingly took the heat for Greg. Greg and the roadie worked out a deal and the upshot was that the roadie did a few years in prison but recieved a house and others 'gifts' from Greg when he finished his sentence. I think that is what happened. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Tue, 19 Mar 1996 18:08:33 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Mercury Blues Box postponed AGAIN Sigh. I just got a call from PolyGram Records telling me that the LONG-awaited Mercury Blues Box, last scheduled for June release, is not put back till, they hope, August. Or MAYBE September but they hope August. I hope so too. Mary Katherine Aldin (with involvements as associate producer, one of the annotators, and the one who gets the largest number of "why's it not out yet?" questions via private email from listmembers). ========================================================================= Date: Wed, 20 Mar 1996 02:05:41 GMT Reply-To: Jim Farris From: Jim Farris Organization: Netcom Subject: Re: Deacon Jones Hi All, I have to correct a previous posting. Deacon Jones was listed on his press information as performing at the Crossroads Blues Festival in Greenwood, MI. It should have been Greenwood, Mississippi. I guess that it's supposed to be the Crossroads where by legend Robert Johnson made his deal with the devil. "Daryl F. Bernard" wrote: >Wasn't Deacon Jones a defensive back of linebacker for the LA Rams back >in the late 60s/early 70s that earned his fame by taking the heads off of >ball carriers with his own special technique of clothslining them? > >Or, maybe thats not the same Deacon Jones you were talking about...... > This Deacon Jones plays a super-bad Blues organ. He's performed with just about everybody that's anybody in the Blues and Rock World. Among these notable artists are John Lee Hooker, Freddie King, Curtis Mayfield, Gregg Allman, and on and on and on. Jammin' Jim Farris KKUP 91.5 FM ========================================================================= Date: Tue, 19 Mar 1996 21:52:20 EST Reply-To: "David A. Pimmel" <103300.3331@COMPUSERVE.COM> From: "David A. Pimmel" <103300.3331@COMPUSERVE.COM> Subject: Re: How Blues-L works now Just thought I would add my 2 cents as someone who has dealt with this before. 1. The list was never set up to prevent posting from the newsgroup. That would require a fair overhead of setup, etc. and would require a more formal process of getting it approved internet wide. I felt the additional hassle of getting it set that way was not worth the effort at the time. I still don't, but then I wouldn't have to put the effort in, so it is not really my decision 2. The increase of error traffic is not related to the newsgroup posting problem. If anything it is simply related to the phenomenal increase in net utilization. There are simply just a lot more people out there and a lot of them are new to this stuff and make mistakes and cause problems for the rest of us. Frankly, it is just the nature of the beast, and there is not much we can do but be forgiving and help them learn not to do it anymore. 3. For returned e-mails, I found the problem is generally in the receiver box. Preventing newsgroup post will do nothing to reduce it except maybe reduce the number of messages on the list and aggrevate certain users. The quickest and easiest way to handle a misbehaving address is to set that user to NOMAIL 24 - 48 hrs after the problem starts happening. 5000 error messages is very high, but if you don't act on them quick it does seem possible. I was getting a couple hundred but a misbehaving address would get shutdown quickly so the number never rose to high. 4. I think getting the FAQ automatically sent is a good idea. 5. Maybe the solution needed is to increase the number of owners so one person is not responsible for handling all the error messages. That way, hopefully, the problems can get addressed quicker and resolved quicker. I know from experience that doing all the error handling by yourself is a lot of work. When I was doing it, I fortunately was a student so I had the time to do it. I wouldn't have that time now and would probably be suffering under the burden as Alan is, falling behind, and having it pile up even faster and higher. Alan, believe me, you have my sympathy handling error messges and this is not meant in anyway to be critical of you or the job you have done. Hmmm, maybe I exceeded my 2 cents. Sorry David Pimmel 103300.3331@compuserve.com ========================================================================= Date: Wed, 20 Mar 1996 03:01:32 GMT Reply-To: Jim Farris From: Jim Farris Organization: Netcom Subject: Gregg Allman's Heavy Blues This series of Gregg Allman threads really gives me the Blues. The Blues isn't about drugs or alcohol. It's about the misery that led to the drugs and alcohol. Gregg's had plenty of misery, I'm sure. He definitely doesn't need any more from Blues-L. Steven L Combs wrote: >I'm sure Gregg Allman is real worried that y'all might pass >judgement on his moral fitness to sing the blues. I don't know about that. An old friend of his (who will remain nameless) told me that he's really sensitive to criticism. He takes bad reviews personally. If he had a computer (fortunately for some of you, he doesn't), he (through a third party) might flame some of those that criticize him. He (or his attorney, who is very good I might add) might even take legal action. That would be a big shock, wouldn't it? >But let's get this >straight - it wasn't his drug use that was objectionable but his ratting >on others? And by "drugs" we don't include nicotine (more addictive than >cocaine or heroin according to Surgeon General Koop) or alcohol (the most >heavily abused drug in America). So, Gregg is being dismissed for >turning in "drug" users, by people who allegedly don't use "drugs". >Yeah, right. >I can smell hypocrites burning in their own fat. I hear you loud and clear. "Let he (or she) who is without sin cast the first stone," said Jesus Christ, the Son of Man. Take a lesson from The Great Master. Those of you that condemn Gregg Allman may do so to yourselves, out of your own mouth. Jammin' Jim Farris Late Night City Blues KKUP 91.5 FM ========================================================================= Date: Tue, 19 Mar 1996 22:58:39 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: King Biscuit Festival dates Comments: To: KALMBACH@macc.wisc.edu In a message dated 96-03-19 13:25:18 EST, you write: >ddoes anyone out there know if the King Biscuit blues Festival in Helena >Arkansas wil be on the first or second weekend in October this year? >(Last year it was on the first weekend, after having been on the second >for many years.) > > Thanx, > Bonnie The latest Living Blues is the annual festival issue, which has many festival dates. Its listings include: King Biscuit is Oct 10-13 Delta Blues is Sept 21 and Sunflower is Aug 2-4 Tom Freeland ========================================================================= Date: Tue, 19 Mar 1996 20:50:10 -0800 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Re: Los Angeles Clubs/Dates Comments: To: David Goldstein In-Reply-To: <2.2.16.19960319095530.3aaf5134@ipof.fla.net> HMmmm, I always thought that was Sleepy John Estes, but I may be wrong? Isaac On Tue, 19 Mar 1996, David Goldstein wrote: > I will be LA from May 15-19. Would love to see some blues. Staying in > Marina del Rey. What's up?! > If the river was whiskey And I was a diving duck, > I would dive to the bottom and never would come up.. > > McKinley Morganfield > ========================================================================= Date: Wed, 20 Mar 1996 07:05:23 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Radar Labs 23 Subject: Re: Was Samuel Barber a Bluesman? Comments: To: bit-listserv-blues-l@uunet.uu.net On Mon, 18 Mar 1996 19:41:15 +0000, Pat Hertel wrote: > The Adagio you are referring to was the >"theme music" for the movie "Platoon" How about Antonin Dvorak? His Symphony No. 8 (New World) is based on African-American spirituals from the trun of the century. _-_-_-_-_-_-_-_-_-_-_-_-_-_ WARLORD THIS SIG! Kevan Smith http://www.rlabs.com/congress/ <-- Perth shpx lbh, lbh jbeguyrff fnpx bs fuvg! _-_-_-_-_-_-_-_-_-_-_-_-_-_ WARLORD THIS SIG! ========================================================================= Date: Wed, 20 Mar 1996 07:07:15 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Radar Labs 23 Subject: Re: Gregg Allman.....wasn't he..... -Reply Comments: To: bit-listserv-blues-l@uunet.uu.net On Mon, 18 Mar 1996 13:30:00 -0600, T-Bone wrote: >On Mon, 18 Mar 1996, Roger Struve wrote: > >> Actually, PW, i was being serious with this post.....here is my logical >> precept complete with premises and conclusion: >> >> 1. Blues is the language of the heart, 2. A low life character has >> compromised his "heart". Conclusion: Blues from a low life character >> might be undesirable. > >Then explain Skip James. Hardly a gut you'd want to hang out with, but >when you hear his Paramount recordings, ... And don't forget convicted murderer Huddie "Lead Belly" Ledbetter, whose songs are sung by children around campfires to this day. _-_-_-_-_-_-_-_-_-_-_-_-_-_ WARLORD THIS SIG! Kevan Smith http://www.rlabs.com/congress/ <-- Perth shpx lbh, lbh jbeguyrff fnpx bs fuvg! _-_-_-_-_-_-_-_-_-_-_-_-_-_ WARLORD THIS SIG! ========================================================================= Date: Tue, 19 Mar 1996 07:45:16 GMT Reply-To: Jack Oudiz From: Jack Oudiz Subject: Re: Willie Mitchell Comments: To: bit-listserv-blues-l@uunet.uu.net I HIGHLY commend the recently issued Hi Records 3-CD box set. Lots of the GREAT Al Green, Ann Peebles, Syl Johnson, OV Wright and of course Willie Mitchell. It goes for about $30 and worth every penny of it. Great liner packet too with lots of pix. And yeah Bonnie, Tear Your Playhouse Down is one helluva tune. Peebles is vastly under-recognized as one of the great voices and stylists of the past 3 decades. ========================================================================= Date: Wed, 20 Mar 1996 02:58:32 -0500 Reply-To: VentRec From: VentRec Organization: America Online, Inc. (1-800-827-6364) Subject: Re: VENT RECORDS Comments: To: bit-listserv-blues-l@uunet.uu.net Domenic, I can help you get a message to Vent Records--I worked for them for a short while helping to get the web page up at http://dbtech.net/ventblues. I talked to them today and it seems that lightning took out their computer so they haven't been able to check the E-mail. Anyone with messages for them can contact me and I'll pass them on. You can fax them at 1-205-980-8087 or E-mail me at McRocken@dbtech.net Thanks, Mike McCracken ========================================================================= Date: Wed, 20 Mar 1996 08:42:53 GMT Reply-To: marc borms From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Keb'Mo' in Europe Comments: To: bit-listserv-blues-l@news.Belgium.EU.net I just read in the fantastic 'Blues Gazette' that Keb'Mo' will be in Holland on May the 4th at the Moulin Blues Festival. Does anyone have some more info about a Keb'Mo' tour in Europe during those days, or is this a single European concert ? Is he comin' to Belgium too ? Please give me some private e-mail if you know ... embee. ========================================================================= Date: Wed, 20 Mar 1996 02:08:20 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: BOT Playlist 3/17/96 Comments: To: Blucebird@aol.com, burnside@teleport.com, codeblueus@aol.com, daveb@oboe.rounder.com, bluesjazz@aol.com, aqm@earthlink.net, Harp-L@garply.com, Blacktnola@aol.com, JM1370@aol.com, LKnight1@aol.com, malaco@misnet.com, leslier@rounder.com, rsprblues@aol.com, shayq@banjo.rounder.com, blues@tiac.net, VentRec@aol.com Stan Ruffo Productions 800 N. Ben Maddox Way - Suite 2200 - Visalia, CA 93292 vox/fax (209) 625-6049 - email, steamin@valleynet.com http://www.valleynet.com/~steamin "Blues On Tap" every Sunday at 8pm Subject: Playlist 1196 - Commercial Radio Date: Mar. 17, 1996 8pm-10pm Station: KI00 99.7fm (K-eye-oh-oh), Visalia CA Program: "Blues On Tap" with Steamin' Stan Ruffo Artist Album - Title Label Track Willie Bryant Blues Around The Clock Delmark 1 Joey Razor Joey Razor and The BluesHectic 8 Long John Hunter Border Town Legend Alligator 1 Tre' Delivered For Love JSP 9 The Movers Love My Baby 3 Tab Benoit Standing On The Bank Justice 2 The Hoax Sound Like This Code Blue 4 Joe Bell Doctor Blade Big Hand 8 Camille Howard X-Temporaneous Boogie Specialty 23 Richard Hunter The Act of Being Free inTurtle Hill 2 Pat Boyack On The Prowl Bullseye 1 Howlin' Wolf Chicago Blue Tomato 3 Rev. Billy C. Wirtz Songs of Faith and InflaHightone 3 Allman Brothers Blues Fest of the 70's Rhino 12 John Primer The Real Deal Code Blue 6 Coco Montoya Gotta Mind To Travel Bling Pig 2 Gary Moore Blues for Greeny Charisma 2 Freddie King Live At Electric BallrooBlack Top 1&2 Tommy Castro Exception To The Rule Blind Pig 7 Steamin' Stan Ruffo Live At The Bastille 2 Buddy Moss Messed Up In Love Columbia/Leg 2 Robert Lucas Layaway Audioquest 4 Little Richard Shag On Down By the UnioSpecialty 10 Joe Turner / Jimmy WitheJoe Turner meets Jimmy WPablo 1 Junior Wells Hoodoo Man Blues Delmark 6 "Blues On Tap" reports to The Hard Report and Living Blues http://www.valleynet.com/~steamin/bot.html The Blues On Tap Blues Cruise - October 11, 1996 -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 ========================================================================= Date: Wed, 20 Mar 1996 06:55:04 -0500 Reply-To: David Rotenstein From: David Rotenstein Subject: Sugar Blue on the WWW Please drop by Ziggy's Blues WWW Site for a new interview with Sugar Blue. The address is: http://www.sas.upenn.edu/~drotenst/ Also Available are interviews with: Roy Book Binder Chubby Carrier Sun Ra Koko Taylor Bob Margolin Saffire -- The Uppity Blues Women David "Honeyboy" Edwards B.B. King Luther Allison Tinsley Ellis Little Charlie Baty C.J. Chenier Sweet Honey in the Rock H-Bomb Ferguson ZZ Top Li'l Ed Williams John Lee Hooker ========================================================================= Date: Wed, 20 Mar 1996 13:10:15 GMT Reply-To: Tommy Jansson From: Tommy Jansson Organization: Uppsala university Subject: Re: Jesse Green Comments: To: bit-listserv-blues-l@uunet.uu.net Whatever happened to Otis Rush longtime drummer Jesse Green? I know that=20 he started his own bluesband in 1980, but that=B4s quite a long time ago.= .. Does he still play? Has he made any recordings?=20 Tommy ========================================================================= Date: Wed, 20 Mar 1996 08:25:26 -0500 Reply-To: FORCELLAD@CCSUA.CTSTATEU.EDU From: Domenic Forcella Subject: Vent Records, Charlie Sayles, Bill Dicey Request Thank you for all your help. I'm waiting for some new cdsat this very minute. Domenic Forcella Traveling with the Blues ========================================================================= Date: Wed, 20 Mar 1996 13:13:36 GMT Reply-To: Tommy Jansson From: Tommy Jansson Organization: Uppsala university Subject: re Willie Kent albums Comments: To: bit-listserv-blues-l@uunet.uu.net Willie Kent has made several albums in the last few years. (At least two=20 on Wolf and two on Delmark) I think he recorded om MCM in the late=20 seventies also. I have the BOg Boy recording, (I like it very much) Which one should I buy? Which one has the best sound, songs and=20 musicians? I=B4m too hurt to write any more..... Tommy=20 ========================================================================= Date: Wed, 20 Mar 1996 08:26:45 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Pointers from the inside ... Just want to share what's been going on lately for me and what I see as one of the most valuable assets to blues-l. I have a rel- atively extensive blues collection of CD's and when I am looking for a what to listen to the choices sometimes are overwhelmingly large. I also found myself listening to the same favorites over and over. Recently I changed my selection process. I follow what is being talked up on blues-l and if I own it I play it. The results have been a joy. Yesterday when once again I was looking for a listen-to I remem- bered the chit chat on Lefty Dizz and Ed's review of it. I have owned that CD for a long while and didn't really remember all of it so I popped it on. I remember it being good but not as truly good as it sounded yesterday - thanks all and keep up the chitty chat, makes my pickin' easier. Also thanks to Art for mentioning the new Delmark Apollos. I had them and after his rec I replayed them and yup another good lis- ten to. Caveat - yes I am affiliated with Ed, but hey I still follow his picks. Barry WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Wed, 20 Mar 1996 08:33:00 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: The blues are about ... [was Gregg Allman] > Blues isn't about drugs or alcohol. It's about the misery that led to > the drugs and alcohol. This is, in my opinion, one of the most widespread misconceptions about The Blues. The Blues is NOT about misery at all. For the most part, the blues is entertainment music. Unlike gospel, which is about the miseries of this world and how we'll only escape them in the next, blues is escapist music, to be sing at parties and in Juke Joints. Very few classic blues singers experienced the specific things they sing about -- they were performers and writers. (Try to imagine what John Lee Hooker would be like as a person if he ever experienced even 1% of the things he sings about!) This is not to say that blues doesn't include a lot of songs about sadness and heartbreak -- but so too does opera and middle-of-the- road pop. What sets blues apart is is roots in African-American culture and life, and its special dramatic forms, which are quite unlike the dramatic forms of white America. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Wed, 20 Mar 1996 08:42:57 EST Reply-To: levyt@RL.AF.MIL From: Toby Levy Subject: Re: Kingsnakes Didn't the harp player for the Kingsnakes go off to tour with the reincarnation of Savoy Brown? ========================================================================= Date: Wed, 20 Mar 1996 08:38:14 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: How Blues-L works now Comments: To: "David A. Pimmel" <103300.3331@compuserve.com> All this has gone quite astray, with people arguing against things I never proposed. I will try to simplify my suggestions. All I am proposing is that Blues-l be set so that only members can post to it. The newsgroup would be considered a member. If this were so, bouncebacks, and error messages could not go out to all the members like they have been doing. The error messages will still arrive at the listserv but they won't be posted to the whole group. In addition, if the messages leaving the listserv had Blues-l's address in the "Reply To:" field (and I know they can be set that way) then error messages won't come directly to posting members either. (participants would have to realize that simply hitting reply would send the reply to Blues-L and not the individual) Right now, mail coming to the listserv from any address at all gets posted to all members. That is not the way it's supposed to work. All of this is separate from the problems Alan is experiencing trying to keep up with this busy group. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Wed, 20 Mar 1996 08:51:06 EST Reply-To: levyt@RL.AF.MIL From: Toby Levy Subject: Re: Blues Revue Cover Boy Normally the day the Blues Revue arrives I sit down and read it from cover to cover. This time I have had it sitting around for a couple of weeks and I've barely been able to open it up because of that reprehensible heel on the cover. Not only is he a less than admirable role model as a human being ( as others have mentioned, there are lots of bad boys and girls in the biz), but he has been living off his dead brother for his entire career. Didn't Cher (no prude) dump him because she couldn't get him off heroin? I remember the Duane Allman led Alman Brothers band. They were hot. Then he died and I remember the first album to come out after that and it was like nowhere, which is where the band has been ever since in my opinion. Geez, there's about 99.9% of the musicians who play blues I'd rather see on the cover of a blues magazine. This is a tragic error. It was the last issue of my subscription and I wasn't going to renew, but then they sent me a free cd offer and I took the bait. Can a "Charles Manson sings the Blues" cover be wating for me at some point in my next subscription? Toby ========================================================================= Date: Wed, 20 Mar 1996 08:46:44 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Los Lobos album Comments: To: Rob Varak On 19 Mar 96, Rob Varak had this to say: > FWIW, the new Los Lobos album definitely has a lot of blues feel > about it. Of course it also has a little funk, country, mexican etc. > I've only just got the album, but after 1 listen I'm already hooked. It > features some tremendous guitar as well. I heard one cut on the radio yesterday that sounded "grunge"-like. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Wed, 20 Mar 1996 09:00:14 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: The blues are about ... [was Gregg Allman] Comments: To: Ian Angus On 20 Mar 96, Ian Angus had this to say: > > Blues isn't about drugs or alcohol. It's about the misery that led to > > the drugs and alcohol. > > This is, in my opinion, one of the most widespread misconceptions > about The Blues. > > The Blues is NOT about misery at all. For the most part, the blues is > entertainment music. Unlike gospel, which is about the > miseries of this world and how we'll only escape them in the > next, blues is escapist music, to be sing at parties and in Juke > Joints. Very few classic blues singers experienced the specific things > they sing about -- they were performers and writers. (Try to imagine > what John Lee Hooker would be like as a person if he ever > experienced even 1% of the things he sings about!) > > This is not to say that blues doesn't include a lot of songs about > sadness and heartbreak -- but so too does opera and middle-of-the- > road pop. > > What sets blues apart is is roots in African-American culture and > life, and its special dramatic forms, which are quite unlike the > dramatic forms of white America. While I agree totally with Ian, that the idea that Blues is about misery is a misconception, (I was tempted to post the same thing) I cannot agree with his statement that Gospel is about misery. I'm not a very religious person, to say the least, but I am a big fan of Black Gospel music. In my experience most of it is quite joyous, both literally and emotionally. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Wed, 20 Mar 1996 08:09:09 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: The blues are about ... [was Gregg Allman] In-Reply-To: Message of Wed, 20 Mar 1996 09:00:14 +0000 from The blues is about FEELING 100%, PERIOD. You can be feeling good and Pitch A Wang Dang Doodle or You Can Lose Your Woman/Man... I think it's up to the performer/whether or whether it's blues or not. I think Gregg and The Bros (in their prime) did more blues than some of the Handy nominees......Just MHO LW ========================================================================= Date: Wed, 20 Mar 1996 09:13:09 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0293 From: "DUTTWEILER.J" Subject: re Willie Kent albums Comments: To: Tommy.Jansson@BIBLUTB.UU.SE Date: Wednesday, 20 March 1996 9:13am ET To: Internet, GO-MAIN.JANSSON@DOASMAIN.SNADS From: DUTTWEILER.J@GOMAIL Subject: re Willie Kent albums In-Reply-To: The letter of Wednesday, 20 March 1996 9:02am ET To be honest I have only heard his "Too Hurt To Cry" CD in it's entirety and one or two cuts off his other Delmark release. ALL of it has been wonderful, and I can *highly* recommend "Too Hurt To Cry." I'm pretty sure that NY CD Blues has reviewed this and at least one of the Wolf releases, check it out at http://www.panix.com/~bsco/ (Yes, I am affiliated, but we ain't selling any-thing). JD ========================================================================= Date: Wed, 20 Mar 1996 09:25:10 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Little Walter/Butterfield Research Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com My friend Ward Gaines, who is not yet on blues-l, is doing some research on Paul Butterfield (for Tom Ellis' series in Blues Access) and Little Walter (for Mike Fritz' documentary on LW). He asked me to pass his email address along to anyone who can hep him out. The address is WardGTak@aol.com If you can help him out in any way, please contact him. Thanks, Steve Levine ========================================================================= Date: Wed, 20 Mar 1996 08:35:26 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: MacLeod's New CD Doug MacLeod called last night and said his CD did not make the release date which was yesterday. He did tell me that there is a fiddle player, who's name I forgot and of course the already mentioned Carey Bell. He said it was not stripped down like he had planned, there is some electric Chicago style blues (I assume that's Carey's role). He mentioned an upcoming gig that will be himself, John Hammond, Keb' Mo and Charlie Musselwhite. That will be a helluva show, I think it's in July (he may have said the fourth). The last recording, "Come To Find" actually made a profit. So look for the CD to hit the stores, probally later this week... He is also looking to tour some, which pleases the hell out of me. LW 'obviously not connected to Doug, just a friend and fan' ========================================================================= Date: Wed, 20 Mar 1996 15:00:42 GMT Reply-To: Art Schuna From: Art Schuna Organization: UW-Madison Subject: Re: re Willie Kent albums Comments: To: bit-listserv-blues-l@uunet.uu.net In article <4ip0a0$1thi@columba.udac.uu.se>, Tommy.Jansson@BIBLUTB.UU.SE says... > >Willie Kent has made several albums in the last few years. (At least two=20 >on Wolf and two on Delmark) I think he recorded om MCM in the late=20 >seventies also. I have the BOg Boy recording, (I like it very much) >Which one should I buy? Which one has the best sound, songs and=20 >musicians? For sound quality, you may prefer the Delmarks over the Wolf recordings since they're done in the studio. For raw emotion and feeling, I much prefer the live Wolf recordings. You can't go wrong either way. I like both but I prefer Willie without the studio polish. Art Schuna ========================================================================= Date: Wed, 20 Mar 1996 10:03:03 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Quit It: / How Blues-L works now In-Reply-To: <199603201344.IAA38972@osceola.gate.net> When is this gonna end. Point made - over and over and over and over. Votes cast - over and over and over and over. We have a listowner and I am sure he will take care of it. If anyone is so concerned about the goings on here than why not take our last listowner's recent advice, & cut the posts to the group & just send our hard working listowner your offer to help out. Time helping is much more useful than time typing. In addition I think it is abominable that our listowner took the flack that he did and only Ian had the decency to apologize. Pooh, pooh, on the rest of us who sliced him or incited others to give him hell with- out an "I'm Sorry". Anybody got anybody blues posts for today? Barry WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Wed, 20 Mar 1996 07:18:20 -0500 Reply-To: David Melton From: David Melton Subject: Re: Blues Revue Cover Boy Comments: To: levyt@RL.AF.MIL >I remember the Duane Allman led Alman Brothers band. They were hot. Then he >died and I remember the first album to come out after that and it was like >nowhere, which is where the band has been ever since in my opinion. Geez, >there's about 99.9% of the musicians who play blues I'd rather see on the cover >of a blues magazine. This is a tragic error. It was the last issue of my >subscription and I wasn't going to renew, but then they sent me a free cd offer >and I took the bait. Can a "Charles Manson sings the Blues" cover be wating >for me at some point in my next subscription? > >Toby I really don't follow Greg Allman and haven't for a long, long time, so I don't know about all this talk about him. But I certainly can agree with what you said about the Allman Brothers when Duane was in the band. He was the soul of that band, and when he died they lost their soul. I saw the band shortly after Duane died and they were still very good. But I saw them again a few months later and the show was a ripoff. How about a 30 second solo for In memory of Elizabeth Reed? I always wondered what was up with that. Years later I got an inside story that 3 days before that Hollywood Bowl concert they had tried to get in to see somebody and were denied entrance. For this, they took it out on the audience and put out the absolute minimum for a show. For that I will never forgive them. You think Duane would have let something like that happen? I seriously doubt it. Dave Melton (I promise no more on this subject, folks) ========================================================================= Date: Wed, 20 Mar 1996 10:26:06 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Quit It: / How Blues-L works now Comments: To: Barry Silverberg On 20 Mar 96, Barry Silverberg had this to say: > When is this gonna end. Point made - over and over and over and over. > Votes cast - over and over and over and over. We have a listowner and > I am sure he will take care of it. If anyone is so concerned about the > goings on here than why not take our last listowner's recent advice, & > cut the posts to the group & just send our hard working listowner your > offer to help out. Time helping is much more useful than time typing. > > In addition I think it is abominable that our listowner took the flack > that he did and only Ian had the decency to apologize. Pooh, pooh, on > the rest of us who sliced him or incited others to give him hell with- > out an "I'm Sorry". > > Anybody got anybody blues posts for today? Barry, If you want to post something about the Blues, go ahead. If you don't want to waste time and space on this topic then why add to it? I started this thread, and my suggestions have been repeatedly misinterpreted as wishing to limit, or end, newsgroup access. That simply isn't true. Sorry about my repeated attempts to make that clear to people, but you have a delete key like everyone else if you are not interested. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Wed, 20 Mar 1996 09:35:28 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Quit It: / How Blues-L works now In-Reply-To: Message of Wed, 20 Mar 1996 10:26:06 +0000 from On Wed, 20 Mar 1996 10:26:06 +0000 P.W. Fenton said: >> >> In addition I think it is abominable that our listowner took the flack >> that he did and only Ian had the decency to apologize. Pooh, pooh, on >> the rest of us who sliced him or incited others to give him hell with- >> out an "I'm Sorry". > >Barry, If you want to post something about the Blues, go ahead. If >you don't want to waste time and space on this topic then why add >to it? I started this thread, and my suggestions have been >repeatedly misinterpreted as wishing to limit, or end, newsgroup >access. That simply isn't true. Sorry about my repeated attempts to >make that clear to people, but you have a delete key like everyone >else if you are not interested. Just for the record: If the time ever comes for a new listowner, Paul Fenton gets my vote. I'M NOT KIDDING LW ========================================================================= Date: Wed, 20 Mar 1996 07:24:17 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Mar. 21 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ADEGBALOLA, GAYE (g/SAFFIRE/ALLIGATOR REC)b. 1944-0321, FREDERICKSBURG, VA ALCORN, OLIVER (sax) d. 1981-0321, NEW ORLEANS, LA 71 ALLEN, LEONARD (owner: UNITED/STATES REC) b. 1900-0321, MONTGOMERY, AL BOSTIC, JOE (gospel/promoter) b. 1909-0321, MOUNT HOLLY, NJ CAMPBELL, WALTER "CHOKER" (tsax) b. 1916-0321, SHELBY, MS CARTER, BO [ARMENTER CHATMON] (g) b. 1893-0321, BOLTON, MS DOUROUX. MARGARET P. (v/gospel songw/pub) b. 1941-0321, LOS ANGELES, CA FENDER, LEO (of FENDER GUITAR) d. 1991-0321, FULLERTON, CA 82 FIELDS, RICHARD "DIMPLES" (v) b. 19 -0321, GRIFFIN, ROOSEVELT (d/KATIE WEBSTER) b. 1933-0321, LAKE CHARLES, LA GRIFFITHS,TED(owner:KOKOMO/HIGHWAY 51 REC)d. 1975-0321, LONDON, UK -- GUY, VERNON (v/IKE TURNER REVUE) b. 1945-0321, ST. LOUIS, MO HOUSE, SON [EDDIE JAMES HOUSE JR.] (g) b. 1902-0321, RIVERTON, MS KING PLEASURE [CLARENCE BEEKS] (v) d. 1981-0321, LOS ANGELES, CA 59 LOZANO, CONRAD (of LOS LOBOS) b. 1951-0321, LOS ANGELES, CA MYERS, AMINA CLAUDINE (p) b. 1942-0321, BLACKWELL, AR PARKER, WILLIAM "WEASEL" (tsax) d. 1992-0321, CLEVELAND, OH 70 REDD, CORA (v) d. 1968-0321, NEW YORK CITY, NY 70 ROSENBERG, NEIL V. (folklorists) b. 1939-0321, SEATTLE, WA SMOTHERS, SMOKEY "BIG" [OTIS SMOTHERS](g) b. 1929-0321, LEXINGTON, MS SPANN, OTIS (p/MUDDY WATERS) b. 1930-0321, BELZONI, MS STONE, ROSIE STEWART(of THE FAMILY STONE) b. 1945-0321, VALLEJO, CA THOMPKINS, RUSSELL JR. (lead/STYLISTICS) b. 1951-0321, PHILADELPHIA, PA THOMPSON, CHARLES SIR (p) b. 1918-0321, SPRINGFIELD, OH ------------------------------------------------------------------------------ ========================================================================= Date: Wed, 20 Mar 1996 10:34:42 -0500 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: More gearhead stuff (NBC) Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199603192151.NAA04947@inet.lasierra.edu> Don Cicchetti writes: >You know, I can't speak about the old Ampegs. We never used 'em when I was >a kid. Always wanted a Marshall, like Jimi's... Well, I can speak for them. I used Reverborockets for years and they were fantastic! Gorgeous tone, a wonderfully compressed sound that made the amp seem much "bigger" than it was, deep, rich reverb and controlled feedback for the asking. Just crank 'em up and use the guitar's volume knob to control the level of overdrive. Nowadays, though you've got to be independently wealthy to afford replacement 7591 power tubes! ========================================================================= Date: Wed, 20 Mar 1996 09:39:34 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Being vocal, easily Can you folks recommend some tunes (that are acoustic delta or can be) that is easy to sing. There are some I can pull off, but some I can't even get close to doing right. So any suggestions would really be helpful. My playing is OK, but I have to work on vocals LW ========================================================================= Date: Wed, 20 Mar 1996 10:35:31 -0500 Reply-To: Vladimir Padunov From: Vladimir Padunov Subject: Request for Columbia House CD Numbers Would it be possible for someone on the list either to post once again or to send me separately a list of blues titles and cd numbers available through Columbia House. The list has not been posted for a while and my file was destroyed by a glitch in my university account. Barry Silverberg informs me that he, too, no longer has a copy of the list. Many thanks. Volodia ============================================================================= Vladimir Padunov padunov+@pitt.edu Dept. of Slavic Languages and Literatures 1421-A Cathedral of Learning voice: 1-412-624-5713 University of Pittsburgh FAX: 1-412-624-9714 Pittsburgh, PA 15260 ========================================================================= Date: Wed, 20 Mar 1996 10:47:22 -0500 Reply-To: "Lost John From: "Lost John Subject: Re: have Dobro will travel... Comments: cc: johnc@vedge.com On March 19, "jose.eric.s.maglanque" inquired about U.S. prices for Dobros and Nationals. I too would like to hear from anybody who could clue me in to the current ballpark prices, particularly for steel-body, round neck new stuff. The last time I tried one was in Burlington Vt. several years ago. It was a Duolian with palm trees etched onto the back and they wanted about $1100 (US) for it - which I thout was pretty fair. However, I suspect it was a lower-end model and that some of their "Cadillac" models could get pretty pricey. I guess the best way to go is private e-mail. Thanks. -- _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ _/ JC /\ _/ _/ ______________ || _/ _/ \__________ / || _/ _/ ________ ___/ John Carley || _/ _/ \______ / johnc@vedge.com || _/ _/ ____ ___/ (514)332-6430 x232 || _/ _/ \__ / Visual Edge Software Ltd. |\||/| _/ _/ _____/ 3950 Cote Vertu, Suite 100 \ / _/ _/ \/ Montreal, Quebec, Canada / \ _/ _/ ( ) _/ _/ \____/ _/ _/ (graduate of the Yogi Berra school of elocution) _/ _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ ========================================================================= Date: Wed, 20 Mar 1996 11:13:38 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Big Bad Smitty--some personal photos Spent yesterday scanning and this morning posting a dozen of my shots of Big Bad Smitty to BLUES WORLD. For those of you who don't know, I've been managing Smitty for six or eight years now and have had some "inside opportunities" to shoot pictures of him. He is recovering from surgery on his feet and will come out for a rare (these days) appearance at the Gabriel Appreciation Day show April 6th here in St. Louis. For more on that show, the press release is posted in BLUES WORLD. Joel Slotnikoff Joel Slotnikoff, Publisher | BLUES WORLD e-mag Box 21652 | http://www.bluesworld.com St. Louis, MO 63109 | Acme Guitar, Blues Estafette TEL (314) 647-2447 | Blues & Rhythm: The Gospel Truth FAX (314) 647-2497 | Roots & Rhythm, Testament Records joelslot@inlink.com | SONO, Vintage Jazz Mart, Wayhi Tapes ========================================================================= Date: Wed, 20 Mar 1996 09:53:22 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: have Dobro will travel... In-Reply-To: Message of Wed, 20 Mar 1996 10:47:22 -0500 from A local store here has a brand new Style O (used but new) for about 1300.00 I paid 1100.00 for my 32 Duolian, I prefer the Duolian over the 'O'. It sounds nastier to my ears. I see them for all kinds of different prices in Vintage Guitar, I suggest buying an issue and seeing what you find. That's where I found mine and I'm pleased LW ========================================================================= Date: Wed, 20 Mar 1996 11:03:42 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Quit It: / How Blues-L works now Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU Comments: cc: Allan Rollins On 20 Mar 96, LW had this to say: > Just for the record: If the time ever comes for a new listowner, Paul Fenton > gets my vote. I'M NOT KIDDING > LW > If the time ever comes, (and there is no reason to think it's here, unless Alan is fed up with it), I don't know that I'd be "running" for the office. We should probably think about David's suggestion of adding a couple of folks with "listowner" access, who could ease the load on Alan. I might be willing to volunteer for that. I sincerely doubt it's an easy job, and Alan deserves our thanks for picking it up when David had to give it up. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Wed, 20 Mar 1996 11:13:45 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re #2: Quit It: In-Reply-To: <199603201531.KAA63006@osceola.gate.net> Paul, Now that you have said it twice - that you started this thread and now that I am aware of it, let me answer your last mail very clearly. 1. re: the delete and your rec. that I use it I've done one better. In my reader I have set the option for PW Fenton to "kill". So when I get mail from you or from blues-l that is fronted from you it just never arrives. Your posts that I respond to are given to me by several kind souls that think they may be of interest, knowing how strong I feel about some subjects. If you had bothered to check any of the headers you'd note that not one is a response to your post or if you mailed me to your mail. 2. re: my posting something about the blues I thought I had earlier re: using blues-l recs for listening, guess you were too busy typing away. 3. re: your desire to make clear your point which has been mistaken Seems not the first time you are taken wrong Paul, more like a biweekly event. 4. re: sorry about repeated attempts to clarify your posts Ever take a moment and think that some of us understood your post, & we just disagree. Not a confusion Paul - we disagree. 5. Don't worry about my getting the rest of this conversation it certainly will get sent on to me. Barry WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Wed, 20 Mar 1996 11:15:51 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Request for Columbia House CD Numbers Comments: To: Vladimir Padunov On 20 Mar 96, Vladimir Padunov had this to say: > Would it be possible for someone on the list either to post once again or > to send me separately a list of blues titles and cd numbers available > through Columbia House. The list has not been posted for a while and my > file was destroyed by a glitch in my university account. Barry > Silverberg informs me that he, too, no longer has a copy of the list. > Columbia House now has an online website that can be searched, browsed, etc. by genre. You can also order right online. http://www.columbiahouse.com/ I've tried it. It works well. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Wed, 20 Mar 1996 08:23:11 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: newsletter Steve said: >What does it cost to subscribe to your email newsletter? > Thank you, > Steve Peterson Your very soul, son...... ;-] DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu I looked over Jordan, and what did I see An Eldorado comin' after me comin' for to carry me home.. -- Dizzy Gillespie ____________________________________________________ ========================================================================= Date: Wed, 20 Mar 1996 11:24:58 -0500 Reply-To: Dave Markovits From: Dave Markovits Subject: Sunnyland Slim Benefit Are any Blues freaks going to the show at Legends tomorrow? It's a benefit for Sunnyland Slim. Proceeds going to his estate or a local charity I presume.(I'm really not sure) Doors open at 5:00p.m. the show is at 9:00p.m. 10 cover. The lineup is Pinetop Perkins, Erwin Helfer, Anne Rabson, and Slim's band the Big 4. Steve Freund on guitar, Bob Stroger on Bass, Sam Burckhart on Sax, and Willie Big eyes Smith on drums. As always there will probably be an amazing lineup of special guests. These always turn into major all-star events. These shows are always phenominal. If you live in Chicago or are going to be here let me know. Talk some Blues, go to the show. I'll be there no matter what. Thanks; David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Wed, 20 Mar 1996 10:27:36 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Re #2: Quit It: In-Reply-To: Message of Wed, 20 Mar 1996 11:13:45 -0500 from On Wed, 20 Mar 1996 11:13:45 -0500 Barry Silverberg said: >5. Don't worry about my getting the rest of this conversation it certainly > will get sent on to me. This is none of my bidness, except I consider you both friends (whether you like it or not). If you set PW up to a "killfile" then why don't you request whoever the "little bird" that sends you PW's posts, to stop sending them to you. It would mkae sense if you wanted to read them , you would not have a a PW killfile.....Get along everybody.If I can still be an active 'eller after the flaming and personal insults thet I receieved I know everyone else can get a long, also. LW ========================================================================= Date: Wed, 20 Mar 1996 11:28:53 -0500 Reply-To: gutber@rz.uni-leipzig.de From: gutber@RZ.UNI-LEIPZIG.DE Subject: Verve releases Comments: cc: jonny@bluesnet.com Johnny Meister asked recently on current blues releases on Verve. They have released meanwhile the following records: Johnny Copeland "Jungle Swing" Verve 527446-2 Larry Garner "Baton Rouge" Verve 529467-2 Gatemouth Brown "Long Way Home" Verve 529465-2 For further releases you may take a look at their web-side http://www.motor.de/bluesnews.html unfortunately the side is in german. Good luck, Thomas ========================================================================= Date: Wed, 20 Mar 1996 08:42:43 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: More gearhead stuff (NBC) Previously: >In article <199603192151.NAA04947@inet.lasierra.edu> Don Cicchetti > writes: > >>You know, I can't speak about the old Ampegs. We never used 'em when I was >>a kid. Always wanted a Marshall, like Jimi's... Dennis said: >Well, I can speak for them. I used Reverborockets for years and they were >fantastic! Gorgeous tone, a wonderfully compressed sound that made the amp >seem much "bigger" than it was, deep, rich reverb and controlled feedback for >the asking. Just crank 'em up and use the guitar's volume knob to control the >level of overdrive. Nowadays, though you've got to be independently wealthy >to afford replacement 7591 power tubes! Sounds great! So what do you think of the new ones?? I'd love to hear a review on them from you. The price is great and they look super. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu I looked over Jordan, and what did I see An Eldorado comin' after me comin' for to carry me home.. -- Dizzy Gillespie ____________________________________________________ ========================================================================= Date: Wed, 20 Mar 1996 11:35:36 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Getting Along Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU On 20 Mar 96, ISTS024%UABDPO.BITNET@BROWNVM had this to say: > This is none of my bidness, except I consider you both friends (whether you > like it or not). If you set PW up to a "killfile" then why don't you request > whoever the "little bird" that sends you PW's posts, to stop sending them to > you. It would mkae sense if you wanted to read them , you would not have a > a PW killfile.....Get along everybody.If I can still be an active > 'eller after the flaming and personal insults thet I receieved I know everyone > else can get a long, also. I'll second that. LW and I frequently clash on ISSUES, but I would never want to see him denied access, and I certainly want to hear what he has to say. We ALWAYS calm down and get civil with each other (and we really don't get all that "un-civil" ever). Whatever we both have to say, we are usually fervent, and we both love this music we're here about. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Wed, 20 Mar 1996 11:42:34 -0500 Reply-To: "William E. Forrester" From: "William E. Forrester" Subject: Re: Kingsnakes Comments: To: Toby Levy In-Reply-To: <314FFD54-00000001@nutbar> On Wed, 20 Mar 1996, Toby Levy wrote: > Didn't the harp player for the Kingsnakes go off to tour with the reincarnation > of Savoy Brown? That was Pete McMahon. He recently left Savoy Brown and is forming a group of his own. Bill Forrester ========================================================================= Date: Wed, 20 Mar 1996 16:39:40 GMT Reply-To: bbbean@sheltonlink.com From: bbbean@SHELTONLINK.COM Organization: inlink Subject: Muddy's Cabin - E-mail from Stovall Comments: To: bit-listserv-blues-l@uunet.uu.net per Howard Stovall in thiss morning's e-mail: Contrary to published reports, no deal has been finalized between the Stovalls and HOB. Howard's e-mail did not elaborate. B.B. Bean New address------>bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Wed, 20 Mar 1996 12:11:03 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Muddy's Cabin - E-mail from Stovall Comments: To: bbbean@sheltonlink.com On 20 Mar 96, bbbean@sheltonlink.com had this to say: > per Howard Stovall in thiss morning's e-mail: > > Contrary to published reports, no deal has been finalized between the > Stovalls and HOB. > > Howard's e-mail did not elaborate. > > B.B. Bean New address------>bbbean@sheltonlink.com > Peach Orchard, MO http://www.cris.com/~Bbbean Hmmmmmm... do I smell what's called in the PR business a "trial balloon"? HOB may have leaked that one just to see which way the wind is blowing. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Wed, 20 Mar 1996 12:32:01 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Vanguard Blues Sampler (Review) Today I got a copy of one of a new series of samplers VANGAURD is putting out to show off their catalogue. These are out in the stores. There's a folk one, a Newport Live one, and now, a blues one. The blues one is excellent (the others are quite good too, but off-topic), and, while it may have a lot of stuff you folks already possess, it is very much worth checking out for those of you who like samplers or don't have much of the Vanguard stuff. Vanguard's work in the blues area in the sixties was wildly varied, from rediscovery stuff to the latest thing in Chicago blues of the day, to the edges of folk and blues music. I've enjoyed listening to the sampler a lot. It has liner notes by blues-lister Mary Katherine Aldin, who produced the compilation. From Skip James' TODAY! (probably my favorite of the "rediscovery" blues albums) is "I'm So Glad." There is a very pretty version of "Corrina, Corrina" from John Hurt TODAY! Buddy Guy does a wonderful version of B.B. King's "Sweet Little Angel," with awesome piano behind it, from A MAN AND THE BLUES. From Junior Wells is an intense version of "I'm Your Hoochie Coochie Man." >From the CHICAGO/THE BLUES/TODAY set is Johnny Shines' spine chilling take on "Dynaflow Blues." This may be my favorite 'cover' of a Robert Johnson tune (I'll think about it while I write this review and see if I come with anything else). Also from that set is James Cotton Blues Quartet doing "Rocket 88" and Otis Spann doing "Spann's Stomp." The later is, of course, focused on Spann's piano playing and really rocks (or, I guess, stomps). Charlie Musselwhite does a high-energy blast through "Juke," from his STONE BLUES album. Pee Wee Crayton rocks through "Let The Good Times Roll" from THINGS I USED TO DO. Seigel-Schwall does "I'm A King Bee" with what I suppose is the sound of a bee on the bass? (Mick Jagger once asked quite pertinently "Why would anyone want to hear me sing "I'm A King Bee" when they could hear Slim Harpo sing it?"). This one is ok. There is a sax-heavy reprise of "Hound Dog" by Big Mama Thornton. There is an earnest version of "Rock Me Baby" by Judy Roderick and a version of "Back Door Man" by John Hammond from BIG CITY BLUES that (to my ears) is quite annoying (I'm prepared for Delta Doc to VIOLENTLY DISAGREE but I guess that's life). And while writing this review, I did not think of a cover of a Robert Johnson tune I like better than Shines' "Dynaflow" DISCLAIMER: I am a good friend of Mary Katherine's but that does not mean I don't mean everything I said in the review. Tom Freeland ========================================================================= Date: Wed, 20 Mar 1996 12:42:04 -0500 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: More gearhead stuff (NBC) Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199603201644.IAA04680@inet.lasierra.edu> Don Cicchetti writes: >Previously: >>In article <199603192151.NAA04947@inet.lasierra.edu> Don Cicchetti >> writes: >>>You know, I can't speak about the old Ampegs. We never used 'em when I was >>>a kid. Always wanted a Marshall, like Jimi's... >Dennis said: >>Well, I can speak for them. I used Reverborockets for years and they were >>fantastic! Gorgeous tone, a wonderfully compressed sound that made the amp >>seem much "bigger" than it was, deep, rich reverb and controlled feedback for >>the asking. Just crank 'em up and use the guitar's volume knob to control the >>level of overdrive. Nowadays, though you've got to be independently wealthy >>to afford replacement 7591 power tubes! >Sounds great! >So what do you think of the new ones?? >I'd love to hear a review on them from you. The price is great and they >look super. All I know is that the new ones are a different beast with more power and channel switching. I have not had access to try one. If I do, I'll be sure to report on it. ========================================================================= Date: Wed, 20 Mar 1996 12:46:03 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Those little Ampeg Jets (min. blues content <.05%) Comments: To: edwick@cc.bellcore.com Ed, I haven't seen the re-issue AMpeg Jet series, although I did know that they re-issued them. BUT my harp guy had an original. A 1960 Jet 30, all original. It was a really, really cool amp. Awesome tone for harp, but I never played guitar through it. We only had oe problem with it onstage, and that was that it overheated and basically cut out until you shut it down and let it cool. This was our fault, we were driving it at 100% power, I mean, volume at "11" and in a very user-unfreindly way had slaved it to a bigger Fender amp. Hey, so there's no engineers in my band. :( Anyway, once we figgered out we were overworking the poor baby, it worked great. He absolutely loved that amp, but traded it when he found an even OLDER and fatter sounding 1958 Gibson Falcon. Serious tweed on this one alright. More like friggin' wicker! :) Oh, btw, the original Jets had no reverb. Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 20 Mar 1996 17:37:49 GMT Reply-To: Darran Poole From: Darran Poole Organization: Internex Online (shell.io.org), Toronto, Ontario, Canada Subject: help Hollywood Fats Comments: To: bit-listserv-blues-l@uunet.uu.net I am a great fan of the 'Rock this House' CD on Black Top. Fats playing is really somthing else... I have also just picked up a CD title Harpburn by Rod Piazza (sp) that also features Fats on several of the tracks, great stuff. Does anyone know what kind of guitars and amps Fats used. I have not been able to find much info about this guy other that what is in the liner notes on the Black Top CD. Any info would be appretiated. Thanks in advance. Darran email: dpoole@io.org ========================================================================= Date: Wed, 20 Mar 1996 11:52:53 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Bartender's Bop Playlist Here is Monday's playlist. A couple of new things, The Band's new CD has a nice cut by Champion Jack Dupree. It must have been one of his last sessions. I also revisited a few of my favorites from the last couple of years including blues-l own Billy Price and my internet buddy, Little Georgie and the Shufflin Hungarians. The Legends stuff is a fine fairly new CD of Minit recordings from 1960 to about 68. Enjoy! Tom Title Group Year Label -------------------- -------------------- ---- ------------ Down the Backroad Alexander, Arthur 72 Warner Ticks of the Clock, Neville, Aaron 61 Legends The Low Back Pain Bell, Joe 95 Big Hand Tiddle Winks Allen and Allen 60 Legends Why Don't You Do Otis, Johnny Capitol Right Green Door Reeder, Eskew 62 Legends Willie and the Hand Otis, Johnny Capitol Jive Look Up Thomas, Irma 61 Legends Mr John Alexander, Arthur 73 Warner Town Said Welcome, the Cat Mary 95 Orchard The Found A Winner Holmes Bros 93 Rounder Gonna Make It Ball, Barton & 90 Antones Strehli I'm Shakin Price, Billy 94 Corona Ridin High Specter, Dave 93 Delmark Ramble Jungle Dupree, Champion 96 Pyramid Jack Woke Up Screaming Owens, Calvin 93 Topcat Stand Up Band, The 96 Pyramid Brownskin Woman Beau Jocque 93 Rounder Workin on my Little Georgie & 94 Queen Bee Addictions Shufflin Hungarians Evening Shadows Brown, Charles 52 Collectables Turn the Lock on Ball, Barton & 90 Antones Love Strehli Two Gun Shooter Little, Keith 95 San-Ton Baby Please Don't Go Beau Jocque 93 Rounder Telephone Blues Essery, Jim 96 WEG Cool Azul Specter, Dave 94 Delmark Snake Dance Ball, Barton & 90 Antones Strehli Sweet Meat Owens, Calvin 93 Topcat Husband Helping Man Coday, Bill 95 Ecko `'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`' http://redlt.com/tom/ -- Home of Jazz Roots & Record Companies on the Web Free-lance Writer--Author--Program Director WTJU 91.1--Internet Consultant ========================================================================= Date: Wed, 20 Mar 1996 11:36:20 -0500 Reply-To: Peter Welch From: Peter Welch Subject: The Kinsey Report Whatever happened to The Kinsey Report? I remember Big Daddy Kinsey put out a disc a couple of years ago, but I haven't heard much from Donald & co. recently. I was listening to their first Alligator LP, "Edge of the City" the other day, and forget how good that album was...It's what contemporary blues/blues-rock should be. -Peter ========================================================================= Date: Wed, 20 Mar 1996 13:52:51 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Doug MacLeod Just wanted to add that on Doug's first AQ release the cut of Ain't No Grave may be one of the best sides ever layed down. Barry Also which to apologize to all for airing my anger in public, but I had reached a limit and my need to protect got the upp- er hand over my sense of band width. In restraints at the mo- ment. WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Wed, 20 Mar 1996 12:55:22 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: The Kinsey Report In-Reply-To: Message of Wed, 20 Mar 1996 11:36:20 -0500 from On Wed, 20 Mar 1996 11:36:20 -0500 Peter Welch said: >Whatever happened to The Kinsey Report? I remember Big Daddy >Kinsey put out a disc a couple of years ago, but I haven't >heard much from Donald & co. recently. > >I was listening to their first Alligator LP, "Edge of the City" >the other day, and forget how good that album was...It's what >contemporary blues/blues-rock should be. I saw them with Big Daddy (the only way to see them IMHO) and they were not as good as usual, which means they were still very good. LW 'it was a bout a month ago' ========================================================================= Date: Wed, 20 Mar 1996 13:23:47 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 03/21 B O R N : 03/21 CAMPBELL, WALTER "CHOKER" Born:1916 SHELBY, MS Career:TENOR SAX Style:BLUES CARTER, BO [ARMENTER CHATMON] Born:1893 BOLTON, MS Career:GUITAR Style:BLUES D'AMICO, HANK ( HENRY D'AMICO ) Born:1915 ROCHESTER, NY Career:CLARINET / LEADER Style:TRAD / JAZZ / BIG BAND With:Red Norvo 1936-1939 /Bob Crosby 1940 / Richard Himber / Tommy Dorsey / Raymond Scott FOSDICK, DUDLEY Born:1902 LIBERTY, IN Career:MELLOPHONE Style:JAZZ / BIG BAND With:RED NICHOLS / DONALD VOORHEES / ROGER WOLFE KAHN / GUY LOMBARDO GRIFFIN, ROOSEVELT Born:1933 LAKE CHARLES, LA Career:DRUMMER Style:BLUES With:KATIE WEBSTER GUY, VERNON Born:1945 ST.LOUIS, MO Career:SINGER Style:BLUES With:IKE TURNER REVUE HOUSE, SON [EDDIE JAMES HOUSE JR.] Born:1902 RIVERTON, MS Career:GUITAR / SINGERStyle: BLUES With:CHARLEY PATTEN / WILLIE BROWN LOZANO, CONRAD Born:1951 LOS ANGELES, CA Career:GUITAR Style:BLUES With:LOS LOBOS MYERS, AMINA CLAUDINE Born:1942 BLACKWELL, AR Career:PIANO / ORGAN / SINGER Style:BLUES / JAZZ PECORA, SANTO ( SANTO J. PERCORARO ) Born:1902 NEW ORLEANS, LA Career:TROMBONE / LEADER Style:TRAD / JAZZ With:New Orleans Rhythm Kings, 1924-25 / Ben Meroff / Buddy Rogers / Ben Pollack / Sharkey / Wingy Manone SMOTHERS, SMOKEY "BIG" [OTIS SMOTHERS] Born:1929 LEXINGTON, KY Career:GUITAR Style:BLUES With:HOWLIN' WOLF / MUDDY WATERS / LITTLE WALTER SPANN, OTIS Born:1930 BELZONI, MS Career:PIANO Style:BLUES With:MUDDY WATERS / HOWLIN' WOLF / LITTLE WALTER / ROBERT JR. LOCKWOOD THOMSON, SIR CHARLES ( CHARLES PHILLIP THOMPSON ) Born:1918 SPRINGFIELD, OH Career:PIANO / ARRANGER / COMPOSER Style:JAZZ / BIG BAND With:Lloyd Hunter / Nat Towles / Floyd Ray / Lionel Hampton / Lester Young / Roy Eldridge / Don Byas / Hot Lips Page / Lucky Millinder / Coleman Hawkins / Illinois Jacquet / In 1947 he composed Robbins' Nest FOR A LISTING OF THOSE THAT PASSED AWAY IN THIS MONTH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Wed, 20 Mar 1996 13:19:17 -0700 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: Re: The Kinsey Report In-Reply-To: The Kinsey Report! Another prime example of how the blues and sex go so well together! ;) RW ========================================================================= Date: Wed, 20 Mar 1996 13:34:52 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: MacLeod's New CD Comments: To: L W In-Reply-To: For anyone wishing info on Doug or any of the other Audioquest artists, if you head out to NY CD Blues' web page there is a direct e-mail link there, and I am sure that questions can get answered. They have had quite a num- ber of problems with their email and server so be patient. Like LW I'm too eager to hear the new release. Audioquest has a knack for producing great sounding CD's (as noted in almost every review we have at the site) & they are committed to artists freedom of expression. I heartily recommend both Doug and Audioquest. The addition of Carey Bell is sure to be appreciated and I know that Doug feels that way too. BTW LW I have been trying to get Doug a booking here in New York for quite a while now - I sure am glad I am not a booking agent. What an amazing and difficult task this is. I have garnered great respect for agents from the bit I have tried. PS: a fan of both - no interest in except to see Doug and AQ + the rest of AQ's artists get their shot. BTW they do have a nice lineup of blues art- ists - short and effective. Barry On Wed, 20 Mar 1996, L W wrote: > Doug MacLeod called last night and said his CD did not make the release date > which was yesterday. He did tell me that there is a fiddle player, who's name > I forgot and of course the already mentioned Carey Bell. He said it was not > stripped down like he had planned, there is some electric Chicago style blues > (I assume that's Carey's role). He mentioned an upcoming gig that will be > himself, John Hammond, Keb' Mo and Charlie Musselwhite. That will be a helluva > show, I think it's in July (he may have said the fourth). The last recording, > "Come To Find" actually made a profit. So look for the CD to hit the stores, > probally later this week... > He is also looking to tour some, which pleases the hell out of me. > > LW 'obviously not connected to Doug, just a friend and fan' > WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Wed, 20 Mar 1996 14:14:08 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Re: The Kinsey Report > > The Kinsey Report! Another prime example of how the blues and sex go so > well together! ;) > > RW > This is what Donald Kinsey said when I asked him how they come up with the idea to borrow that name (after Alfred Kinsey's work on "Sexual Behavior in the Human Male," better known as the Kinsey Report): DK: We just got back together in 1984 and we were sitting down in the basement of my dad's home. We needed a name and I think my younger brother Ralph mentioned the name "Kinsey Report," and we said: "Yeah, ok, that's it," you know, our name is Kinsey, and we knew about the Report, and yeah, it was just perfect." BTW, Big Daddy's wife died about 3 months ago. I know they were on tour few weeks ago. They were my first choice for Riverbank Blues Fest, but we couldn't afford them at their summer-fest fee. They are definitely not to miss show. Ranko ========================================================================= Date: Wed, 20 Mar 1996 15:14:31 -0500 Reply-To: Rags_Trips_On_Gras From: Rags_Trips_On_Gras Subject: BEALE_ST. Hi folks... Just wondering...how would BLUEZELLERS rate the BEALE ST. BLUES FEST.... Is it cool :) Om Shanti!! Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Wed, 20 Mar 1996 15:16:44 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Apology I'd like to apologize to the list readers for perhaps "over posting" on the subject of fixing up the way the list works. At least I now understand why it was so often misinterpreted. It's biggest critic had blocked out anything I had to say on the subject. He only read the replies. While it is frustrating not being able to discuss it in private with him due to the "kill list" obstacle, I do not intend to say any more about it in public. Thanks for your patience. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Wed, 20 Mar 1996 12:53:22 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: The blues are about ... [was Gregg Allman] Comments: cc: ianangus@DIS.ON.CA Ian Angus wrote: >> Blues isn't about drugs or alcohol. It's about the misery that led to >> the drugs and alcohol. > >This is, in my opinion, one of the most widespread misconceptions >about The Blues. I agree. I get sick of people who think blues is about sadness and pain. >The Blues is NOT about misery at all. For the most part, the blues is > entertainment music. Unlike gospel, which is about the >miseries of this world and how we'll only escape them in the >next, blues is escapist music, to be sing at parties and in Juke >Joints. Very few classic blues singers experienced the specific things >they sing about -- they were performers and writers. (Try to imagine >what John Lee Hooker would be like as a person if he ever >experienced even 1% of the things he sings about!) Well considering that the majority of blues songs are of the "my women done me wrong" variety I would say that most blues performers have experienced what they sang about. Still, I'm pretty certain that a lot of Son House's material was autobiographical. "Preachin' Blues" and "Levee Camp Moan" come to mind. I'm not sure about "Death Letter Blues." I seem to remember reading that it was about a friend or was based on a real life occurence. Some songs are obviously stories created out of the ether but if you were to examine the life of any great blues performer you would see that their life is reflected in the vast majority of songs that make up their repitiore. Sure John Lee Hooker didn't experience everything he sang about but I'm sure that his life greatly influenced his music. While blues is good time music it is also a means of release. By singing about what ails you you get to clear your soul a little. Blues, and any good music, is a cathartic experience. Blues is about life. The good and the bad. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Wed, 20 Mar 1996 15:50:27 -0500 Reply-To: Bill Schaumburg From: Bill Schaumburg Organization: River Bend Library System - Coal Valley, IL Subject: Re: Mississippi Valley Blues Fest lineup? Comments: To: bit-listserv-blues-l@uunet.uu.net In-Reply-To: <4im5f8$k4i@delta.misha.net> On Tue, 19 Mar 1996, Steve Leigh wrote: > Anyone seen a line-up yet for the Mississippi Valley Blues Fest this > year? > --Steve > > The line-up is not yet confirmed; we should have it locked up in another couple of weeks. Bill "Spider" Schaumburg ========================================================================= Date: Wed, 20 Mar 1996 15:14:55 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: dfw only For those of you in the DFW area: I hear the main Dallas Public Library downtown has a nice exhibit on "Dallas Blues, Then and Now", featuring lots of rare photographs, show posters, etc. The exhibit ends at the end of March. I haven't been yet, but hope to make it next week. Don O. ========================================================================= Date: Wed, 20 Mar 1996 16:20:35 -0500 Reply-To: "John R. Vanderpool" From: "John R. Vanderpool" Organization: NASA/GSFC Subject: fk -- remembrance is the sweetest flower, of all the world's perfuming; memory guards it sun or shower, friendship keeps it blooming - AKS 1933 for Earth Science data and information use URL http://daac.gsfc.nasa.gov/ ========================================================================= Date: Wed, 20 Mar 1996 16:21:12 -0500 Reply-To: "John R. Vanderpool" From: "John R. Vanderpool" Organization: NASA/GSFC Subject: two freddie king live CDs to avoid! do NOT buy Freddie King "live at the texas opry house" or "live at liberty hall" they both are absolutely horrendous audience tapes and i can put up w/ pretty bad recording being a bootleg collector for over 15 years. pick up "live in germany" on king biscuit (kbr 001) or the live in atlanta one from blacktop called "live at the electric ballroom" both excellent soundboard recordings! later, fish p.s. you can also forget about the albert king "memory lane" one, again just plain terrible - i see "raining in california" (sf blues fest '83) is out now - its pretty good. -- remembrance is the sweetest flower, of all the world's perfuming; memory guards it sun or shower, friendship keeps it blooming - AKS 1933 for Earth Science data and information use URL http://daac.gsfc.nasa.gov/ ========================================================================= Date: Wed, 20 Mar 1996 16:18:26 -0500 Reply-To: Sam Lawton From: Sam Lawton Subject: T-Bone on Video? It seems to me one of the potentially most exciting performers to see on video would be T-Bone Walker. From the available photos, he looks like he was a wildman on stage who set the scene for Jimi and Pete Townsend. Does anyone know what, if anything, might be available? ========================================================================= Date: Wed, 20 Mar 1996 15:23:40 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: T-Bone on Video? In-Reply-To: Message of Wed, 20 Mar 1996 16:18:26 -0500 from On Wed, 20 Mar 1996 16:18:26 -0500 Sam Lawton said: >It seems to me one of the potentially most exciting performers to see on video >would be T-Bone Walker. From the available photos, he looks like he was a >wildman on stage who set the scene for Jimi and Pete Townsend. Does anyone >know what, if anything, might be available? I've only seen one T-Bone video and he does 2 or 3 tunes and he does not act like a "wildman" at all. He just plays the shit of of his guitar and sings like a songbird (a songbird with the blues). >From all accounts I've read Charley Patton was doing Jimi and Pete Townsend long before they were even thought about. LW ========================================================================= Date: Wed, 20 Mar 1996 16:37:31 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: The blues are about ... [was Gregg Allman] PW wrote: > cannot agree with his statement that Gospel is about misery. > I'm not a very religious person, to say the least, but I am a big fan > of Black Gospel music. In my experience most of it is quite joyous, > both literally and emotionally. Of course you are right -- I was trying to make a point and misstated my case. Actually, I think it could be argued that the conflict between Blues and Gospel (ie, the view that one cannot sing both) stems from the fact that both are escapist musics, but they offer very different escapes. Gospel offers present joy by promising a future escape from this life. Blues focuses on the here and now -- it offers catharsis in this world, but no promise of escape. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Wed, 20 Mar 1996 14:40:54 -0800 Reply-To: mccallgf@PLU.EDU From: Gordon McCall IV Subject: Re: Join newgroup Comments: To: BluesBeatM@AOL.COM In-Reply-To: <960312185029_244441272@emout05.mail.aol.com> how do I disconnect from this group? ========================================================================= Date: Wed, 20 Mar 1996 17:45:44 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman dule listed in the Music Message Center on AOL. Since John Lee dates are so infrequent, I thought I would post this so folks could plan ahead. Dick Waterman JOHN LEE HOOKER 04/09/96 , Santa Rosa , CA , USA, Luther Burbank Center 05/26/96 , Aptos , CA , USA, Santa Cruz Blues Festival 09/02/96 , Seattle , WA , USA, Bumbershoot 09/02/96 , Seatle , WA , USA, Bumper Shoot 10/13/96 , Kelseyville , CA , USA, Konocti Harbor ========================================================================= Date: Wed, 20 Mar 1996 17:24:47 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Real Virus Alert, Maybe Comments: To: Derek Dresser Here it is. Judge for yourselves. -Jim This message was forwarded by an employee here at the medical center who recieved it from an outside source. Although we can not substantiate this information, better safe than sorry. Thanks goes to the individual who sent this information to us! >------- FORWARD, Original message follows ------- >> Date: Tuesday, 19-Mar-96 05:16 PM >> >> From: UndrCvr \ PRODIGY: > > >> Subject: VIRUS >> >> Peoples, >> After talking to z today I called my Compu-Guru people at work >>to confirm; there is a virus running around the net and potentially >>as an email attachment called pkzip300.zip. If you run across this >>thinking it's an undate to the pkz programs, DON'T download it or >>open it. If you get it as an e-mail attachment delete it unopened. >>It's called a "Trojan Horse" virus and I'm told will literally wipe >>out your hard drive. >> If I get any more details about it I'll let y'all know, but for >>now it's being deemed not a hoax and potentially serious. >> undr > >------- FORWARD, End of original message ------- ========================================================================= Date: Wed, 20 Mar 1996 23:45:41 GMT Reply-To: Bluesbabe From: Bluesbabe Organization: SoVerNet, Inc. Subject: JamesT.Jones IV May He Rest In Peace Comments: To: bit-listserv-blues-l@uunet.uu.net I Wish to express my sincere Condolences to the family, friends and associates of James T. Jones IV. A beloved friend to all jazz lovers . .May you rest in Peace James. ========================================================================= Date: Wed, 20 Mar 1996 19:07:15 -0600 Reply-To: Richard Shurman From: Richard Shurman Subject: So long but not goodbye 1) Our server has been a mess lately; if messages to me have been bouncing since Sunday, that's why. 2) I'm going incommunicade/nomail for a couple weeks. Remember, no bad news or flames while I'm gone! ========================================================================= Date: Wed, 20 Mar 1996 20:33:26 EST Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: Big Bad Smitty--some personal photos Hey Joel, Is the beautiful picture that appeared in a recent National Geograpic Traveller magazine among those on BLUES WORLD? The one with the river and the arch behind him. It was accompanied by some info about a self-guided drive featuring blues related sites if I remember correctly. Dave Carpenter Blues Music Director WHUS-FM University of Connecticut Storrs, CT http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Wed, 20 Mar 1996 20:27:43 -0500 Reply-To: LKnight1@AOL.COM From: Leslie Ann Knight rc.ca,tepmack@village.ca,dshonk@top.monad.net,roadtrip@case.cyberspace.com,dlangill@compusmart.ab.ca Subject: Joey Razor review Sensational review of 'Joint B Jump' CD . . . Joey Razor grew up in a mixed neighborhood in the urban city of Buffalo, New York. As a teenager, he loved the all- black band, Cowboy and the Rockin' Jack's and hung around when they played. He became their guitarist for a brief time when he was only seventeen. He wanted to capture their sound in his own band. Finally when he arrived in the San Francisco area, he got a band together that reminded him of his favorite band. Joint B Jump is a well-named debut CD of Joey Razor and the Blue Blades. This group knows how to keep the place jumpin' with their eclectic style of blues, emphasizing jump-swing and a little belly-rubbin' music. Joey Razor has that in-your-face vocal presence, reminiscent of Elvin Bishop's style. He sings all the lyrics to his own creations in entertaining, lucid fashion. He also plays some delicate solos and has a solid sound with his lead guitar in most of the numbers. Another band member John Ray, plays lead guitar in four numbers. Joey emphasizes teamwork effort in his music. With such a philosophy, he gives ample time for lengthy solos of some of the band members. Especially notable are the dynamic solos of Kenny Baker on tenor sax and Randy Z on keyboards. Guest artists Dan Denaro blows a cookin' harp in one tune and Steve Canali plays a beautiful slide guitar in another tune. It is an experience to concentrate on the various solos, no matter what the tempo is. All the band members add a solid, vibrant dimension to the CD. This CD is a step beyond just one person being a star. Joey Razor, vocalist, songwriter and guitarist, and the Blue Blades are an exciting, talented and refreshing unit. This is an excellent debut album and is well worth checking out. It is bound to put you in a party mood. Maria Bainer, Blues Gazette, Belgium Joey Razor and the Blue Blades Leslie Ann Knight, Publicist LKnight1@aol.com ========================================================================= Date: Thu, 21 Mar 1996 01:32:45 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Gregg Allman's Heavy Blues Comments: To: bit-listserv-blues-l@uunet.uu.net Jim Farris wrote: > >This series of Gregg Allman threads really gives me the Blues. The >Blues isn't about drugs or alcohol. It's about the misery that led to >the drugs and alcohol. Gregg's had plenty of misery, I'm sure. He >definitely doesn't need any more from Blues-L. etc. edit >If he had a computer (fortunately for some of >you, he doesn't), he (through a third party) might flame some of those >that criticize him. He (or his attorney, who is very good I might add) >might even take legal action. > >That would be a big shock, wouldn't it? > Yeah, a BIG shock. Since when is it illegal to express a public opinion? I don't give a hoot about Gregg Allman or Blues Revue, but facts is facts. He was a junkie who turned in a bunch of his former friends, employees and drug buddies in order to escape having to face the legal music regarding his own drug use. He may be reformed or whatever now, but he can't change his past. Scott ========================================================================= Date: Thu, 21 Mar 1996 01:42:08 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: The blues are about ... [was Gregg Allman] Comments: To: bit-listserv-blues-l@uunet.uu.net Shaun T Cronin wrote: [edit] >Well considering that the majority of blues songs are of the "my women done >me wrong" variety That's the SECOND most common misconception. Scott ========================================================================= Date: Wed, 20 Mar 1996 21:24:27 -0500 Reply-To: BOYDMT From: BOYDMT Organization: America Online, Inc. (1-800-827-6364) Subject: Re: "Big Voice" Odem Comments: To: bit-listserv-blues-l@uunet.uu.net I met BB at Buddy Guy's Legends back in December a few years ago. Very nice guy. I'm told it may be the same night he died of a heart attack after the gig on his way to the Checkerboard lounge on Chicago's southside. I've found two CD's by him. Both are great. Mike ========================================================================= Date: Wed, 20 Mar 1996 18:50:37 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Vanguard Blues Sampler (Review) Comments: To: Skipjames@AOL.COM At 12:32 PM 3/20/96 -0500, Tom Freeland wrote: >Today I got a copy of one of a new series of samplers VANGAURD is putting out >to show off their catalogue. It has liner notes by blues-lister Mary Katherine Aldin, who produced the compilation. Many thanks to Tom for these kind words--BUT--I want to let all the folks on this list know that *since* this sampler was produced, I am no longer affiliated in any way with Vanguard Records. Mary Katherine Aldin ========================================================================= Date: Wed, 20 Mar 1996 19:29:25 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Gospel (was Re: The blues are about ... [was Gregg Allman]) Ian wrote: >Gospel offers present joy by promising a future escape >from this life. Blues focuses on the here and now -- it offers >catharsis in this world, but no promise of escape. With all due respect, Ian, I think you're still off with this statement. As a Christian myself, I can probably relate more to Gospel music than people who aren't (although I know people of all creeds that love good Black Gospel music), and the joy it offers is not simply that 'it's okay... things will be better when you get to heaven'. Sure, that's part of it; I won't argue with that, but there's much more to it than just that - it also speaks of the _true_ joy that comes with leading a Christian life (not to get too theological on you here...) :-) . Some good examples: It's Jesus In Me - The Caravans I'm So Glad I Got Good Religion - Fred Mc Dowell I'm Growing in the Spirit - Brother Hugh Dent What the Lord has Done for me - Abyssinian Gospel Choir ...and more... Anyway, it's fantastic music, and there's a lot of great gospel music still being performed and recorded. -Jim (hndful@uniserve.com) ------------------------------------------------------------ Check out 'Heart and Soul', a new hour of blues, gospel, and jazz every week on SDF-Net Community Radio - http://sdf-radio.colossus.net. ------------------------------------------------------------ ========================================================================= Date: Wed, 20 Mar 1996 19:44:10 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Truly astonishing Howlin' Wolf video Somebody asked on this list recently about the commercial availability of video of Howlin' Wolf. I am watching one right now, that will be released to home video later this summer, that is absolutely amazing. A-Ma-Zing. It was filmed by Alan Lomax in 1966, not ON-stage but BACK-stage, or more correctly OFF-stage, at the Newport Folk Festival. It appears to me to be filmed partly in the actual backstage area as I remember it, and partly at the old Newport Manor Hotel where many of the performers stayed (this the right name, Dick W?). Son House, Bukka White, Rev. Pearly Brown, Skip James, Kilby Snow (who is the only white face to be seen ANYwhere in this film) and The Wolf in ferocious form. There is no audience other than the other musicians, so (for the most part) there are no adoring young folk fans; therefore there is more freedom and openness, both musically and in forthright language, among the performers than there might be if they felt they were being "observed through a microscope". When Bukka White plays, Son House is dancing at the side of the room with Mabel Hillery. And when House interrupts one of Wolf's soliloquies, Wolf (who, as those who knew him will remember, took nothing off nobody) just tells him he's an old drunk and to sit down and shut up! No concessions here to liberal sensibilities! Musically Wolf is spot on, playing harp sometimes and guitar sometimes, and singing very very well. Sumlin et al play with him on most songs. Alan Lomax, as many of you know, is quite seriously ill, and the original plan of having him interviewed for the notes to this set is no longer possible; for that reason, the film has been sent to me for possible annotation, largely because (like Dick W) "I was there". Watching Skip James I am reminded of what someone once said at a Son House performance very late in his career, that it was like watching "someone who used to be Son House"--in this film House is great (though apparently quite drunk, it in no way impairs his performance) but James seems to be fading. It is just one song after another, no interviewers asking phony questions about what the blues really means; just those giants who lived it, sitting together and playing it with no intrusions. Wolf growling along with Bukka White's performance is worth whatever the cost will be. I have not been this excited or moved by a video in a long time. It will be released as Vestapol Videos 13049, "Devil Got My Woman"--I don't know exactly when it will be out--sometime this summer. Since at the moment I don't know whether I'll be annotating it or not, I am free to rave about how good I think it is. And it is. Mary Katherine Aldin ========================================================================= Date: Wed, 13 Dec 1995 21:19:40 -0800 Reply-To: INTERNET From: INTERNET Subject: Rejected by Custodian-Try a Mail*Link(r) SMTP BLUES-L Digest - 12 Dec 1995 to 13 Dec 1995 !!! Original message was too large. !!! !!! It is contained in the enclosure whose name !!! is the same as the subject of this message. !!! !!! A preview of the message follows: There are 65 messages totalling 2043 lines in this issue. Topics of the day: 1. Guitar players on List (2) 2. Luther Allison Again 3. Etta James (3) 4. dave mackenzie 5. Fred Below 6. Fave Buddy Guy 7. Eric LeBlanc's Blues Dates - December 13th (2) 8. The Freebird Phenom (4) 9. Blues Collection magazine 10. Bonnie's Sound; HW Box Set (2) 11. Buddy Guy 12. Freebird Phenomenon 13. No More CD's? 14. Buddy Guy & Freebird 15. Re[2]: The Freebird Phenom 16. Cold Weather Blues 17. Kip Anderson 18. Books vs. Internet (3) 19. Year's Best Louisiana Music 20. Re[2]: No More CD's? 21. Just what _is_ the story with Wolf? (2) 22. Little Sammy Davis (2) 23. It's a Richard-Richard Thing . . . (2) 24. Al Cook on Wolf Label (2) 25. Piano blues suggestions 26. Heart of Southern Soul 27. Photo, Drawing, Copyrights, Royalties (2) 28. JOHN LEE HOOKER 29. John Lee Hooker/Boogie Nation Article 6 (2) 30. John Lee Hooker - Boogie Chillen Part One 31. Street Dreams 32. David Eidler & J. Monque'D 33. Concern for JLH (2) 34. When was Live at the Regal recorded? 35. Robert Shelton Dies (limited blues content) 36. Doors blues? 37. What a load of Boogie... 38. FACTUAL_JLH???? 39. MALI_BLUES!!! 40. Saffire- The Uppity Blues Women benefit for Yank 41. For Luther Allison Fans 42. Boogie Nation respond about concern 43. John Lee Hooker Blues-L Contest 44. Boogie Nation News Issue 2 Welcome 45. Good Starter Guitar 46. Freddy Robinson (was Re: Books vs. Internet) 47. Plea to the listowner - Alan Rollins 48. Stevie Ray Vaughn ---------------------------------------------------------------------- Date: Tue, 12 Dec 1995 22:28:59 -0800 From: Shaun T Cronin Subject: Re: Guitar players on List >I'm still waiting for progressions from ya'll. Has anybody tried the one >I posted? I hope it wasn't too simple and ya'll are ignoring me.(: > Chris Pearson Sorry Chris. Could you send me a copy, please. I can't seem to find it. I have been a little busy lately and still have quite a few messages to sift through (I can't bear to just delete them). I look at Chris' progression, sift through the ragged interiors of my mind and give you all one of my own. OK, one that I stole from someone, sometime. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ------------------------------ Date: Tue, 12 Dec 1995 22:29:03 -0800 From: Shaun T Cronin Subject: Luther Allison Again If you liked "Blue Streak" then you have no excuse not to pick up "Soul Fixin' Man" Yes, temptation got the better of me and I pciked it up today. Am listening to it right now on a rainy LA evening. (Yes. It does rain here). With Luther Allison, the blues is in good hands. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ------------------------------ Date: Tue, 12 Dec 1995 22:29:08 -0800 From: Shaun T Cronin Subject: Re: Etta James >I am looking for good CD's by Etta James and other female blues singers. >Can anyone recommend one? I just picked up Etta James' "Time after Time" for my mom for Christmas. She asked for something bluesy. Knowing that Hound Dog Taylor is not her taste I decided on Etta. Before I put it in the package to send to Oz it somehow found it's way onto my CD player (funny how those things happen). The album is all jazz standards with the blues just oozing through it. A good late night album. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ------------------------------ Date: Wed, 13 Dec 1995 01:37:23 -0500 From: Fred Sokolow Subject: Re: dave mackenzie Yeah, Dave is great, really knows his stuff & writes great tunes. I played a lot of gigs with him when he was living in Los Angeles. He has a great line...ma (This file must be converted with BinHex 4.0) ========================================================================= Date: Thu, 21 Mar 1996 00:46:30 -0400 Reply-To: BALISTRK@BAYDENOC.CC.MI.US From: "Keith T. Balistreri" Subject: Re: The blues are about ... [was Gregg Allman] Comments: To: Shaun T Cronin In-Reply-To: <199603202049.MAA01244@wavenet.com> I am new to listservs and only three days old to blues-l and I love it. I can't seem to understand all the brew haha over Allman. If you like his music listen to it if you don't, then don't. I just hope if you don't it's because of his style of something and not some lame judgement call on his character. What a waste of time. Secondly, I certainly have no idea what this other dispute is about...the one about the listerv and all. I guess I can consider myself very luckily ignorant. I live in the Upper Penninsula of Michigan and yes we have quite a bit of blues fans and players up here in red-neck country. I will tell more of our music scene another time and of my band "Tohubohu"....we have no bass player, instead, a tuba player. We all have two enemies... the one of talks about us and the one who tells us Keith Balistreri balistrk@baydenoc.cc.mi.us ========================================================================= Date: Thu, 21 Mar 1996 06:47:07 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Truly astonishing Howlin' Wolf video Comments: To: bit-listserv-blues-l@uunet.uu.net Ms. Aldin, When you retire, I want your job! Scott ========================================================================= Date: Wed, 20 Mar 1996 07:29:28 PST Reply-To: paul_g@NETVISION.NET.IL From: Paul Graham Subject: Question from Jerusalem Jerusalem ,Israel Thursday Hi all, A friend of mine is looking for an album by Floyd Dickson called "The Complete Aladdin" or "The A Collection" or something like that.Does anybody have details of this album,with maybe a label and catalog number? Thanks, Paul Graham ------------------------------------- E-mail: paul_g@netvision.net.il Date: 18.05.95 Time: 21:58:00 This message was sent by Chameleon ------------------------------------- ========================================================================= Date: Wed, 20 Mar 1996 23:11:19 -0800 Reply-To: TLKnox@EWORLD.COM From: Terry Knox Subject: Columbia House List (long) To the best of my knowledge the following is a complete list of blues titles available through Columbia House. It is posted on a strictly voluntary basis by me. I am in no way affilliated with them. Interested in the various offers they make? There are FAQ's etc. available on that. This is merely a list of what can be gotten from them (sorry for the truncations). I will repost this list on a regular basis - monthly. If you have any questions, flames, comments, additions, etc. e-mail me. I would be particularly grateful to know if there is anything I have left out and will certainly include it in my next post. Also if you plan to order from this list I recommend you recheck the ordering #'s as I am sure I have made some typing errors. I accept no responsibility for wrong names, titles etc., however I have done my best to be as accurate as I could. Terry. TITLE ORDER# TITLE LABEL Ammons Albert 101881 Master of Boogie Milan Louis Armstrong 101840 Blueberry Hill Milan Lavern Baker 414839 Lavern Baker Atlantic/Jazz Beausoleil 389825 Bayou Boogie Rounder Elvin Bishop 482125 Tulsa Shuffle Epic/Legacy Bobby "Blue" Bland 478677 Years of Tears Malaco Bobby "Blue" Bland 484576 Turn on Your Mca Bobby Bland 404137 Midnight Run Malaco Bobby Bland 431601 Portrait of Blue Malaco Bobby Bland 452144 Two Steps from Mca Artie Blues Boy 486498 Different Shade Wald James Booker 489914 Resurrection of Rounder Charles Brown 452177 Driftin' Blues Emi Charles Brown 489781 Just a Lucky So Bull Clarence -- Gatemouth Brown 472290 Standing My Ground Alligator Big Bill Broonzy 447201 Good Time Tonight Columbia/Legacy Lonnie Brooks 472282 Turn on the Night Alligator Ruth Brown 434886 Fine and Mellow Fantasy POPPA CHUBBY 120469 Booty and the Beast OKEH LITTLE CHARLIE & 128066 STRAIGHT UP ALLIGATOR Clarence Carter 485359 Snatchin it Back Rhino Boozoo Chavis 100503 Boozoo, That's Rounder Clifton Chenier 452128 Bayou Blues Specialty Clifton Chenier 472308 I'm Here Alligator Collins/Cray/Co 472332 Showdown! Alligator Albert Collins 472316 Ice Pickin' Alligator Albert Collins 472324 Cold Snap Alligator Johnny Copeland 481788 Catch Up w/the Blues VERVE Johnny Copeland 460782 Flyin' High Gitanes Johnny Copeland 481788 Catch up with Verve Johnny Copeland 489856 Texas Twister Rounder JAMES COTTON 126953 Best of the Verve Yrs VERVE James Cotton 101378 Living the Blue Verve James Cotton 462150 Cut You Loose! Vanguard Cotton/Wells/Be 472340 Harp Attack Alligator Blind Gary Davi 485367 Harlem Street Fantasy Willie Dixon 447219 Big Three Trio Columbia/Legacy Willie Dixon 465625 I Am the Blues Columbia/Legacy Champion Jack D 458661 New Orleans Bar Columbia/Legacy Champion Jack D 485326 Blues from the Atlantic TINSLEY ELLIS 128058 STORM WARNING ALLIGATOR Aretha Franklin 358804 Sings the Blues Columbia Blind Boy Fulle 447235 East Coast Columbia/Legacy Denny Freeman 433037 Blues Cruise Amazing DANNY GATTON 458505 CRUISN' DEUCES ELEKTRA Buddy Guy 110171 Slippin' in Silvertone Buddy Guy 434373 Damn Right Silvertone Buddy Guy 457234 Feels like Rain Silvertone Buddy Guy 462143 A Man and the Vanguard Buddy Guy 462168 My Time after Vanguard Buddy Guy 472357 Stone Crazy Alligator Buddy Guy & Jun 441238 Buddy Guy Rhino Buddy Guy & Jun 472365 Alone & Acoustic Alligator Jeff Healey Band 375873 SEE THE LIGHT ARISTA Slim Harpo 462077 Best of Slim Rhino Ted Hawkins 484519 the next Hundred Dgc Hound Dog Taylor 485375 Hound Dog Taylor Alligator Holmes Brothers 489880 Soul Street Rounder John Lee Hooker 438333 Detroit Special Atco John Lee Hooker 440305 Best of John Hooker Mca John Lee Hooker 472126 Graveyard Blues Specialty Lightnin' Hopkins 460790 It's a Sin to Gitanes Son House 447193 Father of the D Columbia/Legacy Mississippi -- John Hurt 379826 Best/M.J.Hurt Vanguard Elmore James 455758 King Of Slide Guitar Capricorn Elmore James 446898 Let's Cut It-The Be Flair Etta James 452250 Right Time Elektra Elmore James 462085 Dust My Broom Rhino Blind Willie Jo 458745 Complete Record Columbia/Legacy Johnnie Johnson 427344 Johhnie B. Bad Elektra/Nonesuch Lonnie Johnson 446831 Steppin' on Columbia/Legacy Lonnie Johnson 482117 Stompin' at the Columbia/Legacy Pete Johnson 101857 King of Boogie Milan Robert Johnson 414888 Complete Record Columbia Keb Mo 482430 Keb Mo Okeh Albert King 102228 Best of Albert King Stax Albert King 446914 King of the Blues Atlantic Albert King 452169 I'll Pay the Stax B.B. King 209668 Live at Regal Mca B.B. King 379776 Best of B. B. King Mca B.B. King 421354 Live at the Grp B.B. King 440628 Lucille Mca B.B. King 448084 King of the Mca B.B. King 463505 Blues Summit Mca B.B. King 429134 Live "Now Appearing Mca Smokin'-- Joe Kubek 128082 Cryin' for the Moon BULLSEYE LITTLE AXE 100982 The Wolf That House OKEH Sleepy Labeef 100446 Strange Things Rounder Denise La Salle 404020 Where it Hurts Malaco Denise La Salle 412874 Still Trapped Malaco Leadbelly 379792 Leadbelly Columbia Leadbelly 428524 King of the 12-String Columbia/Legacy Leadbelly 489724 Nobody Knows The Rounder Furry Lewis 485383 Shake 'Em on Fantasy Smiley Lewis 472134 Best of Smiley Emi Lil'ed and the 472373 What You See Alligator Big Maybelle 489732 Okeh Sessions Legacy Meters 100362 Look-A-Py-Py Rounder Little Milton 101295 Welcome to the Chess Little Milton 408708 Too Much Pain Malaco Little Milton 486399 I'm a Gambler Malaco Lonnie Mack Wit 472381 Strike like Alligator Delbert Mcclint 472399 Live from Austin Alligator Mcghee Brownie 482067 Complete Brownie Columbia/Legacy Blind Willie Mc 472159 Atlanta 12-String Atlantic Blind Willie Mc 482075 The Definitive Columbia/Legacy Memphis Minnie 379800 I Ain't No Bad Portrait Memphis Minnie 447227 Hoodo Lady: Columbia/Legacy Jelly Roll Morton 462119 Mr. Jelly Lord Rhino Charlie Musselwhite 472407 Ace of Harps Alligator Nathan and the 100735 Zydeco Live Rounder Shuggie Otis 482141 Shuggie's Boogie Epic/Legacy Junior Parker 485318 Junior's Blues Duke Dan Penn 480061 Do Right Man Sibh Pinetop Perkins 461194 Portrait of a Omega Lucky Peterson 460774 I'm Ready Gitanes Lucky Peterson 479782 Beyond Cool Verve Professor Longhair 452110 New Orleans Pia Atlantic Professor Longhair 472415 Crwfish Fiesta Alligator Gary Primich 433029 Gary Primich Amazing Tampa Red 482091 the Guitar Wizard Columbia/Legacy Jimmy Reed 366534 Compact Command Motown Zachary Richard 100768 Mardi Gras Mamb Rounder Roy Rogers 111559 Slide Zone Li Roomful of Blue 100255 First Album Varr Otis Rush 437004 Mourning in the Atlantic MEMPHIS SLIM 129023 RAINING THE BLUES FANTASY SUNNYLAND SLIM 117747 SLIM'S SHOUT CAPITOL FRANKIE LEE SIMS 129031 LUCY MAE BLUES SPECIALTY Saffire -- 472423 the Uppity Blue Alligator the Uppity Blues Women Johnny Shines 102236 Hey Ba-Ba-Re Bo Rounder Bessie Smith 449561 Complete Record Columbia/Legacy Bessie Smith 383430 Bessie Smith Columbia/Jazz Bessie Smith 421388 Complete Vol. 1 Epic/Legacy Bessie Smith 428532 Complete Vol. 2 Columbia/Legacy Bessie Smith 458703 Complete Vol. 4 Columbia/Legacy Bessie Smith 449561 Complete Vol. 3 Columbia/Legacy Son Seals 472431 Midnight Son Alligator Otis Spann 485391 Blues Never Die Fantasy Keri Leigh & Th 433052 Blue Devil Blue Amazing Joe Turner 117408 The Trumpet Kings Pablo Taj Mahal 447177 Taj's Blues Columbia/Legacy Taj Mahal 467019 Dancing the Blues Private Music Koko Taylor 472449 Queen of the Blues Alligator Sonny Terry 102202 Sonny Is King Fantasy Sister Rosetta 101865 Live at the Hot Milan Irma Thomas 100289 Simply the Best Rounder Big Mama Thorton 472118 Hound Dog/Peaco Mca Big Joe Turner 474494 Jumpin' with Ic Emi Big Joe Turner 402305 Greatest Hits Atlantic/Jazz Big Joe Turner 113100 I've Been To Kansas MCA James Blood Ulm 472977 Blues Preacher Columbia Jimmie Vaughan 466821 Strange Pleasure Epic Stevie Ray Vaughan 446765 In the Beginning Epic Stevie Ray Vaughan 429258 The Sky Is Crying Epic Stevie Ray Vaughan 411306 Vaughn Bros. Family Epic Stevie Ray Vaugha 382374 In Step Epic Stevie Ray Vaughan 351148 Live Alive Epic Stevie Ray Vaughan 338483 Soul To Soul Epic Stevie Ray Vaughan 326694 Couldn't Stand The Epic Stevie Ray Vaughan 321158 Texas Flood Epic Various Artists 353656 Atl. blues Atlantic Various Artist 378414 Best of the Chicago Vanguard Various Artists 378422 Great Blues Men Vanguard Various Artists 421230 Great Blues Epic/Legacy Various Artists 421347 Legends of Columbia Various Artists 421362 Slide Guitar Columbia Various Artists 421370 News & the Blue Columbia Various Artists 421396 Raunchy Busines Epic/Legacy Various Artists 428557 Legends of the Columbia/Legacy Various Artists 442285 Roots of Rhythm Columbia Various Artists 447151 Roots N' Blues Columbia/Legacy Various Artists 447243 Cajun: 1929-39 Columbia/Legacy Various Artists 458711 Slide Guitar Columbia/Legacy Various Artists 458828 Cobra Records Capricorn Various Artists 462028 Okeh R&B Story Epic/Legacy Various Artists 462127 Blues with a Vanguard Various Artists 472472 20th Ann. Coll. Alligator Various Artists 474577 Feelin' the Blues Grp Various Artists 475756 20th Ann. Tour Alligator Various Artists 482109 Cajun Dance Columbia/Legacy Various Artists 486860 Swingtime Story Capricorn Various Artists 404079 Blues Is Alright Malaco Various Artists 404087 Blues Is Alright Malaco Various Artists 404129 Blues Is Alive Malaco Various Artists 421248 Preachin' the Epic/Legacy Various Artists 428441 Good Time Blues Columbia/Legacy Various Artists 458695 White Country Columbia/Legacy Various 476440 The Gospel Sound Katie Webster 472456 the Swamp Boogie Alligator Junior Wells 462135 It's My Life Vanguard Junior Wells 122655 Everybody's Gettin Telarc Bukka White 482083 the Complete Bukka Columbia/Legacy Johnny Winter 472464 Guitar Slinger Alligator Jimmy-- Witherspooon 485409 Evenin' Blues Fantasy O.V. Wright 472167 Soul of O.V. Wright Mca Buckwheat Zydeco 100487 Waitin' for My Rounder Buckwheat Zydeco 101204 5-Card Stud Island ========================================================================= Date: Thu, 21 Mar 1996 01:12:10 -0700 Reply-To: DeWayne Brown From: DeWayne Brown Subject: Re: Columbia House List (long) Comments: To: Terry Knox In-Reply-To: <960320231113_28122794@hp1.online.apple.com> Terry, Thanks a bunch for the posting. I was about ready to quit my subscription, as they only throw you one or 2 blues cd's every couple of months. And as you know, they haven't developed a blues directory yet. Many thanks again. Dew. DeWayne Brown, Director CROSSROADS Outreach (Edmonton Alberta Canada) voice: (403) 474-7421 fax: (403) 471-2311 ========================================================================= Date: Thu, 21 Mar 1996 09:19:42 +0100 Reply-To: Mittendorp From: Mittendorp Organization: Crossroads Subject: RJ MIscho Bluesband Dear List members, We just did a very successfull European tour with singer/guitarist Dave MacKenzie from Nashville. Dave played in Holland, Belgium, Germany and Switzerland. In Belgium he did two live radioshows and a show on national tv. In Holland he did one live radio show. The reactions of the european audience were very positive so we are sure we will bring him back to Europe in the future. Next week we will start a tour with the RJ Mischo Bluesband from Minneapolis. RJ Mischo will come for 4= weeks and do 28 shows in Holland, Belgium, Germany and Switzerland. It is the fourth time that he is coming to Europe and he is getting a lot of fans overhere. During his last tour RJ recorded a live CD in Bremen (Germany) and this CD is titled "Rough 'n' Tough" and will be released this week on CrossCut Records (CCR 11049). During the tours that he did so far RJ played at some famous European blues festivals like The Moulin blues Festival in Ospel (Holland), the Notodden Bluesfestival (Norway) and the Breminale Blues Nights in Bremen (Germany). In the USA RJ released two CD's on Blue Loon Records. Other tours that we have planned for the near future: Percy Strother Band (May), King Brothers (May), 'Diamond' Jim Greene (June), Burton Gaar (Aug/Sept), Little Smokey Smothers (Sept/Oct), Lou Ann Barton (Oct), Mississippi Heat (Nov), Long John Hunter (Jan '97). We will keep you updated on the euopean activities of these artists. Crossroads Blues Agency The Netherlands web: http://www.tref.nl/3039/ondernem/e-paper/crossrds.htm ========================================================================= Date: Thu, 21 Mar 1996 01:26:49 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: The blues are about ... [was Gregg Allman] Comments: cc: RWHD17B@PRODIGY.COM Scott Dirks wrote: >Shaun T Cronin wrote: > >[edit] > >>Well considering that the majority of blues songs are of the "my women >done >>me wrong" variety > >That's the SECOND most common misconception. I do stand guilty of a faulty generalization. The point was to show that a lot of the great blues artists used events in their life, or that they witnessed to write their songs.. However, I still stand by my sig as summing up the nature of the blues:-) Still on this subject, Frank Zappa once remarked about Elmore James (I can't remember it exactly but it goes something like this) that "When James went (sings "Dust My Broom" lick) he wasn't making some sociological statement about being black. He was having a good time!" Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 21 Mar 1996 01:28:15 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: More on the Country/Blues link I know this was discussed to death a while ago but I'd thought I'd pass this on. I'm subbing on guitar for a friend in a country band (that's why I've been a tad quiet. Been in front of my tape player learning songs for the past week). Even though it's a country band we've played some blues. The bassist has toured with Screaming Jay Hawkins, The Blues Brothers, shared bills with Albert King, Buddy Guy etc. so when we get desparate for tunes out will come a 12 bar shuffle from Rodney on bass. No-one seems to notice the difference. In fact the bar plays blues only during the breaks. On Tuesday I heard Buddy Guy, Little Charlie and the Nightcats and (yeah, I'm not too fond of him as a blues player as well) Gary Moore. I know this is a little vague but there was on CD they played and it sounded like Howlin' Wolf being backed by SRV. The guitarist was a little too SRV for my liking but the music grooved so well. If anybody has any idea who this may be let me know. It was a modern recording. I asked one of the guys who worked there but he couldn't tell me. Highlights of playing in a country band? Learning 40 songs in a week only to learn about 20 more on the bandstand the first night; Having the drummer take the bluegrass standard "Rocky Top" from a already brisk tempo to light speed and then say "Shaun, take it away!"; No set list last gig (all requests). Standard band conversation, "Shaun, do you know this one?" "Not at this moment. But I will in about three minutes though." The best was being abused by a really drunk audience member though for not playing "Sweet Home Alabama" the way it should of been. For better or worse I know now what an "Electric Slide" is. Thank God for Hound Dog Taylor. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 21 Mar 1996 07:59:34 -0500 Reply-To: Niles Frantz From: Niles Frantz Organization: GNN Subject: Re: Big Jack Johnson in Chicago Comments: To: bit-listserv-blues-l@uunet.uu.net In article <960318180952_249178615@emout04.mail.aol.com> Karen Hanson wrote: >Wasn't it Johnson playing with the New Africa String Band at >Chicago Blues Festival last year? Yes, it was. Can anyone comment on the status of the NASB CD? Niles A loop is a loop is a loop. ========================================================================= Date: Thu, 21 Mar 1996 09:11:46 -0500 Reply-To: Rags_Trips_On_Gras From: Rags_Trips_On_Gras Subject: BEALE_ST_anyone!!! Hi Bluezellers.... Any ideas about BEALE ST BLUES FEST.... W.C HANDY Awards are gonna be presented around the same time.... Do fellow Bluezellers think, its a good idea to get to Memphis for the double treat!!!! Om Shanti!! Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Thu, 21 Mar 1996 08:16:05 -0800 Reply-To: Maggie Mortensen Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Maggie Mortensen Organization: Exarch Services Subject: Re: Willie Mitchell Comments: To: MIE SENOH MIE SENOH wrote: > > At 11:29 AM 96.3.5 -0500, Bonnie Kalmbach wrote: > >I really enjoyed Bill Pollak's post on Willie Mitchell. I also think > >Ann Peebles' "I'm gonna tear your playhouse down" is wonderful. > > I somehow missed this post on Willie, and as I'm a big fan of his work and have always wanted to know more about him, if anyone still has the posting, could you email it to me? Much obliged in advance-- Maggie ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ I just *hate* what Louis Prima did to that song by the Village People. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Thu, 21 Mar 1996 09:20:00 -0500 Reply-To: "timothy (t.b.) bosley" From: "timothy (t.b.) bosley" Subject: Re: dfw only Don O had this to say: > For those of you in the DFW area: > > I hear the main Dallas Public Library downtown has a nice exhibit on > "Dallas Blues, Then and Now", featuring lots of rare photographs, show > posters, etc. The exhibit ends at the end of March. I haven't been yet, > but hope to make it next week. Unless I missed something [like a hidden room ;-)], there wasn't really much there. Given Dallas' history, I was hoping for a really good display. There were some things from the collections of Chuck Nevitt, Tim somebody (Schiller or Schuller or something) and someone else that I can't even remotely remember. What I saw were a few display cases .... not worth the drive that I made from Richardson. ========================================================================= Date: Thu, 21 Mar 1996 09:31:09 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0676 From: "DUTTWEILER.J" Subject: Where's My Blues? Date: Thursday, 21 March 1996 9:30am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Where's My Blues? Is it just my server, or are we experiencing a problem with the listserver this morning? I want my blues JD (boy, this really gives me the blues) ========================================================================= Date: Thu, 21 Mar 1996 06:40:30 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Strange happenings on Blues-L Good mornin' all! Strange thing happened this morning as I retrieved my mail - I received a copy of a Blues-L Digest dated December 12, 1995... Anyone else have this happen? I'm not even subscribed to the digest! Optional blues content: this Howlin' Wolf video sounds spectacular!!! Where had it been hidden for all these years? Sounds like the ultimate live performance. -Jim (hndful@uniserve.com) ------------------------------------------------------------ Check out 'Heart and Soul', a new hour of blues, gospel, and jazz every week on SDF-Net Community Radio - http://sdf-radio.colossus.net. ------------------------------------------------------------ ========================================================================= Date: Thu, 21 Mar 1996 14:12:00 GMT Reply-To: Mr G M Smith From: Mr G M Smith Subject: Files I get Blues-L in digest form. It is VERY VERY VERY boring having to scroll through screen after screen of gobbledegook that needs decoding to make sense of it. Plus,I'm one of the lucky ones who doesn't have to pay; imagine how delighted I'd be if I'd paid good money to download a message from Betelgeuse,as they appear to be. PLEASE DON'T DO IT!!! This has come up before,and I think it was the same perpetrator. OBC.... I highly recommend "Phantom Blues" by Taj Mahal. Even the guest spots by A Much Maligned British Guitarist aren't too intrusive,if a little busy for my tastes; I prefer the work of the regular guy (whose name I forget off hand). Fine stuff. Yours, Garry Smith (You need a basic grasp of Standard English to decode this.) ========================================================================= Date: Thu, 21 Mar 1996 09:51:26 -0500 Reply-To: David Rotenstein From: David Rotenstein Subject: Blues Interviews: Revised Address yesterday i posted the address of my blues site with lots of interviews = and left off a critical string. the blues part is part of my larger = business WWW site and the string pointing to the blues room didn't make = it to yesterday's post. the correct address is: http://www.sas.upenn.edu/~drotenst/ziggy.htm ========================================================================= Date: Thu, 21 Mar 1996 08:47:15 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: BEALE_ST_anyone!!! In-Reply-To: Message of Thu, 21 Mar 1996 09:11:46 -0500 from On Thu, 21 Mar 1996 09:11:46 -0500 Rags_Trips_On_Gras said: > Hi Bluezellers.... > Any ideas about BEALE ST BLUES FEST.... > W.C HANDY Awards are gonna be presented around the > same time.... > Do fellow Bluezellers think, its a good idea to get to > Memphis for the double treat!!!! The Beale Street Music Festival is always a treat, last years Handy program had Cybil Shepard doing that blues Thang. The reviews were not kind. If you have not made hotel reservations yet, you will probally be spending more time than you'd like on Beale Street.. :-) | LW 'hangin at home today (205) 467-7977' ========================================================================= Date: Thu, 21 Mar 1996 10:21:28 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Truly astonishing Howlin' Wolf video Comments: To: RWHD17B@prodigy.com In a message dated 96-03-21 03:06:58 EST, RWHD17B@PRODIGY.COM (Scott Dirks) writes: >Ms. Aldin, When you retire, I want your job! > >Scott Don't hold your breath, Scott. I happen to know personally that she can't afford to retire and is too stubborn to die. Tom Freeland ========================================================================= Date: Thu, 21 Mar 1996 08:23:10 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: Lockwood: Live in Japan! Finally, after years of waiting, I have managed to get my hands on not one but two CD's by Robert Jr. Lockwood: BLUES LIVE 1 (in Japan) BLUES LIVE 2 (in Japan) These two recordings are only available as Japanese imports and are very expensive (including shipping they set me back around $120 CND.) Was it worth it? Definately!! 2 x 70 min. CD's of Robert Lockwood, Louis Myers, Dave Myers and Fred Below recorded live in Tokyo in November of 1974. The music is great, sound quality is great. IN fact the only complaint that I have is that the liner notes are in Japanese! Anyone care to translate them for me? Both CD's are available on the Vivid Sound label and can be ordered through: MUSIC BY MAIL 1-800-233-3000 OR http://www.musicbyemail.com e-mail: emusic@gate.net note: I have no interest in or/and....blah, blah, blah... blah ..... Gary ............. ========================================================================= Date: Thu, 21 Mar 1996 10:39:55 -0500 Reply-To: RhythmShrk@AOL.COM From: Bernie Clarke 03-19 04:16:51 EST, mcgirr@Blues.Surf.Tach.Net (Matt) writes: > >Used to follow a band out of NY called "The Kingsnakes" >Lead singer and harp player was some of the best stuff I've >ever encountered. Guy's name was Pete McMahon. >I understand the Kingsnakes broke up in the early 90s and >I'd like to see if Pete has been recording any since then. > > >Any leads? > >Regards, > >Matt > > Pete is a friend of mine. Most recently, he has been fronting Savoy Brown and was on the last two records. ha has just left that band and is putting a new project together in Syracuse. I understand they are still trying to find a good bass player. Bernie Clarke ========================================================================= Date: Thu, 21 Mar 1996 07:44:36 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Mar. 22 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BENSON, GEORGE (g) b. 1943-0322, PITTSBURGH, PA BONNER, WELDON "JUKE BOY" (g/hca) b. 1932-0322, BELLVILLE, TX CAPLAN, MICHAEL (a&r/EPIC/LIVING COLOUR) b. 1956-0322, NEW HAVEN, CT ELLIS, ANDY (editor: GUITAR PLAYER) b. 1951-0322, WATERTOWN, MA HARTMAN, DAN(b/prod/EDGAR WINTER/J.BROWN) d. 1994-0322, WESTPORT, CT 43 HEIDER, WALLY (recording engineer) d. 1989-0322, SANTA CLARITA, CA 66 HOLZMAN, KEITH (prod/owner: ELEKTRA REC) b. 1936-0322, NEW YORK CITY, NY JACKSON, CHUCK (prod/INDEPENDENTS) b. 1945-0322, GREENVILLE, SC JACKSON, SKIP(o/prod/of SHANTONS/CAPITOL) d. 1982-0322, JERSEY CITY, NJ 42 JOHNSON, MURL (d/PETE JOHNSON) b. 1903-0322, MACON, DAVE UNCLE (bjo) d. 1952-0322, MURFREESBORO, TN 82 MCKENDRICK, REUBEN "BIG MIKE" (g/bjo) d. 1965-0322, CHICAGO, IL 64 PHILLIPS, LINN "SPIKE" (g/FLASH CADILLAC) d. 1993-0322, TULSA, OK 45 POOLE, CHARLIE (bjo) b. 1892-0322, RANDOLPH CTY, NC PORTER, ALLEN "YANK" (d) d. 1944-0322, NEW YORK CITY, NY 49 RELF, KEITH (hca/YARDBIRDS) b. 1943-0322, RICHMOND, UK TAYLOR, ROBERT "POPS" (prod/KOKO TAYLOR) d. 1989-0322, CHICAGO, IL 72 WILLIAMS, FRANK (gospel/MALACO REC) d. 1993-0322, SAVANNAH, GA 45 YANCY, MARVIN J. REV. (prod/NATALIE COLE) d. 1985-0322, CHICAGO, IL 34 ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 21 Mar 1996 17:22:52 +0100 Reply-To: bengans From: bengans Subject: The Instigators CD for sale! Bluzellers! You can now find out about the Instigators new CD at PW Fentons website. Info on about the band and how to order etc.etc. on this address: http://www.gate.net/~pwfenton/blues-l.html Sevenson "Time is hard baby, and hustling is really on." T-Bone Walker ========================================================================= Date: Thu, 21 Mar 1996 08:41:11 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Does anyone mind if... I sell some stuff? I have some Audio tubes I don't need. I was thinking about listing them here for sale. If anyone would rather I didn't sell on the list, just tell post me privately and I won't. If I don't get any objections, I will post a short list of what I have thanks DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu I looked over Jordan, and what did I see An Eldorado comin' after me comin' for to carry me home.. -- Dizzy Gillespie ____________________________________________________ ========================================================================= Date: Thu, 21 Mar 1996 18:01:07 +0100 Reply-To: bengans From: bengans Subject: The best blues CD of 1995 was..... ......Gary Primich, Mr Freeze, off course! Any objections? Well, don t post me! --------------------------------------------------------------- Sevenson "Time is hard baby, and hustling is really on." T-Bone Walker --------------------------------------------------------------- ========================================================================= Date: Wed, 20 Mar 1996 12:29:28 EST Reply-To: MS EC SCOTT From: MS EC SCOTT Subject: Re: Mississippi Valley Blues Fest l Sorry I miss a couple Otis Rush Von Freeman and many more ========================================================================= Date: Wed, 20 Mar 1996 12:23:24 EST Reply-To: MS EC SCOTT From: MS EC SCOTT Subject: Re: Mississippi Valley Blues Fest l Comments: To: bschaumb@LIBBY.RBLS.LIB.IL.US Here is the line-up for the Mississippi Valley Fest ( this is not in any order) Friday July 5 Lil Brian Terry Coco Montoya Big Daddy Kinsey & the Kinsey Report Alvin Youngblood Hart John Hammond & Duke Robillard Debbie Davies James Peterson Johnny Nocturne Band Catfish Keith Al Dupre Mississippi Heat with Deitra Farr Von Freeman Blues Instigators Miss Lavelle White Smokey Wilson David Thompson Two Point Five Omar Shariff W.D Gospel Robert Lockwood Jr. Taj Mahal ========================================================================= Date: Thu, 21 Mar 1996 10:03:32 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: LEGACY 57546 BESSIE SMITH The Complete Recordings V. 5 : Final Chapter Columbia-Legacy 57546 BESSIE SMITH The Complete Recordings V. 5: Final Chapter ============================================================================== BESSIE SMITH b. 1894/APR/15, CHATTANOOGA, TN d. 1937/SEP/26, CLARKSDALE, MS RUBY SMITH (real name RUBY WALKER) b. 1903/AUG/24, NEW YORK CITY, NY d. 1977/MAR/24, ANAHEIM, CA Lester Young, the esteemed tenor saxophonist, said it best when he described Bessie Smith as "a wild lady with her blues". Now, with this final volume in the Bessie Smith series, you can decide for yourself how influential her music was. "Final Chapter" contains the rest of her 1931 recordings, including the masterpiece "Need A Little Sugar In My Bowl" (covered by Nina Simone), and the complete 1933 Okeh session (her last recordings) which included the original versions of "Do Your Duty" and "Gimme A Pigfoot (and a Bottle Of Beer)" - recordings as modern as she ever recorded. If these sides had been successful, Bessie Smith would have challenged all the young upcomers (Billie Holiday, Ella Fitzgerald, Mildred Bailey) but it was too late. The era she had developed was now looking down on the blues, which may account for her last recordings not even containing the term 'blues' in the title. As a bonus for collectors and fans, the set contains all her known alternate takes - takes of "The Yellow Dog Blues" ('25), "Soft Pedal Blues" ('25), "Nashville Woman's Blues" ('25), "Careless Love" ('25), and "Muddy Waters (A Mississippi Moan)' ('27) -, the complete 37 minute "St. Louis Blues" soundtrack, and a most revealing 72 minute interview with Rudy Smith, Bessie Smith's niece & confidante. Those of us who have read Chris Albertson's book "Bessie" will now be able to hear first hand how colorful Bessie Smith really was - "a wild lady with her blues" says it all. It's rare that a commercial company like Sony reissues interviews like this, and we have to thank producer Larry Cohn for making all this possible. As with the other volumes in the series, Chris Albertson's 37 page essay is a good summary of her life & recordings. Her 160 recordings stand as one of the great achievements in blues recording history, and I suggest that everyone seriously consider this series. Her original recordings include "Any Woman's Blues" (v.1), "Back Water Blues" (v.3), "Careless Love Blues" (v.2), "Empty Bed Blues" (v.4), "A Good Man Is Hard To Find" (v.3), "It Makes My Love Come Down" (v.4), "Me And My Gin" (v.4), "Mean Old Bedbug Blues' (v.3), "Nobody Knows You When You're Down And Out" (v.4), "St. Louis Blues" (v.2), "Tain't Nobody's Bizness If I do" (v.1), and "You've Been A Good Ole Wagon" (v.2) - none of which have ever been equalled. Contents : (123 min.) Disc 1 : 1. Need A Little Sugar In My Bowl - 2. Safety Mama - 3. Do Your Duty 4. Gimme A Pigfoot - 5. Take Me For A Buggy Ride - 6. I'm Down In The Dumps 7. The Yellow Dog Blues (alt) - 8. Soft Pedal Blues (alt) - 9. Nashville Woman's Blues (alt) - 10. Careless Love Blues (alt) - 11. Muddy Water (A Mississippi Moan) (alt) - 12. St. Louis Blues Soundtrack : a) Band Intro (14:47) b) Crap Game (14:02) c) St. Louis Blues (8:19) Disc 2 : Ruby Smith Dialogue/An Interview with Chris Albertson 1. Bessie Disappears - 2. Waldorf-Astoria Party - 3. Bessie & Jack, I 4. Bessie & Jack, II a. Bessie And The Ladies - 5. Life On The Road, I 6. Life On The Road, II - 7. Life On The Road, III a. Bessie & Gertrude Saunders Others releases : Legacy 47091 BESSIE SMITH The Complete Recordings V. 1 (1923-1924) Legacy 47471 BESSIE SMITH The Complete Recordings V. 2 (1924-1925) Legacy 47474 BESSIE SMITH The Complete Recordings V. 3 (1925-1928) Legacy 52838 BESSIE SMITH The Complete Recordings V. 4 (1928-1931) ========================================================================= Date: Thu, 21 Mar 1996 10:11:31 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Tubes for Sale Hi Everybody! Being that no one yelled at me, here goes. I have some NOS (new old stock, never used) power tubes that some of you might be able to use. None of my current amps use these and I would like to sell them since I am not a tube collector. 1. Matched Quad Amperex EL-34 with "PQ" label, and dark blue glass. Hundred-watt Marshall and others. 100.00 for the set. I'll pay the shipping. 2. Matched pair Amperex EL-34 light blue glass. 50 watt Marshall's and others 50.00 3. 2 matched pairs of ECG Phillips 6L6GC These are the same tube as the Mesa STR. 50.00 per pair. thanks Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu I looked over Jordan, and what did I see An Eldorado comin' after me comin' for to carry me home.. -- Dizzy Gillespie ____________________________________________________ ========================================================================= Date: Thu, 21 Mar 1996 14:19:30 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: Son House - Happy Birthday (and a lyric question) Today would have been the 110th birthday of the mighty Son House. I think I'll mark the occassion by going home after work, cracking a bottle of my homemade apple wine, sitting in my comfy chair and playing the 1941-42 LoC recordings. Can anyone fill in the blanks for this lyric which Son used in a number of songs? It's been puzzling me for years: Love, that ___________ [sounds like "old fault" ????] Makes you do things you don't want to do Love sometimes, makes you feel sad and blue. Thanks. Happy Birthday, Mr. House. -Rob ========================================================================= Date: Thu, 21 Mar 1996 10:25:15 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Does anyone mind if... Comments: To: Don Cicchetti At 08:41 AM 3/21/96 -0800, Don Cicchetti wrote: >I sell some stuff? > >I have some Audio tubes I don't need.> >I was thinking about listing them here for sale.> >If anyone would rather I didn't sell on the list, just tell post me >privately and I won't.> >If I don't get any objections, I will post a short list of what I have > I don't so much object to Don selling audio tubes, as I do to the idea of opening a floodgate of people selling everything from spare tires to used Eric Clapton LPs (autographed!). Anyone else have any comments on this concern? Mary Katherine Aldin ========================================================================= Date: Thu, 21 Mar 1996 12:23:41 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Music by Ry Cooder-double Cd Comments: To: Don Cicchetti First, I got the Robert Shaw CD "Evocation of the Spirit as receommended by Don Cicchetti, and he's right, the Barber "Adagio" is truely sublime, and may be blues, in a stretched sense. More toward the mainstream definiton, I also got the Ry Cooder "Music By Ry Cooder", a double CD collection of his movie track music. It came out in 1995, but I don't remember hearing it discussed here, and it's new to me, at least. Ry is in fine form on this effort: selections from his work on the movies Crossroads; Paris, Texas; The Border; Alamo Bay; Southern Comfort; Streets of Fire; Johnny Handsome; Blue City; The Long Riders; Trespass; and "Geronimo, An american Legend". Some of the tracks are simply unbelievable: my favorite so far is an instrumental, " I Like Your Eyes" from the the Johnny Handsome soundtrack: absolutley supberb use of the slide and volume pedal. Once again, Ry convinces me that among slide players ( and this is no slam to anyone else) there's Ry and then there's the rest of the pack. -Jim ========================================================================= Date: Thu, 21 Mar 1996 10:31:09 -0800 Reply-To: Robert Georgi From: Robert Georgi Subject: cyber pollution & cause for celebration Fully one half of yesterdays digest arrived encrypted. What gives? Did anyone else experience this? On a happier note, the forthcoming video featuring Howlin' Wolf, et al, backstage at Newport sounds terrific. Hope Mary Katherine will keep us apprised of its progress up to the releasse date. Bob Georgi ========================================================================= Date: Thu, 21 Mar 1996 13:39:20 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: Strange happenings on Blues-L Jim Witteveen wrote >Good mornin' all! Strange thing happened this morning as I retrieved my mail >- I received a copy of a Blues-L Digest dated December 12, 1995... Anyone >else have this happen? I'm not even subscribed to the digest! > It happened to me too, and I too am not subscribed - as far as I know - to the digest. It's blues life,Jim, but not as we know it. Chris Smith (chris@skerries.demon.co.uk) 'Positive: wrong at the top of one's voice." (Ambrose Bierce) ========================================================================= Date: Thu, 21 Mar 1996 13:30:53 -0500 Reply-To: DWRYMAN2 From: DWRYMAN2 Organization: America Online, Inc. (1-800-827-6364) Subject: Excello label Comments: To: bit-listserv-blues-l@uunet.uu.net I recently became interested in the Excello label based in Nashville in the late 50's and 60's, and particularly Roscoe Shelton. He is performing in a sort of mini-revue with Clifford Curry and Earl Gaines who were also Excello artists. Their show is killer and it is great to see them get to perform their music which definately still deserves to be heard. Roscoe's music and soaring tenor voice are particularly special to me. I have been able to find 2 of his CDs- "She's The One" on Appaloosa and "Roscoe Shelton Sings" on AVI/Excello. I would love to hear from anyone who would like to discuss his music or could give me more info on any vinyl or other releases they might know of. He also recorded for the Sims and Soundstage 7 labels and was once a member of the gospel group Skylarks. Would also love to obtain any old showprints from his past--there is a great one framed and hanging in Rum Boogie's on Beale St. All info and e-mail welcomed and appreciated. Thanks in advance. ========================================================================= Date: Thu, 21 Mar 1996 18:48:36 GMT Reply-To: Robert Belew From: Robert Belew Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: BEALE_ST_anyone!!! Comments: To: bit-listserv-blues-l@uunet.uu.net L W wrote: > >On Thu, 21 Mar 1996 09:11:46 -0500 Rags_Trips_On_Gras said: >> Hi Bluezellers.... >> Any ideas about BEALE ST BLUES FEST.... >> W.C HANDY Awards are gonna be presented around the >> same time.... >> Do fellow Bluezellers think, its a good idea to get to >> Memphis for the double treat!!!! > >The Beale Street Music Festival is always a treat, last years Handy program >had Cybil Shepard doing that blues Thang. The reviews were not kind. If you >have not made hotel reservations yet, you will probally be spending more time >than you'd like on Beale Street.. :-) | > >LW 'hangin at home today (205) 467-7977' I was at the Awards last year and I certainly don't remember Cybil Shepard being there, and I'm sure I would. I highly recommend the Festival as coupled with Memphis In May it is a four day extravaganza that one cannot soon forget. I heard a tentative line up for the awards ceramony today but they asked that I not post it on the Net until it is released to the press but I can tell you that it is a line up "to die for". ========================================================================= Date: Thu, 21 Mar 1996 13:22:45 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re[2]: Does anyone mind if... Comments: To: Mary Katherine Aldin I think in general there's not enough of that going on to be a real big problem, and particularly since Don asked first, I'm not concerned. Jim _______________________________________________________________________________ Subject: Re: Does anyone mind if... From: Mary Katherine Aldin at INTERNET-SH Date: 03/21/96 1:15 PM At 08:41 AM 3/21/96 -0800, Don Cicchetti wrote: >I sell some stuff? > >I have some Audio tubes I don't need.> >I was thinking about listing them here for sale.> >If anyone would rather I didn't sell on the list, just tell post me >privately and I won't.> >If I don't get any objections, I will post a short list of what I have > I don't so much object to Don selling audio tubes, as I do to the idea of opening a floodgate of people selling everything from spare tires to used Eric Clapton LPs (autographed!). Anyone else have any comments on this concern? Mary Katherine Aldin ========================================================================= Date: Thu, 21 Mar 1996 12:02:08 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Son House - Happy Birthday (and a lyric question) Rob Hutten wrote: >Today would have been the 110th birthday of the mighty Son House. > >I think I'll mark the occassion by going home after work, cracking a >bottle of my homemade apple wine, sitting in my comfy chair and >playing the 1941-42 LoC recordings. I'll think I'll do something along the same lines. Thanks Rob for reminding me. Can't help you with the lyric. Happy Birthday Mr. House and Thank you for your music. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 21 Mar 1996 12:05:51 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Son House - Happy Birthday (and a lyric question) >Today would have been the 110th birthday of the mighty Son House. Wasn't Son House born in 1902? That would make him 94 by my reckoning. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 21 Mar 1996 15:29:12 -0500 Reply-To: "Lost John From: "Lost John Subject: Re: Does anybody mind if... Comments: cc: johnc@vedge.com Jim wrote, and Don wrote, and Mary Katharine Aldrin wrote... >I think in general there's not enough of that going on to be a real big >problem,and particularly since Don asked first, I'm not concerned. at INTERNET-SH Date: 03/21/96 1:15 PM At 08:41 AM 3/21/96 -0800, Don Cicchetti wrote: >I sell some stuff? > >I have some Audio tubes I don't need.> >I was thinking about listing them here for sale.> >If anyone would rather I didn't sell on the list, just tell post me >privately and I won't.> >If I don't get any objections, I will post a short list of what I have >----------------------- >>I don't so much object to Don selling audio tubes, as I do to the idea >>of >>opening a floodgate of people selling everything from spare tires to >>used >>Eric Clapton LPs (autographed!). Anyone else have any comments on this concern? Since you asked... Just my two cents worth... 1) The presumption that the approval of list members is required is a curious one, although, in the interest of courtesy and consideration, I guess it's understandable. 2) Given the international nature of the Internet (let alone this list), it's unlikely that someone in Alabama is going to want to purchase my used tires in Montreal. Therefore, you'd have to be a first-class moron to bother advertizing them on the list. However, items such as CDs, tubes, etc. are are arguably more list-related and ultimately more shippable. (And I wonder how many of you would moan if the autographed album was Muddy's and not Eric Clapton's). 3) A one-time posting of someone's list-related ad is far less annoy- ing than some of the seemingly endless displays of whining, bitching, and judgemental attitudes that have permeated recent threads and have little or nothing to do with the theme of this list. Besides, how often have many of us on the opposite end of the buyer-seller action put out a plea like "...can anybody find me such-and-such..." There's more, but let's leave it for now. I've probably pissed enough of you off already. -- _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ _/ JC /\ _/ _/ ______________ || _/ _/ \__________ / || _/ _/ ________ ___/ John Carley || _/ _/ \______ / johnc@vedge.com || _/ _/ ____ ___/ (514)332-6430 x232 || _/ _/ \__ / Visual Edge Software Ltd. |\||/| _/ _/ _____/ 3950 Cote Vertu, Suite 100 \ / _/ _/ \/ Montreal, Quebec, Canada / \ _/ _/ ( ) _/ _/ \____/ _/ _/ (graduate of the Yogi Berra school of elocution) _/ _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ ========================================================================= Date: Thu, 21 Mar 1996 20:27:35 GMT Reply-To: "J.J. Perry" Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: "J.J. Perry" Organization: Indiana University Subject: Re: The best blues CD of 1995 was..... Comments: To: bengans@mail.RIKSMEDIA.SE bengans wrote: >......Gary Primich, Mr Freeze, off course! > >Any objections? >Well, don t post me! > Man, loved that Mr. Freeze as well! Played the bejeezuz out of it for quite a while. 1995 also brought out these fine recordings that I love: Kid Ramos "Two Hands One Heart" Otis Rush "One More Mile" Otis Spann "Down to Earth" Willie Smith "Bag Full of Blues" Heard that Dave Thompson "Little Dave and Big Love" album, and it's real good too. I went out looking for Mem Shannon's record today, and COULDN'T FIND IT! Is it that obscure or that popular? J. J. ========================================================================= Date: Thu, 21 Mar 1996 14:48:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: blues birthdays today Otis Spann's as well as Son House's birthday is today - as is my mother's. She once told the late gravelly-voiced harp player, Big Jack Reynolds of Toledo, Ohio - "why you sound just like Buddy Guy!" Buddy was Mom's only blues frame of reference and Big Jack, who was about 5'5", graciously thanked her for the complement. -Bonnie. ========================================================================= Date: Thu, 21 Mar 1996 16:14:08 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Jimmy Rogers (was No Subject) Comments: To: Daniel.BRUCE@dbruce.lms.wbc.westpac.telememo.au Daniel Bruce included the following in his post: >Jimmy Rogers - Feelin' good. The Jimmy Rogers tracks are excellent. Three of >the tracks are instrumentals by Ronnie Earl I believe. Not in the same >class. Jimmy Rogers did record with Ronnie Earl, but not on this album. Feelin' Good was recorded with Rod Piazza and his band. The instrumentals are performed by Piazza. There's a song that features Rod on vocals, too. The JR album with Ronnie Earl is a live recording....I haven't listened to it for awhile, but I don't remember any instrumentals. Karen ========================================================================= Date: Thu, 21 Mar 1996 16:26:36 -0400 Reply-To: BALISTRK@BAYDENOC.CC.MI.US From: "Keith T. Balistreri" Subject: Re: madcat Comments: To: Bonnie Kalmbach In-Reply-To: <26032114485984@vms2.macc.wisc.edu> Quite a few years ago I saw in Milwaukee a band called the "New Heavenly Blues Band." They played with the Milwaukee Symphony Orchestra...an unbelievable concert. The band was made up of Dave Bruebeck's sons and a fantastic harp player named madcat. Does anyone know the whereabouts or of any releases of the band and of madcat himself. Thanks, Keith Balistreri ========================================================================= Date: Thu, 21 Mar 1996 15:48:31 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 03/22 B O R N : 03/22 AMACKER, FRANK Born:1890 NEW ORLEANS, LA Career:PIANO / GUITAR Style:TRAD / JAZZ veteran of Storyville ANDERSON, FRED Born:1929 MONROE, LA Career:TENOR SAX Style:JAZZ / BLUES With:STEVE McCALL / JOSEPH JARMAN BARNER, JUKE BOY ( WELDON H PHILLIP BONNER ) Born:1932 BELLVILLE, TX Career:DRUMMER / GUITAR / HARMONICA Style:BLUES BARRON, BLUE ( HARRY FRIEDLAND ) Born:1911 CLEVELAND, OH Career:LEADER Style:BIG BAND With:Russ Carlyle / Tommy Ryan / Clyde Burke / The Clark Sisters / Pat Laird BENSON, GEORGE Born:1943 PITTSBURGH, PA Career:GUITAR / SINGER Style:JAZZ With:JACK MCDUFF / BILLY COBHAM / RON CARTER / BENNY GOODMAN BONNER, WELDON "JUKE BOY" Born:1932 BELLVILLE, TX Career:GUITAR / DRUMMER / HARMONICA Style:BLUES BURKE, SONNY ( JOSEPH FRANCIS ) Born:1914 SCRANTON, PA Career:ARRANGER / COMPOSER / LEADER Style:BIG BAND With:Xavier Cugat / Buddy Rogers / Joe Venuti / Charlie Shavers / Conrad Gozzo / Red Benson/ Si Zentner / Ray Conniff / Pete Candoli / Milt Bernhar / Milt Raskin / Paul Tanner / Jo Ann Greer CAPRARO, ANGELO Born:1910 NEW ORLEANS, LA Career:GUITAR / LEADER Style:TRAD / JAZZ CHASE, TOMMY Born:1947 ANCHESTER, UK Career:DRUMMER Style:JAZZ With:DAVE CLIFF / RAY WARLEIGH / ART THEMAN / HARRY BECKETT / JOE ALBANY / AL HAIG / JON EARDLEY EUROPE, JAMES REESE ( JIM ) Born:1881 MOBILE, AL Career:LEADER Style:BIG BAND With:ERNEST HOGAN / VERNON & IRENE CASTLE / US ARMY BAND HOUSTON, JOHN ( CHARLES ) Born:1933 PHILADELPHIA, PA Career:PIANO Style:JAZZ JONES, CONNIE ( CONRAD JONES ) Born:1934 NEW ORLEANS, LA Career:TRUMPET / TENOR SAX Style:TRAD / JAZZ MOVER, BOB ( ROBERT ALAN MOVER ) Born:1952 BOSTON, MA Career:ALTO SAX / SOPRANO SAX Style:JAZZ POOLE, CHARLIE Born:1892 RANDOLPH CITY, NC Career:BANJO Style:JAZZ / BLUES FOR A LISTING OF THOSE THAT PASSED AWAY IN THIS MONTH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Thu, 21 Mar 1996 16:46:33 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: Son House - Happy Birthday (and a lyric question) Rob Hutten wrote: >Today would have been the 110th birthday of the mighty Son House. > >I think I'll mark the occassion by going home after work, cracking a >bottle of my homemade apple wine, sitting in my comfy chair and >playing the 1941-42 LoC recordings. > >Can anyone fill in the blanks for this lyric which Son used >in a number of songs? It's been puzzling me for years: > > Love, that ___________ [sounds like "old fault" ????] > Makes you do things you don't want to do > Love sometimes, makes you feel sad and blue. > >Thanks. > >Happy Birthday, Mr. House. > >-Rob 110? I don't think so. He'd have been 94 (b 21 March 1902). I'll join you with a glass of the MacAllan, though. I think the missing word is 'often', isn't it? Chris Smith (chris@skerries.demon.co.uk) 'Positive: wrong at the top of one's voice." (Ambrose Bierce) ========================================================================= Date: Thu, 21 Mar 1996 17:02:12 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: What's best during an OCR fix .... Right now it's David "Guitar Shorty" Kearney w/ The Otis Grand Blues Band (JSP #245). The man screeches his way through 9 mo better sides and when the horns come up the database just gets easier to deal with. Very highly recommended. Quite by acci- dent that NY CD Blues' month is dedicated to JSP. The CD just popped its sleeve side out of the case & for the last 1/2 hour I've been entranced - made the work go way easy. Barry >so what scooter - who cares what you're listening to. Well hey maybe someone does. >ok, ok post it. >The Scooter Blaster WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 21 Mar 1996 17:05:52 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: madcat Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, BALISTRK/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BALISTRK#a#BAYDENOC#f#CC#f#MI#f#US@s1boca.corp.wrgrace.com *Quite a few years ago I saw in Milwaukee a band called the "New Heavenly *Blues Band." They played with the Milwaukee Symphony Orchestra...an *unbelievable concert. The band was made up of Dave Bruebeck's sons and a *fantastic harp player named madcat. Does anyone know the whereabouts or of *any releases of the band and of madcat himself. Madcat is Peter "Madcat" Ruth, who is an incredible harp player. He has at least one album with guitarist Shari Kane, called "Madcat and Kane," and he recently released a solo album called "Madcat's Harmonicology." I think both albums are on the Schoolkids label. He also does some nice sesion work on Catfish Keith's "Catfish Blues" (on two tracks) and he has a track on the Hohner compilation album "Heavy Duty Harpin." -Steve Levine ========================================================================= Date: Thu, 21 Mar 1996 15:27:58 -0800 Reply-To: Guy Tapper From: Guy Tapper Subject: Re: madcat >Quite a few years ago I saw in Milwaukee a band called the "New Heavenly >Blues Band." They played with the Milwaukee Symphony Orchestra...an >unbelievable concert. The band was made up of Dave Bruebeck's sons and a >fantastic harp player named madcat. Does anyone know the whereabouts or of >any releases of the band and of madcat himself. > >Thanks, >Keith Balistreri Keith- I know about a Michigan-based harp player named Peter "Madcat" Ruth. He has a number of recordings available from Elderly Instruments in Lansing. They can be contacted at 517-372-7890 Guy Tapper MLRG Illustration Scripps Institution of Oceanography 9500 Gilman Dr. La Jolla CA 92093-0227 (619)534-2358 (619)534-6500 fax ========================================================================= Date: Thu, 21 Mar 1996 14:02:57 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: ?Roy Gaines/?Keb Mo Is any body out there familiar with Roy Gaines? Any info would be appreciated. And does anyone out there know how to get in touch with Keb Mo or his agent/manager? TIA, Stan -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 ========================================================================= Date: Thu, 21 Mar 1996 14:13:17 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: Blues On Tap - Blues Cruise Fellow Zellers: There's gonna be a Blues Party afloat..... and you're all invited! Make plans to cruise with us on Royal Caribbean Cruises Ltd. on October 11, 1996 from Los Angeles, CA to Ensenada, Mexico. Visit RCCL's page listed below for complete info about the cruise that so many people have come to love....Ensenada! (http://www.royalcaribbean.com/royal/destin03/itin016.html) Then add the fact that you'll be partying all night long to some of the best Blues afloat a ship any where, at a price at least $150 less that the one in the RCCL broshure! Call Dave Benson to book passage on this limited cruise package! The number is 800-350-4378. Call now! Tell him you're a personal friend of Steamin' Stan's and you want the absolute best price he can give you. Check this cruise site for entertainment updates as we turn the pages on the calendar towards October 11, 1996! http://www.valleynet.com/~steamin/cruise.html -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 ========================================================================= Date: Thu, 21 Mar 1996 18:44:39 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland mind?) I have some scrap ends of used legal pads and last years law books for sale. I will sell these cheaply, possibly for not much more than shipping costs depending on the bids I get. Anyone interested? What does this have to do with music? Um, maybe one of them is the out-of-date code volumes for the copyright law, I don' t know. Actually, it would seem to me that Don's request (to sell tubes on blues-L) is pushing that topic envelope a little hard. WE ARE GONNA DROWN IN THE POSTS! Tom Freeland ========================================================================= Date: Thu, 21 Mar 1996 17:36:53 -0600 Reply-To: Bill Kolstad From: Bill Kolstad Organization: Educational Computing Network, Illinois USA Subject: Re: Chicago Blues Festival lineup Comments: To: bit-listserv-blues-l@uunet.uu.net In article , Richard Shurman wrote: >Okay, I'm only going to do this once... That's fine, I'm sure many others will repost it for the next two months! > >Chicago Blues Festival May 31-June 2, 1996 preliminary lineup > >Fri. 5/31 > >Front Porch: >Otha Turner fife & drum >Santeria--Armando Sanchez >Blues In The Schools >Homesick James >Dave Myers >Diamond Teeth Mary >Corey Harris > >Crossroads: >Unsigned guitarists: Quintus McCormick, Anthony Palmer, Will > Crosby (Jimmy Dawkins, mc) > >Juke Joint (new stage): >Eddie Shaw >Billy Branch/Carl Weathersby >Lonnie & Ronnie Baker Brooks >Corey Harris >Fernando Jones > >bandshell (6-9:30; they're stopping earlier this year, and also >overlapping early with other stages for the first time): Not true. They have been trying to end earlier every year for the last 5 that I know of. The audiences and artists refuse to let that happen. Hope it streches out again this year. Also there has been timing overlaps with the Crossroads stage the last two years. >Sons of Blues >Wolf tribute with Eddie Shaw/Little Smokey/Hubert Sumlin/Abb Locke/ > Chico Chism/Lester Davenport >Lonnie Brooks > >Sat. 6/1: > >Front Porch: >Otha Turner >Corey Harris >Sunnyland Slim Memorial Piano Set >Honeyboy Edwards >Vance Kelly > >Crossroads: >Studebaker John & Big Mojo Elem >Karen Carroll & Lurrie Bell >Michael Hill's Blues Mob > >Juke Joint: >Michael Hill >Sugar Blue >Corey Harris >Ichiban Women: Trudy Lynn & Francine Reed > >Petrillo (5-9:30): >Phil Guy, Chi. Playboys and Nellie Travers >Sugar Blue >Ichiban Women > >Sun. 6/2: > >Front Porch: >Otha Turner >Guy Davis >Remembering Rev. Gary Davis: David Bromberg, Andy Cohen, Manny > Greenhill, Tiny Robinson >Corey Harris >Remembering Rev. Robert Wilkins: David Evans, Lane Wilkins, > Eric Nosen >Paul Geremia >Homesick James > >Crossroads: >Pistol Pete >Pete Mayes/Jimmy Nelson/Johnny Brown >Bobby Parker > >Juke Joint: >Red House feature >Corey Harris >Long John Hunter >"special guest" > >Petrillo: >Willie Clayton >Sue Conway >Long John Hunter >Screamin' Jay Hawkins > >And yes, it's still free... > >For more information, call the Mayor's Office of Special Events at >312-744-3315, Internet access is http://www.ci.chi.il.us > >Enjoy! Any info on whether NPR will carry it again this year? Last year as some will remember Alligator Records had to step in and underwrite it at the wire to get it out on the air. Bill Kolstad (Vacation request just went in!) ========================================================================= Date: Thu, 21 Mar 1996 18:12:59 -0600 Reply-To: LaRon Porter From: LaRon Porter Subject: Re: BEALE_ST_anyone!!! Hi Folks, I'm new to the Blues List and comig in the middle of a conversation can be confusing at time. Can someone send me the dates, times and events surrounding The Beale St. Blues Fest and the W. C. Handy Awards ?? Thanx Ron At 09:11 AM 3/21/96 -0500, you wrote: > Hi Bluezellers.... > Any ideas about BEALE ST BLUES FEST.... > W.C HANDY Awards are gonna be presented around the > same time.... > Do fellow Bluezellers think, its a good idea to get to > Memphis for the double treat!!!! > > > Om Shanti!! Peace to U..... > +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ > | _-\\|//-_ | | > | // \\ | A PAPER LESS, A TREE SAVED!! | > | / ~~ ~~ \ | GO TDM!! | > | d-(#)^(#)-b | ---------------------------- | > | / C \ | | > | / //|\\ \ | SANJAY 'RAGS' RAJAN | > | ///`---'\\\ | sanjay_rajan@formtek.com | > | ///|||\\\ | (800) FORMTEK | > | /|||\ | (412) 937-4993 | > | --- /\o/\ --- | FORMTEK,INC. | > | /"\ | 661 Andersen Drive, | > | / //\ | PITTSBURGH PA 15220 | > +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ > > ========================================================================= Date: Thu, 21 Mar 1996 19:25:20 -0400 Reply-To: BALISTRK@BAYDENOC.CC.MI.US From: "Keith T. Balistreri" Subject: Re: your mail Comments: To: Tom Freeland In-Reply-To: <199603212344.SAA07470@emout05.mail.aol.com> What's the big deal if you want to sell musical instruments or tubes. I find it interesting. politely putting in the subject according will give the reader the option to by pass....no big deal ========================================================================= Date: Thu, 21 Mar 1996 19:28:01 -0500 Reply-To: BLUESROCCO@AOL.COM From: Jim Rocco Subject: Robert Johnson dont want no Lite beer O K here is my bitch........At least three times a year I'm conveniently in the vicinity of Columbia Record's tribute monument to Robert Johnson so I stop in to pay my respects and thank the spirits for the whole attitude of the blues. I am always glad to see the tokens of homage that other devoted followers have bestowed upon Robert. Robert probably has all the sets of strings he'll ever need for eternity, along with picks and business cards and even demo tapes for his enjoyment, and I smile remembering items I have placed there. BUT.... I am compelled to piss and moan about this...... The last few times I have stopped by-- to say hi --I've seen a nasty sight.......Empty MILLER LITE cans propped up against the stone like a YUPPIE shrine to Bob Eucre(?) or Rodney Dangerfield !! This really pisses me off ! I mean....If Robert sold his soul to the GOD-DAMNED devil and had his damn ass poisened and burried in a Mt. Zion churchyard he should warrant more than a f++kin empty can of LITE ! I cant speak for Robert but I can speak for myself ! Come-on people...... at least a full bottle of bourbon!!! There I feel so much better I want to thank you for being my sound-board HERE'S TO YOU, ROBERT.........Thank-You!! Jim Rocco ========================================================================= Date: Thu, 21 Mar 1996 19:54:46 -0500 Reply-To: SammyDawgs@AOL.COM From: SammyDawgs@AOL.COM Subject: Re: Robert Johnson dont want no LITE beer SO ? ========================================================================= Date: Thu, 21 Mar 1996 20:08:24 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: ?Roy Gaines/?Keb Mo Comments: To: Stan Ruffo In-Reply-To: <3151D211.3973@valleynet.com> On Thu, 21 Mar 1996, Stan Ruffo wrote: > Is any body out there familiar with Roy Gaines? > Any info would be appreciated. Guitar player and brother to the amazing Grady Gaines (sax player). Top pick with both of them and Clarence Holliman (brought up recently here) is Full Gain (Black Top #1041). Also with Joe Medwick, Teddy Reynolds, and Big Robert Smith - but I think Grady is the stealer, as on anything he does. I think also Bill Shute (hello Bill) had some albums he wrote about a while back with Grady on them. Hope this helps .... Barry WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 21 Mar 1996 12:10:12 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Happy Birthday to some greats! In-Reply-To: <199603201524.HAA13561@desiree.teleport.com> from "James Carmin" at Mar 20, 96 07:24:17 am Wow! Today certainly has some great birthdays... >According James Carmin: > ------------------------------------------------------------------------------- > artist notes/full name yyyy-mmdd, city/county state age > ------------------------------------------------------------------------------- > ALLEN, LEONARD (owner: UNITED/STATES REC) b. 1900-0321, MONTGOMERY, AL Leonard Allen's United/States label put out some classic post-war Chicago Blues and some cool jazz...Some of my favorites on this label include Junior Wells & Jimmy Forrest. > CARTER, BO [ARMENTER CHATMON] (g) b. 1893-0321, BOLTON, MS As has been said many times before...Happy Birthday to the King of the "Single Entendre". > HOUSE, SON [EDDIE JAMES HOUSE JR.] (g) b. 1902-0321, RIVERTON, MS What can you say?..Happy Birthday to one of the truly important Blues (or Music in general) greats. > SMOTHERS, SMOKEY "BIG" [OTIS SMOTHERS](g) b. 1929-0321, LEXINGTON, MS Please, somebody reissue his Federal sides on CD!!! > SPANN, OTIS (p/MUDDY WATERS) b. 1930-0321, BELZONI, MS Too bad Otis died fairly young..he would only have been 66 today! Piano genius & very effective singer...Never get tired of hearing his recordings. > THOMPSON, CHARLES SIR (p) b. 1918-0321, SPRINGFIELD, OH Excellent jazz/early r&b pianist...Underappreciated talent. -Peter ========================================================================= Date: Thu, 21 Mar 1996 18:26:29 -0500 Reply-To: David Melton From: David Melton Subject: Re: Robert Johnson dont want no LITE beer Comments: To: SammyDawgs@AOL.COM At 7:54 PM 3/21/96, SammyDawgs@AOL.COM wrote: >SO ? Everybody LITEn up. :-) He's probably laughing about it wherever he is. ========================================================================= Date: Thu, 21 Mar 1996 21:34:39 -0500 Reply-To: LKnight1@AOL.COM From: Leslie Ann Knight Subject: Fountain Blues Festival Comments: To: blueslvr@sirius.com, DenniseDve@aol.com, PhxBlues@aol.com, skip@automatrix.com, SOBLUESMAG@aol.com, Crawfy1@aol.com, adamk@cmsa.berkeley.edu, Speedo777@aol.com, sbrubake@trmx3.dot.ca.gov, Lrucker@aol.com, PNeel89564@aol.com, Roosterman@aol.com, murranch@ix.netcom.com, JAZZINFO@jazznow.com, ReNoRu@aol.com Press Release for immediate release by Leslie Ann Knight Thanks to METRO, San Jose State's Free Fountain Blues Festival won't merely survive, it will thrive. The festival is scheduled for Saturday, May 18th, Noon until 6:30 Here's the lineup: Johnnie Johnson William Clarke and his Band Tommy Castro Band Back To Life featuring Pam Hawkins James Armstrong Elmer Lee Thomas Blues Revue San Jose, CA, March 21, 1996 . . . "I didn't know where the money was going to come from. It was looking bleak for a while," said Ted Gehrke, the Fountain Blues Festival promoter, "but METRO saved the festival, the only free blues festival left in the Bay Area. METRO is even helping out with hotel rooms for musicians and ad space. San Jose State and myself, we're very relieved and grateful for METRO's four year commitment to help fund this festival." When asked why METRO came forward with their generous offer to save the festival, METRO publisher David Cohen stated, "METRO is intricately involved in the arts, especially music in San Jose. We support the Music In The Park Summer Series and the San Jose Jazz Festival. We're also supportive of San Jose State's Center for the Literary Arts and their athletic department." Cohen smiles and announces, "Supporting this festival is integral to who we are. The Fountain Blues Festival fits right in. When we heard the festival may not survive, there was only one thing to do." Festival headliner Johnnie Johnson, well-known for his piano work behind Chuck Berry said, "I'm excited about headlining this festival again. I love being a part of this one and I hope to play many more with the Fountain Blues Festival," Johnson laughs, "plus I like rubbing elbows with all the best musicians. I'm looking forward to playing with Tommy Castro again. I particularly loved playing with his drummer last year." San Jose State's Associated Students Program Board, a board comprised of nine students has earned a rich legacy producing this annual free blues festival for the past fifteen years. Some of the festival's past headliners are John Lee Hooker, Buddy Guy, Koko Taylor and Clarence 'Gatemouth' Brown, Bo Diddley and LaVern Baker. Executive director of the festival's A.S. Program Board Colleen Pon said, "This is a wonderful festival. Tommy Castro has an awesome band. There was immediate audience reaction when Tommy and Johnnie Johnson began playing together last year. Everyone stood up and got into it. That's what this festival is all about." Sixteenth Annual METRO Fountain Blues Festival May 18th, 1996, Noon until 6:30 San Jose State Mid Campus adjacent to 5th and San Fernando Street, San Jose, California You may picnic but please, no glass and no barbecue fires on campus. Ted Gehrke, Festival Producer 408 924-6262 Event Line 408 924-6261 Press release by Leslie Ann Knight, Knight & Day Media Control LKnight1@aol.com ========================================================================= Date: Thu, 21 Mar 1996 21:01:12 +0600 Reply-To: toulouse@comm.net From: toulouse Organization: Toulouse Enterprises, Inc Subject: Larry McCray Comments: To: bit-listserv-blues-l@uunet.uu.net Anyone out there got any Larry McCray insights or experiences that they would like to share? ========================================================================= Date: Thu, 21 Mar 1996 23:34:16 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Chicago hotels How far in advance should someone book a hotel room for the festival? Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" :) ========================================================================= Date: Fri, 22 Mar 1996 04:42:00 GMT Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: Robert Johnson dont want no Lite beer Comments: To: BLUESROCCO@AOL.COM On Thu, 21 Mar 1996 19:28:01 -0500, Jim Rocco wrote: > I mean....If Robert sold his soul to the GOD-DAMNED devil and had his damn >ass poisened and burried in a Mt. Zion churchyard he should warrant more than >a f++kin empty can of LITE ! Tastes great! Less chilling! *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Thu, 21 Mar 1996 21:10:08 -0800 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Leo Fender !Happy Birthday! Let us not forget the man Himself LEO! that invented The Stratocaster/ Telecaster, And many other things. Without Leo Modern Electric music would have taken a couple of extra years in the making. (can't forget that electric bass) Thanks Leo, Wherever you are!!, Isaac ========================================================================= Date: Thu, 21 Mar 1996 21:38:00 PST Reply-To: Gary Joneson From: Gary Joneson Subject: Re: Chicago hotels Recieved this a couple of weeks ago, and may be of some use. >How far in advance should someone book a hotel room for the festival? >We were doing a little "networking" on THE NET when we came across your >information on The Chicago Blues Festival. We thought you'd be interested >in our free services. >A Room With A View, Chicago's City-Wide Hotel Referral Agency, >specializes in finding hotel rooms for clients during soldout situations. >The Chicago Blues Festival certainly qualifies for that !!! >If you are publishing any information on this year's festival, please >feel free to include our information in assisting people get hotel rooms >in downtown. We would be more than happy to assist. >A Room With A View >Toll-free Telephone Number 1-800-780-4343 >Direct Line 1-817-453-8038 >Fax 1-817-453-9140 >e-mail roomview@onramp.net Gary BluesWEB http://www.island.net/~blues/ ========================================================================= Date: Fri, 22 Mar 1996 08:04:44 +-100 Reply-To: Thorsten Jakobsson From: Thorsten Jakobsson Subject: Re: The Instigators CD for sale! >From: bengans >Subject: The Instigators CD for sale! >Bluzellers! >You can now find out about the Instigators new CD at PW >Fentons website. >Info on about the band and how to order etc.etc. on >this address: > http://www.gate.net/~pwfenton/blues-l.html I haven't listened to the CD, but the band is great. I have seen them many times. They warmed up for Kim Wilson Band here in Gothenburg last year. /Thorsten Jakobsson ========================================================================= Date: Fri, 22 Mar 1996 02:38:08 -0500 Reply-To: BLUESROCCO@AOL.COM From: Jim Rocco Subject: Re: Robert Johnson dont want no Lite beer Comments: To: curtis@magicnet.net I LIKE THAT CURTIS>>>>> taste great....less chilling ========================================================================= Date: Fri, 22 Mar 1996 03:20:30 -0500 Reply-To: "jose.eric.s.maglanque" From: "jose.eric.s.maglanque" Subject: Being vocal, easily Comments: To: ists024 LW asked... >>> Can you folks recommend some tunes (that are acoustic delta or can be) that is easy to sing. There are some I can pull off, but some I can't even get close to doing right. So any suggestions would really be helpful. My playing is OK, but I have to work on vocals LW >>> Carr vocals over Blackwell guitar (and -- come to think of it -- a lot of the jug band songs) are always easier and fun (very important, that!)... Memphis Minnie or Sis. Rosetta Tharpe is great for high register, full-on bellowing... And how could we miss Skip James for those falsetto melismas.... Or how about House's "Death Letter" for raspy growls -- speaking of which probably Blind Willie Johnson (specially my favorite piece -- "God Moves on the Water") is the best thing going as far as slide guitar and vocal coordination... but that's too hard... there's something we can dream for! ... not all Delta, I know, but watdaheck these are fun stuff... nothing like the joy of playing and singing what you like hearing and wanna play (never mind if you can't copy the original -- they themselves didn't even think of copying the original or having themselves copied anyway) ========================================================================= Date: Fri, 22 Mar 1996 03:21:50 -0500 Reply-To: "jose.eric.s.maglanque" From: "jose.eric.s.maglanque" Subject: michael bloomfield's "if you love these blues..." i remember taping from a radio show parts of bloomfield's -- "if you love these blues, play em as you please" LP... has this been reissued? if so, by which label and where is it available... OR is this the same as the "blues, gospel & ragtime guitar" CD on shanachie 99007? ========================================================================= Date: Fri, 22 Mar 1996 16:38:36 MNL Reply-To: "Thomas B. Colvin" From: "Thomas B. Colvin" Subject: Blues Festival in Thailand Does anyone have any information about a blues festival scheduled for Phuket, Thailand sometime around 22-24 April? Incidentally, I'm a newcomer to blues-l though a long-timer with harp-l. Been living in Manila for 10 years now. Blues are finally coming alive over here, with several blues bands and clubs featuring blues 1-2 nights a week. I look forward to getting to know you folks on this legendary list. Thomas "Tomcat" Colvin Manila, Philippines ========================================================================= Date: Fri, 22 Mar 1996 00:34:52 PST Reply-To: robbd@VYGER.ENET.DEC.COM From: robbd@VYGER.ENET.DEC.COM Subject: CDs to trade Anyone interested in the following titles? Sonny Boy Williamson "Bummer Road" (MCA) Paul Butterfield Blues Band "Strawberry Jam" (Winner) Ann Peebles "Greatest Hits" (MCA) Ron Thompson "Just Like A Devil" (Winner) I'd be happy to trade for samplers, esp. Evidence 1, 2 & 3, and the (fairly recent) Testament one. I'm also looking for soul stuff along the lines of James Carr, O.V.Wright and Z.Z.Hill. Please send e-mail direct. ========================================================================= Date: Thu, 21 Mar 1996 22:16:01 GMT Reply-To: hynes_g@IRISH-TIMES.IE From: Graham Hynes Subject: Irish Blues News Hi all, Its been a while since i've posted but anyway got the chance now to let you all now whats been going on in the blues scene over here. First off fans of the late Rory Gallagher might like to know that his body has been moved by his family. Rory was buried in Cork's ST Oliver's cemetery on Model Farm Road. Late last year, his coffin and remains were re-interred to place him in the same cemetery alongside an uncle he dearly loved. I've no further information as to where this gravesite is. Got to see Jimmy Rogers last Friday night at a packed (the biggest crowd i've seen in years!!) gig in Whelans. It was great to see a living legend playing in your own backyard and the venue being packed for him! His son Jimmy Lane featured quite a lot through the set, including a rousing version of Red house which during the solo played with his teeth!!. Although Jimmy Rogers only played about 45mins with the band (the band played for about and hour and a half), not surprising for a man his age etc.. those 45mins definetly felt like been in heaven!!!:-). I can't remember the drummers name but a friend of mine spoke to him after the show and he mentioned playing with Homesick James??? Im not quite sure. But he sure knows a Chicago blues beat!!. A great night had by all. Lastly, i mentioned a while back about a blues club which the Irish blues musicians setup me included called the I.B.C. (Irish Blues Club). Since September we have organised a weekly gig every Tuesday night. The proceeds are for a compliation CD featuring Irish Blues bands/musicians. Well it looks like our goal will be met. The material for the Cd is complete and the final mixing is on the way !!. It looks like a release will now be near the end of May!!. Boy will there be a big party that night:-)!!!. Thats it for now, talk to you all later..if i get the chance!! G. Hynes ========================================================================= Date: Fri, 22 Mar 1996 07:37:40 -0300 Reply-To: Leonardo Kenji Shikida From: Leonardo Kenji Shikida Subject: Re: madcat Comments: To: "Keith T. Balistreri" In-Reply-To: On Thu, 21 Mar 1996, Keith T. Balistreri wrote: > Quite a few years ago I saw in Milwaukee a band called the "New Heavenly > Blues Band." They played with the Milwaukee Symphony Orchestra...an > unbelievable concert. The band was made up of Dave Bruebeck's sons and a > fantastic harp player named madcat. Does anyone know the whereabouts or of > any releases of the band and of madcat himself. > > Thanks, > Keith Balistreri > He also played with Kane here in Brazil last year at Nescafe & Blues, a blues festival in Sao Paulo. I would like to thank all the people who helped me giving info about Madcat. Thank you all, bluesmen ! Leonardo Kenji Shikida ========================================================================= Date: Fri, 22 Mar 1996 08:25:05 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: Son House - Happy Birthday (and a lyric question) In-Reply-To: <827438693.27932.0@skerries.demon.co.uk> from "Chris Smith" at Mar 21, 96 04:46:33 pm Yesterday I wrote: > >Today would have been the 110th birthday of the mighty Son House. Shaun Cronin and Chris Smith questioned this, saying he was born in 1902. 1902 was the date listed on his birth certificate, but there's fairly conclusive evidence that he was actually born in 1886, making him 102 yrs old when he died in 1988. For more information on Son's real year of birth, check out http://dragon.acadiau.ca/~rob/blues/son.house/interview.html for an essay I wrote a year ago based on an interview with Dick Waterman. If anyone doesn't have web access, email me and I'm send it to you. > I'll join you with a glass of the MacAllan, though. Mmmmm, McCallan... powerful good scotch. > I think the missing word is 'often', isn't it? Could be... Hmmmm. Will have to give it another listen. Thanks. -Rob ========================================================================= Date: Fri, 22 Mar 1996 08:41:07 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: Death Letter (was: the blues are about...) In-Reply-To: <199603202049.MAA01244@wavenet.com> from "Shaun T Cronin" at Mar 20, 96 12:53:22 pm Shaun Cronin wrote: > Still, I'm pretty certain that a lot of Son House's material was > autobiographical. "Preachin' Blues" and "Levee Camp Moan" come to > mind. I'm not sure about "Death Letter Blues." I seem to remember > reading that it was about a friend or was based on a real life > occurence. "Death Letter" is one of the oldest tradition blues, probably as old as songs like "Make Me A Pallet On Your Floor". Leadbelly did a version as well. House just set some of the traditional verses (and probably some of his own) to the same riff he used on "My Black Mama" way back in the '30s. (Wish I could remember where I read this stuff so I could quote references...) In no way does this take away from the power of his version. I consider a couple of his 1965 recordings of "Death Letter" as being among the most powerful music I've ever heard. (Namely, the Columbia first take and the version from Grossman's Giants Of Country Blues Guitar video, in which House is accompanied by Jerry Ricks.) Anyone know how many recordings Son made of this song? I have at least five: - 2 takes on the columbia set - the above-mentioned video - The London 1970 recording (Just re-released on Capitol - I have the original Sequel release) - The 196? Oberlin College recording (I'm pretty sure there's a Death Letter on that disc...) Anyone sick of me talking about Son House all the time? If so I'll shut up for a while... -Rob ========================================================================= Date: Fri, 22 Mar 1996 07:53:00 -0500 Reply-To: Rags_Trips_On_Gras From: Rags_Trips_On_Gras Subject: Re: Blues Festival in Thailand Comments: To: tcolvin@MAIL.ASIANDEVBANK.ORG In-Reply-To: <9602228275.AA827541580@mail.asiandevbank.org> from "Thomas B. Colvin" at Mar 22, 96 04:38:36 pm > > Does anyone have any information about a blues festival scheduled for > Phuket, Thailand sometime around 22-24 April? > > Incidentally, I'm a newcomer to blues-l though a long-timer with > harp-l. Been living in Manila for 10 years now. Blues are finally > coming alive over here, with several blues bands and clubs featuring > blues 1-2 nights a week. I look forward to getting to know you folks > on this legendary list. > > Thomas "Tomcat" Colvin > Manila, Philippines > Welcome aboard Tomcat...U are now a BLUEZELLER :) Not Blues but I found a Puket Jazz Fest WWW page.....its http://www.awebspace.com/thaijazz The fest I believe is end of March....so may actually be on now... Have fun....If I find some info on Blues fest..I let ya know BLUES BY NITE COOL BY DAY!!! Om Shanti!! Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Fri, 22 Mar 1996 08:44:27 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Online Festival Lineups? I've thought about posting '96 Festival line-ups on BLUES WORLD as they come through Blues-L or from other sources. Would any of you see a need for such a page? Joel Slotnikoff ========================================================================= Date: Fri, 22 Mar 1996 08:36:55 EST Reply-To: ron kraemer From: ron kraemer Subject: Steve Guyger and the Excellos I caught Steve and the Excellos at the Sports Zone in Levittown, PA last night. What a treat! I've been trying to see him of late, but we're always playing the same night. I think I last saw Steve mentioned on this List as doing the harp work at Hubert Sumlin's Feb.1 show in NYC. Last night's show was sponsored by the Bucks County Blues Society, which does a regular "Blue Thursday" at this place, only costing $2.00. You can't go wrong. Steve is one HELLUVA harp player in the classic Chicago vein, with a surprising (to me) amount of swing thrown in. Great style, voice, and showman. Sitting in on guitar was Bennie Hifi (that's how it's pronounced) playing what looked like an old 335 through a Fender Vibroverb. He provided smooth and tasty support, and was given plenty of opportunity to shine. What I could make of the other members' names was John Kennedy on drums and Mark (?) Phillips on bass, both laying down a groove that allowed Steve to weave in and out comfortably. Bo Parker from Trenton, NJ sat in later with some fine sax work, and I left shortly after (5:45am comes damn early). Steve really blew me away, as my harp-guy Kevin told me he would. The guy just oozed Blues all over the place. If you need me, I'll be in the woodshed. Ron ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters (and in another life....) Ron Kraemer and the Hurricanes ************************************************************ ========================================================================= Date: Fri, 22 Mar 1996 08:47:18 -0500 Reply-To: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM From: Jim Smith Subject: michael bloomfield's "if you love these blues..." Comments: To: jose.eric.s.maglanque@AC.COM In-Reply-To: <9603220823.AA1700@CServe-Hub4.inhouse.compuserve.com> That lp was issued on the LaserLight label as "Root of Blues". It contains all but 2 of the songs from the original LP. It also has the explanations by Mike about the tunings and equipment deleted. The 2 songs not included on that CD are included on another CD titled "Gospel of Blues" which was Mike's duet LP with Woody Harris originally released on Kicking Mule. Both CDs are bargain priced. Noteworthy Music (telnet to netmarket.com) has them for <$6. >i remember taping from a radio show parts of bloomfield's -- "if you love these >blues, play em as you please" LP... has this been reissued? if so, by which >label and where is it available... > >OR is this the same as the "blues, gospel & ragtime guitar" CD on shanachie >99007? > ========================================================================= Date: Fri, 22 Mar 1996 08:41:50 -0500 Reply-To: MECHR@DNRSERVER1.DNR.STATE.MI.US From: Roger Mech Subject: Re: madcat In-Reply-To: <1B6E1EE8@MHS> Somewhere out there there is also an album Ruth cut with Brubeck back in the 1970's. Seems to me it was called something like "Pressure Cooker". It's, unfortunately, out of print - Madcat told me once he didn't even have a copy of it anymore. ========================================================================= Date: Fri, 22 Mar 1996 08:49:57 -0500 Reply-To: Larry Corbett From: Larry Corbett Subject: Son House-Grinnin' in your face Grinnin' In Your Face by Son House Don't you mind people grinnin' in your face Don't mind people grinnin' in your face Yeah just bare this in mind a true friend is hard to find Don't you mind people grinnin' in your face You know they grin in your face, They'll jump you up and down, just as soon as your back a turn, They'll be tryin' to crush you down Yeah..but..ohhhh bare this in mind a true friend is hard to find. Don't you mind a people grinnin' in your face Don't mind people grinnin' in your face Don't mind people grinnin' in your face Yeah...just bare..ohhhh..this in mind a true friend is hard to find Don't you mind people grinnin' in your face You knows you mother will talk about you Your sisters and brothers too Ohh don't care how you tryin' to live They'll talk about you still Yeah..but..ohh..bare this in mind a true friend is hard to find. Don't you mind people grinnin' in your face Don't mind people grinnin' in your face Don't mind people grinnin' in your face Yeah..just bare this in mind a true friend is hard to find Don't you mind people grinnin' in your face Don't mind people grinnin' in your face Don't mind people grinnin' in your face Ohh just bare this in mind a true friend is hard to find Don't you mind people grinnin' in your face They'll grin in your face Jump you up and down Soon your back a turned they be tryin' to crush you down Just bare this in mind a true friend is hard to find Don't you mind people grinnin' in your face ========================================================================= Date: Fri, 22 Mar 1996 09:12:07 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Charley Patton Book? Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com Can anyone tell me where I can find the Stephen Calt book on Charley Patton? I know it's out of print - any plans on it being reprinted? I've been listening to Patton a lot lately (one of the Yazoo cds rarely leaves my cd player) and I'd like to find out more about him. I already have Deep Blues and the R. Crumb biography. If you know where I can get Calt's book please let me know. Thanks -Steve "When you get home baby, please email me a few of your lines" -Fred McDowell in cyberspace ========================================================================= Date: Fri, 22 Mar 1996 09:27:42 -0500 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: Steve Guyger and the Excellos Comments: To: ron kraemer In-Reply-To: Steve Guyger fans might be interested in his LIVE AT THE DINOSAUR cd (on Remedy, if I recall), which came out a little over a year ago. Pretty fine stuff here. I wish I was at the Dinosaur BBQ that night... Dave Prychitko ========================================================================= Date: Fri, 22 Mar 1996 09:24:22 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1949 Laura Rucker recorded "Cryin' The Blues" for Chess On this day in 1966 Little Joe Blue recorded "Dirty Work Goin' On" for the Chess subsidiary, Checker P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 22 Mar 1996 14:29:53 GMT Reply-To: bbbean@sheltonlink.com From: bbbean@SHELTONLINK.COM Organization: inlink Subject: Re: Vanguard Blues Sampler (Review) Comments: To: bit-listserv-blues-l@uunet.uu.net In <199603210250.SAA26070@frisbee.beachnet.com>, Mary Katherine Aldin writes: >At 12:32 PM 3/20/96 -0500, Tom Freeland wrote: >>Today I got a copy of one of a new series of samplers VANGAURD is putting out >>to show off their catalogue. It has liner notes by blues-lister >Mary Katherine Aldin, who produced the compilation. > >Many thanks to Tom for these kind words--BUT--I want to let all the folks on >this list know that *since* this sampler was produced, I am no longer >affiliated in any way with Vanguard Records. > >Mary Katherine Aldin Thanks for clearing that up. BBB B.B. Bean New address------>bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Fri, 22 Mar 1996 09:58:43 -0500 Reply-To: Rags_Trips_On_Gras From: Rags_Trips_On_Gras Subject: CLARENCE_SPADY!!! Anybody heard of CLARENCE SPADY....I believe he plays the B-3 Organ He is gonna be jamming tonite here in PITT. Was wondering should should I check his act out... Any ideas fellow BLUEZELLERS!!! Om Shanti!! Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Fri, 22 Mar 1996 09:05:31 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Being vocal, easily In-Reply-To: Message of Fri, 22 Mar 1996 03:20:30 -0500 from On Fri, 22 Mar 1996 03:20:30 -0500 jose.eric.s.maglanque said: >if you can't copy the original -- they themselves didn't even think of copying >the original or having themselves copied anyway) I think playing blues and copying the original is a contradiction. I don't have same feelings as Blind Willie or Son House, so I'd be lying. I can't do that I have to express myself, not try and express Son House's feelings. It's impossible. If I wanted note-for-note I'd be playing top-40, that's just my opinion and to each his own. Thanks for the suggestions. LW ========================================================================= Date: Fri, 22 Mar 1996 10:25:19 -0400 Reply-To: BALISTRK@BAYDENOC.CC.MI.US From: "Keith T. Balistreri" Subject: Re: Being vocal, easily Comments: To: L W In-Reply-To: I certanily have to agree with you. We are a three piece band with (believe it or not) a tuba player playing the bass parts. We do our own arrangements of stuff, developing our own style and still not losing the feeling. I don't want to be some cover band having to work out every beat exactly the way it is on the recording....how boring. I also think that most of the original artists would be flattered that you would work on a arrangement of their work. Keith Balistrei "We all have two enemies... the one who talks about us and the one who tells us." ========================================================================= Date: Fri, 22 Mar 1996 17:37:40 +0200 Reply-To: Jouni Ilari Hyyti{inen From: Jouni Ilari Hyyti{inen Subject: Blues in Europe this summer.... I just got a list of artists from promoter. There are approximately 50 names on it. Alligator Records 25 years anniversary tour at July. Is there anybody on this list who knows which alligator artists are on this European tour,,,, Long John ?, Carey ?, Saffire ?, Dave Bartholomew Big Band at July. The names of the musicians, Please. please please , Snooks on guitar.... Thanks, tackar och pockar, merci, Danke schon Jouni ========================================================================= Date: Fri, 22 Mar 1996 15:52:11 GMT Reply-To: Robert Belew From: Robert Belew Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: madcat Comments: To: bit-listserv-blues-l@uunet.uu.net Madcat and Kane performed last night, March 21st, at The Down Home in Johnson City,TN. The show was very impressive although the crowd was small, it snowed here in East TN. The set included traditional renditions of: Act Like You Love Me Mississippi Blues Take Five- a jazz number by Paul Desmond Rollin' and Tumblin' Doin Alright By Myself The Sky Is Cryin Yonders Wall Sweet Home Chicago Trouble In Mind Darkness - by a friend of their's, Spencer Bohern Key To the Highway- the title track of the Madcat and Kane CD Mellow Down Easy Moon Goin' Down Madcat's solos included Rockin' Robin and Peg O' My Heart / Don't Get Around Much Anymore Shari Kane switched from A Tele to a Supro for Her slide work and a sweet sounding Takemeni (sp?) for the Delta Blues sound.... They are performing Tonight, March 22nd at The HandleBar in Greenville, SC. ========================================================================= Date: Fri, 22 Mar 1996 08:37:29 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Mar. 23 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- CARSON, JOHN "FIDDLIN'" (fiddle) b. 1868-0323, FANNIN CTY, GA GREEN, HENRY (of THE WILLIAMS BROTHERS) b. 1943-0323, SMITHVILLE, MS GREER, SONNY (d/GAYTEN/ELLINGTON) d. 1982-0323, NEW YORK CITY, NY 78 HARRIS, R. H."POPS" (lead/SOUL STIRRERS) b. 1916-0323, TRINITY, TX INGRAM, RIPLEY L. (of THE FIVE KEYS) d. 1995-0323, NEWPORT NEWS, VA 65 JOHNSON, PETE (p/JOE TURNER) d. 1967-0323, BUFFALO, NY 62 JONES, MOODY (g/SNOOKY & MOODY) d. 1988-0323, CHICAGO, IL 79 KENNY, BILL (lead/INK SPOTS) d. 1978-0323, NEW WESTMINISTER,BC 63 KHAN, CHAKA [YVETTE MARIE STEVENS] b. 1953-0323, GREAT LAKES, IL LOUISIANA RED [IVERSON MINTER] (g/hca) b. 1932-0323, BESSEMER, AL MCBEE, LEE (hca) b. 1951-0323, KANSAS CITY, MO MCGHEE, GRANVILLE "STICKS" (g) b. 1917-0323, KNOXVILLE, TN MILLS, JACK (of MILLS MUSIC) d. 1979-0323, HOLLYWOOD, FL 87 SAMUELS, BILL (p/CATS 'N JAMMERS) d. 1964-0323, MINNEAPOLIS, MN 52 SEARS, AL BIG (tsax) d. 1990-0323, ST. ALBANS, NY 80 SIMS, JOHN "ZOOT" (tsax) d. 1985-0323, NEW YORK CITY, NY 59 WATSON, ARTHEL "DOC" (g) b. 1923-0323, DEEP CAP, NC ------------------------------------------------------------------------------- ========================================================================= Date: Fri, 22 Mar 1996 11:53:32 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Mager Johnson?? Followed the past lead to Houston Stackhouse via the Wolf CD- Big Road Blues (Wolf #120.915) and included with the HS sides was 1 by Mager Johnson. Any leads on other CDs available with him or by him very much appreciated. Barry WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Fri, 22 Mar 1996 10:57:57 +0600 Reply-To: toulouse@comm.net Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: toulouse Organization: Toulouse Enterprises, Inc Subject: Re: ?Roy Gaines/?Keb Mo Comments: To: Stan Ruffo Stan Ruffo wrote: > > And does anyone out there know how to get in touch with > Keb Mo or his agent/manager? > > TIA, > Stan Keb Mo's agency is Monterey Int'l. 312-640-7500 Peace, toulouse@comm.net ========================================================================= Date: Fri, 22 Mar 1996 11:34:08 -0600 Reply-To: Kevin DeBell From: Kevin DeBell Subject: Delta trip Hi - I'm new to the list, thus unaware if this question has been asked (I checked the FAQ). I'm traveling to New Orleans-Mississippi-Memphis this summer. Tops on my list of visits are the Clarksdale sights/sounds and Junior Kimbrough's juke joint. I can't seem to find, however, an address for the Junior's place more precise than "40 miles south of Memphis." Can anyone help me? Even the Route # would be good. The extended question is if anyone has a favorite place or two that I MUST NOT MISS as a lover of Delta blues (I have read the few travelogues on the web). If this all has been covered before, feel free to e-mail me privately. Thanks very much - Kevin kdebell@wpo.it.luc.edu ========================================================================= Date: Fri, 22 Mar 1996 12:41:57 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Chicago hotels > How far in advance should someone book a hotel room for the festival? > > Jim Leftwich > leftwich@cloud9.net > "I'm on cloud9!" :) As far as possible! The last two years I left it to about a month before, and ended up staying miles away, in hotels I wouldn't wish on anyone. This year I booked in January -- I'll be comfortable and a few minutes walk away Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Fri, 22 Mar 1996 17:50:31 +0000 Reply-To: Kevin Shook From: Kevin Shook Organization: University of Saskatchewan Subject: Beer Lyrics Comments: To: bit-listserv-blues-l@uunet.uu.net I'm a homebrewer as well as a blues fan & I am making labels for my beer using the pictures & words of my favorite musicians. My first beer label has a picture of Robert Johnson & is called Poor Bob's Poison. My next batch is underway & will be called Muddy's Water - but I need an appropriate lyric from Muddy for the label. Any suggestions? Kevin Shook kshook@duke.usask.ca Division of Hydrology University of Saskatchewan Saskatoonn, SK CANADA ========================================================================= Date: Fri, 22 Mar 1996 13:01:00 EST Reply-To: edward c liu From: edward c liu Subject: S&T: Phil Guy, _Breaking Out On Top_ Howdy all, A review of Phil Guy's JSP "greatest hits" disc. -- Ed Edward C. Liu | "Don't make me nervous, 'cuz I'm holdin' edwick@cc.bellcore.com | a baseball bat." | -- Big Joe Turner, "Honey, Hush" The opinions in this message are mine and not Bellcore's. Really! *------------------------------cut heer------------------------------* PHIL GUY / BREAKING OUT ON TOP (JSP 260) JSP RECORDS P.O. BOX 1584 LONDON N3 3NW ENGLAND There are a lot of guitar heroes out there in the blues today. Unfortunately, a lot of these players seem to be in some kind of race to see how many notes per second they can get in a measure. In stark contrast, Phil Guy is a guitar player who picks his notes carefully, making every one of them count. There's a refreshing lack of pyrotechnics in his guitar work, although he'll burn a fretboard with the best of them. He's also a tremendously good singer, with a rich and expressive baritone voice that can croon, wail, or shout as need be. This disc, a compilation of his best JSP material, is a superb introducton to this sadly underrecorded Chicago blues guitar player. Oh yeah, he has a brother named George who plays some decent blues guitar himself. I hear he's a pretty friendly Guy. GAMBLER / QUICKSAND / TEXAS FLOOD / TINA NU / WHERE CAN I GO / PROFESSOR'S BOOGIE / GOOD THING / STONE CRAZY / BREAKING OUT ON TOP / BLUES WITH A FEELING / WINEHEAD / GARBAGE MAN BLUES NYCD Takes GAMBLER: A sizzling guitar intro leads into this sultry number. The vocals are delivered wonderfully, with some great, twangy guitar fills delivered by Norman Beaker and Phil between lines. The solos are very, very lean and understated, with the occasional fast run thrown in, but every single note hits with maximum impact. Phil keeps things simple and straightforward, and the results are terrific. QUICKSAND: Phil opens up again with a classic blues guitar riff before the band joins into this uptempo rocker. The addition of Lenni on saxophone gives this track a much bigger feel. Phil plays with a bit more flash here, but still keeps the grandstanding under control. There are some great solos by Lenni on sax and Dave Bainbridge on organ as well. TEXAS FLOOD: Phil gives this number, revitalized by the late great Stevie Ray Vaughan, his unmistakable stamp. The spartan guitar intro is flawless, and Phil's vocals are delivered with conviction and power. The solos are, again, lean and mean and tough with a very dry edginess to them. He shows off with some uncharacteristic guitar trickery in the closing, but it's entirely fitting and full of thunder. TINA NU: A funky riff-based track with deliciously sultry vocals by Phil. The abrupt, edgy guitar work evokes Albert Collins, and it's just fantastic. The rhythm section, boosted by an uncredited horn section, provides a rock-solid foundation that grooves mightily. Even though the approach is fairly laid back, there's a crackling, smouldering energy about this track. It'll make you wonder why this isn't a classic and why Phil Guy isn't a superstar by now. WHERE CAN I GO: This slow, moaning number showcases a terrific and moving performance by Phil, as he pleads and begs with his lady first with his voice and then with his guitar. You will believe that a guitar can beg for another chance when you hear this work. The uncredited saxophone and Professor Eddie Lusk's piano accompaniment only adds to the thick, blues-drenched atmosphere of this track. PROFESSOR'S BOOGIE: The Professor decides to show off on this track. Opening with some dramatic classical chords, he kicks off into a fast-paced, rocking instrumental shuffle. Phil provides some superb guitar work over the Professor's rollicking organ and piano. Again, it's spartan and restrained and pounds hard with every note. GOOD THING: This firey blues sizzler opens with another hard-hitting bent-note guitar lead-in by Phil. He then kicks off into a hard-edged moan because "everybody knows about my Good Thing." The solo has enough fire in it to light a cigarette, and the added solos by Anthony Palmer on guitar and Professor Eddie again throw some gas on the flames. I think if you play this track too loud, your smoke detector will go off. Don't say I didn't warn you. STONE CRAZY: Some riff trading between Phil and the Professor open up this track. The vocals are wonderfully over-the-top -- howled with conviction and plenty of force. Indeed, I think the vocals are the real star of this show. You learn exactly how much Phil can pour into a song, and he can pour plenty. This doesn't mean the guitar work isn't less than fantastic, though. It smokes and smoulders, and leads to a fadeout that makes you wonder how much longer the band went. BREAKING OUT ON TOP: A jazzy, swinging instrumental opened up by some nice saxophone work by Maurice John Vaughan, followed by some terrific work on organ given up Professor Eddie. Some howling and whooping by the band leads into the unmistakable sound of a Buddy of Phil's. Then it's on to some less flashy but just as hard-hitting guitar work by Phil himself. It gets passed back to the Professor before the band fades it down to the finish, which capped off by Buddy. Simply flawless. BLUES WITH A FEELING: Aptly named. The addition of unidentified harmonica and saxophone players adds an extra edge to this track, packed with blues and feeling. Phil delivers some wonderful vocals here, especially the shouted bridge verse, as well as some excellent riffs traded with the harper, the Professor, and that Buddy again. WINEHEAD: A straight-ahead shuffle that clips along at a steady pace. Sax work by Maurice John Vaughan adds to the mix again, especially during his solo. Phil delivers plenty of the goods as well. There's a dependable consistency all of to Phil's work. There's plenty muscle behind his music. This shorter track proves to be immensely satisfying. GARBAGE MAN BLUES: This disc's closing track is another slow blues that capriciously decides to change keys about a minute in. The transition is perfectly executed; you get the impression nobody in the band even batted an eyelash to do it. The lyrics to this song are great, too, as Phil moons over his woman's tryst with the garbage man. The solo is bee-sting sharp, with the only disappointment being its fade-out. Reviewed by Edward C. Liu Copyright 1996 NY CD Blues -- Unauthorized use prohibited WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs ========================================================================= Date: Fri, 22 Mar 1996 10:17:32 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: H. R. HARRIS TRIBUTE part 1 : FATHER OF MODERN GOSPEL REBERT H. HARRIS, the premier quartet lead of the SOUL STIRRERS, was born on Thursday, March 23, 1916, Trinity, TX. Rebert (notice it's not Robert) is considered the "father" of modern gospel (as opposed to jubilee) quartet singing because he introduced the novelty of having a second/utility lead, effectively turning a quartet into a quintet : at all times, 4-part harmony is always present, allowing the lead singers to go back & forth (and of course, resting their voices!). This "call & response" is now the foundation of the vocal group sound. In Anthony Heibut's THE GOSPEL SOUND : GOD NEWS & BAD TIMES (Limelight Editions, 1985), Harris is profiled as a deeply religious man, a man of great integrity & dedication, who left the SOUL STIRRERS because "the women had fits". He would be replaced by SAM COOKE and the group would continue to attack the gospel highway with women lining up to attend their concerts. R. H. HARRIS continued to sing gospel with The Christland Singers (Peacock Records), Christian Singers (Nashboro), Gospel Paraders (SAR Records), Evening Kings (Columbia Records) and Masonic Quintet (Nashboro Records). I would suggest everyone read chapter 5 in Heibut's book because R. H. HARRIS is a true genius of american music. Heibut compares Harris' genius to Robert Johnson and Billie Holiday! R. H. HARRIS was a master of the ad-lib, he introduced the idea of 'delayed time', falsetto flights, and moaned melodic tunes. His voice can be sweet one moment, rough & intense the next. Heilbut also referred to Harris as one of "the signal vocal sound of our era". His early recordings with the (FIVE) SOUL STIRRERS were issued on DOWN BEAT/BRONZE Records (6 sides, 1945), W & W Records (2 sides,1945), GOTHAM/EBONY/HARLEM/20TH CENTURY Records (4 sides, 1946), ALADDIN Records (52 sides, 1946-1948) and SPECIALTY Records (1950). (see Hayes & Laughton's GOSPEL RECORDS for details: available from BIG NICKEL PUBLICATIONS, P.O. Box 157, Milford, NH. 03055). On January 18, 1989, THE SOUL STIRRERS were inducted into the Rock & Roll Hall of Fame. R. H. HARRIS today lives at 3330 W. Flournoy St., Chicago, IL. 60624, no longer singing due to a serious illness. Send him a birthday card :-). As I post this, AVI/NASHBORO Records are planning a CD of his recordings with The Christian Singers/Masonic Quintet, and I understand that before Peter Welding's death, CAPITOL Records were planning a set of his Aladdin sides with The Soul Stirrers. (As an aside, BLUES WORLD has just included 2 new profiles of Pete Welding that may interest readers.) Happy Birthday, R. H. HARRIS CDs that contain R. H. HARRIS : ============================= ABKCO 712231 VARIOUS - SAM COOKE : SAR RECORD'S STORY (2CD) 9/94 (his SAR recordings with The Gospel Paraders) HERITAGE 10 VARIOUS - JESUS PUT A SONG IN MY SOUL /92 (two 20TH CENTURY sides (1945)) JASS 640 VARIOUS - ALL OF MY APPOINTED TIME /93 (two ALADDIN sides (1947/8)) NASHBORO 4001 VARIOUS - BEST OF NASHBORO GOSEPEL 12/94 (2 sides with Christian Singers) SHANACHIE 1012 VARIOUS - THE GOSPEL SOUL OF SPIRIT FEEL /91 (one 1947 ALADDIN side. one 1951 PEACOCK side by The CHRISTLAND SINGERS) SONY 57164 RECORDINGS OF THOMAS A. DORSEY : PRECIOUS LORD /94 (a few sides with EVENING KINGS) SPECIALTY 7013 SOUL STIRRERS - SHINE ON ME 6/92 (his complete SPECIALTY recordings) SPECIALTY 7206 VARIOUS - GREATEST GOSPEL GEMS /91 (one SPECIALTY side (1950) ========================================================================= Date: Fri, 22 Mar 1996 10:21:02 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: H. R. HARRIS TRIBUTE part 2 (1950 SPECIALTY SESSIONS) FANTASY/SPECIALTY CD 7013 : THE SOUL STIRRERS - SHINE ON ME features, for the first time, the complete 1950 HARRIS SOUL STIRRERS sessions, including 4 previously unissued tracks ("TODAY", "JESUS HITS LIKE THE ATOM BOMB", "EVERYBODY OUGHT TO LOVE THEIR SOUL", "SHINE ON ME") and several alternate takes. It's fitting that FANTASY begin their series of SOUL STIRRERS CDs with the Harris sessions, because this is where it all began. The CD begins with a devastating version of the Charles Tindley composition BY AND BY, clocking in at 5:38 minutes. Heilbut describes this as "art almost immune to cristism. Every single syllable is charged with feeling, every added note is perfectly weighted, exactly right. Elsewhere Harris' voice can be winsome light; here it has the heavy impact of a farmer broadcasting bad news about crop failure or drought. It is sweet, manly, and terrifying, all at once. On its own, Harris' solo part could shake a church, but it exists primarily to set matter for Paul Foster's screaming chorus." Paul Foster would continue with the SOUL STIRRERS until 1977, sharing the leads with Sam Cooke, Johnnie Taylor and Jimmy Outler. Foster was born in Shreveport, LA. on July 12, 1920, his 'hard' lead is a joy to hear. He died last year, August 20, 1995, Vallejo, CA. SPECIALTY 7013 is 70+ minutes of wonderful "unplugged" acappella music that belongs in everyone's collection - I consider it a desert island disc. Contents to SPECIALTY 7013 R. H. Harris - solo leads (2,4,8,10,16,21) R. H. Harris & Paul Foster - co-leads (1,3,5,6,11,12,13,18,19,20,22,23,24) James Medlock - co-leads (with Harris or Foster) (9,14,15,25) Senior Roy Crain - lead (17) 1. BY AND BY (long alt take) 14. HOW LONG 2. I'M STILL LIVING ON MOTHER'S PRAYER 15. WHO'LL BE THE ONE 3. FEEL LIKE MY TIME AIN'T LONG 16. LORD IS MY SHEPHERD 4. TODAY (unis) 17. CHRIST IS ALL 5. I HAVE A RIGHT TO THE TREE OF LIFE 18. BY AND BY, PART 1 6. IN THAT AWFUL HOUR 19. BY AND BY, PART 2 (alt) 7. JESUS HITS LIKE THE ATOM BOMB (unis) 20. BY AND BY, PART 2 8. SHINE OM ME (unis) 21. I'M STILL LIVING ON ... (alt) 9. FAITH AND GRACE 22. FEEL LIKE MY TIME ... (alt) 10. EVERBODY OUGHT TO LOVE THEIR SOUL(unis)23. I HAVE A RIGHT TO ... (alt) 11. BLESSED BE THE NAME OF THE LORD 24. IN THAT AWFUL HOUR (alt) 12. I'M GONNA MOVE IN THE ROOM W/THE LORD 25. FAITH AND GRACE (alt) 13. MY LOVED ONES ARE WAITING FOR ME 26. MY LOVED ONES ... (alt) ---------------------------------------------------------------------------- Other SOUL STIRRERS CDs on SPECIALTY RECORDS : SPECIALTY 7009 SOUL STIRRERS SAM COOKE & THE SOUL STIRRERS /91 SPECIALTY 7013 SOUL STIRRERS SHINE ON ME 6/92 SPECIALTY 7031 SOUL STIRRERS JESUS GAVE ME WATER 2/93 SPECIALTY 7040 SOUL STIRRERS HEAVEN IS MY HOME 7/93 SPECIALTY 7052 SOUL STIRRERS THE LAST MILE OF THE WAY 2/94 ========================================================================= Date: Fri, 22 Mar 1996 13:14:05 -0500 Reply-To: PARRISHR From: PARRISHR Subject: Guitar Info needed (sorry, no blues content) Does anyone have a vintage guitar pricing guide? I'd like to know how much my '65 Silvertone (with amp built into the case) is actually worth. Thanks, Ruth ========================================================================= Date: Fri, 22 Mar 1996 13:38:07 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Magic Slim's Peek-A-Boo Team .... Now that John Primer is out of the back and into the front keep your eyes peeled for Nick Holt (Magic Slim's bass). I can't say what else he has done as the front but his new CD (yes on Wolf) is very good. Deep, big bluesy vocals and the band is Slim and John, Eddie Shaw (wow), Chris Sandera (harp and another wow), & Earl Howell drums. He also is writer to several tunes on this disc and covers make up about half the disc. Will be reviewed as soon as time opens up - found this disc al- most as good as yesterday's for making the database work go bye bye easily. Yes it has it's typos, but the disc is worth a listen-to. Is it possible B.B. King penned a tune Walk Up This Morning :). That is on the jacket. Maybe Wolf isn't making typos - could it be, they just have a good sense of humor. No replies required. Barry WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Fri, 22 Mar 1996 11:53:00 -0700 Reply-To: bmpech@MSCD.EDU From: Bruce Pech Subject: Rocky Mountain Blues -- Update Upcoming gigs in Denver-Boulder Colorado: Gatemouth Brown: Saturday March 23 (tomorrow!), 10 p.m., Bluebird Theatre, 3317 E. Colfax Ave., Denver. $10-$12. James Cotton Blues Band: Saturday March 23 (tomorrow!), 9 p.m., Fox Theatre, Boulder. $11.55-$12.60. Buddy Guy with Corey Harris: Tuesday April 23, 8 p.m., Ogden Theatre, 935 E. Colfax Ave., Denver. $22.50 (ADV. 800-444-SEAT). Koko Taylor: Friday, May 3, 9 p.m., Fox Theatre, Boulder. $15-$16 (Info: 303-637-8934). Gatemouth or James Cotton???? Decisions, decisions .... BTW, having belatedly ordered Blues Bytes, I'd like to add my compliments to those that have already been posted. There isn't a mediocre track on the tape ... but Cathi Norton's and Billy Price's contributions are outstanding. BP Boulder, CO (not affiliated, etc., etc.) ========================================================================= Date: Fri, 22 Mar 1996 10:58:40 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Death Letter (was: the blues are about...) Rob Hutten wrote: >Shaun Cronin wrote: > >> Still, I'm pretty certain that a lot of Son House's material was >> autobiographical. "Preachin' Blues" and "Levee Camp Moan" come to >> mind. I'm not sure about "Death Letter Blues." I seem to remember >> reading that it was about a friend or was based on a real life >> occurence. > >"Death Letter" is one of the oldest tradition blues, probably as old >as songs like "Make Me A Pallet On Your Floor". Leadbelly did a version >as well. House just set some of the traditional verses (and probably >some of his own) to the same riff he used on "My Black Mama" way back >in the '30s. > >(Wish I could remember where I read this stuff so I could quote >references...) > >In no way does this take away from the power of his version. I >consider a couple of his 1965 recordings of "Death Letter" as being >among the most powerful music I've ever heard. (Namely, the Columbia >first take and the version from Grossman's Giants Of Country Blues >Guitar video, in which House is accompanied by Jerry Ricks.) I absolutley agree. The first time I heard the 1965 version of "Death Letter" I was blown away. "Death Letter" is easily one of my favourite all time blues songs. There is so much in that song. >Anyone know how many recordings Son made of this song? I have at least >five: > > - 2 takes on the columbia set > - the above-mentioned video > - The London 1970 recording (Just re-released on Capitol - I have the > original Sequel release) > - The 196? Oberlin College recording (I'm pretty sure there's a > Death Letter on that disc...) The Oberlin College concert was 1965 (April 15th to be exact) and "Death Letter" is on the disc. >Anyone sick of me talking about Son House all the time? If so I'll >shut up for a while... Rave on, Rob. I will never be sick of talking and hearing about Son House. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Fri, 22 Mar 1996 14:38:44 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: Mager Johnson?? Barry Silverberg wrote > Followed the past lead to Houston Stackhouse via the Wolf CD- > Big Road Blues (Wolf #120.915) and included with the HS sides > was 1 by Mager Johnson. Any leads on other CDs available with > him or by him very much appreciated. > > Barry > > WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ > > NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs > Barry Silverberg ... bsco@panix.com There was a Rounder LP 2012 that was a reissue of a British Decca LP from David Evans' fieldwork. It may have been transferred to CD - perhaps with the same number. I don't have a Rounder catalogue to check if it was put on CD, or if it still exists if so. There may well be tracks on Wolf CDs, but again I'm not in a position to check. Good luck. Chris Smith (chris@skerries.demon.co.uk) 'Positive: wrong at the top of one's voice." (Ambrose Bierce) ========================================================================= Date: Fri, 22 Mar 1996 14:12:15 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 03/23 B O R N : 03/23 AARONS, AL ( ALBERT N ) Born:1932 PITTSBURGH, PA Career:TRUMPET / FLUGELHORN Style:JAZZ / BIG BAND CARSON, JOHN "FIDDLIN'" Born:1868 FANNIN CITY, GA Career:FIDDLE Style:BLUES FRISHBERG, DAVE ( DAVID L) Born:1933 ST.PAUL, MN Career:PIANO / SINGER / SONGWRITER Style:JAZZ / BIG BAND With:Carmen McRae / Kai Winding 1958-59 / Dick Haymes / Odetta / Gene Krupa 1960-51 / Wild Bill Davison / Bud Freeman / Ben Webster / Peanuts Hucko / Al Cohn-Zoot Sims GREEN, HENRY Born:1943 SMITHVILLE, MS Career:??? Style:BLUES With:THE WILLIAMS BROTHERS GUARNIERI, JOHNNY ( JOHN A. ) Born:1917 NEW YORK, NY Career;PIANO Style:JAZZ / BIG BAND With:George Hall / Mike Riley / Benny Goodman / Artie Shaw / Raymond Scott HARRIS, R. H."POPS" Born:1916 TRINITY, TX Career:LEAD SINGER Style:BLUES With:SOUL STIRRERS KIKUCHI, MASABUMI Born:1940 TOKYO, JAPAN Career:PIANO / COMPOSER Style:JAZZ With:Shungo Sawada / Oya Takatoshi / Charlie Mariano / Sonny Rollins / Gary Peacock / Elvin Jones / Gil Evans LOUISIANA RED [IVERSON MINTER] Born:1932 BESSEMER, AL Career:GUITAR / HARMONICA Style:BLUES With:JOHN LEE HOOKER / JAMES WAYNE NIGHTHAWKS / JIMMY REED MCBEE, LEE Born:1951 KANSAS CITY, MO Career: HARMONICA Style: BLUES McGHEE, STICKS ( GRANVILLE McGHEE ) Born:1917 KNOXVILLE, TN Career:GUITAR / SINGER Style:BLUES PIKE, DAVE ( DAVID SANMUEL ) Born:1938 DETROIT, MI Career:VIBES Style:JAZZ FOR A LISTING OF THOSE THAT PASSED AWAY IN THIS MONTH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Fri, 22 Mar 1996 12:29:17 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: LEGACY 67001 : JOSH WHITE - BLUES SINGER 1932-1936 Columbia-Legacy 67001 JOSH WHITE - Blues Singer 1932-1936 ============================================================================== JOSHUA DANIEL WHITE b. 1914/FEB/11, GREENVILLE, SC d. 1969/SEP/06, MANHASSET, NY "I was seven years old when I left my home in Greenville, South Carolina to help support myself and my family. My job was to lead a blind man while playing the tambourine. Before I was eight years old I knew what it meant to be kicked and abused. Before I was nine I had seen two lynchings. I got to hate Jim Crow..." ~ Josh White, "Josh White Looking Back", Blues Unlimited #55/56 (1968) "The Josh White recordings dealt with in our new presentation are, indeed, country blues of the highest order. To use a frame of reference for these recordings based upon his post-1940 recordings is inaccurate. By that time he had completely changed his musical approach and was well on the way to becoming a semi-sophisticated "folk" artist who did not remotely resemble the earlier Josh White." ~ Larry Cohn (producer), BLUES-L posting by Jessica Sowin, 9 Feb 1996 Josh White - guitarist, songwriter and folk singer (a term he preferred over blues singer) - first recorded with the guitar evangelist Blind Joe(l) Taggart. A simple listen to these 1928-1929 recordings will convince you that even at age 15, the teenage Josh White was already skilled in finger picking. His recordings were carefully listened to by Gary Davis, Blind Boy Fuller and Buddy Moss, and now, Legacy Records has included 20 examples of his early solo recordings in their award winning Roots 'N Blues series. Between 1932-1936, 69 titles were recorded, and for this CD, producer Larry Cohn has included one side from his first recording release "Black And Evil Blues" (the reverse side, "Little Brother Blues", is available on Legacy 47060), as well as one of his most powerful blues protest songs, "Low Cotton", with the immortal introductory line "I been pickin' low cotton, no high cotton can I see" - a perceptive reference to both the price and size of a cotton crop. "Welfare Blues" and "Silicosis Is Killin' Me" are two other examples of how his early years on the road influenced his views on hardships. A few of his gospel recordings, released under the name Joshua White (The Singing Christian), are also included as well as sides with accompaniment by pianist Walter Roland ("Black Man") and Clarence Williams ("Milk Cow Blues"). This set should not be missed by true country blues guitar fans. Contents : (62 min.) (* as Joshua White (The Singing Christian)) 1. New Milk Cow Blues - 2. Milk Cow Blues - 3. Black Man - 4. Friendless City Blues - 5.*Lord, I Want To Die Easy - 6.*Did You Read That Letter? - 7.*My Father Is A Husbandman - 8.*Paul And Silas Bound In Jail - 9. Black And Evil Blues - 10. Howling Wolf Blues - 11. Greenville Sheik - 12. Double Crossing Woman - 13. Lazy Black Snake Blues - 14. Downhearted Man Blues - 15. Low Cotton - 16. Welfare Blues - 17. Stormy Weather No. 1 - 18. Silicosis Is Killin' Me - 19. Badly Mistreated Man - 20. Bed Springs Blues Other CDs in this series containing JOSH WHITE tracks (no duplication) : ---------------------------------------------------------------------- Legacy 46779 VARIOUS Preachin' The Gospel : Holy Blues (2 cuts) Legacy 47060 VARIOUS Great Blues Guitarists : String Dazzlers (2 cuts) Legacy 47333 VARIOUS The Gospel Tradition : Roots & The Branches V. 1 (1 cut) Legacy 47467 VARIOUS Legends Of The Blues V. 2 (1 cut by Walter Roland) Legacy 47911 VARIOUS Roots N' Blues - Retrospetive 1925-1950 (4CD) (1 cut) Legacy 67002 VARIOUS Booze And The Blues (1 cut with Walter Roland) ========================================================================= Date: Fri, 22 Mar 1996 15:32:56 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: On this day... Comments: To: "P.W. Fenton" In-Reply-To: <199603221430.JAA54170@osceola.gate.net> On this day in 1963, the Beatles released their first album (Please Please Me) Jim On Fri, 22 Mar 1996, P.W. Fenton wrote: > On this day in 1949 Laura Rucker recorded "Cryin' The Blues" for > Chess > > On this day in 1966 Little Joe Blue recorded "Dirty Work Goin' On" > for the Chess subsidiary, Checker > > P.W. Fenton > Tampa, Florida > http://www.gate.net/~pwfenton/ > Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" :) ========================================================================= Date: Fri, 22 Mar 1996 15:52:30 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: John Lee Hooker itinerary This schedule was placed in the Music Message Center of AOL by The Rosebud Agency. Mike Kappus, John Lee's manager/agent, has never said that JLH was retiring but only that he was cutting back on his appearances and would probably limit himself to dates on the West Coast. OPEN QUOTE: JOHN LEE HOOKER 04/09/96 , Santa Rosa , CA , USA, Luther Burbank Center 05/26/96 , Aptos , CA , USA, Santa Cruz Blues Festival 09/02/96 , Seattle , WA , USA, Bumbershoot 10/13/96 , Kelseyville , CA , USA, Konocti Harbor CLOSE QUOTE Dick Waterman ========================================================================= Date: Fri, 22 Mar 1996 14:40:46 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: does anyone mind if.. > Subject: Re: Does anyone mind if... > From: Mary Katherine Aldin at INTERNET-SH > Date: 03/21/96 1:15 PM > > At 08:41 AM 3/21/96 -0800, Don Cicchetti wrote: > >Does anyone mind if I sell some stuff? > > > >I have some Audio tubes I don't need.> > >I was thinking about listing them here for sale.> > >If anyone would rather I didn't sell on the list, just tell post me > >privately and I won't.> > >If I don't get any objections, I will post a short list of what I > >have > > I don't so much object to Don selling audio tubes, as I do to the > idea of > opening a floodgate of people selling everything from spare tires to > used > Eric Clapton LPs (autographed!). Anyone else have any comments on > this concern? > > Mary Katherine Aldin Wouldn't it be more appropriate to just tell folks "I have some tubes for sale, contact me PRIVATELY for info," then keep it all off the list? I don't think anyone minds announcements of that sort. It's when someone starts posting price lists and sales terms to everyone that folks start getting annoyed. At least Don C. is a class guy and asks first! Don O. ========================================================================= Date: Fri, 22 Mar 1996 20:30:51 GMT Reply-To: bbbean@sheltonlink.com From: bbbean@SHELTONLINK.COM Organization: inlink Subject: Re: Beer Lyrics Comments: To: bit-listserv-blues-l@uunet.uu.net In <4iup97$hh7@tribune.usask.ca>, Kevin Shook writes: >I'm a homebrewer as well as a blues fan & I am making labels >for my beer using the pictures & words of my favorite musicians. > >My first beer label has a picture of Robert Johnson & is called >Poor Bob's Poison. Better watch it - Lavere may come after you for royalties..... BBB B.B. Bean New address------>bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Fri, 22 Mar 1996 20:58:06 GMT Reply-To: Jeffrey Daniels From: Jeffrey Daniels Organization: UMR Missouri's Technological University Subject: Buddy Guy Live Comments: To: bit-listserv-blues-l@uunet.uu.net I recently go a press release that Buddy Guy is putting out a live cd sometime in mid April. Has anyone heard anything off of this? Jeff ========================================================================= Date: Fri, 22 Mar 1996 16:11:00 EST Reply-To: edward c liu From: edward c liu Subject: Lonnie Brooks' New One? Howdy all, Anybody heard it? Comments/questions/answers? I thought it came out the same week as Taj's new one, and there's been discussion about the new Taj, but I haven't seen any on Lonnie. I intend to grab it when I head to a real CD store (as opposed to the Suburban Mall Mass Market CD-Store-Full-Of-Crap where I grabbed Taj's latest) -- just wondering if anybody else was like- minded. -- Ed Edward C. Liu | "Don't make me nervous, 'cuz I'm holdin' edwick@cc.bellcore.com | a baseball bat." | -- Big Joe Turner, "Honey, Hush" The opinions in this message are mine and not Bellcore's. Really! ========================================================================= Date: Fri, 22 Mar 1996 16:34:08 -0500 Reply-To: "Daryl F. Bernard" From: "Daryl F. Bernard" Subject: Re: Larry McCray Comments: To: toulouse In-Reply-To: <31516F38.12C3@comm.net> On Thu, 21 Mar 1996, toulouse wrote: > Anyone out there got any Larry McCray insights or experiences that they > would like to share? > Well, anyone that has been subscribed to this list for the last 6 months or so (and is willing to read my posts!) already knows Larry is my main Blues man, and has already been made aware of my meeting with him last summer and all. So I won't go on about that right now. But.... Just today I went into a local wharehouse (sp?) called "Sam's Club" and while checking out I thought I recognized the cashier. "Hey, are you billy McCray?" I asked. "yeah" he says with a big smile (must run in the family). I said "I met you at the Blues fest last summer" and he looks at me, trying hard to remember me. "I was the one who walked up to you and said "Larry??" (to which he replied at the time - "no, I'm Larry's brohter Billy") but at this time he said "ah, yeah, how you doing?" We talked a bit, turns out he is good friends with the good friends of Larry's who introduced me to Larry later that day. Anyway, by the end of the day last summer my frineds had pointed out several more members of Larry's family. In conclusion, I'd say Billy is equally as friendly as Larry, who is about a personable and decent a person as you'd ever find. Must run in the family as well :) Daryl ========================================================================= Date: Fri, 22 Mar 1996 16:38:41 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Final CD for the database blues ... Young, fresh. some excel guitar and a great dad. Eddie Vaan Shaw. Anybody else listen to this youngster's CD - The Trail of Tears on (yes another one) Wolf. Looks like Wolf draws for me when the da- tabases are tough. Anyway music comes with Chris Sandera harp (also on the last ment- ioned disc), John Primer, Robert Plunkett, Nick Holt, a great Sid Wingfield on the keys, and on some papa Eddie Shaw (always a goody - database or not). I've left some of the musicians out-not to be dissin' but to move this along a tad. The music is very contemporary and fresh. Lots of sides for Eddie Vaan are shown and some ferocious guitar work. Overall the CD is a glimpse into where the blues could go, so it's encouraging that we may yet get some future out of this music each of us so treasures. Also crossovers to jazz which for me are some of my favorite blues. Some good soul felt sides and yes BLUES. Tracks are a mix of originals by EVS+a number of worthwhile covers. In this case - young is good. Barry WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Fri, 22 Mar 1996 21:59:42 GMT Reply-To: Aladdin Leather From: Aladdin Leather Organization: SoVerNet, Inc. Subject: Re: Online Festival Lineups? Comments: To: bit-listserv-blues-l@uunet.uu.net Joel Slotnikoff wrote: >I've thought about posting '96 Festival line-ups on BLUES WORLD as they >come through Blues-L or from other sources. Would any of you see a need for >such a page? >Joel Slotnikoff Yes thank You ... bluesbabe Your Humble Narrator, Aladdin Leather ========================================================================= Date: Fri, 22 Mar 1996 16:28:09 -0600 Reply-To: bolt From: bolt Subject: Re: Lonnie Brooks' New One? Talked to the Alligator guy at SXSW in Austin last weekend and the release has been pushed back until Summer at least. They had a bit more tweeking to do and Lonnie is apparently booked up and won't be able to get back into the studio for a few months. Reg Burns >Howdy all, > > Anybody heard it? Comments/questions/answers? I thought it >came out the same week as Taj's new one, and there's been discussion >about the new Taj, but I haven't seen any on Lonnie. > > I intend to grab it when I head to a real CD store (as opposed >to the Suburban Mall Mass Market CD-Store-Full-Of-Crap where I >grabbed Taj's latest) -- just wondering if anybody else was like- >minded. > >-- Ed >Edward C. Liu | "Don't make me nervous, 'cuz I'm holdin' >edwick@cc.bellcore.com | a baseball bat." > | -- Big Joe Turner, "Honey, Hush" >The opinions in this message are mine and not Bellcore's. Really! > > +++++++++++++++++++++++++++++++++++++++++++++++++ + I'll listen to reason when it comes out on CD + + + + bolt@neosoft.com + +++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Fri, 22 Mar 1996 15:31:28 -0800 Reply-To: Maggie Mortensen Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Maggie Mortensen Organization: Exarch Services Subject: Re: Bartender's Bop Playlist/Shufflin Hungarians Comments: To: Tom Morgan Tom Morgan wrote: > > Here is Monday's playlist ::::::snippage::::::: > Workin on my Little Georgie & 94 Queen Bee > Addictions Shufflin Hungarians I'm not familiar with this band, but am I recalling correctly that The Shuffling Hungarians was the name of one of the first incarnations of Professor Longhair's band? Just pondering... --Maggie -- Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ visualize clever signature line here ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Fri, 22 Mar 1996 22:34:41 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: Gregg Allman.....wasn't he..... P.W. Fenton (pwfenton@GATE.NET) wrote: : Roger, it sounds like Gregg would be a bad person for you to buy your : drugs from, or to do your drugs with. The only way this could : effect his music, and/or your perception of it, would be if either : of you (or both of you) gave up drugs all together. : Theoretically of course. Oh, I dunno. I still like the early Lovin' Spoonful albums, but I never bought another one after I learned that Boone and Yanovsky turned state's evidence and ratted on others to save their own asses in a pot bust. I'm not a big fan of hypocrites or snitches, musical or otherwise. Theoretically, of course. ============================================================================ Jef Jaisun eljefe@netcom.com ============================================================================ -- ========================================================================= Date: Fri, 22 Mar 1996 15:50:36 -0700 Reply-To: Joe Sciallo From: Joe Sciallo Subject: song lyrics/author Bluezellers: Anyone have the lyrics to "I'm a Hog For You Baby" they can send me? Also, who wrote this song, and who has recorded it? Thanks, Joe Sciallo jsciallo@rmtc.central.sun.com ========================================================================= Date: Fri, 22 Mar 1996 15:06:23 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Lonnie Brooks' New One? Comments: To: edward c liu At 04:11 PM 3/22/96 EST, edward c liu wrote: >Howdy all, > > Anybody heard it? Comments/questions/answers? I thought it >came out the same week as Taj's new one, and there's been discussion >about the new Taj, but I haven't seen any on Lonnie. > >Marc Lipkin (sp?) at Alligator Records told me recently that they have put back the release of the Lonnie Brooks CD, as Lonnie was going to go back into the studio and cut more/different tracks. It's now a maybe for May or June release. Mary Katherine Aldin ========================================================================= Date: Fri, 22 Mar 1996 19:23:34 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Blues fest lineups are posted On the basis of an overwhelming five or so responses I've posted all the line-ups I have to BLUES WORLD. There are nine of them. There are hundreds of festivals listed in the current Living Blues. If I'm going to post all these lineups I need everyone's help. If you get a line-up, e-mail it to me or to Blues-L, and I will post it to the listing. I'm calling it "Bluesfest Central" and it can be accessed directly at: http://www.bluesworld.com/fest.html Joel Slotnikoff BLUES WORLD ========================================================================= Date: Fri, 22 Mar 1996 23:44:17 GMT Reply-To: bbbean@sheltonlink.com From: bbbean@SHELTONLINK.COM Organization: inlink Subject: Re: song lyrics/author Comments: To: bit-listserv-blues-l@uunet.uu.net In <199603222250.PAA13654@holly.Central.Sun.COM>, Joe Sciallo writes: >Bluezellers: > >Anyone have the lyrics to "I'm a Hog For You Baby" they can send >me? Also, who wrote this song, and who has recorded it? Clifton Chenier and the Grateful Dead both recorded it (Clifton may have written it, but I'm not sure). I'm nearly certain I have a recording of Jr Wells, or some such Chicago player singing the praises of pork, but I'm not sure. BBB B.B. Bean New address------>bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Fri, 22 Mar 1996 20:43:26 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: H. R. HARRIS TRIBUTE part 1 : FATHER OF MODERN GOSPEL I'd just like to second everything eRIC said. R.H. Harris is THE greatest male lead in gospel IMHO. Get everything you can lay your hands on. Chris Smith (chris@skerries.demon.co.uk) 'Positive: wrong at the top of one's voice." (Ambrose Bierce) ========================================================================= Date: Fri, 22 Mar 1996 22:43:17 -0800 Reply-To: "P.W. Fenton" From: "P.W. Fenton" Subject: Saturday night on ACL For those of you lucky enough to still get Austin City Limits from PBS it lists Saturday 9PM - Los Lobos premiere tracks from their new album, Colossal Head and Joe Ely performs music from his latest album, Letter to Laredo, featuring the flamenco guitar of Dutch guitarist Teye >From what I hear there is something for everybody on that new Los Lobos album. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 22 Mar 1996 22:41:15 -0500 Reply-To: "J.F. Bronowich" From: "J.F. Bronowich" Subject: Re: The Kinsey Report -- [ From: J.F. Bronowich * EMC.Ver #2.5.02 ] -- Ranko Vujosevic wrote: > > They are definitely not to miss show. > > Ranko I agree. First blues band I saw in Chicago. Donald Kinsey is quite a guitar wizard, capable of playing any damn thing he wants to. He'll probably never make the cover of "Guitar Player", but in a just world, he would. Anyone know if his style and technique have ever been covered in a guitar mag? =Joe= ========================================================================= Date: Fri, 22 Mar 1996 23:02:48 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Re: Bartender's Bop Playlist/Shufflin Hungarians Comments: cc: Zomboy@servtech.com In another time and place, Maggie Mortensen said: > > > Workin on my Little Georgie & 94 Queen Bee > > Addictions Shufflin Hungarians > > I'm not familiar with this band, but am I recalling correctly that > The Shuffling Hungarians was the name of one of the first incarnations > of Professor Longhair's band? > > Just pondering... Maggie, you are indeed correct. Shuffling Georgie leads an incredible band that pays homage to some of the New Orleans greats as well as some dandy new material. Believe it or not they are from Syracuse, New York. I would recommend taking a look at his web site at http://sadieo.ucsf.edu/georgie/hungarians.html `'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`' http://redlt.com/tom/ -- Home of Jazz Roots & Record Companies on the Web Free-lance Writer--Author--Program Director WTJU 91.1--Internet Consultant ========================================================================= Date: Fri, 22 Mar 1996 22:17:44 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Re: song lyrics/author BB>> BB>>Anyone have the lyrics to "I'm a Hog For You Baby" they can send BB>>me? Also, who wrote this song, and who has recorded it? BB>Clifton Chenier and the Grateful Dead both recorded it (Clifton may have BB>written it, but I'm not sure). I'm nearly certain I have a recording of Jr BB>Wells, or some such Chicago player singing the praises of pork, but I'm BB>not sure. BB>BBB BB>B.B. Bean New address------>bbbean@sheltonlink.com BB>Peach Orchard, MO http://www.cris.com/~Bbbean I have the Clifton Chenier CD "60 Minutes with the King of Zydeco" which credits Clifton for "I'm a Hog for you." Bill Morgan From: The Big Easy ========================================================================= Date: Fri, 22 Mar 1996 23:47:01 -0600 Reply-To: Craig Edmundson From: Craig Edmundson Subject: I'm A Hog For You, Baby I have a version by Clifton Chenier (credited as composer) that was released as a single (Bayou #717) in either 1970 or 1972. I have another version by Canned Heat (released in 1973) that credits Leiber & Stoller as composers. The two songs bear little similarity. I suspect the origin of this particular title predates both versions. "An' if she want a shoat, I go out and catch me one of them shoats. An' she have pork chops all the week... Sure will." ------------------------------------------------------ cedmundson@nfinity.com (IF the system is working!) cedmunds@netserv.unmc.edu (Boring, but at least it's stable!) http://www.nfinity.com/~cedmundson (Good luck connecting here!) ========================================================================= Date: Fri, 22 Mar 1996 09:26:59 -0500 Reply-To: SwtesTaboo From: SwtesTaboo Organization: America Online, Inc. (1-800-827-6364) Subject: Billboard Comments: To: bit-listserv-blues-l@uunet.uu.net Could someone send me the most current Billboard list, please? ========================================================================= Date: Fri, 22 Mar 1996 22:32:13 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Billboard Comments: To: SwtesTaboo At 09:26 AM 3/22/96 -0500, SwtesTaboo wrote: >Could someone send me the most current Billboard list, please? > > A new one will be posted tomorrow, Saturday. to the list. Mary Katherine Aldin ========================================================================= Date: Sat, 23 Mar 1996 01:43:51 EST Reply-To: MR TERRY W SPRING From: MR TERRY W SPRING Subject: I'm A Hog For You There is a different song done by the Coasters in the fifties, the B-side of one of their singles. Seems to me it was written by Leiber and Stoller, but I can't find the record to check it for sure. ========================================================================= Date: Fri, 22 Mar 1996 23:47:39 -0700 Reply-To: DeWayne Brown From: DeWayne Brown Subject: Re: Billboard Comments: To: SwtesTaboo In-Reply-To: <4iudbj$q5r@newsbf02.news.aol.com> Tell you what. I'm relativly sure most of the list has this, But I'll send it out to all, for those who don't. http://www.island.net/~blues/bchart.htm enjoy, Dew. On Fri, 22 Mar 1996, SwtesTaboo wrote: > Could someone send me the most current Billboard list, please? > ========================================================================= Date: Sat, 23 Mar 1996 03:35:26 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Re: John Lee Hooker itinerary Comments: To: bit-listserv-blues-l@uunet.uu.net In article <960322152255_358919389@emout05.mail.aol.com>, Dick Waterman writes: >JOHN LEE HOOKER > >04/09/96 , Santa Rosa , CA , USA, Luther Burbank Center >05/26/96 , Aptos , CA , USA, Santa Cruz Blues Festival >09/02/96 , Seattle , WA , USA, Bumbershoot >10/13/96 , Kelseyville , CA , USA, Konocti Harbor > > Rosebud notified me that the Bumbershoot date is off the schedule but the others are still on. Catbauer@vivanet.com ========================================================================= Date: Sat, 23 Mar 1996 10:07:49 +0100 Reply-To: bengans From: bengans Subject: Re: does anyone mind if.. > Wouldn't it be more appropriate to just tell folks "I have some > tubes for sale, contact me PRIVATELY for info," then keep it all off the >list? > I don't think anyone minds announcements of that sort. It's when > someone > starts posting price lists and sales terms to everyone that folks > start getting annoyed. At least Don C. is a class guy and asks first! Couldn t agree more! I like toknow if a bargain is coming my way but like Don O said, "for further info contact me privately". .......and then they lived happily forever after. --------------------------------------------------------------- Sevenson "Time is hard baby, and hustling is really on." T-Bone Walker --------------------------------------------------------------- ========================================================================= Date: Sat, 23 Mar 1996 01:39:14 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Johnny Diesel-Oz Bluzellers G'day to all the Oz Bluzellers. Just talked to my sister who knows I'm a blues nut. She says that Johnny Diesel has an all-blues album out. Now I'm not really a fan and I'm a little skeptical of the album but has anyone heard it? She is going to send me a tape but I'll be interested in what y'all think about it. Cheers, Shaun "Transplanted Ozzie in LA" Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Sat, 23 Mar 1996 09:45:46 GMT Reply-To: tdevit3@NEWS-S01.NY.US.IBM.NET From: tdevit3@NEWS-S01.NY.US.IBM.NET Subject: Chicago Blues Festival 1996 Comments: To: bit-listserv-blues-l@uunet.uu.net Does anyone have info re booked artists for this year?...am considering making the journey. ========================================================================= Date: Sat, 23 Mar 1996 09:32:03 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: LEGACY 66999 : EMMETT MILLER - MINSTREL MAN FROM GEORGIA Comments: To: leblanc@dao.nrc.ca uNCLE eRIC reviewed the Legacy Emmett Miller release. While the record is not blues, it is of interest to anyone studying the beginnings of blues, and the places where various American music forms (in this case, particularly, Minstrel, blues, country, and, to a lesser extent, jazz) intersect. It is also "roots" music in a major way. It is startling to hear this man sing "Lovesick Blues;" Hank Williams would later take some of the precise same vocal breaks, shifts, and phrasing to make his famous version of the song (his song is quote on the liner notes saying that Williams learned the song from Miller). You also see some of the same connections that Jimmie Rodgers made (and even yodeling-type vocal breaks). Finally, this music has a clearly established (and audibly obvious) impact on early Western swing-- my brother, who is so obsessed with Western swing that he plans to buy the 7 CD Milton Brown box, has made off with this one after I listened to it twice and I haven't seen it since. This is not music for everyone on this list. I could do without some of the minstrel routines (although they are interesting to hear on record, and I will have to admit to laughing a couple of times in addition to cringing). But it is essential *history* and has some awesome musicianship and fascinating singing. Tom Freeland ========================================================================= Date: Sat, 23 Mar 1996 14:37:38 GMT Reply-To: Lily Sazz From: Lily Sazz Organization: Trailblazers Subject: Re: A suprise in the mail Comments: To: bit-listserv-blues-l@uunet.uu.net Just last Wednesday night, my friend and I were wandering around Fells Point in Baltimore, just waiting for a cab, when we were approached by a very polite, young black man who wanted to sing for us. Said he was only after a sandwich... said he had an education (computer science I believe)... said he was trying to make his way to his son... said he sang professionally. He performed a Stevie Wonder tune for us, extremely well, with full power, there on the street. My friend had a few, uh, "refreshments", and realized that after offering the fellow 5 bucks, only had 5 Canadian bucks to give. I felt so bad for the dude, knowing that 5 Canadian bucks won't get you a sandwich in Baltimore, that I took the 5 bucks back from him and replaced it with U.S. dollars.... not realizing until the next day that my friend had already done so. So 'buddy' ended up with 10 dollars anyway, and was overjoyed. He tried to be helpful by opening the door of the taxi for us when it arrived, and was about to tell the cab driver where we would be going.... but the cab driver freaked out and screamed at him to close the door. I guess I don't have to explain why that happened. I just told the cab driver to relax. He was cool, and our friend. The point to mentioning this, is that it's irrelevant whether his story was true, (although I prefer truth). The thing is, he offered us something for our money, unlike the other panhandlers, and he was truly blessed with talent. And like PW's story, this guy could end up on the cover of a music publication some day. All I asked of him was to remember me and the name of MY band, so that one day we could back him up in the event his music career skyrockets! Lily Sazz The Trailblazers - trailblazers@hookup.net http://www.hookup.net/~lilysazz/ >On my first trip to New Orleans, I really didn't get to know the >place. It was a three day stop-over in a much longer car trip to >visit a friend in Shreveport. All I learned about it, was that I >desperately want to go back, and despite my love for my friend, I >wished I had spent more time in New Orleans. >My next trip was a full week, with a room in the heart of The >Quarter, directly across the street from the Presbytere, not a >hundred feet from Jackson Square. >The first morning my wife, Roz, and I awoke in The Quarter was way >too early. We were still on our "work cycle" and hadn't yet eased into >the "revelry cycle". So when we stepped out onto St. Ann's Street >to walk to breakfast at the Cafe Du Monde it was only 7 A.M. On a >weekend, the only thing making noise in the Quarter at that hour are >the garbage trucks. However, as we approached the corner of Jackson >Square, there was the distinct sound of Blues echoing through the >square. There, on a bench near the corner, was a man playing a >mustard yellow National Steel, singing with a powerful >voice that seemed detached from his body it was so loud and true. >Needless to say we stopped and listened to that tune, and then >another. Just the two of us were stopped listening. A few other >pedestrians walked by without even noticing it seemed. I was so >astounded by this man, and so grateful to know that he even existed >in this day and age, that I walked up and dropped a ten dollar bill >into a container he had on the pavement. He acknowledged me with his >eyes, and we strolled on towards breakfast. I was dumbfounded by how >truly great he was. >As we walked away my wife said, "Did you really give him TEN >dollars?" I said, "Roz, the clubs in Tampa are full of musicians >playing Blues and getting paid for it, and NONE of us even comes >close to this guy who's sitting on a park bench, at 7 o'clock on a >saturday morning, singing to no one. >What a wonderful surprise to open my mailbox so many years later and >see his face on the cover of Living Blues. >I now know his name is "Corey Harris", and that I will definitely be >hearing him again. And that's great news, indeed. >P.W. Fenton >Tampa, Florida >http://www.gate.net/~pwfenton/ ========================================================================= Date: Sat, 23 Mar 1996 14:43:54 GMT Reply-To: Lily Sazz From: Lily Sazz Organization: Trailblazers Subject: A Heartfelt Thank You... re: blues in Baltimore Comments: To: bit-listserv-blues-l@uunet.uu.net I just wanted to express thanks to the people from this list who took the trouble to reply to my post several days ago, asking for suggestions regarding blues clubs to visit while in Baltimore. Because my time was limited, I can't tell you how valuable the emailed information was to me! I ended up at the Full Moon Saloon in Fells Point, and it was just the kind of evening I had in mind! Long Live Blues-L!!! Lily Sazz The Trailblazers trailblazers@hookup.net http://www.hookup.net/~lilysazz/ ========================================================================= Date: Sat, 23 Mar 1996 12:03:20 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Larry McCray Daryl posted an interesting anecdote about Larry and his family, and finished thus: >In conclusion, I'd say Billy is equally as friendly as Larry, who is >about a personable and decent a person as you'd ever find. Must run in >the family as well :) I only saw Larry McCray once, and I don't know much about him or his music, but I agree that he seems to be a friendly person. Here's what happened: During McCray's set, a very large, very drunk man kept yelling out, "Larry, Larry, I love you man!" (etc.). The staff (It was at Buddy Guy's Legends in Chicago) tried to quiet the man a few times, but he persisted. After McCray finished, the drunk guy got up and approached Larry. The staff attempted to intervene, but Larry spoke to them, then took the man aside (they might have gone outside; I couldn't see). Anyway, several minutes later, McCray walked the man back to his seat, shook hands and then left. This seem to satisfy him, and he was quiet the rest of the night. I thought it was really great of McCray to take the time to do that, especially since the guy was totally obnoxious. Btw, I've also been impressed with the staff at Legends. I've seen them quell a few potentially volatile situations. Karen ========================================================================= Date: Sat, 23 Mar 1996 09:06:51 -0800 Reply-To: "BRICH.US.ORACLE.COM" From: "BRICH.US.ORACLE.COM" Subject: Seeking info about live music in Austin, TX Hi, I and a friend will be in Austin, TX from Thursday, March 28 through Tuesday, April 2. The sole purpose of the trip is to hear as much good music as possible during that period. What is the best way to figure out which bands will be playing where? Should I just buy the local Austin paper and look through it each morning? Or is there a weekly or monthly "Live Music in Austin" sort of newspaper that would provide me with more information? I checked out the Austin page on the WWW. It was pretty unhelpful. It did mention Antone's but there was no schedule for Antone's or any other Austin clubs. If you can help me with this request, please send me private e-mail. No sense in filling up other bluezellers's mailboxes with answers to this specific question. Thanks! Bert ============================================================================= Bert Rich Principal Technical Writer/Doc PL Oracle Corporation Documentation Project Leader 110 Spit Brook Road Oracle Expert project M/S ZKO2-1/R34 Nashua, NH 03062 (603) 881-2956 Phone (603) 881-0120 FAX ============================================================================= ========================================================================= Date: Sat, 23 Mar 1996 12:16:26 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Sonny Terry/Brownie McGhee/Stick McGhee/JC Burris I"m working on a discography of Sonny and Brownie, plus brother Stick and nephew J.C. Burris (who used to call Terry 'Uncle Son', btw :-).) The work will include all known titles under their own names, and also titles where they accompany other artists. It's coming on well, to the point where it makes sense to start issuing cries for help with items I have yet to hear. Nevertheless, the list is fairly long, and not of universal interest, and I don't want to clutter up bandwidth and people's mailboxes unnecessarily. So - if you're willing to help, and think you might be able to, drop me a line privately, and I'll email the 'Wants List' to you the same way. Credit will be givne in the event of publication, natch. Thank you for your attention. Chris Smith (chris@skerries.demon.co.uk) 'Positive: wrong at the top of one's voice." (Ambrose Bierce) ========================================================================= Date: Sat, 23 Mar 1996 13:09:37 -0500 Reply-To: DWRYMAN2 From: DWRYMAN2 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: BEALE_ST_anyone!!! Comments: To: bit-listserv-blues-l@uunet.uu.net The lineup for Memphis in May and Handy weekend and other good Memphis info can be found at http://www.memphismojo.com. Check it out! ========================================================================= Date: Sat, 23 Mar 1996 14:16:31 -0500 Reply-To: BLUESROCCO@AOL.COM From: Jim Rocco Subject: Re: Delta trip Comments: To: KDEBELL@wpo.it.luc.edu Heres a few places to check out while in the Delta. Call ahead to see who's playin and what kind of crowd to expect. If you havent spent much time in the Delta, please remember to call ahead. Things are different than you may expect. Big 25 Club...1215 Broad...Greenwood...453-9983 C & J Lounge...36747 Hwy 8 E...Grenada...227-1288 Chateau Lounge...Hwy 35...Vaiden...464-9368 Club Envogue...16915 Hwy 8 W...Grenada...226-0814 CT & Midnight Grill...Hwy 49 E...Tchula...235-5271 Hometown Lounge...200 W Claiborne Av...Greenwood...453-4533 Hunters Club...Hwy 49 E...Sunnyside...658-4634 J & B Connection...Hwy 49 E...Tchula...235-5875 McKinley's Place...627 Union...Grenada...226-0345 Mitchell's Lounge...401 W Johnson...Greenwood...453-9857 Orlando Club...800 Ave F...Greenwood...455-9080 P O E T S Music Hall...Hwy 51 S...Winona...283-3993 Toot Toot Club...728 Howard...Greenwood...453-9847 V I P Lounge...Hwy 35...Vaiden...464-9377 Western Depot Inc...CR 512...Greenwood...453-2788 AREA CODE: 601 While youre down here check out Itta Bena, talk to the local folk. Stop at the store catty-corner to the school.......you might learn some interesting BLUES stuff. And of course....a few miles further south on RT. 7 is Morgan City, resting place of Mr. Robert Johnson, Mt.Zion churchyard just north of the city. Also, Indianola is rich in blues heritage........but PLEASE above ALL: TALK to the local folk......you'll never know what you're missing if you dont! If you have time...get off Hwy 61 and take the drive from Greenville to Friars Point on RT. 1 "along the riverside" ....A whole different way of life....you gotta love it !! TALK TO THE LOCAL FOLK !!!!!!!! ========================================================================= Date: Sat, 23 Mar 1996 12:03:58 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Billboard Magazine blues chart for 3/30/96 This is the Billboard Magazine blues chart for the period ending March 30, 1996. 1. Kenny Wayne Shepherd/Ledbetter Heights 2. Stevie Ray Vaughan & Double Trouble/Greatest Hits 3. Taj Mahal/Phantom Blues 4. Eric Clapton/From The Cradle 5. Jimi Hendrix/Blues 6. Roomful of Blues/Turn It On Turn It Up 7. John Lee Hooker/Chill Out 8. Keb' Mo'/Keb' Mo' 9. Robert Cray/Some Rainy Morning 10. The Duke Robillard Band/Duke's Blues 11. Robben Ford & the Blue Line 12. The Jeff Healey Band/Cover to Cover 13. Bobby "Blue" Bland/Sad Street 14. John Hammond/Found True Love 15. Z.Z. Top/One Foot In The Blues ========================================================================= Date: Sat, 23 Mar 1996 12:04:00 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Congratulations/Error correction in new issue of B&R First, congratulations to blues-ler L.W. for his interview in the new issue of Blues and Rhythm Magazine with Johnnie Billington. Way to go! In that same issue there's an error in the news column that I cannot let pass. Referring to the forthcoming 8-CD Mercury Blues Box, it says that it is "compiled and annotated by Mary Katherine Aldin". Whoa, there, guys! There were FOUR annotators on this set: myself, Jim O'Neal, Dick Shurman and Billy Vera. I'm not sure where B&R got the idea that I had enough energy to write all this stuff myself! I needed and got help from experts. Let's please give credit to them. (And I didn't compile it alone either--my correct title is associate producer. Thenkyew.) Also, as has already been posted to this list, the date given in the news column for a June release has been since changed (again) and it's now due out in either August or September. Mary Katherine Aldin ========================================================================= Date: Sat, 23 Mar 1996 12:04:05 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Delta trip Comments: To: BLUESROCCO@AOL.COM At 02:16 PM 3/23/96 -0500, Jim Rocco wrote: >Heres a few places to check out while in the Delta. Call ahead to see who's >playin and what kind of crowd to expect. If you havent spent much time in the >Delta, please remember to call ahead. Things are different than you may >expect. This list of helpful hints, as well as one that someone else recently posted for a lister who wanted to go to New Orleans, makes me wonder whether we can't combine our resources to create a blues-l travel guide (store it in the shed? Attach it to the FAQ?) so that when folks are journeying around they can consult it easily. I think Denise Tapp (or someone) did a real good one of Memphis not long ago, and Tom Freeland did a Mississippi one, and I myself am pretty good at New Orleans and Los Angeles. Bet someone can do Chicago, St. Louis, etc. and we could assemble them into a blues-l guidebook. Whoever does a given city (and we can have as many guides to each city as there are folks who want to do them) would be responsible for checking it about every six months (clubs fold, move, restaurants change their name or go out of business, etc.) to keep it updated. Is this possible? Practical? Seems like if we are going to take the trouble to answer every post from someone ("Where can I go to hear blues in Iowa next week?"), we might as well consolidate the information instead of constantly reinventing the wheel. Anyone? Mary Katherine Aldin ========================================================================= Date: Sat, 23 Mar 1996 15:01:51 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is Comments: RFC822 error: Incorrect or incomplete address field found and ignored. Comments: RFC822 error: Incorrect or incomplete address field found and ignored. Comments: RFC822 error: Incorrect or incomplete address field found and ignored. Comments: RFC822 error: Mail origin cannot be determined. Comments: RFC822 error: Original tag data was -> "R.J. Bauman" From: Undetermined origin c/o LISTSERV maintainer Subject: William Clarke Collapses in Indy I have been informed that William Clarke collapsed before his scheduled show at the Slippery Noodle Inn on Thursday 3/21/96 and is now at Wishard Memorial Hospital here in Indianapolis. He has been diagnosed as having a congestive heart failure. I don't know yet if surgery has taken place to address the problem, but I will send privately the phone number of the hospital to interested persons. RJ Bauman ========================================================================= Date: Sat, 23 Mar 1996 15:40:01 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Delta trip Comments: To: mkaldin@beachnet.com In a message dated 96-03-23 15:23:04 EST, mkaldin@BEACHNET.COM (Mary Katherine Aldin) writes: >possible? Practical? Seems like if we are going to take the trouble to >answer every post from someone ("Where can I go to hear blues in Iowa next >week?"), we might as well consolidate the information instead of constantly >reinventing the wheel. Anyone? > > Sounds great to me. I can try to do some for Mississippi, Memphis, and New Orleans. I would like to see other folks advice for elsewhere. Tom Freeland ========================================================================= Date: Sat, 23 Mar 1996 15:48:35 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Bartender's Bop Playlist/Shufflin Hungarians Comments: To: bit-listserv-blues-l@uunet.uu.net In article <31533850.18B1@accesscom.net>, Maggie Mortensen writes: >I'm not familiar with this band, but am I recalling correctly that >The Shuffling Hungarians was the name of one of the first incarnations >of Professor Longhair's band? Yes, George named the band after it. The band is a regular in Syracuse, where they are from and here in Rochester where they play at the Creek on a regular basis. Kind of New Orleans type boogie, 11 pieces...keyboard, drum, bass, guitar, percussionist & horns...and I can't forget the "girls." He has 3 of the most fantastic backup singers you'd ever want to hear, they each take turms doing a solo and if George isn't careful he'll be upstaged by them soon. : )He has an 800 # to purchase the cd or you can e-m George directly at zomboy@servetech.com. Catbauer@vivanet.com ========================================================================= Date: Sat, 23 Mar 1996 16:16:51 -0500 Reply-To: ghost From: ghost Subject: Re: Dark Was The Night -------------------------------------------------------------------- Some otherwise incomprehensible or seemingly flippant subject lines below refer to a post of mine to the fasola list about thinking I heard a hymn the tune of which resembled the tune to the song "Black Was The Color Of My True Love's Hair" at the same party at which a rare tune to "Dark Was The Night" was sought -------------------------------------------------------------------------- >From JBayerjr@aol.com Thu Mar 21 11:24:03 1996 From: JBayerjr@aol.com Date: Thu, 21 Mar 1996 11:23:31 -0500 To: jmf@das.harvard.edu Subject: Lloyd Words As follows is the text as found in the word-book "Primitive Hymns". First published by Benjamin Lloyd in 1841. page 32 hymn number 38 Dark was the night, and cold the ground On which the Lord was laid; His sweat like drops of blood ran down -- In agony he prayed: "Father, remove this bitter cup, If such thy sacred will: If not, content to drink it up, Thy pleasure I fulfill." Go to the garden, sinner, see Those precious drops that flow, The heavy load he bore for thee, For thee he lies so low. Then learn of him the cross to bear, Thy Father's will obey, And when temptations press thee near, Awake to watch and pray. ---------------------------------------------------------------------- From: Dick Hulan <72172.3430@compuserve.com> To: fasola Subject: Dark was the night; also the hair Some of the people who usually answer questions about old hymn texts are probably on their way here for the Sonneck Society meeting, but I already live here so I guess I'll rise to the occasion. At least it's a short hymn. #38, p. 32 in Lloyd. For those readers who aren't deeply into their New Testaments, this text alludes to an all-nighter Jesus spent in the Garden of Gethsemane, praying. (Not Calvary and all that, slightly later.) --------------------------------------------------------------------- >From 72172.3430@compuserve.com Thu Mar 21 16:30:20 1996 Date: 21 Mar 96 16:25:42 EST From: Dick Hulan <72172.3430@compuserve.com> To: "INTERNET:jmf@das.harvard.edu" Subject: Re: Dark Was The Night The preface to Lloyd's hymnal was signed in Greenville, Alabama July 8, 1858. My copy is a 1921 reprint but lacks the title page (and covers) so I can't give you proper bibliographical form. Also, it was Benjamin Lloyd, if that helps. ------------------------------------------------------------------------ >From owner-fasola@medinfo.labmed.umn.edu Thu Mar 21 10:22:01 1996 Date: Thu, 21 Mar 1996 09:52:38 -0500 To: fasola@medinfo.labmed.umn.edu From: garst@sunchem.chem.uga.edu (John Garst) Subject: Black Sender: owner-fasola@medinfo.labmed.umn.edu ghost wrote: ... >Some of you also may know that this hymn exists, in a very famous recorded >version (famous to blues fans anyway) from the Black tradition on a >recording by Blind Willie Johnson in which he sings the 1st line & in what >can only be described as an unearthly, heartrending voice moans wordlessly >the tune to the rest of the song. Wordless humming like this, in the "old way of singing," is still done in southern black churches. They may sing a few verses, then hum another. --------------------------------------------------------------------------- ========================================================================= Date: Sat, 23 Mar 1996 22:09:03 +0100 Reply-To: albert haar From: albert haar Organization: Planet Internet Subject: bluesradio Comments: To: bit-listserv-blues-l@uunet.uu.net Hello everybody, Harry and I got for more than 5 years a bluesshow (the only one in Holland!!) on the regional radiostation Radio Drenthe. We like to have guests in are show to talk with and play there songs. If you got any suggestions. Please send E-mail. The name of the show is 'Harry's Blues'. Its on saterday 2-3 am on 90.8. ========================================================================= Date: Sat, 23 Mar 1996 13:25:22 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Delta trip >Date: Sat, 23 Mar 1996 16:07:30 -0500 (EST) >From: Barry Silverberg >To: Mary Katherine Aldin >Subject: Re: Delta trip > > > Hi Mary Katherine, > > I thought your idea of a blues-l or blues travel guide was very > right-on. If you would like I'd be more than glad to set up as > well as maintain a page on our web site set aside just for this > information. You are welcome to pass the idea around with who- > ever else is into getting the area by area info together and we > at NY CD Blues will contribute the space and the html'ing. > > Let me know if this pans out and we can help. > > Barry > > WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ > > NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs > Barry Silverberg ... bsco@panix.com > > ========================================================================= Date: Sat, 23 Mar 1996 13:25:24 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: William Clarke Collapses in Indy Comments: To: rjbauman@iquest.net At 03:01 PM 3/23/96 +0000, Undetermined origin c/o LISTSERV maintainer wrote: >I have been informed that William Clarke collapsed >before his scheduled show at the Slippery Noodle Inn on Thursday >3/21/96 and is now at Wishard Memorial Hospital here in Indianapolis. > >>He has been diagnosed as having a congestive heart failure. > >I don't know yet if surgery has taken place to address the problem, >but I will send privately the phone number of the hospital to >interested persons. > >RJ Bauman > >I just called his home here in L.A. and got no answer, although they usually have an answering machine on when they're not home; I expect his wife Jeanette has gone to be with him at the hospital. Yes, please, send me the number of the hospital, but if he's in intensive care they most likely won't allow him to have phone calls. But I'll try. Thanks, Mary Katherine Aldin ========================================================================= Date: Sat, 23 Mar 1996 17:09:26 -0400 Reply-To: SOO3713@ALPHA.CC.OBERLIN.EDU From: Owen Okie Subject: Santana Ok. I'm wondering if there are any Big Santana fans out there. I don't know any other than my self and would like to talk to them. I just got a Santana album called Havana Moon with Jimmie VAUGHAN, BOOKER T JONES, and KIM WILSON. And boy does it rock. I'm especially impressed with Jones piano work and Kims harmonica (besides Santana's exquisite gutiar work) It got some songs dedicated to Lighnin' Hopkins, John Lee Hooker, and san awsome cover of the Chuck Berry song Havan Moon. Owen ========================================================================= Date: Sat, 23 Mar 1996 17:19:45 -0500 Reply-To: DJones4708@AOL.COM From: Douglass W Jones Subject: kicked to the curb Hi, the name is Douglass Jones. I'm a guitar player I've got 4 singles out and I'm being thrown out of my house. SMILE it could be worse. Have guitar and will travel. E-mail me at DJones@aol.com ========================================================================= Date: Sat, 23 Mar 1996 16:15:29 -0600 Reply-To: Kevin DeBell From: Kevin DeBell Subject: blues guide I would second (or third?) M.K. Aldin's suggestion for an on-line blues travel guide. I received many kind and helpful responses to my request for Delta traveling information, for which I am grateful. This information *could* be put in some central location, which I've found in the past few day does not exist. For my own part, I've been putting together what I hope someday will be an exhaustive, annotated list of historical blues sights in Chicago. I noticed many exact addresses in printed sources, liner notes, etc., and thought about what on overwhelming amount of history is here but is not complied in one place. I would gladly contribute the fruits of my labor to what would certainly be an amazing resource for blues lovers/travelers. - Kevin ========================================================================= Date: Sat, 23 Mar 1996 22:32:05 GMT Reply-To: Jim Farris From: Jim Farris Organization: Netcom Subject: Santa Cruz Blues Fest There's a killer lineup that I just heard about this morning. It's for the Santa Cruz Blues Festival on Sat. and Sun. May 25th and 26th in Aptos Villiage Park (just south of Santa Cruz). The Lineup: Sat. May 25th Dr. John Geno Delafose Coco Montoya Rod Piazza and the Mighty Flyers Sun. May 26th John Lee Hooker (special guest appearance with the Coast to Coast Blues Band) Charles Brown Bay Area Blues Review featuring Tommy Castro and Gary Smith Candy Kane Joel Slotnikoff wrote: >On the basis of an overwhelming five or so responses I've posted all the >line-ups I have to BLUES WORLD. There are nine of them. > >There are hundreds of festivals listed in the current Living Blues. If I'm >going to post all these lineups I need everyone's help. If you get a >line-up, e-mail it to me or to Blues-L, and I will post it to the listing. > >I'm calling it "Bluesfest Central" and it can be accessed directly at: > > http://www.bluesworld.com/fest.html > >Joel Slotnikoff >BLUES WORLD ========================================================================= Date: Sat, 23 Mar 1996 15:35:50 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: blues travel guide Ideas so far: Barry Silverberg has offered this guide a home on his http address. However it needs to be "cleaned up and ready to go" before being sent to him for posting. I guess the way this can work is that those interested can send TO ME (not to him) your "guides" on a city by city basis for any of the following for blues fans: clubs that book blues, with s short description (is it a funky bar that holds 50, or a slick nightclub that seats 1000 and has a dress code and expensive drinks?) restaurants (maybe indicate cheap, expensive, dressy, casual, etc.) and if they're in a bad area, say so) bookstores Record/CD stores Helpful folks like Jim O'Neal in Clarksdale, whose record store sells a map of the Delta and who is himself always available to direct tourists to the best places, should also be listed. and any other points of interest--we just got a great post about historic sites of interest in Chicago. Be Specific. Give names, exact street addresses (maybe an intersection too--On 43rd near Fulton) and phone numbers. Remember this is for folks who don't know the area as well as you do. It needs a name. Any ideas? The Blues-l Guide To The Blues? Something else? Come on, jump in here. Maybe send me names, I'll collect, we'll all vote? Send this stuff to me. I will consolidate--if I get ten different submissions on Memphis, they will be put "together" in one section but each person's list will be separately credited with your name. A good eay to learn each other's tastes--if Dick Shurman directs me to a terrific Indian restaurant in Chicago (actually, he TOOK me to one, but I've forgotten it's name already), then I'll most likely take his word for one in San Francisco, etc. After consolidation I'll forward it all to Barry Silverberg--he is willing to run a "test page" so you can all access it and see that your submissions are correct. Then he'll post a "ready-to-read" message to the list, and at THAT point each person should be responsible for updating her/his own suggestions about every six months. Clubs close, restaurants that used to be good get sold and turn crummy, and other real-life changes should be kept up with. Tom Freeland suggested that it should not just be done by "city" unless it's a "real" city like NYC or L.A. The Delta, he says, might be divided into regions, since as he points out there's nothing *in* Holly Springs excepts Junior Kimbrough's juke joint (oh, and Graceland Too, if you're an Elvis fan). This sounds really good. You all can make it so, and from now on when a newbie posts "where can I hear blues in ______?" we can all jump in with the address where this stuff is posted. Query, I assume that this (once collected and posted) will not just be for "us" on the list, since the page where it will appear is open to anyone on the net. Right? Any thoughts? OK, deep breath, I'm ready. Send me things. Don't worry about whether someone else is "already doing" a city or area that you want to do. The more the better. You probably know a good barbecue place or record store that the next person doesn't and etc. etc. Mary Katherine Aldin ========================================================================= Date: Fri, 22 Mar 1996 23:18:27 GMT Reply-To: Jack Oudiz From: Jack Oudiz Subject: Meeting The Blues Comments: To: bit-listserv-blues-l@uunet.uu.net Want to highly recommend a wonderful book published by Da Capo Press in 1995: Meeting The Blues The Rise of the Texas Sound by Alan Govenar It's full of wonderful pictures, many I've never seen published before. Among the artists profiled thru interviews, etc.: Blind Lemon Jefferson T-Bone Walker Lightnin' Hopkins Leadbelly Mance Lipscomb Alex Moore Gatemouth Brown Big Mama Thorton Eddie Durham Freddie King Al TNT Braggs Robert Ealy Angela Strehli Little Joe Blue Anson Funderburgh Delbert McClintock Eddie Cleanhead Vinson Grady Gaines Lloyd Glenn Charles Brown BB King Lowell Fulson Cal Green Joe Hughes Peppermint Harris Johnny Copeland Albert Collins Stevie Ray Johnny Winter The Thunderbirds Barbara Lynn Clifton Chenier And many many more and no I don't get a cut off this action "There's something about women I don't understand, You make cornbread for your husband, But you make biscuits for your man." Jack O ========================================================================= Date: Sat, 23 Mar 1996 17:28:23 -0800 Reply-To: Maggie Mortensen Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Maggie Mortensen Organization: Exarch Services Subject: Re: I'm A Hog For You, Baby Comments: To: Craig Edmundson Craig Edmundson wrote: > > I have a version by Clifton Chenier (credited as composer) that was released > as a single (Bayou #717) in either 1970 or 1972. I have another version by > Canned Heat (released in 1973) that credits Leiber & Stoller as composers. > The two songs bear little similarity. I suspect the origin of this > particular title predates both versions. > > "An' if she want a shoat, > I go out and catch me one of them shoats. > An' she have pork chops all the week... > Sure will." Always loved this tune. The version of this song that stands out in my pop memories is the version by The Coasters, when they put out all their novelty titles, which must be the Lieber/Stoller pen. Sounds like this tune went through several incarnations from an original blues source. Whose were the lyrics quoted above? -- Maggie Mortensen<>Exarch Services<>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 'Born with the blues, my blue suede shoes, and underlying depression...' --Van Morrison ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Sat, 23 Mar 1996 17:32:43 -0800 Reply-To: Maggie Mortensen Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Maggie Mortensen Organization: Exarch Services Subject: Re: bluesradio/Holland Comments: To: albert haar albert haar wrote: > > Hello everybody, > > Harry and I got for more than 5 years a bluesshow (the only one in > Holland!!) on the regional radiostation Radio Drenthe. > We like to have guests in are show to talk with and play there songs. > If you got any suggestions. Please send E-mail. > The name of the show is 'Harry's Blues'. Its on saterday 2-3 am on 90.8. Hello Albert-- I believe New Orleans' soul-blues great Walter 'Wolfman' Washington will be in Holland this summer as part of a Euro tour. I'll find out for sure and let you know, and if true, will let him know about your interest in having guests on your show. You didn't mention what city you're in -- is it Amsterdam? --Maggie -- Maggie Mortensen<>Exarch Services<>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 'Born with the blues, my blue suede shoes, and underlying depression...' --Van Morrison ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Sat, 23 Mar 1996 15:59:37 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: blues guide Comments: To: Kevin DeBell At 04:15 PM 3/23/96 -0600, Kevin DeBell wrote: >I would second (or third?) M.K. Aldin's >suggestion for an on-line blues travel guide. For my own part, I've been putting together what I hope >someday will be an exhaustive, annotated list of >historical blues sights in Chicago. I noticed >many exact addresses in printed sources, liner >notes, etc., and thought about what on >overwhelming amount of history is here but is >not complied in one place. I would gladly >contribute the fruits of my labor to what would >certainly be an amazing resource for blues >lovers/travelers. - Kevin GREAT!! Send it to me and I'll include it in this guide. Many thanks! Mary Katherine Aldin > ========================================================================= Date: Sat, 23 Mar 1996 19:03:28 -0500 Reply-To: Ploguy@AOL.COM From: Ploguy@AOL.COM Subject: $$$$$ Make Money At Home - I Did!! $$$$$ Comments: To: Funkymusic@mit.edu, Monopoly@istol.ferris.edu, Choralist@lists.colorado.edu, HeyJoe@ms.uky.edu, Megadeth@anthrax.ecst.csuchico.edu, allmusic@american.edu You've probably seen the ads everywhere "Make money at home assembling products." But I wanted to see if it was really a scam so I tried it out. I'll tell you I made enough in a few months to afford a new car and it only took up a short part of my day. Putting together the stuff was wicked easy. You can do it to. I'm only telling this because I know that there are struggling college grads out there like me who need some money. For free details all you've got to do is send a self addressed stamped envelope to: Infoservices 18 Bunny's RD Plymouth, Ma 02360 asking for more info on how to make money assembling products at home and they will send you all the details. Thanks, Oh and YOUR WELCOME. ========================================================================= Date: Sat, 23 Mar 1996 17:41:02 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Mar. 24 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- APPELL, DAVE(co-owner: CAMEO-PARKWAY REC) b. 1922-0324, PHILADELPHIA, PA BENFORD, TOMMY (d/SNUB MOSLEY) d. 1994-0324, MOUNT VERNON, W. VA 88 CLARK, JUNE (tpt) b. 1900-0324, LONG RANCH, NJ COBB, ARNETT (tsax) d. 1989-0324, HOUSTON, TX 70 HOLLIS, GEORGE FELTON (of THE FLARES) b. 1937-0324, SAN ANTONIO, TX JACKSON, FREDDY (p/BENNY CARTER) d. 1961-0324, BRONX, NY 57 JAISUN, JEF (BLUES-L MEMBER) b. 1946-0324, SEATTLE, WA JENKINS, GUS (JARRONE PHAROAH) (p/prod) b. 1931-0324, BIRMINGHAM, AL KING PLEASURE [CLARENCE BEEKS] (v) b. 1922-0324, OAKDALE, TN LEE, OSKAR (hca/WAR) b. 1946-0324, COPENHAGEN, DENMARK LENETSKA, HARRY (manager/INK SPOTS) d. 1988-0324, LOS ANGELES, CA 92 LONG, JOEY (g) d. 1995-0324, HOUSTON, TX 63 SEIDENBERG, SIDNEY A. (manager/B.B. KING) b. 1925-0324, SCZUCHWIN, POLAND SMITH, RUBY WALKER (v/SAMMY PRICE) d. 1977-0324, ANAHEIM, CA 73 STEWART, BILLY (v/CHESS REC) b. 1937-0324, WASHINGTON, DC VAIL, FRED S. (prod/B. B. KING) b. 1944-0324, SAN FRANCISCO, CA WILLIAMS, NATHAN (acc/ZYDECO CHA CHAS) b. 1963-0324, ST. MARTINVILLE, LA YOUNG, EVELYN MARIE (sax/B. B. KING) b. 1928-0324, MEMPHIS, TN ------------------------------------------------------------------------------- ========================================================================= Date: Sat, 23 Mar 1996 18:13:03 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: William Clarke condition update I just spoke to William Clarke's wife Jeanette, who was at his bedside in the hospital. He is suffering from congestive heart failure and severe liver damage. He is listed in fair condition, and at present is heavily sedated. They do have medical insurance. He must stay at the hospital at least through next Friday (which is his birthday). The doctors have said that he must stop drinking entirely. I'll post to the list any further developments. Mary Katherine Aldin ========================================================================= Date: Sat, 23 Mar 1996 20:10:08 -0600 Reply-To: Craig Edmundson From: Craig Edmundson Subject: Re: I'm A Hog For You, Baby Comments: To: Maggie Mortensen , bit-listserv-blues-l@uunet.uu.net Hello, At 05:28 PM 3/23/96 -0800, you wrote: >> "An' if she want a shoat, >> I go out and catch me one of them shoats. >> An' she have pork chops all the week... >> Sure will." > Whose were the lyrics quoted above? My apologies, the lyrics are from "Hungry Country Girl" by Otis Spann. I forgot to add his name before I posted the message. I just wanted to make a connection between "Hog for You" and another blues reference to pork. Someone else posted about the Coasters' version...I have never heard it. I suspect it is hard to find, yes? Regards, Craig ------------------------------------------------------ cedmundson@nfinity.com (IF the system is working!) cedmunds@netserv.unmc.edu (Boring, but at least it's stable!) http://www.nfinity.com/~cedmundson (Good luck connecting here!) ========================================================================= Date: Sat, 23 Mar 1996 21:47:22 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 03/24 B O R N : 03/24 CLARK, JUNE ( ALGERIA JUNIUS ) Born:1900 LONG BRANCH, NJ Career:CORNET Style:JAZZ / BIG BAND HOLLIS, GEORGE FELTON Born:1937 SAN ANTONIO, TX Career:SINGER Style:BLUES With:THE FLARES KUHN, STEVE ( STEPHEN LEWIS ) Born:1938 NEW YORK, NY Career:PIANO Style:JAZZ MACKEY, DAVE ( DAVID OWEN ) Born:1932 SYRACUSE, NY Career:PIANO Style:JAZZ McCANDLESS, PAUL Born:1947 INDIANA, PA Career:ENGLISH HORN / BASS SAX / SOPRANO SAX Style:JAZZ PLEASURE, KING ( CLARENCE BEEKS ) Born:1922 OAKDALE, TN Career:SINGER Style:BLUES / JAZZ 1951 after winning amateur hour at Apollo Theatre NYC, where he sang his own lyrics to a background of James Moody's record I'm in the Mood for Love. His own version (Moody Mood for Love) became a sensation, starting a new trend in jazz singing. Moody Mood for Love won DB poll as best R&B record of 1953 STARR, FREDERICK Born:1950 CINCINNATI, OH Career:CLARINET / ALTO SAX / TENOR SAX Style:TRAD / JAZZ STEWART, BILLY Born:1937 WASHINGTON, D.C.Career:SINGER Style:BLUES With:CHESS RECORDS WILLIAMS, NATHAN Born:1963 ST. MARTINVILLE, LA Career:ACCORDION Style:BLUES ZYDECO CHA CHAS YOUNG, EVELYN MARIE Born:1928 MEMPHIS, TN Career:SAX Style:BLUES With:B. B. KING FOR A LISTING OF THOSE THAT PASSED AWAY IN THIS MONTH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Sat, 23 Mar 1996 22:49:51 -0800 Reply-To: "P.W. Fenton" From: "P.W. Fenton" Subject: Re: born 03/24 too wierd! Comments: To: "Henry Busse Jr." In-Reply-To: > From: shuffle@ic.mankato.mn.us (Henry Busse Jr.), on 3/23/96 9:47 PM: > B O R N : 03/24 > PLEASURE, KING ( CLARENCE BEEKS ) > Born:1922 OAKDALE, TN Career:SINGER Style:BLUES / JAZZ > 1951 after winning amateur hour at Apollo Theatre NYC, where he sang his > own lyrics to a background of James Moody's record I'm in the Mood for > Love. His own version (Moody Mood for Love) became a sensation, starting > a new trend in jazz singing. Moody Mood for Love won DB poll as best R&B > record of 1953 Anyone else see the movie "Trading Places"? There was a character who was doing the "dirty tricks" for the two rich dudes. I seem to remember the character's name was "Clarence Beeks". Could it have been someone's nod? P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 24 Mar 1996 01:13:59 -0800 Reply-To: "P.W. Fenton" From: "P.W. Fenton" Subject: Re: blues travel guide Comments: To: Mary Katherine Aldin In-Reply-To: <199603232335.PAA06674@frisbee.beachnet.com> On the subject of a Blues travel guide... The Blues Shed has always been a depository for this sort of info. A database of Blues venues, listed by city, was already started there and information similar to what has been proposed has already been deposited there by many Blues-Lers. More importantly, it has always been open to the contributions of ALL members. I would like to see the travel guide kept there if that is at all possible. The Shed's venue listings are located at: ftp://ftp.acenet.auburn.edu/pub/misc/entertainment/blues/venues P.W. Fenton Tampa, Florida ========================================================================= Date: Sat, 23 Mar 1996 22:57:08 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: blues travel guide Comments: To: "P.W. Fenton" At 01:13 AM 3/24/96 -0800, P.W. Fenton wrote: >On the subject of a Blues travel guide... > >The Blues Shed has always been a depository for this sort of info. A database >of Blues venues, listed by city, was already started there and information >similar to what has been proposed has already been deposited there by many >Blues-Lers. More importantly, it has always been open to the contributions of >ALL members. I would like to see the travel guide kept there if that is at all >possible. > >The Shed's venue listings are located at: > > ftp://ftp.acenet.auburn.edu/pub/misc/entertainment/blues/venues > Thanks--I didn't know about the existence of this--does it include the other things that were mentioned--other than blues clubs--like record stores, restaurants, bookstores, person-resources (like Jim O'Neal), etc.?? When I get a chance I'll look at it. Can anyone post directly onto it? Who is in charge of it? Etc. Thanks, Mary Katherine ========================================================================= Date: Sun, 24 Mar 1996 01:53:15 +0000 Reply-To: higdon@MATH.MSU.EDU From: higdon@MATH.MSU.EDU Organization: Michigan State University Subject: Re: Charley Patton Book? Comments: To: bit-listserv-blues-l@relay2.uu.net Steve Levine wrote: > Can anyone tell me where I can find the Stephen Calt book on Charley > Patton? I know it's out of print - any plans on it being reprinted? > I've been listening to Patton a lot lately (one of the Yazoo cds rarely > leaves my cd player) and I'd like to find out more about him. I already > have Deep Blues and the R. Crumb biography. If you know where I can get > Calt's book please let me know. > I bought a copy from the Delta Blues Museum, I think for only about $15 or so. Although I have only read 1/3 of it, it's really good in the sense of giving you a feel for what was going on in "The Life and Times of Charlie Patton". I followed another blueseller's advice and ignored the parts where the musical analysis is way to technical (for me) to take seriously. Also, I've heard criticism of Calt's attention to accuracy, but its a good read whether the criticism has any validity or not. I can't seem to get his "Stone Pony Blues" out of my guitar! I started with Grossman's tab, eventually learned it was in the key of E, learned to play it in several places along the neck and then selectively. Hopefully, when I get done with the refrain, you will be able to hear a horse cantoring like in Son Houses' Pony Blues :) (or am I the only one who hears the horse cantoring?) What a song to make a "career decision" (base a musical education on), huh? I'm glad I don't have to pay bills with it. I hope someone else will admit it if they like to play and sing this song, so that I'll know I'm not the only one... Calt goes on to explain in his book how the term Stone Pony might have followed from a 1908 Kentucky Derby winner (which was a longshot) named Stonestreet (or Stonewinder?). A man with a stone pony by his side wouldn't even be bothered to ride shetlands (look for other woman) no more. -- sorry to ramble, Bill Higdon. ========================================================================= Date: Sat, 23 Mar 1996 23:08:29 -0800 Reply-To: Jordan From: Jordan Organization: San Francisco Subject: MKA Blues-l Travel Guide Idea (Was Re: Delta Trip) (Medium Long) Comments: To: bit-listserv-blues-l@uunet.uu.net At 02:16 PM 3/23/96 -0500, Jim Rocco wrote: >>Heres a few places to check out while in the Delta. Call ahead to see who's >>playin and what kind of crowd to expect. If you havent spent much time in the >>Delta, please remember to call ahead. Things are different than you may >>expect. In another time and place, MKA wrote: >This list of helpful hints, , makes me wonder whether we >can't combine our resources to create a blues-l travel guide (store it in >the shed? Attach it to the FAQ?) so that when folks are journeying around >they can consult it easily. .Whoever does a given city (and we can have as many guides to >each city as there are folks who want to do them) would be responsible for >checking it about every six months (clubs fold, move, restaurants change >their name or go out of business, etc.) to keep it updated. Is this >possible? Practical? Seems like if we are going to take the trouble to >answer every post from someone ("Where can I go to hear blues in Iowa next >week?"), we might as well consolidate the information instead of constantly >reinventing the wheel. Anyone? >Mary Katherine Aldin< Most excellent idea, Ms. MKA! Who's in charge of editing, compilation and deadline date? I would be happy to tackle parts of the immediate San Francisco Bay Area and I know I could get many of my Bay Area Blues Community friends to fill in the (greater SFBA) rest. By the way, in regard to this idea, I received a gift from a treasured blues sister last year entitled, "The Jazz and Blues Lover's Guide to the U.S.," updated 1994 edition by Christiane Bird. It is published by Addison-Wesley and the ISBN # is 0-201-62648-9. I've found it to be a great read and very informative regarding live music venues one can visit around "this land-is-your-land" of the Yanks on our beloved list. Moreover (I've been waiting all my life to use that word,) the book usually provides a fascinating background on the musical history of the areas described. Though I'm not affiliated with the publication (blah-blah-blah,) Blues-ellers interested in participating in a list we can call our own might want to see what Ms. Bird has done. The book is commendable, although not having been all the places she describes (yet,) I can't personally vouch for it's veracity and acumen. As we all well know, some contents might have settled during shipment. Cheers from San Francisco (Where soon it'll be Blues Festival season again) Joseph Jordan -- Down these mean streets, a man must go. - Raymond Chandler - ========================================================================= Date: Sun, 24 Mar 1996 03:44:07 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: born 03/24 too wierd! >> From: shuffle@ic.mankato.mn.us (Henry Busse Jr.), on 3/23/96 9:47 PM: >> B O R N : 03/24 > >> PLEASURE, KING ( CLARENCE BEEKS ) >> Born:1922 OAKDALE, TN Career:SINGER Style:BLUES / JAZZ >> 1951 after winning amateur hour at Apollo Theatre NYC, where he sang his >> own lyrics to a background of James Moody's record I'm in the Mood for >> Love. His own version (Moody Mood for Love) became a sensation, starting >> a new trend in jazz singing. Moody Mood for Love won DB poll as best R&B >> record of 1953 > > >Anyone else see the movie "Trading Places"? There was a character who was >doing the "dirty tricks" for the two rich dudes. I seem to remember the >character's name was "Clarence Beeks". Could it have been someone's nod? > >P.W. Fenton >Tampa, Florida >http://www.gate.net/~pwfenton/ I can confirm that memory; I saw the movie, and had forgotten the details of it by the time I heard that King Pleasure's real name was Clarence Beeks. It bugged me for ages where I'd heard the name 'Clarence Beeks' not in a music context, until the movie came around on TV! The great Scottish/American jazz singer Annie Ross, who knew KP, said on BBC radio recently that he became convinced the Earth was about to be invaded by Martians, and moved to Minnesota because there was no way they'd want to go there. (Stay cool, Minnesotans - I'm just quoting.) Can anyone confirm - about KP, not about Minnesota? Chris Smith (chris@skerries.demon.co.uk) 'Positive: wrong at the top of one's voice." (Ambrose Bierce) ========================================================================= Date: Sun, 24 Mar 1996 04:35:44 -0500 Reply-To: SwtesTaboo From: SwtesTaboo Organization: America Online, Inc. (1-800-827-6364) Subject: NEED INFO Comments: To: bit-listserv-blues-l@uunet.uu.net Does anyone have any kind of information on Henry Gray (sp?) ??? ========================================================================= Date: Sun, 24 Mar 1996 15:23:40 +0100 Reply-To: bengans From: bengans Subject: Duke s blues Ooweee! All you bluzellers who like the laet 40 s T-Bone, Guitar Slim and Bihari-produced B.B. King; go buy the new Robillard album! It s nice to see THAT type of blues on the Billboard list s tenth position. Hope it ll be climbing! --------------------------------------------------------------- Sevenson "Time is hard baby, and hustling is really on." T-Bone Walker --------------------------------------------------------------- ========================================================================= Date: Sun, 24 Mar 1996 15:23:50 +0100 Reply-To: bengans From: bengans Subject: Have ticket, will travel! L-ers! I m going nomail for two weeks due to New Orleans trip! Write nice things about me meantime! --------------------------------------------------------------- Sevenson "Time is hard baby, and hustling is really on." T-Bone Walker --------------------------------------------------------------- ========================================================================= Date: Sun, 24 Mar 1996 09:21:10 -0800 Reply-To: "P.W. Fenton" From: "P.W. Fenton" Subject: Re: blues travel guide Comments: To: Mary Katherine Aldin In-Reply-To: <199603240657.WAA07834@frisbee.beachnet.com> --BeyondBoundary_1_Sun_Mar_24_09:21:42_1996__29 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7Bit X-Mailer: BeyondMail for Windows/SMTP 2.2 > From: Mary Katherine Aldin , on 3/23/96 10:57 PM: > At 01:13 AM 3/24/96 -0800, P.W. Fenton wrote: > >On the subject of a Blues travel guide... > > > >The Blues Shed has always been a depository for this sort of info. A > database > >of Blues venues, listed by city, was already started there and information > >similar to what has been proposed has already been deposited there by many > >Blues-Lers. More importantly, it has always been open to the contributions > of > >ALL members. I would like to see the travel guide kept there if that is at > all > >possible. > > > >The Shed's venue listings are located at: > > > > ftp://ftp.acenet.auburn.edu/pub/misc/entertainment/blues/venues > > > Thanks--I didn't know about the existence of this--does it include the other > things that were mentioned--other than blues clubs--like record stores, > restaurants, bookstores, person-resources (like Jim O'Neal), etc.?? When I > get a chance I'll look at it. Can anyone post directly onto it? Who is in > charge of it? Etc. Thanks, It was first concieved as a database of Blues venues and not a travel guide so that's all it has. I believe the whole "Blues Shed" sight was the brainchild of Pam Koch . I don't think that anyone can post directly to it. Pam would know better how that works. I will include the "readme" file from this valuable resource. There's a lot of good stuff there. It was started before you joined us, and I guess the initial enthusiasm has died down. begin included file: ---------------------------- *** WELCOME TO THE BLUES-L SHED! *** KEYS TO THE SHED ---------------- You can rummage around in the Shed via WWW, anonymous ftp, or by e-mail. WWW: http://dragon.acadiau.ca/~rob/blues/shed/shed.html FTP: ftp.acenet.auburn.edu (login is ftp) The Shed is in /pub/misc/entertainment/blues E-MAIL: almanac@acenet.auburn.edu To get a list of offerings and commands, send the message send blues catalog (make sure it's lowercase only) INVENTORY --------- SUBDIR FILE DESCRIPTION airwaves A list of blues radio shows and DJs. (under construction) (kalmbach@macc.wisc.edu) books The Blues-l Bibliography. If it's about the Blues and somebody on the List recommends it, it's included. (pfenton@delphi.com) faq The list of Frequently Asked Questions to the BLUES-L mailing list. You should read this document before posting to the list. Its purpose is to avoid having the same topics come up over and over. It also includes some interesting information, including some b lues terms, pointers to other places of interest to music-lovers. (DavidIS@aol.com) found Address, purpose, history, programs, and donation information of Foundations dedicated to furthering education and dissemination of the Blues. So far, BLUES HEAVEN FOUNDATION is listed here. jams Open jams around the world. (rsk@gynko.circ.upenn.edu) labels The list of record company mailing addresses which was compiled by Eric Leblanc (leblanc@dao.nrc.ca) policy.lb The editorial policy of LIVING BLUES magazine (unavailable via almanac - 2/21/96) rags Extracted from Blues-L FAQ, a list of several magazines dedicated to blues music, and another few that have extensive coverage. (pimmel@cs.wisc.edu) slang Blues-related slang definitions. (johnw@mces.msstate.edu) society The listing of Blues societies around the world from Blues-Lynx, "The Blues Information Clearinghouse". (ROLLINA@mail.firn.edu) sweetpotata Dan Enright's interview with "Flamin Amy" Coleman (dan@l ydian.scranton.com) tfront.gif Picture on the front of the proposed Blues-l t-shirt. NOT AVAILABLE FROM ALMANAC. (bob@bnkst.edu - rights res.) tback.gif Picture on the back of the proposed Blues-l t-shirt. NOT AVAILABLE FROM ALMANAC. (bob@bnkst.edu - rights res.) venues/ The Blues-L Traveler's Guide. Members of Blues-L answer the question,"I'm going to be visiting in your neck of the woods. How can I enjoy the blues during my visit?" (pkoch@acenet.auburn.edu) all The complete listing of venues from all contributors. al Alabama - Decatur and Huntsville australia Sydney az Arizona - Phoenix canada London, Ottowa, Vancouver, and Victoria czech Prague england East Anglia, London, Reading fl Orlando japan Shimane Region hungary Budapest ma Massachusetts - Boston mo Missouri - St. Louis nc North Carolina - Asheville and Charlotte nj Stanhope (unavailable via almanac - 2/21/96) ny New York - New York City and Syracuse singapore Raj's view tx Texas - Dallas/Fo rt Worth and San Antonio usa Alabama, Arizona, Florida, Massachusettes, Missouri, New York, New Jersey, North Carolina, and Texas Please note that only the countries and states listed above are available at this time. All USA state files use the 2-digit state mailcode abbreviation; thus, massachusetts is filed under ma; missouri, under mo; etc. Following is a list of the codes. al Alabama mt Montana ak Alaska ne Nebraska az Arizona nv Nevada ar Arkansas nh New Hampshire ca California nj New Jersey co Colorado nm New Mexico ct Conencticut ny New York de Delaware nc North Carolina fl Florida nd North Dakota ga Georgia oh Ohio hi Hawaii ok Oklahoma id Idaho or Oregon il Illinois pa Pennsylvania in Indiana ri Rhonde Island ia Iowa sc South Carolina ks Kansas sd South Dakota ky Kentucky tn Tennessee la Louisiana tx Texas me Maine ut Utah md Maryland vt Vermont ma Massachusetts va Virginia mi Michigan wa Washington mn Minnesota wv West Virginia ms Mississippi wi Wiscon sin mo Missouri wy Wyoming dc District of Columbia (Washington, DC) ---------------------------------------------------- end included file P.W. 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Comments: To: Mary Katherine Aldin In-Reply-To: <199603241529.HAA08549@frisbee.beachnet.com> re: the Blues Travel Guide and where it should reside. It has been brought up that it should reside @ the bluesshed ftp site rather than on a WWW page. I have e-mailed Mary Kathering re: this and she requested the question be put to y'all. There are several options - 1. the guide would only reside at the shed 2. the guide would only reside on the web page set up for it 3. the guide & the info be available from both access points Personally I would like to see option 3 be selected - since it maximizes the choices to everyone for getting to the info, and utilizing the info. I also think that a web connection allows us to later add links etc. so that it can grow. In additon the availability as a web page would entice others to come and get into the info as well as perhaps add their knowledge too. I'd like to see this idea of Mary Katherine's get the biggest kick possible and serve as a strong guide for us and others to lots of blues. My vote is let's make it available both places - although some one would be needed to handle the shed side of the work. I am perfectly ok with doing the webwork and welcome any help etc. Let's make it a group effort that struts our stuff. Looking for input. Betst way is to post here so every one gets a chance to see what we all think & to input to recommendations and gripes and ideas etc. Barry On Sun, 24 Mar 1996, Mary Katherine Aldin wrote: > Could you post this to the entire list please, so that folks can decide? > THanks, Mary Katherine > > 04:42 AM 3/24/96 -0500, Barry Silverberg wrote: > > > > Mary Katherine, > > > > I saw the note about leaving the info at the shed under an ftp > > access. Many of the new comers to the net are accessing it via > > the web vs. ftp. We could for example compile the list & also > > use the info that is already there and have the info be ftp as > > well as web accessible. The web will give us more capabilities > > in the future re: links etc if we so choose. WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sun, 24 Mar 1996 11:36:20 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: blues travel guide's home(s)? Comments: To: bsco@panix.com In a message dated 96-03-24 11:28:54 EST, bsco@PANIX.COM (Barry Silverberg) writes: > > 1. the guide would only reside at the shed > 2. the guide would only reside on the web page set up for it > 3. the guide & the info be available from both access points > > I vote for 3 with several provisos: Whoever compiles it for Barry's web page agrees, as they compile the information, they will update the information for the Shed. In other words, I assume their WWW page will be updated occasionally; I would want to see them update the shed at the same time. Whoever compiles it should *not* claim copyright or ownership of the work and should credit it (copyright notices being commonplace on web pages), probably noting that the ownership for each written section lies with the writers, who agreed for its use in the shed, the web page, and the blues list. This avoids the suprise of discoverying that we have all written a 'blues guide' being published under some strangers name. Whose going to compile it? I'll write a good listing for North Mississippi, which I've already started. Tom Freeland ========================================================================= Date: Sun, 24 Mar 1996 10:48:46 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: NEED INFO SW>Does anyone have any kind of information on Henry Gray (sp?) ??? Henry Gray is a piano player who played with numerous musicians from the late forties to the 1960s -- most notably Howlin' Wolf, Little Walter, and Junior Wells --- some pretty serious credentials. He lives in Baton Rouge and is a regular at both the Baton Rouge Blues Festival and the New Orleans Jazz and Heritage Festival. He's in his early seventies now and records for Blind Pig Records. I'd seen him many times when I lived in Baton Rouge. He was my favorite Baton Rouge blues musician at that time, out of a gifted group of musicians (including Raful Neal, Tabby Thomas, and upstarts Larry Garner and Kenny Neal). He seems to have slowed in recent years. I saw him at the Baton Rouge Blues Festival last year, and he was a bit out of sync with the other members of the band (or they with him). In previous shows it was usually just Henry by himself or with a harp player. If you have the opportunity and are considering seeing him perform, I recommend it because I know what type of performance he's capable of and because of his legendary sideman status. Bill Morgan From: The Big Easy ========================================================================= Date: Sun, 24 Mar 1996 12:04:15 -0800 Reply-To: "P.W. Fenton" From: "P.W. Fenton" Subject: Re: blues travel guide's home(s)? Comments: To: Barry Silverberg , Mary Katherine Aldin In-Reply-To: > From: Barry Silverberg , on 3/24/96 11:04 AM: > re: the Blues Travel Guide and where it should reside. It has > been brought up that it should reside @ the bluesshed ftp site > rather than on a WWW page. I have e-mailed Mary Kathering re: > this and she requested the question be put to y'all. There are > several options - > > 1. the guide would only reside at the shed > 2. the guide would only reside on the web page set up for it > 3. the guide & the info be available from both access points > > Personally I would like to see option 3 be selected - since it > maximizes the choices to everyone for getting to the info, and > utilizing the info. I also think that a web connection allows > us to later add links etc. so that it can grow. In additon the > availability as a web page would entice others to come and get > into the info as well as perhaps add their knowledge too. I'd > like to see this idea of Mary Katherine's get the biggest kick > possible and serve as a strong guide for us and others to lots > of blues. > > My vote is let's make it available both places - although some > one would be needed to handle the shed side of the work. I am > perfectly ok with doing the webwork and welcome any help etc. > Let's make it a group effort that struts our stuff. > > Looking for input. Betst way is to post here so every one gets > a chance to see what we all think & to input to recommendations > and gripes and ideas etc. There is already a web page that accesses the info at the shed. It resides at Rob Hutten's "Blues Net" - http://dragon.acadiau.ca/~rob/blues/ However, my only concern is that it resides at a place were the contributions of ALL members are welcome. Barry has indicated, for instance, that he has configured the software he uses to read Blues-L to filter out all my posts. He has configured his mailbox this way as well. I am unable to send him email on this, or any other subject. I would suppose that I could forward any information I wanted to contribute to a third party, who could then disguise it as their own contribution. It does seem rather silly though. I'd rather avoid such foolishness and just put it somewhere where everyone had access. BTW... Barry has a right to filter out the posts and mail of anyone he wishes not to read. I just think a resource belonging to any and all bluesellers ought to be somewhere where all contributions are welcome. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 24 Mar 1996 13:29:19 -0500 Reply-To: Andre Prevos From: Andre Prevos Subject: (Re) Subscribing &c. I have been off for a few days (change of machine, new server, new delivery address, etc.). Before I left I heard the complaints about information and other related stuff. When I canceled, it was painless and fast. When I re-subscribed, it was also fast and I got a demand for acknowledgement in order to ascertain whether my adrress was the right address and, then, got a note telling me about subscription and commands. All in all, I must say that the whole affair was painless, easy and, from my end, a well-organized succession of steps. Congratulations to all of those in charge and to the listowner! Andre J.M. Prevos AXP7@psu.edu "Tout quelqu'un s'appelle moi fou Mais mon nom c'est Clifton Chenier." Clifton Chenier.. ========================================================================= Date: Sun, 24 Mar 1996 12:30:08 -0500 Reply-To: "Alan C. Rollins" From: "Alan C. Rollins" Subject: bluesdj@halcyon.com I keep getting error messages re: this address. When I send messages to this address they come back as undeliverable. Please contact me direct@: Blzlynx@Polaris.Net. We can then work on the problem. Thanx ACR ========================================================================= Date: Sun, 24 Mar 1996 10:32:35 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: blues travel guide's home(s)? Comments: To: Barry Silverberg At 12:04 PM 3/24/96 -0800, P.W. Fenton wrote: > >> From: Barry Silverberg , on 3/24/96 11:04 AM: >> re: the Blues Travel Guide and where it should reside. It has >> been brought up that it should reside @ the bluesshed ftp site >> rather than on a WWW page. I have e-mailed Mary Kathering re: >> this and she requested the question be put to y'all. There are >> several options - >> >> 1. the guide would only reside at the shed >> 2. the guide would only reside on the web page set up for it >> 3. the guide & the info be available from both access points >> >> Personally I would like to see option 3 be selected - since it >> maximizes the choices to everyone for getting to the info, and >> utilizing the info. I also think that a web connection allows >> us to later add links etc. so that it can grow. In additon the >> availability as a web page would entice others to come and get >> into the info as well as perhaps add their knowledge too. I'd >> like to see this idea of Mary Katherine's get the biggest kick >> possible and serve as a strong guide for us and others to lots >> of blues. >> >> My vote is let's make it available both places - although some >> one would be needed to handle the shed side of the work. I am >> perfectly ok with doing the webwork and welcome any help etc. >> Let's make it a group effort that struts our stuff. >> >> Looking for input. Betst way is to post here so every one gets >> a chance to see what we all think & to input to recommendations >> and gripes and ideas etc. > > >There is already a web page that accesses the info at the shed. It resides at >Rob Hutten's "Blues Net" - http://dragon.acadiau.ca/~rob/blues/ > >However, my only concern is that it resides at a place were the contributions >of ALL members are welcome. Barry has indicated, for instance, that he has >configured the software he uses to read Blues-L to filter out all my posts. He >has configured his mailbox this way as well. I am unable to send him email on >this, or any other subject. I would suppose that I could forward any >information I wanted to contribute to a third party, who could then disguise it >as their own contribution. It does seem rather silly though. I'd rather avoid >such foolishness and just put it somewhere where everyone had access. > >BTW... Barry has a right to filter out the posts and mail of anyone he wishes >not to read. I just think a resource belonging to any and all bluesellers >ought to be somewhere where all contributions are welcome. > > >P.W. Fenton >Tampa, Florida >http://www.gate.net/~pwfenton/ > > ========================================================================= Date: Sun, 24 Mar 1996 14:13:16 -0500 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: WFBE Blue Highway Playlist for 3/23/96 We had a special 4 hour show tonight, and among many things, celebrated the birthdates of Marcia Ball, Bo Carter, Son House, Louisiana Red, Otis Spann, Pete Johnson, and Lovie Lee. Arist, Song, Album, Label 8 to 9pm Charles Ford Band, Gibson Creek Shuffle, As Real as It Gets, Blue Rock It Luther Guitar Jr. Johnson, Early in The Morning, Slammin on The West Side, Telarc A.Collins/E James/J.Walsh, Sweet Little Angel, Jump The Blues Away, Verve Melvin Taylor, Voodoo Daddy, Plays The Blues For You, Evidence Jesse Fortune, Gamblers Blues, Fortune Tellin Man, Delmark ==========================Break======================= Wild Child Butler, Stranger, Stranger, Bullseye Booker T Laury, Sweet Root Man, Nothin But The Blues, Bullseye Long John Hunter, Arkansas, Border Town Legend, Alligator Rod Piaza/Flyers, Southern Lady, Live At B.B. KIngs, Big Mo =======================9 PM Break====================== Guitar Shorty, Hard To Stay Above...,Get Wise..., Black Top Robert Ward, Blak Bottom, Black Bottom, Black Top Randy Volin, Dont Start Me Talking, Used Guitars, Volin Ace Moreland, I Dont Wanna Have The Blues, Keepin A Secret, King Snake ============================Break======================= Louisiana Red, Prison Blues # 1, Sittin Here Wonderin, Earwig Eddie C Campbell,Thats When I Know, Title Cut, Blind Pig Pine Top Perkins/Blue Ice Band, So Sorry, Pine Top/ Blue Ice, Earwig James Glass/Get to Gettin Band, Arrested for Drivin Blind, Get This, No Cover ==========================Break========================== Big Joe Turner/Pete Johnson, Roll Em Pete, Big Bad And Blue, Rhino John Hammond, Mattie Mae, Got Love If You Want It, Pointblank C. Musselwhite, If I Should Have Bad Luck, In My Time, Alligator Bob Margolin, Boston Driving Blues, Down in the Alley, Alligator ========================10 PM Break====================== Al Lindsey, Come Share My Love, Our Day Will Come, Lindsey Cephas & Wiggins, Hard Liquor, Cool Down, Alligator Harp Dog Brown, You Gonna Miss Me, Home Is Where The Harp Is, Candelight Willie Cobb, Eatin Dry Onions, Down To Earth, Rooster Blues Dr Ross, Industrial Ave Boogie, Boogie Disease, Arhoolie ========================Break======================== Len Bland, Operator, Len Bland, Lucky Pride B.B. KIng/Albert Collins, Stormy Monday, Blues Summit, MCA William Clarke, Bedroom Boogie, groove Time, Alligator ========================Break======================= Son House, Death Letter, Father Of The Delta Blues, Columbia/Legacy Lovie Lee, Nobody Knows My Trouble, Living Chicago Blues Vol 3, Alligator Lovie Lee, West Side Woman, Good Candy, Earwig =======================11 PM Break======================== Marcia Ball, St Gabriel, Blue House, Rounder Karen Caroll, Shakey Ground, Had My Fun, Delmark Debbie Davies, Where The Blues Come..., Loose Tonight, Blind Pig ============================Break========================= Catfish Hodge, Messin With The Juice, Like A Big Dog Barkin, Wild Cat Don Mc Minn, Ive Earned My Rest, Painkiller Blues, Icehouse Freddie King, Woman Across The River, Live/Electrc Ballroom, Black Top Sonny Boy Williamson, Keep It Ot Yourself, Clownin With The World, Trumpet ========================Break-========================== Otis Spann, Beat Up Team, ... Is The Blues, Candid Bo Carter, Old Devil, Jackson Blues, Yazoo Terry Frank, You Haul, Devil By Her Side, Ho Made Kenny Wayne Shepherd, One Foot On The Path, Ledbetter Heights, Giant ==========================Break======================== Son House, Louise McGhee, Father Of The Delta Blues, Columbia/Legacy Otis Spann, Great Northern Stomp,.... Is The Blues, Candid Next week, I share a birthday with W.C. Handy and Cripple Clarence Loftin, with music from all three, if I can find my only remaining copy of a 1969 recording on which I was in the band. BLUZ!!!! Ed ========================================================================= Date: Sun, 24 Mar 1996 15:35:48 EST Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: blues travel guide Great idea! Tally my vote for option 3 (Shed and WWW site). My homepage contains a concert calendar which covers Southern New England and also links to WGBH's Boston area calendar and WPKN's which covers southeat CT and NY. It also has club information for my area. Either way count me in to cover central and eastern CT, western MA, and RI Including Hartford, Springfield, and Providence). Dave Carpenter WHUS-FM University of Connecticut - Storrs, CT http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Sun, 24 Mar 1996 16:34:28 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: the blues guide ... Since I may be the one handling the web part of the guide let me answer a few concerns and comments that have come up. 1). it is essential that the information that is forwarded to the page, be added as well to the shed. If it does not become another job of the century I'd be glad to send or add that info directly to the shed or to someone who decides that they could help with that as- pect of the effort, 2). noone's submissions would ever be avoid- ed, omitted or left out even if they continue to whimper in pub- lic - my mailbox would be open to everyone for the guide and all that affects it. The web pages would be available as well to all. My rec here Paul is get off the box and get down to the business of helping this guide get going, instead of airing your concerns over and over and over. Enough with your stuff Paul - what's at hand is the guide, not more of your tirades and redirections. So far, this may be the second thing in 2 weeks that you get in the way of and then claim you are misunderstood and as I'm told alot more in general. So far the posts have been from members who've expressed needs for the guide and the info and the people who'll be accessing it in both places, all you post about Paul is Paul. BTW - this info was forwarded on to me by a generous soul. In the hope of getting the guide going, I will be opening my box to you Paul so you can't compalin anymore and if you really have the intention of reaching me - be my guest. If you do not do it your story of trying and feeling sad that you couldn't will have been another tried & failed ploy. My personal stuff has nothing to do with my public stuff, so Paul either mail away or be quiet. If you decide to keep this discussion going public Paul, then my box just closes to you again, and if consensus from the group is (the group Paul - not you) that the group would be better served by another that will be fine. Let's see if you screw this one up too. You will be yes-mail on my system in 1 hour. Now on to the guide. Barry WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sun, 24 Mar 1996 21:31:27 GMT Reply-To: Peter Ballantine From: Peter Ballantine Organization: SuperNet Inc. (908) 828-8988 Subject: Re: help Hollywood Fats Comments: To: bit-listserv-blues-l@uunet.uu.net Darran Poole wrote: >I am a great fan of the 'Rock this House' CD on Black Top. Fats playing >is really somthing else... I have also just picked up a CD title >Harpburn by Rod Piazza (sp) that also features Fats on several of the >tracks, great stuff. > I agree that Hollywood Fats was one fine guitarist. Hollywood Fats was also in the JAMES HARMON BAND for a while (the CD titled THOSE MAGNIFICENT GENTLEMENS (sic) or some similar thing, featured both Fats & Kid Ramos). Fats was also the guitarist in the group THE BLASTERS for a short while (replacing Dave Alvin), although the group did no recording while he was a member. Some video and bootleg recordings from that era do exist and, if interested, you might want to contact the Blasters newsletter AMERICAN MUSIC, (80-16 64th Lane, Glendale, NY 11385-6819) which can supply you with same. ========================================================================= Date: Sun, 24 Mar 1996 17:00:53 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: blues travel guide's home(s)? Comments: To: Tom Freeland In-Reply-To: <960324113619_254592341@emout05.mail.aol.com> On Sun, 24 Mar 1996, Tom Freeland wrote: > I vote for 3 with several provisos: Whoever compiles it for Barry's web page > agrees, as they compile the information, they will update the information for > the Shed. In other words, I assume their WWW page will be updated > occasionally; I would want to see them update the shed at the same time. Tom, I assume that the info will come in to me in a form that I'd have to rework. If the format for sending the info to the shed's the same than we will have that battle won. Otherwise, help will be needed. Mary Katherine's rec. was for everyone to send in any updates on a 6 month turnaround basis. That seems a fair time for me to get collate and compile all the changes and have them ready to go up. If help is needed you will hear from me. The web side of the work seems easy (I hope) - but I won't be shy about asking for help since this is a team effort. re: below. All of our reviews as you know are copyrighted so your rec for noone copyrighting a team effort is well taken and should be part of the way this material is handled. I don't think anyone can copyright a listing, but if it starts that every person wants a copyright to their write up of a bar, restaurant etc. we should consider what we are doing, an open and friendly guide or a copy- writer's hell. If we do the web work - we'll never copyright any one else's material. > Whoever compiles it should *not* claim copyright or ownership of the work > and should credit it (copyright notices being commonplace on web pages), > probably noting that the ownership for each written section lies with the > writers, who agreed for its use in the shed, the web page, and the blues > list. This avoids the suprise of discoverying that we have all written a > 'blues guide' being published under some strangers name. > > Whose going to compile it? I'll write a good listing for North Mississippi, > which I've already started. Tom - I think Mary Katherine said mail your listings on to her and then she'd get them on to me. What I'd like to do is get a couple of listings 1st, after they've been sent to Mary Katherine so I can see and open up to the group, possible formats we might use that would facilitate generating the guide and giving it a uniform well done look. I am a little comp- ulsive :) so I would be good at generating a singular look, that's also inviting to use. Barry WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sun, 24 Mar 1996 14:29:07 -0800 Reply-To: "tony burke (by way of Mary Katherine Aldin )" From: "tony burke (by way of Mary Katherine Aldin )" Subject: JD (JAY) MILLER DIES Tony Burke, B&R Magazine, Bedford, UK AS I CAN'T GET THROUGH TO BLUES-L TONIGHT THIS MIGHT ALREADY BE OLD NEWS - BUT I THOUGHT I'D LET YOU KNOW ALL THE SAME. Reply-To: ROCKABILLY Distribution List X-Sequence: 4313 News on swamp pop, that 1950s combination of R&B, C&W, and Cajun and Creole music from South Louisiana: Famed swamp pop producer J. D. Miller (b. 1922) of Crowley, Louisiana, died this past week; Miller recorded numerous Cajun, blues, C&W, and swamp pop artists since opening his studio in the 1940s. Among the artist he recorded were Lazy Lester, Warren Storm, Lightning Slim, King Karl, Guitar Gable, Rod Bernard, Johnnie Allan, and Slim Harpo, to name a few. Many of Miller's best known productions were issued on the Excello label of Nashville. He was famed for his skillful use of reverb, his fancy for alternative forms of percussion, his use of integrated B&W studio bands long before desegregation, and his unusually clear, crisp recordings. ========================================================================= Date: Sun, 24 Mar 1996 22:47:23 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Re: LEGACY 66999 : EMMETT MILLER - MINSTRE Comments: To: bit-listserv-blues-l@uunet.uu.net Tom, I have to confess - and please don't flame me - but I bought the The Old Masters TOM album set for the accompaniment, not because of Emmett Miller. It was only after I heard the album, that I noticed the influences on Hank Williams, Bob Wills (especially Tommy Duncan), and Jimmie Rodgers. Charles Wolfe makes (I think a weak) argument for Miller's influence on Rodgers - I think it could easily be the other way, especially as Miller's very first recordings (Okeh, 1925) have never been found & may not even sound like these 1928-1929 recordings. As for Hank Williams, it wouldn't surprise me if Fred Rose (Hank's manager-publisher) introduced the "Lovesick Blues" recording to Hank. I'm only guessing, as really very little is known about Miller. His death is still unconfirmed. As for the routines, Legacy only included 2 of them and only I think because of the musical accompaniment, which as you mention, is truly awesome. The interplay between the Dorsey brothers is simply outstanding, and with jazz-blues guitarist Eddie Lang, you couldn't ask for a better 'studio' band. You can also hear Manny Klein wonderful trumpet solos. When Klein died in 1994 (April 16), I was invited to profile him on a friend's jazz radio program, and I used one of his solos with Emmett Miller on the program. This Legacy set will grow on you, and I'm glad Sony was the first to bring out this music on CD, otherwise some other label would have, if only because of the interest in Leon Redbone :-) "Uncle" eRIC ========================================================================= Date: Mon, 25 Mar 1996 10:27:46 -1000 Reply-To: Andrew Gregg From: Andrew Gregg Subject: Robert Johnson Movie Comments: To: Jim Witteveen Greetings, HAs anyone heard any more about the proposed film on Robert Johnson?? I remeber there being a bit of talk, a few rumors, and a couple of things Ive heard to be concrete facts. Whats the deal??? Andrew ========================================================================= Date: Sun, 24 Mar 1996 17:56:04 -0600 Reply-To: Peter Lee From: Peter Lee Subject: Re: Delta trip Keven Bell wrote: "I can't seem to find, however, an address for Junior's place more precise than '40 miles south of Memphis.' Can anyone help me?" Take 78 from Memphis to Holly Springs. At Holly Springs, take 7 South for about 1/2 mile. Then take 4 West. Ten miles down 4 West and Junior's is on the right, close to the road. You'll see a lot of cars if it's open. If you reach Chulahoma, you done gone too far. I haven't been there in some time and the place was closed for a while because a new sheriff got officious about the liquor law and licensing. But David Kimbrough, Jr. (once known as David Malone) tells me he is opening the club "for pops" these days. Give me a call at 601-238-2581 closer to the time you plan to visit, and I can find out for you. Cheers, Peter Lee Shade Tree Music P.O. Box 1001 Oxford, MS 38655 ========================================================================= Date: Sun, 24 Mar 1996 18:48:00 EST Reply-To: edward c liu From: edward c liu Subject: NYC Area Club Dates Pointer Howdy all, The latest New York City Area Club Dates Pointer is available for the month of April. To receive it, send e-mail to me at: edwick@cc.bellcore.com with a subject line of "NYC CLUB DATES". Thank you for your support! -- Ed Edward C. Liu | "Don't make me nervous, 'cuz I'm holdin' edwick@cc.bellcore.com | a baseball bat." | -- Big Joe Turner, "Honey, Hush" The opinions in this message are mine and not Bellcore's. Really! ========================================================================= Date: Sun, 24 Mar 1996 17:55:44 -0800 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: going nomail Going nomail for awhile. Mary Katherine Aldin ========================================================================= Date: Mon, 25 Mar 1996 02:15:22 GMT Reply-To: Beckie Sansom From: Beckie Sansom Organization: The National Capital FreeNet Subject: Al Green anyone? Comments: To: bit-listserv-blues-l@uunet.uu.net Can anyone recommend a complete collection of Al Green essential recordings?I would really like to know what the group thinks are his must-have sides.Is there any plans for a box set or a re-issue series.I think he is one of the greatest singers of the 20th century. Beckie Sansom & Robert J Dewar ### -- xBeckie Sansom Gloucester, Ontario ========================================================================= Date: Sun, 24 Mar 1996 20:42:11 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 03/25 B O R N : 03 / 25 BARRETT, SWEET EMMA THE BELL GAL ( EMMA BARRETT ) Born:1898 NEW ORLEANS, LA Career:PIANO / SINGER / LEADER Style:BLUES / TRAD / JAZZ With:PAPA CELESTIN / SIDNEY DESVIGNE / JOHN ROBICHAUX BRICE, PERCY Born:1923 NEW YORK, NY Career:DRUMMER Style:JAZZ / BIG BAND BURBANK, ALBERT Born:1902 NEW ORLEANS. LA Career:CLARINET Style:TRAD / JAZZ With:KID MILTON / HERB MORAND / PAUL BARBARIN / KID ORY / OCTAVE CROSBY / BILL MATHEWS CARLE, FRANKIE Born:1903 PROVIDENCE, RI Career:PIANO / COMPOSER / LEADER Style:BIG BAND With:Mal Hallett / Horace Heidt / Phyllis Lynn / Marjorie Hughes / Paul Allen / Greg Lawrence GALES, LARRY ( LAWRENCE BERNARD ) Born:1936 NEW YORK, NY Career:BASS Style:JAZZ GARNER, LISTON S. Born:1915 GREENSBORO, NC Career:PIANO / ARRANGER Style:JAZZ / BIG BAND GLENNY, ALBERT Born:1870 NEW ORLEANS, LA Career:ACCORDION/ BASS DRUM / TUBA / BASS Style:TRAD / JAZZ HILLYER, LONNIE Born:1940 MONROE, GA Career:TRUMPET Style:BLUES / JAZZ JOHNSON, PETE Born:1904 KANSAS CITY, MO Career:PIANO ( BOOGIE WOOGIE ) Style:JAZZ / BLUES With:JOE TURNER / BENNY GOODMAN MOTIAN, PAUL STEPHEN Born:1931 PROVIDENCE, RI Career:DRUMMER / COMPOSER Style:JAZZ OZONE, MAKOTO Born:1961 KOBE, JAPAN Career:PIANO Style:JAZZ FOR A LISTING OF THOSE THAT PASSED AWAY IN THIS MONTH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Sun, 24 Mar 1996 21:31:53 -0800 Reply-To: "P.W. Fenton" From: "P.W. Fenton" Subject: The Fenton / Silverberg Saga Whatever the conflict between us was. It's dead and buried. This should be the last anyone hears of it (and that's probably one too many times.) I apologize for whatever part I had in either annoying, or boring all of you. We now return you to the list which is already in progress. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 24 Mar 1996 19:12:44 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: I'm A Hog For You, Baby >Craig Edmundson wrote: >> I have a version by Clifton Chenier (credited as composer) that was released >> as a single (Bayou #717) in either 1970 or 1972. I have another version by >> Canned Heat (released in 1973) that credits Leiber & Stoller as composers. >> The two songs bear little similarity. I suspect the origin of this >> particular title predates both versions. >> "An' if she want a shoat, >> I go out and catch me one of them shoats. >> An' she have pork chops all the week... >> Sure will." This particular lyric is also found in the song 'Hungry Country Girl' which I have on James Cotton's 1988 Blind Pig release (credited to Otis Spann). At least now I know he's singing 'shoat', because I didn't have a clue. Now, what's a shoat??? -Jim (hndful@uniserve.com) ------------------------------------------------------------ Check out 'Heart and Soul', a new hour of blues, gospel, and jazz every week on SDF-Net Community Radio - http://sdf-radio.colossus.net. ------------------------------------------------------------ ========================================================================= Date: Sun, 24 Mar 1996 19:20:48 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: blues travel guide PW wrote: >> >The Blues Shed has always been a depository for this sort of info. A >> database of Blues venues, listed by city, was already started there and information similar to what has been proposed has already been deposited there by many Blues-Lers. More importantly, it has always been open to the contributions of ALL members. I would like to see the travel guide kept there if that is at all possible.The Shed's venue listings are located at: ftp://ftp.acenet.auburn.edu/pub/misc/entertainment/blues/venues I just checked this out for the first time (I had no clue it existed previously), and it's great - parts of it recently updated as well. Since this thing is already all set up, Bluezellers could do a bit of work as a group and get everything updated and keep it current - it's very handy, and if someone asks a question about blues in a certain area, we could just point 'em there. My vote goes toward keeping this resource and improving on it (and maybe letting new 'zellers know that it's there!) -Jim (hndful@uniserve.com) ------------------------------------------------------------ Check out 'Heart and Soul', a new hour of blues, gospel, and jazz every week on SDF-Net Community Radio - http://sdf-radio.colossus.net. ------------------------------------------------------------ ========================================================================= Date: Sun, 24 Mar 1996 22:17:57 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: The guide flap (My decision to "keep this discussion going") Comments: To: mkaldin@beachnet.com There have been a couple of odd developments on the blues list lately. I'm going to recapitulate this because several aspects have, in my opinion, gotten out of hand. I have no stake in this fight, except that I think a good idea is being killed by personal annimosities. P.W. Fenton posted suggestions about a week ago that some aspects of the blues list had gotten unmanageable, and suggested that the newsgroup be made 'read only,' for several reasons, some of which seemed legitimate. Folks who prefer the newsgroup format were annoyed, and fired shots at P.W., basically saying that he was seeking to restrict the list. (I had a similar run-in once with P.W. when he made a slightly snide remark about people using AOL access, although he later stated that the remark was not intended the way I read it). Barry Silberberg was annoyed by P.W.'s suggestion, because he is one of those who uses newsgroup access. In the process of firing back, he noted that he never reads P.W.'s posts (having set all mail from P.W. to be killed or ignored). Yesterday, Mary Katherine Aldin suggested that we deal with the repeated requests for blues travel information by compiling a blues guide by region or city. Barry Silberberg offered to put it on his web page, and P.W. responded (in separate mailings) that: (1) he did not want to see the list of blues clubs 'pulled' from the blues shed; and (2) he didn't think it appropriate to place the project anywhere that barred access to any of the blues list members, noting that Silberberg had specifically stated that he wold read no mail from P.W. Fenton. I viewed these concerns as absolutely legitimate. I was also concerned (and said so in my post) that work by listmembers (including me; as one of the most active Mississippians on the list I fully expected to make a contribution that people would finding interesting) was going to be appropriated by a particular individual's web page. Silberberg responded in a way that more-or-less satisfied my worries. Silberberg's response to P.W.'s post was, in my opinion, arrogant and condescending. In effect, he said he was putting P.W. on probation and would read as long as he behaved but no longer. He also accused P.W. of killing worthwhile projects with such complaints. (If anything, I've made the post less offensive in my summary; the heart of it is quoted below). It seems obvious on its face that the web page anyone who cannot abide reading the posts of a regular contributor to this list is not an appropriate web page for the guide. It also seems to me that such arrogance will kill this project far more quickly than P.W.'s objections. I find P.W. annoying occasionally myself. All of us whine some. But these are legitimate "whines" that to an extent I share. And while I see what happens, I'm going to hold back on this project. Barry threatened to close his mailbox to P.W. if he "decide[d] to keep this discussion going public"; I dont intend to participate if we can't have public discussion. Tom Freeland BELOW ARE THE SECTION OF BARRY'S POST ABOUT PW: > My rec here Paul is get off the box and get down to the business > of helping this guide get going, instead of airing your concerns > over and over and over. Enough with your stuff Paul - what's at > hand is the guide, not more of your tirades and redirections. So > far, this may be the second thing in 2 weeks that you get in the > way of and then claim you are misunderstood and as I'm told alot > more in general. So far the posts have been from members who've > expressed needs for the guide and the info and the people who'll > be accessing it in both places, all you post about Paul is Paul. > BTW - this info was forwarded on to me by a generous soul. > In the hope of getting the guide going, I will be opening my box > to you Paul so you can't compalin anymore and if you really have > the intention of reaching me - be my guest. If you do not do it > your story of trying and feeling sad that you couldn't will have > been another tried & failed ploy. My personal stuff has nothing > to do with my public stuff, so Paul either mail away or be quiet. > If you decide to keep this discussion going public Paul, then my > box just closes to you again, and if consensus from the group is > (the group Paul - not you) that the group would be better served > by another that will be fine. Let's see if you screw this one up > too. You will be yes-mail on my system in 1 hour. > Now on to the guide. ========================================================================= Date: Sun, 24 Mar 1996 19:19:54 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Mar. 25 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- AXTON, HOYT WAYNE (g/songw/actor) b. 1938-0325, DUNCAN, OK BERNAY, ERIC (founder: KEYNOTE REC) b. 1906-0325, ODESSA, RUSSIA BOWDEN, DAN(g/MANCE LIPSCOMB guitar book) b. 1955-0325, FLINT, MI BRACKEN, VIVIAN C. (owner: VEE JAY REC) b. 1920-0325, TUNICA, MS BRICE, PERCY (d/EDDIE VINSON/MILLINDER) b. 1923-0325, NEW YORK CITY, NY BROWN, TOM (b/MA RAINEY) d. 1958-0325, NEW ORLEANS, LA 69 BRYANT, RUSTY (tsax/MERCURY REC) d. 1991-0325, COLUMBUS, OH 61 BURNETTE, JOHNNY(of JOHNNY BURNETTE TRIO) b. 1934-0325, MEMPHIS, TN CATLETT, SID "BIG" (d) d. 1951-0325, CHICAGO, IL 41 CONNORS, MARC THOMAS (of THE NYLONS) d. 1991-0325, TORONTO, ONTARIO 43 FRANKLIN, ARETHA LOUISE (p) b. 1942-0325, MEMPHIS, TN HARRIS, HENRY (g) b. 1915-0325, WARREN, VA HARRIS, LES (lead/RAY-O-VACS) d. 1953-0325, NEWARK, NJ 33 HEALEY, JEFF (g/JEFF HEALEY BAND) b. 1966-0325, TORONTO, ONTARIO JACKSON, ARMAND "JUMP" (d) b. 1917-0325, NEW ORLEANS, LA JOHNSON, PETE (p/JOE TURNER) b. 1904-0325, KANSAS CITY, MO KAPP, JACK (co-founder: DECCA REC) d. 1949-0325, NEW YORK CITY, NY 47 LOWE, NICK (g/somgw) b. 1949-0325, UK ROCCO, MAURICE JOHN (p/boogie woogie) d. 1976-0325, BANGKOK, THAILAND 61 WEAVER, JAMES "CURLEY" (g) b. 1906-0325, COVINGTON, GA ------------------------------------------------------------------------------- ========================================================================= Date: Sun, 24 Mar 1996 22:23:28 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: LEGACY 66999 : EMMETT MILLER - MINSTRE Comments: To: leblanc@dao.nrc.ca In a message dated 96-03-24 22:03:05 EST, leblanc@dao.nrc.ca (Eric LeBlanc-CISTI) writes: >I have to confess - and please don't flame me - but I bought the >The Old Masters TOM album set for the accompaniment, not because of Emmett >Miller. Flame you? For buying a record because Eddie Lang and the Dorsey brothers are on it? Not a chance. You are right about the level of musicianship. I do disagree with you slightly (that the case for influence on Jimmie Rodgers is weak). Given the geography of both of their carreers (overlapping in time and place in the Southeast), and the sound, to me there seems a connection. Perhaps it is falacious reasoning, but assuming that Miller (with the older style and earlier prominence) was influence and not influenced seems reasonable. Tom Freeland ========================================================================= Date: Sun, 24 Mar 1996 22:26:02 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: The Fenton / Silverberg Saga (and my foot in my mouth) Comments: To: pwfenton@gate.net In my previous post on this topic, I consistently misspelled Bary Silverberg and apologize to him for doing so. I gather from what P.W. said, the problems here are solved. While somewhat confused by this, I'm glad about it. Tom Freeland ========================================================================= Date: Sun, 24 Mar 1996 22:35:13 -0500 Reply-To: MOUNTLION@AOL.COM From: Jeff Yelton Subject: There are no historic blues sites??? I've been thinking about the House of Blues press release last week concerning the restoration and tour plans for Muddy's Cabin. The claim that there are no historic blues sites bothers me. Is that really true? I can imagine that there are few houses left in which famous blues perfomers were born or grew up, but are all of them gone? Besides houses associated with early blues artists and, of course, grave sites, I can think of several other sites that if they are still standing are important in the blues. 1) Chess recording studios in Chicago 2) Maxwell Street Park in Chicago 3) Parchman Farm (older buildings if still standing) 4) Dockery Farm (ditto) 5) KFFA radio (if still standing). Home of 'King Biscuit' show 6) Tutwiler train station (where W.C. Handy claimed to first hear the blues). This probably is gone. How about some of the early clubs? ========================================================================= Date: Sun, 24 Mar 1996 22:38:14 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: I'm A Hog For You, Baby Jim asks: >This particular lyric is also found in the song 'Hungry Country Girl' which >I have on James Cotton's 1988 Blind Pig release (credited to Otis Spann). >At least now I know he's singing 'shoat', because I didn't have a clue. >Now, what's a shoat??? I believe it's a piglet. Makes sense with "I'm a Hog for You," doesn't it? Karen ========================================================================= Date: Sun, 24 Mar 1996 22:44:39 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: I'm A Hog For You, Baby Comments: To: hndful@uniserve.com In a message dated 96-03-24 22:36:43 EST, hndful@UNISERVE.COM (Jim Witteveen) writes: > This particular lyric is also found in the song 'Hungry Country Girl' which >I have on James Cotton's 1988 Blind Pig release (credited to Otis Spann). >At least now I know he's singing 'shoat', because I didn't have a clue. >Now, what's a shoat??? > > a baby pig after it's through suckling. Tom Freeland ========================================================================= Date: Sun, 24 Mar 1996 19:36:00 PST Reply-To: Gary Joneson From: Gary Joneson Subject: Re: Tribune Article - Recycled Blues David, thanks for posting this article, its right on the money with what it is saying, and I am pleased Detroit Junior got a mention, a fine artist and a true gentleman. http://www.island.net/~blues/detroit.htm > - Detroit Junior,"Turn Up The Heat" (Blue Suit): Sly humor long has been >a key factor in the compositional skills of buoyant pianist Emery "Detroit >Junior" Williams Jr. (he co-wrote the often-covered "Call My Job"). The >Chicago resident's latest album found him dealing with cold-hearted >landlords (the title cut), nosy in-laws ("Your Family"), and the saddest >words of all for the dedicated drinker, "Last Call." Gary BluesWEB http://www.island.net/~blues/ ========================================================================= Date: Mon, 25 Mar 1996 00:02:05 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: There are no historic blues sites??? Comments: To: MOUNTLION@aol.com In a message dated 96-03-24 23:28:12 EST, MOUNTLION@AOL.COM (Jeff Yelton) writes: >1) Chess recording studios in Chicago This being restored for opening to the public as a museum in May or June. Marie Dixon bought the Chess building at 2120 S. Michigan Ave. and is having it restored by a team of professionals --the studio is being done from memory and frm old photos by an engineer who worked at Chess briefly very late in its life. Sun Studios in Memphis is open for tours that emphasize the blues history in Memphis; Stax Studios has been demolished. They don't even paint the historical marker. >2) Maxwell Street Park in Chicago There have been posts about this. I gather it is not remotely the same? I don't know. >3) Parchman Farm (older buildings if still standing) The gate, which dates to I think the 50s, is still there and is weird. Things like the Warden's house are gone. The "Old Library", which is where the thugs, I mean trustees, beat up, I mean disciplined prisoners before the federal courts took over Parchman, is still there, an old brick building part of the prison going back past the days Lomax recorded there. Most of the other old buildings are, I think, gone. No attempt has been made to take care of anything. Even buildings like the old MSU (Maximum Security Unity, where the gas chamber is) are not that old-- I think (based on memory from visits there) it dates back to the 40s. >4) Dockery Farm (ditto) The demise of the sharecropper system and the arrival of agriculural machinery meant many rural recidences (which weren't much to start with) have fallen into piles of rubble. I'm told John Hurt's home is still there, sort of, and that the cabins on Dockery are findable but in terrible shape. The main buildings of the plantation headquarters are still there, in good shape, including the one with the big Dockery sign. >5) KFFA radio (if still standing). Home of 'King Biscuit' show I think it's still there. >6) Tutwiler train station (where W.C. Handy claimed to first hear the blues). > This probably is gone. Definitely yep. >How about some of the early clubs? with a lot of the places (most of them?) club is an exageration. Even the more substantial ones that I know of in places like Vicksburg are gone. There are others. The store where Son House recorded for Lomax is a recent casualty. The hotel which was a hospital where Bessie Smith died is still there. The Delta has just not paid a lot of attention to this part of its history, and neither has Memphis. Tom Freeland ========================================================================= Date: Sun, 24 Mar 1996 20:56:36 -0800 Reply-To: David Burke From: David Burke Organization: CRL Dialup Internet Access (415) 705-6060 [Login: guest] Subject: Re: Gregg Allman's losing sleep. . . Comments: To: bit-listserv-blues-l@uunet.uu.net 'The Blues is what exists between a man and a woman.' Son House and John Lee Hooker. Hey Shaun..who the hell do you think you are calling John Lee Hooker a woman in your sig?? ========================================================================= Date: Mon, 25 Mar 1996 12:32:07 +0700 Reply-To: "Peter E. Beal" From: "Peter E. Beal" Subject: Re: eRIC's BLUES DATES: Mar. 25 Comments: To: James Carmin Comments: cc: Jazz List Server , Eric LeBlanc In-Reply-To: <199603250319.TAA17861@desiree.teleport.com> On Sun, 24 Mar 1996, James Carmin wrote: > Here's a few dates (b. born, d. death) for tomorrow. If you have any > corrections/additions, let me know at leblanc@dao.nrc.ca. > > ------------------------------------------------------------------------------- > artist notes/full name yyyy-mmdd, city/county state age > ------------------------------------------------------------------------------- > ROCCO, MAURICE JOHN (p/boogie woogie) d. 1976-0325, BANGKOK, THAILAND 61 Twenty years ago Maurice Rocco was found dead in his room. He had been killed, apparently in connection with a lover's quarrel. Maurice was gay. He had lived in Bangkok for many years (I think at least 10) and had worked for most, if not all, of those at a stand-up pianist, complete with candelabra, in the Bamboo Bar of the Oriental Hotel. I knew him slightly because I worked for the group of companies which owned the Oriental Hotel. ========================================================================= Date: Sun, 24 Mar 1996 23:45:32 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: BOT Playlist 3/24/96 Comments: To: Blucebird@aol.com, burnside@teleport.com, codeblueus@aol.com, daveb@oboe.rounder.com, bluesjazz@aol.com, aqm@earthlink.net, Blacktnola@aol.com, JM1370@aol.com, johnca@rounder.com, LKnight1@aol.com, bigmorecor@aol.com, malaco@misnet.com, bluemoon@USA.PIPELINE.COM, VentRec@aol.com Comments: cc: Harp-L@garply.com Stan Ruffo Productions 800 N. Ben Maddox Way - Suite 2200 - Visalia, CA 93292 vox/fax (209) 625-6049 - email, steamin@valleynet.com http://www.valleynet.com/~steamin "Blues On Tap" every Sunday at 8pm Subject: Playlist 1296 - Commercial Radio Date: March 24, 1996 8pm - 10pm Station: KI00 99.7fm (K-eye-oh-oh), Visalia CA Program: "Blues On Tap" with Steamin' Stan Ruffo Artist Title Label Track Alex Schultz Blues Costume Party Black Top 3 Sherman Robertson I'm The Man Code Blue 4 Sonny Landreth Blues Attack AVI 7 William Clarke Groove Time Alligator 9 Sonny Rhodes Out Of Control King Snake 10 Ronnie Earl Language Of The Soul Bullseye 5 Doug MacLeod Come To Find AudioQuest 7 Steamin' Stan Ruffo Unreleased Material 2 Radio Kings It Ain't Easy Icehouse 5 Bill Perry Love Scars Pointblank 2 Bobby Blue Bland Sad Street Malaco 8 Earring George MayweatheWhup It! Whup It! Tone-Cool 9 Long John Hunter Border Town Legend Alligator 9 Gary Primich Mr. Freeze Flying Fish 3 The Cate Brothers Radioland Icehouse 1 Guitar Shorty Get Wise To Yourself Black Top 5 The Holmes Brothers Lotto Land Stony Plain 1 Jordan Peterson Give Me A Chance JSP 7 James Peterson Don't Let The Devil RideWaldoxy 7 Jesse Thomas Lookin' For That Woman Black Top 5 Jesse "Wild Bill" AustinBaby's Back Roesch 6 Eric Clapton From The Cradle Reprise 9 Joey Razor Joint B Jump Hectic 1 Chris Cain Somewhere Along The Way Blind Pig 8 Brint Anderson Homage To Elmore Tomato 2 Little Sammy Davis I Ain't Lyin' Delmark 1 "Blues On Tap" reports to The Hard Report and Living Blues http://www.valleynet.com/~steamin/bot.html -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 ========================================================================= Date: Mon, 25 Mar 1996 04:48:48 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Apologies to all ... Sorry for pulling the trigger .. as Paul said the gun is put away. Barry PS As has been suggested by another I will take myself out of the guide & let someone else handle it. Will be glad to help though. WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 25 Mar 1996 06:33:18 -0500 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: blues travel guide Comments: To: Jim Witteveen In-Reply-To: <96Mar24.192049pst.34949-2143+69@haven.uniserve.com> I agree with Jim. Let's preserve what there is and add to it. If it becomes a problem, we can handle it at that time. Peace, nitra On Sun, 24 Mar 1996, Jim Witteveen wrote: > PW wrote: > >> >The Blues Shed has always been a depository for this sort of info. A > >> database of Blues venues, listed by city, was already started there and > information similar to what has been proposed has already been deposited > there by many Blues-Lers. More importantly, it has always been open to the > contributions of ALL members. I would like to see the travel guide kept > there if that is at all possible.The Shed's venue listings are located at: > ftp://ftp.acenet.auburn.edu/pub/misc/entertainment/blues/venues > > I just checked this out for the first time (I had no clue it existed > previously), and it's great - parts of it recently updated as well. Since > this thing is already all set up, Bluezellers could do a bit of work as a > group and get everything updated and keep it current - it's very handy, and > if someone asks a question about blues in a certain area, we could just > point 'em there. My vote goes toward keeping this resource and improving on > it (and maybe letting new 'zellers know that it's there!) > > -Jim (hndful@uniserve.com) > > ------------------------------------------------------------ > Check out 'Heart and Soul', a new hour of blues, gospel, > and jazz every week on SDF-Net Community Radio - > http://sdf-radio.colossus.net. > ------------------------------------------------------------ > ========================================================================= Date: Mon, 25 Mar 1996 07:43:36 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: Clarke as of Sunday Hi Y'all. Stopped in to visit William Clarke at the Wishard Hospital Sunday after our concert. The bad news is that he is there (hospitalized) and won't be going anywhere for a while. The good news is that Sunday night he was a lot better than he was Saturday. But he's definitely not in good shape. His wife Jeanette, said to say thanks to everyone and that Mary Katherine Aldin had called earlier to get the facts. We were invited to talk a bit and listened to him tell us how one minute he was standing by the stage and the next his "feet went weak and down I went." He said he's had the stuffings knocked out of him before but this time he was down for the count. He talked about a record he has coming up ("just need to polish one or two tunes and it'll be set"), seemed really glad that Dick Shurman was going to "write on it," and said he knew it was going to be "some time" before he could again perform. I told him a lot of people were pulling for him out here and I would give you all an update. He asked me to tell you that he is really touched that so many people care, and when I asked whether or not he wanted people to know his address, he said "Yeah, if they aren't too crazy, I'd like that." I laughed, and asked if I got to be the one who determined whether they were too crazy. Jeanette laughed and he smiled. I suspect Jeanette will be in charge of that duty, but since they both agreed to this, here's his hospital address: Wishard Hospital Rm. A427 1001 W. 10th St. Indianapolis, IN 46202 He hasn't given up working on new things -- he worked hard on getting John Brim's address and phone number out of us, and said he was probably going to give him a call. However, it's clear he's got a long haul ahead to recovery and really appreciates the support of his fans. He was heavily sedated and aware that some very strong lifestyle changes are ahead to guard his health. Jeanette has also expressed appreciation for the support of the fans -- she has phone numbers of several people upon whom she may call if she needs anything. She sends her thanks to everyone. It was a sobering experience for all of us -- and of course, the thought flashed through my mind -- our resolve the last time something like this happened: "Say it now -- don't wait." So I told him I really wanted to thank him for all the great music he'd given us, and Stuart piped up: "Yeah and for all those licks of yours I stole." And we left him chuckling. Cathi N. ========================================================================= Date: Mon, 25 Mar 1996 12:47:14 +0100 Reply-To: jaci@OSIRIS.ELTE.HU From: jaci@OSIRIS.ELTE.HU Subject: WANTED:Jeff Healey lyrics Comments: To: bit-listserv-blues-l@uunet.uu.net Relay-Version: ANU News - V6.1B10 04/18/95 OpenVMS VAX; site ludens Path: osiris.elte.hu!jaci Newsgroups: bit.listserv.blues-l Subject: WANTED:Jeff Healey lyrics Message-ID: <1996Mar25.124654.1@osiris.elte.hu> From: jaci@osiris.elte.hu Date: 25 Mar 96 12:46:54 +0100 Organization: Eotvos University, Budapest, Hungary Nntp-Posting-Host: osiris.elte.hu Lines: 5 If anyone could help me with the lyrics of Jeff Healey's See The Light, please do it. Thanks, jaci@osiris.elte.hu ========================================================================= Date: Mon, 25 Mar 1996 08:18:30 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: levy@rl.af.mil where are you? Sorry for posting to the list -- I'm having no luck with this address. TO: levy@rl.af.mil: Hi...here is a message I'm posting for my husband, Stuart Norton (The Cooler Kings): "Thanks so much for your great review of the Memphis Country Blues Recordings Vol. 1. I'm a big country blues fan and I love Frank Stokes' music. I've been playing my Beale Street Sheiks tape on the way to work all winter. I've been lurking on the line for about a year courtesy of my wife Cathi who brings me home a print-out of the day's events on the Blues-l every night. I've been working on fingerstyle guitar for a couple of years and am slowly building up my song list. Are you a player yourself? It is so great to find someone else with an obvious love of the music such as you apparently have. I've been listening to Rev. Gary Davis' CD on Yazoo a lot lately. A lot of great tunes there. Keep up the good work and thanks again. Stuart Norton" Cathi N. ========================================================================= Date: Mon, 25 Mar 1996 07:52:28 CST Reply-To: William Shute From: William Shute Subject: "Rags to Rhythms" compilation From: Bill Shute various artists "Rags to Rhythms" Memphis Archives (CD) MA 7011 18 tracks recorded l906-1926 Here is another fascinating Memphis Archives collection of early recordings that deepen our understanding of the roots of jazz and blues. It was once easy for the jazz and blues devotee to rattle off various dates such as first jazz record, Original Dixieland Jazz Band, l917 ; first jazz record by black musicians, Kid Ory circa l921-22; first blues guitar record, Sylvester Weaver, l923; first blues vocal record, Mamie Smith, l920. These kind of milestones are easy to remember, and make us think we are knowledgeable about a certain genre of music. However, to paraphrase Confucius, the more I know, the more I realize I don't know. And reissues like this one, MA's earlier TIN PAN ALLEY BLUES CD, MA's WC Handy reissue, and various Document reissues of pre-l920 recordings should cause us to step back, take a broader look at the music scene of the early part of the century, and realize that some of the facile labels and "firsts" given to us tend to oversimplify the richness, diversity, and cross-fertilization of this period's music. For instance, the entire spectrum of musics under the "ragtime" label. Those l916 band recordings of WC Handysound like small-group ragtime, yet are "almost jazz" (particularly when played alongside l917 ODJB recordings); and also a strong ragtime element is present in early "jazz" and in "Blues" artists such as Blind Blake. And what about the vaudeville/medicine show background of so many of the older "bluesmen" who first recorded in the mid-late l920s? This musical mosaic is, to me, quite fascinating (and we blues-l-ers are fortunate in having authorities on this period such as Tom Morgan and Chris Smith among our ranks), and RAGS TO RHYTHMS provides eighteen diverse pieces that ought to get YOU thinking about all these connections and roots and branches. Or just give you 50 minutes of enjoyable popular music from the pre-blues, pre-swing, pre-Depression era. >From a large ensemble led by legendary Black orchestra leader James Europe to a l906 banjo ragtime piece by well-known white player Vess L. Ossman (a name familiar even to the modest collector of 78s); to a l909 recording of a large military band (these kind of outfits were recorded a lot in the early years of the century) playing a scott joplin piece; to two 1910-11 pieces by one Arthur Pryor, who had been "first trombonist and assistant conductor of John Phillip Sousa's band";to an oddball l908 rag played on a glass xylophone; to 1920's pieces by FRiar's Society Orchestra (NEw Orleans Rhythm Kings-related) and by King Oliver and Jelly Roll Morton, which exemplify the STRONG ragtime retentions in early "jazz"; to an unbelievable l926 trumpet-piano duo by two persons called "Hot and Heavy"!!!!!........... I suppose the thread linking all of these diverse artists, spanning different cultural, racial, and musical backgrounds, would be the influence of "ragtime" music, but the listener will soon hear how diverse that genre can be. It's not all Scott Joplin piano rags. Thanks to Memphis Archives for making this eye-opening and enjoyable music available to the average listener. Those who seriously desire to become more familiar with the music and culture of the first two decades of this quickly-departing century should pick this CD up soon. Bill Shute San Antonio, TX ========================================================================= Date: Mon, 25 Mar 1996 09:07:05 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: NYC Area Club Dates Listing Comments: To: edward c liu On 25 Mar 96, edward c liu had this to say... > > APOLLO THEATRE 253 W 125th St. 212 222-0992 > ------------------------------------------------------------ > Mar 29 Bobby "Blue" Bland/Ruth Brown/B.B. King OH MAN! If I could only think of a way to be there. P.W. ========================================================================= Date: Mon, 25 Mar 1996 08:18:15 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: NYC Area Club Dates Listing In-Reply-To: <199603251406.JAA26634@osceola.gate.net> On Mon, 25 Mar 1996, P.W. Fenton wrote: > On 25 Mar 96, edward c liu had this to say... > > > > APOLLO THEATRE 253 W 125th St. 212 222-0992 > > ------------------------------------------------------------ > > Mar 29 Bobby "Blue" Bland/Ruth Brown/B.B. King > > OH MAN! If I could only think of a way to be there. Practice, man, practice. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "The obvious irony is that no other country would grant [Mahmoud] Abdul-Rauf so much freedom as this oppressive one." - Tony Kornheiser, Washington Post page D9, 3/14/96 ========================================================================= Date: Mon, 25 Mar 1996 14:38:02 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Hey Bo Diddley! Had a chance to see and hear Bo Diddley last Thursday in Ottawa. There are quite a few performers that can play the audience like another instrument but I have never seen the kind of presence and effect that B.D. had. He played them like a Stradivarius. I don't know if it's always like that but it was powerful stuff. He did one song that really broke me up (I guess you had to be there), the lyrics included something like: "Take your dog and take your ugly cat Take your pooper scooper and scoop your way back to your mother's house" Anyone know if this is on a CD somewhere? :):) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [25/3/96 9:31 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 25 Mar 1996 08:40:38 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Hey Bo Diddley! In-Reply-To: Message of Mon, 25 Mar 1996 14:38:02 +0000 from On Mon, 25 Mar 1996 14:38:02 +0000 Pat Hertel said: > Had a chance to see and hear Bo Diddley last Thursday >in Ottawa. There are quite a few performers that can >play the audience like another instrument but I have >never seen the kind of presence and effect that >B.D. had. He played them like a Stradivarius. >I don't know if it's always like that but it was >powerful stuff. I saw him a few years back and he did like many of the older RnR legends (ie: Chuck Berry, Jerry Lee...etc) and just went through the motions. Totally uninspired. I'm happy to see he's not always that way, REAL HAPPY about it. Microwave Dave and The Nukes did a tune called 'PAY Bo Diddley" that I thought was clever. LW ========================================================================= Date: Mon, 25 Mar 1996 10:03:24 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Hey Bo Diddley! Comments: To: Pat Hertel In-Reply-To: Pat, Bo has a new CD coming out in a few months on Code Blue. They have a web page and possibly the song title is listed there - don't have my list of url's handy but I have them linked @ our links page + next month we'll have them on our pages with dir- ect e-amil access. Hope that helps. Barry On Mon, 25 Mar 1996, Pat Hertel wrote: > Had a chance to see and hear Bo Diddley last Thursday > in Ottawa. There are quite a few performers that can > play the audience like another instrument but I have > never seen the kind of presence and effect that > B.D. had. He played them like a Stradivarius. > I don't know if it's always like that but it was > powerful stuff. > He did one song that really broke me up > (I guess you had to be there), the lyrics > included something like: > "Take your dog and take your ugly cat > Take your pooper scooper > and scoop your way back to your mother's house" > Anyone know if this is on a CD somewhere? :):) WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 25 Mar 1996 09:07:18 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Seasonal Tunes Just curious and eager to start a harmless thread (I hope anyway) What is the CD(s) of choice when the weather is really nice, stormy, sweltering HOT, Snowy, freezing cold....etc We had very nice weather , my wife and I sat by the creek in our backyard and I played the guitat listening to the waterfall, it was very nice. I listened to Robben Ford a lot. I think that's spring music.... Whats your choices....? LW ========================================================================= Date: Mon, 25 Mar 1996 09:17:14 CST Reply-To: William Shute From: William Shute Subject: "Storming 60s Soul Sounds" compilation From: Bill Shute various artists "Storming 60s Soul Sounds!" Pointblank Classic(CD) 7243 8 41400 2 1 released l996 25 tracks recorded l965-68 This wonderful collection of various 65-68 soul tracks from the Kent/Modern family of labels (put together by the soulsters at UK Ace's "Kent" soul subsidiary, no relation to the US kent, altho they've licensed a lot of US Kent material---got that straight?) ought to bring a smile to the soulfan's face and a rhythm to his/her feet. From artists with a blues connection such as Lowell Fulson, Vernon Garrett, and Johnny Copeland...to names you all know such as ZZ Hill and the Ikettes (and Ike and Tina themselves)... to names such as Willie Hutch and Mary Love known to the serious soul fan...to artists new to me such as Clay Hammond and The Brilliant Corners and Wally Cox (no, not the one of "underdog" and Hollywood Squares fame), playing this CD is like being tuned into a great unknown soul radio station that plays nothing but obscure and wonderful 45s. Maybe those "northern soul" clubs in the UK that I've heard about are like this? Back in my days of active used-45 collecting, I used to make random compilation tapes of my "finds" and they would sound like this---except scratchy and from off-center cheesy pressings. Now you can get 25 big tracks, most all of which you probably don't have, direct from the master tapes, many in stereo. I put this on a cassette right after I bought it and have been playing it constantly in the car. So I don't remember who sings what tune (except for instantly recognizable artists such as Copeland, Hill, Fulson, and the Turners), but I can say that if you are at all intrigued by the existence of such an album...and on a US semi-major label...you ought to buy this immediately. The more analytically-minded among you can pick apart the songs and see how influences from different Motown artists are woven into "new" songs by semi-unknown artists. Everybody else can just put this on, enjoy it, and hope that pointblank/US Virgin decide to license more soul reissues from UK Ace. Bill Shute San Antonio, TX ========================================================================= Date: Mon, 25 Mar 1996 10:40:08 -0500 Reply-To: Jerry Zolten From: Jerry Zolten Subject: Dixie H'Birds in Central PA. For those of you near the State College area, the Dixie Hummingbirds will be performing at Penn State's HUB fishbowl on Sunday, April 14, at 3:00 in the afternoon. ADMISSION FREE! ========================================================================= Date: Mon, 25 Mar 1996 07:36:32 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Mar. 26 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BAILEY, DONALD (d/JIMMY SMITH) b. 1934-0326, PHILADELPHIA, PA BOLAR, ABE (b/BIG JOE TURNER) b. 1908-0326, OKLAHOMA CITY, OK GAYTEN, PAUL L. (p/R&B prod/CHESS REC) d. 1991-0326, LOS ANGELES, CA 71 HARP, JACK REV. (g/gospel) d. 1965-0326, PENSACOLA, FL 50 HARRIS, WILLIE "HI-TIDE" (g/MAYALL) b. 1946-0326, SAN FRANCISCO, CA LANG, EDDIE (BLIND WILLIE DUNN) (g) d. 1933-0326, NEW YORK CITY, NY 30 MCCARTY, ERNEST JR. (b/author) b. 1941-0326, CHICAGO, IL PARRIS, FRED (lead/FIVE SATINS) b. 1936-0326, NEW HAVEN, CT PENDERGRASS, TEDDY (lead/HAROLD MELVIN&) b. 1950-0326, PHILADELPHIA, PA ROBINSON, DAVID RAY (prod/POINTBLANK REC) b. 1963-0326, DETROIT, MI ROSS, DIANA (lead/SUPREMES) b. 1944-0326, DETROIT, MI SILVERMAN, JERRY (g/author) b. 1931-0326, NEW YORK CITY, NY SIMON, MAURICE (tsax/SPECIALTY REC) b. 1929-0326, HOUSTON, TX THOMAS, RUFUS (v/STAX REC) b. 1917-0326, CAYCE, MS TYLER, STEVEN (of AEROSMITH) b. 1948-0326, NEW YORK CITY, NY YOUNG, ISRAEL G. (owner: FOLKLORE CENTER) b. 1928-0326, NEW YORK CITY, NY ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 25 Mar 1996 10:30:37 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: There are no historic blues sites??? Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *There are others. The store where Son House recorded for Lomax is a recent *casualty. The hotel which was a hospital where Bessie Smith died is still *there. The Delta has just not paid a lot of attention to this part of its *history, and neither has Memphis. What about the hotels in Dallas and San Antonio where Robert Johnson recorded? -Steve ========================================================================= Date: Mon, 25 Mar 1996 10:45:20 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Work Songs and Field Hollers Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I want to get some recordings (preferably field recordings) of work songs and field hollers. Can anyone recommend any on cd? Thanks, Steve Levine ========================================================================= Date: Mon, 25 Mar 1996 10:59:08 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Blues in New Orleans / NY Times view (long) This is copied from The New York Times of Monday, March 25: By RICK BRAGG c.1996 N.Y. Times News Service NEW ORLEANS - Elliott Small can see fine, but he pretends to be a blind harmonica player who pretends to be able to see. Michael Stone is an articulate and intelligent man, but he pretends to be an ignorant backwoods guitar picker who pretends to be smarter than he looks. Their act, their deception, circles around itself. Only the blues they play is real. The two men are street musicians on Royal Street in the French Quarter in New Orleans, and they have hit on a plan. They know that it is their blues, the sorrowful, beautiful, haunting sound of bending guitar strings and weeping harmonica, that draws the tourists to them on this ancient street of over-priced art galleries and wrought-iron balconies. But it is the show that makes the tourists stay, that makes them linger long enough to feel justified in tossing a $1 bill into the collection plate. Small, his eyes rolled so far back in his head that all you see is the whites of them, appears to be lost in the darkness as he wails on his harp. Then he points to an empty sidewalk and waves to a nonexistent passerby, and the Midwesterners in their Bermuda shorts laugh out loud. They linger sometimes for an hour or more to see Stone, his head covered by a floppy hillbilly hat that looks like it was run over by a truck and dragged, stutter out his appeals for cash money or, failing that, food stamps. And the longer the tourists stay the more money he coaxes out of them, until the greenbacks pile up in a circle wide as a truck tire, and four, five inches high. ``If it was just the music, they'd leave. They stay for the show,'' said Stone, a career musician of 41 who has played behind Koko Taylor, Buddy Guy, Son Seals and other legends of blues. For now, he plays the bars and streets, and acts a fool, a little, for survival's sake. ``We do it well,'' said Small, 51, who has traveled the nation playing blues, jazz, rock and classical. ``We do it very well.'' ^@ But long before the tourists get close enough to see their act, they hear the songs. They hear Stone's smooth voice working his way through a Sam Cooke song, punctuated now and then by Small's sad, strong, baritone. I was born by the river in a little tent. And like that river I been runnin' since. ``That's me, pretty much,'' says Stone, after the crowd has drifted away. His partner nods his head, thinking the same. They often end their show with this song, with no foolishness, just pure music. ``I'm gonna play y'all somethin' pretty now,'' Stone always says, and the words pour rich and sweet, like $30 rum. It's been a long, a long time comin' But change gon' come. Oh, yes it will. Royal Street is nothing like its juvenile delinquent sister, Bourbon Street. It is a street of galleries and antique shops, a place where middle-aged men from Cleveland hold hands with their wives and pretend to care that the pirate Jean Lafitte did something or other here once in God knows when. On afternoons on clear days the police close the Rue Royale to cars so that street musicians can entertain streams of tourists who are smart enough to evade the topless bars with their two-drink minimums and glinty-eyed girls-next-door. Here on Royal, there is an an honest-to-God jug band in which four men in beards long enough to hide a 'possum play ``Rocky Top'' as a woman with jailhouse tattoos rakes the washboard and dances barefoot. There is an all-white zydeco band. Look for the big crowd, and in the middle will be the two men the tourists know only as Stoney and Grandpa. Small is Grandpa, a bulldog-faced man missing his front teeth, which only helps the illusion. On his stool, he seems to have no control of his facial muscles, which twitch and ripple and jiggle and punctuate the stammering jokes of his partner. The people who put money in their box are white and black. The characters they play are not some modern-day Amos and Andy but backwoods musicians come to the big city. There are no racial jokes in their act. Sometimes Small goes quiet for long minutes and just stares off in the distance. ``Grandpa ain't been the same,'' Stone tells the crowd, since he left him alone for a few minutes in front of the television, and some rap music came on. The idea of the blind man watching anything makes the crowd giggle. ``He was supposed to be watchin' the news,'' said Stone. ``But he musta hit that remote control with his elbow, and when I come in he was watchin' that, that, that rap. He was only alone for 15 minutes, but, but, but, but ... Well, let me just show y'all what happened.'' He lays down a backbeat on his red guitar. Then the gray-bearded Grandpa goes into a three-minute, scorching rap that leaves the crowd dumbfounded. He finishes with: I'm an uppercut maniac comin' at you like a Cadillac ``My son wrote that for me,'' he said, when the crowd was gone. He was born in New Orleans. His momma used to tune the radio to a classical music station, then sit it up high on a shelf so that her little boy, Elliott, could not change it to jazz or the blues. Now and then, passsersby by in the Quarter will hear the sound of lovely classical music drifting down the narrow streets, but, funny, it sounds like a harmonica. ``That's what I really love, the classics,'' said Small. He has been playing music his whole life. ``I used to sing on the street corners in New York in the 1960s, back when there was music on the corners, instead of crack,'' he said. He is playing on the streets for the same reason every musician does, because he is between indoor gigs. He is painfully proper in his speech, painfully polite, as if he is determined not to show just how far he lives from the character of Grandpa. He would play it straight, if he could, if anyone would stay to listen. But the main thing is to play. ``You got to give 'em something to look at,'' he said, ``but you can give 'em something to hear. You can give 'em something to feel.'' The younger man, Stone, nods his head. He would play it straight, too. If he only could. ``There was this guy came by the other day and dropped a dollar in the pot,'' said Stone. ``He said, `Boy, you guys sure know how to play the hell out of some blues. But tell me, do you know any of The King.' And I said, hey, man, the only king I know is Jesus. And he said, `No, man. I mean Elvis.' And I said I ain't gonna play no Elvis, and then he dropped a $20 in the pot and I said: Since my baby left me I found a new place to dwell ...''< ========================================================================= Date: Mon, 25 Mar 1996 16:10:22 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Seasonal Tunes In-Reply-To: On Mon, 25 Mar 1996, L W wrote: > Just curious and eager to start a harmless thread (I hope anyway) > > What is the CD(s) of choice when the weather is really nice, stormy, > sweltering HOT, Snowy, freezing cold....etc > > We had very nice weather , my wife and I sat by the creek in our backyard > and I played the guitat listening to the waterfall, it was very nice. I > listened to Robben Ford a lot. I think that's spring music.... > For winter try Tab Benoit's "Nice and Warm" phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [25/3/96 11:08 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 25 Mar 1996 11:25:38 -0500 Reply-To: Jerry Zolten From: Jerry Zolten Subject: Re: Work Songs/Field Hollers I believe Alan Lomax's two albums, "The Blues Roll On," and "Roots of the Blues", both originally on Atlantic, have within the past year been reissued on CD. Both have some great songs in these categories. Hope this helps. ========================================================================= Date: Mon, 25 Mar 1996 11:18:00 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Another Charlie Patton Question Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I got several helpful responses last week to my question about the Patton book. Thanks to everyone who responded. I bought the other Patton Yazoo cd this weekend and it's (along with the first one I bought) pretty much all I've been listening to lately. Do the two Yazoo cds have all of Patton's known sides or are there additional recordings not covered by Yazoo? I know there are some other Patton recordings on other labels but I don't know if they have the same material. -Steve "Shake it, you can break it" Levine ========================================================================= Date: Mon, 25 Mar 1996 10:24:24 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Allmans on ACL AS an Allman fan (Duanne era) I watched them on ACL. They were nothing to write home about, pretty dull. Haynes did a couple of nice licks, but overall I think they are nothing special anymore. I wish Dickey would learn a couple of new licks/scales. They did The Same Thing (Dixon) and it was embarassing Sorry I know alot of people are fans of the current era brothers, but I can't see any reason to listen to them anymore. They sound like any other band out there. I think Warren got a better TONE using a Les Paul instead of the PRS. Thats just my OLD ears, I guess. No offense to ABB fans LW ========================================================================= Date: Mon, 25 Mar 1996 11:28:04 -0500 Reply-To: FrancBooth From: FrancBooth Organization: America Online, Inc. (1-800-827-6364) Subject: Re: A coupla SRV questions for yas. Comments: To: bit-listserv-blues-l@uunet.uu.net I read Stevies biography and both his folks were white. He had said that he wished he was born black. Stevie Ray will always live on. I was fortunate to see the man 8 times and never heard a bad show. Wish I could have met him. Met his brother Jimmy and can tell you he is a very down to earth guy Late Tom ========================================================================= Date: Mon, 25 Mar 1996 11:44:58 -0400 Reply-To: MARCIAG@VMS.CIS.PITT.EDU From: Marcia Grodsky Subject: News from Pittsburgh for Booking Agents & Other Interested Parties As many of you know, for years the Decade in Pittsburgh was an important stop for touring bands. When it closed briefly some years ago because of tax problems, several touring Texas bands told me that it put a real crimp in their plans, because it was an important payday between the east coast and midwest. About six or seven months ago the Decade was sold to some people who renamed it Ribbitz and discontinued the blues/national act policy. This has left a big void for both Pittsburghers and bands. Happily, one of the old managers has just taken the place over along with a new partner. It re-opened last night under the name Tobacco Road, and the first band was Glenn Pavone and the Cyclones.The new owners will be fulfilling prior band commitments for the next few weeks, but they plan to have a grand opening in about a month, and start booking touring acts again. They will be getting a fax in about a week and I'll post their fax number as soon as they get it. In the meantime, if there is something urgent booking agents can contact Bill or Dave at Tobacco Road (412) 682-7707. They're very busy right now trying to get everything operational (it opened last night just one day after the Ribbitz people vacated), but they'll be ready to start booking again in a week or two. It's been a long, cold nasty winter in Pittsburgh but the sun did shine on us yesterday! ---Marcia Grodsky ========================================================================= Date: Mon, 25 Mar 1996 10:47:44 -0600 Reply-To: "PAUL J. KLEMP" From: "PAUL J. KLEMP" Subject: WANTED: ALBERT KING & MICHAEL BLOOMFIELD Date sent: 25-MAR-1996 10:46:21 If anyone has access to any obscure or imported recordings by Albert King or Michael Bloomfield, please contact me privately at the e-mail address below. Thanks. Paul Klemp KLEMP@VAXA.CIS.UWOSH.EDU ========================================================================= Date: Mon, 25 Mar 1996 10:52:50 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: There are no historic blues sites??? Comments: To: Steve Levine In-Reply-To: <421FC1B3@MHS> On Mon, 25 Mar 1996, Steve Levine wrote: > What about the hotels in Dallas and San Antonio where Robert Johnson recorded? The hotel in SA where RJ recorded is now a bank parking lot. -Jeff (who thinks Billy Blues SA ought to be a bank parking lot) --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry | U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc02.uthscsa.edu/~seale/home.html |Baseball #4 ========================================================================= Date: Mon, 25 Mar 1996 12:34:48 -0500 Reply-To: gutber@rz.uni-leipzig.de From: gutber@RZ.UNI-LEIPZIG.DE Subject: Books by Stephen Calt Soemone was looking for the Charlie Patton book by Stephen Calt. I saw that the following two distributors have the book still in their list, so one should have a chance to get it there: http://www.amazon.com/ or http://www.scinet.com/~musicbk/index.html Prices are between 15 and 17 $ plus postage. Best, Thomas ========================================================================= Date: Mon, 25 Mar 1996 10:39:05 -0700 Reply-To: Michael Heicklen From: Michael Heicklen Subject: Re: WANTED: ALBERT KING & MICHAEL BLOOMFIELD Comments: To: "PAUL J. KLEMP" There are numerous releases of Mike Bloomfield on the Kent Label. It is available in record stores. At 10:47 AM 3/25/96 -0600, PAUL J. KLEMP wrote: >Date sent: 25-MAR-1996 10:46:21 >If anyone has access to any obscure or imported recordings by Albert King >or Michael Bloomfield, please contact me privately at the e-mail address >below. Thanks. >Paul Klemp >KLEMP@VAXA.CIS.UWOSH.EDU > > ========================================================================= Date: Mon, 25 Mar 1996 17:41:52 GMT Reply-To: Scott Ainslie From: Scott Ainslie Organization: Cattail Music Subject: Musician's Legislative Alert: Copyrights!!!1 PRE-1978 COPYRIGHTS ENDANGERED BY COURTS The Ninth Circuit Court of Appeals agreed with a U.S. District Court ruling in California earlier this year (in La Cienega Music vs. ZZ Top) that Blues artist John Lee Hooker has no proprietary rights to his classic 1948 recording 3Boogie Chillen.2 According to the ruling, ZZ Top need pay no royalties to Hooker for its derivative 1973 hit 3La Grange,2 because Hooker9s composition was improperly registered at the time of its release. The court ruled that Hooker9s composition was dedicated to the public domain because it was originally issued by the record company without the copyright mark [)] that has been required on all recordings since the rewriting of the U.S. copyright laws in 1978. Ignoring legal precedents and industry practice dating back to a 1908 Supreme Court decision (White-Smith Music Co. vs. Apollo Co.---that a 3player piano roll2 was not a 3copy2 of the composition performed), the Ninth Circuit Court9s decision makes the language of the 1978 copyright law retroactive and places at risk the validity of the copyrights of virtually every song released on record before 1978. Prior to changes in the copyright law in 1978, musical compositions were traditionally considered 3published2 only if distributed in the form of sheet music, lead sheets or musical scores. It was common practice in the music industry and copyright office for decades, neither to procure federal copyright protection in a composition before releasing records, nor to affix a formal copyright notice to the records with respect to each song. (Until 1972, sound recordings were not even entitled to federal copyright protection.) The Ninth Circuit Court of Appeals decision threatens to throw tens of thousands of compositions---from the great Broadway, Tin Pan Alley songwriters, and recording artists of the 19209s and 309s to the pre-1978 catalogs of the Beatles and James Brown---into the public domain. The Ninth Circuit ruling directly contradicts the 1976 ruling of the U.S. Second Circuit Court of Appeals in New York (Rosette v. Rainbo Records Mfg. Corp.) on precisely the same issue, and has therefore created direct conflict and great confusion as to what is the actual rule of law. Rosette found that there was no publication of copies of the composition itself when records were sold, and therefore the composition was not thrust into the public domain. On October 22, 1995, the U.S. Supreme Court refused to hear an appeal of this ruling, rejecting requests for a ruling from a broad coalition of music industry organizations, including the National Music Publisher9s Association (NMPA); the American Society of Composers, Authors, and Publishers (ASCAP); Broadcast Music, Inc. (BMI); The Songwriter9s Guild of America (SGA); the National Academy of Songwriters (NAS); and the Nashville Songwriters Association International (NSAI); who joined La Cienega Music in their appeal. MUSICIANS9 LEGISLATIVE ALERT: A legislative remedy to this legal quandary has been proposed in an amendment to H.R.1861, offered by California Representative Moorhead. In his amendment, Moorhead proposes that 3the distribution before January 1, 1978, of a phonorecord shall not for any purpose constitute a publication of the musical work embodied therein.2 If approved by the House and Senate, this amendment will maintain the integrity of legitimate copyright claims and protect the rights of songwriters and musicians to receive royalties from their own compositions. All concerned musicians should contact their elected representatives to encourage their support of H.R. 1861 (which makes technical corrections in the Satellite Home Viewer Act of 1994 and other provisions of title 17, United States Code) and for Representative Moorhead9s Amendment to H.R. 1861. Both the House of Representatives and the Senate may be reached by calling: 1-202/225-3121 For more information, you may contact: Scott Ainslie c/o Cattail Music 119 W. Seeman Street Durham NC 27701 Telephone 919/688-0135 eMAIL: ainslie1@ix.netcom.com -- "Kittens raised in environments without vertical lines do not develop the neural connections necessary to recognize them and as adult cats walk headlong into table legs and chairs. Behavioral conditioning has not changed the outcome of this experiment..." Scott Ainslie ========================================================================= Date: Mon, 25 Mar 1996 12:39:23 -0600 Reply-To: James Foster From: James Foster Subject: Royal Street Blues (was:Blues in New Orleans / NY Times view (long) Thanks to Dick Waterman for posting the NY Times article on Eliot Small and Micheal Stone. I was in New Orleans this weekend and enjoyed the same street performance as the author of the article and, in fact, was standing just outside of the photo that accompanies the piece in the printed version of the Times. These guy can play and entertain...Royal Street is certainly a treat (much brighter than the Bourban Street, a blight on the Quarter) and having performance in the street is welcome. While in New Orleans I had the pleasure of catching a Snooks Eaglin show downtown at Bugsy's. Snooks was in fine form (is he ever not?). He certainly is one of the most tasteful players around and he can play just about everything. For those of you interested in Snooks be sure to listen to both his latest album on Bullseye as well as his complete Imperial sides on the Capitol re-issue program. Enjoy. James Foster ========================================================================= Date: Mon, 25 Mar 1996 11:53:08 -0500 Reply-To: "Lost John From: "Lost John Subject: Seasonal Tunes LW wrote... >What is the CD(s) of choice when the weather is really nice, stormy, >sweltering HOT, Snowy, freezing cold....etc Rainy/cold/crappy etc. -"Call my Job" - Albert King "Rainy Day, Dream Away" - Jimi Sweltering - "Windy and Warm" - Doc Watson "Get Rhythm" - Ry Cooder (check the video) "Goin' Fishin' (?) - Taj Mahal "C'est Chaud" - Sonny Landreth -- _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ _/ JC /\ _/ _/ ______________ || _/ _/ \__________ / || _/ _/ ________ ___/ John Carley || _/ _/ \______ / johnc@vedge.com || _/ _/ ____ ___/ (514)332-6430 x232 || _/ _/ \__ / Visual Edge Software Ltd. |\||/| _/ _/ _____/ 3950 Cote Vertu, Suite 100 \ / _/ _/ \/ Montreal, Quebec, Canada / \ _/ _/ ( ) _/ _/ \____/ _/ _/ (graduate of the Yogi Berra school of elocution) _/ _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ ========================================================================= Date: Mon, 25 Mar 1996 14:17:04 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: U.P. Wilson (fwd) Just got the following schedule for U.P. Wilson for NY, NJ and CT zellers to go see one of the very hottest blues men alive. Yes I still think his newest disc is CD of the year-This is U.P. Wilson on JSP #266. It is quite a ways away so if anyone wants to put it in their cal- endars now - do it. I will absolutely be at the Terra Blues show and would like to meet any other zellers who plan to go. I prom- ise I'll leave my condescending and sh*thead side of me home that evening. June 12-House of Blues, Cambridge Ma. 15-Stanhope House, Stanhope N.J. 26-Dinosaur Bar-B-Q, Syracuse N.Y. 27-Terra Blues, N.Y.City Until June U.P. is supposed to be traveling Europe - lucky them. Barry (still getting over my recent stupidity) WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 25 Mar 1996 14:07:59 -0500 Reply-To: ConnorRay From: ConnorRay Organization: America Online, Inc. (1-800-827-6364) Subject: J. Geils Video? Comments: To: bit-listserv-blues-l@uunet.uu.net My first introduction to blues was through these guys early records. Magic Dick is the guy that got me playing the harp (I know I'm not alone)!!! I would love to get a video of an early performance (pre '76). Can anyone suggest where I might find one??? Thanks in advance Steve Krase Jerry Lightfoot & The Essentials ConnorRay@aol.com ========================================================================= Date: Mon, 25 Mar 1996 14:17:42 -0500 Reply-To: Sam Lawton From: Sam Lawton Subject: T-Bone on Video?: Second try Well, I only received one inconclusive response to my earlier inquiry regarding the availability of T-Bone Walker on video. It's hard for me to believe that some footage doesn't exist somewhere. Once again -- Does anyone know what, if anything, might be available? ========================================================================= Date: Mon, 25 Mar 1996 14:12:13 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Sonny Boy Fundraiser report Comments: To: bit-listserv-blues-l@uunet.uu.net Hi Folks! I can barely speak this morning, after shouting over music for about 12 hours yesterday, but those who braved the rain and came to B.B.'s on Beale yesterday for the Fifth Annual Sonny Boy Blues Society fundraiser had a great time. Kim Wilson and Frank Frost were both sick and couldn't make it, but in the spirit of Memphis music, some very fine musicians in the crowd filled in the gaps quite well. The nicest surprise was when Little Jimmy King dropped by and plugged in with the King Bees (house band) and backed Rufus Thomas (who refused to talk to me until I kissed him.) We did fairly well with the auction, although there's some really neat stuff left which Bubba and Kathy Sullivan toted back home to Helena for a future event (or for you guys to snap up.) Three one of a kind, 16 x 20 photos are still available: Gus Cannon, Sleepy John Estes and Little Brother Montgomery--minimum bid $30 each, and there's a lot of King Biscuit Boy Festival memorabilia left. Drop me a line if you're interested in hearing more. Sorry all of you couldn't be there. Maybe by next year, we'll have the technology. Best wishes, Denise ========================================================================= Date: Mon, 25 Mar 1996 13:22:12 CST Reply-To: William Shute From: William Shute Subject: comments on "Blues in N.O." article From: Bill Shute That newspaper piece about street musicians in New Orleans, posted to blues-l by Dick Waterman, was one of the most thought-provoking items I've read about the blues in some time. The whole concept of "persona" in the blues--or in ANY form of artistic expression--is something that is not adequately discussed or analyzed. Also, the whole question of "authenticity," what it means, and if it's really of much consequence. The blues is no more a "natural" form of expression than is the sonnet... or the dirty limerick. Having been brought up in a culture where a learned form of expression such as the blues is common and "in the air" so to speak does make one's "performance" more convincing and, perhaps, allows one to speak more naturally and in a less affected manner than someone not from that background, but does it make that person's artistic statement any more profound or valid than that of someone who CHOOSES TO WORK IN A TRADITION self-consciously? I think most blues fans would answer YES to that question. And I suppose I would too. But is the natural extension of that view to feel that, for example, Lonnie Johnson's artistry is somehow less "pure" than One String Sam's? Perhaps we should...if only for a moment...recognize that anyone who performs for another or records (or even allows an ethnomusicologist to record him/her for "documentary" purposes) is essentially an entertainer and that it's all show business? Does it really matter if those guys on the street in New Orleans are blind? If thinking they are helps people to pay attention to their music, what does it matter? Everyone chooses to represent himself/herself in a certain way and to overemphasize some qualities, underemphasize other qualities. When we meet a new person, that person chooses to speak about certain subjects or tell us certain anecdotes chosen (consciously or unconsciously) to depict himself/herself in a particular way. It seems to me that the street musician in New Orleans who pretends to be blind to make better tips is merely a savvy personwho learned over his years as a musician that, in terms of public acceptance, it's all in the presentation. If more people could separate their public persona from their "self" and if fewer people believed that they had actually become what they represent themselves as, then the world would probably be a better place. If only l940s/50s bebop musicians had realized that they DIDN'T have to be heroin addicts to play like Bird! Perhaps the following passage from Professor David Evans, taken from the liner notes of Document DOCD-5278, would be enlightening here: ---"In the world's folklore and mythology, epithets are often ascribed to powerful heroes and deities, both good and evil. They function in myth and legend much the same as masks do in ritual, simplifying a complex and perhaps contradictory personality and enabling the listener or viewer to concentrate on a single attribute or set of attributes. The epithet and the mask act as a lens, bringing the bearer into focus and magnifying it at the same time. Twentieth-century Americans who are known by nicknames tend to share the same extremes of good and evil reputation as these folklyric bearers of epithets and masks. Many of them are hoboes and drifters, criminals, hustlers, prostitutes, gamblers, entertainers and musicians, cowboys, and sports players. The taking or granting of a nickname is done to disguise a person's past or true identity with all of its mundane details and its history of partial successes and failures, and create instead an inflated identity. This new identity is either so vague and generalized (eg, Memphis Slim, Big Bill, Leroy's Buddy), or so heroic and laden with physical or magical power (eg, The Masked Marvel, Peetie Wheatstraw, Howlin' Wolf, The Yas Yas Girl), or so focused on a single talent or attribute (eg, Washboard Sam, Piano Red, Blind Willie), that it becomes unassailable and ultimately unknowable, its bearer enclosed in an aura of power, fear, and respect."(David Evans) In other words, whether or not the street musician is blind is of no more relevance--in terms of his public persona (now, if he tried to convince his sister that he was blind, that would be a different story!)-- than whether Peetie Wheatstraw was the Devil's Son-in-Law LITERALLY. What's significant is that he chooses to represent himself as blind... and in this case, it's for a purely functional purpose. Maybe Genet's "world as brothel" metaphor is on-target after all? IMHO, of course! Bill Shute San Antonio, TX ========================================================================= Date: Mon, 25 Mar 1996 13:26:58 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: comments on "Blues in N.O." article In-Reply-To: Message of Mon, 25 Mar 1996 13:22:12 CST from On Mon, 25 Mar 1996 13:22:12 CST William Shute said: >depict himself/herself in a particular way. It seems to me that the >street musician in New Orleans who pretends to be blind to make better >tips is merely a savvy personwho learned over his years as a musician >that, in terms of public acceptance, it's all in the presentation. Having blind friends and fellow musicians I do not approve of someone LYING about a handicap in order to get better tips. Would it also be fair for me to lie on my resume and say I graduated from Yale, in order to get better tips ????. What if a company had racial quotas, would it be fine and dandy for me to lie about my race, so I would get consideration. I find LYING about a handicap in order to benefit from it to be very, very disgusting. I guess if Jerry Lewis just staged the CP telethon and the kids were 100% normal, just acting that way would be OK also....I can't believe it....IMHO and I respect yours LW 'an MIT graduate....honest' ========================================================================= Date: Mon, 25 Mar 1996 11:38:09 -0800 Reply-To: James Carmin From: James Carmin Subject: Re: Seasonal Tunes LW's start of a harmless thread: > >What is the CD(s) of choice when the weather is really nice, stormy, >sweltering HOT, Snowy, freezing cold....etc When's it's real hot here in Portland OR (usually 1 day in August), I like to put on some real loud CLIFTON CHIENER in the evening which always just seems right. When it's cold outside, I tend to go to ALBERT COLLINS or some JOHNNY COPELAND. Spring's a little harder: maybe some BACK PORCH BLUES or LINDA HORNBUCKLE & NO DELAY. James C. jcarmin@teleport.com ========================================================================= Date: Mon, 25 Mar 1996 13:40:39 -0600 Reply-To: Dave Daubard From: Dave Daubard Subject: Re: madcat Comments: To: "Keith T. Balistreri" In-Reply-To: Madcat has some releases with Schoolkids Records from Ann Arbor. Here's the info: label@schoolkids.com http://www.schoolkids.com/ (313)994-8031 ========================================================================= Date: Mon, 25 Mar 1996 14:45:42 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Academia vs. the artists they analyze On 25 Mar 96, William Shute shared this quote... > Perhaps the following passage from Professor David Evans, taken from the > liner notes of Document DOCD-5278, would be enlightening here: > > ---"In the world's folklore and mythology, epithets are often ascribed to > powerful heroes and deities, both good and evil. They function in myth and > legend much the same as masks do in ritual, simplifying a complex and > perhaps contradictory personality and enabling the listener or viewer to > concentrate on a single attribute or set of attributes. The epithet and the > mask act as a lens, bringing the bearer into focus and magnifying it at > the same time. Twentieth-century Americans who are known by nicknames tend > to share the same extremes of good and evil reputation as these folklyric > bearers of epithets and masks. Many of them are hoboes and drifters, > criminals, hustlers, prostitutes, gamblers, entertainers and musicians, > cowboys, and sports players. The taking or granting of a nickname is > done to disguise a person's past or true identity with all of its > mundane details and its history of partial successes and failures, and > create instead an inflated identity. This new identity is either so > vague and generalized (eg, Memphis Slim, Big Bill, Leroy's Buddy), > or so heroic and laden with physical or magical power (eg, The Masked > Marvel, Peetie Wheatstraw, Howlin' Wolf, The Yas Yas Girl), or so focused > on a single talent or attribute (eg, Washboard Sam, Piano Red, Blind Willie), > that it becomes unassailable and ultimately unknowable, its bearer > enclosed in an aura of power, fear, and respect."(David Evans) Whereas one of the artists Evans made reference to might have simply said, "You need a gimmick of some kind. It helps you get gigs." P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 25 Mar 1996 14:21:17 -0600 Reply-To: Dave Daubard From: Dave Daubard Subject: Blues Cruise Playlist 3/22/96 Artist------Title--------------------Release-------------Label------ Rod Piazza/MF-Rockin'Robin- Harp Burn- Black Top *Long John Hunter-Rooster & Hen-Border Town Legend- Alligator * " " " -Everybody Knows-" " " - " *The Hoax- Headless Chicken- Sound Like This- Code Blue Jimmy Johnson-Chicken Heads-Bar Room Preacher- Alligator Yank Rachell- Yank's Blues- Live from the Slippery Noodle-Slip Noodle Sound *Cathi Norton-You Put a Spell On Me-Various Stages of Undress-Flat Rock Rec * " " -Get Back Baby- " " " " " " " *Craig Benner-Beer Drinking Woman-Play It Again,Professor-Craig Benner Mus. Cooler Kings-What's the Matter- Looks Like Trouble- Slippery Noodle S. Big John/39th St.-Just Another Case of Blues-K.C. Blues'90s-Red Hot Rec. Linda Shell/Blues Thang-Everybody Gets the Blues-" " " " " " *Mark Hummel- I'm Gone- Married to the Blues- Flying Fish *Cathi Norton-Jump at the Chance-Various Stages of Undress-Flat Rock Records Rod Piazza/MF-Clap Your Hands- Live at B.B.'s- Big Mo Greg Picollo-Baby, I'm Gone- Heavy Juice- Black Top *Omar & Howlers-Highway 49- World Wide Open- Watermellon Rec. *Johnny B. Moore-Mean Ol'Frisco-911 Blues- Wolf Steve James-Boogie Woogie Dance-American Primitive- Antones *Rory Block-Gone Woman Blues- Tornado- Rounder *Scott Ainslee-Travelin'Riverside Blues-Jealous of the Moon-Cattail Music *Harmonica Fats/Bernie Pearl-title tune-Blow,Fat Daddy,blow-Bee Bump Rec *Luther"Guitar Jr"Johnson-A Pretty Girl,A Cadillac..Slammin'Westside-Telarc *Billy Boy Arnold-I Ain't Got You-Eldorado Cadillac- Alligator *Albert King-Shake'em Down-Hard Bargain- Stax *Doc Pomus-Naggin'Wife Blues-Willie Bryant-Blues Around.....Delmark *Wynonie Harris-Wynonie's Blues-Wynonie Harris:Everybody Boogie-Delmark #Jr. Wells-title tune-Everybody's Gettin'Some- Telarc *#Corey Harris-She Moves Me-Between Midnight & Day- Alligator *Ron Levy-title tune- Zim, Zam, Zoom- Bullseye *Rick Holmstrom-North Of Montana-Lookout- Black Top Smokin'Joe Kubek-Corn Palace-Cryin' For the Moon- Bullseye Jelly Roll Kings-Honeydrippin'Boogie-Rockin'The Juke Joint Down-Earwig *Craig Benner-To Boogie or Not to Boogie-Play it Again, Prof.-Craig BennerMus *Mem Shannon-Me & My Bed- Cab Driver's Blues- Rykodisc *Charles Ford Band-That Will Never Do-As Real As It Gets- Blue Rockit Rec *Johnny Dyer-Feel Like Cryin'Again- Jukin'- Blind Pig *John Primer-Tired & Worried- The Real Deal- Code Blue *Little Sammy Davis-Sammy's Shuffle-I Ain't Lyin'- Delmark *Gary Primich-Easy Ridin' Mama-Mr. Freeze- Flying Fish *Sonny Rhodes-Pickin' Your Bones-Out of Control- Kingsnake Rec *new release # in town ========================================================================= Date: Mon, 25 Mar 1996 17:21:57 -0300 Reply-To: Dr Hurricane Bluz From: Dr Hurricane Bluz Subject: The best! Hi bluezeller's....the Robin Trower classic concert,releases in 1977,New Haven,now in King Biscuit CD. UNBELIEVABLE,INCREDIBLE,ANIMAL!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! WHALLLLLLLLLLLLLLLLL!!!!!!!!!!!!!!! Huricane ========================================================================= Date: Mon, 25 Mar 1996 15:26:38 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Please Stand By - Travel Guide I hope to be posting some fabulous news about the proposed "Travel Guide" before the sun sets today. (as soon as I'm sure I have permission) It should make all Zellers who are interested in this project very happy. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 25 Mar 1996 15:36:57 -0500 Reply-To: MARCIAG@VMS.CIS.PITT.EDU From: Marcia Grodsky Subject: My Cup Runneth Over What a great weekend! In an earlier post, I told the tale of how my home-away- from-home is reopening, causing great elation on my part. But so many other nice things happened this weekend, and several of them had to do with members of this list. Friday's mail brought me Cathi Norton's CD, which is absolutely lovely. We all know Cathi as one of the nicest, most charming members of this list and it's a total delight to find that she's every bit as talented as she is nice. But, you know, it really isn't fair that Cathi can not only sing and play like that, but also write (all of the songs are originals) when I'd give my eyeteeth to have even one of those talents! Saturday brought a great show by Bill Pollock, AKA Billy Price. I've felt sure lately that I was suffering from Seasonal Affective Disorder, but the combination of Bill's music and the sunny day sure snapped me out of it! I hadn't been out to hear live music for awhile, and this was the perfect show. It's impossible to listen to Bill and stay depressed! I also met list member Ron Kraemer and his girlfriend, Helene, Saturday night and that was a real pleasure. It was so nice to be reminded that we do still have a lot of truly nice people on this list. Sunday I got to listen to a new CD by Bill's guitarist, Lenny Smith, which features Bill on vocals on one great track. Later that day I saw a good show put on by Lenny, while in the company of Ron and Helene, who must be absolutely convinced that I'm out of mind because they witnessed me going crazy after I got the good news about the Decade. So thanks Cathi Norton, Bill Pollock, and Ron Kraemer for all contributing to my "End of Winter" celebration! I owe you all. ---Marcia ========================================================================= Date: Mon, 25 Mar 1996 14:43:22 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 03/26 B O R N : 03 / 26 BAILEY, DONALD ( ORLANDO) [ DONALD DUCK] Born:1934 PHILADELPHIA, PA Career:DRUMMER Style: BLUES / JAZZ With:JIMMY DEBREST / JIMMY SMITH / HAMPTON HAWES /BLUE MITCHELL BOLAR, ABE Born:1908 OKLAHOMA CITY, OK Career:BASS Style:JAZZ / BIG BAND With:BIG JOE TURNER DIXSON, BIG DADDY ( ERIC ) Born:1930 NEW YORK, NY Career:TENOR SAX Style:JAZZ / BIG BAND HARRIS, WILLIE "HI-TIDE" Born:1946 SAN FRANCISCO, CA Career:GUITAR Style:BLUES With:JOHN MAYALL JOLSON, AL ( ASA YOELSON ) Born:1886 ST.PETERSBURG, RUSSIA Career:SINGER Style:POP / BIG BAND LOCO, JOE ( JOSEPH ESTEVES LOCO ) Born:1921 NEW YORK, NY Career:VIOLIN / GUITAR / DRUMMER / PIANO / ARRANGER / LEADER Style:JAZZ / BIG BAND MCCARTY, ERNEST JR Born:1941 CHICAGO, IL Career:BASS / AUTHOR Style:BLUES MOORE, BREW (MILTON AUBREY JR) Born:1924 IANOLA, MS Career:TENOR SAX Style:JAZZ / BIG BAND SIMON, MAURICE Born:1929 HOUSTON, TX Career:TENOR SAX Style: BLUES / JAZZ TABACKIN, LEW ( LEWIS BERRY ) Born:1940 PHILADELPHIA, PA Career:ALTO SAX / TENOR SAX / FLUTE / LEADER Style:BIG BAND With:Tal Farlow / Don Friedman / Les and Larry Elgart / Cab Calloway / Buddy Morrow / Maynard Ferguson / Thad Jones and Mel Lewis / Clark Terry / Duke Pearson / Chuck Israels / Joe Henderson / Elvin Jones / Donald Byrd / Attila Zoller / Roland Hanna / Bobby Rosengarden / Doc Severinsen / Toshiko Akiyoshi (whom he married) / Louie Bellson / Bill Berry THOMAS, RUFUS Born:1917 CAYCE, MS Career:SINGER Style:BLUES With:ROBERT COUNTS / FATHER OF CARLA THOMAS FOR A LISTING OF THOSE THAT PASSED AWAY IN THIS MONTH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Mon, 25 Mar 1996 14:40:44 -0600 Reply-To: Roger Struve From: Roger Struve Subject: WARNER WILLIAMS I asked once before, and somehow have misplaced the printout......does anyone know how to reach Warner WIlliams (of A Little Bit 0'BLues?) I have something to send to him, and need the address!!! Than ks very much! delta doc roger ========================================================================= Date: Mon, 25 Mar 1996 14:51:12 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: Bill Samuels Can anyone tell me where Bill Samuel ( piano) Kats & Jammers ) was born he recorded on Mercury lived in the 50's in Minneasota. Where was he born (year and city ) thank you. Henry Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Mon, 25 Mar 1996 15:59:16 -0500 Reply-To: jlafave@NYLINK.ORG From: "" Subject: Stax "Tupelo" I heard a tune on a blues show out of Montreal - Pop Staples with Albert Collins and Steve Cropper - "Tupelo". DJ said it was a Stax recording. Anyone know if it is available on any current CD release. It was a must have. Jan LaFave jlafave@nylink.org ========================================================================= Date: Mon, 25 Mar 1996 13:12:46 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: comments on "Blues in N.O." article LW wrote: >Having blind friends and fellow musicians I do not approve of someone LYING >about a handicap in order to get better tips. Would it also be fair for me >to lie on my resume and say I graduated from Yale, in order to get better tips >????. What if a company had racial quotas, would it be fine and dandy for me >to lie about my race, so I would get consideration. I find LYING about a >handicap in order to benefit from it to be very, very disgusting. I guess if >Jerry Lewis just staged the CP telethon and the kids were 100% normal, just >acting that way would be OK also....I can't believe it....IMHO and I respect >yours LW, with all due respect, I think you're wrong on this one. From the sounds of this article, this is a _show_. This is not some guy on the street with a sign that says 'Blind man' who's begging for money. If that were the case, then I'd agree - it's dishonest and I don't like it. However, in this case, this is obviously like a musical play on the street (and it sounds like they do it well). What it seems like to me is equivalent to a play or movie in which someone acts blind but isn't - nothing offensive there.....IMHO and I respect yours as well :-) -Jim (hndful@uniserve.com) ------------------------------------------------------------ Check out 'Heart and Soul', a new hour of blues, gospel, and jazz every week on SDF-Net Community Radio - http://sdf-radio.colossus.net. ------------------------------------------------------------ ========================================================================= Date: Mon, 25 Mar 1996 15:10:47 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: comments on "Blues in N.O." article In-Reply-To: Message of Mon, 25 Mar 1996 13:12:46 -0800 from On Mon, 25 Mar 1996 13:12:46 -0800 Jim Witteveen said: > >LW, with all due respect, I think you're wrong on this one. From the sounds >of this article, this is a _show_. This is not some guy on the street with >a sign that says 'Blind man' who's begging for money. If that were the >case, then I'd agree - it's dishonest and I don't like it. However, in this >case, this is obviously like a musical play on the street (and it sounds >like they do it well). What it seems like to me is equivalent to a play or >movie in which someone acts blind but isn't - nothing offensive >there.....IMHO and I respect yours as well :-) If I misunderstood, I'm sorry. I thought someone said something LIKE (ITHO) there was nothing wrong with someone pretending to be blind if it helped them get better tips. My apologies for misunderstanding. LW ========================================================================= Date: Mon, 25 Mar 1996 16:18:27 -0500 Reply-To: RAHalonen@AOL.COM From: Reeann Halonen Subject: I need some help I have tried to post several times to introduce myself and to be friendly and not to make demands right off the bat. I couldn't tell if my posts ever reached y'all and here I am in need of making demands right off the bat. Honest I'm usually not a rude person but I do need HELP. I am trying to write liner notes for a soon to be released CD and I don't know the composers of two songs. I tried the U of Washington reference library (to no avail). The songs are "Good-Bye My Lady"...(so long my little girl) and the other is "You Just Can't Take My Blues". TIA and I am enjoying so much being on this list and among such interesting, informed and intellegent folks. Thanks, Ree Anne in Seattle ========================================================================= Date: Mon, 25 Mar 1996 16:34:54 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: I need some help Comments: To: RAHalonen@aol.com On 25 Mar 96, RAHalonen@aol.com had this to say... > I have tried to post several times to introduce myself and to be friendly and > not to make demands right off the bat. I couldn't tell if my posts ever > reached y'all and here I am in need of making demands right off the bat. > Honest I'm usually not a rude person but I do need HELP. I am trying to write > liner notes for a soon to be released CD and I don't know the composers of > two songs. I tried the U of Washington reference library (to no avail). The > songs are "Good-Bye My Lady"...(so long my little girl) and the other is "You > Just Can't Take My Blues". TIA and I am enjoying so much being on this list > and among such interesting, informed and intellegent folks. Thanks, > Ree Anne in Seattle The Library of Congress has a searcheable computer database that will allow you to search the copyright files by Song Title. You can gain access to these materials through this web page: http://lcweb.loc.gov/homepage/online.html There are special instructions posted there for accessing this info from America Online and Prodigy Good Luck, P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 25 Mar 1996 15:42:13 -0600 Reply-To: James Foster From: James Foster Subject: Re: Stax "Tupelo" Comments: To: jlafave@NYLINK.ORG >I heard a tune on a blues show out of Montreal - Pop Staples with Albert >Collins and Steve Cropper - "Tupelo". DJ said it was a Stax recording. >Anyone know if it is available on any current CD release. It was a must >have. > >Jan LaFave >jlafave@nylink.org This fine tune is available on the "Compete Stax/Volt Soul Singles, Volume 2", which is still in print for about $115-120. James Foster ========================================================================= Date: Mon, 25 Mar 1996 17:00:50 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Travel Guide News I mentioned yesterday that Blues-Lers had already started gathering information for a Blues Travel Guide some time ago and that the data gathered so far was accessible via FTP from "The Blues-L Shed" at Auburn. Today I contacted Pam Koch who works at Auburn and has maintained this site for us. I wanted to find out how Blues-Lers could go about submitting information for the sight. Those instructions are included below. Mary Katherine Aldin pointed out that most newcomers to the internet and Blues-l would be more likely to have access to the World Wide Web than to FTP, and so suggested that we try to echo The Shed's info on a web page. Well here is the good news I stumbled onto in my conversations with Pam - WE HAVE A SHED WEB PAGE ALREADY AND THE DATABASE IS ALREADY ON IT! Pam cautioned me that this address will be changing shortly, but you can visit the web site at: http://www.acenet.auburn.edu:70/1s/users/pkoch/blues This pretty much advances the cause of the Travel Guide far beyond where anyone thought it would be yesterday. Here are the instructions for submitting entries to the database. -------------------------------------------------- If information is sent directly to me, Pamela Koch at (in ascii format) I can get it running on the public ftp directory immediately. Almanac takes longer if a link has to be created. ----------Begin Included Message------------- Following is the basic format I use, but please do not let it limit you. Just answer this question: I'LL BE VISITING IN YOUR AREA. HOW CAN I ENJOY THE BLUES DURING MY STAY? ------BASIC FORMAT------------ COUNTRY/PROVINCE/STATE/CITY (choose one) $/$US ratio - DATE GENERAL INFO (Local magazine, newspaper, bulletin to find current listings of area entertainment, bands playing, festivals, etc.) - optional VENUES (Listed alphabetically, with location, telephone no., SHORT personal review - is there a cover charge? food? more jazz than blues? etc.) HISTORICAL BLUES SITES (This wasn't originally planned but, again, I think it has a place here.) - optional RADIO (Local blues stations/programs) - optional CONTRIBUTOR RECOGNITION (unless (s)he prefers to remain anonymous) -----END BASIC FORMAT------------- To see the current venue listing, send the message send blues venues (keep the letters lowercase) to almanac@acenet.auburn.edu Please address contributions or questions to pkoch@acenet.auburn.edu It would be helpful for you to include the word SHED or VENUE in the subject line. pkoch@acenet.auburn.edu ------------------------- P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 25 Mar 1996 14:17:25 -0800 Reply-To: mccallgf@PLU.EDU From: Gordon McCall IV Subject: I would like to get off this list Comments: To: Richard Shurman In-Reply-To: can anyone tell me how to get off this list, if you can please send me somthing! ========================================================================= Date: Mon, 25 Mar 1996 16:01:58 -0600 Reply-To: Craig Edmundson From: Craig Edmundson Subject: Re: I'm A Hog For You, Baby Comments: To: Jim Witteveen In-Reply-To: <96Mar24.191245pst.34945-2143+63@haven.uniserve.com> On Sun, 24 Mar 1996, Jim Witteveen wrote: > >Craig Edmundson wrote: > >> "An' if she want a shoat, > >> I go out and catch me one of them shoats. > >> An' she have pork chops all the week... > >> Sure will." > > This particular lyric is also found in the song 'Hungry Country Girl' which > I have on James Cotton's 1988 Blind Pig release (credited to Otis Spann). > At least now I know he's singing 'shoat', because I didn't have a clue. > Now, what's a shoat??? Yes, I messed up and didn't include the tag for Otis Spann...Some kind of misguided inspiration caused me to link "Hog for You" and "Hungry Country Girl." My version of H.C.G. is from the "Fleetwood Mac in Chicago 1969" set, with Spann singing and playing with a few of the lads. A shoat is a young pig. I am convinced that Spann is saying "shoak", but in the context of the line about pork chops, I think he meant "shoat." ---------------------------------- cedmundson@nfinity.com cedmunds@netserv.unmc.edu http://www.nfinity.com/~cedmundson ========================================================================= Date: Mon, 25 Mar 1996 17:58:22 -0500 Reply-To: Toronto Blues Society From: Toronto Blues Society Subject: canadian folk list ------------------------------------------ The Canadian Caucus of the Folk Alliance and the Ontario Council of Folk Festivals are pleased to announce a new mailing list: Maple Post (mplpost-l) is an Internet listserver for members of the Canadian Caucus of the North American Folk Music and Dance Alliance and the Ontario Council of Folk Festivals (OCFF). All members and friends of these organizations, and music industry associates, are invited to participate. The focus of Maple Post is Canadian folk music industry news and views. Oriented to performers, agents, event organizers, record companies, recording industry specialists, radio hosts, reviewers and writers, Maple Post is an unmoderated discussion group. To join the new listserve, send an email message: To: mplpost-l-request@io.org and in the first line of the body text enter subscribe To send messages to the list, address them: To: mplpost-l@io.org We look forward to seeing members and friends online. Maple Post Coordinators: Derek Andrews , Editor, Maple Roots Newsletter Gene Wilburn , Host, Northern Journey Online Mike Regenstreif , Host, Folk Roots/Folk Branches (CKUT-FM 90.3 Montreal) Susan Martinez , Publicist & Manager derek andrews toronto blues society: http://www.io.org/~tbs/ harbourfront centre (973-4744, fax 973-8729) DAYTIME EMAIL: programming@harbourfront.on.ca http://www.culturenet.ca/harbour/dws/ ========================================================================= Date: Mon, 25 Mar 1996 15:06:18 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Blues in New Orleans / NY Times view (long) I saw these guys when I went to New Orleans at Christmas. They put on a great show and play some mean blues as well. Try and find them is you are down there. It's worth it. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Mon, 25 Mar 1996 15:06:23 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Musician's Legislative Alert: Copyrights!!!1 Scott Ainslie wrote: >PRE-1978 COPYRIGHTS ENDANGERED BY COURTS > >The Ninth Circuit Court of Appeals agreed with a U.S. District Court >ruling in California earlier this year (in La Cienega Music vs. ZZ Top) >that Blues artist John Lee Hooker has no proprietary rights to his classic >1948 recording 3Boogie Chillen.2 According to the ruling, ZZ Top need pay >no royalties to Hooker for its derivative 1973 hit 3La Grange,2 because >Hooker9s composition was improperly registered at the time of its >release. The court ruled that Hooker9s composition was dedicated to the >public domain because it was originally issued by the record company >without the copyright mark [)] that has been required on all recordings >since the rewriting of the U.S. copyright laws in 1978. Personally I think that the whole idea of suing ZZ Top was ridiculous. "La Grange", while being a boogie, is not "Boogie Chillen." The song is an obvious nod to JLH but it is far from being a blatant rip-off of "Boogie Chillen." There are other songs, i.e. "Lookin' Good" (Magic Sam) that, by the same criteria, are just as close to "Boogie Chillen" as "La Grange" is. IMHO, because "La Grange" was hit someone saw $$$$$. I seem to remember that JLH wasn't involved in this case. I also admire ZZ Top (being a fan for a long time) because in all the interviews that I've read they are quick to turn the subject to the blues and give praise to those who influenced them. big snip >On October 22, 1995, the U.S. Supreme Court refused to hear an appeal of >this ruling, rejecting requests for a ruling from a broad coalition of >music industry organizations, including the National Music Publisher9s >Association (NMPA); the American Society of Composers, Authors, and >Publishers (ASCAP); Broadcast Music, Inc. (BMI); The Songwriter9s Guild of >America (SGA); the National Academy of Songwriters (NAS); and the >Nashville Songwriters Association International (NSAI); who joined La >Cienega Music in their appeal. Given the reason *why* the case was dismissed I don't blame the music industry for being scared. It was a stupid decision, IMHO, to dismiss the case on the grounds cited. If La Cienega had won there would of been more trouble. If ZZ Top can be sued for using a rythmic pattern then whoever has the rights to any original blues recording can sue a couple of thousand artists since. The case should of been dismissed because La Cienega had no grounds for the case. Just to add, Willie Dixon was *right* in suing Led Zeppelin. Much as I love the band they deserved it. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Mon, 25 Mar 1996 15:06:29 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Academia vs. the artists they analyze Sometimes I think some academics have way too much time on their hands and should get out in the real world a little more. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Mon, 25 Mar 1996 19:07:57 -0500 Reply-To: kevin gibson From: kevin gibson Subject: Re: Stax "Tupelo" >I heard a tune on a blues show out of Montreal - Pop Staples with Albert >Collins and Steve Cropper - "Tupelo". DJ said it was a Stax recording. >Anyone know if it is available on any current CD release. It was a must >have. > >Jan LaFave >jlafave@nylink.org > >Stax SCD-8544-2(STS-2020) "Jammed Together" excellent choice ========================================================================= Date: Mon, 25 Mar 1996 18:36:59 -0600 Reply-To: "PAUL J. KLEMP" From: "PAUL J. KLEMP" Subject: CROPPER/STAPLES/KING Date sent: 25-MAR-1996 18:35:28 "Tupelo," by Steve Cropper, Pop Staples, and Albert King, first appeared in 1969 on their LP (now CD) JAMMED TOGETHER (Stax CDSXE 028). Paul Klemp ========================================================================= Date: Mon, 25 Mar 1996 18:43:12 -0600 Reply-To: Tom Kraft From: Tom Kraft Subject: Elmore James Tunings (guitar players) Could one of you guitar players help me out? What tunings did Elmore James use? I'm interested in "Madison Blues" and "Cry for Me Baby". I tried tuning my guitar with the BLUECO DELTA-TUNE, which was highly recommended by LW, but I don't think it works on Electric Chicago Style Blues. Any and all help will be appreciated. Tom Kraft ========================================================================= Date: Mon, 25 Mar 1996 20:07:46 -0500 Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: T-Bone on Video?: Second try Comments: To: bit-listserv-blues-l@uunet.uu.net In article <9603251824.AA0776@notesa.camsys.com> Sam Lawton writes: >Well, I only received one inconclusive response to my earlier inquiry regarding >the availability of T-Bone Walker on video. It's hard for me to believe that >some footage doesn't exist somewhere. Once again -- Does anyone know what, if >anything, might be available? There is a video store on N. Clark St in Chicago - the name of which I can never remember which put together a custom tape with T-Bone Walker at the 1967 Monterey Jazz Festival (color footage), B.B. King, and blues specials from the CBC and BBC which included Muddy Waters, Otis Spann, and Willie Dixon. Rob Varak turned me on to this store. The guy who owns it is a fanatic when it comes to rare and unusual video. Rob, are you out there? Can anyone else in Chicago come up with the name of this place? Art Schuna ========================================================================= Date: Mon, 25 Mar 1996 20:19:50 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Going nomail For reasons which are too complex to explain, my home computer is going out of service for a week or so, and I have to go nomail until about April 4. I'll spend the time listening to Cathi Norton's delightfulnew CD. Don't have any interesting discussions while I'm gone. And if anyone really must contact me (for example -- hint hint -- to provide details on the St Louis gathering) send mail to my work address: ianangus@angustel.ca I will return. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Mon, 25 Mar 1996 17:14:24 -0800 Reply-To: "David Hirning (Write Stuff)" From: "David Hirning (Write Stuff)" Subject: FW: crime alert Comments: To: Encarta Team Comments: cc: SOC Montlake Carpooling sorry for wide distribution >---------- >From: > v-clayj@Exchange.Microsoft.com[SMTP:v-clayj@Exchange.Microsoft.com] >Sent: Monday, March 25, 1996 5:06 PM >To: SOC Singles Issues Discussion Group; SOC Home Brewers At Microsoft >Subject: RE: On your way home... > >More info... >Light Metallic Blue Nissan Altima, Lic. no. 726-FBU > >---------- >From: Clayton Johnson (MIPS) (Exchange) >Sent: Monday, March 25, 1996 5:04 PM >To: SOC Singles Issues Discussion Group (Xenix DL); SOC Home Brewers >At Microsoft (Xenix DL) >Subject: FW: On your way home... > >I too apologize for the wide distribution... > >---------- >From: Ron Bailey (Xenix) >Sent: Monday, March 25, 1996 4:54 PM >To: Ron Bailey (Xenix) >Cc: SOC Christian Events (Xenix DL); SOC Shooting Sports Enthusiasts >(Xenix DL); MS Conservatives at Microsoft (Xenix DL); Libertarian >Discussion (Xenix DL) >Subject: On your way home... > >Sorry for the wide distribution. > >My wife just called with the following off the news... > >On Avondale road, a mother stopped at a school bus stop to pick up a >child from the bus. She left the car running with her 8mo. old baby >boy and 2 year old girl inside. As she was waiting "a few feet away" 2 >Asian Males appx. 19 yr. old stole the car with the kids inside. The >car is a 1993 Metallic Blue Nissan. My wife didn't remember the whole >license number, but she said it was 7xx-Fxx (where the x's are what she >doesn't remember). The police are asking everyone to keep a look out. > >Please forward this on to anyone else you know. > >-Ron > > > ========================================================================= Date: Tue, 26 Mar 1996 01:19:53 GMT Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: Blues in New Orleans Comments: To: Jinxblues@AOL.COM On Mon, 25 Mar 1996 10:59:08 -0500, Dick Waterman wrote: >NEW ORLEANS - Elliott Small can see fine, but he pretends to be a blind >harmonica player who pretends to be able to see. >Michael Stone is an articulate and intelligent man, but he pretends to be an >ignorant backwoods guitar picker who pretends to be smarter than he looks. Aha! Mystery solved. A friend of mine saw them last October and snapped a picture. I put it up on the Highway, accompanied by the question "Who are these guys?" I then saw the same guys near the end of that PBS "Great Drives: Highway 61" documentary. And now the New York Times. Interesting story. Thanks. You can see their picture if you want at: http://www.vivanet.com/~blues/question.html *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Mon, 25 Mar 1996 20:31:16 -0500 Reply-To: SGLIWA From: SGLIWA Organization: Delphi (info@delphi.com email, 800-695-4005 voice) Subject: Re: Hey Bo Diddley! Comments: To: bit-listserv-blues-l@uunet.uu.net Pat Hertel writes: > He did one song that really broke me up >(I guess you had to be there), the lyrics >included something like: > >"Take your dog and take your ugly cat >Take your pooper scooper >and scoop your way back to your mother's house" > > Anyone know if this is on a CD somewhere? :):) Yes, It's on the Triple X CD called "This Should Not Be." The title of the song is "Put Your Suitcase Down." Bo Diddley does play the audience as well as anyone I've ever seen. I heard he's got a new CD on the way in May on Code Blue label. Can't wait! Steven James Gliwa ========================================================================= Date: Mon, 25 Mar 1996 18:26:48 -0800 Reply-To: David Wade From: David Wade Organization: Netcom Subject: Lightnin' Charlie I recently heard a song by Lightnin' Charlie called "Too Hot for the Devil". The person who played it could not tell me what the source was, it was on a tape with no reference to the album it came from. Anyone familiar with this tune and where it might be available? TIA David ========================================================================= Date: Mon, 25 Mar 1996 21:39:27 -0800 Reply-To: Rick Richardson From: Rick Richardson Subject: Re: Delta trip Comments: To: Mary Katherine Aldin Mary Katherine Aldin wrote: > > At 02:16 PM 3/23/96 -0500, Jim Rocco wrote: > >Heres a few places to check out while in the Delta. Call ahead to see who's > >playin and what kind of crowd to expect. If you havent spent much time in the > >Delta, please remember to call ahead. Things are different than you may > >expect. > > > > This list of helpful hints, as well as one that someone else recently posted > for a lister who wanted to go to New Orleans, makes me wonder whether we > can't combine our resources to create a blues-l travel guide (store it in > the shed? Attach it to the FAQ?) so that when folks are journeying around > they can consult it easily. Is this > possible? Practical? Seems like if we are going to take the trouble to > answer every post from someone ("Where can I go to hear blues in Iowa next > week?"), we might as well consolidate the information instead of constantly > reinventing the wheel. Anyone? > > Mary Katherine Aldin As one who travels, is unfamiliar with where the best clubs are, and would like to take in blues shows wherever I go, I think this is an excellent idea. The other option, as Mary Katherine points out is for me, and others like me, to constantly post the "I'm going to , what good clubs are there?" question. I'm happy to continue doing it that way as long as other members of the list are willing to put up with it, but it sure seems more efficient to pool our knowledge and put the info in an FAQ. Rick Richardson ========================================================================= Date: Mon, 25 Mar 1996 22:11:40 -0800 Reply-To: Rick Richardson From: Rick Richardson Subject: Blues Travel List Whoops! After I sent my previous note, I worked my way through the rest of my mail (I thought it was sorted by subject!) and discovered that, with some detours, this subject has progressed well beyond my post -- with what look like some great results for those of us in the "where should I go" category. Thanks to all of you who are sharing your knowledge in this effort and sorry for the clutter of my previous post. Rick Richardson ========================================================================= Date: Mon, 25 Mar 1996 21:24:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Wild Child/JMiller/blues guide Here's my three cents for today: What is Wild Child Butler up to these days - anybody seen him recently? The New York Times obit of Jay Miller mentioned absolutely nothing about the swamp blues artists he produced! What a disappointment! Jim Witteveen and others have mentioned that much attention will have to be paid to keep this list updated - especially with the frequency of clubs going in and out of business not to mention changing names. I don't volunteer to do it. -Bonnie ========================================================================= Date: Tue, 26 Mar 1996 15:45:12 -1000 Reply-To: Andrew Gregg From: Andrew Gregg Subject: Elderly Instruments Help Comments: To: Jim Witteveen I'm in need of some help. I'm looking into the purchase of a resonator guitar from Elderly (a National) & couldnt see an address for them on their site. I need to findo out some info on the instrument. Thanks in advance ********************************************************************** * Andrew Gregg * * * Dept of Primary * I see angels on Ariels * * Industry * in leather & chrome * * ooOO00OOoo * Swooping down from heaven * * Email : * to carry me home * * mpagregg@aries.dpi.tas.gov.au * * * * - Richard Thompson * ********************************************************************** ========================================================================= Date: Mon, 25 Mar 1996 23:52:00 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Re: John Lee Hooker itinerary Comments: To: bit-listserv-blues-l@uunet.uu.net Made a mistake in reading my message from Rosebud & wanted everyone to know there is a date for Bumber Shoot. I've pasted the dates in below... JOHN LEE HOOKER 04/09/96 , Santa Rosa , CA , USA, Luther Burbank Center 05/26/96 , Aptos , CA , USA, Santa Cruz Blues Festival 09/02/96 , Seatle , WA , USA, Bumper Shoot 10/13/96 , Kelseyville , USA, CA , Konocti Harbor Rosebud's other artist itin's are online also...if anyone would like the url just e-m for the info. Catbauer@vivanet.com ========================================================================= Date: Mon, 25 Mar 1996 23:58:08 -0500 Reply-To: JRush11279 From: JRush11279 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Al Green anyone? Comments: To: bit-listserv-blues-l@uunet.uu.net Can't help with the question, but you can catch him at the Kansas City Blues and Jazz Festival, July 19, 20, and 21! ========================================================================= Date: Tue, 26 Mar 1996 00:37:07 -0500 Reply-To: MacRockin From: MacRockin Organization: America Online, Inc. (1-800-827-6364) Subject: Re: There are no historic blues sites??? Comments: To: bit-listserv-blues-l@uunet.uu.net The house where W.C Handy was born is preserved very nicely and is open for visits, the last I heard. It's in Florence, Alabama. It's a nice little side trip if you're in that area. (Call the Chamber of Commerce for directions) Mike McCracken ========================================================================= Date: Mon, 25 Mar 1996 22:13:33 -0500 Reply-To: David Melton From: David Melton Subject: Re: help Hollywood Fats Comments: To: Peter Ballantine At 4:31 PM 3/24/96, Peter Ballantine wrote: >Darran Poole wrote: >>I am a great fan of the 'Rock this House' CD on Black Top. Fats playing >>is really somthing else... I have also just picked up a CD title >>Harpburn by Rod Piazza (sp) that also features Fats on several of the >>tracks, great stuff. >> >I agree that Hollywood Fats was one fine guitarist. > >Hollywood Fats was also in the JAMES HARMON BAND for a while (the CD >titled THOSE MAGNIFICENT GENTLEMENS (sic) or some similar thing, featured >both Fats & Kid Ramos). Fats was also the guitarist in the group THE >BLASTERS for a short while (replacing Dave Alvin), although the group did >no recording while he was a member. Some video and bootleg recordings >from that era do exist and, if interested, you might want to contact the > Blasters newsletter AMERICAN MUSIC, (80-16 64th Lane, Glendale, NY >11385-6819) which can supply you with same. There is a live James Harman album with Hollywood Fats and Kid Ramos entitled "Extra Napkins" which is quite good. Somewhere I have a live tape of the Hollywood Fats Band that I got from Al Duncan a few years back. It has Al Blake on harp and vocals, Fred Kaplan on piano, Larry Taylor on upright Bass, and Al Duncan on drums. Dave Melton ========================================================================= Date: Tue, 26 Mar 1996 01:17:29 -0500 Reply-To: Nightdave@AOL.COM From: Dave Overoye Subject: Help - Fats Waller CD? Does anyone know of a good Fats Waller CD? Thanks! Dave Overoye nightdave@aol.com ========================================================================= Date: Tue, 26 Mar 1996 03:09:42 -0500 Reply-To: Peter Silverton From: Peter Silverton Subject: Dockery's plantation Bonnie Kalmbach @macc.wise.edu said I should ask for information here. I'm interested in Dockery's plantation. Does anybody know what's happened to it since Robert Palmer's Deep Blues? Are there any other writings on it that anybody could point in my direction? Has anyone visited it and have anything to say about it? Yours Peter Silverton, London NW3 ========================================================================= Date: Tue, 26 Mar 1996 09:51:37 GMT Reply-To: tdevit3@NEWS-S01.NY.US.IBM.NET From: tdevit3@NEWS-S01.NY.US.IBM.NET Subject: Re: Stax "Tupelo" Comments: To: bit-listserv-blues-l@uunet.uu.net 'Tupelo' is off the Stax album 'Jammed Together'. I have the LP but am certain I have seen a mid-price CD of it. There are several other good tracks as well. ========================================================================= Date: Tue, 26 Mar 1996 11:32:15 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Stax "Tupelo" In-Reply-To: <9603252059.AA23512@genesis.nylink.org> On Mon, 25 Mar 1996, wrote: > I heard a tune on a blues show out of Montreal - Pop Staples with Albert > Collins and Steve Cropper - "Tupelo". DJ said it was a Stax recording. > Anyone know if it is available on any current CD release. It was a must > have. > > Jan LaFave > jlafave@nylink.org > There ya go: STA8544 +JAMMED TOGETHER JAMMED TOGETHER ** $10.28 &STAX 1/91 CROPPER/STAPLES/KING phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [26/3/96 6:03 AM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 26 Mar 1996 11:40:43 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Wild Child/JMiller/blues guide In-Reply-To: <26032521242296@vms2.macc.wisc.edu> On Mon, 25 Mar 1996, Bonnie Kalmbach wrote: > Here's my three cents for today: > > What is Wild Child Butler up to these days - anybody seen > him recently? > I saw him sometime before Christmas in Montreal so he's still around. I'm sure you're aware of his Bullsey CDs. He lives in Ontario, I'm not sure if it's Kitchener or London. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [26/3/96 6:03 AM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 26 Mar 1996 06:46:03 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Help - Fats Waller CD? Comments: To: Dave Overoye In-Reply-To: <960326011727_256067728@emout07.mail.aol.com> Never heard these but judging from the other out of Biograph probably good bets: Fats Waller - Classic Jazz Biograph #104 Fats Waller - Low Down Papa Biograph #114 Fats Waller + Others - Hot Piano Roll Solos - Biograph #117 Barry On Tue, 26 Mar 1996, Dave Overoye wrote: > Does anyone know of a good Fats Waller CD? > Thanks! > Dave Overoye > nightdave@aol.com WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 26 Mar 1996 07:32:03 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day On this day in 1964 Willie Dixon recorded "Weak Brain! Narrow Mind!" P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 26 Mar 1996 08:06:10 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Re: Help - Fats Waller CD? In-Reply-To: from "Barry Silverberg" at Mar 26, 96 06:46:03 am In another time and place, Barry Silverberg said: > > Never heard these but judging from the other out of Biograph probably good > bets: > > Fats Waller - Classic Jazz Biograph #104 > Fats Waller - Low Down Papa Biograph #114 > Fats Waller + Others - Hot Piano Roll Solos - Biograph #117 The Biograph stuff is good but from an early part of Fats' career and doesn't include much of his singing. I would recommend any of the double or triple CDs on the RCA/BMG label. They are full of the classic material that we all love from radio's "harmful little armful." Tom `'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`' http://redlt.com/tom/ -- Home of Jazz Roots & Record Companies on the Web Free-lance Writer--Author--Program Director WTJU 91.1--Internet Consultant ========================================================================= Date: Tue, 26 Mar 1996 09:00:41 -0500 Reply-To: Erica Wissolik From: Erica Wissolik Subject: Buddy Guy and Members of Congress Just thought I'd pass on a report of a very unlikely but fun event. Last night I was privileged to see a serious clash of institutions. On stage, Buddy Guy. In the audience, 100 Members of Congress and several individuals from the Clinton Admin.. The event was part of a recording industry lobby party held at the Daughters of the American Revolution Hall. Buddy said he wasn't leaving until they sang and he got his way. He said he knew they could open their mouths cause he'd heard them on his TV, he knew they were good at making noise, and he kept at `em until they eventually started singing. 100 grey heads in 100 grey suits were all singing along with Buddy Guy as he stood on the very same stage once denied to Marian Anderson. It was a very strange sight. Ya shoulda been there.... Erica ========================================================================= Date: Tue, 26 Mar 1996 08:26:51 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: CD reissues I was talking to a vinyl collector and he made the commment that he is amazed at the stuff that has been reissued on CD. We're talking about stuff like some of the Testament recordings and some of the really raw/bare stuff that you would think would not sell enough to warrant a CD being pressed. I got to thinking and it is suprising(to me). He always thought the types of blues that he liked best would never make it to CD. That's food for thought I guess if Black Oak Arkansas has a greatest hits CD, then anything's liable to be released on CD ('cept Buckingham Nicks) I think people like JSP/Document/Yazoo and many others are to be commended for putting it out there..... LW 'practicing safe post :-)' ========================================================================= Date: Tue, 26 Mar 1996 09:46:45 EST Reply-To: David Wade Comments: Resent-From: Wayne Winkler Comments: Originally-From: David Wade From: Wayne Winkler Organization: Netcom Subject: Lightnin' Charlie ----------------------------Original message---------------------------- I recently heard a song by Lightnin' Charlie called "Too Hot for the Devil". The person who played it could not tell me what the source was, it was on a tape with no reference to the album it came from. Anyone familiar with this tune and where it might be available? TIA David Lightnin' Charlie and the Upsetters are a trio out of Johnson City, Tennessee. Charlie Dollinger on guitar, Keith Britt on bass, and I'm not sure who the drummer is now (on the CD, it's Chuck "Honeyboy" Pearson). The CD is on Hip Shake Records (HSCD 2222), P.O. Box 7761, High Point, NC 27264. For those in the Tri-Cities TN - VA area, Lightnin' Charlie will be at the Down Home in Johnson City on Thursday, 4 April. Wayne Winkler WETS-FM, Johnson City, TN ========================================================================= Date: Tue, 26 Mar 1996 14:49:49 +0100 Reply-To: jaci@OSIRIS.ELTE.HU From: jaci@OSIRIS.ELTE.HU Subject: WANTED:Jeff Healey lyrics Comments: To: bit-listserv-blues-l@uunet.uu.net Relay-Version: ANU News - V6.1B10 04/18/95 OpenVMS VAX; site ludens Path: osiris.elte.hu!jaci Newsgroups: bit.listserv.blues-l Subject: WANTED:Jeff Healey lyrics Message-ID: <1996Mar26.144938.1@osiris.elte.hu> From: jaci@osiris.elte.hu Date: 26 Mar 96 14:49:38 +0100 Organization: Eotvos University, Budapest, Hungary Nntp-Posting-Host: osiris.elte.hu Lines: 4 If you have the lyrics of Jeff Healey's See The Light please send it to me. THANKS jaci@osiris.elte.hu ========================================================================= Date: Tue, 26 Mar 1996 08:53:47 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Beale Street's new stages The Beale Fest will have two new stages added this year, the Memphis Stage and a Gospel Stage. I'm curious if any of you KIA's can tell me where in the heck will they put them. The current stages were close enough, will plenty of sound bleed over at times. I just can't see two more stages unless they've enlarged the festival area a great deal. Does anyone know what they have done to accomodate the new stages......Curious THANKS LW ========================================================================= Date: Tue, 26 Mar 1996 10:22:08 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Dockery's plantation Comments: To: peter@haring42.demon.co.uk In a message dated 96-03-26 03:30:51 EST, you write: >Bonnie Kalmbach @macc.wise.edu said I should ask for information here. >I'm interested in Dockery's plantation. Does anybody know what's happened >to it since Robert Palmer's Deep Blues? Are there any other writings on it >that anybody could point in my direction? Has anyone visited it and have >anything to say about it? It's still owned by the same family; they have never been interested in encouraging blues tourists (although I view the picture painted of them by Palmer as somewhat hyperbolic). I've not attempted to "walk" the place, but have looked at it from the highway at the plantation headuarters. Like many Delta plantations, it has a headquarters with basic planation buildings and a big sign. I know from looking at other Delta plantations that the buildings associated with the life of the tenants-- houses, etc-- are going or gone, because the arrival of agricultural mechanization meant that the workers no longer lived "out there" in the same numbers. It is interesting to note that, in the 40s, Son House played a part in that-- I believe he was a tractor driver at the time Lomax passed through? Dockery is not very far from Parchman, so a trip through that part of the Delta would allow you to see both. There are two public highways right through the middle of Parchman, so you can get a look at it from the road. I've never done a 'public tour' of Parchman; as a lawyer who has done death row appeals, I've been down there to see clients. I also feel a little funny about going to view people in cages. Tom Freeland ========================================================================= Date: Tue, 26 Mar 1996 09:24:30 CST Reply-To: William Shute From: William Shute Subject: Fats Waller on CD From: Bill Shute As has already been stated, the easiest source of prime material from Fats Waller and His Rhythm would be the various sets out on RCA/BMG devoted to "The Middle Years" and "The Later Years." Excellent liner notes, packaging, sound. For the REAL fan, the swiss/italian "King Jazz" label has FIFTEEN volumes of the complete, chronological FATS WALLER AND HIS RHYTHM. These ARE NOT filtered/altered by nonoise/cedar, and I prefer that natural full sound of a 78 remastered by someone like John RT Davies. The King Jazz discs can be picked up CHEAP (usually about ten-twelve $$ US) at many Tower Records. While there are many specialized discs devoted to Fats' organ work, piano rolls, etc.,, the RCA Bluebird sets and the King Jazz series would be the best introduction to the GREAT ONE's music. Thinking about Fats, now I can't get "Believe me, Beloved" out of my head!!! Bill Shute San Antonio, TX ========================================================================= Date: Tue, 26 Mar 1996 10:27:59 -0500 Reply-To: bob vanarsdall From: bob vanarsdall Subject: The Band: "High On The Hog" Comments: cc: Jinxblues@AOL.COM The Band has a new album out (Pyramid R2-7204) which may be of interest to 'zellers. While not always blues, the Band is always one of the most eclectic group of musicians going, and many of their songs are strongly rooted in the Delta (especially when Levon Helm does the sanging - not at all a misspelling). Song list: Stand Up Back to Memphis Where I Should Always Be Free Your Mind Forever Young (the Dylan Song) The High Price of Love Crazy Mama (the JJ Cale song) I Must Love You Too Much She Knows Ramble Jungle The album has the same lineup as their previous album "Jericho". It also features a song by the late Richard Manuel at a club date in New York. Champion Jack Dupree takes the vocals on the last song. To my ears the strongest songs on the album are Forever Young, Crazy Mama (which sounds like the Band's just been doing that song forever), Back to Memphis, and Danko's great vocals on Where I Should Always Be. Garth Hudson's organ noodling and horn work are very strong on the album, and give almost all the songs an instant Band feel. A note and a couple of questions: in the credits the Band thanks a number of folks including Dick Waterman. Dick - what hand did you have in this album, and what work have you done with the Band? Also: Jim Weider is playing the lead guitar parts for the Band these days, and seems almost to have captured the phrasing that Robbie Robertson had/has. His tone is a little more subdued, though; the photos with the CD show him playing a Strat instead of a Telecaster, which may explain that. Gearheads out there (I'm not one) - that Telecaster tone unmistakable in Roy Buchanan, Robertson, and Albert Collins' work - who are the successors to that sound now? Bob ========================================================================= Date: Tue, 26 Mar 1996 10:36:39 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: There are no historic blues sites??? Comments: To: Steve.Levine@corp.wrgrace.com Comments: cc: mkaldin@beachnet.com In a message dated 96-03-26 04:36:50 EST, Steve.Levine@CORP.WRGRACE.COM (Steve Levine) writes: >*There are others. The store where Son House recorded for Lomax is a recent >*casualty. The hotel which was a hospital where Bessie Smith died is still >*there. The Delta has just not paid a lot of attention to this part of its >*history, and neither has Memphis. > >What about the hotels in Dallas and San Antonio where Robert Johnson >recorded? (someone else noted that this building is now a parking lot) Some of the old hotels that became field recording sites are still around. For instance, the Peabody hotel in Memphis (listed as the location of some sessions in the discographies) is very much still a hotel. If you already have a reservation (and don't feel like going the discount route) you could even stay there and walk to Beale Street Fest. In the 20s and 30s it would have been brand-spanking new, "the Grand Hotel of the South." It is still pretty spiffy. There were sessions in hotels in Jackson and Vicksburg; the buildling is still there in Jackson, but just. I don't know about Vicksburg. I've often wondered where in Memphis Ralph Peer did his recording of folks like the Memphis Jug Band. This is not just of blues interest; on one trip the Carter Family recorded there. This is on my things-to-do-I-haven't-done-anything-about list and has been for years. Tom Freeland ========================================================================= Date: Tue, 26 Mar 1996 10:49:26 -0500 Reply-To: Dave Markovits From: Dave Markovits Subject: Blues Photos in NYC Hi Folks; A hearty Thanks to Barry Silverberg for recommending the Blues photo exhibit in New York. These photos of Delta Blues players are great. The photo they have of Booba Barnes in front of his old Playboy Club is to die for. If you are in New York check it out. I can post all the info. if you need it, or Barry's got it(he originally posted it a few weeks ago) Other than that I went the Jazz route in New York. HAve a great day; David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Tue, 26 Mar 1996 08:04:13 -0800 Reply-To: Garry Segal From: Garry Segal Subject: Maine Blues Clubs Hi Folks, Does anyone have an up to date list of blues clubs in Maine? Thanks in advance! Garry BlueSngr@ix.netcom.com ========================================================================= Date: Tue, 26 Mar 1996 10:52:39 -0500 Reply-To: Michael Kaloyanides From: Michael Kaloyanides Subject: Blues in LA and SF The family and I will be in Los Angeles between April 8 and the 23rd and in San Francisco from April 24th to the 28th. Any recommendations for who's playing in LA and SF then, and/or blues venues we should check out? Thanking you all in advance. Michael G. Kaloyanides Department of Music & Sound Recording University of New Haven ========================================================================= Date: Tue, 26 Mar 1996 07:35:40 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Mar. 27 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ASHBY,HAROLD (tsax/W.DIXON/ELLINGTON) b. 1925-0327, KANSAS CITY, MO BIG MEMPHIS MARAINEY [LILLIAN GLOVER] (v) d. 1985-0327, MEMPHIS, TN 79 BONANO, JOE"SHARKEY" (v/tpt/VOCALION REC) d. 1972-0327, NEW ORLEANS, LA 72 CAREY, MARIAH (v) b. 1970-0327, CARR, LEROY (p/SCRAPPER BLACKWELL) b. 1905-0327, NASHVILLE, TN COPELAND, JOHNNY CLYDE (g) b. 1937-0327, HAYNESVILLE, LA ERVIN, FRANKIE(lead/SHIELDS/JOHNNY MOORE) b. 1926-0327, BLYTHE, CA JORDAN, CLIFFORD (tsax) d. 1993-0327, MANHATTAN, NY 61 LOCKWOOD, ROBERT JR. (g) b. 1915-0327, TURKEY SCRATCH, AR MULLICAN, AUBREY "MOON" (p/KING REC) b. 1909-0327, CORRIGAN, TX SHULER, EDDIE (prod/owner: GOLDBAND REC) b. 1913-0327, WRIGHTSBORO, TX SIGLER, WALTER "BUNNY (v/songw) b. 1941-0327, PHILADELPHIA, PA USCHANOV, T. P. (BLUES-L MEMBER) b. 1975-0327, KONTIOLAHTI,FINLAND VAUGHAN, SARAH LOIS (v) b. 1924-0327, NEWARK, NJ WEBSTER, BEN (AWESOME! tsax) b. 1909-0327, KANSAS CITY, MO WILSON, DWAYNE "FATMAN" (of EARL BOSTIC) d. 1978-0327, PROVIDENCE R.I., NY 39 ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 26 Mar 1996 08:51:35 -800 Reply-To: Eric Porcher From: Eric Porcher Subject: TV Tues: "Crossroads" I think there may have been discussion on this and I didn't read it. If so, pardon me. In TV Guide (I'm in Victoria, B.C.) Bravo has tonight, Tuesday, 6PM PST: "Crossroads" ** (1986) A brash young guitarist (Ralph Macchio) and a legendary bluesman (Joe Seneca) travel from New York to the Mississippi Delta for some long-lost songs, strummin' and thumbin' to a Ry Cooder score. Is this as good as it sounds? Is it worth two hours? ========================================================================= Date: Tue, 26 Mar 1996 10:59:27 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re: Elmore James Tunings (guitar players) Comments: To: Tom Kraft My understanding is that he ususally played in open D: low to high DADF#AD. Jim _______________________________________________________________________________ Subject: Elmore James Tunings (guitar players) From: Tom Kraft at INTERNET-SH Date: 03/25/96 7:22 PM Could one of you guitar players help me out? What tunings did Elmore James use? I'm interested in "Madison Blues" and "Cry for Me Baby". I tried tuning my guitar with the BLUECO DELTA-TUNE, which was highly recommended by LW, but I don't think it works on Electric Chicago Style Blues. Any and all help will be appreciated. Tom Kraft ========================================================================= Date: Tue, 26 Mar 1996 17:00:38 GMT Reply-To: Russ Diamond From: Russ Diamond Organization: Raintree Subject: WANTED: Writers, etc. for PA music netzine Comments: To: bit-listserv-blues-l@uunet.uu.net Groove, the netzine dedicated to music in PA is looking for writers, photographers, bands, clubs, studios, etc. to contribute and/or advertise for our initial issue for May. We will offer reviews, regional reports, free classifieds for musicians, club & band schedules, & plenty more. Interested parties should e-mail: groove@raintree.com We aim to become THE internet source for PA regional music info, and need your help to get off on the right foot. Groove will be located at: http:www.raintree.com/goto/groove/ Thanks ========================================================================= Date: Tue, 26 Mar 1996 11:25:11 -0600 Reply-To: Roger Struve From: Roger Struve Subject: TV Tues: "Crossroads" -Reply DAMN RIGHT IT'S WORTH 2 HOURS! This is one of the few movies (besides Scarface with al pacino, and Godfather Parts 1& 11 (forget III)) that i watch over and over. The trick is::: ya gots to get over Ralph Machio being the lead part....get past that, and the movie is dynamite....Mr. Seneca is GRRRRREEEEAATT....some great humor and great lines........"BLuesman from Rhode Island, now that's rich....." (paraphrased only) delta doc roger ========================================================================= Date: Tue, 26 Mar 1996 11:29:08 -0600 Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: Schematics for Ephiphone Bass (no blues) Hello everybody, Forgive me for the non-blues content, but I am looking for the schematics to an Ephiphone Bass made by Gibson that has pickups much like the Fender Jazz. I do not have either the exact model number neither the schematics. I know it looks like a Fender Jazz. The wiring for the pickups is pretty messed up and I cannot get any clean sound out of it. I called Gibson and they suggested I look at the Jazz; that did not help because it's different. I just need to fix the wiring if anyone knows. Any help is greatly appreciated. Please send private email. Thanks Nuri Nuri ========================================================================= Date: Tue, 26 Mar 1996 12:28:09 EST Reply-To: ron kraemer From: ron kraemer Subject: The Pittsburgh Report (a bit long) Comments: cc: MARCIAG@vms.cis.pitt.edu, srn@formtek.com, wp@SEI.CMU.EDU Back into work today, after attending my cousin's wedding in Pittsburgh, PA this past Saturday. Aside from the two groomsmen who passed out during the ceremony (a 12 yr. old and a 10 yr. old), all went well. The definite highlight of the weekend was catching Blues-L's own Billy Price band after the reception Sat. night. Bill was gracious enough to leave some tickets at the door (Thanks again!), and we (my brother, girlfriend, and I) made it by midnight. Folks, if you are anywhere even remotely close to where Bill is playing, you owe it to yourself to see him. You think he sounds great on BluesBytes??? You've gotta see this guy LIVE! What a show, and what a showman. Big club, packed to the brim, and as my brother said when we left..."He had that place in the palm of his hand!" No truer words have been spoken. When I wasn't dancing the night away, I was shakin' in my shoes. <> We also met up with Marcia Grodsky, who made a point of being there as well. It was very cool to hook up with her, as she had provided loads of info prior to our trip. She recommended we see Bill's guitar player from Sat. night, Lenny Smith, who was playing Sunday across the street at the Blues Cafe (Sat. was at Nick's Fat City) from 5-9pm. We caught Lenny's band for 1 1/2 sets. More guitar-oriented Blues, and Lenny showed me a lot more than on Sat. night. Sat. he melded perfectly with Bill's Big Band (3 horns, standup bass, keys, etc.). We met up with Marcia again at Lenny's show, then took off to one of Marcia's dinner recommendations for a tasty meal. Of course, Sunday I wore my Blues-L sweatshirt. :) The only regret was not making Rags' art exhibit of Bluesmen paintings that he had going on at the Pitt Center. A late start and many relatives later, it just couldn't be squeezed in. I did catch Rags at work with a phone call on Monday AM, which I'm sure he appreciated since I don't work on Mondays! Love that 4-day work week. All in all, a terrific time. And don't forget...you gotta catch Billy Price!! Ron (still in the woodshed, and now taking calls and e-mails there as well) ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters (and in another life....) Ron Kraemer and the Hurricanes ************************************************************ ========================================================================= Date: Tue, 26 Mar 1996 17:18:14 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: There are no historic blues sites??? Comments: To: bit-listserv-blues-l@uunet.uu.net Tom Freeland wrote: >In a message dated 96-03-24 23:28:12 EST, MOUNTLION@AOL.COM (Jeff Yelton) writes: >>1) Chess recording studios in Chicago >This being restored for opening to the public as a museum in May or June. >Marie Dixon bought the Chess building at 2120 S. Michigan Ave. and is having >it restored by a team of professionals --the studio is being done from memory >and frm old photos by an engineer who worked at Chess briefly very late in >its life. [edit] I'll believe it when I see it. The Blues Heaven Foundation announced these plans several years ago, and have been raising funds for this purpose ever since, but I drive by this building all the time, and it looks exactly the same today as it did before the foundation acquired it. I'm sure it'll be done eventually, but I wouldn't make plans to travel to Chicago for a tour of 2120 S. Michigan in May or June just yet... >>2) Maxwell Street Park in Chicago >There have been posts about this. I gather it is not remotely the same? I don't know. If there's a public "Maxwell Street Park" on the site of the old market, it must have been done just in the last few weeks. Last time I drove by the site, the only thing there were parking lots for the U. of I. surrounded by chain link fences. Scott ========================================================================= Date: Tue, 26 Mar 1996 11:40:02 -0600 Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: Re: I need some help >> On 25 Mar 96, RAHalonen@aol.com had this to say... > >> I have tried to post...I don't know the composers of two songs. I tried the U of Washington reference library... > >> P.W. Fenton replied with ... >The Library of Congress has a searcheable computer database that will >allow you to search the copyright files by Song Title. You can gain >access to these materials through this web page: > >http://lcweb.loc.gov/homepage/online.html Also the BMI database may help. Their URL is http://bmi.com When using the Library of Congress database, you must telnet to LOCIS and have to do it at certain times. Check the URL P.W. suggested and it will have instructions on how to access LOCIS and the times. Nuri Nuri, Host/Producer "Blues Brunch", KPFT 90.1FM-Houston ========================================================================= Date: Tue, 26 Mar 1996 12:50:51 -0500 Reply-To: Erica Wissolik From: Erica Wissolik Subject: Re: I need some help -Reply Please be advised that the online records will only list records created since 1978. Everything else is still on an old fashioned card stuck in a drawer - some still written by hand, in pencil! Erica >>> Nuri A. Nuri 03/26/96 12:40pm >>> >The Library of Congress has a searcheable computer database that will >allow you to search the copyright files by Song Title. You can gain >access to these materials through this web page: > >http://lcweb.loc.gov/homepage/online.html Also the BMI database may help. Their URL is http://bmi.com When using the Library of Congress database, you must telnet to LOCIS and have to do it at certain times. Check the URL P.W. suggested and it will have instructions on how to access LOCIS and the times. Nuri Nuri, Host/Producer "Blues Brunch", KPFT 90.1FM-Houston >>>>>>>>>>>>>>>>>>>>... ========================================================================= Date: Tue, 26 Mar 1996 18:54:43 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Billy Price Comments: To: ron kraemer I remember a singer who worked with Roy Buchannan ages ago and think his name was Billy Price - Is this the same guy? Mr Bo ========================================================================= Date: Tue, 26 Mar 1996 10:15:00 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: JLH and ZZ Top Can anyone supply more information about the courtcase where ZZ Top were sued by La Cienega music over the alleged similarity between "La Grange" and "Boogie Children"? Thanks, Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Tue, 26 Mar 1996 12:04:20 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re: TV Tues: "Crossroads" Comments: To: Eric Porcher The movie itself is okay. The music by Ry Cooder is probably the best element. -JIm _______________________________________________________________________________ Subject: TV Tues: "Crossroads" From: Eric Porcher at INTERNET-SH Date: 03/26/96 11:42 AM I think there may have been discussion on this and I didn't read it. If so, pardon me. In TV Guide (I'm in Victoria, B.C.) Bravo has tonight, Tuesday, 6PM PST: "Crossroads" ** (1986) A brash young guitarist (Ralph Macchio) and a legendary bluesman (Joe Seneca) travel from New York to the Mississippi Delta for some long-lost songs, strummin' and thumbin' to a Ry Cooder score. Is this as good as it sounds? Is it worth two hours? ========================================================================= Date: Tue, 26 Mar 1996 13:00:59 EST Reply-To: Wayne Winkler From: Wayne Winkler Organization: East Tennessee State University Subject: Crossroads-reply *Crossroads* is not such a bad movie; I'd recommend it to someone who has never heard of Robert Johnson because it would pique their interest in the man and his music. But for a dyed-in-the-wool blues lover, it's pretty hard to take. Not to spoil the ending of the movie for anyone, the fact that the climax involves two Caucasian "bluesmen" is somewhat ironic. The Ralph Macchio charachter reminds me of a lot of young blues neophytes in both his enthusiasm and his frequent insensitivity. So, overall, it's not such a bad flick; if I got Bravo on my cable system, I'd probably watch tonight just for the Ry Cooder score. However, this movie begs the question of why Hollywood (or some innovative independent) has not seen fit to make a feature film on Robert Johnson. Has Steve LeVere scared EVERYONE away from such a project? Come on, producers - this film is BEGGING to be made! Wayne Winkler ========================================================================= Date: Tue, 26 Mar 1996 10:25:36 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: TV Tues: "Crossroads" Comments: cc: ERIC@IVL.COM Eric Porcher wrote: >I think there may have been discussion on this and I didn't read it. If >so, pardon me. > >In TV Guide (I'm in Victoria, B.C.) Bravo has tonight, Tuesday, 6PM PST: > > "Crossroads" ** (1986) A brash young guitarist (Ralph Macchio) and a > legendary bluesman (Joe Seneca) travel from New York to the Mississippi > Delta for some long-lost songs, strummin' and thumbin' to a Ry Cooder > score. > >Is this as good as it sounds? Is it worth two hours? Shouldn't that first line read "An annoying little git of a guitarist.." Seriously (no, I haven't had my morning coffee yet), if you watch the movie from a pure entertainment value then it is passable. If you watch it waiting for some profound insights into the blues then you'll be waiting. Go and listen to Robert Johnson instead. There are quite a few things about the movie that distrub me. One is that people, who don't really know the blues, have seen it and got some strange ideas about what the blues is, and it's history, as a result. Still, I quite like the guitar duel (with Steve Vai) at the end. However, watch the movie and decide for yourself. Don't trust the morning ramblings of someone yet to have their coffee.:-) I'd be interested in what you think. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Tue, 26 Mar 1996 10:19:52 PST Reply-To: "Hugh T. Atkins" From: "Hugh T. Atkins" Subject: How to get Cathi Norton CD ? ------- She sounds good on Blues Bytes, so how do I get her CD ? Thanks, Hugh atkins@nosc.mil ------- ========================================================================= Date: Tue, 26 Mar 1996 13:30:27 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Convention: First report Sorry to be so late in getting this off the ground. There have been some committee changes within the St. Louis Blues Society's personnel so I have been talking with different people. We are now scheduled to gather in St. Louis on August 31st & September 1st. I have been unable to negotiate concessions from the host travel agency because these perks are dependent upon how much business we are going to be bring into town and this, of course, is unknown at this time. A block of rooms is being held at a modestly-priced hotel (Drury Inn) and also an upscale hotel (Embassey Suites). We will also hold a small ballroom in one of the hotels in the event we want to convene a meeting there. Joel Slotnikoff will coordinate local musical activities such a promising our patronage to a microbrewery to secure the club. This could develop into a jam for members of the list and we would also charge ourselves at at the door with proceeds going to Henry Townsend and/or other St. Louis blues people. Remember: this is 'our' convention and it will evolve into whatever format we wish. If you want this first one to be social and entirely nonbusiness, so be it. If you want to tackle some serious issues through panels and seminars, we can address whatever issues that seem fundamentally important to the list as a whole. If you want to open this convention up to merchandisers and display booths, I cannot handle those details from a distance and a local person would have to assume those responsibilities. We are in no rush to make decisions here. The block of rooms will be re-evaluated 30 days out (about August 1st) and decisions will be made about what to hold and what to release. I strongly urge all interested parties to network at every available opportunity during the Spring and Summer festivals. Make arrangements to meet in New Orleans, Memphis, Chicago, Poconos, etc. Bring me reports and opinions about what kind of convention you want to have. If you do not offer any suggestions, you abdicate your right to complain about the results. I will be out of town for about a week taking a blues photo exhibit to Bloomgington (I understand Stuart Norton's wife sings a bit) and Indianapolis (will try to visit William Clarke). Let's take this convention idea gradually with attention to details far in advance. If we can anticipate the problems that might arrive, they can be dealt with smoothly. Remember: it's OUR convention . . . Dick Waterman ========================================================================= Date: Tue, 26 Mar 1996 13:32:20 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: How to get Cathi Norton CD ? On 26 Mar 96, Hugh T. Atkins had this to say... > ------- > She sounds good on Blues Bytes, so how do I get her CD ? > ------- Visit the Blues-L Shopping Center at: http://www.gate.net/~pwfenton/blues-l.html Her CD is advertised there along with ordering instructions. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 26 Mar 1996 19:37:06 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: TV Tues: "Crossroads" Comments: To: Shaun T Cronin It=B4s well worth watching for the scene where it=B4s raining and the two bumming BLUEZMEN finds an empty house to rest in. To watch Maccio stagger up the stairs is just to much - about the funniest thing Hollywood ever produced. If you like the Karate Kid films I hink you would like this one to. Maccio learns it all from the old master and nobody in showbiz looks like he need to learn things so bad as Maccio. Otherwise - See the first minutes - its a well made tribute to RJ. And if you want to see Frank Frost stay tuned towards the end. BUT PLEASE TURN IT OF AFTER THAT! The closing scene is lethal! Mr Bo ========================================================================= Date: Tue, 26 Mar 1996 13:54:19 EST Reply-To: John Hanna <102515.744@COMPUSERVE.COM> From: John Hanna <102515.744@COMPUSERVE.COM> Subject: Blues Down Under Hey Bluzellers, I'm new, so please be easy. I'm going to go Australia in June and July. Does anyone know about the Australian blues scene? Where should I go? Who should I see? Thanks in advance. John Hanna Pasadena, MD ========================================================================= Date: Tue, 26 Mar 1996 10:59:53 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: TV Tues: "Crossroads" -Reply >DAMN RIGHT IT'S WORTH 2 HOURS! > >This is one of the few movies (besides Scarface with al pacino, and >Godfather Parts 1& 11 (forget III)) that i watch over and over. > >The trick is::: ya gots to get over Ralph Machio being the lead part....get >past that, and the movie is dynamite....Mr. Seneca is >GRRRRREEEEAATT....some great humor and great lines........"BLuesman from >Rhode Island, now that's rich....." (paraphrased only) Okay, now that someone else has said it, I can admit it :-) I've watched this movie a couple of times as well. Like the Delta Doc, I can't stand Ralph Macchio or his character - he's just too cocky and mighty rude to the old bluesman (Willie Brown, or Blind Dog Fulton, who, according to the movie, ran with Robert Johnson and sold his soul to the devil). I love the soundtrack (by Ry Cooder), Joe Seneca's character is great, the scenery is nice, so I'd say it's worth watching despite the Karate Guitar Man. -Jim (hndful@uniserve.com) ------------------------------------------------------------ Check out 'Heart and Soul', a new hour of blues, gospel, and jazz every week on SDF-Net Community Radio - http://sdf-radio.colossus.net. ------------------------------------------------------------ ========================================================================= Date: Tue, 26 Mar 1996 11:01:33 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: JAY D. MILLER, EXCELLO PRODUCER, DIES AT 73 EXCELLO Records' producer, talent scout & songwriter J. D. MILLER died on Saturday, March 23, 1996, Lafayette, LA., at the Lourdes Hospital. He was born James Denton Miller on May 05, 1922, El Campo, TX. Slim Harpo, Lightnin' Slim, Lonesome Sundown, Silas Hogan, Lazy Lester, Whispering Smith, Katie Webster were all recorded in his Crowley, LA. studio. He also recorded pop, R&B, country, cajun/Zydeco, comedy and music for lovers of the KKK!! In 1937 he moved to Crowley & began his long association with Louisiana/cajun country music, forming (in 1946) the label FAIS DO DO, with releases by Happy Fats & Doc Guidry. The next year, he started FEATURE Records, recording early country sides by Doug Kershaw, Jimmy C. Newman (the 'Alligator Man'), and Lightnin' Slim's first recordings. In 1952, his composition "It Wasn't God Who Made Honky Tonk Angels" was a major hit by Kitty Wells. The royalties kept him in business. Other labels he owned included Blues Unlimited, Cajun Classics, Kajun, Rocko, Spot and Zynn Records. In time, J. D. MILLER was the most successful record producer in Southern Louisiana, especially when the Rolling Stones ("I'm A King Bee", "Hip Shakin' (ShakeYour Hips)"), Van Morrison & Them ("Don't Start Cryin' Now"), Otis Redding ("Baby Scratch My Back") started covering the music of Slim Harpo. Miller's association with Ernie Young's EXCELLO Records ended in 1966. Today, his son Mark Miller runs the MTE Studios (in Crowley, LA.) where John Fogerty, Paul Simon and Thomas Dolby have been known to record. His productions have been reissued by Interstate/Flyright Records, the AVI Entertainment Group , and ACE (UK) Records . The recent SLIM HARPO (EXCELLO 3015) includes a few alternate takes that were first issued in the Interstate/ Flyright series of a few years ago - a series of 57 albums issued under the general title "The Legendary Jay Miller Sessions" (see separate posting). AVI/EXCELLO is offering all of us an opportunity to listen to these Jay D. Miller productions, and I suggest you get on the bandwagon - that 'swamp blues' sound is infectious! Details are available on their web site . He was a member of the Country Music Hall Fame, and was survived by his wife (Georgia), a daughter, four sons and 10 grandchildren. Funeral services were held on Monday, March 25, Crowley, LA. other postings : JAY D. MILLER : CD DISCOGRAPHY JAY D. MILLER : THE INTERSTATE/FLYRIGHT LP SERIES JAY D. MILLER : PERSONAL TRIBUTES ========================================================================= Date: Tue, 26 Mar 1996 14:03:47 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Crossroads-reply Comments: To: Wayne Winkler On 26 Mar 96, Wayne Winkler had this to say... > However, this movie begs the question of why > Hollywood (or some innovative independent) has not seen fit to make a feature > film on Robert Johnson. Has Steve LeVere scared EVERYONE away from such a > project? Come on, producers - this film is BEGGING to be made! I think you may be projecting a little too much of your own desires into that last statement. I would be willing to bet that only a tiny percentage of the U.S. population could tell you, even vaguely, who Robert Johnson was, and only a portion of those people would be interested in a movie. You might get all of us Bluesellers into the theater, but there's less than 1500 of us. When even a cheaply made movie costs several million dollars to make, it's not suprising (to me)that nobody is rushing to make a film. Maybe if we could work in some big car wrecks and exploding juke joints... P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 26 Mar 1996 12:54:31 CST Reply-To: William Shute From: William Shute Subject: happy birthday Moon Mullican! From: Bill Shute The late Aubrey "Moon" Mullican was one of those great figures who often played what was essentially R&B music but with a country flavor. (he was a singer/pianist/songwriter) His wild, pounding piano style foreshadows everyone from Jerry Lee Lewis to Little Richard. He began his career, I believe, with Cliff Bruner and His Texas Wanderers (whose stuff was on an old Texas Rose lp) in the late 30s, then went on his own in the 40s. The tracks he recorded for King in the late 40s and early 50s are some of the most exciting rockin' country ever recorded-- MANY R&B covers. These sides were collected on an old lp on the "Western" label. (I think there's a CD reish, but I don't have it--all my Moon is on vinyl)On some of the King sides, he was backed by Boyd Bennett and his Tennessee Rockets, one of my fave post-Bill Haley jivin' white-R&B bands. In the late 50s, he recorded for the Decca family of labels (Brunswick/ Kapp/Coral), and that stuff came out on an old Charly lp called "Sweet Jennie Lee" He continued to record throughout the sixties on small labels--I have a 45 or two on "Hallmark" or "Hallway" or something like that. Pioneers such as Moon Mullican should be remembered not just for their ability to fuse R&B/Western Swing/Honky Tonk/blues elements into a new music, but because their sides still rock like crazy today and, frankly, much of today's music, whatever the genre, lacks the spark and intensity and spontaneity of Moon Mullican's late 40s/early 50s output. Perhaps this remark is apocryphal, but supposedly when Moon was asked why he took up the piano, he answered "did you ever try to set a beer on a fiddle?" As a footnote, he also worked in Louisiana in the various administrations of Gov. Jimmie Davis. Thanks to Eric and James for remembering his birthday! Bill "Seven Nights to Rock" Shute San Antonio, TX ========================================================================= Date: Tue, 26 Mar 1996 11:21:37 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: JAY D. MILLER : CD DISCOGRAPHY JAY D. MILLER (1922/MAY/05, EL CAMPO, TX - 1996/MAR/23, LAFAYETTE, LA) SELECTED CD DISCOGRAPHY : J. D. MILLER PRODUCTIONS =========================================================================== ACE (UK) 400 : VARIOUS - EXCELLO HITS ACE (UK) 410 : SLIM HARPO - THE BEST OF ACE (UK) 492 : VARIOUS - AUTHENTIC R&B ACE (UK) 510 : SLIM HARPO - I'M A KING BEE - EARLY SWAMP BLUES CLASSICS ACE (UK) 517 : LIGHTNIN' SLIM - BELL RINGER & ROOSTER BLUES ACE (UK) 523 : SILAS HOGAN - SO LONG BLUES ACE (UK) 558 : SLIM HARPO - SHAKE YOUR HIPS ACE (UK) 559 : LONESOME SUNDOWN - I'M A MOJO MAN ACE (UK) 562 : VARIOUS - THE REAL EXCELLO R&B ACE (UK) 587 : LIGHTNIN' SLIM - IT'S MIGHTY CRAZY EXCELLO 2001 : SLIM HARPO - HIP SHAKIN' : EXCELLO COLLECTION (2CD) EXCELLO 2002 : VARIOUS - BLUES HANGOVER EXCELLO 3001 : VARIOUS - THE BEST OF EXCELLO RECORDS (30 cuts) EXCELLO 3002 : LIGHTNIN' SLIM - I'M EVIL : RARE/UNISSUED EXCELLO MASTERS V.1 EXCELLO 3003 : LAZY LESTER - I HEAR YOU KNOCKIN'! : THE EXCELLO SINGLES EXCELLO 3004 : LONESOME SUNDOWN - I'M A MOJO MAN : BEST OF EXCELLO SINGLES EXCELLO 3005 : SILAS HOGAN - TROUBLE : BEST OF THE EXCELLO MASTERS EXCELLO 3008 : VARIOUS - DARK CLOUDS ROLLIN' EXCELLO 3011 : ARTHUR GUNTER - BABY LET'S PLAY HOUSE EXCELLO 3015 : SLIM HARPO - V.1 : SCRATCH : RARE & UNISSUED FLYRIGHT 05 : SLIM HARPO FLYRIGHT 07 : LAZY LESTER FLYRIGHT 08 : LIGHTNIN' SLIM - ROLLIN' STONE FLYRIGHT 09 : VARIOUS - LOUISIANA SWAMP BLUES FLYRIGHT 12 : KATIE WEBSTER FLYRIGHT 16 : LONESOME SUNDOWN FLYRIGHT 17 : CLIFTON CHENIER / ROCKIN' DUPSEE FLYRIGHT 19 : NATHAN ABSHIRE FLYRIGHT 21 : VARIOUS - LOUISIANA SWAMP POP FLYRIGHT 24 : VARIOUS - MORE LOUISIANA SWAMP BLUES FLYRIGHT 27 : VARIOUS - LOUIAIANA ROCK 'N ROLL FLYRIGHT 35 : RUSTY & DOUG KERSHAW (AND WILEY BARKDULL) FLYRIGHT 36 : VARIOUS - ZYDECO BLUES FLYRIGHT 42 : VARIOUS - LOUISIANA R & B FLYRIGHT 44 : VARIOUS - HONKY TONK DADDY FLYRIGHT 47 : LIGHTNIN' SLIM (includes his FEATURE Recordings) FLYRIGHT 50 : LEROY WASHINGTON - WILD CHERRY FLYRIGHT 51 : VARIOUS - BABY LET'S BURN - BLUES FROM BATON ROUGE FLYRIGHT 52 : HENRY CLEMENT - BIG CHIEF TAKAWAKA RHINO 70169 : SLIM HARPO - THE BEST OF RHINO 70896 : BEST OF EXCELLO RECORDS V.1 : SOUND OF SWAMP BLUES =========================================================================== ========================================================================= Date: Tue, 26 Mar 1996 13:54:41 EST Reply-To: ron kraemer From: ron kraemer Subject: Re: Billy Price Comments: To: Bo.Carlsson@hks.se As I've been told, it sure is! I'll leave it to Bill to 'age' himself. :) Ron ----------------------[Reply - Original Message]---------------------- Sent by:Bo.Carlsson@hks.se (Bo Carlsson) I remember a singer who worked with Roy Buchannan ages ago and think his name was Billy Price - Is this the same guy? Mr Bo ===================================================================== ========================================================================= Date: Tue, 26 Mar 1996 11:28:38 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: JAY D. MILLER : THE INTERSTATE/FLYRIGHT LP SERIES JAY D. MILLER (1922/MAY/05, EL CAMPO, TX - 1996/MAR/23, LAFAYETTE, LA) INTERSTATE MUSIC has systematically reissued at least 57 albums & 14 CDs of his "Southern Swamp" productions. Here is a complete list of the 57 albums, now long out-of-print. Good luck in finding them in second hand stores :-) =========================================================================== INTERSTATE's FLYRIGHT Records: The Legendary Jay Miller Sessions(LP Series) =========================================================================== 516 V. 1 : VARIOUS - TAG ALONG (cajun) 517 V. 2 : VARIOUS - GONNA HEAD FOR HOME (Hogan, Henry Gray, Buckley..) 518 V. 3 : VARIOUS - ROOSTER CROWED FOR DAY (hogan, Gray, Anderson,...) 520 V. 4 : VARIOUS - ROOSTER CROWED FOR DAY 524 V. 5 : LIGHTNIN' SLIM - THE EARLY YEARS (Feature cuts) 525 V. 6 : SLIM HARPO - BLUES HANOVER 526 V. 7 : LAZY LESTER - THEY CALL ME LAZY 529 V. 8 : LONESOME SUNDOWN - BOUGHT ME A TICKET 530 V. 9 : KATIE WEBSTER - WHOOEE SWEET DADDY 531 V.10 : JOHNNY JANO - KING OF LOUISIANA ROCKABILLY 532 V.11 : VARIOUS - SWAMP BLUES 533 V.12 : LIGHTNIN' SLIM - TRIP TO CHICAGO 535 V.13 : NATHAN ABSHIRE & THE PINEGROVE BOYS (cajun) 539 V.14 : VARIOUS - ZYDECO BLUES (Chenier, Arceneaux, Dopsie, Dugas..) 540 V.15 : VARIOUS - ROCKIN' FEVER (Harpo, Chenier, Trahan, Travis,...) 544 V.16 : LAZY LESTER - POOR BOY BLUES 554 V.17 : VARIOUS - BOPPIN' IT (rockabilly) 555 V.18 : VARIOUS - GIRLS IN TIGHT BLUE JEANS (rock & roll) 557 V.19 : VARIOUS - BAYOU BOOGIE 558 V.20 : SLIM HARPO - GOT LOVE IF YOU WANT IT 570 V.21 : VARIOUS - TOO HOT TO HANDLE (rhythm & blues) 571 V.22 : RUST & DOUG KERSHAW - THEIR FIRST RECORDINGS 572 V.23 : ABE MANUEL & RUFUS THIBODEAUX - TRIBUTE TO HARRY CHOATES 573 V.24 : JIMMY NEWMAN & AL TERRY (Feature cuts) 574 V.25 : LEROY WASHINGTON - WILD CHERRY 581 V.26 : VARIOUS - BAYOU BEAT (country) 583 V.27 : LIGHTNIN' SLIM - THE FEATURE SIDES 586 V.28 : CLARENCE "BON TON" GARLOW - 1951-1958 587 V.29 : LONESOME SUNDOWN - LONESOME WHISTLER 592 V.30 : ROCKIN' DUPSEE - ROCKIN' WITH DUPSEE 593 V.31 : SLIM HARPO - SHAKE YOUR HIPS 595 V.32 : SILAS HOGAN - I'M A FREE HEARTED MAN 596 V.33 : VARIOUS - HONKY TONKY WITH LEFTY FRIZZELL & FRIENDS 597 V.34 : AL FERRIER - LET'S GO BOPPIN' (rockabilly) 598 V.35 : VARIOUS - ROCK 'N ROLL BEAT 599 V.36 : GUITAR GABLE WITH KING KARL - COOL CALM COLLECTED 600 V.37 : VARIOUS - ZYDECO BLUES V. 2 (Chenier, Dopsie, Arceneaux,...) 601 V.38 : VARIOUS - GOING TO NEW ORLEANS (blues/rhythm & blues) 603 V.39 : WARREN STORM - MAMA MAMA MAMA (rockabilly) 604 V.40 : VARIOUS - CROWLEY TWO-STEP (cajun) 606 V.41 : VARIOUS - ROCK ME ALL NIGHT LONG (rhythm & blues) 607 V.42 : VARIOUS - BATON ROUGE BLUES (harmonica blues) 608 V.43 : JAY MILLER STUDIO BAND (Sheffield, Tabby, Rocket Morgan...) 609 V.44 : VARIOUS - FAIS DO DO BREAKDOWN (early cajun productions) 610 V.45 : VARIOUS - ACADIAN TWO STEP 611 V.46 : (NEVER RELEASED) 612 V.47 : LIGHTNIN' SLIM - WE GOTTA ROCK TONIGHT 613 V.48 : KATIE WEBSTER - CLOSE TO MY HEART 614 V.49 : VARIOUS - BATON ROUGE HARMONICA 615 V.50 : LIONEL TORRENCE (with Sheffield, Storm, Tabby, Lonesome,...) 616 V.51 : VARIOUS - HIGH SCHOOL HOP (country rock) 617 V.52 : LONESOME SUNDOWN - IF ANYBODY ASKS YOU 618 V.53 : (NEVER RELEASED) 619 V.54 : RUSTY & DOUG & WILEY & FRIENDS - THE KERSHAWS (cajun) 620 V.55 : VARIOUS - I AIN'T GOT NO MONEY (blues) 621 V.56 : TABBY THOMAS 622 V.57 : VARIOUS - ROCKIN' ACCORDIAN (zydeco) =========================================================================== ========================================================================= Date: Tue, 26 Mar 1996 11:28:44 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: JAY D. MILLER : PERSONAL TRIBUTES JAY D. MILLER (1922/MAY/05, EL CAMPO, TX - 1996/MAR/23, LAFAYETTE, LA) "Jay Miller's studio was a perfect example of the sort of musical cross- fertilization that has characterized much of the great roots music, blues and otherwise, to come out of the American south. Miller himself got his musical start in the '30s playing cowboy music on an eight-dollar guitar. He would eventually accompany some of the best cajun musicians of the time, including the great Harry Choates. After the war he went into business as an electrical contractor, and began making records on the side. His first recordings were made at Cosimo Matassa's legendary New Orleans studio, at the time the only one in Louisiana. These cajun sides, released on Miller's Fais-Do-Do label, sold so well that he decided to open his own studio in Crowley. In 1947 he started the Feature label, recording mostly hillbilly singers at first, along with cajun stars-to-be like Doug Kershaw and Jimmy C. Newman. In the early 50s he made a few forays into blues, recording among others Clarence "Bon Ton" Garlow. But it was not until he ran into Otis Hicks (whom he would soon christen "Lightnin' Slim") at a Baton Rouge radio station in 1954 that he got into blues recording in a serious way. Impressed by Hicks' guitar playing and singing, Miller scrounged up a band to back him and recorded a song called "Bad Luck". The record was a fair-sized hit, and "swamp blues" was born. The success of "Bad Luck" on Feature led to a distribution deal with Nashville-based Excello records, an arrangement that assured a good regional and national market for Miller's records. If Lightnin' Slim was the father of swamp blues, Miller was certainly its midwife. The records he made with Lightnin', Slim Harpo, Lazy Lester, Lonesome Sundown, Silas Hogan and many others in the 50s and early 60s define the style and remain its finest examples. And unlike many of his contemporaries in the recording business who demanded songwriting credit from their artists as partial payment for use of the studio, Miller actually wrote many of these great songs - for example, Lonesome Sundown's big hit "My Home is a Prison". The consistently high quality and creativity of his productions has earned Jay Miller a place alongside the likes of Sam Phillips and the Chess Brothers as one of the greatest record producers in the history of the blues." ~ Eliot Williams (May 4/95) "Things started cooking when Ernie Young met Jay Miller of the swamp town of Crowley, Louisiana, in 1955. Miller was busily recording and releasing music by local bluesmen for his own indie labels, but one of his best sellers, Lightnin' Slim, was being wooed away by the Chess brothers of Chicago (who had already recorded four tracks by him) and by Ace Records (who had issued a single, Ace 505.) Young and Miller agreed on a contract whereby Miller would record blues exclusively for Nashboro/Excello Records" ~ Mike Corso, C NOTES INTERACTIVE "After hearing about Jay Miller I brought a demo tape to his studio ; you shoulda seen that studio. It was like a radio repair shop and a studio combined. So closely combined you couldn't hardly tell which was which." ~ LONESOME SUNDOWN, Blues Unlimited #80 (Feb-Mar'71) This description of J. D. Miller's studio may account for the raw "lazy" country blues that's often called 'Swamp Blues'. It's only "lazy" in that there are few in-yo-face guitar & harmonica solos, just a lot of laid-back vocals, unpredictable guitar solos, usually with simple drums. This description could also account for the next to no documentation of the recording sessions - what we have is (Sam Phillips/SUN RECORDS) to the 2nd power! Which makes this new AVI/EXCELLO CD series are real achievement. The sound mastering (by Tom Moulton) is excellent, programmed from master tapes, usually in chronological 45/78 rpm order. The ACE (UK) CD series, leased from AVI, usually includes different alt/unissued takes & different notes, so long time Swamp Blues fans will need both series. It I get the opportunity, I'll compare both series, but for now I'll just outline the AVI/EXCELLO series. ========================================================================= Date: Tue, 26 Mar 1996 12:11:35 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Blues-L top 100 Hi all. I was just thinking (as I am wont to do on occasion) that it would be interesting if we came up with a Blues-L essential 100 blues albums list. Has anything like this ever been done before? If there is any interest, I wouldn't mind compiling something and having it stored somewhere for public use. Anybody have any comments? -Jim (hndful@uniserve.com) ------------------------------------------------------------ Check out 'Heart and Soul', a new hour of blues, gospel, and jazz every week on SDF-Net Community Radio - http://sdf-radio.colossus.net. ------------------------------------------------------------ ========================================================================= Date: Tue, 26 Mar 1996 15:10:29 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Crossroads-reply Comments: To: WINKLERW@etsu.east-tenn-st.edu On March 26, Wayne Winkler asked: >>>However, this movie begs the question of why >>>Hollywood (or some innovative independent) has >>>not seen fit to make a feature film on Robert >>>Johnson. Has Steve LeVere scared EVERYONE away >>>from such a project? Come on, producers - this film >>>is BEGGING to be made The answer to this question is YES. Would you want to be the studio executive who OK'd $10 million for a huge screen biography of Robert Johnson while there was the threat of probably litigation? Remember, although RJ's music is used in "Crossroads," his voice is not heard. The songs are played by others. They obtained publishing clearance to use the material but Columbia (now Sony Music) would not grant permission for his recordings to be played. I seem to recall a fairly recent post that indicated the Steve LeVere has 'authorized' a film with Danny Glover narrating and Keb Mo' portraying Robert Johnson. As for the movie itself, the first half hour of rather nice. Young white kid 'liberates' old black man from a nursing home and takes him into the Delta in hopes of finding one last unreleased Robert Johnson song. The best scene is when black punks threaten the young white couple in a bar and, just as the violence is about to begin, music explodes from the bandstand. Some real bluesmen appear in this scene (i.e. Frank Frost among others) but this is hardly enough to recommend it. The white guys mano-a-mano finale is a disgrace. Steve Val duking it out for Blues King? Pah-lees, gimme a break . . . Dick Waterman ========================================================================= Date: Tue, 26 Mar 1996 14:16:15 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Re: TV Tues: "Crossroads" -Reply > > Okay, now that someone else has said it, I can admit it :-) I've watched > this movie a couple of times as well. Like the Delta Doc, I can't stand > Ralph Macchio or his character - he's just too cocky and mighty rude to the > old bluesman (Willie Brown, or Blind Dog Fulton, who, according to the > movie, ran with Robert Johnson and sold his soul to the devil). I love the > soundtrack (by Ry Cooder), Joe Seneca's character is great, the scenery is > nice, so I'd say it's worth watching despite the Karate Guitar Man. > > -Jim (hndful@uniserve.com) > Since, it is "Crossroad movie lovers coming out of closets" time, I have to admit watching movie twice as well, mostly for the soundrack, great scene when Seneca performs in the bar his "They call me Blind Dog blues." Seneca himself is great, but PLEASE, how come everybody forgets that cute little girl seduced by Karate Kid - her real name should be something like Jammie Getz, or something like that. Very cute!! She's got a bluesy face, whatever that means. Ranko Macchio happens to be in another movie I like - My Cousin Vinnie. ========================================================================= Date: Tue, 26 Mar 1996 14:24:19 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 03/27 B O R N : 03 / 27 ASHBY, HAROLD ( KENNETH ) Born:1925 KANSAS CITY, MO Career:TENOR SAX Style:JAZZ / BLUES / BIG BAND With:Tommy Douglas / Walter Brown / Milt Larkin / Mercer Ellington / Ben Webster 1958 / Johnny Hodges 1960 / Paul Gonsalves 1961 / Lawrence Brown 1965 / Duke Ellington BARRON, BILL ( WILLIAM JR ) Born:1927 PHILADELPHIA, PA Career:TENOR SAX / SOPRANO SAX Style:JAZZ With:RED GARLAND / JIMMY HEATH / CECIL TAYLOR / PHILLY JOE JONES CARR, LEROY Born:1905 NASHVILLE, TN Career:PIANO / SINGER / COMPOSER Style:BLUES With:SCRAPPER BLACKWELL COLLINS, BURT ( BURTON L ) Born:1931 NEW YORK, NY Career:TRUMPET Style:JAZZ / BIG BAND COPELAND, JOHNNY CLYDE Born:1937 HAYNESVILLE, LA Career:GUITAR Style:BLUES ERVIN, FRANKIE Born:1926 BLYTHE, CA Career:LEAD SINGER Style:BLUES With:SHIELDS / JOHNNY MOORE GROFE, FERDE Born:1892 NEW YORK, NY Career:PIANO / COMPOSER / ARRANGER Style:BIG BAND With:Paul Whiteman around 1920 / mostly as arranger. Arrangement of Rhapsody in Blue performed by Whiteman in famous concert at New York's Aeolian Hall 1924 KEMP, HAL ( JAMES HAROLD ) Born:1905 MARION, AL Career:CLARINET / LEADER Style:BIG BAND With:Saxie Dowell / Jack Purvis / John Scott Trotter / Skinnay Ennis / Paul Weston / Mickey Bloom / Bunny Berigan / Russ Case / Dave Barbour / Randy Brooks / Charlie Margulis / Lou Busch / Scrappy Lambert / Bob Allen / Deane Janis / Maxine Gray / Judy Starr / Nan Wynn / Claire Martin / Janet Blair LOCKWOOD, ROBERT JR. Born:1915 TURKEY SCRATCH, AR Career:GUITAR Style:BLUES MULLICAN, AUBREY "MOON" Born:1909 CORRIGAN, TX Career:PIANO Style:BLUES PLUMMER, BILL ( WILLIAM ) Born:1938 BOULDER, CO Career:BASS Style:JAZZ REED, HOWARD Born:1906 NEW ORLEANS, LA Career:TRUMPET Style:TRAD / JAZZ / BLUES RUSSELL, PEE WEE ( CHARLES ELLSWORTH RUSSELL ) Born:1906 MAPLEWOOD, MO Career:CLARINET Styl: TRAD / JAZZ With: Peck Kelley / Leon Rappolo / Red McKenzie / Eddie Condon / Bobby Hackett / Lee Wiley / Miff Mole / Bill Davison / George Brunis / Brad Gowans / James P. Johnson / Ruby Braff / Gene Rodemich / Joe Gill / Bix Beiderbecke / Paul Specht / Louis Panico / Cass Hagan / Austin Wylie / Don Voorhees SAMEL,MOREY Born:1909 NEWARK, NJ Career:TROMBONE Style:JAZZ / BIG BAND VAUGHAN, SARAH ( SARAH LOIS VAUGHAN ) Born:1924 NEWARK, NJ Career:SINGER / PIANO Style:JAZZ / BIG BAND With:EARL HINES / BILL ECKSTINE WEBSTER, BEN ( BENJAMIN FRANCIS WEBSTER ) 1909 KANSAS CITY, MO Career:TENOR SAX Style:JAZZ / BIG BAND With:DUKE ELLINGTON WROBLEWSKI, JAN (PTASZYN ) Born:1936 KALISZ, POLAND Career;TENOR SAX / COMPOSER Style:JAZZ Newport with International Band 1958 / Kurylewicz Quintet 1962-63 Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Tue, 26 Mar 1996 21:32:18 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Crossroads and cute little girls Comments: To: Ranko Vujosevic but PLEASE, how come everybody forgets that cute little girl > seduced by Karate Kid - her real name should be something like > Jammie Getz, or something like that. Very cute!! She's got a > bluesy face, whatever that means. > > Ranko I know my face gets blue over this. Restrict this kind of comments to some "babes in movies and on CD-covers list" please. Mr Bo ========================================================================= Date: Tue, 26 Mar 1996 14:42:01 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Crossroads and cute little girls > > but PLEASE, how come everybody forgets that cute little girl > > seduced by Karate Kid - her real name should be something like > > Jammie Getz, or something like that. Very cute!! She's got a > > bluesy face, whatever that means. > > > > Ranko > > I know my face gets blue over this. Restrict this kind of comments to some > "babes in movies and on CD-covers list" please. > Mr Bo > > > 1. Is it the that my comment wasn't politically correct? If yes, YOU are on the wrong list - blues and PC have nothing in common 2. Or maybe the problem is it is out of blues context. Well, that's in your opinion - for me when I hear Ry Cooder's music and see her - I kinda get some funny bluesy feeling. Lots of blues right there! Ranko ========================================================================= Date: Tue, 26 Mar 1996 14:41:06 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Crossroads-reply In-Reply-To: Message of Tue, 26 Mar 1996 13:00:59 EST from On Tue, 26 Mar 1996 13:00:59 EST Wayne Winkler said: >*Crossroads* is not such a bad movie; I'd recommend it to someone who has never >heard of Robert Johnson because it would pique their interest in the man >and his music. But for a dyed-in-the-wool blues lover, it's pretty hard to >take. Not to spoil the ending of the movie for anyone, the fact that the >climax involves two Caucasian "bluesmen" is somewhat ironic. I'm so glad YOU said that and not me. I'm so tired of having my britches burnt now it's your turn.... LW 'git him ya'll :-)' ========================================================================= Date: Tue, 26 Mar 1996 14:31:52 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: TV Tues: "Crossroads" In-Reply-To: <199603261822.KAA28223@wavenet.com> > >I think there may have been discussion on this and I didn't read it. If > >so, pardon me. > > > >In TV Guide (I'm in Victoria, B.C.) Bravo has tonight, Tuesday, 6PM PST: > > > > "Crossroads" ** (1986) A brash young guitarist (Ralph Macchio) and a > > legendary bluesman (Joe Seneca) travel from New York to the Mississippi > > Delta for some long-lost songs, strummin' and thumbin' to a Ry Cooder > > score. > > > >Is this as good as it sounds? Is it worth two hours? There are two ways to describe the movie: 1) It's not as good as it sounds. 2) As Hollywood goes, it's not as bad as it could be. (Remember, this is an industry which has employed Pauly Shore.) T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "The obvious irony is that no other country would grant [Mahmoud] Abdul-Rauf so much freedom as this oppressive one." - Tony Kornheiser, Washington Post page D9, 3/14/96 ========================================================================= Date: Tue, 26 Mar 1996 14:55:50 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Robert Johnson/BB King Keb' Mo as Robert Johnson...ha..ha...(IMHO). In Blues & Rhythm (last month's issue) Charles Sawyer wrote about how he went to 53 (50 something anyway) publishers before he found one that was interested in BB KING !!!!!!!!. I think should tell you how many movie execs would be interested in a bluesman that hasn't even been on the Cosby Show :-). Never happen IMHO LW ========================================================================= Date: Tue, 26 Mar 1996 16:16:27 -0500 Reply-To: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM From: Jim Smith Subject: Re: Billy Price Comments: To: rkraemer@ETS.ORG In-Reply-To: Pick up Roy's "Live Stock" release. Billy sings on about half the tracks. A dynamite CD for both Roy's playing and Billy's vocals. >As I've been told, it sure is! > >I'll leave it to Bill to 'age' himself. :) > > Ron > >----------------------[Reply - Original Message]---------------------- > >Sent by:Bo.Carlsson@hks.se (Bo Carlsson) > I remember a singer who worked with Roy Buchannan ages ago and think his >name was Billy Price - Is this the same guy? >Mr Bo > > > >===================================================================== > ========================================================================= Date: Tue, 26 Mar 1996 22:08:10 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Crossroads and cute little girls Comments: To: Ranko Vujosevic >> >> but PLEASE, how come everybody forgets that cute little girl >> > seduced by Karate Kid - her real name should be something like >> > Jammie Getz, or something like that. Very cute!! She's got a >> > bluesy face, whatever that means. >> > >> > Ranko >> >> I know my face gets blue over this. Restrict this kind of comments to som= e >> "babes in movies and on CD-covers list" please. >> Mr Bo >> >> >> > > 1. Is it the that my comment wasn't politically correct? > If yes, YOU are on the wrong list - blues and PC have nothing in co= mmon > > 2. Or maybe the problem is it is out of blues context. Well, that's > in your opinion - for me when I hear Ry Cooder's music and see her = - > I kinda get some funny bluesy feeling. Lots of blues right there! > > Ranko OK Ranko, don=B4t you ever mention that anything is beyond the scoope of thi= s list from now on. 1. You say that PC shold not be dicussed on the list. Is that the only thing that should be excluded? 2. Yes, its my opinion that it=B4s out of blues context AND insulting to fem= ales. Bosnia gives me the blues, should we therefore discuss it here? Bo ========================================================================= Date: Tue, 26 Mar 1996 15:13:57 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Crossroads.my complaint The only problem I had with the movie is when the Karate guy has to resort to classical chops in order to headcut the headbanger. Shit, Albert King would have ran that long haired villian slap out the state with his amp on standby (IMHO) LW BTW: I borrowed part of that quote from from Joe Walsh ========================================================================= Date: Tue, 26 Mar 1996 21:13:49 GMT Reply-To: Scott Barretta From: Scott Barretta Organization: Lund University Subject: Happy birthday Izzy Young!! Comments: To: bit-listserv-blues-l@uunet.uu.net Israel Goodman Young b. NYC, March 26, 1928 (For eRIC) Izzy Young was the proprietor of NYC's Folklore Center from 1957 to 1973 and a founding member of the Friends of Old Time Music, and presented dozens of blues (and folk) concerts in the 1960s, including the first NYC visits of many of the newly "rediscovered" or "discovered" greats, such as Doc Watson, Joseph Spence, Miss John Hurt, Gus Cannon, Furry Lewis and Jesse Fuller. He also presented the first NYC concert (1961) of Bob Dylan, who used to hang out at the center when he first arrived in NYC. Dylan immortalized Izzy in his unrecorded Talkin' Folklore Center Blues, for which Izzy paid Dylan with a copy of Columbia's first Robert Johnson LP! Izzy's store was the center of the folk scene in Greenwich Village, serving not only as a concert locale, but also as THE place to catch up on the latest happenings in the folk world. Izzy left NY in 1973, and since has been operating the Folklore Centrum in Stockholm serving as the main center for information on Swedish folk music. He is also still active in documenting the US folk revival, and has one of the most unique collections of information available. He can be contacted at: Folklore Centrum Woolmar Yxkullgatan 2 118 50 Stockholm, SWEDEN tel/fax 08-6434627 ========================================================================= Date: Tue, 26 Mar 1996 15:19:00 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Crossroads and cute little girls In-Reply-To: Message of Tue, 26 Mar 1996 22:08:10 +0100 from On Tue, 26 Mar 1996 22:08:10 +0100 Bo Carlsson said: >2. Yes, its my opinion that its out of blues context AND insulting to fem= >ales. If we exclude stuff that is insulting to females, we've just excluded a ton of blues tunes. If we also include insulting males, then Saffire can no longer be discussed. I think WOMEN are the best thing God put on this earth. There is not a damn thing wrong with pointing out a pretty one. Ok ladies of Blues-l If Ranko were to say you were attractive would you be insulted....???? LW 'kind of hurt that Ranko never told me I was cute :-)' ========================================================================= Date: Tue, 26 Mar 1996 11:25:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re: Buddy Guy and Members of Congress Just thought I'd pass on a report of a very unlikely but fun event. Last night I was privileged to see a serious clash of institutions. On stage, Buddy Guy. In the audience, 100 Members of Congress and several individuals from the Clinton Admin.. The event was part of a recording industry lobby party held at the Daughters of the American Revolution Hall. Buddy said he wasn't leaving until they sang and he got his way. He said he knew they could open their mouths cause he'd heard them on his TV, he knew they were good at making noise, and he kept at `em until they eventually started singing. 100 grey heads in 100 grey suits were all singing along with Buddy Guy as he stood on the very same stage once denied to Marian Anderson. It was a very strange sight. Ya shoulda been there.... Erica -------(reply separator-made it myself out of little dashes!)-------- What a trip!! What did they sing?! Leadbelly had a song slamming Washington, D.C. as a bourgeouis town, I don't suppose it was that one. I can just picture Bob Dornan beltin' it out about how he spent five long years with one woman, and she had the *nerve* to kick him out! Do tell, Erica! BLUE JOE IN RED RUSSIA (formerly of 17th & R) J.E._Downey@bakermck.com "You damn right I got the blues!" ========================================================================= Date: Tue, 26 Mar 1996 15:31:25 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Cute Little Girls Bad subject header: I was listening to Debbie Davies the other day and I was impressed (again). I think she is a very good player. I made the comment to my friend that I think her being a female has denied her the credit she deserves, I think the same is true of Rory Block. IMHO they are both better than many of their more famous/successful male peers. I don't (IN THE LEAST) want to start a gender thing here, but I'm curious if anyone else feels that way or is it just me. LW ========================================================================= Date: Tue, 26 Mar 1996 22:40:41 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Crossroads and cute little girls Comments: To: ISTS024@UABDPO.BITNET >On Tue, 26 Mar 1996 22:08:10 +0100 Bo Carlsson said: > >>2. Yes, its my opinion that its out of blues context AND insulting to fem= >>ales. > >If we exclude stuff that is insulting to females, we've just excluded a ton >of blues tunes. If we also include insulting males, then Saffire can no longer >be discussed. I think WOMEN are the best thing God put on this earth. There is >not a damn thing wrong with pointing out a pretty one. Ok ladies of Blues-l >If Ranko were to say you were attractive would you be insulted....???? > > >LW 'kind of hurt that Ranko never told me I was cute :-)' Thanks LW, just the discussion I wanted. Anyone has any input on this? And HEY, lets not discuss Gods work here - I thought the Blues was the works of that other bloke. Bo ========================================================================= Date: Tue, 26 Mar 1996 15:50:40 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Crossroads and blues movies Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu If we want to get a little more generalized on this topic, I think "Rush" was a much better, darker, brooding blues-y movie and definitly had a killer soundtrack, which I still drag out to play a lot. Clapton did a very nice job on this one, and Buddy Guy's number is quite good, too. Jim ========================================================================= Date: Tue, 26 Mar 1996 15:49:21 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: T-Bone on Video?: Second try Comments: To: Art Schuna In-Reply-To: The name of the store in question is Video Beat. I don't have the number or address on me at school, but I will post it when I'm home. If anyone is in a hurry, go ahead and call information for area code (312). Ask for Lee, but if he's not in the staff is very helpful. Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke On Mon, 25 Mar 1996, Art Schuna wrote: > In article <9603251824.AA0776@notesa.camsys.com> Sam Lawton writes: > > >Well, I only received one inconclusive response to my earlier inquiry regarding > >the availability of T-Bone Walker on video. It's hard for me to believe that > >some footage doesn't exist somewhere. Once again -- Does anyone know what, if > >anything, might be available? > > There is a video store on N. Clark St in Chicago - the name of which I can > never remember which put together a custom tape with T-Bone Walker at the > 1967 Monterey Jazz Festival (color footage), B.B. King, and blues specials > from the CBC and BBC which included Muddy Waters, Otis Spann, and Willie > Dixon. Rob Varak turned me on to this store. The guy who owns it is a > fanatic when it comes to rare and unusual video. Rob, are you out there? > Can anyone else in Chicago come up with the name of this place? > > Art Schuna > ========================================================================= Date: Wed, 27 Mar 1996 08:42:00 PST Reply-To: David Blanken From: David Blanken Subject: Re: Blues Down Under >Hey Bluzellers, > >I'm new, so please be easy. > >I'm going to go Australia in June and July. Does anyone know about the >Australian blues scene? Where should I go? Who should I see? > >Thanks in advance. > >John Hanna >Pasadena, MD Hey, John! Where abouts in Australia will you be? Email me privately and I'll try to help you on your quest. Sorry for posting to the list, but Johns email address doesn't appear in my header. Dave *************************************************** David Blanken National Library of Australia Email: dblanken@nla.gov.au Phone: (06) 262 1473 "You can write the truth with Blues" - Bukka White *************************************************** ========================================================================= Date: Tue, 26 Mar 1996 15:54:49 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re: The Band: "High On The Hog" Comments: To: bob vanarsdall Hmm, that is interesting, because Weider is known mostly as a Tele player while Robertson would switch back and forth and most frequently in his playing days with the Band used a Strat with the middle pickup moved back next to the bridge pickup, which may have given it some additional bite and "Tele-like" tone. -Jim >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> Also: Jim Weider is playing the lead guitar parts for the Band these days, and seems almost to have captured the phrasing that Robbie Robertson had/has. His tone is a little more subdued, though; the photos with the CD show him playing a Strat instead of a Telecaster, which may explain that. Gearheads out there (I'm not one) - that Telecaster tone unmistakable in Roy Buchanan, Robertson, and Albert Collins' work - who are the successors to that sound now? Bob ========================================================================= Date: Tue, 26 Mar 1996 17:18:01 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Big Bill Broonzy Discography BIG BILL BROONZY GROUND-BREAKING DISCOGRAPHY TO BE PUBLISHED SOON BY BLUES & RHYTHM MAGAZINE Singer, guitarist, violinist, percussionist (maybe) and teller of tall stories, Big Bill Broonzy (1898-1958) was a major blues recording star for thirty years. He made his first records for the African American public in the late twenties. In the forties and fifties he became one of the earliest blues ambassadors to white audiences, and became a revered and beloved figure among jazz and folk music fans in America and Europe. As well as recording prolifically under his own name, Big Bill accompanied many of the most popular blues singers among his contemporaries. Blues & Rhythm' will soon be publishing 'Hit the Right Lick', a book of over 100 pages discography and information on Big Bill Broonzy's recordings by the noted blues writer and critic Chris Smith. This volume, the result of intensive research and listening, has been compiled with the help of many distinguished blues collectors and historians, and is THE most complete guide yet to Broonzy's career as both a name artist and an accompanist. Numerous sessions in which he participated have been identified for the first time (and some where he didn't have been deleted). There are many corrections to session line-ups, and copious notes on matters of interest. All known reissues up to September 1995 are included, and EP, LP and CD titles are listed for ease of reference. Chris's superb 6,000 word introductory essay on Broonzy's recording career, and his guide to recommended listening, make 'Hit the Right Lick' an essential companion when listening to the marvellous music of Big Bill Broonzy. Wondering about that 'percussionist (maybe)'? This is just one of the many revelations in 'Hit the Right Lick'. Published in a limited edition of 'Hit the Right Lick' is copiously illustrated with photographs, rare record label and cover shots and other ephemera, and is certain to become a collector's item. The book will be advertised in B&R and on this Web site http:www.bluesworld.com and will undoubtedly get considerable review space in leading music publications. No real Blues fan will want to be without this important work - Watch this space for more information. Joel Slotnikoff, Publisher | BLUES WORLD e-mag Box 21652 | http://www.bluesworld.com St. Louis, MO 63109 | Acme Guitar, Blues Estafette TEL (314) 647-2447 | Blues & Rhythm: The Gospel Truth FAX (314) 647-2497 | Roots & Rhythm, Testament Records joelslot@inlink.com | SONO, Vintage Jazz Mart, Wayhi Tapes ========================================================================= Date: Tue, 26 Mar 1996 13:59:27 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Crossroads and cute little girls Hey, What's going on? Bo is PC because he doesn't like Ranko's post?? Ranko is sexist because he thought some gal had a pretty face?? Who's going to be called a racist/Hitler/satanist first here? GET OVER IT BOYS! This is not worth fighting about. Pick your fights, make sure they are important, and WORTH WINNING! Is this one even worth winning? What's the prize? Gimme a break both a' youse... ;-] DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu I looked over Jordan, and what did I see An Eldorado comin' after me comin' for to carry me home.. -- Dizzy Gillespie ____________________________________________________ ========================================================================= Date: Tue, 26 Mar 1996 16:52:27 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Crossroads and cute little girls Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com * Yes, its my opinion that its out of blues context AND insulting to fem= *ales. Does this mean we shouldn't post anything more about Sue Foley? :) ========================================================================= Date: Tue, 26 Mar 1996 22:57:31 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Was: Cute Little Girls >Bad subject header: I was listening to Debbie Davies the other day and I wa= s >impressed (again). I think she is a very good player. I made the comment to >my friend that I think her being a female has denied her the credit she >deserves, I think the same is true of Rory Block. > >IMHO they are both better than many of their more famous/successful male >peers. > >I don't (IN THE LEAST) want to start a gender thing here, but I'm curious i= f >anyone else feels that way or is it just me. > >LW No, No I really think gender should be discussed here (and race if needed). I can=B4t see why we should steer away from big issues. Personally I think i= t can work bothways for women in an male-dominated environment (like blues). Debbie Davies is a really good player IMO, but I=B4m not sure that she is better than many male players that don=B4t get the breakes she got. I even think that she got more out of her time with Collins (careerwise) than a man would have. And certainly more than if he had been a real professional and slick black guy from southside chicago. Mr Bo (Who is now hiding behind a chair) ========================================================================= Date: Tue, 26 Mar 1996 17:06:15 EST Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: Maine Blues Clubs Comments: To: Garry Segal No, I don't have a list of blues clubs in Maine, but it's good to see you on Blues-L, Garry. You might try WGBH's web site if no one else here can help out. Dave Carpenter WHUS-FM Blues Music Director University of CT Storrs, CT http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Tue, 26 Mar 1996 16:07:05 -0600 Reply-To: Keith Castleberry From: Keith Castleberry Subject: The LA (Lower Alabama) Blues Cruise Playlist for this week Artist Album Label Song 1 Lloyd Jones Trouble Monkey Audioquest I'll be laughing 2 Lloyd Jones Trouble Monkey Audioquest I broke my baby's heart 3 Little Charlie & the Nightcats Straight Up Alligator I'm just lucky that way 4 Elmore James Best of the Blues K-Tel The sky is crying 5 Bobby Blue Bland Best of the Blues K-Tel Farther up the road 6 Howlin' Wolf Best of the Blues K-Tel Spoonful 7 Long John Hunter Border Town Legend Alligator Everybody Knows 8 Long John Hunter Border Town Legend Alligator Road Hog 9 Microwave Dave & the Nukes Goodnight Dear Blues Works 20% Alcohol 10 Microwave Dave & the Nukes Goodnight Dear Blues Works Road Runner 11 Jay Owens Movin' On Code Blue I heard you have the Blues 12 Little Milton Greatest Hits Malaco My Dog & me 13 Little Milton Greatest Hits Malaco Strugglin' Lady 14 Buckwheat Zydeco Takin' it home Island Why does love got to be so sad 15 Little Charlie & the Nightcats The Big Break Alligator The big Break 16 James Armstrong Sleeping with a stranger Hightone Wrong Address 17 James Armstrong Sleeping with a stranger Hightone Six Bar City 18 Tommy Castro Exception to the Rule Blind Pig Exception to the rule 19 Tommy Castro Exception to the Rule Blind Pig Nasty Habits 20 Lucille Lucille Blues Works Black Land Mud 21 Lucille Lucille Blues Works Saucey 22 Sonny Landreth Blues Attack AVI Baby please don't go 23 Sonny Landreth Blues Attack AVI Pine Grove Blues 24 Mark May & the Agitators Call on the Blues Icehouse you're leavin' baby 25 Mark May & the Agitators Call on the Blues Icehouse hail to the iceman 26 Leroy Pierson Rusty Nail Nighthawk roll & tumble 27 Ernie Johnson Mini-disc Waldoxy I'm in the mood for the blues 28 Coco Robicheaux Spiritland Orleans Walk with the spirit 29 Bobby Parker Shine me up Black Top somebody's coming in my back door Keith Castleberry WYDH 105.9 FM "The Blues Cruise" P.O. Box 710 Atmore, AL 36504-0710 ========================================================================= Date: Tue, 26 Mar 1996 17:23:25 -0500 Reply-To: Erica Wissolik From: Erica Wissolik Subject: Re: Buddy Guy and Members of Congress -Reply >>> J.E. Downey 03/26/96 11:25am >>> What a trip!! What did they sing?! Leadbelly had a song slamming Washington, D.C. as a bourgeouis town, I don't suppose it was that one. I can just picture Bob Dornan beltin' it out about how he spent five long years with one woman, and she had the *nerve* to kick him out! Do tell, Erica! >>>>>>>> The artists only had time for 2-3 songs each (Kathleen Battle, Richard Marx, Trisha Yearwood, Temptations and 4 Tops came first - weird night) and I am totally embarrassed to say that the only song title I knew was "Feels Like Rain". Funny you should mention the lyrics above cause that's exactly what he was singing when he stopped the band and announced that he wasn't leaving until the good ole boys sang along. I did see smiles on the entire front row. No Bob Dornan or Newt though. The Members who showed up were the ones who would actually care about the music industry. No Sonny Bono - he sent his staff. Jane Alexander's (NEA president) intro was a little goofy. She said that Buddy came from a long line of blues players descended from folks like Muddy Waters, John Lee Hooker and Stevie Ray Vaughn. ========================================================================= Date: Tue, 26 Mar 1996 16:21:44 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Crossroads-reply At 03:10 PM 3/26/96 -0500, Dick Waterman wrote: >On March 26, Wayne Winkler asked: > >>>>However, this movie begs the question of why >>>>Hollywood (or some innovative independent) has >>>not seen fit to make a >feature film on Robert >>>Johnson. Has Steve LeVere scared EVERYONE away >>>>from such a project? Come on, producers - this film >>>is BEGGING to be >made > >The answer to this question is YES. Would you want to be the studio executive >who OK'd $10 million for a huge screen biography of Robert Johnson while >there was the threat of probably litigation? OK - so what is the "threat of probably litigation"? Who is Steve LeVere, and why is he a threat? I don't recall this being discussed here in the past - except for an issue with the newly discovered photo of RJ.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Tue, 26 Mar 1996 16:21:46 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: JAY D. MILLER, EXCELLO PRODUCER, DIES AT 73 As always, I wish to thank Eric for (1st) turning me on to these Excello / Miller reissues last year, and (2nd) for this tribute to Mr. Miller on his recent death. I would like to ask the following: In listenning to Lazy Lester (in particular), but also Slim Harpo and Lonesome Sundown, I am struck by the similarity to the style of Jimmy Reed, as if Swamp Blues was a direct offshoot of Reed's work on Vee Jay. The timing makes sense - Reed was about 5 years ahead of the Crowley recordings chronologically - but I don't think Reed was from Louisiana, and he certainly did his recording in Chicago. Can anyone comment on the line between Reed and Lazy Lester? David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Tue, 26 Mar 1996 17:26:34 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re[2]: Crossroads and cute little girls Re that subject line and the sprouting discussion...You-all don't even WANT me to get started on this one, do you???? Shannon ========================================================================= Date: Tue, 26 Mar 1996 16:20:20 -0600 Reply-To: Keith Castleberry From: Keith Castleberry Subject: Great New Recordings Here's some new albums received recently that **I** think are excellent! Microwave Dave & the Nukes - Goodnight Dear (Blues Works) Tommy Castro - Exception to the Rule (Blind Pig) Leroy Pierson - Rusty Nail (Nighthawk) Lucille - Lucille (Blues Works) Kal David - Double Tuff (Soul Coast) Jay Owens - Movin' On (Code Blue) Long John Hunter - Border Town Legend (Alligator) James Armstrong - Sleeping with a Stranger (Hightone) Lloyd Jones - Trouble Monkey (Audioquest) The albums have the (LA) Blues Cruise seal of Approval :-) Keith Castleberry WYDH 105.9 FM "The Blues Cruise" P.O. Box 710 Atmore, AL 36504-0710 ========================================================================= Date: Tue, 26 Mar 1996 17:41:24 -0500 Reply-To: Chris Smith From: Chris Smith Subject: going nomail I'm off to the Deep South - of England - for a while. Back at Easter. Have fun. Chris Smith (chris@skerries.demon.co.uk) 'Positive: wrong at the top of one's voice." (Ambrose Bierce) ========================================================================= Date: Tue, 26 Mar 1996 17:06:11 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re[2]: Crossroads and cute little girls Comments: To: Steve.Levine@CORP.WRGRACE.COM Sue Foley And Rory Block and AND Debbie Davies..... -J _______________________________________________________________________________ Subject: Re: Crossroads and cute little girls From: Steve.Levine@CORP.WRGRACE.COM at INTERNET-SH Date: 03/26/96 4:59 PM * Yes, its my opinion that its out of blues context AND insulting to fem= *ales. Does this mean we shouldn't post anything more about Sue Foley? :) ========================================================================= Date: Tue, 26 Mar 1996 15:08:27 -800 Reply-To: Eric Porcher From: Eric Porcher Subject: Re: Blues-L top 100 > From: Jim Witteveen > Hi all. I was just thinking (as I am wont to do on occasion) that it would > be interesting if we came up with a Blues-L essential 100 blues albums list. > Has anything like this ever been done before? If there is any interest, I > wouldn't mind compiling something and having it stored somewhere for public > use. Anybody have any comments? Agreement here on the list seems to be a bit on the elusive side these days. Seems like a bit of a stretch to me. Having said that, if there was such an "essential 100" list I sure would like to have it. Sure would be useful at Christmas! The file folder in my briefcase with CD recommendations from Bluesellers is getting a bit thick. Would be nice to consolidate it some day. Eric ========================================================================= Date: Tue, 26 Mar 1996 18:23:53 -0500 Reply-To: James Leftwich From: James Leftwich Subject: New CD contest giveaway Come by my page and answer a simple trivia question to be entered in a CD contest giveaway. This time around I'm giving away Jordan Patterson & the D.C. Hurricane's _Give Me a Chance_. This guy is a star in the making, another in the long line of groundbreaking CDs of the JSP catalog. To add to the mix, Bobby Parker and Bobby Rush contribute their considerable talents to the CD. So, come on by. What have you got to lose? ============================================================================= Jim Leftwich Jim's Blues N' Brews leftwich@cloud9.net http://www.cloud9.net/~leftwich "I'm on cloud9!" :) New CD giveaway: Jordan Patterson ============================================================================= ========================================================================= Date: Tue, 26 Mar 1996 23:24:08 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: LARRY GARNER NEW CD : BATON ROUGE (W/LARRY MCCRAY) Comments: To: bit-listserv-blues-l@uunet.uu.net We've just received the new Verve CD as a French Import. Has this set been issued in North America? Larry McCray is featured on all 12 tracks, helping out with a few vocals. AIRLINE BLUES just features them with their guitars. If you enjoyed his last Verve CD, you'll love this set. eRIC ========================================================================= Date: Tue, 26 Mar 1996 18:29:24 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Washington DC guitar shops Can anyone in the DC area recommend a music shop which would have a large selection of used amps (preferably Fender tube amps)? ============================================================================= Jim Leftwich Jim's Blues N' Brews leftwich@cloud9.net http://www.cloud9.net/~leftwich "I'm on cloud9!" :) New CD Giveaway: Jordan Patterson ============================================================================= ========================================================================= Date: Tue, 26 Mar 1996 18:30:55 -0500 Reply-To: USBLUE5@AOL.COM From: "Gordon, Rich" Subject: WXRX Sunday Night Blues 3/24/96 10pm Gary Moore, Need Your Love So Bad, Blues For Greeny, Charisma William Clarke, Pawnshop Bound, Serious Intentions, Alligator - Lonnie Brooks, A Man's Got To Do What A Man's Got To Do, Satisfaction Guaranteed, Alligator Howard and The White Boys, She Can Cook, Strung Out On The Blues, Mighty Tiger - Saffire-the Uppity Blues Women, OBG Why Me Blues, Broadcasting, Alligator Coco Montoya, Someday After A While, Gotta Mind To Travel, Blind Pig - Kenny Wayne Shepherd, Shame Shame Shame, Ledbetter Heights, Giant John Primer, She Won't Give Me No Lovin', The Real Deal, Code Blue - Rory Block, Gone Woman Blues, Tornado, Rounder Guy Forsyth, Taxi, Needle Gun, Antones - Fleetwood Mac, Without You, English Rose, Epic Luther"Guitar Jr."Johnson, A Pretty Girl, Slammin' On The West Side, Telarc - 11pm Albert Collins, I'm Ain't Drunk, Cold Snap, Alligator Jimmy Johnson, Little By Little, Bar Room Preacher, Alligator - Willie Dixon, I Love The Life I Live, Hidden Charms, Capitol Bobby Rush, People Sure Act Funny, One monkey Don't Stop No Show, Waldoxy - Corey Harris, It Hurts Me Too, Between Midnight And Day, Alligator Marla Glen, Nor Really Easy, Love & Respect, Vogue - Lavelle White, Voodoo Man, Miss Lavelle, Antones The Band, Back To Memphis, High On The Hog, Pyramid - Mike Morgan & The Crawl, Crazy Mixed Up World, Ain't Worried No More, Black Top Francine Reed, I Want You To Love Me, I Want You To Love Me, Ichiban - Chicago Bob Nelson, Wilma Jean, back To Bogalusa, KingSnake Sonny Rhodes, Drink Muddy Water, Out Of Control, KingSnake - Garcia/Grisman, The Thrill Is Gone, Jerry Garcia/David Grisman, Acoustic Disc Rich Gordon Sunday Night Blues 10pm to Midnight WXRX 104.9 FM Rockford,IL ========================================================================= Date: Tue, 26 Mar 1996 18:32:54 -0500 Reply-To: Jon Duttweiler From: Jon Duttweiler Subject: Sitting & Thinking - Tre TRE - DELIVERED FOR GLORY - RECLAIMING THE BLUES JSP #265 JSP P. O. BOX 1584, LONDON N3 3NW ENGLAND TEL: 44 181 346 8663 FAX: 44 181 346 8848 Some people have wondered where the blues is going and if we'll like it when we get there. Well, if this debut CD on the JSP label from a rising blues star is any indication, we'll like it just fine! John Stedman is to be congratulated on recognizing another talent that other labels, seemingly, have passed over. The use of only one name as an appellation (ala Roseanne) may indicate to some an affectation indicating a lack of talent which needs to be made up for, but in this case you'd be way off base. Tre (pronounce "tray") has impeccable blues credentials and talent galore. He is the son of the greatly underrated L. V. Banks and, though under forty, has been playing the blues himself for over 20 years. Featured in "Living Blues'" "40 under 40" article in LB (put # here), Tre includes a fairly illustrious group of performers among his influences: Albert and BB King, Tyrone Davis, Junior Parker, Jimmy Reed and Bobby Bland, as well as his own father. He's not as interested in reinventing the blues as he is "reclaiming" it (as the title of this CD suggests) for the community in which it originated. Tre's guitar style is clean and precise, without a lot of the sound effects that many modern blues and blues/rock players are using. While Tre says he admires Buddy Guy, he's more interested in playing, and expanding the audience for, "traditional" blues. He says he wants to be the next "BB King," and while vocally he reminds me more of Buddy, his playing is clean, single note playing with a little jazz flavoring to it at times. His songwriting is original, moving beyond the stereotypical lyrics and AAB pattern, but always firmly grounded in the blues. Besides Tre, who hands the vocals and lead guitar work, the band includes Joe Burba on rhythm guitar, bassist Ken Hampton, Allen Kirk on drums and percussion, Bennie Brown, piano and keyboards and Ted Reynolds chipping in on harmonica. The band is tight and provides solid backing for Tre. With the blues in hands like these, we have no need to be worried about where the blues will be in ten or fifteen years. Give this disc a spin and find out what reclaiming the blues is all about! ONE EYED MAN / YOU TOOK THE BLUES OUT OF ME / MIDNIGHT TRAIN FOR HOME / I'M VERY SUPERSTITIOUS / PLEASE STAY / DELIVERED FOR GLORY / MORE THAN A WOMAN / HARD HEARTED WOMAN / RECLAIMING THE BLUES / DA BLUES NY CD Takes ONE EYED MAN: Tre and company kick off this album with a moderate paced number that has a driving, shuffle-type beat. The harmonica gets the first solo, but then Tre steps up with some neat single note soloing. Here you can see the BB King/T-bone Walker influences in his style. Very tasteful and very nice! The vocals here are, perhaps, the real surprise. Tre sounds a lot like Buddy Guy to my ear, which is intended as a complement. This track clues you in from the start, however, that here is no mere imitator, but someone who can legitimately claim the mantle for the next generation as a true bluesman. YOU TOOK THE BLUES OUT OF ME: More up-tempo then the last cut, but again with a shuffle beat, this Tre original (all the songs on this disc, by the way, are credited to Tre) is shows that not all blues have to be about being down an out. An ode to the benefits of a good loving woman, this track shows off Tre's versatile guitar and gives him room to stretch out. The band stays right with Tre on this one, never getting ahead or behind their bandleader. Some tasty piano playing is down in the mix, but listen for it. MIDNIGHT TRAIN FOR HOME: Tre and the band slow it down on this cut for some deep blues. Ted Reynolds does some nice harp work in the songs introduction, conjuring up a sense of a train coming down the tracks as Tre plays some beautiful licks on top. Hard to top this type of blues song in my book, and Tre shows that he's going to be a master of it, if not already. I'M VERY SUPERSTITIOUS: While credited to Tre, this song for all the world sounds like a combination Stevie Wonder's "Very Superstitious" and Willie Dixon's "I Ain't Superstitious." Tre shakes it up and turns it around a bit and makes it jump. Nice rhythm work on the part of Joe Burpa as Tre shows off his playing without ever resorting to mere guitar pyrotechnics. PLEASE STAY: This cut is another up-tempo jumping little number starting out with a rhythm reminiscent of the "Hand Jive." As the tune progresses, Tre and the band began to heat it up a bit. Try to keep your foot from tapping with this one, I bet it can't be done. DELIVERED FOR GLORY: One of the TWO title songs, this song delves into areas more often left to Gospel. I have always felt the blues to be an intensely spiritual music, communicating the reality of human experience on a most elemental level even when not dealing with overtly spiritual matters. Tre takes that a step forward in this shuffle tune and, without being preachy, offers up this paean of praise to his "Father above" for ALL that life has to offer, including the opportunity to sing the blues. This is what blues is about, communicating to others through music what you feel in your heart, and Tre certainly accomplishes it hear! MORE THAN A WOMAN: The blues meets soul and country. That's what this track reminds me of. Tre shows off his versatility in a song that relies more on his vocals then anything else. This slow ballad is for anyone who's ever lost that one special love and has never stopped loving her. Put this on late at night with the lights turned down low and be prepared to feel blue. HARD HEARTED WOMAN: Guaranteed to chase those blues away, this track cuts the heat back up with a rockin' rhythm and boogie beat. Bennie Brown's piano playing again shines through the mix, even as Tre cuts lose on guitar and Ted Reynolds shows out on his harp. This number should be a crowd pleaser during live sets, cause it sure sets the speakers to jumpin'. RECLAIMING THE BLUES: The second of the two title tracks, this is a jazzy little number that sounds like Charley Christian meets the Modern Jazz Quartet. And I like that! The credits don't list a vibraphone, so I suppose Bennie Brown gets that sound from his keyboard, but I haven't heard it used before in the realm of CHICAGO blues. An all instrumental number, this is another track that jumps. DA BLUES: Tre and company close out the disc the way they opened it up, with an up-tempo shuffle. This seems to be a semi-autobiographical tune about how "da blues" got hold of Tre, and he really works it. The band gets to show off one last time what a tight group it really is. "I'm a guitar playin' preacher from the delta, honey...," Tre sings, "I got da blues, baby, and its all inside of me." Watch out, cause when he lets those blues out you can't help but get 'em all inside of you as well! A stellar album from a rising star. Get this disc to find out what all the hoopla is going to be about, Tre is sure to be heard from again. Reviewed by Jon Duttweiler Copyright NY CD Blues @1995-1996 All Rights Reserved. Unauthorized use prohibited. WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 26 Mar 1996 15:53:55 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Cute Little Girls LW wrote: >Bad subject header: I was listening to Debbie Davies the other day and I was >impressed (again). I think she is a very good player. I made the comment to >my friend that I think her being a female has denied her the credit she >deserves, I think the same is true of Rory Block. > >IMHO they are both better than many of their more famous/successful male >peers. > >I don't (IN THE LEAST) want to start a gender thing here, but I'm curious if >anyone else feels that way or is it just me. I agree with LW on this one. A female guitarist friend of mine, Lisa, who plays rings around most male guitarists, has put up with a lot because of her gender. The least is people being dismissive of her as a musician because she "is a chick." I reccomended her to a band and when she called the guy told her the position was closed (it wasn't). Later I found out that the guy she called had a very jealous wife. This led to an amusing story as the guy's wife was asking a mutual associate about how Lisa looked and whether she was attractive. He replied, to allay the fears of his friend's wife, "She's a little hefty." Now Lisa is most definately not hefty. She is also most definately not unattractive. Of course, I was asked the same question, in front of the guys wife, "What does Lisa look like? I heard she is a little on the hefty side?" Not knowing what went down I answered that hefty is not an adjective that comes to mind concerning her appearance and that she looks good on-stage. To shorten the story it was all cleared up. I talked to her about it and though she was (desrvedly) a little upset the situation was ludicrous enough to be able to get a few laughs out of it. I think the reason that why people (men?) are dismissive of female musicians is insecurity. Personally, if you a good musician who cares what sex you are. When I was at MI, of the three drummers there that I really liked two were women. They were great musicians. Actually, Don C is friends with one of them and we have both witnessed, on different occasions, some incredible playing by this woman. The downside is that I have heard a few guys at the school dismiss playing of woman musicians in general. BTW, I saw Debbie Davies open for Robben Ford at the HOB in LA last year. She put on a great show. Won me over as a fan (and a sizable part of the audience). She played with Albert Collins. That is a good enough reccomendation in my book. I also think that Debbie and Rory Block are not bad looking either (If I'm being not-PC then good) Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Tue, 26 Mar 1996 19:26:31 -0500 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: J Miller Were it not for the list, I believe I would not have known of Mr. Miller's passing. The newspapers, radio, and TV, at least in Mid-Michigan, seem to not have noticed. If anyone would be willing to Fax me a copy of J.D. Miller's obituary, please contact me privately, and I'll give you my Fax number, Bluz. Ed ========================================================================= Date: Tue, 26 Mar 1996 18:28:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: the jug band at the Peabody I'm pretty sure I've read in some liner notes that the Memphis Jug Band was recorded at the Peabody. -Bonnie, who's watched the ducks march.... ========================================================================= Date: Tue, 26 Mar 1996 18:48:22 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re: Washington DC guitar shops Comments: To: James Leftwich Jim, Southworth's is by all means the biggest and baddest. It's not far off the Metro- the Silver Springs or Bethesda exit, I think. It has a great selection of amps and vintage guitars. Prices are high, but quality is good. Good luck- Jim _______________________________________________________________________________ Subject: Washington DC guitar shops From: James Leftwich at INTERNET-SH Date: 3/26/96 6:20 PM Can anyone in the DC area recommend a music shop which would have a large selection of used amps (preferably Fender tube amps)? ============================================================================= Jim Leftwich Jim's Blues N' Brews leftwich@cloud9.net http://www.cloud9.net/~leftwich "I'm on cloud9!" :) New CD Giveaway: Jordan Patterson ============================================================================= ========================================================================= Date: Tue, 26 Mar 1996 16:58:12 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Women and the music biz Hi Everybody! Shaun's post, and the experiences of so many of my female musician friends prompted me to write a response on this subject. I don't know which is worse.... The pig-headed excuses-for-men who give women so much trouble in this industry, or the men-hating "feminists" who politicize EVERY SINGLE aspect of life in response.... I think the two types deserve each other quite frankly... Unfortunately many really great women still deal with jerk males in the biz, and many great men still get called sexists for having the temerity to have a penis.... So first, a little truth... Do male musicians find female musicians sexy? HELL YES! Is there anything wrong with that? HELL NO, and if you think there is, you can kizz my azz.... I love 'em, they knock me out. *BUT* we, if we are actually men worthy of the name, will keep our feelings to ourselves, unless it is appropriate to act on them. A little attraction between people never hurt *anyone* unless it becomes lechery or unwelcome emotional attachment. Why should a woman be treated like a child and considered less of a musician than a man?? The drummer Shaun mentioned is Nan-the-girl-drummer-of-doom, who will be on my own demo. She would be on my demo and if available, in my band, no matter WHO else is available. There is no one I would rather have, no matter how famous. Yet she gets dumped on for "being a girl" and is not taken seriously, and is sent away with lies from auditions from low-life metalhead losers. Another sign of the wretchedness and artistic bankruptcy of the rock world IMO. Why, when a talented woman rents time at a studio does she get constant come-ons from the "engineer"? Yes, this has happened to people I know... Why are women always packaged as T&A first, and music second? Why are so many women so eager to be packaged as such?? This is a complex issue, but what is simple is this: There are thousands of really good, really creative females out there who want to be treated just like you and I, guys... It's that simple, so get over all the drama, bigotry and fantasizing... And speak up when you see others doing it. They just want to play, sing and try out your new amp so get over it! Reality is a lot more sexy, quite franky... DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu I looked over Jordan, and what did I see An Eldorado comin' after me comin' for to carry me home.. -- Dizzy Gillespie ____________________________________________________ ========================================================================= Date: Wed, 27 Mar 1996 01:53:11 GMT Reply-To: Dave Gotwisner From: Dave Gotwisner Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: TV Tues: "Crossroads" -Reply In article , Roger Struve wrote: >DAMN RIGHT IT'S WORTH 2 HOURS! > >This is one of the few movies (besides Scarface with al pacino, and >Godfather Parts 1& 11 (forget III)) that i watch over and over. > >The trick is::: ya gots to get over Ralph Machio being the lead part....get >past that, and the movie is dynamite....Mr. Seneca is >GRRRRREEEEAATT....some great humor and great lines........"BLuesman from >Rhode Island, now that's rich....." (paraphrased only) > >delta doc roger Actually, to pick a nit, it's "Bluesman from LONG Island". Also, the other real great line takes place in the black club where Machio decides to come in with a guitar, and is praised for his anatomy. The only reason it worked with Machio in the lead roll is that he is the LEAST likely person to play it (well, maybe a young Woody Allen would be funnier). -- "I am an invisible man. No, I am not a spook like those who haunted Edgar Allan Poe; nor am I one of your Hollywood-movie ectoplasms. I am a man of substance, of flesh and bone, fiber and liquids -- and I might even be said to possess a mind. I am invisible, understand, simply because people refuse to see me. Like the bodiless heads you see sometimes in circus sideshows, it is as though I have been surrounded by mirrors of hard, distorting glass. When they approach me they see only my surroundings, themselves, or figments of their imagination -- indeed, everything and anything except me." -- Ralph Ellison (from the Invisible Man) ========================================================================= Date: Wed, 27 Mar 1996 02:04:55 GMT Reply-To: Dave Gotwisner From: Dave Gotwisner Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: Crossroads-reply In article <199603261903.OAA67972@osceola.gate.net>, P.W. Fenton wrote: >On 26 Mar 96, Wayne Winkler had this to say... > >> However, this movie begs the question of why >> Hollywood (or some innovative independent) has not seen fit to make a feature >> film on Robert Johnson. Has Steve LeVere scared EVERYONE away from such a >> project? Come on, producers - this film is BEGGING to be made! > >I think you may be projecting a little too much of your own desires >into that last statement. I would be willing to bet that only a >tiny percentage of the U.S. population could tell you, even vaguely, >who Robert Johnson was, and only a portion of those people would be >interested in a movie. I think more could tell you who RJ was than you would think, just given the crossover of RJ songs into Rock. > >You might get all of us Bluesellers into the theater, but there's >less than 1500 of us. When even a cheaply made movie costs several >million dollars to make, it's not suprising (to me)that nobody is >rushing to make a film. > >Maybe if we could work in some big car wrecks and exploding juke >joints... Ah, but it has mystery (just how did he die?) and could easily be made into having lots of sex and violence (if you follow legends and stereotypes around bluesmen). Of course, for Hollywood to make it, they would need to do something with the soundtrack, say maybe have John Denver or Wayne Newton, or maybe even Snoop Doggy Dog do the soundtrack? I think we have a hit on our hands. Oh, by the way :-). Not that I don't think they could do a good movie. Hollywood has done many great biographies, and in the realm of american music, RJ is definitely more instrumental than Woody Guthrie (played by David Caradine) and may be on par with Louis Pasteur, Marie Curie, Norma Rae, etc. in their areas of historical importance. Of course, hollywood has also had Jack Webb play a Blues musician, so who knows about the casting. Also, with the gatewaying of this group onto Usenet (where I read it), I suspect the readership is higher than you think. -- "I am an invisible man. No, I am not a spook like those who haunted Edgar Allan Poe; nor am I one of your Hollywood-movie ectoplasms. I am a man of substance, of flesh and bone, fiber and liquids -- and I might even be said to possess a mind. I am invisible, understand, simply because people refuse to see me. Like the bodiless heads you see sometimes in circus sideshows, it is as though I have been surrounded by mirrors of hard, distorting glass. When they approach me they see only my surroundings, themselves, or figments of their imagination -- indeed, everything and anything except me." -- Ralph Ellison (from the Invisible Man) ========================================================================= Date: Tue, 26 Mar 1996 18:54:54 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: The LA (Lower Alabama) Blues Cruise Playlist for this week Keith posted his playlist, including the following: >4 Elmore James Best of the Blues K-Tel >The sky is crying >5 Bobby Blue Bland Best of the Blues K-Tel >Farther up the road >6 Howlin' Wolf Best of the Blues K-Tel >Spoonful K-Tel??? They're still around? And here I thought they only put out "Greatest Disco Hits of 1977" albums! >22 Sonny Landreth Blues Attack AVI Baby >please don't go >23 Sonny Landreth Blues Attack AVI Pine >Grove Blues I haven't heard this album - how is it compared to South of I-10 and the second last one (can't recall the name of it offhand)? -Jim (hndful@uniserve.com) ------------------------------------------------------------ Check out 'Heart and Soul', a new hour of blues, gospel, and jazz every week on SDF-Net Community Radio - http://sdf-radio.colossus.net. ------------------------------------------------------------ ========================================================================= Date: Tue, 26 Mar 1996 19:03:26 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Regarding off-topic stuff Hi All. When I joined Jazz-L (obviously the jazz equivalent of Blues-L), this is the message I got: >Hello, and welcome to Jazz-L! As one longtime subscriber put it, "...This >humble salon of ours is unlike anything else on this fair planet. While >the ratio of jazz to other discussion may vary, we do manage a >consistency and level of chewing satisfaction of which we are quite >proud, and this stems from the very fact that, unlike other lists on >which one might get chafed forat discussing anything even slightly >"off-topic", our laid-back forum and the virtual and personal bonds which >we've established have enabled us to achieve something more like a real >conversation, with intelligent (or sometimes just silly) tangents >diverging and converging just like they would in an actual gathering of >like-minded intelligent people from diverse backgrounds." I like this approach. What do y'all think? -Jim (hndful@uniserve.com) ------------------------------------------------------------ Check out 'Heart and Soul', a new hour of blues, gospel, and jazz every week on SDF-Net Community Radio - http://sdf-radio.colossus.net. ------------------------------------------------------------ ========================================================================= Date: Tue, 26 Mar 1996 22:23:56 -0500 Reply-To: BLUESROCCO@AOL.COM From: Jim Rocco Subject: Re: Crossroads and cute little girls Comments: To: Bo.Carlsson@hks.se Mz or Mzr Bo wrote: >OK Ranko, don't you ever mention that anything is beyond the scoope of this list from now on...bla...bla...bla ......Not to mention the opinionated and arrogant views of a couple ...sorry....few...who seem to want it their way or no way gives a great deal of US L-ers the blues....should WE write about THAT ? Maybe we should go "public" with what we say about YOU....maybe that would give you-all the blues....But I doubt it ! Thanks anyway Ranko....I appreciate your opinion anyway Rocco ========================================================================= Date: Tue, 26 Mar 1996 22:32:39 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Re[2]: Crossroads and cute little girls Comments: To: shannon_oconnor@swpco.com In a message dated 96-03-26 17:54:54 EST, shannon_oconnor@SWPCO.COM (shannon oconnor) writes: > Re that subject line and the sprouting discussion...You-all don't even > WANT me to get started on this one, do you???? I fully expected this thread to contain the lyrics of "Good Morning Little Schoolgirl." (and mention of Big Joe Williams, or Fred McDowell, or EVEN MORE SO Junior Wells singing "tell your mama and your papa I'm a little schoolboy too.") Tom Freeland ========================================================================= Date: Tue, 26 Mar 1996 22:37:06 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: the jug band at the Peabody Comments: To: KALMBACH@macc.wisc.edu On March 26, The Fabulous Native of the Dairy State, Ms. Bonnie (the K) Kalmbach, said: >>>I'm pretty sure I've read in some liner notes that >>>the Memphis Jug Band was recorded at the Peabody. I'm going to request specific names from Tom Freeland on this one, but I know that The Peabody was a 'major' recording site in the 1920s and 1930s. I think that Furry Lewis, Frank Stokes, John Hurt, Robert (Tim) Wilkens and dozens of others did their sessions there. (Of course, they would never have been allowed to check into the place as guests.) Dick Waterman ========================================================================= Date: Tue, 26 Mar 1996 22:37:27 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Convention: First report Comments: To: Jinxblues@aol.com Dick Waterman's report was an excellent report, and a very very good start to the convention plans. I am not sure whether work will let me attend, but the convention Dick is lining up sounds very interesting. Tom Freeland ========================================================================= Date: Wed, 27 Mar 1996 04:13:41 GMT Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: Blues Down Under Comments: To: John Hanna <102515.744@COMPUSERVE.COM> On Tue, 26 Mar 1996 13:54:19 EST, John Hanna wrote: >I'm new, so please be easy. Fat chance! >I'm going to go Australia in June and July. Does anyone know about the >Australian blues scene? Where should I go? Who should I see? I just yesterday received a link to the excellent and growing Australian Blues Page at: http://www.werple.net.au/~galap/ozblues/ See it if you can and/or e-mail Craig Smith at galap@werple.net.au I've also got a half-dozen blues radio listings in Australia (and one in Tasmania!) at http://www.vivanet.com/~blues/australa.html or e-mail me and I'll send them to you. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Tue, 26 Mar 1996 22:51:45 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: LARRY GARNER NEW CD : BATON R > From: Eric LeBlanc-CISTI > > We've just received the new Verve CD as a French Import. > Has this set been issued in North America? Typically, the Verve stuff comes out in Europe about 6 months before it comes out in North America. I don't know why they do it that way, but it seems to be standard proceedure. Our local Polygram rep doesn't have it yet. Don O. ========================================================================= Date: Tue, 26 Mar 1996 22:51:47 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: memo gonzalez Dallas harp player Memo Gonzalez has his first album in the can. It was recorded live in Dusseldorf, Germany with backing from a German blues band called the Bluescasters. A *very* good german blues band, I might add. Most of the tunes are Memo originals. It's due out on Stumble Records. Don O. ========================================================================= Date: Tue, 26 Mar 1996 22:51:50 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: smokin' joe kubek I talked to Smokin' Joe Kubek this afternoon and they have just finished recording their 5th album for Bullseye Blues up in Memphis. 10 original songs by Joe and Bnois with 2 instrumentals and a couple of slide numbers. No special guests, no horns, no keyboards, just Joe, Bnois, and their new bass player, Dave Jenkins, and new drummer, Mark Hayes. No title for the album yet. Joe said the only difficult thing about making this album was the photo session. They are playing in Dallas on March 30 and I'm looking forward to hearing their new tunes. Don O. ========================================================================= Date: Tue, 26 Mar 1996 20:40:08 +0000 Reply-To: ksailors@hooked.net Comments: Authenticated sender is From: "Kenneth M. Sailors" Subject: Re: Debbie Davies (Women & the Biz) Someone, I forget who, mentioned Debbie Davies. I bought here first CD because, if she was good enough to play with the Iceman for three years, she was good enough for me and I read a couple of good reviews on her 1st CD. I have two things to say about Ms. Davies: 1) She does _not_ "play good, for a chick". She just plays good. She has the cajones to take on Freddy King. She should. 2) Her first CD was enough to make me buy her second. Check her out. Ken ========================================================================= Date: Wed, 27 Mar 1996 05:28:56 GMT Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: eRIC's BLUES DATES: Mar. 27 Comments: To: James Carmin On Tue, 26 Mar 1996 07:35:40 -0800, James Carmin wrote: >Here's a few dates (b. born, d. death) for tomorrow. Wow! Born on March 27: Leroy Carr, Robert Jr. Lockwood, Sarah Vaughan, Ben Webster, and: >COPELAND, JOHNNY CLYDE (g) b. 1937-0327, HAYNESVILLE, LA Happy 59th Johnny Copeland! *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Wed, 27 Mar 1996 00:16:02 CST6CDDT Reply-To: NOW HEAR THIS From: NOW HEAR THIS Organization: UW-Superior Subject: help- hendrix! Could someone please tell me some books or web sites about the physics of feedback and how amplifiers work? I am doing a speech on jimi hendrix's contributions to guitar playing and rock nroll/blues. I would like to throw in some physics into my speech like hendrix popularized feedback feedback is when the magnet of a pickup.... blah blah blah. I think i can get the resources together for the playing techniques. I have to have 3 points for it so mine are: hendrix's innovation of chords such as add 9 chords hendrix taking more laid back blues and using things like distortion to change the whole perspective on the blues hendrix's use of feedback (physics section) I havent started the actual research so they are just tenative points. But i need 3 citations so thats why i need to know like web sites to look up stuff like how distortion works or how wah-wah pedals work etc. Well if anyone writes back thanks for your help! Sorry to bother all you blues-l people but im a broke guitar playing college kid with the blues (literally) and an outline due in 5 days. SHIT! ========================================================================= Date: Wed, 27 Mar 1996 06:28:28 GMT Reply-To: "Shane K. Bernard" From: "Shane K. Bernard" Organization: Texas A&M (student) Subject: Famed Swamp Blues Producer Dies Comments: To: bit-listserv-blues-l@uunet.uu.net >From Shane K. Bernard and the Swamp Pop Music Pages : A controversial figure to some on the South La. music scene, J. D. Miller produced many swamp pop and swamp blues recordings at his well- known Crowley LA studio. Many of his productions were issued on the Excello label of Nashville. Here's an obituary written by Herman Fuselier for the Sunday, March 24 edition of the St.Landry Parish "Daily World": *** J. D. Miller, whose song "It Wasn't God Who Made Honky Tonk Angels" opened the way for women in country music, died Saturday at a hospital in Lafayette. He was 73, and died of complications from recent quadruple bypass surgery, said Freddie Pate, a studio musician at Miller's MTE Studios in Crowley, where Miller had lived since he was a boy. Miller's "Honky Tonk Angels" made Kitty Wells country music's first female superstar, with the first No. 1 song and million-seller by a female vocalist. Songwriter Jimmy C. Newman and Cajun fiddler Doug Kershaw got their starts at MTE, which also recorded part of Paul Simon's "Graceland" album. Miller's song, "I Hear You Knockin'" is on Dwight Yoakam's 1988 album "Buenos Noches from a Lonely Room." Miller was still running day-to-day operations at MTE and producing an album for a group in Port Arthur, Texas, when he entered Lourdes Hospital for the operation, Pate said. His funeral was tentatively scheduled for Monday. Miller's "Honky Tonk Angels," a retort to Hank Thompson's 1952 hit, "The Wild of Life,'' opened the way for women to set themes in country music and to perform on their own rather than members of singing families. The chorus to Thompson's song is, "I didn't know God made honky tonk angels I might have know you'd never make a wife- But you gave up the only one that ever loved you And wet back to the wild side of life." Miller heard it on his car radio, pulled to the side of the road and started writing an answer. "It wasn't God who made honky tonk angels... Too many times married men think they're still single. That has caused many a good girl to go wrong. It's a shame that all blame is on us women." The Decca label asked Miss Wells, who had just signed with Decca after recording religious songs for RCA, to record it. She agreed, expecting only the $125 studio fee from that sesssion on May 5, 1952. Men had dominated performance and viewpoint in country music. Miller's song opened the door for other female performers and for songs like Loretta Lynn's "Fist City" and "The Pill." That alone might have made him a member of the Country Music hall of Fame, but was far from his only contribution to country. "He's been recording Louisiana rhythm and blues artists here in Louisiana, and Cajun artists, since the early '50s. He was very instrumental in Louisiana blues and Louisiana music... Everybody who got a start probably got it from him." He said blues artists recorded in Crowley included Lazy Lester, Slim Harpo, and Lightnin' Slim; Cajun musicians included Jo-El Sonnier, Warren Storm, and Kershaw and his cousin Sammy. Newman recorded "Diggy Liggy Liee" at MTE, and the Kershaws started as studio musicians there, Pate said. Miller was an early manager for Lefty Frizzell: Miller's song "Cry, Cry Darlin' " recently was recorded by Ricky Skaggs. "He told me not long ago... that he'd had a thousand songs cut and released. No telling how many he wrote,'' Pate said. "I still have tapes of stuff that was never recorded. A lot of that was blues." Miller was born in El Campo, Texas, but his parents moved to Crowley when he was 6 or 7 years old because the rice mills provided work for his father, an electrician. He started as a road musician, tourning Louisiana and neighboring states as the electric mandolin player for The Four Aces. His father's lessons in electricity turned out very useful in those early days of amplified instruments. "They didn't have electricity in a lot of those places. They would jack up the back wheels of the car and run a belt to the generator and let the car run to get juice. That's what you call playing by candlelight," Pate said. He quit playing professionally the night before he married, Pate said. He is survived by his wife, Georgia Miller, a daughter, four sons and 10 grandchildren. ========================================================================= Date: Tue, 26 Mar 1996 22:36:13 -0500 Reply-To: Brian E Rice From: Brian E Rice Subject: Re: Elderly Instruments Help At 03:45 PM 3/26/96 -1000, you wrote: >I'm looking into the purchase of a resonator guitar from Elderly... Their address is: Elderly Instruments 1100 N. Washington Lansing, MI 48901 USA Phone (517)372-7890 (Voice) (517)372-5155 (Fax) berice@concentric.net Brian E. Rice (Ann Arbor, MI - The home of Otis Spann Memorial Field) "The blues ain't nothing but a botheration on your mind." ========================================================================= Date: Wed, 27 Mar 1996 08:38:30 GMT Reply-To: seekers@BRUDERHOF.ORG From: seekers@BRUDERHOF.ORG Organization: ESSLink Subject: SEEKERS 96 Comments: To: bit-listserv-blues-l@uunet.uu.net SEEKERS 96 -- a gathering of young people This is an invitation to a conference hosted by the young people of the Bruderhof movement. We want to get together with other young people for an intense weekend of both fun and soul-searching. We hope to build friendships and encourage each other in our common search. for more information e-mail: seekers@bruderhof.org What is the Bruderhof? We at the Bruderhof try to put the radical teachings of Jesus of Nazareth into practice in our everyday life. This compels us to live in Christian community. We believe that Jesus message is a viable answer to the problems we all face. Read The Sermon on the Mount (Matthew, Chapters 5-7, any Bible). Can we live by these words? Can we really love our enemies? Is it possible for people to live completely for others? What would the world be like if we did? for more about the Bruderhof, check out http://www.bruderhof.org/ Why gather? Look at the suffering in the world around us; the hatred, prejudice, war, poverty, loneliness, and fear. Our society has failed miserably. Our government has failed. Our churches have failed. Our schools have failed. Our families have failed. And most us are too busy looking out for ourselves to do anything about it. It can t go on like this any longer. Something has to change. What can we do? Who knows? We certainly don't have all the answers. That's why we're getting together. SEEKERS 96 is for anyone who believes that we can and must do something. We must be ready for action, to sacrifice everything to make our dreams a reality. What s the weekend going to be like? SEEKERS 96 is an informal conference. Be yourself. Be willing to listen to others and to learn from them. Don't take yourself too seriously. Come ready to have some fun. We will enjoy being together, whether we are talking, working, playing, hiking, singing, or eating. Where is SEEKERS 96 going to happen? SEEKERS 96 will be hosted by the Deer Spring Bruderhof in Norfolk, Connecticut. Norfolk is conveniently located in the northwest corner of the state, about an hour from Hartford and the nearest bus and train stations. If transportation is a problem, let us know. When is SEEKERS 96? The conference will start on Friday, September 20, in the evening and will end at noon on Sunday, September 22. More information will be available closer to the date. PASS THIS MESSAGE ON!! to anyone and everyone you know who might be interested. ========================================================================= Date: Wed, 27 Mar 1996 03:57:53 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Washington DC guitar shops Comments: To: bit-listserv-blues-l@uunet.uu.net Try Big Al's in Silver Spring, run by Big Al Sevilla and Howard Rosenthal. They carry vintage guitars and amps. I think the number is 301-589-9330, but I'm not sure. They're open Tuesday through Saturday, 11:00-7:00, and they're located just off Georgia Avenue, not too far from beautiful downtown Silver Spring. Denise ========================================================================= Date: Wed, 27 Mar 1996 04:44:38 -0800 Reply-To: "P.W. Fenton" From: "P.W. Fenton" Subject: Re: Crossroads-reply Comments: To: Dave Gotwisner In-Reply-To: > From: bckdrmn@netcom.com (Dave Gotwisner), on 3/27/96 2:04 AM: > >I think you may be projecting a little too much of your own desires > >into that last statement. I would be willing to bet that only a > >tiny percentage of the U.S. population could tell you, even vaguely, > >who Robert Johnson was, and only a portion of those people would be > >interested in a movie. > > I think more could tell you who RJ was than you would think, just given the > crossover of RJ songs into Rock. I think, given the crossover, it would be more likely that they would think those RJ songs were written by Eric Clapton. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Wed, 27 Mar 1996 04:42:42 -0500 Reply-To: Turdsdad From: Turdsdad Organization: America Online, Inc. (1-800-827-6364) Subject: Re: I'm A Hog For You, Baby Comments: To: bit-listserv-blues-l@uunet.uu.net i's on the b-side of Charley brown, and SIEGEL SCHWALL did a killer recoding of it on R.I.P. ========================================================================= Date: Wed, 27 Mar 1996 04:42:40 -0500 Reply-To: Turdsdad From: Turdsdad Organization: America Online, Inc. (1-800-827-6364) Subject: Re: song lyrics/author Comments: To: bit-listserv-blues-l@uunet.uu.net I've got the words and two recording of it also I perform it with my band. leber and stoller wrote it for the coasters. but I frist heard it on ... R.I.P from the SIEGEL/SCHWALL BAND. ========================================================================= Date: Wed, 27 Mar 1996 10:10:37 GMT Reply-To: tdevit3@NEWS-S01.NY.US.IBM.NET From: tdevit3@NEWS-S01.NY.US.IBM.NET Subject: Re: TV Tues: "Crossroads" Comments: To: bit-listserv-blues-l@uunet.uu.net I also enjoyed the guitar duel...was disappointed that the bar band which I believe was Big Jack Johnson and the Jelly Roll Kings (?) only got a couple of minutes in the film and did not make it to the sound track...was that track ever available on any other disc? ========================================================================= Date: Wed, 27 Mar 1996 05:15:05 -0800 Reply-To: "P.W. Fenton" From: "P.W. Fenton" Subject: On this day... On this day in 1958, CBS Laboratories announced a new stereophonic record that was playable on ordinary "LP" phonographs, meaning, monaural. In stereo, however, on the proper equipment, a new rich and fuller sound was heard. I'll bet that just like the folks who today insist "vinyl is better!", there were folks who felt that stereo was just plain un-natural. (The Beach Boys for example) P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Wed, 27 Mar 1996 05:17:56 -0800 Reply-To: "P.W. Fenton" From: "P.W. Fenton" Subject: Re: Regarding off-topic stuff In-Reply-To: --BeyondBoundary_1_Wed_Mar_27_05:18:11_1996__29 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7Bit X-Mailer: BeyondMail for Windows/SMTP 2.2 From: hndful@uniserve.com (Jim Witteveen), on 3/26/96 7:03 PM: > Hi All. When I joined Jazz-L (obviously the jazz equivalent of Blues-L), > this is the message I got: > > >Hello, and welcome to Jazz-L! As one longtime subscriber put it, "...This > >humble salon of ours is unlike anything else on this fair planet. While > >the ratio of jazz to other discussion may vary, we do manage a > >consistency and level of chewing satisfaction of which we are quite > >proud, and this stems from the very fact that, unlike other lists on > >which one might get chafed forat discussing anything even slightly > >"off-topic", our laid-back forum and the virtual and personal bonds which > >we've established have enabled us to achieve something more like a real > >conversation, with intelligent (or sometimes just silly) tangents > >diverging and converging just like they would in an actual gathering of > >like-minded intelligent people from diverse backgrounds." > > I like this approach. What do y'all think? Sounds a little OFF-TOPIC!!! This is BLUES-L not jazz-l !!! ;^) P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ Actually, this sounds like the Blues-L I remember, before we all went through the Blues Police Academy. --BeyondBoundary_1_Wed_Mar_27_05:18:11_1996__29 Content-Type: application/octet-stream; name="ATTRIBS.BND" Content-Transfer-Encoding: Base64 Content-Disposition: attachment; filename="ATTRIBS.BND" QmV5b25kIFBhY2tlZCBBdHRyaWJ1dGVzADI2ABgAKAAAAAAAcmU6IFJlZ2Fy ZGluZyBvZmYtdG9waWMgc3R1ZmYAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AHB3ZmVudG9uAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA8Qk1TTVRQODI3OTMyNjA5OHB3 ZmVudG8AQmV5b25kIFByb3ByaWV0YXJ5IERhdGEaAAAAAAQAAAAAAAAADwA2 AAAAAAAAAAAAAAAAAAAAAAAAAAAAQ29udmVyc2F0aW9uIElkNTw5Nk1hcjI2 LjE5MDMzNXBzdC4zNDgzOS02NjU0Kzc1OEBoYXZlbi51bmlzZXJ2ZS5jb20+ BAAAAAAAAAAQAAkAAAAAAAAAAAAAAAAAAAAAAAAAAABNZXNzYWdlIEVuY29k aW5nCElTTy04ODU5AQAAAAAAAAAVAAMAAAAAAAAAAAAAAAAAAAAAAAAAAABV c2UgUHJvcG9ydGlvbmFsIEZvbnQBAAEJAAAAAAAAAA0AIgAAAAAAAAAAAAAA AAAAAAAAAAAAAFByZXZpb3VzIEZyb20hIlAuVy4gRmVudG9uIiA8cHdmZW50 b25AZ2F0ZS5uZXQ+DQAAAAAAAAALADUAAAAAAAAAAAAAAAAAAAAAAAAAAABQ cmV2aW91cyBUbzMAfgMBAAkA//8kAAAAAiQAI2huZGZ1bEB1bmlzZXJ2ZS5j b20gKEppbSBXaXR0ZXZlZW4pDQAAAAAAAAALACsAAAAAAAAAAAAAAAAAAAAA AAAAAABPcmlnaW5hbCB0bykA8AABAAkA//8aAAAAAhoAGUJMVUVTLUxAQlJP V05WTS5CUk9XTi5FRFUBAAAAAAAAAAkAAwAAAAAAAAAAAAAAAAAAAAAAAAAA AEZvcndhcmRlZAEAAREAAAAAAAAADQAGAAAAAAAAAAAAAAAAAAAAAAAAAAAA T3JpZ2luYWwgdGV4dAAAAAAAAAkAAAAAAAAADQAiAAAAAAAAAAAAAAAAAAAA AAAAAAAAT3JpZ2luYXRlZCBieSEiUC5XLiBGZW50b24iIDxwd2ZlbnRvbkBn YXRlLm5ldD4RAAAAAAAAAAQAlQYAAAAAAAAAAAAAAAAAAAAAAAAAAFRleHQU BUZyb206IGhuZGZ1bEB1bmlzZXJ2ZS5jb20gKEppbSBXaXR0ZXZlZW4pLCBv biAzLzI2Lzk2IDc6MDMgUE06Cgo+ICAgSGkgQWxsLiAgV2hlbiBJIGpvaW5l ZCBKYXp6LUwgKG9idmlvdXNseSB0aGUgamF6eiBlcXVpdmFsZW50IG9mIEJs dWVzLUwpLAo+ICB0aGlzIGlzIHRoZSBtZXNzYWdlIEkgZ290Ogo+ICAKPiAg PkhlbGxvLCBhbmQgd2VsY29tZSB0byBKYXp6LUwhIEFzIG9uZSBsb25ndGlt ZSBzdWJzY3JpYmVyIHB1dCBpdCwgIi4uLlRoaXMKPiAgPmh1bWJsZSBzYWxv biBvZiAgb3VycyBpcyB1bmxpa2UgYW55dGhpbmcgZWxzZSBvbiAgdGhpcyBm YWlyIHBsYW5ldC4gV2hpbGUKPiAgPnRoZSAgcmF0aW8gIG9mICBqYXp6ICB0 byAgb3RoZXIgIGRpc2N1c3Npb24gbWF5ICB2YXJ5LCAgd2UgIGRvICBtYW5h Z2UgIGEKPiAgPmNvbnNpc3RlbmN5ICBhbmQgbGV2ZWwgIG9mIGNoZXdpbmcg IHNhdGlzZmFjdGlvbiAgb2Ygd2hpY2ggIHdlIGFyZSAgcXVpdGUKPiAgPnBy b3VkLCBhbmQgIHRoaXMgc3RlbXMgIGZyb20gdGhlICB2ZXJ5IGZhY3QgdGhh dCwgIHVubGlrZSBvdGhlciAgbGlzdHMgb24KPiAgPndoaWNoICBvbmUgIG1p Z2h0IGdldCAgY2hhZmVkICBmb3JhdCAgZGlzY3Vzc2luZyBhbnl0aGluZyAg ZXZlbiAgc2xpZ2h0bHkKPiAgPiJvZmYtdG9waWMiLCBvdXIgbGFpZC1iYWNr IGZvcnVtIGFuZCB0aGUgdmlydHVhbCBhbmQgcGVyc29uYWwgYm9uZHMgd2hp Y2gKPiAgPndlJ3ZlIGVzdGFibGlzaGVkIGhhdmUgIGVuYWJsZWQgdXMgdG8g YWNoaWV2ZSBzb21ldGhpbmcgbW9yZSAgbGlrZSBhIHJlYWwKPiAgPmNvbnZl cnNhdGlvbiwgIHdpdGggIGludGVsbGlnZW50ICAob3IgICBzb21ldGltZXMg IGp1c3QgIHNpbGx5KSAgdGFuZ2VudHMKPiAgPmRpdmVyZ2luZyBhbmQgY29u dmVyZ2luZyAganVzdCBsaWtlIHRoZXkgd291bGQgaW4gYW4gIGFjdHVhbCBn YXRoZXJpbmcgb2YKPiAgPmxpa2UtbWluZGVkIGludGVsbGlnZW50IHBlb3Bs ZSBmcm9tIGRpdmVyc2UgYmFja2dyb3VuZHMuIgo+ICAKPiAgSSBsaWtlIHRo aXMgYXBwcm9hY2guICBXaGF0IGRvIHknYWxsIHRoaW5rPwoKU291bmRzIGEg bGl0dGxlIE9GRi1UT1BJQyEhISAgVGhpcyBpcyBCTFVFUy1MIG5vdCBqYXp6 LWwgISEhICA7XikKClAuVy4gRmVudG9uClRhbXBhLCBGbG9yaWRhCmh0dHA6 Ly93d3cuZ2F0ZS5uZXQvfnB3ZmVudG9uLwoKQWN0dWFsbHksIHRoaXMgc291 bmRzIGxpa2UgdGhlIEJsdWVzLUwgSSByZW1lbWJlciwgYmVmb3JlIHdlIGFs bCB3ZW50IHRocm91Z2ggdGhlIEJsdWVzIFBvbGljZSBBY2FkZW15Lgp7AQMA FAV0AQMAAgAAABsAAQABAAEAjAQAAAAAAAACAI0EHgAAAAAAAAABAKsEagAA AAAAAAA4/wAAAAAAAAAAAAAAAAAAAABNUyBTYW5zIFNlcmlmAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAA4/wAAAAAAALwCAAEAAAAAAABNUyBTYW5zIFNlcmlm AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAABAAEAPwABAEAAQAABAEEAjgABAI8A rAABAK0AsAABALEA/gABAP8ATAEBAE0BmgEBAJsB6AEBAOkBNgIBADcChAIB AIUC0gIBANMCIAMBACEDbgMBAG8DvAMBAL0D+gMBAPsD/gMBAP8DLQQBAC4E LgQBAC8EcAQBAHEEcQQBAHIEfQQBAH4EjAQBAI0EqwQBAKwErAQBAK0EFAUB ABUFFQUAAAAAAAAAAAAAAABkAAGkAQFIAwHsBAGQBgE0CAHYCQF8CwEgDQHE DgFoEAEMEgGwEwFUFQH4Fm4AAAAAAAAAAAAAEAAGAAAAAAAAAAAAAAAAAAAA AAAAAAAAQXR0YWNobWVudCBDb3VudAQAAAAAAA== --BeyondBoundary_1_Wed_Mar_27_05:18:11_1996__29-- ========================================================================= Date: Wed, 27 Mar 1996 10:34:00 GMT Reply-To: Mr G M Smith From: Mr G M Smith Subject: Historic Blues Sites Hey,let's not restrict this to one side of the Atlantic! What about places like "The Station Hotel" (now "The Bull & Bush") opposite Richmond (Surrey,that is) station where those naughty Rolling Stones started building the reputation that allowed them to get Howlin' Wolf on prime time TV. Opposite another station,Ealing Broadway, is the site of the Ealing Club where the Stones were first introduced to each other by Alexis Korner and where a young whippersnapper name of Eric Clapton made his first public appearance with a reputedly very hesitant rendition of "Blue Suede Shoes". Yours, Garry Smith (whose tongue may,or may not,be firmly in his cheek) ========================================================================= Date: Wed, 27 Mar 1996 02:45:13 -0800 Reply-To: "Richard P. Buehler" From: "Richard P. Buehler" Organization: San Diego State University Subject: Re: Al Green anyone? Comments: To: bit-listserv-blues-l@uunet.uu.net In-Reply-To: <4j4vjq$rr3@freenet-news.carleton.ca> On Mon, 25 Mar 1996, Beckie Sansom wrote: > Can anyone recommend a complete collection of Al Green essential > recordings?I would really like to know what the group thinks > are his must-have sides.Is there any plans for a box set or a > re-issue series.I think he is one of the greatest singers > of the 20th century. > > Beckie Sansom & Robert J Dewar > ### > > > -- > xBeckie Sansom > Gloucester, Ontario > > Hey Beckie, I just came across a Grapevine article in the Goldmine magazine that mentions the soon arrival of an Al Green box from the Right Stuff/Hi Records label. Yep, I'm sure that's what I read. Richard. ========================================================================= Date: Wed, 27 Mar 1996 11:19:24 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Debbie Davies In-Reply-To: <199603270438.UAA28161@mom.hooked.net> On Tue, 26 Mar 1996, Kenneth M. Sailors wrote: > Someone, I forget who, mentioned Debbie Davies. > > > 2) Her first CD was enough to make me buy her second. > I LOVED her first CD. Played it over and over and over again .... but the second just wasn't up to snuff with the exception of a single cut "I Like The Life". Some of the others were passable but "A Mother's Blues"?? ... finger-in-the throat syrup. Yecchh! phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [27/3/96 5:53 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 27 Mar 1996 05:34:41 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Sitting&Thinking-Louisiana Red Today and tomorrow will be our last two posts on JSP. It has been fun & it is a good label to look into. For the most part John Stedman's up to uncovering rocks, checking the blues underneath, cutting the good moss & hoping someone else (bigger) will help that moss grow. His list goes on and on - both discovered blues people and under recorded-given-some-time blues people. You can always read the reviews we have (50+) on every CD from JSP at our web pages. I believe JSP also has 3 new releases coming soon - hopefully we will be able to report on them. LOUISIANA RED - ALWAYS PLAYED THE BLUES (JSP #240) JSP RECORDS P. O. BOX 1584 LONDON N3 3NW ENGLAND TEL: 44 181 346 8663 FAX: 44 181 346 8848 This is a generous CD in many ways. First off very few labels cut this big bluesman. Secondly the sides are long and full of music. There is a total of 13 cuts with 9 of them running over five minutes. I have always found that great blues grows strong when the playing time gets long. Thirdly the full time of this CD is 77 minutes and 52 seconds Fourthly Red gets to play with a great set of session men - Richard Studholme on guitar, Jon Cleary on piano, Marty David on bass and Geoff Nicholls on drums. Lastly it is a rare glimpse for us into an underrecorded master bluesman who has learned his licks from the greatest and continues to add to his repertoire daily. Kudos all around. VALERIE / DOWN SO LONG / SUN GOES DOWN / LEAVING TOWN / BROUGHT UP THE HARD WAY / STEEL ON MY HAND / MAMBO MUMBO / I'M LEAVING / VIVIENNE / THIS LITTLE LETTER / FEELING INSIDE / HELLO, MEAN OLD WORLD / THE BEST PLACE NY CD-Takes VALERIE: A sweet sided and musical blues opener sets up this CD. It starts out with a strumming guitar and a generous dose of Jon Cleary on the piano. Louisiana Red as always, is beautiful and sensitive in his singing. Just listen to those high note inflections by Red - wonderful. DOWN SO LONG: Here's a peck and wait guitar opening. Very taking in its delivery and a perfect side to Louisiana Red's rendition of this tune. The singing is classic blues - but better yet it's classic Red. The piano again is well fronted and as you will find throughout this whole CD a very important part to the music delivered. Big guitar runs also flavor this piece. This is six minutes plus of big Red blues. SUN GOES DOWN: Here the tempo turns up and the fun is out of the box. Louisiana Red delivers a real jump side with piano, drums, bass and guitars all having a high old time. As on Down So Long the instruments are given long stretches to play with very little vocals - the 8 minutes play time here again gives a lot of room for these men to deliver their music. This an outstanding side and easily a first play tune. LEAVING TOWN: Louisiana Red turns to the slide guitar for this number. Very eerie and penetrating. His vocals hold much more of a middle ground in their presentation - just the slide hits the edges. BROUGHT UP THE HARD WAY: A bass guitar is the instrument of choice here. Notice the wide range of sounds and the variety of guitars Red selects for each different tune. He tends to be very careful that the song he delivers has the appropriate instrument for that rendition. Given the wide range of blues he likes to play, his scope and capabilities make that the easier. STEEL ON MY HAND: Here is a wickedly mean slide guitar in a tribute song to Muddy Waters. The vocals are hair raising, and the words match perfect to the sound. Steel On My Hand certainly is the reference to Red's metal slide. Once again Red shows off his wide ranging abilities. How this bluesman gets overlooked here in the states amazes me - and that it takes a Brit with a vision to deliver back to us one of our own is even more mystifying. Here again the generous play time leaves room for a lot of music to make it through. Very cutely Red refers to Jon Cleary as Otis Spann Junior - a clear compliment to what he thinks of his skills - you will agree. MAMBO MUMBO: This side plays with a gumbo rock undertone or a Caribbean dance cut. Jon Cleary with Geoff Nicholls on drums make the most on this side. Their playing is true to the beat and the Mambo Mumbo naming here. The guest in the background is Louisiana Red on harmonica - a nice fun touch. I'M LEAVING: Some more eerie slide work sets this song in motion. Louisiana Red here again plays it like the great Muddy Waters in his vocals and his playing. This piece is nicely set off by the rest of instruments who sit back for the bulk of this side. Only Jon Cleary gets a fronted run - but then again Red loves him so. It's like giving your favorite child the bigger piece of candy. This is very powerful true to the roots blues. VIVIENNE: Red once again turns to the harmonica on a big rollicking side. The pace is way up and the singing is almost a yell. Red is having fun and you get it. I had a ball listening to this side. Red also gives his musicians a lot of air time here and particularly nice is the guitar run by JSP's studio master Richard Studholme. THIS LITTLE LETTER: More harmonica, but this time set right up against a strong piano and guitar - both fronted. Louisiana Red sings this one down and blue - slow time, sad time and bad time. A real cooker of a blues side - very seriously done. FEELING INSIDE: Not a blues tune at all - or maybe Red's version of where the blues can go. It's a sing songy cut with a lot of vocal playfulness by Red. Listen to his repertoire so far and ask the question - what is he looking for with this side. I'd like to find out since I respect him so much and want to know what to expect from him going forward. I enjoyed it but he stunned me and I like when that happens. HELLO, MEAN OLD WORLD: More slide guitar and a very slow drawing blues tune. The piano is set right in the face of the slide and the two make some very powerful music together. Louisiana Red's vocals here are some of his best. THE BEST PLACE: The closer sounds like a reverbed slide. A unique sound on top of a unique instrument in itself. This cut has a lot of foot tapping energy and would certainly make a hot party number. As you listen to the words you will hear another tribute by Red. This time he is thanking JSP and John Stedman for the opportunity to play and get recorded. As I have said on many an occasion this Englishman does so much for the blues that it's his time due to get a song in his honor. Bravo John! Red knows it and now we know it - KEEP IT GOING. Reviewed By Barry Silverberg Copyright NY CD Blues @1995-1996 All Rights Reserved. Unauthorized use prohibited. WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Wed, 27 Mar 1996 06:16:23 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Re: TV Tues: "Crossroads" -Reply -Reply I was just sittin' here this mornin', Readin" thru the BLUES-L, Everyone talkin' bout Maccio, ONly one talked about Will. Yes sir, Mr. Seneca plays his part of Willie Brown aka. Blind Dog Fulton so realistic, that i have to remind myself he's not real! Mr. Seneca's acting alone makes this movie stand out. Funny how everyone pretty much concentrated on Maccio and hadn't much to say about Mr. Seneca. ddr ========================================================================= Date: Wed, 27 Mar 1996 07:06:27 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: Various-order Hi everybody. Thanks much to Paul for steering you to his web page to order my new CD. That's always a good way. Just wanted to say, however, that if from those directions, you choose the option of ordering through me, (as opposed to the toll-free number) it works out better for me. So I would humbly request that option. If you'd like to, the cost is $15 (I can't bring myself to charge y'all postage).... Cathi Norton 5707 S. Handy Rd. Bloomington, IN 47401 Send me your check and snail mail address and I will be MORE THAN DELIGHTED to send a CD out pronto. Again...thanks to Paul for keeping my listing on his web page! Cathi N. ========================================================================= Date: Wed, 27 Mar 1996 06:25:47 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Crossroads and cute little girls -Reply Here we go again, somebody trying to curtail someone else's freedom of speech. Just delete if you don't like it. ddr ========================================================================= Date: Wed, 27 Mar 1996 07:29:37 -0500 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Going Down the Blues Road...wow! Comments: To: bit-listserv-blues-l@uunet.uu.net This is just a short message (I hope!) sharing my incredible journey to Memphis and the Delta (Clarkesdale) this past weekend. I had the opportunity to meet some of the kindest folks ever, including zellers Dick Waterman, Joel Slotnikoff, Tom Freeland and Jim O'Neal from Rooster Records (Good People!!!). For this urban lady (yeah, i admit with rural roots) it was a great opportunity to experience some southern hospitality and the music we love in it's purest form. It was a spiritual experience for me. The land is so deep, dark and vast. I could feel the souls of my ancestors slaving (literally) and creating a musical expression so dynamic that it has thrived and survived like never before. If you EVER get the opportunity to go, you MUST. I am going back in the summer, so I can get some REAL research done (too busy partying!) If anyone has any specific questions, just drop me a note! Lea Gilmore Baltimore, MD "Wild Women Don't Have the Blues" ========================================================================= Date: Wed, 27 Mar 1996 07:46:31 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Crossroads Flick - my turn I will go a little further with my confession. I not only enjoyed seeing it more than once, but I think Ralph Maccio was perfect. He plays a spoiled suburban kid who has never had to want for a penny, and who thinks he can copy licks from old records and be an instant Bluesman. After all, he thinks he can gain respect as a Bluesman, by learning a lost Robert Johnson song. And remember, he isn't going to the Delta to find it, Willie Brown promises to teach it too him in return for being helped to get back home. The scene where the Devil, (Papa Legba), smiles and the sky turns black behind him is wonderful. I will admit that the final head cutting contest in a huge nightclub/barn filled with black folks worshiping the guitar work of Steve Vai did kinda snap me out of the illusion rather quickly. On the other hand I kinda did like the idea that the kid had to reach down and grab something from his own roots (the classical influence) in order to gain the respect he sought, and win his friend's soul back. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 27 Mar 1996 07:45:58 -0500 Reply-To: ess@JACOBUS.COM From: Mike Tash Subject: Blues clubs in PA wanted I am trying to find new clubs for the Bad Influence Band to play in the PA area (Pitt., York, Harrisburg, Phil.) Any help would be great. Michael 'JR' Tash ess@jacobus.com The Bad Influence Band http://members.aol.com/badisblues/homepage.htm ========================================================================= Date: Wed, 27 Mar 1996 08:36:33 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Also on this day... On this day in 1968, Little Willie John died of a heart attack in Walla Walla Penitentiary. He was a teenage R&B singer in the gospel-influenced mold of James Brown, Sam Cooke and Jackie Wilson before going to jail for killing a man in a street fight in 1961. He was 31 years old. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 27 Mar 1996 07:25:19 -0600 Reply-To: Keith Castleberry From: Keith Castleberry Subject: Re: The LA (Lower Alabama) Blues Cruise Playlist/K-Tel >X-Sender: hndful@haven.uniserve.com >Date: Tue, 26 Mar 1996 18:54:54 -0800 >Reply-To: Jim Witteveen >Sender: Blues Music List >From: Jim Witteveen >Subject: Re: The LA (Lower Alabama) Blues Cruise Playlist for this week >To: Multiple recipients of list BLUES-L > > Keith posted his playlist, including the following: >>4 Elmore James Best of the Blues K-Tel >>The sky is crying >>5 Bobby Blue Bland Best of the Blues K-Tel >>Farther up the road >>6 Howlin' Wolf Best of the Blues K-Tel >>Spoonful > >K-Tel??? They're still around? And here I thought they only put out >"Greatest Disco Hits of 1977" albums! There are some excellent Blues albums out by K-Tel. Check the budget rack. They also re-released some Elvin Bishop and Wet Willie (thank God). > >>22 Sonny Landreth Blues Attack AVI >Baby >>please don't go >>23 Sonny Landreth Blues Attack AVI >Pine >>Grove Blues > >I haven't heard this album - how is it compared to South of I-10 and the >second last one (can't recall the name of it offhand)? The new Sonny Landreth album is very good. The best cuts are accoustical, and I have played these two cuts a good bit on my show. One of the best versions of "baby please don't go" since Butterfield's Better Days. > >-Jim (hndful@uniserve.com) > >------------------------------------------------------------ >Check out 'Heart and Soul', a new hour of blues, gospel, >and jazz every week on SDF-Net Community Radio - >http://sdf-radio.colossus.net. >------------------------------------------------------------ > > Keith Castleberry WYDH 105.9 FM "The Blues Cruise" P.O. Box 710 Atmore, AL 36504-0710 ========================================================================= Date: Wed, 27 Mar 1996 08:43:46 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: I'm A Hog For You, Baby Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *i's on the b-side of Charley brown, and SIEGEL SCHWALL did a killer *recoding of it on R.I.P. The Nighthawks also do a great version of it on their latest live album. ========================================================================= Date: Wed, 27 Mar 1996 09:00:18 -0500 Reply-To: Richard Flohil From: Richard Flohil Dave Overoye asked: Does anyone know a good Fats Waller CD? Quick answer: There is no such thing as a bad Fats Waller CD. I got flamed for being flip once, but if you need to be brought up after a long day, or made to smile at the beginning of one, Fats Waller can't be beat. Humour, wit, musical jokes, monstrous stride piano playing, and sheer good fun - the harmful armful, as he called himself, was a unique figure. Not much "strict" blues content, but enough jam, jive, and jazz to sort out any weary soul. Buy with pleasure, listen with joy! - Richard the Elder ========================================================================= Date: Wed, 27 Mar 1996 07:57:17 CST Reply-To: William Shute From: William Shute Subject: personal tribute to Jay Miller From: Bill Shute The death of producer/songwriter Jay Miller is something that should stop all blues fans in their tracks for a while and get us thinking about this wonderful body of work. Miller, working with many many GREAT southern blues artists, truly CREATED a sound...and the folks about whom that can be said are few indeed. Thanks to Eric and all the others who have posted the Jay Miller discographies and the personal info about this legendary figure. I've said before that I would take the Jay Miller body-of-work over the Chess Records body-of-work ANYTIME. I first got interested in Miller because as a little kid (elementary school aged, late 60s) I would try to find out who these guys were who composed the blues songs covered by UK bands like the Kinks/Animals, etc.Interest in "moore/west" and "lazy lester" as composers led to my finding a 45 of "I'm A Lover NOt a Fighter" and that led me to a 45 of "Raining In My Heart". I was already a big fan of Jimmy Reed (the parallel with Reed's style has been pointed out many times), so this stuff was right up my alley. In l972, tho, in the 9th grade I think, I struck pay dirt. US Excello issued a two-lp set (orig. put out in the UK, I think) called THE EXCELLO STORY, which I picked up and which had so many REAL downhome swamp blues numbers on it that it gave me the metaphysical equiv. of an orgasm. Hearing Lightnin' Slim moan "I'm gonna break out like the measles/girl, I'm gonna be all over you" and hearing Little Al's anthem celebrating women-of-substance "little lean woman sure can't draw my pay/she doesn't have a thing to drive my blues away/little lean, stay 'way from my door/ got a big fat girl and I can't use you no more" literally changed my life. What a sound these records had--it was, to me at the time, like the Sun Records sound except deeper and better. And that lazy yet insistent beat! This stuff was like the soundtrack to my life!!! I've continued collecting Miller's blues productions over the years, tho I could never afford all those UK Flyright albums, and of course AVI is doing a fine reissue program now, bringing out sides many of us haven't previously heard, such as the amazing Silas Hogan set. I had the privilege of seeing and speaking with Lazy Lester, one of my all-time heroes, last year and he was just like I'd imagined he'd be. Mark Miller has done a good job himself, altho those are big shoes to fill. Check out the many recordings he's done with Wayne Toups... A moment of silence is definitely in order for Mr. Jay Miller. (Lazy Lester still speaks highly of him today as a songwriting collaborator and producer, one who "understood" LL's music) Perhaps he's "organizing" some sessions in the afterlife right now... bringing together Moon Mullican and Otis "Lightnin' Slim" Hicks for the first time, drenched in echo, with someone in the background banging a ruler on a packing crate to keep time...slightly "behind" the beat, of course... Bill Shute San Antonio, TX ========================================================================= Date: Wed, 27 Mar 1996 09:05:45 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Possibly NOT on this day After finding that item on Little Willie John dying in jail on this date in 1968, I notice that the All Music Guide lists May 26th as the date, instead of March 26th. Either way Little Willie John is a great singer, and you should check out his Rhino "best of" CD. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 27 Mar 1996 09:01:17 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Washington DC guitar shops Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, leftwich/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=leftwich#a#CLOUD9#f#NET@s1boca.corp.wrgrace.com *Can anyone in the DC area recommend a music shop which would have a large *selection of used amps (preferably Fender tube amps)? Atomic Music, in College Park is an excellent shop for both its selection and prices. They have a lot of great vintage gear, with some of the lowest prices in town. I bought a great old Sears Silvertone amp from them for $75 and it's the best harp amp I own. Their address is 8606 Baltimore Ave. and their phone number is 301-474-5752. Someone else mentioned Big Al's, which is also a great shop. I haven't bought anything from Big Al's, but I had a couple of my amps worked on there. It's a great shop for, if nothing else, to just browse. It's a very interesting place. -Steve Levine Not affiliated with either shop, except as a satisfied customer, blah blah blah... ========================================================================= Date: Wed, 27 Mar 1996 08:09:31 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Crossroads and cute little girls Comments: To: Steve Levine In-Reply-To: <0FD02CD7@MHS> On Tue, 26 Mar 1996, Steve Levine wrote: > Does this mean we shouldn't post anything more about Sue Foley? :) The final post on Blues-L about Sue Foley will be the awarding of the Absolute Worst Blues person award from me and the rest of our little SA gang. -Jeff (Tracy Conover gets runner up) --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry | U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc02.uthscsa.edu/~seale/home.html |Baseball #4 ========================================================================= Date: Wed, 27 Mar 1996 09:16:10 -0500 Reply-To: Bob Crafton From: Bob Crafton Subject: Re: Billy Price Comments: To: Bo Carlsson In-Reply-To: Yep...it's the same guy. Even after Billy left Buchannan's band, whenever Roy would be in Pittsburgh, it was not uncommon for him to stop by and sit in with Bill. Crafty On Tue, 26 Mar 1996, Bo Carlsson wrote: > I remember a singer who worked with Roy Buchannan ages ago and think his > name was Billy Price - Is this the same guy? > Mr Bo > ========================================================================= Date: Wed, 27 Mar 1996 08:03:14 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: Crossroads Flick - my turn In-Reply-To: <199603271245.HAA34552@osceola.gate.net> On Wed, 27 Mar 1996, P.W. Fenton wrote: > I will admit that the final head cutting contest in a huge > nightclub/barn filled with black folks worshiping the guitar work of > Steve Vai did kinda snap me out of the illusion rather quickly. True. On the other hand, this IS a movie from Hollywood. At least they got a halfway-decent guitarist like Vai instead of, say, Wayne Newton or Richard Gere. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "The obvious irony is that no other country would grant [Mahmoud] Abdul-Rauf so much freedom as this oppressive one." - Tony Kornheiser, Washington Post page D9, 3/14/96 ========================================================================= Date: Wed, 27 Mar 1996 05:40:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re: Reviling off-topic stuff Jim greeted us all real neighborly-like: > Hi All. And he shared an experience: >When I joined Jazz-L (obviously the jazz equivalent of >Blues-L), this is the message I got: >>Hello, and welcome to Jazz-L! As one longtime subscriber put it, >>"...This >humble salon of ours is unlike anything else on this >>fair planet. While >the ratio of jazz to other discussion may >>vary, we do manage a >consistency and level of chewing >>satisfaction of which we are quite >proud, and this stems from >>the very fact that, unlike other lists on >which one might get >>chafed forat discussing anything even slightly >"off-topic", our >>laid-back forum and the virtual and personal bonds which >we've >>established have enabled us to achieve something more like a real >>conversation, with intelligent (or sometimes just silly) >>tangents >diverging and converging just like they would in an >>actual gathering of >like-minded intelligent people from diverse >>backgrounds." Reflecting on the above, Jim came to the point: >I like this approach. What do y'all think? >-Jim (hndful@uniserve.com) To which I got to say this: I strongly disagree with the approach. This is the Blues-List, and IMHO it's for blues. People definitely stray (shoot, I ain't perfect), but when we do, a polite reminder is in order IMHO. I believe the FAQs indicate as much, incidentally. I regret having to disagree with your thoughtful suggestion. BLUE JOE IN RED RUSSIA (we have an authoritarian streak a mile wide over here anyway) J.E._Downey@bakermck.com .------------------------------------------------------------ Check out 'Heart and Soul', a new hour of blues, gospel, and jazz every week on SDF-Net Community Radio - http://sdf-radio.colossus.net. ------------------------------------------------------------ ========================================================================= Date: Wed, 27 Mar 1996 09:45:02 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Another Charlie Patton Question Comments: To: Steve.Levine@corp.wrgrace.com In a message dated 96-03-26 04:40:13 EST, Steve.Levine@CORP.WRGRACE.COM (Steve Levine) writes: >I bought the other Patton Yazoo cd this weekend and it's (along with >the first one I bought) pretty much all I've been listening to lately. >Do the two Yazoo cds have all of Patton's known sides or are there >additional recordings not covered by Yazoo? I know there are some other >Patton recordings on other labels but I don't know if they have the >same material. The Yazoo Patton CDs do not between them contain all the available Patton tracks. A number of issued tracks (available on vinyl and CD both) are not on there. In looking at Dixon and Godrich, I noted something that, if I was aware of before, I'd forgotten: The tracks "Frankie and Albert" is on the Yazoo double LP FOUNDER OF THE DELTA BLUES, LP 1020, but NOT on the Yazoo CD of the same title and catalogue number. I do not understand why they did this. Also omitted are "Circle Round the Moon, "Devil Sent the Rain Blues" (found on Yazoo L-1009, MISSISSIPPI MOANERS), "Magnolia Blues," "Heart Like Railroad Steel," "Jim Lee Blues Part II," "Joe Kirby," and "Mean Black Moan" (found on Yazoo L-1001 MISSISSIPPI BLUES) from the same October 1929 Paramount session as "Frankie and Albert." The Janaury 1934 Vocalion track "Jersey Bull Blues" is missing. Looking at the discography also made me wonder about those unissed Vocalion tracks from 1934 sessions. Are they gone? A couple of the issued tracks have come out on the Roots and Rythmn series. Tom Freeland ========================================================================= Date: Wed, 27 Mar 1996 09:50:21 -0500 Reply-To: FORCELLAD@CCSUA.CTSTATEU.EDU From: Domenic Forcella Subject: Debbie Davies & Club listings I've heard Debbie a number of times. Don't forget the rest of the band. Ken Pino played for many years with Johnny "Clyde" Copeland Danny Klien original J.Geils Band member And an experienced drummer, my apoligies for not getting his name right Don Castanza(?) Second, my technique for finding Blues Venues when I travel is to use Living Blues "Blues Directory" It lists clubs, societies, radio stations, and more. New one coming out soon. The next step when you arrive is to make a few calls and pick up the local weekly entertainment(formerly undergraound press) paper and see who is playing. As soon as I straighten out my web access I will take advantage of the listing site and try to provide some myself. I think the personal knowledge brought to the web site will give it a unique quality. As always Domenic Forcella Traveling with the Blues ========================================================================= Date: Wed, 27 Mar 1996 09:55:57 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Historic Blues Sites n a message dated 96-03-26 23:04:17 EST, Dick Watermon wrote (beginning by quoting Bonnie the K): >>>>I'm pretty sure I've read in some liner notes that >>>the Memphis Jug Band >was recorded at the Peabody. > >I'm going to request specific names from Tom Freeland on this one, but I know >that The Peabody was a 'major' recording site in the 1920s and 1930s. I think >that Furry Lewis, Frank Stokes, John Hurt, Robert (Tim) Wilkens and dozens of >others did their sessions there. >(Of course, they would never have been allowed to check into the place as >guests.) None of the Memphis Jug Band sessions in Dixon and Godrich show a location in Memphis. I have a vague recollection along the same lines as Bonnie. Sessions at the Peabody did include (these are from 1929): Robert Wilkins ("That's No Way To Get Along," which became "Prodigal Son" in the 1960s and was covered by the Rolling Stones," and three other tracks, all on Brunswick), Furry Lewis ("John Henry" and 2 others for Vocalion). Somewhere, *I* remember seeing it written that the Tommy Johnson Memphis session for 1928 was at the Peabody, but I may be wrong. This would locate the recording of "Big Road Blues" there. Tom Freeland ========================================================================= Date: Wed, 27 Mar 1996 09:18:15 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Bring It On Home Does anyone know who originally did this tune. I know Willie Dixon wrote it and I know Sonny Boy II (for one) did it. I was curious to who recorded the first version....Could it have been Sonny Boy II.....? THANKS LW ========================================================================= Date: Wed, 27 Mar 1996 10:23:41 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Crossroads film. Boy, you guys are a bunch of hardasses. Step out of your dyed-in-the-wool blues shoes for a minute and you realize this movie is just for fun. I'm sure it's not designed to be any kind of serious treatment of the Robert Johnson legend. We all know better. If you haven't seen it, watch it for some good guitar work and the campy plot based very loosely on the RJ legend, and on the whole it's just light entertainment with some minimal redeeming blues value. It's just for fun. Ry Cooder's sound track is noteworthy, and Steve Vai while a long-haired, guitar-thrashing, speed-metal playing white guy, is no slouch either. You'll either hate it or think it was a fun little flick. For the $3.oo rental, what the heck. Riffin Rick (((( oo-) /- "One thumb up, one thumb down" Siskle & Eggbert F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 27 Mar 1996 07:24:23 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Mar. 28 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BURT, THOMAS (g/bjo/p) d. 1990-0328, RALEIGH, NC 89 COTTRELL, LOUIS JR. (clarinet) d. 1978-0328, NEW ORLEANS, LA 67 CRUDUP, ARTHUR "BIG BOY" (g/BLUEBIRD REC) d. 1974-0328, NASSAWADOX, VA 68 GOLDMAN, ALBERT (author/ELVIS) d. 1994-0328, MIAMI, FL 66 HANDY, W. C. SR. (cnt) d. 1958-0328, NEW YORK CITY, NY 84 ISAACS, IKE (b/EARL BOSTIC/BASIE) b. 1923-0328, AKRON, OH JACKSON, ALLEN (b/g/STITT) d. 1991-0328, LOS ANGELES, CA 51 JOHNSON, HAROLD "MONEY"(tpt/LOUIS JORDAN) d. 1978-0328, LONG ISLAND, NY 60 JONES, THAD (tpt) b. 1923-0328, PONTIAC, MI LOFTON, CLARENCE "CRIPPLE" (p) b. 1887-0328, KINGSPORT, TN MCCOY, CHARLIE (hca/studio) b. 1941-0328, OAK HILL, W. VA SMITH, EDWARD M. (v/gospel/MAJESTICS) d. 1994-0328, FARMINGTON, MI 59 SMITH, EFFIE (v/OKEH REC) d. 1977-0328, LOS ANGELES, CA 61 TREMEWAN, ED "BLUZMAN" (BLUES-L member) b. 1937-0328, SAGINAW, MI WILKINS, JOE WILLIE (g/KING BISCUIT BOYS) d. 1979-0328, MEMPHIS, TN 56 WILLIAMS, MILAN B. (of THE COMMODORES) b. 1948-0328, TUPELO, MS ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 27 Mar 1996 16:32:48 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Bring It On Home >Does anyone know who originally did this tune. I know Willie Dixon wrote it >and I know Sonny Boy II (for one) did it. I was curious to who recorded the >first version....Could it have been Sonny Boy II.....? > >THANKS > >LW Yes, Sonny Boy II was first and I think the arrangement was inspired by the success of Green Onions. Mr Bo ========================================================================= Date: Wed, 27 Mar 1996 10:43:58 -0500 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: Women and the music biz Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199603270100.RAA24641@inet.lasierra.edu> Don Cicchetti writes: >So first, a little truth... >Do male musicians find female musicians sexy? HELL YES! >Is there anything wrong with that? >HELL NO, and if you think there is, you can kizz my azz.... I love 'em, >they knock me out. This past weekend I played at a Blues jam and was fortunate enough to be hooked up with some very good players. Fronting this impromptu band was a woman who happened to be Black, pretty and by no means petite. If I passed her on the street I might not have taken notice, but when she belted out the Blues..it was another story! It was her TALENT that I found sexy. Her voice and stage presence were captivating. So there's more to this gender/attractiveness thing than just looks. ========================================================================= Date: Wed, 27 Mar 1996 15:46:07 GMT Reply-To: "J.J. Perry" From: "J.J. Perry" Organization: Indiana University Subject: Blues Guide? Comments: To: bit-listserv-blues-l@uunet.uu.net I'm surprised with all this talk about creating a guide to blues spots around the country, no one has bothered to mention a great book by Christiane Bird called "The Jazz and Blues Lover's Guide To The U.S." (Addison-Wesley) My friends and I have used this book both times we have gone to Mississippi and also for our trips to Chicago. It lists clubs, landmarks and legends from all over the country. Before you start worrying about compiling all this info, try checking out this book. A bunch of people down in Mississippi and Memphis asked us how we found 'em, and when we told them, they said, "oh I remember her coming around!" Very helpful resource. J. J. ========================================================================= Date: Wed, 27 Mar 1996 10:57:03 EST Reply-To: george morales From: george morales Organization: TEMPLE UNIVERSITY Subject: blues in movies/soundtrack Other than "Crossroad" and "adventures in babysitting", does anyone know of other movies that have blues tracks on the soundtrack or that feature blues music in the background? George +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ | | | GEORGE MORALES GEORGEM@TEMPLEVM | | COMPUTER AND INFORMATION SERVICES GEORGEM@VM.TEMPLE.EDU | | TEMPLE UNIVERSITY (215)204-6866 | | | +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Wed, 27 Mar 1996 10:53:13 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Bring It On Home Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, ISTS024/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=ISTS024#p#UABDPO#f#BITNET#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *Does anyone know who originally did this tune. I know Willie Dixon wrote it *and I know Sonny Boy II (for one) did it. I was curious to who recorded the *first version....Could it have been Sonny Boy II.....? I thought Jimmy Page and Robert Plant wrote it and were the first to record it! :) As far as I know, Sonny Boy was the first to record it, with Matt Murphy on guitar. -Steve ========================================================================= Date: Wed, 27 Mar 1996 10:54:53 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Another Charlie Patton Question Comments: To: Skipjames/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=Skipjames#a#aol#f#com@s1boca.corp.wrgrace.com, BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com Maybe it's time someone put out a Complete Charlie Patton collection. I'd buy it if it was available! ========================================================================= Date: Wed, 27 Mar 1996 11:05:00 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Blues Guide? Comments: To: "J.J. Perry" On 27 Mar 96, J.J. Perry had this to say... > I'm surprised with all this talk about creating a guide to blues > spots around the country, no one has bothered to mention a great > book by Christiane Bird called "The Jazz and Blues Lover's Guide To > The U.S." (Addison-Wesley) > > My friends and I have used this book both times we have gone to > Mississippi and also for our trips to Chicago. It lists clubs, > landmarks and legends from all over the country. > > Before you start worrying about compiling all this info, try checking > out this book. A bunch of people down in Mississippi and Memphis > asked us how we found 'em, and when we told them, they said, "oh I > remember her coming around!" > > Very helpful resource. This book, which I own, has been mentioned here many times and was mentioned here during the recent discussions about the travel guide. An important difference between our guide and the excellent book by Christiane Bird would be that ours will be FREE to anyone with access to the internet, and will cover far more cities all over the globe. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 27 Mar 1996 10:59:39 -0500 Reply-To: Dan Miner <75477.2042@COMPUSERVE.COM> From: Dan Miner <75477.2042@COMPUSERVE.COM> Organization: Orange County Alliance for Democracy Subject: Re: Your favorite acoustic Fred McDowell Comments: To: bit-listserv-blues-l@uunet.uu.net I don't know which is the *best* Fred, but I can heartily recommend I DO NOT PLAY NO ROCK'N'ROLL, which may not have been reissued on CD. Also, if you like that droning Northern Mississippi sound, may I also recommend R. L. Burnside's new TOO BAD JIM, on Fat Possum (you may remember Burnside playing for Dave Stewart of the Eurythmics on the porch of his run-down shack). ========================================================================= Date: Wed, 27 Mar 1996 10:13:34 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Bring It On Home In-Reply-To: Message of Wed, 27 Mar 1996 10:53:13 -0500 from On Wed, 27 Mar 1996 10:53:13 -0500 Steve Levine said: > >I thought Jimmy Page and Robert Plant wrote it and were the first to >record it! :) I know I've heard of those guys. I can't seem to recall, weren't they Willie Dixon's backup band or something. I seem to recall they were really close to Willie and co-wrote a few tunes with him...:-) LW ========================================================================= Date: Wed, 27 Mar 1996 10:17:01 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Another Charlie Patton Question In-Reply-To: Message of Wed, 27 Mar 1996 10:54:53 -0500 from On Wed, 27 Mar 1996 10:54:53 -0500 Steve Levine said: >Maybe it's time someone put out a Complete Charlie Patton collection. >I'd buy it if it was available! I sure would like a Complete Johnny Shines collection or Lockwood or a REAL Freddie King box or a ...Ok I'll stop LW ========================================================================= Date: Wed, 27 Mar 1996 10:18:22 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Your favorite acoustic Fred McDowell In-Reply-To: Message of Wed, 27 Mar 1996 10:59:39 -0500 from <75477.2042@COMPUSERVE.COM> On Wed, 27 Mar 1996 10:59:39 -0500 Dan Miner said: >I don't know which is the *best* Fred, but I can heartily recommend I DO >NOT PLAY NO ROCK'N'ROLL, which may not have been reissued on CD. Also, if >you like that droning Northern Mississippi sound, may I also recommend R. >L. Burnside's new TOO BAD JIM, on Fat Possum (you may remember Burnside >playing for Dave Stewart of the Eurythmics on the porch of his run-down I interviewed RL the other day and he spent a whole lot of time with Fred McDowell. I also find it amazing that a WC Handy nominee for Entertainer Of The Year (with the likes of Buddy Guy & Luther Allison) OPENS for a band that will never be nominated for an actual blues award...Or will they never know. RL is happy with it and I asked about the difference between playing at Jr Kimbroughs place and playing the type of clubs that book Jon Spencer Blues Explosion....I'll post the interview on here..someday soon LW 'I could just see Buddy or Luther opening for the JSBE' NO OFFENSE TO JSBE OR THEIR FANS OR COUSINS OF THEIR FANS OR....etc ========================================================================= Date: Wed, 27 Mar 1996 10:22:31 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: Blues Guide? In-Reply-To: <4jbnrv$hq0@usenet.ucs.indiana.edu> On Wed, 27 Mar 1996, J.J. Perry wrote: > I'm surprised with all this talk about creating a guide to blues > spots around the country, no one has bothered to mention a great > book by Christiane Bird called "The Jazz and Blues Lover's Guide To > The U.S." (Addison-Wesley) This is a good starting point, but in the few towns in there that I know fairly well, some pretty key things are missing. Also, there are some cities with significant blues histories that are omitted. Durham, NC, leaps to mind. I have a friend who works for Duke U. (who's a nice guy in spite of that) who keeps promising me that the next time I visit, he'll show me all the blues sites. If he does, I'll be sure to pass the info on to you folks. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "The obvious irony is that no other country would grant [Mahmoud] Abdul-Rauf so much freedom as this oppressive one." - Tony Kornheiser, Washington Post page D9, 3/14/96 ========================================================================= Date: Wed, 27 Mar 1996 11:37:43 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: blues in movies/soundtrack Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, GEORGEM/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=GEORGEM#a#VM#f#TEMPLE#f#EDU@s1boca.corp.wrgrace.com * Other than "Crossroad" and "adventures in babysitting", does anyone *know of other movies that have blues tracks on the soundtrack or that *feature blues music in the background? Barfly (one of my favorite movies) opens and closes with Booker T. & The MGs' "The Hip Hugger," and has some scenes with blues playing on the jukebox, including Albert King and The Nighthawks. Paris, Texas (another favorite) has a beautiful slide guitar soundtrack by Ry Cooder, and includes a beautiful cover of Blind Willie Johnson's "Dark Was the Night." I'm pretty sure Angel Heart has a scene with Sugar Blue (but it's been a long time since I've seen it). Mystery Train is pretty much essential viewing for fans of Memphis music and culture. It features both the original and the Elvis cover of the title song, plus a cameo by Rufus Thomas. Great movie. Casino features Hoochie Coochie Man and The Thrill is Gone. Devil With a Blue Dress has a soundtrack full of blues and r&b, but I never saw the movie, same with A Rage in Harlem. That's all I can think of now - I'm sure there are plenty more. -Steve ========================================================================= Date: Wed, 27 Mar 1996 16:55:21 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Bring It On Home In-Reply-To: On Wed, 27 Mar 1996, Bo Carlsson wrote: > > Yes, Sonny Boy II was first and I think the arrangement was inspired by the > success of Green Onions. > Mr Bo > I believe you are thinking of "Help Me" when you're referring to "Green Onions" ..... phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [27/3/96 11:53 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 27 Mar 1996 08:42:03 +0000 Reply-To: ksailors@hooked.net Comments: Authenticated sender is From: "Kenneth M. Sailors" Organization: Personal Copy Subject: Re: Debbie Davies On Wed, 27 Mar 1996, Pat Hertel wrote: > I LOVED her first CD. Played it over and over and over again > .... but the second just wasn't up to snuff with the exception > of a single cut "I Like The Life". Some of the others were > passable but "A Mother's Blues"?? ... finger-in-the throat > syrup. Yecchh! I agree. Her 2nd didn't have the bite or fire or whatever that the 1st did. Much smoother, more polished... So, all you 'ellers out there: Buy her 1st but not her 2nd (unless you're some sort of anal completist or something). Ken ========================================================================= Date: Wed, 27 Mar 1996 09:04:11 -0800 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Vegas anyone? Looks like I'm gonna be in Las Vegas next week. Does anyone know if any blues is happenin' in Las Vegas? I want to try to stay out of the casinos, if I can. ;-) Thanks, Joe ========================================================================= Date: Wed, 27 Mar 1996 09:07:43 -0800 Reply-To: Steve Szymanski From: Steve Szymanski Organization: Great 2nd Opportunity Systems Subject: SoCal Comments: To: bit-listserv-blues-l@uunet.uu.net For Blues, OC & LA have much to offer. Some names & places you want to familiarize yourself with if coming to SoCal. James Harman Robert Lucas Rod Piazza William Clarke We are fortunate to have them call this home. You would be wise to see James Harman, he is the genuine article. Good time Guaranteed places; The Mint 2nd street blues bar 310.434.8451 Long Beach (new, can't vouch for it) Blue Cafe 310.983.7111 Long Beach Jack's Sugar Shack 213.466.7005 Hollywood Harbor Lights Brewing Co. 714.240.2060 If you get to San Diego see what is hapening at the Belly Up in Solana Beach. For club dates reference a local rag in SoCal called; "Southland Blues" it is commonly found in OC at Tower Records. When it comes to blues, if it is going on, they list it along with details. and I recommend picking this up so you don't find yourself making a commute only to discover no blues. Just 3,4 or 5 "unemployed white ex-rock n roll pretty boys" looking for a commercial spotlight. Any spotlight will do and if it takes singin that "Crossroads" song,"fine." The reality is we are being invaded by the money weasels if we aren't careful they will try to make the blues full of shallow buzzword lyrics to sell more. This unfortunate trend will do the same as it has done to Rock as they are already searching for creative marketing games. The reality is the blues isn't a commercial music, it is much more mainstream in America than all other forms of music. Why? Blues comes from America and is a result of demographic shifts. The stories tell you the feelings involved in the various realities of realitionships of the day. Commercialize that, and you have exactly what Rock was to begin with. Only this time, instead of stealing it from the originating culture and calling it "RocknRoll." (look no farther than Elvis!) guess what, they're back. James Harman is an ideal example of quality, he was making music in 67 so were so many of todays "old rock idols". Today, those washed up stars get a packed auditorium and play maybe 2hrs. You can see James at a juke joint brewhouse for $5 and he will play from 9:30 on. Heck he will be looking for more at 2am! As Hooker said, "Because the feeling is in him, and it's got to come out." Enjoy. -- For what constitutes a child?--Ignorance. What constitutes a child?--Want of instruction; for they are our equals so far as their degree of knowledge permits. That Courage is not inconsistent with Caution. Book ii. Chap. i. ========================================================================= Date: Wed, 27 Mar 1996 12:35:27 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: blues in movies/soundtrack Comments: To: george morales In-Reply-To: <960327.105915.EST.GEORGEM@VM.TEMPLE.EDU> Devil in a Blue Dress (T-Bone Walker and others), Paris Texas (any Ry Cooder soundtrack really), Indian Runner (David Lindley), The Hot Spot (JL Hooker and Miles Davis), Little Big Man (John Hammond), Sounder (Taj Mahal), Deep Blues (documentary) I'm sure there are others... ============================================================================= Jim Leftwich Jim's Blues N' Brews leftwich@cloud9.net http://www.cloud9.net/~leftwich "I'm on cloud9!" :) New CD Giveaway: Jordan Patterson ============================================================================= ========================================================================= Date: Wed, 27 Mar 1996 18:29:25 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Bring It On Home Comments: To: Pat Hertel >On Wed, 27 Mar 1996, Bo Carlsson wrote: > >> >> Yes, Sonny Boy II was first and I think the arrangement was inspired by the >> success of Green Onions. >> Mr Bo >> > > I believe you are thinking of "Help Me" when you're referring to > "Green Onions" ..... > > OOps, sorry for that. Of course I did. I guess the organ on both songs made me do that. By the way - who played the organ? Bo ========================================================================= Date: Wed, 27 Mar 1996 13:38:58 -0400 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: blues in movies/soundtrack Comments: To: GEORGEM@VM.TEMPLE.EDU In-Reply-To: <960327.105915.EST.GEORGEM@VM.TEMPLE.EDU> from "george morales" at Mar 27, 96 10:57:03 am > Other than "Crossroad" and "adventures in babysitting", does anyone > know of other movies that have blues tracks on the soundtrack or that > feature blues music in the background? There was some Muddy and some B.B. in the movie "Casino". Still not worth seeing, though. -Rob ========================================================================= Date: Wed, 27 Mar 1996 09:41:29 -0800 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Blues Movies Personally, I found Crossroads entertaining, but a rather stupid implementation of what could have been a pretty cool concept. I'm not a big Ralph Macchio fan, but I did like his work in the Outsiders. I did like My Cousin Vinny, but not for his performance. Last night, I watched Chicago Blues (available from Rhapsody Films). It is a good film containing very heavy racial and sociological overtones. This first time I saw this I was blown away. The music is pretty good too. It is not what one would call "light and airy" Joe ========================================================================= Date: Wed, 27 Mar 1996 11:45:06 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Re: blues in movies/soundtrack > Barfly (one of my favorite movies) opens and closes with Booker T. & > The MGs' "The Hip Hugger," and has some scenes with blues playing on > the jukebox, including Albert King and The Nighthawks. > > -Steve > Now, here is another blues topic - Charles Bukowski. Man, did he have blues. I saw Barfly at least 10 times. GREAT movie about a great man. Mickey Rourke in his best before his self-destruction era. BTW, FYI Charles Bukowski and Beat Generation are pretty much all we dig in Europe (say Yugoslavia to be more specific) about US literature. Damn, now I realize, Bukowski, blues, beatnics, are already dead or dying (talking about real, I mean REAL blues). Few reasons to stick aorund here anymore... Ranko ps. Enyoing Jesee Thomas' "Lookin' For That Woman" these days alot. Want him alone though. Any suggestions on his solo work. ========================================================================= Date: Wed, 27 Mar 1996 12:45:19 -0500 Reply-To: 00LCSPECTOR@BSUVC.BSU.EDU From: "Lee C. Spector" <00lcspector@BSUVC.BSU.EDU> Subject: Women Might I suggest the song "Skinny Little White Girl" on Latimore's latest for the definitive answer to this question. Lee Lee C. Spector Department of Economics ========================================================================= Date: Wed, 27 Mar 1996 12:52:16 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Women Comments: To: 00lcspector@bsuvc.bsu.edu On 27 Mar 96, 00lcspector@bsuvc.bsu.edu had this to say... > Might I suggest the song "Skinny Little White Girl" on Latimore's > latest for the definitive answer to this question. Lee > > Lee C. Spector > Department of Economics I always say... Women... you can't live with 'em, and you can't live with 'em. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 27 Mar 1996 12:58:04 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Ann Arbor, MI Query Would anyone in the vicinity of Ann Arbor, Michigan, with knowledge of an establishment called The Ark, please e-mail me? I have a question. Thanks! :) Shannon shannon_oconnor@swpco.com ========================================================================= Date: Wed, 27 Mar 1996 11:52:12 -0600 Reply-To: Keith Castleberry From: Keith Castleberry Subject: Ry Cooder In recent postings on the Blues-L, I have seen several mentions of Ry Cooder. I have heard of Ry Cooder, and not had the chance to hear his albums. Is there anyone out there that can recommend his best albums? Keith Castleberry WYDH 105.9 FM "The Blues Cruise" P.O. Box 710 Atmore, AL 36504-0710 ========================================================================= Date: Wed, 27 Mar 1996 13:10:17 EST Reply-To: george morales From: george morales Organization: TEMPLE UNIVERSITY Subject: *blues soundtracks/movies thanks to all who responded to my inquiry about movies with blues music featured on soundtracks.Now i will have a better idea when i schlepp down to Blockbuster Video to rent some videos. George +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ | | | GEORGE MORALES GEORGEM@TEMPLEVM | | COMPUTER AND INFORMATION SERVICES GEORGEM@VM.TEMPLE.EDU | | TEMPLE UNIVERSITY (215)204-6866 | | | +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Wed, 27 Mar 1996 10:20:51 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: TV Tues: "Crossroads" >I also enjoyed the guitar duel...was disappointed that the bar band >which I believe was Big Jack Johnson and the Jelly Roll Kings (?) >only got a couple of minutes in the film and did not make it to the >sound track...was that track ever available on any other disc? A few years back, the track was released as a "soundpage" (a small very, flexible, easily damaged plastic record) in an issue of Guitar Player. Other than that I don't know of it being released anywhere else. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Wed, 27 Mar 1996 13:19:53 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Walkin' Blues lyric help please. Could somebody please post the lyrics to RJ's "Walkin Blues" to me privately? I only have it on tape (Robert's original version) and I can't make out what he's singing in a few places, particularly the "Elgin movement.." verse? Thanks -Lers. Riffin Rick (((( oo-) /- ".....have to go ride the blinds". F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 27 Mar 1996 13:20:24 -0500 Reply-To: jjperry From: jjperry Subject: Re: Blues Guide? Comments: To: "P.W. Fenton" In-Reply-To: <199603271604.LAA42926@osceola.gate.net> On Wed, 27 Mar 1996, P.W. Fenton wrote: > On 27 Mar 96, J.J. Perry had this to say... > > > I'm surprised with all this talk about creating a guide to blues > > spots around the country, no one has bothered to mention a great > > book by Christiane Bird called "The Jazz and Blues Lover's Guide To > > The U.S." (Addison-Wesley) > > This book, which I own, has been mentioned here many times and was > mentioned here during the recent discussions about the travel guide. > > An important difference between our guide and the excellent book by > Christiane Bird would be that ours will be FREE to anyone with > access to the internet, and will cover far more cities all over the > globe. > Oops, I wasn't meaning to say that a blues-l travel guide wouldn't be a good idea or shouldn't be done, just that if you're planning a trip real soon, it's a good guide to have on hand to plan stuff around. You're right, the book is limited in the fact that it only covers so many cities (very well), and with bluezellers all over, we could maah more inclusive (and free) guide. I think a book like this is a good starting off point, both if you're planning a trip and for bluezellers looking to start up an internet blues guide. J. J. ========================================================================= Date: Wed, 27 Mar 1996 13:40:53 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re[2]: blues in movies/soundtrack B.B. King appears and performs in "Rattle and Hum" and "Hearts and Souls." Jeff Healey appears and performs in "Roadhouse." Shannon ______________________________ Reply Separator _________________________________ ========================================================================= Date: Wed, 27 Mar 1996 12:55:22 U Reply-To: Deland Robert From: Deland Robert Subject: Re: Help - Fats Waller CD? As a major Fats Waller fan, I have to mention that my favorite Waller CD = is also one of the easiest to find. I can't remember the title offhand, = but it's the red covered single-CD compilation on RCA with a colored = pencil sketch of Fats on the cover. It contains a bounty of his best = tracks, both hot band stuff and top-notch piano solos. Some of the fun = lyrical patter is included, but it's kept to a moderate level. When I = want to put on some Fats and keep my foot stomping, that's the one I = play. Another choice is the 2-disk set of piano solos, also on RCA and probably = imports as well. As a piano fan, these will always fascinate me, as he = had an amazingly inventive musical mind. MY 2-disk set happens to be = LP's, but the same was reissued on CD a while back! As much as I love = Fats, to be honest I think some of the 3-CD sets tend to be a bit too = much and too much "average" stuff is mixed with the gems. Of course = "average" Fats runs rings around "great" stuff by many others, but ... = that's my opinion. I hope this helps. -Rob DeLand (deland_robert@macmail1.csg.mot.com) ========================================================================= Date: Wed, 27 Mar 1996 14:01:39 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Who wrote/performed this song? 'Nother question for yas....who originally did that song on "The Commitments" soundtrack, don't even know the title, but it's something like... "Lemme tell you a story, every man oughta know something, something, something something, something If you want her lovin' you tonight, you better treat her right.." I think it's a '60s R&B standard, but for the life of me I can't remember the whys and wherefores. You guys know the song? We did it on a wing and a prayer last night, drummer conjured up some of the lyrics and sang it. But it came out so cool, we'd like to work it into a set. Needed: name of the song? who did it originally? lyrics? (ok, I'm pushing my luck here today, I know) But you guys are so GOOD! ;) That's the thing.... TIA buds, Riffin Rick "..I know nothing" -Sgt. Shultz F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 27 Mar 1996 18:57:03 GMT Reply-To: Ari Eisinger From: Ari Eisinger Organization: I need to put my ORGANIZATION here. Subject: Re: Another Charlie Patton Question Comments: To: bit-listserv-blues-l@uunet.uu.net Steve Levine (Steve.Levine@CORP.WRGRACE.COM) wrote: : Skipjames/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=Skipjames#a#aol#f#c : om@s1boca.corp.wrgrace.com, : BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#B : ROWN#f#EDU@s1boca.corp.wrgrace.com : To: Netnews Server : Maybe it's time someone put out a Complete Charlie Patton collection. : I'd buy it if it was available! I believe that both Document and Pea Vine have Patton's complete recorded works. ========================================================================= Date: Wed, 27 Mar 1996 10:59:37 -0800 Reply-To: Rich DelGrosso From: Rich DelGrosso Subject: Blues Had A Baby Does anybody know the author of Muddy Water's "Blues Had A Baby And They Named It Rock and Roll?" Was it Waters? Willie Dixon? Thanks Rich DelGrosso ========================================================================= Date: Wed, 27 Mar 1996 14:06:23 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: blues in movies/soundtrack Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I thought of some others: Mississippi Masala has some blues in its soundtrack, and one of the characters is a harp player. Who Framed Roger Rabbit? - Who can forget Jessica Rabbit's version of "Why Don't You Do Right"? The Last Waltz - Live performances by Muddy, Paul Butterfield, and some British guitar hero. :) Straight Outta Brooklyn has a scene where the father finds an old blues record, puts it on, and starts dancing to it (a brief moment of happiness in a very sad film). The Rutles - No actual performances here or blues on the soundtrack, but it features interviews with "Blind Lemon Pye" and "Ruttlin' Orange Peel." :-) -Steve ========================================================================= Date: Wed, 27 Mar 1996 14:07:13 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Jesse Thomas CDs Ranko asked for other Jesse Thomas recordings: The best compilation of Jesse's material is Document's 1 volume disc of his post-war sides for various labels...This has both more country-blues oriented sides as well as more jump-blues stuff he cut for Swingtime, Specialty & other West Coast labels. His earliest pre-war sides I have seen on a new release on the Collectables label that has both Jesse (including Blue Goose Blues) & his brother Henry "Ramblin" Thomas's classic early material...but this is probably "produced" by the loathsome Roy C. Ames, so I wouldn't recommend it. I think Yazoo had a LP with some of these Thomas brothers pre-war songs, but I don't know if they ever reissued this on CD. What was so great about Jesse Thomas was the way he could perform the Blues in so many quite different formats...from down-home Texas/La. country blues to jumpin' West coast blues. -Peter ========================================================================= Date: Wed, 27 Mar 1996 20:21:23 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Blues Had A Baby Comments: To: Rich DelGrosso >Does anybody know the author of Muddy Water's "Blues Had A Baby And They >Named It Rock and Roll?" Was it Waters? Willie Dixon? > >Thanks > >Rich DelGrosso Think it was Brownie Mcghee Regards Bo ========================================================================= Date: Wed, 27 Mar 1996 13:25:56 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: eRIC's BLUES DATES: Mar. 25 >AXTON, HOYT WAYNE (g/songw/actor) b. 1938-0325, DUNCAN, OK Whose mother wrote (or co-wrote) "Heartbreak Hotel", as I recall.... >BURNETTE, JOHNNY(of JOHNNY BURNETTE TRIO) b. 1934-0325, MEMPHIS, TN Get the Bear Family compilation of the Trio stuff for easily (IMO) the best rockabilly stuff ever - why was "Blue Suede Shoes" the only true rockabilly hit? David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Wed, 27 Mar 1996 13:26:00 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Possibly NOT on this day At 09:05 AM 3/27/96 -0500, P.W. Fenton wrote: >After finding that item on Little Willie John dying in jail on this >date in 1968, I notice that the All Music Guide lists May 26th as the >date, instead of March 26th. Either way Little Willie John is a >great singer, and you should check out his Rhino "best of" CD. > One of the best R & B voices ever (along with Clyde McPhatter): the gritty (the original "Fever") soulful ("Talk to Me", "Leave my Kitten Alone", "All Around the World") the bizarre ("Sleep", original done by Fred Waring in the twenties) David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Wed, 27 Mar 1996 13:25:58 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: On this day... At 05:15 AM 3/27/96 -0800, P.W. Fenton wrote: > >I'll bet that just like the folks who today insist "vinyl is better!", there >were folks who felt that stereo was just plain un-natural. (The Beach Boys for >example) > Phil Specter, for example - who named his box set "Back to Mono".... And the way they recorded some stereo back in the "early days" (voices on one track, instruments on the other, for instance), they're not very wrong. David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Wed, 27 Mar 1996 14:32:34 -0500 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: Who wrote/performed this song? Comments: To: bit-listserv-blues-l@uunet.uu.net The title is "Treat Her Right" (do I get the most obvious answer award?) Can't come up with anything more now. In article <01I2U382QWXE0095R4@SCI.WFBR.EDU> "" writes: >'Nother question for yas....who originally did that song on "The Commitments" >soundtrack, don't even know the title, but it's something like... > "Lemme tell you a story, > every man oughta know > something, something, something > something, something > If you want her lovin' you tonight, > you better treat her right.." >I think it's a '60s R&B standard, but for the life of me I can't remember >the whys and wherefores. You guys know the song? We did it on a wing and >a prayer last night, drummer conjured up some of the lyrics and sang it. >But it came out so cool, we'd like to work it into a set. >Needed: name of the song? > who did it originally? > lyrics? >(ok, I'm pushing my luck here today, I know) >But you guys are so GOOD! ;) That's the thing.... >TIA buds, >Riffin Rick >"..I know nothing" > -Sgt. Shultz >F.J.(Rick)Miller >Senior Research Assistant, >& Marine Facilities Manager >Worcester Foundation for Biomedical Research >"Miller@Sci.WFBR.Edu" >*************************************************************************** ========================================================================= Date: Wed, 27 Mar 1996 14:48:54 -0500 Reply-To: Charles d'Orban From: Charles d'Orban Subject: Telecaster sound > that Telecaster tone unmistakable in >Roy Buchanan, Robertson, and Albert Collins' work - who are the successors >to that sound now? Perhaps the late Danny Gatton (RIP) doesn't count anymore. But there's Bill Kirchen, Arlen Roth, the Hellecasters (especially Will Ray). Sorry, these aren't really blues players but they are great Tele players. Charles d'Orban ========================================================================= Date: Wed, 27 Mar 1996 14:57:05 -0500 Reply-To: BluesMojo@AOL.COM From: Doug Carlisle WSFM Subject: Looking for a book Greetings, I'm looking for a book called "The Rolling Stone Record Guide" VOLUME ONE!! I already have volumes 2 & 3, but #1 has very classic rock & blues artists mostly out of print. I'm a music collector, and cannot find this book. I'll pay the shipping fees. Please reply if you have ideas...... Thanks, Doug.....BluesmojoAaol.com ========================================================================= Date: Wed, 27 Mar 1996 14:53:51 -0500 Reply-To: Chris Smith From: Chris Smith Subject: Re: personal tribute to Jay Miller Bill Shute wrote: > >The death of producer/songwriter Jay Miller is something that should >stop all blues fans in their tracks for a while and get us thinking about >this wonderful body of work. Miller, working with many many GREAT >southern blues artists, truly CREATED a sound...and the folks about whom >that can be said are few indeed. > (snip) >A moment of silence is definitely in order for Mr. Jay Miller. >(Lazy Lester still speaks highly of him today as a songwriting collaborator >and producer, one who "understood" LL's music) > >Perhaps he's "organizing" some sessions in the afterlife right now... >bringing together Moon Mullican and Otis "Lightnin' Slim" Hicks for >the first time, drenched in echo, with someone in the background banging >a ruler on a packing crate to keep time...slightly "behind" the beat, >of course... > > > Well, yes, and not to denigrate Miller's achievements as a blues/cajun/country producer of genius, but I think we should also be aware of Rebel Records, on which he put out 'The Son of Mississippi' (Joe Norris), 'Johnny Rebel' (Pee Wee Trahan) and Happy Fats, doing such tasteful stuff as 'Flight NAACP 105', 'Looking For A Handout', 'Kajun Klu Klux Klan' (sic), 'Nigger Hatin' Me' and an album called'For Segregationists Only'. I don't think the fact that Miller ran racially mixed sessions ought to lead to him being thought of as a pioneer of integration! His bottom line was 'wil this sound/song sell?' 'Flight NAACP 105' sold over 200,000, so that was the answer on that one. I'm sorry to speak ill of the dead, but the above was true when he was alive, and it's true now. Chris Smith (chris@skerries.demon.co.uk) 'Positive: wrong at the top of one's voice." (Ambrose Bierce) ========================================================================= Date: Wed, 27 Mar 1996 15:02:52 -0500 Reply-To: Charles d'Orban From: Charles d'Orban Subject: LARRY GARNER NEW CD : BATON ROUGE (W/LARRY MCCRAY) Comments: cc: Eric LeBlanc-CISTI eRIC said: >We've just received the new Verve CD as a French Import. >Has this set been issued in North America? I was in Toronto last weekend and both HMV and Sam's had this in. Judging by the price, it wasn't an import, but I didn't check closely. But I can't find any mention of it on CD Now. I've been waiting hear comments about it because I can't afford to buy it right now (spent my bucks in Toronto on an import of Otis Spann's "Biggest thing since Colossus") Charles d'Orban ========================================================================= Date: Wed, 27 Mar 1996 14:19:09 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 03/28 B O R N : 03/28 BROOKS, RANDY Born:1917 BOSTON, MA Career:TRUMPET / LEADER Style:JAZZ / BIG BAND With:Rudy Vallee / Ruby Newman / Hal Kemp / Art Jarett / Bob Allen / Les Brown. FREE, JACK Born:1932 LONDON, UK Career:TROMBONE Style:TRAD / JAZZ With:DAVE JONES / JOHNNY ROWDEN / HARRY WALTON / FREDDY RANDALL / DAVE SHEPHERD / BILLY BUTTERFIELD / WILD BILL DAVISON / ART HODES / YANK LAWSON HALL, HERB ( Herbert HALL ) Born:1907 RESERVE, LA Career:CLARINET Style:TRAD / JAZZ With:Niles Jazz Band / Sidney Desvigne / Don Albert / Doc Cheatham / Wild Bill Davison / Don Ewell / Bob Greene / Red Balaban / Jim Cullum HUGHES, BILL ( WILLIAM HENRY ) Born:1930 DALLAS, TX Career:TROMBONE / BASS TROMBONE Style:JAZZ / BIG BAND ISAACS, IKE Born:1923 AKRON, OH Career:BASS Style:JAZZ / BLUES With:EARL BOSTIC / COUNT BASIE JONES, THAD (THADDEUS JOSEPH Born:1923 PONTIAC, MI Career:TRUMPET / ARRANGER / LEADER Style:JAZZ / BIG BAND With:COUNT BASIE / MEL LEWIS LOFTON, CLARENCE "CRIPPLE" Born:1887 KINGSPORT, TN Career:PIANO Style:BLUES MacGREGGOR, CHUMMY ( JOHN CHALMERS MacGREGOR ) Born:1903 SAGINAW, MI Career:PIANO / ARRANGER Style:JAZZ / BIG BAND MCCOY, CHARLIE Born:1941 OAK HILL, WV Career:HARMONICA Style:BLUES MILES, BARRY Born:1947 NEWARK, NJ Career:KEYBOARDS Style:JAZZ MONTOLIU, TETE ( VINCENTE MONTOLIU ) Born:1933 BARCELONA, SPAIN Career:PIANO Style:JAZZ WILLIAMS, MILAN B. Born:1948 TUPELO, MS Style:BLUES With:THE COMMODORES Henry Jr. Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Wed, 27 Mar 1996 15:17:27 -0500 Reply-To: Charles d'Orban From: Charles d'Orban Subject: Crossroads L W said: >Subject: Crossroads.my complaint > >The only problem I had with the movie is when the Karate guy has to resort >to classical chops in order to headcut the headbanger. And of course the irony is that Steve Vai is playing the guitar in the "winning" (classical chops) part of the solo. There was an interview with Ry Cooder (in Guitar Player???) a few years back in which he was asked what he thought of the movie. His reticence in replying implies that he didn't think much of it. Said that he would have done the guitar duel differently (slide against slide). Charles d'Orban ========================================================================= Date: Wed, 27 Mar 1996 08:21:39 -0600 Reply-To: Glenn Howze From: Glenn Howze Organization: Auburn University Subject: Re: Ry Cooder Comments: To: Keith Castleberry Keith Castleberry wrote asking for recommendations of Ry Cooder albums. They're all great. Or at least most of them are. My favorite are: "Bop 'Till You Drop" and "Chicken Skin Music" The harmonies on Bop are outstanding. Flaco and Gabby are wonderful on Skin. Jazz is also a class album. My favorite of the movie albums are The Border followed by The Long Riders. Two recent efforts are with Ali Farka Toure and his Talking Tomboutou album and with V M Bhatt and his A Meeting by the River. A couple of years ago some record company released or re-released some recordings made ca. 30 years ago. Ry Cooder played with Taj Mahal in a band called the Rising Sons. A couple of dozen cuts. Taj and Ry were both young and trying to play the blues. Worth having for any Cooder or Taj Mahal fan. glenn howze ========================================================================= Date: Wed, 27 Mar 1996 20:22:33 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Blues Had A Baby Comments: To: bit-listserv-blues-l@uunet.uu.net Rich DelGrosso wrote: > >Does anybody know the author of Muddy Water's "Blues Had A Baby And They >Named It Rock and Roll?" Was it Waters? Willie Dixon? > >Thanks > >Rich DelGrosso Rich, I've seen it credited to Brownie McGhee, but I've never hear a version of it by him. Scott ========================================================================= Date: Wed, 27 Mar 1996 12:39:05 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: BIG BILL BROONZY DISCOGRPAHY DUE SOON Comments: cc: tony@bluestb.demon.co.uk Since for some reason Tony Burke is NOT able to sign on to BLUES-L, I'm posting this as a believe BLUES-L readers would be interested in this publication. This will be their 3rd discography ; the Muddy Waters Disacography is now out-of-print, but the John Lee Hooker is still available. Visit the BLUES WORLD Web site for details. With Chris Smith behind this publication, it's bound to be correct! and up to date. "Uncle" eRIC BIG BILL BROONZY GROUND-BREAKING DISCOGRAPHY TO BE PUBLISHED SOON BY BLUES & RHYTHM MAGAZINE Singer, guitarist, violinist, percussionist (maybe) and teller of tall stories, Big Bill Broonzy (1898-1958) was a major blues recording star for thirty years. He made his first records for the African American public in the late twenties. In the forties and fifties he became one of the earliest blues ambassadors to white audiences, and became a revered and beloved figure among jazz and folk music fans in America and Europe. As well as recording prolifically under his own name, Big Bill accompanied many of the most popular blues singers among his contemporaries. Blues & Rhythm9 will soon be publishing Hit the Right Lick9, a book of over 100 pages discography and information on Big Bill Broonzy9s recordings by the noted blues writer and critic Chris Smith. This volume, the result of intensive research and listening, has been compiled with the help of many distinguished blues collectors and historians, and is THE most complete guide yet to Broonzy9s career as both a name artist and an accompanist. Numerous sessions in which he participated have been identified for the first time (and some where he didn9t have been deleted). There are many corrections to session line-ups, and copious notes on matters of interest. All known reissues up to September 1995 are included, and EP, LP and CD titles are listed for ease of reference. Chris9s superb 6,000 word introductory essay on Broonzy9s recording career, and his guide to recommended listening, make Hit the Right Lick9 an essential companion when listening to the marvellous music of Big Bill Broonzy. Wondering about that percussionist (maybe)9? This is just one of the many revelations in Hit the Right Lick9. Published in a limited edition of Hit the Right Lick9 is copiously illustrated with photographs, rare record label and cover shots and other ephemera, and is certain to become a collector9s item. The book will be advertised in B&R and on our Web site http:www.bluesworld.com and will undoubtedly get considerable review space in leading music publications. No real Blues fan will want to be without this important work - Watch this space for more information. TONY BURKE B&R MAGAZINE ========================================================================= Date: Wed, 27 Mar 1996 12:44:55 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: LEGACY 52831 : VARIOUS - MESSED UP IN LOVE & TALES OF WOE 1921-1944 Columbia-Legacy 52831 VARIOUS - Messed Up In Love & Other Tales Of Woe 1921-44 ============================================================================== A most entertaining sequel to the 1991 set "Raunch Business : Hot Nuts & Lollypops" (Legacy 46783) but with an important difference : no x-rated material - just perfect for the entire family. Ok, a few double entendre lyrics can be heard from country blues guitarists like Barbecue Bob ("Beggin' For Love"), Bo Carter ("I Love That Thing"), Blind Willie McTell ("Love Makin' Mama") and Blind Boy Fuller ("Lost Lover Blues") - but you need to listen very carefully. As for the blueswomen's point of view, we have titles from Merline Johnson ("Love Shows Weakness" with electric guitarist George Barnes), Memphis Minnie ("When You Love Me"), Mamie Smith ("U Need Some Lovin'") and the Bessie Smith masterpiece ("It Makes My Love Come Down" with pianist James P. Johnson). Other highlights include Buddy Moss ("Love Me, Baby, Love Me"), an artist Legacy should seriously consider issuing a complete CD of, and Lonnie Johnson's awesome "Careless Love", in all likelihood the first country blues version of this W. C. Handy composition, and a rare example of Johnson's 12-string guitar playing. Contents : ( 46 min.) (* unissued) 1. Barbecue Bob - Beggin' For Love - 2. Buddy Moss - Love Me, Baby, Love Me - 3. Emmett Miller - Lovesick Blues - 4. Bessie Smith - It Makes My Love Come Down - 5. Bo Carter - I Love That Thing - 6. Lonnie Johnson - Careless Love - 7. Mamie Smith - U Need Some Lovin' - 8.*Blind Willie McTell - Love Makin' Mama #1 - 9. Big Bill Broonzy - Messed Up In Love - 10. Peter Cleighton (Doctor Clayton) - Love Is Gone - 11. Curtis Jones - Moonlight Lover Blues - 12. Merline Johnson - Love Shows Weakness - 13. Big Joe (McCoy) & His Washboard Band - I Love You Baby - 14. Bill Gaither- Love Trifling Blues - 15. Memphis Minnie - When You Love Me - 16. Blind Boy Fuller - Lost Lover Blues Note : The Legacy ROOTS 'N BLUES series is now on the Web. Visit http://www.sony.com/Music/ArtistInfo/Legacy/RootsNBlues ========================================================================= Date: Wed, 27 Mar 1996 20:37:02 GMT Reply-To: Dave Gotwisner From: Dave Gotwisner Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: Crossroads-reply In article , P.W. Fenton wrote: >> From: bckdrmn@netcom.com (Dave Gotwisner), on 3/27/96 2:04 AM: > >> >I think you may be projecting a little too much of your own desires >> >into that last statement. I would be willing to bet that only a >> >tiny percentage of the U.S. population could tell you, even vaguely, >> >who Robert Johnson was, and only a portion of those people would be >> >interested in a movie. >> >> I think more could tell you who RJ was than you would think, just given the >> crossover of RJ songs into Rock. > >I think, given the crossover, it would be more likely that they would think >those RJ songs were written by Eric Clapton. Your probably right, but at least they will recognize the music (if played in commercials). Not only would they confuse RJ for Clapton, but for the Stones, Zepplin, and (egahd) the Blues Brothers. -- "I am an invisible man. No, I am not a spook like those who haunted Edgar Allan Poe; nor am I one of your Hollywood-movie ectoplasms. I am a man of substance, of flesh and bone, fiber and liquids -- and I might even be said to possess a mind. I am invisible, understand, simply because people refuse to see me. Like the bodiless heads you see sometimes in circus sideshows, it is as though I have been surrounded by mirrors of hard, distorting glass. When they approach me they see only my surroundings, themselves, or figments of their imagination -- indeed, everything and anything except me." -- Ralph Ellison (from the Invisible Man) ========================================================================= Date: Wed, 27 Mar 1996 20:40:08 GMT Reply-To: Dave Gotwisner From: Dave Gotwisner Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: Crossroads film. In article <01I2TVJTFQUA009ITZ@sci.wfbr.edu>, wrote: >Boy, you guys are a bunch of hardasses. > >Step out of your dyed-in-the-wool blues shoes for a minute and you realize this >movie is just for fun. I'm sure it's not designed to be any kind of serious >treatment of the Robert Johnson legend. We all know better. > >If you haven't seen it, watch it for some good guitar work and the campy >plot based very loosely on the RJ legend, and on the whole it's just light >entertainment with some minimal redeeming blues value. It's just for fun. >Ry Cooder's sound track is noteworthy, and Steve Vai while a long-haired, >guitar-thrashing, speed-metal playing white guy, is no slouch either. > >You'll either hate it or think it was a fun little flick. For the $3.oo >rental, what the heck. Actually, the funny thing that this post just reminded me of, is that a friend of mine, who REFUSED to listen to the blues (never heard any, refused to go clubbing with me) went to see this with me. He came out loving the blues (and went out and bought the second RJ album (on vinyl). Me, I thought it was a fun movie, but didn't really have enough blues in it. -- "I am an invisible man. No, I am not a spook like those who haunted Edgar Allan Poe; nor am I one of your Hollywood-movie ectoplasms. I am a man of substance, of flesh and bone, fiber and liquids -- and I might even be said to possess a mind. I am invisible, understand, simply because people refuse to see me. Like the bodiless heads you see sometimes in circus sideshows, it is as though I have been surrounded by mirrors of hard, distorting glass. When they approach me they see only my surroundings, themselves, or figments of their imagination -- indeed, everything and anything except me." -- Ralph Ellison (from the Invisible Man) ========================================================================= Date: Wed, 27 Mar 1996 15:56:05 +0000 Reply-To: ZIELINSK_J@popmail.firn.edu Comments: Authenticated sender is From: "John A. Zielinsky" Subject: Re: blues in movies/soundtrack I haven't seen anybody mention "The Blues Brothers" True, there was a high R&B content, but any film with John Lee Hooker singing in it is OK in my book. ___________ John Zielinsky, Chemistry Teacher, Lunatic | / JohnZiel@aol.com ZIELINSK_J@popmail.firn.edu \ | / "Love makes the world go 'round... \| /___ ... beer makes the world go pee." ========================================================================= Date: Wed, 27 Mar 1996 14:56:45 -0600 Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: Re: Who wrote/performed this song? The song is called "Treat Her Right" written by Gene Kurtz (who currently plays bass with Houston's Miss Molly) and Roy Head (who still performs around town). If you need more information, let me know. Nuri Nuri, Host/Producer "Blues Brunch", KPFT 90.1FM-Houston >'Nother question for yas....who originally did that song on "The Commitments" >soundtrack, don't even know the title, but it's something like... > > "Lemme tell you a story, > every man oughta know > something, something, something > something, something > If you want her lovin' you tonight, > you better treat her right.." > >I think it's a '60s R&B standard, but for the life of me I can't remember >the whys and wherefores. You guys know the song? We did it on a wing and >a prayer last night, drummer conjured up some of the lyrics and sang it. >But it came out so cool, we'd like to work it into a set. >Needed: name of the song? > who did it originally? > lyrics? >(ok, I'm pushing my luck here today, I know) > >But you guys are so GOOD! ;) That's the thing.... > >TIA buds, > >Riffin Rick >"..I know nothing" > -Sgt. Shultz > > > > > > > > > >F.J.(Rick)Miller >Senior Research Assistant, >& Marine Facilities Manager >Worcester Foundation for Biomedical Research >"Miller@Sci.WFBR.Edu" >*************************************************************************** > > ========================================================================= Date: Wed, 27 Mar 1996 16:03:32 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: More Peabody History (was: Blues Sites) More Peabody recordings: Jim Jackson's Jamboree Parts I and II (containing playing, singing, and talking by Jim Jackson, Tom Dorsey, Tampa Red, and Speckled Red), in October, 1929. Charlie McCoy with Chatman's Mississippi Hot Footers (Bo Carter, Walter Vinson), and Charlie McCoy alone, September 1929, several songs released under McCoy and Vinson's names. Garfield Akers (Cottonfield Blues, Dough Roller Blues, one other), September, 1929. These sessions are all Vocalion. This makes me wonder if the 1930 Vocalion Memphis sessions were also at the Peabody; those included Memphis Minnie and Kansas Joe. Addin my last post (Robert Wilkins, Furry Lewis), and the fact that Bonnie the K and I think maybe Memphis Jug Band, I think Tommy Johnson, and Dick Waterman thinks John Hurt, the Peabody seems to me to be a major blues site. I'm going to look for confimation of these last recollections. Tom Freeland ========================================================================= Date: Wed, 27 Mar 1996 16:05:53 -0500 Reply-To: "John R. Vanderpool" From: "John R. Vanderpool" Subject: Re: michael bloomfield's "if you love these blues..." > That lp was issued on the LaserLight label as "Root of Blues". It contains > all but 2 of the songs from the original LP. It also has the explanations by > Mike about the tunings and equipment deleted. The 2 songs not included on that > CD are included on another CD titled "Gospel of Blues" which was Mike's duet > LP with Woody Harris originally released on Kicking Mule. Both CDs are bargain > priced. Noteworthy Music (telnet to netmarket.com) has them for <$6. "root of blues" is one of my favorites of his - "gospel of blues" is good, but not quite as much as the other. "essential" mike bloomfield is a nice collection too that is often only $10. fish -- "shadow captain, of a charcoal ship... trying to give the light the slip." -d. crosby for earth science info check out: http://daac.gsfc.nasa.gov John R. Vanderpool NASA/GSFC/HSTX ========================================================================= Date: Wed, 27 Mar 1996 16:03:35 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Crossroads Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *And of course the irony is that Steve Vai is playing the guitar in the *"winning" (classical chops) part of the solo. There was an interview with *Ry Cooder (in Guitar Player???) a few years back in which he was asked what *he thought of the movie. His reticence in replying implies that he didn't *think much of it. Said that he would have done the guitar duel differently *(slide against slide). That would be a cool guitar duel. They could've had Johnny Winter as the devil's guitarist! ========================================================================= Date: Wed, 27 Mar 1996 16:22:31 -0500 Reply-To: bob unger From: bob unger Subject: William Clarke update Cathi Norton asked me to post this as she is having trouble with her mailer........ This Friday, William Clarke will be leaving the hospital and heading home. He has not fully recovered yet, but he is well enough that he can leave the hospital and recover at home. If anybody has sent anything to him, the hospital said they will forward it to his home address, but please do not send anything more to the hospital. BU bob@sun.bnkst.edu ========================================================================= Date: Wed, 27 Mar 1996 15:30:52 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: dfw only For those in the DFW area and anyone coming to Dallas for the Greater Southwest Guitar Show on March 30: Dallas blues happenings for Saturday, March 30: Smokin' Joe Kubek Band featuring Bnois King at the Blue Cat Anson Funderburgh and the Rockets featuring Sam Myers at Poor David's Pub Mike Morgan and the Crawl at the Greenville Bar and Grill Jim Suhler and Alan Haynes at Muddy Waters Randy McAllister and Robin Syler at the Bronco Bowl Debie Babcock and Dallas Heat at Schooners Bert Wills and the Cryin Shames at the Texas Blues Cafe Don O. ========================================================================= Date: Wed, 27 Mar 1996 16:55:13 -0500 Reply-To: PHWoolfman@AOL.COM From: Pete Wulforst Subject: Re: Hey Bo Diddley! Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu Also, by a rather good if unknown group called either "Snake" or "The Snakes" (I could check if anybody cares) "Whatever Happened to BO Diddley's Money", with Bo himself singing co-lead. Pete wulforst ========================================================================= Date: Thu, 28 Mar 1996 08:52:00 PST Reply-To: David Blanken From: David Blanken Subject: Re: blues in movies/soundtrack George Morales wrote: > Other than "Crossroad" and "adventures in babysitting", does anyone >know of other movies that have blues tracks on the soundtrack or that >feature blues music in the background? >George Magic Slim and the Teardrops feature in a SMALL scene in the movie "Folks!" with Tom Selleck. I may be wrong but I think Magic Slim and the Teardrops also appear in "V.I. Warshawski" (sp?) with Kathleen Turner (if it's not Magic Slim then it's another Chicago bluesman). Didn't Anson Funderburgh and the Rockets (with Sam Myers) appear in a movie called "China Moon"? ========================================================================= Date: Wed, 27 Mar 1996 15:47:18 EST Reply-To: scovillej@ISAIAH.CSPS.COM From: Jef Scoville Subject: Treat Her Right Maybe I'm nuts but an artist name of Roy Head pops to mind. That's all I can come up with. Good song. Jef Scoville ========================================================================= Date: Wed, 27 Mar 1996 09:24:56 -0500 Reply-To: C2MXBOY@FRE.TOWSON.EDU From: Kevin Boyle Subject: Re: STAX TUPELO etc... Just thought I'd mention that the King, Cropper, & Staples "Tupelo Parts 1&2" are also on the Stax Blues Brothers STAX SCD-8457-2 release. Also included is Albert King's Drownin' on Dry Land and a GREAT Tryin' Time by Pop's. Kevin B. ========================================================================= Date: Wed, 27 Mar 1996 17:24:59 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Treat Her Right - a little more info Comments: To: MILLER@SCI.WFBR.EDU A CD released in 1995 on the Varese Vintage label called, "Treat Her Right: The Best of Roy Head" obviously contains the original. I looked at CD-Now and it was back ordered. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 26 Mar 1996 20:29:54 -0800 Reply-To: Maggie Mortensen Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Maggie Mortensen Organization: Exarch Services Subject: Re: Help - Fats Waller CD? Comments: To: Nightdave@AOL.COM Dave Overoye wrote: > > Does anyone know of a good Fats Waller CD? > Thanks! I'm wild about Fats, and there's an excellent, inexpensive compilation of 23 of his tunes on a Bluebird CD, 'The Joint is Jumpin'--Bluebird D180378. A good place to start for a newcomer, it's reissues of his RCA sides. Excellent versions of Smashing Thirds and Alligator Crawl, and two nicely varied versions of Ain't Misbehavin. Plus informative liner notes from George Winston. BTW, if you like Fats, be sure and check out one of his most talented disciples, Mike Lipskin, still thriving and working in San Francisco. He's about as good a stride/blues keyboardist as exists. --Maggie -- Maggie Mortensen<>Exarch Services<>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 'Born with the blues, my blue suede shoes, and underlying depression...' --Van Morrison ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Tue, 26 Mar 1996 20:32:16 -0800 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Re: John Lee Hooker itinerary Comments: To: bit-listserv-blues-l@uunet.uu.net CATBAUER wrote: > JOHN LEE HOOKER > 09/02/96 , Seatle , WA , USA, Bumper Shoot Can this location be right? Isn't Bumper Shoot that freeway festival that's held in Los Angeles? }8^) -- Maggie Mortensen<>Exarch Services<>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 'Born with the blues, my blue suede shoes, and underlying depression...' --Van Morrison ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Tue, 26 Mar 1996 20:33:26 -0800 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Re: kicked to the curb Comments: To: bit-listserv-blues-l@uunet.uu.net Douglass W Jones wrote: > I'm a guitar player I've got 4 singles out > and I'm being thrown out of my house. Man, those musta been some baaaaad singles. -- Maggie Mortensen<>Exarch Services<>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 'Born with the blues, my blue suede shoes, and underlying depression...' --Van Morrison ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Wed, 27 Mar 1996 18:06:47 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Re: blues in movies/soundtrack At the risk of blowing Stony Plain's horn, we've just issued the new Holmes Brothers album, which is the songs from the soundtrack of a new movie called Lotto Land. I suspect this fiml, charming though it is, will go only to small art houses and then direct to video, but the music is just what you'd expect from the Holmes-passionate, gutsy r&b with gospel overtones. If you do catch the movie, Wendell Holmes has a lead part and acquits himself with credit. There, was that modest enough a plug to pass muster? Richard the Elder. ========================================================================= Date: Wed, 27 Mar 1996 18:35:28 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: blues in movies/soundtrack David asked: >Didn't Anson Funderburgh and the Rockets (with Sam Myers) appear in a movie >called "China Moon"? Yes, China Moon starred Ed Harris and Madeline Stowe. The music was the best part. Also, almost blues: Corrina, Corrina with Whoopi Goldberg. Karen ========================================================================= Date: Wed, 27 Mar 1996 18:52:25 -0400 Reply-To: BALISTRK@BAYDENOC.CC.MI.US From: "Keith T. Balistreri" Subject: Re: Blues Guide? Comments: To: T-Bone In-Reply-To: On Wed, 27 Mar 1996, T-Bone wrote: > On Wed, 27 Mar 1996, J.J. Perry wrote: > > I'm surprised with all this talk about creating a guide to blues > > spots around the country, no one has bothered to mention a great > > book by Christiane Bird called "The Jazz and Blues Lover's Guide To > > The U.S." (Addison-Wes-- Great book, but don'y you think a few of the fanatical blues purests might be offended since it is JAZZ and blues. Yes...I'm being sarcastic...a bit. ========================================================================= Date: Wed, 27 Mar 1996 19:02:46 -0500 Reply-To: Jonny Meister From: Jonny Meister Subject: Charley Patton I forget now who asked about this, but the complete recorded works of Charley Patton are available on CD. There is a 3-disc set from Japan on P-Vine, done in cooperation with Johnny Parth and Document. I think Document also has it all out on a set of CDs. -Jonny ========================================================================= Date: Wed, 27 Mar 1996 17:39:24 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: New Orleans Jazzfest- B&B rooms Comments: To: Dave Gotwisner I have a friend who operates a B&B in the Faubourg/Marigny neighborhood- the next area over from the French Quarter- and he still has some availability for both weekends of the Jazzfest. If you need a room for either weekend and don't already have one, you are going to have trouble finding one by now ( back me up on this, y'all N'awlins folks- Jim, Maggie?) Anyway, given the recent sensitivities about advertizing, I can post his number and fax here (time for another poll of the bluezellers) or you can contact me by email. If you have trouble getting through to me, keep trying, we've been having server problems and a lot of my stuff has gotten bounced back. BTW, I consider this a public service to any would-be attendees of what I consider the best party on earth,and not a commercial solicitation. Jim ========================================================================= Date: Wed, 27 Mar 1996 16:42:59 -0500 Reply-To: David Melton From: David Melton Subject: Re: Telecaster sound Comments: To: Charles d'Orban At 2:48 PM 3/27/96, Charles d'Orban wrote: >> that Telecaster tone unmistakable in >>Roy Buchanan, Robertson, and Albert Collins' work - who are the successors >>to that sound now? > >Perhaps the late Danny Gatton (RIP) doesn't count anymore. But there's >Bill Kirchen, Arlen Roth, the Hellecasters (especially Will Ray). Sorry, >these aren't really blues players but they are great Tele players. >Charles d'Orban =============================================================================== Jimmy Vaughan uses a Tele quite a bit. Another one of my favorite players, The late great Jesse Ed Davis (Taj Mahal, John Lennon, asst other sessions as well as 3 of his own obscure albums) used mostly a Telecaster. Wish I still had mine! Dave Melton ========================================================================= Date: Wed, 27 Mar 1996 19:35:57 -0500 Reply-To: Dave Markovits From: Dave Markovits Subject: Blue Photos in NYC I had forwarded this message myself and then lost it.Here is Barry Silverberg's original post. This is a great exhibit. If you are going this weekend, The incredible Jimmy Smith is playing his Hammond B-3 at the Five Spot(i believe)I'd walk back to New York to hear him. Thought that anyone around and in New York City would apprec- > iate to know that there's a blues photography show going on @ > the moment. Story to follow. Info first. > > The gallery is Creations 17 at 112 West 17th Street. The tel- > ephone number is 212-741-9356 and ask for Marianne. Tell her > Barry sent you. Hours are Mon. to Sat. or Tues to Sat. 12-6. > Enjoy. > > Now here's the story. > > Went to the gallery yesterday. Walked the block. Found a door > covered in black plastic behind iron gates and closed. I rang > the bell. Marianne comes out. You walk down a long corridor > and make a right into the gallery. Inside B&W picks of blues > all around you. Here's a few. > > James Son Thomas > Pee Wee Whitaker > Roosevelt Booba Barnes > Arthenice Jones > Napoleon Strickland > etc. > > Great frames - ask Marianne the story on them. > David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Wed, 27 Mar 1996 16:51:16 -0500 Reply-To: David Melton From: David Melton Subject: Re: Ry Cooder Comments: To: Keith Castleberry At 11:52 AM 3/27/96, Keith Castleberry wrote: >In recent postings on the Blues-L, I have seen several mentions of Ry >Cooder. I have heard of Ry Cooder, and not had the chance to hear his >albums. Is there anyone out there that can recommend his best albums? > > > >Keith Castleberry >WYDH 105.9 FM >"The Blues Cruise" >P.O. Box 710 >Atmore, AL 36504-0710 His first album,"Ry Cooder" (Airstream trailer on cover) is good."Boomers Story" is good. Two of my favorites are "Into the Purple Valley" and "Paradise and Lunch". Dave Melton ========================================================================= Date: Wed, 27 Mar 1996 19:47:17 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: blues in movies/soundtrack Comments: To: Richard Flohil In-Reply-To: On Wed, 27 Mar 1996, Richard Flohil wrote: > There, was that modest enough a plug to pass muster? re: Holmes Brothers soundtrack ....... Too bad modesty is in order Richard. I listened to the disc and the Holmes Brothers put on a real good show ... they cover a lot of musical ground on the disc and given it's the Holmes Brothers they do it well. Just so I can blow your horn for you a bit let me add that NY CD Blues will be covering the entire Stony Plains CD output (probably available next month) and you guys got a few (at least) killer pieces. I have my favorites already but I can not pop the gun on the reviews. Two things to all 1. stay tuned for our reviews and 2. check out Stony Plain a little further - you'll find a coupla gems and a coupla good solid surprises. All in all worth a serious look-see-listen-to. Barry WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Wed, 27 Mar 1996 18:44:50 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Re: blues in movies/soundtrack DB>Didn't Anson Funderburgh and the Rockets (with Sam Myers) appear in a movie DB>called "China Moon"? I think that's just the movie I've been thinking about (but couldn't remember the name) if that's the movie with Ed Harris and Madeline Stowe. Yeah AF&R w/SM had a couple of scenes in it. Although it isn't blues, "Get Shorty" has a fine soundtrack that features Booker T. and the MGs. Bill Morgan From: The Big Easy ========================================================================= Date: Thu, 28 Mar 1996 01:11:19 GMT Reply-To: Rory Wicks From: Rory Wicks Organization: CONNECTnet Internet Network Services (service provider) Subject: Re: Ry Cooder Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199603271752.LAA06508@mako.atmore.gulf.net>, Keith Castleberry wrote: > Is there anyone out there that can recommend (Ry Cooder's) best albums? I've got almost all of 'em and my favorite remains his second, "Into The Purple Valley". BTW, Ry's wife Suzy Titelman Cooder is an accomplished artist (painter) in her own right. Rory Wicks rory@connectnet.com ========================================================================= Date: Wed, 27 Mar 1996 20:21:58 -0500 Reply-To: Nnelgsmada From: Nnelgsmada Organization: America Online, Inc. (1-800-827-6364) Subject: Kenny Wayne Sheppard/Sonny Landreth/Corey Harris Comments: To: bit-listserv-blues-l@uunet.uu.net The future of the blues is in good hands with youthful bluesmen such as Corey Harris, Kenny Wayne Sheppard & Sonny Landreth plying their trade and paying homage to the great legendary bluesmen (and women) who have gone before them. If you're a recent convert to the blues, welcome and/or if you're interested in keeping the blues alive and well by supporting young up and coming blues artists the following works of art are a must for your blues collection: Kenny Wayne Sheppard - "Ledbetter Heights" (phenomenal young guitarist from Shreveport, Louisiana who will, without a doubt, be ranked with greats such as Buddy Guy, Stevie Ray, Hendrix) Giant Records Sonny Landreth - "Blues Attack" (not a great vocalist but a wonderful songwriter and guitarist who specializes in dobro slide. Born in Mississippi, raised in Louisiana) Corey Harris - "Between Midnight And Day" (destined to become recognized as one the premier country bluesmen of his generation, Harris, who hails from Virginia recieves his inspiration from the source, namely Charley Patton, Sleepy John Estes, Bukka White and Muddy. Also a heavy Robert Johnson influence) Alligator Records I don't want to leave out Lonnie Pitchford and his beautiful album "All Around Man" on Rooster Records out of Clarksdale, Ms. Lonnie is comfortable with the down home Delta blues "Water In My Gas Tank" as well as ensemble blues; an awesome electric rendition of Robert Johnson's "If I Had Possession Over Judgement Day." ========================================================================= Date: Thu, 28 Mar 1996 12:38:25 -1000 Reply-To: Andrew Gregg From: Andrew Gregg Subject: Re: Ry cooder Comments: To: Jim Witteveen > >His first album,"Ry Cooder" (Airstream trailer on cover) is good."Boomers >Story" is good. Two of my favorites are "Into the Purple Valley" and >"Paradise and Lunch". Further to that, on "purple valley" is a cover of Woody Guthrie's "Vigilante Man" done on slide in Open D & totally rocks. Its one of the most moving blues performances Ive heard. Also check out 'Paris/Texas' for some great blues. ********************************************************************** * Andrew Gregg * * * Dept of Primary * I see angels on Ariels * * Industry * in leather & chrome * * ooOO00OOoo * Swooping down from heaven * * Email : * to carry me home * * mpagregg@aries.dpi.tas.gov.au * * * * - Richard Thompson * ********************************************************************** ========================================================================= Date: Wed, 27 Mar 1996 21:07:48 -0500 Reply-To: Arcoleo@AOL.COM From: Arcoleo@AOL.COM Subject: joining Hello, I'd like to join the blues list. How do I do it? Fred Arcoleo ========================================================================= Date: Wed, 27 Mar 1996 14:34:19 -0500 Reply-To: Linda Rebecca Rash From: Linda Rebecca Rash Organization: Emory University Subject: Howlin Wolf Song? Comments: To: bit-listserv-blues-l@uunet.uu.net Hi could someone email me if they know the name of the cassette or cd with the song by Howlin' Wolf "Cutting Cane". I heard the middle of the song on the local blues radio and was unable to hear the year or label. Some of the lyrics are "I ain't cutting no mo cane, even if the boss man shoots me down" ... -- Linda Rash Phone: 404-727-6879 Emory University Libraries Internet: liblrr@emuvm1.bitnet Atlanta, Georgia ========================================================================= Date: Wed, 27 Mar 1996 19:17:00 PST Reply-To: Gary Joneson From: Gary Joneson Subject: Re: Charley Patton >There is a 3-disc set from Japan on P-Vine, done in cooperation with Johnny >Parth and Document. I think Document also has it all out on a set of CDs. Document numbers are : DOCD 5009-5011 Volumes 1-3 If you have WEB access the Document catalog is at: http://www.island.net/~blues/strategy.htm Gary ========================================================================= Date: Wed, 27 Mar 1996 22:45:03 -0500 Reply-To: "jose.eric.s.maglanque" From: "jose.eric.s.maglanque" Subject: help: blues mag recommendation Hello y'all. This is my nth installment of queries for our fledgling blues society here in Manila. Which blues magazine today would be best subscribing to? Are Living Blues and Blues Unlimited still around? Thanks y'all! - Joric ========================================================================= Date: Wed, 27 Mar 1996 22:56:35 -0500 Reply-To: BLUESROCCO@AOL.COM From: Jim Rocco Subject: Re: Telecaster sound Comments: To: cmd5@cornell.edu Aint no-one in any genre of any music who can make a Tele do what Albert Lee can....even if it is country... I M H O ========================================================================= Date: Thu, 28 Mar 1996 00:27:29 -0500 Reply-To: NCKNOX@AOL.COM From: Terry Knox Subject: Re: Crossroads film. Boy all of you have this wrong. My college English Lit teacher says this is a verrry serious movie (and we had to watch it in class!!). He thinks it's a modern societal interpretation of the Dr. Faustus legend. Which, by the way, I have to write a paper on, so if anyone has any insight into this interpretation drop me some private email. Terry ;-) (formerly TLKnox@eworld.com) ********************original message*************** >Boy, you guys are a bunch of hardasses. > >Step out of your dyed-in-the-wool blues shoes for a minute and you realize this >movie is just for fun. I'm sure it's not designed to be any kind of serious >treatment of the Robert Johnson legend. We all know better. > >If you haven't seen it, watch it for some good guitar work and the campy >plot based very loosely on the RJ legend, and on the whole it's just light >entertainment with some minimal redeeming blues value. It's just for fun. >Ry Cooder's sound track is noteworthy, and Steve Vai while a long-haired, >guitar-thrashing, speed-metal playing white guy, is no slouch either. > >You'll either hate it or think it was a fun little flick. For the $3.oo >rental, what the heck. ========================================================================= Date: Wed, 27 Mar 1996 23:37:34 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Radar Labs 23 Subject: The Gales Bros. Comments: To: bit-listserv-blues-l@uunet.uu.net The Gales Bros. Memphis Left Hand Band House of Blues HOB7001087005-2 I hear about 10 to 15 new blues CDs each month. This one stands out like Sonny Boy Williamson at a Pat Boone Fan Club Meeting. Man, does it smoke! It's heavy, funky blues -- more bluesy than The Meters, yet more funky than Snooks Eaglin. The Bros. also put a rock sound and feel to their music reminiscent of Living Color, although the music is definitely more blues influenced than rock oriented. Highlights of the disk include Hand Me Down, a propulsive funk jam on a classic blues riff, Talking in Your Sleep, a cool rendition of the Hall and Oates tune, and Something's Got A Hold On Me, a nice slow jam with a Robin Trower tone and Lenny Kravitz influences in instrumentation. This is a great release that will spend a lot of time in your player if you like loud, driving blues with an attitude. It's interpretive blues from three talented generation x guitarists. Also, they play their guitars upside down -- take a second look at the back cover for a clever joke. WWW Production: HTML,CGI,JAVA Kevan Smith -> cuthulu@prysm.net http://www.rlabs.com ========================================================================= Date: Thu, 28 Mar 1996 00:12:31 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: joining >Hello, > >I'd like to join the blues list. How do I do it? > >Fred Arcoleo Go down to the crossroads at midnight and..... Shaun (less flippant reply with relevant info was sent to Fred) Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 28 Mar 1996 00:12:42 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Telecaster sound Jim Rocco wrote: >Aint no-one in any genre of any music who can make a Tele do what Albert Lee >can....even if it is country... I M H O IMHO as well (and I am listening to Albert Lee on Emylou Harris' "Luxury Liner" at this moment). Also the proud owner of a new JD (Jerry Donahue) signature Tele. Maple neck, crimson with white binding, V-neck. I'm in love again. BTW, saw a picture of a very young (and quite dapper) BB King, holding (I forget the name of the book) an early Tele (may have been an Esquire). I had always associated BB with Gibson. Anyone else seen the photo? I was thumbing through a heap of guitar books at a book store today. And speaking of Tele wielders, Albert Collins. Oh Man! Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 28 Mar 1996 00:12:47 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Ry Cooder One of Ry Cooder's singers, Terry Evans, has been putting out a few albums with Ry playing on them. The one I have is from 1993 but I only have a copy on the cassette and no title or label info (If someone can supply the title of the album it would be appreciated). It is a great album of blues and blues influenced music. Ry's intro on "Get Your Lies Straight" has to be heard to be believed. He has a tone of doom happening. The album (whatever it is called) is well worth the listen. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 28 Mar 1996 00:59:05 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: blues in movies/soundtrack John Zielinsky wrote: >I haven't seen anybody mention "The Blues Brothers" >True, there was a high R&B content, but any film with John Lee Hooker >singing in it is OK in my book. Actually, I think "The Blues Brothers" is a great movie (in the turn off your brain and enjoy sense). I remeber when I first saw it there was one scene that really knocked me out. And it was John Lee getting down and playing the boogie on the street. I made sure I scanned the credits to find out who that was. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 28 Mar 1996 01:11:04 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Crossroads Charles d'Orban wrote: >And of course the irony is that Steve Vai is playing the guitar in the >"winning" (classical chops) part of the solo. There was an interview with >Ry Cooder (in Guitar Player???) a few years back in which he was asked what >he thought of the movie. His reticence in replying implies that he didn't >think much of it. Said that he would have done the guitar duel differently >(slide against slide). I agree. I quite like Steve Vai as a musician but the ending betrayed, IMHO, the movie. LW stated that Albert King with his amp on standyby would of won. I would of rather seen the hero nail one of those Albert King licks that destroy you with one note. That would of been a fitting end. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 28 Mar 1996 09:57:00 GMT Reply-To: Mr P R Munro From: Mr P R Munro Subject: Ry Cooder confession Seeing someone mention Ry Cooders version of 'Vigilante Man' reminded me that when I was a kid I used to play this to my friends as the most god awful BORING song I owned. I think it was on an Old Grey Whistle Test compilation album and even when I used to play the album at 45rpm it still sounded too slow. The impatience of youth! It must have had some effect 'cos although I like 'Bop 'til you drop' and would especially recommend the 2 CD compilation of Ry's film music, I'm still not sure about Vigilante Man! A friend of mine is still looking for a version of a MAN singing 'Miss Otis regrets' which he says he heard on the radio. Anyone know who this might be? I posted this question more than a year ago but the only answers were versions by women. Maybe some of the newer folks might have some ideas? Thanks Pete. ========================================================================= Date: Thu, 28 Mar 1996 02:36:09 -0800 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Re: Telecaster sound Comments: To: Charles d'Orban In-Reply-To: <199603271948.OAA01193@postoffice2.mail.cornell.edu> I think that Junior Brown could be added to the list even though he the THING he plays barely passess for a guitar. Tele sound he's got it in loads. Isaac On Wed, 27 Mar 1996, Charles d'Orban wrote: > > that Telecaster tone unmistakable in > >Roy Buchanan, Robertson, and Albert Collins' work - who are the successors > >to that sound now? > > Perhaps the late Danny Gatton (RIP) doesn't count anymore. But there's > Bill Kirchen, Arlen Roth, the Hellecasters (especially Will Ray). Sorry, > these aren't really blues players but they are great Tele players. > Charles d'Orban > ========================================================================= Date: Thu, 28 Mar 1996 05:38:37 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Sitting&Thinking-Buddy Guy Thought BG would make a nice rap to this months JSP reviews ... Again all 50+ reviews are at http://www.panix.com/~bsco/ just click on JSP and you're there .... BUDDY GUY - LIVE AT THE CHECKERBOARD LOUNGE (JSP #262) JSP RECORDS P. O. BOX 1584 LONDON N3 3NW ENGLAND TEL: 44 181 346 8663 FAX: 44 181 346 8848 Whenever Buddy Guy steps up on stage - whether it's his Chess years, his current work or these 70's and 80's sides - he always delivers the blues. This is my favorite period of his work. It has an edge of creativity that I like a lot. It is bold and it is daring, while retaining a true blues sound. As you listen you will be taken on a journey. The journey may shake you. It will certainly wake you. What you are getting is a unique opportunity to spend one hour with a master bluesman mixing up his own potion. BUDDY'S BLUES (PART 1) / I'VE GOT A RIGHT TO LOVE MY WOMAN / TELL ME WHAT'S INSIDE OF YOU / DONE GOT OVER / THE THINGS I USED TO DO / YOU DON'T KNOW HOW I FEEL / THE DOLLAR DONE FELL / BUDDY'S BLUES (PART 2) / DON'T ANSWER THE DOOR / TELL ME WHAT'S INSIDE OF YOU (VERSION 2) NY CD-Takes BUDDY'S BLUES (PART 1): This CD opens with the fine finger picking of Mr. Buddy Guy. The beat is carried by a solid set of drums and a good hearty bass - but the electric guitar of Mr. Guy is the star. I am always amazed at how this one man can make those guitar strings quiver. This cut and this CD are both representative of the entire late 70's to early 80's brooding period of Buddy's Guy bluesmanship. It is very personal and borders on the experimental. Every single piece of work by Mr. Guy on this CD is important and this opener is just the pointer. I'VE GOT A RIGHT TO LOVE MY WOMAN: On this cut Buddy Guy explains the set he is embarking on. He calls it alley music. It is very obvious from the first few words that he sings - what he means by alley music. It is down and dirty, rough and tumble, and right from the pits of his soul. Every sound is turned down to a barely perceptible level except for a few cuts and jabs on his guitar and his vocals. You are drawn in, and once there, Mr. Guy lays it to you. This is true to the bone, bad-bad-blues. As always, when Buddy Guy is at his best he stays there for a long time and the 9 minutes plus playing time of this cut perfectly fits this master bluesman's timing. TELL ME WHAT'S INSIDE OF YOU: Here Buddy Guy shows his affinity and ability to play the sound of Cream and the English invasion. His vocals however remain in the alley. There's a lot of complex guitar work here, set against the screaming crying voice of one of Chicago's greatest. It's a very forward thinking rendition. It has the grease and grit of the darkside set against a slight uptempo backing driven by the drums. If you've got the guts - put this CD in the player and hit 3. I guess you'll hit 3 again and again. This is a major piece of music. DONE GOT OVER: Now the pace rises. Mr. Guy is slowly picking it up both in tempo and in decibels. He is producing a session that has purpose and direction. Another reason to get this CD. THE THINGS I USED TO DO: This side is a crying cut at the blues. Buddy Guy steps up the set another notch. His vocals are growing louder and more front and center. The whole crescendo of this CD is building. There's also plenty of big guitar work here - shrill pitched and piercing. YOU DON'T KNOW HOW I FEEL: Now the turn is way down slow and into the darkest corners of the blues. Buddy Guy is fully exposed. The suffering of the blues is right in your face. The crying, the haunting events, the pained soul are all here. The level of intimacy is almost too much to bear. This is as deep as the blues go. What you will feel is Buddy Guy, from deep inside. THE DOLLAR DONE FELL: This cut is another push the limit one. The guitar work is striking in it's sound. A nice mix of reverb and straight picking set against a tale told more than a song sung. BUDDY'S BLUES (PART 2): Buddy Guy now picks the pace up again. A lot of drums on this one and more of Buddy Guy's experiment on the wild side. This is a flat out generous helping of on the spot creative juices flowing. You can feel the immediacy of the musical decisions being made right in front of you. It's a rare look into a big blues master. DON'T ANSWER THE DOOR: L.C. Thurston is the singer now. He too has a lot of big blues to convey. He's broody and bad in the same way that Mr. Guy has been and fits in this session like a glove. The same great guitar sets the backstage as this side proves to be a nice treat inside a solid Buddy Guy live session. TELL ME WHAT'S INSIDE OF YOU (VERSION 2): It's interesting that Buddy Guy chose this second version of the English side of the blues to close this set. Although the body of this piece is a rough and tumble raunchy based alley blues, the intro and a few select riffs are very Brit oriented. One would guess that Mr. Guy may have done more of this kind of playing if he did not have a whole world to please. Buddy Guy is never known for being a selfish entertainer, but this session captures for us one set where Buddy Guy called the shots. I heartily applaud JSP for delivering this to us. Reviewed By Barry Silverberg Copyright NY CD Blues @1995-1996 All Rights Reserved. Unauthorized use prohibited. WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 28 Mar 1996 02:43:40 -0800 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Re: Ry Cooder Comments: To: Glenn Howze In-Reply-To: <31594EF2.7ED7@aghill.ag.auburn.edu> the soundtrack to PARIS TEXAS is one hell of an album. along with Chicken Skin Music, and Jazz. Truthfully the man IMHO has a hard time going wrong with a record. Even Into the slide Area grows on you. HE has that whole kill you with one note thing going for him. Just that tone, every once in a while just floors me. Ry I believe is one of the great great great guitarists of our time. so check out Paris Texas and enjoy. Isaac ========================================================================= Date: Thu, 28 Mar 1996 06:20:33 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Re: blues in movies/soundtrack -Reply The movie Babysitter (paraphrased) has an excellent scene where the babysitter and her brood are escaping the "bad" guys, and duck into the back door of this bar only to find themselves on stage with Albert Collins......great line.....Nobody leaves here without singin' the blues!...and she does! Also, a movie Bad Girls (paraphrased, maybe its Modern Girls?) has a scene where willie Dixon and his band are singing.....and the character tells the girl "You're listening to a living legend"....may Willie rest in peace. ddr ========================================================================= Date: Thu, 28 Mar 1996 07:05:40 CST Reply-To: William Shute Comments: Forwarding note of 28 Mar 96 07:04:17 CST from William Shute From: William Shute Subject: Re: personal tribute to Jay Miller From: Bill Shute *** Forwarding note from WSHUTE --SACADMIN 03/28/96 07:04 *** Date: 28 Mar 96 07:04:17 CST From: William Shute To: Chris Smith Subject: Re: personal tribute to Jay Miller In-Reply-To: note of Wed, 27 Mar 1996 14:53:51 -0500 from Chris Smith From: Bill Shute Chris, 1) I'm very much aware of the Rebel label. 2) Where did I say that Miller was a champion of integration? 3) Miller did on occasion have racially mixed sessions, including some of Lester's, which is where I took my precedent for a fantasy session with Mullican/Hicks. Bill Shute San Antonio, TX ========================================================================= Date: Thu, 28 Mar 1996 13:05:15 GMT Reply-To: Tommy Jansson From: Tommy Jansson Organization: Uppsala university Subject: Re: Bring It On Home Comments: To: bit-listserv-blues-l@uunet.uu.net Yes, Bring it on home is SBW. But listen to Big Walter Horton on the Delta 100 album. There is a song from 1953 which sounds exactly like Bring it on home. ========================================================================= Date: Thu, 28 Mar 1996 08:17:26 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: blues in movies/soundtrack -Reply Comments: To: Roger Struve On 28 Mar 96, Roger Struve had this to say... > Also, a movie Bad Girls (paraphrased, maybe its Modern Girls?) has a scene > where willie Dixon and his band are singing.....and the character tells the > girl "You're listening to a living legend"....may Willie rest in peace. The title of this 1991 film is "Rich Girl" Willie Dixon appeared in another film that year called "Night of The Warrior", a B movie about kick boxing. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 28 Mar 1996 08:41:18 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Hey Bo Diddley Pete Wulfors posted the following: "Also, by a rather good if unknown group called either "Snake" or "The Snakes" (I could check if anybody cares) "Whatever Happened to Bo Diddley's Money",with Bo himself singing co-lead." I don't have the record to hand (it's at home, I'm in the office!) but the band came out of Minneapolis, and were once called the Hoopsnakes. The song is a highly amusing rundown of how Bo Diddley didn't get his money ("Ask Leonard Chess, ask BMI, ask the FBI"), and is set to a distincive Bo Diddley tune, and of course, the Bo Diddley rhythm hook remains intact. Guess who claimed composer credit? That's right, folks-the guys in the band. Bo Diddley may sing on the record, but he doesn't earn the royalties for the appropriation of his tune. So THAT'S what happenned to Bo Diddley's money! Richard the Elder ========================================================================= Date: Thu, 28 Mar 1996 08:23:38 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: Clarke Hi everybody. Well as Bob Unger posted for me last night (any of you guys need a bad-paying job straightening out the screwed-up mail system here at IU?)...news has it that William Clarke is aiming to get sprung from the Indy hospital on Friday. Things are still a little chancey on that, but that's what he and Jeannette hope. Last official reports say that it will be some time before he'll be playing again, but he's spunky -- we'll see. BTW, I especially want to give you a message from his wife Jeannette, who said that he has recovered (enough to possibly go home) more quickly than anticipated by doctors. She attributes this, quite seriously, to "the many people who have expressed their love for Bill and prayed for him." She also says that hearing from us cheered him immeasurably all this week. Her greatest wish would be to thank each of us personally, but since she couldn't, she asked me to send it this way. Thanks -- all you who cared so much. Cathi N. ========================================================================= Date: Thu, 28 Mar 1996 07:33:03 CST Reply-To: William Shute From: William Shute Subject: Titus Turner "Enjoy" Sessions From: Bill Shute TITUS "TEE" TURNER "Soulville" Collectables COL CD 5160 14 tracks, rec. circa l962 presumably produced by Bobby Robinson Coming immediately after his 1960-61 material for Jamie (collected on Bear Family BCD 15532), Titus Turner's stint with Bobby Robinson's "Enjoy" label (subsidiary of Fire/Fury) didn't to my knowledge produce any hits, but the title song was successfully covered by Aretha (and also, more immediately, by Dinah Washington), and much of this material is more solid and less ginchy than some of the novelty tunes such as "Sound Off" he did for Jamie. I guess Titus Turner is one of those performers who wound up being more successful as a composer than as a performer himself (in this way, he could be compared with John D. Loudermilk, Billy Vera, Melvin Endsley, etc.), and sometimes these type of artists are signed by a label so the label can have the publishing on any hit cover versions of the material, and thus they don't really hustle in promoting the composer's own versions. The 14 tunes here are a combination of novelty songs (People Sure Act Funny), his own versions of Turner compositions that had become hits for others (All Around The World hit big for LIttle Willie JOhn, tho TT's own version wasn't released for a few years after that), MOR material such as The Masquerade is OVer and Walk on By(which are performed in a Billy Eckstine-ish manner), deep slow numbers, and straight R&B. Most of it works well, and Turner has the ability to sing in any number of styles equally convincingly. Since Titus Turner recorded for so many labels over his long career, it's unlikely we'll see a "career survey" disc licensed from umpteen labels anytime soon, so it's good that this material has been made available...despite no liners, no picture, no info of any kind. However, LET THE BUYER BEWARE...the Title Track "Soulville" has some serious speed fluctuations in the master tape which make it, to me, almost unlistenable ---and "All Around The World" also has speed fluctuations that are annoying, altho not as annoying as the former track. Did anyone listen to a reference version of this before it was pressed? I would assume there is something analogous to the "reference acetate" or "test pressing" in the world of CD production. Turner deserves better than this. Bill Shute San Antonio, TX ========================================================================= Date: Thu, 28 Mar 1996 08:26:02 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: Primich Itinerary Hey...don't blame me -- I gave him serious warnings that he might end up in a hospital somewhere, or in jail for not supporting our 16 children like he should, but Primich won't give up his touring schedule. Here it is: March 28.............Hartford, CT- Municipal Cafe March 29..............Buffalo, NY- Lafayette Tap Room March 30.............Portland, ME- Morganfield's March 31............Sharon, PA- Hot Rod Cafe April 2................Inianapolis, IN- Slippery Noodle April 3.................Detroit, MI- Memphis Smoke April 4................Grand Rapids, MI- Rhythm Kitchen April 5................Chicago, IL- B.L.U.E.S. Etc. April 6................Madison, WI- Harmony Bar April 7...............Lansing, MI- Capital Hill Station April 9...............Lincoln, NE- Zoo Bar April 10.............Omaha, NE- McKenna's April 11............Wichita, KS- Panama Red's April 12............Ames, IA- Maintanence Shop April 13.............St. Louis, MO- Off Broadway April 14............Memphis, TN- Huey's April 23-28......Key West, FL- Margaritaville April 29...............Coco Beach, FL- Club Coconut May 1....................Atlanta, GA- Blind WIllies May 2....................Port Charlotte, FL- Garorz May 3...................Tallahassee, FL- Dave's CC Club May 4..................Melbourne Beach, FL- Sebastion Beach Inn May 5-6..............Jacksonville Beach, FL- Tortuga's May 7-8..............Sarasota, FL- 5:00 Club May 9..................St. Petersburg, FL- Ringside May 10...............Del Ray Beach, FL- Backroom May 11...............Ft. Meyers, FL- Shooter's May 24................Dallas, TX- Blue Cat Blues May 25...............Ft. Worth, FL- J & J's Blues Bar June 7...............Tucson, AZ- Rialto June 8...............Phoenix, AZ- Rhythm Room June 10.............Hollywood, CA- Athletic Club June 12............Sherman Oaks, CA- Cozy's June 13.............Ventura, CA- Joe Daddy's June 14.............Long Beach, CA- Blue Cafe June 15..............TBA June 18..............San Luis Obispo, CA- Mother's Tavern July 3.................Vancouver, BC- The Yale July 4..................Portland, OR- Waterfront Blues Festival July 5-6.............Seattle, WA- The Central July 8..................Salt Lake City, UT- Dead Goat July 9..................Denver, CO- Brendan's October 12...........Helena, AR- King Bisquit Blues Festival (w/Steve James) Cathi N. ========================================================================= Date: Thu, 28 Mar 1996 08:05:20 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: Crossroads In-Reply-To: On Wed, 27 Mar 1996, Steve Levine wrote: > *And of course the irony is that Steve Vai is playing the guitar in the > *"winning" (classical chops) part of the solo. There was an interview with > *Ry Cooder (in Guitar Player???) a few years back in which he was asked what > *he thought of the movie. His reticence in replying implies that he didn't > *think much of it. Said that he would have done the guitar duel differently > *(slide against slide). > > That would be a cool guitar duel. They could've had Johnny Winter as > the devil's guitarist! [dons asbestos firesuit] Well, if they were casting by type, the devil's guitarist should have been Eric Clapton. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "The obvious irony is that no other country would grant [Mahmoud] Abdul-Rauf so much freedom as this oppressive one." - Tony Kornheiser, Washington Post page D9, 3/14/96 ========================================================================= Date: Wed, 27 Mar 1996 08:51:44 -0800 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Re: Help - Fats Waller CD? Comments: To: bit-listserv-blues-l@uunet.uu.net Deland Robert wrote: > > As a major Fats Waller fan, I have to mention that my favorite Waller CD is also one of the easiest to find. I can't remember the title offhand, but it's the > > Another choice is the 2-disk set of piano solos, also on RCA and probably imports as well. As a piano fan, these will always fascinate me, as he had an amazin > Hi Rob -- as a fellow Fats lover, I appreciated your info, but have a tip: you need to set the maximum message line length in your email software to a smaller number (like 60 or 80). Your entire message appeared on the newsgroup version of Blues-L as one long horizontal line. Very hard to read! Also, if you love Fats like it sounds you do, you oughta check out Mike Lipskin from San Francisco--a pure Fats disciple, and *very* talented. Regards-- Maggie -- Maggie Mortensen<>Exarch Services<>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 'Born with the blues, my blue suede shoes, and underlying depression...' --Van Morrison ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Thu, 28 Mar 1996 09:42:33 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: personal tribute to Jay Miller Comments: To: WSHUTE@accdvm.accd.edu In a message dated 96-03-28 08:36:34 EST, WSHUTE@ACCDVM.ACCD.EDU (William Shute) writes: >From: Bill Shute >Chris, >1) I'm very much aware of the Rebel label. >2) Where did I say that Miller was a champion of integration? >3) Miller did on occasion have racially mixed sessions, including some >of Lester's, which is where I took my precedent for a fantasy session >with Mullican/Hicks. I may have read Bill Shute and Chris Smith wrong, but I remember this: Reading Shute's post, which was an accurate tribute to the importance of Miller EXCEPT when he noted Miler's role in creating integrated bands (not as pioneer as some think, but that is a subject for another day), I did think "um, what about Rebel Records." I had the impression of an incomplete picture. I thought Chris Smith supplemented it nicely. I didn't take Chris to so much criticize Bill as fill out the picture. Tom Freeland ========================================================================= Date: Thu, 28 Mar 1996 09:43:35 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: AN ASTOUNDING REISSUE: BEFORE THE BLUES (3 CDs) Yazoo Comments: cc: mkaldin@beachnet.com If you care about pre-war blues or country or string band or jug band or ragtime, go buy this: BEFORE THE BLUES: THE EARLY AMERICAN BLACK MUSIC SCENE AS CAPTURED ON CLASSIC RECORDNGS FROM THE 1920S AND 30S (vol. 1, 2, 3, sold as separate cds. Yazoo 2015, 2016, 2017). The subject is the roots of blues and is an attempt to document the many forms black (and white, the title is somewhat of a misnomer) music took 'out in the country' just before blues began. We get string bands (black and intergrated) and jug bands, folks playing quills, fiddle tunes on fiddles, banjos, and guitars, folks playing guitars banjo style, and piano rags and stomps on strings. We get ballads, topical songs, sacred harp singing. There is material from well-known to obscure. This is 63 songs on 3 discs, and I have not listened through it all the way yet (I'm on disk three as I write this). I will post a longer review later. Here's some impressions: The sound is (with a couple of of exceptions) WONDERFUL. Every note on Bayless Rose's "Jamestown Exhibition" rings through clear as a bell, something I had not heard before. The liner notes have information about the musicians, a general (overextended) thesis about the origins of black music, and NO SESSION INFORMATION AT ALL--- Nothing about when this was recorded or where. (that is my only complaint about this set) Here's some things that jumped out and grabbed me: Mississippi Mud Steppers "Jackson Stomp"-- one of two "Cow Cow Blues" variants herein, this romps through it on mandolin and guitar. Awesome, great sound. (The other is Louise Johnson's "On The Wall," which is one of the great Mississippi barrelhouse piano recordings). Taylo'rs Kentucky Boys, "Forked Deer" one of the GREAT old-time fiddle tunes, played AWESOMELY by Jim Booker of the Booker orchestra in an integrated band. This is a recording of someone born in the 1870s. You have to hear this if you care about fiddle music. John Hurts "Stack O'Lee Blues," Robert Wilkins "I'll Go With Her Blues" I've paired these because they are among the recordings I consider absolutely perfect. These are recordings that take my breath away every time, still, years after I first heard them. Harvey Hull's "France Blues" comes close. Denson Quartet "Christian Soldier" spine chilling, sounds like the dawn of time. Dallas String Band "Dallas Rag" Memphis Jug Band "K.C. Moan," ragtime by the Blue Boys, the Tennessee Chocklat Drops. Ballads by Clarence Ashley, B.F. Shelton. I'm out of time for now. Buy this set. Duplication is not an issue here. You gotta hear this stuff all together. This reminds me of the Roots box on Sony, only FAR more focused at the dawn of blues and country. Did I say this is astounding stuff? Tom Freeland ========================================================================= Date: Thu, 28 Mar 1996 09:45:46 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Bartender's Bop Playlist 3/25/96 Here is Monday's show. A Little mix of some things primarily from the Fifties and early Sixties and many of them from New Orleans artists. I got some calls on the Lillian Offitt stuff, people wanted to know who was playing slide, "Was it Elmore James?" Nope it was Earl Hooker. Of course Moms Mabley always gets the most calls, Why havent they ever reissued her stuff? There is a brand new audience out there who have never had the chance to hear Jackie's brand of comedy. Tom Title Group Year Label -------------------- -------------------- ---- ------------ No Kissin and A Berry, Richard 55 Earth Angel Huggin As Long As I'm Movin Brown, Ruth 55 Atlantic Bella Mae Neville, Art Ace Morgus the Dr John Ace Magnificent I'm Stickin With You John, Little Willie Gusto Baby Tears, Tears and Carbo, Chuck Ace More Tears My Love Everett, Betty 57 Flyright Woman James, Etta Kent There's Something On Marchan, Bobby Collectables Your Mind Down Yonder Lewis, Smiley EMI Pots on Strike, The Hill, Jessie Bandy Old Time Rock n Roll Neville, Art Ace What You Don't Know Marchan, Bobby Collectables Won't Hurt You You Look So Good Berry, Richard 56 Earth Angel If I Had Money Mabley, Moms Mercury Don't Drop It Harrison, Wilbert 54 Savoy Grannie Stole the Tex, Joe Ace Show They Took My Money Kenner, Chris 64 Krazy Kat Dr Feelgood Piano Red Ace Help the Bear Mabley, Moms Mercury Caldonia's Party Lewis, Smiley EMI Oh Mama Offitt, Lillian 60 Flyright My One and Only James, Etta Kent Baby Don't You Know Harrison, Wilbert 56 Savoy Will My Man Be Home Offitt, Lillian 59 Flyright Tonight You're Still My Baby Marchan, Bobby Collectables I Can't Hear A Word Brown, Ruth 59 Atlantic You Say Killer Diller Everett, Betty 57 Flyright You Got To Get Up John, Little Willie Gusto Early in the Morning Skitty Poo Mabley, Moms Mercury Down Boy Gayten, Paul 54 Chess Jailbird Lewis, Smiley EMI Creek Don't Rise, Bougeois, Jivin Gene 61 Krazy Kat The She's Got Me Hook Lewis, Smiley EMI Line and Sinker Rockin Bicycle Domino, Fats EMI Good Rockin Daddy James, Etta Kent Rock Rock Rock Berry, Richard 55 Earth Angel I'm Gonna Be A Wheel Domino, Fats 58 UA Hot Cross Buns Gayten, Paul 59 Chess Pleadin Mercy Baby 57 Rounder Shine On Offitt, Lillian 61 Flyright `'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`' http://redlt.com/tom/ -- Home of Jazz Roots & Record Companies on the Web Free-lance Writer--Author--Program Director WTJU 91.1--Internet Consultant ========================================================================= Date: Thu, 28 Mar 1996 06:46:24 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Mar. 29 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ARODIN, SIDNEY (clarinet) b. 1901-0329, WESTWEGO, LA ATWATER, LEE (g/politican) d. 1991-0329, WASHINGTON, DC 40 BAILEY, PEARL MAE (v) b. 1918-0329, NEWPORT NEWS, VA BRECKER, MICHAEL (tsax/BRECKER BROS) b. 1949-0329, PHILADELPHIA, PA BROUSSARD, VAN (v/cajun) b. 1937-0329, PRAIRIEVILLE, LA CLARKE, WILLIAM (hca/ALLIGATOR REC) b. 1951-0329, INGLEWOOD, CA CLAYTON, WILLIE (v) b. 1955-0329, INDIANOLA, MS DAVIS, RAY (of TEMPTATIONS/FUNKADELIC) b. 1940-0329, SUMTER, NC FOLEY, SUE (g/ANTONE'S REC) b. 1968-0329, OTTAWA, ONTARIO GILLUM, WILLIAM "JAZZ" (hca) d. 1966-0329, CHICAGO, IL 61 GLASS, PAUL (owner : USA REC) d. 1986-0329, OCEANSIDE, CA 60 HOWARD, CAMILLE (p/ROY MILTON/SPECIALTY) b. 1914-0329, GALVESTON, TX JACOBS, DICK (arr/prod/JACKIE WILSON) b. 1918-0329, NEW YORK CITY, NY LEMMON, JOHN W. (dj/ALAN FREED) d. 1989-0329, CLEVELAND, OH 74 NOONE, JIMMY JR. (sax/JEANNIE CHEATHAM) d. 1991-0329, SAN DIEGO, CA 52 SIMMS, MABEL ROBINSON (p) b. 1914-0329, CAPE CHARLES, VA SMITH, FLOYD G. (g/ANDY KIRK) d. 1982-0329, INDIANAPOLIS, IN 65 VICTOR,ALEXANDER F.(ownerRCA NIPPER DOG!) d. 1961-0329, MONTEREY, CA 82 ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 28 Mar 1996 08:51:42 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: THE convention + Memphis I think I can make the Blues-l Convention in St. Louis, I'm wary of bringing a nice guitar. I'm very afraid of theft. I would have trouble replacing them so if we plan on playing some music (and I DO plan on it) I will either bring a cheap guitar or suggestions please. Also any of you musicians want to get a jam going SOMEWHERE in Memphis before or after the festival one day. If nothing else we could play in somebody's room. Lemme know LW ========================================================================= Date: Thu, 28 Mar 1996 10:06:33 -0500 Reply-To: "Lost John From: "Lost John Subject: (nbc) Guitar Question Good morning all - On the cover of Sonny Landreth's "South of I-10", there is a guitar (partially obscured by other cover art) which appears to have a stainless-steel etched top like a National but the overall body shape of a Les Paul. It has very Les Paul-ish humbuckers, a tune-a-matic bridge, and a stud tailpiece - and very UN-Les Paul-ish dot inlay. Hey, slide monkeys and guitar junkies out there... Does anybody know what this is ? Are there references to it in recent GP or GW articles with Sonny ? I suspect it's a "one-of", but I sure would be curious to know who made it etc... Thanks in advance -- _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ _/ JC /\ _/ _/ ______________ || _/ _/ \__________ / || _/ _/ ________ ___/ John Carley || _/ _/ \______ / johnc@vedge.com || _/ _/ ____ ___/ (514)332-6430 x232 || _/ _/ \__ / Visual Edge Software Ltd. |\||/| _/ _/ _____/ 3950 Cote Vertu, Suite 100 \ / _/ _/ \/ Montreal, Quebec, Canada / \ _/ _/ ( ) _/ _/ \____/ _/ _/ (graduate of the Yogi Berra school of elocution) _/ _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ ========================================================================= Date: Thu, 28 Mar 1996 10:14:18 -0500 Reply-To: Sam Lawton From: Sam Lawton Subject: Re: Treat Her Right - a little more info P.W. Fenton writes: >A CD released in 1995 on the Varese Vintage label called, "Treat Her >Right: The Best of Roy Head" obviously contains the original. I believe it's also on the Best of Duke-Peacock CD ========================================================================= Date: Thu, 28 Mar 1996 09:25:15 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: (nbc) Guitar Question In-Reply-To: Message of Thu, 28 Mar 1996 10:06:33 -0500 from On Thu, 28 Mar 1996 10:06:33 -0500 Lost John >On the cover of Sonny Landreth's "South of I-10", there >is a guitar (partially obscured by other cover art) which >appears to have a stainless-steel etched top like a >National but the overall body shape of a Les Paul. >It has very Les Paul-ish humbuckers, a tune-a-matic bridge, >and a stud tailpiece - and very UN-Les Paul-ish dot inlay. To me is looks alot like a National Reso-lectric in shape, but I've never seen them steel & etched. The Reso-lectric does have the LP shape, but I don't think it's related.. LW ========================================================================= Date: Thu, 28 Mar 1996 10:30:52 -0500 Reply-To: "Munson, Bill" From: "Munson, Bill" Subject: Band / Colin Linden / "Hog For You" In telling us about the new Band CD, "High on the Hog" (Pyramid R2-7204) the other day, Bob Vanarsdall (sorry if I've misspelled) said "that Telecaster tone unmistakable in Roy Buchanan, (Robbie) Robertson, and Albert Collins' work - who are the successors to that sound now? Well, one guy who can if he cares to is Colin Linden, who was involved in the previous Band effort, "Jericho", and on whose own CDs both Garth Hudson and Rick Danko have appeared. Colin might not remember this, but in the late `70s, when he was probably 17 or 18, I saw him a couple times at Kop's, a Toronto oldies store, and he told me how he'd fallen in love with the old Robertson screamin' tely style (i.e., circa `63-65) and had decided to become a master of that style. We talked about the local examples, and a good friend of mine, the late Jack Cook, even made him a tape of the best stuff (see below). Colin did indeed master the style, though I'm not sure he's used it on record. I suspect he'd do it if you asked him at a gig though! Aside from Robertson's work with Ronnie Hawkins, all the great local work was done by Fred Keeler (of David Clayton Thomas and the Shays then the Majestics) and Bobby Starr (with Jay Smith and the Majestics and then Ronnie Hawkins and the [new] Hawks). Non-Torontonians mightn't believe this, but Clayton Thomas and group did fabulous blues, and their large pile of 45-rpm releases included a tough version of the much discussed "I'm A Hog For You Baby". Guitarist Fred Keeler and organist Gord Fleming wound up reunited in Jericho, another great group with one LP on Bearsville produced by Todd Rundgren. Fleming also played with John Hammond, appearing on one of those Vanguard Lps from the mid-'60s - possibly "Sooner of Later". As consistently good as Keeler's work was, it's Starr's work you must hear if you're really stuck on the Robertson (et al) sound. Least difficult place to find it is the Charly LP, "RRRacket Time" by Ronnie Hawkins. Failing that, there's a British various artists LP entitled "Transfusion" that has a couple of Hawkins-with-Starr tracks miscredited to Hawkins-with-Robertson. But then you'd be missing the absolutely evil solo on "Diddley Diddley Daddy". ========================================================================= Date: Thu, 28 Mar 1996 15:37:13 GMT Reply-To: Steven L Combs From: Steven L Combs Organization: The World Public Access UNIX, Brookline, MA Subject: Maine Blues Clubs Morganfield's in Portland has a blues jam on Mondays / Acoustic Blues Open Mic last Wednesday of each month / call them for more info on acts. ========================================================================= Date: Thu, 28 Mar 1996 09:52:47 CST Reply-To: William Shute From: William Shute Subject: Crossroads film From: Bill Shute My reaction to the Crossroads film is similar to my reaction to Clapton's "From The Cradle" (altho the former is certainly FAR MORE successful than the latter!)--it interested tens of thousands if not hundreds of thousands of people to become blues fans, if only to buy one or two albums. That is a very good thing and I am thankful for it. One or two blues albums in someone's collection can serve as a "Trojan Horse" and can gradually infect them with the Boogie Disease, IMHO. The Crossroads film also takes on a more positive feel when one considers how bad it could have been, it being a Hollywood production. I'm not a member of the Robert Johnson cult--I sometimes feel as though Johnson's significance is due to 1)white listeners being able to understand his lyrics and 2)some of his imagery having been taken up by very successful post-WWII bluesmen and rocknrollers. It's just my personal opinion, but I can't see how anyone could place RJ on the same artistic plane as Skip James or Charley Patton (or others). But then I'm the one who prefers Excello to Chess and who thinks that Jimmy Dawkins is the artistic top-of-the-heap of today's active blues persons and is without peer. If banished to the proverbial desert island, I would choose the complete works of Arthur Big Boy Crudup (whose birthday is today!) over the complete works of Robert Johnson. I'm happy that many others find RJ's music to be a transcendent experience. To each his/her own! I await that film with Keb Mo as RJ. Oops, I mentioned RJ six or seven times. Do I owe S LaV a royalty now for using his copywritten property? Bill Shute San Antonio, TX ========================================================================= Date: Thu, 28 Mar 1996 09:39:15 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re[2]: Crossroads Comments: To: T-Bone T-Bone-: EC!? I don't get it. EC's best casting was as the monk in "Tommy". Winter has my vote. A friend of mine was jsut writing to us ( on another listserv) that he had been able to sit on some of JW's recording sessions in Chicago in 1993: he reported ( this is not me reporting) that JW was dringing straight vodka through the whole session, had whores in the studio giving him ( snip) in between takes and finished one vocal over dub standing nude in the booth. ( JW nude, now there's a scary thought.) In addition, JW has acting experience, though he's sorta typecast- he played some real badass homicidal lunatic in a Burt Reynolds movie once, I think it was "Stick" ( an Elmore Leonard novel, BTW.) Jim _______________________________________________________________________________ > That would be a cool guitar duel. They could've had Johnny Winter as > the devil's guitarist! [dons asbestos firesuit] Well, if they were casting by type, the devil's guitarist should have been Eric Clapton. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "The obvious irony is that no other country would grant [Mahmoud] Abdul-Rauf so much freedom as this oppressive one." - Tony Kornheiser, Washington Post page D9, 3/14/96 ========================================================================= Date: Thu, 28 Mar 1996 09:56:38 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Crossroads film In-Reply-To: Message of Thu, 28 Mar 1996 09:52:47 CST from On Thu, 28 Mar 1996 09:52:47 CST William Shute said: > >I'm not a member of the Robert Johnson cult--I sometimes feel as though >Johnson's significance is due to 1)white listeners being able to understand >his lyrics and 2)some of his imagery having been taken up by very >successful post-WWII bluesmen and rocknrollers. >I'm happy that many others find RJ's music to be a transcendent experience. >To each his/her own! I think the crossroads mystery added a lot to RJ's popularity. It took me many years before I appreciated RJ's music. I'll never forget when it happened, I had listened many, many times and one day RJ talked to me. That was about 7 or 8 years ago, long before I started playing acoustic blues/slide. I think he was OUTSTANDING. You have to keep in mind also, that Robert's life was very short. I know the people that I've read about that was around RJ considered him to be an extraordinary musician. I can understand, that he doesn't move everyone, it sure took me awhile to appreciate his talent. LW 'impressed more with Charley Patton' ========================================================================= Date: Thu, 28 Mar 1996 11:09:10 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: That Telecaster sound While most noted for it's characteristic "spank", the good ol' Tele has the versatility to deliver a much bigger, fatter sound than the country pickers' twang. Example; I'll bet most of you didn't know that a little-known rock guitarist named Jimmy Page (who played for some obscure British quartet in the '70s) used a Tele to record the majority of Zeppelin's studio material. Surprised, eh? Jimmy really only got out the "big guns", the Les Pauls and the double neck SG for live performances where an even bigger axe sound was needed. You know....that extra punch to "eleven" when you're playing a really big room, like, say......Shea Stadium. :) Oh, and then there's that Springsteen character too...... Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 28 Mar 1996 11:18:13 -0500 Reply-To: Charles d'Orban From: Charles d'Orban Subject: Sonny Landreth/Blues Attack >>>22 Sonny Landreth Blues Attack AVI >>Baby >>>please don't go >>>23 Sonny Landreth Blues Attack AVI >>Pine >>>Grove Blues >> >>I haven't heard this album - how is it compared to South of I-10 and the >>second last one (can't recall the name of it offhand)? You must mean "Outward bound". >The new Sonny Landreth album is very good. The best cuts are accoustical, >and I have played these two cuts a good bit on my show. One of the best >versions of "baby please don't go" since Butterfield's Better Days. >> >>-Jim (hndful@uniserve.com) "Blues Attack" is NOT a new album but a REISSUE of Landreth's very 1st solo recording. The copy I have is on Paula/Jewel (if I remember correctly). The characteristic blues/cajun hybrid sound is already apparent (eg. the cajun feel to "Keys to the highway") but (IMHO) Landreth has come a long way since then. Charles d'Orban ========================================================================= Date: Thu, 28 Mar 1996 09:51:16 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re[2]: Ry Cooder Comments: To: Rory Wicks And his son, Joachim, is a very good percussionist ( plays with Ry on "Meeting of Two Rivers " collaboration with Vishnu Bhatt) and co-produced the "Ry Cooder (Film) Music" retrospective. -Jim _______________________________________________________________________________ Subject: Re: Ry Cooder From: Rory Wicks at INTERNET-SH Date: 03/27/96 8:02 PM In article <199603271752.LAA06508@mako.atmore.gulf.net>, Keith Castleberry wrote: > Is there anyone out there that can recommend (Ry Cooder's) best albums? I've got almost all of 'em and my favorite remains his second, "Into The Purple Valley". BTW, Ry's wife Suzy Titelman Cooder is an accomplished artist (painter) in her own right. Rory Wicks rory@connectnet.com ========================================================================= Date: Thu, 28 Mar 1996 11:30:00 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: That Telecaster sound Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com Doesn't Pops Staples play aTele? ========================================================================= Date: Thu, 28 Mar 1996 10:37:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Memphis' Peabody Hotel A few years ago in the Peabody gift shop, I bought a booklet describing the history of that grand old hotel. To my disappointment, there was nothing in it on the recording sessions held there. I think the only musical reference was to live broadcasts of big band dances held there in the '40's and '50's. Maybe some of our native Memphians/Delta denizens could persuade whomever (the hotel management, the tourist bureau) to include this information in the next edition. That's the reason this blues fan went there in the first place, *not* to watch the duckies (ducks are OK, I like them - we even had one as a pet once - he would look in the back screen door furiously whenever we brought the dog, who he thought was his mother, inside. When we kids sneaked him inside, he would rush to the refrigerator whenever we opened the door and look in the vegetable compartment for lettuce while the dog and cat eyed the meat compartment - but I digress - as us old fogeys are apt to do.) -Bonnie ========================================================================= Date: Thu, 28 Mar 1996 10:46:40 CST Reply-To: ISTS024@UABDPO.BITNET Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: "Eric C. Shoaf" From: L W Subject: Sonny's Guitar... ----------------------------Original message---------------------------- Its probably one of these: TRUSSART STEEL DEVILLE hollow metal classic single cutaway shaped body with (resonator type) vents in pickguard, maple neck, ebony fretboard, Barden pickups, vintage type tuners handcrafted in France in France This was from Eric Shoaf , Crack Book Reviewer and writer for Vintage Guitar LW ========================================================================= Date: Thu, 28 Mar 1996 11:01:32 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Arthur Big Boy Crudup I may say that my music taste differ from Bill Shute's one, but we certainly agree on Arthur Big Boy Crudup. Outstanding guitarist and singer. Much underapreciated. One of my favorite bluesman. Period! Here is what Honeyboy Edwards had to say about Big Boy Crudup. Q: Did you know Big Boy Crudup? Honeyboy Edwards: Yeah I knowed him. He's from Florence, MS down below Jackson. I knowed him when I first come in '45 he stayed under the railroad track had made him a house out of a cardboard box. Q: In Chicago? HE: Yeah in Chicago. And people would get off the L train. He'd come up to the station playin. That's when he started recordin. He made enough to live, made enough money. He'd go back down there he had it fixed up nice down there. Walled up with plywood. Yeah you know somewhere to sleep. Get paid alright down there. When he started recordin Arthur Crudup started makin money then. You never know what you gonna do. If father had quit playin I wouldn't be this far today. People always try to make you feel bad sometimes some people. I know once I was on the highway walkin comin from Memphis, guitar on my shoulder. Some people side the highway pickin cotton. Fall of the year. I was walkin tryin to catch a ride to Clarksdale. They say, "Hey nigger you better put that guitar down and get you one of these sacks and pick yourself some cotton. Your gonna starve to death." Q: He had some good numbers - "I ain't nothin but a playboy, "Mean Old Frisco" ... HE: Yeah. I stayed about 2 weeks in his hometown one time. I had a girlfriend down there. Me and Arthur was hustlin thru there. I met a girl. Everybody knowed him down there. It used to be a sawmill town. There ain't much there now but at that time they had a lot of sawmills thru there. Yeah I knowed a lot of em like I said. I just passed by. -------------------- Ranko ========================================================================= Date: Thu, 28 Mar 1996 12:21:39 -0500 Reply-To: Jerry Zolten From: Jerry Zolten Subject: Re: Miss Otis Regrets Someone asked about a male singer doing this tune. Lyle Lovett could be the man. Can anyone deny or confirm? ========================================================================= Date: Thu, 28 Mar 1996 11:23:48 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Re: Crossroads film -Reply Peter Rhykus, a local musician in the Twin CIty area (Minnesota) who has played blues for 35 years, was interviewed by the Guitarist: A publication of the Minnesota Guitar Association, and was quoted as saying that one day back on the farm, he suddenly had a vision of RJ playing his songs.....and as he watched, he suddently "knew" how to do blues....Now he seems somehow able to play any song he wants or invent any song he wants.....and somehow seems to pull it off every time.....i'm amazed. regards, delta doc roger ========================================================================= Date: Thu, 28 Mar 1996 11:24:00 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Crossroads film -Reply In-Reply-To: Message of Thu, 28 Mar 1996 11:23:48 -0600 from On Thu, 28 Mar 1996 11:23:48 -0600 Roger Struve said: >Peter Rhykus, a local musician in the Twin CIty area (Minnesota) who has >played blues for 35 years, was interviewed by the Guitarist: A publication >of the Minnesota Guitar Association, and was quoted as saying that one day >back on the farm, he suddenly had a vision of RJ playing his songs.....and >as he watched, he suddently "knew" how to do blues....Now he seems somehow >able to play any song he wants or invent any song he wants.....and somehow >seems to pull it off every time.....i'm amazed. I guess his playing ability has nothing to do with the above mentioned THIRTY FIVE YEARS of playing. All it took was seeing a vision. I guess that's what the ads mean when they say "Play guitar in 5 days"...:-) LW ========================================================================= Date: Thu, 28 Mar 1996 12:31:40 -0500 Reply-To: Charles d'Orban From: Charles d'Orban Subject: Ry Cooder recommendations My 2 favorites are Boomer's Story and Bop til You Drop. I love the sparseness of Boomer's Story and the instrumental version of "Dark end of the street" always gets me. Charles ========================================================================= Date: Thu, 28 Mar 1996 09:44:45 -0800 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Re: TV Tues: "Crossroads" -Reply -Reply Roger Struve writes: >I was just sittin' here this mornin', >Readin" thru the BLUES-L, >Everyone talkin' bout Maccio, >ONly one talked about Will. > >Yes sir, Mr. Seneca plays his part of Willie Brown aka. Blind Dog Fulton so >realistic, that i have to remind myself he's not real! Mr. Seneca's acting >alone makes this movie stand out. > >Funny how everyone pretty much concentrated on Maccio and hadn't much to >say about Mr. Seneca. Interesting observation. What's your point? Joe ========================================================================= Date: Thu, 28 Mar 1996 09:49:00 -0800 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Re: Bring It On Home Big Walter Horton also covered this song w/ Willie Dixon on vocals in 1963. I think Sonny Boy Williamson (Rice Miller) recorded this back in 1960 or 1961. Lafayette Leake probably played the organ on Bring It On Home. Joe ========================================================================= Date: Thu, 28 Mar 1996 09:51:46 PST Reply-To: "Hugh T. Atkins" From: "Hugh T. Atkins" >From atkins Thu Mar 28 09:48:05 1996 Return-Path: Received: by marlin.nosc.mil (4.1/SMI-4.1) id AA29747; Thu, 28 Mar 96 09:48:04 PST Date: Thu, 28 Mar 96 09:48:04 PST From: atkins (Hugh T. Atkins) Message-Id: <9603281748.AA29747@marlin.nosc.mil> To: blues-1@brownvm.brown.edu Subject: re: blues in movies/soundtracks Status: RO ------- The movie 'Undercover Blues' starring Kathleen Turner and Dennis Quaid has a bar scene where a Muddy Waters tune can be heard in the background. Off hand I forget which song but I'm pretty sure it's from the 'Hard Again' album. This is an enjoyable and funny film set in New Orleans, kind of a spy-movie spoof, very light-hearted and includes a great comic performance by Stanley Tucci as a street tough known as 'El Muerte'. Hugh atkins@nosc.mil ------- ------- ========================================================================= Date: Thu, 28 Mar 1996 11:25:50 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: Re[2]: Crossroads Comments: To: jbards@mail-sh.lsumc.edu In-Reply-To: <9602288280.AA828034782@mail-sh.lsumc.edu> On Thu, 28 Mar 1996 jbards@mail-sh.lsumc.edu wrote: > T-Bone-: > > EC!? I don't get it. Well, EC is pure evil, in the way that Bruce Willis and Kenny G are. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "The obvious irony is that no other country would grant [Mahmoud] Abdul-Rauf so much freedom as this oppressive one." - Tony Kornheiser, Washington Post page D9, 3/14/96 ========================================================================= Date: Thu, 28 Mar 1996 18:18:13 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: JOE SENECA Re: TV Tues: "Crossroads" -Reply -Reply Comments: To: bit-listserv-blues-l@uunet.uu.net Joe Seneca (rn. Joseph McGee) has a long history in R&B. Born in Cleveland (in 1919) he first recorded with the Three Riffs and The Three Barons (with the great guitarist Tiny Grimes). As a songwriter, he wrote TALK TO ME, TALK TO ME (for Litle Willie John). He does indeed make that movie! It was the reason I went & saw the movie. ========================================================================= Date: Thu, 28 Mar 1996 13:20:33 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Crossroads film -Reply Comments: To: Roger Struve On 28 Mar 96, Roger Struve had this to say... > Peter Rhykus, a local musician in the Twin CIty area (Minnesota) who has > played blues for 35 years, was interviewed by the Guitarist: A publication > of the Minnesota Guitar Association, and was quoted as saying that one day > back on the farm, he suddenly had a vision of RJ playing his songs.....and > as he watched, he suddently "knew" how to do blues....Now he seems somehow > able to play any song he wants or invent any song he wants.....and somehow > seems to pull it off every time.....i'm amazed. Delta Doc, In light of this story, and your recent request for the location of the "actual" crossroads, I think I have something you might be interested in. It's a magical voodoo wishing stone. You just squeeze it and think about what you want and it comes true. Seeing as I have everything I could possibly want, I'll let this sucker go for... let's say $100 bucks. You can keep your soul. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 28 Mar 1996 12:28:27 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re[2]: Crossroads film -Reply Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu He wouldn't by any chance be autistic, would he? I used to work with autistic kids,and they could do some amazing idiot-savant things. Jim _______________________________________________________________________________ Subject: Re: Crossroads film -Reply From: ISTS024%UABDPO.BITNET@brownvm.brown.edu at INTERNET-SH Date: 03/28/96 12:13 PM On Thu, 28 Mar 1996 11:23:48 -0600 Roger Struve said: >Peter Rhykus, a local musician in the Twin CIty area (Minnesota) who has >played blues for 35 years, was interviewed by the Guitarist: A publication >of the Minnesota Guitar Association, and was quoted as saying that one day >back on the farm, he suddenly had a vision of RJ playing his songs.....and >as he watched, he suddently "knew" how to do blues....Now he seems somehow >able to play any song he wants or invent any song he wants.....and somehow >seems to pull it off every time.....i'm amazed. I guess his playing ability has nothing to do with the above mentioned THIRTY FIVE YEARS of playing. All it took was seeing a vision. I guess that's what the ads mean when they say "Play guitar in 5 days"...:-) LW ========================================================================= Date: Thu, 28 Mar 1996 10:39:21 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Muddy Waters and The Band The Band have been mentioned a few time recently. It was The Band who first exposed me to Muddy Waters. I remember watching "The Last Waltz" way back (I taped it). I distinctly remember Muddy coming out and blowing me away with "Mannish Boy" I though it was the best performance of the whole picture. The next day I watched Muddy's performance again. Rewound the tape. Watched again. Rewound the tape. Watched it again. Rewound the tape...etc. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Thu, 28 Mar 1996 18:38:44 GMT Reply-To: Paul L Pearson From: Paul L Pearson Organization: Iowa State University, Ames, Iowa Subject: Honeyboy Turner Reunion in Omaha this weekend Honeyboy Turner and Cryin' Heart are getting back together ofr a bit and will play at McKenna's Blues Booze and BBQ in Omaha this weekend-friday and saturday. Cover is $2. Hope to hear more from the boys in the near future. Check 'em out if you're in the area-they're a fun band. -- Paul L. "Pro" Pearson, Ph.D. President, Kurt Rambis Fan Club (unofficial) Ames, IA Chapter, Northeast Nebraska Chapter ========================================================================= Date: Thu, 28 Mar 1996 10:42:00 PST Reply-To: Gary Joneson From: Gary Joneson Subject: Tony Glover For those that may be interested there is a Tony Glover page on the web, the page also includes information about and a complete discography of the trio Koerner, Ray & Glover http://www.island.net/~blues/tglover.htm Gary BluesWEB ========================================================================= Date: Thu, 28 Mar 1996 12:37:19 +0600 Reply-To: toulouse@comm.net From: toulouse Organization: Toulouse Enterprises, Inc Subject: Re: The Gales Bros. Comments: To: bit-listserv-blues-l@uunet.uu.net cuthulu wrote: > > The Gales Bros. Memphis > Left Hand Band > House of Blues HOB7001087005-2 > > I hear about 10 to 15 new blues CDs each month. > > This one stands out like Sonny Boy Williamson at a Pat Boone Fan Club > Meeting. Man, does it smoke! > Highlights of the disk include > a nice slow jam with aRobin Trower tone and Lenny Kravitz influences in instrumentation. > Thanks for the review on the Gales Bros, however, I must question your Lenny Kravitz comment. Although, Lenny is quite successful, and does have some talent, I don't see how he can be an influence, when his entire carreer is established on other artists influences, sounds, riffs and in some cases, music. It is no secret that Kravitz is borderline (if not blatant) plageristic in his music. Not trying to start a stink, but had to voice my opinion on the Kravitz comment. peace, toulouse@comm.net ========================================================================= Date: Thu, 28 Mar 1996 19:02:31 GMT Reply-To: Beth Oliver From: Beth Oliver Organization: The Loop Subject: Re: Blues in LA and SF Comments: To: bit-listserv-blues-l@uunet.uu.net In article , Michael Kaloyanides wrote: > The family and I will be in Los Angeles between April 8 and the 23rd and > in San Francisco from April 24th to the 28th. Any recommendations for > who's playing in LA and SF then, and/or blues venues we should check out? > > Thanking you all in advance. > > Michael G. Kaloyanides > Department of Music & Sound Recording > University of New Haven BB KING'S BLUES CLUB 4/14/96 So. Calif. Blues Society fundraiser for the Willie Dixon Scholarship Award at BB King's in Universal City - 3pm to 7pm Scheduled: Smokin' Joe Kubek & Bnois King Smokey Wilson Johnny Dyer & Rick "LA Holmes" Holmstrom John "Juke" Logan & Doug MacLeod Tickets are $15, get them at the door or in advance by calling the So. Calif. Blues Society at (310) 495-3424 By the way, the Citywalk (where the club is located) is great fun for the family, and since the fundraiser is early in the day, kids are welcome. ========================================================================= Date: Thu, 28 Mar 1996 14:12:01 EST Reply-To: MR ROBERT W BELEW From: MR ROBERT W BELEW Subject: Wild Nite Out ! I'm headin' out to see Mr. Jimmy Thackery and the Drivers tonight ! He's in Johnson City, TN at the Down Home at 8:00pm in case your with- in ear shot....... ========================================================================= Date: Thu, 28 Mar 1996 14:29:21 -0600 Reply-To: topcat@COMPUTEK.NET From: "" Subject: Re: Jesse Thomas CDs Comments: To: Peter Welch Making Jesse's last recording was one of my happiest moments. Real magic. And he got the CD 2 days before he died. He was real proud of it. Richard Chalk TopCat <---- Begin Included Message ----> Return-Path: owner-blues-l@BROWNVM.BROWN.EDU Date: Wed, 27 Mar 1996 14:07:13 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Jesse Thomas CDs To: Multiple recipients of list BLUES-L Ranko asked for other Jesse Thomas recordings: The best compilation of Jesse's material is Document's 1 volume disc of his post-war sides for various labels...This has both more country-blues oriented sides as well as more jump-blues stuff he cut for Swingtime, Specialty & other West Coast labels. His earliest pre-war sides I have seen on a new release on the Collectables label that has both Jesse (including Blue Goose Blues) & his brother Henry "Ramblin" Thomas's classic early material...but this is probably "produced" by the loathsome Roy C. Ames, so I wouldn't recommend it. I think Yazoo had a LP with some of these Thomas brothers pre-war songs, but I don't know if they ever reissued this on CD. What was so great about Jesse Thomas was the way he could perform the Blues in so many quite different formats...from down-home Texas/La. country blues to jumpin' West coast blues. -Peter <---- End Included Message ----> ========================================================================= Date: Thu, 28 Mar 1996 14:46:19 -0500 Reply-To: BluesBeatM@AOL.COM From: "(R. Schneider)" Subject: No Mail Please cancel mail until further notification/ Thanks ========================================================================= Date: Thu, 28 Mar 1996 13:58:29 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: BORN 03/29 B O R N : 03 / 29 ARODIN, SIDNEY Born:1901 WESTWEGO, LA Career:CLARINET Style:TRAD / JAZZ With:SHARKEY / LOUIS PRIMA / WINGY MANONE BAILEY, PEARL ( MAE ) Born:1918 NEWPORT NEWS VA Career:SINGER Style:JAZZ / BIG BAND With:COOTIE WILLIAMS / Married to Louis Bellson BRECKER, MIKE ( MICHAEL ) Born:1949 PHILADELPHIA, PA Career:TENOR SAX / LEADER Style:JAZZ With:BILLY COBBAM / JAMES TAYLOR / HORACE SILVER / BRECKER BROTHERS BROUSSARD, VAN Born:1937 PRAIRIEVILLE, LA Career:SINGER / CAJUN Style:BLUES CHAFFE, JOHN Born:1938 NEW ORLEANS, LA Career:BANJO Style:TRAD / JAZZ CHISHOLM, GEORGE Born:1915 GLASGOW, SCOTLAND Career:TROMBONE Style:JAZZ / BIG BAND With:TEDDY JOYCE 1936 / AMBROSE 1938 / FATS WALLER / LOUIS ARMSTRONG / KEITH SMITH CLAYTON, WILLIE Born:1955 INDIANOLA, MS Career:SINGER Style:BLUES FOLEY, SUE Born:1968 OTTAWA. CANADA Career:GUITAR Style:BLUES HOWARD, CAMILLE Born:1914 GALVESTON, TX Career:PIANO Style:BLUES With:ROY MILTON LINCOLN, ABE ( ABRAM LINCOLN ) Born:1907 LANCASTER, PA Career:TROMBONE Style:TRAD / JAZZ / BIG BAND With:CALIFORNIA RAMBLERS-1926 / PAUL WHITEMAN / ROGER WOLFE KAHN / OZZIE NELSON / MATTY MATLOCK / PAUL WESTON / PETE FOUNTAIN / WILD BILL DAVISON PALMIER, REMO ( REMO PALMIERI ) Born:1923 NEW YORK, NY Career:GUITAR Style:JAZZ / BIG BAND ROYEN, JOHN Born:1955 WASHINGTON, D. C. Career:PIANO Style:TRAD / JAZZ SILLOWAY, WARD Born:1909 GRAND RAPIDS, MI Career:TROMBONE Style:JAZZ / BIG BAND SIMMS, MABEL ROBINSON Born:1914 CAPE CHARLES, VA Career:PIANO Style:BLUES WILLIAMS, COURTNEY Born:1916 ASBURY PARK, NJ Career:TRUMPET / ARRANGER Style:BIG BAND FOR A LISTING OF THOSE THAT PASSED AWAY IN APRIL PLEASE GO TO MY WEB PAGE AT http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Thu, 28 Mar 1996 14:53:37 EST Reply-To: ron kraemer From: ron kraemer Subject: Crossroads flick -my 2 bits I'm with PW. I also liked the part where the sky turned REAL dark and cloudy, right after Poppa Legba said "Oh, Jack Butler's gonna LIKE you." And for my 2nd bit.. I always liked the line that Mr. Seneca said to the young "BluesMan"... "The Blues ain't nothin' but a good man feelin' bad..." Actually, it continues with "...thinkin' about the woman he was once with". But, the first part of that quote is what really stuck. I STILL think about that quote! Ron (a good man) ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters (and in another life....) Ron Kraemer and the Hurricanes ************************************************************ ========================================================================= Date: Thu, 28 Mar 1996 13:52:59 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re[2]: That Telecaster sound Comments: To: Steve.Levine@CORP.WRGRACE.COM Strat, I think. Therefore I yam. -J _______________________________________________________________________________ Subject: Re: That Telecaster sound From: Steve.Levine@CORP.WRGRACE.COM at INTERNET-SH Date: 03/28/96 1:47 PM Doesn't Pops Staples play aTele? ========================================================================= Date: Thu, 28 Mar 1996 15:25:18 EST Reply-To: ron kraemer From: ron kraemer Subject: Buddy Guy and Reebok! Anybody catch the latest Reebok commercial with Buddy Guy in it? I've seen it during TNT basketball games. In it, the fellow from I believe the Detroit Tigers, Mr. "Big Hurt" Thomas, is talking about tough times coming up or something like that. I didn't really catch what he was saying, because I INSTANTLY thought..."Man, that sounds like Buddy Guy in the background!" I checked the tube, and there's Buddy laying down some nice licks while listening to Mr. Thomas. The scene ends with a closeup of the Reebok logo, placed between Buddy's pickups. I thought it was pretty cool, only because it WAS Buddy Guy (and not Ralph Maccio). :) On a baseball note, I used to follow the sport a bit closer, but just haven't had the urge since the strike. Unfortunate, too, because there really are some great players out there, not the least of whom is Mr. Thomas. What IS his first name??? Cripes, I think he's been the home run king too! Ron (a Baseball Loser) ========================================================================= Date: Thu, 28 Mar 1996 13:17:09 -0800 Reply-To: Karen Johnson From: Karen Johnson Subject: Re: Miss Otis Regrets >Someone asked about a male singer doing this tune. Lyle Lovett could be the >man. Can anyone deny or confirm? > I don't remember seeing the question. I do remember Burl Ives doing this song. KJ in SF ========================================================================= Date: Thu, 28 Mar 1996 16:30:39 -0500 Reply-To: Peter Welch From: Peter Welch Subject: Re: Buddy Guy and Reebok! Comments: To: ron kraemer At 03:25 PM 3/28/96 EST, Ron wrote: > > >Anybody catch the latest Reebok commercial with Buddy Guy in it? I've seen it >during TNT basketball games. In it, the fellow from I believe >the Detroit Tigers, Mr. "Big Hurt" Thomas, is talking about tough times coming up or ^^^^^^^^^^^^^^^^^^^ Ron, As a Tigers fan, I only wish they had the Big Hurt (You might be confusing him with Tigers firstbaseman Cecil "Big Daddy" Fielder)...Frank Thomas plays for the Chicago White Sox, and is probably the game's best hitter...as for Mr. Thomas's fielding, let's just say he's a born DH... -Peter ========================================================================= Date: Thu, 28 Mar 1996 16:38:49 +0000 Reply-To: ZIELINSK_J@popmail.firn.edu Comments: Authenticated sender is From: "John A. Zielinsky" Subject: Blues Revelation (Was Re: Crossroads film -Reply) > On Thu, 28 Mar 1996 11:23:48 -0600 Roger Struve said: > >Peter Rhykus, a local musician in the Twin CIty area (Minnesota) who has > >played blues for 35 years, was interviewed by the Guitarist: A publication > >of the Minnesota Guitar Association, and was quoted as saying that one day > >back on the farm, he suddenly had a vision of RJ playing his songs.....and > >as he watched, he suddently "knew" how to do blues....Now he seems somehow > >able to play any song he wants or invent any song he wants.....and somehow > >seems to pull it off every time.....i'm amazed. > > I guess his playing ability has nothing to do with the above mentioned THIRTY > FIVE YEARS of playing. All it took was seeing a vision. I guess that's what > the ads mean when they say "Play guitar in 5 days"...:-) Umm, I don't know about anyone else, but I LEARNED guitar by playing the blues... It's a simple arrangement of note sequences, and graduated to more complex arrangements afterwards. 35 years is a very LONG time to play without mastering the easy stuff... John "I can play the blues, but can't GET the blues..." Zielinsky. ========================================================================= Date: Thu, 28 Mar 1996 16:38:49 +0000 Reply-To: ZIELINSK_J@popmail.firn.edu Comments: Authenticated sender is From: "John A. Zielinsky" Subject: Re: The blues brothers (was Re: blues in movies/soundtrack) Shaun Cronin wrote: > Actually, I think "The Blues Brothers" is a great movie (in the turn off > your brain and enjoy sense). I remeber when I first saw it there was one > scene that really knocked me out. And it was John Lee getting down and > playing the boogie on the street. I made sure I scanned the credits to find > out who that was. I agree totally, The Blues Brothers was a great movie, I was just apprehensive to mention it 'cos of its R&B content. (As my first post to the list, didn't know how hard-core the blues-l fanatics are) BTW, I am looking for a way to pay my dues, 'cos I'm also a musician, but can't compose a blues song to save my life... :( ========================================================================= Date: Thu, 28 Mar 1996 16:38:49 +0000 Reply-To: ZIELINSK_J@popmail.firn.edu Comments: Authenticated sender is From: "John A. Zielinsky" Subject: Re: kicked to the curb > Douglass W Jones wrote: > > I'm a guitar player I've got 4 singles out > > and I'm being thrown out of my house. > Maggie Mortenson wrote: > Man, those musta been some baaaaad singles. No, but it sounds like the beginning to a blues song... I'd finish the verse with: Don't know what she been' thinking about Just know that now I feel like a louse... ========================================================================= Date: Thu, 28 Mar 1996 12:51:10 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: Great CD by Cathi Norton! Comments: To: canorton@JOURNALISM.INDIANA.EDU Cathi, I just received your great release on Flat Rock Records! I hear a broad variety of influences in your music. From folk to reggae, funk to rock, from Karen Carpenter to Diar Straits, and all points in between. It is a beautiful recording. You should be proud of it. I can say that I am thoroughly enjoying the entire CD...for the SECOND time today! Thank you Cathi, for sharing your music with the masses! Regards, Stan -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 ========================================================================= Date: Thu, 28 Mar 1996 22:30:50 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Buddy Guy talks about Elmore James Comments: To: bit-listserv-blues-l@uunet.uu.net As I know this list has lots of BUDDY GUY fans, I suggest to search out the March 16 (I believe) issue of BILLBOARD. Guy is profiled & talks about his days with Elmore James. It's quite intertesting. ========================================================================= Date: Thu, 28 Mar 1996 22:35:47 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Re: Sonny Landreth/Blues Attack Comments: To: bit-listserv-blues-l@uunet.uu.net also this new AVI 8001 : SONNY LANDRETH - BLUES ATTACK set features the Red Hot Zydeco Band with Cleveland Chenier & C. J. Chenier on about half the tracks. Sonny was a member of the Clifton Chenier band when he recorded these tracks. eRIC ========================================================================= Date: Thu, 28 Mar 1996 17:45:12 -0500 Reply-To: Kim Scarborough From: Kim Scarborough Subject: Matchbox Blues I'm a disc jockey, and I had an idea a while ago to do a set tracing the progression of the song "Matchbox Blues". It makes an interesting parallel to the progression of American pop music, starting with Blind Lemon Jefferson's version and playing successive generations' versions of it up to the Beatles. The only problem is, I have a missing link, so to speak. There are plenty of versions of it from the '20's and early '30's, most clearly based on Jefferson's version, but I haven't had any luck finding a blues version from the late '40's- early '50's. What I'm looking for is an example of what Carl Perkins based his version on, since I don't believe he was sitting in 1954 listening to an old 78 of Blind Lemon or Leadbelly; I imagine he must have heard contemporary blues musicians playing it. Does anybody have any suggestions for me? ========================================================================= Date: Thu, 28 Mar 1996 22:59:45 GMT Reply-To: VT From: VT Subject: Re: Crossroads Hmmm......I know this is an old thread, but I couldn't resist. The Devil in the movie was PRETTY DUMB - Who should he have put up against the kid for the final duel? ROBERT JOHNSON I think the kid would have had to change his pants........ -- Vincent vt@usa.pipeline.com On Mar 28, 1996 08:05:20 in , 'T-Bone ' wrote: >On Wed, 27 Mar 1996, Steve Levine wrote: >> *And of course the irony is that Steve Vai is playing the guitar in the >> *"winning" (classical chops) part of the solo. There was an interview with >> *Ry Cooder (in Guitar Player???) a few years back in which he was asked what >> *he thought of the movie. His reticence in replying implies that he didn't >> *think much of it. Said that he would have done the guitar duel differently >> *(slide against slide). >> >> That would be a cool guitar duel. They could've had Johnny Winter as >> the devil's guitarist! > >[dons asbestos firesuit] > >Well, if they were casting by type, the devil's guitarist should have >been Eric Clapton. > ========================================================================= Date: Thu, 28 Mar 1996 19:03:23 -0500 Reply-To: Andre Prevos From: Andre Prevos Subject: Re. 3-CD Yazoo reissue I was glad to see that I am not the only one with a keen interest in the early musical productions of African Americans. I would like to know whether these Yazoo cds duplicate heavily the 10-lp Folkways recorded by Harold Courlander in the late 50s-early 60s (I believe --the records are at home and I'm not!) as well as the three double-lp boxed series on American folkmusic, also on Folkways (with country tunes, ballads, early Cajun, some blues, etc. ) which I remember dearly. I would be surprised if there were much overlapping with the Courlander series since these were field recordings but would like to have an approximation of duplication with the Folkways lp-boxes. If you do not want to clog the list, private e-mail is fine. Thanks. Andre J.M. Prevos AXP7@psu.edu "Tout quelqu'un s'appelle moi fou Mais mon nom c'est Clifton Chenier." Clifton Chenier.. ========================================================================= Date: Thu, 28 Mar 1996 18:12:54 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Buddy Guy and Reebok! >On a baseball note, I used to follow the sport a bit closer, but just haven't >had the urge since the strike. Unfortunate, too, because there really are >some great players out there, not the least of whom is Mr. Thomas. What IS >his first name??? Cripes, I think he's been the home run king too! Frank Thomas. He's incredible. He would have won the triple crown if they hadn't stole the season and the World Series from us because of the stupid strike!!!! I haven't seen that commercial, but I'll be looking for it. Sounds like fun. Karen Life-long White Sox fan, still a little bitter.... Hey! Harold Baines is back!!!! ========================================================================= Date: Thu, 28 Mar 1996 18:39:59 -0500 Reply-To: Skip Montanaro From: Skip Montanaro Subject: A couple new features in Musi-Cal... Comments: To: folk_music@nysernet.org, folkvenu@psuvm.psu.edu, bgrass-l@ukcc.uky.edu Comments: cc: kcoates@moose.uvm.edu, tneff@panix.com, rct@calendar.com I received a couple excellent questions/suggestions last weekend, so excellent in fact, that I went ahead and implemented them this week. They are of rather general use, so I decided to cross-post a bit. I apologize if some of you music mail gluttons get duplicates... Question/suggestion #1: Kristin A. Coates wrote: ... If we havent filled a spot in the tour and are looking for suggestions is there any place in your site to throw that out. For instance a list of confirmed dates and then something like, "still looking for gig for sat/sun in the northern Ohio area" and then possibly getting some kind of response from some student or booker etc? I answered Kristin in the negative, then got to thinking about the problem. The solution turned out to be to let people post open dates with a special keyword ".open". So, for instance, if your band the Polliwogs was going to be touring in the midwest in late April but had a couple open days after a gig in Columbus on the 23rd, but before a gig in Indianapolis on the 27th, you might post something like add performer Polliwogs date 24-26 April 1996 city Columbus, OH keywords .open, acoustic info The 'wogs are available for booking on these open dates - call our agent Kermit the Frog at (800)555-1212 for info. type folk, rock end The catch is that dates with .open keywords won't show up if the person searching Musi-Cal doesn't specify the .open keyword. Also, if they specify the .open keyword nothing but open dates will match. Still, I recommend posters make it clear in the info field that the dates in question are open to avoid confusion. Note that I indicated a city in the posting. There are two reasons for this. One, the city is a required field in the Musi-Cal database and allowing city-less entries would have required a pretty thorough search of all the code for assumptions about a city being present. Two, this allows people interested in booking acts to do proximity searches looking for fits: get keywords .open type folk city Cleveland, OH radius 400 miles end Definitely post as complete a set of keywords as possible. I anticipate people booking acts to search more by genre and keyword than artist name. Give them as much searchable information (city, genres, keywords, dates) as possible to increase the chance of them seeing you. The .open keyword is available in the list of keywords on the submission and search forms, so you can use the Web interface to specify it. (Other special keywords are currently only available using the email interface, though this may change in the future.) Question/Suggestion #2: After a nice chat with Tom Neff over the weekend I got to thinking more about editing Musi-Cal database entries using the Web interface. I'd previously been thinking in terms of editing batches of entries, which I feel to be more efficiently done using the email interface. After talking with Tom it became apparent that editing individual dates was just as important, perhaps more so. Adding the ability to edit batches of dates simultaneously using the Web interface would have been a significant challenge. Editing individual entries isn't nearly as hard. I added an entry editing page to the Web site available at http://concerts.calendar.com/edit.shtml It a pretty normal search form with a slight twist. In place of the repetitive query thang, there is a field for your email address which you must fill in. Only assigned editors or the original submitters can edit or delete entries, so make sure your email addresses are correct and complete -- "foobar@aol.com" not just "foobar" -- when submitting dates! Contact me if you'd like to be an editor for a particular venue or performer. The edit form and any listings generated from it have a background image (for those of you whose browsers understand background images) that are intended to make it obvious you're not in Kansas anymore, Toto. To the left of each returned entry are [Edit] and [Delete] links. Selecting [Delete] submits a delete command to the Musi-Cal command processor for that item. Selecting [Edit] presents you with a submission-like form with the current values filled in. Just modify as appropriate and select "Revise". A change command will be sent to the email interface. If you have any questions or notice any problems with the new capabilities, drop me a note. My mailbox is always open. Thanks for your support, Skip Montanaro | Looking for a place to promote your music venue, new CD, skip@calendar.com | festival or next concert tour? Place a focused banner (518)372-5583 | ad in Musi-Cal! http://concerts.calendar.com/ ----- Support free speech online: http://www.eff.org/blueribbon.html ----- ========================================================================= Date: Thu, 28 Mar 1996 15:45:05 -0800 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Re: Re[2]: Crossroads Comments: To: T-Bone In-Reply-To: E.C. yep Kenny G. definately don't speak his name aloud Bruce Willis, well Die Hard wasn't bad. Isaac On Thu, 28 Mar 1996, T-Bone wrote: > On Thu, 28 Mar 1996 jbards@mail-sh.lsumc.edu wrote: > > T-Bone-: > > > > EC!? I don't get it. > > Well, EC is pure evil, in the way that Bruce Willis and Kenny G are. > > T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) > "The obvious irony is that no other country would grant [Mahmoud] > Abdul-Rauf so much freedom as this oppressive one." > - Tony Kornheiser, Washington Post page D9, 3/14/96 > ========================================================================= Date: Thu, 28 Mar 1996 15:42:22 -0800 Reply-To: Mark Naftalin From: Mark Naftalin Subject: Mark Naftalin announces: Brownie McGhee Euology on 411-Winner Drummer Styve Homnick, who toured the nation and the world with Sonny Terry and Brownie McGhee, has written a beautiful eulogy to Brownie, which he read at Brownie's Funeral in Oakland on last month. The eulogy, titled "Blues Is Truth," may be seen on 411- Winner. Look in the Archives. 411-Winner also embraces information on Winner artists (Paul Butterfield Blues Band, Percy Mayfield, Ron Thompson, Mark Naftalin), extensive discographies on Otis Spann and Michael Bloomfield, the publication "Bloomfield notes" (all issues), poetry and essays by Francis Clay (legendary Muddy Waters percussionist), a selection of blues publicity photos, and an archive of other blues-related materials. Mark Naftalin 411-Winner (The Winner Info-Page) ========================================================================= Date: Thu, 28 Mar 1996 15:56:05 -0800 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Re: Crossroads flick -my 2 bits Comments: To: ron kraemer In-Reply-To: One thing that i really like about this flik is the amazing way that they manage to quote so many Johnson songs in the dialogue. Machio could use a lesson though, especially when he says " c'mon man aint that son house" reffering to a blues riff he played. HAAaa It is a fun movie and I if you haven't seen it you may get a laugh out of it. famous blues man lightnin boy Martone, cheesey. It would have been alot better if they would of had som blues guys help out with the writing. Peace, Isaac <----thinks that Steve Vai was a very good devil guitar ========================================================================= Date: Thu, 28 Mar 1996 16:00:11 -0800 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Re: Blues Revelation (Was Re: Crossroads film -Reply) Comments: To: "John A. Zielinsky" In-Reply-To: EASY STUFF!!! EASY STUFF. Mastering Robert Johnsons style aint the easy stuff. maybe you are right YOU DON'T GET THE BLUES, you just play them. Isaac <-takes this stuff too personally, and dosen't mean to bag On Thu, 28 Mar 1996, John A. Zielinsky wrote: > > On Thu, 28 Mar 1996 11:23:48 -0600 Roger Struve said: > > >Peter Rhykus, a local musician in the Twin CIty area (Minnesota) who has > > >played blues for 35 years, was interviewed by the Guitarist: A publication > > >of the Minnesota Guitar Association, and was quoted as saying that one day > > >back on the farm, he suddenly had a vision of RJ playing his songs.....and > > >as he watched, he suddently "knew" how to do blues....Now he seems somehow > > >able to play any song he wants or invent any song he wants.....and somehow > > >seems to pull it off every time.....i'm amazed. > > > > I guess his playing ability has nothing to do with the above mentioned THIRTY > > FIVE YEARS of playing. All it took was seeing a vision. I guess that's what > > the ads mean when they say "Play guitar in 5 days"...:-) > > Umm, I don't know about anyone else, but I LEARNED guitar by playing > the blues... It's a simple arrangement of note sequences, and > graduated to more complex arrangements afterwards. 35 years is a very > LONG time to play without mastering the easy stuff... > > John "I can play the blues, but can't GET the blues..." Zielinsky. > ========================================================================= Date: Thu, 28 Mar 1996 18:16:17 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: Buddy Guy and Reebok! In-Reply-To: <960328181253_500489411@mail02.mail.aol.com> On Thu, 28 Mar 1996, Karen Hanson wrote: > >On a baseball note, I used to follow the sport a bit closer, but just > haven't > >had the urge since the strike. Unfortunate, too, because there really are > >some great players out there, not the least of whom is Mr. Thomas. What IS > >his first name??? Cripes, I think he's been the home run king too! > > Frank Thomas. He's incredible. He would have won the triple crown if they > hadn't stole the season and the World Series from us because of the stupid > strike!!!! > I haven't seen that commercial, but I'll be looking for it. Sounds like fun. And to bring this back on-topic (sorta), wasn't Jimmy Yancey the head groundskeeper at Commiskey? T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "The obvious irony is that no other country would grant [Mahmoud] Abdul-Rauf so much freedom as this oppressive one." - Tony Kornheiser, Washington Post page D9, 3/14/96 ========================================================================= Date: Thu, 28 Mar 1996 20:44:49 -0500 Reply-To: PHWoolfman@AOL.COM From: Pete Wulforst Subject: Re: Who wrote/performed this song? Comments: To: DMIELE@challenger.erenj.com Don't know who wrote it, but the version I am familiar with was performed by Roy Head. ========================================================================= Date: Thu, 28 Mar 1996 21:12:44 -0500 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Leadbelly, The Cotton Song? I got this query from Filippo Sciaraffia in Rome, and I'm kind of curious myself. Which of Leadbelly's releases can "The Cotton Song" be found on? It's apparently been recorded by many others (including The Beach Boys, Harry Belafonte, The New Christy Minstrels, and Creedence) under the title "Cotton Fields." I've checked a few online CD places, but nada. I've referred Filippo here, but if he doesn't make it around, please also reply to fsciaraf@snefru.comm2000.it Thanks. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Fri, 29 Mar 1996 02:40:15 GMT Reply-To: "D.G.Poole" From: "D.G.Poole" Organization: Pipeline USA Subject: Re: Seasonal Tunes Comments: To: bit-listserv-blues-l@uunet.uu.net Yeah! Robben Ford music is good for any season. The Blue Line's 1st, Mystic Mile or Handful Of Blues. ========================================================================= Date: Thu, 28 Mar 1996 21:45:00 -0500 Reply-To: Nnelgsmada From: Nnelgsmada Organization: America Online, Inc. (1-800-827-6364) Subject: "Unk In Funk" available yet? Comments: To: bit-listserv-blues-l@uunet.uu.net Can anyone out there tell me if and when M.C.A. plans on reissuing the classic Muddy Waters disc "Unk In Funk"? I've been waiting years for this one and to my knowledge it's still not available. It ranks as one of my top five favorite Muddy albums. If anyone can fill me in on whether or not this gem is available yet on CD, I'd sure appreciate hearing from you. Thanks, Glenn ========================================================================= Date: Thu, 28 Mar 1996 21:50:17 -0500 Reply-To: Nnelgsmada From: Nnelgsmada Organization: America Online, Inc. (1-800-827-6364) Subject: Canadian blues reissues Comments: To: bit-listserv-blues-l@uunet.uu.net Can anyone tell me how I might be able to get a hold of or order CDs by the following Canadian blues artists Dutch Mason The Downchild Blues Band David Wilcox (not the same one as the pop/folk singer) I'm specifically looking for a reissue of the Dutch Mason disc entitled "The Blues Aint Bad" which contains my favorite cover of "The Thrill Is Gone" Also the disc The Downchild Blues Band recorded with Spencer Davis back in 1981 which features a butt-kicking rendition of Sonny Boy's "Nine Below Zero" Also David Wilcox's first album which contains a song called "Bump Up Ahead" ========================================================================= Date: Thu, 28 Mar 1996 23:00:38 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Re. 3-CD Yazoo reissue Comments: To: axp7@psu.edu Comments: cc: mkaldin@beachnet.com In a message dated 96-03-28 18:46:07 EST, axp7@PSU.EDU (Andre Prevos) writes: > I would like to know whether these Yazoo cds duplicate heavily the >10-lp Folkways recorded by Harold Courlander in the late 50s-early 60s (I >believe --the records are at home and I'm not!) as well as the three >double-lp boxed series on American folkmusic, also on Folkways (with country >tunes, ballads, early Cajun, some blues, etc. ) which I remember dearly. > I would be surprised if there were much overlapping with the >Courlander series since these were field recordings but would like to have >an approximation of duplication with the Folkways lp-boxes. They are not duplicative, I don't think. I don't have those sets, but have gone over the list with a friend who knows them well and thought not. These records are largely commercial recordings. I can't exagerate the impact of this set of you are interested in early American string music styles, the roots of blues, or folks music. The number of connections between kinds of music are astounding. You don't have to be told; you can hear them. The photographs on the booklets are also amazing. My only complaint is the liner notes. A quick look at the discography shows what is lacking. The first song is "Bamalong Blues" by Anderw and Jim Baxter. Dixon and Godrich show this to have been a 1928 Victor session in Charlotte, NC. D&G note that Andrew Bayter played *lead* fiddle on "G Rag" for the Georgie Yellow Hammers at that first session. This connection to an early white string band is very important; The fact that the recording was on a Victor field trip (and even the date) are all important information withheld by these liner notes. Tom Freeland (who believes that time spent flipping through a good discography is the best blues research you can do other than listening once you have the basic names down) ========================================================================= Date: Thu, 28 Mar 1996 20:23:36 +0000 Reply-To: ksailors@hooked.net Comments: Authenticated sender is From: "Kenneth M. Sailors" Subject: Sir Doug For all of you whio recommended Last Real Texas Blues Band - I got it today, played it, loved it. If you don't have it, get it. Made me pull out a couple of old LPs he mentions in his liner notes. I'll tell about a '51 Chevy sometime. Ken ========================================================================= Date: Thu, 28 Mar 1996 20:58:40 GMT Reply-To: Dave_J._Herda@infozone.telluride.co.us From: "Dave J. Herda" Organization: InfoZone Telluride Co (970)-728-0472 Subject: Re: Buddy Guy and Reebok! Comments: To: rkraemer@ETS.ORG Great commercial, should be yet another shot in the arm for the blues. As for the Big Hurt, he's arguably the best player in all of baseball and his first name is Frank. Mr. Thomas lives and in plays his baseball in the Capital City of the Blues of the blues--Chicago, Illinois. ========================================================================= Date: Fri, 29 Mar 1996 16:34:59 -1000 Reply-To: Andrew Gregg From: Andrew Gregg Subject: GUITAR STORE - Honolulu??? Comments: To: Jim Witteveen Greetings, Ive got a good friend who's gonna be in Honolulu next week & he wants to know where he might be able to shop for guitars. He's interested in Gibson flattops & others. Thanks! (Sorry about the lack of blues content!) ========================================================================= Date: Fri, 29 Mar 1996 05:46:24 GMT Reply-To: VT From: VT Subject: REVIEW - Some Perfect 10's Getting back into my REVIEWs again, I thought I'd do something a little different. I'd like to look at those songs that have become my touchstones for the blues - the ones I would rate a 10. A rating of "10" would mean perfection, and those are hard to come by - but not impossible. One such album would be the legendary Rocking Chair album by Howlin' Wolf. I have to confess to being just that little bit biased - since this was one of the first "authentic" blues albums I ever bought - as an import to England - yes, the original Chess LP 1469 back in 19mumble-mumble....... However being pedantic - even that album is not perfect, as I have favorite tracks and not so favorites - ah-hum so individual tracks are much easier. Did I say individual tracks are easier? What a mistake. I found it so difficult to write about these tracks. They are so dear to me that I found it hard to do them justice, also not to go on and on with endless discussion......... Nevertheless this just became a challenge. GOIN' DOWN SLOW - recorded Chicago, Dec. 1961. Howlin' Wolf vcls Henry Gray pno Hubert Sumlin gtr Jimmy Rogers gtr Willie Dixon bs & speech Sam Lay dms This was the B-side on the first blues 45 I bought, and I guess nothing has topped this since. Talk about starting from the top. (What was on the A-side? It was "Smokestack Lightnin'" a re-issue on the Pye International label in England). There are two variations of this same recording generally available. The "original" cut on Chess LP 1469 (the famous "Rocking Chair" LP) and my single, is the shorter edition. This starts with a slurred bass note and Willie Dixon's opening words "Man,.....". This start is in fact about 18 seconds into the "extended" re-issue which has a piano and guitar intro. There is also a guitar break between Willie's first verse and Wolf's shouting entrance. The edited version is on the 2-fer CD: HOWLIN' WOLF HOWLIN' WOLF/MOANIN' IN THE MOONLIGHT MCA5908 The extended reissue is on the Howlin' Wolf Chess Box. (I have also come across this extended version on other re-issues, and there is a reference to it in "Blues on Record".) I'm reviewing the "original" edited version. The song's credited author is St.Louis Jimmy Oden, the original, I think, is by him on the Bluebird label in 1941. This version by Howlin' Wolf is a stunner. The song starts with a smooth deep mellow speaking voice reminiscing about the good times he's had. Then dramatically, in breathtaking contrast, a singing voice enters - shouting "I have had my fun, even if I never get well no more..." absolutely makes my hair stand on end hearing this (even after all these years). I was floored by the dramatic change in character of the vocalist. Of course it was literally years later that I found out the speaking parts were by Willie Dixon. It was also years later that I started to notice that guitar playing - from the weird wang-wang finger slide bits to the single ringing vibrato, those slurred notes and mercurial runs. All this was weaving in and out of the vocals. I was stunned again. The guitarist is of course my all time favorite - Hubert Sumlin. As a general rule the more Hubert from this period the better. And I see-sawed for quite a while between preferring the extended to the "original". I now prefer the shorter version because of the impact of this edition. That shouting entrance by the Wolf after the first spoken verse is somewhat "diluted" with the retention of the guitar break. The intro, although, nice, doesn't add anything to the song. The guitar playing became my benchmark, and I still don't think it has been topped - and I am amazed, did you know there isn't a guitar solo in this song? Yet to me it's got everything. It helps weave the tapestry of this song - genuine *accomanpiment* - yet stands out, without distraction. I continue to return to this song as one of my all time favorites. SHAKE FOR ME - recorded Chicago, June 1961. Howlin' Wolf vcl Johnny Jones pno Hubert Sumlin gtr Jimmy Rogers gtr Willie Dixon bs Sam Lay dms Hubert Sumlin in full cry showing his naughty-naughty side. His playing has to be heard to be believed - I call it his whoop-whoop guitar, but it is also somewhat like chicken clucking. Hubert can very much still do this today at 64 years old. Amazing though this guitar is, it is the combination with that ROAR of a voice of the mighty Wolf -it almost assaults you with its ferocity. Like Hubert said "the Wolf is Hubert, Hubert is the Wolf" - my what a combination. The Wolf roars on this with Hubert egging him on. Like a naughty boy jumping out and shouting boo!... you can't catch me....... Everything on this song jumps - Johnny Jones's piano keeps chopping and Willie Dixon' double bass plays the incessant rhythm in high register. Sam Lay's drumming taps out the beat on the dome of the cymbals. It drives and never lets up. The lyrics are not sublime, but they are entertaining - it's the overall sound and energy of this song that makes it for me. DOWN IN THE BOTTOM - recorded Chicago, May 1961 same personnel as "Shake for Me" except Wolf also plays gtr. Again there are two versions - the "original" LP version starts some 24 seconds into the extended version on the Chess Box. My preference is still for the shorter version for similar reasons as before. The restored longer version has a slide guitar intro accompanied by some chopping rhythm guitar - very similar to the break after the first sung verse of the song. On the shorter version the song starts with just the chopping rhythm guitar and the voice comes in and song just rocks, there is no hint of what is to come - in the form of that slide - it just adds tons of dynamics for me. The longer version "announces" the slide right at the beginning - "spoiling" that slide surprise. "(Well now) meet me in the bottom, bring me my running shoes (twice) well, I come out the window - don't have time to lose...." This is an old traditional theme, but the song is credited to Willie Dixon. This version fairly rocks out - that slide really adds to the whole sound. It is in fact by the Wolf - I remember that BU (Blues Unlimited) had doubts about Wolf's claim to playing slide on this track. SPOONFUL - recorded Chicago, June 1960 Howlin' Wolf vcl Otis Spann pno Hubert Sumlin gtr Willie Dixon bs Fred Below dms Freddie King claims to have played on this session, and specifically on this track. Blues-L's Dick Shurman says in his excellent note in the Chess Box that there is credence to this claim from the style of playing and Sam Lay's corroboration. A couple of years ago former Blues-L'er - John Morgan, a Freddie King fan took a close listen and felt that although there were definite similarities, he thought it wasn't Freddie - due to the lack of Freddie King's trademark finger pick sound and the way the B-string was played. Most discographies give the guitar credit to Hubert Sumlin. Hubert told me it was Freddy Robinson (now known as Abu Talib) playing the lead with Hubert playing the bass lines on the guitar. On closer listening it is just discernible that there ARE two guitars on this track. Me? I think it's a great song with great guitar playing! This is of course a classic. Much covered by blues rock acts including Cream. It is based on the theme of "A Spoonful Blues" by Charley Patton, but on this the writer's credit is to Willie Dixon. I believe there is bench in Atlanta dedicated last year to Willie Dixon with some of the lyrics of this song on it: "It could be a spoonful of diamond, it could be a spoonful of gold, Just a little spoonful of your precious love - satisfy my soul" Er - could this be a genuine bench-mark of the blues? :-) Love the way the vocals pauses and lets the guitar "sing" the trailing words: spoonful - a typical blues technique, but used to such great effect here. everybody's fightin' 'bout that (dum-dum) that spoon, that spoon, that sp- (dum-dum) ....... JUST LIKE I TREAT YOU - recorded Chicago, Dec. 1961 same session and personnel as "Goin' Down Slow" - W. Dixon bass only. No, this is not on the Rocking Chair album, but on "Change My Ways" and the Chess Box. Another track that highlights Hubert's guitar. It's pure joy on here - really goading the Wolf. Sam Lay really drives on the drums here, Henry Gray chops away on the piano, with the Wolf roaring - Hubert's guitar is like playing in traffic. dodging in and out, yet running along side for awhile, then pulling some ridiculous stunt. The whole song is exhilarating. Note: an acoustic slide guitar can now be clearly heard on the remastered version on the Chess Box. With strained listening one can just discern this on previous versions including the Chess single 1823. Rating: these tracks all get 10's in my book. There are other songs in the Wolf catalog that are equally up there, but time and space prevents me from writing about them now... may be some other time or place...... -- Vincent vt@usa.pipeline.com ========================================================================= Date: Fri, 29 Mar 1996 00:35:51 -0500 Reply-To: JRush11279 From: JRush11279 Organization: America Online, Inc. (1-800-827-6364) Subject: Kansas City Blues and Jazz Festival Comments: To: bit-listserv-blues-l@uunet.uu.net Here is the latest on the Kansas City Blues and Jazz Festival. I'll post more as it becomes available! The Kansas City (Missouri) Blues and Jazz Festival is July 19, 20, and 21 (Friday, Saturday, and Sunday). To date, the following acts have been booked, but no specific times have been scheduled yet. Al Green Roomful of Blues Little Milton Debbie Davies Coco Montoya Jazz Crusaders Richard Elliot Craig Chaquico Mem Shannon Stanley Turentine TS Monk Plues over 30 more acts to be announced. If you're not familiar with our festival, there are three stages going simultaneoulsy - Jazz, Blues and Youth and Heritage. However, on Friday there may be only one with alternating Jazz and Blues. The festival is held at Penn Valley Park, with is located near Crown Center/Liberty Memorial, between Main and Broadway at about 25th street. The Westin Crown Center is the "official festival hotel". They will likely have a package deal that includes tickets to the Festival. The number for the hotel is 800-228-3000. Of course, tickets can be purchased separately. Last year they were $10.00 for all three days or $5.00 per day during the event. I'm not sure if Ticketmaster will be handling the tickets this year or not. I'll post more info as it becomes available; however, you can also call the Festival Office at 1-800-530-KCMO (out-of-town) or 816-753-FEST (local). The E-mail address for the KC Blues and Jazz Festival Office is: kcbnj@qni.com For general information on Kansas City and accomodations, you can also contact the KC Convention and Visitor Bureau at 1-800-767-7700. Make plans to attend now! ========================================================================= Date: Thu, 28 Mar 1996 23:46:09 -0600 Reply-To: Rob Varak From: Rob Varak Subject: Re: Crossroads flick -my 2 bits Comments: To: ron kraemer In-Reply-To: Ok, I gotta get in on this too. I like the movie. It's cheese, but where else can you hear these lines: "Son, where I come from you don't blow no harp, you don't get no ..." and "Boy don't you know, Muddy Waters invented 'lectricity!" Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Fri, 29 Mar 1996 02:45:25 -0500 Reply-To: LKnight1@AOL.COM From: Leslie Ann Knight Subject: Blues Had A Baby Composer In response to a post inquiring who wrote The Blues Had A Baby , the tune was originally composed by Brownie McGhee. Here are some excerpts from transcriptions from an October 22, 1994 interview with Brownie McGhee conducted by Leslie Ann Knight, Brownie s biographer. Brownie shares his story. --------------------------------------- Brownie recites the lyric, The blues had a baby, and the world s calling it rock and roll. Ain t that pitiful? Muddy came to me, and asked, what he could do with the singing, the lyrics. He loved the idea of the blues having a baby. I said it ll cost you fifty percent. Contract s laying in there right now. (Brownie nods toward his office) We drew up the contract for Blues Had a Baby #2, by Muddy Waters and Brownie McGhee. Muddy s publishing company gets half, I get half. A lot of people think Muddy wrote that. Muddy had a problem. You wouldn t know it. I knew it. Certain lyrics, he couldn t say. I admired him and I met him in Chicago through Tampa Red and Big Bill (Broonzy). Muddy had a diction problem. Willie Dixon was Muddy s asset. He knew what Muddy could sing. I sent Muddy those lyrics, but he couldn t sing my lyrics. Brownie recites, The blues is a mother, don t forget it brother . . . Muddy said, I can t say that. I ll never get that out. I like the blues had a baby part. I said that s copyrighted, but we ll split yours fifty percent. I said, use it, Muddy. I think Muddy did a helluva good job on it. But the right person hasn t done the song yet. --------------------------------------- Brownie McGhee ========================================================================= Date: Thu, 28 Mar 1996 14:57:00 -0500 Reply-To: ConnorRay From: ConnorRay Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Treat Her Right - a little more info Comments: To: bit-listserv-blues-l@uunet.uu.net written by Gene Kertz & Roy Head. Recorded here in Houston at Sugar Hill Studio's I think when Huey Meaux owned the studio. Roy still tours around and Gene plays with Miss Molly & The Whips. Gene played bass on the Jerry Lightfoot & the Essentials CD Burning Desire thats how I know!:-). SK ConnorRay@aol.com ========================================================================= Date: Fri, 29 Mar 1996 09:23:17 GMT Reply-To: "Dennis J. Olsen" From: "Dennis J. Olsen" Organization: Island Internet Customer Subject: Re: Telecaster sound In article <199603280809.AAA10221@wavenet.com>, Shaun T Cronin wrote: >Jim Rocco wrote: > >>Aint no-one in any genre of any music who can make a Tele do what Albert Lee >>can....even if it is country... I M H O > >IMHO as well (and I am listening to Albert Lee on Emylou Harris' "Luxury >Liner" at this moment). Also the proud owner of a new JD (Jerry Donahue) >signature Tele. Maple neck, crimson with white binding, V-neck. I'm in love >again. > >BTW, saw a picture of a very young (and quite dapper) BB King, holding (I >forget the name of the book) an early Tele (may have been an Esquire). I >had always associated BB with Gibson. Anyone else seen the photo? I was >thumbing through a heap of guitar books at a book store today. > >And speaking of Tele wielders, Albert Collins. Oh Man! > >Shaun > >Shaun Cronin 'The Blues is what exists between a man and a >shaun@wavenet.com woman.' Son House and John Lee Hooker. How About Danny Gatton. I love his Tele sense. Dennis J. Olsen djolsen@port.island.net ========================================================================= Date: Tue, 26 Mar 1996 19:38:26 PST Reply-To: "D. ALLEN SIMPSON" From: "D. ALLEN SIMPSON" Subject: Upcoming blues on the networks Nothing much to report, except this: AUSTIN CITY LIMITS Saturday, April 6, 1996, (9-10:00 pm ET) Check Local Listings with Your Member PBS Station PBS National Satellite Viewers: Check the Satellite Schedule "Gatemouth Brown/Keb' Mo'"--From Robert Johnson to Muddy Waters, the best blues artists were invariably touched by a great many diverse influences, fusing jazz, zydeco, rock, soul and folk into a solid core of blues. Clarence "Gatemouth" Brown and Keb' Mo' (aka Kevin Moore) are those kinds of bluesmen. On his return to AUSTIN CITY LIMITS, Brown delights the audience with the rowdy fiddle tune "Up Jumps the Devil" and more. Famed Nashville songwriter John D. Loudermilk joins Brown for a one-of-a-kind rendition of his classic "Tobacco Road." Keb' Mo' offers up contemporary blues infused with folk motifs and Memphis soul. Songs including "Every Morning" and "Tell Everybody I Know" prove him an exceptional songwriter and seasoned musician. I apoligize if this has already been posted. I haven't been able to read anything on my Email server for about 3 days, so I don't know what has been posted on blues-l. Doug S. ========================================================================= Date: Fri, 29 Mar 1996 10:46:00 GMT Reply-To: Mr G M Smith From: Mr G M Smith Subject: Sonny's Guitar Just to muddy the waters a little more, as it were, the partial guitar on "South of I-10" looks to me like the work of UK guitar maker, TONY ZEMAITIS,whose electrics are LP shaped and tend to feature lavishly engraved metalwork and other embellishments. He made one whose WHOLE FRONT was covered in abalone. Ron Wood is probably the best known regular user of his solid bodies and Jo-Ann Kelly was a regular user of his 6 and 12 string acoustics. On the subject of "Crossroads" I sure would have liked to have seen the screenplay before the Hollywood re-write squad got their hands on it. Yours, Garry "I Used To Worry About Mad Cow Disease, But Now I'm Glad I'm A Goldfish" Smith. ========================================================================= Date: Fri, 29 Mar 1996 08:07:22 -0500 Reply-To: BluesDJ478@AOL.COM From: David J Boyd Subject: Jay D Miller --PART.BOUNDARY.0.9411.mail02.mail.aol.com.828104841 Content-ID: <0_9411_828104841@mail02.mail.aol.com.10210> Content-type: text/plain Watching Lazy Lester in Grand Rapids, Mich on3/26/96 I received the news- the following obit will appear in East Michigan Blues Society Newsletter- Any publications feel free to use- Daivd J Boyd- WFBE- I also have an upcoming video release starring Lazy Lester, and have extensive video interview with Jay D. Miller. --PART.BOUNDARY.0.9411.mail02.mail.aol.com.828104841 Content-ID: <0_9411_828104841@mail02.mail.aol.com.10211> Content-type: application/octet-stream; name="1111BLUE.WPD" Content-Transfer-Encoding: base64 V1RDQQUA9gnkDHcBLAF3ASwBdwEsAX8IuAsAAAAAAAAAAAAAAAAAAAAAAQABAAIAEQAAAMwH AwAdAPgBAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAP////8BAAAAAAAAAAAA AAAAAAAARABIUCBEZXNrSmV0IDUyMCBQcmludGVyAAAAAAAAAAAAAAoDAAWUACwAAx4AAAEA AQAAAAAAAAABAAEALAECAAEALAEBAAEAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAEAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAKgAAAAEAcgUAAHIFAAByBQAARAQAAEQEAAABAAAAAQAAAAAAAAAAAAAAAHIFAAAA AHIFAAAgICBUaGUgYmx1ZXMgbG9zdCBhIGdvb2QgZnJpZW5kIHJlY2VudGx5LCB3aXRoIHRo ZSBkZWF0aCBpbiBDcm93bGV5LCBMb3Vpc2lhbmEsIG9mIHRoZSBsZWdlbmRhcnkNcmVjb3Jk IHByb2R1Y2VyLCBKYXkgRC4gTWlsbGVyLiBNaWxsZXIgc3RhcnRlZCBhIHJlY29yZGluZyBz dHVkaW8gaW4gMTk0OCBpbiB0aGUgc21hbGwgTGEuIHRvd24sDWFuZCByZWNvcmRlZCBtYW55 IGJsdWVzLCBjb3VudHJ5LiBjYWp1biwgYW5kIHJvY2thYmlsbHkgbXVzaWNpYW5zLlRocm91 Z2ggaGlzIGZyaWVuZHNoaXAgd2l0aCBOYXNodmlsbGUgcmVjb3JkIGNvbXBhbnkgb3duZXIs IEVybmllIFlvdW5nIChFeGNlbGxvIFJlY29yZHMpLCBtYW55IG9mIHRoZSBzb25ncyBNaWxs ZXIgcHJvZHVjZWQgd2VyZSBpc3N1ZWQgb24gdGhlIEV4Y2VsbG8gbGFiZWwuIFZhcmlvdXMg Y29tbWVyY2lhbCBoaXRzIHdlcmUgcmVsZWFzZWQgaW5jbHVkaW5nIFNsaW0gSGFycG8ncyAi SSdtIEEgS2luZyBCZWUiLCBMaWdodG5pbicgU2xpbSdzICJCYWQgTHVjayIuIGFuZCBMYXp5 IExlc3RlcidzICJJJ20gQSBMb3Zlci4gTm90IEEgRmlnaHRlciIuIE1hbnkgb3RoZXIgYXJ0 aXN0cyBlbmpveWVkIHN1Y2Nlc3NlcyB0aGF0IE1pbGxlciBwcm9kdWNlZCwgaW5jbHVkaW5n LCBTaWxhcyBIb2dhbiwgV2hpc3BlcmluZyBTbWl0aCwgTG9uZXNvbWUgU3VuZG93biwgYW5k IEthdGllIFdlYnN0ZXIuDSAgIE1pbGxlciBjb250aW51ZWQgdG8gbGl2ZSBpbiB0aGUgcmlj ZSBjb3VudHJ5IGFyb3VuZCBDcm93bGV5LCBhbGwgaGlzIGxpZmUsIGFuZCBkdXJpbmcgYW4g aW50ZXJ2aWV3IHdpdGggbWUgaW4gMTk5NCwgc3RhdGVkIHRoYXQgb2YgYWxsIHRoZSBtdXNp YyB0aGF0IGhlIHByb2R1Y2VkLCBoZSBsb3ZlZCB0aGUgYmx1ZXMgdGhlIGJlc3QuVGhlDXZp c2l0b3IncyBsb2cgYXQgaGlzIHN0dWRpbyByZWZsZWN0ZWQgdGhhdCBoZSB3YXMgbG92ZWQg YXMgd2VsbCwgYXMgYmx1ZXMgZmFucyBmcm9tIEVuZ2xhbmQsIEphcGFuLCANYW5kIGV2ZXJ5 IGNvcm5lciBvZiB0aGUgZ2xvYmUsIGZvdW5kIHRoZWlyIHdheSB0byBoaXMgbGl0dGxlIHN0 dWRpby4gTWlsbGVyIHdhcyBhbiBhYnNvbHV0ZSBnZXRsZW1hbg10byBhbGwgYW5kIHRoZSBl cGl0b21lIG9mIGEgIlNvdXRoZXJuIEdlbnRsZW1hbiIuIEFzIHdlIGhhZCBsdW5jaCBhdCBo aXMgaG9tZSwgb3Zlcmxvb2tpbmcgYQ1nb2xmIGNvdXJzZSBoZSBzdGF0ZWQsICJUaGUgdGhp bmcgSSBsaWtlIGJlc3QgYWJvdXQgdGhlIGJsdWVzLSB0aGF0IG11c2ljIGhhcyBzaGVsZiBs aWZlLS0gUGVvcGxlIGNvbnRpbnVlIHRvIGJ1eSB0aGUgb2xkZXIgcmVsZWFzZXMsIGFzIHdl bGwgYXMgdGhlIG5ld2VyIHN0dWZmLSBUaGUgYmx1ZXMgd2lsbCBuZXZlciBkaWUuIg== --PART.BOUNDARY.0.9411.mail02.mail.aol.com.828104841-- ========================================================================= Date: Fri, 29 Mar 1996 08:36:55 -0500 Reply-To: PHWoolfman@AOL.COM From: Pete Wulforst Subject: Re: Jimmy Johnson on the Jukebox - (kind of long) A slight deviation, from movies/soundtracks to TV. Last night on "ER", which of course happens to be set in Chicago, two of the characters ended up in a diner after their shift. Playing in the background at the diner was a Jimmy Johnson song. I'm kicking myself this morning because I can't remember which song. I think it was something from "Johnson's Whacks", but I've lost it overnight. At any rate, it was pretty cool. Of course now I'm thinking, "why not work a real bluesman into a script of "ER" or "Chicago Hope" some time ? - I like that idea. Speaking of Johnson, he has been a favorite of mine, ever since I first heard "Johnson's Whack's". One of my favorite blues lyrics is: "Got the St Louis blues, I'm as blues as I can get Saint (sic) Louis to the liquor store and he ain't come back yet." Johnson also writes more serious, socially relevant songs, e.g., "Heap See" and "If my Daddy was Wrong" (I think that is the title). When you talk about contemporary bluesmen who are adding to the songwritng legacy, I think he deserves mention. Plus, when you pay attention to his guitar playing, ther's a lot going on there, too. I tend to think of Jackie McLean (who also plays some mean blues) as sort of the quintessential jazzman, and one could do a lot worse than Johnson in representing the quintessential electric Chicago-style bluesman. A few years ago I had heard that he was involved in a serious auto accident which (I think) killed at least one member of his band. I hadn't heard anything about him until he released his recent excellant CD. I'm happy he is still with us and recording. Pete Wulforst, Hampstead Md ========================================================================= Date: Fri, 29 Mar 1996 08:49:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re: Wild Nite Out ! >I'm headin' out to see Mr. Jimmy Thackery and the Drivers tonight ! >He's in Johnson City, TN at the Down Home at 8:00pm in case your >with- in ear shot....... I can hear those immortal words now: "We gonna take a break here, and we're gonna come right back and play all goddam night!" BLUE JOE IN RED RUSSIA (but color me envious) J.E._Downey@bakermck.com "Just when I thought it couldn't get any worse, baby, you came back to me!" ========================================================================= Date: Fri, 29 Mar 1996 07:59:05 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Johnny Shines & Autograph Yesterday I saw a used copy of Too Wet To Plow for 6 bucks. Naturally I had to buy it, even though I have it. I open it up and surpise some FOOL had traded in his/her (Jon or Jan) autographed copy of TWTP...Oh well, I'm not an autograph collector, but it was still pretty cool. It was in 1990 LW ========================================================================= Date: Fri, 29 Mar 1996 09:20:11 EST Reply-To: george morales From: george morales Organization: TEMPLE UNIVERSITY Subject: live blues in Phila PA tonight at Warmdaddy's Billy Branch and The Sons of Blues play 3 shows and they play tommrw night.ALso tmmrw night, BB King, Bobby Bland and Ruth BRown play at the Valley Forge Music Fair Upcoming shows at Warmdaddy's(215.627.8400) include clarence "gatemouth" brown on thurs april 4 and Bobby Rush on Apr 5 thru 7 and The Blind Boys of Alabama on April 11 Don't miss SATAN & ADAM at the NOrth Star Bar on April 6. I have seen them 3 times and always came away very tired from jammin all night as they play high energy blues George +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ | | | GEORGE MORALES GEORGEM@TEMPLEVM | | COMPUTER AND INFORMATION SERVICES GEORGEM@VM.TEMPLE.EDU | | TEMPLE UNIVERSITY (215)204-6866 | | | +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Fri, 29 Mar 1996 09:48:32 -0500 Reply-To: FORCELLAD@CCSUA.CTSTATEU.EDU From: Domenic Forcella Subject: Earth Day Blues I'd like to put together an Earth Day Blues program. I presently have PSAs, poems, and I need music. Koko Taylor's "Mother Nature" is a natural. I'm even looking at songs with animals, or any outdoor theme. Would like to use as much blues as possible. Will probably use some other themes such as Alberta Hunter's "Amtrack Blues." Any suggestions greatly appreciated. You can e-mail me privately and I will post the results. If you think it's a thread worth exploring here, that's ok too. Thanks Domenic Forcella Traveling with the Blues wfcs 107.7fm ========================================================================= Date: Fri, 29 Mar 1996 09:53:47 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Subscribe problem HI folks, anybody know if there is a problem with the listserver at Brown? Someone I know is trying to subscribe to Blues-L and only gets a HELP message back. Has something changed that I don't know about? I'm assuming our server address is still: "Listserv@brownvm.brown.edu" ???? Have I missed something? Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 29 Mar 1996 14:33:33 GMT Reply-To: bbbean@sheltonlink.com From: bbbean@SHELTONLINK.COM Organization: inlink Subject: JAckson, MS Comments: To: bit-listserv-blues-l@uunet.uu.net The ever popular question - Can anyone recommend blues clubs/jams/etc in Jackson, MS? BBB B.B. Bean New address------>bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Fri, 29 Mar 1996 10:01:10 -0500 Reply-To: "Lost John From: "Lost John Subject: Jeff Healy lyrics My apologies for posting to all, but I didn't keep the email address of the person who requested the lyrics to "See the Light" by Jeff Healey. Here dey is: (as near as I can figure) Can you see the light Can you see the light of need shining in my eyes (Repeat above) You know I need you baby Sure ain't gonna tell you any lies Can you see the light Can you see the light of want shining on my face (Repeat above) You know I want you mama Come on, let's get out of this place Can you see the light Can you see the light of love shining from my heart (Repeat above) You know I love you baby I sure want to make this never stop -- _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ _/ JC /\ _/ _/ ______________ || _/ _/ \__________ / || _/ _/ ________ ___/ John Carley || _/ _/ \______ / johnc@vedge.com || _/ _/ ____ ___/ (514)332-6430 x232 || _/ _/ \__ / Visual Edge Software Ltd. |\||/| _/ _/ _____/ 3950 Cote Vertu, Suite 100 \ / _/ _/ \/ Montreal, Quebec, Canada / \ _/ _/ ( ) _/ _/ \____/ _/ _/ (graduate of the Yogi Berra school of elocution) _/ _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ ========================================================================= Date: Fri, 29 Mar 1996 09:58:10 -0500 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: Ry Cooder recommendations Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199603281731.MAA20041@postoffice2.mail.cornell.edu> "Charles d'Orban" writes: >My 2 favorites are Boomer's Story and Bop til You Drop. I love the >sparseness of Boomer's Story and the instrumental version of "Dark end of >the street" always gets me. Just as an aside, "Bop TIl You Drop" has the disctinction of being the first "pop/rock" album released on CD. ========================================================================= Date: Fri, 29 Mar 1996 10:03:52 -0500 Reply-To: hhardy@BCONNEX.NET From: Hugh Hardy Subject: Re: (nbc) Guitar Question <---- Begin Forwarded Message ----> Date: Thu, 28 Mar 1996 09:25:15 CST Reply-To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU From: L W Subject: Re: (nbc) Guitar Question To: Multiple recipients of list BLUES-L On Thu, 28 Mar 1996 10:06:33 -0500 Lost John >On the cover of Sonny Landreth's "South of I-10", there >is a guitar (partially obscured by other cover art) which >appears to have a stainless-steel etched top like a >National but the overall body shape of a Les Paul. >It has very Les Paul-ish humbuckers, a tune-a-matic bridge, >and a stud tailpiece - and very UN-Les Paul-ish dot inlay. To me is looks alot like a National Reso-lectric in shape, but I've never seen them steel & etched. The Reso-lectric does have the LP shape, but I don't think it's related.. LW <---- End Forwarded Message ----> LW - why would you do a post to say that you don't know the answer? The guitar was featured in a Guitar Player article a while back and is a custom made one off by a maker...I think his name starts with a Z. Maybe Zematis or similar. Regards, Hugh Hardy ========================================================================= Date: Fri, 29 Mar 1996 10:07:01 -0500 Reply-To: "jose.eric.s.maglanque" From: "jose.eric.s.maglanque" Subject: help me choose Which among these is best? If somebody has the time and patience, pls give me an idea what's in the choice CD and why its good. Private e-mail pls. Thanks guys, sorry List... Various, DELMARK 40TH ANNIVERSARY BLUES, Delmark (does this have guy, rush, sam?) Various, EARWIG 16TH ANNIVERSARY SAMPLER, Earwig Various, BLACKTOP BLUES VOCAL DYNAMITE!, Black Top Various, SOUTHERN SHADES OF BLUE, Waldoxy Various, PRIME CHOPS VOLUME 3, Blind Pig Various, RECORDS GALORE AVI SAMPLER VOL. 1, AVI/Excello Various, LET THE BIG DOG EAT, Ichiban/Wild Dog Blues ========================================================================= Date: Fri, 29 Mar 1996 10:11:52 -0500 Reply-To: "Lost John From: "Lost John Subject: Sonny's guitar Thanks to LW for helping me identify Sonny Landreth's guitar. I sent a private thank you, but I'm not sue that it got there. Sometimes your address comes up as... ISTS024%UABDPO.BITNET@brownvm.brown.edu and other times as simply... ISTS024@UABDPO. Just in case it didn't get there and you think I'm an ungrateful dolt. Cheers. -- _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ _/ JC /\ _/ _/ ______________ || _/ _/ \__________ / || _/ _/ ________ ___/ John Carley || _/ _/ \______ / johnc@vedge.com || _/ _/ ____ ___/ (514)332-6430 x232 || _/ _/ \__ / Visual Edge Software Ltd. |\||/| _/ _/ _____/ 3950 Cote Vertu, Suite 100 \ / _/ _/ \/ Montreal, Quebec, Canada / \ _/ _/ ( ) _/ _/ \____/ _/ _/ (graduate of the Yogi Berra school of elocution) _/ _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ ========================================================================= Date: Fri, 29 Mar 1996 10:24:02 -0500 Reply-To: BluesMojo@AOL.COM From: Doug Carlisle WSFM Subject: LOOKING FOR A BOOK Hey music fans..... I'm still looking for a book.......Rolling Stone's Record Guide...(Volume One...-or-...First Edition) I think it was published in 1978.....If you have it in your library, and are willing to sell...I'll pay face value & shipping. Please e-mail. Doug C. Bluesmojo@aol.com ========================================================================= Date: Fri, 29 Mar 1996 07:23:43 -0800 Reply-To: Guy Tapper From: Guy Tapper Subject: JP Hammond question Can someone tell me how old John Paul Hammond is? He seems to have been putting out records forever, yet he looks fairly young. I read last night that he was already an established performing artist when Jimi Hendrix was still an unknown, and he entertained the idea of Hendrix playing guitar in his band. However, Hammond recognized that Jimi's talents would never let let him be anyone else's backup musician, and encouraged him to go to England and do some recording when that opportunity came. The rest, as they say, is history. Guy Tapper MLRG Illustration Scripps Institution of Oceanography 9500 Gilman Dr. La Jolla CA 92093-0227 (619)534-2358 (619)534-6500 fax ========================================================================= Date: Fri, 29 Mar 1996 09:21:23 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Blue Movies I saw a "soft porn" movie at the video store, it's about a seductive blues singer. I think it's called Illegal In Blue. The cover says "BLUES, BABES & BULLETS"...(didn't rent the movie of course)...From Reebok ads to porn movies the blues are everywhere We have some soft drinks in town called Faygo, I don't know if they are local or not. They have a flavor called "Jazzin' Blues" it has neat little pictures of berries wirth sunglasses, saxaphones, harmonica, microphones..etc I had to buy one, I thought that was pretty neat. Did anyone mention that Anson, Sam & The Rockets are in the movie China Moon LW ========================================================================= Date: Fri, 29 Mar 1996 07:42:58 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Mar. 30 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BRUYNOGHE, YANNICK (author/BILL BROONZY) d. 1984-0330, UCCLE, BRUSSELS 60 BURRAGE, HAROLD (v/p/ONE-DERFUL REC) b. 1931-0330, CHICAGO, IL CHAPMAN, TRACY (g/songw) b. 1964-0330, CLEVELAND, OH CLAPTON, ERIC (g) b. 1945-0330, RIPLEY,SURREY, UK CLAXTON, ROZELLE (p/arr/ERNIE FIELDS) d. 1995-0330, LAKE FOREST, IL 82 COOK, WILL MERCER (songw) b. 1903-0330, WASHINGTON, DC HOLE, DAVE (g/ALLIGATOR REC) b. 1948-0330, HESWALL,CHESHIRE UK LAINE, FRANKIE [FRANK PAUL LOVECCHIO] (v) b. 1913-0330, CHICAGO, IL M. C. HAMMER [STANLEY KIRK BURRELL] (v) b. 1963-0330, OAKLAND, CA ROTHCHILD, PAUL (prod/BUTTERFIELD/JOPLIN) d. 1995-0330, LOS ANGELES, CA 59 WATTS, GEORGE J. (g/DYNAMIC SUPERIORS) d. 1981-0330, ATLANTIC CITY, NJ 24 WILLIAMSON, JOHN LEE "SONNY BOY #1" (hca) b. 1914-0330, JACKSON, TN WILSON, EDITH GOODALL (v) d. 1981-0330, CHICAGO, IL 84 YOUNG, LARRY (o/LIFETIME) d. 1978-0330, NEW YORK CITY, NY 38 ------------------------------------------------------------------------------- ========================================================================= Date: Fri, 29 Mar 1996 09:22:47 CST Reply-To: William Shute From: William Shute Subject: Memphis travel/music info needed From: Bill Shute Dear Blues-l folks, I am already making plans for a week-long visit Mary Anne and I are planning to make to Memphis, America's music capital (IMHO), in late July. You all did such a great job helping my friend Marge (she thanks you--they had a great time there last week) with her travel plans to New Orleans... now I would like to ask for your advice/recommendations for ME and our trip to Memphis. Where should we stay? What clubs should we hit? What cultural things do we need to see? Where to eat what? Travel advice? Also, I think we may rent a car, so things within driving distance of Memphis I'd like to know about too. We'd love to meet any blues-l-ers who are in Memphis also! Beyond blues/R&B, we're into rockabilly, jazz, many other things, and any cultural items or historical places of ANY kind may well be of interest to us. In short, tell me what YOU like to do there. Many many thanks for your assistance. I will do the same (and have done a number of times) for any of YOU visiting San Antonio or Austin. With Memphis Music in my soul, Bill Shute San Antonio, TX (thanx to Bonnie and Marion for the advice they've already given me) btw, my most-listened-to items recently: MARK MAY AND THE AGITATORS CD (Icehouse) PEPPERMINT HARRIS "Texas on my Mind" (Collectables) EMMITT MILLER compilation CD (CBS Legacy) new OMAR AND THE HOWLERS CD (Watermelon) "Rock and Roll Sermon" (Memphis Archives) BRUCE CHANNEL "Stand Up" (Icehouse) EARL GAINES "I Believe In Your Love" (Appaloosa) RAY SHARPE Bear Family comp THE IMPRESSIONS "Keep on Pushing/People Get Ready" (Kent UK) "Goldband Blues Collection, Vol. 1,2,3" (Collectables) FRED RICH "Columbia House BAnds, Vol. 1" (The Old Masters) HOMESICK JAMES "Juanita" (Appaloosa) BILLY BOY ARNOLD compilation on Testament ------------------------------------ ========================================================================= Date: Fri, 29 Mar 1996 10:53:36 -0500 Reply-To: bob vanarsdall From: bob vanarsdall Subject: Sam Cooke's Rhythm and the Blues? Spied this one discounted, but not yet cut-out. For $5, I would have bought it; for $10, I'll ask the List first. Looks good, but does anyone have an opinion on it? (I'm a resurgent Cooke fan, bought Night Beat when it was reissued, and am saving up for the Soul Stirrers box...) Bob ========================================================================= Date: Fri, 29 Mar 1996 08:07:06 +0000 Reply-To: ksailors@hooked.net Comments: Authenticated sender is From: "Kenneth M. Sailors" Organization: Personal Copy Subject: Re: Ry Cooder recommendations On Fri, 29 Mar 1996 09:58:10 Dennis Miele said: > > Just as an aside, "Bop TIl You Drop" has the disctinction of being the first > "pop/rock" album released on CD. Also, FWIW, it was the first digitally rock recording. What that means to you depends on how you feel about digital recordings, especially early ones. The music is good, though. Ken ========================================================================= Date: Fri, 29 Mar 1996 11:19:20 -0500 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Who wrote "Just Because"? Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com Can anyone tell me who wrote the old country/blues tune "Just Because"? (the one that goes "Just because you think you're so pretty/ just because you think your'e so hot,/ just because you think you've got something, that noone else has got..."). I have an old country version on a Smithsonian collection and I've heard John Jackson perorm it. I'm curious about it because I've been playing it in an acoustic duo. Just wondering, Steve Levine ========================================================================= Date: Fri, 29 Mar 1996 10:54:24 -0600 Reply-To: Dave Daubard From: Dave Daubard Subject: Re: Jimmy Johnson on the Jukebox - (kind of long) Comments: To: Pete Wulforst In-Reply-To: <960329083654_365117331@emout07.mail.aol.com> The tune was "Easy Money". I'm going to use it on the "Blues Cruise" today for pledge drive.-"Swingin' Dave" ========================================================================= Date: Fri, 29 Mar 1996 11:53:12 -0700 Reply-To: John Wigmore From: John Wigmore Organization: Triangle Internet Company Subject: new releases Comments: To: bit-listserv-blues-l@uunet.uu.net I was reading your posting on up coming releases and you mention a new release by Jimmy Hall, titled "Rendezous with the blues". Iam unable to find this anywhere. Do you have any more info on this title? Thnaks. Hope to here from you opn this. ========================================================================= Date: Fri, 29 Mar 1996 11:53:22 -0700 Reply-To: John Wigmore From: John Wigmore Organization: Triangle Internet Company Subject: cmsg cancel Comments: To: bit-listserv-blues-l@uunet.uu.net cancel ========================================================================= Date: Fri, 29 Mar 1996 11:48:15 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: Clarke's latest Hi everybody. Thanks to everyone who has been asking about William Clarke. Here's the latest info. Jeannette says he is still "very weak and cannot walk more than a few steps, but his mind is good and he's doing pretty well for now." She also says that "anybody who likes Bill has to be pretty cool," so it's okay for me to give you his home address if you want to send him some cards or good wishes. (I love this woman.) Here it is: William Clarke 1012 Portola Ave. Torrance, CA 90501 And she topped that by assuring me that it was even cool to give you all their phone number: 310-782-6180. They'll be leaving the hospital this morning and expect to be home some time Sunday. Jeannette says that your calls and cards "really help Bill" and she thanks you again for them. Me too. Cathi N. ========================================================================= Date: Fri, 29 Mar 1996 17:53:46 -0800 Reply-To: Oscar Alberto =?iso-8859-1?Q?Garc=EDa?= From: Oscar Alberto =?iso-8859-1?Q?Garc=EDa?= Subject: Nueva revista en espanol SI TE GUSTA LA MUSICA=20 Y HABLAS ESPANOL, NO DEJES DE PASAR POR: http://salomon.adi.uam.es/colabora/pabellonc/odeon =A1=A1 Te Esperamos!! **************************************************************************** *********** * * * * =20 * OSCAR ALBERTO GARCIA JIMENEZ * * * * e-mail: oscaral@strogoff.adi.uam.es * * Tlf.:(91) 803-30-20 * * * * EK( * * * * * * Visita mi proyecto musical CIBERODEON en: * * * * http://salomon.adi.uam.es/colabora/pabellonc/odeon * * * **************************************************************************** *********** ========================================================================= Date: Thu, 28 Mar 1996 22:26:12 } Reply-To: "Michael A. Bowling" From: "Michael A. Bowling" Subject: Re: original crossroads ? Please don't rush out too quickly to cast stones at folks who ask simple questions. To me, these myths are a part of our blues/Delta culture. And I don't think one could exist without the other. Mike Bowling ========================================================================= Date: Fri, 29 Mar 1996 11:21:13 -0600 Reply-To: SAHENLEY@MSUVX1.MEMPHIS.EDU From: Scott Henley Subject: Dixon and Godrich book I understand that there is a new edition of Dixon and Godrich's book BLUES AND GOSPEL RECORDS 1902-1942. Does anyone have any information about when it is to be released and where I can get it? --Scott Henley University of Memphis ========================================================================= Date: Fri, 29 Mar 1996 18:49:22 +0100 Reply-To: Rudi Vandermeiren From: Rudi Vandermeiren Subject: Studebaker John - Holmes Brothers - Alan Haynes On april 30 the 11nd 'nacht van de Blues' takes place at Wuustwezel, Belgium. On the program : * El Fish (Belgium) * Alan Haynes (USA) * The Holmes Brothers (USA) * Studebaker John & The Hawks (USA) Starts at 21.00 hrs at Parochiecentrum, Wuustwezel. Any information on the artists would be more than welcome. Rudi Vdm. e-mail : Rudi.Vandermeiren@ping.be URL : http://www.ping.be/~ping 0935 ========================================================================= Date: Fri, 29 Mar 1996 09:57:33 +0000 Reply-To: Rob Moore From: Rob Moore Organization: Netcom Subject: Bloomfield Autobiography? Greetings all... Can someone point me in the direction for purchasing a copy of Ed Ward's "Michael Bloomfield, The Rise and Fall of an American Guitar Hero", now out of print. I'm interested in giving it a read. Thanks very much, -rob ========================================================================= Date: Fri, 29 Mar 1996 13:04:08 -0500 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: Ry Cooder recommendations Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199603291606.IAA19746@mom.hooked.net> "Kenneth M. Sailors" writes: >On Fri, 29 Mar 1996 09:58:10 >Dennis Miele said: >> >> Just as an aside, "Bop TIl You Drop" has the disctinction of being the first >> "pop/rock" album released on CD. >Also, FWIW, it was the first digitally rock recording. >What that means to you depends on how you feel about >digital recordings, especially early ones. >The music is good, though. Hmmm, now I have second thoughts..maybe I was thinking of the first digital recording and not the first CD release?? ========================================================================= Date: Fri, 29 Mar 1996 12:59:09 -0500 Reply-To: SliderDW From: SliderDW Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Dixon and Godrich book Comments: To: bit-listserv-blues-l@uunet.uu.net I don't think the new edition has come out yet. It was supposed to be out by the end of this year sometime. Aren't some of the blues experts on this list working on it? Don Williams ========================================================================= Date: Fri, 29 Mar 1996 12:19:42 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Sam Cooke's Rhythm and the Blues? At 10:53 AM 3/29/96 -0500, bob vanarsdall wrote: >Spied this one discounted, but not yet cut-out. For $5, I would have bought >it; for $10, I'll ask the List first. Looks good, but does anyone have an >opinion on it? (I'm a resurgent Cooke fan, bought Night Beat when it was >reissued, and am saving up for the Soul Stirrers box...) > Bob - WHAT Soul Stirrers' Box? David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Fri, 29 Mar 1996 18:16:27 GMT Reply-To: bbbean@sheltonlink.com From: bbbean@SHELTONLINK.COM Organization: inlink Subject: web page update Comments: To: bit-listserv-blues-l@uunet.uu.net I have recently updated and streamlined my web pages. Please stop by the address below. BBB B.B. Bean New address------>bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Fri, 29 Mar 1996 18:18:36 GMT Reply-To: bbbean@sheltonlink.com From: bbbean@SHELTONLINK.COM Organization: inlink Subject: Re: Going Down the Blues Road...wow! Comments: To: bit-listserv-blues-l@uunet.uu.net In <4jbcbh$7dc@newsbf02.news.aol.com>, LeaGil writes: >This is just a short message (I hope!) sharing my incredible journey to >Memphis and the Delta (Clarkesdale) this past weekend. I had the >opportunity to meet some of the kindest folks ever, including zellers Dick >Waterman, Joel Slotnikoff, Tom Freeland... I thought Joel was a yankee from St. Louis! What was he doing in Oxford? BBB B.B. Bean New address------>bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Fri, 29 Mar 1996 18:46:20 GMT Reply-To: seger001@GOLD.TC.UMN.EDU From: Pat Seger Organization: University of Minnesota Subject: Miss Otis Regrets >A friend of mine is still looking for a version of a MAN singing 'Miss >Otis regrets' which he says he heard on the radio. Anyone know who this >might be? I posted this question more than a year ago but the only answers >were versions by women. Maybe some of the newer folks might have some >ideas? I have heard Josh White Jr. perform this many times (many years ago). I think I may also have a copy of Josh White doing it on a vinyl album. Speaking of Josh White JR - does anyone know what he is up to these days? He used to perform a lot in Michigan and I saw him once or twice in Minnesota but nothing for years. He used to really belt out his dad's stuff (blues as well as folk). Sorry if this a repeat posting, couldnt tell if the first went through. Red ========================================================================= Date: Fri, 29 Mar 1996 13:52:44 EST Reply-To: george morales From: george morales Organization: TEMPLE UNIVERSITY Subject: Johnnie Johnson/Neville brothers live i thought i would pass this along due to the fact that it is an opportunity to see Johnnie Johnson,the Neville Brothers, and G Love perform and i have seen them mentioned on blues-l in the past. George +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ | | | GEORGE MORALES GEORGEM@TEMPLEVM | | COMPUTER AND INFORMATION SERVICES GEORGEM@VM.TEMPLE.EDU | | TEMPLE UNIVERSITY (215)204-6866 | | | +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ----------------------------Original message---------------------------- Return-Path: Received: from TEMPLEVM (NJE origin SMTP@TEMPLEVM) by VM.TEMPLE.EDU (LMail V1.2a/1.8a) with BSMTP id 3748; Thu, 28 Mar 1996 21:41:29 -0500 Received: from nemesis.Berkeley.EDU by VM.TEMPLE.EDU (IBM VM SMTP V2R2) with TCP; Thu, 28 Mar 96 21:41:27 EST Received: (daemon@localhost) by nemesis.Berkeley.EDU (8.7.4/8.5) id RAA29402; Thu, 28 Mar 1996 17:58:33 -0800 (PST) Received: (factotum@localhost) by nemesis.Berkeley.EDU (8.7.4/8.5) id RAA29293; Thu, 28 Mar 1996 17:49:50 -0800 (PST) Received: from gandalf.sp.trw.com (gandalf.sp.TRW.COM [129.4.20.68]) by nemesis.Berkeley.EDU (8.7.4/8.5) with SMTP id RAA29267; Thu, 28 Mar 1996 17:49:41 -0800 (PST) Received: from gollum (gollum.sp.TRW.COM) by gandalf.sp.trw.com (4.1/SMI-4.1) id AA15199; Thu, 28 Mar 96 17:53:06 PST Received: by gollum (4.1/SMI-4.1) id AA08604; Thu, 28 Mar 96 17:52:01 PST Date: Thu, 28 Mar 96 17:52:01 PST From: lester@gandalf.sp.trw.com (Jeff Lester) Message-Id: <9603290152.AA08604@gollum> To: dead-flames@nemesis.Berkeley.EDU, tours@nemesis.Berkeley.EDU, dead-heads@nemesis.Berkeley.EDU Subject: TOUR DATES, CONFIRMED and RUMOURED Sender: dead-heads-dist@nemesis.Berkeley.EDU As you've no doubt heard by now, Ratdog and Mickey Hart's Mystery Box will be playing at Laguna Seca Days May 25th and 26th. All the info is below, including the ticket mail order info. Tickets will go on sale at BASS on Sunday. I've also received some dates for the summer festival tour. Can't say I can vouch for them, I don't know the source from which they come. In Dennis McNally's AOL chat the other night (3/27), he mentioned that there would be 32 amphitheater shows from June 20th to August 4th and 5 bands, with Ratdog, Mickey Hart's Mystery Box, and Bruce Hornsby being specifically mentioned. I received a list of 24 dates and venues from June 20th to July 24th, so there will presumably be 8 more shows after that. I've added on the likely venue for the given city, based on my own knowledge. If you care to suggest a likely venue for a listed city, feel free to email me. ***************************************************************************** I post this tour schedule to rec.music.gdead/dead-flames and the dead-heads mailing list when appropriate. I have no rumour input other than what comes across the net or what I get in email in response to this post. I maintain the dates as being "rumoured" until they appear on the hotline or are announced for local ticket sales. If you would like to contribute something, please email me at lester@gandalf.sp.trw.com. # = info change since last posting (3/15/96) ***************************************************************************** You can get the info about subscribing to the dead-heads list by sending an email to dead-heads-request@gdead.berkeley.edu and you will get an auto-reply with the instructions. The dead-heads list is a low-volume mailing list that only includes setlists, updated hotline messages, show announcements, Grateful Dead Hour radio program listings, this TDC&R post, etc. ***************************************************************************** You can get the following files from the archives at gdead.berkeley.edu through ftp or gopher or www (gopher://gdead.berkeley.edu/). You can also get them by sending email to: majordomo@gdead.berkeley.edu with one or more of the following commands (each on their own line): get dead-heads tour_dates (the latest version of this TDC&R post) get dead-heads mail-order-instructions (general mail order instructions) get dead-heads faq1.2 (rec.music.gdead FAQ part 1) get dead-heads faq2.2 (rec.music.gdead FAQ part 2) ***************************************************************************** Official Grateful Dead Home Page is at: http://grateful.dead.net or http://www.dead.net ***************************************************************************** West Coast Hotline: (415) 457-6388 (10 lines), (415) 457-8457 (only 1 line) East Coast Hotline: (201) 744-7700 (same message, but maybe not until next day) **************** CONFIRMED DATES: **************** #Laguna Seca Days: #May 25 Ratdog (Bob Weir, Rob Wasserman, Jay Lane, Matthew Kelly, # Johnnie Johnson), Joan Osborne, Ben Harper, Wilco, Leftover # Salmon, G-Love & the Special Sauce # #May 26 Mickey Hart's Mystery Box, Neville Brothers, Ani DiFranco, # Spearhead, Mother Hips, God Street Wine # #Mail order is on now, tickets will also go on sale at BASS on March 31. #Full mail order info at bottom of post, also available from the hotline or #the web site June 14,15 San Francisco Symphony, Davies Hall, 8:00 PM "Soundscape USA", including Phil Lesh and members of the Grateful Dead (Bob Weir and Mickey Hart) performing John Cage material. June 16 San Francisco Symphony, Davies Hall, 2:00 PM "Musical Vissionaries", including Phil Lesh and members of the Grateful Dead (Bob Weir and Mickey Hart). Improviations. *************** RUMOURED DATES: *************** Summer festival tour in the vein of Lollapalooza/HORDE (multiple bands) It appears that the lineup is: Ratdog (Bob Weir, Rob Wasserman, Jay Lane, Matthew Kelly, Johnnie Johnson) Mickey Hart's Mystery Box Bruce Hornsby #Hot Tuna #A 5th act, Los Lobos has been mentioned #Rumoured dates/venues, all are amphitheater type venues, 32 total shows: #6/20 Atlanta, GA (Lakewood) #6/22 Charlotte, NC (Blockbuster) #6/23 Ralaigh, NC (Walnut Creek) #6/25 Virginia Beach, VA #6/26 Bristol, VA #6/28 Noblesville, IN (Deer Creek) #6/29 Milwaukee, WI #6/30 Chicago, IL (World???) #7/2 Clarkston, MI (Pine Knob) #7/3 Toronto, Ontario, Canada #7/4 Darien, NY (Darien Lake) #7/6 Baraloga(?), NY (Finger Lakes PAC ???) #7/7 Hartford, CT #7/8 Mansfield, MA (Great Woods) #7/10 Scranton, PA #7/11 Jersey City, NJ #7/12 Philadelphia, PA (Mann) #7/14 Burgettstown, PA (Starlake) #7/15 Columbus, OH (Polaris) #7/17 St. Louis, MO (Riverport) #7/18 Kansas City, KS (Sandstone in Bonner Springs?) #7/20 Denver, CO #7/22 Salt Lake City, UT #7/24 Reno, NV #8 more dates up through 8/4, presumably including the Northwest, AZ, and CA. ************************************************************************** -Jeff Lester ************************************************************************** The Laguna Seca info from the website: Ratdog featuring Bob Weir - and - Mickey Hart's Mystery Box Memorial Day Weekend at Laguna Seca Days SATURDAY MAY 25TH is Ratdog featuring Bob Weir, Rob Wasserman,Johnnie Johnson, Matthew Kelly, Jay Lane, and also featuring Joan Osborne, Ben Harper, Wilco, Leftover Salmon and G. Love & Special Sauce. SUNDAY MAY 26TH is Mickey Hart's Mystery Box, Neville Brothers, Ani Difranco, Spearhead, Mother Hips and God Street Wine. Show times are 11:00 A.M. All tickets are General Admission. Tickets are available Immediately by mail order through GDTS TOO, and will be available at Bass starting March 31st. One Day Tickets are $31.00 per ticket. Two Day Tickets are $57.50 per ticket. Limited Improved camping is $62.50 per vehicle. Unimproved camping is $32.50 per vehicle. You must be ordering a two day ticket in order to get camping. Children under 12 are $12.50 for one day and $22.50 for two day tickets. All of these tickets are available through GDTS TOO mail order. THERE WILL BE NO TAPING AT THESE CONCERTS. You may order up to 6 tickets per day. You may order both shows in one order. One order per person and each person must fill out their own order. Duplications of any kind will cause disqualification of all involved orders. You may mail in immediately. All orders must be sent in a #10 sized envelope, on the outside of your order to us list which concerts and how many tickets to each concert that you want. Don't forget to put your fill name and address on the outside. Your order must also include a #10 sized self-addressed, stamped envelope with 32 cents in postage for 1-8 tickets, 55 cents for 9-16 tickets and 78 cents for over 16 tickets. Also include a 3 x 5 index card with your name, address, area code and phone number in the upper left hand corner. List how many tickets and which concerts you want. We cannot be responsible for tickets lost, stolen or delivered late by the post office. For this reason we strongly suggest that you have your order sent back by registered mail. Please note that due to postal increases, the registration fee for this service has increased to $6.75 this includes a charge to us for this service. Add the registered fee to your money order, do not put extra stamps on your return envelope. Your payment must be a Postal Money Order or American Express Money Order only. No other payment will be accepted. No cash and no personal checks. Make checks payable to: GDTS TOO - LAGUNA SECA DAYS Keep your receipt. If your order is not filled your payment will be returned to you. Remember, orders will be filled on a first come, first served basis by postmark not by when we received them. No Express Mail, Federal Express, DHL, will be accepted. And absolutely no metered mail of any kind. This includes metered strips of any kind, so if you go to the post office and give them money for postage make sure that they put on actual stamps and not a metered strip. Make sure that your full name and address are on the outside of your order to us, your return envelope and on your payment. Also, make sure that you address is correct or you won't get your tickets. The only address to send to is: GDTS TOO-LAGUNA SECA (Write which day or days you want) Box C-S 8190 San Rafael, California 94912 ************************************************************************** ========================================================================= Date: Fri, 29 Mar 1996 13:29:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Crossroads/Holmes Bros. Didn't Tommy Johnson also sell his soul to the Devil at the Crossroads - or did he just sell it - at no particular location. Has anyone heard the Holmes Brothers new album? -Bonnie ========================================================================= Date: Fri, 29 Mar 1996 14:48:51 -0500 Reply-To: Charles d'Orban From: Charles d'Orban Subject: Miss Otis regrets Pete Munro said: >A friend of mine is still looking for a version of a MAN singing 'Miss >Otis regrets' which he says he heard on the radio. Anyone know who this >might be? I posted this question more than a year ago but the only answers >were versions by women. Maybe some of the newer folks might have some >ideas? Josh White did a nice version. I don't whether its available on CD now. It might be on COLLECTABLES RECORDS 1421 5602 2 (...sings the blues & spirituals) BTW, Cooder's version of "Vigilante man" is brilliant (IMHO) Charles ========================================================================= Date: Fri, 29 Mar 1996 13:52:31 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Crossroads/Holmes Bros. In-Reply-To: Message of Fri, 29 Mar 1996 13:29:00 CDT from On Fri, 29 Mar 1996 13:29:00 CDT Bonnie Kalmbach said: > Didn't Tommy Johnson also sell his soul to the Devil at the >Crossroads - or did he just sell it - at no particular location. He did sell it and died in the mid 50's still claiming he sold his soul at the crossroads. LW ========================================================================= Date: Fri, 29 Mar 1996 14:15:01 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: Crossroads/Holmes Bros. In-Reply-To: On Fri, 29 Mar 1996, L W wrote: > On Fri, 29 Mar 1996 13:29:00 CDT Bonnie Kalmbach said: > > Didn't Tommy Johnson also sell his soul to the Devil at the > >Crossroads - or did he just sell it - at no particular location. > > He did sell it and died in the mid 50's still claiming he sold his soul > at the crossroads. I thought he leased it. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Remember! Friends don't let friends drink and post." - Amy Ashton ========================================================================= Date: Fri, 29 Mar 1996 15:33:33 -0500 Reply-To: BluesMojo@AOL.COM From: Doug Carlisle WSFM Subject: Attention Record Companies I host a weekly blues radio show & I'm always looking for promotional material. Please E-mail for more information Bluesmojo@aol.com......Doug C. WSFM ========================================================================= Date: Fri, 29 Mar 1996 14:58:07 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: blues in movies/soundtrack There was a TV show several years ago, set in New Orleans, called "Frank's Place", about an African American who owns a restaurant in that town - mostly black cast, one of the few shows showing blacks as "real" people. Lasted only one season, but the sound track was full of NO type music, jazz, blues, fifties R & B, etc. Terrific show, enhanced by terrific music - naturally, no one watched. (Sorry - it's a cynical week for me.) David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Fri, 29 Mar 1996 16:28:43 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: blues in movies/soundtrack Comments: To: David Silberberg On 29 Mar 96, David Silberberg had this to say: > There was a TV show several years ago, set in New Orleans, called "Frank's > Place", about an African American who owns a restaurant in that town - > mostly black cast, one of the few shows showing blacks as "real" people. > Lasted only one season, but the sound track was full of NO type music, jazz, > blues, fifties R & B, etc. > > Terrific show, enhanced by terrific music - naturally, no one watched. > (Sorry - it's a cynical week for me.) I eagerly watched it every week till it was gone. Did you know that there was a real "Frank's Place"? It's actually called "Chez Helene". It was the inspiration for the T.V. show. They serve a great "Partly Mashed Potato Salad" there. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 29 Mar 1996 16:00:07 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 03/30 B O R N : BURRAGE, HAROLD Born:1931 CHICAGO, IL Career:SINGER / PIANO Style:BLUES CHAPMAN, TRACY Born:1964 CLEVELAND, OH Career:SINGER / SONGWRITER Style:BLUES CLAPTON, ERIC ( ERIC PATRICK CLAPP ) Born:1945 RIPLEY, UK Career:GUITAR Style:BLUES With:ROOSTERS / YARDBIRDS / JOHM MAYALL / CREAM / BLIND FAITH / DEREK & DOMINOES CLARKE, WILLIAM Born:1951 INGLEWOOD, CA Career:HARMONICA Style:BLUES COOK, WILL MERCER Born:1903 WAHINGTON, D.C.Career:SONGWRITER Style:BLUES CRISPELL, MARILYN Born:1947 PHILADELPHIA, PA Career:PIANO Style:JAZZ With:ANTHONY BRAXTON / BILLY BANG / PAUL MOTIAN / REGGIE WORKMAN HEATH , TED ( EDWARD ) Born:1900 WANDSWORTH S,W, LONDON, UK Career:TROMBONE / LEADER Style:JAZZ / BIG BAND With:BERT FIRMAN / JACK HYLTON / AMBROSE / SID LIPTON / GERALDO / KENNY BAKER / DON LUSHER / TOMMY WHITTLE / HENRY MACKENZIE HOLE, DAVE Born:1948 HESWALL,CHESHIRE UK Career:GUITAR Style:BLUES MAY, TINA Born:1961 GLOUSTER, UK Career:SINGER Style:JAZZ With:THAD KELLY / DYLAN FOWLER / CLARK TRACEY / DON WELLER MORGAN, LANNY ( HAROLD LANSFORD ) Born:1934 DES MOINES, IA Career:ALTO SAX Style:JAZZ / BIG BAND WILLIAMSON, JOHN LEE "SONNY BOY "( JOHN LEE WILLIAMSON ) Born:1914 JACKSON, TN Career:HARMONICA / SINGER Style:BLUES FOR A LISTING OF THOSE THAT PASSED AWAY IN APRIL PLEASE GO TO MY WEB PAGE AT http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Fri, 29 Mar 1996 14:02:54 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: LEGACY 67002 : VARIOUS - BOOZE AND THE BLUES Columbia-Legacy 67002 VARIOUS - Booze And The Blues (1927-1947) ============================================================================== Of the latest batch in the Legacy Roots N' Blues series, I find this set most enjoyable. Variety abounds, and as luck would have it (or was it luck?), producer Larry Cohn has included examples from many different styles of blues. Solo country guitar blues is represented by Barbecue Bob ("Me And My Whiskey"), Memphis Minnie ("Drunken Barrel House Blues"), Kid Prince Moore ("Bug Juice Blues"), and Lewis Black ("Corn Liquor Blues"). We also have 2 examples of early string/jug band music, Walter Vinscon's Mississippi Sheiks ("Bootleggers' Blues) and the outrageous Memphis Jug Band ("Rukus Juice And Chittlin'"). As for guitar-piano duets, you have Charley Jordan-Peetie Wheatstraw's wonderful "Cherry Wine Woman", Charlie Spand-Bill Broonzy's "Rock And Rye", Peetie Wheatstraw-Casey Bill Weldon's "More Good Whiskey Blues", and Josh White-Walter Roland's "Pigmeat And Whiskey Blues". Since drinking is is not exclusive to males, we also have sides by Merline Johnson, Lucille Bogan (with pianist Walter Roland), and Rosetta Howard (with Willie Dixon's Big Three Trio). As an introduction to pre-war blues, this CD is an excellent set, a fine complement to Legacy 47911 : Roots N' Blues - The Retrospective (1925-1950) (4CD/107 tracks) - the single best prewar blues boxset available today. As a prerequisite for drinking, I can't really comment as I'm a teetotaller myself, and anyway, the CD ends with Rev. Mosley's "Drinking Shine", a warning where he clearly outlines why 'God don't like it' as it's 'scandalous and a shame'! Contents : (66 min.) (* unissued) 1. State Street Swingers - You Drink Too Much - 2. Charley Jordan - Cherry Wine Woman - 3. Memphis Minnie - Drunken Barrel House Blues - 4. Mississippi Sheiks - Bootleggers' Blues - 5. Robert Hicks (Barbeque Bob) - Me And My Whiskey - 6. Kid Prince Moore - Bug Juice Blues - 7. Charlie Spand - Rock And Rye - 8. Memphis Jug Band - Rukus Juice And Chittlin' - 9.*Merline Johnson (Yas Yas Girl) - Bad Whiskey Blues - 10/11. Amos Easton (Bumble Bee Slim) - I Keep On Drinking (To Drive My Blues Away), Part 1 & 2 - 12. Little Bill Gaither - Moonshine By The Keg - 13. Lucille Bogan (Bessie Jackson) - Drinking Blues - 14. Peetie Wheatstraw - More Good Whiskey Blues - 15. Joshua White (Pinewood Tom) - Pigmeat And Whiskey Blues - 16. Casey Bill Weldon - Give Me Another Shot - 17. Rosetta Howard & The Big Three Trio - When I Been Drinking - 18. Lewis Black - Corn Liquor Blues - 19. Sloppy Henry - Canned Heat Blues - 20. Big Bill Broonzy - When I Been Drinking - 21. Jack Newman - Blackberry Wine - 22. Rev. W. M. Mosley - Drinking Shine SONY/LEGACY : ROOTS N' BLUES SERIES (* CONTEMPORARY BLUES MASTERS) ======================================================================= *46172 : MUDDY WATERS - BLUES SKY 46215 : VARIOUS - LEGENDS OF THE BLUES 46216 : WILLIE DIXON - THE BIG 3 TRIO 46217 : VARIOUS - NEWS & THE BLUES : TELL IT LIKE IT IS 46218 : VARIOUS - THE SLIDE GUITAR : BOTTLES, KNIVES & STEEL 46219 : BIG BILL BROONZY - GOOD TIME TONIGHT 46220 : VARIOUS - CAJUN : V. 1 1929-1939 46221 : LONNIE JOHNSON - STEPPIN' ON THE BLUES 46222 : ROBERT JOHNSON - COMPLETE RECORDINGS (2CD) 46775 : MEMPHIS MINNIE - HOODOO LADY 1933-1937 46776 : LEADBELLY - KING OF THE 12-STRING GUITAR 46777 : BLIND BOY FULLER - EAST COAST PIEDMONT BLUES 46779 : VARIOUS - PREACHIN' THE GOSPEL : HOLY BLUES 46780 : VARIOUS - GOOD TIME BLUES : HARMONICAS, KAZOOS, WASHBOARDS & .. 46783 : VARIOUS - RAUNCHY BUSINESS : HOT NUTS & LOLLYPOPS 46784 : VARIOUS - CAJUN DANCE PARTY : FAIS DO-DO 47060 : VARIOUS - GREAT BLUES GUITARISTS : STRING DAZZLERS 47091 : BESSIE SMITH - COMPLETE RECORDINGS V. 1 : 1923-1924) (2CD) 47465 : VARIOUS - BEAUTY OF THE BLUES 47466 : VARIOUS - WHITE COUNTRY BLUES 1926-1936 : A LIGHT SHADE ...(2CD) 47467 : VARIOUS - LEGENDS OF THE BLUES V. 2 47471 : BESSIE SMITH - COMPLETE V. 2 : 1924-1925 (2CD) 47474 : BESSIE SMITH - COMPLETE V. 3 : 1925-1928 (2CD) 47911 : VARIOUS - ROOTS N' BLUES - RETROSPETIVE 1925-1950 (4CD) 48867 : SON HOUSE - FATHER OF THE DELTA BLUES - COMPLETE 1965 ... (2CD) *52465 : TAJ MAHAL - TAJ'S BLUES *52466 : JOHNNY WINTER - SCORCHIN' BLUES 52725 : VARIOUS - THE SLIDE GUITAR : BOTTLES, KNIVES & STEEL V. 2 52782 : BUKKA WHITE - THE COMPLETE 52831 : VARIOUS - MESSED UP IN LOVE & OTHER TALES OF WOE 1921-1944 52834 : CHAMPION JACK DUPREE - N. O. BARRELHOUSE BOOGIE 52835 : BLIND WILLIE JOHNSON - THE COMPLETE RECORDINGS (2CD) 52838 : BESSIE SMITH - COMPLETE V. 4 : 1928-1931 (2CD) 52933 : BROWNIE MCGHEE - THE COMPLETE (2CD) 52944 : ROBERT JOHNSON - KING OF THE DELTA BLUES SINGERS (24 K GOLD DISC) 53234 : BLIND WILLIE MCTELL - THE DEFINITIVE (2CD) 53235 : TAMPA RED - THE GUITAR WIZARD 57546 : BESSIE SMITH - THE COMPLETE RECORDINGS V. 5 : FINAL CHAPTER (2CD) *57630 : ELVIN BISHOP - TULSA SHUFFLE : THE BEST OF *57631 : MICHAEL BLOOMFIELD - ESSENTIAL BLUES 1964-1969 *57829 : LONNIE JOHNSON - STOMPIN' AT THE SAVOY (w/JIM MCHARG'S METRO...) *57903 : SHUGGIE OTIS - SHUGGIE'S BOOGIE : PLAYS THE BLUES 66999 : EMMETT MILLER - MINSTREL MAN FROM GEORGIA (1928-1929) 67001 : JOSH WHITE - BLUES SINGER (1932-1936) 67002 : VARIOUS - BOOZE AND THE BLUES (1927-1947) Note : The Legacy ROOTS 'N BLUES series is now on the Web. Visit http://www.sony.com/Music/ArtistInfo/Legacy/RootsNBlues ========================================================================= Date: Fri, 29 Mar 1996 16:03:09 -0600 Reply-To: Bennett Pearce From: Bennett Pearce Organization: UAB Pediatric Cardiology Subject: Re: Help - Fats Waller CD? Comments: To: bit-listserv-blues-l@uunet.uu.net In article <31597220.475F@accesscom.net>, Maggie Mortensen wrote: An excellent recording (made direct to digital with the Bosendorfer Reproducing Piano) is (was?) available as a limited edition. "Dick Hyman Plays Fats Waller" is the name of the disc and the playing and fidelity are outstanding. -- Bennett Pearce, MD ========================================================================= Date: Fri, 29 Mar 1996 14:04:28 -800 Reply-To: Eric Porcher From: Eric Porcher Subject: China Moon/Anson,Sam > Date: Fri, 29 Mar 1996 09:21:23 CST > Did anyone mention that Anson, Sam & The Rockets are in the movie China Moon > > LW Don't remember that one. What's it about? Eric ========================================================================= Date: Fri, 29 Mar 1996 17:16:08 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Dangerous songs to drive to Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199602222137.QAA26836@osceola.gate.net>, "P.W. Fenton" writes: > I ACTUALLY >pulled over to the side of the road till it was over. Another one you might want to add to the list is John Mooney's new release called "Against the Wall." I happened to be on the phone with his wife and as we were talking she was playing back the messages on her machine...Kelly said, "You have to hear this" & proceeded to play back a message for me to listen to. I heard Bonnie Raitt saying she loved the recording so much she had to pull off to the side of the road...I don't know about you but I guess if BR has to pull over for a recording it may be something special. Catbauer@vivanet.com ========================================================================= Date: Fri, 29 Mar 1996 17:14:11 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Sonny Landreth/Blues Attack Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199603281618.LAA04731@postoffice2.mail.cornell.edu>, "Charles d'Orban" writes: > >"Blues Attack" is NOT a new album but a REISSUE of Landreth's very 1st solo >recording. The copy I have is on Paula/Jewel (if I remember correctly). >The characteristic blues/cajun hybrid sound is already apparent (eg. the >cajun feel to "Keys to the highway") but (IMHO) Landreth has come a long >way since then. It's a reissue of the Jay Miller sessions and put out by AVI. Sonny's going to do a show at Howlin' Wolf along with his performance at the festival grounds during jazzfest. He'll also be online towards the end of April. I'll post the info as soon as I have it. Catbauer@vivanet.com ========================================================================= Date: Fri, 29 Mar 1996 17:19:58 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Sonny Landreth/Blues Attack Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199603281618.LAA04731@postoffice2.mail.cornell.edu>, "Charles d'Orban" writes: > >"Blues Attack" is NOT a new album but a REISSUE of Landreth's very 1st solo >recording. The copy I have is on Paula/Jewel (if I remember correctly). >The characteristic blues/cajun hybrid sound is already apparent (eg. the >cajun feel to "Keys to the highway") but (IMHO) Landreth has come a long >way since then. It's a reissue of the Jay Miller sessions and put out by AVI. Sonny's going to do a show at Howlin' Wolf along with his performance at the festival grounds during jazzfest. He'll also be online towards the end of April. I'll post the info as soon as I have it. Catbauer@vivanet.com ========================================================================= Date: Fri, 29 Mar 1996 17:41:06 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Re: Sam Cooke's Rhythm and the Blues? Comments: To: rvana@interpath.com In-Reply-To: from "bob vanarsdall" at Mar 29, 96 10:53:36 am In another time and place, bob vanarsdall said: > > Spied this one discounted, but not yet cut-out. For $5, I would have bought > it; for $10, I'll ask the List first. Looks good, but does anyone have an > opinion on it? (I'm a resurgent Cooke fan, bought Night Beat when it was > reissued, and am saving up for the Soul Stirrers box...) I'd buy it for $10. I enjoyed it and have had it out of the library on two ocassions. If for nothing else, you need that book to find out about Sister Flute. Tom `'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`' http://redlt.com/tom/ -- Home of Jazz Roots & Record Companies on the Web Free-lance Writer--Author--Program Director WTJU 91.1--Internet Consultant ========================================================================= Date: Fri, 29 Mar 1996 17:46:27 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: 411-Winner Announces: Modern Blues Recordings -- The Full Story Comments: To: Mark Naftalin In-Reply-To: On Wed, 21 Feb 1996, Mark Naftalin wrote: > Modern Blues Recordings is a small but premier catalogue of blues > releases. Label owner Daniel Jacoubovitch has carefully restored and > remastered some of Freddy King's and Albert King's most important and > toughest early recordings. The Freddy King reissues include the classic > "Freddy King Sings." > Daniel has also done new recording with New Orleans legend Tommy > Ridgley and blues harpman Little Hatch, and has recorded a rocking piano > anthology with Clayton Love, Johnnie Johnson and the late Jimmy Vaughn. > The full story on Modern Blues Recordings is now on 411- Winner. In addition to Mark's really fine coverage of Modern Blues (and thank you Mark for turning us onto Daniel's label) you can find reviews of every Modern Blues CD at the following url - http://www.panix.com/~bsco/modernblues/ This is a small committed label that deserves attention - right from its King's releases to its Little Hatch release and all of the others. Barry Silverberg ========================================================================= Date: Fri, 29 Mar 1996 18:20:31 -0500 Reply-To: PITSBRGJon@AOL.COM From: "John Puleo. User" Subject: Re: Smokin' Joe Kubeck I have recently been listening more to Joe Kubeck. I was curious if anyone else thinks he lacks emotion in his playing. He is a very fluid player and I think his last CD was his best work. Let me know what your thoughts are. John ========================================================================= Date: Fri, 29 Mar 1996 18:48:16 -0500 Reply-To: BluesDJ478@AOL.COM From: David J Boyd Subject: Jay D Miller Obit The blues lost a good friend recently, with the death in Crowley, Louisiana, of the legendary record producer, Jay D. Miller. Miller started a recording studio in 1948 in the small La. town, and recorded many blues, country. cajun, and rockabilly musicians.Through his friendship with Nashville record company owner, Ernie Young (Excello Records), many of the songs Miller produced were issued on the Excello label. Various commercial hits were released including Slim Harpo's "I'm A King Bee", Lightnin' Slim's "Bad Luck". and Lazy Lester's "I'm A Lover. Not A Fighter". Many other artists enjoyed successes that Miller produced, including, Silas Hogan, Whispering Smith, Lonesome Sundown, and Katie Webster. Miller continued to live in the rice country around Crowley, all his life, and during an interview with me in 1994, stated that of all the music that he produced, he loved the blues the best.The visitor's log at his studio reflected that he was loved as well, as blues fans from England, Japan, and every corner of the globe, found their way to his little studio. Miller was an absolute gentleman to all and the epitome of a "Southern Gentleman". As we had lunch at his home, overlooking a golf course he stated, "The thing I like best about the blues- that music has shelf life-- People continue to buy the older releases, as well as the newer stuff- The blues will never die." ========================================================================= Date: Fri, 29 Mar 1996 18:08:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Ace Records Home Page I found this while netsurfing...Neat!! http://www.acerecords.co.uk/ -Bonnie ========================================================================= Date: Fri, 29 Mar 1996 19:32:51 -0500 Reply-To: Michael Meadors From: Michael Meadors Subject: Re: Sonny Landreth/Blues Attack Comments: To: CATBAUER >>"Blues Attack" is NOT a new album but a REISSUE of Landreth's very 1st >solo >>recording. Thanks. This explains why the CD is weak compared with his other stuff. I saw the 1995 date on the back of CD and thought, "Gotta get this ..." even though the artwork looked a little pedestrian compared to his latest releases. He certainly has come a long way since that CD, thank goodness. M. Meadors of the BLUESONICS "Blues for Full Grown People" ========================================================================= Date: Fri, 29 Mar 1996 19:33:09 -0500 Reply-To: bob vanarsdall From: bob vanarsdall Subject: Re: Sam Cooke's Rhythm and the Blues? David asked: >Bob - > >WHAT Soul Stirrers' Box? > I meant the SAM COOKE'S SAR RECORDS STORY, 1959-1966, box set. My mind associates SAR and the Soul Stirrers so closely that I paired them. Sorry for the confusion.. Bob ========================================================================= Date: Fri, 29 Mar 1996 19:23:38 EST Reply-To: "Steve A. Fowlkes" From: "Steve A. Fowlkes" ========================================================================== One of Ry Cooder's singers, Terry Evans, has been putting out a few albums with Ry playing on them. The one I have is from 1993 but I only have a copy on the cassette and no title or label info (If someone can supply the title of the album it would be appreciated). It is a great album of blues and blues influenced music. Ry's intro on "Get Your Lies Straight" has to be heard to be believed. He has a tone of doom happening. ========================================================================== Well, I wouldn't insult the man by calling him one of Ry Cooder's singers. However, the CD is called "Blues for Thought". His new one is on the AudioQuest label. It is called "Puttin' it Down". Both are very good. Terry Evans also plays guitar on several cuts. ...saf ========================================================================= Date: Fri, 29 Mar 1996 19:54:45 -0500 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: Attention Record Companies Comments: To: Doug Carlisle WSFM In-Reply-To: <960329153332_365307801@mail06> So am I. nitra WKDU 91.7FM Philadelphia, Pa. On Fri, 29 Mar 1996, Doug Carlisle WSFM wrote: > I host a weekly blues radio show & I'm always looking for promotional > material. > > Please E-mail for more information > > Bluesmojo@aol.com......Doug C. WSFM > ========================================================================= Date: Fri, 29 Mar 1996 19:57:46 -0500 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: blues in movies/soundtrack Comments: To: David Silberberg In-Reply-To: <199603292058.OAA25350@psycfrnd.interaccess.com> David, I watched! Ain't I somebody? :-) Frank's Place was on BET for awhile. I haven't been able to watch TV lately, so.... Peace, nitra On Fri, 29 Mar 1996, David Silberberg wrote: > There was a TV show several years ago, set in New Orleans, called "Frank's > Place", about an African American who owns a restaurant in that town - > mostly black cast, one of the few shows showing blacks as "real" people. > Lasted only one season, but the sound track was full of NO type music, jazz, > blues, fifties R & B, etc. > > Terrific show, enhanced by terrific music - naturally, no one watched. > (Sorry - it's a cynical week for me.) > > > David Silberberg Woman I love has two teeth > davidis@interaccess.com Solid Gold > Got a lien on my body > Mortgage on my soul > > Johnny Shines > ========================================================================= Date: Fri, 29 Mar 1996 19:52:34 -0500 Reply-To: Nnelgsmada From: Nnelgsmada Organization: America Online, Inc. (1-800-827-6364) Subject: Looking for TONY JOE WHITE Comments: To: bit-listserv-blues-l@uunet.uu.net I'm not sure if too many people are familiar with the Swamp Fox, Tony Joe White who's 1960's hit "Polk Salad Annie" was a catylyst for the Swamp Rock/Blues Revival of the late 60s. Tony Joe has released several albums over the years, many of which I've been fortunate enough to find in the import sections of only the most serious record stores. All the stuff I have is from the late 60s and early 70s however. I'm looking for Tony Joe's more recent material. Namely from the late 70s to now. He has recently written material for and produced albums by Tina Turner and Joe Cocker. I know he released an album in 1991 called "Closer To The Truth" which as of yet I have not been able to find. He is currently running a small label "Swamp Fox Records" out of Nashville. If anyone knows how can hook up with him or obtain more of his music I'd be really appreciative. Thanks, Glenn ========================================================================= Date: Fri, 29 Mar 1996 20:20:49 -0500 Reply-To: ac928@osfn.rhilinet.gov From: Jim McGlynn Subject: Re: Miss Otis Regrets Somebody (I don't have the original post) asked: >A friend of mine is still looking for a version of a MAN singing 'Miss >Otis regrets' which he says he heard on the radio. Anyone know who this >might be? When the question was asked last week, I could hear a voice in my head but couldn't name it. Now I've got it -- Trummy Young singing with the Jimmy Lunceford band circa 1935. It's available on "Stomp It Off", one of the series of original Decca recordings released on CD by MCA. There may well be other male renditions, I dunno. Jim McGlynn -- ========================================================================= Date: Fri, 29 Mar 1996 20:54:28 EST Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: Earth Day Blues Comments: To: Domenic Forcella Hi Domenic, One that comes to mind immediately is John Mayall's "Nature's Disappearing" which he recorded twice with two different bands. The original is on USA Union with Sugarcane Harris, Larry Taylor, and Harvey Mandel. He re-recorded it with Coco Montoya, Joe Yuele, Rick Cortes, Joe Sublett, and Darrell Leonard. This version is on Wake Up Call. Dave Carpenter Blues Music Director - WHUS-FM University of Connecticut Storrs, CT http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Thu, 28 Mar 1996 17:47:50 -0800 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Mem Shannon in Texas: new dates/clubs Mem Shannon and his band bring their drivin' brand of New Orleans blues to Texas in April--all blues lovers should do themselves a favor and catch these guys-- 4/11/96 Thursday -- Antone's -- Austin 4/12/96 Friday -- Blue Cat Blues -- Dallas 4/13/96 Saturday -- Yaga's Cafe -- Galveston and Louisiana dates: 4/20/96 Saturday -- Alexandria Zoo -- Alexandria 4/26/96 (day) Friday -- Jazz & Heritage Festival -- New Orleans 4/26/96 (evening) Friday -- Margaritaville -- New Orleans If you catch them at any of these gigs, be sure and introduce yourself to Mem or his manager, Adam Sloat, and tell them Maggie sent you from the Net. They're great folks and would love to say Hi to you. --Maggie Maggie Mortensen<>Exarch Services<>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 'Born with the blues, my blue suede shoes, and underlying depression...' --Van Morrison ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Fri, 29 Mar 1996 21:21:44 -0500 Reply-To: BLUESROCCO@AOL.COM From: Jim Rocco Subject: Re: JAckson, MS Comments: To: bbbean@sheltonlink.com OK: Heres a small list of MY favorite Jackson, Mississippi clubs for BLUES, BOOZE,and whatever...... Backroads Saloon....5200 Lynch St....923-3010 Club Colours....220 W Amite St....353-2041 Club Ebony....1602 Valley....352-6953 Cocoa Nutz....301 Ellis....354-2760 Rhythm And Brews....5428 Robinson Rd....371-7740 University Of The BLUES....111 S Roach St....354-9040 Check with the regulars at the last two listings for current events. And hey BBB...ENJOY Jim Rocco ========================================================================= Date: Fri, 29 Mar 1996 21:54:00 -0500 Reply-To: BLUESROCCO@AOL.COM From: Jim Rocco Subject: JIMI and EUGENE battle it out at the CROSSROADS Whether or not "Crossroads" is deemed worthy or not to view, I'll bet this thread has really increased the demand for the movie at BLOCKBUSTERS Wouldnt it had been GREAT if Hendrix could have been in that "Head Cutting" ? What a persona of selling ones soul to "Scratch"(Legba) The closing scene sums it all up for me.....not necessarily the movie but blues in general....Willie Brown says to Eugene.."BB King and Johnny Shines asks, ''Where's the new kid?' "........and Hey...all us blues musicians on this list....WE are the "new kid"....so lets play..and teach..and let the blues evolve for us all. Jim Rocco ========================================================================= Date: Fri, 29 Mar 1996 19:16:18 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Sam Cooke's Rhythm and the Blues? >David asked: > >>Bob - >> >>WHAT Soul Stirrers' Box? >> > >I meant the SAM COOKE'S SAR RECORDS STORY, 1959-1966, box set. My mind >associates SAR and the Soul Stirrers so closely that I paired them. Sorry >for the confusion.. > >Bob Sam Cooke's SAR Records Story is one of the nicest box sets I've got, even on the design of the set itself alone.Too bad it's only 2 disks! Disk one includes tracks by the Soul Stirrers, R.H. Harris and His Gospel Paraders, and the Womack Brothers. Disk two is the secular material by Sam Cooke, Johnnie Taylor, The Valentinos, Johnnie Morrisette and others. Kudos to the folks who put this one together! -Jim (hndful@uniserve.com) ------------------------------------------------------------ Check out 'Heart and Soul', a new hour of blues, gospel, and jazz every week on SDF-Net Community Radio - http://sdf-radio.colossus.net. ------------------------------------------------------------ ========================================================================= Date: Sat, 30 Mar 1996 06:13:23 GMT Reply-To: Joel Fritz From: Joel Fritz Organization: Netcom Subject: Re: Elmore James Tunings (guitar players) Tom Kraft wrote: >Could one of you guitar players help me out? What tunings did Elmore James >use? >Tom Kraft Far as I know he played in open D or open E or a tuning that used the same intervals. ========================================================================= Date: Sat, 30 Mar 1996 06:17:54 GMT Reply-To: Joel Fritz From: Joel Fritz Organization: Netcom Subject: Re: born 03/23 "Henry Busse Jr." wrote: >Please comments and corrections to Henry Busse Jr. >shuffle@ic.mankato.mn.us I'm glad I looked. I thought this was a tribute to the guy that played trumpet for Paul Whiteman. ========================================================================= Date: Fri, 29 Mar 1996 23:47:01 +0000 Reply-To: ksailors@hooked.net Comments: Authenticated sender is From: "Kenneth M. Sailors" Subject: Blues Content, _Really_ Maybe someone here remembers. There was a *very* short-lived TV drama (I guess) within the last tens years starring Peter Riegert (sp?) as some kind of mid-to-late 30s or 40s ad exec. He used to be in a band in his care-free,younger days -you know- back there in them 60s. He still hangs out with the guys, life long pals & all, and in a crush of midlife crisis..._they decide to put the the band back together_. Still with me? Anyway, their old guitar player couldn't make the gig (ODed or something) so they audition for a replacement. !!! HERE COMES THE BLUES CONTENT !!! One of the guys is Albert Collins with Tele in hand. He just good out of prison and he's a good guy, really - just needs a lttle help. He gets the gig (duh) and the series gets cancelled. Anyone rememberthis show? What was it called? My wife swears I had a *very* vivid dream. Did I? Thanks, Ken ========================================================================= Date: Sat, 30 Mar 1996 07:38:16 GMT Reply-To: "Shane K. Bernard" From: "Shane K. Bernard" Organization: Texas A&M (student) Subject: Re: personal tribute to Jay Miller Comments: To: bit-listserv-blues-l@uunet.uu.net In article <960328094231_364420766@emout10.mail.aol.com>, Tom Freeland says: > >I may have read Bill Shute and Chris Smith wrong, but I remember this: > Reading Shute's post, which was an accurate tribute to the importance of >Miller EXCEPT when he noted Miler's role in creating integrated bands (not as >pioneer as some think, but that is a subject for another day), I did think >"um, what about Rebel Records." I had the impression of an incomplete >picture. I thought Chris Smith supplemented it nicely. I didn't take Chris >to so much criticize Bill as fill out the picture. I had the opportunity to interview J. D. Miller in 1991 and last I saw him was in August '95, when he gave me a tour of his newly refurbished studio. I have just completed a book on "swamp pop" music (not quite swamp blues, but similar), and J. D. _did_ use integrated bands during the 1950s, when (at least in South La.) blacks and whites generally were not allowed to perform together on-stage in public. I think Miller deserves some credit for using integrated bands during the pre-civil rights days, for in doing so he helped to create new sounds, and contributed to musical borrowing between black and white musicians, which benefitted both groups. Whether he was a pioneer elsewhere in this sense, I don't know, but in South La. it was a novel approach (though black Creole accordionist Amede Ardoin and Cajun fiddler Dennis McGee recorded together as early as the 1930s). As for the Rebel label, I've heard several of those tracks and they are, I admit, frightful, to say the least. When I interviewed Miller in '91, he declined to say much about the label, but he did say that he still believed in segregation . . . odd, I thought, given his use of integrated bands in the studio. He was a contradiction in this sense, but, still, he did use integrated bands as early as the 1950s. SKB Cajun in Exile ========================================================================= Date: Sat, 30 Mar 1996 07:45:13 GMT Reply-To: "Shane K. Bernard" From: "Shane K. Bernard" Organization: Texas A&M (student) Subject: Re: J. D. Miller personal tributes Comments: To: bit-listserv-blues-l@uunet.uu.net >I may have read Bill Shute and Chris Smith wrong, but I remember this: > Reading Shute's post, which was an accurate tribute to the importance of >Miller EXCEPT when he noted Miler's role in creating integrated bands (not as >pioneer as some think, but that is a subject for another day), I did think >"um, what about Rebel Records." I had the impression of an incomplete >picture. I thought Chris Smith supplemented it nicely. I didn't take Chris >to so much criticize Bill as fill out the picture. I had the opportunity to interview J. D. Miller in 1991 and last I saw him was in August '95, when he gave me a tour of his newly refurbished studio. I have just completed a book on "swamp pop" music (not quite swamp blues, but similar), and J. D. _did_ use integrated bands during the 1950s, when (at least in South La.) blacks and whites generally were not allowed to perform together on-stage in public. I think Miller deserves some credit for using integrated bands during the pre-civil rights days, for in doing so he helped to create new sounds, and contributed to musical borrowing between black and white musicians, which benefitted both groups. Whether he was a pioneer elsewhere in this sense, I don't know, but in South La. it was a novel approach (though black Creole accordionist Amede Ardoin and Cajun fiddler Dennis McGee recorded together as early as the 1930s). As for the Rebel label, I've heard several of those tracks and they are, I admit, frightful, to say the least. When I interviewed Miller in '91, he declined to say much about the label, but he did say that he still believed in segregation . . . odd, I thought, given his use of integrated bands in the studio. He was a contradiction in this sense, but, still, he did use integrated bands as early as the 1950s. (He told me his favorite kind of music was "gut-bucket blues" -- even though he's recorded swamp pop, Cajun, zydeco, C&W, mainstream pop, rockabilly, etc., etc.) SKB Cajun in Exile ========================================================================= Date: Sat, 30 Mar 1996 01:32:56 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: Re: Crossroads/Holmes Bros. Comments: To: Bonnie Kalmbach Bonnie Kalmbach wrote: > > Didn't Tommy Johnson also sell his soul to the Devil at the > Crossroads - or did he just sell it - at no particular location. > > Has anyone heard the Holmes Brothers new album? > > -BonnieBonnie, The new one on Stony Plain? I've only sampled it, but I'll offer an opinion after I've heard more. BTW, it is the soundtrack to a new movie entitled Lotto Land. We'll be right back, Stan -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 ========================================================================= Date: Sat, 30 Mar 1996 09:19:27 GMT Reply-To: tdevit3@NEWS-S01.NY.US.IBM.NET From: tdevit3@NEWS-S01.NY.US.IBM.NET Subject: Re: Looking for TONY JOE WHITE Comments: To: bit-listserv-blues-l@uunet.uu.net 'Lake Placid Blues' was released in Australia/New Zealand mid-95 on Festival, an Australian label. 'Owner' of recording may be RDM (Roger Davies Management)..believe he is Tina Turner's manager. The CD has its moments...Duck Dunn on bass, Kenny Aranoff on drums ========================================================================= Date: Sat, 30 Mar 1996 03:42:34 +0600 Reply-To: toulouse@comm.net From: toulouse Organization: Toulouse Enterprises, Inc Subject: Re: Mem Shannon in Texas: new dates/clubs Comments: To: bit-listserv-blues-l@uunet.uu.net Maggie Mortensen wrote: > > Mem Shannon and his band bring their drivin' brand of > New Orleans blues to Texas in April--all blues lovers > should do themselves a favor and catch these guys-- > > 4/11/96 Thursday -- Antone's -- Austin > > 4/12/96 Friday -- Blue Cat Blues -- Dallas > > 4/13/96 Saturday -- Yaga's Cafe -- Galveston > > and Louisiana dates: > > 4/20/96 Saturday -- Alexandria Zoo -- Alexandria > > 4/26/96 (day) Friday -- Jazz & Heritage Festival -- New Orleans > > 4/26/96 (evening) Friday -- Margaritaville -- New Orleans > > If you catch them at any of these gigs, be sure and introduce > yourself to Mem or his manager, Adam Sloat, and tell > them Maggie sent you from the Net. They're great folks > and would love to say Hi to you. Mem is also appearing in N.O. at The Mardi Gras Cabaret (fomerly Bugsy's originally Charlie B's) on 4/26/96 with Rory Block. Peace, toulouse@comm.net ========================================================================= Date: Sat, 30 Mar 1996 11:13:56 -0600 Reply-To: Patrik Urbansson From: Patrik Urbansson Subject: blues in movies/soundtrack Has anyone mentioned the movie, Stormy Monday with Sting(???????) and Melanie Griffith. In the movie you have BB King playing Stormy Monday in the background, one of the best versions I've heard. Is this version released anywhere else than on the soundtrack to the movie? Patrik ========================================================================= Date: Sat, 30 Mar 1996 10:50:20 GMT Reply-To: Jim Farris From: Jim Farris Organization: Netcom Subject: Jammin' Jim Now on KKUP Website KKUP, the people's radio at 91.5 FM now features my Web page on its Website! To view Late Night City Blues, open the URL: http://www.deepideas.com/kkup/ and look under Sunday's schedule for the Late Night City Blues link, or open the URL: http://www.deepideas.com/kkup/farris.htm to go directly to the Late Night City Blues Web Page. Happy surfing! Jammin' Jim Farris Late Night City Blues ========================================================================= Date: Sat, 30 Mar 1996 11:00:28 -0000 Reply-To: Bob Hazlegreaves From: Bob Hazlegreaves Subject: Re: Looking for TONY JOE WHITE Tony Joe's management is at: Roger Davies Management Inc. 3575 Cahuenga Boulevard West Los Angeles California 90068 USA 'CLOSER TO THE TRUTH' was indeed released in Nov. 1991, in Europe = anyway, on POLYDOR RECORDS (CD: 511 386-2, LP: 511 386-1, MC: 511 386-4) Tracks: Tunica Motel Ain't Goin' Down This Time Steamy Windows - written originally for Tina Turner (You're Gonna Look) Good In Blues Love M.D. The Other Side Bi-Yo Rhythm Cool Town Woman Bare Necessities Undercover Agent For The Blues Main Squeeze Closer To The Truth The only other recent album of his that I can find a reference to is = LIVE! -released Sept. 1990 on DIXIE FROG RECORDS (CD: DFG8407) = distributed by NEW NOTE in the UK. No track listing I'm afraid. It occurs to me that POLYDOR/POLYGRAM may have a web site. If not you = might try 'Ace Records' at http://www.acerecords.co.uk/ Hope this is of some help ========================================================================= Date: Sat, 30 Mar 1996 08:48:56 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Radar Labs 23 Subject: Re: The Gales Bros. Comments: To: bit-listserv-blues-l@uunet.uu.net On Thu, 28 Mar 1996 12:37:19 +0600, toulouse wrote: >Although, Lenny is quite successful, and does have some talent, I don't >how he can be an influence, when his entire carreer is established on other > artists influences, sounds, riffs and in some cases, music. It is no secret that Kravitz > is borderline (if not blatant) plageristic in his music. Yes, you're correct. I was referring to recording and production quality, and not musical style. The Gales' recording has a very bottomy, deep, rich tone, with mixing and separation reminiscent of Lenny. WWW Production: HTML,CGI,JAVA Kevan Smith -> cuthulu@prysm.net http://www.rlabs.com ========================================================================= Date: Sat, 30 Mar 1996 08:53:50 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Radar Labs 23 Subject: Re: Jesse Thomas CDs Comments: To: bit-listserv-blues-l@uunet.uu.net On Thu, 28 Mar 1996 14:29:21 -0600, "" wrote: >Making Jesse's last recording was one of my happiest moments. Real magic. And >he got the CD 2 days before he died. He was real proud of it. > >Richard Chalk >TopCat "Looking for the Woman" is very enjoyable musically. It breaks my heart to hear Jesse sing, though, because his voice is so weak compared to how it was when he was in good health. Still, it's a first-class product, and thanks for making it possible. WWW Production: HTML,CGI,JAVA Kevan Smith -> cuthulu@prysm.net http://www.rlabs.com ========================================================================= Date: Thu, 28 Mar 1996 21:32:48 -0800 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Professor Longhair Memorial Dedication--New Orleans Comments: cc: zomboy@servtech.com, Sue_Sherman@clar.wnyric.org The following is excerpted from a press release issued by the Arts Council of New Orleans re: the upcoming dedication of 'Professor Longhair Square' -- the first memorial honoring a rhythm & blues artist to be erected in New Orleans. (Does anyone know of any others around the country? And Elvis doesn't count.) [ED. NOTE: Fess fans coming down for the first weekend of JazzFest might want to witness the dedication; the date coincides with the annual 'Piano Night at Tipitina's'. I do some consulting for the Professor Longhair Foundation and will post the lineup of performers for Piano Night when it's available. It should be a good one this year, as WWOZ radio has taken over the producing of the event and a big blowout is planned in conjunction with the dedication of the memorial. I've seen it, and it's quite lovely, but the description of it as 'interactive' is a bit of a stretch --unless you'd call sitting on a bench with your feet resting on concrete etched with the words 'Oooooweeeee baby, oooooweeeee honey child' interactive. But Mike Smith's photos etched in metal are pretty wonderful.] "The Percent for Art program, administered by the Arts Council of New Orleans, announces the completion of local artist David Tureau's 'Professor Longhair Square' at the intersection of Napoleon Avenue and Tchoupitoulas Streets [ED: in front of Tipitina's]. This public art project was funded by proceeds from previous city capital bond projects and was supplemented with support from the Professor Longhair Foundation and the Jazz and Heritage Foundation. Additional particpants in the project were neighborhood organizations, adjacent commercial interests, The Department of Parks and Parkways.... Plans are now being made for a celebration to mark the project's completion for April 29, 1996, to coincide with the beginning of the annual New Orleans Jazz & Heritage Festival, when over 750,000 visitors come to New Orleans to celebrate the city's musical heritage. Overall, the project celebrates the city's musical heritage and in particular the contributions of Henry Roeland Byrd -- known internationally as 'Professor Longhair' or 'Fess' -- to the life of the city and to the vocabulary of contemporary music. This project fulfills a long-standing dream of local performers, music fans, and community leders to recognize the contributions of 'rhythm and blues' to our city's musical heritage and to acknowledge the importance of music in the life of New Orleans and its residents. 'Public art celebrates what makes our city unique', said Mayor Marc Morial. 'In a city that has such a rich and diverse musical heritage this square will focus attention on one of the greats -- Professor Longhair. We are the first city in America to honor him and the rhythm and blues tradition, and we are pleased that so many community groups and city agencies worked together to make this tribute possible.' Silhouette shapes have been cut from bronze plates and photographically etched with images (by local music photographer Michael P. Smith) from the life and times of Fess. A low-relief music score is welded onto the plate. Completing the installation, artist and landscape architect David Tureau used plants and colored paving material sandblasted with song lyrics to create a gathering place and a visual tribute to local music. According to artist Tureau, 'Fess will be remembered as the great synthesizer of African-Caribbean and American jazz rhythms. This environmental tribute integrates shapes, images, lyrics and music scored in a manner that makes the viewer an interactive participant in discovering Henry Roeland Byrd." Noon - Monday, April 29, 1996 Gather at Napoleon and Magazine Streets Parade to site at Napoleon Avenue and Tchoupitoulas Street ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Maggie Mortensen<>Exarch Services<>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Sat, 30 Mar 1996 17:50:35 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Miss Otis Regrets Comments: To: bit-listserv-blues-l@uunet.uu.net Jim McGlynn wrote: > >Somebody (I don't have the original post) asked: > >>A friend of mine is still looking for a version of a MAN singing 'Miss >>Otis regrets' which he says he heard on the radio. Anyone know who this >>might be? > >When the question was asked last week, I could hear a voice in my head but >couldn't name it. Now I've got it -- Trummy Young singing with the >Jimmy Lunceford band circa 1935. It's available on "Stomp It Off", >one of the series of original Decca recordings released on CD by MCA. > >There may well be other male renditions, I dunno. > >Jim McGlynn > >- It's a Cole Porter song, and has been recorded numerous times. Scott ========================================================================= Date: Sat, 30 Mar 1996 17:52:22 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Miss Otis Regrets Comments: To: bit-listserv-blues-l@uunet.uu.net Jim McGlynn wrote: > >Somebody (I don't have the original post) asked: > >>A friend of mine is still looking for a version of a MAN singing 'Miss >>Otis regrets' which he says he heard on the radio. Anyone know who this >>might be? > >When the question was asked last week, I could hear a voice in my head but >couldn't name it. Now I've got it -- Trummy Young singing with the >Jimmy Lunceford band circa 1935. It's available on "Stomp It Off", >one of the series of original Decca recordings released on CD by MCA. > >There may well be other male renditions, I dunno. > >Jim McGlynn > >-- I forgot to mention...it's on the new Ellis Marsalis CD, so maybe that's the version that got the radio airplay. Haven't heard it yet though. Scott ========================================================================= Date: Sat, 30 Mar 1996 10:30:51 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: Blues Cruise! Comments: cc: Harp-L@garply.com Fellow Blues Lovers and Cruisers, We are pleased to announce that Doug MacLeod will be headlineing the Blues On Tap Blues Cruise. scheduled for October 11, 1996! -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 ========================================================================= Date: Sat, 30 Mar 1996 12:51:56 -0600 Reply-To: bolt From: bolt Subject: Re: Sonny Landreth/Blues Attack >In article <199603281618.LAA04731@postoffice2.mail.cornell.edu>, "Charles >d'Orban" writes: > >> >>"Blues Attack" is NOT a new album but a REISSUE of Landreth's very 1st >solo >>recording. The copy I have is on Paula/Jewel (if I remember correctly). >>The characteristic blues/cajun hybrid sound is already apparent (eg. the >>cajun feel to "Keys to the highway") but (IMHO) Landreth has come a long >>way since then. FYI, SL also released the song "Blues Attack" as a non'album bonus track on the on a two track promo CD with "Son Of Native Stepson". This BA is a new recording, not the one on the AVI re-issue. Reg Burns +++++++++++++++++++++++++++++++++++++++++++++++++ + I'll listen to reason when it comes out on CD + + + + bolt@neosoft.com + +++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Sat, 30 Mar 1996 14:35:08 -0500 Reply-To: BluesMojo@AOL.COM From: Doug Carlisle WSFM Subject: Buddy Guy Is that BUDDY GUY doing the newest REEBOK TV commercials???? It seems more & more blues artists are doing commercials, or they're allowing the companies to use their music........BB King & Diane Schuur do an airline commercial.....and BB King's music can be heard on other various commercials.... Just wondering..... Bluesmojo@aol.com ========================================================================= Date: Sat, 30 Mar 1996 14:51:47 -0500 Reply-To: BluesMojo@AOL.COM From: Doug Carlisle WSFM Subject: Radio Show Playlist Greetings to all!!!! Starting this Monday, I'll be placing my Blues Show playlist on this server. If you're a record company with blues materials you'd like played on the air, here's some info: Name: Houserockin' Blues Station: WSFM "Surf 107fm" Time: 9am-12pm EST Sundays Host: (me) Doug Carlisle Rated: #1 for the past 2 years (according to Arbitron 12+ Spring 1994 & 1995) Reported to: The Hard Report (weekly) Station format: New & classic rock Power: 50,000 watts Coverage: Entire Eastern NC & Myrtle Beach, SC Show format: I play what I want!!!! Here are some examples....New blues (Kenny Wayne Sheppard), classic blues (Big Joe Turner).......and a jazz spotlight 1 song per hour (Joe Sample).....plus interviews. Past interviews include: Koko Taylor, Canned Heat, Bugs Henderson, Kenny Wayne Sheppard, Monster Mike Welch, et al..... Reach me by phone Sundays only (910) 251-1075 24-hour fax (910) 686-7031, or E-mail......Bluesmojo@aol.com GOD BLESS WILLIAM CLARKE.....GET BETTER SOON!! Thank you for your time, Doug C. ========================================================================= Date: Sat, 30 Mar 1996 12:00:17 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Big Boy Spires Does anyone have any information on the whereabouts of Big Boy Spires? I've also lost track of Sonny Rhodes since he moved to New Jersey, and = I've been wondering if he's still performing and traveling. Finally, a number of years ago the Rolling Stones secured the rights to = the screenplay All My Love In Vain. I seem to remember that they got so = far as opening a casting office in Greeneville, MS and signing Taj Mahal = as Son House. There was a rumor at the time that Michael Jackson had = tested for the part of Robert Johnson. Anyway...it all seemed to just = fade away. I wonder if this project will ever be revived? ========================================================================= Date: Sat, 30 Mar 1996 14:46:09 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Blues Cruise! Comments: To: Stan Ruffo In-Reply-To: <315D7DDB.4FA8@valleynet.com> On Sat, 30 Mar 1996, Stan Ruffo wrote: > Fellow Blues Lovers and Cruisers, > We are pleased to announce that Doug MacLeod will > be headlineing the Blues On Tap Blues Cruise. > scheduled for October 11, 1996! Way to go - Stan. Barry (envy dripping from every pore) WE'VE GOT A NEW HOME - http://www.panix.com/~bsco/ NY CD BLUES - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sat, 30 Mar 1996 13:09:28 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: Mar. 31 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ALPERT, HERB (tpt/co-owner: A&M REC) b. 1935-0331, LOS ANGELES, CA BAKER, ETTA (g/ROUNDER REC) b. 1913-0331, CALDWELL, NC BARKSDALE, DON (owner: RHYTHM REC) b. 1923-0331,?BERKELEY, CA BIG MACEO [MAJOR MERRIWEATHER] (p/songw) b. 1905-0331, NEWNAN, GA BRADLEY, JAMES (v/gospel/MALACO REC) b. 1953-0331, BAY CITY, MI BROWN, ADA SCOTT v/BENNIE MOTEN/OKEH REC) d. 1950-0331, KANSAS CITY, MO 59 FRIZZELL, WILLIAM "LEFTY" (v/songw) b. 1928-0331, CORSICANA, TX FULSON, LOWELL (g) b. 1921-0331, TULSA, OK GOODMAN,AL(of MOMENTS/GOODMAN,RAY& BROWN) b. 1947-0331, JACKSON, MS GREEN, FREDDIE (g/BASIE) b. 1911-0331, CHARLESTON, SC ISLEY, O'KELLY JR. (of ISLEY BROS) d. 1986-0331, ENGLEWOOD, NJ 48 JOHNSON, JACK (boxer) b. 1878-0331, GALVESTON, TX LOUDERMILK, JOHN D. (g/TOBACCO ROAD) b. 1934-0331, DURHAM, NC MCCOY, BOB (p) b. 1910-0331, ALICEVILLE, AL MILES, LIZZIE [ELIZABETH LANDREAUX] (v) b. 1895-0331, NEW ORLEANS, LA PARISH, MITCHELL (songw) d. 1993-0331, MANHATTAN, NY 92 ------------------------------------------------------------------------------- ========================================================================= Date: Sat, 30 Mar 1996 14:01:05 -0800 Reply-To: "Mark C. Hoffman" Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: "Mark C. Hoffman" Organization: PenUltimate Resources Subject: Re: I'm a racist Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.brown.edu On Wed. March 13, Use Less wrote: > > Ok getting tired of being called a racist. I would like to know am I > racist against whites or blacks. Anyone who breaks people down into meaningless, unscientific categories such as "white" and "black" is a racist. Unfortunately, that makes most Americans racists--myself included at times. These categories are unscientific because there is literally no scientifically accepted definition of what constitutes a "white" person or a "black" person. The terms "white" and "black" or even "Caucasian" and "Negroid" are POLITICAL fabrications rather than SCIENTIFIC facts. With any definition that anyone proposes, I or anyone else can find so many exceptions--millions--that the categories break down and are no longer valid. Our concepts of what we call "race" were set in 1758 by the founder of taxonomy, Carolus Linnaeus, who claimed that all human beings fall into four "races"--called "Americanus," "Europaeus," "Asiaticus," and "Afer"--to which he further ascribed different temperaments, based predominant bodily fluids, such as blood, phlegm, yellow bile, and black bile. Does this sound like valid science to you? Of course, it was no accident that at the same time, Linnaeus ascribed most of the favorable attributes of these "racial" types to his European "race." Key point: Linnaeus's four categories, and the humans who typified each, happened to correspond perfectly with the farthest points on the existing (and then-new) sea-trade routes! If you travel by ship from Europe and your first port of call is in West Africa, you'll most likely see humans who correspond pretty well to the "Afer" race that Linnaeus described. If you then sail to China, you would discover humans who corresponded to Linnaeus's "Asiaticus" race. But if you travelled overland from Europe, you would see all the "racial" variations in between, and thus you would never even consider trying to categorize all humans into just four categories. It would be impossible. Which of the four "races" do the dark-skinned people of much of the Middle East, for example, fall into? Or the light-skinned Ainu of northern Japan? Or the narrow-eyed Laplanders of northern Europe? Linnaeus's system was, obviously, a convenient fiction (for European sailors and conquerors) of the Age of Exploration and Colonization. Our knowledge of what constitutes "race," like our knowledge of everything else, has changed greatly since 1758. Unfortunately, Linnaeus's system of racial is still widely accepted--by almost everyone but anthropologists. "Discover" magazine did a really enlightening issue back in Dec. 1994 that was devoted to the science of "race." In it, James Shreeve pointed out that "most researchers contend that when it comes to humans, "race" is a meaningless word that is best discarded...." And Jared Diamond demonstrated the fallacy of "races" by pointing out that by grouping humans by certain physical features, you would group Nigerians with Norwegians or Chinese with Cherokee. (By classifying people as to fingerprint patterns, for example, you would have to put most Europeans, Africans, and east Asians in one group--the "Loops"; Mongolians and Australian aborigines in another--the "Whorls"; and some central Europeans and African Khoisans in a third--the "Arches". What do you think of these scientifically valid "races"? Our definitions of "black," "white," "yellow," and "red" races are equally absurd. I am of European ancestry (probably)--mostly Irish and German. But my skin is NOT "white." Today, in this Seattle spring, it's kind of pinkish-tan. In another four months, given enough time out in my sea kayak this summer, I'll be pretty dark. I'm anything but "white." Why would someone call me that? Most so-called "black" people in the United States have European blood in them--so much so that when they travel to Africa, they're immediately recognized as Americans. Many so-called "white" Americans also have African blood in them. We are, always have been, and always will be a people of mixed ancestry. Even my Celtic ancestors interbred with the conquering Romans, who had previously interbred with north Africans, who previously interbred with central Africans, which is why you see a lot of dark-haired, dark-skinned Irish--the so-called "black" Irish. In 200 years, perhaps, it won't make any difference. We in America will have interbred so much in American that there won't be distinction between "black," "white," and so on. We'll all have to check the box that says "other." (As many of us would today, if only we knew.) "Race" is one of the great myths of the 20th century. In 200 years, knowing how to guage an American's "race" will be as useful as knowing how many angels can dance on the head of a pin. It's all about culture, not genes. ========================================================================= Date: Sat, 30 Mar 1996 17:26:01 EST Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Eric's dates missed I missed Eric's dates for March 23rd. Can anyone send them to me? Thanks, Dave Carpenter Blues Music Direcctor - WHUS-FM University of Connecticut Storrs, CT http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Sat, 30 Mar 1996 14:41:11 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Little Walter In 1965 John Baldry and Walter Jacobs performed together in front of BBC = film cameras. I have confirmed through John Baldry that the performance = and filming did take place. I'd sure like to locate that film. Anyone = have a clue? I also heard recently that Shirley Dixon claims to have performance film = footage of Walter.iIf you can confirm...please do. "Uncle" Ray Varner uncleray@teleport.com ========================================================================= Date: Sat, 30 Mar 1996 17:54:31 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 03/31 B O R N : 03 / 31 BAKER, ETTA Born:1913 CALDWELL, NC Career:GUITAR Style:BLUES BIG MACEO [MAJOR MERRIWEATHER] Born:1905 NEWNAN, GA Career:PIANO / SONGWRITER Style:BLUES DE HAAS, EDDIE (EDGAR Born:1930 BANDOENG, JAVA, INDONESIA Career:BASS / GUITAR Style:JAZZ / BIG BAND GREEN, FREDDIE ( Fredrick William GREEN ) Born:1911 CHARLESTON, SC Career:GUITAR Style:JAZZ / BLUES / BIG BAND With:Count Basie / Mildred Bailey / Emmett Berry / Benny Carter / Benny Goodman / Lionel Hampton / Billie Holiday / Pee Wee Russell / Joe Sullivan / Earle Warren / Dicky Wells / Teddy Wilson / Lester Young HAYDEN, SCOTT Born:1882 SEDALIA, MO Career:COMPOSER / PIANO Style:JAZZ MCCOY, BOB Born:1910 ALICEVILLE, AL Career:PIANO Style:BLUES MILES, LIZZIE [ELIZABETH MARY LANDREAUX] Born:1895 NEW ORLEANS Career:SINGER Style:BLUES / TRAD / JAZZ With:Bob Scobey / Joe Darensbourg MORR, SKIP ( CHARLIES WILLIAM COLIDGE ) Born:1882 SEDALIA, MO Career:COMPOSER / PIANO Style:JAZZ NORVO, RED ( KEITH NORVILLE ) Born:1908 BEARDSTOWN, IL Career:VIBES / LEADER Style:JAZZ With:Paul Ashe / Victor Young / Paul Whiteman / Sidemen Included: Eddie Sauter / Ralph Burns / Aaron Sachs / Remo Palmier / Clyde Lombardi / Herbie Haymer / Dave Barbour / Maurice Purtill / Al Mastren / Hank d'Amico / Zeke Zarky / Barney Zudecoff / Jerry Jerome / George Wettling / Buster Bailey / Charlie Shavers / Mildred Bailey (Mrs. Norvo) / Terry Allen Billy Kyle / Russell Procope / John Kirby / O'Neil Spencer PUERLING, EUGENE THOMAS (Gene) Born:1929 MILWAUKEE, WI Career:SINGER Style:JAZZ / BIG BAND With:HI LO'S / SINGERS UNLIMITED SHIRLEY, JIMMY Born:1913 UNION, SC Career:GUITAR Style:JAZZ TILLMAN, WILBERT Born:1898 NEW ORLEANS, LA Career:ALTO SAX / TENOR SAX / CLARINET / TUBA / BASS Style:TRAD / JAZZ FOR A LISTING OF THOSE THAT PASSED AWAY IN APRIL PLEASE GO TO MY WEB PAGE AT http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Sat, 30 Mar 1996 23:56:27 GMT Reply-To: "Robert J. Dewar" From: "Robert J. Dewar" Organization: National Capital Freenet, Ottawa, Canada Subject: Capitol Records? Comments: To: bit-listserv-blues-l@uunet.uu.net Hi. Can anyone provide me with an e-mail address for Capitol Records? Robert J Dewar ========================================================================= Date: Sat, 30 Mar 1996 18:02:58 -0800 Reply-To: Michael Hewitt From: Michael Hewitt Subject: Re: I'm a racist Comments: To: "Mark C. Hoffman" It's bad enough some of these threads go on ad nauseum...it's dedplorable when people insist on dragging them from their graves. Give it a rest. Newsgroup readers...check more recent postings to see if the thread is still alive before commenting on it. Grumbling over an already overused delete key... ========================================================================= Date: Sat, 30 Mar 1996 20:09:18 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Radar Labs 23 Subject: RRR blues playlist Comments: To: bit-listserv-blues-l@uunet.uu.net I get Good Friday off, so I was kept busy today making an automation tape to air that night from 10 until midnight. Here's what you can here Good Friday on the Red River Radio Network -- KDAQ, 89.9 Shreveport, KLSA 90.7 Alexandria, KLDN 88.9 Lufkin, and KBSA 90.9 El Dorado: Blues Automation Good Friday Hour One The Gales Brothers: Guitar Man Cissy Houston: I m Somebody Katie Webster: Hard Lovin Mama Jimmy Rip: Snake Eyes John Mooney: Sacred Ground Son Seals: Don t Pick Me For Your Fool Eric Clapton: Hoochie Koochie Man Magic Sam: Scratch My Back John Lee Hooker: Boom Boom Smokin Joe Kubeck: Texas Cadillac Elmore James: Shake Your Money Maker Taj Mahal: Here in the Dark J.B. Hutto: Slidewinder Jesse Thomas: Zetteter Blues Cephas and Wiggins: Too Old to Dream Hour Two Johnny Guitar Watson: It s A Real Mother For Ya Paul Black: Moo Goo Freddy King: Tore Down Luther Guitar Jr. Johnson: Sitting On The Back Seat of A Greyhound Bus B.B. King: Drowning in The Sea of Love Syl Johnson: Take Me To The River Hound Dog Taylor: Look on Yonder s Wall Johnny Young: Drinking Straight Whiskey Mississippi Fred McDowell: Don t Look For Me On A Sunday Old Friends: I m A Prisoner Lead Belly: New Orleans (Rising Sun Blues) Dave Honeyboy Edwards Big Fat Mama Robert Johnson: Hellhound On My Trail Lightning Hopkins: Blue Bird, Blue Bird Kevan Smith ========================================================================= Date: Sat, 30 Mar 1996 22:29:58 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Shelby Foote and the blues I received a copy of "Memphis" magazine today which I receive annually as a gift from one of my best friends in Memphis. Ordinarily I thumb through the magazine very quickly, as it generally has more ads than items that interest me. However, in this issue there is a short interview with one of my favorite writers, Shelby Foote. I was surprised to find that Mr. Foote is a blues fan. Below is an excerpt from the interview, only the part concerning the blues (and a brief comment about Elvis), so as not to get off topic. The interview was written by John Branston, and once again, I'll take the blame for any grammatical or spelling errors. Branston: You're a blues fan, aren't you? Shelby Foote: Very much. Bessie Smith and Robert Johnson especially. But lots of others too. The blues truly was born where I was born and raised, so it was around me all my life. And I used to go down on Blanton Street (in Greenville) where there was a Negro whorehouse, the only two-story house down there, it was called the Mansion House. And they had music there and I used to stand outside and listen to it. I couldn't go inside. Branston: Still listen to the blues? Shelby Foote: Yeah, it's good now because they've put a lot of the old records on CDs and cleaned the noise up. Robert Johnson is wonderful. Branston: Did you meet a lot of the old bluesmen? Shelby Foote: I often wonder if I met Robert Johnson because I heard 'em all. They'd play on the street corners, they played everywhere, and I'm bound to have seen him but I don't remember him because there were so many of them. I often wonder whether I heard Bessie Smith. When the Rabbit's Foot Minstrels or any of those came to town, they always had a blues singer all dressed up in an evening dress with phony jewelry all over. It could have been Bessie was doing that but I'm not sure. It sounded like her though. Branston: Was there a blues scene in Memphis when you came here in the Fifties? Shelby Foote: No. That was the doldrums for the blues. You'd go down to New Orleans and there wasn't any jazz either. The revival came later. Branston: Did you ever meet Elvis? Shelby Foote: No. I don't think I ever saw him even. I liked him though, when he started out especially. When I lived on Yates, a friend called me over one day and played a tape of "That's All right Mama." I liked it a lot. My agent then was MCA, which later got blown out of the water. And the woman in charge of the literary department, she and I were friends. And I told her there was a singer down in Memphis you all ought to get ahold of, his name is Elvis Presley. And she said, "oh, we've got so many singers already we don't know what to do." ************************************************************************ ************ Bill Morgan From: The Big Easy ========================================================================= Date: Sun, 31 Mar 1996 05:29:00 GMT Reply-To: "S. Thompson" From: "S. Thompson" Organization: AUSNet Services pty. ltd. Subject: Re: Who wrote/performed this song? Comments: To: bit-listserv-blues-l@uunet.uu.net In article <01I2U382QWXE0095R4@SCI.WFBR.EDU>, "" says: > >'Nother question for yas....who originally did that song on "The Commitments" >soundtrack, don't even know the title, but it's something like... > >TIA buds, > >Riffin Rick >"..I know nothing" > -Sgt. Shultz > Hows about you get the committments video out of the hire shop and check out the credits :) Cheers Sandra Thompson ========================================================================= Date: Sun, 31 Mar 1996 01:36:55 -0500 Reply-To: ac928@osfn.rhilinet.gov From: Jim McGlynn Subject: Need National Resophonic advice I know at least some of you guys own National Resophonics and since I've a) never even seen one, and b) gotten it into my head that I need to buy one, clearly I'm in need of advice. I'd really appreciate some first-hand feedback on the things. Are they as unreservedly wonderful as some (Bob Brozman among others) would have people believe? Whazza difference in sound and playability between the "O" and the tricones? Between the nickel and the silver? Are they clearly a better bet (if utility is the major consideration) than original Nationals in the same price range? Thanks for any help, on-list or private. Jim McGlynn -- ========================================================================= Date: Sun, 31 Mar 1996 03:33:30 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Radar Labs 23 Subject: Gales Bros. Sample Comments: To: bit-listserv-blues-l@uunet.uu.net I sampled 60 seconds of a new Gales Bros. tune, Fight The Power. You can find it on my home computer at the following URL: ftp://rlabs.com/pub/gales.wav It's CD quality and very big, so it may take a while to get. Log in anonymously with your e-mail as password. Using Netscape to get it should be no problem. I am in no way connected with House of Blues or the Gales Bros., but these cats can flat out play! WWW Production: HTML,CGI,JAVA Kevan Smith -> cuthulu@prysm.net http://www.rlabs.com ========================================================================= Date: Sun, 31 Mar 1996 09:05:36 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: No Blues Test Only TEST SUNDAY 3/31 ========================================================================= Date: Sun, 31 Mar 1996 09:23:19 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Thank you Alan Rollins! TEST. After 2/12 long months of trying everything, Alan was finally able to restore my Blues-L subscription. I hope that this message posts. It's great to be back! Stew Crossen ------------ ========================================================================= Date: Sun, 31 Mar 1996 09:21:08 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Thank you Alan Rollins! Comments: To: Stew Crossen On 31 Mar 96, Stew Crossen had this to say: > TEST. > > After 2/12 long months of trying everything, Alan was finally able to > restore my Blues-L subscription. > > I hope that this message posts. > > It's great to be back! > > Stew Crossen > ------------ Welcome back, Beef! P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" ========================================================================= Date: Sun, 31 Mar 1996 09:51:33 EST Reply-To: HIGHI@QUCDN.QUEENSU.CA From: HIGHI@QUCDN.QUEENSU.CA Organization: Queen's University at Kingston Subject: Re: Leadbelly, The Cotton Song? Comments: To: BIT-LISTSERV-BLUES-L@UUNET.UU.NET I have "Pick a Bale of Cotton" (traditional) on Leadbelly, "Irene Goodnight", C D #52028. I'm assuming this is the same song as "The Cotton Song". ========================================================================= Date: Sun, 31 Mar 1996 10:44:51 -0500 Reply-To: Michael Meadors From: Michael Meadors Subject: Re: Need National Resophonic advice Comments: To: ac928@OSFN.RHILINET.GOV After playing a bunch of originals and playing the reissue from National (Duolian), I decided to get the reissue. One major consideration was that the originals, I felt, were a bit fragile in the area of tuning pegs. Either they were brittle feeling or were very hard to turn (due to age). The overall sound of the originals is much more metallic, brighter. The originals will only increase in price, whereas the reissues will need to be around a bit longer for any payback in that department. Once again, it's all in the player and his/her tastes. Some people will swear you've got to have the original. I like a metallic sound but a bit fatter for some tunes. Just my own taste, as I said. I've been happy with my reissue (serial number #012!). It cost about half as much, too. Just make sure you get the round neck as opposed to the square neck, which is more lap style, Hawaiian. If you want more info, let me know. \ Good luck! M. Meadors of the BLUESONICS "Blues for Full Grown People" ========================================================================= Date: Sun, 31 Mar 1996 16:49:06 GMT Reply-To: Brian From: Brian Organization: InternetU, Inc. Subject: Kenny Wayne Shepherd - Looking for Tour Schedule Comments: To: bit-listserv-blues-l@uunet.uu.net I recently in Baltimore and saw that Kenny Wayne Shepherd will be performing there on April 8. Does anyone know his tour schedule? I'm most interested in any Florida dates. Thanks ========================================================================= Date: Sun, 31 Mar 1996 12:02:41 -0500 Reply-To: Jim Barrick From: Jim Barrick Subject: STORMY MONDAY and BLUE MONDAY Can someone recommend blues performers and recordings for these two songs? I am looking for recordings that are fairly new and on CD. I know of a recording of STORMY MONDAY by B.B. King with Albert Collins (on BLUES SUMMIT, which is all duets) but I want a solo vocal version by King, if possible. I heard that Muddy Waters did a recording of STORMY MONDAY. Is this true? Also, I want to buy the soundtrack for the movie STORMY MONDAY (1988) -- it's out of print. This movie was Mike Figgis' directorial debut; it starred Sting, Tommy Lee Jones and Melanie Griffith. Anybody have it for sale? Thanks. ========================================================================= Date: Sun, 31 Mar 1996 16:53:24 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Sam Cooke's Rhythm and the Blues? Comments: To: bit-listserv-blues-l@uunet.uu.net In article bob vanarsdall writes: >Spied this one discounted, but not yet cut-out. For $5, I would have bought >it; for $10, I'll ask the List first. Looks good, but does anyone have an >opinion on it? (I'm a resurgent Cooke fan, bought Night Beat when it was >reissued, and am saving up for the Soul Stirrers box...) Five or six tracks on the Night Beat disc are on "The Rhythm and the Blues" since this is a CD drawn mainly from 3 Cooke releases: "My Kind of Blues", " Mr. Soul" and "Night Beat" - but that still leaves another 14 or so tracks unless you own the other two releases. Art Schuna ========================================================================= Date: Sun, 31 Mar 1996 17:23:37 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Sista Monica -Get Out of My Way Comments: To: bit-listserv-blues-l@uunet.uu.net I just recently got a copy of this CD which has gotten a lot of playing time in my CD player and since it's on a small label, Thunderbird Records ( TBE5005-2) you might not be familiar with it. Monica Parker has a great voice and the 13 tracks on this CD are great. Vasti Jackson provides some fine guitar accompaniment on 3 tunes. This is mostly blues and soul blues. She wrote 3 of the songs but adds some great covers by Al Green (Love & Happiness), Kate Webster (Pusssycat Moan), Ted Taylor (I Don't Care No More) and James Brown (It's A New Day). The disc ends with a stunning a capella version of the Tommy Dorsey spiritual, "Precious Lord" that the Living Blues review of this disc says will bring chills to an atheist. I'm not sure about that, but it definitely proves what a fine voice she has and is one of my favorites on this disc. This may not be easy to find through most of your standard music stores but I found it through the internet CD sources. Well worth the trouble to find. Art Schuna ========================================================================= Date: Sun, 31 Mar 1996 11:39:18 -0600 Reply-To: Tom Kraft From: Tom Kraft Subject: Re: Debbie Davies Comments: To: ksailors@HOOKED.NET Okay then. What are the titles of the first and second releases? so I can go shopping. Tom Kraft At 08:42 AM 3/27/96 +0000, you wrote: >On Wed, 27 Mar 1996, Pat Hertel wrote: > >> I LOVED her first CD. Played it over and over and over again >> .... but the second just wasn't up to snuff with the exception >> of a single cut "I Like The Life". Some of the others were >> passable but "A Mother's Blues"?? ... finger-in-the throat >> syrup. Yecchh! > >I agree. Her 2nd didn't have the bite or fire >or whatever that the 1st did. Much smoother, more >polished... > >So, all you 'ellers out there: > >Buy her 1st but not her 2nd (unless you're some >sort of anal completist or something). > >Ken > > ========================================================================= Date: Sun, 31 Mar 1996 09:41:08 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: April 1 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BARRETT, EMMA "SWEET" (p) b. 1897-0401, NEW ORLEANS, LA BOGAN, LUCILLE [LUCILLE ANDERSON] (v) b. 1897-0401, AMORY, MS BROOKS, DANNY (of THE DOVELLS) b. 1942-0401, PHILADELPHIA, PA CARNEY, HARRY (bsax/ELLINGTON) b. 1910-0401, BOSTON, MA GAYE, MARVIN PENTZ (v/songw/MOTOWN) d. 1984-0401, LOS ANGELES, CA 45 HUNTER, ALBERTA (v/COLUMBIA REC) b. 1895-0401, MEMPHIS, TN ISLEY, RUDOLPH (of THE ISLEY BROTHERS) b. 1939-0401, CINCINNATI, OH JOPLIN, SCOTT (p/ragtime) d. 1917-0401, NEW YORK CITY, NY 48 JOHNSON, LEM (tsax/LOUIS JORDAN/TOLBERT) d. 1989-0401, NY 79 JORDAN, DUKE (p) b. 1922-0401, BROOKLYN, NY KERSEY, KENNY (p/boogie woogie) d. 1983-0401, NEW YORK CITY, NY 67 KING, EDDIE (of THE FLARES) b. 1938-0401, NEW YORK CITY, NY MILBURN, AMOS (p/ALADDIN REC) b. 1927-0401, HOUSTON, TX OVERSTREET, LOUIS REV. (g/ARHOOLIE) b. 1921-0401, LAKELAND, LA PETTIS, COLEMAN JR. (g/MAGIC SLIM) d. 1988-0401, CHICAGO, IL -- PORTER,VERNON"JAKE" (tpt/owner:COMBO REC) d. 1993-0401, DESERTHOTSPRINGS,CA 76 SAWYER, BILL REV. (gospel/TYSCOTT REC) d. 1990-0401, CHICAGO, IL 54 SCOTT-HERON, GIL (v) b. 1949-0401, CHICAGO, IL WEBSTER, FREDDIE (tpt/SAVOY REC) d. 1947-0401, CHICAGO, IL 30 WILSON, PHILLIP (d/BUTTERFIELD/STAX) d. 1992-0401, NEW YORK CITY, NY 50 ------------------------------------------------------------------------------- ========================================================================= Date: Sun, 31 Mar 1996 12:39:44 EST Reply-To: "M.A. Murphy" From: "M.A. Murphy" Subject: Re: Sista Monica -Get Out of My Way Art Schuna said: >I just recently got a copy of this CD which has gotten a lot of playing time >in my CD player and since it's on a small label, Thunderbird Records ( >TBE5005-2) you might not be familiar with it. Monica Parker has a great >voice and the 13 tracks on this CD are great. Vasti Jackson provides some >fine guitar accompaniment on 3 tunes. This is mostly blues and soul blues. >She wrote 3 of the songs but adds some great covers by Al Green (Love & >Happiness), Kate Webster (Pusssycat Moan), Ted Taylor (I Don't Care No More) >and James Brown (It's A New Day). The disc ends with a stunning a capella >version of the Tommy Dorsey spiritual, "Precious Lord" that the Living Blues >review of this disc says will bring chills to an atheist. I'm not sure >about that, but it definitely proves what a fine voice she has and is one of >my favorites on this disc. This may not be easy to find through most of >your standard music stores but I found it through the internet CD sources. >Well worth the trouble to find. I'd like to second this. This CD has been getting plenty of airtime on my show, The Blues Bus, on WMEB since mid-December. Sista Monica's got soul and spirit. ------- Murph Michael A. Murphy murph@maine.maine.edu MD, WMEB-FM, Orono, Maine If you do not understand my silence you will not understand my words. Network Audio Bits E-Zine: http://maine.maine.edu/~n-audio Music reviews, news and information ========================================================================= Date: Sun, 31 Mar 1996 17:40:52 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Mem Shannon - A Cab Driver's Blues Comments: To: bit-listserv-blues-l@uunet.uu.net I know this has been recommended before, but I just got around to getting it and thought I'd add my voice to the list of Mem Converts. If you are tired of listening to same sounding shuffles with recycled riffs that you've heard a hundred times before, then this disc is for you. This disc has some great tunes with jazz-influenced blues. The interplay between the sax and Mem's guitar playing in front of a rhythm section laying down a very funky groove is very tight. They sound like they've been playing as a group for a very long time. The conversations of Mem and his cab fares between music tracks are very inventive and funny. You get discussions by people wanting to go to the Dick Tie store (whatever that is) and people asking for discount fares because Mem's air conditioning isn' t functioning (which probably would be reasonable if the recording was made in the summer) among others. I'd nominate this as an early candidate for top 10 discs of the year. Art Schuna ========================================================================= Date: Sun, 31 Mar 1996 13:11:11 EST Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: thanks - eric's dates missed Thanks to all who re-posted the dates for me. Dave ========================================================================= Date: Sun, 31 Mar 1996 19:07:22 GMT Reply-To: George Myers From: George Myers Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: China Moon/Anson,Sam Comments: To: bit-listserv-blues-l@uunet.uu.net Don't miss Sam & Anson May 11 at the place they made their latest record, the Grand Emporium in Kansas City ========================================================================= Date: Sun, 31 Mar 1996 19:10:00 GMT Reply-To: George Myers From: George Myers Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Kansas City Blues and Jazz Festival Comments: To: bit-listserv-blues-l@uunet.uu.net It's a great festival and another great reason to come to K.C. is the Grand Emporium, the only club to receive 2 Handy Awards. ========================================================================= Date: Sun, 31 Mar 1996 19:21:02 GMT Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: Shelby Foote and the blues Comments: To: wmorga@BIGEASY.COM On Sat, 30 Mar 1996 22:29:58 -0600, Bill Morgan wrote: >I was surprised to find that Mr. Foote is a blues fan. Me too. I thought he was fascinating in the PBS Civil War series. He was also interviewed more recently on the PBS "Great Drives: Highway 61" documentary. He lives in Memphis? *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Sun, 31 Mar 1996 11:30:00 PST Reply-To: Gary Joneson From: Gary Joneson Subject: Re: Sista Monica -Get Out of My Way >I just recently got a copy of this CD which has gotten a lot of playing time >in my CD player and since it's on a small label, Thunderbird Records ( >TBE5005-2) you might not be familiar with it. Monica Parker has a great It also gets lots of play time here. The lady also puts on a fine show and is well worth catching if she is in your area. >my favorites on this disc. This may not be easy to find through most of >your standard music stores but I found it through the internet CD sources. >Well worth the trouble to find. For those with WEB access, there is a Sista Monica page (with a recent photo) and information on where to find the disk at: http://www.island.net/~blues/sistam.htm Gary BluesWEB http://www.island.net/~blues/ ========================================================================= Date: Sun, 31 Mar 1996 15:47:51 -0500 Reply-To: Vicki Bean From: Vicki Bean Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Beale Street Fest staging??? Tickets for Handy's?? Comments: To: bit-listserv-blues-l@uunet.uu.net You wrote: The festival is held on the bluff of the Mississippi River. Great view! There are usually three main stages plus some smaller stages. If the weather cooperates, there's not a better place to be. The Beale Street clubs have a wrist ticket thing that lets you into all the clubs for one price. Don't know what that price is yet. Not sure about that, but it's pretty darn cool. As I said, if it doesn't rain, it's one of the better festivals. The weather usually calls for shorts during the day and sweatshirts for the cooler night. No mosquitoes yet, either. Great food. If you go, try the alligator sausages and piroshkies. I know that Ruth Brown is hosting, but as far as the lineup, there is no listing yet for the Handy Awards. They should have it sometime this week. You might check with the Blues Foundation by e-mailing them at blues@memphisonline.com. They will be able to give you ticket information, etc. Their phone number is 901/527-BLUE. I am doing the printed program for the show. If you don't get the info in a week or two, please let me know and I will send it to you as soon as I get it. Thanks. VBean ========================================================================= Date: Sun, 31 Mar 1996 15:50:14 -0500 Reply-To: Vicki Bean From: Vicki Bean Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Beale Street's new stages Comments: To: bit-listserv-blues-l@uunet.uu.net I haven't heard of any new stages, I really thought they were cutting back. I know they are cutting out the "back porch stage" which was a small but nice interview/accoustic blues stage. Perhaps they are planning to replace it with one of the other "new" stages you spoke of. There also may be more of the park finished this year than last. I know they've had problems with completing the park on the bluff. ========================================================================= Date: Sun, 31 Mar 1996 15:50:45 -0500 Reply-To: Vicki Bean From: Vicki Bean Organization: America Online, Inc. (1-800-827-6364) Subject: Re: BEALE_ST_anyone!!! Comments: To: bit-listserv-blues-l@uunet.uu.net I have volunteered during the last 5 or 6 Handy Awards and can tell you that last year's hosts were Ruth Brown and Dr. John. The year before, however, Isaac Hayes and Cybil were the hosts, much to many people's dismay. I believe all involved are aware of the press and fan sentiment. Ruth is scheduled to host this year's event, and co-host is yet unknown. ========================================================================= Date: Sun, 31 Mar 1996 16:29:28 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Shelby Foote and the blues Comments: To: curtis@magicnet.net In a message dated 96-03-31 14:46:42 EST, curtis@MAGICNET.NET (Curtis Hewston) writes: >>I was surprised to find that Mr. Foote is a blues fan. > >Me too. I thought he was fascinating in the PBS Civil War series. He >was also interviewed more recently on the PBS "Great Drives: Highway >61" documentary. He lives in Memphis? > > Yes. He is also a fan of Payne's bbq (I've seen him there). Obviously a man of taste. Tom Freeland ========================================================================= Date: Sun, 31 Mar 1996 15:56:34 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: BORN 04/01 B O R N : 04 / 01 BRIGGS, ARTHUR Born:1901 ST. GEORGES, CANADA Career:TRUMPET Style:JAZZ / BIG BAND With:Leslie Howard / Savoy Syncopated Orchestra in Brussels / Noble Sissle / Coleman Hawkins / in Europe during the Nazi occupation and was interned in the St. Denis Concentration Camp BOGAN, LUCILLE [LUCILLE ANDERSON] Born:1897 AMORY, MS Career:SINGER Style:BLUES BUTTERFIELD, DON Born:1923 CENTRALIA, WA Career:TUBA Style:JAZZ / BIG BAND CARNEY, HARRY ( HOWELL ) Born:1910 BOSTON, MA Career:BARITONE SAX Style:JAZZ / BIG BAND With:Bobby Sawyer / Walter Johnson / Joseph Steel Henry Sapro /Duke Ellington / Benny Goodman / Sonny Greer / Lionel Hampton / Johnny Hodges / Colman Hawkins / Harry James / Jimmy Jones / Timme Rosenkrantz / Rex Stewart / Billy Taylor / Cootie Williams / Sandy Williams / Teddy Wilson HUNTER, ALBERTA ( BETTY JOSEPHINE ) Born:1895 MEMPHIS, TN Career:SINGER Style:BLUES / JAZZ / BIG BAND With: KING OLIVER / TONY JACKSON / SIDNEY BECHET / FLETCHER HENDERSON / LOUIS ARMSTRONG / PERRY BRADFORD / FATS WALLER JORDAN, DUKE ( IRVING SYDNAY JORDAN ) Born:1922 BROOKLYN, NY Career:PIANO Style:JAZZ / BIG BAND With:COLEMAN HAWKINS / CHARLIE PARKER / STAN GETZ KING, EDDIE Born:1938 NEW YORK, NY Career:SINGER Style:BLUES With:THE FLARES LUND, ART ( ART LONDON ) Born:1915 SALT LAKE CITY, UT Career:SINGER Style:BIG BAND With:BENNY GOODMAN MILBURN, AMOS Born:1927 HOUSTON, TX Career:PIANO Style:BLUES SCOTT-HERON, GIL Born:1949 CHICAGO, IL Career:SINGER / COMPOSER Style:JAZZ BRIAN JACKSON STOBART, KATHY (KATHLEEN ) BORN:1925 LANCSHIRE, UK CAREER:TENOR SAX / ALTO SAX / SOPRANO SAX / BARITONE SAX STYLE:JAZZ WITH:Art Thompson / Vic Lewis / Harry Beckett / John Burch TUSA, FRANK BORN:1947 NEW YORK, NY CAREER:BASS STYLE:JAZZ WITH:Paul Bley / Dave Liebman / Bob Moses / Dave Holland / Collin Walcott / Barry Miles / Booker Ervin / Don Cherry / Freddie Hubbard / Lee Konitz / Harold Mabern FOR A LISTING OF THOSE THAT PASSED AWAY IN APRIL PLEASE GO TO MY WEB PAGE AT http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Sun, 31 Mar 1996 22:59:50 GMT Reply-To: Paolo Morati From: Paolo Morati Organization: Italia Online Subject: Zucchero's US Tour Dates Comments: To: bit-listserv-blues-l@uunet.uu.net Here are some dates of the 1996 American Tour of the Italian blues star Zucchero: 14th April Los Angeles - House of Blues 15th April Los Angeles - House of Blues 17th April Chicago - West Park 20th April Toronto (Canada) - Massey Hall 22nd April New York - Beacon Theatre ========================================================================= Date: Sun, 31 Mar 1996 17:43:29 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Trademark Question - No Blues Some time, long ago, there was a discussion concerning trademarks, such as the name of a band or a Radio show. Anyone recall or have info regarding this topic? Thanks in advance, Stew Crossen _____________________________________________________________________________ The Blues Playground - Sundays at 9:00 pm - 50,000 watts of Blues power! Reports to: The Hard Report, Living Blues, BluesWire magazine. Host/Producer - Stew Crossen (Beef Stew) Station: WCCC 107 FM 243 South Whitney Street Hartford, CT 06105 Tel: 860.233.4426 Fax: 860.232.6511 Home: Stew Crossen 18 Boxwood Drive PO Box 2094 Vernon, CT 06066-5106 Tel: 800.970.5151 E-mail: bfstew@neca.com WEB site: http://www.neca.com/~bfstew _____________________________________________________________________________ ========================================================================= Date: Sun, 31 Mar 1996 17:10:17 -0600 Reply-To: Keith Castleberry From: Keith Castleberry Subject: Re: Sista Monica -Get Out of My Way Hey, this is a super lady! I've also been giving airtime to this disc. MORE! >>I just recently got a copy of this CD which has gotten a lot of playing time >>in my CD player and since it's on a small label, Thunderbird Records ( >>TBE5005-2) you might not be familiar with it. Monica Parker has a great > >It also gets lots of play time here. The lady also puts on a fine show and is >well worth catching if she is in your area. > >>my favorites on this disc. This may not be easy to find through most of >>your standard music stores but I found it through the internet CD sources. >>Well worth the trouble to find. > >For those with WEB access, there is a Sista Monica page (with a recent photo) >and information on where to find the disk at: > >http://www.island.net/~blues/sistam.htm > >Gary > >BluesWEB >http://www.island.net/~blues/ > > Keith Castleberry WYDH 105.9 FM "The Blues Cruise" P.O. Box 710 Atmore, AL 36504-0710 ========================================================================= Date: Sun, 31 Mar 1996 15:55:36 +0000 Reply-To: ksailors@hooked.net Comments: Authenticated sender is From: "Kenneth M. Sailors" Subject: Thanks.... A brief thank you for all the recommendations for Otis Rush's "So Many Roads" & Doug Sahm's "The Last Real Texas Blues band". I'm having a lot of fun with these. I might suggest "Blues Time" by Jay Geils & Magic Dick. Good ol' timey Blues, R&B, & R&R. Check it out. -Ken ========================================================================= Date: Sun, 31 Mar 1996 18:53:02 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Lloyd Jones Here's a review I wrote for a couple of Northwest mags. Great recording. Uncle Ray THIS MONKEY'S A GROOVE! Lloyd Jones - Trouble Monkey, Audioquest Music. Available on CD. California's audiophile label, Audioquest, insists that it's artists = record straight up directly to a two track recorder. In other words; = shoot your best shot and live with it. No messin' around with the music = after the echo dies. There couldn't be a better system for Lloyd Jones, = his Struggle, and the Atlas Horns. Countless hours of honing = performances on stages in several states have clarified and distilled = these nine Lloyd Jones originals and three covers to a high state of = readiness for capture in a live studio environment. For this session Lloyd carefully embellished the regular Struggle = line-up with Warren "The Mighty Wog" Rand on alto, trumpeter Steve = Canyon, Bobby Torres on Congas, plus Terry Evans and Ray Williams = crooning soulful backup vocals. The lead track, Can't Get You Off Of My Mind, along with several others = recorded here, harken back to Memphis producer Willie Mitchell's = trademark sparse Memphis soul sound that illuminated the recordings of = O. V. Wright, Al Green, Anne Peebles, and others at Hi Records. Lloyd's voice sounds right at home in this setting. I Broke My Baby's = Heart cemented my Hi Records deja' vu. I would have sworn it was an O. = V. Wright cover, but it ain't. It's pure Lloyd Jones, through and = through. After swinging through Larry Pindar's Old Friends, and a few = other tasty tunes, Lloyd abruptly changes pace with a dark and brooding = accoustic blues, Long, Long Way To Go, all by his ownself. But, wait. = Now Glen Holstrom is there on keys...look out, there's the whole band. = It finishes up as a Texas horn band slow blues. Now for my money, Clifton Chenier's version of Fats Domino's Rosemary, = recorded live at a hall in Houston back in the Sixties, was the = definitive version of this overlooked classic. Robert St. Judy's = drumming propelled Clifton's rollicking shuffle so hard 'til it made you = smile like a big dumb kid with an R. C. Cola and a Moon Pie. Well, I = still dearly love Clifton's version, but Lord All Mighty this one here = gets it done with Reinhard Melz's insistant drumming and Holstrom's = Professor Longhair piano. The last track deposited for us here is a stunning second line duet = showcasing Lloyd's guitar and Melz's drums. The tune is John Estes' Drop = Down Mama. Lloyd lays down a catalog of plucked, finger-picked, and = bottle neck guitar patterns while breathing new life into chestnut = lyrics. Sleepy John Estes should oughta wake up and finger pop to this = one. Well, as a wise old friend of mine once said, "Put it on, and wear it = out!" He was talkin' 'bout a sharkskin suit, but it still applies to = this recording. Buy this one. You'll be playing it often. Uncle Ray uncleray@teleport.com ========================================================================= Date: Mon, 1 Apr 1996 02:46:09 GMT Reply-To: blueslvr@sirius.com From: "Roy W. Forgy" Organization: Sirius Connections Subject: Santa Cruz Blues Comments: To: bit-listserv-blues-l@uunet.uu.net Wondering if anyone has seen the lineup yet for this years Santa Cruz Blues Fest.? Roy W. Forgy (blueslvr@sirius.com) Boulder Creek, CA ========================================================================= Date: Mon, 1 Apr 1996 02:57:04 GMT Reply-To: Brian Price From: Brian Price Organization: Netcom Subject: Complete Stevie Ray Vaughan "Unplugged"? Does anyone have an audio or video copy of this show? I've been looking everywhere. Please e-mail responses. Thanks, Brian doc7@ix.netcom.com ========================================================================= Date: Mon, 1 Apr 1996 13:49:00 PST Reply-To: David Blanken From: David Blanken Subject: Going nomail (and wish me luck) G'day, bluezellers! I'm going nomail for a couple of weeks (holidays, YES!). My band, Blind Freddy, is playing at the East Coast Blues Festival at Easter. I'm very excited. We'll be sharing the bill with The Fabulous Thunderbirds, Joe Louis Walker, Little Charlie and the Nightcats and a host of Australian blues and R&B bands. Wish me luck!!! To Aussie bluezellers, if you are going to the festival, look us up and say "Hi!". ****************************************************** David Blanken National Library of Australia Email: dblanken@nla.gov.au "You can write the truth with Blues" - Bukka White ****************************************************** ========================================================================= Date: Sun, 31 Mar 1996 23:03:53 -0800 Reply-To: Rick Richardson From: Rick Richardson Subject: Leon Bibb? In the early 1960s, I remember going with my parents to the Cellar Door in Washington, DC and seeing this gentleman perform. While I remember his music as being more part of the folk scene than the blues, I am curious if anyone can tell me whatever became of him and whether there are any recordings/rereleases of his music available. Thanks. Rick Richardson ========================================================================= Date: Sun, 31 Mar 1996 23:38:28 -0500 Reply-To: Jonny Meister From: Jonny Meister Subject: Re: Mem Shannon - A Cab Driver's Blues I hosted Mem Shannon's show here in Philadelphia last night for my radio station (WXPN) and interviewed him for our national program The World Cafe. It was a real treat! Mem is the genuine article. His band (Tim Green, sax; Jackie Banks, keyboards; Earl Smith, Jr. drums; Peter Carter, bass) really cooks. Mem's songs are highly original; his guitar-playing is better than on the CD(!), and he does covers in a truly personalized way. His "Texas Flood" owes nothing to Stevie Ray Vaughan (or Melvin Taylor-- or even Larry Davis...). Mem has a dry sense of humor, and a way of making a few words go a long way. He's obviously learned this from his years in the taxicab. This concert, a special WXPN presentation, was his farthest trip from New Orleans to perform to date. Next month he's in Texas, but last night he said that Monday night he'd be back in his cab. Neither his record nor his being featured on CBS Sunday Morning has yet put him in a position to give up cab-driving. I was glad to be able to do my part to help him shut the meter off for good. See him if you get the chance, and pick up his CD "A Cab Driver's Blues". But, if you ride in his cab, better not say too much............you might be on his next album!! -Jonny At 05:40 PM 3/31/96 GMT, you wrote: >I know this has been recommended before, but I just got around to getting it >and thought I'd add my voice to the list of Mem Converts. If you are tired >of listening to same sounding shuffles with recycled riffs that >you've heard a hundred times before, then this disc is for you. This disc >has some great tunes with jazz-influenced blues. The interplay between the >sax and Mem's guitar playing in front of a rhythm section laying down a very >funky groove is very tight. They sound like they've been playing as a >group for a very long time. The conversations of Mem and his cab >fares between music tracks are very inventive and funny. You get >discussions by people wanting to go to the Dick Tie store (whatever that >is) and people asking for discount fares because Mem's air conditioning isn' >t functioning (which probably would be reasonable if the recording was made >in the summer) among others. I'd nominate this as an early candidate for >top 10 discs of the year. > >Art Schuna > > ========================================================================= Date: Mon, 1 Apr 1996 00:22:00 -0500 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: WFBE Blue Highway Playlist for 3/30/96 This weeks show was a salute to the late J.D. Miller, as well as celebrating the birthdates of Cripple Clarence Loftin, John Lee "Sonny Boy" Williamson, David Hole, and Eric Clapton Artist, Song, Album, Label ---------------------------------------9pm--------------------------------- Dave Hole, The Sun Is Shining, Slow Fuse Blues, Alligator Silas Hogan,Dark Cluods Rollin', Trouble, AVI Billy Branch,The Blues Keep Following...,Title Cut, Verve/Gitanes Tommy Castro, Nasty Habits, Exception to The Rule,Blind Pig Gene Deer, My Baby She's Gone, Soul Tender, Slippery Noodle Sound ------------------------------------Break------------------------------------- - Lazy Lester, I hear you knockin',The Excello Story, Excello Don McMinn, Down Home Blues, Painkiller Blues, Ice House Pat Boyac & The Prowlers, I Know Its Over,On The Prowl, Bullseye John Primer, Bad Blood, The Real Deal, Warner --------------------------------------Break----------------------------------- ---- Slim Harpo, I'm A King Bee, Louisiana Swamp Blues, Flyright Luther Tucker, Can't Live Without It,Sad Hours, Antones James Cotton, Part Time Love, Live From Chicago, Alligator Smokin Joe Kubek, Must Have Missed A Turn, Texas Cadillac, Bullseye ---------------------------------10 pm Break--------------------------------- Lonesome Sundown, Leave My Money Alone,I'm A Mojo Man, AVI Bill Wharton & The Ingredients, HUricane Blues, South Of The Blues, King Snake Reunion Blues Band, I Got My Mojo Workin, Back Home To Clarksdale, Icehouse Eric Clapton, Third Degree, From The Cradle, Reprise -------------------------------------------Break------------------------------ --------- John Lee Williamson, Collector Man Blues, Complete Recordings Vol 1, Document Byther Smith, The Man Wants Me Dead, Housefire, BullsEye Little Charlie/Nightcats, Rain, Captured Live, Alligator Johnny Dyer, Two Hound Dogs, Jukin, Blind Pig ---------------------------------------Break---------------------------------- ------------ Slim Harpo, Strange Love, The Scratch, AVI Champion Jack Dupree, Lonesome Bedroom, Back Home In New Orleans, Rounder William Clark, Pawnshop Bound, Genuine Housrockin...,Alligator Len Bland, Baby I Dont Know Why, For Your Love, Lucky Pride ---------------------------------------11 pm Break----------------------------------------------- All Girl Set Joanna Connor, Drivin Wheel, Rock and Roll Gypsy, RUFF Cathi Norton, Jump At The Chance, Various Stages Of Undress, Cathi Norton Lucille, What The Blues Is, Lucille, Blues Works Karen Carroll, Vicksburg Blues, Had My Fun, Delmark -----------------------------------------break-------------------------------- ----------------- Lonesome Sundown, Lonesome Lonely Blues, Mojo Man, AVI Katie Webster/Ashton Savoy, Baby Baby, Louisiana Swamp Blues, Flyright Arthur Gunter, Baby Lets Play House, The Excello Story, Excello Silas Hogan, Trouble At Home Blues, Best of Excello Masters, Excello ------------------------------------Break------------------------------------- ---- Cripple Clarence Loftin, Policy Blues, Uptown Blues, Yazoo Kenny Wayne Shepherd, Aberdeen, Ledbetter Heights, Giant ------------------------------------break------------------------------------- ----- Yank Rachell/David Morgan, I Love My Woman My First Mandolin Slammin' Doors In My Face Sloppy Drunk, Pig Trader Blues, Slippery Noodle Sound Mr B, Cow Cow Blues (exit theme), Blue Ivory, Blind Pig ------------------------------------------------------------------------------ ------------ God Bless Yank Rachell ! BLUZ!!! Ed ========================================================================= Date: Sun, 31 Mar 1996 22:25:30 -0800 Reply-To: Chris Adams From: Chris Adams Subject: Jed Davenport/Joe McCoy/Memphis Minnie I am looking for a recording of "Save Me Some", done by Jed Davenport and his Beale St. Jug Band, which included Memphis Minnie and her then husband Joe McCoy. The only recording I find for Jed Davenport is on the Document "Memphis Harp and Jug Blowers". Does anyone know if "Save Me Some" is on that or if there are other recordings of Jed Davenport. By the way, he was one incredible harp player! Christopher Adams chris@sparkie.osl.state.or.us ========================================================================= Date: Mon, 1 Apr 1996 02:00:29 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Jed Davenport & another Peabody session Comments: To: chris@sparkie.osl.state.or.us In a message dated 96-04-01 01:48:10 EST, chris@SPARKIE.OSL.STATE.OR.US (Chris Adams) writes: >I am looking for a recording of "Save Me Some", done by Jed Davenport and his >Beale St. Jug Band, which included Memphis Minnie and her then husband >Joe McCoy. The only recording I find for Jed Davenport is on the Document >"Memphis Harp and Jug Blowers". Does anyone know if "Save Me Some" is on >that or if there are other recordings of Jed Davenport. By the way, he >was one incredible harp player! There are 12 Jed Davenport tracks on MEMPHIS HARP AND JUG BLOWERS blues document BDCD 6028. They were recorded in sessions in 1929 and 1930 for Vocalion. The first two, How Long / How Long and Cow Cow Blues was recorded at the Peabody Hotel in Memphis. Tom Freeland ========================================================================= Date: Mon, 1 Apr 1996 01:48:54 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: dfw only For those in range of DFW radio only. Effective today, 4/1/96, KNON's (89.3 FM) blues schedule has changed. We now have a solid block of blues programming, Monday through Friday from 6 to 8 pm. That's a net gain of 2 hours a week for the blues and a move into partial drive time. Same DJs and shows, just a solid 2 hour block through the week instead of some shows being 1 hour, with others being 2 hours, or 3 hours. Just remember to set those clocks back to blues savings time from 7 pm to 6 pm. Don O. Friday 6-8 pm ========================================================================= Date: Mon, 1 Apr 1996 00:11:54 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: Re: Debbie Davies Comments: To: Tom Kraft Tom Kraft wrote: > > Okay then. What are the titles of the first and second releases? so I can > go shopping. > > Tom Kraft > > At 08:42 AM 3/27/96 +0000, you wrote: > >On Wed, 27 Mar 1996, Pat Hertel wrote: > > > >> I LOVED her first CD. Played it over and over and over again > >> .... but the second just wasn't up to snuff with the exception > >> of a single cut "I Like The Life". Some of the others were > >> passable but "A Mother's Blues"?? ... finger-in-the throat > >> syrup. Yecchh! > > > >I agree. Her 2nd didn't have the bite or fire > >or whatever that the 1st did. Much smoother, more > >polished... > > > >So, all you 'ellers out there: > > > >Buy her 1st but not her 2nd (unless you're some > >sort of anal completist or something). > > > >Ken > > > > Debbie Davies cds, both on Blind Pig 1. Picture This 2. Loose Tonight I like them both... Stan -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 ========================================================================= Date: Mon, 1 Apr 1996 00:23:01 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: BOT playlist 3/31/96 Comments: To: Blucebird@aol.com, burnside@teleport.com, canorton@JOURNALISM.INDIANA.EDU, daveb@oboe.rounder.com, bluesjazz@aol.com, aqm@earthlink.net, Harp-L@garply.com, Blacktnola@aol.com, JM1370@aol.com, johnca@rounder.com, LKnight1@aol.com, bigmorecor@aol.com, malaco@misnet.com, VentRec@aol.com Stan Ruffo Productions 800 N. Ben Maddox Way - Suite 2200 - Visalia, CA 93292 vox/fax (209) 625-6049 - email, steamin@valleynet.com http://www.valleynet.com/~steamin "Blues On Tap" every Sunday at 8pm Subject: Playlist 1396 - Commercial Radio Date: March 31, 1996 8pm - 10pm Station: KI00 99.7fm (K-eye-oh-oh), Visalia CA Program: "Blues On Tap" with Steamin' Stan Ruffo SPECIAL: Tribute to William Clarke Artist Title Label Track William Clarke Serious Intentions Alligator 11 William Clarke Blowin' Like Hell Alligator 1 Rick Holstrom Lookout! Black Top 3 William Clarke Groove Time Alligator 3 Clarence Gatemouth BrownLong Way Home Gitanes 1 William Clarke Blowin' Like Hell Alligator 7 Cotton Candy They Call Me Cotton CandCo-ZE 4 Hollywood Fats Rock This House Black Top 9 William Clarke Serious Intentions Alligator 1 Joey Razor Joint B Jump Hectic 8 William Clarke Serious Intentions Alligator 6 Elmer Lee Thomas Radio Blues Mo-Toe 1 Fleetwood Mac Live At The BBC Castle 1-2 Otis Grand Nothing Else Matters Sequel 4 Pat Boyack On The Prowl Bullseye Blues 2 Steamin' Stan Ruffo Unreleased 13 William Clarke Blowin' Like Hell Alligator 3 Hank Ballard Sexy Ways Rhino 3 Isaac Cosse The Spot Is Hot 1 Jimmy Rip Way Past Blue HOB 5 Patrick Ford Hotshots Blue Rocket 1 William Clarke Blowin' Like Hell Alligator 2 Dicky Williams Full Grown Man Ichiban 8 The Curbfeelers Bellflower Mood Vital 15 Louisiana Red Sittin Here Wondering Deluge 11 William Clarke Groove Time Alligator 6 "Blues On Tap" reports to The Hard Report and Living Blues http://www.valleynet.com/~steamin/bot.html -- Stan Ruffo Productions - "Blues On Tap" http://www.valleynet.com/~steamin ========================================================================= Date: Mon, 1 Apr 1996 18:06:14 JST Reply-To: hasu@VNET.IBM.COM From: Taro Hasumi Subject: Andrew Osbourne Who? Bought Andrew Osbourne's CD last week, his electric&acoustic slide guitar sounds good to me, also his voice(reminds me of Tom Waits a bit) is nice. But, nothing about him in the liner notes. Anybody know who he is ( i.e. his ags, his records, his career...) ? Please let me Know Thanks in advance Taro Hasumi hasu@vnet.ibm.com Tokyo, Japan ========================================================================= Date: Mon, 1 Apr 1996 05:29:47 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1955, Muddy waters recorded the original version of "See You Real Soon", with harpist Little Mike Mauser. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" ========================================================================= Date: Mon, 1 Apr 1996 05:40:48 -0500 Reply-To: RAHalonen@AOL.COM From: Reeann Halonen Subject: Washington Blues Society B.B. Awards Just wanted to mention that Lloyd Jones won several awards Sunday evening at the Washington Blues Society B.B.'s along with the harp guy I work for, Dick Powell who won two awards (Best Keyboard and Best Harp...we have had a great week) and Little Bill Englehart, who won three including the Living Legend Award. It was a fun event with some great blues from Too Slim and the Taildraggers and Lloyd Jones did a few tunes as well. Also thanks to everyone who helped me learn how to research and find the composers of songs. This list is a treasure. Ree Anne . ========================================================================= Date: Mon, 1 Apr 1996 06:07:03 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: NY CD Blues update ... We have made a few changes. I would like any feedback, and also note a few goodies that have been added. 1. This month added Vent Records, Biograph Records, Modern Blues and a discography and review page on Johnny Winter. 2. There is now CD sales from the site - see Vent and Biograph & make a note we are not involved with either label in any way, cept supporting their good music. Both have special offers. 3. We will be giving away 5 of Biograph's blues CD's - see game, on our main page & on the Biograph page. 1 winner all 5 CDs. 4. Looking for anyone interested in contributing reviews for the Johnny Winter pages - contact me privately (e-mail) 5. If anyone has Live Show Reviews or Interviews, and would like to be a contributing writer please let me know (e-mail) Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 1 Apr 1996 06:34:50 -0500 Reply-To: ac928@osfn.rhilinet.gov From: Jim McGlynn Subject: Re: Andrew Osbourne Who? Taro Hasumi wrote: > >Bought Andrew Osbourne's CD last week, his electric&acoustic slide >guitar sounds good to me, also his voice(reminds me of Tom Waits a bit) >is nice. >But, nothing about him in the liner notes. >Anybody know who he is ( i.e. his ags, his records, his career...) ? Anders Osborne is a New Orleans-based singer/guitarist who was born in Sweden and came to the U.S. about ten years ago. Since settling in N.O. he's built a sound that's solidly in the Lowell George/Little Feat mold. His recent Sony/Okeh album "Which Way To Here" is his first big-label release. He's done two (I think) on his own, one of which, "Break The Chain"(1994; Rabadash Records RAB-011), I have and much prefer to the Okeh. More rootsy and idiosyncratic (not surprisingly) than this latest bid for a wider audience. I'm pretty sure the Sony web site (http://www.sony.com) has all the biographical details. I saw him at Jazz Fest last year and while his show had the crowd going, I myself wasn't much moved. However, now that I've heard his stuff on CD I'm really looking forward to seeing him again at the Fest next month. Jim McGlynn -- ========================================================================= Date: Mon, 1 Apr 1996 11:54:00 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Debbie Davies In-Reply-To: <2.2.32.19960331173918.0069a694@electrotex.com> On Sun, 31 Mar 1996, Tom Kraft wrote: > Okay then. What are the titles of the first and second releases? so I can > go shopping. > first "Picture This" (also features Albert Collins on one cut) - Get it second "Loose Tonight" - Forget it (unless you are a completist) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [1/4/96 6:30 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 1 Apr 1996 09:20:00 GMT Reply-To: Mr G M Smith From: Mr G M Smith Subject: BLUES IN THE MOVIES If my memory serves me well,didn't Paulo Pasolini use "Dark Was the Night..." in his "Gospel According To St Matthew"? I vaguely recollect that it was played in the bit where Jesus was denied by the apostles (or at least some of them) three times before dawn. Yours, Garry "Obscure AND pretentious" Smith. ========================================================================= Date: Mon, 1 Apr 1996 06:36:37 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Need National Resophonic advice -Reply Comments: To: ac928@OSFN.RHILINET.GOV Nationals......There IS nothing like 'em. Dobros just DON'T do it.....unless you're really country or bluegrass. The new Nationals are really great. I own a Style W (really it is a style 1 1/2 reissue) but technically it is a Style 1 reissue (based on Bob Brozman's 1928 (?) original. tri-cone (meaning that it has 3 little cone resonators instead of the cheaper one large cone. It was Mr. Dobyera's choice for sounding great....but it was unaffordable back in the '20's, which led to the development of the single cone. I can attest to the fact that it is a beautiful sounding guitar, and mine sounds exactly like Bob Brozman's (in the video). It is not as loud as the single cone resonators. The Style O single cone resonator has a "bell brass" body. It is very loud, and very clear in the higher registers and lacks a little bit in the lower registers. I played one on stage once (the reisse which i also own)....and got the greatest response from a song that i usually don't get that kind of response when playing my vintage 1935 Duolian (steel body single cone resonator).....but didn't get near the response from some of my other songs that my Duolian gets. I think personally that the Style O is probably better for fingerpicking than for slide (Bob Brozman keeps his Style O in regular tuning, i believe.) But....I wouldn't trade my Duolian for three reissues! It has soul...... it is great for slide...... it has strong bass response (i think this is good to have because, after all, the "beat" is where it's at....and the stronger your bass, the stronger your beat!). ' But in the long run, you really have to "play" a National before buying it.....vintage Naitonals are NOT all alike.....reissues (which are basically more alike from one to the other than vintage) are NO exception. (incidentally, Gibson doesn't have a sense of humor....so when they bought the "Dobro" company and received the trademark on the term "Duolian" they made National Resophonic Instruments stop using that name....so the new "duolians" are called "Delphi". You may ask your local dealer if they have or could get you the Brozman introduction tape made for National in which he plays all four reissues and explains the differences. GOod luck.....it took me 20 years to find the "right" National vintage instrument......Don't wait as long as I did! delta doc roger (aka Delta Dead Hand) ========================================================================= Date: Mon, 1 Apr 1996 08:26:27 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Zucchero's US Tour Dates Tour dates for Zucchero, described by an Italian Blues-L correspondent as "Italy's blues star", were recently posted. It is true that Zucchero has used Eric Clapton, Rufus Thomas, massed choirs, the Blues Brothers horn section and possibly the second coming of Our Lord on his records, but you should be warned that all of this has previous little to do with the blues. Rather, imagine an even more over-produced Michael Bolton, filled to the max with steroids. But I'll go to the Toronto show, because his records as so unintentionally funny and over-the-top and I want to see whether he can do it live! Richard the Elder ========================================================================= Date: Mon, 1 Apr 1996 08:47:19 -0500 Reply-To: BluesDJ478@AOL.COM From: David J Boyd Subject: April 11, 1996 Boston- any info regarding live blues the evening of 4/11/96 in Boston would be great ========================================================================= Date: Mon, 1 Apr 1996 08:01:35 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Need National Resophonic advice In-Reply-To: Message of Sun, 31 Mar 1996 10:44:51 -0500 from On Sun, 31 Mar 1996 10:44:51 -0500 Michael Meadors said: > >The overall sound of the originals is much more metallic, brighter. The >originals will only increase in price, whereas the reissues will need to be >around a bit longer for any payback in that department. I have a original 32 Duolian and I've played a new Style O, I much prefer the originals. The main reason is the same reason I like old Levi's and old cars They are already broke-in. The new one seemed "tight" didn't seem to respond I just like old guitars, they feel better TO ME. Could a mind thang I do wish mine was 14 frets instead of 12, but it's been worth every penny LW 'musician imitator' ========================================================================= Date: Mon, 1 Apr 1996 08:29:10 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Tears Came Rollin' Who wrote this tune "Tears Came Rollin' Down"...I've heard two versions John Mayall's and I think Erbie Bowser (or is it TD BELL). I would like to know who did the original version and where I can find it. We do an acoustic version and it just feels like an acoustic tune to me... Thanks LW ========================================================================= Date: Mon, 1 Apr 1996 06:42:02 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Zucchero's US Tour Dates >Tour dates for Zucchero, described by an Italian Blues-L correspondent as >"Italy's blues star", were recently posted. > >It is true that Zucchero has used Eric Clapton, Rufus Thomas, massed >choirs, the Blues Brothers horn section and possibly the second coming of >Our Lord on his records, but you should be warned that all of this has >previous little to do with the blues. Rather, imagine an even more >over-produced Michael Bolton, filled to the max with steroids. Oh, c'mon Richard! You purist!!! Lighten up! This is the deepest blues to come out of Italy since... well, since I don't know when. This guy has got soul oozing from his pores!!! I've got the soundtrack to the movie 'French Kiss', and Mr. Zucchero's track brought tears to my eyes (better, even, than Kevin Kline's performance!!!) To compare him to Michael Bolton is... well, sacrilege is the most appropriate word I can think of!!! Give it another listen, Richard. Open your mind to the world of blues in the 21st century! -Jim (hndful@uniserve.com) Oh, by the way, April Fool's! :-) ------------------------------------------------------------ Check out 'Heart and Soul', a new hour of blues, gospel, and jazz every week on SDF-Net Community Radio - http://sdf-radio.colossus.net. ------------------------------------------------------------ ========================================================================= Date: Mon, 1 Apr 1996 09:52:23 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Blues in Movies/TV Since people are now pointing out blues in TV shows, past and present...the syndicated series "Highlander" has a character, Joe, who owns a blues bar and is sometimes seen, in reflective moments, playing a little acoustic slide guitar in the bar. Shannon ========================================================================= Date: Mon, 1 Apr 1996 10:05:32 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: BluesBytes Money Hi y'all... Say...I know we collected money (or Bob Unger did) for BluesBytes and the profits were/are scheduled to go to the place of our choice. Some of us voted (very few) and the outcome was Blues Heaven. However, it seems most people didn't really care where the profit went as long as it went to a good cause. Blues Heaven sure is one (as are many of the others), but upon second thought, a few of us have talked about the fact that some of these places (Blues Heaven included) get monies from several sources and maybe our money would really make a difference to a smaller organization -- say like the Mt. Zion Grave Restoration fund. So I've been asked to ask you all what you think. Would you consider putting the money we made on BluesBytes into the Mt. Zion Grave Restoration Fund? They keep the graves of our heros up and that kind of money would ($500-600 I believe it is) make a BIG difference. Please check in with your votes. If you consider the matter voted upon and closed, please "Just Say No" (hmmm...where have I heard that phrase before?). Otherwise, check in and vote yes. Let's decide this by Friday, April 5th okay? I wouldn't bother you with another vote, but very, VERY few people indicated they cared...and Unger made me promise to take the heat if y'all got peeved. So come and get me sparky! Cathi N. ========================================================================= Date: Mon, 1 Apr 1996 07:42:02 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: April 2 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BROWN, J. T. (tsax/ELMORE JAMES) b. 1910-0402, MS CAMPBELL, MIFF (g/RIFF BROS/INK SPOTS) d. 1995-0402, INDIANAPOLIS, IN 89 CARLISLE, CLIFF (dobro g) d. 1983-0402 78 COLES, CHARLES"HONI"(tap/ COLES & ATKINS) b. 1911-0402, PHILADELPHIA, PA CORYELL, LARRY (g) b. 1943-0402, GALVESTON, TX DR. DEMENTO (BARRETT E. HANSEN) (dj) b. 1941-0402, MINNEAPOLIS, MN GAYE, MARVIN PENTZ (v/songw/MOTOWN) b. 1939-0402, WASHINGTON, DC HEMPHILL, JULIUS (sax) b. 1995-0402, NEW YORK CITY, NY MADISON, JOE (o/p) d. 1995-0402,?NIAGARA FALLS, NY 55 MILLS, HERBERT (of THE MILLS BROTHERS) b. 1912-0402, PIQUA, OH MOTEN, BENNIE (p/BASIE) d. 1935-0402, KANSAS CITY, MO 40 RACKMIL, MILTON R. (co-founder:DECCA REC) d. 1992-0402, MANHATTAN, NY 86 ROUT, LESLIE (bsax/HAMPTON) d. 1987-0402, DETROIT, MI 51 RUSSELL, LEON [CLAUDE RUSSELL BRIDGES](p) b. 1942-0402, LAWTON, OK SPENCER, GLORIA (gospel/NASHBORO REC) d. 1976-0402, CHARLOTTESVILLE, NC 39 ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 1 Apr 1996 10:02:29 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Anders Osborne/Jazzfest Comments: To: ac928@OSFN.RHILINET.GOV I saw him the night before that show: he was playing the Mid-City Bowling Lanes on a triple venue with Tab Benoit and someone else. Anders was by FAR my favorite that night: he had every pelvis in the place moving right on the beat. I also reported on "Break the Chain" which I bought that night, and noted the same tip of the hat to Lowell George and Little Feat. His fiance' , Theresa Andersen , is nothing to sneeze at, either. Which brings us to another topic: whoamong the bluezellers is going to jazzfest this year? I'll be there the first weekend, it looks like. Jim _______________________________________________________________________________ Subject: Re: Andrew Osbourne Who? From: ac928@OSFN.RHILINET.GOV at INTERNET-SH Date: 04/01/96 6:16 AM Taro Hasumi wrote: > >Bought Andrew Osbourne's CD last week, his electric&acoustic slide >guitar sounds good to me, also his voice(reminds me of Tom Waits a bit) >is nice. >But, nothing about him in the liner notes. >Anybody know who he is ( i.e. his ags, his records, his career...) ? Anders Osborne is a New Orleans-based singer/guitarist who was born in Sweden and came to the U.S. about ten years ago. Since settling in N.O. he's built a sound that's solidly in the Lowell George/Little Feat mold. His recent Sony/Okeh album "Which Way To Here" is his first big-label release. He's done two (I think) on his own, one of which, "Break The Chain"(1994; Rabadash Records RAB-011), I have and much prefer to the Okeh. More rootsy and idiosyncratic (not surprisingly) than this latest bid for a wider audience. I'm pretty sure the Sony web site (http://www.sony.com) has all the biographical details. I saw him at Jazz Fest last year and while his show had the crowd going, I myself wasn't much moved. However, now that I've heard his stuff on CD I'm really looking forward to seeing him again at the Fest next month. Jim McGlynn -- ========================================================================= Date: Mon, 1 Apr 1996 09:57:44 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re[2]: Need National Resophonic advice Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu I certainly agree on the worn-in jeans analogy, but on the other hand, the big hurdle with getting a 30s model instead of a new one is finding an old National that is in decent shape ( and keeping it that way). If you have one in good shape you're very lucky: from what I remember of the market last year when I was shopping there were a lot of beaters out there that were priced at or above the retail price on a new one. If you buy a vintage model and there are problems with the neck set, the tuners or the resonators you're probably going to have to send it back to National for reconstruction anyway, and then you'll have more in the instrument than the market will bear. On the other hand, the one thing I can say from my experience with my new tricone is that it is /extremely/ well constructed and every detail appears to my unexpert eye ( and hand) to be perfect. You're also correct that they come out of the box tight and need a good deal of playing to break in, and I'm doing my best to oblige! I wouldn't buy a vintage National without laying hands on it and examining it and playing it for a good deal of time. All in all, my advice to a buyer right now would be, if you're not expert in the National guitar field, and/or don't have or desire to spend six months and a good deal of travel to "shop" for your National, get a new one ( if you can find one). A new National is going to have very good quality control,and while there may be some variation among individual units in any model, I would think, given from what I've seen and heard about the new ones, that it would be relatively small. Jim _______________________________________________________________________________ Subject: Re: Need National Resophonic advice From: ISTS024%UABDPO.BITNET@brownvm.brown.edu at INTERNET-SH Date: 04/01/96 8:56 AM On Sun, 31 Mar 1996 10:44:51 -0500 Michael Meadors said: > >The overall sound of the originals is much more metallic, brighter. The >originals will only increase in price, whereas the reissues will need to be >around a bit longer for any payback in that department. I have a original 32 Duolian and I've played a new Style O, I much prefer the originals. The main reason is the same reason I like old Levi's and old cars They are already broke-in. The new one seemed "tight" didn't seem to respond I just like old guitars, they feel better TO ME. Could a mind thang I do wish mine was 14 frets instead of 12, but it's been worth every penny LW 'musician imitator' ========================================================================= Date: Mon, 1 Apr 1996 10:05:45 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Re[2]: Need National Resophonic advice In-Reply-To: Message of Mon, 1 Apr 1996 09:57:44 CST from On Mon, 1 Apr 1996 09:57:44 CST James Bardsley said: >I wouldn't buy a vintage National without laying hands on it and examining it >and playing it for a good deal of time. All in all, my advice to a buyer right >now would be, if you're not expert in the National guitar field, and/or don't >have or desire to spend six months and a good deal of travel to "shop" for your Although I agree 100% and don't advise the way I did it. I shopped all the guitar shows and local stores (no Nationals) and settled for a 33S Metal Dobro Then I saw an ad in Vintage Guitar for a 32 National that said STRAIGHT NECK. I called and told the guy, that I am holding him to that straight neck comment I assured him I would return it, if it is not what he said. So I bought my sight unseen and never played it beforehand. I had 48 hour approval. I am very happy. There are no problems, except the bridge needed trimming. It was touching the 'handrest/bridge cover' and making a terrible noise. I am very satisified with mine. Like you said most of the time (in my shopping) they have necks with a canoe shape :-). I got lucky on mine. I love it and it loves me back....The tuners are fine. I was going to replace them, but there is no reason. It stays in tune and I bang the heck out of it. LW 'a heck banger' btw: mine does have the name "Dorthy Burleson" scratched in it, I wonder who she is. I don't care about cosmetics, I play 'em. It is a tool, just like a screwdriver. I don't care if screwdriver is old and ugly, nor my guitar. ========================================================================= Date: Mon, 1 Apr 1996 11:15:50 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Blues in Movies/TV Comments: To: shannon oconnor In-Reply-To: <9603018283.AA828380566@smtpgate.swpco.com> On Mon, 1 Apr 1996, shannon oconnor wrote: > Since people are now pointing out blues in TV shows, past and > present...the syndicated series "Highlander" has a character, Joe, who > owns a blues bar and is sometimes seen, in reflective moments, playing > a little acoustic slide guitar in the bar. Looks like this is Mr. Flohil's week. The above noted actor is Jim Byrnes and his music can be heard on Stony Plain Records. A review of his CD(s) are upcoming at NY CD Blues along with the rest of SP's output. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 1 Apr 1996 10:07:24 -0600 Reply-To: Roger Struve From: Roger Struve Subject: BluesBytes Money -Reply Comments: To: canorton@JOURNALISM.INDIANA.EDU I for one, would rather see the money go to a living cause....i mean, once you're dead, you're dead, and how many of us REALLY will travel that far to see a headstone? I mean, people (most people) aren't just walkin' around in a graveyard, that the headstone would make a difference. Therefore, figuring the usefull ness to dollar ration, BLUES HEAVEN still sounds l8ke the better choice to me anyway. delto doc dead hand ========================================================================= Date: Mon, 1 Apr 1996 11:26:29 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Andrew Osbourne Who? Comments: To: bit-listserv-blues-l@uunet.uu.net In article , Taro Hasumi writes: >Bought Andrew Osbourne's CD last week, his electric&acoustic slide >guitar sounds good to me, also his voice(reminds me of Tom Waits a bit) >is nice. I think you might mean Anders Osborne. There's a transcript of an online conference he did along with bio/sound clips at http://www.vivanet.com/~catbauer or the same at the Sony site. Catbauer@vivanet.com ========================================================================= Date: Mon, 1 Apr 1996 11:26:47 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Keb' Mo' live (long) Comments: To: bit-listserv-blues-l@uunet.uu.net Last night we had the good fortune to have Keb' Mo' play at the Creek in Rochester. For anyone who's been around bands you know there's just some artists that have a way of making you feel good just being around them...Kevin does that and more. I was late getting to the club but he had already made himself comfortable and introduced himself to everyone there. When I did get there it was just as a couple was leaving the club all bummed out because the show was sold out...they noticed us by the car and you could hear them saying, "It's him..." They came over, talked for a bit & Kevin asked if they were coming to the show that night and listened while they said it was sold out...next thing I knew he was asking if he had a guest list. Before they knew what hit them he had invited them to the show as his guests. They sat the entire show at the edge of the stage enjoying every moment. We decided to run to the grocery store while waiting for the sound guy to get there and Kevin offered to chauffeur me for a change...I think he's heard about my driving. : )He had me laughing the enitre trip as he gave me tips on avoiding speeding tickets. Now for the performance... I've seen him a couple of times but one was a festival, the other he was on the bill with all of the other artists on the Okeh label. This time was a club setting...we couldn't believe it, 300 people crowded around the stage for the entire show. No talking over his performance, just respect for the artist while he was performing. There may have been a few people sitting at the bar but the entire crowd was there to see Keb' Mo', no one touched the pinball machine or played pool the entire performance. (we ve had other artists there & this *is* unusual) He had their complete attention throughout the show, everything from clapping in time to the music, asking for help in naming his guitar (it is now called Sylvia) to singing along with him. He made jokes about Gladys Knight & the Pips and how we should all do our part to help him through a number...he had people rolling when he said he thought he was doing good because he had 300 Pips as backup singers. He started out with a fantastic version of "Love In Vain," then went on to do "Angelina," "Love Yourself," Hand It Over" (the conversation with the crowd during those last two was hysterical) and more tunes than I can remember...including "Dance" which seemed to be one of the favorites from the number of people yelling for him to play it. He came back for an encore and they still didn't want him to leave but he said only one more song. You had to be there to get the full impact of his closing number. I have no idea if he does this one at all his shows but I feel pretty safe in saying that in the 20+ years the Creek has been in business no one ever played an acoustic version of "America the Beautiful" with everyone ...and I mean everyone singing along. There were bikers, college students, business people and more all up on their feet applauding...if I hadn't seen it myself I don't know if I would have believed it. I could go on forever about how funny he was talking to the audience, how great he sounded or how nice he was to sign autographs until every person who wanted to talk to him was gone but I'd rather suggest everyone go see him for themselves. And no...I don't work for him or run his fan club but after last night I'd be the first to volunteer. : ) Catbauer@vivanet.com ========================================================================= Date: Mon, 1 Apr 1996 11:46:04 -0500 Reply-To: BLUESROCCO@AOL.COM From: Jim Rocco Subject: All the Black musicians recorded there......................................... I need location assistance from some cheesehead from around the Milwaukee area or anyone for that matter about the whereabouts of the old recording studio in or near Grafton, Wisconsin. I've lived in the Milwaukee area and know well the area around Grafton fairly good but have yet to uncover the location of the studio. When I speak to the locals they seem to hush up like it's a deep dark secret. Is it? A lot of recording was done there for Paramount. Son House and all the greats reportedly recorded there. I have been compiling photo-documentation of as many of these "studios" from around the U.S., Canada, and Mexico for well over a decade and the one in Grafton has been an enigma. There were very few studios available to Blacks at that time and to all our benefit the ones that were did a great service to us by providing "magnetic ink" to the people who developed the attitude (BLUES) we worship. If there is no secret to the whereabouts of this studio and if somewhere there is a sign in Grafton that points to "The Studio Where All The Great Black Blues Dudes Used To Record Because None Of The Other Uppity Bastards Would Let Them" .....I'll slap myself and say I'm sorry for bothering you-all........but please....HELP ME..... I'm thanking you in advance..... Jim Rocco By the way....If you're in the Milwaukee area....check out the "Up And Under Club" Great blues performers and a "Complainers Jam" every Sunday night!! THANKS ========================================================================= Date: Mon, 1 Apr 1996 11:51:05 -0500 Reply-To: Rags_Trips_On_Gras From: Rags_Trips_On_Gras Subject: BAYOU_TO_BEALE_ST!!! With regard to James query as for the Bluezellers making it to JazzFest.... I am outta the Pitt(sburgh) heading for the Bayou, the last week of April (first week of Jazz Fest) and off to Beale_St. the subsequent week, the first week of May!!! This ain't no April Fools day statement B<)> Om Shanti!! Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ Laissez les bon temps roulez!!...Let the good times roll!! +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Mon, 1 Apr 1996 12:10:26 -0500 Reply-To: Jerry Zolten From: Jerry Zolten Subject: Re: Leon Bibb A couple of years ago I was watching the evening news coming out of Cleveland, Ohio. To my amazement, Leon Bibb was the anchor man. Could it be the same Leon Bibb? I don't know, but I liked his music when I first heard it back in the 60's. Any Clevelanders out there who might be able to confirm or deny? ========================================================================= Date: Mon, 1 Apr 1996 09:35:00 PST Reply-To: Gary Joneson From: Gary Joneson Subject: Re: Blues in Movies/TV > Since people are now pointing out blues in TV shows, past and > present...the syndicated series "Highlander" has a character, Joe, who > owns a blues bar and is sometimes seen, in reflective moments, playing > a little acoustic slide guitar in the bar. The show is shot in Vancouver, B.C. Jim Byrnes is a blues musician, who does some acting. He can be found playing in the local blues clubs quite frequently. One CD I know he has out is on Holger Peterson's Stony Plain Label "That River" Gary BluesWEB http://www.island.net/~blues/ ========================================================================= Date: Mon, 1 Apr 1996 12:52:41 -0500 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Sista Monica -Get Out of My Way Comments: To: bit-listserv-blues-l@uunet.uu.net Hey Sister Monica is great! Does anyone know how to contact her personally or the name of her agent. I would like to do an interview. Lea Gilmore Baltimore, MD "Wild Women Don't Have the Blues!" ========================================================================= Date: Mon, 1 Apr 1996 12:09:43 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Beale Street Meeting It appears tons of 'ellers will be at the Beale Street Fest. So how are we all going to get together and meet. Last year we met behind the blues tent, but that's not a good meeting place. Some of us have Blues-l shirts and can be easily identified. So suggestions...Bring your instruments..PLEASE We can do this private mail, if need be. LW ========================================================================= Date: Mon, 1 Apr 1996 12:15:47 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Robert Johnson Marketing I know we've discussed all the RJ marketing. I got an Elderly Instruments catalog and they have flatpicks with RJ's picture, thumbpicks, straps and bottlenecks with RJ's signature :-)....I will probally order the flatpicks just because I think they are neat. part of the proceeds go to a good cause. (I forget the exact name of the organization). LW ========================================================================= Date: Mon, 1 Apr 1996 13:37:11 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Robert Johnson Marketing Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU On 1 Apr 96, ISTS024%UABDPO.BITNET@BROWNVM had this to say... > I know we've discussed all the RJ marketing. I got an Elderly Instruments > catalog and they have flatpicks with RJ's picture, thumbpicks, straps and > bottlenecks with RJ's signature :-)....I will probally order the flatpicks > just because I think they are neat. part of the proceeds go to a good cause. > (I forget the exact name of the organization). I have nothing against buying and using stuff that pays tribute to an idol. If it makes a little extra cash for your idol, all the better. But in the case RJ I find the idea that Steve LaVere makes money so VERY distasteful. To me this is a guy who slimed his way into a portion of everything Johnson by exploiting the ignorance of his kinfolk. A real sleaze-bag. It's one case where I'd almost rather see a big corporation cashing in on RJ than this con-man. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 1 Apr 1996 18:27:27 GMT Reply-To: "Girish V." From: "Girish V." Organization: Iowa State University, Ames, Iowa USA Subject: Free CDs and Blues!!!! Hi all: Would you like to win free CDs and get reviews and a whole lot of blues?? Then check out our own Barry Silverberg's `NY CD Blues'. I just won the competition last month and I want to spread out the word. This month its not just 1 CD; its 5. So point your browser to: http://www.panix.com/~bsco/ No, I am not associated in any way to NY... Just wanted to appreciate the good work put in by Barry and friends and let you guys get a chance to win CDs. Have fun. Girish -- Girish ---------------------------------------------------------------------------- http://www.public.iastate.edu/~girishv/homepage.html (Netscape 2.0 Preferred) ---------------------------------------------------------------------------- Mirrors are the doors through which Death comes and goes. You only have to watch yourself all your life in a mirror, and you'll see Death at work like bees in a glass hive. -----Jean Cocteau ---------------------------------------------------------------------------- If each one of us could make just one other happy, the whole world would know happiness. ---- Georges Simenon ---------------------------------------------------------------------------- ========================================================================= Date: Mon, 1 Apr 1996 13:43:17 -0500 Reply-To: Dave Markovits From: Dave Markovits Subject: Clarence Gatemouth Brown I saw Gate at Buddy Guy's Legends Sat. Night. I must say, and I say it every time) Gate kicks some booty. He played two very long sets, each was well over an hour. Highlights; Take the A-Train Guitar in my hand; Gate's first recorded tune from 1947. Mojo workin: It kind of sounded like a standard Blues version: until Gate and his bass player made it into a funky Bee-bop version. Real cool!! Pressure Cooker- Need I say more. Don't get around much anymore A southern medley followed- Land of cotton, Glory Glory Halleleujah, with hints of Yankee Doodle Dandy. Gate played several different fiddles (3 I believe) And 3or 4 guitars. He also dedicated a guitar to Legends and signed it. He sold his wares and talked to his fans. A great night of music. If he comes your way you'd be crazy not to check him out. Enjoy; David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Mon, 1 Apr 1996 18:31:34 GMT Reply-To: bbbean@sheltonlink.com From: bbbean@SHELTONLINK.COM Organization: inlink Subject: Re: Shelby Foote and the blues Comments: To: bit-listserv-blues-l@uunet.uu.net In <960331162927_366574690@emout07.mail.aol.com>, Tom Freeland writes: >Yes. He is also a fan of Payne's bbq (I've seen him there). Obviously a man >of taste. > >Tom Freeland Tom, I'll have to reconsider some of the snide comments I've made behind your back. I assume you mean the "real" Paynes at Lamar and Southern, home of nuclear cole slaw, right? Have you tried Mel's fish mart next door? BBB Blues content: Payne's in one of Cap'n Pete's favorite BBQ joints. B.B. Bean New address------>bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Mon, 1 Apr 1996 14:11:49 -0500 Reply-To: BluesMojo@AOL.COM From: Doug Carlisle WSFM Subject: Billboard Greetings!! Could someone please e-mail me the most recent Billboard Blues Chart (Top 10). Thank you!! Bluesmojo@aol.com ========================================================================= Date: Mon, 1 Apr 1996 13:21:22 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Charlie Christian Had an interesting conversation with a fellow workabee (where else?) at work here today...and he told me he has a copy of a record by Charlie Christian. I had never heard of this guy before.....and my friend claims Charlie was the first to bring electric guitar into the mainstream....supposedly he had a custom built electric guitar made personally for him by Gibson. He played with Tommy Dorsey....and was primaily jazz and blues. SO what's the scoop on this guy? thanks, ddr ========================================================================= Date: Mon, 1 Apr 1996 19:10:25 GMT Reply-To: Jim Rutledge From: Jim Rutledge Organization: Prodigy Services Company 1-800-PRODIGY Subject: Night Hawks Comments: To: bit-listserv-blues-l@uunet.uu.net Does anyone know when the Night Hawks will return to the Philly area ?? I missed their last gig in March. ========================================================================= Date: Mon, 1 Apr 1996 11:22:30 -0800 Reply-To: Jordan From: Jordan Organization: San Francisco Denizen Subject: April 1996 (SF) Bay Area Blues Beat Comments: To: bit-listserv-blues-l@uunet.uu.net Hi Blues Brothers and Sisters, Happy April to you all from rainy San Francisco. Here's the monthly column I write about the San Francisco Bay Area blues scene for the magazine, Southland Blues, out of Long Beach, California. For inclusion in the April 1996 issue of Southland Blues Bay Area Blues Beat by Joseph Jordan SAN FRANCISCO: BAY AREA BLUES BEAT CD OF THE MONTH: Bobby Murray, "The Blues Is Now" on Viceroots. (212-279-6520) Longtime Bay Area resident, "Mr. Goodfingers," Bobby Murray, is moving permanently to Detroit. But not before finishing his first solo recording for the newly-launched, Viceroots label, a division of the New York-based, Viceroy Entertainment. Murray is still longtime lead-guitarist with Etta James' band, and formerly played with high school chum, Robert Cray. Bobby's put a sparkling soul-funk-urban blues album together featuring his sensitive and stinging guitar work, the meaty vocals of Freddie Hughes and on one tune, the stirring contralto of beautiful star-in-the-works, Beverly Watson. "The Blues Is Now" also features throughout, terrific saxophone work by George Brooke. The Bay Area's loss is the Motor City's gain. Bobby, good luck, but don't forget, the Bay Area will always be your home. BAY AREA BLUES BEAT IN CONCERT: Anson Funderburgh & The Rockets with Sam Myers (for their first visit in over a year...too long, Anson) along with The Fabulous Thunderbirds at Slim's in SF. And something I don't have to tell you regular Southland Blues-ers, Kid Ramos rocks! Another worthy show was Mark Hummel and Hohner Harmonicas' West Coast Blues Harmonica Blowout in four Northern California venues, including Berkeley's Ashkenaz and SF's Biscuits and Blues. This year's annual event, wonderfully put together by Oakland resident and Flying Fish recording artist Hummel, featured the revitalized Paul De Lay from Portland (keep a lookout and ear-out for this guy), L.A.-by-way-of Mississippi's Johnny Dyer, San Jose's Gary Smith and two East Bay stalwarts, Dave Wellhausen and Paris Slim. Great show with a whole lot of blowin' goin' on. BAY AREA BLUES BEAT BRIGHT STAR: Oh, are we jump-blues fans in for a supreme treat. One of the finest guitarists on the West Coast (go ahead, I dare you to challenge me after you hear him,) will be have his sparkling debut CD out before the summertime blues can hit you. Rusty Zinn, an extraordinarily gifted musician, has just recorded his first solo CD for the Scott Brothers' Black Top Records. Zinn was fortunate to have his friend Kim Wilson (Fabulous T-Birds, Tigermen) to produce. It was recorded quickly at Rhumba Bum keyboardist Steve Lucky's Oakland studio. Can't wait, but got to. The 19th Annual BAMMIES: The Bay Area Music Awards, honoring some of the cream of Bay Area musicians were held recently at the Warfield in San Francisco by BAM Magazine. Winning in the blues category were: for Outstanding Blues Album, "Chill Out," by Pointblank recording artist, John Lee Hooker and for Outstanding Blues Club Band, three-time BAMMIE winners and Blind Pig recording artists, The Tommy Castro Band. Congrats, gents. PROCLAMATION OF NOTE: File this Beat under, "Sometimes Politicians Get It Right" department. The City of Oakland, in its wisdom, and to its credit, has proclaimed that each February 25th, from now on, will be "Brownie McGhee Day." The late, much beloved musician/story-teller/social activist had lived in Oakland for decades in the residence he enjoyed calling, "the house that blues built." BAY AREA BLUES BEAT VENUE OF THE MONTH: The 4th Street Tavern, 4th @ Lincoln in San Rafael, Marin County. Club owner and friend of the blues, John Radovich has recently switched his booking strategy to a seven day a week, "all-blues, all the time" policy. This gives Marin it's first all-blues club in at least two decades, if not ever. Featured artists have included Shuggie Otis, Chris Cain and local heroes, the Russell Brothers. Good luck, John and thanks for keeping blues alive. Is there is any blues-related information you want to know about in the Bay Area? If you have questions, news, views or blues, send a line to Southland Blues or e-mail me at: sobluesmag@aol.com. See you next month. - 30 - -- Down these mean streets, a man must go. - Raymond Chandler - ========================================================================= Date: Mon, 1 Apr 1996 14:31:16 EST Reply-To: "Tom Testagrossa, (Blues Guitarist) 226-6063 LKG2-2/pole Z7" From: "Tom Testagrossa, (Blues Guitarist) 226-6063 LKG2-2/pole Z7" Subject: Charley Dee Blues Band CD release & Website Hi folks, I'd like to announce a couple of EXCITING things, PRE-ORDER INFO for THE NEW CD, "CHARLEY DEE - Rollin' and Tumblin' Blues" and the OFFICIAL Charley Dee Blues Band WEB PAGE!!! About the web page... Try it out, (best viewed with Netscape...) it's fairly complete, though it's still under construction...but they now have some cool photos of the cover art for the two releases, photos of band members, etc which were not previously acessable) and ORDERING INFO for the cassette "LIVE - The Tape Was Rollin'" and PRE-ORDER INFO for THE NEW CD, CHARLEY DEE - Rollin' and Tumblin' Blues" http://www.angelfire.com/free/charlie.html About the release: ============ Available ON CD or CASSETTE for PRE-RELEASE ORDERS ============== "CHARLEY DEE - Rollin' and Tumblin' Blues" RELEASE DATE MAY 20, 1996 - (NOTE: NOT Currently available, except for pre-release orders, expect 6-8 weeks for delivery) ON CASSETTE, Order # CATT002 for $8 each ON CD, Order # CDTT002 for $15 each The bands newest STUDIO release, is currently available for PRE_RELEASE orders, for $15 on CD, on Cassette ONLY $8.00!! This long awaited release was recorded in Boston, features their newest member, Eugene Toale on Sax, and includes many ORIGINAL songs which were previously unavailable. To Order by mail, Send Check or Money order made out to "Recycled Sounds" along with your name and address (PRINTED CLEARLY!) and (optional) phone number...to: The Charley Dee Blues Band Fan Club 142-B Grafton St. Leominster, MA 01453 ========================================================================= Date: Mon, 1 Apr 1996 13:16:51 PST Reply-To: chris@sparkie.osl.state.or.us Comments: Authenticated sender is From: Christopher Adams Subject: origin of "Just Because" Comments: To: Steve.Levine@CORP.WRGRACE.COM The song "Just Because" was written by the Shelton Bros., who also went by the name The Lonestar Cowboys. Their version, was a mandolin driven jug band version, with some great jug solos. Again, we see the great influence of early black string and jug bands on white country musicians. This song later became a hit for Elvis the Pelvis. Christopher Adams chris@sparkie.osl.state.or.us ========================================================================= Date: Mon, 1 Apr 1996 12:32:29 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Alligator Records 25th Anniversary Collection I was wondering around a local CD store when I spied the Alligator Records 25th Anniversary Set. It is fantastic (as was the 20th Anniversary set). There are unreleased tracks by Albert Collins/Johhny Copeland, Lil' Ed and the Blues Imperials, Floyd Dixon, Roy Buchanan and Hound Dog Taylor. The rest of the two discs features cuts from various Alligator artists. So far, after only a few listenings, my favourite tracks are from Son Seals, Long John Hunter, Lil' Ed (smoking version of Hound Dog Taylors "It's Alright"), Billy Boy Arnold and Roy Buchanan's (ripping :-) cover of Link Ray's "Jack The Ripper." I'm still yet to realy hear it all. I know there are more gems in there. The Lil' Ed cut bodes well for the Hound Dog Taylor tribute album mentioned in the liner notes. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Mon, 1 Apr 1996 14:28:24 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Elmore Question I was listening to "Yonders Wall" and I'm curious to the harp player. I read in an old BRQ (great Elmore article...they quote Living Blues 1/2 the time ;-)' that the player is Sam Myers. I know he cut more than one version of the tune, did Sam play on all versions....I suspect the version in question is Sam. Great tune and great harp....Damn that Elmore was something and talk about influential..... LW ========================================================================= Date: Mon, 1 Apr 1996 15:48:34 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Shelby Foote and the blues Comments: To: bbbean@sheltonlink.com In a message dated 96-04-01 15:20:26 EST, bbbean@sheltonlink.com writes: > >Tom, I'll have to reconsider some of the snide comments I've made behind >your back. I assume you mean the "real" Paynes at Lamar and Southern, home >of nuclear cole slaw, right? Have you tried Mel's fish mart next door? uh, yeah, I mean the "real" paynes in (I think this is right) the 1700 block of Lamar. In a converted gas station. Tom ========================================================================= Date: Mon, 1 Apr 1996 15:38:05 -0500 Reply-To: Bluesagent From: Bluesagent Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Blues in LA and SF Comments: To: bit-listserv-blues-l@uunet.uu.net Chris Cain will be in the LA area April 19 & 20 April 19-La Vida Roadhouse in Brea April 20 Cafe Boogaloo in Hermosa Beach there are several new rooms in LA doing blues-check out 2nd Street Blues Club in Long Beach, Cozy's in Sherman Oaks, Smokin' Johnny's BBQ in Ventura, Catalina Cantina in Redondo Beach along with the others mentioned above-don't know what area you're staying in. BB King's is far and away my favorite room, it's large and the music is always good, as is the food. When in San Francisco, check out Biscuits and Blues, Lou's Pier 47, Blues and the Saloon. ========================================================================= Date: Mon, 1 Apr 1996 16:04:01 -0500 Reply-To: Tom Morgan From: Tom Morgan Subject: Bartender's bop Playlist 4/1/96 Some old and new, I statrted with some Allen Toussaint produced stuff fromthe early 60's and finished with some new arrivals at the station. The new CD by Yazoo "Before the Blue Vol1" is dandy. I'm going to play the whole thing on my Jazz Roots Show tomorrow. Clarence Gatemouth Brown's newest is a good one with special guest experiences by Ry Cooder, Eric Clapton, Maria Muldaur and Leon Russell. The Dewey Phillips cut is from a new Memphis Archives CD, lots of live stuff from his radio show. Title Group Year Label -------------------- -------------------- ---- ---------------- Ain't You Ashamed Bo, Eddie 61 Rounder Give It Up Dorcey, Lee Charly Can You Hear Me Dorcey, Lee Charly Popeye Joe Kdoe, Ernie Legends Anybody Here See My Kenner, Chris 66 Bandy Baby 10-4 Calling All Spellman, Benny 66 Bandy Cars More Girls Smith, Huey Piano 61 Pathe I Like It Like That Kenner, Chris 61 Legends Three Times Ridgley, Tommy 61 Rounder I Don't Play Like Smith, Huey Piano 61 Pathe That Mother in Law Kdoe, Ernie 61 Bandy Get Out of my House Kdoe, Ernie Bandy Fortune Teller Spellman, Benny Bandy Look Up Thomas, Irma 61 Legends You Don't Love Me No Spellman, Benny 65 Bandy More I've Done It Again Neville, Aaron 65 Legends I'm The Boss Kdoe, Ernie Bandy She Can Dance Kenner, Chris Bandy Power of Love, The Harper, Willie 62 Legends Certain Girl Kdoe, Ernie Bandy Lipstick Traces Spellman, Benny Bandy Feel Like Breaking Wright, Marva Tipitina Up Somebody's Home Gonna Cry Til My Thomas, Irma Rounder Tears Run Dry Sky is Crying, The Wright, Marva 90 Tipitina Red Hot and Blue Phillips, Dewey Memphis Archives I'll Be There Brown, Clarence 96 Gitanes Gatemouth It's All Over Willis, Willie 94 Trix Mean and Evil Brown, Clarence 96 Gitanes Gatemouth Down Home Cookin Lockwood, Robert 75 Trix Junior I Got A Yellow Gal Jones, Eddie Lee 74 Testament Soft Steel Piston Weaver and Beasley 27 Yazoo Instrumental Jones, Eddie Lee 74 Testament Jackson Strut Mississippi Mud 24 Yazoo Steppers When I Was Young Sunnyland Slim 87 Mapleshade Housewarmin Sweetman 95 Wild Child `'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`' http://redlt.com/tom/ -- Home of Jazz Roots & Record Companies on the Web Free-lance Writer--Author--Program Director WTJU 91.1--Internet Consultant ========================================================================= Date: Mon, 1 Apr 1996 15:03:36 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re: Charlie Christian Comments: To: Roger Struve Well yeah. Charlie Christian and T-Bone were it, at first. The Charlie Christian pickup still shows up on some jazz boxes. Before Charlie got the electrified guitar, the instrument was relegated mostly to being part of the rythm section. Charlie was the right man at the right time. He was a fabulous improviser, and the guitarist to be able to stand up as a soloist in a jazz/big band venue. He had fabulous facility with 9ths, diminished chords and inversions. Wonderful stuff. -Jim _______________________________________________________________________________ Subject: Charlie Christian From: Roger Struve at INTERNET-SH Date: 04/01/96 2:33 PM Had an interesting conversation with a fellow workabee (where else?) at work here today...and he told me he has a copy of a record by Charlie Christian. I had never heard of this guy before.....and my friend claims Charlie was the first to bring electric guitar into the mainstream....supposedly he had a custom built electric guitar made personally for him by Gibson. He played with Tommy Dorsey....and was primaily jazz and blues. SO what's the scoop on this guy? thanks, ddr ========================================================================= Date: Mon, 1 Apr 1996 15:13:43 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: memphis May 2-5 Has anyone set up and confirmed a blues-L get together for the Memphis in May fest? I think LW proposed a jam session but that's all I've seen so far. I'm sure there's going to be a bunch of blues-L'ers at that fest. I'm going up for the Handy's and the festival and will be staying on the Arkansas side. Who else is coming? Want to get together and have a beer and discuss how hard it is raining on the outdoor fest? Don O. ========================================================================= Date: Mon, 1 Apr 1996 16:05:34 -0500 Reply-To: Michael D Richardson From: Michael D Richardson Organization: Cornell University Subject: Re: Walkin' Blues lyric help please. Comments: To: bit-listserv-blues-l@uunet.uu.net Woke up this mornin', feel around for my shoes. I musta had them old walkin' blues. Some folks tell you, them worried blues ain't bad. That's the worst old feelin I mos' ever had. She got Elgin movements from her head to her toes. She turn in on a dollar mos' everywhere she goes. Gonna get up in the mornin', ride the blinds. I been mistreated and I don't mind dyin' The third verse means, she's got smooth movements like a watch, and, I suspect, she can successfully turn tricks anywhere. "Riding" the blinds means catching a train. ========================================================================= Date: Mon, 1 Apr 1996 23:31:45 +0200 Reply-To: Filippo SCIARAFFIA From: Filippo SCIARAFFIA Subject: LEADBELLY Dear Sirs, I'm a fan of blues music and in particular of Huddy Ledbetter, the famous LEADBELLY. I live in Rome and I' m lookin' (in vain) for a CD (or LP or cassette) containing the song: "COTTON SONG" which has been performed later by many singers and groups (including Harry Belafonte and Creedence Clearwater Revival) with the title of: "COTTON FIELDS". I cannot find the original song by Leadbelly (in Italy). Could you give me some information on it? Here are: my Tel N. 0039.6.5192291 - FAX: 0039.6.5032636 - E.Mail: fsciaraf@snefru.comm2000.it Thanking in advance for your cooperation, accept my best regards Filippo Sciaraffia ========================================================================= Date: Mon, 1 Apr 1996 16:10:00 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 04/02 B O R N : CAGNOLATTI, CAG ( ERNIE J. ) Born:1911 MADINSONVILLE, LA Career:TRUMPET Style:TRAD / JAZZ With:Papa Celestin / Paul Barbarin / Young Tuxedo Brass Band CORYELL, LARRY Born:1943 GALVESTON, TX.Career:GUITAR / LEADER Style:JAZZ With:Mike Mandel / Chico Hamilton / Free Spirits / Gary Burton /Steve Marcus / Danny Trifan / Alphonse Mouzon / Randy Brecker /John Scofield / Michal Urbaniak / Steve Khan / Philip Catherine / Charles Mingus / Stephane Grappelli / Sonny Rollins LITTLE, BOOKER JR Born:1938 MEMPHIS, TN Career:TRUMPET Style:Blues / JAZZ With:Johnny Griffin / Walter Perkins / Mal Waldron / Max Roach / Eric Dolphy MacRAE, DAVE Born:1940 AUCKLAND, NEW ZEALAND Career: PIANO / ELECTRIC PIANO / SYNTHESISERS Style:JAZZ With:BUDDY RICH / CLARK TERRY / CHET BAKER / JON HENDRICKS / GIL EVANS MILLS HERBERT Born:1912 PIQUA, OH Career:SINGER / TENOR HARMONY Style:POP / BIG BAND With:MILLS BROTHERS PALMER, ROY Born:1892 NEW ORLEANS, LA Career:TROMBONE Style:BLUES / JAZZ / BIG BAND With:JOHNNY DODDS / JELLY ROLL MORTON / DOC WATSON / W.C.HANDY RICHMAN, BOOMIE ( ABRAHAM SAMUAL RICHMAN ) Born:1921 BROCKTON, MA Career:TENOR SAX / FLUTE / CLARINET Style:JAZZ / BIG BAND With:Muggsy Spanier / Jerry Wald 1944 / George Paxton 1945 / Tommy Dorsey 1946-1952 SHERTZER, HYMIE Born:1909 NEW YORK, NY Career:ALTO SAX Style:JAZZ / BIG BAND With:Benny Goodman / Tommy Dorsey / Gene Kardos FOR A LISTING OF THOSE THAT PASSED AWAY IN APRIL PLEASE GO TO MY WEB PAGE AT http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Mon, 1 Apr 1996 22:22:35 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Re: Dixon and Godrich book Comments: To: bit-listserv-blues-l@uunet.uu.net The new edition will be published by Cambridge as a 2 volume set, maybe even in 1996! The editors will be Robert Dixon & Howard Rye. I understand that there is a new edition of Dixon and Godrich's book BLUES AND GOSPEL RECORDS 1902-1942. Does anyone have any information about when it is to be released and where I can get it? ========================================================================= Date: Mon, 1 Apr 1996 17:24:30 -0500 Reply-To: Charles Calire From: Charles Calire Subject: Re: eRIC's BLUES DATES: April 1 Comments: To: James Carmin In-Reply-To: <199603311740.JAA26535@desiree.teleport.com> There is an important birthday that you forgot. MINE !!!. 04/01/64 . I have subscribed to this list for two years and Im disappointed that my birthday has never been mentioned untill now. Charles Calire a011536t@bcfreenet.seflin.lib.fl.us ========================================================================= Date: Mon, 1 Apr 1996 22:37:36 GMT Reply-To: VT From: VT Subject: Re: Charlie Christian On Apr 01, 1996 13:21:22 in , 'Roger Struve ' wrote: >Had an interesting conversation with a fellow workabee (where else?) at >work here today...and he told me he has a copy of a record by Charlie >Christian. I had never heard of this guy before.....and my friend claims >Charlie was the first to bring electric guitar into the >mainstream....supposedly he had a custom built electric guitar made >personally for him by Gibson. > >He played with Tommy Dorsey....and was primaily jazz and blues. > >SO what's the scoop on this guy? > >thanks, >ddr Charlie Christian was one of the pivital movers in the use of the electric guitar. Known mainly as a jazzman, he played with the BENNY GOODMAN Sextet/Orchestra (he was hired after one hearing by Goodman). He was discovered by JOHN HAMMOND (you tell us which, since you do not like people using the Snr./Jr. :-) Charlie's professional career was very short 1939 to 1941 - he died of TB. But he left an indelible mark on the history of the electric guitar. His most famous piece was "Solo Flight", which is on CD: "Genius of the Electric Guitar" on Sony/Columbia JazzMasters Series -- Vincent vt@usa.pipeline.com ========================================================================= Date: Mon, 1 Apr 1996 16:25:18 CST Reply-To: Edward Komara From: Edward Komara Subject: Grafton Jim Rocco wanted to know where the Paramount studio was. An easy way to get the locals to point its location is to ask where the old Wisconsin Chair factory was. The Paramount studio was built on the factory's second floor. There is only one problem: little if any of the chair factory remains in Grafton. Wisconsin Chair, located in Port Washington, let the whole factory go to seed after phasing out the Grafton operation in 1932. By 1942, when John Steiner went to Grafton to see what he could salvage after acquiring the Paramount rights from Wisconsin Chair, found the factory in VERY dilapidated shape. Over the years, floors caved in and whole parts virtually imploded. So far I as am given to understand from published photos, NOTHING stands anymore. For the whole story of the physical decline of the Wisconsin Chair and Paramount plant at Grafton, see 78 Quarterly no.7 (I think) wherever you can get your hands on it. IMEO, Paramount wasn't the only record label not uppity to record black blues artists--so did Victor, Columbia, Okeh, Vocalion, Gennett, to name but a few. What made Paramount a little different from everyone else was they were willing to record anyone, and I mean ANYONE, whether that person was talented or not (usually not). And for every Charlie Patton or Blind Lemon Jefferson success it had, Paramount released 9 or 10 complete flops by con-men who may have been playing a guitar for the first time. In some way, Paramount was so indiscriminate in its recording that it makes the Lomaxes ten years later seem "uppity" by comparison, if such a thing is possible. Edward Komara (who has been too busy to call the Shade Tree honcho today) ========================================================================= Date: Mon, 1 Apr 1996 17:56:12 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is Comments: RFC822 error: Incorrect or incomplete address field found and ignored. Comments: RFC822 error: Incorrect or incomplete address field found and ignored. Comments: RFC822 error: Incorrect or incomplete address field found and ignored. Comments: RFC822 error: Mail origin cannot be determined. Comments: RFC822 error: Original tag data was -> "R.J. Bauman" From: Undetermined origin c/o LISTSERV maintainer Subject: Re: Robert Johnson Marketing Comments: To: "P.W. Fenton" How much are they asking for that Robert Johnson replica guitar anyway? I agree, this kind of marketing lacks taste to me. I'm sure it's a fine guitar, but it's clear that Robert's name is critical to it's appeal. RJ Bauman Priority: normal Date: Mon, 1 Apr 1996 13:37:11 -0500 Reply-to: "P.W. Fenton" From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Robert Johnson Marketing To: Multiple recipients of list BLUES-L On 1 Apr 96, ISTS024%UABDPO.BITNET@BROWNVM had this to say... > I know we've discussed all the RJ marketing. I got an Elderly Instruments > catalog and they have flatpicks with RJ's picture, thumbpicks, straps and > bottlenecks with RJ's signature :-)....I will probally order the flatpicks > just because I think they are neat. part of the proceeds go to a good cause. > (I forget the exact name of the organization). I have nothing against buying and using stuff that pays tribute to an idol. If it makes a little extra cash for your idol, all the better. But in the case RJ I find the idea that Steve LaVere makes money so VERY distasteful. To me this is a guy who slimed his way into a portion of everything Johnson by exploiting the ignorance of his kinfolk. A real sleaze-bag. It's one case where I'd almost rather see a big corporation cashing in on RJ than this con-man. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 1 Apr 1996 18:11:06 -0500 Reply-To: Rags_Trips_On_Gras From: Rags_Trips_On_Gras Subject: BEALE_ST_zellers_gathering!!! Yep yep yep.... We oughta get together....beer/blues/rain...the WORKS!!!! Is LW gonna be setting up a tent or something.... Is LW gonna compile a list of zellers who gonna come to Beale St. Wondering ?? Wondering ?? Wondering ?? Wondering ?? Om Shanti!! Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ Laissez les bon temps roulez!!...Let the good times roll!! +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Mon, 1 Apr 1996 18:46:12 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Blues in Movies/TV Shannon O'Connor recently mentioned the character Joe in the current series of shows called Highlander: The TV Series. Joe is played by Jim Byrnes, who has led a successful blues band in Vancouver for well over 15 years. His latest album, That River, was recently released by Stony Plain (PLUG!); I won't comment on its worth, even though I do think it's very good. It did win the recent Juno Award (that's what we call the Canadian equivalent of Grammy Awards up here) for Blues Album of the Year. Needless to say, him is providing much for the blues-based music for the series. Byrnes may be familiar with other TV addicts apart from Shannon; he used to play the part of the guy in the wheelchair in the series Wiseguy; Jim actually lost both legs in a car wreck many years ago, but manages well without a wheelchair - he's something of an inspiration to people who have been damaged by shatering accidents like the one he had. He's also a very nice guy. Richard the Elder ========================================================================= Date: Mon, 1 Apr 1996 18:42:03 -0500 Reply-To: Eddiezimm@AOL.COM From: Ed Zimmerman Subject: Kenny Wayne Shepard Tour Does anyone know what KWS's schedule looks like. Would like to know when he is planning a trip to the Chicago or Indy area. Thanks, Ed eddiezimm@aol.com ========================================================================= Date: Mon, 1 Apr 1996 16:13:13 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: RJ Guitar + My Patchbay's done! Hi Everybody! You know why I've enjoyed answering and generating gearhead posts so much? I'VE BEEN WIRING PATCHBAYS FOR A MONTH.... and I'll take any break I can get! (insert Indiana Jones' "I hate snakes" voice-over here) I HATE PATCHBAYS! For those who don't know, patchbays connect all the various equip. together in a studio. The average PB with normals requires *720* solder connections for each 96 point bay. We have three bays so we did **2160** solder connections to get our room back up and running after we put in the new mixer! Some rooms have 10 or more bays... yikes! Next time you meet an engineer ask him/her how they like making patchbays! They'll probably say that they farm out that kind of work..... Everyone who wants to be an engineer should make patchbays for a while. It will really teach you how all this stuff works, and how to wire neatly, and solder properly, and deal with proper grounding and matching.... THEN farm it out! I know *I* will next time! BTW, farming it out would have cost me about 5K..... and worth it. The studio is back online and working great. I saw the Valley Arts "Robert Johnson" and "Charlie Christian" guitars at NAMM in January and they look nicely done. Not cheap however. I wasn't interested in getting one, so I didn't get a brochure nor do I remember the prices. Listen folks, these guitars are made for yups who fancy themselves hip collectors. You KNOW they are not really for players. There is so much money flying around in the Vintage market that lots O' companies are scrambling to find a way to cash in on this market with a "new" product... Remember the Fender "Relic" (already beatup) series of guitars? Gimme a break... I'd rather make a patchbay than buy such a silly item. People are speculating on brand-new "historic series" Gibsons already, so why not think that a CC or RJ guitar might bring a lot of bucks.. Speculators suck. If Charlie was alive today, he'd play a Collings archtop, a Gibson Johnny Smith, and a "Howard Roberts Fusion" If Robert was alive today.... well.... you KNOW he'd play a Tom Anderson strat and a Taylor acoustic.... ;-] All kidding aside... I believe both of them would laugh their butts off at the vintage-speculator market, and play a real instrument, not a mantelpiece... DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu I looked over Jordan, and what did I see An Eldorado comin' after me comin' for to carry me home.. -- Dizzy Gillespie ____________________________________________________ ========================================================================= Date: Mon, 1 Apr 1996 16:37:20 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Charlie Christian Christian and Bone, of course, but don't forget Sister Rosetta Tharpe with Lucky Millander's band. Uncle Ray ---------- From: James Bardsley[SMTP:jbards@MAIL-SH.LSUMC.EDU] Sent: Monday, April 01, 1996 9:03 PM To: Multiple recipients of list BLUES-L Subject: Re: Charlie Christian Well yeah. Charlie Christian and T-Bone were it, at first. The Charlie Christian pickup still shows up on some jazz boxes. Before Charlie got the electrified guitar, the instrument was relegated mostly to being part of the rythm section. Charlie was the right man at the right time. He was a fabulous improviser, and the guitarist to be able to stand up as a soloist in a jazz/big band venue. He had fabulous facility with 9ths, diminished chords and inversions. Wonderful stuff. -Jim _______________________________________________________________________________ Subject: Charlie Christian From: Roger Struve at INTERNET-SH Date: 04/01/96 2:33 PM Had an interesting conversation with a fellow workabee (where else?) at work here today...and he told me he has a copy of a record by Charlie Christian. I had never heard of this guy before.....and my friend claims Charlie was the first to bring electric guitar into the mainstream....supposedly he had a custom built electric guitar made personally for him by Gibson. He played with Tommy Dorsey....and was primaily jazz and blues. SO what's the scoop on this guy? thanks, ddr ========================================================================= Date: Mon, 1 Apr 1996 22:28:35 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Re: Leon Bibb? Comments: To: bit-listserv-blues-l@uunet.uu.net Leon Bibb now lives in Vancouver, British Columbia. Still performing. His son Eric Bibb has a wonderful CD out on OPUS 3. eRIC ========================================================================= Date: Mon, 1 Apr 1996 20:39:19 -0500 Reply-To: Ken Ficara From: Ken Ficara Subject: The Apollo, Friday Night Just getting around to writing this up, but Friday night, I saw Ruth Brown, Bobby Bland and B.B. King at the Apollo Theater. Wow. All three of them were terrific. Ruth was great: an official senior citizen, as she pointed out, who first showed up on that stage in 1949, she did a great set, concluding by talking about the many people who've been on that stage and have since died, and then dedicating a beautiful version of Eric Clapton's "Tears In Heaven" to them all. Bobby Bland was the best of the three. His voice is like good scotch -- the older it gets, the smoother it gets, but what a kick. His band was a bit ragged at times but I could listen to that man sing all night. This one woman in the audience was a bit too into the show and actually made it up on stage with him before the bodyguards could get to her. But he swept her into his arms and sang to her (and she made mroe than a few suggestions for post-show activity), and then ushered her off stage (and then the security folks were more alert, and headed her off at the past a few times later in the show). BB did his thing last, and while he was great, I wished Bland had gone on longer, or that they'd played together (they were partners for some years). I love BB but sometimes he seems like he's doing his BB King act more than he's singing his own stuff, if you know what I mean. He does have an amazing voice, though -- he barely needed a mic. The nicest thing about the show was that it was full of people the same age as the performers. Next to us in the aisle was an elderly lady in a wheelchair, with her friend the same age, and they were rocking along with everyone else and talking back to the stage. It was quite a mix of people and that's a nice thing to see nowadays at a blues show -- ranging from the women next to us to a 21-year-old woman in the front row who was coming on to Bobby, prompting him to remind her that he might be too much for her. She came on to BB too, but he was having none of it. He was encouraging women to walk the aisles and find a man that suited their fancy ("Guys, you have nothing to do, just pucker up and pray!"). She yells "YOU suit my fancy", but without missing a beat, he says, "I said in the >aisles<, girl, in the >aisles<." :) ken ====================================================================== Ken Ficara ficara@acm.org "Politically, nowadays, all you have to do is stand still and you'll be ahead of your time." --Laurie Anderson For more quotes, see: http://www.panix.com/~ficara/quotes/quotes.cgi ========================================================================= Date: Mon, 1 Apr 1996 20:36:54 -0500 Reply-To: USBLUE5@AOL.COM From: "Gordon, Rich" Subject: WXRX Sunady Night Blues Playlist 3/31/96 10pm Muddy Waters, Hoochie Coochie Man, I'm Ready, Blue Sky Muddy Waters, Champagne & Reefer, King Bee, Blue Sky - Robert Cray, Phone Booth, Bad Influence, Hightone Robert Cray, I'll Go On, Some Rainy Morning, Mercury - The Major, Blues Lover, The Man, Local Beat Merchants, Only Man, Beat Merchants, Local - Willie"Big Eyes"Smith, Tell Me Mama, Bag Full Of Blues, Blind Pig Reunion Blues Band, Pinetop's Boogie, Back Home To Clarksville, Icehouse - Peter Green's Fleetwood Mac, Need Your Love So Bad, Live At The BBC, Castle Gary Moore, I Loved Another Woman, Blues For Greeny, Charisma - Clarence"Gatemouth"Brown, Blues Power, Long Way Home, Verve Mike Morgan & The Crawl, You Came A Long Way From St. Louis, Ain't Worried No More, Black Top - Grateful Dead, Death Don't Have No Mercy, Live/Dead, Warner Bros. 11pm Grateful Dead, Next Time You See Me, Hundred Year Hall, GDP - Magic Slim & The Tear Drops, Gravel Road, Raw Magic, Alligator Luther"Guitar Jr,"Johnson, She's Lookin' Good, Slammin' On The West Side, Telarc - Mojo Buford, Devil's Love, Still Blowin' Strong, Blue Loon Lil' V & The Heartstoppers, Slidin' Down Texas, Treated And Released, Fibrillating - Otis Rush, All Your Love, Live In Japan 1986, Sequel Otis Rush, Don't Burn Down The Bridge, Ain't Enough Comin' In, Mercury - Albert Collins and Johnny Copeland, Something To Remeber You By, Alligator 25th Anniversary Collection, Alligator Pistol Pete, Cadillac Man, Loaded, Gray Guys - Limmie & The Fellas, Leak In My Drain, Stateline Blues, Spank Monkey Otis Grand, Finish Line, Nothing Else Matters, Sequel - The Gales Bros.Memphis, Somebody, Left hand Brand, HOB Corey Harris, I'm A Rattlesnakin' Daddy, Between Midnight And Day, Alligator Rich Gordon Sunday Night Blues 10pm to Midnight WXRX 104.9 FM Rockford, IL ========================================================================= Date: Sun, 31 Mar 1996 10:52:11 CST Reply-To: COMM4065@MIZZOU1.BITNET From: Bill Benoit Subject: Help finding Howling Wolf "London Sessions Outtakes" CD The March 29 issue of "Goldmine" reviews a new release by Howling Wolf: "The London Sessions Outtakes," ARMS (22PR) European Import. I e-mailed Roots and Rhythm but they can't get it. Does anyone know where I could buy a copy of this? Thanks! Bill B ========================================================================= Date: Mon, 1 Apr 1996 21:02:36 -0500 Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: All the Black musicians recorded Comments: To: bit-listserv-blues-l@uunet.uu.net In article <960401114604_502901342@emout09.mail.aol.com> Jim Rocco writes: > I need location assistance from some cheesehead from around the Milwaukee >area or anyone for that matter about the whereabouts of the old recording >studio in or near Grafton, Wisconsin. I'm sorry to say that the Paramount label studio and Wisconsin Chair Factory buildings no longer exist. An excellent series of articles on the label with photos was published in 78 Quarterly a few years back. According to Part 5 of this series (#7 of 78Q), the last remnant of the pressing plant, a dam on the river running through Grafton, was cleared in approximately 1990. You might ask older locals the location of the chair factory, it would probably better known to them for that than the record business which ended in the 1930s. Art Schuna ========================================================================= Date: Mon, 1 Apr 1996 21:57:33 -0500 Reply-To: "jose.eric.s.maglanque" From: "jose.eric.s.maglanque" Subject: Blues in the Philippines Well wouldn't you know it... Me and my harp player got our lonesome selves in this small club in Manila and proceeded to do some impromptu country blues (guitar-harp) duets. Never imagined that Son House, Texas Alexander, Blind Willie Johnson, Big Joe Williams, Robert Johnson, and Muddy Waters would ever see the light of day in these here parts. Judging from the audience's reaction, I think I should give more credit to the Filipino's taste for blues music (their treshold of pain should have been an indication ;-). This is encouraging and augurs well for the blues scene here. Will probably work with this setup for the next few months and see what that brings. - Delta Slim BTW, what blues harp handle do you think would hit off with mine? His nickname is Egay and is a great deep/hard blues blower who's afflicted w/ wanderlust. ========================================================================= Date: Mon, 1 Apr 1996 22:38:02 -0400 Reply-To: SOO3713@ALPHA.CC.OBERLIN.EDU From: Owen Okie Subject: Larry Mcray! (And how it sucks to be a blues fan under 21) During my spring vacation I had the distinct pleasure of seeing Larry. I haven't seen many blues shows (I can count them on one handso have little to compare to. All I have to say is this: SEE HIM. I also realized how much it sucks to be a bluesfan under 21, since Gatemouth brown was playing in a nearby bar (6 more months!!!!). Why can'tmore clubs organize themselves so that younger fans can watch? Owen ========================================================================= Date: Mon, 1 Apr 1996 23:25:03 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Yazoo's Before The Blues set Vol. 1 (some notes on the recordings, track list) Comments: cc: margaret@vcomm.net The greatest failing of the Yazoo Before The Blues set is the lack of concrete information in the liner notes. I suppose in part because they probably do not have licensing from everyone-- just about every major prewar blues label is involved-- they have included no date, label, or session information. I'm doing a review of these disks, and have been digging out the information. I'm posting my notes on Disk 1 with a track listing for anyone who is interested. If there is any interest, I will post this information for disks 2 and 3; if noone says anything I will keep it to myself. IMHO, Disk1 is probably the best of a stellar lot of these 3 sets. There are a few recordings I consider perfect or near perfect on this set; three that never fail to grab me are Harvey Hull's "France Blues," John Hurt's "Stack O'Lee Blues" and Robert Wilkins "I'll Go With Her Blues," all on disk 1. As with all three, there are a LOT of quite obscure gems. Weird coincidence department: A week ago (2-3 days before I bought this set), I went 78-hunting with the members of a bluegrass band. We went to a local collector who has thousands of 78s, focusing largely on country stuff although with LOTS of blues. I pulled out a version of the fiddle tune "Forked Deer" listed as by the Clinch Valley Boys. GREAT fiddle music but no clue at all as to who those guys were. Turns out the center of the band was Kentucky fiddler Jim Booker, of the Booker Orchestra, a black string band! And these were an integrated band called Taylor's Kentucky Boys, the record being put out under another name. And I would never guessed to have looked in a blues discography for this information, except that there on this set (track 7 disk) 1 is "Forked Deer!" Here's the info: disk 1 1 Andrew and Jim Baxter "Bamalong Blues" 8/9/27 Victor Brothers recorded in Charlotte, NC during Victor 2nd southern field trip, in August 1927 (after they were in Bristol, TN. was that the carter family / jimmie rodgers trip? july?). In that same session, Andrew Baxter played lead fiddle for the Georgia Yellow Hammers on "G Rag". The Baxters recorded again for Victor on Atlanta field trips in Oct and Nov. 1929. Luke Jordan was recorded on the same trip; his song from that session "Pick Poor Robin Clean" is track 6 of disk 3. There were two takes of that, one later put out by RCA and one issued at the time. In November, 1929, Luke Jordan recorded again for Victor, in New York. 2 Henry Thomas "Run Mollie Run" 10/7/27 in Chicago also "Fox and the Hounds" 10/5/27 in Chicago Ragtime Texas "Rag Time Texas" recorded for Vocalion. 3 Sam Collins "Lonesome Road Blues" ARC 10/8/31 as Salty Dog Sam 4 Mississippi Mud Steppers "Jackson Stomp" 12/15/30 OKeh Recorded in the King Edward Hotel in Jackson Prob. Walter Vinson (guitar) and Charley McCoy (mandolin) This session was Bo Carter's second.. The Mississippi Sheiks also recorded (Vinscon and Lonnie Chatman). Carter and McCoy also recorded as a duo. 5 Seventh Day Adventist Chior "On Jordan's Stormy Banks We Stand" Columbia 11/3/26 D&G: "It is not our practice to include choirs, but this one is reported to include Virginia Childs." recorded in Atlanta. That same day Virginia Childs recorded blues songs ("Down Hearted Blues" and "The St. Louis Blues") acc. by unkown guitar and (on the later) violin. D&G: "On aural evidence, the guitar...may be Riley PUckett and the violin...Clayton McMichen or Possibly Bert Layne. The white Skillet Lickers band, which included these three musicians, recorded for Columbia on the same day as Virginia Childs." 5 days later, on the same field trip, Columbia recorded Joshua Barnes "Peg Leg" Howell's first session. 6 Rube Lacy "Mississippi Jail House Groan" Paramount, 3/28 one of 2 prewar released sides by Lacy. recorded in the Lamar Life Ins. Building in Chicago. There are unreleased tracks by Lacy from a Columbia session 12/9/27 in Memphis. 7 Taylor's Kentucky Boys "Forked Deer" Gennett, Champion, etc. 5/27 Richmond Indiana. Flip of the Champion release was a white string band (Logan County Boys) and this was released as Clinch Valley Boys Jim Booker vn. Marion Underwood bj, Willie You Guitar. Later that year, Booker with 2 others recorded as Booker Orchestra, also in Richmond for Gennett. These musicians are also on disk 3 track 8, "Sourwood Mountain," recorded at the same time as the Booker Orchestra recording. 8 Little Hat Jones "Bye Bye Baby Blues" Okeh 6/14/30 in San Antonio This is one of three sessions for him in San Antonio (the other 2 in 6/29. all Okeh) Real name Denis Jones. 9 B.F. Shelton "Pretty Polly" Mary Katherine says this is from the Bristol sessions 10 Weaver & Beasley "Soft Steel Piston" 8/31/27 Okeh in New York unissued at the time, issued on LP 1976 LBC 14. 11 Evans & McCalin "Two White Horses In a Line" ARC New York 5/20/31 Joe Evans and Arthur McClain do not know who played what intruments. Later, they recorded a "Sourwood Mountain" (track8 disk 3 is Taylor's Ky Boys version of this) 12 Bayless Rose "Jonestown Exhibition" 13 Willie Walker "Dupree Blues" 12/6/30 Columbia in Atlanta This was the day after Barbecue Bob's last session. 14 Papa Harvey Hull "France Blues" 4/8/27 Chicago this was released on Black Patti as by Papa Harvey Hull and the Down Home Boys on Champion as Wilson and Reed and on Gennett as Sunny Boy and His Pals 15 Rev. Gates & Congregation "Dying Mother and Her Child" Gates recorded this twice, both times in late 1926 in New York City, once for Victor in Atlanta on 9/10/26, and in "mid-November" 1926 for Domino/Romeol/Oriole. 16 Buell Kazee "John Hardy" 17 Lottie Kimbrough "Wayward Girl Blues" 8/21/28 Richmond, Ind. Gennett Kimbrough was Lottie Beaman's maiden name. Paramount called her "The Kansas City Butter Ball". This was released on Gennett/Champion/Superior/Silvertone. 18 Cincinnati Jug Band "Newport Blues" Paramount, Chicago c. 1/29 only known personnel: Bob Coleman. He recorded 2 sides with similar personnel the same date. He later (in June) accompanied Jack O'Diamonds at a session in Richmond, Indiana. 19 Dick Devall "Tom Sherman's Barroom" He recorded for John Lomax in Dallas in 1946. Of Reed, Oklahoma. 20 Mississippi John Hurt "Stack O'Lee Blues" New York City 12/28/28, Okeh Both Hurt songs were first sond recorded in Hurt's 3rd 1928 session, 12/28/28. The other is "Spike Driver Blues," disk 2 track 2 21 Teddy Darby "Lawdy Lawdy Worrried Blues" Paramount 9/7/29 Richmond Ind. "Blind Darby" 22 Robert Wilkins "I'll Go With Her Blues" Br. 2/30 Memphis TN on that trip, Memphis Minnie recorded "Bumble Bee," Kansas Joe recorded with her, Chatmon's Mississippi Hot Footers (Bo Carter, Walter Vincent, Charles McCoy) where there, and Garfield Akers had his 2nd session (and last) recording "Dough Roller Blues" 23 Denson Quartet "Christian Soldier" ========================================================================= Date: Mon, 1 Apr 1996 23:09:14 -0600 Reply-To: FE From: FE Subject: That Traveler's Guide I began a short reply to the idea of the Traveler's Guide idea, and it grew...and grew...and grew. Perhaps the best thing to do would be to create a Who-Cares forum on this, rather than take up others' space. If you will send me your address, I'll add you to my response list, and we can discuss this at length. In the meantime, let me just say that, try as I might, I cannot keep up with all the info that comes in from Blues_L - sometimes I grab somebody with info, but sometime I miss them - so I'm attaching the original format for additions to the guide. --------------------- Following is the basic format I use, but please do not let it limit you. Just answer this question: I'LL BE VISITING IN YOUR AREA. HOW CAN I ENJOY THE BLUES DURING MY STAY? ------BASIC FORMAT------------ COUNTRY/PROVINCE/STATE/CITY (choose one) $/$US ratio - DATE GENERAL INFO (Local magazine, newspaper, bulletin to find current listings of area entertainment, bands playing, festivals, etc.) - optional VENUES (Listed alphabetically, with location, telephone no., SHORT personal review - is there a cover charge? food? more jazz than blues? etc.) HISTORICAL BLUES SITES (This wasn't originally planned but, again, I think it has a place here.) - optional RADIO (Local blues stations/programs) - optional CONTRIBUTOR RECOGNITION (unless (s)he prefers to remain anonymous) -----END BASIC FORMAT------------- To see the current venue listing, send the message send blues venues (keep the letters lowercase) to almanac@acenet.auburn.edu Please address contributions or questions to pkoch@acenet.auburn.edu It would be helpful for you to include the word SHED or VENUE in the subject line. FE pkoch@acenet.auburn.edu ========================================================================= Date: Mon, 1 Apr 1996 21:27:27 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Robert Johnson Marketing >I have nothing against buying and using stuff that pays tribute to an >idol. If it makes a little extra cash for your idol, all the better. > But in the case RJ I find the idea that Steve LaVere makes money so >VERY distasteful. To me this is a guy who slimed his way into a >portion of everything Johnson by exploiting the ignorance of his >kinfolk. A real sleaze-bag. It's one case where I'd almost rather >see a big corporation cashing in on RJ than this con-man. Hi all. I've read a few comments about Steve LaVere on the list lately, none of them very positive. I don't know much about him, other than the fact that he's a sleazebag and a con man. So what's the story on this guy? How did he get the rights to all things Robert Johnson? Does Robert Johnson have any surviving relatives and are they receiving anything? If you're worried about libel (and I gather from PW's post that he's not :-) ), you can send me a response by private e-mail, although I'm sure there's more bluezellers than me who are wondering. T'anks! -Jim (hndful@uniserve.com) ------------------------------------------------------------ Check out 'Heart and Soul', a new hour of blues, gospel, and jazz every week on SDF-Net Community Radio - http://sdf-radio.colossus.net. ------------------------------------------------------------ ========================================================================= Date: Mon, 1 Apr 1996 21:35:33 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Little Walter Film At the risk of telling you what you already know, there is no known = performance film of Marion Walter Jacobs. Sam Lay has a short film of = Walter descending a staircase to argue with a bartender (I'm told), = Shirley Dixon claims to have some Walter footage (unconfirmed), and = there is some European kinescope or film of Walter lip synching on a TV = program. That's why I'm so excited about this lead on a performance film = made by the BBC in 1965. A harmaniac friend of mine was reviewing some interview footage of Long = John Baldry from the '60's, when he noticed in the background of the = frame a poster inviting people to be part of the audience for a = performance by Walter and John Baldry (to be filmed for airing on the = BBC). I contacted Baldry, and he confirmed that both the performance and = filming took place. HERE"S THE RUB! That's where I stand now. Nowhere = else to look. Please, please, please...if you have any leads with the BBC, English = collectors, or whatever...pass the information along, no matter how = tenuous. I have no interest in profiting from this, except for being able to see = what is contained on this very important film. Uncle Ray uncleray@teleport.com ========================================================================= Date: Mon, 1 Apr 1996 23:32:29 -0800 Reply-To: Judy From: Judy Subject: Charlie Christian Christian was supposedly one of the all time great jazz guitarists. He was well known only for a brief period, l939-1942. He died of TB at age 22. Benny Goodman was encouraged by jazz greats to give the awesome Charlie Christian an audition. Goodman passed after the audition because of Charlie's outrageous clothes and demeanor. Six months later Goodman heard Christian at an all night jam session and now could see Charlie's brillance. He thought he was the best he had ever heard, so invited him to join the Goodman Sextet. I have a 1940 Columbia 78 of the sextet with Christian on guitar, and Cootie Williams on trumpet. Which record do you have? ========================================================================= Date: Tue, 2 Apr 1996 02:52:26 -0500 Reply-To: francisco sapateiro From: francisco sapateiro Subject: jokes Hi, can you send me some jokes. thank you. ========================================================================= Date: Tue, 2 Apr 1996 03:05:05 EST Reply-To: Joseph Leichter From: Joseph Leichter Subject: Re: Charlie Christian Somewhere in my LP collection i have a columbia 2-lp set of Charlie Christian called, I beleive, Solo FLight......great stuff! ANyone know if its on CD? ========================================================================= Date: Tue, 2 Apr 1996 11:55:09 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Terrance Simien I see that along with the likes of Robert Cray and Carey Bell (and rumored Taj Mahal) there is someone by the name of Terrance Simien going to be at the Ottawa Blues Festival. Who dat? (July 6th weekend BTW) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [2/4/96 6:52 AM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 2 Apr 1996 08:02:09 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1936, Bumble Bee Slim recorded "New Policy Dream Blues" P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 2 Apr 1996 08:13:14 -0500 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: The Apollo, Friday Night Comments: To: Ken Ficara In-Reply-To: Ken, Thanks a million! They were at the Valley Forge Music Fair last Sunday but I wasn't able to go. I haven't seen the two men since they played together at the Latin Casino in Cherry Hill, NJ. Your comments were the next best thing to being there. Asante sana, nitra On Mon, 1 Apr 1996, Ken Ficara wrote: > Just getting around to writing this up, but Friday night, I saw Ruth Brown, > Bobby Bland and B.B. King at the Apollo Theater. Wow. > > All three of them were terrific. Ruth was great: an official senior > citizen, as she pointed out, who first showed up on that stage in 1949, she > did a great set, concluding by talking about the many people who've been on > that stage and have since died, and then dedicating a beautiful version of > Eric Clapton's "Tears In Heaven" to them all. > > Bobby Bland was the best of the three. His voice is like good scotch -- the > older it gets, the smoother it gets, but what a kick. His band was a bit > ragged at times but I could listen to that man sing all night. This one > woman in the audience was a bit too into the show and actually made it up > on stage with him before the bodyguards could get to her. But he swept her > into his arms and sang to her (and she made mroe than a few suggestions for > post-show activity), and then ushered her off stage (and then the security > folks were more alert, and headed her off at the past a few times later in > the show). > > BB did his thing last, and while he was great, I wished Bland had gone on > longer, or that they'd played together (they were partners for some years). > I love BB but sometimes he seems like he's doing his BB King act more than > he's singing his own stuff, if you know what I mean. He does have an > amazing voice, though -- he barely needed a mic. > > The nicest thing about the show was that it was full of people the same age > as the performers. Next to us in the aisle was an elderly lady in a > wheelchair, with her friend the same age, and they were rocking along with > everyone else and talking back to the stage. It was quite a mix of people > and that's a nice thing to see nowadays at a blues show -- ranging from the > women next to us to a 21-year-old woman in the front row who was coming on > to Bobby, prompting him to remind her that he might be too much for her. > > She came on to BB too, but he was having none of it. He was encouraging > women to walk the aisles and find a man that suited their fancy ("Guys, you > have nothing to do, just pucker up and pray!"). She yells "YOU suit my > fancy", but without missing a beat, he says, "I said in the >aisles<, girl, > in the >aisles<." > > :) > ken > > ====================================================================== > Ken Ficara ficara@acm.org > > "Politically, nowadays, all you have to do is stand still and you'll > be ahead of your time." --Laurie Anderson > > For more quotes, see: http://www.panix.com/~ficara/quotes/quotes.cgi > ========================================================================= Date: Tue, 2 Apr 1996 08:53:31 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: Waterman steps out Hey y'all... Thought you all might like to know that our own Dick Waterman put on a pretty fine show last weekend at the Cropsy Auditorium in Indianapolis. He displayed approximately 40 brilliant photographs of beloved bluesmen and women -- a mere smidgen of the vast collection of great pictures taken in his career as a photographer -- and told delightful stories and anecdotes about them to a packed room of very eager and appreciative blues lovers. As a matter of fact, he regaled the entire community the previous day, with stories and opinions (Dick Waterman on radio -- dangerous!) as a special guest on Jay Zochowski's "Nothing But the Blues" radio program (WFYI - Indy). I kept waiting for lightning to come streaking out of the sky, but miraculously, we all survived. Though Dan Ackroyd is probably quaking somewhere, he and the House of Blues still remain standing (grin). We even managed to slip in a visit with William Clarke (who flew home to California Saturday night -- much improved!) between events. This Waterman fellow is really quite a delightful guy (don't tell him I said so), though his personal filing system leaves a bit to be desired (even his car needs a secretary!)...smile. It was a wonderful visit and we all felt fortunate to have him share his experiences, knowledge and those amazing photographs. He even let it slip that he likes doing this sort of thing and might be open to more of same. For several scary moments, I considered becoming HIS agent! Yank Rachel and David Morgan played music following his presentation, and as usual, Yank was a crotchety old delight. He fussed with his mandolin tuning and shouted to the audience between numbers. Yank's recent birthday puts him at 87 years now. I'll be tickled to be moving if I reach that age, but Yank still amazes me. Onstage he starts off slowly, you can almost hear him creak, but after a few numbers he begins to get excited and pretty soon he's throwing himself into it with a glee that makes your heart glad. Of course he isn't what he once was, but it hardly matters when, backed by Morgan's steady beat, he wraps those huge hands around that tiny mandolin and begins to sing. He huffed and snorted a little when Waterman told the audience that Son House was probably the greatest bluesman that ever lived, but he soon forgot all that when Waterman presented him with a terrific portrait of himself and Sleepy John, taken some thirty years ago. "Oh baby," he said to me, "that was a lonnnnng time ago." He handed me the portrait, told me to dust it off, and give it right back. "You carry m'cane...I'll carry this," he said, tucking it protectively under his arm. A HUGE thank-you to Dick Waterman. I expect I'll be seeing that photo hanging in Yank's room soon, and it'll be a lonnnnnnng time before I quit hearing how much everyone enjoyed this show. Cathi N. ========================================================================= Date: Tue, 2 Apr 1996 08:38:01 -0600 Reply-To: James Foster From: James Foster Subject: SYL JOHNSON: REQUEST FOR DISCOGRAPHICAL INFO Can someone le tme know how many (and, if possible, the titles) of Syl Johnson's LPs on the HI label. I know of the following three: 1. Uptown Shakedown 2. Love Chimes 3. Stuck In Chicago Are there additional titles? The DAEMON re-issue program has discontinued the Johnson CD compilations (why?), so now I'm searching out his LPs. Any help is greatly appreciated. Thanks, James Foster ========================================================================= Date: Tue, 2 Apr 1996 09:11:14 -0500 Reply-To: bob vanarsdall From: bob vanarsdall Subject: Bonnie Raitt & computers (from USA Today) Found this posted on-line at USA Today's Technology page: Bonnie Raitt's computer test Bonnie Raitt may not be "a computer head," as she terms it. But she knows the implications of cyberspace, particularly for struggling artists. The time is approaching when major record labels may be unnecessary, thanks to the advent of digital downloading. "We talk about that all the time," Raitt says. "There are a lot of my friends who can't get record deals with big labels and probably wouldn't want it because they'd be forgotten or they don't do music that's current or whatever. "I have an exclusive recording deal with Capitol, so they pay for tour support and the distribution is great. But in the future, if I ever get in trouble. . . . You just have to figure out a way to get people paid." Raitt's new music and multimedia Enhanced CD, Burning Down the House (Windows and Mac, $11.98), is the first product from Capitol Records New Media. Billed as the interactive companion to her live double album, Road Tested, House features audio and video tracks, interview footage and lyrics. Raitt performs live with the likes of Bryan Adams, Bruce Hornsby, and Ruth and Charles Brown. There's also a preview of Raitt's Web site (at http://www.hollywoodandvine.com). The site already poses one problem: "Everybody's trying to tag onto somebody else's Web site," Raitt says, adding she's had several requests to link hers to other sites featuring friends' music. Footage shot during the tour for Road Tested was a perfect fit for the Enhanced CD. Raitt is so enthused she may even let camera crews film the recording process for her next album. "As a fan, I would love to see how the record was made," she says. Although she hasn't been on-line, Raitt has seen print-outs of fans' comments. She admits it made her nervous. "I thought maybe my feelings would be hurt," she says. "I don't know who's got the time to sit around and talk, whether it's people in offices or people who really know about music, or whether it's just the others that might have heard about you or think they've heard one song of yours and think they know a lot about you." Raitt will have time to study up on the new technology. She's planning her first hiatus from touring and recording in 25 years, to travel and "fill up" with fresh perspectives for new songs. Raitt says she's "creeping along" into cyberspace. "My husband's got a CD-ROM in his computer and every morning we wake up to, 'Welcome! You've got mail!' And part of my road crew, it seems like they all travel with computers. People are getting messages from everybody all the time, so I feel like I'm in some sort of Star Trek set." All of which plays like a counterpoint to Raitt's creative process. "When I write a song, I'm sitting out in the woods in a cabin somewhere and I'm writing longhand," she says. "I haven't gotten to the point where I want to be creative with lyrics on a Powerbook. But I can see the value of that, especially for doing my political work." By Bruce Haring, USA TODAY ========================================================================= Date: Tue, 2 Apr 1996 10:46:34 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Blues in Movies/TV Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com * Since people are now pointing out blues in TV shows, past and * present...the syndicated series "Highlander" has a character, Joe, who * owns a blues bar and is sometimes seen, in reflective moments, playing * a little acoustic slide guitar in the bar. There's also a character on that space show on FOX who occasionally plays a little slide guitar. -Steve ========================================================================= Date: Tue, 2 Apr 1996 09:53:55 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Also on this day... On this day in 1513, Florida was discovered by Ponce de Leon, paving the way for the newest House Of Blues, soon to be built in Orlando. and a related note... On this day in 1954, plans to build Disneyland were announced. and on an unrelated note... On this day in 1961 Yuri Gagarin became the first man in space. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton "The Large print giveth, and the small print taketh away." ========================================================================= Date: Tue, 2 Apr 1996 10:40:25 -0500 Reply-To: BluesMojo@AOL.COM From: Doug Carlisle WSFM Subject: Blues show playlist WSFM Surf 107fm Houesrockin' Blues Playlist Sunday 3-31-96 Host: Doug Carlisle Time: Sundays 9am-12pm EST Studio: (910) 251-1075 Fax: (910) 686-7031 E-mail: Bluesmojo@aol.com Snail: Box fm 107, Wilmington, NC 28402 Reported to the "Hard Report" weekly. Rated #1 in it's timeslot past 2 years (Arbitron 12+ Sp. '94 &'95) Featured c/d: William Clarke "Serious Intentions" Hour 1 William Clarke Pawnshop Bound Alligator Tommy Castro Sho' Enough Blind Pig Monster Mike Welch Texas Girl Rounder/Tone Cool Santana Persuasion Columbia The Shadows Take It Real Easy Ichiban/Wild Dog William Clarke Trying To Stretch My Money Alligator Omar & the Howlers Mail Order Mojo Watermelon Dick Dale & His Del-tones Surf Buggy GNP Crescendo (jazz spotlight) Stan Getz Espanola A & M William Clarke Educated Fool Alligator William Clarke Going Down This Highway Alligator Foghat Louisiana Blues Modern Robert Cray Band Don't You Even Care? Mercury/Hightone Hour 2 William Clarke Driving My Life Away Alligator Taj Mahal Fanning The Flames Private Guitar Shorty My Baby Loves To Do The Bump Black Top Stevie Ray Vaughan & Double Trouble Love Struck Baby Epic Billy Bacon & The Forbidden Pigs I Go Right Outta My Mind Triple X Big Twist & the Mellow Fellows The Sweet Sound Of Rhythm & Blues Alligator William Clarke Driving My Life Away Alligator William Clarke Chasin' The Gator Alligator Cephas & Wiggins The Blues Will Do Your Heart Good Aiilgator Long John Hunter Nasty Ways Alligator (jazz spotlight) Steve Laury All Because Of You A & M William Clarke With A Tear In My Eye Alligator Cissy Houston God Don't Ever Change House Of Blues Joe Turner & Jimmy Witherspoon Patcha, Patcha Fantasy/Pablo Hour 3 William Clarke It's Been A Long Time Alligator Duke Robillard Band Don't Leave Me Baby Pointblank/Stony Plain Elmore James Madison Blues Stax Lowell Fulson Think About It Rounder/Bullseye William Clarke The Work Song Alligator William Clarke I Feel Like Jumping Alligator Buster Poindexter Big Fat Mamas Are Back in Style Forward (jazz spotlight) Miles Davis Freddy Freeloader Columbia William Clarke Soon Forgotten Alligator John Primer How Long Will you Be Mine Atlantic/Code Blue John Hammond Howlin' For My Darlin' Pointblank Michael Bloomfield I Got My Mojo Working Columbia/Legacy **** Record Companies, If you don't see your name on this list.....check your mailing files!!! If we're not on your list, add it!!! Thanks, Doug C. ========================================================================= Date: Tue, 2 Apr 1996 10:52:50 -0500 Reply-To: SliderDW@AOL.COM From: Don Williams Subject: Re: Terrance Simien Comments: To: phertel@cmc.doe.ca Re your query about Terrance Simien: he's a hot young black zydeco accordionist from Louisiana. Has a couple CDs out on Rounder (?) I think. Don Williams ========================================================================= Date: Tue, 2 Apr 1996 10:58:29 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Need address Can any resourceful Blues-Ler give me an email address for the corporate offices of Capitol Records? The CEO would be nice, but someone in charge of public relations would be O.K. TIA, P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton "The Large print giveth, and the small print taketh away." -Tom Waits ========================================================================= Date: Tue, 2 Apr 1996 11:08:00 EST Reply-To: edward c liu From: edward c liu Subject: S&T: Johnny Shines, _Traditional Delta Blues_ Howdy all, Johnny Shines inaugurates NY CD Blues' Biograph month. Blues doesn't get much more traditional than this. -- Ed Edward C. Liu | "If you send me to Washington as your leader, edwick@cc.bellcore.com | I'll personally see to it that every living | American gets his portion ... after I get mine." | -- Louis Jordan, "Jordan For President" The opinions in this message are mine and not Bellcore's. Really! *------------------------------cut heer------------------------------* JOHNNY SHINES / TRADITIONAL DELTA BLUES (BCD 121 ADD) BIOGRAPH RECORDS, INC. 374 CONGRESS STREET, SUITE 407 BOSTON, MA 02210 TEL: 617-426-7500 FAX 617-426-5222 E-MAIL: CD@biograph.com In addition to being one of the few Delta bluesmen who performed with Robert Johnson, Johnny Shines is also the only Chicago bluesman who arrived in that city by way of Africa. Or perhaps "because of" is more appropriate. Apparently, Johnny was headed from the Delta to Detroit, and from there to Canada. He intended to catch a ship from there and find his way to Africa to see it for himself. Fortunately for blues fans, he visited a cousin while he was in Chicago, and his cousin got him a job as a construction worker. This disc provides exactly what the title advertises. This set of fourteen songs are pure, 100% certified traditional Delta blues, played and sung by Johnny on acoustic and National steel guitars. It is a stark, extremely intimate portrait of this wonderful blues performer. SITTING ON TOP OF THE WORLD / RAMBLIN' BLUES / TELL ME MAMA / BUMBLE BEE BLUES / IT AIN'T NOBODY'S FAULT BUT MINE / ARGUING AND BOODLING / DELTA PINE / PONY BLUES / MILK COW BLUES / DYNAFLOW BLUES / GLAD RAGS / PET RABBIT / LITTLE WOLF / JIM STRING NYCD Takes SITTING ON TOP OF THE WORLD: Some stinging acoustic slide work opens up this Delta blues classic, based on the version by the Mississippi Sheiks. Johnny's vocal performance is amazing, conveying tremendous emotion with every vibrato-laden word. His guitar accompaniment is very lean, but meaty and powerful. The engineers for this disc must be congratulated, because the sound quality on this disc is simply stunning. You can literally hear Johnny's fingers squeaking on the guitar strings. RAMBLIN' BLUES: Johnny switches over to a National steel and builds up a strong head of steam for a pinging-and-sliding introduction, accompanied by his deeply felt moaning. This tune may be more familiar to most listeners as Robert Johnson's "Walking Blues," which has since been covered by artists everywhere. Johnny puts his stamp on this version, moving the song along at a steady clip and delivering the vocals with a powerhouse borderline shout. His fingerpicking is wonderful to listen to, as he hits vintage slide licks with a metallic bass constantly hovering in the background. TELL ME MAMA: Some more amazing slide work kicks off this slower tempoed blues. His voice and guitar link up wonderfully in a call-and-response, where the vocals are virtually unaccompanied. There are not many performers who can drive a track almost entirely on the vocal performance, but Johnny was a master at it. According to the liner notes, Johnny was supposed to have learned this song from Robert Johnson even though Johnson never recorded it. BUMBLE BEE BLUES: A song Johnny learned from Memphis Minnie, as well as the first song he ever learned to play. A very Hawaiian slide guitar intro leads into a more traditional Delta blues followup. His vocals are powerfully shouted, taking no prisoners. Johnny's accompaniment is more fleshed out here than on other tracks, and is full of wonderful National steel guitar tone. IT AIN'T NOBODY'S FAULT BUT MINE: A downhearted blues taken much slower than the more famous version by Blind Willie Johnson, and in an entirely different world than the cover done by Led Zeppelin. The Johnny's guitar accompaniment is very spare and lean, focusing on chordal melodies rather than single-note slide runs. The vocal performance is wonderful, as Johnny swoops between powerful shouts and near whispers, communicating a whole range of emotions. ARGUING AND BOODLING: Johnny kicks into high gear for a song based around Robert Johnson's "32-20." Be ready to hit the ground running, or you're just going to be left eating Johnny's dust. Subtlety is tossed into the wind as Johnny threatens plenty of violence in a vocal tone that lets you know he means business. He also really burns up the fretboard with pounding, insistent slide boogie. The feel of the track is kind of like John Lee Hooker without electricity. Alternately, it's probably what John Lee Hooker took and electrified to turn into his unique brand of blues. DELTA PINE: A Johnny Shines original, on which he returns to the standard acoustic. Again, Johnny uses chords almost exclusively in his guitar accompaniment, with the occasional slide phrase slipped in on top of the rhythm playing. Again, the sound quality of this track is especially noteworthy. The engineers really managed to capture the "woody" tonal quality of Johnny's acoustic guitar on disc. PONY BLUES: Johnny continues with the acoustic and the chord-oriented accompaniment, this time putting his spin on a song usually associated with Charlie Patton. His vocals are relatively low-keyed, keeping the volume low and speaking more in subtleties. It's a solid, no-frills Delta blues that delivers the goods. MILK COW BLUES: Johnny takes this Robert Johnson classic blues as a chunky, chord-driven tune. His vocals are as simple and straightforward as the rhythms, with very little in the way of extraneous ornamentation. Also, his picking is superb, as he manages to keep the constant bass thumping while he solos on the treble strings. DYNAFLOW BLUES: Some very Robert Johnson-esque sliding opens this variation on Johnson's "Terraplane Blues." Johnny's accompaniment is smooth and done mostly with the slide, in stark contrast to the chunky, rhythm chord patterns presented in "Milk Cow Blues." GLAD RAGS: A simple, single-note introduces this tune penned by Johnny himself. The accompaniment keeps this same, single-note flavor. This song is one of the most modern of the ones on this disc, as it deals with the subject of drugs through some indirect references. Johnny delivers the lyrics with a powerful shout, entirely fitting the dark subject matter. PET RABBIT: Another original by Johnny that features some very Robert Johnson-esque guitar work. The rhythm accompaniment is of the churning, bulldozer variety, with some thick bass chords providing a bed for some simple treble-string riffing. The sound quality on this track is also especially noteworthy, as it captures the subtleties of his acoustic performance perfectly. LITTLE WOLF: Some stinging slide work on a National steel guitar opens up this track. The guitar accompaniment is extremely spartan on this slower track, with almost no rhythm playing during Johnny's sung lines and very little response between them. This might also be a tribute to Howlin' Wolf, Johnny's first blues mentor in his younger days. JIM STRING: A haunting, slow blues closes this disc. Johnny introduces this track with some thin, simple, repetitive guitar riffing as he tells the story of Jim String, a pimp from East Memphis who shot one of his girls. He opts to tell most of the story instead of singing it, delivering his words in a distant, matter-of-fact manner. The addition of a rattlesnake-like rattle and an eerie, violin-like effect played over the repetitive, mantra-like central riff gives the song a real sense of foreboding and dread, similar to the atmosphere Blind Willie Johnson creates in his song "Dark Was The Night." It's a tremendously atmospheric track which will haunt you long after it finishes. Reviewed by Edward C. Liu Copyright 1996 NY CD Blues Unauthorized use prohibited NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ ========================================================================= Date: Tue, 2 Apr 1996 10:17:06 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: S&T: Johnny Shines, _Traditional Delta Blues_ In-Reply-To: Message of Tue, 2 Apr 1996 11:08:00 EST from IMHO this is of one Johnny's best recordings. I consider it a must have for fans of Delta blues. I think Johnny Shines proves he can hold his own with ANY delta player and surpasses most with his incredible vocals. I consider Johnny my number one influence/inspirationthese days. BTW: Johnny's favorite recording was Johnny Shines on Hightone, produced by Bromberg. At least that's what Kent DuChaine said. Traditional Delta Blues is far and away my favorite JS recording and close to being my favorite delta blues recording. Thanks for reviewing it....I'll shut up now LW ========================================================================= Date: Tue, 2 Apr 1996 16:38:15 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Terrance Simien In-Reply-To: <9603028284.AA828468620@mail-sh.lsumc.edu> Thanks to all that answered my query. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [2/4/96 11:07 AM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 2 Apr 1996 10:46:09 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re[2]: Terrance Simien Comments: To: SliderDW@AOL.COM Correct, except he's not black. -Jim _______________________________________________________________________________ Subject: Re: Terrance Simien From: SliderDW@AOL.COM at INTERNET-SH Date: 04/02/96 10:35 AM Re your query about Terrance Simien: he's a hot young black zydeco accordionist from Louisiana. Has a couple CDs out on Rounder (?) I think. Don Williams ========================================================================= Date: Tue, 2 Apr 1996 11:53:24 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: S&T: Johnny Shines, _Traditional Delta Blues_ Comments: To: edward c liu In-Reply-To: <199604021617.AA27883@gpo.cc.bellcore.com> I know I've told this story a hundred times and yes Ed and I are related (as least through NY CD Blues). This is the CD that got me into the blues. In particular it was the last cut Jim String that took me away from everything I had listened to before - and placed me solid inside the blues as my music of choice. I also love the colors on this CD cover - purple, red, black and aqua :). A definite go-get under threat of death CD. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 2 Apr 1996 16:46:26 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Elmore Question Comments: To: bit-listserv-blues-l@uunet.uu.net In article L W writes: >I was listening to "Yonders Wall" and I'm curious to the harp player. I >read in an old BRQ (great Elmore article...they quote Living Blues 1/2 the >time ;-)' that the player is Sam Myers. I know he cut more than one version >of the tune, did Sam play on all versions Sam plays on the version released as a single on Fire (504). Charly's Elmore James box set has only one other version of Yonders Wall and does not credit a harmonica player on it. The Capricorn "Fire/Fury Records Story" 2 disc overview has a great Sam Myers' track "You Don't Have To Go", the A side of his only single on Fury which was recorded in 1960. Art Schuna ========================================================================= Date: Tue, 2 Apr 1996 11:59:01 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: S&T: Johnny Shines, _Traditional Delta Blues_ Comments: To: edward c liu In-Reply-To: <199604021617.AA27883@gpo.cc.bellcore.com> Sorry I forgot to add the following. This month out at our web site Biograph is giving away 5 CD's to one lucky game winner - the 5 CD's are your choice and this game is easier than some of its predecessers. I recommend that the winner, who ever it is, if they don't own this Johnny Shines CD - make it 1 of the five CD's they pick. re: LW's post - great choice in a master to be influenced by. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 2 Apr 1996 12:03:33 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Iggy Pop and Junior Kimbrough (huh??) Didn't someone out there complain recently about R.L. Burnside being booked with Jon Spenser Blues Explosion? Well, I've been told recently that Junior Kimbrough has been book for >30 dates with Iggy Pop (the one and the same of Iggy Pop and the Stooges). The closest they will come to Junior's home is Cincinnati, not exactly nearby. While I am an advocate of blues musicians expanding their audience (and disagreed with the criticism of the booking of R.L.), this one seems questionable with me. Junior has health problems and a well-known unwillingness to travel far from home, and I can't imagine him putting over his music to crowds who turn out for Iggy Pop. Party of the connection was apparently because a local studio where Junior did some recording took its name from an Iggy Pop song, and the studio folks sent Iggy one of the CDs. Iggy liked it, and thus the booking. Curiouser and curiouser. Tom Freeland ========================================================================= Date: Tue, 2 Apr 1996 11:05:33 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Iggy Pop and Junior Kimbrough (huh??) In-Reply-To: Message of Tue, 2 Apr 1996 12:03:33 -0500 from On Tue, 2 Apr 1996 12:03:33 -0500 Tom Freeland said: > >While I am an advocate of blues musicians expanding their audience (and >disagreed with the criticism of the booking of R.L.), this one seems >questionable with me. Junior has health problems and a well-known The only problem I have (RL didn't have a problem with it) with the RL deal was a Handy Nominee for BLUES ENTERTAINER OF THE YEAR !!!!! just like Luther Alison & Buddy Guy was the opening act for some band that I never heard of in "blues circles"...Now could you imagine the other nominees for the same category opening for Jon Spencer Blues Explosion....That's the part that bothers me, unless like KOKO opening for NRBQ she chose that. I'm sure it was because NRBQ ran all the blues fans away after KOKO was through... LW 'maybe RL chose to open so the blues fans would be in attendance...still' ========================================================================= Date: Tue, 2 Apr 1996 16:25:53 +0200 Reply-To: phil wight From: phil wight Subject: muddy disco Comments: To: Alasdair.Blaazer@mcps.co.uk Alasdair-the live 'Honey Bee' on Castle is the same one as on Black Bear 901/LEB 401 Stockholm 1970 (page 48) I have a poor quality tape of the LEB lp and the intro is spoken exactly the same (unless he used the same intro to that song each night-possible I suppose). I've incorporated your other points. Re the U7215/17 session, it does sound like a different guitar player on the last cut, do you give any value to the Tampa Red theory? I doubt it personally Is your date of 1979 for the Winter lp a mistyping?, my copy came out in 1977! All the best, cheers the noo.... Phil phil wight ========================================================================= Date: Tue, 2 Apr 1996 12:59:00 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Iggy Pop and Junior Kimbrough (huh??) Comments: To: Skipjames@aol.com On 2 Apr 96, Skipjames@aol.com had this to say... > Didn't someone out there complain recently about R.L. Burnside being booked > with Jon Spenser Blues Explosion? Well, I've been told recently that Junior > Kimbrough has been book for >30 dates with Iggy Pop (the one and the same of > Iggy Pop and the Stooges). The closest they will come to Junior's home is > Cincinnati, not exactly nearby. > > While I am an advocate of blues musicians expanding their audience (and > disagreed with the criticism of the booking of R.L.), this one seems > questionable with me. Junior has health problems and a well-known > unwillingness to travel far from home, and I can't imagine him putting over > his music to crowds who turn out for Iggy Pop. > > Party of the connection was apparently because a local studio where Junior > did some recording took its name from an Iggy Pop song, and the studio folks > sent Iggy one of the CDs. Iggy liked it, and thus the booking. > > Curiouser and curiouser. When one day I noticed that John Spencer and the "blues" Explosion was booked with R.L. Burnside at a local venue that was a center for "skin head" activities, you and several others jumped my ass. NOW you can't imagine Junior getting over with these same crowds, and that's a perfectly reasonable thing to think. Nobody, including you, was willing to accept that all I said was that it didn't seem like a booking that Blues fans would go to, or skin heads would be receptive to. What's so different now? Curiouser and curiouser, P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton "The Large print giveth, and the small print taketh away." -Tom Waits ========================================================================= Date: Tue, 2 Apr 1996 19:56:52 +0100 Reply-To: Bluesman From: Bluesman Subject: Back from Spain.:-) Hi! It's been a few weeks since my last message to the list.I'm one of the spanish guys.:) I havent been able to write to you all as I can't access to the terminals on my University yet.It's overcrowded...:-/ In a few days, I hope you receive the visit of the best spanish blues radio DJ I know, Mr. Jorge Munoz, El Maqui, :-) Sure he knows *a lot* about blues.:-) Well, see you, but it's a pity that not as much often as I'd like..:-/ Bye. Jose. Spain. **************************************************************************** Everyday I Have The Blues ========================================================================= Date: Tue, 2 Apr 1996 12:10:39 -0600 Reply-To: T-Bone From: T-Bone Subject: New on the web page. Excuse me for a minute while I toot my own horn, but there are some new features on T-Bone's Blues Page, located at http://www.io.com/~tbone1/blues/ for those who care. First and foremost, I have made a web page on Archie Edwards. Mr. Edwards very graciously invited me to his barber shop last weekend, where I got to meet him and some of his friends. (This will be coming soon to a web page near you.) Also, I have been working on material for a web page on Piedmont blues. It is a bit of a big job, but some folks might be interested in what I have so far. It is at http://www.io.com/~tbone1/blues/ECblz/ and does NOT list all of the artists I plan to profile. So before I get e-mail about "Hey, how the heck can you have a Piedmont blues page without Blind Boy Fuller?", I'm working on it. Lastly, I've added a (small) section on blues humor. All are welcome to contribute to this. I plan to add a feature which will allow people to submit humorous blues quotes to a web page, but that is in the future. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Remember! Friends don't let friends drink and post." - Amy Ashton ========================================================================= Date: Tue, 2 Apr 1996 14:13:28 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: DC Blues Society Jam Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com The next free DC Blues Society blues jam will be on this Sunday, March 7, at Food For Thought (1738 Connecticut Ave. NW) from four - eight PM. All musicians are welcome to perform. There is no cover and DC Blues Society members get a 10% discount on food and drink. For more information call the DC Blues Society at (202) 828-3028 or visit the DC Blues Homepage at http://intelus.com/dcblues ========================================================================= Date: Tue, 2 Apr 1996 12:51:11 -0600 Reply-To: James Foster From: James Foster Subject: Re: Iggy Pop and Junior Kimbrough (huh??) When the messages concerning Jon Spencer and R.L. Burnside were recently posted I hesitated to comment. Now that Tom has pointed out the Iggy Pop/Junior Kimbrough booking and others (P.W. Fenton) have commented with concern(?) I'll step gingerly into the arena. R.L. Burnside has been favorably received on his tour with Jon Spencer and, while many here would seem to dismiss Spencer out-of-hand because he plays at those "other" clubs (despite what P.W. Fenton insinuates in his post, Jon Spencer is not a "skin head" nor is his fan-base). No less an authority on blues music and culture, Robert Palmer, has written (in Tower Records' PULSE magazine a few months back) a brief overview of the popularity of Burnside and Kimborough and others among those music lover's who enjoy "something different". He specifically highlihgts their appeal to those who also enjoy folks like Jon Spencer, who have a very unique sound. He points out that there is tremendous differences between a performance by Kimbrough and someone like B.B. King and why those differences might appeal to different people as well as how some of us might enjoy a spectrum of musical experiences. There are MANY people who enjoy both Iggy Pop and Junior Kimbrough, as well as a variety of other musical performers, in a variety of styles. Though I understand Tom's concern about Junior taking on this tour given his health, I'm sure that Junior could decline the tour offer. Again, just my couple of cents worth. James Foster ========================================================================= Date: Tue, 2 Apr 1996 13:04:53 -0600 Reply-To: Kevin DeBell From: Kevin DeBell Tom Freeland wrote: "Didn't someone out there complain recently about R.L. Burnside being booked with Jon Spenser Blues Explosion? Well, I've been told recently that Junior Kimbrough has been book for 30 dates with Iggy Pop (the one and the same of Iggy Pop and the Stooges). The closest they will come to Junior's home is Cincinnati." I think the combination of JK and Iggy is a strange one, too. I'm embarassed to admit, however, that my annoyance comes more from my disdain for Iggy Pop's recent (last 15 years?) work than from JK being teamed up with such a commercial act. The way Junior has stuck with his music is far more rebellious than Iggy's burning himself w/cigarettes then turning out cruddy music. Junior's brilliance *should* be heard from the mountaintops - I'm just not sure Iggy represents that anymore. On another note, I saw Jon Spencer's *other* band, Boss Hog, on Friday night. While the band borrows liberally from the Cramps, B52s, and hiphop, Spencer himself comes off as a *very* talented person with an interesting musical (dare I say) vision. I *love* R.L. more than I can tell you, and after seeing Boss Hog (I saw JSBE years ago) the pairing of Burnside and Spencer is/was a compliment to *all* involved. - Kevin p.s. I agree that Junior and R.L. are very different in their presentations and their sound than are (the also wonderful) Luther, B.B. and others. Even in terms of appearance, Junior and R.L. more strongly resemble the audience at a JSBE show than at Buddy Guy's. ========================================================================= Date: Tue, 2 Apr 1996 14:49:54 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Iggy Pop and Junior Kimbrough (huh??) Comments: To: pwfenton@gate.net In a message dated 96-04-02 12:59:28 EST, pwfenton@gate.net (P.W. Fenton) writes: >> While I am an advocate of blues musicians expanding their audience (and >> disagreed with the criticism of the booking of R.L.), this one seems >> questionable with me. Junior has health problems and a well-known >> unwillingness to travel far from home, and I can't imagine him putting over >> his music to crowds who turn out for Iggy Pop. >> >> >> Curiouser and curiouser. > >When one day I noticed that John Spencer and the "blues" Explosion was >booked with R.L. Burnside at a local venue that was a center for "skin >head" activities, you and several others jumped my ass. NOW you can't >imagine Junior getting over with these same crowds, and that's a >perfectly reasonable thing to think. Nobody, including you, was >willing to accept that all I said was that it didn't seem like a >booking that Blues fans would go to, or skin heads would be receptive >to. > >What's so different now? > >Curiouser and curiouser, Its all JUST THE SAME---for instance, P.W. is firing off without reading the post. I began by noting Jr.'s health and travel problems, R.L. does not have a reputation for missing distant bookings. And I do think Iggy Pop likely to draw a different audience than Jon Spencer Blues Explosion; Iggy has made no attempt to draw connections to this music, unlike Jon Spencer. Tom Freeland ========================================================================= Date: Tue, 2 Apr 1996 15:48:26 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: DC Blues Society Jam - Repost with correct date. Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com It looks like I goofed when I posted about the upcoming DC Blues Society Jam. It's April 7, NOT March 7. Sorry for any confusion. Here it is again, with the correct date: The next free DC Blues Society blues jam will be on this Sunday, April 7, at Food For Thought (1738 Connecticut Ave. NW) from four - eight PM. All musicians are welcome to perform. There is no cover and DC Blues Society members get a 10% discount on food and drink. For more information call the DC Blues Society at (202) 828-3028 or visit the DC Blues Homepage at http://intelus.com/dcblues -Steve Levine "April is the cruelest month" -TS Eliot ========================================================================= Date: Tue, 2 Apr 1996 12:08:26 -0800 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Re: Iggy Pop and Junior Kimbrough (huh??) Comments: To: Tom Freeland In-Reply-To: <960402120333_183236426@mail02.mail.aol.com> YES!!!! know I am not that big of a Iggy Pop fan, but i have to say that Kimbrough and the first 2 stooges albums have allot in common. In fact when I try to explain Kimbrough's sound to my friends, I usually mension the Stooges (Iggy's First Band). I pray that they hit the west coast with that tour, although that is highly doubtfull. peace, Isaac On Tue, 2 Apr 1996, Tom Freeland wrote: > Didn't someone out there complain recently about R.L. Burnside being booked > with Jon Spenser Blues Explosion? Well, I've been told recently that Junior > Kimbrough has been book for >30 dates with Iggy Pop (the one and the same of > Iggy Pop and the Stooges). The closest they will come to Junior's home is > Cincinnati, not exactly nearby. > > While I am an advocate of blues musicians expanding their audience (and > disagreed with the criticism of the booking of R.L.), this one seems > questionable with me. Junior has health problems and a well-known > unwillingness to travel far from home, and I can't imagine him putting over > his music to crowds who turn out for Iggy Pop. > > Party of the connection was apparently because a local studio where Junior > did some recording took its name from an Iggy Pop song, and the studio folks > sent Iggy one of the CDs. Iggy liked it, and thus the booking. > > Curiouser and curiouser. > > Tom Freeland > ========================================================================= Date: Tue, 2 Apr 1996 09:39:08 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: No Blues-L today??? :( Anybody else NOT get their overnight delivery of Blues-L digest?? I can't drink my morning coffee without it! Mail-less in Massachusetts, Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 2 Apr 1996 15:07:24 -0600 Reply-To: toulouse@comm.net From: toulouse Organization: Toulouse Enterprises, Inc Subject: Re: Terrance Simien Comments: To: bit-listserv-blues-l@uunet.uu.net Don Williams wrote: > > Re your query about Terrance Simien: he's a hot young black zydeco > accordionist from Louisiana. Has a couple CDs out on Rounder (?) I think. > > Don Williams Terrance is what you describe him as, but in addition to that, he is a remarkable vocalist. His style is similiar to that of Aaron Neville in soulfulness, and his shows can cross over to the alternative crowd. Terrance is the only zydeco guy that I know who performs in tie-dye and barefoot. Something you will never see Boozoo do. peace, toulouse@comm.net ========================================================================= Date: Tue, 2 Apr 1996 15:03:54 -0600 Reply-To: toulouse@comm.net Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: toulouse Organization: Toulouse Enterprises, Inc Subject: Re: Iggy Pop and Junior Kimbrough (huh??) Comments: To: "P.W. Fenton" P.W. Fenton wrote: > When one day I noticed that John Spencer and the "blues" Explosion was > booked with R.L. Burnside at a local venue that was a center for "skin > head" activities, you and several others jumped my ass. NOW you can't > imagine Junior getting over with these same crowds, and that's a > perfectly reasonable thing to think. Nobody, including you, was > willing to accept that all I said was that it didn't seem like a > booking that Blues fans would go to, or skin heads would be receptive > to. > > What's so different now? > > Curiouser and curiouser, > > P.W. Fenton > Tampa, Florida > http://www.gate.net/~pwfenton > > "The Large print giveth, and the small print taketh away." > -Tom Waits While it does seem out of context to have Iggy and Junior on the same bill, it is not improbable that the audiences would be receptive to Junior. I worked on a record with Iggy (American Caesar) and he was a very down to earth, (nowadays) guy, who apprectiates the roots music of America. It is out of this respect that this bill was put together, which by the way is confirmed by both Junior's agency and Iggy Pop management. Junior's support is for the current leg which covers mostly the Northeast. There will be other U.S. dates not yet booked and it will be determined then whether or not Junior will make it. At any rate, I believe that it is a good thing, and will bring no ill will to Junior to be on the bill. If anything, there will be some tatooed, body pierced, orange hair, punksters that will see some of the older music in this country in a different light. Rock on Junior........ don't go crowd surfing without a lifejacket...... peace, toulouse@comm.net ========================================================================= Date: Tue, 2 Apr 1996 16:28:32 -0500 Reply-To: BluesMojo@AOL.COM From: Doug Carlisle WSFM Subject: Blues in Atlanta??? It's me again!!!! I have plans to be in Atlanta April 19-21, can someone tell me where good blues can be found in the Downtown area???? Bluesmojo@aol.com ========================================================================= Date: Tue, 2 Apr 1996 15:46:55 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 04/03 B O R N : DAY, DORIS ( DORIS KAPPELHOFF ) Born:1922 CINCINNATI, OH Career:SINGER / ACTRESS Style: POP / BIG BAND With:Jimmy James 1937-38 / Barney Rapp 1939 / Bob Crosby 1940 / Les Brown mid-1940 to early 1941. Quit to give birth to son / Rejoined Les Brown 1943, gained fame in 1944 with hit record Sentimental Journy DEMOND, FRANK Born:1933 LOS ANGELES, CA Career:TROMBONE / BANJO Style:TRAD / JAZZ With:Preservation Hall Jazz Band FINEGAN, BILL ( WILLIAM J. FINEGAN ) Born:1917 NEWARK, NJ Career:PIANO / LEADER / ARRANGER Style:JAZZ / BIG BAND With:Tommy Dorsey / Glenn Miller / Eddie Sauter FREEMAN, STAN ( STANLEY FREEMAN ) Born:1920 WATERBURY, CT Career:PIANO / SINGER Style:JAZZ / BIG BAND With:Tex Beneke / best known as a concert pianist KERSEY, KEN ( KENNETH LYONS KERSEY ) Born:1916 HARROW, ONTARIO CANDIA Career:PIANO Style:JAZZ / BLUES / BIG BAND With:Lucky Millinder 1939 / Red Allen 1940 / Roy Eldridge / Cootie Williams, 1941 / Andy Kirk 1942 / JATP 1946 to 1949 / Ed Hall 1949-1950 / Sol Yaged trio 1952-1954 KLOSS, ERIK Born:1949 GREENVILLE, PA Career:TENOR SAX / LEADER Style:JAZZ With:PAT MARTINO / JIMMY ERVIN / CEDER WALTON/ LEROY VINNEGAR / BILLY HIGGINS / KENNY BARRON / BOB CRANSHAW / ALAN DAWSON / CHICK COREA / JACK DeJOHNETTE LaFARO, SCOTTY Born:1936 NEWARK, NJ Career:BASS Style:JAZZ / BIG BAND With:BUDDY MORROW / CHET BAKER / IRA SULLIVAN / SONNY ROLANDS / BARNEY KESSEL / BENNY GOODMAN / BILL EVANS McGRIFF, JIMMY Born:1936 PHILADELPHIA, PA Career:ORGAN Style:BLUES / JAZZ With:ARCHIE SHEPP / CHARLES EARLAND / BIG MAYBELL / HANK CRAWFORD MILEY, BUBBER (JAMES WESLEY MILEY) Born:1903 AIKEN, SC Career:TRUMPET Style:JAZZ / BIG BAND / BLUES With:Mamie Smith / Elmer Snowden / Duke Ellington / Noble Sissle / Zutty Singleton / Allie Ross / Leo Reisman STROMAN, SCOTT Born:1958 KENDALVILLE, IN Career:TROMBONE / SINGER / COMPOSER / EDUCATOR Style:JAZZ With:DIZZY GILLESPIE / LOUIS BELLSON / FRANK ROSOLINO / MARVIN STAMM TAYLOR, BILLY ( WILLIAM SR ) Born:1906 WASHINGTON, D.C. Career:TUBA / BASS Style:JAZZ / BLUES / BIG BAND With:Elmer Snowden 1925 / Willie Gant 1926 / Arthur Gibbs / Charlie Johnson / McKinney's Cotton Pickers / Fats Waller / Fletcher Henderson / Duke Ellington 1934-39 with Hayes Alvis on other bass / Coleman Hawkins / Red Allen / Joe Sullivan / Raymond Scott / Cootie Williams / Barney Bigard / Benny Morton. VICK, HAROLD (EDWARD) Born:1936 ROCKY MOUNT, NC Career:TENOR SAX Style:JAZZ FOR A LISTING OF THOSE THAT PASSED AWAY IN APRIL PLEASE GO TO MY WEB PAGE AT http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Tue, 2 Apr 1996 14:44:39 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Ronnie Dawson-"Rockinitis" I stumbled onto this CD quite by accident yesterday. I was listening to a few CDs at a listening station when I popped this one on to hear what it was like. I was hooked after the first cut. The CD, "Rockinitis" is a great Rockabilly album with a healthy dose of blues. There is indeed a cover of a blues tune, "Sloppy Drunk" (who originally wrote/performed that first?). Wild vocals, some of the ugliest (and coolest) guitars tones around and general mayhem abound on this CD. Ronnie Dawson doesn't let up for the whole 16 tracks. Great party album or for whenever you need to rock out. The liner notes claim the CD was cut live in the studio. It sure sounds like it. A great performance. Some of you may be wondering who is Ronnie Dawson? According to the liner notes he came out of Texas, had a few regional hits, signed (and was dropped) by Columbia, played sessions for years and then found a new life in England. If you are into Rockabilly then by this CD. If you are into great rock'n'roll guitar with a heavy blues vibe then buy this CD. Heck, if you like good music buy this CD. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Tue, 2 Apr 1996 14:44:43 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Gearheads-Tele Intonation Question for all those who have a tele. How do you set the intonation on these beasts? I have one with an old style bridge (two strings per saddle). I read that you set the intonation by setting it for the low E, D and high E strings. Is this right? Any advice/help greatly appreciated? Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Tue, 2 Apr 1996 17:47:21 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Gearheads-Tele Intonation Comments: To: Shaun T Cronin On 2 Apr 96, Shaun T Cronin had this to say... > Question for all those who have a tele. > > How do you set the intonation on these beasts? I have one with an old style > bridge (two strings per saddle). I read that you set the intonation by > setting it for the low E, D and high E strings. It's a compromise any way you do it. You could buy a set of those barrels which have been drilled at an angle so they pretty well nail both strings perfectly. I think you can get them from the custom shop. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton "The Large print giveth, and the small print taketh away." -Tom Waits ========================================================================= Date: Tue, 2 Apr 1996 17:44:52 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Re: memphis May 2-5 Comments: To: bit-listserv-blues-l@uunet.uu.net Let me know who's coming (email, of course), and I'll find a place for the get-together and jam session. I will draft the assistance of Jay Sheffield, BlueSunJay @aol.com and another list member here in Memphis. Denise ========================================================================= Date: Tue, 2 Apr 1996 18:08:14 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Ronnie Earl .... Sitting around pooped after a full day of work - Ronnie Earl's Still River (Audioquest 1018) sure hits the spot. As the Drs. say - good ferwhat ails ya. So easy and relaxing and genuine. On another note - does anyone know what Bruce Katz is up to. I always find his keyboard and organwork (especially his Hammond B3 stuff) such a treat. I was prompted to the question, since he is on the above Ronnie Earl. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Wed, 3 Apr 1996 00:19:40 GMT Reply-To: Paolo Morati From: Paolo Morati Organization: Italia Online Subject: Re: Zucchero's US Tour Dates Comments: To: bit-listserv-blues-l@uunet.uu.net I'm sorry you do not like Zucchero's music and find his records funny. When he made his firts appearance more than 10 years ago I read some notes like yours by critics who now say he is a great talent. Where is the true? Probably in the middle. I know it's hard for an American liking a singer coming from so far and playing American music, especially if he comes from Italy, a country considered only of pizza & spaghetti music and songs like "Volare". I must admit Zucchero's music is not only Blues but a "fusion" of several styles. Anyway he is appreciated by many people in Europe where he is a star. He plays at several Blues Festival and is appreciated by those artists considered to be real blues singers. I've received other messages, different from your one, by people (also American and not Italian-American) who have known him thanks to the Pavarotti & Friends concert and are willing of knowing more about him. For that reason I wrote that article for the blues-l and sent his concerts dates. I thought other people wanted to know someone new (good or bad I leave everybody free of having his opinion). That's all. Anyway I hope you will enjoy at his concert like I did. I can say his band is very powerful! Let me know your opinion and which of his records you've got. Ciao Paolo p.morati@iol.it ========================================================================= Date: Tue, 2 Apr 1996 23:26:23 GMT Reply-To: VT From: VT Subject: Sloppy Drunk (was Re: Ronnie Dawson-"Rockinitis") I believe "Sloppy Drunk" was first done by (John Lee) Sonny Boy Williamson. The popular version that many know is by Jimmy Rogers with Little Walter on harp. -- Vincent vt@usa.pipeline.com On Apr 02, 1996 14:44:39 in , 'Shaun T Cronin ' wrote: >The CD, "Rockinitis" is a great Rockabilly album with a healthy dose of >blues. There is indeed a cover of a blues tune, "Sloppy Drunk" (who >originally wrote/performed that first?). Wild vocals, some of the ugliest >(and coolest) guitars tones around and general mayhem abound on this CD. ========================================================================= Date: Tue, 2 Apr 1996 18:31:24 -0500 Reply-To: Anita Samuel From: Anita Samuel Subject: Waterman step this way Comments: To: Cathi Norton In-Reply-To: Asante sana Cathi! ATTN: Dick Waterman When can you bring your photos this way? I'd love to arrange exhibits here. Let me know if you're interested. nitra On Tue, 2 Apr 1996, Cathi Norton wrote: > Hey y'all... > Thought you all might like to know that our own Dick > Waterman put on a pretty fine show last weekend at the > Cropsy Auditorium in Indianapolis. He displayed > approximately 40 brilliant photographs of beloved bluesmen > and women -- a mere smidgen of the vast collection of great > pictures taken in his career as a photographer -- and told > delightful stories and anecdotes about them to a packed > room of very eager and appreciative blues lovers. > > As a matter of fact, he regaled the entire community the > previous day, with stories and opinions (Dick Waterman on > radio -- dangerous!) as a special guest on Jay Zochowski's > "Nothing But the Blues" radio program (WFYI - Indy). I > kept waiting for lightning to come streaking out of the > sky, but miraculously, we all survived. Though Dan Ackroyd > is probably quaking somewhere, he and the House of Blues > still remain standing (grin). > > We even managed to slip in a visit with William Clarke > (who flew home to California Saturday night -- much > improved!) between events. > This Waterman fellow is really quite a delightful guy > (don't tell him I said so), though his personal filing > system leaves a bit to be desired (even his car needs a > secretary!)...smile. It was a wonderful visit and we all > felt fortunate to have him share his experiences, knowledge > and those amazing photographs. He even let it slip that he > likes doing this sort of thing and might be open to more of > same. For several scary moments, I considered becoming HIS > agent! > > Yank Rachel and David Morgan played music following his > presentation, and as usual, Yank was a crotchety old > delight. He fussed with his mandolin tuning and shouted to > the audience between numbers. Yank's recent birthday puts > him at 87 years now. I'll be tickled to be moving if I > reach that age, but Yank still amazes me. Onstage he > starts off slowly, you can almost hear him creak, but after > a few numbers he begins to get excited and pretty soon he's > throwing himself into it with a glee that makes your heart > glad. Of course he isn't what he once was, but it hardly > matters when, backed by Morgan's steady beat, he wraps > those huge hands around that tiny mandolin and begins to > sing. > He huffed and snorted a little when Waterman told the > audience that Son House was probably the greatest bluesman > that ever lived, but he soon forgot all that when Waterman > presented him with a terrific portrait of himself and > Sleepy John, taken some thirty years ago. "Oh baby," he > said to me, "that was a lonnnnng time ago." He handed me > the portrait, told me to dust it off, and give it right > back. "You carry m'cane...I'll carry this," he said, > tucking it protectively under his arm. > A HUGE thank-you to Dick Waterman. I expect I'll be > seeing that photo hanging in Yank's room soon, and it'll be > a lonnnnnnng time before I quit hearing how much everyone > enjoyed this show. > > Cathi N. > ========================================================================= Date: Tue, 2 Apr 1996 15:31:47 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Gearheads-Tele Intonation Shaun said: >Question for all those who have a tele. > >How do you set the intonation on these beasts? I have one with an old style >bridge (two strings per saddle). I read that you set the intonation by >setting it for the low E, D and high E strings. > >Is this right? Any advice/help greatly appreciated? The fact is that there is no way to get the intonation dead on with this bridge. The two strings will always need different lengths to be intonated. Some people don't mind because they like the tone of the old bridge. I'm not sure there's any real difference as long as you get a vintage-style replacement with six saddles, and not some poorly designed brass piece of junk... Me, I'd get a vintage-style 6-saddle bridge and play in tune! Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu I looked over Jordan, and what did I see An Eldorado comin' after me comin' for to carry me home.. -- Dizzy Gillespie ____________________________________________________ ========================================================================= Date: Tue, 2 Apr 1996 18:55:07 -0500 Reply-To: RhythmShrk@AOL.COM From: Bernie Clarke Subject: Sunday Jam in Syracuse and other RhythmSharks happenings. Hey Upstaters! *****Note: Beginning of shameless self promotion***** Thank God the Spring thaw is here. This weekend I degreased and cleaned the old bike and put a fresh tank of gas in it. The weather's getting nice and it's time to get out - even on Sunday nights. My band, Bernie Clarke and the Rhythm Sharks has been hosting an open blues jam at Rooter's in the Valley Plaza - South Salina St. Looking for players, singers and listeners of all calibers. We get it fired up around 8:30 and play a short set, then we bring the guest talent up. The whole thing winds down at midnight. Hope to see some blues-lers there! Also we're at Legends - North Salina St, Syracuse Friday night - 9:00 and we're in Camden, NY at the Grape and Grog Saturday night starting at 10:00. Friday, 12 April see us at the Dinosaur BBQ. *****End of shameless self promotion!***** Bernie PS Maybe I should write the "Orangemen Blues" ========================================================================= Date: Tue, 2 Apr 1996 19:19:00 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Sloppy Drunk (was Re: Ronnie Dawson-"Rockinitis") Vincent said: >I believe "Sloppy Drunk" was first done by (John Lee) Sonny >Boy Williamson. >The popular version that many know is by Jimmy Rogers with >Little Walter on harp. I was always under the impression that Big Joe Williams did it...of course, SBW I recorded with Big Joe...So which one of them wrote it? Btw, Jimmy Rogers recorded several versions of "Sloppy Drunk," including one with Kim Wilson on "Ludella." I also have a JR CD called "Sloppy Drunk" that he recorded with the Aces (+ Willie Mabon) in 1973. No harp. Never heard him play it live, though. Maybe when I see him next on the 13th. Karen ========================================================================= Date: Tue, 2 Apr 1996 19:19:57 -0500 Reply-To: PHWoolfman@AOL.COM From: Pete Wulforst Subject: Re: Iggy Pop and Junior Kimbrough (huh??) Comments: To: Skipjames@aol.com Iggy started his career as a drummer in a blues band, if I am not mistaken. Also, in his autobiography "I Need More", he described the Stooges (who are no longer an entity) touring with Ten Years After and his being apalled that the audience thought that their (Ten Years After's) music was blues. Personally, I liked TYA, but certainly wold agree that they might not be representative of the pure idiom, but who care, right? Also, as to the type of audience at an Iggy Pop concert being unreceptive to the blues, I think you are making some unfair and unfounded suppositions. Iggy is my age (I'm 47) and draws a very diverse crowd. Although he is still an energetic performer, the last time I saw him he wasn't smearing himself with peanut butter or broken glass. There is an audience out there who could be receptive to a blues performer at an Iggy Pop show. I sort of look at music like food; I really love to play and listen to blues, and I really like eating Mexican food. But my palette (and my ears) demand variety. ========================================================================= Date: Tue, 2 Apr 1996 19:11:16 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Re: Anders Osborne/Jazzfest JB>Which brings us to another topic: who among the bluezellers is going to jazzfest JB>this year? I'll be there the first weekend, it looks like. JB>Jim I will be at Jazzfest both weekends -- But then I live about three blocks from the Fairgrounds. If any blues-lers would like to get together during the festival please e-mail me privately, and we can make arrangements. I usually go to the festival early, so it might be a good idea to meet at my place afterwards for some beers or as a meeting place where we might come to a consensus on night time activities. Wish I could offer parking, but I only have one parking space. E-mail me for address, phone number or additional information. Bill Morgan From: The Big Easy ========================================================================= Date: Tue, 2 Apr 1996 17:43:39 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: Re: Blues Cruise! Comments: To: Larry Kirchmer Larry Kirchmer wrote: > > I would appreciate more information on this cruise. Thank you. *** I am pleased to announce that "the one man...better than a band" 'Iron Man' Mike Curtis will be cruising with us on the Blues On Tap Cruise. Mike Curtis will amaze one and all as he plays guitar, harmonica, and bass pedals....and sings them low down blues all at the same time! *** If you would provide me with your smail address, I would be happy to send you a flyer...in the meantime here are basic details. (And of course, if you have access to the WWW check the page....) http://www.valleynet.com/~steamin/cruise.html *** Blues On Tap Cruise *** This cruise is aboard the Viking Serenade of Royal Caribbean Cruise Lines. It will depart 6pm Friday October 11, 1996 for Ensenada, Mexico and return Monday, October 14, at 8am. Prices start at $399 per person (double occ.), plus port and applicable taxes. $100 deposit will tie it up. Blues entertainment includes Doug MacLeod, "Iron Man" Mike Curtis, Martin Pugh (of Steamhammer, Rod Stewart), and Steamin' Stan Ruffo. After Hours jam sessions, Workshops on Blues Harmonica, Blues Guitar and the history of the Blues are among additional scheduled activities. In addition to all the Blues related activities while on board, one can enjoy lounging by the pool, Las Vegas style gambling, Las Vegas style entertainment, Live music, Bingo For Big Bucks, and Dancin' in the Disco. Thank you for your interest, and I would love to see you aboard! Stan -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 ========================================================================= Date: Tue, 2 Apr 1996 07:08:22 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: April 3 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BARRY, JEFF (songw) b. 1938-0403, BROOKLYN, NY BRANSON, BILLY (BILLY BERET) (p) d. 1990-0403, PITTSBURGH, PA 67 CHURCH, EUGENE (v/CLIQUES/FELLOWS) d. 1993-0403, LOS ANGELES, CA 55 FORREST CITY JOE [JOE BENNIE PUGH] (hca) d. 1960-0403, HORSESHOE LAKE AR 33 GREEN, CLARENCE "CANDY" (p) d. 1988-0403, GALVESTON, TX 59 GUSSOW, ADAM (hca/SATAN & ADAM) b. 1958-0403, CONGERS, NY HAYES, P. T. (hca) b. 1923-0403, BYHALIA, MS KERSEY, KENNY (p/BOOGIE WOOGIE) b. 1916-0403, HARROW, ONTARIO LAFARO, SCOTT (b) b. 1936-0403, NEWARK, NJ MANUEL, RICHARD (of THE BAND) b. 1945-0403, STRATFORD, ONTARIO MCGRIFF, JIMMY (o) b. 1936-0403, PHILADELPHIA, PA MOONEY, JOHN (g/BULLSEYE BLUES REC) b. 1955-0403, EAST ORANGE, NJ MURPHY, EDDIE (v/comedy) b. 1961-0403, HEMPSTEAD, NY NOLEN, JIMMY (g/JOHNNY OTIS/JAMES BROWN) b. 1934-0403, OKLAHOMA CITY, OK PICHON, WALTER "FATS" (p/QRS REC) b. 1906-0403, NEW ORLEANS, LA SATTERFIELD, LOUIS (b/prod/CHESS REC) b. 1937-0403, SHAW, MS SEDRIC, GENE (tsax/FATS WALLER) d. 1963-0403, NEW YORK CITY, NY 55 VAUGHAN, SARAH LOIS (v) d. 1990-0403, LOS ANGELES, CA 66 VICK, HAROLD E. (tsax) b. 1936-0403, ROCKY MOUNT, NC WOODS, MITCH (p/BLIND PIG REC) b. 1951-0403, BROOKLYN, NY WYNNE, PHILIPPE (lead/THE SPINNERS) b. 1941-0403, CINCINNATI, OH ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 2 Apr 1996 21:43:51 -0400 Reply-To: craig o'donnell From: craig o'donnell Organization: . . . __ Subject: Re: Leon Bibb? Comments: To: bit-listserv-blues-l@uunet.uu.net Well, in <315F7FD9.205E@nando.net>, Rick Richardson sez: > In the early 1960s, I remember going with my parents to the Cellar Door in > Washington, > DC and seeing this gentleman perform. While I remember his music as being more > part of > the folk scene than the blues, I am curious if anyone can tell me whatever > became of him > and whether there are any recordings/rereleases of his music available. > > Thanks. > > Rick Richardson test -- COD craig_o'donnell@bmugbos.org ||| author of Cool Mac Sounds -- "What ho, Mercutio" [Wm Shaksper] -- "What? Homer Simpson?!" [M Groening] ========================================================================= Date: Mon, 1 Apr 1996 16:27:08 -0500 Reply-To: David Melton From: David Melton Subject: Re: Charlie Christian Comments: To: VT Vincent wrote: >His most famous piece was "Solo Flight", which is on CD: > >"Genius of the Electric Guitar" on Sony/Columbia JazzMasters Series > >-- > >Vincent >vt@usa.pipeline.com I have "Solo Flight, the Genius of Charlie Christian" on vinyl. It's Columbia G 30779. Amazing stuff. Players are still trying to catch up to what Charlie Christian and T-Bone Walker did way back when IMHO. Dave Melton (now ducking) ========================================================================= Date: Wed, 3 Apr 1996 03:12:52 GMT Reply-To: "D.G.Poole" From: "D.G.Poole" Organization: Pipeline USA Subject: Guitar Shorty Comments: To: bit-listserv-blues-l@uunet.uu.net Hi! I rumaged through a cd bin at the record store and found 8 cds! One dollar each. Whata steel. I've been listening to them all night. I got Guitar Shorty/Get Wise To Yourself and I'm mowed over. This is the first time I've heard him. He's great. Any links would be appreciated. New GS fan, David ========================================================================= Date: Tue, 2 Apr 1996 19:33:00 PST Reply-To: Gary Joneson From: Gary Joneson Subject: Re: Sloppy Drunk (was Re: Ronnie Dawson-"Rockinitis") >>I believe "Sloppy Drunk" was first done by (John Lee) Sonny >Boy Williamson. >>The popular version that many know is by Jimmy Rogers with >Little Walter on >harp. >I was always under the impression that Big Joe Williams did it...of course, >SBW I recorded with Big Joe...So which one of them wrote it? Also done by Leroy Carr on Piano Blues (1930-1935). Sonny Boy recorded it 1941 with Blind John Davis and Ransom Knowling. He then recorded a tune Bring Another Half A Pint in 1947 that is basically Sloppy Drunk Blues with a much more up beat tempo adding Big Bill Broozny and Judge Riley to the mix. It's a great tune! Gary BluesWEB http://www.island.net/~blues/ ========================================================================= Date: Tue, 2 Apr 1996 18:43:05 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: Re: Sista Monica -Get Out of My Way Comments: To: LeaGil LeaGil wrote: > > Hey Sister Monica is great! Does anyone know how to contact her > personally or the name of her agent. I would like to do an interview. > > Lea Gilmore > Baltimore, MD > "Wild Women Don't Have the Blues!" Lea, Leslie Ann Knight could most likely direct you. You can contact Leslie at LKnight1@aol.com Hope that helps Stan -- Stan Ruffo Productions "Blues On Tap" 800 N. Ben Maddox Way steamin@valleynet.com Suite 2200 http://www.valleynet.com/~steamin Visalia, CA 93292 209/625-6049 ========================================================================= Date: Tue, 2 Apr 1996 22:47:24 -0500 Reply-To: Jordan Barrett Kessler From: Jordan Barrett Kessler Organization: Columbia University Subject: Re: Iggy Pop and Junior Kimbrough (huh??) Comments: To: bit-listserv-blues-l@uunet.uu.net In-Reply-To: <199604021758.MAA73470@osceola.gate.net> Hello everyone, I grew up listening to two types of music: pre-punk and the blues. I'm quite a strong supporter of both Kimbrough and Pop. In fact, when I saw that Kimbrough was opening for Pop (after I purchased my ticket), I screamed with delight. I'm going to the show a week from today (April 8, at the Roseland Ballroom in New York City) and I'll be happy to report on the crowd's reaction. Personally, I find nothing wrong with being both a blues fan and a punk rock fan, and I feel that some people might get turned on to Kimbrough's music by the fact that he's opening for Iggy. In my opinion, that would be a good thing. Good music is good music, no matter what stylistic category it fits in, and these two artists, undoubtedly, play good music. ---Jordan Kessler jbk1@columbia.edu ========================================================================= Date: Tue, 2 Apr 1996 21:01:30 -0800 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Re: Iggy Pop and Junior Kimbrough (huh??) Comments: To: Jordan Barrett Kessler In-Reply-To: Could someone list the tour dates for Kimbrough and Pop. They would be greatly appreciated. Thanks, Isaac On Tue, 2 Apr 1996, Jordan Barrett Kessler wrote: > Hello everyone, > > I grew up listening to two types of music: pre-punk and the blues. > I'm quite a strong supporter of both Kimbrough and Pop. In fact, when I > saw that Kimbrough was opening for Pop (after I purchased my ticket), I > screamed with delight. I'm going to the show a week from today (April 8, > at the Roseland Ballroom in New York City) and I'll be happy to report on > the crowd's reaction. Personally, I find nothing wrong with being both a > blues fan and a punk rock fan, and I feel that some people might get > turned on to Kimbrough's music by the fact that he's opening for Iggy. > In my opinion, that would be a good thing. Good music is good music, no > matter what stylistic category it fits in, and these two artists, > undoubtedly, play good music. > > > ---Jordan Kessler > jbk1@columbia.edu > ========================================================================= Date: Tue, 2 Apr 1996 23:57:40 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: DFW Only/Dave Mackenzie For those of you in the DFW area: Dave MacKenzie will be passing through DFW on April 11 at Muddy Waters. Dave is an exceptional songwriter and performer and is one of those people that you NEED to see (IMO). He does some delta style blues on his old National but it's his original songs that make him a standout. Last time he was through here it was 12 degrees outside so, of course, most of you DFW blues-L'ers were weenies and stayed home. No excuses this time. There was one of my listeners there that had driven all the way from Waco. He stayed until closing, even though he had a 100 mile trip back home and had to go to work in the morning. You have probably heard his self produced CDs on KNON's blues shows. Well, we're hoping to have him on KNON 89.3 FM live on Thursday April and Friday April 12 on the blues shows, 6-8 pm. Listen in. Be convinced. If you come out and don't enjoy it, I will pay your cover charge. No bull. I'm the 6'3" grey haired Gomer with glasses and probably a camera. Don O. ========================================================================= Date: Tue, 2 Apr 1996 23:01:52 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Charlie Christian There is a Charlie Christian CD that is recordings made of the legendary after-hours jams at Minton's Playhouse in Harlem (think I have the info right). My copy is back in Oz but there are various incarnations floating around. IMHO, this is better than the Goodman stuff. Charlie smokes laying down incredible chorus after incredible chorus. Well worth finding. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Wed, 3 Apr 1996 07:06:06 +0000 Reply-To: Mary Ng From: Mary Ng Organization: Monash University Subject: Mercury CD Comments: To: bit-listserv-blues-l@uunet.uu.net I have just read the track listings for the latest Mercury CD boxed set & am rather disappointed at the tracks, surely they could have been more adventurous with the tracks, especially as a lot had been previously reissued by Mercury...they could have done a real good job with Sunnyland Slim, Red Mack, Red & Ray Johnson, Lollipop & other more obscure artists being featured...maybe next time? ========================================================================= Date: Wed, 3 Apr 1996 07:00:37 +0000 Reply-To: Mary Ng Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Mary Ng Organization: Monash University Subject: Mercury CD Boxed Set Comments: To: all@vaxc.cc.monash.edu.au Has anyone seen the latest Mercury boxed CD set, a real disappointment - would have expected some more adventure in selecting the tracks, especially as a lot of the material had already been reissued on Mercury, how about the Sunnyland Slim tracks, Ray & Red Johnson, Red Mack, Lollipop, etc... ========================================================================= Date: Tue, 2 Apr 1996 18:29:00 PST Reply-To: Meridith Farnworth From: Meridith Farnworth Subject: Re: memphis May 2-5 I'll be there!! I'm scheduled to fly in (from Boston) on Thursday, May 2, 'bout noon-ish. Staying at the Days Inn Downtown. Reluctantly heading back home on Monday. I've got no talent to participate in a jam, but it'd be great to get together. Lemme know what develops. ha! The countdown has begun; see ya'll a month from tonight!!! --Meri mfarn@fibusa.com mfarn@capecod.net ========================================================================= Date: Wed, 3 Apr 1996 00:28:00 PST Reply-To: Gary Joneson From: Gary Joneson Subject: Bernie Pearl & Harmonica Fats For those that may be interested, the Bernie Pearl / Harmonica Fats page is on the WEB at: http://www.island.net/~blues/bpfat.htm The page also has information about their new CD release "Blow Fat Daddy Blow!" Gary BluesWEB http://www.island.net/~blues/ ========================================================================= Date: Wed, 3 Apr 1996 08:18:53 +0000 Reply-To: Mary Ng Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Mary Ng Organization: Monash University Subject: Re: Jed Davenport/Joe McCoy/Memphis Minnie Comments: To: chris@SPARKIE.OSL.STATE.OR.US Chris Adams wrote: >I am looking for a recording of "Save Me Some", done by Jed Davenport and his >Beale St. Jug Band, which included Memphis Minnie and her then husband >Joe McCoy. The only recording I find for Jed Davenport is on the Document >"Memphis Harp and Jug Blowers". Does anyone know if "Save Me Some" is on >that or if there are other recordings of Jed Davenport. By the way, he >was one incredible harp player! > >Christopher Adams >chris@sparkie.osl.state.or.us Hi Chris, If your chasing this track it is on 3 microgroove issues, they are fairly old now, however still may be able to get them... Historical HLP-36 The Great Jug Bands 1926-34 Origin OJL-19 More Of That Jug Band Sound 1927-1939 Matchbox MSE-213 Memphis Harmonica Kings 1929-1930 Hope this helps... ========================================================================= Date: Wed, 3 Apr 1996 00:43:55 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Hound Dog Taylor Discography I was wonderin' what Hound Dog Taylor albums exist apart from the Alligator releases and the other two I mention. Hound Dog Taylor Alligator: Hound Dog Taylor and the Houserockers Natural Boogie Beware of the Dog Genuine Houserocking Music Wolf: Have Some Fun Fan Club: Live at Joe's Place If anyone knows of any other CDs (and how to get them) please let me know. BTW, check out the Alligator Records 25th Anniversay Collection. Hound Dog Taylor has one unreleased track, "Look on Yonder's Wall." Lil' Ed and The Blues Imperials also contributed a dynamite cover of Hound Dog's "It's Allright." I have no affiliation with anyone mentioned except that I love the music. Shaun Shaun Cronin 'The Blues is what exists between a man and a shaun@wavenet.com woman.' Son House and John Lee Hooker. ========================================================================= Date: Wed, 3 Apr 1996 04:33:50 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day On this day in 1958 Howlin' Wolf recorded "Moanin' For My Baby" P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" ========================================================================= Date: Wed, 3 Apr 1996 04:57:38 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Also on this day On this day in 1978, Blues guitar giant B.B. King joined famed defense lawyer F. Lee Bailey at a rap session and concert for inmates at Norfolk Prison in Boston as part of their ongoing duties as co-chairmen of FAIRR (Foundation for the Advancement of Inmate Rehabilittion and Recreation). This year F. Lee Bailey went by himself. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" ========================================================================= Date: Wed, 3 Apr 1996 05:43:30 -0500 Reply-To: Ferris79 From: Ferris79 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: That Telecaster sound Comments: To: bit-listserv-blues-l@uunet.uu.net also---the great Keith!!!!!!!!!!!(Richards, that is)ya know of that small outfit outta England; The Rolling Stones. I believe he has a few Telecasters actually. Ferris79@aol.com ========================================================================= Date: Wed, 3 Apr 1996 06:26:54 -0600 Reply-To: Roger Struve From: Roger Struve Subject: Have Been Reflecting Again I watched the movie Swing Kids last night....i've seen it before, but it never fails to move me considerably...there is great music, and really great dancing......Man, i never could move like THAT when i was that age! This movie depicts a lot of things.....including a lot of discrimination in preWar Germany towards religion, handicaps, and personal preferences in style and tastes (musical, for instance)..... Now the first question i have is.....it is generally felt that Jazz evolved out of the Blues (is it not?).....and am i correct in thinking that Swing is a form of Jazz or is it closer to the blues? What IS the etiology of music that evolved from the BLUES.....first Jazz....then what and what after that and so forth until we get to Rock 'n Roll??????? THEN.....i started thinking deeper about what exactly causes one to prefer one style of music over another? I know that i have looked very deeply into my own inner self to see what i believe are the root causative factors that go together to create my love of the blues so much. I think it goes down layer after layer until one hits the very root cause. Perhaps others have more deeply held reasons, or perhaps even others have lesser reasons. So, on the surface, all BLUESELLERS love the blues....but what are the deeper reasons for some of you? I would be very curious to explore these regions more fully, and perhaps we will all feel a bonding in the process?~!~!~? One of the motivations for asking this question stem from that movie again....some of these "kids" went to work camps over their love of their style of music (swing).... Would any of us suffer prison for OUR love of blues? Or even risk death (as some of these "kids" did in defying the government of their time)? (It doesn't really matter now, in asking this question, does it, whether the movie depicted it factually or dramatically, i still am curious about the motivations in BLUESELLERS.) I'll start: I find that i feel rather blue most of the time....i have found that there seems to be a LOT of people that i've encountered that feel generally the same way....but many people don't vocalize it as much as i seem to do. I have found that the pressures of feeling this way are way too much for me much of the time....and i feel almost "compelled" to share my inner feelings with people as a sort of "pressure valve" and then i seem to be able at least to "get along" for a spell longer!!!! I attribute my love of the blues to the fact that ( and i am generally drawn to the heavier "delta" blues in my blues love)....listening to these obviously "troubled" songs makes me feel BETTER! (...misery loves company?!~!~?) So, let's let it all hang out and i am curious what will evolve here in the hopefully energized discussion to follow! Best and warmest regards, delta doc roger ========================================================================= Date: Wed, 3 Apr 1996 07:29:39 -0500 Reply-To: Stew Crossen From: Stew Crossen Subject: Honeyboy Edwards So how come Dave Carpenter hasn't shared with us the details of Dave Honeyboy Edwards' gig the other night, where Dave stayed on after the club closed and sat and talked with Honeyboy for an hour? C'mon Dave, Inquiring minds wanna know! Stew Crossen ____________________________________________________________________________ The Blues Playground - Sundays at 9:00 pm - 50,000 watts of Blues power! Reports to: The Hard Report, Living Blues, BluesWire magazine. Host/Programmer - Stew Crossen (Beef Stew) WEB site - http://www.neca.com/~bfstew E-mail - bfstew@neca.com Home: Stew Crossen Station: WCCC 107 FM PO Box 2094 243 South Whitney St. Vernon, CT 06066 Hartford, CT 06106 Tel: 800.970.5151 Tel: 860.233.4426 Fax: 860.871.7515 Fax: 860.232.6511 ____________________________________________________________________________ ========================================================================= Date: Wed, 3 Apr 1996 07:43:25 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Been Reflecting - Jazz & Blues lineage Comments: To: Roger Struve On 3 Apr 96, Roger Struve had this to say... > Now the first question i have is.....it is generally felt that Jazz evolved > out of the Blues (is it not?).....and am i correct in thinking that Swing > is a form of Jazz or is it closer to the blues? > > What IS the etiology of music that evolved from the BLUES.....first > Jazz....then what and what after that and so forth until we get to Rock 'n > Roll??????? I don't believe that you can pin a Jazz paternity suit on the Blues. Cousins maybe. Jazz came more from New Orleans Ragtime and Dixieland roots. I look at them as members of the same family as the Blues, but not Blues offspring. (In my uneducated opinion). On the other hand Blues most definitely begat Rock-n-Roll. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton "The Large print giveth, and the small print taketh away." -Tom Waits ========================================================================= Date: Wed, 3 Apr 1996 07:43:20 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Anders Osborne/Jazzfest Comments: To: bit-listserv-blues-l@uunet.uu.net In article <9603018283.AA828381674@mail-sh.lsumc.edu>, James Bardsley writes: > >Which brings us to another topic: whoamong the bluezellers is going to >jazzfest >this year? I'll be there the first weekend, it looks like. > > There's several clubs offering to play "host" to all of us online. I know for sure the first weekend Howlin' Wolfs has said we could meet between 6 & & on 4/26. The show starts at 10pm and the cover is $12 if anyone wants to hang around for that. The bands that night are Tiny Town, made up of some of the subdudes & Pat McLaughlin (sp?) with Sonny Landreth headlining. A couple of the other clubs were Tips, Maple Leaf & Carrolton Station. Someone from NOLA is going to e-m a list of performers & dates this weekend. Soon as I get them I'll post them. Catbauer@vivanet.com ========================================================================= Date: Wed, 3 Apr 1996 07:58:05 EST Reply-To: levyt@RL.AF.MIL From: Toby Levy Subject: SITTING & THINKING: Larry Johnson & John Hammond on Biograph LARRY JOHNSON & JOHN HAMMOND / MIDNIGHT HOUR BLUES (BCD 138 ADD) BIOGRAPH RECORDS 16 RIVER STREET CHATHAM, NY 12037 TEL: 617-426-7500 FAX: 617-426-5222 e-mail BIOGRAPHCD@aol.com Larry Johnson is the real thing. What we have here is a living breathing embodiment of the country blues. In the 1920s dozens if not hundreds of men and women roamed the south spreading the the sound of the most heavenly music ever created across street corners and juke joints throughout the countryside. Yes, today we have several "musicologists" that continue to reproduce the great records made by these early masters of the country blues, but Johnson is different. Like the bluesmen of the Twenties, he takes in all the songs of the genre and uses bits and pieces to create his own personal blues. When you listen to Johnson, you are not listening to history, you are listening to a man and his own very personal blues. Johnson was born in the late 30s in Georgia, learning the guitar as a teenager. After trying out various places, he wound up in New York City and was fortunate to meet Reverend Gary Davis, who became his teacher for six years. It's a testament to Johnson's vitality that his music in no way imitates that of the good Reverend. In the notes Johnson says "this blues thing actually came to me more than I came to it... it lives in us, it actually sets up camp." Although he is an excellent picker, it's Johnson's voice that is the bright shining miracle of this cd. John Hammond provides many fills and frills to Johnson's guitar that make Johnson's blues even more moving. John Hammond set the recording session up for this album before he ever met Johnson. They got together at the town house of a millionaire in New York City on the afternoon of February 2nd, 1971, and nailed down these immortal eleven tracks. Thank you, Biograph, for resurrecting this important album! BLOOD RED RIVER / ONE ROOM COUNTRY SHACK / SATURDAY EVENING BLUES / PEACE BREAKIN' PEOPLE / WALKING BLUES / MAMA-LESS RAG / RED RIVER DAM BLUES / NOBODY'S BIZ-NESS / MIDNIGHT HOUR BLUES / WHEN THINGS GO WRONG / TELL ME MAMA NY CD-Takes BLOOD RED RIVER: The river runs from Johnson's back door all the way to the rising sun. And just as smooth as the river, Johnson and Hammond pick their way through this up tempo country blues. Hammond's national steel guitar rides on top of Johnson's guitar like a barebackrider in the circus. We'll return to the red river halfway through the cd. ONE ROOM COUNTRY SHACK: Johnson slows the pace down considerably as John Hammond puts down and the national and picks up his blues harp. This deeply moving piece describes the plight of a man who places himself in exile "a thousand miles from nowhere." Larry Johnson's picking is reminiscing of the immortal Robert Johnson and John Hammond's harp is delightful. He says mostly on the higher notes as Johnson's guitar plays mostly guttural lower notes. SATURDAY EVENING BLUES: Somebody's having fun on Saturday, but it's not Johnson. His girl gets her head all bad and comes to him at night. This midtempo blues finds Hammond back on the National driving Johnson to ever greater intensity of emotion. Johnson's got several women in this song and they all give him trouble. "I got four, five puppies and one shaggy hound, it takes all them dogs to run my women down." As in other songs, Johnson adds to the intimacy of the album by singing directly to Hammond, addressing him by name here and in most of the other songs. PEACE BREAKIN' PEOPLE: Hammond and Johnson start this one with Johnson's voice doing a beautiful call and response with Hammond's National. Everyone's trying to break up Johnson's happy home. They're telling his woman everything he does. He does not apologize for his actions, but levels veiled threats at them. WALKING BLUES: Another slow blues with Hammond back on the harp. You can feel Johnson's weariness as he searches everywhere for the woman who left him. Johnson's guitar and Hammond's harp blend to create a very dark environment, the perfect framework for Johnson's moving vocals. MAMA-LESS RAG: If you never heard a Larry Johnson rag, you are in for a rare treat here. Hammond's on the harp working hard just to keep up with Johnson's breakneck pace. Larry's going uptown to look for a woman who doesn't have a man, but "its kinda like looking for a needle in the sand." In this case, the "mama" in this song is a lover and not a mother. There is a wealth of humorous lyrics here. RED RIVER DAM BLUES: The pace is slowed as we return to the red river, as Johnson tells about using the dam as a platform for hanging himself after his lover ditches him. Hammond provides lots of sympathy on his harp. After telling his tale of woe, Johnson yells to Hammond "Blues me!" and Hammond responds with a moving solo. NOBODY'S BIZ-NESS: Johnson starts his wonderful rendition of this classic blues with a filigree of notes. The mood is set before he sings a note. Johnson's earnest singing makes this familiar song his own. Hammond is back on the National here. MIDNIGHT HOUR BLUES: Hammond and Johnson sound as if they are back in the depression years, playing their guitars on a streetcorner, their hats on the sidewalk to catch the change from passersby. Here more than any other song on the cd they sound as if they are one person, one soul struggling in a mean unfair world. WHEN THINGS GO WRONG: Here's another classic that Johnson makes his own. When he sings "When things go wrong with you, it hurts me too" you really feel it. The moaning he does along to his guitar is the most sincere on record since the 30s. TELL ME MAMA: Johnson and Hammond close the album by sharing the vocals. They take turns singing the verses to great effect. Johnson introduces the song by announcing (over his boogie woogie guitar picking) "People, me and John Hammond gonna wreck your mind." The fun of hearing these two talents merged makes one wonder why they've waited 25 years to resume the relationship. Perhaps the reissue of this important album will kindle enough interest to generate another Johnson/Hammond recording. Reviewed by Toby Levy Copyright NY CD Blues - 1996 NY CD BLUES - http://www.panix.com/~bsco Blues Reviews and On-Line Catalogs ========================================================================= Date: Wed, 3 Apr 1996 08:10:07 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Reflecting Again - Why Blues? Comments: To: Roger Struve On 3 Apr 96, Roger Struve had this to say... > So, on the surface, all BLUESELLERS love the blues....but what are the > deeper reasons for some of you? I would be very curious to explore these > regions more fully, and perhaps we will all feel a bonding in the > process?~!~!~? For me the Blues is a "perfect" musical form. All kinds of music are emotional, beautiful, fierce, angry, joyful, etc. In western music there seems to be an infinite variety of ways to combine those 12 notes in a way that pleases the listener, or helps to carry a verbal message. But there is something about that Blues progression, that "one, four, five", that is just PERFECT. Almost anyone with the slightest interest in music attaches to that progression instantly, and understands where it's going. It's as natural as drinking water. And, like water, it goes great with just about anything, and aids in the swallowing of bitter pills. It's the PERFECT music. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton "The Large print giveth, and the small print taketh away." -Tom Waits ========================================================================= Date: Wed, 3 Apr 1996 08:22:49 EST Reply-To: george morales From: george morales Organization: TEMPLE UNIVERSITY Subject: amex and the blues(long) this article appeared in this week's Phila Weekly, i thought it would be of interest to blues-l Call it the Delta Blues meets the boardroom-American Express is going halfsies with Warmdaddy's,the tony blues club on Front St, for a series called "Blues Crossroads".THe series will bring BOBBY BLUE BLAND,THE BLIND BOYS OF ALABAMA CLARENCE GATEMOUTH BROWN,JUNIOR WELLS,AND JOHNNY CLYDE COPELAND TO PHILA. "We have always had good relations with American Express" From: Barry Silverberg Subject: Re: Have Been Reflecting Again Comments: To: Roger Struve In-Reply-To: Truly great meat for thought Roger .... re: jazz as an offspring of the blues? I was listening to a jazz/blues radio station here in New York a few months ago and there was an interview with a jazz giant (the name escapes me as I didn't note it at the time). What he had to say about jazz is as follows (although this is my interpretation of his comments): "jazz IS the blues with a free form base to it". He then when on to talk about structure in the blues and lack of in jazz. Certainly jazz is not structureless but his points had the distinction that the deffrerences lay in the vs. no rules... I may be off some, but the concept hopefully is there. re: why I like the blues. When I take a look inside, I notice a place that is pretty pained and existential. I always note that the meter of the blues touches this place and I have an affinity for it. When I think deeper I notice that the non-blues music I like touches that same place. For example I've always liked the Rolling Stones & never liked the Beatles, (although I appreciate the Beatles work it just doesn't touch me). Interestingly it's not the words in blues songs that get me most but the music itself. In general I'm an outgoing basically fun loving person but there definitely is a place inside that is hurt or blue or whatever it is called that calls certain music to me. re: feeling blue inside and feeling better from listening to the blues (Delta blues noted). Roger you hit the bones on the sinews. People don't share there insides enough - and the truth is there is a human component of despair, pain, unrealized dreams etc. in everyone that calls. Again I know, that is where my love for the blues lives. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Wed, 3 Apr 1996 08:31:59 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: RL Burnside Interview (SHORT) This is not much, but it's better than reading about Iggy Pop :-) (IMHO) LW ____________________________________________________________________ R.L. BURNSIDE Robert Lee Burnside, better known as R.L Burnside has been playing blues in Mississippi for many, many years. He has been nominated for a W.C. Handy award, as Entertainer Of The Year. That's quite an achievement for an artist that has not jumped on the rock-blues bandwagon that appears to be have affected many blues performers. He is the father of twelve children, which is quite a feat in itself. He has been the opening act for The Jon Spencer Blues Explosion for a few tours, apparently it has widened R. L.'s audience somewhat. He is quick to the point, much like his playing. I guess you could say he is all meat and no filler. I am certainly looking forward to seeing R. L. at The Beale Street Festival, in Memphis. LW: How did you get started playing guitar RL: Well I just always liked blues music and I listened to Fred McDowell, Muddy Waters and those guys. I just it picked it up from them. LW: Did you actually play with them. RL: I played with Fred a lot. I learned a lot from him. LW: Would you consider Fred your major influence RL: Well him and Muddy Waters were major influences. I liked Elmore and Lightnin' Hopkins, those guys were good. LW: When did you go to Chicago. RL: That was in the fifties. LW: Is that when you played Muddy. RL: That's when I met Muddy, you know I wasn't playing too good then. He was married to a second cousin of mine. LW: You met Fred McDowell in Mississippi. RL: Yeah, Fred used to live Como and we lived in Cold Water, about ten or twelve miles. I used to hear him every weekend. LW: When did you come back to Mississippi. RL: In the late fifties, I was out in Chicago about three and a half years. LW: How long have you been touring with the Jon Spencer Blues Explosion RL: This will be about two years or a year and a half. LW: Are you getting wider exposure from touring with them. RL: I believe so. We've been on three tours with them, opening for them. That's what we'll be doing this time. LW: Do you still play at Jr. Kimbrough's club. RL: Yes, I play there about every Sunday night, if he be open. LW: How long have you known Jr. Kimbrough RL: Oh about twelve or fourteen years. LW: I'd imagine the crowd at Jr.'s club and the Blues Explosion's audience to be completely different. RL: Oh yeah. LW: Do you think they appreciate the same. RL: Oh yeah, they really appreciate it, I believe. LW: Would you prefer playing a jook in Mississippi or a bigger clubs. RL: Well I tell a lot people, I do the same amount. So I do my best if I'm playing for one person or five hundred. I love the blues, I just get out there and do it. LW: Do you do many acoustic shows. RL: A lot of people say the blues looks better with an old acoustic guitar. That's why a lot of times when I go on tour I carry me an acoustic too. People say old blues looks better on an acoustic. LW: Do you have pretty steady gigs. RL: Yeah, during the summer we have steady gigs. This winter we were on one about two months ago and we're starting another one now. Then we'll be pretty busy, when it starts getting warm. LW: I've heard that your son, Dwayne is a fine guitar player. RL: Yeah, he's a good guitar player. He's just self taught, he watched me and a few people. Then taught himself. LW: Do all your children play an instrument. RL: All but one. We have twelve living kids now and all of them play something, but one. The guitar, piano, or something. Two live at home with me. LW: Do you teach them to play or do they just pick it from being around it. RL: They just naturally pick it up. LW: Is "Bad Luck City" and "Too Bad Jim" your only recordings RL: I got something on Swing Master, you know overseas, "The Hill Country Blues". I got out one with Dave Evans in Memphis, on Highwater. LW: Do have another job besides music. RL: No music is all I do. For the last ten years I ain't did nothing but play music. I farmed and did commercial fishing until about ten or eleven years ago. I got the where I could make a living with my little music and my little Social Security check. LW: Do you feel like the blues are going strong now. RL: Oh yeah. People like them better now than they did ten or fifteen years ago. It was kind of hard to get a show, I played a lot of solo shows about twenty years back and it was hard to get a gig. Now they want to hear them old blues. ========================================================================= Date: Wed, 3 Apr 1996 09:37:57 -0500 Reply-To: Rags_Trips_On_Gras From: Rags_Trips_On_Gras Subject: BLUES_WORLD_on_BBC!!! BBC World Service starting today is introducing a new program called BLUES WORLD by TIM RUSSELL So BLUEZELLERS who are keen should get their shortwave radio out or try catching BBC over C-SPAN radio channel. We, PITTSBURGH folks are lucky to catch BBC live almost 24 hours a day from WWCS, Canonsburg, PA, 540 AM Happy tuning.... Om Shanti!! Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ Laissez les bon temps roulez!!...Let the good times roll!! +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Wed, 3 Apr 1996 09:45:24 -0500 Reply-To: Rags_Trips_On_Gras From: Rags_Trips_On_Gras Subject: JAZZ_BLUES_NEXUS!! Roots had 2 children.... JAZZ and BLUES!!!! Om Shanti!! Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ Laissez les bon temps roulez!!...Let the good times roll!! +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Wed, 3 Apr 1996 09:00:58 -0700 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: Re: Have Been Reflecting Again In-Reply-To: > So, on the surface, all BLUESELLERS love the blues....but what are the > deeper reasons for some of you? I would be very curious to explore these > regions more fully, and perhaps we will all feel a bonding in the > process?~!~!~? > My love of the blues comes from it's ability to put me into a reflective, mellow frame of mind. It's a great escape from the hustle and bustle of everyday life. It reaches way down and touches a spot in my soul, bringing out a part of my character that I like to see. It's mostly the music that does this, although the lyrics are starting to come into play more recently. (Maybe because of singing once in a while). In a good blues tune (for me), the performer sets a mood in the first few bars and expands on it through the rest of the song, using whatever resourses they have. I find phrasing to be the most influential aspect of the music for me. Whether it be guitar, harp, keyboards, bass, drums, vocals, this is what gets to me in blues music. When the whole band gets it together, it's fantastic! Having quite a few non-blues loving friends has made me realize that it takes a certain kind of person to love the blues. A few hard knocks in life seem to contribute to becoming that person. Feeling down a fair amount of the time, as Roger mentioned, also helps a person's ability to appreciate the great musical form we call the blues. I'm sure glad I have a love for the blues. Can't, and don't even want to, imagine what I'd be like without it. RW ========================================================================= Date: Wed, 3 Apr 1996 09:57:16 -0500 Reply-To: Michael Kaloyanides From: Michael Kaloyanides Well, I'm finally off to the West Coast, so I will be going NO MAIL for the next few weeks. Look for me in LA and San Francisco blues and Bar-B-Que joints! Michael G. Kaloyanides Department of Music & Sound Recording University of New Haven ========================================================================= Date: Wed, 3 Apr 1996 07:33:56 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: April 4 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ALLISON, HOWARD(manager/ERNIE'S REC MART) d. 1991-0404, NASHVILLE, TN 63 BIZOR, BILLY (hca/LIGHTNIN' HOPKINS) d. 1969-0404, HOUSTON, TX 52 DAVIS, CARL H. (prod/BRUNSWICK REC) b. 1934-0404, CHICAGO, IL DAVIS, CLIVE J. (owner: ARISTA REC) b. 1932-0404, BROOKLYN, NY GANT, CECIL "PRIVATE" (p/I WONDER) b. 1913-0404, NASHVILLE, TN JOHNSON, ERNIE (v/PAULA REC) b. -0404, WINNSBORO, LA KING, MARTIN LUTHER JR. d. 1968-0404, MEMPHIS, TN 39 LANCE, MAJOR (v/OKEH REC) b. 1939-0404, WINSTONVILLE, MS LANDRY, GEORGE "BIG CHIEF JOLLEY" (v) b. 1917-0404, NEW ORLEANS, LA MASEKELA, HUGH R. (tpt) b. 1939-0404, WITBANK, S. AFRICA MISIEWICZ, ROGER (compiler/DOCUMENT REC) b. 1946-0404, WORCESTER, MA MOORE, GARY (g) b. 1952-0404, BELFAST, N. IRELAND MUDDY WATERS [MCKINLEY MORGANFIELD] (g) b. 1915-0404, ROLLING FORK MS NEWTON, FRANKIE (tpt/BESSIE SMITH) b. 1906-0404, EMORY, VA OAKLEY, BERRY (of ALLMAN BROS) b. 1948-0404, CHICAGO, IL PARHAM, TINY (p) d. 1943-0404, MILWAUKEE, WS 43 PERLS, NICK (founder: YAZOO REC) b. 1942-0404, NEW YORK CITY, NY RAMEY, GENE G. (b/JAY MCSHANN) b. 1913-0404, AUSTIN, TX RAPP, DANNY (lead/DANNY & JUNIORS) d. 1983-0404, PARKER, AZ 42 RECTOR, MILTON (el. b/MUDDY WATERS) d. 1994-0404, CHICAGO, IL -- SNELL, ANNETTE (v/DIAL REC) d. 1977-0404, AL -- SYLVIA, MARGO J. (lead/TUNE WEAVERS) b. 1936-0404, WOBURN, MA WEAVER, SYLVESTER (g) d. 1960-0404, LOUISVILLE, KY 62 ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 3 Apr 1996 07:44:58 -0500 Reply-To: David Melton From: David Melton Subject: Re: That Telecaster sound Comments: To: Ferris79 At 5:43 AM 4/3/96, Ferris79 wrote: >also---the great Keith!!!!!!!!!!!(Richards, that is)ya know of that small >outfit outta England; The Rolling Stones. I believe he has a few >Telecasters actually. > >Ferris79@aol.com OH yea! The tone he got during his solo in the original "Sympathy for the Devil" is absolutely amazing. Check it out. It simply HAS to be a telecaster through an an old Bassman. Dave Melton ========================================================================= Date: Wed, 3 Apr 1996 22:55:49 +0700 Reply-To: "Peter E. Beal" From: "Peter E. Beal" Subject: Re: Charlie Christian Comments: To: Shaun T Cronin In-Reply-To: <199604030657.WAA22151@wavenet.com> On Tue, 2 Apr 1996, Shaun T Cronin wrote: > There is a Charlie Christian CD that is recordings made of the legendary > after-hours jams at Minton's Playhouse in Harlem (think I have the info > right). My copy is back in Oz but there are various incarnations floating > around. > > IMHO, this is better than the Goodman stuff. Charlie smokes laying down > incredible chorus after incredible chorus. > > Well worth finding. The Minton's material is on both "Charlie Christian: Swing to Bop" (Natasha Imports NI 4020) and "The Immortal Charlie Christian" (Laserlight 17 032). Charlie Christian with Goodman appears on "Charlie Christian with the Benny Goodman Sextet and Orchestra" (CBS/Sony 25DP 5301) and "The BG Sextet featurings Charlie Christian" (Columbia CK 45144). There is some overlap between these two as well and the former may be available only in Japan. However, the "piece de resistance" (pardon my fractured French) is "Solo Flight" on Vintage Jazz Classics (VJC-1021-2) especially the five numbers in which Goodman and Christian join with the Count Basie Band's rhythm section plus Buck Clayton and Lester Young. One wishes they had gone on for ever! ========================================================================= Date: Wed, 3 Apr 1996 11:09:26 -0500 Reply-To: MARCIAG@VMS.CIS.PITT.EDU From: Marcia Grodsky Subject: Re: Ronnie Dawson-"Rockinitis" Comments: To: shaun@WAVENET.COM I would never have had the temerity to bring Ronnie Dawson up here, but I'm sure glad that Shaun is a brave soul! I haven't heard "Rockinitis" yet but I absolutely love the two Ronnie Dawson cds that I do have --- "Rockin Bones" (which is a compilation of stuff from his early days) and "Monkey Beat" which is more recent stuff. He is an amazing live performer, also. The man has more energy than any 20 year old and a smile that never stops. Most recently I saw him in October at a rockabilly festival and his was the performance of the year for me. I'm hoping to get to that roots music festival in the Poconos this summer, largely to see him. There was an intersting interview with "The Blonde Bomber" in Blue Suede News sometime this past year, in which he talks about his association with Gene Vincent, among other things. Ronnie Dawson is one of the few rockabilly artists whose records I can listen to over and over (while I love live rockabilly, most rockabilly recordings don't have the same appeal to me). Can't wait to get this new one! ---Marcia Grodsky ========================================================================= Date: Wed, 3 Apr 1996 10:19:22 -0700 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: Disc help - Son Seals, Luther Allison Can anyone recommend disc's of Son Seals and Luther Allison to buy. I have Son Seals "Bad Axe" and Luther Allison "Blue Streak". Also lesser known comparable artists would be greatly appreciated. Thanks, RW "He who laughs, lasts" - unknown ========================================================================= Date: Wed, 3 Apr 1996 11:18:11 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0123 From: "DUTTWEILER.J" Subject: Re: Have Been Reflecting Again Date: Wednesday, 3 April 1996 11:17am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: Have Been Reflecting Again In-Reply-To: The letter of Wednesday, 3 April 1996 10:41am ET I love the blues primarily because its *real* music Much modern music today seems, to me, to be regurgitated wall of sound intended to sell. Now, I know to many most blues sounds the same and, certainly, blues artists want to see their product sell. But you don't get into the blues to make money, you get into it to communicate something real inside of you to others. The blues, for the most part, is not about teenage angst, social causes, macho posturing. It's sound is not plastic, mold-injected uniformity. The blues deals with, and touches upon, the universality of human experience at the most basic level of that experience. It transcends social, cultural, educational, religious, national, ideological, etc., etc., differences because it is based upon the reality we all experience - pain, heartache, suffering, injustices, joys, exhuberation - it says "look, here am I in my human condition, understand where I coming from." It is, to my mind, ultimately an extremely "spiritual" medium because it does transcend our differences and unites us in our humanity. When I listen to the blues I *sense*, if not always rationally think, that in some basic way we really are *all* brothers and sisters and that we share in one another's suffering *and* one another's joys. The blues is life JD ========================================================================= Date: Wed, 3 Apr 1996 18:48:01 +0100 Reply-To: Bluesman From: Bluesman Subject: eRIC DATES NEEDED. I've joined almost all the eRIC dates which were posted last year on the list, buy I lack of some of them, so I'd be very grateful if you could e-mail me privately with this dates: Month Day January- 22 February- 29 :) Maybe? March - 11 September - 8, 9, 10, 16, 17, 23, 29 October - 4, 5, 6, 28, 29 November - 18, 25. Thanks a lot. Jose. Spain. **************************************************************************** Everyday I Have The Blues ========================================================================= Date: Wed, 3 Apr 1996 16:50:48 GMT Reply-To: VT From: VT Subject: Re: Hound Dog Taylor Discography You've got most of them. I see from the All Music Guide that there's another volume on WOLF which was also recorded live from Joe's place: "Freddie's Blues" Wolf 120.600 (1993) The All Music Guide had this to say about it, quote: "Third volume of live recordings from Joe's Place in Cambridge, Massachusetts in 1972. Six of the eleven tunes here are instrumentals (four of them featuring the lead guitar of Brewer Phillips), and while Taylor & the Houserockers are generally in rare form here, some chaotic moments ("Let's Get Funky") do abound, but that's half the fun and charm of it all. (Import) "- Cub Koda I also have a compilation CD on Charly or one of its offshoots called I think "Slidin'" with various slide guitarists including Hound Dog and contains the tune which Freddie King got "Hideaway" from - "Taylor's Rock" (don't have the reference with me, CD is at home) -- Vincent vt@usa.pipeline.com On Apr 03, 1996 00:43:55 in , 'Shaun T Cronin ' wrote: >I was wonderin' what Hound Dog Taylor albums exist apart from the Alligator >releases and the other two I mention. > >Hound Dog Taylor > >Alligator: > >Hound Dog Taylor and the Houserockers >Natural Boogie >Beware of the Dog >Genuine Houserocking Music > >Wolf: > >Have Some Fun > >Fan Club: > >Live at Joe's Place > > >If anyone knows of any other CDs (and how to get them) please let me know. > ========================================================================= Date: Wed, 3 Apr 1996 16:54:39 GMT Reply-To: George Myers From: George Myers Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Blues Cruise! Comments: To: bit-listserv-blues-l@uunet.uu.net The ULTIMATE Rhythm & Blues Cruise 5 departs May 25-June 1 from Genoa to Naples, Plaermo, Sardinia, Corsica, Marseilles, and Cannes with NINE bands on baord: John Mayall, Luther Allison, Buckwheat Zydeco, Louisiana Red, Katie Webster, Marcia Ball, Little Charlie and the Nightcats, John Mooney, and Rudy Rotta. This is the event that has won a HANDY AWARD. For further info: 800-886-6132. ========================================================================= Date: Wed, 3 Apr 1996 12:15:11 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: RL Burnside Interview (SHORT) Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu LW, that was a good job with R.L. I could hear his voice speaking those answers. One thing that folks outside Mississippi may not know is that R.L. is a *master* teller of folk tales. I promoted a benefit concert at which I had R.L. play a 1934 National Steel (he learned to play on a National, said he had not seen one in 30 or more years) and tell folk tales. Both were stunning (one of my favorite tapes is a tape of that event. Fat Possum recorded it to DAT in the days Peter Lee was still there; 'current management' has probably forgotten it). Tom Freeland ========================================================================= Date: Wed, 3 Apr 1996 12:18:13 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Disc help - Son Seals, Luther Allison Comments: To: Ron Wack In-Reply-To: For Luther Allison the following are highly recommended - 1st from the lips of Art Schuna - The Motown Years 1972 - 1976 contains the incomparable LP Luther's Blues in full a soulful slice of LA and beautiful 2nd from my lips - Serious on Blind Pig more of Luther's soulful material (except the final cut, what was Luther thinking on this) 3rd again from my lips - Love Me Papa (my copy is on Black and Blue). I think this may be Luther's best album ever. Got to listen to his 11+ minute Last Night (Walter Jacobs) & his 11+ minute It's Too Late (Allison). Also contains a popping vers. of Junior Parker's Feelin' So Good. I'd get the last first, the first second and the second third. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Wed, 3 Apr 1996 12:23:05 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Been Reflecting - Jazz & Blues lineage Comments: To: pwfenton@gate.net In a message dated 96-04-03 08:31:10 EST, pwfenton@GATE.NET (P.W. Fenton) writes: >I don't believe that you can pin a Jazz paternity suit on the Blues. > Cousins maybe. Jazz came more from New Orleans Ragtime and >Dixieland roots. I look at them as members of the same family as the >Blues, but not Blues offspring. (In my uneducated opinion). It's not simple, and the key information is lost in pre-recording time (as with blues), but I think there is a consensus that ragtime, brass band music, 19th century dance music (Jelly Roll Morton demonstrated on record converting a formal quadrille to "Tiger Rag"), AND blues notes and phrasing all went into it. The simplest solution is to take "Dr. Jazz" at his word: Jelly Roll invented it. He could even give you the date. Tom Freeland ========================================================================= Date: Wed, 3 Apr 1996 11:30:41 CST Reply-To: William Shute From: William Shute Subject: ordering info:Impressions ABC-Paramount reissues From: Bill Shute A number of folks have contacted me about the new UK reissues of the first four ABC-Paramount lps on two CD's, two to a CD. For the record again, they areboth on the UK Kent label (Ace's soul subsidiary): CDKEND 126 THE IMPRESSIONS: The Impressions/The Never Ending Impressions CDKEND 130 THE IMPRESSIONS: Keep on Pushing/People Get Ready. There is a reputable mail-order outfit that stocks both CDs (I bought my copies from them), and if you send me a private e-mail requesting info, I will forward you a message I composed about how to order these. You need visa/mastercard, US only, and they ship via UPS so you need a street address. Disclaimer: I'm in no way affiliated with this company, except as a satisfied customer. I just want to turn people on to this wonderful music and imports are sometimes hard to find. Again, private e-mail request to me will get you ordering info. Thanks. I KNOW you all will love these albums. Bill Shute San Antonio, TX ========================================================================= Date: Wed, 3 Apr 1996 12:33:19 EST Reply-To: John Doukas From: John Doukas Subject: Yazoo's "Before the Blues" In response to Tom Feeland's postings, I very much appreciated the synopsis of and comments on Yazoo's "Before The Blues" Vol. 1, and would therefore appreciate a continuation for Vol. 2 and 3. By the by, Tom commented that the liner notes were rather skimpy, for example they do not list recording dates and locations. I agree that since being sold to Shanachie, Yazoo's liner notes have degraded. On early vinyl releases, the liner notes that Nick Perls assembled were VERY skimpy. To be fair, however, so was the available information on country blues. Check out the early vinyl releases from other companies such as RBF for similar skimpy notes. However, come the mid-70's and 80's, Yazoo's liner notes advanced to the point that they became almost as enjoyable as the music, thanks to input from people like Steve Kalt. About the same time, Mamlish released an album series with equally detailed and insightful notes. I started listening to country blues around the late 70's, and for me liner notes formed a huge part of my education (both factual and critical) in the music. Unfortunately, these halcyon days are past. The notes from Document/Wolf/etc. are nothing to brag about (although, they too have improved from their earliest vinyl releases). The notes from Sony/Legacy list complete recording information, but the critical analysis is light weight. Granted, there are now readily available books which provide historical and critical insight into the music, and the availability of recordings has never been better. However, in my opinion, this situations do not obviate my desire for detailed liner notes. ========================================================================= Date: Wed, 3 Apr 1996 09:46:17 -0500 Reply-To: chris tomer From: chris tomer Subject: Taj Mahal's "Phantom Blues" In-Reply-To: <01I33P0AR68I96Z1PM@vms.cis.pitt.edu> Taj Mahal has a relatively new album entitled "Phantom Blues." Does anyone have an opinion about it? Is it, in fact, a blues album? ********************************************************** * Chris Tomer * * University of Pittsburgh * * 135 North Bellefield * * Pittsburgh, Pennsylvania 15260 * * Telephone: 412-624-9448 * * FAX: 412-624-5231 or 412-648-7001 * * E-mail addresses: ct@coltrane.lis.pitt.edu * * or ctomer+@pitt.edu * ********************************************************** ========================================================================= Date: Wed, 3 Apr 1996 14:48:52 -0300 Reply-To: Leonardo Kenji Shikida From: Leonardo Kenji Shikida Subject: "Tell every president" lyrics needed please ! I'm looking for the lyrics of "Tell every president". I think it's from Louis Myers, i'm not sure. It begins like this "Everybody ! Tell the president, he can move if he listen to the blues, he's got to... do right... he's got to do right he's got to do right ..." Thanks in advance Leo ========================================================================= Date: Wed, 3 Apr 1996 12:49:13 -0500 Reply-To: RAHalonen@AOL.COM From: Reeann Halonen Subject: memphis Comments: cc: DeniseTapp@aol.com Seattle Blues DJ Marlee Walker, my friend Suellen and I will all be attending the Memphis doings. We will be arriving in Memphis on May 2nd and staying until Monday. I have been on the list for a short while and one of the many reasons I am so excited is because of the opportunity to meet some of you. Gotta brace myself for flying though. I don't do that part so well...might have to resort to a shot of Jack or two. Ree Anne ========================================================================= Date: Wed, 3 Apr 1996 13:04:29 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Hound Dog Taylor Discography Comments: To: VT In-Reply-To: <199604031650.QAA26991@pipe2.t1.usa.pipeline.com> On Wed, 3 Apr 1996, VT wrote: > I see from the All Music Guide that there's another volume on WOLF which > was also recorded live from Joe's place: > "Freddie's Blues" Wolf 120.600 (1993) There is a full review of this CD at - http://www.panix.com/~bsco/wolf/ as well as a review of Brewer and Ted's - Good Houserockin which is also on Wolf #120.608 Barry ========================================================================= Date: Wed, 3 Apr 1996 12:14:08 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Disc help - Son Seals, Luther Allison Comments: To: Ron Wack In-Reply-To: Son Seals first one on Alligator is a great one. I think that it is just called Son Seals Blues Band? -Jeff (no relation ;-) ) --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball #2 U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc02.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Wed, 3 Apr 1996 13:18:40 -0500 Reply-To: bob vanarsdall From: bob vanarsdall Subject: BBC's Blues World Thanks to the poster who mentioned this addition to the BBC's schedule. For those with shortwave radios, BBC says Blues World is broadcast at the following times: 1730 Sunday, Apr 7, 14, 21 2345 Thurday, Apr 4, 11, 18, 25 0630 Friday, Apr 5, 12, 19, 26 All times and days are UDT (universal time). You'll have to check for your local BBC frequency - there are too many for me to list world-wide, though if anyone has problems, e-mail me privately with your location and I'll look it up. Bob ========================================================================= Date: Wed, 3 Apr 1996 11:01:42 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Have Been Reflecting Again Delta Doc Roger mused: >I'll start: I find that i feel rather blue most of the time....i have >found that there seems to be a LOT of people that i've encountered that >feel generally the same way....but many people don't vocalize it as much as >i seem to do. I have found that the pressures of feeling this way are way >too much for me much of the time....and i feel almost "compelled" to share >my inner feelings with people as a sort of "pressure valve" and then i seem >to be able at least to "get along" for a spell longer!!!! I attribute my >love of the blues to the fact that ( and i am generally drawn to the >heavier "delta" blues in my blues love)....listening to these obviously >"troubled" songs makes me feel BETTER! (...misery loves company?!~!~?) Well I think everyone gets the blues but call it different things. Which leads us to the question what is the blues? IMHO, the blues is how you feel when you end a relationship. It is how you feel when you find somebody new. It is how you feel when everything is going wrong. It is how you feel when everything turns out fine. It is how you feel when you are out on the town partying. It is how you feel next morning when you wake up. It is how you feel when you remember days past. It is how you feel when you ponder the future. It is the satisfaction and wealth of experience what you see in the face of someone who is nearing the end of a long life. It is the excitment and innocence of a child just starting out. The blues is the indescribable joy it is to be alive. The blues is the unexplainable feelings of loneliness that can descend upon someone. The blues is the raucous slide and infectious boogie of Hound Dog Taylor. The majestic vocals and soaring guitar of Magic Sam. The sheer poetry and deep music of Son House. It is all these things and more. As many have said before me, the blues is about life. Shaun Shaun Cronin 'Woke up this morning, between midnight and day, shaun@wavenet.com I was hugging the pillow where my baby used to . lay.' Son House ========================================================================= Date: Wed, 3 Apr 1996 12:59:46 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Harp-L Address Anyone know the address to Harp-L....or whatever it's called... LW ========================================================================= Date: Wed, 3 Apr 1996 14:16:56 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Charlie Musselwhite recs. Would like to get people's favorite Charlie Musselwhite CD recs. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Wed, 3 Apr 1996 14:37:08 -0400 Reply-To: MARCIAG@VMS.CIS.PITT.EDU From: Marcia Grodsky Subject: Pittsburgh Update (Decade/Tobacco Road) Last week I posted that the former Decade had re-opened under one of the old managers and was returning to Decade booking style. I said that I would be posting a fax number this week but they haven't gotten the machine yet. Tobacco Road, as the club will now be called, has booked local blues bands the past two Sunday nights and has scheduled more for every Sunday in April. They will be going to earlier shows (9:30) on Sundays. The first national act will be Tino Gonzales on May 12. I hope to be announcing an act for May 19 whom I'm never had the pleasure of seeing yet, but this one hasn't been confirmed yet. In the meantime: April 7 River Rats April 14 Jill West & Blues Attack April 21 Vibro Kings April 28 James King & the Usual Suspects I'd also like to say that I saw James King & the Usual Suspects there this past Sunday, and if you haven't seen this band for awhile, there has been amazing growth and development. I had not seen them for some time and I was floored by the improvement they showed. For more information on the club or any of the bands feel free to email me. ---Marcia ========================================================================= Date: Wed, 3 Apr 1996 10:28:17 GMT Reply-To: Dave_J._Herda@infozone.telluride.co.us From: "Dave J. Herda" Organization: InfoZone Telluride Co (970)-728-0472 Subject: Re: memphis May 2-5 Comments: To: mfarn@FIBUSA.COM I know this is a question that has been asked before some please don't send any stupid flames my way. I just found out that I am going to be able to make the trip to Memphis, which is really exciting, but I'm without a place to stay. I know most (if not all) of the Memphis hotels are booked. I've been told that Graceland was only seven miles away and the best place to stay. Does anyone know any places to stay in Graceland or somewhere even more convenient? Money is an object (the less expensive the better) and public transportation is a key factor, as I plan on consuming my share of alcoholic beverages. I assume that there are taxis. But what about buses or trains into downtown Memphis from the surrounding communities? Thanks a bunch for the help and I'll catch you at Beale! Peace--D ========================================================================= Date: Wed, 3 Apr 1996 20:40:35 +0100 Reply-To: Byron Foulger From: Byron Foulger Subject: London Blues Festival Final (hoped for) line-ups for the London Blues festival, to be held the weekend of 24-26 May 1966 (a holiday weekend in UK), at two sites, Brentford and Blackheath, is as follows per Alan Robinson, (hope I've got these right!) Friday May 24 Brentford Keb Mo John Hammond Saturday May 25 Brentford Blackheath Magic Slim Gatemouth Brown James Carr Wolfman Washington Corey Harris Keb Mo Big Clara Eddie Clearwater Neil Pattman Eric Bibb Tre Sunday May 26 Brentford Blackheath Gatemouth Brown Fabulous Thunderbirds Eddie Clearwater Magic Slim Larry Garner James Carr Eric Bibb Corey Harris Jordan Patterson Big Clara Big Joe Turner Tre Doesn't look a bad weekend does it? Byron ========================================================================= Date: Wed, 3 Apr 1996 13:49:35 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: London Blues Festival In-Reply-To: Message of Wed, 3 Apr 1996 20:40:35 +0100 from On Wed, 3 Apr 1996 20:40:35 +0100 Byron Foulger said: >Final (hoped for) line-ups for the London Blues festival, to be held the >weekend of 24-26 May 1966 (a holiday weekend in UK), at two sites, >Brentford and Blackheath, is as follows per Alan Robinson, (hope I've got >these right!) > Big Joe Turner What...? LW ========================================================================= Date: Wed, 3 Apr 1996 14:04:53 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 04/04 B O R N : CAMILO, MICHEL Born:1954 DOMINICAN REPUPLIC Career:PIANO / LEADER Style:JAZZ With:FRENCH TOAST / PAQUTIO D'RIVERA COOPER, BUSTER ( GEORGE ) Born:1929 ST.PETERSBURG, FL Career:TROMBONE Style:JAZZ / BIG BAND GREEN, BENNY Born:1963 NEW YORK, NY Career:PIANO Style:JAZZ With:BETTY CARTER / ART BLAKEY / FREDDIE HUBBARD / RAY BROWN / CHRISTIAN McBRIDE /CARL ALLEN HANNA, JAKE ( JOHN ) Born:1931 ROXYBURY, MA Career:DRUMMER / LEADER Style:JAZZ / BIG BAND With:Tommy Reed / Maynard Ferguson 1958 / 1959-1961 Marian McPartland / Toshiko Akiyoshi / briefly Duke Ellington / Bobby Hackett / Harry James / Herb Pomeroy / Woody Herman RAMEY, GENE ( EUGENE GLASCO RAMEY ) Born:1913 AUSTIN, TX Career:BASS Style:JAZZ / BLUES / BIG BAND With:Jay McShann / Ben Webster / Coleman Hawkins / Charlie Parker / John Hardee / Eddie 'Lockjaw' Davis / Miles Davis / Dizzy Gillespie / Hot Lips Page / Tiny Grimes / Lester Young / Count Basie 1952 / Art Blakey (1954) / Eartha Kitt (1955) / Buck Clayton 1959 & 1961 / Muggsy Spanier 1962 / Teddy Wilson 1963 / Dick Wellstood / Jimmy Rushing / Peanuts Hucko / Eddie Vinson 1969 / Nat Pierce / Lem Johnson SHOFFNER, BOB ( ROBERT LEE ) Born:1900 BESSIE, TN Career:TRUMPET Style:JAZZ / BLUES With:Charlie Creath / Tommy Parker / John H. Wickcliffe / Everett Robbins / Mae Brady's Band / King Oliver / Dave Peyton / Charles Elgar / Erskine Tate / McKinney's Cotton Pickers / Fess Williams / Fletcher Henderson / Ovie Alston / Kaiser Marshall / Hot Lips Page WATERS, MUDDY ( McKINLEY MORGANFIELD ) Born:1915 ROLLING FORK, MS Career:SLIDE GUITAR / SINGER Style:BLUES FOR A LISTING OF THOSE THAT PASSED AWAY IN APRIL PLEASE GO TO MY WEB PAGE AT http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Wed, 3 Apr 1996 15:00:20 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is Comments: RFC822 error: Incorrect or incomplete address field found and ignored. Comments: RFC822 error: Incorrect or incomplete address field found and ignored. Comments: RFC822 error: Incorrect or incomplete address field found and ignored. Comments: RFC822 error: Mail origin cannot be determined. Comments: RFC822 error: Original tag data was -> "R.J. Bauman" From: Undetermined origin c/o LISTSERV maintainer Subject: Re: Disc help - Son Seals, Luther Allison Comments: To: Wack_Ron/rfh@SASK.AECL.CA You would be remiss to pass up Seal's "Live and Burning." It is an amazing CD. His best in my opinion. As far as Luther Allison, if you liked what you heard on "Blue Streak I would recommend "Love Me Mama" and "Love Me Papa." If you can get your hands on a copy (I owe you one, Lee) his best his "Gonna Be A Live One Here Tonight." I hated "Serious" and think "Luther's Blues" is over-rated. I still have "Serious" if anyone is "seriously" interested. Live in Paris is another set that pretty much covers everything Luther does well. RJ Bauman Date: Wed, 3 Apr 1996 10:19:22 -0700 Reply-to: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: Disc help - Son Seals, Luther Allison To: Multiple recipients of list BLUES-L Can anyone recommend disc's of Son Seals and Luther Allison to buy. I have Son Seals "Bad Axe" and Luther Allison "Blue Streak". Also lesser known comparable artists would be greatly appreciated. Thanks, RW "He who laughs, lasts" - unknown ========================================================================= Date: Wed, 3 Apr 1996 15:05:42 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: RJ Bauman please... Sorry folks...RJ's mailer will not work. RJ: I've been trying to answer your posts...they simply will not go through...and posts coming from you have the address "indecipherable source" -- what's goin' on? As for the bouncing episode -- no news yet...will definitely track you down (smile) if that happens. Hope you can get this mailer thing straightened out -- I want to set something up for Memphis... Cathi N. ========================================================================= Date: Wed, 3 Apr 1996 14:54:18 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re: Charlie Musselwhite recs. Comments: To: Barry Silverberg Well, I don't know if its my favorite, but "Memphis" should be in any serious Musslewhite fan's collection. Its kind of a weird assemblage- funky blues shuffles mated with (!) pedal steel guitar backing. Mooost interesting. Jim _______________________________________________________________________________ Subject: Charlie Musselwhite recs. From: Barry Silverberg at INTERNET-SH Date: 04/03/96 2:49 PM Would like to get people's favorite Charlie Musselwhite CD recs. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Wed, 3 Apr 1996 16:07:49 -0500 Reply-To: Rags_Trips_On_Gras From: Rags_Trips_On_Gras Subject: CAMILLE_HOWARD_query!! Any bluezellers has discography and additional info about CAMILLE HOWARD and her contribution to BLUES/R&B ??? Om Shanti!! Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ Laissez les bon temps roulez!!...Let the good times roll!! +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Wed, 3 Apr 1996 15:49:21 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is Comments: RFC822 error: Incorrect or incomplete address field found and ignored. Comments: RFC822 error: Incorrect or incomplete address field found and ignored. Comments: RFC822 error: Incorrect or incomplete address field found and ignored. Comments: RFC822 error: Mail origin cannot be determined. Comments: RFC822 error: Original tag data was -> "R.J. Bauman" From: Undetermined origin c/o LISTSERV maintainer Subject: Re: Sloppy Drunk (was Re: Ronnie Dawson-"Rockinitis") Comments: To: JukeFreak@AOL.COM ===============I was always under the impression that Big Joe Williams did it...of course, SBW I recorded with Big Joe...So which one of them wrote it?============ Well, Yank Rachel claims to have written this one, too. He recorded with SB 1 in the early to mid 30's. Sloppy Drunk is on the new CD out on Slippery Noodle Sound called "Pig Trader Blues." All tracks are just Yank on mandolin and David Morgan on acoustic guitar. I'm so proud of all who helped get this work out, as it might be the last we hear from Yank on CD. It is a really good CD. There is a precious, authentic personal account of how he got his first mandolin. He didn't know he was being recorded. Se you all in Memphis, RJ Bauman (might bring my "elephant" guitar if I can convince myself it won't get stolen) ========================================================================= Date: Wed, 3 Apr 1996 16:48:33 -0500 Reply-To: RhythmShrk@AOL.COM From: Bernie Clarke Subject: Re: Harp-L Address In a message dated 96-04-03 14:12:14 EST, you write: > >Anyone know the address to Harp-L....or whatever it's called... > >LW Harp-l@garply.com ========================================================================= Date: Wed, 3 Apr 1996 17:24:53 -0800 Reply-To: "R.J. Bauman" From: "R.J. Bauman" Organization: Union Federal Savings Bank Subject: RJ's mailer mahem OK, let's see. I'm sending this from Netscape 2's mail program to see if Pegasus is messed up. I can't reach my provider at this hour. ========================================================================= Date: Wed, 3 Apr 1996 22:24:41 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Re: CAMILLE_HOWARD_query!! Comments: To: bit-listserv-blues-l@uunet.uu.net FANTASY/SPECIALTY has just released Specialty 7062 CAMILLE HOWARD - X-temporaneous Boogie. To my knowledge, she no longer performers and is seruously involved with her church. She just turned 82 on March 29. Of don't forget her wonderful playing with ROY MILTON. I also have have a great live CD "BLUES JUBILEE" (on VOGUE RECORDS) with live recordings by Big Joe Turner, Jimmy Witherspoon, Helen Humes where Camille helps out. eRIC ========================================================================= Date: Wed, 3 Apr 1996 17:32:05 -0800 Reply-To: Beowulf From: Beowulf Organization: The Wolfpack Subject: Re: All the Black musicians recorded there......................................... Comments: To: bit-listserv-blues-l@uunet.uu.net I believe that Blind Lemon Jefferson also recorded there as well as Yank Rachell and Sleepy John Estes although I could be wrong. Anyway, I don't know where it is. Do you know about the Gennett studio in Richmond, IN where Bix Beiderbecke and the Wolverines recorded? -- kelly@netusa1.net(Kelly Hoggard) The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! Check out their home page at http://www.netusa1.net/~kelly/ ========================================================================= Date: Wed, 3 Apr 1996 22:34:58 GMT Reply-To: "Shane K. Bernard" From: "Shane K. Bernard" Organization: Texas A&M (student) Subject: Re: Terrance Simien Comments: To: bit-listserv-blues-l@uunet.uu.net You can access the Terrence Simien homepage through the Cajun & Creole Pages at: http://http.tamu.edu:8000/~skb8721/ Look under the heading "Related WWW Sites," then scroll down to "Music". SKB Cajun in Exile Swamp Pop Music Pages: http://http.tamu.edu:8000/~skb8721/swamp.html ========================================================================= Date: Wed, 3 Apr 1996 17:51:38 -0500 Reply-To: Oded Maron From: Oded Maron Subject: London Blues Festival Comments: To: byron@roker.demon.co.uk In-Reply-To: Byron Foulger's message of Wed, 3 Apr 1996 20:40:35 +0100 From: Byron Foulger Final (hoped for) line-ups for the London Blues festival, to be held the [stuff deleted] James Carr Is he really performing again? That would almost be as big a miracle as Big Joe Turner showing up. I've been listening to the Razor and Tie collection continuously for about the last couple of weeks. Oded ========================================================================= Date: Wed, 3 Apr 1996 17:54:07 EST Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: Honeyboy Edwards Stew Crossen wrote: >So how come Dave Carpenter hasn't shared with us the details of >Dave Honeyboy Edwards' gig the other night, where Dave stayed on >after the club closed and sat and talked with Honeyboy for an hour? >C'mon Dave, Inquiring minds wanna know! >Stew Crossen I'll fill y'all in as soon as I have time. Perhaps later this evening. It was an experience I'll never forget. Dave Carpenter Blues Music Director - WHUS-FM University of Connecticut Storrs, CT http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Wed, 3 Apr 1996 22:42:17 GMT Reply-To: "Shane K. Bernard" From: "Shane K. Bernard" Organization: Texas A&M (student) Subject: Josh White CDs/Info Wanted Comments: To: bit-listserv-blues-l@uunet.uu.net Need Josh White CD/Info: I've been looking for these tracks on CD for years, but w/o success. Anyone know if they are available on CD? They are: Daniel in the Lion's Belly; Joshua Fit the Battle; One Meatball; Jesus Gonna Make Up My Dyin' Bed; There's a Man Goin' Round Takin' Names. I think White may have recorded these more than once; if so, the versions I want were (I think) recorded in the 40s or 50s. Other versions would be welcome, though. Also, anyone know of a Josh White fane club? If so, would like the address. And, finally, didn't White have a son, Josh White Jr., who also performs music? Is there a way to contact him (through a label, for instance?) Thanks, SKB Cajun in Exile ========================================================================= Date: Wed, 3 Apr 1996 17:47:57 -0800 Reply-To: Beowulf From: Beowulf Organization: The Wolfpack Subject: New Blues Web Site! Comments: To: bit-listserv-blues-l@uunet.uu.net Check out T-Bone's pages (http://www.io.com/~tbone1/ and then check out the pages with the link in my tag line! We are the WOLFPACK, the only jump, swing band in Indianpolis. To my knowledge, we are the first Indiana blues band to make a definite presence on the WWW - that is to say, our own website. Please let me know if it meets your approval and what can be done to improve it. Also, here is a list of Indiana blues jams for those interested: Sundays: The Rathskeller Vault, Mishawaka C.T. Pepper's, Indianapolis Timothy's Pub, Plainfield Mondays: Mickey's Pub, Carmel Tuesdays: The Patio, Indianapolis 82 Pub and Que, Fort Wayne Wednesdays: Slippery Noodle Inn, Indianapolis Decades, Columbus any that I left out? -- kelly@netusa1.net(Kelly Hoggard) The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! Check out their home page at http://www.netusa1.net/~kelly/ ========================================================================= Date: Wed, 3 Apr 1996 15:12:25 -0800 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Re: Have Been Reflecting Again Comments: To: Shaun T Cronin In-Reply-To: <199604031857.KAA10670@wavenet.com> On Wed, 3 Apr 1996, Shaun T Cronin wrote: > Well I think everyone gets the blues but call it different things. Which > leads us to the question what is the blues? > > IMHO, the blues is how you feel when you end a relationship. It is how you > feel when you find somebody new. It is how you feel when everything is > going wrong. It is how you feel when everything turns out fine. It is how > you feel when you are out on the town partying. It is how you feel next > morning when you wake up. It is how you feel when you remember days past. > It is how you feel when you ponder the future. It is the satisfaction and > wealth of experience what you see in the face of someone who is nearing the > end of a long life. It is the excitment and innocence of a child just > starting out. The blues is the indescribable joy it is to be alive. The > blues is the unexplainable feelings of loneliness that can descend upon > someone. I think that you have exhausted the possibilities, and are saying that blues is life. If this is what you are saying than is there anything that is not blues, I think that there is. Although the perspective is important I think that Thruthfully blues has a certain flavor that cannot be generalized into such blanket statements. I don't think that all those feelings you mentioned neccesarilly are blues, or feeling blue. I think that it is that feeling in your gut that may/or may not accompanie all those things that is the blues. I don't want to confuse feeling blue and breaking up with girlfriend, I want to know what is what. When I am blue, and down or just having that feel, that for me is the blues. If I chose to where blue shades and translate my whole life experience into the blues, than I am in some make believe world. But if something happens that brings me into that mindset than I have hit it. IF you say that the blues are life, than you are dissmissing it's individuality. > The blues is the raucous slide and infectious boogie of Hound Dog Taylor. > The majestic vocals and soaring guitar of Magic Sam. The sheer poetry and > deep music of Son House. I'll agree to that!! Peace, Isaac (doesn't mean to sound like Boogie Nation) > > It is all these things and more. > > As many have said before me, the blues is about life. > > Shaun > > Shaun Cronin 'Woke up this morning, between midnight and > day, shaun@wavenet.com I was hugging the pillow where my > baby used to > . > lay.' Son House > ========================================================================= Date: Wed, 3 Apr 1996 18:14:13 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: August Wilson's "Seven Guitars" (long) I have been undecided about sending this post but finally decided that I would since it has blues content. Jujamcyn Theaters, the producers of August Wilson's newest play, "Seven Guitars," commissioned me to create a collage of seven black guitarists's hands for a gift to be given to him on the night that the play opened on Broadway. I worked with Jujamcyn's creative director, Jack Viertel, and sent him dozens of photographs from which to make the final selection. I had the luxury of being able to choose from hundreds of shots of men, women, right-handed, left-handed, wooden guitars, steel-bodied guitars, electric guitars with a whole lot of variety. The final collage was assembled in New York City and presented to August Wilson on Thursday, March 29th, just before the play opened on Broadway. Mr. Wilson has already won two Pulitzer Prizes (for "Fences" and "The Piano Lesson") and he might get a third one for "Seven Guitars." It is the story of a Pittsburgh blues singer who goes to Chicago in 1948 to recorded two songs. After he returns to Pittsburgh, he is jailed for 90 days on a phony charge. When he gets out, he discovers that his record is getting airplay and he is asked to come back to Chicago to make additonal records. However, he is killed before he can go, and the play is told in flashback after his death. The song that is played to signify his hit is "Who's Loving You Tonight?" Jack Viertel and I looked through hundreds of photographs to select the final seven to be made into the collage. In addition to the gift to August Wilson, five prints of each photograph were made as gifts to the members of the cast. We finally came up with the seven we needed and then added another four to that so that a total of 55 prints were made to be distributed. The guitarists were chosen for the way in which their hands were photographed over the instruments and had no bearing on their fame or musical styles. The "Seven Guitars" are Muddy Waters, Lightning Hopkins, Fred McDowell, Elizabeth Cotton, Son House, BB King and Mance Lipscomb. The additonal four whose photographs were printed for the cast are Skip James, John Hurt, Jack Owens and Joe Louis Walker. I had the honor of spending some time with August Wilson after the opening night ceremonies. He was very gracious and asked me if I had personally known all of the musicians. I told him that I did, and we talked at length about his love of Chicago blues from the 1950s and 1960s. I again say that I hesitated to make this post. However, I take pride in my photography and I think that the collage represents some good work. I am honored that August Wilson was pleased and especially happy that he has such a genuine love and understanding of blues music. Dick Waterman ========================================================================= Date: Wed, 3 Apr 1996 18:20:53 -0500 Reply-To: Jonny Meister From: Jonny Meister Subject: Re: Sloppy Drunk (was Re: Ronnie Dawson-"Rockinitis") At 03:49 PM 4/3/96 +0000, you wrote: >===============I was always under the impression that Big Joe Williams >did it...of course, SBW I recorded with Big Joe...So >which one of them wrote it?============ > > >Well, Yank Rachel claims to have written this one, too. >He recorded with SB 1 in the early to mid 30's. > >Sloppy Dr........... Lucille Bogan recorded it in 1930. -Jonny ========================================================================= Date: Wed, 3 Apr 1996 18:22:12 EST Reply-To: "M.A. Murphy" From: "M.A. Murphy" Subject: Sista Monica contact info This was asked for... Hope it will come in handy for some. This info comes from the Sista herself. If she's willing to go public, I will post her e-mail address at a future time. That'll be her decision to make, though, not mine. Anyone care to fly me out to S.F. for the June 16th show with Taj Mahal, Radiators and George Clinton?!?!?!? Booking/info/interview number: 408-425-3192 Sista Monica Performance Schedule 1996 Sat. April 6 Mendicino Hopland Brewery, Hopland, CA Sat. April 13 Doc Ricketts, Monterey, CA Fri. April 19 Mother's Tavern San Luis Obispo, CA Sat. April 20 Magnolia's Santa Rosa, CA Thurs. April 25 Kona Surf Resort Kailua-Kona, HI Fri. April 26 Cassonova's Maui, HI Sat. April 27 Cassonova's Maui, HI Sun April 28 Poi Pounder Kailua-Kona, HI Sat. May 4 The Catalyst Santa Cruz, CA Sista Monica's 40th BD Party with Lydia Pense and Coldblood, Barabara Morrison prominently known from Monterey Blues Festival will sing with the Sista. Barbara is just off European tour with Ray Charles, the Sista Monica Inspirational Choir, Stilt Walker's, Free Champagne and Cake while it last and or course The Sista Monica Band with new material on the next CD. Tix on sale soon! Hot Hot Party and Show!! Sun May 5 The Brick Works Chico, CA Thur. May 9 Anthony's Blue Room Sarasota, FL Fri. May 10 The 5 O'clock CLub Sarasota, FL Sat. May 11 Tropical Heatwave Festival Tampa, FL T-S May 13-18 Quai Du Blues Festival Paris France Sat. May 25 DNACA Festival Crescent, CA Fri. June 7 Corporate Party Oakland, CA Sat June 8 Meadow Wood Resort Napa, CA Sat. June 8 Mystic Theater Petaluma, CA Sun June 9 Festival At The Lake Oakland, CA Sun June 16 Rock & Blues Concert San Francisco, CA with Taj Mahal, The Radiators, George Clinton W-T June 19/20 Britt Festival with Temptations Jacksonville, OR Sat. June 22 New Orleans Bay The Bay Shoreline Amphitheater Mon. June 24 River Bend Blues Festival Chattanoga, TN Sun June 30 Pride Parade - Main Stage San Francisco, CA Sun June 30 Great America Music Hall ?? San Francisco, CA W-T July 3/4 Cedar Rapids Freedom Festival Cedar Rapids, IA Sat July 6 Sioux City Festival Sioux City, IA Sun July 7 Waterfront BLues Festival Portland, OR Sat. July 13 Roxy Theater Bremerton, WA Sat. July 20 Corporate Party Scotts Valley, CA Sat. Aug. 3 Sweet Pead Festival Boseman, MT Sat. Sept. 14 Blues & Rock Tour Soldier Fld, Chicago,IL Fri. Oct 11 Villa Montavo Concert Series Saratoga, CA Sat Nov. 23 Utrecht Blues Festival Holland for more booking or interview information on Sista Monica call (408) 425-3192. ------- Murph Michael A. Murphy murph@maine.maine.edu If you do not understand my silence you will not understand my words. Network Audio Bits E-Zine: http://maine.maine.edu/~n-audio Music reviews, news and information ========================================================================= Date: Wed, 3 Apr 1996 18:21:49 -0500 Reply-To: FrancBooth From: FrancBooth Organization: America Online, Inc. (1-800-827-6364) Subject: Austin Texas Sat 13 April Comments: To: bit-listserv-blues-l@uunet.uu.net Hey Folks I will be visiting Austin on the 13-15th of April. Anyone know any good BLUES band playin those days? I know I will miss Doyle by one day but Can't change my ticket. Please Post or Email me See Y'All Late Tom ========================================================================= Date: Wed, 3 Apr 1996 16:05:06 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Have Been Reflecting Again Comments: cc: isprints@indy1.CALARTS.EDU Isaac Sprintis wrote: >I think that you have exhausted the possibilities, and are saying that >blues is life. If this is what you are saying than is there anything >that is not blues, I think that there is. Although the perspective is >important I think that Thruthfully blues has a certain flavor that cannot >be generalized into such blanket statements. I don't think that all >those feelings you mentioned neccesarilly are blues, or feeling blue. Good point but I will beg to differ. When I look at the subject matter that Blues artists use it reflects their lives and what they see around them. Blues is their life, the good and the bad. IMHO, the blues is about life. It is one way of expressing how you feel. For me, it is the best way. Other people may take different avenues of artistic expression. The blues is neither better or worse than other forms of artistic expression >I think that it is that feeling in your gut that may/or may not accompanie >all those things that is the blues. I don't want to confuse feeling blue and >breaking up with girlfriend, I want to know what is what. When I am >blue, and down or just having that feel, that for me is the blues. If I >chose to where blue shades and translate my whole life experience into >the blues, than I am in some make believe world. But if something >happens that brings me into that mindset than I have hit it. IF you say >that the blues are life, than you are dissmissing it's individuality. Personally, I don't like the expression "feeling blue." People tend to equate it with blues music and form an image that the blues is a bunch old guys, banging away on a guitar feeling sorry for themselves. Sure when I feel down I want to listen to some blues. Still, there are times when I'm quite content and I still want to listen to some blues. By saying that blues is life doesn't mean that your are taking away from the individualty of the blues. The blues is a unique musical form and means of expression. Some people choose writing. Others play the blues. It's individuality is more than retained. There is no other music form like the blues. It is one way of expressing what life is. There was an interview with Johhny Shines some years ago in Guitar Player. I hope someone has it and can post the relevant section. In it he is asked (this is from memory so don't get to riled if I misqoute) "What is the blues?" He replies that it is about life (or something along those lines) and gives a few examples. It is a great interview. Isaac's opinions are more than valid. I find opinions on music to be very personal and subject to your outlook on life. Of course, I'm not down in the dumps all the time. Like most people my feelings change is response to events. I think the blues reflects this. Sorry to wax philosophical but I think this is an interesting topic. Shaun Shaun Cronin 'Woke up this morning, between midnight and day, shaun@wavenet.com I was hugging the pillow where my baby used to . lay.' Son House ========================================================================= Date: Wed, 3 Apr 1996 19:01:45 -0500 Reply-To: GDKimball From: GDKimball Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Need National Resophonic advice Comments: To: bit-listserv-blues-l@uunet.uu.net I have a new National Delphi (Duolian reissue) and I play regularly with a guy who owns an early 30s 12 fret Duolian and has played Nationals for a long time. I agree with the comment about the originals being brighter, but my friend likes mine alot, especially the bass tone. Together they really sound interesting. I looked at quite a few old ones. The ones in my price bracket typically had flaws --dented (or not original) cones, buzzes, neck ailments, etc. And the really good ones--well, you know what they cost. I think I did pretty well considering what I paid. Finding an old one that's worth it takes patience and some knowledge of the instrument's construction--I recommend Brozman's book on Nationals. Gregg ========================================================================= Date: Wed, 3 Apr 1996 18:11:11 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: Sloppy Drunk (was Re: Ronnie Dawson-"Rockinitis") In-Reply-To: <9604032320.AA20661@tahiti.netreach.net> On Wed, 3 Apr 1996, Jonny Meister wrote: > At 03:49 PM 4/3/96 +0000, you wrote: > >===============I was always under the impression that Big Joe Williams > >did it...of course, SBW I recorded with Big Joe...So > >which one of them wrote it?============ > > > > > >Well, Yank Rachel claims to have written this one, too. > >He recorded with SB 1 in the early to mid 30's. > > > >Sloppy Dr........... > > Lucille Bogan recorded it in 1930. I thought Ida Cox recorded it in the 20s, which is where Leroy Carr likely got got it. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Remember! Friends don't let friends drink and post." - Amy Ashton ========================================================================= Date: Wed, 3 Apr 1996 18:05:19 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: New Blues Web Site! In-Reply-To: <31632A4D.39CB@netusa1.net> On Wed, 3 Apr 1996, Beowulf wrote: > Check out T-Bone's pages (http://www.io.com/~tbone1/ Oh, thanks for the unsolicited plug, Kelly! (Here's the first twenty, I'll pay the rest when I get to an atm.) [SNIP] > Also, here is a list of Indiana blues jams for those interested: > .... > Wednesdays: Slippery Noodle Inn, Indianapolis > Decades, Columbus *spittake all over monitor and keyboard* There's a blues jam in COLUMBUS?!?!?! You have GOT to be kidding me! Why the hell didn't they have one when I lived there? What next, tractor races in New York City? The world just got very strange. > any that I left out? Do they still have the Monday night jams at The Bluebird in Bloomington? T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Remember! Friends don't let friends drink and post." - Amy Ashton ========================================================================= Date: Wed, 3 Apr 1996 18:21:53 CST Reply-To: Ted Gurley From: Ted Gurley Subject: More Pop/Burnside Comments: cc: bobhate@iadfw.net I too listen to Iggy Pop and RL. I don't have a problem with the two of them touring and playing at the same venue. You see, at a couple of CD stores here in DFW, RL is filed in the trance music section as well as the blues. Several club DJ's use RL as a trance backbeat. So, the same people who would be exposed to Iggy might also here RL in a club or be a mid-30's guy like me that can appreciate a show with both. Iggy will be 50 next year so, he's not too far behind RL. BTW, the last time I saw Iggy, there wasn't much moshing just a bunch of old people like me. And come to think of it, the last time I saw RL, the mosh pit was empty too. One final thought. To me this is a great line-up. I would rather see RL & Iggy than some RL wanna be on stage or for that matter some Iggy wanna be. Just thinkin. ------------------------------------- 04/03/96 18:21:53 Ted Gurley - Dallas, TX tgurley@.onramp.net or rampages.onramp.net/~tgurley Co-writer of "Plug-In: The Guide to Music on the Net" Look for it on April 19 from Prentice-Hall ------------------------------------- ========================================================================= Date: Wed, 3 Apr 1996 20:23:37 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Disc help - Son Seals, Luther Allison Comments: To: rjbauman@iquest.net In-Reply-To: On Wed, 3 Apr 1996, Undetermined origin c/o LISTSERV maintainer wrote: > I hated "Serious" and think "Luther's Blues" is over-rated. Is it LA's R&B material you don't like or just those 2 CD's. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Wed, 3 Apr 1996 20:25:45 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Have Been Reflecting Again Shaun said, among other things: >Personally, I don't like the expression "feeling blue." People tend to >equate it with blues music and form an image that the blues is a bunch old >guys, banging away on a guitar feeling sorry for themselves. Sure when I >feel down I want to listen to some blues. Still, there are times when I'm >quite content and I still want to listen to some blues. I totally agree! It irks me when people insist on a simplified definition. Sure, sometimes the blues is sad, sometimes it's about misery or loneliness or bad luck. But sometimes it's proud and happy, sweet and sexy, lusty and funny. Do you think RJ's "Red Hot" is sad? Or "Hoochie Coochie Man"? If blues is always so sad, why does it make us so happy to listen to it? How many times have you heard a blues song and just had to get up and dance, even if you were in the middle of your kitchen all alone? (Or in the car?) To say that "blues is about feeling sad" misses a lot of other emotions! >By saying that blues is life doesn't mean that your are taking away from >the individualty of the blues. The blues is a unique musical form and means >of expression. Some people choose writing. Others play the blues. It's >individuality is more than retained. There is no other music form like the >blues. It is one way of expressing what life is. Another topic I've argued with people about! I would venture to say that it's true that for all of us here, the blues is the most emotional music. But I think the reason for that lies mostly in *us*--in who we are, what we experience, what we want out of life--not in the music itself. If the music truly has universal emotional appeal, then why is it such a small piece of the musical pie? There are obviously plenty of people in this world who do not feel emotion from the blues, and there are plenty of people in this world who react emotionally to other types of music. Remember the scene in Philadelphia where the Tom Hanks character is listening to opera music? Lots of emotion there. Personally, the music didn't touch me at all. But that's me, not the music. Now for someone else's opinion: Francis Davis writes in his book The History of the Blues....(etc.): "The blues has always been about wanting to be someplace else but making the best of where you are . . ." (That hit home with me. I've always felt slightly misplaced.) Btw, Davis also postulates that Jazz did not evolve from Blues, but that the two forms developed concurrently, and separately, from similar roots. Karen ========================================================================= Date: Wed, 3 Apr 1996 20:25:51 -0500 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Blues on TV/in the Movies Not exactly blues, but: Thursday, April 4, 8 p.m. EST, TNN: "The Life and Times of..." features Jimmie Rodgers (the country singer). I've heard his name mentioned by several blues artists as being an influence. Didn't I hear somewhere that Howlin' Wolf developed his "howl" by imitating Rodgers's yodel? (Btw, this is a pretty good show...I find myself getting interested in people I've never heard of.) Also: Last night while channel surfing, I happened upon a movie on TBS, stopped briefly to look at Patrick Swayze, and then heard the unmistakeable opening riff of "Hoochie Coochie Man." (Not Muddy's, though, you understand!) It was a bar scene where a blond in a pink slip-dress was doing a strip-tease. I don't know who the band was; they didn't show them. (Besides, who would be looking at the *band* with that going on???) The movie was called "Breakheart Pass" or something like that. Also finally saw that Buddy Guy-Frank Thomas commercial! :-) Karen ========================================================================= Date: Wed, 3 Apr 1996 20:52:52 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Robert Johnson Marketing Comments: To: bit-listserv-blues-l@uunet.uu.net In article <96Apr1.212730pst.36560-26300+1109@haven.uniserve.com>, Jim Witteveen writes: >Hi all. I've read a few comments about Steve LaVere on the list lately, none >of them very positive. I don't know much about him, other than the fact >that he's a sleazebag and a con man. So what's the story on this guy? I will offer, as Jim has suggested, what I know for a fact about Steve LaVere, for the consideration of the members of the list. In the early 70's, when I was 13 or so and a serious blues fan, I used to hang around Steve LaVere's "used blues" swap shop in Memphis. LaVere was a collector of old 78's, a devotee of the blues and a serious researcher. In August of 1971, LaVere, in partnership with Gene Rosenthal of Adelphi Records, collected some of the old Beale Street regulars, artists like Rev. Robert Wilkins, Furry Lewis, Bukka White, Harmonica Frank Floyd (whom LaVere had tracked down through his research,) Houston Stackhouse, Hacksaw Harney, and other blues greats, and accompanied them to the 33rd Annual Smithsonian Folklife Festival, where they enjoyed the widespread attention and acceptance which had so far eluded most. Then in December 1971, LaVere rented the Ellis Auditorium and put on the "River City Blues Festival," an event again recorded by Rosenthal of Adelphi and featuring the artists mentioned above, in addition to others. Finally, with the partnership and booking savvy of Arne Brogger, LaVere transformed this troupe of aging Delta blues musicians into the "Memphis Blues Caravan," a busload of talent which toured colleges and folkie gatherings for several years. Along the way, the regulars were joined by other blues artists, including Johnny Shines and Sam Chatmon. No doubt, a number of blues fans were turned on to the music through LaVere's efforts in getting the originals out there. I do know firsthand from my personal friendships with men like Furry Lewis that the attention these artists garnered so late in life brought them a great deal of joy and satisfaction. As I don my asbestos overalls, I wish all of you well, Denise ========================================================================= Date: Wed, 3 Apr 1996 18:05:38 -0800 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Re: Been Reflecting - Jazz & Blues lineage Comments: To: bit-listserv-blues-l@cs.washington.edu P.W. Fenton wrote: > > On 3 Apr 96, Roger Struve had this to say... > > > Now the first question i have is.....it is generally felt that Jazz evolved > > out of the Blues (is it not?).....and am i correct in thinking that Swing > > is a form of Jazz or is it closer to the blues? > > > > What IS the etiology of music that evolved from the BLUES.....first > > Jazz....then what and what after that and so forth until we get to Rock 'n > > Roll??????? > > I don't believe that you can pin a Jazz paternity suit on the Blues. > Cousins maybe. Jazz came more from New Orleans Ragtime and > Dixieland roots. I look at them as members of the same family as the > Blues, but not Blues offspring. (In my uneducated opinion). I would think of blues and jazz as siblings, to continue this metaphor. NO jazz I suppose started in the city as opposed to plantations, but those musicians toured plantations and the countryside in general to play barn dances too. Different people, same scene, same time (late 1800s), same delta, somewhat different music and instruments, it seems like to me. A really neat book on the birth of NO jazz I read recently is called "Remembering Song" by Frederick Turner, Da Capo press. Adrian ========================================================================= Date: Wed, 3 Apr 1996 14:20:49 -0500 Reply-To: Turdsdad From: Turdsdad Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Taj Mahal's "Phantom Blues" Comments: To: bit-listserv-blues-l@uunet.uu.net saw Taj last firday at the coach house in so.cal good show including some stuff from the new album good 8 piece band including Bonnie Raitts drummer and guitar player the bass player was from the mike rilley band. the sound of the new stuff was discribed by one of the crew as " the new r&b ". I personally like him because of the diversity styles he played reggie, blues, r&b(cool cover of "mister pittifull").he also played a few older song from his catalog. ========================================================================= Date: Wed, 3 Apr 1996 21:14:44 -0500 Reply-To: SGLIWA From: SGLIWA Organization: Delphi (info@delphi.com email, 800-695-4005 voice) Subject: Mighty Blue Kings Comments: To: bit-listserv-blues-l@uunet.uu.net Anyone know where I can order/obtain the new CD "Meet Me In Uptown" by the Mighty Blue Kings? I'd appreciate any info. Thanks, Steven James Gliwa ========================================================================= Date: Wed, 3 Apr 1996 21:19:11 -0500 Reply-To: SGLIWA From: SGLIWA Organization: Delphi (info@delphi.com email, 800-695-4005 voice) Subject: HIFI & The Roadburners Comments: To: bit-listserv-blues-l@uunet.uu.net Can anyone tell me where I can order/obtain Hifi & The Roadburners first CD "Hifi & The Roadburners"? Everytime I order it from cdconnection it's always out of stock. I've been trying to get this CD for a few years now. I already have their latest, "Fear City" as well as "Demons of Wicker Park" but I can't find "Hifi & The Roadburners" anywhere. Any info would be appreciated. Thanks, Steven J. Gliwa ========================================================================= Date: Wed, 3 Apr 1996 21:34:42 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: Blues on TV/in the Movies Comments: To: Karen Hanson In-Reply-To: <960403202550_368615795@emout08.mail.aol.com> On Wed, 3 Apr 1996, Karen Hanson wrote: > Also: Last night while channel surfing, I happened upon a movie on TBS, > stopped briefly to look at Patrick Swayze, and then heard the unmistakeable > opening riff of "Hoochie Coochie Man." (Not Muddy's, though, you > understand!) It was a bar scene where a blond in a pink slip-dress was doing > a strip-tease. I don't know who the band was; they didn't show them. > (Besides, who would be looking at the *band* with that going on???) The > movie was called "Breakheart Pass" or something like that. You must be talking about "Roadhouse" and the band was the Jeff Healey Band. > Karen > ============================================================================= Jim Leftwich Jim's Blues N' Brews leftwich@cloud9.net http://www.cloud9.net/~leftwich "I'm on cloud9!" :) New CD Giveaway: Jordan Patterson ============================================================================= ========================================================================= Date: Wed, 3 Apr 1996 18:48:15 -0800 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Re: Have Been Reflecting Again Comments: To: Shaun T Cronin In-Reply-To: <199604040000.QAA20939@wavenet.com> On Wed, 3 Apr 1996, Shaun T Cronin wrote: > Isaac Sprintis wrote: > > >I think that you have exhausted the possibilities, and are saying that > >blues is life. If this is what you are saying than is there anything > >that is not blues, I think that there is. Although the perspective is > >important I think that Thruthfully blues has a certain flavor that cannot > >be generalized into such blanket statements. I don't think that all > >those feelings you mentioned neccesarilly are blues, or feeling blue. > > Good point but I will beg to differ. When I look at the subject matter that > Blues artists use it reflects their lives and what they see around them. > Blues is their life, the good and the bad. IMHO, the blues is about life. > It is one way of expressing how you feel. For me, it is the best way. Other > people may take different avenues of artistic expression. The blues is > neither better or worse than other forms of artistic expression I think that you missunderstood me, I was saying how you listed all these beautifull occasions, and called them ALL the blues. Now like I said it can all be about the Perspective, and if you look at anything in a certain way you can find your blues. But personally I feel that blues just is, you feel it, you got it , whatever. Hell I LOVE THE STUFF. I Can't remember the last time that I put on a tape or cd that wasn't blues. I AGREE with you when you say that the blues is about life, but I disagree if you are saying that the blues is life, as it seemed in your first post. > > >I think that it is that feeling in your gut that may/or may not accompanie > >all those things that is the blues. I don't want to confuse feeling blue and > >breaking up with girlfriend, I want to know what is what. When I am > >blue, and down or just having that feel, that for me is the blues. If I > >chose to where blue shades and translate my whole life experience into > >the blues, than I am in some make believe world. But if something > >happens that brings me into that mindset than I have hit it. IF you say > >that the blues are life, than you are dissmissing it's individuality. > > Personally, I don't like the expression "feeling blue." People tend to > equate it with blues music and form an image that the blues is a bunch old > guys, banging away on a guitar feeling sorry for themselves. Sure when I > feel down I want to listen to some blues. Still, there are times when I'm > quite content and I still want to listen to some blues. > > By saying that blues is life doesn't mean that your are taking away from > the individualty of the blues. The blues is a unique musical form and means > of expression. Some people choose writing. Others play the blues. It's > individuality is more than retained. There is no other music form like the > blues. It is one way of expressing what life is. > I think that this is getting into a difference in language, as I get what you are saying, and there is truth in it. Ultimetely we are in some form of agreement I feel, just a problem with interpretation. > Isaac's opinions are more than valid. I find opinions on music to be very > personal and subject to your outlook on life. Of course, I'm not down in > the dumps all the time. yeah I think that the blues can be (for me) a very personal thing. Something that I feel allot of love for. And it all comes down to the feeling you get playing and listening to it. So it is kinda Wierd trying to talk about something that at it's root is sublime, and cannot be translated into language. And I am not down all the time either, just right now. Peace, Isaac ========================================================================= Date: Wed, 3 Apr 1996 21:47:11 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Re: August Wilson's "Seven Guitars" (long) Comments: To: bit-listserv-blues-l@uunet.uu.net In article <960403181410_184139128@mail02.mail.aol.com>, Dick Waterman writes: >I again say that I hesitated to make this post. However, I take pride in my >photography and I think that the collage represents some good work. I am >honored that August Wilson was pleased and especially happy that he has such >a genuine love and understanding of blues music. > > Never feel you have to hesitate...I had been dying to hear how your trip went and am glad to know it was enjoyable. You have every reason to be proud of your work and accomplishments. I feel fortunate to have had the pleasure of standing at your dining room table going through your photos and listening to you tell what the people were doing the day the photo was taken. You have captured some amazing things on film and I know from the way you've talked about these people you care for them and how they appear to others. I only wish you could've made me look tall & blonde in the pics you've taken of me...well, I guess even you can't perform miracles. * not a disclaimer...just the truth. I don't work for Dick but do know him. I love his work & him. I will brag about him at every opportunity without giving it a second thought. : ) Catbauer@vivanet.com ========================================================================= Date: Wed, 3 Apr 1996 22:07:17 -0500 Reply-To: MMirapaul@AOL.COM From: Matthew Mirapaul Subject: Reporter's Inquiry Would the administrator of the Blues Music List please contact me? Thanks, Matt ========================================================================= Date: Wed, 3 Apr 1996 21:23:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Hacksaw Harney Denise - did you (or anyone on this list) ever see Hacksaw Harney? The silence was deafening when I asked this question a couple of years back. Honeyboy Edwards and many bluesmen of that generation spoke so highly of him. Since then, I have seen him play a sprightly ragtime tune on a Yazoo video - and he was very old then. I asked Jim O'Neal about him last fall and he said Harney was excellent in any style: he could jump from country acoustic to the slickest amplified urban blues at the drop of a hat. Does anyone else - Mr. Waterman - perchance - have any info on or impressions of Hacksaw Harney. Was he ever recorded? -Bonnie From: IN%"denisetapp@AOL.COM" "DeniseTapp" LaVere was a collector of old 78's, a devotee of the blues and a serious researcher. In August of 1971, LaVere, in partnership with Gene Rosenthal of Adelphi Records, collected some of the old Beale Street regulars, artists like Rev. Robert Wilkins, Furry Lewis, Bukka White, Harmonica Frank Floyd (whom LaVere had tracked down through his research,) Houston Stackhouse, Hacksaw Harney, and other blues greats, and accompanied them to the 33rd Annual Smithsonian Folklife Festival, where they enjoyed the widespread attention and acceptance which had so far eluded most. ========================================================================= Date: Wed, 3 Apr 1996 22:00:56 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re: Austin Texas Sat 13 April Comments: To: FrancBooth And how about Friday night the 19th? I'll be there then. -Jim _______________________________________________________________________________ Subject: Austin Texas Sat 13 April From: FrancBooth at INTERNET-SH Date: 4/3/96 6:36 PM Hey Folks I will be visiting Austin on the 13-15th of April. Anyone know any good BLUES band playin those days? I know I will miss Doyle by one day but Can't change my ticket. Please Post or Email me See Y'All Late Tom ========================================================================= Date: Thu, 4 Apr 1996 04:24:07 GMT Reply-To: VT From: VT Subject: REVIEW - Baby, Please Don't Go - Pt 1/2 Here's another REVIEW that takes a different route. There's only one song. "Baby, Please Don't Go" This was one of the first blues song I noticed, and can remember searching for the original or more "authentic" version. Most would credit this song to Big Joe Williams. Just a point of trivia - in Sheldon Harris's "Blues Who's Who" the song writing credit is given to a "Signifyin'" Mary Johnson. There is a note under her entry to the effect that Big Joe actually told Harris that Johnson wrote this song. Anyway - I looked in my collection and realized that I had accumulated over 16 versions of this same song, and that's not counting the versions on video. So here goes a marathon review of the versions I have....... BIG JOE WILLIAMS - Well let's start with the "original". I have 2, well may be 3 versions....... "Please Don't Go" - recorded Chicago, Dec/12/1941 Williams vcl, 9-str gtr John Lee "Sonny Boy" Williamson (#1) hrp Alfred Elkins imitation bass I understand that there was a previous version recorded by Big Joe on a standard 6-string in the 30's. However, this version being reviewed is generally regarded as the "definitive" version by the originator. The partnership of Williams/Williamson was the prototype of the guitar/harp duo - which included pairings such as Terry/McGhee and Waters/Walter. This is a pretty straight version. Nice and jaunty/bouncy intro - with Big Joe's 9-string guitar ringing brightly. Great harp accompaniment from SWB#1 and basically good interplay between the instruments. SBW's short solo break with Big Joe's encouragement "come in here Sonny Boy..." is superb hitting a peak about 1:25 into the song. At the playout round 2:15 shows some really good playing together. Exhilarating. Truly deserves the classic status that it's held in. This is available on the superb CD, with remarkably good sound quality: WILLIAMSON/WILLIAMS THROW A BOOGIE WOOGIE RCA9599 "Baby, Please Don't Go" - recorded Feb/18/1958 This is a solo version from "Piney Wood Blues" on Delmark 602. This is a much more percussive version, obviously with Big Joe's unique 9-string prominently featured. It's overall sound is tougher. There are two separate verses that deviates from the well known classic words. At about 2:43 Joe plays a riff somewhat in the Chuck Berry vein. Joe's playing sounds much more than just a solo guitar, there are parts when he sounds almost like a string band, all on his own. "Baby, Please Don't Go" - recorded London, England, Oct/1968 Williams vcl, 9-string gtr Sounds solo to me even though the session credits "unknown" bass and drums. This is quite different. Joe starts by quietly saying "OK" then launches into a heavy beat. Very big sound on his 9-string, there is some distortion on the guitar, either over-saturation on the recording or Big Joe's deliberately over loading his amp. All still sounds pretty standard until after 2 verses or about 35 seconds into the song, when he slashes out on slide. Big Joe combines picking and sliding, and around 1:15 starts to speed up the tempo. Interesting version. This is on "Rediscovered Blues" re-issued on Capitol CD. "Don't You Leave Me Here" - recorded Chicago, Dec/18/1947 Williams Vcls, 9-string gtr Williamson hrp Judge Riley dms Ransom Knowling bs Well the title is different, the lyrics are different. But the tune is the same, and the sentiments are the same. The arrangements and treatment is very similar to the Dec/41 version, even to Big Joe's encouragement of SBW#1 to "come in here..." and a harp solo with a similar peak on the second break. This was an unissued Columbia recording, now available on "Legends of the Blues Vol:1" on Columbia Roots n Blues CD. SONNY TERRY & BROWNIE McGHEE "Baby, Please Don't Go" - recorded Los Angeles, Dec/29/1959 Originally on the World Pacific LP "Blues is a Feeling". I have to confess to having a real soft spot for this version since the British version of this LP (it was re-titled as "Living with the Blues" on the Fontana label) was one of my first buys in the country blues. Sonny and Brownie are regarded by some as a little too folk-sy and smooth. But hey, I don't care, I still regard them as one of the pinnacles of blues harp/guitar duos - blues does not have to be always rough/tough and hard to listen to. This song typifies what S&B are capable of. The intro is a very cleanly picked guitar with some very subtle nuances/touches. Sonny's harp then joins in. This is a genuine vocal duet with one taking the lead and the other in support and changing round. Sonny's rougher/gruff vocals contrasts but very much complements Brownie's smoother "brown" vocals. The guitar is superb, beautiful playing and control, listen to it around 1:10 - of course Sonny's harp is as expected astonishing. One word - Beautiful. Yes, I'd give this one a 10 as well. "Back to New Orleans" - recorded New York, Dec/1959 Er-hum, different title- but same tune, same lyrics - writing credits to Brownie McGhee. This is a similar version to the one above in the instrumental arrangement. But the vocals are just Sonny Terry. This is a good version, distinctly S&B, but the version above just outshines it. BIG BILL BROONZY Big Bill was much associated with S&B. "Baby, Please Don't Go" - recorded Paris, Mar/19/1952 Recording comes from the period when he resided in Europe and took up the acoustic guitar and billed himself as the "last living bluesman". Many don't like Big Bill from this period. I do. I like him with solo acoustic guitar. This is a good country blues version, but Big Bill's performance shows the edges of city slick...Nicely recorded - you can hear the very good picking and the inflections in his vocals. I have this on an import CD "Big Bill Blues" (not to be confused with the domestic issue of very nearly the same name) on the French Vogue label. LIGHTNIN' HOPKINS Associated with both Big Joe and Sonny & Brownie. In fact these guys all recorded together during July/1960. "Baby, Please Don't Go" - Recorded Houston, 1948 >From the Gold Star Sessions (Vol:1). This starts with a guitar figure that's very typical and recognizable as Lightnin' - then goes into the expected riffs for this song, although throughout it is still Lightnin'. His vocals aren't as distinctive as his later recordings, there's almost a nasal quality about it. I think in a blindfold test I might have guessed from the guitar work that it was Lightnin', but the vocals would have given me some hesitation. To my ears this is still his "formative" period.... "Baby, Please Don't Go" - recorded Hamburg, Germany, Oct/9/1964 Part of the American Folk Blues Festivals series. This is simply SUPERB. This is Lightnin' sounding his relaxed free-wheeling best. There are those ringing notes and those slurs on his amplified acoustic guitar. There's that boogie figure that's typical Lightnin' and another that sounds like the John Lee Hooker thing. But this is all integrated to be the one and only Lightnin' Hopkins. But, it's those vocals the depth with just right degree of roughness - they sound so worldly, so experienced. Listen to the way he sings: "you got me way -" and let's the guitar sing the trailing part. But he then speaks "way down here" and again the guitar sings the phrase then "...(sure is)" (at 1:04 - 1:11). Like I said - superb. Is this a 10? You betcha. Lightnin' must have really liked this song I have him on video 4 times doing this song - all are great. JOHN LEE HOOKER Did I just mention JLH? "Please Don't Go" - recorded Detroit, late 1952 Just the way I like him, solo with stomping foot. This is from the Chess album "Plays and Sings the Blues" the writer's credit goes to M. Morganfield. Yes, there's that boogie figure in there, and combined with JLH's menacing vocals and archaic guitar playing, this is all Hooker. If nothing else was known about this song I would have said from this version it was a JLH song - that's how distinctive this performance is. 10, is the scoring getting boring? MISSISSIPPI FRED McDOWELL Another archaic bluesman (in the most affectionate way). "Baby, Please Don't Go" - recorded New York, Nov/5/1971 McDowell Vcl, elec gtr Tom Pomposello bs This was a rousing finale from the live CD "Shake 'Em On Down" on the Tomato label. I remember enthusing about this when I reviewed it for the Blues-L. I haven't changed my mind. Fred plays great electric slide on this track, they start at a fairly stately, very deliberate pace, the bass by his student and companion does add to the overall effect. Fred sings and let's the guitar sing the trailing words at the end of every line. There is an advantage to singing a well know song - everyone knows what the words are supposed to be when the guitar sings. The song accelerates and intensifies relentlessly. But it isn't just a linear acceleration. When Fred sings the tempo slows and accelerates for the instrumental fills. The bass really does a very good job of keeping up and enhances the overall beat. Listen to this, it will literally leave you breathless. Heck, this has to be another 10. I think I'd better split this post into two parts. So this is end of part 1........ -- Vincent vt@usa.pipeline.com ========================================================================= Date: Wed, 3 Apr 1996 23:29:27 EST Reply-To: John Hanna <102515.744@COMPUSERVE.COM> From: John Hanna <102515.744@COMPUSERVE.COM> Subject: Re: born 04/04 << HANNA, JAKE ( JOHN ) << Born:1931 ROXYBURY, MA Career:DRUMMER / LEADER Style:JAZZ / BIG BAND << With:Tommy Reed / Maynard Ferguson 1958 / 1959-1961 Marian McPartland / << Toshiko Akiyoshi / briefly Duke Ellington / Bobby Hackett / Harry James / << Herb Pomeroy / Woody Herman Wow, you do earn something everyday !! Can anyone tell me about my namesake? Thanks, John "Forty years younger" Hanna 102515,744@compuserve.com ========================================================================= Date: Wed, 3 Apr 1996 20:38:07 +0000 Reply-To: ksailors@hooked.net Comments: Authenticated sender is From: "Kenneth M. Sailors" Subject: Re: been reflecting again (a different slant) Been reading a lot in this thread here of late. It's all well thought out, heartfelt , enlightening & sincere. BUT when you get right down to it, you're all trying to describe the ineffable. As one who might be a Taoist would say: "Those who know do not speak, those who speak do not not know" Now, before you get upset, all I mean is: Do any of you who have tried to explain the blues (see sentence 3, above) *really* think you've nailed it and do you think it really can be nailed? You know, it's something you feel or you don't? Ken ========================================================================= Date: Wed, 3 Apr 1996 23:49:47 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Hacksaw Harney Comments: To: KALMBACH@macc.wisc.edu On April 3rd, Bonnie Kalmbach asked: >>>Does anyone else - Mr. Waterman - perchance - >>>have any info on or impressions of Hacksaw Harney. >>>Was he ever recorded? Very weird coincidences happening here. Hacksaw Harney was brought to Cambridge by Gene Rosenthal (who Denise Tapp wrote about today) along with Houston Stackhouse (Senior) to play for the Boston Blues Society. The founders of the BBS were myself, Peter Guralnick, Scott Billington (now of Rounder) and Jack Viertel, who is the Jujamcyn Theater creative director who asked me to make the August Wilson collage that I wrote about a few hours ago. I think the show was recorded and Rosenthal took the tapes with him. Too weird . . . Dick Waterman ========================================================================= Date: Thu, 4 Apr 1996 04:47:12 GMT Reply-To: VT From: VT Subject: Re: Hound Dog Taylor Discography On Apr 03, 1996 16:50:48 in , 'VT ' wrote: >I also have a compilation CD on Charly or one of its offshoots called I >think "Slidin'" with various slide guitarists including Hound Dog and >contains the tune which Freddie King got "Hideaway" from - "Taylor's Rock" >(don't have the reference with me, CD is at home) Here's some reference on the above CD: "Slidin'" Charly RED 36 Compilation of slide guitarists: Elmore James Earl Hooker Hound Dog Taylor John Little John Hound Dog has 5 tracks, all Chess/Checker recordings, Chicago Sept/1967 Vcl -1/gtr , with Walter Horton hca Lafayette Leake pno Lee Jackson bs Robert Whithead dms Hound Dog Watch Out -1 Scrappin' Sitting Here Alone -1 Down Home No, "Taylor's Rock" - the tune Freddie King copped for "Hideaway" - is not on this CD (it is in fact on the first Alligator CD "And the Houserockers") - sorry for this mis-information. --- Vincent vt@usa.pipeline.com ========================================================================= Date: Wed, 3 Apr 1996 21:07:37 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Have Been Reflecting Again Comments: cc: isprints@indy1.CALARTS.EDU Isaac Sprintis wrote: >I think that you missunderstood me, I was saying how you listed all these >beautifull occasions, and called them ALL the blues. Now like I said it >can all be about the Perspective, and if you look at anything in a >certain way you can find your blues. But personally I feel that blues >just is, you feel it, you got it , whatever. Hell I LOVE THE STUFF. I >Can't remember the last time that I put on a tape or cd that wasn't >blues. I AGREE with you when you say that the blues is about life, but I >disagree if you are saying that the blues is life, as it seemed in your >first post. (Snip of my post) >I think that this is getting into a difference in language, as I get what >you are saying, and there is truth in it. Ultimetely we are in some form >of agreement I feel, just a problem with interpretation. I totally agree with you here. It's funny how that happens on the internet. I thought they said that cyberspace will make commuinication easier. Or is it just me?:-) >yeah I think that the blues can be (for me) a very personal thing. >Something that I feel allot of love for. And it all comes down to the >feeling you get playing and listening to it. So it is kinda Wierd trying >to talk about something that at it's root is sublime, and cannot be >translated into language. And I am not down all the time either, just >right now. I have a lotta love for the blues. It is never to far from me. Hope you are getting back up there. I find that a self-administered dose of Hound Dog Taylor works well. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Wed, 3 Apr 1996 21:07:44 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Have Been Reflecting Again Karen said: >I totally agree! It irks me when people insist on a simplified definition. > Sure, sometimes the blues is sad, sometimes it's about misery or loneliness >or bad luck. But sometimes it's proud and happy, sweet and sexy, lusty and >funny. Do you think RJ's "Red Hot" is sad? Or "Hoochie Coochie Man"? If >blues is always so sad, why does it make us so happy to listen to it? How >many times have you heard a blues song and just had to get up and dance, even >if you were in the middle of your kitchen all alone? (Or in the car?) To >say that "blues is about feeling sad" misses a lot of other emotions! You have nailed it. There are times when I'm on cloud nine at out comes my favourite, most raucous, hell-bent on party blues album. It accentuates the mood. While blues does deal with the down side of life there are so many songs that celebrate the good things. >Another topic I've argued with people about! I would venture to say that >it's true that for all of us here, the blues is the most emotional music. > But I think the reason for that lies mostly in *us*--in who we are, what we >experience, what we want out of life--not in the music itself. If the music >truly has universal emotional appeal, then why is it such a small piece of >the musical pie? There are obviously plenty of people in this world who do >not feel emotion from the blues, and there are plenty of people in this world >who react emotionally to other types of music. Remember the scene in >Philadelphia where the Tom Hanks character is listening to opera music? Lots >of emotion there. Personally, the music didn't touch me at all. But that's >me, not the music. Musical tastes, or what moves you the most, is a personal, and sometimes strange thing. I agree with Karen's statement about musical tastes being reflective of one's life. The blues for me goes straight to my soul in a way that other music rarely does. >Now for someone else's opinion: Francis Davis writes in his book The >History of the Blues....(etc.): "The blues has always been about wanting to >be someplace else but making the best of where you are . . ." >(That hit home with me. I've always felt slightly misplaced.) Karen uses the Davis's quote as her reference to the blues. I use the words uttered by Son House and John Lee Hooker, "The blues is what exists between a man and a woman." Others out there will probably have a different point of reference. Whatever, It's still blues. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Thu, 4 Apr 1996 05:07:38 GMT Reply-To: Jim Farris From: Jim Farris Organization: Netcom Subject: Santa Cruz Blues Fest Repost This is a repost to Blues-L. On Mon, 1 Apr 1996 02:46:09 GMT, blueslvr@sirius.com wrote: >Wondering if anyone has seen the lineup yet for this years Santa Cruz Blues >Fest.? > >Roy W. Forgy (blueslvr@sirius.com) >Boulder Creek, CA There's a killer lineup that I just heard about this morning. It's for the Santa Cruz Blues Festival on Sat. and Sun. May 25th and 26th in Aptos Villiage Park (just south of Santa Cruz). The Lineup: Sat. May 25th Dr. John Geno Delafose Coco Montoya Rod Piazza and the Mighty Flyers Sun. May 26th John Lee Hooker (special guest appearance with the Coast to Coast Blues Band) Charles Brown Bay Area Blues Review featuring Tommy Castro and Gary Smith Candy Kane Jammin' Jim Farris KKUP 91.5 FM ========================================================================= Date: Thu, 4 Apr 1996 05:16:32 GMT Reply-To: Breffni Baggot From: Breffni Baggot Organization: NECAnet Subject: Trademark Question - No blues Comments: To: bit-listserv-blues-l@uunet.uu.net See http://www.ucc.uconn.edu/~bxb95001/ for trademark info. ========================================================================= Date: Wed, 3 Apr 1996 21:50:26 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: been reflecting again (a different slant) Kenneth M. Sailors said: > BUT when you get right down to it, you're all trying to describe the >>ineffable. Yeah I know. But sometimes you have to try. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Wed, 3 Apr 1996 21:55:20 -0800 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Re: been reflecting again (a different slant) Comments: To: "Kenneth M. Sailors" In-Reply-To: <199604040435.UAA04964@mom.hooked.net> Ahhh, now I think that I can relate to this! I thought that i related some of these very same sentiments in my posts. yeah, Isaac On Wed, 3 Apr 1996, Kenneth M. Sailors wrote: > Been reading a lot in this thread here of late. It's all well thought > out, heartfelt , enlightening & sincere. BUT when you get right down > to it, you're all trying to describe the ineffable. As one who > might be a Taoist would say: "Those who know do not speak, those who > speak do not not know" Now, before you get upset, all I mean is: Do > any of you who have tried to explain the blues (see sentence 3, above) > *really* think you've nailed it and do you think it really can be nailed? > You know, it's something you feel or you don't? > > Ken > ========================================================================= Date: Wed, 3 Apr 1996 22:37:00 PST Reply-To: Gary Joneson From: Gary Joneson Subject: Delta Snake News April issue of the "Delta Snake News is now online at: http://www.island.net/~blues/snake.html New: Contributing editor Blues-ler Allan Rollins now has a regular column "Spreadin' The Blues" Gary ========================================================================= Date: Thu, 4 Apr 1996 04:09:22 -0500 Reply-To: Budman9564 From: Budman9564 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: blues in movies/soundtrack Comments: To: bit-listserv-blues-l@uunet.uu.net Bull Durham has a couple of tracks. One by Stevie Ray and one by the Fabulous Thunderbirds. Stevie Ray's plays near the end when Nuke gets called up to the majors. ========================================================================= Date: Thu, 4 Apr 1996 04:45:14 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day On this day in 1924, Bessie Smith recorded "Rocking Chair Blues" for Columbia Records. On this day in 1968, Otis Spann wrote "Blues For Martin Luther King" and, "Hotel Lorraine" and performed them in front of his friend Muddy Waters, who should have been enjoying his birthday. Recordings of those two April 4th, 1968 performances can be heard on "Rare Chicago Blues" Bullseye BB 9530 P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Thu, 4 Apr 1996 05:22:46 +0000 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Post 40 Blues In a bio of Joe Louis Walker I found the following reason to go on living... " But, in the world of blues and jazz (actually many of the world's "folk musics"), your creative life may not truly begin until 40 when you've developed sufficient emotional depth and maturity and mastery of the form to persuade and impress without dazzling." - Jazz Online (http://www.jazzonln.com/) Finally, a hint of something good about the forties. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Thu, 4 Apr 1996 12:05:44 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Harp-L Address In-Reply-To: On Wed, 3 Apr 1996, L W wrote: > Anyone know the address to Harp-L....or whatever it's called... > > LW > We used to have it in the FAQ as: mxserver@wkuvx1.wku.edu phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [4/4/96 7:04 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 4 Apr 1996 12:10:07 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Taj Mahal's "Phantom Blues" In-Reply-To: On Wed, 3 Apr 1996, chris tomer wrote: > Taj Mahal has a relatively new album entitled "Phantom Blues." Does > anyone have an opinion about it? Is it, in fact, a blues album? I heard a little of it on a local blues show, what I heard was blues (but that's no guarantee). I gather it's one of those guest artist things (EC, for example, is on it). Someone else wrote that they liked TM because of the many different styles he plays. Precisely why I can "take him or leave him". phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [4/4/96 7:04 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 4 Apr 1996 12:13:07 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Sonny Rhodes - what's with the hat? Just idle curiosity. Does anyone know the story behind the turban? He basically onlt wears it on stage. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [4/4/96 7:10 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 4 Apr 1996 12:15:48 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Big Dave and the Ultrasonics I saw Big Dave and the Ultrasonics (again) last night. MAGIC. They are so good I just can't understand why they aren't better known. Anybody know what happened to their second guitar? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [4/4/96 7:13 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 4 Apr 1996 08:20:39 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: Disc help - Son Seals, Luther Allison Comments: To: Barry Silverberg I have to admit, when I bought Serious I thought it was going to be blues. I like R&B fine, this material just didn't satisfy my LA appetite. As for Luther's Blues, I think it is a fine album. I just don't agree with the hype written about it--- touting it as his best work. I know that was reported in Herzhaft's "Encylopedia...." but recall it being echoed elsewhere as well. I don't agree with a LOT of stuff in Herzhaft's book, btw. It was the same feeling I had when I got Magic Sam's "West Side Soul." It's a great CD, but certainly not among the greatest blues CD's ever, FOR MY TASTE. My wife is discouraging me from buying too many CD's recently. She says I have them all. Oh well, I don't get any freeebies, so I guess I expect a lot when I am convinced to buy something based on a review. Keep up the good work NYCD guys!! RJ Bauman ======= On Wed, 3 Apr 1996, Undetermined origin c/o LISTSERV maintainer wrote: > I hated "Serious" and think "Luther's Blues" is over-rated. Is it LA's R&B material you don't like or just those 2 CD's. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Thu, 4 Apr 1996 08:43:00 EST Reply-To: Robert Page From: Robert Page Subject: Albert Collins records info Browsing CD Europe, I came across 2 Albert Collins recordings I don't yet have. 1. Albert Collins Live Charly Records 2. Things That He (sic) Used To Do (didn't note the label) Does anyone here have any info or comments on either of these recordings. The date of the performance, songlist, quality of recording or performance. Thanks Bob Page ========================================================================= Date: Thu, 4 Apr 1996 09:06:18 -0500 Reply-To: Erica Wissolik From: Erica Wissolik Subject: Re: Austin Texas Sat 13 April -Reply The weekly Austin Chronicle can be found online at http://www.auschron.com/ The new one goes up every Friday and they list all shows in all clubs. Erica >>> James Bardsley 04/03/96 11:00pm >>>And how about Friday night the 19th? I'll be there then. -Jim >>>>>>> Hey Folks I will be visiting Austin on the 13-15th of April. Anyone know any good BLUES band playin those days? I know I will miss Doyle by one day but Can't change my ticket. Please Post or Email me See Y'All Late Tom ========================================================================= Date: Thu, 4 Apr 1996 09:17:50 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: Rachell's son dies Hi everyone. Well, I heard sad news Monday, but didn't know whether such news belonged on the list. Yank Rachell's son died April 1: Here is the obit: "'BIG' J.C. Rachell, 59, Indianapolis, died April 1. He owned Big J.C.'s Auto dealership and was a member of Munt Vernon Missionary Baptist Church. Services: 1 p.m., April 6 in Christ Missionary Baptist Church, with calling there from 5-9 p.m. April 5. Burial: Washington Park North Cemetery. Survivors: wife Katherine Durrett Rachell; children Jeffery, J.C. Jr., Marcella, Gretchen, Carol, Marta Rachell, Vonda Jackson, Lela Robinson; father James Rachell; sisters Willa Taylor, Mae Nell Smith; eight grandchildren. Laventa's Home for Funerals is handing arrangements." Sadness around here. Cathi N. ========================================================================= Date: Thu, 4 Apr 1996 08:36:01 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Breaking strings & things I have probally only broken about 6 strings whil playing in my entire life. I don't know why I just never break strings, of those 6 or so two have been in the last couple of weeks. I broke a string on my National last night. I never carry extra strings, because I never break them. I guess I will start carrying extra strings. Are there any secrets to stringing up a National or any guitar with a tail piece that doesn't hold the string until there is tension. Mine has a slotted headstock of course. I always have a little trouble stringing a guitar with a trapieze type tailpiece or the National....Would someone like to tell me the easy way to keep the strings in the tailpiece before the string has been tighten enough to to hold it. I hate changing strings on any guitar... LW ========================================================================= Date: Thu, 4 Apr 1996 06:54:18 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Have Been Reflecting Again JDutweiller wrote: >I love the blues primarily because its *real* music Much modern music today >seems, to me, to be regurgitated wall of sound intended to sell. Now, I know >to many most blues sounds the same and, certainly, blues artists want to see >their product sell. But you don't get into the blues to make money, you get >into it to communicate something real inside of you to others. The blues, for >the most part, is not about teenage angst, social causes, macho posturing. >It's sound is not plastic, mold-injected uniformity. The blues deals with, >and touches upon, the universality of human experience at the most basic level >of that experience. It transcends social, cultural, educational, religious, >national, ideological, etc., etc., differences because it is based upon the >reality we all experience - pain, heartache, suffering, injustices, joys, >exhuberation - it says "look, here am I in my human condition, understand >where I coming from." Very nicely said, and I couldn't agree more. Since I've gotten into the blues, I can't listen to classic rock, top 40 radio, so-called alternative', or the rest of the pap constantly played on the radio these days (with the odd exception, of course). I find it difficult to express exactly why I love the blues, and really, it doesn't matter all that terribly much (although it's still interesting to discuss). There are very few musical idioms that do what the blues does to me emotionally. One of the best quotes I've heard about music is that it bypasses the head and goes straight to the heart. That sums it up quite well for me. -Jim (hndful@uniserve.com) Of course, it helps that I can turn my stereo on, grab my guitar or harp and wail away with any blues song. Not well, mind you, but I have a blast. :-) ------------------------------------------------------------ Check out 'Heart and Soul', a new hour of blues, gospel, and jazz every week on SDF-Net Community Radio - http://sdf-radio.colossus.net. ------------------------------------------------------------ ========================================================================= Date: Thu, 4 Apr 1996 08:52:15 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Have Been Reflecting Again In-Reply-To: Message of Thu, 4 Apr 1996 06:54:18 -0800 from >>of that experience. It transcends social, cultural, educational, religious, >>national, ideological, etc., etc., differences because it is based upon the >>reality we all experience - pain, heartache, suffering, injustices, joys, >>exhuberation - it says "look, here am I in my human condition, understand >>where I coming from." I think the very same thing could be said about "real" country music. I'm not talkin bout the "NEW" country and IMHO the "NEW" rock-blues doesn't fit either. As a matter of fact before Bonnie Raitt's "Nick Of Time" hit the racks, she made a comment in Muscian magazine, that the closest thing to blues on the radio these days was country music. >Of course, it helps that I can turn my stereo on, grab my guitar or harp and >wail away with any blues song. Not well, mind you, but I have a blast. :-) That's the reason I play...THE FUN OF IT LW 'who hates MOST country music, except the old guys' ========================================================================= Date: Thu, 4 Apr 1996 15:11:35 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Big Dave and the Ultrasonics In-Reply-To: <960404094220_462194937@emout07.mail.aol.com> On Thu, 4 Apr 1996 Lacook01@aol.com wrote: > Too true. I also saw them in Pittsburgh, (minus their 2nd guitar), on the > worst blizzard-y night of the year. They put on one magnificent show. > Between Dave Steele's voice, and their incredible harp-player, they should > be close to headlining at much bigger gigs. > > They do a version of SBW's "Help Me" thats better (IMHO) than any I've heard. INCLUDING the original. This being one of my all-time favourite tunes, I've heard a lot of versions. I saw them last night in Montreal where I work and this week-end they're in Ottawa where I live ... My my :) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [4/4/96 10:04 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 4 Apr 1996 08:59:48 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Alabama Blues Showcase On April 27th (day after Johnny Shine's B'day) the Alabama Blues Society will have it's annual Alabama Blues Showcase. It's a showcase of Alabama Blues Talent. It starts at 1:30 PM and goes until about 1:30 am, at the Train Station in Tuscaloosa Alabama. The lineup in order of appearance: Little Whitt & Big Bo Leonard Watkins (my harp player has abstained he will not follow BO) The Turner Brothers (John "Boogie Daddy" Wells drumming) The Geezers The Persuaders Flex and The Cats Leonard Watkins (I've been told I will be playing twice..not clear on this) Willie King and The Liberators HEADLINER: JAMES PETERSON It's always a blast. LW 'crazy about Whitt & Bo.....great guys' BTW: I can't blame the harp player for abstaining, he's only played in public once. He said he's not ready and I understand. He will get more confident, he just needs to play at a few small shows. Then he will get his condifdence up some. ========================================================================= Date: Thu, 4 Apr 1996 10:45:33 -0500 Reply-To: Charles d'Orban From: Charles d'Orban Subject: Josh White CDs/Info Wanted Comments: To: skb8721@TAM2000.TAMU.EDU Shane K. Bernard said: >Need Josh White CD/Info: > >I've been looking for these tracks on CD for years, but w/o success. >Anyone know if they are available on CD? > >They are: Daniel in the Lion's Belly; Joshua Fit the Battle; One Meatball; >Jesus Gonna Make Up My Dyin' Bed; There's a Man Goin' Round Takin' Names. > >I think White may have recorded these more than once; if so, the >versions I want were (I think) recorded in the 40s or 50s. Other >versions would be welcome, though. I don't own these, but I once saw the 1st title in a store. It seemed to have 40/50s material of the sort that you mention. WHITE*JOSH -- VOL. 1 & 2-SINGS THE BLUES & S[pirituals?] COLLECTABLES RECORDS 1421 5602 2 WHITE*JOSH -- LEGENDARY COLLECTOR'S EDITION 75184 4 2 If anyone has track listings for the above CDs, I would be very interested to know what's on them. Charles d'Orban ========================================================================= Date: Thu, 4 Apr 1996 10:39:31 -0500 Reply-To: Rags_Trips_On_Gras From: Rags_Trips_On_Gras Subject: MUSIC_is_MUSIC... is_MUSIC.... Blues has feelings for me.... And that is all right with me.... But, it surprises me why people come so heavily down on other genre of music - folk, disco, country, rock, alternative, world beat or new age. What touches for me may not touch for the other.... So, I feel respect for MUSIC in whatsoever form and for that matter ART of any form is essential to make us all better denizens of this planet!!! Om Shanti!! Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ Laissez les bon temps roulez!!...Let the good times roll!! +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Thu, 4 Apr 1996 10:47:10 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0245 From: "DUTTWEILER.J" Subject: Re: Have Been Reflecting Again Date: Thursday, 4 April 1996 10:46am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: Have Been Reflecting Again LW wrote: > >>of that experience. It transcends social, cultural, educational, religiou > >>national, ideological, etc., etc., differences because it is based upon th > >>reality we all experience - pain, heartache, suffering, injustices, joys, > >>exhuberation - it says "look, here am I in my human condition, understand > >>where I coming from." > > I think the very same thing could be said about "real" country music. I'm no > talkin bout the "NEW" country and IMHO the "NEW" rock-blues doesn't fit eith > > As a matter of fact before Bonnie Raitt's "Nick Of Time" hit the racks, she > made a comment in Muscian magazine, that the closest thing to blues on the > radio these days was country music. I would agree about "real" country music, though for me country doesn't do the same thing as blues. When I listen to that type of country music it seems to make me feel worse, I get "blue" - which sometimes is appropriate. Blues seems to be, for me, much more cathartic - the pain is lessened, there is an emotional release I don't get from Country. Besides, asthetically, the "twang" of country starts to grate on my nerves, I don't find the music as appealing - though sometimes hearing Conway Twitty sing "It's Only Make Believe" is transcendental. (Ooops, my dark secret :-)) JD ========================================================================= Date: Thu, 4 Apr 1996 10:55:10 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0251 From: "DUTTWEILER.J" Subject: Subject: Alabama Blues Showcase Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU Date: Thursday, 4 April 1996 10:54am ET To: Internet, GO-MAIN.ISTS024@DOASMAIN.SNADS From: DUTTWEILER.J@GOMAIL Subject: Subject: Alabama Blues Showcase LW, You're to be commended to be willing to follow Little Whitt and Big Bo :-) Having just recently heard their CD on Vent for the first time (a review of which, BTW, is available on NY CD Blues' Web Page at http://www.panix.com/~bsco/), these guys blow me away How bout some info on where the Train Station is located - Tuscaloosa is not that far from Atlanta and I'm sorely tempted to make the trip JD LW wrote: > > On April 27th (day after Johnny Shine's B'day) the Alabama Blues Society > will have it's annual Alabama Blues Showcase. It's a showcase of Alabama > Blues Talent. It starts at 1:30 PM and goes until about 1:30 am, at the Trai > Station in Tuscaloosa Alabama. > The lineup in order of appearance: > > Little Whitt & Big Bo > Leonard Watkins (my harp player has abstained he will not follow BO) > The Turner Brothers (John "Boogie Daddy" Wells drumming) > The Geezers > The Persuaders > Flex and The Cats > Leonard Watkins (I've been told I will be playing twice..not clear on this) > Willie King and The Liberators > HEADLINER: JAMES PETERSON > > It's always a blast. > > LW 'crazy about Whitt & Bo.....great guys' > > BTW: I can't blame the harp player for abstaining, he's only played in publi > once. He said he's not ready and I understand. He will get more confident, > he just needs to play at a few small shows. Then he will get his > condifdence up some. ========================================================================= Date: Thu, 4 Apr 1996 15:51:09 GMT Reply-To: Walt Fritchen <102677.204@COMPUSERVE.COM> From: Walt Fritchen <102677.204@COMPUSERVE.COM> Organization: CompuServe, Inc. (1-800-689-0736) Subject: Johnny Rip Comments: To: bit-listserv-blues-l@uunet.uu.net I just heard a cut from a Johnny Rip CD entitled "Way Past the Blues".... this is awesome stuff - IMHO Supposedly this is on the House of Blues label but my favorite music store is having no luck obtaining it... Can anybody out there help with a different source? ========================================================================= Date: Thu, 4 Apr 1996 10:09:08 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Subject: Alabama Blues Showcase In-Reply-To: Message of Thu, 4 Apr 1996 10:55:10 GMT from On Thu, 4 Apr 1996 10:55:10 GMT DUTTWEILER.J said: >LW, > >You're to be commended to be willing to follow Little Whitt and Big Bo :-) Piece of cake. LW >> >> On April 27th (day after Johnny Shine's B'day) the Alabama Blues Society >> will have it's annual Alabama Blues Showcase. It's a showcase of Alabama >> Blues Talent. It starts at 1:30 PM and goes until about 1:30 am, at the Trai >> Station in Tuscaloosa Alabama. >> The lineup in order of appearance: >> >> Little Whitt & Big Bo >> Leonard Watkins (my harp player has abstained he will not follow BO) >> The Turner Brothers (John "Boogie Daddy" Wells drumming) >> The Geezers >> The Persuaders >> Flex and The Cats >> Leonard Watkins (I've been told I will be playing twice..not clear on this) >> Willie King and The Liberators >> HEADLINER: JAMES PETERSON >> >> It's always a blast. >> >> LW 'crazy about Whitt & Bo.....great guys' >> >> BTW: I can't blame the harp player for abstaining, he's only played in publi >> once. He said he's not ready and I understand. He will get more confident, >> he just needs to play at a few small shows. Then he will get his >> condifdence up some. ========================================================================= Date: Thu, 4 Apr 1996 11:12:17 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Alabama Blues Showcase Comments: To: L W In-Reply-To: On Thu, 4 Apr 1996, L W wrote: > LW 'crazy about Whitt & Bo.....great guys' Definitely agree 'bout Whitt & Bo. Details can be found @ the Vent site, and a review of Moody Swamp Blues is at - http://www.panix.com/~bsco/vent/ +all of the Vent CDs can be had for $11.99 delivered, from our pages. Click on the Special Offer and take a look. All stan- dard disclaimers - we have nothing to do with the label or the artists or the sales of the CD's etc. just a friend of the fa- mily :). Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 4 Apr 1996 11:13:21 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Blues-the perfect music. BLUES: It's what you're thirsty for. :) [Brought to you by the Blues For Breakfast ad council of America and PW Fenton] ....who encourage you to "Drink all you want. We'll make more! :) :) Amen, Paul. -Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 4 Apr 1996 10:15:19 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Alabama Blues Showcase In-Reply-To: Message of Thu, 4 Apr 1996 11:12:17 -0500 from On Thu, 4 Apr 1996 11:12:17 -0500 Barry Silverberg said: >On Thu, 4 Apr 1996, L W wrote: >> LW 'crazy about Whitt & Bo.....great guys' > > Definitely agree 'bout Whitt & Bo. Details can be found @ the > Vent site, and a review of Moody Swamp Blues is at - > http://www.panix.com/~bsco/vent/ > +all of the Vent CDs can be had for $11.99 delivered, from our > pages. Click on the Special Offer and take a look. All stan- > dard disclaimers - we have nothing to do with the label or the > artists or the sales of the CD's etc. just a friend of the fa- > mily :). Since you brought up the Vent site, I can not remain silent on the following: The current Blues Access did a story that was something like The Information Highway 61. The writer said that the only reason to visit the VENT site was Dick's HOT Band. First of all it's Dick's HAT Band and they are good. NO MENTION of Whitt & Bo or Topper Price. I don't understand. Blueprint calls Bo & Whitt CD of the year, Blues Access ignores them. I guess it's a matter of taste.......Go figure LW ========================================================================= Date: Thu, 4 Apr 1996 08:31:06 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: April 5 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BLAND, BILLY (v/OLD TOWN REC) b. 1932-0405, WILMINGTON, NC CALDWELL, NICHOLAS (of THE WHISPERS) b. 1944-0405, LOS ANGELES, CA CARRUTHERS, EARL "JOCK" (bsax/LUNCEFORD) d. 1971-0405, KANSAS CITY, KS 60 DICKINSON, KARL (g/UNCLE BONES BAND) d. 1995-0405, CLINTON, IO 44 FOSTER, WILLIE LITTLE (hca/PARROT REC) b. 1922-0405, CLARKSDALE, MS HARRIS, JEROME (g) b. 1953-0405, FLUSHING, NY HARVEY, RICK G. (g/BOBBY BLAND) d. 1993-0405, MEMPHIS, TN 43 LIEBERSON, GODDARD (ex/CBS/SONY) b. 1911-0405, HANLEY, UK MALCOLM, HORACE (p/HARLEM HAMFATS) b. 1910-0405, ATLANTA, GA MCCRAY, LARRY (g/POINTBLANK REC) b. 1960-0405, STEPHENS, AR MILLET, LOU (g/cajun) b. 1926-0405, BATON ROUGE, LA NELSON, LOUIS H. (tbn) d. 1990-0405, NEW ORLEANS, LA 87 RENE, OTIS J. (prod/owner: EXCLUSIVE REC) d. 1970-0405, LOS ANGELES, CA 71 SMECK, ROY (g) d. 1994-0405, NEW YORK CITY, NY 94 TURRENTINE, STANLEY (tsax) b. 1934-0405, PITTSBURGH, PA WHITE, RONNIE (of THE MIRACLES/MOTOWN) b. 1938-0405, DETROIT, MI WILLIAMS, TONY (lead/THE PLATTERS) b. 1928-0405, ELIZABETH, NJ ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 4 Apr 1996 10:45:46 -0600 Reply-To: Roger Struve From: Roger Struve Subject: HAPPY EASTER TO ALL!~ Delta Doc Dead Hand wishing all appropriate Bluesellers a wonderful Happy Easter/Passover. All others, please ignore. Thanks, dddh ========================================================================= Date: Thu, 4 Apr 1996 16:39:24 GMT Reply-To: "Robert J. Dewar" From: "Robert J. Dewar" Organization: National Capital Freenet, Ottawa, Canada Subject: Music that moves ya! Comments: To: bit-listserv-blues-l@uunet.uu.net Just had to mention an unusual (for me) experience I had.I was listening to "I Do Not Play No Rock N` Roll" On Capitol by Fred McDowell.This is my favourite album since I bought it two weeks ago.It`s hypnotic music which is also very beautiful.For some reason, this CD takes me back to my hometown and my younger days. Sometimes music takes you on a personal journey which may have little to do with the lyrics or where the artist comes from. Anyhow, after listening to that CD, I watched a program with my girlfriend on Vladimir Horowitz, the virtuoso Classical pianist. In one of the last scenes of the documentary, he is playing once again in Russia.This was his first appearance there since he left in the 1920`s.In an absolutely packed concert hall,hushed to catch every nuance of this genius` work,he plays what sounds like a simple Russian folk melody.The beauty of the music and the intensity of the performance seemed to embody all that went wrong in the Soviet Union during his abscence and the promise that things could be better.I was in tears through most of it. I think Horowitz knew all about the Blues, just as surely as Fred McDowell did. Robert J Dewar ========================================================================= Date: Thu, 4 Apr 1996 10:47:14 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Questions for John Hammond I will be interviewing John Hammond probally next week sometime. If anyone has any questions for JH please send them to me private mail THANKS LW ========================================================================= Date: Thu, 4 Apr 1996 11:52:31 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Why isn't this person famous ? Comments: To: phertel@cmc.doe.ca On April 4, 1996, Pat Hertel said: >>>I saw Big Dave and the Ultrasonics (again) >>>last night. MAGIC. They are so good I just >>>can't understand why they aren't better known. There is an interesting thread that could develop out of this. I guess we all know of artists that WE feel should be better appreciated. Maybe through bad habits, bad contracts, attitude problems, no visibility or just plain bad luck . . . Lots of reasons why some people don't break through to commercial success while it seems that lesser talents become famous. OK, here are my choices of two people with incredible ability who - for a variety of reasons - have never been able to reach any significant degree of recognition: JAMES CARR LOU ANN BARTON Dick Waterman ========================================================================= Date: Thu, 4 Apr 1996 16:39:07 GMT Reply-To: Al Kaplan From: Al Kaplan Organization: Univ. of KY College of Dentistry Subject: Re: Johnny Rip Comments: To: bit-listserv-blues-l@uunet.uu.net In article <4k0r5d$217$1@mhadg.production.compuserve.com>, 102677.204@COMPUSERVE.COM says... > >I just heard a cut from a Johnny Rip CD entitled "Way Past the >Blues".... this is awesome stuff - IMHO > I just picked up the CD and was disappointed. Music: pretty good, guitar ability: good, vocals: horrible. On most of the cuts, the guy seems to be singing through a harp microphone. The end result is that the distorted vocals really grate on your ears. This could have been an excellent recording. Anybody who heard a disc by Johnny Hoy knows what I mean. Al ========================================================================= Date: Thu, 4 Apr 1996 12:32:38 -0500 Reply-To: BluesMojo@AOL.COM From: Doug Carlisle WSFM Subject: Billboard or Hard Report Chart??? Hi Y'all...... Could someone E-mail me either the most recent Billboard or Hard Report Blues chart??? Thanks, Bluesmojo@aol.com ========================================================================= Date: Thu, 4 Apr 1996 11:43:46 -0600 Reply-To: akapil@MEDICINE.BSD.UCHICAGO.EDU From: "" Subject: Re: Why isn't this person famous ? Some of Chicago's finest: 1) Michael Dotson: plays lead guitar for The Aron Burton Blues Band, 2) Will Crosby: plays for various groups around the place, 3) Dion Payton: Not strictly blues though. If you guys get a chance to see any one of these guys, don't miss it! Cheers! Adit. >On April 4, 1996, Pat Hertel said: > >>>>I saw Big Dave and the Ultrasonics (again) >>>>last night. MAGIC. They are so good I just >>>>can't understand why they aren't better known. > >There is an interesting thread that could develop out of this. I guess we all >know of artists that WE feel should be better appreciated. >Maybe through bad habits, bad contracts, attitude problems, no visibility or >just plain bad luck . . . >Lots of reasons why some people don't break through to commercial success >while it seems that lesser talents become famous. >OK, here are my choices of two people with incredible ability who - for a >variety of reasons - have never been able to reach any significant degree of >recognition: >JAMES CARR >LOU ANN BARTON > >Dick Waterman > > Aditya Kapil, PhD IBD Research Center Department of Medicine University of Chicago Ph: (312) 702 2283 FAX: (312) 702 2281 ========================================================================= Date: Thu, 4 Apr 1996 09:48:33 -0800 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: BLUES DATE TRIBUTES : FRANKIE NEWTON/NICK PERLS/ROGER MISIEWICZ Comments: cc: rsacre@vm1.ulg.ac.be MISIEWICZ, ROGER (compiler/DOCUMENT REC) b. 1946-0404, WORCESTER, MA NEWTON, FRANKIE (tpt/BESSIE SMITH) b. 1906-0404, EMORY, VA PERLS, NICK (founder: YAZOO REC) b. 1942-0404, NEW YORK CITY, NY ------------------------------------------------------------------------------- April 04's BLUES DATE contains a few names that should be familiar to blues fans. I'd like to touch on a few of them. 'Trumpet-tootin' Frankie Newton (1906-1954) was a master of low tonal shadings. ========================================== If you don't believe me, just give a listen to Bessie Smith's last recording session (just reissued on Legacy 57546 : Bessie Smith - The Complete Recordings V. 5 : Final Chapter (2CD)), especially on "Give Me A Pig Foot". Also, take a listen to Billie Holiday's 1939 Commodore version of "Strange Fruit" (with Tab Smith arranging), recorded just a few weeks after Newton's 1st Blue Note sides as a member of The Port Of Harlem Jazzmen (with boogie woogie meister Albert Ammons, now available on BLUE NOTE CD 28892). He was 48 when he died in NYC, on March 3, 1954. Classics CD 643 : Frankie Newton (1937-1939) is a great sampler of his recordings. NICK PERLS (1942-1987) will be remembered for his YAZOO label, a record label ====================== that single-handedly (well, almost if you don't count Johnny Parth's Roots label) was responsible for the resurgence of prewar blues on album. Most of original 80+ albums are now available on CD. Shanachie Records now owns the rights to the YAZOO Label & their complete catalog is available on their Web site . Perls was 45 when he died in NYC, on July 22, 1987. ROGER JAN MISIEWICZ I've known for about 25 years, ever since I responded =================== to his advertisement in Blues Unlimited, asking for Joseph Spence's Elektra album (now available from Rykodisc . Like myself, he first heard the blues on old Folkways albums, in particular the Harry Smith's Anthology Of American Folk Music series. Today, he's involved with Johnny Parth's Document label, making sure each release is as complete as possible. He doesn't, like a lot of us, just talk the talk, he also walks the walk! A few of us even have copies of his reel-to-reel series. His specialty is prewar gospel, which is just now being reissued on Document, mostly for the first time since the original 78s. The latest Blues & Rhythm (#108, April 1996, web site ) has a full two page Document advertisement with a great photo of Roger. A nice gesture by Johnny Parth. Happy Birthday, Roger! As an added tribute, I've asked long-time collector Robert Sacre for his early memories, as he corresponded with Roger for years : "Happy birthday to dear old Roger, I remember the good ole days when we exchanged tapes and letters. I still hold all the 78's (post-war gospel) you sent (most are still unreissued so far!). Thanks to you, in the pre-Parth/Document era, I had an access to the unique world of prewar blues and religious music through your tapes ...I am forever grateful for that. Amazingly, I did not know what you looked like but now I have an idea since Johnny's good idea to print your photograph in his Blues & Rhythm' ad for Document records.... You're still young and evidently full of enthusiasm and joie de vivre! Good ! Long life my young friend (I am 56!) keep up the good (collecting and reissuing) work but what you already achieved deserves the recognition of all the collectors and lovers of African-American music all over the world. The very very best from Robert (from Belgium with love)." ~ Robert SACRE ========================================================================= Date: Thu, 4 Apr 1996 11:53:30 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Non-blues pick of the week-LBC Comments: To: Jinxblues@AOL.COM When I wrote someone recently about some of my musical prefereces, she commented " you must be into that 'singer-songwriter' line. I guess that's true, because last Friday, knowing that I had to drive back and forth 185 miles to Dallas on Saturday, I picked up the latest : The Band, "High on the Hog"; Jackson Browne, "Looking East"; Sting, "Mercury Falling" and Mark Knopfler "Golden Heart". While Jackson, Sting and The Band are always extraordinarily tasteful, and I've never regretted buying anything any of the above have done, Knopfler's latest is by far the strongest of the group. It is as usual a stylistic smorgasboard, one might say tour de force. The playing is ( as always, again) outstanding and the guitar tone- does anyone know anything about Knopfler's setup beside the fact that he uses a Pensa-Shure strat-type guitar and plays with his bare fingers?- is simply to die for. Strongly recommended, not blues. Jim ========================================================================= Date: Thu, 4 Apr 1996 12:09:10 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Mark Knopfler Since someone brought up one of my favorite players I'd like to ask if anyone knows what the "other" Notting Hillbillies are doing. I'm especially curious about Brandon Croaker (is that right...or even close) is doing and other recordings he is on... Thanks LW ========================================================================= Date: Thu, 4 Apr 1996 13:10:15 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Hacksaw (LONG but informed response) Comments: To: bit-listserv-blues-l@uunet.uu.net In article <26040321232496@vms2.macc.wisc.edu>, Bonnie Kalmbach writes: >Denise - did you (or anyone on this list) ever see Hacksaw Harney? > The silence was deafening when I asked this question a couple > of years back. Honeyboy Edwards and many bluesmen of that > generation spoke so highly of him. > > Since then, I have seen him play a sprightly ragtime tune on > a Yazoo video - and he was very old then. I asked Jim O'Neal > about him last fall and he said Harney was excellent in any style: > he could jump from country acoustic to the slickest amplified > urban blues at the drop of a hat. > > Does anyone else - Mr. Waterman - perchance - have any info > on or impressions of Hacksaw Harney. Was he ever recorded? > > > -Bonnie To which Mr. Waterman added the following: <> Okay, let's start with Dick's remarks about the Boston Blues Society event, Rosenthal's presence and involvement there, and his not-too-subtle suggestions regarding Rosenthal and the tapes from that performance. That was 1971 or 1972, correct? In 1969, Rosenthal, with the able assistance of Big Joe Williams and some of the Beale Street folks, relocated and recorded both Hacksaw and Stackhouse. These gentlemen later formed a duo known as "Hack 'n Stack" which toured colleges and blues societies for a short time, until Hacksaw's death from abdominal cancer on Christmas morning 1972. Throughout this time, both artists were signed to Adelphi Records and recorded in various locales for the label. A sample of Hacksaw's material was released on a vinyl compilation by Adelphi in the early 70's, entitled "Memphis Blues Again." Rosenthal rediscovered Hacksaw, and was at least partially responsible for his appearance at the Boston Blues Society meeting which Waterman references, for his participation in the National Folklife Festival's gathering at Wolftrap Farm Park sponsored by the Smithsonian in 1971 and for the filmed performance which appeared via Mississippi Educational T.V. in its 1978 production of "Good Morning Blues," to which Bonnie refers. In February 1972, Hacksaw was featured at Izzy Young's Blues Concert in Manhattan, where he was the houseguest of guitarists Woody Mann and Roy Book Binder, both of whom still regard him with affection and awe. Following that appearance, David Gahr, who is probably one of the greatest photographers of our time, asked Rosenthal if he could photograph Hacksaw. The results of those sessions, conducted in the Mann/Book Binder residence and in various settings around NYC, are absolutely beautiful. Hacksaw was a stunning guitarist, who could move to the piano or bass and play with equal virtuosity. Those of you who have access to "Living Blues" can refer to the May/June 1995 issue, pages 17 and 18, for a more detailed description of Hacksaw by Robert Lockwood, Jr., who knew him personally and admired his ability. To address Bonnie's questions, Hacksaw was, in fact, heard and enjoyed by a great many of us in the early 70's, but he was often overlooked because of his shyness which was likely the result of a speech impediment. Also, in the company of men like Furry Lewis and Bukka White, who were real showmen, he was overshadowed. I am presently at work on a short biography of Hacksaw Harney, and I hope that this information, which I have collected from a variety of sources, helps shed some light on the man. I also hope that any of you who might have known him and who have any personal anecdotes will share them with me. Denise ========================================================================= Date: Thu, 4 Apr 1996 14:00:46 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: Why isn't this person famous ? On 4 Apr 96 , honorable zeller Dick Waterman wrote: > There is an interesting thread that could develop out of this. I guess we all > know of artists that WE feel should be better appreciated. > Maybe through bad habits, bad contracts, attitude problems, no visibility or > just plain bad luck . . . > Lots of reasons why some people don't break through to commercial success > while it seems that lesser talents become famous. > OK, here are my choices of two people with incredible ability who - for a > variety of reasons - have never been able to reach any significant degree of > recognition: > JAMES CARR > LOU ANN BARTON > > Dick Waterman > > I agree with you about Lou Ann Barton. Her association with SRV can't hurt. She'll be up there if she keeps plugging away, I think. As far as from around here, I'm pulling for Larry Crane, who's memorable guitar work with John Mellencamp virtually defined Mellencamp's sound up through the "Big Daddy" CD. Larry's a terrific songwriter, too. If you never heard of him, well, that's the point of the post, I guess. RJ Bauman "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Thu, 4 Apr 1996 13:29:13 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Why isn't this person famous ? Comments: To: Dick Waterman In-Reply-To: <960404115230_462279832@emout08.mail.aol.com> I'll nominate TEXAS JOHNNY BROWN. The guy played behind Junior Parker, Amos Milburn and Bobby Bland, to name a few. He wrote "Two Steps from the Blues" that was made a hit by Bobby Bland. The guy still plays regularly in Houston and semi-regularly in the rest of South Texas. He's a very good "vocalizer" (as he calls it) and an awesome guitarist with the incredible talent of understatement. Everyone going to the Chicao festival this year would be cheating themselves if they didn't catch TEXAS JOHNNY BROWN's set! -Texas Jeffrey (a REAL big fan) --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball #2 U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc02.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Thu, 4 Apr 1996 11:37:06 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Sonny Rhodes - what's with the hat? > Just idle curiosity. Does anyone know the story >behind the turban? He basically onlt wears it on stage. > >phertel@cmc.doe.ca > OR bv808@freenet.carleton.ca >Local Time [4/4/96 7:10 AM] >"Thursday's always sad..." I heard an interview with Sonny on the HOB radio hour a few months back. He said that in his youth he tried to 'process' his hair or something it didn't work. After the DIY job, he was walking home when it began to rain. The the water set off the chemicals which started to smoke and generally do much damage to his hair. SInce then has been a little short on top. He has always worn a hat since then. The turban is for the stage. I forget how he came across that idea. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Thu, 4 Apr 1996 14:32:15 -0500 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Alabama Blues Showcase Comments: To: L W In-Reply-To: On Thu, 4 Apr 1996, L W wrote: > Since you brought up the Vent site, I can not remain silent on the following: > The current Blues Access did a story that was something like The Information > Highway 61. The writer said that the only reason to visit the VENT site was > Dick's HOT Band. First of all it's Dick's HAT Band and they are good. > NO MENTION of Whitt & Bo or Topper Price. I don't understand. Blueprint calls > Bo & Whitt CD of the year, Blues Access ignores them. I guess it's a matter > of taste.......Go figure That article has a lot of us baffled :-( and not just in its Vent references. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 4 Apr 1996 13:34:17 -0600 Reply-To: Jeff Seale From: Jeff Seale Subject: Teddy Reynolds update. Got this note with my monthly Texas Johnny Brown schedule yesterday: Teddy Reynolds finally got to go home from the hospital March 9th, where he continues treatment and rehabilitation (he had a heart attack). He sends his love and gratitude to all of you for your thoughtfulness and generosity. You may send cards and letters to Teddy in care of the band at P.O. Box 218726 Houston, TX 77218-8726 -Jeff --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball #2 U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc02.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Thu, 4 Apr 1996 12:47:47 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: Why isn't this person famous ? In-Reply-To: <199604041743.LAA16924@medicine> My own $.02 on Those Who Should Be Better Known: Archie Edwards Yank Rachell Honeyboy Edwards Rick Franklin T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Remember! Friends don't let friends drink and post." - Amy Ashton ========================================================================= Date: Thu, 4 Apr 1996 13:57:01 -0700 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: Re: what's with the hat? -NO BLUES In-Reply-To: <199604041932.LAA25529@wavenet.com> Shaun Cronin wrote: > > I heard an interview with Sonny on the HOB radio hour a few months back. He > said that in his youth he tried to 'process' his hair or something it > didn't work. After the DIY job, he was walking home when it began to rain. > The the water set off the chemicals which started to smoke and generally do > much damage to his hair. SInce then has been a little short on top. He has > always worn a hat since then. The turban is for the stage. I forget how he > came across that idea. Reminds me of a guy I went to highschool with. Hated greasy hair so he washed it with pot and pan de-greaser. What a f'ing mess!! And NO, it wasn't me! RW ========================================================================= Date: Thu, 4 Apr 1996 21:04:04 +0100 Reply-To: Byron Foulger From: Byron Foulger Subject: Big Joe Turner/London Whoa now peoples, did I anywher say it was THE Big Joe Turner? It's not illegal for two people to have the same name you know, it does happen! But it is Easter, the time of the resurrection ain't it? No, seriously, apparently this Big Joe, his real name I gather, has been bass player with B. B. King, I think it is, for about ten years and is presumably going on his own, using his not altogether unheard of 'name'. If I can get any more info, I'll post. Byron ========================================================================= Date: Thu, 4 Apr 1996 14:00:51 -0600 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Austin Music I'm sorry I deleted the original posts asking for information about Austin on the 13th and the 19th. Antone's - Buckwheat Zydeco Apr. 12 & 13 Rosie Flores Apr. 19th Liberty Lunch - Duke Robillard & John Hammond Apr.19th That's all I know about now. Make sure when you get to Austin you get a copy of the Austin Chroncle (its free). The Austin American Statesman has a section in the thursday edtion called "XLent". They're both good sources for what's going on in Austin. Send me private e-mail if you have any questions. Bruce Roberts Austin, TX bruce@tsbme.state.tx.us ========================================================================= Date: Thu, 4 Apr 1996 13:09:57 -0700 Reply-To: PAN D' MONIUM From: PAN D' MONIUM Subject: Roy Bookbinder Does anyone know of a folk/blues musician named Roy Bookbinder? I'm told he's from Florida and has a CD out, "By the Book". He may play our extremely small, extremely out of the way little burg, Dillon, MT. I'll probably attend whether y'all say he's good, bad, indifferent or never heard of him...we get so little beyond shit-kicker music...we featured Kathy Mattea on Labor Day last year, which we hicks like to refer to as "Montana's Biggest Weekend"...they played in the local high school gym...accoustics from hell! Thanks in advance, Paul ========================================================================= Date: Thu, 4 Apr 1996 14:10:21 -0600 Reply-To: Timothy M Dellinger From: Timothy M Dellinger Subject: Re: Why isn't this person famous ? (Honeyboy) >My own $.02 on Those Who Should Be Better Known: >Honeyboy Edwards Although he's a great guy to talk to and has obvious credentials, his recent shows haven't been especially spectacular. I'd prefer an hour of his storytelling over an hour of his music anyday. -- -- It is a miracle that curiosity survives Tim Dellinger formal education. -Albert Einstein tdelling@uiuc.edu ========================================================================= Date: Thu, 4 Apr 1996 14:07:19 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Why ain't the famous AL COOK !!!!, he may famous in his neck-o-the-woods, but in this country he's seldom heard of. He is one of the best all-around BLUES players I have ever heard. Very, very talented guy. Arthniece (sp ) and the Stone Gas band has (had..?) a young man who played guitar with them at the Sunflower Festival and I forget his name (someone please remind me), but he (IMHO) is lots more mature in his playing than all the young whipper-snappers that's been poping up everywhere lately. I'm not knocking those pop-up whipper-snappers, just praising this young man. I thought he was an exceptional/tasteful/never too much player. SI PERRY, I don't know anything about him except he was at the Sunflower fest also. He had a line like "I woke up and heard my guitar crying" that my wife still talks about. I have to agree he may not be an axe slinger and play with he tongue/teeth or anty of that nonsense, but he get's his point accross. (tell me more about him) Paul Size blew us away when we saw him with the Red Devils and from what I have heard he's no big deal in Texas. He was a big deal in Memphis, Mark Weener, Alex Shultz and others where there to see him. I talked to Alex years after that and he claimed Paul was having a bad day that day !!!!. He said he has been at clubs when Paul Size has scared the piss out of every guitar player in the joint....Go figure (always hoped Mayall would pick him up) That's my choices. Please inform ME or US about the guitar player with the Stone Gas Band and Si Perry... LW 'Dan Caron with Charles Brown is another, great Johnny Moore/T-Bone style' This post has been modified from it's original format to fit your computer screen ========================================================================= Date: Thu, 4 Apr 1996 16:29:22 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Why isn't this person famous ? Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *My own $.02 on Those Who Should Be Better Known: * *Archie Edwards *Yank Rachell *Honeyboy Edwards *Rick Franklin Don't forget: Daryl Davis John Jackson Robert Lighthouse Warner Williams Doug Jay Paul deLay ========================================================================= Date: Thu, 4 Apr 1996 15:49:27 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Big Joe Turner/London Comments: To: Byron Foulger On 4 Apr 96 at 21:04, Byron Foulger wrote: > Whoa now peoples, did I anywher say it was THE Big Joe Turner? It's not > illegal for two people to have the same name you know, it does happen! But > it is Easter, the time of the resurrection ain't it? > No, seriously, apparently this Big Joe, his real name I gather, has been > bass player with B. B. King, I think it is, for about ten years and is > presumably going on his own, using his not altogether unheard of 'name'. If > I can get any more info, I'll post. That is very interesting. B.B.'s bass player for at least the past ten years has a blonde cherub faced guy who is always very serious, and plays a very backround role in B.B.'s big band. When B.B. introduces each member of the band, he will take a brief and conservative solo, but he has never seemed like anyone who was even dreaming of stepping out on his own. If it's really him, I'd love to know what he does at this festival. LW: Keep us informed. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Thu, 4 Apr 1996 13:00:24 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Non-blues pick of the week-LBC Another Jim wrote: ... Knopfler's latest is >by far the strongest of the group. It is as usual a stylistic smorgasboard, one >might say tour de force. The playing is ( as always, again) outstanding and the >guitar tone- does anyone know anything about Knopfler's setup beside the fact >that he uses a Pensa-Shure strat-type guitar and plays with his bare fingers?- >is simply to die for. >Strongly recommended, not blues. I've gotta second this one. This album is a real smorgasbord of celtic, rock, even a little cajun and jazz thrown in. Of blues note is the presence of Sonny Landreth on slide guitar on a couple of tracks. I wish Knopfler would do a pure blues album - he's got the voice and his guitar playing never ceases to amaze me. Good stuff, to say the least. -Jim (hndful@uniserve.com) ------------------------------------------------------------ Check out 'Heart and Soul', a new hour of blues, gospel, and jazz every week on SDF-Net Community Radio - http://sdf-radio.colossus.net. ------------------------------------------------------------ ========================================================================= Date: Thu, 4 Apr 1996 14:45:21 -0600 Reply-To: T-Bone From: T-Bone Subject: Re: Why isn't this person famous ? (Honeyboy) In-Reply-To: <199604042010.OAA21639@eehpx13.cen.uiuc.edu> On Thu, 4 Apr 1996, Timothy M Dellinger wrote: > >My own $.02 on Those Who Should Be Better Known: > > >Honeyboy Edwards > > Although he's a great guy to talk to and has obvious credentials, his > recent shows haven't been especially spectacular. I'd prefer an hour > of his storytelling over an hour of his music anyday. Yeah, but when he was at his peak, ... T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Remember! Friends don't let friends drink and post." - Amy Ashton ========================================================================= Date: Thu, 4 Apr 1996 16:08:03 EST Reply-To: ron kraemer From: ron kraemer Subject: Re: Have been reflecting again When I'm as happy as can be, the Blues is there as a friend for me to share it with, and I feel even a bit happier in doing so. When I'm as down as I can be, the Blues is there as a companion, and draws my sadness out for me to share it as well. I guess what I'm saying is....the Blues is my best friend. Ron P.S. Happy B'day, Muddy. God Bless ya. ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters (and in another life....) Ron Kraemer and the Hurricanes ************************************************************ ========================================================================= Date: Thu, 4 Apr 1996 15:20:50 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Re: Why isn't this person famous ? (Honeyboy) > > >Honeyboy Edwards > > Although he's a great guy to talk to and has obvious credentials, his > recent shows haven't been especially spectacular. I'd prefer an hour > of his storytelling over an hour of his music anyday. > > > -- > -- > It is a miracle that curiosity survives Tim Dellinger > formal education. -Albert Einstein tdelling@uiuc.edu > Well, Tim, that may be the case if you have seen him in a big festival setting. However, seeing Honeyboy in a more intimate setting is quite an experience, even today when he is 80. I had two such experiences for the past 10 months or so and both were some of most exciting blues moments, and I saw quite few. Not to speak, Honeyboy is one of the sweetest persons, together with RL Burnside in the blues business today. Ranko ps. BTW, when you talk about originators such as HE, stop quotting a guy (AE) who stole most of "his" ideas from his first wife. I bet he stole that too from someone -:) ========================================================================= Date: Thu, 4 Apr 1996 15:30:48 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: Hall? Hey... Someone, a while back, mentioned that Jimmy Hall would have a new release on Capricorn called something like "Rendezvous with Blues" -- and that the release date was late March. I have looked for this disc in the stores and was told a) no such thing b) shakeups at Capricorn (personnel changes) probably caused all the distributors to lose their lists (smile)... So what's the deal? Can anyone help...where is Jimmy? What happened to the rendezvous? Will his sister ever stop singing in church and come back to the blues and find true love? What?!? Cathi N. ========================================================================= Date: Thu, 4 Apr 1996 14:13:21 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Why isn't this person famous ? #1 Earl Alexander & Buffalo Soldier Whatta a guy, whatta band! Truly the best singer I've met in 20 years... Scary good... Plays good guitar too... #2 Why who else? Cathi Norton! yeah DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Thu, 4 Apr 1996 22:17:24 GMT Reply-To: "Jennifer A. Zogott" From: "Jennifer A. Zogott" Organization: New York University Subject: Re: Why isn't this person famous ? Comments: To: bit-listserv-blues-l@uunet.uu.net R.J. Bauman (rjbauman@IQUEST.NET) wrote: : On 4 Apr 96 , honorable zeller Dick Waterman wrote: : : : > There is an interesting thread that could develop out of this. I guess we all : > know of artists that WE feel should be better appreciated. : > Maybe through bad habits, bad contracts, attitude problems, no visibility or : > just plain bad luck . . . : > Lots of reasons why some people don't break through to commercial success : > while it seems that lesser talents become famous. : > OK, here are my choices of two people with incredible ability who - for a : > variety of reasons - have never been able to reach any significant degree of : > recognition: : > JAMES CARR : > LOU ANN BARTON : > : > Dick Waterman : > : > : : I agree with you about Lou Ann Barton. Her association with SRV can't hurt. : She'll be up there if she keeps plugging away, I think. : : As far as from around here, I'm pulling for Larry Crane, who's : memorable guitar work with John Mellencamp virtually defined : Mellencamp's sound up through the "Big Daddy" CD. Larry's a terrific : songwriter, too. If you never heard of him, well, that's the point of : the post, I guess. : : RJ Bauman : "If the Blues was Whiskey, I'd be Drunk All the Time" My vote is for Jon Paris. Put in a lot of years as a sideman (Johnny Winter, Robert Gordon) *and* fielded his own band in-between tours. Has his own power-trio now, good vocals, great guitar, strong original material, and a good CD. And can't seem to get booked outside NYC. A mystery to me. Jennifer Zogott * * * "How many bubbles in soap? How many chews in gum? How many rolls in a wheel? Where did eyeballs come from?" - Screamin' Jay Hawkins ========================================================================= Date: Thu, 4 Apr 1996 16:17:28 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Roosevelt "Booba" Barnes passed away last night I just got off the phone with Jim O'Neal who reports the sad news that Roosevelt "Booba" Barnes passed away about 4 AM this (Thursday) morning. He did not know the exact cause of death but said "Booba" had cancer. I am sure Jim will be writing an obituary for Living Blues in an upcoming issue. I did not know him well enough to write one myself, but by way of a personal tribute to the man I will relate my own brief experience with him. I booked him to come to St. Louis for the Blues Society in '89 or '90, and for weeks before he came Big Bad Smitty kept bugging me "take me with you when you go to meet him." A meeting was arranged on a downtown street corner just off the highway, and when the time came Smitty and I rode down to meet "Booba" and his band. "Booba" jumped out of his van and he and Smitty gave each other a bear hug the likes of which I have never seen. They had been teenage buddies in Greenville, gigging out together, and had not seen each other for over thirty years! "Booba" gave a superlative performance at the Off Broadway nightclub where I had him booked, and afterwards he, Smitty and I went over to Tubby's Red Room in East St. Louis where they jammed 'til dawn. We ran into "Booba" a year or so later in Kansas City. Smitty was at the Grand Emporium and "Booba" at Nightmoves. When Smitty's show was done we went over to Nightmoves and the crowd there that night got treated to a unique and superlative jam between the two of them. A photo from that evening is included in the Big Bad Smitty photo essay currently up on BLUES WORLD. Roosevelt "Booba" Barnes was an amiable and energetic man, and, to my ear, found unusually distinctive and blue places to go with his guitar solos. His is a great loss to the world of blues. Joel Slotnikoff ========================================================================= Date: Thu, 4 Apr 1996 22:18:52 GMT Reply-To: "Jennifer A. Zogott" From: "Jennifer A. Zogott" Organization: New York University Subject: Re: Roy Bookbinder Comments: To: bit-listserv-blues-l@uunet.uu.net PAN D' MONIUM (p_franzmann@WMC.WMC.EDU) wrote: : Does anyone know of a folk/blues musician named Roy Bookbinder? I'm told he's : from Florida and has a CD out, "By the Book". He may play our extremely small, : extremely out of the way little burg, Dillon, MT. I'll probably attend whether : y'all say he's good, bad, indifferent or never heard of him...we get so little : beyond shit-kicker music...we featured Kathy Mattea on Labor Day last year, : which we hicks like to refer to as "Montana's Biggest Weekend"...they played : in the local high school gym...accoustics from hell! : : Thanks in advance, : : Paul Roy's a very good acoustic finger-picker. Used to work out of NYC. Studied with Rev. Gary Davis, I believe. See him if you have the chance. Jennifer * * * "How many bubbles in soap? How many chews in gum? How many rolls in a wheel? Where did eyeballs come from?" - Screamin' Jay Hawkins ========================================================================= Date: Thu, 4 Apr 1996 17:35:38 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Roosevelt "Booba" Barnes passed away last night Comments: To: Joel Slotnikoff On 4 Apr 96 at 16:17, Joel Slotnikoff wrote: > I just got off the phone with Jim O'Neal who reports the sad news that > Roosevelt "Booba" Barnes passed away about 4 AM this (Thursday) morning. He > did not know the exact cause of death but said "Booba" had cancer. Very sad news indeed. Please, whoever can get us the information, please let us know where we can send flowers, tributes, condolences, etc. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Sat, 1 Jan 1994 00:31:21 -0800 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Zellers at JazzFest Comments: cc: catbauer@aol.com, jbards@MAIL-SH.LSUMC.EDU, joelslot@inlink.com, tm4q@poe.acc.virginia.edu re: Cat's message about meeting at a club... I was kind of hoping we might all get together at Margaritaville on the night of Mem Shannon's gig there (Friday 4/26) because A) it's a nice big club with lots of tables, B) it's conveniently located in the heart of the Quarter, easy to get to from all hotels C) it offers the added plus of the great EDDIE BO who performs there (for free!) from 5-8 pm on weekend nights in the front barroom, D) if we got there before the hardcore Festers left the Fairgrounds--that is, before 7 pm--we probably wouldn't have any trouble getting seats for all. If any legwork needed to be done with the club's management (or anyone else, for that matter), I'd be glad to help out. If I can help you in any way, Cat, please let me know. Do you have an idea of how many Zellers are planning to get together here? The people I've cc'd above have confirmed they're coming to the Fest. --Maggie -- Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Some mornings it's just not worth chewing through the leather straps. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Thu, 4 Apr 1996 17:46:30 -0500 Reply-To: Erica Wissolik From: Erica Wissolik Subject: IGGY TONIGHT IN DC Someone just handed me 7 complimentary tickets to see Iggy and Jr Kimbrough tonight at the Capitol Ballroom. As of right now, we are only using 4 - dare I ask if anyone else wants one or 2 of these? I;m outta here in 10 min so if you do, let me know before then. Erica ========================================================================= Date: Thu, 4 Apr 1996 18:00:04 -0400 Reply-To: SOO3713@ALPHA.CC.OBERLIN.EDU From: Owen Okie Subject: Knoplers tone If you want to find out more about Knoplers tone take a look at his web site www.Knoplfer.com where they talk about his setup for the new tour. Alos take a look at the Mark Knopler Guitar Styles books. It contains an intervies, pictures of most of his guitars, and tablature of some of his greatest songs. Owen ========================================================================= Date: Thu, 4 Apr 1996 18:00:53 -0500 Reply-To: James Leftwich From: James Leftwich Subject: ID this song It goes something like... "These ain't raindrops in my eyes..." ============================================================================= Jim Leftwich Jim's Blues N' Brews leftwich@cloud9.net http://www.cloud9.net/~leftwich "I'm on cloud9!" :) New CD Giveaway: Jordan Patterson ============================================================================= ========================================================================= Date: Thu, 4 Apr 1996 18:01:31 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Paul Geremia I think I've heard him mentioned here before. Can someone illuminate what kind of show he puts on. ============================================================================= Jim Leftwich Jim's Blues N' Brews leftwich@cloud9.net http://www.cloud9.net/~leftwich "I'm on cloud9!" :) New CD Giveaway: Jordan Patterson ============================================================================= ========================================================================= Date: Thu, 4 Apr 1996 17:50:42 -0500 Reply-To: Jon Duttweiler From: Jon Duttweiler Subject: Sitting & Thinking - Lil' Jimmy Reed LW has been talking about Vent and Vent artists Little Whitt and Big Bo, the following is a review of another Vent artist from Alabama, Lil' Jimmy Reed. LITTLE JIMMY REED - SCHOOL'S OUT Vent #30006 VENT RECORDS #4 SOUTH 55TH PLACE, BIRMINGHAM, AL 35212 TEL: (205) 592-2222 FAX: (205) 592-2228 e-mail: VentRec@aol.com This CD from Little Jimmy Reed, aka Leon Atkins, is another in Vent's efforts to expose the rest of the world to the unmined depths of Alabama blues talent, and in this artist they've hit the "motherlode!" Lil' Reed, as he often refers to himself in song, is traditional and original, a true blues artist whose life, and songs, are rooted in the blues. Except for the superior production quality, this disc could have been recorded in the early fifties by an artist just up from the delta and going "electric." Atkins has that rough edged feel and country quality, but pumps it up with electric style just as Muddy Waters, Howlin' Wolf and the "original" Jimmy Reed before him. Now, before you think that this is another "fresh" youngster trying to capitalize on a famous name, Lil' Reed's been around for quite some time. He got his nickname because when he first started playing the blues he learned every song he could of Jimmy Reed's repetoire. In fact, as he tells the story, THE Jimmy Reed was supposed to play at a local Juke joint in Alabama, but was too, ah, "indisposed" to perform. Well, they put Lil' Reed on and, as he puts it, the crowd didn't know the difference. Certainly big shoes to fill, but Atkins does it in style. This 10 song disc includes 8 Leon Atkins originals and only one cover of a Jimmy Reed song. The originals are culled from the man's life, and while they may not break any new blues ground, they ring with true authenticity. This is not just someone singing about the blues, this is a man who's live them and wants to share them in song. Lil' Reed takes the vocals on this disc, along with playing guitar AND harmonica. Accompanying him are Mike Lawley, second guitar and Don Jones playing the bass. Ray Reach on piano and Hammond B-3 and Chuck Tilley on drums round out the rhythm section. Now, if you're interested in finding out what's "new" in the blues world while staying firmly entrenched in the BLUES, check out this disc by Lil' Jimmy Reed. "Schools Out" may be the title of the disc, but when it comes to the blues, Jimmy's teaching the class! BIG BOSS MAN / ALABAMA'S THE PLACE TO BE / I'M A FOOL FOR YOU, BABY / SCHOOL IS OUT / MY LITTLE DOG / MUMBLIN' WORD / I HAD A DREAM / I'VE GOT LOVE ON MY MIND / HELP ME TO SPEND THIS DOUGH / HONEST I DO NY CD Takes BIG BOSS MAN: Lil' Reed opens up this track with some neat single string work and then the rest of the band kicks in on this oft covered Luther Dixon tune. Lil' Reed does this straight up and shows off his approach to the blues - nothing fancy, nothing cutting edge, just good music. The band is tight in backing up Reed and you can tell he feels comfortable playing with this group. ALABAMA'S THE PLACE TO BE: An engaging original tune by Reed, this is a swinging shuffle number with a heavy back beat going by the drummer. Reed uses this song to let everyone know how much Alabama has to offer blueswise. He shows off both his harp and guitar playing, which leans toward a lean tone and economical phrasing. Reed doesn't try to overwhelm you with notes, just playing it the way he feels. I'M A FOOL FOR YOU, BABY: Another shuffling number that Reed opens up with his harp playing, this track is a toe taper. One can imagine the band cutting lose on this one at a fish fry or picnic, the crowd up and dancing with Reed showing out on his harmonica. This track also demonstrates Reed's approach to songwriting, lyrics rooted in everyday realities with a self-deprecating sense of humor. In the middle of the song he sings, "I bought you brand new wig, you didn't have no hair at all, give me back my wig, baby, and let your head go bald...I'm a fool for you, baby." SCHOOL IS OUT: A little slower tempoed number with a rolling beat to it, this is still another toe taper. Reed's vocal approach, on this song especially, will remind you of Albert Collins. You can hear that same infectious good humor that Collins always displayed, especially on this type of song. The band, as on all the tracks, displays its tightness and quality, providing solid backing for Reed to go where he wants. MY LITTLE DOG: Reed and company get a little deeper, blueswise, on this number, while retaining that same sense of humor in the lyrics. Reed laments that his dog always seems to know how he feels and takes advantage of him. The harp is again outfront, but Reed plays some tasty lead guitar that I wish was a little higher up in the mix. MUMBLIN' THE WORD: Another shuffle reminiscent of the late great Albert Collins, this is Reed's take on theme Collins tackles in "Honey Hush." A bit slower then that Collins classic, Reed and company nevertheless show they know how to do it! "Don't you say...a mumblin' word, I'll go upside your head, woman, 'bout the mess that I heard!" Great lyrics in the tradition of Sonny Boy Williamson! I HAD A DREAM: This track slows things down a bit for Reed to tell his woman about his dream of losing her. A nice, solid blues number with the harp out front in the mix again. Ray Reach adds the Hammond B-3 on this track to good effect, but you have to listen for it. I'VE GOT LOVE ON MY MIND: Driving rhythms with a swing characterized this cut. This time around the Hammond comes up in the mix and Reach gets a chance to show off a little more what he can do on the keyboard before Reed takes over on harp. Another tune that'll get the folks up and jumpin'. HELP ME TO SPEND THIS DOUGH: Now that's the blues, when you DO have some money, but got no where to spend it and no one to spend it with! Reed and the band jump some more on this track, showcasing what a tight unit they are one more time. This time the piano gets a little more time up front, along with Lil' Reed's harp. HONEST I DO: The only actual Jimmy Reed cover, this cut is a slow blues ballad. Jimmy does some pickin' to accompany his vocals. This is a nice set closer, sure to get folks up dancing cheek to cheek. Reed's harp sounds especially mournful on this cut, helping create a very sentimental mood. A fine effort by an artist that I'm sure we'll be hearing more from, Lil' Jimmy Reed has done his namesake proud. Reviewed by Jon Duttweiler Copyright NY CD Blues @1995-1996 All Rights Reserved. Unauthorized use prohibited. NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 4 Apr 1996 22:54:50 GMT Reply-To: Steve Dafoe From: Steve Dafoe Organization: SuperNet Inc. (908) 828-8988 Subject: Re: Sonny Rhodes (was Big Boy Spires) Comments: To: bit-listserv-blues-l@uunet.uu.net "Raymond O. Varner" wrote: >I've also lost track of Sonny Rhodes since he moved to New Jersey, and = >I've been wondering if he's still performing and traveling.(Edited) Sonny Rhodes plays frequently at The Old Bay in New Brunswick, NJ a New Orleans-influenced restaurant with a great selection of microbrews on tap. It's a lousy place to see music, however. They stick the band in a small dining area that also serves as a main hallway to bar & bathrooms. Still, they get a lot of pretty good R&B, blues & zydeco acts there. (Go figure.) In fact, Sonny's there tomorrow (April 5). He also had a big write up in local papers awhile ago when he formed a temporary band with some members of a famous "alternate" rock band (whose name escapes me...) I seem to recall from the article that he plays Hoboken & NYC clubs, as well. ========================================================================= Date: Thu, 4 Apr 1996 18:25:50 -0400 Reply-To: BALISTRK@BAYDENOC.CC.MI.US From: "Keith T. Balistreri" Subject: Re: been reflecting again (a different slant) Comments: To: "Kenneth M. Sailors" In-Reply-To: <199604040435.UAA04964@mom.hooked.net> On Wed, 3 Apr 1996, Kenneth M. Sailors wrote: > Been reading a lot in this thread here of late. It's all well thought > out, heartfelt , enlightening & sincere. BUT when you get right down > to it, you're all trying to describe the ineffable. As one who > might be a Taoist would say: "Those who know do not speak, those who > speak do not not know" Now, before you get upset, all I mean is: Do > any of you who have tried to explain the blues (see sentence 3, above) > *really* think you've nailed it and do you think it really can be nailed? > You know, it's something you feel or you don't? I totally agree with you when you say it'something you feel or you don't. Yes...it really is that simple, that's what's so cool about it. Blues is.....that's it!!! I am also a jazz lover and I remember when Keith Jarret and a few other were getting into this whole thing about defining jazz and it even got ugly at times. Analizing and theorizing (notice root of analize is anal). Well, I again listen to jazz as well as blues, but when all that rheteric started I quit listening for some time......They just didn't get Jazz is........and THAT'S IT!!!!! ========================================================================= Date: Thu, 4 Apr 1996 18:52:54 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Roy Bookbinder Comments: cc: "p_franzmann@WMC.WMC.EDU" PAN D' MONIUM asked whether Roy Bookbinder was a good bet. Yes, by all means go see Bookbinder. Sure, he's a bit of a folkie, but he's got the ragtime and folk blues styles down pat, he's a fine guitar player, and an amusing raconteur. These days, one-man-with-guitar performers are not exactly plentiful - so you know that the ones that are still around are really good. The best of 'em was Steve Goodman, God bless him, but Bookbinder's literate, funny, a good player, and knows the blues. What else d'ya want? Hope you enjoy! Richard (The Elder) Flohil PS: Tell us what you thought! ========================================================================= Date: Thu, 4 Apr 1996 18:53:00 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Why ain't they famous Don C. suggests that Cathy Norton should be on the "Why aren't they famous?" list. But she IS famous around here. And very, very good too. Cheers, Richard theElder ========================================================================= Date: Thu, 4 Apr 1996 18:52:31 -0500 Reply-To: LKnight1@AOL.COM From: Leslie Ann Knight Subject: Fountain Blues Fest Update Comments: To: SOBLUESMAG@aol.com, Crawfy1@aol.com, adamk@cmsa.berkeley.edu, Speedo777@aol.com, sbrubake@trmx3.dot.ca.gov, Lrucker@aol.com, PNeel89564@aol.com, Roosterman@aol.com, murranch@ix.netcom.com, JAZZINFO@jazznow.com, ReNoRu@aol.com Press Release for immediate release Updated information: April 4, 1996 Thanks to METRO, San Jose State's Free Fountain Blues Festival won't merely survive, it will thrive. The festival is scheduled for Saturday, May 18th, Noon until 6:30 Here's the sizzling lineup! Johnnie Johnson Lowell Fulson Tommy Castro Band Back To Life featuring Pam Hawkins James Armstrong Elmer Lee Thomas Blues Revue Kevin Coggins, Steve Lucky Mike Schermer and Burt Winn Lowell Fulson is a recent addition to the festival lineup, stepping in for William Clarke who recently fell ill with a heart attack. Fulson's long and fruitful career has established him as one of the compelling blues men of all time. Fulson is the composer of such highly regarded classics as Reconsider Baby, Three O'Clock Blues and Blue Shadows. His most recent Bullseye Blues CD, Them Update Blues is currently receiving rave reviews worldwide. Both Johnnie Johnson and Lowell Fulson have clearly achieved living legend status in the world of blues. Don't miss them! Festival location: San Jose State Mid Campus adjacent to 5th and San Fernando Street You may picnic but please, no glass and no barbecue fires on campus. Ted Gehrke, Festival Producer 408 924-6262 Event Line 408 924-6261 Press release by Leslie Ann Knight Knight & Day Media Control ========================================================================= Date: Thu, 4 Apr 1996 19:23:07 -0500 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Big Dave and the Ultrasonics Comments: To: bit-listserv-blues-l@uunet.uu.net One of my favorite bands. We have them booked at the Lilac Festival (Rochester, NY) in May. I also have their tour dates somewhere, just waiting to be typed up. if you'd like them drop me an e-m. Catbauer@vivanet.com ========================================================================= Date: Thu, 4 Apr 1996 17:05:44 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Why ain't they famous Richard Flohil wrote: >Don C. suggests that Cathy Norton should be on the "Why aren't they >famous?" list. > >But she IS famous around here. > >And very, very good too. > >Cheers, > >Richard theElder I'll go on record and say that Cathi's CD is fantastic. Her voice is amazing and I love the eclectic nature of the CD. Well done, Cathi! Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Thu, 4 Apr 1996 20:00:00 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: ID this song Comments: To: leftwich@cloud9.net On August 4, Jim Leftwich asked someone to ID this song: "These ain't raindrops in my eyes..." Ah, yes, another chance to brag on my main man, James Carr. That line is that title of the song and a great one it is at that. Percy Sledge has covered a number of JC songs, including this one on a fine CD issued in 1995. Dick Waterman ========================================================================= Date: Thu, 4 Apr 1996 20:02:45 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Muddy Waters Birthday Lurking in there between Gary Moore and a trumpet player for Bessie Smith on today's birthday list from Uncle Eric is McKinley Morganfield. Today, Muddy Waters would have been 81. No comment on this list so far, but this has got to be one of the 4-5 most significant birthdays in blues. An odd birthday day, too. Further down are Nick Perls and Sylvester Weaver. Tom Freeland ========================================================================= Date: Thu, 4 Apr 1996 20:08:34 -0500 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Roosevelt "Booba" Barnes passed away last night Comments: To: joelslot@bluesworld.com Comments: cc: mkaldin@beachnet.com In a message dated 96-04-04 18:01:50 EST, you write: >I just got off the phone with Jim O'Neal who reports the sad news that >Roosevelt "Booba" Barnes passed away about 4 AM this (Thursday) morning. He >did not know the exact cause of death but said "Booba" had cancer. Booba put on a great show and had a great band when I saw him. I'll see if I can get my brother to post to the list his memories of a trip across the South with Booba-and-band-and R.L. Burnside in Booba's van (when they left town there were far less than no tread but Booba didnt care, till the 2nd flat in the middle of nowhere) from Texas to North Carolina. In Georgia, Booba pulled a gun on his bass player at a moment when my brother was between the two. He will be missed. Tom Freeland ========================================================================= Date: Thu, 4 Apr 1996 20:44:34 -0500 Reply-To: James Leftwich From: James Leftwich Subject: Re: Muddy Waters Birthday Comments: To: Tom Freeland In-Reply-To: <960404200242_505967088@mail04> On Thu, 4 Apr 1996, Tom Freeland wrote: > Lurking in there between Gary Moore and a trumpet player for Bessie Smith on > today's birthday list from Uncle Eric is McKinley Morganfield. Today, Muddy > Waters would have been 81. No comment on this list so far, but this has got > to be one of the 4-5 most significant birthdays in blues. > > An odd birthday day, too. Further down are Nick Perls and Sylvester Weaver. > > Tom Freeland > It also happens to be the date Martin Luther King was murdered in 1968. Are there any blues songs about MLK? ============================================================================= Jim Leftwich Jim's Blues N' Brews leftwich@cloud9.net http://www.cloud9.net/~leftwich "I'm on cloud9!" :) New CD Giveaway: Jordan Patterson ============================================================================= ========================================================================= Date: Thu, 4 Apr 1996 20:35:44 -0500 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Hacksaw corrections Comments: To: bit-listserv-blues-l@uunet.uu.net Hi Folks! Just a couple of corrections concerning Hacksaw and my previous post: (1) I took typing in high school, and, as a consequence, I never look at the keyboard. This works well most of the time, that is until I try to type numbers. Hacksaw died on December 25, 1973 (Seventy-three) not '72. Thanks to eRIC, our historian and human Rolodex, for catching this one and bringing it to my attention. (2) Gene Rosenthal and Adelphi Records are one and the same. I may have been unclear about this in my original post. Gene got his start in the business as a recording engineer in the early sixties. When he started the Adelphi label, he continued to serve as recording engineer and captured his artists both in his private studio and on the road with his own equipment--as at the Boston Blues Society gathering which has been mentioned. Hope this clarifies any misunderstandings. Denise ========================================================================= Date: Thu, 4 Apr 1996 18:28:50 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Why isn't this person famous ? Carr and Lou Ann for sure! Let me add: Isaac Scott - Seattle's Bigtime Bluesman Leigh "Little Queenie" Harris Smokey Wilson Joe Duskin Jimmy McCracklin Curtis Salgado Hi Tide Harris J. J. Malone The late Troyce Henry Key I could go on and on and on... Uncle Ray ---------- From: R.J. Bauman[SMTP:rjbauman@iquest.net] Sent: Thursday, April 04, 1996 2:00 PM To: Multiple recipients of list BLUES-L Subject: Re: Why isn't this person famous ? On 4 Apr 96 , honorable zeller Dick Waterman wrote: > There is an interesting thread that could develop out of this. I guess we all > know of artists that WE feel should be better appreciated. > Maybe through bad habits, bad contracts, attitude problems, no visibility or > just plain bad luck . . . > Lots of reasons why some people don't break through to commercial success > while it seems that lesser talents become famous. > OK, here are my choices of two people with incredible ability who - for a > variety of reasons - have never been able to reach any significant degree of > recognition: > JAMES CARR > LOU ANN BARTON > > Dick Waterman > > I agree with you about Lou Ann Barton. Her association with SRV can't hurt. She'll be up there if she keeps plugging away, I think. As far as from around here, I'm pulling for Larry Crane, who's memorable guitar work with John Mellencamp virtually defined Mellencamp's sound up through the "Big Daddy" CD. Larry's a terrific songwriter, too. If you never heard of him, well, that's the point of the post, I guess. RJ Bauman "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Thu, 4 Apr 1996 21:23:54 -0600 Reply-To: Scott Ferman From: Scott Ferman Subject: Ari Eisinger on Tour Fellow bluezeller and guitar instructor for the nationally famous Norton family is going on tour later this month. Catch him in a city near you! > > > ARI EISINGER > Blues and Ragtime Guitarist and Singer > ===April/May 1996 touring schedule== > > >Saturday April 27: Borders Books and Music > Pittsburgh, PA (North Hills) > 7:30 to 9:30 p.m. > (412) 635-7661 > >Sunday April 28: Borders Books and Music > Beachwood, OH > 2:00 to 4:00 p.m. > (216) 292-2660 > >Friday May 3: Borders Book Shop > Farmington Hills, MI > 8:00 to 10:00 p.m. > (810) 737-0110 > >Saturday May 4: Borders Books and Music > Dearborn, MI > 7:00 to 9:00 p.m. > (313) 271-4441 > >Sunday May 5: Borders Books and Music > Utica, MI > 2:00 to 4:00 p.m. > (810) 726-8555 > >Friday May 10: Borders Books and Music > Wilmette, IL > 7:30 to 9:30 p.m. > (708) 256-3220 > >Sunday May 12: Borders Books and Music > Oak Brook, IL > 2:00 to 4:00 p.m. > (708) 574-0800 > >Thursday May 16: The Ginkgo Coffeehouse > St. Paul, MN > Opening for Pat Donohue > 8:00 p.m. > (612) 645-2647 > >Friday May 17: Borders Books and Music > Minnetonka, MN > 8:00 to 10:00 p.m. > (612) 595-0977 > > > > ARI EISINGER >Blues and Ragtime Guitarist and Singer > ==Guitar Teacher== > ==(610) 259-6688== > > ========================================================================= Date: Thu, 4 Apr 1996 22:38:00 GMT Reply-To: cuthulu@rlabs.com From: cuthulu Organization: Radar Labs 23 Subject: Re: Taj Mahal's "Phantom Blues" Comments: To: bit-listserv-blues-l@uunet.uu.net On Wed, 3 Apr 1996 09:46:17 -0500, chris tomer wrote: >Taj Mahal has a relatively new album entitled "Phantom Blues." Does >anyone have an opinion about it? Is it, in fact, a blues album? It's not really blues, but rather a hodge-podge of multi-ethnicity. There is one good blues song on it -- "Here in the Dark", Eric Clapton solo -- but other than that, very little blues. Still, it's a good release, entertaining and all. WWW Production: HTML,CGI,JAVA Kevan Smith -> cuthulu@prysm.net http://www.rlabs.com ========================================================================= Date: Fri, 5 Apr 1996 00:17:51 -0500 Reply-To: JRush11279 From: JRush11279 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Muddy Waters Birthday Comments: To: bit-listserv-blues-l@uunet.uu.net I vote a definate yes on the 4-5 most significant Blues birthdays! Just came from a birthday celebration as a matter of fact. I feel its part of my civic duty to celebrate this day! ========================================================================= Date: Fri, 5 Apr 1996 00:18:01 -0500 Reply-To: JRush11279 From: JRush11279 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Sista Monica -Get Out of My Way Comments: To: bit-listserv-blues-l@uunet.uu.net Catch Mem Shannon at the Kansas City Blues and Jazz Festival, July 19-21, KC, Missouri! ========================================================================= Date: Thu, 4 Apr 1996 11:59:23 -0500 Reply-To: 00LCSPECTOR@BSUVC.BSU.EDU From: "Lee C. Spector" <00lcspector@BSUVC.BSU.EDU> Subject: Thomas Does anyone have a take on Earl Thomas. Thanks. Lee Lee C. Spector Department of Economics ========================================================================= Date: Wed, 3 Apr 1996 14:35:48 -0500 Reply-To: 00LCSPECTOR@BSUVC.BSU.EDU From: "Lee C. Spector" <00lcspector@BSUVC.BSU.EDU> Subject: Thomas Does anyone have a take on Earl Thomas. Thanks Lee Lee C. Spector Department of Economics ========================================================================= Date: Thu, 4 Apr 1996 21:39:46 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: Re: Blues Cruise! Comments: To: George Myers George Myers wrote: > > The ULTIMATE Rhythm & Blues Cruise 5 departs May 25-June 1 from Genoa to > Naples, Plaermo, Sardinia, Corsica, Marseilles, and Cannes with NINE > bands on baord: John Mayall, Luther Allison, Buckwheat Zydeco, Louisiana > Red, Katie Webster, Marcia Ball, Little Charlie and the Nightcats, John > Mooney, and Rudy Rotta. This is the event that has won a HANDY AWARD. > For further info: 800-886-6132. Hmmm, sounds great...but expensive! -- Stan Ruffo steamin@valleynet.com "Blues On Tap"-Sundays at 8pm on Visalia's K100 99.7fm ========================================================================= Date: Thu, 4 Apr 1996 21:50:34 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http://www.valleynet.com/~steamin Subject: Re: Harp-L Address Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU L W wrote: > > Anyone know the address to Harp-L....or whatever it's called... > > LW LW, To subscribe to harp-l, send mail to majordomo@garply.com and put "subscribe harp-l John Doe" (no quotes - your name) on a line by itself. To post to harp-l, after you become a member, > harp-l@foo.garply.com Hope that helps... -- Stan Ruffo "Blues On Tap"-Sundays at 8pm on Visalia's K100 99.7fm ========================================================================= Date: Thu, 4 Apr 1996 11:25:53 GMT Reply-To: "Lea A. Gilmore" From: "Lea A. Gilmore" Organization: Erols Internet Services Subject: Re: Why isn't this person famous ? Comments: To: bit-listserv-blues-l@uunet.uu.net Just my humble, but unsolicited opinion: There is this guy in Baltimore named "Big" Jesse Yawn who is one of the most talented blues men I have ever had the pleasure of listening too. If you are ever in the Baltimore/D.C. area, check him out! Lea ========================================================================= Date: Fri, 5 Apr 1996 06:50:28 GMT Reply-To: marc borms From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Re: bluesradio/Holland Comments: To: bit-listserv-blues-l@news.Belgium.EU.net : I believe New Orleans' soul-blues great Walter 'Wolfman' Washington will be : in Holland this summer as part of a Euro tour. I'll find out for sure and : let you know, and if true, will let him know about your interest in having : guests on your show. : You didn't mention what city you're in -- is it Amsterdam? Walter 'Wolfman' Washington will be on stage on the 'Spring Blues Festival' on May, 18th in Ecaussines, Belgium. embee. ========================================================================= Date: Fri, 5 Apr 1996 02:00:22 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: paul size > Paul Size blew us away when we saw him with the Red Devils and from > what I have heard he's no big deal in Texas. He's playing small bars in the DFW area with a band called Easy Jones. Chuck Nevitt has recorded this band together with Johnny Moeller for an upcoming release. Moeller is very good, as is Size, however they are best seen together at a jam session. That's when they really cut loose. As with many other great blues artists that spent years in the DFW area (Blind Lemon Jefferson, T-Bone Walker, all the way up to the Vaughan brothers) they only get noticed when the LEAVE here and go someplace else. Don O. ========================================================================= Date: Fri, 5 Apr 1996 06:52:50 GMT Reply-To: CKUT_online@babylon.montreal.qc.ca From: CKUT online Organization: Babylon, Montreal, Canada Subject: Re: Breaking strings & things Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU I always hold the string up and away from the guitar body (close to the neck) with my right-hand little finger with tip of my thumb holding the string against the body. I can usually get about six full wraps around the tuning post. John Detcheverry ========================================================================= Date: Fri, 5 Apr 1996 02:33:47 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Any one know who wrote, recorded, or made popular a song entitled Buick '59? Also, Does anyone know where I could get some info on Dot Records? (a sub of Paramount) TIA -- Stan Ruffo "Blues On Tap"-Sundays at 8pm on Visalia's K100 99.7fm ========================================================================= Date: Fri, 5 Apr 1996 02:34:33 -0800 Reply-To: Stan Ruffo From: Stan Ruffo L W wrote: > > I will be interviewing John Hammond probally next week sometime. If anyone > has any questions for JH please send them to me private mail > THANKS > > LW ....yea, what does he need to come to Visalia and play? I would love to see him. -- Stan Ruffo "Blues On Tap"-Sundays at 8pm on Visalia's K100 99.7fm ========================================================================= Date: Fri, 5 Apr 1996 02:35:22 -0800 Reply-To: Stan Ruffo From: Stan Ruffo Al Kaplan wrote: > > In article <4k0r5d$217$1@mhadg.production.compuserve.com>, > 102677.204@COMPUSERVE.COM says... > > > >I just heard a cut from a Johnny Rip CD entitled "Way Past the > >Blues".... this is awesome stuff - IMHO > > > I just picked up the CD and was disappointed. Music: pretty good, guitar > ability: good, vocals: horrible. On most of the cuts, the guy seems to be > singing through a harp microphone. The end result is that the distorted vocals > really grate on your ears. This could have been an excellent recording. > Anybody who heard a disc by Johnny Hoy knows what I mean. > > Al Yea, but you gotta give Jimmy Rip credit for one if not two things... you won't soon forget that "grating sound", and he did manage to get signed to a label with good distribution. (I am surprised that anyone would have trouble finding an HOB catalog item). Although, I can't understand why any Blues lover would want this record...JMHO -- Stan Ruffo "Blues On Tap"-Sundays at 8pm on Visalia's K100 99.7fm ========================================================================= Date: Fri, 5 Apr 1996 05:59:45 -0500 Reply-To: Bluesagent From: Bluesagent Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Roosevelt "Booba" Barnes passed away last night Comments: To: bit-listserv-blues-l@uunet.uu.net How sad to hear that Booba is no longer with us. I had the pleasure of his company on many occasions in Memphis when he was playing there and met up with him once at Buddy Guy's in Chicago. He was quite a character. A good guitar player/harp player and singer, too. God rest his soul. ========================================================================= Date: Fri, 5 Apr 1996 05:59:10 -0500 Reply-To: Bluesagent From: Bluesagent Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Memphis travel/music info needed Comments: To: bit-listserv-blues-l@uunet.uu.net When in Memphis... Stay at the Peabody if the budget allows. Otherwise, stay at the Radisson across the street or the Brownstone. All are Downtown. Pick up a copy of the Memphis Flyer (newprint tabolid) and see what's happening. Beale Street is walking distance from the Peabody and Radisson. There you'll find: BB King's Blues Club Blues City Cafe Rum Boogie Cafe Willie Mitchell's Club and lot's of other places to hear music, including W.C Handy Park The National Civil Rights Museum is downtown. There are walking tours of Beale Street or Call Blues City Tours and do the guided tour thing. There's alway's Graceland, which must be seen to be appreciated. There are many fine art galleries, a great Zoo, and lot's of stuff to see and do....not to mention the food. You must find the Pie Lady. At the risk of starting a flame war, I'll admit that after extended trips away from home, I've been know to eat a jumbo chopped pork sandwich from Tops BBQ on Union Ave for breakfast. It had to be done- BBQ is a mysterious thang. There's lots of great BBQ in Memphis.... Hope this helps. Enjoy Memphis ========================================================================= Date: Fri, 5 Apr 1996 05:38:02 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 04/05 B O R N : BALDOCK, KENNY ( KENNETH ERNEST Born:1932 LONDON, UK Career:BASS Style:JAZZ With:JOHNNY DANKWORTH / OSCAR PETERSON / FREDDY RANDALL / BARNEY KESSELL FLEMMING, HERB ( EL-MICHELLE NICOLAIB ) Born:1900 HONOLULU, HW Career:TROMBONE / SINGER Style:JAZZ / BLUES / BIG BAND With:Jim Europe / Perry Bradford / Johnny Dunn / Sam Wooding / Noble Sissle / Lucky Millinder / Earl Hines / Fats Waller / Bardu Ali / Tommy Dorsey LEVEY, STAN Born:1925 PHILADELPHIA, PA Career:DRUMMER Style:JAZZ / BIG BAND With:Oscar Pettiford / Dizzy Gillespie / Charlie Parker / Allen Eager / George Shearing / Charlie Ventura / George Auld / Freddie Slack / Woody Herman / Stan Kenton / Howard Rumsey's Lighthouse All-Stars / Peggy Lee / Ella Fitzgerald LIEBERSON, GODDARD Born:1911 HANLEY, UK Career:PRODUCER / MANAGER Style:JAZZ / BLUES With:CBS/SONY RECORDS MALCOLM, HORACE Born:1910 ATLANTA, GA Career:PIANO Style:BLUES With:HARLEM HAMFATS McRAY, LARRY 1960 STEPHENS, AR Career:SINGER / GUITAR Style:BLUES MILLET, LOU Born:1926 BATON ROUGE, LA Career:GUITAR Style:CAJUN BLUES PARKER, EVAN ( SHAW ) Born:1944 BRISTOL, UK Career:SOPRANO SAX / TENOR SAX Style:JAZZ With:HOWARD RILEY / DEREK BAILEY / CHRIS McGREGOR / TONY OXLEY TAPSCOTT, HORACE Born:1934 HOUSTON, TX Career:PIANO / LEADER Style:JAZZ / BIG BAND With:DEXTER GORDON / WARDELL GRAY / GERALD WILSON / ERIC DOLPHY / FRANK MORGAN / LIONEL HAMPTON TOTAH, NOBBY ( NABIL MARSHELL ) Born:1930 RAMALLAH, JORDAN Career:BASS Style:JAZZ / BIG BAND TURRENTINE, STANLEY WILLIAM Born:1934 PITTSBURGH, PA Career:TENOR SAX / LEADER Style:JAZZ / BLUES Brother of Tommy Turrentine / Ray Charles / Earl Bostic / Max Roach / Jimmy Smith / Shirley Scott FOR A LISTING OF THOSE THAT PASSED AWAY IN APRIL PLEASE GO TO MY WEB PAGE AT http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Fri, 5 Apr 1996 07:58:00 -0500 Reply-To: RNABooking From: RNABooking Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Why ain't they famous Comments: To: bit-listserv-blues-l@uunet.uu.net My whole roster: Tracy Nelson, Lavelle White, Gary Primich, Mike Morgan & the Crawl, Teddy Morgan....guess I'm just a sucker for a good fight. Maybe, someday. ========================================================================= Date: Fri, 5 Apr 1996 08:41:51 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1827, Joseph Lister was born. He went on to invent mouthwash. On this day in 1887, Anne Sullivan teaches the word "water" to Helen Keller On this day in 1958, Irvin Feld's Greatest Show of Stars opens its 80-day North American tour in Norfolk, Virginia. Headlining are Sam Cooke, the Silhouettes, Royal Teens, Everly Brothers, Jimmy Reed and Clyde McPhatter. The bill is expanded with the addition of Paul Anka, Roy Hamilton, LaVern Baker, Frankie Avalon and others. The tour is expected to gross over one million dollars. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Fri, 5 Apr 1996 07:50:20 -0600 Reply-To: James Foster From: James Foster Subject: EDDIE HINTON'S "NEW CD" I just noticed on CD NOW an entry for a 'new' CD by Eddie Hinton called "12 Garage Soul Anthems". Does anyone on the list know what this is...is this a new collection of previously unreleased songs by Hinton or is it a re-issue. His album "Very Extremely Dangerous" has ten songs, while "Letters From Mississippi" has, in its now out-of-print CD version, 13. The "new" album is put out by ZANE. Any help would be greatly appreciated. Thanks... James Foster ========================================================================= Date: Fri, 5 Apr 1996 08:50:27 -0500 Reply-To: Greg Vaughn From: Greg Vaughn Subject: Tulsa Blues Fest Being a recent subscriber to Blues-L, this is my first post to this list. For those that cannot make it to Memphis for the Beale St. Fest, you might consider coming to Tulsa for the May 3 & 4 shows. The Tulsa Blues Fest will have 3 stages (a mix of indoor & outdoor) with the indoor stage being in historical Cain's Ballroom (home of Bob Wills & the Texas Playboys among others). Tickets are $20 for both days. The schedule for appearance has not been released yet, but the following will be featured: John Hammond, Bugs Henderson, Chris Duarte, John Mayall, Johnny Nicholas, Carey Bell, Robben Ford, R.L. Burnside, Terrance Simien, Omar & the Howlers, James Harman, Johnnie Johnson, Robert Lockwood, Jr., Glenn R. Townsend (local), El Bob & X-Wray, Blue Combo, and more as yet unnanounced. Looks like a great lineup to me! What do you guys think? -- Greg Vaughn ========================================================================= Date: Fri, 5 Apr 1996 08:57:35 -0500 Reply-To: Greg Vaughn From: Greg Vaughn Subject: Chris Duarte A couple of weeks ago, I saw a Joe Satriani/Chris Duarte show at Cain's Ballroom in Tulsa. Duarte opened the show with a way too short set of 45 minutes. If he comes to your town - - he is a must see IMHO. Satriani was interesting, but 2 hours of his music was a little too much for me. However, he did play several bluesy sounding songs (complete with harp). Anyway, Duarte is not to be missed. Lots of emotion, high energy level, and he acted like he was having a great time. His bass player plays a huge 6 string bass that is interesting to see. Mighty fine bass player as well. -- Greg Vaughn Orioles - 1996 World Series Champs!! ========================================================================= Date: Fri, 5 Apr 1996 09:14:00 -0500 Reply-To: RsprBlues From: RsprBlues Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Larry Mcray! (And how it sucks to be a blues fan under 21) Comments: To: bit-listserv-blues-l@uunet.uu.net Thanks for the rave review! He'll be at Springing the Blues in Jacksonville Beach, Florida next weekend and I can't wait to hear him. Betsy Veal http://www.springingtheblues.com ========================================================================= Date: Fri, 5 Apr 1996 10:20:19 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Muddy Waters Birthday Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *Lurking in there between Gary Moore and a trumpet player for Bessie Smith on *today's birthday list from Uncle Eric is McKinley Morganfield. Today, Muddy *Waters would have been 81. No comment on this list so far, but this has got *to be one of the 4-5 most significant birthdays in blues. Definitely one of the most significant. And I'm pretty sure tomorrow is Walter Horton's birthday - another very important one. -Steve ========================================================================= Date: Fri, 5 Apr 1996 09:41:46 -0800 Reply-To: Beowulf From: Beowulf Organization: The Wolfpack Subject: Re: Why isn't this person famous ? Comments: To: bit-listserv-blues-l@uunet.uu.net Since Dick Waterman's message was expired from my news server, I'll attach this to T-Bone's reply. James Carr is known to me as the author of "Pouring Water On A Drowning Man", a tune he did as well as Otis Clay and more recently, Darrell Neulisch and Texas Heat. I believe a reissue of James Carr's sixties stuff was released some time last year. Great powerful soul voice. As far as T-Bone's message goes, we here in Indianapolis venerate Yank Rachell (author of "She Caught The Katy") and regard him as the patriarch of the local blues scene here! That he's not as well known as he should be was evident when John Sebastien used Yank on a recent recording and said he didn't even know Yank was alive. -- kelly@netusa1.net(Kelly Hoggard) The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! Check out their home page at http://www.netusa1.net/~kelly/ ========================================================================= Date: Fri, 5 Apr 1996 06:56:49 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Roy Bookbinder >Does anyone know of a folk/blues musician named Roy Bookbinder? I'm told he's >from Florida and has a CD out, "By the Book". He may play our extremely small, >extremely out of the way little burg, Dillon, MT. I'll probably attend whether >y'all say he's good, bad, indifferent or never heard of him...we get so little >beyond shit-kicker music...we featured Kathy Mattea on Labor Day last year, >which we hicks like to refer to as "Montana's Biggest Weekend"...they played >in the local high school gym...accoustics from hell! > >Thanks in advance, > Actually, he's got several cd's out, including Bookeroo! (which I've got and love) and Live Book as well as another one, the title of which I can't recall at the moment. I'd go see him if I was you - great country blues classics and originals, he's a fantastic picker, and apparently he's quite a captivating performer. -Jim (hndful@uniserve.com) ------------------------------------------------------------ Check out 'Heart and Soul', a new hour of blues, gospel, and jazz every week on SDF-Net Community Radio - http://sdf-radio.colossus.net. ------------------------------------------------------------ ========================================================================= Date: Fri, 5 Apr 1996 09:51:19 -0500 Reply-To: Rags_Trips_On_Gras From: Rags_Trips_On_Gras Subject: COREY_HARRIS_in_PITT!! --------------------------------------------------------------- When > Saturday April 6, 1996, 8:30 pm Where > Graffiti, PITTSBURGH, PA Who > Corey Harris + Ian Moore --------------------------------------------------------------- Now, as I read IN PITTSBURGH, it says, IAN MOORE serving (blues) up Austin style .... .....with N'AWLINS acoustic sounds of COREY HARRIS I read the last issue of LIVING BLUE which had COREY HARRIS on the cover and am looking forward to some good acoustic blues. Any info about IAN MOORE ?????? Om Shanti!! Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ Laissez les bon temps roulez!!...Let the good times roll!! +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Fri, 5 Apr 1996 09:00:45 -0600 Reply-To: Dave Daubard From: Dave Daubard Subject: Re: Mighty Blue Kings Comments: To: SGLIWA In-Reply-To: They did the CD themselves so you'll need to get it from them. They should return to C-U soon. They set a record at the Blind Pig for the cash register. ========================================================================= Date: Fri, 5 Apr 1996 09:15:12 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Re: Paul Geremia > > I think I've heard him mentioned here before. Can someone illuminate > what kind of show he puts on. > > ============================================================================== > Jim Leftwich Jim's Blues N' Brews > leftwich@cloud9.net http://www.cloud9.net/~leftwich > "I'm on cloud9!" :) New CD Giveaway: Jordan Patterson > ============================================================================== > Paul Geremia is a quiet middle-aged fellow who playes and sings wonderful acoustic blues. His "Hard Gumbling Woman" is one of my favorite acoustic blues albums of all time. Newest release, "Self Portrait in Blues" is an excellent album as well. In concert, you will not here many exciting stories and the finest communication with the audience, but you will here excellent blues. In a intimate club setting (with seating) acoustic blues does not get any better than that. Not to mention he is an excellent harp player too. To give you an idea, IMO Paul Geremia is a much better blues guitarist, harpist, singer, and especially songwriter than say John Hammond and other much more famous performers. He gets my vote for "why isn't he famous." Ranko ps. Not associated, just a big fan - Buy "Hard Gumbling Woman" you will thank me for that!!!!! ========================================================================= Date: Fri, 5 Apr 1996 07:24:30 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: April 6 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- DAVIS, MARTHA (p) d. 1960-0406, MOUNT VERNON, NY 42 FRECHE, EDWARD J. (g/NEVILLE BROTHERS) d. 1995-0406, NEW ORLEANS, LA 47 HAGGARD, MERLE (g/songw) b. 1937-0406, BAKERSFIELD, CA HARDMAN, BILL (tpt/BRADSHAW) b. 1933-0406, CLEVELAND, OH HENDERSON, ROSA DESCHAMPS (v) d. 1968-0406, NEW YORK CITY, NY 71 HILL, BILL BIG [WILLIAM H. HILL] (dj) b. 1914-0406, ENGLAND, AR HITE, BOB "THE BEAR" (g/hca/CANNED HEAT) d. 1981-0406, MAR VISTA, CA 38 HORTON, WALTER "BIG" (hca) b. 1918-0406, HORN LAKE, MS KENNEDY, JIMMY (songw) d. 1984-0406, CHELTENHAM, UK 84 KIRKLAND, LEROY (awesome/R&B prod/arr/g) d. 1988-0406, MANHATTAN, NY 82 MAGID, LEE (arr/prod/SAVOY/JUBILEE REC) b. 1926-0406, NEW YORK CITY, NY ROUSE, CHARLIE (tsax/MONK/VINSON) b. 1924-0406, WASHINGTON, DC STAX, JOHN (b/PRETTY THINGS) b. 1944-0406, CRAYFORD, KENT, UK WESTON, RANDY (p/VINSON/BULLMOOSE) b. 1926-0406, NEW YORK CITY, NY ------------------------------------------------------------------------------- ========================================================================= Date: Fri, 5 Apr 1996 10:23:35 -0500 Reply-To: SliderDW@AOL.COM From: Don Williams Subject: Re: No Subject Comments: To: steamin@valleynet.com In a message dated 96-04-05 05:56:20 EST, steamin@VALLEYNET.COM (Stan Ruffo) writes: > >Also, Does anyone know where I could get some info on Dot Records? >(a sub of Paramount) > > If Dot was part of Paramount, then its now owned by MCA Records. They have put out some, not muchm Paramount stuff but seem to be ignoring their Dot catalog. Don Williams ========================================================================= Date: Fri, 5 Apr 1996 10:06:31 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Blues in LA/SF/Oakland in May A friend is going to miss the Beale Street fest and will be in the San Fran area some and Oakland...etc. What's happening in and around those areas on May 3rd, 4th, 5th, 6th, & 7th Thanks a lot LW ========================================================================= Date: Fri, 5 Apr 1996 11:10:15 -0500 Reply-To: BluesRevue From: BluesRevue Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Paul Geremia Comments: To: bit-listserv-blues-l@uunet.uu.net Paul Geremia, IMO, is the best living artist doing the styles that he does . .. which is heavy on the slide guitar, Blind Lemon, Blind willie McTell, et al . . . and he also writes some of the best originals today. Go hear him . . . if you love acoustic blues, you'll love Paul Bob Vorel - and I do have an interest . . . ========================================================================= Date: Fri, 5 Apr 1996 08:30:01 -0500 Reply-To: David Melton From: David Melton Subject: Re: Why isn't this person famous ? Comments: To: Jinxblues@AOL.COM Two outstanding talents immediately come to my mind: Arther Adams Sam Taylor Both have been around for a long time but have remained obscure. Dave Melton I second and third the motion for Cathi Norton. Cathi, you're wonderful! ========================================================================= Date: Fri, 5 Apr 1996 11:21:11 -0500 Reply-To: Jon Duttweiler From: Jon Duttweiler Subject: Byther Smith I know there are a number of Byther Smith fans on the list and was wondering what CD you would recommend for a first time listener. I'm hoping to expand my collection in his direction and recommendations would be most appreciated! TIA, JD ========================================================================= Date: Fri, 5 Apr 1996 11:33:26 -0500 Reply-To: Toronto Blues Society From: Toronto Blues Society Subject: roy bookbinder >Does anyone know of a folk/blues musician named Roy Bookbinder? I'm told he's >from Florida and has a CD out, "By the Book". He may play our extremely small, >extremely out of the way little burg, Dillon, MT. I'll probably attend whether >y'all say he's good, bad, indifferent or never heard of him...we get so little >beyond shit-kicker music...we featured Kathy Mattea on Labor Day last year, >which we hicks like to refer to as "Montana's Biggest Weekend"...they played >in the local high school gym...accoustics from hell! >Thanks in advance, >Paul dear paul, roy showcased at this year's Folk Alliance conference and made a real impression. he is a storyteller extraordinaire and stretches out his performances with thoroughly charming wit and humanity. gut bucket, not. handle bar mustache, large, hat, yes. don't miss his show. regards, derek. p.s. his agent is kathleen finegan/pegasus in the d.c. area. ========================================================================= Date: Fri, 5 Apr 1996 08:47:02 -0500 Reply-To: David Melton From: David Melton Subject: Re: Why isn't this person famous ? Comments: To: Jinxblues@AOL.COM There is another that I forgot to mention: Denny Freeman. What a great guitar player. The Vaughan Brothers used to call him "the professor" because he knew all the coolest stuff and where it came from, and they were both heavily influenced by him. He plays here in LA (moved out from Texas a few years back) every Thursday at a place called Cozy's. I saw him last night and what a treat and an inspiration. Can't say enough good about this guy. I guess among us guitar players, he is famous. Dave Melton (Am affiliated with Denny as player and a friend,) ========================================================================= Date: Fri, 5 Apr 1996 11:48:10 -0500 Reply-To: FORCELLAD@CCSUA.CTSTATEU.EDU From: Domenic Forcella Subject: Paul Geremia at Ironhorse It looks like Dan Hicks and Paul Geremia are appearing at the Ironhorse Music Hall in Northampton, Mass. on Friday April 12. Domenic Forcella Traveling with the Blues wfcs 107.7fm ========================================================================= Date: Fri, 5 Apr 1996 12:24:13 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re[2]: Why isn't this person famous ? I'd have to nominate my good friend Sonny Moorman for this category. Although his soon-to-be-released CD might do the trick... He's certainly a favorite in the Cincinnati area! Shannon ========================================================================= Date: Fri, 5 Apr 1996 11:34:16 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 04/06 B O R N : BERTONCINI, GENE Born:1937 NEW YORK, NY Career:GUITAR Style:JAZZ With:CLARK TERRY / PAUL WINTER / WAYNE SHORTER / DUO WITH MICHAEL MOORE HARDMAN, BILL ( WILLIAM FRANKLIN ) Born:1933 CLEVELAND, OH Career:TRUMPET / FLUGLEHORN Style:JAZZ With:CHARLIE MINGUS / ART BLAKEY / HORACE SILVER / LLOYD PRICE / LOU DONALDSON / JUNIOR COOK / TINY BRADSHAW HORTON, WALTER "BIG" Born:1918 HORN LAKE, MS Career:HARMONICA Style:BLUES With:MEMPHIS JUG BAND 1927 / HONEY BOY EDWARDS / LITTLE BUDDY DOYLE / MUDDY WATERS / JOHNNY SHINES / OTIS RUSH / HOWLIN WOLF HOWARD, NOAH Born:1943 NEW ORLEANS, LA Career:ALTO SAX / LEADER Style:Blues / JAZZ HUBBLE, ED ( EDDIE ) Born:1928 SANTA BARBARA, CA Career:TROMBONE Style:TRAD / JAZZ / BIG BAND With:RED McKENZIE / JOHNNY WINDHURST / ALVINO REY / BUDDY RICH / BILLY MAXTED / PHIL NAPOLEON / DUKES OF DIXIE / GEORGE MORROW / WORLDS GREATEST JAZZ BAND / FLIP PHILLIPS / KINGS OF JAZZ / JIM CULLUM McHARGUE, ROSY ( JAMES EUGENE McHARGUE ) Born:1907 DANVILLE, IL Career:CLARINET / ALTO SAX / ARRANGER / LEADER Style:TRAD / JAZZ With:The Wolverines / Seattle Harmony King / Sig Meyers / Maurie Sherman / Ted Weems 1934-42 / Eddie Miller 1943 / Kay Kyser 1943-46 / Red Nichols / Pete Daily / Pee Wee Hunt MULLIGAN, GERRY ( GERALD JOSEPH MULLIGAN ) Born:1927 NEW YORK, NY Career:BARITONE SAX / ARRANGER JAZZ / BIG BAND With:Tommy Tucker / Miles Davis / Elliot Lawrence / Claude Thornhill / GENE KRUPA / Chet Baker / Chico Hamilton / Bob Whitlock NIEWOOD, GARRY ( NEVIDOSKY, GERALD ) Born:1943 ROCHESTER, NY Career:SOPRRANO SAX / TENOR SAX Style:JAZZ PIZZARELLI, JOHN ( PAUL JR ) Born:1960 PATERSON, NJ Career:GUITAR / SINGER Style:JAZZ SON OF BUCKY / With:TONY MONTE PREVIN, ANDRE Born:1929 BERLIN, GERMANY Career:PIANO / COMPOSER / ARRANGER / CONDUCTOR Style:JAZZ / BIG BAND Chief collaborators Betty Comden, Adolph Green, Bob Russell, Paul Francis Webster, wife Dory Langdon (earlier wife singer Betty Bennett) ROUSE, CHARLIE Born:1924 WASHINGTON, D.C. Career:TENOR SAX Style:JAZZ / BLUES / BIG BAND With:Billy Eckstine 1944 / Dizzy Gillespie 1945 / Tadd Dameron / Duke Ellington / Benny Green / Julius Watkins / Thelonious Monk TAYOR, ART ( ARTHUR S TAYLOR JR. ) Born:1929 NEW YORK, NY Career:DRUMMER Style:JAZZ With:Coleman Hawkins 1950-51 / Buddy De Franco 1952 / Bud Powell 1953 / George Wallington / Art Farmer 1954 WESTON, RANDY ( RANDOLPH E. WESTON ) Born:1926 BROOKLYN, NJ Career:PIANO / COMPOSER Style:JAZZ / BLUES With:Art Blakey 1949 / Bull Moose Jackson / Eddie Vinson / Kenny Dorham / Cecil Payne FOR A LISTING OF THOSE THAT PASSED AWAY IN APRIL PLEASE GO TO MY WEB PAGE AT http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Fri, 5 Apr 1996 11:39:23 -0600 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: Why isn't this person famous ? > There is another that I forgot to mention: > > Denny Freeman. What a great guitar player. The Vaughan Brothers used to > call him "the professor" because he knew all the coolest stuff and where > it came from, and they were both heavily influenced by him. He plays here > in LA (moved out from Texas a few years back) every Thursday at a place > called Cozy's. I saw him last night and what a treat and an inspiration. > Can't say > enough good about this guy. I guess among us guitar players, he is famous. I would have to second this one. I've seen him play many times. He can hold his own with anyone. He can also play a pretty mean piano, as he did when recently touring with Jimmie Vaughan. Bruce Roberts Austin, TX ========================================================================= Date: Fri, 5 Apr 1996 11:40:36 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Re: Paul Geremia I appologize for wrong title of Paul Geremia's album, it is not "Hard Gamling Woman," that's the opening track, but rather "Gamlin' Woman Blues." I also spelled "Gamblin'" correctly this time -:) BTW, I was driving to Omaha, NE, last Monday to get my "green card blues" and two tapes I brought with me were "Gamblin' Woman Blues" and a self-made compilation of my favorite Neville Brothers and Aaron Neville solo songs. My "hard gamblin' woman" who went along was mightly impressed with Neville Brothers. She asked me to play "Yellow Moon" many times. She looked at disbelief while I was describing how Aaron looks physically - not color, she knows I listen to 95% black performers. Such a voice from such a tough looking fella. Love them Nevilles. Felt good yesterday after I finally framed and hang two prints by Paul Campbell I bought at the Delta Blues Museum in Clarksdale two years ago. One showing "Storm over Delta" and another a blues guitarist. Ranko ========================================================================= Date: Fri, 5 Apr 1996 13:56:35 -0500 Reply-To: Rags_Trips_On_Gras From: Rags_Trips_On_Gras Subject: COREY_HARRIS+IAN_MOORE!!! I wonder how IAN MOORE BAND got a BILLING with COREY HARRIS!!! Acoustic Blues and Blues Rock... uhhhh uh!!! I look forward to COREY HARRIS for sure.... Should tell him N'Awlins style... Laissez les bon temps roulez!!...Let the good times roll!! :) Om Shanti!! Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ Laissez les bon temps roulez!!...Let the good times roll!! +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Fri, 5 Apr 1996 14:24:23 -0500 Reply-To: Renato154@AOL.COM From: Renato Tonelli Subject: Re: Italian blues (Was Zucchero's US Tour Dates) Comments: To: hndful@uniserve.com For some good blues harp playing from Italy check out Giancarlo Crea. I don't know if his records are available in the US. Renato Tonelli ========================================================================= Date: Fri, 5 Apr 1996 14:24:32 -0500 Reply-To: Renato154@AOL.COM From: Renato Tonelli Subject: Re: Roosevelt "Booba" Barnes passed away last night Comments: To: pwfenton@gate.net Very sad to hear more bad news. I once booke "Booba" on two Italian Blues Festivals some years ago. The Festival organizers were very happy with his performances and have talked about bringing him back in the future. Renato Tonelli ========================================================================= Date: Fri, 5 Apr 1996 20:08:38 +0100 Reply-To: Byron Foulger From: Byron Foulger Subject: Buick '59 For Stan Ruffo: I assume you are referring to Vernon Green & the Medallions' song from Dootone, now available on Ace(UK)'s new Dootone doo-wop vol 1 CD. OK? Byron ========================================================================= Date: Fri, 5 Apr 1996 20:16:32 GMT Reply-To: aviper From: aviper Organization: Internet Services Of Fredericksburg Subject: Roy Buchanan Comments: To: bit-listserv-blues-l@uunet.uu.net Anyone have or know where I can get a copy of Roy Buchanan video that aired in the early seventies on Austin City Limits? E-mail aviper@interserf.net. Thanks ========================================================================= Date: Fri, 5 Apr 1996 15:24:00 -0500 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re: Big Joe Turner/London Whoa now peoples, did I anywher say it was THE Big Joe Turner? It's not illegal for two people to have the same name you know, it does happen! ----------------------------------------------------------- I totally agree, and this reminds me of the time in the 70s I had my name legally changed to "Cream" and sold out the Garden in New York City. No reason on earth why I couldn't have that legal name, and I thought I put on a fine show too, but the audience was for some reason filled with narrow minded people all flinging packs of E-Z Wider rolling paper at me, whipping the little red packages full force like skipping stones on a lake, mind you. Worse, I was just barely done playing "White Room" (hey, I happened to like the song) on my ukulele when this telegram is delivered to the stage from the Unholy One himself promising to sue. Anyway, it all worked out in the end, and even after I paid out a big cash settlement I was in the black, having backed phony "scalpers" to drive the door price right through the imbecilicly designed roof (take *that*, Penn Station!). But it was a real lesson for me in how a few hotheads can take a perfectly innocent name-coincidence exactly the wrong way, and I'm just glad you took time to share your view with us. Give 'em hell! BIG BLUE JOE IN EVEN BIGGER RED RUSSIA J.E._Downey@bakermck.com ========================================================================= Date: Fri, 5 Apr 1996 15:06:17 EST Reply-To: John Doukas From: John Doukas Subject: Paul Geremia in concert James Leftwich requested opinions on Paul Geremia's live shows. Paul Geremia is one of my favorite "modern" blues players, both on disk and in concert. On disk, "My Kind of Place" is my choice as his best, but all of his recordings are excellent. As to live shows, I've seen him about a dozen times, and have always seen a great performance. Basically, he'll perform very close to what you hear on his recordings. He'll play 6 string and 12 string guitar, and piano if one is available, and do an overview of his repertoire. However, he (like John Hammond) has an encyclopedia of songs in his head, and you can request songs not normally associated with him. For instance, I once went to a Doc Watson show (at Nightstage, in Cambridge MA) where Paul was the opening act. Doc Watson was sick and had to cancel, so Paul became the main act. An audience member called out a request for "something by Doc Watson", and Paul replied with one of the best versions of "Deep River Blues" I've ever heard (right up there with Doc's and the Delmore Brothers). His stage chatter is fairly minimal (a little more than John Hammond, but less than Rory Block, if that helps), but enough to help with the "concert" experience. One interesting point is his perpetual tardiness at local shows. As he lives in Rhode Island, he drives to shows in Massachusetts, and for every show I've seen him perform in MA he has been at least 45 minutes late. I remember one show at a church coffeehouse in Marblehead MA, where the show organizers had no experience with Paul. When he hadn't shown by showtime, they were ready to call off the performance. I related my experiences regarding his late arrivals and suggested they wait awhile. Well, he showed up over an hour late, walking in the back door, proceeding directly to the stage, and playing within 1 minute of his arrival. And, since he was so very good, no one seemed put out. On a related note, I can also highly recommend live shows by my other favorite "modern" blues players, namely John Hammond, Rory Block, and Chris Smither. I've seen all these artists many times, and have always had a great time. Many others have on this list have commented on John Hammond's dynamic performances. Well, the exact same can be said for Rory Block and Chris Smither. I once went to a concert (at town hall in Belmont MA) that featured PG, JH, and RB. I knew that I liked blues music before the show, but this was the event that made me a true addict. Now, a show with all four of these artists would be something to see! ========================================================================= Date: Fri, 5 Apr 1996 15:53:55 -0500 Reply-To: RAHalonen@AOL.COM From: Reeann Halonen Subject: Re: Re[2]: Why isn't this person famous ? I would have to submit Dick Powell (Washinton Blues Society Hall of Famer...thats the other Washington). Here is a guy who has also paid his dues and provided so many wonderful blues experiences. I was sort of hoping that this thread would develop into a discussion about what elements (besides talent of course) are necessary for *success*. Is it knowing the right people? Or being at the right place at the right time? Is it one of those deals where you have more control than you think you do....or is it purely luck. I would love to know how to best help promote struggling musicians who work so hard and get amazingly little in terms of monetary reward. It sure doesn't seem right. Ree Anne ========================================================================= Date: Fri, 5 Apr 1996 21:56:59 GMT Reply-To: Art Schuna From: Art Schuna Organization: UW-Madison Subject: Re: Buick '59 (was (no subject given) Comments: To: bit-listserv-blues-l@uunet.uu.net In article <01BB2298.C18C6E80@visalia2-16.valleynet.com>, steamin@VALLEYNET.COM says... > >Any one know who wrote, recorded, or made popular a song entitled >Buick '59? I'm pretty sure this was Vernon Green and the Medallions. They also did a tune called Volvo '59 - same tune, pretty much same lyric, different car. I'll check at home at let you know if it was I'm wrong on this. I'm not sure who's credited with writing it, but I can check on this over the weekend. Art Schuna ========================================================================= Date: Fri, 5 Apr 1996 13:58:10 -0800 Reply-To: Sherie Brubaker From: Sherie Brubaker Subject: Blue Notes, a magazine by the Sacramento Blues Society Comments: To: bluslovr@AOL.COM, lknight1@AOL.COM, LRUCKER@AOL.COM, PNEEL89564@AOL.COM, ROOSTERMAN@AOL.COM, RSOLIS@ASANTE.COM, 76100.2316@compuserve.com, murranch@ix.netcom.com, JAZZINFO@JAZZNOW.COM, STEVE.SIACOTOS@MTV.GTEGSC.COM, wpc@netcom.com, markj@proxim.com, vvisa@sierra.net, SFBEAT@SIRIUS.COM, newsroom@TheReporter.com If you have any interviews, CD reviews, articles & photos you'd like to be considered for publication in the Sacramento Blues Society's Blue Notes magazine, please submit electronically if possible to LLHAM.ucdavis.edu. If not electronically, then hardcopy to Linda Ham, 4752 Antonia Court, Sacramento, CA 95820. We prefer to have submittals by the 1st of the month, two months prior to publication. The committee meets the 1st Tues of each month to plan the next two issues... we review what has been submitted and pick what will be in the next issues. For example, for the Jan issue, we'd prefer receiving materials by Nov 1st, and at the very latest, Dec 1st. We definitely need matieral for our June issue as I'll be take a vacation from writing for our great publication and attending the New Orleans Jazz & Heritage festival. The Blue Notes goes to all the record companies, and approx 600+ members, and other interested parties. We also accept advertising. For Ads contact Richard Selleseth, 916-373-2552. To have No. Cal Blues related events listed in our calendar, call Jean Coughlin at 916-924-8220 by the 10th of the month prior to publication. ========================================================================= Date: Fri, 5 Apr 1996 17:27:14 -0500 Reply-To: RhythmShrk@AOL.COM From: Bernie Clarke Subject: Re: Why isn't this person famous ? In a message dated 96-04-04 17:31:27 EST, you write: > >My vote is for Jon Paris. Put in a lot of years as a sideman (Johnny Winter, >Robert Gordon) *and* fielded his own band in-between tours. Has his own >power-trio now, good vocals, great guitar, strong original material, and >a good CD. And can't seem to get booked outside NYC. A mystery to me. > >Jennifer Zogott > I think this is the guy that I'm opening up for at the NYS Blues Festival in Syracuse on July 19th. I had never heard of him, but I had heard he was one of Johnny's sidemen. Bernie Clarke ========================================================================= Date: Fri, 5 Apr 1996 17:27:54 -0500 Reply-To: Jonny Meister From: Jonny Meister Subject: Re: Why isn't this person famous ? JOHNNY HEARTSMAN FINIS TASBY ========================================================================= Date: Fri, 5 Apr 1996 17:27:56 -0500 Reply-To: Jonny Meister From: Jonny Meister Subject: Re: Sonny Rhodes - what's with the hat? At 11:37 AM 4/4/96 -0800, you wrote: >> Just idle curiosity. Does anyone know the story >>behind the turban? He basically onlt wears it on stage. >I heard an interview with Sonny on the HOB radio hour a few months back. He >said that in his youth he tried to 'process' his hair or something it >didn't work. After the DIY job, he was walking home when it began to rain. >The the water set off the chemicals which started to smoke and generally do >much damage to his hair. SInce then has been a little short on top. He has >always worn a hat since then. The turban is for the stage. I forget how he >came across that idea. From Chuck Willis, I think... -Jonny >Shaun > >Shaun Cronin 'Woke up this morning between midnight and day. I was >shaun@wavenet.com hugging the pillow where my baby used to lay.' Son >House > >From Chuck Willis, I think... -Jonny ========================================================================= Date: Fri, 5 Apr 1996 14:58:42 -0800 Reply-To: Jordan From: Jordan Organization: San Francisco Denizen Subject: Re: Why isn't this person famous ? Comments: To: bit-listserv-blues-l@uunet.uu.net I wrote this for Southland Blues (Long Beach, CA) in December of 1994. I still feel the same way. "Former Bay Area and current West Los Angeles resident Ron Thompson (and the Resistors) played San Francisco's Lost and Found and Blues in two rousing performances recently and as usual rocked the house. Someday, someone will explain to me why Ron isn't a major star. He's a young, multi-talented guitarist, keyboardist and harmonicat who plays blues straight from the heart. He has been lead guitarist with everyone from Big Mama Thornton to Etta James, from John Lee Hooker to Percy Mayfield, from Lowell Fulsom to Jimmy Witherspoon and Homesick James. He also has an invigorating solo release, Just Like A Devil, available through (co-hort Mark Naftalin's) Winner Records. If you ever get a chance to catch Rockin' Ron either with his Resistors or with Mick Fleetwood's band, do yourself a favor and check this staggering talent out." Joseph Jordan Bay Area Blues Beat San Francisco, CA -- Down these mean streets, a man must go. - Raymond Chandler - ========================================================================= Date: Fri, 5 Apr 1996 16:37:37 -0700 Reply-To: Gary Constantine From: Gary Constantine Subject: J-card inserts I seem to be taping more and more music. I'm finding a lot of old vinyl that I enjoy but some of it is in pretty bad shape so I can do a bit of cleanup on the deck and I have to tape it anyway if I want to listen to it at work or in the truck. Which brings me to: What programs are people using to make the J-card inserts for the cassette cases? I have a program (shareware) called Caseliner that I bought years ago. It serves the purposebut I was wondering if anyone knows of the ultimate J-card maker. Any suggestions would be appreciated. Thanx, Happy Easter, Gary ............ ========================================================================= Date: Fri, 5 Apr 1996 16:13:37 -0800 Reply-To: Sherie Brubaker From: Sherie Brubaker Subject: Sac Blues Society 5-18-96 Press Release Comments: To: bluslovr@AOL.COM, lknight1@AOL.COM, LRUCKER@AOL.COM, msbeale@AOL.COM, PNEEL89564@AOL.COM, ROOSTERMAN@AOL.COM, RSOLIS@ASANTE.COM, dugsmith@ipx.netcom.com, murranch@ix.netcom.com, JAZZINFO@JAZZNOW.COM, com@kfog1045.dot.ca.gov, STEVE.SIACOTOS@MTV.GTEGSC.COM, pulsemag@netcom.com, wpc@netcom.com, markj@proxim.com, vvisa@sierra.net, SFBEAT@SIRIUS.COM, newsroom@TheReporter.com, llham@ucdavis.edu I can't remember if I have sent this to you or not.. so here 'tis SACRAMENTO BLUES SOCIETY Sac Blues Hotline 916-556-5007 Sacramento, CA PRESS RELEASE - PUBLIC SERVICE ANNOUNCEMENT Contact: Sherie Brubaker Event Date: 5-18-96 O: 916-654-6237 H: 916-383-6557 Date of Notice 4-4-96 Sacramento Blues Society BLUES IN THE PARK The Sacramento Blues Society (SBS) present the first of many 1996 Blues in the Park events at Tahoe Park. This free community event will feature The JOHNNY NOCTURNE BAND FEATURING BRENDA BOYKIN. This is also a benefit for the Sacramento Food Bank. When the Johnny Nocturne Band wails, their style moves from sophisticated swing to big beat rock and roll. Taking it's cue from the past masters of the "Little Big Band era", the Johnny Nocturne Band creates musical fire in the tradition of the early West Coast jump bands but brings a modern sensibility to its sound. This is not music for polite conversation or meaningful discussion. This is wailing, get down on top of it, let your hair down, dance music of the highest order. This eight piece band features Brenda Boykin who's brassy contralto blues and jazzy vocals spice up the soup. When Brenda appears, she takes over the stage, singing, purring, cajoling and mesmerizing the crowd with her sensuous moves. This will be the premier performance of Grass Valley's The Bandana Blues in Sacramento. This four piece band with two guitarists are sure to get the crowd warmed up. Johnny Nuggett's Health & Happiness Blues & Road Show will surely get the crowd rockin' and rolling before the day is through. Event Date/Time: May 18th Saturday Noon to 6 pm Bands: 1st: The Bandana Band 2nd: JOHNNY NOCTURNE BAND FEATURING BRENDA BOYKIN 3rd: Johnny Nuggett's Health & Happiness Blues & Road Show Where: Tahoe Park, 3535 - 59th Street, Sacramento Cost: FREE ADMISSION Other: Benefit for the Sac Food Bank. Please bring donations. Food and beverages available for sale. For More Information: Media staff: Contact Sherie at her phone numbers above. Public: Contact The Sacramento Blues Society Hotline 556-5007 for more information. Please make sure all listings say the event is Sponsored by The Sac Blues Society and lists our Hotline phone 556-5007. THANKS! DON'T MISS THE FUN - UPCOMING SAC BLUES SOCIETY EVENTS! 4/6/96 Angela Strehli & The Soul Drivers 7pm doors open, Sat. 8pm show starts with The Hucklebucks. $10/$12. La Sierra Community Center. 5325 Engle Road (between Garfield & Walnut), Carmichael CA. No Smoking allowed inside the venue. Food & beverages for sale. 4/21/96 Mick Martin & The Blues Rockers, The Luminators, & The All Star Blues band with Omar Sharriff, Johnny Heartsman, Jimmy Pailer & hopefully Arbess Williams. Sac Inn, 4-10pm. $8 adv at The Beat, $10 door. 443-5210. SBS is co-sponsor for this 5th Anniversary party for the Comic Press News. 5/18/96 Sat. Free Blues in the Park at Tahoe Park, 12-6 pm, Benefit for Sac Food Bank. The Bandana Band, Johnny Nocturne Band featuring Brenda Boykin, and Johnny Nuggett's Health and Happiness Blues and Road Show. 5/24-27/96 Memorial Weekend Sacramento Jubilee, many Blues Bands will be featured all weekend including Mick Martin, Nitecry, Catfish & the Crawdaddies, Lena Mosley + more. 6/22/96 Blues Cruise on the Sacramento River. Note NEW DATE. 5-8 pm on The Elizabeth Louise, Docked at Raley's Landing in West Sac. Call 427-3755 for info & tickets. Lena Mosely Band. Dinner included. $22 SBS members $24 public. Advance Tix available at The Beat. Get 'em early, we sold out 2 weeks in advance last year. 7/27/96 Blues in the Park, Noon-7 pm, with Female artists at McClatchy Park, 5th Avenue near 35th Street. Benefit for Birthing Project. Free 8/17/96 Blues in the Park Noon-7pm, William Land Park at Amphitheater or behind Fairy Tale Town. East of Land Park Dr. between 13th Ave and Sutterville Rd. Free 9/28/96 2nd Annual Blues on the Waterfront in Old Sac. Noon to 7 pm. Benefit for the Sac Food Bank. Free ========================================================================= Date: Fri, 5 Apr 1996 19:24:53 -0600 Reply-To: Mark Gobeyn From: Mark Gobeyn Subject: booba Barnes Rest in peace, Roosevelt. Man, you were absolutely essential. ========================================================================= Date: Fri, 5 Apr 1996 17:52:45 -0500 Reply-To: David Melton From: David Melton Subject: Re: Why isn't this person famous ? Comments: To: Jonny Meister At 5:27 PM 4/5/96, Jonny Meister wrote: >JOHNNY HEARTSMAN > >FINIS TASBY I certainly agree to this one. I've known Finis for many years and he is a great singer. Writes good stuff too. I certainly hope his new CD helps to change his unknown status. Dave Melton ========================================================================= Date: Fri, 5 Apr 1996 17:52:57 -0500 Reply-To: David Melton From: David Melton Subject: Re: Denny Freeman At 5:47 PM 4/5/96, David Melton wrote: >At 12:38 PM 4/5/96, don.o@chrysalis.org wrote: >> > Denny Freeman. What a great guitar player. >> >>Yeah, good one. I sure wish he'd make some more recordings. >> >>Don O. > > >He's got some great new stuff and is currently shopping a demo. > >Dave Melton ========================================================================= Date: Fri, 5 Apr 1996 17:52:14 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: The Jinx Blues At great risk of embarassing a man I am proud to count among my friends, = I am offering a few rememberances and musings on Dick Waterman My first memory of that name comes from reading the liner notes on Son = House's 1963 recordings. Recordings that changed my perspective on life = and art. I still consider "Death Letter", from that session, among the = finest blues ever recorded. Right up there with "Maggie Campbell Blues", = "Cypress Grove Blues" "Elder Green Blues", and "M & O Blues". My second memory of Dick is sitting cross legged on the sparse grass of = a field in Ann Arbor, Michigan watching him try to make sense out of a = stunning array of blues talent as the M. C. of the Ann Arbor Blues = Festival, and doing a damn fine job, I might add. Later I saw his name bannered across the prestigeous "Avalon" Talent = Agency (Avalon MS being the home of John Hurt). Here is a man that = managed to make a career from this music while commanding the respect = and admiration of all he did business with. In between times he shoehorned in the time to manage Bonnie Raitt's = career and that of Maria Muldaur for many years. Again without so much = as a muttered word of complaint from promoters and bookers. This is a rough business to wade through without making vocal and = vocipherous (sp.?) enemies, but Dick did it. And now an aside to Dick. How about committing to print some unique = reminiscences. Such as: Trying to get Arthur Cruddup's money from Hill & Range Introducing John Hurt at the Chicago Blues Fest. John Hurt and the check from the Univ. of Chicago Criss-crossing the country with Son, Mance, and John in the back seat "Signing" John Hurt under the grandstands at Newport Folk Fest Son's funeral in Detroit Al Wilson, Henry Vestine, and others scouring the South for talent And so much more You know Dick, I feel like I owe you a huge debt. Thanks, late but not = too late. Uncle Ray ========================================================================= Date: Fri, 5 Apr 1996 18:33:06 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Why isn't this person famous ? I agree! RT is a staggering talent. At one time, then Robert Cray = manager, Buddy Akacich, wanted Ron to join the Cray band. Robert Cray, = Curtis Salgado, and Ron Thompson. Now, there's a scary prospect. Far too = much soul to control... Uncle Ray ---------- From: Jordan[SMTP:SFBeat@SIRIUS.COM] Sent: Friday, April 05, 1996 10:58 PM To: Multiple recipients of list BLUES-L Subject: Re: Why isn't this person famous ? I wrote this for Southland Blues (Long Beach, CA) in December of 1994. = I still feel the same way. "Former Bay Area and current West Los Angeles resident Ron Thompson (and the Resistors) played San Francisco's Lost and Found and Blues in two rousing performances recently and as usual rocked the house. Someday, someone will explain to me why Ron isn't a major star. He's a young, multi-talented guitarist, keyboardist and harmonicat who plays blues straight from the heart. He has been lead guitarist with everyone from Big Mama Thornton to Etta James, from John Lee Hooker to Percy Mayfield, from Lowell Fulsom to Jimmy Witherspoon and Homesick James. He also has an invigorating solo release, Just Like A Devil, available through (co-hort Mark Naftalin's) Winner Records. If you ever get a chance to catch Rockin' Ron either with his Resistors or with Mick Fleetwood's = band, do yourself a favor and check this staggering talent out." Joseph Jordan Bay Area Blues Beat San Francisco, CA -- Down these mean streets, a man must go. - Raymond = Chandler - ========================================================================= Date: Fri, 5 Apr 1996 19:37:26 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Re[2]: Why isn't this person famous ? Ree Anne wrote: >I would have to submit Dick Powell (Washinton Blues Society Hall of >Famer...thats the other Washington). Here is a guy who has also paid his dues >and provided so many wonderful blues experiences. I was sort of hoping that >this thread would develop into a discussion about what elements (besides >talent of course) are necessary for *success*. >Is it knowing the right people? Or being at the right place at the right >time? Is it one of those deals where you have more control than you think you >do....or is it purely luck. I would love to know how to best help promote >struggling musicians who work so hard and get amazingly little in terms of >monetary reward. It sure doesn't seem right. Well there are a lot of talented people who are have little or no sucess (even if they try) and then there are those who have a lot of success based on little or no talent. Go figure. It is luck and having the right contacts. With every new music trend there are the originators, those who follow and the clones. When Van Halen burst onto he guitar scene he was followed by some great guitarists. Unfortunately he was also follwed by a heap of Van halen wannabees. The some can be said of the current infatuation with blues al la SRV. Stevie was a phenonemal musician. Trouble is, and some guitar mags are very guilty of this, is that they push Stevie as the blues. Therefore, the next guy that comes along and who cops the SRV style is hailed as the next great hope for blues guitar. IMHO, there are a lot of guitarists on the current blues scene who are light years ahead in terms of ability in comparison to certain chart-topping whippersnappers. So why are all these great guitarists known only to a few (well blues fans like us anyway). Marketability is one factor in this. Also the promotion budget of the record company would be a factor (wouldn't it). And sheer luck. Being at the right place at the right time. Sometimes it is sheer bloody persistance. A lot of the blues artists who have gained exposure in the past few years have worked for years on the circuit. They have paid their dues (which is important IMHO). In the case of some artists, I think that they are content in their obscurity. The ones that do it for the love of music and not for cash. More power to them (and financial rewards as well). This may be a generalization but the bands/musicians who have worked hard, paid their dues and get the breal needed are the ones who stay around the longest. The ones who ride on the coattails of someone else as a part of a trend are the ones who aren't around next year. All the above, is of course IMHO. Cheers, Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Fri, 5 Apr 1996 21:34:18 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Re[2]: Why isn't this person famous ? Dick Powell plays Hammond B-3 organ with one hand, while blowing cross = position harp, learned from James Cotton recordings, with the other. = Dick is a true primitive. Once, during some studio work I did, where he = was a hired gun to play harp, I suggested that he blow some straight = position fills. He had no idea what straight position was . This is a = guy who parallels the country greats in the sense that he makes music in = a vacuum of ignorence, only knowing what he needs to know to make the = music come alive that is buzzing in his head. I love Dick's music. He = recently came through heart by-pass surgery to continue gigging. God = bless his stubborn musician's ass. Uncle Ray P.S. Marlee Walker wouldn't know the blues if it crawled up and bit = her...oh, never mind. ---------- From: Shaun T Cronin[SMTP:shaun@WAVENET.COM] Sent: Saturday, April 06, 1996 3:37 AM To: Multiple recipients of list BLUES-L Subject: Re: Re[2]: Why isn't this person famous ? Ree Anne wrote: >I would have to submit Dick Powell (Washinton Blues Society Hall of >Famer...thats the other Washington). Here is a guy who has also paid = his dues >and provided so many wonderful blues experiences. I was sort of hoping = that >this thread would develop into a discussion about what elements = (besides >talent of course) are necessary for *success*. >Is it knowing the right people? Or being at the right place at the = right >time? Is it one of those deals where you have more control than you = think you >do....or is it purely luck. I would love to know how to best help = promote >struggling musicians who work so hard and get amazingly little in terms = of >monetary reward. It sure doesn't seem right. Well there are a lot of talented people who are have little or no sucess (even if they try) and then there are those who have a lot of success = based on little or no talent. Go figure. It is luck and having the right contacts. With every new music trend = there are the originators, those who follow and the clones. When Van Halen = burst onto he guitar scene he was followed by some great guitarists. Unfortunately he was also follwed by a heap of Van halen wannabees. The some can be said of the current infatuation with blues al la SRV. Stevie was a phenonemal musician. Trouble is, and some guitar mags are very = guilty of this, is that they push Stevie as the blues. Therefore, the next guy that comes along and who cops the SRV style is hailed as the next great hope for blues guitar. IMHO, there are a lot of guitarists on the = current blues scene who are light years ahead in terms of ability in comparison = to certain chart-topping whippersnappers. So why are all these great guitarists known only to a few (well blues = fans like us anyway). Marketability is one factor in this. Also the promotion budget of the record company would be a factor (wouldn't it). And sheer luck. Being at the right place at the right time. Sometimes it is sheer bloody persistance. A lot of the blues artists who have gained exposure = in the past few years have worked for years on the circuit. They have paid their dues (which is important IMHO). In the case of some artists, I think that they are content in their obscurity. The ones that do it for the love of music and not for cash. = More power to them (and financial rewards as well). This may be a generalization but the bands/musicians who have worked = hard, paid their dues and get the breal needed are the ones who stay around = the longest. The ones who ride on the coattails of someone else as a part of = a trend are the ones who aren't around next year. All the above, is of course IMHO. Cheers, Shaun Shaun Cronin 'Woke up this morning between midnight and day. I = was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Sat, 6 Apr 1996 00:40:55 -0500 Reply-To: Rags_Trips_On_Gras From: Rags_Trips_On_Gras Subject: COREY_HARRIS+IAN_MOORE!! Tonite....I be there to see COREY HARRIS and IAN MOORE perform @ Graffiti, PITTSBURGH... Now, COREY HARRIS is the opening act for IAN MOORE.... Is it that Acoustic Blues is opening act to Blues Rock... Rock getting precedence over Blues or what ???? I wonder ???? Om Shanti!! Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ Laissez les bon temps roulez!!...Let the good times roll!! +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Fri, 5 Apr 1996 23:33:56 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Selling Out I was musing about the term "selling out" and it's connatations the other day. The threads on why certain people aren't famous and what it takes to succeed led me to think some more about this. A common cry when an act becames mainstream (in a lot of musical styles) is "They've sold out!" For some reason some people tend to equate sucess with compromising one's musical examples. True there are bands who have become quite succesful by taking the easy path and changing their own style to suit there current tastes. It is true that a lot of what you hear on the radio is corporate derivative crap. But my contention is that there are a lot of great bands out there who have become succesful by sticking to what they love. I would also like to say that term "selling out" is applies to liberally. I have read some criticism of Luther Allison's "Blues Streak" when comparing it to his earlier effort, "Soul Fixin' Man." Some people have charged Luther with pandering towards the masses by releasing a more rock-orientated album. Yet others have claimed that "Blue Streak" is more like his live shows. If so then isn't Luther being true to himself? BTW, IMHO both albums are very good with elements of both found in each one. It is understandable, but erronous, the label a blues performer a "sell out" if they take steps to catch a little of the rock audience. Sure, Buddy Guy is looking more like Hendrix everyday but he puts on a hell of a live show. Anyone that can send chills up and down my spine and knock my head back with the guitar like the way he does is worthy in my book. You could say that Buddy is a cotinuation of a long line of blues performers that use showmanship. He is a tad more flamboyant (and louder) than most. If someone started out as a blues performer but suddenly turned to wimpy, keyboard laden ballads, or grunge, to garner an audience then we have a good case. There is nothing worse than a band delibarately jumping on a musical bandwagon in an effort to rake in the cash. Still I think the term "sellout" is applies to loosely. So you favourite musician hits the big time. Be happy for them. Don't get caught up with equating success with compromising ones musical vision. Listen to the music rather than the hype. That is the best indicator. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Fri, 5 Apr 1996 23:34:03 -0800 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: The History of the Blues I picked up "The History of the Blues" by Fancis Davis yesterday. I've seen the book mentioned a few times but I'm not sure if there has been a discusion about it on the list. I've looked through it, read a few bits here and there and only have just started reading it proper. My thoughts so far? I like it. Francis Davis is quite opiniated but as the reviews at the book say "opiniated in the best sense of the word". I don't agree with some of what the says but I agree with the most. It reminds me of Charles Shaar Murray's book, "Crosstwon Traffic" (the one of Hndrix and his musical legacy). Full of info, humour, great stories and thought provoking statements. Looks like a good read. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Sat, 6 Apr 1996 03:51:11 -0500 Reply-To: TMPSAXMAN From: TMPSAXMAN Organization: America Online, Inc. (1-800-827-6364) Subject: Need Fast Cash? -Here it is. Comments: To: bit-listserv-blues-l@uunet.uu.net Hello! I've got some awesome news that I think you need to take two minutes to read if you have ever thought "How could I make some serious cash in a hurry???" , or been in serious debt, ready to do almost anything to get the money needed to pay off those bill collectors. So grab a snack, a warm cup of coffee, or a glass of your favorite beverage, get comfortable and listen to this interesting, exciting find! Let me start by saying that I FINALLY FOUND IT! That's right! I found it! And I HATE GET RICH QUICK SCHEMES!! I hate those schemes like multi-level marketing, mail-order schemes, envelope stuffing scams, 900 number scams... the list goes on forever. I have tried every darn get rich quick scheme out there over the past 12 years. I somehow got on mailing lists for people looking to make money (more like 'desperate stupid people who will try anything for money!'). Well, when I was a teenager, these claims to 'get me rich quick' sounded irresistible! I would shell out $14.95 here, $29.95 there, $24.95 here, and another $49.95 there. I had maxed out my new Circuit City Card AND my Visa...I was desperate for money!! So, I gave them all a chance but failed at every one of them! Maybe they worked for some people, but not for me. Eventually, I just tossed that JUNK MAIL in the trash when I got the mail. I recognized it right away. I can smell a money scam from a mile away these days, SO I THOUGHT.... I thought I could sniff out a scam easily. WAS I WRONG!! ....I LOVE THE INTERNET!!! I was scanning thru a NEWSGROUP and saw an article stating to GET CASH FAST!! I thought..."Here on the Internet?? Well, I'll just have to see what schemes could possibly be on the internet." The article described a way to MAIL A ONE DOLLAR BILL TO ONLY FIVE PEOPLE AND MAKE $50, 0000 IN CASH WITHIN 4 WEEKS! Well, the more I thought about it, the more I became very curious. Why? Because of the way it worked AND BECAUSE IT WOULD ONLY COST ME FIVE DOLLARS (AND FIVE STAMPS), THAT'S ALL I EVER PAY....EVER!! One important point here-- This is a mailing list service. This is not 'chain mail'. You are purchasing a service, and providing same to anyone inclined to follow suit. Ok, so the $50,000 in cash was maybe an tough amount to reach, but it was possible. I knew that I could at least get a return of $1,000 or so. So I did it!! As per the instructions in the article, I mailed out ('snail mail' for you e-mail fanatics) a single dollar bill to each of the five people on the list that was contained in the article. I included a small note, with the dollar, that stated "Please Add Me To Your List." I then removed the first position name of the five names listed and moved everyone up one position, and I put my name in position five of the list. This is how the money starts rolling in! I then took this revised article now with my name on the list and REPOSTED IT ON AS MANY NEWSGROUPS AND LOCAL BULLETIN BOARD MESSAGE AREAS THAT I KNEW. I then waited to watch the money come in...prepared to maybe receive about $1000 to $1500 in cash or so.... But what a welcome surprise when those envelopes kept coming in!!! I knew what they were as soon as I saw the return addresses from people all over the world -Most from the U.S., but some from Canada, even some from Australia! I tell you, THAT WAS EXCITING!! So how much did I get in total return? $1000? $5000? Not even!!! I received a total of $23,343!!! I couldn't believe it!! I now have a brand new black Acura Integra to speak for, due to this!! Now after almost 8 months, I am ready to do it again!!! So maybe it was possible to get $50,000 in cash, I don't know, but IT COMPLETELY DEPENDS ON YOU, THE INDIVIDUAL! You must follow through and repost this article everywhere you can think of! The more postings you achieve will determine how much cash will arrive in your very own mailbox!! It's just too easy to pass up!!! Let's review the reasons why you should do this: The only cost factors are for the five stamps, the 5 envelopes and the 5 one dollar bills that you send out to the listed names by snail mail (US Postal Service Mail). Then just simply repost the article (WITH YOUR NAME ADDED) to all the newsgroups and local BBS's you can. Then sit back and, (ironically), enjoy walking (you can run if you like! :o ) down your driveway to your mailbox and scoop up your rewards!! We all have five dollars to put into such an easy effortless investment with SPECTACULAR REALISTIC RETURNS OF $15,000 to $25,000 in about 3-5 weeks! So HOLD OFF ON THOSE LOTTERY NUMBERS FOR TODAY, EAT AT HOME TONIGHT INSTEAD OF TAKEOUT FROM McDONALDS AND INVEST FIVE DOLLARS IN THIS AMAZING MONEY MAKING SYSTEM NOW!!! YOU CAN'T LOSE!! So how do you do it exactly, you ask? I have carefully provided the most detailed, yet straightforward instructions on how to easily get this underway and get your cash on its way. SO, ARE YOU READY TO MAKE SOME CASH!!!?? HERE WE GO!!! *** THE LIST OF NAMES IS AT THE END OF THIS ARTICLE. *** OK, Read this carefully. Get a printout of this information, if you like, so you can easily refer to it as often as needed. INSTRUCTIONS: 1. Take a sheet of paper and write on it the following: "Please add my name to your list". This creates a service out of this money making system and thus making it completely legal. You are not just randomly sending a dollar to someone, you are paying one dollar for a legitimate service. Make sure you include your name and address. I assure you that, again, this is completely legal! For a neat little twist, also write what slot their name was in: "You were in slot 3", Just to add a little fun! This is all about having fun and making money at the same time! 2. Now fold this sheet of paper around a dollar bill ,(no checks or money orders), and put them into an envelope and send it on its way to the five people listed. The folding of the paper around the bill will insure its arrival to its recipient. THIS STEP IS IMPORTANT!! 3. Now listen carefully, here's where you get YOUR MONEY COMING TO YOUR MAILBOX. Look at the list of five people; remove the first name from position one and move everyone on the list up slot one on the list. Position 2 name will now move to the position 1 slot , position 3 will now become position 2, 4 will be 3, 5 will be 4. Now put your name, address, zipcode AND COUNTRY in position 5, the bottom position on the list. 4. Now upload this updated file to as many newsgroups and local bulletin boards' message areas & file section as possible. Give a catchy description of the file so it gets noticed!! Such as: "NEED FAST CASH?, HERE IT IS!" or "NEED CASH TO PAY OFF YOUR DEBTS??", etc. And the more uploads, the more money you will make, and of course, the more money the others on the list will make too. LET'S ALL TAKE CARE OF EACH OTHER BY BEING HONEST AND BY PUTTING FORTH 120 PERCENT INTO THIS PROFITABLE & AMAZING SYSTEM!!! You'll reap the benefits, believe me!!! Set a goal for the number of total uploads you'll post, such as 15-20 postings or more! Always have a goal in mind!!! If you can UUE encode the file when uploading, that will make it easier for the people to receive it and have it downloaded to their hard drive. That way they get a copy of the article right on their computer without hassles of viewing and then saving the article from the File menu. Don't alter the file type, leave it as an MS-DOS Text file. The best test is to be able to view this file using Microsoft's Notepad for Windows 3.x or WordPad for Windows '95. If the margins look right without making the screen slide left or right when at the ends of the sentences, you're in business! 5. If you need help uploading, simply ask the sysop of the BBS, or "POST" a message on a newsgroup asking how to post a file, tell them who your Internet provider is and PEOPLE WILL ALWAYS BE GLAD TO HELP. I would try to describe how to do it but there are simply too many internet software packages with slightly different yet relatively simple ways to post or upload a file. Just ask for help or look in the help section for 'posting'. I do know that for GNN, you simply select 'POST' then enter a catchy description under the subject box, choose 'ATTACH', selecting 'UUE' and NOT 'TXT', then choose 'Browse' to go look for the file. Find your text file CASH.TXT and click on it and choose 'OK'. Place a one line statement in the main body section of the message post screen. Something like "Download this to read how to get cash arriving in your mailbox with no paybacks!" or whatever. Just make sure it represents its true feasibility, NOT something like..."Get one million dollars flooding in your mailbox in two days!" You'll never get ANY responses! 6. And this is the step I like. JUST SIT BACK AND ENJOY LIFE BECAUSE CASH IS ON ITS THE WAY!! Expect to see a little money start to trickle in around 2 weeks, but AT ABOUT WEEKS 3 & 4, THE MONEY STORM WILL HIT YOUR MAILBOX!! All you have to do is take it out of the mailbox and try not to scream too loud (outside anyway) when you realize YOU HIT THE BIG TIME AT LAST!! 7. So go PAY OFF YOUR BILLS AND DEBTS and then get that something special you always wanted or buy that special person in your life (or the one you want in your life) a gift they'll never forget. ENJOY LIFE! 8. Now when you get low on this money supply, simply re-activate this file again; Reposting it in the old places where you originally posted and possibly some new places you now know of. Don't ever lose this file, always keep a copy at your reach for when you ever need cash. THIS IS AN INCREDIBLE TOOL THAT YOU CAN ALWAYS RE-USE TIME AND TIME AGAIN WHEN CASH IS NEEDED! 9. (This step added by Charles Reiley). Hello, This is exciting isn't it?! While I'm on the list, just add a note saying "Please include extra money tips" with your name & E-MAIL address, and I will (FOR FREE) send you some neat methods to increase the money you will receive with this plan. Why?... Why not? I'm not a selfish jerk...I like helping out others. E-mail just makes it a touch easier and cheaper, too! After I drop off the list, I can no longer offer you this advice, obviously, but maybe someone else who gets my tips will offer and simply replace my name on this step number 9. Good luck and give this plan your all, it will definitely pay off! Like Mike said, HAVE FUN WITH IT!!! ************************************************************************** * ************************************************************************** * THE NAMES LIST THE NAMES LIST THE NAMES LIST ************************************************************************** * HONESTY IS WHAT MAKES THIS PROGRAM SUCCESSFUL!!! 1. Charles Reiley 1541 Cedar Bluff Trail Marietta, GA 30062 2. Paul Dittrich 1509 Trigg Lane Wichita Falls, TX 76306 3. Mike Sova P.O. Box 381 Coldwater ON Canada L0K 1E0 4. George Juniel 5000 Western Ave. #2100 Knoxville. TN 37921 USA 5. Tim Mancuso P.O. Box 1094 Palmer Lake, CO 80133 ************************************************************************** * NOTE: Try to keep a list of everyone that sends you a dollar and always keep an eye on the local postings of this file...Just to make sure that everyone is playing the game fairly. You know where your name should be..... *** AGAIN, HONESTY IS THE BEST THING WE HAVE GOING FOR US ON THIS PLAN. -Mike Dotson, Boulder, CO ========================================================================= Date: Sat, 6 Apr 1996 01:18:37 PST Reply-To: "D. ALLEN SIMPSON" From: "D. ALLEN SIMPSON" Subject: Another new listserv of blues-type music For those who might appreciate hearing about it, here's some info. on a new listserv that might be interesting for some blues fans... JANIS-L on LISTSERV@dartmouth.edu JANIS-L was created as a forum for the discussion of the life and music of Janis Joplin. The list is currently unmoderated and I hope for it to remain that way. Archives of JANIS-L mail items are kept in weekly files. You may obtain a list files in the archives by sending the command INDEX JANIS-L in the BODY of e-mail to LISTSERV@dartmouth.edu. To subscribe to JANIS-L please send e-mail to LISTSERV@dartmouth.edu with a blank subject line and a body of: SUBSCRIBE JANIS-L firstname lastname Owner: Garth Sainio garth.sainio@dartmouth.edu Doug S. ========================================================================= Date: Sat, 6 Apr 1996 09:51:15 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Re: Why ain't the famous Comments: To: bit-listserv-blues-l@moderators.uu.net Arthneice "Gasman" Jones - yeah Leonard, he has a fine track on the "Coahoma The Blues" cassette that Rooster put out a few years back. And if you are looking for guys who should get more recognition look no further than some the artists on this cassette: James "Super Chicken" Johnson, Wesley "Mississippi Junebug" Jefferson and what about Tommy Smiley's "TJ's Blues-O-Rama"? An off the wall classic if there ever was one! Is this set still available down there guys? Tony. ========================================================================= Date: Sat, 6 Apr 1996 09:58:03 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Re: Roosevelt "Booba" Barnes passed away last night Comments: To: bit-listserv-blues-l@nac.no This is really sad news. Booba was a real talent. His debut CD "Heartbroken Man" was/is a classic. When he debuted here in the UK he took the place by storm - we wondered why he never really followed up here. Really sad. TB ========================================================================= Date: Sat, 6 Apr 1996 07:16:23 -0800 Reply-To: Rick Richardson From: Rick Richardson Subject: Re: Anders Osborne/Jazzfest Comments: To: jbards@mail-sh.lsumc.edu James Bardsley wrote: > > I saw him the night before that show: Anders was by FAR my > favorite that night: he had every pelvis in the place moving right on the beat. > I also noted the > same tip of the hat to Lowell George and Little Feat. His fiance' , Theresa > Andersen , is nothing to sneeze at, either. > > > Jim > > > Anders Osborne is a New Orleans-based singer/guitarist who was born > in Sweden and came to the U.S. about ten years ago. Since settling in > N.O. he's built a sound that's solidly in the Lowell George/Little Feat > mold. > > > I saw him at Jazz Fest last year and while his show had the crowd going, > I myself wasn't much moved. However, now that I've heard his stuff on > CD I'm really looking forward to seeing him again at the Fest next month. > > Jim McGlynn > Last week, I saw Anders Osborne at the Arts School in Carrboro, NC. He was opening for the Subdudes, another New Orleans high energy, good feeling, hard-to-classify, sort of R&Bish band. As Anders' show progressed, I went from thinking "he's OK, but nothing to write home about" to "he sounds like Little Feat used to back when they were good" to "this guy has got a style of his own that borrows from several different significant influences but that he puts together nicely." He definitely got people moving. He also did some nice slide work both in his own set and sitting in on some tunes with the Subdudes. I didn't buy any of his CD's at the show, but as I think back on the music, I think I may go out and get one. ========================================================================= Date: Sat, 6 Apr 1996 08:32:11 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1956, Capitol Tower, the home of Capitol Records in Hollywood, CA, was dedicated. The building was the first circular office tower designed in America. It is 13 stories tall and 92 feet in diameter. At night, a light at the tip of the tower blinks the letters "H-O-L-L-Y-W-O-O-D" in Morse Code P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Sat, 6 Apr 1996 14:37:06 GMT Reply-To: Greg Vaughn From: Greg Vaughn Subject: Tulsa Blues Fest Update I finally got the schedule for the Tulsa Blues Fest. Here goes: Fri. May 3 - Main Str. Stage 6:00 El Bob & X-Wray 7:00 Johnny Nicholas 8:30 Carey Bell 10:30 John Mayal & the Bluesbreakers Fri. May 3 - Cain's Stage 6:00 Brandon Jenkins 7:00 Glenn R. Townsend 9:00 Bugs Henderson 11:30 Robben Ford & Blue Line Sat. May 4 - Main Str. Stage 3:00 Blue Combo 4:30 Omar & the Howlers 6:30 Robert Lockwood Jr. 8:30 John Hammond 10:30 James Harman Band Sat May 4 - Cain's Stage 3:30 Brandon Jenkins 5:30 Terrance Simien 7:30 Johnnie Johnson 9:30 R.L. Burnside 11:30 Chris Duarte Group -- My must sees are Carey Bell, Robben Ford, John Hammond, Chris Duarte, and then as much as I can see of the others. Any info that can be provided on the other artists will be appreciated. Thanks! Greg Vaughn Orioles - 1996 World Series Champs!! ========================================================================= Date: Sat, 6 Apr 1996 14:41:03 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: JESSE AUSTIN DEAD Comments: To: bit-listserv-blues-l@ncren.net Joe Roesch sent B&R details of the death of blues singer and organist Jesse Wild Bill Austin, who died on March 22nd in Bridgeport, Connecticut the day before his 66th birthday. Jesse made his professional debut aged fourteen, touring with for a year and a half with Wynonie Harris. In the late 1940s and early 50s, Jesse and his brothers Eddie and Bobby, along with Eddie Buster toured the US and Canada as members of an outfit called The Five Sharps. After leaving The Five Sharps, Jesse joined Percy Mayfields band before joining the armed forces and serving in Korea in 1952. In 1962 he began playing the Hammond organ. He made his album debut in 1992 after being spotted playing in a club in Stamford in 1989 by Joe Roesch, who was knocked out with his singing. He told Roesch that he hadnt recorded since 1954 as he didnt trust anyone since then. His debut album Steel Trap received critical acclaim at the time of its release. His second album for the label, Babys Back featured the Blues Brothers horn section was issued im September last year. FULL OBITUARY IN B&R 110 Tony Burke ========================================================================= Date: Sat, 6 Apr 1996 09:21:39 -0600 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: no blues (music) content Coming home from a rehearsal at Bennie Smith's house a year ago a saw a young white girl on the street in a neighborhood where she didn't belong. Jennifer is now off the streets and clean. She has had a hard life and is now wrestling with being HIV positive. She is nineteen. She tells her story without pulling any punches on her new webpage which I have linked at the bottom righthand corner of the BLUES WORLD cover (click on "Jennifer"). It's not about blues music, but it's sure about blues. She would be delighted to receive some (supportive) e-mail. Joel ========================================================================= Date: Sat, 6 Apr 1996 08:09:24 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: April 7 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BENNETT, PATRICIA (of THE CHIFFONS) b. 1947-0407, NY BRILLEAUX, LEE (hca/g/DR. FEELGOOD) d. 1994-0407, LONDON, UK 41 BROWN, JACK (owner: FORTUNE REC) d. 1980-0407, DETROIT, MI -- DOUGLAS, CAROL (v) b. 1948-0407, BROOKLYN, NY FOX, CHARLES (author/critic) b. 1921-0407, WEYMOUTH, UK FOX, MARION (v) d. 1963-0407, SAN ANTONIO, TX 45 GARRISON, JIMMY (b/JOHN COLTRANE) d. 1976-0407, NEW YORK CITY, NY 42 GLOVER, HENRY B. (arr/prod/tpt/KING REC) d. 1991-0407, ST.ALBANS,QUEENS,NY 69 HOLIDAY, BILLIE [ELEONORA FAGAN] (v) b. 1915-0407, PHILADELPHIA, PA HUBBARD, FREDDIE (tpt) b. 1938-0407, INDIANAPOLIS, IN MERSEY, ROBERT (arr/prod/ARETHA FRANKLIN) b. 1917-0407, NEW YORK CITY, NY MR. BO [LOUIS BO COLLINS] (g) b. 1932-0407, INDIANOLA, MS NELSON, JIMMY "T-99" (v/MODERN REC) b. 1928-0407, PHILADELPHIA, PA OATES, JOHN (of HALL & OATES) b. 1949-0407, NEW YORK CITY, NY SANTAMARIA, RAMON "MONGO" (congas) b. 1922-0407, HAVANA, CUBA SIMMEN, JOHNNY (author/critic) b. 1918-0407, BRUGG, SWITZERLAND SULLIVAN, MAXINE [MARIETTA WILLIAMS] (v) d. 1987-0407, BRONX, NY 76 THOMAS, CHARLIE (lead/THE DRIFTERS) b. 1937-0407, NEW YORK CITY, NY ------------------------------------------------------------------------------- ========================================================================= Date: Sat, 6 Apr 1996 11:05:09 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: Re[2]: Why isn't this person famous ? Comments: To: RAHalonen@AOL.COM On 5 Apr 96 , honorable zeller Reeann Halonen wrote: I was sort of hoping that > this thread would develop into a discussion about what elements (besides > talent of course) are necessary for *success*. > Is it knowing the right people? Or being at the right place at the right > time? Is it one of those deals where you have more control than you think you > do....or is it purely luck. I would love to know how to best help promote > struggling musicians who work so hard and get amazingly little in terms of > monetary reward. It sure doesn't seem right. > Ree Anne > > I think it takes the right person/company to see an artist and basically have that overwhelming sensation of "HOLY %$@#$*&^!!! that guy/girl is good!!!!!" too have the necessary support to make it big. Lucky for us, there are lots of performer's who aren't so obsessed with the monetary rewards that they can't go out and entertain us everynight when the audience- building road life is hard. RJ Bauman "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Sat, 6 Apr 1996 11:18:40 -0500 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Booba Barnes obituary: This appeared in Saturday's edition of The New York Times: By JON PARELES c.1996 N.Y. Times News Service Roosevelt (Booba) Barnes, a master of Mississippi juke-joint blues, died Wednesday in a nursing home in Chicago. He was 59 and lived in Chicago. The cause was lung cancer, said his niece, Lois Diane Wallace. Barnes spent most of his career playing unvarnished Delta blues in the clubs and juke joints around Greenville, Miss. He was a showman who wore iridescent suits, duckwalked across the stage and picked his guitar with his teeth. But his knowing voice and spiky, syncopated electric guitar parts maintained a tradition of the blues as dance music, unflinching but resilient. Barnes was born Sept. 25, 1936, in Longwood, Miss., and began playing the harmonica when he was 7. By the time he was a teen-ager, he was sitting in with bands at local juke joints and parties. Eventually, he decided to lead his own bands, and taught himself to play guitar in his 20's. He moved north to Gary, Ind., and to Chicago, working in a steel mill, but returned to the Delta in 1972, settling in Greenville, Miss. With his new band, the Playboys, he performed at rural juke joints by the cotton fields and in Greenville's locally renowned, sometimes notorious strip of blues clubs on Nelson Street. In 1981, he opened his own Playboy Club in a former used-furniture store on Nelson Street. By the end of the 1980s, Barnes' reputation began to spread outside the Delta. His album, ``Heartbroken Man'' (Rooster Blues), was released in 1990, and he began touring nationally and internationally. A set at his Playboy Club was filmed for the 1992 documentary ``Deep Blues,'' which yielded a soundtrack album on Atlantic Records. Barnes moved to Chicago in the early 1990s, and continued performing until shortly before his death. In addition to his niece, he is survived by his mother, Carrie Barnes of Greenville; four brothers, Richard, Tom and Isaiah, of Chicago, and Frank, of Greenville; a sister, Dorothy Jones of Chicago; 10 children, and eight grandchildren. ========================================================================= Date: Sat, 6 Apr 1996 16:06:39 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Re: Byther Smith Comments: To: bit-listserv-blues-l@moderators.uu.net Ah good, somebody else with taste! Byther is one of the most underated guys around and deserves wider acknowledgement. Here's what to get: Housefire - Bullesye Blues I'm A Mad Man - Bullseye Blues Addressing The Nation With The Blues - JSP (UK) All are CD's - don't suppose anyone is interested in the good ole 12 inchers anymore! Tony ========================================================================= Date: Sat, 6 Apr 1996 11:51:15 -0500 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: no blues (music) content Comments: To: Joel Slotnikoff In-Reply-To: Joel, People *belong* wherever they find themselves. Peace, nitra On Sat, 6 Apr 1996, Joel Slotnikoff wrote: > Coming home from a rehearsal at Bennie Smith's house a year ago a saw a > young white girl on the street in a neighborhood where she didn't belong. > > Jennifer is now off the streets and clean. She has had a hard life and is > now wrestling with being HIV positive. She is nineteen. > > She tells her story without pulling any punches on her new webpage which I > have linked at the bottom righthand corner of the BLUES WORLD cover (click > on "Jennifer"). It's not about blues music, but it's sure about blues. > > She would be delighted to receive some (supportive) e-mail. > > Joel > ========================================================================= Date: Sat, 6 Apr 1996 12:21:44 -0500 Reply-To: RhythmShrk@AOL.COM From: Bernie Clarke Subject: Re: paul size In a message dated 96-04-05 03:01:25 EST, you write: > > Paul Size blew us away when we saw him with the Red Devils and from > > what I have heard he's no big deal in Texas. > >He's playing small bars in the DFW area with a band called Easy Jones. Chuck >Nevitt has recorded this band together with Johnny Moeller for an upcoming >release. Moeller is very good, as is Size, however they are best seen >together >at a jam session. That's when they really cut loose. > >As with many other great blues artists that spent years in the DFW area >(Blind >Lemon Jefferson, T-Bone Walker, all the way up to the Vaughan brothers) they >only get noticed when the LEAVE here and go someplace else. > >Don O. > > Jon Moeller was fantastic when he was with Darrell Nulisch and Texas Heat. That was one of the finest blues bands I have ever seen. Bernie Clarke ========================================================================= Date: Sat, 6 Apr 1996 12:38:45 -0500 Reply-To: RhythmShrk@AOL.COM From: Bernie Clarke Subject: Re: Why isn't this person famous ? My vote has to go to Darrell Nulisch. He has incredible soul in his delivery and is also a fine harp player. To hear him check out Anson Funderburgh and the Rockets "Talk to You by Hand" and "She Knocks me Out". He's on Ronnie Earl and the Broadcasters "Soul Searching", and "Peace of Mind." The last stuff he put out was (regrettably five years ago) with Darrell Nulisch and Texas Heat. It was called "Business as Usual." Great stuff - all of it. Anybody know what he's doing now? Bernie Clarke ========================================================================= Date: Sat, 6 Apr 1996 12:53:52 -0600 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 04/07 B O R N : BERG, BOB ( ROBERT ) Born:1952 NEW YORK, NY Career:TENOR SAX Style:JAZZ / BLUES With:HORACE SILVER / CEDER WALTON / MILES DAVIS FELDMAN, VIC ( VICTOR STANLEY FELDMAN ) Born:1934 LONDON, UK Career:PIANO / VIBES Style:JAZZ / BIG BAND With:Vic Lewis / Ted Heath / Ralph Sharon / Eddie Carroll / Woody Herman / Lighthouse All Stars / Marty Paich FLANAGAN, RALPH Born:1919 LORAIN, OH Career:ARRANGER / PIANO / LEADER Style:BIG BAND With:Sammy Kaye / Charlie Barnet / Tony Pastor / Hal Mclntyre / Gene Krupa / Boyd Raeburn / Alvino Rey / Blue Barron / Arranged for Perry Como Supper Club radio show / Tony Martin / Mindy Carson. HOLIDAY, BILLIE Born:1915 BALTIMORE, MD Career:SINGER Style:JAZZ / BLUES / BIG BAND With:Jerry Preston / Benny Goodman / Louis Metcalf / Teddy Wilson / Jimmie Lunceford / Count Basie / Artie Shaw / Lester Young HUBBARD, FREDDIE ( FREDERICK DEWAYNE HUBBARD ) Born:1938 INDIANAPOLIS, IN Career:TRUMPET / FLUEGELHORN / PIANO / LEADER Style:JAZZ With:Sonny Rollins / Slide Hampton / J.J.Johnson / Quincy Jones / Art Blakey / Max Roach / Friedrich Gulda HUCKO, PEANUTS ( MITCHEAL ANDREW HUCKO ) Born:1918 SYRACUSE, NY Career:CLARINET Style:JAZZ / BIG BAND With:Johnny Camarata / Jack Jenney / Will Bradley / Tommy Reynolds / Joe Marsala / Bob Chester / Charlie Spivak / Glenn Millers A.A.F. Band / Benny Goodman / Ray McKinley / Jack Teagarden / Eddie Condon / Wild Bill Davison / Joe Bushkin / Bernie Leighton / Jack Teagarden-Earl Hines All Stars / Louis Armstrong All Stars / 1967 married singer Louise Tobin / Lawrence Welk 1970 / Glenn Miller Orchestra 1974 La ROCA, PETE ( SIMS, PETER ) Born:1938 NEW YORK, NY Career:DRUMMER Style:JAZZ LaBARBERA, PAT ( PASCEL ) Born:1944 WARSAW, NY Career:TENOR SAX Style:JAZZ / BIG BAND With:Buddy Rich / Elvin Jones Morgan, Isaiah Born:1887 BERTRANDVILLE, LA Career:CORNET / TRUMPET Style:TRAD / JAZZ his own Young Morgan Band in 1922 / Sam Morgan jazz band MR. BO [LOUIS BO COLLINS] Born:1932 INDIANOLA, MS Career:SINGER / GUITAR Style:BLUES SANTAMARIA, MONGO ( RAMON ) Born:1922 CUBA Career:CONGA / LEADER Style:JAZZ / LATIN With:Cal Tjader / Hubert Laws / Chick Corea / Dizzy Gillespie SCHLIPPENBACH, ALEX ( ALAXANDER VON SCHLIPPENBACH ) Born:1938 BERLIN, GERMANY Career:PIANO / LEADER / COMPOSER Style:JAZZ FOR A LISTING OF THOSE THAT PASSED AWAY IN APRIL PLEASE GO TO MY WEB PAGE AT http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Sat, 6 Apr 1996 10:47:02 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: Selling Out Comments: To: shaun@WAVENET.COM On 5 Apr 96 , honorable zeller Shaun T Cronin wrote: > I was musing about the term "selling out" and it's connatations the other > day. The threads on why certain people aren't famous and what it takes to > succeed led me to think some more about this. > > A common cry when an act becames mainstream (in a lot of musical styles) is > "They've sold out!" For some reason some people tend to equate sucess with > compromising one's musical examples. > I have read some criticism of Luther Allison's "Blues Streak" when > comparing it to his earlier effort, "Soul Fixin' Man." Some people have > charged Luther with pandering towards the masses by releasing a more > rock-orientated album. Yet others have claimed that "Blue Streak" is more > like his live shows. If so then isn't Luther being true to himself? BTW, > IMHO both albums are very good with elements of both found in each one. > I haven't seen anybody criticize Luther for "Blue Streak." I suspect anybody who thinks his phenomenal success over the last year can be attributed to "selling out" either A) has not seen him play live often enough to be be convinced how hard he works at putting on a great, musically varied blues show or B) has not heard enough Luther Allison albums to appreciate his diversity. Why WOULD he record another "Hand Me Down My Moonshine?" He's already done that. Same with "Soul Fixin' Man." I think "Blue Streak" was as easy to do as falling off a log for Allison. It is a very natural extension of his playing at this point in his career. RJ Bauman "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Sat, 6 Apr 1996 19:27:17 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: JESSE AUSTIN DEAD Comments: To: bit-listserv-blues-l@moderators.uu.net JESSE AUSTIN Joe Roesch sent us details of the death of blues singer and organist Jesse Wild Bill Austin, who died on March 22nd in Bridgeport, Connecticut the day before his 66th birthday. Born in New Rochelle, New York on March 23rd, 1930, Jesse made his professional debut aged fourteen, touring with for a year and a half with Wynonie Harris. In the late 1940s and early 50s, Jesse and his brothers Eddie and Bobby, along with Eddie Buster toured the US and Canada as members of an outfit called The Five Sharps. After leaving The Five Sharps, Jesse joined Percy Mayfields band before joining the armed forces and serving in Korea in 1952. When he returned from the services he headed for Bridgeport, doing various jobs including working as a garbage man and in construction, singing blues and R&B in clubs at weekend. In 1962 he began playing the Hammond organ. He made his album debut in 1992 after being spotted playing in a club in Stamford in 1989 by Joe Roesch, who was knocked out with his singing. I couldnt believe a guy this good had played in obscurity for that long, said Roesch. In fact Jesse waited so long to record because he was wary of offers of record deals after the bad experiences of R&B artists in the 50s. He told Roesch that he hadnt recorded since 1954 as he didnt trust anyone since then. Steel Trap recieved critical acclaim at the time of its release. His second album for the label, Babys Back featured the Blues Brothers horn section was issued im September last year. Building on recent successes Jesse began opening for such blues acts as Luther Guitar Junior Johnson and Albert Collins. During his years in obscurity Jesse had written over 300 songs, cutting one number, Ill Cry Tommorrow on the Babys Back set which was written in 1950 and Joe Roesch reports that Jesse had laid down enough tracks for a third album. Tony Burke THIS OBIT WILL APPEAR IN B&R 110 SO DON'T NOBODY NICK IT, RIGHT? ========================================================================= Date: Sat, 6 Apr 1996 21:36:03 GMT Reply-To: Nilesh N Thali From: Nilesh N Thali Organization: UB Subject: lookin for blues soul mates Comments: To: bit-listserv-blues-l@uunet.uu.net Hi, I am a grad student in University at Buffalo, and I have come all the way from India to read about, sing, play and live the blues. I am lookin' for people in UB who are into the blues ( unfortunately there aren't any i have come across yet, hence this posting ) whom I can hang out with and maybe jam occasionally - I play the guitar, elementary 12 bar rhythm - and listen to blues musicians ( read magicians ) around here. I would really appreciate it if i get some replies. Thanks Nilesh ========================================================================= Date: Sat, 6 Apr 1996 13:52:42 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Taj Mahal dates? Hi all, hope you're having a good holiday weekend (I'm working, so it don't matter to me :-) ). A friend of mine told me that Taj Mahal is coming to Bellingham, Washington in the next week or two - does anyone know Taj's tour dates or where I can find them? I don't have any of his albums, but I wouldn't mind going just to see what he's all about. Thanks, folks! -Jim (hndful@uniserve.com) ------------------------------------------------------------ Check out 'Heart and Soul', a new hour of blues, gospel, and jazz every week on SDF-Net Community Radio - http://sdf-radio.colossus.net. ------------------------------------------------------------ ========================================================================= Date: Sat, 6 Apr 1996 21:41:57 GMT Reply-To: Al Kaplan From: Al Kaplan Organization: University of Kentucky Computing Services Subject: Studebaker John Comments: To: bit-listserv-blues-l@uunet.uu.net I just picked up the new CD by Studebaker John and the Hawks called "Tremoluxe" on Blind Pig. This band defines the blues/rock genre. It's a perfect mix of both. Every song is a real foot-tapper, while the slide guitar and harmonica are straight from the Chicago sound. The band has a new guitarist in Mike Garrett. Not real flashy, but very tasteful playing. The Blind Pig label has become one of my favorites. I'm looking forward to the new Coco Montoya next month. Al ========================================================================= Date: Sat, 6 Apr 1996 16:57:00 +0100 Reply-To: Michael Pisaro From: Michael Pisaro Organization: Northwestern University Subject: Re: Yazoo's Before The Blues set Vol. 1 (some notes on the recordings, track list) Comments: To: bit-listserv-blues-l@uunet.uu.net In article <960401232502_460289668@emout09.mail.aol.com>, Skipjames@AOL.COM wrote: > anyone who is interested. If there is any interest, I will post this > information for disks 2 and 3; if noone says anything I will keep it to > myself. Thanks for all of the excellent information on Vol. 1. I'd certainly be interested in seeing what you have for 2 and 3. Thanks again. -- Michael Pisaro, School of Music, Northwestern University m-pisaro@nwu.edu ========================================================================= Date: Sat, 6 Apr 1996 15:48:30 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Late, why aren't they famous? So many great blues people have passed with little notice. Hip Linkchain(Lankchin) Lee Jackson John Wrencher Sidney Maiden Mercy Dee Walton Johnny Waters Johnny Woods Valerie Wellington Luther Tucker Eddie Taylor Tommy McClendon(sp?) Willy Brown Georgia Tom(Dr. Thomas A. Dorsey)...... and chief among them all, Johnny Young Young Blueszellers seek out the recordings of these people and other greats. Uncle Ray ========================================================================= Date: Sat, 6 Apr 1996 22:57:43 GMT Reply-To: cuthulu@rlabs.com From: cuthulu Organization: Radar Labs 23 Subject: Re: Breaking strings & things Comments: To: bit-listserv-blues-l@uunet.uu.net On Fri, 5 Apr 1996 06:52:50 GMT, CKUT online wrote: >I always hold the string up and away from the guitar body (close to the neck) >with my right-hand little finger with tip of my thumb holding the string >against the body. I can usually get about six full wraps around the tuning >post. I use locking tuners (NOT a nut) and pull the string very tight with pliers before securing the locking post. This gives me less of a wrap and plenty of room for when the string stretches. WWW Production: HTML,CGI,JAVA Kevan Smith -> cuthulu@prysm.net http://www.rlabs.com ========================================================================= Date: Sun, 7 Apr 1996 04:56:38 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Roosevelt "Booba" Barnes passed away last night Comments: To: bit-listserv-blues-l@uunet.uu.net I was really shocked to hear this news...it was only a few months ago that Booba dropped by a gig my band was playing and sat in for a set, and he seemed healthy and happy then. Just last week I heard he was in the hospital, and maybe two days later heard that he'd died. Scott ========================================================================= Date: Sun, 7 Apr 1996 05:01:31 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Selling Out Comments: To: bit-listserv-blues-l@uunet.uu.net The entire concept of a musician "selling out" is ridiculous. Every musician who bothers to take his act out of his living room is selling out. I've yet to meet a professional musician who isn't trying to be successful, and any musician who says otherwise is either a liar or a fool. Scott ========================================================================= Date: Sun, 7 Apr 1996 00:48:01 CST6CDDT Reply-To: NOW HEAR THIS From: NOW HEAR THIS Organization: UW-Superior Subject: help! microphones and pickups Ok i need to to know how microphones and pickups work. A basic description on how they work. Im using this in a speech for a communications class. I tried looking with Netscape and using infotrack and excite but i hate sitting there using 20 difffferent keywords to find something thats probably under something else. Anyway i either need a description of how microphones work through physics and magnetic poles, how this relates to the pickups on an electric guitar (i heard the poles on a pickup are the same as on a microphone) and how this all relates to an amplifier and feedback. I dont necessarily need a description just a URL address to find this stuff or an ftp address to get a text file or a gopher address or something. I know this list isnt about the physics of music equipment but i thought someone here might know since theres probably some people on here who work with the technical aspects of music equipment and so forth. In return for your help in finding this information for me i will send some jimi hendrix tab that i found on the internet. ========================================================================= Date: Sat, 6 Apr 1996 23:07:45 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Why ARE they famous? Yeah...well, here I go again. As John Sinclair, Treme' poet, commentator, and jailbird recently said; = and I paraphrase..."If the House of Blues(is the home of the blues) then = what is Smitty's Pigtail Lounge in Clarkesdale and Jr. Kimbrough's in = Holly Springs?" Ta hell with Dan Ackroyd and the horse he rode in on! ========================================================================= Date: Sun, 7 Apr 1996 07:39:52 GMT Reply-To: "Shane K. Bernard" From: "Shane K. Bernard" Organization: Texas A&M (student) Subject: New Book -- Swamp Pop: Cajun & Creole R&B Comments: To: bit-listserv-blues-l@uunet.uu.net Due out in August by the University Press of Mississippi: SWAMP POP: CAJUN & CREOLE RHYTHM & BLUES by Shane K. Bernard Number one in the new American-Made Music Series (general editor, blues expert David Evans of the University of Memphis). Swamp Pop is an R&B hybrid from the Cajun and rural black Creole parishes of South Louisiana; it combines big-city R&B sounds with C&W, and -- most imporantly -- Cajun and black Creole (zydeco) elements to create an indigenous, oft-overlooked genre still performed today in South Louisiana dancehalls and nightclubs. "Swamp Pop: Cajun & Creole Rhythm and Blues" is based on over 50 inter- views with swamp pop musicians, producers, songwriters, and promoters, and is the first book dedicated solely to the topic of swamp pop music. Runs 240+ pages, includes about 30 B&W photos (some previously un- published), discography and timeline, song and subject indexes, bibliography, and an optional 14-track CD of swamp pop classics. To received a free flyer on the book, send snail-mail address to: skb8721@tam2000.tamu.edu And to view an excerpt of the book and learn more on swamp pop, visit the Swamp Pop Music Pages at: http://http.tamu.edu:8000/~skb8721/swamp.html SKB Cajun in Exile ========================================================================= Date: Sun, 7 Apr 1996 01:55:34 -0600 Reply-To: bolt From: bolt Subject: Re: Why isn't this person famous ? >OK, here are my choices of two people with incredible ability who - for a >variety of reasons - have never been able to reach any significant degree of >recognition: >JAMES CARR >LOU ANN BARTON > >Dick Waterman Who can argue with Mr. Watermans choices. Of course, "famous" is in the eye of the beholder, but here is my contribution: Earl Hooker Jimmy Dawkins "Texas" Pete Mayes Andrew "B.B." Odom Frankie Lee Sims I'm leaving a couple of "semi-famous" out of this list because they have gained some popularity in recent years. If you would have asked me this same question two years ago I would have added Luther Allison and Otis Rush. Just my thoughts... Reg Burns +++++++++++++++++++++++++++++++++++++++++++++++++ + I'll listen to reason when it comes out on CD + + + + bolt@neosoft.com Houston, TX + +++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Sun, 7 Apr 1996 03:00:55 -0500 Reply-To: bolt From: bolt Subject: Re: Disc help - Son Seals, Luther Allison >Can anyone recommend disc's of Son Seals and Luther Allison to buy. I >have Son Seals "Bad Axe" and Luther Allison "Blue Streak". Also lesser >known comparable artists would be greatly appreciated. > >Thanks, > >RW I can recommend anything live by LA (including "Sweet Home Chicago", "Live In Paris" and the Munich stuff...if you can get it). Much of the readilly available LA material is not necessarily as blues oriented as some of us may wish. The best recommendation I can give you is to see LA live. Hands down, the best show I have ever seen in person. Reg Burns +++++++++++++++++++++++++++++++++++++++++++++++++ + I'll listen to reason when it comes out on CD + + + + bolt@neosoft.com Houston, TX + +++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Sun, 7 Apr 1996 03:03:53 -0500 Reply-To: bolt From: bolt Subject: Re: Disc help - Son Seals, Luther Allison >To: blues-l >From: bolt@neosoft.com (bolt) >Subject: Re: Disc help - Son Seals, Luther Allison > >>Can anyone recommend disc's of Son Seals and Luther Allison to buy. I >>have Son Seals "Bad Axe" and Luther Allison "Blue Streak". Also lesser >>known comparable artists would be greatly appreciated. >> >>Thanks, >> >>RW > >I can recommend anything live by LA (including "Sweet Home Chicago", "Live In Paris" and the Munich stuff...if you can get it). Much of the readilly available LA material is not necessarily as blues oriented as some of us may wish. The best recommendation I can give you is to see LA live. Hands down, the best show I have ever seen in person. > >Reg Burns > > I forgot, Delmark has informed me that LA's great release "Love Me Mama" will be reissued on CD (for the first time) later this year. RB +++++++++++++++++++++++++++++++++++++++++++++++++ + I'll listen to reason when it comes out on CD + + + + bolt@neosoft.com Houston, TX + +++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Sun, 7 Apr 1996 01:48:40 -0800 Reply-To: Joe Corriveau From: Joe Corriveau Subject: New Orleans Music I'm going to be in New Orleans from April 30 to May 7. Does anyone have any suggestions about people or groups I should check out while I'm there. Thanks Joe bigjoe@aimnet.com ========================================================================= Date: Sun, 7 Apr 1996 11:43:43 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: WANTED: MAGPIE PIANO BLUES VOL. 20 Comments: To: bit-listserv-blues-l@moderators.uu.net For some reason I am missing Volume 20 in the Magpie Piano Blues Series (PY 4420) The Barrelhouse Years 1928 - 33. I think it went walkabout or did I foolishly lend it somebody? Anyway - I need a replacement copy. Don't tell me to try Red Lick, I have asked them. So if you have a copy in good condition I am willing to pay /$$$$ for it plus p&p as it is driving me mad not having the complete set. Anyone else get like this? Maybe we could start a thread on missing volumes that people need and get things sorted for folks. Tony ========================================================================= Date: Sun, 7 Apr 1996 11:44:26 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: WANTED: MAGPIE PIANO BLUES VOL. 20 Comments: To: bit-listserv-blues-l@moderators.uu.net This is a multi-part message in MIME format. ---------------------------------8263139004904 Content-Transfer-Encoding: 8bit Content-Type: text/plain; charset=iso-8859-1 For some reason I am missing Volume 20 in the Magpie Piano Blues Series (PY 4420) The Barrelhouse Years 1928 - 33. I think it went walkabout or did I foolishly lend it somebody? Anyway - I need a replacement copy. Don't tell me to try Red Lick, I have asked them. So if you have a copy in good condition I am willing to pay /$$$$ for it plus p&p as it is driving me mad not having the complete set. Anyone else get like this? Maybe we could start a thread on missing volumes that people need and get things sorted for folks. Tony ---------------------------------8263139004904 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=iso-8859-1 ---------------------------------------------------------------------------- Newsgroup: bit.listserv.blues-l (Earliest articles...) (Earlier articles...) * COREY_HARRIS_in_PITT!! - Rags_Trips_On_Gras (33) * Re: Need National Resophonic advice - L W (12) * Blues in LA/SF/Oakland in May - L W (7) * Paul Geremia at Ironhorse - Domenic Forcella (5) * Re: Paul Geremia - Ranko Vujosevic (30) o BluesRevue (6) * Why isn't this person famous ? o David Melton (12) o Jordan (24) * RL Burnside Interview (SHORT) - L W (116) * Re: Why isn't this person famous ? - David Melton (9) * born 04/06 - "Henry Busse Jr." (71) * Re: Have Been Reflecting Again - Ron Wack (28) * BLUES DATE TRIBUTES : FRANKIE NEWTON/NICK PERLS/ROGER MISIEWICZ - Eric LeBlanc-CISTI (65) * Re: Why isn't this person famous ? - Bruce Roberts (15) * Big Joe Turner/London - Byron Foulger (8) * eRIC DATES NEEDED. - Bluesman (19) * COREY_HARRIS+IAN_MOORE!!! - Rags_Trips_On_Gras (27) * Paul Geremia in concert - John Doukas (35) * Re: Why isn't this person famous ? - "Raymond O. Varner" (48) * Blue Notes, a magazine by the Sacramento Blues Society - Sherie Brubaker (22) * Re: Sonny Rhodes - what's with the hat? - Jonny Meister (27) * Hall? - Cathi Norton (19) * Hacksaw (LONG but informed response) - DeniseTapp (86) * Austin Music - Bruce Roberts (16) * Re: what's with the hat? -NO BLUES - Ron Wack (13) * J-card inserts - Gary Constantine (19) * Sac Blues Society 5-18-96 Press Release - Sherie Brubaker (90) * Re: Big Dave and the Ultrasonics - CATBAUER (6) * Re: Why isn't this person famous ? - Jonny Meister (2) * Re: Why isn't this person famous ? (Honeyboy) - T-Bone (14) * eRIC's BLUES DATES: April 6 - James Carmin (20) * Roosevelt "Booba" Barnes passed away last night o Tom Freeland (16) o Tony Burke (15) + Scott Dirks (7) * Re: Roy Bookbinder - Jim Witteveen (21) * Re: Mighty Blue Kings - Dave Daubard (1) * Thomas - "Lee C. Spector" (5) * born 04/05 - "Henry Busse Jr." (56) * Re: Re[2]: Why isn't this person famous ? - Shaun T Cronin (54) * Re: Have been reflecting again - ron kraemer (18) * BAYOU_TO_BEALE_ST!!! - Rags_Trips_On_Gras (26) * Why isn't this person famous ? - Don Cicchetti (24) * roy bookbinder - Toronto Blues Society (16) * Re: bluesradio/Holland - marc borms (13) * Re: Harp-L Address - Stan Ruffo (17) * Alabama Blues Showcase - L W (23) * Re: Blues Cruise! - Stan Ruffo (15) * booba Barnes - Mark Gobeyn (0) * Re: Sista Monica -Get Out of My Way - LeaGil (6) * Re: Why isn't this person famous ? (Honeyboy) - Timothy M Dellinger (12) * Ari Eisinger on Tour - Scott Ferman (62) * Robert Johnson Marketing - L W (6) * Trademark Question - No blues - Breffni Baggot (2) * Byther Smith - Jon Duttweiler (4) o Tony Burke (20) * Re: Breaking strings & things - CKUT online (4) o cuthulu (16) * Re: Have Been Reflecting Again - "DUTTWEILER.J" (29) * paul size - Don O (12) * Selling Out - Shaun T Cronin (43) * The History of the Blues - Shaun T Cronin (20) * The Jinx Blues - "Raymond O. Varner" (43) * Re: Why isn't this person famous ? - "Raymond O. Varner" (39) * Re: Larry Mcray! (And how it sucks to be a blues fan under 21) - RsprBlues (5) * Re: Anders Osborne/Jazzfest - Rick Richardson (41) * Re: Why ain't the famous - Tony Burke (16) * Re: Big Joe Turner/London - "P.W. Fenton" (25) * Re: No Subject - Don Williams (13) * (no subject given) - Stan Ruffo (23) * Re: Re[2]: Why isn't this person famous ? - "Raymond O. Varner" (94) * COREY_HARRIS+IAN_MOORE!! - Rags_Trips_On_Gras (23) * no blues (music) content - Joel Slotnikoff (12) * Roy Buchanan - aviper (1) * Booba Barnes obituary: - Dick Waterman (41) * eRIC's BLUES DATES: April 7 - James Carmin (24) * Re: Re[2]: Why isn't this person famous ? - "R.J. Bauman" (24) * Re: paul size - Bernie Clarke (23) * Re: no blues (music) content - Anita Samuel (20) * Re: Why isn't this person famous ? - " (38) * Non-blues pick of the week-LBC - James Bardsley (15) * Re: Paul Geremia - Ranko Vujosevic (21) * On this day... - "P.W. Fenton" (11) * Re: Why isn't this person famous ? - Jeff Seale (17) * Teddy Reynolds update. - Jeff Seale (18) * Re: Alabama Blues Showcase - Barry Silverberg (16) * Re: Why isn't this person famous ? - Bernie Clarke (8) * Delta Snake News - Gary Joneson (7) * lookin for blues soul mates - Nilesh N Thali (15) * Re: Yazoo's Before The Blues set Vol. 1 (some notes on the recordings, track list) - Michael Pisaro (13) * Re: Italian blues (Was Zucchero's US Tour Dates) - Renato Tonelli (3) * Re: Roosevelt "Booba" Barnes passed away last night - Renato Tonelli (4) * Re[2]: Why isn't this person famous ? - shannon oconnor (8) * Late, why aren't they famous? - "Raymond O. Varner" (10) * Re: Why isn't this person famous ? (Honeyboy) - Ranko Vujosevic (28) * Re: Why isn't this person famous ? - T-Bone (9) o Beowulf (19) o "Lea A. Gilmore" (7) * Re: Selling Out - Scott Dirks (8) * IGGY TONIGHT IN DC - Erica Wissolik (5) * Another new listserv of blues-type music - "D. ALLEN SIMPSON" (15) ---------------------------------------------------------------------------- ---------------------------------8263139004904-- ========================================================================= Date: Sun, 7 Apr 1996 09:43:21 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Test only - don't bother. Test of mail 04/07/96. NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sun, 7 Apr 1996 10:04:16 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1933, the 21st amendment was finally ratified and "Prohibition" was, at last, over. The Blues goes so much better with a cold beer. On this day in 1954, the tune "Gee" by The Crows became the first rhythm and blues single to ever gain attention on the pop music charts. This record was one of the first to influence the sound of early rock and roll. "Gee", written by William Davis, the baritone of The Crows, made it to #17 on the pop music chart and stayed for one week. This was one of the first songs by a black group to be played on white owned radio stations. The Crows came together in the late '40s in New York City, singing on street corners. Daniel 'Sonny' Norton (lead singer), Harold Major (tenor), Gerald Hamilton (bass) and Davis entered a talent contest at the Apollo Theatre and that was the beginning of their recording career. The group split up in the 1950s just as rock & roll was really getting going. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ Strip away the phony tinsel of Hollywood and you find the real tinsel underneath. - Oscar Levant ========================================================================= Date: Sun, 7 Apr 1996 11:44:52 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Alligator Tribute Radio Show TO: Commercial Radio Promotion FROM: Stew Crossen - WCCC 107 FM - Hartford, CT SUBJECT: The Blues Playground Playlist - Alligator Tribute DATE: April 7, 1996 ____________________________________________________________________________ Playlist for THE BLUES PLAYGROUND 4-7-96 SONG ARTIST ALBUM Got Lucky Last Night Lonnie Brooks 25th Alligator It's Alright Lil' Ed & The Imperials 25th Alligator Action Man Cephas & Wiggins 25th Alligator The Sky Is Crying Sonny Boy Williamson 25th Alligator If You Have To Know Lonnie Mack & SRV 25th Alligator Look On Yonders Wall Hound Dog Taylor 25th Alligator The Complainers Boogie Woogie William Clarke 25th Alligator Love, Life & Money Johnny Winter 25th Alligator Tain't Nobody's Business Saffire 25th Alligator Somebody Loan Me A Dime Fenton Robinson 25th Alligator Evil Koko Taylor 25th Alligator Hey Bartender Floyd Dixon 25th Alligator She Puts Me In The Mood Elvin Bishop 25th Alligator Stingaree Charlie Musselwhite 25th Alligator ____________________________________________________________________________ The Blues Playground - Sundays at 9:00 pm - 50,000 watts of Blues power! Reports to: The Hard Report, Living Blues, BluesWire magazine. Host/Producer - Stew Crossen (Beef Stew) WEB site: http://www.neca.com/~bfstew E-mail: bfstew@neca.com Home: Stew Crossen 18 Boxwood Drive PO Box 2094 Vernon, CT 06066-5106 Tel: 800.970.5151 Station: WCCC 107 FM 243 South Whitney Street Hartford, CT 06105 Tel: 860.233.4426 Fax: 860.232.6511 _____________________________________________________________________________ ____________________________________________________________________________ The Blues Playground - Sundays at 9:00 pm - 50,000 watts of Blues power! Reports to: The Hard Report, Living Blues, BluesWire magazine. Host/Programmer - Stew Crossen (Beef Stew) WEB site - http://www.neca.com/~bfstew E-mail - bfstew@neca.com Home: Stew Crossen Station: WCCC 107 FM PO Box 2094 243 South Whitney St. Vernon, CT 06066 Hartford, CT 06106 Tel: 800.970.5151 Tel: 860.233.4426 Fax: 860.232.6511 ____________________________________________________________________________ ========================================================================= Date: Sun, 7 Apr 1996 15:50:25 GMT Reply-To: rcarmack@SUN.TIR.COM From: rcarmack@SUN.TIR.COM Organization: The Internet Ramp Subject: Mid/SE MI Blues Societies Comments: To: bit-listserv-blues-l@uunet.uu.net I would like information on Blues Societies in the Mid/South East Michigan area. ========================================================================= Date: Sun, 7 Apr 1996 15:50:11 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Why ain't the famous Comments: To: bit-listserv-blues-l@uunet.uu.net In article <828784275.14668@bluestb.demon.co.uk> Tony Burke writes: >Arthneice "Gasman" Jones - yeah Leonard, he has a fine track on the >"Coahoma The Blues" cassette that Rooster put out a few years back. >And if you are looking for guys who should get more recognition look no >further than some the artists on this cassette: James "Super Chicken" >Johnson, Wesley "Mississippi Junebug" Jefferson and what about Tommy >Smiley's "TJ's Blues-O-Rama"? An off the wall classic if there ever was >one! >Is this set still available down there guys? I just purchased a copy of this through Stackhouse/Delta Record Mart (phone 601-627-2209). It's the only cassette I've played in my car for the past few weeks. A recent ad indicates Rooster will have releases by Super Chikan, Big Jack Johnson and the New Africa String Band who played a great set at last summer's Chicago Blues Festival. What I want to know is if Arthneice "Gasman" Jones is really a gas man. Big Jack Johnson is or was an "Oil Man", the title of one of his finer releases. Big Jack puts in some fine performances on Coahoma the Blues. James "Super Chikan" Johnson's "Big Bad Jimmy" is a favorite tune on this cassette. According to Super Chikan, Big Bad Jimmy "carries a little stick but he's just like Buford Pusser". Those who remember the "Walking Tall" movies will recall that Buford was a sheriff who enforced the law by knocking heads with a big club rather than using a gun. Big Bad Jimmy is a tax collector if I remember correctly. How did Super Chikan get his nickname and how did it get this spelling? This cassette is also the only place you are going to find Johnnie Billington recordings (a nice interview by LW appears in the latest Blues & Rhythm). This release is ALL artists who deserve wider recognition. If you call Stackhouse the Coahoma the Blues is only available on cassette ($15.98 - 92 minutes). A better compilation of Clarksdale area artists could not be found. It reminds me in some ways (in terms of documenting present day Mississippi artists) of the Deep Blues soundtrack which is unfortunately, no longer in print. Also, while your at it, pick up Valerie Wellington, Eddie C. Campbell, Booba Barnes, Lonnie Pitchford and the Low Blows Chicago blues harmonica anthology CDs. Art Schuna The usual disclaimers apply, just a big fan of Rooster Blues releases. ========================================================================= Date: Sun, 7 Apr 1996 15:48:56 GMT Reply-To: rcarmack@SUN.TIR.COM From: rcarmack@SUN.TIR.COM Organization: The Internet Ramp Subject: Sue Foles Comments: To: bit-listserv-blues-l@uunet.uu.net Does anyone have information on Sue Foley dates in the Michigan Ohio area for this summer. I have all of her CD's and would love to see her in person. ========================================================================= Date: Sun, 7 Apr 1996 12:26:19 -0400 Reply-To: SOO3713@ALPHA.CC.OBERLIN.EDU From: Owen Okie Subject: Warning! This article is serious. From: IN%"rosestem@centrum.dk" 7-APR-1996 05:15:16.58 To: IN%"asearle@mpr.org" CC: IN%"bevieac@maroon.tc.umn.edu", IN%"POULTON@delphi.com", IN%"75570.1137@compuserve.com", IN%"Judith@server.ices.inst.dk", IN%"redtail@intergate.bc.ca", IN%"soo3713@alpha.CC.OBERLIN.EDU", IN%"72732.1441@compuserve.com" Subj: Return-path: Received: from ns.dknet.dk by alpha.CC.OBERLIN.EDU (PMDF V5.0-5 #14491) id <01I38YERP8EO00Y6T6@alpha.CC.OBERLIN.EDU> for soo3713@alpha.CC.OBERLIN.EDU; Sun, 07 Apr 1996 05:15:16 -0400 (EDT) Received: from xanadu.centrum.dk (root@www.centrum.dk [193.89.248.1]) by ns.dknet.dk (8.6.12/8.6.12) with ESMTP id LAA00820; Sun, 07 Apr 1996 11:14:52 +0200 Received: from 193.89.248.123 by xanadu.centrum.dk (8.6.11/ISnet/11-02-92) ; Sun, 07 Apr 1996 11:13:47 +0200 Date: Sun, 07 Apr 1996 11:13:47 +0200 From: rosestem@centrum.dk To: asearle@mpr.org Cc: bevieac@maroon.tc.umn.edu, POULTON@delphi.com, 75570.1137@compuserve.com, Judith@server.ices.inst.dk, redtail@intergate.bc.ca, soo3713@alpha.CC.OBERLIN.EDU, 72732.1441@compuserve.com Message-id: <199604070913.LAA13912@xanadu.centrum.dk> MIME-version: 1.0 X-Mailer: SPRY Mail Version: 04.00.06.17 Content-type: text/plain Content-transfer-encoding: 7bit Dear You All, This was forwarded to us by one of Emily's friends in Minneapolis. I'm gonna give up burgers. Have a nice day. > > > Mad Cow Disease > "Much More Serious Than AIDS" > > by Michael Greger > Only three children died. Granted, they convulsed to death in a pool of bloody diarrhea, but all in all the Jack-in-the-Box E. coli is a pretty wimpy pathogen. After centuries of humans eating rotting corpses, you would think that nature could cook up a more nasty microbe. Let's suppose there was something in our food supply that wasn't affected by cooking or antibiotics. Something new and undetectable, perhaps. Some ultimate pathogen, practically indestructible, evading the immune system and maybe causing some invariably fatal neurodegenerative disease. Science fiction? Well, guess what... A seemingly[59] new[50] disease popped up in 1985 among dairy cows[12] n Great Britain. Dubbed Mad Cow Disease by the British press,[53] Bovine Spongiform Encephalopathy (BSE) claimed the lives of just under 20,000 cows by 1990[33] with up to 300 new cases appearing each week.[16] Only months after the government concluded that the disease probably wouldn't spread to other species[1], someone's cat died of a hitherto unknown feline spongiform encephalopathy[26] of which infected pet food was "overwhelmingly the most likely explanation."[36] And then zoo animals started dropping dead.[4] Together, this sparked a public uproar[19] with unprecedented media attention.[50] Fearing its spread into the human population, hospitals[34], nursing homes[34], and over 2000 schools[21], affecting over 750,000 school children[7], stopped serving beef or restricted its consumption. An early 1990 survey showed that one in ten people in England seemed to agree with Dr. Richard Lacey[43], a microbiologist at Leeds University, that BSE "is much more serious than AIDS."[18] By May 1990, a quarter of the population refused to eat beef.[38] In six months beef prices dropped 10[5]-25%[3], devastating the cattle industry. Declaring beef farming unprofitable, many British farmers either moved to other crops[59] or went bankrupt.[50] The final blow came when Australia[43], Israel[43], and a dozen other countries[24] banned the importation of British beef because of the BSE epidemic. The USSR went even further, banning the importation of British milk[44] and leather. In 1991 another fifteen feline companions succumbed[47] and a half dozen more zoo animals perished[12], in all presumably from eating infected cow parts. By 1992 the disease spread to all dairy and beef breeds[12] and the number of histopathologically confirmed cases almost tripled to 58,000.[27] And the plague spread across the globe and into six other countries.[2] France even pulled 32 over-the-counter drugs off the market because of BSE, totally banning 19 and reformulating the 13 others without cattle tissue.[51] Last year, the number of cases quadrupled in Switzerland[12,60] and British beef consumption reportedly tumbled to 38% below the norm.[65] The epidemic is growing steadily[12] and continuing unabated[64] with at least 1% of all cattle in England infected8 and estimates ranging up to 10%.[59] Trashing all official government predictions of a plateau of around 20,000 cases[40], we are left with over 100,000 lab confirmed[3] cases with 1,000 new cases reported each week.[39] Spongiform encephalopathies are invariably fatal[29] neurodegenerative[17] diseases. There is no treatment[55] nor cure.[18] The novel[3] infectious agents evoke no immune response[50] and consequently slowly accumulate[14] for an incubation period of up to 30 years.[60] You can't detect them[28], isolate them[35], nor purify them.[13] In fact, only an autopsy can tell if you ever even had them.[45] They aren't viruses and they aren't bacteria.[66] The consensus is that they are prions, or infectious proteins.[60] Without detectable DNA nor RNA[41], not only does no one know how they replicate[6], but the whole concept challenges the basic tenets of biology.[45] Because of their unique makeup, they are practically invulnerable. They can survive for years in the soil.[61] They are not adequately destroyed by cooking[13], canning[14], nor freezing.[40] Chemicals or enzymes which degrade nucleic acids[55], proteolytic enzymes of the digestive tract[49], and usable doses of UV or ionizing radiation[48] are all ineffective in destroying their infectivity. Even heat[40], domestic bleach[59], and formaldehyde[14] sterilization have little or no effect. In fact, the only way to ensure that your burger is safe is to marinate it in Drain-O (or other concentrated alkali).[59] They are the smallest[9], most lethal self-perpetuating biological entities in the world. A member of Parliament recently called BSE "the most serious threat ever posed to British agriculture."[44] But so what? So some jobs are lost and maybe a couple of hundred thousand cows perish. The real question is, are people going to die? Lacey (MA, MD, PhD, FRC, Path, DCH) asserts that a "substantial danger for man exists"[55] and further, that the human health implications of BSE are "very grave."[1] Others, however, do not share his prediction of a "very, very grim"[8] future. After a $6.5 million advertising campaign touting red-meat consumption from Britain's Meat and Livestock Commission[34] and the Minister of Agriculture gamely munching burgers with his four-year-old daughter for the press[16], the schools have put beef back on the menu[50] and beef consumption has regained semi-normal levels.[38] Despite continued warnings from scientists like Lacy, the European community has lifted its ban and most other countries have greatly relaxed their trade restrictions.[7] The dismissals of human risk generally fall into four categories. There are scientists who base their assertions that the danger is minimal on the premise that none have yet died.[16,17,48,50,57,64,70] There are others who try to quell public fears by claiming thatthere simply exists no evidence that indicates a human health risk from BSE.[21,46,56,62,65,70] And finally, there are those who doubt that the infectious agent can enter the food chain in the first place[13,15,32,46,48,57] and/or those who question whether BSE can jump the species barrier.[10,20,21,32,36,37,56,57,60,61] First of all, even the wishful thinkers who see the risk to human beings to be trivial admit that we really cannot know, and will not know, for a number of years. This kind of "sit and wait"[3] attitude is expressed, for example, by the United States Department of Agriculture (USDA) which has stated that "the safety of British beef cannot be demonstrated for 20 or more years."[21] Second of all, the aforementioned arguments are flimsy, deceptive, based on blatantly false assumptions, and are at best just unscientific. Before I elucidate, some background is necessary. "BSE was 'almost certainly'[10] caused by feeding cattle ground up, dead, diseased sheep"[18] infected with an ovine spongiform encephalopathy known as scrapie.[20] But aren't cows herbivores? I hate to dispel your urbanite mythology of fragrant hay and picturesque pastures, but this is modern agribusiness. "Protein concentrates" (euphemism for mashed- up bits of other animals left over from the slaughterhouse) are fed to dairy cows[22] to improve milk production,[65] for example. The real problem now, though, is not that we've made cows meateaters but that we've turned them into cannibals as well; the recycling of the remains of infected cows into cattle feed[60] has probably led to the epidemic's explosive spread.[42] "In effect, BSE resulted from an accidental experiment on the dietary transmissability of prion disease between sheep and cows."[57] A subsequent experiment of this kind, with humans, probably occurred in England in the late 1980's when meat contaminated with BSE entered the food chain.[57] "The result of this experiment is awaited ['as we live through the incubation period'] over the next decades."[57] Sources that try to quell public fears by pointing out that no one has yet [see Animal News] died do not seem to understand the term incubation period, defined as the time span between actually acquiring the disease and the appearance of the first symptoms. Studies of human prion diseases like kuru, which attacked a New Guinea tribe which consumed the brains of their dead, show incubation periods as long as 3 decades.[46] The earliest we could even expect to see people dying from BSE is probably around 1995.[39] Having said this, the incidence of Creutzfeld-Jakob disease (CJD), the most common human prion disease,[37] has risen 100% in Britain since 1989.[8] Two especially notable deaths were farmers who in fact did have BSE infected herds.[11] This is surely coincidental, though, as they presumably didn't have time to incubate it.[73] The USDA has stated that, "To date, no scientific evidence indicates that BSE is a human health hazard."[8] To this, one writer replied, "Of course, to date no scientific experiments have been done on humans to find out if this is so."[8] This isn't entirely true, but the experiments that have been done, if anything, point to an increased risk. For example, CJD has been epidemiologically linked to the consumption of offal.[58] More ominously, though, is the finding that sheep inoculated with CJD-infected human brain develop scrapie.[21] As retired professor of clinical neurology WB Matthews put it, "Claims that British beef is entirely safe to eat...are scarcely scientific when the question has not been tested and is, perhaps, untestable."[28] Others argue that humans would never be exposed to the disease. In 1989, offal (tonsils, intestines, spinal cord, brain, spleen etc.) was banned from meat products destined for human consumption.[24] Because British omnivores could then only eat the muscles, the food supply was declared safe.[36] First of all, before the ban took hold, the nervous lymphoid, and gut tissues of an estimated 2 million cows reached human food.[59] Secondly, it is possible that muscles do in fact harbor sufficiently deadly numbers of prions; spongiform encephalopathies of goats, minks, and hamsters can be transmitted through muscle alone.[55] A recent report does show that cow muscles are not detectably infectious, but these data are preliminary and based only on mice.[48] And frankly it doesn't matter because beef is not just muscle; it's laced with peripheral nerves and lymphoid tissue[39] which have both been shown to be infectious.[39] No tissue, though, concentrates the pathogens more than brain or spinal cord.[46] In the slaughterhouse, beef is recovered by mechanically sawing down the corpse, which may splash brains (which at this stage have the consistency of custard)[59] through the meat.[55] Although BSE is more prevalent in dairy cows and milk probably is not infectious[46], dairy cows are quickly retired into hamburger. In addition, the prions are thought to continuously accumulate in one's system, so that even small doses could build up.[14] By far the most common faulty reasoning when marginalizing human risk factors is the argument that since scrapie gave rise to BSE and scrapie is not transmissible to humans, then BSE is not transmissible to humans. This is "untenable."[39] As Heino Diringer of the Robert Koch Institute in Berlin has said, "We cannot assume that because [eating] sheep is relatively safe, ergo beef is safe."[36] This is because every time prion diseases jump from species to species, the characteristics of the disease may dramatically change, including the host range.[14] For example, scrapie cannot infect cats, but it appears BSE can.[39] One also cannot infect rhesus monkeys with scrapie, but as soon as scrapie jumps into minks (causing "MSE"), then the minks can infect the monkeys.[59] Scrapie can infect mice, though, and, when it's transferred to cows, it can still affect mice, but when transferred from sheep to mink, the mink can then not transmit it on to mice.[59] The bottom line is that we cannot predict what species a prion disease will affect when it jumps to a new one.[39] But what are our chances? BSE has been able to infect and (therefore) kill cats, antelopes, and even ostriches from presumably eating infected protein.[1] Experimentally, one can give BSE to monkeys[56], pigs, mice, sheep, goats[1], and chimpanzees.[8] There is no reason to believe that BSE will not similarly infect humans.[8] In fact, if you line up ten mammals, on average you can infect eight with BSE.[39] We don't even have the flip of a coin in our favor. Susceptibility is not enough, though. The critical uncertainty is, how small a dose is necessary to pass the disease along? Theoretically it doesn't matter if BSE can infect humans if we never eat enough meat within a lifetime. Last year, calculations were made to determine how many people will have consumed a potentially infectious dose by 1997.[39] The conservative estimate runs upwards of 34 million people.[39] Or as Lacey put it, virtually a whole generation of people may die.[31] And we are not talking a quick and simple death, either. If we assume the disease runs a course similar to CJD, these people will wake up one morning twitching and deteriorate weekly[67] into blindness and epilepsy[59] while their brain perforates into a sponge.[43] If they're lucky, they will be dead within three months; if not, it may take up to five years.[59] But what about the United States? Not only is there the ethnocentric relevance, but we have 100,000,000 cattle[8] and the highest per capita beef consumption in the world.[65] Traditional bovine spongiform encephalopathy hit North America in 1993.[15] An infected dairy cow, one of many imported from the UK before both Canada and the US banned the importation of British cattle, was found on a ranch in Alberta, Canada.[8] Of the 471 British cattle imported into the US before the 1989 ban, 188 of them have been melted down into lard and protein (presumably for other livestock) and at least 66 are untraceable.[8] One of the imported bulls slaughtered had a "central nervous system abnormality" of which the USDA reported, "There is no definitive evidence that [the bull] either had or did not have BSE."[8] Although the importation of British beef has been banned from the US for a decade due to an unrelated disease[7], over 13 tons of meat and bone meal, (which, if you remember, was implicated in the birth of the British epidemic) has come into the US from England between 1982 and 1992. Indigenous conditions conducive to a BSE outbreak include the presence of scrapie in 39 states.[54] The 40-year[52] USDA Scrapie Eradication Program has been deemed a "dismal failure"[63] and even implicated in the recent rise of scrapie-infected sheep.[54] Admitting defeat, the USDA scrapped the Scrapie Eradication Program 2 years ago and replaced it with an "entirely voluntary" control program.[21] The proportion of sheep to cattle in the US is dramatically smaller than in the British Isles though, which helps minimize the risk of an outbreak.[65] This is a moot point, however, if BSE is already here. Since 1947 there have been 25 outbreaks of Mink Spongiform ncephalopathy (also called TME) on US fur farms.[22] This perplexed researcers who were unable to orally infect mink with scrapie-infected sheep brains.[49] A clue came in 1985 when TME wiped out a population of minks in isconsin who hadn't eaten any sheep.[35] Their diet consisted almost exclusvely of dairy cattle called "downers,"[54] an industry term describing cows who fall down and are too sick to get up. The possibility, then, that US dairy herds were harboring some form of BSE intrigued University of Wisconsin veterinary scientist Richard Marsh.[65] To test this, Marsh inoculated US cattle with the infected mink brains.[49] As predicted, they died.[49] And when he fed the brains of these cows to healthy mink they too died of a spongiform encephalopathy[54] providing what he thought was the missing link.[66] Marsh hypothesized that the proposed BSE strain indigenous to the US manifests itself as more of a downed cow disease than a mad cow disease.[49] With about 300,000 cows going down for unexplainable reasons every year in the US[65], this has frightening implications on a grand scale. The critical experiment came when Marsh inoculated scrapie infected sheep brain into US cattle.[63] If you do this in England the cows go mad, twitching[16] and kicking into a rabid frenzy.[12] But in America, cows instead stagger to their deaths like downer cows do[65], supporting the notion that a form of BSE is already here in the United States. By 1990 the USDA had 60 labs monitoring our country's cattle herds for BSE.[7] In 1991 APHIS, the governmental agency which ensures the health of the nation's livestock, concluded that the "possibility of BSE appearing in US cattle is extremely low."[21] The assumption made by APHIS and others[2], however, was that "scrapie infected sheep were the only source of the BSE agent."[21] This is certainly questionable in light of the evidence for an indigenous BSE agent. Likewise, the USDA surveillance program (described as slow, clumsy, and ineffective)[66] began looking for the rabies-like symptoms of the traditional British strain of BSE[52], in effect ignoring Marsh's findings.[21] In June 1992 a USDA consultant group continued to disregard the available evidence, deciding that changes in the research program to accommodate the possibility that BSE was already present in the US were "not appropriate at this time."[21] No surprise really, when one realizes that this panel included representatives of the National Milk Producers Federation, the National Renderers Association, The American Sheep Industry Association and the National Cattleman's Association.[21] According to newspaper reports last year the USDA has finally backed down and started testing downer cows[65], but some doubt their resolve.[21] For example, in Britain, when the monetary compensation given to the farmer whose infected cows were incinerated by the government rose from 50% of market value to full compensation, the number of reported cases shot up 73%.[59] Presumably, the earlier economic disincentive persuaded farmers to overlook a few mad cows. Well, the USDA knows all too well that a positive diagnosis in a single cow could put the entire dairy and beef export business in jeopardy.[65] In Wisconsin alone this would mean a loss of a half a billion dollars a year.[66] With scientists like Marsh saying "The exact same thing could happen over here as happened in Britain,"[35] and with beef consumption already at a thirty-year low,[34] the USDA is justifiably worried. There was even a complaint filed recently with the FDA from a woman with CJD who had een taking a dietary supplement containing bovine tissue.[4] Like England, we have been feeding dead cows to living cows for decades.[7] In fact, here in the US a minimum of 14% of the remains of rendered cattle is fed to other cows[49] (another 50% goes on the pig and chicken menu).[2] Partly because of this, the USDA has conceded that "the potential risk of amplification of the BSE agent is much greater in the United States" than in Britain.[8] To make things worse, there has been a dramatic increase in the use of animal protein in commercial dairy feed since 1987.[35,49] The recent introduction of Bovine Growth Hormone will only increase the need for rendered animal proteins in the rations of dairy cattle,[4] of whom we eat 2.6 billion pounds annually.[8] In June 1993 the Foundation on Economic Trends, a national consumer advocacy organization, petitioned the FDA to ban all feeding of ruminants (cows, sheep...) to other ruminants, because they felt that transmissible spongiform encephalopathies "pose a serious potential health risk to both the nation's cattle herds and meat-eating consumers."[8] Although the European Commonwealth took this advice four years ago[23], the U.S. Government still refuses.[8] According to top encephalopathy expert Joseph Gibbs, one out of every million cattle naturally develops BSE.[65] And because evidence exists that prions are able to adapt to their hosts and become more virulent with time[22], it is, in my view, absolutely necessary to enact the ban and stop recycling this disease through US cattle. To make things worse, a preliminary 1989 study at the University of Pennsylvania showed that over 5% of patients diagnosed with Alzheimers are actually dying from a human spongiform encephalopathy.[21] That means that maybe 200,000 people in the US[21] are already dying from BSE each year. So why is the government being so stubborn? Why don't they enact the ban? An answer can be found in a 1991 internal USDA document entitled "BSE: Rendering policy" which was recently retrieved through the Freedom of Information Act.[21] It weighed the costs and benefits of a number of preventative measures including a total ruminant to ruminant ban.[21] The supporters of this option felt that this minimized the risk to public health.[21] APHIS, however, goes on to explain that the "disadvantage" of this approach is "that the cost to the livestock and rendering industries would be substantial" and that such a policy "could pose major problems for the US livestock and rendering industries."[21] After all, the rendering, feed, and cattle industries do rack up annual sales of only $1.2 billion, $20 billion, and $60 billion, respectively.[8] And since when does public health ever take precedence over corporate interests anyway? I just hope that, in the end, the profits are worth it. Author's Note: Do not take my word for any of this. Go to the library; check out Agricola, Medline, Biosis, CAB Abstracts, the online catalog, anything. Time is of the essence. References 1. J. of Nutritional Medicine (1992) 3:149-151 2. Animal Health Insight (1992) Autumn:1-7 3. Moscow Indiana Daily News (1993) December 22:1A,3A 4. Consumer Policy Institute Testimony before Joint Meeting of FDA FAC and VMAC (1993) May 6:5-6 5. J. of Agricultural Economics (1992) 43(1):96-103 6. Nature (1993) 365:93 7. New Age Journal (1990) Nov/Dec:8-9 8. In These Times (1994) Jan 24:12-13 9. Biological Science 5th edition (1993) by Keeton and Gould 10. Medical Laboratory Sciences (1992) 49(3):216-7 11. Nursing Times (1993) 89(38): 19 12. Proceedings American Association of Bovine Practitioners Convention (1992) 24:19 13. Medical Laboratory Sciences (1992) 49(4):334-9 14. Ecologist (1991) 21(3):117- 122 15. Drovers Journal (1994) Jan:42 16. Discover (1991) Apr:69-74 17. Dev Biol Stand (1993) 80:15-23 18. Alternatives 18(3):9-10 19. Nature (1990) 345:280 20. Nature (1990) 343: 196 21. In These Times (1993) May 31:12-15 22. Economist (1990) Feb 3:89-90 23. Veterinary Record (1990) Jun 30:632 24. Lancet (1990) 335:343 25. Veterinary Record (1990) Jun 23:626 26. Lancet (1990) May 26: 1252 27. New Scientist (1992) Jun 13:9 28. British Medical Journal (1990) 300: 412-3 29. British Medical Journal (1988) 296:1581-2 30. New Scientist (1993) Mar 20:5 31. Nature (1990) 345:648 32. Sub-acute Spongiform Encephalopathies , edited by R. Bradly (1991):179-186 33. Lancet (1990) 336:1300-2 34. US News and World Report (1990) Jul 2:44 35. Scientific American (1990) May:34 36. Science (1990) 249:1492-3 37. Economist (1990) Jul 28:69 38. British Food Journal (1992) 94(9):23-6 39. British Medical Journal (1993) 95(8):22-34 40. Veterinary Record (1992) Jul 4:2 41. Economist (1991) Jun 22:92-3 42. Veterinary Record (1992) Feb 15:146 43. New Scientist (1990) Jun 9:32-4 44. Veterinary Record (1990) Nov 3:440-1 45. Lancet (1988) Sep 10:607-8 46. Bulletin of the World Health Organization (1992) 70(2):183- 190 47. Advances in Virus Research (1992) 41:257 48. Dev Biol Stand (1993) 80:157-170 49. Dev Biol Stand (1993) 80:111-8 50. Prion Diseases of Humans and Animals , edited by Bradley, B. et al. (1992):285-299 51. Wall Street Journal (1992) Jun 29 52. Dev Biol Stand (1993) 80:119-121 53. New Scientist (1993) Oct 9:50-1 54. Sub-acute Spongiform Encephalopathies , edited by R. Bradly (1991):41-6 55. Nutrition and Health (1991) 7(3):117-134 56. Veterinary Record (1993) Apr 17:403-5 57. British Medical Journal (1992) 304:929-930 58. British Medical Journal (1992) 304:1509 59. Food Microbiology (1990) 7:253-279 60. Lancet (1993) 342:790-3 61. Sub-acute Spongiform Encephalopathies , edited by R. Bradly (1991) :195-202 62. Nature (1993) 365:386 63. Sub-acute Spongiform Encephalopathies , edited by R. Bradly (1991):272-274 64. Nature (1993) 365:98 65. Wisconsin State Journal (1993) Sep 26:1C 66. Capital Times (1993) Sep 11:6A 67. Mosby's Medical and Nursing Dictionary 2nd Edition (1986) ----------------------------------------------------------------------- U.S. McLibel Support Campaign Press Office PO Box 62 Phone/Fax 802-586-9628 Craftsbury VT 05826-0062 Email dbriars@world.std.com ----------------------------------------------------------------------- http://www.mcspotlight.org/ http://www.interlog.com/eye/Misc/McLibel http://student.uq.edu.au:80/~s002434/mcl.html ----------------------------------------------------------------------- To subscribe to the "mclibel" listserve, send email To: majordomo@world.std.com Subject: Message: subscribe mclibel To unsubscribe, change the message to: "unsubscribe mclibel" ========================================================================= Date: Sun, 7 Apr 1996 12:27:37 EDT Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Honeyboy Edwards live OK, I finally have some time to tell my tale, so here goes. Last Monday night, I went to see Honeyboy at the Iron Horse Music Hall in Northampton, MA. When I arrived, the club was packed (I didn't get a seat until the show was almost over) and steaming from all the bodies. My guess is that the club holds about 300. Mark Nomad was opening, and the folks really appreciated his set. Mark was playing solo acoustic, which I had not seen him do live (he plays regularly both solo and with a full band, and his CD's feature both as well). After Mark's fine job of heating up the crowd, Honeyboy came on with harp and washboard player Rick Sherry. As he plugged in his Gibson, the crowd was already shouting. Midway through the first set, he paused to tell the story of how he started playing his father's guitar at about the age of fourteen and going on the road with Big Joe Williams at seventeen. Unfortunately some of this was difficult for me to hear because some dork nearby wouldn't shut up. Between sets I headed outside for a smoke (the club is smoke free) and had a chance to talk to Rick (anybody know how old he is?). He told me of his first trip to the Delta and the people he knows down that way, including some who were seen in the Highway 61 show dancing to Levon Helm's playing. We also talked about the plans for Muddy's cabin (any further developments?) and their plans to appear at an area school the following morning. Then it was back inside for the second set. There were a few missed notes, but overall it was an entrancing performance. The real highlight of the night came after the show (with two standing ovations). I expected at most to be able to shake his hand and thank him for a good time, but Honeyboy took a seat at a table next to the stage and started to sign autographs. I kind of hung back and waited for the line to finish, and then approached him to tell him what an honor it had been to hear him play and listen to the stories he told during the two sets. I was delighted to find out what a warm and friendly person he is. We were soon joined by Mark and Rick and the four of us sat at that table for an hour. What an experience it was, hearing him tell stories of the Delta, Big Joe, his cousin Willie Mae (of Robert Johnson's Love in Vain fame), meeting RJ and RJ's death, Little Walter, traveling to Europe, South America, Tokyo, and so much more. I wish I could thank him once again for a night which I'll never forget. Folks, if you ever have the chance to get to one of his gigs, GO! This man is a real treasure. He is living history. Don't miss the chance to catch one of the last of a rare lot. Also, thanks again to Rick Sherry and the good folks at the Iron Horse for bringing him our way. Dave Carpenter Blues Music Director - WHUS-FM University of Connecticut Storrs, CT http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Sun, 7 Apr 1996 12:27:39 EDT Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: Studebaker John Hi Al, et al, I'm listening to the new disc as I write this, and must agree with you that it's another good one from John and from Blind Pig. They (Blind Pig) are putting out some fine stuff lately, and I too look forward to what's to come. In addition to the Coco Montoya (I'm a huge fan of his since his days with John Mayall, and will be seeing him in about a month here in CT), Blind Pig has signed Magic Slim and Deborah Coleman, further expanding their already impressive roster. I'm still playing (and expect to play for some time) their Johnny Dyer and Willie Smith releases on my show. Throw in Chris Cain, Tommy Castro, fellow Bluezeller E.C Scott and more and Blind Pig could take over my whole show if it weren't for lots of good blues I receive from many other labels. Oh yeah, Willie will also be coming through CT later in May. No affilliation, just appreciation. Dave Carpenter Blues Music Director - WHUS-FM University of Connecticut Storrs, CT http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Sun, 7 Apr 1996 11:50:47 -0500 Reply-To: Toronto Blues Society From: Toronto Blues Society Subject: darrell nulisch - otis grand Comments: cc: programming@harbourfront.on.ca >My vote has to go to Darrell Nulisch. He has incredible soul in his delivery >and is also a fine harp player. To hear him check out Anson Funderburgh and >the Rockets "Talk to You by Hand" and "She Knocks me Out". He's on Ronnie >Earl and the Broadcasters "Soul Searching", and "Peace of Mind." The last >stuff he put out was (regrettably five years ago) with Darrell Nulisch and >Texas Heat. It was called "Business as Usual." Great stuff - all of it. > Anybody know what he's doing now?> >Bernie Clarke dear bernie, darrell will be fronting a band that will be touring the northeast this july led by british guitarist, otis grand. i have them scheduled to play the soul 'n' blues festival at harbourfront centre in toronto on july 19. i'm not sure what other dates are happening, but the tour is being put together by tony d.'s manager in ottawa. otis is a relatively big deal in the uk and i don't think he's been here. if you contact me during the day, i can pass on more info to you (or others) about the tour. dial up: programming@harbourfront.on.ca regards, derek andrews. ========================================================================= Date: Sun, 7 Apr 1996 13:21:00 EDT Reply-To: Debra Eisert From: Debra Eisert Subject: blues quote After the discussion about what the blues means to us personally, thought you might enjoy this quote from Lightning Hopkins. "You know, the blues is something that's hard to get acquainted with. It's just like death. Now, I tell you about the blues. The blues dwells with you everyday and everywhere. See, you can have the blues about that you're broke. You can have the blues about your girl is gone. The blues comes so many different ways until it's kind of hard to explain. But whenever you get a sad feeling, you can tell the whole round world you got nothing but the blues." ##################################################################### Debra Eisert "Those who dream by day are congnizant debra@iglou.com of many things which escape those who Cincinnati, OH dream only at night." -- E. A. Poe ##################################################################### ========================================================================= Date: Sun, 7 Apr 1996 14:01:36 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Studebaker John Comments: To: "david m. carpenter" <103156.340@COMPUSERVE.COM> In-Reply-To: <960407162739_103156.340_IHE46-2@CompuServe.COM> David, If you have listened to Studebaker John's other CD's - how does this one compare. I like this one a lot, but have only heard 1 other by him. On this one he hit me as a cross between SRV and Sugar Blue. Not exactly traditional blues, but it sure got me, and good. I found it interesting that the liner cover pictured him holding a guitar. I know he plays both axe & harp, but his blowing was the stealer for me. Your thoughts please? Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sun, 7 Apr 1996 18:06:58 GMT Reply-To: bluesbabe From: bluesbabe Organization: SoVerNet, Inc. Subject: KEB MO On Austin City Limits Comments: To: bit-listserv-blues-l@uunet.uu.net I heard from blueslist last week about the up an comming Keb MO on Austin City Limits 4-6-96.....I tuned in and again I wasn;t disappointed......Keb Mo is so smootttttttttthhhhhhhhhhhh! Each time I've been lucky enough to catch his show I always walk away feeling right! I find this young man so enjoyable. Unfortunately in my haste to watch the show I did not set the V C R correctly and lost the taping but as good as Keb Mo is there will be a lot more comming and I;ll be front row anxiously awaiting . keep loving those blues............................. The Babe !!!! ========================================================================= Date: Sun, 7 Apr 1996 13:59:03 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 04/08 B O R N : Bonansinga, Frank 04 08 1900 JACKSONVILLE, IL PIANO / LEADER TRAD / JAZZ Fronted his own band in 1924 / Longtime New Orleans resident / Headed New Orleans Jazz Club in 1956 HUMPHRIES, FAT MAN ( FRANK ) 04 08 1913 GRACEY, KT TRUMPET / ALTO SAX / TENOR SAX JAZZ / BLUES / BIG BAND Formed Original Humphries Play Boys 1928 / Vernon Stern (1929) Christopher Columbus / Lucky Millinder / Cootie Willlams / Louis Jordan / Don Redman / Tab Smith / mid-1940s re-formed the Humphries Brothers' Band which played together for more than 30 years. JEFFREY, PAUL 04 08 1933 NEW YORK, NY TENOR SAX / ARRANGER / LEADER JAZZ / BIG BAND WYNONIE HARRIS / BIG MAYBELLE / B.B. KING / ILLINOIS JACQUET / HOWARD McGHEE / DIZZY GILLESPIE / COUNT BASIE LEE, PHIL 04 08 1943 LONDON, UK GUITAR JAZZ GRAHAM COLLIER / HENRY LOWTHER / TONY COE / MICHAEL GARRICK / JEFF CLYNE / GORDON BECK MCRAE, CARMEN 04 08 1922 NEW YORK, NY SINGER / PIANO JAZZ / BLUES / BIG BAND Benny Carter / 1944 / Count Basie / Mercer Ellington 1946-47 / made her record debut under the name of Carmen Clarke (she was then married to drummer Kenny Clarke / Mat Mathews POWELLL, SHANNON 04 08 1962 NEW ORLEANS, LA DRUMMER TRAD / JAZZ / BLUES A child prodigy, was accepted into popular jazz bands before he was in his teens. SUNSHINE, MONTY 04 08 1928 LONDON, UK CLarinet / leader TRAD / JAZZ CHRIS BARBER / ROD MASON / IAN HUNTER-RANDALL / ALAN GRESTY / CHARLIE GALLBRAITH / TONY BOGHAT FOR A LISTING OF THOSE THAT PASSED AWAY IN APRIL PLEASE GO TO MY WEB PAGE AT http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Sun, 7 Apr 1996 12:13:34 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Warning! This article is serious. The following propoganda was forwarded to the list. I don't know what it has to do with the blues, but I'll make a quick response anyway: >Dear You All, > >This was forwarded to us by one of Emily's friends in Minneapolis. I'm gonna >give up burgers. Have a nice day.... This kind of fear-mongering b.s. really makes me sick. I would wager a guess that it was written by someone from an organization positing a vegetarian or vegan viewpoint, and as a farmer I hate for this kind of misinformation and propaganda to be put forth anywhere. If I was in Britain right now, I'd order the biggest steak available, have it cooked up medium-well, and enjoy it to my heart's content. And if you're worried about this happening in North America, don't! We do not feed rendered sheep's remains as protein supplements as was done in Britain prior to 1988, and that's where BSE (Mad Cow Disease) is believed to have come from. Sorry for the lack of blues content and perpetuating a thread that really doesn't belong in this forum, but I felt that this diatribe couldn't go without a response. -Jim (hndful@uniserve.com) ------------------------------------------------------------ Check out 'Heart and Soul', a new hour of blues, gospel, and jazz every week on SDF-Net Community Radio - http://sdf-radio.colossus.net. ------------------------------------------------------------ ========================================================================= Date: Sun, 7 Apr 1996 12:22:35 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Studebaker John Comments: To: "david m. carpenter" <103156.340@compuserve.com> >Hi Al, et al, > >I'm listening to the new disc as I write this, and must agree with you that it's >another good one from John and from Blind Pig. They (Blind Pig) are putting out >some fine stuff lately, and I too look forward to what's to come. In addition to >the Coco Montoya (I'm a huge fan of his since his days with John Mayall, and >will be seeing him in about a month here in CT), I saw Coco play at BBKings in L.A. in March, and he absolutely blew me away - his live show is fantastic, and his live version of Am I Losing You literally brought tears to my eyes. His organist (Benny Yee, I think his name is) is one extremely talented individual as well. Tell us about the show! I guess it goes to show you that Blind Pig does listen to the suggestions on the little card they include with their cd's - a couple of years ago, after seeing him in concert with Mayall, I filled in the 'Blind pig should release an album by _____' with Coco's name. So I'll take personal responsibilty for him getting signed to BP Records :-) :-). -Jim (hndful@uniserve.com) ------------------------------------------------------------ Check out 'Heart and Soul', a new hour of blues, gospel, and jazz every week on SDF-Net Community Radio - http://sdf-radio.colossus.net. ------------------------------------------------------------ ========================================================================= Date: Sun, 7 Apr 1996 13:27:01 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re: New Orleans Music Comments: To: Joe Corriveau You're kidding, right? That's right during the middle of the Jazz-Heritage Fest. You can have anything you want from the Allman Bros to Buckwheat Zydeco. See the New Orleans website for detailed listings. -Jim _______________________________________________________________________________ Subject: New Orleans Music From: Joe Corriveau at INTERNET-SH Date: 4/7/96 4:16 AM I'm going to be in New Orleans from April 30 to May 7. Does anyone have any suggestions about people or groups I should check out while I'm there. Thanks Joe bigjoe@aimnet.com ========================================================================= Date: Sun, 7 Apr 1996 14:34:16 -0500 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Johnnie Johnson/Grateful Dead! I was informed at last night's Gabriel Appreciation Day (which came off superbly) that Johnnie Johnson is contracted to go out on tour with Phil Weir and some sort of reconstituted Grateful Dead. I don't know whether to laugh or cry. Joel Slotnikoff ========================================================================= Date: Sun, 7 Apr 1996 11:56:06 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: April 8 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- AMES, ROY C. (prod/owner:HOME COOKING REC)b. 1937-0408, BEAUMONT, TX ANDERSON, MARIAN (v/gospel) d. 1993-0408, PORTLAND, OR 96 DIXON, GEORGE (sax/HINES) b. 1909-0408, NEW ORLEANS, LA FLYING BLACK EAGLE (ANDREW LOGAN) (hca) b. 1921-0408, CRAWFORDSVILLE, MS FOSTER, GLENN(b/BLUZBLASTERS/FLYING FISH) b. 1961-0408, VIRGINIA BEACH, VA GAYLES, BILLY (d/IKE TURNER/KING REC) d. 1993-0408, ST. LOUIS, MO 61 HOLMES, LEROY (g) b. 1921-0408, WOODBINE, FL HUFF, LEON A.(p/prod/songw/GAMBLE & HUFF) b. 1942-0408, CAMDEN, NJ HUMPHRIES,FRANK"FAT MAN"(tpt/LOUIS JORDAN b. 1913-0408, GRACEY, KY JACKSON, J. J. (v) b. 1941-0408, BROOKLYN, NY JONES, MOODY (g/SNOOKY & MOODY) b. 1908-0408, EARLE, AR LACEY, WILLIE (g/BLUEBIRD REC) d. 1977-0408, CHICAGO, IL 62 MCCLENNAN, TOMMY (g/BLUEBIRD REC) b. 1908-0408, YAZOO CITY, MS MCGEE, F. W. REV. (gospel preacher) d. 1971-0408, CHICAGO, IL 80 MCRAE, CARMEN (p) b. 1920-0408, HARLEM, NY PRINCE, WESLEY (b/NAT KING COLE TRIO) b. 1907-0408, PASADENA, CA ROBESON, PAUL (v) b. 1898-0408, PRINCETON, NJ RUSSELL, BRENDA (v) b. 19 -0408, WILLIAMS, ED LIL' (g/ALLIGATOR REC) b. 1955-0408, CHICAGO, IL ------------------------------------------------------------------------------- ========================================================================= Date: Sun, 7 Apr 1996 15:54:46 EDT Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: Warning! This article is serious. Comments: To: Owen Okie I'm sorry folks, but I just couldn't let this one pass by. There have only been eight cases of people who have died from brain disease which MAY be related to mad cow disease. As of this time, these cases have not positively been linked to mad cow disease. The farming practices which are BELIEVED (again, not confirmed) to have introduced the disease into the cow population in England are not widely practiced in the U.S. if at all. When one compares eight POSSIBLE cases to the millions who have died from AIDS or other more common diseases (the flu alone killed 20 million people in a 1918 outbreak and still causes the deaths of 29 people per 100,000 population per year), the danger of mad cow disease is EXTREMELY low no matter where you live or what you eat. This sort of fear mongering and spreading of panic is highly irresponsible, ignorant, and has no place here on Blues-L. Dave Carpenter ========================================================================= Date: Sun, 7 Apr 1996 15:57:29 -0400 Reply-To: Rags_Trips_On_Gras From: Rags_Trips_On_Gras Subject: COREY_HARRIS!! I was blown away with the fascinating acoustic guitar strumming and baritone vocals of COREY HARRIS last nite @ Graffiti, Pittsburgh, PA Ahhhhhh.....I was transported back in time. COREY HARRIS brings back VINTAGE BLUES STYLES back into the 90s. On, the other hand, IAN MOORE BAND was good but too loud. I woke up with a headache today. The boys are good and claimed their's was New Austin City Sounds. All in all, a good nite out in the City!!! Om Shanti!! Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ Laissez les bon temps roulez!!...Let the good times roll!! +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Sun, 7 Apr 1996 16:06:12 -0400 Reply-To: Rags_Trips_On_Gras From: Rags_Trips_On_Gras Subject: COREY_HARRIS_CD Recommendation CD COREY HARRIS BETWEEN MIDNITE AND DAY ALLIGATOR RECORDS ALCD 4837 Get them vintage blues.... Om Shanti!! Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / ~~ ~~ \ | GO TDM!! | | d-(#)^(#)-b | ---------------------------- | | / C \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`---'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ Laissez les bon temps roulez!!...Let the good times roll!! +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Sun, 7 Apr 1996 16:55:09 -0400 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: WFBE Blue Highway Playlist for 4/6/96 On this weeks show we celebrated the birthdays of Muddy Waters and Big Walter Horton, saluted the music of Roosevelt Barnes and Jesse Austin who recently passed away, and a special tribute to Bob "The Bear" Hite, who died on this date in 1981. Artist, Song, Album, Label -------------9pm------------- Cotton Candy, Carrie Brown, So Many Men, Co-Ze William Clarke, Complainers Boogie Woogie, 25th Anniversary, Alligator Tommy Castro, Hard Luck Case, Exception To The Rule,Blind Pig The Butler Twins, That Old Devil, Not Gonna Worry..., JSP Finis Tasby, Po Man Blues, People Dont Care, Shanachie ------------Break------------ Roosevelt Barnes, Title Cut, Blind Man/Pity The Fool,Heartbroken Man, Rooster ------------Break------------- Dwight Edwards, Party On The Blues, Out Of The Blue, Edwards Harmonica Fats/Bernie Pearl, Funky Pony, Blow Fat Daddy Blow, Bee Bump ------------10 pm Break------------- Gatemouth Brown, Deep Deep Water, Long Way Home, Gitanes Otis Rush, Killing Floor, Live In Japan, Sequel Otis Grand, Mother In Law Blues, Nothing Else Matters, Sequel Albert Collins, Iceman, Live 92/93, Pointblank -----------Break---------------- Muddy Waters, I Be's Troubled, Complete Plantation..., MCA Chess Muddy Waters, Early in The Morning, One More MileMCA Chess Muddy Waters, You Cant Lose what you..., Mississippi, Masters Muddy Waters, Wheres My Woman Been, Live At Newport, Pilz -------------Break---------------- Johnny Hoy/Bluefish, Must Be Love, Trollin The Hoochy, Tone Cool Monster Mike Welch, Jesse's Blues, These Blues Are Mine, Tone Cool Randy Volin, V-8 Ford, Used Guitars, Volin Eddy Clearwater, Mayor Daleys Blues, Boogie My Blues Away, Delmark -------------11 pm Break---------------- Lucille, Beggars Blues, Lucille, Icehouse Joanna Connor, Howlin',Rock And Roll Gypsy, RUF Valerie Wellington, Cold Cold Feeling, Million $ Secret, Rooster Karen Carroll, Spoonfull, Had My Fun, Delmark ---------------break------------- Walter Horton Harp Band, Rockin My Boogie, Chicago/Blues/Today V3, Vanguard Johnny Shines w/Big Walter, Pipeline Blues, Last Nights Dream, Sire Jesse Austin, It Rained In Georgia, Babys Back, Roesch Yank Rachell, Yellow Yams, Pig Trader Blues, Slippery Noodle Studebaker John, Since DAy One, Tremoluxe, Blind Pig ------------------------Break--------------- J.L.H./Canned Heat/Chambers Bros, Nobody Else But.., Hooker & Heat, Rhino Memphis Slim/Canned Heat, You Don't Know My Mind, Memphis Heat, Verve Mr. B, Cow-Cow Blues (exit theme), Blue Ivory, Blind Pig BLUZ!!!! Ed ========================================================================= Date: Sun, 7 Apr 1996 17:13:06 -0400 Reply-To: Brian E Rice From: Brian E Rice Subject: Re: Mid/SE MI Blues Societies At 03:50 PM 4/7/96 GMT, you wrote: >I would like information on Blues Societies in the Mid/South East >Michigan area. > > The Detroit Blues Society meets regularly at a bar in the Detroit. Sorry, I don't have the exact information handy at the moment, but I believe it's at The Attic in Hamtramck. It may change from month to month. One year basic membership is $19.95. Deluxe membership is $29.95. For the extra $10, you get a T-shirt. Family memberships are $49.95 (two T-shirts). Included in the memberships are a monthly Blues Notes publication and Detroit Blues, a quarterly magazine. The quarterly is something relatively new and is, IMHO, getting quite good. For more info, call (810)637-2521, after 6:00 pm. berice@concentric.net Brian E. Rice (Ann Arbor, MI - The home of Otis Spann Memorial Field) "The blues ain't nothin' but a botheration on your mind." ========================================================================= Date: Sun, 7 Apr 1996 15:25:00 -0600 Reply-To: Gary Constantine From: Gary Constantine Subject: Re: KEB MO On Austin City Limits Comments: To: bluesbabe bluesbabe wrote: > > I heard from blueslist last week about the up an comming Keb MO on > Austin City Limits 4-6-96.....I tuned in and again I wasn;t > disappointed......Keb Mo is so smootttttttttthhhhhhhhhhhh! Each time > I've been lucky enough to catch his show I always walk away feeling > right! I find this young man so enjoyable. (text deleted) I was also very impressed. Wish I could see this guy in concert. Gatemouth was the main performer, and a great one, but I wish that ACL had made more time for Keb Mo. Wish they had also made more time fro J.D. Loudermilk. Gary ......... ========================================================================= Date: Sun, 7 Apr 1996 18:07:10 -0400 Reply-To: bob vanarsdall From: bob vanarsdall Subject: Re: Warning! This article is serious. Damn. Does this mean I have to give up barbecue? (wry grin) Bob ========================================================================= Date: Sun, 7 Apr 1996 17:10:28 -0400 Reply-To: Jon Duttweiler From: Jon Duttweiler Subject: Re: COREY_HARRIS_CD > Recommendation CD > COREY HARRIS > BETWEEN MIDNITE AND DAY > ALLIGATOR RECORDS ALCD 4837 > > Get them vintage blues.... > > Om Shanti!! Peace to U..... Just to second this recommendation - Corey Harris' CD is wonderful. For a complete review, check out NY CD Blues (http://www.panix.com/~bsco/) on the Alligator page. JD ========================================================================= Date: Sun, 7 Apr 1996 15:16:08 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Festfood It's getting close to Jazz and Heritage Fest, and once again I can't go. = This school district I work for just doesn't see the sublime logic in = giving me a week off to clear my head with music, sunshine, and = Louisiana food. So Bluezellers, here's Uncle Ray's recommendations on must do food = experiences in N'ahlins. First, go directly to Eddie's at 21st and Law. = Hands down the very best soulful menu in the city. I think my red beans = and rice is pretty good, but Eddie's is better. Po' Boys help define low brow NOLA food, and the best in the city can be = found at a little tavern in the Irish Channel called Parasol's. Their = roast beef Po' Boy is good enough to make you slap your Momma! Wander around the French Quarter until you're very hungry, then beeline = for the Central Grocery for an amazing Muffaletta. Copy down their Olive = Salad recipe from the wall so you can feed your belly and head after you = go home. I lost my Olive Salad recipe. Does anyone out there have the Central's? Please, post it if you do. Let the bon ton roulet' Uncle Ray ========================================================================= Date: Sun, 7 Apr 1996 15:21:18 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Dick Waterman Dick, I hope you got the private email I sent you. There is some indication that it didn't go at my end. Ray ========================================================================= Date: Sun, 7 Apr 1996 22:53:26 GMT Reply-To: Al Kaplan From: Al Kaplan Organization: University of Kentucky Computing Services Subject: Re: Studebaker John Comments: To: bit-listserv-blues-l@uunet.uu.net In article <960407162739_103156.340_IHE46-2@CompuServe.COM>, 103156.340@COMPUSERVE.COM says... > In addition to >the Coco Montoya (I'm a huge fan of his since his days with John Mayall, and >will be seeing him in about a month here in CT), Blind Pig has signed Magic Slim >and Deborah Coleman, further expanding their already impressive roster. I'm >still playing (and expect to play for some time) their Johnny Dyer and Willie >Smith releases on my show. Throw in Chris Cain, Tommy Castro, fellow Bluezeller >E.C Scott and more and Blind Pig could take over my whole show if it weren't for >lots of good blues I receive from many other labels. Dave, Don't forget Jimmy Thackery and the Drivers as part of the Blind Pig family. If I'm not mistaken, they are Blind Pig's best selling group. Al ========================================================================= Date: Sun, 7 Apr 1996 19:47:48 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Studebaker John Comments: To: Al Kaplan In-Reply-To: <4k9h16$23p@service2.uky.edu> On Sun, 7 Apr 1996, Al Kaplan wrote: > Don't forget Jimmy Thackery and the Drivers as part of the Blind > Pig family. If I'm not mistaken, they are Blind Pig's best selling > group. I think JT and the Drivers may be second. Junior Wells & Buddy Guy are the all time best seller for Blind Pig. The CD Drinkin' TNT and Smokin' Dynamite breaks every record they have. We have recently added Blind Pig to our reviewed labels, and I must say there is a lot of good get material there. I think the Smokin' and Drinkin' CD above comes close or equal to the two BG CDs on JSP (DJ Play My Blues & Live at the Checkerboard) for Buddy but the addition of JW makes the circle fully round. This is a big piece of music - two of the best at their top. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sun, 7 Apr 1996 16:59:03 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Festfood add on I forgot to mention that some trustworthy and skilled cooks recently = started dishin' up food at Howlin' Wolf's in NOLA. If you're there = during Fest try it out. Stick your head in the kitchen and tell John = that Uncle Ray says howdy. Uncle Ray ========================================================================= Date: Sun, 7 Apr 1996 23:48:24 GMT Reply-To: Mark Rader From: Mark Rader Organization: Communications Accessibles Montreal, Quebec Canada Subject: need advice Comments: To: bit-listserv-blues-l@Moderated-Postings.CAM.ORG i am totally new at this so if i'm using poor manners ar procedure, i welcome criticism. i am not totally sure how this works. i have a lot of blues knowledge that i am willing to discuss and share and i would like to become a premanent member of this discussion group. i became exposed to the blues at 12 yrs old by way of WLAC radio in nashville and have been hooked in the blues ever since. i am 52 years old. and yes of course i vividley remember ernies record mart and "hoss" allen and john richbourg. right now i am about to expand my cd collection and there are three artists i want to include. they are bill broonzy, little walter amd lightnin hopkins. i know they have all been recorded extensively and i also know from experience ther is a lot of bad recordngs and i dont want to waste time and money. can anyone suggest to me some definitive recordings of these three. i'll probably start with two discs each. thanks ahead and do i become a member of this group just by posting like this or is there more to it. please help rader ========================================================================= Date: Sun, 7 Apr 1996 17:03:58 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Warning! This article is serious. They can have my barbeque when they pry it from my cold dead fingers. Uncle Ray ---------- From: bob vanarsdall[SMTP:rvana@INTERPATH.COM] Sent: Sunday, April 07, 1996 10:07 PM To: Multiple recipients of list BLUES-L Subject: Re: Warning! This article is serious. Damn. Does this mean I have to give up barbecue? (wry grin) Bob ========================================================================= Date: Sun, 7 Apr 1996 18:06:10 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: New Orleans Jazz and Heritage Festival Schedule l Choir WA>2:45 - 3:20 Dynamic Smooth Family of Slidell A preliminary schedule for the N.O. Jazz and Heritage Festival is now posted on the Virtually New Orleans JazzFest Page at http://www.yatcom.com/~jfest Bill Morgan From: The Big Easy ========================================================================= Date: Sun, 7 Apr 1996 20:32:19 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Moral Bodyguards On April 7, 1996, this was posted on Blues-L: I was informed at last night's Gabriel Appreciation Day (which came off superbly) that Johnnie Johnson is contracted to go out on tour with Phil Weir and some sort of reconstituted Grateful Dead. I don't know whether to laugh or cry. ********************** Too many people on this list have decided that their purpose is to be the moral bodyguards of some sacred tradition that must be protected from those who are too loud, too commercial or simply judged unacceptable. Why is it that Charles Brown opening for Bonnie Raitt is high art while R.L. Burnside being on a bill with Jon Spencer is considered demeaning trash? Is it alright for James Cotton to cash a decent paycheck playing with Jimmy Page and Robert Plant but inappropriate for Johnnie Johnson to open for a former member of the Grateful Dead? Hey, people . . . get a grip. It is not our business to sit in moral judgment when artists that we consider to be authentic blues men (and women) accept professional engagements with commercially successful white performers. If he had not gotten sick and cancelled, Son House was scheduled to open a week of shows at New York City's Fillmore East as special guest to Delany & Bonnie with Eric Clapton. The money was terrific, the performance time was brief and both Delaney and Eric would have treated Mister House like royalty. Remember this; the audience of a successful artist will be respectful of a traditional opening act because they know that person was chosen by the headliner. If you don't like a musical combination, spend your money elsewhere. There are plenty of wise choice to be made. In other words, people, when you choose to get a life, the life you choose to get should be your own. Black blues artists do not need the proprietory protection of this list. They can take care of themselves and make their own decisions. Dick Waterman ========================================================================= Date: Sun, 7 Apr 1996 20:52:21 -0400 Reply-To: PITSBRGJon@AOL.COM From: "John Puleo. User" Subject: Looking for pickups for my strat. I have been searching for the right pickups for my strat. I would like a vintage sound with that Stevie Ray bite. I dont like the texas specials. Anybody have any suggestions? I would appreciate some help. John ========================================================================= Date: Sun, 7 Apr 1996 20:53:07 -0400 Reply-To: RDHOF From: RDHOF Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Debbie Davies (Women & the Biz) Comments: To: bit-listserv-blues-l@uunet.uu.net Your note on Debbie Davies was interesting. I think she plays a bad ass guitar. Robin ========================================================================= Date: Sun, 7 Apr 1996 21:13:36 -0400 Reply-To: RDHOF From: RDHOF Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Byther Smith Comments: To: bit-listserv-blues-l@uunet.uu.net Hello: I am so happy to find another Byther Smith fan! He is sooooo awesome. I'd buy his latest effort, "I am A Mad Man" first. His other lps are also very good, you can buy them in any order: House Fire, Rounder, 1991 Addressing The Nation With The Blues, JSP 1994 Blues Knights (with Larry Davis) Evidence, 1994 Let me know how everything works out. Robin ========================================================================= Date: Sun, 7 Apr 1996 21:31:08 -0400 Reply-To: RDHOF From: RDHOF Organization: America Online, Inc. (1-800-827-6364) Subject: Byther Smith Fans Comments: To: bit-listserv-blues-l@uunet.uu.net I am a big, big Byther Smith fan looking for anything more than what he has on cd (I've got everything). If anyone has anything to offer, just e-mail me. Robin ========================================================================= Date: Sun, 7 Apr 1996 22:14:13 -0400 Reply-To: Yostie@AOL.COM From: Yostie@AOL.COM Subject: Bestest Intent Bands- Our intent, through The Bestest Band in the Land Contest 1996, is to find a multi talented band of musicians; adept at composition, application, and presentation. Once found, through this competitive format, we will use the powers at hand to aide this group in achieving their group goals... intelligently. We are not looking to "take over", but will make our organization available to the winning band. This is 'on top' of the 80 hours of studio time,$2000.00, and distribution media. I hope you don't look at this as your typical battle of the bands. Those of you who have entered and reach the state competition will be asked to compose a declaration of purpose...for the band. This, along with personal interviews at the national level will be a part of the final determination. If your band has not yet entered, or you know of a band that would like to be a part of this national search, please contact me (or have them contact me).for details and/or entry form. Thank you, Jeff Yost 1910 Riverbend Pkwy. Fremont, Ohio 43420 vox: 419-332-5667 net: yostie@aol.com ========================================================================= Date: Sun, 7 Apr 1996 20:02:55 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: need advice Mark, I have some Broonzey and Lightnin' in my collection, but I'll bow to = others with stong opinions on these great artists. Now, as to Marion = Walter Jacobs let me say, I own virtually everything he ever recorded. = All of it gives me great pleasure, with the possible exception of the = Chess Super Blues album(s). Start with the Chess recordings...buy 'em = all, then start on the imports, alternate takes and all. If you have an = honest ta Gawd turntable for the old licorice pizzas, look for the = Little Walter double "cartoon" album with the shipwrecked Walter on the = front. Great array of tunes, great liner notes, and I like the artwork. = CD's are nice, but I like the pops, clicks and shuffles. Uncle Ray ---------- From: Mark Rader[SMTP:prader@CAM.ORG] Sent: Sunday, April 07, 1996 11:48 PM To: Multiple recipients of list BLUES-L Subject: need advice i am totally new at this so if i'm using poor manners ar procedure, i welcome criticism. i am not totally sure how this works. i have a lot of blues knowledge that i am willing to discuss and share and i would like to become a premanent member of this discussion group. i became exposed to the blues at 12 yrs old by way of WLAC radio in nashville and have been hooked in the blues ever since. i am 52 years old. and yes of = course i vividley remember ernies record mart and "hoss" allen and john richbourg. right now i am about to expand my cd collection and there are three artists i want to include. they are bill broonzy, little walter amd lightnin hopkins. i know they have all been recorded extensively and i also know from experience ther is a lot of bad recordngs and i dont want to waste time and money. can anyone suggest to me some definitive recordings of these three. i'll probably start with two discs each. thanks ahead and do i become a member of this group just by posting like this or is there more to it. please help rader ========================================================================= Date: Sun, 7 Apr 1996 23:05:37 -0400 Reply-To: Renato154@AOL.COM From: Renato Tonelli Subject: Piano player Last year I went to Chicago BLUES here in new york to see an old gentleman piano player - he was celebrating his 90th birthday (his right leg has been amputated). I took photographs, didn't write his name down and now I can't file the negatives. I will recognize his name immediately when I see it. One of those "It's on the tip of my tongue" type of nuisances... Thank you in advance. Renato Tonelli ========================================================================= Date: Sun, 7 Apr 1996 23:48:42 -0400 Reply-To: "tony burke (by way of blzlynx@polaris.net Alan C. Rollins)" From: "tony burke (by way of blzlynx@polaris.net Alan C. Rollins)" Subject: Jesse Wild Bill Austin From: Tony Burke Organization: Blues & Rhythm Magazine Subject: JESSE AUSTIN DEAD Comments: To: bit-listserv-blues-l@ncren.net To: Multiple recipients of list BLUES-L Joe Roesch sent B&R details of the death of blues singer and organist Jesse Wild Bill Austin, who died on March 22nd in Bridgeport, Connecticut the day before his 66th birthday. Jesse made his professional debut aged fourteen, touring with for a year and a half with Wynonie Harris. In the late 1940s and early 50s, Jesse and his brothers Eddie and Bobby, along with Eddie Buster toured the US and Canada as members of an outfit called The Five Sharps. After leaving The Five Sharps, Jesse joined Percy Mayfields band before joining the armed forces and serving in Korea in 1952. In 1962 he began playing the Hammond organ. He made his album debut in 1992 after being spotted playing in a club in Stamford in 1989 by Joe Roesch, who was knocked out with his singing. He told Roesch that he hadnt recorded since 1954 as he didnt trust anyone since then. His debut album Steel Trap received critical acclaim at the time of its release. His second album for the label, Babys Back featured the Blues Brothers horn section was issued im September last year. FULL OBITUARY IN B&R 110 Tony Burke ========================================================================= Date: Sun, 7 Apr 1996 21:24:53 +0000 Reply-To: ksailors@hooked.net Comments: Authenticated sender is From: "Kenneth M. Sailors" Subject: Re: Johnnie Johnson Comments: To: Dick Waterman > On April 7, 1996, this was posted on Blues-L: > > I was informed [...] that Johnnie Johnson is contracted to go out on tour > with Phil Weir and some sort of reconstituted Grateful Dead. > I don't know whether to laugh or cry. Did you mean *BOB* Weir and/or Phil *LESH*? Before you post, take the time to get more "informed"... If YOU care a little more, maybe WE will. Ken ========================================================================= Date: Sun, 7 Apr 1996 23:35:13 -0500 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Re: Moral Bodyguards Lighten up Dick. I wasn't sitting in moral judgement. I said LAUGH or cry. I am happy to see John get fat paychecks and he can take whatever gigs he chooses. I do think it is a shame that artists HAVE TO bastardize their art in order to make a living. Some, of course CHOOSE not to: Thelonius Monk for one. Jelly Roll Morton, according to recent posts, for another. And many more. Being on a bill WITH an act of a (slightly?) different genre is one thing. Playing in a band with them is somewhat another thing. I was disappointed at the Kentucky Headhunters pairing for John and am disapointed with this one and at the same time amused. The Dead certainly draw from ethnic roots including blues. Amusement and disappointment are my own personal reactions, which, I believe I am entitled to. John can, as I said, do whatever he chooses, and my reactions are certainly not going to disuade him. Joel Slotnikoff ========================================================================= Date: Mon, 8 Apr 1996 06:23:57 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: need advice Comments: To: bit-listserv-blues-l@uunet.uu.net "Raymond O. Varner" wrote: > >Mark, > >I have some Broonzey and Lightnin' in my collection, but I'll bow to = >others with stong opinions on these great artists. Now, as to Marion = >Walter Jacobs let me say, I own virtually everything he ever recorded. = >All of it gives me great pleasure, with the possible exception of the = >Chess Super Blues album(s). Start with the Chess recordings...buy 'em = >all, then start on the imports, alternate takes and all. If you have an = >honest ta Gawd turntable for the old licorice pizzas, look for the = >Little Walter double "cartoon" album with the shipwrecked Walter on the = >front. Great array of tunes, great liner notes, and I like the artwork. = >CD's are nice, but I like the pops, clicks and shuffles. > >Uncle Ray Uncle Ray, Do you REALLY own virtually everything Little Walter EVER recorded? Does this include his work as a sideman? Becasue if it does, I'm looking for a tape of the Shel Silverstein album. Scott ========================================================================= Date: Mon, 8 Apr 1996 06:25:05 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Piano player Comments: To: bit-listserv-blues-l@uunet.uu.net Renato Tonelli wrote: > >Last year I went to Chicago BLUES here in new york to see an old gentleman >piano player - he was celebrating his 90th birthday (his right leg has been >amputated). I took photographs, didn't write his name down and now I can't >file the negatives. >I will recognize his name immediately when I see it. One of those "It's on >the tip of my tongue" type of nuisances... Thank you in advance. > >Renato Tonelli Jimmy Walker. Scott ========================================================================= Date: Sun, 7 Apr 1996 16:22:50 -0800 Reply-To: Michael Hewitt From: Michael Hewitt Organization: Hilmar High School Subject: Re: KEB MO On Austin City Limits Feel blessed. Last night's edition of ACL in my area featured Los Lobos and Joe Ely. Would that I could have seen Gatemouth and Keb. -- Michael Hewitt Hilmar High School mhewitt@telis.org 7807 N. Lander Ave. Troutbusters Hilmar CA 95324 Modesto CA 209-667-5903 ex 34 "Flyfishing for trout is the closest thing to Heaven on Earth." - M. Hewitt "Nobody loves me but my mother, and she could be jivin too." - B. B. King ========================================================================= Date: Mon, 8 Apr 1996 03:31:05 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Warning! This article is serious. >I'm sorry folks, but I just couldn't let this one pass by. > >There have only been eight cases of people who have died from brain disease >which MAY be related to mad cow disease. As of this time, these cases have not >positively been linked to mad cow disease. The farming practices which are >BELIEVED (again, not confirmed) to have introduced the disease into the cow >population in England are not widely practiced in the U.S. if at all. When one >compares eight POSSIBLE cases to the millions who have died from AIDS or other >more common diseases (the flu alone killed 20 million people in a 1918 outbreak >and still causes the deaths of 29 people per 100,000 population per year), the >danger of mad cow disease is EXTREMELY low no matter where you live or what you >eat. > This sort of fear mongering and spreading of panic is highly >irresponsible, ignorant, and has no place here on Blues-L. > >Dave Carpenter On behalf of the sensible people of Britain (I ain't electing myself one, but there are some), thanks Dave, and Jim Witteveen too. Just for perspective, CJD (the illness that MAY be linked to BSE) kills half as many people in Britain every year as die on the roads in Britain every week. Mine's a large steak, thanks, medium rare. Chris Smith (chris@skerries.demon.co.uk) 'Positive: wrong at the top of one's voice." (Ambrose Bierce) ========================================================================= Date: Mon, 8 Apr 1996 03:53:03 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Unserious response to: this article is serious. >Damn. Does this mean I have to give up barbecue? (wry grin) > >Bob Barbecue, Bob? any relation? :-] Chris Smith (chris@skerries.demon.co.uk) 'Positive: wrong at the top of one's voice." (Ambrose Bierce) ========================================================================= Date: Mon, 8 Apr 1996 03:53:08 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Johnnie Johnson >> On April 7, 1996, this was posted on Blues-L: >> >> I was informed [...] that Johnnie Johnson is contracted to go out on tour >> with Phil Weir and some sort of reconstituted Grateful Dead. >> I don't know whether to laugh or cry. > >Did you mean *BOB* Weir and/or Phil *LESH*? >Before you post, take the time to get more "informed"... >If YOU care a little more, maybe WE will. >Ken Hey, Ken, we can all make mistakes. Having bad manners and no sense of proportion are two right there. Clean up your act. Chris Smith (chris@skerries.demon.co.uk) 'Positive: wrong at the top of one's voice." (Ambrose Bierce) ========================================================================= Date: Mon, 8 Apr 1996 03:53:11 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: need advice >i am totally new at this so if i'm using poor manners ar procedure, i >welcome criticism. i am not totally sure how this works. i have a lot of >blues knowledge that i am willing to discuss and share and i would like >to become a premanent member of this discussion group. i became exposed >to the blues at 12 yrs old by way of WLAC radio in nashville and have >been hooked in the blues ever since. i am 52 years old. and yes of course >i vividley remember ernies record mart and "hoss" allen and john >richbourg. > >right now i am about to expand my cd collection and there are three >artists i want to include. they are bill broonzy, little walter amd >lightnin hopkins. i know they have all been recorded extensively and i >also know from experience ther is a lot of bad recordngs and i dont want >to waste time and money. can anyone suggest to me some definitive >recordings of these three. i'll probably start with two discs each. > >thanks ahead and do i become a member of this group just by posting like >this or is there more to it. > >please help > >rader Welcome. For Broonzy, I'd suggest the two CDs on Yazoo as a good place to start. L-1011 is 'The Young Big Bill Broonzy'. L-1035 is 'Do That Guitar Rag'. If you're starting with two, you can't do better. For Hopkins, I'd go for 'The Gold Star Sessions' Vol. 1 on Arhoolie CD-330, and Vol 2 on Arhoolie CD-337. 'The Complete Aladdin Recordings' (EMI CDP-7-96843-2) is a double CD, but I'd add that to the pile even if it does make 4 CDs! Chris Smith (chris@skerries.demon.co.uk) 'Positive: wrong at the top of one's voice." (Ambrose Bierce) ========================================================================= Date: Mon, 8 Apr 1996 02:28:42 -0700 Reply-To: Stan Ruffo Comments: RFC822 error: TO field duplicated. Last occurrence was retained. Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Stan Ruffo Subject: BOT Playlist 4/7/96 Comments: To: Renee Grace , Michael McCracken , Joseph Jordan , John Woodle , Sony Music , Vent Records Comments: cc: Harp-L Stan Ruffo Productions 800 N. Ben Maddox Way, Suite 2200 Visalia, California 93292 ph.(209) 625-6049 steamin@valleynet.com / www.valleynet.com/~steamin PROGRAM: "Blues On Tap" w/ Steamin' Stan Ruffo STATION: KIOO 99.7FM (Kay-eye-oh-oh), Visalia, CA SUBJECT: Playlist 1496 - Commercial Radio DATE & TIME: April 7, 1996 8pm - 10pm ARTIST, TITLE, LABEL, TRACK Joey Razor, Joint B Jump, Hectic, 1 The Movers, Love My Baby,,3&4 Long John Hunter, Border Town Legend, Alligator, 7 Jessie Austin, Baby's Back, Roesch, 4 Sonny Rhodes, Out Of Control, King Snake, 10 Brint Anderson, Homage To Elmore, Tomato, 1 Sarah Brown Sayin', What I'm Thinking, Blind Pig, 9 Alan Haynes, Wishing Well, Focus, 9 W.C. Clark, Texas Soul, Black Top, 5 Studebaker John, Tremoluxe, Blind Pig, 3 John Primer, The Real Deal, Atlantic, 1 Chicago Bob Nelson, Back To Bogalusa, King Snake, 3 Lil Ed & The Blues Imperials, 25th Anniversary, Alligator, 1-6 James Peterson, Don't Let The Devil Ride, Waldoxy, 7 Dave Hole, Steel On Steel, Alligator, 4 Louisiana Red, Sittin' Here Wonderin', Earwig, 8 Saffire, The Uppity Blues Women, Alligator, 9 Hollywood Fats, Rock This House, Black Top, 6 Charlie Musselwhite, In My Time, Alligator, 6 John Hammond, Found True Love, Pointblank, 2 Blu Lu Barker, Wee Bea Booze & Baby De, Delmark, 1 Taj Mahal, Phantom Blues, Private Music, 7 Paul Plumeri, The Bishop Of The Blues,,1 "Blues On Tap" reports to the Hard Report and Living Blues And we welcome(s) your comments! ========================================================================= Date: Mon, 8 Apr 1996 08:37:00 EDT Reply-To: Robert Page From: Robert Page Subject: Johnnie Johnson / Grateful Dead Joel Your post is almost right. Johnson played with Bob Weir's band, Ratdog, which includes former David Grisman Quartet bassist Rob Wasserman and Bob Weir, the rhythm guitar player for the now-defunct Grateful Dead, at a show in Oakland in celebration of Mardi Gras. David Murray, jazz saxaphonist-extraordinaire, also sat in. Hopefully Murray will also perform with Ratdog over the summer. I always get a chuckle at posts which pan the Grateful Dead's contributions to music, but most especially so when it comes from folks who appreciate the blues, as for me the Dead have always been a group well-steeped in blues traditions. The first organist, Ron 'Pig Pen' McKernan, performed many blues standards and the group was blues-oriented than rock while he was alive. Even after McKernan passed away in early '73, the Dead retained their earlier blues influences. Weir is strongly influenced by the vocal stylings of Rev. Gary Davis and has long performed many blues standards himself. I enjoy a great many blues artists myself (my tastes run primarily towards the blues guitarists, mostly, Albert Collins, Buddy Guy, Freddie King, Jimmy Dawkins, Otis Rush, and so on), and I find the link between the Grateful Dead and the blues, all through their 30 year history, to be strong. If you'd like to consider the blues influence of the Grateful Dead, and the work of Ron 'Pig Pen' McKernan specifically, I'd recommend the following Grateful Dead recordings: The Grateful Dead - Vintage Dead The Grateful Dead (self-titled) Bears Choice Bob Page >------------------------------ > >Date: Sun, 7 Apr 1996 14:34:16 -0500 >From: Joel Slotnikoff >Subject: Johnnie Johnson/Grateful Dead! > >I was informed at last night's Gabriel Appreciation Day (which came off >superbly) that Johnnie Johnson is contracted to go out on tour with Phil >Weir and some sort of reconstituted Grateful Dead. > >I don't know whether to laugh or cry. > >Joel Slotnikoff > >------------------------------ ========================================================================= Date: Mon, 8 Apr 1996 08:55:22 -0400 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: need advice Comments: To: Mark Rader In-Reply-To: <4k9k88$e2o@tandem.CAM.ORG> Welcome Rader! I, too, grew up on WLAC and John R. There are a lot of folks on this list who can advise you on what's current on CD. Stay tuned... Peace, nitra On Sun, 7 Apr 1996, Mark Rader wrote: > i am totally new at this so if i'm using poor manners ar procedure, i > welcome criticism. i am not totally sure how this works. i have a lot of > blues knowledge that i am willing to discuss and share and i would like > to become a premanent member of this discussion group. i became exposed > to the blues at 12 yrs old by way of WLAC radio in nashville and have > been hooked in the blues ever since. i am 52 years old. and yes of course > i vividley remember ernies record mart and "hoss" allen and john > richbourg. > > right now i am about to expand my cd collection and there are three > artists i want to include. they are bill broonzy, little walter amd > lightnin hopkins. i know they have all been recorded extensively and i > also know from experience ther is a lot of bad recordngs and i dont want > to waste time and money. can anyone suggest to me some definitive > recordings of these three. i'll probably start with two discs each. > > thanks ahead and do i become a member of this group just by posting like > this or is there more to it. > > please help > > rader > ========================================================================= Date: Mon, 8 Apr 1996 07:48:49 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: Alligator Tribute Radio Show On 7 Apr 96 , honorable zeller Stew Crossen wrote: > Got Lucky Last Night Lonnie Brooks 25th Alligator > It's Alright Lil' Ed & The Imperials 25th Alligator > Action Man Cephas & Wiggins 25th Alligator > The Sky Is Crying Sonny Boy Williamson 25th Alligator > If You Have To Know Lonnie Mack & SRV 25th Alligator > Look On Yonders Wall Hound Dog Taylor 25th Alligator > The Complainers Boogie Woogie William Clarke 25th Alligator > Love, Life & Money Johnny Winter 25th Alligator > Tain't Nobody's Business Saffire 25th Alligator > Somebody Loan Me A Dime Fenton Robinson 25th Alligator > Evil Koko Taylor 25th Alligator > Hey Bartender Floyd Dixon 25th Alligator > She Puts Me In The Mood Elvin Bishop 25th Alligator > Stingaree Charlie Musselwhite 25th Alligator > > I"ve seen several posts already about this CD comp. but I can't find it anywhere. I assume these are pre-release copies we're talking about. Does anybody know when Alligator plans to release this to the general public? thanks, RJ Bauman "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Mon, 8 Apr 1996 08:55:22 EDT Reply-To: TSCHANZ@VM.TEMPLE.EDU From: "William R. Tschanz" Organization: TEMPLE UNIVERSITY Subject: hooked on pepsi? Hay fellow bluzzers....watching the tube this weekend I saw an add for the above mentioned product. Am I mistaken or was that Mr. John Lee Hooker smillin ear to ear on my TV screen? And who was that beutiful young lady at the upper window sill? I laughed so hard when I seen that man laughin on the screen cause I know he was laughin at me......... Wild Bill ____________________________________________________ | > | WILLIAM R. TSCHANZ TSCHANZ@VM.TEMPLE.EDU > | CIVIL ENGINEERING WRTSCHANZ@AOL.COM > | TEMPLE UNIVERSITY ----------- > |___________________________________________________> ========================================================================= Date: Mon, 8 Apr 1996 09:11:30 -0400 Reply-To: Anita Samuel From: Anita Samuel Subject: Welcome Rader! In-Reply-To: <9604081255.AA02832@castle.beaver.edu> Welcome Rader! I, too, grew up on WLAC and John R. There are folks on this list who can advise you on artist that are available on CD. Stay tuned... Peace, nitra On Sun, 7 Apr 1996, Mark Rader wrote: > > > i am totally new at this so if i'm using poor manners ar procedure, i > > welcome criticism. i am not totally sure how this works. i have a lot of > > blues knowledge that i am willing to discuss and share and i would like > > to become a premanent member of this discussion group. i became exposed > > to the blues at 12 yrs old by way of WLAC radio in nashville and have > > been hooked in the blues ever since. i am 52 years old. and yes of course > > i vividley remember ernies record mart and "hoss" allen and john > > richbourg. > > > > right now i am about to expand my cd collection and there are three > > artists i want to include. they are bill broonzy, little walter amd > > lightnin hopkins. i know they have all been recorded extensively and i > > also know from experience ther is a lot of bad recordngs and i dont want > > to waste time and money. can anyone suggest to me some definitive > > recordings of these three. i'll probably start with two discs each. > > > > thanks ahead and do i become a member of this group just by posting like > > this or is there more to it. > > > > please help > > > > rader > > > > ========================================================================= Date: Mon, 8 Apr 1996 13:16:18 GMT Reply-To: Steve Dafoe From: Steve Dafoe Organization: SuperNet Inc. (908) 828-8988 Subject: Re: Sonny Rhodes (was Big Boy Spires) Comments: To: bit-listserv-blues-l@uunet.uu.net Steve Dafoe wrote: >"Raymond O. Varner" wrote: > >>I've also lost track of Sonny Rhodes since he moved to New Jersey, and = >>I've been wondering if he's still performing and traveling.(Edited) > >Sonny Rhodes plays frequently at The Old Bay in New Brunswick, NJ In fact, Sonny's there tomorrow (April 5). Updating my original answer a bit- the local paper's article on the above noted appearance also mentions a new Sonny Rhodes CD on Kingsnake titled OUT OF CONTROL. ========================================================================= Date: Mon, 8 Apr 1996 08:26:11 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: JLW at BB's Joe Louis Walker will be at BB King's during the Beale Street Fest. I do not think he's playing at the festival. He will be at the Handy Awards, though. JLW at BB's is certainly something to look forward to.... LW ========================================================================= Date: Mon, 8 Apr 1996 08:28:27 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Selling Out As I said before, what is being called "selling out" today was called surival by the blues pioneers. They played whatever they had to from polka's to blues in order to get some cash in their cup. However, IMHO Luther Allison (& Buddy Guy) are just as much blues-rock as SRV was or any of the others. I saw Luther Allison and he put on a good show and he's a great guy, but his prolonged solos and he never made it whisper (at least at this show he didn't)....He began to get on my nerves, I have to agree with the Living Blues (I'm pretty sure it was LB) review of his cd that said too much, too fast...etc. I like to hear more song than solo. Just MHO and one time experience seeing Luther. I remember reading where Albert Collins told John Campbell that he JC played great, but you have to make it whisper sometimes...I think that's good advice I'm not knocking Luther, I like Bar B Q, but you can over do it........ LW 'MHO and I'm sure it won't be popular' ========================================================================= Date: Mon, 8 Apr 1996 06:37:11 -0700 Reply-To: Garry Segal From: Garry Segal Subject: Amen/Worth Reposting >------------------------------ > >Date: Sun, 7 Apr 1996 20:32:19 -0400 >From: Dick Waterman >Subject: Moral Bodyguards > >On April 7, 1996, this was posted on Blues-L: > >I was informed at last night's Gabriel Appreciation Day (which came off >superbly) that Johnnie Johnson is contracted to go out on tour with Phil >Weir and some sort of reconstituted Grateful Dead. >I don't know whether to laugh or cry. > ********************** >Too many people on this list have decided that their purpose is to be the >moral bodyguards of some sacred tradition that must be protected from those >who are too loud, too commercial or simply judged unacceptable. >Why is it that Charles Brown opening for Bonnie Raitt is high art while R.L. >Burnside being on a bill with Jon Spencer is considered demeaning trash? >Is it alright for James Cotton to cash a decent paycheck playing with Jimmy >Page and Robert Plant but inappropriate for Johnnie Johnson to open for a >former member of the Grateful Dead? >Hey, people . . . get a grip. >It is not our business to sit in moral judgment when artists that we consider >to be authentic blues men (and women) accept professional engagements with >commercially successful white performers. >If he had not gotten sick and cancelled, Son House was scheduled to open a >week of shows at New York City's Fillmore East as special guest to Delany & >Bonnie with Eric Clapton. >The money was terrific, the performance time was brief and both Delaney and >Eric would have treated Mister House like royalty. >Remember this; the audience of a successful artist will be respectful of a >traditional opening act because they know that person was chosen by the >headliner. >If you don't like a musical combination, spend your money elsewhere. There >are plenty of wise choice to be made. >In other words, people, when you choose to get a life, the life you choose to >get should be your own. >Black blues artists do not need the proprietory protection of this list. They >can take care of themselves and make their own decisions. > >Dick Waterman > >------------------------------ > Thanks Dick, I think *one* of the reasons blues is always stuggling to get over with the masses is the judgemental blues fans misplaced fanatacism with keeping blues retro, thus out of the mainstream. If blues fans also supported their favs even when they dare to perform in major venues with rock or jazz artists for good pay maybe it would happen more . Then whats important , Their Music, would get heard . Its 1996 , there is ample fodder in a blues artists life to play current blues that relates to our lives today. Long Live the Original Blues Masters ! But please.. Dont let blues become a recreationist museum piece. Garry " Cant Judge a Book By Looking At the Cover" BTW I think Johnny Johnson is playing with Bob Weirs band Ratdog. There is no reconstituted Grateful Dead, just other members solo projects. I think there will be a tour fearuring that band, Los Lobos and Bruce Hornsby this summer. ========================================================================= Date: Mon, 8 Apr 1996 13:34:43 GMT Reply-To: George Myers From: George Myers Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Blues Cruise! Comments: To: bit-listserv-blues-l@uunet.uu.net You're right. But it's hard to spend a week in the magical Mediterranean attending the event that a lot of people have called the single greatest week of their lives without spending some money. What's bread for anyway, to be buried with? ========================================================================= Date: Mon, 8 Apr 1996 08:42:57 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Moral Bodyguard I'm in no way disputing or really disagreeing with Mr Waterman (I'm not that stupid)....I don't think EC/Son House...Bonnie Raitt/Charles Brown ...etc. are the same as Jr. Kimbrough playing with someone like Iggy Pop. I don't think Iggy Pop & Bonnie/EC are in the same musical league. (Bonnie & EC are very popular, I didn't even know Iggy Pop was still alive) Charles Brown gives Bonnie a WHOLE lot of credit for helping his "second" career life, I betcha the same thing will not be said of Iggy Pop enchancing Jr. Kimbrough's career. I think it would be the other way around, if anything Like you said (or implied) it's none of our (or MY) business who they play with. I just think it's sad that a nominee for Blues Entertainer Of The Year needs the Jon Spencer Blues Explosion in order to capture a wider audience. Everyone has knocked the House Of Blues for having non blues acts and IMHO it's the same as the above. Maybe the HOB needs to book non-blues acts in order to survive. We are not moral bodyguards of the artists, nor are we MB's of the clubs.....right LW 'no offense intended, save the flames for private mail and be nice' btw: Please read this several times before anyone goes nuts ========================================================================= Date: Mon, 8 Apr 1996 09:59:00 EDT Reply-To: edward c liu From: edward c liu Subject: S&T: Blind Willie McTell, _Pig N' Whistle Red_ BLIND WILLIE MCTELL / PIG N' WHISTLE RED (BCD 126 ADD) BIOGRAPH RECORDS, INC. 374 CONGRESS STREET, SUITE 407 BOSTON, MA 02210 TEL: 617-426-7500 FAX 617-426-5222 E-MAIL: CD@biograph.com HISTORICAL RESPONSE: This disc is a collection of the 1950's sessions recorded for the short-lived Regal Records company. These sessions feature Blind Willie McTell and his collaborator Curley Weaver performing as they would at the Pig N' Whistle Red barbecue stand. Like the best of musical duos, they were capable of linking their distinct styles together intimately. They could switch from close harmonizing to dueling and back in a heartbeat, making it sound natural all the while. These tracks are wonderfully recorded and sequenced, providing an intimate snapshot of two of the finest bluesmen who ever lived. PERSONAL RESPONSE: The first time I met the blues, I was at Toad's Place in New Haven, Connecticut, watching B.B. King perform live. The concert that night was so inspirational, it made me want to go out and get a guitar and learn to play the blues. After listening to this disc about a million times, I want to go out and get a 12-string. DON'T FORGET IT / GOOD LITTLE THING / YOU CAN'T GET STUFF NO MORE / LOVE CHANGIN' BLUES / SAVANNAH MAMA / TALKIN' TO YOU MAMA / EAST ST. LOUIS / A TO Z BLUES / WEE MIDNIGHT HOURS / BROWN SKIN WOMAN / I KEEP ON DRINKIN / PAL OF MINE (tk.1) / PAL OF MINE (tk.2) / HONEY IT MUST BE LOVE / SENDING UP MY TIMBER (tk.1) / SENDING UP MY TIMBER (tk.2) / LORD HAVE MERCY IF YOU PLEASE / CLIMBING HIGH MOUNTAINS / IT'S MY DESIRE / HIDE ME IN THY BOSOM NYCD Takes DON'T FORGET IT: This upbeat rag is delivered in a straightforward, no-nonsense manner. Blind Willie provides some churning, chunky rhythm accompaniment and terrific 12-string wizardry to his wonderfully, nasal lyrics. Hearing Blind Willie and Curley harmonizing together for the chorus sections (including Curley's one missed entrance) is enchanting. GOOD LITTLE THING: Blind Willie and Curley harmonize on their guitars and their vocals wonderfully in another straightforward guitar rag. Blind Willie's 12-string runs during the chorus are simply astounding. Hearing these two performers link together as strongly as they do is a real delight. YOU CAN'T GET STUFF NO MORE: A light "hokum" song, recorded earlier by Georgia Tom Dorsey and Tampa Red, concerning the lack of moonshine, sex, or both. Again, the two pump out the rhythm at a steady, continuous clip, alternately harmonizing and dueling with each other marvelously. Blind Willie's dry delivery is perfect for this song, with it's many veiled references and innuendoes. LOVE CHANGIN' BLUES: An eerie, slower-tempoed slide piece. Very few people can play 12-string slide as well as Blind Willie, and this track will educate those who don't know why. This track is much simpler structurally than the earlier rags, sticking to the basic 12-bar blues format, but the accompaniment is as rich and layered as the earlier ones. This is a complex, gripping, and multi-layered track. SAVANNAH MAMA: Another 12-string slide blues, similar to the previous one. Blind Willie's vocals are especially worthy of note on this track, full of feeling and power, and the full-bodied sound of the 12-string guitar gives this track an atmosphere you can cut with a knife. This track captures the duo as they must have sounded live, warts and all; Curley's solo section hits a tuning snag early on, but the recovery the two make is a delight to hear. TALKIN' TO YOU MAMA: One of Blind Willie's favorite songs, which he recorded at least 4 times in his lifetime. The song is a surprising change of pace from the previous two tracks, churning out a upbeat mid-tempo rag-like blues. Blind Willie's singing is terrific, as he delivers some wonderfully amusing lyrics in his dry fashion. If this one doesn't get your feet tapping, you've must have a hole in your soul the size of Texas. EAST ST. LOUIS: More churning, upbeat 12-string rhythms provide a bed for Blind Willie to sing about one of the blues' most famous cities. The liner notes also mention that this song is one of the earliest known blues, demonstrating Blind Willie's encyclopedic knowledge of the genre. His vocals are wonderful, ranging from his normal, nasal tenor to some slightly raspy shouts to gentle falsettos. The sound quality is good enough to hear his voice cracking at times. He also uses one of the funkiest turnarounds you'll ever hear in any blues anywhere. A TO Z BLUES: A striking rendition of a 1920's hit by Butterbeans and Susie. Blind Willie turns in some tremendously creative rhythmic patterns and rhymes, making it strikingly similar to the performances of modern rap singers in this regard. Some minor master tape defects slightly mar the sound quality of this performance, but not significantly. Blind Willie's dry delivery of the lyrics is a delight. WEE MIDNIGHT HOURS: A slower tune which uses the particular sound of the 12-string to set a very atmospheric, down-in-the-bottom tone. This is the start of the section where Curley takes the lead vocals, letting Blind Willie take the harmony parts. It's strikingly similar to Robert Johnson's "Four Until Late," with a down-in-the-mouth portrait being painted with in broad swatches. Indeed, the sorrowful tone of the two singers is so broadly over-the-top, the effect is almost comical. The two of them harmonizing together sound like two old hound dogs baying at the moon. BROWN SKIN WOMAN: A friendly guitar duel between Curley's 6-string and Blind Willie's 12-string opens up this simple, 12-bar blues. According to the liner notes, this song is based on the 1930's hit "Black Gal," varying the arrangement and providing different lyrics. Curley serves up some meaty, tasty blues singing that you can sink your teeth into, and Blind Willie's solo is pure 12-string blues mastery. I KEEP ON DRINKIN: The last song where Curley takes lead vocals is a straightforward blues, borrowing the musical pattern of "Trouble In Mind," as well as the famous "the sun gonna shine in my back door someday." Again, the small out-of-tune chunks and their quick recoveries reveal the live-in-the-studio nature of this track. PAL OF MINE (tk.1): Blind Willie takes this hit pop song of the 20's and infuses it with equal shots of ragtime and country, turning in a wonderful performance. He takes the song solo, with Curley only accompanying him on guitar instead of harmonizing on the words. Blind Willie also provides a spoken interlude that gives the performance an even more intimate feel. PAL OF MINE (tk.2): This alternate take is completely different from the previous one. In addition to being a wonderful musical piece, it also reveals Blind Willie's mastery of many musical forms and his ability to alter songs for different audiences. This rendition has more of the country and western elements. The previous song was one to be danced to, while this one is one to be listened to (though it's still something you can tap your foot to). HONEY IT MUST BE LOVE: Some extra-chunky rhythm chording (along with some masterful use of muted strings) introduces this cheerful ragtime blues. Again, the lyrics are wonderfully creative, featuring some truly innovative rhythmic patterns and witty rhyming patterns. He also tosses in some historical references to famous love, including one of how it made "King Edward give up his crown." SENDING UP MY TIMBER (tk.1): A slower blues changes the pace. This is a crossbreed of country/western with gospel, giving this track a similar feel to the second take of "Pal of Mine." Again, it reveals Blind Willie's mastery of multiple musical styles, and his ability to customize tunes to what he felt his audience wanted to hear. SENDING UP MY TIMBER (tk.2): A slightly more complex, layered version of the song. Like the two versions of "Pal of Mine," the second take is a true variation on the song, equally worthy of inclusion, rather than a studio outtake. Curley Weaver delivers some non-verbal falsetto harmonizing behind Blind Willie's sung lyrics, at times sounding almost like a whistling teakettle. LORD HAVE MERCY IF YOU PLEASE: A straightforward gospel tune, which features the AAB blues couplet melded with heavily religious themes and some wonderful harmonies between Blind Willie and Curley. The accompaniment is spare, with the bulk of the melody provided by Blind Willie and Curley's voices. Blind Willie delivers some of his lines with some real evangelical fire, revealing the close links between blues and gospel. CLIMBING HIGH MOUNTAINS: Another AAB blues-gospel, this time with the two additional voices of the 6- and 12-string guitars adding more to the mix than the previous track. Curley also keeps his harmonizing simpler and more to the background, letting Blind Willie take more of the spotlight. IT'S MY DESIRE: A tremendous 12-string introduction kicks off this wonderful track. Blind Willie delivers his vocals with some real passion and emotion. Blind Willie borrows from the musical structure of "Amazing Grace," showing the cross-pollination between black and white musical genres his performing abilities. Some extra surface noise mars this performance slightly, but the emotion and feeling punch through it loud and clear. HIDE ME IN THY BOSOM: An upbeat, high-energy gospel tune that shares a fair amount with the much more secular "You Can't Get Stuff No More." Blind Willie's singing is full of energy and fire and sense of fun, this time grafted onto more religious themes. It is a unique grafting of secular sentiments with sacred themes, using phrases like "you just feed me 'till I want no more" and "rock me in the cradle of your love" to describe the love of God instead of that of an earthly woman. Reviewed by Edward C. Liu Copyright 1996 NY CD Blues Unauthorized use prohibited NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ -- Ed Edward C. Liu | "If you send me to Washington as your leader, edwick@cc.bellcore.com | I'll personally see to it that every living | American gets his portion ... after I get mine." | -- Louis Jordan, "Jordan For President" The opinions in this message are mine and not Bellcore's. Really! ========================================================================= Date: Mon, 8 Apr 1996 09:45:09 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: BSE blues Man oh man, how does this stuff get onto our beloved Blues-L? If I wanted to sit and listen to the epidemiology of Mad Cow Disease and how we should all be pooping our pants over it, I'd just go up to lunch and sit with the virology crowd in the cafeteria. Bor-ing! What made this person decide that Blues-L was a good place to forward that crap? :( Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Mon, 8 Apr 1996 09:56:47 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re: Looking for pickups for my strat. Comments: To: PITSBRGJon@AOL.COM Tom Anderson pickups are very expensive, and worth the money. Van Zandt pu's are very popular in this part of the country and have a very 'Texas' flavor to them. Hot rails are also quite good, but you may want to listen to them first. -Jim _______________________________________________________________________________ Subject: Looking for pickups for my strat. From: PITSBRGJon@AOL.COM at INTERNET-SH Date: 4/7/96 8:24 PM I have been searching for the right pickups for my strat. I would like a vintage sound with that Stevie Ray bite. I dont like the texas specials. Anybody have any suggestions? I would appreciate some help. John ========================================================================= Date: Mon, 8 Apr 1996 10:03:25 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re: Festfood Comments: To: "Raymond O. Varner" My sincere condolences, Ray, and your recommendations are right on. Also, restaurant-wise, my picks ( if you have money) are Geatreau's (or is that Geatreaux's?) uptown and Emerile's and NOLA's downtown and in the Quarter. NOLA's is especially a good deal at lunch. Maybe Bill or Maggie can chip in on this. For food at the Jazzfest, I don't think I have enough time....maybe the soft-shell crab poboy is the best bet. Everything is great, tho. -Jim _______________________________________________________________________________ Subject: Festfood From: "Raymond O. Varner" at INTERNET-SH Date: 4/7/96 5:57 PM It's getting close to Jazz and Heritage Fest, and once again I can't go. = This school district I work for just doesn't see the sublime logic in = giving me a week off to clear my head with music, sunshine, and = Louisiana food. So Bluezellers, here's Uncle Ray's recommendations on must do food = experiences in N'ahlins. First, go directly to Eddie's at 21st and Law. = Hands down the very best soulful menu in the city. I think my red beans = and rice is pretty good, but Eddie's is better. Po' Boys help define low brow NOLA food, and the best in the city can be = found at a little tavern in the Irish Channel called Parasol's. Their = roast beef Po' Boy is good enough to make you slap your Momma! Wander around the French Quarter until you're very hungry, then beeline = for the Central Grocery for an amazing Muffaletta. Copy down their Olive = Salad recipe from the wall so you can feed your belly and head after you = go home. I lost my Olive Salad recipe. Does anyone out there have the Central's? Please, post it if you do. Let the bon ton roulet' Uncle Ray ========================================================================= Date: Mon, 8 Apr 1996 08:28:18 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: April 9 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ADAMS, WOODROW W. (g/SUN REC) b. 1917-0409, TCHULA, MS AUNGIER, CLIFF (g) b. 1941-0409, CROYDON, UK BENTON, BROOK (v/songw/MERCURY REC) d. 1988-0409, QUEENS, NY 56 BLACK BILLY SUNDAY (gospel/PARAMOUNT REC) d. 1936-0409, NEW ORLEANS, LA 67 BONANO, JOE "SHARKEY" (tpt/VOCALION REC) b. 1899-0409, MILNEBERG, LA BOSTICK, CALVIN T. (p/CHESS REC) d. 1974-0409, ERIE, PA 45 BURKE, TONY (editor/BLUES & RHYTHM MAG) b. 1952-0409, STOCKPORT, UK DASH, JULIAN (tsax/ERSKINE HAWKINS) b. 1916-0409, CHARLESTON, SC LIPSCOMB, MANCE (g/ARHOOLIE REC) b. 1895-0409, NAVASOTA, TX LONDON, MEL (prod/songw) b. 1932-0409, MS MYERS, HUBERT "BUMPS" (tsax) d. 1968-0409, LOS ANGELES, CA 55 PARSONS, GENE b. 1944-0409, PERKINS, CARL [CARL LEE PERKINGS] (g/SUN) b. 1932-0409, TIPTONVILLE, TN PRATER, DAVE (of SAM & DAVE) d. 1988-0409, SYCAMORE, GA 50 ROCKIN' SIDNEY SEMIEN (acc/hca/zydeco) b. 1938-0409, LEBEAU, LA STUCCIO, EMIL (of THE CLASSICS) b. 1944-0409, BROOKLYN, NY SUPA, RICHARD J. (of THE YOUNG RACALS) b. 1944-0409, BROOKLYN, NY ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 8 Apr 1996 10:29:49 -0500 Reply-To: Kevin DeBell From: Kevin DeBell LW wrote: "Charles Brown gives Bonnie a WHOLE lot of credit for helping his "second" career life, I betcha the same thing will not be said of Iggy Pop enchancing Jr. Kimbrough's career. I think it would be the other way around, if anything." The primary way Iggy will enhance Junior's career is to line his pockets with a bunch of cold hard cash. Is there any doubt that money is the reason Junior is hitting the road despite his rumored health problems and the crappy weather we've been having in the northeast and the Midwest? Disappointingly (for me) Junior was not with the other Fat Possum artists who performed here in Chicago in February. I suppose if he had played at Buddy Guy's and skipped this Iggy thing, we'd all be happier right now. Junior, however, would have had to split the loot with at least three other musicians, none of whom appear to be millionaires ready to shower money on him. and then: "I just think it's sad that a nominee for Blues Entertainer Of The Year needs the Jon Spencer Blues Explosion in order to capture a wider audience." I said before, and got no response, that there is no shame working with Jon Spencer. The world at large is not responsive to much of the blues beyond the Stones, B.B., and Muddy Waters (I'm leaving the godawful EC out of this entirely). Get over it. I'd much rather have R.L. working with JSBE than any horrid Grammy nominee/winner. If you want to get down to it, I think Jon Spencer is an infinitely more interesting and absolutely more visionary artist than Bonnie Raitt. The cruel world has seen fit to shower certain types of artists with ready cash, while others stay unknown and underappreciated. Thank goodness some of the lucky ones are seeing fit to make reparations to their musical comrades who may even be superior musicians. As for the whole notion of "selling out," a Junior Kimbrough could *never* sell out. Selling out is a conscious decision an artists makes at the beginning of his or her career. Beyond that, its a fantasy created by musical elitists who hate it when their favorite acts gain widespread notoriety. "Everyone has knocked the House Of Blues for having non blues acts and IMHO it's the same as the above. Maybe the HOB needs to book non-blues acts in order to survive. We are not moral bodyguards of the artists, nor are we MB's of the clubs.....right." Maybe HOB will give deserving artists good pay, good food, and good coverage in the press. What more have blues socieities been asking for for years? And maybe Ackroyd's just giving something back (after stealing so much). The idea of being anyone's moral bodyguard nauseates me. I've got enough trouble making my decisions about my own life. Whatever Junior, R.L., and whoever else want to do is just fine, as long as they keep turning out amazing albums. I'll chill out now, if you will........... -kevin kdebell@wpo.it.luc.edu ========================================================================= Date: Mon, 8 Apr 1996 08:34:36 -0800 Reply-To: James Carmin From: James Carmin Subject: BUSTER BENTON I've spent much of the weekend listening to BUSTER BENTON's great 1993 Evidence release "Blues at the Top." This is about as good as it gets, with Buster B, Carlton Weathersby, John Littlejohn and Joe Beard on guitars, Lafayette Leake and Francois Rilhac on piano, Bob Stroger and JW Williams on bass, Mose Rutues and Odie Payne on drums, and the fabulous Mr. Billy Branch on harp. If you like your blues kind of mellow, with a gravelly voice like you might find with Magic Slim, backed by a wonderful band, check out this way-underrated recording. James C. jcarmin@teleport.com ========================================================================= Date: Mon, 8 Apr 1996 11:32:04 -0400 Reply-To: Rags_Trips_On_Gras From: Rags_Trips_On_Gras Subject: SLIM_GAILLARD's_voute!! Blues Before Sunrise, this morn' opened with SLIM GAILLARD's song. I wonder if SLIM GAILLARD would strictly be considered BLUES. SLIM GAILLARD invents a hipster language in the mid-30's called VOUTE. Some of the #'s are POTATO CHIPS, SERENADE TO A POODLE, RIDE SLIM RIDE, HOW HIGH THE MOON, CEMENT MIXER PUTTY PUTTY. SALVADOR DALI's SURREALISM in MUSIC = SLIM GAILLARD's VOUTE I really enjoy SLIM GAILLARD's work for it brings a smile to my face and make me upbeat. Om Shanti!! Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / -~ ~- \ | GO TDM!! | | d-(#)=(#)-b | ---------------------------- | | / L \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`~~~'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ Laissez les bon temps roulez!!...Let the good times roll!! +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Mon, 8 Apr 1996 10:35:19 CST Reply-To: ISTS024@UABDPO.BITNET From: L W In-Reply-To: Message of Mon, 8 Apr 1996 10:29:49 -0500 from On Mon, 8 Apr 1996 10:29:49 -0500 Kevin DeBell said: >LW wrote: "Charles Brown gives Bonnie a WHOLE lot of credit for >helping his "second" career life, I betcha the same thing will not be said >of Iggy Pop enchancing Jr. Kimbrough's career. I think it would be the >other way around, if anything." >The primary way Iggy will enhance Junior's career is to line his pockets >with a bunch of cold hard cash. Is there any doubt that money is the GREAT POINT. I should have thought about that aspect. >I said before, and got no response, that there is no shame working with >Jon Spencer. The world at large is not responsive to much of the blues >beyond the Stones, B.B., and Muddy Waters (I'm leaving the godawful EC >out of this entirely). Get over it. I'd much rather have R.L. working with >JSBE than any horrid Grammy nominee/winner. If you want to get down You included the Stones and exlcuded EC...WOW. HORRID GRAMMY NOMINEE are you calling Bonnie or Eric HORRID....(private mail on which is horrid will work) I would much rather Jr. be playing LARGE halls with Bonnie or Eric. In your own words "COLD HARD CASH". I think Bonnie and Eric draw a larger crowd and get more 'cold hard cash" than Jon Spencer does or ever will... >for years? And maybe Ackroyd's just giving something back (after >stealing so much). The idea of being anyone's moral bodyguard I'm curious what did Ackroyd steal. I don't care for his silliness, but I never heard about him stealing....? LW ' I agree none of our business who RL plays with or Ackroyd plays with' ========================================================================= Date: Tue, 9 Apr 1996 00:45:10 +0900 Reply-To: Yuichi Yoshida From: Yuichi Yoshida Subject: I've listend Tha Band's "High On The Hog" I bought The Band's new CD "High On The Hog" last weekend. I've listened it again and again. That leads me to the place in both some nostalgic temper and a little disappointment. Totally speaking, all the tunes are monotonic and sometimes boring except for "For Ever Young" which was so immpressive in "The Last Waltz" by B.Dylan. As Mr.Bob Vanarsdall mailed at the end of March, I also want to appreciate the performance by G.Hudson especially. J.Weider's guitar became fittable to NEW The Band. But it is too resemble to R.Robertson's. I have, am, and always will be true-fan of OLD/NEW The Band, especially R.Robertson. Living in Japan, I have seldom heard of him year by year. I wonder what kind of feeling he has to this album? And what kind of creative actions is he doing in the U.S. now? ========================================================================= Date: Mon, 8 Apr 1996 07:58:39 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Looking for pickups for my strat. >I have been searching for the right pickups for my strat. I would like a >vintage sound with that Stevie Ray bite. I dont like the texas specials. >Anybody have any suggestions? I would appreciate some help. > >John Tom Anderson stacked single coil-size HB's with the bottom coil turned off... The best I have heard. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Mon, 8 Apr 1996 11:53:04 -0400 Reply-To: Rags_Trips_On_Gras From: Rags_Trips_On_Gras Subject: Re: FestFood Can a vegetarian have a good cajun meal...I wonder ??? Om Shanti!! Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / -~ ~- \ | GO TDM!! | | d-(#)=(#)-b | ---------------------------- | | / L \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`~~~'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ Laissez les bon temps roulez!!...Let the good times roll!! +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Mon, 8 Apr 1996 10:58:52 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: FK Live At The Electric Ballroom I finally got this CD yesterday and although it's been said, I'd just like to say again: Thanks to Richard Chalk, Don O, King Estate...etc for making another FK recording available. I love it, especially the acoustic tunes. It would really be great to have more acoustic Freddie King. I have a lot of trouble picking a favorite "King"....Freddie, Albert or BB....It doesn't matter though, you can't go wrong with any of them LW ========================================================================= Date: Mon, 8 Apr 1996 12:03:52 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Moral Bodyguard Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu On April 8, LW said: >>>Charles Brown gives Bonnie a WHOLE lot of credit for >>>helping his "second" career life, I betcha the same >>>thing will not be said of Iggy Pop enchancing >>>Jr. Kimbrough's career. I think it would be the other >>>way around, if anything The problem with this position is that you are allowing your own taste and attitude to pass judgment on what is an acceptable headliner for the blues artist. Would you have a list of 'acceptable and approved' headliners for Robert Lockwood? A different list for Jimmy Rogers? A different list for Katie Webster? It would be sweet indeed if every paycheck came with an attentive audience but real life doesn't work that way. You might feel that Bonnie Raitt attracts people who smell nice and are politically correct while Iggy Pop has a bunch of uncouth beasts. Maybe if more headliners gave more concerts in more cities to more blues artists for more money than we would have less need for benefits to support our blues legends in their old age. Dick Waterman ========================================================================= Date: Mon, 8 Apr 1996 08:09:38 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Moral Bodyguards Joel said: >Lighten up Dick. I wasn't sitting in moral judgement. I said LAUGH or cry. > >I am happy to see John get fat paychecks and he can take whatever gigs he >chooses. > >I do think it is a shame that artists HAVE TO bastardize their art in order >to make a living. Some, of course CHOOSE not to: Thelonius Monk for one. >Jelly Roll Morton, according to recent posts, for another. And many more. I think you missed Dick's point.... The phrase "bastardize their art" is a dead giveaway for someone with no experience in the industry. An interviewer asked Les Paul once about "commercial" music vs. "artistic" music and all, and he laughed in the guy's face and said something like: "It's ALL commercial, son! EVERYONE wants to sell records"... Unless you knew Monk and Morton personally, I think you should be careful about being sure of the way they saw the world. That said, I have never met an artist yet who didn't want to fill the house and sell lots of records... Ohhh, and I once saw BB King **OPEN** for Loggins and Messina!! Was he "bastardizing his art"? Nope... He had a blast, WE had a blast, and pore ole Loggins and Messina had to *follow* him... ha ha ha ha.... it was pretty damn funny son... L&M probably played the show of their life trying to follow BB, and still ate it! I still laugh when I remember that show... Bastardizing art, and prostituting oneself and "commercial music" are all phrases used by fans, NOT by musicians. Get hip to life in the music biz.... DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Mon, 8 Apr 1996 11:04:54 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Moral Bodyguard In-Reply-To: Message of Mon, 8 Apr 1996 12:03:52 -0400 from On Mon, 8 Apr 1996 12:03:52 -0400 Dick Waterman said: >"second" career life, I betcha the same >>>thing will not be said of Iggy Pop >enchancing >>>>Jr. Kimbrough's career. I think it would be the other >>>way around, if >anything > >The problem with this position is that you are allowing your own taste and >attitude to pass judgment on what is an acceptable headliner for the blues >artist. You are 100% correct. I would sneer at Lockwood opening for MC Hammer, sorry but it's true, my tastes would come into play. It's only my opinion. I would attend the Lockwood/MC Hammer show, but leave after Lockwood. I can't keep my muscial taste/attitude from being invovled. I naturally want all blues performers to grab a REAL BIG paycheck, even if they have to open for Micheal Bolton. That doesn't mean I like it that way, but money is money, regardless if the audience smells good or bad.... LW ========================================================================= Date: Mon, 8 Apr 1996 11:18:56 -0500 Reply-To: Kevin DeBell From: Kevin DeBell Thank so much, LW, for bringing the list's level of discourse to such heights. I wasn't trying to insult you but, rather, to continue the discussion about the meaning of money to blues artists and about this recent trend of seemingly divergent artists touring together. By "horrid" I meant that many of the folks who win Grammys and other such awards have much less talent and imagination than a Jon Spencer or even an Iggy Pop. I think it was in reference to House of Blues that I first heard the expression "you can't play the blues in an air conditioned room." I agree that a Bonnie or EC would bring any opening act more $ and press than JSBE/IP. But they didn't pick Junior or R.L. So who's cool and who's not?? When a Fat Possum artist opens for Bonnie or EC, LW, I'll be glad to give you my front row seats. - kevin ========================================================================= Date: Mon, 8 Apr 1996 11:14:09 -0700 Reply-To: Beowulf From: Beowulf Organization: The Wolfpack Subject: Re: MUSIC_is_MUSIC... Comments: To: bit-listserv-blues-l@uunet.uu.net On 4/4 Rags_Trips_On_Gras philosophized: > > is_MUSIC.... > > Blues has feelings for me.... > And that is all right with me.... > > But, it surprises me why people come so heavily down on other > genre of music - folk, disco, country, rock, alternative, world beat > or new age. > I agree that good music exists in all genres and if one truly loved music, than he/she should be open-minded enough to dig all kinds. Beethoven symphonies contain as much "feeling" in them as any blues performance. Although trained in traditional western music, I have a particular affinity for African derived music - jazz, blues, Caribbean, South American. I recognize that all of these "styles" contain varying mixtures of "schooled" music and "vernacular" or folk music, usually with an emphasis on rhythm. Since there is so much music out there to enjoy, I have indeed narrowed my listening habits (since I'm trying to make a living out of it) to blues music. Culturally and emotionally, it's the music I relate to the most. It's in me and it's got to come out! -- kelly@netusa1.net(Kelly Hoggard) The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! Check out their home page at http://www.netusa1.net/~kelly/ ========================================================================= Date: Mon, 8 Apr 1996 11:50:36 -0500 Reply-To: Kevin DeBell From: Kevin DeBell Tom Freeland wrote: " Junior's health problems are not a subject of rumor; I live about 40 miles from him and know him personally." No offense or doubt meant, Tom. I paused as I wrote "rumored," and only continued because I unfortunately do not know Junior, didn't save a copy of the original post in which you mentioned his health problems, and didn't realize his health is as bad as you've now explained. Even with bad news, I always enjoy your informed posts. -kevin ========================================================================= Date: Mon, 8 Apr 1996 12:08:20 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re[2]: FestFood Comments: To: Rags_Trips_On_Gras Definitly. Red beans and rice is one of the best things you can put in your mouth, and does not necessarily come with meat ( sausageis usually optional). Is seafood in or out of your diet? If the former, you've got a huge variety of traditional dishes that have no meat at all. -Jim _______________________________________________________________________________ Subject: Re: FestFood From: Rags_Trips_On_Gras at INTERNET-SH Date: 4/8/96 11:51 AM Can a vegetarian have a good cajun meal...I wonder ??? Om Shanti!! Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / -~ ~- \ | GO TDM!! | | d-(#)=(#)-b | ---------------------------- | | / L \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`~~~'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ Laissez les bon temps roulez!!...Let the good times roll!! +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Mon, 8 Apr 1996 09:56:52 -0700 Reply-To: Stephen A Macaleer From: Stephen A Macaleer Subject: Greetings Does the blues list still exist? I have been off it for about a year. If so, could someone please send me information as to how to get back on the list. It is greatly appreciated. ========================================================================= Date: Mon, 8 Apr 1996 13:09:22 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re[2]: Moral Bodyguards Comments: To: Don Cicchetti Don C. said... "Bastardizing art, and prostituting oneself and "commercial music" are all phrases used by fans, NOT by musicians. Get hip to life in the music biz...." and I only have this to say, as I was trying to formulate my own post.... AMEN!!!!!!! Shannon ========================================================================= Date: Mon, 8 Apr 1996 17:37:53 GMT Reply-To: Art Schuna From: Art Schuna Organization: UW-Madison Subject: Cats & Dogs Blues Comments: To: bit-listserv-blues-l@uunet.uu.net I'm putting together a radio show segment with the theme "Cats & Dogs" blues. I had no problem coming up with the cats, but need some suggestions for dogs. "Dogs" does not have to be in the title, but should be a prominent part of the lyrics. So far, I've come up with "I've Got The Dog In Me" by David Malone and, of course, "Hound Dog" by Big Mama Thornton. I also thought of "No More Doggin" by Rosco Gordon but I used that in a show last month and prefer not to repeat so soon. Any other ideas out there all of you cats and kittens (to use a phrase frequently used on the Rockabilly list)? Art Schuna ========================================================================= Date: Mon, 8 Apr 1996 13:39:42 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Moral Bodyguard Comments: To: Dick Waterman In-Reply-To: <960408120351_508360000@emout10.mail.aol.com> On Mon, 8 Apr 1996, Dick Waterman wrote: > Maybe if more headliners gave more concerts in more cities to more blues > artists for more money than we would have less need for benefits to support > our blues legends in their old age. > Dick Waterman Very well put Dick. In addition, here's a novel thought. With enough exposure, blues artists might some day become headliners. Oh my god .... could this possible happen? Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 8 Apr 1996 17:44:29 GMT Reply-To: Art Schuna From: Art Schuna Organization: UW-Madison Subject: Hopkins, Broonzy, Little Walter (was Re: need advice) Comments: To: bit-listserv-blues-l@uunet.uu.net In article <4k9k88$e2o@tandem.CAM.ORG>, prader@CAM.ORG says... >> >right now i am about to expand my cd collection and there are three >artists i want to include. they are bill broonzy, little walter amd >lightnin hopkins. i know they have all been recorded extensively and i >also know from experience ther is a lot of bad recordngs and i dont want >to waste time and money. can anyone suggest to me some definitive >recordings of these three. i'll probably start with two discs each. Bill Broonzy - I think there is a single disc on CBS/Legacy that does a pretty good job of covering highlights of his early career, which is probably what you'd be more interested in. Little Walter - The Essential (2 disc set) then after you get that pick up the other MCA/Chess set that came out this past year (also 2 discs) "Strange King of Feeling" (at least I think that's the title). Lightnin' Hopkins - Gold Star recordings vol. 1 & @ on Arhoolie or the Complete Aladdin on EMI. Art Schuna ========================================================================= Date: Mon, 8 Apr 1996 12:44:19 CST Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Bad Girl Blues Can anyone tell where to find another recording of "Bad Girl Blues", besides Johnny Winter's version on 3rd Degree Thanks LW ========================================================================= Date: Mon, 8 Apr 1996 13:51:12 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Moral bodyguards and stuff If I want to feel amazed at Warner's Daffy Duck appearing in a Hanna Barbera cartoon, so what? If someone then wants to posture himself as taking the high ground, by preaching to us that all cartoon characters are brothers, and pointing out my closed mindedness.... big deal. It's those damn Simpsons we should be worrying about any way! P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Mon, 8 Apr 1996 12:54:40 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Moral Bodyguards > Too many people on this list have decided that their purpose is to be the > moral bodyguards of some sacred tradition that must be protected from those > who are too loud, too commercial or simply judged unacceptable. I think the problem is that too many blues fans view the music as a "cause." Thus we get accusations of "selling out" or "bastardizing the music" -- expressions which make sense if we are talking about politics, but no sense if we are talking about music. For most professional musicians, blues isn't a cause, it's a career. The goal is to earn a living, and I for one am glad when blues musicians get gigs of any kind -- if they don't eat they can't play, and then there's no music. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Mon, 8 Apr 1996 15:31:54 GMT Reply-To: Robert Belew From: Robert Belew Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Sonny Rhodes (was Big Boy Spires) Comments: To: bit-listserv-blues-l@uunet.uu.net Sonny has a new disc out ! Check it out ! ========================================================================= Date: Mon, 8 Apr 1996 12:59:19 -0500 Reply-To: David Witzany From: David Witzany Subject: New Buddy Guy Live Good news for everyone who's been awaiting the release of Buddy's live album, backed by G.E. Smith and the Saturday Night Live Band: According to CDNow, the album "Live: The Real Deal" is due for release on April 16th. It's on BMG records; the CD number is 1241 41543 2 (for the cassette, change that last 2 to a 4). And there was much rejoicing :^) Dave. --David Witzany witzany@uiuc.edu (Univ. of IL, Champaign) ......one of Nature's bounds checkers ========================================================================= Date: Mon, 8 Apr 1996 01:54:01 -0400 Reply-To: Claudio Caponi MARNR From: Claudio Caponi MARNR Subject: King Solomon Hill Hi bluezellers, I spent Easter Sunday relistening to my old LPs. One which I had almost forgot is called "Blues Bash" (Olympic Records 7115), which is a 1973 reissue of a 1963 (according to the liner notes) session by Big Joe Williams, Lightnin' Hopkins, Brownie and Sonny. I think VT has mentioned this session on the list, but I think he said it was recorded in 1960. Well, anyhow, the liner notes of the LP (no indication who the writer is) contain this amazing statement, speaking of Big Joe Williams: "His earliest records, issued under the name of King Solomon Hill are sung in a high, barely recognizable voice, but it seems that his voice became heavier as he matured." This is the only reference I ever read about this theory. In the liner notes to Yazoo 1004, which has 2 of the 4 remaining sides exiting of King Solomon Hill, Stephen Calt says that KSH was the recording pseudonym of a street singer and hobo, Joe Holmes (1897-1949), which was taken from the name of a local community near Holmes' native Sibley, Louisiana. So, has anybody heard of this theory of Big Joe = KSH before? Is what S. Calt says generally accepted? Or, were there more than one King Solomon Hill? Confused in Caracas, but still enjoying Big Joe, Lightnin', Brownie & Sonny, ccaponi@dino.conicit.ve | Claudio Caponi | I've had my fun... Ministerio del Ambiente | Caracas - Venezuela | Otis Spann ========================================================================= Date: Mon, 8 Apr 1996 13:15:45 -0500 Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: Re: Johnnie Johnson Dido! Nuri Nuri >>> On April 7, 1996, this was posted on Blues-L: >>> >>> I was informed [...] that Johnnie Johnson is contracted to go out on tour >>> with Phil Weir and some sort of reconstituted Grateful Dead. >>> I don't know whether to laugh or cry. >> >>Did you mean *BOB* Weir and/or Phil *LESH*? >>Before you post, take the time to get more "informed"... >>If YOU care a little more, maybe WE will. >>Ken > >Hey, Ken, we can all make mistakes. Having bad manners and no sense of >proportion are two right there. Clean up your act. > > >Chris Smith (chris@skerries.demon.co.uk) >'Positive: wrong at the top of one's voice." (Ambrose Bierce) > > ========================================================================= Date: Mon, 8 Apr 1996 18:10:58 GMT Reply-To: bluesbabe From: bluesbabe Organization: SoVerNet, Inc. Subject: Alligator Records Merchandising 800 Number Comments: To: bit-listserv-blues-l@uunet.uu.net Anyone out there in bluesland know the 800 number for Alligator records?? I wish to purchase articles that are not retailed in my area. Thank alot.....BluesBabe ========================================================================= Date: Mon, 8 Apr 1996 14:24:26 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Cats & Dogs Blues Comments: To: aaschuna@facstaff.wisc.edu In a message dated 96-04-08 14:17:53 EDT, aaschuna@FACSTAFF.WISC.EDU (Art Schuna) writes: >I'm putting together a radio show segment with the theme >"Cats & Dogs" blues. I had no problem coming up with the >cats, but need some suggestions for dogs. "Dogs" does not >have to be in the title, but should be a prominent part of >the lyrics. So far, I've come up with "I've Got The Dog In Me" by >David Malone and, of course, "Hound Dog" by Big Mama Thornton. >I also thought of "No More Doggin" by Rosco Gordon but I used >that in a show last month and prefer not to repeat so soon. > >Any other ideas out there all of you cats and kittens (to use >a phrase frequently used on the Rockabilly list)? > >Art Schuna You could do an entire dog show from sixties soul. Check out the first Stax box ("Walking the Dog" "Philly Dog" "Somebody Stole My Dog" "Can Your Monkey Do The Dog" I suppose "Wait You Dog" and "The Legend of the Dogwoods" might be questionable, laying aside the fact that the later is probably the single worst thing Stax ever put out). Also, the 10 or so minute "Walking The Dog" by Rufus Thomas on the 4/4 Ballroom Live Album is a truly great moment. Lots of blues songs have the theme "Let me be your little dog till your big dog comes." Do you have one of those? Tom Freeland ========================================================================= Date: Mon, 8 Apr 1996 14:39:03 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: No Subject Comments: To: KDEBELL@wpo.it.luc.edu On April 8, Keven DeBell wrote; >>>When a Fat Possum artist opens for Bonnie or EC, >>>LW, I'll be glad to give you my front row seats. - >>>kevin I had intended to stay out of this dispute but I just can't let that remark pass before the entire Blues-L without some comment on my part. I managed Bonnie Raitt from 1968 until I moved to Mississippi in 1986. I also served as her exclusive booking agent with the right of approval over every artist with whom she shared a performance. Fat Possum obviously did not exist when she began her career as a solo folk/blues artist so I cannot comment on the careers of R.L. Burnside, Junior Kimbrough, John Weston and others. However, as soon as Ms. Raitt reached a career level where she was able to have traditional artists on the show with her, she did so immediately. Among those who joined her in concert were Fred McDowell, Robert Pete Williams, Arthur Crupup, Robert Shaw, Rev. Pearl Brown, Son House, Johnny Shines, Roosevelt Sykes, Sippie Wallace, Little Brother Montgomery, Buddy Moss and Brownie McGhee & Sonny Terry. (I have stopped at one dozen but could easily add a second dozen.) They were paid a minimum of $500.00 - pretty fancy money back in those days - and if that was not available in the budget, we lowered her own fee to make the adjustment. It is embarassing for me to explain someone's moral conduct of a quarter century ago. Bonnie Raitt is a millionaire many times over but not one penny of it came to her because of an ethical shortcut. Dick Waterman ========================================================================= Date: Mon, 8 Apr 1996 14:43:40 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Alligator Records Merchandising 800 Number Comments: To: bluesbabe On 8 Apr 96 at 18:10, bluesbabe wrote: > Anyone out there in bluesland know the 800 number for Alligator > records?? I wish to purchase articles that are not retailed in my > area. Thank alot.....BluesBabe > 800-344-5609 P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Mon, 8 Apr 1996 18:22:12 EST Reply-To: Jim Miller From: Jim Miller Subject: Connection Comments: To: BLUES-L Although I find the arguments concerning moral guardianship interesting I think that there is one point missing. Is there anything in the Fat Possum crew that (for whatever reason) might turn on certain elements of the alternative rock fan base compared to other styles of blues? The rock and blues connection doen't always have to be through SRV or Eric Clapton. A lot of folks on this list seem to imply that rock is some kind of homogeneous entity. I simply believe that certain kinds of blues resonate well with certain kinds of rock. Some people might "hear" Jon Spencer as closer to RL Burnside that RL is to SRV or even BB King. You may wish to educate them to "hear" it otherwise but the listener doesn't always conform to our analytical categories. ========================================================================= Date: Mon, 8 Apr 1996 14:45:44 -0400 Reply-To: Tom Morgan From: Tom Morgan Subject: Re: Cats & Dogs Blues Comments: To: aaschuna@facstaff.wisc.edu In-Reply-To: <4kbith$1o1e@news.doit.wisc.edu> from "Art Schuna" at Apr 8, 96 05:37:53 pm In another time and place, Art Schuna said: > > I'm putting together a radio show segment with the theme > "Cats & Dogs" blues. I had no problem coming up with the > cats, but need some suggestions for dogs. "Dogs" does not Art, these aren't all Blues, but here is a list from my database. Title Group ------------------------ ------------------------ At The Swing Cats Ball Jordan, Louis Bearcat Thomas, Rufus Can Your Monkey Do The Thomas, Rufus Dog Cat Music Bartholomew, Dave Cat Squirrel Dr Ross Cat You Been Messin Johnson, Lonnie Around Copy Cat Cadillacs Do The Philly Dog Olympics Dog McCracklin, Jimmy Dog Hill Chavis, Boozoo Dog, The Thomas, Rufus Doggin the Dog Turner, Big Joe Don't Treat Your Man Saffire Like A Dog Every Dog Has A Day Crayton, Pee Wee Every Dog Has Its Day Bo, Eddie Happy Little Nobody's King, Earl Waggy Tail Dog Hot dog Powell, Chris Hound Dog Little Esther How Come My Dog Don't Dr John Bark How Come My Dog Don't Johnson, Sweet Pea Growl At You If it Had Been a Dog Saffire It's A Poor Dog Can't Little Richard Wag It's Own Tail Just Like A Dog Thornton, Big Mama Leave My Kitten Alone John, Little Willie Low Down Dog Henderson, Duke Monkey Dog Wright, OV Moondog Treniers Mud Cat's Blues Sugar Ray My Dog Can't Bark Muddy Waters My Little Dog Delafose, John One Black Cat Jackson, John Open Up The Doghouse Cole, Nat King Philly dog Mar Keys Police Dog Blues Jackson, John Prarie Dog Hole Dixon, Floyd Pussy Cat Rag Old South Quartet Rooftop Tomcat Evans, Terry Scat You Cats Lee, Julia Shaggy Dog Two Step Bequ Jocque That Cat Is High Ink Spots There's A Dead Cat On Harris, Peppermint The Line Three Cool Cats Coasters Three Ways To Skin A Cat Clearwater, Eddy Trying To Catch A Cab In Thomas, Irma The Rain Wait You Dog John, Mabel Walkin The Dog Thomas, Rufus Watch That Dog Delafose, John Watchdog James, Etta We The Cats Shall Hep Calloway, Cab You We the Cats Will Swing Big Nite Out You Wild Dogs of Kentucky Nervous Norvus `'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`' http://redlt.com/tom/ -- Home of Jazz Roots & Record Companies on the Web Free-lance Writer--Author--Program Director WTJU 91.1--Internet Consultant ========================================================================= Date: Mon, 8 Apr 1996 12:55:00 -0600 Reply-To: bmpech@MSCD.EDU From: Bruce Pech Subject: Re: Cats & Dogs Blues Comments: To: Art Schuna In-Reply-To: <4kbith$1o1e@news.doit.wisc.edu> Art -- Blind Blake's "Police Dog Blues" oughta be on your playlist. -- BP Boulder, CO ========================================================================= Date: Mon, 8 Apr 1996 15:10:12 -0400 Reply-To: Oded Maron From: Oded Maron Subject: JESSE AUSTIN DEAD In-Reply-To: Tony Burke's message of Sat, 6 Apr 1996 14:41:03 GMT <828801663.20717@bluestb.demon.co.uk> From: Tony Burke Joe Roesch sent B&R details of the death of blues singer and organist Jesse Wild Bill Austin, who died on March 22nd in Bridgeport, Connecticut the day before his 66th birthday. This is really a shame. I found Jesse Austin through a recommendation by Tom Morgan, and his latest CD - "Baby's Back" is a hopping, swinging disk. It's a nice combination of organ, west-coast swing, and a bunch of talented side musicians. I regret never getting the chance to see him live. Oded ========================================================================= Date: Mon, 8 Apr 1996 15:13:05 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Sonny Rhodes (was Big Boy Spires) >Sonny has a new disc out ! Check it out ! Well, yeah, I'm sure we'd all love to - if you could tell us the name, label and issue number, it'd be a little easier, no? Chris Smith (chris@skerries.demon.co.uk) 'Positive: wrong at the top of one's voice." (Ambrose Bierce) ========================================================================= Date: Mon, 8 Apr 1996 15:16:36 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Cats & Dogs Blues Comments: To: aaschuna@facstaff.wisc.edu On April 8, Art Schuna asked: >>>Any other ideas out there all of you cats and kittens >>>(to use a phrase frequently used on the Rockabilly >>>list)? Blind Blake: Police Dog Blues, Black Dog Blues, Doggin' Me Mama Blind Boy Fuller: Cat Man Blues, Tom Cat Blues, Been Your Dog, Bulldog Blues Most Obvious Pick: Rufus Thomas' Walking the Dog Dick Waterman ========================================================================= Date: Mon, 8 Apr 1996 11:45:58 -0700 Reply-To: Beowulf From: Beowulf Organization: The Wolfpack Subject: Re: Selling Out Comments: To: bit-listserv-blues-l@uunet.uu.net Shaun, I couldn't agree with you more. Many of these musicians spent years making very little money. After 30, 40, or 50 years in the business, these guys deserve whatever they can get. Luther Allison, Buddy Guy, John Lee Hooker, B.B. King are the blues royalty - whatever they do _is_ the blues, and how they do it is their business. Now, 18 year old SRV clones getting big press and national tours - that's another story. -- kelly@netusa1.net(Kelly Hoggard) The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! Check out their home page at http://www.netusa1.net/~kelly/ ========================================================================= Date: Mon, 8 Apr 1996 14:33:07 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 04/09 B O R N : 04 / 09 ADAMS, WOODROW WILSON Born:1917 TCHULA, MS Career:GUITAR / HARMONICA Style:BLUES DASH, JULIAN ( ST. JULIAN BENNETT DASH ) Born:1916 CHARLESTON, SC Career:TENOR SAX Style:JAZZ / BLUES / BIG BAND With:Erskine Hawkins / left full-time music. Was head of receptionists at a New York company. GAFA, ALEXANDER Born:1941 NEW YORK, NY Career:GUITAR Style:JAZZ / BIG BAND With:Kai Winding 1966-67 / Michel Legrand / Sam Donahue 1967-68 / Duke Pearson 1968-69 / Carmen McRae's music director / Dizzy Gillespie / Kenny Barron / Al Foster / Andy LaVerne JAMES, LOUIS Born:1890 THIBODAUX, LA Career:CLARINET / ALTO SAX / TENOR SAX / BASS Style:TRAD / JAZZ With:Jack Carey / Frank Duson / the Tulane Orchestra / Joe Howard / bass for Percy Humphrey / Preservation Hall in 1965 LEVINE, BOBBY "LIPS" Born:1923 EASTON, PA Career:CLARINET / BASS CLARINET / SAXOPHONES Style:JAZZ / BIG BAND With:BILLY BUTTERFIELD / WARREN COVINGTON / VAUGHN MONROE / SAMMY KAYE / TEX BENEKE / ART MOONEY / CHRIS GRIFFIN / BEN VENTURA / BOB CROSBY / PARK FRANKENFIELD ROY, TEDDY ( THEODORE GERALD ROY ) Born:1905 DU QUOIN, IL Career:PIANO Style:JAZZ / BIG BAND With:Coon-Saunders / Jean Goldkette / Leo Reisman / Vincent Lopez / Nat Shilkret / Willard Robison / Bobby Hackett / Pee Wee Russell / Miff Mole / Max Kaminsky SHARKEY ( JOSEPH GUSTAF BONANO ) Born:1904 NEW ORLEANS, LA Career:TRUMPET Style:TRAD / JAZZ With:Eddie Edward / Chink Martin / Freddy Newman / Norman Brownlee / Jimmy 'Schnozzle' Durante / Larry Shields / Angelo Gemelli / Ben Pollack THIELMANS, TOOTS (JEAN Born:1922 BRUSSELS, BELGUIM Career:HARMONICA Style:JAZZ With:BENNY GOODMAN / DINAH WASHINGTON / GEORGE SHEARING 1953-1959 / QUINCY JONES VAN DAMME, ART Born:1920 NORWAY, MI Career:ACCORDION / LEADER Style:JAZZ / BIG BAND With:Ben Bernie / Joined NBC radio in Chicago 1944 as staff musician FOR A LISTING OF THOSE THAT PASSED AWAY IN THIS MONTH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Mon, 8 Apr 1996 15:24:48 -0400 Reply-To: RsprBlues From: RsprBlues Organization: America Online, Inc. (1-800-827-6364) Subject: FYI Springing the Blues Comments: To: bit-listserv-blues-l@uunet.uu.net Just wanted to let y'all know that Springing the Blues Festival is this weekend at Jacksonville Beach, Florida. It's the state's largest outdoor FREE blues festival and I'm sure looking forward to it! You can read more about it at http://www.springingtheblues.com Betsy Betsy.Veal@rssrspr.com ========================================================================= Date: Mon, 8 Apr 1996 14:37:22 -0500 Reply-To: David Silberberg From: David Silberberg Subject: Re: Cats & Dogs Blues At 05:37 PM 4/8/96 GMT, Art Schuna wrote: >I'm putting together a radio show segment with the theme >"Cats & Dogs" blues. I had no problem coming up with the >cats, but need some suggestions for dogs. "Dogs" does not >have to be in the title, but should be a prominent part of >the lyrics. If you want to spread out a little: "Walkin' the Dog" - Rufus Thomas - not exactly blues, but close.... Then there's always "Bird Dog" by the Everly Brothers, of course.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Mon, 8 Apr 1996 15:45:01 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: King Solomon Hill Claudio Caponi wrote: >Hi bluezellers, > >I spent Easter Sunday relistening to my old LPs. One which I had almost >forgot is called "Blues Bash" (Olympic Records 7115), which is a 1973 >reissue of a 1963 (according to the liner notes) session by Big Joe >Williams, Lightnin' Hopkins, Brownie and Sonny. I think VT has >mentioned this session on the list, but I think he said it was recorded >in 1960. > >Well, anyhow, the liner notes of the LP (no indication who the writer is) >contain this amazing statement, speaking of Big Joe Williams: >"His earliest records, issued under the name of King Solomon Hill are >sung in a high, barely recognizable voice, but it seems that his voice >became heavier as he matured." > >This is the only reference I ever read about this theory. In the liner >notes to Yazoo 1004, which has 2 of the 4 remaining sides exiting of >King Solomon Hill, Stephen Calt says that KSH was the recording >pseudonym of a street singer and hobo, Joe Holmes (1897-1949), which >was taken from the name of a local community near Holmes' native >Sibley, Louisiana. > >So, has anybody heard of this theory of Big Joe = KSH before? Is what >S. Calt says generally accepted? Or, were there more than one King >Solomon Hill? > >Confused in Caracas, but still enjoying Big Joe, Lightnin', Brownie & >Sonny, > >ccaponi@dino.conicit.ve | >Claudio Caponi | I've had my fun... >Ministerio del Ambiente | >Caracas - Venezuela | Otis Spann This was a trip that Big Joe laid on researchers in the fifties, just after he'd been rediscovered. They'd play records to him to see if he knew the musicians, and I guess out of devilment and/or to make himself more interesting, he said he was King Solomon Hill. Why anybody believed it is another question. There was some controversy in the sixties over the Calt/Wardlow identification of Joe Holmes as KSH, which was rubbished by David Evans, but it seems to be generally accepted nowadays. See an article in 'Blues Unlimited' 148/9 for the most recent word. (Separate message for Claudio only. I see you have Olympic LP 7115. Wonderful!! I need desperately to hear 'Great Gospel Blues' for my Sonny & Brownie discography. PLEASE send me a cassette - preferably of the whole album - and a photocopy of the sleeve, and you can have a tape of any CD or LP from my collection in exchange, if I've got what you ask for, of course.) Chris Smith (chris@skerries.demon.co.uk) 'Positive: wrong at the top of one's voice." (Ambrose Bierce) ========================================================================= Date: Mon, 8 Apr 1996 14:53:12 -0500 Reply-To: Kevin DeBell From: Kevin DeBell Jim Miller wrote: "Is there anything in the Fat Possum crew that (for whatever reason) might turn on certain elements of the alternative rock fan base compared to other styles of blues?" Jim, I think you are on to something. I tried to get at this a little bit in an earlier post, saying that R.L. & Junior's fashion sense more closely resemble that of the alt-rock crowd. Musically, I think at least those two artists are (unwittingly or not) quite psychedelic and contemporary in their approaches. Now I'm thinking of Nirvana covering Leadbelly on their "Unplugged" album and the Black Crowes playing "Shake 'Em on Down" regularly (Fred McDowell being R.L.'s mentor). It is much easier for me to visualize the alt-rock crowd getting into the Fat Possum crowd than, say, a Koko Taylor or even a Luther Allison, although on both counts I'd say they don't know what they're missing. The dark, spiritual, trance-like approach the Fat Possum types does have something in common with much contemporary rock. ========================================================================= Date: Mon, 8 Apr 1996 15:46:30 -0400 Reply-To: LKnight1@AOL.COM From: Leslie Ann Knight Subject: April 8, 1996 Playlist/KKUP-FM Subj: Playlist, April 8, 1996 Date: 96-04-08 15:01:47 EDT April 8, 1996 Playlist Monday Morning Blues with Leslie Ann Knight 6-9:00am KKUP 91.5 FM, Cupertino, CA Artist CD Title Track Label ------------------------------------------------------------------------------ ---------------------------- Long John Hunter Border Town Legend Grits Ain t Groceries Alligator Al Miller Wild Cards Can t Stay Here No More Delmark Tommy Castro Exception... This Soul Is Mine Blind Pig Pat Boyack On the Prowl Sugar Bullseye Blues Lightnin Hopkins Autobio. in Blues Bottle Up... Tradition Sonny & Brownie Sugar Hill Born with the Blues Fantasy Corey Harris Between Midnight... Early in the Morning Alligator Ted Hawkins ...Venice Beach Quiet Place Evidence Hans Olson Kachina Blues One of these Mornings Blond Sun Mississippi Heat Straight from the Heart Bad Luck Van der Linden Kenny Blue Ray Strat Daddy Texas Rocket Blue Ray Eddy Clearwater Boogie My Blues Away Blues At Theresa s Delmark Amos Milburn Down the Road Apiece Title track EMI Mighty Joe Young Evidence Blues sampler Takes Money Evidence Mike Stockton It s My Soul Waiting Too Long Azure Johnnie Johnson Evidence Blues sampler Johnnie s Boogie Evidence NiteCry If You Don t Love Me Run For Cover Blue Rock It Joey Razor Joint B Jump Blues Epidemic Hectic Jerry Lightfoot Burning Desire Someone s Doggin... Connor Ray Sonny Landreth Blues Attack I m Ready AVI Guitar Shorty Get Wise To Yourself Clean Up Man Black Top Alleygators Mojo Alley Pompadour Red Hot Joint Chiefs Pack Your Thangs In Session JC Prod. Joe Kubek Crying For the Moon Title Track Bullseye Blues Joe Kubek Crying For the Moon One More Song Bullseye Blues Kenny Blue Ray Fired Up Honey Bee Blue Ray Mike Welch These Blues Are Mine I Forget Tone Cool Tattoo Blue Don t Try This At Home Hello Josephine Beeserk Rick Holstrom Lookout North of Montana Black Top Roomful of Blues Turn It On... Blind Love Bullseye Blues Jimmy Thackery Wild Night Out You Upset Me Blind Pig 8:00am - Phone interview with Chris Hammer Smith Chris Hammer Smith Played tapes of Little Boy Blue and Down But Not Out Great interview. I hyped Hammer's Bay Area gigs for this week. Melvin Taylor M.Taylor & Slack band T-Bone Shuffle Evidence Little Jonny & The Giants My Baby s Gone Telecaster Music Self-prod. Stan Ruffo Steamin Stan Ruffo Honey Do s Self-prod. Chris Cain Somewhere Along... Before the Rooster Crows Blind Pig Willie Bryant Blues Around The Clock Reboppin For Red Delmark Willie Bryant Blues Around The Clock Naggin Wife Blues Delmark Sonny & Brownie Midnight Special Meet Me At The Bottom Fantasy Mick Martin & Blues Rockers Got To Play... Working Man Blues Blues Rock Joey Razor Joint B Jump After Hours Taxi Hectic ========================================================================= Date: Mon, 8 Apr 1996 15:49:56 -0400 Reply-To: Md1214 From: Md1214 Organization: America Online, Inc. (1-800-827-6364) Subject: Columbia House Blues Comments: To: bit-listserv-blues-l@uunet.uu.net Somebody out there has a list of all the blues titles carried by the Columbia House CD club. Can you post it, email it to me, or tell me where to find it? thanks! mark_van_cleve@bdis.com ========================================================================= Date: Mon, 8 Apr 1996 16:05:16 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0017 From: "DUTTWEILER.J" Subject: Re: No Subject Date: Monday, 8 April 1996 4:05pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: No Subject In-Reply-To: The letter of Monday, 8 April 1996 3:30pm ET Dick, Don't be embarassed about enlightening us with the *truth*. Many people refuseto recognize that popular artists were not always such and that many (if not all) who owe a debt to the blues have tried to pay it back many times over, Ms. Raitt included. Keep up the good work Take care, JD ========================================================================= Date: Mon, 8 Apr 1996 13:23:52 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Hopkins, Broonzy, Little Walter (was Re: need advice) Art wrote: >Little Walter - The Essential (2 disc set) then after you get that >pick up the other MCA/Chess set that came out this past year (also >2 discs) "Strange King of Feeling" (at least I think that's the title). Actually, Strange Kind of Feeling is an Alligator release of the Trumpet recordings of Jerry McCain, Tiny Kennedy, and Clayton Love, so you may have had these mixed up (although there may be a little Walter release by the same name, I'm not sure.) This is an excellent album, though, by the way! -Jim (hndful@uniserve.com) ------------------------------------------------------------ Check out 'Heart and Soul', a new hour of blues, gospel, and jazz every week on SDF-Net Community Radio - http://sdf-radio.colossus.net. ------------------------------------------------------------ ========================================================================= Date: Mon, 8 Apr 1996 15:23:26 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Pee Wee Crayton Got the newest release from the Capitol series this weekend, Pee Wee Crayton's complete Imperial and Aladdin recordings. If you're into the T-Bone Walker style, you'll like these sides. That brings me to my question, has anybody released the *rest* of the Pee Wee Crayton stuff (Modern, for instance)? We surely need more of this guys stuff on cd, but I'm afraid that it'll be a long time coming... -Jeff --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball #2 U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc02.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Mon, 8 Apr 1996 16:24:09 -0400 Reply-To: RhythmShrk@AOL.COM From: Bernie Clarke Subject: Re: help! microphones and pickups In a message dated 96-04-07 02:52:16 EDT, you write: >Ok i need to to know how microphones and pickups work. A basic >description on how they work. Im using this in a speech for a >communications class. I tried looking with Netscape and using >infotrack and excite but i hate sitting there using 20 difffferent >keywords to find something thats probably under something else. >Anyway i either need a description of how microphones work through >physics and magnetic poles, how this relates to the pickups on an >electric guitar DEAR LAZY WEASEL PERSON Why don't you get your little weasel butt over to the library. Do you know what that is? It's a house for books. Find this thing they call the card catalog. It's a funny looking chest of drawers, except that all the drawers are small. Look in there. There's a mess of cards and they're alphbetical. Remember like above the blackboard in your communications classroom. I'll help. It looks like: ABCDEFGHIJKLMNOPQRSTUVWXYZ. Look in the A section for "Audio." Follow the word "Audio" with the word "Engineering." When you find those two words together, then you are getting warm. Find the "New Audio Cyclopedia." That will have a complete description of different kinds of microphones and probably a section on surface transducers as well. I am amazed that you think that doing research for a speech means that you go play on the WWW for ten minutes and then you're good to go. BAD LAZY WEASEL! Be careful on the Internet. There are a lot of assholes out here. Actually if I was really devious, I could have made up a whole bunch of BS and sent that to you and you could have gone up in front of your class and made a fool of yourself! YOURS IN UTTER CONTEMPT! Bernie Clarke PS: I really don't give a rat's ass about Jimi Hendrix guitar tab either. PPS: Sorry guys and gals, it's Monday and I think it had to be done. ========================================================================= Date: Mon, 8 Apr 1996 13:34:00 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Moral Bodyguards Dick Waterman wrote: >> Too many people on this list have decided that their purpose is to be the >> moral bodyguards of some sacred tradition that must be protected from those who are too loud, too commercial or simply judged unacceptable. and Ian responded: >For most professional musicians, blues isn't a cause, >it's a career. The goal is to earn a living, and I for one am glad >when blues musicians get gigs of any kind -- if they don't eat >they can't play, and then there's no music. I agree with you on that point, Ian. However, I do think that Dick was reading more into the comments than was originally there. I don't think that people on the list, for the most part, were trying to be so-called 'moral bodyguards'; I simply think that they were expressing some incredulity that Junior Kimbrough would be on the same bill as Iggy Pop, RL Burnside would be on the same bill as Jon Spencer, and Jimmy Johnson with Bob Whatsisname. Simply an expression of surprise that music that seems to be so far removed in style would be on the same bill. Frankly, I've never heard Jon Spencer. All I know about Iggy Pop is that at some point in his career he was extremely 'artistic' (in the NEA sense), cutting himself with shards of glass and defecating on stage. All I know about the Greatful Dead was that they were an overhyped group of extremely astute businessmen cashing in on some misplaced nostalgia about the hippie era (all IMHO, so flame away at will). Am I surprised at some of these pairings? Yes I am. Upset? No, not at all. They can do whatever they please to put food on the table, much as I would probably do if I had to support myself with my music. Fortunately I don't, so that dilemma will be faced when I come to it :-). My two cents' worth... -Jim (hndful@uniserve.com) ------------------------------------------------------------ Check out 'Heart and Soul', a new hour of blues, gospel, and jazz every week on SDF-Net Community Radio - http://sdf-radio.colossus.net. ------------------------------------------------------------ ========================================================================= Date: Mon, 8 Apr 1996 16:44:38 -0400 Reply-To: Tom Morgan From: Tom Morgan Subject: Bartender's Bop 4/8/96 Here is the playlist from this morning's show. There wasn't much Blues in it, but a good healthy mix of stuff from the early Sixties. Title Group Year Label -------------------- -------------------- ---- ----- Smokey Places Corsairs 61 Chess Somewhere There's A Cooke, Sam 61 ABKCO Girl Who's That Lady Isley Bros 64 EMI I Wanna Marry You Jimmy and Jean 61 EMI Soothe Me Simms Twins 61 ABKCO My Love Turner, Ike 59 EMI Everybody Wants To Valentinos 64 ABKCO Fall In Love Summertime Stewart, Billy 65 Chess Entertainer, The Clarke, Tony 64 Chess Stick Shift Duals, The 61 EMI Rescue Me Bass, Fontella 65 Chess Bar-B-Q Rose, Wendy 64 Stax Keep On Loving You Taylor, Johnnie 64 ABKCO The In Crowd Lewis, Ramsey 65 Chess Biggest Fool in Town Gorgeous George 65 Stax I Know Geroge, Barbara 61 EMI Soulful Dress DeSanto, Sugar Pie 64 Chess Let's Shimmy Coleman, King 60 EMI Watusi, The Vibrations, The 60 Chess Hitch-Hike Byrd, Russell 62 EMI Pop Eye Stroll Mar-Keys 62 Stax Walk, The McCracklin, Jimmy 57 Chess Boot-leg Booker T & the MGs 65 Stax Good Good Loving Simms Twins 62 ABKCO We're Gonna Make It Little Milton 65 Chess Jump Back Thomas, Rufus 64 Stax I've Got A Girl Valentinos, The 62 ABKCO Voice Your Choice Radiants, The 64 Chess Candy Astors 65 Stax In My Tenement Shane, Jackie 63 EMI Tell Him Exciters, The 62 EMI Wait You Dog John, Mable 67 Stax Mockinbird Foxx, Inez 63 EMI Sophisticated Sissy Thomas, Rufus 67 Stax Loop de Loop Soul Sisters, The 64 EMI Free At Last Soul Stirrers 61 ABKCO Limbo Lucy Everglades, The 63 EMI `'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`' http://redlt.com/tom/ -- Home of Jazz Roots & Record Companies on the Web Free-lance Writer--Author--Program Director WTJU 91.1--Internet Consultant ========================================================================= Date: Mon, 8 Apr 1996 15:54:46 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Bad Girl Blues Comments: To: L W In-Reply-To: Memphis Willie B's original "Bad Girl Blues" is on a Prestige Bluesville LP; don't think it's on CD but I'm not sure. More obscurely, Mike Bloomfield did a version of it which is on the Swedish LP (Jefferson Records, I think) anthology of the '76 San Francisco Blues Festival. ========================================================================= Date: Mon, 8 Apr 1996 11:22:00 -0400 Reply-To: "timothy (t.b.) bosley" From: "timothy (t.b.) bosley" Subject: Re: need advice > Mark Rader asked for recommendations on Lightnin' (among others). While it's certainly true that there are bound to be bad recordings out there, there are many more pure gems. Lightnin' is my favorite artist, bar none. He is also my wife's favorite blues artist. Since you are only talking about a disc or two, I'll keep this fairly simple and in pairs. 1. Anything on Arhoolie but a fine pair is Gold Star Sessions V1 (Arh 330) Gold Star Sessions V2 (Arh 337) 2. Couple on Collectables HERALD RECORDINGS #1 (CoL5121) HERALD RECORDINGS #2 (CoL5181) (Mojo Hand on Collectables also recommended, anything else is suspect) 3. Mainstream (if you can find them) Blues Train Sittin In (out of print but I've seen a number of copies of Sittin In available from time to time) 4. Tradition (recently released, seen as low as 7.99) Autobiography in Blues Country Blues 5. Complete Alladin Recordings (Capitol 96843) (2CD) For the time being, I would recommend that you absolutely NOT buy anything on _Original Blues Classics_ or _Fantasy_. When you feel that you absolutely love Lightnin' (as I know you eventually will), go out and get the 7CD box set _Complete Prestige/Bluesville Recordings_ (Fantasy 4406). While everyone is looking....I don't have BLUES IS MY BUSINESS-LIVE 1971 (Edsel 353) or YOU'RE GONNA MISS ME-LIVE 1971 (Edsel 357). Are they worth the money? ========================================================================= Date: Mon, 8 Apr 1996 16:14:55 +0000 Reply-To: Saint Bob Comments: Authenticated sender is From: Saint Bob Subject: Re: BLUES-L Digest - 22 Mar 1996 to 23 Mar 1996 I'm starting a country blues homepage. Anybody wanna help with creative input? http://www.clark.net/pub/blues ========================================================================= Date: Mon, 8 Apr 1996 17:43:38 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Alligator Records Merchandising 800 Number Comments: To: pwfenton@gate.net This passed earlier on April 8: QUOTE: On 8 Apr 96 at 18:10, bluesbabe wrote: > Anyone out there in bluesland know the 800 number for Alligator > records?? I wish to purchase articles that are not retailed in my > area. Thank alot.....BluesBabe > 800-344-5609 P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ UNQUOTE I am not involved with Alligator or their merchandising but this number reminds that we talked about the infamous Hound Dog Taylor shirt that is available at this number. The front is a huge picture of The Dog smiling. The back is an enlargement of his hand (six figures) with the quote, "When I die, they'll say he couldn't play for shit but he sure made it sound good!" Dick Waterman ========================================================================= Date: Mon, 8 Apr 1996 18:05:00 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Moral Bodyguards Comments: To: hndful@uniserve.com In a message dated 96-04-08 17:19:44 EDT, you write: > I simply think that they were expressing some >incredulity that Junior Kimbrough would be on the same bill as Iggy Pop, RL >Burnside would be on the same bill as Jon Spencer, and Jimmy Johnson with >Bob Whatsisname. Simply an expression of surprise that music that seems to >be so far removed in style would be on the same bill. Frankly, I've never >heard Jon Spencer. All I know about Iggy Pop is that at some point in his >career he was extremely 'artistic' (in the NEA sense), cutting himself with >shards of glass and defecating on stage. All I know about the Greatful Dead >was that they were an overhyped group of extremely astute businessmen >cashing in on some misplaced nostalgia about the hippie era (all IMHO, so >flame away at will). Am I surprised at some of these pairings? Yes I am. >Upset? No, not at all. They can do whatever they please to put food on the >table, much as I would probably do if I had to support myself with my music. >Fortunately I don't, so that dilemma will be faced when I come to it :-). >My two cents' worth... Oh MAN has this thread gotten out of hand. My contribution (intended partly as an ironic comment on my earlier defense of the John Spenser/R.L. Burnside pairing. Since irony is lost in this medium, I got an "I'VE GOT YOU NOW" response) was to post that Iggy Pop and Junior Kimbrough were playing together, and express doubts based on Junior's health, unwillingness to travel, inexperience with concert halls, and, finally, Iggy's audience. The later is *NOT* a statement ONE WAY OR THE OTHER in judgment of Iggy's music, though there have been a LOT of them since. Bringing this back to earth: How many folks far from Mississippi have gone to see Junior and had him cancel from poor health? I think that a real concern. Junior wants a crowd moving up close; concert halls are not the best place to put him over. These I say based on experience as a long time fan of his music. I will admit to being interested in the Iggy/Junior pairing and would go see it if it was as near as Memphis. It doesnt so far get any closer to Junior's home than Cincinnati. Finally, if *I* were hiring a piano player *I'd* certainly have Johnnie Johnson as a top candidate. I think the money for him should be great, and I can't blame Weir for wanting to do that. I agree with Dick that we are not in a position to be "moral bodyguards" for these guys, whatever the hell that is, but thought Joel to be mostly speaking tongue-in-cheek. And Dick is very much right to point out Bonnie Raitt's extraordinary contributions in bringing blues musicians to the attention of the general public. Generalized statements that blues artists shouldnt play in certain contexts are patronizing (and perhaps racist? Did folks on this list know that I've heard of Bill Monroe playing an alternative club? or, for that matter, House of Blues? do we have a problem with that? For that matter, I know plenty of people more comfortable with going to an alternative club than going to a juke joint). I do think there are contexts that are less-likely-to-work, which is why I raised the questions about Junior Kimbrough (and, for that matter, why questions were raised about R.L. and Jon Spenser, though I disagreed with those). That being said, COULD WE PLEASE CALL OFF THE AIR STRIKES SOME FLAME MASTER MUST SURELY BE CALLING IN over the snotty remarks about the Dead? or Iggy Pop? (now THERE's an odd contribution of the blues-L: Uniting the fans of Iggy and the Dead!). And please let this thread DIE! Tom Freeland ========================================================================= Date: Mon, 8 Apr 1996 15:29:20 -0700 Reply-To: Stan Ruffo From: Stan Ruffo Organization: http:/www.valleynet.com/~steamin Subject: NON - Blues content! Comments: To: Harp-L@garply.com Current mail server problems at Valleynet, cause me to ask users of AOL, Prodigy, and Compuserve responding to my email or postings to reply to: SteaminStan@prodigy.com Thanks! (And pardon the intrusion) -- Stan Ruffo "Blues On Tap"-Sundays at 8pm on Visalia's K100 99.7fm ========================================================================= Date: Mon, 8 Apr 1996 18:35:28 EDT Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: Studebaker John Al Kaplan pointed out that I had missed Jimmy Thackery and the Drivers on my listing of some of the artists on Blind Pig. Hi Al, Darn it, I knew I'd leave somebody out. And of course it would be one playing nearby tomorrow night (Tuesday at Theodores in Springfield, MA), a date which I've been plugging on my show for several weeks now. DUH! Dave Carpenter Blues Music Director - WHUS-FM University of Connecticut Storrs, CT http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Mon, 8 Apr 1996 18:49:58 -0400 Reply-To: smirkyface From: smirkyface Subject: Louisiana Red Does anyone have a bio on Louisiana Red or maybe there's a URL where I could find such info. BRIAN MCLEAN PHOTOGRAPHY & SMIRKYFACE PRODUCTIONS "life's too short to live the blues" http://www.netaxs.com/~blmclean ========================================================================= Date: Mon, 8 Apr 1996 17:53:42 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Flames ahoy! Re: microphones and pickups Comments: cc: Bernie Clarke Some time ago, when somebody (who has never been heard of since) asked what I considered was a dumb, offhanded question about "somebody I've heard of called Otis Span" I blew up - just like Bernie Clarke did - and suggested the guy check out a book or two, visited the library, checked the sleeve notes on an album jacket, or chatted to a collector or two. Given what then happened, Bernie better get ready to be cooked in oil and flamed for dinner! And God help him if L. Forti is still on the list!! Bernie said it was Monday morning and he needed to let off steam, and I understand that. And, if I knew, I'm not sure I would be able to explain how microphones work in a couple of sentences. But, sooner of later, Bernie (like me!) will have to grovel, seek forgiveness from the list, and be aware that losing your temper will be repaid by angry responses. I would do one of those silly "smiley" things right here, but that's an Internet convention I abhor! Richard the Elder ========================================================================= Date: Mon, 8 Apr 1996 14:50:45 +0000 Reply-To: ksailors@hooked.net Comments: Authenticated sender is From: "Kenneth M. Sailors" Organization: Personal Copy Subject: Re: Cats & Dogs Blues Comments: To: Art Schuna On Mon, 8 Apr 1996, Art Schuna wrote: <*> I'm putting together a radio show segment with the theme <*> "Cats & Dogs" blues. [...] but need some suggestions for <*> dogs. While it may not be prototypical blues, you might check out "Dog Party" by Scott Henderson (yes, *that* Scott Henderson) -Ken ========================================================================= Date: Mon, 8 Apr 1996 14:57:47 +0000 Reply-To: ksailors@hooked.net Comments: Authenticated sender is From: "Kenneth M. Sailors" Organization: Personal Copy Subject: Re: Dog Music Oh! Oh! Oh! I almost forgot. Considering the thread that was running through here for the last week or so: "I Wanna Be Your Dog" - Iggy & the Stooges. -Ken ========================================================================= Date: Mon, 8 Apr 1996 17:48:47 -0700 Reply-To: Beowulf From: Beowulf Organization: The Wolfpack Subject: Re: paul size (& Jon Moeller) Comments: To: bit-listserv-blues-l@uunet.uu.net Bernie Clarke wrote: > > In a message dated 96-04-05 03:01:25 EST, you write: > > > > Paul Size blew us away when we saw him with the Red Devils and from > > > what I have heard he's no big deal in Texas. > > > >He's playing small bars in the DFW area with a band called Easy Jones. > Chuck > >Nevitt has recorded this band together with Johnny Moeller for an upcoming > >release. Moeller is very good, as is Size, however they are best seen > >together > >at a jam session. That's when they really cut loose. > > > >As with many other great blues artists that spent years in the DFW area > >(Blind > >Lemon Jefferson, T-Bone Walker, all the way up to the Vaughan brothers) they > >only get noticed when the LEAVE here and go someplace else. > > > >Don O. > > > > > Jon Moeller was fantastic when he was with Darrell Nulisch and Texas Heat. > That was one of the finest blues bands I have ever seen. > > Bernie Clarke Interesting that Moeller's name should come up on the Blues-L. I caught Jon with Darrell a couple of times and was mighty impressed. I heard that Moeller was the inspiration for Beavis, of Beavis and Butthead - created by former Anson Funderburgh bassist Mike Judge. -- kelly@netusa1.net(Kelly Hoggard) The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! Check out their home page at http://www.netusa1.net/~kelly/ ========================================================================= Date: Mon, 8 Apr 1996 19:22:46 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Dog Music And let us not forget... Johnny Guitar Watson's recent hit "Bow Wow" P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ Strip away the phony tinsel of Hollywood and you find the real tinsel underneath. - Oscar Levant ========================================================================= Date: Mon, 8 Apr 1996 18:39:15 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re: Flames ahoy! Re: microphones and pickups Comments: To: Richard Flohil Yeah, Richard, I hear what you're saying, but while the situations are somewhat similar they can also be distinguished on a couple of counts: 1) the person asking about Span was using the list exactly for what it had been intended ( in my humble opinon)- that is, sharing of information among and between people who are interested in the blues. He/she was on a quest for personal knowledge. 2) Young master Lazy Weasel had no interest in joining the conversation here. He was simply looking for a shortcut to complete a school assignment. 3) As a former teacher, I should also point out that very often the point of these assignments is not so much the end product- the class presentation- as the process itself: the teacher wants the students to be able to independently research, organize and assemble information, as well as present it. Consequently, Bernie was spot on (again, IMHOP) in his response. Besides, I thought Bernie was VERY funny! St Jim, V et M _______________________________________________________________________________ Subject: Flames ahoy! Re: microphones and pickups From: Richard Flohil at INTERNET-SH Date: 4/8/96 6:22 PM Some time ago, when somebody (who has never been heard of since) asked what I considered was a dumb, offhanded question about "somebody I've heard of called Otis Span" I blew up - just like Bernie Clarke did - and suggested the guy check out a book or two, visited the library, checked the sleeve notes on an album jacket, or chatted to a collector or two. Given what then happened, Bernie better get ready to be cooked in oil and flamed for dinner! And God help him if L. Forti is still on the list!! Bernie said it was Monday morning and he needed to let off steam, and I understand that. And, if I knew, I'm not sure I would be able to explain how microphones work in a couple of sentences. But, sooner of later, Bernie (like me!) will have to grovel, seek forgiveness from the list, and be aware that losing your temper will be repaid by angry responses. I would do one of those silly "smiley" things right here, but that's an Internet convention I abhor! Richard the Elder ========================================================================= Date: Mon, 8 Apr 1996 15:37:19 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Flames ahoy! Re: microphones and pickups Richard Flohil said: >Some time ago, when somebody (who has never been heard of since) asked what >I considered was a dumb, offhanded question about "somebody I've heard of >called Otis Span" I blew up - just like Bernie Clarke did - and suggested >the guy check out a book or two, visited the library, checked the sleeve >notes on an album jacket, or chatted to a collector or two. > Given what then happened, Bernie better get ready to be cooked in >oil and flamed for dinner! And God help him if L. Forti is still on the >list!! > Bernie said it was Monday morning and he needed to let off steam, >and I understand that. And, if I knew, I'm not sure I would be able to >explain how microphones work in a couple of sentences. > But, sooner of later, Bernie (like me!) will have to grovel, seek >forgiveness from the list, and be aware that losing your temper will be >repaid by angry responses. I would do one of those silly "smiley" things >right here, but that's an Internet convention I abhor! > >Richard the Elder Richard has a long memory don't he! Couple responses: 1. This is not Audio-L, it's Blues-L, and many of us here on Blues-L actually take pleasure in hipping the uninitiated into the best music in the world. How in the world are we ever gonna get this music out there if we clobber every ingoramus that asks a silly question? We were ALL ignoramuses at one time. However, it most certainly is *not* the place for a discussion of basic transducer physics.... (yeah I know we gab about pickups and stuff, but that is much more pertinent to blues guitar players than basic-physics questions for a presentation) 2. There *is* an analogy between the laziness of someone who has done NO basic research into transducers, and someone who has done NO basic research into Otis Spann, so I see where you are coming from. But that audio question stretched "blues-relevence" too far IMO. I suspect that his post would have gotten mixed responses even on an audio list, but at least it belongs there... Oh, and Richard, you've been forgiven for your little boo-boo a long time ago and we are all very happy that you are on the list. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Mon, 8 Apr 1996 18:52:23 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Cats & Dogs Blues Comments: To: Art Schuna > From: Art Schuna > I'm putting together a radio show segment with the theme > "Cats & Dogs" blues. I had no problem coming up with the > cats, but need some suggestions for dogs. In addition to Tom Morgan's list (and you've got to hear "Wild Dogs of Kentucky" by Nervous Norvus, BTW), how 'bout: Salty Dog - The Lamplighters I had a little Dog - Big Jack Reynolds The Dog - Junior and the Classics Bull Dog Blues - Luther Huff Sic 'em Dogs On - Bukka White Please Throw this Poor Dog a Bone - Chubby Newsome or Junior Wells Bad Dog - Boogie Bill Webb Don't Dog your Woman - Buster Brown or J.B. Lenoir Dog Me Around - Howlin' Wolf Let Me be your Big Dog - BrownieMcGhee/Sonny Terry Bad Dog - Ted Hawkins Doggin' Around - JackieWilson You're the Dog (I do the Barkin' Myself) - Irma Thomas Every Dog has its Day - Eddie Bo Scald Dog - Huey "Piano" Smith Watch Dog -Frankie Ford or Etta James Real Gone Hound Dog - Chuck Higgins The Moon Dog - Treniers Low Down Dog - Joe Turner Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Mon, 8 Apr 1996 18:56:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Byther Smith I asked Byther Smith recently if his LP on Grits was available on compact disc. He thought it was. Can anyone add any details to this? -Bonnie ========================================================================= Date: Mon, 8 Apr 1996 20:18:12 -0400 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Connection >Although I find the arguments concerning moral guardianship interesting I >think that there is one point missing. Is there anything in the Fat Possum >crew that (for whatever reason) might turn on certain elements of the >alternative rock fan base compared to other styles of blues? The rock and blues >connection doen't always have to be through SRV or Eric Clapton. A lot of folks >on this list seem to imply that rock is some kind of homogeneous entity. I >simply believe that certain kinds of blues resonate well with certain kinds of >rock. Some people might "hear" Jon Spencer as closer to RL Burnside that RL is >to SRV or even BB King. You may wish to educate them to "hear" it otherwise but >the listener doesn't always conform to our analytical categories. I have a 17-year-old son who plays guitar in two different bands; one is rap/funk and the other is punk. From one day to the next I never know what I'm going to hear coming from my basement. Once they recorded "Okie from Muskogee" (with yodeling). Go through his record collection (CDs, LPs, cassettes, whatever) and you will find everything, including such diversity as REM, Sex Pistols, Hank Williams Sr., John Lennon, George Clinton, Ice-T, Patsy Cline, Muddy Waters, Dr. Hook, John Coltrane, the Inkspots....you get the picture. Now, granted, this child did not grow up in a "normal" household , but I doubt he's the only person who would enjoy seeing Jr. Kimbrough together with Iggy Pop. (I sorta like Iggy Pop myself.) I think the "alternative crowd" or however you want to label them is not as narrow-minded musically as you might think. Personally I don't care who plays with whom or who pays them. It's certainly none of my business. But, as an ordinary fan, I have occasionally wondered what the promoters were thinking when they put two bands together on the same night. You know, you have your ears all set for one kind of music and get blasted with another. (Example: Jon Paris opening for Jimmy Rogers.) But, hey, that's just my point of view, which in the larger scheme of things, is essentially insignificant. Karen ========================================================================= Date: Mon, 8 Apr 1996 20:18:15 -0400 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Hopkins, Broonzy, Little Walter (was Re: need advice) >Art wrote: >Little Walter - The Essential (2 disc set) then after you get that >pick up the other MCA/Chess set that came out this past year (also >2 discs) "Strange King of Feeling" (at least I think that's the title). >Actually, Strange Kind of Feeling is an Alligator release of the Trumpet >recordings of Jerry McCain, Tiny Kennedy, and Clayton Love, so you may have >had these mixed up (although there may be a little Walter release by the >same name, I'm not sure.) This is an excellent album, though, by the way! The Little Walter Cd is called "Blues With a Feeling." I'm not sure it's a good place for a LW beginner to start. I'd definitely recommend The Essential, but if you're hesitant to go the double-CD (more expensive) route, either of the "Best of" volumes will you give you a good taste. Karen ========================================================================= Date: Mon, 8 Apr 1996 17:43:22 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Steve Dafoe Steve, Many thanks on the Sonny Rhodes update. It is greatly appreciated. Uncle Ray ========================================================================= Date: Mon, 8 Apr 1996 20:02:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Dog Blues Hey Art - et al.: There's Big Moose Walker's "Puppy Howl" and Sonny Boy's and Willie Dixon's song about the Coon hounds. Smokey Babe also did a version of it. There's Little Milton's famous dog, and Big Joe Turner doing "How come my dog don't bark when you come knocking at my door." Magic Slim's version of "Walking the Dog" on the LP "Grand Slam" concludes with Slim and band doing lots of barking and howling. This is a good choice of sets, Art - since April is "Prevent a Litter Month". -Bonnie ========================================================================= Date: Mon, 8 Apr 1996 20:20:18 -0500 Reply-To: Scott Ferman From: Scott Ferman Subject: Blues Artists as Opening Acts As Mr. Waterman pointed out, blues acts opening for other artists has been a long standing reality. In July 1969 I saw B.B. King opening for The Who and Jefferson Airplane. In Spring 1972 I saw B.B. King opening for Wishbone Ash. In Winter 1974 I saw Willie Dixon open for Brian Auger's Oblivion Express. Each of these shows was an education. Hopefully the blues acts currently on tour with non blues acts will be converting the next generation of bluezellers! Since the majority of people in the world do not have ready available access to blues music, what better way for exposure? Scott Dallas, TX ========================================================================= Date: Mon, 8 Apr 1996 20:20:19 -0500 Reply-To: Scott Ferman From: Scott Ferman Subject: Blues-L in the News The following article appeared in the Dallas Morning News on Thursday April 4th from the Knight-Ridder/Tribune News Service by Steve Knopper(If you don't agree, I am just reporting, not originating): Dan Aykroyd and John Belushi, wearing their famous black hats, black suits and black sunglasses as the Blues Brothers, were careful about respect. They were goofy, of course, and to an extent they poked fun at the blues. But they also credited their sources - 'The Blues Brothers' movie rejuvenated the careers of R&B originals Ray Charles, John Lee Hooker, Aretha Franklin, Cab Calloway, James Brown, Sam & Dave, and some of Booker T.'s MG's. If not for the comedians, many say, the blues would have far less commercial success today. The national House of Blues chain, inspired by the Brother's music and comedy, introduces tourists to the blues. And the hilarious classic movie, endlessly replayed on videotape, provides crucial source material for newcomers. "I remember when I first saw it there was one scene that really knocked me out", writes one fan, in the Internet discussion group bit.listserv.blues-l. "And it was John Lee getting down and playing the boogie on the street. I made sure I scanned the credits to find out who that was." But even 20 years after the movie, many blues purists wish the Blues Brothers images would fade away. Sam Moore, the soul singer in Sam and Dave, told the Gary, Indiana Post-Tribune in late 1994 that the Brothers' version of Soul Man did "not a thing" for the original performers. "If anything, believe it or not, it buried us," he said, arguing that people remember the new version, not the 1967 original. Adam Gussow, harmonica player in the New York City duo Satan and Adam, goes further than that. He contends that the Brothers were an extreme version of "blackface minstrelsy," a racist trend of white people making money mimicking blacks before the Civil War. "What the Blues Brothers have done is they've said, once again, blues is good-time party music," say Mr. Gussow, an English graduate student at Princeton University studying post-Civil War American culture. "They were responsible for recreating blues as that. Blues has always been partly good-time party music for the black community - but that was for the weekend, after a week of working hard under extreme duress." Mr. Gussow acknowledges that he's being extreme to make a point. Plenty of blues performers, from Louis Jordan with Saturday Night Fish Fry to B.B. King with Nobody Loves Me But My Mother and She Might Be Jivin' Too, include crucial bits of frivolity and humor in their work. Still, Mr. Gussow draws a line between those songs, by black artists using humor to relieve social pain, and the white Blues Brothers' "clowning." Too often, he says, blues listeners forget the music's initial provocations. The blues were a response to slavery, lynching, terror. He says everybody remembers the legend of guitarist Robert Johnson selling his soul to the devil at the crossroads - but few talk about the poverty, oppression and desperation that led him there. "When [the Blues Brothers] say, "We're on a mission from God,'you know they mean it with 100 percent lack of sincerity," Mr. Gussow argues. "What they've done is trivialize completely an essential tension of black performers strung between the church and the devil's music." Is Mr. Gussow a stick in the mud? Maybe, but this issue is gaining steam in the blues industry. The Memphis-based Blues Foundation has scheduled, at the upcoming W.C. Handy Awards, a panel titled "Devil or Angel?" with different perspectives about the Blues Brothers' legacy and the House of Blues. Some national blues magazines, including Blues Access (con) and Blues Review (pro, in an upcoming issue), have stepped up the debate with cover stories. "I believe in play. I'm not a Stalinist," Mr. Gussow says, backing off slightly from his hard line. "We need to have playfulness, but we need to understand whose expense it's at." ========================================================================= Date: Mon, 8 Apr 1996 21:28:14 -0400 Reply-To: RhythmShrk@AOL.COM From: Bernie Clarke Subject: Re: Flames ahoy! Re: microphones and pickups In a message dated 96-04-08 19:43:31 EDT, you write: > >1. This is not Audio-L, it's Blues-L, and many of us here on Blues-L >actually take pleasure in hipping the uninitiated into the best music in >the world. How in the world are we ever gonna get this music out there if >we clobber every ingoramus that asks a silly question? We were ALL >ignoramuses at one time. > >However, it most certainly is *not* the place for a discussion of basic >transducer physics.... (yeah I know we gab about pickups and stuff, but >that is much more pertinent to blues guitar players than basic-physics >questions for a presentation) > >2. There *is* an analogy between the laziness of someone who has done NO >basic research into transducers, and someone who has done NO basic research >into Otis Spann, so I see where you are coming from. But that audio >question stretched "blues-relevence" too far IMO. > >I suspect that his post would have gotten mixed responses even on an audio >list, but at least it belongs there... > >Oh, and Richard, you've been forgiven for your little boo-boo a long time >ago and we are all very happy that you are on the list. > > >DC Thank you, all of you. You are now the Defenders of Sarcasm and Tasteless, Nasty Humor. I think we should start the blues-l chapter. I hereby volunteer my services to consult with the national organization about organizing nasty, mean spirited blues lovers (with a sense of humor) here on blues-l. Bernie Clarke ========================================================================= Date: Mon, 8 Apr 1996 20:38:54 -0700 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Virus Warning (Trojan) Two correspondents have forwarded the following virus alert to me in the past two weeks, one of them from a music maillist I subscribe to from Britain, where the Trojan described is apparently much more widespread than in the U.S. As the PKWare people have acknowledged the existence, it seems a valid concern; I thought I'd pass the warning on for those Zellers who spend as much time downloading as I do. Date: Fri, 5 Apr 1996 14:43:41 -0500 (EST) X-Sender: cnotes@mail.concentric.net Message-Id: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" To: Music From: cnotes@cnotes.com (CNI) Subject: Internet Virus Alert FYI.... A "trojan horse" virus has emerged on the internet with the name PKZIP300.ZIP. This virus is named to give the impression of a new version of the PKZIP software. Do not download this file! If installed or expanded, PKZIP300.ZIP will wipe hard disks and affect modems. No "cure" has been develped yet, so be careful! -- Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~Some mornings it's just not worth chewing through the leather straps. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Mon, 8 Apr 1996 21:30:46 -0400 Reply-To: FrancBooth From: FrancBooth Organization: America Online, Inc. (1-800-827-6364) Subject: SRV & Dick Dale Comments: To: bit-listserv-blues-l@uunet.uu.net Can anyone tell me where I can find "PipeLine" performed by SRV & Dick Dale. Thanks Tom ========================================================================= Date: Tue, 9 Apr 1996 02:04:27 GMT Reply-To: Brendan F Skwire From: Brendan F Skwire Organization: University of Massachusetts, Amherst Subject: 4/15 The Slip-On Unit, live at Fire and Water Comments: To: bit-listserv-blues-l@uunet.uu.net I'm new to this list, so Please don't flame me if this is inappropriate, BUT The Slip-On Unit is playing at Fire and water in Northampton MA on April 15. There is no cover, and we start at 9:30. we'll be doing two or three sets. We're into the blues and jazz fusion thing, and our music falls somewhere between The Allman Bros, B.B. King, and Santana, so expect a lot of improv and jamming. If you like blues in your groove, come on down and see us, we'd love to have you! for directions, email me directly. brendo skwire@titan.oit.umass.edu ========================================================================= Date: Mon, 8 Apr 1996 21:13:12 -0400 Reply-To: RhythmShrk@AOL.COM From: Bernie Clarke Subject: Re: Flames ahoy! Re: microphones and pickups In a message dated 96-04-08 18:45:31 EDT, you write: > >Some time ago, when somebody (who has never been heard of since) asked what >I considered was a dumb, offhanded question about "somebody I've heard of >called Otis Span" I blew up - just like Bernie Clarke did - and suggested >the guy check out a book or two, visited the library, checked the sleeve >notes on an album jacket, or chatted to a collector or two. > Given what then happened, Bernie better get ready to be cooked in >oil and flamed for dinner! And God help him if L. Forti is still on the >list!! > Bernie said it was Monday morning and he needed to let off steam, >and I understand that. And, if I knew, I'm not sure I would be able to >explain how microphones work in a couple of sentences. > But, sooner of later, Bernie (like me!) will have to grovel, seek >forgiveness from the list, and be aware that losing your temper will be >repaid by angry responses. I would do one of those silly "smiley" things >right here, but that's an Internet convention I abhor! > >Richard the Elder > > I REFUSE TO GROVEL ON THIS ONE! Had Mr or Miss Weasel person asked for advice on piano players or something about the esteemed Spann or the difference between a Big or Little Walter or why I think the Sears Silvertone 1432 is the best harp amp in the world, I would have been glad to instruct the Weasel on the virtues of any of the above. This is the proper place to ask. Since Weasel was merely too lazy to do some research on a topic for which there are hundreds of reference books available, I told Weasel where to go! Good Evening Everybody, Tell Me How Do You Do? Bernie Clarke PS: Salutation borrowed from SBW II ========================================================================= Date: Mon, 8 Apr 1996 22:26:58 -0400 Reply-To: Jonny Meister From: Jonny Meister Subject: Re: Cats & Dogs Blues At 05:37 PM 4/8/96 GMT, you wrote: >I'm putting together a radio show segment with the theme >"Cats & Dogs" blues. I had no problem coming up with the >cats, but need some suggestions for dogs. "Dogs" does not >have to be in the title, but should be a prominent part of >the lyrics. So far, I've come up with "I've Got The Dog In Me" by >David Malone and, of course, "Hound Dog" by Big Mama Thornton. >I also thought of "No More Doggin" by Rosco Gordon but I used >that in a show last month and prefer not to repeat so soon. > >Any other ideas out there all of you cats and kittens (to use >a phrase frequently used on the Rockabilly list)? > >Art Schuna > "Don't Dog Your Woman" by J.B. Lenoir "Don't Treat Your Man Like A Dog" by Saffire (also "If It Had Been A Dog...) "I Wouldn't Treat A Dog The Way You Treated Me" Bobby Bland's version "Mad Dog On My Trail" Paul Wine Jones "Hellhound On My Trail" Robert Johnson and so many others.... -Jonny ========================================================================= Date: Mon, 8 Apr 1996 21:19:44 -0500 Reply-To: Keith Castleberry From: Keith Castleberry Subject: Re: Sonny Rhodes New Album Original : Chris Smith >>Sonny has a new disc out ! Check it out ! > >Well, yeah, I'm sure we'd all love to - if you could tell us the name, >label and issue number, it'd be a little easier, no? > > >Chris Smith (chris@skerries.demon.co.uk) >'Positive: wrong at the top of one's voice." (Ambrose Bierce) > >It's Called "Out of Control" on the King Snake label....and it's SUPER!!! Keith Castleberry WYDH 105.9 FM "The Blues Cruise" P.O. Box 710 Atmore, AL 36504-0710 ========================================================================= Date: Mon, 8 Apr 1996 22:40:59 -0400 Reply-To: Jonny Meister From: Jonny Meister Subject: Re: Byther Smith At 06:56 PM 4/8/96 CDT, Bonnie Kalmbach wrote: > I asked Byther Smith recently if his LP on Grits was available >on compact disc. He thought it was. Can anyone add any details to this? > > -Bonnie > The address the album is: Grits 4909 Park Drive Houston TX 77023 (713) 921-1016 -Jonny ========================================================================= Date: Mon, 8 Apr 1996 20:37:08 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: FestFood for vegetarians and Cajun/Creole Chances are good for finding something suitable at most places if you eat seafood. But if you only eat vegetables, there are a few restaurants that serve vegetarian meals. And there are a few vegetarian items at the Jazzfest. I'm very carnivorous, so I can't make many very informed recommendations. I have had a spinach dish at the fairgrounds in a food booth that I believe is run by Bennachin, which is an African Restaurant. I also like their fried plantains. There are a couple of places just outside of the fairgrounds that serve vegetarian foods. East African Harvest is on Gentilly Blvd -- I've never eaten there, but it seems like an interesting place. The other place is Whole Foods, which is a grocery store and deli/cafe. It's located on Esplanade about 1 1/2 blocks from the musicians' gate (and one block from my apartment). I shop there regularly for select items. The deli food is okay. Good beer selection, produce and meats (it isn't strictly vegetarian), but rather expensive. Corey Harris' wife works there. Her name is Kore (also pronounced Corey) Obialo. She and Corey also are vegetarians according to the most recent Living Blues story. You should say hello if you stop in over there. I'm always passing on information from the Blues List (there, that should meet the minimum requirement for blues content). I've heard great things about a vegetarian restaurant in the French Quarter called Old Dog New Trick Cafe. Once again, I've never been there. It's located at 307 Exchange Alley. I've heard mixed reviews about a place on Carrollton, which I think is called Jack Sprats. And I've heard that Back to the Garden is pretty good on St. Charles at Lee Circle. I don't know if any of the aforementioned places serve Cajun food. In fact, there is a common misconception that New Orleans is a Cajun city. New Orleans is outside of Acadiana, which is west of here. That is not to say there are no Cajuns here, but Cajuns do not figure into the culture of this city so much as they do in more rural areas to the west. There are a few Cajun restaurants here, the most famous being Paul Prudhomme's K-Paul's. The dominant cuisine here is Creole -- I'll save any further distinctions for my next lecture, and I don't even want to get near a discussion of the meaning of the word 'Creole'. There is one vegetarian item that you might find in some local creole restaurants, and that's Gumbo Z'herbe, which is a vegetarian gumbo. I know that a place called Praline Connection has it, but they call it Gumbo Zaire (and pronounce it zare, which is close to the correct pronunciation of z'herbe). They have one restaurant on Frenchmen Street and another in the Warehouse District. Bill Morgan SR> Can a vegetarian have a good cajun meal...I wonder ??? SR> Om Shanti!! Peace to U..... SR> +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ SR> | _-\\|//-_ | | SR> | // \\ | A PAPER LESS, A TREE SAVED!! | SR> | / -~ ~- \ | GO TDM!! | SR> | d-(#)=(#)-b | ---------------------------- | SR> | / L \ | | SR> | / //|\\ \ | SANJAY 'RAGS' RAJAN | SR> | ///`~~~'\\\ | sanjay_rajan@formtek.com | SR> | ///|||\\\ | (800) FORMTEK | SR> | /|||\ | (412) 937-4993 | SR> | --- /\o/\ --- | FORMTEK,INC. | SR> | /"\ | 661 Andersen Drive, | SR> | / //\ | PITTSBURGH PA 15220 | SR> +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ SR> Laissez les bon temps roulez!!...Let the good times roll!! SR> +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ From: The Big Easy ========================================================================= Date: Mon, 8 Apr 1996 22:42:46 -0400 Reply-To: Ken Ficara From: Ken Ficara Subject: Taj Mahal - Bottom Line - Tix Avail I have two extra tickets to see Taj Mahal and Keb Mo at the Bottom Line in New York City on Wed night, April 10, at 10 pm. Should be a great show. They're $20 each; first come, first served. You can either pick them up from me at work (WTC area) or meet me the night of the show. Ken ========================================================================= Date: Tue, 9 Apr 1996 03:02:53 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Hopkins, Broonzy, Little Walter (was Re: need advice) Comments: To: bit-listserv-blues-l@uunet.uu.net In article <96Apr8.132353pdt.48131-140+1246@haven.uniserve.com> Jim Witteveen writes: > Art wrote: >>Little Walter - The Essential (2 disc set) then after you get that >>pick up the other MCA/Chess set that came out this past year (also >>2 discs) "Strange King of Feeling" (at least I think that's the title). >Actually, Strange Kind of Feeling is an Alligator release of the Trumpet >recordings of Jerry McCain, Tiny Kennedy, and Clayton Love, so you may have >had these mixed up Jim - You sure got that right!! Actually, now that I'm home and have disc in hand, it's "BLUES WITH A Feeling". Well, at least I got the feeling right. I own both of these, so you can see it's eashy to get Jerry, Tiny, Clayton and Walter mixed up. Art ========================================================================= Date: Mon, 8 Apr 1996 20:45:23 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Papa Lightfoot I'm looking for any contemporary release that includes "Wine, Whiskey, = and Women" by George "Papa" Lightfoot. Other included Lightfoot = recordings would be nice, also. As J. B. Hutto said, "Please help!" Uncle Ray ========================================================================= Date: Mon, 8 Apr 1996 21:02:11 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: FestFood for vegetarians and Cajun/Creole Put a little olive oil in the bottom of a big heavy pot. Saute one = chopped onion, one chopped bell pepper, and two tore up pepperoncinis. = Add one teaspoon of black pepper, one half teaspoon of red pepper = flakes, and one teaspoon of garlic powder (yeah, powder...it works = better than fresh garlic here...don't axe me why). Add a pound of small = red beans and cover them with water. Add about a half teaspoon of Liquid = Smoke (to substitute for the pig meat) and salt to taste. Simmer for = about two hours keeping the water just above the beans. This is approximately Louie Armstrong's wife's recipe without the pork. = It works pretty good. Serve over white rice, not brown rice, and chomp = it on down. Uncle Ray ---------- From: Bill Morgan[SMTP:wmorga@BIGEASY.COM] Sent: Tuesday, April 09, 1996 2:37 AM To: Multiple recipients of list BLUES-L Subject: FestFood for vegetarians and Cajun/Creole Chances are good for finding something suitable at most places if you eat seafood. But if you only eat vegetables, there are a few restaurants that serve vegetarian meals. And there are a few vegetarian items at the Jazzfest. I'm very carnivorous, so I can't make many very informed recommendations. I have had a spinach dish at the fairgrounds in a food booth that I believe is run by Bennachin, which is an African Restaurant. I also like their fried plantains. There are a couple of places just outside of the fairgrounds that serve vegetarian foods. East African Harvest is on Gentilly Blvd -- I've never eaten there, but it seems like an interesting place. The other place is Whole Foods, which is a grocery store and deli/cafe. It's located on Esplanade about 1 1/2 blocks from the musicians' gate (and one block from my apartment). I shop there regularly for select items. The deli food is okay. Good beer selection, produce and meats (it isn't strictly vegetarian), but rather expensive. Corey Harris' wife works there. Her name is Kore (also pronounced Corey) Obialo. She and Corey also are vegetarians according to the most recent Living Blues story. You should say hello if you stop in over there. I'm always passing on information from the Blues List (there, that should meet the minimum requirement for blues content). I've heard great things about a vegetarian restaurant in the French Quarter called Old Dog New Trick Cafe. Once again, I've never been there. It's located at 307 Exchange Alley. I've heard mixed reviews about a place on Carrollton, which I think is called Jack Sprats. And I've heard that Back to the Garden is pretty good on St. Charles at Lee Circle. I don't know if any of the aforementioned places serve Cajun food. In fact, there is a common misconception that New Orleans is a Cajun city. New Orleans is outside of Acadiana, which is west of here. That is not to say there are no Cajuns here, but Cajuns do not figure into the culture of this city so much as they do in more rural areas to the west. There are a few Cajun restaurants here, the most famous being Paul Prudhomme's K-Paul's. The dominant cuisine here is Creole -- I'll save any further distinctions for my next lecture, and I don't even want to get near a discussion of the meaning of the word 'Creole'. There is one vegetarian item that you might find in some local creole restaurants, and that's Gumbo Z'herbe, which is a vegetarian gumbo. I know that a place called Praline Connection has it, but they call it Gumbo Zaire (and pronounce it zare, which is close to the correct pronunciation of z'herbe). They have one restaurant on Frenchmen Street and another in the Warehouse District. Bill Morgan SR> Can a vegetarian have a good cajun meal...I wonder ??? SR> Om Shanti!! Peace to U..... SR> = +-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D= -=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-+ SR> | _-\\|//-_ | = | SR> | // \\ | A PAPER LESS, A TREE SAVED!! = | SR> | / -~ ~- \ | GO TDM!! = | SR> | d-(#)=3D(#)-b | ---------------------------- = | SR> | / L \ | = | SR> | / //|\\ \ | SANJAY 'RAGS' RAJAN = | SR> | ///`~~~'\\\ | sanjay_rajan@formtek.com = | SR> | ///|||\\\ | (800) FORMTEK = | SR> | /|||\ | (412) 937-4993 = | SR> | --- /\o/\ --- | FORMTEK,INC. = | SR> | /"\ | 661 Andersen Drive, = | SR> | / //\ | PITTSBURGH PA 15220 = | SR> = +-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D= -=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-+ SR> Laissez les bon temps roulez!!...Let the good times roll!! SR> = +-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D= -=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-+ From: The Big Easy ========================================================================= Date: Tue, 9 Apr 1996 00:18:20 -0400 Reply-To: James Leftwich From: James Leftwich Subject: Chicago Fest question I'm considering heading to Chicago for the festival but have a few qualms. (1) Just how crowded is it? (2) Can you see the stages? (3) Is it a good idea to bring a chair? (4) Can you bring alcoholic beverages? (5) Is there someway to get a brochure detailing answers to these things so no one actually has to respond to this? ============================================================================= Jim Leftwich Jim's Blues N' Brews leftwich@cloud9.net http://www.cloud9.net/~leftwich "I'm on cloud9!" :) New CD Giveaway: Jordan Patterson ============================================================================= ========================================================================= Date: Mon, 8 Apr 1996 23:29:46 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Pee Wee Crayton Comments: To: Jeff Seale In-Reply-To: Ace in England has their first of two or three volumes of Modern Pee Wee Crayton in the pipeline-- I recently did the notes. It has almost two dozen tracks including a few nice previously unissued ones as well as some of his best known songs. I'd guess that a release around summer is planned. ========================================================================= Date: Mon, 8 Apr 1996 21:47:37 +0000 Reply-To: ksailors@hooked.net Comments: Authenticated sender is From: "Kenneth M. Sailors" Subject: Re: Blues Artists as Opening Acts To continue a thread: The 3rd live show I saw (1969) was James Cotton Blues Band 2nd bill to Steve Miller Band (ca. "Brave New World"). I saw Albert King & Taj Mahal, 2nd & 4th bills to Loggins & Messina, 1972. Others I have forgotten. I thank Bill Graham & Tom Donahue for who I am today. -ken ========================================================================= Date: Mon, 8 Apr 1996 23:22:36 -0700 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Re: Moral Bodyguards Comments: To: bit-listserv-blues-l@cs.washington.edu Jim Witteveen wrote: > 'moral bodyguards'; I simply think that they were expressing some > incredulity that Junior Kimbrough would be on the same bill as Iggy Pop, RL > Burnside would be on the same bill as Jon Spencer, and Jimmy Johnson with > Bob Whatsisname. Geeze, Jimmy Johnson hasn't coached a single Dolphins game and he's already got a better deal! What next... Adrian ========================================================================= Date: Tue, 9 Apr 1996 02:23:15 -0400 Reply-To: Fretman6@AOL.COM From: "J.B. Eanes" Subject: Re: Why isn't this person famous ? Comments: To: Jinxblues@aol.com My choice for someone that is'nt famous, but should be, is Larry McCray. ========================================================================= Date: Mon, 8 Apr 1996 23:47:29 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Server Problems Due to some screw up I haven't been able to read any mail over the past three days. It seems that I can still send ot though. It seems that evetyone at my internet provider have scarperd for the Easter weekend. Tensions in my apartment are high as I need my daily dose of Blues-L. I have seen a post since late Friday night when all this started:-( So if anyone has sent me some private e-mail over the last three days, I am not ingnoring you. I just can't read it yet. I did however find a way to catch up a little on Blues-L. I went to the echo on the Usenet. Hence the following post. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Mon, 8 Apr 1996 23:47:35 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin On Sat, 6 Apr 1996 10:47:02, RJ Bauman wrote: >On 5 Apr 96 , honorable zeller Shaun T Cronin wrote: "Honorable"?!? Me! Actually, I have friends who find my name and the word honourable an oxymoron. When I saw the highly esteemed Dick Waterman's post with "moral" in the header I skipped over it. Doesn't concern me. What would I do with one of the moral things?:-) (I did actually read the post:-) snip of my post >I haven't seen anybody criticize Luther for "Blue Streak." I suspect >anybody who thinks his phenomenal success over the last year can be >attributed to "selling out" either A) has not seen him play live >often enough to be be convinced how hard he works at putting on a >great, musically varied blues show or B) has not heard enough Luther Allison > albums to >appreciate his diversity. I agree. What I was referring to was a review of "Blue Streak" that appeared in "Living Blues", #124. While generally a positive review the reviewer indulges in a little too much (and sometimes quite strange) nitpicking. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Mon, 8 Apr 1996 23:35:39 -0700 Reply-To: Stan Ruffo From: Stan Ruffo Subject: Re: 2 Buick '59 Comments: To: Art Schuna , Jerry Zolten To Art, Jerry, and all the other Blues-lers that responded, thank you! Stan Ruffo Blues On Tap - Sundays at 8pm on Visalia's K100 99.7 FM ========================================================================= Date: Tue, 9 Apr 1996 03:04:01 -0400 Reply-To: Fretman6@AOL.COM From: "J.B. Eanes" Subject: Re: COREY_HARRIS_in_PITT!! Comments: To: srn@formtek.com I just saw a show in Rock Island, IL. Corey Harris opened for Ian Moore. Corey did an excellent job and really had a special sound. His voice is haunting and his guitar work is so authentic. This guy lays it all out...soul, blood, tears, all of it. Ian Moore did a good job to. I remember seeing him in Austin about ten years ago...kinda doing a Stevie Ray thing. I was glad to see that he is totally original in his sound nowadays. He did a great job of being a guy influenced be SRV, but not sounding like he is stuck on the bandwagon. He is really into his own thing. His rendition of Freddie Kings "Me and my guitar" was a keeper. J.B. ========================================================================= Date: Tue, 9 Apr 1996 06:29:22 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: need advice Comments: To: "timothy (t.b.) bosley" In-Reply-To: <"11335 Mon Apr 8 11:22:43 1996"@bnr.ca> On Mon, 8 Apr 1996, timothy (t.b.) bosley wrote: > 3. Mainstream (if you can find them) > Blues Train > Sittin In If you can find these anywhere, don't hesitate to plunk down the greenies. These are very personal, high quality recordings from Bob Shads journey's across America, recording blues and jazz art- ists. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 9 Apr 1996 07:37:34 -0400 Reply-To: FORCELLAD@CCSUA.CTSTATEU.EDU From: Domenic Forcella Subject: Openning Acts Sometime in 69/70 I saw the "original J. Giels Band" open for B.B. King on the campus of Worcester Tech. It was B.B. the crowd stayed for, formed a lineand walked by the stage to shake his hand. While the memories have clouded, it seems 25 years later, the new J.Giels traveled with B.B. for a summer tour. I enjoyed them then, enjoy them now. Domenic Forcella Traveling with the Blues wfcs 107.7 ========================================================================= Date: Tue, 9 Apr 1996 07:57:46 -0400 Reply-To: Jonny Meister From: Jonny Meister Subject: Re: Papa Lightfoot At 08:45 PM 4/8/96 -0000, Uncle Ray wrote: >I'm looking for any contemporary release that includes "Wine, Whiskey, and Women" by George "Papa" Lightfoot. Other included Lightfoot recordings would be nice, also. > >As J. B. Hutto said, "Please help!" > >Uncle Ray > Papa lightfoot's one album, "Natchez Trace", is reissued by Ace in England. I believe Rhino actually owns it and could issue it in the States, but has chosen to hold off. "Wine, Whiskey, and Women" was on Imperial in 1953, and that and his other stuff isn't reissued on CD as far as I know; but, if it is, I would love to know where!!!! -Jonny ========================================================================= Date: Tue, 9 Apr 1996 05:08:53 -0700 Reply-To: Stephen A Macaleer From: Stephen A Macaleer Subject: Looking for Steve L Sorry for the personal message. Steve Levine, you still around? Andy ========================================================================= Date: Tue, 9 Apr 1996 08:00:02 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: : Flames ahoy! Re: microphones and pickups Bernie Clarke responds: >I REFUSE TO GROVEL ON THIS ONE! >Had Mr or Miss Weasel person asked for advice on piano players or something >about the esteemed Spann or the difference between a Big or Little Walter or >why I think the Sears Silvertone 1432 is the best harp amp in the world, I >would have been glad to instruct the Weasel on the virtues of any of the >above. This is the proper place to ask. Since Weasel was merely too lazy to >do some research on a topic for which there are hundreds of reference books >available, I told Weasel where to go! Sure, Bernie - this may be the proper place to ask. But my original bitch was the offhanded way in which the "Span" request was made. I've been able and very willing to add information (when I had it) and sent tapes to folk as a result of requests that sounded intelligent and sincere. But back then I blew it and suggested the "Span" questioner go "do some research" and told him "where to go" (the library, a record store). And, boy, did I get my butt burned for it! But, as one person pointed out, you were funny, and I was angry! (Insert dumb "smiley" here). Richard the Elder ========================================================================= Date: Tue, 9 Apr 1996 08:02:12 CST6CDT Reply-To: "Sara C. Oxton" From: "Sara C. Oxton" Organization: University of Minnesota Subject: Blues L in St. Louis Comments: To: Art Schuna Awhile back there was a thread about a possible Blues-L convention during the St. Louis Blues Festival this Labor Day. I don't know if it's still in the offing; perhaps it's being planned at the covert level. Nonetheless, here is some information that should inspire everyone to attend. On the bill for the Festival is James Carr, Percy Sledge, and Wilson Pickett. Can you say triple crown? Carr and Sledge will be backed by the pride of the Twin Cities, the Butanes. And for Carr's set, the Butanes will be supplemented by the Memphis Horns. The Butanes are a fabulous band with a sterling performance pedigree. Those of you who regularly attend Jazz Fest might know them from their regular backing gigs with Earl King (also on the St. Louis bill, by the way). Now that OV Wright and Otis Redding are gone, James Carr is the torch bearer for deep Soul music. Cast away any stories you've heard about him turning catatonic onstage. I've seen him twice, and he magnificent. His presence alone should warrant a huge turnout by the true believers. Color me there... _________________________________________ Sara C. Oxton Executive Secretary University of Minnesota Department of Food Science & Nutrition 1334 Eckles Ave. St. Paul, MN 55108 Ph: (612) 624-2782 Fax: (612) 625-5272 soxton@che2.che.umn.edu ========================================================================= Date: Tue, 9 Apr 1996 09:21:38 -0400 Reply-To: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM From: Jim Smith Subject: Re: Roy Bookbinder Comments: To: p_franzmann@WMC.WMC.EDU In-Reply-To: <96040413095768@wmc.wmc.edu> Roy has an instructional video out on Homespun called "By the Book". His most recent CD is a live release titled "Live Book...Don't Start me Talkin'". He is a great player and an equally great storyteller. His live CD gives you a good feel of what his shows are like. He at one time made his home in Polk City Fla, but am not sure if that's now the case. He hass a couple of other CDs out as well as a casstte on Flying Fish titled "Goin' Back to Tampa" and a few other long out of print LPs. He also helps out on a Homespun instructional video by John Jackson. Jim Smith ========================================================================= Date: Tue, 9 Apr 1996 08:11:10 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: BluesBytes Vote Hello everyone... Well, although it made me a trifle uneasy to conduct a second vote on what to do with the profit from the BluesBytes tape, I did conduct that vote. Some of you expressed a feeling that monies should go to support living artists (an idea with which I agree in part); many of you thought the Mt. Zion organization would be a better choice -- to care for and honor the resting places of our musician heroes. Here is the vote: 11 -- Mt. Zion 4 -- Blues Heaven 2 -- No preference. I believe all the choices are worthy organizations myself, and hope there will be no hard feelings about the second count. I did feel, however, that the Mt. Zion choice had not been fairly considered, and the vote above appears to bear that out. So Bob Unger tells me he will let us know what the amount is, and perhaps Dick Waterman will be able to help us discover how we might get the money to the Mt. Zion Restoration group. I'll ask (smile). Thank you all for taking the time to vote once again, and for your tolerance. Cathi N. ========================================================================= Date: Tue, 9 Apr 1996 09:23:05 -0500 Reply-To: Erica Wissolik From: Erica Wissolik Subject: SRV & Dick Dale -Reply I'm pretty sure that its on the "Back to the Beach" soundtrack. Came out about 1987. Erica >>> FrancBooth 04/08/96 08:30pm >>> Can anyone tell me where I can find "PipeLine" performed by SRV & Dick Dale. Thanks Tom ========================================================================= Date: Tue, 9 Apr 1996 06:33:02 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Moral Bodyguards >Jim Witteveen wrote: > >> 'moral bodyguards'; I simply think that they were expressing some >> incredulity that Junior Kimbrough would be on the same bill as Iggy Pop, RL >> Burnside would be on the same bill as Jon Spencer, and Jimmy Johnson with Bob Whatsisname. >Geeze, Jimmy Johnson hasn't coached a single Dolphins game and he's >already got a better deal! What next... Whoops! That would be Johnnie, not Jimmy. Or is it Johnny? Jimmie? Aargh!!!!! :-) -Jim (hndful@uniserve.com) ========================================================================= Date: Tue, 9 Apr 1996 09:22:24 -0400 Reply-To: sUrReAlIsTiC_RaGs From: sUrReAlIsTiC_RaGs Subject: JAZZ_FEST_ACCO_AVAIL. Thought some Bluezellers might be looking for accomodation during first week of New Orleans Jazz Fest so here goes... Unfortunately, I will not be able to attend the Jazz Fest as I had originally planned for so long. I did make my reservations for 2 at a Guest House in the Garden District Area. The total price is $ 99.00 for a 3 day stay (26/27/28 April) for 2 persons. Contact me by private email if u need details. ps>>> Sorry, this does not have Blues content. But I am sure some Bluezellers are looking forward to the Jazz Fest. Om Shanti!! Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / -~ ~- \ | GO TDM!! | | d-(#)=(#)-b | ---------------------------- | | / L \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`~~~'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ Laissez les bon temps roulez!!...Let the good times roll!! +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Tue, 9 Apr 1996 08:36:55 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: William Clarke How's William Clarke's recovery going..... Thanks LW ========================================================================= Date: Tue, 9 Apr 1996 08:37:53 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Blues In SF & LA I'll ask again: Can anyone tell me about some good blues shows in SF on May 3rd/4th or 5th and in LA on the 6th & 7th.... Thanks LW ========================================================================= Date: Tue, 9 Apr 1996 09:42:04 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: BluesBytes Vote Comments: To: Cathi Norton On 9 Apr 96 at 8:11, Cathi Norton wrote: > Hello everyone... > > Well, although it made me a trifle uneasy to conduct a > second vote on what to do with the profit from the > BluesBytes tape, I did conduct that vote. Some of you > expressed a feeling that monies should go to support living > artists (an idea with which I agree in part); many of you > thought the Mt. Zion organization would be a better choice > -- to care for and honor the resting places of our musician > heroes. Here is the vote: > > 11 -- Mt. Zion > 4 -- Blues Heaven > 2 -- No preference. I thought that everyone who bought a copy of Blues Bytes had a vote. We only sold 17 copies out of 1500+ members? I thought we sold a lot more than that. If so, where did all those votes go? One person decides to have a second vote that invalidates all the first votes (the ones that were accompanied by dollars)? It would seem to me that there is a possibility that up to 17 votes may have changed, but what about the votes already cast by people with money in their hands? I'm perfectly happy to send the money where the majority of contributors want it to go but I would like to see everyone's original vote count if they did not RE-VOTE. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Tue, 9 Apr 1996 08:58:30 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Ironic Musical Gear I was reading a book called "Great Guitarists" or something like that and the writer found it amusing that "modern" players buy all this new $$$$$ equipment and try to duplicate the sounds that the early guys got with their "bargain basement" equpiment. I found that interesting and started thinking about how funny that really is. Then I realized part of the reason is that "bargain basement" stuff has become top dollar vintage equipment. I find it very ironic that they used (they being early guys) cheap equipment because it all "they" could afford and because 'they' used it now, WE CAN'T AFFORD IT.....:-) I thought that was ironic and of course not all of "them" used cheap equpiment I think the artist in question was Elmore James using an acoustic and cheap amp. Then modern day musicians are using electric guitars and modern $$$ amps and ATTEMPT to get the Elmore sound LW ========================================================================= Date: Tue, 9 Apr 1996 10:10:10 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0254 From: "DUTTWEILER.J" Subject: Luther Allison Date: Tuesday, 9 April 1996 10:09am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Luther Allison I agree that the particular critic Shaun mentions (re: the Blue Streak review in LB) "indulges in a little too much nitpicking - seems characteristic of most of his reviews in LB. An interesting note is that the "controversy" over Luther Allison seems to have been going on for awhile, even before the relese of "Soul Fixin' Man" or "Blue Streak" (both of which I dearly love). Robert Santelli in "The Big Book of Blues" (published in 1993) writes of Allison: "...his marginal recording success in the U.S. and his interest in blues-rock often blurred his stature in the blues community. Allison's'wah-wah' guitar antics left s ome blues fans disappointed with his shift toward rock at the peak of his career." Now this was 1993, so Allison has been experiencing this type of criticism for a long time. Shaun wrote: > I agree. What I was referring to was a review of "Blue Streak" that > appeared in "Living Blues", #124. While generally a positive review the > reviewer indulges in a little too much (and sometimes quite strange) > nitpicking. For a comprehensive review of "Blue Streak" (and a few other Luther Allison releases) check out NY CD Blues at http://www.panix.com/~bsco/ on the Alligator page. (No, I didn't review "Blue Streak," but I am affiliated.) JD ========================================================================= Date: Tue, 9 Apr 1996 07:46:45 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: April 10 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- AGEE, RAY (v/songw) b. 1930-0410, DIXONS MILLS, AL BABYFACE (KENNY EDMUNDS) (prod/L.A.) b. -0410, BRIM, JOHN (g/hca/CHESS REC) b. 1922-0410, HOPKINSVILLE, KY CREED, LINDA (songw/THOM BELL) d. 1986-0410, AMBLER, PA 37 ESCUDERO, RALPH (b) d. 1970-0410, PUERTO RICO 71 GORDON, ROSCO (p/MODERN/SUN REC) b. 1928-0410, MEMPHIS, TN GRIFFIN, BESSIE (v/gospel) d. 1989-0410, CULVER CITY, CA 67 HAZEL, EDDIE (g/FUNKADELIC) b. 1950-0410, BROOKLYN, NY KLEIN, ROBERT A.(owner SAM COOKE'S music) b. 1928-0410, SYRACUSE, NY LYONS, JIMMY (founder:MONTEREY JAZZ FES) d. 1994-0410, LUIS OBISPO, CA 78 NELSON, NATE (lead/FLAMINGOS) b. 1932-0410, CHICAGO, IL OTELSBERG, MARTIN (manager/BO DIDDLEY) d. 1992-0410, WEST HILLS, CA 65 RUSSELL, KARL (of HUES CORPORATION) b. 1947-0410, COLUMBUS, OH RYDER, NOAH FRANCIS (p/DEEP RIVER BOYS) b. 1914-0410, NASHVILLE, TN SMITH, BOBBY (of THE SPINNERS) b. 1936-0410, FITZGERALD, GA WILLIS, HAROLD "CHUCK" (songw/OKEH REC) d. 1958-0410, ATLANTA, GA 30 WOODS, DANNY (of CHAIRMAN OF THE BOARD) b. 1944-0410, ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 9 Apr 1996 09:48:11 -0700 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Fest Food/Vegetarians/no blues except hunger... I heartily second Bill Morgan's recommendation of Bennachin Restaurant for vegetarian fare...both at the Fairgrounds and at the Carrollton Ave. location. Superb spinach dish with coconut rice. And I can personally vouch for the Old Dog/New Trick place he mentioned: it's on Exchange Alley in the French Quarter and every single thing there is great. I'm not even a vegetarian and I go there--on purpose! As far as red beans & rice, that could be a whole separate thread. But aren't they almost always cooked with ham bones? And Jim Bardsley's taste buds are much more highly developed than his spelling skills: the upscale place he mentioned is GauTREAU's, and well worth trying. (I've previously accused Jim of having eaux-itis, a common Louisiana inflammation.) His other picks--Emeril's on Julia St. and NOLA in the Quarter--are highly recommended, the latter being slightly less pricey and with not-to-be-missed greens. Oh, and The Bistro at Maison de Ville Hotel -- incredible eats (reviewed in the current OffBeat for further acclaim). Midrange: I'd say the Bon Ton Cafe, hard by the CBD in the Warehouse District. Excellent gumbos. And at the Fairgrounds, the softshell crab po'boy is good, but soooo salty you'll be at the Kentwood water booth for hours afterward. Last year, the food highlight of the whole Fest for me was the softshell CRAWFISH po'boy--unbelievable, and dressed with sauteed peppers and onions, rather than the usual shredded lettuce and junk. And the perennial favorite of everyone at the Fest: Crawfish Monica! Yum! On the downscale price end, I don't know Eddie's that Ray mentioned, but Henry's Soul Food on Claiborne (super funky, don't go if you're squeamish) has the best chicken and greens. In that same league: The Two Sisters, on North Derbigny. And a little place at the lakefront called Robert's (say RO-bairs) has terrific cheap seafood. A shrimp and calamari salad to die for and my favorite softshell crabs. Skip all the big places at the lake, IMHO. And if you're willing to travel a little, the absolute, hands-down winner for best shrimp po'boy ever is at Louisiana Seafood Exchange on Jefferson Highway. No kidding, it's ten inches long, and after they stuff it with shrimp they throw HANDFULS of shrimp into the wrapper before they close it, so when you open it up it just explodes shrimp everywhere. One sandwich is a meal for two. Plus, they're a seafood wholesaler so it's always super fresh. And everybody I know except me raves about the gumbo at Coop's, a divey little bar right on Decatur on the east side of the Quarter. Perhaps they're right and I'm wrong, who knows. But I gotta disagree with Ray about the muffalettas at the Central Grocery: I think they're much better at the Italian store right next door to it, the Progress Grocery. Better bread, for one thing, and the olive salad a little less oily. One warning: under no circumstances be led to La Louisiane, in the Quarter. I spent $120 there for two people for the absolute worst meal I ever had anywhere in New Orleans. Gluey thick sauces made of cornstarch, and *canned* vegetables. Yecch. --Maggie ========================================================================= Date: Tue, 9 Apr 1996 11:32:09 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: BluesBytes Vote In a message dated 96-04-09 09:57:19 EDT, canorton@JOURNALISM.INDIANA.EDU (Cathi Norton) writes: > 11 -- Mt. Zion > 4 -- Blues Heaven > 2 -- No preference. > > I believe all the choices are worthy organizations >myself, and hope there will be no hard feelings about the >second count. I did feel, however, that the Mt. Zion >choice had not been fairly considered, and the vote above >appears to bear that out. > > > So Bob Unger tells me he will let us know what the amount >is, and perhaps Dick Waterman will be able to help us >discover how we might get the money to the Mt. Zion >Restoration group. I'll ask (smile). I've sort of sat this one out because I didn't buy the tape and therefore didn't feel I had a voice, but it strikes me as strange to do this given that someone *has already notified at least one of the prior groups* that they are to recieve a check AND that it involves ignoring that prior vote. I also would point out that, as much as I apreciate the work of Mount Zion, I think its work is badly misfocused. To pick three separate pieces of charity the blues-L has been involved with, I find the Delta Blues Museum (an active presence in education in the Delta, working with school children there to make sure this tradition continues NOT TO MENTION the museum itself) and the effort to get Jessie Mae Hemphill an airconditioner last summer VASTLY more important than the effort to put graves on the gravestones of bluesmen. In fact, it is almost pathetic to wait until they have died, apparently too poor to buy their own stone, to offer them this pittance. As I understood it, Blues Heaven (which is scheduled to open the Chess studio in June) and the Delta Blues Museum where selected as the beneficiaries. Why has this changed? Who is going to tell them we reniged? Tom Freeland ========================================================================= Date: Tue, 9 Apr 1996 11:40:48 -0400 Reply-To: MARCIAG@VMS.CIS.PITT.EDU From: Marcia Grodsky Subject: King Of Cats --- Albert Murray There's a fascinating, albeit controversial, profile of blues novelist/essay- ist Albert Murray in this week's New Yorker. It's entitled "King of Cats." I've read a couple of his books, but knew very little about him before this. Has anyone else read this article? ---Marcia ========================================================================= Date: Tue, 9 Apr 1996 11:45:20 -0400 Reply-To: sUrReAlIsTiC_RaGs From: sUrReAlIsTiC_RaGs Subject: FRENCH_QUARTERS_FEST Down in the Bayou, this weekend I believe is the FRENCH QUARTERS FESTIVAL wherein more traditional Jazz is played for free. Folks, if u are going there check out the BOILERMAKER JAZZ BAND from Pittsburgh. They are excellent and do play ragtime jazz, traditional jazz and blues. They are fun to watch and make one feel "LIFE IS GOOD!!!" Thanks to all the folks who had all the advise for VEGGIE COOKING!! Om Shanti!! Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / -~ ~- \ | GO TDM!! | | d-(#)=(#)-b | ---------------------------- | | / L \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`~~~'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ Laissez les bon temps roulez!!...Let the good times roll!! +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Tue, 9 Apr 1996 11:57:33 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Blues-L Convention update Just a reminder that excellent air fares are in the computer only until this Friday, April 12. The travel agent says there are good fares to be had on all major carriers. TWA hubs in St. Lous so but they are not reducing all fares, just selected markets. The best fares are probably on Southwest Airlines but they do not pay a commission to travel agents so they are not carried in their computers. The travel agency in St. Louis that was recommended by the festival has not shown any great interest in our business because we could not guarantee them any specific amount of people. (Venturing onto shakey ground) My own travel agent here in Oxford (Mississippi) is Travel House and they have a toll free numner of 1-800-844-4115. I have no business affliation with them but they are obviously small town friends of mine. They coordinated all of the travel for the panelists when I did the seminars for the WC Handy Blues Weekend. I have asked Travel House to bring me rates on St. Louis hotels for that time period. This is NOT a solicitation for business to my travel agent. I had a post from Pat Hertel reminding me that bargain fares exist only until this Friday and I am passing this along to you. Dick Waterman ========================================================================= Date: Tue, 9 Apr 1996 11:57:40 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: BluesBytes Vote Comments: To: canorton@journalism.indiana.edu On April 9, Cathi Norton wrote: >>> So Bob Unger tells me he will let us know what the >>>amount is, and perhaps Dick Waterman will be able >>>to help us discover how we might get the money to >>>the Mt. Zion Restoration group. I have a phone number for Skip Henderson but it may take me a while to track it down. Jim O'Neal monitors this list as ROOSTER232 and I assume that he and Skip talk frequently. Dick Waterman ========================================================================= Date: Tue, 9 Apr 1996 12:02:54 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Shameless plug: Riffin Rick gig date (much blues!) Hi gang, I usually don't plug my band's gig dates, cuz I don't think there are that many of you close by, but this is a BIG one, so here goes: G A T E S T R E E T B L U E S This Thursday, April 11th at The Main Street Brewing Company Worcester, Massachusetts 9:30 pm We play straight Chicago style blues with the occasional tip of the hat to "delta style". We play a lot of Sonny Boy, BB, Albert, Buddy, Little Walter and a bunch of others, and we don't do no Stevie Ray covers. We're a fun, action-packed four-piece featuring on harp, my man from Chicago, the thin man himself, Dr. Zik (Pat Drzik) and some of the most kickass harmonica playing you've heard in New England. Yeah, Magic Dick is great, but friends of Geils and Bluestime have come to see us and "Wow!" is what they had to say. :) The Main Street Brewery is a brand new, four-story microbrewery/brewpub that just opened and is already *THE* place to go in central Mass. for a night out of dining, dancing, relaxing and catching live blues, not to mention some really, really superb handcrafted beers served the way they're meant to be served. Believe me, I've sampled them all, several times. [heh-heh] :) The brewery features on the first floor, a really, beautiful bar/lounge serving the brewskies right out of the kegs, and of course the brewery itself. The second floor is a full service restaurant serving tasty noshes from pubfood to really gourmet dinners. (I recommend the smoked duck & oysters on fettucine). Third floor is the main entertainment level, with the full sound-stage and dance floor, panoramic view of the city, bar, billiards and lounge areas. The house sound system is first class, featuring Klipsch speakers and monitors throughout. And lastly, the 4th floor is a 3-sided mezzanine overlooking the 3rd floor entertainment, etc., with it's own lounging area. Can you tell that I'm excited to play there? We're following Roomful of Blues who played there last week as the "grand opening" act. This place makes the Cambridge "House of Blues" look like Sesame Street. And the owners, whom I've gotten to know really well, have a great attitude. They refuse to pack their place elbow to elbow, SRO. They want great regional and national blues acts in a room where people can stretch out comfortably and enjoy with a good beer. You like? Come see! Thanks for your indulgence, friends.. Riffin Rick (((( oo-) /- Please baby, keep our business to yourself! Rice Miller F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 9 Apr 1996 11:10:03 -0500 Reply-To: bolt From: bolt Subject: Cradle Concert - Houston For those in and around Houston on Saturday 04/13, the Cynthia Woods Mitchell Pavillion in The Woodlands will host The Cradle Concert: A Night of Gulf Coast Music. The lineup is as follows: Robert Earl Keen Marcia Ball Clarence "Gatemouth" Brown Flaco Jimenez Jesse Dayton Carol Fran and Clarence Holliman Jacky Scott and Revelation Concert proceeds will be donated to local music-education programs and the Musician's Benevolent Society, which offers emergency financial assistance to ailing and elderly local musicians. Tickets are $10, $15 and $25 and can be purchased through Ticketmaster or at the Pavillion box office, children under six admitted free. The concert also has an Internet site provided by Houston Chronicle Interactive at http://www.chron.com/cradle I am not affiliated with the event, but deem the causes well worth supporting. I am a member of the Houston Blues Society, which will have a booth at the event. Reg Burns +++++++++++++++++++++++++++++++++++++++++++++++++ + I'll listen to reason when it comes out on CD + + + + bolt@neosoft.com Houston, TX + +++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Tue, 9 Apr 1996 12:04:42 -0400 Reply-To: sUrReAlIsTiC_RaGs From: sUrReAlIsTiC_RaGs Subject: TED_HAWKINS_release There is a New release of the LATE TED HAWKINS Acoustic Blues. Is this true. Any bluezeller has info on this release. Om Shanti!! Peace to U..... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | A PAPER LESS, A TREE SAVED!! | | / -~ ~- \ | GO TDM!! | | d-(#)=(#)-b | ---------------------------- | | / L \ | | | / //|\\ \ | SANJAY 'RAGS' RAJAN | | ///`~~~'\\\ | sanjay_rajan@formtek.com | | ///|||\\\ | (800) FORMTEK | | /|||\ | (412) 937-4993 | | --- /\o/\ --- | FORMTEK,INC. | | /"\ | 661 Andersen Drive, | | / //\ | PITTSBURGH PA 15220 | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ Laissez les bon temps roulez!!...Let the good times roll!! +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Tue, 9 Apr 1996 12:03:02 EST Reply-To: mstringer@HEARST.COM From: Mark Stringer Subject: Howlin Wolf's POOR BOY Does anyone know the chord progression to the tune POOR BOY, found on Howlin Wolf's, The Real Folk Blues? ========================================================================= Date: Tue, 9 Apr 1996 08:55:28 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Bitterness and Purists Hi Everybody! Because of a discussion I had a while back with someone who shall remain nameless, I started thinking about how we view music and art and what it means to us... A couple of vignettes: A fusion guitar player, working in a music store. Plays the crap out of the guitar, just blazes. But so angry he is almost catatonic... "I hate pop music" "The public is stupid" "People with REAL talent are never appreciated" "All these no-talent jerk-off's get all the money while REAL artists starve"... A rock bass player thinks that only Yes and King Crimson are REAL music, so he works in a cover band doing "trash" (his words not mine) like *Dire Straits* to make a living.... The music is curiously lifeless... (and of course, he does not make a living) A writer and record collector is angry at the world for not worshipping at the alter of "real" blues, and dumps on blues-rock guys and pop music in general as often as possible. "No artistic integrity" "Whoring themselves out" "Prostituting their art" Now it is my contention that these people have poisoned themselves... They will never be successful, they will never be loved by thousands of people, they will never even win people over to the "true art" as they see it, because their bitterness has replaced their love for the music. They will claim all day long that the LOVE the music, but their attitude is the ANTITHESIS to the gregarious, life-affirming spirit of the blues. Remember, as musicians (and for those of you who aren't, you need to know this) we are storytellers first and technicians second. Until we move people, until we win them over, they will not care about what we are doing. We are entertainers, like it ar not. Muddy, RJ, Wolf and everyone else we adore certainly saw themselves as entertainers! But fans and followers are so busy enshrining and criticizing, we forget this don't we? Couple of points: (especially for musicians and industry pros) 1. It's ALL commercial! every dang little bit of it. every artist wants to sell recordings... period.. and so they should. I have recorded hundreds of people, and have never met someone yet that was consciously "prostituting themselves". The distinction between "art and purity" on one side and "commerce and whoring" on the other side is *infantile* and absurd. The truth is, its always both! *Art and Commerce* Is it GOOD art & commerce? Everything else is just talk. 2. *Nobody* promised you Porsches, and limos and nubile groupies banging on your hotel door.... Get over it. How much do you really love your style when you envy Guns and Roses so much?? hmm? You wanna play bebop guitar? Great, do it! Learn how to promote it, get your product out there, make friends, and MOST of all: 3. GET OVER YOUR DAMN BITTERNESS at the way the world is. Go to a great black church service, go see a great blues act, remind yourself about how much love is in this music. Remember "A Christmas Carol" and the dire consequences awaiting Scrooge for hating Christmas?? How can you love YOUR music if you hate everyone else's? Remember we are storytellers.... Imagine sitting in front of a bitter and disillusioned storyteller as a child... wouldn't you get up and run away from such a "bad man"? *I* would!! Yet we forget that when we go to see music, we are happy and expectant, like children waiting for a great story.... And these jerks wonder why no one cares about their "art"..... life is short, enjoy yourself DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 9 Apr 1996 11:51:56 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: Blues-B Vote Tom Freeland said: "I've sort of sat this one out because I didn't buy the tape and therefore didn't feel I had a voice, but it strikes me as strange to do this given that someone *has already notified at least one of the prior groups* that they are to recieve a check AND that it involves ignoring that prior vote." True, you don't have a vote. Yet many who do are not speaking up. Who, is the "someone" who "has already notified at least one of the prior groups" that they are to receive a check? I think this "someone" should be the person to "regnege," if indeed that is necessary. I don't think it's quite correct to say that the the prior vote will be "ignored." Re-considered was my aim; my hope that all those who voted would check in once more after hearing about Mt. Zion. However the vote comes out -- hooray. I'm not married to any particular result. Secondly, there are many things involving the treatment of musical greats that are "pathetic," but honoring their memory is not high on my list. However, if as a group we think the money would be more useful going to the Blues Museum, or wherever, such was the purpose of a VOTE. It seems, in regard to many such group activities (i.e., the first Blues-L "convention," BluesBytes monies, etc.) there are few people who want to contribute input BEFORE a decision is made. Instead, they are only too eager to dispute it once it is done. And I have made my mistake in becoming one of them (even though I DID participate in both votes) in my effort to point out an organization unconsidered the first time around. I'm abashed to be caught in the crossfire, and sorry to have fallen for this. So Fenton wants a head count; Freeland is using words like renege, ignore and pathetic; Unger just wants it all to be over. Me too. Cathi N. ========================================================================= Date: Mon, 8 Apr 1996 17:16:14 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: New Buddy Guy Live ,,,,,caution On 8 Apr 96 , honorable zeller David Witzany wrote: > Good news for everyone who's been awaiting the release of Buddy's live > album, backed by G.E. Smith and the Saturday Night Live Band: > > According to CDNow, the album "Live: The Real Deal" is due for release > on April 16th. It's on BMG records; the CD number is 1241 41543 2 > (for the cassette, change that last 2 to a 4). > > And there was much rejoicing :^) > > Dave. > --David Witzany > witzany@uiuc.edu > (Univ. of IL, Champaign) ......one of Nature's bounds checkers > > This makes me very happy. I hope a video comes out, too. CDNOW also put up a listing about 10 months ago for a forthcoming OTIS RUSH cd called "LIVE AND AWESOME" which I have yet to see anywhere. So I hope this isn't a trend with them. RJ Bauman "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Tue, 9 Apr 1996 09:20:35 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Bitterness followup Oh, and by the way... Those were all real people in my post, but they were not any individual on this list in particular.... DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 9 Apr 1996 17:17:01 GMT Reply-To: Mark A Basten From: Mark A Basten Organization: College of Engineering, Univ. of Wisconsin--Madison Subject: Re: Dog Blues Comments: To: bit-listserv-blues-l@uunet.uu.net Though this is really pushing the "Dog Blues" theme, Bonnie's reply reminded me of the hilarious dialog before "Blacksnake Blues" on the Elmore James Capricorn box. For those who haven't heard it, Elmore and the band are shooting the breeze in the studio between recordings when Elmore starts spinning a tale about hunting in Mississippi from horses and tractors(!) on account of the large number of snakes. Incredulous, some band members start ribbing him on how one is supposed to hunt from a tractor when Elmore bellows, "LET THE DOGS RUN!". Still chuckling, one of Elmore's main tormentors replies, "Hunting from tractors?! Sheeeit, now that IS a new one!" Mark Basten basten@cae.wisc.edu ========================================================================= Date: Tue, 9 Apr 1996 13:31:01 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Blues-B Vote Comments: To: Cathi Norton Comments: cc: bob@SUN.BNKST.EDU On 9 Apr 96 at 11:51, Cathi Norton wrote: > True, you don't have a vote. Yet many who do are not > speaking up. Who, is the "someone" who "has already > notified at least one of the prior groups" that they are to > receive a check? I think this "someone" should be the > person to "regnege," if indeed that is necessary. NO! the person who required another vote after the issue was already decided should bear the burden if it's necessary. > > I don't think it's quite correct to say that the the prior > vote will be "ignored." Re-considered was my aim; my hope > that all those who voted would check in once more after > hearing about Mt. Zion. However the vote comes out -- > hooray. I'm not married to any particular result. > > Secondly, there are many things involving the treatment of > musical greats that are "pathetic," but honoring their > memory is not high on my list. However, if as a group we > think the money would be more useful going to the Blues > Museum, or wherever, such was the purpose of a VOTE. We ALREADY had such a vote. The purpose of the second vote was to get ONE PERSON'S ALTERNATIVE CONSIDERTED. > So Fenton wants a head count; Freeland is using words like > renege, ignore and pathetic; Unger just wants it all to be > over. Me too. This really pisses me off. So I want a head count. All I want is for the votes that were made by contributors to this sum of money TO COUNT. We already voted. We already made a decision VIA THAT VOTE. YOU called a new vote because you weren't happy with the first results, and now want to change who the money gets donated to on the basis of 17 votes which MAY OR MAY NOT have come from people who gave up the cash. I voted both times. My vote counts either way. I just don't want to see all of the votes from the first ballot ELIMINATED BECAUSE ONE PERSON WAS NOT HAPPY WITH THE RESULTS AND TOOK IT UPON THENSELVES TO ORDER A NEW VOTE. Don't make me, or Tom the damn villains. It just ain't so. Bob Unger, by the way, did the right thing. He said, my work is done. You want a new vote YOU handle it. No one has a quarrel with him. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Tue, 9 Apr 1996 11:31:45 -0600 Reply-To: Vicki Bean From: Vicki Bean Organization: inlink Subject: HANDY AWARDS PERFORMERS Comments: To: bit-listserv-blues-l@uunet.uu.net As of today, scheduled to perform are: Ruth Brown (also hosting) Charles Brown Clarence "Gatemouth" Brown Joe Louis Walker Jimmy Rogers Robert Lockwood, Jr. Luther Allison Koko Taylor Keri Leigh The Movers (Boston band that won the 1995 International Blues Taletn Competition) Tracy Nelson Al Kooper Yank Rachell/John Sebastian/Fritz Richmond Presenters: most performers and.... Syl Johnson Toni Lynn Washington Coco Montoya Saffire Memphis Horns Little Milton Campbell Catfish Keith and other label reps, politicians and officials Post Show Jam: Ronnie Earl Mem Shannon Saffire Luther Allison John Sebastian Toni Lynn Washington Nick Gravanites Bob Margolin Syl Johnson I apologize if I've left anyone out. For official lineup and ticket info, I suggest calling the Blues Foundation at 901/527-BLUE. -- vbean@sheltonbbs.com ========================================================================= Date: Tue, 9 Apr 1996 12:42:03 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 04/10 B O R N : 04 / 10 BISHOP, WALTER JR Born:1927 NEW YORK, NY Career:PIANO Style:JAZZ With:CHARLIE PARKER / MILES DAVIS BLYTHE, JIMMY ( JAMES LOUIS ) Born:1901 LOUISVILLE, KY Career:PIANO Style:TRAD / JAZZ With:TRIXIE SMITH / STATE STREET RAMBLERS / JIMMY BERTRAND / NATTY DOMINIQUE / STUMP EVANS / JOHNNY DODDS / BABY DODDS BOLLING, CLAUDE Born:1930 CANNES, FRANCE Career:PIANO / LEADER / COMPOSER Style:JAZZ / BIG BAND With:Lionel Hampton in France / formed own big band in 1956 / Rex Stewart / Roy Eldridge BRIM, JOHN Born:1922 HOPKINSVILLE, KY Career:SINGER / GUITAR / SONGWRITER Style:BLUES CORB, MORTY (MORTIMER G. ) Born:1917 SAN ANTONIO, TX Career: BASS Style:TRAD / JAZZ / BIG BAND With:LOUIS ARMSTRONG / NICK FATOOL / CONNIE HAINES DUCHIN, EDDY Born:1910 CAMBRIDGE, MA Career:PIANO / LEADER Style:BIG BAND With:Leo Reisman / Leo Reisman / Buddy Morrow / Al Carroll / Stan Worth / Johnny McAfee / Bill Heathcock / De Marco Sisters / Buddy Clark / Patricia Norman / Phil Brito LIVINGSTON, FUD ( JOSEPH ANTHONY LIVINGSTON ) Born:1906 CHARLESTON, SC Career:TENOR SAX / CLARINET / ARRANGER / COMPOSER Style:JAZZ / BIG BAND With:Tal Henry / Roger Wolfe Kahn / Ben Pollack / California Ramblers / Jean Goldkette / Nat Shilkret / Don Voorhees / Jan Garber / Arranged: Frankie Trumbauer / Bob Zurke / Pinky Tomlin MacPHERSON, FRASER Born:1928 WINNIPEG, MANITOBA, CANADA Career:GUITAR Style:JAZZ MOSTLY STUDIO WORK FROM THE 1940'S / IAN McDOUGIL MASON, PHIL Born:1940 LONDON, UK Career:CORNET Style:TRAD / JAZZ With:ERIC SILK / MAX COLLIE / NEW ORLEANS ALL STARS McDONOUGH, DICK (RICHARD Born:1904 NEW YORK, NY Career:GUITAR / BANJO JAZZ / Style:BIG BAND With:RED NICHOLS / RED McKENZIE / BOSWELL SISTERS / BENNY GOODMAN / JOE VENUTI / MILDRED BAILEY / ADRIAN ROLLINI / GLENN MILLER-1937 / CARL KRESS MURPHY, ROSE ( CHEE CHEE ) Born:1913 XENIA, OH Career:SINGER Style:JAZZ / BIG BAND With:MAJOR HOLLY RYDER, NOAH FRANCIS Born: 1914 NASHVILLE, TN Career:PIANO Style:BLUES / JAZZ With:DEEP RIVER BOYS STONE, BUTCH (HENRY) Les Brown band from 1941 into 70s. / Frank Reysen / Van Alexander / Jack Teagarden briefly 1940 / Larry Clinton 1941 WILLIAMS, FESS STANLEY R. Born:1894 DANVILLE, KY Career:LEADER / CLARINET / ALTO SAX Style:JAZZ With:Frank Port / Fess Williams and His Royal Flush Orchestra / Led band at Savoy Ballroom most 1926 -1927. ZEITLIN, DENNY (DENNIS JAY ) Born:1938 CHICAGO, IL Career:KEYBOARDS Style:JAZZ two careers, one in music and the other in psychiatry / Oscar Pettiford / M.D.from Johns Hopkins June 1964 / several appearances on the Tonight TV show. FOR A LISTING OF THOSE THAT PASSED AWAY IN THIS MONTH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Tue, 9 Apr 1996 10:38:31 -0700 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: An important reminder Although I am no longer a subscriber to blues-l, a post was forwarded to me by a personal friend regarding a change in the disposition of the profits from the sales of the BluesBytes tape. I feel that I should remind everyone that back when I *was* on blues-l, I was told that the Blues Heaven Foundation was voted to receive this money, and I was asked if I would present the check to marie Dixon, who is a close friend. I agreed to do so, after checking with Marie. She suggested that I bring a camera over to her house and photograph her holding the check. This picture could then be sent to blues-l as a thank you, and might also be published in the news column of one or more of the publications to which I frequently contribute. Later, when I unsubscribed from blues-l, I felt that it would be inappropriate to act on behalf of an organization to which I no longer belonged, and suggested to Bob Unger in a private email that he simply mail the check to Blues Heaven, and provided him with their address. A point: I don't care what happens to the money. None of it was mine. Another point: In our many conversations since that time, Marie has never once mentioned this matter, and may in fact have forgotten all about it. The main point: this outfit made a commitment, and authorized me to act as its representative in effecting that commitment. On blues-l's behalf I told Blues Heaven that a check would be forthcoming. Your list is beginning to build a reputation for itself; well, as we all know, a very important element of any organization's reputation is it's credibility. No one "outside" knows about this matter, so it's not a case of *public* credibility, but rather one that the listmembers should sort out for themselves. So: you call it. Since I am no longer on the list I will most likely not see any responses to this post. Mary Katherine Aldin ========================================================================= Date: Tue, 9 Apr 1996 12:47:19 -0500 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: Bitterness and Purists Comments: To: dcicchet@LASIERRA.EDU In-Reply-To: <199604091657.JAA15067@inet.lasierra.edu> from "Don Cicchetti" at Apr 9, 96 08:55:28 am In an earlier message, Don Cicchetti said: ] A writer and record collector is angry at the world for not worshipping at ] the alter of "real" blues, and dumps on blues-rock guys and pop music in ] general as often as possible. This is my pet bitch. Does anyone seriously think that Mike Bloomfield, Johnny Winter, or the oft-maligned Eric "I wanna be Elmo' when I grow up" Clapton take any record sales away from Muddy Waters, et.al.? I'd say much the opposite. Clapton led _me_ to Robert Johnson and Freddy and Albert King; without Winter, I'd have no CLUE who Muddy was. ] Now it is my contention that these people have poisoned themselves... Amen, Brother! ] Muddy, RJ, Wolf and everyone else we adore certainly saw themselves as ] entertainers! ] But fans and followers are so busy enshrining and criticizing, we forget ] this don't we? There's another thing -- lately, I've seen "purists" slam youngwhitebluesrockers, even tho Muddy and the Wolf both knew, played with, liked and respected guys like Bloomfield and Winter. Meanwhile, we've been told lately that studying music theory will take the "feeling" ouuta yer music -- never mind the fact that the Wolf studied for years at the Chicago Conservatory. (Maybe it was because he hadn't had the Offical White Liberal Course in How to Be Black ? He din't realise his Deep Cultural Significance, or understand his part in the Epic Drama of the Black Experience as vicariously lived by a buncha trust-fund hippies somewhere....) ] 1. It's ALL commercial! every dang little bit of it. every artist wants ] to sell recordings... period.. and so they should. I have recorded ] hundreds of people, and have never met someone yet that was consciously ] "prostituting themselves". The distinction between "art and purity" on ] one side and "commerce and whoring" on the other side is *infantile* and ] absurd. The truth is, its always both! *Art and Commerce* Is it GOOD ] art & commerce? Everything else is just talk. Bingo. It's always been about survival. If the choice is between playing Dire Straits and diggin' ditches, well, it's an easy choice. Hmmm.... to really stir things up, I seem to remember at least one major blueslady who was reputed to do _real_ prostitution when she wasn't singing. Where does she fit in? -- "Whoring -- it's a blooz tradition". ========================================================================= Date: Tue, 9 Apr 1996 17:40:53 GMT Reply-To: bbbean@sheltonlink.com From: bbbean@SHELTONLINK.COM Organization: inlink Subject: Re: Memphis travel/music info needed Comments: To: bit-listserv-blues-l@uunet.uu.net In <4k2udu$abf@newsbf02.news.aol.com>, Bluesagent writes: >When in Memphis... >At the risk of starting a flame war, I'll admit that after extended trips >away from home, I've been know to eat a jumbo chopped pork sandwich from >Tops BBQ on Union Ave for breakfast. It had to be done- BBQ is a >mysterious thang. >There's lots of great BBQ in Memphis.... Ee gads, man, with all the great joints in town and you went to TOPS? Thats like listening to a bar band when Muddy's playing just around the corner.... On a related note, while you're in Memphis, listen to WEVL at FM 89.9. In addition to great blues shows, they give regular updates on live music and the staff is compposed of walking musical encyclopedias. Most of the DJs are musicians, music scholars, or 78 collectors themselves, so the music runs pretty deep. BBB B.B. Bean New address------>bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Tue, 9 Apr 1996 19:46:57 +0200 Reply-To: Rudi Vandermeiren From: Rudi Vandermeiren Subject: Denver, Co (NO BLUES) The first days of june I will travel to Denver to attend a convention.The next two weeks I will stay in the area to take some vacation. Any information on where to go and what to see in Denver and the state of Colorado (I'll have a car) would be more than welcome. Since this has no bluescontent, private mail please. Rudi Vdm. e-mail : Rudi.Vandermeiren@ping.be URL : http://www.ping.be/~ping0935 ========================================================================= Date: Tue, 9 Apr 1996 14:00:09 -0400 Reply-To: bob unger From: bob unger Subject: BluesBytes facts. Bluezellers....... Here are all the facts and figures concerning the votes from the purchase of BluesBytes: After all production costs (cassette duplication, envelopes, packing material, postage - both domestic and international) the profit amounts to $525. 100 copies were made and sold. (The last one being sold today to Bernie Clarke) Those copies were sold to a total of 78 people. Each order was allowed one vote, despite the number of tapes that any one person ordered, so I have a total of 78 votes. Here is the breakdown of those votes. Blues Heaven - 28 Delta Blues Museum - 25 Rhythm & Blues Foundation - 9 No preference - 16 - the no preference voters asked me to pick whoever I liked. I chose Blues Heaven, so that raised the total for Blues Heaven to 44. Just before all the tapes were sold, I was made aware of the Mt. Zion foundation and it's work. As producer of this entire project, I thought I would like them to have a shot at this donation as well. I asked Cathi Norton if she would be kind enough to inform the list about Mt. Zion and it's work and ask if anyone would like to change their votes to help this cause. Here is the breakdown of that vote: 11 switched their vote to Mt. Zion 4 stayed with Blues Heaven 2 had no preference. This brings the count so far to: Blues Heaven - 25 Delta Blues - 22 Mt. Zion - 11 Rhythm & Blues - 9 No preference - 11 As there are still 61 people who have the right to change their vote, I am leaving this open until this Friday, April 12. If anybody wants to change their vote to Mt. Zion, please notify me, not Cathi. Cathi will be away for a few days and she's done enough already. Again, with the no preference votes, I will cast them to my choice. The following is quoted from Mr. Tom Freeland: "As I understand it, Blues Heaven (which is scheduled to open the Chess studio in June) and the Delta Blues Museum where selected as the beneficiaries. Why has this changed? Who is going to tell them we reniged?" This is inaccurate. There was never going to be 2 beneficiaries. The one who recieved the most votes was going to recieve the donation. As it stands right now, Blues Heaven has recieved the most votes. If the majority of the votes change that to Mt. Zion, then they will recieve the donation. If that becomes the case, then I will not, repeat, will not notify Blues Heaven that we "reniged" because I never notified Blues Heaven that they were selected. BEFORE all the tapes were sold, all indications pointed to Blues Heaven as the winner, but I was not going to announce "the winner" while I still had tapes sitting here waiting to be sold. I don feel like I have to notify anybody that we are "reniging" because I never officially notified anybody. So, in order to draw this to a conclussion...... If anybody wants to change their vote for Mt. Zion, notify me by Friday. Next week, I will be notifying the organization with the most votes that they will be recieving a check on behalf of blues-l. Bob Unger bob@sun.bnkst.edu ========================================================================= Date: Tue, 9 Apr 1996 14:05:50 -0400 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: Bitterness and Purists Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199604091657.JAA15067@inet.lasierra.edu> Don Cicchetti writes: >Couple of points: (especially for musicians and industry pros) >1. It's ALL commercial! every dang little bit of it. every artist wants >to sell recordings... period.. and so they should. I have recorded >hundreds of people, and have never met someone yet that was consciously >"prostituting themselves". The distinction between "art and purity" on >one side and "commerce and whoring" on the other side is *infantile* and >absurd. The truth is, its always both! *Art and Commerce* Is it GOOD >art & commerce? Everything else is just talk. Quite true. There is far too much finger-pointing about this or that artist "prostituting" himself. The artist knows better than any one else when he compromises his integrity. And if he doesn't know it, maybe he wasn't an "artist" to begin with. >How can you love YOUR music if you hate everyone else's? Different strokes for diferent folks. We should respect others' opinions no matter how much we disagree. Intelligent discussion and debate are always worthwhile. I don't force my tastes on others, but I'm always trying to share "my" music with anyone who will take the time to listen. I don't understand what some people gain by putting down others' tastes. ========================================================================= Date: Tue, 9 Apr 1996 12:56:46 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: Blues-b Vote Paul...and everyone... There are no villains here to my way of thinking. I was never dissatisfied with the first vote...just offered to conduct a second one at someone else's request. I apologize to any and all whose feathers got ruffled. I think Unger has this situation in hand anyway....I defer to him. Cathi N. ========================================================================= Date: Tue, 9 Apr 1996 17:56:28 GMT Reply-To: Mark A Basten From: Mark A Basten Organization: College of Engineering, Univ. of Wisconsin--Madison Subject: Boxes O' Elmore Comments: To: bit-listserv-blues-l@uunet.uu.net Does anyone out there have both the Fire/Fury/Enjoy and the Modern/Meteor/Flair boxes of Elmore James? I have the former and have gone so far as to carry the latter around the record store on several different occasions before putting it back. How are the notes in the Modern box? It seems that there is a larger number of alternate takes - can there be too much Elmore? What do y'all think? While I'm begging for advice, can anyone recommend some biographical articles, perhaps even a book, on Elmore James? Mark Basten basten@cae.wisc.edu ========================================================================= Date: Tue, 9 Apr 1996 12:53:00 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Bitterness and Purists In-Reply-To: Message of Tue, 9 Apr 1996 12:47:19 -0500 from > >] 1. It's ALL commercial! every dang little bit of it. every artist wants >] to sell recordings... period.. and so they should. I have recorded >] hundreds of people, and have never met someone yet that was consciously >] "prostituting themselves". The distinction between "art and purity" on >] one side and "commerce and whoring" on the other side is *infantile* and I recall the advice given to an up n' coming band: "Don't stop in Memphis because they have garbage collectors who will blow you off the stage". It is MY opinion that the best musicians in the world have never been recorded. They do it for fun/hobby. I remember back when Danny Gatton was voted best unknown guitarist, he said he would rather work on his cars than record. The article said that many, many record companies were trying to get him to record but he wasn't interested in recording. I'm not really arguing or disputing what Don C. said , I just don't think every musician is money motivated. I think some of the best ever are still unrecorded and just doing because they love to play. There is no way to really know, but I bet WE all know musicians who are extremely talented but have no desire to record or play out. Not disputing DON C or anyone, just saying what I THINK, Don's in the business so he should KNOW. Another point is: Some artists like to keep as much control as they can with their music, so instead of signing for more money with a major label, they will stay with a smaller label and have more freedom to do their music. Why didn't Roy B... join the Rolling Stones he could have made much more money. LW BTW: I know Danny Gatton did record, but that was after he had turned down some majot record labels.... ========================================================================= Date: Tue, 9 Apr 1996 14:14:28 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Blues-B Vote Comments: To: canorton@journalism.indiana.edu In a message dated 96-04-09 13:45:03 EDT, you write: >True, you don't have a vote. Yet many who do are not >speaking up. Who, is the "someone" who "has already >notified at least one of the prior groups" that they are to >receive a check? I think this "someone" should be the >person to "regnege," if indeed that is necessary. I don't keep a file of what goes on this list, but I remember there being a vote, announced at the time of the purchases of the casettes, and that Blues Heaven and the Blues Museum were going to get the proceeds. I remember someone saying they would notify Blues Heaven. I have no idea who was involved in these transactions, but gather from P.W.'s posts that someone else thinks this has gone in a peculiar way also. >I don't think it's quite correct to say that the the prior >vote will be "ignored." Re-considered was my aim; my hope >that all those who voted would check in once more after >hearing about Mt. Zion. However the vote comes out -- >hooray. I'm not married to any particular result. > >Secondly, there are many things involving the treatment of >musical greats that are "pathetic," but honoring their >memory is not high on my list. However, if as a group we >think the money would be more useful going to the Blues >Museum, or wherever, such was the purpose of a VOTE. Didn't the vote already happen? And, in defense of my earlier statement: I have visited the homes of several Mississippi bluesmen. The conditions here are often those of the most embarrasing poverty you find in Mississippi. To pick one specific example, *giving R.L. Burnside t-shirts he can then pass on to his children and grandchildren is a meaningful gift that makes a difference to him.* Providing right-now-in-the-real-world support for folks in Mississippi means a lot more than giving bluesmen gravestones after they are gone. As in, is less likely to be too little, too late. *That* is how I meant the phrase: "In fact, it is almost pathetic to wait until they have died, apparently too poor to buy their own stone, to offer them this pittance." Do you really disagree with this? The Delta Blues Museum provides education in programs in schools where the grandchildren of the folks who created the blues are in school. I'm told Blues Heaven has similar projects. While I may not have a vote in this particular use of funds, I have a voice in arguing how scarce resources ought to be used in this community. That is why I spoke. >Freeland is using words like >renege, ignore and pathetic; Renege fit, as did the phrase "almost pathetic." The word ignore does not occur in my post. Tom Freeland ========================================================================= Date: Tue, 9 Apr 1996 14:13:35 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Dog Blues Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com There's a Gatemouth Brown song called "Alligator Eating Dog." Hope I'm not barking up the wrong tree, Steve ========================================================================= Date: Tue, 9 Apr 1996 14:29:36 -0400 Reply-To: SliderDW@AOL.COM From: Don Williams Subject: Re: HANDY AWARDS PERFORMERS Comments: To: vbean@sheltonbbs.com Wow that looks like a great lineup. Wish I could be there. Don Williams ========================================================================= Date: Tue, 9 Apr 1996 14:48:06 -0400 Reply-To: BluesMojo@AOL.COM From: Doug Carlisle WSFM Subject: Playlist....WSFM "Houserockin' Blues" WSFM Box fm 107 Wilmington, NC 28402 E-mail: Bluesmojo@aol.com fax (910) 686-7031 Sundays 9am-12pm, reported to "Hard Report" & BLUES-L featured c/d: W.C. Clarke....."Texas Soul" ------------------------------------------------------------------------------ ---------- Hour 1 W.C. Clarke I Only Have Love For You Black Top/Rounder Robben Ford & Blue Line Running Out On Me Stretch/Blue Thumb Duke Robillard Band Tell Me Why Pointblank Robert Cray Band I'll Go On Mercury W.C. Clarke Just the One I'm Looking For Black Top/Rounder W.C. Clarke Reminiscing Black Top/Rounder John Lee Hooker Chill Out Pointblank (jazz) D. Schuur & BB King I Can't Stop Loving You GRP W.C. Clarke Why Do Things Happen To Me? Black Top/Rounder Jimmy Rip Cold Comfort House of Blues Gales Brothers Hand Me Down House of Blues ------------------------------------------------------------------------------ ------------------------------------ Hour 2 W.C. Clarke Rough Edges Black Top/Rounder Roomful Of Blues I Left My Baby Bullseye/Rounder Jimi Hendrix Born Under a Bad Sign MCA W.C. Clarke Leave My Heart Alone Black Top/Rounder Eric Clapton Third Degree Reprise/Duck Otis Grand Careless Living Sequel (jazz) Richard Elliot By My Side Manhattan/Capitol W.C. Clarke Funny How Time Slips Away Black Top/Rounder Mojo Buford Married Woman Blues Blue Loon Vaughan Brothers Baboom/Mama Said Epic ------------------------------------------------------------------------------ -------------------------------------- Hour 3 W.C. Clarke You'll Need Another Favor Black Top/Rounder Taj Mahal The Car Of your Dreams Private Otis Rush All Your Love Sequel Peter Green's Fleetwood Mac Rattlesnake Shake Castle W.C. Clarke I Want to Keep you Black Top/Rounder Ian Moore Muddy Jesus Capricorn The Paladins Keep On Loving Me Baby Alligator (jazz) Henry Johnson A Love Like That MCA W.C. Clarke Ain't No Fun For Me Black Top/Rounder Stevie Ray Vaughan/Double Trouble Taxman Epic Kenny Wayne Shepherd I've had Enough Giant W.C. Clarke Baby, What About Me?? Black Top/Rounder ========================================================================= Date: Tue, 9 Apr 1996 13:44:36 -0500 Reply-To: Bill Kolstad From: Bill Kolstad Organization: Educational Computing Network, Illinois USA Subject: Re: Chicago Fest question Comments: To: bit-listserv-blues-l@uunet.uu.net In article , James Leftwich wrote: >I'm considering heading to Chicago for the festival but have a few qualms. > >(1) Just how crowded is it? If the weather is good could be near 100,000 easy. >(2) Can you see the stages? Small stages aren't a problem, the main stage you really can't see what's happening unless you are in the seated section. >(3) Is it a good idea to bring a chair? Only if you like carrying things through crowds. >(4) Can you bring alcoholic beverages? Officially, No. Unoffically, yes. >(5) Is there someway to get a brochure detailing answers to these > things so no one actually has to respond to this? Check out the City of Chicago Web site. http://www.ci.chi.il.us Look under festivals and events, more info there. Bill Kolstad (May 31, June 1 & 2! See ya there!) ========================================================================= Date: Tue, 9 Apr 1996 14:06:05 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Papa Lightfoot Comments: To: "Raymond O. Varner" > From: "Raymond O. Varner" > I'm looking for any contemporary release that includes "Wine, Whiskey, and Women" by George "Papa" Lightfoot. Other included Lightfoot recordings would be nice, also. I have this on a vinyl LP issued three or four years ago called "Stompin' - vol 1". This is a various-artists compilation of obscure R&B. "Wine..." is the only Lightfoot track on the record, although there is another one ("Jump the Boogie") on volume 2. I think these records are still available - I just saw several of the volumes in this great series (20 records issued so far) for sale at the Down Home Music store in El Cerrito and have also seen them for sale here in Madison. EW ========================================================================= Date: Tue, 9 Apr 1996 19:05:37 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: MAGIC SLIM IN THE MIDLANDS (UK) Comments: To: bit-listserv-blues-l@moderators.uu.net CALLING ALL BLUES FANS IN THE MIDLANDS, UK If there are any Blues-L subscribers out there who live within a forty mile radius of Brierly Hill, then get this date in yer diaries. MAGIC SLIM AND THE TERADROPS (The best live Blues band on the planet - B&R Magazine) will be playing the Robin R&B Club, Brierley Hill, West Midlands on MAY 21ST. The gig is being promoted by the Southside Blues Society - (actually Ray Gardner and Mick Rainsford) as a last ditch effort to drag Blues fans outta their comfy houses on a Tuesday night to see a decent band. You have no excuse, the football season will be over, Villa have won the Coca Cola Cup, the Blues (Birmingham City) are staying where they belong, so get you yas yas out and support a live blues gig. You have been warned this is your last chance Midlanders!! Ticket price 6:00 from Ray at 0121 477 9771 ========================================================================= Date: Tue, 9 Apr 1996 13:35:49 -0500 Reply-To: Roger Struve From: Roger Struve Subject: BluesBytes facts. -Reply Comments: To: bob@SUN.BNKST.EDU I really don't see why any more time is required. The list was queried a second time, asking if anyone wanted to change their vote. A number of respondents did. The winner is still Blues Heaven....so send 'em the money already!!@ ddr ========================================================================= Date: Tue, 9 Apr 1996 15:46:43 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Bitterness and Purists Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU On 9 Apr 96 at 12:53, ISTS024%UABDPO.BITNET@BROWNVM wrote: > > I recall the advice given to an up n' coming band: "Don't stop in Memphis > because they have garbage collectors who will blow you off the stage". It is > MY opinion that the best musicians in the world have never been recorded. This idea is a popular fantasy among musicians who have for whatever reason never "made it". It's really a silly idea that the "best" would also be the unknown. > They do it for fun/hobby. I remember back when Danny Gatton was voted best > unknown guitarist, he said he would rather work on his cars than record. The > article said that many, many record companies were trying to get him to record > but he wasn't interested in recording. I'm not really arguing or disputing > what Don C. said , I just don't think every musician is money motivated. I > think some of the best ever are still unrecorded and just doing because they > love to play. I learned from someone close to Danny's family that the reason Danny took his own life was because he was suffering from an illness that would have eventually affected his ability to play guitar. He didn't want to live and not have all his ability to play. That doesn't seem to jive with your idea that he wasn't really interested. Also, Danny played guitar for a living. That is how he paid his rent, and fed himself and his family. It wasn't just a hobby. > > There is no way to really know, but I bet WE all know musicians who are > extremely talented but have no desire to record or play out. I know plenty who are talented and aren't very disciplined about working towards success but not a single one who doesn't envy the success of other musicians. Look, LW, it's a PERFORMING art. If you do it alone in your room, you ain't doing it. That's PRACTICING. (just like sex) > > Not disputing DON C or anyone, just saying what I THINK, Don's in the > business so he should KNOW. > > Another point is: Some artists like to keep as much control as they can with > their music, so instead of signing for more money with a major label, they > will stay with a smaller label and have more freedom to do their music. That's not a desire to NOT make a lot of money, or reach a lot of people, that's a sacrifice. The desire to reach a larger audience with your "uncorrupted" music is still as strong. The need to earn a living will exist until you die. A person who spends his whole life playing music only for himself, is the same as a person who masturbates for his whole life without ever making love to another human being.... a pity. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Tue, 9 Apr 1996 15:49:59 EST Reply-To: mstringer@HEARST.COM From: Mark Stringer Subject: Modal? I just read in Living Blues magazine, that "'Smokestack Lightning' is the quintessential modal Wolf track". What does Bill Dahl mean by "modal"? Studying the blues, Mark ========================================================================= Date: Tue, 9 Apr 1996 15:55:03 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Blues Bytes, Money & B*llshit .... From someone who helped f*ck up the U.S. Blues tour guide, take it private and work out the details there. Then post the solu- tion, and keep it nice nice. My guess is that the grizzlier it gets - the chance of another happening grows dramatically less. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 9 Apr 1996 16:05:40 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Bitterness and Purists Comments: To: billy@cast.msstate.edu In a message dated 96-04-09 14:29:47 EDT, billy@CAST.MSSTATE.EDU (Billy Chambless) writes: >It's always been about survival. > >If the choice is between playing Dire Straits and diggin' ditches, well, >it's an easy choice. > >Hmmm.... to really stir things up, I seem to remember at least one major >blueslady who was reputed to do _real_ prostitution when she wasn't >singing. Where does she fit in? >-- >"Whoring -- it's a blooz tradition". I accepted some of the notions with which this thread began-- that we should not falt people who do what they do to make a living, and that the appelation "commercial" isn't by itself a criticism. (Or, to put it in a context of art, everyone wants an audience). But.... Can I now assume that this rant against "purist collectors and writers" is intended as ironic? Or that actual whoring and Eric Clapton are equally definsible? (We did once have someone from COYOTE on this list didnt we?). Personally, I respect people who do what they have to do to make a living. Yet, I don't think it wonderful that, on more than an occasional basis, great artists are left to toil in brutal conditions, only to be recognized after death at a time when their followers (is that more polite than "lesser immitators") get quite wealthy following in their wake. And I think, partly due to the racial and economic conditions of 20th century America, the blues has had more than its fair share of great-artists-in-brutal-conditions. But, I don't think my view is a view limited to "blues purists" or this problem to the blues. Lack of commercial success (or even the possibility of it) made Robert Johnson a hobo at a time he was recording some of the greatest records records ever made. Commercial pressures caused William Faulkner to sell his soul to Hollywood because his books had slipped out of print and he no longer could support his family writing fiction. They (at least in part) prevented Van Gogh from selling a painting in his lifetime, and allowed RKO pictures to rape-by-editting Orson Welles' masterpiece THE MAGNIFICENT AMBERSONS. The commerical failure (AT THE TIME) of these artists does not make their achievement any less. Commercial success would not have either. Tom Freeland ========================================================================= Date: Tue, 9 Apr 1996 14:55:48 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Bitterness and Purists In-Reply-To: Message of Tue, 9 Apr 1996 15:46:43 -0500 from I know there are a lot of starving musicians that could make a better living and have better benefits working at K-mart, but they keep traveling around barely making it....WHY If it's money they desire then why do they not get a better paying job...? I THINK it's because the love what they are doing and the money is secondary I just can't buy the idea that ALL musicians are money motivated. I agree sharing it is fun, but you don't have to share it to be very talented. There are too many blues musicians that could do better playing rock music face it , blues is not mainstream. The majority of record buyers are not blues fans, so why do these musicians stay in blues music. After all they are looking for a hit record...right...Wait could it be that they like the music they are playing better than the money they could be making by playing other types of music.....No couldn;t be, but hey it was a thought. LW 'so Little Walter was nobody until he had a hit...yeah I understand' ========================================================================= Date: Tue, 9 Apr 1996 16:07:56 -0400 Reply-To: Matth54041@AOL.COM From: Matthew Collins Subject: Re: Bitterness and Purists Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu In a message dated 96-04-09 15:01:25 EDT, ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU (L W) writes: >I recall the advice given to an up n' coming band: "Don't stop in Memphis >because they have garbage collectors who will blow you off the stage". It is >MY opinion that the best musicians in the world have never been recorded. > >They do it for fun/hobby. I remember back when Danny Gatton was voted best >unknown guitarist, he said he would rather work on his cars than record. The >article said that many, many record companies were trying to get him to >record >but he wasn't interested in recording. I'm not really arguing or disputing >what Don C. said , I just don't think every musician is money motivated. I >think some of the best ever are still unrecorded and just doing because they >love to play. > >There is no way to really know, but I bet WE all know musicians who are >extremely talented but have no desire to record or play out. > >Not disputing DON C or anyone, just saying what I THINK, Don's in the >business so he should KNOW. > >Another point is: Some artists like to keep as much control as they can with >their music, so instead of signing for more money with a major label, they >will stay with a smaller label and have more freedom to do their music. > >Why didn't Roy B... join the Rolling Stones he could have made much more >money. > >LW >BTW: I know Danny Gatton did record, but that was after he had turned >down some majot record labels.... > > Danny Gatton recorded for major labels and it affected his outlook on music. Mitch Collins ========================================================================= Date: Tue, 9 Apr 1996 16:10:36 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: King Of Cats --- Albert Murray >There's a fascinating, albeit controversial, profile of blues novelist/essay- >ist Albert Murray in this week's New Yorker. It's entitled "King of Cats." >I've read a couple of his books, but knew very little about him before this. >Has anyone else read this article? > ---Marcia Yes - well worth attention. Also by the author of the Murray profile (Henry Louis Gates Jr) is 'Colored People', a fascinating, funny, moving, superbly written memoir of growing up in the pre-Civil Rights South in the fifties. Chris Smith (chris@skerries.demon.co.uk) 'Positive: wrong at the top of one's voice." (Ambrose Bierce) ========================================================================= Date: Tue, 9 Apr 1996 13:11:00 -0700 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: DOG Blues, My favorite dog blues is one that I wrote called FIDO, my old band THE SEEING I-DOGS used to play it, it included verses that made many a grown man, and women blush. I would list the lyrics but I don't meen to offend, Isaac ,I-Dog--- Down as dog couse my women done left me. AHHHhh the F&^(*%$ing B@#*H ========================================================================= Date: Tue, 9 Apr 1996 16:12:48 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Boxes O' Elmore Comments: To: basten@cae.wisc.edu In a message dated 96-04-09 14:54:03 EDT, basten@CAE.WISC.EDU (Mark A Basten) writes: >Does anyone out there have both the Fire/Fury/Enjoy and the >Modern/Meteor/Flair boxes of Elmore James? I have the former >and have gone so far as to carry the latter around the record >store on several different occasions before putting it back. >How are the notes in the Modern box? It seems that there is >a larger number of alternate takes - can there be too much Elmore? >What do y'all think? too much elmore? TOO MUCH ELMORE? of course not! I have both boxes. The later work is in its own way as essential as the earlier. Further, the idea of being able to cut through the tangle of Elmore James discography with TWO SIMPLE (expensive?) PURCHASES is alone worth the price of admission. You should have tried to do this in the vinyl days. Yes, you need it. Tom Freeland ========================================================================= Date: Tue, 9 Apr 1996 16:12:55 EST Reply-To: mstringer@HEARST.COM From: Mark Stringer Subject: cross cut saw Can anyone complete this line from the Albert King song, Cross-cut Saw? I'm a cross-cut saw just drag me across your log I'm a cross-cut saw just drag me across your log I cut your wood so easy for you you ____________________. I've listened over and over, can't make it out. Thanks, Mark ========================================================================= Date: Tue, 9 Apr 1996 16:25:52 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: cross cut saw Comments: To: mstringer@hearst.com On 9 Apr 96 at 16:12, mstringer@hearst.com wrote: > Can anyone complete this line from the Albert King song, Cross-cut Saw? > > I'm a cross-cut saw > just drag me across your log > I'm a cross-cut saw > just drag me across your log > I cut your wood so easy for you > you ____________________. > > I've listened over and over, can't make it out. ... can't help but say, "Hot Dog!" P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Tue, 9 Apr 1996 16:45:35 -0400 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: Bitterness and Purists Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199604091945.PAA81584@osceola.gate.net> "P.W. Fenton" writes: >Look, LW, it's a PERFORMING art. If you do it alone in your room, >you ain't doing it. That's PRACTICING. (just like sex) Ummm....P.W., that AIN'T sex.. :-) >A person who spends his whole life playing music only for himself, is >the same as a person who masturbates for his whole life without ever >making love to another human being.... a pity. On a serious note..I do agree with most of what you said..but I believe that someone can play music solely for their own enjoyment. BUT these are not the folks we've been discussing. We're talking professionals here..or wanna be pros. ========================================================================= Date: Tue, 9 Apr 1996 12:57:29 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Bitterness and Purists LW said: edit edit >I recall the advice given to an up n' coming band: "Don't stop in Memphis >because they have garbage collectors who will blow you off the stage". It is >MY opinion that the best musicians in the world have never been recorded. I keep hearing this... and I look and look for these people so I can record them... and dang! can't find 'em! When someone has not ever been recorded there is usually a reason.... not always, but usually. >There is no way to really know, but I bet WE all know musicians who are >extremely talented but have no desire to record or play out. Actually, I only know moderately talented musicians who don't want to play out and record... A genuine *gift* is almost always accompanied by a desire to play for others. And certainly by a desire to pay the mortgage if nothing else. >Another point is: Some artists like to keep as much control as they can with >their music, so instead of signing for more money with a major label, they >will stay with a smaller label and have more freedom to do their music. True, yet they are just as "commercial" as anyone else once they sign that contract. It's the same activity. Oh, and if they are really good, their label will ink a distribution deal with a major so that we can all hear this great music.... I had this discussion with a producer-wannabe a few years ago. He was managing a REALLY good singer and was pissed off because this guy couldn't break through. He blamed it on the biz, and said "oh people don't want quality, the music biz is only interested in garbage" etc etc Well, I got tired of hearing this, and said: "Hey, name an artist who can't break out and I'll tell you why"... He says OK, how about: _________? (name deleted) "Can't sing, sings anyway" _________? (name deleted) "doesn't write enough tunes and is too insecure to ask for help" _________? (name deleted) "doesn't write at all, and his "producer" isn't well-connected enough to get him good material" _________? (name deleted) "too arrogant and manipulative, has lost the respect of his band and no one sends opportunities to him any more" _________? (name deleted) "over-hypes the crap out of himself (Chaka is coming to my show!!) and then can't follow through, so people think he's a flake" I could go on and on and on... These are all real stories and real people.... There are wonderful unknowns out there, but they will not be unknowns for long IMO.. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 9 Apr 1996 15:49:23 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Long Beach Blues .... Word is this Saturday there will be a show at Carpenter Center at Cal State in Long Beach (310-985-7000) featuring - Doug MacLeod Charlie Musselwhite Keb Mo John Hammond Not affiliated, outside of a big fan of Doug's. Those other guys I assume are good too :). Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 9 Apr 1996 16:58:18 EDT Reply-To: ron kraemer From: ron kraemer Subject: Kevin's Harps My buddy and "Hurricane Harp-Guy" Kevin Magowan of "Kevin's Harps" is now accessible over the 'Net! He just got an e-mail address, and can be reached at... kharps@gbsias.com Not that he knows what to do with it yet. Kevin is still a babe-in-the-woods as far as the Internet goes, but he's a MAN among men as far as Harps go! :) His catalog includes everything and anything about harps, and also offers CD's and other good info inside. Kevin's 800 # is 1-800-27HARPN. I'm not on Harp-L, where this should DEFINITELY be, so feel free to forward it there. Thanks for your indulgence. Ron ObBlues: Kevin's gonna see the Taj/Keb' show tonight! Rat B*stard will probably get backstage and sell some harps. :) ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters (and in another life....) Ron Kraemer and the Hurricanes ************************************************************ ========================================================================= Date: Tue, 9 Apr 1996 15:46:09 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Bitterness and Purists In-Reply-To: Message of Tue, 9 Apr 1996 16:45:35 -0400 from I bet you the majority of musicians on Blues-l would rather play blues and make very little money, than play guitar behind Micheal Bolton and make mega bucks. You get a call and the caller says "I have two opportunities you can play in Sinead O'Connor's band for lots of COLD cash and appear on her record, OR you can play with Joe Louis Walker, but the money is not real good" So naturally you are after the cash and the hit record , so you would choose Sinead O'Connor's band..... I have no doubt that you would play with Sinead, however I myself would choose JLW.....To each his own.... LW 'why do blues musicians keep playing blues, it's not a lucrative profession' ========================================================================= Date: Tue, 9 Apr 1996 20:54:36 GMT Reply-To: bluesbabe From: bluesbabe Organization: SoVerNet, Inc. Subject: Re: Alligator Records Merchandising 800 Number Comments: To: bit-listserv-blues-l@uunet.uu.net "P.W. Fenton" wrote: >On 8 Apr 96 at 18:10, bluesbabe wrote: >> Anyone out there in bluesland know the 800 number for Alligator >> records?? I wish to purchase articles that are not retailed in my >> area. Thank alot.....BluesBabe >> >800-344-5609 THANK YOU P.W. the orders in and on its way:) ========================================================================= Date: Tue, 9 Apr 1996 20:01:36 GMT Reply-To: Steve Dafoe From: Steve Dafoe Organization: SuperNet Inc. (908) 828-8988 Subject: Re: Hound Dog Taylor Discography Comments: To: bit-listserv-blues-l@uunet.uu.net Shaun T Cronin wrote: >I was wonderin' what Hound Dog Taylor albums exist apart from the Alligator >releases and the other two I mention. >If anyone knows of any other CDs (and how to get them) please let me know. >Shaun Not on CD (that I recall), but a 1984 2-LP set called CHESS BLUES RARITIES on CHESS (mfg. by MCA but address was still listed as Englewood, NJ), included five songs by HOUND DOG TAYLOR: Down Home Special, Watch Out (which seem to have been both sides of a CHECKER 45) and the previously unissued Scrappin', Sittin' Here Alone & Hound Dog. The recordings took place in October, 1969 & featured Willie Dixon on bass, Walter Horton on harp & (possibly) Lafayette Leake on piano. I don't recall these Taylor cuts on the 4-CD CHESS BOX or any other CD release. ========================================================================= Date: Tue, 9 Apr 1996 16:03:35 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Long Beach Blues .... In-Reply-To: Message of Tue, 9 Apr 1996 15:49:23 -0400 from On Tue, 9 Apr 1996 15:49:23 -0400 Barry Silverberg said: > Word is this Saturday there will be a show at Carpenter Center > at Cal State in Long Beach (310-985-7000) featuring - > > Doug MacLeod > Charlie Musselwhite > Keb Mo > John Hammond > > Not affiliated, outside of a big fan of Doug's. Those other guys > I assume are good too :). I've heard of those other guys, also. Doug was real excited about this gig and made the comment "Man wouldn't that be a great show to take on the road" That's a great lineup and Keb' Mo also :-) LW ========================================================================= Date: Tue, 9 Apr 1996 13:45:49 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Bitterness and Purists LW said: >I bet you the majority of musicians on Blues-l would rather play blues and make >very little money, than play guitar behind Micheal Bolton and make mega bucks. > >You get a call and the caller says "I have two opportunities you can play in >Sinead O'Connor's band for lots of COLD cash and appear on her record, OR you >can play with Joe Louis Walker, but the money is not real good" > >So naturally you are after the cash and the hit record , so you would choose >Sinead O'Connor's band..... > >I have no doubt that you would play with Sinead, however I myself would choose >JLW.....To each his own.... But see, that is the misconception that so many people have! That these things are mutually exclusive... My buddy Paul got to hang with BB and meet his band, during a week-long engagement in Reno while he was playing bass with The Association! You can name most any blues act you want to, and he has met them and knows them by name because he has been on the circuit for so long with acts that many would turn their noses up at like The Mama's and Papa's and others. Leonard, we don't generally *get* two calls on the same day, one for money and one for love, and have to decide That is not how life really works..... What we get is what we get, and we make the best of opportunities or we pass on them. Should he have stayed home and never met BB, and everybody else? Yet he had to put up with jerks coming to shows (on HIS guest list no less) telling him "you should be playing jazz dude, you're just selling out here..." And all these bozo's had good-paying day jobs of course... Paul says BB was real nice to him and treated him with the respect due a colleague. Too bad his guest-list buddies didn't have that kind of class! DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 9 Apr 1996 16:44:43 -0500 Reply-To: David Silberberg From: David Silberberg Subject: Re: Bitterness and Purists At 02:55 PM 4/9/96 CDT, L W wrote: > >There are too many blues musicians that could do better playing rock music >face it , blues is not mainstream. Why do we assume that all it takes to get a "hit" is to do some rock music? I'll bet (without any real knowledge, of course - but that never stops me) that there are more struggling rock bands than there are struggling blues bands - maybe even considering only percentages. And from another message, same day, L W wrote: >You get a call and the caller says "I have two opportunities you can play in >Sinead O'Connor's band for lots of COLD cash and appear on her record, OR you >can play with Joe Louis Walker, but the money is not real good" > >So naturally you are after the cash and the hit record , so you would choose >Sinead O'Connor's band..... > >I have no doubt that you would play with Sinead, however I myself would choose >JLW.....To each his own.... I would also bet that for most musicians - blues or otherwise - the choice would not be between O'Connor and Walker, but between something and nothing. But assuming the choice is between O'Connor and nothing - or at least between O'Connor (or Bolton or etc.) and almost non paying local gigs - wouldn't you take the O'Connor tour - both for the money AND FOR THE EXPERIENCE - to help you grow as a professional musician, which could only help your ability to play your first love (the blues)? I would think that anyone who would give up the chance to go out with an established star - whether it be in the genre of your choice (JLW) or not (O'Connor, Bolton, Iggy Pop) - for the money or for the experience - would not be very serious about being a professional musician. David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Tue, 9 Apr 1996 18:09:05 -0400 Reply-To: Andre Prevos From: Andre Prevos Subject: Vote? Vote? I bought a Bluesbytes cassette and I enjoy listening to it. When I bought it I mentioned that I had no particular choice. Please do not tell me now that I should have asked for the chance to vote on whether the first or second of n-th vote would be the *final* and *real* vote. Listening to the cassette is what I wanted to do. I also agreed to help a worthwhile project (all the projects mentioned were worthwhile as far as I was concerned). If I wanted to help another project (like, say *loony Frenchmen belonging to Blues-L*), I would make my own cassette of French blues and offer it for sale on this list and get my lower back fried to a crisp. That's all. Andre J.M. Prevos AXP7@psu.edu "Tout quelqu'un s'appelle moi fou Mais mon nom c'est Clifton Chenier." Clifton Chenier.. ========================================================================= Date: Tue, 9 Apr 1996 14:34:37 -0500 Reply-To: David Melton From: David Melton Subject: Going no mail Hey everybody, Going no mail until beginning of May. See y'all. Dave Melton ========================================================================= Date: Tue, 9 Apr 1996 18:27:22 -0400 Reply-To: James Leftwich From: James Leftwich Subject: Re: King Of Cats --- Albert Murray Comments: To: Chris Smith In-Reply-To: <829072341.14804.0@skerries.demon.co.uk> Albert Murray is also the author of _Train Whistle Guitar_ one of my favorite novels ever. Any blues fan should read this touching paean to the joys of youth. It features a bluesman Stagolee... On Tue, 9 Apr 1996, Chris Smith wrote: > >There's a fascinating, albeit controversial, profile of blues novelist/essay- > >ist Albert Murray in this week's New Yorker. It's entitled "King of Cats." > >I've read a couple of his books, but knew very little about him before this. > >Has anyone else read this article? > > ---Marcia > > Yes - well worth attention. Also by the author of the Murray profile (Henry > Louis Gates Jr) is 'Colored People', a fascinating, funny, moving, superbly > written memoir of growing up in the pre-Civil Rights South in the fifties. > > > Chris Smith (chris@skerries.demon.co.uk) > 'Positive: wrong at the top of one's voice." (Ambrose Bierce) > ============================================================================= Jim Leftwich Jim's Blues N' Brews leftwich@cloud9.net http://www.cloud9.net/~leftwich "I'm on cloud9!" :) New CD Giveaway: Jordan Patterson ============================================================================= ========================================================================= Date: Tue, 9 Apr 1996 17:30:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Re: cross cut saw Comments: To: mstringer@HEARST.COM > >Can anyone complete this line from the Albert King song, Cross-cut Saw? > > I'm a cross-cut saw > just drag me across your log > I'm a cross-cut saw > just drag me across your log > I cut your wood so easy for you > you ____________________. The end of the line - I can make out all of it - seems to be: " ...holler Hot Dog!" maybe it's make you wanta holler Hot Dog!" -Bonnie ========================================================================= Date: Tue, 9 Apr 1996 15:56:28 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Bad News! I'm Back:-) OK, my server problems have been fixed and I just spent about 25 minutes downloading the backlog of mail. And we have been a busy little Blues-L over the past four days. Flames galore, opinions flying left, right and centre. I'd thought things would be quite over the holiday weekend. Oh well. Back into the fray. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Tue, 9 Apr 1996 15:56:47 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Blues-L in the News Interesting article. But I found this: >"I remember when I first saw it there was one scene that really knocked me >out", writes one fan, in the Internet discussion group bit.listserv.blues-l. >"And it was John Lee getting down and playing the boogie on the street. I >made sure I scanned the credits to find out who that was." I can't remeber if this is exactly what I wrote but, for what it is worth, I'm sure that I wrote this. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Tue, 9 Apr 1996 15:57:00 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Selling Out LW wrote: >However, IMHO Luther Allison (& Buddy Guy) are just as much blues-rock as SRV >was or any of the others. I saw Luther Allison and he put on a good show and >he's a great guy, but his prolonged solos and he never made it whisper (at >least at this show he didn't)....He began to get on my nerves, I have to agree >with the Living Blues (I'm pretty sure it was LB) review of his cd that said >too much, too fast...etc. I like to hear more song than solo. Just MHO and one >time experience seeing Luther. I agree about making a guitar whisper. The full on intensity can be a little too much. On "Blues Streak" he does quiten down a little. Maybe he get's carried away live. I disagree witht he blues-rock tag. Maybe I'm just playing semantics but I would call Luther and Buddy's music as rock-influenced blues as opposed to blues-rock like the Allman Brothers, ZZ-Top etc. >I remember reading where Albert Collins told John Campbell that he JC played >great, but you have to make it whisper sometimes...I think that's good advice Was it Albert? I remeber the qoute as well. I thought it was Gatemouth Brown. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Tue, 9 Apr 1996 18:49:33 -0400 Reply-To: FrancBooth From: FrancBooth Organization: America Online, Inc. (1-800-827-6364) Subject: Re: cross cut saw Comments: To: bit-listserv-blues-l@uunet.uu.net I agree Hot Diggity Dog! ========================================================================= Date: Tue, 9 Apr 1996 15:57:06 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Where did this lick come from? Here is one for all you guitarist. On Elvis Presley's version of "Good Rockin Tonight" Scotty Moore plays a lick in E that goes ascending, open high E and E (B string, 5 fret), a double stop at the 7th fret consisting of B (E string) and G# (B string) then a double stop at the 12 fret (E and B). SRV used the same lick on "Pride and Joy" Now my question is can anyone place this lick earlier than Elvis's "Good Rockin' Tonight"? Just out if idle curiosity folks. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Tue, 9 Apr 1996 18:48:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Otis Clay/Tyrone Davis review The first annual "BELOIT BLUES FESTIVAL" was held Sunday night, April 7th, in this small town on the Wisconsin-Illinois border. TYRONE DAVIS and OTIS CLAY were the only acts. A buncha Madisonians including Bonnie the K. and Kitty from WORT-FM, Art Schuna and his better/other half, were in attendance. Most of the middle-aged audience were appropriately decked out for Easter Sunday; we of the Mad-town crew looked pretty "clean" ourselves. We were treated to an opening act of some teenage dancers, young men and women, who I think were also from Chicago, who laid down some extremely energetic dance steps accompanied only by percussion. The tempo and format was startlingly like that of the national dance troupe of Guinea I had seen just a few weeks before. A colleague at work, a native of Cameroon, said that there has been much recent interaction between American and African dance teachers and companies. OTIS CLAY was on first - I would have had him at the top of the bill but I suspected TYRONE DAVIS would get that slot; still he was great - despite horrible acoustics in the Beloit Sports Arena. The darkened hall was illuminated with red and white Christmas lights and a spinning disco globe. The two RnB superstars shared a band, which wasn't OTIS'. I was particularly disappointed that OTIS' women backup singers weren't along. The band, dressed in black suits with no shirts, acquitted itself quit well indeed. OTIS, wearing a grey suit - no shirt, did some numbers from his classic "Live in Japan" album starting out with the funky "Here I Am" (with its exciting, mesmerizing bass riffs). He also did "A Nickel and a Nail" and just parts of some of his HI hits such as "Tryin' to live my life without you". I hoped he would do "Two Wrongs don't make a Right" the best thing on his new album (with it's terrific staccato horns riffs punching in on the down beat) but his set was over all too soon. A lot of OTIS' family had come up on the big bus with him and sat right next to us. The imposingly rotund emcee, who resembled, I thought, BIG DADDY KINSEY, announced TYRONE DAVIS to great applause. TYRONE had on a glowing scarlet, loose-fitting, velvety jumpsuit. His set was rather more mellow than OTIS'. I remember hearing one of his 70's disco-style pieces "Give it Up, Turn it Loose", but we left before he got to "Turning Point" or "Turn Back the Hands of Time". I think they both did some Bobby Bland tunes. TYRONE seemed to go over better with the mostly older black audience. I had never seen him live before and was glad of the opportunity. As it was an hour's drive back home, we left halfway through TYRONE DAVIS and in the deserted little town of Jefferson, Wisconsin at 1AM, Bonnie the K. and Kitty were beset upon by not one but *two* lights-flashing squad cars. The local equivalent of Barney Fyfe had us clocked "at speeds up to 35 miles per hour (!!)" in a 25 mph zone, thus sullying, as the officer said himself, an otherwise immaculate driving record. Next week, the Beloit Sports Arena will feature VANCE KELLY. I do hope they have more chitlin' circuit artists, because I would definitely go back, terrible acoustics and all. -Bonnie ========================================================================= Date: Tue, 9 Apr 1996 16:04:22 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Purists & LW >I know there are a lot of starving musicians that could make a better living >and have better benefits working at K-mart, but they keep traveling around >barely making it....WHY > >If it's money they desire then why do they not get a better paying job...? > >I THINK it's because the love what they are doing and the money is secondary > >I just can't buy the idea that ALL musicians are money motivated. I agree >sharing it is fun, but you don't have to share it to be very talented. To put it excruciatingly simply: To reduce the issue to one of either art OR money is a gross misunderstanding of reality. It's art AND money. Always has been, always will be.... To reduce the issue to either being "money motivated" or "not money motivated" is a false paradigm. Everyone who plays outside of their bedroom is a mixture of both. Great artists are often "money motivated", while lousy artists often "do it for love". Leonard, no offense, but if you don't get it by now, I can't help you.... ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 9 Apr 1996 19:12:28 -0500 Reply-To: Timothy M Dellinger From: Timothy M Dellinger Subject: Re: Bitterness and Purists (a purist speaks out) >it, because their bitterness has replaced their love for the music. They Purists usually come to the conclusion that it is impossible to convert the world. I am content to know that perhaps one day blues-rock people will fing out what *real* blues is, and they will be amazed. It would seem that most people only experience purists in their "crusading" phase. If you find a new donut shop that has the best donuts in the universe, then you'll tell everyone you know for a week or so. Then your crusading phase will end. Purists are generally *not* bitter, because they don't see blues-rock as a threat, due to its inherent inferiority. >We are entertainers, like it ar not. Blues-rock people are entertainers. Blues people are artists. Ask any Son House fan if Son was an artist or the highest calibre. It is interesting that you consider your music to be mere entertainment. That says very much about your attitude towards music. >How can you love YOUR music if you hate everyone else's? How can you love good food if you hate bad food? I don't go around to every nasty restaraunt and try to convert the customers to *real* food, and I don't go around trying to convert blues-rockers either. It is possible to have no respect for someone, and remain silent. That's what most purists do. -- -- It is a miracle that curiosity survives Tim Dellinger formal education. -Albert Einstein tdelling@uiuc.edu ========================================================================= Date: Tue, 9 Apr 1996 20:40:27 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: cross cut saw >Can anyone complete this line from the Albert King song, Cross-cut Saw? > > I'm a cross-cut saw > just drag me across your log > I'm a cross-cut saw > just drag me across your log > I cut your wood so easy for you > you ____________________. > >I've listened over and over, can't make it out. > >Thanks, >Mark Mark >From memory (it's 1 in the morning in Scotland, so I can't be bothered to crank up the record player) the line is: you can't help but say 'Hot dog!' Chris Smith (chris@skerries.demon.co.uk) 'Positive: wrong at the top of one's voice." (Ambrose Bierce) ========================================================================= Date: Tue, 9 Apr 1996 20:42:48 -0400 Reply-To: BALISTRK@BAYDENOC.CC.MI.US From: "Keith T. Balistreri" Subject: Re: Bitterness and Purists (a purist speaks out) Comments: To: Timothy M Dellinger In-Reply-To: <199604100012.TAA29768@eehpx19.cen.uiuc.edu> > > Blues-rock people are entertainers. Blues people are artists. Ask any > Son House fan if Son was an artist or the highest calibre. It is interesting > that you consider your music to be mere entertainment. That says very much > about your attitude towards music What the hell are you saying...the blues(which I love) is art and blues-rock isn't....how narrow-minded, bigotted, and totally absurd. Nothing worse than someone trying to tell you what ART is. Not only is it disgusting but it is dangerous...we already have people in this country trying to define what art is and they are censoring what they feel isn't art. Taking away my right to decide. I play music in a blues/jazz/rock whatever...trio with a tuba player doing the bass parts...I love what I'm doing and it is art. I love music form Albert King to Frank Zappa. Please...I think I am capable of deciding what is art to me and what isn't. The mind is like a parachute... it works only when it's open. Keith Balistreri ========================================================================= Date: Tue, 9 Apr 1996 17:36:16 +0100 Reply-To: Rob Moore From: Rob Moore Organization: Netcom Subject: Re: cross cut saw Bonnie Kalmbach wrote: > > > > >Can anyone complete this line from the Albert King song, Cross-cut Saw? > > > > I'm a cross-cut saw > > just drag me across your log > > I'm a cross-cut saw > > just drag me across your log > > I cut your wood so easy for you > > you ____________________. > > The end of the line - I can make out all of it - seems to be: > > " ...holler Hot Dog!" > > maybe it's make you wanta holler Hot Dog!" > > -Bonnie You can always use the Otis Rush version... "you can't help but say I saw" - rob ========================================================================= Date: Tue, 9 Apr 1996 20:53:58 -0400 Reply-To: BLUESROCCO@AOL.COM From: Jim Rocco Subject: Re: Bitterness and Purists As a comparison: An artistic photographer that takes the most artistic pictures has to sell a few artistic photos to "someone" so he can afford an expedition to the Himalayas to take the most artistic photo of the Himalayas........I think ! Jim ========================================================================= Date: Tue, 9 Apr 1996 17:39:29 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Fest Food/Vegetarians/no blues except hunger... Maggie, Where y'at! All of this great advice...for free! Thank you, dahlin' By the way, I think Coop's gumbo is very, very, ordinary. Uncle Ray ---------- From: Maggie Mortensen[SMTP:exarch@ACCESSCOM.NET] Sent: Tuesday, April 09, 1996 4:48 PM To: Multiple recipients of list BLUES-L Subject: Fest Food/Vegetarians/no blues except hunger... I heartily second Bill Morgan's recommendation of Bennachin Restaurant for vegetarian fare...both at the Fairgrounds and at the Carrollton Ave. location. Superb spinach dish with coconut rice. And I can personally vouch for the Old Dog/New Trick place he mentioned: it's on Exchange Alley in the French Quarter and every single thing there is great. I'm not even a vegetarian and I go there--on purpose! As far as red beans & rice, that could be a whole separate thread. But aren't they almost always cooked with ham bones? And Jim Bardsley's taste buds are much more highly developed than his spelling skills: the upscale place he mentioned is GauTREAU's, and well worth trying. (I've previously accused Jim of having eaux-itis, a common Louisiana inflammation.) His other picks--Emeril's on Julia St. and NOLA in the Quarter--are highly recommended, the latter being slightly less pricey and with not-to-be-missed greens. Oh, and The Bistro at Maison de Ville Hotel -- incredible eats (reviewed in the current OffBeat for further acclaim). Midrange: I'd say the Bon Ton Cafe, hard by the CBD in the Warehouse District. Excellent gumbos. And at the Fairgrounds, the softshell crab po'boy is good, but soooo salty you'll be at the Kentwood water booth for hours afterward. Last year, the food highlight of the whole Fest for me was the softshell CRAWFISH po'boy--unbelievable, and dressed with sauteed peppers and onions, rather than the usual shredded lettuce and junk. And the perennial favorite of everyone at the Fest: Crawfish Monica! Yum! On the downscale price end, I don't know Eddie's that Ray mentioned, but Henry's Soul Food on Claiborne (super funky, don't go if you're squeamish) has the best chicken and greens. In that same league: The Two Sisters, on North Derbigny. And a little place at the lakefront called Robert's (say RO-bairs) has terrific cheap seafood. A shrimp and calamari salad to die for and my favorite softshell crabs. Skip all the big places at the lake, IMHO. And if you're willing to travel a little, the absolute, hands-down winner for best shrimp po'boy ever is at Louisiana Seafood Exchange on Jefferson Highway. No kidding, it's ten inches long, and after they stuff it with shrimp they throw HANDFULS of shrimp into the wrapper before they close it, so when you open it up it just explodes shrimp everywhere. One sandwich is a meal for two. Plus, they're a seafood wholesaler so it's always super fresh. And everybody I know except me raves about the gumbo at Coop's, a divey little bar right on Decatur on the east side of the Quarter. Perhaps they're right and I'm wrong, who knows. But I gotta disagree with Ray about the muffalettas at the Central Grocery: I think they're much better at the Italian store right next door to it, the Progress Grocery. Better bread, for one thing, and the olive salad a little less oily. One warning: under no circumstances be led to La Louisiane, in the Quarter. I spent $120 there for two people for the absolute worst meal I ever had anywhere in New Orleans. Gluey thick sauces made of cornstarch, and *canned* vegetables. Yecch. --Maggie ========================================================================= Date: Tue, 9 Apr 1996 17:49:34 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Papa Lightfoot Elliot, Many thanks. Uncle Ray ---------- From: Eliot Williams[SMTP:williams@heme.medicine.wisc.edu] Sent: Tuesday, April 09, 1996 2:06 PM To: Multiple recipients of list BLUES-L Subject: Re: Papa Lightfoot > From: "Raymond O. Varner" > I'm looking for any contemporary release that includes "Wine, Whiskey, = and Women" by George "Papa" Lightfoot. Other included Lightfoot = recordings would be nice, also. I have this on a vinyl LP issued three or four years ago called "Stompin' - vol 1". This is a various-artists compilation of obscure R&B. "Wine..." is the only Lightfoot track on the record, although there is another one ("Jump the Boogie") on volume 2. I think these records are still available - I just saw several of the volumes in this great series (20 records issued so far) for sale at the Down Home Music store in El Cerrito and have also seen them for sale here in Madison. EW ========================================================================= Date: Tue, 9 Apr 1996 17:51:30 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Papa Lightfoot Johnny, Thanks for the reply, but I don't think "Wine,... is included on Natchez Trace. Could be wrong. Been wrong once or twice before. Uncle Ray ---------- From: Jonny Meister[SMTP:blues@BLUESNET.COM] Sent: Tuesday, April 09, 1996 11:57 AM To: Multiple recipients of list BLUES-L Subject: Re: Papa Lightfoot At 08:45 PM 4/8/96 -0000, Uncle Ray wrote: >I'm looking for any contemporary release that includes "Wine, Whiskey, and Women" by George "Papa" Lightfoot. Other included Lightfoot recordings would be nice, also. > >As J. B. Hutto said, "Please help!" > >Uncle Ray > Papa lightfoot's one album, "Natchez Trace", is reissued by Ace in England. I believe Rhino actually owns it and could issue it in the States, but has chosen to hold off. "Wine, Whiskey, and Women" was on Imperial in 1953, and that and his other stuff isn't reissued on CD as far as I know; but, if it is, I would love to know where!!!! -Jonny ========================================================================= Date: Tue, 9 Apr 1996 18:07:00 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Chris Smith Chris, Thanks for your kind attention on the Little Walter film matter. If I = can be of any service on blues in the Northwest (USA), please feel free = to ask. Uncle Ray ========================================================================= Date: Tue, 9 Apr 1996 21:25:41 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Bitterness and Purists Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu On April 9, LW said : >>>I bet you the majority of musicians on Blues-l would >>>rather play blues and make very little money, than >>>play guitar behind Micheal Bolton and make mega >>>bucks. >>>You get a call and the caller says "I have two >>>opportunities you can play in Sinead O'Connor's >>>band for lots of COLD cash and appear on her record, >>>OR you can play with Joe Louis Walker, but the >>>money is not real good" >>>So naturally you are after the cash and the hit >>>record , so you would choose Sinead O'Connor's >>>band. Anyone who aspires to a career as a professional musician, roadie, agent, manager, caterer, driver or whatever within the entertainment industry who turns down an opportunity to see their craft at a more sophisticated level simply deserves at remain at the bottom of the ladder. Just the process of observation would enlighten and make you better. A clearer understanding of loading in equipment, sound check proceedures, taxes and withholdings, union rules, sound & lighting techniques, mobile recording, dressing room hospitality and, most important, learning how a commercially successful artist creates maximum impact with his (her?) stage minutes. Do you think that Diana Ross works from an orchestrated ritual of predetermined music while B.B. King wanders off the bus without a clue? No so. Mister King's minutes are planed just as carefully as Ms. Ross' only his relaxed demeanor belies his core professionalism. There are plenty of very talented musicians who play behind Michael Jackson, Rod Stewart, Paul McCartney and many others who save a big part of their paychecks so they'll be able to devote time to their own projects. If they venture forth into the music business with their own albums, they will have been much better prepared by the previous experience of touring with a successful artist. If someone you know with great playing chops is offered a road gig with Sinead O'Connor, just congratulate her on good taste and wish the person well. Dick Waterman ========================================================================= Date: Tue, 9 Apr 1996 20:22:46 -0500 Reply-To: T-Bone From: T-Bone Subject: Re: Bitterness and Purists (a purist speaks out) In-Reply-To: <199604100012.TAA29768@eehpx19.cen.uiuc.edu> On Tue, 9 Apr 1996, Timothy M Dellinger wrote: > >We are entertainers, like it ar not. > Blues-rock people are entertainers. Blues people are artists. The two terms are not mutually exclusive. In fact, if you like the music that someone plays, you are entertained; so if you like the music by a blues artist, then that person is a blues artist AND an entertainer. QED. (Or in the words of the non-late John Cleese, "There! I run rings around ya logically.") Or are you saying that you like the blues but that it doesn't entertain you? Do you PREFER to listen to music that doesn't entertain you? What an utterly depressing thought. Or do you think that the money that people gave to Charlie Patton made him less of an artist? Sonny Terry's harp playing didn't change all that much over the course of his long recording career, but did appearing on Broadway make him less of a bluesman? If Mozart's music had not been entertaining, could he have made a living from it? If I go see B.B. King at the Kennedy Center, Kenny Neal at Tornado Alley, or The Joe Blow Blues Band at Earl's Bar, I expect two things: 1) good blues, and 2) to be given my money's worth of entertainment. (I also expect overpriced watered-down drinks, but anyway.) In any of these cases, if these conditions aren't met, I am allowed to boo, go elsewhere, and/or quit supporting that establishment/artist with my money. If you don't like blues-rock, fine, no one is making you listen to it. (Ain't freedom great?) But if someone else likes it, don't feel like you have to put them down to build yourself up. I may disagree with a person's musical taste, but that doesn't make either of us right or wrong. Well, okay, there are certain situations ... maybe playing "Shave 'em Dry" at my friends' Baptist wedding was a bad idea; mighta led to dancing. BTW, have you ever wondered what jazz snobs think of the blues? Some, not all, but some hold the EXACT same attitudes about blues that you do about blues-rock. "Think about it, won't you? Thank you." > Ask any Son House fan if Son was an artist or the highest calibre. Ask Mr. Waterman what Mr. House's attitude on getting paid for his services was. > It is interesting > that you consider your music to be mere entertainment. That says very much > about your attitude towards music. It is interesting what YOUR attitude towards music as entertainment is. That says much about your attitude towards reality. I'm going to stop this; if I want to get in a flame war, I'll go talk to Fightinig Illini fans on rec.sport.basketball.college. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Remember! Friends don't let friends drink and post." - Amy Ashton ========================================================================= Date: Tue, 9 Apr 1996 00:18:40 GMT Reply-To: Jack Oudiz From: Jack Oudiz Organization: Midtown Computer Services Subject: Re: Byther Smith Comments: To: bit-listserv-blues-l@uunet.uu.net Byther is downright scary. If I had to pick one it would be I'm A Mad Man it's not only his best in my far from humble opinion but the liner notes are a masterpiece. ========================================================================= Date: Tue, 9 Apr 1996 19:10:16 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Frankie Lee Sims (was:Why isn't this person famous ?) Reg said >Frankie Lee Sims should be more famous, and who am I to disagree? Anyway, this leads to my question - I have his Specialty recordings (Lucy Mae Blues), but I'm sure I heard a newer (and better IMHO) Frankie Lee Sims song on the radio about a year or so ago, probably from the mid-sixties. Is any of his later work available on cd? T'anks! -Jim (hndful@uniserve.com) ------------------------------------------------------------ Check out 'Heart and Soul', a new hour of blues, gospel, and jazz every week on SDF-Net Community Radio - http://sdf-radio.colossus.net. ------------------------------------------------------------ ========================================================================= Date: Tue, 9 Apr 1996 19:21:27 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Bitterness and Purists (a purist speaks out) I missed all you'se guys while I was having server problems. I noted that the list was a little lively since I was out of commision. My turn!:-) >>it, because their bitterness has replaced their love for the music. They > > Purists usually come to the conclusion that it is impossible to >convert the world. I am content to know that perhaps one day blues-rock >people will fing out what *real* blues is, and they will be amazed. It would >seem that most people only experience purists in their "crusading" phase. If >you find a new donut shop that has the best donuts in the universe, then you'll >tell everyone you know for a week or so. Then your crusading phase will end. >Purists are generally *not* bitter, because they don't see blues-rock as a >threat, due to its inherent inferiority. Inherent inferiority?!? By whose or what criteria. So blues-rock is inferior to blues. Is blues inferior to jazz? Is jazz inferior to classical music? You can't compare music styles like that (even closely related) It becomes too subjective. Blues-rock artists such as ZZ Top, Allman Brothers, SRV, AC/DC (not a heavy metal. More like Chuck Berry with Marshalls), Bonnie Raitt etc. all have made great contributions to rock music. They come form a heavy blues background and play the odd blues tune. Sure. But why are they inferior. If you compare everyone to Son House they come off inferior. Or to Miles Davis. Or toDuke ellington. Or to John Coltrane. Or to Jimi Hendrix. >>We are entertainers, like it ar not. > > Blues-rock people are entertainers. Blues people are artists. Ask any >Son House fan if Son was an artist or the highest calibre. It is interesting >that you consider your music to be mere entertainment. That says very much >about your attitude towards music. This statement says a lot about your knowledge of blues history. Are you saying that when Charlie Patton and T-Bone Walker and whoever else were playing their guitars behind their backs and between their legs, that they were being artists and not entertainers?!? When everyone back on the Delta went to a Juke joint on a Saturday night, were they there to be artistic to to get down and have a good time? Were the guys onstage at the some juke more interested in artistic expression or giving the audience what they wanted? Part and parcel of being a musician is being an entertainer. Believe it or not, blues artists have had a long history of being entertainers. Where do you put BB King? He is an artist. He also entertains as well. What about Hendrix. Obviously he was an inferior blues-rock musician who had no artistic qualities. Just an entertainer. Give me a break! Sure he could showboat and play the guitar with his teeth (which I'm led to believe was part of the blues guitarists bag of tricks on the Chitlin' circuit.). But Hendrix was an artist. He was constanly trying to expand on his music and express himself. In the end he changed rock and roll. If that isn't being an artist then I don't know what an artist is. >>How can you love YOUR music if you hate everyone else's? > > How can you love good food if you hate bad food? I don't go around to >every nasty restaraunt and try to convert the customers to *real* food, and >I don't go around trying to convert blues-rockers either. It is possible to >have no respect for someone, and remain silent. That's what most purists do. It is also possible to have respect for someone but not like what they do. There are many artists, in many fields of music that, personally, I don't care much for but I realize that it a result of my tastes. Not whether they are good or bad. In some respects I consider myself a purist. However I do not run around saying that other styles of music is inferior or that blues musicians a artists and all others are not. You are trying to put everything in black and white. The real world is not that simple. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Tue, 9 Apr 1996 19:37:30 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Baby Please Don't Go There was a post a while aback by Vincent (vt@usa.pipeline.com) on the different versions of Baby Pleas Don't Go. To add, there is the version by Them. There is also a ripping version by AC/DC on their first AUSTRALIAN album, "High Voltage" (1974) (In the states you can find it on "'74 Jailbreak"). IMHO, it is a great rock'n'roll version with a middle section where Angus and Bon do a call and response bit. Well worth finding. The Missippi Fred McDowell version is great as well. He really makes his slide sing. ("I Don't Play No Rock'n'Roll"). Neither versions are better or worse. Just different shades of the same colour. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Tue, 9 Apr 1996 22:55:02 -0400 Reply-To: Renato154@AOL.COM From: Renato Tonelli Subject: Jimmy Walker I would like to think everyone who refreshed my memory about the wonderful Jimmy Walker - how could I not remember his name! Renato Tonelli ========================================================================= Date: Tue, 9 Apr 1996 22:24:52 -0500 Reply-To: Rob Varak From: Rob Varak Subject: Re: Bitterness and Purists Comments: To: Dick Waterman In-Reply-To: <960409212001_187977827@emout04.mail.aol.com> Dick's post brought to mind a similar comparison. While I am only a budding jazz enthusiast, I am reminded of the work done by people like Charlie Parker and Dizzy in their early days. Both these giants, and many like them, honed their craft in swing bands that many of their contemporaries scorned. It's notable that both Bird and Diz continued to acknowledge their debt to these musicians while other more militant (purist?) bop artists derided swing and its progenitors. I could be off base, but it seems to be an accurate comparison. If I'm being to glip with my generalizations, I apologize for my lack of jazz sophistication. Rob (who's still around, just too busy to spout off very often) Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Tue, 9 Apr 1996 23:36:17 -0400 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Archie Edwards Thanks to everyone who provided information and recommendations about Archie Edwards per my request several weeks ago. I just bought Archie Edwards, BLUES 'N BONES today, and it's incredible!!!! How this man could pass by so many for such a long time is beyond me! Karen ========================================================================= Date: Tue, 9 Apr 1996 22:35:22 -0500 Reply-To: craig edmundson From: craig edmundson Subject: unsub help (no blues) Hello, I am in the middle of switching internet providers and I am trying to unsubscribe using my soon-to-be-former account so I won't be subscribed blues-l from two accounts. But listserv@brownvm.brown.edu doesn't appear to accept/acknowledge any of the commands I send it. Any ideas on possible causes of this phenomenon would be greatly appreciated. Thank you. Craig --------------------------------------- Craig L. Edmundson | cedmunds@probe.net http://www.probe.net/~cedmunds/ cedmunds@netserv.unmc.edu ========================================================================= Date: Tue, 9 Apr 1996 22:37:54 -0500 Reply-To: Timothy M Dellinger From: Timothy M Dellinger Subject: Re: Bitterness and Purists (a purist speaks out) > > > > that you consider your music to be mere entertainment. That says very much > > about your attitude towards music ^^^^^^^^^^^^^^^^^^^^^^^^^^^ > > What the hell are you saying...the blues(which I love) is art and > blues-rock isn't.... It was the original message that said that blues-rock is entertainment. I disagree with that attitude towards music, and I don't like the music which that attitude will tend to produce. >how narrow-minded, bigotted, and totally absurd. I am open minded, not a bigot, and logically support my arguments. > Nothing worse than someone trying to tell you what ART is. I am merely discussing the relative merit of different art forms. It just happens that I find blues-rock to be an inferior form. > Taking away my right to decide. I support your right to make bad decisions. Especially about art. > I play music in a blues/jazz/rock whatever...trio with a tuba player > doing the bass parts...I love what I'm doing and it is art. I love music > form Albert King to Frank Zappa. Please...I think I am capable of > deciding what is art to me and what isn't. And I am capable of deciding what is good art and what is bad art. When is food considered to be of such poor quality that it is no longer food? That's a line that the individual must draw, but there *are* criteria to be met. > The mind is like a parachute... > it works only when it's open. And a human being only functions when the mind makes value judgements, and concludes that some things are inherently superior and other things inherently inferior. ========================================================================= Date: Wed, 10 Apr 1996 00:14:06 -0400 Reply-To: SOO3713@ALPHA.CC.OBERLIN.EDU From: Owen Okie Subject: Playing Hopkins... I've been trying to learn some Lighnin'Hopkins, and am wondering if he ever played with a pick, or a thumb pick, or just his fingers. Actually Kopkisn is one fo the funnest bluesman I've worked on yet. Any advice would be much appreciated. ========================================================================= Date: Tue, 9 Apr 1996 23:23:56 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: U.P. Wilson/Europe Here's a schedule for U.P. Wilson's upcoming European tour with Jordan Patterson April 18-20 April Jazz Fest, Helsinki Finland April 21 Tallinn Festival, Tallinn, Estonia April 24 Helsinki, Finland April 26 & 27 Smuget Club, Oslo, Norway April 28-30 Angel Club, Copenhagen, Sweden May 1 Ronnie Scott's Club, Birmingham, UK May 2 Juke Joint, Basildon, UK May 3 & 4 Ronnie Scott's Club, Birmingham, UK May 5 100 Club, London, UK May 6 The Brook Club, Southampton, UK May 7 At the Station, Ascot ,UK May 8 Tower Arts Centre, Winchester, UK May 9 Westgate Public House, Oxford, UK May 10 Blues Club, Glossop, UK May 11 The Hawth Theatre, Crawley, UK May 12 Crossroads Cafe, Antwerp, Belgium May 13 Bannana peel Club, Ruiselde, Belgium May 14 Essegem Blues Club, Brussels, Belgium May 15 Liege, Belgium May16-18 Quai Du Blues, Paris, France May 20 Turin, Italy May 21 Milan, Italy May 22 Florence, Italy May 24 Television, Zargreb, Croatia May 26 London Blues Fest, London, UK East Coast USA tour in June end ========================================================================= Date: Tue, 9 Apr 1996 23:23:59 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: KNON LB poll march KNON 89.3 FM Dallas Top 20 Blues Albums March 1996 Living Blues Poll artist/album/label 1. Long John Hunter/Border Town Legend/Alligator 2. Guitar Shorty/Get Wise to Yourself/Blacktop 3. Duke Robillard/Duke's Blues/Pointblank 4. Bobby Bland/Sad Street/Malaco 5. Bessie Smith/Final Chapter/Columbia 6. Chicago Bob Nelson/Back to Bogalusa/King Snake 7. Bobby Rush/One Monkey Don't Stop No Show/Waldoxy 8. Johnny Dyer/Jukin'/Blind Pig 9. Little Milton/Greatest Hits/Malaco 10. Dickey Williams/Full Grown Man/Ichiban 11. John Primer/The Real Deal/Code Blue 12. Taj Mahal/Phantom Blues/Private 13. Joe Guitar Hughes/Texas Guitar Slinger/Bullseye 14. Little Cooper/Baby I'm Back/Black Magic 15. Albert King/Hard Bargain/Stax 16. Josh White/Blues Singer 1932-36/Columbia Legacy 17. U.P. Wilson/This is U.P. Wilson/JSP 18. Smokey Wilson/The Real Deal/Bullseye 19. Mojo Buford/Still Blowin Strong/Blue Loon 20. Lonnie Brooks/Live at Peppers/Blacktop Also reporting weekly to CMJ and The Hard Report blues format director: Don O. e-mail: don.o@chrysalis.org end ========================================================================= Date: Tue, 9 Apr 1996 23:24:04 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: New Cds/KNON March The following new blues CDs were received at KNON FM in March. The Prowlers\On the Prowl\Bullseye Ronnie Earl\Blues and Ballads\Bullseye Gary Moore\Blues for Greeny\Charisma various\Before the Blues\Yazoo Johno's Blues Band (Australia)\The First Set\self Cathi Norton\Various Stages of Undress\Flat Rock Leadbelly\Where Did You Sleep Last Night\Smithsonian/folkways various\Don't You Feel My Leg\Delmark Reunion Blues Band\Back Home to Clarksdale\Icehouse Wynonie Harris\Everybody Boogie\Delmark Sonny Rhodes\Out of Control\King Snake Lonnie Brooks\Live at Peppers 1968\Blacktop Willie Bryant\Blues Around the Clock\Delmark Lucille\Lucille\Blues Works Rory Block\Tornado\Rounder Otis Rush\Live in Japan 1986\Sequel Willie Willis\Willie Willis (One-off CD)\self various\Alligator Records 25th Anniv.\Alligator end ========================================================================= Date: Wed, 10 Apr 1996 00:46:53 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: REAL NEWS about the Robert Johnson Estate!!! Comments: cc: mkaldin@beachnet.com On March 28th, the Mississippi Supreme Court decided Claud Johnson versus Robert Harris, no. 92-CA00883-SCT (This last number is the court's docket number, used to identify the case on its docket. I'm going to use some legal terms, because they are necessary to convey this information to people who are interested). I'm going to quote the Mississippi Law Journal summary and explain both as I go along and at the end. My explanations are in brackets []. In the next few days, I HOPE to get the actual opinion, which should have additional factual information. I will send what I learn along as I get it. "Claud Johnson, illegitimate son of legendary bluesman, Robert L. Johnson, brought this suit in order to be declared the sole heir of the Robert L. Johnson estate. Claud was and still is Johnson's only living son. [NOTE: I'll explain this later, but at this stage, Claud has not proved this] Contesting Claud's claim is Annye Anderson who is the half-sister of Robert L. Johnson's half-sister, Carrie Thompson (Johnson and Anderson are not related. Anderson became the aministratrix [that is, person legally responsible for administering. Its the female form of administrator] of Johnson's estate when Carrie Thompson devised [gave by will] all of her property to Anderson and Anderson's grandson, Robert Harris, who is also an appellee [person responding to the other side's appeal. One side is appellee, the other appellant, the person who appealed] in this suit. Claud Johnson filed for formal entry of appearance [that is, he joined] in the estate of his father claiming he was deprived of due process since reasonable diligence was not excercised in the attempt to give him notice. [In other words, Johnson entered the case, arguing that the adminstratrix had not made enough effort to notify him] The chancellor [the trial judge in an equity court (at this moment all lawyers on the list can laugh at the notion that Mississippi's court system still divides equity and law into two courts)] ruled for Anderson, stating that Claud Johnson's claim was time-barred.... [that is, subject to the statute of limitations because it was not brought in time]. .... "The Mississippi Supreme Court reversed and remanded [that is, decided the trial judge was wrong and sent the case back. Claud Johnson won *AT THIS STAGE.* ] The supreme court found that Anderson had been acting as an adminstratrix de son tort [hold on, I'll explain it], which is a person who takes posession of an estate's assets without administration and further controls the property as if the taker were the legal respresentative." [In other words, the court found that, instead of doing what she should have done-- opening an estate in court to take care of Johnson's property-- Anderson simply took it over.] The court added that an administratrix de son tort is held to the same standard of trust and fiduciary duty as a duly-appointed adminstratrix. Further, under Mississippi law, an administratrix is under a duty to use reasonable diligence to ascertain potential heirs and to act as fiduciary for all persons interested in the estae. Also, the court held that an administratrix may not take inconsistent positions which could be detrimental to beneficiaries, yet beneficial to herself. .... The court ruled that Thompson's and Anderson's failure to properly open the estate while each served as aministratrix de son tort operated as a waiver of the statutory bar against Claud Johnson. Therefore, the court concluded that Claud Johnson would be allowed to prosecute the claim." TRANSLATION: 1) The trial court ruled that Claud Johnson had waited too long to assert his claim as Robert Johnson's son, and dismissed his claim. 2) Claud Johnson appealled and the Mississippi Supreme Court decided the trial court was wrong, sending the case back to decide whether Claud Johnson was correct in his claim that he was Robert Johnson's son. IN OTHER WORDS, THERE HAS BEEN NO DECISION YET ABOUT WHETHER CLAUD JOHNSON IS ROBERT JOHNSON'S SON, BUT THERE WILL NOW BE A TRIAL ON THAT ISSUE. I hope I did not overwhelm folks with legal jargon; it wasn't MY writing and I thought getting this information to the list as purely as possible would be of significance to many on the list. I'll keep ya posted. Tom Freeland ========================================================================= Date: Wed, 10 Apr 1996 00:40:54 -0500 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Blues & Rhythm new URL/Lacy Gibson Blues & Rhythm: The Gospel Truth has a new URL. It's http://www.bluesworld.com/BnR Here's a sample of their informed criticism, one of five new ones just posted to their pages. LACY GIBSON Switchy Titchy Black Magic 9002 Take My Love/ Easy Woman/ Quaker City/ My Love Is Real/ Somebody somewhere/ Come Back Baby/ Switchy Titchy/ You Better Be Sure/ Five Long Years/ Lucky You (sic) (37.27) Somebody, I can't remember who (Mel?, Del? whoever - thanks), sent me a tape of this collection when it first came out on vinyl and I was so impressed that I promptly bought the record. That was over ten years ago and I'm still impressed. These days we are constantly regaled with CDs by the latest 'blues' sensation, the Great White? Black? Hope who is going to take-it-all-back-home-where-it-belongs. Some of these are rubbish and will fade away, others are damn good and will make it - But then there is another group who are also damn good but who will fade away anyway - probably to be rediscovered and applauded just as soon as they have the good sense to make the ultimate career move by dying. Lacy Gibson is still alive and I think its about time that the blues world recognised what a talent they have been overlooking all these years. His history, related in the sleevenotes of this CD by Dick Shurman, reveals a man who doesn't need to 'take it all back home' - that's where he's always been! I'm not going to re-tell the tale here as it's something of a blues epic, covering two continents and boasting a 'cast of thousands', and I don't want to spoil it for you, as, when you've bought this CD, you can make a point of reading it for yourself. Although he made a contribution to Alligator's 'Living Chicago Blues' survey, this is Lacy's only LP/ CD, so far. It was cut in 1983 in Winnetka, Illinois, whence came a previous 'big noise' in the 30s. When recruiting his band Lacy didn't sod about; he got Sunnyland Slim to tickle the tusks and Abb Locke to supply the brass check. To under-pin their efforts he had Snapper Mitchum playing bass and Robert Covington (who has recently had a CD out under his own name) on drums. One Allen Batts, of whom I know nothing other than that he is a good blues pianist, helped out by taking over from Slim on four tracks. The selection of numbers covered a pretty wide field ranging from instrumental covers; Bill Doggett's "Quaker City" and a (mistitled) version of Jody Williams' "Lucky Lou" to standards; "Five Long Years" and "Come Back Baby", with the bulk of the remainder being Gibson originals. Good songs all. Lacy has a warm voice and a range that allows him to sound like anything between Albert King, in his avuncular mood, and Ray Charles, screaming for his baby to come back. His guitar work covers a lot of ground as well - he can be spaced out and thoughtful a la Albert or busy like Freddie. Not that he copies any of these worthies but has a vocal sound and an instrumental style of his own. Yes, I know that the playing time is ridiculously short, a slap on the wrist for Black Magic if they are charging full price for thirty seven minutes of music, but, bluntly; this guy is bloody good - and if you haven't heard Lacy Gibson before all you have to do is rectify the situation as quickly as you can, and we'll get along just fine. Keith Briggs ========================================================================= Date: Tue, 9 Apr 1996 00:31:59 GMT Reply-To: Jack Oudiz From: Jack Oudiz Organization: Midtown Computer Services Subject: Re: BUSTER BENTON Comments: To: bit-listserv-blues-l@uunet.uu.net James Carmin wrote: >I've spent much of the weekend listening to BUSTER BENTON's great 1993 >Evidence release "Blues at the Top." >This is about as good as it gets, with Buster B, Carlton Weathersby, John >Littlejohn and Joe Beard on guitars, Lafayette Leake and Francois Rilhac on >piano, Bob Stroger and JW Williams on bass, Mose Rutues and Odie Payne on >drums, and the fabulous Mr. Billy Branch on harp. >If you like your blues kind of mellow, with a gravelly voice like you might >find with Magic Slim, backed by a wonderful band, check out this >way-underrated recording. I agree that is a helluva all-star lineup backing a great singer. Billy Branch has been playing some amazing harp as a studio guy on a bunch of great releases in the past few years. As for "B" (Carl Weathersbie), look for his debut release on Evidence. The man has one of the most soulful voices on the planet and kicks big time butt on guitar. ========================================================================= Date: Wed, 10 Apr 1996 01:44:18 -0400 Reply-To: Jordan Barrett Kessler From: Jordan Barrett Kessler Organization: Columbia University Subject: Junior Kimbrough & Iggy Pop Comments: To: bit-listserv-blues-l@uunet.uu.net I'm aware that we've moved beyond this thread already, but I just wanted to mention that I saw Junior & Iggy perform last night. I believe that the crowd at Roseland in New York (mostly white, average age around 30) gave a better reception to Junior than most opening acts recieve. Not only did members of the audience pay close attention to Junior's playing, they clapped enthusiastically and even yelped at the end of each of his numbers. Of course, Iggy received more of a response, but the audience did come primarily to see him, the headliner, after all. Incidentally, Iggy incorporated a few blues vocal phrases into some of his songs. As posted before, the Ig has been known to be a huge blues and R&B fan. Both musicians turned in excellent performances, and a good time was had by all. Jordan Kessler jbk1@columbia.edu ========================================================================= Date: Wed, 10 Apr 1996 01:55:52 -0400 Reply-To: Bluesagent From: Bluesagent Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Why isn't this person famous ? Comments: To: bit-listserv-blues-l@uunet.uu.net My list would have to include Chris Cain. A triple threat-singer/songwriter/guitarist-Chris has 4 CD's on the market, and has toured nationally and internationally for over 10 years. His current release "Somewhere Along the Way" (Blind Pig Records) stayed in the top 5 on the Hard Report's Blues Breakers chart for over 3 months- reaching the #2 slot in December of 1995. The new record has gotten rave reviews from every *important* (IMHO) music magazine in the country (see Blues Access Spring 1996 ), including a four star review in DownBeat's March issue. Oh well, he's only 40. Maybe in another 10 years. ========================================================================= Date: Wed, 10 Apr 1996 01:00:53 -0700 Reply-To: Teena Fitchpatrick From: Teena Fitchpatrick Organization: The Wolfpack Subject: Re: Purists & LW Comments: To: bit-listserv-blues-l@uunet.uu.net How easy it is to sit at the keyboard and expound on matters one knows so little about! All these theories about why people play music are moot when one considers that everybody has their own circumstances that determine their fate as musicians, factory workers, or doctors. If I may blow my own horn, not only have I played music for 30 years, 20 professionally, I also have a state license in repairing consumer electronics, I have published magazines, I've designed recreational vehicle furniture, I can write web pages (see below). Obviously enough talents to make a decent living at something! The fact is, I play the guitar in a blues band for two reasons: 1) I want to do it (how many people get to do what they want?), and 2) I have to do it (it's in me and it's got to come out)! I've been around long enough to know my market, how to exploit it as much as I can, and I play often and make some money. Granted, not as much as if I were some sort of office professional, but after playing for 20 years in bands, there's nothing I could do about that even if I wanted to, which I don't. -- kelly@netusa1.net(Kelly Hoggard) The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! Check out their home page at http://www.netusa1.net/~kelly/ ========================================================================= Date: Wed, 10 Apr 1996 02:38:00 -0400 Reply-To: NCKNOX@AOL.COM From: Terry Knox Subject: Re: Long Beach Blues .... VERY TRUE. Tickets are $12 and $15. Show is at 8pm on Saturday April 13. Emcee will be Gary "the Wagman" Wagner the Blues DJ for KLON 88.1 FM. He has a blues show on Saturday and Sunday, called "Nothin' But The Blues", from 2-6pm. KLON plays mainly Jazz and is run as a non-profit station (Yes Pledge Breaks) by California State University at Long Beach. They have a Blues Hotline (310)498-8052 for checking out what's going on in the southern California area. The usual disclaimers apply. I am just an AVID FAN. Terry :-) *************** ORIGINAL TEXT ******************* Word is this Saturday there will be a show at Carpenter Center at Cal State in Long Beach (310-985-7000) featuring - Doug MacLeod Charlie Musselwhite Keb Mo John Hammond Not affiliated, outside of a big fan of Doug's. Those other guys I assume are good too :). Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Wed, 10 Apr 1996 02:46:07 -0400 Reply-To: "jose.eric.s.maglanque" From: "jose.eric.s.maglanque" Subject: "Wade in the Water" series Comments: cc: bsco , leblanc Anybody heard this set from Smithsonian Folkways? I'm intrigued and interesting in ordering the whole set (there are 4 vols. in the series) but I want to get an idea what's in there and if they are any good (and # of cuts per CD). Somebody pls. forward review if there has been any. Thanks! ========================================================================= Date: Wed, 10 Apr 1996 01:29:12 -0700 Reply-To: Kelly Hoggard From: Kelly Hoggard Organization: The Wolfpack Subject: Re: Blues Artists as Opening Acts Comments: To: bit-listserv-blues-l@uunet.uu.net How's about this bill I saw in the early '70's: Weather Report opening for Paul Butterfield's Better Days. Two totally different groups and I loved them both. Strang pairings like these grew out of the Fillmore practice of putting disparate entertainers on the same bill. The Fillmores had a lot to do with keeping bluesmen in the public eye in the late sixties and early seventies. -- kelly@netusa1.net(Kelly Hoggard) The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! Check out their home page at http://www.netusa1.net/~kelly/ ========================================================================= Date: Wed, 10 Apr 1996 02:49:58 -0400 Reply-To: "jose.eric.s.maglanque" From: "jose.eric.s.maglanque" Subject: Moral Bodyguards I hope we all heard Mr. Waterman; aesthetic and romantic ideals have the propensity to induce mypoia in fans with the best of intentions. Although I've been guilty of this too, it's something that I've seen to much of in this List. Remember, this bluesmen got along fine without us [qualifications thru private e-mail, pls.] We can only help *their* interests, not ours. - Delta Slim ========================================================================= Date: Wed, 10 Apr 1996 03:27:14 -0400 Reply-To: "jose.eric.s.maglanque" From: "jose.eric.s.maglanque" Subject: Virtue or Chris Smith said: > ...... I see you have Olympic LP 7115. > Wonderful!! I need desperately to hear 'Great Gospel Blues' for my Sonny & > Brownie discography. PLEASE send me a cassette - preferably of the whole > album - and a photocopy of the sleeve, and you can have a tape of any CD or > LP from my collection in exchange, if I've got what you ask for, of > course.) I wish I could voice a similar request to anyone/everyone on the List. There are a lot of records I (and, I'm sure, a lot of you out there) wish to hear that other Blues-Lers presumably have. I know how wary this List is of issues pertaining to doing business by way of the List and of copyright, but I wonder: To what extent can we share our resources (like in the manner Chris wishes above) thru this List? The thought of having a repository or list of "wishlists" in an classified ads format posted regularly (a la Blues Dates but weekly?) crossed my mind... If you must flame, or if you think this thread isn't impt. to the List in general, private e-mail pls. - Delta Slim 'i want to hear negro blues and hollers, and afro-am game and works songs... and...' ========================================================================= Date: Wed, 10 Apr 1996 04:59:05 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Virtue or >Chris Smith said: >> ...... I see you have Olympic LP 7115. >> Wonderful!! I need desperately to hear 'Great Gospel Blues' for my Sonny & >> Brownie discography. PLEASE send me a cassette - preferably of the whole >> album - and a photocopy of the sleeve, and you can have a tape of any CD or >> LP from my collection in exchange, if I've got what you ask for, of >> course.) > >I wish I could voice a similar request to anyone/everyone on the List. There >are a lot of records I (and, I'm sure, a lot of you out there) wish to hear >that other Blues-Lers presumably have. I know how wary this List is of issues >pertaining to doing business by way of the List and of copyright, but I >wonder: To what extent can we share our resources (like in the manner Chris >wishes above) thru this List? The thought of having a repository or list of >"wishlists" in an classified ads format posted regularly (a la Blues Dates but >weekly?) crossed my mind... > >If you must flame, or if you think this thread isn't impt. to the List in >general, private e-mail pls. > >- Delta Slim 'i want to hear negro blues and hollers, and afro-am game and >works songs... and...' Um - yeah. Got a bit over-excited there. Should have kept the request private, I guess. Believe me, I'm not trying to build up my collection by infringing copyright - I don't even like the sessions that LP came from much! I ONLY need to hear it for research, and I wanted to pay my way, but on reflection, I don't think this list is an appropriate place for trading wants, and I shouldn't oughta done it. Please don't flame me - I forgot to renew the fire insurance. Chris Smith (chris@skerries.demon.co.uk) 'Positive: wrong at the top of one's voice." (Ambrose Bierce) ========================================================================= Date: Wed, 10 Apr 1996 04:59:52 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Modal? Mark Stringer wrote >I just read in Living Blues magazine, that "'Smokestack Lightning' is the >quintessential modal Wolf track". What does Bill Dahl mean by "modal"? > > Studying the blues, > Mark The entry on 'Mode' in the 'New Grove Dictionary of Music and Musicians' runs to 75 pages! However: The easiest way to think of a mode is as a scale played on the white notes of the piano. You can start on any note, A through G. In most cases, the result of playing only on the white notes in that the scale has no leading note. A leading note is a note that makes an interval of a semitone with the keynote. (G sharp before A, F sharp before G, and so on.) (The modal scale on C has a leading note (B natural) - it's the same as C major, in fact.) Take G for an example: The scale of G major is G A B C D E F sharp G, and F sharp is the leading note. (I'll leave out G minor because of the harmonic minor/melodic minor complication). The scale of the mode on G (the Lydian mode - if that helps) is G A B C D E F G. Try it on a piano if you can to hear the difference. The effect of not having a leading note is to weaken the sense of tonality - hence modes are said to be 'on G' (for example) rather than 'in the key of G'. Among other things that result, the V chord is (in the mode on G) D-F-A rather than D-F sharp-A. Hence the V-I chord progression, which is the usual cadence that ends a tune in tonal music, doesn't have a strong sense of 'ending', because the listener doesn't get the feeling that the F sharp 'wants' to resolve to G. What that often means in practice is that a tune will sound like it can go on for ever - and it just ends when the performer(s) want it to. Wolf going on for ever is a fine idea by me! 'Smokestack Lightnin'' is indeed a good example of 'endless music'. If you have any Robert Pete Williams, listen to him for more modal sounds. Most African music is modal, too, and most Medieval music. Functional harmony and tonality (the major and minor keys) were invented in the 17th Century. The above leaves a lot out, and probably is more confusing than helpful. Maybe some of you pro musicians out there can explain it better, and correct any misconceptions and mistakes in the above. One important point is that Wolf and most non-schooled musicians don't have any theoretical basis like the above; they just do what sounds right! Chris Smith (chris@skerries.demon.co.uk) 'Positive: wrong at the top of one's voice." (Ambrose Bierce) ========================================================================= Date: Wed, 10 Apr 1996 05:13:10 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1958, Dick Clark devoted an hour of his Amercan Bandstand afternoon TV show to the memory of Chuck Willis who had died earlier in the day at age thirty. Willis was from Atlanta, GA and recorded hits that included: C.C. Rider, Betty And Dupree, What Am I Living For (his biggest hit) and Hang Up My Rock And Roll Shoes. "What Am I Living For" and "..Rock And Roll Shoes" were released after his death. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ Blues-rock people are entertainers. Blues people are artists. - Timothy M. Dellinger ========================================================================= Date: Wed, 10 Apr 1996 05:22:14 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Also on this day... On this day in 1956, Nat "King" Cole was attacked and severely beaten by a group of racial segregationists while he was singing onstage at the Municipal Hall in Birmingham, Alabama. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ Nothing in the world is more dangerous than sincere ignorance and conscientious stupidity. - Martin Luther King Jr. ========================================================================= Date: Wed, 10 Apr 1996 02:51:20 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Bitterness and Purists (a purist speaks out) Tim Dellinger wrote: >>how narrow-minded, bigotted, and totally absurd. > > I am open minded, not a bigot, and logically support my arguments. You used logic? When and where? I must of missed it. I thought it was ill-informed rhetoric. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Wed, 10 Apr 1996 10:06:38 GMT Reply-To: tdevit3@NEWS-S01.NY.US.IBM.NET From: tdevit3@NEWS-S01.NY.US.IBM.NET Subject: Re: MAGIC SLIM IN THE MIDLANDS (UK) Comments: To: bit-listserv-blues-l@uunet.uu.net ..from NZ...if you have not seen Magic Slim, don't miss the opportunity!...a great sound live... ========================================================================= Date: Wed, 10 Apr 1996 11:17:14 +0100 Reply-To: Mark Reece From: Mark Reece Organization: My Own Account Subject: Re: MAGIC SLIM IN THE MIDLANDS (UK) Comments: To: bit-listserv-blues-l@moderators.uu.net In article <829076737.12379@bluestb.demon.co.uk>, Tony Burke writes >CALLING ALL BLUES FANS IN THE MIDLANDS, UK > >If there are any Blues-L subscribers out there who live within a forty >mile radius of Brierly Hill, then get this date in yer diaries. > >MAGIC SLIM AND THE TERADROPS (The best live Blues band on the planet - >B&R Magazine) will be playing the Robin R&B Club, Brierley Hill, West >Midlands on MAY 21ST. Is this his only gig here in the UK or is he stopping off else where to offset the cost of the air ticket -- Mark Reece ========================================================================= Date: Wed, 10 Apr 1996 11:30:50 GMT Reply-To: Andrew Moodie From: Andrew Moodie Organization: National Capital Freenet, Ottawa, Canada Subject: Parchman Farm...who wrote it? Comments: To: bit-listserv-blues-l@uunet.uu.net My late '70s edition of Blues Who's Who doesn't say who wrote it. I've got one version where it's attributed to someone named Allison, but I'm sure the song pre-dates Luther. If anyone knows, I'd like to hear from them. AJM ========================================================================= Date: Wed, 10 Apr 1996 08:37:57 EDT Reply-To: levyt@RL.AF.MIL From: Toby Levy Subject: SITTING AND THINKING: Piano Roll Blues BOOGIE WOOGIE BLUES / PIANO ROLL SOLOS (BCD 115 DDD) BIOGRAPH RECORDS 274 CONGRESS STREET SUITE 407 BOSTON MA 02210 TEL: 617-426-7500 FAX: 617-426-5222 e-mail BIOGRAPHCD@aol.com Back in the early days of recorded music there was low fidelity and no fidelity. But luckily for piano players, there was an alternative to the scratchy cylinders and disks. The player piano could reproduce with absolute clarity every note the piano player punched into the paper rolls that were sold in music stores throughout the country. Collected on this cd are 16 rolls recorded by eight wonderful musicians during the roaring twenties, when ragtime was king and boogie woogie was still a radical new stepchild of jazz and blues. Boogie woogie would not become an international rage until the 1940s. The songs on this cd sound anything but mechanical, they surge with a joy that is highly contagious. An hour with this album will lighten the heaviest heart. COW COW BLUES / 5TH STREET BLUES / HURRY AND BRING IT HOME BLUES / HARLEM CHOCOLATE BABIES ON PARADE / BIRMINGHAM BLUES / SUGAR BLUES / PAPA DE DA DA / GULF COAST BLUES / YOU'RE ALWAYS MESSIN' ROUND WITH MY MAN / LOW DOWN PAPA / CHICAGO STOMP / SOCIETY BLUES / BOOGIE WOOGIE BLUES / HARD LUCK BLUES / THE FIVES / DOWN AND OUT BLUES NY CD-Takes COW COW BLUES: Cow Cow Davenport, whose piano rolls are reproduced on this and the next two tracks, was an acclaimed accompanist of Bessie Smith and other blues singers. This song was his biggest recorded success, which he lived to see turned into a chart topper by Ella Fitzgerald in the 1940s. This song is heavily influenced by ragtime, but there's no denying the surging boogie beat. 5TH STREET BLUES: Cow Cow's next number is a bouncy boogie march that struts from beginning to end. The power of the soaring right hand is matched perfectly by the pounding left hand. A ton of exhibition is packed into a song that lasts less than two minutes. HURRY AND BRING IT HOME BLUES: Cow Cow's last piece is much more bluesy. You get the sense that this was a favorite in the speakeasy's that made good use of the potential of a player piano to maintain a party atmosphere. HARLEM CHOCOLATE BABIES ON PARADE: James P. Johnson is the pianist here and on the next track. This song begins with a classical flair and then moves on to a charleston influenced boogie. Johnson shifts gears several times in this highly imaginative piece. BIRMINGHAM BLUES: Johnson hits a bluesier note on this number. James P. Johnson, a giant of Jazz in the twenties, was hailed by no less than John Hammond Sr. as one of the greatest jazz pianists of the century. SUGAR BLUES: The piano rolls of Clarence Williams are played here and on the next track. Williams was a major force in the jazz music scene of the twenties, owning his own publishing house that listed many famous musicians among his clients. His piano style is a delightful rolling blues that is so happy you can see him grinning at the keyboards. PAPA DE DA DA: Clarence's second number is very modern sounding. It would fit into the song list of many a current Broadway musical. It's clear that Clarence Williams followed his own muse and his music is quite distinct from the rest of the boogie greats on this cd. GULF COAST BLUES: Next up is another Clarence. This one is Clarence Johnson, contributing three piano rolls for our eternal enjoyment. About the only things known about Johnson was that he was born in 1900 and died in 1933. His accomplishments at the keyboard are evident. His fingers fairly fly over the keyboard as he gives a taste of the south. YOU'RE ALWAYS MESSIN' ROUND WITH MY MAN: Here's a really bluesy boogie. Clarence Johnson plays it slower here, but still manages to throw in some magical figures. This song is a little sadder than most of the others on the album, but that darned boogie beat just won't let the spirits sag. LOW DOWN PAPA: Clarence Johnson sounds like he's got at least four hands on this number, or at the very least five extra fingers. If ever there was a case of a piano being made to sing, this is it. Johnson's early demise is a great loss. CHICAGO STOMP: Jimmy Blythe takes over for this and the next two songs. According to the notes Blythe also died young, but he recorded much more extensively than Clarence Johnson. Where Johnson sprinted, Blythe lopes, moving through his boogie with smooth confidence, letting his left hand do much more of the work than the rest of the pianists on this cd. SOCIETY BLUES: Once again this is a more relaxed boogie, but lacking none of the excitement of the other songs. Blythe uses some tricky tempo changes here and a few false endings. BOOGIE WOOGIE BLUES: Blythe provides a beautiful merging of the two styles. He lets his right hand break away from the boogie beat several times to contribute to the melody, which makes for interesting listening. HARD LUCK BLUES: The fingers of Everett Robbins provide the magic on this piano roll. He was a star performer in many of the honky tonks of the Roaring Twenties. This song is best described as a boogie woogie march. Robbins makes the piano sound like an entire marching band. THE FIVES: The performer on this piece, Hersal Thomas, was the younger brother of Sippie Wallace. He was only 14 years old when this piano roll was recorded. Two years later, while working with his sister in Detroit, he would die of food poisoning. This song applies the boogie beat to classical music of the romantic period. Quite an innovative approach for a teenager! DOWN AND OUT BLUES: Last but certainly not least is Lemuel Fowler, who provides a fine example of the Harlem Stride style of piano playing. Fowler recorded this piece less than a year before the stock market crash brought the decade of the roaring twenties to a painful close. Reviewed by Toby Levy Copyright NY CD Blues - 1996 NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ ========================================================================= Date: Wed, 10 Apr 1996 08:46:15 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Parchman Farm...who wrote it? Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *My late '70s edition of Blues Who's Who doesn't say who wrote it. *I've got one version where it's attributed to someone named *Allison, but I'm sure the song pre-dates Luther. If anyone knows, *I'd like to hear from them. I've seen it credited to jazz/blues singer/pianist Mose Allison. -Steve ========================================================================= Date: Wed, 10 Apr 1996 07:56:33 -0500 Reply-To: James Foster From: James Foster Subject: BLUES-L MEMBER WITH THE BLUES! Ah, I've been a member of this good ol' list for many years now, so I feel I can cry on its "collective shoulder"...last night, Cynthia and I arrived home from work and after-work drinks to find that our house had been robbed. While it was a "quick and dirty" job (the place was more trashed than anything) these "varmits" stole my stereo as well as some of my CDS, including favorites by Syl Johnson, Dan Penn, Los Lobos, and Elmore James as well as a "just received from ROOSTER BLUES Otis Clay gospel tape". Also they got some family jewelery...now this gives me the blues! The world is a vicious place! James ========================================================================= Date: Wed, 10 Apr 1996 08:10:51 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Bitterness and Purists In-Reply-To: Message of Tue, 9 Apr 1996 13:45:49 -0800 from On Tue, 9 Apr 1996 13:45:49 -0800 Don Cicchetti said: Lots of stuff deleted I just want to say, I have mangled your orignal post/thread in to something it wasn't meant to be. I think I strayed severely and I do that frequently So nevermind :-) LW 'sorry, yes PW I'm apologizing AGAIN :-), which is OK' ========================================================================= Date: Wed, 10 Apr 1996 08:16:16 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Selling Out In-Reply-To: Message of Tue, 9 Apr 1996 15:57:00 -0700 from On Tue, 9 Apr 1996 15:57:00 -0700 Shaun T Cronin said: > >>I remember reading where Albert Collins told John Campbell that he JC played >>great, but you have to make it whisper sometimes...I think that's good advice > >Was it Albert? I remeber the qoute as well. I thought it was Gatemouth Brown. You are right it was Gatemouth LW ========================================================================= Date: Wed, 10 Apr 1996 08:21:27 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: Boxes O' Elmore Comments: To: basten@CAE.WISC.EDU On 9 Apr 96 , honorable zeller Mark A Basten wrote: > Does anyone out there have both the Fire/Fury/Enjoy and the > Modern/Meteor/Flair boxes of Elmore James? I have the former > and have gone so far as to carry the latter around the record > store on several different occasions before putting it back. > How are the notes in the Modern box? It seems that there is > a larger number of alternate takes - can there be too much Elmore? > What do y'all think? > I have the Fire/Fury/Enjoy boxed set and listen to it often. It is really great stuff! I found that the alternate takes were in some cases unnecessary (I usually listen to a whole album at a time), but every cut is solid. There is one puzzling thing, though. The liner notes seem to focus more on the producer than on Elmore. There is an illustrated discography advertised in Living Blues for $7.00. RJ Bauman "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Wed, 10 Apr 1996 10:31:23 -0300 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: Parchman Farm...who wrote it? Comments: To: da586@FREENET.CARLETON.CA In-Reply-To: <4kg65a$rip@freenet-news.carleton.ca> from "Andrew Moodie" at Apr 10, 96 11:30:50 am > My late '70s edition of Blues Who's Who doesn't say who wrote it. > I've got one version where it's attributed to someone named > Allison, but I'm sure the song pre-dates Luther. If anyone knows, > I'd like to hear from them. Booker White recorded "Parchman Farm Blues" in 1940, but it's a very different song than the one on John Mayall's "beano" album. I'm not sure which one you're referring to. White's version starts out "Judge gimme life this morning, down on Parchman farm / I wouldn't hate it so bad but I left my wife and my home." -Rob ========================================================================= Date: Wed, 10 Apr 1996 13:48:43 GMT Reply-To: VT From: VT Subject: Re: Playing Hopkins... >From the videos I've seen of Lightnin' Hopkins - it appears as though he plays with a thumb pick and just his first finger. -- Vincent vt@usa.pipeline.com On Apr 10, 1996 00:14:06 in , 'Owen Okie ' wrote: >I've been trying to learn some Lighnin'Hopkins, and am wondering if he >ever played with a pick, or a thumb pick, or just his fingers. > >Actually Kopkisn is one fo the funnest bluesman I've worked on yet. >Any advice would be much appreciated. ========================================================================= Date: Wed, 10 Apr 1996 07:49:44 -0500 Reply-To: Roger Struve From: Roger Struve Subject: Re: Selling Out -Reply Comments: To: ISTS024@UABDPO.BITNET Did Son House ever whisper? I can't whisper cause i can't hear it then.... ddr ========================================================================= Date: Wed, 10 Apr 1996 08:48:51 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Black Music Month I was talking to the person in charge of programs at the library about doing a blues education program and she informed me that June was Black Music Month So it appears my wife and I will be doing some kind of program on The Blues for an inner city library. This is going to be a big challenge and I have to start putting it together. if you have any suggestions, please send them prviate mail.....Thanks LW ========================================================================= Date: Wed, 10 Apr 1996 07:02:34 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: "Wade in the Water" series >Anybody heard this set from Smithsonian Folkways? I'm intrigued and >interesting in ordering the whole set (there are 4 vols. in the series) but I >want to get an idea what's in there and if they are any good (and # of cuts per >CD). Somebody pls. forward review if there has been any. Thanks! I've got Volume IV, African-American Community Gospel, a collection of 15 songs recorded in Alabama and Washington, D.C. It's a very nice collection of contemporary and classic gospel as recorded in today's worship services, and I love it. Especially good is the Poole Brothers' version of 'Nobody Knows the Trouble I've Seen', but all the tracks are excellent. The liner notes are also real nice, and I'll be picking up another volume in this set as soon as payday rolls around! :-) -Jim (hndful@uniserve.com) ------------------------------------------------------------ Check out 'Heart and Soul', a new hour of blues, gospel, and jazz every week on SDF-Net Community Radio - http://sdf-radio.colossus.net. ------------------------------------------------------------ ========================================================================= Date: Wed, 10 Apr 1996 09:03:20 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Louisiana Red Comments: To: smirkyface > From: smirkyface > Does anyone have a bio on Louisiana Red or maybe there's a URL where I > could find such info. Louisiana Red (Iverson Minter) was born in Louisiana in 1936. His mother died shortly after he was born and his father was lynched by the KKK when he was two; he spent some time in a New Orleans orphanage until his grandmother took him to Pittsburgh in the early 40s. He taught himself harmonica and later guitar and began playing professionally as a teenager in the late 1940s in Detroit. He was incarcerated for a year or so around 1950 (for what reason I'm not sure). His first professional engagement was reportedly as a replacement for John Lee Hooker when the latter left town unexpectedly for a southern tour. According to some accounts he also did a stint in Muddy Waters' band. He moved to Chicago and made his first records for Checker in 1949. He worked at various times with John Lee Hooker and Jimmy Reed in the 50s and 60s; one of his first records features Hooker playing second guitar. He used a variety of pseudonyms (including "Elmore James Jr") in his earlier years. He made records for various small labels in the 50s and early 60s before recording a great album ("Lowdown Back Porch Blues") for Roulette in 1962. This material has been reissued several times over the years and is currently available on Collectables. Much of his early material shows a strong Elmore James influence. In 1965 he recorded another fine album, this time for Atco ("Louisiana Red Sings the Blues"). This material is currently available on the Evidence CD "The Best of Louisiana Red". He was something of a fixture on the folk and blues festival circuit in the late 60s and 70s before moving to Europe in the 80s, where he still resides. He was married for a time to the folk singer Odetta (Gordon). As far as I know he continues to tour regularly and is still making records. In addition to the Evidence CD mentioned above there is a very good one on Earwig called "Sittin' Here Wonderin'", originally recorded in the early 80s; he also made several records for the L&R label in Europe. Eliot Williams University of Wisconsin Department of Medicine ecwillms@macc.wisc.edu ========================================================================= Date: Wed, 10 Apr 1996 10:07:31 -0400 Reply-To: Anita Samuel From: Anita Samuel Subject: Agents for Classic Blues Artists Comments: To: Dick Waterman In-Reply-To: <960409212001_187977827@emout04.mail.aol.com> Greetings, Can you help me compile a list of booking agents (addresses, telephone numbers, fax numbers, email) for old (no ageist reference intended) blues artist? We're planning a fundraiser and I volunteered for this assignment, hoping you (all) would be able to help. Otherwise, it's off to the library. Thanks in advance. Peace, nitra ========================================================================= Date: Wed, 10 Apr 1996 10:06:12 -0500 Reply-To: Erica Wissolik From: Erica Wissolik Subject: Re: Parchman Farm...who wrote it? -Reply Copyright records say a song with this name is now a public domain work but it was originally written by Mose Allison. >>> Rob Hutten 04/10/96 08:31am >>> > My late '70s edition of Blues Who's Who doesn't say who wrote it. > I've got one version where it's attributed to someone named > Allison, but I'm sure the song pre-dates Luther. If anyone knows, > I'd like to hear from them. Booker White recorded "Parchman Farm Blues" in 1940, but it's a very different song than the one on John Mayall's "beano" album. I'm not sure which one you're referring to. White's version starts out "Judge gimme life this morning, down on Parchman farm / I wouldn't hate it so bad but I left my wife and my home." -Rob ========================================================================= Date: Wed, 10 Apr 1996 07:19:59 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: BLUES-L MEMBER WITH THE BLUES! Comments: To: James Foster >Ah, I've been a member of this good ol' list for many years now, so I feel >I can cry on its "collective shoulder"...last night, Cynthia and I arrived >home from work and after-work drinks to find that our house had been >robbed. While it was a "quick and dirty" job (the place was more trashed >than anything) these "varmits" stole my stereo as well as some of my CDS, >including favorites by Syl Johnson, Dan Penn, Los Lobos, and Elmore James >as well as a "just received from ROOSTER BLUES Otis Clay gospel tape". >Also they got some family jewelery...now this gives me the blues! The >world is a vicious place! James, I can empathize with you, something fierce. I had exactly the same thing happen to me a year ago - somebody walked into our house, stole about 150 of my C.D.'s and some jewelry, and nothing else. And besides having some of my prizes possessions taken, the worst part of it all is knowing that someone's been wandering through the house - it's a strange feeling. Here's what I did: that night, I made up a list of the cd's that had been stolen, gave it to the cops (not expecting anything from them, since they usually have more pressing matters on their hands), and the next morning I went into all the used cd stores with my list, warning them that the goods were stolen. That morning a hoodlum came into the local cd store with a box of very unusual disks (about as unusual a collection as most bluezellers', I'd suspect), and the girl behind the counter kept him occupied while someone else called the cops. So the long and short of it is, I got my disks back. The jewelry, however, is long gone. All the best to ya, and if I were you I'd bring the list to the local stores - these guys usually ain't all that bright, so I doubt they'll go far to pawn it off. Good luck. -Jim (hndful@uniserve.com) ------------------------------------------------------------ Check out 'Heart and Soul', a new hour of blues, gospel, and jazz every week on SDF-Net Community Radio - http://sdf-radio.colossus.net. ------------------------------------------------------------ ========================================================================= Date: Wed, 10 Apr 1996 09:18:25 -0500 Reply-To: David Silberberg From: David Silberberg Subject: Howard Tate (was Re: Dog Blues) At 08:02 PM 4/8/96 CDT, Bonnie Kalmbach wrote: > Big Joe Turner doing >"How come my dog don't bark when you come knocking at my door." Don't think this one's been mentioned: Howard Tate's "How Come My Bulldog Don't Bark". Speaking of which.... Howard Tate could be a contender in the "Why Wasn't He More Famous" thread - terrific sixties soul singer. The liner notes to the Howard Tate CD "Get It While You Can" imply some kind of mysterious disappearance for Mr. Tate: does any one know what happened to him, or am I reading too much into the liner notes? David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Wed, 10 Apr 1996 09:29:36 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Copyright law and home taping (was:Virtue or) Once again: It is NOT illegal or in violation of U.S. copyright laws (as interpreted in recent court rulings) to make tapes of commercially recorded material as long as such tapes aren't being sold for a profit. This also apparently applies to exchange of such tapes between individuals. For more information, please refer to the copyright FAQ page: http://www.cis.ohio-state.edu/hypertext/faq/usenet/copyright-faq/part4.faq.html Home taping is discussed in section 3.7. EW Eliot Williams University of Wisconsin Department of Medicine ecwillms@macc.wisc.edu ========================================================================= Date: Wed, 10 Apr 1996 07:46:21 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: April 11 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BASIE, CATHERINE ("PRINCESS ALOHA") (v) d. 1983-0411, FREEPORT, BAHAMAS 67 BERRY, RICHARD (v/LOUIE LOUIE) b. 1935-0411, EXTENSION, LA COMMANDER, MAURICE D. (of CHICAGO SOUL 7) b. 1948-0411, CHICAGO, IL EVANS, SAMMIE "STICKS" (d) d. 1994-0411, NEW YORK CITY, NY 70 FLYING BLACK EAGLE (ANDREW LOGAN) (hca) d. 1995-0411, HUGHES, AR 74 GORMAN, FRED (prod/MOTOWN) b. 1939-0411, DETROIT, MI GRANDERSON, JOHN LEE (hca) b. 1913-0411, ELLENDALE, TN JOHNSON, LUTHER"GTR JR"(g/BULLSEYE BLUES) b. 1939-0411, ITTA BENNA, MS LEWIS, JIMMY (g/b/KING CURTIS) b. 1918-0411, NASHVILLE, TN STAPLES, CLEOTHA (of THE SPAPLE SINGERS) b. 1934-0411, DREW, MS STUCKEY, HENRY (g/SKIP JAMES) b. 1897-0411, BENTONIA, MS ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 10 Apr 1996 14:46:17 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Heres a thread ...... What I Would Like To See at THE FIRST ANNUAL BLUES-L CONVENTION =================================== - The W brothers (P & L) united at last :):) - A Blues-l memorabilia display (torn net stockings, a piece of EC's broken E-string ....) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [10/4/96 10:34 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 10 Apr 1996 10:45:00 -0400 Reply-To: "timothy (t.b.) bosley" From: "timothy (t.b.) bosley" Subject: Re: BluesBytes facts Bob Unger writes: > If anybody wants to change >their vote to Mt. Zion, please notify me, not Cathi. Cathi will be away >for a few days and she's done enough already. Amen brother! ;-) sorry....the devil made me do it ========================================================================= Date: Wed, 10 Apr 1996 10:01:53 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Heres a thread ...... In-Reply-To: Message of Wed, 10 Apr 1996 14:46:17 +0000 from On Wed, 10 Apr 1996 14:46:17 +0000 Pat Hertel said: > What I Would Like To See at >THE FIRST ANNUAL BLUES-L CONVENTION >=================================== > >- The W brothers (P & L) united at last :):) I guarantee you that if myself and PW got together, it would be a blast. He's a great guy and one day I will meet him. My brother lives in his area and I will probally make it down there this summer. I'm crazy about PW, he's a nice guy...No doubt about it LW 'no smiley' ========================================================================= Date: Wed, 10 Apr 1996 08:12:17 -0800 Reply-To: James Carmin From: James Carmin Subject: Re: Parchman Farm...who wrote it? Of course Bukka White's PARCHMAN FARM BLUES was earlier. Bukka was at the prison in the late '30s and recorded this first in 1940. James "judge give me life this morning down on Parchman Farm, I wouldn't hate it so bad but I left my wife in mourn" C. ========================================================================= Date: Wed, 10 Apr 1996 11:13:00 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Parchman Farm...who wrote it? Comments: To: da586@freenet.carleton.ca In a message dated 96-04-10 10:52:17 EDT, da586@FREENET.CARLETON.CA (Andrew Moodie) writes: > >My late '70s edition of Blues Who's Who doesn't say who wrote it. >I've got one version where it's attributed to someone named >Allison, but I'm sure the song pre-dates Luther. If anyone knows, >I'd like to hear from them. > > There are two songs by Mississippi jazz singer / piano player Mose Allison about Parchman: "Parchman Farm" and "New Parchman" (The former has the lines "Putting that cotton in an eleven foot sack / with a 12 guage shotgun at my back" and "I'll be here for the rest of my life and all I did was shoot my wife."). Allison is from Tippo, Mississippi, in Tallahatchie County (about 30 miles east of Parchman and 20 miles northwest of Avalon in the Delta). He began recording in New York in the 50s. He has had a history of great covers of material by Willie Dixon, Sonny Boy Williamson, and has always given credit to the influence of bluesmen. I hear a report (from him, more or less) that Van Morrison is recording an album of Allison's songs. Allison is still quite active; a box set came out a couple of years ago and he will be performing at Proud Larry's here in Oxford on Saturday night this week. Tom Freeland ========================================================================= Date: Wed, 10 Apr 1996 11:17:58 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Heres a thread ...... Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU On 10 Apr 96 at 10:01, ISTS024%UABDPO.BITNET@BROWNVM wrote: > I guarantee you that if myself and PW got together, it would be a blast. He's > a great guy and one day I will meet him. My brother lives in his area and I > will probally make it down there this summer. I'm crazy about PW, he's a nice > guy...No doubt about it Nice move, LW, now I can't be mean for at least a month. And here I was already planning the "Dunk LW" booth for the convention. ;-) P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Wed, 10 Apr 1996 10:22:36 -0500 Reply-To: Mike Davis From: Mike Davis Subject: Re: Parchman Farm...who wrote it? The version that has the lyrics "setting down here in parchman farm..." = and the last verse has "all I did was shoot my wife" was written by Mose = Allison. At least thats what the Alan Haynes, Johnny Winter and Ford = Brothers Band versions give credit to.=20 Later, Mike Davis > My late '70s edition of Blues Who's Who doesn't say who wrote it. > I've got one version where it's attributed to someone named > Allison, but I'm sure the song pre-dates Luther. If anyone knows, > I'd like to hear from them. ========================================================================= Date: Wed, 10 Apr 1996 11:26:42 -0400 Reply-To: SliderDW@AOL.COM From: Don Williams Subject: Re: Parchman Farm...who wrote it? Comments: To: da586@freenet.carleton.ca In a message dated 96-04-10 10:52:17 EDT, da586@FREENET.CARLETON.CA (Andrew Moodie) writes: You wrote: > >My late '70s edition of Blues Who's Who doesn't say who wrote it. >I've got one version where it's attributed to someone named >Allison, but I'm sure the song pre-dates Luther. If anyone knows, >I'd like to hear from them. > >AJM > That;s not LUTHER Aliison--it's MOSE Allison! Don Williams ========================================================================= Date: Wed, 10 Apr 1996 14:40:50 +0100 Reply-To: Mark Reece From: Mark Reece Organization: My Own Account Subject: Re: MAGIC SLIM IN THE MIDLANDS (UK) Comments: To: bit-listserv-blues-l@moderators.uu.net In article <829076737.12379@bluestb.demon.co.uk>, Tony Burke writes >CALLING ALL BLUES FANS IN THE MIDLANDS, UK > >If there are any Blues-L subscribers out there who live within a forty >mile radius of Brierly Hill, then get this date in yer diaries. > >MAGIC SLIM AND THE TERADROPS (The best live Blues band on the planet - >B&R Magazine) will be playing the Robin R&B Club, Brierley Hill, West >Midlands on MAY 21ST. > Does anyone know if this is his only gig here in the UK or is he stopping off else where to offset the cost of the air ticket? -- Mark Reece ========================================================================= Date: Tue, 9 Apr 1996 22:46:41 -0500 Reply-To: Patrick LeBlanc From: Patrick LeBlanc Organization: The Mississippi Delta Blues Society Subject: help across the waters Willie Cobbs has been in the studio with the Hodges borthers of the Hi-Rhythm section in memphis recording new material. The final mix is now complete and we hope to have a release late summer. The new album features new material from Willie plus new titles from Tennie Hodges and Roland Robinson...it's very funky stuff. Willie has expressed a great desire to do a few dates in Europe. Can someone give me a little help with contacts in these markets. I have booked Willie for a few festivals in Holland, etc., the last two years. Willie and the bands are ready for some work... please private e-mail to elmo96@tecinfo.com Thanks, Patrick LeBlanc ========================================================================= Date: Wed, 10 Apr 1996 15:37:24 GMT Reply-To: bbbean@sheltonlink.com From: bbbean@SHELTONLINK.COM Organization: inlink Subject: Re: Modal? Comments: To: bit-listserv-blues-l@uunet.uu.net In <9603098290.AA829090413@smtplinkout.hearst.com>, Mark Stringer writes: >I just read in Living Blues magazine, that "'Smokestack Lightning' is the >quintessential modal Wolf track". What does Bill Dahl mean by "modal"? > > Studying the blues, > Mark Careful, youre treading into the dreaded "music theory!" BBB B.B. Bean New address------>bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Wed, 10 Apr 1996 07:50:49 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Bitterness and Purists (a purist speaks out) Timothy said: >> > that you consider your music to be mere entertainment. That says very much >> > about your attitude towards music ^^^^^^^^^^^^^^^^^^^^^^^^^^^ someone responded >> What the hell are you saying...the blues(which I love) is art and >> blues-rock isn't.... Tim reitierated: > It was the original message that said that blues-rock is entertainment. >I disagree with that attitude towards music, and I don't like the music which >that attitude will tend to produce. *I* wrote the original post you silly wally, and I said "EVERYTHING is entertainment" not just blues-rock, all of it, every last bit. It can be art as well, but it is most certainly entertainment. Since the originators of the blues considered it entertainment themselves, maybe you are one of Paul Garon's infamous "white appropriators of the blues"? hmmmm? >>how narrow-minded, bigotted, and totally absurd. > > I am open minded, not a bigot, and logically support my arguments. *with simple unsupported assertions from the looks of things*.... >> Nothing worse than someone trying to tell you what ART is. > > I am merely discussing the relative merit of different art forms. It >just happens that I find blues-rock to be an inferior form. In your opinion of course... And since other qualified, well-read, intelligent people hold different opinions you are required to accept artistic diversity. Or be considered intolerant.... >> Taking away my right to decide. > >I support your right to make bad decisions. Especially about art. This is why people hate purists... Hey Tim! Ever think that posting this was a "bad decision"?? >> I play music in a blues/jazz/rock whatever...trio with a tuba player >> doing the bass parts...I love what I'm doing and it is art. I love music >> form Albert King to Frank Zappa. Please...I think I am capable of >> deciding what is art to me and what isn't. > > And I am capable of deciding what is good art and what is bad art. >When is food considered to be of such poor quality that it is no longer food? >That's a line that the individual must draw, but there *are* criteria to >be met. Yours of course...... >> The mind is like a parachute... >> it works only when it's open. > > And a human being only functions when the mind makes value judgements, >and concludes that some things are inherently superior and other things >inherently inferior. .....For them.... You cannot win people over to Son House while you are dumping on Jimi... Shut your mouth, be *nice*, show some *manners* and simply play some for them... People like Tim are one of the reasons that the blues is not more popular... DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Wed, 10 Apr 1996 10:49:02 -0500 Reply-To: David Silberberg From: David Silberberg Subject: Re: On this day... At 05:13 AM 4/10/96 -0500, P.W. Fenton wrote: >On this day in 1958, Dick Clark devoted an hour of his Amercan >Bandstand afternoon TV show to the memory of Chuck Willis who had >died earlier in the day at age thirty. Willis was from Atlanta, GA >and recorded hits that included: C.C. Rider, Betty And Dupree, What >Am I Living For (his biggest hit) and Hang Up My Rock And Roll Shoes. >"What Am I Living For" and "..Rock And Roll Shoes" were released >after his death. > > The King of the Stroll.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Wed, 10 Apr 1996 10:55:21 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Call me Mr. Pitiful.................. Should we pity some- time players/singers because they do it at home without an audience or should we pity them because they miss out on the special feeling of connecting to others and the energy it creates to take the music to a still higher level? The connection made between performer and audience legitimizes the performance, but that doesn't mean the rehearsels lacked credibility themselves-- as far as entertainment goes. My life does not permit a larger commitment to music than playing about 4 hours a week at home. That saddens me some, but I will play out again eventually. Some -times players may not see their art as a performance, but more like "playing" in the stricter sense of the word. It's a hobby and they enjoy it on that level. Audience present or not, one's thoughts and feelings give life to the music for HIM/HER in that time and it can be very gratifying. It does not mean they haven't the ability to complete the circle by playing for others, or that they don't do it occasionally, so I don't think it at all pitiful for them. It 's pitiful only for those, given their take on the role musicians, had to live such a fate themselves. That excludes a lot of worthy musicians, I believe. Thanks for listening! RJ Bauman "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Wed, 10 Apr 1996 11:11:47 -0500 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Want Lists To Multiple Recipients: Vintage Jazz & Blues Mart magazine started a tradition I think back to their origin in '53 or '54 of publishing want lists for free. I would be happy to continue that tradition on the internet, in the 78 Auction section of BLUES WORLD if there is any interest. I will start a seperate page of "want lists" where collectors can post publicly records or CDs they are searching for and can't find through commercial vendors. As soon as I can, I will set the page up with a form to automatically post your "want messages." In the meanwhile, if you send them to me by e-mail with "Want List" in the subject header, I will be happy to post them up. Joel Slotnikoff ========================================================================= Date: Wed, 10 Apr 1996 08:14:11 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Bitterness and Purists Tom Freeland, (in a very thoughtful post) said: >Can I now assume that this rant against "purist collectors and writers" is >intended as ironic? Or that actual whoring and Eric Clapton are equally >definsible? (We did once have someone from COYOTE on this list didnt we?). I think Billy was funnin' with that comparison, but believe me musicians get sick and tired of this endless "money vs art" delusion that the public is so fascinated with at times.... No one even ASKS is it money or art when I record someone... they know it is both. Same with medicine, law, and dialing in twin Weber DCOE 40's on an old BMW 2002... >Personally, I respect people who do what they have to do to make a living. > Yet, I don't think it wonderful that, on more than an occasional basis, >great artists are left to toil in brutal conditions, only to be recognized >after death at a time when their followers (is that more polite than "lesser >immitators") get quite wealthy following in their wake. And I think, partly >due to the racial and economic conditions of 20th century America, the blues >has had more than its fair share of great-artists-in-brutal-conditions. But, >I don't think my view is a view limited to "blues purists" or this problem to >the blues. Of course, and this point needs to be made and remade on an almost weekly basis. My point is that just because they struggled so hard against so much, doesn't mean they WANTED to, does it? And perhaps those of us who mistake that struggle for the stupid "artist working in the wilderness" myth, need to get to know some actual artists.... >Lack of commercial success (or even the possibility of it) made Robert >Johnson a hobo at a time he was recording some of the greatest records >records ever made. Commercial pressures caused William Faulkner to sell his >soul to Hollywood because his books had slipped out of print and he no longer >could support his family writing fiction. They (at least in part) prevented >Van Gogh from selling a painting in his lifetime, and allowed RKO pictures to >rape-by-editting Orson Welles' masterpiece THE MAGNIFICENT AMBERSONS. The >commerical failure (AT THE TIME) of these artists does not make their >achievement any less. Commercial success would not have either. Absolutely, BUT, commercial success would have established great blues music as MAINSTREAM and what a blessing that would have been. Oh, and commercial failure by itself, did not make the music one little bit more "artistic" did it? (well it did to some maladjusted purists I guess....) Great post, Tom Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Wed, 10 Apr 1996 11:21:23 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Re: Parchman Farm...who wrote it? (Mose Allison) > > There are two songs by Mississippi jazz singer / piano player Mose Allison > about Parchman: "Parchman Farm" and "New Parchman" (The former has the lines > "Putting that cotton in an eleven foot sack / with a 12 guage shotgun at my > back" and "I'll be here for the rest of my life and all I did was shoot my > wife."). Allison is from Tippo, Mississippi, in Tallahatchie County (about > 30 miles east of Parchman and 20 miles northwest of Avalon in the Delta). He > began recording in New York in the 50s. He has had a history of great covers > of material by Willie Dixon, Sonny Boy Williamson, and has always given > credit to the influence of bluesmen. > > I hear a report (from him, more or less) that Van Morrison is recording an > album of Allison's songs. Allison is still quite active; a box set came out > a couple of years ago and he will be performing at Proud Larry's here in > Oxford on Saturday night this week. > > Tom Freeland > Strangely enough, I just had Mosse Allison's "Greatest Hits" (on Prestige) album playing on my CD player here in the office when I received Tom's message. "Parchman Farm" is track #7 on that album. Off course, there is a jazzy and fine cover of SBWII's "Eyesight to the Blind" on it too. This album is highly recommended even if you are not a jazz fan - Mose's brand of jazz will make you feel "mellow," especially in these "springy" days. Ranko ========================================================================= Date: Wed, 10 Apr 1996 11:30:18 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Bitterness and Purists Comments: cc: Don Cicchetti I have rarely agreed more wholeheartedly with a post on Blues-L than I did with Don's appeal to musicians with narrow tastes and great intolerance to forget their bitterness and get a life. He wrote, succinctly: "How can you love YOUR music if you hate everyone else's? Remember we are storytellers..." Amen! Richard PS: I think Iggy pop has real class to put blues guys on his show; he's following - as Richard the Younger has pointed out - a long, long tradition. And I hope Iggy's fans dig the blues - and I also hope the blues fans will enjoy Iggy; he's a veteran with a long history, and, dammit, he entertains the folks! ========================================================================= Date: Wed, 10 Apr 1996 12:09:22 -0400 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: Re: Bad Girl Blues Comments: To: rshurman@ccs.nslsilus.org In a message dated 96-04-08 17:29:33 EDT, rshurman@CCS.NSLSILUS.ORG (Richard Shurman) writes: >Memphis Willie B's original "Bad Girl Blues" is on a Prestige Bluesville >LP; don't think it's on CD but I'm not sure. It is on the CD "Introducing Memphis Willie B, OBCD-573-2 Prestige/Bluesville, available from Fantasy. Bluz!!! Ed ========================================================================= Date: Wed, 10 Apr 1996 16:27:03 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: paul size (& Jon Moeller) Comments: To: bit-listserv-blues-l@uunet.uu.net Beowulf wrote: > >Interesting that Moeller's name should come up on the Blues-L. I caught >Jon with Darrell a couple of times and was mighty impressed. I heard that >Moeller was the inspiration for Beavis, of Beavis and Butthead - created >by former Anson Funderburgh bassist Mike Judge. Also kind of interesting, I interviewed Anson a few years ago, andd asked him who his favorite up & coming guitarists were. Without hesitation he said "Paul Size and Jonny Moeller". Scott ========================================================================= Date: Wed, 10 Apr 1996 10:28:34 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Selling Out -Reply Delta Doc asked: >Did Son House ever whisper? I can't whisper cause i can't hear it then.... The term that we should be using is dynamics. And Son House used them well. Check out "Death Letter". The last verse where he goes real quiet and sings along the line "hush, I think I heard her calling my name etc." is amazing. Chills up and down my spine. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Wed, 10 Apr 1996 16:23:13 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Junior Kimbrough & Iggy Pop Comments: To: bit-listserv-blues-l@uunet.uu.net Jordan Barrett Kessler wrote: > [edit] > Incidentally, Iggy >incorporated a few blues vocal phrases into some of his songs. As posted >before, the Ig has been known to be a huge blues and R&B fan. > I don't know if I posted this here before (I've been having problems getting things posted) but there are some blues roots in Iggy's background. I understand that in the mid '60s he played drums for a time in Junior Wells band in Chicago. Scott ========================================================================= Date: Wed, 10 Apr 1996 13:29:37 -0400 Reply-To: "Abe W. Mathews" From: "Abe W. Mathews" Subject: Goodbye cruel world...... Hey gang- I have to go soon. It's been real, it's been fun, heck it's even been real fun, but I have to unsubscribe. Seems some company's decided they want to hire me, and I have to finish my thesis and scram. Unfortunately, this leaves me with little or no time to sort through a ton of e-mail every day. So, I have to unsubscribe. I plan to subscribe again someday, but I don't know exactly when I'll get another account. So, I have to say goodbye, at least for a while. Be nice to each other. :) Abe awmathew@mtu.edu ========================================================================= Date: Wed, 10 Apr 1996 12:37:22 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: paul size (& Jon Moeller) In-Reply-To: Message of Wed, 10 Apr 1996 16:27:03 GMT from On Wed, 10 Apr 1996 16:27:03 GMT Scott Dirks said: > >Also kind of interesting, I interviewed Anson a few years ago, andd asked >him who his favorite up & coming guitarists were. Without hesitation he >said "Paul Size and Jonny Moeller". The only reason I stopped to see the Red Devils was because Anson was so high on Paul Size. I'm glad I did LW ========================================================================= Date: Wed, 10 Apr 1996 13:53:01 -0400 Reply-To: leddy@A1.POLICE.UPENN.EDU From: Gerald Leddy Subject: Pat' new thread... Something I'd like to see at the Convention since I won't be there :{( is a picture of everyone wearing the Blues-L t-shirts Marcia worked so hard to get out. It'd be nice to put smiling faces to names. Jerry. ========================================================================= Date: Wed, 10 Apr 1996 13:18:14 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Memphis meeting/jam Someone asked about whether or not they should "get" a club for us 'ellers to have a jam. Past experience tells me there is not enough free time to set up and jam. I will have an acoustic of some sort in my car/room so there is always time for a quick tune, while waiting on the gates to open. I don't think an actual jam is 'do able"....I would like to set up a meeting place, like YOUR room on Friday evening before the Fest starts :-). Some club on Beale or Handy park or ???????????? LW ========================================================================= Date: Wed, 10 Apr 1996 18:25:49 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: St. Louis Blues Festival What are the exact dates for the festival i.e. Does it include friday and/or monday? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [10/4/96 14:25 PM] "Wednesday's worse..." ========================================================================= Date: Wed, 10 Apr 1996 08:30:31 -1000 Reply-To: Norman C Moody From: Norman C Moody Subject: Re: Bitterness and Purists Comments: To: Don Cicchetti In-Reply-To: <199604091657.JAA15067@inet.lasierra.edu> Aloha From Hawaii! This is the essence of my own personal theory about the world of music. It is truely refreshing to see that others share this view. I have heard too much about what ISN"T Blues, etc. Thank you, Don. A Blues lover who Rocks it a little. Norman Moody President East Hawaii Blues Association Keep The Blues Alive, not Fossilized. ========================================================================= Date: Wed, 10 Apr 1996 11:47:06 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: "Wade in the Water" series Comments: To: Linda Rebecca Rash > *****Hi, could you please email a phone number or address for the >Smithsonian Folkways catalog. I have tried to get it from operators and >noone has a listing. Thanks ! Smithsonian/Folkways Mail Order 414 Hungerford Drive, Suite 444 Rockville, Maryland 20850 Phone: 301-443-2314 Fax: 301-443-1819 The Whole Folkways Catalogue Smithsonian/Folkways Recordings 955 L'Enfant Plaza Suite 2600 Smithsonian Institution, Washington DC phone 202-287-3262 fax 202-287-3699 -Jim ------------------------------------------------------------ Check out 'Heart and Soul', a new hour of blues, gospel, and jazz every week on SDF-Net Community Radio - http://sdf-radio.colossus.net. ------------------------------------------------------------ ========================================================================= Date: Wed, 10 Apr 1996 13:41:02 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Junior Kimbrough & Iggy Pop Comments: To: Scott Dirks In-Reply-To: <4kgn9h$fp2@usenetw1.news.prodigy.com> Re Iggy's blues roots, I think he also lived with Sam Lay and played with J.B. Hutto (whom I remember seeing with a cigar-smoking woman drummer about the same time; maybe it was one of The Ig's early personas) while he was in Chicago. ========================================================================= Date: Wed, 10 Apr 1996 13:41:01 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Bitterness and Purists In-Reply-To: Message of Wed, 10 Apr 1996 08:30:31 -1000 from On Wed, 10 Apr 1996 08:30:31 -1000 Norman C Moody said: > >Keep The Blues Alive, not Fossilized. If you forget the "fossils", then there is no way in the world to keep the blues alive. I'll keep on respecting and learning from the "fossils" and I hope the up n comers do the same.... LW 'a Fossilizer, because Charley Patton moves me like a UHAUL' ========================================================================= Date: Wed, 10 Apr 1996 02:14:37 -0500 Reply-To: Patrick LeBlanc From: Patrick LeBlanc Organization: The Mississippi Delta Blues Society Subject: TEST TEST ========================================================================= Date: Wed, 10 Apr 1996 15:15:38 -0400 Reply-To: Sam Lawton From: Sam Lawton Subject: Living Blues Offer - Which CD should I get? I'm finally getting around to subscribing to Living Blues, something I should have done long ago. Helping me make the decision is the offer of a free CD with my subscription. There are 12 to chose from and most are sampler compilations from various labels. Also on the list are Johnny B. Moore (911 Blues on Wolf); Nolan Struck and King Edward (Brother to Brother on Paula); Sherman Robertson (I'm the Man on Code Blue); and Pat Boyack and the Prowlers (On the Prowl on Bullseye). I've never heard of any of these artists. Is there a hidden gem here or should I go with one of the sampler CDs? ========================================================================= Date: Wed, 10 Apr 1996 14:59:45 EDT Reply-To: LCORBETT@MAINE.MAINE.EDU From: LCORBETT@MAINE.MAINE.EDU Organization: University of Maine System Subject: Re: Black Music Month Comments: To: BIT-LISTSERV-BLUES-L@UUNET.UU.NET I'm running the Listening Center at U. Maine Fogler Library, in Feb. I requested 30 Cds, from Blind Blake....to Pink Anderson...I put together a display using these Cds and printed material available at the library.. It was an interesting experience to see the reactions of people discovering this stuff for the first time. Larry Corbett ========================================================================= Date: Wed, 10 Apr 1996 15:04:20 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 04/11 B O R N : 04 /11 BAUZA, MARIO 04 11 1911 HAVANA, CUBA TRUMPET / CLARINET / ARRANGER / LEADER JAZZ / BIG BAND NOBLE SISSLE / CHICK WEBB / DON REDMAN / MACHITO / DIZZY GILLESPIE / CAB CALLOWAY BLAZE, RALPH ( RALPH LEWIS BLAZE ) 04 11 1922 NEW BRUNSWICK, NJ GUITAR JAZZ Gene Krupa 1948-50 / Stan Kenton 1950-52 La ROCCA, NICK ( DOMINICK J. La ROCCA ) 04 11 1889 NEW ORLEANS, LA CORNET / LEADER TRAD / JAZZ formed Original Dixieland Jazz Band / Larry Shields / Eddie Edwards / Henry Ragas / Tony Spargo (Sbarbaro) LEVY, JOHN ( JOHN O LEVY ) 04 11 1912 NEW ORLEANS, LA BASS JAZZ / BIG BAND Earl Hines / Tiny Parham / Red Saunders / Stuff Smith / Jimmy Jones / Ben Webster / Erroll Garner / Phil Moore / Don Byas / Earl Warren / George Shearing 1948; in 1951 gave up bass to become personal manager for Shearing and others PALMER, KEN 04 11 1932 TRUMPET BIG BAND STUCKEY, HENRY 04 11 1897 BENTONIA, MS GUITAR BLUES SKIP JAMES WILBORN, DAVE ( DAVID BUCKLEY ) 04 11 1904 SPRINGFIELD, OH BANJO / GUITAR / SINGER JAZZ / BIG BAND CECIL AND LLOYD SCOTT / McKINNEY'S COTTON PICKERS / LOUIS ARMSTRONG 1928 / NEW McKINNEY'S COTTON PICKERS 1972 FOR A LISTING OF THOSE THAT PASSED AWAY IN THIS MONTH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Wed, 10 Apr 1996 19:56:40 GMT Reply-To: bbbean@sheltonlink.com From: bbbean@SHELTONLINK.COM Organization: inlink Subject: Re: Bitterness and Purists (a purist speaks out) Comments: To: bit-listserv-blues-l@uunet.uu.net In <199604100012.TAA29768@eehpx19.cen.uiuc.edu>, Timothy M Dellinger writes: >>We are entertainers, like it ar not. > > Blues-rock people are entertainers. Blues people are artists. Ask any >Son House fan if Son was an artist or the highest calibre. It is interesting >that you consider your music to be mere entertainment. That says very much >about your attitude towards music. The minute you step in front of a microphone or an audience, you become an entertainer. Artist/entertainer - the difference is your value judgement. I'd argue an entertainer is an artist with an audience. BBB B.B. Bean New address------>bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Wed, 10 Apr 1996 03:47:22 -0500 Reply-To: Patrick LeBlanc From: Patrick LeBlanc Organization: The Mississippi Delta Blues Society Subject: WILLIE COBBS Willie Cobbs is ready for Europe. Mr. Cobbs, the man who gave the blues "You Don't Love Me" is ready to take on dates...He will be touring wiht Tennie Hodges, The Hodges brothers and Roland Robinson of the Hi-Rhythm Section from Memphis. I could use a little help with dates "across the waters"... I have book Willie in Holland a few times, elsewhere I'm short on contacts... please e-mail privately elmo96@tecinfo.com Patrick LeBlanc The Mississippi Delta Blues Society ========================================================================= Date: Wed, 10 Apr 1996 16:57:24 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: "Wade in the Water" series >>Anybody heard this set from Smithsonian Folkways? I'm intrigued and >>interesting in ordering the whole set (there are 4 vols. in the series) but I >>want to get an idea what's in there and if they are any good (and # of cuts >>per >>CD). Somebody pls. forward review if there has been any. Thanks! > >I've got Volume IV, African-American Community Gospel, a collection of 15 >songs recorded in Alabama and Washington, D.C. It's a very nice collection >of contemporary and classic gospel as recorded in today's worship services, >and I love it. Especially good is the Poole Brothers' version of 'Nobody >Knows the Trouble I've Seen', but all the tracks are excellent. The liner >notes are also real nice, and I'll be picking up another volume in this set >as soon as payday rolls around! :-) > >-Jim (hndful@uniserve.com) >------------------------------------------------------------ >Check out 'Heart and Soul', a new hour of blues, gospel, >and jazz every week on SDF-Net Community Radio - >http://sdf-radio.colossus.net. >------------------------------------------------------------ I got Vol. 4 to review, and went out and bought the other three. Recommended. Chris Smith (chris@skerries.demon.co.uk) 'Positive: wrong at the top of one's voice." (Ambrose Bierce) ========================================================================= Date: Wed, 10 Apr 1996 16:58:06 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Black Music Month? Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu After extensive searching, I can find no reference to anything even close to "Black Music Month" besides the reference made by LW earlier today. Does anyone have any information that would enlighten me on this commemorative event? Perhaps this is something taking place only at your library, LW? P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Wed, 10 Apr 1996 16:59:24 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Living Blues Offer - Which CD should I get? Comments: To: Sam Lawton In-Reply-To: <9604101712.AA1068@notesa.camsys.com> On Wed, 10 Apr 1996, Sam Lawton wrote: > I'm finally getting around to subscribing to Living Blues, something I should > have done long ago. Helping me make the decision is the offer of a free CD > with my subscription. There are 12 to chose from and most are sampler > compilations from various labels. Also on the list are Johnny B. Moore (911 > Blues on Wolf); Nolan Struck and King Edward (Brother to Brother on Paula); > Sherman Robertson (I'm the Man on Code Blue); and Pat Boyack and the Prowlers > (On the Prowl on Bullseye). I've never heard of any of these artists. Is > there a hidden gem here or should I go with one of the sampler CDs? I think the Sherman Robertson is the hidden gem. Couldn't get it out of the player for 2 days. The Johnny B. Moore - 911 Blues is very good - review at http://www.panix.com/~bsco/wolf/ @ our site. The Sherman review will be there next week ....../~bsco/codeblue/ and the others I don't know. I opt for the Robertson is that his CD is one you might not get otherwise and it's terrific. At some point you will buy a Johnny B. Moore. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Wed, 10 Apr 1996 17:07:56 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Missing people . . . Anyone heard anything from Ruthie Parrish ("My Main Man, Mighty Mad Max") or Leo the Scatman ? ? ? With the weather heating up, we need a much higher craziness content on this list. Dick Waterman ========================================================================= Date: Wed, 10 Apr 1996 21:11:31 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Re: Howard Tate/HANG ON SLOOPY. Comments: To: bit-listserv-blues-l@uunet.uu.net I think it was last year, GOLDMINE Magazine, has a feature on Howard Tate. He's alive & well. As usual with GM, the article had very little new facts (at least for me), except that he was born 1938 (not 1943), Macon, GA. Does anyone have his full date as I'd like to include him on BLUES DATE. I can still remember his Verve album in the old delete bins. How time changes. By the way, songwriter WES FARRELL has died. His "HANG ON SLOOPY" will be remembered by all the old timers. The MCCOYS' hit version is now out on Legacy (while I believe the original Atlantic version by The Vibrations is awaits reissue). He was 56 when he died on Feb 29, Fisher Island, FL. eRIC ========================================================================= Date: Wed, 10 Apr 1996 17:28:08 -0400 Reply-To: JnRtn@AOL.COM From: Donna Bauman Subject: Mailing list Help! I can't seem to find the directions to get off of this list. Can you help? Thanks, Donnalpb@aol.com ========================================================================= Date: Wed, 10 Apr 1996 14:40:52 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Fossilized Blues(was Re: Bitterness and Purists) LW wrote: >If you forget the "fossils", then there is no way in the world to keep the >blues alive. I'll keep on respecting and learning from the "fossils" and I >hope the up n comers do the same.... > >LW 'a Fossilizer, because Charley Patton moves me like a UHAUL' I think we all respect and learn from the fossils. But I don't think that is the point of Norman C. Moody's little expression. If the blues is to survive it *has* to adjust to the times. The blues isn't a museum relic. It is a living, breathing art form that has constantly undergoing change. That is why the blues has survived so far. When Muddy Waters first plugged in an electric guitar he wasn't thinking "Hmm, I wonder what the purists will think?" (he later did when he went to England but that's a whole different story). For better or worse the blues will change or it will end up as the musical equilavent of Latin. Everybody has heard of it but only a select few know it. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Wed, 10 Apr 1996 17:45:15 -0400 Reply-To: Barronblu@AOL.COM From: Barron Ruth Subject: THE BLUES BARONS The Blues Barons are an Atlanta Based blues band that play a unique blend of Mississippi Delta, Chicago, Memphis and Georgia blues. This Friday Night we are playing at Daddy D'z in Grant Park And Saturday Night at The Blues Kitchen on MLK near underground Both shows No Cover Daddy D'z has the best barbecue in Atlanta bar none (as reviewed) by the New York Times. email barronblu@aol.com for more details barron ========================================================================= Date: Wed, 10 Apr 1996 17:45:07 -0500 Reply-To: Erica Wissolik From: Erica Wissolik Subject: Missing people . . . -Reply Leo is around...I know he is...he just needs a bit of prodding to wake him up and get him defrosted. Unfortunately, those of us here in DC are still FROZEN! The warm weather hasn't come this way. Maybe it hit 40 today but yesterday it was wet and COLD.... Erica >>> Dick Waterman 04/10/96 04:07pm >>> Anyone heard anything from Ruthie Parrish ("My Main Man, Mighty Mad Max") or Leo the Scatman ? ? ? With the weather heating up, we need a much higher craziness content on this list. Dick Waterman ========================================================================= Date: Wed, 10 Apr 1996 23:42:34 +0200 Reply-To: "Dr. Alessandro CITARELLA" From: "Dr. Alessandro CITARELLA" Organization: CyberNet Network Subject: Toots Thielemans' birthday Comments: To: bit-listserv-blues-l@uunet.uu.net For the 74th birthday of the dearest Toots Thielemans, we have publieshed at the following URL http://www.cyber-net.net/toots a little gift to the maestro. Follow us. ========================================================================= Date: Wed, 10 Apr 1996 14:19:27 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: The Purist Chronicles Hi Everybody! Since I am doing lots O' copying of video and audio today, I thought I would tell you a couple stories while the reels go 'round. But first To me, a purist can be two kinds of critter. (yes, people overlap somewhat, but these are the two poles in general) 1. A perfectly nice, well-mannered chap/chappette who ADORES a certain style of music or a particular artist. This sort never puts down other styles of music or artists, and when pressed on their opinion of an artist/style they don't like will demur with something like, "well, that's not really my thing". They tend to be evangelistic about their style/artist and are basically optimistic about the music's ability to "sell itself" to those given a chance to hear it. These dedicated, knowledgable people are crucial to maintaining the traditions and our cultural memories of the greatness that happened in the past with which we are nonetheless connected. In today's world, these well-mannered types are becoming quite rare. 2. The other kind of purist (broadly speaking) is the type, as alluded to in the earlier posts, who is mad at the world because his hero/style is not rich/famous etc. This type is inclined to call other styles of music "garbage" and other terms, and put down the fans of other styles as "stupid" or other terms, and consider the artists in those styles to be "whores" "sellouts" "no-talents" etc... These people eventually become so embittered that they see even other fans of the same artist/style as "stupid" because of minor disagreement.... These guys/gals were coming out of the woodwork in the 60's, but there are still lots of 'em around, and plenty of new ones... My dad was type 2..... big time... He was a Sinatra purist... They are the worst, worse than "blues nazi's", worse than jazz snobs, worse than classical purists. As a matter of fact, the only purists who come close to Sinatra purists for sheer nastiness are Streisand purists, and they are a distant second... He hated the Beatles when they were on Ed Sullivan, hated Elvis, you name it, he hated it, except for Frankie of course... My mom loved Hank Williams and Patsy Cline, and he berated her for hours every time she mentioned country music, or tried to listen to it on the radio. I mean genuine screaming and insulting and stomping around for hours..... Called her every name in the book for being "so stupid". We would drive across the US, and he would not even drive *through* Nashville, he hated C&W so much. So it was a major conflict when I started playing guitar and listening to the Beatles et al... and therein lies a tale.... (or two) ;-] (apologies for those of you who have heard the first story already) ______ I am in a little band just out of high school. We LOVE the blues, we love Creedence, we love Jimi, etc. My dad just hates everything we do... just hates it. it's all garbage... "you kids don't know ANYTHING about good music. all that rock stuff is trash...." yadda yadda yadda.... So I ask him: "Hey dad, if we don't know what is good, why don't you tell us!, I play guitar, so tell me what a good guitar player is." He says: "Charlie Christian is a good guitar player" "You kids and your stupid rock music will never compare to Charlie". Now I knew what a titan CC was and is, but I suspected that my dad never actually LISTENED to him, just used him in arguments. So... I had an old Hammond organ amp that I played my guitar through, we put up 1 mic in our practice room, and I came up with a little shuffle/swing sort of thing that the rest of the band picked right up on and we recorded it! Took it home (with a straight face no less) and played it for dad-the-Charlie Christian-fan.... "Hey Dad, here's a Charlie Christian cassette I checked out of the library, want to hear it?" Sure he says.... So I play it... he wrinkles his brow, thinks real hard and says... hmmm I don't know this one... And here comes the lead part (me)..... OH YEAH *THAT'S CHARLIE* MAN THAT'S GOOD MUSIC!! YOU KIDS TODAY SHOULD BE THIS GOOD.... DAMN ROCK MUSIC!! I kept my mouth shut till I could bear it no more.... It's **US** DAD!! THAT'S MY BAND, AND ME PLAYING GUITAR... WE RECORDED IT AN HOUR AGO!!!! I am on the floor laughing (I still laugh remembering it) You think he would take a pop at me.... but no, his eyes kind of bug out, and he silently goes in his room and shuts the door... didn't come out till the next day... __________ During another of his tirades against rock, I got in a big argument telling him that there IS really good rock out there if you are selective. He says: "WHERE?? I don't see it!" "It's all garbage and you kids are stupid!" I go in my room so frustrated and mad I am seeing double because I get this crap from him all the time. I think: "What could i play that would prove the point?" Not having much of a record collection (the bass player had more than I ever would so we listened over at his house without my dad around) I called up the live R&R DJ at the station I listened to there in San Diego, and said: "My dad hates rock and thinks only Sinatra is good music" He says: "What you gotta be kidding, what's wrong with him?" Could you play something for me so I could get him to listen? "Sure, what would you like?" "People Got to be Free" by the Rascals (an all-time favorite of mine) "You got it!" So I hang up and go get dad. Sure enough a couple of songs later, by "special request" here it comes. Now I could see he kinda liked it, and he was about to give it lukewarm approval when the DJ came back on and sez: "TAKE *THAT* FRANKIE!! Yeah! Sinatra never did ANYTHING *that* good, so there!!!" (I had no idea he was going to say that!) And Dad is *losing it*, his eyes are popping out, his veins are popping out and he's yelling like a lunatic... (I'm laughing my butt off of course...) He calls the DJ up! Starts telling him he is a fool... DJ hangs up on him... He calls the DJ back starts screaming at him.. DJ says "F--- you buddy" and hangs up again.... He calls back but the DJ won't answer... He says: "SEE! SEE WHAT KIND OF PEOPLE ARE IN ROCK???" My mom calmly reminded him of who started what, and he goes back in his room and shuts the door again.... __________ And yes, over the years I have come to like the early-fifties romantic/jazzy Sinatra a lot. But I still hate the "Vegas era" stuff and all the 60's and 70's stuff... BTW, these days Dad thinks I'm one of the best guitar players anywhere, and saves stuff from the newspapers if I get reviewed or am in an ad.... but you can bet your butt I won't pull that junk on MY wife or daughter. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Wed, 10 Apr 1996 18:22:25 -0400 Reply-To: SliderDW@AOL.COM From: Don Williams Subject: Re: Black Music Month? Comments: To: pwfenton@gate.net In a message dated 96-04-10 17:56:22 EDT, pwfenton@GATE.NET (P.W. Fenton) writes: You wrote: >After extensive searching, I can find no reference to anything even >close to "Black Music Month" besides the reference made by LW earlier >today. > >Does anyone have any information that would enlighten me on this >commemorative event? > Around here the music shows play blues during February, which is Black History Month--but Black music Month is not anything I ever heard of. Sure would be good to learn more about it. Thanks, Don Williams ========================================================================= Date: Wed, 10 Apr 1996 18:36:48 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Modal? >Subject: Re: Modal? > >G A B C D E F G is the mixolydian mode for what it's worth. The Lydian >is F to F on the white keys. > >Also the idea that tonality was "invented" doesn't sit too well with >me. how about "evolved"? > > Neil Cassidy wrote the above to me. He's right about the first point, so don't get into any bar fights about it, y'all! Neil's second point is probably right too - although there was a lot of conscious thought about it at the time in musical circles. Probably my wording was unduly influenced by the way atonality was much more consciously 'invented' by the Second Viennese School early in this century. Chris Smith (chris@skerries.demon.co.uk) 'Positive: wrong at the top of one's voice." (Ambrose Bierce) ========================================================================= Date: Wed, 10 Apr 1996 15:42:10 -0700 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Re: Long Beach Blues .... Comments: To: Terry Knox In-Reply-To: <960410023800_372614081@emout06.mail.aol.com> YES THIS IS ALL TRUE, THE ONLY THING IS, there are no tickets left. and I am left out in the cold with out a seat. DOES ANYONE HAVE A SPARE I COULD Buy!!! I really need to see this show and I will probably head down there even if i don't have a ticket, I just gotta see Hammond. and I am a subscriber to that great radio station KLON. PEACE, Isaac. On Wed, 10 Apr 1996, Terry Knox wrote: > VERY TRUE. Tickets are $12 and $15. Show is at 8pm on Saturday April 13. > Emcee will be Gary "the Wagman" Wagner the Blues DJ for KLON 88.1 FM. He > has a blues show on Saturday and Sunday, called "Nothin' But The Blues", from > 2-6pm. KLON plays mainly Jazz and is run as a non-profit station (Yes Pledge > Breaks) by California State University at Long Beach. They have a Blues > Hotline (310)498-8052 for checking out what's going on in the southern > California area. > The usual disclaimers apply. I am just an AVID FAN. > Terry :-) > > *************** ORIGINAL TEXT ******************* > Word is this Saturday there will be a show at Carpenter Center > at Cal State in Long Beach (310-985-7000) featuring - > > Doug MacLeod > Charlie Musselwhite > Keb Mo > John Hammond > > Not affiliated, outside of a big fan of Doug's. Those other guys > I assume are good too :). > > Barry > > NY CD BLUES - CD Reviews and On-Line Blues Catalogs > http://www.panix.com/~bsco/ > Barry Silverberg ... bsco@panix.com > ========================================================================= Date: Wed, 10 Apr 1996 17:42:34 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re: Missing people . . . Comments: To: Jinxblues@AOL.COM Yeah, Ruthie had a job transfer within her organization which was a promotion but alas, has left her temporarily w/out access to the internet. She hopes either to get access at Vitro soon or acquire her own computer and service at home. If you're really craving craziness, we could invite some of the old whackos , excuse me, that's "whackoes" in conservatease, over here from Prodigy. Wait, I take that back. Mom, Dick's hitting me! -Jim _______________________________________________________________________________ Subject: Missing people . . . From: Jinxblues@AOL.COM at INTERNET-SH Date: 04/10/96 5:35 PM Anyone heard anything from Ruthie Parrish ("My Main Man, Mighty Mad Max") or Leo the Scatman ? ? ? With the weather heating up, we need a much higher craziness content on this list. Dick Waterman ========================================================================= Date: Wed, 10 Apr 1996 19:33:06 -0400 Reply-To: Jon Duttweiler From: Jon Duttweiler Subject: Downchild Blues Band I sent this request earlier from work, but have been having problems this afternoon with the mail server so I don't think it went through. If it did, please pardon the double post. I am looking for some (any!) background information on the Downchild Blues Band. Any help would be most appreciated. Please reply via private e-mail unless you think the info would be of general interest to the list. TIA JD ========================================================================= Date: Wed, 10 Apr 1996 23:52:28 GMT Reply-To: Mitchell Drumm From: Mitchell Drumm Organization: Santa Rosa Junior College, Santa Rosa, CA Subject: Re: Miss Otis Regrets Comments: To: bit-listserv-blues-l@uunet.uu.net Jerry Zolten (jjz1@PSU.EDU) wrote: : Someone asked about a male singer doing this tune. Lyle Lovett could be the : man. Can anyone deny or confirm? Lonnie Donegan, the British Skiffle artist once with Chris Barber, recorded it around 1960, give or take a couple of years. ========================================================================= Date: Wed, 10 Apr 1996 17:24:05 -0700 Reply-To: Guy Tapper From: Guy Tapper Subject: Wes Farrell > >By the way, songwriter WES FARRELL has died. His "HANG ON SLOOPY" >will be remembered by all the old timers. The MCCOYS' hit version is >now out on Legacy (while I believe the original Atlantic version >by The Vibrations is awaits reissue). He was 56 when he died >on Feb 29, Fisher Island, FL. > > eRIC On NPR a couple of weeks ago, they announced that Wes Farrell had died and then played a bit of Hang on Sloopy played by the McCoys. Ever since then I had been curious as to who Wes Farrell was. I always assumed that H o S was written by members of the McCoys so I just figured he must have been in that band, but I didn't think the death of a member of a third rate sixties pop group would merit mention on Public Radio. So thanks for informing me that the McCoys' hit was a actually a cover version. I would like to hear the original. Would I know anything else that Farrell might have written? Guy Tapper MLRG Illustration Scripps Institution of Oceanography 9500 Gilman Dr. La Jolla CA 92093-0227 (619)534-2358 (619)534-6500 fax ========================================================================= Date: Wed, 10 Apr 1996 20:59:23 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: YAZOO BEFORE THE BLUES vol 2 session and other information A week or so ago, I posted discographical information on each track of disk 1 of the new Yazoo BEFORE THE BLUES cd. I've been asked for the info for disks 2 and 3. THIS IS HARD WORK, FOLKS. I do no understand why the liner notes to these sets are so inadequate. My impression remains: This is astounding, essential music. The roll call of personal favorite tracks continues on this set with "Dallas Rag," "K.C. Moan," and "On The Wall." The selections at times are puzzling. Why "Feather Bed" from Gus Cannon when they could have selected "Going To Germany," recorded by Victor at the same field session as two other songs on this CD? What is Tommy McClennan doing here? He is clearly not "before the blues" AND recorded in 1941, outside the established time span of the set. And my puzzlement as to the liner notes grows. With no session, date, or label information, and no real details about the recordings, a listener is wholly unaware of the amazing overlaps of time, field trip, and personnel below-- that the Dallas String Band and Willie Johnson's sessions were recorded in the same field trip, 3 days apart, for instance. A mountain of important information about Victor field trips is missing, connecting a lot of the dots on all three disks. In any event, here's all the information from Dixon and Godrich, track by track. If there is no information, the artist is almost assuredly white and therefore outside the parameters of that discography. If interest persists, I will post this for disk 3, followed thereafter by some general notes Tom Freeland disk 2 1 Dallas String Band "Dallas Rag" Columbia 12/6/27 Dallas Texas disc 3 track 22 is Coley Jones' "Drunkard's Special" recorded 2 years later. 3 days earlier Blind Willie Johnson had his first recording session in that field trip, and recorded track 16 of this disk. Hattie Hudson's only session was THIS DAY at which track 6 was recorded. Washington Phillips the day before recorded with his dulceola. 2 Frank Stokes "How Long" Victor in Memphis 8/30/28 disk 3 track 19 is Stokes' "Chicken You Can Roost Behind The Moon" 2 days before "How Long" was recorded, Furry Lewis recorded "Kassie Jones Part 1", disk 3 track 15. A little over a week later (9/9/28) Gus Cannon recorded "Feather Bed," disk 3 track 2. Robert Wilkins had his first session 9/7. Tommy Johnson was in on 8/31 recording "Canned Heat Blues." The Memphis Jug band were in in September recording a number of classics ("Stealin' Stealin,'" "Linberg Hop," "On The Road Again," etc). 3 Peg Leg Howell "Skin Game Blues" 4 Memphis Jug Band "K.C. Moan" 10/3/29 in Memphis, Victor This is Will Shade, Ben Ramey, Charlie Burse, Tewee Blackman,and a vocal trio possiby lead by Blackman with Ramey and Charlie Burse behind. 10 days earlier (9/23/29) they recorded "The Old Folks Started It" (disk 3 track 14) behind Minnie Wallace. The band there was Shade, Burse, Johnnie Hodges on piano. and Milton Robie on violin. In her next session, in Jackson Mississippi, she was backed by Shade, Robert Wilkins and either "Kid Stormy Weather or Harry Chatman". "Going to Germany" and "Walk Right In" were recorded by Gus Cannon on this field trip 2 days prior to "K.C. Moan." Frank Stokes' last session ("Frank Stokes Dream" "Memphis Rounder Blues") was 9/30. John Estes' first sessions were 9/17, 9/24, 9/26; on the last he recorded "Divin' Duck Blues." On 10/2 he recorded "Black Mattie Blues." 5 Charley Jordan "Just A Spoonful" Vocalion Chicago mid-June 1930 this was his first session. 6 Hattie Hudson "Doggone My Good Luck Soul" 12/6/27 Columbia Dallas this was her only session. see track one of this disk, which was recorded the same day. 7 Eck Robertson "There's A Brown Skin Girl Down The Road Somewhere" this is a country musician; there is biographical information on NEW LOST CITY RAMBLERS LIVE AT NEWPORT (he played there) 8 Lulu Jackson "You're Going To Leave The Old Home Jim!" Vocalion Indianapolis 6/21/28 Leroy Carr and Scrapper Blackwell recorded their first session at this field session. Carr on 6/19, Blackwell on 6/16. 9 Tommy McClennan "Deep Blue Sea Blues" Bluebird Chicago 9/15/41 His 4th session. 10 South Street Trio "Cold Morning Shout" 10/27/27 Victor Camden, NJ Robert Cooksey, Bobby Leecan, Alfred Martin. Their last sesion. 11 Blind Joe Taggart "Been Listening All the Day" 1/28 Chicago Paramount 12 Charley Patton "Mississippi Bo Weavil Blues" 6/14/29 Paramount Richmond, Indiana Patton's first recording. 13 Golden P. Harris "I''ll Lead A Christian Life" D&G say about Golden Papa Harris: "Despite the interesting-sounding titles and credit, this a hillbilly artist." 14 Minnie Wallace "The Old Folks Started It" 9/23/29 Victor Memphis Jug Band backs on this. For details, see disk 2 track 4 15 Tennesse Chocolate Drops "Vine Street Drag" Knoxville, TN 4/3/30 Vocalion Howard Armstrong, Roland Martin, Carl Martin at the St. James Hotel. Earlier, Vocalions field trip had been in Memphis recording Memphis Minnie, Kansas Joe, Jed Davenport, Robert Wilkins, Charles McCoy, Walter Vincent, Jim Jackson, others. This is the session where "I'll Go WIth Her Blues" (disk 1 track 22) was recorded; see that track for information about the Memphis visit on that field trip. 16 Blind Willlie Johnson "It's Nobody's Fault But Mine" 12/3/27 Columbia see disk 2 track 1. This was his first session. "Motherless Children" was recorded at this session. 17 Geeshie Wiley "Last Kind Words Blues" 3/30 Paramount Grafton, Wisc. This was her first recording 18 Roland & Scott "Guitar Stomp" 19 Blind Lemon Jefferson "Jack O'Diamond Blues" Paramount 5/26 Chicago 20 Emry Arthur "Reuben Oh Reuben" 21 Blues Boys "Memphis Stomp" Okeh 2/15/28 This was recorded at the same session as "Easy Winner," disk 3 track 23 Lonnie Johnson violin on this one. Nap Hayes and Mathew Prater. Rev. Gates (disk 1 track 15) and John Hurt (2/14, the day before, his first session) recorded on this field trip in Memphis. 22 Louise Johnson "On The Wall" 5/28/30 Paramount Grafton Wisconsin Charlie Patton (disk 2 track 12), Willie Brown, and Son House were present at this session. There is a debate as to whether Louise Johnson or Clarence Lofton played piano; Son House said the former. 23 Frank Jenkins "Roving Cowboy" ========================================================================= Date: Wed, 10 Apr 1996 18:21:51 -0800 Reply-To: Beth Oliver From: Beth Oliver Organization: The Loop Subject: BB King's LA 4/14 Comments: To: bit-listserv-blues-l@uunet.uu.net 4/14/96, 3 pm - 7 pm, BB King's Blues Club, Universal CityWalk The Southern California Blues Society (a non-profit organization) hosts an afternoon of blues to fund the Willie Dixon Scholarship Award. Scheduled: **Smokin' Joe Kubek with Bnois King **Smokey Wilson **Johnny Dyer with Rick "LA Holmes" Holmstrom **Janiva Magness **Jamie Wood **BJ Sharp **Doug MacLeod and John "Juke" Logan Tickets are $15, In addition to these fine artists, there will be door prizes, raffles and auction of two signed Lee Oskar harmonicas - autographed by Lee Oskar, Junior Wells and Charlie Musselwhite. Tickets for sale at the door. This will be a great evening of blues and the money goes to a great cause. ========================================================================= Date: Wed, 10 Apr 1996 21:34:59 -0400 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: Black Music Month? Comments: To: "P.W. Fenton" In-Reply-To: <199604102057.QAA04978@osceola.gate.net> PW, June is Black Music Month. I'll get more information tomorrow and share that with you. nitra On Wed, 10 Apr 1996, P.W. Fenton wrote: > After extensive searching, I can find no reference to anything even > close to "Black Music Month" besides the reference made by LW earlier > today. > > Does anyone have any information that would enlighten me on this > commemorative event? > > Perhaps this is something taking place only at your library, LW? > > P.W. Fenton > Tampa, Florida > http://www.gate.net/~pwfenton/ > > "The large print giveth, and the small print taketh away" > - Tom Waits > ========================================================================= Date: Thu, 11 Apr 1996 00:01:55 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Papa Lightfoot Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199077F0059@heme.medicine.wisc.edu> Eliot Williams writes: >> I'm looking for any contemporary release that includes "Wine, Whiskey, and > Women" by George "Papa" Lightfoot. Other included Lightfoot recordings would >be > nice, also. >I have this on a vinyl LP issued three or four years ago called >"Stompin' - vol 1". This is a various-artists compilation of >obscure R&B. The Atomic Beat catalog lists these LPs for $9.99 each. This is a fine series of mostly early 50s R&B. Volumes 11 & 12 are devoted to blues shouters. This company is also some how connected with the Excello/AVI label which is doing such a great job of reissuing the Excello catalog. Atomic Beat can be reached at 310-556-1144. As usual, I have no connection in with these people - just a good sense of remembering worthless trivia. Art Schuna ========================================================================= Date: Thu, 11 Apr 1996 00:13:02 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Jack, That Cat Was Clean Comments: To: bit-listserv-blues-l@uunet.uu.net Thanks to all those who offered suggestions for my Dog/Cat blues show. Now for my next question. In planning for the Cat segment, my mind keeps thinking of a song with the refrain, "Jack, that cat was clean". This would be great to include if I could only remember the artist. A mind is a terrible thing to lose! (I think this last line was a Dan Quayle quote). Art Schuna ========================================================================= Date: Wed, 10 Apr 1996 20:29:11 +0000 Reply-To: ksailors@hooked.net Comments: Authenticated sender is From: "Kenneth M. Sailors" Subject: Masturbation (was Re: Bitterness and Purists) On 9 Apr 1996 16:45:35 Dennis Miele wrote: Re: Bitterness and Purists > >A person who spends his whole life playing music only for himself, is > >the same as a person who masturbates for his whole life without ever > >making love to another human being.... a pity. Hmmmm, you talkin' 'bout me? Well, I may be a choke but I'm not an Onanist. Really, my fantasy *is* to get up on stage & blow people away (or at least not embarass myself) with my facility & taste but, frankly, either may chops or my belief in them are not what they should be. So, I work at it. I enjoy it and I grow. Every night I can jam with Eric or Otis or Freddie, BB or Albert - Collins, anyway. Now, _you_ may call that j**kin' off, _I_ call it woodshedding. And someday I will fulfill that fantasy. -Ken ========================================================================= Date: Thu, 11 Apr 1996 00:00:39 -0400 Reply-To: Claudio Caponi MARNR From: Claudio Caponi MARNR Subject: Pitbull - Was: Dog Blues Art, I hope I am not late with this answer, but no serious Dog Blues Show would be complete without "Pitbull" by Joe "Guitar" Hughes. It's in his CD Down & Depressed:Dangerous, which was recommended to me by Don O. Joe's barking, howling and puffing and his great lyrics make this a MUST on your show! ccaponi@dino.conicit.ve | Claudio Caponi | I've had my fun... Ministerio del Ambiente | Caracas - Venezuela | Otis Spann ========================================================================= Date: Thu, 11 Apr 1996 14:32:04 U Reply-To: Peter Blanken From: Peter Blanken Subject: Kid Ramos & Willie J. Campb Hi all, I caught The Fabulous Thunderbirds at the annual East Coast Blues Festival at Byron Bay, Australia last weekend and was totally blown away. This was not the band I was expecting to see! These guys were TOUGH!!! Anyway, I was wondering if anybody could share any information on the T-Birds current guitar player Kid Ramos, and bass player Willie J. Campbell. i.e. What have they done previously. Thanks heaps, Pagey ========================================================================= Date: Wed, 10 Apr 1996 22:12:53 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Jack, That Cat Was Clean Comments: To: Art Schuna >Thanks to all those who offered suggestions for my Dog/Cat blues show. Now >for my next question. In planning for the Cat segment, my >mind keeps thinking of a song with the refrain, "Jack, that cat was clean". >This would be great to include if I could only remember the artist. A mind >is a terrible thing to lose! (I think this last line was a Dan Quayle >quote). Dr Horse, of course of course! It's on the Fire/Fury box set if I'm not mistaken. Same guy did a song called Salt Pork, West Virginia. Both are great tracks - anything else available on this guy? He was great! -Jim (hndful@uniserve.com) ------------------------------------------------------------ Check out 'Heart and Soul', a new hour of blues, gospel, and jazz every week on SDF-Net Community Radio - http://sdf-radio.colossus.net. ------------------------------------------------------------ ========================================================================= Date: Thu, 11 Apr 1996 05:31:02 GMT Reply-To: pixintl@sprynet.com From: PIX INTL Organization: Sprynet News Service Subject: Re: Chicago Fest question Comments: To: bit-listserv-blues-l@relay1.uu.net James Leftwich wrote: >I'm considering heading to Chicago for the festival but have a few qualms. >(1) Just how crowded is it? >(2) Can you see the stages? >(3) Is it a good idea to bring a chair? >(4) Can you bring alcoholic beverages? >(5) Is there someway to get a brochure detailing answers to these > things so no one actually has to respond to this? 1)Depending on who is playing is the key.The daytime shows(with lesser known acts) have more seating space as people are usually eating and basking in the sun in the day..At night-the crowds swell-especially if the weather is great-double whammy if the act is quite popular. 2)Bring a chair if:You'll be with someone who can watch your chair while you do things like eat,go to the port a potty,etc.. Remeber-nowhere to stash your chair so you will have to lug it. Chances are your car will be kinda far from Grant Park. If you're a trooper-just get there early with a friend and get seats by the main stage and camp out there all day.They'll stamp your hand so you can go to the bathroom.Your friend will need to hold your seat though. Bring plenty o' sun screen, sun glasses and bottled water It can get very hot out there. 4)Alcohol brought in is not allowed.They want you to buy the booze from the concessions and use paper cups.The police check coolers and confiscate contraband. 5)The City of Chicago and possibly tourism have a web site though I don't know the URL. 6-Have fun ! [[o]] PIX INTERNATIONAL:Photography for the entertainment | industry,editorial,corporate,& P.R.Since 1976. / \ Publishers of Celebrity & Music Photo Mag's on Floppy Disks. Alternate email pixint@aol.com http://home.sprynet.com/sprynet/pixintl ========================================================================= Date: Wed, 10 Apr 1996 22:59:32 -0700 Reply-To: "Mark C. Hoffman" From: "Mark C. Hoffman" Organization: PenUltimate Resources Subject: Re: Moral Bodyguards Comments: To: bit-listserv-blues-l@uunet.uu.net Dick Waterman wrote: > > On April 7, 1996, this was posted on Blues-L: > > I was informed at last night's Gabriel Appreciation Day (which came off > superbly) that Johnnie Johnson is contracted to go out on tour with Phil > Weir and some sort of reconstituted Grateful Dead. > I don't know whether to laugh or cry. > ********************** > Too many people on this list have decided that their purpose is to be the > moral bodyguards of some sacred tradition that must be protected from those [snip] > Black blues artists do not need the proprietory protection of this list. They > can take care of themselves and make their own decisions. Well put, Dick. How does anyone besides the principals involved know what Johnnie Johnson thinks of Phil Weir? Maybe he LIKES his music and is looking forward to playing with him! One could do worse than play music with a former Dead member. ========================================================================= Date: Thu, 11 Apr 1996 06:11:23 GMT Reply-To: cuthulu@rlabs.com From: cuthulu Organization: Radar Labs 23 Subject: Re: Modal? Comments: To: bit-listserv-blues-l@uunet.uu.net On Tue, 9 Apr 1996 15:49:59 EST, Mark Stringer wrote: >I just read in Living Blues magazine, that "'Smokestack Lightning' is the >quintessential modal Wolf track". What does Bill Dahl mean by "modal"? > > Studying the blues, > Mark Usually music based on intervals of fourths and fifths, though it is an often misused term. Perhaps he meant that Wolf just plays the root and the fifth, leaving out the third and the seventh, for the chords. WWW Production: HTML,CGI,JAVA Kevan Smith -> cuthulu@prysm.net http://www.rlabs.com ========================================================================= Date: Thu, 11 Apr 1996 01:24:03 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Jack, That Cat Was Clean Comments: To: Art Schuna In-Reply-To: To add yet another animal into the mix, "Jack That Cat WasClean" was recorded by the immortal Dr. Horse. No, this is not a joke. ========================================================================= Date: Thu, 11 Apr 1996 02:30:07 -0400 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: How 'bout some good blues news?? Comments: To: bit-listserv-blues-l@uunet.uu.net Hi Folks! Just returned from the 11th Annual Premier Player Awards, hosted by the Memphis Chapter of NARAS at the New Daisy Theater. This year's Governor's Award went to Bobby Bland, but more on that later. Most of the program was devoted to honoring local talent. Some of the presenters were memorable (and stole the show) including Rufus Thomas, Little Jimmy King, Film Director Michael Hausman, Wayne Jackson (1/2 the Horns) and my personal favorite, Sam the Sham--Domingo Samudio, who howled his way off-stage. NARAS National President, Michael Greene, presented Rob Bowman with his Grammy for liner notes. Rob's passport lists him as a citizen of Toronto, but most people in Memphis think he's one of us. Finally, the big moment arrived, and Stax song-writing legend and NARAS Memphis Chapter President David Porter began the introduction of Bobby Blue Bland. He then called on Bobby Rush to testify, who was followed by Johnny ("who's makin' love to your old lady...") Taylor, before the grand slam--B.B. King appeared. This exceptional gentleman delivered funny and touching stories about his long association with Bland, who buried his face in a towel to mop up an emotional response. B.B. left the stage and embraced Bobby (still weeping), while the crowd roared. Bobby then took the spotlight, but several moments passed before he could regain his composure. He admitted that his acceptance speech had run out on him with the tears and that he was more comfortable singing his feelings than speaking them, which he did in a few bars from a few well-known songs. The eternal BarKays then closed the show. Last summer, Bobby Bland underwent emergency triple by-pass surgery. Not only was this honor richly deserved, I think it was especially appreciated by a man who was happy to be alive to enjoy it. The fact that so many of his long-time friends were present to share the moment made it even better. After all, B.B. had flown in from Canada in the afternoon to be there. I hope I did what all of you would have wanted when I shook Mr. Bland's hand, thanked him for years of wonderful music and admonished him to take care of himself. His strong grasp gave me hope. I LOVE THIS TOWN!!! Best wishes, Denise ========================================================================= Date: Thu, 11 Apr 1996 08:54:25 +0100 Reply-To: BIBGA@HHS.SE From: Gorgen Antonsson Subject: Re: Miss Otis regrets --Boundary (ID jgFVtUg7uG4DP7PmSsL3rQ) Content-type: TEXT/PLAIN; CHARSET=US-ASCII I don't recall seeing the original posting... but whoever's looking for "a male singer" doing this will have a hard time - it's an old pop song (by Cole Porter, if my memory serves me well) and I suppose there are literally hundreds of recordings of it. Gorgen Antonsson, Stockholm --Boundary (ID jgFVtUg7uG4DP7PmSsL3rQ)-- ========================================================================= Date: Thu, 11 Apr 1996 02:52:52 -0400 Reply-To: smirkyface From: smirkyface Subject: Louisiana Red I can't keep a secret. Louisiana Red will be in the US for two weeks in September. He's going to do some east coast dates and visit some friends. The plan so far is to hit Boston, Conn, NY, Phila, Wash DC. I'll post more info as I get it. BRIAN MCLEAN PHOTOGRAPHY & SMIRKYFACE PRODUCTIONS "life's too short to live the blues" http://www.netaxs.com/~blmclean ========================================================================= Date: Thu, 11 Apr 1996 04:47:58 -0400 Reply-To: Bluesagent From: Bluesagent Organization: America Online, Inc. (1-800-827-6364) Subject: Re: KEB MO On Austin City Limits Comments: To: bit-listserv-blues-l@uunet.uu.net >>Austin City Limits 4-6-96.....I tuned in and again I wasn;t >> disappointed......Keb Mo is so smootttttttttthhhhhhhhhhhh! Each time >> I've been lucky enough to catch his show I always walk away feeling >> right! I find this young man so enjoyable. (text deleted) >> I was also very impressed. Wish I could see this guy in concert. >>Gatemouth was the main >>performer, and a great one, but I wish that ACL had made more time for >>Keb Mo. >> Wish they had also <> >> Gary ......... JD LOUDERMILK WAS ON ...sorry I'm shouting. On Austin City Limits??? I sure hope they'll re-broadcast that one. He wrote 'You Call It Jogging, But I Call It Running Around", which Mose Allison does at almost all his shows. He probably wrote about a million other obsure tunes, as well. ========================================================================= Date: Thu, 11 Apr 1996 05:19:26 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1961, Bob Dylan makes his New York City stage debut at Gerde's Folk City, a small Greenwich Village club, opening for bluesman John Lee Hooker. About 15 years later PW appears at this same club singing back-up harmony for Buzzy Linhart (Anyone know that name?) P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ The pleasure we derive from doing favors is partly in the feeling it gives us that we are not altogether worthless. It is a pleasant suprise to ourselves. - Eric Hoffer ========================================================================= Date: Thu, 11 Apr 1996 04:21:37 -0500 Reply-To: topcat@COMPUTEK.NET From: "" Subject: No-Mail - Going To Asia w/Holland K. Smith Well, I'm off to Phuket, Thailand to play a week on gigs for the Harley Davidson Asia Club!. A week long blast with over 200 Harleys from enthusiasts all over Asia. Too Cool! So I'm NO-MAIL for the next 3 weeks. Talk to Ya'll then! Richard Chalk TopCat Records ========================================================================= Date: Thu, 11 Apr 1996 11:07:25 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Fossilized Blues(was Re: Bitterness and Purists) In-Reply-To: <199604102137.OAA11667@wavenet.com> On Wed, 10 Apr 1996, Shaun T Cronin wrote: > LW wrote: > > >If you forget the "fossils", then there is no way in the world to keep the > >blues alive. I'll keep on respecting and learning from the "fossils" and I > >hope the up n comers do the same.... > > > >LW 'a Fossilizer, because Charley Patton moves me like a UHAUL' > > I think we all respect and learn from the fossils. But I don't think that > is the point of Norman C. Moody's little expression. If the blues is to > survive it *has* to adjust to the times. The blues isn't a museum relic. It > is a living, breathing art form that has constantly undergoing change. That > is why the blues has survived so far. When Muddy Waters first plugged in an > electric guitar he wasn't thinking "Hmm, I wonder what the purists will > think?" (he later did when he went to England but that's a whole different > story). For better or worse the blues will change or it will end up as the > musical equilavent of Latin. Everybody has heard of it but only a select > few know it. > Yes, but at which point is Latin no longer Latin. Sure change is good but that does not imply that ALL change is good, some of us are all too accepting of change because of this attitude. Evolution my children :) has come about through SELECTION. Many a change has ended up on the garbage heap of history. There are those who feel the directions taken by such as Sugar Blue and Michael Hill and the Blues Mob are revolutionary Only time will tell. Sometimes the Emperor has no clothes. If that makes me a "purist" then I wear the label proudly. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [11/4/96 6:42 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 11 Apr 1996 08:20:58 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Fossilized Blues(was Re: Bitterness and Purists) Comments: To: Pat Hertel On 11 Apr 96 at 11:07, Pat Hertel wrote in reaction to suggestions that Blues needs to be open to changes in order to survive: > Yes, but at which point is Latin no longer Latin. A rather faulty metaphor. A spoken and written language (which actually does some adapting to the world's changes) MUST be exactly the same for everyone who uses it if it is going to be functional at all. There is no such restriction on art and entertainment. > Sure change is good but that does not imply that ALL change is > good, some of us are all too accepting of change because of this > attitude. Evolution my children :) has come about through > SELECTION. I never heard anyone in this whole discussion suggest that ALL change was good, only that being CLOSED to change was not. As most of "your children" can attest, things that are repeated over and over without change are monotonous and boring, fatal qualities in art. > Many a change has ended up on the garbage heap of > history. There are those who feel the directions taken by such as > Sugar Blue and Michael Hill and the Blues Mob are revolutionary > Only time will tell. Sometimes the Emperor has no clothes. If that > makes me a "purist" then I wear the label proudly. I don't think that a persons taste in Blues, (or any other art form), should be a source of pride or shame. It's simply what you enjoy. I suppose that it can be a source of pride if you create some music that many other people enjoy. But simply liking a particular type of music, at the exclusion of others, is no reason to be proud, or ashamed. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Thu, 11 Apr 1996 15:24:12 +0300 Reply-To: Jouni Ilari Hyyti{inen From: Jouni Ilari Hyyti{inen Subject: Re: Hound Dog Taylor Discography Comments: To: Steve Dafoe In-Reply-To: <4kefn0$5o2@earth.superlink.net> On Tue, 9 Apr 1996, Steve Dafoe wrote: > Shaun T Cronin wrote: > >I was wonderin' what Hound Dog Taylor albums exist apart from the Alligator > >releases and the other two I mention. > >If anyone knows of any other CDs (and how to get them) please let me know. > > >Shaun > > Not on CD (that I recall), but a 1984 2-LP set called CHESS BLUES > RARITIES on CHESS (mfg. by MCA but address was still listed as Englewood, > NJ), included five songs by HOUND DOG TAYLOR: Down Home Special, Watch > Out (which seem to have been both sides of a CHECKER 45) and the > previously unissued Scrappin', Sittin' Here Alone & Hound Dog. The > recordings took place in October, 1969 & featured Willie Dixon on bass, > Walter Horton on harp & (possibly) Lafayette Leake on piano. I don't > recall these Taylor cuts on the 4-CD CHESS BOX or any other CD release. > CD Various:Chess Blues rarities(CD CHESS 1023) was availabe here in Europe couple of years ago. Jouni ========================================================================= Date: Thu, 11 Apr 1996 12:40:02 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Fossilized Blues(was Re: Bitterness and Purists) In-Reply-To: <199604111220.IAA121142@osceola.gate.net> On Thu, 11 Apr 1996, P.W. Fenton wrote: > > I don't think that a persons taste in Blues, (or any other art > form), should be a source of pride or shame. It's simply what you > enjoy. I suppose that it can be a source of pride if you create > some music that many other people enjoy. But simply liking a particular > type of music, at the exclusion of others, is no reason to be proud, > or ashamed. > A faulty argument in that "purist" is tossed around on the list as an epithet. I only made that statement in those terms. i.e. if you want to make an issue out of the "way" I enjoy my music I will "get my back up" (a reaction to which, ahem :) you are no stranger yourself). Too often objections to particular change are treated pejoratively as an attack on ANY change. "PURIST!" they spit. I have yet to see a single piece of mail that espouses the view that there should be NO change. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [11/4/96 8:22 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 11 Apr 1996 15:31:53 +0300 Reply-To: Jouni Ilari Hyyti{inen From: Jouni Ilari Hyyti{inen Subject: UK LIST MEMBERS: who is T.J. Johnson I just heard from the festival promoters here in Finland that they have booked mr T.J. Johnson. Does anyone have any information about this fellow ?. best regards Jouni ========================================================================= Date: Thu, 11 Apr 1996 08:22:40 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Downchild Blues Band Jon Dutweiller wrote: "I am looking for some (any!) background information on the Downchild Blues Band. Any help would be most appreciated. Please reply via private e-mail unless you think the info would be of general interest to the list." Wow, what an opportunity! I've been involved, on and off, as manager, publicist, friend and buddy, with Donwhild and its leader, founder, songwriter, guitarist and harp player Don "Mr. Downchild" for something like 26 years. The band has gone through well over 150 musicians (including Kenny Neil and Gene Taylor of the Thunderbirds) and most of 'em remember their days with the band with affection. Despite the turnover, the band has a quite distinctive sound. I've commented before on the relationship between Downchild and the Blues Brothers trip (all you need to do is find Downchild's Straight Up album and compare it to Briefcase Full of Blues, released well over a year later). The band had done more than 20 tours in Wewstern Canada (most by van!) and almost as many to eastern Canada. Over the years the band has opened for and jammed with just about everybody from Buddy and B.B. and Cotton and Muddy to lesser-known (but wonderful) artists like Bobo Jenkins and Robert Jr. Lockwood. And when the band celebrated its 25th anniversary it returned to the bar it started at, Grossman's Tavern on Toronto's Spadina Ave., and played host to a cast of old friends and/or band members including Daniel Lanois and Jeff Healey - CBC TV did an hour-long special on the event. Donnie Walsh has a unique, bent, dry-as-tinder sense of humour; the band has had pretty well the same personnel for the lastfour years, and continues to play across Canada with occasional sidetrips to the US. Donnie keeps a boat in Florida, so he's trying to expand his market in that area. The band's made close to a dozen albums, the latest of which is called Good Times Guaranteed, which is on Blue Wave in the U.S. I could tell many yarns (most of them true) about this band's legendary nonsense over 26 years, and if Jon wants to call me (416) 535-2239 I'll be glad to pass on some of them! Of course I'm biased; these guys are pals; but they're a rockin' band who play good music with taste and spirit. More on request!! Richard PS: Recently I heard there was an American performer having the nerve to call himself Mr. Downchild. Sorry, buddy, this guy beat you to it by more than two decades... ========================================================================= Date: Thu, 11 Apr 1996 06:11:13 -0700 Reply-To: Stephen A Macaleer From: Stephen A Macaleer Subject: Looking For Blues Vinyl Insight I am new to the blues and looking for some insight from any blues record collectors out there. Most of the discussion on the blues-l seems to surround CDs, with little discussion around vinyl. I would love to find some blues record collectors out there off of which I could bounce some ideas. If you collect blues records and would like to help out a budding blues fan and fellow record collector, I would greatly appreciate a reply. I promise not to take too much of your time. Respect. Andy ========================================================================= Date: Thu, 11 Apr 1996 13:07:08 GMT Reply-To: Tommy Jansson From: Tommy Jansson Organization: Uppsala university Subject: re Kid Ramos Comments: To: bit-listserv-blues-l@uunet.uu.net Kid Ramos is a wonderful guitar player. Is his album "Two hands one heart" good? ========================================================================= Date: Thu, 11 Apr 1996 09:14:06 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Missing people . . . Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, Jinxblues/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=Jinxblues#a#AOL#f#COM@s1boca.corp.wrgrace.com *Anyone heard anything from Ruthie Parrish ("My Main Man, Mighty Mad Max") or *Leo the Scatman ? ? ? *With the weather heating up, we need a much higher craziness content on this *list. I saw Ruth last night. I'm trying to teach her roommate (and Max's bandmate) Dave harp, and he's trying to teach me guitar. I was at their apartment for our lesson last night, and I ended up playing an open mic with Max and Dave. Warner Williams was also there, and he played with Max's latest find - a beautiful old Kay electric from the 50's. Warner played with Dave on bass, plus a drummer, a sax player and a harp player (who sat in for two songs). That was the first time I've heard him play with a full band, and he sounded great. I haven't seen Leo for a few weeks, but I'll probably go to one of his gigs soon. -Steve L ========================================================================= Date: Thu, 11 Apr 1996 08:17:57 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Fossilized Blues(was Re: Bitterness and Purists) In-Reply-To: Message of Wed, 10 Apr 1996 14:40:52 -0700 from On Wed, 10 Apr 1996 14:40:52 -0700 Shaun T Cronin said: > >>If you forget the "fossils", then there is no way in the world to keep the >>blues alive. I'll keep on respecting and learning from the "fossils" and I >>hope the up n comers do the same.... >> >>LW 'a Fossilizer, because Charley Patton moves me like a UHAUL' > >I think we all respect and learn from the fossils. But I don't think that >is the point of Norman C. Moody's little expression. If the blues is to >survive it *has* to adjust to the times. The blues isn't a museum relic. It >is a living, breathing art form that has constantly undergoing change. That I know that and while someone will say "Don't trash on the new blues", I on the other hand don't like the implications when someone says "Keep The Blues Alive Not Fossilzed" sorry I don't like that. I think blues would survive rightly nicely without any of the rock/blues stuff. It had survived MANY, MANY years without the rock influence. Also if the blues are to surive you can not ingore the roots: In the words of Johnny Shines "If you don't nuture the roots the tree can't grow". So I'll leave the tree care to someone else and I will nuture the roots and I'm sure I will not be alone. LW 'IMHO' ========================================================================= Date: Thu, 11 Apr 1996 08:31:40 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: A Purist I swear after many years of hearing the term (and even being called one !) I have no idea what a purist is... Please share you defintions on purists...I'm quite sure my Duanne Allman and SRV being tremendous, not to mention Charles Brown would exlcude me from the purist ranks. Oh yeah, I listen to Rory Block, Debbie Davies & Robben Ford a whole lot. I guess I can't make it as a purist.... LW 'un-pure' ========================================================================= Date: Thu, 11 Apr 1996 09:12:04 -0500 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: Fossilized Blues(was Re: Bitterness and Purists) > > I don't think that a persons taste in Blues, (or any other art > > form), should be a source of pride or shame. It's simply what you > > enjoy. I suppose that it can be a source of pride if you create > > some music that many other people enjoy. But simply liking a particular > > type of music, at the exclusion of others, is no reason to be proud, > > or ashamed. > > > > A faulty argument in that "purist" is tossed around on the list > as an epithet. I only made that statement in those terms. > i.e. if you want to make an issue out of the "way" I enjoy > my music I will "get my back up" (a reaction to which, ahem :) you are no > stranger yourself). > Too often objections to particular change are treated pejoratively as an > attack on ANY change. "PURIST!" they spit. I have yet to see a single > piece of mail that espouses the view that there should be NO change. I think the problem is that the "Blues" can only change so much. Since it is the root of so much music out there, if you make too many changes you just bump it into another genre. People will says that's Jazz, or Soul, or Rock, or whatever. Bruce Roberts Austin, TX ========================================================================= Date: Thu, 11 Apr 1996 10:20:00 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Dan Ackroyd on Letterman Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com Did anyone see Dan Ackroyd on the Late Show last night? He put down blues clubs in general (except for his precious investment - the HOB), and sang what was probably the worst version of "See See Rider" in recent memory. Oh well, l at least he didn't appear in his black suit, shades and pork pie hat. -Steve ========================================================================= Date: Thu, 11 Apr 1996 10:37:02 -0400 Reply-To: bob unger From: bob unger Subject: Satan & Adam Record Release Party I was just talking with Adam Gussow and he asked me to invite all bluezellers to their record release party here in NY. The party will be held on Thursday, April 25 at C.H.I.C.A.G.O. Blues in Manhattan, 14th street and 8th Avenue. to celebrate the release of their 3rd cd "Living On The River" on RaveOn Records. In addition to a number of original tunes, they also cover some classics "Lil Red Rooster" "No More Doggin" "Stagger Lee" "Ode To Billy Joe" and others. The party is set to start around 9-ish. You can call the club for more info. If you all are familiar with the sound of Satan & Adam, then you know this will be a high energy party! So, everyone...come on to NY, and have a blast....y'all can stay at my house!!!! If anybody wants to purchase the cd, it can be bought through Strategy Records at 203-266-7774 BU bob@sun.bnkst.edu <---- this address will only be good for a couple of months. I have just been fired from my job. I have until June 30th to clean out my desk... just more fodder for that great American blues song I hope to one day write. ========================================================================= Date: Thu, 11 Apr 1996 08:56:08 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0134 From: "DUTTWEILER.J" Subject: Downchild Blues Band Date: Wednesday, 10 April 1996 2:38pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Downchild Blues Band I'm trying to gather some information on the Downchild Blues Band. If anyone has any it would be most appreciated. Please respond via private post unless you feel its something from which the whole list would benefit. TIA JD ========================================================================= Date: Thu, 11 Apr 1996 09:47:21 -0500 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: Fossilized Blues(was Re: Bitterness and Purists) Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu In-Reply-To: from "L W" at Apr 11, 96 08:17:57 am In an earlier message, L W said: ] Alive Not Fossilzed" sorry I don't like that. I think blues would survive ] rightly nicely without any of the rock/blues stuff. It had survived MANY, MANY While I see your point, the question is, "Where do we draw the line?". ] years without the rock influence. Also if the blues are to surive you can not True. It also had survived MANY, MANY years without the amplification. It survived for MANY,MANY years without the horns. And without any bass...and.... ] ingore the roots: In the words of Johnny Shines "If you don't nuture the roots ] the tree can't grow". So I'll leave the tree care to someone else and I will ] nuture the roots and I'm sure I will not be alone. Now there's a good point -- there's room for progressiveness AND traditionalism. The blues be big.... Billy "The last blues record was recorded in 1927" ========================================================================= Date: Thu, 11 Apr 1996 09:57:29 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: One Purist Definition On 11 Apr 96 , honorable zeller L W wrote: > I swear after many years of hearing the term (and even being called one !) > I have no idea what a purist is... > > Please share you defintions on purists...I'm quite sure my Duanne Allman and > SRV being tremendous, not to mention Charles Brown would exlcude me from the > purist ranks. Oh yeah, I listen to Rory Block, Debbie Davies & Robben Ford > a whole lot. I guess I can't make it as a purist.... > > LW 'un-pure' > > Once more for the FAQ. A purist is someone who's musical tastes differ from your own because of a percieved closed mindedness regarding the proper expression of a particular category of art. Well, I just made that up, but it works for me. No postulates, corrolaries, or theorems this year. :-) RJ Bauman "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Thu, 11 Apr 1996 09:53:59 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Fossilized Blues(was Re: Bitterness and Purists) In-Reply-To: Message of Thu, 11 Apr 1996 09:47:21 -0500 from On Thu, 11 Apr 1996 09:47:21 -0500 Billy Chambless said: > >] Alive Not Fossilzed" sorry I don't like that. I think blues would survive >] rightly nicely without any of the rock/blues stuff. It had survived MANY, >MANY > >While I see your point, the question is, "Where do we draw the line?". I have no idea, but WE (including myself) don't run around calling someone who loves the old blues purists (in a derogatory manner) nor do we trash the up n comers, regardless if they are SRV or Buddy Guy clones or 18 yrs old. I've seen a lot of people trashing the Mike Welchs, Wayne Shepard, but rarely do I hear them trash Lucky Peterson...Hey Lucky was younger than the above when he was first recorded, but he's not trashed. So I think there is room for all of US and we need all of US. We need the magazines that are pure and un-pure, we need the artists that are pure and non-pure. Just like Don C. said how can you love your music if you trash all the others (ie: YOUNG SRV CLONES).... So love the new blues, but don't knock the ones who like the old blues and love the old blues, realize the new blues are needed, also LW ========================================================================= Date: Thu, 11 Apr 1996 10:03:32 -0500 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: A Purist Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu In-Reply-To: from "L W" at Apr 11, 96 08:31:40 am In an earlier message, L W said: ] Please share you defintions on purists...I'm quite sure my Duanne Allman and ] SRV being tremendous, not to mention Charles Brown would exlcude me from the ] purist ranks. Oh yeah, I listen to Rory Block, Debbie Davies & Robben Ford ] a whole lot. I guess I can't make it as a purist.... True blues purists would have to consider Robert Johnson to be kinda "new wave"; obviously, these young whippersnappers like BB King, with all their radical jazz-influenced ideas like amplification, horns, and being in tune, are not Real Blues. Anyone who disagrees with the above definition can't be a Real Blues Purist -- they're only purist-wannabe's. [ close-smilied for the irony-impaired ] -- * The most exciting phrase to hear in science, the one that heralds new * discoveries, is not "Eureka!" (I found it!) but "That's funny ..." * -- Isaac Asimov ========================================================================= Date: Thu, 11 Apr 1996 09:56:19 -0500 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: A Purist > I swear after many years of hearing the term (and even being called one !) > I have no idea what a purist is... According to the Oxford American Dictionary: purist - a stickler for correctness. Bruce Roberts Austin, TX ========================================================================= Date: Thu, 11 Apr 1996 10:25:31 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: Fossilized Blues(was Re: Bitterness and Purists) If you try to change the blues TOO much to address current public taste, pretty soon you'll be fishing with your hook out of the water. RJ Bauman (going into the bomb shelter now) "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Thu, 11 Apr 1996 08:29:24 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: April 12 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BAILEY, WILLIAM "BUSTER"(cl/BESSIE SMITH) d. 1967-0412, BROOKLYN, NY 64 BAKER, JOSEPHINE (v/dancer) d. 1975-0412, PARIS, FRANCE 68 BUCKNER, TED (asax/TODD RHODES) d. 1976-0412, DETROIT, MI 62 CHARITY, PERNELL (g) d. 1979-0412, WAVERLY, VA 58 DADDY STOVEPIPE [JOHNNY WATSON] (stovep) b. 1867-0412, MOBILE, AL DAVENPORT, ETHEL (v/gospel/SPECIALTY) b. 1910-0412, MIDDLEBURG, FL DODDS, JOHNNY (cl/BLIND BLAKE) b. 1892-0412, NEW ORLEANS, LA FULBRIGHT, J. R. (prod/owner: ELKO REC) d. 1970-0412, LOS ANGELES, CA 70 GALLO, LEE A. C. JR. (owner: VITA REC) d. 1960-0412, NY 33 HANCOCK, HERBIE (p/keyb) b. 1940-0412, CHICAGO, IL HARRIS, "SHAKEY JAKE" (hca/MAGIC SAM) b. 1921-0412, EARLE, AR HOFFMAN, ABBIE (:) d. 1989-0412, NEW HOPE, PA 52 KAY, JOHN (v/STEPPENWOLF) b. 1944-0412, TORONTO, ONTARIO KELLY, WYNTON (p) d. 1971-0412, TORONTO, ONTARIO 39 LEE, BOB (v) b. 1930-0412, TUSCALOOSA, AL LOUIS, JOE [JOSEPH L. BARROW SR.] (boxer) d. 1981-0412, LAS VEGAS, NV 66 MACON, Q. T. (g/PULSAR REC) d. 1994-0412, E. ST. LOUIS, IL 60 MCMAHON, ANDREW "BLUEBLOOD" (g) b. 1926-0412, DELHI, LA MEDWICK, JOE (g/songw/DUKE REC) d. 1992-0412, HOUSTON, TX 61 MELROSE, LESTER (prod/a&r/BLUEBIRD REC) d. 1968-0412, FL 77 MILLS, HERBERT (of THE MILLS BROS) d. 1989-0412, LAS VEGAS, NV 77 NICHOLS, HERBIE (p) d. 1963-0412, NEW YORK CITY, NY 43 NICHOLSON, J. D. (p) b. 1917-0412, MONROE, LA OSTER, HARRY DR. (founder: FOLKLYRIC REC) b. 1923-0412, CAMBRIDGE, MA PERNELL, WILLIE (of ARCHIE BELL/DRELLS) b. 1945-0412, HOUSTON, TX RABSON, ANNE (p/SAFFIRE/ALLIGATOR REC) b. 1945-0412, NEW YORK CITY, NY ROBINSON, A. C. REV. (gospel) b. 1915-0412, BRENHAM, TX ROBINSON, SUGAR RAY (boxer) d. 1989-0412, CULVER CITY, CA 67 ROOSEVELT, FRANKLIN D. (president) d. 1945-0412, WARM SPRINGS, GA 63 TAYLOR, THEODORE "HOUND DOG" (g) b. 1915-0412, NATCHEZ, MS VAUGHN, BILLY (arr/prod/DOT REC) b. 1919-0412, GLASGOW, KY ZIEGLER, JOHN LEE (g) b. 1929-0412, KATHLEEN, GA ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 11 Apr 1996 11:33:17 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Fossilized Blues(was Re: Bitterness and Purists) Comments: To: rjbauman@iquest.net On 11 Apr 96 at 10:25, R.J. Bauman wrote: > If you try to change the blues TOO much to address current public taste, > pretty soon you'll be fishing with your hook out of the water. At my age I'm happy if I can just get my hook wet now and then. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Thu, 11 Apr 1996 10:37:49 -0500 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: Fossilized Blues(was Re: Bitterness and Purists) Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu In-Reply-To: from "L W" at Apr 11, 96 09:53:59 am In an earlier message, L W said: ] ] I have no idea, but WE (including myself) don't run around calling someone who ] loves the old blues purists (in a derogatory manner) nor do we trash the up n ] comers, regardless if they are SRV or Buddy Guy clones or 18 yrs old. I've seen Count me in as part of your "WE", if yoa don't mind. ] and we need all of US. We need the magazines that are pure and un-pure, we need ] the artists that are pure and non-pure. Just like Don C. said how can you love Bingo. To wear out the EC example, Eric Clapton wouldn't have become the player that he is without Robert Johnson's influence, and without him, not as many people would have gone and found the old Robert Johnson albums. ] So love the new blues, but don't knock the ones who like the old blues and ] love the old blues, realize the new blues are needed, also lemme quote Mike Bloomfield -- "If you love these blues, man...play 'em as you please!" ========================================================================= Date: Thu, 11 Apr 1996 12:36:49 -0400 Reply-To: Leo Aspiras From: Leo Aspiras Subject: Scatman Accounted For.... Greetings: My esteemed collegue (richard the younger) put up a flag trying to locate me......yes dick i have been lurking in the background absorbing all posts....good and bad......sorry i have not been more vocal......i will try to modify my behavior......hi dick....i'm here..... MINIMAL BLUES CONTENT/CONTRIBUTION just picked up the Rounder CD Deep Blue at a steal and have been listening to it intently here at work.....can't get enough of the ronnie earl cuts.....and johnny shines with robert jr. lockwood..... leo 'the scatman' aspiras from d.c. ========================================================================= Date: Thu, 11 Apr 1996 11:38:43 -0500 Reply-To: Susan Archer From: Susan Archer Organization: Texas Metronet, Inc (login info (214/488-2590 - 817/571-0400)) Subject: New Blues Web Site Comments: To: bit-listserv-blues-l@uunet.uu.net Comments: cc: bluecat1@ix.netcom.com For those of you interested in the Texas blues scene, there's a new web site available: http://www.ondaweb.com/bluecat This site belongs to Blue Cat Blues, the home of the blues in Deep Ellum, located in the shadows of downtown Dallas, Texas. The Blue Cat hosts monthly events for the Texas Blues Club as well as numerous national acts and W.C. Handy nominee performances. The Blue Cat Blues web site contains a bi-monthly newsletter that is definitely worth the trip, and a Texas blues memorabilia selection that is about to expand ten-fold. (Be the first in your group to own a "No Black, No White, Just Blues" t-shirt!) Be sure and check this site out if you're planning a trip to Dallas, and add this site to your bookmarks--you'll be glad you did. ========================================================================= Date: Thu, 11 Apr 1996 12:49:00 -0400 Reply-To: ac928@osfn.rhilinet.gov From: Jim McGlynn Subject: Re: Jack, That Cat Was Clean Art Schuna wrote: > >Thanks to all those who offered suggestions for my Dog/Cat blues show. Now >for my next question. In planning for the Cat segment, my >mind keeps thinking of a song with the refrain, "Jack, that cat was clean". >This would be great to include if I could only remember the artist. Al Pittman, AKA Dr. Horse. I know because I was marvelling over it not ten minutes ago, listening to the Fire/Fury box. To think that I met Bobby Robinson twenty years ago when I was making a film about Larry Johnson, who used Bobby's record shop at Lenox and 125th as his "office". The occasional stupidity of youth -- we interviewed Bobby for the film because he was a guy who sold a lot of blues records in his shop. We understood that he'd been manager of Gladys Knight & the Pips at one point but had no freaking idea that Bobby Robinson was who he in fact is. If we'd had any sense, we'd have made a film about Bobby instead of Larry Johnson, who remains one of the more unpleasant persons I've ever met. Hearing the Fire/Fury box provides convincing testimony to Robinson's amazing career as producer, label owner, promoter, manager, songwriter and arranger. His recordings of Elmore James, Wilbert Harrison, Arthur "Big Boy" Crudup, Bobby Marchan, Lightnin' Hopkins, Lee Dorsey and a host of others comprise a truly astonishing body of work. The 2-CD "Fire/Fury Records Story" box on Capricorn is a wonderful collection, highly recommended for you one-stop shoppers. Jim McGlynn -- ========================================================================= Date: Thu, 11 Apr 1996 12:52:00 EDT Reply-To: edward c liu From: edward c liu Subject: S&T LIVE SHORTIE: Taj Mahal/Keb' Mo' Howdy all, Taj Mahal and Keb' Mo' pulled into NYC last night for an SRO show at the Bottom Line. A fuller NY CD Blues Sitting and Thinking LIVE review is forthcoming, so this is the short version. They were awesome. Keb' has a forthcoming new disc (out in June, sez he), and Taj was plugging his new disc _Phantom Blues_ on Private Music. Keb' was his usual charming, slick self (perhaps the comparisons to Robert Johnson aren't too off the mark, since I understand RJ was quite a charmer himself). IMO, he is not a Great Bluesman.....****YET****! He is a Damn Good Bluesman now, and I think he'll grown into being a Great Bluesman in time. I was especially impressed with a tune he did of a kid asking, "Mamma, where's my dad?" and which turned into, "Your daddy was married, but not to me." In addition to being a clever reversal of what I was expecting, he also sung it with a HELL of a lot of intensity and feeling. (Waiting on LW's obligatory "I hate Keb' Mo'!" message to follow =8^). This was the first time I had seen Taj with a band (the previous 2 was just him and a guitar or piano). Also the first time I've ever seen him play without that big black guitar he usually uses. Instead, I got to see Taj doing his thing thru a Strat clone. He also blew some harp and beat the hell out of a cowbell. And that VOICE! Jeez Louise, I could listen to that voice reading the phone book. He absolutely does not disappoint. He mixed up a lot of stuff from all over his career, with a fair sampling from the new disc (which, like many of Taj's discs, started good with me and has been growing on me steadily since then). It's also hard to tell who's having more fun -- the people in the audience or Taj. He was bopping, bumping, grinding, and dancing all night long. In honor of this show, I have declared today Take Your Taj to Work Day. First up was _Phantom Blues_, and I'm currently grooving mightily to _Dancing The Blues_ (plug: If you don't got it, go get it. Now. If you got it, get it again and give it to a friend.). Will move on to _Giant Step/De Old Folks At Home_ when _DtB_ is over, and possibly repeat the process until I have to go home. Keb' would be in there, too, but I don't have his disc yet. -- Ed Edward C. Liu | "If you send me to Washington as your leader, edwick@cc.bellcore.com | I'll personally see to it that every living | American gets his portion ... after I get mine." | -- Louis Jordan, "Jordan For President" The opinions in this message are mine and not Bellcore's. Really! ========================================================================= Date: Thu, 11 Apr 1996 12:49:33 -0500 Reply-To: Phil Towne From: Phil Towne Subject: Lowdown Towne's Root Sauce Greetings from LOWDOWN TOWNE'S ROOT SAUCE. We are a rhythm & blues band based in Boston with a debut album on the brand new blues & roots label BLUELINE RECORDS. You've put together a cool site! Please add the band as well as the new label to your links. Thanks for your help, Phil Towne Lowdown Towne's Root Sauce c/o BlueLine Records P.O. Box 1191 Watertown, MA 02272-1191 phone: 617-964-2583 email: lowdown@tiac.net Homepage: http://www.tiac.net/users/lowdown ========================================================================= Date: Thu, 11 Apr 1996 12:06:51 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Blues Cruise in Oct Which BC is in October....? Please send me any info you may have. LW ========================================================================= Date: Thu, 11 Apr 1996 13:11:51 -0400 Reply-To: Dave Markovits From: Dave Markovits Subject: Buddy Guy Hey Gang;; I've got tickets to see Buddy's Big Band at his club Weds, the 17th. These tickets were put on sale just last Saturday. With the fine addition of the Chicago Playboys on horns and Tony Z on keys, this show should be a lot of fun. I know the real deal tour has made a lot of stops already. Can anybody help with a set list? Is it the usual cycle of tunes Buddy plays? I'm not knocking Buddy, but he has played shows with the same song selection for years now. The King Biscuit show in Helena was fantastic last October. He rocked like a man poccessed. I get to see him a lot(fortunately) and loved seeing him tear up the Arkanasas night. Or is there some gems pulled out for this tour. I saw the shows with G.E smith and the SNL band a couple of years ago and he had trouble with some old numbers. He told my friend he doesn't remember how to play Mother-in law Blues anymore. If anybody has seen the shows any info is appreciated. I am curious to hear what the new Buddy Live./SNL album sounds like. You would not believe the production crew they had. You would have thought they were filming Raiders of the Lost Ark. Have a good; David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Thu, 11 Apr 1996 10:32:18 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Fossilized Blues(was Re: Bitterness and Purists) LW wrote: >So love the new blues, but don't knock the ones who like the old blues and >love the old blues, realize the new blues are needed, also LW has nailed it. I'll add a hearty amen. I can feel a lot of love in this mailing list this morning. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Thu, 11 Apr 1996 10:32:24 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Fossilized Blues(was Re: Bitterness and Purists) Pat Hertel, a self-confessed purist (and I mean it in the best possilble way:-) > Yes, but at which point is Latin no longer Latin. Sure change is good >but that does not imply that ALL change is good, some of us are all too >accepting of change because of this attitude. Evolution my children :) >has come about through SELECTION. Many a change has ended up on the garbage >heap of history. There are those who feel the directions taken by >such as Sugar Blue and Michael Hill and the Blues Mob are revolutionary >Only time will tell. Sometimes the Emperor has no clothes. If that makes >me a "purist" then I wear the label proudly. You could say Latin is around in one sense. The influence at least. English grammar is based on Latin grammar. Hence all the problems people have in coming to grips with English. Tangent ended. Pat used an analogy that refered to Evolution. Evolution involves selection but, IMHO, a certain amount of adaption to conditions as well. Would of blues have survived if it had remained based solely on acoustic intrumentation? Yes, but I don't think it wouldn't of spread as far or be as popular as it is today. Amplification was an adaption to the needs of the music. People waated to party but an acoustic guitar was having a hard time being heard. Along comes Muddy. Sure some changes have been disarded. But others have taken hold. As much as I like to hear pureunadulterated blues (if there is such a thing) I like to hear blues to takes bits and pieces from other styles of music and uses. There is sometimes crticism of blues artists who borrow from rock. Yet I hear little criticism of this artists who borrow from funk, soul, latin, jazz etc to spice their blues. Rock is a valid form of music. Believe it or not there is some great Rock'n'Roll being played today. Bands like Michael Hill's Blues Mob are important. They show us what blues is like with a contempary influence. Just as we need people like Corey Harris to remind us of where it all came from, we need artists to try and take the music in new directions. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Thu, 11 Apr 1996 12:25:45 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Fossilized Blues(was Re: Bitterness and Purists) In-Reply-To: Message of Thu, 11 Apr 1996 10:32:18 -0700 from On Thu, 11 Apr 1996 10:32:18 -0700 Shaun T Cronin said: >LW wrote: > >>So love the new blues, but don't knock the ones who like the old blues and >>love the old blues, realize the new blues are needed, also > >LW has nailed it. I'll add a hearty amen. I can feel a lot of love in this >mailing list this morning. YOU ARE NOT GETTING MY BUD LIGHT :-) LW ========================================================================= Date: Thu, 11 Apr 1996 10:36:30 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Fossilized Blues(was Re: Bitterness and Purists) RJ Bauman lobbed this one: >If you try to change the blues TOO much to address current public taste, >pretty soon you'll be fishing with your hook out of the water. Ok. RJ. What is TOO much change? Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Thu, 11 Apr 1996 13:11:47 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: BEFORE THE BLUES vol 3 information on the recordings Comments: cc: mkaldin@beachnet.com Here's the historical information on disk 3. Once again, some mysterious selections. WHY those particular Blind Boy Fuller and Blind Blake tracks? They are even outside the period. Why repeat material from the Kentucky country music set they put out last year? BUT we get Memphis Minnie "Frisco Town" and Furry Lewis "Kassie Jones Part 1" in the category of perfect or near-perfect recordings, plus Clarence Ashley's "House Carpenter," a string band take on Scott Joplin, a recording on quill or pan pipes, and other fascinating stuff. This is more essential recordings. Later I will post some general impressions about this set. In going through disk 2, I skipped information about track 3. It is below. disk 2 3 Peg Leg Howell "Skin Game Blues" Atlanta 11/9/27 Columbia Barbecue Bob (one of his is Disk 3 track 21) and Charley Lincoln also recorded at this session. A month later, they were in Dallas recording track 2 disk 2, track 2 disk 6. disk 3 1 Memphis Minnie "Frisco Town" 6/18/29 in NYC for Columbia with Kansas Joe. Her first session. 2 Mississippi John Hurt "Spike Driver's Blues" 12/28/28 Okeh, NYC see disk 1 track 20 3 Cannon's Jug Stompers "Feather Bed" Victor 9/9/28 Memphis see disk 2 track 2 for other recordings by Victor on this field trip. 4 Henry Thomas "Fox and the Hounds" see disk 1 track 2 6 Luke Jordan "Pick Poor Robin Clean" 8/16/27 Victor in Charlotte NC see disk 1 track 1 7 Bobby Grant "Nappy Head Blues" Paramount, Chicago 12/27 one of two tracks he recorded, this one is also on L-1001 (Yazoo Miss. Blues) 8 Taylor's Kentucky Boys "Sourwood Mountain" 9/17/27 in Richmond, Ind. see disk 1 track 7 9 Texas Alexander "Levee Camp Moan Blues" 8/12/27 New York Okeh Alger Alexander. His second session. 10 Evans & McClain "John Henry Blues" 5/20/31 New York ARC Issed as The Two Poor Boys. D&G note that there are arguments based on aural evidence (arguments they reject) suggesting this recording may not be Evans and McClain. Disk 1 track 11 was recorded at the same session. 11 Biddleville Quintette "Coming To Christ" Chicago 1/29 Paramount This quintet also released recordings on Herwin as the Mississippi Quintette. 12 Clarence Ashley "House Carpenter" 13 Lil McClintock "Furniture Man" Columbia 12/4/30 Atlanta D&G: "This is a male singer, and 'Lil' is probably short for 'Little'." This is his only session. Barbecue Bob and Jm. Gates (former on this disk, later on disk 1) recorded on this Altanta trip. 14 Minnie Wallace "The Old Folks Started It" 9/23/29 Memphis Victor This is backed by the Memphis Jug Band. See disk 2 track 4. 15 Furry Lewis "Kassie Jones (Part 1) Victor 9/28/28 in Memphis see disk 2 track 2 for other recordings by Victor on this field trip. 16 Blind Boy Fuller "Thousand Woman Blues" 6/19/40 New York Okeh His last session. 17 Blind Blake "Champaign Charlie Is My Name" 6/32 Paramount Grafton Wisc. Arhur Blake. His last session. 18 Moses Mason "Molly Man" 1/28 Paramount Chicgo as (Red Hot) Ole Mose D&G: "It appears that Red Hot Ole Mose is Moses Mason" Also that month he recorded as Rev. Moses Mason. These were his only sessions. 19 Frank Stokes "Chicken You Can Roost Behind The Moon" 9/27 Paramount, Chicago see disk 2 track 2 20 John Hammond "Little Birdie" I believe this musician's work is also on the Yazoo Kentucky sets (this may even be a redundant track) 21 Barbecue Bob "Black Skunk Blues" 4/18/29 Atlanta Ga Columbia Robert Hicks. On this field trip, Colubia also recorded Peg Leg Howell's last prewar session. 22 Coley Jones "Drunkard's Special" Columbia 12/6/29 Dallas TX see disk 2 track 1 23 Blues Boys "Easy Winner" They also did "Something Doin'" another Joplin Rag at this session. disk 2 track 21. ========================================================================= Date: Thu, 11 Apr 1996 13:30:01 -0400 Reply-To: "D. Quinn" From: "D. Quinn" Subject: Re: Dog/Cat Blues Show In-Reply-To: <199604110410.AAA20715@listserv.brown.edu> Sorry if I've missed it, but could you post the songs you're planning to play on this special show??? Thanks! Diana (Diana and the Moondogs, Washington, D.C.) ========================================================================= Date: Thu, 11 Apr 1996 13:09:05 -0500 Reply-To: David Silberberg From: David Silberberg Subject: Re: Fossilized Blues(was Re: Bitterness and Purists) At 08:17 AM 4/11/96 CDT, L W wrote: I think blues would survive >rightly nicely without any of the rock/blues stuff. It had survived MANY, MANY >years without the rock influence. You're probably right - the blues could survive "without any of the rock/blues stuff" - It could have survived without any of the jazz stuff - but then where would T-Bone Walker have been? It could have survived without any of the big band stuff - but then where would Eddie Vincent and Al Hibbler have been? It could have survived without any of the redneck country music stuff - but then where would Otis Redding and his Sweet Soul Music mates have been? It could have survived without electric guitars and amplified harps - but then where would Muddy and Little Walter and Buddy and Magic Sam and Jimmy Dawkins.... Unless you go back to the man with guitar in the Mississippi train station that W C Handy heard - everyone has been influenced by the world around him / her, musical and otherwise. The genius of the blues is that it has been able to maintain its identity while incorporating and accomodating all of these new influences - including rock. David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Thu, 11 Apr 1996 13:09:55 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Jack, That Cat Was Clean (Dr. Horse) Comments: To: Jim McGlynn In-Reply-To: <199604111649.AA07851@osfn.rhilinet.gov> "Doc" Horse is the featured vocalist on a Sammy Price LP called "The Blues Ain't Nothin'..." sorry I can't recall the label but maybe someone out in cyberspace can provide that information. ========================================================================= Date: Thu, 11 Apr 1996 13:11:13 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Buddy Guy Comments: To: Dave Markovits In-Reply-To: For what it's worth, Buddy has been rehearsing with his enlarged band and we can presume that he'll be doing tunes from the new live CD. ========================================================================= Date: Thu, 11 Apr 1996 10:21:26 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Fossilized Blues previously, >] I have no idea, but WE (including myself) don't run around calling someone >who >] loves the old blues purists (in a derogatory manner) nor do we trash the up n >] comers, regardless if they are SRV or Buddy Guy clones or 18 yrs old. I've >seen Remember, in my view at least, purists can be the best folks in the world, or the biggest jerks you ever met. It's not the music that makes the difference between the two, it's how they treat others and the levels of manners they show. Maintaining the traditions of a great style of art or music doesn't mean you have to be a jerk about it! As far as trashing newcomer musicians, it is legit if they are over-hyped. it is legit if they are too damn young and are being shoved down our throats like a dancing-bear novelty act, it is legit if they are too arrogant to acknowledge the roots and traditions. Trashing newcomers is NOT legit IMO simply because they have rock influences. In baroque music, many pieces (even Bach) were re-set in the 19th century, for a romantic style of performance with the lower pitched horns used then, and the metal string violins and much much larger groups generally performing them. The new arrangements were slower, more ponderous and emotional, and lots louder.... It suited the romantic sensibility very well. In our own time people started asking what the baroque music actually SOUNDED LIKE in it's own time. So they did research, they played old instruments from that era, they read original scores, and discovered that the music was originally pitched higher, that the baroque trumpets were higher in pitch than modern ones, that the gut-string violins had a totally different sound than modern ones, that the music was played faster with more of a bounce to it, and passages were not extended and over-emphasized to be more "emotional". Oh, and the groups were smaller, and the conductor often sat at the harpsichord and improvised (yes improvised) instead of standing up and simply conducting... very interesting... Since the 1960's many baroque works have been recorded using original instruments, arrangements, type of groups, interpretation etc... They are a *revelation*! Totally different than the 19th century versions of them. Handel's "Messiah" for one, is so different from the familiar version that it takes a while to get used to it. It is really nice once you do, however. So "purists" in all the best senses of the word were able to revive actual *baroque music* as it was meant to be! I *love* purists! But not *one* of those people went 'round saying "oh they RUINED baroque music in the 19th century"... "They bastardized their ART to make MONEY!" (actually they only people making money for several years there were the traditionalists, now it is fairly well split). They said things like "Did you know that trumpets sounded completely different in Bach's time?", "Did you know that the conductor usually improvised at the harpsichord?" And the response was almost always "Really?, I'd love to hear that!". bingo... So if John Hammond goes on stage and says: "Did you know that Robert Johnson wrote "Crossroads"? It was called "Crossroads Blues" and goes like this".. and tears into a great rendition of RJ's classic he is being a purist in all the best senses of the word. Now if one of us sees a guy/gal in the crowd going: "wow, that is so cool, I thought that was Eric's song", do we say "YEAH! RJ's great isn't he? and Hammond does that music so well!" (whereupon they want a list of every old blues reissue available!) or do we say "YEAH, DAMN RIGHT, that's ART man! All that blues-rock stuff is GARBAGE, and they are all BASTARDIZING THEIR ART FOR MONEY!" (wherupon the guy thinks "what an asshole" and goes back to Metallica because he's just met a blues nazi) So to me, the answer is simple (and I think we have a more-or-less consensus on this,) that we need both! We NEED the contemporary updated versions because they are US, they are our soul's expression, yet we need the roots and traditions upheld and PERFORMED so that they aren't forgotten. There is no damn reason for the two groups to hate each other, (well besides stupidity that is) So, just for fun I worked up an arrangement of "Born on the Bayou the other day... My buddy said: "It sounds like Slim Harpo played by the Who".... Is dat blues?? I dunno, but it sure kicks MY ass.... ;-] DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Thu, 11 Apr 1996 14:30:32 -0400 Reply-To: MARCIAG@VMS.CIS.PITT.EDU From: Marcia Grodsky Subject: Re: King Of Cats --- Albert Murray Comments: To: leftwich@CLOUD9.NET I hadn't realized until I read the New Yorker article that "Train Whistle Guitar" was part of a trilogy. I realize now that "The Seven League Boots" which came out several months ago, is thr third part of the trilogy. But do you know what the other volume is? One of the many fascinating things in this article was the portrayal of the parallel careers of Murray, Ralph Ellison and Romare Beaden. I've always been crazy about Bearden's work, and I loved the stories about how Murray would name Bearden's paintings! It also made me curious about the work of poet Elizabeth Alexander (there are several quotes from her poem, "Omni-Albert Murray"). I was not familiar with her work before. Can anybody recommend something by her? Thanks. ---Marcia ========================================================================= Date: Thu, 11 Apr 1996 20:43:18 +0100 Reply-To: bengans From: bengans Subject: Sevenson s back on the L People, I m back from a great US vacation, did New orleans and Chicago! (Scott, you re the MAN!) I ll be back with some bluestalk regarding this trip a little later! --------------------------------------------------------------- Sevenson "Time is hard baby, and hustling is really on." T-Bone Walker --------------------------------------------------------------- ========================================================================= Date: Thu, 11 Apr 1996 13:33:45 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Fossilized Blues In-Reply-To: Message of Thu, 11 Apr 1996 10:21:26 -0800 from On Thu, 11 Apr 1996 10:21:26 -0800 Don Cicchetti said: > >As far as trashing newcomer musicians, it is legit if they are over-hyped. > >it is legit if they are too damn young and are being shoved down our >throats like a dancing-bear novelty act, I can't agree with the above. I have heard (no experience) that the artists are seldom responsible for the hype, regardless of their age. I have talked to artists that were embarassed that they were compared to the "masters" (so to speak). So trash the record company or the publicity folks, but I THINK in most cases the artist is not responsible for the blurbs. If they want commercial success they best ride that hype as far/long as they can. ********** (not trying to be funny about the former commercial thread, at all) One thing that really bugs me is when (usually a local band) someone is trashing an artist/band and I'll turn to that person and ask why is he/she not on stage. It's easy to sit in the audience and say "They Suck" it's a different thing to get onstage yourself and perform. I used to be quick to knock someone. It only takes a few times performing in front of an audience 2 gain respect for others who do it, whether you like their music or not. I do take exception with a talented artist who is very capable, but doesn't care and is just going through the motions. I rather see a local band try really hard, than a major artist, not give a shit. >There is no damn reason for the two groups to hate each other, (well >besides stupidity that is) I have a problem with hating anybody, PERIOD. LW ' a pushover for humans and dogs' ========================================================================= Date: Thu, 11 Apr 1996 14:00:56 -0500 Reply-To: Timothy M Dellinger From: Timothy M Dellinger Subject: Re: A Purist (some definitions?) LW said: >I swear after many years of hearing the term (and even being called one !) >I have no idea what a purist is... >Please share you defintions on purists... And please shore your definitions of blues-rock! Jimi Hendrix and Bonnie Raitt are definitely pure rock and roll, albeit more heavily influenced by one of rock and roll's influences, the blues. But this does not make them a fusion of blues and rock. They are still rock and roll. They are not blues-rock. It seems to me that blues-rock takes basic blues and then makes the lead guitar the focus, instead of the lyrics. Also blues-rock doesn't seem to be an expression of human sadness, but rather a happy, fun, exciting music. But these are departures from "pure" blues. So to answer the original query: a purist is one whose music of preference is old style blues, with the vocals and lyrics being the focus of the song, and everything else serving a supporting role. A purist enjoys the expression of specific emotions: sadness, dejectedness, consequences of a life of sin, even bragging about a life of sin, or even an expression of sexual prowess. A purist is bored by extended guitar solos by guitar atheletes. A purist sees songs with few and vague lyrics as shallow and empty. A purist enjoys SRV because he supported his lyrics with his guitar. A purist doesn't like SRV clones who just take the guitar parts and forget about writing a coherent song. A purist has strict definitions of blues, but realizes that lines can be crossed if done correctly. A purist is open minded, but easily disappointed. And although a purist can enjoy rock&roll, a purist takes it as an insult when rock&roll is called blues when it isn't blues at all, but rather is rock. -- -- It is a miracle that curiosity survives Tim Dellinger formal education. -Albert Einstein tdelling@uiuc.edu ========================================================================= Date: Thu, 11 Apr 1996 13:59:35 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: A performer/entertainer mindset After Mr. Silverberg (I believe) said anyone who steps in front of a mic is an entertainer, it hit home with me. I am no John Hammond (not a pimple) but I can play my guitar. I had trouble believing that people actually liked what I was doind, now I know they do. Yesterday a fellow musician that owns a resturant asked to play on the resturant patio when it gets warmer. I always wonder "why did he ask me"....? There are tons of musicians in town that would really like to get the opportunites that I TURN DOWN. I didn't turn down yesterday's offer, he has heard me so many times. He knows what he's getting. So I'm asking some of you PROS how do I get that entertainer/performer mindset I DO NOT dress for the part, I go as I am. My wife trys to get me to handle myself more like an entertainer/performer. Hell I usually think the audience is doing me the favor for showing up and listening. So any tips pointers, books I should read...anything like that PRIVATE MAIL would be best...Thanks I admire the heck out of the Billy Price's of the world..those with presence LW 'Way too humble, but most of you don't think so' ========================================================================= Date: Thu, 11 Apr 1996 14:15:57 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Blues-Rock Def I can't define blues-Rock. All I know is a lot of people considered SRV blues-rock, but considered Buddy Guy blues....Buddy covers SRV tunes and SRV covered Buddy tunes......go figure I think the Allman Brothers were blues-rock. I really don't have no clue. I do however think the most moving instrument is the Human voice. (not mine) LW 'no jokes about me not having a clue, ya'll are giving me a complex' ========================================================================= Date: Thu, 11 Apr 1996 14:55:16 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Too much change??? Comments: To: shaun@WAVENET.COM What is too much change? Man, that's not easy. I've got a lot of thoughts on that. Honestly, if anybody has the answer to this one they have found a blues "holy grail." First you would have to define blues. I've got a stack of blues books a foot high that can't completely nail that down because the target keeps moving as we go through time. It's likely all subjective to one's exposure to blues music over the course of it's history. and how deep you want to look for similarities to what you know as blues. This varies among all of us. A)When I first heard "I Just Want To Make Love To You" by Foghat, I wasn't familiar with Muddy's work. When I heard Muddy's version, I thought Foghat had recorded a train wreck!. Years later, I could discern the elements of the blues form in the arrangement. 1) Heck, I never really thought about JB's "I Feel Good" as a blues until a couple years ago. B) One "too far" example which comes to mind is "John Coltrane Plays The Blues" which has no blues on it--- TO ME it's not even close. C) I'd say Miles Davis "Kind Of Blue" is fishing with hook out of the water, as far as being attractive to the average blues fan who's looking to hear some blues, but it's blues, kind of, like the title says. D) My wife trashed John Mayall last year when he was in town. She said they didn't play any blues-- just rock. Now, her exposure to blues is limited compared to mine, but I understood her point of view. E) The other night I saw a"Rosanne" rerun where Dan was a singer in a "blues" band. They went to a "blues bar" , (they referred to it as a blues anyway) where John Popper was blowin' his head off in that speed thrash style of his. I KNOW some people think that's blues, but to me it's not. F) I can't comment on Sugar Blue, but I wish somebody would. G) Lastly, I've heard music on church pipe organs, in marching bands, replicated on C-64 sid chips, etc which were distinctly blues to my ears right out of the gate. H) I have no earthly idea how Jeff Healey's new CD got categorized as a blues CD. It has two blues songs on it and one is a Beatles song, as I recall. It's a good CD, though. I like Healey. I could go on, but I'm worn out! RJ Bauman n 11 Apr 96 , honorable zeller Shaun T Cronin wrote: > RJ Bauman lobbed this one: > > >If you try to change the blues TOO much to address current public taste, > >pretty soon you'll be fishing with your hook out of the water. > > Ok. RJ. What is TOO much change? > > Shaun > > Shaun Cronin 'Woke up this morning between midnight and day. I was > shaun@wavenet.com hugging the pillow where my baby used to lay.' Son > House > > "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Thu, 11 Apr 1996 15:37:21 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 04/12 B O R N : 04/12 CLOONEY, BETTY Born:1931 MAYSVILLE, KY Career:SINGER Style:BIG BAND With:Barney Rapp / Sister Rosemary / Tony Pastor / Clyde Trask / TV shows of Robert Q. Lewis & Jack Paar DADDY STOVEPIPE [JOHNNY WATSON] Born:1867 MOBILE, AL Career:GUITAR / HARMONICA / JUG / KAZOO Style:BLUES With:WHISTLIN' PETE DEPPE, LOUIS Born:1897 HORSE CAVE, KY Career:SINGER Style:JAZZ With:EARL HINES DODDS, JOHNNY Born:1892 NEW ORLEANS, LA Career:CLARINET Style:TRAD / JAZZ / BIG BAND With: Frank Duson / Kid Ory / King Oliver / Louis Armstrong FORREST, HELEN Born:1918 ATLANTIC CITY, NJ Career:SINGER Style:BIG BAND With:Artie Shaw / Benny Goodman / Harry James / sang on radio as Bonnie Blue, The Blue Lady / DICK HAYMES / HANK JONES / FRANK WESS / GLEN ZOTTOLA GARCIA, RUSS Born:1916 OAKLAND, CA Career:ARRANGER / COMPOSER /LEADER / TRUMPET Style:POP / BIG BAND With: Horace Heidt / Al Donahue / TV backgrounds included Rawhide, Laredo, The Virginian HAMPTON, LIONEL Born:1913 LOUISVILLE, KY Career:VIBES / DRUMMER / PIANO Style:JAZZ / BIG BAND With:Paul Howard / Les Hite / Benny Goodman / Jack McVea / Arnett Cobb / Illinois Jacquet / Dexter Gordon / Marshall Royal / Earl Bostic / Milt Buckner / Al Grey / Benny Bailey / Jimmy Nottingham / Leo Sheppard HANCOCK, HERBIE ( HERBERT JEFFREY HANCOCK ) Born:1940 CHICAGO, IL Career:PIANO / COMPOSER Style:JAZZ With:Donald Byrd / Phil Woods / Oliver Nelson / Miles Davis / Eric Dolphy HARRIS, JAMES D ( "SHAKEY JAKE" ) Born:1921 EARLE, AR Career:HARMONICA Style: BLUES With:MUDDY WATERS / LITTLE WALTER / MAGIC SAM MASTERS, FRANKIE Born:1904 ST.MARY'S, WV Career:LEADER / BIG BAND With:Woody Kessler / Jay Mathews / Stuart Charles / Bill Pritchard / Vincent Ferrine / Buddy Shiffma /, Carl Bean / Howard Barkell / Don Elton / Phil Gray / Joe Reisman / Eddie Baxter / Hy Lesnick / Irving Trisco / Don Bell / Billy Johnson / Harlan Rogers / Gordon Goodman / Lou Hurst / Phyllis Miles MCMAHON, ANDREW "BLUEBLOOD" Born:1926 DELHI, LA Career:BASS Style:BLUES NICHOLSON, J. D. ( JAMES DAVID NICHOLSON ) Born:1917 MONROE, LA Career:PIANO / LEADER Style:BLUES With:JIMMY McCRACKLIN / BIG MAMA THORTON / RAY AGEE / JOHNNY OTIS / BIG JOE TURNER NISTICO, SAL (SALVATORE) Born:1940 SYRACUSE, NY Career:TENOR SAX Style:JAZZ / BIG BAND TAYLOR, THEODORE "HOUND DOG" Born:1917 NATCHES, MS Career:SLIDE GUITAR Style:BLUES FOR A LISTING OF THOSE THAT PASSED AWAY IN THIS MONTH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Thu, 11 Apr 1996 13:41:30 -0700 Reply-To: Garry Segal From: Garry Segal Subject: Fab TBirds I heard a rumor that long time Fab Tbird drummer Fran Christina will be playing for Bob Dylan soon. Any truth to that? Also anybody know about Tbird shows in the USA? Where ? When ? Itinerary on the 'net? Thanks, Garry "dont worry, the blues will find U" Segal ========================================================================= Date: Thu, 11 Apr 1996 16:35:56 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Too much change??? Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *What is too much change? When you're playing for tips at a coffeehouse and the audience realllyy digs you and overfills the tip jar - that's usually too much change, but it comes in handy for the parking meter. :-) -Steve ========================================================================= Date: Thu, 11 Apr 1996 12:52:52 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: A performer/entertainer mindset LW asked: >So I'm asking some of you PROS how do I get that entertainer/performer mindset >I DO NOT dress for the part, I go as I am. My wife trys to get me to handle >myself more like an entertainer/performer. Hell I usually think the audience >is doing me the favor for showing up and listening. Well they are, for all of us, and we better not forget it. This is too important to be private so here goes... Couple of ideas 1. LOVE what you do! SHOW it! 2. Be confident, but not arrogant. 3. Be rested, relaxed and moderately excercised before the show to get your breathing and endorphins up (you feel better) 4. Never eat a big meal before you play... Play mildly hungry.. Make sure you have enough liquids in you (not alchohol) to not get dehydrated before the show is over. 5. Never play intoxicated... 6. Rehearse talking to the crowd as if they were your friends.... Yes rehearse, or you will freeze up and forget what you had to say. 7. Be in great shape in voice, in playing, and in preparation. No one wants to pay to hear you rehearse.. 8. Wear comfortable clothing and shoes.. Don't buy poser clothes if they are not "you"... 9. Visualize the audience as composed of friendly, interested fans who will soon be friends, and it will probably happen. 10. Remember, we are storytellers, if you can entertain a kid with a story, you can probably reach an audience. more anybody? ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Thu, 11 Apr 1996 16:52:16 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Improvised Rant On The Topic Of Purists Comments: To: tdelling@coewl.cen.uiuc.edu Comments: cc: mkaldin@beachnet.com The text of today's rant comes from a message by Timothy M Dellinger, who wrote: >So to answer the original query: a purist is one whose music of preference is >old style blues, with the vocals and lyrics being the focus of the song, and >everything else serving a supporting role. Was that really the "old style blues"? Is "Cow Cow Blues" (an instrumental with no words, and I think quite old-- why, heck, "New Cow Cow Blues" was recorded in 1927) blues? How about Memphis Jug Band songs like "Rukus Juice and Chittlins" or "Tear It Down Bed Slats And All." I'm not sure the vocals and lyrics are the focus of those songs. As they were early 30s, I count them as old. And how about Charley Patton tunes in which (try as I might, and being a Mississippian even) I more-than-occasionally have no idea what he's singing? I don't think *Patton* thought the lyrics the focus of those songs. Taking it a step later, was vocal and lyric *ever* the focus of Elmore James songs? I thought performance and getting-the-crowd-to-move-its-but was what he was about (or for that matter, how about Junior Kimbrough? Is he not a purists' bluesman? His music is all grove. If people listened to his lyrics much wouldnt SOMEONE complain about his rape song? ("She Better Run")). This definition of old-style-blues does not mean anything because it does not refer to anything. >A purist enjoys the expression of >specific emotions: sadness, dejectedness, consequences of a life of sin, even >bragging about a life of sin, or even an expression of sexual prowess. Personally, I really like the juke joint aspect of blues, beginning to end. I am amazed by the energy of Patton's performances, of the band version of "Walking Blues" Son House recorded for the Lomax, of Elmore James, of Muddy's "Mannish Boy," and Junior Kimbrough. Anyone who can sit still through those performances is rythmnically dead. I think blues is vital in its expression of emotions, but I do think you are missing the point still. >A purist is bored by extended guitar solos by guitar atheletes. A purist sees >songs with few and vague lyrics as shallow and empty. A purist enjoys SRV >because he supported his lyrics with his guitar. A purist doesn't like SRV >clones who just take the guitar parts and forget about writing a coherent >song. NOW I understand. "A purist enjoys SRV". This is a discussion of Stevie Ray Vaughn, not BLUES! I was confused. This is about SRV purists. I stand corrected. >A purist has strict definitions of blues, but realizes that lines can be >crossed if done correctly. A purist is open minded, but easily disappointed. >And although a purist can enjoy rock&roll, a purist takes it as an insult >when >rock&roll is called blues when it isn't blues at all, but rather is rock. Seriously, the word purist is thrown around on this list as an insult. Threads about "purists" are the MOST likely to generate flames and the LEAST likely to have actual content. People say more things that amount to just spouting off (get more names wrong, etc. etc.) in these threads than anywhere else. I practically BEGGED for a truce on use of this word last Fall, and the discussions using it since have meant EVEN LESS. To hell with this debate about purists, lets talk blues music. Tom Freeland ========================================================================= Date: Thu, 11 Apr 1996 14:12:48 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Fossilized Blues(was Re: Bitterness and Purists) LW wrote: >YOU ARE NOT GETTING MY BUD LIGHT :-) Ok. How about some Sam Adams, or some Guiness, or some Sapporo, or some Fosters, or.... Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Thu, 11 Apr 1996 14:12:54 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Too much change??? RJ responded: >What is too much change? Man, that's not easy. I've got a lot of >thoughts on that. > >Honestly, if anybody has the answer to this one they have found a >blues "holy grail." First you would have to define blues. I've got a >stack of blues books a foot high that can't completely nail that >down because the target keeps moving as we go through time. It is almost like the cliche Zen question, "What is the sound of one hand clapping?" Still it doesn't hurt to ponder the question. >It's likely all subjective to one's exposure to blues music over the >course of it's history. and how deep you want to look for similarities to what > you know as blues. This varies among all of us. > >A)When I first heard "I Just Want To Make Love To You" by Foghat, I >wasn't familiar with Muddy's work. When I heard Muddy's version, I >thought Foghat had recorded a train wreck!. Years later, I could discern the >elements of the blues form in the arrangement. > > 1) Heck, I never really thought about JB's "I Feel Good" as a blues until a >couple years ago. I always thought it was a blues tune. >B) One "too far" example which comes to mind is "John Coltrane Plays The >Blues" >which has no blues on it--- TO ME it's not even close. > >C) I'd say Miles Davis "Kind Of Blue" is fishing with hook out of the >water, as far as being attractive to the average blues fan who's looking to >hear >some blues, but it's blues, kind of, like the title says. I consider "John Coltrane Plays the Blues" to be a blues album. I consider Miles Davis to be someone immersed in the blues. Yeah, the Coltrane and Davis albums aren't what most people consider the blues but these albums contain the essecence (I won't even try to define this) of the blues. Its a feeling. >D) My wife trashed John Mayall last year when he was in town. She said >they didn't play any blues-- just rock. Now, her exposure to blues is >limited compared to mine, but I understood her point of view. The only John Mayall I have ever heard was the Bluesreaker album (very good IMHO). Some people think SRV is a rock artist. Some think he was a blues artist (which he was). What about Hendrix? Well, there are a few tracks of traditional style blues but there is also many examples of his Venus Delta style. Maybe not blues in the traditional form but the spirit, feeling, essecence, whatever is there. Kenny Wayne Sheppard? Not at this stage. He is missing something. >E) The other night I saw a"Rosanne" rerun where Dan was a singer in a >"blues" band. They went to a "blues bar" , (they referred to it as a blues >anyway) where John Popper was blowin' his head off in that speed >thrash style of his. Sort of like the Yngwie Malmsteen video I saw where he discussed "playing the blues". Sure it was a 12 bar but blues it was not (I have also heard some great stories about the making of the video heh, heh). >I KNOW some people think that's blues, but to me it's not. > >F) I can't comment on Sugar Blue, but I wish somebody would. I've heard a few songs and it doesn't seem to be all that bad. >G) Lastly, I've heard music on church pipe organs, in marching >bands, replicated on C-64 sid chips, etc which were distinctly blues to my >ears >right out of the gate. Guitarist, Sonny Sharrock has done the same thing to me as well. I also witnessed a friend of mine play bagpipes with a rock band at it was brilliant! >H) I have no earthly idea how Jeff Healey's new CD got categorized as >a blues CD. It has two blues songs on it and one is a Beatles song, >as I recall. It's a good CD, though. I like Healey. Categorization is a strange and mysterious art only known to a few and best practiced by the ignorant. Why not just have "music A-Z"? >I could go on, but I'm worn out! > >RJ Bauman > > >n 11 Apr 96 , honorable zeller Shaun T Cronin wrote: RJ, you are doing it again. Stop trying to ruin my reputation. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Thu, 11 Apr 1996 21:07:53 +0000 Reply-To: Bob Bingham From: Bob Bingham Subject: Lightnin' Hopkins Lightnin' Hopkins played with a thumpick but no fingerpicks usually. The interesting thing to me about his style is the he rarely used more than his thumb and index finger. Mance Lipscomb also played in this similar fashion. Most of Lightnin's tunes were either in the key of e or a which makes it fairly easy to figure out what he's doing. Both of these players made use of a monotonic style of pick for the low strings on the guitar. Also , damp the bass strings heavily with the palm of your hand and play hard! ========================================================================= Date: Thu, 11 Apr 1996 21:02:59 GMT Reply-To: Jeff Krauss From: Jeff Krauss Organization: Capital PC User Group, Inc., Rockville, Maryland, USA Subject: Who wrote Forty-Four? Comments: To: bit-listserv-blues-l@uunet.uu.net Eric Clapton in his current concerts sings a song that goes: "I done wore my forty-four so long, it made my shoulder sore" (I have it on boots from 1993 and 1994 Royal Albert Hall concerts, and I heard the song when he performed in Washington DC last fall.) I also have a compilation CD that has Howlin Wolf singing Forty-four. Did he write this, or did someone else? ========================================================================= Date: Thu, 11 Apr 1996 13:25:31 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Gearheads: Tube Rectifiers Hi Everybody. I spent two hours last night with a couple of amps trying out different types of tube rectifiers. Rectifiers, whether tube or solid state, help convert the AC coming out of your wall to the DC to run the amps circuitry on. Tube rectifiers cannot handle as high an instantaneous demand (a transient, big chord, hard playing) as solid state, so they tend to "sag" in voltage output a bit under these high demands. This gives a compressed characteristic that many people like a lot. People who want a really dynamic, punchy sound may actually like a SS rectifier better. There has been a discussion for a while of the sound quality of different tube rectifiers. Theoretically, they should all sound the same. I mean, all they do is provide voltage to run the amp, no audio goes through them at all. But when I would change brands of 5AR4's around on my Matchless and my custom amp, there were sound differences. Listening closely, I discovered that the better 5AR4's (Mullard are supposed to be among the best, and I've only got two of 'em... dang) are cleaner and the tone is more robust and and vocal in quality. I'm sure what is happening is that the greater voltage potential of the Mullards compared to the Chinese, Russian, and other tubes is allowing the amp a more effortless transient response. So Mullards in the amps for me... Now back to that new tune I was working on... DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Thu, 11 Apr 1996 17:23:29 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Who wrote Forty-Four? Comments: To: Jeff Krauss On 11 Apr 96 at 21:02, Jeff Krauss wrote: > Eric Clapton in his current concerts sings a song that goes: > "I done wore my forty-four so long, it made my shoulder sore" > (I have it on boots from 1993 and 1994 Royal Albert Hall concerts, and I > heard the song when he performed in Washington DC last fall.) > I also have a compilation CD that has Howlin Wolf singing Forty-four. > Did he write this, or did someone else? Roosevelt Sykes wrote that song and it's one of my favorites. Not for it's lyrics, which are pretty damn mean, but for that outstanding musical construction. That is one of those songs that couldn't exist as just a melody. You need the whole package. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Thu, 11 Apr 1996 16:49:14 -0500 Reply-To: akapil@MEDICINE.BSD.UCHICAGO.EDU From: "" Subject: RJ Bauman-Jeff Healey You mentioned an album with the Beatles song-I'm presuming its "My Guitar Gently Weeps". That song is of his second album. He sounds much bluesier on his first album called "See the Light". Check it out, its actually quite good! The track "Nice Problem to Have" is a superb instrumental. The other bluesy tracks on it are "My Little Girl", "Blue Jean Blues" amd of course his rendition of the Freddie King (or was it Houndog Taylor?) classic-"Hideaway". Happy listening! Adit. Aditya Kapil, PhD IBD Research Center Department of Medicine University of Chicago Ph: (312) 702 2283 FAX: (312) 702 2281 ========================================================================= Date: Thu, 11 Apr 1996 17:51:08 -0400 Reply-To: Andre Prevos From: Andre Prevos Subject: Re. Murray's novel The second book of the trilogy is _The Spyglass Tree_ and I enjoyed reading it almost as much as the other two. I still have great pleasure when I read the passage in _Train Whistle Guitar_ about the sheriff kicking the piano keys in the bar..... Murray's books of essays _The Omni Americans_ (in 1970 or so) and the latest _The Blue Devils of Nada_ also have essays on the blues but the other essays are well worth the read. Andre JM PREVOS Penn State University/Worthington Scranton Campus Andre J.M. Prevos AXP7@psu.edu "Tout quelqu'un s'appelle moi fou Mais mon nom c'est Clifton Chenier." Clifton Chenier.. ========================================================================= Date: Thu, 11 Apr 1996 17:51:34 -0400 Reply-To: Jon Duttweiler From: Jon Duttweiler Subject: Sitting & Thinking - Topper Price and the Upsetters Continuing in this month's focus on Vent artists, is the CD from Topper Price and the Upsetters. _________________________________________ TOPPER PRICE & THE UPSETTERS - LONG WAY FROM HOME VENT #30002-2 VENT # 4 SOUTH 55TH STREET, BIRMINGHAM, ALABAMA 35212 TEL: 205-592-2222 FAX: 205-592-2228 e-mail: VentRec@aol.com I had a couple immediate impressions of this band the first time I listened to this disc: first, that they sounded a lot to me like the early J. Geils Band, only much blusier; and second, that they were fearless. These guys cover everybody from Robert Johnson, Howlin' Wolf and Willie Dixon to Jimmy Reed and Chuck Berry and then throw in a few originals for good measure. What's a white blues band from Alabama doing with that much chutzpah? Quite a bit, if this disc from Vent records is any indication. Vent has determined to bring to public awareness the vast blues talent residing in the state of Alabama, and this is a nice installment on that determination. (As an aside, we use to say here in Atlanta that only two good things ever came out of Alabama, I-20 and I-85 - but it looks like we'll have to change that assessment!) According to the label, Topper Price and the Upsetters have been entertaining folks in Alabama for awhile and it seems only fitting that they start getting recognized nationally. This band is a little different then a lot of bands coming along these days in that their front man, rather than playing the guitar, plays harmonica. Topper also takes the vocal chores for the group while being backed up by Tim Boykin on guitar, Don Tinsley on bass and Bunky Anderson playing the drums. The most likely comparison might be to early John Mayall Bluesbreakers configurations, but, as mentioned above, they remind me more of early J. Geils. Their approach is funkier then Mayall's earlier groups, with more driving rhythms. However, they're much more rooted in the blues then J. Geils was, as the song list on this disc should indicate. While they are not content to merely do covers mimicking their blues idols, neither do they simply chew up blues classics and spit them back out in a homogenized wall of sound. This is a band with something to say musically and it behooves anyone who's interested in the different directions blues can take to give a listen! I'M READY / TERRA PLAIN BLUES / YOU DON'T HAVE TO GO / LONG WAY FROM HOME / MELLOW DOWN EASY / WHO'S BEEN TALKING? / WHERE'S TOPPER? / HELP ME BABY / WADE IN THE WATER / WORRIED BOUT YOU BABY / KIND HEARTED WOMAN / CAROL / SOMEDAY I'M GONNA TAKE YOU HOME NY CD Takes I'M READY: Want to be a blues band? Well, first take a Willie Dixon tune and...So, white bands have been covering Dixon songs since the mid-60's, you can't blame guys for having taste can you? Topper and band juice this number up just a touch with a hard driving rhythm arrangement and blowtorch harp. Topper's voice actually reminds one vaguely of Muddy Waters on this song, and he shows what a strong harp player he is. The guitarist is no slouch, either, though the licks tend toward the generic. Very nice introduction. TERRA PLAIN BLUES: Here the band shows their fearlessness in this Topper Price arrangement of the classic Robert Johnson song. Yes, this version is much different from Johnson's own, but these guys certainly make it work. Again, driving rhythms with up-front, wailing harpwork. This is real roadhouse blues and I don't think Johnson would have minded one bit. YOU DON'T HAVE TO GO: On this track Topper and band take on the indomitable Jimmy Reed and do him proud. Another cut featuring the harp and vocals of Price over driving rhythms and power chords. The sound, however, is never overwhelming, seeming to fill up space but not hammering it out of existence. Listen for Sonny Boy Williamson's (Rice Miller) influence in Topper's harp playing. LONG WAY FROM HOME: The first original on the disk, this track also offers the first change of pace. A mid-tempoed number with a shuffling beat, the band backs off the heat a bit and features the up-front vocals of Topper. Price's vocals really are the surprise, not only of this track, but of the whole disc. As he demonstrates here, he sings with authority and muscle often lacking in artists at this stage of their career. This cut is very easy to listen to! MELLOW DOWN EASY: The band settles in on an easy groove to open this, another Willie Dixon penned tune, and carries it through the whole track. This is a cut that illustrates how Topper and company take a blues number and, rather than trying to be something they're not, use the song as a vehicle for what they are: a funky white band playing blues. Topper uses this vehicle to showcase his harp playing. WHO'S BEEN TALKING: Mellow may have been the title of the previous track, but its what this song is as the band takes on a Howlin' Wolf (Chester Burnett) song. This is a slower paced cut then most of the tracks on this disc and gives Tim Boykin a chance to stretch out on guitar. Boykin achieves a thick sound with just a touch of distortion to it. Not being a guitar player I'm not sure how he achieves this tone, but he uses it to good effect here. On the vocals you can hear, perhaps, some of Mayall's influence on Topper. WHERE'S TOPPER: An engaging instrumental, this tune written by the band probably serves as a show opener, presaging Topper's appearance on-stage. Characterized by a strong back beat and heavy bass line, this cut gives Boykin some room to show off his chops. HELP ME BABY: I've heard this song done by everyone from Sonny Boy's (Rice Miller) original to Junior Wells to Ten Years After. It is a song that seems to particularly lend itself to a more rock oriented sound. While not taking it over the edge to the extent Ten Years After did, Topper is right up there looking at it! What really keeps it rooted in the original is Topper's harp and wonderfully gritty vocals. WADE IN THE WATER: This Topper Price arrangement of the traditional tune offers Topper the opportunity to open it up with an extended harp solo. A mid-tempo number, the band is solid behind Topper and contributes some unison singing on the verse. WORRIED BOUT YOU BABY: A rolling rocker, this cover of Howlin Wolf's song turns the heat back up a bit. Again, Topper and company take a song and, while remaining true to the blues spirit, do it their way. Boykin contributes some solid rhythm and lead guitar work here to complement Topper's harmonica. KIND HEARTED WOMAN: On this cut the band takes this Robert Johnson tune out of the country and brings it up to the city. They don't speed the tempo up any, but the solid electric sound they bring to it seems to fatten it up. Topper's vocals and harp again are the central features of this track, until Boykin takes over towards the end and shows off a bit on guitar - nothing TOO flashy, but very nice. CAROL: The first time I heard this song was on the Rolling Stones album, "Get Your Ya Ya's Out" (this was before I had started my journey of discovering the ROOTS of the music I was listening to). It was probably the first time Topper Price and band heard it as well, as this cover of Chuck Berry's classic has more in common with the Stones then with Berry's version. Which is said by way of illumination, not criticism. This cut is just straight ahead vintage rock 'n' roll and serves as a nice change of pace. SOMEDAY I'M GONNA TAKE YOU HOME: Scott Boyer guests on guitar for this cut to close out the disc. This mid-tempo ballad takes it back toward the Delta a bit as it features just Topper on harp and vocals and Boyer on acoustic guitar. The only acoustic number on the disc, it illustrates that the band plays the way it wants to rather than the way it has to. This disc may not be "pure" blues or "traditional" blues, but it sure is some GOOD blues. If you don't mind your blues coming at you from different directions I don't think this disc will disappoint. Reviewed by Jon Duttweiler Copyright NY CD Blues @1995-1996 All Rights Reserved. Unauthorized use prohibited. NY CD BLUES - http://www.panix.com/~bsco/ - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 11 Apr 1996 17:05:54 -0700 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Re: Jack, That Cat Was Clean This r&b novelty song -- about Bobo, who was such a sharp dresser that he could walk down the street and get any woman he wanted -- is the theme song of deejay Ready Teddy, on WWOZ here in New Orleans. I could probably quote all the lyrics verbatim, but I never heard Teddy announce the performer's name! He's on the air at 7pm tomorrow (Friday); I'll call him and get the name and post it to you. --Maggie -- Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~Some mornings it's just not worth chewing through the leather straps. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Thu, 11 Apr 1996 18:19:36 -0400 Reply-To: Jeff Krauss From: Jeff Krauss Subject: Re: Who wrote Forty-Four? Comments: To: "P.W. Fenton" In-Reply-To: <199604112125.RAA79418@osceola.gate.net> On Thu, 11 Apr 1996, P.W. Fenton wrote: > > Roosevelt Sykes wrote that song and it's one of my favorites. Not for > it's lyrics, which are pretty damn mean, but for that outstanding > musical construction. That is one of those songs that couldn't exist > as just a melody. You need the whole package. > I agree with that. Thanks for the prompt response. ========================================================================= Date: Thu, 11 Apr 1996 16:31:50 -0600 Reply-To: Gary Constantine From: Gary Constantine Subject: cd's to trade: I have the following CD's to trade: ROY BUCHANAN - SWEET DREAMS: THE ANTHOLOGY (2 CD) CeDELL DAVIS - THE BEST OF DENSIL PINNOCK & BILL COON - MONA LISA DAN PENN - DO RIGHT MAN SCREWED - ORIGINAL MOTION PICTURE SOUNDTRACK Anyone interested please reply by PRIVATE E-MAIL. Thanx, Gary ............. ========================================================================= Date: Thu, 11 Apr 1996 15:49:51 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: A Purist (some definitions?) Timothy M Dellinger said among other things: >It seems to me that blues-rock takes basic blues and then makes the lead guitar >the focus, instead of the lyrics. Also blues-rock doesn't seem to be an >expression of human sadness, but rather a happy, fun, exciting music. But >these are departures from "pure" blues. So the blues was all sad and depressing. Then what was Albert King, Hound Dog Taylor, Magic Sam, Muddy Waters, Howlin' Wolf etc. doing? They played some of the happiest, most fun and most exciting music ever. Were they not playing pure blues? Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Thu, 11 Apr 1996 22:38:24 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Who wrote Forty-Four? Comments: To: bit-listserv-blues-l@uunet.uu.net Jeff Krauss wrote: > >Eric Clapton in his current concerts sings a song that goes: >"I done wore my forty-four so long, it made my shoulder sore" >(I have it on boots from 1993 and 1994 Royal Albert Hall concerts, and I >heard the song when he performed in Washington DC last fall.) >I also have a compilation CD that has Howlin Wolf singing Forty-four. >Did he write this, or did someone else? Roosevelt Sykes is the guy usually credited. He recorded it in the '30s, I believe. Scott ========================================================================= Date: Thu, 11 Apr 1996 15:57:17 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Fossilized blues I swore that I would not get dragged into this alley brawl, but Lord = help me, I could not resist! Muddy once said (approximately), "Rock and Roll ain't nothin' but white = boys playin' blues". However, perversely, he once told an interviewer that the reason he = continued to play guitar in front of his powerful band, was that the = band "drifted away from the blues" when he stopped playing. I consider myself lucky to be old enough to have come to the blues = directly (purists read honestly). The first live music that I ever saw = was a Ray Charles show in 1961. I was fifteen at the time, and stole a = car to get to the show in another town. In 1965 I saw T-Bone, Muddy, and = B. B. at a "Chitlin Circuit" club for $3.00. My favorite song in sixth = grade was Lee Allen's "Walkin' With Mr. Lee". I now have younger friends that found blues through Peter Greene, = Butterfield, Mayal, or the Vaughn brothers. Some of them are fine and = sensitive musicians that would never have found Tommy McClendon, Wolf, = Muddy, Sunnyland, etc. without the prodding of these rock/blues artists. I'm crazy 'bout Tommy Johnson, Johnny Young, etc. But, I still like = Johnny Winter's version of "Boot Hill". I'm tired. Y'all figure it out. I'm gonna go listen to "Tighten Up On = It" maybe followed by "Little Wing". Yours contaminated (semi-pure), Uncle Ray ========================================================================= Date: Thu, 11 Apr 1996 16:02:37 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Who wrote Forty-Four? Memphis Slim once told me, in an interview, that Sykes stole the piano figure from Ernest "44" Johnson of "Vicksburg Blues" Fame. Could be. Uncle Ray ---------- From: P.W. Fenton[SMTP:pwfenton@GATE.NET] Sent: Thursday, April 11, 1996 10:23 PM To: Multiple recipients of list BLUES-L Subject: Re: Who wrote Forty-Four? On 11 Apr 96 at 21:02, Jeff Krauss wrote: > Eric Clapton in his current concerts sings a song that goes: > "I done wore my forty-four so long, it made my shoulder sore" > (I have it on boots from 1993 and 1994 Royal Albert Hall concerts, and I > heard the song when he performed in Washington DC last fall.) > I also have a compilation CD that has Howlin Wolf singing Forty-four. > Did he write this, or did someone else? Roosevelt Sykes wrote that song and it's one of my favorites. Not for it's lyrics, which are pretty damn mean, but for that outstanding musical construction. That is one of those songs that couldn't exist as just a melody. You need the whole package. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Wed, 10 Apr 1996 21:53:40 GMT Reply-To: Jack Oudiz From: Jack Oudiz Organization: Midtown Computer Services Subject: Re: Pee Wee Crayton Comments: To: bit-listserv-blues-l@uunet.uu.net >That brings me to my question, has anybody released the *rest* of >the Pee Wee Crayton stuff (Modern, for instance)? We surely need >more of this guys stuff on cd, but I'm afraid that it'll be a long >time coming... I found a Japanese reissue of some Vee Jay Pee Wee (also included sides by LC McKinley, Snooky Pryor & Billy Boy Arnold - 24 tracks in all). Great liner notes too if you can read Japanese....:) ========================================================================= Date: Wed, 10 Apr 1996 21:59:09 GMT Reply-To: Jack Oudiz From: Jack Oudiz Organization: Midtown Computer Services Subject: Re: Chicago Fest question Comments: To: bit-listserv-blues-l@uunet.uu.net James Leftwich wrote: >I'm considering heading to Chicago for the festival but have a few qualms. >(1) Just how crowded is it? >(2) Can you see the stages? >(3) Is it a good idea to bring a chair? >(4) Can you bring alcoholic beverages? >(5) Is there someway to get a brochure detailing answers to these > things so no one actually has to respond to this? Unless 600,000 people is your idea of an intimate gathering, yes it do get crowded. But the impact is mostly felt on the midway where the vendors (read that beer) are. There it can get downright asshole to elbow as my pop would say. Yeah you can see stages just fine. you can even get up close if you arrive early. I don't know about packing your own booz tho I've seen it done and you can do about anything if you're discreet enuff. Don't know of any "brochure" but you can call City Hall Special Events office. ========================================================================= Date: Thu, 11 Apr 1996 19:15:42 -0400 Reply-To: bob unger From: bob unger Subject: need the words Anybody know where on the I-way I can find the words to "Shade Tree Mechanic" and who else recorded this besides Z.Z. Hill (he is the author, right?) I'm drawing a logo for a band that's calling themselves "Shade Tree Mechanic" and I'd like to know what the song is about..... BU bob@sun.bnkst.edu ========================================================================= Date: Wed, 10 Apr 1996 22:05:40 GMT Reply-To: Jack Oudiz From: Jack Oudiz Organization: Midtown Computer Services Subject: Re: Modal? Comments: To: bit-listserv-blues-l@uunet.uu.net I can't explain it but I know it when I hear it. The best example of a current modal music practitioner is Junior Kimbrough. He does almost nothing but modal in fact. Just like early John Lee Hooker as well. Endless boogie indeed! ========================================================================= Date: Wed, 10 Apr 1996 22:11:33 GMT Reply-To: Jack Oudiz From: Jack Oudiz Organization: Midtown Computer Services Subject: Re: A Purist (some definitions?) Comments: To: bit-listserv-blues-l@uunet.uu.net Timothy M Dellinger wrote: >LW said: >>I swear after many years of hearing the term (and even being called one !) >>I have no idea what a purist is... >>Please share you defintions on purists... >And please shore your definitions of blues-rock! Jimi Hendrix and Bonnie Raitt >are definitely pure rock and roll, albeit more heavily influenced by one of >rock and roll's influences, the blues. But this does not make them a fusion of >blues and rock. They are still rock and roll. They are not blues-rock. >It seems to me that blues-rock takes basic blues and then makes the lead guitar >the focus, instead of the lyrics. Also blues-rock doesn't seem to be an >expression of human sadness, but rather a happy, fun, exciting music. But >these are departures from "pure" blues. >So to answer the original query: a purist is one whose music of preference is >old style blues, with the vocals and lyrics being the focus of the song, and >everything else serving a supporting role. A purist enjoys the expression of >specific emotions: sadness, dejectedness, consequences of a life of sin, even >bragging about a life of sin, or even an expression of sexual prowess. A >purist is bored by extended guitar solos by guitar atheletes. A purist sees >songs with few and vague lyrics as shallow and empty. A purist enjoys SRV >because he supported his lyrics with his guitar. A purist doesn't like SRV >clones who just take the guitar parts and forget about writing a coherent song. >A purist has strict definitions of blues, but realizes that lines can be >crossed if done correctly. A purist is open minded, but easily disappointed. >And although a purist can enjoy rock&roll, a purist takes it as an insult when >rock&roll is called blues when it isn't blues at all, but rather is rock. Tim, that was beautiful! Expresses my feelings on the subject to a T. Thanks for making that clarification. ========================================================================= Date: Thu, 11 Apr 1996 19:51:10 -0400 Reply-To: FrogStolle@AOL.COM From: Jennifer Stolle Subject: Re: St. Louis Blues Festival The Festival usually kicks off Friday night of Labor Day weekend at the Fabulous Fox Theatre with the big names. This is a more expensive show -- but well worth it. Last year featured B.B.King, Etta James, J. Geils and MANY more. Tickets were around $35.00 each. Saturday and Sunday all day are only $5 each to the fenced-off area (3 main stages) and there are 3-4 smaller stages scattered throughout the Landing with FREE music all day/night long. If I recall, nothing happens on Monday. A footnote: I'm new to St. Louis and DAMN proud that we have such an incredible festival. This year promises to be bigger and better, with bigger names. We're hoping Buddy Guy comes on Friday night. It is well worth the drive or air fare! ========================================================================= Date: Thu, 11 Apr 1996 18:05:41 -0600 Reply-To: Gary Constantine From: Gary Constantine Subject: [Fwd: cd's to trade:] X-Mozilla-Status: 0001 Message-ID: <316D8856.7CFD@ccinet.ab.ca> Date: Thu, 11 Apr 1996 16:31:50 -0600 From: Gary Constantine X-Mailer: Mozilla 2.0GoldB1 (Win95; I) MIME-Version: 1.0 To: Blues-l Subject: cd's to trade: Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I have the following CD's to trade: ROY BUCHANAN - SWEET DREAMS: THE ANTHOLOGY (2 CD) CeDELL DAVIS - THE BEST OF DENSIL PINNOCK & BILL COON - MONA LISA DAN PENN - DO RIGHT MAN SCREWED - ORIGINAL MOTION PICTURE SOUNDTRACK Anyone interested please reply by PRIVATE E-MAIL. Thanx, Gary ............. ========================================================================= Date: Thu, 11 Apr 1996 23:57:40 GMT Reply-To: Paolo Morati From: Paolo Morati Organization: Italia Online Subject: Zucchero's US Tour Update Comments: To: bit-listserv-blues-l@uunet.uu.net Just an update to Zucchero's upcoming Tour. He will also play in San Francisco, so here are the dates I know: 13th April - San Francisco - The Warfield 14th and 15th April - Los Angeles - House of Blues 17th April - Chicago - West Park 20th April - Toronto (Canada) - Massey Hall 22nd April - New York - Beacon Theatre (Broadway) Thanks to everybody who wrote and will write me asking about Zucchero. Paolo p.morati@iol.it ========================================================================= Date: Thu, 11 Apr 1996 20:14:30 -0400 Reply-To: BALISTRK@BAYDENOC.CC.MI.US From: "Keith T. Balistreri" Subject: Re: Fossilized Blue Comments: To: Don Cicchetti In-Reply-To: <199604111823.LAA06170@inet.lasierra.edu> I loved your "view of purists" and especially the Baroque analogy. Very intersting. Being a newcomer on Blues-l, the last thing I wanted to do is piss anyone off when I responded to the "Blues Purist" with my anger. I love music....I love the blues...and I love to play. I have learned that respect is the key to all forms of art...you don't have to like it... just respect it. Intolerance sucks. well, enough of that. Hey I would love to hear you arrangement of Born on the Bayou.... the Who? cool. We just worked up an arrangement of "Two Trains"/Little Feat and it comes off real well with the tuba. By the way...if anyonw knows any songs with tuba actually in it...I would love to know. OF course there's Rag Mama Rag by the BAnd and the Tom Waits stuff. But I would love to find more. ANy suggestions? "Intolerance can only grow in the soil of ignorance: its branches grow all manner of obstacles to human progress." -Walter White Keith B. ========================================================================= Date: Thu, 11 Apr 1996 15:08:14 -0400 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Ya know the blues has gone to your head when... Comments: To: bit-listserv-blues-l@uunet.uu.net Ya know you got the blues bad when: 1. You find sweat, Jheri Curls, and gold teeth extremely sexy; 2. The "Three Kings" sure ain't riding on camels, but come baring the gift of a mean guitar; 3. You recognize that anybody named "Blind," "Son," "Little," "Big," or any number of descriptive references MUST be a blues man or lady; 4. "You Upsets Me baby" is a complement; 5. I can BRAG about how many men I want, had or plan to get and everyone applauds and says - "You go Girl"! Is the blues cool or what?? Lea Gilmore Baltimore, MD ========================================================================= Date: Thu, 11 Apr 1996 21:22:18 -0400 Reply-To: Jim Breslauer From: Jim Breslauer Subject: Re: Too much change??? On 4/11/96, RJ Bauman wrote: >What is too much change? Man, that's not easy. I've got a lot of >thoughts on that. (snip) >B) One "too far" example which comes to mind is "John Coltrane Plays The >Blues" >which has no blues on it--- TO ME it's not even close. > As one who likes the blues one helluva lot but who *loves* jazz, I just have to beg you to listen - really listen - to "Blues To Elvin" from this album (_Coltrane Plays The Blues_). To me, it's almost unbearably bluesy. Hell, it's my single favorite blues piece. Give it some time. God knows that Coltrane's stuff isn't the most accessible music around. Let me know in a couple of months what you think of it. ========================================================================= Date: Thu, 11 Apr 1996 17:56:13 -0700 Reply-To: Stan Ruffo From: Stan Ruffo Subject: Re: re Kid Ramos Comments: To: Tommy Jansson If you like Hollywood Fats, Alex Schultz, Rusty Zinn, Rick LA Holmes, you should love this one by Kid Ramos. It features some of the best LA Blues musicians of the late 80's, early 90's. Stan Ruffo Blues On Tap - Sundays 8pm-10pm - Visalia, CA - KIOO 99.7 FM ---------- From: Tommy Jansson[SMTP:Tommy.Jansson@BIBLUTB.UU.SE] Sent: Thursday, April 11, 1996 6:07 AM To: Multiple recipients of list BLUES-L Subject: re Kid Ramos Kid Ramos is a wonderful guitar player. Is his album "Two hands one heart" good? ========================================================================= Date: Thu, 11 Apr 1996 18:12:42 -0700 Reply-To: Stan Ruffo From: Stan Ruffo Subject: Re: A performer/entertainer mindset Comments: To: L W IMOHO....Be the best "you" you can be! As a starting place, "borrow" those qualities you admire most from those entertainers you like best, and tailor them to fit your style. Only time in the "saddle" will help you be the best "you" you can be. Your fans and admirers can be your best friends, treat them that way, and you will gain many loyal fans over time. -- Stan Ruffo Blues On Tap - Sundays 8pm-10pm - KIOO 99.7FM ---------- From: L W[SMTP:ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU] Sent: Thursday, April 11, 1996 12:00 PM To: Multiple recipients of list BLUES-L Subject: A performer/entertainer mindset After Mr. Silverberg (I believe) said anyone who steps in front of a mic is an entertainer, it hit home with me. I am no John Hammond (not a pimple) but I can play my guitar. I had trouble believing that people actually liked what I was doind, now I know they do. Yesterday a fellow musician that owns a resturant asked to play on the resturant patio when it gets warmer. I always wonder "why did he ask me"....? There are tons of musicians in town that would really like to get the opportunites that I TURN DOWN. I didn't turn down yesterday's offer, he has heard me so many times. He knows what he's getting. So I'm asking some of you PROS how do I get that entertainer/performer mindset I DO NOT dress for the part, I go as I am. My wife trys to get me to handle myself more like an entertainer/performer. Hell I usually think the audience is doing me the favor for showing up and listening. So any tips pointers, books I should read...anything like that PRIVATE MAIL would be best...Thanks I admire the heck out of the Billy Price's of the world..those with presence LW 'Way too humble, but most of you don't think so' ========================================================================= Date: Thu, 11 Apr 1996 18:32:31 -0700 Reply-To: Stan Ruffo From: Stan Ruffo Subject: Re: Blues Cruise in Oct Comments: To: L W The Blues On Tap - Blues Cruise Leaves LA for Ensenada, Mexico October 11, 1996 for three days aboard RCCL's Viking Serenade. The featured entertainment will include Doug MacLeod, "Iron Man" Mike Curtis, Martin Pugh, and Steamin' Stan Ruffo. Also, Blues guitar, and Blues harmonica workshops, and after hours Blues Jams, all in addition to RCCL's regularly scheduled activities. Prices start at $399 plus taxes. (Those will go fast) Any one that would like more, email me your smail, and I will send you a brochure. Or call Benson Travel in Visalia, CA at 800-350-4378 for booking or additional information. I can't offer a disclaimer....I am indeed connected, as the cruise is being promoted by Blues On Tap and Budweiser! -- Stan Ruffo Blues On Tap - Sundays at 8pm on Visalia's K100 99.7FM ---------- From: L W[SMTP:ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU] Sent: Thursday, April 11, 1996 10:07 AM To: Multiple recipients of list BLUES-L Subject: Blues Cruise in Oct Which BC is in October....? Please send me any info you may have. LW ========================================================================= Date: Thu, 11 Apr 1996 21:58:38 -0400 Reply-To: PITSBRGJon@AOL.COM From: "John Puleo. User" Subject: Van Zandt Pickups Can anyone tell me if they like the Van Zandt pickups? I havent heard them yet but I have heard good things about them. Where can these pickups be purchased? Please help!! John ========================================================================= Date: Thu, 11 Apr 1996 22:20:10 -0400 Reply-To: Harpophone@AOL.COM From: "" Subject: Re: Masturbation (was Re: Bitterness and Purists) DMIELE@ERENJ.COM wrote: Re: Bitterness and Purists > >A person who spends his whole life playing music only for himself, is > >the same as a person who masturbates for his whole life without ever > >making love to another human being.... a pity. ksailors@HOOKED.NET wrote: Hmmmm, you talkin' 'bout me? Well, I may be a choke but I'm not an Onanist. Really, my fantasy *is* to get up on stage & blow people away (or at least not embarass myself) with my facility & taste but, frankly, either may chops or my belief in them are not what they should be. So, I work at it. I enjoy it and I grow. Every night I can jam with Eric or Otis or Freddie, BB or Albert - Collins, anyway. Now, _you_ may call that j**kin' off, _I_ call it woodshedding. And someday I will fulfill that fantasy. -Ken You don't have to be alone to masterbate. I've seen a lot of folks masterbate on their audience. So, it doesn't matter where you play your music or for who-it's just what you mean by it. Make it a gift and you're making love, even if no one's around. But, don't wait too long before you go out there and play *for* the people. Life is short and you *do* have a contribution to make. Besides, your chops will really take off when you get on stage. Peace Magic Dave ========================================================================= Date: Thu, 11 Apr 1996 23:14:07 -0400 Reply-To: "Eliot C. Williams" From: "Eliot C. Williams" Subject: Bobby Marchan Jim McGlynn's mention of Bobby Robinson and the many great artists he produced reminded me that I'd been meaning to plug a great disc I picked up recently: REL7072 MARCHAN*BOBBY BOOTY GREEN RELIC 9/94 For those of you not familiar with Marchan, he is one of New Orleans' most flamboyant characters (and that's saying a lot!). He has spent much of his show business life performing as a female impersonator. He was an admirer of Larry Darnell and recorded for Aladdin in the early 50s in a similar blues-shouter style. In the mid- to late 50s he was the lead singer for Huey "Piano" Smith and the Clowns, recording such New Orleans classics as "High Blood Pressure" and "Rockin' Pneumonia" among many others. In 1960 he again struck out on his own after his cover of Jay McNeely's "There is something on your mind" for Bobby Robinson's Fire label hit the pop charts. This featured an extended rap in a style that was adapted from Darnell's 1949 hit "I'll get along somehow", a gimmick that Marchan would use to good effect on several other records he made for Robinson, including a marvellous cover version of Guitar Slim's "The things that I used to do". Subsequently he recorded for several other labels (you can hear a couple of these sides on the first Stax box), but the Fire material, almost all of which is included on this disc,is definitely his best work. Some of this has also been released on a Collectables CD, but this disc sounds much better and has several more tracks. Marchan has slowed down a bit in recent years due to illness, but still performs around New Orleans frequently. If I'm not mistaken he's slated to appear at Jazz Fest this year; if you are going to the Fest, don't miss him. And if you like classic New Orleans R&B, definitely don't miss this CD. Eliot Williams University of Wisconsin Department of Medicine ecwillms@macc.wisc.edu ========================================================================= Date: Fri, 12 Apr 1996 03:03:57 GMT Reply-To: "Michael P. Henry" From: "Michael P. Henry" Organization: Your Organization Subject: John Lee Hooker - Concert Review (IMHO) Comments: To: bit-listserv-blues-l@uunet.uu.net Hello All! On Tuesday night I was fortunate enough to see one incredible concert. It started with John Hammond, followed by Duke Robillard, and wrapped up with John Lee Hooker and the Coast-to-Coast Blues Band. John Hammond was about as soulful as you can get! He played an all acoustic set, singing and playing harp. Everything he played was sweet, and when he played his version of Robert Johnson's "Come On In My Kitchen" on Dobro with a slide, people had tears in their eyes! Unfortunately, he only played a few songs, then made way for Duke Robillard. Duke played a rockin' set. He and his band have a Texas swing sound, with a little big band mixed in. He played several guitars, and was smokin' on the Strat! I haven't heard much from him before, but I will from now on. Near the end he invited John Hammond out, and that was pretty cool. Finally, John Lee Hooker himself was on stage. I saw him last year at the San Francisco Blues Festival, but he was not much more than a small dot on the stage, and he wasn't able to play much. Anyway, out he shuffles in a gold suit with matching hat, dark shades, a bright yellow shirt, a great tie, and socks that were a hoot! The man has style! Things were kind of slow until he kicked into "Boom Boom", and then the place rocked! He sang and growled and whipped everyone into a frenzy! Needless to say, the rest of the concert was INCREDIBLE! I feel honored to have seen him in concert. An extra gift was that Charlie Musslewhite came out to jam for a few songs! You couldn't ask for more. Just my opinion. And for those of you who know me, sit down. . . MY GIRLFRIEND (Yes, that's not a typo!!!) thought it was awesome, cool, great, wonderful, moving . . . Ain't life grand? Michael ========================================================================= Date: Fri, 12 Apr 1996 11:35:14 +0800 Reply-To: s2 From: s2 Subject: A NEWER!! HI!! I AM A NEWER. I`M TESTING HOW TO POST! I`M SORRY TO BOTHER YOU! YUH ========================================================================= Date: Fri, 12 Apr 1996 01:02:30 -0400 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Ya know you got the blues bad when: Comments: To: bit-listserv-blues-l@uunet.uu.net You know you got the blues bad when: 1. You find sweat, Jheri curls and gold teeth extremely sexy; 2. The "Three Kings" sure ain't riding on camels baring gold, frankinsense (who knows how to spell that??) and murr; 3. You recognize and by the CD of anyone that starts their name with "Blind," "Son," "Little," "Big," or any number of descriptive references saying to yourself, "this MUST be good!" (Then you get home and realize it was Little Willie Green singing 5 variations of "Puff the Magic Dragon" for the toddler crew.); 4. "You Upsets Me Baby" is a complement; 5. I can BRAG about how many men I want, had or gonna get and everyone applauds and says "you go girl!" Is the blues cool or what? Lea Gilmore Baltimore, MD ========================================================================= Date: Fri, 12 Apr 1996 01:22:20 EDT Reply-To: Joseph Leichter From: Joseph Leichter Subject: Re: Ya know you got the blues bad when: errrr......i think its spelled "myrhh" , but I don't have spell-check on this thing.....have no clue what it might *be* though! ========================================================================= Date: Fri, 12 Apr 1996 05:35:50 GMT Reply-To: pixintl@sprynet.com From: PIX INTL Organization: Sprynet News Service Subject: Re: Downchild Blues Band Comments: To: bit-listserv-blues-l@relay1.uu.net "DUTTWEILER.J" wrote: >Date: Wednesday, 10 April 1996 2:38pm ET >To: Internet >From: DUTTWEILER.J@GOMAIL >Subject: Downchild Blues Band >I'm trying to gather some information on the Downchild Blues Band. If anyone >has any it would be most appreciated. >Please respond via private post unless you feel its something from which the >whole list would benefit. >TIA >JD What kind of info are you looking for ?? I had photographed them a few times in 1981 when their lp,"Blood Run Hot" was released.Spencer Davis(The Spencer Davis Group") had produced that lp and also toured and performed with them. They are from Canada & I believe the original member Jane Vasey had passed away in the early 1980's. [[o]] PIX INTERNATIONAL:Photography for the entertainment | industry,editorial,corporate,& P.R.Since 1976. / \ Publishers of Celebrity & Music Photo Mag's on Floppy Disks. Alternate email pixint@aol.com http://home.sprynet.com/sprynet/pixintl ========================================================================= Date: Fri, 12 Apr 1996 10:04:45 +0300 Reply-To: i93cti@INFOCIB.ASE.RO From: "Cseke G. Peter" Subject: HELP - GARY MOORE Hi to everybody! :) I would like to ask you to mail me some G. Moore lyrics if you have some. Peter ========================================================================= Date: Fri, 12 Apr 1996 06:53:45 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Guitar Gabriel Comments: To: bit-listserv-blues-l@news.Belgium.EU.net We're hearing a rumour that Guitar Gabriel may have passed recently. Anyone know anything about this? This is NOT confirmed so please don't take it as the truth! TB Blues & Rhythm Mag. ========================================================================= Date: Fri, 12 Apr 1996 00:10:46 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Pee Wee Crayton One of the great things about living in Japan was P-Vine. It was a company that released a lot of old blues recordings. Being a Buddy Guy fan I pivked up one that was a double CD of Buddy and Pee Wee Crayton. The Buddy album was "Hold That Plane" but I never really listen to it. The Pee Wee Crayton album though was another matter (but I can't remember the title!) There was a great version of "The Things I used to Do." (with a great spoken intro). I wish I had it here. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Fri, 12 Apr 1996 00:10:50 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Happy Birthday, Hound Dog! Today would of been Hound Dog Taylor's 79th birthday (or 81st according to some people). He is one of my three favourite blues artists (the other being Son House and Magic Sam). No one else has ever really come close the brand of infectious boogie and racous mayhem that Hound Dog Taylor and the Houserockers created. It is great music. If you have never heard Hound Dog then go out and but some today! Don't wait! You have no excuse. It doesn't matter what CD. Just get one. IMHO, the first one on Alligator is the best (Hound Dog Taylor and the Houserockers). And I'll leave you with the immortal qoute: "When I die, they'll say 'he couldn't play shit, but he sure made it sound good'" Hound Dog Taylor Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Fri, 12 Apr 1996 03:47:27 -0400 Reply-To: BLUESROCCO@AOL.COM From: Jim Rocco Subject: Re: Ya know you got the blues bad when: Comments: To: ST001297@brownvm.brown.edu I appreciated leagil's post but stoo1's post gave ME the blues it's MYRRH and FRANKINCENSE OK....case closed +--)$?$(--++ Jim ========================================================================= Date: Fri, 12 Apr 1996 01:17:42 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: They All Understand The Blues With all this talk about what the blues is/isn't/may be/could be/want's to be/was/will/will never be/in my opinion to be etc. I thought I'd add this. There is something that is the blues. It is the essecence, the spirit of the blues that someone must understand. Don't ask me to define it. It's just a feeling. Do you have to play the blues to understand it? No. Let me give a few examples. Miles Davis - He knew what the blues was. Especially, the minimalistic appraoch. A few notes here and there. He, IMHO, played the blues all the time. One of my favourite musicians. AC/DC - Ok. They do play a little loud but they know the good time ascpect of the blues (Hound Dog Taylor) better than most. Angus Young should do a blues album. Hell, on the last AC/DC album it was Albert King all the way. The Screaming Blues Messiahs - A little known but brilliant British band that was around in the late eighties. A combination of blues, rock, punk and American popular culture, Bill Carter, singer/guitarist was a man possesed. He had that Robert Johnson "hellhounds on my trial" psyche. The music was amazing, scary, moving and steeped in the blues. Sonny Sharrock - The late guitarist was one of the most emotional musicians ever. His blues came from life. Good and bad. I do confess to shedding a tear or two when I heard one of his pieces or the first time. An absolutley fearless improvisor of the first order. He knew the blues. So what does above prove. It proves that the blues is all around us. Yeah sure the above aren't blues musicians per se but they understood where the music was coming from. That is very important. The took different facets of the blues and used them to their advantage. I don't think that we can ever really define the blues. But I think we know what it is. Is it confusing? Nah! It's fun! Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Fri, 12 Apr 1996 06:11:55 -0400 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Re: New Buddy Guy Live Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199604081759.AA01696@ux1.cso.uiuc.edu>, David Witzany writes: > >Good news for everyone who's been awaiting the release of Buddy's live >album, backed by G.E. Smith and the Saturday Night Live Band: > > I got an advance copy a few weeks ago. I always like seeing Buddy Guy live so this is the next best thing, and he finishes every track. I like "Ain't That Lovin' You" the most but the other 8 cuts are just as good, he sound like he's having a good time. He's playing at Jazzfest on 5/3 at the fairgrounds. Catbauer@vivanet.com ========================================================================= Date: Fri, 12 Apr 1996 12:30:08 +0200 Reply-To: "Henrik R. Lassen" From: "Henrik R. Lassen" Subject: Henry Gray, European tour dates. Comments: To: BLUES-L%BROWNVM.BITNET@SEARN.SUNET.SE Very much to my surprise I read in the local paper yesterday that Henry Gray (13 years with Howling Wolf, piano on some of Jimmy Reed's best sides, etc. etc.) would be in town, playing a local bar (would you believe it: no cover!) with his current band Short Fuse. It's not the sort of thing that happens every day in these parts. I had a great time at Froggy's last night, of course. The place was chock full of people and Henry Gray was in high spirits and gave a wonderful 2 1/2 hr. show. I particularly enjoyed his solo version of Stagger Lee. After the show I asked the bass player, Steve Coleridge, for a list of the remaining tour dates for the benefit of those of you who might not have noticed, this being, apparently, a sort of European juke joint tour: Thursday, April 11: *Noerregade 51*, Horsens, Denmark. Friday, April 12: *Marlev Bodega*, Gammel Stillingen, Denmark. Tuesday, April 16: *Ain't Nothing But Blues Bar*, London W1, UK. Wednesday & Thursday [a couple of other places in England that Steve couldn't remember off-hand. My advice is that you check down at your local's, just to be sure.] Friday, April 19: *Blues Tavern*, Heaths End (?), Farnham, Surrey, UK. Saturday, April 20: *Rosie's Music Bar*, Fulham Rd., London SW6, UK. Steve Coleridge was also kind enough to give me a review copy of the album, "Henry Gray & Short Fuse: Don't Start That Stuff", soon to be released on Last Call Records (Paris). I'll get back to that one in a couple of days. ======== Henrik Lassen ======== ==== Odense, Denmark ==== "What's the trend of affairs in Chicago?" I inquired. "Balling and brawling," said Simple. "And me with 'em." Langston Hughes ========================================================================= Date: Fri, 12 Apr 1996 11:21:59 GMT Reply-To: D Carmichael Maldon From: D Carmichael Maldon Organization: Maldon House Dental Subject: Re: Who wrote Forty-Four? Is this not a revamp of Little Brother Montgomery's Vicksburg Blues ? Same tune same chages different words Duncan ========================================================================= Date: Fri, 12 Apr 1996 07:38:08 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: 2nd Pick of '96. The new Joe Beard w/Ronnie Earl CD - Blues Union on Audioquest should be on everyone's get list. This CD follows closely and may even be as good as U.P. Wilson's - This Is U.P. Wilson, on JSP. I have only recently really come to appreciate Ronnie Earl. My intro to him was on his prior Audioquest release, Still River. That disc made me a fan and the new one made me a believer. I also had never heard of Joe Beard before. Where was he, or be- tter yet, where was I. He has a wonderful voice with a strong output - he can belt with the best of them. He is very bluesy and very soulful at the same time. As I said, the strength in his delivery is to be heard. Ronnie Earl and the Broadcasters make a great back to Joe, and to my great joy, Bruce Katz is on the disc - piano and organ. Won't go into more detail, until a full review is possible but this is a definite disc to purchase. Kudos to Audioquest, for the CD and for pairing this team. Musing: I am thinking of an historical perspective for Ronnie Earl. My first thoughts were that he was a modern day Lightnin Hopkins - not in style, but in the amount of output and in the force he is bringing to the modern blues scene. Anyone else w/ any thoughts on giving him perspective in the blues world. I'm also trying to pin down who else (like Ronnie) had the "brass" to go against the grain so in their time. His last few all in- strumental CD's certainly point that he gets the op to do what he wants and this new CD pairing him with a big fronted singer is another case of breaking with tradition. Looking for some feedback here. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Fri, 12 Apr 1996 13:28:41 -0700 Reply-To: Michael Yngman From: Michael Yngman Organization: Telia AB Subject: Re: Louisiana Red Comments: To: bit-listserv-blues-l@uunet.uu.net smirkyface wrote: >=20 > I can't keep a secret. Louisiana Red will be in the US for two weeks in > September. He's going to do some east coast dates and visit some friend= s. > The plan so far is to hit Boston, Conn, NY, Phila, Wash DC. I'll post = more > info as I get it. >=20 Hi. He also will be in Sweden May 18. Performaing at 'M=F6nster=E5s=20 Bluesfestival'. Other artists performing are: The Fabulous Thunderbirds,=20 Holmes Brothers, Wentus Blues Band(Finland), HP Lange & Thomas=20 Holm(Denmark) and a great number of swedish bluesartists such as The=20 Instigators, The Dominators, Wollves, M=F6nster=E5s Blues Band. Mike ========================================================================= Date: Fri, 12 Apr 1996 07:42:39 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1633, Galileo went on trial in Rome and was threatened by the Purists... I mean... by the Inquisition with torture on the rack if he refused to retract his defense of the Copernican idea that the sun is the center of the universe and the earth a movable planet. Galileo signed a retraction and was allowed to live confined to his home outside Florence for the remaining 9 years of his life. P.W. Fenton Tampa, Florida When in cyberspace, visit the Tomb of the Unknown Bluesman at - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 12 Apr 1996 09:03:41 -0300 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: Who wrote Forty-Four? In-Reply-To: <4kk1l0$1gfe@usenetw1.news.prodigy.com> from "Scott Dirks" at Apr 11, 96 10:38:24 pm About the song "Forty-Four", it was said: > Roosevelt Sykes is the guy usually credited. He recorded it in the '30s, > I believe. There's an extensive discussion on the history of this theme in Paul Oliver's _Aspects_Of_The_Blues_Tradition_ - I think it was originally printed as _Screening_The_Blues_. Which brings up one of my cockananny half-arsed theories: Oliver goes into some depths trying to uncover the origins of the title of this theme. One possibility that he doesn't get into is that the term "44" might refer to the old half-width pianos that were apparently used in some jooks and barrelhouses because of their compact size. A half-width keyboard would have forty-four keys... There's probably no substance whatsoever about this theory, but it's mine and I'm keepin' it :-) Does anyone know how widely used these 44-key pianos were? -Rob ========================================================================= Date: Fri, 12 Apr 1996 13:54:54 -0700 Reply-To: Michael Yngman From: Michael Yngman Organization: Telia AB Subject: Re: Kid Ramos & Willie J. Campb Comments: To: bit-listserv-blues-l@uunet.uu.net Peter Blanken wrote: >=20 > Hi all, >=20 > I caught The Fabulous Thunderbirds at the annual East Coast Blues Festi= val at > Byron Bay, Australia last weekend and was totally blown away. This was = not Hi Can you tell me more about the T-birds performance? I'm going to see them= =20 at 'M=F6nster=E5s Blusfestival' in Sweden May 18. What did they play and = so=20 on? Mike ========================================================================= Date: Fri, 12 Apr 1996 08:11:35 -0400 Reply-To: Neil Cassidy From: Neil Cassidy Subject: tuba music Comments to:Keith T. Balistreri" From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Living Blues Offer - Which CD should I get? Comments: To: bit-listserv-blues-l@uunet.uu.net In article <9604101712.AA1068@notesa.camsys.com>, Sam Lawton writes: > >I'm finally getting around to subscribing to Living Blues, something I should >have done long ago. Helping me make the decision is the offer of a free CD >with my subscription. There are 12 to chose from and most are sampler >compilations from various labels. Also on the list are Johnny B. Moore (911 >Blues on Wolf); Nolan Struck and King Edward (Brother to Brother on Paula); >Sherman Robertson (I'm the Man on Code Blue); and Pat Boyack and the Prowlers >(On the Prowl on Bullseye). I've never heard of any of these artists. Is >there a hidden gem here or should I go with one of the sampler CDs? > > > I'm not sure if it's up yet but the last time I spoke to David Nelson he had said they were planning on putting sound clips on their web site. You might be able to hear a small piece of one or two to help you decide...my personal favorites are Sherman Robertson & Buddy Guy's "Live At The Checkerboard Lounge" but I'd check out the web site first and see if they have the sound clips up yet. Catbauer@vivanet.com ========================================================================= Date: Fri, 12 Apr 1996 08:21:01 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Who wrote Forty-Four? Comments: To: Rob Hutten On 12 Apr 96, Rob Hutten had this to say: > About the song "Forty-Four", it was said: > > > Roosevelt Sykes is the guy usually credited. He recorded it in the '30s, > > I believe. > > There's an extensive discussion on the history of this theme in Paul > Oliver's _Aspects_Of_The_Blues_Tradition_ - I think it was originally > printed as _Screening_The_Blues_. > > Which brings up one of my cockananny half-arsed theories: Oliver goes > into some depths trying to uncover the origins of the title of this > theme. One possibility that he doesn't get into is that the term "44" > might refer to the old half-width pianos that were apparently used in > some jooks and barrelhouses because of their compact size. A > half-width keyboard would have forty-four keys... > > There's probably no substance whatsoever about this theory, but it's > mine and I'm keepin' it :-) Carrying even a half size piano could certainly account for the writer's shoulder being sore. ;^) Somehow I doubt that roaming the streets looking for your baby while wearing your "44" has anything to do with a 44 key piano. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ If you pick up a starving dog and make him prosperous, he will not bite you. This is the principal difference between a dog and a man. - Mark Twain ========================================================================= Date: Fri, 12 Apr 1996 08:51:25 -0400 Reply-To: smirkyface From: smirkyface Subject: Guitar of the month Just added a new feature to my homepage, Guitar of the month. It will feature mostly blues guitarist and what they're playing. http://www.netaxs.com/~blmclean/gom.html BRIAN MCLEAN PHOTOGRAPHY & SMIRKYFACE PRODUCTIONS "life's too short to live the blues" http://www.netaxs.com/~blmclean ========================================================================= Date: Fri, 12 Apr 1996 08:57:48 -0400 Reply-To: your_full_name Comments: NBNet - New Brunswick's Regional Network 1-800-561-4459 From: your_full_name Organization: Province of New Brunswick Subject: Studabaker John - live Comments: To: bit-listserv-blues-l@uunet.uu.net I've read with interest the comments about the latest Stu Joh recording from Blind Pig. What I'm wondering is has anyone taken in one of his shows lately? We're looking at booking him and we'd really like some feedback. Thanks Brent brentms@gov.nb.ca ========================================================================= Date: Fri, 12 Apr 1996 08:13:04 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: A performer/entertainer mindset In-Reply-To: Message of Thu, 11 Apr 1996 12:52:52 -0800 from On Thu, 11 Apr 1996 12:52:52 -0800 Don Cicchetti said: > >5. Never play intoxicated... I learned this one the hard way. >8. Wear comfortable clothing and shoes.. Don't buy poser clothes if they >are not "you"... BINGO, That's what I try to tell my wife. I can't dress the part, I have to be myself (a very dull dresser) >10. Remember, we are storytellers, if you can entertain a kid with a story, >you can probably reach an audience. I can entertain kids LW ========================================================================= Date: Fri, 12 Apr 1996 08:34:02 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Sugar Blue & Musselwhite Who influenced Sugar Blue....? Who influenced Charlie....? A friend made the comment that he considers Sugar Blue the Buddy Guy of the harmonica. I don' think he meant it in a favorable light. I think it was because Sugar Blue's bends are sometimes close to being bent out of tune (could be my big ole useless ears, well almost uselss) LW 'let go of my ears, I know what I'm doing :-)' ========================================================================= Date: Fri, 12 Apr 1996 10:58:26 -0300 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: Who wrote Forty-Four? In-Reply-To: <199604121220.IAA119948@osceola.gate.net> from "P.W. Fenton" at Apr 12, 96 08:21:01 am P.W. wrote: > Somehow I doubt that roaming the streets looking for your baby while > wearing your "44" has anything to do with a 44 key piano. No, obviously not in that context. But, if I remember correctly, the "44" theme is most closely associated with the distinctive piano part, and the verses used in various versions of the tune are just a number of disjoint references to the number 44. For example, Eugene Powell recorded a "44 Blues" in which "44" apparently refers to a train or steamboat ("heard that 44 whistle blow") and then to a gun(?) ("walked all night long with my 44 in my hand"). So I guess part of my cockananny half-arsed theory is that the name "forty-four" was first associated with a piano instrumental, and then various musicians made up floating verses using the forty-four lyrical theme in several different contexts of meaning. If I'm not mistaken, there was at least one pianist who went by the name "Forty-Four". Whether that was due to his association with the musical theme or with the 44-key piano, I don't know. -Rob ========================================================================= Date: Fri, 12 Apr 1996 08:48:45 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Performing Just in case it did not make it ti Blues-l, the best two pieces of advice FOR ME and MY situation were contradictions: Don C. said don't dress up to where you are being something you ain't (not verbatim he wouldn't use 'ain't') My cousin PW said BB said that no one wants to pay their money to see someone who looks like they have been working in the yard. (usually what I look like) Dress up a little out of respect for the audience...When I look at it that way I can look a little better. True: I was playing at the same place that the Showcase will be and naturally I looked like a BUM. I had a sleeveless t-shirt on and looked pretty 'nappy' The publisher of a magazine I write for took a picture (I didn't know it) Well that picture appeared at the end of one of my articles, with my armpits (NASTY) showing and looking trashy. My wife hated the picture and the publisher made the comment the other day that he was going to have to get a better picture of me :-). I'm gettin my baby blue leisure suit and flowered knit shirt for the next gig (kidding) THANKS for all the great advice LW 'a ragged blue jean, torn shirt, whatever I'm wearing kind of guy' ========================================================================= Date: Fri, 12 Apr 1996 13:56:33 GMT Reply-To: bbbean@sheltonlink.com From: bbbean@SHELTONLINK.COM Organization: inlink Subject: Chess or Trumpet? Elmore and SBWII Comments: To: bit-listserv-blues-l@uunet.uu.net I'm paralyzed above the neck. Did 9 below zero and The Sky is Cryin' first appear on Trumpet or Chess? BBB B.B. Bean New address------>bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Fri, 12 Apr 1996 13:59:41 GMT Reply-To: bbbean@sheltonlink.com From: bbbean@SHELTONLINK.COM Organization: inlink Subject: Re: Masturbation (was Re: Bitterness and Purists) Comments: To: bit-listserv-blues-l@uunet.uu.net >Dennis Miele wrote: >Re: Bitterness and Purists >> >A person who spends his whole life playing music only for himself, is >> >the same as a person who masturbates for his whole life without ever >> >making love to another human being.... a pity. Bah humbug. What interest is it of mine WHAT someone does alone. If they spend all their time wanking off while playing barrelhouse piano in a dark room, its really none of my (or your) business. And if it makes them happy, well then good for them. BBB B.B. Bean New address------>bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Fri, 12 Apr 1996 10:17:24 -0400 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: Ya know you got the blues bad when: Comments: To: Joseph Leichter In-Reply-To: Myrrh is an aromatic herb (as in healing). Peace, nitra On Fri, 12 Apr 1996, Joseph Leichter wrote: > errrr......i think its spelled "myrhh" , but I don't have spell-check on this > thing.....have no clue what it might *be* though! > ========================================================================= Date: Fri, 12 Apr 1996 09:08:36 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: Modal? Comments: To: jackieo@MIDTOWN.NET On 10 Apr 96 , honorable zeller Jack Oudiz wrote: > I can't explain it but I know it when I hear it. The best example of a > current modal music practitioner is Junior Kimbrough. He does almost > nothing but modal in fact. Just like early John Lee Hooker as well. > Endless boogie indeed! > > And all this time I presumed JK to be a simple player of simple music, I find it interesting that he is so progressive an artist as to be playing from scales in a removed key. A lot of blues has been played using a modal scale, for sure. If , for example, a song keyed in A utilizes the major scale from the key of G , the scale contains the A blues scale plus two additional notes from the A major scale. Very useful! I'm impressed.. Talk about your good ol' boy backwoods blues player using theory! RJ Bauman "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Fri, 12 Apr 1996 07:28:24 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: April 13 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BRYAN, PAUL (b/DUKE LEVINE) b. 1967-0413, WORCESTER, MA BRYSON, PEABO (v/prod) b. 1951-0413, GREENVILLE, SC CHAMBERS, LESTER (hca/CHAMBERS BROS) b. 1940-0413, LEE COUNTY, MS DUNN, ROY (g/TRIX REC) b. 1922-0413, EATONTON, GA GEORGE, LOWELL (g/LITTLE FEAT) b. 1945-0413, LOS ANGELES, CA GREEN, AL (v/HI REC) b. 1946-0413, FORREST CITY, AR HAMMOND, JOHN HAYS (of HAMMOND ORGAN) b. 1888-0413, SAN FRANCISCO, CA HENDERSON, MARGO (v) d. 1979-0413, LONDON, UK 33 JOHNSON, LOUIS (of THE JOHNSON BROS) b. 1955-0413, LOS ANGELES, CA JOHNSON, STACY (of THE SHARPEES) b. 1945-0413, ST. LOUIS, MO KEY, HORACE (of THE TAMS) b. 1934-0413, ATLANTA, GA KID THOMAS [LOUIS THOMAS WATTS] (hca) d. 1970-0413, BEVERLY HILLS, CA 35 MATASSA, COSIMO (recording engineer) b. 1926-0413, NEW ORLEANS, LA PENDLETON, BRIAN (g/PRETTY THINGS) b. 1944-0413, WOLVERHAMPTON, UK WILLIAMS, JOHN (asax/ANDY KIRK) b. 1905-0413, MEMPHIS, TN WILLIAMS, MARTIN (author/critic) d. 1992-0413, WASHINGTON, DC 67 ------------------------------------------------------------------------------- ========================================================================= Date: Fri, 12 Apr 1996 09:30:08 -0500 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: Performing Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu In-Reply-To: from "L W" at Apr 12, 96 08:48:45 am In an earlier message, L W said: ] My cousin PW said BB said that no one wants to pay their money to see someone ] who looks like they have been working in the yard. (usually what I look like) ] Dress up a little out of respect for the audience...When I look at it that way ] I can look a little better. Yup. BB is such a god example, too -- he's my personal example of a dude who looks SHARP in a suit.... -- * The most exciting phrase to hear in science, the one that heralds new * discoveries, is not "Eureka!" (I found it!) but "That's funny ..." * -- Isaac Asimov ========================================================================= Date: Fri, 12 Apr 1996 10:29:21 -0400 Reply-To: Peter Welch From: Peter Welch Subject: "44" Blues At 09:02 PM 4/11/96 GMT, Jeff Krauss wrote: >Eric Clapton in his current concerts sings a song that goes: >"I done wore my forty-four so long, it made my shoulder sore" >(I have it on boots from 1993 and 1994 Royal Albert Hall concerts, and I >heard the song when he performed in Washington DC last fall.) >I also have a compilation CD that has Howlin Wolf singing Forty-four. >Did he write this, or did someone else? > > The version that Howlin' Wolf & E.C. sings and is most often copied is credited to Roosevelt Sykes, but as Rob Hutten pointed out, it's a classic piano blues theme that pre-dates Sykes' version. Pianist Lee Green recorded a "Number Forty-Four Blues" before Sykes, which has slightly different lyrics, and if I remember correctly, he uses the number 44 in relation to "..the number 44 steam whistle blowing"..so he refers to a train...I also think he uses "44" to refer to other things in the song as well. I seem to remember reading that Lee Green credited the "44" theme to Little Brother Montgomery, who also used it in his "Vicksburg Blues". Whatever version of the song's history is correct, "44" is still one of the classic Blues themes. -Peter ========================================================================= Date: Fri, 12 Apr 1996 10:36:15 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Who wrote Forty-Four? >On 12 Apr 96, Rob Hutten had this to say: > >> About the song "Forty-Four", it was said: >> >> > Roosevelt Sykes is the guy usually credited. He recorded it in the '30s, >> > I believe. >> >> There's an extensive discussion on the history of this theme in Paul >> Oliver's _Aspects_Of_The_Blues_Tradition_ - I think it was originally >> printed as _Screening_The_Blues_. >> >> Which brings up one of my cockananny half-arsed theories: Oliver goes >> into some depths trying to uncover the origins of the title of this >> theme. One possibility that he doesn't get into is that the term "44" >> might refer to the old half-width pianos that were apparently used in >> some jooks and barrelhouses because of their compact size. A >> half-width keyboard would have forty-four keys... >> >> There's probably no substance whatsoever about this theory, but it's >> mine and I'm keepin' it :-) > And PW Fenton replied >Carrying even a half size piano could certainly account for the writer's >shoulder being sore. ;^) > >Somehow I doubt that roaming the streets looking for your baby while >wearing your "44" has anything to do with a 44 key piano. > But the lyrics operate on the word '44' in different ways, even within the same song - as a gun, as 'a cabin number 44' (probably a prison cell), a train. One of the delights of the number is that its meaning is often elusive. It could very well have something to do with the 44 key piano, hard to prove though that would be. In connection with the earlier discussion, Sykes said, that there were no words when he heard it first. 'The Forty-Fours' seems to have started out as an instrumental in the Louisiana barrelhouses around Vicksburg, and to have been developed by Little Brother Montgomery and the piano players he knew there. I join Rob in recommending Paul Oliver's discussion - also 'Deep South Piano' (Karl Gert zur Heide's Little Brother biography) has some material on it. Chris Smith (chris@skerries.demon.co.uk) 'Positive: wrong at the top of one's voice." (Ambrose Bierce) ========================================================================= Date: Fri, 12 Apr 1996 09:57:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Frankie and Albert Boy, I continue to get these questions that are pretty far from what I signed up for on Rob's site. But...can somebody help this person? Thanks. -Bonnie From: IN%"jcland@earthlink.net" "Joseph Land" To: KALMBACH@MACC.WISC.EDU Subject: Frankie & Johnny Was hoping to get some information on the song "Frankie & Johnny" for some personal research. Any information would be greatly appreciated. Thanks... ========================================================================= Date: Fri, 12 Apr 1996 10:00:39 CDT Reply-To: ISTS024@UABDPO.BITNET Comments: Resent-From: ISTS024@UABDPO Comments: Originally-From: "Watkins, Brenda" From: L W Subject: Blues Heaven My wife couldn't post to Blues-L, so I forwarded it for her. reply to her at bwatkins@icare.opt.uab.edu THANKS LW ----------------------------Original message---------------------------- I am intrested in writing an article about Blues Heaven. If anyone can help me as to who I can get in touch with (Mrs. Dixon?), I would most graciously appreciate it. private mail please. Thanks, Brenda Watkins ========================================================================= Date: Fri, 12 Apr 1996 10:12:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Chess or Trumpet? news:4klneh$i2n@news2.inlink.com bbbean@SHELTONLINK.COM wrote: >I'm paralyzed above the neck. Did 9 below zero and The Sky is Cryin' first >appear on Trumpet or Chess? > >BBB > >B.B. Bean New address------>bbbean@sheltonlink.com >Peach Orchard, MO http://www.cris.com/~Bbbean 9 Below Zero was on Trumpet, first, I'm pretty sure. I think Elmore made only one recording for her and I think it was "Dust My Broom". -Bonnie ========================================================================= Date: Fri, 12 Apr 1996 11:14:38 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Chess or Trumpet? Elmore and SBWII Comments: To: bbbean@sheltonlink.com On 12 Apr 96, bbbean@sheltonlink.com had this to say: > I'm paralyzed above the neck. Did 9 below zero and The Sky is Cryin' first > appear on Trumpet or Chess? I THINK that's a trick question. I'm pretty sure "9 Below" started out on Chess, but I think The "Sky Is Crying" first appeared on the Fire label in 1959 by Elmore. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ If you pick up a starving dog and make him prosperous, he will not bite you. This is the principal difference between a dog and a man. - Mark Twain ========================================================================= Date: Fri, 12 Apr 1996 11:23:00 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Masturbation (was Re: Bitterness and Purists) Comments: To: bbbean@sheltonlink.com On 12 Apr 96, bbbean@sheltonlink.com had this to say: > >Dennis Miele wrote: > >Re: Bitterness and Purists > >> >A person who spends his whole life playing music only for himself, is > >> >the same as a person who masturbates for his whole life without ever > >> >making love to another human being.... a pity. > > Bah humbug. What interest is it of mine WHAT someone does alone. If they > spend all their time wanking off while playing barrelhouse piano in a dark > room, its really none of my (or your) business. And if it makes them > happy, well then good for them. No... it would be a pity. Damn, I'm looking for a good keyboard player and can't find one. Get that guy out of his room and down to my next gig. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ If you pick up a starving dog and make him prosperous, he will not bite you. This is the principal difference between a dog and a man. - Mark Twain ========================================================================= Date: Fri, 12 Apr 1996 07:18:43 +0000 Reply-To: ksailors@hooked.net Comments: Authenticated sender is From: "Kenneth M. Sailors" Organization: Personal Copy Subject: Re: On this day... On Thu, 11 Apr 1996 05:19:26 P.W. Fenton wrote: __ [...] Buzzy Linhart (Anyone know that name?) Yeah, I remember something about Buzzy. Vibes player wasn't he? Long curly hair? I remember some ads for "Buzzy Linhart Loves You" or some such in Rolling Stone (when it mattered!) -Ken ========================================================================= Date: Fri, 12 Apr 1996 11:32:30 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: The St Louis Blues-l Convention Well I'm officially excited. I just made my plane reservations. I'll arrive Saturday morning in St. Louie. and leave on Tuesday. Where's the nearest pint of good brew? The next question is.... what instruments are going BESIDES guitar? P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ If you pick up a starving dog and make him prosperous, he will not bite you. This is the principal difference between a dog and a man. - Mark Twain ========================================================================= Date: Fri, 12 Apr 1996 11:35:49 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: On this day... Comments: To: ksailors@hooked.net On 12 Apr 96, Kenneth M. Sailors had this to say: > On Thu, 11 Apr 1996 05:19:26 > P.W. Fenton wrote: > > > __ [...] Buzzy Linhart (Anyone know that name?) > > Yeah, I remember something about Buzzy. > Vibes player wasn't he? Long curly hair? > I remember some ads for "Buzzy Linhart Loves You" > or some such in Rolling Stone (when it mattered!) You got him. Played an excellent guitar also. Very talented guy. No social skills though. I think that's what kept him out of the limelight. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ If you pick up a starving dog and make him prosperous, he will not bite you. This is the principal difference between a dog and a man. - Mark Twain ========================================================================= Date: Fri, 12 Apr 1996 15:50:30 +0000 Reply-To: Bob Bingham From: Bob Bingham Subject: Buzzy Linhart I think it was about 12 or 13 years ago when I was living in Minneapolis.This guy showed up at one of my gigs. I was either playing with Linwood Slim at the time or The Lamont Cranston Band one or the other anyway. He introduced himself as Buzzy Linhart and said he was a musician. If anyone remembers the movie The Groove Tube you will remember the opening skit in the film as this hippy guy chasing a beautiful babe through the woods while divesting himself of his clothing. That's Buzzy! To make a long story short, Buzzy came over to my house one day and spoke about doing another album and he he wanted me to play guitar on it or something like that. I think he also mentioned the possibility of doing some gigs together. I was already doing other stuff at the time so I didn't give it much thought. Overall he seemed like a pretty nice fellow. Incidentally, I believe he also played chimes or something on one of Jimi Hendrix's albums. ========================================================================= Date: Fri, 12 Apr 1996 12:05:57 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Buzzy Linhart Comments: To: Bob Bingham On 12 Apr 96, Bob Bingham had this to say: > I think it was about 12 or 13 years ago when I was living in > Minneapolis.This guy showed up at one of my gigs. I was either playing with > Linwood Slim at the time or The Lamont Cranston Band one or the other > anyway. He introduced himself as Buzzy Linhart and said he was a musician. > If anyone remembers the movie The Groove Tube you will remember the > opening skit in the film as this hippy guy chasing a beautiful babe through > the woods while divesting himself of his clothing. That's Buzzy! > To make a long story short, Buzzy came over to my house one day and > spoke about doing another album and he he wanted me to play guitar on it or > something like that. I think he also mentioned the possibility of doing some > gigs together. I was already doing other stuff at the time so I didn't give > it much thought. Overall he seemed like a pretty nice fellow. Incidentally, > I believe he also played chimes or something on one of Jimi Hendrix's albums. Buzzy was a wonderfully talented musician and writer. He played guitar and vibes, and could sing the devil out of a song. He had fabulous Blues chops as well. I have three of his albums on vinyl. They were out of print when I found them in the late '70s. He had a remarkable voice that could slip slide and yodel all over the place. I've always wanted to do one of his Blues tunes "A Tear Outweighs A Smile". I will work it up one day. He wrote a hit pop tune for Bette Midler called "Friends", his recording of it has an old fashioned intro to it that just floored me. The tune itself is rather simple. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ If you pick up a starving dog and make him prosperous, he will not bite you. This is the principal difference between a dog and a man. - Mark Twain ========================================================================= Date: Fri, 12 Apr 1996 11:49:43 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Guitar Gabriel has died Comments: To: tony@bluestb.demon.co.uk David Nelson at LIVING BLUES confirmed the rumors about the death of Guitar Gabriel; he was given the information by Tim Duffy, who has played with Guitar Gabriel for years. I have no other information. Tom Freeland ========================================================================= Date: Fri, 12 Apr 1996 12:18:47 -0400 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: A performer/entertainer mindset Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199604112055.NAA12366@inet.lasierra.edu> Don Cicchetti writes: >LW asked: >>So I'm asking some of you PROS how do I get that entertainer/performer mindset >>I DO NOT dress for the part, I go as I am. My wife trys to get me to handle >>myself more like an entertainer/performer. Hell I usually think the audience >>is doing me the favor for showing up and listening. >Well they are, for all of us, and we better not forget it. >This is too important to be private so here goes... >Couple of ideas >1. LOVE what you do! SHOW it! >2. Be confident, but not arrogant. This is all excellent advice! I thought of exactly the same first two items. ========================================================================= Date: Fri, 12 Apr 1996 12:21:55 -0400 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: Too much change??? Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199604112109.OAA02061@wavenet.com> Shaun T Cronin writes: > Some people think SRV is a rock artist. Some think he was a blues >artist (which he was). I think the SRV Blues/Rock debate is interesting. Almost every lick he played came from Albert King so therein lies the *Blues* part, as well as the song selection/construction. But I think the *Rock* side of the equation might have something to do with the rhythm section sound/attack. Any opinions? (personally, I think he leans more towards Blues) ========================================================================= Date: Fri, 12 Apr 1996 16:10:12 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Who wrote Forty-Four? Comments: To: bit-listserv-blues-l@uunet.uu.net D Carmichael Maldon wrote: > >Is this not a revamp of Little Brother Montgomery's Vicksburg Blues ? > >Same tune same chages different words > >Duncan Right. I'm pretty sure that the musical theme was around for some time before Sykes put the "44" lyrics to it. Scott ========================================================================= Date: Fri, 12 Apr 1996 12:31:05 -0400 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: Masturbation (was Re: Bitterness and Purists) Comments: To: bit-listserv-blues-l@uunet.uu.net In article <960411222008_189500461@emout10.mail.aol.com> "" writes: >Date: Thu, 11 Apr 1996 22:20:10 -0400 >From: "" >Subject: Re: Masturbation (was Re: Bitterness and Purists) >DMIELE@ERENJ.COM wrote: >Re: Bitterness and Purists >> >A person who spends his whole life playing music only for himself, is >> >the same as a person who masturbates for his whole life without ever >> >making love to another human being.... a pity. PLEASE BE CAREFUL HOW YOU QUOTE POSTS! I did not write the above, I only respnded to it. Thank you. ========================================================================= Date: Fri, 12 Apr 1996 09:38:43 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: A TRIBUTE TO DR. HARRY OSTER 1) INTRODUCTION This is revised version of a posting I first sent out in 1994. I'd like to thank Ranko Vujosevic for his wonderful interview with Dr. Harry Oster. If you want more details concerning the recordings Oster produced, I suggest you read his article "The Evolution Of Folk-Lyric Records", available in Blues & Rhythm #95 (1995), still available from the BLUES WORLD Web site (http://www.bluesworld.com>. The 1995 BBC Three radio programs are also worth hearing - see Chris Smith's article, "Oster's Blues", in Blues & Rhythm #99 (1995) for a detail review of the radio programs. These 5 half-hour programs feature Oster talking with Francis Wilford-Smith, with selections from his Folk-Lyric recordings, including unissued sides by Robert Pete Williams ("Yassuh. Nossuh"), harmonica player Clyde Causey, and Emmanuel Dunn. (Thank you Ray for sending me the tapes - I still owe you :-)) The posting is in 4 parts : 1) Introduction 2) Discography/Bibliography 3) Interview I (Early Years) 4) Interview II (Angola Prison, Folk-Lyric Records) ============================================================================ "Oster has that distinct knack of being able to collect his material with little interference upon the artist concern. A relaxed atmosphere is almost a hallmark of one of his sessions." ~ Bruce Bastin/Interstate Music "Harry Oster has made significiant contributions not only to the study of rural folk traditions but also to our understanding of and ability to enjoy this music and the performers who were the transmitters of these traditions" ~ Chris Strachwitz/Arhoolie Productions Folklorist Dr. Harry Oster was born Thursday, April 12, 1923, Cambridge, MA. He received his PH.D in American Literature from Cornell University (1953), at the same time developing further knowledge and practice in the field of folksong, an interest he developed in 1948 when he bought his first guitar in a pawnshop. He joined the English Department of Louisiana State University at Baton Rouge in 1955, remaining until 1963. In the spring of 1956, he helped reorganize and revitalize the Louisiana Folklore Society. During this period, Dr. Harry Oster appeared on NBC radio, performing at various colleges, and performed in Europe, England and France. For accompaniment, he used a guitar, dulcimer, banjo & authoharp - all taken from his own extensive collection of musical instruments. In March 1958, while visiting New Orleans, he came across a 22 year old blind street singer called Snooks Eaglin, resulted in the album Folkways 2476 : New Orleans Street Singer. Everyone should now be aware of this human jukebox! Also, during this time he & Kenneth Goldstein joined forces, recording English, Scottish and Irish artists like Dominic Behan, John Burgess, A. L. Lloyd, Ewan MacColl, Betsy Miller and Peggy Seeger. By 1959, Dr. Harry Oster discovered/recorded : James "Butch" Cage, Robert "Smoky Babe" Brown, Clyde Causey, Roosevelt Charles, Sally Dotson, Clarence Edwards, Cornelius Edwards, Charles Henderson, Herman E. Johnson, Mathew "Hogman" Maxey, Willie B. Thomas, Otis Webster, Robert "Guitar" Welch, Robert Pete Williams, etc. His 1969 book LIVING COUNTRY BLUES documents this period. He also began issuing albums on his FOLK-LYRIC label, and leasing some material to Bluesville/Prestige, Flyright, Heritage, Seventy-Seven, Storyville, Tradition, Vanguard and Xtra Records. He also released albums by Jim Smoak, Snuff Jenkins, and Earl Long. On May 1, 1970, ARHOOLIE RECORDS acquired the rights to his recordings, and began reissuing the Folk-Lyric albums. The ARHOOLIE CD series contains many unissued sides. As we post this, ARHOOLIE has just issued ARHOOLIE CD 440 : SMOKY BABE/HERMAN E. JOHNSON - LOUISIANA COUNTRY BLUES. Dr. Harry Oster belongs to that selective group that includes Guy Caravan, Harold Courlander, David Evans, Kenneth Goldstein, Alan Lomax, Kip Lornell, Carl Sandburg, Pete Seeger, Chris Strachwitz and Pete Welding. Happy Birthday, Dr. Harry Oster. ========================================================================= Date: Fri, 12 Apr 1996 12:41:29 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Playing by yourself (for yourself) Comments: To: Skipjames@aol.com On 12 Apr 96, Skipjames@aol.com had this to say: > I sort of disagree and sort of don't, P.W. It is a pity if interesting > performances are lost, and I am very sad about the fact that it is manifestly > obvious that great blues performers of several generations were inadequately > recorded. BUT I, personally, get a lot of pleasure out of just playing > barrelhouse piano for myself (and I guess whatever family members are in the > house. Once in a while for friends) and do it fairly well. The pleasure of > playing, forget about the audience, and hearing it myself is what I play for. > So I understand that mentality pretty well, and am NOT sure that mentality > is a pity. Tom, you are, of course, right on this one. Music is such a joyfull noise, if you are ABLE to do it, then you just about have to do it... even if it is just for yourself. It's a pity for the rest of us that we don't get to hear it. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ If you pick up a starving dog and make him prosperous, he will not bite you. This is the principal difference between a dog and a man. - Mark Twain ========================================================================= Date: Fri, 12 Apr 1996 12:44:41 -0400 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Don't Blame Me:was Re: Masturbation (was Re: Bitterness and Purists) Comments: To: bit-listserv-blues-l@uunet.uu.net In article <4klnkd$i2n@news2.inlink.com> bbbean@SHELTONLINK.COM writes: >>Dennis Miele wrote: >>Re: Bitterness and Purists >>> >A person who spends his whole life playing music only for himself, is >>> >the same as a person who masturbates for his whole life without ever >>> >making love to another human being.... a pity. ONCE AGAIN, I DID NOT WRITE THIS!!!! ========================================================================= Date: Fri, 12 Apr 1996 12:49:22 -0400 Reply-To: Dennis Miele From: Dennis Miele Organization: ERE Subject: Re: Masturbation (was Re: Bitterness and Purists) Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199604121522.LAA96984@osceola.gate.net> "P.W. Fenton" writes: >On 12 Apr 96, bbbean@sheltonlink.com had this to say: >> >Dennis Miele wrote: >> >Re: Bitterness and Purists >> >> >A person who spends his whole life playing music only for himself, is >> >> >the same as a person who masturbates for his whole life without ever >> >> >making love to another human being.... a pity. >> I DON'T MEAN TO SPAM, BUT I DON'T LIKE BEING "CREDITED" WITH A RIDICULOUS STATEMENT LIKE THE ONE ABOVE. I DID NOT WRITE IT! There, now I don't have to shout anymore. ========================================================================= Date: Fri, 12 Apr 1996 09:57:55 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: A performer/entertainer 's closet Previously: >>8. Wear comfortable clothing and shoes.. Don't buy poser clothes if they >>are not "you"... LW said: >BINGO, That's what I try to tell my wife. I can't dress the part, I have to >be myself (a very dull dresser) Since I haven't seen what you wear to a show I can't speak about you in particular. BUT, just because you shouldn't dress in a silly rock-star outfit or heaven-forbid a "Blues Brothers" getup, that doesn't mean you should get on stage looking dowdy or like you just came from work... Find comfortable clothes that are stylish and feel like "you". you should look special and like you belong on stage. Check out the cool threads John Hammond is wearing on his new CD and ads.. Style is essential DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Fri, 12 Apr 1996 12:06:02 -0500 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Re: Guitar Gabriel Tim Duffy of Music Maker Relief Foundation confirms that Guitar Gabriel (Robert Lewis Jones) passed away of natural causes on April 2, 1996. He was buried on April 4th in Winston-Salem, NC, with assistance from MMRF. A Tim Duffy obituary will be forthcoming. Joel Slotnikoff BLUES WORLD ========================================================================= Date: Fri, 12 Apr 1996 13:12:52 EST Reply-To: shannon oconnor From: shannon oconnor Subject: An Opinion on Musical Masturbation Just a musing.... In my experience, music does NOT have to be a performance. Playing music can be a way of exploring your own soul/inner self. It can be a form of meditation, of personal strength, of clarification, of de-stressing and relaxation, of escape, of communion with God, whatever. Not every "musician's" goal is to perform for other people. Some very, very, very excellent musicians play soley for themselves. And are quite content to do so. Comparing this sort of self-expression as "masturbation" puts a very one-dimensional limit on a very convoluted thing. When I was a music student in college, we used the term "musical masturbation" for the ridiculous actions of those showboat self-glorifiers who insist they have an attentive, respectful, awe-filled audience while they carry on insufferably "playing with themselves;" i.e., soloing to excrutiating (and ultimately, incredibly uninteresting, except to the "wanker" him/herself) excess. Masturbation, like sex, should be performed only with those you love. (Because personally, I don't want to see it!!) :) Shannon ========================================================================= Date: Fri, 12 Apr 1996 12:13:01 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Guitar Gabriel has died In-Reply-To: Message of Fri, 12 Apr 1996 11:49:43 -0400 from On Fri, 12 Apr 1996 11:49:43 -0400 Tom Freeland said: >David Nelson at LIVING BLUES confirmed the rumors about the death of Guitar >Gabriel; he was given the information by Tim Duffy, who has played with >Guitar Gabriel for years. I have no other information. I always liked the Guitar Gabriel quote about "I've played so much guitar it'd make your butt hurt".... LW ========================================================================= Date: Fri, 12 Apr 1996 13:20:56 -0500 Reply-To: phertel@cmc.doe.ca Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: (Fwd) Re: The St Louis Blues-l Convention On Fri, 12 Apr 1996, P.W. Fenton wrote: > Where's the nearest pint of good brew? Oh yes oh yes oh yes > > The next question is.... what instruments are going BESIDES guitar? > I really wonder about bringing a guitar if your flying what are the ins and outs? Unlike Yoyo Ma(sp?) I can't afford to buy a seat for my axe. Other questions: Hotels - phone numbers/rates/how far ahead etc? Wheres a good place to go (blues and beer [oh yes]) if you happen to get there a day early? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [12/4/96 12:51 AM] "The eagle flies on friday..." P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ If you pick up a starving dog and make him prosperous, he will not bite you. This is the principal difference between a dog and a man. - Mark Twain ========================================================================= Date: Fri, 12 Apr 1996 13:22:07 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Too much change??? Comments: To: DMIELE@erenj.com In a message dated 96-04-12 13:13:21 EDT, DMIELE@ERENJ.COM (Dennis Miele) writes: >> Some people think SRV is a rock artist. Some think he was a blues >>artist (which he was). > >I think the SRV Blues/Rock debate is interesting. Almost every lick he >played >came from Albert King so therein lies the *Blues* part, as well as the song >selection/construction. But I think the *Rock* side of the equation might >have something to do with the rhythm section sound/attack. Any opinions? An important consensus has broken down on this list. I thought there was a social contract here to include the phrase "SRV" in ever post ABOUT SRV so those of us who were, uh, really fascinated COULD BE SURE AND READ IT FIRST, and those of us who WEREN'T could, uh.... never mind. Tom Freeland (its been a long day and its still morning) ========================================================================= Date: Fri, 12 Apr 1996 10:30:38 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: DANNY WHITE DIES AT 64 Born Joseph Daniel White, July 6, 1931, New Orleans, LA., R&B singer & bandleader Danny White died Friday, January 5, 1996, Capitol Heights, MD. He first recorded for Dot Records in 1961 ("Give And Take"), followed by his best known single "Kiss Tomorrow Goodbye" (Frisco,'62), arranged by the legendary Wardell Quezergue. Other singles on Connie LaRocca's Frisco label (some leased to Decca) include "Loan Me Your Handkerchief" (an Earl King composition), "Cracked Up Over You" (recorded at Stax with Booker T & the MGs), and the Isaac Hayes-Dave Porter composition "Keep My Woman Home" (released on the NY-based Atlas Records in 1965). According to Allen Toussaint, "Mother-in-Law" and "Certain Girl" were both written with Danny White in mind, but as Toussaint wasn't recording Danny, the songs were given to Ernie K-Doe. After serving as The Meters' road manager (1969-1971), he moved to the Washington, D.C. area to be a warehouse manager for Paxton Van Lines in Fairfax, Va., occasionally performing at oldies shows. Survivors include his companion, Sonya M. Labat ; ex-wife Rose Marie White ; two sons, Schone and Joseph Daniel White Jr.; five daughters, Dana A. and Lisa A. Bell, Debra W. Jenkins, Tesha White and Michelle Richardson; a sister, Ella Louise Davis ; two brothers, Henry Sr. and Edgar White; 12 grandchildren; and a great-grandchild. A funeral was held on Saturday January 13 at Charbonnet- Labat Funeral Home. Burial was at St. Mary's Cemetery. ========================================================================= Date: Fri, 12 Apr 1996 12:42:02 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Duanne Allman & Sippie Wallace I just read where someone asked Sippie Wallace the difference between blues & gospel. She replied "Honey there ain't no difference. In the church we say Jesus, and in the blues we say baby"..... Different subject: I been reading a book called Great Guitarist and last night I couldn't beleive what the writer said about Duanne Allman (1 of my favorites) He said that Duanne took the music of the black slide players, Kokomo Arnold, Bukka White, TAMPA RED !, Muddy Waters, Elmore James and SURPASSED THEM ALL That's ABSURD. There's no bigger fan of Duanne than myself, but the above is crazy. I'm sure Duanne would agree....I don't think the writer ever actually heard Tampa Red....Gee whiz LW 'I guess the writer is entitled to his opinion' ========================================================================= Date: Fri, 12 Apr 1996 12:54:15 -0500 Reply-To: bolt From: bolt Subject: Re: Frankie Lee Sims (was:Why isn't this person famous ?) >Reg said > >>Frankie Lee Sims > >should be more famous, and who am I to disagree? Anyway, this leads to my >question - I have his Specialty recordings (Lucy Mae Blues), but I'm sure I >heard a newer (and better IMHO) Frankie Lee Sims song on the radio about a >year or so ago, probably from the mid-sixties. Is any of his later work >available on cd? > >T'anks! > >-Jim (hndful@uniserve.com) The only other FLS I have is on a Japanese CD called "Lightnin' & The Buddies". Following are the FLS tracks: Misery Blues What Will Lucy Mae Do Hey Little Girl Walking With Frankie My Talk Didn't Do Any Good I Warned You Baby She Likes To Boogie Real Low Well Goodbye Baby The disc gives no recording dates (at least not in English) and also includes tracks by Lightnin' Hopkins, Mercy Baby, Charles Brown & Amos Milburn. Reg Burns +++++++++++++++++++++++++++++++++++++++++++++++++ + I'll listen to reason when it comes out on CD + + + + bolt@neosoft.com Houston, TX + +++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Fri, 12 Apr 1996 12:48:19 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re: Performing Comments: To: ISTS024%UABDPO.BITNET@brownvm.brown.edu Regarding the question of dress, I can only quote Chris Isaak, upon being interviewed by the Today Show, and wearing a jacket made up of tiny mirrors, or silver lame, or something equally outrageous: "Well, " he said " ..you don't want to be mistaken for a member of the audience." How can you possibly argue with that? -Jim _______________________________________________________________________________ Subject: Performing From: ISTS024%UABDPO.BITNET@brownvm.brown.edu at INTERNET-SH Date: 04/12/96 12:21 PM Just in case it did not make it ti Blues-l, the best two pieces of advice FOR ME and MY situation were contradictions: Don C. said don't dress up to where you are being something you ain't (not verbatim he wouldn't use 'ain't') My cousin PW said BB said that no one wants to pay their money to see someone who looks like they have been working in the yard. (usually what I look like) Dress up a little out of respect for the audience...When I look at it that way I can look a little better. True: I was playing at the same place that the Showcase will be and naturally I looked like a BUM. I had a sleeveless t-shirt on and looked pretty 'nappy' The publisher of a magazine I write for took a picture (I didn't know it) Well that picture appeared at the end of one of my articles, with my armpits (NASTY) showing and looking trashy. My wife hated the picture and the publisher made the comment the other day that he was going to have to get a better picture of me :-). I'm gettin my baby blue leisure suit and flowered knit shirt for the next gig (kidding) THANKS for all the great advice LW 'a ragged blue jean, torn shirt, whatever I'm wearing kind of guy' ========================================================================= Date: Fri, 12 Apr 1996 11:43:15 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: BLUES DATRE E HIGHLIGHTS MISIEWICZ, ROGER (compiler/DOCUMENT REC) b. 1946-0404, WORCESTER, MA NEWTON, FRANKIE (tpt/BESSIE SMITH) b. 1906-0404, EMORY, VA PERLS, NICK (founder: YAZOO REC) b. 1942-0404, NEW YORK CITY, NY ------------------------------------------------------------------------------- April 04's BLUES DATE contains a few names that should be familiar to blues fans. I'd like to touch on a few of them. 'Trumpet-tootin' Frankie Newton (1906-1954) was a master of low tonal shadings. ========================================== If you don't believe me, just give a listen to Bessie Smith's last recording session (just reissued on Legacy 57546 : Bessie Smith - The Complete Recordings V. 5 : Final Chapter (2CD)), especially on "Give Me A Pig Foot". Also, take a listen to Billie Holiday's 1939 Commodore version of "Strange Fruit" (with Tab Smith arranging), recorded just a few weeks after Newton's 1st Blue Note sides as a member of The Port Of Harlem Jazzmen (with boogie woogie meister Albert Ammons, now available on BLUE NOTE CD 28892). He was 48 when he died in NYC, on March 3, 1954. Classics CD 643 : Frankie Newton (1937-1939) is a great sampler of his recordings. NICK PERLS (1942-1987) will be remembered for his YAZOO label, a record label ====================== that single-handedly (well, almost if you don't count Johnny Parth's Roots label) was responsible for the resurgence of prewar blues on album. Most of original 80+ albums are now available on CD. Shanachie Records now owns the rights to the YAZOO Label & their complete catalog is available on their Web site . Perls was 45 when he died in NYC, on July 22, 1987. ROGER JAN MISIEWICZ I've known for about 25 years, ever since I responded =================== to his advertisement in Blues Unlimited, asking for Joseph Spence's Elektra album (now available from Rykodisc . Like myself, he first heard the blues on old Folkways albums, in particular the Harry Smith's Anthology Of American Folk Music series. Today, he's involved with Johnny Parth's Document label, making sure each release is as complete as possible. He doesn't, like a lot of us, just talk the talk, he also walks the walk! A few of us even have copies of his reel-to-reel series. His specialty is prewar gospel, which is just now being reissued on Document, mostly for the first time since the original 78s. The latest Blues & Rhythm (#108, April 1996, web site ) has a full two page Document advertisement with a great photo of Roger. A nice gesture by Johnny Parth. Happy Birthday, Roger! As an added tribute, I've asked long-time collector Robert Sacre for his early memories, as he corresponded with Roger for years : "Happy birthday to dear old Roger, I remember the good ole days when we exchanged tapes and letters. I still hold all the 78's (post-war gospel) you sent (most are still unreissued so far!). Thanks to you, in the pre-Parth/Document era, I had an access to the unique world of prewar blues and religious music through your tapes ...I am forever grateful for that. Amazingly, I did not know what you looked like but now I have an idea since Johnny's good idea to print your photograph in his Blues & Rhythm' ad for Document records.... You're still young and evidently full of enthusiasm and joie de vivre! Good ! Long life my young friend (I am 56!) keep up the good (collecting and reissuing) work but what you already achieved deserves the recognition of all the collectors and lovers of African-American music all over the world. The very very best from Robert (from Belgium with love)." ~ Robert SACRE ========================================================================= Date: Fri, 12 Apr 1996 17:30:24 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Re: Jack, That Cat Was Clean (Dr. Horse) Comments: To: bit-listserv-blues-l@uunet.uu.net DOT RECORDS. eRIC "Doc" Horse is the featured vocalist on a Sammy Price LP called "The Blues Ain't Nothin'..." sorry I can't recall the label but maybe someone out in cyberspace can provide that information. ========================================================================= Date: Fri, 12 Apr 1996 14:28:01 -0400 Reply-To: Md1214 From: Md1214 Organization: America Online, Inc. (1-800-827-6364) Subject: Hammond/Robillard, SF, 4/11/96 Comments: To: bit-listserv-blues-l@uunet.uu.net At the Great American Music Hall near Polk and O'Farrell, a lovely old theater seating about 400. The crowd was 30s-40s SF professional types, a little sleepy at first but soon woke up with a half hour acoustic set by John Hammond, followed by maybe 45 minues from Robillard and band, then 3-4 songs with Hammond fronting for Duke and the band on a nice old (electric) Gibson, like an ES-175 except double cut-away, not sure what they're called. Hammond is a real showman in addition to being hell on a guitar, and he has a very idiosyncratic vocal style that grows on you really quickly. I didn't know much about the guy before the show, but I'll be listening more. I'm an old Robillard fan, and Duke was great as usual. You can tell he's a guitar junkie. He had a Gretsch White Falcon, the pink pseudo-Strat, the big black Gibson, and something I'd never seen before called a Mirage, which sounds pretty evil. He switches guitars a lot during the show, and actually his show keeps losing momentum between songs, because there's this little wait while he corrects whatever microscopic de-tuning has happened since the previous song. The momentum of an older crowd, out on a week night, is a very fragile thing. Not to complain - it was a great show, and we called them back for an encore. See them if you get a chance. ========================================================================= Date: Fri, 12 Apr 1996 15:28:41 -0400 Reply-To: Andre Prevos From: Andre Prevos Subject: Re. Happy Birthday Harry Oster If I may I would like to add a few personal remembrances to Eric LeBlanc's article. In 1974, I arrived at the University of Iowa to take courses and become a Teaching Asistant. I new that Dr. Oster was teaching there because I was, then, an avid record collector (pennyless however!). I checked with the Chair of the French Dept upon my arrival in Iowa City and asked "Where is Pr. Oster's Office?" immediately after I finished introducing myself. I went to Pr. Oster's Ofice, he was there, he welcomed me very warmly and I ended up taking a special studies project under his guidance. Several years later I remembered clearly that he may have thought he had another *crazy* Frenchman in his office albeit one *much crazier* than the average! During my stay at Iowa City (until 1983) I studied and worked with Pr. Oster He took me seriously enough to allow me to use some of his unissued tapes and publish some of my research based upon these recordings. He also always encouraged me when I was asking for help. Today, with my own students, I always try to remember how Pr. Oster reacted when *I* was asking him for help or advice. Mr. LeBlanc's notice brought back many warm memories indeed! Andre J.M. Prevos AXP7@psu.edu "Tout quelqu'un s'appelle moi fou Mais mon nom c'est Clifton Chenier." Clifton Chenier.. ========================================================================= Date: Fri, 12 Apr 1996 15:28:34 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Performer "mind-set". My $.02 I think Don C. hit it right on the head with all points. Let me throw my own experience in to the mix as well. What people respond to about my band are: first and foremost, we have fun on stage and it shows. Our brand of blues-performance is absolutely infectious. So when people react positively to you, and you to them, there's that performer/audience "gel" that happens, and from that you get respect. People compliment you, say their enjoying themselves, and you thank them for their kind words and for coming to see you. Secondly, we've found that people take you seriously when you look the part. As Don said, don't wear stuff that's not "you", but if you want to take your- self seriously and the audience to take you seriously as a blues performer, (or any kind of performer) look the part. Since my band plays Chicago blues from an era when the players all wore suits, we dress up. We have a "no jeans" rule, and typically we're all styled up in nice sharkskin suits or at least jacket and tie. But for LW playin' his National solo in a small room, obviously something else entirely would be more appropriate. But since visuals are a big chunk of performing, look pro and you'll feel pro. Even the rituals of set-up and sound-check add to the performer mindset. In a big, first-class club like the microbrewery where we played last night, where you are under casual or even intent scrutiny by the clientele as you lug all this gear in and set it up with light and sound man, we are casual and comfortable at all times but maintain a professional demeanor with the patrons of the bar and the staff, who are your best friends when you're looking to get booked back in there. It's putting on your "game face" as they say in sports. YOu wanna feel like a pro? Act like a pro. Our ritual goes like this. Show up early and ontime. Meet and greet the manager, which shows him/her the courtesy of checking in, and says "we respect you, you're our employer for the night, and we're here ready to work." Greet your wait-staff and bartenders, know them by name. Neatly and quickly set up your stage, do a short sound check. Leave the stage set up and looking like a professional set up. People are intrigued by how cool it is to see a big jumble of black cases, boxes, wires and cables becomes a musician's performing workspace. But only if you don't annoy them with endless drum-thumping and random noise in different keys from all the instruments at once. What should be a sound-check easily becomes a cacaphony of caterwalling. Then, if there's time, we disappear. Gone. All that's left is the ready-to-go stage with it's built-in anticipation that "some good music is gonna happen here, so stick around!". Little details count, for me, as part of the performer mindset. For instance, if I'm around, within eyesight of my gear or if I know a friend is keeping a close eye, I'll leave the guitars out, on stands, on a blackened stage with a just a single spotlight on them. Or, put the Astatic harp mike sitting on a stool, center stage, again with the single spotlight on it. Without hearing a note, it sends the message "blues is comin', and these guys look GOOD!" Then lastly, we re-appear, dressed up and looking good, confident and relaxed. Stroll through the crowd, get the nod from manager and sound man that all is well to go on, then hit the stage BIG. No dawdling on stage before the first number, just get up there, smile at them and at each other, and come out swingin. :) We like to open with the biggest attention-grabber we've got...a fast, cookin' instrumental swing number by Cornell Dupree called "Okie Dokie Stomp" which we know grabs you by the ears and says "look-y here's some bigtime blues now, let's have some fun tonight!" And that's it, "performer mindset" a la Riffin Rick. Any version of this for either a solo performer in a small cafe or a 7-piece swing band at The Apollo, doesn't matter. It's the artist's "game-face". To quote Chevy Chase in "Caddy Shack"..."Be the ball, Danny." Translated: Act pro, you'll be treated like a pro, and you will *BE* a pro! Riffin Rick (needin' coffee!) F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 12 Apr 1996 12:28:14 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: A TRIBUTE TO DR. HARRY OSTER 1) DISCOGRAPHY/BIBLIOGRAPHY SELECTED DISCOGRAPHY : THE HARRY OSTER RECORDINGS (corrections welcomed!) =========================================================================== ACE 261 : THE BLUES OF SMOKY BABE - HOTTEST BRAND GOIN' ACE CD 527 : SHAKE 'EM ON DOWN ARHOOLIE CD 346 : NEW ORLEANS JAZZ (4 cuts by Billie & DeDe Pierce) ARHOOLIE CD 348 : SNOOKS EAGLIN - COUNTRY BOY IN NEW ORLEANS ARHOOLIE CD 359 : FOLKSONGS OF THE LOUISIANA ACADIANS ARHOOLIE CD 360 : JESSE FULLER - FRISCO BOUND (6 FOLK-LYRIC cuts) ARHOOLIE CD 372 : COUNTRY NEGRO JAM SESSION ARHOOLIE CD 394 : ROBERT PETE WILLIAMS - V. 1 ARHOOLIE CD 395 : ROBERT PETE WILLIAMS - V. 2 ARHOOLIE CD 415 : WALLACE "CHEESE" READ - CAJUN HOUSE PARTY (12 cuts) ARHOOLIE CD 419 : ANGOLIA PRISON'S BLUES ARHOOLIE CD 440 : SMOKY BABE/HERMAN E. JOHNSON - LOUISIANA COUNTRY BLUES ARHOOLIE upcoming:ANGOLA PRISONERS BLUES ARHOOLIE upcoming:PRISON WORK SONGS ARHOOLIE upcoming:ANGOLA PRISON SPIRITUALS ARHOOLIE 1060 : HERMAN E. JOHNSON - LOUISIANA COUNTRY BLUES ARHOOLIE 2011 : ANGOLA PRISONER'S BLUES ARHOOLIE 2012 : PRISON WORKSHOPS ARHOOLIE 2014 : SNOOKS EAGLIN - POSSUM UP A SIMMON TREE ARHOOLIE 2015 : THOSE PRISON BLUES (w/ROBERT PETE WILLIAMS) ARHOOLIE 2016 : BILLIE & DEDE PIERCE - NEW ORLEANS JAZZ ARHOOLIE 2017 : REV. PEARLY BROWN - GEORGIA STREET SINGER ARHOOLIE 2018 : COUNTRY NEGRO JAM SESSION ARHOOLIE 2019 : SMOKY BABE & FRIENDS - HOT BLUES ARHOOLIE 5009 : FOLKSONGS OF THE LOUISIANA ACADIANS ARHOOLIE 5011 : SNUFFY JENKINS - CAROLINA BLUEGRASS ARHOOLIE 5015 : FOLKSONGS OF THE LOUISIANA ACADIANS V. 2 BLUESVILLE 1026 : ROBERT PETE WILLIAMS - FREE AGAIN BLUESVILLE 1046 : BLIND SNOOKS EAGLIN - THAT'S ALL RIGHT BLUESVILLE 1063 : THE BLUES OF SMOKY BABE - HOTTEST BRAND GOIN' COLLECTOR 1003 : ANGOLA PRISONER'S BLUES COLLECTOR 1006 : PRISON FOLK SONGS EVERETT/EDWARDS CASSETTE : HARRY OSTER - CAJUN FOLKLORE (Lectures,'79) EVERETT/EDWARDS CASSETTE : HARRY OSTER - THE PRISON IN FOLKLORE (Lectures,'79) FANTASY/OBC CD553 : ROBERT PETE WILLIAMS - FREE AGAIN FANTASY/OBC CD568 : BLIND SNOOKS EAGLIN - THAT'S ALL RIGHT FANTASY 24716 : RURAL BLUES - ROBERT PETE WILLIAMS/SNOOKS EAGLIN FLYRIGHT 545 : BUTCH CAGE - RAISE A RUKUS TONIGHT FLYRIGHT : JOHN & OLE MARSTER - CYCLE OF FOLKTALES FOLK-LYRIC 107 : SNOOKS EAGLIN - POSSUM UP A SIMMON TREE FOLK-LYRIC 108 : REV. PEARLY BROWN - GEORGIA STREET SINGER FOLK-LYRIC 109 : THOSE PRISON BLUES (w/ROBERT PETE WILLIAMS) FOLK-LYRIC 110 : BILLIE & DEDE PIERCE - NEW ORLEANS JAZZ FOLK-LYRIC 111 : COUNTRY NEGRO JAM SESSION FOLK-LYRIC 118 : SMOKY BABE & FRIENDS - HOT BLUES FOLK-LYRIC 124 : SYLVIA MARS - BLUES WALK RIGHT IN FOLK-LYRIC 126 : JESSE FULLER - GREATEST OF THE NEGRO MINSTRELS FOLK-LYRIC : BAYOU BLUEGRASS - THE LOUISIANA HONEYDRIPPERS FOLK-LYRIC : A. L. LLOYD - A SELECTION FROM ... BOOK OF ENGLISH FOLKSONGS FOLK-LYRIC : PEGGY SEEGER - SINGS AND PLAYS AMERICAN FOLKSONGS FOR BANJO FOLK-LYRIC : PRIMITIVE PIANO FOLK-LYRIC : JOHN BURGESS - THE ART OF THE BAGPIPE FOLK-LYRIC : BETSY MILLER & EWAN MACCOLL - A GARLAND OF SCOTS FOLKSONG FOLK-LYRIC : DOMINIC PEHAN - FINNEGAN'S WAKE & OTHER IRISH FOLKSONGS FOLK-LYRIC : PEGGY SEEGER - POPULAR BALLADS FOLK-LYRIC : EWAN MACCOLL - ROBERT BURNS : THE MERRY MUSES OF CALEDONIA FOLKWAYS 2476 : SNOOKS EAGLIN - NEW ORLEANS STREET SINGER HERITAGE 1002 : SNOOKS EAGLIN - MESSAGE FROM NEW ORLEANS LOUISIANA FOLKLORE SOC LFS A-1 : A SAMPLER OF LOUISIANA FOLKSONGS LOUISIANA FOLKLORE SOC LFS A-2 : LOUISIANA FOLKSONG JAMBALAYA LOUISIANA FOLKLORE SOC LFS A-3 : ANGOLA PRISONER'S BLUES LOUISIANA FOLKLORE SOC LFS A-4 : FOLKSONGS OF THE LOUISIANA ACADIANS LOUISIANA FOLKLORE SOC LFS A-5 : PRISON FOLK SONGS LOUISIANA FOLKLORE SOC LFS A-6 : ANGOLA PRISON SPIRITUALS NATIONAL GEOGRAPHIC SOCIETY : STEAMBOAT'S A-COMIN' (1976) PRESTIGE 7808 : ROBERT PETE WILLIAMS - FREE AGAIN 77LA12/12 : SMOKY BABE & FRIENDS - HOT BLUES 77LA12/13 : ANGOLA PRISON SPIRITUALS 77LA12/17 : THOSE PRISON BLUES (w/ROBERT PETE WILLIAMS) STORYVILLE 119 : SNOOKS EAGLIN - BLUES FROM NEW ORLEANS V.1 STORYVILLE 125 : SOUTHERN PRISON BLUES STORYVILLE 129 : COUNTRY BLUES STORYVILLE 135 : ROBERT PETE WILLIAMS STORYVILLE 140 : SNOOKS EAGLIN - BLUES FROM NEW ORLEANS V.2 STORYVILLE 146 : SNOOKS EAGLIN - PORTRAIT IN BLUES V. 1 STORYVILLE 179 : SNOOKS EAGLIN - NEW ORLEANS BLUES STORYVILLE 670119 : SNOOKS EAGLIN - BLUES FROM NEW ORLEANS V.1 STORYVILLE 616002 : SOUTHERN PRISON BLUES TRADITION 2006 : SOUTHERN PRISON BLUES UNIV OF IOWA PRESS : FOLK VOICES OF IOWA (1965) VANGUARD 9136 : ROOSEVELT CHARLES - BLUES, PRAYER, WORK & TROUBLE SONGS XTRA 5051 : BLIND SNOOKS EAGLIN - THAT'S ALL RIGHT =========================================================================== BIBLIOGRAPHY (very selected) ============ Groom, Bob. "Smoky Babe: Hottest Brand Going", Blues & Rhythm #96 (1995) Oster, Harry. "The Afro-American Folktale In Memphis : Theme And Function", Negro American Literature Forum 3 (1969):83-87 Oster, Harry. "Background Of The Blues", In: "Black America", edited by John E. Szwed (1970):143-157 Oster, Harry. Folk Voices In Iowa (Univ. of Iowa Press, 1965) Oster, Harry. "Klezmer Music : Its Sources And Spirit", Hancher Presents, Iowa Center for the Arts (1988) Oster, Harry. "La Tradition Musicale Folklorique Francaise Chez les Noirs de la Louisiane : Continuitie & Innovation", Identitie Culturelle et Francophone Dans Les Ameriques, Centre International De Recherche sur le Bilinguisme, Quebec, Canada (1980) Oster, Harry. "Negro French Spirituals of Louisiana", Journal Of The International Folk Music Council (1962) Oster, Harry. "Negro Work Songs Recently Recorded at Angola", The McNeese Review (1960) Oster, Harry. "Prisoner's Talking Blues", The Blues, The Hague (1961) Oster, Harry. "The Blues As A Genre", Genre 2, #3 (1969):259-274 Oster, Harry. "The Evolution Of Folk-Lyric Records", Blues & Rhythm #95 (1995) Oster, Harry. "The Evolution Of Folk-Lyric Records", JEMF Quarterly (1978) Oster, Harry. "The Rabbit And The Tar Baby", In: "Thrice Told Tales", edited by K. S. Goldstein & D. B. Amos (1970) Oster, Harry. Living Country Blues (Folklore Associates, 1969) Oster, Harry. "Negro Humor : John and Old Marster", Journal Of The Folklore Institute 5, #1 (1968):42-57 Smith, Chris. "Oster's Blues" (BBC Thee series), Blues & Rhythm #99 (1995) Ranko Vujosevic. "Interview with Dr. Harry Oster", Blues Notes, The Johnson County Blues Society (1995) ========================================================================= Date: Fri, 12 Apr 1996 15:49:06 -0500 Reply-To: MARCIAG@VMS.CIS.PITT.EDU From: Marcia Grodsky Subject: Blues-L T Shirts I've had about a half dozen inquiries in the past few days about doing another t-shirt order. I personally doubt if there are enough people who don't have them and still want them to warrant another order at this point, but I may be wrong. I think the minimum order is 4 or 5 dozen. Those people who are interested can send me private e-mail, and I'll make a decision in a week or so. ---Marcia Grodsky marciag@vms.cis.pitt.edu ========================================================================= Date: Fri, 12 Apr 1996 15:54:12 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Performer "mind-set". My $.02 Comments: To: MILLER@SCI.WFBR.EDU Rick, this is unrelated, really, to your "performing advice", which was great. Just this note... > We like to open with the biggest attention-grabber we've got...a > fast, cookin' instrumental swing number by Cornell Dupree called "Okie Dokie > Stomp" which we know grabs you by the ears and says "look-y here's some bigtime > blues now, let's have some fun tonight!" Although I know and like Cornell Dupree, "Okie Dokie Stomp" was first recorded by Clarence "Gatemouth" Brown in 1954. It was actually written by Gate's trombone player, Pluma Davis. It was named after a local DJ named "Okie Dokie" The original version is available on Rounder CD 2039 "Clarence "Gatemouth" Brown - The Original Peacock Recordings". Our Blues-l buddy, Dick Shurman, wrote the excellent liner notes. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ If you pick up a starving dog and make him prosperous, he will not bite you. This is the principal difference between a dog and a man. - Mark Twain ========================================================================= Date: Fri, 12 Apr 1996 22:52:20 +0300 Reply-To: T P Uschanov From: T P Uschanov Subject: Re: Jack, That Cat Was Clean (Dr. Horse) Comments: To: Richard Shurman In-Reply-To: On Thu, 11 Apr 1996, Richard Shurman wrote: > "Doc" Horse is the featured vocalist on a Sammy Price LP called "The Blues > Ain't Nothin'..." sorry I can't recall the label but maybe someone out in > cyberspace can provide that information. The label was Kapp (London in the UK), probably the unlikeliest blues label in history! I think Price and Horse actually made two Kapp LPs together. T P Uschanov, University of Helsinki, Finland, European Union tuschano@cc.helsinki.fi ### http://www.helsinki.fi/~tuschano/ "Life is good in the greenhouse." (XTC) ========================================================================= Date: Fri, 12 Apr 1996 16:05:31 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Buzzy Linhart Comments: To: PHWoolfman@aol.com On 12 Apr 96, PHWoolfman@aol.com had this to say: > Wow, does this bring back memories: in the mid-70s I was a really big Buzzy > Linhart fan - had a double LP which was appropriated by an ex-wife. This > record included a great song called "Talk About a Morning" which I convinced > my band at that time to cover. Also another great tune "Willie Jean"; I > don't know exactly who wrote that one, since it first came to my attention on > the first Blues Magoos...{yeah, I know, but I was about 18 and thought they > were really cool) album as "Sometimes I Think About". Does anybody know > anything about this song? > > Anyway, I remember seeing Buzzy at UMBC on a bill with Randy California and > Nils Lofgrin, and also at a place in Joppaville called "Four Corners" wher I > attempted to soak up the courage to ask Buzzy to take me on as his lead > guitarist. I didn't ask, for the same reason that I couldn't talk to Larry > Coryell when I had the chance. I thought the song Buzzy was best known for > was "Pussycats can go Far" form the LP of the same name. Would love to know > what he's been doing. > > Pete "Still Playing and Hiding in Hampstead" > Wulforst "Talk About A Morning" was the first song I ever heard of his, and I stopped my car so as not to miss the artists name. The DJ never said who it was, and I spent a year singing the line "I guess I'll sing another line" to everyone I met, trying to find out who recorded it. Incidentally, that is the song I sang back-up to at Gerde's Folk City. Damn it. Now I'm going to have to hook up my old turntable. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ If you pick up a starving dog and make him prosperous, he will not bite you. This is the principal difference between a dog and a man. - Mark Twain ========================================================================= Date: Fri, 12 Apr 1996 16:02:09 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re: Duanne Allman ??? Comments: To: ISTS024@UABDPO.BITNET It's Friday afternoon, and the Editor Demon in me is winning the battle and MUST GET OUT!!! Who is Duanne Allman, exactly? Duane's twin sister??? Shannon (I'm blonde, and therefore easily confused.) ========================================================================= Date: Fri, 12 Apr 1996 15:14:09 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: Duanne Allman ??? In-Reply-To: Message of Fri, 12 Apr 1996 16:02:09 EST from On Fri, 12 Apr 1996 16:02:09 EST shannon oconnor said: > It's Friday afternoon, and the Editor Demon in me is winning the > battle and MUST GET OUT!!! > > Who is Duanne Allman, exactly? Duane's twin sister??? My keyboard has a stcky nnnnnnnn annnnnnnnnnnnd sometimes it gets stuck. I really cannnnnnn't do a lot about it. Maybe they will get me a nnnnnnn ew onnnnnnnne but I doubt it LW ========================================================================= Date: Fri, 12 Apr 1996 13:28:17 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Performing LW wrote: >My cousin PW said BB said that no one wants to pay their money to see someone >who looks like they have been working in the yard. (usually what I look like) >Dress up a little out of respect for the audience...When I look at it that way >I can look a little better. I agree with PW (and BB) on this one. A lot of the classic blues photos that I've seen have been of the performers dressed up in flash suits, with the best one I've seen being of Junior Wells looking ultra cool in a beautiful suit and tie, performing (I don't think it's one of those publicity photos - it's in one of the Blues Masters booklets). I saw Colin James play with the Little Big Band - he had a tux on, and man, did he look classy. Another example is Pinetop, who I've seen a couple of times, wearing a real nice suit and a great hat. I always prefer to see someone up on stage who looks sharp, and as if he put some effort into his appearance, and if I can ever get another band together, that's how I'll present myself. Just IMHO, of course! -Jim (hndfuL@uniserve.com) ------------------------------------------------------------ Check out 'Heart and Soul', a new hour of blues, gospel, and jazz every week on SDF-Net Community Radio - http://sdf-radio.colossus.net. ------------------------------------------------------------ ========================================================================= Date: Sat, 13 Apr 1996 03:33:17 -0400 Reply-To: "J. W. Patterson" From: "J. W. Patterson" Subject: DUANE ALLMAN LW wrote the list today "Who is Duanne Allman?" Spelling not with standing, surely you jest? jwp ========================================================================= Date: Fri, 12 Apr 1996 13:42:16 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: A performer/entertainer mindset Some advice given to LW was: >>2. Be confident, but not arrogant. OK, I agree that this is good advice, but I have a question - how??? (to be confident, that is). When I play in front of others, I get rather self conscious, I start to perspire like Tom Jones after a five mile run, and I get thoughts like 'Shit, I'm not very good and these people are watching me stand up here sweating, not listening to the music.' At the same time, it is an exhilirating experience to play in front of an audience (strange how that works :-) So to you performers out there, do you experience stage fright, and if so, what do you do about it? -Jim (hndful@uniserve.com) ------------------------------------------------------------ Check out 'Heart and Soul', a new hour of blues, gospel, and jazz every week on SDF-Net Community Radio - http://sdf-radio.colossus.net. ------------------------------------------------------------ ========================================================================= Date: Fri, 12 Apr 1996 15:40:52 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: A performer/entertainer mindset In-Reply-To: Message of Fri, 12 Apr 1996 13:42:16 -0800 from On Fri, 12 Apr 1996 13:42:16 -0800 Jim Witteveen said: >>>2. Be confident, but not arrogant. > >OK, I agree that this is good advice, but I have a question - how??? (to be >confident, that is). When I play in front of others, I get rather self >conscious, I start to perspire like Tom Jones after a five mile run, and I >get thoughts like 'Shit, I'm not very good and these people are watching me >stand up here sweating, not listening to the music.' At the same time, it >is an exhilirating experience to play in front of an audience (strange how >that works :-) So to you performers out there, do you experience stage >fright, and if so, what do you do about it? I couldn't help but recall what CSN&Y said at Woodstock, something like "this is our first gig and we scared shitless"...(was it CSN&Y..??) LW ========================================================================= Date: Fri, 12 Apr 1996 16:03:52 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 04/13 B O R N : 04/13 Abraham, Little Chink (Martin Abraham JR.) 04 13 1908 NEW ORLEANS, LA BASS / GUITAR TRAD / JAZZ Sharkey / Santo Pecora / Dukes of Dixieland IN 40'S & 50'S CHARLES, TEDDY ( THEODORE CHARLES COHEN ) 04 13 1928 CHICOPEE FALLS, MA VIBES / LEADER / COMPOSER JAZZ Bob Astor / Randy Brooks / Chubby Jackson / Buddy DeFranco / Artie Shaw DANIELS, MIKE 04 13 1928 STANMORE, MIDDLESEX, UK TRUMPET / LEADER TRAD / JAZZ JOHN BARNES / GORDON BLUNDY / JOHN CHILTON / KEITH NICHOLS / DES BACON / ARTHUR FRYATT DUNN, ROY 04 13 1922 EATONTON, GA GUITAR / HARMONICA BLUES RAINBOW GOSPEL FOUR / BLIND WILLIE McTELL / CURLEY WEAVER / BUDDY MOSS FREEMAN, BUD ( LAWRENCE FREEMAN ) 04 13 1906 CHICAGO, IL TENOR SAX / LEADER JAZZ / BIG BAND Austin Hlgh Gang / Husk O'Hare / Jimmy McPartland / Frank Teschmacher / Art Kassel / Ben Pollack / Joe Haymes / Ray Noble / Tommy Dorsey / Benny Goodman / Joe Marsala / Eddie Condon / Buck Clayton / Gene Gifford / Wingy Manone / Mezz Mezzrow / Adrian Rollini / Lee Wiley / Muggsy Spanier / Jess Stacy / Jack Teagarden / Joe Venuti / Teddy Wilson / World's Greatest Jazz JONES, RUSTY ( ISHAM RUSSELL II ) 04 13 1932 CEDER RAPIDS, IA DRUMMER JAZZ J.R.MONTROSE / JUDY ROBERTS 1968-72 / GEORGE SHEARING 1972-78 / LEE KONITZ / MOSE ALLISON / MONTY ALEXANDER JONES, RUSTY ( ISHAM RUSSELL II ) 04 13 1932 CEDER RAPIDS, IA DRUMMER JAZZ J.R.MONTROSE / JUDY ROBERTS 1968-72 / GEORGE SHEARING 1972-78 / LEE KONITZ / MOSE ALLISON / MONTY ALEXANDER JONES, SLICK ( WILMORE JONES ) 04 13 1907 ROANOKE, VA DRUMMER JAZZ / BIG BAND Fats Waller / Fletcher Henderson / Stuff Smith / Una Mae Carlisle / Eddie South / Louis Jordan / Claude Hopkins / Hazel Scott / Don Redman / Gene Sedric / Wilbur DeParis / Doc Cheatham / Eddie Durham La PORTA, JOHN ( JOHN D La PORTA ) 04 13 1920 PHILADELPHIA, PA ALTO SAX / CLARINET / ARRANGER JAZZ / BIG BAND Bob Chester / Dick Himber / Ray McKinley / Woody Herman / Lennie Tristano LEVY, DAVID MICHAEL (DAVE) 04 13 1936 HOBART, TAS, AUSTRALIA PIANO / COMPOSER / ARRANGER / LEADER JAZZ 1964-67 in Europe, and England / 1965 Jimmy Witherspoon / Back in Sydney / Ray Price / Four Kinsmen 1981 / Daryl Somers 1979-82 / Mike Hallam / Bob Barnard / Dick Hughes / The Last Straw / Ken James's Reunion / Phingus (modern) / Hot Phingus (traditional) MARSHELL, EDDIE 04 13 1938 SPRINGFIELD, MA DRUMMER JAZZ SAM RIVERS / STAN GETZ / CHARLIE MARIANO / TOSHIKO AKIYOSHI 1961 / MIKE NOCK / DEXTER GORDON / GEORGE BENSON / JOHM KLEMMER 1972 / BOBBY HUTCHERSON 1974-8 / KENNY BURRELL / JON HENDRICKS / LARRY VUKOVICH 1981 / BRUCE FORMAN 1984 MURPHY, ROSE ( CHEE CHEE ) 04 13 1913 XENIA, OH SINGER JAZZ / BIG BAND MAJOR HOLLY Stewart, Alonzo 04 13 1919 NEW ORLEANS, LA DRUMMER TRAD / JAZZ / blues Preservation Hall / Kid Thomas / Harold Dejan STUART, KIRK (CHARLIES KINCHELOE ) 04 13 1934 CHARLESTON, WV PIANO / COMPOSER / TEACHER JAZZ WILLIAMS, BEARCAT ( JOHN OVERTON ) 04 13 1905 MEMPHIS, TN TENOR SAX / CLARINET JAZZ /BLUES ANDY KRK FOR A LISTING OF THOSE THAT PASSED AWAY IN THIS MONTH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Fri, 12 Apr 1996 14:45:37 -0700 Reply-To: "John D. Sullivan" From: "John D. Sullivan" Organization: Sun Studio Subject: An educated opinion Shannon O'Conner wrote: >"In my experience, music does NOT have to be a performance. Playing > music can be a way of exploring your own soul/inner self. It can be a > form of meditation, of personal strength, of clarification, of >de-stressing and relaxation, of escape, of communion with God, > whatever. Not every "musician's" goal is to perform for other people. > Some very, very, very excellent musicians play soley for themselves. > And are quite content to do so. Comparing this sort of > self-expression as "masturbation" puts a very one-dimensional limit on > a very convoluted thing." I once heard jerry garcia quote someone by saying that going on stage is an "excruciating orgasms of self-assertion". MMMMM John Sullivan Sun Studio Hey Shannon. How's Sonny. Good record, you think? ========================================================================= Date: Fri, 12 Apr 1996 17:15:40 -0400 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: On this day... P.W. said: >On this day in 1633, Galileo went on trial in Rome and was >threatened by the Purists... I mean... by the Inquisition with >torture on the rack if he refused to retract his defense of the >Copernican idea that the sun is the center of the universe and the >earth a movable planet. Galileo signed a retraction and was allowed >to live confined to his home outside Florence for the remaining 9 >years of his life. So basically you're saying ol' Copie sold out, right? ;-) Karen ========================================================================= Date: Fri, 12 Apr 1996 17:15:42 -0400 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: tuba music Didn't I hear a tuba on a Taj Mahal song once? Or am I imagining it? (Sorry, don't have any Taj Majal recordings.) (Geez...you can't have everything all at once!!!) Karen ========================================================================= Date: Fri, 12 Apr 1996 14:18:47 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: A TRIBUTE TO DR. HARRY OSTER 3) INTERVIEW I (EARLY YEARS) Interview With Dr. Harry Oster - June 21 and 26, 1995 By Ranko Vujosevic ============================================================================= For a 73 year old, Dr. Harry Oster is quite an active person. I got to talk to him yesterday and he was in between a couple of rehearsals, playing guitar in community bands. He's been also recently involved in recording some local blues artists for the presentation of Iowa musical heritage to be held in Washington DC this summer. On my tip that he should definitelly go and see Kevin Burt (I wrote about him on Blues-L on several ocassions), Dr. Oster picked-up his DAT machine and went to a local bar to record Kevin in an intimate setting. He really liked Kevin and his mighty soulful voice. He sent the tape and Kevin was selected as one of artists in Iowa delegation. Dr. Oster called me to tell me news and was quite exciting about it. The spirit that had driven him to discover and record all those wonderful albums for his Folk-Lyric label is still alive. He also recorded Catfish Keith alive his last concert organized by our Blues Society. Catfish was overwhelmed by the quality of recording and intend to include some of songs from that concert on a live album he plans to release soon. Dr. Oster also told me that he was invited to be the editor of Encyclopedia of American Folklore to be published next year. I told him about Blues-L gathering in Saint-Louis in September and he agreed that we talk about that later in summer and try to organize a trip to go together. If we plan presentations, he would be more than happy to give his talk on "talking blues" and his recordings. He recently sent three tapes to Arhoolie (for those not familiar, Arhoolie bought his Folk-Lyric label in early seventies) with Angola Prisoners Blues, Prison Work Songs, and Angola Prison Spirituals. He would also like to prepare a tape of one of his discoveries, Emanuel Dunn, and send to Arhoolie. What follows is a re-post of an interview I did with Dr Harry Oster last year This is an extended version of the interview originally posted on Blues-L. Happy Birthday Dr. Harry Oster Ranko Vujosevic Iowa City Blues Notes: Did your parents have any influence on your interest to folkmusic? Harry Oster: Probably not. My father and mother were both Jewish immigrants from Russia. My father came to America before the World War I and my mother after the World War I. They were married in Europe and were separated by the war. It took about ten years before they got together again. They were Orthodox Jewish actually, and not really in all tune with American culture. BN: You served in Air Force during the World War II. What kind of duties did you perform? HO: I was in the weather branch of the Air Force. I did go to Pacific and I was in the area that was theoretically combat zone because B-29s would take off from there and bomb Japan and come back. I was part of the group that was concerned with weather prediction for them. I did not do prediction, I gathered information. BN: You graduated from Harvard University, majoring in English, in 1946. Did you start developing your interest for the folk culture during your Harvard years? HO: It was after I graduated from Harvard. I went to the Columbia's School of Business in New York and there I started to get involved in folk music. I was part of the group that specialized in singing Yiddish folk songs and the leader of the group, son of a professional cantor I worked with in Roxbury for a couple of holidays, told me to pick up a guitar and learn how to play. I was more of a singer than player. Performing folk songs seamed a natural niche for me. I am not a gifted musician by any means, but that seem to be within my range of possibilities in terms of being able to perform things that people enjoy hearing. BN: What happened after graduating from Columbia? HO: Well, I tried to get job in business. I was management apprentice in = a factory. I got tired of that and I tried to teach business for a while. I thought Economics and Industrial Management in the Business College of Syracuse University for one year. While I was at Syracuse University, there was a student in one of my classes who was radio engineer in a local radio station and he encouraged me to audition for the radio station. BN: As a DJ? HO: No, as a performer, to do a radio program at 6:30 in the morning. And then, the public relations director there, who was getting out a booklet of special lectures, listed me doing a program called "America in Song and Story." I got a lot of pleasure out of doing that and eventually I decided I want to do something in the folklore specialty. I didn't wanna teach business subjects. BN: That's why you decided to go back to school? HO: Yes. In 1949 I went to Cornell University to study English and Folk Literature. I was the assistant to the professor who was folklorist in a large class with a 150-180 students, called "American Folklore Literature." Halfway through the class he had a stroke and I ended up teaching the course, which was kinda extraordinary jump. Besides that, I was taking the course myself for credit. I had access to his office and his books. I had to work very hard and spent enormous amount of time preparing lectures. He recovered later, and he would suggest me when people invited him to speak. I did various musical programs and some teacher's associations, and some state-wide events. So, I got some good experience making public appearances. BN: What was the topic of your doctoral research in Cornell? HO: I did research on three poets who wrote poetry for existing traditional folk music. One was a writer from 17th century named Thomas Durfey, the other was Robert Burns from 18th century, and the third was Thomas Moore, the Irish writer from 19th century. That was my Ph.D. thesis. After graduating from Cornell, I thought for a couple of years in University of Toledo. I did some collecting but nothing very elaborate. Then that job ran out, we did not get along too well, and I started looking around for a job. It turned out to be a job at the Louisiana State University in Baton Rouge. They had an opening for a freshman English instructor. I wanted to go near New Orleans. That scene seamed very colorful, attractive and interesting. So I went there. BN: How did you get involved in collecting folk art in LSU? HO: They had a special series of lectures to introduce faculty to a larger public and I did a first one on English child ballads and American counterparts. I did a concert and gave a background as well. One of the professors asked me whether I thought about collecting folk in Louisiana and that I should apply to the Graduate Council and get a grant to subsidize collecting. So I applied for a summer grant and got $500 to collect folk music in Louisiana. I had very little experience then, but somehow I got an idea that it would be good to have a professional tape recorder. I bought an used portable Ampax 600, which was used by radio stations for location reporting. So I started looking for material. First, I couldn't find anything, but after some time I started finding great many things. Some of them quite offbeat and unusual. BN: You were collecting different folk music? HO: Yes. I am sort of a universal pursuer, rather than a highly specialized one. The work I have done that gained most attention was in blues and Cajun music, but I also did Anglo-American music, bluegrass and old time country music. I did some recording in Mexico at one stage. I tried to collect folk art from different ethic groups in Louisiana. BN: How did you go about finding folk music you wanted to record? HO: One contact was through students of mine, who came from all over the state. There were also some people in faculty who were native of the state, who grown up in a particular area which hosted a particular kind of music. Actually, I sort of stumbled on lead in lot of different ways. In one case there was a folk festival in South West Louisiana and Pete Seeger was supposed to appear there. But he was in trouble with the House of American Affairs Committee. One of the officials, which was Louisiana senator or representative, I don't know, was also invited to the festival and he said that if Seeger was allowed to appear on that stage he wouldn't want to have anything with that. So Pete Seeger had to back out. That folk festival was one of those sponsored by Sarah Gartrude Knott who produced folk festivals in different parts of the country. She was from, I think either from Saint Louis or Kansas City, I don' t remember exactly now, but while I was there was a group from a Cajun town of Grand Mamou and I met them. I guess she told them I was a folklorist and they said that they wanted somebody to preserve and study what they were doing and invited me to come to visit them. So I started going to visit them and that was really authentic Cajun music done without amplification, performed in peoples houses and parties. While doing this it occurs to me that I should really do a record, this was a fascinated stuff that needed to be preserved. It was called "The Sampler of Louisiana Folk Songs." It included some numbers from different folk traditions such as Cajun, Afro-French, mainstream French, Anglo-American, and Afro-American. There are some very unusual things on that album, including one Mardi Grass song derived from a French drinking song. I just copied tapes onto a master tape. I did not know much about producing albums and did not know you had to have leader between different numbers so it all came out without any space between numbers. I pressed only 100 copies of that sampler at that time. I had so much fun in doing that so I decided to issue more albums. BN: The album was released on your own record label? HO: Actually, it was released by the Louisiana Folklore Society, which I started together with two other people in the English department. My first albums were publications of the Folklore Society. That gave it some sort of dignity and official sponsors hip. It did not include any money on the societies part, I did covered all expenses on my own. In late 1959, I switched from Louisiana Folklore Society to issuing records on my own label, Folk-Lyric. BN: Did you receive some more grants for your field recordings? HO: I received more grants, I guess for another three summers. BN: How did start recording country blues artists? HO: I've always been fascinated with black worksongs, group work songs, and I had heard that they were essentially extinct in the regular world because of mechanization of farming, and the only place to find them would be in southern prison farms. I decided it would be a good idea to do some recordings in the prison camp in Angola, and I made my first trip there in 1957. BN: Did you look for a particular person? HO: No. I actually operated rather differently than some of people who've found old time blues singers. Usually they track down someone who recorded in '20s or 0s and disappear from sight for a while. I sort of went about it in a quite different way, which in fact produced some interestingly different results, more offbeat performances and more unusual repertoire. Anyhow, I talked to a psychologist who'd done some research in a prison and he suggested I go see the head of institutions for the state and get his permission to get access to the prison and ask him to spell out the specific privileges that I wanted to have, lot of which should be the right to call out a specific convicts, in other words, to get someone excused from work for the day or afternoon so he could be interviewed and recorded by me. The head of institution was quite cooperative and friendly, probably influenced by the fact that I was teaching in a state university. He wrote to the warden and asked him to cooperate with me. The warden was cooperative too and he suggested the good way to proceed would be to start with the recreational director and go down from there. They had a choir of black singers who did spirituals and he said that would be a good place to make contacts. I started there and they gave me some leads on prison work songs and I started going into the different camps. These camps were not maximum security camps and people worked in fields in in daytime. BN: Did inmates have any musical instruments? HO: They could. Actually, I brought a guitar for playing, and eventually gave away guitars to three of them, Robert Pete Williams, Hogman Maxey, and Guitar Welch. The younger prisoners scorned worksongs, they said that was for slavery time. They listened to rhythm and blues, gospel, and rock and roll was coming in. BN: How did you go about recording worksongs? HO: I started meeting them in different camps. The authorities would assign me a room and I found enough worksong material to do a record. I had to stage it in a sense of putting them together. Some interesting materials came out and some very talented people. One of them was Roosevelt Charles, who was one of the most gifted people I found. I did a record with him for Vanguard Records. On that album he was accompanied on guitar by another convict named Otis Webster. Anyhow, while I was doing that I begun to cpme across people who did a lot of blues, and also I worked on people who did a lot of spirituals. I recorded some unusual things such as men singing while operating a stamping machine which makes kinda musical sound. I also visited the women's section of the prison. I heard there were women singing as they were working on sawing machines. I included a couple of tracks of a woman singing as she works on a sawing. It's quite fascinating material. ========================================================================= Date: Fri, 12 Apr 1996 17:43:18 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: A performer/entertainer mindset Comments: To: Jim Witteveen On 12 Apr 96, Jim Witteveen had this to say: > Some advice given to LW was: > > >>2. Be confident, but not arrogant. > > OK, I agree that this is good advice, but I have a question - how??? (to be > confident, that is). When I play in front of others, I get rather self > conscious, I start to perspire like Tom Jones after a five mile run, and I > get thoughts like 'Shit, I'm not very good and these people are watching me > stand up here sweating, not listening to the music.' At the same time, it > is an exhilirating experience to play in front of an audience (strange how > that works :-) So to you performers out there, do you experience stage > fright, and if so, what do you do about it? Everybody is subject to stage fright. The only way to minimize it is to be prepared. Before every performance you should do a lot of mental visualization. Going over the performance in your mind. Thinking about what you are going to do, and say. Try to visualize doing it. Try to visualize how great you are going to be because you have done all this preparation. Stage fright is a very bad thing for your performance. If it gets going your body starts pumping adrenalin into your blood stream. Adrenalin is a wonderful thing if you are planning to run real fast from the object of your fears, because all your energy resources get focused on your large muscle groups, which are very good at that. But to play an instrument or sing a melody, you need to have control over your "fine" muscles, which is exactly what you don't have at all if there is adrenalin coursing through your veins. As you begin to lose control of the fine muscles, your panic worsens and more adrenalin gets pumped. It is a viscious cycle if it gets out of control. I suffered an absolutely paralizing attack of stage fright one night when I least expected it. Just before performing I felt calm, relaxed, and confident. I was among many good supportive friends. But just as the music started, so did the anxiety. It was the worst attack of my life. I almost couldn't grip the guitar. Now I think it happened precisely because I wasn't nervous before going on. I wasn't even THINKING about playing. I've come to look at the low level nervousness I have nearly all day prior to a gig to be my friend, reminding me to prepare mentally. Making me go over everything in my mind, so that I'm ready later on. I call it "game day", and all day I'm concentrating part of my mind on the coming evening. After the episode I described, a great friend and mentor gave me a book called "Tone Deaf and All Thumbs" which is a book about stage fright by a scientist/pianist who studied it extensively. He found no cure. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ If you pick up a starving dog and make him prosperous, he will not bite you. This is the principal difference between a dog and a man. - Mark Twain ========================================================================= Date: Fri, 12 Apr 1996 15:16:38 -0400 Reply-To: PHWoolfman@AOL.COM From: Pete Wulforst en on the list about a month and a half, and have periodically expressed my opinion on this and that. Out of everything I have read so far, this post comes the closest to expresing what I have been trying to say when I touted Jackie McLean, George Adams, Warren Haynes, and, yes, even Iggy Pop. Sonny Sharrock's passing has left a void that may never be filled. He could (and did) play as savagely and as beautifully as anyone I have ever heard. I saw him a couple of summers ago in D.C.(Pharoah Sanders was in his band!!!), and even managed to scramble up and retrieve one of his many mulilated picks. I'm sure there are many guitarists out there who would trash Sonny as being sloppy, having little technique, etc, but they would have missed the point; he loved to take chances, and was willing to deal with possibility that some of his ideas might not work out perfectly. His playing was alternately yearning and burning, and like Carlos Santana's was drenched in the blues, without being specifically delivered within a strict blues framework. At one point when I saw Sonny, he got enthusiastic and decided to slide his strings along the side of one of the band's monitors, which promptly tumbled over, threatening to take Sonny with it. He just grinned , and at the end of the song said "Kids, don't try that at home." He is missed. Sorry for being long-winded. I recommend "Ask the Ages" (with Pharoah, and "Seize the Moment" as his strongest. One caveat: these are not blues per se, and Sonny doesn't sound like anyone else. I understand that, at the time of Sonny's death a major label?? was ready to record Sonny - he was to be marketed as "The Godfather of Grunge". Hey, whatever works.. Pete Wulforst - sequestered guitarist in Hampstead Md ========================================================================= Date: Fri, 12 Apr 1996 17:04:25 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Purists and such My minor contribution to the extended "purist" thread. Regardless of what the word "purist" actually means, it has only one common usage in blues circles. If blues-fan "A" calls blues-fan "B" a purist, then you can be 100% certain that "A" prefers rock-blues and "B" doesn't. The term is virtually never used in any other context. Ironically, if the discussion turns to soul blues, it is equally certain that "A" will be among the first to declare "that's not blues!" Note that I am not talking about all rock-blues fans here: only those who use the term "purist" as an epithet. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Fri, 12 Apr 1996 17:04:25 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Toronto -- Silver Dollar reborn Good news for Toronto area blues fans. The Silver Dollar, which closed a couple of months back, will reopen under new ownership this next week. The club will resume its policy of booking U.S. touring acts -- the booker is Gary Kendall, who is one of the best -- and the opening act will be AC Reed. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Fri, 12 Apr 1996 15:06:02 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: A TRIBUTE TO DR. HARRY OSTER 4) INTERVIEW II (ANGOLA, FOLK-LYRIC) BN: How many times did you go to Angola prison? How many days did=20 you spend there? HO: I don't know, really. I would go early in the morning and stay all day. Angola prison was just about 50 miles away. BN: Were prisoners willing to sing for you? Was it a good chance for them to get away from the hard work in the fields? HO: Yes, I suppose that and also if a white from outside was there cooperation with authorities, maybe it would do them good one way or another. BN: You recorded blues singers outside prisons too. For example, tell us how you met and recorded Snooks Eaglin? HO: I heard of him through Richard B. Allen who was first associate curator and then curator of the Jazz Archive in the Tulane University. He had encountered Snooks Eaglin who was young blind man singing on the porch of his house. Snooks Eaglin was different than performers like Robert Pete Williams for example. He actually was not a real specialist in blues, he was a popular performer and he wanted to be more popular. And he was. But he could do a lot of blues and he had a wonderful memory. His father said that he didn't really make up songs. He was like a mockingbird, he had everybody's song but his own. Anyhow, I did a tape of him and send it to Electra. Electra decided it wasn't the kind of thing they could profitable issue and they sold it to Folkways which issued it. Later I did another album with him for Prestige and a company in England. BN: What kind of equipment did you use to record? HO: The first machine I had was a monaural machine. Later on I got a Ampex 600. Later I got a stereo Tandberg and I used two microphones. I used an Ultravoice 664 which is directional microphone and a Shure 55S which is also directional. I used very close mikeing. BN: As you said, in 1959 you started up your own recording label, Folk-Lyric. How did you do printing records, distribution, promotion, and things like that? HO: Eventually I heard that RCA had a customs pressing plant in Indianapolis and I started sending stuff to them and getting stuff professionally printed. I would send out review copies to major newspapers like New York Times, Down Beat Magazine, Saturday Review, and some newspapers. They gave them good attention and I got in touch with some distributors. My label was essentially one-man operation. I would find performers, record them, edit the tapes, take photographs, write liner notes, etc. I would generally press about 300 copies. I borrowed $5,000 from a bank to subsidize the operation. I also did some assignments for other companies, and that helped finance it also. I did one record for Elektra which was eventually sold to Folkways. I did some for Prestige Bluesville and Prestige International. BN: What was your major motivation for getting into that kind of business? HO: I just enjoyed doing records. It was exciting and fascinating and engaging. I wasn't trying to get rich doing that, actually I tried to avoid loosing money. BN: What made you leave Louisiana State University to come here in Iowa City? HO: Well, collecting and recording parts were very rewarding and gave me reputation, but they did not really see where I fit in the English Department. They did not think folk music was something they should teach. I did get to teach one course one semester which was open only to graduate students. I got Guggenheim scholarship in 1960 to write Living Country Blues book [published in 1969 by Gale Research and Folklore Associates, and republished in paperback by Minerva Press in 1975] and was away for one year. When I came back, they still had me assigned to the same very basic courses I was teaching, freshmen Composition and sophomore Literature and I decided to look for a job where they wanted a folklorist. They did wanted one at the University of Iowa. So, when I switched I did not have as much impulse to do records, I sort of said what I wanted to say. Sometime after that, two different people approached my about buying my record company. Someone from a one-man record company from South Caroline, and the other was Chris Strachwitz. Anyway, Chris came here and offered to buy the company and I sold it to him. BN: Have you known Chris Strachwitz before he offered to buy you label? HO: I was a visiting professor in Le-Moyne College, a small black liberalarts college in Memphis in 1969. Chris was in Memphis around that time and I met him and he gave me some leads for recording people. He was doing some work in Louisiana. He was showing around an English blues expert named Paul Oliver. BN: Tell us more about your Memphis days. HO: That was an interesting experience. I thought folklore and literature classes. I remember I didn't socialize much and was pretty lonely. I did meet some bluesmen though. Through Chris, I learned about Mississippi Fred McDowell whereabouts and went to visit him. He worked in a Stucky ice-cream store. I recorded him on two or three occasions, but that never got released. BN: Why not? HO: I guess he was under contract with someone else, or something like that. By that time, I sold my recording label to Chris and he had control over my recordings and for some reason those recording didn't get released. BN: Who else did you meet? HO: Chris also gave me phone number of Bukka White and I went down to meet and interview him. That interview never got published too [Dr. Oster was kind enough to offer us a copy of his interview with Bukka White and we plan to publish it in one of the next issues of Blues Notes]. BH: Well, let's talk now more about your life and career in Iowa. You got job in the English Department at the University of Iowa? HO: Yes, and I got to teach a lot of things a wanted to teach. I thought a course called American Folk Literature, which was a survey course of folklore with emphasis on American, British, and some emigrants folklore. I used a lot of field-work I had collected to illustrate materials. BN: You also started collecting Iowa folk songs. HO: That was actually kind of analogy what I was doing in Louisiana also early on. That was field-work recording which would sample the main Iowa traditions. BN: So what are the main Iowa traditions? HO: Maskwaki Indian, Norwegian, Dutch, German, Chech, Amish, Anglo-American, and African-American. BN: Recording Amish people? HO: There were a couple of children I was able to record with their parent's permission. The strict, older, Amish will not be recorded or photographed, but there are other Amish who aren't quite as strict and make some compromises. Some of them may have machinery but may not compromise in other ways; some may have a telephone but not electricity. Anyhow, I put in a couple of songs sung by young children. BN: Was it religious music? HO: One was The Father and Heaven. It is in German. BN: Were your Iowa field-recording released on an album? HO: Yes. It was released by the University of Iowa. They classified it as a monograph. There was a book with it with a lots of background, history, transcriptions, and translations. BN: When did you do those field-recordings? HO: In 1963-64, for one year. About that time, I did a series of programs with Phil Nussbaum who used to be the folk-music director for KUNI. We got a grant to do a series of 13 programs, all based on field-work in Iowa. Each program was specialized. One was on banjo players, one was on fiddlers, one was about a festival, Nordic Fest, one was about Charlie Drollinger, who was Guy Drollinger's grandfather, and old-time fielder who was in his eighties at that time. BN: About that time you also founded Friends of Old Time Music? Tell us about that? HO: When I came to Iowa I started bringing in performers to do concerts. I brought in Robert Pete Williams and several other people. At that time we had a folk-song club that was theoretically a student-run organization. There was some problem with an auditor who was very difficult to arrange things through, so I got the idea of starting a folklore society. And Art Rosenbaum was here during those years also. He was about half painter and half folklorist, and the other half he is a musician. He plays five-string banjo, fiddle, guitar. He edited some books for old publications and edited some field recordings for Folkways years ago. Anyhow we collaborated and started up Friends of Old Time Music. We started with some small events, and within about two or three years it grew to some size. It's still going. We have annual Old Time Fiddlers Picnic. Last year I was out of the country at the time of the festival, but I suppose I will be doing MC-ing again. It is the first Sunday in October. I also collaborated on a documentary film dealing with Anglo-American music, settled in a small town in South East Iowa. There was a very colorful old man who used to come to Old Time Fiddlers Picnic with whom I got acquainted in there. He told me this was a wonderful occasion, one a week with pot-luck dinner and jamming all day with lots of fiddlers and country musicians. I started going there and was quite appealing, very down to earth and traditional. I run into Franklin Miller one time, who was the head of the Television Program here in the University of Iowa, described this to him and said it would be good thing to do a documentary. He was interested and we applied to the Iowa Humanities Board and they actually gave us a generous grant to do a television documentary. BN: As far as blues music was concerned, you did not do much of field recording after you moved to Iowa? HO: Well, I did that one recording of Jesse Fuller in Atica, New York, after I came here. While I was away from Cornell University, some student had started up a folk club. They were going to have a folk music festival, and I guess they had run across my work and they decided to invite me to be MC. Jesse Fuller did an unusual act with his foodela, which is kind of foot operated bass and drum. He was quite a good showman. I asked Jesse if he would be willing to do a record with me. He was willing and we did it on folk club' s equipment. I sort of influenced him to go more to the blues direction. It was around 1964. Also, the I had recorded Herman E. Johnson I had not issued it, and Chris [Strachwitz] issued it for the first time on Arhoolie label. Herman E. Johnson was a blues singer from Zackary, Louisiana, who played beautiful slide guitar. BH: Nowadays, when you seat down and play guitar, what is your preference in music, what would you play? HO: It would be lyrical Anglo-American songs, obscure folk songs. I don't have a feeling for performing the blues. BH: Who would be your favorite country-blues people? HO: I like Memphis Minnie McCoy a lot. A niece and nephew of hers did a blues program here years ago. They were pretty good, not as good as she. BN: What are you working on now? HO: I am working on augmenting three of old records to be reissued on CDs by Arhoolie. I am adding about 25 minutes to each. Those are Angola Prisoners Spirituals, Prisoner Worksongs, and Angola Prisoners Blues. I found some interesting things going through my files. I had trouble finding additional worksongs, but the other stuff I had plenty off. END ========================================================================= Date: Fri, 12 Apr 1996 18:22:44 -0400 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: Re: Fab TBirds Comments: To: bluesngr@ix.netcom.com In a message dated 96-04-11 17:37:02 EDT, Garry "dont worry, the blues will find U" Segal wrote: >Also anybody know > > about Tbird shows in the USA? Where ? When ? The Fab T-Birds will be appearing at the Clio (Michigan) Blues Festival on June 22, in the Clio Amphitheater. Opening for them will be Len Bland and the Uptown Band, and Larry McCray. Special VIP seating is available (first four rows, center section, 100 seats only), from the East Michigan Blues Society for $25.00 each. Proceeds from the sale of these seats go to the Isaiah "Doc" Ross Memorial Scholarship fund. Doc was a Flint Michigan resident, and this scholarship was established in his memory to aid music students at Mott Community College. More information can be had by contacting me, ( Ed Tremewan) Bluzman Ed@ AOL.com, or (David Boyd) BluesDJ478@AOL.com Thanks, and BLUZ!!! Ed ========================================================================= Date: Fri, 12 Apr 1996 17:39:13 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Chess or Trumpet? Elmore and SBWII Comments: To: "P.W. Fenton" Sonny Boy Williamson 2 recorded "Nine Below Zero" for both Trumpet and Chess. The Trumpet version, of course, came first. EW > > I'm paralyzed above the neck. Did 9 below zero and The Sky is Cryin' first > > appear on Trumpet or Chess? > > I THINK that's a trick question. I'm pretty sure "9 Below" started > out on Chess, but I think The "Sky Is Crying" first appeared on the > Fire label in 1959 by Elmore. Eliot Williams University of Wisconsin Department of Medicine ecwillms@macc.wisc.edu ========================================================================= Date: Fri, 12 Apr 1996 16:19:01 -0700 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Re: On this day... Comments: To: bit-listserv-blues-l@cs.washington.edu For further info check this site: http://galileo.imss.firenze.it/museo/4/eiv10.html Adrian Karen Hanson wrote: > > P.W. said: > >On this day in 1633, Galileo went on trial in Rome and was > >threatened by the Purists... I mean... by the Inquisition with > >torture on the rack if he refused to retract his defense of the > >Copernican idea that the sun is the center of the universe and the > >earth a movable planet. Galileo signed a retraction and was allowed > >to live confined to his home outside Florence for the remaining 9 > >years of his life. > > So basically you're saying ol' Copie sold out, right? > > ;-) > > Karen ========================================================================= Date: Fri, 12 Apr 1996 16:28:18 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Pee Wee Crayton Original release..."Things I Used to Do" on Vanguard. Uncle Ray ---------- From: Shaun T Cronin[SMTP:shaun@WAVENET.COM] Sent: Friday, April 12, 1996 7:10 AM To: Multiple recipients of list BLUES-L Subject: Re: Pee Wee Crayton One of the great things about living in Japan was P-Vine. It was a company that released a lot of old blues recordings. Being a Buddy Guy fan I pivked up one that was a double CD of Buddy and Pee Wee Crayton. The Buddy album was "Hold That Plane" but I never really listen to it. The Pee Wee Crayton album though was another matter (but I can't remember the title!) There was a great version of "The Things I used to Do." (with a great spoken intro). I wish I had it here. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Fri, 12 Apr 1996 20:30:15 -0400 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: On this day... Comments: To: spidle@fish.washington.edu Adrian advised: >For further info check this site: >http://galileo.imss.firenze.it/museo/4/eiv10.html >>Karen Hanson wrote: >> > >P.W. said: > >>On this day in 1633, Galileo went on trial in Rome and was > >>threatened by the Purists... I mean... by the Inquisition with > >>torture on the rack if he refused to retract his defense of the > >>Copernican idea that the sun is the center of the universe and the > >>earth a movable planet. Galileo signed a retraction and was allowed > >>to live confined to his home outside Florence for the remaining 9 > >>years of his life. >> > >So basically you're saying ol' Copie sold out, right? Oops! You're right--it says Galileo, doesn't it? Sorry! Not very good in history or astromony I guess. You'd think my reading skills would be sufficiently developed, though. Oh, well... Vigorously brushing that salt, Karen ========================================================================= Date: Fri, 12 Apr 1996 17:45:51 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Waterfront Blues Fest The Portland, OR Waterfront Blues Fest is scheduled for July 3, 1996 = through July 7, 1996. It will showcase approximately seventy acts = including; Syl Johnson, Otis Clay, Jr. Wells, Charlie Musselwhite, = Johnny Dyer, Gary Primich, James Harmon, and many more. It takes place = in Portland's Willamette River Waterfront Park. There are two = alternating stages, so there is zero! minutes between sets. Admission is = a "recommended" $2.00 donation and two cans of non-perishable food. A = variety of ethnic foods and liquid refreshments are available. I have = nothing to do with the fest, but will continue to update this list as = details are made public. That same weekend Bill Rhoades will present his Eighth Annual Harmonica = Blow-off. Last year's show included; Mark Hummel, Rick Estrin, Kim = Field, Paul deLay, G. W. Lavelle, Arthur Moore, Dave Mathis, and Bill = Rhoades. This year's line-up has not yet been set. Uncle Ray ========================================================================= Date: Sat, 13 Apr 1996 01:16:24 GMT Reply-To: blueslvr@sirius.com From: "Roy W. Forgy" Organization: Sirius Connections Subject: Coco Montoya-Schedule Comments: To: bit-listserv-blues-l@uunet.uu.net For the person looking for this and a lot of other scheduled check out. http://www.jazzonln.com/JAZZ/BLUES/blueroad.htm rforgy@mci.newscorp.com blueslvr@sirius.com Boulder Creek, CA ========================================================================= Date: Fri, 12 Apr 1996 18:47:09 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Mo' tubas Karen's question about Taj Mahal and tubas got me thinking about R&B and = tubas. Not withstanding the "new" NOLA brass bands use of tuba, my = favorite tuba R&B connection is Bobby Womack and the Valentino's use of = tuba, and glockenspiel, on "(I Used to Love Her, But) It's All Over = Now", later to be covered by the Rolling Stones. Great tune...seek it = out. Uncle Ray ========================================================================= Date: Sat, 13 Apr 1996 02:28:19 GMT Reply-To: Rennie Selkirk From: Rennie Selkirk Organization: NASA-Ames Research Center Subject: Re: cross cut saw Comments: To: bit-listserv-blues-l@uunet.uu.net In article <829095163.22597.0@skerries.demon.co.uk> Chris Smith writes: >>Can anyone complete this line from the Albert King song, Cross-cut Saw? >> >> I'm a cross-cut saw >> just drag me across your log >> I cut your wood so easy for you >> you ____________________. >> >>I've listened over and over, can't make it out. >> >> ..... Mark Albert probably does say hot dog as Chris says, but check out Otis Rush on the "So Many Roads" live set on Delmark (from Tokyo in 1975). He says "Huzzah!". Very hip, indeed. ;-) (I mean, when's the last time you heard someone say huzzah?) By the way, for a long time when listening to the Albert on the Born Under a Bad Sign recording, I had thought the line that comes up later "she wants me back again" was really "she won't be back again." (Albert does a very good mumble here.) After all, the central image of the lyric IS a cutting tool! Rennie ========================================================================= Date: Sat, 13 Apr 1996 02:31:43 GMT Reply-To: Rennie Selkirk From: Rennie Selkirk Organization: NASA-Ames Research Center Subject: Re: Charlie Musselwhite recs. Comments: To: bit-listserv-blues-l@uunet.uu.net In article Barry Silverberg writes: > Would like to get people's favorite Charlie Musselwhite CD recs. > I've only got numero uno, the initial Vanguard LP, ca. 1966, but I love it. Harvey Mandel really rips on this. Very juicy overdriven Gibson tone, and very individualized approach. Never heard anything else quite like it. Rennie ========================================================================= Date: Sat, 13 Apr 1996 00:36:05 -0400 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Billboard's Top 15 I guess whatsername isn't doing this anymore, so I'll see if I can pick it up for awhile. Any other volunteers? Billboard's Top 15 Blues Albums for the week ending April 13, 1996 1. Ledbetter Heights, Kenny Wayne Shepherd 2. Greatest Hits, Stevie Ray Vaughan & Double Trouble 3. Phantom Blues, Taj Mahal 4. From The Cradle, Eric Clapton 5. Blues For Greeny, Gary Moore 6. Blues, Jimi Hendrix 7. Grateful Heart: Blues And Ballads, Ronnie Earl & The Broadcasters 8. Chill Out, John Lee Hooker 9. Turn It On, Turn It Up, Roomful Of Blues 10. Some Rainy Morning, Robert Cray 11. Duke's Blues, Duke Robillard 12. One Foot In The Blues, ZZ Top 13. Keb' Mo', Keb' Mo' 14. Sad Street, Bobby "Blue" Bland 15. Handful Of Blues, Robben Ford & The Blue Line *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Sat, 13 Apr 1996 01:44:09 -0400 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Clarksdale Online There's a new web site in town, brought to us by a new access provider in Clarksdale, Mississippi. Clarksdale Online already has a Delta Blues Museum area and an offer for the "Juke Joint Saturday Night" video recorded at Clarksdale's Blue Diamond Lounge. And there's community news and events and more to come. They're at http://www.clarksdale.com/ I ain't got no affiliation. I'm just glad they're here. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Sat, 13 Apr 1996 01:44:06 -0400 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Koko and Otis Live I had the great pleasure to see Koko Taylor and Otis Rush this evening, outdoors, in deep centerfield at the minor-league baseball park next to the Citrus Bowl here in Orlando. It was the obligatory blues night of a local jazz festival. About 500-600 showed at best -- the weather was perfect and it was free! As great as it was to see the consummate pro Koko Taylor (she did an excellent hour), I must say that Otis Rush was dead-on tonight! It ranks among the best live shows I've ever seen. After opening with "Crosscut Saw" and "All Your Love," he weaved his way through one Cobra classic after another (though not "I Can't Quit You Baby") -- all with that patented reverb -- as well as "Homework," "Right Place, Wrong Time," and a few more. He returned with a tremendous encore of "Please, Please" (to about 50 of us who'd swarmed stage-center). No stunts, no showboating, just good ol' Chicago blues. He left us shaking our heads in awe. According to Pollstar, he's scheduled to play "Memphis in May" on Friday the 3rd. Before that, I don't know. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Sat, 13 Apr 1996 05:16:22 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: cross cut saw Well, not quite; I replied to Mark's posting, as Rennie later implies, altohugh my reply does not appear below. THere are many things I don't know, but I didn't ask this particular question. Sorry to be a prima donna. Chris >In article <829095163.22597.0@skerries.demon.co.uk> Chris Smith > writes: >>>Can anyone complete this line from the Albert King song, Cross-cut Saw? >>> >>> I'm a cross-cut saw >>> just drag me across your log >>> I cut your wood so easy for you >>> you ____________________. >>> >>>I've listened over and over, can't make it out. >>> >>> ..... Mark > >Albert probably does say hot dog as Chris says, but check out Otis Rush >on the "So Many Roads" live set on Delmark (from Tokyo in 1975). He says >"Huzzah!". Very hip, indeed. ;-) (I mean, when's the last time you heard >someone say huzzah?) > >By the way, for a long time when listening to the Albert on the Born >Under a Bad Sign recording, I had thought the line that comes up later >"she wants me back again" was really "she won't be back again." (Albert >does a very good mumble here.) After all, the central image of the lyric >IS a cutting tool! > >Rennie ========================================================================= Date: Sat, 13 Apr 1996 05:25:14 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: DUANE ALLMAN JW Patterson wrote >LW wrote the list today "Who is Duanne Allman?" Spelling not with standing, >surely you jest? jwp JW, your irony chip seems to be malfunctioning. Re all the posts on this topic, and you'll see what I mean. I never thought I'd be posting about Diane Allperson. :-) Ah, the mind-expanding universe that is blues-l! Chris Smith (chris@skerries.demon.co.uk) 'Positive: wrong at the top of one's voice." (Ambrose Bierce) ========================================================================= Date: Sat, 13 Apr 1996 04:47:57 -0600 Reply-To: DeWayne Brown From: DeWayne Brown Subject: Re: Duanne Allman ??? Comments: To: shannon oconnor In-Reply-To: <9603128293.AA829346281@smtpgate.swpco.com> Hmmmm....possibly, but allow me to do abit more research Shanon, and I'll get back to you. Dew. ;) On Fri, 12 Apr 1996, shannon oconnor wrote: > It's Friday afternoon, and the Editor Demon in me is winning the > battle and MUST GET OUT!!! > > Who is Duanne Allman, exactly? Duane's twin sister??? > > > > > Shannon (I'm blonde, and therefore easily confused.) > ========================================================================= Date: Fri, 12 Apr 1996 12:57:30 +0000 Reply-To: "Tony.OConnor" From: "Tony.OConnor" Subject: Early Female Blues Singers Anyone got an opinion on "Better Boot That Thing: Great Women Blues Singers of the 1920's (BMG/RCA 7863 66065 2)" ? It's a re-issue from Bluebird(?) and features Alberta Hunter, Victoria Spivey, Ida May Mack and Bessie Tucker. I'd like to get some early female vocal stuff and while I'll eventually get the complete Bessie Smith this is the only other disc I can see at the moment. The AMG revue gives it 'only' 5/9. Thanks, Tony. -- _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ _/ Tony O'Connor, _/ _/ Dept. Biochemistry, Tel : (+353)-91-524411 Ext:2431 ) _/ _/ University College Galway, Fax : (+353)-91-25700/35391 ) _/ _/ Galway, E-mail : tony.oconnor@ucg.ie _/ _/ Ireland. _/ _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ ========================================================================= Date: Sat, 13 Apr 1996 09:26:08 -0400 Reply-To: BALISTRK@BAYDENOC.CC.MI.US From: "Keith T. Balistreri" Subject: Re: They All Understand The Blues Comments: To: Shaun T Cronin In-Reply-To: <199604120814.BAA22941@wavenet.com> In trying to define just what the Blues is....here are some other folks words... "The blues is where we came from and what we experience. The blues came from nothingness, from want, from desire." -W. C. Handy "You see me ravin', you hear me crying, Oh Lawd, this lonely heart of mine, Sometimes, I'm grievin from my hat down to my shoes. I'm a good hearted woman that's a slave to the blues." -Ma Rainey "The blues slows you down and gives you time to think." -Albert King "Blues was conceived of by freedmen and ex-slaves as the result of personal or intellectual experiences: an emotional confirmation of, and reaction to, the way in which most Negroes are still forced to exist in the U.S." -LeRoi Jones (Amiri Baraka) "Blues is joyful. It's a celebration of having overcome bad times." -Joe Williams "...poor people have the blues because they're poor and hungry. Rich people...because they're trying to hold on to their money and everything they have." -John Lee Hooker "When a woman take the blues, she tuck her head and cry. But when a man catch the blues, he grab his shoes and slide." -Sherley Anne Williams "What did I do To be so black And blue?" -Louis Armstrong I guess we aren't they only people with different conceptions..... Keith B. ========================================================================= Date: Sat, 13 Apr 1996 10:05:56 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1954, Little Walter, Willie Dixon, Otis Spann, Jimmy Rogers, and Fred Below got together with Muddy Waters and recorded a brand new Willie Dixon song... "I Just Want To Make Love To You" P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ It could probably be shown by facts and figures that there is no distinctly native American criminal class except Congress. Mark Twain ========================================================================= Date: Sat, 13 Apr 1996 10:33:35 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Also on this day.... More of a *having* the Blues, as opposed to *playing* the Blues... On this day in 1970, Jim Lovell made the now famous understatement, "Houston, we have a problem", after a violent fuel tank explosion rocked the Apollo 13 spacecraft. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ It could probably be shown by facts and figures that there is no distinctly native American criminal class except Congress. Mark Twain ========================================================================= Date: Sat, 13 Apr 1996 10:38:18 -0400 Reply-To: BALISTRK@BAYDENOC.CC.MI.US From: "Keith T. Balistreri" Subject: Re: They All Understand The Blues Comments: To: Shaun T Cronin In-Reply-To: <199604120814.BAA22941@wavenet.com> With all of us trying to define the blues here are some other's words... "The blues is where we came from and what we experience. The blues came from nothingness, from want, from desire." -W.C. Handy "You see me ravin', you hear me cryin', Oh Lawd, this lonely heart of mine, Sometimes, I'm grievin from my hat down to my shoes. I'm a good hearted woman that's a slave to the blues." -Ma Rainey "The blues slows you down and gives you time to think." -Albert King "Blues was conceived of by freedmen and ex-slaves as the result of personal or intellectual experiences: an emotional confirmation of, and reaction to, the way in whichmost Negroes are still forced to exist in the U.S." -LeRoi (Amiri Baraka) "Blues is joyful. It's a celebration of having overcome bad times." -Joe Williams "...poor people have the blues because they're poor and hungry. Rich people...because they're trying to hold to their money and everything they have." -John Lee Hooker "When a woman take the blues, she tuck her head and cry. But when a man catch the blues, he grabs his shoes and slide." -Sherley Anne Williams "What did I do To be so black And blue?" -Louis Armstrong I guess we're not the only people that have different conceptions.... Keith B. ========================================================================= Date: Sat, 13 Apr 1996 11:34:50 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Tuba Music Hearing tuba instead of bass is a wonderful change - but undoubtedly the very best player on this rather clumsy instrument is John Sass, who plays (live and on record) with the "Euro Bluesman" Hans Theesink. I have two of Hans' albums (he's Dutch but lives in Austria) and find them quitre charming - in part because of his pronounced accent. But Sass plays as ni,mble a bass part as you can imagine, and if you come across either of these (probably very rare) records, I know you'll be delighted with them. Hans is a great country blues fan, writes excellent songs in the idiom, and live - I've heard him a number of times at folk festivals - is an excellent performer, especially with Sass, who is a giant (6' 6" I'd guess) black man who also plays symphonic music. Cheers, Richard the Elder ========================================================================= Date: Sat, 13 Apr 1996 09:48:41 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: On this day... Comments: cc: JukeFreak@AOL.COM Karen wrote: >Oops! You're right--it says Galileo, doesn't it? Sorry! Not very good in >history or astromony I guess. You'd think my reading skills would be >sufficiently developed, though. Oh, well... Be warned Karen. For a mistake like that you could be visited by the Spanish Inquisiton. Nobody Expects the Spanish Inquisitition. Their chief weapon is fear and surpsise. Sorry, their two chief weaopons are fear, suprise and a ruthless efficiency...Their three chiefs weaopons are fear, surprise, ruthless efficiency and a almost fanatical devotion to the pope. Anyway, beware the comfy chair and the soft pillows. Obligatory Monty Python post. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Sat, 13 Apr 1996 09:48:56 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: A performer/entertainer mindset PW's most was informative and interesting. Is there a cure for stage fright? Who knows but PW's story about stage fright afflicting you unawares sort of parallels recent experince. A few weeks back I was filling in for a friend in a country band. One night before the first set I became nervous. As a consequence I over-played, missed intros and generally sounded bad. The reason was I was trying to impress some of the band members. I wasn't playing for myself. I was also too intent on trying to do a good job that it backfired. I soon realized this and as a result the second set I relaxed and played better. I also wasn't really familiar with the material. Tonight was a different story. Tonight was the first gig I had with a new band. We were quite under-rehearsed. Yet I wasn't nervous in the least. The gigs I had done with the other band taught me a lot. I just wanted to play. I wasn't worried about impressing anybody. I was also familiar with the material. That helped. Also, all the guys in the band were great guys so it was a relaxing atmosphere on stage. While stage fright can afflict anyone at anytime there are ways around. Know thy material! If you know what's going on (even if the rest of the band doesn't) it helps. I had to help the drummer out a few times in explaining intros etc. He was good though so it wasn't a chore. Act confidant. Even if you have no idea what the hell is going on pretend that you do. The past few weeks have taught me how to find my way through songs I have never heard before or have heard but never learn't. It can be nerve wracking but fun. Go for it. Holding back is the worst thing that you can do. That is what I found from personal experience. Let yourself go and flow with the music. Don't worry about making a mistake. Try and say something. Mistakes are nothing. You can never find beauty in perfection. Flaws are where true beauty comes from. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Sat, 13 Apr 1996 09:49:02 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: An educated opinion John Sullivan wrote: > I once heard jerry garcia quote someone by saying that going on stage >is >an "excruciating orgasms of self-assertion". I had heard that Jerry suffered from really bad stage fright. It may explain his viewpoint. In my opinion, getting on stage and playing is something that some of us just have to do. We have no choice. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Sat, 13 Apr 1996 13:19:17 -0400 Reply-To: PHWoolfman@AOL.COM From: Pete Wulforst y the right place for this, but I'm going to try anyway. Last night (4/12), I was watching "Homicide", a police drama which is filmed about 30 miles down the road in Baltimore. At the beginning of the show, they played a minute or so of music featuring some really interesting blues/??? guitar. At the end of the show they then played a vocal cut which again featured some of the same guitar. Certainly was not Chicago-style, but perked my ears right up. If I am not mistaken, this show usually uses cuts from various artists rather than their own theme music. Was anyone watching who can tell met who was responsible for this beautifully twisted guitar? Also, since I didn't get slammed for Sonny Sharock (by the way, Shaun, loved your post), I'll go out on a limb and mention another of my favorite blues-related guitarists, Jean-Paul Bourrelly. Is he too far afield to talk about? Pete from Hampstead, Md ========================================================================= Date: Sat, 13 Apr 1996 11:57:21 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: April 14 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- AMMONS, GENE "JUG" (tsax) b. 1925-0414, CHICAGO, IL BACON, TREVOR (v/g/LUCKY MILLINDER) d. 1945-0414, SUMTER, SC 38 BRONSTEIN, DON S.(protographer/CHESS REC) d. 1968-0414, ACAPULCO, MEXICO 41 GREEN, LIL [LILLIAN JOHNSON] (v) d. 1954-0414, CHICAGO, IL 34 HARRIS, BILL (g/THE CLOVERS) b. 1925-0414, NASHVILLE, NC HARRIS, THURSTON (v/ALADDIN REC) d. 1990-0414, POMONA, CA 58 MORGAN, AL (b/LES HITE/JACK MCVEA) d. 1974-0414, LOS ANGELES, CA 65 POINDEXTER, NORWOOD "PONY" (asax) d. 1988-0414, OAKLAND, CA 62 PRICE, SAMMY (p/DECCA/SAVOY REC) d. 1992-0414, MANHATTAN, NY 83 ROGERS, SHORTY (tpt/arr/prod) b. 1924-0414, BARRINGTON, MA TURNER, DANNY (asax/tsax) d. 1995-0414, NEW YORK CITY, NY 75 ------------------------------------------------------------------------------- ========================================================================= Date: Sat, 13 Apr 1996 14:56:35 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re: eRIC's BLUES DATES: April 14 Comments: To: James Carmin In reading eRIC's blues dates, my eye was caught by the notation: "BRONSTEIN, DON S.(protographer/CHESS REC) d. 1968-0414, ACAPULCO, MEXICO 41" It sounds like there must be an interesting story behind this one. A 41 year old man, dying in Acapulco in 1968? A professional photographer? Does anyone know what happened? -JIm _______________________________________________________________________________ Subject: eRIC's BLUES DATES: April 14 From: James Carmin at INTERNET-SH Date: 04/13/96 2:34 PM Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- AMMONS, GENE "JUG" (tsax) b. 1925-0414, CHICAGO, IL BACON, TREVOR (v/g/LUCKY MILLINDER) d. 1945-0414, SUMTER, SC 38 BRONSTEIN, DON S.(protographer/CHESS REC) d. 1968-0414, ACAPULCO, MEXICO 41 GREEN, LIL [LILLIAN JOHNSON] (v) d. 1954-0414, CHICAGO, IL 34 HARRIS, BILL (g/THE CLOVERS) b. 1925-0414, NASHVILLE, NC HARRIS, THURSTON (v/ALADDIN REC) d. 1990-0414, POMONA, CA 58 MORGAN, AL (b/LES HITE/JACK MCVEA) d. 1974-0414, LOS ANGELES, CA 65 POINDEXTER, NORWOOD "PONY" (asax) d. 1988-0414, OAKLAND, CA 62 PRICE, SAMMY (p/DECCA/SAVOY REC) d. 1992-0414, MANHATTAN, NY 83 ROGERS, SHORTY (tpt/arr/prod) b. 1924-0414, BARRINGTON, MA TURNER, DANNY (asax/tsax) d. 1995-0414, NEW YORK CITY, NY 75 ------------------------------------------------------------------------------- ========================================================================= Date: Sat, 13 Apr 1996 14:59:10 -0500 Reply-To: Kevin DeBell From: Kevin DeBell Subject: "Seven Guitars" Interesting (IMHO) comments in the 4/15 issue of The New Yorker. "Black and Blues: 'Seven Guitars,' a new chapter in August Wilson's ten-play cycle" by John Lahr, pp 99-101. I'll just recount some of Wilson's comments: "I take the same approach as a bluesman, the same ideas and attitudes. For instance, lines that say, 'I'm leavin in the mornin, I'm gonna start out walkin, And take a chance I may ride.' I simply go back and look thruogh that. Contained in the expression is your whole world view. When the old folks sang, 'Everything's gonna be all right,' it *was* all right, simply because they sang. They made it all right by singing. They just changed their attitudes. The blues emboldened their spirits and enabled them to survive whatever the circumstance was." how about this line from the play in regard to our recent discussions on purity, money, and opening acts? "You get a hit record and the white folks call you Mister." or from Wilson himself: "If you don't connect to the past, then you don't know who you are in the present. You may prove to be unworthy of the past." How about this doozey from Wilson himself: "The odyssey of the African-American throughout the twentieth century has been one of loss and reclamation. It's about reclaiming those things that were lost during slavery. I always say that if the African who arrived chained and malnourished in the hold of a three-hundred-and-fifty-foot slave ship is still, after four hundred years, chained and malnourished, then it can't be anybody's fault but his." conversationally yours - Kevin ========================================================================= Date: Sat, 13 Apr 1996 13:52:37 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Some Things I have read Given the topics talked about lately I got a chuckle out these comments. >From the latest "Music Connection" on Kenny Wayne Sheppard "...this eighteen year old bluesman is making a big noise on the charts-helpin bring the blues to an entire new generation of rock fans while satisfying the purists at the same time." Today's LA Times also has an article on Issac Tigrett (HOB owner) with this qoute from the HOB's booker, Ken Morrow. "Purists, however, have questioned the club's eclectic line-up, saying that blues isn't heard often enough at the House of Blues. 'I wish to God that I could do blues every night and pack the club, but it's not going to happen.' Morrow says. 'About the only shows we've done that don't do the numbers we have to do are the blues shows. It's really sad. Everybody talks about how they want more blues, but the reality is they don't go out and support it.'" Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Sat, 13 Apr 1996 13:56:51 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: A performer/entertainer mindset I'd also like to add that playing with people that you relate to helps overcome stage fright. One of the good ascpects of last night's gig was that everyone in the band got along and that there were no egos. It helped me to relax. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Sat, 13 Apr 1996 17:33:56 -0400 Reply-To: Stephanie Manna From: Stephanie Manna Subject: James Petersons upcoming CD/tour Following the success of "Don't Let The Devil Ride", which rose to the #3 spot of the Living Blues radio charts and held the Hard Report for 20 weeks; blues great, James Peterson is at it again. He has finished recording his sixth CD, entitled, "James Peterson Preaching The Blues". This is his second recording with Malaco/Waldoxy Records of Jackson,Ms. The CD will feature 10 original tunes written by James Peterson. Vocal and lead guitar feature James Peterson. He is backed up by Clayton Ivey on Hammond B-3 and piano, Paul Lee on drums, G.W. Rose and William Andrew Thomas on guitars, and Joel Brodsky on bass. "James Peterson Preaching The Blues", is produced by Tommy Couch Jr. and Paul H. Lee. It was recorded at the new state of the art recording studio at Malaco/Waldoxy Records of Jackson, Ms. and is scheduled for release late May. This month kicks off bluesfestival season, with James Peterson headlining the Alabama Blues Society Spring Showcase, April 27th in Tuscaloosa, Al. They will present him with the 1996 Blues Treasure Award. Check out his itinerary to find out when he will be at a club or bluesfestival near you! Updated regularly on his homepage: http://misnet.com:80/malaco/blues/jpeterson Itinerary: 4/16-21 Margaritaville, Key West, Fl. 4/22 Five Oclock Club, Sarasota, Fl 4/25 Bellinis, Sarasota, Fl 4/26 Killearns Country Club, Tallahasse, Fl 4/27 ABS SPRING SHOWCASE, Tuscaloosa, Al 4/29,30 Beach Club, Sarasota, Fl 5/3 Lou's Blues Club, Atlanta, Ga 5/4 The Full Moon Saloon, Baltimore, Md 5/5 Williamsburg, Va. 5/6 BJ's On The Water, Ocean City, Md 5/7 Old Glory, Washington, DC 5/9 Terra Blues, New York, NY 5/10 Black Eyed Sally's, Hartford, Ct. 5/11 Utica, NY 5/12 Debbie's, Niagra Falls, N.Y. 5/15 State College, Pa 5/16 Norwich, NY 5/17 Boston, Ma 5/18 River St. Jazz Cafe, Plains, Pa 5/24 Kaffeklatch, Huntsville, Al 5/25 DOWNHOME BLUESFESTIVAL,Huntsville, Al 5/26 Huey's, Memphis, Tn 5/31,6/1 Kingston Mines, Chicago, Il 6/5 OK Cafe, Marion, Oh 6/15 CARUTHERSVILLE BLUESFESTIVAL, Caruthersville,Mo 7/6 MISSISSIPPI VALLEY BLUESFESTIVAL, Davenport, Ia 7/10 OK Cafe, Marion, Oh 7/12,13 Kingston Mines, Chicago, Il 7/24 Knickerbockers, Layfayette, In 7/26 Wilberts, Cleaveland, Oh 7/28 POCONOS FESTIVAL, Lake Harmony, Pa 7/30 Dinasours BBQ, Syracuse, NY 8/31 MILLER RIVERFRONT BLUESFESTIVAL,Peoria, Il 9/6 TWO RIVERS BLUESFESTIVAL, Carolton, Ky. ========================================================================= Date: Sat, 13 Apr 1996 16:52:58 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 04/14 B O R N : 04/14 AMMONS, GENE ( EUGENE ) Born:1924 CHICAGO, IL Career:TENOR SAX / LEADER Style:JAZZ / BIG BAND With:King Kolax 1943 / Billy Eckstine's band 1944-1947 FULLER, GIL ( WALTER GILBERT FULLER ) Born:1920 LOS ANGELES, CA Career:ARRANGER Style:JAZZ / BLUES / BIG BAND With:Les Hite / Floyd Ray / Jimmie Lunceford / Tiny Bradshaw /Billy Eckstine / Dizzy Gillespie / Stan Kenton Gaspard, Vic Born:1875 NEW ORLEANS, LA Career:TROMBONE / BARITONE HORN Style:TRAD / JAZZ With:Onward Brass Band / Peerless Orchestra / Excelsior Brass Band / John Robichaux / coleader of the Maple Leaf Orchestra / Retired from music at the start of Depression REED, LUCY (LUCILLE DeRIDDER) Born:1921 MARSHFIELD, WI Career:SINGER Style:JAZZ / BIG BAND With:Woody Herman Sextet 1950 / Dick Marx / Johnny Frigo / Village Vanguard, NYC, Jan.1956 ROGERS, SHORTY ( MILTON M. ROGERS ) Born:1924 GREAT BARRINGTON, MA Career:TRUMPET / FLUGELHORN / ARRANGER / LEADER Style:JAZZ / BIG BAND With: Will Bradley 1942 / Red Norvo later 1942-43 / Woody Herman / Charlie Barnet / Stan Kenton 1950-51 WATERS, MONTY ( MONVILLE CHARLES ) Born:1938 MODESTO, CA Career:ALTO SAX Style:JAZZ FOR A LISTING OF THOSE THAT PASSED AWAY IN THIS MONTH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Sat, 13 Apr 1996 15:41:51 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Some Things I have read Isn't the HOB credo, "Always help, Never hurt"? It hurts me to see them = bill Cher or Tom Jones when blues performers are driving all day to get = to East Jesus, South Dakota for a buck and a quarter gig. By the way, LA's HOB booker is Kevin Morrow, not Ken. Someday when the bile recedes from my throat, I'll detail the deceit and = skulduggery that formed the foundation for the Blues Brothers "act" that = in turn helped to lay the groundwork for HOB. See you in Hell, white boy(s) Uncle Ray ---------- From: Shaun T Cronin[SMTP:shaun@WAVENET.COM] Sent: Saturday, April 13, 1996 8:52 PM To: Multiple recipients of list BLUES-L Subject: Some Things I have read Given the topics talked about lately I got a chuckle out these comments. >From the latest "Music Connection" on Kenny Wayne Sheppard "...this eighteen year old bluesman is making a big noise on the charts-helpin bring the blues to an entire new generation of rock fans while satisfying the purists at the same time." Today's LA Times also has an article on Issac Tigrett (HOB owner) with = this qoute from the HOB's booker, Ken Morrow. "Purists, however, have questioned the club's eclectic line-up, saying = that blues isn't heard often enough at the House of Blues. 'I wish to God that I could do blues every night and pack the club, but it's not going to happen.' Morrow says. 'About the only shows we've done that don't do the numbers we have to do are the blues shows. It's really sad. Everybody talks about how they want more blues, but the reality is they don't go out and support it.'" Shaun Shaun Cronin 'Woke up this morning between midnight and day. I = was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Sat, 13 Apr 1996 22:49:23 GMT Reply-To: Robert Belew From: Robert Belew Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Duanne Allman ??? Comments: To: bit-listserv-blues-l@uunet.uu.net > Shannon (I'm blonde, and therefore easily confused.) Probably difficult to see through all that White-Out on your screen too, huh? Block Dog ========================================================================= Date: Sat, 13 Apr 1996 19:14:29 -0400 Reply-To: "Eliot C. Williams" From: "Eliot C. Williams" Subject: Re: Frankie Lee Sims (was:Why isn't this person famous ?) These were all recorded for Johnny Vincent's Ace label in 1957 (His Specialty sides are from 1954). > >The only other FLS I have is on a Japanese CD called "Lightnin' & The >Buddies". Following are the FLS tracks: > >Misery Blues >What Will Lucy Mae Do >Hey Little Girl >Walking With Frankie >My Talk Didn't Do Any Good >I Warned You Baby >She Likes To Boogie Real Low >Well Goodbye Baby > >The disc gives no recording dates (at least not in English) and also >includes tracks by Lightnin' Hopkins, Mercy Baby, Charles Brown & Amos Milburn. > >Reg Burns Eliot Williams University of Wisconsin Department of Medicine ecwillms@macc.wisc.edu ========================================================================= Date: Sat, 13 Apr 1996 18:43:05 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: mem Shannon Mem Shannon put on a wonderful show in Dallas last night. I don't have time to write a full review just now but I will next week. Suffice to say he is well worth a 100 mile drive to see. Great band, great original songs. If you like the CD you will leave his live show even more impressed. They're in Galveston tonight and Mem will be back in his cab on Monday. Don O. ========================================================================= Date: Sat, 13 Apr 1996 18:25:33 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Amazors Bluezellers, Once again I need your help. Does anyone out there know a re-release source for "Come back, Baby, Come back" by the Amazors. Uncle Ray ========================================================================= Date: Sat, 13 Apr 1996 21:33:33 -0400 Reply-To: Markmojo From: Markmojo Organization: America Online, Inc. (1-800-827-6364) Subject: Nawlins JazzFest Comments: To: bit-listserv-blues-l@uunet.uu.net Seeking someone who'll be taping the live JazzFest performances on WWOZ. I'll be in Nawlins 5/1-5/7 please contact me at markmojo@aol.com so we can set something up. ========================================================================= Date: Sun, 14 Apr 1996 01:41:10 GMT Reply-To: cuthulu@rlabs.com From: cuthulu Organization: Radar Labs 23 Subject: Re: An Opinion on Musical Masturbation Comments: To: bit-listserv-blues-l@uunet.uu.net On Fri, 12 Apr 1996 13:12:52 EST, shannon oconnor wrote: > When I was a music student in college, we used the term "musical > masturbation" for the ridiculous actions of those showboat > self-glorifiers who insist they have an attentive, respectful, > awe-filled audience while they carry on insufferably "playing with > themselves;" i.e., soloing to excrutiating (and ultimately, incredibly > uninteresting, except to the "wanker" him/herself) excess. Here's a measuring stick: Jimi Hendrix performing Voodo Chile -- NOT masturbation. Anybody else performing Voodoo Chile -- get out the unmbrella and stay away from the first few rows. WWW Production: HTML,CGI,JAVA Kevan Smith -> cuthulu@prysm.net http://www.rlabs.com ========================================================================= Date: Sat, 13 Apr 1996 19:12:14 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: mem Shannon Don O wrote: >They're in Galveston tonight and Mem will be back in his cab on Monday. This statement floors me. If all things were right in this world, this guy _would not_ be going back home to drive his cab (unless it were his personal hobby, which I highly doubt). Another post that made me shake my head in disbelief - Otis Rush and Koko Taylor playing in front of 500 people in a baseball field ??!!!!??? What's going on??? Meanwhile, in Vancouver, prima donna pop group Oasis walks off the stage after 20 minutes, because somebody throws a shoe at one of them.This after about 6000 people forked out 30 bucks a pop for the privilege of witnessing their live act. Makes you wonder. -Jim (hndful@uniserve.com) ------------------------------------------------------------ Check out 'Heart and Soul', a new hour of blues, gospel, and jazz every week on SDF-Net Community Radio - http://sdf-radio.colossus.net. ------------------------------------------------------------ ========================================================================= Date: Sun, 14 Apr 1996 00:41:42 -0400 Reply-To: BALISTRK@BAYDENOC.CC.MI.US From: "Keith T. Balistreri" Subject: Re: Tuba/Stones/help? In-Reply-To: <9604131843.0QANH02@chrysalis.org> Somehow I lost a message I wanted to save. It was about an old blues tune that someone said had tuba on it. You also said that it was later done by the Rolling stones. If you read this could you please send me the info again. It would be great appreciated. Thank you Keith B. ========================================================================= Date: Sun, 14 Apr 1996 05:36:43 GMT Reply-To: pgraff@MHV.NET From: pgraff@MHV.NET Organization: mhv.net Subject: Re: On this day... Comments: To: bit-listserv-blues-l@uunet.uu.net On 12 Apr 96, PHWoolfman@aol.com had this to say: > Wow, does this bring back memories: in the mid-70s I was a really big Buzzy > Linhart fan - had a double LP which was appropriated by an ex-wife. This > record included a great song called "Talk About a Morning" which I convinced > my band at that time to cover. Also another great tune "Willie Jean"; I > don't know exactly who wrote that one, since it first came to my attention on > the first Blues Magoos...{yeah, I know, but I was about 18 and thought they > were really cool) album as "Sometimes I Think About". Does anybody know > anything about this song? **** Willie Jean was written by the Blues Magoos - if what I was told is correct, Willie was a local transvestite. So much for creative license and musical myth. But it was a cool sounding blues song. In a strange coincidence, when I was 17, my band got turned down for a gig - not meeting the bars' standards set by the Blues Magoos who just played there. So I bought their album out of curiousity, listened to it all summer and when I went off to college, I got 'picked up' by a girl who turned out to be the girl friend of one of the Magoos. I still have this velevet flower vest that's pictured on two of their album covers and recorded some music with one of them just last year. Strange coincidence - but then it was the '60s. ========================================================================= Date: Sun, 14 Apr 1996 00:02:17 +0000 Reply-To: ksailors@hooked.net Comments: Authenticated sender is From: "Kenneth M. Sailors" Subject: Re: Too much change??? On Thu, 11 Apr 1996 14:55:16 R.J. Bauman wrote: > B) One "too far" example which comes to mind is "John Coltrane Plays The Blues" > which has no blues on it--- TO ME it's not even close. I like the blues, I like jazz, I like all kinds of stuff. I have this CD, just played it today. Nope, it's the blues alright. No doubt about it. -Ken ========================================================================= Date: Sun, 14 Apr 1996 10:27:39 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Re: DANNY WHITE DIES AT 64 Comments: To: bit-listserv-blues-l@moderators.uu.net "Keep My Woman Home" was also issued in the Uk on the legendary Sue label, (not to be confused with the US label of the same name). "Cracked Up", Mike Atherton advises me was something of a Northern Soul hit and was reissued in the UK on MCA in 1974. TB ========================================================================= Date: Sun, 14 Apr 1996 07:59:49 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: "Seven Guitars" Kevin DeBell wrote >Interesting (IMHO) comments in the 4/15 issue of The New Yorker. >"Black and Blues: 'Seven Guitars,' a new chapter in August Wilson's >ten-play cycle" by John Lahr, pp 99-101. > (snip) I agree that the comments are interesting. Anybody notice the 'deliberate mistake' ;-) of locating Savoy Records in Chicago? I assume the reviewer is quoting the play. I saw 'Ma Rainey's Black Bottom' (please, no cheap jokes) when it was on in London some years ago, and it was great. Chris Smith (chris@skerries.demon.co.uk) 'Positive: wrong at the top of one's voice." (Ambrose Bierce) ========================================================================= Date: Sun, 14 Apr 1996 09:52:17 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Blues Playground Playlist 4/14/96 TO: Commercial Radio Promotion FROM: Stew Crossen - WCCC 107 FM - Hartford, CT SUBJECT: The Blues Playground Playlist DATE: April 14, 1996 ____________________________________________________________________________ Playlist for THE BLUES PLAYGROUND 4-14-96 ARTIST ALBUM LABEL TRK Buddy Guy Buddy Guy Live! Silvertone 1 Sherman Robertson Hard Love Code Blue 12 Roy Rogers Rhythm & Groove Pointblank 1 Terry Robb I'm Just Your Fool Burnside 7 WC Clark Texas Soul Black Top 9 Luther Allison Motown Years 1972-1976 Motown 4 Mac Gayden Nirvana Blues WinterHarvest 9 Studebaker John Tremoluxe Blind Pig 1 Mystery Driver Getting Away With Murder Whitehouse 1 Gatemouth Brown Long Way Home Gitanes 11 Luther Gtr Jr. Johnson Slammin On The West Side TelArc 1 Cotton Candy They Call Me Cotton Candy Co-Ze 1 Paul Oscher Knockin' On The Devil's Door Viceroots 1 Howlin' Wolf Cadillac Daddy Memphis 1952 Rounder 2 Lowell Fulson Storming 60's Soul Sounds Pointblank 16 Mississippi Heat Straight From The Heart Van der Linden 5 Paul Rishell Swear To Tell The Truth Tone-Cool 8 ____________________________________________________________________________ The Blues Playground - Sundays at 9:00 pm - 50,000 watts of Blues power! Reports to: The Hard Report, Living Blues, BluesWire magazine. Host/Programmer - Stew Crossen (Beef Stew) WEB site - http://www.neca.com/~bfstew E-mail - bfstew@neca.com Home: Stew Crossen Station: WCCC 107 FM PO Box 2094 243 South Whitney St. Vernon, CT 06066 Hartford, CT 06106 Tel: 800.970.5151 Tel: 860.233.4426 Fax: 860.232.6511 ____________________________________________________________________________ ========================================================================= Date: Sun, 14 Apr 1996 10:25:35 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1865, five day after the Civil War ended, while watching a performance of "Our American Cousin" at Ford's Theater, Abraham Lincoln was shot by John Wilkes Booth. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ Nothing so needs reforming as other people's habits. Mark Twain ========================================================================= Date: Sun, 14 Apr 1996 11:42:54 -0400 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: WFBE Blue Highway for 4-13-96 Tonights show featured Blues from Detroit. Artist, Song, Album, Label --------------------9pm------------------ Luther Allison, Lets Have A Little Talk, The Motown Years, Motown ----------------Intro Break-------------------- Sherman Robertson, Victim Of Circumstance, Here and Now, Code Blue W.C. Clark, Rough Edges, Texas Soul, Black Top Studebaker John, Voodoo Woman, Tremoluxe,Blind Pig C.D. Morris, Before You Accuse Me, Hoo Doo Man, American Entertainment ---------------------Break------------------------- Detriot Blues Band, My Life Is Ruined, Real Life, Blues Factory Detroit Blues Band, Tell Me, Cant Get You Off My Mind, No Cover Boogie Woogie Red, Step Down On It, Detroit After Hours, Trix Denny Baran/Bluesaholics, Black Jack Woman, Blues Bar, Cass ----------------------Break------------------------ Monster Mike Welch,, Freezer Burn, These Blues Are Mine, Tone Cool, Gene Deer, Erin's Blues, Soul Tender, Slippery Noodle Sound Terry Frank, Diamonds At Your Feet, Devil By Her Side, Ho Made Sonny Moorman/Dogs, Telegraph Road, L.I.V.E., 706 Records ---------------------10pm Break-------------------- Robert Penn, (Son) Sing The Blues, Mightier Than The Sword, SpectrumX (Lp) Little Sonny, The Creeper Returns, New King/Blues Harmonica, Enterprise (Lp) Bobo Jenkins, New 44 Blues, Detroit All Purpose Band, Big Star (Lp) Sylvester Cotton, Brown Skin Woman, Archive Series Vol 6, Kent --------------------Break - Club Update-------------------------- The Ground Hogs, Natchez Burning, Blues Obituary, Liberty/EMI Chicago Bob Nelson, Sugar Mama, Back To Boogalusa, King Snake Bobby Blue Bland, I've got A 20 Room House, Sad Street, Malaco Gary Primich, Mr. Freeze, Title Cut, Flying Fish ---------------------------Break------------------------------- Johnnie Bassett, Woke Up This Morning, Montreaux/Detroit, No Cover Randy Volin, Dont Start Me To Talkin, Used Guitars, Volin Uncle Jesse White, I Aint No Iceman, (&) The 29th Street Band, Blues Factory James Glass, Fool For Your Stockings, Get This, No Cover ---------------------------11pm Break------------------------- Chisle Brothers/Thornetta Davis, Have My Husband, Blues from the Heart. WAY/SAC Sarah Brown, Barbwire Kiss, Sayin' What I'm Thinkin', Blind Pig Cotton Candy, They Call Me Cotton..., ...and So Many Men, Co-Ze Joanna Connor, Rain On My Window, Rock and Roll Gypsy, Ruff Records ------------------------------Break------------------------------------- Jophn Lee Hooker, Boogie Chillun, JLH 40th Anniversary Album, Sensation/DCC Eddie Burns, Title Cut, Detroit, Evidence Butler Twins, Bring It On Back...., Not Gonna Worry About Tomorrow, JSP Steve Gornal/Blue Collar Band, Hauted House Blues, Steve Gornal etc., Blues Factory ----------------------------------Break--------------------------------------- Len Bland, Exactly Where Its At, For Your Love, Lucky Pride Bob Margolin, Rip It Up,My Blues/My Guitar, Alligator Ace Moreland, Death Letter Blues, Keepin A Secret, King Snake Chares Ford Band, All Thes Blues, As Real As It Gets, Blue Rock'It -------------------------------Break----------------------------------- Carben Givens, Thats Alright, Detroit After Hours, Trix Mr B, Cow Cow Blues (exit theme), Blue Ivory, Blind Pig BLUZ!!!! Ed ========================================================================= Date: Sun, 14 Apr 1996 09:58:54 -0700 Reply-To: cwolfson@ecentral.com From: Cary Wolfson Organization: BLUES ACCESS Subject: Re: Ya know you got the blues bad when: Comments: To: bit-listserv-blues-l@uunet.uu.net You bad, Girl! Now when you gonna tell me more about Sista Monica ...? ;-} Cary Wolfson (cwolfson@ecentral.com) Publisher BLUES ACCESS, The Distinctive Blues Magazine 303/443-7245 http://www.he.net/~blues ========================================================================= Date: Sun, 14 Apr 1996 10:03:10 -0700 Reply-To: cwolfson@ecentral.com From: Cary Wolfson Organization: BLUES ACCESS Subject: BLUES ACCESS back on blues-l (finally) Comments: To: bit-listserv-blues-l@uunet.uu.net I've FINALLY got a real PPP account, Netscape, etc. and am not dependent on AOL schlock anymore. (Got tired of my e-mailbox filling up with hundreds of unthreaded messages I had to erase every day.) At any rate I'm a-lurkin' Cary Wolfson (cwolfson@ecentral.com) Publisher BLUES ACCESS, The Distinctive Blues Magazine 303/443-7245 http://www.he.net/~blues ========================================================================= Date: Sun, 14 Apr 1996 09:43:35 -0700 Reply-To: Bob Fulkerth From: Bob Fulkerth Subject: Danny White I'm very interested in the dialogue on Danny White. If anyone knows about or has Kiss Tomorrow Goodby, or knows about who/where the catalogs of Sue and Frisco records are now, or if there are rereleases, please talk to me. I'm interested in a tape of Kiss Tomorrow Goodby if anyone's so inclined. Thanks Bob Fulkerth ========================================================================= Date: Sun, 14 Apr 1996 12:25:13 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re[2]: An Opinion on Musical Masturbation Comments: To: cuthulu@rlabs.com Methinks young Master Smith has had to listen to young Master Kenny Wayne Shepard too much, egads, against his will, this week! -Old Master Jim _______________________________________________________________________________ Subject: Re: An Opinion on Musical Masturbation From: cuthulu@rlabs.com at INTERNET-SH Date: 04/13/96 9:31 PM On Fri, 12 Apr 1996 13:12:52 EST, shannon oconnor wrote: > When I was a music student in college, we used the term "musical > masturbation" for the ridiculous actions of those showboat > self-glorifiers who insist they have an attentive, respectful, > awe-filled audience while they carry on insufferably "playing with > themselves;" i.e., soloing to excrutiating (and ultimately, incredibly > uninteresting, except to the "wanker" him/herself) excess. Here's a measuring stick: Jimi Hendrix performing Voodo Chile -- NOT masturbation. Anybody else performing Voodoo Chile -- get out the unmbrella and stay away from the first few rows. WWW Production: HTML,CGI,JAVA Kevan Smith -> cuthulu@prysm.net http://www.rlabs.com ========================================================================= Date: Sun, 14 Apr 1996 13:01:17 -0500 Reply-To: Kevin DeBell From: Kevin DeBell Subject: VoodooChile/Wanking/Blues "Anybody else performing Voodoo Chile -- get out the unmbrella and stay away from the first few rows" I'd agree, except that I saw Luther Allison absolutely DESTROY the audience at Buddy Guy's last November by sliding from one of his own unes into a crushing version of Voodoo Chile. The strange part was that when LA came on stage, my girlfriend and I, although we'd seen Luther a few times before, were moved to comment on how much he resembles Hendrix. When he did Voodoo, he blew me away. It capped the end of a great set that night. I'm telling you, I don't usually pay to see someone else masturbate, but that night....... - Kevin ========================================================================= Date: Sun, 14 Apr 1996 13:54:41 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 04/15 B O R N : 04/15 ADDISON, BERNARD Born:1905 ANNAPOLIS, MD Career:GUITAR Style:JAZZ With: REX STEWART / SONNY THOMPSON / ART TATUM / ADELAIDE HALL 1930 / RUSSELL WOODING / FATS WALLER 1931-1932 / FLETCHER HENDERSON 1933-193 / ADRIAN ROLLINI 1935 / MILLS BROTHERS / Claude Hopkins / Jelly Roll Morton / Bubber Miley / Red Allen / Colman Hawkins / Mezz Mezzrow / Billy Holiday CARPENTER, WINGY ( THEODORE ) Born:1898 ST. LOUIS, MO Career:TRUMPET / SINGER Style:JAZZ With:Wes Helvey / Clarence Paige / Zack Whyte / Jack Ellis / Dick Bunch / Jesse Stone CHERICO, GENE ( EUGENE ) Born:1935 BUFFALO, NY Career:BASS Style:JAZZ / BIG BAND With:TOSHIKO AKIYOSHI / HERB POMEROY 1957-59 / MAYNARD FERGUSON 1959-60 / RED NORVO 1961 / BENNY GOODMAN 1962 / GEORGE SHEARING 1963 / STAN GETZ 1964-66 / PETER NERO 1966-70 / PEGGY LEE / CARMEN MCRAE / FRANK SINATRA DAVIS, RICHARD Born:1930 CHICAGO, IL Career:BASS Style:JAZZ With:Eddie King / Walter H. Dyatt 1952-53 / Ahmad Jamal Trio 1953-54 / Don Shirley Duo 1954-55 FROST, FRANK Born:1936 AUGUSTA, GA Career:SINGER / GUITAR Style:BLUES-R&B With:B.B.KING / ALBERT KING / SONNY BOY WILLIAMS / CARL PERKINS / CONWAY TWITTY POMEROY, HERB ( IRVING HERBERT POMEROY III ) Born:1930 GLOUCESTER, MA Career:TRUMPET / LEADER Style:JAZZ / BIG BAND With:Charlie Parker / Charlie Mariano / Stan Kenton REARDON, CASPER Born:1907 LITTLE FALLS, NY Career:HARP Style:JAZZ / BIG BAND Mostly with symphony orchestras / recorded with Jack Teagarden in Sept.1934 / PAUL WHITEMAN SMITH, BESSIE Born:1895 CHATTANOOGA, TN Career:SINGER Style:TRAD / JAZZ / BLUES With:JOE SMITH / MA RAINEY / FLETCHER HENDERSON / JAMES P. JOHNSON / LOUIS ARMSTRONG SMITH, CHARLIE ( CHARLES ) Born:1927 NEW YORK, NY Career:DRUMMER Style:JAZZ With:ELLA FITZGERALD / HOT LIPS PAGE / ERROLL GARNER / BENNY GOODMAN / SLIM GAILLARD / OSCAR PETERSON / /ARTIE SHAW / JOE BUSHKIN / SLAM STEWART / DUKE ELLINGTON / BILL TAYLOR 1952-54 / AARON BELL 1954-56 / DWIKE MITCHELL / WILLIE RUFF SODJA, JOE ( JOSEPH SODJA ) Born:1911 CLEVELAND, OH Career:GUITAR Style:JAZZ / BIG BAND With:Arcadian Melody Pilots (1926-30) / Art Cook (1928) / Nat Shilkret (1933) / C.B.S. Studios (1933-35) / Buddy Rogers / Don Bestor / Fred Waring WIGGINS J.J. ( GERALD FOSTER WIGGINS JR ) Born:1956 LOS ANGELES, CA Career:BASS Style:JAZZ / BIG BAND Son of Gerry Wiggins / Duke Ellington orchestra(Mercer Ellington) 1974 FOR A LISTING OF THOSE THAT PASSED AWAY IN APRIL PLEASE GO TO MY WEB PAGE AT http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us FOR A LISTING OF THOSE THAT PASSED AWAY IN APRIL PLEASE GO TO MY WEB PAGE AT http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us FOR A LISTING OF THOSE THAT PASSED AWAY IN THIS MONTH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us The Following were Recorded on this Date in the Years: ========================================================================= Date: Sun, 14 Apr 1996 12:57:58 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Chess Rarities on CD In respose to a question of mine about what Hound Dog Taylor there is out there a few people mentioned that there existed on vinyl an album called "Chess Blues Rarities." Well, I was browsing in a used CD store and found a CD called "Chess Blues Rarities." Apart from Hound Dog Taylor it features Sonny Boy Williams, BB King, Buddy Guy and Howlin' Wolf. The performances range from quite mediocre to quite good. You can even hear what Howlin' Wolf sounds lke surrounded by fuzzed-out, wah-wahed psycheldelic guitars. While not the greatest collection of blues out there it is an interesting album for collectors and people who like to complete their CD collections. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Sun, 14 Apr 1996 12:58:05 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: VoodooChile/Wanking/Blues So what do I do? Remove 'Voodoo Chile' from the set list of the classic rock band I play in or provide raincoats for the audience? Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Sun, 14 Apr 1996 12:53:50 -0700 Reply-To: Robert Georgi From: Robert Georgi Subject: Taj and tubas On April 12 Karen Hanson wrote: >Didn't I hear a tuba on a Taj Mahal song once? Having donned my asbestos-lined suit, I'm prepared now to confirm that = Taj was joined by no less than four tubas on "The Real Thing" (Columbia, = G30619). Earle McIntyre, Joseph Daley, Bob Stewart, and Howard Johnson = (honest), brought tuba, fluegelhorn, trombone, and trumpet together in = a unique brass complement to Taj's National and banjo and John Simon's = keyboard. =20 This album is different, all right. And while some on the list may claim = that with so much brass it ain't "real" blues, hearing "Big Kneed Gal" = but once is believing. ========================================================================= Date: Sun, 14 Apr 1996 19:53:41 GMT Reply-To: bbbean@sheltonlink.com From: bbbean@SHELTONLINK.COM Organization: inlink Subject: Re: A performer/entertainer 's closet Comments: To: bit-listserv-blues-l@uunet.uu.net In <199604121700.KAA09778@inet.lasierra.edu>, Don Cicchetti writes: >BUT, just because you shouldn't dress in a silly rock-star outfit or >heaven-forbid a "Blues Brothers" getup, that doesn't mean you should get on >stage looking dowdy or like you just came from work... I've had the rqther dubious honor of reviewing and judging a few hundred bands, and I can say without reservation that it never hurts to make SOME effort to look like SOMETHING when you go on stage. I don't think someone has to wear a top hat and tails, or go the opposite way and wear zebra skin tights and boots, but if you're performing for an audience you really should give them something to look at. BBB B.B. Bean New address------>bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Sun, 14 Apr 1996 20:51:15 GMT Reply-To: Mike Craddock From: Mike Craddock Organization: Prodigy Services Company 1-800-PRODIGY Subject: "To what did the blues give birth?" Comments: To: bit-listserv-blues-l@uunet.uu.net What exactly did the blues start? Is jazz just the "white man's blues"? How did the blues affect the evolution of music in the twentieth century? If you have an opinion on any of these questions please write me at ASKQ88B@PRODIGY.COM. You can't find the answers to these types of questions in the library, so I hope I can get some true input from good musicianns. thanks Mike Craddock - ASKQ88B@prodigy.com ========================================================================= Date: Sun, 14 Apr 1996 20:54:27 GMT Reply-To: Mike Craddock From: Mike Craddock Organization: Prodigy Services Company 1-800-PRODIGY Subject: "To what did the blues give birth?" Comments: To: bit-listserv-blues-l@uunet.uu.net SUBJECT: "To what did the blues give birth?" What exactly did the blues start? Is jazz just the "white man's blues"? How did the blues affect the evolution of music in the twentieth century? If you have an opinion on any of these questions please write me at ASKQ88B@PRODIGY.COM. You can't find the answers to these types of questions in the library, so I hope I can get some true input from good musicianns. thanks Mike Craddock - ASKQ88B@prodigy.com ========================================================================= Date: Sun, 14 Apr 1996 16:29:21 -0500 Reply-To: T-Bone From: T-Bone Subject: Re: VoodooChile/Wanking/Blues In-Reply-To: <199604141955.MAA26544@wavenet.com> On Sun, 14 Apr 1996, Shaun T Cronin wrote: > So what do I do? > > Remove 'Voodoo Chile' from the set list of the classic rock band I play in > or provide raincoats for the audience? Remember, kids, when you play 'Voodoo Chile', the saints cry. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Remember! Friends don't let friends drink and post." - Amy Ashton ========================================================================= Date: Sun, 14 Apr 1996 14:54:23 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: April 15 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ADDISON, BERNARD S. (g/THE MILLS BROS) b. 1905-0415, ANNAPOLIS, MD CARPENTER, THEODORE "WINGIE" (tpt) b. 1898-0415, ST. LOUIS, MO CARTER, A. P. (of THE CARTER FAMILY) b. 1891-0415, MACES SPRINGS, VA CONNORS, MARC THOMAS (of THE NYLONS) b. 1947-0415, OTTAWA, ONTARIO CORLEY, DEWEY (hca/MEMPHIS JUG BAND) d. 1974-0415, MEMPHIS, TN 75 EDMUNDS, DAVE (g) b. 1944-0415, CARDIFF, WALES FROST, FRANK (hca/JELLY ROLL KINGS/EARWIG b. 1936-0415, AUGUSTA, AR GOLDNER, GEORGE (owner:RAMA/GEE/END/GONE) d. 1970-0415, TURTLE BAY, NY 52 GOLDMAN, ALBERT (author/ELVIS) b. 1927-0415, DORMONT, PA JONES, HERB (of THE JONES BROTHERS) b. 1907-0415, CROWLEY, LA JONES, LITTLE SONNY(v/SPECIALTY/IMPERIAL) b. 1931-0415, NEW ORLEANS, LA MACHITO [FRANCISCO PEREZ GUTIERREZ] (v) d. 1984-0415, LONDON, UK 72 MARTIN, CARL (of MARTIN,BOGAN & ARMSTRONG)b. 1906-0415, BIG STONE GAP, VA MCCLAIN, SAM MIGHTY (v) b. 1943-0415, MONROE, LA SMITH, BESSIE (v/EMPRESS OF THE BLUES) b. 1894-0415, CHATTANOOGA, TN ------------------------------------------------------------------------------- ========================================================================= Date: Sun, 14 Apr 1996 17:08:13 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: A performer/entertainer mindset Comments: To: shaun@WAVENET.COM Part of what has kept me out of the jams , etc, is I don't want to play other people's material anymore. I have enough half finished songs to fill a dump truck, but I always think they're not good enough or I learn they share something with another song I've heard after I'm nearly finished and figure out how that riff came to me in the first place, etc... On 13 Apr 96 , honorable zeller Shaun T Cronin wrote: > PW's most was informative and interesting. Is there a cure for stage > fright? Who knows but PW's story about stage fright afflicting you unawares > sort of parallels recent experince. > > A few weeks back I was filling in for a friend in a country band. One night > before the first set I became nervous. As a consequence I over-played, > missed intros and generally sounded bad. The reason was I was trying to > impress some of the band members. I wasn't playing for myself. I was also > too intent on trying to do a good job that it backfired. I soon realized > this and as a result the second set I relaxed and played better. I also > wasn't really familiar with the material. > > Tonight was a different story. > > Tonight was the first gig I had with a new band. We were quite > under-rehearsed. Yet I wasn't nervous in the least. The gigs I had done > with the other band taught me a lot. I just wanted to play. I wasn't > worried about impressing anybody. I was also familiar with the material. > That helped. Also, all the guys in the band were great guys so it was a > relaxing atmosphere on stage. > > While stage fright can afflict anyone at anytime there are ways around. > > Know thy material! If you know what's going on (even if the rest of the > band doesn't) it helps. I had to help the drummer out a few times in > explaining intros etc. He was good though so it wasn't a chore. > > Act confidant. Even if you have no idea what the hell is going on pretend > that you do. The past few weeks have taught me how to find my way through > songs I have never heard before or have heard but never learn't. It can be > nerve wracking but fun. > > Go for it. Holding back is the worst thing that you can do. That is what I > found from personal experience. Let yourself go and flow with the music. > Don't worry about making a mistake. Try and say something. Mistakes are > nothing. > > You can never find beauty in perfection. Flaws are where true beauty comes from. > > Shaun > > > Shaun Cronin 'Woke up this morning between midnight and day. I was > shaun@wavenet.com hugging the pillow where my baby used to lay.' Son > House > > "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Sun, 14 Apr 1996 17:17:44 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: "To what did the blues give birth?" AS>SUBJECT: "To what did the blues give birth?" AS>What exactly did the blues start? Is jazz just the "white man's blues"? I'm struck by the absurdity of this question. What would prompt you to ask if jazz is the white man's blues? What makes you think white men originated jazz or currently dominate the jazz scene? It's no more true that jazz is the "white man's blues" as it is blues is the white man's jazz. Bill Morgan From: The Big Easy ========================================================================= Date: Sun, 14 Apr 1996 19:37:13 -0400 Reply-To: ac928@osfn.rhilinet.gov From: Jim McGlynn Subject: Johnnie Johnson live Saw Johnnie Johnson in Providence last night. I'd been looking forward to seeing him for a month. I walked out after five songs. After listening to the lame opening band for a half hour, turns out after the break that they were backing Johnson. He himself when he finally joined them was fine, but I hadn't planned on watching him essentially jam with whatever locals he could be thrown together with by the club. It was flat-out wretched. And to think there was gnashing of teeth here over his apparent plans to tour with Phil Lesh or Bob Weir or whoever it was. Ay-yi-yi. Jim McGlynn -- ========================================================================= Date: Sun, 14 Apr 1996 20:18:45 -0400 Reply-To: Niles Frantz From: Niles Frantz Organization: GNN Subject: Looking for the blues in DC Comments: To: bit-listserv-blues-l@uunet.uu.net I'm leaving Wednesday morning, 4/17, for a week in Washington, DC (for work). Can someone clue me in to blues happening there - especially Friday night, 4/19 and Saturday night, 4/20. Thanks for your help. Private e-mail to Niles@gnn.com Niles A loop is a loop is a loop. ========================================================================= Date: Sun, 14 Apr 1996 20:25:56 -0400 Reply-To: Kevin Canning From: Kevin Canning Subject: Re: Frankie Lee Sims (was:Why isn't this person famous ?) Comments: To: "Eliot C. Williams" In-Reply-To: <1FD04AB1458@heme.medicine.wisc.edu> Sorry that I'm a little late on this. There was a lp of Frankie Lee Sims on Krazy Kat (KK 7428) which contained unissued tunes recorded in New York sometime around November of 1960. The play list includes the following. Women, Why'd You Break My Heart Short Haired Woman My Home Ain't Here Lucy Mae Blues Jelly Roll Baker Come Back Baby - Take 1 Come Back Baby - Take 2 Send My Soul To The Devil As Long As I Live Walking With Frankie Lee Don't Be Mad With Me Going Back To Dallas Going To The River Frankie Lee Boogie. Sleeve notes by Chris Bentley. I would guess that this is the version of Lucy Mae which you heard. Kevin ========================================================================= Date: Sun, 14 Apr 1996 17:38:41 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: "To what did the blues give birth?" Bill Morgan wrote: >AS>SUBJECT: "To what did the blues give birth?" >AS>What exactly did the blues start? Is jazz just the "white man's blues"? > >I'm struck by the absurdity of this question. What would prompt you to >ask if jazz is the white man's blues? What makes you think white men >originated jazz or currently dominate the jazz scene? It's no more true >that jazz is the "white man's blues" as it is blues is the white man's >jazz. I agree with Bill (BTW, G'day Bill). This a strange statement. I'd like to know where Mike got this from. Anyway, I always thought that country music was the white man's blues:-) Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Sun, 14 Apr 1996 20:33:31 EDT Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Pinetop Perkins rumor Hey all, I heard last night that Pinetop Perkins is in jail or under house arrest. Can anyone confirm or deny this? He apparently missed a gig in CT on Friday. Thanks, Dave Carpenter Blues Music Director - WHUS-FM University of Connecticut - Storrs, CT http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Sun, 14 Apr 1996 19:18:29 EST Reply-To: scovillej@ISAIAH.CSPS.COM From: Jef Scoville Subject: HOMICIDE soundtrack Pete, The artist featured in the vocal cut at the end was Jef Lee Johnson. It was a cut from his recent CD Blue (more info at youdoufunk@aol.com). Although the CD is called BLUE it's not blues. But it is very good funk-pop with clear ties to R&B. There is one acoustic cut called Burn Your Fields On Down that is probably the bluesiest cut. Any guitarist should appreciate the cool things that Jef has going. If you like the bit you heard I'm sure you'll like the rest of the CD. I read that JLJ filled in with Letterman's CBS orchestra for a while when Sid McGinnis (sp?) was off somewhere. That takes some chops. I noticed this guy cuz we share a fairly unusual spelling of the same first name. Jef Scoville ========================================================================= Date: Sun, 14 Apr 1996 21:15:26 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Manny Greenhill is dead Manny Greenhill, longtime manager of traditional American music performers such as Doc Watson, died today in Los Angeles. He was 80 last month. As I understand it, list member Dick Waterman had one of his early jobs in music at Mr. Greenhill's office in Massachusetts. Tom Freeland ========================================================================= Date: Sun, 14 Apr 1996 21:26:02 -0400 Reply-To: Jonny Meister From: Jonny Meister Subject: Re: They All Understand The Blues Comments: To: BALISTRK@BAYDENOC.CC.MI.US At 09:26 AM 4/13/96 -0400, you wrote: >In trying to define just what the Blues is....here are some other folks >words... W.C. Handy understood the blues only in terms of financial success. Here is a quote from his autobiography: "I hasten to confess that I took up with the low forms hesitantly" "My own enlightenment came in Cleveland, Mississippi. I was leading the orchestra in a dance program when someone sent up an odd request: would we play some of 'our native music' the note asked. This baffled me." "A few moments later, a second request came up. Would we object if a local colored band played a few dances? Object? That was funny. What hornblower would object to a time-out and a smoke on pay? We eased out gratefully as the newcomers entered. They were led by a long-legged chocolate boy, and their band consisted of just three pieces: a battered guitar, a mandolin, and a worn-out bass. The music they made was pretty much in keeping with their looks. They struck up one of those over-and-over strains that seemed to have no very clear beginning and certainly no ending at all. The strumming attained a disturbing monotony, but on and on it went." "A rain of silver dollars began to fall around the outlandish, stomping feet. The dancers went wild. Dollars, quarters, halves, the shower grew heavier and continued so long I strained my neck to get a better look. There before the boys lay more money than my nine musicians were being paid for the entire engagement. Then I saw the beauty of primitive music." from-- "Father Of The Blues" by W.C. Handy, Macmillan & Co. 1941. So much for the "Father Of The Blues"...... >The blues came from nothingness, from want, from desire." > -W. C. Handy > >"You see me ravin', you hear me crying, >Oh Lawd, this lonely heart of mine, >Sometimes, I'm grievin from my hat down to my shoes. >I'm a good hearted woman that's a slave to the blues." > -Ma Rainey > >"The blues slows you down and gives you time to think." > -Albert King > >"Blues was conceived of by freedmen and ex-slaves as the result of personal >or intellectual experiences: an emotional confirmation of, and reaction to, >the way in which most Negroes are still forced to exist in the U.S." > -LeRoi Jones (Amiri Baraka) > >"Blues is joyful. It's a celebration of having overcome bad times." > -Joe Williams > >"...poor people have the blues because they're poor and hungry. Rich >people...because they're trying to hold on to their money and everything >they have." > -John Lee Hooker > >"When a woman take the blues, she tuck her head and cry. >But when a man catch the blues, he grab his shoes and slide." > -Sherley Anne Williams > >"What did I do >To be so black >And blue?" > -Louis Armstrong > > I guess we aren't they only people with different conceptions..... > >Keith B. > > ========================================================================= Date: Mon, 15 Apr 1996 11:47:22 U Reply-To: Peter Blanken From: Peter Blanken Subject: Re: Johnnie Johnson live Reply to: RE>Johnnie Johnson live >After listening to the lame opening band for a half hour, turns out after >the break that they were backing Johnson. He himself when he finally >joined them was fine, but I hadn't planned on watching him essentially >jam with whatever locals he could be thrown together with by the club. >It was flat-out wretched. >Jim McGlynn I caught Johnnie in September last year on his Australian tour. He picked up an act from Sydney who backed him on all his dates around the country. It was the same story, the band was lousy. The guitar player was a loud SRV wanna be!! They didn't seem to know the songs, but Johnnie was great. I just put this down to a bad night and maybe they didn't have much time to rehearse. But...... I saw Johnnie's set at the East Coast Blues Festival at Easter this year and he had the same band. They played pretty much the same set as before, and again the band didn't seem to know the songs!!! They were awful. It's a damn shame that an artist of Johnnie's caliber cannot be given a decent band to back him up. It must be a money thing . Pete. ========================================================================= Date: Sun, 14 Apr 1996 21:50:28 -0400 Reply-To: Jonny Meister From: Jonny Meister Subject: Blues tuba Johnny Wicks' Swinging Ozarks featured "Preacher" John Stephens on tuba. The instrument was featured on "Big Horn Blues" (1952) on the United label, reissued on Pearl #PL-13 on LP-- don't think it is on CD yet.... I believe Ransom Knowling, who played bass behind Arthur Crudup for a while, also recorded on tuba a few times, using it as a brass bass. -Jonny ========================================================================= Date: Sun, 14 Apr 1996 18:53:26 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Pinetop Perkins rumor Pinetop is under house arrest, with an electronic bracelet monitor. This = unfortunate turn of events was apparently caused by a second DWI in a = relatively short period of time. So, if you have Pinetop tickets, best = double check. Uncle Ray ---------- From: david m. carpenter[SMTP:103156.340@COMPUSERVE.COM] Sent: Monday, April 15, 1996 12:33 AM To: Multiple recipients of list BLUES-L Subject: Pinetop Perkins rumor Hey all, I heard last night that Pinetop Perkins is in jail or under house = arrest. Can anyone confirm or deny this? He apparently missed a gig in CT on Friday. Thanks, Dave Carpenter Blues Music Director - WHUS-FM University of Connecticut - Storrs, CT http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Sun, 14 Apr 1996 18:55:30 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: HOMICIDE soundtrack George Smith's "Telephone Blues" turned up as a musical bed on Homicide last season. Uncle Ray ---------- From: Jef Scoville[SMTP:scovillej@ISAIAH.CSPS.COM] Sent: Monday, April 15, 1996 12:18 AM To: Multiple recipients of list BLUES-L Subject: HOMICIDE soundtrack Pete, The artist featured in the vocal cut at the end was Jef Lee Johnson. It was a cut from his recent CD Blue (more info at youdoufunk@aol.com). Although the CD is called BLUE it's not blues. But it is very good funk-pop with clear ties to R&B. There is one acoustic cut called Burn Your Fields On Down that is probably the bluesiest cut. Any guitarist should appreciate the cool things that Jef has going. If you like the bit you heard I'm sure you'll like the rest of the CD. I read that JLJ filled in with Letterman's CBS orchestra for a while when Sid McGinnis (sp?) was off somewhere. That takes some chops. I noticed this guy cuz we share a fairly unusual spelling of the same first name. Jef Scoville ========================================================================= Date: Sun, 14 Apr 1996 21:23:37 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: San Antonio Blues and Food? Comments: To: "david m. carpenter" <103156.340@COMPUSERVE.COM> Okay, next Saturday I will be in San Antonio for Sat thru Weds. Any recs on music and food, y'all? Jim _______________________________________________________________________________ ========================================================================= Date: Sun, 14 Apr 1996 22:48:06 -0400 Reply-To: MKosterich@AOL.COM From: MKosterich@AOL.COM Subject: Performers for Hire/Wanted Dear Friends, I live in Charlottesville, Virginia (about 2 hours southwest of Washington, D.C.), and would like to put concerts together here in town. I am looking to bring high caliber, nationally known music into town. I am planning to book blues artists, jazz, rock and possibly country and alternative music. The area is the home of the University of Virginia, Mary Baldwin College, James Madison University, Piedmont College and more, not to mention the educated professional citizens who are not university students. I believe that there is a tremendous audience for great , live music. I plan to partially fill that void. I am not a member of your group, so please respond to me through my personal e-mail address. I am looking for the names of booking agents to arrange shows this summer. If you know of anyone to help me reach this aim, please let me know. Thank you very much for your assistance. Sincerely, Mark S. Kosterich ========================================================================= Date: Sun, 14 Apr 1996 20:05:37 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: A performer/entertainer mindset Comments: cc: rjbauman@iquest.net RJ Bauman wrote: >Part of what has kept me out of the jams , etc, is I don't want to >play other people's material anymore. I have enough half finished >songs to fill a dump truck, but I always think they're not good >enough or I learn they share something with another song I've heard >after I'm nearly finished and figure out how that riff came to me in >the first place, etc... One thing I like doing when playing other peoples music is trying to put my own spin on it. From playing in cover bands it seems that there are two choices. Play the song as close as you can to the original to try and stamp the bands (or your own) mark on the material. As Voodoo Chile seems to be the song of the day let's look at that one. No-one can play the song like Hendrix! I don't even try. My take on the song is to try and make the solo "atmospheric" in quality. What I mean by this is to try and play only a few notes, using sustain and feedback and traying to create some melodies out of the whole thing. The mistake, IMHO, a lot of guitarists make when playing Voodoo Chile is that they go off into "play as many notes as possible" land i.e. musical masturbation. I remember playing Voodoo Chile at MI once and all I said to myself was "do not play fast." I laid back and hit a note, waited a bit, and went wherever the note seemed to suggest. I had no idea what I played during that performance. But some people who saw it seemed to like it. The point. Try and stamp your own personality in other peoples material. In the classic rock band that I'm in, I only learn the obviously melodic and worked out solos. The others, I may steal bits here and there but, for better or worse, I go my own way. Whether your a guitarist, vocalist or whatever, you can make the songs your own. As for RJ and writing songs. Collaborating with someone else may help. Also, don't worry if some songs sound like they came from somewhere else. It happens to all of use. If I write a song and it reminds me of something else I'm usually pleased. To me, it means that my influences are at work. There is a line between blatant copying and showing your influences. A good example is SRV. Although his influences were quite plain he tried to put his own spin on things and it worked. End of today's ramble/sermon. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Mon, 15 Apr 1996 03:19:22 GMT Reply-To: pgraff@MHV.NET From: pgraff@MHV.NET Organization: mhv.net Subject: Re: On this day... Comments: To: bit-listserv-blues-l@uunet.uu.net Well I guess I should pay more attention to what I read. Don't know if "Willie Jean" is similar to or the same some song as 'sometimes I think About", but 'Sometimes I Think About' was written by the Blues Magoos. ========================================================================= Date: Mon, 15 Apr 1996 03:41:48 GMT Reply-To: Mike.Lattrell@NEWS1.PANIX.COM From: Mike.Lattrell@NEWS1.PANIX.COM Organization: The Mike & Jan Society Subject: Christine Santelli Band schedule Comments: To: bit-listserv-blues-l@uunet.uu.net Here are some dates for The Christine Santelli Band April 19: Manny's Car Wash NYC April 27: Fannies Oyster Bar NYC May 4: Louisiana Community Bar & Grill NYC May 10: Dan Lynch NYC May 24: Manny's Car Wash NYC Christine Santelli Band homepage : fttp: //www.panix.com/~specty/band.htm - Mike ========================================================================= Date: Mon, 15 Apr 1996 00:44:09 -0500 Reply-To: Richard Korman From: Richard Korman Organization: FLORIDA ONLINE, Florida's Premier Internet Provider Subject: memphis Comments: To: bit-listserv-blues-l@uunet.uu.net Am going to be in memphis with my lady on 4/24 and 4/25 We like R&B and cool Jazz. please advise of small intimate club or bar with good live music and nice atmosphere Email please or i won't be able to find it. Richard Korman ========================================================================= Date: Mon, 15 Apr 1996 00:24:07 -0500 Reply-To: "Eric A. Pulsifer" From: "Eric A. Pulsifer" Organization: Evansville Online Subject: Re: Bitterness and Purists (a purist speaks out) Comments: To: bit-listserv-blues-l@uunet.uu.net In-Reply-To: On Tue, 9 Apr 1996, T-Bone wrote: > On Tue, 9 Apr 1996, Timothy M Dellinger wrote: > > >We are entertainers, like it ar not. > > Blues-rock people are entertainers. Blues people are artists. > > The two terms are not mutually exclusive. In fact, if you like the music > that someone plays, you are entertained; so if you like the music by a > blues artist, then that person is a blues artist AND an entertainer. QED. > (Or in the words of the non-late John Cleese, "There! I run rings around > ya logically.") > > Or are you saying that you like the blues but that it doesn't entertain > you? Do you PREFER to listen to music that doesn't entertain you? What > an utterly depressing thought. > > Or do you think that the money that people gave to Charlie Patton made him > less of an artist? Sonny Terry's harp playing didn't change all that much > over the course of his long recording career, but did appearing on > Broadway make him less of a bluesman? If Mozart's music had not been > entertaining, could he have made a living from it? If I go see B.B. King > at the Kennedy Center, Kenny Neal at Tornado Alley, or The Joe Blow Blues > Band at Earl's Bar, I expect two things: 1) good blues, and 2) to be given > my money's worth of entertainment. (I also expect overpriced watered-down > drinks, but anyway.) In any of these cases, if these conditions aren't > met, I am allowed to boo, go elsewhere, and/or quit supporting that > establishment/artist with my money. If you don't like blues-rock, fine, no > one is making you listen to it. (Ain't freedom great?) But if someone else > likes it, don't feel like you have to put them down to build yourself up. > I may disagree with a person's musical taste, but that doesn't make either > of us right or wrong. Well, okay, there are certain situations ... maybe > playing "Shave 'em Dry" at my friends' Baptist wedding was a bad idea; > mighta led to dancing. ========================================================================== You didn't really play "Shave 'em Dry at the Baptist wedding, now did you? What was the general reaction? --Eric {(-8 ========================================================================== > > BTW, have you ever wondered what jazz snobs think of the blues? Some, not > all, but some hold the EXACT same attitudes about blues that you do about > blues-rock. > > "Think about it, won't you? Thank you." > > > Ask any Son House fan if Son was an artist or the highest calibre. > > Ask Mr. Waterman what Mr. House's attitude on getting paid for his > services was. > > > It is interesting > > that you consider your music to be mere entertainment. That says very much > > about your attitude towards music. > > It is interesting what YOUR attitude towards music as entertainment is. > That says much about your attitude towards reality. > > I'm going to stop this; if I want to get in a flame war, I'll go talk to > Fightinig Illini fans on rec.sport.basketball.college. > > T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) > "Remember! Friends don't let friends drink and post." > - Amy Ashton > > ========================================================================= Date: Mon, 15 Apr 1996 02:23:14 -0700 Reply-To: Stan Ruffo Comments: RFC822 error: TO field duplicated. Last occurrence was retained. Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Stan Ruffo Subject: BOT Playlist 4/7/96 Comments: To: Renee Grace , Joseph Jordan , Sony Music , Vent Records , Mark Naftalin Stan Ruffo Productions 800 N. Ben Maddox Way, Suite 2200 Visalia, California 93292 ph.(209) 625-6049 steamin@valleynet.com / www.valleynet.com/~steamin PROGRAM: "Blues On Tap" w/ Steamin' Stan Ruffo STATION: KIOO 99.7FM (Kay-eye-oh-oh), Visalia, CA SUBJECT: Playlist 1596 - Commercial Radio DATE & TIME: Sunday - April 14, 1996 8pm - 10pm Special: "Focus on The Root" Artist Title Label Track Chepas & Wiggins Cool Down Alligator 5 Son Becky Good Time Blues Columbia 5 Charlie Musselwhite In My Time Alligator 2 Elmer Lee Thomas Blues Rev Radio Blues MOT 10 Doug MacLeod Come To Find AudioQuest 7 Saffire Old,New,Borrowed,Blue Alligator 4 Lightnin' Hopkins Los Angeles Blues Rhino 1 Taj Mahal Phantom Blues Private Music 1 Alvin Youngblood Hart Big Mama's Door Okeh 2 Otis Spann Testament Sampler Testament 4 Bo Carter Messed Up In Love Columbia 5 Ron Thompson Just Like A Devil Winner 6 Jesse Thomas Lookin' For That Woman Black Top 7 Sherman Robertson Here and Now Atlantic 1 Pat Boyack & The Prowlers On The Prowl Bullseye 6 Ike The Spot Is Hot 1 Corey Harris Between Midnight & Day Alligator 14 Paul Rishell Swear To Tell The Truth Tone-Cool 1 Paul Gaither Booze & The Blues Columbia 12 Robert Johnson The Complete Recordings Columbia 2-6 Roosevelt Sykes Big Blues Honks and Wails Prestige 7 Bessie Smith The Final Chapter Columbia 1 Josh White Blues Singer Columbia 3 Slim Harpo The Scratch Excello/AVI 6 Ronnie Earl Grateful Heart: Blues & Ballads Bullseye 3 Johnny Dyer Jukin' Blind Pig 4 Kenny "Blue" Ray Strat Daddy Blue Ray 3 Chris Cain Somewhere Along The Way Blind Pig 8 Joey Razor Joint B Jump Hectic 1 Studebaker John Tremoluxe Blind Pig 8 Alvin Youngblood Hart Big Mama's Door Okeh 4 Blues On Tap reports to Living Blues and The Hard Report ========================================================================= Date: Mon, 15 Apr 1996 10:17:22 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: tuba music In-Reply-To: <960412171541_512337910@emout08.mail.aol.com> On Fri, 12 Apr 1996, Karen Hanson wrote: > Didn't I hear a tuba on a Taj Mahal song once? Or am I imagining it? > (Sorry, don't have any Taj Majal recordings.) > > (Geez...you can't have everything all at once!!!) > > Karen > I think it's called "Cakewalk Into Town" phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [15/4/96 6:06 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 15 Apr 1996 07:50:58 -0400 Reply-To: Leo Aspiras From: Leo Aspiras Subject: Scatman Scores....... Hi Y'all: Thought i'd share this lucky encounter. Yesterday I walked into a local (d.c. area) Circuit City to check out their blues CD collection. Lo and behold, i spied the Alligator Records 25th Anniversary Collection and The Blues Legends (don't know anything about this label.....they are from Canada....part of Beehive Trading Limited according to the box) and the price on each was labelled $4.95. Of course i thought well it's finally time for bi-focals or some ol' LSD is kicking in from the 60's. Where is that 1 digit or 2 digit before the 4????? So i say, what the hay....let's try and purchase. Strolled right up to the cashier and he rung both up with no problems. So your's truly walked out and for less than $12.00 ended up with what appears to be 5 CD's of good music. I think the Alligator CD was just discussed on here recently......Oh well this monday won't be so stormy here at the office with all this good listening..........lada..... leo 'the scatman' aspiras from d.c......with the earphones on..... ========================================================================= Date: Mon, 15 Apr 1996 08:07:16 -0400 Reply-To: FORCELLAD@CCSUA.CTSTATEU.EDU From: Domenic Forcella Subject: EARTH DAY BLUES (LONG) EARTH DAY BLUES A couple of weeks ago I asked for help in finding songs with an environmental theme for an Earth Day program. Many thanks to the people who responded. As promised, here is a list of those songs. As you can see there are some very liberal interpretations on the list. Anything with an animal was fair game and I did push into the transportation theme as well. There are some repeats which will probably be eliminated and as I try to fit this all into 2 hours I be able to select the most environmentally relevant songs. In addition, the PSAs will be environmental from the likes of Paul Newman & David Canary, along with some poetry by Connecticut residents. Any other songs you might think of, let me know. Again thanks. Remenber celebrate Earth Day April 22 & Live Earth Day every day. Song Artist Koko Taylor Mother Nature Etta James How Deep is the Ocean Summer Heat Stormy Monday God's Song Corey Harris Catfish Blues Freddie King Ain't No Sunshine The Sky is Crying Howlin' Wolf Riding in the Moonlight Highway 49 Little Red Rooster Smokestack Lightnin' Bobby Blue Bland Stormy Monday Muddy Waters Garbage Man Honeybee Trainfare Blues Walking Through the Park I'm a King Bee Mean Red Spider Gov't Mule Mother Earth Albert Collins Talking Trash The Hawk John Hammond Evolution Blues Leadbelly Backwater Blues The Boll Weevil Johnny Copeland Life's Rainbow (Nature Song) Chris Tolfield Chase Your Rainbow Bessie Smith Backwater Blues Brownie McGhee Key to the Highway Roy Brown Let the Four Winds Blow Big Joe Turner Morning Glory So Many Roads Dogging the Dog Santa Barbera Machine Band Porcupine Blues Will Calhoun Ruby Flowers Alberta Hunter Amtract Blues Saffire-Uppity Blues Women (No Need) Pissin on a Skunk Sonny Boy Williamson Bye Bye Bird Out on the Water Coast Western Arizona Fattening Frogs for Snakes Like A Wolf Lightnin' Slim Rooster Blues John Lee Hooker Crawlin' Kingsnake Blues Blues Before Sunrise Highway 13 I Cover the Waterfront Weeping Willow Blues Groundhog Blues King of the World Hound Dog Fred McDowell Highway 61 Buster Benton Spider in my Stew Going Fishing Mojo Buford Deep Sea Dive Jimmy Anderson Going through the Park Rats & Roaches on Your Mind Lonnie Mack Natural Distaster Memphis Jug Band Gator Wobble Homer Harris Atomic Bomb Blues Johnny Dyer Let's Have a Natural Ball Walk Through the Park Two Hound Dogs Sue Foley Big City Blues Queen Bee John Mayall Nature's Disapperaing Coco Montoya Too Much Water Memphis Slim Mother Earth Robert Lighthouse The Machine E.C. Scott Take the Garbarge Out Ma Rainey Don't Fish in my Sea The Blues Naturally The Blues Bobo's Blues Marsha's Blues Bella's Blues Screamin' Jay Hawkins Alligator Wine Cephas & Wiggins Banks of the River Austin Lounge Lizards Gingrich the Newt Elmore James Sunnyland Train Albert King Sky is Crying James Cotton Pacific Blues Little Car Blues Slim Harpo I'm a King Bee Raining in my Heart Bob Margolin River's Invitation William Clarke Going down the Highway Driving my Life Away Chasin' th Gator Lightnin' Hopkins Hurricane Betsy Taj Mahal Let the Four Winds Blow Going to the River Mockingbird Bill Wharton World Full of Blues Swamp Boogie Sunnyland Slim Lowdown Sunnyland Train Josh Smith The Maddog Domenic Forcella Traveling with the Blues wfcs 107.7 ========================================================================= Date: Mon, 15 Apr 1996 08:34:08 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0118 From: "DUTTWEILER.J" Subject: Alligator 25th Anniversary Date: Monday, 15 April 1996 8:33am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Alligator 25th Anniversary Just wanted to put my $.02 in on the Alligator 25th Anniversary CD. Picked it up yesterday and have only listened to the first disc in the package, but it is a *very* good overview of Alligator's output. Highlights include, so far, 1 e previously unreleased cut from the "Showdown" sessions with Albert Collins and Johnny Copeland and the cut, also previously unreleased, Lil' Ed and the Blues Imperials. As the previously unreleased Hound Dog Taylor cut is on the 2nd disc, I have not listened to it yet. Another eye-opener for me was the Maurice John Vaughn cut off his "In the Shadow of the City." I had never this artist before and was impressed by his intensity. >From the acoustic Delta sounds of Corey Harris, the piedmont stylings of Cephas and Wiggins, to the Texas blues of Albert Collins and Long John Hunter, the Zydeco of Clifton Chenier and the straight Chicago blues of James Cotton, Koko Taylor and Carey Bell, this disc covers a panorama of the blues spectrum. This wide range of artists and styles makes this an excellent introduction for anyone who is unfamiliar with the blues, along with the earlier 20th Anniversary collection. I would recommend this to blues aficionados and novices alike JD ========================================================================= Date: Mon, 15 Apr 1996 06:37:41 -0500 Reply-To: Roger Struve From: Roger Struve Subject: Reflecting again Was watching the Ophra show the other day and she says "If you're not living your dream, better waike up quick" or something to that effect. This started me a thinkin' again, my dream is to be involved with blues in one nmanner or another, but i design implantable drug pumps instead. While in this profession there is the occasional upside, most of the time it's just routine paperwork and "Yassah" most of the rest of the time. This got me to a thinkin' about the rest of the Blues--L friends.....what do you all think about this? How many of you dream of something in the blues, rather than what yawl are doin' now? How do you cope with the paradox? Is this just another midlife crisis? Do you think people like John Hammond get tired of singin' the blues after 30+ years? Is it better to leave the blues as a "hobby" or as a "career" pursuit? Just ol delta doc dead hand again ========================================================================= Date: Mon, 15 Apr 1996 07:50:57 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Scatman scores The series of records that The Scatman purchased so inexpensively is worth a second look. There are 10 CDs in the series, called A Celebration of Blues. There are 10 tracks on each; the material is all from the Rounder, Alligator and Stony Plain catalogues, and covers a very wide range of blues idioms. (I'm currently playing Great Acosutic Blues, which includes tracsk from Buddy & Junior, Hammond, Sonny Boy, Nappy Brown, Paul James (the Canajun here!), Johnny Winter, Jimmy Witherspoon, Ronnie Earl, Lonnie Mack with SRV, and George Thorogood. The albums are really low-priced (VERY low priced!) samplers for the labels involved in leasing their material, but I think they will act as good introductions for new fans, as well as surprisingly solid compilations for those of us who have been into this music for years. If the series has a disadvantage, it's that the cover designs are all (at first glance only) rather similar, so be careful that you don't buy the same one twice (unless you're lucky, like Leo, and cop an Alligator 25th anniversary album at the same price; go on, Leo, send Bruce Iglauer the extra money!). But, my declared Stony Plain bias admitted, I think that this series - given the price and the quality of the music - is well worth looking out for. Cheers, Richard the Elder ========================================================================= Date: Mon, 15 Apr 1996 07:59:08 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Whoops! Bargains! (was Scatman scores) The problem with this Internet stuff is that sometimes (quite often, in my case) run off at the keyboard without being careful; I think I just did it again! I just re-read Leo (Scatman) Aspiras' post about his record deal again, and I could have unjustly (if humourously) maligned him by indicating that he got the Alligator album as an accidental "deal" at the cash register of his local store. Shame on me! It also looks as if the records he acquired - The Blues Legends - aren't part of the series A Celebration of Blues, as I indicated, but something else. Could he give us all more information - it seems that there may be TWO series of cheapo, cheapo bargains on the market. Whoops! And, maybe, hurray! Richard the Elder ========================================================================= Date: Mon, 15 Apr 1996 09:02:28 -0500 Reply-To: MECHR@DNRSERVER1.DNR.STATE.MI.US From: Roger Mech Subject: A Muddy Waters bootleg Back in 1981, the Stones played an impromptu gig with Muddy Waters and John Primer at the Checkerboard Lounge in Chicago. Somewhere out there is a bootleg tape of the event. I've never been able to find a copy; I was wondering if anyone else had. ========================================================================= Date: Mon, 15 Apr 1996 13:22:57 GMT Reply-To: Art Schuna From: Art Schuna Organization: UW-Madison Subject: Re: Dog/Cat Blues Show Comments: To: bit-listserv-blues-l@uunet.uu.net In article , dquinn@DGS.DGSYS.COM says... > >Sorry if I've missed it, but could you post the songs you're planning to >play on this special show??? I am pretty close to completing the playlist for this show which will be broadcast Saturday, April 20 on WORT from 8-10PM. As things look now, I'll have about 2/3 of this show devoted to dog/cat blues thanks to all of the fine suggestions. The remainder will be a tribute to Bobby Robinson and his record labels Fire, Fury, Enjoy, Red Robin (look for a birthday tribute from eRIC this week on Bobby). I plan to post the playlist a week from today. Look for Two For The Blues Playlist in the subject heading. Thanks again for all of the suggestions. I was able to expand what I had planned for a 20-25 minute segment into a major portion of the show. If it hadn't been for Bobby Robinson, I could have easily done a full 2 hours of Cat/Dog blues! Art Schuna ========================================================================= Date: Mon, 15 Apr 1996 09:25:35 -0400 Reply-To: Leo Aspiras From: Leo Aspiras Subject: Re-reply to Richard the Elder From: Richard Flohil Subject: Scatman scores ------------------------------------------------------------------ Thanks for the followup, richard.....as always your years in this business shows in your astute knowledge......yes i am enjoying this series..... The series of records that The Scatman purchased so inexpensively is worth a second look. There are 10 CDs in the series, called A Celebration of Blues. There are 10 tracks on each; the material is all from the Rounder, Alligator and Stony Plain catalogues, and covers a very wide range of blues idioms. (I'm currently playing Great Acosutic Blues, which includes tracsk from Buddy & Junior, Hammond, Sonny Boy, Nappy Brown, Paul James (the Canajun here!), Johnny Winter, Jimmy Witherspoon, Ronnie Earl, Lonnie Mack with SRV, and George Thorogood. The albums are really low-priced (VERY low priced!) samplers for the labels involved in leasing their material, but I think they will act as good introductions for new fans, as well as surprisingly solid compilations for those of us who have been into this music for years. If the series has a disadvantage, it's that the cover designs are all (at first glance only) rather similar, so be careful that you don't buy the same one twice (unless you're lucky, like Leo, and cop an Alligator 25th anniversary album at the same price; go on, Leo, send Bruce Iglauer the extra money!). ^^^^^^^^^^^^^ [Now Richard....why would i want to send Bruce the extra money.....i know he doesn't need it anymore.....i'd rather give it to the blues-l tape thang for bob unger!!!!!!] But, my declared Stony Plain bias admitted, I think that this series - given the price and the quality of the music - is well worth looking out for. Cheers, Richard the Elder ========================================================================= Date: Mon, 15 Apr 1996 13:16:12 GMT Reply-To: bbbean@sheltonlink.com From: bbbean@SHELTONLINK.COM Organization: inlink Subject: Re: "To what did the blues give birth?" Comments: To: bit-listserv-blues-l@uunet.uu.net In , Bill Morgan writes: >AS>SUBJECT: "To what did the blues give birth?" >AS>What exactly did the blues start? Is jazz just the "white man's blues"? Given that jazz existed as a discrete genre before blues did, and it developed primarily in two cities (New Orleans and New York) with widely varied ethnic groups in close contact, the question doesn't make sense. BBB B.B. Bean New address------>bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Mon, 15 Apr 1996 14:32:46 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: A Muddy Waters bootleg Comments: To: MECHR@DNRSERVER1.DNR.STATE.MI.US >Back in 1981, the Stones played an impromptu gig with Muddy Waters and John >Primer at the Checkerboard Lounge in Chicago. Somewhere out there is a >bootleg tape of the event. I've never been able to find a copy; I was >wondering if anyone else had. Yes, it exists, if this is the same occasion where Lefty Dizz was involved. I don=B4t own it and has no desire to do so but I heard it at a friends year= s ago. I dont know if its available now but it was out on LP then. Bo ========================================================================= Date: Mon, 15 Apr 1996 08:40:08 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: prison blues Picked up a cheap disc ($4.99) this weekend called Prison Blues of the South on the Laserlight label. These are songs recorded by Alan Lomax at the Mississippi and Lousiana State penitentaries. That's all the info given (more or less). I know someone out there will know more about these recordings. I haven't had a chance to listen yet, but am about to put it in the player now. Any info on these recordings? Thanks, Jeff --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball #2 U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc02.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Mon, 15 Apr 1996 09:32:56 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: DC Blues Society Fundraiser Dance 4/20/96 Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com The fundraising dance for this year's DC Blues Festival is this Saturday (April 20). Entertainment will be provided by Bad Influence, featuring Mike Tash of blues-l. Here are some more details about the dance, from the DC Blues Home Page (http://intelus.com/dcblues): The D.C. Blues Society's fundraiser dance will be held Saturday, April 20, 9:00 p.m., at the Arlington American Legion Hall, 3445 Washington Boulevard, Arlington, VA. The ticket price of $15 includes free and plentiful parking, light snacks, set-ups and door prizes. Beer will be sold and you can bring your own spirits. The evening will also include a silent auction, a raffle and some great blues by Bad Influence! You have a lot to look forward to if you have not had the pleasure of hearing the newly reformed Bad Influence recently. This is a high energy band that mixes blues styles from Chicago to west coast swing. Original band members, Mike "Jr" Tash (guitar) and Jay Corder (tenor sax) are joined by Roger Edsall (harp & vocals), former Bluescasters' guitarist Ed "Duke" Lehner, Bob Mallardi (bass & vocals) and David Thaler (drums). This will be an elegant evening of blues, dancing and good friends with some fundraising mixed in between. We are putting together a nice selection of door prizes and other items for the auction. Everyone should leave a winner with some wonderful memories to boot. Planning calls for this to be the official release date for the Society's cookbook, "Blues in My Kitchen." As we go to press, the cookbook is in its final editing and should be ready for the dance. Rebecca Krafft has shared some excerpts from the book and it looks like a "must have" item. There are recipes from performers like James Jackson, Francine Reed, Saffire, Nappy Brown, Bobby Parker and much, much more. The cookbook will be on sale at $10 per copy. If you submitted a recipe for publication, please consider bringing it to the dance. Contributors bringing a dish to share will receive a free door prize from our CD grab bag. So, whether you want to sit back and listen or get on the dance floor and shake a tail feather, come on down to the American Legion Hall in Arlington. Directions: >From DC/MD: Take Key Bridge to Wilson Blvd., turn right on Washington Blvd, the Hall is on the right. From Fairfax: I-66 East to Glebe Road/Fairfax Dr. exit. Take Fairfax to a left on Quincy St., to right on Washington Blvd. American Legion Hall is on the left. (If you get lost, call American Legion Hall - 703/524-1396.) Free parking is available in the Legion Hall lot and several local businesses with Society signs displayed. Towing is strictly enforced in other private lots. As you know, it is a fundraiser, but you'll have so much fun you'll forget you are doing a good deed. Come out and have a blast. Tickets ($15 ea.) will be available at the door. To reserve a table (10 people), call the Grays' at (703) 536-8224 and leave a message. ========================================================================= Date: Mon, 15 Apr 1996 09:41:51 +0000 Reply-To: tkelley@ARL.MIL From: Troy Kelley Organization: ARL Subject: Buddy Guy's Tour Schedule? Anyone out there know Buddy Guy's tour schedule for May? I know he is playing in DC on May 7th.. but that is a tues night, so I was wondering if he was playing in Baltimore or Philly the weekend before. Thanks Troy ========================================================================= Date: Mon, 15 Apr 1996 09:36:45 -0400 Reply-To: Leo Aspiras From: Leo Aspiras Subject: Re: Whoops! Bargains! (was Scatman scores) Richard: The only identifying documentation on 'The Best of Blues' box set are: 3 CD's (Howlin the blues.....Beltin' the blues......Confessin' the Blues)...the logo Blues Legend with a crown overhead on the back of the CD's, it says licensed from Beehive Trading LTD.....a 1994 year as date and the following: St-Clair Entertainment Group Inc. P.O. Box 34512 St-Laurent Quebec Made in Canada You being in Canada might know something about these people.......hey i am new to this CD game (thank the U.S. government for upgrading our computer's with CD players) and am still basically a tape/vinyl type of guy....... ---------------------- Replied Message Body ---------------------- >Received: from falcon.dol-esa.gov (falcon [199.200.255.1]) by fenix2.dol-esa.gov (8.7.5/8.7.3) with ESMTP id JAA02232 for ; Mon, 15 Apr 1996 09:26:14 -0400 (EDT) >Received: from listserv.brown.edu (listserv.brown.edu [128.148.128.155]) by falcon.dol-esa.gov (8.7.5/8.7.3) with SMTP id JAA24838 for ; Mon, 15 Apr 1996 09:26:12 -0400 (EDT) >Received: from stanley.cis.Brown.EDU (stanley.cis.brown.edu [128.148.128.155]) by listserv.brown.edu (8.6.10/8.6.10) with SMTP id IAA22870; Mon, 15 Apr 1996 08:51:13 -0400 >Received: from BROWNVM.BROWN.EDU by BROWNVM.BROWN.EDU (LISTSERV release 1.8b) > with NJE id 2910 for BLUES-L@BROWNVM.BROWN.EDU; Mon, 15 Apr 1996 > 08:50:06 -0400 >Received: from BROWNVM (NJE origin SMTP@BROWNVM) by BROWNVM.BROWN.EDU (LMail > V1.2a/1.8a) with BSMTP id 6737; Mon, 15 Apr 1996 08:50:06 -0400 >Received: from www2.inforamp.net by BROWNVM.brown.edu (IBM VM SMTP V2R2) with > TCP; Mon, 15 Apr 96 08:50:04 EDT >Received: from [204.191.139.81] (ts24-01.tor.iSTAR.ca [204.191.139.81]) by > www2.inforamp.net (8.7/8.7) with SMTP id IAA13234 for > ; Mon, 15 Apr 1996 08:50:14 -0400 (EDT) >Mime-Version: 1.0 >Content-Type: text/plain; charset="us-ascii" >Message-ID: >Date: Mon, 15 Apr 1996 07:59:08 -0500 >Reply-To: Richard Flohil >Sender: Blues Music List >From: Richard Flohil >Subject: Whoops! Bargains! (was Scatman scores) >Status: O >To: Multiple recipients of list BLUES-L ------------------------------------------------------------------ The problem with this Internet stuff is that sometimes (quite often, in my case) run off at the keyboard without being careful; I think I just did it again! I just re-read Leo (Scatman) Aspiras' post about his record deal again, and I could have unjustly (if humourously) maligned him by indicating that he got the Alligator album as an accidental "deal" at the cash register of his local store. Shame on me! It also looks as if the records he acquired - The Blues Legends - aren't part of the series A Celebration of Blues, as I indicated, but something else. Could he give us all more information - it seems that there may be TWO series of cheapo, cheapo bargains on the market. Whoops! And, maybe, hurray! Richard the Elder ========================================================================= Date: Mon, 15 Apr 1996 10:12:53 -0400 Reply-To: bob unger From: bob unger Subject: BluesBytes - the final chapter Bluespeople... All the votes are in and I am pleased to announce that Willie Dixons Bluies Heaven .... ooopps...that should be Blues Heaven has garnered the most votes and will be the recipient of a check in the amount of $525 on behalf of the members of blues-l. Does anybody have any suggestions on how we can present this besides just writing a letter and mailing it to them....Does anybody know if somehow they will be represented at any blues festivals. Perhaps it could be presented there. I would rather have some kind of presentation involved instead of just mailing it....... BU bob@sun.bnkst.edu ========================================================================= Date: Mon, 15 Apr 1996 09:06:29 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Gear: PA's Every place I ever play always have their own PA, so I've never even thought of getting one. This weekend I realized that I will need one for some small clubs that I would like to play. Since I'm SOLO (maybe harp player, I HOPE) what is the minimum type of PA can I get by with.....I don't want an complex 24 track mixer....etc. I just want to know what I could get by with. I am 100% ignorant on PA's and don't really know why I need one. Can't I just play/sing through an amp, for most situations...I guess not, huh. So explain PA's and suggest types of PA's (and why I need one)...I'd like a real small self contained one, if they make them....Once again I'm clueless (PRIVATE mail would spare the list) THANKS LW 'I don't want to buy a PA !!!!!' ========================================================================= Date: Mon, 15 Apr 1996 10:21:20 -0400 Reply-To: MK Sheffield From: MK Sheffield Subject: DUANE ALLMAN JOKE (stop me if you've heard it) Being from Macon, GA. (Home of all-things Allman), I am inundated with Duane and Duane-related info DAILY. Not that I don't enjoy the music, but... Anyway, here goes: A musician dies and goes to Heaven, and St. Peter takes him on the tour. As they stroll the golden streets, the man keeps hearing an incredible slide guitar playing. He thinks, "Ohmigosh, that's the BEST slide guitar I've ever heard. It just HAS to be Duane!!!" St. Peter never mentions it, so neither does he. They continue on, viewing the beautiful buildings and pearly gates, etc. St. Peter still doesn't mention the guitar, but it continues to play, and by now the man is simply drooling with excitement. "It MUST be Duane!" he thinks. "No one else plays like that!" As they reach the end of the tour, St. Peter says, "OK, well, before we go and get you fitted for wings, do you have any questions?" Quickly, the man says, "Yes, yes! That wonderful slide guitar...is it Duane? It's Duane Allman isn't it?" St. Peter rolls his eyes and says in a bored voice, "No, that's God. He just THINKS he's Duane..." :):):) Mary Katherine SHEFFIELD mksheff@cennet.mc.peachnet.edu ========================================================================= Date: Mon, 15 Apr 1996 10:24:56 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: prison blues Comments: To: Jeff Seale On 15 Apr 96 at 8:40, Jeff Seale wrote: > Picked up a cheap disc ($4.99) this weekend called Prison Blues of the > South on the Laserlight label. These are songs recorded by Alan Lomax > at the Mississippi and Lousiana State penitentaries. > > That's all the info given (more or less). I know someone out there > will know more about these recordings. I haven't had a chance to > listen yet, but am about to put it in the player now. > > Any info on these recordings? I bought this CD and all it did was make me wish I had them as they were originally recorded. It seems this was put together in the days when people thought old mono recordings should be fiddled with to simulate stereo. There is an awful reverb that has been added to these recordings. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Mon, 15 Apr 1996 10:47:38 -0400 Reply-To: Michael Meadors From: Michael Meadors Subject: Re: A Muddy Waters bootleg Comments: To: Bo Carlsson >>Back in 1981, the Stones played an impromptu gig with Muddy Waters and John >>Primer at the Checkerboard Lounge in Chicago. Somewhere out there is a >>bootleg tape of the event. I've never been able to find a copy; I was >>wondering if anyone else had. I have a bootleg video of the event that somebody left at my house years ago. Not the greatest video quality, but not terrible, either. Don't know about an LP or audio release of the event. M. Meadors of the BLUESONICS "Blues for Full Grown People" ========================================================================= Date: Mon, 15 Apr 1996 10:44:25 -0400 Reply-To: CrEsTeD_gRaS From: CrEsTeD_gRaS Subject: Re: prison blues this perhaps is a historic recording as i believe... and also perhaps has recordings from infamous ANGOLA PRISON... let us know how the quality of recording and the blues is... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | Laissez les bon temps roulez!! | | / ~~ ~~ \ | Let the good times roll!! | | d-(m)-(m)-b | ---------------------------- | | / L \ | SANJAY 'RAGS' RAJAN | | / //|\\ \ | sanjay_rajan@formtek.com | | ///`~~~'\\\ | FORMTEK,INC. | | ///|||\\\ | PITTSBURGH, PA | | --- /\o/\ --- | | | /"\ | | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Mon, 15 Apr 1996 10:59:49 -0400 Reply-To: smirkyface From: smirkyface Subject: Iowa Blues Would like to get some info on the Iowa blues scene. Might be moving out to Des Moines, and would like to here from people involved in the blues there. BRIAN MCLEAN PHOTOGRAPHY & SMIRKYFACE PRODUCTIONS "life's too short to live the blues" http://www.netaxs.com/~blmclean ========================================================================= Date: Mon, 15 Apr 1996 11:10:01 -0400 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: "To what did the blues give birth?" Comments: To: Mike Craddock In-Reply-To: <4krog3$1b0m@usenetw1.news.prodigy.com> Mike, Slavery, racism, oppression beget the blues wrapped in African rhythms and musical expressions. First there were the work songs, then the blues.... Gospel, jazz, R&B, and soul are spiritual and commercial extensions of those initial sounds of the African on this soil. Immigrants from other cultures brought their sounds but there were no equal experiences to match those that formed the first cries of the blues, so there could be no "white man's blues" in musical expression. Hard times and poverty are not the underlying causes of the (first) blues. If you want to talk blues music, there it is. If you want to talk recrimination and guilt, I can't participate--it's much to debilitating to discuss among polite strangers. As always, Peace, nitra On Sun, 14 Apr 1996, Mike Craddock wrote: > What exactly did the blues start? Is jazz just the "white man's blues"? > How did the blues affect the evolution of music in the twentieth century? > > > If you have an opinion on any of these questions please write me at > ASKQ88B@PRODIGY.COM. You can't find the answers to these types of > questions in the library, so I hope I can get some true input from good > musicianns. > > thanks > Mike Craddock > > > - > ASKQ88B@prodigy.com > ========================================================================= Date: Mon, 15 Apr 1996 11:12:21 -0500 Reply-To: Erica Wissolik From: Erica Wissolik Subject: 1996 DC Crosstown Jam Its that time of year again folks! Since there are several members of this list who are so graciously volunteering their time and their talents to the annual Washington Area Music Association's Crosstown Jam, I hope that those of you who are able, will come out and support them and in so doing, support the charities have been chosen this year. They are The Pediatric AIDS/HIV Care, Inc., Friends of the National Zoo and The DC Crusade to Save our Youth. Here's a partial schedule of events - Sunday April 21 Kickoff party at the Hard Rock Cafe, downtown Tuesday April 23 Twist & Shout, Bethesda (ignore the fact that some publicity says this is at Tornado Alley) - The Nighthawks, Bill Kirchen & Too Much Fun, Out Behind the Barn, The Grandsons Whitlow's On Wilson, Arlington, VA - Tom Principato, Linwood Taylor Band, Shotgun Wedding, Cindy Cain Thursday April 25 Vienna Tap & Grille, Vienna, VA - Tom Lepson & The Lazy Boys, Bad Influence, Roger Edsall & Rollercoaster, Danny Morris Sunday April 28 Chief Ike's Mambo Room, Adams Morgan, DC - Mean TiRhonz, Blue Comets, Hey Norton, Dave Sherman & The Nightcrawlers ========================================================================= Date: Mon, 15 Apr 1996 11:18:10 -0400 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: Performers for Hire/Wanted Comments: To: MKosterich@aol.com In-Reply-To: <960414224804_191212300@emout09.mail.aol.com> Mark, I'm working with a group here in Philly to produce a show in the fall. We've compiled a list that I would be pleased to share with you. The groups include blues, jazz and gospel artist (most local and New York). Let me know if you're interested. Peace, nitra On Sun, 14 Apr 1996 MKosterich@AOL.COM wrote: > Dear Friends, > I live in Charlottesville, Virginia (about 2 hours southwest of > Washington, D.C.), and would like to put concerts together here in town. I > am looking to bring high caliber, nationally known music into town. I am > planning to book blues artists, jazz, rock and possibly country and > alternative music. The area is the home of the University of Virginia, Mary > Baldwin College, James Madison University, Piedmont College and more, not to > mention the educated professional citizens who are not university students. > I believe that there is a tremendous audience for great , live music. I > plan to partially fill that void. > I am not a member of your group, so please respond to me through my > personal e-mail address. I am looking for the names of booking agents to > arrange shows this summer. If you know of anyone to help me reach this aim, > please let me know. > Thank you very much for your assistance. -> Sincerely, Mark S. Kosterich > ========================================================================= Date: Mon, 15 Apr 1996 11:21:55 -0400 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: Reflecting again Comments: To: Roger Struve In-Reply-To: Depends on how much talent ya got! :-) nitra On Mon, 15 Apr 1996, Roger Struve wrote: > Was watching the Ophra show the other day and she says "If you're not > living your dream, better waike up quick" or something to that effect. > > This started me a thinkin' again, my dream is to be involved with blues in > one nmanner or another, but i design implantable drug pumps instead. While > in this profession there is the occasional upside, most of the time it's > just routine paperwork and "Yassah" most of the rest of the time. > > This got me to a thinkin' about the rest of the Blues--L friends.....what > do you all think about this? How many of you dream of something in the > blues, rather than what yawl are doin' now? How do you cope with the > paradox? Is this just another midlife crisis? Do you think people like > John Hammond get tired of singin' the blues after 30+ years? Is it better > to leave the blues as a "hobby" or as a "career" pursuit? > > Just ol delta doc dead hand again > ========================================================================= Date: Mon, 15 Apr 1996 15:08:30 GMT Reply-To: Mike Stefano From: Mike Stefano Organization: Queen's University Subject: Johnny Winter Any word on Johnny's next show? If Dick Shurman (or anyone else who would know) reads this, how's he doing and is he planning to get back in the studio this year? ========================================================================= Date: Mon, 15 Apr 1996 09:10:07 -0700 Reply-To: cwolfson@ecentral.com From: Cary Wolfson Organization: BLUES ACCESS Subject: Re: Kid Ramos & Willie J. Campb Comments: To: bit-listserv-blues-l@uunet.uu.net Peter Blanken wrote: > Anyway, I was wondering if anybody could share any information on the T-Birds current guitar player Kid Ramos, and bass player Willie J. Campbell. i.e. > What have they done previously. Check out Kid's *Two Hands One Heart* CD on Black Top. One versatile and talented fellow. He was also on some of James Harman's earlier recordings. Cary Wolfson (cwolfson@ecentral.com) Publisher BLUES ACCESS, The Distinctive Blues Magazine 303/443-7245 http://www.he.net/~blues ========================================================================= Date: Mon, 15 Apr 1996 11:26:04 -0400 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: "To what did the blues give birth?" Comments: To: bbbean@sheltonlink.com In-Reply-To: <4kti6s$5pm@news2.inlink.com> BB, On what do you base this timetable? nitra On Mon, 15 Apr 1996 bbbean@sheltonlink.com wrote: > In , Bill Morgan writes: > >AS>SUBJECT: "To what did the blues give birth?" > >AS>What exactly did the blues start? Is jazz just the "white man's blues"? > > Given that jazz existed as a discrete genre before blues did, and it > developed primarily in two cities (New Orleans and New York) with widely > varied ethnic groups in close contact, the question doesn't make sense. > > BBB > > > B.B. Bean New address------>bbbean@sheltonlink.com > Peach Orchard, MO http://www.cris.com/~Bbbean > ========================================================================= Date: Mon, 15 Apr 1996 11:24:06 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Sonny Moorman & the Dogs' New CD!!! Because several of you have been having a psychic moment and have asked me about this already this morning.... The best Cincinnati-based blues/rock band--and my good friends to boot--Sonny Moorman & the Dogs, have a new CD poised to be released on the 706 Records label out of the legendary Sun Studio in Memphis. (Hi, John!!) The CD, entitled "Telegraph Road," contains 11 originals and two covers ("When Something is Wrong with My Baby" and "Who's Been Talking"). I can't say enough good things about this man, the band, and the music. I adore these guys. Sonny says this is the album he's been waiting all his life to make. His musical influences include (his favorite) Rory Gallagher, Jeff Beck, EC, Hendrix, Cal Collins, Lonnie Mack, Clapton, ZZ Top, Allman Brothers. His musical sound ranges from Dobro-based acoustic blues to pure, basic rock-and-roll. The band is a guitar-driven power trio, with Sonny out front on guitar and vocals, Bad Bob Logsdon on (left-handed!) bass and vocals, and Jim McNeely on drums and vocals. The official release date of the CD, and the date of the CD release party, is May 5. If you're in the Cincinnati area and are in interested in attending the CD release party (it's going to be a blast!!), it will be held at the Southgate House across the river in Newport, KY, starting at 7 p.m. $10 gets you a copy of the recording (tape or CD) at the door and admission to the party. If anyone wants more information on the CD, the band, or the party, please e-mail me and I'll be more than happy to ramble on at length about it. I suppose this is where I insert a disclaimer that I have no interest and will receive no profit from this CD. I do have an interest and involvement in the CD--I took four of the five photos used in the cover art and wrote the liner notes (and proofread everything several times). I receive no profit from my involvement, though, beyond my ongoing friendship with Sonny and the band. (But someday, somewhere down the line, there's a new car on its way....) Shannon ========================================================================= Date: Mon, 15 Apr 1996 11:24:09 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: BluesBytes - the final chapter Comments: To: bob@sun.bnkst.edu In a message dated 96-04-15 11:00:01 EDT, you write: >Bluespeople... >All the votes are in and I am pleased to announce that Willie Dixons Bluies >Heaven .... ooopps...that should be Blues Heaven has garnered the most votes >and will be the recipient of a check in the amount of $525 on behalf of >the members of blues-l. Does anybody have any suggestions on how we can >present this besides just writing a letter and mailing it to them....Does >anybody know if somehow they will be represented at any blues festivals. >Perhaps it could be presented there. I would rather have some kind of >presentation involved instead of just mailing it....... > > They are opening the Chess Studio museum the day before the Chicago Blues Festival starts, and Marie Dixon will be there for that. Tom Freeland ========================================================================= Date: Mon, 15 Apr 1996 09:16:07 -0700 Reply-To: cwolfson@ecentral.com From: Cary Wolfson Organization: BLUES ACCESS Subject: Re: Guitar Gabriel Comments: To: bit-listserv-blues-l@uunet.uu.net Joel Slotnikoff wrote: > > Tim Duffy of Music Maker Relief Foundation confirms that Guitar Gabriel > (Robert Lewis Jones) passed away of natural causes on April 2, 1996. Do you know if Tim can be reached online? Cary Wolfson (cwolfson@ecentral.com) Publisher BLUES ACCESS, The Distinctive Blues Magazine 303/443-7245 http://www.he.net/~blues ========================================================================= Date: Mon, 15 Apr 1996 11:12:36 -0400 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Reflecting again Comments: To: bit-listserv-blues-l@uunet.uu.net Hi Roger. I relate to your post more than I would like to admit. Although what I do professionally is satisfying at a certain level, I hear the blues calling at me. So, to satisfy me and to shut up those little voices in my head, I DID get involved in blues by writing about the awesome ladies who sing this incredible music, but even this is VERY new to me. I don't sing as often as I would like, but I will fix that soon also. So, nothing "deep" was learned from this post. I just wanted you to know that you are not alone! Lea Gilmore (Sittin' in an office REALLY singing the blues...) ========================================================================= Date: Mon, 15 Apr 1996 09:21:05 -0700 Reply-To: cwolfson@ecentral.com From: Cary Wolfson Organization: BLUES ACCESS Subject: Re: 2nd Pick of '96. Comments: To: bit-listserv-blues-l@uunet.uu.net > I have only recently really come to appreciate Ronnie Earl. Hope you've checked out his playing on *Jimmy Rogers Live with Ronnie Earl & the Broadcasters* His version of "Blues in D Natural" will curl your hairs. Cary Wolfson (cwolfson@ecentral.com) Publisher BLUES ACCESS, The Distinctive Blues Magazine 303/443-7245 http://www.he.net/~blues ========================================================================= Date: Mon, 15 Apr 1996 09:27:48 -0700 Reply-To: cwolfson@ecentral.com From: Cary Wolfson Organization: BLUES ACCESS Subject: Re: Pee Wee Crayton Comments: To: bit-listserv-blues-l@uunet.uu.net >That brings me to my question, has anybody released the *rest* of > >the Pee Wee Crayton stuff Pee Wee's Aladdin and Imperial recordings are now out (or just about to come out) on Capitol as part of their Blues Collection series. Cary Wolfson (cwolfson@ecentral.com) Publisher BLUES ACCESS, The Distinctive Blues Magazine 303/443-7245 http://www.he.net/~blues ========================================================================= Date: Mon, 15 Apr 1996 16:01:48 GMT Reply-To: oneiric From: oneiric Organization: Teleport - Portland's Public Access (503) 220-1016 Subject: Re: VoodooChile/Wanking/Blues Comments: To: bit-listserv-blues-l@uunet.uu.net Jimmy Thackery does a great job on "Voodoo Child". Y'know, there was a time when people weren't so harsh in their judgments. Why can't we just flow with whatever the player is into doing at the moment? Just smoke another one and relax. ========================================================================= Date: Mon, 15 Apr 1996 16:08:17 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: HELLGIG '96 Comments: To: bit-listserv-blues-l@uunet.uu.net I played one of the worst gigs of my life last night (4/12), and I thought it might make for some good fodder here. The set up: My little blues band hired a new drummer--a good drummer and a good guy, whom I'd jammed with a few times--about a two months ago, and our first gig together was scheduled for about 3 weeks later. I didn't hear from the guy for a while, so about a week before the gig I try calling him to set up a rehearsal--and his phone has been disconnected. No forwarding number, and no one seems to no where this guy is. A few more days go by and I'm getting nervous, so I get another drummer lined up for the gig, just in case. Two days before the gig the original drummer calls with one of the saddest tales of woe I've ever heard. Ten days earlier he's been driving home from a gig at 3am, and his car was sideswiped, and almost run over actually, by a semi. He's knocked unconscious, and wakes up a few hours later in his car, which is totalled but happened to have landed right on the side of the road like it had been parked there (the truck driver never stopped, BTW). He gets out of his car and walks to a nearby hospital, and they want to check him in, but he says he has to attend to his car first, because his drums and a lot of his clothing and what-not are still in it (he'd been in the process of moving from one dinky studio apt. into another, which is why his phone was disconnected). He walks back to his car, and finds that it's been cleaned out--practically everything he owns, including the tools of his trade--his drums--are gone, and he has no insurance of any kind. He goes back to the hospital, and spends the next 10 days there. When he finally gets out two days before the gig, he calls me to say he needs to play the gig to generate some cash, so of course I cancel the replacement drummer. But now my drummer has no drums and no transportation, so my guitar player has to bring his old drum kit, and I have to pick up the drummer. No biggie; this gig, and a couple more we play after this, all work out OK. We all feel pretty badly about our drummer's situation and we all want to help him out, so we figure we'll just kind of carry him for a while like this until he gets back on his feet. Now on to HELLGIG '96. I got a call this past Thursday, asking if we could play a one hour opening set a Koko Taylor's Blues Club in Chicago the following night. Short notice, but I don't have anything else going on, so I call everyone, they're all cool with it (except the bass player, for whom I was able to find a quicky replacement), and I take the gig. We're scheduled to start at 9:30, so I make arrangments to pick up the drummer at 8:30, which should be OK since he doesn't live too far from the club (he'd found a cheap room in a boarding house because the apt. he was going to move into ended up going to someone else when he'd 'disappeared'). It WOULD have worked out OK, if he'd been there, which he wasn't at 8:30. Or 8:45. Or 9:00, when I finally decided just to go to the club and see if the drummer with the headlining act (the identity of which was unknown to me) might be willing to play a one hour set with us for a share of our pay. As I drive to the club I'm getting all pissed off and anxious, and I start needlessly snapping at my wife, who's along for the ride, and of course she snaps right back. I arrived at the club at exactly 9:30--our scheduled start time--to a small sea of panic- stricken faces. The first thing I said to the manager was "Where's the other band's drummer?" The manager looked like his head was about to explode. "What?! Your drummer stiffed you? Wonderful, because the headlining band stiffed US, and we were going to ask you guys to play the whole night." After some quick conferencing and a couple of phone calls, we were able to finally get in touch with our drummer (who had run into some sort of trouble which could probably be the subject of a whole other note, maybe on a psychology newsgroup somehwhere), and he promised he'd take a cab to the gig if I would be there to pay for it, since he was now flat broke. We eventually went on at 10:30, and things kind of went downhill from there. A bunch of drunken tourists were heckling us with requests for Sweet Home Chicago (which I swear we've never done), a psychotic homeless guy kept asking to sit in and wouldn't stop playing his harmonica in the wrong key right in front of the stage for an entire set, some buttwipe keeps asking if we play any blues, and another group thinks it's clever to yell out "When's the other band coming on?" whenever we play anything that's quiet enough for them to be heard throughout the club. The bass player doesn't know some of our material, the drummer's distracted and the band sounds like crap (what a surprise). The club empties out by midnight even though we're supposed to play until two--which we do--and the manager is giving us a hard time over all of it. Then afterwards, I'm loading my stuff out the back door in the alley and step in a pile/puddle of puke, which stinks up the car all the way home. Other than that, it was a rockin' good time. Anyone have any horror stories of their own to share, maybe to help me feel better, or give me the strength to go on and do the gig with the same band I have scheduled for tonight? Scott ========================================================================= Date: Mon, 15 Apr 1996 16:13:54 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: A Muddy Waters bootleg Comments: To: bit-listserv-blues-l@uunet.uu.net Michael Meadors wrote: > >>>Back in 1981, the Stones played an impromptu gig with Muddy Waters and John >>>Primer at the Checkerboard Lounge in Chicago. Somewhere out there is a >>>bootleg tape of the event. I've never been able to find a copy; I was >>>wondering if anyone else had. > >I have a bootleg video of the event that somebody left at my house years ago. >Not the greatest video quality, but not terrible, either. Don't know about >an LP or audio release of the event. >M. Meadors >of the BLUESONICS >"Blues for Full Grown People" It was available as a bootleg CD in Europe a few years ago. I didn't bother picking it up because I also have a copy of the video, and it's not that good. Scott ========================================================================= Date: Mon, 15 Apr 1996 09:48:38 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: April 16 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ALEXANDER, ALGERNON "TEXAS" (v/OKEH REC) d. 1954-0416, RICHARDS, TX 54 DELAFOSE, JOHN (accord/zydeco) b. 1939-0416, DURALDE, LA GROSSMAN, STEFAN (g/SHANACHIE REC) b. 1945-0416, BROOKLYN, NY HAMILTON, ROY (v/EPIC/MGM REC) b. 1929-0416, LEESBURG, GA LINDEN, COLIN (g) b. 1960-0416, TORONTO, ONTARIO LITTLEJOHN, JOHN (g/ARHOOLIE/JSP REC) b. 1931-0416, LEARNED, MS MEMPHIS PIANO RED [JOHN WILLIAMS] (p) b. 1905-0416, GERMANTOWN, TN ROBINSON, BOBBY(prod/owner:FIRE/FURY REC) b. 1917-0416, UNION, SC SADLER, HASKELL "COOL PAPA" (g/songw) b. 1935-0416, DENVER, CO SEGAL, GARRY (hca/g/GARRY & MOODSWINGERS) b. 1956-0416, MANCHESTER, CT SPRINGFIELD, DUSTY [MARY O'BRIEN] (v) b. 1939-0416, LONDON, UK TOWNSEND, ED (v/prod/FOR YOUR LOVE) b. 1929-0416, FAYETTEVILLE, TN WEST, CHARLEY (p/BLUEBIRD REC) d. 1976-0416, CHICAGO, IL 61 WHITE, ARTIE "BLUES BOY" (v/ICHIBAN REC) b. 1937-0416, VICKSBURG, MS ----------------------------------------- -------------------------------------- ========================================================================= Date: Mon, 15 Apr 1996 18:49:08 +0200 Reply-To: Thomas Gutberlet From: Thomas Gutberlet Subject: Yank Rachel Kodak ad ??? A few weeks ago a got a copy of American Photo. In this issue of march/ april 1996, there was a great advertisement of Kodak company where some photography students had done pictures . One picture was by Stacia Spragg of University of Missouri- Columbia showing a black old musician with a mandolin sitting in a room on a bed which in my opinion should be Yank Rachel. Maybe someone can confirm this. I also would like to know if Yank, if he is it, has gotten any reward for this. Best, Thomas ========================================================================= Date: Mon, 15 Apr 1996 12:02:59 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Johnny Winter Comments: To: Mike Stefano In-Reply-To: <4ktope$bjd@knot.queensu.ca> My understanding is that Johnny Winter is planning more shows in the New York area (but I don't have details) and has a new booking agency. The hope is that if the shows continue to go well, he'll ease back into at least limited touring. We're all hoping to get back into the studio this year, but nobody is putting any dates on it. ========================================================================= Date: Mon, 15 Apr 1996 12:30:18 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 04/16 B O R N : 04/16 BADINI, GERARD Born:1931 PARIS, FRANCE Career:CLARINET / TENOR SAX JAZZ / BIG BAND With:Sidney Bechet / J. Dieval BARKER, WARREN Born:1923 OAKLAND, CA Career:COMPOSER / CONDUCTOR Style:BIG BAND / POP With:Castel-Tedesco / some jazz association for his work on the 77 Sunset Strip BRADSHAW, EVANS Born:1933 MEMPHIS, TN Career:PIANO Style:JAZZ / BIG BAND With:Detroit Jazz Fest. 1959 BROWN, BOYCE Born:1910 CHICAGO, IL Career:ALTO SAX / CLARINET Style:TRAD / JAZZ With:Don Carter / Benny Meroff / Paul Mares 1935 / Wild Bill Davison 1940 GREEN, BENNY Born:1923 CHICAGO, IL Career:TROMBONE Style:JAZZ / BIG BAND With:Earl Hines / Gene Ammons / Charlie Ventura / Illinois Jacquet HENDERSON, BOBBY Born:1910 NEW YORK, NY Career:PIANO Style:JAZZ / BLUES With:BILLIE HOLIDAY / NEWPORT JAZZ FESTIVAL 1957 LITTLEJOHN, JOHNNY ( JOHN FUNCHESS ) Born:1931 LAKE, MS Career:GUITAR / SINGER Style:BLUES MACKIE, RED ( TRANK MACKIE ) Born:1904 NEW ORLEANS, LA Career:BASS / TUBA / GUITAR / BANJO / PIANO Style:TRAD / JAZZ With:Invincibles / New Orleans Owls / Six and 7/8 String Band MANCINI, HENRY Born:1924 CLEVELAND, OH Career:COMPOSOR / PIANO / ARRANGER Style:POP / BIG BAND With:Tex Beneke / Best-known songs Moon River, Dear Heart, The Days =B0S Wine and Roses, Charade, The Sweetheart Tree, Love Story Theme. Chief collaborators Johnny Mercer / Mack David / Ray Evans / Jay Livingston MANN, HERBIE ( HERBERT JAY SOLOMAN ) Born:1930 BROOKLYN, NY Career:FLUTE / SAXOPHONES Style:JAZZ / BIG BAND With:Mat Mathews quintet Jan 1953 to Sept.1954 / Pete Rugolo Oct 1954 NOLAN, COLIN JAMES (SOL) Born:1938 SYDNEY, NSW, AUSTRALIA Career:PIANO / BASS / COMPOSER / ARRANGER Style:JAZZ With:Doc Willis / Bermuda JB 1959-60 / John Sangster / Gerry Gardiner / Ron Carson / Stewie Speer / Warren Daly / Ray Price / Soul Syndicate / Daly-Wilson Big Band / Errol Buddle / Galapagos Duck 1979-80 / Harry Rivers =46OR A LISTING OF THOSE THAT PASSED AWAY IN THIS MONTH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us =46OR A LISTING OF THOSE THAT PASSED AWAY IN APRIL PLEASE GO TO MY WEB PAGE AT http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us =46OR A LISTING OF THOSE THAT PASSED AWAY IN THIS MONTH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us The Following were Recorded on this Date in the Years: ========================================================================= Date: Mon, 15 Apr 1996 10:30:47 -0800 Reply-To: James Carmin From: James Carmin Subject: 1040 Blues As Robert Cray has been singing on my stereo today: "Worried, you bet cha. Discouraged, I don=B9t know. Everytime I see a 1040, out of my pocket it goes. Owww. I hate taxes. I work hard for my money, every April you take it all away. Don=B9t cha know I work hard for my money, every day people. You take it all away from me. Oww, oww I hate taxes. Taxes going to break my back I swear, Don=B9t you know I pay a lot more than my share, I hate taxes. Can=B9t have any fun anymore, got to make plans for everything now. Gotta plan for everything I do, people. Can=B9t go out and have a real good= time. Now I gotta owe everybody a thing that my little money can buy. Ohh, oww I hate taxes. Taxes going to break my back I swear, Don=B9t you know I pay a lot more than my share, I hate taxes. You know I=B9m thinking about moving somewhere else, But I can=B9t because I love America too much. Specially California. Yeah. I guess I=B9m going to have to pay these taxes if I=B9m going to live here. Ohh." (from Robert Cray's 1040 BLUES (on "Shame & A Sin" Mercury)) ========================================================================= Date: Mon, 15 Apr 1996 13:49:41 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: John Lee Hooker Pepsi ad Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I was pleasantly surprised yesterday when I saw a new Pepsi ad featuring John Lee Hooker. He's advertising the new catalog of Pepsi merchandise (and by the end of the commercial he's decked out in Pepsi clothing). I know a lot of you are against using blues and blues performers in commericals, but I think it's a funny, entertaining ad which gives Hooker some well-deserved mainstream exposure. -Steve L ========================================================================= Date: Mon, 15 Apr 1996 14:02:32 -0400 Reply-To: RhythmShrk@AOL.COM From: Bernie Clarke Subject: Re: HELLGIG '96 In a message dated 96-04-15 12:28:57 EDT, you write: >I played one of the worst gigs of my life last night (4/12), and I >thought it might make for some good fodder here. > > Scott Thank you for the story. I have put away my straight razor and sleeping pills. I can now continue with my music career. There is someone who has it (a lot) worse than me. Bernie Clarke ========================================================================= Date: Mon, 15 Apr 1996 11:10:28 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: HELLGIG '96 Scott deserves our deepest and warmest sympathies and condolences. I could never top that story so I won't try. I DID however do live sound for a "band" this am that had: no extension cords so they were going to put the amps at the front of the stage (where the power is) and stand behind them..... No guitar tuner so one guy (who was out of tune himself) plinks away on string after another while the other guy tries to match him... He gets kinda tuned and sets the guitar against his amp, it promptly falls over, and he's pissed-off cuz its out of tune again... Oh, and they: Won't go within a foot of the vocal mics then ask why they aren't in the monitors.... Are obviously nervous and insecure/shaky in their singing, dressed like "the public" only shabbier... you get the idea... People with pretensions to musicianship need to take their calling very very seriously if they expect anyone else to... DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Mon, 15 Apr 1996 18:05:59 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Re: A Muddy Waters bootleg Comments: To: bit-listserv-blues-l@moderators.uu.net Yep, this boot was available on LP and cassette. It was called suprisingly Muddy Waters and The Rolling Stones on LP (Swinging Pig) and on cass. in the UK as Blues Jam In Chicago. It features Jagger, Buddy Guy, Primer, Ron Wood, Richards, Pinetop Perkins and Mojo Buford, no trace of Lefty Dizz though. It was cut as a video recording at the Checkerboard on November 22nd, 1981. It is not generally available although I have cass. copy with other Muddy stuff like radio ads. etc. I am sure Phil Wight has a copy too. Tony. ========================================================================= Date: Mon, 15 Apr 1996 13:19:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Happy Birthday 3rd Birthday Blues-L! Copyright U.P.I. May 6, 1993, Thursday, BC cycle HEADLINE: Elephant Trainer Killed! DATELINE: GAINESVILLE, Fla. Why an 8,000-pound elephant stepped on and killed circus trainer Axel Gautier is a mystery, a spokesman for Ringling Bros. and Barnum & Bailey Circus said Thursday. ''The 'why,' no one knows,'' spokesman Rodney Huey said from Vienna, Va. ''It's a very, very rare incident that a trainer of any of our animals would actually be hurt by an animal.'' Gautier, 51, of Venice, Fla., was visiting the circus's elephant farm near Williston on Wednesday when a 24-year-old Asian female elephant pushed Gautier down with her trunk and then stepped on him. The accident occurred about 1 p.m. Wednesday. Gautier was treated at a Williston hospital for internal injuries to his chest, pelvis and abdomen and then was flown to Shands Hospital in Gainesville, where he died at 2:15 p.m. ''He was visiting with the elephants, just standing there, and one of them somehow knocked him down and stepped on him,'' Huey said. He said it had been a quiet day at the farm, with no training sessions. Huey said Gautier just wanted to spend a day visiting the elephants, including two performing elephants he had worked with who had given birth at the farm in December and January. Huey said the circus uses the farm to house elephants from one of its two touring units while the other unit is on the road, as well as for elephant breeding and as a retirement home for old elephants. Huey said the elephant involved was not a performer but was used exclusively for breeding. He said he knew of no previous problems with the elephant. He also said there were about 20 elephants at the farm on Wednesday. Gautier was known as one of the top elephant trainers in the world. ''The entire Circus world mourns the loss of Axel Gautier,'' said Kenneth Feld, circus president and producer. ''He leaves behind a legacy of elephant training that few in the circus world have been able to attain. Axel Gautier was one of the greatest circus performers of our time.'' Born in Breslau, Germany, which now is part of Poland, Gautier was descended from six generations of Swedish circus performers. He joined The Greatest Show On Earth in 1958. ''He knew as much about elephants as anyone in this country, possibly in the world,'' Huey said. ========================================================================= Date: Mon, 15 Apr 1996 11:55:03 -0700 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Re: Gearheads: Tube Rectifiers Comments: To: Don Cicchetti In-Reply-To: <199604112127.OAA13822@inet.lasierra.edu> I personally prefer the sound of a SS rectifier. When I first got my 72 Super Reverb, I really hated to splat sound of the distortion at high volume. The sound was alright except for the attack. When I changed the Rectifier to Solid State the Improvement was tremendous. I recommend trying the SS if you haven't. It is a very easy modification to make, and it will cost about a dollar to make one yourself, as apossed to buying a plug in style. If you are interested in the mod e-mail me. Isaac On Thu, 11 Apr 1996, Don Cicchetti wrote: > Hi Everybody. > > I spent two hours last night with a couple of amps trying out different > types of tube rectifiers. > > Rectifiers, whether tube or solid state, help convert the AC coming out of > your wall to the DC to run the amps circuitry on. Tube rectifiers cannot > handle as high an instantaneous demand (a transient, big chord, hard > playing) as solid state, so they tend to "sag" in voltage output a bit > under these high demands. This gives a compressed characteristic that > many people like a lot. People who want a really dynamic, punchy sound may > actually like a SS rectifier better. > > There has been a discussion for a while of the sound quality of different > tube rectifiers. Theoretically, they should all sound the same. I mean, > all they do is provide voltage to run the amp, no audio goes through them > at all. But when I would change brands of 5AR4's around on my Matchless > and my custom amp, there were sound differences. Listening closely, I > discovered that the better 5AR4's (Mullard are supposed to be among the > best, and I've only got two of 'em... dang) are cleaner and the tone is > more robust and and vocal in quality. > > I'm sure what is happening is that the greater voltage potential of the > Mullards compared to the Chinese, Russian, and other tubes is allowing the > amp a more effortless transient response. > > So Mullards in the amps for me... > > Now back to that new tune I was working on... > > DC > > > ____________________________________________________ > Don Cicchetti > La Sierra University Library Media Services > Audio/Video/Computer/Satellite > Studio Production, Event Services, Academic support > dcicchet@lasierra.edu > > > Time flies like an arrow > Fruit flies like a banana.... > > --- Groucho > ____________________________________________________ > ========================================================================= Date: Mon, 15 Apr 1996 13:35:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: prison blues Jeff Seale wrote: >Picked up a cheap disc ($4.99) this weekend called Prison Blues of the >South on the Laserlight label. These are songs recorded by Alan Lomax >at the Mississippi and Lousiana State penitentaries. > >That's all the info given (more or less). I know someone out there >will know more about these recordings. I haven't had a chance to >listen yet, but am about to put it in the player now. > >Any info on these recordings? > >Thanks, > Jeff > >--------------- >Jeff Seale, PhD < oooo! - good going, Jeff!! These sessions are descibed in detail in Lomax's "The Land Where the Blues Began". He describes a worksong wherein four men were chopping down a tree at once and how they synchronized the song to the axe strokes. He describes the inmates who were recorded. That chapter really enhances the recording - which contains some wonderful singing. -Bonnie ========================================================================= Date: Mon, 15 Apr 1996 15:01:04 -0400 Reply-To: James Leftwich From: James Leftwich Subject: CD ROMS Does anyone out there own any blues-related CD ROMS? I know that BB has one and I seem to remember ads for a 2-part CD ROM...one for pre-war and one for post-war. Please post a review or send me some private email. Would be most appreciative. ============================================================================= Jim Leftwich Jim's Blues N' Brews leftwich@cloud9.net http://www.cloud9.net/~leftwich "I'm on cloud9!" :) New CD Giveaway: Jordan Patterson ============================================================================= ========================================================================= Date: Mon, 15 Apr 1996 12:08:38 -0700 Reply-To: Stan Ruffo From: Stan Ruffo Subject: Re: HELLGIG '96 Comments: To: Scott Dirks Scott, That is so far the worst gig story I ever heard! Don't worry, the next gig will be better.....(it can't get much worse). ---------- From: Scott Dirks[SMTP:RWHD17B@PRODIGY.COM] Sent: Monday, April 15, 1996 9:08 AM To: Multiple recipients of list BLUES-L Subject: HELLGIG '96 I played one of the worst gigs of my life last night (4/12), and I thought it might make for some good fodder here. The set up: My little blues band hired a new drummer--a good drummer and a good guy, whom I'd jammed with a few times--about a two months ago, and our first gig together was scheduled for about 3 weeks later. I didn't hear from the guy for a while, so about a week before the gig I try calling him to set up a rehearsal--and his phone has been disconnected. No forwarding number, and no one seems to no where this guy is. A few more days go by and I'm getting nervous, so I get another drummer lined up for the gig, just in case. Two days before the gig the original drummer calls with one of the saddest tales of woe I've ever heard. Ten days earlier he's been driving home from a gig at 3am, and his car was sideswiped, and almost run over actually, by a semi. He's knocked unconscious, and wakes up a few hours later in his car, which is totalled but happened to have landed right on the side of the road like it had been parked there (the truck driver never stopped, BTW). He gets out of his car and walks to a nearby hospital, and they want to check him in, but he says he has to attend to his car first, because his drums and a lot of his clothing and what-not are still in it (he'd been in the process of moving from one dinky studio apt. into another, which is why his phone was disconnected). He walks back to his car, and finds that it's been cleaned out--practically everything he owns, including the tools of his trade--his drums--are gone, and he has no insurance of any kind. He goes back to the hospital, and spends the next 10 days there. When he finally gets out two days before the gig, he calls me to say he needs to play the gig to generate some cash, so of course I cancel the replacement drummer. But now my drummer has no drums and no transportation, so my guitar player has to bring his old drum kit, and I have to pick up the drummer. No biggie; this gig, and a couple more we play after this, all work out OK. We all feel pretty badly about our drummer's situation and we all want to help him out, so we figure we'll just kind of carry him for a while like this until he gets back on his feet. Now on to HELLGIG '96. I got a call this past Thursday, asking if we could play a one hour opening set a Koko Taylor's Blues Club in Chicago the following night. Short notice, but I don't have anything else going on, so I call everyone, they're all cool with it (except the bass player, for whom I was able to find a quicky replacement), and I take the gig. We're scheduled to start at 9:30, so I make arrangments to pick up the drummer at 8:30, which should be OK since he doesn't live too far from the club (he'd found a cheap room in a boarding house because the apt. he was going to move into ended up going to someone else when he'd 'disappeared'). It WOULD have worked out OK, if he'd been there, which he wasn't at 8:30. Or 8:45. Or 9:00, when I finally decided just to go to the club and see if the drummer with the headlining act (the identity of which was unknown to me) might be willing to play a one hour set with us for a share of our pay. As I drive to the club I'm getting all pissed off and anxious, and I start needlessly snapping at my wife, who's along for the ride, and of course she snaps right back. I arrived at the club at exactly 9:30--our scheduled start time--to a small sea of panic- stricken faces. The first thing I said to the manager was "Where's the other band's drummer?" The manager looked like his head was about to explode. "What?! Your drummer stiffed you? Wonderful, because the headlining band stiffed US, and we were going to ask you guys to play the whole night." After some quick conferencing and a couple of phone calls, we were able to finally get in touch with our drummer (who had run into some sort of trouble which could probably be the subject of a whole other note, maybe on a psychology newsgroup somehwhere), and he promised he'd take a cab to the gig if I would be there to pay for it, since he was now flat broke. We eventually went on at 10:30, and things kind of went downhill from there. A bunch of drunken tourists were heckling us with requests for Sweet Home Chicago (which I swear we've never done), a psychotic homeless guy kept asking to sit in and wouldn't stop playing his harmonica in the wrong key right in front of the stage for an entire set, some buttwipe keeps asking if we play any blues, and another group thinks it's clever to yell out "When's the other band coming on?" whenever we play anything that's quiet enough for them to be heard throughout the club. The bass player doesn't know some of our material, the drummer's distracted and the band sounds like crap (what a surprise). The club empties out by midnight even though we're supposed to play until two--which we do--and the manager is giving us a hard time over all of it. Then afterwards, I'm loading my stuff out the back door in the alley and step in a pile/puddle of puke, which stinks up the car all the way home. Other than that, it was a rockin' good time. Anyone have any horror stories of their own to share, maybe to help me feel better, or give me the strength to go on and do the gig with the same band I have scheduled for tonight? Scott ========================================================================= Date: Mon, 15 Apr 1996 15:05:22 -0400 Reply-To: JRush11279 From: JRush11279 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: mem Shannon Comments: To: bit-listserv-blues-l@uunet.uu.net Mem Shannon will be playing at the Kansas City Blues and Jazz Festival- July 19, 20, and 21, in Kansas City, Missouri. For more information call the Festival Office at 816-753-FEST. ========================================================================= Date: Mon, 15 Apr 1996 15:21:15 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0188 From: "DUTTWEILER.J" Subject: John Lee Hooker Pepsi ad Date: Monday, 15 April 1996 3:20pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: John Lee Hooker Pepsi ad In-Reply-To: The letter of Monday, 15 April 1996 3:10pm ET I agree - even though I don't like Pepsi (Coke is *so much better :-) Lighten up, I live in Atlanta, the city that Coke built ) - this is a great commercial and Hooker deserves *whatever* exposure he gets JD ========================================================================= Date: Mon, 15 Apr 1996 15:30:57 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re: John Lee Hooker Pepsi ad Comments: To: Steve.Levine@corp.wrgrace.com ________________________ Reply Separator _________________________ I was pleasantly surprised yesterday when I saw a new Pepsi ad featuring John Lee Hooker. He's advertising the new catalog of Pepsi merchandise (and by the end of the commercial he's decked out in Pepsi clothing). I know a lot of you are against using blues and blues performers in commericals, but I think it's a funny, entertaining ad which gives Hooker some well-deserved mainstream exposure. -Steve L Steve -- If this is the ad I think it is, then it's especially funny because it ends with the woman leaning on her windowsill saying "This could be the end of the blues as we know it." I always think of BLUES-L and have a giggle at that one! :) Shannon ========================================================================= Date: Mon, 15 Apr 1996 19:41:36 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Danny White and Sue Records Comments: To: bit-listserv-blues-l@moderators.uu.net The Sue label I referred to is the UK label that originally leased stuff from the US label of the same name owned by Juggy Murray. Sue in the UK was owned by Island, but most of the stuff they issued over here was leased from an array of US indie labels during the label's lifetime. The US Sue material is onwed by EMI, as they issued a great box set last year. As for Frisco, who knows? TB ========================================================================= Date: Mon, 15 Apr 1996 12:49:04 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: 78 QUARTERLY now on BLUES WORLD BLUES-L(isteners) : I just finished visiting the BLUES WORLD Web site, and I must say it's getting better by the day. BLUES WORLD has just include 78 QUARTERLY, the ONE blues magazine that all prewar blues fans KNOW as the best around. As an example of what you get if you subscribe to 78 QUARTERLY, BLUES WORLD has included part 5 of the Paramount Records story, and that wonderful photo of MUDDY WATERS & SON SIMS sitting on the porch of "Muddy's Cabin" that first appeared in the MCA CD of Muddy's Plantation recording. Also, issue #9 has been announced! So, if you're a fan of Blind Lemon Jefferson, Son House, Skip James, Tommy Johnson, Frank Stokes, Blind Blake, Ma Rainey, Charlie Patton, Papa Charlie Jackson, etc. etc., do visit BLUES WORLD, and subscribe to 78 QUARTERLY. It's worth very penny. Congratulation BLUES WORLD! eRIC ========================================================================= Date: Mon, 15 Apr 1996 15:59:50 -0400 Reply-To: Michael Meadors From: Michael Meadors Subject: Re: HELLGIG '96 Comments: To: Scott Dirks You wrote: >I played one of the worst gigs of my life last night (4/12), and I >thought it might make for some good fodder here. > > >Anyone have any horror stories of their own to share, maybe to help me >feel better, or give me the strength to go on and do the gig with the >same band I have scheduled for tonight? > Short an' sweet: Years ago, drove through a blizzard for about 4 hours to play a gig at a high school (of all places). After the gig, I got the band's pay, went to the stage with the cash, sat down in a chair, sat the cash in my guitar case. I put the money right NEXT TO ME. Of course, it was taken from me, obviously somebody behind me reached UNDER MY FOLDING CHAIR IN CLEAR VIEW OF EVERYONE PACKING UP and took our money. Needless to say, I didn't get elected class treasurer next election. We slept on somebody's floor that night, driving back 4 hours the next day without any money to keep us warm. Not the worst story, but it felt bad seeing that empty guitar case. > M. Meadors of the BLUESONICS "Blues for Full Grown People" ========================================================================= Date: Mon, 15 Apr 1996 16:01:37 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Amazing Document: THE DECISION IN THE ROBERT JOHNSON ESTATE I just obtained a fascinating document: The court's decision in the Robert Johnson estate. It has a lot of biographical details. It is WAY too much to type right away. What I will try to do is send 'listward' a readers digest version, with some explanation of the procedural context, in the next couple of days. One tidbit about Steve LaVere: His contract with set up with Carrie Thompson so that she has to indemnify (pay legal and other costs) for LaVere if there are any heirs other than her. This means that, if the other heirs claim against LaVere, he can look to Carrie Thompson's heirs to pay whatever costs-- in other words, he set it up so their heirs would be set off one against the other. I will add that such an provision would not be uncommon. The twist here is that LaVere may have had a better idea "what was out there" at that point than Carrie Thompson did..... Tom Freeland ========================================================================= Date: Mon, 15 Apr 1996 15:36:33 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Buddy Guy new Video Just thought I'd tell y'all CDNow is taking advance orders for the video "Real Deal" which is supposed to come out on the 30th of this month. It's cheap, too. I know a lot of people have been waiting a long time for a Buddy Guy concert video. I know I have. RJ Bauman "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Mon, 15 Apr 1996 16:47:25 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: A Muddy Waters bootleg Roger Mech wrote >Back in 1981, the Stones played an impromptu gig with Muddy Waters and John >Primer at the Checkerboard Lounge in Chicago. Somewhere out there is a >bootleg tape of the event. I've never been able to find a copy; I was >wondering if anyone else had. According to Wight & Rothwell's discography, this was issued on 'The Swinging Pig LP009' and a British cassetee with no issue number. Judging by other folks' comments, you'd get a better return on your money by spending it on the discography, if it's still available from Blues & Rhythm. Claimer (is that the word I want?): I write for B&R, and know the authors - but it's still a great piece of work. Chris Smith (chris@skerries.demon.co.uk) 'It ain't what you eat, it's the way that you chew it.' (Sleepy LaBeef) ========================================================================= Date: Mon, 15 Apr 1996 16:57:21 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: prison blues >Picked up a cheap disc ($4.99) this weekend called Prison Blues of the >South on the Laserlight label. These are songs recorded by Alan Lomax >at the Mississippi and Lousiana State penitentaries. > >That's all the info given (more or less). I know someone out there >will know more about these recordings. I haven't had a chance to >listen yet, but am about to put it in the player now. > >Any info on these recordings? > >Thanks, > Jeff > >--------------- >Jeff Seale, PhD |Texas Tech Red Raiders >Department of Biochemistry |Baseball #2 >U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 >email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 >http://bioc02.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs Put up an artists plus tracks listing, Jeff, and I should be able to tell you exactly when and where they were recorded. Sounds like some of it at least will be the 1947 field trip to Parchman, which is some of the greatest worksong ever put to disc. Chris Smith (chris@skerries.demon.co.uk) 'It ain't what you eat, it's the way that you chew it.' (Sleepy LaBeef) ========================================================================= Date: Mon, 15 Apr 1996 17:06:09 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Pinetop in trouble Comments: To: 103156.340@COMPUSERVE.COM As far as I know, Pinetop was indeed arrested in Chicago last Wednesday. Last Thursday, he was to play at Gilreins here in Worcester, Mass., the same night my band was having the most important gig of our musical careers in the mega- club/microbrewery, just a couple of blocks away. There we were, on stage thinking (at soundcheck) nobody's gonna come, they'll all be at Pintop's gig down the street. Actually, Gilrein's is *TINY*, so this wouldn't be the case, but it was our fear anyway. We hit the stage and the place was brimming with people, 350+ was our rough count, and mid set someone told us that the Pinetop people came too since he was a no-show due to being arrested. We tipped our collective hats to Pinetop, and over the PA thanked his crowd for coming down to see us, just down the street. I'm happy to say that we really showed them a good time, and we got a seemingly endless stream of compliments from them all night. Pinetop's loss was our gain. That's blues I guess. Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Mon, 15 Apr 1996 21:05:24 GMT Reply-To: cuthulu@rlabs.com From: cuthulu Organization: Radar Labs 23 Subject: Re: VoodooChile/Wanking/Blues Comments: To: bit-listserv-blues-l@uunet.uu.net On Sun, 14 Apr 1996 12:58:05 -0700, Shaun T Cronin wrote: >So what do I do? > >Remove 'Voodoo Chile' from the set list of the classic rock band I play in >or provide raincoats for the audience? Remove "Voodoo Chile" from your set list, and replace it with your own original composition :) WWW Production: HTML,CGI,JAVA Kevan Smith -> cuthulu@prysm.net http://www.rlabs.com ========================================================================= Date: Mon, 15 Apr 1996 17:17:00 EDT Reply-To: edward c liu From: edward c liu Subject: SITTING AND THINKING: Memphis Minnie, _Early Rhythm & Blues 1949_ Howdy all, The latest in the Biograph posts from NYCD Blues. -- Ed Edward C. Liu | "If you send me to Washington as your leader, edwick@cc.bellcore.com | I'll personally see to it that every living | American gets his portion ... after I get mine." | -- Louis Jordan, "Jordan For President" The opinions in this message are mine and not Bellcore's. Really! *------------------------------cut heer------------------------------* MEMPHIS MINNIE EARLY RHYTHM AND BLUES 1949 BIOGRAPH #124 ADD BIOGRAPH RECORDS, INC. 374 CONGRESS STREET, SUITE 407 BOSTON, MA 02210 TEL: 617-426-7500 FAX 617-426-5222 E-Mail: CD@biograph.com Before there was Bonnie Raitt, Debbie Davies, Rory Block, or any other female blues singer/guitar player, there was Memphis Minnie. Born in Algiers, Louisiana, right before the turn of the century, she straddled the eras between acoustic country blues and electric Chicago blues, being equally at home in both. Unfortunately, she doesn't receive anywhere near the recognition she deserves in either form. This disc might have been better attributed to "Memphis Minnie and Friends." Minnie is only on the first five tracks of this collection. The remaining tracks include some other Chicago blues luminaries that you may have heard of -- Sunnyland Slim, Jimmy Rogers, and Little Walter, to name three. This collection contains a number of late 1940's Chicago blues, recorded about a year after Muddy Waters defined the genre with "I Can't Be Satisfied." The tracks presented here give a background for where Muddy and the rest of the electric Chicago blues performers came from. DOWN HOME GIRL / NIGHT WATCHMAN BLUES (take 1) / NIGHT WATCHMAN BLUES (take 2) / WHY DID I MAKE YOU CRY / KID MAN BLUES / LUDELLA / HARD WORK BOOGIE / YOUR EVIL WAYS / I SIT UP ALL NIGHT / STATE STREET BLUES / WHEN I WAS YOUNG / VICKSBURG BLUES / A & B BLUES / AFTER HOUR BLUES / SUGAR MAMA BLUES / SHREVEPORT BLUES NYCD Takes MEMPHIS MINNIE: DOWN HOME GIRL: The disc starts off with a duel between Memphis Minnie's twangy electric guitar and Sunnyland Slim's piano. Minnie's vocals are strong and self-assured, with the same kind of confidence that one finds in the early recordings of Bessie Smith. Topically, the song is sung by a woman fed up with city life and about to return home to Memphis. The song is oddly prophetic; Minnie did return to Memphis with her husband shortly after these sessions. NIGHT WATCHMAN BLUES (take 1): This Big Bill Broonzy tune is a classic double entendre song, concerning a woman singing for the night watchman to "punch his clock." The structure is virtually identical to the earliest country blues, with a call-and-response arranged between Minnie and her guitar, except that there's the addition of Sunnyland Slim's piano and the uncredited bass and drums. NIGHT WATCHMAN BLUES (take 2): This alternate take of the previous tune is much shorter and more direct. The guitar parts feature an amplifier dancing on the edge of distortion; they could have been taken from the urban blues recordings that would happen in the coming years and which acted as the forerunner to rock and roll. Minnie also takes a startlingly different guitar solo, punctuated with the sound of something rattled around in her guitar and a perfectly timed scream for emphasis. WHY DID I MAKE YOU CRY: Minnie's guitar lead in for this track could easily be mistaken for just about any of Muddy Waters' 1950's tracks. Minnie's vocals are slightly more sedate on this track, and she tends to let the guitar speak more between her lyrics. The solo section is punctuated by squeals, laughter, and commentary by Minnie, as though she were mugging for the studio engineers. KID MAN BLUES: Unlike the other tracks, Sunnyland Slim leads in this with some sparkling piano riffs before Minnie's guitar joins him. Minnie's vocals are strong and confident as she delivers another song of muted yearning for her "Kid Man," who is about to leave her. There's more punctuation from Minnie during her solo, in the form of whistles, yelps, throaty growls, and the cry of "it's gettin' mighty hot in here!", though I doubt she's referring to the temperature. JIMMY ROGERS: LUDELLA: This track features the guitar and vocals of Jimmy Rogers backed by Little Walter on harmonica. It is distinctly urban Chicago blues that you hear: raw, uninhibited, and done in one take. It is no surprise that two men would go on in a few years with Muddy Waters (who may be playing rhythm on this track) to create one of the definitive Chicago blues sounds. ST. LOUIS JIMMY: HARD WORK BOOGIE: A hard-driving, barrelhouse piano kicks off this heavily distorted boogie and the section of the disc dedicated to St. Louis Jimmy. St. Louis Jimmy delivers a nasal vocal on top of a thumping, driving bass and piano. You can see the same musical structures that would eventually lead to the hard-driven boogies of John Lee Hooker. The guitar is secondary on this track, while the piano (possibly provided by Roosevelt Sykes) takes the major instrumental role. YOUR EVIL WAYS: St. Louis Jimmy brings it down a notch for this down-in-the-alley blues. The guitar (guessed to be Jimmy Rogers) provides chunky, heavily distorted rhythm chords and the occasional fill while the piano takes the bulk of the musical burden again. St. Louis Jimmy's vocal performance is sedate, but characterized by an underlying strength as he digs into one of those mean mistreaters so common in the blues. I SIT UP ALL NIGHT: St. Louis Jimmy takes a crack at what starts off as a love song and turns into a moan over his lady who can drink enough to drown a horse. The same chunky rhythm chords and fluid piano work as on the previous track are to be found here as well, but they are forced to the rear by St. Louis Jimmy's dryly, darkly funny lyrics. STATE STREET BLUES: This track is credited to St. Louis Jimmy, but really has little or nothing to do with him, as it is really an instrumental piece. The guitar and piano engage in some friendly dueling, with the piano ending up with more of an edge in the mix. The piano work is stunning -- a sort of sedate barrelhouse style. The guitar has a wonderfully distorted and full-bodied tone to it, but it is mostly relegated to a rhythm instrument. SUNNYLAND SLIM: WHEN I WAS YOUNG: Sunnyland Slim kicks into a jazzy, swinging number that features strongly syncopated time and a horn section. He introduces the track with some of his terrific piano work, but quickly hands it over to the horns and rhythm section. The band keeps just barely keeps under control while Sunnyland is singing, but transforms into a wild, uncontrolled musical beast for the solo sections. The bass player thumps away mightily, and the tenor sax player blows a mighty solo as well. LITTLE BROTHER MONTGOMERY: VICKSBURG BLUES: Little Brother Montgomery takes us through some piano instrumentals for the next three tracks. According to the liner notes, this one is a remake of a recording Little Brother made in 1930, and which Roosevelt Sykes popularized as "44 Blues". There is some marvelous theme-and-variation work done here, as Little Brother takes a basic theme and slowly builds on it, returning to the central riff now and again. A & B BLUES: Another mid-tempo blues piano boogie. The music is beautifully simple, relying on the ostinato bass-line to provide a powerful foundation for some riffing on the higher end of the scale. At times, the piece sounds like something Professor Longhair would come up with, and the liner notes make a point of mentioning Montgomery's New Orleans roots. AFTER HOUR BLUES: Montgomery picks up the beat a bit for this last instrumental with the same bass-line as the previous track. Again, thoughts of Professor Longhair crop up, and there are times where there's either a bass drummer providing some extra fill-ins or the microphone is picking up Little Brother's foot stomping. Aficionados of piano blues should not miss out on these tracks. PEE WEE HUGHES: SUGAR MAMA BLUES: An expansive sound, as though this track were recorded with a single mike in a big room, opens up these closing tracks by Pee Wee Hughes. Pee Wee accompanies himself rhythmically with his guitar, but uses a harmonica to provide fill-ins and solos. There's also some spare drum work provided by an unknown drummer in the background. It is remarkable that two people can produce as much sound as these two do. SHREVEPORT BLUES: Pee Wee takes it down a notch for this blues that's similar to the one prior. Pee Wee's rhythm is chunky and sticks stubbornly to the same 2 chords throughout the song, but who cares? He also provides some cleanly blown harp, sounding at times like the second Sonny Boy Williamson. Reviewed by Edward C. Liu Copyright 1996 NY CD Blues Unauthorized use prohibited NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ ========================================================================= Date: Mon, 15 Apr 1996 17:21:29 -0400 Reply-To: MacRockin@AOL.COM From: M McCracken Subject: Guitar Gabriel - (Timothy Duffy) >Joel Slotnikoff wrote: > > Tim Duffy of Music Maker Relief Foundation confirms that >Guitar Gabriel > (Robert Lewis Jones) passed away of natural causes on April >2, 1996. >Do you know if Tim can be reached online? >Cary Wolfson (cwolfson@ecentral.com) >Publisher BLUES ACCESS, The Distinctive Blues Magazine >303/443-7245 >http://www.he.net/~blues Cary, (and all) I don't think Tim is "on-line" yet. Here is his Address, etc. Music Maker Attn: Timothy Duffy P.O. Box 12522 Winston-Salem, NC 27117-2522 Phone/Fax 910-784-4363 Mike McCracken ========================================================================= Date: Mon, 15 Apr 1996 17:59:24 -0400 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Buddy Guy's Tour Schedule? Comments: To: tkelley@arl.mil According to the Legends newsletter, Buddy now has a website: http://buddyguy.com or http://legendsonline.com (Shouldn't there be a www. in there somewhere?) Last time I looked it wasn't up and running yet, but it may be now if you feel like checking it out. Karen ========================================================================= Date: Mon, 15 Apr 1996 18:01:52 -0400 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Reflecting again Delta Doc Roger asks: >This got me to a thinkin' about the rest of the Blues--L friends.....what >do you all think about this? How many of you dream of something in the >blues, rather than what yawl are doin' now? How do you cope with the >paradox? Is this just another midlife crisis? Do you think people like >John Hammond get tired of singin' the blues after 30+ years? Is it better >to leave the blues as a "hobby" or as a "career" pursuit? You're kidding! You must have written this *before* reading Scott's HELLGIG post!! :) Actually, I think it'd be really great if somebody would pay me to attend every available blues festival this year.... or just pay my way! That's the best dream I can think of! And every time I read Blues Revue I think they should hire me as an editor. After all, I mentally rewrite each article and redesign every page (sheesh--somebody should!) And I wouldn't put Gregg Allman on the cover..... :-) Karen ========================================================================= Date: Mon, 15 Apr 1996 18:00:28 -0400 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Whoops! Bargains! I found a bargain this weekend, too, and with all the talk about bootlegs, etc., I wasn't sure what I was buying. I was at the mall record store buying a replacement case for a double-CD (dropped the dang thing), and paused to look through the bargain rack. Among the Boz Skaggs and Tears for Fears tapes were all kinds of Blind Pig releases, and all for $2.99 and $3.99! Well, I couldn't resist. I got Snooky Pryor and Carey Bell and Hubert Sumlin and two others I can't remember right now. When I got them home I noticed that there was a small cut across the spine of each cassette. What does this mean??? Karen ========================================================================= Date: Mon, 15 Apr 1996 15:18:40 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Gearheads: Tube Rectifiers Isaac said: >I personally prefer the sound of a SS rectifier. >When I first got my 72 Super Reverb, I really hated to splat sound of the >distortion at high volume. The sound was alright except for the attack. >When I changed the Rectifier to Solid State the Improvement was >tremendous. I recommend trying the SS if you haven't. You will hear a sharper attack and punchier dynamics as well. Isaac's experience troubles me a bit because the difference between a *good* tube rectifer in a well setup amp, and a SS rectifer in the same amp is audible, but subtle... If you're hearing a "tremendous" improvement, there is something else going on, and I'll bet it was a really crappy or just plain worn-out tube rectifer in the first place. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Mon, 15 Apr 1996 17:38:58 -0500 Reply-To: bolt From: bolt Subject: Muddy/Stones boot I have the CD copy called "Checkerboard Lounge", Archivio ARC 002. Sound quality is not particularly good and it seems to simply be a recording of the LP playing. Cuts are: Mannish Boy (7:59) Next Time I See You (5:00) I'm Your Hoochie Coochie Man (4:20) Long Distance Call (4:47) Ugly Woman Blues (6:53) I'm Gonna Get High (4:42) The recording date is stated as 11/22/81 and features MW, Buddy Guy, Mick Jagger, Keith Richard, Junior Wells & Ron Wood. Bill Wyman must have been off chasing young girls ;^) Reg Burns +++++++++++++++++++++++++++++++++++++++++++++++++ + I'll listen to reason when it comes out on CD + + + + bolt@neosoft.com Houston, TX + +++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Mon, 15 Apr 1996 17:53:52 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Hellgigs '96 Wow, these have been some major horror stories! Blues-L folk might be interested to know that a wonderful mmagazine called The Performing Songwriter (their web site is http://songs.com/noma/tps) has been publishing a similar collection of disaster stories called Gigs from Hell. Ricki Lee Jones was one of the contributors last month (March/April issue). I hope some of you (Scott Dirks' story was shudderingly awful) would add to their store of knowledge - I hope Scott and some of the others might be interested in repeating their posts directly to the mag; the editor's name is Lydia Hutchinson, and you can pass on the news that I'll be renewing my subscription the moment I have the bread! Cheers, Richard the Elder ========================================================================= Date: Tue, 16 Apr 1996 01:22:18 +0100 Reply-To: Hans Huter From: Hans Huter Subject: SPE organizes extra Mick Taylor concert ! EXCLUSIVE: Stones People Europe organizes extra Mick Taylor concert ! Don't miss out on this unique opportunity to see one of the best Rolling Stones guitar players Mick Taylor play live with his All Star Blues Band ! Stones People Europe has organized an exclusive MICK TAYLOR concert on : sunday 21th of april 1996 at the Bells Club in Amstelveen, The Netherlands. The Bells Club is a new small jazz/blues club, with a capacity of 300 people. This will be the first concert of Mick's upcoming Europe tour. You can be there too : If you would like to see the show, you can make a reservation by sending an e-mail message to Stones people Europe at : spe@euronet.nl with your name and adress. But hurry, there's only a few days left and there are only 300 tickets available. Tickets are NLG 32,50 to be paid at the entrance. The adress: Bells Club Amsterdamse straatweg 497 A Amstelveen The Netherlands Line-up of the All Star Blues Band : MT (voc, gtr) Snowy White (gtr, voc) Max Middleton (keyb) Kuma Harada (bass) Jeffrey Allen (drums) Be sure to check our website for additional info and updates: http://www.euronet.nl/users/spe/html/stonespe.html Be there ! Best wishes, Stones people Europe (spe@euronet.nl) ========================================================================= Date: Mon, 15 Apr 1996 19:33:50 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Robert Johnson Opinion: Excerpt Comments: cc: rob.hutten@acadiau.ca What follows is a verbatim quote of the first couple of pages of the opinion in the Robert Johnson estate case. RESEARCHERS SHOULD BE SOMEWHAT WARY OF USING THIS MATERIAL. It is important but DUE TO THE PROCEDURAL POSTURE OF THE CASE THESE MADE REPRESENT UNVERIFIED ALLEGATIONS and not proved facts. The opinion itself does not explain "what's what" with regard to this distinction. These are the basic BIOGRAPHICAL facts in the opinion. There are other facts concerning conduct of his heirs and Steve LaVere in the 70s and 80s, and on the claim of his alleged son. More on that later. For now, here's a quote of the fact section of that opinion: Tom Freeland MILLS, JUSTICE, FOR THE COURT: This appeal questions the entry by the Chancellor below of an order dismissing the claim of Claud L. Johnson as the illegitimate son and only direct heir of Robert L. Johnson, deceased. Julia Major and Charles Dodds were married on February 2, 1889. While still married to Charles, but separated from him, Julia gave birth to Robert L. Johnson in Hazelhurst, Mississippi, on May 11, 1911. The father of Robert L. Johnson was one Noah Johnson. Julia birthed eleven children by Charles (who later assumed the surname of Spencer) before her death in 1949. One of these children was Carrie H. Thompson, half-sister to Robert L. Johnson. After Julia's death, Charles Dodds cum Spencer married Mollie Jackson. This marriage produced Annye Anderson, half-sister to Carrie H. Thompson. Annye is unrelated to Robert. Robert L. Johnson became an accomplished musician, singer and songwriter during his short life. He specialized in that art form now known as "the blues." In between performances as an itinerant bluesman, Robert occasionally interrupted his ramblings to enjoy marital bliss. Robert first married Virginia Travis on February 17, 1929, in Penton, Mississippi. Virginia died in childbirth on April 10, 1930. The child was stillborn. Robert married Colleta Craft on May 4, 1931, in Hazelhurst, Mississippi. Colleta died without issue in 1933 or 1934. The appellant in this case, Claud L. Johnson, was born out of wedlock to Virgie Jane Smith on December 16, 1931, in Lincoln County, Mississippi. His birth certificate names R. L. Johnson as his father. Johnson's occupation is listed as a laborer. Robert L. Johnson died "outside" of Greenwood, Mississippi, on August 16, 1938, at the age of 27. He recorded 29 songs during his short life. His recordings have greatly influenced modern popular music. ========================================================================= Date: Mon, 15 Apr 1996 20:00:44 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Whoops! Bargains! Comments: To: Karen Hanson In-Reply-To: <960415180027_470503644@emout08.mail.aol.com> First things first - Karen. I'm assuming that the CD's you pur- chased were - Snooky Pryor - Snooky Blind Pig #2387 Carey Bell - Mellow Down Easy Blind Pig #4291 Hubert Sumlin - Heart & Soul Blind Pig #3389 You SCORED big time (not that you need me to tell you that). I think these are three of the best of Blind Pig and three of the best of any label's output. It's interesting that you mentioned these 3 because this weekend I put up reviews of these very CDs at the Blind Pig site - http://www.panix.com/~bsco/blindpig/ The Carey Bell is one of my favorite CD's of his and as for the Hubert CD, it is not far behind my top pick of his, JSP's Blues Guitar Boss (the cut Sometimes I'm Right, fries me every time I play it). I'd stick with that store. The little cut in the Jewel Case is why they call them cutouts. On Mon, 15 Apr 1996, Karen Hanson wrote: > I found a bargain this weekend, too, and with all the talk about bootlegs, > etc., I wasn't sure what I was buying. I was at the mall record store > buying a replacement case for a double-CD (dropped the dang thing), and > paused to look through the bargain rack. Among the Boz Skaggs and Tears for > Fears tapes were all kinds of Blind Pig releases, and all for $2.99 and > $3.99! Well, I couldn't resist. I got Snooky Pryor and Carey Bell and > Hubert Sumlin and two others I can't remember right now. When I got them > home I noticed that there was a small cut across the spine of each cassette. > What does this mean??? > > Karen > NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 15 Apr 1996 20:02:16 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: 2nd Pick of '96. Comments: To: Cary Wolfson In-Reply-To: <31727771.1C43@ecentral.com> On Mon, 15 Apr 1996, Cary Wolfson wrote: > > I have only recently really come to appreciate Ronnie Earl. > > Hope you've checked out his playing on *Jimmy Rogers Live with Ronnie > Earl & the Broadcasters* His version of "Blues in D Natural" will curl > your hairs. Nope, but I shall. Just put in my birthday and christmas orders with the family - everything Mr. Earl has done (and no sweaters). NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 15 Apr 1996 16:56:50 -0700 Reply-To: Guy Tapper From: Guy Tapper Subject: Re: Whoops! Bargains! Comments: To: JukeFreak@AOL.COM >I found a bargain this weekend, too, and with all the talk about bootlegs, >etc., I wasn't sure what I was buying. I was at the mall record store >buying a replacement case for a double-CD (dropped the dang thing), and >paused to look through the bargain rack. Among the Boz Skaggs and Tears for >Fears tapes were all kinds of Blind Pig releases, and all for $2.99 and >$3.99! Well, I couldn't resist. I got Snooky Pryor and Carey Bell and >Hubert Sumlin and two others I can't remember right now. When I got them >home I noticed that there was a small cut across the spine of each cassette. > What does this mean??? > >Karen The cuts mean those tapes (or cds or lps) were either out-of-prints or overstocks that are being liquidated at a bargain price to move them out. They are cut so that shady retailers don't try to return them to the manufacturers or distributors for credit at the higher list price of regular releases. Guy Tapper MLRG Illustration Scripps Institution of Oceanography 9500 Gilman Dr. La Jolla CA 92093-0227 (619)534-2358 (619)534-6500 fax ========================================================================= Date: Tue, 16 Apr 1996 00:03:02 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: HELLGIG '96 Comments: To: bit-listserv-blues-l@uunet.uu.net Thanks to everyone for thier kind words and condolences, etc. Just thought that I would share the yang to this yin (or is it the other way around?). The following night we played what was probably the BEST gig we've done together. Everyone was together, we sounded as good as we ever have, and the place was packed with enthusiastic blues lovers almost all night, and it was fun. I won't say it made the previous night worth while, but it sure did feel good. BTW, I should mention too that HELLGIG '96 paid twice as much as the good gig we did the next night, but I felt much better with half the money and all my dignity. Scott ========================================================================= Date: Mon, 15 Apr 1996 20:25:59 -0400 Reply-To: BALISTRK@BAYDENOC.CC.MI.US From: "Keith T. Balistreri" Subject: Re: A performer/entertainer mindset Comments: To: Shaun T Cronin In-Reply-To: <199604150302.UAA08503@wavenet.com> I agree 100%...when doing other people's music I look at it as doing an arrangement of the song. I don't want to be a copy band and being a drummer I certainly don't want to sit and listen and listen until I have the exact beat that some other drummer worked up. We do a version of "Manic Depression" with Keyboards, Tuba and Drums...kind of a 3/4 swing tune...but we don't lose the drive that the song has. People love it. Keith B. > > One thing I like doing when playing other peoples music is trying to put my > own spin on it. From playing in cover bands it seems that there are two > choices. Play the song as close as you can to the original to try and stamp > the bands (or your own) mark on the material. > > As Voodoo Chile seems to be the song of the day let's look at that one. > > No-one can play the song like Hendrix! I don't even try. My take on the > song is to try and make the solo "atmospheric" in quality. What I mean by > this is to try and play only a few notes, using sustain and feedback and > traying to create some melodies out of the whole thing. > > The mistake, IMHO, a lot of guitarists make when playing Voodoo Chile is > that they go off into "play as many notes as possible" land i.e. musical > masturbation. I remember playing Voodoo Chile at MI once and all I said to > myself was "do not play fast." I laid back and hit a note, waited a bit, > and went wherever the note seemed to suggest. I had no idea what I played > during that performance. But some people who saw it seemed to like it. > > The point. Try and stamp your own personality in other peoples material. In > the classic rock band that I'm in, I only learn the obviously melodic and > worked out solos. The others, I may steal bits here and there but, for > better or worse, I go my own way. Whether your a guitarist, vocalist or > whatever, you can make the songs your own. > > As for RJ and writing songs. Collaborating with someone else may help. > Also, don't worry if some songs sound like they came from somewhere else. > It happens to all of use. If I write a song and it reminds me of something > else I'm usually pleased. To me, it means that my influences are at work. > There is a line between blatant copying and showing your influences. A good > example is SRV. Although his influences were quite plain he tried to put > his own spin on things and it worked. > > End of today's ramble/sermon. > > Shaun > > > > Shaun Cronin 'Woke up this morning between midnight and day. I was > shaun@wavenet.com hugging the pillow where my baby used to lay.' Son > House > ========================================================================= Date: Mon, 15 Apr 1996 20:47:45 -0400 Reply-To: Jonny Meister From: Jonny Meister Subject: Re: "To what did the blues give birth?" At 01:16 PM 4/15/96 GMT, B.B. Bean wrote: >In , Bill Morgan writes: >>AS>SUBJECT: "To what did the blues give birth?" >>AS>What exactly did the blues start? Is jazz just the "white man's blues"? > >Given that jazz existed as a discrete genre before blues did, and it >developed primarily in two cities (New Orleans and New York) with widely >varied ethnic groups in close contact, the question doesn't make sense. > >BBB > > >B.B. Bean New address------>bbbean@sheltonlink.com >Peach Orchard, MO http://www.cris.com/~Bbbean > Jazz existed before blues? Maybe, maybe not.... Yazoo's new "Before The Blues" series also may underestimate the age of the blues as a musical form. Accounts of black music going back to the 19th Century suggest blues or a blues-like music existed. British actress/singer Fanny Kemble identified the sad songs of blacks on a Georgia plantation she was visiting in the 1830's that sounded like what we know of as blues, and Newman White collected black songs in Auburn, Alabama, including: "Some folks say the fo'day blues ain't bad But the fo'day blues am de wust I eber had" The word "Blues" referring to a form of music was in general use before 1910. Check out Sam Charters' "The Country Blues" and other sources on the roots of this music. My guess is that people were singing songs that we would recognize as blues songs in the 19th century. -Jonny ========================================================================= Date: Mon, 15 Apr 1996 21:17:17 EDT Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: Johnny Winter Hey folks, Johnny is scheduled to play The Webster Theatre in Hartford, CT on May 11 with the Rick Derringer Band. A caller to my show Saturday said that he went to a scheduled date in Providence and Johnny was unable to play. Sorry, but I don't know how recently this happened. Dave Carpenter Blues Music Director - WHUS-FM University of Connecticut - Storrs, CT 06269 http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Mon, 15 Apr 1996 19:14:37 -0600 Reply-To: cwolfson@ecentral.com Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Cary Wolfson Organization: BLUES ACCESS Subject: Re: CD ROMS Comments: To: James Leftwich *On the Road with BB King* CD ROM is reviewed in the current (Spring #25) issue of BLUES ACCESS. I had another one - I think it was called *History of the Blues* on QUE - but it was pretty unexciting and text heavy. Cary Wolfson (cwolfson@ecentral.com) Publisher BLUES ACCESS, The Distinctive Blues Magazine 303/443-7245 http://www.he.net/~blues ========================================================================= Date: Mon, 15 Apr 1996 18:23:30 -0700 Reply-To: Christian Hoener From: Christian Hoener subscribe-blues-Chris Hoener ========================================================================= Date: Mon, 15 Apr 1996 22:01:17 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Whoops! Bargains! Comments: To: Guy Tapper In-Reply-To: On Mon, 15 Apr 1996, Guy Tapper wrote: > The cuts mean those tapes (or cds or lps) were either out-of-prints or > overstocks that are being liquidated at a bargain price to move them out. > They are cut so that shady retailers don't try to return them to the > manufacturers or distributors for credit at the higher list price of > regular releases. The cuts are actually generic and not necessarily just for over stocks and/or out-of-prints. Not only does it keep the retail- ers from trading 'em in (actually I think it's the retailer who puts the cuts in, not the label) but the retail buyer as well. The cut on the case is easy to mask with a new case - it is the cut in the paper cover that is the harder to repair (for CD's). Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 15 Apr 1996 22:09:14 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland ?" In a message dated 96-04-15 21:22:13 EDT, blues@BLUESNET.COM (Jonny Meister) writes: >Jazz existed before blues? Maybe, maybe not.... Yazoo's new "Before The >Blues" series also may underestimate the age of the blues as a musical form. This is not the only problem with the history reported by that set. Basically with source-less assertion, the author of the notes claims to know things about the sounds of rural American music 50, 75, or more than a hundred years prior to recording. And the things the author claims to know are VERY specific things about musical performance styles that seem to me at best speculation and more likely simply unknowable. They are more specific than the sort of reports I understand exist; I think they are wishful-thinking-type extrapolations from the sounds on records. These assertions are stated in very positive terms. (I should interject here that the MUSIC ON THE SETS IS WONDERFUL) There are two views of the history of blues (and traditional music) that both seem to me to be peculiarly distorted views of history: (1) That traditional music forms date back eons and eons into dim distant time; and (2) That there is a identifiable moment that blues or a traditional music form "was invented." The later view is reification-- it is the fallacy of acting as if there is a "thing" "existing" that has no existence. The "blues" is not one specifically identifiable thing (like a light bulb) that we can all point to and say: That's it, that's the first one. The blues is a bundle of characteristics that, throughout its history (perhaps throughout the history of music making by African Americans?), has existed in varying ways or to varying degrees in American music. I'm pretty sure that the 1400 people on this mailing list could not settle on 3 definitions of blues much less ONE definition. The former view is quite simply ahistorical-- it ignores how historical process work, and how things change. You almost get the impression that folks who hold that view do not think music changed before recording was invented. If you want a good measure of the impact of "popular music" and "dance crazes" prior to recording, look at the polka craze that swept Europe in the early 19th century. Didn't you ever wonder how the folk music of Texas, the Carribbean, Scotland, and central Europe (well, that one makes sense) produced polkas? (momentary pause while someone out there says "no, i wondered *why* they produced polkas"). Recording wasn't required for that music to sweep Europe and then into the Americas. Oddly enough, the liner notes to the Yazoo set alternate between both forms of illogic-- that blues was "invented" at a specific time before WWI, and that traditional music (other than, of course, blues) existed in some changeless form for huge lengths of time. Tom Freeland ========================================================================= Date: Mon, 15 Apr 1996 22:08:38 -0400 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Re: "To what did the blues give birth?" Comments: To: bit-listserv-blues-l@uunet.uu.net I am echoing "Nitra's" question to BBB: On what do you base your time table? Lea ========================================================================= Date: Mon, 15 Apr 1996 22:33:40 -0400 Reply-To: LKnight1@AOL.COM From: Leslie Ann Knight Subject: 04/15/96 Playlist Subj: 04/15/96 Playlist Date: 96-04-15 22:09:09 EDT From: LKnight1 To: LKnight1 April 15, 1996 Playlist Monday Morning Blues with Leslie Ann Knight 6:00am - 9:00am KKUP 91.5 FM, Cupertino, CA 510 797-0654 Fax 510 791-1084 LKnight1@aol.com Artist CD Title Track Label ------------------------------------------------------------------------------ ---------- Elmer Lee Thomas The Monday Morning Blues Theme on CD Joe Turner/Count Basie Flip,Flop & Fly Good Morning Blues Pablo John Primer The Real Deal Tomorrow Might Atlantic Kenny Blue Ray Strat Daddy I Believe Blue Ray Bill Broonzy Treat Me Right All I Got... Tradition Rick Holstrom Lookout! A Good One Black Top W.C. Clark Texas Soul Why Do Things Happen... Black Top Hans Olson Kachina Blues Mr. Unlucky Blond Sun Advance CD: Soul Proprietors Too Cool To Be Hip The Fossil Adina Advance CD: Alvin Youngblood Hart Big Mama s Door Joe Friday OKeh/550 Music ---------------------------------------- Jump Set: Mama Thornton Original Hnd Dog Rock A Bye Baby Ace/Peacock Stick McGhee Stick McGhee Six To Eight Ace/King 1955 Louis Jordan Best of L.J. Fat Sam From Birmingham.....Music Club Joey Razor and the Blue Blades Joint B Jump See My Baby Hectic Mighty Blue Kings Me Me In Uptown Honey Chile Jump R-Jay Roomful of Blues Turn It On... If You Know It Bullseye ---------------------------------------- Bobby Murray The Blues Is Now Let My Guitar... Viceroots Tattoo Blue Don t Try This At Home Love Is A Train Beezerk Jerry Lightfoot & the Essentials Burning Desire Who s Been Talking Connor Ray Little Jonny & the Giants Telecaster Music Barstool Boogie Self prod. Tommy Castro Exception... Sho Enough Blind Pig Paul Oscher Knockin On the Devil s Door Sugar Babe Viceroots Bonnie Lee Sweetheart of the Blues Walking Blues Delmark Request: Joey Razor and the Blue Blades Joint B Jump Come To Cali Hectic 25th Alligator Anniv. 25th Anniv. I Could Deal With It Alligator Request: Jerry Lightfoot & the Essentials Burning Desire Night Train From Oakland Connor Ray Jerry Lightfoot & the Essentials Burning Desire I m On The Rock Connor Ray Mike Stockton It s My Soul Pledge My Love Azure Mississippi Heat Thunder in My Heart Better Day Van der Linden Sonny & Brownie Amer. Folk Blues Fest 70 Walk On Optimism ------------------------------------------- In-studio interview and gig promotion with Steve Siacotos of NiteCry: NiteCry Run For Cover Blue Night Blue Rock It NiteCry Run For Cover Thanks For Everything Blue Rock It NiteCry Run For Cover Same Rules Don t Apply Blue Rock It NiteCry Run For Cover Troubles Blue Rock It ------------------------------------------- Mighty Blue Kings Meet me In Uptown Pink Cadillac R-Jay Request: Kenny Blue Ray Cadillac Tone Mississippi Hop Blue Ray Joey Razor and the Blue Blades Joint B Jump Big House Hectic Request: Elmer Lee Thomas Blues Revue Radio Blues This Old Life Moe Toe Closing Theme for Monday Morning Blues: Joey Razor and the Blue Blades Joint B Jump After Hours Taxi Hectic Notes: Callers requested Kenny Blue Ray, Jerry Lightfoot & the Essentials, Joey Razor and the Blue Blades, and Elmer Lee Thomas Blues Revue. I heavily promoted the Mike Stockton & the Rhythmator's show at Scalawag's in San Jose for Monday, 4/15/96. Also promoted NiteCry's show at Scalawag's for Saturday, 4/20/96. ========================================================================= Date: Mon, 15 Apr 1996 19:53:58 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: "Old" Living Blues I have near mint copies of Living Blues issues one and two. Occassioally = I see them on various want lists. Anyone know their approximate worth? = Info or opinions would be greatly appreciated Uncle Ray uncleray@teleport.com ========================================================================= Date: Tue, 16 Apr 1996 03:04:04 GMT Reply-To: Mike Craddock From: Mike Craddock Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: "To what did the blues give birth?" Comments: To: bit-listserv-blues-l@uunet.uu.net Please let me clarify my reasoning to asking whether or not jazz was the "white man's blues". I wish I could share with everyone the mailbox full of replies I got to my questions. Most of them slaying the forbidden one, but also answering all of the others with true honesty and integrity. I thank everyone who has answered already and welcome anyone else who has an opinion on what the blues gave birth to, to respond here or e-mail me. PLEASE understand I know the roots of jazz and that the question was simply there to get you all stirred up and I'm telling you the responses I've gotten from this go around, while posting here, have been tremedously helpful. Also remember that people are always ready to sound off on what they disagree with than what they read, accept, and move on. Thanks to Everyone and I hope this clears up any misconception, Mike Craddock - ASKQ88B@prodigy.com ========================================================================= Date: Tue, 16 Apr 1996 03:06:50 GMT Reply-To: Mike Craddock From: Mike Craddock Organization: Prodigy Services Company 1-800-PRODIGY Subject: "To what did Blues give birth" Explained Comments: To: bit-listserv-blues-l@uunet.uu.net SUBJECT: Re: "To what did the blues give birth?" Please let me clarify my reasoning to asking whether or not jazz was the "white man's blues". I wish I could share with everyone the mailbox full of replies I got to my questions. Most of them slaying the forbidden one, but also answering all of the others with true honesty and integrity. I thank everyone who has answered already and welcome anyone else who has an opinion on what the blues gave birth to, to respond here or e-mail me. PLEASE understand I know the roots of jazz and that the question was simply there to get you all stirred up and I'm telling you the responses I've gotten from this go around, while posting here, have been tremedously helpful. Also remember that people are always ready to sound off on what they disagree with than what they read, accept, and move on. Thanks to Everyone and I hope this clears up any misconception, Mike Craddock - ASKQ88B@prodigy.com ========================================================================= Date: Mon, 15 Apr 1996 02:10:10 GMT Reply-To: Jack Oudiz From: Jack Oudiz Organization: Midtown Computer Services Subject: Re: HELLGIG '96 Comments: To: bit-listserv-blues-l@uunet.uu.net Man o man bud that was some story. Very fitting for Tax day which is a sad enuff story itself. Well all I can say babe is if your playing Fest week you'll have a one man cheering section. Oh and go buy the mrs.some flowers! JO Take your hand off my pocket Take your eyes off my whiskey at the bar ========================================================================= Date: Mon, 15 Apr 1996 23:30:33 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Pat Hare A while ago there was a discussion here on Pat Hare (I wasn't paying attention! Sorry!). Today I heard "I'm Gonna Murder My Baby" by Pat Hare and it is one bone chilling song. I also learn't a solo to a Junior Parker tune (I forget the name and I don't have the tape) and I was told the guitarist was Pat Hare. The question is (can't you see it coming) did Pat Hare play with Junior Parker? If not was it someone else? Or am I confused again. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Mon, 15 Apr 1996 23:30:40 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Essential Rockabilly Guitar Records I am asking assitance from those of you who are into rockabilly. I'm trying to build a library of the essential rockabilly guitar albums. So far I have Elvis Presley's "Sun Sessions", Ricky Nelson's "Greatest Hits Vol 1", Gene Vincet's "Greatest Hits" (as well as Jeff Beck's "Crazy legs") and Ronnie Dawson's "Rockinitis" (Well maybe this one isn't essential but it's a hell of an album). Can anyone offer some more suggestions? Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Mon, 15 Apr 1996 23:30:45 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: VoodooChile/Wanking/Blues Kevin Smith wrote: >>So what do I do? >> >>Remove 'Voodoo Chile' from the set list of the classic rock band I play in >>or provide raincoats for the audience? > >Remove "Voodoo Chile" from your set list, and replace it with your own >original composition :) Actually, I was talking to the vocalist last night about the set list and she said that she didn't really like "Voodoo Chile" and if I wanted to sing. So I said yes and dug myself a little deeper hole:-) At the moment we are trying to navigate a path between the members of the band who want to do everything as close as possible to the record and those who want to start messing with the songs and see what happens (that's me). There is talk of doing a few originals. This should be interesting. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Mon, 15 Apr 1996 23:30:50 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Reflecting again Comments: cc: roger.lew.struve@MEDTRONIC.COM Delta Doc, musing again: >Was watching the Ophra show the other day and she says "If you're not >living your dream, better waike up quick" or something to that effect. > >This started me a thinkin' again, my dream is to be involved with blues in >one nmanner or another, but i design implantable drug pumps instead. While >in this profession there is the occasional upside, most of the time it's >just routine paperwork and "Yassah" most of the rest of the time. > >This got me to a thinkin' about the rest of the Blues--L friends.....what >do you all think about this? How many of you dream of something in the >blues, rather than what yawl are doin' now? How do you cope with the >paradox? Is this just another midlife crisis? Do you think people like >John Hammond get tired of singin' the blues after 30+ years? Is it better >to leave the blues as a "hobby" or as a "career" pursuit? If you feel it go for it. That's what I did ( and am doing now). I always wanted to try and become a proffesional musician. It came to a point when I was in Japan, teaching English, leading a comfortable life when I realized I had enough. So to LA I came. And I'm learning! I've been basically fired from one country band (losing $300 worth of gigs in the process) for reasons unspecified (I have a hunch as to why. It was my first country gig so I had some trouble. Still I got paid and learn't a hell of a lot. Also band politics was involved a little). Then in a turn around, the singer in another country band actually quite likes my playing and told me that I was basically the boss of a band he is putting together. Go figure! And a year ago I'd never even had though about playing country. Believe me, the blues is still my first love and I hope to get there one day but at the moment it's play as much as I can. I'm also rehearsing with a classic rock band where everyone has different ideas of what is needed (but we compromise ok). And this week I meet with a bass player about forming a blues/rock cover/original band and will go and see another original blues/rock band on Saturday night who are needing a new guitarist to check them out, exchange tapes and talk. On top of that, I have three rehearsals and a charity gig saturday afternoon (no money but free food I think). It's tough, sometimes boring but there isn't anything else I'd rather be doing. When I pack my gear up and am heading down the 20-40 miles of freeway back to LA at 1 or 2 am in the morning I am happy. I have started doing what I've wanted to do. I still have a long way to go. I only just started to pay my dues as they say. But there is one thing that I have learn't. If you set your mind on achieving something and actively start working on achieving you goals you will be surprised how things seem to fall in place along the way. If it's something that you really wanted to do then go for it. As for whether John Hammond is bored after all those years of playing? The fact that he still does it is a good enough question. I'm yet to experience Hellgig 96 as Scott Dirks did. Even if I did I would still keep on going. Just chalk it up to experience. And Scott did keep going and it paid off the nest night. So go and get it Delta Doc! Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Mon, 15 Apr 1996 23:30:59 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: A performer/entertainer mindset Comments: cc: BALISTRK@BAYDENOC.CC.MI.US Keith B wrote: >I agree 100%...when doing other people's music I look at it as doing an >arrangement of the song. I don't want to be a copy band and being a >drummer I certainly don't want to sit and listen and listen until I have >the exact beat that some other drummer worked up. We do a version of >"Manic Depression" with Keyboards, Tuba and Drums...kind of a 3/4 swing >tune...but we don't lose the drive that the song has. People love it. >Keith B. Man, I'd love to hear this. In playing classic rock there is a problem of not meeting the audiences expectations in the sense of not playing the songs as on the record. I know I will get into trouble one night for not playing a solo as how someone wants to hear it. But to hell with it. I'm going to try and put my spin on things. It may not be better but it will satisfy the artistic part of my soul. I will listen to a record to cop signature riffs and licks that need to be played (and the solo if it is melodic and worked out) but if I can do my own thing I'm off! Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Mon, 15 Apr 1996 23:31:10 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: 2nd Pick of '96. Comments: cc: bsco@PANIX.COM Barry wrote: > Nope, but I shall. Just put in my birthday and christmas orders > with the family - everything Mr. Earl has done (and no sweaters). Don't wait. Buy it now! Ronnie's solo in "Blues in D Natural" is a master piece in the use of dynamics. The rest of the CD is pretty fine as well. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Tue, 16 Apr 1996 06:43:29 GMT Reply-To: bluesdj@HALCYON.COM From: Roberta Penn Organization: Northwest Nexus Inc. Subject: Re: "Seven Guitars" Comments: To: bit-listserv-blues-l@uunet.uu.net > Chris Smith writes: > Kevin DeBell wrote > > >Interesting (IMHO) comments in the 4/15 issue of The New Yorker. > >"Black and Blues: 'Seven Guitars,' a new chapter in August Wilson's > >ten-play cycle" by John Lahr, pp 99-101. > > > (snip) > > I agree that the comments are interesting. Anybody notice the 'deliberate > mistake' ;-) of locating Savoy Records in Chicago? I assume the reviewer is > quoting the play. I saw 'Ma Rainey's Black Bottom' (please, no cheap jokes) > when it was on in London some years ago, and it was great. > > > Chris Smith (chris@skerries.demon.co.uk) > 'Positive: wrong at the top of one's voice." (Ambrose Bierce) > >>>> "Seven Guitars" is a work of fiction, not a historical piece. Imagine Wilson used Savoy because of the many, many associations Savoy has in blues and jazz. ========================================================================= Date: Tue, 16 Apr 1996 03:08:41 -0400 Reply-To: BLUESROCCO@AOL.COM From: Jim Rocco Subject: Re: "To what did the blues give birth?" Comments: To: samuel@castle.beaver.edu Let's not lose sight of the fact that the blues started with the first peoples brought to this country against their own will.... They wanted to go back home.............and couldn't.... Jim ========================================================================= Date: Tue, 16 Apr 1996 05:28:26 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Oh... I was just pretending to be a... Comments: To: Mike Craddock On 16 Apr 96, Mike Craddock had this to say: > Please let me clarify my reasoning to asking whether or not jazz was the > "white man's blues". > PLEASE understand I know the roots of jazz and that the question > was simply there to get you all stirred up and I'm telling you the > responses I've gotten from this go around, while posting here, have > been tremedously helpful. > Thanks to Everyone and I hope this clears up any misconception, > Mike Craddock We normally don't need someone to stir us up. We seem to be able to generate plenty of contoversy without "pretending" to be someone we are not. One wonders though, if this "I was just pretending" explaination would have been posted if ANYONE had supported your original thesis. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ There are two kinds of artists left: those who endorse Pepsi and those who simply won't. - Annie Lennox (b. 1954) ========================================================================= Date: Tue, 16 Apr 1996 10:31:05 +0100 Reply-To: RASTBURY From: RASTBURY Subject: New York/New Jersey May 2-16 gig info requested My friend Charlie Hussey, Ireland's only blues DJ and an all around good guy, will be holidaying in the New York/New Jersey area from May 2 to May 16 and would like to discover what blues acts may be appearing there during that period. He isn't 'connected' so I offered to send out a request on his behalf. If anyone can help please send any information to me privately. Advice on the best record shops would also be welcome. Thanks in advance. Ray Astbury (rastbury@macollamh.ucd.ie) ========================================================================= Date: Tue, 16 Apr 1996 03:25:49 -0700 Reply-To: Mark Naftalin From: Mark Naftalin Subject: Blues legend Francis Clay's poetry on 411-Winner In the history of blues music, Francis Clay's playing represents a true poetry of percussion. These days, Francis is playing less, but is still producing poetry -- of the traditional written variety. Four of his poems are now on 411-Winner. They are: "Tribute To A Black Man," "Ode To Martin Luther King," "Walter Knox, Man Of The People" and "Mama, Paint Me A Rainbow." A brief Francis Clay bio appears below. 411-Winner also embraces more material by and about Francis Clay, as well as information on Winner artists (Paul Butterfield Blues Band, Percy Mayfield, Ron Thompson, Mark Naftalin), extensive discographies on Otis Spann and Michael Bloomfield, the publication "Bloomfield notes" (all issues), a selection of blues publicity photos, and an archive of other blues-related materials. ABOUT FRANCIS CLAY Francis Clay's work is well known to those who have studied Chicago Blues. If you've listened to Muddy Waters, you've heard Francis. He was Muddy's drummer on and off for about 15 years starting in 1957. Francis was in the thick of things during the heyday of Chicago blues and played with all the greats. His highly original and immensely propulsive drumming drives numerous recordings by Muddy Waters and others. You can find his name on some of the classics of Chicago blues, including the much-acclaimed album "Muddy Waters At Newport." He has toured and recorded with Little Walter, Otis Spann, Clifton Chenier, John Lee Hooker, Big Mama Thornton, Lightnin' Hopkins and Jimmy Reed (to name a few) and was a founding member of the James Cotton Blues Band. Francis Clay is truly one of the all-time masters of blues drumming. Mark Naftalin 411-Winner (The Winner Info-Page) Francis Clay's poems are in the "Archives" ========================================================================= Date: Tue, 16 Apr 1996 06:44:20 -0400 Reply-To: Barronblu@AOL.COM From: Barron Ruth Subject: Blues Barons in Atlanta Comments: To: gracie-l@sohonet.BITNET The Blues Barons are recruiting! The Blues Barons are an Atlanta based blues band doing a very intense, authentic sounding blues that purists and others will enjoy. The Line up Scott Freeman (slide guitar in open tunings) Micheal D. harmonica Kaz alto, soprano, tenor saxophone Barron Ruth lead guitar (sound like overdriven BB) Stefan Thomas (from Pittsburg, house band, played behind Stevie Ray, and Roy B) Paul Kusner (bass) Set List Blues for Daddy D'z (original, T-Bone kind of thang) C (original slow blues BB kind of thang) Stop Breakin Down (Robert electrified) Crossroads (more Robert, not very Creamish) Wang Dang Doodle (very jammin) The Thrill is Gone ( real good tribute to the man) Blues for Jessica (original, is the blues but thankin about the Allman Bros blues) The killin floor (got to have some Wolf) Mannish Boy (turns into a chant) Anyway Blues fans in Atlanta area, email me at Barronblu@aol.com We are forming a legion~! Barron ========================================================================= Date: Tue, 16 Apr 1996 05:42:46 -0500 Reply-To: Roger Struve From: Roger Struve Subject: Re: Reflecting again -Reply Comments: To: leagil@aol.com Hi, if i remember correctly you are with Juris Doctor? I once thought about that profession, actually several times, as i have a predilection to split hairs (which i actually am pretty good at if i do say so myself!) However, science has always interested me a lot, and i felt it would be a more satisfying career. WHenever i reflect on these kind of things, i hear Bob Dylan shouting (in my good ear) "watch out kid, they keep it all hid!" Then the blues set in again and i need to find solace in the music. It's a very repetitive cycle. Sometimes i am pretty convinced that the world (USA anyway) has a growing undercurrent of frustration and downright anger. You can see it manifested on the freeways by all the people that seem to want to do things as they drive to frustrate others. The island of St. Thomas had a hurricane go through (i don't know how recently) and there are shacks just down the road from the "concrete enclaves" and hotels catering to he rich. With all this untouchable wealth staring them down each and every day, the hurricane released the anger that had been brewing in the poor people's minds. They started ransacking and pillaging everything they could. ONly cash is good and roving gangs rob anyone doing any business at all (at least this is how it was described to me). SO, i see similarities between this and the riots in LA, etc. All of this disparity between classes of people (regardless of color) seems to create the feelings of the blues. Just my thoughts for today! Thanks for writing back! dddh ========================================================================= Date: Tue, 16 Apr 1996 22:37:23 +0000 Reply-To: Ian L Hughes From: Ian L Hughes Subject: EARTH DAY BLUES Comments: cc: FORCELLAD@CCSUA.CTSTATEU.EDU On Monday, Domenic Forcella , wrote: >A couple of weeks ago I asked for help in finding songs with an environmental >theme for an Earth Day program. Many thanks to the people who responded. As >promised, here is a list of those songs. As you can see there are some very >liberal interpretations on the list. >Etta James God's Song Is this the Randy Newman composition? If it is, good call! >Austin Lounge Lizards Gingrich the Newt Now, has anyone got the lyrics to this one? I can see this being close to unavailable down here in Oz, and with the election of a conservative government down here, I thought the lyrics might be "topical". Just interested, Regards, and TIA Ian Hughes ========================================================================= Date: Tue, 16 Apr 1996 08:50:38 -0400 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Re: 2nd Pick of '96. Comments: To: bit-listserv-blues-l@uunet.uu.net In article , Barry Silverberg writes: > I > also had never heard of Joe Beard before. Where was he, or be- > tter yet, where was I. He has a wonderful voice with a strong > output - he can belt with the best of them. He is very bluesy > and very soulful at the same time. As I said, the strength in > his delivery is to be heard. > Joe does have a wonderful voice. He's lived in Rochester along with some other fine musicians...Son House & John Mooney are the two that come to mind immediately because over the years the three have played together on various occasions. Joe made the choice to raise his family, rather than go out on the road. He's always been a favorite in town, playing one or two days a week at different clubs. I'm glad that other people will finally have a chance to hear him. Catbauer@vivanet.com ========================================================================= Date: Tue, 16 Apr 1996 07:43:58 -0500 Reply-To: Jim Colegrove Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Jim Colegrove Organization: Gold Tooth Music, BMI Subject: Re: Essential Rockabilly Guitar Records Comments: To: Shaun T Cronin Shaun T Cronin wrote: > > I am asking assitance from those of you who are into rockabilly. > > I'm trying to build a library of the essential rockabilly guitar albums. So > far I have Elvis Presley's "Sun Sessions", Ricky Nelson's "Greatest Hits > Vol 1", Gene Vincet's "Greatest Hits" (as well as Jeff Beck's "Crazy legs") > and Ronnie Dawson's "Rockinitis" (Well maybe this one isn't essential but > it's a hell of an album). > > Can anyone offer some more suggestions? > > Shaun > > Shaun Cronin 'Woke up this morning between midnight and day. I was > shaun@wavenet.com hugging the pillow where my baby used to lay.' Son > House Get Carl Mann's Phillips recordings featuring Eddie Bush on guitar. Also The Burnette brothers' (Johnny and Dorsey) Rock 'n' Roll Trio featuring Paul Burlison orginally on Coral. -- Jim Colegrove coolg@dfw.net ========================================================================= Date: Tue, 16 Apr 1996 07:47:16 -0700 Reply-To: Kelly Hoggard From: Kelly Hoggard Organization: The Wolfpack Subject: Re: Pinetop Perkins rumor Comments: To: bit-listserv-blues-l@uunet.uu.net > Hey all, > > I heard last night that Pinetop Perkins is in jail or under house arrest. Can > anyone confirm or deny this? He apparently missed a gig in CT on Friday. > > Thanks, I heard that Pinetop violated his house arrest and was thrown in the gaol, thereby missing the Tribute to Muddy Waters shows at Buddy Guy's two weekends ago. I understand that there are people trying to intercede for Pinetop, how effectively, I don't know. -- kelly@netusa1.net(Kelly Hoggard) The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! Check out their home page at http://www.netusa1.net/~kelly/ ========================================================================= Date: Tue, 16 Apr 1996 14:02:53 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: 2nd Pick of '96. Comments: To: CATBAUER >In article , Barry >Silverberg writes: > >> I >> also had never heard of Joe Beard before. Where was he, or be- >> tter yet, where was I. He has a wonderful voice with a strong >> output - he can belt with the best of them. He is very bluesy >> and very soulful at the same time. As I said, the strength in >> his delivery is to be heard. >> > >Joe does have a wonderful voice. He's lived in Rochester along with some >other fine musicians...Son House & John Mooney are the two that come to >mind immediately because over the years the three have played together on >various occasions. Joe made the choice to raise his family, rather than go >out on the road. He's always been a favorite in town, playing one or two >days a week at different clubs. I'm glad that other people will finally >have a chance to hear him. > > > > >Catbauer@vivanet.com I remember being thrilled by this mans genuinity and his heartfelt singing and playing when he toured europe with Odie Payne, Bob Stroger, Lafayette Leake, Johnny Littlejohn and Buster Benton. Great lineup and a night to remember. I missed the original post. Was it about his Ichiban (wild dog) record? That one is OK but I think he has a lot more to say. So I hope the post was about a new recording from Joe Beard - please let me know. Mr Bo ========================================================================= Date: Tue, 16 Apr 1996 08:08:33 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Re: A performer/entertainer mindset In-Reply-To: Message of Mon, 15 Apr 1996 20:25:59 -0400 from On Mon, 15 Apr 1996 20:25:59 -0400 Keith T. Balistreri said: >I agree 100%...when doing other people's music I look at it as doing an >arrangement of the song. I don't want to be a copy band and being a >drummer I certainly don't want to sit and listen and listen until I have I always say "This is one of my originals, but it was written by Son House" LW >> One thing I like doing when playing other peoples music is trying to put my >> own spin on it. From playing in cover bands it seems that there are two >> choices. Play the song as close as you can to the original to try and stamp >> the bands (or your own) mark on the material. >> >> As Voodoo Chile seems to be the song of the day let's look at that one. >> >> No-one can play the song like Hendrix! I don't even try. My take on the >> song is to try and make the solo "atmospheric" in quality. What I mean by >> this is to try and play only a few notes, using sustain and feedback and >> traying to create some melodies out of the whole thing. >> >> The mistake, IMHO, a lot of guitarists make when playing Voodoo Chile is >> that they go off into "play as many notes as possible" land i.e. musical >> masturbation. I remember playing Voodoo Chile at MI once and all I said to >> myself was "do not play fast." I laid back and hit a note, waited a bit, >> and went wherever the note seemed to suggest. I had no idea what I played >> during that performance. But some people who saw it seemed to like it. >> >> The point. Try and stamp your own personality in other peoples material. In >> the classic rock band that I'm in, I only learn the obviously melodic and >> worked out solos. The others, I may steal bits here and there but, for >> better or worse, I go my own way. Whether your a guitarist, vocalist or >> whatever, you can make the songs your own. >> >> As for RJ and writing songs. Collaborating with someone else may help. >> Also, don't worry if some songs sound like they came from somewhere else. >> It happens to all of use. If I write a song and it reminds me of something >> else I'm usually pleased. To me, it means that my influences are at work. >> There is a line between blatant copying and showing your influences. A good >> example is SRV. Although his influences were quite plain he tried to put >> his own spin on things and it worked. >> >> End of today's ramble/sermon. >> >> Shaun >> >> >> >> Shaun Cronin 'Woke up this morning between midnight and day. I was >> shaun@wavenet.com hugging the pillow where my baby used to lay.' Son >> House >> ========================================================================= Date: Tue, 16 Apr 1996 08:02:12 -0700 Reply-To: Kelly Hoggard From: Kelly Hoggard Organization: The Wolfpack Subject: Re: Alligator 25th Anniversary Comments: To: bit-listserv-blues-l@uunet.uu.net DUTTWEILER.J wrote: > Another eye-opener for me was the Maurice John Vaughn cut off his "In the > Shadow of the City." I had never this artist before and was impressed by his > intensity. For those who want to know: Maurice is a veteran of the Chicago Scene who plays sax and guitar (among others, he played with Luther Allison in the seventies) who know calls Michigan City, IN his home. His song "Everything I Do Is Got To Be Funky" was featured in the movie Major League II. I had the pleasure of jamming with him on his birthday at the Madison Oyster Bar in South Bend not to long ago. He is a busy perfomer, often appearing with Detroit Jr. -- kelly@netusa1.net(Kelly Hoggard) The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! Check out their home page at http://www.netusa1.net/~kelly/ ========================================================================= Date: Tue, 16 Apr 1996 08:07:54 -0700 Reply-To: Kelly Hoggard From: Kelly Hoggard Organization: The Wolfpack Subject: Re: A Muddy Waters bootleg Comments: To: bit-listserv-blues-l@uunet.uu.net Roger Mech wrote: > > Back in 1981, the Stones played an impromptu gig with Muddy Waters and John > Primer at the Checkerboard Lounge in Chicago. Somewhere out there is a > bootleg tape of the event. I've never been able to find a copy; I was > wondering if anyone else had. This may not be a bootleg anymore! A friend told me over the weekend about a 1981 Muddy disc he just got that was essentially people who were not on the Blues Sky recordings of the same time. I can't remember who except for Primer, so maybe.... -- kelly@netusa1.net(Kelly Hoggard) The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! Check out their home page at http://www.netusa1.net/~kelly/ ========================================================================= Date: Tue, 16 Apr 1996 09:26:45 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1976, Boz Scaggs was cold-cocked by two bouncers outside the Austin, Texas blues club Antone's after attempting to go backstage to see the headliner, Bobby "Blue" Bland. Sparks flew when Scaggs was not let backstage despite him claiming he was invited by a member of Bland's group. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ A school teacher scolding a young Yogi Berra asked him, "Mr. Berra, Don't you know anything?" To which Yogi replied, "I don't even SUSPECT anything!" ========================================================================= Date: Tue, 16 Apr 1996 09:29:54 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Essential Rockabilly Guitar Records Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com There is a Rhino/Guitar Player Magazine collection in the "Legends of Guitar" series called Rock: The 50's. It's not all rockabilly, but there are some great rockabilly and rock tunes on it by some legendary performers, including: Gene Vincent, Chuck Berry, Buddy Holly, Johnny Otis, Link Wray, Les Paul and Bill Haley. Great album for fans of 50's roots/rock guitar. -Steve ========================================================================= Date: Tue, 16 Apr 1996 09:42:53 -0400 Reply-To: Leo Aspiras From: Leo Aspiras Subject: Manny's Car Wash - Origin of Name Greetings: This past sunday in the Washington Post, the arts section had a spread about everything to do/see/eat in New York city.....on the entertainment front, there was a story about Manny's Car Wash and Lynch's club in Greenwich Village (i think it's Lynch's......this ol' mind takes awhile to crank up in the morning)......anyway the Manny's article mentioned at the end that as the place was being built up, there was a homeless person who hung out and offered to wash/clean the construction worker's cars......hence the name.... i was wondering if the new york gang out there (mr silverburg, mr. ungar, or mr lieu.....sorry for any mispellings) could confirm this story...... Carey Bell and his band were playing there the night that the reporter was in the club........ thanx..... scatman leo down d.c. way....... ========================================================================= Date: Tue, 16 Apr 1996 08:34:41 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Thomas Dorsey I read a chapter of Thomas Dorsey last night and I really enjoyed it. The writer made several references to Dorsey's self-published memoirs, anyone have any info on these memoirs. His wife and new born child died during birth and he sat down and wrote "Blessed Lord Take My Hand", then later changed it to "Precious Lord".....A really great story, from a heckuva writer LW ========================================================================= Date: Tue, 16 Apr 1996 08:33:06 -0700 Reply-To: Kelly Hoggard From: Kelly Hoggard Organization: The Wolfpack Subject: Anson Funderburgh & The Rockets Comments: To: bit-listserv-blues-l@uunet.uu.net Of particular interest to blues lovers in the Indianapolis area: The Wolfpack, in conjunction with the Blues Society of Indiana, will be presenting Anson Funderburgh and the Rockets at the BSI Bingo Hall, 6851 N. Michigan Rd. in Indianapolis on Sunday, June 30th at 8 P.M. (with an opening set by The Wolfpack). Doors open at 6:30 and tix are $6 in advance for BSI members, $8 in advance for non-members, and $10 day-of-show. Ticket outlets are not yet defined, so stay posted. Hope you all don't mind a blatant commercial posting, but we're just trying to bring big name blues talent to Indy, which is a good thang! For more info, e-mail me directly. -- kelly@netusa1.net(Kelly Hoggard) The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! Check out their home page at http://www.netusa1.net/~kelly/ ========================================================================= Date: Tue, 16 Apr 1996 07:15:19 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Essential Rockabilly Guitar Records >I am asking assitance from those of you who are into rockabilly. > >I'm trying to build a library of the essential rockabilly guitar albums. So >far I have Elvis Presley's "Sun Sessions", Ricky Nelson's "Greatest Hits >Vol 1", Gene Vincet's "Greatest Hits" (as well as Jeff Beck's "Crazy legs") >and Ronnie Dawson's "Rockinitis" (Well maybe this one isn't essential but >it's a hell of an album). > >Can anyone offer some more suggestions? One of my favorites is Rockbilly Boogie by the Johnny Burnette Trio, a Bear Family album. Train Kept A-Rollin', Drinking Wine Spo-See-O-Dee, Tear it Up, Rock Therapy... all classic rockabilly songs. 28 tracks, and as usual for Bear Family, a nice booklet with great notes and pictures. -Jim (hndful@uniserve.com) By the way, did you like Beck's Crazy Legs? I can't say that I was overly impressed with it - the originals are awesome enough! ------------------------------------------------------------ Check out 'Heart and Soul', a new hour of blues, gospel, and jazz every week on SDF-Net Community Radio - http://sdf-radio.colossus.net. ------------------------------------------------------------ ========================================================================= Date: Tue, 16 Apr 1996 10:20:51 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Pat Hare Comments: To: shaun@wavenet.com In a message dated 96-04-16 02:44:45 EDT, shaun@WAVENET.COM (Shaun T Cronin) writes: >A while ago there was a discussion here on Pat Hare (I wasn't paying >attention! Sorry!). Today I heard "I'm Gonna Murder My Baby" by Pat Hare >and it is one bone chilling song. I also learn't a solo to a Junior Parker >tune (I forget the name and I don't have the tape) and I was told the >guitarist was Pat Hare. The question is (can't you see it coming) did Pat >Hare play with Junior Parker? If not was it someone else? Or am I confused >again. > >Shaun He played first and sun, and then on Junior Parker's recordings at Duke. Later, he played with the Muddy Waters band, although by then some of the rough edges (which I like) had been smoothed off. He was in the band when Muddy played Newport to record the LIVE AT NEWPORT record. At Sun Records (where he recorded "I'm Going To Murder My Baby", which was not released at the time, he most famously played the nasty/wonderful guitar on James Cotton's "Cotton Crop Blues." This was my first exposure to him. Hare's story came up on the list in detail last year some time; it was pointed out he died in prison (he murdered his baby) and that the biographical details are to be found in an article in a back issue of Blues and Ryhtmn mag. I don't have the citation at hand, but the B&R guys ARE on this list and can prob. help with that. Tom Freeland ========================================================================= Date: Tue, 16 Apr 1996 09:23:22 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Prison blues - track list Several people asked for the track listing to the LaserLight cd of Prison Blues. Here it is. There are no performers listed!!!! ;-( If you can figure out who are the people on these recordings and when/where they were done, I'd be most appreciative! -Jeff No More, My Land How I Got in the Pen Old Alabama Tangle Eye Blues Black Woman Stackerlee Jumpin' Judy Prison Blues Whoa Buck Duckin' and Dodgin' Prettiest Train My Baby Got to Go Old Dollar Mamie Penitentiary Blues It Makes a Long Time Man Feel Bad Lonesome Blues Rosie They'll Miss Me When I'm Gone Levee Camp Holler Rock Me Momma What Makes a Song Leader Work? Early in the Morning --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball #2 U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc02.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Tue, 16 Apr 1996 10:55:23 -0400 Reply-To: Dave Markovits From: Dave Markovits Subject: Pinetop I saw Pinetop at the Sunnyland Slim tribute March 21st at Legends. I don't know if he missed the Muddy shows or not. David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Tue, 16 Apr 1996 11:04:17 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: 2nd Pick of '96. Comments: To: Bo Carlsson In-Reply-To: On Tue, 16 Apr 1996, Bo Carlsson wrote: > I missed the original post. Was it about his Ichiban (wild dog) > record? That one is OK but I think he has a lot more to say. So I hope the > post was about a new recording from Joe Beard - please let me know. > Mr Bo Joe Beard does have a new one - on Audioquest (#1029) backed by Ronnie Earl and the Broadcasters. Quite a CD. NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 16 Apr 1996 10:35:45 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re[2]: Essential Rockabilly Guitar Records Comments: To: Jim Witteveen I'll probably create some controversy with this suggestion ( break out yer asbestoes suits) but I think Brian Setzer is a flaming mutant-genius guitar player on a par with Roy Buchanan and Danny Gatton, talent-wise, and since he chooses to play rockabilly most of the time, I recommend anything he does. I've got every U.S. release by Setzer, including his early two solo albums and his big-band album, and they're all excellent. Jim _______________________________________________________________________________ Subject: Re: Essential Rockabilly Guitar Records From: Jim Witteveen at INTERNET-SH Date: 04/16/96 10:21 AM >I am asking assitance from those of you who are into rockabilly. > >I'm trying to build a library of the essential rockabilly guitar albums. So >far I have Elvis Presley's "Sun Sessions", Ricky Nelson's "Greatest Hits >Vol 1", Gene Vincet's "Greatest Hits" (as well as Jeff Beck's "Crazy legs") >and Ronnie Dawson's "Rockinitis" (Well maybe this one isn't essential but >it's a hell of an album). > >Can anyone offer some more suggestions? One of my favorites is Rockbilly Boogie by the Johnny Burnette Trio, a Bear Family album. Train Kept A-Rollin', Drinking Wine Spo-See-O-Dee, Tear it Up, Rock Therapy... all classic rockabilly songs. 28 tracks, and as usual for Bear Family, a nice booklet with great notes and pictures. -Jim (hndful@uniserve.com) By the way, did you like Beck's Crazy Legs? I can't say that I was overly impressed with it - the originals are awesome enough! ------------------------------------------------------------ Check out 'Heart and Soul', a new hour of blues, gospel, and jazz every week on SDF-Net Community Radio - http://sdf-radio.colossus.net. ------------------------------------------------------------ ========================================================================= Date: Tue, 16 Apr 1996 11:37:49 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland In a message dated 96-04-16 09:32:20 EDT, Coolg@DFW.NET (Jim Colegrove) writes: >> >> I am asking assitance from those of you who are into rockabilly. >> >> I'm trying to build a library of the essential rockabilly guitar albums. So >> far I have Elvis Presley's "Sun Sessions", Ricky Nelson's "Greatest Hits >> Vol 1", Gene Vincet's "Greatest Hits" (as well as Jeff Beck's "Crazy legs") >> and Ronnie Dawson's "Rockinitis" (Well maybe this one isn't essential but >> it's a hell of an album). I've not looked at the rest of this thread, but to me the SUN SINGLES VOLUME 2 on Bear Family (out last year) is absolutely essential for a rockabilly collection. VOL. 1 is also important, for things like the Charlie Feathers singles (I think they're on 1?) located therein, but Vol. 1 is less focused on rockabilly and will duplicate your Elvis stuff. VOLUME 2 has the advent of both Carl Perkins and Jerry Lee Lewis. You have to have it, and it has EVERY SINGLE SINGLE for the period it covers. The book is also great. Perkins is about to publish an autobiography (a second one I think) and is doing a book tour. He is coming to Oxford, Mississippi on that tour. Tom Freeland ========================================================================= Date: Tue, 16 Apr 1996 08:37:51 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: "To what did the blues give birth?" Jonny said: >The word "Blues" referring to a form of music was in general use before >1910. Check out Sam Charters' "The Country Blues" and other sources on the >roots of this music. My guess is that people were singing songs that we >would recognize as blues songs in the 19th century. I recorded a recital on sun. night of Ravel's "Sonata for Violin and Piano". the second movement is called "Blues"(!) Very cool stuff. Not structually blues as we know it, but certainly harmonically identifiable. This piece was composed in 1927. Have any of you heard it? Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 16 Apr 1996 11:15:28 -0500 Reply-To: Bruce Roberts From: Bruce Roberts Subject: "Guitar" Jake Andrews Happy Birthday to Jake Andrews, who turns the ripe old age of 16 today. He's been playing since the age of 8. He's played with people like Albert Collins and Buddy Guy. He just recently finished recording with Bonnie Raitt. This is no SRV clone. He is a truly talented young man. You will be hearing from him (he just needs to finish High School first). Bruce Roberts Austin, TX ========================================================================= Date: Tue, 16 Apr 1996 11:24:27 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re[2]: VoodooChile/Wanking/Blues Comments: To: Shaun T Cronin Shaun, my vote is for new arrangements of great old material: it's a wonderful way to display some creativity and at the same time keep the old standards in circulation. Get Pete Anderson's (excellent) solo CD "Working Class" and listen to his version of "(Let me Stand Next to Your) Fire [Hendrix, but y'all knew that]. It so different that on first listen you practically can't recognize it till he gets to the chorus. -Jim _______________________________________________________________________________ Subject: Re: VoodooChile/Wanking/Blues From: Shaun T Cronin at INTERNET-SH Date: 04/16/96 1:55 AM At the moment we are trying to navigate a path between the members of the band who want to do everything as close as possible to the record and those who want to start messing with the songs and see what happens (that's me). There is talk of doing a few originals. This should be interesting. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Tue, 16 Apr 1996 09:40:34 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: BOBBY ROBINSON, A TRIBUTE 1) INTRODUCTION Comments: cc: aaschuna@FACSTAFF.WISC.EDU, ecwillms@macc.wisc.edu This posting is dedicated to two artists who recorded for Bobby Robinson "WILD" JIMMY SPRUILL b. 1934/JUN/09, WASHINGTON, NC d. 1996/FEB/03, FAYETTEVILLE, NC WALTER BROWN "BROWNIE" MCGHEE b. 1915/NOV/30, KNOXVILLE, TN d. 1996/FEB/16, OAKLAND, CA) The posting is in 3 parts : 1) Introduction 2) CD Discography 3) Tributes. I'd like to thank Art Schuna and Eliot C. Williams for their help with this tribute to Bobby Robinson. =========================================================================== The legendary African-American producer, songwriter, record manufacturer and retailer BOBBY ROBINSON was born on Monday, April 16, 1917, Union, SC. This profile is based on the set of CD notes by Ronnie Erwin (from RELIC 7046) and Abdullah-Al-Fakir (from RELIC 7009). I've quoted extensively from these notes. His seminal contribution to R&B, in partucular the New York R&B scene, from the early fifties to the late sixties cannot be underestimated. Along with other fellow Afro-Americans who shaped this music we now call R&B, their stories need to be told. Included in this list of colleagues, we have Al Benson, Jack Brown, Joe Brown, James & Vivian Bracken, John R. Fulbright, Robert Geddins, Berry Gordy, Eddie Henry, Ed "Jack Raggs" Johnson, Carl Jones, Ernie & George Leaner, Jack Lauderdale, Leon & Otis Rene, Charles Reynolds, Don Robey, Joe Von Battle, Robert West, Dootsie Williams, etc. BOBBY ROBINSON seemed to be everywhere in the 50s & early 60s. He went to New Orleans to cut Lee Dorsey ("YA YA", "DO RE MI") and Bobby Marchan ("THERE IS SOMETHING ON YOUR MIND"); summoned young Gladys Knight & The Pips from Atlanta ("EVERY BEAT OF MY HEART", "LETTER FULL OF TEARS"); captured local NYC club acts like Don Gardner & Dee Dee Ford ("I NEED YOUR LOVIN'"); and let's not forget those great jumping instrumentals by Les Cooper ("WIGGLE WOBBLE"), King Curtis ("SOUL TWIST"), Tiny Grimes ("JUICY FRUIT"), Willis Jackson ("GOOD TO THE BONE"), Red Prysock ("WIGGLES"), Jimmy Spruill ("KANSAS CITY MARCH") and Noble Watts ("JOOKIN'"). He never forgot his love of the blues : Buster Brown ("FANNIE MAE"), Arthur Crudup ("THAT'S ALL RIGHT"), Jack Dupree ("SHAKE, BABY, SHAKE"), Wilbert Harrison ("KANSAS CITY"), Lightnin' Hopkins ("MOJO HAND"), Elmore James ("THE SKY IS CRYING" & "SHAKE YOUR MONEYMAKER"), Brownie McGhee ("DON'T DOG YOUR WOMAN"), Sam Myers ("YOU DON'T HAVE TO GO"), Tarheel Slim ("NUMBER NINE TRAIN"), Sonny Terry ("HARMONICA HOP") and Mighty Joe Young ("WHY BABY"). And when it comes to the vocal group sound, BOBBY ROBINSON knew ever 'corner' of NYC, and captured some of greatest groups on tape : Bop Chords, Earl Lewis & The Channels, The Charts, Du Droppers, Jackie & The Starlites, Pearl McKinnon & The Kodaks, Lewis Lymon & The Teenchords, The Rainbows, Fred Parris & The Scarlets, Velvets, Joe Duncan & The Vocaleers, etc. Since BOBBY ROBINSON ran essentially a one-man operation (he had an excellent manager in his retail "Bobby's Happy House" record store; a silent partner, Clarence Lewis, in the Fire-Fury labels; and a younger brother, Danny Robinson, who started the Holiday-Everlast-Vest labels after closely assisting BOBBY ROBINSON with Red Robin label), it is quite remarkable that he produced as many hits and good records as he did. There were many other Red Robin-Whirlin' Disc-Fury-Fire-Enjoy-Everlast-Holiday singles which garnered radio airplay in one city or another at the time, but failed to dent any national charts. BOBBY ROBINSON's achievement becomes understandable given the relatively high quality and contemporaneity of his singles and that intangible component - his unique personality. An astute, intelligent businessman, BOBBY ROBINSON had (and still has) an energy and charm which could instantly disarm a potential opponent or detractor. He could converse or dine with an Ahmet Ertegun (of Atlantic Records) or Gene Goodman (of ARC Music), socialize with his artists as a friend or as a respected mentor, then party with his peers or deejay acquaintances. If BOBBY ROBINSON had heeded sound advice in the halcyon Fire-Fury days of the early sixties, and if he had adequately protected his extensive song copyrights, perhaps BOBBY ROBINSON's name would be now more widely known. Today, Arista Records ownes quite a few of these copyrights. RELIC Records has embarked on the most extensive reissue program of his productions, each released with extensive CD notes. So far, 25 CDs have been issued. RELIC 7009/7046/7063 offers the best CD sampling of his recordings, complementing the 2CD CAPRICORN 42009 : FIRE/FURY RECORDS STORY. RELIC 7079/7080/7092 contains most of his early RED ROBIN vocal group and blues/jump productions. If you like you're vocal groups to have a blues edge with soaring tenors & deep basses, I would seriously check out these RED ROBIN sets. With groups like The Du-Droppers, The Vocaleers and The Velvets, it doesn't get any better. ========================================================================= Date: Tue, 16 Apr 1996 11:50:41 -0500 Reply-To: akapil@MEDICINE.BSD.UCHICAGO.EDU From: "" Subject: Blues-L convention? I seemed to have missed out on this one completely! When, where and how much is the Blues-L convention? Details on the matter would be much appreciated. I am sorry if have had to waste band space with something which may have been discussed at length on an earlier date. Tahank you, Adit. Aditya Kapil, PhD IBD Research Center Department of Medicine University of Chicago Ph: (312) 702 2283 FAX: (312) 702 2281 ========================================================================= Date: Tue, 16 Apr 1996 12:59:46 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Baltimore Blues .... I'll be in Baltimore May 14th - 17th. Where's de blues and any Zellers there who'd like to hook up. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 16 Apr 1996 12:12:49 -0500 Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: Re: Manny's Car Wash Manny's Car Wash (and it's owner) were voted "Best Blues Club" by the Blues Foundation for the KBA (Keeping the Blues Alive) award. I'll post a complete listing of the winners. Nuri Nuri, Host/Producer "Blues Brunch", KPFT 90.1FM-Houston >Greetings: > >This past sunday in the Washington Post, the arts section had a spread about >everything to do/see/eat in New York city.....on the entertainment front, >there was a story about Manny's Car Wash and Lynch's club in Greenwich >Village (i think it's Lynch's......this ol' mind takes awhile to crank up in >the morning)......anyway the Manny's article mentioned at the end that as the >place was being built up, there was a homeless person who hung out and >offered to wash/clean the construction worker's cars......hence the name.... > >i was wondering if the new york gang out there (mr silverburg, mr. ungar, or >mr lieu.....sorry for any mispellings) could confirm this story...... > >Carey Bell and his band were playing there the night that the reporter was in >the club........ > >thanx..... > >scatman leo down d.c. way....... > > ========================================================================= Date: Tue, 16 Apr 1996 13:31:57 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Blues Festivals -- An Important Question I'm one of the people trying to put our '96 Blues Festival together here in Cincinnati. Anyone who is working on festivals in your area knows what a mounmental, frustrating task this can be. I have a question.... Can anyone involved in festival planning please tell me ... ASAP ... how much assistance you get from your local municipal government? Donations of ANYTHING...space, money, sponsorship, support. I need information for "ammunition." Here in Cincinnati we hold our festival, free and open to the public, in a city-owned park on the river. We have to pay a staggering amount of money per hour to the city, though, to use the pavilion/stage there. We're trying to convince the city government to either donate the stage rental to us or charge us only a token fee. We need information on what other cities provide. We want to keep this a successful, FREE event. Thanks! Shannon ========================================================================= Date: Tue, 16 Apr 1996 13:36:24 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Blues-L convention? Comments: To: akapil@medicine.bsd.uchicago.edu On 16 Apr 96 at 11:50, akapil@medicine.bsd.uchicago. wrote: > I seemed to have missed out on this one completely! When, where and how much > is the Blues-L convention? Details on the matter would be much appreciated. > I am sorry if have had to waste band space with something which may have > been discussed at length on an earlier date. Aditya, At the moment there are no costs associated with the Blues-L convention, other than the cost of getting there, finding a place to stay, and eats(drinks). That could change. Our un-official, volunteer coordinator is none other that the esteemed Dick Waterman (jinxblues@aol.com). As you probably know it will take place in St. Louis over the Labor Day weekend, and will coincide with the Blues Festival there. Mr. Waterman has been busy traveling recently but should be giving us an update soon. Watch this space. ========================================================================= Date: Tue, 16 Apr 1996 12:42:15 -0500 Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: KBA Winners Following are the results of the Keeping the Blues Alive (KBA) winners as presented by the Blues Foundation: . Blues Sponsor of the Year - Gibson Musical Instruments . Blues Organization of the Year - Houston Blues Society . Blues Club Operator of the Year - Buddy Fox-Manny's Car Wash . Promoter of the Year - Mike Cloeren (Poconos Blues Festival) . Manager/Agent of the Year - Steve Hecht (Piedmont Talent) . KBA in Education - Corporate-House of Blues Foundation. Individual-Kenneth Jackson . KBA in Historical Preservation - Delta Blues Museum . KBA in Advertising - Northwest Airlines . KBA in Film - "The Promised Land" as seen on the Discovery Channel . KBA in ART - James Fraher (Photographer) . KBA in Journalism - Art Tipaldi Congratulations to all! Nuri Nuri, Host/Producer "Blues Brunch", KPFT radio 90.1FM-Houston ========================================================================= Date: Tue, 16 Apr 1996 12:42:58 CDT Reply-To: ISTS024@UABDPO.BITNET From: L W Subject: Lonnie Johnson - Losing Game I just got this Lonnie recording at lunch and wow I'm enjoying. This one's gonna be giving sore(er) fingers.... GREAT STUFF LW ========================================================================= Date: Tue, 16 Apr 1996 13:48:52 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: "Seven Guitars" Roberta Penn write >> Chris Smith writes: >> Kevin DeBell wrote >> >> >Interesting (IMHO) comments in the 4/15 issue of The New Yorker. >> >"Black and Blues: 'Seven Guitars,' a new chapter in August Wilson's >> >ten-play cycle" by John Lahr, pp 99-101. >> > >> (snip) >> >> I agree that the comments are interesting. Anybody notice the 'deliberate >> mistake' ;-) of locating Savoy Records in Chicago? I assume the reviewer is >> quoting the play. I saw 'Ma Rainey's Black Bottom' (please, no cheap jokes) >> when it was on in London some years ago, and it was great. >> >> >> Chris Smith (chris@skerries.demon.co.uk) >> 'Positive: wrong at the top of one's voice." (Ambrose Bierce) >> >>>>> >"Seven Guitars" is a work of fiction, not a historical piece. Imagine Wilson >used Savoy because of the >many, many associations Savoy has in blues and jazz. Well yes, I know it's fiction, and yes, I imagine that's why he used Savoy. On the other hand, Wilson intends to say things in his plays about the history of black Americans, so maybe it behoves him to get his facts right! Chris Smith (chris@skerries.demon.co.uk) 'It ain't what you eat, it's the way that you chew it.' (Sleepy LaBeef) ========================================================================= Date: Tue, 16 Apr 1996 13:58:45 EST Reply-To: shannon oconnor From: shannon oconnor Subject: I Met Dick Clark! I know...who cares. But I just had lunch at Dick Clark's new restaurant here in Cincinnati...Dick Clark's American Bandstand Grill...and had the opportunity to meet and chat at some length with the man himself. I/we did have an ulterior motive...my friend Sonny Moorman & his band are being considered for a weekly gig at the restaurant, so we met with Mr. Clark to give him a press kit and hot-off-the-press CD. He seemed genuinely interested, and the restaurant manager has already put in several glowing reviews of the band. At the moment it is THE hot club here in Cincinnati. The chain is supposed to give Hard Rock Cafe and Planet Hollywood a run for their money. Shannon ========================================================================= Date: Tue, 16 Apr 1996 18:12:00 +0000 Reply-To: liam.duddy@HGINC.COM From: Liam Duddy Subject: Harp List Hi, I'd be grateful if any of you kind people could point me in the direction of any list dedicated to harp (harmonica) players and playing. Thanks in adv. liam%dosoff3.stoney@wpo.hginc.com ========================================================================= Date: Tue, 16 Apr 1996 13:03:21 -0500 Reply-To: David Silberberg From: David Silberberg Subject: Re: Essential Rockabilly Guitar Records At 07:15 AM 4/16/96 -0800, Jim Witteveen wrote: > >One of my favorites is Rockbilly Boogie by the Johnny Burnette Trio, a Bear >Family album. Train Kept A-Rollin', Drinking Wine Spo-See-O-Dee, Tear it Up, >Rock Therapy... all classic rockabilly songs. 28 tracks, and as usual for >Bear Family, a nice booklet with great notes and pictures. > Not to waste bandwidth by sending an "I agree" message - but - "I agree" 200%. The Rock and Roll Trio defines rockabilly, and, in about a year and a half, produced the best recordings of it. Their version of "Train Kept a-Rollin'" is one of the great recordings of that decade, IMO. Too bad they broke up over internal difficulties. The Bear Family CD is a "run don't walk" CD if you're looking for the best example of a music form that never achieved as much popularity (it hardly had any outside of a few places in the South) as today's nostalgia would suggest. David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Tue, 16 Apr 1996 14:07:51 -0400 Reply-To: Oldcouch From: Oldcouch Organization: America Online, Inc. (1-800-827-6364) Subject: Re: CD ROMS Comments: To: bit-listserv-blues-l@uunet.uu.net I got a CD-ROM about the blues about a year ago. It is from SelectWare, and is an All-Music Guide, Blues Edition -- a "complete reference guide to the blues, with expert album reviews and ratings, a list of best blues albums and CDs," (to quote the back label), has 14 complete tracks taken from current blues albums, and has a searchable list of 5,000 blues albums, 700 biographies, etc. While I have spotted a few errors in it, its main deficiency, IMHO, is that it does not cover compilation albums thoroughly -- a list of who plays what on such albums would be real neat. It is certainly worth checking out. ========================================================================= Date: Tue, 16 Apr 1996 13:33:34 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Merle Haggard Excuse the off-topic nature a bit... I saw a Bear Family Box set of Merle and now I've noticed a domestic release box set. Any idea how the two overlap and which is "better"? Anybody know if there is a list for the "older" non-hat act country (i.e. George Jones, Conway Twitty, Merle Haggard, etc.)? And to put this into context: TEXAS JOHNNY BROWN does a killer version of Haggard's "Today I Started Loving You Again." -Jeff (how was that?) ;-) --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball #10 U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc02.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Tue, 16 Apr 1996 12:07:51 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: BOBBY ROBINSON, A TRIBUTE 2) CD DISCOGRAPHY Comments: cc: aaschuna@FACSTAFF.WISC.EDU, ecwillms@macc.wisc.edu CD DISCOGRAPHY : BOBBY ROBINSON PRODUCTIONS ========================================================================= CAPRICORN 42006 ELMORE JAMES - KING OF THE SLIDE GUITAR (2CD) CAPRICORN 42009 FIRE/FURY RECORDS STORY (2CD) COLLECTABLES 5012 EARL LEWIS & THE CHANNELS - NEW YORK'S FINEST - BEST OF COLLECTABLES 5029 THE CHARTS - GREATEST HITS COLLECTABLES 5049 LEWIS LYMON & THE TEEN CHORDS / THE KODAKS COLLECTABLES 5079 JACKIE & THE STARLITES - GOLDEN CLASSICS COLLECTABLES 5110 BUSTER BROWN - NEW KING OF THE BLUES COLLECTABLES 5111 LIGHTNIN' HOPKINS - MOJO HAND COLLECTABLES 5113 BOBBY MARCHAN - GOLDEN CLASSICS COLLECTABLES 5119 KING CURTIS - SOUL TWIST COLLECTABLES 5129 TARHEEL SLIM - ROBIN & FIRE YEARS COLLECTABLES 5130 ARTHUR "BIG" BOY CRUDUP - MEAN OLD FRISCO COLLECTABLES 5154 GLADYS KNIGHT & THE PIPS - LETTER FULL OF TEARS COLLECTABLES 5155 DON GARDNER & DEEDEE FORD - NEED YOUR LOVIN' COLLECTABLES 5156 KING CURTIS - ENJOY - BEST OF COLLECTABLES 5157 LES COOPER - WIGGLE WOBBLE COLLECTABLES 5184 ELMORE JAMES - V. 1 : COMPLETE FIRE & ENJOY COLLECTABLES 5185 ELMORE JAMES - V. 2 : COMPLETE FIRE & ENJOY COLLECTABLES 5186 ELMORE JAMES - V. 3 : COMPLETE FIRE & ENJOY COLLECTABLES 5187 ELMORE JAMES - V. 4 : COMPLETE FIRE & ENJOY RELIC 7002 CHANNELS - GREATEST HITS RELIC 7009 RAGING HARLEM HIT PARADE V. 1 RELIC 7013 LEE DORSEY - YA YA RELIC 7018 JACKIE & THE STARLITES - VALERIE RELIC 7026 ELMORE JAMES - BEST OF - ROLLIN' & TUMBLIN' RELIC 7028 LOUIE LYMON & THE TEENCHORD - I'M SO HAPPY RELIC 7035 WILBERT HARRISON - KANSAS CITY RELIC 7036 ARTHUR "BIG BOY" CRUDUP - THAT'S ALL RIGHT RELIC 7037 KODAKS - OH GEE OH GOSH RELIC 7040 ELMORE JAMES - BEST OF PT 2 - DUST MY BROOM RELIC 7045 GLADYS KNIGHT & PIPS - LETTER FULL OF TEARS RELIC 7046 RAGING HARLEM HIT PARADE V. 2 RELIC 7054 GOLDEN ERA OF DOO-WOPS - HOLIDAY RECORDS RELIC 7055 GOLDEN ERA OF DOO-WOPS - WHIRLIN' DISC RECORDS RELIC 7058 LIGHTNIN' HOPKINS - HOUSTON HOUND RELIC 7063 GOLDEN ERA OF DOO-WOPS - FURY RECORDS PART 1 RELIC 7064 BUSTER BROWN - RAISE A RUCKUS TONIGHT RELIC 7072 BOBBY MARCHAN - BOOTY GREEN RELIC 7079 GOLDEN ERA OF DOO-WOPS - RED ROBIN RECORDS PART 1 RELIC 7080 GOLDEN ERA OF DOO-WOPS - RED ROBIN RECORDS PART 2 RELIC 7092 RED ROBIN RECORDS - BOBBY'S BOOGIE RELIC 7093 GROUPS OF FURY RECORDS RELIC 7097 ELMORE JAMES - LAST SESSIONS RELIC 7102 KING CURTIS - PIPING OUT RELIC 7116 DON GARDNER & DEE DEE FORD - I NEED YOUR LOVIN' ========================================================================= ========================================================================= Date: Tue, 16 Apr 1996 15:04:32 +0000 Reply-To: jknight@MICROMASS.COM From: jknight@MICROMASS.COM Organization: InterLan Communications Subject: Re: Pat Hare Comments: To: bit-listserv-blues-l@uunet.uu.net Shaun T Cronin wrote: > > A while ago there was a discussion here on Pat Hare (I wasn't paying > attention! Sorry!). Today I heard "I'm Gonna Murder My Baby" by Pat Hare > and it is one bone chilling song. I also learn't a solo to a Junior Parker > tune (I forget the name and I don't have the tape) and I was told the > guitarist was Pat Hare. The question is (can't you see it coming) did Pat > Hare play with Junior Parker? If not was it someone else? Or am I confused > again. > > Shaun > Can't say for sure (not knowing which song you heard), but Parker and Hare were both on Sun Records during the 1950s. John ========================================================================= Date: Tue, 16 Apr 1996 15:22:21 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Pat Hare Tom Freeland wrote: > >Hare's story came up on the list in detail last year some time; it was >pointed out he died in prison (he murdered his baby) and that the >biographical details are to be found in an article in a back issue of Blues >and Ryhtmn mag. I don't have the citation at hand, but the B&R guys ARE on >this list and can prob. help with that. > >Tom Freeland Juke Blues 23 (not B&R) is where you'll find the excellent Pat Hare bio cited. Chris Smith (chris@skerries.demon.co.uk) 'It ain't what you eat, it's the way that you chew it.' (Sleepy LaBeef) ========================================================================= Date: Tue, 16 Apr 1996 12:26:54 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: BOBBY ROBINSON, A TRIBUTE 3) PERSONAL TRIBUTES Comments: cc: aaschuna@FACSTAFF.WISC.EDU, ecwillms@macc.wisc.edu BOBBY ROBINSON TRIBUTE Eliot C. Williams Around 1967 I found a copy of "The Best of Elmore James" in a local record store. I was (of course) blown away by the material ("The Sky is Crying", "Shake Your Moneymaker" etc) and I noticed that it had all been produced by one Bobby Robinson. I'd never heard of Robinson before, but soon realized I'd been listening to his records since at least 1959, when Wilbert Harrison's "Kansas City" came blaring out of my tinny little transistor radio and went on to hit #1 on the pop charts. In fact, Robinson-produced records by artists like Gladys Knight & the Pips, King Curtis, Lightnin' Hopkins, Big Boy Crudup, Bobby Marchan, Buster Brown, and Tarheel Slim were all over the pop and R&B charts in the late 50s and early 60s. In many cases (for example, Lee Dorsey's "Ya Ya", a New Orleans schoolyard ditty that he turned into another top ten hit), Robinson not only produced the records but helped write them as well. Bobby Robinson belongs in the first rank of America's great independent record producers. To quote another of his records, "Jack, that cat was clean"! Eliot Williams University of Wisconsin Department of Medicine ecwillms@macc.wisc.edu BOBBY ROBINSON TRIBUTE Art Schuna Bobby Robinson is one of a group of small label entrepreneurs whose importance to documenting African-American music should not be underestimated. At age 17, shortly after World War 2, he started Bobby's Record Shop which was strategically located close to the Apollo Theater in Harlem. Artists who performed at the Apollo, which was anyone who was anyone in those days, frequented his establishment to find out how their recordings were selling. Soon, record labels (including Atlantic, Chess and RPM/Modern) discovered he had a talent to pick the hits and they frequently sought his advice. He started his own label, Robin Records in 1953. Robin was an abbreviation for Robinson, but the name had to be changed to Red Robin when another label by the same name threatened a lawsuit. Today, Red Robin is treasured by vocal group enthusiasts for an amazing series of recordings which are available on Relic CDs (Relic 7079 & 7080). These are perhaps my favorite vocal group compilations. But Red Robin wasn't strictly a vocal group label. "Bobby's Boogie" (Relic 7092) collects the most important non-vocal group recordings by the label. It's 26 tracks include 11 blues tracks by Champion Jack Dupree, Sonny Terry, Brownie McGhee, and Allen (Alden) Bunn (aka Tarheel Slim). The Red Robin label was discontinued when Bobby's partner and brother, Danny decided to go his own way. In 1954, Bobby started his own label, Whirlin' Disc which was primarily a doo-wop label whose output can be found on Relic 7055 (also, highly recommended for vocal group fans). Whirlin' Disc was abandoned for the Fury label in 1957. This label had a huge hit with Wilbert Harrison's "Kansas City" which was a reworking of Willie Littlefield's "KC Loving". Jimmy Spruill is credited with the guitar work on this recording. Wilbert showed up late for this session due to a flat tire. Bobby Robinson convinced the studio to give him 15 minutes of time. Incredibly, two takes of "Kansas City" were recorded in 10 minutes, the first of which was released as the single. Unfortunately for Bobby, Harrison still had a few months left on a contract he'd signed with Savoy. Even though Savoy had not recorded Harrison in over 3 years and planned to let his contract lapse, they sued Robinson for $1 million. To avoid tying up finances during the time of this litigation, a new label, Fury was started. All you need is a list of artists to learn the importance of these 2 labels: Elmore James, Arthur Big Boy Crudup, Lightnin' Hopkins, Don Gardner & Dee Dee Ford, Lee Dorsey, Gladys Knight, Bobby Marchan, Buster Brown, King Curtis, Tarheel Slim and Little Ann to name a few. For the best overview of their output I'd recommend "The Fire/Fury Records Story" (Capricorn 9 42009-2), a two disc set of hits. A very similar compilation may be found on the Relic label - Raging Harlem Hit Parade Vol. 1 & 2. These 2 sets cover pretty much the same territory so there's no need to get both. I consider Lightnin' Hopkins recordings for Fire in 1960 to be among his finest. The Fire single, "Mojo Hand" sold reasonably well. A re-issue of his Fire LP, Mojo Hand, can be found on Collectables (COL-CD-5111) and also on Relic with more tracks and probably better sound. Hopkins recorded this for a flat fee of $400, which was typical of his way of dealing with record labels and probably the reason why he recorded so often and for so many labels. Although the LP probably didn't sell really well at the time, based on the high value placed on it by collector's price guides, money has seldom been better spent for a blues production based on the quality of the recording. Ironically, a single copy of the LP in near mint condition is listed in the Goldmine price guide at three times what Hopkins was paid for this session. Arthur Big Boy Crudup was sought by Robinson for some time before being discovered. He had retired from the music business for some years and was found working as a field supervisor for migrant workers. Most of Arthur Crudup's 1962 Fire recordings are available on Relic 7036. Compared with his RCA recordings from the 40s, Crudup has a much smoother sound though it's still identifiable as country blues. I'm not sure whether this is an attempt to update his sound or whether it may be that his studio backup band couldn't play the rawer style even if they tried. It's doubtful that the earlier style would have sold in the 1960s. Another possibility may be that by smoothing off the edges, he'd come closer to Elvis' style in his 1954 version of "That's All Right Mama". If you have all three versions, playing the 3 versions in succession is very interesting (i.e. Crudup 40s, Elvis 54 and Crudup 62). Perhaps one of the most important things that Bobby Robinson did for blues fans is to document Elmore James' later career. He had been looking for Elmore for some time, and while in Chicago in 1959 to promote Buster Brown's "Fannie Mae" noticed a sign on a South Side club indicating that Elmore was playing there that night. He attended the performance and soon signed Elmore to the Fire label where he recorded until his death in 1963. His recordings from this period have been released in several versions by Relic, Capricorn, Collectables and Charly. Some of the songs recorded during this period include the classics, "The Sky is Crying", "Shake Your Money Maker", "It Hurts Me Too" and of course, more than a few variations of "Dust My Broom". But, as a friend and fellow collector once told me, you can't ever have too many "Dust My Brooms". Finally, I wanted to mention a fairly recent acquisition for me of Bobby's output - Don Gardner & Dee Dee Ford's "I Need Your Lovin' " (Relic 7116). If you are a fan of early Ike and Tina Turner, then this set is an absolute must. This disc of 25 tracks has many previously unissued tracks. Although you may be familiar with the title track, the complete unedited version also included on this disc makes it worth the purchase alone. This version is about twice the length of the more familiar 45 version. It slowly builds to the second half which most of us are more familiar with as the hit version of this song. Many of the other tracks on this disc are also very fine and it amazes me that this duo was only a "one hit wonder". Highly recommended. Happy Birthday, Bobby Robinson. We are fortunate to have so much of the output of his life's work available to us. Those who are unfamiliar with his productions are encouraged to explore one of the hits compilations. Relic has done a fine job of releasing additional releases for those who need more after listening to the hits. At least some of the Elmore James recordings for Fire should be in every blues fan's collection. Art Schuna Sources: Bobby Robinson interview in Juke Blues #15 & 16, 1989; Honkers & Shouters by Arnold Shaw pp 436-9 and liner notes to the various recordings mentioned above with special mention given to the Fire/Fury Story Capricorn booklet. ========================================================================= Date: Tue, 16 Apr 1996 15:40:59 -0400 Reply-To: Ron Wack From: Ron Wack Subject: Kenny Burrell My guitar teacher lent me a tape of Kenny Burrell "Midnight Blue" last night. Was very impressed after one listen. The style is blues leaning towards jazz. Excellent guitar work. Does anyone know anuything about this guy? Thanks RW ========================================================================= Date: Tue, 16 Apr 1996 15:40:19 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Merle Haggard Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *And to put this into context: TEXAS JOHNNY BROWN does a killer version *of Haggard's "Today I Started Loving You Again." So do Cephas & Wiggins and Jr. Wells. :) -Steve ========================================================================= Date: Tue, 16 Apr 1996 15:55:20 +0000 Reply-To: jknight@MICROMASS.COM From: jknight@MICROMASS.COM Organization: InterLan Communications Subject: Re: A Muddy Waters bootleg Comments: To: bit-listserv-blues-l@uunet.uu.net Kelly Hoggard wrote: > > Roger Mech wrote: > > > > Back in 1981, the Stones played an impromptu gig with Muddy Waters and John > > Primer at the Checkerboard Lounge in Chicago. Somewhere out there is a > > bootleg tape of the event. I've never been able to find a copy; I was > > wondering if anyone else had. > This show has been available as a bootleg LP (and now CD) since the early 80s. There's also a video in circulation. The video is fairly hilarious. During Mannish Boy, Mick does his whole stadium rock star schtick, then Muddy (who's just sitting on a stool) does a verse -- and blows MJ away. ========================================================================= Date: Tue, 16 Apr 1996 15:07:12 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 04/17 B O R N : 04/17 BALLIETT, WHITNEY ( L. ) Born:1926 NEW YORK, NY Career:WRITER Style:JAZZ / BLUES / BIG BAND New Yorker Magazine BARBER, CHRIS ( DONALD CHRISTOPHER BARBER ) Born:1930 WELWYN GARDEN CITY, UK Career:TROMBONE Style:TRAD / JAZZ With:Monty Sunshine / Monterey Jazz Festival / BEN COHEN / DICK HAWDON / PAT HALCOX / OTTILIE PATTERSON / LONNIE DONAGAN / JOHN SLAUGHTER BENNINK, HAN Born:1942 ZAANDAM, HOLLAND Career:DRUMMER / PERCUSSION Style:JAZZ BOWLES, RUSSELL Born:1909 GLASGOW, KY Career:TROMBONE Style:JAZZ / BLUES / BIG BAND With:Horace Henderson / Jimmie Lunceford / Eddie Wilcox / Cab Calloway CHIASSON, WARREN Born:1934 SYDNEY, NOVA SCOTCHA, CANADA Career:VIBES Style:JAZZ With:George Shearing CLEAVER, RICHARD PETER (PETER) Born:1930 MILDURA, VIC. AUSTRALIA Career:BANJO / GUITAR Style:TRAD / JAZZ With:Martin Finn / Frank Traynor / Graham Coyle / Len Barnard 1950-55 / Max Collie / Bob Barnard / Frank Johnson /Ade Monsbourgh / Kenn Jones 1960-65 JOYCE, J. J. (JOHN JOYCE ) Born:1939 NEW ORLEANS, LA Career:DRUMMER Style:TRAD / JAZZ With:George Kramer / Last Straws / taught jazz history at Tulane University / Founding member of the Louisiana Repertory Jazz Ensemble in 1980. MUELLER, GUSSIE ( GUSTAVE MUELLER ) Born:1880 NEW ORLEANS, LA Career:CLARINTE / ALTO SAX / TENOR SAX / COMPOSER Style:TRAD / JAZZ / BIG BAND With:Papa Laine / Tom Brown / Baron Long 1918-1920 / Paul Whiteman / Henry Busse Co-Composed "Wang Wang Blues" NOTO, SAM Born:1930 BUFFALO, NY Career:TRUMPET / FLUGELHORN Style:JAZZ / BIG BAND ROMANO, JOE ( JOSEPH ) Born:1923 ROCHESTER, NY Career:TENOR SAX / ALTO SAX Style:JAZZ / BIG BAND SMITH, PAUL ( PAUL THATCHER SMITH ) Born:1922 SAN DIEGO, CA Career:PIANO / ORGAN Style:JAZZ / BLUES / BIG BAND ST. CYR, JOHNNY ( JOHN ALEXANDER ST. CYR ) Born:1889 NEW ORLEANS, LA Career:BANJO / GUITAR / LEADER Style:TRAD / JAZZ With:Freddie Keppard / Papa Celestin / Kid Ory / Armand Piron / King Oliver / Fate Marable 1918-1920 / Darnell Howard / Doc Cook 1924-1929.In the mid-twenties, he made the Armstrong Hot Five and Hot Seven discs / Jelly Roll Morton WILLIAMS, BUSTER ( CHARLES ANTHONY JR ) Born:1942 CAMDEN, NJ Career:BASS Style:JAZZ With:JAZZ CRUSADERS / CHARLIE ROUSE / KENNY BARRON / BEN RILEY FOR A LISTING OF THOSE THAT PASSED AWAY IN THIS MONTH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us The Following were Recorded on this Date in the Years: ========================================================================= Date: Tue, 16 Apr 1996 13:28:09 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: New e-mail address. I'm changing internet providers therefore I'll have a new e-mail address. I'll let you know what it is when I'm up and running. So please don't send me any personal mail for now. Hopefully, later today. I'll be unsubsribing for a while while this is all going on. So no flame wars and other assorted fun while I'm gone. I wouldn't want to miss out:-) Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@wavenet.com hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Tue, 16 Apr 1996 13:43:11 -0700 Reply-To: Mark Naftalin From: Mark Naftalin Subject: Blues legend Francis Clay's poetry on 411-Winner In the history of blues music, Francis Clay's playing represents a true poetry of percussion. These days, Francis is playing less, but is still producing poetry -- of the traditional written variety. Four of his poems are now on 411-Winner. They are: "Tribute To A Black Man," "Ode To Martin Luther King, Jr.," "Walter Knox, Man Of The People" and "Mama, Paint Me A Rainbow." A brief Francis Clay bio appears below. 411-Winner also embraces more material by and about Francis Clay, as well as information on Winner artists (Paul Butterfield Blues Band, Percy Mayfield, Ron Thompson, Mark Naftalin), extensive discographies on Otis Spann and Michael Bloomfield, the publication "Bloomfield notes" (all issues), a selection of blues publicity photos, and an archive of other blues-related materials. ABOUT FRANCIS CLAY Francis Clay's work is well known to those who have studied Chicago Blues. If you've listened to Muddy Waters, you've heard Francis. He was Muddy's drummer on and off for about 15 years starting in 1957. Francis was in the thick of things during the heyday of Chicago blues and played with all the greats. His highly original and immensely propulsive drumming drives numerous recordings by Muddy Waters and others. You can find his name on some of the classics of Chicago blues, including the much-acclaimed album "Muddy Waters At Newport." He has toured and recorded with Little Walter, Otis Spann, Clifton Chenier, John Lee Hooker, Big Mama Thornton, Lightnin' Hopkins and Jimmy Reed (to name a few) and was a founding member of the James Cotton Blues Band. Francis Clay is truly one of the all-time masters of blues drumming. Mark Naftalin 411-Winner (The Winner Info-Page) Francis Clay's poems are in the "Archives" ========================================================================= Date: Tue, 16 Apr 1996 16:56:14 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Prison blues - track list Jeff Seale wrote >Several people asked for the track listing to the LaserLight cd of Prison >Blues. Here it is. There are no performers listed!!!! ;-( If you can >figure out who are the people on these recordings and when/where they >were done, I'd be most appreciative! -Jeff The bracketed names are the prison nicknames of the artists. These titles are from Alan Lomax's 1947 trip to Parchman Penitentiary, Mississippi. They were issued as 'Murderer's Home'. (Oddly, this Cd seems to omit 'Murderer's Home' itself, which was by Jimpson.) The LP also had 2 titles with guitars by Bob & Leroy - 'Sometimes I Wonder' and 'Bye Bye Baby'. These might be 2 of the titles below without brackets, which I don't recognise. What was the number of that CD, again, Jeff? Looks like I'm gonna have to order it! > >No More, My Lawd (Jimpson) How I Got in the Pen (Bama) >Old Alabama (B.B) Tangle Eye Blues (Tangle Eye) >Black Woman (B.B.) Stackerlee (Bama) >Jumpin' Judy (Tangle Eye, Fuzzle Red & Hard Hair) Prison Blues (Alex) >Whoa Buck (C.B.) Duckin' and Dodgin' >Prettiest Train (22) My Baby Got to Go >Old Dollar Mamie (22) Penitentiary Blues >It Makes a Long Time Man Feel Bad (22) Lonesome Blues >Rosie (C.B.) They'll Miss Me When I'm Gone >Levee Camp Holler (Bama) Rock Me Momma >What Makes a Work Song Leader? (Bama) >Early in the Morning (22, Little Red Tangle Eye & Hard Hair) Chris Smith (chris@skerries.demon.co.uk) 'It ain't what you eat, it's the way that you chew it.' (Sleepy LaBeef) ========================================================================= Date: Tue, 16 Apr 1996 15:39:48 -0700 Reply-To: Kelly Hoggard From: Kelly Hoggard Organization: The Wolfpack Subject: Re: Kenny Burrell Comments: To: bit-listserv-blues-l@uunet.uu.net Ron Wack wrote: > > My guitar teacher lent me a tape of Kenny Burrell "Midnight Blue" last > night. Was very impressed after one listen. The style is blues leaning > towards jazz. Excellent guitar work. Does anyone know anuything about this > guy? > > Thanks > > RW Kenny Burrell is one of the giants of jazz guitar. He is still very vital, sometimes appearing with the Hammond organ master, Jimmy Smith. The only Kenny Burrell in my collection is a Chess recordings from the sixties, I blelieve You might also check out Herb Ellis and Barney Kessel for blues-influenced jazz guitar. Tiny Grimes (early Charlie Parker Verve recordings) and Bill Jennings (late fifties Chuck Willis stuff) are swinging cats you should here too. -- kelly@netusa1.net(Kelly Hoggard) The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! Check out their home page at http://www.netusa1.net/~kelly/ ========================================================================= Date: Tue, 16 Apr 1996 14:03:37 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: April 17 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ALLEN, HENRY "RED" (tpt) d. 1967-0417, NEW YORK CITY, NY 59 BALLIETT, WHITNEY L. (critic/New Yorker) b. 1926-0417, NEW YORK CITY, NY BARTLEY,CHRIS(of the SOULFUL INSPIRATIONS)b. 1949-0417, NEW YORK CITY, NY BROWN, NAPOLEON (p/gospel/SPECIALTY REC) d. 1978-0417, ST. LOUIS, MO CARR, SAM (d/JELLY ROLL KINGS/EARWIG) b. 1926-0417, MARIANNA, AR COCHRAN, EDDIE [EDWARD RAY COCHRANE] (g) d. 1960-0417, CHIPPENHAM, UK 21 GIBSON, CLIFFORD (g/VICTOR REC) b. 1901-0417, LOUISVILLE, KY GRAVES, ALEXANDER"PETE"(of THE MOOMGLOWS) b. 1936-0417, AL HIGGINS, CHUCK (tsax/COMBO/SPECIALTY) b. 1924-0417, GARY, IN HILL, BILL BIG [WILLIAM H. HILL] (dj) d. 1983-0417, CHICAGO, IL 69 IRWIN, CHARLES (prod/PERSUADERS) b. 1940-0417, JAMESTOWN, NY KIRSHNER, DON (prod/oldies/rock concert) b. 1934-0417, BRONX, NY LEANER, ERNIE (co-owner: ONE-DERFUL REC) d. 1990-0417, KALAMAZOO, MI 68 LEWIS, GREG (b/BOBBY PARKER) b. 1962-0417, SYRACUSE, NY PAPPALARDI, FELIX (b/prod/arr/MOUNTAIN) d. 1983-0417, NEW YORK CITY, NY 43 PENNY, HANK (songw/BLOODSHOT EYES) d. 1992-0417, CAMARILLO, CA 73 RAINEY, WILLIE GUY (g) b. 1901-0417, CALHOUN CTY, AL RYDER, NOAH FRANCIS (p/DEEP RIVER BOYS) d. 1964-0417, NORFOLK, VA 50 SEMBELLO, MICHAEL (g/prod/STEVIE WONDER) b. 1954-0417, PHILADELPHIA, PA SHIELDS, LONNIE (g/ROOSTER BLUES REC) b. 1956-0417, WEST HELENA, AR SMITH, BYTHER (g/BULLSEYE BLUES/JSP) b. 1933-0417, MONTICELLO, MS ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 16 Apr 1996 16:08:12 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Blues Events? Is anything going on blueswise in Bloomington, IN, next Sunday (April 21), Cincinati/Indianapolis next Monday, or Dayton, OH, Tuesday and Wednesday next week? Private mail appreciated! Ranko ========================================================================= Date: Tue, 16 Apr 1996 20:56:18 GMT Reply-To: Guitar.Mac@sierra.net From: vvisa@SIERRA.NET Organization: Sierra-Net Subject: Guitar Mac and His Blues Express Comments: To: bit-listserv-blues-l@uunet.uu.net RE:GUITAR MAC AND HIS BLUES EXPRESS. Guitar Mac and his blues express are on their way to the studio next week April 23 to do another great blues CD. this is the follow up of Boiling Point. You will be seeing Guitar Mac and His Blues Express at the California State Fair , Booked for 6 days. Check your paper for times. Starting Aug 16. 96 ========================================================================= Date: Tue, 16 Apr 1996 17:54:31 -0400 Reply-To: BALISTRK@BAYDENOC.CC.MI.US From: "Keith T. Balistreri" Subject: Re: VoodooChile/Wanking/Blues Comments: To: Shaun T Cronin In-Reply-To: <199604160627.XAA29204@wavenet.com> On Mon, 15 Apr 1996, Shaun T Cronin wrote > > At the moment we are trying to navigate a path between the members of the > band who want to do everything as close as possible to the record and those > who want to start messing with the songs and see what happens (that's me). > There is talk of doing a few originals. This should be interesting. We do quite a few originals and we make sure the people know that they are our originals. We used to play almost a whole set of originals, but then we decided to intermix them with the covers. It seems to work really well. The people know that you do original music so I really don't think they expect you to play the covers exactly note by note. Many of the audience pay attention to the arrangements of cover music we do, and, of course, that style that we are developing as an original band carries on into the cover arrangements. I say mess with the covers. Keith B. ========================================================================= Date: Tue, 16 Apr 1996 18:01:09 -0400 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Fwd: Re: Buddy Guy's Tour Schedule? (oops) --------------------- Forwarded message: From: rjbauman@iquest.net (R.J. Bauman) Reply-to: rjbauman@iquest.net To: JukeFreak@aol.com Date: 96-04-16 12:17:00 EDT The Buddy Guy site is working. It's quite impressive. There are some very good interviews of John Primer, Luther Allison, and Johnny Copeland (done from a hospital bed) The address is http://buddyguy.com. I did not see a tour schedule there, but there is info on the new CD. RJ Bauman On 15 Apr 96 , honorable zeller Karen Hanson wrote: > According to the Legends newsletter, Buddy now has a website: > > http://buddyguy.com > or > http://legendsonline.com > > (Shouldn't there be a www. in there somewhere?) > Last time I looked it wasn't up and running yet, but it may be now if you > feel like checking it out. > > Karen > > "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Tue, 16 Apr 1996 15:25:57 -0800 Reply-To: James Carmin From: James Carmin Subject: 2 BB CDS While recently rereading Charles Sawyers's fine biography of Mr. B.B. King, I saw that BB considers his favorite recording to be MY KIND OF BLUES (album on Crown); and Charle S. particularly likes BLUES IS KING (Bluesway/ABC). I'm thinking I should have both of these to enrich my BB collection, so what do you all think about these recordings? James C. jcarmin@teleport.com ========================================================================= Date: Tue, 16 Apr 1996 18:59:02 -0500 Reply-To: Charles d'Orban From: Charles d'Orban Subject: Spencer Wiggins I have read about (but never heard) Spencer Wiggins. Some seem to think that he's right up there with James Carr and OV Wright as one of the great (unknown) 60s soul singers. Can anyone tell me if he's worth checking out. Also, I believe that the only CD with material by him is from Japan, perhaps on P-Vine (or one of the similar japanese labels). Can anyone give me PRECISE discographical details on this so that I can attempt to get hold of a copy. TIA, Charles ========================================================================= Date: Tue, 16 Apr 1996 16:15:32 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Johnny Cash (was re: Merle Haggard) >Excuse the off-topic nature a bit... I saw a Bear Family Box set of >Merle and now I've noticed a domestic release box set. Any idea how >the two overlap and which is "better"? Alright, Jeff, you started it... ;-) I've got a non-blues question as well, country related (Non-hat, as you say - I like it!) I'm sure that one of the knowledgable bluezellers has an answer for this one (nothing quite like a bit of sucking up when going off topic). I just bought 2 Johnny Cash cd's - Bitter Tears, and Blood, Sweat and Tears. Neither one of them has a release date on the cover or in the notes... so I ask you - does anyone know what year these were released? I know it was in the early '60's sometime. Thanks! -Jim (hndful@uniserve.com) A lot of blues and gospel influence on these albums, by the way - they're available (in Canada at least) in a three-pack box on Columbia/Legacy with a 1963 album, Ring of Fire. Great campfire music! ------------------------------------------------------------ Check out 'Heart and Soul', a new hour of blues, gospel, and jazz every week on SDF-Net Community Radio - http://sdf-radio.colossus.net. ------------------------------------------------------------ ========================================================================= Date: Tue, 16 Apr 1996 18:32:10 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: 2 BB CDS Comments: To: jcarmin@TELEPORT.COM Blues Is King is tremendous...... every bit the equal of Live At The Regal. in my opinion. RJ Bauman On 16 Apr 96 , honorable zeller James Carmin wrote: > While recently rereading Charles Sawyers's fine biography of Mr. B.B. King, > I saw that BB considers his favorite recording to be MY KIND OF BLUES > (album on Crown); and Charle S. particularly likes BLUES IS KING > (Bluesway/ABC). > > I'm thinking I should have both of these to enrich my BB collection, so > what do you all think about these recordings? > > James C. > jcarmin@teleport.com > > "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Tue, 16 Apr 1996 18:23:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Before the Blues I am thinking about buying that new 3 CD set "Before the Blues". But it seems that there is a fair amount of duplication of reissues on other labels including earlier Yazoo albums. Any comments, observations? -Bonnie ========================================================================= Date: Tue, 16 Apr 1996 18:46:31 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: New Buddy Guy Live CD It's called the "Original Blues Brothers" with Junior Wells live at the Chicago Blues Festival in 1964. It's amazing how similar his live act was then as it is now. I'd recommend this to BG wackos like me. The material is good and the performances are good. Sound quality isn't too good, though. I got the "other" new one too. Definitely has some surprises. That SNL band is wonderful. And Johnnie Johnson on keys!!! Buddy does go nuts on guitar sometimes when you wished he wouldn't, but......... I can't wait for the video. RJ Bauman "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Tue, 16 Apr 1996 23:47:07 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Pat Hare Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199604160627.XAA29192@wavenet.com> Shaun T Cronin writes: >A while ago there was a discussion here on Pat Hare (I wasn't paying >attention! Sorry!). Today I heard "I'm Gonna Murder My Baby" by Pat Hare >and it is one bone chilling song. I also learn't a solo to a Junior Parker >tune (I forget the name and I don't have the tape) and I was told the >guitarist was Pat Hare. The question is (can't you see it coming) did Pat >Hare play with Junior Parker? If not was it someone else? Or am I confused >again. Pat Hare played on Junior Parker's recordings from Dec 1953 to June 1954. He'll also listed as possible guitarist on May 1956 to Dec 1956 recordings. All of these were Duke recordings. He may be better known for his recordings with Muddy Waters, replacing Jimmy Rogers from 1954 to 1960. Art Schuna ========================================================================= Date: Tue, 16 Apr 1996 23:46:34 GMT Reply-To: bbbean@sheltonlink.com From: bbbean@SHELTONLINK.COM Organization: inlink Subject: Re: BLUES ACCESS back on blues-l (finally) Comments: To: bit-listserv-blues-l@uunet.uu.net In <31712FCE.6E9C@ecentral.com>, Cary Wolfson writes: >At any rate I'm a-lurkin' I had you spotted as a lurker years before you went online, you dog. B.B. Bean New address------>bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Tue, 16 Apr 1996 18:00:24 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Pat Hare To my feeble recollection Pat Hare did not record with Jr. Parker. And = apologies if I misunderstood your post..."I'm Gonna Murder..." is a Dr. = Clayton tune. I'm sure Pat's verssion kicked ass! ---------- From: Tom Freeland[SMTP:Skipjames@AOL.COM] Sent: Tuesday, April 16, 1996 2:20 PM To: Multiple recipients of list BLUES-L Subject: Re: Pat Hare In a message dated 96-04-16 02:44:45 EDT, shaun@WAVENET.COM (Shaun T = Cronin) writes: >A while ago there was a discussion here on Pat Hare (I wasn't paying >attention! Sorry!). Today I heard "I'm Gonna Murder My Baby" by Pat = Hare >and it is one bone chilling song. I also learn't a solo to a Junior = Parker >tune (I forget the name and I don't have the tape) and I was told the >guitarist was Pat Hare. The question is (can't you see it coming) did = Pat >Hare play with Junior Parker? If not was it someone else? Or am I = confused >again. > >Shaun He played first and sun, and then on Junior Parker's recordings at Duke. Later, he played with the Muddy Waters band, although by then some of = the rough edges (which I like) had been smoothed off. He was in the band = when Muddy played Newport to record the LIVE AT NEWPORT record. At Sun Records (where he recorded "I'm Going To Murder My Baby", which = was not released at the time, he most famously played the nasty/wonderful = guitar on James Cotton's "Cotton Crop Blues." This was my first exposure to = him. Hare's story came up on the list in detail last year some time; it was pointed out he died in prison (he murdered his baby) and that the biographical details are to be found in an article in a back issue of = Blues and Ryhtmn mag. I don't have the citation at hand, but the B&R guys ARE = on this list and can prob. help with that. Tom Freeland ========================================================================= Date: Tue, 16 Apr 1996 18:03:34 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Thomas Dorsey I second LW's appeal. I am a great admirer of Dr. Dorsey. LW, was the writer in question Tony Heilbut? Uncle Ray ---------- From: L W[SMTP:ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU] Sent: Tuesday, April 16, 1996 1:34 PM To: Multiple recipients of list BLUES-L Subject: Thomas Dorsey I read a chapter of Thomas Dorsey last night and I really enjoyed it. The writer made several references to Dorsey's self-published memoirs, anyone have any info on these memoirs. His wife and new born child died during birth and he sat down and wrote "Blessed Lord Take My Hand", then later changed it to "Precious Lord".....A really great story, from a heckuva writer LW ========================================================================= Date: Wed, 17 Apr 1996 01:02:38 GMT Reply-To: Mike Lattrell From: Mike Lattrell Organization: PANIX Public Access Internet and Unix, NYC Subject: For you New Yorkers Comments: To: bit-listserv-blues-l@uunet.uu.net For you New Yorkers.... Upcoming shows for The Christine Santelli Band April 19 : Manny's Car Wash April 27 : Fannies Oyster Bar May 4 : Louisiana Community Bar & Grill May 10 : Dan Lynch May 24 : Manny's Car Wash June 14 : South Street Seaport homepage : http://www.panix.com/~specty/band.htm ========================================================================= Date: Wed, 17 Apr 1996 05:24:48 GMT Reply-To: jgreen@interlog.com From: Rufus Organization: InterLog Internet Services Subject: Info wanted:JLHooker Comments: To: bit-listserv-blues-l@uunet.uu.net Greetings, I am looking for information on Hooker's release on vinyl Free Beer and Chicken. Any info on label, track list, release date etc wouldbe appreciated. Also, if anyone has a copy in good condition they would be willing to part with, please email with details and asking price etc. Thanks in advance, J jgreen@interlog.com ========================================================================= Date: Tue, 16 Apr 1996 21:31:24 -0500 Reply-To: craig edmundson From: craig edmundson Subject: Re: Rockabilly greats For great rockabilly, Ray Campi ranks as one of the best. Ray hitched his wagon to the rockabilly star in 1956 but somewhere along the way the axle broke and Ray never got his due. Check out "Gone, Gone, Gone" by Ray Campi and His Rockabilly Rebels (Rounder Records 3047 (c) 1979) for a "wildcat shakeout at the jukebox hall." "I'm a 3-D daddy as crazy as can be, Now if you want to get crazy, ain't much better 'n me." --------------------------------------- Craig L. Edmundson | cedmunds@probe.net http://www.probe.net/~cedmunds/ cedmunds@netserv.unmc.edu ========================================================================= Date: Wed, 17 Apr 1996 02:56:10 GMT Reply-To: Mike Craddock From: Mike Craddock Organization: Prodigy Services Company 1-800-PRODIGY Subject: "To WDBGB" final Apology to All Comments: To: bit-listserv-blues-l@uunet.uu.net I would like to apologize to everyone for the comotion I have started. "Jazz being the white man's blues" was really something I have now regretted 'placing' in along with my true thesis statement. I also apologize to all the African-American Jazz artists that help make jazz. I really didn't realize the extent to which the question offended all the great musicians of the early 1900's that helped develop jazz. To those of you who view the "explained" to be a CYA technique, for the most part your right. I did purposley place the question to get better responses, but I never intended quite the response and controversy I started. I thank all of you who responded to the posting with sincere efforts and once again to anyone who was offended in any way by any question I am truly sorry. I'de also like to offer to anyone who hasn't replied to try and help me answer the question, How was the blues the backbone of American Music in the twentieth century? One thing I'de like to share with everyone is that I have been seeing that it wasn't just the blues that has contributed highly, but gospel, and church music has also done it's part. Mike Craddock - ASKQ88B@prodigy.com ========================================================================= Date: Tue, 16 Apr 1996 22:46:29 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Mavis Staples I recently got hold of Mavis Staples' "The Voice" album released in 1993 on the label formerly known as Paisley Park, and am immensly enjoying the album. Very funky, very soulful, just like about everything else with the signature of his little pink highness on it. I just don't have enough words to describe how much I love this album. What else has Mavis released before or after this album? Any recommendations? Ranko ========================================================================= Date: Wed, 17 Apr 1996 00:03:03 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: New Buddy Guy Live CD Comments: To: "R.J. Bauman" In-Reply-To: Three things to know about the Buddy & Jr. "Original Blues Brothers:" 1. It's a boot and the artists are being ripped off. 2. There was no Chicago Blues Festival in '64; it's probably from the U. of Chicago. 3. It's from later than '64 because they cover some songs that weren't released till a year or two later. It's also not good sound as the original post stated. There are a couple dozen Buddy and/or Junior recordings to get before this one; if you want a a '60s live one, get the Vanguard CD of "It's My Life Baby" (by Junior, with Buddy)! ========================================================================= Date: Wed, 17 Apr 1996 01:16:50 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Arkansas State Blues Conference . . . I am giving a photo lecture at Arkansas State University in Jonesboro on Thursday. I was curious to know what other events are happening that day so I asked Dr. Rick Burns for that day's schedule. Pretty impressive stuff . . . Thursday's symposium schedule is as follows: 10:30-12:00 Papaer Session: Teaching and Researching the Blues - Carl R. Reng Center (across the street from Wilson Hall, on the second floor) "Teaching the Blues: A Cultural and Social Commentary" Dean S. Wiley, Chattanooga State Comm. College (10:30-11) "The Applied Blues: Making it Matter for College Freshmen and Sophomores" Roger Wood, Houston Community College (11-11:30) "The Blues on the Internet" Heather Miller, Louisiana State University (11:30-12) Paper Session: Blues Performance and Blues Poetry - Carl R. Reng Center, Choctaw Room "Highlife and Kind Hearts: Poetry Reading on Africa and Blues Music" Kwadwo Opoku-Agyemang, University of Cape Coast, Ghana (10:30-11) "Extending the Blues Form Using Spoken Word and Drums as a Vehicle" Darryl Keyes and David Berg, Oakland, CA (11-11:30) "The Hands of Bluesmaen" Andy Cohen, the Rev. Gary Davis Institute (11:30-12) 12-1 LUNCH 1:00-3:15 THE BLUES IN INTERNATIONAL CONTEXTS - Reng Center, Osage room "Calypso and Delta Blues in the Early Twentieth Century: Parallel Traditions in African Amerivan and Caribbean Cultures" Donald Hill, SUNY at Oneonta (1-1:30) "Nine Below Zero: The Blues in Canadian Drama" Jerry Wasserman, University of British Columbia (1:30-2) 15-minute intermission "Blues, White and Red: The Impact and Represnetation of Blues Music and Musicians in France" Andre J.M. Prevos, Pennsylvania State University-Worthington Scranton Campus (2:15-2:45) "What Color is Your Pain?: The Blues and Penas negras" Anthony Nicastro, North Adams State College (2:45-3:15) BLUES PERSONALITIES - Reng Center, Choctaw Room "Red Hot Blues: The Story of Dewey Philips" Cahrles Reiteri, University of Mississippi (1-1:30) "'The Red Light Was My Mind': Linguistic Approcahes to the Songs of Robert Johnson" Hank Ballenger, University of North Texas (1:30-2) 15-minute intermission "Sharecropper's Blues: A Day with Mance Lipscomb" Jim Baird, University of North Texas (2:15-2:45) 3:15 - 3:30 WELCOME AND INTRODUCTION - Leslie Wyatt, President, Arkansas State University- Museum, Room 182. 3:30 - 4:30 FEATURED LECTURE: "The Avalon Collection: Photography Exhibit" Richard Waterman, Oxford, Mississippi - Museum, Room 182 4:30 - 5:30 FEATURED LECTURE: "Blues and Tourism" Jeff Todd Titon, Professor of Music, Brown University - Museum, Room 182 5:30 - 8:00 Dinner on your own 8:00 - 9:30 CONCERT by the Last Chance Jug Band from Memphis - Wilson Hall Theater AND, OF COURSE, MORE STUFF ON FRIDAY AND SATURDAY!!! Dick Waterman ========================================================================= Date: Tue, 16 Apr 1996 22:19:21 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: "To WDBGB" final Apology to All Is this another mis-statement of the obvious (gospel duh!!?)? I'm = beginning to regret my private posting to the (perceived) misguided = beginner.=20 Don't trivialize what is important to me with provocative queries = calculated to get a rise from this group of learned zeolots. I've said = it before, but I'll say it again. Se you in Hell, white boy. Uncle Ray ---------- From: Mike Craddock[SMTP:ASKQ88B@PRODIGY.COM] Sent: Wednesday, April 17, 1996 2:56 AM To: Multiple recipients of list BLUES-L Subject: "To WDBGB" final Apology to All I would like to apologize to everyone for the comotion I have started. "Jazz being the white man's blues" was really something I have now regretted 'placing' in along with my true thesis statement. I also apologize to all the African-American Jazz artists that help make jazz. I really didn't realize the extent to which the question offended all = the great musicians of the early 1900's that helped develop jazz. To those of you who view the "explained" to be a CYA technique, for the most part your right. I did purposley place the question to get better responses, but I never intended quite the response and controversy I started. I thank all of you who responded to the posting with sincere efforts and once again to anyone who was offended in any way by any question I am truly sorry. I'de also like to offer to anyone who hasn't replied to try and help me answer the question, How was the blues the backbone of American Music in the twentieth = century? One thing I'de like to share with everyone is that I have been seeing that it wasn't just the blues that has contributed highly, but gospel, and church music has also done it's part. Mike Craddock - ASKQ88B@prodigy.com ========================================================================= Date: Wed, 17 Apr 1996 00:40:22 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: Stonnie B & Grandpa Can anyone in New Orleans tell me a little about Elliott Small (Grandpa) and Stonnie Bee? I saw them playing on the streets in the French Quarter this weekend and found their show very interesting. Sort of a Brownie and Sonny style act, though a lot more eclectic. I'm curious if they're known, unknown, or just hanging out making a few extra bucks. Several of my dead presidents ended up in their tip barrel. Private e-mail's fine. Thanks. Don O. ========================================================================= Date: Wed, 17 Apr 1996 16:14:09 -1000 Reply-To: Andrew Gregg From: Andrew Gregg Subject: Re: New Buddy Guy Live CD Comments: To: Jim Witteveen >It's also not good sound as the original post stated. There are a couple >dozen Buddy and/or Junior recordings to get before this one; if you want a >a '60s live one, get the Vanguard CD of "It's My Life Baby" (by Junior, >with Buddy)! Another two excellent Buddy & Junior Live CD's are 'Smokin' Dynamite & drinking TNT' (I hope I got that right) and 'Play the Blues', with the latter featuring Mr E Clapton playing rythym & dobro on some cuts. ********************************************************************** * Andrew Gregg * * * Dept of Primary * I see angels on Ariels * * Industry * in leather & chrome * * ooOO00OOoo * Swooping down from heaven * * Email : * to carry me home * * mpagregg@aries.dpi.tas.gov.au * * * * - Richard Thompson * ********************************************************************** ========================================================================= Date: Wed, 17 Apr 1996 02:15:00 -0400 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re: I Met Dick Clark! >I know...who cares. Why, we do, of course, Shannon! You know that we are here for you! >But I just had lunch at Dick Clark's new >restaurant here in Cincinnati...Dick Clark's American Bandstand >Grill...and had the opportunity to meet and chat at some length >the man himself. [SNIPPITY SNIP] >At the moment it is THE hot club here in Cincinnati. The chain >is supposed to give Hard Rock Cafe and Planet Hollywood a run >for their money. >Shannon Planet Hollywood is opening in this magnificent capital before long. So, next time you're out chatting the man up, why don't you have him set something up over here and give 'em some competition (before, say, Manny's Car Wash beats him to the punch). And give Dick all our best, would ya? BLUE JOE IN RED RUSSIA J.E._Downey@bakermck.com ("You can't a thing for the PAIN in the Cincinnati Jail!!!") ========================================================================= Date: Wed, 17 Apr 1996 03:37:42 -0400 Reply-To: BLUESROCCO@AOL.COM From: Jim Rocco Subject: Re: "To WDBGB" final Apology to All Comments: To: uncleray@teleport.com Amen UncleRay. Couldn't have put it better myself! Here's hoping we dont start another MIKE CRADDOCK thread, or resurrect the old one. BESIDES...everyone knows that SWING was the white man's jazz! (tongue in cheek) Where would popular music be now without Fletcher Henderson? Jim Rocco ========================================================================= Date: Wed, 17 Apr 1996 08:50:26 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Buddy Guy Live Comments: To: Andrew Gregg >>It's also not good sound as the original post stated. There are a couple >>dozen Buddy and/or Junior recordings to get before this one; if you want a >>a '60s live one, get the Vanguard CD of "It's My Life Baby" (by Junior, >>with Buddy)! > If you want som older live-Buddy I must recommend This is Buddy Guy Live on Vanguard. That one is great and showes that Buddy had a very diverse set-list early on. And I think Stevie Ray Vaughn learned the "Lets get back to the blues" phrase (that he often used to introduce a slow number) from this record. Just the version of "Got my eyes on you" makes it a must. Great singing and stinging guitar, and not to forget: the inventive and slightly insane bass-figures of Jack Myers. Mr Bo ========================================================================= Date: Wed, 17 Apr 1996 03:59:00 EDT Reply-To: Debra Eisert From: Debra Eisert Subject: Re: "To what did the blues give birth?" Don C. commented on the Ravel. Have any of y'all heard William Russo's "Three Pieces for Blues Band and Orchestra?" I heard a recording with the Chicago Symphony/Ozawa and the Siegal-Schwall band. >I recorded a recital on sun. night of Ravel's "Sonata for Violin and >Piano". the second movement is called "Blues"(!) Very cool stuff. Not >structually blues as we know it, but certainly harmonically identifiable. > ##################################################################### Debra Eisert "Those who dream by day are cognizant debra@iglou.com of many things which escape those who Cincinnati, OH dream only at night." -- E. A. Poe ##################################################################### ========================================================================= Date: Wed, 17 Apr 1996 04:44:26 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1952, Howlin' Wolf entered the Sun Recording Studio in Memphis and recorded "Bluebird", and "Saddle My Pony". Sam Phillips said of the Wolf sessions, "His eyes would light up, you'd see the veins on his neck and, buddy, there was NOTHING on his mind but that song. He sang with his damn soul." P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ The notes I handle no better than many pianists. But the pauses between the notes - ah, that is where the art resides. - Artur Schnabel (1882-1951) ========================================================================= Date: Wed, 17 Apr 1996 04:59:31 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... coincidence On this day in 1882, the man who's quote appears in my signature today was born. A coincidence, I swear it. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ The notes I handle no better than many pianists. But the pauses between the notes - ah, that is where the art resides. - Artur Schnabel (1882-1951) ========================================================================= Date: Wed, 17 Apr 1996 07:26:24 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Before the Blues Comments: To: KALMBACH@macc.wisc.edu In a message dated 96-04-17 06:55:17 EDT, KALMBACH@MACC.WISC.EDU (Bonnie Kalmbach) writes: >I am thinking about buying that new 3 CD set "Before the Blues". But >it seems that there is a fair amount of duplication of reissues on >other labels including earlier Yazoo albums. Any comments, observations? In the last couple of weeks, I posted track listings, with discographical information (none contained on the liner notes); I had put together this information as a part of writing a review of the sets for B&R. There is substantial duplication with other collections BUT there are a lot of recordings that most folks would have to go pretty deeply into prewar music to duplicate. On Volume 1, the Denson Quartet's "Christian Soldier," a sacred harp piece, is absolutely haunting. The Mississippi Mud Steppers' (a Chatmon family aggregation) take on "Cow Cow Blues" (called "Jackson Stomp") is great string band music, as is Taylor's Kentucky Boys (with Jim Booker on fiddle) "Forked Deer". Bayless Rose "Jamestown Expedition" is essential guitar ragtime. Willie Walker's "Dupree Blues" and Harvey Hull's "France Blues have great vocal perfomances. I'm not sure this selection of fairly obscure great recordings is quite as strong through volumes 2 and 3, but I still highly recommend them. You will also be very impressed by the sound on these sets. Tom Freeland ========================================================================= Date: Wed, 17 Apr 1996 08:28:32 -0300 Reply-To: Rob Hutten From: Rob Hutten Subject: David Evans (was Re: Arkansas State Blues Conference . . .) In-Reply-To: <960417011649_273840846@mail04> from "Dick Waterman" at Apr 17, 96 01:16:50 am Dick Waterman wrote: > I am giving a photo lecture at Arkansas State University in Jonesboro on > Thursday. I was curious to know what other events are happening that day so I > asked Dr. Rick Burns for that day's schedule. > Pretty impressive stuff . . . wow - why why why WHY don't we get conferences like this up here in Nova Scotia? > CONCERT by the Last Chance Jug Band from Memphis - Wilson Hall Theater This is David Evan's band... has anyone out there heard them? Or Evans solo? He has recorded two songs on a Hot Fox CD called "The Spirit Lives On" (which he also produced), but I've never heard these tracks. I'd be interested in hearing how he sounds - he's certainly had an enviable list of teachers! -Rob ========================================================================= Date: Wed, 17 Apr 1996 07:46:07 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0292 From: "DUTTWEILER.J" Subject: Re: A Muddy Waters bootleg Date: Wednesday, 17 April 1996 7:45am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: A Muddy Waters bootleg > > > > Roger Mech wrote: > > > > > > Back in 1981, the Stones played an impromptu gig with Muddy Waters and J > > > Primer at the Checkerboard Lounge in Chicago. Somewhere out there is a > > > bootleg tape of the event. I've never been able to find a copy; I was > > > wondering if anyone else had. > > > > This show has been available as a bootleg LP (and now CD) since the > early 80s. There's also a video in circulation. > > The video is fairly hilarious. During Mannish Boy, Mick does his whole > stadium rock star schtick, then Muddy (who's just sitting on a stool) > does a verse -- and blows MJ away. This was shown on a Stones retrospective on, I think, PBS recently during one of the pledge drives (if my memory is working right). I watched Jagger and wondered if he felt as big a fool as he looked that evening butchering that song in front of THE MAN himself. Honestly, unless the music is much better on other parts, I can see why this would only be available as a bootleg JD ========================================================================= Date: Wed, 17 Apr 1996 14:10:40 +0100 Reply-To: bengans From: bengans Subject: Re: Pinetop Perkins rumor >I heard that Pinetop violated his house arrest and was thrown in the gaol, >thereby missing the Tribute to Muddy Waters shows at Buddy Guy's two weekends >ago. I understand that there are people trying to intercede for Pinetop, how >effectively, I don't know. Well, I was at Buddy Guy s on Friday the 5th and Pinetop was there and playing the piano for sure! Well at least he tried to. We was VERY drunk and played a digital piano and must have hit the clavinova sound button, it sounded terrible! On top of being shitfaced he looked very sick too, skinny and worn out. Sevenson ========================================================================= Date: Wed, 17 Apr 1996 07:21:07 -0500 Reply-To: T-Bone From: T-Bone Subject: Archie Edwards' Barber Shop Blues Last night I spoke to Eleanor Ellis and found out that Archie Edwards will probably be moving out of his barber shop at the beginning of next month. The owners are raising the rent and apparently Archie doesn't feel like paying the extra cash. He doesn't really need the money; he only charges $4 for a cut, from what I've heard, and he gets a nice pension anyway. But he's been there since 1959 (I think) and is where the DC Blues Society was first formed. Some darn good bluesmen and blueswomen have hung out there, too: Archie, John Jackson, John Cephas, Eleanor, Phil Wiggins, Flora Moltan, Rick Franklin, and of course Mississippi John Hurt, among others. It would be a damn shame if it closes. I got to spend one Saturday there last month (coming soon to a web page near you, with Mr. Edwards' approval), and it's not just a barber shop. It's a place where friends got together to hang out, play music, laugh, and so on. Eleanor was a bit upset over it, but when I spoke to Archie earlier, he never even mentioned it. It would be a shame if it closes, but all good things must come to an end. I'm just grateful that I got to spend one afternoon there that will put a smile on my face for a long, long time. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "You know, I'd be really impressed if I wasn't so grossed out by all this." - Tammy Stephanie Davis ========================================================================= Date: Wed, 17 Apr 1996 07:48:00 U Reply-To: Deland Robert From: Deland Robert Subject: Re: Merle Haggard box I saw a review in the latest issue of CD Review (w/ Michael Tilson Thomas = on the cover) which spoke very favorably of the new Merle Haggard box. = It said that while the Bear Family set had better notes (go figure), the = new domestic box has some unissued cuts on it that shouldn't be missed. = They concluded that at half the price, the domestic box was a real = winner. Hope this helps. -Rob DeLand (deland_robert@macmail1.csg.mot.com) ========================================================================= Date: Wed, 17 Apr 1996 07:43:33 CST6CDT Reply-To: "Sara C. Oxton" From: "Sara C. Oxton" Organization: University of Minnesota Subject: Re: Spencer Wiggins Comments: To: Charles d'Orban Spencer Wiggins IS one of the true unsung heroes of Memphis soul music. His album "Soul City USA" on Goldwax is a treasure, and very hard to find. Spencer's brother, Percy, also is worth seeking out. Good luck. According to James Carr, Spencer Wiggins is still around Memphis. But who knows for sure. He certainly hasn't recorded anything for awhile. Sara _________________________________________ Sara C. Oxton Executive Secretary University of Minnesota Department of Food Science & Nutrition 1334 Eckles Ave. St. Paul, MN 55108 Ph: (612) 624-2787 Fax: (612) 625-5272 soxton@che2.che.umn.edu ========================================================================= Date: Wed, 17 Apr 1996 07:47:15 -0500 Reply-To: Dave Daubard From: Dave Daubard Subject: Re: Kid Ramos & Willie J. Campb Comments: To: Cary Wolfson In-Reply-To: <317274DF.28A7@ecentral.com> Willie J. Campbell was playing with Lee McBee in K.C. when he joined the T-birds last August. Willie played with the "Kid" back in the days with James Harman Band. They played together on Lee's '95 release "44" on Red Hot Records. The Jan.'95 recording helped Willie land with the Kid. On Mon, 15 Apr 1996, Cary Wolfson wrote: > Peter Blanken wrote: > > Anyway, I was wondering if anybody could share any information on the T-Birds current guitar player Kid Ramos, and bass player Willie J. Campbell. i.e. > > What have they done previously. > > Check out Kid's *Two Hands One Heart* CD on Black Top. One versatile > and talented fellow. He was also on some of James Harman's earlier > recordings. > > > Cary Wolfson (cwolfson@ecentral.com) > Publisher BLUES ACCESS, The Distinctive Blues Magazine > 303/443-7245 > http://www.he.net/~blues > ========================================================================= Date: Wed, 17 Apr 1996 09:13:56 -0400 Reply-To: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM From: Jim Smith Subject: Re: A Muddy Waters bootleg Comments: To: JONATXXX@GOMAIL.DOAS.STATE.GA.US In-Reply-To: The Checkerboard Lounge bootleg CD is out there. I had bought it on sale from CDEurope about a year ago and sold it soon after. Very poor sound quality and IMO not worth the money it's selling for at the record shows ($20). There is also a "Stones" version out there under the same title "Checkerboard Lounge", and think it's the same session, but am not sure. The Stones CD seems to be easier to find. Jim Smith ========================================================================= Date: Wed, 17 Apr 1996 08:10:49 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: Buddy Guy Live Comments: To: Bo.Carlsson@HKS.SE On 17 Apr 96 , honorable zeller Bo Carlsson wrote: >>It's also not good sound as the original post stated. There are a couple > >>dozen Buddy and/or Junior recordings to get before this one; if you want a > >>a '60s live one, get the Vanguard CD of "It's My Life Baby" (by Junior, > >>with Buddy)! > > > > If you want som older live-Buddy I must recommend This is Buddy Guy Live on > Vanguard. That one is great and showes that Buddy had a very diverse > set-list early on. And I think Stevie Ray Vaughn learned the "Lets get back > to the blues" phrase (that he often used to introduce a slow number) from > this record. Just the version of "Got my eyes on you" makes it a must. > Great singing and stinging guitar, and not to forget: the inventive and > slightly insane bass-figures of Jack Myers. > > Mr Bo > > I never intended to recommend the "Original Blues Brothers" as the starting point or best of Buddy Guy live album, in case read my post that way. It just sort of popped out as something I hadn't seen before when I went to pick up the new one. Magnum Associated Licensing is responsible for it. They are a British outfit. I too would recommend "This Is Buddy Guy." My favorite track is "Fever." It swings like crazy. As for The Real Deal, I've listened to it twice and I'm really impressed. If he tours with this band, I am definately going to try to see that! RJ Bauman "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Wed, 17 Apr 1996 08:39:36 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Gear: Transducer on your cone I was at a guitar joint yesterday and someone told me that he just put a transducer type pickup on the cone of a Dobro and it sounded great. He also said the word "drill" and I said no way, but we could put the jack in the the round of the F-hole....Has anyone ever tried anything like that. It's a Fishman transducer......??? COMMENTS ????? LW ========================================================================= Date: Wed, 17 Apr 1996 09:46:05 -0400 Reply-To: RuStEd_rAgS From: RuStEd_rAgS Subject: NYC_BLUES_anyone?? Hi fella Bluezellers... I am gonna be in the big apple this weekend. Anybody's got info on Blues Events/Jam sessions I need to check out while there. Thanks in advance for any info. +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | Laissez les bon temps roulez!! | | / ~~ ~~ \ | Let the good times roll!! | | d-(+)-(+)-b | ---------------------------- | | / L \ | SANJAY 'RAGS' RAJAN | | / //|\\ \ | sanjay_rajan@formtek.com | | ///`~~~'\\\ | FORMTEK,INC. | | ///|||\\\ | PITTSBURGH, PA | | --- /\o/\ --- | | | /"\ | | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Wed, 17 Apr 1996 15:12:31 +0100 Reply-To: WALLER JONATHAN From: WALLER JONATHAN Subject: Goldwax ...This is the first time Ive done this so be nice to me....(please!) Was it the Stax horns that played on the Goldwax record label??? ========================================================================= Date: Wed, 17 Apr 1996 10:21:51 +0000 Reply-To: Saint Bob Comments: Authenticated sender is From: Saint Bob Subject: Columbia House blues repost request Can someone repost the Columbia House record club blues selections list that was posted a few months ago? Or e-mail it to me? Please? ========================================================================= Date: Wed, 17 Apr 1996 10:14:00 -0400 Reply-To: "timothy (t.b.) bosley" From: "timothy (t.b.) bosley" Subject: 2 Great Discs for Trade I have the following that I'd like to trade - Grey Ghost _Grey Ghost_ Spindletop CD SPT 1002 Out of Print, still shrinkwrapped - Jesse Thomas _Blue Goose Blues_ Iris Musique Production CD IMP 704 French import [This is the same as _Looking For That Woman_ on Black Top. TopCat released it in France before selling catalog. ] Both are excellent albums. I also have more to trade (blues/jazz/rock). If interested in the above or finding out about the others, email tbosley@nortel.com ========================================================================= Date: Wed, 17 Apr 1996 07:36:07 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: April 18 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ANDERSON, BOB (b) b. 1934-0418, BOLIVAR, TN BROWN, CLARENCE"GATEMOUTH"(g/PEACOCK REC) b. 1924-0418, VINTON, LA BROWN, MILTON (pioneer/TEXAS SWING) d. 1936-0418, CRYSTAL SPRINGS, TX 32 MONTGOMERY, EURREAL "LITTLE BROTHER" (p) b. 1906-0418, KENTWOOD, LA MURPHY, ROSE "CHEE CHEE" (v/MAJESTIC REC) b. 1913-0418, XENIA, OH PARKER, LEO (bsax/GOTHAM REC) b. 1925-0418, WASHINGTON, DC RIVERS, JAMES (tsax) b. 1937-0418, NEW ORLEANS, LA ROTHCHILD, PAUL (prod/BUTTERFIELD/JOPLIN) b. 1935-0418, BROOKLYN, NY SAVITT, BUDDY (sax/CAMEO-PARKWAY REC) d. 1983-0418, SOMERS POINT, NJ 52 SMITH, BEATRICE M. (v) b. 1923-0418, TULSA, OK SMITH, WILLIE "THE LION" (p) d. 1973-0418, NEW YORK CITY, NY 75 STUBBLEFIELD, CLYDE (d/JAMES BROWN) b. 1943-0418, CHATTANOOGA, TN YOUNG, JOHNNY (g/mand) d. 1974-0418, CHICAGO, IL 56 ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 17 Apr 1996 09:40:08 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: 2 BB CDS Comments: To: James Carmin > While recently rereading Charles Sawyers's fine biography of Mr. B.B. King, > I saw that BB considers his favorite recording to be MY KIND OF BLUES > (album on Crown); and Charle S. particularly likes BLUES IS KING > (Bluesway/ABC). > > I'm thinking I should have both of these to enrich my BB collection, so > what do you all think about these recordings? "My Kind of Blues" is probably as good if not better than any of the other albums BB made for the Bihari brothers. Unfortunately you may have a tough time finding it 'cause as far as I know it's only been re-released in its original form on a Japanese import CD (as a twofer with another of his Crown LPs). "Blues is King" is IMO his best live album and has been recently re-released domestically. What distinguishes both of these albums from most of the others BB made in the 50s and 60s is the absence of a "big band" backing. If I remember correctly "My Kind of Blues" has no horns at all, and "Blues is King" was recorded with one or two horns, organ, bass and drums.EW Eliot Williams University of Wisconsin Department of Medicine ecwillms@macc.wisc.edu ========================================================================= Date: Wed, 17 Apr 1996 09:41:29 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Re: Thomas Dorsey In-Reply-To: Message of Tue, 16 Apr 1996 18:03:34 -0000 from On Tue, 16 Apr 1996 18:03:34 -0000 Raymond O. Varner said: >I second LW's appeal. I am a great admirer of Dr. Dorsey. > >LW, was the writer in question Tony Heilbut? > >Uncle Ray I can't recall the author's name, but the book is called "Gospel Greats" I just got it to read the Thomas Dorsey chapter. There is a 1975 Living Blues with a Dorsey interview, the library here has the LB's archived. I'm gonna try to stop by and read the interview. I found it interesting that Dorsey saw no "church related" problems with the blues. He was not ashamed of his blues work, even though some were risque tunes.... LW _____________________________________________________________ >Sent: Tuesday, April 16, 1996 1:34 PM >To: Multiple recipients of list BLUES-L >Subject: Thomas Dorsey > >I read a chapter of Thomas Dorsey last night and I really enjoyed it. The >writer made several references to Dorsey's self-published memoirs, anyone >have any info on these memoirs. His wife and new born child died during birth >and he sat down and wrote "Blessed Lord Take My Hand", then later changed >it to "Precious Lord".....A really great story, from a heckuva writer >LW ========================================================================= Date: Wed, 17 Apr 1996 10:14:38 -0500 Reply-To: akapil@MEDICINE.BSD.UCHICAGO.EDU From: "" Subject: Re: Kenny Burrell Yup, I think he's great too!. Check out his version of "Chitlins Con Carne", recently made popular by Stevie Ray Vaughan. Kenny's version is off an album which contains some real gems such as "Loie" and "Summertime". Unfortunately I can't remember the name of the album right noe, but it'll come to me.... When it does I would highly recommend it! Adit. >My guitar teacher lent me a tape of Kenny Burrell "Midnight Blue" last >night. Was very impressed after one listen. The style is blues leaning >towards jazz. Excellent guitar work. Does anyone know anuything about this >guy? > >Thanks > >RW > > Aditya Kapil, PhD IBD Research Center Department of Medicine University of Chicago Ph: (312) 702 2283 FAX: (312) 702 2281 ========================================================================= Date: Wed, 17 Apr 1996 08:09:22 -0800 Reply-To: James Carmin From: James Carmin Subject: IT'S MY LIFE (was Re: New Buddy Guy Live CD) Comments: cc: rshurman@CCS.NSLSILUS.ORG Richard Shurman said: >There are a couple dozen Buddy and/or Junior recordings to get before this >one; >if you want a '60s live one, get the Vanguard CD of "It's My Life Baby" >(by >Junior, with Buddy)! And I say: IT'S MY LIFE was one of my first blues albums, and it's still one of my favorites of all time. Hoodoo Man Blues might be cleaner and crisper, but IT'S MY LIFE is down and dirty blues at Pepper's Lounge on the Southside (although some tracks are in the studio). As Junior says "It's a low down dirty, baby, low down dirty shame" about these boots. James C. jcarmin@teleport.com ========================================================================= Date: Wed, 17 Apr 1996 10:16:23 -0500 Reply-To: David Silberberg From: David Silberberg Subject: Re: Goldwax At 03:12 PM 4/17/96 +0100, WALLER JONATHAN wrote: > >Was it the Stax horns that played on the Goldwax record label??? > > According to the liner notes to "The Essential James Carr" (an excellent CD, BTW), The Memphis Horns (who were the Stax horn section) played on all of these Goldwax tracks. David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Wed, 17 Apr 1996 10:39:22 -0500 Reply-To: sprice@INAV.NET From: Steve Price Subject: Re: "To WDBGB" final Apology to All Comments: To: Mike Craddock In-Reply-To: <4l1mka$1ur4@usenetw1.news.prodigy.com> On Wed, 17 Apr 1996, Mike Craddock wrote: > > One thing I'de like to share with everyone is that I have been seeing > that it wasn't just the blues that has contributed highly, but gospel, > and church music has also done it's part. > Gospel and Church music have also had tremendous influence on the development of Blues, both in style and content, despite the protests of some that blues singing was a rebellion against church. The influence is present and fantastic, and is present early and late. Steve ========================================================================= Date: Wed, 17 Apr 1996 11:23:20 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: How to go nomail? Comments: To: williams@heme.medicine.wisc.edu I'll be taking off for the New Orleans Jazzfest by way of San Antonio- a circuitous route, I know, but I mixing pleasure with business, better than the alternative. Anyway, what's the best way to make sure I don't have 4 gazillion messages in my box when I return? Go "nomail " onthislist, or unsubscribe and resubscribe? I think to unsubscribe I just send an unsubscribe messaage to "listserv@brownvm.brown.edu" with the text being "unsubscribe" and my name, right? No subject header? Thanks: (your technologically challenged correspondent) JIm ========================================================================= Date: Wed, 17 Apr 1996 16:20:41 GMT Reply-To: "Robert J. Dewar" From: "Robert J. Dewar" Organization: National Capital Freenet, Ottawa, Canada Subject: Some Questions Comments: To: bit-listserv-blues-l@uunet.uu.net Hello out there! Haven`t had much time to post but have been keeping up with what has been happening on the list. It never ceases to amaze me how much great blues knowledge can be gleaned from this terrific forum.I have recently purchased Mem Shannon`s "A Cab Driver`s Blues" (which is original, funny and my pick for one of the top five of 96) There is very little chance I would have discovered this release without recommendations from the list.Thank you everyone,especially "The Scooter" aka David Silverberg for that one. Couple of questions: Can anyone recommend a compilation or even a series of albums featuring Solomon Burke best stuff on Atlantic? I`m deep into a soul vein these days and he is someone who keeps getting mentioned as a giant of the genre.There is a famous quote from someone inquiring who is the greatest soul singer,and someone else replies "Solomon Burke and I`ll spot you the band" Does anyone know is there is a good collection planned of Ike and Tina Turner~s early stuff?There doesn`t appear to be a great deal available on CD. This is stuff that really seems to have blues,gospel early R n` B,and rock n` roll mixed together. Other recent purchases: Etta James "Rocks the House", Otis Clay "The 45`s", Johnny "Guitar" Watson "Three Hours Past Midnight",Johnny Young "Johnny Young and His Friends" ( a revelation!!) Robert J Dewar ========================================================================= Date: Wed, 17 Apr 1996 17:28:09 GMT Reply-To: bbbean@sheltonlink.com From: bbbean@SHELTONLINK.COM Organization: inlink Subject: Re: HELLGIG '96 Comments: To: bit-listserv-blues-l@uunet.uu.net Maybe its just a rhythm section thing, but I'd swear that that drummer doubles on bass and has played in the last several bands I've been involved with. BBB B.B. Bean New address------>bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Wed, 17 Apr 1996 18:07:33 GMT Reply-To: bluesbabe From: bluesbabe Organization: SoVerNet, Inc. Subject: Re: Buddy Guy's Tour Schedule? Comments: To: bit-listserv-blues-l@uunet.uu.net Karen Hanson wrote: >According to the Legends newsletter, Buddy now has a website: >http://buddyguy.com >or >http://legendsonline.com >(Shouldn't there be a www. in there somewhere?) >Last time I looked it wasn't up and running yet, but it may be now if you >feel like checking it out. >Karen karen just left buddy guys web site ..its up.. its ready...... and ITS EXCELLENT!!! very informative..... i really enjoyed the "interview section>>> on my way back for even a closer look .... bluesbabe ========================================================================= Date: Wed, 17 Apr 1996 14:23:50 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Thomas Dorsey There's a very fine book by Michael W. Harris 'The Rise of Gospel Blues' (OUP 1992), which is a biography of Dorsey and history of the changes in black religious music of which he was a mover and shaker. Academic and not easy going, but full of fascinating stuff including much from his unpublished autobiography, which was mentioned in the original post. Chris >On Tue, 16 Apr 1996 18:03:34 -0000 Raymond O. Varner said: >>I second LW's appeal. I am a great admirer of Dr. Dorsey. >> >>LW, was the writer in question Tony Heilbut? >> >>Uncle Ray > >I can't recall the author's name, but the book is called "Gospel Greats" >I just got it to read the Thomas Dorsey chapter. There is a 1975 Living Blues >with a Dorsey interview, the library here has the LB's archived. I'm gonna >try to stop by and read the interview. I found it interesting that Dorsey saw >no "church related" problems with the blues. He was not ashamed of his blues >work, even though some were risque tunes.... > >LW > >_____________________________________________________________ >>Sent: Tuesday, April 16, 1996 1:34 PM >>To: Multiple recipients of list BLUES-L >>Subject: Thomas Dorsey >> >>I read a chapter of Thomas Dorsey last night and I really enjoyed it. The >>writer made several references to Dorsey's self-published memoirs, anyone >>have any info on these memoirs. His wife and new born child died during birth >>and he sat down and wrote "Blessed Lord Take My Hand", then later changed >>it to "Precious Lord".....A really great story, from a heckuva writer >>LW ========================================================================= Date: Wed, 17 Apr 1996 14:33:53 -0400 Reply-To: PKAtLarge@AOL.COM From: PKAtLarge@AOL.COM Subject: submissions My name is Paul Klemperer. I reside in Austin,TX where I play saxophone for Marcia Ball. We tour the country regularly and I write music-related pieces about people and issues in the blues and jazz scenes in the U.S. Please let me know if this is of interest to you. Thanks, PK AtLarge. ========================================================================= Date: Wed, 17 Apr 1996 14:50:56 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: submissions Comments: To: PKAtLarge@aol.com On 17 Apr 96 at 14:33, PKAtLarge@aol.com wrote: > My name is Paul Klemperer. I reside in Austin,TX where I play saxophone for > Marcia Ball. We tour the country regularly and I write music-related pieces > about people and issues in the blues and jazz scenes in the U.S. Please let > me know if this is of interest to you. Thanks, PK AtLarge. That's basically what we are here for, although our interest is obviously more in Blues. Submit away ;-) P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Wed, 17 Apr 1996 14:53:20 EDT Reply-To: Toby Levy From: Toby Levy Subject: SITTING & THINKING: Son House Library of Congress SON HOUSE / DELTA BLUES (BCD 118 ADD) BIOGRAPH RECORDS 16 RIVER STREET CHATHAM, NY 12037 TEL: 617-426-7500 FAX: 617-426-5222 e-mail CD@BIOGRAPH.COM This is one of the most important cds for anyone interested in studying the history of the blues. Son House was one of the biggest influences on the immortal Robert Johnson, and House also was Muddy Water's strongest influence. By the time Alan Lomax, working for the Library of Congress went down south to make the recordings on this cd, House had already recorded some popular records and was one of the most revered bluesmen in the Delta. Lomax recorded House twice, and both sessions are on this cd. Shortly after the second recording session, House moved to north to western New York and worked on the railroad for nearly twenty years. He was brought back to music by the folk music boom of the early 60s, playing many festivals until his health began to fail him in the early 70s. Most of the first recording session on this cd (the first five songs) sounds more like a house party than a recording session. At various times you can hear Fiddlin' Joe Martin on mandolin, Leroy Williams on harp and Willie Brown on guitar. You can hear House talking to his friends while the music is playing, you can hear a train chugging by the country store where the recording was being done. The second recording session provides an intimate look at a much more serious and introspective Son House. LEVEE CAMP BLUES / GOVERNMENT FLEET BLUES / WALKING BLUES / SHETLAND PONY BLUES / DELTA BLUES / SPECIAL RIDER BLUES / LOW DOWN DIRTY DOG BLUES / DEPOT BLUES / AMERICAN DEFENSE / AM I RIGHT OR WRONG / WALKING BLUES / COUNTRY FARM BLUES / THE PONY BLUES / THE JINX BLUES / THE JINX BLUES NY CD-Takes LEVEE CAMP BLUES: The cd begins with House and his friends already deep into the song. House's woman was waiting at the levee for him to arrive. But as soon as he gave her his paycheck she disappeared. Singing from deep in his chest, House breaks out in a moan now and then to intensify the already deep emotions of the song. GOVERNMENT FLEET BLUES: House starts this song with many of the same lyrics of the previous song. But this is a more mournful, darker approach. He soon moves beyond the story of the previous song and goes into much greater detail as to the problems of his relationship with his uncaring woman. His friends yell sympathetic comments to him as he sings and plays. House's guitar playing sounds simple, but it is deceptively complex, changing direction almost constantly throughout the piece. WALKING BLUES: "The blues is a low down Shaking chill, if you never had them boys, I hope you never will," sings Son House as he picks, strums, talks, sings and moans his way through this melancholy classic. It's easy for one to imagine a young Robert Johnson sitting in awe at the feet of Son House as he pours his heart out to his juke joint audience. SHETLAND PONY BLUES: Son House takes this one solo. Setting a dark tone with his guitar, he moans for a few bars before he starts to describe the horse he is going to use to help him look for his wandering woman. DELTA BLUES: An unidentified friend announces Son House and the harp player, Leroy Williams at the start of this track, and in the way of encouragement adds, "Bust a biscuit there, Son." Williams wails wonderfully, underscoring Son House's agony. "I went in that room and I sat down and cried. I didn't have no blues, but I just wasn't satisfied." SPECIAL RIDER BLUES: Nearly a year later, this and the rest of the songs on this cd were recorded. Gone were the friends and the sounds of the railroad rolling by the country store on Lake Cormorant. The digital transfers have enhanced the sound to such a degree that it sounds like House could have laid these tracks down this year. House's guitar playing on this song is just magnificent, as spends the entire song putting his woman down" "I'm sorry today that I ever heard your name." LOW DOWN DIRTY DOG BLUES: Son House sounds hauntingly like his protege Robert Johnson on this song. The strong guitar playing, the haunted tone to the singing, the utter sincerity add up to one powerful statement. DEPOT BLUES: As House does some heaven-sent picking he starts the song by saying "I went to the depot, I looked on the board, I couldn't see no train, I couldn't hear no whistle blow." This is one of the best blues songs on the subject of loss. AMERICAN DEFENSE: This is a strange song. Not a blues, it's set to a waltz beat. House advises "No use of shedding no tears, no use of having no fears, this war may last you for years." While he makes the appropriate patriotic statements, he also throws in many curious lines that lead one to wonder if Son House might have had mixed emotions. AM I RIGHT OR WRONG: This is a delightful rag. By far the shortest song on the cd, it is more like a vignette. "You may not think because I'm Black, I'm gonna you beg to take me back." House plays his guitar here delicately, and the song is cut off in mid note. WALKING BLUES: This is an amazingly different rendition of the song House recorded the previous year. Here he records it all alone. On the earlier version he belted the song out, here he much more introspective, practically murmuring in parts. Whereas on the previous version his guitar was submerged beneath his friends', here his playing is as haunting as his singing. Finally, the lyrics of the earlier version were a collection of images. This version tells one sad story. COUNTRY FARM BLUES: Son House makes his guitar sing at the beginning of this prison song. "Down South when you do anything that's wrong, they'll sure put you down on the county farm." A masterful song by a true master of the blues. THE PONY BLUES: Son House records an updated version of his Shetland Pony Blues that he recorded the previous year. He takes it a little slower, and again he displays a broader range of emotion in his voice. THE JINX BLUES: Tragedy is imminent. Son House woke up this morning and the Jinx was all around his bed. Whooping and moaning, Son House tells us just how he suffers. THE JINX BLUES: Son House lays down another version of the previous song. This one with mainly new lyrics. If I had to pick one over the other, I'd say this version has the more interesting lyrics. The guitar playing is equally moving on both tracks. Reviewed by Toby Levy Copyright NY CD Blues - 1996 NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ ========================================================================= Date: Wed, 17 Apr 1996 15:06:38 -0500 Reply-To: MARCIAG@VMS.CIS.PITT.EDU From: Marcia Grodsky Subject: Blues-L T Shirt Information So far I've had about 35 people express interest in a re-issue of the t-shirt. About half of these have been newbies who've asked questions that I'll try to answer all at once here. If anybody still has questions after reading this, feel free to email me. The blues-l t shirt developed as both a means for members to get together at festivals, etc. and as a fund-raising opportunity. Three organizations were nominated and put on the ballot to receive the proceeds. Every person who ordered during the first round got a vote and the Delta Blues Museum was voted to be the recipient of the proceeds. We presented them with a check for $1000, and there is still a small amount of money left that will be included with the money from this order, if we do another one. If there's not enough inter- est in doing another order at this time, I'll just send them the left-over money from the second round. Bob Unger, whose contributions to Blues-L have been enormous, designed the shirt. The design can be viewed at The Shed, the Blues-L site designed and maintained by Pam Koch. Bob says that you can get to this by pointing your browser to: ftp.acenet.auburn.edu/pub/misc/entertainment/blues and clicking on t front and t back Or, if you've made a bookmark for Curtis Hewston's Blue Highway as I have, you can reach it by clicking on the ftp sites there. The information that I'm going to give concerning sizes, colors and prices is all taken from the past order form. I haven't contacted the printing company yet, but I'm assuming that availability and prices will be similar. In addition to t-shirts, we also did sweatshirts. T shirt prices were $14 for Sm, M, L, XL; $15 for 2X; $16 for 3X and 4X. T shirts were good quality, heavyweight 100% cotton and were available in three color combinations: white w/ blue& black blue w/white and black black w/white & blue The blue in the t shirts is a bright, medium blue. Sweatshirt prices were $23 for S, M, L ,XL; $25 for 2X; $26 for 3X; $27 for 4X. Sweatshirts were a medium weight, 50/50 blend and were available in two color combinations: dk blue w/white lt gray w/dk blue Postage was additional. Remember, I'm *NOT* taking actual orders at this time --- just trying to determine whether or not there's enough demand to do it. So far I'm guessing that there's interest in about 3 dozen shirts, and I think we need a minimum of 5 dozen. ---Marcia Grodsky marciag@vms.cis.pitt.edu ========================================================================= Date: Wed, 17 Apr 1996 12:22:08 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Help! Sorry but I'm trying to see if everything is working on the internet provider. Could someone kindly try and e-mail me at the new address and let me know that the message made blues-l ok. Thanks, Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Wed, 17 Apr 1996 19:03:23 GMT Reply-To: bbbean@sheltonlink.com From: bbbean@SHELTONLINK.COM Organization: inlink Subject: Re: "To what did the blues give birth?" Comments: To: bit-listserv-blues-l@uunet.uu.net In <4kuvf6$grk@newsbf02.news.aol.com>, LeaGil writes: >I am echoing "Nitra's" question to BBB: On what do you base your time >table? I'm basing it on the fact that in New Orleans, Jazz was a recognized genre at the turn of the century, and contemporary writers commented on the "new" music. Contrast that with blues, which was still not widely recognized as a genre in many areas during the early 1930s. While Handy and others wrote "blues" songs earlier than this, these songs have much more in common with the music of New Orleans and New York than anything we recognize today as blues. I've read interviews and been told by several older players who began playing in the 20s through the 40s that there was no such thing as "blues" where and when they grew up. They learned to play "reels" and dance music before encountering blues and evolving into blues players. A look at the origins of each genre also lends credibility to the argument that jazz preceded blues. Jazz developed in the ethnic potpouri of New York and New Orleans at the turn of the century. In these thriving cities, different ethnic groups were in close quarters and industrial wages allowed higher rates of formal learning. Musicians were able to get formal training and be exposed to a bewildering array of ethnic musics from Europe, the Carribean, South America, Africa, and Asia. The stage was set early on for the development of a new genre. Compare that to the rural south at the turn of the century. With the exception of the highest rungs of the social ladder, most residents wre ill educated, immobile, and exposed at most to two ethnicities: black and white. Musically, their exposure was essentially limited to spiritual music, work songs, minstrels, folk music, and a limited repertoire of African music. It wasn't until the depression and the urban/Northern migration that many Southern blacks (or rural whites) ever travelled outside their home counties. So it seems entirely understandable that the rate of musical exchange was much slower in the rural areas, hence slowing the development of a widely recognized genre substantially compared to the fast evolution of urban genres. BBB B.B. Bean New address------>bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Wed, 17 Apr 1996 14:22:36 -0500 Reply-To: sprice@INAV.NET From: Steve Price Subject: Re: Gear: Transducer on your cone Comments: To: L W In-Reply-To: On Wed, 17 Apr 1996, L W wrote: > I was at a guitar joint yesterday and someone told me that he just put a > transducer type pickup on the cone of a Dobro and it sounded great. He also > said the word "drill" and I said no way, but we could put the jack in the > the round of the F-hole....Has anyone ever tried anything like that. It's a > Fishman transducer......??? COMMENTS ????? > > LW > Done it. It works great. Much less feedback than a mic. Much more natural then drilling in a magnetic pick up below the fingerboard. Doesn't dampen the sound even a little bit. I put mine on the part facing out, so instead of running the wire through the F-hole, I run it through the cover plate near the tailpiece. Also, put it as far into the cone as you can, not on the edge. I have the 1/8th inch jack stuck to the bottom of my dobro, not a 1/4 inch. The kind they make for a classical guitar. No drilling, and I use the tinest amount of sticky and not glue so the cone will be good as new if I want to take it off. Steve ========================================================================= Date: Wed, 17 Apr 1996 12:40:35 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: New e-mail address OK. It looks like I have e-mail up and running. The new address is as below and in the header. Once more it is "shaun@pacificnet.net" I re-subscribed to blues-l but I'm still yet to recieve anything. BTW, thanks to PW and anyone else who e-mailed me to help check if things were working. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Wed, 17 Apr 1996 14:39:19 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Stripped Books The "Gospel Greats" book that I mentioned with the Thomas Dorsey chapter has something in the front that says something like. If you bought this book with the cover missing it is stolen property. It has been reported as "unsold & destroyed" the publisher nor the author recieves any payment from the sell of this "stripped book"..... I have seen "stripped" books , magazines. I see a lot of promo CDs for sell with them plainly stamped "Not For Sale"....I think it would be a good idea for record companies to put something similar to what the above book had on it on their promo CD's..... I had never seen a "stipped" book warning on a book LW ========================================================================= Date: Wed, 17 Apr 1996 15:42:48 +0000 Reply-To: jknight@MICROMASS.COM From: jknight@MICROMASS.COM Organization: InterLan Communications Subject: Re: Goldwax Comments: To: bit-listserv-blues-l@uunet.uu.net David Silberberg wrote: > > At 03:12 PM 4/17/96 +0100, WALLER JONATHAN wrote: > > >Was it the Stax horns that played on the Goldwax record label??? >> According to the liner notes to "The Essential James Carr" (an excellent CD, > BTW), The Memphis Horns (who were the Stax horn section) played on all of > these Goldwax tracks. > > David Silberberg Don't know if this has been mentioned previously, but Ichiban recently made a distribution/reissue deal with Goldwax. Hopefully, we'll be seeing the rest of James Carr's Goldwax material soon. John ========================================================================= Date: Wed, 17 Apr 1996 15:07:04 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 04/18 B O R N : 04/18 BROWN, CLARANCE ( GATEMOUTH ) Born:1924 VINTON, LA Career:BASS / DRUMMER / GUITAR / HARMONICA / SINGER Style:BLUES CHESCOE, LAURIE Born:1933 LONDON, UK Career:DRUMMER / LEADER Style:TRAD / JAZZ With:MONTY SUNSHINE / BRUCE TURNER / BOB WALLIS / GEORGE WEBB / KEITH NICHOLS COLYER, KEN Born:1928 GREAT YARMOUTH, NORFOLK, UK CareerTRUMPET / GUITAR / SINGER / LEADER Style:TRAD / JAZZ With:GEORGE LEWIS / EMILE BARNES / CHRIS BARBER GALPER, HAL ( HAROLD ) Born:1938 SALAM, MA Career:PIANO / KEYBOARDS / COMPOSER Style:JAZZ With:HERB POMEROY / SAM RIVERS / TONY WILLIAMS / CHET BAKER / BOBBY HUTCHERSON / JOE HENDERSON / STAN GETZ / RANDY BRECKER / ATTIALA ZOLLER / JOE WILLIAMS / CHRIS CONNERS / ANITA O'DAY / GEORGE DUKE / LEE KONITZ / JOHN SCOFIELD / BILLY HART HILL, FREDDY ( FREDRICK ROOSEVELT ) Born:1932 JACKSONVILLE, FL Career:TRUMPET Style:JAZZ / BIG BAND MOTTOLA, TONY ( ANTHONY CHARLES MOTTOLA ) Born:1918 KEARNY, NJ Career:GUITAR Style:JAZZ / BIG BAND With:George Hall / Raymond Scott big band / Frank Sinatra / Perry Como / Played for early TV shows of Kate Smith / Cliff Edwards / Cities Service / Face the Music. PARKER, LEO Born:1925 WASHINGTON, D.C. Career:BARITONE SAX Style:JAZZ / BIG BAND With:Billy Eckstine / Benny Carter / Illinois Jacquet / Dizzy Gillespie Richardson, Eddie Born:1903 NEW ORLEANS, LA Career:TRUMPET Style:TRAD / JAZZ / BLUES With:Earl Foster 1929-1930 / Eureka Brass Band / Gibson Brass Band ROGERS, BUCK ( EVERETT ROGERS ) Born:1891 NEW ORLEANS, LA Career:PIANO / DRUMMER Style:TRAD / JAZZ With:Abbie Brunies / Johnny Wiggs / First drummer with Dukes of Dixieland SCHIRO, TONY Born:1899 NEW ORLEANS, LA Career:GUITAR / BANJO Style:TRAD / JAZZ With:Triangle Band 1917 1925 / Sharkey FOR A LISTING OF THOSE THAT PASSED AWAY IN THIS MONTH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us The Following were Recorded on this Date in the Years: ========================================================================= Date: Wed, 17 Apr 1996 14:28:10 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Solomon Burke (was: Some Questions) > From: "Robert J. Dewar" > Couple of questions: Can anyone recommend a compilation or even a > series of albums featuring Solomon Burke best stuff on Atlantic? I`m > deep into a soul vein these days and he is someone who keeps getting > mentioned as a giant of the genre.There is a famous quote from someone > inquiring who is the greatest soul singer,and someone else replies > "Solomon Burke and I`ll spot you the band" This quote is from Jerry Wexler, I believe. You want RHi70284 BURKE*SOLOMON HOME IN YOUR HEART-BEST OF RHINO 4/92 which has 40+ soul nuggets including classics like "Cry to me", "Everybody needs somebody to love", "Down in the valley", "Meet me in church" etc etc. Burke has also recorded a couple of wonderful live CDs including "Live from the House of Blues", which I would highly recommend. EW Eliot Williams University of Wisconsin Department of Medicine ecwillms@macc.wisc.edu ========================================================================= Date: Wed, 17 Apr 1996 19:58:35 GMT Reply-To: bluesbabe From: bluesbabe Organization: SoVerNet, Inc. Subject: Re: Buddy Guy's Tour Schedule? Comments: To: bit-listserv-blues-l@uunet.uu.net Karen Hanson wrote: >According to the Legends newsletter, Buddy now has a website: >http://buddyguy.com >or >http://legendsonline.com >(Shouldn't there be a www. in there somewhere?) >Last time I looked it wasn't up and running yet, but it may be now if you >feel like checking it out. >Karen and NOW CHECK OUT THE CLUB!!!!!!!!! THIS WEB SITE IS NICELYYYYYY DONE:))))) THE BABE ========================================================================= Date: Wed, 17 Apr 1996 16:31:26 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: eRIC's BLUES DATES: April 17 Comments: To: jcarmin@teleport.com >>>CARR, SAM (d/JELLY ROLL KINGS/EARWIG) b. >>>1926-0417, MARIANNA, AR A very Happy 70th Birthday to one of the really nice people in the blues. He's a monster drummer and still working steady with musicans a half-century younger than he is. In a world full of whiners and excuse-makers, Sam Carr give you a handshake, a smile, sets up his kit and gets the job done. Dick Waterman ========================================================================= Date: Wed, 17 Apr 1996 16:36:11 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Remembering Manny Greenhill . . . Since Tom Freeland posted that I used to work for Manny Greenhill, I thought that I would note Manny's death last weekend with a few observations. His musical roots were in the 1930s and he was involved with The Almanac Singers, The Weavers, Pete Seeger and many others from that time period. When I worked for him (i.e. Folkore Productions) in the early 1960s, we represented Joan Baez, Tom Rush, the Jim Kweskin Jug Band, Jesse Fuller, Rev. Gary Davis, Doc Watson and others. He was a caring a considerate man, very lowkey in his style of conducting business. He had a sense of diginity and class that often seemed out of place in the hippy-dippy folk world of that time. After I rediscovered Son House, I told Manny that I was going out on my own to manage Mister House. He gave me words of advice that are just as valid now as they were over 30 years ago. "Just remember that there's a lot more to personal management that just finding someone a few jobs. Anybody can do that. If you are going to become a personal manager, that means that you're saying you have the capabilities to provide for the welfare of not only the musician but his family as well. "Most of these blues singers don't read and write very well so they'll be trusting in you to protect them from a music industry that isn't going to be very charitable. "And always remember this . . . you have to love the music. They'll be peaks and valleys in how the business end of it goes but the music is forever." Dick Waterman ========================================================================= Date: Wed, 17 Apr 1996 14:35:34 -0600 Reply-To: cwolfson@ecentral.com From: Cary Wolfson Organization: BLUES ACCESS Subject: Re: 2nd Pick of '96. Comments: To: bit-listserv-blues-l@uunet.uu.net > Joe Beard does have a new one - on Audioquest (#1029) backed > by Ronnie Earl and the Broadcasters. Quite a CD. > > NY CD BLUES - CD Reviews and On-Line Blues Catalogs > http://www.panix.com/~bsco/ > Barry Silverberg ... bsco@panix.com Indeed. Without getting into the whole BS of "purist" versus whatever the opposite is, this CD sounds like THE BLUES. Cary Wolfson (cwolfson@ecentral.com) Publisher BLUES ACCESS, The Distinctive Blues Magazine 303/443-7245 http://www.he.net/~blues ========================================================================= Date: Wed, 17 Apr 1996 16:50:29 -0400 Reply-To: Jon Duttweiler From: Jon Duttweiler Subject: Blues Heaven Well, I'm now in blues heaven! Came home early from work and found a package awaiting me from CD World - my birthday goodies had arrived. (Don't know why, but Uncle eRIC hadn't listed me in his dates for April 14 ;-)). Four CD's ordered on the basis of this lists recommendations: Magic Sam - Live Byther Smith - Housefire Smokey Wilson - 88th Street Blues Valerie Wellington - Million Dollar Secret Am listening to Magic Sam even as I write. Rough recording, but absolutely tremendous music! The trouble with getting this many goodies all at once is that I can't wait for the next one! Oh yesssss! JD ========================================================================= Date: Wed, 17 Apr 1996 17:03:18 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Unusual "Cool Site"-- The Miss. Sup. Ct. Robert Johnson opinion This is my favorite "cool site" here lately; this is what internet research ought to be about. Someone on this list with a blues WWW page about Robert Johnson REALLY ought to link to these........ The WWW address for the 3/28/96 opinions of the Mississippi Supreme Court (the Robert Johnson estate opinion was one of those) is: http://www.mslawyer.com/mssc/cases/96328.html The full text of the Robert Johnson opinion itself is at: http://www.mslawyer.com/mssc/cases/92j883.html I sent the fact section of this up a couple of days ago, and have sent the balance of the the opinion to a few folks on the list. The Mississippi Supreme Court site is (believe it or not) not officially up until tomorrow, but these are available right now, today (I just looked at them). I'm sure some administrator somewhere will curse this post, sending the obsessed Robert Johnson fans of three or so continents (and Tazmania, if that guy who wrote me about RJ is still on this list) swooping down on their humble little web site. Little did they know. Don't tell them I sent you. I am still going to send some analysis in a day or so. I'm digging out some details, and will share of them with the list. Tom Freeland ========================================================================= Date: Wed, 17 Apr 1996 16:08:00 CDT Reply-To: Paul Garon From: Paul Garon Subject: Stripped Bks (& CDs?) LW, Selling stripped books is a bit different than selling promo CDS. The latter are sent out free of charge as promo and often find their way into the marketplace. But stripped books have had their covers removed and sent back to the publisher to prove that they did not sell; they money the bookseller paid for them is then refunded to the bookseller by the publisher. For the bookseller to then sell these same books, after he has sworn they didn't sell and received a refund for them, is frowned upon more deeply by the law than the selling of promo copies, for obvious reasons. The "Not for Sale" on such promo pieces (CDs or books) is originally (anyway) intended to keep such products out of the new, list price bins; their presence in the used and second-hand bins is often unobjectionable to all concerned. Paul Garon ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email or postal mail or visit us at http://www.abaa-booknet.com/usa/beasley/. _______________________________________|______________________________________ ========================================================================= Date: Wed, 17 Apr 1996 15:16:36 -0600 Reply-To: cwolfson@ecentral.com From: Cary Wolfson Organization: BLUES ACCESS Subject: MusicChoice Cable Radio/Blues Comments: To: bit-listserv-blues-l@uunet.uu.net As some of you may know, I'm the program consultant for MusicChoice (formerly DCR), a digital 24-hour all-blues no-talk radio channel available from many cable providers and DIRECT-TV. Unlike real radio, I pretty much operate in a vacuum in terms of listener feedback. (Our local cable service doesn't offer it, so I don't even get to hear what I'm programming.) If you're a subscriber to this service, I'd like to know what you think of it and would be responsive to comments on how we can make it even better. Cary Wolfson (cwolfson@ecentral.com) Publisher BLUES ACCESS, The Distinctive Blues Magazine 303/443-7245 http://www.he.net/~blues ========================================================================= Date: Wed, 17 Apr 1996 21:36:42 GMT Reply-To: James Elmore From: James Elmore Organization: SuperNet Inc. (908) 828-8988 Subject: Re: Merle Haggard Comments: To: bit-listserv-blues-l@uunet.uu.net Jeff Seale wrote: >Excuse the off-topic nature a bit... I saw a Bear Family Box set of >Merle and now I've noticed a domestic release box set. Any idea how >the two overlap and which is "better"? > >Anybody know if there is a list for the "older" non-hat act country >(i.e. George Jones, Conway Twitty, Merle Haggard, etc.)? > > Now we're talkin' white man's blues. Yeah, the Haggard situation is confusing, all right. Not long ago there was very little of Hag's material available- now, besides the BEAR FAMILY and the new CAPITOL set, there's also a nice 2-CD set on RAZOR & TIE and a label called KOCH is re-releasing a lot of the old CAPITOL albums. I even saw a GREATEST HITS package, produced by Haggard, on SUN today. The new CAPITOL box got good reviews but I don't know about duplication with BEAR FAMILY (BF collections are often a little too complete ). There is a newsgroup called something like Country.Old Time but it is meant to be for Old Time acoustic music (bluegrass, cajun, rural folk, etc) but that does not stop people from posting items concerning Classic Country act like those you've mentioned. I also recommend HIGHTONE's DULARE DUST tribute album for Haggard, co-produced by Dave Alvin. ========================================================================= Date: Wed, 17 Apr 1996 17:44:53 EDT Reply-To: MR ROBERT W BELEW From: MR ROBERT W BELEW Subject: Mountain Stage Saturday ! Tune in this Saturday Night, April 20th, to your local National Public Broadcasting station for Mountain Stage which will feature Mike Henderson of The Bluebloods with all of His stable mates over at Dead Reckoning Records. It airs at 8:00pm in East Tn. I understand he will perform a His tune called "Pay Bo Diddley" which is presently unavailable but I think it will be on the first Bluebloods album due out in Spring of '97 or sooner.The first album is recorded Live at the Bluebird Cafe in Nashville, TN. Don't be fooled into believing that there isn't any good blues in Nashvegas. The Bluebloods features Mike Henderson , Glenn Worf on Bass (currently on tour with Mark Knopfler), Reese Wynans on Keys and John Gardner on drums. You may remember these names from the latest Tracy Nelson record! I have heard the song a few times at the Bluebird Cafe. If you are one of those who believes that a lot of great blues artists haven't gotten there due then you will love this tune. That's what it is all about as the title indicates, Pay Bo Diddley ! It is a Rockin' little Blues number. See you there, Block Dog PS, the show also features Leon Redbone,The Cowboy Junkies and others. ========================================================================= Date: Wed, 17 Apr 1996 18:12:24 -0400 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Keb' Mo' needs a favor : ) Comments: To: bit-listserv-blues-l@uunet.uu.net I recieved an e-m from Keb' Mo' (and it's not a joke just in case anyone is wondering) and he was hoping there was a fan out there willing to help him out. The details are pasted in below and if anyone is interested please e-m and I'll put you in touch with Kevin. Thanks! dear Cat this Keb Mo calling I need alittle help . I have a wonderful cat by the name of Edgar I am allergic to him and the doctor has strongly suggested that I get rid of him . He is healthy young and well cared for . He also has been fixed and does not spray . Please spread the word over the net for me. If some one wants him I am willing to send him anywhere in the U.S.A. at my expense .please help I need my lungs to be healthy for singing. Catbauer@vivanet.com ========================================================================= Date: Wed, 17 Apr 1996 22:15:12 GMT Reply-To: Robert Belew From: Robert Belew Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Alligator 25th Anniversary Comments: To: bit-listserv-blues-l@uunet.uu.net Just wanted to put my $.02 in on the Alligator 25th Anniversary CD. Picked it >up yesterday and have only listened to the first disc in the package, but it >is a *very* good overview of Alligator's output. Highlights include, so far, >1 e previously unreleased cut from the "Showdown" sessions with Albert >Collins and Johnny Copeland and the cut, also previously unreleased, Lil' Ed >and the Blues Imperials. As the previously unreleased Hound Dog Taylor cut is >on the 2nd disc, I have not listened to it yet. Ahhhh then you still have the Unreleased Roy Bucanhan ditty entitled "Jack The Ripper" to look forward to. Block Dog The whole set is Great! ========================================================================= Date: Wed, 17 Apr 1996 22:17:45 GMT Reply-To: Robert Belew From: Robert Belew Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Buddy Guy's Tour Schedule? Comments: To: bit-listserv-blues-l@uunet.uu.net Troy Kelley wrote: > >Anyone out there know Buddy Guy's tour schedule for May? I know he is >playing in DC on May 7th.. but that is a tues night, so I was wondering >if he was playing in Baltimore or Philly the weekend before. > >Thanks >Troy I have tickets for Knoxville, TN on May 5th at the old Worlds Fair Site with NRBQ......... ========================================================================= Date: Wed, 17 Apr 1996 22:28:43 GMT Reply-To: Robert Belew From: Robert Belew Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Columbia House blues repost request Comments: To: bit-listserv-blues-l@uunet.uu.net According to an article in this months Rolling Stone, the artists are losing mega dollars when people purchase through Columbia House, BMG and all of the record clubs out there. They are striking such low cost deals with the record companies in order to do the 12 for a Penny type of come ons that the performers are getting cut out of the deal. Of course Pearl Jam, the Friends of Ticket Master, are right in there battling for thier lost revenues. As concerned as we as a group seem to be about the lack of Monetary Compensation our Hero's of the Blues are recieving, maybe we should take this one to the bank and support the Blues with the full ticket price. Just food for thought, not food for songs...... Block Dog ========================================================================= Date: Wed, 17 Apr 1996 23:47:13 GMT Reply-To: Robert Belew From: Robert Belew Organization: Prodigy Services Company 1-800-PRODIGY Subject: Transducer On Your Cone ! Comments: To: bit-listserv-blues-l@uunet.uu.net I believe I'd see a Doctor about that, if I were you....... Block Dog ========================================================================= Date: Wed, 17 Apr 1996 17:28:08 -0700 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Memorial services for Manny Greenhill Comments: To: bgrass-l@lsv.uky.edu, folkdj-l@psuvm.psu.edu There will be two memorial services for Manny Greenhill. In the Los Angeles area: on Thursday, May 2, at 4:00 p.m., at the Church In Ocean Park, 2nd and Hill Sts. in O.P. In the Boston area: on Saturday, May 4, at 1:00 p.m., at the Quaker Meeting House in Cambridge, near Longfellow Park. Folks who are unable to attend either, but wish to send a tribute or personal reminiscence to be read, may send them to me via email, or to Manny's office via regular mail: Folklore Productions, 1671 Appian Way, Santa Monica, CA 90401 USA. Mary Katherine ========================================================================= Date: Tue, 16 Apr 1996 23:31:55 GMT Reply-To: Jack Oudiz From: Jack Oudiz Organization: Midtown Computer Services Subject: Re: How to go nomail? Comments: To: bit-listserv-blues-l@uunet.uu.net James Bardsley wrote: >I'll be taking off for the New Orleans Jazzfest by way of San Antonio- a >circuitous route, I know, but I mixing pleasure with business, better than the >alternative. >Anyway, what's the best way to make sure I don't have 4 gazillion messages in my >box when I return? Go "nomail " onthislist, or unsubscribe and resubscribe? Bards, you just add nomail to the subscribe message: subscribe james bardsley nomail ========================================================================= Date: Wed, 17 Apr 1996 21:52:25 -0400 Reply-To: LKnight1@AOL.COM From: Leslie Ann Knight Subject: 04/17/96 Playlist April 17, 1996 Playlist, Noon until 2:00pm Extra blues programming with Leslie Ann Knight KKUP 91.5 FM, Cupertino, CA 510 797-0654 Fax 510 791-1084 LKnight1@aol.com Artist / CD Title / Track / Label ------------------------------------------------------------------------------ ---------- Noon --------------------------------------------- Big Daddy Kinsey / I Am The Blues / Walking Thru The Park / Gitanes Elmer Lee Thomas Blues Revue / Radio Blues / Whoopin and Squallin / MoeToe Hans Olson / Kachina Blues / The Sun Jump Club / Blond Sun Margie Evans / Blues For The Lady / Evil Gal Blues / ? Tommy Castro / Exception... / Nasty Habits / Blind Pig W.C. Clark / Texas Soul / You ll Need Another Favor... / Black Top Mick Martin & the Blues Rockers / Got To Play The Blues / Playing With Fire / Blues Rock Mama Thornton / Original Hound Dog / They Call Me... / Ace-Peacock Kenny Blue Ray / Strat Daddy / Dimples / Blue Ray Request for James Cotton: 25th Allig. Anniv / 25th Allig. Anniv / Diggin My Potatoes / Alligator Mike Welch / These Blues Are Mine / It Might Not Be Me / Tone Cool Mighty Blue Kings / Meet Me In Uptown / Cadillac Boogie / R-Jay Joey Razor & the Blue Blades / Joint B Jump / Blues Epidemic / Hectic Bobby Murray / The Blues Is Now / The Future Is Now / Viceroots 1:00 pm ------------------------------------------ Stan West / My Blues / Get Outta Dodge / Res-o-nator Paul Oscher / Knockin On Devil s Door / Title Track / Viceroots John Primer / The Real Deal / Crying For Your Love / Code Blue Pat Boyack & the Prowlers / On The Prowl / Mr. Moondog Man / Bullseye ------------------------------------------------------------ New CD Feature: Little Jonny & The Giants / No Mercy / No Mercy / Cornbread Little Jonny & The Giants / No Mercy / Stranger Blues / Cornbread Little Jonny & The Giants / No Mercy / You ve Got To Move On / Cornbread Little Jonny & The Giants / No Mercy / ...Yonder s Wall / Cornbread Little Jonny & The Giants / No Mercy / Sportin Life / Cornbread ------------------------------------------------------------ Sonny & Brownie / Brownie s Blues / Killin Floor / Prestige Alvin Youngblood Hart / Big Mama s Door / Gallows Pole / OKeh/550 Music Roomful of Blues / Turn It On... / Gettin Out / Bullseye Closing theme for all of my blues shows: Joey Razor and the Blue Blades Joint B Jump After Hours Taxi Hectic Notes: Focused on presenting a terrific new self-produced CD by former Pontiax guitarist, Jon Lawton. This hot off the presses CD is titled, NO MERCY, Little Jonny & The Giants. Callers responded positively to the new CD and several asked where they could pick it up. I directed them to several independent CD stores. Listeners requested Joey Razor and the Blue Blades, Mick Martin & the Blues Rockers, Roomful of Blues and James Cotton. ========================================================================= Date: Wed, 17 Apr 1996 21:07:11 -0700 Reply-To: Kelly Hoggard From: Kelly Hoggard Organization: The Wolfpack Subject: Danny Gatton Comments: To: bit-listserv-blues-l@uunet.uu.net This may be interesting to some (I have seen posts about Danny gatton here before): I was perusing the records at the Salvation Army store in Kokomo, IN today, and came across an album called "Bobby Charles Invades the Wells Fargo Lounge" on the Fenton label. The album showed six musicians-five in black tuxes and one in an orange tux. What caught my eye was the fact that the guitarist had, slung over his shoulder, a vintage Les Paul Custom "Black Beauty" 3-pickup job like Peter Frampton use to have. I picked up the album and read the liner notes on the back, which stated, "Dennis Solee and his sax came to the group from Washington, D.C. by way of Nashville as did Danny Gatton, guitarist." The album was recorded on January 12-13, 1968 at the aforementioned lounge. I gather that this lounge was located in a bowling alley in the Quad Cities area judging by other info on the album. The songs on the album are: Side 1: Side 2: Feelin' Good Zorba The Greek Ode To Billy Joe By The Time I Get To Phoenix Cabaret Break My Mind Funny How Time Slips Away Try To Remember Maleguena Walk On The Wild Side I am supposing that this is Danny's first recording, but if someone knows otherwise...... -- kelly@netusa1.net(Kelly Hoggard) The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! Check out their home page at http://www.netusa1.net/~kelly/ ========================================================================= Date: Wed, 17 Apr 1996 22:18:31 -0400 Reply-To: JRush11279 From: JRush11279 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Looking for the blues in DC Comments: To: bit-listserv-blues-l@uunet.uu.net Check out the DC Blues Society Home page at http://intelus.com/dcblues/ ========================================================================= Date: Wed, 17 Apr 1996 20:03:35 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Blues Bros./HoB A couple of days ago I promised to "unrevise" some popular history about = the Blues Brothers. I will have more to say in this matter, but fellow = lister Mark Hoffman has already documented the first chapter in this sad = tale. Anyone interested can find this foundation material at: http://www.cs.monash.edu.au/~pringle/bluesbros/article.hyml Later I'll supplement with a truly sleazy tale wrought with secret = taping and other deceit that yielded the material for Blues Brothers = album #2. If anybody cares. Uncle Ray ========================================================================= Date: Thu, 18 Apr 1996 03:22:36 GMT Reply-To: Lucy Dueck private account From: Lucy Dueck private account Organization: U of Toronto Zoology Subject: Re: Kenny Burrell Comments: To: bit-listserv-blues-l@uunet.uu.net Kenny Burrell is who many blues guitarists listen to ...! ========================================================================= Date: Wed, 17 Apr 1996 19:14:34 -0700 Reply-To: Jim Starns From: Jim Starns Subject: Re: Keb' Mo' needs a favor : ) ---------- From: CATBAUER[SMTP:catbauer@AOL.COM] Sent: Wednesday, April 17, 1996 3:12 PM To: Multiple recipients of list BLUES-L Subject: Keb' Mo' needs a favor : ) I recieved an e-m from Keb' Mo' (and it's not a joke just in case anyone is wondering) and he was hoping there was a fan out there willing to = help him out. The details are pasted in below and if anyone is interested please e-m and I'll put you in touch with Kevin. Thanks! dear Cat this Keb Mo calling I need alittle help . I have a wonderful = cat by the name of Edgar I am allergic to him and the doctor has strongly suggested that I get rid of him . He is healthy young and well cared for . He also has been fixed and does not spray . Please spread the word over the net for me. If some one = wants him I am willing to send him anywhere in the U.S.A. at my expense = .please help I need my lungs to be healthy for singing. Catbauer@vivanet.com Cat, Can't help you with the cat, but Kevin's lungs are in great shape. Saw = him last Saturday at Cal-State Long Beach with Doug McCloud, John = Hammond, and Charlie Musclewhite. Great show, but the killer for me was = Keb' Mo' and John Hammond doing Robert Johnson's "Come on in my = kitchen". Made my year.Jim Starns Starns Risk Managers Phone: (714) 751-5382 Fax: (714) 546-7431 Email: jstarns@superstore.com ========================================================================= Date: Wed, 17 Apr 1996 23:10:06 -0500 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Links to Robert Johnson opinion Tom is right. These are important documents. I have put these links on the cover of BLUES WORLD, http://www.bluesworld.com Joel ========================================================================= Date: Thu, 18 Apr 1996 00:23:04 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: 2nd Pick of '96. Comments: To: Cary Wolfson In-Reply-To: <31755616.666A@ecentral.com> On Wed, 17 Apr 1996, Cary Wolfson wrote: > > Joe Beard does have a new one - on Audioquest (#1029) backed > > by Ronnie Earl and the Broadcasters. Quite a CD. > > Indeed. Without getting into the whole BS of "purist" versus whatever > the opposite is, this CD sounds like THE BLUES. Just curious - what does purist have to do with Joe Beard and/or Ronnie Earl? Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 18 Apr 1996 00:29:51 -0400 Reply-To: James Leftwich From: James Leftwich Subject: NYC gigs Could the poster of the Christine Santelli itinerary please email me a description of the band and the kind of show they put on...I'm interested in the Friday show at Manny's Carwash. also... Could someone tell me something about the Chris Carter Band. Is he worth a $15 cover? ============================================================================= Jim Leftwich Jim's Blues N' Brews leftwich@cloud9.net http://www.cloud9.net/~leftwich "I'm on cloud9!" :) New CD Giveaway: Jordan Patterson ============================================================================= ========================================================================= Date: Thu, 18 Apr 1996 00:35:10 -0400 Reply-To: Jonny Meister From: Jonny Meister Subject: Digest form of Blues-l I tried switching to the Digest form of the list by sending a "SET BLUES-L DIG" command to the listserv address yesterday. I got back an acknowledgement message, but no digest came. Finally, I set it back to MAIL and immediately got a digest with just one message in it. Anyone know if the DIGEST thing actually works? Did I do something wrong? Thanks for your help. -Jonny P.S. can someone forward to me eRIC's dates for 4/17/96? ========================================================================= Date: Wed, 17 Apr 1996 23:31:02 -0500 Reply-To: "Eric A. Pulsifer" From: "Eric A. Pulsifer" Organization: Evansville Online Subject: Re: Re[2]: VoodooChile/Wanking/Blues Comments: To: bit-listserv-blues-l@uunet.uu.net In-Reply-To: <9603168296.AA829679066@mail-sh.lsumc.edu> More on wanking (love that word!) I'm definitely one who would rather play my own interpretation of a tune and try to build on my own sound. This breaks all the way down to my choice of sound equipment for harp (vocal mic and keyboard amp for a deep, fat tone). I figure if someone wants to hear a tune exactly the way it was recorded, that's why clubs have jukeboxes. A band with any kind of soul should be able to play its own interpretation of a tune. If it means a total rearrangement, so be it. Eventually that'll become a band's calling card. A favorite example is when my old band practically rewrote "Summertime" into an instrumental -- starting off with a slow blues thing and switching to a hard-bop groove. The house rocked. I always try to surround myself with a bunch of musicians that have that same mindset, but it never hurts to have one who goes "by the book" to serve as a voice of sanity, a foundation for the others' flights of fancy. -- Eric {(-8 On Tue, 16 Apr 1996, James Bardsley wrote: > Shaun, my vote is for new arrangements of great old material: it's a wonderful > way to display some creativity and at the same time keep the old standards in > circulation. Get Pete Anderson's (excellent) solo CD "Working Class" and listen > to his version of "(Let me Stand Next to Your) Fire [Hendrix, but y'all knew > that]. It so different that on first listen you practically can't recognize it > till he gets to the chorus. > > -Jim > _______________________________________________________________________________ > Subject: Re: VoodooChile/Wanking/Blues > From: Shaun T Cronin at INTERNET-SH > Date: 04/16/96 1:55 AM > > At the moment we are trying to navigate a path between the members of the > band who want to do everything as close as possible to the record and those > who want to start messing with the songs and see what happens (that's me). > There is talk of doing a few originals. This should be interesting. > > Shaun > > Shaun Cronin 'Woke up this morning between midnight and day. I was > shaun@wavenet.com hugging the pillow where my baby used to lay.' Son > House > > ========================================================================= Date: Wed, 17 Apr 1996 22:08:11 -0500 Reply-To: karen johnson From: karen johnson Subject: Providence Greetings, I will be in Providence, RI from Apr. 27-May 1. I need the usual information--where to find blues performances. Restaurant guidance would also be useful. Thanks in advance. KJ in SF ========================================================================= Date: Thu, 18 Apr 1996 02:36:48 -0400 Reply-To: "jose.eric.s.maglanque" From: "jose.eric.s.maglanque" Subject: Staples Singers suggestions Just revisited my Vanguard 'Best Folksingers of the 60s' double-vinyl and was floored by Staples Singers 'Wish I Had Answered'. It has temporarily replaced the Famous Blue Jay Singers' 'Canaan Land' as my favorite 'bathroom song'. Are they always like this (pun intended :-)? When was their best period, and what is (are) their best CD(s)? ========================================================================= Date: Thu, 18 Apr 1996 00:01:55 -0700 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: NEW NATIONAL I DID IT-- I forked down the dough and scored a National reissue Delphi delta model, black and silver. I found it used in perfect condition, AND I LOVE IT. This guitar makes my playing sing and cry- (something that my flat top was lacking) Like one of my friends said- " man now your playing sounds legit" WOOOO HOOOOO This is a great guitar and I am so f@#$in Happy, E-mail can't Express it- OOhhhhh this is the greatest guitar- I think that I may just have to sell all my other guitars now. I don't think that they will be used much now. well I got to get back to playing- peace, Isaac ========================================================================= Date: Thu, 18 Apr 1996 08:21:35 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Staples Singers suggestions Comments: To: "jose.eric.s.maglanque" >Just revisited my Vanguard 'Best Folksingers of the 60s' double-vinyl and was >floored by Staples Singers 'Wish I Had Answered'. It has temporarily replaced >the Famous Blue Jay Singers' 'Canaan Land' as my favorite 'bathroom song'. Are >they always like this (pun intended :-)? > >When was their best period, and what is (are) their best CD(s)? I personally prefer the staples VeJay recordings. They are SOO DEEP with just Pops guitar, drums and the voices. And Mavis is soul and spirit walking like a woman. Mr Bo ========================================================================= Date: Thu, 18 Apr 1996 09:05:53 +0100 Reply-To: ROBERT FORD Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: ROBERT FORD Subject: Re: Keb' Mo' needs a favor : ) ----------- dear Cat this Keb Mo calling I need alittle help . I have a wonderful = cat by the name of Edgar I am allergic to him and the doctor has strongly suggested that I get rid of him . He is healthy young and well cared for . He also has been fixed and does not spray . Please spread the word over the net for me. If some one = wants him I am willing to send him anywhere in the U.S.A. at my expense = .please help I need my lungs to be healthy for singing. Keb ========================================================================= Date: Thu, 18 Apr 1996 04:43:08 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Blues Bros./HoB Comments: To: "Raymond O. Varner" On 17 Apr 96, Raymond O. Varner had this to say: > A couple of days ago I promised to "unrevise" some popular history about the Blues Brothers. I will have more to say in this matter, but fellow lister Mark Hoffman has already documented the first c > apter in this sad tale. Anyone interested can find this foundation material at: > http://www.cs.monash.edu.au/~pringle/bluesbros/article.hyml > > Later I'll supplement with a truly sleazy tale wrought with secret taping and other deceit that yielded the material for Blues Brothers album #2. If anybody cares. > > Uncle Ray Damn... I thought I came up with the sunglasses. Who would have thought? And the idea that Belushi should sing like himself.... brilliant. Who else could have thought of that? He should have been a millionaire P.W. ========================================================================= Date: Thu, 18 Apr 1996 04:26:43 GMT Reply-To: CKUT_online@babylon.montreal.qc.ca From: CKUT online Organization: Babylon, Montreal, Canada Subject: Re: Whoops! Bargains! Comments: To: bsco@PANIX.COM It's definitely the manufacturer/distributor who punches the jewel boxes when they delete product from the catalog or liquidate overstock. I spent a lot of years on the retail side of this and never heard of a store doing this. John D. ========================================================================= Date: Thu, 18 Apr 1996 04:16:15 GMT Reply-To: CKUT_online@babylon.montreal.qc.ca From: CKUT online Organization: Babylon, Montreal, Canada Subject: Re: Kenny Burrell Comments: To: kelly@NETUSA1.NET You might also want to try out Kenny Burrell's "Ellington Is Forever" (Vol. 1 & 2); both are available on cd. Another great bluesy jazz guitar album is George Benson's "New Boss Guitar of George Benson". It was his first album as a leader when he was with Brother Jack McDuff. Great guitar work and no singing! John D. ========================================================================= Date: Thu, 18 Apr 1996 05:35:03 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1934, the 1st "Washateria" (laundromat) was opened, in Fort Worth, Texas. The laundry was a whole lot heavier on the trip home since there were no driers. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ I think no woman I have had ever gave me so sweet a moment, or at so light a price, as the moment I owe to a newly heard musical phrase. - Stendhal (1783-1842) ========================================================================= Date: Thu, 18 Apr 1996 05:53:41 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Whoops! Bargains! Comments: To: CKUT online In-Reply-To: <3857121279.34291064@babylon.montreal.qc.ca> On 18 Apr 1996, CKUT online wrote: > It's definitely the manufacturer/distributor who punches the jewel boxes when > they delete product from the catalog or liquidate overstock. I spent a lot of > years on the retail side of this and never heard of a store doing this. > John D. The punches are definitely from the manufacturer agreed . I think the original poster was talking about the side "cuts" into a case. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 18 Apr 1996 11:42:13 MET Reply-To: Luuk Hogeboom From: Luuk Hogeboom Subject: PROGRAM OF THE NEW ORLEANS JAZZ FEST Hi, does anybody know the program of the New Orleans Jazz Fest on the first weekend (april the 26th - 28th). I have the address of the webpage , but I can't take a look because I have only email. Second question: what is the entrancefee for the festival. Luuk Hogeboom Groningen, the Netherlands ========================================================================= Date: Thu, 18 Apr 1996 11:16:51 +0100 Reply-To: WALLER JONATHAN From: WALLER JONATHAN Subject: Goldwax This is the first time I have done this so if its wrong...Im sorry!! Does anyone know if it was the Stax horns that played on the Goldwax Recordings? Also has anyone heard the James Carr album called "Take me to the limit"?If yes...is it any good?? ========================================================================= Date: Thu, 18 Apr 1996 10:50:23 GMT Reply-To: Pete Stellers From: Pete Stellers Organization: Uppsala University Subject: Blues is dead? Comments: To: bit-listserv-blues-l@uunet.uu.net Why bother listening to blues today? The artists that still live are=20 hakfdead and it=B4s almost embarrasing to see them live. It=B4s a shame h= ow=20 white bluesfans drag around these old people who should be at home and=20 resting.=20 Is there anyone out there who can name a great bluesman who=B4s playing=20 and is not born in the thirties?=20 The blues is dead. Let it rest in peace! ========================================================================= Date: Thu, 18 Apr 1996 07:35:27 -0400 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: John Monney on CNN 4/18 Comments: To: bit-listserv-blues-l@uunet.uu.net John will be on CNN's Entertainement segment which runs at 5:30pm and again 12:30 on April 18th. Catbauer@vivanet.com ========================================================================= Date: Thu, 18 Apr 1996 11:53:48 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Blues is dead? In-Reply-To: <4l56pf$jss@columba.udac.uu.se> On Thu, 18 Apr 1996, Pete Stellers wrote: > Why bother listening to blues today? The artists that still live are=20 > hakfdead and it=B4s almost embarrasing to see them live. It=B4s a shame h= ow=20 > white bluesfans drag around these old people who should be at home and=20 > resting.=20 > Is there anyone out there who can name a great bluesman who=B4s playing= =20 > and is not born in the thirties?=20 > The blues is dead. Let it rest in peace! >=20 =20 Why would you come on Blues-L and invite a flamefest by=20 stating something as ignorant as that? Obviously your not=20 a blues fan, I am at a loss as to your motive. "Something is rotten in Denmark" - Shakespeare (more-or-less) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [18/4/96 7:47 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 18 Apr 1996 07:58:26 -0400 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: Staples Singers suggestions Comments: To: "jose.eric.s.maglanque" In-Reply-To: <9604180637.AA8735@CServe-Hub4.inhouse.compuserve.com> Jose, My favorite Staple Singers CD is FREEDOM HIGHWAY. I like their early gospel music best. Mavis was a teen whose voice was as deep as it is now. When they appeared at the Uptown Theatre, the audience was mesmerized by her voice and enthralled by her hand-clapping accompaniment. It was something to see: she played her hands like a tamborine. When I listen to Roebuck "Pop" Staples play, I hear the Mississippi blues guitarist. Is/was his name Hirt? Are they still performing? Peace, nitra On Thu, 18 Apr 1996, jose.eric.s.maglanque wrote: > Just revisited my Vanguard 'Best Folksingers of the 60s' double-vinyl and was > floored by Staples Singers 'Wish I Had Answered'. It has temporarily replaced > the Famous Blue Jay Singers' 'Canaan Land' as my favorite 'bathroom song'. Are > they always like this (pun intended :-)? > > When was their best period, and what is (are) their best CD(s)? > ========================================================================= Date: Thu, 18 Apr 1996 08:08:50 -0400 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: Blues is dead? Comments: To: Pete Stellers In-Reply-To: <4l56pf$jss@columba.udac.uu.se> Well then, what's there to discuss (spelled Blues-L)? nitra On Thu, 18 Apr 1996, Pete Stellers wrote: > Why bother listening to blues today? The artists that still live are > hakfdead and it=B4s almost embarrasing to see them live. It=B4s a shame h= ow > white bluesfans drag around these old people who should be at home and > resting. > Is there anyone out there who can name a great bluesman who=B4s playing > and is not born in the thirties? > The blues is dead. Let it rest in peace! > ========================================================================= Date: Thu, 18 Apr 1996 08:30:20 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1977, Alex Haley was awarded the Pulitzer Prize in Literature for "Roots". P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 18 Apr 1996 08:26:37 -0400 Reply-To: Curtis Hewston From: Curtis Hewston Subject: The Blue Highway Screen Saver I've made available for downloading a slightly updated version of the shareware screen saver (for Windows and Windows 95) called SlideShow 4.3. It displays any images off your hard drive and comes with a lot of neat features. I also have zipped up for downloading 54 choice and original jpegs from my trip to New Orleans and the Delta last August. (Most of these you may have seen on The Delta Log, but 20 of them are new.) You'll need to register the screen saver with CMB Software ($14) -- which you can now do online or by e-mail. ***For every registration that comes from The Blue Highway, I get $2, which I donate to the Delta Blues Museum in Clarksdale.*** With the museum's blessing, I've also posted the details of their "Friends of the Delta Blues Museum" program, including a faxable application form. You can read all the details starting at: http://www.vivanet.com/~blues/scrsaver.html Enjoy. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Thu, 18 Apr 1996 08:37:36 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: This just in... Comments: cc: curtis@magicnet.net I have just learned that I will be opening for Johnny Copeland on Sunday, June 2nd at Skipper's Smokehouse in Tampa. I don't have to tell you I'm excited. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 18 Apr 1996 07:38:43 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Blues is dead? In-Reply-To: <4l56pf$jss@columba.udac.uu.se> Let this bait just die before we start another useless diversion... -Jeff --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball #10 U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc02.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Wed, 17 Apr 1996 17:05:50 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re[2]: Gear: Transducer on your cone Comments: To: sprice@INAV.NET I'd say, use whatever Mark Knopfler does!... Jim _______________________________________________________________________________ Subject: Re: Gear: Transducer on your cone From: sprice@INAV.NET at INTERNET-SH Date: 04/17/96 4:31 PM On Wed, 17 Apr 1996, L W wrote: > I was at a guitar joint yesterday and someone told me that he just put a > transducer type pickup on the cone of a Dobro and it sounded great. He also > said the word "drill" and I said no way, but we could put the jack in the > the round of the F-hole....Has anyone ever tried anything like that. It's a > Fishman transducer......??? COMMENTS ????? > > LW > Done it. It works great. Much less feedback than a mic. Much more natural then drilling in a magnetic pick up below the fingerboard. Doesn't dampen the sound even a little bit. I put mine on the part facing out, so instead of running the wire through the F-hole, I run it through the cover plate near the tailpiece. Also, put it as far into the cone as you can, not on the edge. I have the 1/8th inch jack stuck to the bottom of my dobro, not a 1/4 inch. The kind they make for a classical guitar. No drilling, and I use the tinest amount of sticky and not glue so the cone will be good as new if I want to take it off. Steve ========================================================================= Date: Thu, 18 Apr 1996 08:42:41 -0400 Reply-To: bob vanarsdall From: bob vanarsdall Subject: nomail Folks - I'm going nomail for a couple of weeks while going on a project in Louisiana. If I'm very lucky I may get enough free time to get to Jazzfest, but at the very least will certainly get to Tabby's Blues Box in Baton Rouge. Hope I can pick up some list-worthy info while I'm down there. As the truckers say, "Put me on the 'be back' list...." Bob ========================================================================= Date: Thu, 18 Apr 1996 08:55:25 +0000 Reply-To: jknight@MICROMASS.COM From: jknight@MICROMASS.COM Organization: InterLan Communications Subject: Re: Goldwax Comments: To: bit-listserv-blues-l@uunet.uu.net David Silberberg wrote: > > At 03:12 PM 4/17/96 +0100, WALLER JONATHAN wrote: > > >Was it the Stax horns that played on the Goldwax record label??? >> According to the liner notes to "The Essential James Carr" (an excellent CD, > BTW), The Memphis Horns (who were the Stax horn section) played on all of > these Goldwax tracks. > > David Silberberg Don't know if this has been mentioned before, but Ichiban recently made a distribution/reissue deal with Goldwax. Hopefully, we'll be seeing the rest of James Carr's Goldwax material soon. John ========================================================================= Date: Thu, 18 Apr 1996 09:15:11 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Women of the Blues Page Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com A friend of mine, who is an undergrad ethnomusicology student, is working on a www page about blues women. She has a great article there on Memphis Minnie, and she plans to add more articles on blues women, including Jessie Mae Hemphill. Check it out at: http://www.smith.edu/~mwarnock/grrrlblues/index.html -Steve L ========================================================================= Date: Thu, 18 Apr 1996 06:27:37 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Too much change??? >On Thu, 11 Apr 1996 14:55:16 >R.J. Bauman wrote: > >> B) One "too far" example which comes to mind is "John Coltrane Plays The Blues" >> which has no blues on it--- TO ME it's not even close. > >I like the blues, I like jazz, I like all kinds of stuff. >I have this CD, just played it today. Nope, it's the blues alright. >No doubt about it. I know this thread is a couple of days old, but following this exchange, I decide to check out Coltrane Plays the Blues for myself. I gotta tell you, I really love this album, for the most part (although Untitled Original does little for me). As for the question 'Is it jazz or blues?', I'd say jazz, to be sure - bluesy jazz, but jazz. I think it depends on your point of view - a jazz fan will see this as blues, a blues fan will see this as jazz. Semantics and arguments over categorizing music aside, I recommend this to any blues fan who wants to add some jazz to his collection. As an aside, I think a lot of blues drummers could learn a lot (and I'm sure many have) from Elvin Jones who plays drums on this album. Very tasteful, laid back, and in the groove... The interplay between piano and sax is excellent as well. I love the condescension (sp???) in the liner notes about 'the blues', though - "...the album is unusual in that the feeling of sameness that could have so easily resulted from the same four men playing six blues has been neatly avoided." Argh!!! :-) -Jim (hndful@uniserve.com) ------------------------------------------------------------ Check out 'Heart and Soul', a new hour of blues, gospel, and jazz every week on SDF-Net Community Radio - http://sdf-radio.colossus.net. ------------------------------------------------------------ ========================================================================= Date: Thu, 18 Apr 1996 09:34:08 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Too much change??? Comments: To: Jim Witteveen On 18 Apr 96 at 6:27, Jim Witteveen wrote: > I love the condescension (sp???) in the liner notes about 'the blues', > though - "...the album is unusual in that the feeling of sameness that could > have so easily resulted from the same four men playing six blues has been > neatly avoided." Argh!!! :-) Gee... In my band, like every other I'd bet, the same 5 guys play about 30 Blues tunes in one night. I guess this guy would really be suprised at how that's done. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 18 Apr 1996 09:06:16 -0500 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: Blues is dead? > > Why bother listening to blues today? The artists that still live are > > hakfdead and it=B4s almost embarrasing to see them live. It=B4s a shame h= > ow > > white bluesfans drag around these old people who should be at home and > > resting. > > Is there anyone out there who can name a great bluesman who=B4s playing > > and is not born in the thirties? > > The blues is dead. Let it rest in peace! I thought Jim Hartac was dead. ========================================================================= Date: Thu, 18 Apr 1996 10:04:24 -0400 Reply-To: FORCELLAD@CCSUA.CTSTATEU.EDU From: Domenic Forcella Subject: EARTH DAY BLUES A new song has been added to my playlist for Earth Day, Ecosystem Breakdown from Lowdown Towne's Root Sauce. The cd mixes blues, soul, funk, r&b and what I'd call a little cajun zydeco. Ten of the songs on the cd are originals. I plan to start the Earth Program with Koko Taylor "Mother Nature" and follow with this cut. Domenic Forcella Traveling with the Blues wfcs 107.7 ========================================================================= Date: Thu, 18 Apr 1996 15:11:15 +0000 Reply-To: Liam McDowell From: Liam McDowell Organization: The University of Edinburgh Subject: Michael Roach Comments: To: Automatic digest processor The US bluesman, Michael Roach, is performing 'live' in Perth, SCOTLAND on the 10th May. My friends and I have not heard of him. Can anyone give any background on this artist, his style of blues, recordings etc. Liam McDowell ~~~~~~~~~~~~~~ Liam McDowell University of Edinburgh Tel: 0131 650 2101 ========================================================================= Date: Thu, 18 Apr 1996 15:12:05 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Too much change??? >On 18 Apr 96 at 6:27, Jim Witteveen wrote: > >> I love the condescension (sp???) in the liner notes about 'the blues', >> though - "...the album is unusual in that the feeling of sameness that co= uld >> have so easily resulted from the same four men playing six blues has been >> neatly avoided." Argh!!! :-) > >Gee... In my band, like every other I'd bet, the same 5 guys play >about 30 Blues tunes in one night. I guess this guy would >really be suprised at how that's done. > My new definition of jazz: 5 guys playing 30 blues tunes at the same time. My Favorite quote: "I don=B4t wanna hear none of that ble blop" (Howling Wol= f) Mr Bo Who by the way thinks Rhaasan Roland Kirk is the bluesiest man ever heard) ========================================================================= Date: Thu, 18 Apr 1996 16:27:14 +0100 Reply-To: BIBGA@HHS.SE From: Gorgen Antonsson Subject: John Coltrane (was: something else...) I know, we're getting a bit off the mark... but when Jim Witteveen recommends Coltrane's "Play the blues" album as a first Coltrane for blues fans, I can't keep my big mouth shut! IMO this is the weakest of Coltrane's Atlantic albums, and, IMO again, the right way to approach ANY artist that is new to you is through his greatest works... Try "Giant steps" (Atlantic) or "A love supreme" (Impulse), both generally acknowledged milestones in jazz history. Gorgen Antonsson, Stockholm PS. To give this a bit of blues interest... did you know that Coltrane started out behind Earl Bostic? ========================================================================= Date: Thu, 18 Apr 1996 10:30:52 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Transducer in your cone! LW, sorry, I misplaced your address, so this one gets posted to the group. ANyway, I have been trying like hell to get my dobro into our lineup on stage and have been stymied repeatedly by feedback and an absolute lack of sufficient volume to hear it at all. What I'm doing now is miking with an SM-57 about an inch off the strings, and going through the PA. This works fine in our re- hearsal studio, but live in a club, uh-uh, no way. The general din of the crowd is usually enough to lose the dobro. So, I've been seriously looking into getting some kind of transducer that will work. My local music guys started digging up info for me, and we went through the Fishman catalog. They've got transducers/internal mikes for damn near every kind of instrument out there, including upright bass and resonator guitars. I haven't gotten any real details yet, but my understanding is that you can go into the guitar through the endpin where the tailpiece and strap button attach to the guitar. No drilling needed, as far as I know. Don't know if your National has such an endpin, but the wood body dobros do. Anyway, Fishman is the name that has come up repeatedly. And of course, National has something that they use and install too. As I said to Don C., I smell money flying out of my wallet again..... :( I'd be really interested to get people's feedback of the Fishman equipment. Riffin Rick ........not loud enuff unplugged. F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 18 Apr 1996 10:32:10 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0530 From: "DUTTWEILER.J" Subject: Valerie Wellington Date: Thursday, 18 April 1996 10:31am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Valerie Wellington I posted yesterday that I got a shipment of CDs in from CDWorld including Valerie Wellington's "Million Dollar $ecret." I was playing this CD when my wife got home (who is not a big blues fan, BTW) and showed her the CD cover. She did a double take as I was telling her a little about Ms. Wellington (her formal training, etc. - my wife was a vocal performance major in college). She is convinced she met Ms. Wellington at a choral "convention" in New Orleans in 1981. Sever schools were invited to participate in some kind of choral presentation (Robert Shaw was one of the guest conductors) and Ms. Wellington's school, the American Conservatory of Music, was one of them. My wife says she remembers meeting a "girl" who looks like the picture on the cover of the MDS CD - it stuck in her mind because there were so few black participants and because they commented on the fact that their birthdays were in the same month, but a year apart. Ms. Wellington was born in Nov. 1959 and my wife in Nov. 1960. Anyway, don't know if anyone out there can confirm that Ms. Wellington participated in such an event, but the time frames are right and my wife is convinced its the same person. I thought this was an interesting sidenote - and my wife really liked the CD (maybe I should get more female blues singers classically trained ;-)). JD ========================================================================= Date: Thu, 18 Apr 1996 09:35:47 -0500 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: Blues is dead? Comments: To: Pts.jkl@JUNG.AE.DK In-Reply-To: <4l56pf$jss@columba.udac.uu.se> from "Pete Stellers" at Apr 18, 96 10:50:23 am In an earlier message, Pete Stellers said: ] Is there anyone out there who can name a great bluesman who=B4s playing=20 ] and is not born in the thirties?=20 Buddy Guy B.B. King (okay, I donno how old he is, but he's still kickin' ass) Albert Collins Johnny Winter ( anyone who disagrees with his placement on this list is hereby challenged to a duel to the death. We'll meet at dawn -- coffee and pistols for two. ) ] The blues is dead. Let it rest in peace! This thread is dead. But it keeps floating to the top, like a rotting corpse in some boggy, below-sea-level New Orleans cemetary. -- * The most exciting phrase to hear in science, the one that heralds new * discoveries, is not "Eureka!" (I found it!) but "That's funny ..." * -- Isaac Asimov ========================================================================= Date: Thu, 18 Apr 1996 07:44:56 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: April 19 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BENFORD, TOMMY (d/SNUB MOSLEY) b. 1095-0419, CHARLESTON, W. VA BURKE, ED (tbn/BUDDY JOHNSON) d. 1988-0419, EAST ELMHURST, NY 79 CLAYTON, PETER JOE "DOCTOR" (v) b. 1898-0419, GA DAVIS, LARRY (g/TEXAS FLOOD) d. 1994-0419, LOS ANGELES, CA 57 DEXTER, DAVE (prod/CAPITOL REC) d. 1990-0419, SHERMAN OAKS, CA 74 DOUGLAS, STEVE (tsax/PHIL SPECTOR) d. 1993-0419, LOS ANGELES, CA 55 GOODMAN, DICKIE (of GOODMAN & BUCHANAN) b. 1934-0419, HEWLETT, NY GREENE, JOE (songw) b. 1915-0419, SPOKANE, WA HILL, ALEX (p) b. 1906-0419, LITTLE ROCK, AR HOUSTON, BEE (g/ARHOOLIE REC) b. 1938-0419, SAN ANTONIO, TX JOHNSON, RUBY (v/VOLT REC) b. 1936-0419, ELIZABETH CITY, NC KORNER, ALEXIS (g/BLUES INCORPORATED) b. 1928-0419, PARIS, FRANCE LEWIS, E. R. (co-founder : DECCA REC) b. 1900-0419, DERBY, UK MABON, WILLIE (p/CHESS REC) d. 1985-0419, PARIS, FRANCE 59 PRICE, ALAN (p/THE ANIMALS) b. 1942-0419, DURHAM, UK PRICE, JESSE (d/CAPITOL REC) d. 1974-0419, LOS ANGELES, CA 64 SCOTT, CLIFFORD (tsax/BILL DOGGETT) d. 1993-0419, SAN ANTONIO, TX 64 SMITH, LAVERNE (p) d. 1983-0419, NEW ORLEANS, LA 58 WHITAKER,HERBERT"KING"(tsax/FRANK MOTLEY) d. 1995-0419, TORONTO, ONTARIO 65 WORRELL, BERNARD (keybd/FUNKADELIC) b. 1944-0419, LONG BEACH, NJ YANCEY, ESTELLA "MAMA" (p/JIMMY YANCEY) d. 1986-0419, CHICAGO, IL 90 ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 18 Apr 1996 09:38:33 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Nationals, mics & crowd noise I can usually mic my National (Nationals are 'sposed to be LOUD) and be heard over the crowd. I learned the hard way to go straight into the PA. I was an electric player first, so the thought of pluggin directly into a PA with no tube amp in between gave me the creeps. I know better now with the National. I still have to somewhat agree with what Johnny Nichalos told me about mics ,pickups & Nationals. "If you are playing somewhere and a mic'd National can not be heard, then nobody's listening anyway, you might as well play a strat cause nobody's listening".....I have to agree somewhat. I tend to move around (sway, jerk....etc) and I just can't hold the National close enough to the mic when I start to "get into it"...So that's one reason for considering a transducer, the other would be it will make it much easier. I do not want to give up any resonating tone, so when I get mine I will nake sure I can return it If I'm not 100% satiisfied..... LW ========================================================================= Date: Thu, 18 Apr 1996 10:35:15 -0400 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Blues is dead? Comments: To: bit-listserv-blues-l@uunet.uu.net This is a TRUE waste of time. Let's not fall for this... Lea ========================================================================= Date: Thu, 18 Apr 1996 17:07:01 +0100 Reply-To: bengans From: bengans Subject: Re: Blues is dead? >Why bother listening to blues today? The artists that still live are >hakfdead and it=A5s almost embarrasing to see them live. It=A5s a shame how >white bluesfans drag around these old people who should be at home and >resting. >Is there anyone out there who can name a great bluesman who=A5s playing >and is not born in the thirties? >The blues is dead. Let it rest in peace! I d say Pete(r) Seller s dead! Sevenson Time is hard baby, and hustling is really on ========================================================================= Date: Thu, 18 Apr 1996 11:18:47 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Brian Setzer BTW, since we were chatting the other day about great rockabilly stuff, I went out and got The Brian Setzer Orchestra cd yesterday. WOW!!!! Man, this has got to be some of the best big band swing albums ever made. I always liked Brian, but this is more than icing on the cake. The band. The voice. The GUITAR!!!!! Man, oh man. I gotta get me one of them Gretsch "Nashvilles"! (yeah, when I take out a second on my house) No Stray Cats here... Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 18 Apr 1996 11:21:38 -0400 Reply-To: Ron Wack From: Ron Wack Subject: Staying Young (was Blues is dead?) The elderly should be at home resting? For what? Keeping up with something you love to do keeps you young at heart, healthier and a whole lot happier. It gives you something to look forward to when you wake up each morning. You won't be asking yourself "I wonder if I'm going to check out today?" Besides, older folk, with all thier wisdom and experience, have a lot to offer. I'm 39 BTW. RW ========================================================================= Date: Thu, 18 Apr 1996 10:22:00 -0500 Reply-To: David Silberberg From: David Silberberg Subject: Re: Solomon Burke (was: Some Questions) At 02:28 PM 4/17/96 GMT-6, Eliot Williams wrote: >> From: "Robert J. Dewar" > >> Couple of questions: Can anyone recommend a compilation or even a >> series of albums featuring Solomon Burke best stuff on Atlantic? I`m >> deep into a soul vein these days and he is someone who keeps getting >> mentioned as a giant of the genre.There is a famous quote from someone >> inquiring who is the greatest soul singer,and someone else replies >> "Solomon Burke and I`ll spot you the band" > >This quote is from Jerry Wexler, I believe. You want > >RHi70284 BURKE*SOLOMON HOME IN YOUR HEART-BEST OF >RHINO 4/92 > There is a very good verbal portrait of Burke in Peter Geralnick's (sp?) "Sweet Soul Music", a "must read" for any fan of soul music.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Thu, 18 Apr 1996 10:26:25 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Re: Blues is dead? In-Reply-To: Message of Thu, 18 Apr 1996 09:35:47 -0500 from On Thu, 18 Apr 1996 09:35:47 -0500 Billy Chambless said: > >] Is there anyone out there who can name a great bluesman who=B4s playing=20 >] and is not born in the thirties?=20 > >Albert Collins Ooops..... LW ========================================================================= Date: Thu, 18 Apr 1996 11:32:03 -0400 Reply-To: Ron Wack From: Ron Wack Subject: Kenny Burrell - Thanks I'd like to thank all who responded to my request for Kenny Burrell info. E-mail problems prohibit me from replying to each separately. My disc want list is getting longer and longer. Makes for good Chistmas/birthday suggestions. RW (suckin' the hind one with this hokey mail software) ========================================================================= Date: Thu, 18 Apr 1996 11:41:11 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0018 From: "DUTTWEILER.J" Subject: Re: Blues is dead? Date: Thursday, 18 April 1996 11:41am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: re: Blues is dead? Besides this being obvious flame bait, I just wanted to point out that, taken at face value, it is ludicrous. Someone "born in the thirties" could be any where from 57 to 66. Now, I don't know about anyone else, but to me 57 isn't all that old and my dad, who is 67, is now playing the best golf of his life and is probably in better shape than I am in many ways Just pondering JD > Why bother listening to blues today? The artists that still live are > hakfdead and it=B4s almost embarrasing to see them live. It=B4s a shame > how > white bluesfans drag around these old people who should be at home and > resting. > Is there anyone out there who can name a great bluesman who=B4s playing > and is not born in the thirties? > The blues is dead. Let it rest in peace] ========================================================================= Date: Thu, 18 Apr 1996 16:52:24 +0100 Reply-To: Bluesman From: Bluesman Subject: *BLUES-L STATS '95* I have downloaded *ALL* the '95 Blues-l LOGs from the LISTSERV...yes, more than 30 Mb full of blues knowledge in ascii code...:-o It's a HUGE source of information for any Blues fan.Just in order to show you its 'power', here you have some statistics which I've made on my own: In these 60 files you'll find aprox.: * More than 6.500.000 words. * More than 760.000 lines of text. * = 35.000 screens on your computer. * More than 25.000 messages, 70 p/day. * 10.000 different subjects * That would make 17.000 typed sheets of paper, the height of a 9 years old child, aprox. which would take an experienced 60 words/min. typist, 1 month of full 24 hours/day work. And this is the list with the most frequent words *on the subject line*. Word Number of times appearing ---- ------------------------- king 408 help 386 review 388 john 362 guitar 359 buddy 334 guy 307 otis 298 muddy 296 eric 237 info 226 chicago 215 festival 212 johny 200 johnson 200 jimmy 198 robert 192 srv 182 bb 168 radio 150 tv 155 lyrics 146 recommendations 121 hooker 118 hammond 112 wolf 109 sonny 108 slim 105 luther 102 P.S. (Software used: Pspsearch, Wordcount 1.4, List (V. Bueberg), Aurora 2.0 Editor.) Perhaps it would be good saving this message for the future, when someone would ask about recommended blues bibliography...:-) Jose. Spain. **************************************************************************** Everyday I Have The Blues ========================================================================= Date: Thu, 18 Apr 1996 11:50:38 EDT Reply-To: Wayne Winkler From: Wayne Winkler Organization: East Tennessee State University Subject: TN-VA-NC The mournful yet exuberant sound of the blues will be showcased in Johnson City during at Sixth Annual Little Chicago Blues Festival. The Festival will be held Thursday through Friday, April 25 - 27 at the Down Home in Johnson City. The Little Chicago Blues Festival is an annual benefit performance for public radio WETS-FM (89.5 Mhz). This year's Festival features ten acts with hometowns ranging from the Carolina coast to Knoxville. The performers contribute their talents in support of WETS-FM, East Tennessee State University's public radio station, whose eclectic format includes nearly 12 hours of blues weekly. Local and regional performers are regularly featured on the station. "The blues performers in this area have always been supportive of the station," says Wayne Winkler, WETS station manager and host of the weekly Blue Monday program. "When we started the festival in 1990, our original idea was to have enough performers for one night. We wound up with enough performers for two nights, and by the next year, we had to expand to three nights." "Blues musicians generally don't make a lot of money, and for them to give up a weekend night when they could be getting paid indicates how supportive they are." The name "Little Chicago" comes from Johnson City's reputation as a center for bootlegging during Prohibition. According to Winkler, the name also reflects the strong appreciation for blues music among area residents. "The blues programming on WETS is very popular, and we usually fill the house for three nights during the festival." The festival opens on Thursday, April 25, at 8 pm with blues pianist Phil Stinson, from Boone, North Carolina. The King Bees, also from Boone, are next, followed by The Shakers, from Johnson City. Friday night opens at 8 pm with Bleu Jackson, with special guest Bob Knight. He's followed by Myrtle Beach, South Carolina pianist Tommy Hunter and his band. Closing the show will be Jimmie D. and B-Movie Blues, from Greeneville. On Saturday night, The Alternators open the show at 8 pm, followed by a reunion of the Johnson City jump blues band The Groovemasters. The Little Chicago Blues Band is next, and closing the festival will be Knoxville's Blue Mother Tupelo. Tickets for the Little Chicago Blues Festival are $10 per night, or $25 for all three nights. Tickets are available at the Down Home, 300 West Main Street in Johnson City, or at Cat's Compact Discs and Cassettes. For more information, call WETS-FM at (423) 929-6440. ========================================================================= Date: Thu, 18 Apr 1996 17:27:15 +0100 Reply-To: bengans From: bengans Subject: Re: Blues is dead? Pete Sellers said: >Why bother listening to blues today? The artists that still live are >hakfdead and it=A5s almost embarrasing to see them live. It=A5s a shame how >white bluesfans drag around these old people who should be at home and >resting. >Is there anyone out there who can name a great bluesman who=A5s playing >and is not born in the thirties? >The blues is dead. Let it rest in peace! As far as I know Pete(r) Sellers dead! Sevenson Time is hard baby, and hustling is really on ========================================================================= Date: Thu, 18 Apr 1996 11:02:22 -0500 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: Blues is dead? Comments: To: ISTS024@UABDPO.DPO.UAB.EDU In-Reply-To: from "L W" at Apr 18, 96 10:26:25 am In an earlier message, L W said: ] ] On Thu, 18 Apr 1996 09:35:47 -0500 Billy Chambless said: ] > ] >] Is there anyone out there who can name a great bluesman who=B4s playing=20 ] >] and is not born in the thirties?=20 ] > ] >Albert Collins ] ] Ooops..... PW just clued me about that. Geez...when did he die? "Most of the people I admire are either dead or not feeling well" -- Roy Bookbinder (I think) -- * The most exciting phrase to hear in science, the one that heralds new * discoveries, is not "Eureka!" (I found it!) but "That's funny ..." * -- Isaac Asimov ========================================================================= Date: Thu, 18 Apr 1996 17:06:09 +0100 Reply-To: Bluesman From: Bluesman Subject: BB KING Tour dates - Spain Does anybody know when is Mr. BB coming to Spain? I've read at a Web page that he has planned being here on 3, 4 th on July, but it doesn't mention the place, anybody knows it exactly? I've also read at my local newspaper that he will be in Spain by the 25th July, at the San Sebastian Jazz Festival.I was able to see him last year there.:-)' Anything you know about his touring dates on Spain will be apreciated, as I can cancell whatever I have to do just to see The King.:-) Thanks. Jose. Spain. **************************************************************************** Everyday I Have The Blues ========================================================================= Date: Thu, 18 Apr 1996 09:04:23 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: His brain is dead what a wally.... Remember folks THIS IS FLAMEBAIT ignore da fool and he'll go back to alt.drugs or rec.death metal or whatever. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Thu, 18 Apr 1996 11:49:35 -0500 Reply-To: akapil@MEDICINE.BSD.UCHICAGO.EDU From: "" Subject: SRV Bootleg?/Acoustic Blues? Hi all, A friend gave me a tape with a mixture of a lot of SRV including some bootlegged stuff. It has the song "Taxman", and then there's one in which he's jamming with BB, Albert Collins and Katie Webster. Unfortunately the sound quality is such that it allows one to appreciate the quality of 'playmanship' but not the recording itself. If anyone out there has a better quality recording-one they might feel is listenable-I would like to get a copy. Acoustic Blues: The tape also has some unplugged stuff! There was something peculiar about hearing SRV doing his Texas style leads (a bit slowed down) on an acoustic guitar. I did not think much of it-maybe I'm just not used to that sound. My likings tend to be a little orthodox when it comes to acoustic blues. However I'm willing to give this vein a chance. Could you guys help me out with acoustic guitar blues which is not the typical Delta style. Much appreciated, Adit. Aditya Kapil, PhD IBD Research Center Department of Medicine University of Chicago Ph: (312) 702 2283 FAX: (312) 702 2281 ========================================================================= Date: Thu, 18 Apr 1996 11:57:26 -0500 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: Staying Young (was Blues is dead?) > The elderly should be at home resting? For what? Keeping up with something > you love to do keeps you young at heart, healthier and a whole lot happier. > It gives you something to look forward to when you wake up each morning. > You won't be asking yourself "I wonder if I'm going to check out today?" > Besides, older folk, with all thier wisdom and experience, have a lot to > offer. Yes. Prime example, TD Bell and Erbie Bowser. Both men had toured around Texas in their youth and eventually settled down in Austin. They were both very popular in the Austin Blues scene, but never recorded anything. They stopped performing in public and eventually retired from their jobs. In the late 80's they were encourged to return to public performing. This led to their recording "Its About Time", which brought them attention and they even ended up playing at Cargenie Hall. What a shame it would have been if they had just "stayed at home". Bruce Roberts Austin, TX ========================================================================= Date: Thu, 18 Apr 1996 18:25:45 +0100 Reply-To: Bluesman From: Bluesman Subject: Survey: MUST HAVE Blues records EVER. One of the reasons why most of us are subscribed to this list is just in order to get information which may help us buy good Blues CDs. So if you think it's worth doing, I can take up a survey to help us decide at the time of spending hour bucks. If you like the idea, send me a private mail with a list of at least five of the MUST HAVE blues records EVER.Of course more than five are welcome. I'll post the results when I consider there are plenty enough. I hope this help us make good blues investments.:-) Jose. Spain. **************************************************************************** Everyday I Have The Blues ========================================================================= Date: Thu, 18 Apr 1996 13:31:54 -0400 Reply-To: FrogStolle@AOL.COM From: Jennifer Stolle Subject: Re: Pinetop Perkins rumor Comments: To: bengans@riksmedia.se Well, I was at Buddy's the next night (4/6) and Pinetop wasn't there. The opening band's keyboard player had to fill in. ========================================================================= Date: Thu, 18 Apr 1996 12:43:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Important Vote/No Blues Content The following is a redirected message about the election for or against the formation of a neo-Nazi newsgroup. Follow the advices for how to vote, and please vote NO allready today, if that is your opinion. "Just yesterday B'nai B'rith's annual report (Canada) on hate and racism located the net as the one source of exploding and uncontrollable dissemination of hate mail. I feel strongly that every NO vote on the formation of a neo-Nazi newsgroup is a public and civilized blow against a pernicious, evil movement. Please vote to affirm society's rejection of neo-Nazis. Please distribute the following message as you deem appropriate. A group of neo-nazis are trying to form a newsgroup on Usenet called rec.music.white-power, so that they can get their message of hate out to young people using the Internet. Newsgroups are public discussion areas on the Internet and their formation requires enough support from the Internet community. EACH AND EVERY ONE OF YOU HAS ONE VOTE when it comes to creating a new Usenet group. I hope you will vote NO and thereby tell these Nazis you don't want their stuff on the net. Below is the procedure, please repost my plea and get the NO vote out. This is my personal opinion. If you want to see the official call for votes, you can read in news.group or ask me for a copy of the notice calling for votes. Do not vote twice - that would constitute voting fraud. HOW TO VOTE: Send E-MAIL (posts to a newsgroup are invalid) to: music-vote@sub-rosa.com This is an impartial, third-party vote taker. Do not REPLY to THIS message, if you are trying to vote. Please do not assume that just replying to this message will work. Check the address before you mail your vote. Your mail message should contain only one statement: I vote NO on rec.music.white-power I REALLY HOPE YOU VOTE NO! Vote counting is automated. Failure to follow these directions may mean that your vote does not get counted. If you do not receive an acknowledgment of your vote within three days contact the votetaker about the problem. It's your responsibility to make sure your vote is registered correctly. Here's what Canada's George Burdi, of the neo-Nazi Heritage Front, had to say about this vote, on February 21, on his RESISTANCE mailing list: "There is a call for votes coming on rec.music.white-power in the next week or so, and you will be notified in a special issue of RREN exactly what to do. FOLLOW THE INSTRUCTIONS TO THE LETTER. Let me be perfectly blunt and state that we have more than enough "net-nazis" to win this thing hands-down. But every one of you must vote YES! And just voting yes means nothing unless you do it properly ========================================================================= Date: Thu, 18 Apr 1996 17:48:21 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Re: 2 BB CDS Comments: To: bit-listserv-blues-l@uunet.uu.net B. B. KING 's "MY KIND OF BLUES" is indeed a must. Lloyd Glenn's piano is wonderful! "My Kind of Blues" is probably as good if not better than any of the other albums BB made for the Bihari brothers. Unfortunately you may have a tough time finding it 'cause as far as I know it's only been re-released in its original form on a Japanese import CD (as a twofer with another of his Crown LPs). "Blues is King" is IMO his best live album and has been recently re-released domestically. What distinguishes both of these albums from most of the others BB made in the 50s and 60s is the absence of a "big band" backing. If I remember correctly "My Kind of Blues" has no horns at all, and "Blues is King" was recorded with one or two horns, organ, bass and drums.EW Eliot Williams University of Wisconsin Department of Medicine e ========================================================================= Date: Thu, 18 Apr 1996 12:46:09 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Re: Important Vote/No Blues Content In-Reply-To: Message of Thu, 18 Apr 1996 12:43:00 CDT from On Thu, 18 Apr 1996 12:43:00 CDT Bonnie Kalmbach said: >A group of neo-nazis are trying to form a newsgroup on Usenet called >rec.music.white-power, so that they can get their message of hate out to >young people using the Internet. Newsgroups are public discussion areas on >the Internet and their formation requires enough support from the Internet >community. >I REALLY HOPE YOU VOTE NO! I'm not real sure about this. I don't think WE are qualified to limit the FREE SPEECH of another. I would think any person who believes in Freedom Of Speech would vote YES. I certainly disagree with any hatefilled group regardless of sex/race...etc but I don't think it's right to pick and choose who has freedom of speech. Just MO and I'm sure it won't be a popular one. Keep in mind you may be voting for or against Freedom Of Speech on the net. LW 'expecting flames, but I'm against censorship' ========================================================================= Date: Thu, 18 Apr 1996 13:11:45 -0500 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: His brain is dead Comments: To: dcicchet@LASIERRA.EDU In-Reply-To: <199604181607.JAA11740@inet.lasierra.edu> from "Don Cicchetti" at Apr 18, 96 09:04:23 am In an earlier message, Don Cicchetti said: ] ignore da fool and he'll go back to alt.drugs or rec.death metal or whatever. Nah, I think I'll just wander over there and post something appropriate: HAY d00dZ! HEVVY MeTuL iz TOADALLEE DED!!!11!! billy [ who so far, in one post, managed to followup sophomoric flamebait with at least one gross inaccuracy, thereby proving that the total intelligence on the Net is a constant. ] -- * The most exciting phrase to hear in science, the one that heralds new * discoveries, is not "Eureka!" (I found it!) but "That's funny ..." * -- Isaac Asimov ========================================================================= Date: Thu, 18 Apr 1996 14:21:43 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: SRV Bootleg?/Acoustic Blues? Comments: To: akapil@medicine.bsd.uchicago.edu On 18 Apr 96 at 11:49, akapil@medicine.bsd.uchicago. wrote: > Hi all, > > A friend gave me a tape with a mixture of a lot of SRV including some > bootlegged stuff. It has the song "Taxman", and then there's one in which > he's jamming with BB, Albert Collins and Katie Webster. Unfortunately the > sound quality is such that it allows one to appreciate the quality of > 'playmanship' but not the recording itself. If anyone out there has a better > quality recording-one they might feel is listenable-I would like to get a copy. > > Acoustic Blues: The tape also has some unplugged stuff! There was something > peculiar about hearing SRV doing his Texas style leads (a bit slowed down) > on an acoustic guitar. I did not think much of it-maybe I'm just not used to > that sound. My likings tend to be a little orthodox when it comes to > acoustic blues. However I'm willing to give this vein a chance. Could you > guys help me out with acoustic guitar blues which is not the typical Delta > style. It sounds like the latest commercial CD that is out right now called, "Greatest Hits" or something like that. It's available at any record retailer. It's not a bootleg (although your tape apparently is). P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 18 Apr 1996 14:33:36 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Important Vote/No Blues Content Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU On 18 Apr 96 at 12:46, ISTS024%UABDPO.BITNET@BROWNVM wrote: > On Thu, 18 Apr 1996 12:43:00 CDT Bonnie Kalmbach said: > > >A group of neo-nazis are trying to form a newsgroup on Usenet called > >rec.music.white-power, so that they can get their message of hate out to > >young people using the Internet. Newsgroups are public discussion areas on > >the Internet and their formation requires enough support from the Internet > >community. > > >I REALLY HOPE YOU VOTE NO! > > I'm not real sure about this. I don't think WE are qualified to limit the FREE > SPEECH of another. I would think any person who believes in Freedom Of Speech > would vote YES. > > I certainly disagree with any hatefilled group regardless of sex/race...etc > but I don't think it's right to pick and choose who has freedom of speech. > > Just MO and I'm sure it won't be a popular one. Keep in mind you may be voting > for or against Freedom Of Speech on the net. It's not a free speech issue, LW. If I refuse to sing any Leonard Watkins songs at my next gig, I am not denying you your rights, I'm exercising my own. Same with being denied space for a newsgroup on a privately owned server (and they are privately owned). The Nazis have a right to free speech... at their OWN expense. At *MY* expense it's a privilege P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 18 Apr 1996 14:40:14 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0137 From: "DUTTWEILER.J" Subject: Re: Staying Young (was Blues is Date: Thursday, 18 April 1996 2:39pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: Staying Young (was Blues is Another fine example of this is Little Whitt and Big Bo, two gentlemen who waited until they retired from their "day jobs" to pursue a "career" in music. While playing the blues for over 40 years, most of us would never have gotten to hear how wonderful they are if they had "stayed at home" and "rested." > Yes. Prime example, TD Bell and Erbie Bowser. Both men had toured around > Texas in their youth and eventually settled down in Austin. They were both > very popular in the Austin Blues scene, but never recorded anything. They > stopped performing in public and eventually retired from their jobs. In the > late 80's they were encourged to return to public performing. This led to > their recording "Its About Time", which brought them attention and they > even ended up playing at Cargenie Hall. What a shame it would have been if > they had just "stayed at home". > > Bruce Roberts > Austin, TX ========================================================================= Date: Thu, 18 Apr 1996 14:36:32 -0400 Reply-To: RuStEd_rAgS From: RuStEd_rAgS Subject: JIMMY_THACKERY ?? Hey fellow bluezellers.... JIMMY THACKERY and THE DRIVERS be playing in town tonite... Should I check them out.... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | Laissez les bon temps roulez!! | | // ~~ ~~ \\ | Let the good times roll!! | | /d-(+)-(+)-b\ | ---------------------------- | | // L \\ | SANJAY 'RAGS' RAJAN | | // //|\\ \\ | sanjay_rajan@formtek.com | | ////`~-~'\\\\ | FORMTEK,INC. | | // //|||\\ \\ | PITTSBURGH, PA | | // /|||\ \\ | | | /-- /\o/\ --\ | | | /"\ | | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Thu, 18 Apr 1996 13:56:07 -0500 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: SRV Bootleg?/Acoustic Blues? > [...] It has the song "Taxman", and then there's one in which > he's jamming with BB, Albert Collins and Katie Webster. Unfortunately the > sound quality is such that it allows one to appreciate the quality of > 'playmanship' but not the recording itself. If anyone out there has a better > quality recording-one they might feel is listenable-I would like to get a copy. I could be wrong, but I think the song "Taxman" is on his greatest hits CD that came out not that long ago. Bruce Roberts Austin, TX ========================================================================= Date: Thu, 18 Apr 1996 12:04:45 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: John Coltrane (was: something else...) >I know, we're getting a bit off the mark... but when Jim Witteveen >recommends Coltrane's "Play the blues" album as a first Coltrane for blues >fans, I can't keep my big mouth shut! >IMO this is the weakest of Coltrane's Atlantic albums, and, IMO again, the >right way to approach ANY artist that is new to you is through his greatest >works... >Try "Giant steps" (Atlantic) or "A love supreme" (Impulse), both generally >acknowledged milestones in jazz history. >Gorgen Antonsson, Stockholm >PS. To give this a bit of blues interest... did you know that Coltrane >started out behind Earl Bostic? I'll check these out, to be sure! 'Plays the blues' is the only Coltrane I have, and yes, I'm not familiar with his other work, so I wouldn't have a clue whether this was his best or worst album. Be that as it may, I still recommend it. I like my jazz to be bluesy in nature (since I'm first and foremost a blues fan), so naturally I'll prefer anything with more of a blues tinge to it. -Jim (hndful@uniserve.com) ========================================================================= Date: Thu, 18 Apr 1996 14:13:55 -0500 Reply-To: akapil@MEDICINE.BSD.UCHICAGO.EDU From: "" Subject: Re: Important Vote/No Blues Content I,m afraid that LW is probably right. I think we may have to put up with a lot of crap on the internet so that we might still be able to access stuff we are interested in. Adit. >On Thu, 18 Apr 1996 12:43:00 CDT Bonnie Kalmbach said: > >>A group of neo-nazis are trying to form a newsgroup on Usenet called >>rec.music.white-power, so that they can get their message of hate out to >>young people using the Internet. Newsgroups are public discussion areas on >>the Internet and their formation requires enough support from the Internet >>community. > >>I REALLY HOPE YOU VOTE NO! > >I'm not real sure about this. I don't think WE are qualified to limit the FREE >SPEECH of another. I would think any person who believes in Freedom Of Speech >would vote YES. > >I certainly disagree with any hatefilled group regardless of sex/race...etc >but I don't think it's right to pick and choose who has freedom of speech. > >Just MO and I'm sure it won't be a popular one. Keep in mind you may be voting >for or against Freedom Of Speech on the net. > > >LW 'expecting flames, but I'm against censorship' > > Aditya Kapil, PhD IBD Research Center Department of Medicine University of Chicago Ph: (312) 702 2283 FAX: (312) 702 2281 ========================================================================= Date: Thu, 18 Apr 1996 12:25:29 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: John Coltrane (was: something else...) I thought I'd add that my favuorite Cotrane album is "My Favourite Things." The title track alone is astounding. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Thu, 18 Apr 1996 12:27:09 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Important Vote/No Blues Content PW said: >It's not a free speech issue, LW. If I refuse to sing any Leonard >Watkins songs at my next gig, I am not denying you your rights, I'm >exercising my own. oh COME ON!! not even FREEBIRD? just ONCE!!! OOOOHHHHhhh That was *Lynyrd* Watkins never mind...... DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Thu, 18 Apr 1996 15:29:55 +0000 Reply-To: Saint Bob Comments: Authenticated sender is From: Saint Bob Subject: Re: Important Vote/No Blues Content I think neo-nazi's are stupid, but I'll vote NO to CENSORSHIP before voting NO to a newsgroup. ========================================================================= Date: Thu, 18 Apr 1996 15:35:53 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Important Vote/No Blues Content Comments: To: L W In-Reply-To: Votes have to do with whether or not enough people want a newsgroup to be begun, it has nothing to do with free speech. The free speech part is their right to have a vote. The other part of the equation is someone's right to say no. Don't confuse them. If you do, then you'll have to let them live with you or you'll be denying them all the right to life, liberty and the pursuit of happiness etc. Your support of the issue is right on. It's the facts that you got mixed up. Barry (if they were denied the vote I'd holler, if I were denied my right to say know I'd holler too) On Thu, 18 Apr 1996, L W wrote: > On Thu, 18 Apr 1996 12:43:00 CDT Bonnie Kalmbach said: > >A group of neo-nazis are trying to form a newsgroup on Usenet called > >rec.music.white-power, so that they can get their message of hate out to > >young people using the Internet. Newsgroups are public discussion areas on > >the Internet and their formation requires enough support from the Internet > >community. > >I REALLY HOPE YOU VOTE NO! > I'm not real sure about this. I don't think WE are qualified to limit the FREE > SPEECH of another. I would think any person who believes in Freedom Of Speech > would vote YES. > I certainly disagree with any hatefilled group regardless of sex/race...etc > but I don't think it's right to pick and choose who has freedom of speech. > Just MO and I'm sure it won't be a popular one. Keep in mind you may be voting > for or against Freedom Of Speech on the net. > LW 'expecting flames, but I'm against censorship' NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 18 Apr 1996 14:35:37 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: Gary quite contrary Hi y'all... Gary Primich asks me to let you know (in case you didn't already) that he has been signed to Blacktop Records -- which means that the next time he comes to town he can buy MY dinner! Here's the latest on the itinerary: 4/23-28 Margaritaville ......Key West, FL 5/1 Blind Wilie's........Atlanta, GA 5/2 Gatorz...............Port Charlotte, FL 5/3 Dave's CC Club.......Tallahassee, FL 5/4 Sebastian Beach Inn..Melbourne, FL 5/5 & 6 Tortuga's............Jacksonville Beach, FL 5/7 & 8 Five O'Clock Club....Sarasota, FL 5/9 Ringside Cafe........St. Petersburg, FL 5/10 The Backroom.........Del Ray Beach, FL 5/11 Shooters.............Ft. Meyers, FL 5/16 Continental Club.....Austin, TX 5/23 Blue Cat Blues.......Ft. Worth, TX (Go Vinnie!) 5/24 J & J Blues Bar......Ft. Worth, TX 6/1 Roadhouse Cafe.......Austin, TX 6/6 Wilhares.............El Paso, TX 6/7 The Rialto...........Tuscon, AZ 6/8 Rhythm Room..........Phoenix, AZ 6/9 Belly Up Tavern......San Diego, CA 6/10 Hollywood Athletic ..L.A., CA (Watch for a mysterious appearance by Juke Logan) 6/12 Cozy's...............Sherman Oaks, CA 6/13 ?....................Ventura, CA 6/14 Blue Cafe............Long Beach, CA 6/15 Catalina Cantina.....Hermosa Beach, CA Thanks. Cathi Norton ========================================================================= Date: Thu, 18 Apr 1996 19:36:42 GMT Reply-To: Robert Belew From: Robert Belew Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Mountain Stage Saturday ! Comments: To: bit-listserv-blues-l@uunet.uu.net >I understand he will perform a His tune called "Pay Bo Diddley" which >is presently unavailable but I think it will be on the first >Bluebloods album due out in Spring of '97 or sooner.The first album >is recorded Live at the Bluebird Cafe in Nashville, TN. Don't be >fooled into believing that there isn't any good blues in Nashvegas. I stand corrected, "Pay Bo Diddley" was indeed released by the Snakes which includes Mike Henderson as well as Kenny Greenberg on Curb Records. I think it is out of print. Two of the best guitar players in Nashvegas, IMHO! Block Dog ========================================================================= Date: Thu, 18 Apr 1996 15:03:29 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 04/19 B O R N :04/19 BARBOUR, DON Born:1927 INDIANAPOLIS, IN Career:GUITAR/ SINGER Style:JAZZ With:FOUR FRESHMEN BENFORD, Tommy ( Thomas P. BENFORD ) Born:1905 CHARLESTON, WV Career:DRUMMER Style:TRAD / JAZZ / BIG BAND With:Elmer Snowden, Charlie Skeet / Jelly Roll Morton / Edgar Hayes / Bill Benford / Eddie South / Freddy Taylor / Garland Wilson / Sy Devereaux / Noble Sissle / Snub Mosley / Bob Wilbur / Jimmy Archey / Rex Stewart / Muggsy Spanier / Joe Thomas / Ed Hall / Danny Barker / Saints and Sinners' / Clyde Bernhardt CLAYTON, PETER JOE "DOCTOR" Born:1898 GEORGIA Career:SINGER Style:BLUES ESTERMAN, ANTHONY BERNARD (TONY) Born:1939 LONDON, UK Career:PIANO Style:JAZZ Sydney in 1960 / With: Phil Woods / Richie Cole / Richard Ochalski's band GREENE, JOE Born:1915 SPOKANE, WA Career:SONGWRITER Style:BLUES HILL, WILLIAM ALEXANDER Born:1906 NORTH LITTLE ROCK, AR Career:PIANO / ARRANGER / SINGER Style:JAZZ / BIG BAND HOUSTON, BEE ( EDWARD WILSON HOUSTON ) Born:1938 SAN ANTONIO, TX Career:SINGER / GUITAR Style:BLUES With:LITTLE WILLIE JOHN / JR. PARKER / BOBBY BLAND KORNER, ALEXIS Born:1928 PARIS, FRANCE Career:GUITAR / PIANO / SINGER Style:BLUES / JAZZ With:CHRIS BARBER / KEN COLYER / LONNIE DONNEGAN LEWIS, E. R. Born:1900 DERBY, UK Career:PRODUCER Style:BLUES / JAZZ co-founder : DECCA RECORDS PEARCE, DICK Born:1951 LONDON, UK Career:TRUMPET / FLUGELHORN Style:JAZZ With:GRAHAM COLLIER / CHRIS BISCOE / DAVE DEFRIES / MIKE WESTBROOK / KEITH TIPPETT / GIL EVANS / RONNIE SCOTT RODGERS, ERNEST Born:1891 NEW ORLEANS, LA Career:DRUMMER Style:TRAD / JAZZ With:Edward Clem 1910 / Crescent Orchestra / Silver Leaf Orchestra / Young Tuxedo / Bunk Johnson / Big Eye Louis Nelson TAPETELL, CHRISTOPHER HENRY (CHRIS) Born:1943 SYDNEY, NSW, AUSTRALIA Career:PIANO / REEDS Style:JAZZ With:Barry Bruce / Riverside-King Fisher group 1963-64 / Ray Price / Dick Hughes's trio 1966-68 / Wild Bill Davidson / Bobby Hackett / Clark Terry / Bob Barnard JB 1974 / Kenny Davern / Scott Hamilton / 1986 engaged in some teaching FOR A LISTING OF THOSE THAT PASSED AWAY IN THIS MONTH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us The Following were Recorded on this Date in the Years: ========================================================================= Date: Thu, 18 Apr 1996 14:59:16 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: JIMMY_THACKERY ?? Comments: To: RuStEd_rAgS In-Reply-To: <199604181843.OAA11480@mirage.formtek.com> On Thu, 18 Apr 1996, RuStEd_rAgS (who is apparently no longer tripping on grass) wrote: > JIMMY THACKERY and THE DRIVERS be playing in town tonite... > Should I check them out.... You should ALWAYS support the local live blues scene or else it will dry up, much like it has here in San Antonio... -Jeff (death to Billy Blues...) --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball #10 U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc02.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Thu, 18 Apr 1996 15:03:15 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0157 From: "DUTTWEILER.J" Subject: Re: Important Vote/No Blues Cont Date: Thursday, 18 April 1996 3:03pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: Important Vote/No Blues Cont I think I've got to agree with LW on this. As abhorent as the "hate speech" of these people is, once you start limiting one group's freedom of speech ALL groups are in danger. I like what I read in the paper about this issue, the best way to combat hate speech is not to limit it, but to publish the TRUTH. Shinning the light of truth on these folks will do more to discredit their messages then making martyrs of them by limiting their free speech. JD (flame away, you got the right ) > On Thu, 18 Apr 1996 12:43:00 CDT Bonnie Kalmbach said: > > >A group of neo-nazis are trying to form a newsgroup on Usenet called > >rec.music.white-power, so that they can get their message of hate out to > >young people using the Internet. Newsgroups are public discussion areas on > >the Internet and their formation requires enough support from the Internet > >community. > > >I REALLY HOPE YOU VOTE NO! > > I'm not real sure about this. I don't think WE are qualified to limit the FR > SPEECH of another. I would think any person who believes in Freedom Of Speec > would vote YES. > > I certainly disagree with any hatefilled group regardless of sex/race...etc > but I don't think it's right to pick and choose who has freedom of speech. > > Just MO and I'm sure it won't be a popular one. Keep in mind you may be voti > for or against Freedom Of Speech on the net. > > > LW 'expecting flames, but I'm against censorship' ========================================================================= Date: Thu, 18 Apr 1996 16:25:53 -0400 Reply-To: Lacook01@AOL.COM From: "Lorri A. Cook" Subject: PGH.-area BluesFests I've yet to hear whether the two local Blues Festivals, the Three Rivers Blues Festival, and the Arden Blues Festival will return this year--and, if so, when. If any of youns local Blues-L-ers know, please post to the list. All this talk of other regional Blues Fests has me looking forward to whatever the Pittsburgh area's offering this summer! Lorri Cook (Lacook01@aol.com) ========================================================================= Date: Thu, 18 Apr 1996 17:07:19 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Newsgroups & Censorship >From the sound of the e-mail plenty of folks are confused about this newsgroup vote. First of all, newsgroups and listserves are not ours. Blues-L, for example, is here because of the kind charity of Brown University. They could pull the plug on us at any time, for ANY reason. It's their right, and their property. Likewise, with the "rec." series of newsgroups, someone is supporting all of those newsroups with their dollars. They have established a system of allowing people who use the internet to vote on whether to start each and every new newsgroup. They are not obligated to even do this. If you have ever wanted to silence a hate monger, this is your one opportunity to do it legally, and successfully, without "violating" anyone's constitutional rights. I have a right to speak, but not in your house. Your house is not a public place simply because you leave your front door open. I hope this changes the "votes" of all those who thought they didn't have the "right" to deny these clowns. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 18 Apr 1996 17:41:38 -0400 Reply-To: BALISTRK@BAYDENOC.CC.MI.US From: "Keith T. Balistreri" Subject: Re: Blues is dead? Comments: To: Pete Stellers In-Reply-To: <4l56pf$jss@columba.udac.uu.se> On Thu, 18 Apr 1996, Pete Stellers wrote: > Why bother listening to blues today? The artists that still live are=20 > hakfdead and it=B4s almost embarrasing to see them live. It=B4s a shame h= ow=20 > white bluesfans drag around these old people who should be at home and=20 > resting.=20 > Is there anyone out there who can name a great bluesman who=B4s playing= =20 > and is not born in the thirties?=20 > The blues is dead. Let it rest in peace! >=20 I will respond but once to this... you are on IGNORE!!! Keith B ========================================================================= Date: Thu, 18 Apr 1996 17:49:52 -0400 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: This just in... Comments: To: "P.W. Fenton" In-Reply-To: <199604181236.IAA85228@osceola.gate.net> YOU GO BLUZMAN! nitra On Thu, 18 Apr 1996, P.W. Fenton wrote: > I have just learned that I will be opening for Johnny Copeland on > Sunday, June 2nd at Skipper's Smokehouse in Tampa. I don't have to > tell you I'm excited. > > P.W. Fenton > Tampa, Florida > http://www.gate.net/~pwfenton > ========================================================================= Date: Thu, 18 Apr 1996 16:59:00 -0500 Reply-To: akapil@MEDICINE.BSD.UCHICAGO.EDU From: "" Subject: Chicago Blues Fest-'Zellers attending This still 6 weeks left for the fest, but it would be good to know (in advance) which of you are going to be here for it. I could arrange for us to meet up with some of the local blues bands and maybe go on a Chicago-southside blues bar crawl. These areas have some of the rawest blues acts around but unfortunately they don't play too much in the more popular downtown clubs. Private e-mail or the Blues-L is fine with me! Thanks, Adit. Aditya Kapil, PhD IBD Research Center Department of Medicine University of Chicago Ph: (312) 702 2283 FAX: (312) 702 2281 ========================================================================= Date: Thu, 18 Apr 1996 20:53:18 GMT Reply-To: jackieo@MIDTOWN.NET From: Jack Oudiz Organization: Midtown Computer Services Subject: Re: Muddy/Stones boot Comments: To: bit-listserv-blues-l@uunet.uu.net >The recording date is stated as 11/22/81 and features MW, Buddy Guy, Mick >Jagger, Keith Richard, Junior Wells & Ron Wood. Bill Wyman must have been >off chasing young girls ;^) >Reg Burns There is also a video of this appearance. I have a copy. ========================================================================= Date: Thu, 18 Apr 1996 17:47:04 -0400 Reply-To: Jon Duttweiler From: Jon Duttweiler Subject: Sitting & Thinking - The Pounders "Rockin' the Blues" THE POUNDERS ROCKIN' THE BLUES - Vent #30008 VENT RECORDS # 4 SOUTH 55TH STREET, BIRMINGHAM, AL 35212 TEL: 205-592-2222 FAX: 205-592-2228 e-mail: VentRec@aol.com If you like your blues straight up without any rocks, than this disc is not for you. However, if every now and then you like kick-ass rock 'n' roll with one foot in the blues, then give these guys a listen because their name is quite apt as they really know how to rock. Now, I confess when I first put this disc in the CD player and fired it up I was hesitant. Yet, the more I listened to this disc the more it grew on me. In fact, in a short time I found myself singing a couple of the songs under my breath as I went about my work during the day. Oh yeah, I'd been "pounded!" A three piece band consisting of "Lightnin" Mike Swain on guitar and vocals, "Bad" Bob "Trashman" McKinney playing bass and singing backup and John (no nickname I guess) Kilner, on drums and backup vocals, this group is in the same vein as ZZ Top. They are blues oriented, but their approach is an in your face type "Texas" rock. Another in Vent Records efforts to record and publicize Alabama's blues riches, the group brings a distinctly hard edged approach to the blues. All save one of the songs on this disc are originals by Mike Swain and the performance lets you know these guys have been playing together for awhile. Is this "serious" blues? No, but its a whole lot of fun and if you have a chance to listen to this disc, give it a spin, you might find yourself having some fun as well. BOOZE BLUES / BOOGIE WITH YOU / HARD-HEARTED WOMAN / SHE TURNS ME ON / FLOWER BLUES / BLACK EYED PEAS / WOMEN BLUES / SHAKIN' THAT THANG / LIVE WIRE / BUSTED / GOIN' BACK TO TEXAS NY CD Takes BOOZE BLUES: The comparisons to ZZ Top are obvious as this track opens up the disc. Tackling a subject with which many are empathetic, the band opens up this mid-tempo number with strong bass lines and driving rhythms over which are Mike Swain's power chords and thick leads. This track illustrates the band's strong suit, getting your foot to tapping and your head to nodding. BOOGIE WITH YOU: This cut opens up with a few lines of slicing guitar before the rest of the band jumps in on this souped up boogie (as the title suggests). The band lays down wall to wall sound with Swain dropping in and out of the background. Another number guaranteed to get an audience up on the dance floor. HARD HEARTED WOMAN: A jumping shuffle number, this track moves in a different direction stylistically from the first two. The sound is still very full, but not wall to wall as before. Bass and drums still drive the beat relentlessly ahead, but Swain shows more finesse on his lead work. SHE TURNS ME ON: A straight ahead Texas boogie blues/rock number, this is one those songs that you'll find yourself unconsciously singing to yourself long after the disc quits playing. Nothing new in the lyrics, rhythms or leads, but it is a song you can tell the band has fun on and that fun's contagious. Crank this one up and annoy your neighbors for awhile! FLOWER BLUES: The only cover of the disc, the Pounders take this T-bone Walker tune in directions T-bone, I'm sure, never imagined. An instrumental, drummer John Kliner does some nice rhythms on the cymbals as the band charges straight ahead in a hard driving groove. Swain displays evidences of being more influenced by Stevie Ray Vaughn and Jimi Hendrix then T-bone Walker, but that's what evolution is all about, isn't it? BLACK EYED PEAS: Southern bands have been doing food songs for years (one of my favorites was Wet Willie's "Red Hot Chicken"). For those in the north, black eyed peas and corn bread may be "soul food," but for southerners they're staples of good country cooking. And that's just what this song has, the staples of good southern cooking - blues/rock style! WOMEN BLUES: A strong back beat characterizes this cut as the band tackles another Swain original, this time about having "too many women." This is a "hip-shaking" song, another one designed to get a crowd on its feet. SHAKIN' THAT THANG: More heat as the band, if possible, turns it up one notch higher. This song gives the band's perspective from the stage as they do their set in a bar. And obviously expounds their philosophy of music, get the folks (women in particular!) up "shakin' that thang." This cut sure does it. LIVE WIRE: Kicking this track off with the drums, the band offers another straight-up blues/rock original. As with the majority of the songs on this disc, the vocals take backseat to the bands surging beat. Again, Swain kicks in short, sharp leads that poke up above the mix like a submarine's periscope above the water's surface. BUSTED: A rocker with a little more "roll" to it, this track, Swain says in the lyric, is a "true" New Year's story that happened to a friend of his. This song has a little more shuffle to it than most of the others and provides some musical variation. Still, another fun bit of music, just right for, say, New Years eve. GOIN' BACK TO TEXAS: This is the blusiest cut on the album, the band saving their lone accoustic number for the disc's closer. With just Swain and his guitar, the track stands in marked contrast to the rest of the disc. As this track illustrates, this band is not just one dimensional. However, there is no doubt that the Pounders forte is loud, raucous Texas boogie type music that will have fans standing up on their chairs shouting "PARTY!" Reviewed by Jon Duttweiler Copyright NY CD Blues @1995-1996 All Rights Reserved. Unauthorized use prohibited. NY CD BLUES - http://www.panix.com/~bsco/ - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 18 Apr 1996 16:04:28 -0700 Reply-To: Jeff Birk From: Jeff Birk Subject: Blues in Orlando?? I'm going to be in Orlando, FL Monday evening, April 22. Any blues recommendations or happenings? Thanks in advance. Jeff Birk ========================================================================= Date: Thu, 18 Apr 1996 22:34:07 GMT Reply-To: Beckie Sansom From: Beckie Sansom Organization: The National Capital Freenet Todays Subject: Junior Wells? Comments: To: bit-listserv-blues-l@uunet.uu.net question involves Junior Wells.Can anyone recommend where one might find the original version of "Messin` With The Kid"? Beckie Sansom & Robert J Dewar ### -- xBeckie Sansom Gloucester, Ontario ========================================================================= Date: Thu, 18 Apr 1996 15:46:46 -0700 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Re: *BLUES-L STATS '95* Comments: To: Bluesman In-Reply-To: WHAT!!! you're telling me that BOOGIE and NATION are not in the most used word list- Damn I thought that was the most played out topic of all time, Isaac (doesn't mean to bring up bad feelings, JLH PIZZA @#$%*&) On Thu, 18 Apr 1996, Bluesman wrote: > I have downloaded *ALL* the '95 Blues-l LOGs from the LISTSERV...yes, > more than 30 Mb full of blues knowledge in ascii code...:-o > > It's a HUGE source of information for any Blues fan.Just in order > to show you its 'power', here you have some statistics which I've > made on my own: > > In these 60 files you'll find aprox.: > > * More than 6.500.000 words. > * More than 760.000 lines of text. > * = 35.000 screens on your computer. > * More than 25.000 messages, 70 p/day. > * 10.000 different subjects > * That would make 17.000 typed sheets of paper, > the height of a 9 years old child, aprox. > which would take an experienced 60 words/min. > typist, 1 month of full 24 hours/day work. > > > And this is the list with the most frequent words *on the subject line*. > > Word Number of times appearing > ---- ------------------------- > king 408 > help 386 > review 388 > john 362 > guitar 359 > buddy 334 > guy 307 > otis 298 > muddy 296 > eric 237 > info 226 > chicago 215 > festival 212 > johny 200 > johnson 200 > jimmy 198 > robert 192 > srv 182 > bb 168 > radio 150 > tv 155 > lyrics 146 > recommendations 121 > hooker 118 > hammond 112 > wolf 109 > sonny 108 > slim 105 > luther 102 > > P.S. (Software used: Pspsearch, Wordcount 1.4, List (V. Bueberg), Aurora 2.0 > Editor.) > > Perhaps it would be good saving this message for the future, when > someone would ask about recommended blues bibliography...:-) > > > Jose. > Spain. > > > **************************************************************************** > Everyday I Have The Blues > ========================================================================= Date: Thu, 18 Apr 1996 18:47:58 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Michael Roach > The US bluesman, Michael Roach, is performing 'live' in Perth, SCOTLAND > on the 10th May. My friends and I have not heard of him. Can anyone give > any background on this artist, his style of blues, recordings etc. > > Liam McDowell >~~~~~~~~~~~~~~ > > Liam McDowell > University of Edinburgh > Tel: 0131 650 2101 Michael Roach learned his trade hanging out at Archie Edwards' barbershop and John Jackson's house. He plays left-handed acoustic guitar Piedmont style, and does a mix of oldies and his own compositions. He's a very nice man, has a charming stage presence, and last I heard lives in England (married to an English wife). Go see him, Liam! He has a CD, 'Ain't Got Me No Home' on Stella STCD 001, which I also recommend to anyone who can't go see him. Disclaimer: no financial involvement with Mr ROach or his label. Chris Smith (chris@skerries.demon.co.uk) 'It ain't what you eat, it's the way that you chew it.' (Sleepy LaBeef) ========================================================================= Date: Fri, 19 Apr 1996 01:43:46 +0200 Reply-To: Urs Egger From: Urs Egger Organization: ciba Subject: Jimmy Johnson The Jimmy Johnson concert in Germany is on our agenda next week.I was wondering if anyone of you has been lately on one of his concerts and if yes how was it ? In my CD collection is Jimmy Johnson "Johnsons Whacks". The new CD "I'm a Jockey" has good critic in CDnow. Is it a nice to have ? Thanks Urs ========================================================================= Date: Thu, 18 Apr 1996 17:16:20 -0700 Reply-To: Karen Johnson From: Karen Johnson Subject: On this day... Too regional perhaps, but this is also the 90th anniversary of the BIG ONE, San Francisco's 1906 earthquake. The number of survivors who gather to mark this event is rapidly dwindling. Blues content-especially for LW who requested Bay Area events. On Saturday April 27 at the brand new Richmond Memorial Theater, Johnnie Taylor and Johnny "Guitar" Watson will be appearing. That's the day I leave for Providence RI, or I would be there. KJ in SF ========================================================================= Date: Fri, 19 Apr 1996 00:30:29 GMT Reply-To: bbbean@sheltonlink.com From: bbbean@SHELTONLINK.COM Organization: inlink Subject: Re: David Evans (was Re: Arkansas State Blues Conference . . .) Comments: To: bit-listserv-blues-l@uunet.uu.net In <199604171128.AA28308@dragon.acadiau.ca>, Rob Hutten writes: >This is David Evan's band... has anyone out there heard them? Or >Evans solo? He has recorded two songs on a Hot Fox CD called "The >Spirit Lives On" (which he also produced), but I've never heard these >tracks. I'd be interested in hearing how he sounds - he's certainly >had an enviable list of teachers! When I lived in Memphis, I played with Dr. Dave on several occasions, and our bands shared a number of gigs. He's a fine player, if somewhat loose on the technical end, which is to say that he plays like most of the artists he writes about. BBB B.B. Bean New address------>bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Thu, 18 Apr 1996 19:20:56 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Dick Waterman at Jazz Fest With the first weekend of Jazzfest just a week away, I'd like to announce that Dick Waterman will be displaying some of his blues photography in the Grandstand during both weekends. I also want to recommend all the activities in the Grandstand: interviews with musicians, folklife interviews and displays, food, art, cooking displays and more. Specific information about Grandstand activities should appear in the Jazzfest edition of Offbeat Magazine and the Lagniappe section of the Times-Picayune. Bill Morgan From: The Big Easy ========================================================================= Date: Thu, 18 Apr 1996 22:28:35 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: SITTING & THINKING: Son House Library of Congress Comments: To: levyt@rl.af.mil Well, my secret is now out. This is from the Toby Levy review of Son House's Library of Congress sessions: >>>THE JINX BLUES: Tragedy is imminent. Son House >>>woke up this morning and the Jinx was all around >>>his bed. Whooping and moaning, Son House tells us >>>just how he suffers. Yes, this is where my name comes from . . . Dick Waterman ========================================================================= Date: Thu, 18 Apr 1996 22:28:42 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Blues is dead? Comments: To: Pts.jkl@jung.ae.dk On April 18, Pete "No, I'm Not The Dead Actor" Sellers said: >>>Why bother listening to blues today? The artists >>>that still live are hakfdead and itxs almost >>>embarrasing to see them live. Itxs a shame how >>>white bluesfans drag around these old people who >>>should be at home and resting. >>>Is there anyone out there who can name a great >>>bluesman whoxs playing and is not born in the >>>thirties? >>>The blues is dead. Let it rest in peace! Hey, Pete . . . give me your address so Robert Lockwood can stop by and kick your ass. Dick Waterman ========================================================================= Date: Thu, 18 Apr 1996 22:28:40 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Columbia House blues repost request Comments: To: JUPU38A@prodigy.com On April 18, Robert Belew said: >>>According to an article in this months Rolling Stone, >>>the artists are losing mega dollars when people >>>purchase through Columbia House, BMG and >>>all of the record clubs out there. >>>They are striking such low cost deals with the record >>>companies in order to do the 12 for a Penny type of >>>come ons that the performers are getting cut out of >>>the deal. >>>Of course Pearl Jam, the Friends of Ticket Master, are >>>right in there battling for thier lost revenues. >>>As concerned as we as a group seem to be about the >>>lack of Monetary Compensation our Hero's of the >>>Blues are recieving, maybe we should take >>>this one to the bank and support the Blues with the >>>full ticket price. What's the big surprise here? Did you people think that Santa Claus was subsidizing these bargains? Of COURSE the artists/writers are getting beaten up on the deal. The record labels have special clauses (no pun intended) that enable them to have a 'free goods' segment of the contract so they escape artists' and writers' royalties on these club volume sales. This crap is going on all the time. Vanguard doesn't pay royalties to artists on their Newport series, claiming that the original personal appearance contract from the 1960s gives them the release rights. Moralty has never been in style in the recording industry. Dick Waterman ========================================================================= Date: Thu, 18 Apr 1996 19:57:30 -0700 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Re: Junior Wells? Comments: To: Beckie Sansom In-Reply-To: <4l6g0v$6h1@freenet-news.carleton.ca> I think that it is on Chicago the blues today vol.1 on Vangaurd excellent album Peace, Isaac On Thu, 18 Apr 1996, Beckie Sansom wrote: > question involves Junior > Wells.Can anyone recommend where one might find the original version > of "Messin` With The Kid"? > Beckie Sansom & Robert J Dewar > ### > > -- > xBeckie Sansom > Gloucester, Ontario > ========================================================================= Date: Fri, 19 Apr 1996 03:33:09 GMT Reply-To: Mike Craddock From: Mike Craddock Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Blues is dead? Comments: To: bit-listserv-blues-l@uunet.uu.net The blues is what? The social function of blues in it's prime was protest. It's obvious to anyone who has never listened to any blues. Funk and rap have expanded on this and have stepped in and served socially as a way of protest. Oh yeah, and besides the fact that there are still hundreds of great bluesman still alive and kicking ass is another small point. Just pick up a book and start reading, you'll soon see that blues is still in the top 40 today in one way or another. mc ========================================================================= Date: Thu, 18 Apr 1996 23:51:32 -0400 Reply-To: Michael Meadors From: Michael Meadors Subject: Re: Transducer in your cone! Comments: To: MILLER@SCI.WFBR.EDU You wrote: > >ANyway, I have been trying like hell to get my dobro into our lineup on stage >and have been stymied repeatedly by feedback and an absolute lack of sufficient >volume to hear it at all. For what it's worth, when I got my National a few years ago (a reissue Duolian), I spent a lot of phone time talking to the National people and others about what pickup to use. I was advised to get a Barcus-Berry (I forget the model number). It's a flat 1"x 2"x 1/4" piece that I had mounted at the very end of the fingerboard, under the strings. I still have feedback problems playing through amps, though, so going through the PA is about the only way out. I DO notice a loss of that "National" tone when I use the pickup vs. being mic'd directly. The best sound for a National is where is was meant to be: out in the country, on somebody's back porch with the sun going down. M. Meadors of the BLUESONICS "Blues for Full Grown People" ========================================================================= Date: Thu, 18 Apr 1996 23:48:56 -0400 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Miss. Supreme Court Decision Comments: cc: Skipjames@aol.com I've posted the Johnson v. Harris et al. decision at: http://www.vivanet.com/~blues/johnson.html It's not an easy read in explaining why Claud Johnson is free to pursue his claim against the estate, but it does include some fascinating insights -- and what must be the greatest pun in the history of American jurisprudence: "Claud found a stone in his passway when Ms. Anderson filed a Motion to Strike..." -- Justice Mills *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Thu, 18 Apr 1996 21:05:37 +0000 Reply-To: ksailors@hooked.net Comments: Authenticated sender is From: "Kenneth M. Sailors" Subject: Re: John Coltrane (was: something else...) On Thu, 18 Apr 1996 Jim Witteveen said: > 'Plays the blues' is the only Coltrane I have, [...] > I like my jazz to be bluesy in nature [...] so naturally > I'll prefer anything with more of a blues tinge to it. Then you might want to avoid "A Love Supreme" or any of his works after as 'Trane gets less & less bluesy as he went on. He had something in mind. Though I love his later stuff, but...that's me. -ken ========================================================================= Date: Fri, 19 Apr 1996 00:06:23 -0400 Reply-To: Jinxblues From: Jinxblues Organization: America Online, Inc. (1-800-827-6364) Subject: Van Morrison Tickets / Jazz Fest Comments: To: bit-listserv-blues-l@uunet.uu.net Subj: Re:Jazz and Heritage Festiva Date: 96-04-18 22:48:14 EDT From: RBMHORSE Have two tickets to Van Morrison concert, May 3 evening. Interested parties should Email me with subject "tickets". Good seats. RBMHORSE@aol.com dick waterman jinxblues@aol.com ========================================================================= Date: Fri, 19 Apr 1996 00:10:23 -0400 Reply-To: RNABooking From: RNABooking Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Staying Young (was Blues is dead?) Comments: To: bit-listserv-blues-l@uunet.uu.net I've had Lavelle White only playing local and regional gigs since December and she can't wait to hit the road. We have over 100 gigs lined up all over the world until November and she can't wait to go out....she's tired of staying at home. Miss Lavelle is 67. Ronnie Narmour ========================================================================= Date: Fri, 19 Apr 1996 00:45:52 -0400 Reply-To: AWMcD From: AWMcD Organization: America Online, Inc. (1-800-827-6364) Subject: Wanted-Hotrail pickups Comments: To: bit-listserv-blues-l@uunet.uu.net I'm in the market for a pair of used hotrail pickups, or something equally hot in a stacked humbucker for a Fender Mustang guitar. Hope you can help ========================================================================= Date: Thu, 18 Apr 1996 23:58:49 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: buddy guy/chicago Here's a review of a Buddy Guy warm-up gig with his Big Band at Legends earlier this week. A re-post (with permission) from my friend Bill Irvin. The opinions are his (some of them are mine too, only he said them). Don O. > From: "Irvin, Bill" > Buddy Guy is still up to his same old mischievous tricks of > showing us that he can play like Eric Clapton, Albert King, > Stevie Ray Vaughan and Jimi Hendrix. And I really thought he > knew better than to try this BS on home turf! Is his mind a > bit warped? Buddy, don't you feel good enough about yourself? > > Buddy has just finished two packed performances at his club, > Legends, in Chicago, to start off his "Real Deal" tour. His > new album (live, with G.E. Smith's band) went on sale Tuesday > the 16th. I didn't expect him to present much new material > in this show, and he didn't, but I really thought that playing > for his home crowd he wouldn't resort to the type of audience > pandering he has in the past used in other venues, blatantly > showing the musical links between himself and several famous > blues and rock guitarists. > > He started off the show with "Goin' Down" and then when he > launched into slow blues for the second number and announced > that he was going to "play some blues tonight" I was thinking > "good, hopefully a straight performance without throwing in the > 'this is what I taught Jimi, this is what I taught Stevie Ray' > bullshit." > > Overall, however, I'll have to say that it was a good performance. > The band members and their leader all seemed to be in a good mood. > Buddy's vocals were very good and his guitar playing was at times > very exciting. (Damn right! it sure felt good!) The musical > crew for this tour comes complete with horn players that enhance > some of the numbers rather well. There may have been one or two > unpolished moments attributable to the Buddy Guy Big Band not > having played together in this incarnation before, but the > audience was very forgiving, and heck, if it sounds like a wrong > note, just pretend you're listening to jazz! > > When he, at times, forgot he was bragging about what famous > guitar players he could imitate, his performance was near great- > ness. Towards the end of a long version of Stevie Ray Vaughan's > Cold Shot, it seemed that Buddy was just into the extended > instrumental jam of the song and it could have been any song > extended on one chord that he and the band were groovin' on. > > But our expectations of Mr. Guy are very high. We want an > excellent, interesting performance all the time, so we might > have to resort to doing what that Fort Worth Star-Telegram > writer did early last year and piss him off, so that he'll play > straight blues - funky blues, mellow blues, whatever kind of > blues - and quit trying to give us blues-rock history lessons. > > If we want to hear "Voodoo Chile" we can choose from a wide > selection of legitimate and bootleg Jimi Hendrix albums to put > on our tune machines. We know Buddy's had a great influence > on other great guitarists through the years and that he can > play sort of like them, but the important thing is that he is > still alive and able to bend them guit-tar strings with immense > feeling. When he jammed with Koko and others on his birthday > last July at Legends (wearing cute shorts, nonetheless), he > didn't need any extra help by showing us who else he can play > like, and that was great. Buddy, we don't even mind if you play > some songs that aren't straight blues. We just don't need the > wrong kind of reminder that you played a big part in shaping > modern blues and blues-rock! Stick to your music! > > A touching part of the show was when Buddy sang Happy Birthday > to "Katie" a young woman Buddy met a few years ago who is > often seen at Legends and at almost every Otis Rush gig around > Chicago. A short while after singing the traditional birthday > song to her, Buddy delighted the audience by handing Katie his > polka-dot Strat so that she could show everyone that she can > actually play the blues too, while he had only singing duties > sitting next to her on the edge of the stage. > > Buddy wanted to share the stage with others too. He tried to call > local blues guitarist Deon Payton up onto stage to play, but Deon > apparently was feeling too shy. Buddy's brother Phil wasn't > feeling a bit shy, however. At the suggestion of playing, Phil > sprang into action borrowing the famous polka-dot Strat from his > brother and dove into a very inspired version of "Turn On Your > Lovelight." > > The best part of the show for me was to see Buddy do a couple of > solo acoustic numbers on a guitar just like the one I bought last > year: a sunburst finish Gibson Blues King Electro (full-bodied > single-cutaway spruce-top acoustic guitar with a built-in pickup). > You may have seen advertising in music magazines last year with a > black and white photo of John Lee Hooker playing one of these > beautiful instruments. This is too nice a guitar for many musicians > to want to risk on the rigors of the road, so it'll be interesting > to see if it makes the Real Deal Tour bus. > > All said and done, it was a mixed performance, generally good, > some heartfelt moments, some boloney, and since we all love Buddy > despite his occasional shenanigans, the crowd was sufficiently > satisfied. > > > Wild Bill Irvin > PO Box 7322 > Villa Park, IL 60181 > > > Permission to forward. ========================================================================= Date: Fri, 19 Apr 1996 05:45:07 GMT Reply-To: Jeffrey Daniels From: Jeffrey Daniels Organization: UMR Missouri's Technological University Subject: Blues in Murfreesboro TN Comments: To: bit-listserv-blues-l@uunet.uu.net I recently got a job with G.E. in Murfreesboro TN, I am the blues music director for KMNR in Rolla MO, but I will be heading to TN in June.and I was wondering where any of the blues hot spots are. I know Nashville is very close, there has to be more to Nashville than country music. Thanks, Jeff Daniels ========================================================================= Date: Thu, 18 Apr 1996 22:42:12 -0700 Reply-To: Stan Ruffo From: Stan Ruffo Subject: Re: This just in... Comments: To: "P.W. Fenton" Congratulations P.W.! Way to go.... Stan ---------- From: P.W. Fenton[SMTP:pwfenton@GATE.NET] Sent: Thursday, April 18, 1996 6:38 AM To: Multiple recipients of list BLUES-L Subject: This just in... I have just learned that I will be opening for Johnny Copeland on Sunday, June 2nd at Skipper's Smokehouse in Tampa. I don't have to tell you I'm excited. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 18 Apr 1996 22:54:54 -0700 Reply-To: Stan Ruffo From: Stan Ruffo Subject: What are 45s worth? I have an opportunity to pick up a few original 45s in good shape. Can someone give me an idea what I might be expected to pay for these? Elmore James - Chess 1756 - I Can't Hold Out Albert King - Stax 0147 - Breakin Up Somebody's Home Little Joe Blue - Checker 1141- Dirty Work Going On King Curtis - Capitol 4891 - Mess Around Rufus Thomas - Stax S140 - Walkin' The Dog TIA -- Stan Ruffo Blues On Tap - Sundays at 8pm on Visalia's KIOO 99.7FM 800 N. Ben Maddox Way, Suite 2200, Visalia, CA 93292, (209)625-6049 ========================================================================= Date: Fri, 19 Apr 1996 01:01:09 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Acoustic/Electric Guitars I looking to buy an electric/coustic guitar for gigs etc. Any reccomendations from you all out there? Private e-mail please. Thanks, Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Fri, 19 Apr 1996 01:01:25 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: More on making covers your own Just got back from a satisfying rehearsal (classic rock band). I admit that I was worried before. Last weeks rehearsal was not good. It sucked and we all were worried. I was also concerned how the perfectionist tendancies of a few members of the band would clash with how I wanted to try and stamp our own personality on the song. I worried needlessly. A compromise was worked out (naturally) and we just went for it. Already some songs are sounding a little different from the originals. We've somehow naturally added a dramatic dynamic shift that occurs between the verses and the solos on our cover of Cream's cover of "Crossroads." I was actually laughing during the song because the shifts in dynamics, while being cool, are extreme. So, I think, if the band is interested in trying play their collective heart out it will show even when playing covers. Just be yourself and the song will become your own. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Fri, 19 Apr 1996 01:01:34 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Los Lobos Okay, they are not a blues band, but their roots run deep. With all the hype surrounding the release of "Colossal Head" I bought a few Los Lobos albums. The new one and their first one( I think), "How Will The Wolf Survive." Los Lobos aren't a straight blues band but "Colossal Head" has the blues all over it. From the bluesy licks that punctuate "This Bird's Gonna Fly" to the satisfying but weird, almost straight up blues that is "Buddy Ebsen loves The Night Time" this is great record. A little off center is some aspects but this just adds to the charm. "How Will The Wolf Survive" is a more eclectic outing but it opens with the barnstorming blues-rocker, "Don't Worry Baby." The rest of the album features R&B, Tex-Mex and any other kind of American music you care for. While I've been always aware of Los Lobos this is the first time I have gone and really listened to their music (apart from the "La Bamba" soundtrack). The music of Los Lobos music is truly great American music. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Fri, 19 Apr 1996 04:18:38 -0400 Reply-To: robbd@VYGER.ENET.DEC.COM From: robbd@VYGER.ENET.DEC.COM Subject: Ivory Joe Hunter Comments: To: "blues-l@brownvm.brown.edu"@vbormc.vbo.dec.com Anyone have any info. on this artist? I see Razor And Tie have released a compilation ("Since I Met You Baby"), and if it's anything like some of their other recent releases like James Carr, Arthur Alexander, King Curtis, Chuck Willis, it could be well worth picking up. I wonder if the R&T label has a page on the web ... - Dougie ========================================================================= Date: Fri, 19 Apr 1996 01:37:31 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: This just in... Comments: cc: pwfenton@GATE.NET PW told us: >I have just learned that I will be opening for Johnny Copeland on >Sunday, June 2nd at Skipper's Smokehouse in Tampa. I don't have to >tell you I'm excited. And I don't have to tell you how jealous I am :-) Congrantulations, Play your heat out. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Fri, 19 Apr 1996 08:26:56 GMT Reply-To: marc borms From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: BRBF '96 Belgium Comments: To: bit-listserv-blues-l@news.Belgium.EU.net Hi, The Belgium Rhythm and Blues Festival is comin' near ( although the Chicago Blues Fest is nearer ), but I was already waiting since the day after BRBF '95 for the next issue. It is planned July 19/20/21 I'll try to give a part of the gig-list by heart : Electric Kings ( in my eyes, the greatest European bluesband !) Johny Dyer Band Koko Taylor Kenny Neal Lonnie Brooks Little Richard Bo Didley and at least 7 other bands I forgot. I'll check later and inform you all. What may I expect of these ? embee. ========================================================================= Date: Fri, 19 Apr 1996 10:56:34 GMT Reply-To: Pete Stellers From: Pete Stellers Organization: UCLA Subject: Blues is still dead Comments: To: bit-listserv-blues-l@uunet.uu.net Ignore? Pete is dead? Albert Collins? BB.King?=20 You make me laugh. King was born in the twenties. Collins is dead.=20 I=B4m alive=20 Someone admitted that there are no new bluesstars. (eg GREAT bluesmen) OK Lurrie Bell and Johnny B. Moore are still living and somewhat young.=20 But are they great? And it=B4s nice that bluesfans show the old bluesmen respect.=20 Let them play at the festivals once in a while and pay them well.=20 And I=B4m not going to revive the Kimbrough/Iggu Pop discussion The blues might not be dead, but it=B4s sure dying. Let it rest in peace ========================================================================= Date: Fri, 19 Apr 1996 13:21:10 +0100 Reply-To: bengans From: bengans Subject: Re: Los Lobos Shaun T Cronin said: > >"How Will The Wolf Survive" is a more eclectic outing but it opens with the >barnstorming blues-rocker, "Don't Worry Baby." The rest of the album >features R&B, Tex-Mex and any other kind of American music you care for. > >While I've been always aware of Los Lobos this is the first time I have >gone and really listened to their music (apart from the "La Bamba" >soundtrack). > >The music of Los Lobos music is truly great American music. It truly is!! I can not think of ONE more band that could lay down a Tex-Mex ballad, a real popsong, and a Howlin Wolfish groove all in the same set onstage sounding equaly convincing thru all of it! For you blueslovers I would recommend to start by listening to their album entitled "Neighbourhood" . It s got a lot of their bluesy side in it. They re doing a great version of Jimmy McCracklin s "Georgia slop". Los Lobos ARE a lot of blues, indeed!! Sevenson ========================================================================= Date: Fri, 19 Apr 1996 11:38:44 GMT Reply-To: "D.G.Poole" From: "D.G.Poole" Organization: Pipeline USA Subject: Re: BRBF '96 Belgium Comments: To: bit-listserv-blues-l@uunet.uu.net On Apr 19, 1996 08:26:56 in article , 'marc borms ' wrote: >Hi, > >The Belgium Rhythm and Blues Festival is comin' near ( although >the Chicago Blues Fest is nearer ), but I was already waiting since >the day after BRBF '95 for the next issue. > >It is planned July 19/20/21 > >I'll try to give a part of the gig-list by heart : > >Electric Kings ( in my eyes, the greatest European bluesband !) >Johny Dyer Band >Koko Taylor >Kenny Neal >Lonnie Brooks >Little Richard >Bo Didley > >and at least 7 other bands I forgot. I'll check later and inform you all. > >What may I expect of these ? > >embee. WELL!! One thing for sure. You can expect Kenny Neal to rock the house. What energy!!! ========================================================================= Date: Fri, 19 Apr 1996 07:40:53 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Troubles, Troubles I just got word that Otis Rush will be playing at an outdoor stage at the same time as R.L Burnside and Cocoa Montoya, but before Luther Allison (all three are in the blues tent for Memphis in May). Last time I tried to do two stages at once I ended up standing outside looking in at the Rufus Thomas set. If anyone is dieing to see RL and Coco, I'll lend them two great seats in the blues tent from 8:00 till 10:00. Friday is absolutely LOADED for this fest. RJ Bauman "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Fri, 19 Apr 1996 07:56:54 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Blues is dead? Comments: To: Dick Waterman In-Reply-To: <960418222841_473190093@emout09.mail.aol.com> On Thu, 18 Apr 1996, Dick Waterman wrote: > Hey, Pete . . . give me your address so Robert Lockwood can stop by and kick > your ass. BAAAAAHHHHH!!!! What a way to start a Friday morning! Thanks, Dick. -Jeff (I'd buy a ringside ticket for that one) --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball #10 U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc02.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Fri, 19 Apr 1996 07:40:18 -0500 Reply-To: T-Bone From: T-Bone Subject: Re: Blues is dead? In-Reply-To: <960418222841_473190093@emout09.mail.aol.com> On Thu, 18 Apr 1996, Dick Waterman wrote: > On April 18, Pete "No, I'm Not The Dead Actor" Sellers said: > >>>Why bother listening to blues today? The artists >>>that still live are > hakfdead and itxs almost >>>embarrasing to see them live. Itxs a shame how > >>>white bluesfans drag around these old people who >>>should be at home and > resting. > >>>Is there anyone out there who can name a great >>>bluesman whoxs playing > and is not born in the >>>thirties? > >>>The blues is dead. Let it rest in peace! > > Hey, Pete . . . give me your address so Robert Lockwood can stop by and kick > your ass. Maybe we can get Phil Wiggins to do something rather uncomfortable with a harmonica, too. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Remember! Friends don't let friends drink and post." - Amy Ashton ========================================================================= Date: Fri, 19 Apr 1996 07:57:59 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Re: Troubles, Troubles In-Reply-To: Message of Fri, 19 Apr 1996 07:40:53 +0000 from On Fri, 19 Apr 1996 07:40:53 +0000 R.J. Bauman said: >I just got word that Otis Rush will be playing at an outdoor stage at >the same time as R.L Burnside and Cocoa Montoya, but before Luther >Allison (all three are in the blues tent for Memphis in May). Unfortuantely the last time I saw Otis Rush in Memphis, makes me want to see RL & Coco instead. I hate that ,I have heard when he's on he's great but when he's off...well. LW 'looking fwd to seeing JLW at BB's' >If anyone is dieing to see RL and Coco, I'll lend them two great >seats in the blues tent from 8:00 till 10:00. > >Friday is absolutely LOADED for this fest. > >RJ Bauman >"If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Fri, 19 Apr 1996 08:01:39 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Re: Blues is dead? In-Reply-To: Message of Fri, 19 Apr 1996 07:56:54 -0500 from On Fri, 19 Apr 1996 07:56:54 -0500 Jeff Seale said: >On Thu, 18 Apr 1996, Dick Waterman wrote: > >> Hey, Pete . . . give me your address so Robert Lockwood can stop by and kick >> your ass. > >BAAAAAHHHHH!!!! What a way to start a Friday morning! Thanks, Dick. I'd put my money on Lockwood :-) LW ========================================================================= Date: Fri, 19 Apr 1996 09:05:00 -0400 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM Comments: To: bit-listserv-blues-l@uunet.uu.net From: "J.E. Downey" Organization: UCLA Subject: Re: Blues is still dead >Ignore? Pete is dead? Albert Collins? BB.King?=20 >You make me laugh. King was born in the twenties. Collins is dead.=20 >I=B4m alive=20 >Someone admitted that there are no new bluesstars. (eg GREAT >bluesmen) OK Lurrie Bell and Johnny B. Moore are still living and >somewhat young.=20 But are they great? And it=B4s nice that >bluesfans show the old bluesmen respect.=20 Let them play at the >festivals once in a while and pay them well.=20 And I=B4m not going >to revive the Kimbrough/Iggu Pop discussion The blues might not be >dead, but it=B4s sure dying. Let it rest in peace You can bloody well get stuffed. BLUE JOE IN RED RUSSIA J.E._Downey@bakermck.com ========================================================================= Date: Fri, 19 Apr 1996 09:20:50 -0400 Reply-To: Tom Morgan From: Tom Morgan Subject: Bartender's Bop Playlist 4/15 Here is Monday's show. There are so many good releases just out that I hadto try and play them all. I am very glad to see Sister Sarah's CD on Blind Pig. She has been doing great work behind the scenes for a number ofyears. I first saw Sarah in the late 70's with a band called Memphis Rockabilly and then Sister Sarah and the Hipshakes. Another standout is Alvin Youngblood Hart's OKeh release. I just love those 7" records they are sending out to Radio Stations these days. Tom Title Group Year Label -------------------- -------------------- ---- -------------- Good Fella Robert Brown, Sarah 96 Blind Pig Hand Me That Piano Buford, Mojo 96 Blue Loon Leave My Heart Alone Clark, WC 96 Black Top Confusion Jones, Ivan 75 Luv n Haight That Kate Adams Hart, Alvin 96 OKeh Youngblood Lost Tribes Levy, Ron 96 Bullseye Blues Still Soul Searching Ronnie Earl 96 Bullseye Blues Why So Serious Ponton-King, Cathy 96 Long Gone Pretty Little Poison Brown, Sarah 96 Blind Pig White Feathers in DelSanto, Dan 76 Trix the Coop Big Mam's Door Hart, Alvin 96 OKeh Youngblood Underdog Rag DelSanto, Dan 74 Trix Big Chief Brenner, Craig 95 Craig Brenner Silver Cannonball Levy, Ron 96 Bullseye Blues Mr BK Ronnie Earl 96 Bullseye Blues Born Lucky Robertson, Sherman 96 Code Blue You Ain't No Fun To Clark, WC 96 Black Top Me Travelin Riverside Ainslie, Scott 95 Cat Tail Blues My Way or Highway Studebaker John 96 Blind Pig Overplayed and Buford, Mojo 96 Blue Loon Underpaid Complanin Boogie Clarke, William 94 Alligator Woogie Hard Lovin Mama Webster, Katie 91 Alligator T'ain't Nobody's Saffire 94 Alligator Business Can't Recall A Time Hill, Michael 93 Alligator `'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`' http://redlt.com/tom/ -- Home of Jazz Roots & Record Companies on the Web Free-lance Writer--Author--Program Director WTJU 91.1--Internet Consultant ========================================================================= Date: Fri, 19 Apr 1996 09:27:31 -0400 Reply-To: Dave Markovits From: Dave Markovits Subject: Re: buddy guy/chicago At 11:58 PM 4/18/96 -0600, you wrote: >Here's a review of a Buddy Guy warm-up gig with his Big Band at Legends= earlier >this week. A re-post (with permission) from my friend Bill Irvin. >The opinions are his (some of them are mine too, only he said them). > >Don O. > > > > From: "Irvin, Bill" > > > Buddy Guy is still up to his same old mischievous tricks of > > showing us that he can play like Eric Clapton, Albert King, > > Stevie Ray Vaughan and Jimi Hendrix. And I really thought he > > knew better than to try this BS on home turf! Is his mind a > > bit warped? Buddy, don't you feel good enough about yourself? > > > > Buddy has just finished two packed performances at his club, > > Legends, in Chicago, to start off his "Real Deal" tour. His > > new album (live, with G.E. Smith's band) went on sale Tuesday > > the 16th. I didn't expect him to present much new material > > in this show, and he didn't, but I really thought that playing > > for his home crowd he wouldn't resort to the type of audience > > pandering he has in the past used in other venues, blatantly > > showing the musical links between himself and several famous > > blues and rock guitarists. > > > > He started off the show with "Goin' Down" and then when he > > launched into slow blues for the second number and announced > > that he was going to "play some blues tonight" I was thinking > > "good, hopefully a straight performance without throwing in the > > 'this is what I taught Jimi, this is what I taught Stevie Ray' > > bullshit." > >I've seen Buddy a ton over the last 9 years. I agree. I went to the GE= SNL shows in 94 and those shows were kind of weak. Buddy does the same show= period. I posted stuff over and over a couple of weeks ago asking about= song selection. As much as he gives back to the people who inspired him, I= highly dislike the SRV, Clapton game he plays every show. He claims he= won't stop paying tribute to his all-star friends. I thought the show was= fun. The Chicago Playboys on horns were a treat, they deserve all the= recognition they get. To be honest with you, you will rarely get anything= different. It down right pissed me off when he put the acoustic down= halfway through a tune for=20rock history lessons. It just makes all the= assholes who never buy any Blues albums(except for Ec, SRV) scream and yell= and let everybody know they are there. Buddy is a showman. After performing= all these years and having barrels of cash, well deserved finally, you= think he would have something more to prove to himself. Buddy said,"As long= as I am alive this will always be a Blues club"(Legends) I just wish= Buddy's shows were more a Blues occassion. The acoustic show he did during= the 11 sold out nights a couple of years ago was a gem. There I feel he= proved something. All in all, there are no show's like a Buddy show and I still go back. For how long I don't know. Greg Rzab Buddy's bass player is also one of the best bassists out there. I'm also not dissing EC or SRV for those people who dig them. > > Overall, however, I'll have to say that it was a good performance. > > The band members and their leader all seemed to be in a good mood. > > Buddy's vocals were very good and his guitar playing was at times > > very exciting. (Damn right! it sure felt good!) The musical > > crew for this tour comes complete with horn players that enhance > > some of the numbers rather well. There may have been one or two > > unpolished moments attributable to the Buddy Guy Big Band not > > having played together in this incarnation before, but the > > audience was very forgiving, and heck, if it sounds like a wrong > > note, just pretend you're listening to jazz! > > > > When he, at times, forgot he was bragging about what famous > > guitar players he could imitate, his performance was near great- > > ness. Towards the end of a long version of Stevie Ray Vaughan's > > Cold Shot, it seemed that Buddy was just into the extended > > instrumental jam of the song and it could have been any song > > extended on one chord that he and the band were groovin' on. > > > > But our expectations of Mr. Guy are very high. We want an > > excellent, interesting performance all the time, so we might > > have to resort to doing what that Fort Worth Star-Telegram > > writer did early last year and piss him off, so that he'll play > > straight blues - funky blues, mellow blues, whatever kind of > > blues - and quit trying to give us blues-rock history lessons. > > > > If we want to hear "Voodoo Chile" we can choose from a wide > > selection of legitimate and bootleg Jimi Hendrix albums to put > > on our tune machines. We know Buddy's had a great influence > > on other great guitarists through the years and that he can > > play sort of like them, but the important thing is that he is > > still alive and able to bend them guit-tar strings with immense > > feeling. When he jammed with Koko and others on his birthday > > last July at Legends (wearing cute shorts, nonetheless), he > > didn't need any extra help by showing us who else he can play > > like, and that was great. Buddy, we don't even mind if you play > > some songs that aren't straight blues. We just don't need the > > wrong kind of reminder that you played a big part in shaping > > modern blues and blues-rock! Stick to your music! > > > > A touching part of the show was when Buddy sang Happy Birthday > > to "Katie" a young woman Buddy met a few years ago who is > > often seen at Legends and at almost every Otis Rush gig around > > Chicago. A short while after singing the traditional birthday > > song to her, Buddy delighted the audience by handing Katie his > > polka-dot Strat so that she could show everyone that she can > > actually play the blues too, while he had only singing duties > > sitting next to her on the edge of the stage. > > > > Buddy wanted to share the stage with others too. He tried to call > > local blues guitarist Deon Payton up onto stage to play, but Deon > > apparently was feeling too shy. Buddy's brother Phil wasn't > > feeling a bit shy, however. At the suggestion of playing, Phil > > sprang into action borrowing the famous polka-dot Strat from his > > brother and dove into a very inspired version of "Turn On Your > > Lovelight." > > > > The best part of the show for me was to see Buddy do a couple of > > solo acoustic numbers on a guitar just like the one I bought last > > year: a sunburst finish Gibson Blues King Electro (full-bodied > > single-cutaway spruce-top acoustic guitar with a built-in pickup). > > You may have seen advertising in music magazines last year with a > > black and white photo of John Lee Hooker playing one of these > > beautiful instruments. This is too nice a guitar for many musicians > > to want to risk on the rigors of the road, so it'll be interesting > > to see if it makes the Real Deal Tour bus. > > > > All said and done, it was a mixed performance, generally good, > > some heartfelt moments, some boloney, and since we all love Buddy > > despite his occasional shenanigans, the crowd was sufficiently > > satisfied. > > > > > > Wild Bill Irvin > > PO Box 7322 > > Villa Park, IL 60181 > > > > > > Permission to forward. >David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Fri, 19 Apr 1996 08:28:48 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Ivory Joe Hunter Comments: To: robbd@VYGER.ENET.DEC.COM > Anyone have any info. on this artist? I see Razor And Tie have released > a compilation ("Since I Met You Baby"), and if it's anything like some > of their other recent releases like James Carr, Arthur Alexander, King > Curtis, Chuck Willis, it could be well worth picking up. It is most definitely worth getting. Hunter was IMO the first to cross the line from mellow R&B into "soul music" with his 1950 hit "I almost lost my mind". He was also one of the first "crossover" artists, gaining considerable popularity among country music fans. His best material was recorded for MGM, Atlantic and King. The Razor & Tie collection is the best representation of his music on CD that I know of. EW Eliot Williams University of Wisconsin Department of Medicine ecwillms@macc.wisc.edu ========================================================================= Date: Fri, 19 Apr 1996 06:38:47 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: A certain record club blues repost request Regarding >What's the big surprise here? Did you people think that Santa Claus was >subsidizing these bargains? Of COURSE the artists/writers are getting beaten >up on the deal. >The record labels have special clauses (no pun intended) that enable them to >have a 'free goods' segment of the contract so they escape artists' and >writers' royalties on these club volume sales. >This crap is going on all the time. Vanguard doesn't pay royalties to artists >on their Newport series, claiming that the original personal appearance >contract from the 1960s gives them the release rights. >Moralty has never been in style in the recording industry. I haven't really followed this thread, but as a kid I was a member of a record club; the lp's I got were often warped or otherwise mutilated, most often they were the same albums found in the sales racks and cutout bins, and the money they soak out of you for "shipping and handling" on top of their regular prices more than makes up for the freebies at the beginning. You never get something for nothing. So on top of the question of artists being paid for their product that Dick brought up, it's also a poor decision to waste your money on record club "deals". Maybe if we all bought all our recordings at the local record store, they'd increase the selection of blues releases available... IMHO, -Jim (hndful@uniserve.com) ========================================================================= Date: Fri, 19 Apr 1996 08:29:54 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Question for Pete Seller (serious) If you do HONESTLY feel that the blues are dying, I would like to know what music is trhiving. If you are person with poor potty training and just trying to stir things up, There is no need to answer. Only if you are serious about what you said. Country.....then the blues are still kicking Rock........the blues are still kicking Metal.......yep they're still playing blues licks Rap.........It was started in the cotton fields Jazz........The blues are still kicking Classical...I doubt it's thriving..... So IMVHO the only music that has no blues in it is classical and last I heard they aren't packing the house..... So seriously, what's the thriving music of today..... LW 'could be wrong' ========================================================================= Date: Fri, 19 Apr 1996 13:28:29 GMT Reply-To: Pete Stellers From: Pete Stellers Organization: UCLA Subject: Re: Junior Wells? Comments: To: bit-listserv-blues-l@uunet.uu.net It=B4s NOT on the Vanguard Try some cheap Charly reissues.=20 There are some terrific ones with Earl Hooker and Junior Wells You get Messin=B4 with the kid, Rockin=B4with the kid, And a lot more. The original label is ...Chief ========================================================================= Date: Fri, 19 Apr 1996 09:33:07 +0000 Reply-To: tkelley@ARL.MIL From: Troy Kelley Organization: ARL Subject: Re: Blues is dead -Date: Thu, 18 Apr 1996 09:35:47 -0500 -From: Billy Chambless -Subject: Re: Blues is dead? -In an earlier message, Pete Stellers said: -] Is there anyone out there who can name a great bluesman who=B4s playing=20 -] and is not born in the thirties?=20 -Buddy Guy -B.B. King (okay, I donno how old he is, but he's still kickin' ass) -Albert Collins I dont know about you Billy, but I really miss Albert Collins. I guess you don't. T.D. Kelley ========================================================================= Date: Fri, 19 Apr 1996 06:55:55 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Blues is dead? In a knock-em-down, drag out fight between Robert Lockwood and some moron who shall, for the moment, remain nameless, LW says: >I'd put my money on Lockwood :-) And I would pay big bucks to see it!!! My advice to Mr Sellers: stick to Ace of Base, A-ha, and Roxette. -Jim ========================================================================= Date: Fri, 19 Apr 1996 07:04:07 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Acoustic/Electric Guitars Shaun said: >I looking to buy an electric/coustic guitar for gigs etc. Any >reccomendations from you all out there? Private e-mail please. (you're speaking of acoustic guitars with pickups right?) Taylor are the best for the money acoustically, but if you are plugging in, a Takamine cannot be beat for a working player. The Takamine pickup and preamp system is so good that a famous player buys Takamine's just to get the PU/Preamp out of them for his customs! (they won't sell their electronics seperately) The ONLY thing I have heard that was better (just ever so slightly) was a very high-dollar Martin-piezo-mic system. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Fri, 19 Apr 1996 07:06:17 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Blues is still dead What a total, ignorant, fool.... heee heee ha ha ha who hooo I'm with Waterman... Let's send Lockwood over there with an ax handle Go away Pete you bore us... DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Fri, 19 Apr 1996 10:09:40 -0400 Reply-To: smirkyface From: smirkyface Subject: Manny's car wash blues jam Coming up to NY this Sunday and I need some info on the blues jam at Manny's car wash. What time does it start? Is there a cover? Do you have to call ahead to get on the list? What time do they start the list? If a train leaves New York traveling at 90mph, and a train leaves....? Do you have to bring your own amp? Any info would be helpful, thanks. BRIAN MCLEAN PHOTOGRAPHY & SMIRKYFACE PRODUCTIONS "life's too short to live the blues" http://www.netaxs.com/~blmclean ========================================================================= Date: Fri, 19 Apr 1996 09:06:10 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Otis Rush record deal Today's Chicago Tribune carried official word of something that's been brewing for a bit: Otis Rush has signed with the House Of Blues label for his next CD (actually it also involves Private Music); John Porter will produce again; and (the article didn't say this), they've got some time blocked out to record it this summer. The article says fall release; that would be nice. There were some corporate changes within PolyGram which affected This Way Up, the label his last one was on. ========================================================================= Date: Fri, 19 Apr 1996 08:15:24 -0600 Reply-To: Jessica Jones From: Jessica Jones Subject: Re: Fran Chrisina In-Reply-To: <199604190410.AAA10304@listserv.brown.edu> Someone inquired if Fran Christina, formerly drummer for the Fabulous Thunderbirds was playing in Bob Dylan's band. My husband spoke with Fran yesterday, and he said no, lovely thought, but he is not. He is doing some session and brief tours with various artists, but has not formally joined any band, and is not playing with BD. jessica ========================================================================= Date: Fri, 19 Apr 1996 10:24:31 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Acoustic/Electric Guitars Comments: To: Don Cicchetti On 19 Apr 96, Don Cicchetti had this to say: > Shaun said: > > >I looking to buy an electric/coustic guitar for gigs etc. Any > >reccomendations from you all out there? Private e-mail please. > > (you're speaking of acoustic guitars with pickups right?) > > Taylor are the best for the money acoustically, but if you are plugging in, > a Takamine cannot be beat for a working player. > > The Takamine pickup and preamp system is so good that a famous player buys > Takamine's just to get the PU/Preamp out of them for his customs! (they > won't sell their electronics seperately) > > The ONLY thing I have heard that was better (just ever so slightly) was a > very high-dollar Martin-piezo-mic system. I still haven't heard a piezo acoustic guitar pickup that sounded like an acoustic guitar. To me they all have a very alien, snappy, brittle quality and a distortion that is difficult to describe. I would love to hear just once, an "acoustic pickup" that would would fool me for even a few seconds. That awful sound (to me) is so pervasive nowadays that it's almost becoming the norm. I for one remember what a guitar sounds like, and for my money, one of those Bill Lawrence magnetic pickups stuck in the sound hole sounds more natural than one of those zizzzzing piezzzzzzzos. And even a cheap dynamic microphone sounds a million times better. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ There's a basic rule which runs through all kinds of music, kind of an unwritten rule. I don't know what it is. But I've got it. - Ron Wood ========================================================================= Date: Fri, 19 Apr 1996 09:26:39 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Re: Acoustic/Electric Guitars In-Reply-To: Message of Fri, 19 Apr 1996 10:24:31 -0500 from On Fri, 19 Apr 1996 10:24:31 -0500 P.W. Fenton said: > >I still haven't heard a piezo acoustic guitar pickup that sounded >like an acoustic guitar. To me they all have a very alien, snappy, >brittle quality and a distortion that is difficult to describe. I >would love to hear just once, an "acoustic pickup" that would would >fool me for even a few seconds. That awful sound (to me) is so >pervasive nowadays that it's almost becoming the norm. > >I for one remember what a guitar sounds like, and for my money, one >of those Bill Lawrence magnetic pickups stuck in the sound hole >sounds more natural than one of those zizzzzing piezzzzzzzos. I agree with cousin PW (a FIRST !!!!!!). I prefer a acoustic pickup in the soundhole. I was lucky enough to get an old DeArmond that tons of the blues guys used really cheap off the "net". I put that on my L-00 and I'm really happy with it. On the other hand I tend to believe anything Don C. says about electronics and musical instrument related stuff. My ears prefer a magnetic pickup... LW ========================================================================= Date: Fri, 19 Apr 1996 10:33:46 -0400 Reply-To: RuStEd_rAgS From: RuStEd_rAgS Subject: pGH.-area BluesFests PITTSBURGH AREA BLUES FESTS --------------------------- I think ARDEN is still on.... And POCONOS BLUES FEST is too... I look forward to PITTSBURGH BLUES FEST which last year was held at SANDCASTLE... I did not see 3 Rivers Blues Fest or the Pitt Blues Fest listed in LIVING BLUE... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | Laissez les bon temps roulez!! | | // ~~ ~~ \\ | Let the good times roll!! | | /d-(+)-(+)-b\ | ---------------------------- | | // L \\ | SANJAY 'RAGS' RAJAN | | // //|\\ \\ | sanjay_rajan@formtek.com | | ////`~-~'\\\\ | FORMTEK,INC. | | // //|||\\ \\ | PITTSBURGH, PA | | // /|||\ \\ | | | /-- /\o/\ --\ | | | /"\ | | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Fri, 19 Apr 1996 07:41:44 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: April 20 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BRADFORD, PERRY (p) d. 1970-0420, QUEENS, NY 77 BROUSSARD, DELTON (acc/zydeco/LAWTELL) d. 1994-0420, LA 66 BROWN, GERALD S. (d/VINSON/MILBURN) b. 1936-0420, CINNANNATI, OH CHURCHILL, SAVANNAH (v/FOUR TUNES) d. 1974-0420, BROOKLYN, NY 54 FAGAN, DOUGLAS (tsax/JUNIOR WELLS/COTTEN) b. 1942-0420, THOMASTON, GA FULLER, JOHNNY (g) b. 1929-0420, EDWARDS, MS GALE, JOSEPH T. (co-owner: GALE AGENCY) d. 1976-0420, COLUMBUS, OH 70 KRAHMER, CARLO (d/owner: ESQUIRE REC) d. 1976-0420, LONDON, UK 62 LOURIE, CHARLIE (co-owner: MOSAIC REC) b. 1940-0420, BOSTON, MA O'BRIEN, PATRICK (BLUES-L MEMBER) b. 1958-0420, ONTARIO, CA PHILLIPS, JAMES BLIND (g/ARHOOLIE REC) b. 1914-0420, BIRMINGHAM, AL PRIMICH, GARY (hca/FLYING FISH REC) b. 1958-0420, CHICAGO, IL SHINES,JOHNNY[JOHN NED LEE SHINES JR.](g) d. 1992-0420, TUSCALOOSA, AL 76 THOMAS, BLANCHE K. (v) d. 1977-0420, NEW ORLEANS, LA 54 VANDROSS, LUTHER RONZONI (v) b. 1951-0420, NEW YORK CITY, NY ------------------------------------------------------------------------------- ========================================================================= Date: Fri, 19 Apr 1996 10:45:42 -0400 Reply-To: RhythmShrk@AOL.COM From: Bernie Clarke Subject: Re: Nationals, mics & crowd noise (warning - gear talk) LW I have a reccommendation for you. I would get a tube pre-amp for your National. You can run it inbetweeen the guitar and mixer. Use the pickup rather than the microphone, but don't skimp on this stuff. A good setup with a good preamp is going to run you a few hundered dollars. Cheap guitar pickups and preamps are (as well as just about any other piece of audio equipment) are so much more trouble than they are worth. You should have a compressor/limiter in the signal path too. You don't want to ouse limiting or compression as an effect, but you want to use it as a "safety valve" for the PA system. (This is more important for you if you're using the pickup rather than the mic, but is still a concern with the mic.) It's going to keep that equipment that I told you to buy last week from self destructing. The problem with guitars (one of the problems - the one I'm addressing now) is that they have strings that can be snapped (plucked very forcefully). The problem with guitar players (again, only one of the problems) is that they are the only people on the planet that like the sound of a snapping string through a JBL high frequency horn driver (the one in the PA system). This plucked string sends a square wave through the audio chain. That square wave goes through our PA and our power amps which faithfully send this spike to the speakers which have to respond faster than they were designed to. The diaphragm is the horn gets blown and the sound man is coming after you for $80 so he can buy a new diaphragm for his horn. Most big sound companies will have a limiter on the system anyway, but I'm willing to bet that most of the smaller places that you play don't. Additionally, If you have you're own stuff eventually, you will really want to take care of it. If you run the whole mix through the limiter, then you can protect against drunks knocking your microphones over and blowing up speakers that way too. If you use it correctly, you won't even know that you have it on. Back to the tube mic pre-amp. That will "warm" your sound up and soften the transients a little bit. You can take that thing to any gig - give the sound guy a line and you are in business. You can also run it into a amp or recorder as well. Very versitiale little thing. Bernie Clarke Bluesman, Sound Guy, Harp Player, General Know-it-All ========================================================================= Date: Fri, 19 Apr 1996 10:45:43 -0400 Reply-To: RhythmShrk@AOL.COM From: Bernie Clarke Subject: Re: Transducer in your cone! In a message dated 96-04-19 06:24:55 EDT, you write: > No drilling needed, as far as I know. Don't know if >your National has such an endpin, but the wood body dobros do. Anyway, >Fishman is the name that has come up repeatedly. And of course, National has >something that they use and install too. As I said to Don C., I smell >money flying out of my wallet again..... :( > >I'd be really interested to get people's feedback of the Fishman equipment. Fishman has a long standing solid reputation for making excellent acousitc pickups. top of the line stuff! Bernie Clarke ========================================================================= Date: Fri, 19 Apr 1996 10:49:24 -0400 Reply-To: bob unger From: bob unger Subject: Chicago Blues Fest. First, I'd like to say that I think presenting the Bluesbytes money at the opening of the Chess Museum is an outstanding idea and I would really like that to happen. Second (and I think I already know the answer to this one) Does anybody know if it is still possible to find a hotel room during the fest. I went last year and booked my room 4 months in advance and I was lucky to get a room....I dont feel so lucky this time though. I sure would like to go...... BU bob@sun.bnkst.edu ========================================================================= Date: Fri, 19 Apr 1996 10:52:22 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: The big call back! (the ultimate compliment) Comments: To: jds@head-cfa.harvard.edu, mfarn@fibusa.com I'm ecstatic to let ya'all know that yesterday the Main Street Brewing Co. in Worcester called us back and has booked Gate Street Blues in for two more gigs, one each in June and August! :) As you can understand, when you sweat and worry and give it your all for such a big gig as this, getting called back and booked again is the ultimate compliment and form of recognition. I'd like to thank all my friends who came out to see us and to check out the brewery, as well as any of you who've come to see us ANYWHERE, for the support and helping me get my labor of love up and flying! You guys are great! Tonight (Fri) we play at the Rendezvous in Waltham and tomorrow night back at Smokey Joe's in Lawrence. Busy, busy, busy...... See you soon! Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 19 Apr 1996 11:00:34 -0400 Reply-To: Peter Welch From: Peter Welch Subject: Re: Ivory Joe Hunter At 08:28 AM 4/19/96 GMT-6, someone asked about Ivory Joe Hunter: >> Anyone have any info. on this artist? I see Razor And Tie have released >> a compilation ("Since I Met You Baby"), and if it's anything like some >> of their other recent releases like James Carr, Arthur Alexander, King >> Curtis, Chuck Willis, it could be well worth picking up. > Eliot Wiliams responded: >It is most definitely worth getting. Hunter was IMO the first to >cross the line from mellow R&B into "soul music" with his 1950 hit >"I almost lost my mind". He was also one of the first "crossover" >artists, gaining considerable popularity among country music fans. >His best material was recorded for MGM, Atlantic and King. The Razor >& Tie collection is the best representation of his music on CD that I >know of. EW As Eliot says, Ivory Joe Hunter was an interesting artist because he sort of went through some different stylistic periods...He went from doing jumpin' early West-Coast style R&B to some smooth pop/R&B ballads for King & Atlantic to very Country&Western stuff. The Swedish Route 66/Mr. R&B label put out 3 LPs of Ivory Joe's material, much of it with stuff from his early period as a Jump Blues/Jive vocalist in the mid and late 1940s...One of these LPs called "7th Street Boogie" is available on CD...I think it's on the European Jukebox Lil' Label (it might be on Mr. R&B). If you like good early saxophone-driven jump blues then I'd highly recommend "7th Street Boogie". -Peter ========================================================================= Date: Fri, 19 Apr 1996 10:02:33 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: John Hammond Instr Vid ?? I'd like to know if John Hammond has made an instructional video...? Anyone know LW ========================================================================= Date: Fri, 19 Apr 1996 11:08:20 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Grammar Patrol Alert . . . Comments: To: bsco@panix.com I was riding my pony "Syndax" on the back 40, doing some Grammar Patrol and came upon: >>> Barry (if they were denied the vote I'd holler, if >>>I were denied my right to say know I'd holler too) I climbed down off the saddle, took out my pair of wire cutters and clipped off that front 'k' and back 'w' and rode on down the fence line. I 'know' a 'no' when I see it. Dick Waterman ========================================================================= Date: Fri, 19 Apr 1996 11:08:26 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Junior Wells? Comments: To: isprints@indy1.calarts.edu On Thu, 18 Apr 1996, Beckie Sansom wrote: > question involves Junior > Wells.Can anyone recommend where one might find the original version > of "Messin` With The Kid"? > Beckie Sansom & Robert J Dewar This song has one of my favorite blues verses: You take the kid's car And you drive around town Tell everybody You're going to put the kid down But No No No No Hey, look at what you did You can call it what you want I call it messin' with the kid Dick Waterman ========================================================================= Date: Fri, 19 Apr 1996 11:08:22 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: *BLUES-L STATS '95* Comments: To: uc262@cclx1.unican.es In describing the 1995 content of this list, Bluesman used this comparison: >>> the height of a 9 years old child, aprox. Great! We not only have the height but the intellectual ability to go along with it ! Dick Waterman ========================================================================= Date: Fri, 19 Apr 1996 08:09:31 -0800 Reply-To: James Carmin From: James Carmin Subject: Blues is Live (on BLUES IS KING) I just picked up BB's BLUES IS KING (MCAD-31368) and it is truly an incredible live BB set. I think it's much better than "Regal" because of its pared-down sound of just two horns behind BB's band. The noise of the crowd in the small club in Chicago on November 5th, 1966 respond wonderfully to BB's economy of sound. This has got to be one of the GREATEST of BB's recordings. And it was recorded in a year of great hardship for BB, as Charles Sawyer notes: his tour bus was stolen, the IRS was after him, and his wife sued him for divorce. BB obviously responded to these troubles with was he does best: playing his heart out to a very appreciative audience. Blues isn't dead, it's very LIVE on this disc. James C. ========================================================================= Date: Fri, 19 Apr 1996 10:06:01 -0400 Reply-To: James H Spence From: James H Spence Subject: Re: Blues is dead? Comments: To: Dick Waterman In-Reply-To: <960418222841_473190093@emout09.mail.aol.com> On Thu, 18 Apr 1996, Dick Waterman wrote: > Hey, Pete . . . give me your address so Robert Lockwood can stop by and kick > your ass. > Dick Waterman Surely someone would then have the blues. But seriously, I have none of Lockwood's music other than his work with SBWII. Could someone post something about his own work, suggestions on which which Cd's to start with, etc.? Thanks, Jim Spence. ========================================================================= Date: Fri, 19 Apr 1996 17:18:00 +0100 Reply-To: bengans From: bengans Subject: Re: Blues is still dead OK Pete, go find yourself a newsgroup with alive music and let us who like dead music rest here in peace. Goodbye,-forever! Sevenson >Ignore? Pete is dead? Albert Collins? BB.King? >You make me laugh. King was born in the twenties. Collins is dead. >I=A5m alive >Someone admitted that there are no new bluesstars. (eg GREAT bluesmen) >OK Lurrie Bell and Johnny B. Moore are still living and somewhat young. >But are they great? >And it=A5s nice that bluesfans show the old bluesmen respect. >Let them play at the festivals once in a while and pay them well. >And I=A5m not going to revive the Kimbrough/Iggu Pop discussion >The blues might not be dead, but it=A5s sure dying. >Let it rest in peace ========================================================================= Date: Fri, 19 Apr 1996 15:20:29 +0000 Reply-To: Bob Bingham From: Bob Bingham Subject: acoustic miking Nothing sounds better for an acoustic guitar sound than to stick a decent mike in front of it. Hammond even prefers those sm57's. With that said I must comment that 90% of soundmen today don't have the remotist idea of how to properly eq an acoustic guitar. This is from alot of personal experience. For example.In the last 3 years I've seen John Hammond, Steve James, and Paul Geremia all get butchered by "soundmen". The main complaint I have is that with a mike in a bar it sometimes is difficult to get the guitar volume over the room noise. John Nicholas said" well then nobody's listening". Then why bother to play at all! With a little more volume it sometimes is possible to get people's attention. Here's what I do. I have a Taylor K22. I use a Sunrise Pickup in the soundhole in conjunction with a Boss 7 band eq pedal. I get alot of compliments on the guitar sound, I'm always plenty loud, and I don't have to worry about moving my guitar around. Even with the pickup in I can still put a mike in front and mix the sound from both, if there is a good sound guy. My basic belief on this subject is if you can't be heard who cares how you're amplifying you guitar. To the purists I say "well Robert Johnson didn't have a PA system does that make that technology forbidden? Leo Kotke uses the Sunrise system is he full of crap? As far as piezo style pickups go, I don't like any of them and believe me I've tried almost all of them. The bottom line is you alone will have to decide what sounds best for you. Incidentally, there is an acoustic guitar webpage on the internet that describes the different miking systems that alot of different pros use for acoustic instruments but you'll have to find it yourself. ========================================================================= Date: Fri, 19 Apr 1996 16:24:43 +0100 Reply-To: WALLER JONATHAN From: WALLER JONATHAN Subject: Otis Clay Hello men and women of the blues... Does anyone know if Otis Clay's Atlantic/Cottolion recordings are available any where?? Thanks in advance.. ========================================================================= Date: Fri, 19 Apr 1996 11:28:39 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Wait a Minute...Classical Not Thriving?? I deleted LW's post before I could think long enough to answer it... But it DID end, didn't it, with "classical not thriving"? Ummmm...correct my history if I'm wrong, but didn't classical music pre-date even our beloved blues???? I believe those B's I trained on in college, Beethoven and Bach (especially Bach) heavily used the I-IV-V-I progression l-o-n-g before anyone was beating out rhythms on an acoustic guitar in the Delta. And I also believe that some of the more renowned symphony orchestras, and even the little regional ones, fill much bigger houses than some of our renowned or regional blues acts. A "bad" night here at Music Hall in Cincinnati with the Cincinnati Symphony Orchestra (a fine ensemble, by the way!) draws more people than a free Buddy Guy/Lonnie Brooks bill in a city park. Them's the facts. Classical music is one of the foundation of a lot of popular/current music, too. Let's not forget it. Musical styles build on and grow from historical styles, and ultimately cannot divorce themselves from that history. End of Music 101 for Friday. Shannon ========================================================================= Date: Fri, 19 Apr 1996 10:39:34 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Lockwood suggestions In-Reply-To: Message of Fri, 19 Apr 1996 10:06:01 -0400 from On Fri, 19 Apr 1996 10:06:01 -0400 James H Spence said: > Surely someone would then have the blues. But seriously, I have > none of Lockwood's music other than his work with SBWII. Could > someone post something about his own work, suggestions on which > which Cd's to start with, etc.? Thanks, Jim Spence. I will recommend LIVE IN JAPAN (with the Aces) and Steady Rollin Man I also like the Candid recordings with Otis Spann & Lockwood. IMHO the Candid recordings have two of the best blues musicians ever.... LW ========================================================================= Date: Fri, 19 Apr 1996 10:44:58 -0500 Reply-To: Tom Kraft From: Tom Kraft Subject: Re: Jimmy Johnson Comments: To: Urs Egger I recently took a friend (RnR fan) of mine from work to see Jimmy at a local college. The show was a hoppin' mix of originals and covers, all good. During the first break my friend (the RnR fan) asked me to take him to the local CD outlet and help him pick out some good blues releases. Ever since then he's been borrowing CDs and attending shows. He's hooked. Now we're trying to convert his wife (a long hard battle with that country fan). In conclusion Jimmy Johnson turned my friend on to the blues. Go see him. Tom Kraft At 01:43 AM 4/19/96 +0200, Urs wrote: >The Jimmy Johnson concert in Germany is on our agenda next week.I was >wondering if anyone of you has been lately >on one of his concerts and if yes how was it ? >In my CD collection is Jimmy Johnson "Johnsons Whacks". The new CD "I'm >a Jockey" has good critic in CDnow. Is >it a nice to have ? > >Thanks >Urs > > ========================================================================= Date: Fri, 19 Apr 1996 10:44:44 -0500 Reply-To: sprice@INAV.NET From: Steve Price Subject: Re: Acoustic/Electric Guitars Comments: To: L W In-Reply-To: On Fri, 19 Apr 1996, L W wrote: > On Fri, 19 Apr 1996 10:24:31 -0500 P.W. Fenton said: > > > >I still haven't heard a piezo acoustic guitar pickup that sounded > >like an acoustic guitar. To me they all have a very alien, snappy, > >brittle quality and a distortion that is difficult to describe. I > >would love to hear just once, an "acoustic pickup" that would would > >fool me for even a few seconds. That awful sound (to me) is so > >pervasive nowadays that it's almost becoming the norm. > > > >I for one remember what a guitar sounds like, and for my money, one > >of those Bill Lawrence magnetic pickups stuck in the sound hole > >sounds more natural than one of those zizzzzing piezzzzzzzos. > > I agree with cousin PW (a FIRST !!!!!!). I prefer a acoustic pickup in the > soundhole. I was lucky enough to get an old DeArmond that tons of the blues > guys used really cheap off the "net". I put that on my L-00 and I'm really > happy with it. On the other hand I tend to believe anything Don C. says about > electronics and musical instrument related stuff. My ears prefer a magnetic > pickup... > > LW > I prefer no amplification to anything, but I'm with PW in prefering a miked sound to a piezo or a magnetic pickup. In practice, you start to get feedback sometimes before you have enough amplification for some situations and you are stuck standing stock still holding the guitar to the mic. Some of the tinny sound PW doesn't like also comes from those very expensive acoustic amps, and less so when running through a normal PA. As an alternative to a mic, I think transducers are pretty good when EQed properly. Yesterday I posted that I've got one in my Dobro. I think the Fishman transducers give a more faithful reproduction of a resonator guitar than a regular acoustic. But again, avoiding those $800 acoustic guitar amplifiers. I don't dispise that sound, I just don't prefer it. Steve ========================================================================= Date: Fri, 19 Apr 1996 10:43:19 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Messin With The Kid & MAN On the outstanding Muddy Waters "One More Mile" he does a tune called "Messin With The Man"....It has a line that's something like "You been messin with the kid, you best not mess with the MAN"...(probally not even close) It almost sounds like a "slap" at Jr. Wells. Does anyone else get that impression or is it just me. LW ========================================================================= Date: Fri, 19 Apr 1996 12:03:43 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Grammar Patrol Alert . . . Comments: To: Dick Waterman In-Reply-To: <960419110820_194232084@emout15.mail.aol.com> On Fri, 19 Apr 1996, Dick Waterman wrote: > I was riding my pony "Syndax" on the back 40, doing some Grammar Patrol and > came upon: > >>> Barry (if they were denied the vote I'd holler, if >>>I were > denied my right to say know I'd holler too) > I climbed down off the saddle, took out my pair of wire cutters and clipped > off that front 'k' and back 'w' and rode on down the fence line. > I 'know' a 'no' when I see it. I "new" it all along - just wanted to see if Jinx would notice :). Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Fri, 19 Apr 1996 12:13:47 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Ivory Joe Hunter Dougie wrote >Anyone have any info. on this artist? I see Razor And Tie have released >a compilation ("Since I Met You Baby"), and if it's anything like some >of their other recent releases like James Carr, Arthur Alexander, King >Curtis, Chuck Willis, it could be well worth picking up. > >I wonder if the R&T label has a page on the web ... > >- Dougie Born Weirgate, Texas in 1914, died Memphis 8 November 1974, pianist/singer Ivory Joe Hunter recorded 'Stagolee' for the Library of Congress in 1933, but his subsequent commercial career (1945 onwards) was a long way from that. He was a smooth, sophisticated singer, purveying urbane music to both blacks and whites. Ivory Joe transcended the barriers between musical genres, playing and being equally at home in blues, pop, country, and swing-era jazz. Rightly, he never regarded himself as a blues singer, but as an all-round musician. Some of his ballads may not be to people's taste these days, but he was a tremendously popular artist in his day, and a considerable influence on people like Solomon Burke, who recorded versions of his hits 'I Almost Lost My Mind', 'A Tear Fell' and 'Since I Met You Baby'. I'd see him as an influence on B.B. King;'s singing, too. Dougie, I'd suggest you try to hear the CD before you buy it; Razor & Tie have probably done a good selection to highlight the soul-blues side of him, but without a tracklisting it's hard to be definite about this particular release. If you like him, you'll love him - he's that kind of musician. There was a fine LP '7th Street Boogie' on Route 66 KIX-4, which may have gone to CD - recommended if it has. Chris Smith (chris@skerries.demon.co.uk) 'It ain't what you eat, it's the way that you chew it.' (Sleepy LaBeef) ========================================================================= Date: Fri, 19 Apr 1996 09:19:11 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Acoustic/Electric Guitars PW said: >I still haven't heard a piezo acoustic guitar pickup that sounded >like an acoustic guitar. To me they all have a very alien, snappy, >brittle quality and a distortion that is difficult to describe. I >would love to hear just once, an "acoustic pickup" that would would >fool me for even a few seconds. That awful sound (to me) is so >pervasive nowadays that it's almost becoming the norm. > >I for one remember what a guitar sounds like, and for my money, one >of those Bill Lawrence magnetic pickups stuck in the sound hole >sounds more natural than one of those zizzzzing piezzzzzzzos. > >And even a cheap dynamic microphone sounds a million times better. AAAHHNNKKKK!!!! Wrong answer... Now get thee to a real music store, check out Takamine's best system, plug it into as Westcam or Demeter direct box, plug that into a good sound system, properly eq'd and stand back brother... Is it natural.. pretty darn close. LOTS better than *any* cheap mic, and the only mics that are noticeably better are a stereo pair of Neumann KM-84's or B&K 4006's into a Demeter tube mic preamp... Got 6000.00? Properly setup and interfaced, the Takamine system (and several others) sound wonderful. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Fri, 19 Apr 1996 09:22:12 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: acoustic miking I would like to echo Bob Bingham's praise for the Sunrise system. Wonderful stuff. Especially with the tube preamp option. not cheap however. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Fri, 19 Apr 1996 12:26:46 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Question for Pete Seller (serious) LW wrote >If you do HONESTLY feel that the blues are dying, I would like to know what >music is trhiving. If you are person with poor potty training and just trying >to stir things up, There is no need to answer. Only if you are serious about >what you said. > >Country.....then the blues are still kicking >Rock........the blues are still kicking >Metal.......yep they're still playing blues licks >Rap.........It was started in the cotton fields >Jazz........The blues are still kicking > >Classical...I doubt it's thriving..... > >So IMVHO the only music that has no blues in it is classical and last I heard >they aren't packing the house..... > >So seriously, what's the thriving music of today..... > >LW 'could be wrong' Classical's doing ok. I don't know what the figures are like in the States, but in Britain more people go to classical concerts than soccer games. Chris Smith (chris@skerries.demon.co.uk) 'It ain't what you eat, it's the way that you chew it.' (Sleepy LaBeef) ========================================================================= Date: Fri, 19 Apr 1996 09:27:28 -0700 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Re: Junior Wells The original version of Messin' With the Kid is available on CD on a Junior Wells CD entitled 1957 - 1963 on the Flyright and Paula labels. (I think I've got the years correct and Paula) Unfortunately, I don't have the disc in front of me. Joe ========================================================================= Date: Fri, 19 Apr 1996 12:28:05 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Acoustic/Electric Guitars Comments: To: Don Cicchetti On 19 Apr 96, Don Cicchetti had this to say: > AAAHHNNKKKK!!!! > > Wrong answer... > > Now get thee to a real music store, check out Takamine's best system, plug > it into as Westcam or Demeter direct box, plug that into a good sound > system, properly eq'd and stand back brother... > > Is it natural.. pretty darn close. > > LOTS better than *any* cheap mic, > > and the only mics that are noticeably better are a stereo pair of Neumann > KM-84's or B&K 4006's into a Demeter tube mic preamp... Got 6000.00? > > Properly setup and interfaced, the Takamine system (and several others) > sound wonderful. Aw... cumon. Go ahead and try to fool my ears. I know the difference between moving air, and moving wood and steel. A single SM57 sounds better (to me, of course) than any piezo I've ever heard. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ There's a basic rule which runs through all kinds of music, kind of an unwritten rule. I don't know what it is. But I've got it. - Ron Wood ========================================================================= Date: Fri, 19 Apr 1996 11:15:00 -0400 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: What music is thriving Over here, it's insipid Eurodisco worldbeat with simple words for you who don't know so much English: 1,2,3 Love, love, me. Repeat 6Ox to sound of programmed syntho-bass substitute. It's like totally danceable, and the scourge of the audible wave spectrum. But very "today." BLUE JOE IN RED RUSSIA J.E._Downey@bakermck.com (I dunno some say it comes from Germany) ========================================================================= Date: Fri, 19 Apr 1996 18:33:25 +0100 Reply-To: bengans From: bengans Subject: Re: Grammar Patrol Alert . . . It s nice to see that it s not just stoopid Swedes who get the English Dictionary totally wrong at times! (I m leaving the apostrophes out cause they mess with the binary language) Sevenson A.K.A Knut Goran Svenningsson ========================================================================= Date: Fri, 19 Apr 1996 12:11:00 EDT Reply-To: Debra Eisert From: Debra Eisert Subject: Re: Wait a Minute...Classical Not Thriving?? Shannon, thank you. Just a little while ago there was discussion about the blues inflence in two classical works on this list. There are more classical concerts in Cincinnati than there are blues concerts based on glancing at the Enquirer's listings. If classical music is not thriving, why are there so many renowned schools teaching primarily classical music? And, many who like the blues also enjoy classical music. Seiji Ozawa has been quoted on his love of the genre. Not that I am claiming his stature, but I will be at Music Hall tonight for the Symphony. Guess what I am trying to say is that musical forms are interrelated. Many are popular only in their own niche -- like the blues! -- but I can't say any that L.W. mentioned are dying! (BTW, I agree with LW's point about the blues living in their influence on other musical forms. Even if country, metal etc. devotees are unaware of the blues influence.) At 11:28 AM 4/19/96 EST, you wrote: > I deleted LW's post before I could think long enough to answer it... > But it DID end, didn't it, with "classical not thriving"? > > Ummmm...correct my history if I'm wrong, but didn't classical music > pre-date even our beloved blues???? I believe those B's I trained on > in college, Beethoven and Bach (especially Bach) heavily used the > I-IV-V-I progression l-o-n-g before anyone was beating out rhythms on > an acoustic guitar in the Delta. And I also believe that some of the > more renowned symphony orchestras, and even the little regional ones, > fill much bigger houses than some of our renowned or regional blues > acts. A "bad" night here at Music Hall in Cincinnati with the > Cincinnati Symphony Orchestra (a fine ensemble, by the way!) draws > more people than a free Buddy Guy/Lonnie Brooks bill in a city park. > Them's the facts. > > Classical music is one of the foundation of a lot of popular/current > music, too. Let's not forget it. Musical styles build on and grow > from historical styles, and ultimately cannot divorce themselves from > that history. > > End of Music 101 for Friday. > > Shannon > > ##################################################################### Debra Eisert "Those who dream by day are cognizant debra@iglou.com of many things which escape those who Cincinnati, OH dream only at night." -- E. A. Poe ##################################################################### ========================================================================= Date: Fri, 19 Apr 1996 09:38:08 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Wait a Minute...Classical Not Thriving?? Shannon said: > I deleted LW's post before I could think long enough to answer it... > But it DID end, didn't it, with "classical not thriving"? > > Ummmm...correct my history if I'm wrong, but didn't classical music > pre-date even our beloved blues???? I believe those B's I trained on > in college, Beethoven and Bach (especially Bach) heavily used the > I-IV-V-I progression l-o-n-g before anyone was beating out rhythms on > an acoustic guitar in the Delta. And I also believe that some of the > more renowned symphony orchestras, and even the little regional ones, > fill much bigger houses than some of our renowned or regional blues > acts. A "bad" night here at Music Hall in Cincinnati with the > Cincinnati Symphony Orchestra (a fine ensemble, by the way!) draws > more people than a free Buddy Guy/Lonnie Brooks bill in a city park. > Them's the facts. > > Classical music is one of the foundation of a lot of popular/current > music, too. Let's not forget it. Musical styles build on and grow > from historical styles, and ultimately cannot divorce themselves from > that history. > > End of Music 101 for Friday. > > Shannon Absolutely Shannon! Hey, I record for an orchestra, three choirs and a chamber group, and several soloists... Guess who: regularly fills concert halls, hires overpriced snobby recording guys (no one WE know of course), gets newspaper coverage, and are real people whose checks actually clear the bank.... A. The local Rock scene people? WRONG.... B. The local blues scene people WRONG.... (too bad, too) C. The Classical scene people RIGHT! It is a thriving scene here in CA, and most of the groups nearly KILL for access to vital new works by composers, and some of them actually commission new works... As far as vitality, it is the most vital scene I have seen, around here at least. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Fri, 19 Apr 1996 10:03:46 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Acoustic/Electric Guitars Previously: >> Properly setup and interfaced, the Takamine system (and several others) >> sound wonderful. PW said: >Aw... cumon. Go ahead and try to fool my ears. I know the >difference between moving air, and moving wood and steel. A single >SM57 sounds better (to me, of course) than any piezo I've ever heard. P-dub, I hate to say this, cuz you know I like ya, but.... COWPIES!! Come on out to CA, we'll take a Takamine into a Demeter DI, insert it into my sound system, then go get one of them 57's and compare.. whew what a difference! The Takamine will smoke the 57.... Don't be sure you're right about this until you eliminate the variables below... Do any of these things wrong and you get garbage... 1. Improper impedance match (do you have the right DI?) 2. The right Guitar (The Takamine system is better than anyone elses stock system. you have to go full custom installed at about 350.00 or more to even equal it) 3. A GOOD sound system properly setup. If you tell me then, that you don't like the PU, fine, that's your personal taste. But 99 out 100 people (even musicians and audio people) will LOVE it. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Fri, 19 Apr 1996 13:24:08 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Acoustic/Electric Guitars Comments: To: Don Cicchetti Don... I like you too. Blindfold my ass. Hook up any damn acoustic guitar piezo transducer along with any direct box, preamp, or whatever. Mike the a guitar with whatever you think is a good (or even fair) microphone(s) I will holler "PIEZO!!!!!!" every time it's appropriate. It's a totally different and unnatural sound. You don't HEAR an acoustic guitar that way unless you physically attach your skull bones to it. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ There's a basic rule which runs through all kinds of music, kind of an unwritten rule. I don't know what it is. But I've got it. - Ron Wood ========================================================================= Date: Fri, 19 Apr 1996 13:19:06 EDT Reply-To: dgross@XCALIBUR.IINC.COM From: dgross@XCALIBUR.IINC.COM Subject: Gig news... We've seen some great gig news to seemingly counter Scott's Hell Gig...congrats to all! Maybe I ought to start posting regularly to the BLUES-L again, so that maybe the luck will rub off. Though I shouldn't complain, since my band's having its busiest month yet, topped off with our first Buffalo gig this weekend! If any of you 'l-ers want to come see us, we'll be at Hoppy's on Military Road in Kenmore (used to be Luke's Place) on Saturday, starting at 10:00...(plug, but only 'cuz it seems to be "Friday plug time" :-) --Dan Gross dgross@iinc.com (Only on the blues-l can you see people offering Eric Clapton's broken guitar string and Keb Mo's fixed cat...I wonder if the cat like JLH Pizza...) Dan Gross Programmer by day, Drummer by night. Elba, NY Blues fan all the time... dgross@iinc.com Next Performance (e-mail for details): http://www.iinc.com/~dgross 4/20, Hoppy's, Buffalo, NY 10:00pm ========================================================================= Date: Fri, 19 Apr 1996 13:44:39 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Blues is dead? Mike Craddock wrote in part >The blues is what? >The social function of blues in it's prime was protest. It's obvious to >anyone who has never listened to any blues. If you meant 'never', I agree! ;-) And BTW 'it's' means 'it is'. It is NOT an adjective meaning 'of or belonging to it'. (This is directed to many other offenders, not just Mike.) (I'm having a bad day, and I don't see why I should be the only one. :-{ ) Chris Smith (chris@skerries.demon.co.uk) 'It ain't what you eat, it's the way that you chew it.' (Sleepy LaBeef) ========================================================================= Date: Fri, 19 Apr 1996 17:41:36 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Blues is dead? Comments: To: bit-listserv-blues-l@uunet.uu.net Mike Craddock wrote: > >The blues is what? >The social function of blues in it's prime was protest. It's obvious to >anyone who has never listened to any blues. Off the original subject, I know, but... Excuse me, Mike, but I've listened to quite a bit of blues music in the last few decades, and I always thought the primary function of blues music was ENTERTAINMENT. I wonder what Muddy was protesting in "Hoochie Coochie Man", or Robert Johnson in "Crossroads Blues", or BB King in "You Upset Me Baby", or T-Bone Walker in "Stormy Monday" or, or, or.... Scott ========================================================================= Date: Fri, 19 Apr 1996 13:56:31 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: English-L Comments: To: Chris Smith On 19 Apr 96, Chris Smith had this to say: > And BTW 'it's' means 'it is'. It is NOT an adjective meaning 'of or > belonging to it'. (This is directed to many other offenders, not just > Mike.) > > (I'm having a bad day, and I don't see why I should be the only one. :-{ ) As long as you are already having a bad day... Even if he had used "its" properly, without the apostophe, it would never be considered an adjective. It would be a possesive pronoun. SEE WHAT YOU STARTED WATERMAN! P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ There's a basic rule which runs through all kinds of music, kind of an unwritten rule. I don't know what it is. But I've got it. - Ron Wood ========================================================================= Date: Fri, 19 Apr 1996 17:45:50 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Junior Wells Comments: To: bit-listserv-blues-l@uunet.uu.net Joe Lempkowski wrote: > >The original version of Messin' With the Kid is available on CD on a >Junior Wells CD entitled 1957 - 1963 on the Flyright and Paula labels. >(I think I've got the years correct and Paula) Unfortunately, I don't >have the disc in front of me. > >Joe You're right. And I believe it was originally recorded in 1960 for the Chief label in Chicago. Scott ========================================================================= Date: Fri, 19 Apr 1996 11:03:09 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Acoustic/Electric Guitars PW said: >Don... I like you too. > >Blindfold my ass. Hook up any damn acoustic guitar piezo transducer >along with any direct box, preamp, or whatever. > >Mike the a guitar with whatever you think is a good (or even fair) >microphone(s) > >I will holler "PIEZO!!!!!!" every time it's appropriate. *You're on* $100.00 sez I can make a piezo sound like a mag PU, and a mag PU (A Sunrise poorly eq'd) sound like a cheap piezo, *and* I can ask any 100 people off the street which sounds better, an SM57 or a Takamine system properly setup and interfaced, and 95 or more will say the Takamine! Come to CA, we'll do the test, you can give me the 100.00 and I'll buy ya dinner at BB's with it! >It's a totally different and unnatural sound. You don't HEAR an >acoustic guitar that way unless you physically attach your skull >bones to it. Bad reasoning... Remember your skull is not attached to the PA is it? hmmm?? AND you don't listen to a guitar with your (one only) ear precisely placed at the 17th fret pointed towards the bridge DO YA? So, by your reasoning the ONLY system that would be authentic is a spaced stereo pair of B&K Omnis two feet from the guitar... Try turning up the faders on THAT in concert.... come to CA and we'll settle this! ;-] DC This is what makes an engineer's life so hard.... Musicians who won't listen to us! They meet one or two bad ones, and they won't listen anymore.... That's why I work for classical conductors (who KNOW authentic BTW) and others who will listen to the facts. I had a guy start to tell me how to amplifiy his acoustic yesterday. I said "Try it my way first, then if you don't like it, we'll do it your way". He tried it, said "wow! fantastic" and grinned for the whole show! But noooo some players know BETTER than recording guys... you betcha... ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Fri, 19 Apr 1996 19:13:50 +0100 Reply-To: Bluesman From: Bluesman Subject: Re: *BLUES-L STATS '95* Comments: To: Jinxblues@aol.com In-Reply-To: <960419110821_194232091@emout16.mail.aol.com> On Fri, 19 Apr 1996 Jinxblues@aol.com wrote: > In describing the 1995 content of this list, Bluesman used this comparison: > >>> the height of a 9 years old child, aprox. > > Great! We not only have the height but the intellectual ability to go along > with it ! > Dick Waterman Wish we all could be 9 years old about musical prejudices...:-) :-) Jose. Spain. **************************************************************************** Everyday I Have The Blues ========================================================================= Date: Fri, 19 Apr 1996 19:17:35 +0100 Reply-To: Bluesman From: Bluesman Subject: B.B. King Tour Dates - Spain needed Please, I need to know the places and the dates when B.B. King is coming next July to Spain.Thanks in advance. Jose. Spain. **************************************************************************** Everyday I Have The Blues ========================================================================= Date: Fri, 19 Apr 1996 19:15:10 +0100 Reply-To: Bluesman From: Bluesman Subject: Re: *BLUES-L STATS '95* Comments: To: Dick Waterman In-Reply-To: <960419110821_194232091@emout16.mail.aol.com> On Fri, 19 Apr 1996, Dick Waterman wrote: > >>> the height of a 9 years old child, aprox. > Great! We not only have the height but the intellectual ability to go along > with it ! > Dick Waterman Wish we all could be 9 years old about musical prejudices.:-) :-) Jose. Spain. **************************************************************************** Everyday I Have The Blues ========================================================================= Date: Fri, 19 Apr 1996 13:42:36 -0500 Reply-To: sprice@INAV.NET From: Steve Price Subject: Re: Acoustic/Electric Guitars Comments: To: "P.W. Fenton" In-Reply-To: <199604191724.NAA43982@osceola.gate.net> On Fri, 19 Apr 1996, P.W. Fenton wrote: > It's a totally different and unnatural sound. You don't HEAR an > acoustic guitar that way unless you physically attach your skull > bones to it. Is this an expensive process? That might be just what I'm looking for. Can I get it done at a guitar store, an audio shop, or an HMO? Steve (finally warm enough to sit on the porch with an acoustic guitar, iced tea, and sutures) ========================================================================= Date: Fri, 19 Apr 1996 14:47:26 EDT Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: Grammar Patrol Alert . . . Just then, out of nowhere appears an elderly woman. She saunters up to me, pulls out her nightstick... OOPS! That was the Grandma Patrol Dave Carpenter ========================================================================= Date: Fri, 19 Apr 1996 14:53:18 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Blues-L Convention Report on Monday I am assembling information for a lengthy preliminary report on the Blues-L Convention scheduled for St. Louis over Labor Day Weekend. I will try to cover matters such as travel, hotels, festival lineup, list musicians jam session site, official membership gathering points, etc. Have a good weekend . Dick Waterman ========================================================================= Date: Fri, 19 Apr 1996 13:43:26 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Re: Wait a Minute...Classical Not Thriving?? In-Reply-To: Message of Fri, 19 Apr 1996 11:28:39 EST from On Fri, 19 Apr 1996 11:28:39 EST shannon oconnor said: > an acoustic guitar in the Delta. And I also believe that some of the > more renowned symphony orchestras, and even the little regional ones, > fill much bigger houses than some of our renowned or regional blues > acts. A "bad" night here at Music Hall in Cincinnati with the > Cincinnati Symphony Orchestra (a fine ensemble, by the way!) draws > more people than a free Buddy Guy/Lonnie Brooks bill in a city park. > Them's the facts. This is a fact: The B'ham Symphony Orchestra went BANKRUPT. They think the city should pay for it's existence. Is Cincinanati's Symphony funded by the government...??? If it's triving so well why do they reply on the government to keep them in business. Does the government fund Heavy Metal or Rock....? You mention Buddy Guy/Lonnie Brooks, if they came to B'ham the city of B'ham would not pay the members of Buddy's band a cent. On the other hand the Symphony (that thrives so well) expects money from the city. Why would such a thriving musical form need government funding....? Your city may not fund the Symphony, but in B'ham that's exactly what they WERE doing. Just for the record my orignal post follows. LW __________________________________________________ Date: Fri, 19 Apr 96 08:29:54 CDT From: ISTS024@UABDPO Subject: Question for Pete Seller (serious) To: blues-l@brownvm If you do HONESTLY feel that the blues are dying, I would like to know what music is trhiving. If you are person with poor potty training and just trying to stir things up, There is no need to answer. Only if you are serious about what you said. Country.....then the blues are still kicking Rock........the blues are still kicking Metal.......yep they're still playing blues licks Rap.........It was started in the cotton fields Jazz........The blues are still kicking Classical...I doubt it's thriving..... So IMVHO the only music that has no blues in it is classical and last I heard they aren't packing the house..... So seriously, what's the thriving music of today..... LW 'could be wrong' _______________________________________________________________________ ========================================================================= Date: Fri, 19 Apr 1996 15:12:16 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Newsgroups & Censorship I just want to endorse what PW says. If these scumbags came to your house to try to recruit you, you'd tell 'em to take their free speech somewhere else, no? Do it! Chris >From the sound of the e-mail plenty of folks are confused about this >newsgroup vote. > >First of all, newsgroups and listserves are not ours. Blues-L, for >example, is here because of the kind charity of Brown University. >They could pull the plug on us at any time, for ANY reason. It's >their right, and their property. Likewise, with the "rec." series >of newsgroups, someone is supporting all of those newsroups with >their dollars. They have established a system of allowing people >who use the internet to vote on whether to start each and every new >newsgroup. They are not obligated to even do this. If you have >ever wanted to silence a hate monger, this is your one opportunity >to do it legally, and successfully, without "violating" anyone's >constitutional rights. > >I have a right to speak, but not in your house. Your house is not a >public place simply because you leave your front door open. > >I hope this changes the "votes" of all those who thought they didn't >have the "right" to deny these clowns. > >P.W. Fenton >Tampa, Florida >http://www.gate.net/~pwfenton ========================================================================= Date: Fri, 19 Apr 1996 14:20:28 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 04/20 B O R N : 04/20 BONNER, JOE ( JOSEPH LEONARD ) Born:1948 ROCKY MOUNT, NC Career:PIANO Style:JAZZ BROWN, SONNY ( GERALD ) Born:1936 CINCINNATI, OH Career:DRUMMER Style:JAZZ BUNNETT, JANE 1955 TORONTO, CANADA Career:SOPRANO SAX / FLUTE Style:JAZZ With:DEWEY REDMAN / DON PULLEN CHRISTIAN, BUDDY NARCISSE Born:1895 NEW ORLEANS, LA Career:BANJO / GUITAR / PIANO Style:TRAD / JAZZ / BLUES With:King Oliver / Lucille Hegamin / June Clark / Clarence Williams / Fred Jennings CHRISTIAN, EMILE 1895 NEW ORLEANS, LA Career:TROMBONE / BASS / TRUMPET Style:TRAD / JAZZ With:Reliance Brass Band / replaced Daddy Edwards in the Original Dixieland Jazz Band when the band went to England / Sharkey / Santo Pecora HAESLER, WILLIAM JOHN (BILL) 1931 MELBOURNE, VIC, AUSTRALIA Career:WASHBOARD / LEADER Style:JAZZ With:Freddy Ailwood / Perc Garner's Sweet 'n' Swing bone / Jack Kenny / Robbers' Dogs 1968-70 / John Roberts / Adrian Ford / Trevor Rippingale / Geoff Holden / Eric Richards / Terry Fowler / Began writing for Australian Jazz Quarterly 1951 HARRIS, BEAVER (WILLISM GODVIN) Born:1936 PITTSBURGH, PA Career:DRUMMER / LEADER Style:JAZZ ARCHIE SHEPP / ALBERT AYLER / SONNY STITT / DEXTER GORDON / CLARK TERRY JAMES, BILLY ( WILLIAM ) Born:1936 PITTSBURGH, PA Career:DRUMMER Style:JAZZ / BIG BAND LAURIE CY ( CYRIL ) Born:1926 LONDON, UK Career:CLARINET Style:TRAD / JAZZ With:LES JOWETT / FRED HUNT / EGGY LEY / TERRY PITTS / KEN COLYER / MAX COLLIE LOURIE, CHARLIE Born:1940 BOSTON, MA Career:MOSAIC RECORDS Style:BLUES / JAZZ co-owner: MOSAIC RECORDS PUENTE, TITO ( ERNEST PUENTE JR. ) Born:1925 NEW YORK, NY Career:TIMBALES / PIANO / ALTO SAX / LEADER Style:LATIN / BIG BAND / JAZZ With:NORO MORALES / MACHITO / PUPI CAMPO RENAUD, HENRI Born:1925 VILLEDIEU, INDRE, FRANCE Career:PIANO / ARRANGER / LEADER Style:JAZZ With:Don Byas / Buck Clayton / Roy Eldridge / Hubert Rostaing / Al Cohn / Zoot Sims / Lee Konitz / Bob Brookmeyer / Gigi Gryce / Clifford Brown / Dick Collins FOR A LISTING OF THOSE THAT PASSED AWAY IN THIS MONTH PLEASE GO TO MY WEB PAGE AT: http://ic.mankato.mn.us/~shuffle Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us The Following were Recorded on this Date in the Years: ========================================================================= Date: Fri, 19 Apr 1996 12:25:32 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Grammar Patrol Alert . . . Someone is watching all our gramma? Me doomed. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Fri, 19 Apr 1996 15:15:09 -0400 Reply-To: TwIsTeD_RaGs From: TwIsTeD_RaGs Subject: Re: *BLUES-L STATS '95* Comments: To: uc262@CCLX1.UNICAN.ES In-Reply-To: from "Bluesman" at Apr 19, 96 07:13:50 pm AFTER ALL ART in ANY FORM is DISCOVERING THE CHILD WITHIN THE SELF!! +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | Laissez les bon temps roulez!! | | // ~~ ~~ \\ | Let the good times roll!! | | /d-(+)-(+)-b\ | ---------------------------- | | // L \\ | SANJAY 'RAGS' RAJAN | | // //|\\ \\ | sanjay_rajan@formtek.com | | ////`~-~'\\\\ | FORMTEK,INC. | | // //|||\\ \\ | PITTSBURGH, PA | | // /|||\ \\ | | | /-- /\o/\ --\ | | | /"\ | | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Fri, 19 Apr 1996 15:31:30 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Grammar Patrol Alert . . . Comments: To: "david m. carpenter" <103156.340@COMPUSERVE.COM> In-Reply-To: <960419184726_103156.340_IHE86-1@CompuServe.COM> On Fri, 19 Apr 1996, david m. carpenter wrote: > Just then, out of nowhere appears an elderly woman. She saunters up to me, pulls > out her nightstick... > OOPS! That was the Grandma Patrol > Dave Carpenter Blame Jinx - it should be night-stick and Grand-ma, but I no you new this. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Fri, 19 Apr 1996 13:09:11 -0700 Reply-To: Guy Tapper From: Guy Tapper Subject: JLH on Tomato I would like to hear opinions on a couple of John Lee Hooker cds on Tomato. One is a double called ALONE that is apparently two live sets. The other is 3 discs (I think) and I believe is called THE EARLY YEARS(?) Essential, okay, or for completists only? Thanks. Guy Tapper Marine Life Research Group Scripps Institution of Oceanography 9500 Gilman Dr. La Jolla CA 92093-0227 (619)534-2358 (619)534-6500 fax ========================================================================= Date: Fri, 19 Apr 1996 16:17:44 -0400 Reply-To: TwIsTeD_RaGs From: TwIsTeD_RaGs Subject: Re: *BLUES-L STATS '95* Comments: To: "P.W. Fenton" In-Reply-To: <199604192009.QAA119968@osceola.gate.net> from "P.W. Fenton" at Apr 19, 96 03:54:07 pm P.W. Fenton > > On 19 Apr 96, TwIsTeD_RaGs had this to say: > > > AFTER ALL ART in ANY FORM is DISCOVERING THE CHILD WITHIN THE SELF!! > > Or... discovering the mad cow within the self. MAD BAD COW within OURSELF....hehehehehehe or HAVING THE MOUSTACHE UPRIGHT LIKE SALVADOR DALI or MAKE PRINTS LIKE ANDY WARHOL or WRITE LIKE JACK KEROUAC.... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | Laissez les bon temps roulez!! | | // ~~ ~~ \\ | Let the good times roll!! | | /d-(+)-(+)-b\ | ---------------------------- | | // L \\ | SANJAY 'RAGS' RAJAN | | // //|\\ \\ | sanjay_rajan@formtek.com | | ////`~-~'\\\\ | FORMTEK,INC. | | // //|||\\ \\ | PITTSBURGH, PA | | // /|||\ \\ | | | /-- /\o/\ --\ | | | /"\ | | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Fri, 19 Apr 1996 22:18:00 +0200 Reply-To: albert haar From: albert haar Organization: RTV Drenthe Subject: kelly joe phelps Comments: To: bit-listserv-blues-l@uunet.uu.net Can anybody tell me more about Kelly Joe. He's playing overhere in Assen, the Netherlands. Maybe he want's to play in our bluesshow. ========================================================================= Date: Fri, 19 Apr 1996 16:24:17 -0400 Reply-To: TwIsTeD_RaGs From: TwIsTeD_RaGs Subject: Re: Grammar Patrol Alert . . . Comments: To: shaun@PACIFICNET.NET In-Reply-To: <199604191913.MAA22382@polaris.pacificnet.net> from "Shaun T Cronin" at Apr 19, 96 12:25:32 pm > > Someone is watching all our gramma? > > Me doomed. > > I IS GOING CONCERT U COME THEIR OR KNOW.... OOPS....FORGIVE MY GRANDMA.... IT IS BADE :) +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | Laissez les bon temps roulez!! | | // ~~ ~~ \\ | Let the good times roll!! | | /d-(+)-(+)-b\ | ---------------------------- | | // L \\ | SANJAY 'RAGS' RAJAN | | // //|\\ \\ | sanjay_rajan@formtek.com | | ////`~-~'\\\\ | FORMTEK,INC. | | // //|||\\ \\ | PITTSBURGH, PA | | // /|||\ \\ | | | /-- /\o/\ --\ | | | /"\ | | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Fri, 19 Apr 1996 16:02:22 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: B.B. King Tour Dates - Spain needed Comments: To: uc262@CCLX1.UNICAN.ES Here you go Jose. BB King Summer European Tour June 29 Paris, France June 30 London, England July 1 Orleans, France July 3 Spain July 4 Spain July 5 Marbella, Spain July 6 La Coruna, Spain Have a good time!! RJ Bauman On 19 Apr 96 , honorable zeller Bluesman wrote: > Please, I need to know the places and the dates when B.B. King is > coming next July to Spain.Thanks in advance. > > Jose. > Spain. > > **************************************************************************** > Everyday I Have The Blues > > "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Fri, 19 Apr 1996 20:55:38 EST Reply-To: Jim Miller From: Jim Miller Subject: Classical Comments: To: Blues-L LW beat me to the punch on this one. A LOT of symphony orchestras survive on government funding of some sort. ========================================================================= Date: Fri, 19 Apr 1996 23:19:03 +0100 Reply-To: Bluesman From: Bluesman Subject: Re: B.B. King Tour Dates - Spain needed Comments: To: "R.J. Bauman" In-Reply-To: Thanks a lot, indeed.Now the trouble is to know the exact place where he is coming on 3th and 4th July.Anybody? > > BB King Summer European Tour > June 29 Paris, France > June 30 London, England > July 1 Orleans, France > July 3 Spain > July 4 Spain > July 5 Marbella, Spain > July 6 La Coruna, Spain > > Have a good time!! > > RJ Bauman > > > On 19 Apr 96 , honorable zeller Bluesman wrote: > > > > Please, I need to know the places and the dates when B.B. King is > > coming next July to Spain.Thanks in advance. > > > > Jose. > > Spain. > > > > **************************************************************************** > > Everyday I Have The Blues > > > > > "If the Blues was Whiskey, I'd be Drunk All the Time" > **************************************************************************** Everyday I Have The Blues ========================================================================= Date: Fri, 19 Apr 1996 23:23:00 +0100 Reply-To: Bluesman From: Bluesman Subject: JAMmin' with Blues records I try to play the guitar (remark _try_ :-) in a bluesy way. I'm looking for Blues records which are fine to Jam.Any suggestion will be appreciated. I'm sure this is plenty of good guitar players.:-) **************************************************************************** Everyday I Have The Blues ========================================================================= Date: Fri, 19 Apr 1996 23:26:45 +0100 Reply-To: Bluesman From: Bluesman Subject: *MUST HAVE* Blues Records As I've already posted, I am receiving your mails with the suggested Must Have Blues Records ever.I got quite a bunch of them, anyway still any list is welcome.Just e-mail me with at least 5 or more of your must have and in a few weeks I'll post the results. Jose. Spain. **************************************************************************** Everyday I Have The Blues ========================================================================= Date: Fri, 19 Apr 1996 19:59:59 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Waste of time and bandwidth Is anyone else getting this sort of message a lot, always with same recipient referred to? How do we stop it? >Date: Fri, 19 Apr 1996 15:17:10 -0400 >From: CompuServe_Mail >Subject: Delivery report for message to [101725,2577] >To: Chris Smith > >Message "Re: Ivory Joe Hunter", sent at 12:46 EDT on 19-Apr-96, could not >be delivered to [101725,2577] at 15:17 EDT on 19-Apr-96 because the >recipient mailbox is full. > Chris Smith (chris@skerries.demon.co.uk) 'It ain't what you eat, it's the way that you chew it.' (Sleepy LaBeef) ========================================================================= Date: Fri, 19 Apr 1996 20:11:04 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Wait a Minute...Classical Not Thriving?? LW wrote >On Fri, 19 Apr 1996 11:28:39 EST shannon oconnor said: >> an acoustic guitar in the Delta. And I also believe that some of the >> more renowned symphony orchestras, and even the little regional ones, >> fill much bigger houses than some of our renowned or regional blues >> acts. A "bad" night here at Music Hall in Cincinnati with the >> Cincinnati Symphony Orchestra (a fine ensemble, by the way!) draws >> more people than a free Buddy Guy/Lonnie Brooks bill in a city park. >> Them's the facts. > >This is a fact: The B'ham Symphony Orchestra went BANKRUPT. They think the >city should pay for it's existence. Is Cincinanati's Symphony funded by the >government...??? If it's triving so well why do they reply on the >government to keep them in business. Does the government fund Heavy Metal or >Rock....? You mention Buddy Guy/Lonnie Brooks, if they came to B'ham the >city of B'ham would not pay the members of Buddy's band a cent. On the other >hand the Symphony (that thrives so well) expects money from the city. Why >would such a thriving musical form need government funding....? Your city >may not fund the Symphony, but in B'ham that's exactly what they WERE doing. > Classical/art music has never thrived (thriven? throve?) without patronage - used to be monarchs, bishops, rich guys generally, who had court composers and private orchestras. Now it's governments/foundations/some rich persons. Difference is, in the old days the rulers (and more recently the governments of the former Iron Curtain countries) taxed their subjects and spent the money how they damn well pleased; nowadays the politicians have to answer to the electors, in democracies, anyway. I'm one of the electors who votes 'yes' to spending tax dollars/pounds on opera and symphonies. The fact that government doesn't fund what you like does not make funding what I like wrong. Make a case for subsidising heavy metal, and get your congressman to put forward a bill. That's democracy for ya! Think it wouldn't work? That's democracy, too! Chris Smith (chris@skerries.demon.co.uk) 'It ain't what you eat, it's the way that you chew it.' (Sleepy LaBeef) ========================================================================= Date: Fri, 19 Apr 1996 17:11:05 -0700 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Re: Blues is dead? Comments: To: Scott Dirks In-Reply-To: <4l8j8g$1vac@usenetp1.news.prodigy.com> Hmmm protest huh. Well I think that it matters who you listen Like R. Johnson Phonograph Blues, Women ! """ "" Hellhounds on my trail, Hellhounds! Tamp Red Tight like that, Hmmm!! (hehehe) Howlin Wolf Evil, Your womens with another man! Maybe, Maybe, the only songs about protest where ones against Farm owners, and whites either calling them devils or talking about how bad work is. seems like most had something to do with women, while the rest have such varied topics that I think you can't generalize like that. Isaac On Fri, 19 Apr 1996, Scott Dirks wrote: > Mike Craddock wrote: > > > >The blues is what? > >The social function of blues in it's prime was protest. It's obvious > to > >anyone who has never listened to any blues. > > Off the original subject, I know, but... > > Excuse me, Mike, but I've listened to quite a bit of blues music in the > last few decades, and I always thought the primary function of blues > music was ENTERTAINMENT. I wonder what Muddy was protesting in "Hoochie > Coochie Man", or Robert Johnson in "Crossroads Blues", or BB King in "You > Upset Me Baby", or T-Bone Walker in "Stormy Monday" or, or, or.... > > Scott > ========================================================================= Date: Fri, 19 Apr 1996 20:15:44 -0400 Reply-To: PHWoolfman@AOL.COM From: Pete Wulforst Subject: Re: John Coltrane (was: something else...) Comments: To: shaun@pacificnet.net He sure was; my vote goes for "Impressions". And he really coulsd play the blues! Pete ========================================================================= Date: Fri, 19 Apr 1996 20:15:42 -0400 Reply-To: PHWoolfman@AOL.COM From: Pete Wulforst Subject: Re: Jimmy Johnson Comments: To: uegger@datacomm.ch The new CD is quite good, and displays a bit of variety; if you like Jimmy Johnson, you will like this CD. But, "Johnson's Whacks" gets my vote - there are some great lines like I drank 12 Buds but I dodn't get wiswr" or something like that. While I confess that I often tend to be seduced by the flashier players, I relly like Jimmy Johnson. His music, and his guitar playing especially, sneaks up on you, and all of a sudden it's like "This guy is great; why isn't he better known?" But I think the answer to that question lies in the fact that he is a subler artist than say, Buddy Guy. (This is not a put-down to either; I've been a big Buddy Guy fan for 25 years, and I love his stuff, the Chess, "Stone Crazy" (now there's one not for the faint of heart), and his newer stuff. While I have sometimes been perplexed with Buddy's live show, I've always been entertained. ( My next-door neighbor, who had never seen or heard Buddy, went to a concert with my wife and I . He later said, "As soon as he (Buddy) came out on stage and smiled, I knew I was going to have fun." Sorry, I rambled all ovet the place. Pete, Hampstead Md ========================================================================= Date: Fri, 19 Apr 1996 20:15:49 -0400 Reply-To: PHWoolfman@AOL.COM From: Pete Wulforst Subject: Re: Blues is dead? Comments: To: billy@cast.msstate.edu The thread is dead, as far as I'm concerned, but I give a big thumbs up to your inclusion of Johnny Winter. One reviewer of a Johnny Winter album (forgot which one) said "Johnny Winter has become on of the people he admires". The seamless partnership between his vocals and guitar can only fully be appreciated live. Tou could take the band away and just hand him his National, and the show would go on. ( And yes, I have seen John Hammond, also a monster.) I first saw Johnny live in about '68 or '69. I think. He introduced some guy named Edgar that night, and the two of them blew my mind. I think Johnny Winter is the primary reason I didn't go crazy about SRV; I hope he keeps playing foraver. Pete ========================================================================= Date: Fri, 19 Apr 1996 19:21:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Zora Young According to Zora, her very fine self-produced album "Stumbling Blocks and Stepping Stones", originally released on cassette only, is now on CD. Does anyone know where to get a copy?? -Bonnie ========================================================================= Date: Fri, 19 Apr 1996 20:34:19 EDT Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: Grammar Patrol Alert . . . >Blame Jinx - it should be night-stick and Grand-ma, but I no you >new this >Barry Of coarse I gnu that. What do you think I am, some kind of maroon? Dave Carpenter ========================================================================= Date: Fri, 19 Apr 1996 17:46:14 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Los Lobos I'm crazy "bout Los Lobos. I have a board tape from a concert I did with = them a number of years ago with a stunning Clifton Chenier shuffle and a = drop dead killer version of Don and Duey's "Farmer John". I wish they = would record that one! Uncle Ray ---------- From: Shaun T Cronin[SMTP:shaun@PACIFICNET.NET] Sent: Friday, April 19, 1996 8:01 AM To: Multiple recipients of list BLUES-L Subject: Los Lobos Okay, they are not a blues band, but their roots run deep. With all the hype surrounding the release of "Colossal Head" I bought a few Los Lobos albums. The new one and their first one( I think), "How Will The Wolf Survive." Los Lobos aren't a straight blues band but "Colossal Head" has the blues all over it. From the bluesy licks that punctuate "This Bird's Gonna = Fly" to the satisfying but weird, almost straight up blues that is "Buddy = Ebsen loves The Night Time" this is great record. A little off center is some aspects but this just adds to the charm. "How Will The Wolf Survive" is a more eclectic outing but it opens with = the barnstorming blues-rocker, "Don't Worry Baby." The rest of the album features R&B, Tex-Mex and any other kind of American music you care for. While I've been always aware of Los Lobos this is the first time I have gone and really listened to their music (apart from the "La Bamba" soundtrack). The music of Los Lobos music is truly great American music. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I = was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Fri, 19 Apr 1996 20:54:20 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Jimmy Johnson Comments: To: Pete Wulforst In-Reply-To: <960419201541_194552312@emout18.mail.aol.com> On Fri, 19 Apr 1996, Pete Wulforst wrote: > big Buddy Guy fan for 25 years, and I love his stuff, the Chess, "Stone > Crazy" (now there's one not for the faint of heart), and his newer stuff. If you think Stone Crazy is not for the faint of hearts, check out Buddy's Breaking Out on JSP. Almost pure wah wah and ele- tric plug ins (I liked it a lot, but I may be the only one who did). He also has 2 exceptional CD's (JSP both) from the same time period as Stone Crazy that will put the nuts in your soup. One is DJ Play My Blues and the other 1 is Live At The Checker- board Lounge. This period of Buddy is my favorite time of his career - very personal, very expressive and very over the edge. If you are interested, all 3 CD's are reviewed at - http://www.panix.com/~bsco/jsp/ it's the only complete site for JSP on the web Barry ========================================================================= Date: Fri, 19 Apr 1996 21:42:48 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Messin With The Kid & MAN >On the outstanding Muddy Waters "One More Mile" he does a tune called "Messin >With The Man"....It has a line that's something like "You been messin with >the kid, you best not mess with the MAN"...(probally not even close) > >It almost sounds like a "slap" at Jr. Wells. Does anyone else get that >impression or is it just me. > >LW It's generally thought to be an answer disc. Chris Smith (chris@skerries.demon.co.uk) 'It ain't what you eat, it's the way that you chew it.' (Sleepy LaBeef) ========================================================================= Date: Fri, 19 Apr 1996 22:07:12 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Grammar Patrol Alert . . . Comments: To: "david m. carpenter" <103156.340@COMPUSERVE.COM> In-Reply-To: <960420003418_103156.340_IHE63-1@CompuServe.COM> On Fri, 19 Apr 1996, david m. carpenter wrote: > >Blame Jinx - it should be night-stick and Grand-ma, but I no you > >new this > >Barry > Of coarse I gnu that. What do you think I am, some kind of maroon? > Dave Carpenter Gee Dave did you have to start that black/white/maroon thing again. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sat, 20 Apr 1996 01:58:04 GMT Reply-To: cuthulu@rlabs.com From: cuthulu Organization: Radar Labs 23 Subject: Re: Newsgroups & Censorship Comments: To: bit-listserv-blues-l@uunet.uu.net On Thu, 18 Apr 1996 17:07:19 -0500, "P.W. Fenton" wrote: >ever wanted to silence a hate monger, this is your one opportunity >to do it legally, and successfully, without "violating" anyone's >constitutional rights. >I have a right to speak, but not in your house. Your house is not a >public place simply because you leave your front door open. >I hope this changes the "votes" of all those who thought they didn't >have the "right" to deny these clowns. If they don't get their own newsgroup, they'll keep posting in another rec newsgroup they use right now. Imagine if blues-l were a rec group, and people posted anti-semitic music discussions. Wouldn't you want them out of your group and into a group of their own? Also, if you do choose to vote, instead of reading propaganda from both sides, read the proposed new group's charter. You'll be able to make a rational decision that satisfies your morality on your own -- based on facts. PS (I have no interest in "white power.") -------------------------------- Different Trains Every Day >From Chicago to New York 1939 1939 1939 1939 1939 1940 1940 1940 1940 1940 1941 1941 1941 1941 1941 Kevan Smith --> Perth --> cuthulu@rlabs.com http://www.rlabs.com baffling yet true secrets of the panther moderns -------------------------------- ========================================================================= Date: Fri, 19 Apr 1996 22:26:41 -0400 Reply-To: Curtis Hewston From: Curtis Hewston Subject: America's Top 42 You may have seen this. A group called the Music Educators National Conference (http://www.menc.org/ and MbMENC@aol.com) has determined the top 42 songs that are necessary "to preserve an important part of the national culture." Amazing Grace America (My Country, Tis Of Thee) America The Beautiful Battle Hymn Of The Republic Blue Skies Danny Boy De Colores Dona Nobis Pacern Do-Re-Mi Down By The Riverside Frere Jacques Give My Regards To Broadway God Bless America God Bless The U.S.A. Green, Green Grass Of Home Havah Nagilah He's Got The Whole World In His Hands Home On The Range I've Been Working On The Railroad If I Had A Hammer Let There Be Peace On Earth Lift Ev'ry Voice And Sing Michael (Row Your Boat Ashore) Music Alone Shall Live My Bonnie Lies Over The Ocean Oh! Susanna Oh, What A Beautiful Mornin' Over My Head Puff The Magic Dragon Rock-A-My-Soul Sakura Shalom Chaverim She'll Be Comin' Round The Mountain Shenandoah Simple Gifts Sometimes I Feel Like A Motherless Child The Star-Spangled Banner Swing Low, Sweet Chariot This Land Is Your Land This Little Light Of Mine Yesterday Zip-A-Dee-Doo-Dah *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* "My, oh my. What a wonderful day." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Sat, 20 Apr 1996 02:32:11 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Junior Wells? Comments: To: bit-listserv-blues-l@uunet.uu.net In article <4l6g0v$6h1@freenet-news.carleton.ca> Beckie Sansom writes: >Wells.Can anyone recommend where one might find the original version >of "Messin` With The Kid"? The original version of Jr Wells' "Messin' With The Kid" (recorded in 1960) can be found on Junior Wells 1957-63 (Paula CD 03). The Vanguard Chicago/The Blues/Today Vol. 1 version of Messin' was recorded in 1965. Art Schuna ========================================================================= Date: Fri, 19 Apr 1996 23:54:11 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Newsgroups & Censorship Comments: To: cuthulu@rlabs.com On 20 Apr 96, cuthulu had this to say: > On Thu, 18 Apr 1996 17:07:19 -0500, "P.W. Fenton" > wrote: > > >ever wanted to silence a hate monger, this is your one opportunity > >to do it legally, and successfully, without "violating" anyone's > >constitutional rights. > >I have a right to speak, but not in your house. Your house is not a > >public place simply because you leave your front door open. > >I hope this changes the "votes" of all those who thought they didn't > >have the "right" to deny these clowns. > > If they don't get their own newsgroup, they'll keep posting in another > rec newsgroup they use right now. Imagine if blues-l were a rec group, > and people posted anti-semitic music discussions. Wouldn't you want them > out of your group and into a group of their own? Nope. I'd rather have them on a planet of their own. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ There's a basic rule which runs through all kinds of music, kind of an unwritten rule. I don't know what it is. But I've got it. - Ron Wood ========================================================================= Date: Sat, 20 Apr 1996 04:12:32 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Grammar Patrol Alert . . . In-Reply-To: <199604191913.MAA22382@polaris.pacificnet.net> I'd be happy if LW learned how to spell "probably" :):):) .... as for the rest of you it's spelled "D E F I N I T E L Y" = ;) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [19/4/96 23:51 PM] "The eagle flies on friday..." ========================================================================= Date: Fri, 19 Apr 1996 21:13:42 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Don's "Nothing is Dead" rant The point LW and some others have missed here is that it is sheer flamebait sophomoric stupidity to tell anyone that an art form is dead... *Classical is not dead... No matter how it is funded. Go to a university, walk around the school of music... listen... learn... grow up. *Jazz is not dead see above... *Blues is not dead. Compare the scene at BB's in Universal City to the warped, Fellini-movie-with-a-lobotomy passing for "rock culture" on Sunset blvd. on any evening. The breath and heartbeat of life itself -versus- the sickening smell of the desperately hip in their fahionably torn jeans as they scramble over each other to get to nowhere... *Bluegrass is not dead They have a wonderful scene in the rural southeast and other places with festivals and radio going really strong. *Country is not dead... Just needs less posing and more Hank.... And I love Nanci G.... *Western Swing isn't even dead fer Petesake (pun intended) *Gospel is not dead... Get thee to first AME church in LA, son... Name a "dead" musical style! GO AHEAD! hmmm? The fact is that all these styles and more have followings in the millions, they have new compositions all the time, and they grow... How do you define dead? Calling a whole style "dead" has all the intellectual quality of Butthead saying anything he doesn't like "sucks"... you bet.... Gregorian Chant was one of the biggest sales success in the biz a couple years ago! I still see a Palestrina section in the record store! Buddy Holly still sells records, as does Dick Dale... What's the matter with some of you people? I expect "_____ is dead" from flamebait jerkoffs but not from the rest of us.... Have you ever considered the artistic and intellectual *bankruptcy* necessary to make such a stupid statement? Hey Leonard! If you think classical is dead, why don't you go to "Classical-L" and tell them so! I'm sure they would love stupid flamebait about as much as we do... sorry, but that level of ignorance really pisses me off... I have personally recorded three *premier performances* of great new classical music in the last 9 months... hmmmm Get hip, life is short DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Fri, 19 Apr 1996 21:38:32 +0000 Reply-To: ksailors@hooked.net Comments: Authenticated sender is From: "Kenneth M. Sailors" Subject: Re: On this day... On Thu, 18 Apr 1996 Karen Johnson wrote: > Too regional perhaps, but this is also the 90th anniversary of the BIG ONE, > San Francisco's 1906 earthquake Too regional, perhaps, but not for folks like us "livin' on the fault line". I'm 3/4 mi away from the S.A. where it goes out to sea. Anyway. I bought "The Last Real Texas Blues Band" because all you 'l-ers told me I should. I love it & have *really* fallen for "Bad Boy" (L. Armstrong and A. Long). What I want to know is: Is it _that_ L. Armstrong? What do y'all know? Thanks -(.)(.)- | \/ | Eugie! ////\\\\ Baange \__/ "I'm just naturally crazy, Baby!" ========================================================================= Date: Fri, 19 Apr 1996 21:41:00 PDT Reply-To: Gary Joneson From: Gary Joneson Subject: WILLIAM CLARKE BENEFIT 5/1 W Hollywood, CA - House of Blues W/ Dave Gonzalez, Finis Tasby, Smokey Wilson, Johnny Dyer, and more MC'd by John "Juke" Logan Gary BluesWEB http://www.island.net/~blues/ ========================================================================= Date: Fri, 19 Apr 1996 23:16:40 -0700 Reply-To: Stan Ruffo From: Stan Ruffo Subject: Re: WILLIAM CLARKE BENEFIT Comments: To: Gary Joneson FWIW, Bob Newham (William Clarke's drummer), and myself, among others of = course, will be playing with Smokey Wilson. Also on the bill are, Henry = Carvahal, Johnnie Dyer, King Earnest, Dave Gonzales, George Griffin, = John "Juke" Logan, John Marks, Louisiana "Guitar" Red, and other blues = greats!=20 =20 Additional info: The William Clarke Benefit=20 May 1, 1996 Doors open at 6:30=20 Show starts at 7:30 21 and over show Cost $15.00 -- Stan Ruffo Blues On Tap - Sundays at 8pm on Visalia's KIOO 99.7FM 800 N. Ben Maddox Way, Suite 2200, Visalia, CA 93292, (209)625-6049 ---------- From: Gary Joneson[SMTP:gjones@QB.ISLAND.NET] Sent: Friday, April 19, 1996 9:41 PM To: Multiple recipients of list BLUES-L Subject: WILLIAM CLARKE BENEFIT 5/1 W Hollywood, CA - House of Blues W/ Dave Gonzalez, Finis Tasby, Smokey Wilson, Johnny Dyer, and more MC'd by John "Juke" Logan Gary BluesWEB http://www.island.net/~blues/ ========================================================================= Date: Fri, 19 Apr 1996 23:06:55 -0700 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Re: Junior Wells? Comments: To: Art Schuna In-Reply-To: woops, Hey it was worth a try. Can't slip anything past you guys though huh, Isaac On Sat, 20 Apr 1996, Art Schuna wrote: > In article <4l6g0v$6h1@freenet-news.carleton.ca> Beckie Sansom writes: > > >Wells.Can anyone recommend where one might find the original version > >of "Messin` With The Kid"? > > The original version of Jr Wells' "Messin' With The Kid" (recorded in > 1960) can be found on Junior Wells 1957-63 (Paula CD 03). The Vanguard > Chicago/The Blues/Today Vol. 1 version of Messin' was recorded in 1965. > > Art Schuna > ========================================================================= Date: Sat, 20 Apr 1996 00:15:54 -0600 Reply-To: Mark Benton From: Mark Benton Organization: XMission Internet Subject: Stone the Crows Comments: To: bit-listserv-blues-l@uunet.uu.net Anybody know who the vocalist was in this band Stone the Crows (I think was their name) she sounded a lot like Janis Joplin. One song on old album from early 70's(?) was Penicillin Blues. Anybody know where any of the other musicians went? Anything currently available on CD? Mark Benton mjbenton@xmission.com ========================================================================= Date: Sat, 20 Apr 1996 00:17:59 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Grammar Patrol Alert . . . Patt Heartal rote: > I'd be happy if LW learned how to spell >"probably" :):):) .... >as for the rest of you it's spelled "D E F I N I T E L Y" Butt we al spelll gude. Wat is yore problem. Probablie, yewe have a probblem that definatelly needss adrressing.:-) Shorn Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Sat, 20 Apr 1996 00:18:06 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Don's "Nothing is Dead" rant Of course blues isn't dead. Look at the record sales. Not big league stakes but people are buying. And why are there so many blues festivals coming up this year? Sort of sounds like a healthy vital scene. >*Country is not dead... > >Just needs less posing and more Hank.... And I love Nanci G.... You said it Don. I listen to a lot of current country (because band leaders demannd it) and most of it is..well, not that great. But when you hear Junior Brown, Emmylou Harris and Rosie Flores (two of my faves) etc, you realize that country music is still a vital force contarty to what is played on country radio. snip >How do you define dead? When no-one listens to it anymore (IMHO). The blues is all around us (as other so-called dead styles). big snip again. To say that any music style is dead is an ill-formed judgement. Name a musical style and people are listening to it. It will all come around again. Who's to say that blues won't be topping the charts in 10 years time. Good grief, there are rumblings here in LA that '80's style hard rock/metal is on the way back. If that can come back.... Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Sat, 20 Apr 1996 00:18:26 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Waste of time and bandwidth Comments: cc: chris@SKERRIES.DEMON.CO.UK >Is anyone else getting this sort of message a lot, always with same >recipient referred to? How do we stop it? I get the same message to. What is going on? Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Sat, 20 Apr 1996 00:18:31 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: JAMmin' with Blues records > I try to play the guitar (remark _try_ :-) in a bluesy way. > > I'm looking for Blues records which are fine to Jam.Any suggestion >will be appreciated. Jose, You ask the hard questions. In one sense they are all good. I learn't a lot from jamming with records. Pick a record with rip-roaring guitar, killer grooves and a way you go. Just pick anything you have by one of the great blues guitarists and you have a start. Personal faves. BB King "Live at the Regal" Magic Sam "Live" And there are way more. Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Sat, 20 Apr 1996 03:27:26 CST6CDDT Reply-To: NOW HEAR THIS From: NOW HEAR THIS Organization: UW-Superior Subject: weird hendrix casette! I just saw a casette here at the record store by jimi hendrix. I never heard of the title. I wish i could remember the exact name. But i think it was Further on these days or something like that. Something with the word "days" in it. It was a blue package and looked like it had no linear notes in it. Side one was all hendrix songs i never heard of and side 2 had red house, blues blues and a bunch of stuff i never heard of. What is this album? It said copyright 1985, and it was no bootleg. Any got some info on that? ========================================================================= Date: Sat, 20 Apr 1996 04:50:20 GMT Reply-To: CKUT_online@babylon.montreal.qc.ca From: CKUT online Organization: Babylon, Montreal, Canada Subject: Re: Junior Wells? Comments: To: ck617@FREENET.CARLETON.CA Not 100% sure but the earliest one I know of is on CD CHARLY 219: Junior Wells/Earl Hooker "Messin' With the Kid" John Detcheverry, CKUT, FM 90,3 ========================================================================= Date: Sat, 20 Apr 1996 04:16:31 GMT Reply-To: CKUT_online@babylon.montreal.qc.ca From: CKUT online Organization: Babylon, Montreal, Canada Subject: Re: Whoops! Bargains! Comments: To: bsco@panix.com I've bought these cd's by the thousands, sometimes punched, sometimes cut (even for the same title) but always from manufacturers. John Detcheverry ========================================================================= Date: Sat, 20 Apr 1996 04:37:42 GMT Reply-To: CKUT_online@babylon.montreal.qc.ca From: CKUT online Organization: Babylon, Montreal, Canada Subject: Re: Staying Young (was Blues is dead?) Comments: To: BRUCE@TSBME.STATE.TX.US Gatemouth Brown (b. 1924) is still writing new and vital music today. I've met him several times and I'm pretty sure he can kick some ass too. John Detcheverry, CKUT FM 90,3 ========================================================================= Date: Sat, 20 Apr 1996 04:06:58 GMT Reply-To: CKUT_online@babylon.montreal.qc.ca From: CKUT online Organization: Babylon, Montreal, Canada Subject: Re: Zora Young Comments: To: KALMBACH@MACC.WISC.EDU I don't know if this is the same album but the song "Stumbling Blocks & Stepping Stones" is included on Zora's cd "Travelin' Light" available from Deluge Records, P.O. Box 1522, Scarborough, Me. 04070 John Detcheverry ========================================================================= Date: Sat, 20 Apr 1996 06:23:03 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Newsgroups & Censorship Kevan Smith wrote >On Thu, 18 Apr 1996 17:07:19 -0500, "P.W. Fenton" >wrote: > >>ever wanted to silence a hate monger, this is your one opportunity >>to do it legally, and successfully, without "violating" anyone's >>constitutional rights. >>I have a right to speak, but not in your house. Your house is not a >>public place simply because you leave your front door open. >>I hope this changes the "votes" of all those who thought they didn't >>have the "right" to deny these clowns. > >If they don't get their own newsgroup, they'll keep posting in another >rec newsgroup they use right now. Imagine if blues-l were a rec group, >and people posted anti-semitic music discussions. Wouldn't you want them >out of your group and into a group of their own? > >Also, if you do choose to vote, instead of reading propaganda from both >sides, read the proposed new group's charter. You'll be able to make a >rational decision that satisfies your morality on your own -- based on >facts. > >PS (I have no interest in "white power.") Having their own newsgroup gives these creeps a sense of solidarity and legitimacy, and a forum to organise in. If - god forbid! - they start posting anti-semitic stuff on other groups, they can be argued with, flamed, whatever. Remember - you'll have a right to express your opinions until about five minutes after they take over - they're NAZIS, remember? Chris Smith (chris@skerries.demon.co.uk) 'It ain't what you eat, it's the way that you chew it.' (Sleepy LaBeef) ========================================================================= Date: Sat, 20 Apr 1996 11:44:46 +0100 Reply-To: Bluesman From: Bluesman Subject: Hi Maqui! 1, 2, 3....testing... Hi Maqui, are you here already? Hola Maqui, ya recibes la lista de Blues? En ese caso bienvenido, soy Jose Antonio, el que te envio el disquete.Pasa y ponte comodo.:-) Nos leemos. Jose. Spain. **************************************************************************** Everyday I Have The Blues ========================================================================= Date: Sat, 20 Apr 1996 07:41:25 -0400 Reply-To: Jonny Meister From: Jonny Meister Subject: Mem Shannon on World Cafe Several of you have asked about it, so here's the scoop: the piece I did with Mem Shannon will run this Tuesday on The World Cafe. -Jonny ========================================================================= Date: Sat, 20 Apr 1996 06:09:30 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Gatemouth writes -- Grammar Patrol alert (long) I just purchased the April issue of a new magazine that is published in New Orleans called "Tribe." In this issue is a very unusual article about and by Gatemouth Brown. The introduction to the article states that it was written "on his cursive typewriter in the back of the bus he owns, in his own hotel rooms on hotel stationery from Hong Kong, from Switzerland, from Phoenix, and at home in Slidell, Louisiana, looking out over the bayou to where the train runs past late at night." For a change, the spelling and grammatical errors likely are not mine. In fact, I may have unwittingly corrected some of the spelling or punctuation errors. What follows are excerpts from this otherwise unedited journal by Gatemouth, who just celebrated his 72nd birthday two days ago. THE MOST LONEST TIME The most lonest time of an artis life is being on the hiway at night all you can see is lites for other vicikles thats going and comeing. One have time to think why would any one want to do this. Some times we will ride for a manny miles and not say any thing to each other. In my case I am thinking what make people do what they do. Some of us are out here on ego trips. And big money. Some are out here looking for help from others. We also have some taht hate the world and they are fighting it with there music. But there is a few of us left that are verry sirris about what we are doing. I'm proud to say that I'm one of them. So getting back to it why I do what I do. I sopose it's some kind of driving forse. That's in side of me. Some how I cant engory music whend I'm all along out on the road, in my motel room. Music was made to sher and not hord for your self. Unelest one trying to prove to him self that he's ready. I think that if any body that will tortshur there selvs trying to do any dont make it anyway. They become self distructive. ALL ABOUT ME Clarence Brown. Jr. Was born April 18, 1924 to Mr and Mrs Clarence Brown Senur. I was born in a litttle town on the Texas border in a little town call Vinton, Louisiana. One week later my Father and Mother moved to Orange Texas. There I grew up. My dad nick name was Fiddleing Tom. And he was a fine picker. But he did not play music for a liveing! ensted he worked on the S-P railroad. For a many year. On week end we played music for nabors. At the age of 5 I start to try and play gutiar. While my dad played fiddle I strumed on Gutair. After 5 years of that I got up enuff nervs to try the Fiddle. At that time I was 10. For a time I did'ed do so good. But I kep'ed on trying. I started to sound better and better as I played. And all the other enstruments I play today I lurn in my later years. Like Bango-Mandllin-Hamon-Bas-Drums and others. At five years old when I started to try and play guitar I dident know how to make all the card with my hands so figgerd out how to do it my way, I took a led pinsel and some cord and waped it around the neck of my old gutar and I had a free hand to do what I wanted to do. And thats why I can play cords and solas at the same time. And sound like a big band. And it keep me from sounding like every body els. I started off playin in the key of E G C and D on open strings. And as I played I lurn more and more. IN MY ONE WORDS .....I have found that the white have little respec for a down home bluese player. They take him for granet. They figger that every black bluese players are the same and that they live hard all there lives. What can they do to cereck the mistake that thar ansesters have made. Half of the whites dont even know the meaning of the blues. I have ask people that talked to me what was the bluese to them. They would say, it's get down, man, get down. That's not an anser at all. And also whend they see a black man come in there town to play and if he has a guitair. They figger that he have had a hard time trying to make it in this world. Maby so in some cases, but not mind. And all of the black bluese plays fround and get ugly and do things that make them look like they are in pain. And so whend the white do the bluese they do the same thing, because they think that's what you sopose to do and they also dress real funkie to prove that they have the bluese. So I say until the world know the derfrent between the downer and the uppers it will alwalys be like it is now.Misled about the blues. And the same goes with the other music. WHAT MAKES A GOOD BAND? Let me start with a small band. First you must voise your music and make a small band sound big guitar, kee bord, and bassplay horns lines together with one horn or more if you have them. Or if a big band you can make it sound much bigger. By every body play horn lines. All you have to do is voice the hole band. You can take a small band like 5 players and make them sound like a 10 peace band. It's all in knowing how to voise them. And don't play so loud that you cant here whet the other purson is playing. And dont every body try make his owne ending all by there self because it will sound like shit. Whend some one is soloing play under them and even or over them then every body's is to dam loud. It's not music any more. It's a blure and it's so loud that it hurt your head and your stumic to and that's no shit. ... A MAN THAT MOST PEOPLE HATED One night a well dress man came in to talk to his frend Don who owen the club. Then he lissen to me for a while and gave me one of his card. And said if you ever come to Houston stop in and se me. That sound good to me. So I ask Don who was that man, he said that it was Mr. Don D Robie. About a month or more I left San An tone and went to Houston and went to his club. Well nobody knew I played gutair, see. I hitchhiked and went into Houston. What I saw ther was what I thought was one of the finest gutair players in the world. His name was T Bone Walker. And that's where I first saw T Bone playing his Gipson L5 laying down on his chest. And he suer could play the bluese. And as he played the people went crazy. I thought to my self that some day I will do that. All of a sudden he got sick and left the band stand. And went to his dressing room. At that time I got up and picked up his gutair and went to playing it. I made up a song call Gatemouth Boogie and made $600.00 in 15 minutes! Mr. Bone got well real quick and came back to the band stand and said never but never put my hands on his Gutair again. This made me very sad. So Mr Robie came in the back and took me to his office and the next day he bought me a $750.00 Gipson Gutair and 5 suits of cloese. And I went to work the next night. That was in 1947. Don Roby was my booking agent for 17 years. I stayed with the Pecock booking agent for 17 years or more. Doying that time we formed a recorden company call Pecock Recording. Later people like Little Richard, Bobby Bland, Little Jr Parker and later BB King, and many others, I had a many happy years and a lots of bad ones to. But I made it anyway. ALL HELL BROKE LOOSE .......1960. I left the Poecock Record and I drift to other plase'es like El Paso Texas for a while. I gave up the big band. And went to a smaller band. So I could make more money. Then I was able to start playing in small clubs. There I start to play in white clubs. That's whend I started to develop my country music with small mix bands. They said what I was trying to do could not be done. Because, Amerckin wasent ready for it. Then I ventur out to other states. I was the first artis to take a chance like that at that time. I dont look at a man's color, i look at how much music he can play. Because I have found that the best music in this country is made by the White and Negro. And this you cant get around. So that's what I perfur to have, even to day I have the same. And the two orgent of people give the music a derfernt sound of music that I could'ed get with an all White or so call Negro band. And that's the sound I want. And that's why we sound like wee do to day where ever wee play. And every man that work with me must be able to play a many kind's of music. Writers ask me who I lissen to becize jazz! I lisen to people like the Stoneman Family. And the Carter Famely. And amany others. For one thing my Father played Country, Cagun, Bluegrass, and any other kid of music I can think ove. To me I think he was the finest picker i know. I remember, whend my dad stop playing it was some where in 1950, fore years before his deth. It was sad time for me, because I figgerd I had not lurn enuff from him. I had so much more to lurn. But thank God for what he did teach me. HOW TO PLAY THE BLUES BY CLARENCE "GATEMOUTH" BROWN Go to a music store. By an amp and gutair. Go back to your house and brake the law. Turn your amp up to nomber 10. Whend the police stop's you, go out and meet your frends. First put on your tennis shoes. And your raggett blue jenes. Dont worry about washing them. They'er not sopose to be clean. In order to play the blues you got to look funky and try to act mean. now you are getting in the blues sean. Get one of your frend that beat the drums. Get your other frend that can blow a blues harp at that. One that can fall on his knise and blow so hard that he will burse the reed. Take your other friend that can play led bass. One that will turn his amp up so loud that it will make your stumic ake. Now get your key bord player as they are call to day. he's got to have 2 amps and 2 moneters to make his day. He got to be able to stand up and play. Now what we have here now is an almost blues band. Get you another gutair, a lead one at that. Get ready for your first gig. Get some beer and wine for a starter. Set up your junk and get ready to blast with some good old down trash. And get down with the low down blues. The first fealing you will get is that you are getting verry sick. And what start'ed it is what you drink now you are ready to play som kind of blues. Night after night the same thing goes on then all of a suden here comes another buddy who will take you a little bit further. Who will give you some koke. You will have a monkey on your back and that's no joke. Now you can really play the blues. Now you can make plenty of money if you can live long enuff to spend it. I'm not trying to be funny. But in order to make big money in a hurry just do thes simple things. Just use koke kane and burn some krack. You'll be leaving us soon buddy and you won't be comeing back. Drink a lots of whiskey and down a lots of beer and wine. Don't forget the pills take a few sometimes. Now you are the gratest blues man I know to day. To morrow I dont know. Cause you may not be with us and that's for sure. But before you go I want you to know. the way you are playing the bluse you are asking for a easy way to go. Cause you are trying to sound like some body els. Whend it's harder than hell to sound like your self. Now cence you got plenty of money, engory your self you are not playing nothing that you rote. You'r just messing over the music that was some body els. Now you think that you are a real blues man. And dont forget to tair up your face. And get real ugly like the blues men do. Take your lips and put them behine your head. And let your eye ball role around like you are dead or dining whend you are singing. To me you sound like some body in a lot's of pain, maby that's what it takes to be a grate blues man well if that's so then you have graduated. ************************************************************************ ******* Bill Morgan From: The Big Easy ========================================================================= Date: Sat, 20 Apr 1996 08:44:09 -0400 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Newsgroups & Censorship Comments: To: bit-listserv-blues-l@uunet.uu.net I am particularly sensitive to NOT infringing on anyone's First Amendment rights to speak freely it is something we should cherish and fight for at any given 'legitimate' opportunity. But I also do not endorse the kind of hate speech that really is analogous to assault - not just on one's character, but on one's soul. I can think of one particular "N" word that when I am called that, feels like a physical attack. All that deep stuff to say, I agree with P.W., but when we tread into the waters of limiting speech, we must always be very careful... Lea Gilmore Baltimore, MD "Wild Women Don't Have the Blues" ========================================================================= Date: Sat, 20 Apr 1996 09:08:00 -0400 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re[2]: Wait a Minute...Classical Not Thriving?? Chris Smith's post got me to thinking: >Classical/art music has never thrived (thriven? throve?) without >patronage - used to be monarchs, bishops, rich guys generally, who >had court composers and private orchestras. Too bad for the early bluesmen they didn't have the likes of the above handing out other peoples' hard-earned money. This is interesting existentially: the blues would surely be very different (natural assumption is not-as-good IMHO) if wealthy louts had been bankrolling its originators, but classical music would be different too if it had *not* been lavishly funded via forced expropriation. > Now it's >governments/foundations/some rich persons. Difference is, in the old >days the rulers (and more recently the governments of the former Iron >Curtain countries) taxed their subjects and spent the money how they >damn well pleased; Oh, I think this is not such a long-forgotten habit when it comes to funding the classics in the absence of democratic demand for such. >nowadays the politicians have to answer to the >electors, in democracies, anyway. I'm one of the electors who votes >'yes' to spending tax dollars/pounds on opera and symphonies. Bully for you. >The fact that government doesn't fund what you like does not >make funding what I like wrong. "Wrong" is kind of a meaningless word here, eh? The government funding what you like at our expense does invite us to throw their butts out on the bricks, as you earlier allude. >Make a case for subsidising heavy metal, and get your congressman to >put forward a bill. Now we venture into the utterly absurd, but apparently this is a response to a point LW raised. >That's democracy for ya! Think it wouldn't work? >That's democracy, too! Like I said above, in the U.S. I think funding the classics is often done with smug disregard for democratic sentiment and not because of it. As you note, it is long the stuff of kings (and bishops you say?) bilking their subjects for their own imperious amusement. I don't think this antidemocratic tradition has yet been expunged. BLUE JOE IN RED RUSSIA (where state support for blues is not exactly a front-burner issue) J.E._Downey@bakermck.com ========================================================================= Date: Sat, 20 Apr 1996 06:58:59 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Gatemouth writes -- Grammar Patrol alert (long) Gatemouth Brown said (via Bill Morgan) > Now cence you got plenty of money, engory your self you are not >playing nothing that you rote. You'r just messing over the music that >was some body els. Now you think that you are a real blues man. And >dont forget to tair up your face. And get real ugly like the blues men >do. Take your lips and put them behine your head. And let your eye ball >role around like you are dead or dining whend you are singing. To me >you sound like some body in a lot's of pain, maby that's what it takes >to be a grate blues man well if that's so then you have graduated. Thanks for the post, Bill. It made for some tough reading until I kind of read it out loud to myself (if you know what I mean) in a Texas accent (or the best I could muster :-) Kind of strange that they would publish something like this with all the errors - why'd they do it? But Mr. Brown has most definitely mastered the art of sarcasm, to be sure! -Jim (hndful@uniserve.com) ========================================================================= Date: Sat, 20 Apr 1996 10:45:09 -0400 Reply-To: BLUESROCCO@AOL.COM From: Jim Rocco Subject: Re: JAMmin' with Blues records Comments: To: uc262@cclx1.unican.es uc262@CCLX1.UNICAN.ES asked for suggestions for bluesy records to play with I have to suggest the JAMMIN' series. They have a very fine "Classic Blues" one that includes the rhythm tracks and transcribed solos (if for some reason you dont wish to improvise) to such classics as: HIDEAWAY.....Blues Breakers version BOOT HILL....SRV version (I'm Your) HOOCHIE COOCHIE MAN......Muddy's version CROSSROADS.....Cream version....this backing track is some FINE bass playing(Michael Della Gala) RAMBLIN ON MY MIND...Blues Breakers....John Nau plays some great boogie piano here ! PRIDE AND JOY.....SRV... YOU SHOOK ME....Zeppelin style....this is a truely bluesy version...fun to jam with The group of musicians Wolf Marshall combined for this session are as fine of blues musicians as are available.........and it sure beats playing by yourself or a group that cant keep up with you ! He's got: Gary Ferguson ...Drums Michael Della Gala...Bass John Nau....Organ, Acoustic/Electric piano Warren Hamm....Harmonica and Wolf fills it out with some steady rhythm guitar playing The cuts are full length and true to the originals they represent. You can follow the original solo or improvise as you wish. I've brought this CD (available in cassette) along with me to the Inner Harbor here in Baltimore and played along "loud and nasty" with my sax to the great appreciation of the locals................I do the street thing every so often because it takes more balls than alot of people think! Hoochie Coochie is an acoustic version....good stuff hope this has helped........I've seen this set at every music store I've been to around this country(I'm "home" only one day a week). Of course it's (+-- note the correct use of this contraction) one of those Hal Leonard things about twenty bucks and even if you dont play along with it, it's great listening material. Great for vocalists too! Jim Rocco ========================================================================= Date: Sat, 20 Apr 1996 10:49:19 -0400 Reply-To: Francisco Molla Ruiz From: Francisco Molla Ruiz Organization: Universidad de Alicante Subject: Larry Garner European Dates-Help Needed These are the dates for Larry Garner European Tour as published in Juke Blues magazine current issue (number 34, Spring 1996): APRIL 6 Pitiers, France; 8 Burnley Blues Festival; 11 Shrewsbury, Buttermarket; 12 Glossop, Blues Club; 13 Lyon, France; 14 London, 100 Club; 17-20 Denmark; 25 Brussels, Belgium; 26 Dunkirk, France. MAY 1 Leuvan, Belgium; 2-7 Germany and Austria; 10-11 Spain; 15 Brighton Festi- val; 16 Oxford, Westgate; 17 Newport, Garage; 18 Rochdale, Lancs.; 21 Gainsbo- rough, Trinity Arts Centre; 22 Manchester, Band On The Wall; 23 Middlesborough, Coatham Bowl; 24 Stoke, Wheatsheaf; 26 London Blues Festival As you can see, any specific city or venue is given for the Spanish dates. Since this will be the first time for us to see Larry Garner performing in Spain, we will appreciate any help or info concerning these gigs. Best regards from Spain. Francisco Molla Ruiz. ========================================================================= Date: Sat, 20 Apr 1996 14:49:44 +0000 Reply-To: Bob Bingham From: Bob Bingham Subject: acoustic miking Here's my final word on the acoustic guitar/miking discussion. There is a tradeoff here that one has to be willing to make. To me, a decent mike always sounds better than any pickup system I've ever used. This isn't the point however. The question that needs to be addressed is "am I loud enough"? I have to laugh every time I hear a soundman tell me he knows what he's doing when it comes to miking an acoustic guitar. Most of them have little or no experience doing it period! If you don't bring you're own soundman with you to every gig, you are at the mercy of whoever happens to be there. Please take notice that I said "most" not all soundmen. By using the Sunrise system or, whatever alternative to miking you want. You are simply taking the control away from some guy, whose probably got hearing damage anyway from working too many ACDC concerts, and giving it back to yourself. Like I said before if you can't be heard over the room noise who cares how you're miking your guitar? I thought the entire point of performing was to make sure people could hear what you're attempting to create. ========================================================================= Date: Sat, 20 Apr 1996 11:24:56 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: JAMmin' with Blues records Comments: To: Shaun T Cronin On 20 Apr 96, Shaun T Cronin had this to say: > > I try to play the guitar (remark _try_ :-) in a bluesy way. > > > > I'm looking for Blues records which are fine to Jam.Any suggestion > >will be appreciated. > > Jose, > > You ask the hard questions. In one sense they are all good. I learn't a lot > from jamming with records. Pick a record with rip-roaring guitar, killer > grooves and a way you go. > > Just pick anything you have by one of the great blues guitarists and you > have a start. I disagree. Pick a Blues album that doesn't feature the instrument you play. For instance, if you are a guitarist and you want to jam with a record, get a keyboard oriented album like Roosevelt Sykes, Memphis Slim, etc. Playing lead guitar against a lead guitar is counter productive. It's also an excellent opportunity to learn "comping". Instead of putting on a recording and noodling through the vocals and the solos, try making yourself part of the band. Try only playing fills in the spaces left open by the other players. Pretend you are there to support the vocals instead of burying them. It will make you a more valuable player. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ There's a basic rule which runs through all kinds of music, kind of an unwritten rule. I don't know what it is. But I've got it. - Ron Wood ========================================================================= Date: Sat, 20 Apr 1996 09:10:27 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: April 21 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- GAITHER, BILL(LEROY'S BUDDY)(g/DECCA REC) b. 1910-0421, BELMONT, KY GEREMIA, PAUL (g) b. 1944-0421, PROVIDENCE, RI HANCOCK, HUNTER (dj) b. 1916-0421, UVALDE, TX HOOKER, EARL [EARL ZEBEDEE HOOKER JR.](g) d. 1970-0421, CHICAGO, IL 40 KNIGHT, ROBERT (of THE PARAMOUNTS) b. 1945-0421, FRANKLIN, TN LION, ALFRED (founder: BLUE NOTE REC) b. 1908-0421, BERLIN, GERMANY LOWE, MUNDELL (g) b. 1922-0421, LAUREL, MS MACLEOD, DOUG (g/VOLT REC) b. 1946-0421, NEW YORK CITY, NY MARESCA, ERNIE (v/SHOUT! SHOUT!) b. 1939-0421, BRONX, NY MCCLURE, BOBBY(v/FONTELLA BASS/CHESS REC) b. 1942-0421, CHICAGO, IL MILLS, IRVING (music publisher) d. 1985-0421, PALM SPRINGS, CA 91 NABBIE, JIMMIE (lead/THE FOUR TUNES) b. 1920-0421, TAMPA, FL NOONE, JIMMY JR. (sax/JEANNIE CHEATHAM) b. 1938-0421, CHICAGO, IL PAHINUI, CYRIL(of PAHINUI BROS/PRIVATE M) b. 1950-0421, WAIMANALO, HI RAY, CARLINE (p/g/b/ERSKINE HAWKINS) b. 1925-0421, NEW YORK CITY, NY THOMAS, BLANCHE K. (v/IMPERIAL REC) d. 1977-0421, NEW ORLEANS, LA 54 WARD, CLARA (lead/CLARA WARD SINGERS) b. 1924-0421, PHILADELPHIA, PA ------------------------------------------------------------------------------- ========================================================================= Date: Sat, 20 Apr 1996 17:20:44 +0100 Reply-To: WALLER JONATHAN From: WALLER JONATHAN Subject: Otis Clay Hello Men and Women of the blues... Does anyone know if Otis Clays Atlantic/Cottolion recordings are available?? Any info gratefully received......Thanks in advance.. ========================================================================= Date: Sat, 20 Apr 1996 10:13:46 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Re: Gatemouth writes -- Grammar Patrol alert (long You're right about how difficult the article is to read. I could only speculate about why the editors chose to go with an unedited story by Gatemouth. Tribe is a new publication in New Orleans. And this is the first issue that I've read, so I don't yet have a strong sense of who they are. But under the magazine's name on the cover it says "Style, Culture, Ideas." The focus seems to be on the arts and fashion; this issue features music, because the N.O. Jazz and Heritage Festival approaches, but it looks like much of the music featured and reviewed is of the alternative variety. I should also mention that the Gatemouth story is the cover story. The editors simply may have been motivated to try a different approach...possibly they find nobility in the primitive form...could be the magazine is understaffed...perhaps someone was sent to do an interview of Gatemouth, but found him impossible to work with...maybe Gatemouth insisted on doing his own story...perhaps the editors simply found it to be more direct and honest --- add your own explanation here ____________________. Below is the introduction to the article by Bart Bull. You might draw some conclusions from it: This ain't nothing like "oral history." Clarence "Gatemouth" Brown is a freewheeling and ferociously profane talker when talk is what he wants to do, and his dreadful, smoky silence is more significant than most folks' music. But this isn't typing, it's typewriting. Gate wrote his own story his own damn self, on his own cursive typewriter in the back of the bus he owns, in his own hotel rooms on hotel stationery from Hong Kong, from Switzerland, from Phoenix, and at home in Slidell, Louisiana, looking out over the bayou to where the train runs past late at night. He spells the way he feels, and he types to meet his own needs. Sentences swing the way he wants them to, not the way they're supposed to, not the way they ought to. The way the weather says whether -- or not. There is a tradition of mourning the Fabulous Living Folklore Treasure just slightly in advance of his demise, and firmly scolding the Philistines who have failed to recognize him. Gate does a fine job of whipping Philistine ass all around the world all by his lonesome. What's irreplaceable -- or what will be irreplaceable when and if and should the time come, since Gate's just tough enough to cause a question mark -- is the gleam in the eye of Clarence "Gatemouth" Brown, smoke swirling around him, pipe a-jut in his long jaw, as it occurs to him what he's about to do. What he's about to do is swing like Tarzan. What he's about to do is swing like a Texan Tarzan through any turf, terrain or territory that he's of a mood to survey. Does he wish to funk a fiddle tune? Does he swing the Devil's Dream? Got a mood to fiddle "Dixie"? Boot some big band blues in the butt, stop-time, while his band turns on a dime? Play nursery rhymes on that fabled Firebird, then animal sounds, then make his fiddle vocalize "Thank you, ladies and gentleman, thank you very, very much..."? If he wants to, he will. He's won the right. Outrageous and outraged, unwilling but only too glad to spit in your ungearing ear, a prophet without great profit in the US of A, he gets where he's at, and knows that you can't, not the way he does. After half a century of keeping his act on the road, Gates has done a masterful job of keeping tradition alive by ripping it up. And by skipping the customary dutiful lily-livered ghostwriter (who is not only traditional but practically required by law), Gate has busted in on yet another American tradition, the frontier literary voice of Davy Crockett and Sut Lovingood and Huck Finn, the voice that William Faulkner and Zora Neale Hurston and a score of other good American authors wore like a mask when they wanted to walk their talk the all-American way. Race and class, time and fashion and form, all have chapped Gatemouth Brown's hide -- maybe even scarred him beneath the skin -- but they've never cramped his style. He plays his way past them, waltxing through fences instead of around them, barbed wire draped across him like a medal of war, and black cowboy hat set right where it most belongs. ************************************************************************ ******* Bill Morgan HN>Thanks for the post, Bill. It made for some tough reading until I kind of HN>read it out loud to myself (if you know what I mean) in a Texas accent (or HN>the best I could muster :-) Kind of strange that they would publish HN>something like this with all the errors - why'd they do it? HN>But Mr. Brown has most definitely mastered the art of sarcasm, to be sure! HN>-Jim (hndful@uniserve.com) From: The Big Easy ========================================================================= Date: Sat, 20 Apr 1996 12:20:23 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Gatemouth writes - "Tribe" doesn't edit Comments: To: wmorga@bigeasy.com On 20 Apr 96, wmorga@bigeasy.com had this to say: > I just purchased the April issue of a new magazine that is published in > New Orleans called "Tribe." In this issue is a very unusual article > about and by Gatemouth Brown. The introduction to the article states > that it was written "on his cursive typewriter in the back of the bus > he owns, in his own hotel rooms on hotel stationery from Hong Kong, > from Switzerland, from Phoenix, and at home in Slidell, Louisiana, > looking out over the bayou to where the train runs past late at night." -snip- > ALL ABOUT ME > > Clarence Brown. Jr. Was born April 18, 1924 to Mr and Mrs Clarence > Brown Senur. I was born in a litttle town on the Texas border in a > little town call Vinton, Louisiana. One week later my Father and Mother > moved to Orange Texas. -etc- I love Gatemouth. I am interested in anything he has to say about his life and music (in spite of his ornery nature). But this really irks me. Why publish his thoughts it this completely unedited form? I'll bet the rest of the magazine is proof read, and I'll bet the staff's errors get corrected. Gate's grammar and spelling errors should have been corrected also. There is no message in the misspellings. The message is in what he was trying to communicate. Illiteracy is neither charming, nor a cause for ridicule. It should not be a source of pride, nor shame. If the publication's goal was to share with us the thoughts of this important man, then it should have been done in the clearest possible manner. To leave in so much error can only mean that the errors were the point of the article, and that just doesn't sit well with me. How many articles have you read that describe what kind of stationary the writer's manuscript was on? I find Tribe's presentation of this article condescending. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ There's a basic rule which runs through all kinds of music, kind of an unwritten rule. I don't know what it is. But I've got it. - Ron Wood ========================================================================= Date: Sat, 20 Apr 1996 17:27:11 GMT Reply-To: Ari Eisinger From: Ari Eisinger Organization: Trend I, Inc. Your Neighborhood Link to the World Subject: Ari Eisinger's April/May 1996 touring schedule (long) Comments: To: bit-listserv-blues-l@uunet.uu.net ARI EISINGER Blues and Ragtime Guitarist and Singer Blues from the 1920s and 1930s ===April/May 1996 touring schedule== Saturday April 27: Borders Books and Music Pittsburgh, PA (North Hills) 7:30 to 9:30 p.m. (412) 635-7661 Sunday April 28: Borders Books and Music Beachwood, OH 2:00 to 4:00 p.m. (216) 292-2660 Friday May 3: Borders Book Shop Farmington Hills, MI 8:00 to 10:00 p.m. (810) 737-0110 Saturday May 4: Borders Books and Music Dearborn, MI 7:00 to 9:00 p.m. (313) 271-4441 Sunday May 5: Borders Books and Music Utica, MI 2:00 to 4:00 p.m. (810) 726-8555 Friday May 10: Borders Books and Music Wilmette, IL 7:30 to 9:30 p.m. (708) 256-3220 Sunday May 12: Borders Books and Music Oak Brook, IL 2:00 to 4:00 p.m. (708) 574-0800 Thursday May 16: The Ginkgo Coffeehouse St. Paul, MN Opening for Pat Donohue 8:00 p.m. (612) 645-2647 Friday May 17: Borders Book Shop Minnetonka, MN 8:00 to 10:00 p.m. (612) 595-0977 Sunday May 19: Borders Book Shop Indianapolis, IN (Castleton) 2:00 to 4:00 p.m. (317) 849-8660 Sunday May 26: Borders Book Shop Philadelphia, PA (Chestnut Hill) 2:00 to 4:00 p.m. (215) 248-1213 ==ARI EISINGER== Blues and Ragtime Guitarist and Singer Guitar Teacher (610) 259-6688 ari@secondmind.com ========================================================================= Date: Sat, 20 Apr 1996 12:37:35 -0400 Reply-To: ynot@IO.ORG From: Tony Burns Organization: Internex Online (io.org), Toronto, Ontario, Canada Subject: Miss Otis Regrets - Mail singer Comments: To: bit-listserv-blues-l@uunet.uu.net I was browsing DejaNews when I saw the thread about someone looking for a version of this Cole Porter tune by a male singer. Mose Scarlett does it on his latest CD "The Fundamental Things" - Pyramid Records, 512 Roxton Road, Toronto, Ontario, Canada, M6G 3R4. I've been trying to figure out the chord progression and that's why I was searching the newsgroups. If anyone has the chords I'd appreciate it if they could email them to me . I'm not a regular follower of blues-l. (I used to be but I couldn't keep up with the volume.) Tony Burns. ========================================================================= Date: Sat, 20 Apr 1996 18:02:00 BST-1 Reply-To: bsmithb@cix.compulink.co.uk From: Brian Smith Subject: Re: Stone the Crows Comments: To: mjbenton@XMISSION.COM In-Reply-To: <3178811A.4266@xmission.com> > > Anybody know who the vocalist was in this band Stone the Crows Maggie Bell born Glasgow UK, 1945. ========================================================================= Date: Sat, 20 Apr 1996 12:53:31 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: CDs to Trade I have the CDs below to trade. I'm particularly looking for R&B from the 1945-1965 period, and female blues artists. Various Artists / NME/Charly Pocket Jukebox / NMD RE 502 Various Artists / Grits & Grooves / Instant CDINS 5070 Various Artists / Essential Soul / K-tel ONCD 3462 Various Artistas / Roots of Rhythm & Blues: A tribute to the Robert Johnson Era / Columbia CK 48584 Brook Benton / 20 Golden Hits / Deluxe CD 1032 Bo Diddley / The London Bo Diddlet Sessions / MCA-Chess CHD 9296 David Lindholm & Campaza Gypsys / Rockadillo ZENCD 2042 (Finnish blues band) Barbara Lynn / So Good / Bullseye BB 8540 Roscoe Shelton Sings / Excello CD 3007 Corky Siegel's Chamber Blues / Alligator ALCD 4824 Black Velvet Band / KIng of Myself /Elektra 9 61231-2 The Yardbirds Volume 1 / Smokestack Lightning / AK 48657 (2 CDs) Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Sat, 20 Apr 1996 11:55:42 -0600 Reply-To: cwolfson@ecentral.com From: Cary Wolfson Organization: BLUES ACCESS Subject: Re: Goldwax Comments: To: bit-listserv-blues-l@uunet.uu.net While they certainly made some good records, James Carr in particular, the people that run Goldwax are CROOKS. They ripped me off for several hundred dollars about five years ago and have lied to me ever since. No BS. Cary Wolfson (cwolfson@ecentral.com) Publisher BLUES ACCESS, The Distinctive Blues Magazine 303/443-7245 http://www.he.net/~blues ========================================================================= Date: Sat, 20 Apr 1996 13:11:25 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 04/21 B O R N :04/21 ADDE, LEO orn:1904 NEW ORLEANS, LA Career:DRUMMER Style:TRAD / JAZZ With:ABBIE BRUNIE / LEON PRIMA / SHARKEY / Norman Brownlee / Johnny Bayersdorffer / the Halfway House Orchestra / Christian brothers BERMAN, SONNY ( SAUL BERMAN ) Born:1924 NEW HAVEN, CN Career:TRUMPET Style:JAZZ / BIG BAND With:WOODY HERMAN / LOUIE PRIMA / SONNY DUNHAM / TOMMY DORSEY / GEORGIE AULD BLOWERS, JOHNNY Born:1911 SPARTANBURG, SC Career:DRUMMER / PERCUSSION Style:TRAD / JAZZ / BIG BAND With:Lou McGarity / Bobby Hackett / Bunny Berigan / studio musician for C.B.S., N.B.C., and A.B.C. / Eddie Condon / Louis Armstrong / Billie Holiday / Yank Lawson / Georg Brunis / Johnny Mince CARR, IAN Born:1933 DUMFRIES, SCOTLAND Career:TRUMPET / FLUEGELHORN / COMPOSER / AUTHOR / EDUCATOR Style:JAZZ With:MICHAEL GARRICK / NEIL ARDLEY / GUY WARREN / JOHN STEVENS / TREVOR WATTS/ JOE HARRIOTT / JOHN McLAUGHLIN / MIKE WESTBROOK / DON BYAS / MICHAEL GIBBS / GEORGE RUSSELL DIXSON,JOE ( JOSEPH ) Born:1917 LYNN, MA Career:CLARINET / TENOR SAX Style:JAZZ / BIG BAND GAITHER, BILL (LEROY'S BUDDY) Born:1910 BELMONT, KY Career:GUITAR Style:BLUES HAMPTON, SLIDE ( LOCKSLEY HAMPTON ) Born:1932 JEANNETTE, PA Career:TROMBONE / ARRANGER / COMPOSER Style:JAZZ / BLUES / BIG BAND With:BUDDY JOHNSON / LIONEL HAMPTON / MAYNARD FERGUSON LION, ALFRED Born:1908 BERLIN, GERMANY Career:RECORD PRODUCER Style:BLUES / JAZZ founder: BLUE NOTE RECORDS LOWE, MUNDELL Born:1922 LAUREL, MS Career:GUITAR Style:JAZZ / BIG BAND With:Abbie Brunis / Sid Devilla / Pee-Wee King / Ray McKinley / Dave Martin / Ellis Larkins / Red Norvo / Sauter-Finegan / Billy Taylor RAY RUSSELL, CARLINE Born:1925 NEW YORK, NY Career:BASS / SINGER Style:JAZZ / BIG BAND REBILLOT, PAT ( PATRICK ) Born:1935 LOUISVILLE, OH Career:KEYBOARDS Style:JAZZ / BIG BAND SKIDMORE, ALAN Born:1942 LONDON, UK Career:TENOR SAX / SOPRANO SAX / FLUTE / DRUMMER Style:JAZZ With:ERIC DELANEY / LOUIE BELLSON / ALEXIS KORNER / JOHN MAYALL / ERIC CLAPTON / RONNIE SCOTT / CHICK COREA / WEATHER REPORT / MIKE OSBORNE / GEORGE GRUNTZ / GIL EVANS YODER, WALT ( WALTER E ) Born:1914 HUTCHINSON, KS Career:BASS Style:JAZZ / BIG BAND one of the founder-members of Woody Herman's Band in 1936 / Joe Haymes / Tommy Dorsey / Jimmy Dorsey / Isham Jones / Ben Pollack / Bob Crosby / Russ Morgan / Gordon Jenkins Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us The Following were Recorded on this Date in the Years: ========================================================================= Date: Sat, 20 Apr 1996 12:18:13 -0600 Reply-To: cwolfson@ecentral.com From: Cary Wolfson Organization: BLUES ACCESS Subject: Re: Blues in Murfreesboro TN Comments: To: bit-listserv-blues-l@uunet.uu.net Jeffrey Daniels wrote: > > I recently got a job with G.E. in Murfreesboro TN, I am the blues music > director for KMNR in Rolla MO, but I will be heading to TN in June.and I was > wondering where any of the blues hot spots are. I know Nashville is very > close, there has to be more to Nashville than country music. > > Thanks, > Jeff Daniels Contact MUSIC CITY BLUES PO BOX 22852 NASHVILLE TN 37202 615-383-5668 Also look for an article on blues in Nashville coming soon in BLUES ACCESS. Cary Wolfson (cwolfson@ecentral.com) Publisher BLUES ACCESS, The Distinctive Blues Magazine 303/443-7245 http://www.he.net/~blues ========================================================================= Date: Sat, 20 Apr 1996 12:08:14 -0600 Reply-To: cwolfson@ecentral.com Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Cary Wolfson Organization: BLUES ACCESS Subject: Re: Survey: MUST HAVE Blues records EVER. Comments: To: Bluesman Many years ago I created an "Essential Blues Album List" for the listeners of my *Blues from the Red Rooster Lounge* radio show. It includes five essential discs in each of a variety of categories. This was when CDs were just coming in, so I'm in the process of revising it and am about 80% there. When done I'll post it on the BLUES ACCESS web site. Cary Wolfson (cwolfson@ecentral.com) Publisher BLUES ACCESS, The Distinctive Blues Magazine 303/443-7245 http://www.he.net/~blues ========================================================================= Date: Sat, 20 Apr 1996 14:30:51 -0400 Reply-To: BLUESROCCO@AOL.COM From: Jim Rocco Subject: REEFER HEAD WOMAN For the last five years I've been passing by the opportunity to purchase an absolutely great CD. This one is called, " Viper Mad Blues " (JASS J-CD-630). I've always figured this to be one of those poorly remastered recordings of old 78s designed to grab some bucks from people who wanted to impress their friends with music that had a hip drug reference. Having well over a thousand blues albums, tapes, CDs(I'm using two to shim my Korg SG-1D), and personally recorded music, I was running out of choices. And besides, I didn't feel I needed another recording of Leadbelly singing "Take A Whiff On Me"! ........... I was WRONG ! I have many recordings of Jazz Gillum and his Jazz Boys. That old harmonica stuff really rips me up.......I only wish that ADAT was around in the thirtys........ But I had never heard (to my best recollection) REEFER HEAD WOMAN. The Jazz Boys here are Big Bill Broonzy (guitar), an unknown bass player, Washboard Sam (washboard), and someone I was not familiar with on electric guitar, George Barnes. This is a 1938 recording with very good fidelity. If ever it was prophecized that electric guitar was going to be a major player in the music world....here it is !! Broonzy is just strumming the progressions and Barnes is riffin away with some really clean runs. His guitar break is beautiful and his guitar has the best tone I've heard from anything recorded up to the sixties! Spectacular! The disk is worth purchasing for this cut alone. The reason I am posting this is simple.....I dont do record reviews.....but I ask lots of questions.... Who is George Barnes? Who else has he recorded with? What else has he recorded? What equipment did he use?......and what I keep asking myself is, "Why haven't I been aware of this talent earlier?!" Anyway....now that I'm on a roll........ There's Victoria Spivey singing with Lonnie Johnson playing(of course)guitar on a very clear 1927 recording of DOPE HEAD BLUES. Victoria sings: .....just give me one more sniffle, another sniffle of that dope. give me one more sniffle, another sniffle of that dope. I'll catch a cow like a cowboy, and throw a bull without a rope..... The personel on this disk reads like a Who's Who of the early days ranging from Cab Calloway (if nothing more came out of the Blues Brothers than Cab Calloway fronting a group of fine musicians then it served its purpose) and His Cotton Club Orchestra to The Memphis Jug Band. Ernie Price with his blues ukelele......Killing Jive....... NUFF SAID If anyone can give me any information on this George Barnes fella I would really appreciate it. I probably have some of his stuff in my collection and dont know it. I'm thanking you all in advance.... Jim Rocco ========================================================================= Date: Sat, 20 Apr 1996 12:23:06 -0600 Reply-To: cwolfson@ecentral.com From: Cary Wolfson Organization: BLUES ACCESS Subject: Re: Blues is still dead Comments: To: bit-listserv-blues-l@uunet.uu.net Pete Stellers wrote: > = > Ignore? Pete is dead? Albert Collins? BB.King? > You make me laugh. King was born in the twenties. Collins is dead. > I=B4m alive > Someone admitted that there are no new bluesstars. (eg GREAT bluesmen) > OK Lurrie Bell and Johnny B. Moore are still living and somewhat young. > But are they great? > And it=B4s nice that bluesfans show the old bluesmen respect. > Let them play at the festivals once in a while and pay them well. > And I=B4m not going to revive the Kimbrough/Iggu Pop discussion > The blues might not be dead, but it=B4s sure dying. > Let it rest in peace Three words, pal: JOHNNY CLYDE COPELAND he's undeniably great (though underrated), still alive (God and his = pacemaker willing) and still kicking butt. Cary Wolfson (cwolfson@ecentral.com) Publisher BLUES ACCESS, The Distinctive Blues Magazine 303/443-7245 http://www.he.net/~blues ========================================================================= Date: Sat, 20 Apr 1996 12:32:39 -0600 Reply-To: cwolfson@ecentral.com From: Cary Wolfson Organization: BLUES ACCESS Subject: Re: Blues is Live (on BLUES IS KING) Comments: To: bit-listserv-blues-l@uunet.uu.net James Carmin wrote: > > I just picked up BB's BLUES IS KING (MCAD-31368) and it is truly an > incredible live BB set. I think it's much better than "Regal" because of > its pared-down sound of just two horns behind BB's band. The noise of the > crowd in the small club in Chicago on November 5th, 1966 respond > wonderfully to BB's economy of sound. > > This has got to be one of the GREATEST of BB's recordings. > > And it was recorded in a year of great hardship for BB, as Charles Sawyer > notes: his tour bus was stolen, the IRS was after him, and his wife sued > him for divorce. BB obviously responded to these troubles with was he does > best: playing his heart out to a very appreciative audience. > > Blues isn't dead, it's very LIVE on this disc. > > James C. Did you find this on CD or just the old LP? I wasn't aware that it had finally been reissued (though some of it was on the "Great Moments With ... CD), but I totally concur with your opinion and have NEVER understood why everyone made such a fuss about *Live at the Regal* while this gem languished. It's not just one of BB's greatest, but one of the greatest blues albums ever. BB has been around so long and done so much (and occasionally camped it up so much) that it's easy to take him for granted. But just listen to the versions of "Night Life" and "Gambler's Blues" to hear what kind of intensity he could/can muster. You can bet Michael Bloomfield did. Cary Wolfson (cwolfson@ecentral.com) Publisher BLUES ACCESS, The Distinctive Blues Magazine 303/443-7245 http://www.he.net/~blues ========================================================================= Date: Sat, 20 Apr 1996 12:41:13 -0600 Reply-To: cwolfson@ecentral.com From: Cary Wolfson Organization: BLUES ACCESS Subject: Re: America's Top 42 Comments: To: bit-listserv-blues-l@uunet.uu.net jeez, they left off "I'm Gonna Murder My Baby" ========================================================================= Date: Sat, 20 Apr 1996 12:43:30 -0600 Reply-To: cwolfson@ecentral.com From: Cary Wolfson Organization: BLUES ACCESS Subject: Re: Stone the Crows Comments: To: bit-listserv-blues-l@uunet.uu.net Mark Benton wrote: > > Anybody know who the vocalist was in this band Stone the Crows (I think > was their name) she sounded a lot like Janis Joplin. One song on old > album from early 70's(?) was Penicillin Blues. Anybody know where any of > the other musicians went? Anything currently available on CD? > Mark Benton > mjbenton@xmission.com The vocalist was Maggie Bell. I saw them open for Mile Davis and the Grateful Dead in April, 1970. Suffice it to say that they were by far the least interesting bands on those nights. They broke up, if memory serves me, after their guitarist was electrocuted onstage at an outdoor gig. Cary Wolfson (cwolfson@ecentral.com) Publisher BLUES ACCESS, The Distinctive Blues Magazine 303/443-7245 http://www.he.net/~blues ========================================================================= Date: Sat, 20 Apr 1996 12:50:23 -0600 Reply-To: cwolfson@ecentral.com From: Cary Wolfson Organization: BLUES ACCESS Subject: Re: Gatemouth writes - "Tribe" doesn't edit Comments: To: bit-listserv-blues-l@uunet.uu.net P.W. Fenton wrote: > I love Gatemouth. I am interested in anything he has to say about > his life and music (in spite of his ornery nature). But this really > irks me. Why publish his thoughts it this completely unedited form? > I'll bet the rest of the magazine is proof read, and I'll bet the > staff's errors get corrected. Gate's grammar and spelling errors > should have been corrected also. There is no message in the > misspellings. The message is in what he was trying to communicate. > Illiteracy is neither charming, nor a cause for ridicule. It should > not be a source of pride, nor shame. If the publication's goal was > to share with us the thoughts of this important man, then it should > have been done in the clearest possible manner. To leave in so much > error can only mean that the errors were the point of the article, > and that just doesn't sit well with me. How many articles have you > read that describe what kind of stationary the writer's manuscript > was on? I find Tribe's presentation of this article condescending. > Right you are, PW. I've edited MANY an interview. Anyone who tells you "We publsih interviews verbatim because we don't want to mess with what the artist said," is just plain lazy. It's the editor's JOB to illuminate, clarify and *make intelligible* what the interviewee had to say. You can still keep the flavor of the language while correcting gross errors in spelling, etc. Cary Wolfson (cwolfson@ecentral.com) Publisher BLUES ACCESS, The Distinctive Blues Magazine 303/443-7245 http://www.he.net/~blues ========================================================================= Date: Sat, 20 Apr 1996 14:21:34 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Byther Smith, Bonnie Lee, Karen Caroll Byther Smith, Bonnie Lee, and Karen Caroll (all Delmark recording artists) will be performing in Palantine (IL, North-West Chicago) on Friday April 26 in a bar (I think the name is Chicago Blue), and the address is 1550 North Rand Road. Now, I learned this from Mike Beck, Byther Smith booking agent, so before you go there check with Mike or the bar (Mike Beck 312/278-1352). This is the show you don't want to miss. I will be in Chicago that day, and will go to see the show. Ranko ========================================================================= Date: Sat, 20 Apr 1996 15:25:53 -0400 Reply-To: Renato154@AOL.COM From: Renato Tonelli Subject: Re: Otis Rush record deal Comments: To: rshurman@ccs.nslsilus.org Good to hear that Otis will be recording. A long, long time ago he was supposed to and did start recording for Jim O'Neal. Does anyone know what happened to that material? Who owns it and why did Otis not finish the project. Renato Tonelli ========================================================================= Date: Sat, 20 Apr 1996 12:59:44 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: JAMmin' with Blues records Comments: cc: pwfenton@GATE.NET PW said: >I disagree. Pick a Blues album that doesn't feature the instrument >you play. For instance, if you are a guitarist and you want to jam >with a record, get a keyboard oriented album like Roosevelt Sykes, >Memphis Slim, etc. Playing lead guitar against a lead guitar is >counter productive. It's also an excellent opportunity to learn >"comping". Instead of putting on a recording and noodling through >the vocals and the solos, try making yourself part of the band. Try >only playing fills in the spaces left open by the other players. >Pretend you are there to support the vocals instead of burying them. >It will make you a more valuable player. What PW said is good advice. Playing over non-guitar recordings is a great way to build the skills needed to back up a singer or another intrumentalists. One skill that all guitarists should develop is how to play fills that don't run over vocal lines. It isn't a pretty sight to see (or hear) a guitarist playing fills without regard for the vocalist or the other memebers of the band. But I still think playing along with guitar recordings still is great and fun. If the record has the groove you want then go for it. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Sat, 20 Apr 1996 18:18:19 -0400 Reply-To: BLUESROCCO@AOL.COM From: Jim Rocco Subject: Re: JAMmin' with Blues records Comments: To: uc262@cclx1.unican.es hell, I didn't know you were in Spain.......if you have trouble finding this I would be happy to make copies and send them to you..........just mail me an address....OK? Free of charge of course to avoid copyright infringements! Jim Rocco ========================================================================= Date: Sat, 20 Apr 1996 18:31:30 -0400 Reply-To: Eddiezimm@AOL.COM From: Ed Zimmerman Subject: A Celebration of Blues I noticed a buddy of mine had a 3 out of a collection of 5 CD's entitled "A Celebration of the Blues". They are a collection of various blues artists on each, and each CD has a specific theme (ie. harp players, the new breed of blues artists, acustic blues, etc...) He wouldnt diclose where he got htem, so I'd thought I'd ask you guys if you have ever heard of these CD's, and if so here can I get them.. Thanks ED eddiezimm@aol.com ========================================================================= Date: Thu, 24 Mar 1966 14:08:48 -0700 Reply-To: bluesgeek@EARTHLINK.NET From: bluesgeek@EARTHLINK.NET Subject: Need Atlanta/Orlando dates 4-22/23 Hi Y'all, Will be in Atlanta on 4-22 and Orlando on 4-23. Anybody playing? Any good jams? Thanks Magic Dave ========================================================================= Date: Sat, 20 Apr 1996 18:38:48 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1931, in the city of Chicago, Louis Armstrong recorded "When It's Sleepy Time Down South", on the Okeh label. It would become his theme song for many years. Sorry about being so late with today's installment. Better 12 hours late then never. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ There's a basic rule which runs through all kinds of music, kind of an unwritten rule. I don't know what it is. But I've got it. - Ron Wood ========================================================================= Date: Sat, 20 Apr 1996 15:37:50 -0700 Reply-To: Guy Tapper From: Guy Tapper Subject: Re: Stone the Crows Comments: To: Mark Benton >Anybody know who the vocalist was in this band Stone the Crows (I think >was their name) she sounded a lot like Janis Joplin. One song on old >album from early 70's(?) was Penicillin Blues. Anybody know where any of >the other musicians went? Anything currently available on CD? >Mark Benton >mjbenton@xmission.com Maggie Bell. She had a couple of solo records after the band split. Guy Tapper Marine Life Research Group Scripps Institution of Oceanography 9500 Gilman Dr. La Jolla CA 92093-0227 (619)534-2358 (619)534-6500 fax ========================================================================= Date: Sat, 20 Apr 1996 18:51:23 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: REEFER HEAD WOMAN Jim Rocco asked about George Barnes. This summarised from New Grove Dictionary of Jazz: b South Chicago Heights, Il 17 July 1921; d Concord, Ca, 5 Sep 1977. Was a pioneer of blues and jazz electric guitar - was playing electric by 1931, and as a **sixteen** year old white boy he lived many a blueseller's fantasy, recording with Big Bill Broonzy, WAshboard Sam and Jazz Gillum among others, and playing some of the first significant electric guitar blues solos. Toured with his own quartet 1935-37 (still a teenager, you note), worked on staff at NBC 1937-42, played with Bud Freeman's band. Staffer arranger and musician at Decca after he came out of the Army. PLayed as a duo with Karl Kress 1961-65 when Kress died. Teamed with Bucky Pizzarelli 1969-72; quartet with Ruby Braff 73-75, also working with Joe Venuti and Freeman again. No need to add he was a damn fine player. Incidentally he's listed as playing on a couple of tracks on 'The Freewheeling Bob Dylan', but they're solo items by His Bobness, so I guess the band track was wiped before issue. Chris Smith (chris@skerries.demon.co.uk) 'It ain't what you eat, it's the way that you chew it.' (Sleepy LaBeef) ========================================================================= Date: Sat, 20 Apr 1996 16:00:59 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Outer Limits/Wolf Here's a little incident, recollected because I was listening to = "Smokestack Ligtning" last night, that may amuse a few Listers.=20 A few years back I was waiting in line to get into Longacres = Thoroughbred Track, just to get rid of some blue money by throwing it at = the ponies, when I looked up and a fourty year old Chester Arthur = Burnett was walking toward me. I don't mean this man looked a little = like a middle-aged Wolf; I mean HE WAS Wolf! I was so stunned that I = didn't think to engage him in a conversation and ask the obvious = question about his possible famous parent. To prevent anyone from thinking my crack habit got the best of me, let = me note that Wolf was stationed in Tacoma,WA (ten miles south of = Longacres) during WW II. Uncle Ray ========================================================================= Date: Sat, 20 Apr 1996 16:06:16 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Jammin' to blues records My chief reason for jamming to records is that those musicians never = make fun of my wheezy harp playing. Well, there was that one time....but = it turned out to be a Redd Foxx live set. Uncle Ray ========================================================================= Date: Sat, 20 Apr 1996 18:13:29 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Gatemouth writes - "Tribe" doesn't edit Comments: To: "P.W. Fenton" In-Reply-To: <199604201621.MAA114176@osceola.gate.net> Maybe it was intended to be published in Gate's own dialect? The Mance Lipscomb autobiography is much the same way. Just a thought... -Jeff --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball #10 U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc02.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Sat, 20 Apr 1996 19:27:30 EDT Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: Los Lobos They'll be on Letterman on Wednesday the 24th. Dave Carpenter Blues Music Director - WHUS-FM University of Connecticut - Storrs, CT http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Sat, 20 Apr 1996 18:30:39 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Hoochie Coochie Man = protest In this inane thread about blues being dead, someonemade a rather coy remark about Muddy's Hoochie Coochie Man being not being a protest song. I'd like to disagree. When I hear Muddy singing it, I hear "I'm a man, even though you (favorite expletive here) have treated me and my family as much less." I also hear a little "revenge" - I could take your woman and make love to her all night. So yeah, I think it is a bit of a protest. -Jeff --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball #10 U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc02.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Sat, 20 Apr 1996 19:04:21 +0000 Reply-To: william higdon From: william higdon Organization: michigan state university Subject: Traditional Blues Fest in Columbus, OH Comments: To: bit-listserv-blues-l@relay2.uu.net The Columbus Blues Alliance is presenting their: "Third Annual Traditional Bluesfest" on Saterday, May 4. According to my flyer, it will be featurning: Steve James Paul Rishell & Little Annie Raines Madcat & Kane Robert Jones Libby Rae Watson Biersdorf & Kolbe It will be held at the Columbus Marriot North beginning at 3:00. There will also be a guitar workshop from 1:30-2:30. Tickets are $15 and the hotel has reduced rates for ticket holders on May 4. This is an all acoustic event and the only one I know of in the midwest with such respect for traditional country blues. For more information or for advance tickets call: Jim Kolbe @ (614)459-5849. I am in no way affiliated with the Columbus Blues Alliance (I wish I was but I live too darn far away). I'm just a VERY satisfied patron of the "Second Annual Traditional Bluesfest". This year I'm gonna wear my blues-l t-shirt :). ========================================================================= Date: Sun, 21 Apr 1996 00:07:48 GMT Reply-To: Mike Lynch From: Mike Lynch Organization: Wolfe Internet Access, L.L.C. Subject: Re: Blues Bros./HoB Comments: To: bit-listserv-blues-l@uunet.uu.net "Raymond O. Varner" wrote: >A couple of days ago I promised to "unrevise" some popular history about = >the Blues Brothers. I will have more to say in this matter, but fellow = >lister Mark Hoffman has already documented the first chapter in this sad = >tale. Anyone interested can find this foundation material at: > http://www.cs.monash.edu.au/~pringle/bluesbros/article.hyml >Later I'll supplement with a truly sleazy tale wrought with secret = >taping and other deceit that yielded the material for Blues Brothers = >album #2. If anybody cares. >Uncle Ray Ray- We want the dirt, the whole dirt, and nothin' but the dirt! By the way, what's the 'O' stand for? Regards, Mike "Polkaboy" Lynch ========================================================================= Date: Sat, 20 Apr 1996 18:03:31 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Montana Blues Any Listees living in the much beleagured state of Montana; there's some = fine live blues coming your way. The PHANTOMS OF SOUL, a Seattle = accoustic trio will be gigging in Montana from this week-end through May = 7 or 8. The PHANTOMS include Jack Cook on resonator guitar, Daddy = Tree-tops on doghouse bass and resonator guitar, and John Marshall on = harp and vox. The PHANTOMS draw on mostly pre-war rural blues material and play it = with a respect we might all appreciate. The PHANTOMS will be performing in Missoula, Boseman, Great Falls, = LIvingston, and elsewhere. Residents of Two Dot may have to drive a = 'ways. The usual disclaimers apply...I have nothing to do with these guys,etc. However, buy them a drink, dinner or some new slacks, and tell them that = Uncle Ray said, "hello". ========================================================================= Date: Sat, 20 Apr 1996 18:11:31 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Traditional Blues Fest in Columbus, OH A couple of years ago I was able to attend a performance by Robert "Jr." = Lockwood produced by the Columbus Blues Alliance. It was a wholey = satisfying experience. They had an illegal bar set up in the back of the = room and catfish fryin' in the kitchen. I felt right at home in my cheap = suit and Stacey Adams shoes. These people pick the right performers and = set them in the right settings. God bless those Buckeyes! Uncle Ray =20 ---------- From: william higdon[SMTP:higdon@MATH.MSU.EDU] Sent: Saturday, April 20, 1996 7:04 PM To: Multiple recipients of list BLUES-L Subject: Traditional Blues Fest in Columbus, OH The Columbus Blues Alliance is presenting their: "Third Annual Traditional Bluesfest" on Saterday, May 4. According to my flyer, it will be featurning: Steve James Paul Rishell & Little Annie Raines Madcat & Kane Robert Jones Libby Rae Watson Biersdorf & Kolbe It will be held at the Columbus Marriot North beginning at 3:00. There will also be a guitar workshop from 1:30-2:30. Tickets are $15 and the hotel has reduced rates for ticket holders on May 4. This is an all acoustic event and the only one I know of in the midwest with such respect for traditional country blues. For more information or for advance tickets call: Jim Kolbe @ (614)459-5849. I am in no way affiliated with the Columbus Blues Alliance (I wish I was but I live too darn far away). I'm just a VERY satisfied patron of the "Second Annual Traditional Bluesfest". This year I'm gonna wear my blues-l t-shirt :). ========================================================================= Date: Sun, 21 Apr 1996 02:02:58 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: REEFER HEAD WOMAN Comments: To: bit-listserv-blues-l@uunet.uu.net Jim Rocco wrote: [huge edit] > Who is George Barnes? Who else has he recorded with? What else has he >recorded? What > equipment did he use?......and what I keep asking myself is, "Why haven't >I been aware of this > talent earlier?!" I'm no authority on George Barnes, but I can tell you a little. He was a white jazz/session guitarist in Chicago in the '30s (maybe '20s and '40s too--I dunno) who did a number of fairly "uptown" blues sessions with folks like those you mentioned. I also read recently somewhere that George Barnes was the very first person to record with an electric Spanish-style (as opposed to Hawaiian-style) guitar--although I don't know for sure if this is true. Scott ========================================================================= Date: Sat, 20 Apr 1996 22:16:46 -0400 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Keb' Mo' needs a favor : ) Comments: To: bit-listserv-blues-l@uunet.uu.net I spoke to Kevin & his wife today and they are amazed at the response. They wanted me to thank everyone who offered to give Edgar a new home. I'm forwarding all the e-m to them so that they can read through them and pick a new home for Edgar. Catbauer@vivanet.com ========================================================================= Date: Sat, 20 Apr 1996 21:41:48 -0500 Reply-To: Dave Daubard From: Dave Daubard Subject: Re: Jimmy Johnson Comments: To: Urs Egger In-Reply-To: <3176D3B2.6B83@datacomm.ch> Jimmy Johnson has been tearing it up lately. You will not be disappointed by one of his shows. "I'm a Jockey" was one of my fav's for '95. Billy Branch helps on a few tunes too.-Swingin' Dave ========================================================================= Date: Sun, 21 Apr 1996 02:53:33 GMT Reply-To: Kathy Fieberling From: Kathy Fieberling Organization: Netcom Subject: Re: kelly joe phelps In <3177F4F8.131E@pi.net> albert haar writes: > >Can anybody tell me more about Kelly Joe. He's playing overhere in >Assen, the Netherlands. Maybe he want's to play in our bluesshow. He's great, and a nice guy too. Go see him play. In fact take 30 or so of your frinds. Hugh ========================================================================= Date: Sat, 20 Apr 1996 21:20:00 -0600 Reply-To: bmpech@MSCD.EDU From: Bruce Pech Subject: Re: John Hammond Instr Vid ?? Comments: To: L W In-Reply-To: On Fri, 19 Apr 1996, L W wrote: > I'd like to know if John Hammond has made an instructional video...? > > Anyone know > > LW LW -- Yup. It's titled (surprise) "John Hammond" on Star Licks videos. However, while it's accompanied by a tab booklet and includes some instructional footage, it's more like one of John's performances juxtaposed with an interview tracing his evolution as a musician. If memory serves me well, he plays six or seven tunes including Drop Down Mama, Ride Till I Die, Terraplane, Preachin' Blues and (maybe) Come in My Kitchen on a Martin acoustic, a Taylor 12 string and his vintage Duolian. Good sound and cinematography -- even if the set looks like a parody of a 60s coffeehouse. If you enjoy John's gigs, the video's definitely worth getting. -- BP Boulder, CO ========================================================================= Date: Sat, 20 Apr 1996 23:49:21 -0400 Reply-To: Bkg agent From: Bkg agent Organization: America Online, Inc. (1-800-827-6364) Subject: Jelly Roll Kings Comments: To: bit-listserv-blues-l@uunet.uu.net Has anyone heard that Frank Frost and Sam Carr are working on putting together a new band including CW Gatlin (Assoc. Levon Helms)? Janice Nickeltune Music, Inc. ========================================================================= Date: Sun, 21 Apr 1996 00:05:48 -0400 Reply-To: Cinnamon From: Cinnamon Organization: FredNet - Frederick, Md. Subject: Corey Stevens Comments: To: bit-listserv-blues-l@uunet.uu.net I recently aquired Corey Stevens & Texas Flood's "Blue Drops Of Rain". Killer! Does anyone have info on other recordings? Note to Pete Stellers, who wishes the blues would "rest in peace": The following are a few of my choices of artists who will assure that NEVER happens! Ronnie Earl, Jimmy Thackery, Kenny Neal, Charlie Sexton, Tinsley Ellis, Gary Moore, Colin James, Robert Cray, Anson Funderburgh, Deanna Bogart, Lonnie Brooks, Lonnie Mack, Johnny Copeland, Angela Strehli, Tom Principato, Little Charlie & The Nightcats, Omar & The Howlers, Lil Ed & The Imperials & LouAnn Barton. Sorry Pete! Chase the fire... ========================================================================= Date: Sun, 21 Apr 1996 01:53:34 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Otis Rush record deal Comments: To: Renato154@aol.com In-Reply-To: <960420152552_379211344@emout16.mail.aol.com> I was involved in the Otis Rush Rooster Blues project. Two sessions were done, in 1986 and 1989, but for various reasons it was never finished. Otis redid three of the songs for his last CD. I doubt that it (the Rooster stuff) will ever be released and it would need some work first. ========================================================================= Date: Sun, 21 Apr 1996 07:29:19 GMT Reply-To: bluesdj@HALCYON.COM From: Roberta Penn Organization: Northwest Nexus Inc. Subject: Gate's story Comments: To: bit-listserv-blues-l@uunet.uu.net Perhaps Gate wanted it in his own words. As a writer I have fought editors on a number of occassions because they wanted to change artists statments to make them look more educated, such as changing "ain't" to "isn't." I find it incredibly arrogant when editors make these kinds of judgements. IMHO it is quite refreshing to see a blues artist writing his own history instead of some hack rock writer telling us who he is, how he thinks and how he talks, with all of the color edited out for the masses. I got this magazine the mail and was happy to see the way it was done. They guy who pulled it together, and wrote the introduction, is Bart Bull, Michelle Shocked's husband and a music journalist who quite writing for magazines like Spin because of the constraints. ========================================================================= Date: Sun, 21 Apr 1996 11:44:54 +0100 Reply-To: Bluesman From: Bluesman Subject: BLUES-L IRC Channel Whenever I connect to Inet and have enough spare time, I go to IRC, and I try /join #blues , but never seems to be anybody. Wouldn't you like meet each other and speak about the latest Blues news on IRC, "live" ? ;-) If so, then we can meet at #blues-l, Ok? Jose. Spain. **************************************************************************** Everyday I Have The Blues ========================================================================= Date: Sun, 21 Apr 1996 07:50:00 -0400 Reply-To: hhardy@BCONNEX.NET From: Hugh Hardy Subject: guitar refin Question...I'm going to have a Tele refinished by an auto shop friend. What should I do to prepare the bare wood. Or can he just paint it and then I can wet sand and polish. Comments? Thanks , Hugh Hardy ========================================================================= Date: Sun, 21 Apr 1996 07:52:10 -0400 Reply-To: FORCELLAD@CCSUA.CTSTATEU.EDU From: Domenic Forcella Subject: Junior Brown If memory serves me at all, didn't Junior Brown tour last year with Koko Taylor, Buddy Guy, and John Mayall. Or maybe I just got lost in the other music. Could swear these four were together in Connecticut last year. Domenic Forcella Traveling with the Blues wfcs 107.7 ========================================================================= Date: Sun, 21 Apr 1996 15:33:02 +0100 Reply-To: bengans From: bengans Subject: Re: Hoochie Coochie Man = protest Jeff said this about Dirks posting: >In this inane thread about blues being dead, someonemade a rather >coy remark about Muddy's Hoochie Coochie Man being not being a >protest song. > >I'd like to disagree. When I hear Muddy singing it, I hear "I'm a >man, even though you (favorite expletive here) have treated me and >my family as much less." I also hear a little "revenge" - I could >take your woman and make love to her all night. > >So yeah, I think it is a bit of a protest. I guess if you were aiming for a doctors degree on Hoochie coochie man, you could find a link to just about anything in politics. But if you look at this song and 90% of all other bluessongs that contains male/female interaction and knowing environment these guys were performing these songs, (bars with babes), you d know the artists played these songs to make the gals go wild. Not to change any politics. The only revenge I can hear in this song would be Muddy stealing a girl from a guy who had done him wrong earlier! (I m not going for the doctor s hat on this, it s just how *I* see it.) Thanks y all! Sevenson ========================================================================= Date: Sun, 21 Apr 1996 09:01:42 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: A Celebration of Blues Ed Zimmerman wrote I noticed a buddy of mine had a 3 out of a collection of 5 CD's entitled "A Celebration of the Blues". They are a collection of various blues artists on each, and each CD has a specific theme (ie. harp players, the new breed of blues artists, acustic blues, etc...) and wanted to know more about them. There are indeed 10 albums in the budget series of blues records, which originates with the St. Clair Entertainment Group Inc. P.O. Box 34512, St.-Laurent, Qurebec, H4R 2P4, which is part of an international organization called Sound Solutions. The records are being marketed around the world. The music on each of the records comes from three sources - Alligator, Rounder, and Stony Plain. The music is extremely good (yes, yes, everyone knows I do work for Stony Plain!); there are 10 tracks by 10 different artists on each album, and they are arranged by subject: Great Blues Piano (inc. Dr. John, Katie Webster, Longhair, Pinetop) Great Acoustic Blues (inc. Buddy & Jr., Winter, Sonny Boy, Hammond, Lonnie Mack & SRV) The Great Singers (inc. Koko Taylor & Buddy Guy, Long John Baldry, Sonny Boy with Memphis Slim, Jimmy Witherspoon, Rufus Thomas) The Great Guitarists Vol. 1 (inc. Buddy, Magic Slim, Hubert Sumlin, Ams Garrett) The Great Guitarists Vol.2 (inc. Collins, Copeland, Otis Rush, Luther Allison) The Great Guitarists Vol. 3 (inc. Elvin Bishop, Duke Robillard, Gatemouth, Son Seals) Chicago Blues (Buddy, Walter Horton, Otis Rush, Billy Boy Arnold) Great Blues Harp (Magic Dick w. J. Geils, Cotton, Sugar Blue, King Biscuit Boy) Women in BLues (Koko, Maria Muldaur, Ellen McIlwaine, Rita Chiarelli, Rory Block, Sippie Wallace) The New Breed (Kinsey Report, Lee Rocker, Michael Hill, Tinsley Ellis, Kenny Neil). The series has no sleeve notes, but full discographical info. I've no idea what the price is, but it's designed as an inexpensive collection (a "budget" line, as they say in the retail biz). Amazingly, the lesser known artists (some of the Stony Plain gang like Rita Chiarelli and Paul James) hold up very well in tghe exalted company. The idea, of course, is to introduce artists to new listeners in the hope they'll get intriguyed enough to buy more records. This collection IS worth finding, if you can. ========================================================================= Date: Sun, 21 Apr 1996 10:38:39 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Gate's story Comments: To: bluesdj@halcyon.com On 21 Apr 96, bluesdj@halcyon.com had this to say: > Perhaps Gate wanted it in his own words. As a writer I have fought editors on a number of occassions > because they wanted to change artists statments to make them look more educated, such as > changing "ain't" to "isn't." I find it incredibly arrogant when editors make these kinds of judgements. IMHO > it is quite refreshing to see a blues artist writing his own history instead of some hack rock writer telling > us who he is, how he thinks and how he talks, with all of the color edited out for the masses. I got this > magazine the mail and was happy to see the way it was done. They guy who pulled it together, and > wrote the introduction, is Bart Bull, Michelle Shocked's husband and a music journalist who quite > writing for magazines like Spin because of the constraints. That's all well and good. I'm all in favor of capturing the style and flavor of a man in print. However, I had the pleasure of chatting with Gate one night and I didn't notice a single misspelling. When Gate says "senior" you know exactly what he means, and it's a word we all know and recognize. When the magazine prints "senur" because Gate didn't know how to spell it correctly, they are not capturing the flavor of the man, they are being assholes. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ Strip away the phony tinsel of Hollywood and you find the real tinsel underneath. - Oscar Levant ========================================================================= Date: Sun, 21 Apr 1996 10:46:24 EDT Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: Outer Limits/Wolf >A few years back I was waiting in line to get into Longacres = >Thoroughbred Track, just to get rid of some blue money by throwing it at = >the ponies, when I looked up and a fourty year old Chester Arthur = >Burnett was walking toward me. I don't mean this man looked a little = >like a middle-aged Wolf; I mean HE WAS Wolf! I was so stunned that I = >didn't think to engage him in a conversation and ask the obvious = >question about his possible famous parent. Hey Ray, etc., Last year at a B.B. King show in CT, when I stepped outside (it was so hot in the club that I had to get out or pass out) my brother pointed out a guy who was a dead ringer for Muddy at about 30 or 35 years old. We had that same stunned feeling. Dave Carpenter Blues Music Director - WHUS-FM University of Connecticut - Storrs, CT http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Sun, 21 Apr 1996 10:46:26 EDT Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: Junior Brown >If memory serves me at all, didn't Junior Brown tour last year with >Koko Taylor, Buddy Guy, and John Mayall. Or maybe I just got lost in >the other music. Could swear these four were together in Connecticut >last year. >Domenic Forcella Your memory is correct, Dom. They were booked to play at the Oakdale, and as far as I know, they did play. I couldn't make it unfortunately. Dave Carpenter Blues Music Director - WHUS-FM University of Connecticut - Storrs, CT http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Sun, 21 Apr 1996 14:40:24 GMT Reply-To: David Oziel From: David Oziel Organization: Prodigy Services Company 1-800-PRODIGY Subject: jammin' with blues records Comments: To: bit-listserv-blues-l@uunet.uu.net If you are "trying" to play guitar. Put on Jimmy Reed. The tempo's are easy and alot of it is in E. - DAVID OZIEL oziel@prodigy.com ========================================================================= Date: Sun, 21 Apr 1996 11:12:16 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1984, Michael Jackson's "Thriller" moved from number one on the pop album chart to number three. What made this significant was the fact that it had stayed at number one for 37 weeks, which hasn't happened before or since. You just can't beat it. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ Strip away the phony tinsel of Hollywood and you find the real tinsel underneath. - Oscar Levant ========================================================================= Date: Sun, 21 Apr 1996 11:35:39 -0400 Reply-To: Toronto Blues Society From: Toronto Blues Society Subject: toronto blues venue re-opens hey bluzellers, i am pleased to report that toronto's best blues venue has reopened this past weekend with a.c. redd and the sparkplugs blowing the cobwebs out thoroughly. yes, the SILVER DOLLAR is back, after being run into the ground by previous mgmt. the booking contact is: gary kendall 416-467-1453. i have no personal interest in the club and all that, but i am amongst the local blues fans that are pleased that the good goys won this battle. gary and his promotions partner, yuri were forced out of the club by previous mgmt. now the previous mgmt is very previous. regards, derek andrews. ========================================================================= Date: Sun, 21 Apr 1996 06:56:20 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Gatemouth writes - "Tribe" doesn't edit >Maybe it was intended to be published in Gate's own dialect? The Mance >Lipscomb autobiography is much the same way. > >Just a thought... > >-Jeff I'm not sure what the editors were thinking, but I tend to agree with Jeff. >From what I gather, this wasn't an interview, but Gate in his own words as he wrote them. I read the article again, and although I think some of the misspellings and punctuation errors could have been corrected, it has a very aural flow to it, as if it's being spoken - I think it probably gives a sense of how Gatemouth Brown sounds when he's speaking. Just MHO, I'm really not sure what the reasoning behind it was. -Jim (hndful@uniserve.com) ========================================================================= Date: Sun, 21 Apr 1996 16:03:29 GMT Reply-To: pixintl@sprynet.com From: PIX INTL Organization: Sprynet News Service Subject: Original Blues Photos on my web page Comments: To: bit-listserv-blues-l@relay1.uu.net Alligator Records Tribute.. Photos that I took in the 1980's of a variety of Alligator Records artists can be viewed on my page. Thanks! http://home.sprynet.com/sprynet/pixintl [[o]] PIX INTERNATIONAL:Photography for the entertainment | industry,editorial,corporate,& P.R.Since 1976. / \ Publishers of Celebrity & Music Photo Mag's on Floppy Disks. http://home.sprynet.com/sprynet/pixintl ========================================================================= Date: Sun, 21 Apr 1996 16:31:33 GMT Reply-To: CKUT_online@babylon.montreal.qc.ca From: CKUT online Organization: Babylon, Montreal, Canada Subject: Re: A Celebration of Blues Comments: To: rflohil@INFORAMP.NET Hope you don't mind if I take a moment to brag here but I contributed a few of the photos to this series: John Hammond (on Great Acoustic Blues) Albert Collins (Great Guitarists, Vol. 2) Tinsley Ellis (Great Guitarists, Vol. 3) I don't know why they picked this one- it wasn't one of my faves. John Detcheverry, CKUT, FM 90,3 ========================================================================= Date: Sun, 21 Apr 1996 13:52:49 -0400 Reply-To: BLUESROCCO@AOL.COM From: Jim Rocco Subject: Re: guitar refin Comments: To: hhardy@bconnex.net Hugh, regarding your question about refinishing guitars....it depends on the finish that you desire. If you are after a natural look, wipe the bare wood with a liberal amount of an alchol base pre-cleaner. Your friend will be familiar with this. Some brand names are PrepSol, PreKleeno, etc.. This will "bleach" the oils and resins out of the wood. After the wood has dried thoroughly, spray on a light coat of a acrylic lacquer in the tone you desire the guitar to look. Once this dries, lightly sand this color. The softer grains in the wood will retain the tone you desire and the harder grains will be natural. This part of the operation takes only a small portion of time...so don't be afraid to experiment with colors.... This will produce spectacular results once the clear coat is applied. Once you decide on the tone you want and it has been applied and is dry, wash again with the cleaner. This is the step when the edges will be "fogged" with black on Strats and such. Now you are ready to apply the clear coat. My choice for a finish that is very durable and will keep the sound of the Tele sounding like a Tele(that's the reason you have a tele) is a product produced by the R-M paint company called " 2 K Clear ". It is a urathane clear that is hard as nails with a great degree of flexibility and will withstand almost all chemicals that come in contact with it, at least the ones we care about....beer, Jack Daniels, sweat,.....blood. It will take atmospheric and temperature changes better than any other product you'll find. Please stay away from "Imron", you will be very disappointed with the results, if not at first,certainly time will tell. One of the most valuable characteristics of this clear is the fact that if it does get scratched bad enough that it wont polish out, another coat can be applied to fill the scratch. This clear will never crack if applied using the above directions. If you are after a custom finish, such as pearls or flakes, etc..., the wood will have to be sealed. After the wood has been sanded smooth, washed with the pre cleaner, and dried, apply a couple coats of a polyester resin type of coating. Your friend will be familiar with this also. It is what is applied to fiberglass bodies, such as boats and Corvettes, to keep the glass strands in check under the paint. You will be wanting to keep the wood grain from showing through the paint. My preference here is a product called "Feather Fill". It is hard but flexible. After this has dried and cured, sand it very, very smooth with a very, very fine sand paper. Start with about 320 grit to get the rougher stuff off and finish sanding with a 600 or finer grit for a glass smooth finish. I suggest 3-M product called "Ultra Fine". Use a sanding block to achieve a very flat surface. Of course you'll have to sand the round parts by hand. Any short-cuts here will show up in the finished product.....take your time! Some people suggest wet sanding here but I have had some bad experiences with the wood swelling around the screw holes and pick-up and neck pockets, so keep it dry. The pre-cleaner will evaporate before the wood swells...the water wont. Also, try to keep the paint build-up to a minimum around pick-up and neck sockets because if you dont, you'll have to trim it later and that may cause problems. Some areas will need masking, such as the neck joint, etc. After sanding, wash again with the pre-cleaner and dry. Your friend will know what to do from here...... I strongly suggest the "2K-Clear" from my experiences with refinishing fine instruments. I have redone many guitars and basses, electric and acoustic, and this product outlasts them all without having to apply excessive layers of finish. Some were done over ten years ago without evidence of any failure and look as they did ten years ago. An impossible statement to make using lacquers or other inferior products. The thinner you keep the finish the better for all reasons....especially sound! This is the reason I do not recommend "Imron".........If this product is not available in your area try Ditzler Del-Thane. Both products can be "buffed" to a glass smooth shine. If you are going to do an O.E.M. refinish you'll have to do the nitrocellulose lacquer thing. There are many articles published on original finishes. Thay are all on the money so you can't go wrong, but be advised that they WILL crack...... Jim Rocco ========================================================================= Date: Sun, 21 Apr 1996 14:16:48 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: AM radio Canadian Blues Show? Although I work in commercial FM rock radio, I am an admitted AM radio junkie. I spend countless sleepless nights lying in bed, surfing up and down the AM dial listening to every Talk/Religious/Political/Medical show my receiver brings in. Recently, I discovered a Blues show on Saturday night/Sunday morning. I think the hosts name is Peterson and on CBC from Edmonton. Last night, it came in clear on 740 AM. Does anyone know about this show or the host? Stew Crossen ____________________________________________________________________________ The Blues Playground radio program is heard on 107 FM WCCC - Hartford, CT Reporting to: Living Blues, The Hard Report and BluesWire magazine. Host/Programmer - Stew Crossen (Beef Stew) WEB site - http://www.neca.com/~bfstew E-mail - bfstew@neca.com Please direct all correspondence to: Stew Crossen 18 Boxwood Drive Vernon, CT 06066-5106 Tel: 800.970.5151 Fax: 860.232.6511 ========================================================================= Date: Sun, 21 Apr 1996 11:27:25 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: April 22 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ARMSTRONG, JAMES (g/HIGHTONE REC) b. 1957-0422, LOS ANGELES, CA ASHBY, IRVING C. (g) d. 1987-0422, PERRIS, CA 66 BEE, JIMMY (v/prod) d. 1993-0422, LOS ANGELES, CA 59 CANDIDO [CANDIDO CAMERO] (conga/bongos) b. 1921-0422, HAVANA, CUBA CARTER, MEL (v/DERBY REC) b. 1943-0422, CINCINNATI, OH CHAMBERS, PAUL L. (b/COLTRANE) b. 1935-0422, PITTSBURGH, PA HINES, EARL "FATHA" (p) d. 1983-0422, OAKLAND, CA 77 JACKSON, BENJAMIN "BULL MOOSE" (tsax) b. 1919-0422, CLEVELAND, OH LITTLE JOE BLUE [JOSEPH VALERY JR.] (g) d. 1990-0422, RENO, NV 55 MINGUS, CHARLIE (b) b. 1922-0422, NOGALES, AZ MOORE, WILLIE C. "BOLL WEENIE BILL" (g) b. 1913-0422, KINSTON, NC NITZSCHE, BERNARD "JACK" (prod) b. 1937-0422, CHICAGO, IL OVERSTREET, LOUIS REV. (g/ARHOOLIE REC) d. 1980-0422, PHOENIX, AZ 59 PULLEN, DON (p) d. 1995-0422, EAST ORANGE, NJ 53 SHALIT, EMIL (owner : BLUE BEAT REC) d. 1983-0422, LONDON, UK 74 SHOLES, STEVE (arr/prod/RCA VICTOR) d. 1968-0422, NASHVILLE, TN 57 SMITH, GEORGE "HCA" (hca) b. 1924-0422, HELENA, AR THOMPSON, ED BIG (g) d. 1993-0422, CINCINNATI, CT 58 VINCSON, WALTER (g/MISSISSIPPI SHEIKS) d. 1975-0422, CHICAGO, IL 74 ------------------------------------------------------------------------------- ========================================================================= Date: Sun, 21 Apr 1996 12:06:55 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: AM radio Canadian Blues Show? >Although I work in commercial FM rock radio, I am an admitted AM radio >junkie. I spend countless sleepless nights lying in bed, surfing up and >down the AM dial listening to every Talk/Religious/Political/Medical show >my receiver brings in. > >Recently, I discovered a Blues show on Saturday night/Sunday morning. >I think the hosts name is Peterson and on CBC from Edmonton. >Last night, it came in clear on 740 AM. > >Does anyone know about this show or the host? The show is Saturday night blues, the host is Holger Peterson, who also happens to run Stony Plain Records, a Canadian blues label that I'm sure Richard the Elder could tell us about :-).I especially enjoy this show since they gave me a free sweatshirt a while back! -Jim (hndful@uniserve.com) ========================================================================= Date: Sun, 21 Apr 1996 12:50:06 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Shines Here's something I've wanted to get on record for a lot of years. I = don't think this story has ever appeared in print. Feel free to move on = if you've heard it. In 1978 I produced my first concert with Robert Jr. Lockwood and Johnny = Shines. It was a rousing artistic success and a $400.00 loser at the box = office. Shines and Lockwood had rooms in the same hotel where I had = produced the show. The next morning, I went to the hotel to check on the = equipment we had left in the ballroom, and ran into Shines and Lockwood = on their way to breakfast. They insisted on buying me breakfast. I was = flattered, and of course agreed to join them. During our meal Johnny Shines told me this story. After the = "re-discovery" of Shines through the Sam Charters produced CHICAGO, THE = BLUES, TODAY series of LPs. Johnny started getting calls for festival = gigs. At the time he had no guitar or amp, and would have to borrow what = he could to make those gigs. One day he came home from his day job, and = his neighbor, Sax man, J. T. Brown called to him from across the = airshaft to come over. Shines went downstairs and up the other side to = Brown's apartment. Brown pointed out a good guitar and amp sitting on = the floor and told Shines to take them. Brown claimed that they were = given to him to pay off a debt. What could he possibly want them for, = after all he was a horn player. Shines insisted on giving Brown fifty = dollars for the equipment. Brown declined repeatedly, but finally = accepted the cash. Johnny then lugged the gear down the stairs and up the other side to his = place, just in time to see Brown pass the fifty bucks across the = airshaft to his wife on the end of broom. Obviously Brown bought the = gear, and that was the only way he could think of to get Shines to = accept it. Uncle Ray ========================================================================= Date: Sun, 21 Apr 1996 13:26:35 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: guitar refin Hugh said: >Question...I'm going to have a Tele refinished by an auto shop friend. What >should I do to prepare the bare wood. Or can he just paint it and then I can >wet >sand and polish. Comments? The big problem auto painters get into is overdoing it... (too much paint) couple suggestions 1. Mask the neck pocket well... 2. Don't use all that modern high-tech paint they are using for cars. It never hardens completely and can dull the tone. Use nitrocellulose lacquer if it is available. If not, there are some catylized finishes that work well for guitars. 3. If you haven't stripped the old paint yet, don't use chemicals, simply machine and hand-sand it until almost all the original finish is gone. This will leave the wood sealed. 4. Remember, thin finishes leave your tone more resonant, thick finishes dull it. 5. Did I mention that this is *hard* to do well?? and you have to be really patient and not start sanding too soon, and it takes weeks to realy get this right? I've done a bunch of finishes myself, now I farm 'em out to a pro..... 6. You need to learn the sequence of various sandpapers, then Maguiers (7, 4, etc) polishes to use. This would take a long time to go into, but a real good move would be to get the Stewart-Macdonald catalog (I looked for the number, but don't have it, check the back of guitar mags) and see what they offer, both in supplies and instructional materials.. good luck DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Sun, 21 Apr 1996 13:50:37 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Re[2]: Wait a Minute...Classical Not Thriving?? Blue Joe said: (edit edit) >but classical music would be >different too if it had *not* been lavishly funded via forced >expropriation. >Oh, I think this is not such a long-forgotten habit when it >comes to funding the classics in the absence of democratic demand >for such. >Like I said above, in the U.S. I think funding the classics is often >done with smug disregard for democratic sentiment and not because of >it. As you note, it is long the stuff of kings (and bishops you say?) >bilking their subjects for their own imperious amusement. I don't >think this antidemocratic tradition has yet been expunged. Hey, wait a minute! What a prejudiced mis-characterization! What do you define as "democratic sentiment"? The lowest common denominator? You know what will REALLY make the classics SOLELY the property of the rich? Drop all public funding. Only the educated (who can afford a good education) will care about an art form that takes more than 4 seconds to develop its melodic structure. Nobody else will have the attention span required... The whims and likes of adolescents already determine much of what we see and hear, do you want MORE of that? Where is *blues* likely to end up in your brave new world of the "pure market"? The armies off ill-educated Butt-heads will bury the blues in one generation. The loss of the *idea* that there is music from "the past" that anyone should CARE about will be the first casuality as we enter the age of barbarity you propose. *You* may not care about losing a youth orchestra or choir or two, or music scholarships for gifted poor children, but *I* damn sure do! If a municipality decides to fund an orchestra or other artistic endeavor, you certainly have the RIGHT to vote them out and campaign against them, and I have the right to oppose you. See you at the polls... (well, when you get back from Russia...) What I want to know is, why don't you libertarian types go after SUBSIDIZED TOBACCO FARMING?? (among a thousand other more worthy goals) Arts funding in the US amounts to 72 cents per taxpayer per year, and yet we have this stupid culture-war jihad from you guys to de-fund orchestras and PBS while maintaining funding for circle-jerk projects like "Star Wars" and bombers no one needs. Utter hypocrisy covering hatred of culture... The worst part is that this culture-war crap is going to march Bill C. right back into the White House, (which I consider to be a terrible mistake) because the right can't get their heads out of their asses. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Sun, 21 Apr 1996 20:39:13 GMT Reply-To: Steve Charters From: Steve Charters Organization: The Internet in Nottingham Subject: Re: Stone the Crows Comments: To: bit-listserv-blues-l@news.Belgium.EU.net Mark Benton wrote: >Anybody know who the vocalist was in this band Stone the Crows Maggie Bell she sounded a lot like Janis Joplin. She had a great voice, which did sound like Janis, but somehow it doesn't feel fair to either of them to leave it at that. Each was a wonderful singer in their own right. One song on old album from early 70's(?) was Penicillin Blues. Off the LP 'Ontinuous Performance', 1972 ========================================================================= Date: Sun, 21 Apr 1996 17:12:38 -0400 Reply-To: AWMcD From: AWMcD Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Looking for pickups for my strat. Comments: To: bit-listserv-blues-l@uunet.uu.net I saw your response to an inquiry for pickups. I'm in the market for one or two Seymour Duncan Hot Rails for an old Fender Mustang. Do you have any suggestions? Dave ========================================================================= Date: Sun, 21 Apr 1996 16:25:50 -0500 Reply-To: Joel Slotnikoff From: Joel Slotnikoff Subject: Luther Ingram info needed I am fairly sure Luther Ingram has a St. Louis connection and would like to know what it is. Can anyone help? Joel Slotnikoff BLUES WORLD ========================================================================= Date: Sun, 21 Apr 1996 21:15:16 GMT Reply-To: Michael Twomey From: Michael Twomey Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: Gearheads: Tube Rectifiers Isaac Sprintis (isprints@INDY1.CALARTS.EDU) wrote: : I personally prefer the sound of a SS rectifier. : When I first got my 72 Super Reverb, I really hated to splat sound of the : distortion at high volume. The sound was alright except for the attack. : When I changed the Rectifier to Solid State the Improvement was : tremendous. I recommend trying the SS if you haven't. It is a very easy : modification to make, and it will cost about a dollar to make one : yourself, as apossed to buying a plug in style. : If you are interested in the mod e-mail me. All true, but due to the fact that a solid state rectifier has only a 0.7 volt drop compared to 10 to 30 for the older tubes, you should check what voltage that you're getting on the first filter capacitor. Look at the working voltage (WVDC) on the capacitor and make sure that you are well below that. For example if the WVDC is 400 volts and you're running 390, you can be sure that someplace you will run into a high line voltage that will push you over the limit. Often older capacitors will be leaky, meaning that they have a current going through them when DC is applied. Think of it like a resistor in parallel with the capacitor. This leakage current can produce heat leading to premature failure at the worst possible moment. If you make the mod and your capacitors run warm (not just because they are next to a tube) I would replace them before they fail. If the capacitors are really old and the rubber pressure-relief is too hard they can fail with a bang rather than a hiss. It's very exciting, I have had it happen. If none of this makes any sense, then I would let a shop do it for you, don't try it yourself. Mike Twomey ========================================================================= Date: Sun, 21 Apr 1996 17:17:32 -0400 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Sonny Moorman & the Dogs' New CD!!! Comments: To: bit-listserv-blues-l@uunet.uu.net In article <9603158295.AA829592364@smtpgate.swpco.com>, shannon oconnor writes: > The best Cincinnati-based blues/rock band--and my good friends to > boot--Sonny Moorman & the Dogs, have a new CD poised to be released on > the 706 Records label out of the legendary Sun Studio in Memphis. If Sonny & CO's music is as sincere and thoughtful as Sonny is himself, up close and personal as it was for me over a slad of ribs at the Cozy Corner in Memphis, I think you'll all enjoy this new release. Sonny is a great guy with an equally great respect for and handling of the music that we all love. I wish him and the Dogs my absolute best. Denise ========================================================================= Date: Sun, 21 Apr 1996 17:52:44 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: For Art Schuna (and any onlookers) - Luther Allison Comments: To: Art Schuna Art (and onlookers :)). I owe you for the Motown Allison recommendation so here goes. I picked up a copy of Hand Me Down My Moonshine - Luther Allison, all acoustic. Wonderful. I have never before really heard LA- acoustic, & this one is 12 tracks with not a stitch of electric anything. On the disc is Bernard Allison on acoustic slide - I assume this is his brother. BTW the label is INAK, CD was pro- duced by Luther in 1992. The disc starts out ok but it builds & builds - the second 1/2 of the tracks are amazing. Title track is 9 1/2 minutes of ecstasy. If you got it - let's chat about it. If you don't then I cons- ider the debt paid (and wait for the next debt to come :)). Not bad debts - your picks, so I'm always ready. P.S. Onlookers too - poke around for this one. NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sun, 21 Apr 1996 23:29:51 -0700 Reply-To: Gal Sarig From: Gal Sarig Organization: Peltransport / LatinGate Subject: Jazz festival in the Red Sea of Eilat Comments: To: allmusic@american.edu, ambient@hyperreal.com, amslist@ucdavis.edu, attention-scream@listserv.aol.com, bosto-m@netscape.org, concertlist@listserv.arizona.edu, cseme@piranha.acns.nwu.edu, cwa-music-arts@lists.colorado.edu, festival-list@lists.colorado.edu *** If you love jazz - this is the place for you this summer ! *** The 9th Interntaional Jazz festival in the Red-Sea of Eilat will take place this August in Eilat, Israel. 4 days of jazz performences & jam sessions of groups and artists from all over the world, combined with the beautiful city & sea-shore of Eilat. For more details, please e-mail to : peltrans@netvision.net.il Hope to see you in Eilat next Augutst, Gal Sarig LatinGate (Israel) ========================================================================= Date: Sun, 21 Apr 1996 17:50:47 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 04/22 B O R N : 04/22 ADAMS, JERRY Born:1927 NEW ORLEANS, LA Career:BASS Style:TRAD / JAZZ Son of Dolly Adams. Played with many dance groups in the fifties and at Heritage Hall during the seventies. BERNSTEIN, ELMER Born:1922 NEW YORK, NY Career:COMPOSER / ARRANGER / CONDUCTOR Style:POP / BIG BAND Movie title songs To Kill a Mockingbird / Walk on the Wild Side / The Man with the Golden Arm / The Magnificent Seven / The Sons of Katie Elder / Love with the Proper Stranger / Baby, the Rain Must Fall. BUNIK, NICO Born:1936 AMSTERDAM, HOLLAND Career:PIANO Style:JAZZ CANDIDO, CAMERO ( DE GUERRA ) 1922 HAVANA, CUBA Career:BONGO / CONGO Style:JAZZ / BIG BAND Armando Romeu / Dizzy Gillespie / Billy Taylor / Stan Kenton DROOTIN, BUZZY ( BENJAMIN DROOTIN ) Born:1910 RUSSIA Career:DRUMMER Style:TRAD / JAZZ / BIG BAND With:Ina Ray Hutton / Al Donahue / Jess Stacy / Wingy Manone / Eddie Condon / Bobby Hackett / Billy Butterfield / Jimmy McPartland GUY, BARRY Born:1947 LONDON, UK Career:BASS Style:JAZZ With:JOHN STEVENS / TREVOR WATTS HOWARD, KID ( AVERY HOWARD ) Born:1908 NEW ORLEANS, LA Career:CORNET / TRUMPET / DRUMMER / LEADER Style:TRAD / JAZZ With:Andrew Morgan / Chris Kelly / Jack Carey / Sam Morgan / George Lewis JACKSON, BENJAMIN "BULL MOOSE" Born:1919 CLEVELAND, OH Career:TENOR SAX / LEADER Style:BLUES MENZA, DON Born:1936 BUFFALO, NY Career:TENOR SAX / LEADER Style:JAZZ / BIG BAND MINGUS, CHARLIE Born:1922 NOGALAS, AZ Career:BASS / PIANO / ARRANGER / COMPOSER / LEADER Style:JAZZ / BIG BAND With:Lee Young / Louis Armstrong / Barney Bigard / Kid Ory / Alvino Rey / Lionel Hampton 1947-48 / Red Norvo trio 1950-51 / Billy Taylor trio 1952-53 / Charlie Parker / Stan Getz / Duke Ellington / Bud Powell / Art Tatum / Dannie Richmond / Eric Dolphy, MOORE, WILLIE C. "BOLL WEENIE BILL Born:1913 KINSTON, NC Career:GUITAR Style:BLUES NASH, LEMON Born:1898 LAKELAND, LA Career:UKULELE /BANJO / GUITAR / SINGER Style:TRAD / JAZZ / BLUES With:Pete Williams / Noon Johnson / solo entertainer and teacher of strings. STEIN, LOU ( LOUIS STEIN ) Born:1922 PHILADELPHIA, PA Career:PIANO / COMPOSER Style:JAZZ / BIG BAMD With:Buddy De Franco / Charlie Ventura / Bill Harris / Ray McKinley 1941 TURRENTINE, TOMMY ( THOMAS WALTER JR. ) Born:1928 PITTSBURGH, PA Career:TRUMPET Style:JAZZ / BIG BAND With:Brother of Stanley Turrentine / Benny Carter 1946 / Earl Bostic 1952-55 / Charles Mingus 1956 / Max Roach 1959-60 / Billy Eckstine / Dizzy Gillespie / Count Basie WOLFE, RED ( ERVIN ) Born:1922 LA CROSS, WS Career:TRUMPET / LEADER / ARRANGER / COMPOSER Style:TRAD / JAZZ With: PORT OF DIXIE JAZZ BAND / ECHOES OF ELLINGTON Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us The Following were Recorded on this Date in the Years: ========================================================================= Date: Sat, 20 Apr 1996 21:55:05 GMT Reply-To: Jack Oudiz From: Jack Oudiz Organization: Midtown Computer Services Subject: Re: Jimmy Johnson Comments: To: bit-listserv-blues-l@uunet.uu.net Dave Daubard wrote: >Jimmy Johnson has been tearing it up lately. You will not be disappointed >by one of his shows. "I'm a Jockey" was one of my fav's for '95. Billy >Branch helps on a few tunes too.-Swingin' Dave Somebody needs to get that son of a gun back in the studio! Jack "I asked my baby if she could stand to see me cry, She said yes doggone you, I could stand to see you die!" Take your hand off my pocket Take your eyes off my whiskey at the bar ========================================================================= Date: Sun, 21 Apr 1996 20:38:33 -0400 Reply-To: StanhopeHs From: StanhopeHs Organization: America Online, Inc. (1-800-827-6364) Subject: THE STANHOPE HOUSE ~ NJ's PREMIER BLUES CLUB Comments: To: bit-listserv-blues-l@uunet.uu.net Thursday May 2 ~ COMMANDER CODY and The Last Planet Airmen ~ their first album "lost in the Ozone" with the famous single "Hot Rod Lincoln" sold millions and launched them into Rock and Roll History. The Commander playes a mean piano boogie woogie. Showtime 9pm Friday May 3 ~ DANNY MORRIS BAND ~ Former lead guitar player with the Nighthawks. Rock N Blues power trio Saturday May 4 ~ BOBBY PARKER ~ Former guitar player for Bo Diddley. His sound is like Buddy Guy meets James Brown, loaded with swinging soulful, high-energy R&B and Blues. He has played with Sam Cooke, Jackie Wilson, Big Joe Turner, T Bone Walker, Fats Domino to name a few. Sunday May 5 ~ STANHOPE HOUSE BLUES FESTIVAL ~ Filthy Rich and the Poor Boys - Chicago Blues. 2 Queens and a Court - Jump Swing/Horns/9 piece. Johnny Rawls - R & B Blues & Soul. A.L. James and Spare Change - Rockin Blues. Doors open 4pm. Showtime 5pm. This will be Johnny Rawls Debut at the club. He was O.V. Wright's guitarist and bandleader for the last 10 years of his life. His recording "Can't sleep at Night" by Rawls & Luckett was runner up for New Soul/Blues Recording of the year in 1995 Living Blues Awards. Wednesday May 8 ~ BLUEGRASS!!!!! FOX HILL ~ Traditional & Contemporary Bluegrass Band that consists of banjo, dobro, guitar, mandolin and bass guitar with great 2, 3 and 4 part harmonies. Showtime 9pm Thursday May 9 ~ STEVE FORBERT ~ Acoustic Folk at its best. Showtime 9pm Friday May 10 ~ BIG MIKE AND THE PERPETRATORS ~ Chicago Blues Saturday May 11 ~ E.C. SCOTT ~ E.C. and her band "Smoke" return!!! Singer, songwriter E.C. is an R&B Diva with a warm, attention-grabbing voice and an engaging, exciting stage presence. 1995 W.C. Handy Award Nominee for best Soul/Blues album Wednesday May 15 ~ BLUEGRASS!!!!!!! THE LOST RAMBLERS ~ Together for over 20 years, these 4 musicians produce a rock-steady rhythm, hoe down tempos, with tight 3 and 4 part backwood harmonies. Old time jug band Bluegrass with some "Do-Wack-A-Do" Showtime 9pm Thursday May 16 ~ WNTI presents HEALTH and HAPPINESS Showtime 9pm Friday May 17 ~ THE VOODUDES ~ "Mardi Gras in May" Saturday May 18 ~ ROBERT "JR" LOCKWOOD ~ Born 1915, Blues Foundation Hall of Fame member. Robert "Jr" is a living legend in his own right and the torchbearer of the Robert Johnson guitar legacy. Lockwood is the stepson of the legendary Johnson and it was he who taught Lockwood how to play guitar in the 30's. Wednesday May 22 ~ KINGS IN DISGUISE ~ Original music. Showtime 9pm Thursday May 23 ~ LAURIE CAGNO ~ Original music. Showtime 9pm Friday May 24 ~ JOHNNY "CLYDE" COPELAND ~ Texas Blues Ambassador Saturday May 25 ~ LOUP GAROU ~ Zydeco! Zydeco! Zydeco! Sunday May 26 ~ BLUE SPARKS from HELL ~ Let's celebrate the beginning of summer Wednesday May 29 ~ BLUEGRASS! OVER THE EDGE ~ Grammy nominated John Carlini plays a 5 string banjo, mandolinist Todd Collins has performed and recorded with Vassar Clements, as has bassist Brian Moldawsky. Along with the original guitar sound of Jim Baldessari, this is a band that plays it all from Classical to Jazz to Rock to OVER THE EDGE BLUEGRASS. Showtime 9pm Thursday May 30 ~ ALASKAN ~ Original music. Showtime 9pm Friday May 31 ~ BILLY HECTOR and the FAIRLANES ~ Rockin' Blues ========================================================================= Date: Sun, 21 Apr 1996 20:34:09 -0500 Reply-To: bolt From: bolt Subject: Re: For Art Schuna (and any onlookers) - Luther Allison > Art (and onlookers :)). > > I owe you for the Motown Allison recommendation so here goes. I > picked up a copy of Hand Me Down My Moonshine - Luther Allison, > all acoustic. Wonderful. I have never before really heard LA- > acoustic, & this one is 12 tracks with not a stitch of electric > anything. On the disc is Bernard Allison on acoustic slide - I > assume this is his brother. BTW the label is INAK, CD was pro- > duced by Luther in 1992. The disc starts out ok but it builds & > builds - the second 1/2 of the tracks are amazing. Title track > is 9 1/2 minutes of ecstasy. > > If you got it - let's chat about it. If you don't then I cons- > ider the debt paid (and wait for the next debt to come :)). Not > bad debts - your picks, so I'm always ready. > > P.S. Onlookers too - poke around for this one. > FYI, Bernard is Luther's son. A marvelous guitarist in his own right. BA has two CD releases "Hang On" (INAK 1719-2) and "The Next Generation" (Mondo MRC 50020). I heartily second the above recommendation of LA's HMDMM. Reg Burns +++++++++++++++++++++++++++++++++++++++++++++++++ + I'll listen to reason when it comes out on CD + + + + bolt@neosoft.com Houston, TX + +++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Sun, 21 Apr 1996 20:49:17 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: AM radio Canadian Blues Show? Comments: To: Stew Crossen \ > Recently, I discovered a Blues show on Saturday night/Sunday morning. > I think the hosts name is Peterson and on CBC from Edmonton. > Last night, it came in clear on 740 AM. The show is Saturday Night Blues, and the Host is Holger Peterson, who is also the man behind Stony Plain records. It runs nationally on the CBC radio network -- from 11pm to 1am Saturday nights in the Eastern Time Zone. If you heard it on 740, you were getting it from the Toronto CBC station. Listen while you can -- the CBC has an application to move that station to FM, and if they do that, I suspect the signal won't reach Connecticut any more. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Sun, 21 Apr 1996 21:42:47 -0400 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Grammar Patrol Alert . . . Comments: To: bit-listserv-blues-l@uunet.uu.net Grammar Patrol - The thought TERRIFIES me!!! Lea Gilmore Baltimore, MD ========================================================================= Date: Sun, 21 Apr 1996 22:06:18 UNDEFINED Reply-To: Philippe Gauthier From: Philippe Gauthier Organization: Communication accessible Montreal Subject: Joe Louis Walker in Montreal Comments: To: bit-listserv-blues-l@Moderated-Postings.CAM.ORG Joe Louis Walker will be playing in Montreal April 27 at Le Medley. Cost: an amazing $10 (canadian - about $7 US). This is not part of a tour - JLW is making a special trip. By the way, Luther "Guitar Junior" Johnson will also be playing at the same blues festival, April 28. For info and tickets, call Le Medley (514) 842-6557 Philippe Gauthier ========================================================================= Date: Sat, 22 Apr 1995 05:50:52 GMT Reply-To: "cheese@tiac.net" From: "cheese@tiac.net" Organization: The Internet Access Company Subject: Harmonica Comments: To: bit-listserv-blues-l@uunet.uu.net I am just getting in to the Blues scene, and have picked up on the Harmonica. I was wondering if anyone knows about any good instructional documents, or has any tips for a beginer. ========================================================================= Date: Mon, 22 Apr 1996 00:10:02 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Gate's story Comments: To: bluesdj@halcyon.com On 21 Apr 96, bluesdj@halcyon.com had this to say: > Why do phoenetic spellings bother you? Though they never make it into print, > when writers at the PI, the morning daily paper in Seattle, and at other papers > I've worked at, write electronic mail to each other, they almost always spell > phoenetically. And spellcheck was invented for people like me who grew up in the > South where phoenetic spelling was taught. I've never considered it a point of > ignorance if you couldn't spell. And I never said it was. Don't put words in my mouth. Why do you think the Seattle PI doesn't use "phonetic spelling"? Do they actually teach a different kind of spelling in the south? Explain that one to me. My children were educated in the south and as far as I can tell they learned the same spelling I was taught in the north. You make my point while you are missing it. You use a spell checker, and the papers you've worked for correct the spelling of it's writers. So what purpose does it serve to leave every single misspelling intact in Mr. Brown's manuscript. Just purposeful disrespect is all. You see I do not fault Mr. Brown for his misspellings. He apparently never learned to spell correctly. I DO fault the editor of the publication who DOES know how to spell correctly, and recognizes the need for it in the REST of his publication. He doesn't let his OWN MISSPELLINGS get published. Why not? Doesn't he want to capture the colloquial charm of his own writings? I don't believe you are defending this. ========================================================================= Date: Mon, 22 Apr 1996 04:45:28 GMT Reply-To: Kathy Fieberling From: Kathy Fieberling Organization: Netcom Subject: Colorado Blues Soc. Open Stage Greetings, The Colorado Blues Society will be sponsoring an accoustic blues open stage on Wednesday April 24th from 7:00pm to whenever we all get too tired to play. It will be happening at The Denver Blues Company, at 1430 Blake Street in downtown Denver. This is a great room. It's not to big with great atmosphere. If you play come on down and sit in. If you like to listen you won't be disappointed. This is our third one and we've had some of the best professional and amateur talent in the Denver area already. Hope to see you there. Hugh hueherd@worf.omn.com Other events happening with CBS: April 27th: Catfish Keith at Pasquales in Call 1-303-823-9272 Louisville for April 28th: House concert with Catfish more info at Dave's house in Lyons April 29th: Workshop with Catfish at Hugh's house in Broomfield April 30th/ May 1st: Eddie Kirkland at Pasquales ========================================================================= Date: Mon, 22 Apr 1996 00:17:37 -0500 Reply-To: Wordsmith From: Wordsmith Organization: Evansville Online Subject: Re: John Coltrane (was: something else...) Comments: To: bit-listserv-blues-l@uunet.uu.net In-Reply-To: <960419201543_194552342@emout19.mail.aol.com> Some of the Trane's earlier Impulse recordings showed strong blues influence, notably in the album "Crescent." This was just before "A Love Supreme," though even then you knew he was up to something ... A great player. In addition to Bostic, he learned his blues from Cleanhead Vinson. After the Trane died, his pianist McCoy Tyner found himself working back toward the blues roots, too. --Eric ========================================================================= Date: Sun, 21 Apr 1996 22:42:21 -0700 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: SS Rectifier- Threads dont die What is up with this, I thought that thread came and left. what can be done about this thread that wont die thing? If someone starts that whole theory vs.music thing again I am goin vigilante. Peace, Isaac <-- Pissed cus his women has gone and done something evil! the F%$&*( Bitch. Gots blues ========================================================================= Date: Mon, 22 Apr 1996 06:28:56 GMT Reply-To: marc borms From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: BRBF '96 Belgium Update ! Comments: To: bit-listserv-blues-l@news.Belgium.EU.net I think the weekend of the Belgium Rhythm and Blues Festival ( 19/20/21 july ) will be one of the toughest ever seen ... Bo Weavils The Seatsniffers Last Call Electric Kings -- El Fish The Dirty Dozen Lamartice McQueen Johny Dyer Band Otis Rush Clarence Gatemouth Brown Little Richard -- Tony D-Band Anders Osborne Lynwood Slim Band Hans Theesink and Blue Groove Solomon Burke Bo Diddley Corey Harris Koko Taylor Kenny Neal Lonnie Brooks And this line-up isn't complete at all ! Any extra info about these bands really appreciated .... embee ========================================================================= Date: Sun, 21 Apr 1996 23:56:12 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Re[2]: Wait a Minute...Classical Not Thriving?? Comments: cc: dcicchet@vega.lasierra.edu Don C said, (snip) >Drop all public funding. (not that Don was suggesting this. He was making a point to the contary) Coming from Australia, where the arts are supported by public funding and to often good effect the arguments used by opponents of public funding both amuse and anger me. Within any organization such as the NEA there is going be projects, that in hindsight, maybe weren't such a good idea. Some politician comes along, is offended and calls for the organization to be disbanded. Any other worthwhile projects aren't even considered. One or two controversial projects are deemed sufficient doom an entire organization. This is sheer stupidity. Maybe it is because of an Australian magazine I recieve regulary ("The Bullentin") its seems to be that the Arts thrive in Australia. An it is goverment supported (there are some controversies. But instead of removing all funding usually the calls are for the funding of the controversial project to be cut). BYT, if any Ozzies on the list find anything wrong with the above statement please correct me. I am out of the loop a little. When I was living in Australia, if I wanted any TV programming that appealed to the viewers' intelligence was usually on public television. Commercial networks need to make money and bahve as such. Quality programming does exist on commercial networks but, IMHO, it is rare. It seems that the only way the arts will continue to thrive is through the support of the public. Here in LA, the only radio stations that play blues are public funded. I have even pledged money to keep the blues on the air. As much as I do like to wallow in popular culture every now and again, I still want to be able to see and hear the blues or any other art form that is not part of the mainstream. >Only the educated (who can afford a good education) will care about an art >form that takes more than 4 seconds to develop its melodic structure. >Nobody else will have the attention span required... > >The whims and likes of adolescents already determine much of what we see >and hear, do you want MORE of that? > >Where is *blues* likely to end up in your brave new world of the "pure >market"? Well, there are examples out there. Artists who don't deserve it are being promoted as the next hope of the blues etc. Young guitarists who play blues scales really fast are hyped as the next great blues guitarist etc. Bands sell millions of records based on warmed-over blues riffs etc. >The armies off ill-educated Butt-heads will bury the blues in one generation. >The loss of the *idea* that there is music from "the past" that anyone >should CARE about will be the first casuality as we enter the age of >barbarity you propose. Actually, IMHO, we are well on the way. The great magician, James Randi, believes that we are headed into a new "Dark Age." Psuedo-science and other crap is turning people away from science and promoting ingnorance and lies as the truth. And it is directly related to what Don has alluded to above. Appealing to the market and the lowest common denominator. >*You* may not care about losing a youth orchestra or choir or two, or music >scholarships for gifted poor children, but *I* damn sure do! Everyone should care about losing organization such as this. Lose these worhty ideals and others will follow that will affect those who stood by when they should of acted. Snip >The worst part is that this culture-war crap is going to march Bill C. >right back into the White House, (which I consider to be a terrible >mistake) because the right can't get their heads out of their asses. IMHO, it would be a terrible mistake of a greater magnitude for Dole to get in. But that's the only point I disagree with Don on here. This is an important issue. The arts are important. I may not attend symphony orchestra recitals but I want the poeple who do want to attend them to be able to do so without having to spend an arm and a large. The music is important. It should be affordable to all. Everyone should have a chance. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Mon, 22 Apr 1996 00:01:14 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: SS Rectifier- Threads dont die Comments: cc: isprints@INDY1.CALARTS.EDU Isaac Sprintis, a man with blues (as she is often spoke of) >What is up with this, I thought that thread came and left. > >what can be done about this thread that wont die thing? Well what is the internet equilavent of putting a stake through the heart of a thread like this? >If someone >starts that whole theory vs.music thing again I am goin vigilante. Then wear tights and dream up a cool costume. That's what works in the comics. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Mon, 22 Apr 1996 02:47:11 -0700 Reply-To: Stan Ruffo Comments: RFC822 error: TO field duplicated. Last occurrence was retained. Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Stan Ruffo Subject: BOT 1696 Playlist Comments: To: Sony Music , Vent Records Stan Ruffo Productions 800 N. Ben Maddox Way, Suite 2200 Visalia, California 93292 ph.(209) 625-6049 steamin@valleynet.com / www.valleynet.com/~steamin PROGRAM: "Blues On Tap" w/ Steamin' Stan Ruffo STATION: KIOO 99.7FM (Kay-eye-oh-oh), Visalia, CA SUBJECT: Playlist 1696 - Commercial Radio DATE & TIME: Sunday - April 21, 1996 8pm - 10pm Artist Title Label Track Johnny Dyer Jukin' Blind Pig 4 Johnny Nocturne Shake 'Em Up Bullseye 4 Joey Razor Joint B Jump Hectic 8 Chris Cain Somewhere Along The Way Blind Pig 8 Alvin Youngblood Hart Big Mama's Door Okeh 2 Wynonie Harris Everybody Boogie Delmark 15 Kid Ramos Two Hands, One Heart Black Top 6 Studebaker John Tremoluxe Blind Pig 8 Otis Grand Nothing Else Matters Sequel 5 Smokey Wilson The Real Deal Bullseye 4 Alan Haynes Wishing Well Focus 9 Steamin' Stan Ruffo Jump & Swing Party 6 Bob Margolin My Blues & My Guitar Alligator 4 Toni Lynn Washington Blues At Midnight Tone-Cool 4 Guitar Shorty Get Wise To Yourself Black Top 4 Albert Collins Live 92-93 Pointblank 6 Doug MacLeod Come To Find AudioQuest 2 Microwave Dave Goodnight, Dear Blues Works 5 Jimmy Rip Way Past Blue HOB 8 Otis Rush Blues Interaction Sequel 4 Saffire The Uppity Blues Women Alligator 9 Taj Mahal Phantom Blues Private Music 7 William Clarke Groove Time Alligator 10 Rod Piazza Harpburn Black Top 5 John Primer The Real Deal Atlantic 6 Roomful Of Blues Turn It On, Turn It Up Bullseye 5 Sonny Rhodes Out Of Control King Snake 1 Pat Boyack On The Prowl Bullseye 1 Blues On Tap reports to Living Blues and The Hard Report If you would like to receive this playlist as a MS Word file, all formatted and easy to read, let me know! I'll send it as an attachment. Stan ========================================================================= Date: Mon, 22 Apr 1996 10:26:06 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: AM radio Canadian Blues Show? In-Reply-To: <9604212151.aa09419@admin.dis.on.ca> On Sun, 21 Apr 1996, Ian Angus wrote: > > If you heard it on 740, you were getting it from the Toronto > CBC station. Listen while you can -- the CBC has an application > to move that station to FM, and if they do that, I suspect > the signal won't reach Connecticut any more. > > Ian Angus > "Built for comfort, not for speed" > In which case you could try 940 (CBC AM Montreal) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [22/4/96 6:16 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 22 Apr 1996 13:05:48 +0200 Reply-To: JORGE =?iso-8859-1?Q?MU=D1OZ?= RODRIGUEZ From: JORGE =?iso-8859-1?Q?MU=D1OZ?= RODRIGUEZ Subject: A New Fellow --=====================_830203774==_ Content-Type: text/plain; charset="us-ascii" Hello Folks My name is Jorge Munoz, This my 1st message. I present a Radio Program, saturdays and sundays at 0:00 hours, 120 minutes, with blues and r&b on RADIO 3 from RADIO NACIONAL DE ESPANA, in FM station. The last show, was listed here, -I hope- --=====================_830203774==_ Content-Type: application/msword; name="T3_DOMIN.DOC"; x-mac-type="42494E41"; x-mac-creator="4D535744" Content-Transfer-Encoding: base64 Content-Disposition: attachment; filename="T3_DOMIN.DOC" 0M8R4KGxGuEAAAAAAAAAAAAAAAAAAAAAPgADAP7/CQAGAAAAAAAAAAAAAAACAAAAeQAAAAAAAAAA EAAAfAAAAAEAAAD+////AAAAAHoAAAB/AAAA//////////////////////////////////////// //////////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////////// ///////////////////////////////////////////////////////////////////////////9 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Mon, 22 Apr 1996 13:35:58 +0200 Reply-To: "Henrik R. Lassen" From: "Henrik R. Lassen" Subject: Luther Allison live - Saturday Night! Comments: To: BLUES-L%BROWNVM.BITNET@SEARN.SUNET.SE Luther Allison, Rytmeposten, Odense, DK. April 20. What a night! What a show! What a performer! What a Man! Three solid hours of great music. I've seen his show once before, and I guess he just gets better and better. The first time, just after the release of *Rich Man*, his all-French band (+ his son Bernard A. on very SRV-ish guitar) gave it their all and although I can't say that I care much for that particular album I have to admit that the band certainly worked well in a live situation. This time around - to my utter delight - his show was a lot closer to *Bad Love* (RUF Records) and *Blues Streak* (Alligator), from which albums we were treated to, "Bad Love" "Put Your Money Where Your Mouth Is" "You've Been Teasing Me" "Nobody But You" (and from the latter:) "Move From the'Hood" "Cherry Red Wine" "You Don't Know" "Think With Your Heart" "Big City" Great sax solos & enticing dance moves among the dead bottles & butt-filled plastic cups on the edge of the stage from *The Memphis Horns*, which turned out to be Andrew Love and another saxophone player whose name I didn't catch ("We're not really from Memphis - He's from Chicago, and I'm from Los Angeles..."). Luther Allison himself did not play harp once the entire night which was, perhaps, a bit of a shame, but he did bring out his bottleneck towards the end of the show as a beautiful coup de grbce, to bowl over everyone with a rousing "Gimme Back My Wig" and a comfortably slow and very, very intense "It Hurts Me Too", during which he walked the floor - Buddy Guy style - to great effect. What can I say? Maybe if I go, "LUTHER! (clap, clap, clap) LUTHER! (clap, clap, etc.) LUTHER! LUTHER! LUTHER! LUTHER!..." he will come back and do "Serious" again? It sure is worth a try. > I picked up a copy of Hand Me Down My Moonshine - Luther Allison, > all acoustic. Wonderful. I have never before really heard LA- > acoustic, & this one is 12 tracks with not a stitch of electric > anything. On the disc is Bernard Allison on acoustic slide - I > assume this is his brother. BTW the label is INAK, CD was pro- > duced by Luther in 1992. The disc starts out ok but it builds & > builds - the second 1/2 of the tracks are amazing. Title track > is 9 1/2 minutes of ecstasy. > > P.S. Onlookers too - poke around for this one. They had a fine selection of Luther Allison's back catalogue (CD) on sale at the door at very reasonable prices. This one was not among them - does anyone know where it might be available? ======== Henrik Lassen ======== ==== Odense, Denmark ==== "...well at least if (when...) he finds the instrument it'll be well soaked in, a lot easier to play. A hopeful thought to carry with you down the toilet." Thomas Pynchon, *Gravity's Rainbow*, p.66. ========================================================================= Date: Mon, 22 Apr 1996 07:50:51 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1956, Elvis Presley made his Las Vegas debut at the Frontier Hotel. Heartbreak Hotel was at the top of the pop music charts. Management at the Frontier was so unimpressed, they sent Elvis packing after one week of a two-week booking. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 22 Apr 1996 08:01:18 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: Magic Slim in Mankato Magic Slim and the teardrops in concert 9pm Saturday 4/27/96. At the Kato Entertainment Center 200 Chestnut Street, Mankato, MN FREE, but donations are gladly accepted. Sponsored by the KMSU / KMSK Blues Before Monday Performance Series, Save the Kasota Prairie and the Prairie Lakes Regional Arts Council Inc. Henry Jr. shuffle@ic.mankato.mn.us The Following were Recorded on this Date in the Years: ========================================================================= Date: Mon, 22 Apr 1996 08:51:00 -0400 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re: Wait a Minute...Classical Not Thriving?? >>Blue Joe said: (edit edit) >>but classical music would be >>different too if it had *not* been lavishly funded via forced >>expropriation. >>Oh, I think this is not such a long-forgotten habit when it >>comes to funding the classics in the absence of democratic demand >>for such. >>Like I said above, in the U.S. I think funding the classics is often >>done with smug disregard for democratic sentiment and not because of >>it. As you note, it is long the stuff of kings (and bishops you say?) >>bilking their subjects for their own imperious amusement. I don't >>think this antidemocratic tradition has yet been expunged. Don C. had edited out the context (draining a lot of the meaning) and exclaimed: >Hey, wait a minute! What a prejudiced mis-characterization! >What do you define as "democratic sentiment"? The lowest common denominator? I, in turn, edited Don (so there!), and hereby reply: Don, is there a higher "common demoninator" that tell us that we have to fund the classics at the expense of other music and other things? If so, specifically what is that makes it higher? Or is that an antidemocratic idea like I said? That was really my only point (but I bet you still disagree darnit), though I was being a pretty mouthy about it and I can understand it having provoked a reaction. And no, I'm not for Star Wars/shut PBS or other things that you seemed to impute to me. You also pointed out that youth culture seems to be behind most music we get exposed to, and do I want more of that? The answer is I agree with you and no I don't, I just feel legislators and decisionmakers often back the classics in particular, without reference to public sentiment, at the expense of other music/art/stuff. Just like kings and queens did before them. And to say "that's democracy" like the earlier poster had said, I think is bunk. I mean really: do you think that government support for the *classics* is a good example of democracy at work? BLUE JOE IN RED RUSSIA (absentee voter) J.E._Downey@bakermck.com ========================================================================= Date: Sun, 21 Apr 1996 23:03:12 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: Luther Allison live - Saturday Night! Comments: To: hrl@LITCUL.OU.DK ==============> P.S. Onlookers too - poke around for this one. They had a fine selection of Luther Allison's back catalogue (CD) on sale at the door at very reasonable prices. This one was not among them - does anyone know where it might be available? ======== Henrik Lassen ======== ==== Odense, Denmark ==== I got Hand Me Down My Moonshine about 6 months ago at his show here and they told me they were almost out then. Hopefully they'll do another pressing for it, as I think the demand is there. RJ Bauman "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Mon, 22 Apr 1996 09:11:03 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: For Art Schuna (and any onlookers) - Luther Allison Barry Silverberg wrote > Art (and onlookers :)). > > I owe you for the Motown Allison recommendation so here goes. I > picked up a copy of Hand Me Down My Moonshine - Luther Allison, > all acoustic. Wonderful. I have never before really heard LA- > acoustic, & this one is 12 tracks with not a stitch of electric > anything. On the disc is Bernard Allison on acoustic slide - I > assume this is his brother. BTW the label is INAK, CD was pro- > duced by Luther in 1992. The disc starts out ok but it builds & > builds - the second 1/2 of the tracks are amazing. Title track > is 9 1/2 minutes of ecstasy. > > If you got it - let's chat about it. If you don't then I cons- > ider the debt paid (and wait for the next debt to come :)). Not > bad debts - your picks, so I'm always ready. > > P.S. Onlookers too - poke around for this one. > > NY CD BLUES - CD Reviews and On-Line Blues Catalogs > http://www.panix.com/~bsco/ > Barry Silverberg ... bsco@panix.com Barry What is the *issue number*, please? (Just the label name is not much help to my dealer!) Chris Smith (chris@skerries.demon.co.uk) 'It ain't what you eat, it's the way that you chew it.' (Sleepy LaBeef) ========================================================================= Date: Mon, 22 Apr 1996 08:18:03 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Re: Shines & Guitar In-Reply-To: Message of Sun, 21 Apr 1996 12:50:06 -0000 from I had the great pleasure of playing a few solo tunes at someone's gig, who happens to own Johnny Shines old Gibson B-25. I did not care about the performing, I just WANTED TO PLAY JOHNNY's guitar. I was hoping some kind of "spirit" would rub off....Didn't work I still sing like shit and barely get by playing. I can't say who owns the guitar, just in case he doesn't want it "public" But if he reads this I'll say this "We loved your playing and thanks so much for letting me play few tunes on Johnny's guitar".... it was a treat for me..... LW ========================================================================= Date: Mon, 22 Apr 1996 09:31:16 -0400 Reply-To: Kevin Canning From: Kevin Canning Subject: Re: Lockwood suggestions Comments: To: L W In-Reply-To: Add on to LW's suggestions for Robert Jr: There was an lp (French I think) called "Robert Plays Robert" which was a collection of solo RJL playing his own tunes, Robert Johnson tunes, and a few standards (CC Rider, for example). There was also an lp with 1950's RJL on one side and early Johnny Shines on the other. This is some great stuff by both of these artist. (I believe this is available on cd.) There were also 2 lps by RJL and Johnny Shines on Rounder which came out in the 1980's. At least one of them won a Handy award for best traditional blues lp. And finally, there were 2 lps on Trix of RJL with some real nice work. (He plays that 12 string strung up like 6 on both these lps - which kind of has a buzz/twang sound to it. But all good material.) Kevin ========================================================================= Date: Mon, 22 Apr 1996 08:30:47 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Symphony Support JFTR: The tone of my original post came off as though I'm against the city lending support to the local symphony. That is 100% wrong, whether people think it's right / wrong or unfair, I strongly support it. We had tickets to the symphony and it was canceled due to lack of funding/funds. We have since got another one started and I don't think the city is helping much. I was just making a point due to the comparing of a Buddy/Lonnie show to the Symphony. I think this particular city spends money on things that are far less important to the city, as a whole, than the Symphony....I LOVE THE SYMPHONY, the music moves me....I didn't mean to imply otherwise.. The musicians worked for FREE several months, before they declared bankruptcy...IMHO that says alot about the symphony musicians & their love of playing THANKS LW ========================================================================= Date: Mon, 22 Apr 1996 08:38:50 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Re: Lockwood suggestions In-Reply-To: Message of Mon, 22 Apr 1996 09:31:16 -0400 from On Mon, 22 Apr 1996 09:31:16 -0400 Kevin Canning said: > >And finally, there were 2 lps on Trix of RJL with some real nice work. >(He plays that 12 string strung up like 6 on both these lps - which kind >of has a buzz/twang sound to it. But all good material.) I think one of those on Trix is called "Contrasts" and IMHO would not be a good 1st choice.I like it a lot and it's Lockwood with a kind of jazzy flavor, which he is very capable of doing. I think it's a great recording. LW 'IMHO' ========================================================================= Date: Mon, 22 Apr 1996 08:43:00 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Carey Bell & Jimi Bott I got the new Doug MacLeod (Can't Take My Blues) and Jimi Bott's drumming is INCREDIBLE, to me. Carey Bell is equally incredible. I'm looking forward to seeing Carey in Memphis. Jimi Bott's is one heckuva drummer. I don't know much about drumming, but it sure sounds good. Doug's soung writing is once again (& always) great....Nice disc, hopefully NYCD will post their review soon....... Does anyone have any info on the fiddle player who is on this disc, Heather Hardy...? THANKS LW ========================================================================= Date: Mon, 22 Apr 1996 06:56:55 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Re[2]: Wait a Minute...Classical Not Thriving?? > >Utter hypocrisy covering hatred of culture... I've got a problem with the government funding the arts as well, Don, and I most certainly do not "hate culture". There are several problems with government funding as I see it: 1. Incredible inefficiency, bloated bureaucracy, and the usual stupidity of highly centralized and over-sized government cause vast sums of money to disappear down the government's black hole. Almost anything run by the government could be better run by the private sector. 2. Who decides what 'cultural event' or activity is going to be funded or not funded? What criteria do you use? If a project is considered by many to be offensive (ie. Mapplethorpe, 'Piss-Pope [excuse me, but this was a statue of the Pope floating in urine recently on display at the Vancouver art Gallery], Annie Sprinkle's 'performance art'), should it still be funded by me, even though I object strenuously and vociferously? There is no longer a baseline available to judge what is moral or immoral anymore, so when people protest funding on moral grounds, they're called prudish and anti-art, and 'stop trying to force your morality down our throats...'. I say cut subsidies to tobacco farmers, too, by the way. And Sam Donaldson's sheep (or llamas, or whatever they are). It's not the 'waste of money' that I'm concerned about in the main, although that is part of my concern; it's the entire principle involved. -Jim (hndful@uniserve.com) ========================================================================= Date: Mon, 22 Apr 1996 07:04:38 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: April 23 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BARNES, WALTER (asax/NATCHEZ FIRE) d. 1940-0423, NATCHEZ, MS 35 KINDS, JAMES b. 1943-0423, DREW, MS LONESOME SUNDOWN [CORNELIUS GREEN] (g) d. 1995-0423, GONZALES, LA 66 MINOR, ORVILLE (tpt/JAY MCSHANN) b. 1912-0423, KANSAS CITY, MO OWENS, CALVIN (tpt/B.B. KING/TOPCAT REC) b. 1929-0423, HOUSTON, TX PAULIS, GEORGE (founder: BARRELHOUSE REC) b. 1948-0423, CHICAGO, IL PIMVILLE, DAMBUZA(lead/MANHATTAN BROTHERS)b. 1923-0423, SOUTH AFRICA WALDEN, MICHAEL "NARADA" (d/prod) b. 1952-0423, KALAMAZOO, MI ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 22 Apr 1996 10:37:16 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Carey Bell & Jimi Bott Comments: To: L W In-Reply-To: On Mon, 22 Apr 1996, L W wrote: > I got the new Doug MacLeod (Can't Take My Blues) and Jimi Bott's drumming is > INCREDIBLE, to me. Carey Bell is equally incredible. I'm looking forward to > seeing Carey in Memphis. Jimi Bott's is one heckuva drummer. I don't know > much about drumming, but it sure sounds good. Doug's soung writing is once > again (& always) great....Nice disc, hopefully NYCD will post their review > soon....... Of course we will ...... NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 22 Apr 1996 10:35:19 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: For Art Schuna (and any onlookers) - Luther Allison Comments: To: Chris Smith In-Reply-To: <830178138.4559.0@skerries.demon.co.uk> On Mon, 22 Apr 1996, Chris Smith wrote: > What is the *issue number*, please? (Just the label name is not much help > to my dealer!) Sorry - I didn't have the good glasses on and those numbers are sooooooo small. Luther Allison, Hand Me Down My Moonshine INAK 1715-2 Bar Code # 71083-17152 Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 22 Apr 1996 10:51:30 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Re[2]: Wait a Minute...Classical Not Thriving?? On 22 Apr 96 at 6:56, Jim Witteveen wrote: > > > >Utter hypocrisy covering hatred of culture... > > I've got a problem with the government funding the arts as well, > Don, and I most certainly do not "hate culture". There are several > problems with government funding as I see it: > > 1. Incredible inefficiency, bloated bureaucracy, and the usual > stupidity of highly centralized and over-sized government cause > vast sums of money to disappear down the government's black hole. > Almost anything run by the government could be better run by the > private sector. This, of course, is the lie that the Republican party wants you to believe is their motivation behind eliminating the government regulations that actually protect your health and safety, and provide for your education. Their real motivation, of course, is simply to increase the profits of a few at the expense of the many. The only thing that is trickling down on us from those profits is the same thing you don't like pope statues floating in. The main aim and responsibility of your "private sector" is to make profits. They have no other interest (nor should they). That's WHY we have a government. I would like my government, the people I elect and give a portion of my income to, to be looking out for ME... my health, safety, and education. If our government is corrupt, or wasteful, then THAT is what we need to deal with NOT eliminating funding for things we benefit from because our elected officials can't do the job right. > 2. Who decides what 'cultural event' or activity is going to be > funded or not funded? What criteria do you use? If a project is > considered by many to be offensive (ie. Mapplethorpe, 'Piss-Pope > [excuse me, but this was a statue of the Pope floating in urine > recently on display at the Vancouver art Gallery], Annie Sprinkle's > 'performance art'), should it still be funded by me, even though I > object strenuously and vociferously? There is no longer a baseline > available to judge what is moral or immoral anymore, so when people > protest funding on moral grounds, they're called prudish and > anti-art, and 'stop trying to force your morality down our > throats...'. The issue that was brought up was the funding of Classical Music performances, not the funding of plastic popes floating in urine. Besides which, a Vancouver art Gallery would be, by definition, a private business selling art, and not financed by the government. Is there something you fear about Classical music that you wouldn't want to have funded. > I say cut subsidies to tobacco farmers, too, by the way. And Sam > Donaldson's sheep (or llamas, or whatever they are). It's not the > 'waste of money' that I'm concerned about in the main, although > that is part of my concern; it's the entire principle involved. What "principle" are you talking about? P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 22 Apr 1996 10:34:44 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Blues in My Kitchen Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com The DC Blues Society cookbook, "Blues in My Kitchen" was officially released this weekend at the fundraising dance (which featured an excellent performance by Bad Influence, one of the DC area's finest blues bands). The book, edited by Rebecca Kraft, consists of recipes submitted by DC Blues Society members, local and national blues musicians. Some of th greatest living blues talent, including Bobby Parker, John Jackson, Mississippi Heat, Saffire and Archie Edwards have shared their favorite recipes for the book. The book is a very fun read, even if you don't cook, and it is a great fundraising item. I would highly recommend it for all blues fans. It is available for ten dollars from the DC Blues Society. You can reach the DC Blues Society at: THE DC BLUES SOCIETY P.O. BOX 77315 WASHINGTON DC 20013-7315 (202) 828-3028 http://intelus.com/DCBlues I AM a member of the DC Blues Society, but I have no profit-oriented interest in promoting this book - just trying to spread the word and help the Society. -Steve Levine ========================================================================= Date: Mon, 22 Apr 1996 09:30:28 -0600 Reply-To: Gary Constantine From: Gary Constantine Subject: Re: AM radio Canadian Blues Show? Comments: To: Jim Witteveen Jim Witteveen wrote: > > >Although I work in commercial FM rock radio, I am an admitted AM radio > >junkie. I spend countless sleepless nights lying in bed, surfing up and > >down the AM dial listening to every Talk/Religious/Political/Medical show > >my receiver brings in. > > > >Recently, I discovered a Blues show on Saturday night/Sunday morning. > >I think the hosts name is Peterson and on CBC from Edmonton. > >Last night, it came in clear on 740 AM. > > > >Does anyone know about this show or the host? > > The show is Saturday night blues, the host is Holger Peterson, who also > happens to run Stony Plain Records, a Canadian blues label that I'm sure > Richard the Elder could tell us about :-).I especially enjoy this show since > they gave me a free sweatshirt a while back! > > -Jim (hndful@uniserve.com) He is also the original and continuing host of the longest running Canadian blues radio program in Canada. Natural Blues is heard every Saturday afternoon and is re-broadcast every Tuesday evening. The community radio station CKUA has one of the largest collections of blues in North America. Anytime you are in Alberta or Northern Montana it's worth trying to pick it up not only for the blues but for a great eclectic mix of music. Gary .......... ========================================================================= Date: Mon, 22 Apr 1996 11:32:26 -0400 Reply-To: Oded Maron From: Oded Maron Subject: Johnny Shines on Stony Plain >From the list of new blues releases on http://www.webcom.com/~ice/blues.html May 14 - Johnny Shines - Blues & Beyond Anyone have more info on this? Oded ========================================================================= Date: Mon, 22 Apr 1996 10:58:00 -0400 Reply-To: "timothy (t.b.) bosley" From: "timothy (t.b.) bosley" Subject: Re: Important Vote/No Blues Content Well, much has been said (on both sides) about this. I am actually surprised that the vote is still going on. I recall seeing this some time ago. Some say you should vote yes if you support the idea of free speech. If that's the case, then there need not be any votes....just let anyone create a newsgroup whenever they feel like it. What's that you say? They can already create a group under the "alt" hierarchy? Nobody will be depriving them of a forum for their "message". The real issue is whether or not they deserve the legitimacy that the rec.music hierarchy will provide. If you think that violates their right to free speech, invite them into blues-l.....and start preparing apologies to Jim Hartac, Boogie Nation, Peter Sellers and however many others were castigated here. Or doesn't the right to free speech apply here as well? ========================================================================= Date: Mon, 22 Apr 1996 09:55:11 -0600 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: John Coltrane (was: something else...) Comments: To: Shaun T Cronin In-Reply-To: <199604181913.MAA10536@polaris.pacificnet.net> Coltrane's lp "Live at the Village Vanguard Again" has a side plus a six minute bass solo intro version of "My Favorite Things" which is unbelievable. It is not for the faint at heart. Jay Watterworth CU Boulder On Thu, 18 Apr 1996, Shaun T Cronin wrote: > I thought I'd add that my favuorite Cotrane album is "My Favourite Things." > The title track alone is astounding. > > Shaun > > Shaun Cronin 'Woke up this morning between midnight and day. I was > shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son > House > ========================================================================= Date: Mon, 22 Apr 1996 09:21:19 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Wait a Minute...Classical Not Thriving?? Blue Joe said: (edit edit), I hope I edited right this time ;-] >Don, is there a higher "common demoninator" that tell us that we have >to fund the classics at the expense of other music and other things? > >If so, specifically what is that makes it higher? Well, I would fund Blues as well, and Jazz too, while we are at it. Not on a grand scale, but a series of free concerts would do wonders to expose people to music that the yup programmers of radio have marginalized... But yes, there IS a higher denominator, those of us who know about music that challenges the listener, that requires the listener to pay attention, that is more sophisticated than one of the buttons on the drum machine in some studio allows for. Research has shown that listening to classical music actually increases intelligence... Do you think Ice-T increases anyone's intelligence? How 'bout Stone Temple Pilots? hmmm? >Or is that an antidemocratic idea like I said? Nonsense. If you don't like it, vote the bums out... democracy works. You can disagree with funding of orchestras without calling it "anti-democratic". >You also pointed out that youth culture seems to be behind most music >we get exposed to, and do I want more of that? The answer is I agree >with you and no I don't, I just feel legislators and decisionmakers >often back the classics in particular, without reference to public >sentiment, at the expense of other music/art/stuff. Just like kings >and queens did before them. And to say "that's democracy" like the >earlier poster had said, I think is bunk. I mean really: do you >think that government support for the *classics* is a good example of >democracy at work? Well, you have a point. It's not perfect, BUT the current generation of younger composers, conductors, and players in classical are moving it away from the blue-hair "gee this music sounds so good in my Mercedes" crowd, and are actively trying to reach the rest of us. And yes, I think it is good democracy. How many of you who resent public arts funding have EVER come out to a classical concert to see what's going on? It's kind of one of those "us vs. them" things that is almost always based on ignorance. couple examples: "The religious right" "The liberals in the media" Both of these groups are regularly raised as bogiemen to justify whatever oversimplified, no-brain demogoguery that the huckster-of-the-moment is selling to the public. So yeah, vote for Bill, no vote for Bob.... either way, it's *meet the new boss, same as the old boss* as far as I can see. Just don't go after some youth orchestra when we pay farmers to raise tobacco... DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Mon, 22 Apr 1996 10:38:07 -0500 Reply-To: T-Bone From: T-Bone Subject: Re: Re[2]: Wait a Minute...Classical Not Thriving?? In-Reply-To: <199604221450.KAA129426@osceola.gate.net> On Mon, 22 Apr 1996, P.W. Fenton wrote: > On 22 Apr 96 at 6:56, Jim Witteveen wrote: > > 1. Incredible inefficiency, bloated bureaucracy, and the usual > > stupidity of highly centralized and over-sized government cause > > vast sums of money to disappear down the government's black hole. > > Almost anything run by the government could be better run by the > > private sector. > > This, of course, is the lie that the Republican party wants you to > believe is their motivation behind eliminating the government > regulations that actually protect your health and safety, and > provide for your education. It just happens to be true. (I work for a NASA contractor, and it has turned me from a hair-shirt liberal into someone who thinks "a little luck and a little government are necessary in life, but only a fool depends on either".) T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Remember! Friends don't let friends drink and post." - Amy Ashton ========================================================================= Date: Mon, 22 Apr 1996 12:22:12 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0493 From: "DUTTWEILER.J" Subject: Re 2]: Wait a Minute...Class Date: Monday, 22 April 1996 12:21pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re[2 : Wait a Minute...Class > This, of course, is the lie that the Republican party wants you to > believe is their motivation behind eliminating the government > regulations that actually protect your health and safety, and > provide for your education. Their real motivation, of course, is > ...>snip< Must be nice being omniscient and knowing the motivations of the heart of others. Of course, I thought there was no RIGHT to Federally subsidized endeavors, e.g. Internet access - but maybe that's just for those we DISAGREE with, huh? Just a thought. JD ========================================================================= Date: Mon, 22 Apr 1996 09:40:42 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Re[2]: Wait a Minute...Classical Not Thriving?? Jim Witteveen said: >I've got a problem with the government funding the arts as well, Don, and I >most certainly do not "hate culture". There are several problems with >government funding as I see it: > >1. Incredible inefficiency, bloated bureaucracy, and the usual stupidity of >highly centralized and over-sized government cause vast sums of money to >disappear down the government's black hole. Almost anything run by the >government could be better run by the private sector. Nonsense. This is ideology passing for economics. The FACTS are that symphonies are so lean and mean anymore that they almost can't keep the ticket window staffed because of all the cutbacks.... How can you SAY such a thing when the staffs are almost all volunteers? If you love the arts, why don't you volunteer a few hours and go learn the truth instead of merely repeating right-wing boilerplate like the above? >2. Who decides what 'cultural event' or activity is going to be funded or >not funded? WE do, you and I >What criteria do you use? a shared one that we come through by consensus. it's called democracy >If a project is considered by many >to be offensive (ie. Mapplethorpe, 'Piss-Pope [excuse me, but this was a >statue of the Pope floating in urine recently on display at the Vancouver >art Gallery], Annie Sprinkle's 'performance art'), should it still be funded >by me, even though I object strenuously and vociferously? There is no >longer a baseline available to judge what is moral or immoral anymore, so >when people protest funding on moral grounds, they're called prudish and >anti-art, and 'stop trying to force your morality down our throats...'. There certainly IS a baseline, if all of you offended types would stop trying to pretend to be "outsiders", you could function as such.... The left must learn to listen to your input, and you must get used to being called prudes because you are so "shocked" all the time. Give and take... get off your high horse and join the battle. Oh, and I *remember* you righties losing it over people withholding their taxes to protest Vietnam... Which is more legit to protest? Bad art (and there's lots O that out there) or Institutionalized death hmmm? >I say cut subsidies to tobacco farmers, too, by the way. And Sam >Donaldson's sheep (or llamas, or whatever they are). It's not the 'waste of >money' that I'm concerned about in the main, although that is part of my >concern; it's the entire principle involved. So DO it! Why are there no actual movements in congress to DO this?? Well powerful righties like Jesse stand in the way, don't they? Frustrate you? damn sure frustrates me! So we talk talk talk about this, yet the only thing the right does is flog gays and harp on arts funding.. And the rest of us get to watch the right hand the election over to Billy-boy... whatta country DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Mon, 22 Apr 1996 16:27:54 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Hoochie Coochie Man = protest Comments: To: bit-listserv-blues-l@uunet.uu.net Jeff Seale wrote: > >In this inane thread about blues being dead, someonemade a rather >coy remark about Muddy's Hoochie Coochie Man being not being a >protest song. > >I'd like to disagree. When I hear Muddy singing it, I hear "I'm a >man, even though you (favorite expletive here) have treated me and >my family as much less." I also hear a little "revenge" - I could >take your woman and make love to her all night. > >So yeah, I think it is a bit of a protest. > Oh come on, Jeff, get real. Do you REALLY think Muddy was thinking about anything except "gettin' some"? If you do, I believe you've missed the point of that song. The only thing he was protesting was NOT gettin' some. Scott ========================================================================= Date: Mon, 22 Apr 1996 13:01:32 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re 2]: Wait a Minute...Class Comments: To: "DUTTWEILER.J" On 22 Apr 96 at 12:22, DUTTWEILER.J wrote: > Date: Monday, 22 April 1996 12:21pm ET > To: Internet > From: DUTTWEILER.J@GOMAIL > Subject: Re[2 : Wait a Minute...Class > > > > This, of course, is the lie that the Republican party wants you to > > believe is their motivation behind eliminating the government > > regulations that actually protect your health and safety, and > > provide for your education. Their real motivation, of course, is > > ...>snip< > > Must be nice being omniscient and knowing the motivations of the heart of > others. > Insight into the goals of Republicans does not require omniscence, just an ability to think for yourself. > Of course, I thought there was no RIGHT to Federally subsidized > endeavors, e.g. Internet access - but maybe that's just for those > we DISAGREE with, huh? > Just a thought. If I had some idea what you were asking me, I'd respond. I never spoke on the subject of internet access, but if you have some question I'd be happy to answer it. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 22 Apr 1996 13:07:25 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Hoochie Coochie Man = protest Comments: To: Scott Dirks On 22 Apr 96 at 16:27, Scott Dirks wrote: > Jeff Seale wrote: > > > >In this inane thread about blues being dead, someonemade a rather > >coy remark about Muddy's Hoochie Coochie Man being not being a > >protest song. > > > >I'd like to disagree. When I hear Muddy singing it, I hear "I'm a > >man, even though you (favorite expletive here) have treated me and > >my family as much less." I also hear a little "revenge" - I could > >take your woman and make love to her all night. > > > >So yeah, I think it is a bit of a protest. > > > > Oh come on, Jeff, get real. Do you REALLY think Muddy was thinking about > anything except "gettin' some"? If you do, I believe you've missed the > point of that song. The only thing he was protesting was NOT gettin' > some. > > Scott I also think that Jeff is confusing the song "I'm a man" with "Hoochie Coochie Man." Jeff check out the lyrics to "Hoochie Coochie", there's almost no way to stretch it to fit a protest. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 22 Apr 1996 13:15:52 -0400 Reply-To: Dave Markovits From: Dave Markovits Subject: JazzFesters 1st weekend Alright, a crazy idea. Where can the Blues-l folks meet in New Orleans. It can be a show, at the fest, local saloon, pre-fest meal perhaps. I know people have been discussing it, but was anything determined? Some of my weekend highlights hope to include a trip to the Lion's Den on Gravier. Irma is listed as playing there both Friday and Saturday this weekend. Buffa's Lounge got the big thumbs up from a friend who was just there. Walter Wolfman Washington is playing on Thursday. They are supposed to have great grub too, reasonable. A trip to Uglesich's. Great Muddy Waters trout, oysters, soft shell crab po-boy. Beverages- Cooter Browns, this dive of a tavern , has undoubtably the best selection of beverages this beer geek has ever seen. Fine handcrafted American microbrews and for the Belgium Beer lover this place rules. It is off of St. Charles at Carrolton, caddie corner from the Camelia Grill kind of. Well I'll be leaving Weds. from Chicago and driving down. Anybody wants to hook up mail me. I know how trying to plan anything fest weekend is rough but who knows. Enjoy, David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Mon, 22 Apr 1996 12:19:17 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Re: Wait a Minute...Classical Not Thriving?? In-Reply-To: Message of Mon, 22 Apr 1996 09:21:19 -0800 from On Mon, 22 Apr 1996 09:21:19 -0800 Don Cicchetti said: > >Research has shown that listening to classical music actually increases >intelligence... Seriously, could you provide the source of this information. I would like to read about this research..... THANKS LW > > >>You also pointed out that youth culture seems to be behind most music >>we get exposed to, and do I want more of that? The answer is I agree >>with you and no I don't, I just feel legislators and decisionmakers >>often back the classics in particular, without reference to public >>sentiment, at the expense of other music/art/stuff. Just like kings >>and queens did before them. And to say "that's democracy" like the >>earlier poster had said, I think is bunk. I mean really: do you >>think that government support for the *classics* is a good example of >>democracy at work? > >Well, you have a point. It's not perfect, BUT the current generation of >younger composers, conductors, and players in classical are moving it away >from the blue-hair "gee this music sounds so good in my Mercedes" crowd, >and are actively trying to reach the rest of us. > >And yes, I think it is good democracy. How many of you who resent public >arts funding have EVER come out to a classical concert to see what's going >on? > >It's kind of one of those "us vs. them" things that is almost always based >on ignorance. > >couple examples: > >"The religious right" > >"The liberals in the media" > > >Both of these groups are regularly raised as bogiemen to justify whatever >oversimplified, no-brain demogoguery that the huckster-of-the-moment is >selling to the public. > >So yeah, vote for Bill, no vote for Bob.... > >either way, it's > >*meet the new boss, same as the old boss* > >as far as I can see. > >Just don't go after some youth orchestra when we pay farmers to raise >tobacco... > >DC > > >____________________________________________________ >Don Cicchetti >La Sierra University Library Media Services >Audio/Video/Computer/Satellite >Studio Production, Event Services, Academic support >dcicchet@lasierra.edu > > >Time flies like an arrow >Fruit flies like a banana.... > >--- Groucho >____________________________________________________ ========================================================================= Date: Mon, 22 Apr 1996 12:55:22 -0500 Reply-To: Art Schuna From: Art Schuna Subject: Re: For Art Schuna (and any onlookers) - Luther Allison Comments: To: Barry Silverberg At 05:52 PM 4/21/96 -0400, you wrote: > I owe you for the Motown Allison recommendation so here goes. I > picked up a copy of Hand Me Down My Moonshine - Luther Allison, > all acoustic. Wonderful. I have never before really heard LA- > acoustic, & this one is 12 tracks with not a stitch of electric > anything. On the disc is Bernard Allison on acoustic slide - I > assume this is his brother. BTW the label is INAK, CD was pro- > duced by Luther in 1992. The disc starts out ok but it builds & > builds - the second 1/2 of the tracks are amazing. Title track > is 9 1/2 minutes of ecstasy. Barry - I've had a copy of this since last summer. In fact, I used a track of it for a blues radio show last August. It's Luther like you've never heard him. I love it. Bernard is Luther's son. He's had one or two previous releases though none recent that I can think of. Inak is a German label, but I have seen it in the CD bins in stores so it can be found if you look around for it. Art > If you got it - let's chat about it. If you don't then I cons- > ider the debt paid (and wait for the next debt to come :)). Not > bad debts - your picks, so I'm always ready. The debt was repaid with Valerie Wellington's Rooster release. ========================================================================= Date: Mon, 22 Apr 1996 10:34:27 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: DOUG MACLEOD, A TRIBUTE 1) INTRODUCTION/DISCOGRAPHY "First and foremost, he's a rarity among young white bluesmen in that he composes 100% of his repertoire". ~ Dan Forte, VOLT CD 3409 Singer-songwriter-guitarist DOUG MACLEOD was born on Sunday, April 21, 1946, New York City. He grew up in St. Louis, MO., and has made Los Angeles his base since 1980. A few of his songs have been recorded by others : Albert King ("Your Bread Ain't Done"), Albert Collins ("Cash Talkin" - The Workingman's Blues"), and Son Seals ("I Think You're Fooling Me", "I Can Count On My Blues"). His main influences are : Kenny Burrell, Cornell Dupree, Albert King, B. B. King, and Son House. CD DISCOGRAPHY: (* contains Doug MacLeod songs) REL. DATE ============================================================================= *ALLIGATOR CD 4738 : SON SEALS - BAD AXE 1984 *ALLIGATOR CD 4752 : ALBERT COLLINS - COLD SNAP 1986 AUDIOQUEST CD 1027 : DOUG MACLEOD - COME TO FIND 1994 AUDIOQUEST CD 1041 : DOUG MACLEOD - YOU CAN'T TAKE MY BLUES 1996 *FANTASY/STAX CD 8560 : ALBERT KING - I'M IN A PHONE BOOTH, BABY 1984 FANTASY/VOLT CD 3409 : DOUG MACLEOD - AIN'T THE BLUES EVIL 1991 HIGHTONE CD 8002 : DOUG MACLEOD - NO ROAD BACK NOW 1994 LINE/STOMP CD 9.00444 : DOUG MACLEOD - WOMAN IN THE STREET 1987 LINE/STOMP CD 9.00817 : DOUG MACLEOD - 54TH & VERMONT 1989 ============================================================================= I'd like to thank NY CD BLUES for their review (by Toby Levy) of AUDIOQUEST CD 1027, and Leonard Watkins for his Doug MacLeod interview. The posting is divided into 3 parts : 1) Introduction/Discography 2) Interview 3) Audioquest Review ========================================================================= Date: Mon, 22 Apr 1996 10:34:34 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: DOUG MACLEOD, A TRIBUTE 2) INTERVIEW DOUG MACLEOD INTERVIEW (original posted 1995/Feb/21) by Leonard Watkins LW: First off, will you ever make it to Alabama. DM: Audioquest and I are going to try and put a package together directly. There's going to be an article on me, in Blues Review Quarterly, probably the next issue. Then we're going to try and seek an agent. If you run across an agent that does this kind of music, maybe you can get us in touch. I'd like to get out and travel. LW: How did you get into BLUES. DM: When I moved to St. Louis from New York. We went to some bars in the city and I believe the first person I heard was B.B. King. I heard him play that one note and I said ''wow !''. I didn't even want to go there, I was afraid cause it was all black people. I was thirteen years old or something. Once I heard that note I had to find out more about it. LW: It happens to all of us DM: I think so, and BB's done it to alot of us LW: You went to Berklee , did that help you with the BLUES DM: NO !, It didn't help none in the BLUES LW: I notice your music sometimes has a Jazz tint. DM: Well I always liked Kenny Burrell, I was turned on to Kenny's record, "Have Yourself A Soulful Little Christmas" Then I said ''whoah well maybe I'd like to play like that'' That's where I got my Jazz influence. In fact, Kenny Burrell told me something once. I had been in an ensemble at Berklee where five or six guitar players sit down and the instructor says ''OK play me some blues". All these guys were playing like (makes speed demon guitar noises) and I didn't know what in the hell they were playing. Then it comes around to me and I go (makes slow B.B. Type noises), so the instructor says ''What are you doing ?'' I told him I was playing blues. He said 'I can't even hear the changes in there'' and I said ''You asked me to play the blues, that's the blues, that's what I know the blues to be''. He said ''what do you think these other guys are doing ?''. I told I really don't know what those other guys are doing, but it don't sound like blues to me. He said "well that's the blues''. Well my feelings were hurt, see I couldn't read music and I got there cause I could play blues. I went out to Lenny's on the turnpike and there was Kenny Burrell. There only a few people in there so I got to talk with Kenny. He said "well what are doing" I told him I was going to Berklee School Of Music. I told him what had happened to me earlier that day. He told me If you learned blues and you learn that, they can't teach you that. So get all the education you can, get it now, get out of there, then forget about it and go play. That was great advice. LW: I agree, once you get to thinking about it, you lose the feeling. DM: It kills the feeling. I've played with some great musicians in this town, but they just think too much. When you think too much, it's like making love. If you're thinking while you're making love, well you won't have a good night. LW: Why did you decide to go totally acoustic or solo. DM: I started out that way. I originally played bass, then I moved over to acoustic guitar. I got turned on to country blues and I just fell in love with it. That has always been my favorite. I wanted to learn Jazz cause I wanted other people to look at me like I was smarter. Country blues was kind of looked down on, but it is my favorite form of blues. The simplicity of it, but the way I do it is a little bit different. I do it more like , as if some of these guys like Son House had been playing all through this time and was turned on to the influences of someone like a Miles Davis in the early fifties. Then would put some of that in their music, I always thought those early guys were great, great musicians. I just went back to it, cause I wanted to. This next record I'm going to do with Audioquest, we're in the pre-production of it now, I'm going to try and do it even more basic. It may be just me and the guitar or a standup bass player. LW: Bill Stuve was a wonderful choice on Come To Find DM: Wasn't he good. I got to tell you it was the most fun I've ever had in a studio. LW: Your songwriting is incredible are they based on actual experiences. DM: Yes they are. There was an old man in Virginia who told me something when I was about 19. His name was Earnest Banks, that's the name he was using anyway. I said Mr Banks"I don't know nothing about picking cotton, I don't know nothing about this shit, I was born in the city''. I told him I love the music and I want to write it, what do I do, I can't sing about picking cotton. He told me to write about what I know and if you tell the truth people will know it. If you're bullshitting them, you'll fool the people that don't know, but you're not going to fool the ones that do know. LW: If I'm not mistaken I read in the liner notes somneone told you never play a note that you don't mean. Was that the same man who told you about song writing. DM: Never play a note you don't believe, it was the same man. LW: I believe you took his advice, you have restraint. DM: Thanks, I'm still working on it. I think that's a life long thing. LW: I know I couldn't say that about most Berklee graduates DM: I took Kenny Burrell's advice. I just got an education so I could write music. It's helped me in that area, but as far as playing, it's took me years to forget about all that stuff. It just gets in the way. LW: You mentioned Son House and I think Death Letter Blues is the most powerful song I've ever heard. DM: Unbelievable song !. Have you seen the video of it.? LW: Oh Yes, I don't see how a person could be more intense and he was pretty old , I don't think I could have stood seeing him live. DM: Can you imagine what a power he must have been when he was in his twenties LW: You were associated with George Smith for quite a while weren't you. DM: I sure was. LW: That's a wonderful line on No Road Back Home, George had them down on their knees, but when it was over it was me, George and the fleas DM: It's a true story. LW: George never got the recognition he deserved. DM: Never. I saw an article where that called him a genius and like most geniuses he wasn' t recognized in his time. He was the best man I ever seen work a crowd in my life. He was the best I ever seen and I've worked with some good ones. LW: I think Rod Piazza credits George for the showmanship. DM: Yes. I play country blues six nights a week here and it's because I can talk and work a crowd like George taught me. LW: I sure hope you get out and tour soon DM: I want to get there so bad, my wife even said ''You can go, you can travel, I'll take care of the kid, the house, just go''. She loves me too, she's not trying to kick me out. The way I feel right now, I'd like to be anywhere but L.A. I want to get out and travel and meet the people, I want to shake hands, I want to get to know themn. Learn about how everbody's feeling and I could write some more songs. LW: Did you play with Emmy Lou Harris DM: No, Somebody wrote that wrong I read that also. We played together. She was in Norfolk Virginia the same time I was In fact, her boy friend at that time, Bo Johnson, was my harmonica player. Me and Bo played country blues together and Emmy played folk music. It's like the song I wrote ''Don't Believe Everything You Read''. LW: Who do like to listen to these days DM: I'll tell you who I'm listening to Leroy Carr and Scrapper Blackwell, Skip James & Robert Nighthawk. That's who I listen to when I'm looking for inspiration and for enjoyment one of my favorites is Delbert McClinton. I still listen to Kenny Burrell. LW: What about Wes Montgomery ? DM: Oh Yes ! He's great. If you can't find the connection between Wes and Lightin' Hopkins, something wrong with you. LW: Lightin' was really something. DM: I love Lightin'. The more I listen to these older guys the more I realize that was really special stuff LW: Who do you consider your influences DM: I've had a few. I think the picking would be Big Bill Broonzy, or at least his style of playing. You know the one who comes to me, is George Smith and Earnest Banks. Honeyboy Edwards seemed to think Earnest was somebody else. Somebody he might of even heard of, but nobody has found out anything about him. He was a hell of a guitar player. LW: Sounds like somebody who needs to be re-discovered DM: I'm starting to think that maybe he changed his name There was a guy named, Larry McCullock, in Richmond and he was the guy who found him. If we could ever find where Larry is, maybe we could find out something. LW: Was No Road Back Home your first recording DM: Yes it was. LW: Do you think your recordings on the Stomp label will ever he released domestically. DM: I haven't heard anything about it, but I bet you a nickel if the Audioquest sells well. I know that Mercer, who managed me at that time, he's close friends with Bruce Bromberg at Hightone. I think you might get an essential Doug MacLeod eventually. Those German releases are hard to get. LW: The tune Nightbird reminds me of a TV theme song, but I can't place it. DM: That particular song was written about a prostitute. It was someone that I had been with. LW: Do you have a favorite Doug MacLeod recording, that you would recommend DM: No. I see each recording as a telephone pole along the highway. That's what was going on right at that time. That's how I see them. LW: We talked about the older guys earlier , I just want to mention that the founding president of The Alabama Blues Society was Johnny Shines. DM: Oh ! Yeah you're talking about, Oh there's one. There's one right there, I love the way that man played. I've got some video's of him and whoah boy, Johnny Shines. He's another great guitar player. It's a shame he had to live under the Robert Johnson shadow. LW: He did and I don't think that shadow ever left. DM: No, I don't think it did and we missed something. If we would have just seen him as just the great artist that he was, a whole lot of people would have had more respect for him. LW: I appreciate you talking to me and I'll keep a look-out for you in Alabama. DM: I'll let you know when I'm heading that way. c. 1995 Leonard Watkins ========================================================================= Date: Mon, 22 Apr 1996 10:34:45 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: DOUG MACLEOD 3) AUDIOQUEST REVIEW DOUG MACLEOD - Come to Find (Audioquest #1027) AUDIOQUEST P.O. BOX 6040 SAN CLEMENTE, CA 92674 TEL: 714-498-1977 FAX: 714-498-6223 BOOKING - GASLIGHT SQUARE MUSIC 310-532-6018 or - TOM GOLD AGENCY 415-648-0530 Doug MacLeod is a West Coast bluesman who has recently converted from electric to acoustic. After a string of albums in the 80's, MacLeod decided to permanently unplug and the happy results of this decision are on this cd. He is ably assisted on more than half the songs by Rod Piazza's long time rhythm section: Bill Stuve on acoustic bass and Jimi Bott on a very quiet set of drums. He has Charlie Musslewhite playing innovative harp on two songs, and a gospel vocal group named Black Cherry backing him up on one song. But this is a very personal album. Doug MacLeod has obviously poured his heart into the ten of the twelve songs on the cd that he himself wrote. BRING IT ON HOME / SINCE I LEFT ST. LOUIS / MYSTERY WOMAN / COME TO FIND / OLD VIRGINIA STOMP / MASTER'S PLAN / AIN'T NO GRAVE / RUN WITH THE DEVIL / LOST SOMETHING THIS MORNING / ROLLIN' AND TUMBLIN' / ANY PORT IN A STORM / WHEN I LEFT MISSOURI NY CD-Takes BRING IT ON HOME: MacLeod begins with a Willie Dixon number immortalized by Sonny Boy Williamson. Charlie Musslewhite plays the harp here, but he takes it in an entirely different direction, a very interesting creative effort. MacLeod's singing shows just how good it feels to come home after a long spell of travelling. SINCE I LEFT ST. LOUIS: MacLeod grew up in St. Louis, and this his story of emerging into adulthood. Playing alone, his guitar seems to have sparks flying out of it as his fingers fly around the fretboard. MYSTERY WOMAN: MacLeod lets his guitar do a little weeping and moaning before he is joined by the rhythm section. Finally he starts singing about that woman he just seem to forget. You can picture him sitting at a table with an empty bottle playing this song to himself just before the first light of dawn creeps through the window. COME TO FIND: Not only is this the title song, it is also the best song on the album. As MacLeod says in the notes, "This is a song about getting over any kind of abuse." Bill Stuve kicks it off with a rolling bass line and a moment later MacLeod dives in, smoke flavored voice perfectly compatible with jangling guitar chords. This song commands attention the first time you hear it and gets better with each replay. OLD VIRGINIA STOMP: MacLeod takes this instrumental alone, playing Piedmont style blues to great effect. In the notes he said he learned this song almost 30 years ago, forgot it and it just came back to him recently. MASTER'S PLAN: MacLeod, still alone, sings a song about trying to understand the Big Picture. "You look inside yourself to find you the Master Plan." This song displays a person who has found inner peace and wants to share it with others. AIN'T NO GRAVE: This is MacLeod's gospel song. The group Black Cherry sound like a heavenly choir behind him and the rhythm section push the song to ever greater heights. It's very moving. You will find it difficult if not impossible to sit still during this song. Clapping and foot stomping is not only permitted, it is encouraged! RUN WITH THE DEVIL: MacLeod dismisses the rest of the band to tell several stories about some bad folks. "Only one thing you got to learn," he sings, "When you run with the Devil you are going to get burned." If this spooky song doesn't make the sinner repent, I don't know what will! LOST SOMETHING THIS MORNING: Charlie Musslewhite returns to beautify a sad song in which Doug MacLeod shares his feeling of loss with his listeners. His woman has left him and he never saw it coming. Musslewhite is a great sideman. He should take on more projects like this one. ROLLIN' AND TUMBLIN': Doug, Bill and Jimi present the Muddy Waters arrangement of this timeless classic. This is MacLeod's only slide guitar number on the album, and he makes you wish he'd use it more. The number fades out on him sliding away. I for one would have liked to have it go on much longer. ANY PORT IN A STORM: Alone again, MacLeod tells another story, this one about lovers who break up and then drift back together, if only temporarily. Once again, he manages to weave a spell, making the silence at the end of the song a painful awakening. WHEN I LEFT MISSOURI: MacLeod and the rhythm section close the album with a country boogie that sounds like it was sung in juke joints before the great war. In fact, it's a Doug MacLeod original, and a testament to his sizeable talents as a songwriter. Reviewed by Toby Levy Copyright NY CD Blues @1995-1996 All Rights Reserved. Unauthorized use prohibited. ------------------------------------------------------------- NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 22 Apr 1996 12:41:27 CST6CDT Reply-To: "Sara C. Oxton" From: "Sara C. Oxton" Organization: University of Minnesota Subject: Re: Arts Funding Comments: To: "P.W. Fenton" Whoa! This thread has run wild!! I have been the recipient of many federal arts grants, and have seen the fruits of many federally-funded arts programs. >From first hand experience, I can say that the application process to the NEA is rigorous and fair. The review panel comprises people of intellect, good judgement, and broad knowledge of their discipline. Before an organization is awarded a grant, it has to have professional, paid staff, an operating budget of over $100K, and a track record of artistic excellence. All dollars awarded by the NEA must be matched 1-to-1 by the recipient organization. A further requirement by the NEA is that performing artists involved with the grant receive equitable pay for their work. In my case, this meant that my dancers, wonderfully trained ballet thoroughbreds, FINALLY were able to earn a living wage. At minimal cost to taxpayers. Next is a fact that is well-known in my circle, but perhaps new to the Blues-L: while government allocation for the arts has idled or declined steadily for the past 10 years, government funding for military marching bands exceeds the annual allocation for the NEA, PBS, and NEH tenfold. In another ironic twist, the charge against arts funding on Capitol Hill has always been lead by Jesse Helms. What keeps Jesse in office? Money from the tobacco PACs, Phillip Morris, et al. Who presently is one of the biggest private funders of arts organizations? You guessed it, the Phillip Morris Foundation. Still hanging my head in shame that BB King ever shared a stage with Lee Atwater.... Sara _________________________________________ Sara C. Oxton Executive Secretary University of Minnesota Department of Food Science & Nutrition 1334 Eckles Ave. St. Paul, MN 55108 Ph: (612) 624-2787 Fax: (612) 625-5272 soxton@che2.che.umn.edu ========================================================================= Date: Mon, 22 Apr 1996 11:08:52 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Where's the Wagman? Hey Gary! Are you out there? Sure enjoyed your show on Saturday! Did you go to the Doug McCloud show at BB's? I enjoyed that set of him you played a lot. Are you still with us? DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Mon, 22 Apr 1996 14:09:00 EDT Reply-To: edward c liu From: edward c liu Subject: SITTING AND THINKING: Johnny Shines, _Mr. Cover Shaker_ Howdy all, The latest from NY CD Blues' Biograph reviews. -- Ed Edward C. Liu | "If you send me to Washington as your leader, edwick@cc.bellcore.com | I'll personally see to it that every living | American gets his portion ... after I get mine." | -- Louis Jordan, "Jordan For President" The opinions in this message are mine and not Bellcore's. Really! *------------------------------cut heer------------------------------* JOHNNY SHINES / MR. COVER SHAKER (BCD 125 ADD) BIOGRAPH RECORDS, INC. 374 CONGRESS STREET, SUITE 407 BOSTON, MA 02210 TEL: 617-426-7500 FAX 617-426-5222 E-MAIL: CD@biograph.com The story goes that Johnny Shines got so sick of the music business in the 1950's that he took all of his musical equipment to a pawnshop, got $100.00 for all of it, and then tore up his claim ticket right there in the pawn shop. Then, like Son House, he retired to civilian life and was forgotten by the musical world. Thankfully, Johnny decided to come out of retirement in the blues revivals of the 1960's. Johnny recorded the tracks on this disc for Biograph in 1974. The first half of the disc features Johnny singing solo, accompanied only by his own guitar. These are the remaining release-worthy tracks from his "Traditional Delta Blues" session, but don't mistake them for outtakes or second-string recordings. The second half of the disc is composed of Johnny's work with Dave Bromberg's band, which also happened to be some of Johnny's favorites. THE DEVIL'S DAUGHTER / LOOK BEHIND THE DOOR / TWO STEPS TO HELL / THE FACE IN THE COURTHOUSE / BLOOD RAN LIKE WINE / MAY I APOLOGIZE / BLOOD RAN LIKE WINE / I'M GETTING OLD / MOTHER'S PLACE / MR. COVER SHAKER / SHOTGUN WHUPIN' / LOST LOVE LETTER BLUES / STAND BY ME NYCD Takes THE DEVIL'S DAUGHTER: The disc starts off with a marvelous example of a traditional Delta blues. The song addresses the wiles of female sexuality with startlingly frank parables, such as, "I do believe if Jesus would have seen you...I do believe you would have made him sin." Musically, the performance of the work is superb, with intricate fingerpicking and sliding occurring simultaneously with his vocals. You'd also swear that there's a second guitar player on this track, but it stands as a monument to Johnny's stunning fingerpicking ability LOOK BEHIND THE DOOR: Johnny turns to the familiar Delta call-and-response between performer and instrument, keeping the accompaniment to his trembling, vibrato laden vocals very spare, saving the truly intricate guitar work for the spaces between his lines. Loosely structured around "Walking Blues," this song keeps things very simple. The sound quality is superb -- you can really hear the slide squeaking on the strings in the last, vibratoed note in the song. TWO STEPS TO HELL: A song of strong contrasts, as Johnny varies between singing with loud power and gentle grace. The guitar accompaniment is very lean, but the lyrics and the vocal performance more than compensate. This is a song being sung by someone with the same haunting, edgy fear that's found in Robert Johnson's "Hellhound On My Trail" (and, indeed, Johnny quotes that song near the end). As in "The Devil's Daughter," he addresses sin directly and frankly from the perspective of a man intimately familiar with it. It's a powerful performance that can THE FACE IN THE COURTHOUSE: Johnny takes a more folksy approach to the blues as he tells the story of Henry Wells, who vanished from Carrollton, Alabama, after leaving his image in a courthouse window. This song may disappoint those expecting a conventional 12-bar blues, but (compelling rhythmic structure). Johnny's performance is simple and straightforward. It presents a kind of musical storytelling that is sadly dying out in today's music. BLOOD RAN LIKE WINE: Another simple Delta call-and-response. The sound quality of this track is worth noting again; the guitar parts often have the same "woody" quality that one usually can only hear in a live acoustic performance. He also proves the malleability of the blues, singing about the (then current) war in Vietnam, singing, "keep on fightin' there in Vietnam, while the blood flows like wine" with a dryly sarcastic sense of social conscience MAY I APOLOGIZE: One last solo acoustic Delta blues. The vocal performance is wonderful, with Johnny using sustain to wonderful effect. In some cases, he holds a single note or syllable longer than you think he should, with engrossing and haunting results. He also uses an interesting twist on the conventional lyrical structure of a 12-bar blues lyric. His singing is deeply soulful and heartfelt, as he wails and cries to a departed lover. BLOOD RAN LIKE WINE: This point marks the shift in the disc to a full band and electric amplification. It begins with Johnny sliding solo on an electric, as the rest of the band slowly falls into place behind him. It gives the feeling of a studio outtake, as if the band were caught flatfooted with tape rolling. If this really was the case, however, you'd never know it by the ease with which the band falls into place behind Johnny. The addition of a clarinet, muted trumpet, and tuba give this track a strong Dixieland jazz feel to it. Johnny's singing is relatively sedate, which contrasts strongly with his primal, edgy slide that reminds one of J.B. Hutto or Hound Dog Taylor. I'M GETTING OLD: Johnny picks up a National steel for this spartan number, backed only by Dave Bromberg's mandolin and Lou Terricciano's piano. Johnny's vocals are more powerful than the previous track, as though there were an inverse relationship between Johnny's singing volume and the number of instruments. The solo section features Lou and Dave dueling, with some especially nice moments occurring when the mandolin and piano echo each other's trills. MOTHER'S PLACE: Lou opens up this track with a marvelous blues piano intro. The addition of the full band with horn section gives this song a big-band jazz feeling, which stands in stark contrast to the extremely spare, repetitive Delta blues vocal performance by Johnny. The same structures of call-and-response are found here, except that this time the responses to Johnny's call are coming from Peter Ecklund's trumpet and John Payne's saxophone. MR. COVER SHAKER: The title track is another fusion of Dixieland jazz and traditional Delta blues. Johnny returns to a more sedate vocal performance, at times being almost overwhelmed by the orchestra surrounding him. It's also one of very few songs not done by Clarence "Gatemouth" Brown that features a blues fiddle, which blends smoothly into John Payne's clarinet. SHOTGUN WHUPIN': The band kicks into a simple 12-bar blues arrangement, making for a throwback track to the early days of electrified blues. Johnny leads the charge into this track, providing an energetic vocal for the horn section to fill-in behind. Like the works of Elmore James, Lefty Dizz, or Hound Dog Taylor, energy counts for a lot more here than any musical subtlety. Johnny certainly provides a much more boisterous performance than you'd expect from a man pushing 60 years old. LOST LOVE LETTER BLUES: Johnny returns to the National steel for this acoustic number, accompanied by Dave Bromberg's guitar and the occasional lick thrown in from Richard Tiven's violin. It's mostly a straightforward blues featuring rhythm of the extra-chunky variety. There are some complex and interesting contrasts/duels between the 3 stringed instruments on this track, giving a meaty, solid character to the music. STAND BY ME: Some dueling between Johnny's spartan slide and Lou's piano leads into this slow number that features a trio of gospel choir background vocalists. The results are something like what Ray Charles would come up with. This track also features some more of Johnny's spartan electric slide, and the ghostly, ethereal voices of the choir present an interesting counterpoint to the fire and vigor of Johnny's vocals. Reviewed by Edward C. Liu Copyright 1996 NY CD Blues Unauthorized use prohibited NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ ========================================================================= Date: Mon, 22 Apr 1996 13:27:31 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Hoochie Coochie Man = protest Comments: To: "P.W. Fenton" In-Reply-To: <199604221706.NAA20984@osceola.gate.net> On Mon, 22 Apr 1996, P.W. Fenton wrote: > I also think that Jeff is confusing the song "I'm a man" with "Hoochie > Coochie Man." Jeff check out the lyrics to "Hoochie Coochie", there's > almost no way to stretch it to fit a protest. Yep, PW got it right. Sorry about that one. You start losing your mind when you hit 30, or so I've been told ;-) -Jeff (back to your regularly scheduled flamefest) --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball #10 U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc02.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Mon, 22 Apr 1996 13:29:00 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Blind Lemon Jefferson help Can someone help this guy? -Jeff ---------- Forwarded message ---------- >From: SNOMAN I am a fan of Blind Lemon Jefferson. I am looking for any published books on his life or published books of his lyrics. I am also interested in any tablature of BLJ. He had the best record sales of any blues performer for his time and yet there is very little information on his life and work. Can you help me. Thanks James Lambert lamberts@brightok.net SNOMAN ========================================================================= Date: Mon, 22 Apr 1996 14:30:03 -0400 Reply-To: TabbMan@AOL.COM From: John Moore Subject: Re: JAMmin' with Blues records Comments: To: shaun@pacificnet.net ive found that "Jam Trax" are a great tool to practice with.Theses are available at most larger music stores>What they are are cassettes with 8 songs on it,different keys,and styles,with the lead guitar and vocals left off.There available in Blues,Chicago Blues,modern bLUES.....I use these for both guitar and harp. ========================================================================= Date: Mon, 22 Apr 1996 14:34:06 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Blues-L Convention Report (long) For those who have joined the Blues-L over the past four months, we had some preliminary discussions about actually meeting in person at a convention site. We have decided at gather by the waters of the mighty Mississippi at the St. Louis Blues Festival on August 30-31, September 1st. This is a preliminary report and others will be posted periodically to keep everyone informed on developments. In an early post, I stressed that it is important that Blues-L members arrange to meet at various festivals over the next few months and bring me opinions as to what kind of convention you wish to have in St. Louis. There is a difference between being a cordinator and assuming a leadership role. This is 'your' convention and I will do my best to bring forth whatever you want to do there. ********************* The festival opens on Friday night with a concert at the Fox Theater in downtown St. Louis. The bill is B.B. King, The Neville Brothers and Delbert McClinton. I do not know the ticket prices but it will probably be somewhere in the $25.00-30.00 range for the best seats. I have made arrangements with the promoter to have approximately 25 prime location seats to be held out of public sale and set aside for Blues-L members arriving from out of town. You will be given a telephone number for advance credit card sales and the tickets will be held at the box office. There will be a set date (probably a week prior to festival) when the unsold tickets will be released to public sale. That means that many of us will meet for the first time right there in the Fox Theater. There is a possibility of a post-concert reception with the artists in the backstage area. However, this cannot be discussed in any details so far in advance. It depends on BB King, his management, the Fox Theater, the promoters and many other factors. Just be aware that it is under consideration and, hopefully, things might fall into place. ******************** The Saturday show on the festival grounds has a full lineup on several band stages and at least one acoustic stage. There were some sound leakage problems of amplification overwhelming acoustic music in the past and they are making an effort to deal with this. One of the tastier offerings will be a trio of Homesick James, Yank Rachell and Henry Townsend, with a combined age of well over 250 years. Saturday's closing headliners are Etta James and The Radiators. ********************* Sunday's show will be more of the same musical variety. The grand finale on the main stage is Wilson Pickett, Sam Moore and Percy Sledge backed by the Memphis Horns. Each will do a medley of their individual hits and then perform ensemble. The festival promoters are on most congenial terms with James Carr and he 'may' bring a gospel choir up from Memphis. If he does do this, then he will join the others on stage and do some of his secular material. If Percy Sledge and James Carr duet on "Dark End Of The Street" or "Take Time To Know Her," the white man slumped over the front of their shoes will be . . . moi. ********************* I have not designated a specific time and location for Blues-L to meet. Friday night is out of the question because many people won't arrive until Saturday. Sunday night might be difficult for those planning to leave town early on Monday morning. Saturday night (after the festival) seems the most appropriate time and the festival is going to work with Joel "Our Man In St. Louis" Slotnikoff to find a pub or microbrewery. It would be terrific if Henry/Yank/Homesick were to attend this jam and, of course, we would charge ourselves an admission fee and give it all to them. I have made some initial inquiries about providing a 'back line' of a drum kit, bass amp, several guitar amps and possibly a keyboard. This would enable those musicians on the Blues-L to meet on their common music territory. ****************** Depending on how many attend, I thought maybe a Sunday morning brunch from 10:00AM to Noon might work for a social gathering. We'll see if we can get a hotel dining room to set aside an area. If only a few people are present, probably room service in a hotel room would be sufficient. ******************** Travel arrangements can be made either through your own agent or through the festival's official representative. She is Sharon Ratteree at Regency Travel at 1-800-784-7581. There are several major conventions in St. Louis over Labor Day Weekend as well at the Colorado Rockies playing the Cardinals so the city is going to be crowded with events other than the blues festival. We have blocked rooms at the Drury Inn, within walking distance of the festival grounds. The rate is $89.00 (single or double) and this includes breakfast and a complimentary drink. I will give you my opinion at this point, which is to say that although $89.00 may sound expensive, you can shuttle from the airport to the Drury Inn and not have any car rental for the weekend. You could always save ten or twenty dollars to stay somewhere on the outskirts of the city but we are coming to St. Louis for the purpose of spending time together so why not do exactly that - stay together? ******************** For those who will be flying, TWA hubs in St. Louis and would connect with virtually every major city. Southwest Airlines is a 'no frills' lower priced airline with an exceptionally fine record for on time performance and customer satisfaction. They are featuring a fare right now that says that if one person buys a full fare ticket, up to three additional people can come along at a flat $50.00 roundtrip on a nonstop flight or $100.00 on any connecting flight. So if you are a group of three or four who could travel together, this might be something to consider. ********************* It is difficult for the festival promoters, the travel agent and me to get any grasp on how big or small this is going to be. It would certainly be helpful over the coming months if those who are hopeful of being there would let me know. I am really in a total vacuum without any point of reference to base things upon. Dick Waterman ========================================================================= Date: Mon, 22 Apr 1996 13:54:05 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Re: JAMmin' with Blues records In-Reply-To: Message of Mon, 22 Apr 1996 14:30:03 -0400 from On Mon, 22 Apr 1996 14:30:03 -0400 John Moore said: >ive found that "Jam Trax" are a great tool to practice with.Theses are >available at most larger music stores>What they are are cassettes with 8 >songs on it,different keys,and styles,with the lead guitar and vocals left You can always put on Albert King's "Pretty Woman"....One channel has Albert's licks, vocals and drums (sounds like AK doing rap) and the other has just the rhythm section (- drums, maybe) LW ========================================================================= Date: Mon, 22 Apr 1996 12:02:23 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Re[2]: Wait a Minute...Classical Not Thriving?? >The issue that was brought up was the funding of Classical Music >performances, not the funding of plastic popes floating in urine. >Besides which, a Vancouver art Gallery would be, by definition, a >private business selling art, and not financed by the government. Wrong. I should have said Vancouver Public Art Gallery, which is heavily funded by government. I realize that this isn't what we're talking about per se, but the point I was trying to get across was, when it comes to public funding of the arts. where do we draw the line? What basis do we use to decide what to fund? Why the symphony? Why the opera? Why Public Art Galleries? If we fund this, do we fund that? And how do we decide? -Jim (hndful@uniserve.com) ========================================================================= Date: Mon, 22 Apr 1996 15:09:10 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Re[2]: Wait a Minute...Classical Not Thriving?? Comments: To: Jim Witteveen On 22 Apr 96 at 12:02, Jim Witteveen wrote: > Wrong. I should have said Vancouver Public Art Gallery, which is heavily > funded by government. I realize that this isn't what we're talking about per > se, but the point I was trying to get across was, when it comes to public > funding of the arts. where do we draw the line? What basis do we use to > decide what to fund? Why the symphony? Why the opera? Why Public Art > Galleries? If we fund this, do we fund that? And how do we decide? Certainly, all of those questions are answerable and are ultimately up to the taxpayer. But you surely don't drop funding altogether just because you have such questions. I'd say, as a rule of thumb, if a thirteen year old rejects it out of hand, then it's worthwhile and should be funded ;^) P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 22 Apr 1996 15:30:55 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Wait a Minute...Classical Not Thriving?? >>>Blue Joe said: (big edit) I just feel legislators and decisionmakers >often back the classics in particular, without reference to public >sentiment, at the expense of other music/art/stuff. Just like kings >and queens did before them. And to say "that's democracy" like the >earlier poster had said, I think is bunk. I mean really: do you >think that government support for the *classics* is a good example of >democracy at work? > Having said my say I was going to stay out of it, but I'm being misrepresented here. My point was that democracy is the ability to vote in a government, the ability to try to influence it by lobbying/letter writing/petitioning/whatever, and the ability to turn it out (or try to, at least) if you don't like what it does. Whether government support for the classics is a good or bad thing (it's good! it's good!), the fact that government can be held to account for it is a good thing. Note before you post that I am not saying that government *is* held to account for it - but if it isn't, that's not government's fault; it's the fault of those who want government to be of the philistine, for the philistine, by the philistine, but (thank God) don't succeed in drumming up support for their worthy cause! Bunk this argument may be, but it's not the bunk I'm accused of above! I'm sorry I started this thread. Can we get back to blues, please? Chris Smith (chris@skerries.demon.co.uk) 'It ain't what you eat, it's the way that you chew it.' (Sleepy LaBeef) ========================================================================= Date: Mon, 22 Apr 1996 05:35:12 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Memphis in May Beale St. Music Festival 1996 Since I couldn't find this info anywhere else on the net, I thought I'd post it here. If anybody wants to HTMLize it and put a link on their page , or forward it to other newsgroups , they're welcome to. ----------------------------------------------------------------------------- Memphis in May Beale St Music Festival Artists and Performance Times Friday May 3rd 1996 RIVER STAGE Jacko Pierce 6:30 - 7:10 PM Cracker 7:30 - 8:30 PM OTIS RUSH 8:55 - 10:00 PM Dave Matthews Band 10:30 - 12:45 PM TOM LEE STAGE Conershop 5:35 - 6:00 PM Howard Jones 6:30 - 7:20 PM Todd Snider 7:45 - 8:45 PM Joe Ely 9:10 - 10:15 PM Joan Baez 10:45 - 12:00 PM BLUES TENT Anson and The Rockets 6:30 - 7:20 PM R.L. Burnside 7:40 - 8:40 PM Coco Montoya 9:05 - 10:05 PM Luther Allison 10:30 - 11:45 PM MEMPHIS MUSIC TENT River Bluff Clan 6:20 - 7:05 PM Herman Green and the Green Machine 7:25 - 8:15 PM Keith Sykes 8:40 - 9:40 PM Big Ass Truck 10:05 - 11:20 PM Saturday May 4th 1996 RIVER STAGE Rev. Billy C. Wirtz 3:30 - 4:15 PM Ho-Hum 4:35 - 5:25 PM Bottle Rockets 5:50 - 6:40 PM John Mayall & the Bluesbreakers 7:05 -8:00 PM Edwin McCain 8:30 -9:30 PM Allman Brothers Band 10:00 PM - 1:00 AM TOM LEE STAGE Doyle Bramhall & the Memphis Horns 3:20 - 4:30 PM Tracy Nelson 5:00 - 6:10 PM Shirley Brown 6:40 - 7:50 PM Fishbone 8:20 - 9:30 PM George Clinton & P-Funk Allstars 10:10 - 12:10 PM BLUES TENT Dave Thompson Band 3:40 - 4:30 PM Carey Bell 5:50 - 6:50 PM Bob Margolin 7:15 - 8:15 PM Bobby Rush 8:40 - 9:40 PM C.C. Adcock 10:05 - 11:05 PM Robben Ford and Blue Line 11:30 - 12:30 PM MEMPHIS MUSIC TENT Cadillac Cowgirl 3:30 - 4:30 PM Reba Russell Band 4:40 - 5:40 PM Blue Mountain 6:05 - 7:05 PM Straight Up Buzz 7:30 - 8:30 PM Garrison Starr 8:55 - 9:55 PM Alex Chilton 10:20 - 11:30 PM Sunday May 5th 1996 RIVER STAGE Ben Harper 2:30 - 3:15 PM Kenny Wayne Shepard 3:40 - 4:40 PM Lisa Loeb and Nine Stories 5:10 - 6:10 PM Subdudes 6:40 - 7:50 PM Van Morrison 8:30 -10:00 PM TOM LEE STAGE Possum Dixon 2:30 - 3:15 PM Ian Moore 3:35 - 4:25 PM Shawn Colvin 4:50 - 5:50 PM Marcia Ball 6:15 - 7:15 PM Sam Moore 7:45 - 8:55 PM BLUES TENT Big Mike Griffin 2:30 - 3:30 PM Robert JR. Lockwood 3:50 - 4:50 PM Clarence "Gatemouth" Brown 5:10 - 6:10 PM The Duke Robillard Band 6:35 - 7:35 PM John Hammond 8:00 - 9:30 PM GOSPEL TENT Grace Devine 2:30 - 3:30 PM Jackson Southernaires 3:50 - 4:50 PM O'landa Draper and the Associates 5:15 - 6 :15 PM The Blind Boys of Alabama 6:40 - 7:40 PM Dorothy Norwood 8:05 - 9:15 PM If they change anything, I won't be posting corrections because I likely won't find out about it until I get there. "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Mon, 22 Apr 1996 19:01:35 EST Reply-To: Jim Miller From: Jim Miller Subject: Restrictions Comments: To: BLUES-L If we want government to stimulate the development and diffusion of diversity in music I believe that one area where a more libertarian solution could be applied would be in the removal of government restrictions. One of the problem with the anti-government rhetoric is that it is generaly confined to the big bad federal government. The major enemy of a more diverse musical world is LOCAL governments. Whether we like it or not a lot of music is performed and developed in the public arena of taverns and bars. If you look at the history of musics in this century you will find that innovative music scenes often develop and flourish in cities and towns where the government (often because of official corruption and not for more enlightened reasons) allows a more open environment concerning taverns and other libertine activities. Often , when so called "progressive" governments take over, regulations are enforced and the music scene is killed. Dry laws, regulations governing operating hour, regulations concerning the # of liqour liscenses, and regulations which lead to incredibly expensive liqour liscenses have made the establishment of bars which cater to a less popular music simlpy uneconomical. If many of these laws were made a little more reasonable you would see music flourishing like never before. A lot of folks could afford to start establishments which could cater to alternative type musics. Of course there are reasons of public safety for these regulations but I believe they are generally sledge hammer approaches operating on the level of about a 40 on the IQ scale. If you think the federal government is bad just look at some of the local morons that want to engineer your world! ========================================================================= Date: Mon, 22 Apr 1996 14:53:01 -0500 Reply-To: sprice@INAV.NET From: Steve Price Subject: Re: Re[2]: Wait a Minute...Classical Not Thriving?? Comments: To: Jim Witteveen In-Reply-To: <96Apr22.120234pdt.30999-4330+27@haven.uniserve.com> On Mon, 22 Apr 1996, Jim Witteveen wrote: [snip] > but the point I was trying to get across was, when it comes to public > funding of the arts. where do we draw the line? What basis do we use to > decide what to fund? Why the symphony? Why the opera? Why Public Art > Galleries? If we fund this, do we fund that? I hope so. Steve ========================================================================= Date: Mon, 22 Apr 1996 13:06:21 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Arts Funding >In another ironic twist, the charge against arts >funding on Capitol Hill has always been lead >by Jesse Helms. What keeps Jesse in office? Money >from the tobacco PACs, Phillip Morris, et al. >Who presently is one of the biggest private funders >of arts organizations? You guessed it, the >Phillip Morris Foundation. So, in a roundabout way, Jesse Helms is actually one of the arts' best patrons! I knew it! :-) -Jim (hndful@uniserve.com) lightening up a bit... ========================================================================= Date: Mon, 22 Apr 1996 16:13:11 -0400 Reply-To: Leo Aspiras From: Leo Aspiras Subject: Where is Gene Dinwiddie??? Hello all: i somehow made some long lost brain synapse connections this weekend and the thoughts of Gene Dinwiddie came to this ol' mind......for those who don't know/remember, he use to be the sax player with Paul Butterfield during his horn section period (i think they were billed as Paul Butterfield and Better Days).......anyway after the breakup of that unit, Gene went on to a group by the name of Full Moon.......besides himself, the group also featured Buzzy Feiten on lead/rhythm guitar.......this group (Full Moon) put out 2 albums.....the first which IMHO is a classic (every track is killer) was named Full Moon and was on the Douglas label (same label as The Last Poets).....the second album was not as good.......after the breakup of the group, Buzzy went onto do studio work with The Young Rascals (when they went through their pseudo jazz/rock period (starting with the album Peaceful World)....... my question to y'all is: does anybody out there have a copy of that first Full Moon Album or know if it has been reissued on CD???? (i know the second Full Moon album is out on CD).....i would pay or swap for a copy..... also, whatever happened to Gene Dinwiddie......i can still see/hear him leading the march song at the first Woodstock.......yes i was there...... thanx as always..... leo 'the scatman' aspiras from d.c. ========================================================================= Date: Mon, 22 Apr 1996 20:14:22 GMT Reply-To: Art Schuna From: Art Schuna Organization: UW-Madison Subject: Lil' Ed with David Weld & the Blues Imperials Comments: To: bit-listserv-blues-l@uunet.uu.net I saw these guys Saturday night - it was a great show. Dave and Lil' Ed do some great "duelling guitar" things in their performance. It was mentioned during the show that they have a new release coming out in June on the Earwig label. They played a few numbers from the new release - Combination Boogie (an old JB Hutto tune), Charley Brown Eyes, and a few others that I can't remember. They also did a great version of Anna Lee. If you get a chance go check them out, you won't be sorry. If the live performance is any clue, this new release will be a run, don't walk purchase. Look for it. Art Schuna ========================================================================= Date: Mon, 22 Apr 1996 15:07:38 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Politics When I mentioned funding for the Symphony I had no idea it would become a POLITICAL DEBATE. What's happening here....Did ya'll not hear some good blues this weekend or something....I think we are getting in dangerous territory with this political debate. I feel like I've subscribed to C-Span or sumpin LW ========================================================================= Date: Mon, 22 Apr 1996 06:17:12 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: Re[2]: Wait a Minute...Classical Not Thriving?? Comments: To: pwfenton@GATE.NET On 22 Apr 96 , honorable zeller P.W. Fenton wrote: > > > The main aim and responsibility of your "private sector" is to make > profits. They have no other interest (nor should they). That's WHY > we have a government. I would like my government, the people I > elect and give a portion of my income to, to be looking out for > ME... my health, safety, and education. If our government is > corrupt, or wasteful, then THAT is what we need to deal with NOT > eliminating funding for things we benefit from because our elected > officials can't do the job right. It is certainly true that with regard to services where the public at large either understates their utility of a certain program (free loader problem) and or it is impossible to provide it to one citizen and not the other, we need a government to step in to help. Does a symphony orchestra fit into this category? I don't think so. Too, whenever you get too far away from the end user, you suffer increasingly from the median voter problem. If more than two people vote from amongst several choices, the outcome guarentees that nobody will get what they want. Better to have LOCAL governments handle it or privatize it. That's the way I see it. But then again, I didn't learn it from our resident expert Lee Spector, who may call me on this. :-) RJ Bauman > > > 2. Who decides what 'cultural event' or activity is going to be > > funded or not funded? What criteria do you use? > > What "principle" are you talking about? > > P.W. Fenton > Tampa, Florida > http://www.gate.net/~pwfenton > > "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Mon, 22 Apr 1996 16:27:32 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Hoochie Coochie Man = protest Jeff Seale wrote >On Mon, 22 Apr 1996, P.W. Fenton wrote: > >> I also think that Jeff is confusing the song "I'm a man" with "Hoochie >> Coochie Man." Jeff check out the lyrics to "Hoochie Coochie", there's >> almost no way to stretch it to fit a protest. > >Yep, PW got it right. Sorry about that one. You start losing your mind >when you hit 30, or so I've been told ;-) > >-Jeff (back to your regularly scheduled flamefest) > Not to let a good thread die, let's note that 'Hoochie Coochie Man' was written by Willie Dixon (who did have strong views about race relations, so maybe there's an encoded protest in there, although I'd doubt Muddy ever sang it with that in mind). Chris Smith (chris@skerries.demon.co.uk) 'It ain't what you eat, it's the way that you chew it.' (Sleepy LaBeef) ========================================================================= Date: Mon, 22 Apr 1996 21:37:57 +0100 Reply-To: Bluesman From: Bluesman Subject: Re: A New Fellow Comments: To: JORGE =?iso-8859-1?Q?MU=D1OZ?= RODRIGUEZ In-Reply-To: <9604221105.AA04493@canaldinamic.es> On Mon, 22 Apr 1996, JORGE =?iso-8859-1?Q?MU=D1OZ?= RODRIGUEZ wrote: > Hello Folks > My name is Jorge Munoz, This my 1st message. > I present a Radio Program, saturdays and sundays at 0:00 hours, 120 minutes, > with blues and r&b on RADIO 3 from RADIO NACIONAL DE ESPANA, in FM station. > The last show, was listed here, -I hope- > Yes!! At last! Bienvenido Maki, ves como no era tan dificil?! ;-) Ladies and gentlemen, here you have THE spanish blues DJ. Let's welcome him...;-) Jose. Spain. ****************************************************************************** - Everyday I Have The Blues - ========================================================================= Date: Mon, 22 Apr 1996 16:59:40 -0400 Reply-To: Robert Rubino From: Robert Rubino Subject: Alligator's 25th Anniv. CD's Just wanted to give my two thumbs up... I picked it up the other day at Tower Records - it was only $13 and change for the double CD Enjoy. Rob. ========================================================================= Date: Mon, 22 Apr 1996 07:10:11 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: Memphis in May Beale St. Music Festival 1996 Sorry if you got a bunch of strangely formatted stuff on the lineup time postings. It didn't look like that when it left here! RJ Bauman "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Mon, 22 Apr 1996 16:22:44 -0500 Reply-To: Heather Loren Miller From: Heather Loren Miller Subject: Delta Studies Symposium 1996 Hi, everyone. Greetings and best wishes to those on BLUES-L who were in Jonesboro, Arkansas this past week for the Delta Studies Symposium on the blues. I had a terrific time listening to everyone's ideas on the blues, and I especially enjoyed the impromptu jams that started anytime we had a few minutes to spare. My favorite part of the Symposium was the presentations by Dick Waterman, Barry Lee Pearson, and Jeff Todd Titon. I learned more from everyone this weekend than I've learned in a long time. And I'm a graduate student. 'Bye for now, and take care. Heather Miller Louisiana State University Baton Rouge, LA 70803 hmiller@tiger.lsu.edu ========================================================================= Date: Mon, 22 Apr 1996 07:34:41 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Good blues (was politics) Comments: To: ISTS024@UABDPO.DPO.UAB.EDU We listened repeatedly to Duke Robillard's new one, "Duke's Blues" this weekend. Awesome CD. What an amazing player. He can absolutely NAIL Guitar Slim, among others. I can't wait to see him in Memphis!! RJ Bauman On 22 Apr 96 , honorable zeller L W wrote: > When I mentioned funding for the Symphony I had no idea it would become a > POLITICAL DEBATE. What's happening here....Did ya'll not hear some good blues > this weekend or something....I think we are getting in dangerous territory > with this political debate. I feel like I've subscribed to C-Span or sumpin > > LW > > "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Mon, 22 Apr 1996 16:55:58 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: On this day... > On this day in 1956, Elvis Presley made his Las Vegas debut at the > Frontier Hotel. Heartbreak Hotel was at the top of the pop music > charts. Management at the Frontier was so unimpressed, they sent > Elvis packing after one week of a two-week booking. And while in Vegas, Presley heard Freddy Bell and the Bellboys sing a parody of Hound Dog. That led him to record the song "like them boys did it" as a joke, but almost no one realized he was kidding. In case you think Presley dodn't know, check out his introduction to it (and the look on his face) on the Sullivan show. I saw that as a 10 year old Presley fan and rolled on thev floor laughing. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Mon, 22 Apr 1996 14:55:45 -0700 Reply-To: Guy Tapper From: Guy Tapper Subject: Re: Where is Gene Dinwiddie??? >Hello all: > >i somehow made some long lost brain synapse connections this weekend and the >thoughts of Gene Dinwiddie came to this ol' mind......for those who don't >know/remember, he use to be the sax player with Paul Butterfield during his >horn section period (i think they were billed as Paul Butterfield and Better >Days) [etc] This post reminded me of an album that I would like to see reissued on cd. It was the Paul Butterfield Band Live, a double record on Elektra. Gene Dinwiddie was part of the horn section. I don't know if that album was really any good or if it was just the times but I sure played it alot and enjoyed it. Anybody know if there are plans for a rerelease? Guy Tapper Marine Life Research Group Scripps Institution of Oceanography 9500 Gilman Dr. La Jolla CA 92093-0227 (619)534-2358 (619)534-6500 fax ========================================================================= Date: Mon, 22 Apr 1996 17:18:51 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Johnny Shines on Stony Plain Oded Maron asked about a listing of a new Stony Plain album called Blues and Beyond, due May 14. "Anyone have more info on this?" he asked. Yes, responded Richard the Elder, wearing his Stony Plain publicist's hat. The album is due, possibly in July, and will be a compilation of two albums SP head honcho Holger Petersen recorded back in 1973. One of those albums was called Country Blues, the other Too Wet to Plough. Don't know where the Blues and Beyond title came from; it's not one we're planning to use. Country Blues was last released on the Stony Plain label in the US by First American Records, while Blue Labor released Too Wet to Plough years ago. Both will be on CD (and one CD at that) for the first time. Holger is also adding some interview material on the record from chats he had with Shines many years ago, including stories about touring in Canada with Robert Johnson! As for the music, that'll speak for utself when it comes out! Richard the Elder ========================================================================= Date: Mon, 22 Apr 1996 17:16:52 -0500 Reply-To: Birmingham From: Birmingham Subject: Son Seals Does anyone know why Son Seals "...unceremoniously sacked three longtime band members (rhythm guitarist John Randolph, bassist Tom Susala, and drummer Kax Ratliff) in late March."? (Section 7, Chicago Tribune, Friday, April 29, 1996, p. 6) Has he been playing with a new rhythm section? I have not seen him since January so I am curious. Sean Birmingham ========================================================================= Date: Mon, 22 Apr 1996 17:15:08 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: Huey Meaux Texas Monthly has a Joe Nick Patoski cover feature this month on the whole sad, sick story of the "Crazy Cajun", Huey P. Meaux, who is in prison in Texas awaiting trial on drug, child abuse, and pornography charges. Meaux formerly produced numerous blues albums by artists such as T-Bone Walker, Johnny Copeland, Lightnin Hopkins, Lowell Fulson, and others. Don O. ========================================================================= Date: Mon, 22 Apr 1996 18:23:03 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Tying up some threads and artists .. As I mentioned in 2 posts - the new Doug MacLeod CD is a go get and the Luther Allison CD - Hand Me Down My Moonshine, is a lot more than a go get. It is a go get under threat of death. But it seems it is not so readily available. Solution: after list- ening for 2 days straight to the LA CD, there are some overlaps stylistically in the picking of Mr. Allison and Mr. MacLeod but the unusual part is that there's also some parallels on several cuts vocally. Back to the solution, get the DM now and then the LA. (as usual not involved with either - wish I was, but after getting eRIC's info on Doug's birthday yesterday I did FAX some flowers to him). How do you FAX flowers you ask - use one good wordprocessor with graphics and FAX capabilities :). Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 22 Apr 1996 15:12:59 -0700 Reply-To: Stan Ruffo From: Stan Ruffo Subject: Re: DOUG MACLEOD, A TRIBUTE 1) INTRODUCTION/DISCOGRAPHY I just want to say this is a great tribute to a great living bluesman! I will see Doug this week and share with him the kind favor of blues-l. Thanks, Eric BTW, I hope it's OK to mention...he is headlining the Blues On Tap Blues Cruise Oct. 11-14, 1996 (LA to Ensenada) In that respect, I guess I do have an interest in Doug MacLeod, but more importantly, I love his music! -- Stan Ruffo Blues On Tap - Sundays at 8pm on Visalia's KIOO 99.7FM 800 N. Ben Maddox Way, Suite 2200, Visalia, CA 93292, (209)625-6049 ---------- From: Eric LeBlanc-CISTI[SMTP:leblanc@DAO.NRC.CA] Sent: Monday, April 22, 1996 10:34 AM To: Multiple recipients of list BLUES-L Subject: DOUG MACLEOD, A TRIBUTE 1) INTRODUCTION/DISCOGRAPHY "First and foremost, he's a rarity among young white bluesmen in that he composes 100% of his repertoire". ~ Dan Forte, VOLT CD 3409 Singer-songwriter-guitarist DOUG MACLEOD was born on Sunday, April 21, 1946, New York City. He grew up in St. Louis, MO., and has made Los Angeles his base since 1980. A few of his songs have been recorded by others : Albert King ("Your Bread Ain't Done"), Albert Collins ("Cash Talkin" - The Workingman's Blues"), and Son Seals ("I Think You're Fooling Me", "I Can Count On My Blues"). His main influences are : Kenny Burrell, Cornell Dupree, Albert King, B. B. King, and Son House. CD DISCOGRAPHY: (* contains Doug MacLeod songs) REL. DATE ============================================================================= *ALLIGATOR CD 4738 : SON SEALS - BAD AXE 1984 *ALLIGATOR CD 4752 : ALBERT COLLINS - COLD SNAP 1986 AUDIOQUEST CD 1027 : DOUG MACLEOD - COME TO FIND 1994 AUDIOQUEST CD 1041 : DOUG MACLEOD - YOU CAN'T TAKE MY BLUES 1996 *FANTASY/STAX CD 8560 : ALBERT KING - I'M IN A PHONE BOOTH, BABY 1984 FANTASY/VOLT CD 3409 : DOUG MACLEOD - AIN'T THE BLUES EVIL 1991 HIGHTONE CD 8002 : DOUG MACLEOD - NO ROAD BACK NOW 1994 LINE/STOMP CD 9.00444 : DOUG MACLEOD - WOMAN IN THE STREET 1987 LINE/STOMP CD 9.00817 : DOUG MACLEOD - 54TH & VERMONT 1989 ============================================================================= I'd like to thank NY CD BLUES for their review (by Toby Levy) of AUDIOQUEST CD 1027, and Leonard Watkins for his Doug MacLeod interview. The posting is divided into 3 parts : 1) Introduction/Discography 2) Interview 3) Audioquest Review ========================================================================= Date: Mon, 22 Apr 1996 16:55:18 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Lil' Ed with David Weld & the Blues Imperials Art Schuna wrote: >I saw these guys Saturday night - it was a great show. >Dave and Lil' Ed do some great "duelling guitar" things >in their performance. It was mentioned during the show >that they have a new release coming out in June on the >Earwig label. They played a few numbers from the new >release - Combination Boogie (an old JB Hutto tune), >Charley Brown Eyes, and a few others that I can't remember. >They also did a great version of Anna Lee. If you get a >chance go check them out, you won't be sorry. If the >live performance is any clue, this new release will be a >run, don't walk purchase. Look for it. I thought that Lil' Ed had retired from live shows or something like that. Was this a one-off event? If not, is there going to be a tour? Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Tue, 23 Apr 1996 00:38:29 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Lil' Ed with David Weld & the Blues Imperials Comments: To: bit-listserv-blues-l@uunet.uu.net In article <4lgpau$flu@news.doit.wisc.edu> Art Schuna writes: >Subject: Lil' Ed with David Weld & the Blues Imperials Alright, I admit it. I screwed up here - the group is now called Dave Weld and the Imperial Flames (blues Imperials was Lil' Ed's old group). Art Schuna ========================================================================= Date: Tue, 23 Apr 1996 01:01:25 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Sun Records - The Blues Years 1950-58 Comments: To: bit-listserv-blues-l@uunet.uu.net Yes, that's right. The Sun Blues Box, Sun Records The Blues Years 1950-1958 (CDSUNBOX7)issued on LP about 10 years ago is now available on CD. This 8 CD box pretty much covers just about every blues artist Sun ever recorded. This box has 202 tracks - that's 51 more than the LP box. It takes advantage of information that has been uncovered since the previous box was issued. 31 sides have never been issue, 40 alternate takes/rarities have been added. Also included are 4 Ike Turner sides that were licensed by Sun in 1958. The Gospel and vocal group recordings on the LP set were dropped to make room for the extra material. Sun artists who are readily available elsewhere are on this set but have less than full representation (Howlin' Wolf, Little Milton, Rosco Gordon). New to this set are Woodrow Adams, Kenneth Banks, Shy Guy Douglas and Elven Parr's In The Groove Boys. Also included is a slick 60 page booklet with lots of pictures that updates the liner notes on the previous LP release. The music is sequenced chronologically, starting with the pre-Sun Memphis Recording Services sides. A complete sessionography is provided in the booklet. If you are a fan of 50s blues, then this set is a must. It will cost you about $100, but it might just be worth a week or so of macaroni & cheese to come up with the cash. If you already own the LP set, then about 1/3 of this set would be new to you. Supposedly, the sound has been "improved" with CEDAR noise reduction. I've not had a chance to compare the two, so I can't say if this makes much difference or not. Produced by the dreaded and controversial Charly Records, but unlike the Chess recordings, I think they legitimately own the rights to these recordings. My only gripe so far with this set (and it's a very minor one) is that for reasons that aren't clear to me they made the box about 1 inch taller than the standard 12" LP sleeve/box. It doesn't quite fit on my LP shelf. But then, I'll probably keep the individually jewel boxed discs on my CD shelf. Art Schuna ========================================================================= Date: Mon, 22 Apr 1996 19:49:28 -0600 Reply-To: cwolfson@ecentral.com From: Cary Wolfson Organization: BLUES ACCESS Subject: Re: John Coltrane (was: something else...) Comments: To: bit-listserv-blues-l@uunet.uu.net If you can afford it (6 CDS plus another disc of outtakes) *Heavyweight = Champion: The Complete Atlantic Sides* (Rhino) is what you want. I wrote = this about it as part of a longer rumination in BLUES ACCESS #23: "I=B9m sitting here listening to Rhino=B9s brand new box set The Heavyweigh= t = Champion: John Coltrane, The Complete Atlantic Recordings. It=B9s a = brilliant collection, seven CDs, impeccably packaged, full of rich blue = tonalities. Still to come were the interstellar spiritual explorations = of his final years; these are the works of a man balanced between his = earthy roots and his celestial longings." Cary Wolfson (cwolfson@ecentral.com) Publisher BLUES ACCESS, The Distinctive Blues Magazine 303/443-7245 http://www.he.net/~blues ========================================================================= Date: Mon, 22 Apr 1996 22:04:22 -0400 Reply-To: PITSBRGJon@AOL.COM From: "John Puleo. User" Subject: Re: guitar refin --PART.BOUNDARY.0.2741.emout18.mail.aol.com.830225060 Content-ID: <0_2741_830225060@emout18.mail.aol.com.22459> Content-type: text/plain I got this off the internet. There are alot of helpful things about making your own guitar. Download this file you will find it very interesting. John --PART.BOUNDARY.0.2741.emout18.mail.aol.com.830225060 Content-ID: <0_2741_830225060@emout18.mail.aol.com.22460> Content-type: text/plain; name="GTRBUILD.TXT" Content-Transfer-Encoding: quoted-printable ------------------------------------------ GUITAR BUILDERS FAQ Part I, Electric Guitars = Version 1.7 25 March 1996 = Copyright (c) 1995-1996 Bill Wyza All Rights Reserved ------------------------------------------ =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D =3D DISCLAIMER =3D =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The information contained in this FAQ (Frequently Asked Questions) = file comes from many different sources, and as often as possible, = specific individuals are credited with their contributions. This = FAQ is provided as-is, with no expressed or implied warranty as to = its contents. While every effort has been made to ensure that the = information contained herein is accurate, all authors/contributors = assume no responsibility for errors, omissions, or damages that = result from the use of the information contained herein. This FAQ may be reposted or redistributed as long as the following = conditions are met: 1. The contents of the FAQ are not altered in any way. 2. No money may be charged for the FAQ at anytime. 3. The copyright notice is included at the beginning = and end of the file. This FAQ, in whole or in part, cannot be used for any commercial = purposes without the expressed written consent of the author. This FAQ is best viewed with courier text. //////////////////////////////////////////////////////////// "????" before an item means the item is an unanswered question. ">>>>" before an item is a new answered question since the = last release. =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D = =3D TABLE OF CONTENTS =3D = =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D PART 1 - BEFORE YOU BEGIN I. General Information A. Purpose B. Where can I find this FAQ? C. Contributors D. Updates E. Version Description II. So You Want To Build A Guitar... A. Why build a guitar? B. Will building a guitar be cheaper than = buying one? C. How much will it cost? D. How long will it take? E. What will I need to get started? III. Wood. A. What types of wood are commonly used? B What's all this "quarter" talk? C. Does the type of wood effect the sound? D. What are their properties? E. How much does wood cost? F. Where can I get the wood? G. How do I choose a wood? IV. Tools And Materials A. What tools do I need? B. How much will they cost? C. Where can I buy them? PART 2 - BUILDING A GUITAR V. Initial Considerations A. What parameters do I need to consider = before I start? = B. Can I say I built it from scratch? VI. The Body A. What size should I make the body? B. What shape should I make the body? C. Should I laminate the body? How? = VII. The Neck A. What is scale length and what does it mean? B. How do I determine fret spacing? C. What kind of frets should I use? D. What type of nut should I use? E. What type of tuners should I use? F. What types of neck joints are there? G. How do I put on a decal? H. Do I need a neck angle? >>>>>>>>>>>I. Can I buy pre-slotted fingerboards? >>>>>>>>>>>J. Can I buy pre-assembled necks? = VIII. The Electronics A. What are the capacitors doing? B. How do I shield cavities to prevent that = humming sound? C. How do I remove that annoying scraping sound = in the potentiometers? >>>>>>>>>>>D. How does a pickup work? >>>>>>>>>>>E. How does a humbucker work? >>>>>>>>>>>F. What is the difference between series and = parallel wiring? >>>>>>>>>>>G. What is a four wire pickup? = IX. Pre-Assembly A. What should I do now? B. = X. The Finish A. How do I stain a guitar? B. What kind of paint should I use for colors? C. What is a sample finishing schedule? ???????????D. How long should the guitar cure before it has hardened enough to assemble? PART 3 - THE FINAL STEPS XI. Assembly A. = B. XII. Setup A. How do I adjust intonation? B. How should I vertically adjust my bridge = saddles? XIII. Maintenance A. How often should I replace my strings? B. When should I reset my intonation? C. What is the best way to polish the frets? D. How do I pull a fret? E. What is a fret job? = Part 4 - TIPS AND TRICKS = This section is for tips and tricks from readers = who have encountered some aspect of guitar = building they wish to share. A. Pre-drill humbucker corners before routing B. Routing C. Bridge Location (for a fixed bridge) = D. Bridge Pickup Location E. Centerline F. Sandpaper G. Strengthen a floating tremelo mounting H. More tips on routing. Part 5 - PITFALLS AND PROBLEMS This section is for pitfalls and problems from = readers who have encountered some pitfalls of = guitar building they wish to share. A. Bandsaw too small. B. Drill press too small. C. Trouble with painting area. D. Paint buildup Appendix A. Wood Suppliers Appendix B. Parts Suppliers Appendix C. Tools And Materials Appendix D. Fret Spacing Tables Appendix E. Books On Guitar Building Appendix F. Videos On Guitar Building Appendix G. Organizations Appendix H. Schools Appendix I. Sample Cost Of A Guitar = =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D =3D PART I - BEFORE YOU BEGIN =3D =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D I. General Information A. Purpose The purpose of this FAQ is to discuss some of the inner workings = of building electric guitars. While the subject of guitar building = and luthier in general can (and has) filled volumes, the goal of = this FAQ is to touch on some of the major topics in a level of detail = that can get the beginner started as well as inform the more experienced = builder. It is NOT the goal of this FAQ to be a text book on building = guitars. See Appendix E for such books. B. Where can I find this FAQ This FAQ is posted periodically to the following newsgroup: rec.music.makers.builders To save bandwidth, only a FAQ notification message is posted = at the following newsgroups: alt.guitars rec.music.guitars rec.music.makers.guitars The latest version of the FAQ can be requested from the = author. The author can be reached at: bill@tpd-pss.hac.com (Checked daily, Monday thru Friday) - or - = wyza@aol.com (Checked weekly, Saturday & Sunday) =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D =3D Also available on the World Wide Web. =3D =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D =3D =3D =3D http://members.aol.com/Wyza/gtrbuild.htm =3D =3D =3D =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D C. Contributors The following individuals contributed to this FAQ: NAME SECTION =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D sasaki@netopd.harvard.edu Tips and Tricks (H) Corrections to III.D Assorted comments hawley@adobe.com (Steve Hawley) Tips and Tricks (G) miker@primenet.com (Mike Rejsa) Tips and Tricks (B thru F) = Comments (of a constructive nature) and contributions are always = welcome. = The author reserves the right to edit any contributions for grammar, = spelling, readability, etc, but credit will be given as appropriate. D. Updates This FAQ is updated periodically as the author sees fit. Updates = to the text in this FAQ are described in the Version Description = section that follows. E. Version Description = The following is a description of the version history of this = document. Not all updates/corrections are necessarily listed = below. Small editing and rewriting changes (at the author's = descretion) will *not* be mentioned in the table below. Version Date Description/Changes ------- -------- ------------------- 1.7 03/25/96 Added VIII.D,E,F,G Added VII.I,J 1.6 10/19/95 Added Tips and Tricks Corrections to III.D Added wood descriptions Added Pitfalls & Problems D. Added VI.C = Added IX.A Added VII.H 1.5 09/29/95 Added more Tips and Tricks Added XIII.C and D Added VII.G 1.4 07/10/95 Added more Tips and Tricks Added Section: XIII. Maintenance (A,B) 1.3 06/12/95 Added section: = Part 5 - Pitfalls and Problems. questions A,B,C = Added question: Part 4.A 1.2 05/25/95 Expanded answer to question = VIII.C. Expanded Appendix E and F. = 1.1 04/27/95 Added a new school, = American School of Lutherie Added misc. data to the Appendices Added a new nut material, TUSQ Expanded answer to questions = III.A, III.D, and III.G Added new parts and wood = suppliers: = Wood 'N' Guitars = Pacific Rim Tonewoods Sundance Tonewoods Added new book, = _Making_an_Archtop_Guitar_ = Added question XII.B 1.0 03/25/95 This is the original issue. = = // End of Section I //////////////////////////////////////////////////////////// II. So You Want To Build A Guitar... A. Why build a guitar? Why do you want to build a guitar? Some people build guitars because the enjoy woodworking, others because they = love the instrument, and still others because the = commercially available guitars do not meet their needs. = Some people actually think that it would be cheaper than = buying one (see below for more on that subject). These are = just some of the answers, and odds are that you fit into one = of those categories. = If you want to build a guitar for the love of the instrument = and the challenge of the task, you will most certainly be = satisfied with the adventure. At times you will love it = (when you start to see the body take shape), and at times = you will hate it (when you carelessly lift the router from = the pickup cavity and gouge the body surface). But, be = assured, there will never be a dull moment. B. Will building a guitar be cheaper than buying one? Simply stated: No, but let me explain further... Building your own guitar *could* be cheaper than buying one, = if one or more of the following conditions are met: o You are related to the president of Fender guitars and you = are allowed the use of their manufacturing facility. o You own a music store and have access to wholesale parts = and supplies. o You own a woodworking shop and have every imaginable tool = for cutting, shaping, and sanding wood. You get the idea. But, if you are like the rest of us, = and don't have all the files, saws, and sanders, etc., = there is a substantial investment to be made on tools and = supplies. C. How much will it cost? Many factors affect the cost of building a guitar. = Primarily, there is the cost of tools, parts, and supplies. = See the Appendices for samples of the costs. = When possible, beg and borrow whatever tools you can to keep = your initial costs to a minimum. Don't run out and buy the = newest "WhizBang" bandsaw unless you really can afford it. = I have found that there is a kind of Catch-22 when you are = starting out. If you use the simplest tools, you will spend = more time and effort finishing your instrument, but you will = save some money. For example, you can spend 8 hours hand = sanding the body with sandpaper and a wood block (building = some pretty strong arms in the process), or you could = purchase a small hand-held detail sander and finish it in 2 hours. You have to decide what is best for you. On the good side, if you do decide to invest in some tools, = at least they are a one-time investment and should recoup = their value over time. D. How long will it take? This will vary for everyone, and depends on many factors, = such as: o Woodworking experience Experienced woodworkers probably have the tools and = knowledge to avoid many of the pitfalls that novices = encounter along the way. o Tools available = High speed tools, and specialized tools simplify and speed = up many of the mundane and time consuming processes, such = as sanding. o Desired results If your desired results are a simple instrument for your = own entertainment, or a professional instrument for = resale, you will spend your time and effort accordingly. o Time available You can only work on your guitar when you have the free = time. What may normally take a few weeks could easily = stretch into months depending on the availability of free = time at your disposal. E. What will I need to get started? An almost fanatical "If I build it, it will play" attitude = to get you through the tough times. = You will also need a minimum set of tools (See Appendix C), = some wood, some paint, a lot of guitar parts, a clean = (temporarily) and dry workspace, a work table, and a lot of = time. // End of Section II //////////////////////////////////////////////////////////// III. Wood. A. What types of wood are commonly used? "Hardwoods" are the most commonly used woods for guitar = building. Below is a list of some of the types of hardwoods = used to build guitars: COMMON EXOTIC/IMPORTED =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D =3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Alder Bois De Rose (from Madagascar) Ash Bubinga (from Africa) Basswood Cocobolo** (from Mexico) Cherry Koa (from Hawaii) Ebony Pau Ferro (from Bolivia) Mahogany Satinwood (from Sri Lanka) Maple Zebrawood (from Africa) Oak Poplar Rosewood* Walnut * There have reported cases of allergic reactions to rosewood, so keep that in mind. ** Cocobolo can be also be toxic. (Can anyone confirm these warnings?) B. What's all this "quarter" talk? Commercial lumber is measured in terms of a "quarter" of an = inch. Therefore, a plank of any particular length and = width, with a thickness of 1 inch, would be referred to as = "Four-quarter" wood. Five-quarter is 1 1/4" thick, etc. But there is a catch. The thickness of the wood is measured in it's rough, undried state. An 8-quarters board was 2 inches thick when it came out of the sawmill. Usually, when you buy wood at your local lumberyard, it has been dried and the two surfaces have been planned smooth. So, that piece of 8 quarters ash will be closer to 1-3/4 inch thick than two inches. Which works out well since most guitars are about 1-3/4 inch thick anyway! C. Does the type of wood affect the sound? Yes and no, but mostly no. Although the acoustical = properties of maple are different than that of mahogany, the = contribution of the maple (which is much harder and denser) = to the overall sound is very small (to the average person). You will find that a heavier, denser wood may improve = sustain, which is a desirable quality, but there is a = long standing debate on whether this is entirely true or = not. I do not wish to enter into a debate on the subject, = decide for yourself when you have compared the woods on = similar instruments. = D. What are their properties? Here is a brief description of some of the more popular = hardwoods. Alder - Alder is a lightweight, closed grain wood. Its natural color is light tan and has little or no distinct grain lines. It is easy to finish. = Alder is suitable for opaque finishes and sunbursts. Ash - Ash is lightweight and has a good texture. It is = particularly good for clear/transparent finishes. = Ash is often used for expensive guitars. It is = often mistaken for oak. Ash has smaller pores and a less pronounced grain than oak. Basswood - Fine straight grain material with an even texture. Creamy-white in color and fairly soft. It is not = recommended for clear finishes. Basswood has a nice = warm tone. Cherry - Hard straight-grain with firm texture. Reddish-brown = to deep red, with brown flecks, and will naturally darken with age. Works well with hand and machine tools and finishes well. Ebony - Ebony, one the heaviest of the hardwoods, is very = dense, machines well, and resists warping and = cracking. Ebony is a popular wood for fingerboards = due to its stability and strength. It holds frets = extremely well and has a striking appearance. Ebony = is also an expensive choice. Mahogany - Mahogany is a porous, but strong wood which is = easy to machine and finish. It has a spiraling and = interlocking grain pattern which makes it a very = stable wood. Honduras mahogany is the favorite = choice of instrument builders, but is very hard = to find. African and Spanish mahoganies are often = used as a replacement for Honduras mahogany. Maple - Maple usually comes from 2 sub-families: red maple = and sugar maple. The common designation of "curly" = and "birds-eye" are natural phenomena of the wood = and not a species of their own. Maple is a strong, = very heavy wood which is light (blond) in color. Maple = finishes well and can be steamed and bent. Maple is = used in both bodies and necks. If used in necks, it = is advisable to laminate the neck from two or three = pieces for increased stability. Maple also has very = tight pores, a feature which simplifies finishing. Oak - Oak is heavier than maple and has larger pores. Oak = has a desirable grain pattern that makes it a good = choice for visual impact. Poplar - Poplar is similar to Maple in visible grain structure. = It is often blond in color, but can also have a green tint to it. It is light weight and very soft. It is often used as an alternative to pine, since clear = poplar is cheaper than clear pine. = Rosewood - Rosewood, like ebony, is a popular choice for = finger boards. Rosewood, however, is more oily than = ebony, making finishing more difficult. Brazilian = rosewood is the most sought after type of rosewood = and therefore the most expensive. Indian rosewood = is often used a replacement for Brazilian rosewood. = Walnut - Walnut is a beautiful, rich, brown wood. Walnut = is similar to mahogany, but with larger pores and = less stability. It is also much more expensive. = Walnut has a very appealing grain pattern. E. How much does wood cost? Wood prices vary for each type of wood depending primarily = on the availability and quality of the piece. The "common" = woods listed above are available in most specialty lumber = yards for a reasonable price. Take the time to shop around = and call each source for a quote. The higher the quality of = the wood the higher the price. Also, the more rare a wood = is, the more expensive it will be. Price some koa from = Hawaii and you'll begin to understand. Some sample prices = for woods are given in Appendix G, Sample Cost of A Guitar. = F. Where can I get the wood? The woods listed above are available in most specialty = lumber yards. Look in your local yellow pages under Lumber, = or Hardwoods. Also, contact the wood suppliers listed in = Appendix A. Most hardware superstores, Home Depot, etc., = will not have the type of woods in the sizes and qualities = necessary for guitar building. G. How do I choose a wood? This depends on many factors, including: availability of = wood, budget, desired look and feel, desired weight of = instrument, etc. Some of the things to look for in choosing = a wood are: close-grained, no knots, and no checks or = cracks. Rap the wood lightly on the floor and listen for = "clunking" sounds. If you hear this, the wood may be = cracked internally. Also, look at the visual appeal of the = grain. This is especially important if you will use a see- through stain finish that will accent the grain pattern. When choosing a wood from a local supplier, you will very = likely be unable to find a single piece with sufficient = width for the body (usually about 13" or so wide). What = this means is that you will have to select a plank that is = some other width, say 7 inches wide. You will then have to = cut the plank to the desired length and laminate (glue) the = pieces together to get the needed width. This complicates = matters since the glue joint needs to be as "square" as = possible. Clamping the pieces together takes some practice. = If you can find a plank that is wide enough and has no = flaws, grab it, you'll thank yourself later. // End of Section III //////////////////////////////////////////////////////////// IV. Tools And Materials A. What tools do I need? There are a great number of tools that can be used in = guitar building. You won't need them all to start out. = Unfortunately, having the proper tools to do a job = invariably makes that job easier, quicker, and more = successful, but you will have to decide what meets = your building needs. Refer to Appendix C for a list and = description of many of the tools used in guitar building. B. How much will they cost? Purchasing all the tools necessary for guitar building can = be a very expensive venture. Just the common tools alone = can add up if you are starting from scratch. In many cases, = used tools work just as well as new ones, and at a fraction = of the cost. Specialized tools such as fret files, etc., = are more expensive and would be difficult to find used. = Check the suppliers in Appendix B for prices and = availability of the tools. C. Where can I buy them? The common tools can be found at almost any hardware store = or department store. Your cost will vary, so shop around. = The specialized tools are more difficult to find and you = will most likely have to resort to a specialty store or = mail-order house. Check the listings in Appendix B for = sources of tools. // End of Section IV ///////////////////////////////////////////////////////// =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D =3D PART 2 - BUILDING A GUITAR =3D =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D V. Initial Considerations A. What parameters do I need to consider before I start? You have to consider may factors when deciding to build a = custom guitar. For example, do you want to design and cut = your own body and neck, or purchase ready made parts from = another supplier, and install your own selection of = hardware? This is one viable option, and will drastically = reduce the amount of tools you need. If you decide to do = everything from scratch, your initial list of factors will = be much greater. Listed below are some of the things you = need to decide before you get started on your dream guitar: o Wood selection for body, neck, and fingerboard o Scale length (24 3/4 in. or 25 1/2 in., or some other = length) o Frets (number of frets and size of fret wire) o Neck width at body and nut o Neck radius (simple or compound) o Fingerboard radius (simple, compound, or offset) o Body shape, thickness, and contouring o Neck-to-body joint (bolt-on, set-in, neck-through) o Neck angle and bridge height o Head angle and shape o Pickups and controls (numbers and style) o Bridge style (fixed, fixed-tremolo, floating-tremolo) o Nut style (width, string spacing, material, locking nut) o Truss rod (type and adjustment position) o Binding = o Inlays (size, shape, and material) o Tuning machines (type: 3-3, 4-2, or 6 in-line, color, = manufacturer, locking) o Electronics mounting style (rear, front pickguard, = shielding) o Hardware (knobs, cover plates, potentiometers, switches, = wires, pickups, etc.) o Finish (stain, see-through or opaque, colors) All of these factors effect the construction of the guitar. = You should have thought out all these items before you begin = your project, and understand the implications of each style. = Proper planning will save you time and effort and probably = prevent errors that could ruin the project. B. Can I say I built it from scratch? The following is an editorial response, your opinions may = vary: I've heard many arguments on this subject & I think they are = a waste of time. Many people will say that if you purchase = preformed parts like necks and bodies, that you are only = "putting it together", not building it from scratch. Ok, = maybe in a perfect world that is true. But that essentially = is what all manufacturers are doing. Are you going to say = that they are not guitar builders? They use prebuilt parts = from other companies, too. Pickups, tremolos, tuning = machines, etc., are built by other companies and then used = by the guitar manufacturers. = Some very respectable builders like Taylor and Gibson use = computerized CNC machines that cut their necks and bodies to = tolerances of a thousandth of an inch. That can hardly be = called handmade, but I really don't see a difference between = that and the guy who buys a neck from Warmoth (which Carvin = does, by the way). = If you really want say you built it completely from scratch, = then you better grow the trees, mine the ore for the parts, = forge the tools, cut the wood, carve the shape, wind the = pickups, mold the plastic, machine the hardware, and = chemically mix the paints (you get the picture). = Building a guitar using other parts is a respectable hobby = and business. Just do what you see fit for your own needs. = If you prefer to design the body shape and cut it, great. = If you'd rather buy a body and concentrate on wiring, that's = great too. Just enjoy the project and respect others that = also build guitars. And, yes, say you built it from = scratch. = My apologies for the rather sarcastic tone... // End of Section V //////////////////////////////////////////////////////////// VI. The Body A. What size should I make the body? The size of the body should be large enough to hold all the = hardware and electronics and also small enough so as to not = be too heavy. The thickness of the body has to be enough to = accommodate the hardware and electronics, also. A thickness = of 1 3/4" is common for many guitars, but you can go smaller = or larger if you so desire. The length of the body blank = can be up to 20" and the width about 13-14". This will = allow you sufficient material to cut just about any body = shape. Use larger or smaller sizes if your needs dictate. Another factor is the weight of the wood. A very heavy = maple may become a burden during those long three hour sets. = B. What shape should I make the body? The shape of the body should be able to support all the = electronics and hardware components. It should also be = visually appealing. Many variations of body styles have = been tried throughout the years, with the standard being a = Fender style or Gibson style. Other body shapes = take variations on those two. The more "unusual" body = styles, although interesting at times, generally do not = appeal to the wider audiences. However, since this is your = guitar, you can use any style that meets the minimum needs = and appeals to you. = If you are really ambitious, and/or a woodworking pro, try = carving designs directly into the body. This would make = your instrument truly unique. C. Should I laminate the body? How? If you can find a piece of wood with the right dimensions, use it. Often, you can order a "body blank" from the = suppliers listed in the appendix, for about $50 and up depending on size, wood type, and quality. If this is not = possible, you can laminate two pieces together to achieve = the right width. When you purchase wood for the body, look for a board with the least amount of flaws (cracks, knots, etc). The board is 8 quarter (sanded down to 1 3/4" thickness), and is about 7 inches wide. Have the shop cut the board into about 18 inch lengths (or whatever length you need for your = blank). You should then square all sides of the boards, either by = hand (ugh!) or with a planer. You want a square edge for gluing. It is also a good idea to use dowels or some other kind of joint to secure the pieces together. This will add strength = and keep the wood from shifting during gluing. Next, liberally fill the dowel holes (joints) and the surface of the wood with glue (Titebond is a good choice). Align the edges and use as many clamps as you have to squeeze the wood together. Some glue will run out of the joint. Just wipe it = off the wood. Let the pieces sit clamped for about 24-48 hours. You can now = remove the clamps and continue. // End of Section VI //////////////////////////////////////////////////////////// = VII. The Neck = A. What is scale length and what does it mean? Scale length is defined as the "length of the string". This = is measured as the distance between two points: one at the = bridge and one at the nut. The points where the strings = contact the nut and the bridge define the scale length of = the guitar. = A longer scale will, to a point, give more sustain. The = reason for this is that the tighter a string is stretched, = the longer it will sustain, and for a string of any given = thickness, the string at the longer scale will have to be = tensioned higher than the string at the shorter scale to = reach the same pitch. However, a longer scale will = make the fret distances longer and make it more difficult to = reach the frets. Most guitar scale lengths are between 24 and 26 inches, with = the most common being 24 3/4 in. (Les Paul style) and 25 1/2 = in. (Fender style). B. How do I determine fret spacing? Fret spacing is determined by the "18 rule" (actually, it is = more like 17.817). The fret spacing is in calculated as = follows: The distance to the first fret from the nut is calculated by = dividing the total scale length by 17.817. For a 25 1/2 in. = scale... 25.5 / 17.817 =3D 1.431273 (or 1.431) That result is then subtracted from the total scale length... = 25.5 - 1.431 =3D 24.069 That result is divided by 17.817 to get the distance from the = first fret to the second... 24.069 / 17.817 =3D 1.351 and so on. Refer to Appendix D for pre-calculated fret distances for some = common scale lengths. C. What kind of frets should I use? Fret wire is available in three shapes: rounded, squared, = and triangular. The most popular shape is rounded, or = "bead". Fret wire is also measured in three ways: 1) The = height of the wire, 2) the width of the bead, and 3) the = height of the bead. Therefore, you can choose from fret = wire that is "wide and medium", or "wide and low", or = "narrow and tall" and so on. I think you get the picture. = Let's compare fret wire by height... ** TALL ** Tall fretwire, although not commonly used, has some advantages: o Easier for string bends since finger tip has less contact = with fingerboard o More sustain due to greater mass and because string is not = damped by fingerboard contact o Faster hammer-on and pull-off techniques, similar to = scalloped fingerboards, but not as radical o Long life and able withstand more fret dressings between = refrets =2E..and some disadvantages: o Poor intonation could result from pressing too hard o Neck may feel "thicker" or rough when sliding your hand = along the fretboard ** MEDIUM ** Medium fretwire is the standard size, regardless of the = width of the bead. The familiar "Jumbo" fret refers to the = width of the bead not the heighth. Some of the advantages = of medium fret wire are: o More accurate intonation (with an accurate "touch") o Barre chords and slides are relatively easy o Tone is "softer" =2E..and some disadvantages: o Careful fret work is required to ensure the = height is not lost during dressing o Wears out sooner o Less dressing between refrets ** LOW ** Low fret wire is not commonly found on commercial = instruments and is not recommended. = ** WIDTH ** The fret width, regardless of heighth, effects the = playability and tone. Wide frets (Jumbo) offer more sustain = than narrow frets, but must be dressed more accurately to = achieve proper intonation. Narrow frets have a unique = sustain quality due to the smaller string/fret contact = point, and offer more accurate intonation. = The triangular fretwire has not achieved widespread = acceptance and is not recommended unless you wish to = experiment. It does offer the most accurate intonation, = however. You will have to decide on the size and shape of the frets = you use after some experimentation. The safest bet is a = medium/Jumbo fret, but your mileage may vary. D. What type of nut should I use? The first decision in choosing a nut is decide if you will = use what I refer to as a "natural" nut. A natural nut is = one that is not mechanical, such as a locking nut or a = "roller" nut, for example. A natural nut can be made of any = material, such as: o Bone Currently the material of choice in high quality = instruments. It is very hard and offers superior tone, = polishes well, and allows precise slot filing. = o Corion A new material with comparable hardness and appearance of = bone. Offers excellent tone and also polishes well. This is the same material found in kitchen and bathroom counter tops. o Micarta Micarta is a synthetic ivory/bone substitute. Ivory in = color and softer than bone, it files and sands very easily. o Graphite A self-lubricating material excellent for non-locking = tremolo systems. o Mother-Of-Pearl Very dense and known for tonal brilliance and beauty. o TUSQ TUSQ is a man made ivory substitute aimed at acoustic and = vintage guitars. I see no reason it can't be used on = electrics. TUSQ has improved sustain and clarity. = Any one of the above materials would work well for a natural = nut. Your choice of material and nut style will depend, to = a degree, on the bridge and tuners you select. It is = possible to use locking tuners and a natural nut in place of = a locking nut. The choice is yours. E. What type of tuners should I use? Essentially, the choice of tuners depend on several factors: = budget, appearance, bridge/tremolo choice, and headstock = construction. There are many excellent tuner manufacturers = that provide a wide range of tuner styles. They usually = come in chrome, black, or gold. There are special tuners = for inline headstock installation, and there are also = locking tuners for use with floating tremolo systems (in = place of the locking nut). = Choose the tuner that best fits your needs and meets your budget. = As always, shop around and compare. = F. What types of neck joints are there? The three most common neck joints are: bolt-on, set-in, neck-thru. = Bolt-on neck joints are extremely common and used very = successfully in commercial electric instruments. The neck = is attached to the body with a series of screws or nut/bolt = combinations. A metal neck plate is usually mounted on the = back of the body to support the screws or bolts. A set-in neck is where a flat neck heel is glued to the body = front and the overhanging fretboard is glued to the body = surface. Set-in necks are most common in acoustic guitars = and are used in some electrics. A neck-thru is where the neck wood is extended into and = through the body. The body is divided into two sides, which = are laminated on either side of the extended neck wood. = After the laminations are secure, the body is carved into = shape. Neck-thru construction often gives the best access = to the upper fretboard range. Neck-thru construction is = often used in high-end guitars. G. How do I put on a decal? There are several options for placing a logo on the headstock of the guitar. These are some of the ways I know of: o Inlay - You could use abalone/mother-of-pearl etc. and create an inlay of your logo. You must then carve out the headstock to fit the logo and glue it in place. I would not consider this option unless you are experienced with inlay work. o Airbrush - You could have your logo done by an airbrush artist. Again, this could be an expensive option for a number of guitars. = o Mylar - There is a pressure-sensitive paper that you can print = your logo on and stick to the headstock. o Decal - Some hobby stores stock decal film which can run through a laser copier or printer and create a water soluable decal like those used on model cars. = o Transfer - You can also make a silk-screen transfer which involves screening your logo onto a clear background, that's on a paper that is water-soluable. The image is then transfered to the headstock and lacquered over with clear lacquer. Do not use to much lacquer thinner or the image may disolve. I believe the transfer method is used most often. H. Do I need a neck angle? Some guitars, most notably, Gibson Les Pauls, have a slight downward angle on their necks. This ensures a close action along the fret = boards. The neck could drop as much as 3/16 of an inch from the body = joint to the front of the nut. Often, a guitar that uses a Floyd Rose tremolo bridge will require a = neck angle. You could avoid a neck angle if you route a recess into = the body so that the tremolo is set closer to the wood. This may = also be useful for increased upward pull of the bar. You could make the neck angle by sanding the neck joint cavity at a slope or you could shim the rear of the cavity with a thin piece of wood. The sanded cavity will be cleaner and more professional looking, but the shim could work just as well. I. Can I buy pre-slotted fingerboards? Yes. Check the suppliers listed in the Appendix. Many sell pre-slotted fingerboards ready for final shaping, sanding, and sizing. You can get the standard 22 and 24 fret fingerboards without too much difficulty, and special orders are also = possible. The most common wood types are maple, rosewood, and ebony. They may or may not have the nut slot ready also. Check your supplier for info. J. Can I buy pre-assembled necks? = Yes. Also check the Appendix. You can easily get Strat or Gibson style replacement necks. There are also Jackson and Telecaster style available. The usually come with a choice of fingerboards, and are pre-fretted with a medium fret wire. The tuners holes will also be drilled. You will have to drill the neck plate holes yourself. This is an excellent way to get = started in guitar building. // End of Section VII //////////////////////////////////////////////////////////// = VIII. The Electronics A. What are the capacitors doing? Capacitors are often added to control circuitry to affect = the tone of the guitar. A capacitor is used to "roll-off" = or reduce the high (treble) frequencies. Most single coil = pickups use a 0.05uf capacitor, while humbuckers use a = 0.02uf capacitor. The usual value is 0.02uf. The = capacitors are usually soldered on the potentiometer = to form a tone circuit, and can also be used with resistors = to change to effective resistance of the control = potentiometer. Volumes could be written on this subject so = refer to the books in Appendix E for more information. = B. How do I shield cavities to prevent that humming sound? You can shield the cavities by either using conductive paint = (the preferred method) or foil or metal inside the cavities. = Since conductive paint is easier and very effective, use = that method for the cavities. Foil can be used to shield = the underside of the pick guards or cavity covers. Also, = using shielded wiring will also help to reduce the hum. Completely paint the inside of the cavities (2 coats) and = make sure to include the recessed areas for the coverplates. = Let some paint get into the screw holes. Use foil tape or = paint to cover the underside of the plastic cavity cover so = that it contacts the screw holes and recessed areas. Make = sure that a ground wire reaches the shielded areas, and use = a multimeter to check the continuity to ground. Also, be sure to connect a ground wire to the tremolo claw. This will ground the strings when your hands are not touching the bridge. (I'm sure you've all heard the buzzing that = dissappears when you touch the strings. C. How do I remove that annoying scraping sound in the = potentiometers? Use a contact cleaner spray (also known as tuner cleaner) to = clean the potentiometers. Get the sprays from any radio/TV = repair shop or electronics store. If possible, spray the = cleaner directly into the hole in the potentiometer casing = using the plastic hose that comes with the spray. If that = is not possible, you can spray into the shaft opening and = let the fluid work its way into the pot. A couple = of sprayings should clean the carbon build up and remove the = noise. These products are petrolleum and/or alcohol based and will = evaporate fairly quickly. Some even have a silicon additive = for lubrication. The additive remains after the chemical = has evaporated. D. How does a pickup work? In simplified terms, a pickup consists of a coil of wire = around a set of magnetic pole pieces held in a frame or bobbin. = If a wire, such as a guitar string, is passed (vibrated) through = a magnetic field such as that created by the pole pieces, a = small electrical current is "induced". This current is sent = through the wire that surrounds the pole pieces to the amplifier = which magnifies the sound. E. How does a humbucker work? A humbucking pickup is made up of two pickups (or coils) under one cover. The two coils are wired together in series and = out-of-phase. This is to eliminate humming. They are also = magnetically opposite by turning the magnet around in one coil. = One set of magnets wrapped with wire makes a "single-coil" pickup. Single-coil pickups tend to hum since they receive interference = from AC currents. It was discovered that two single-coil pickups = could be connected together in a special way and with a common = ground to cancel out the hum produced by both pickups. This method of connecting the pickups is called "in-series". In- series means that the end wrap of one coil in connected to the end = wrap of the second coil. The resistance of the coils is combined = and this gives the humbucking power. This end-wrap to end-wrap = technique gives the out-ot-phase characteristic of the pickup. = Also, note that the coils are wound in the same direction on the = bobbins. Because the coils are magnetically opposite, the wires induce the = current in opposite directions. This cancels out the hum and = returns the out-of-phase coils to electrically in-phase after all. = Also, a humbucking pickup does not have to be under the same cover. = Any two single coil pickups can be wired to perform as a humbucking = pickup. HUMBUCKING PICKUP LAYOUT Coil 1 Coil 2 N S <------- Magnetic Pole directions - / - | | / | | | | End / | | | | / Wrap | | <------- The "ends" of the coils meet | | / | | - - ^ ^ | | <------- Both coils wrap counterclockwise | | ^ ^ Wire Wire Path Path F. What is the difference between series and parallel wiring? Seies linkage combines the coils end-to-end. When two equal resistances are linked in series, the result is the sum of the = two. The series sound is powerful and bassy. Parallel linkage combines the coils side-by-side. When two equal resistances are combined in parallel, the result is one quarter of their combined value. The parallel sound is weaker but bright and clean. G. What is a four wire pickup? A traditional humbucking pickup has only two wire exposed: the hot and the ground. A modern four wire pickups exposes the start and finish ends of each coil into a four-wire coxial cable with a = separate ground wire. When used with the appropriate switches, the pickup can be wired as 1) in series/out-of-phase, 2) in- parallel/in-phase, 3) in-series/in-phase, 4) in-parallel/in-phase, = and 5) either coil alone (split). A three-position mini switch (on/on/on) can be used to wire a = humbucker in three ways: parallel, split, series. This switch = often comes with the pickup. PICKUP DPDT Switch Position - - -------- | | | | | Parallel | | | WIRES | 1 2 | = | | | ----- White | | = | | | | | 3 4 | Split (middle) = - - |----- Red | | = | | | 5 6 | = |_______|----- Green | | Series | | -------- =3D ----- Black GND Connections: ------------------------------- White 3 Red 4 Green 5 Black 6 3 2 5 GND 6 Output to Controls Switch Case GND // End of Section VIII //////////////////////////////////////////////////////////// IX. Pre-Assembly = A. What should I do now? Now would be a good time to assemble the guitar to check all your routes and screw holes. You should check them as you go along, but this would be the last chance to make any adjustments before the finish is applied. Even if you don't wire the electronics, install the neck and the bridge and check the adjustments to be sure you can echieve the desired action. Also install the pickups to make sure you can adjust them to and away from the strings. Even install the cover plates to make sure your routes are = clean and square. = B. = // End of Section IX //////////////////////////////////////////////////////////// X. The Finish A. How do I stain a guitar? Staining the guitar is a complex issue. Refer to the books = and videos in the Appendix for more information on staining. = B. What kind of paint should I use for colors? You can use an acrylic automotive lacquer or a = nitrocellulose lacquer. Check your local automotive or = furniture paint shops, or the parts suppliers in the = appendix for colors and availability. = NOTE: Do NOT mix the two types of lacquer on a single = paint job (acrylic & nitrocellulose). Also, some materials my be illegal to use in your area, so take to care to be aware of any environmental factors. = C. What is a sample finishing schedule? The following is a sample finishing schedule taken for = Stewart-MacDonald's catalog. This is only one sample and = there may be many other ways of doing the finish. Research = this subject as you see fit. This schedule is for nitrocellulose lacquer and should not = be used with other finishing media. (Note: do NOT use = acrylic lacquers with nitrocellulose lacquers) WOOD PREPARATION Sand surface down to #220 = or #320 grit smoothness. | = ______________________|_________________ | | POROUS WOOD NON-POROUS WOOD (Rosewood, Mahogany, Ash, (Maple, Spruce, = Basswood, Walnut, paduak) Alder, Poplar, Ebony) | | | | STAIN (OPTIONAL) STAIN (OPTIONAL) (Water based anilines, (Water based anilines, = color-tone stains) color-tone stains) | | | | WASH COAT (OPTIONAL) | (Lacquer, sanding sealer, | or shellac) | | | | | PASTE WOOD FILLER | (Natural for light woods, | medium brown for dark woods) | |________________________________________| | | SEALER/PRIMER (OPTIONAL) | (Lacquer, sanding sealer, or or shellac) | |________________________________________| | = COLOR COATS (OPTIONAL) (Tinted clear lacquer, shaded lacquers, opaque lacquers, 6 coats) | | WET SAND #320 grit | | = COLOR COATS (Tinted clear lacquer, shaded lacquers, opaque lacquers, 3 coats) | | WET SAND #400 grit | | = COLOR COATS (Tinted clear lacquer, shaded lacquers, opaque lacquers, 3 coats) | | WET SAND #600 grit | | = CLEAR COATS (Clear lacquer, 4-10 coats) = | | WET SAND #1000 grit | | POLISH WITH SOFT CLOTH AND POLISHING COMPOUND (Use circular motion) | | POLISH WITH WAX POLISH NOTE: This is only one possibility of many. Your results may = vary. Refer to one of the books in the Appendix for more = information on finishes, such as sunbursts, etc. // End of Section X //////////////////////////////////////////////////////////// =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D =3D PART 3 - THE FINAL STEPS =3D =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D XI. Assembly A. B. // End of Section XI //////////////////////////////////////////////////////////// XII. Setup A. How do I adjust intonation? This is a somewhat magical and mystical process. Keep in = mind that the nature of the guitar is such that perfect = intonation along the entire fretboard is all but impossible = to achieve. It is a compromise of sorts. Proper intonation = is achieved by adjusting the length of the string and = checking the tuning at different frets. This is called = "string length compensation". Adjustable bridge saddles = make this possible without too much difficulty (except on = Floyd Rose tremolos, where a special tool makes the job much = simpler). Here is one way to adjust the intonation: o Tune the string to pitch using normal methods, = o Check the tuning at the 12th fret, o If the string is sharp, move the saddle back, = if the string is flat, move the saddle forward, o Retune to pitch and check the tuning at the 12th fret, o Repeat until the tuning at the 12th fret is identical to = the open tuning B. How should I vertically adjust my bridge saddles? Aside from adjusting the bridge saddles forward or backward = to adjust for intonation, you should also adjust them = vertically to allow for a lower playing action. Most modern day guitars have a curved radius fingerboard. = Some common radii are 10", 12", and 15". Other, more = expensive fingerboards, have a compound radius which is = about 10" at the nut, and flattens to 15" at the 22nd or = 24th fret. Let's assume you have a fixed radius. If your bridge saddles have vertical adjustment = capabilities, you want their height to approximate the = fingerboard radius. Some tremolos, like Floyd Rose, have = different saddle heights to accommodate this feature. Other = tremolos, such as many by Fender, have a pair of hex-screws = you can turn to raise or lower each saddle. = Fixed bridges have a pair a screws at each end of the bridge = that are used to tilt the bridge. There isn't as much = flexibility in this method, but is should be possible to get = some adjustment. The idea is to position the bridge height to match the = fingerboard radius. The height will increase for the E, A, = and D (bass) strings, and then decrease for the G, B, and E = (treble) strings. But that's not all... Since the bass strings are much thicker than the treble = strings, you cannot set both E strings to the same height. = You must raise the bass strings a little to compensate for = their thickness, or buzzing will occur. You need to experiment with the overall bridge height and = the saddle height the get the lowest possible action. = Fingerboard straightness and fret height also comes into = play. If the fingerboard and frets are properly setup, you = should be able to adjust the saddles to achieve a low = playing action with no buzzing. Experiment to see how it works. = = // End of Section XII //////////////////////////////////////////////////////////// XIII. Maintenance A. How often should I replace my strings? String wear will vary depending on the strings themselves, = the amount of playing, and the type of playing. If you play = every day, or if you play hard and sweat a lot (like during = a performance), your strings will wear more quickly. The = easiest way to slow down the process is to have clean hands = when you start to play and thoroughly wipe the strings clean = after each session. Actually, you should wipe down the body = and neck after every session whether it is a performance or = not. The oils from your body will build up cloud the = appearance of the guitar and dull the strings. = The loss of brightness is, however, inevitable. You can = slow the process, but eventually, the strings will sound = dull and lifeless. = If you play every day, but only for yourself, replace the = strings every 3-4 weeks or when you feel they have lost = their brilliance past what you can stand. If you are performing for an audience, put new strings on = before each show. Remember to stretch them out thoroughly = so they stay in tune!! There's nothing quite as pleasant to the ears as a fresh set = of strings. = B. When I should I reset my intonation? Once the intonation has been *properly* set you shouldn't = have to set it again. However, if you decide to mess around = with the bridge, you have to be careful that you return it = to the properly set position. You *should* reset the intonation whenever you switch string = sizes (light, extra-light, medium, etc). Another = possibility, if you play a lot and your guitar gets a good = workout, about once a year should also do the trick. C. What is the best way to polish the frets? One way to polish the frets follows this schedule: o Use the black wet/dry sandpaper (dry) starting at about 600 grit. Work the top layer of buildup off with 600 and = then move to 1000 and repeat. You might want to use up to 1500 grit. Also, mask the fret board with tape to prevent = damage. o Next, use the synthetic steel wool (equivalent) to about 000 or 0000 grade steel wool. Use the synthic type so that = the steel wool "filings" don't get into the pickups, etc. o Finally, use a buffing compound and preferably a Dremel Moto tool to polish the frets to a shine. Check your local harware supply store for appropriate compounds. = D. How do I pull a fret? This is one of those cases where the proper tool is a must. You can purchase fret pullers from Stewart-MacDonald's. Be aware though, that there is a fret puller tool and a fret nipper = tool. The fret puller tool is optimized for pulling frets = (hence the name). It has smaller jaws which allow for more accurate grabbing under the frets. The nipper will do the job too, but be aware of the difference. Basically, to pull a fret, work the tool underneath the fret at one end and rock it back and forth slowly until the fret = starts to come out of the fingerboard. Move to the = opposite end of the fret and do the same. Switch from end = to end and work your way to the middle of the fret. Take your = time with this process, the fingerboard will easily = chip if you rush. Here's some tips on making this process easier: o Use a very sharp exacto knife to score the fingerboard along the fret edges. This will provide a limit for the = fingerboard in case in starts to chip. This will reduce the amount of damage. o If the frets are glued in, you need to heat the fret to loosen the glue. A soldering iron is good for this purpose. Press the iron to the fret and allow the fret to heat up. This will in turn loosen the glue. Pull the fret out while the glue is hot. Then use a knife or needle file to clean out the glue residue. E. What is a fret job? A fret job, usually needed when the frets have worn out unevenly and start to cause buzzing, consists of the following procedures: o Level frets - this involves using a fret-leveling plane and some sandpaper to get all the frets an equal height. o Crown frets - after leveling, you need to "recrown" the frets to their original shape. This involes using a fret crowning file on each fret to round the surface. o Polish frets - see step XII.C for a description of fret polishing. Practice fret jobs on garage-sale specials before you work on your most prized vintage guitar. = = // End of Section XII //////////////////////////////////////////////////////////// =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D =3D Part 4 - Tips and Tricks =3D =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D This section is for tips and tricks from readers who have = encountered some aspect of guitar building they wish to = share. A. Pre-drill humbucker corners before routing. = [Contributed by: wyza@aol.com] If you are using routing template, like the ones from = Stewart-MacDonald, it is helpful to drill the rounded = corners of the template before routing the cavity into the = body. These corners are 1/4 inch diameter and you can use a = 1/4 inch drill bit to get a smooth edge. Just position the = bit to drill the individual corner and you'll geta very = smooth edge that would much more difficult with the standard = router bits. Also, you can use larger bits to remove some wood before = routing the remaining cavity. Just watch your depth. B. Routing = [Contribution by: miker@primenet.com (Mike Rejsa)] The best way to use a router is to get/make a clear plastic = template, and use the kind of bits that can be guided around = the hole in this template. I use a 'bearing bit' from Stewart- MacDonalds and it worked great, ***once I learned how to do = it***! 1. Make sure the bearing is turning freely - my first one = was stuck and nearly started a fire. = 2. Be sure you adjust the height of the bit to cut clear = thru the surface of the wood. Yes, this means it looks like = the bit may cut the template... in practice, it doesn't. If = you set the bit too far into the wood you 'undermine' the = surface of the wood and things get hot and tough to do. I = set the line between my bearing and the cutting edge about = halfway thru the template. 3. ***DO NOT*** plan on making your first cut all the way = around the perimiter of the template! If you make a long = bit-width cut like this, the track becomes clogged with = wood, the bit gets hot, and is hard to move. Instead, start = in the middle of the area to be removed, and move around in = a little circle. Make short passes along the edge and then = swing back to widen the removed area. This has two = advantages: it lets the wood chips get blown out, and the = bearing is not riding the edge all the time and so does not = get as hot. C. Bridge Location (for a fixed bridge) [Contribution by: miker@primenet.com (Mike Rejsa)] If possible, construct the guitar to the point of having the = neck and tailpiece bolted on before positioning the bridge. = Make yourself a pencil mark in the measured position where = the bridge should be. Adjust all intonation saddles to = center. Then string it up, and set the intonation as close = as possible by sliding the bridge back and forth. Once you = have it as good as you can get it, mark the position and = install the bridge there. (It may even end up at a slant. = This is ok, if its what the guitar needs.) Note: If you are using a Strat or Tele bridge, usually = measuring is good enough. Go measure a real one and put your = bridge in the same place. D. Bridge pickup location = [Contribution by: miker@primenet.com (Mike Rejsa)] If you are using Strat parts, borrow a standard Strat = pickguard and use it to trace the pickup locations onto your = guitar body. If you are using humbuckers, wait until after your bridge is = installed, and then locate the pickup a certain distance = from the bridge, based on measuring guitars whose sound you = like. For example, from the intonation center of the bridge = to the closest edge of the pickup frame is about 5/8" on an = SG, about 3/4" on a Les Paul Custom, about 9/16" on a Les = Paul Standard, and over 1" on an Epiphone Flying V I've = measured. This has an effect on the sound your bridge pickup = gives! E. Centerline = [Contribution by: miker@primenet.com (Mike Rejsa)] Always work off of a pencil line down the center of your = guitar body. Center pickups, bridges, neck routings, etc. = along this line. A good way to line up your neck is to tape a piece of string = to the top of the neck so it crosses the center where the = nut will be. Run the string down to the centerline by where = the tailpiece will be. By lining up this string down the = position dots on the neck, you can tell when the neck is = lined up with your centerline. I do this to locate the neck = route and also when marking the screw holes in the neck. F. Sandpaper = [Contribution by: miker@primenet.com (Mike Rejsa)] Sanding goes *lots* faster when you use lots of grades. = Start with coarse, sand a few minutes, and move on down a = step at a time until you are using the finest paper. Be = careful when using belt sanders - they remove a lot of = guitar very quickly! G. Strengthen a floating tremolo mounting. [Contributed by: hawley@adobe.com (Steve Hawley)] Here's a trick I learned from my local luthier for mounting floating bringes in bodies with pre-routed pickup chambers: Remove as much finish as you can in the tremolo cavity and drill the holes for the posts. Saturate the exposed wood with cyanoacrylate (Krazy Glue - the really watery stuff). I mean SOAK. Leave the body to set for a day. You have now turned the wood in that area effectively into stone. As such it will improve sustain and prevent the wood in front of the bridge pins from collapsing into the pickup cavity. H. More tips on routing. [Contributed by: sasaki@netopd.harvard.edu. (Marty Sasaki)] o Each pass of the router should only remove a small amount of material. Doing a full depth cut is asking for trouble. o Use other tools to remove large quantities of wood. If you = have a drill press, remove the bulk of the wood using a large bit. Chisels work well too. o If the hole goes all of the way through, you can drill a hole = and use a jig saw to cut most of the wood away. o Once you are close, use a router to finish off the edges. o If the router is your only tool to make holes, then make many = passes with the router, each about 1/8 inch greater than the = pass before. =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D =3D Part 5 - Pitfalls and Problems =3D =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D This section is for pitfalls and problems from readers who = have encountered some pitfalls of guitar building they wish = to share. Maybe reading these will help you avoid the same = problems. A. Bandsaw too small. [Contributed by: wyza@aol.com] When I first started out, I had no tools to speak of, so I = bought a Sears special 10 in. bandsaw. Seemed like it would = do the job, and the price was right. Here's what happened = to me: At first everything was ok, until I bought some Eastern Hard = Maple. This wood was just a little too hard for the small = bandsaw. The blade kept binding and catching in the = channel, and I spent half my time prying the wood apart and = getting the blade free. I broke several blades and had very = poor cuts. Also, this size bandsaw has a small tray table on which to = lay the wood. Well, my blank was 13" wide and 20" long and = was an 8 quarter piece. This is one heavy chunk of wood. I = used the tray to support the wood while I cut. After = struggling with the blades I finally cut the shape = completely out. Then I stood the wood up on its side to = view the profile and guess what? It leaned to the side. = = The wood was so heavy and the tray table was too weak to = support it properly. None of my cuts were square since the = table leaned down under the weight of the wood blank. I = spent the next 2 hours trying to sand it square with a belt = sander. I have since used some small pieces of 2x4 cut to fit under = the tray to add support while cutting. It helps, but it's = still not ideal. B. Drill press too small. [Contributed by: wyza@aol.com] I had a similar problem with a Sears 8 inch drill press. It = simply wasn't powerful enough to make good clean holes = through such hard wood. The bit often got jammed in the = wood. = Also, the distance from the center of the bit to the edge of = the support post was too short to reach some of the inner = holes of the body. For example, the bit wouldn't reach the = holes necessary for the bridge pickup cover. I had to = freehand two of them. C. Trouble with painting area. = [Contributed by: wyza@aol.com] I discovered one problem with my work area right away when = finishing my first guitar. Like many, I used my garage to = build my guitars. Well, you can imagine the dust and debris = that flys around after sawing, sanding, and routing all day. Even after waiting for the dust to settle, there's the = problem of ventilation and the smell. Also, if you have a = freshly painted guitar in the garage, where are you going to = work on the next one? I had to stop building for weeks = while this guitar cured. I have since farmed out the painting process to a friend so = I can just build. D. Paint build-up [Contributed by: wyza@aol.com] When finishing a guitar you must take care to prevent paint build-up around the screw holes. What can happen is, if there is enough paint overhanging into the hole, the paint may chip when you assemble the guitar (I saw this first hand unfortunately). One way to prevent this is to plug the holes before spraying. = A clay or putty of some other soft material that is easily removed could be used. If the problem already exists you could redrill the hole to = clean out the paint or scrape it away, but this only works to a small degree. You would rather prevent the problem by plugging the holes or cleaning them out after each set of coats to limit the build up. It is also important to use a sealer of some kind to prevent moisture from getting into the wood and causing it to expand and then crack the paint. = =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D =3D=3D APPENDICES =3D=3D =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Appendix A. Wood Suppliers The following is a list of wood suppliers: EXOTIC WOODS COMPANY, INC. PO Box 532 Sicklerville, NJ 08081 800.443.9296 609.728.5555 609.728.6262 (fax) COMMENTS: Wide selection of fingerboards, backs, sides, = neck blanks. Carries many exotic woods. See also LUTHIER'S MERCANTILE INTERNATIONAL, INC. in = Appendix B. PACIFIC RIM TONEWOODS 420 16th St. Bellingham, WA 98225 206.826.6101 206.826.6046 (fax) COMMENTS : Minimum order is $200 exclusive of shipping. See also STEWART-MACDONALD in Appendix B. SUNDANCE TONEWOODS 341 W. Broadway, Suite 329 San Diego, CA 92101-3882 619.726.0610 See also WARMOTH in Appendix B. Appendix B. Parts Suppliers The following is a list of guitar parts suppliers: ALL-PARTS PO Box 1318 Katy, TX 77492 800.327.8942 713.391.0637 713.391.7922 (fax) COMMENTS: ART SPECIALTIES INTERNATIONAL, INC PO Box 215 Depew, NY 14043 800.724.1002 716.684.3695 COMMENTS: Supplier of Corion (used for nuts). CHANDLER INDUSTRIES 5901 9th St. San Francisco, CA 94107 xxx.xxx.xxxx COMMENTS: THE LUTHIERIE 2449 W. Saugerties Rd. Saugerties, NY 12477 xxx.xxx.xxxx COMMENTS: LUTHIER'S MERCANTILE INTERNATIONAL, INC Box 774 412 Moore Lane Healdsburg, CA 95448 800.477.4437 707.433.1823 707.433.8802 (fax) Catalog: $19.95, but is well worth the price. COMMENTS: The catalog is much more of a handbook than just a catalog. It is about 200 pages long and is filled with articles, information, and products. It is three-holed drilled for binding. In my opinion, a must have. MUSICIAN'S FRIEND DISCOUNT CATALOG Box 4520 Medford, OR 97501 800.776.5137 Catalog : $4.00. Once you order and get on the mailing = list, the catalogs will come for free. COMMENTS: Good service. You can get tremolos, pickups, = strings, tuners, and a few novelty tools, but that's about = it for builders. STEWART-MACDONALD GUITAR SHOP SUPPLY 21 N. Shafer St. Box 900 Athens, OH 45701 800.848.2273 (US and Canada) 614.592.3021 614.593.7922 (fax) Hours: 9-7 weekdays, U.S. eastern time Catalog : They send you a catalog with every order. If you = order a lot, you'll have so many you can't keep track of = them. COMMENTS: Excellent service, great prices, excellent = quality parts and tools. Carries every replacement part and = tool, plus books and videos, and replacement bodies and = necks. = WARMOTH GUITAR PRODUCTS 6424 112th St. E. Puyallup, WA 98373 206.845.0403 206.848.2415 (fax) Catalog : $2.00 COMMENTS: Good quality, higher prices, smaller selection of = parts, fewer tools. Specializes in ready-to-finish/assemble = bodies and necks. WD MUSIC PRODUCTS 261-D Suburban Ave. Deer Park, NY 11719 813.337.7575 813.337.4585 (fax) COMMENTS: WOODWORKER'S DREAM Box 329 10 W. North St. Nazareth, PA 18064 xxx.xxx.xxxx COMMENTS: WOOD 'N' GUITARS PO Box 328 Honesdale, PA 18431 717.253.1620 717.253.4941 (fax) COMMENTS: Replacement bodies and body blanks. Appendix C. Tools And Materials There are many common and specialized tools used in the = craft of guitar building. They range from the simplest = files to computerized CNC machines which do all the work for = you. The list that follows includes some of the tools, and = some of their uses, for guitar builders. It is in no = particular order. You can select from the list as you see = fit for your specific project. The cost of each tool = will vary depending on the retailer from where it is = purchased. TOOL USE ------------------------ ------------------------ (** BASIC TOOLS **) Straight edge, 18 in. Checking fingerboard = straightness Steel ruler Measuring fret spacing Pencils Marking wood layouts and measurements Square Squaring lines on = drawings, wood, & = parts Clamps (various) Holding laminations Spokeshaves Shaping neck Wood rasps Shaping neck and body = contours Chisels Removing excess wood from = cavities Files (various) Shaping wood, bevelling = frets, detail filing Coping saw Various cutting jobs Hack saw Various cutting jobs Dovetail saw Cutting fret slots Screwdrivers Mounting harware Pliers Bending fret wire, = holding parts, = tightening bolts Socket set Mounting hardware Masking tape Covering parts during = finish Double stick tape Holding router templates Titebond glue Laminating wood, = installing inlays Lacquers (colored, clear) Painting, finishing Stains Staining, finishing Soldering iron (+ supplies) Installing electronics (** POWER TOOLS **) = Band Saw (10 in. minimum) Cutting body and neck = shapes Drill, drill press (+bits) Drilling screw holes, = removing wood Router (+bits) Cutting cavities Detail sander Sanding difficult areas Hand sander Basic sanding jobs Small belt sander Larger sanding jobs Sand paper (see grits below) 60, 80, 120, 150, 220 Rough to final sanding 320, 400, 600, 100 (wet/dry) Finish sanding Dremel moto-tool (+bits) Inlay routing, detail = routing, polishing (** SPECIAL TOOLs **) Fretboard radius sanding blocks Sanding the fretboard to = a specific radius = Fret file Reshaping frets Fret nippers Cutting fret wire Fret puller Pulling frets Fret hammer Installing frets Fret planes (w/paper) Leveling fingerboard, = frets = Fret slotting saw Cutting fret slots Fret dressing file Crowning and shaping = frets Router templates Accurate cavity routing Pickup, tremolo, = Electronics cavity Precision nut files (set) Filing string slots in = nut Appendix D. Fret Spacing Tables Here are the fret locations for a 25 1/2 in. scale guitar: Fret Interval To Bridge 1 1.431 - 2 1.351 - 3 1.275 - 4 1.203 - 5 1.136 - 6 1.072 - 7 1.012 - 8 0.955 - 9 0.901 - 10 0.851 - 11 0.803 - 12 0.758 12.750 13 0.715 12.034 14 0.675 11.359 15 0.637 10.721 16 0.602 10.119 17 0.567 9.552 18 0.536 9.015 19 0.506 8.509 20 0.478 8.031 21 0.451 7.581 22 0.425 7.156 23 0.402 6.754 24 0.379 6.375 Here are the fret locations for a 24 3/4 in. scale guitar: Fret Interval To Bridge 1 1.389 - 2 1.311 - 3 1.237 - 4 1.168 - 5 1.102 - 6 1.040 - 7 0.982 - 8 0.927 - 9 0.875 - 10 0.826 - 11 0.779 - 12 0.736 12.375 13 0.694 11.680 14 0.655 11.024 15 0.618 10.406 16 0.584 9.821 17 0.551 9.271 18 0.520 8.750 19 0.491 8.295 20 0.463 7.796 21 0.437 7.385 22 0.413 6.945 23 0.389 6.555 24 0.368 6.187 Appendix E. Books On Guitar Building There are numerous books that cover all the aspects of = guitar building. The list below contains some of the more = popular books. Most are available from Stewart-MacDonald's = Guitar Shop Supply, and the prices shown are from their = catalog, unless otherwise listed. *** Construction: *** BUILD YOUR OWN ELECTRIC GUITAR = by Bill Foley "Written to help you assemble guitars from prefinished = parts. Includes helpful suggestions for choosing pickups, = tips on Khaler and Floyd Rose tremolo installations, wiring = diagrams, fret and string nut preparation, intonation = adjustment and general set-up techniques." [99 pages, soft = cover, $19.95] COMMENTS: CONSTRUCTING A SOLID BODY GUITAR = by Roger H. Siminoff "Instructions for making and finishing the wooden parts of = an electric guitar with a bolt-on neck are extensively = illustrated. Includes full sized working drawings with a = special full-color illustrated section on staining and = finishing. Covers everything from raw wood selection to = final hardware installation and wiring." [60 pages, soft = cover, $16.95] COMMENTS: Good step-by-step instructions and illustrations. = Easy to follow and read. CUSTOMIZING YOUR ELECTRIC GUITAR = by Adrian Legg "Covers basic set-up (action, nut and intonation adjustment) = and fret dressing. Explore Gibson and fender pickups and = wiring arrangements, custom coil tapping, phase reversal, = series/parallel and stereo wiring, active (on-board) = electronics, shielding and switching. Numerous wiring = diagrams and photos included." [64 pages, soft cover, = $10.95] COMMENTS: = MAKE YOUR OWN ELECTRIC GUITAR = by Melvin Hiscock = "Instructions on using hand and power tools, with basic = woodworking skills to create custom solid body guitars. = Construction and jig-making for glue-in, bolt-on, and = straight-thru necks are discussed and illustrated, with all = the steps from wood selection to lacquering to custom = wiring." [160 pages, soft cover, $16.95] COMMENTS: Very thorough book with 3 examples: A = telecaster-type, a Gibson type, and a bass guitar (neck = through). = MAKING AN ARCH TOP GUITAR by Robert Benedetto "The definitive book and constructing an acoustic arch top = guitar. Wood selection, tap tuning, bracing finishing, = marketing." [280 pages, 8.5 x 11 in. format, $39.95] COMMENTS: Order with check or money order payable to Robert = Benedetto, from Robert Benedetto RR 1 Box 1347 E. Stroudsburg, PA 18301 Phone: 717.223.0883 Tax: PA residents add 6% sales tax Shipping: $5.00 USA, $8.50 Canada, $20.00 Overseas *** Repair/Setup: *** COMPLETE GUITAR REPAIR = by Hideo Kamimoto "A useful and popular illustrated guide to the repair, = adjustment, and maintenance of acoustic and electric = guitars. Explains refretting, neck and truss rod = adjustment, bridge re-gluing, crack repairs, refinishing and = more. A helpful series of fret scale charts in included." = [160 pages, soft cover], $16.95] COMMENTS: = = DO-IT-YOURSELF GUITAR REPAIR = by Pieter Fillet "A compact book written for the musician or dealer who = requires basic practical instruction on guitar setup and = adjustment procedures. Features over 170 photographs and = diagrams with concise explanations of shop procedures to = make a guitar play accurately. Covers the fundamentals of = fret, neck, string action, nut and bridge adjustments, and = provides helpful tips on buying a guitar." [63 pages, soft = cover, $4.95] COMMENTS: ELECTRIC GUITAR SETUPS = by Hideo Kamimoto "A guide to essential set-up work, focusing on action, = pickups, intonation adjustment for guitars and basses. = Includes set-up tips for Fender, Gibson, and other models; = fret leveling, tuning methods, locking tremolo tips, and an = extensive look at bridge design." [84 pages, soft cover, = $16.95] COMMENTS: = GUITAR PLAYER REPAIR GUIDE = by Dan Erlewine "The most complete and thorough manual on guitar repairs and = adjustments. Includes: Evaluating the instrument, truss- rod, action, and intonation adjustment, electric and = acoustic bridge saddles, nut replacement, fret dressing and = replacement, installing tuners and tremolos, finishing & = touch-ups, fixing cracks, braces, peg heads,and bridges, = neck resetting, guitar electronics, replacing and repairing = pickups, switches, pots, and wiring." [309 pages, soft = cover, $22.95] COMMENTS: Superb in quality, content, and readability. = *** Technology: *** MANUAL OF GUITAR TECHNOLOGY = by Franz Jahnel "The result of a lifetime of study with European masters, = with a large 229 page format and a price aimed squarely at = the serious builders. Extremely detailed scientific = information on acoustic principles in traditional guitar = making, including chemical properties of finishing = materials, string making, formulas for vibration and scale = properties, a 24 page technical chart of over 300 wood = species, construction plans for classical guitars, steel = string and carved top jazz guitars and more." [229 pages, = tbdcover, $139.50] COMMENTS: A techno's dream book. *** Wood/Wood Finishing: *** (The following are available from Stewart-MacDonald's Guitar = Shop Supply) ENCYCLOPEDIA OF WOOD = by Aidan Walker "A directory of more than 150 of the world's most popular = and beautiful timbers. Samples of each species are shown in = color, with information on geographical distribution, = physical properties (including density, stiffness, = workability, and bending strength) and uses. Filled with = beautiful color photography and wood lore." [192 pages, = hard cover, $29.95] COMMENTS: THE WOOD FINISHING BOOK = by Michael Dresdner "A design engineer at Martin Guitars and a contributor to = Fine Woodworking magazine, Dresdner also has over 20 years = of experience in finishing trades. He offers practical = solutions to wood finishing problems, and reveals what's = actually inside brand name finish formulations. = Preparation, coloring, application, and finish repairs = are also discussed." [213 pages, soft cover, $24.95] COMMENTS: UNDERSTANDING WOOD FINISHING = by Bob Flexner "Exceptionally well organized and illustrated, this book = will help you solve most finishing problems. Based on an = extensive knowledge of the chemistry of finishing materials, = it features comprehensive coverage of traditional finishes = and touch-ups, and new water-based finishes too. Highly = recommended." [310 pages, hard cover, $27.95] COMMENTS: UNDERSTANDING WOOD = by Bruce Hoadley "A wealth of scientific knowledge about wood, written for = the individual woodworker. Essential for the serious = luthier. Explain species identification and = characteristics; the effects of moisture; drying your own = wood; strength properties; effects of machining, joining, = bending, and finishing; lumber grading; processing and = terminology." [256 pages, hard cover, $31.95] COMMENTS: WOOD FINISHER'S HANDBOOK = by Sam Allen "A guide to the preparation and finishing of new wood, and = the repair of previously finished wood surfaces. Over 150 = photographs and drawings demonstrate modern and traditional = techniques. Allen explains the use of finishing tools = (brushes, spray equipment, papers and scrapers), staining = and filling, topcoats, colors, rubbing and antiquing." = [160 pages, soft cover, $12.95] COMMENTS: WOOD FINISHING WITH GEORGE FRANK = by George Frank "A step-by-step guide covering every aspect of wood = finishing, from stains, dyes and chemical treatments and = waxes, varnishes, and oils. Over 80 color photos illustrate = the effects of various finishing media and techniques. An = extensive section on french polishing is featured." [144 = pages, soft cover, $14.95] COMMENTS: Appendix F. Videos On Guitar Building DAN ERLEWINE'S VIDEO GUITAR REPAIR COURSE (8 volumes) (See Stewart-MacDonald Guitar Shop Supply) 1. Bread and Butter Jobs - Set-ups, part installation & customerservice 2. Yard Sale Specials - = 3. Bellyaches - Correcting problems with acoustic tops and = bridges 4. Broken Pegheads 5. Cracking Up - Fixing crack and punctures 6. Acoustic Net Resets 7. Guitar Maintenance and Setup - Basic inspection, set-up = and cleaning. 8. Don't Fret - Complete professional fretting methods. Each video is $49.95, all 8 is $349.00. MAKING A SOLID BODY GUITAR with Dan Erlewine "Complete details for each step of the project. Plans, = layouts, and materials. Squaring up the wood, constructing = the neck and body, Shaping and sanding, pre-fitting the = hardware, final sanding and finishing, final assembly. = [2 hours, $49.95]] (See Stewart-MacDonald Guitar Shop Supply) SPRAY FINISHING BASICS with Dan Erlewine "Wood preparation, sanding & scraping techniques, grain = filling, spray techniques, sealer coats, spray guns, air = brushes, sanding, rubbing, and polishing and more..." [90 = minutes, $39.95] (See Stewart-MacDonald Guitar Shop Supply) SPRAY FINISHING WITH COLORS with Dan Erlewine "Lacquer colorants, mixing anilines, choosing a stain, = wiping versus spraying, sunburst finishes, transparent color = finishes, and much more..." [105 minutes, $39.95} (See Stewart-MacDonald Guitar Shop Supply) TREMOLO INSTALLATIONS with Dan Erlewine "Intensive, fast paced 90 minute video guides you through = the placement, routing, and installation of today's most = popular whammies. You'll learn how to use templates for = cleaner results and you'll see dozens of trick to make the = job easy. Includes: retrofitting a Floyd Rose, installing = a Floyd Rose on a non-tremolo guitar, installing a locking = nut, installing a Khaler and Ibanez tremolo, recessing the = tremolo, tips for adjustment and maintenance." [90 minutes, = $39.95] (See Stewart-MacDonald Guitar Shop Supply) Appendix G. Organizations The following are organizations dedicated to guitar building = and repairing: ASSOCIATION OF STRINGED INSTRUMENT ARTISANS (ASIA) 14 S. Broad St. Nazareth, PA 18064 GUILD OF AMERICAN LUTHIERS (GAL) 8222 S. Park. Ave. Tacoma, WA 98408 Appendix H. Schools AMERICAN SCHOOL OF LUTHERIE 420 Moore Lane Healdsburg, CA 95448 707.433.7384 COMMENTS: A one week course, $1000 per person. APPRENTICE SHOP PO Box 267 Spring Hill, TN 37174 BRYAN GALLUP'S GUITAR HOSPITAL 10495 Northland Dr. Big Rapids, MI 49307 RED WING AREA VOCATIONAL TECHNICAL INSTITUTE Pioneer Rd. at Hwy. 58 Red Wing, MN 55066 RENTON VOCATIONAL TECHNICAL INSTITUTE 3000 NE 4th ST. Renton, WA 98056 ROBERTO-VENN SCHOOL OF LUTHIER 4011 S. 16th St. Pheonix, AZ 85040 Appendix I. Sample Cost of A Guitar = Below is a sample cost list for a simple guitar. Remember, = this does not include any tools, glues, sandpaper, or = finishing materials! In many cases, the lower priced items = are chosen, for example, a rosewood fingerboard instead of = ebony. The prices are from Stewart-MacDonald's Guitar Shop = Supply catalog. Your prices may vary. Item/Part Cost (US $) =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D = =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D Body wood 57.50 *shop around (Alder) Neck Wood 64.20 *can make two (maple 2x5x30 inches) 1-piece necks = Fret wire (6 feet of Jumbo wire) 10.26 Nut (graph-tech) 4.48 Fingerboard (rosewood, 12 in radius) 17.48 Trussrod 10.99 Trussrod cover 1.54 Trussrod cover screws 0.54 Side dot material 2.97 Pearl inlays (6mm dia) 4.20 Schaller bridge pickup 34.95 Schaller neck pickup 34.95 Pickup mounting rings (2) 6.50 (w/screws and springs) Control pots (4) 12.88 Pickup selector switch (5-way) 7.88 Capacitors 3.60 Circuit wire (2 feet) 0.31 Control knobs (4) 7.32 Strap locks 9.70 Neck plate (w/screws) 4.86 Jack plate (w/screws) 6.32 Output jack, mono 1.99 Electronics cavity cover plate 8.95 Tremolo cover plate 2.64 Cover plate screws (10) 2.30 Strat tremolo/bridge 39.79 Sperzel Locking tuners (6 inline blk) 63.90 GHS Boomers 4.89 ----------------------- TOTAL $427.89 = Assuming the neck blank is cut and laminated to make one = neck, not two. This price is not too bad when you don't count tools etc. = Also, figure in for sandpaper and paint, which is fairly = small. THE END ------------------------------------------ GUITAR BUILDERS FAQ = Part I, Electric Guitars = = Version 1.7 25 March 1996 = Copyright (c) 1995-1996 Bill Wyza = All Rights Reserved = ------------------------------------------ --PART.BOUNDARY.0.2741.emout18.mail.aol.com.830225060-- ========================================================================= Date: Mon, 22 Apr 1996 20:27:50 +0000 Reply-To: ksailors@hooked.net Comments: Authenticated sender is From: "Kenneth M. Sailors" Subject: Re: Where is Gene Dinwiddie??? On 22.Apr.96, Guy Tapper wrote: > [...] Paul Butterfield Band Live, a double record on Elektra. > Gene Dinwiddie was part of the horn section. I don't know if > that album was really any good or if it was just the times but > I sure played it alot and enjoyed it. Interestingly enough, an album produced & engineered by Todd Rundgren. (I didn't know much about *him* then but I was to later -almost split an infinitive! Watch out for the grammar patrol- get hit over the head, BIG time.) I bought "P.B.B.L." because it had "Everything's Gonna Be Alright" which was on the Woodstock album. _Totally_ different version - had a horn section; wasn't into horns at the time. We all grow up. I like this album more everytime I play it. "No Amount of Lovin'" wow! Still don't know if it's any good, though, in objective terms. Think I'll go play it again. /))((\ -(.)(.)- | \/ | Eugie! ////\\\\ Baange \__/ "I'm just naturally crazy, Baby!" ========================================================================= Date: Mon, 22 Apr 1996 20:31:48 +0000 Reply-To: ksailors@hooked.net Comments: Authenticated sender is From: "Kenneth M. Sailors" Subject: Re: Where is Gene Dinwiddie??? On 22 Apr 1996, Leo Aspiras wrote: > my question to y'all is: does anybody out there have a copy of that first > Full Moon Album or know if it has been reissued on CD? I don't know if the CD's out but I *do* have a rather pristine copy of the LP. "Malibu" was the kind of Jazz I was using to back my way into a bigger appreciation later on. AND, of course, Buzzy Feiten also played with Stevie Wonder. Wouldn't part with it, though. Sorry. /))((\ -(.)(.)- | \/ | Eugie! ////\\\\ Baange \__/ "I'm just naturally crazy, Baby!" ========================================================================= Date: Mon, 22 Apr 1996 22:35:28 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 04/23 B O R N : 04/23 BARNARD, LEONARD ARTHUR (LEN or SlUGGSIE) Born:1929 MELBOURNE, VIC. AUSTRALIA Career:DRUMMER / KEYBOARDS / ARRANGER Style:JAZZ With:Fred Holland / Harry McWhinney / 1948 formed the South City Stompers / Tich Bray / Smacka Fitzgibbon / Bill Frederickson / Fred Whitworth / Bob Mellis / Doc Willis / Frank Traynor / Ade Monsbourgh / Graham Coyle / Ron Williamson / Frank Smith / in 1962 joined Les Patching trio / Judy Bailey / Ray Price BROADBENT, ALAN Born:1947 AUCKLAND, NEW ZEALAND Career:PIANO / ARRANGER / COMPOSER Style:JAZZ With:Woody Herman / John Klemmer / Bill Berry / Bud Shank GREEN, BUNKY ( VERNICE GREEN JR.) Born:1935 MILWAUKEE, WI Career:ALTO SAX / TENOR SAX / BARITONE SAX / CLARINET / FLUTE Style:JAZZ With:Charlie Mingus / Nicky Hill / Ira Sullivan / Andrew Hill / Red Saunders / Louis Bellson HALL, SIMON Born:1964 BIRMINGHAM, UK Career:PIANO / KEYBOARDS / SYNYHESIZERS / COMPOSER Style:JAZZ With:DAVE O'HIGGINS / TIM GARLAND / NOEL LANGLEY / RALPH SALMINS HARRIS, LITTLE BENNY ( BENJAMIN MITCHELL ) Born:1919 NEW YORK, NY Career:TRUMPET / COMPOSER Style:JAZZ / BLUES / BIG BAND With:Tiny Bradshaw LIPPMAN, JOE Born:1915 BOSTON, MA Career:PIANO / ARRANGER Style:JAZZ / BIG BAND Arrangements 1934-35 Benny Goodman / Vincent Lopez 1935 / Bill Staffon 1935 / Irving Aaronson 1936 / piano Artie Shaw string band 1936 / Bunny Berigan 1937-38 / Jimmy Dorsey 1939-41 MINOR, ORVILLE Born:1912 KANSAS CITY, MO Career:TRUMPET Style:BLUES / JAZZ With:JAY McSHANN NOONE, JIMMIE Born:1895 NEW ORLEANS, LA Career:CLARINET / LEADER Style:TRAD / JAZZ With:Freddie Keppard / Kid Ory / Papa Celestin / Bill Johnson / Doc Cook 1920-26 / Earl Hines ROSENGARDEN, BOBBY ( ROBERT MARSHELL ) Born:1924 ELGIN, IL Career:DRUMMER Style:TRAD / JAZZ / BIG BAND With:Henry Busse 1945-46 / Aly West 1946-48 / Duke Ellington / Miles Davis / Gil Evans / Benny Goodman / Worlds Greatest Jazz Band 1974-78 / Kenny Davern / Dick Wellstood / Gerry Mulligan 1976 SMITH, IAN LELSIE (SMITHY) Born:1948 BLETCHLEY, UK Career:TRUMPET / TROMBONE / DRUMMER / WASHBOARD / SINGER Style:JAZZ Immigrated to Australia. 1951 / New Harlem Band 1968 / Support Turk Murphy 1978 / Tom Baker's San Francisco JB at Sacramento, Calif 1978. Maple Leaf JB Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us The Following were Recorded on this Date in the Years: ========================================================================= Date: Mon, 22 Apr 1996 08:37:37 -0700 Reply-To: VariousPeople From: VariousPeople Organization: WHITE GRIZZLY PRODUCTIONS Subject: NEW WEB SITE Comments: To: bit-listserv-blues-l@uunet.uu.net Comments: cc: jake@rand.nidlink.com *** ATTENTION MUSIC ARTISTS, SONGWRITERS, and LABELS *** The White Grizzly Productions web page is now online! Set your URL to: http://www.nidlink.com/~whtgriz : THE MAIN PAGE or http://www.nidlink.com/~whtgriz/oped/reviews.html : OUR REVIEWS PAGE(s) Go now and get in on the Indie Music Revolution ========================================================================= Date: Tue, 23 Apr 1996 00:05:55 -0400 Reply-To: James Leftwich From: James Leftwich Subject: Re: Lockwood suggestions Comments: To: Kevin Canning In-Reply-To: On Mon, 22 Apr 1996, Kevin Canning wrote: > Add on to LW's suggestions for Robert Jr: > > There was an lp (French I think) called "Robert Plays Robert" which was a > collection of solo RJL playing his own tunes, Robert Johnson tunes, and a > few standards (CC Rider, for example). This is available on CD: Robert Junior Lockwood _Plays Robert and Robert_ on Evidence Records (ECD 26020-2). RJL 12-string and vocals ------------------------ Rambling on my Mind Kind Hearted Woman Blues Walking Blues I'm a Steady Rollin' Man Sweet Home Chicago Little Queen of Spades Western Horizon She is Little and Low Little Boy Blue Lockwood's Boogie Talk a Walk with me See See Rider Sweet Home Chicago (alt. take) ------------------------------ Total time: 43:33 Excellent disc though the twelve string sound isn't as intense as the original Robert Johnson selections IMHO. ============================================================================= Jim Leftwich Jim's Blues N' Brews leftwich@cloud9.net http://www.cloud9.net/~leftwich "I'm on cloud9!" :) New CD Giveaway: Jordan Patterson ============================================================================= ========================================================================= Date: Tue, 23 Apr 1996 00:11:59 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Arts funding and the BLUES (was Re: Restrictions ) Comments: To: JMILLER@shawnee.edu In a message dated 96-04-22 23:53:22 EDT, JMILLER@SHAWNEE.EDU (Jim Miller) writes: >One of the problem with the anti-government rhetoric is that it is generaly confined to the big bad federal government. The major enemy of a more diverse musical world is >LOCAL governments. Whether we like it or not a lot of music is performed and >developed in the public arena of taverns and bars. I am NOT a libertarian (the post was from a libertarian slant) and am in fact quite liberal-in-the-sense-used-in-American political terms, AND I very much support arts funding, particularly the National Endowment and such ESSENTIAL projects as continued work at the Library of Congress and the Smithsonian, BUT there is a major kernel of truth in this post. In this part of the world (Oxford, Mississippi) there is OBVIOUSLY a major amount of blues talent yet very little public money is spent on it. The local arts council has obtained and spent far more money on third rate community theater than music (can anyone out there name a playwrite from this part of the world? Tennesse Williams doesn't count) than on music, and invariably failed to pay the pittance required to book R.L. Burnside and Junior Kimbrough, instead booking lesser acts for its Saturday arts days. This is typical, and the activity of some communities to acknowledge their blues heritage has (to my knowledge) involved a certain amount of dragging-city-fathers-kicking-and-screaming. One rather sad example: In June each year, a festival honoring Pop Staples is held in Drew, Mississippi, very near Dockery. This year they may not be able to have Pop Staples play at his own festival because the city fathers will not allow a beer sponsor (read that "real money") AND won't kick in enough to pay the money required to bring Staples in. What does Staples require? Air fair and motel accomodations!!! Tom Freeland ========================================================================= Date: Tue, 23 Apr 1996 00:20:43 -0400 Reply-To: SOO3713@ALPHA.CC.OBERLIN.EDU From: Owen Okie Subject: John L. Hooker and Acostic Blues. What to get? For all you knowledgable people out there. I need to get some more acoustic blues. All I have is some Lightnin, and Robert Johnson. I don't have any Leadbelly, or welll, you name it I don't have it. Also I'd liek to expand my JLH. I've got Hooker and Heat, Chill Out, Endless Boogie, and a compilation of short older recordings released by a french blues magazines, so I figuer I don't even have a 1Oth of whats available. Thanks! Owen ========================================================================= Date: Tue, 23 Apr 1996 04:16:53 GMT Reply-To: Jeffrey Daniels From: Jeffrey Daniels Organization: UMR Missouri's Technological University Subject: Chicago blues fest Comments: To: bit-listserv-blues-l@uunet.uu.net I am planning on heading up to Chicago for the blues fest on the first weekend in June. I have a schedule of events, but I was wondering who will be playing in the clubs at night after the festival shuts down. Hopefully there will be a lot of Blues-L shirts out there. Jeff Daniels ========================================================================= Date: Tue, 23 Apr 1996 09:32:54 +0200 Reply-To: "F. van der Leeuw" From: "F. van der Leeuw" Subject: Luther & Bernard Allison In-Reply-To: <199604221725.MAA17049@audumla.students.wisc.edu> On Mon, 22 Apr 1996, Art Schuna wrote: > At 05:52 PM 4/21/96 -0400, you wrote: > it. Bernard is Luther's son. He's had one or two previous releases > though none recent Three, in fact: - next generation (1990) - hang on (1993) - no mercy (live; 1994) Luther plays a little bit on the first two records as well. Bernard can also be heard on (at least) the following Luther Allison records: - Power wire blues (live; 1970). - Let's try it again (live; 1988) - More from Berlin (live; 1990) NB. The titles mentioned above are for Europe, I don't know whether the USA titles are equal. Best, Frank van der Leeuw Amsterdam, Netherlands ========================================================================= Date: Tue, 23 Apr 1996 03:34:31 -0700 Reply-To: Kelly Hoggard From: Kelly Hoggard Organization: The Wolfpack Subject: Re: Where is Gene Dinwiddie??? Comments: To: ksailors@HOOKED.NET Kenneth M. Sailors wrote: > > On 22.Apr.96, Guy Tapper wrote: > > > [...] Paul Butterfield Band Live, a double record on Elektra. > > Gene Dinwiddie was part of the horn section. I don't know if > > that album was really any good or if it was just the times but > > I sure played it alot and enjoyed it. > > Interestingly enough, an album produced & engineered by Todd Rundgren. > (I didn't know much about *him* then but I was to later -almost split an > infinitive! Watch out for the grammar patrol- get hit over the head, > BIG time.) I bought "P.B.B.L." because it had "Everything's Gonna Be > Alright" which was on the Woodstock album. _Totally_ different > version - had a horn section; wasn't into horns at the time. We all > grow up. I like this album more everytime I play it. "No Amount of > Lovin'" wow! Still don't know if it's any good, though, in objective > terms. Think I'll go play it again. > > /))((\ > -(.)(.)- > | \/ | Eugie! > ////\\\\ Baange > \__/ "I'm just naturally crazy, Baby!" Check out Mark Naftalin's website for more info on Paul Butterfield, of whom he was a member. Can't remember the URL but it may be http://www.winner.com for Winner Records. Here's what little I know: 1) The horn section also contained a very young David Sanborn - at least on 'The Resurrection of Pigboy Crabshaw' album. 2) The band 'Better Days' was not this band - that band was very country-bluesish with Geoff Muldaur (Maria's than hubby) and Amos Garrett - who supplied the lead guitar on 'Midnight at the Oasis'. I saw them in South Bend in 1973 with Weather Report (Wayne Shorter! Joe Zawinul! Miroslav Vitous! Airto!)as an opening act! -- kelly@netusa1.net(Kelly Hoggard) The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! Check out their home page at http://www.netusa1.net/~kelly/ ========================================================================= Date: Tue, 23 Apr 1996 05:22:50 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1955, Ray Charles returned to his home state long enough to record "Drown In My Own Tears", and "Hallelujah, I Love Her So" for Atlantic Records in Miami. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ Strip away the phony tinsel of Hollywood and you find the real tinsel underneath. - Oscar Levant ========================================================================= Date: Tue, 23 Apr 1996 05:40:36 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: John L. Hooker and Acostic Blues. What to get? Comments: To: Owen Okie In-Reply-To: <01I3V0NEXAHU002010@alpha.CC.OBERLIN.EDU> On Tue, 23 Apr 1996, Owen Okie wrote: > > I need to get some more acoustic blues. All I have is some Lightnin, and > Robert Johnson. I don't have any Leadbelly, or welll, you name it I don't have > it. A nice place to start for acoustic (very high quality recordings) is Biograph Records. They have Johnny Shines, Bukka White, Fred McDowell, Leadbelly, Gary Davis, Willie McTell and some others - There is a review page for them at - http://www.panix.com/~bsco/biograph/ Also if you go there ck out 2 blue clickers on the page. 1 will get you special pricing on any of the Biograph CDs until the end of the month and the other "CD GIVEAWAY" will let you enter into the Biograph Game to win 5 CD's (any ones from Biograph that you want. Also I like Robert Lucas a lot. Not dead yet, and recording for Audioquest Records (http://www.panix.com/~bsco/audioquest/). He is right in the vain of Robert Johnson et al. This is a strong & vibrant young acoustic maestro who deserves lots of attention - these recordings also have stellar sound reproduction. Barry ========================================================================= Date: Tue, 23 Apr 1996 04:35:50 GMT Reply-To: CKUT_online@babylon.montreal.qc.ca From: CKUT online Organization: Babylon, Montreal, Canada Subject: Re: Harmonica Comments: To: cheese@TIAC.NET Check out the Blues Web at www.island.net/~blues Then connect to Harp-L Good luck. ========================================================================= Date: Tue, 23 Apr 1996 04:26:45 GMT Reply-To: CKUT_online@babylon.montreal.qc.ca From: CKUT online Organization: Babylon, Montreal, Canada Subject: Re: AM radio Canadian Blues Show? Comments: To: gconstan@CCINET.AB.CA There is also at least one compilation cd "Saturday Night Blues" featuring Canadian blues artists, many of whom are only available on indie or self-produced tapes/cd. Definitely worth checking out. John Detcheverry, CKUT FM 90,3 ========================================================================= Date: Tue, 23 Apr 1996 10:42:37 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Lil' Ed with David Weld & the Blues Imperials In-Reply-To: On Tue, 23 Apr 1996, In a flurry of self correction Art Schuna wrote: > In article <4lgpau$flu@news.doit.wisc.edu> Art Schuna writes: > > >Subject: Lil' Ed with David Weld & the Blues Imperials > > Alright, I admit it. I screwed up here - the group is now > called Dave Weld and the Imperial Flames (blues Imperials > was Lil' Ed's old group). .... and Dave Weld was originally part of that group. What is the full story here anyhow? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [23/4/96 6:34 AM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 23 Apr 1996 13:14:54 +0100 Reply-To: WALLER JONATHAN From: WALLER JONATHAN Subject: O.V.Wright Hello men and women of the blues! Can anyone reccomend some good O.V.Wright to get....I have his HI albums but would like to get some earlier stuff! Thanks in advance. ========================================================================= Date: Tue, 23 Apr 1996 08:28:21 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Good news for Fess fans I found this on the web this morning. As a big fan of Professor Longhair, I'm very excited about this prospect. "A previously unreleased set from New Orleans musical legend Professor Longhair is in the process of being resurrected. Canada's Stony Plain Records is planning a summer release of "Fess' Gumbo," a November 1979 recording done at New Orleans Ultrasonic Studios. The CD features Fess, (Professor Longhair), displaying his magic piano style without band accompaniment and vocals. The instrumentals on the album are interspersed with quotes and dialogue from Fess, taken from an interview he did with Andy Kaslow, who was in his band at the time." Disclaimer: I am in no way associated with Stoney Plain records or the estate of Professor Longhair, and only did this in hopes of squeezing an advance copy out of Richard The Younger. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Tue, 23 Apr 1996 07:40:17 CST Reply-To: William Shute From: William Shute Subject: Leigh/Lyon "Texas Blues Traditions" From: Bill Shute As director of the l996 Multicultural Voices In Literature Conference at San Antonio College, I managed to convince the powers-that-be to allow me to book two musical acts this year. Our theme was "Rites and Rituals," and I was able to justify musical acts who are working in traditional forms and thusable to cover the "ritual" side of things. The first was the conjunto accordion great Valerio Longoria, and the other was the duo of Keri Leigh and Mark Lyon, covering the blues. After seeing the Leigh-Lyon duo at the Johnny Clyde Copeland benefit concert in November here in San Antonio, I was blown away by them and hoped they were available. Fortunately, they were in between tours and accepted our modest offer. In my faxed "negotiations" with Ms. Leigh, I told her that the theme of her presentation would be "Texas Blues Traditions," but let her know that whatever she did, as long as some lip service was paid to the "tradition," would be fine. I would just like to inform my blues-l colleagues that Keri Leigh and crew put together a DYNAMITE 75-minute performance/presentation which literally was a history of Texas Blues in miniature. With some beautiful narrated historical passages, they told the story of Texas Blues from the turn of the century, through the initial recordings made in the mid-20s, through the depression, through the postwar era, through the 1960s "discoveries" such as Mance Lipscomb, and ending with a nice tribute to Keri's pal, the late Stevie Ray Vaughan. Individual greats--from Blind Lemon Jefferson to Sippie Wallace to T-Bone Walker-- were discussed, and a tune or two from that artist was played and sung. The presentation was all acoustic, and in addition to Keri Leigh on vocal and Mark Lyon on guitar, National Steel Guitar, and vocal, Greg Jackson was on 2nd gtr (great on the ragtime material!) and narrated some, and on drums played primarily with brushes John Teames joined the set partway in and filled out the sound well, as well as narrating a fine section on his home turf, the Deep Ellum area of Dallas. The show began at 8 am (!!!!), yet through the magic of coffee the band cooked and simmered just as if they were "morning people" like I am! This was a beautiful and informative presentation, satisfying both to semi- knowledgeable peoplelike me and to blues novices alike. Keri, Mark (seems as tho Mark and I lived in Stillwater at the same time and were in college at OSU together and knew many of the same people-- small world!), Greg, and John are really nice people and, obviously, are first and foremost blues lovers. They could have just done their usual set and would have gotten paid the same, but they were inspired by the challenge and took the opportunity to turn people onto the blues and its great tradition. If any of you are in a position to book Keri and the Blue Devils to do this presentation at an educational institution, PLEASE contact them (I'll give you her mailing address if you're seriously interested). I'd also like to suggest to them that maybe they could videotape this presentation and have it used in schools? Thanks to Keri, Mark, and the Blue Devils for their wonderful presentation and for their commitment to the blues. They told me that in a few weeks they will be playing in Wisconsin and in the upper Midwest. Don't miss them!!! Bill Shute San Antonio, TX who's looking forward to this coming weekend's Bowie Street Blues Festival, starring Texas Johnny Brown, Lavelle White, and Jim Suhler and Monkey Beat. Institute of Texas Cultures grounds, San Antonio, TX ========================================================================= Date: Tue, 23 Apr 1996 08:00:52 -0700 Reply-To: Kelly Hoggard From: Kelly Hoggard Organization: The Wolfpack Subject: Re: Lil' Ed with David Weld & the Blues Imperials Comments: To: Pat Hertel Pat Hertel wrote: > > .... and Dave Weld was originally part of that group. What > is the full story here anyhow? > > phertel@cmc.doe.ca > OR bv808@freenet.carleton.ca > Local Time [23/4/96 6:34 AM] > "Tuesday's just as bad..." Here's what I've heard: Lil' Ed evidently fell out of favor with Bruce Iglauer at Alligator - too much drinking, missing gigs, etc. Meanwhile Dave Weld is trying to get his act out there, and decides to help out Ed, which in turn helps out Dave. So, now Lil' Ed is Dave's sideman, although Ed's singin' and playin' is carrying the show. I know, because I saw them at the Three Rivers, Michigan blues fest on Labor Day, and at IUSB in South Bend a month later. Ed, as i said, does carry the show - regardless of what problems he has had, he still has it! As for Dave......practice, practice, practice...... -- kelly@netusa1.net(Kelly Hoggard) The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! Check out their home page at http://www.netusa1.net/~kelly/ ========================================================================= Date: Tue, 23 Apr 1996 09:06:31 GMT Reply-To: Peter Gallagher From: Peter Gallagher Organization: XS4ALL, networking for the masses Subject: CD number of "Too wet to Plow" ? Comments: To: bit-listserv-blues-l@relay1.uu.net Hi all, if somebody could post the Label and number of Johnny Shines' lauded CD "Too wet to Plow", I'd be most appreciative. Thanks in advance! Regards, PeterG (I'm still here - really :-) ) -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." ========================================================================= Date: Tue, 23 Apr 1996 09:10:41 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Good news for Fess fans Comments: To: "P.W. Fenton" In-Reply-To: <199604231227.IAA108694@osceola.gate.net> Another wonderful Fess release is his "The London Concert" on JSP (#202). It is also basically a solo outing by the Profe- ssor except in spots he is backed on congas by Alfred Roberts. The above is "live stuff" and the sound quality is beautiful. Review is at http://www.panix.com/~bsco/jsp/202.html Like yourself Paul I am awaiting the Stony Plain release. Also, for anyone who has not paid full attention to the blues releases on Stony Plain we will be adding them to our site as of May 15th or thereabouts. None of the reviews are in yet - but I will say that their release of Long John Baldry's CD On Stage Tonight is a must own (live and cookin'). Barry On Tue, 23 Apr 1996, P.W. Fenton wrote: > "A previously unreleased set from New Orleans musical legend > Professor Longhair is in the process of being resurrected. Canada's > Stony Plain Records is planning a summer release of "Fess' Gumbo," a > November 1979 recording done at New Orleans Ultrasonic Studios. The > CD features Fess, (Professor Longhair), displaying his magic piano > style without band accompaniment and vocals. The instrumentals on the > album are interspersed with quotes and dialogue from Fess, taken from > an interview he did with Andy Kaslow, who was in his band at the > time." NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 22 Apr 1996 23:37:20 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: "Champion" Jack Dupree If anyone can lead me to more than summary information of Champion Jack Dupree's life here in the U.S. , I'd be very grateful. All of the sudden I got an urge to write about him but it seems there isn't much available where I'm looking. RJ Bauman (cutting down a tree in back yard for Earth Day) "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Tue, 23 Apr 1996 09:00:45 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: O.V.Wright Comments: To: st1walj1@DOC.NTU.AC.UK You're sure asking all the right questions so far. His best material was recorded for Backbeat (a Duke-Peacock subsidiary) and the best of this is on MCA10670 +WRIGHT*O.V. SOUL OF O.V. WRIGHT MCA 12/92 This is probably one of the top five soul CDs of all time. EW Eliot Williams University of Wisconsin Department of Medicine ecwillms@macc.wisc.edu ========================================================================= Date: Tue, 23 Apr 1996 10:10:09 -0400 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Roy Rogers Web Site I'd like to invite you to come by the new Roy Rogers web site at: http://www.vivanet.com/~blues/roy/rogers.html which I've created for Roy and Virgin/Pointblank Records on the occasion of his brand new Pointblank release "Rhythm & Groove." You'll find a nice bio, some great photos, a run-down on all his releases (with a wav or two), current tour dates, and more to come. For those of you who are not familiar with Roy Rogers, he is a remarkable, west coast slide guitarist/singer/songwriter who for many years played with John Lee Hooker's Coast To Coast Band and also produced Hooker's last four releases, including the latest, Grammy-winning "Chill Out." "Rhythm & Groove" is Roy's sixth solo release and his first for Pointblank. He's currently touring in France and begins an eastern U.S. tour in mid-May. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Tue, 23 Apr 1996 10:16:24 -0400 Reply-To: Stephanie Manna From: Stephanie Manna Subject: Re: Chicago blues fest On Apr 23, 1996 04:16:53, 'Jeffrey Daniels ' wrote: >I am planning on heading up to Chicago for the blues fest on the first >weekend in June. I have a schedule of events, but I was wondering who >will be playing in the clubs at night after the festival shuts down. >Hopefully there will be a lot of Blues-L shirts out there. > >Jeff Daniels I hope you will come out and see James Peterson at The Kingston Mines,2548 N Halstead, May 31 and June 1st. He's on tour out of Florida with a six man band and tearing it up. He's just finished recording CD#6 and you'll get a chance to hear a sneak preview of some of his new songs coming out on the CD. There are 8 instruments played:Hammond B3 (yes they are touring with a Hammond B3) 2 guitars,bass,drums,keyboards,tenor sax and trumpet. Check out his homepage at: http://misnet.com:80/malaco/blues/jpeterson ========================================================================= Date: Tue, 23 Apr 1996 10:33:11 -0400 Reply-To: Ted Dames From: Ted Dames Subject: BIG SUGAR Hello Everybody! I've been on no-mail for quite some time and have just returned from a little hiatus. a friend of mine in The Hague turned me on to the (I Believe) Toronto based band "BIG SUGAR". Could somebody please give me currnt info on these guys? Thanks! TED bandana@fast.net is Ted Dames (aka A. Pepperhead)- Sauce Maker and Resident Bon Vivant at Bandana's Serious Pepper Products located in Sub-Tropical S.E. Pennsylvania Producers of All Natural, Salt and Additive Free, Hot Pepper Sauces. "You're SO good....I'm gonna put you inna bag and zip you up!........... then squeeze you out a little at a time." - Smokey Wilson ========================================================================= Date: Tue, 23 Apr 1996 07:38:55 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: April 24 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BIENSTOCK, FREDDY (owner : E. B. MARKS) b. 1928-0424, VIENNA, AUSTRIA BROWN, LILLYN [LILLIAN THOMAS] (v) b. 1885-0424, ATLANTA, GA CLIFFORD, DOUG R. (d/CREEDENCE CLEARWATER)b. 1945-0424, PALO ALTO, CA DALEY, RICHARD M. (mayor of chicago)b. 1942-0424, CHICAGO, IL GRIFFIN, JOHNNY (tsax) b. 1928-0424, CHICAGO, IL HENDERSON, JOE (tsax) b. 1937-0424, LIMA, OH JOHNSON, CLIFFORD "SLEEPY" (g/BOB WILLS) d. 1976-0424, MEMPHIS, TX 67 KELLY, H. ANN (of THE HUES CORPORATION) b. 1947-0424, FAIRCHILD, AL LEE, CLAIR (of THE HUES CORPORATION) b. 1944-0424, SAN FRANCISCO, CA MARON, ODED (BLUES-L MEMBER) b. 1971-0424, ISRAEL MISS HONEY (ALEXANDER) (p/ROD PIAZZA) b. 1951-0424, MUNDY, JIMMY (tsax/arr/BASIE) d. 1983-0424, NEW YORK CITY, NY 75 NEWELL, EDDIE LITTLE (hca) d. 1981-0424, ST. LOUIS, MO -- OWENS, RICKY (of THE VIBRATIONS/JAYHAWKS) b. 1939-0424, ST. LOUIS, MO SCOTT, FREDDIE (v/SHOUT REC) b. 1933-0424, PROVIDENCE, R.I. NY SPANN, OTIS (p/MUDDY WATERS) d. 1970-0424, CHICAGO, IL 40 SPARROW, JOHNNY (tsax/HAMPTON) d. 1990-0424, BALTIMORE, MD 70 ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 23 Apr 1996 13:23:43 GMT Reply-To: Art Schuna From: Art Schuna Organization: UW-Madison Subject: 2 For the Blues (Cats & Dogs) - blueshow.496 [1/1] Comments: To: bit-listserv-blues-l@uunet.uu.net I tried sending this yesterday. It apparently didn't get through. If in fact it does get posted twice, I'll apologize in advance for wasting bandwidth. This was the playlist for the Cats & Dogs blues show I did last Saturday on WORT-FM, Madison, WI 89.9 on your dial. In addition to C&D, I played a tribute to Bobby Robinson. Thanks to all who helped with suggestions. I wish I'd had the time (and the source material) for all of the suggestions given. Art Schuna begin 755 blueshow.496 M4$Q!64Q)4U0@1D]2(")45T\@1D]2(%1(12!"3%5%4R(@-"\R,"\Y-@T*5T]2 M5"U&32P@36%D:7-O;BP@5TD-"@T*5&AI2!W:7-H#0I))V0@:&%D('1H92!T M:6UE(&%N9"!T:&4@;75S:6,@=&\@:&%V92!U61E8V\O4F]U;F1E<@T*1'(N($AO2]4:'5N9&5R8FER9"!40D4U,#`U+0T* M,B`-"DAO=VQI;B<@5V]L9BU)($%I;B=T(%-U<&5R2=S($-A M="!786QK:6YG+U-L965P:6YG(%=I=&@@00T*4W1R86YG97(O2&EG:'1O;F4- M"@T*4V5T(%1H7-E;&8I+U1U71O;B`M($5V97)Y($1O M9R!(87,@2&ES($1A>2]#;VUP;&5T92!!;&%D9&EN("8-"DEM<&5R:6%L(%)E M8V]R9&EN9W,O0V%P:71O;`T*#0I3970@1F]U<@T*5VEL;&EE($QA;F4@+2!" M;&%C:R!#870@4F%G+U1%>&%S($-O=6YT2]";V)B>2=S($)O M;V=I92]296QI8PT*5VEL8F5R="!(87)R:7-O;B`M($MA;G-A2!-87)C:&%N("T@5&AE0T*4W1O`T*3&EG:'1N:6X@2&]P:VEN M0T*16QM;W)E($IA;65S("T@4VMY($ES($-R>6EN M9R]&:7)E($9U" Subject: House moved me, and Waterman too! My friends, I have a little tale to tell. I picked up a copy of the Worcester Phoenix, which is the local sister version of the big entertainment magazine The Boston Phoenix. There's a full page cover photo of bluesman Guy Davis and the title in red, "TO HELL AND BACK: Historic blues from Son House, Guy Davis, and Ronnie Earl" by Ted Drozdowski. Hmmmmmmmm, says I. This looks like a good read. Mostly I'm intrigued by the Son House part of the story, which is a full page about his life and the blues. It was great stuff, fascinating! To me, it was more engrossing than what I've read about Robert Johnson. The writer did a great job of capturing the essence of the eerie, haunted soul of the man and how he did battle with his personal demons in song, mostly by himself with his National steel. It occurred to me then, that two years ago before I'd become the blues-hound that I am now, I bought the 2-disc set, Columbia's "The Complete 1965 Sessions" and never listened to it. This is so creepy. I put on my headphones, dimmed the lights, poured myself a shot, and hit play on the Sony 5-disc changer. As I lay there in the darkness listening to the raw outpouring of this man's life in blues...Death Letter, John The Revelator, Grinnin In Your Face,....a vicious lightning storm hit the neighborhood, sending wild shadows and off-angle lighting through the room, and the haunting unaccompanied voice of Son House with the echoes of thunder. Man, this was chilly. I was moved beyond description. A tip of the hat, in the middle of the story, to our own Dick Waterman, who was the late House's manager for a time, and who has seen to it that money is getting out of Columbia's paws and into the hands of House's survivors, in- cluding his widow (his fifth wife). Let me give you a paragraph or two from the story: "Playing with SOn House is an experience few have had. Besides (Buddy) Guy and the handful of musicians he recorded with, I know o f only two others. One was Willie Brown, House's old running partner in the early days when Robert Johnson was an aspiring musician who'd come to see them ignite crowds at fish fries. The other is Cambridge (Mass.) resident country blues dynamo, Paul Rishell, who played and met with House at Waterman's apartment for three days in April 1977. "When I met him, he was like a feral old man", recalls Rishell. "Very powerful. He had this sort of wild look in his eye, like Charlie Manson. He was scary. Here was a man who carried a gun and had once shot another man through the head and gone to prison for a year. He had five wives. And the strength of his humanity struck me; he was no longer an abstract blues musician, someone whose records I had studied. I felt like he was on a hairtrigger, too. Like he could spring up from his chair and be on me in a second if he wanted to. He was just such a powerful presence. And somehow, I'm not sure, he gave me a stronger sense of the blues as an African music, something from another place." Wow. Powerful stuff. I can't believe I've had this cd set so long and never listened to it. Having heard it through my headphones with last night's storm as a back-drop, I don't think there's any more moving blues out there than this. Son House. Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 23 Apr 1996 10:59:19 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Good news for Fess fans Comments: To: pwfenton@gate.net On April 23, PW Fenton - The Baron Of Tampa - wrote: >>>Disclaimer: I am in no way associated with Stoney >>>Plain records or the estate of Professor Longhair, >>>and only did this in hopes of squeezing an advance >>>copy out of Richard The Younger. Whatever you're squeezing, it will have to be with Richard The ELDER ("That's MISTER Frozen Tundra, please"). Since you are having trouble identifying Richards, I won't even ask how you are with Dicks. Richard The (Much) Younger ========================================================================= Date: Tue, 23 Apr 1996 10:59:44 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Good news for Fess lovers Earlier today I posted an announcement about the upcoming Professor Longhair release on Stoney Plain records. Leo Aspiras wrote to me and tells me I may have made an error in my thinly disguised attempt to get an advance copy. It seems I refered to Richard Flohil as "Richard The Younger" when in fact he is "Richard The Elder". Well Leo fell right into my trap. It just gave me an opportunity to title another post "Good news for Fess lovers", (which by the way is that Stoney Plain will be coming out with great new material by Professor Longhair this summer). P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Tue, 23 Apr 1996 08:10:10 +0000 Reply-To: ksailors@hooked.net Comments: Authenticated sender is From: "Kenneth M. Sailors" Organization: Personal Copy Subject: Re: Full Moon (was: Where is Gene Dinwiddie???) On 22.Apr.96, I said: __ [...] AND, of course, Buzzy Feiten [...] played __ with Stevie Wonder What I forgot to mention (dare I?) was that Neil Larsen later played with Gregg Allman for an LP or two. I have one of them. It's not bad, but between Cher & the smack he wasn't really at his best. Gregg, not Neil. Oh, and to clarify a point I made: "Full Moon" was the album and band name, "Malibu" was a cut on that album. ========================================================================= Date: Tue, 23 Apr 1996 08:25:00 PDT Reply-To: Gary Joneson From: Gary Joneson Subject: Re: Winner Records was.. Gene Dinwiddie??? >Check out Mark Naftalin's website for more info on Paul Butterfield, of whom >he was a member. Can't remember the URL but it may be http://www.winner.com >for Winner Records. The corect URL is http://www.bluespower.com/ I see Mark Naftalin has added a section with info regarding a new CD release, "Coming In 1996 - East-West Live" Gary BluesWEB http://www.island.net/~blues/ ========================================================================= Date: Tue, 23 Apr 1996 09:33:36 -0600 Reply-To: Bennett Pearce From: Bennett Pearce Organization: UAB Pediatric Cardiology Subject: Re: Gatemouth writes - "Tribe" doesn't edit Comments: To: bit-listserv-blues-l@uunet.uu.net In article <96Apr21.065624pdt.37906-13775+1953@haven.uniserve.com>, Jim Witteveen wrote: > >Maybe it was intended to be published in Gate's own dialect? Whatever it was it makes you appreciate the obstacles that some have to overcome- as F. Scott Fitzgerald said-"The next time you feel like criticizing someone just remember that they haven't had all the advantages you've had." -- Bennett Pearce, MD ========================================================================= Date: Tue, 23 Apr 1996 04:58:54 -0700 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: JazzFesters 1st weekend Comments: cc: Markovd@METAMOR.COM Ddfon Markovits wrote: > Alright, a crazy idea. Where can the Blues-l folks meet in New Orleans. >It can be a show, at the fest, local saloon, pre-fest meal perhaps. > I know people have been discussing it, but was anything determined? Last night we held the 1996 Big Easy Entertainment Awards (relevant winners posted elsewhere here) and at the after-party dinner dance I sat with Mem Shannon and some promo people for a bit. (Mem's date was his mom! And he had to get her home so early that I didn't get a chance to ask him to dance. And he looked so spiffy in his fashionable tuxedo, too.) Mem reiterated to me that he would love to meet the Blues-L folks who have been so supportive of his album and live shows. He agreed that the best time/date would be his Friday 4/26 appearance at Margaritaville on Decatur Street. I'll certainly be there and be happy to perform any introductions. When I offered condolences on Mem's losing the Best Blues Artist awards to Snooks Eaglin, he couldn't have been more gracious, shaking his head vigorously, and exclaiming "NO, no, no--Snooks deserves EVERYTHING in the way of rewards. He's the greatest!" So--I offer again to help coordinate anything that may be needed locally to get us together for Mem's show. > Buffa's Lounge got the big thumbs up from a friend who was just there. Walter Wolfman >Washington is playing on Thursday. >They are supposed to have great grub too, reasonable. Be warned here: this isn't Walter's full show, but just a small trio, frequently acoustic, which isn't Walter's strength, IMHO; great as Walter's guitar and vocal skills are, his horn trio is much missed. His full band can be caught at the Fairgrounds and at the Maple Leaf Bar. But DO see him; the greatest soul blues player in the South, for my money. I can't honestly go along with the grub recommendation at Buffa's, but it IS passable. > Beverages- Cooter Browns, this dive of a tavern , has undoubtably the best selection >of beverages this beer geek has ever seen. Fine handcrafted American microbrews and for >the Belgium Beer lover this place rules. The local brew at Crescent City Brew Pub on Decatur is highly recommended too by all my beery friends. One more thought: Maybe we could all arrange to day/time to gather at Dick Waterman's photo exhibit in the Grandstand? And then of course there's Bill "Pearl Mesta" Morgan's offer to host us post-Fairgrounds at his place... --Maggie -- Maggie Mortensen<>Exarch Services<>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 'Born with the blues, my blue suede shoes, and underlying depression...' --Van Morrison ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Tue, 23 Apr 1996 12:14:14 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Tradition/Rykodisc info needed. Does anyone have the contact info for Tradition Rykodisc - 1st preference is e-mail 2nd preference is reg mail 3rd preference is Telephone / FAX I had it (remember they were here for a bit) and now it's gone. Private or post here is fine ..... Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 23 Apr 1996 11:48:01 -0500 Reply-To: "Claudio Caponi MARNR by way of Art Schuna " From: "Claudio Caponi MARNR by way of Art Schuna " Subject: Spivey-Cadence report Claudio recently sent me this post reviewing a few of the Spivey LPs. Since I thought it would be of interest to the List, I'm forwarding it to you. For those unfamiliar with this label, Victoria Spivey produced a number of LPs with Muddy Water's band, Otis Spann and others. I've seen the LPs on occassion (Jazz Record Mart in Chicago for example) but never got around to picking them up. To date, they have not been reissued on CD but Cadence magazine lists them as being available in their catalog. Art Schuna All sessions have a very informal, jamsession kind of feeling (and from the liner notes this seems to be a constant of Spivey Records). My favorite for now is the most informal of them, LP 1031 (Otis Spann Up in the Queen's Pad) , which has recordings from three different sessions at Victoria Spivey's apartment, with Spann playing a wonderful old upright piano, Sammy Lawhorn playing acoustically an electric guitar (it sounds at times as a mandolin) and Victoria singing, chatting, playing the piano strings (!) on one song. One track has a misterious kazoo player (my guess is this is Len Kunstadt, Victoria's partner in the label) and Victoria's parakeets tweeting and chirping (duly credited). Side 2 starts with what seems the beginning of Half ain't been told, but Otis transforms it in Five Long Years, and among Victoria's cries ("Have you ever been mistreated?" sings Otis, and Victoria "Yes, by you") and what is described in the notes as an emotional outburst, produces a great version of it. In general, one wishes at times that Victoria were a little more sedate, but it all contributes to the atmosphere of three artists having a lot of fun at home. According to the notes this was recorded on a Sony tape recorder. Strangely, to my non-musician, non-sound-technician ears this has better sound than LP 1010 (The Bluesmen of the Muddy Waters Chicago Blues Band) which is recorded in a studio. LP 1010 has the worst sound, kind of uneven, some hiss, changes in volume, but has great moments, and at times the sound improves. Anyhow, the sound is much better of what I feared it could be. It includes what according to the notes are the first vocal recordings by Pee Wee Madison (great rendition of Last Night), Little Sonny Wimberly and Sammy Lawhorn. Otis plays organ on some tracks, and there is a great duet with Victoria "Diving mama", on the music (and some verses) of Ain't nobody bizness. "Mother and son" is a 10 minute very slow blues with vocals once again by Otis and Victoria, Otis on organ (Wow!), and solos by Lawhorn, Oscher and Pee Wee on (wah wah). Great guitar playing all around makes it hard to choose a favorite... LP 1031 (I think Claudio meant LP 1013, Otis Spann vs. the Everlasting Blues here, correct me if I'm wrong Claudio) has Otis Spann a little behind in the mix of some tracks for my taste, specially when Malik and Luther are both present. There are two tracks with Johnny Young on vocals and mandolin, Otis on piano and S.P. Leary on drums that are pure joy. If you have the Arhoolie CD with the 4 duets by Johnny and Otis, you know what I mean. Actually I am relistening to it right now, and most tracks have very good sound. It is also becoming my favorite... This is the most "formal" of the three LPs, but still there is an atmosphere of improvisation and fun (there is a comedy sketch with Otis and Luther playing two drunks over a piano-drums background). I am tired of typing now, but if you want I can send you a complete track listings, plus information on the rest of the Spivey catalogue, as, at least part of it (including artists featured) is printed on one of the LPs. I am definitively biased when it comes to Otis Spann (and Johnny Young, Luther Johnson, Pee Wee, Sammy Lawhorn, etc.), but to me these are essential (and I don't use this word lightly) for every Chicago Blues fan, specially at the price of 5 $...I am definitively going to order more (there are 12 more that look very tempting on the catalogue). ========================================================================= Date: Tue, 23 Apr 1996 11:54:37 -0500 Reply-To: Art Schuna From: Art Schuna Subject: 2 For the Blues (Dogs & Cats) --=====================_830303677==_ Content-Type: text/plain; charset="us-ascii" Sorry for the previous nonsense message. Hopefully, this one will arrive intact and in readable format. Art Schuna --=====================_830303677==_ Content-Type: text/plain; charset="us-ascii" Content-Disposition: attachment; filename="BLUESHOW.496" PLAYLIST FOR "TWO FOR THE BLUES" 4/20/96 WORT-FM, Madison, WI This show had two themes - Cats & Dogs and a birthday tribute to Bobby Robinson. I want to thank all of those who provided suggestions for the Dog & Cat portion of the show. I only wish I'd had the time and the music to have used all of them in the program. CATS & DOGS (artist/song/source) John Delafose - Watch That Dog/Pere et Garcon Zydeco/Rounder Dr. Horse - Jack, That Cat Is Clean/Fire Fury Records Story/Capricorn Set Two Dan Burley & The Skiffle Boys - Big Cat, Little Cat/Circle Blues Session (Southland SCD-9) Sista Monica - Pussy Cat Moan/Get Out My Way/Thunderbird TBE5005- 2 Howlin' Wolf-I Ain't Superstitious/Chess Box/MCA David Malone - I Got The Dog in Me/Same/Capricorn James Armstrong - My Baby's Cat Walking/Sleeping With A Stranger/Hightone Set Three Little Esther - Hound Dog/Better Beware/Charly CD248 Big Mama Thornton - Just Like A Dog/Hound Dog-The Peacock Recordings/MCA Duke Henderson - Hot Dog Blues/Get Your Kicks/Delmark Big Joe Turner - Low Down Dog/Have No fear, Big Joe Turner Is Here/Savoy Tampa Red - Let Me Play With Your Poodle/Document DOCD5012 Irma Thomas - Your The Dog (But I Do The Barking Myself)/Turn My World Around/Shanachie Pee Wee Crayton - Every Dog Has His Day/Complete Aladdin & Imperial Recordings/Capitol Set Four Willie Lane - Black Cat Rag/TExas Country Blues 1948-51/Flyright Memphis Minnie - Black Cat Blues/Hoodoo Lady (1933-37)/CBS Blind Boy Fuller - Cat Man Blues/East Coast Piedmont Style/CBS Rufus Thomas - Bear Cat/Sun Records The Blues Years/Charly Little Willie John - Leave My Kitten Alone/Little Willie John/Deluxe Mabel John - Wait You Dog/Complete Stax/Volt Singles:1959-68 Magic Slim - Slammin' (neither dog nor cat but a nice instrumental break between the two themes)/Grand Slam (LP)/Rooster BOBBY ROBINSON TRIBUTE Set Five Champion Jack Dupree - Shim, Sham, Shimmy/Bobby's Boogie/Relic Wilbert Harrison - Kansas City/Same/Relic 7035 Don Gardner & Dee Dee Ford - I Need Your Lovin' (uncut version) (5:44)/Same/Relic 7116 Bobby Marchan - There Is Something On You Mind/Fire Fury Story/Capricorn Sam Myers - You Don't Have To Go/Fire Fury Story/Capricorn Buster Brown - Fannie Mae (2:59)/Same/Relic 7064 Set Six Lightnin Hopkins - Mojo Hand/Same/Collectables 5111 Arthur Crudup - That's All Right Mama/Same/Relic 7036 Elmore James Madison Blues/King of the Slide Guitar/Charly Elmore James - Sky Is Crying/Fire Fury Story/Capricorn Outro Ollie Nightingale - I'll Drink Your Bathwater Baby/Same/Ecko ECD1001 Art Schuna --=====================_830303677==_-- ========================================================================= Date: Tue, 23 Apr 1996 13:27:29 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re[2]: Gatemouth writes - "Tribe" doesn't edit > Cary Wolfson said... Right you are, PW. I've edited MANY an interview. Anyone who tells you "We publsih interviews verbatim because we don't want to mess with what the artist said," is just plain lazy. It's the editor's JOB to illuminate, clarify and *make intelligible* what the interviewee had to say. You can still keep the flavor of the language while correcting gross errors in spelling, etc. I remember a discussion not too long ago about editing and censorship, where I was trounced rather severely because my opinion--as an editor--is writing should be edited for the sake of the audience, among other criteria, and a GOOD editor can keep "the flover of the language," as Cary said, and still streamline and improve the writing without taking away from the power and purity of the interview. GOOD writing and GOOD editing. Now that an article has appeared in print using Gatemouth Brown's own words and spelling, some of you are saying, "you know, this is difficult to read, condescending, should've been edited, etc., etc." You can't have it both ways, folks. :) Shannon ========================================================================= Date: Tue, 23 Apr 1996 13:45:17 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: JazzFesters 1st weekend Comments: To: exarch@accesscom.net On April 23, Maggie Mortensen wrote: >>>One more thought: Maybe we could all arrange to >>>day/time to gather at Dick Waterman's photo exhibit >>>in the Grandstand? >>>And then of course there's Bill "Pearl Mesta" >>>Morgan's offer to host us post-Fairgrounds >>>at his place... Bad news on this subject . . . I placed a major exhibit in the library of Arkansas State University in conjunction with last weekend's blues symposium. It was 'my' understanding that I would take it down on April 22nd and bring it to New Orleans. However, it was 'their' understanding that it would remain there through Friday, April 26th. They explained to me that it was a complicated process of state funding to get the exhibit in there, and it was impossible to undo the formal paperwork. I have notified Jazz Fest that I will NOT be there for the first weekend and asked their permission to bring it in for the second weekend. No reply yet. Bummer . . . Dick Waterman ========================================================================= Date: Tue, 23 Apr 1996 17:47:30 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Tradition/Rykodisc info needed. In-Reply-To: On Tue, 23 Apr 1996, Barry Silverberg wrote: > Does anyone have the contact info for Tradition Rykodisc - > 1st preference is e-mail > 2nd preference is reg mail > 3rd preference is Telephone / FAX > > I had it (remember they were here for a bit) and now it's gone. > > Private or post here is fine ..... RYKODISC, PICKERING WHARF, BLDG. C, SALEM, MA. 01970 tel: (800)-2-earful e-mail: info@rykodisc.com www: http://www.shore.net/rykodisc > phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [23/4/96 13:45 PM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 23 Apr 1996 13:51:24 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Classical Funding and Audience Attendance Geez -- take a day off to go to a concert out of town, and everyone gets out of hand. MY whole point in unitentionally starting this war that has mushroomed into international politics, tobacco subsidies, and gov't conspiracies (Chris Carter...please note...I want to see this on the X-Files!) was a response to LW's offhand remark that classical music is not thriving. I had NO thoughts about funding, Republicans, volunteers, Mapplethorpe (fine, fine photographer, by the way), Star Wars, or oboe players. MY point was that in my Cincinnati experience, the CSO--on a "bad" night, draws a bigger AUDIENCE than a free blues show with two national headliners. My point wasn't who funds the CSO or who paid the rent on the pavilion in the city park for the free show featuring Buddy Guy and Lonnie Brooks last fall. MY ENTIRE POINT was that the local CSO on an off night draws a bigger PAID audience than a FREE, open to the public, NATIONAL HEADLINERS blues concert. To counterpoint the comment that "classical is not thriving." Perspective. Use it or lose it. Shannon ========================================================================= Date: Tue, 23 Apr 1996 14:05:16 +0000 Reply-To: tkelley@ARL.MIL From: Troy Kelley Organization: ARL Subject: Re: Re[2]: Wait a Minute...Classical Not Thriving?? -Date: Mon, 22 Apr 1996 06:56:55 -0800 -From: Jim Witteveen -Subject: Re: Re[2]: Wait a Minute...Classical Not Thriving?? > >Utter hypocrisy covering hatred of culture... -I've got a problem with the government funding the arts as well, Don, and I -most certainly do not "hate culture". There are several problems with -government funding as I see it: -1. Incredible inefficiency, bloated bureaucracy, and the usual stupidity of -highly centralized and over-sized government cause vast sums of money to -disappear down the government's black hole. Almost anything run by the -government could be better run by the private sector. I am so sick of this Republican argument I could die!! Why is it that ALL of government is considered "inefficent" and "bloated"??? You think parts of private industry are not "inefficient" and "bloated"? You don't think that General Motors has some parts of it's organization that are not "inefficent"? You don't think AT&T is at times incrediably innefficient in it's operations? When something - i.e. - an organization - gets big, there are going to be inefficiencies, it is that simple. To make people in those organizations do more with less, is NOT the answer. BTW, I think parts of gov't have become much better by learning from their mistakes. Take a look at the Defense Department. After Vietnam, things were not going so well for DoD. So instead of CUTTING the budget, things were made more efficient and weapon system technology procurment CHANGED - which led us to the Gulf War - where we kicked some serious ass. Why don't you go down to the Pentagon and tell any U.S General that his organization is "bloated and inefficient" and see what kind of response you get. -2. Who decides what 'cultural event' or activity is going to be funded or -not funded? What criteria do you use? If a project is considered by many -to be offensive (ie. Mapplethorpe, 'Piss-Pope [excuse me, but this was a -statue of the Pope floating in urine recently on display at the Vancouver -art Gallery], Annie Sprinkle's 'performance art'), should it still be funded -by me, even though I object strenuously and vociferously? There is no -longer a baseline available to judge what is moral or immoral anymore, so -when people protest funding on moral grounds, they're called prudish and -anti-art, and 'stop trying to force your morality down our throats...'. This one, I agree with. It is tough to determine what is objectionalable. But THAT DOES NOT MEAN THAT THE MONEY SHOULD BE CUT!! It just means that objectionable material might not get funded. It seems as if this is the republican answer to everything. If it doesn't work so well - don't fix it - just cut the money to it -I say cut subsidies to tobacco farmers, too, by the way. And Sam -Donaldson's sheep (or llamas, or whatever they are). It's not the 'waste of -money' that I'm concerned about in the main, although that is part of my -concern; it's the entire principle involved. -Jim (hndful@uniserve.com) Yeah??.. Well I understand that Newt Gingrich's district in Georgia gets more funding than just about any other district in the country. Let's see, there was funding for a nice new lake which was built by the Corps of Engineers and tax payer dollars (and I doubt that Newt was complaining that the lake was built "inefficiently"), and Newt's old school gets lots of funding - including funding to study "the medicinal benefits of marajaunia". Interesting where some people draw the line for government funding, don't you think Jim? Troy ========================================================================= Date: Tue, 23 Apr 1996 15:13:13 -0300 Reply-To: Leonardo Kenji Shikida From: Leonardo Kenji Shikida Subject: Looking for some blues from Brazil I'm working in a page about brazilian blues. It's under construction, so there'sonly its portuguese version at http://www.dcc.ufmg.br/~kenji/blues.html Please, i would like some suggestions and opinions about it and how can i improve it. Thanks in advance Leo ========================================================================= Date: Tue, 23 Apr 1996 13:32:01 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Re: Re[2]: Wait a Minute...Classical Not Thriving?? In-Reply-To: Message of Tue, 23 Apr 1996 14:05:16 +0000 from On Tue, 23 Apr 1996 14:05:16 +0000 Troy Kelley said: > >-1. Incredible inefficiency, bloated bureaucracy, and the usual stupidity of >-highly centralized and over-sized government cause vast sums of money to >-disappear down the government's black hole. Almost anything run by the >-government could be better run by the private sector. Great piano on that recording. I can't recall who played it anyone know...? >Yeah??.. Well I understand that Newt Gingrich's district in Georgia gets more >funding >nice new lake which was built by the Corps of Engineers and tax payer dollars >(and I >doubt that Newt was complaining that the lake was built "inefficiently"), and >Newt's This one reminds of the early Chicago blues sound, great harmonica tone, sounds like a Little Walter tone. You got to love this recording. Nice slide guitar also... LW ========================================================================= Date: Tue, 23 Apr 1996 14:50:25 -0400 Reply-To: smirkyface From: smirkyface Subject: Mike Hill Has anyone seen Mike Hill & the Blues Mob in concert within the last month? I saw him about 7 months ago, and I've lost track of where he is and what he's doing. BRIAN MCLEAN PHOTOGRAPHY & SMIRKYFACE PRODUCTIONS "life's too short to live the blues" http://www.netaxs.com/~blmclean ========================================================================= Date: Tue, 23 Apr 1996 12:54:00 -0600 Reply-To: bmpech@MSCD.EDU From: Bruce Pech Subject: Re: House moved me, and Waterman too! Comments: To: "" In-Reply-To: <01I3VLAG19W8007I8R@SCI.WFBR.EDU> On Tue, 23 Apr 1996, wrote: > My friends, I have a little tale to tell. I picked up a copy of the Worcester > Phoenix, which is the local sister version of the big entertainment magazine > The Boston Phoenix. There's a full page cover photo of bluesman Guy Davis > and the title in red, "TO HELL AND BACK: Historic blues from Son House, Guy > Davis, and Ronnie Earl" by Ted Drozdowski. [snip] > Let me give you a paragraph or two from the story: > > "Playing with Son House is an experience few have had. Besides (Buddy) Guy > and the handful of musicians he recorded with, I know o f only two others. One > was Willie Brown, House's old running partner in the early days when Robert > Johnson was an aspiring musician who'd come to see them ignite crowds at fish > fries. The other is Cambridge (Mass.) resident country blues dynamo, Paul > Rishell, who played and met with House at Waterman's apartment for three days > in April 1977. Rick -- I remember reading an interview with John Mooney in which he recalled playing with House while he was growing up in Rochester, NY. Among other reminiscences, Mooney told of handing House his (Mooney's) newly-acquired vintage National only to have House's ferocious attack dent the cone as soon as he started playing. Having seen House back in the 60's and, more recently on video, I don't doubt it. -- BP Boulder, CO ========================================================================= Date: Tue, 23 Apr 1996 15:01:02 -0400 Reply-To: FORCELLAD@CCSUA.CTSTATEU.EDU From: Domenic Forcella Subject: Newt, was public funding Please listen to the Austin Lounge Lizards CD "Small Minds" for the definitive in Newtness. Song is titled Gingrich the Newt. Domenic Forcella Traveling with the Blues wfcs - 107.7fm ========================================================================= Date: Tue, 23 Apr 1996 15:10:15 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0030 From: "DUTTWEILER.J" Subject: Re: Re[2]: Wait a Minute...Class Comments: To: tkelley@ARL.MIL Date: Tuesday, 23 April 1996 3:10pm ET To: GO-MAIN.TKELLEY@DOASMAIN.SNADS, Internet From: DUTTWEILER.J@GOMAIL Subject: Re: Re 2 : Wait a Minute...Class In-Reply-To: The letter of Tuesday, 23 April 1996 2:56pm ET Just for the record re: the "funding" Newt's district in Georgia gets. The fast majority of that wonderful statistic Mr. Kelley uses includes the Military base located there and the defense contracts for Lockheed, also located there - both of these predate Mr. Newt's being the representative of that particular district (which was just created either 2 or 4 years ago) as does the construction of that particular lake mentioned (which was what, gee, thirty or more years ago). The fact of the matter is Government IS inefficient, any organization that is not concerned with where it's money comes from is generally inefficient, as are most monopolies. JD ========================================================================= Date: Tue, 23 Apr 1996 14:13:07 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Re: Re[2]: Wait a Minute...Class In-Reply-To: Message of Tue, 23 Apr 1996 15:10:15 GMT from On Tue, 23 Apr 1996 15:10:15 GMT DUTTWEILER.J said: > >The fact of the matter is Government IS inefficient, any organization that is >not concerned with where it's money comes from is generally inefficient, as >are most monopolies. I think that one's on Delmark, but I'd have to check to be sure LW ========================================================================= Date: Tue, 23 Apr 1996 14:20:23 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 04/24 B O R N : 04/24 ANDRADE,VERNON Born:1902 PANAMA Career:BASS / VIOLIN / LEADER Style:JAZZ / BIG BAND With:violin with Deacon Johnson 1923 BELL, AARON ( SAMUOL AARON BELL ) Born:1922 MUSKOGEE, OKCareer: BASS Style:JAZZ / BIG BAND With:Ed Willcox / Lucky Millinder / Herman Chittison / Teddy Wilson / Lester Young / Eddie Heywood / Johnny Smith / Dorothy Donegan / Mat Mathews BLOOM, RUBE Born:1902 NEW YORK, NY Career:PIANO / COMPOSER Style:TRAD / JAZZ / BIG BAND Most popular songs: The Man from the South, Truckin', Don't Worry 'Bout Me / Fools Rush In / Collaborators included Ted Koehler / Harry Ruby / Johnny Mercer / Harry Woods / Mitchell Parish / Sammy Gallop. BROWN, LILLYN [LILLIAN THOMAS] Born:1885 ATLANTA, GA Career:SINGER Style:BLUES DE BREST, SPANKY ( JIMMY JAMES ) Born:1937 PHILADELPHIA, PA Career:BASS Style:JAZZ / BIG BAND Lee Morgan / Jimmy DePreist / Art Blakeley / J.J. Johnson FATTY GEORGE (FRANZ PRESSLER) Born:1927 VIENNA, AUSTRIACareer: CLARINET / LEADER Style:JAZZ With:Oscar Klein / Karl Drewo / Bill Grah / Joe Zawinul GRIFFIN, JOHNNY ( JOHN ARNOLD III ) Born:1928 CHICAGO, IL Career:TENOR SAX Style:JAZZ / BLUES / BIG BAND With:Lionel Hampton 1945-47 / Joe Morris / Philly Joe Jones / Percy Heath / Jo Jones / Gene Ramsey / Arnett Cobb / Thelonious Monk / Art Blakey / Bud Powell / Kenny Clark / Kenny Drew / Art Taylor HENDERSON, JOE ( JOSEPH A ) Born:1937 LIMA, OH Career:TENOR SAX Style:JAZZ With:Sonny Stitt 1959 / Jack McDuff 1962 / Co-led group with Kenny Dorham 1962-1963 / Horace Silver 1964-1966 JAMES, STAFFORD ( LOUIS JAMES STAFFORD ) Born:1946 EVANSTON, IL Career:BASS Style:JAZZ With:Monty Alexander / Sun Ra / Melba Moore / Roy Ayers / Gary Bartz / Betty Carter / Art Blakey / Al Haig / Barry Harris / Chico Hamilton / Dexter Gordon / Woody Shaw / John Scofield/ / Slide Hampton KELLY, BRYAN Born:1927 ADELAIDE, SA, AUSTRALIA Career:DRUMMER Style:JAZZ With:Len Perkins / Lew Fisher / Carlos Brunos (a.k.a. Ian Brown) / Ian Drinkwater / Bruce Gray / Stan Walker / Gordon Benjamin / Jack Thomson / Darcy Kelly / Maurie Dowden / Varsity Five / Allan English 1965 / Mike Hallam's Charlestown Strutters 1976-77 / Jack Wiard / Dennis Tonge / Richard Ochalski / Jack Allan Trio / Abbey JB 1979-82 / Dick Hughes / Bud Freeman 1975 / Sam Price 1983 / Dave Dallwitz LEATHERWOOD, RAY Born:1914 ITASCA, TX Career:BASS Style:TRAD / JAZZ STRAZZERI, FRANK JOHN Born:1930 ROCHESTER, NY Career:PIANO Style:TRAD / JAZZ / BIG BAND With:Roy Eldridge / J.J. Johnson / Billy Holiday / Sharkey / Al Hirt / Charlie Ventura / Woody Herman / Herb Ellis / Terry Gibbs / Les Brown / Louie Bellson / Tal Farlow WALCOTT, COLLIN Born:1945 NEW YORK, NY Career:SITAR / PERCUSSIONIST Style:JAZZ With:Miles Davis / Paul Winter Consort / Oregon / Don Cherry Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us The Following were Recorded on this Date in the Years: ========================================================================= Date: Tue, 23 Apr 1996 15:30:30 -0400 Reply-To: BALISTRK@BAYDENOC.CC.MI.US From: "Keith T. Balistreri" Subject: Re: Important Vote/No Blues Content Comments: To: "timothy (t.b.) bosley" In-Reply-To: <"5510 Mon Apr 22 11:23:14 1996"@bnr.ca> On Mon, 22 Apr 1996, timothy (t.b.) bosley wrote: > Well, much has been said (on both sides) about this. I am actually > surprised that the vote is still going on. I recall seeing this > some time ago. > > Some say you should vote yes if you support the idea of free speech. > If that's the case, then there need not be any votes....just let > anyone create a newsgroup whenever they feel like it. What's that > you say? They can already create a group under the "alt" hierarchy? > > Nobody will be depriving them of a forum for their "message". The real > issue is whether or not they deserve the legitimacy that the rec.music > hierarchy will provide. If you think that violates their right to free > speech, invite them into blues-l.....and start preparing apologies to > Jim Hartac, Boogie Nation, Peter Sellers and however many others were > castigated here. Or doesn't the right to free speech apply here as well? > I really don't get your message here. Who on Blues-l took away Jim Hartac, Boogie Nation, or Peter Sellers right to free speech. They made some kind of statement and some people responded to that statement. It's called action...reaction. And that is the evolution of free speech Keith B. ========================================================================= Date: Tue, 23 Apr 1996 15:50:15 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0070 From: "DUTTWEILER.J" Subject: Re: Re[2]: Wait a Minute...Class Comments: To: ISTS024@UABDPO.DPO.UAB.EDU Date: Tuesday, 23 April 1996 3:49pm ET To: Internet, GO-MAIN.ISTS025@DOASMAIN.SNADS From: DUTTWEILER.J@GOMAIL Subject: Re: Re 2 : Wait a Minute...Class In-Reply-To: The letter of Tuesday, 23 April 1996 3:47pm ET Touche, LW, touche JD ========================================================================= Date: Tue, 23 Apr 1996 16:00:37 -0400 Reply-To: deniss@CS.MUN.CA From: Denis Shortall Organization: Compusult Limited, St. John's, NF, Canada Subject: Quick, tell me about the Crossroads Soundtrack CD Comments: To: bit-listserv-blues-l@uunet.uu.net as per the subject... can someone recommend? Is the "cutting heads" excerpt on there? is the CD all Ry Cooder? (perhaps someone kept Steve Vai off there) i'd like to know soon because it is on sale here... thanks, please e-mail reply to me deniss@cs.mun.ca ========================================================================= Date: Tue, 23 Apr 1996 16:04:51 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Re[2]: Wait a Minute...Class Comments: To: "DUTTWEILER.J" On 23 Apr 96 at 15:50, DUTTWEILER.J wrote: > Touche, LW, touche > I've noticed that about LW too. But don't be hard on him. Lot's of young people are touchy these days. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Tue, 23 Apr 1996 13:36:06 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Gatemouth writes - "Tribe" doesn't edit >In article <96Apr21.065624pdt.37906-13775+1953@haven.uniserve.com>, Jim >Witteveen wrote: > >> >Maybe it was intended to be published in Gate's own dialect? > >Whatever it was it makes you appreciate the obstacles that some have to >overcome- as F. Scott Fitzgerald said-"The next time you feel like >criticizing someone just remember that they haven't had all the advantages >you've had." > >-- >Bennett Pearce, MD Just to clarify, the quote above was from someone else's posting, which I quoted in a previous message. -Jim (hndful@uniserve.com) ========================================================================= Date: Tue, 23 Apr 1996 18:03:25 -0230 Reply-To: Denis Shortall From: Denis Shortall Subject: quick, tell me about the Crossroads soundtrack CD Comments: To: bit-listserv-blues-l@uunet.uu.net as per the subject... can someone recommend? Is the "cutting heads" excerpt on there? is the CD all Ry Cooder? (perhaps someone kept Steve Vai off there) i'd like to know soon because it is on sale here... thanks, please e-mail reply to me Denis deniss@cs.mun.ca This is the end of this message. DO NOT READ BELOW HERE. "Faced with the intractable paradox of consciousness emerging from the pre-natal void and drowning in the post-mortem darkness, their minds went haywire and populated the air with ghosts of the departed, gods, angels and devils, until the atmosphere became saturated with invisible presences which at best were capricious and unpredictable, but mostly malevolent and vengeful. They had to be worshipped, cajoled and placated by elaborately cruel rituals, including human sacrifice, Holy Wars and the burning of heretics." --Koestler ========================================================================= Date: Tue, 23 Apr 1996 13:49:59 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Roy Rogers Web Site Curtis wrote: >which I've created for Roy and Virgin/Pointblank Records on the occasion of >his brand new Pointblank release "Rhythm & Groove." You'll find a nice bio, >some great photos, a run-down on all his releases (with a wav or two), >current tour dates, and more to come. Has anyone heard this release? I really liked Slide of Hand and his Blind Pig albums with Norton Buffalo, but was sort of disappointed with his last release, Slide Zone. One of the great slide guitarists around, particularly his acoustic stuff, IMHO. -Jim (hndful@uniserve.com) 'No more political commentary forthcoming...' :-) ========================================================================= Date: Tue, 23 Apr 1996 17:10:34 EDT Reply-To: TRADITION@RYKO-MA.CCMAIL.COMPUSERVE.COM From: David Greenberg Subject: Re[2]: Tradition/Rykodisc info needed. Comments: To: phertel@CMC.DOE.CA Pat Hertel responded to Barry Silverberg's call for info. with some outdated info. To clear up any future confusion, here is the updated Tradition/Rykodisc contact info: Snail Mail: Tradition/Rykodisc Shetland Park 27 Congress St. Salem, MA 01970 E-mail us at: TRADITION@RYKODISC.COM Or phone us at: (508)744-7678 I hope that helps.... -Anton Glovsky, Tradition Records ========================================================================= Date: Tue, 23 Apr 1996 16:16:10 -0500 Reply-To: Bill Kolstad From: Bill Kolstad Organization: Educational Computing Network, Illinois USA Subject: Re: Re[2]: Wait a Minute...Classical Not Thriving?? Comments: To: bit-listserv-blues-l@uunet.uu.net In article , L W wrote: >On Tue, 23 Apr 1996 14:05:16 +0000 Troy Kelley said: >> >>-1. Incredible inefficiency, bloated bureaucracy, and the usual stupidity of >>-highly centralized and over-sized government cause vast sums of money to >>-disappear down the government's black hole. Almost anything run by the >>-government could be better run by the private sector. > >Great piano on that recording. I can't recall who played it anyone know...? Lost the liner notes years ago(damn movers), so I suppose I ain't much help here. > >>Yeah??.. Well I understand that Newt Gingrich's district in Georgia gets more >>funding >>nice new lake which was built by the Corps of Engineers and tax payer dollars >>(and I >>doubt that Newt was complaining that the lake was built "inefficiently"), and >>Newt's > >This one reminds of the early Chicago blues sound, great harmonica tone, sounds >like a Little Walter tone. You got to love this recording. Nice slide guitar >also... Well it still sounds like the old country blues to me. Maybe a bit more over-amplified these days, but nothing new material wise. Bill Kolstad ========================================================================= Date: Tue, 23 Apr 1996 18:11:24 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: House moved me, and Waterman too! Comments: To: bmpech@mscd.edu On April 23, Bruce Pech said: >>>I remember reading an interview with John Mooney >>>in which he recalled playing with House while he >>>was growing up in Rochester, NY. I'm not sure that it is my role to 'authenticate' which musicians actually played with Mister House. However, John certainly used to bring his guitar and go visit with him in Rochester. Paul Rishell came to my apartment in Cambridge several times in the 1970s and spent time with Mister House. Also, Steve James opened for Son in a club on Martha's Vineyard, an island off of the Massachusetts coast. Buddy Guy and Jerry Ricks played second guitar to Son on various TV shows. Dick Waterman ========================================================================= Date: Tue, 23 Apr 1996 18:32:14 -0400 Reply-To: BALISTRK@BAYDENOC.CC.MI.US From: "Keith T. Balistreri" Subject: Re: Hoochie Coochie Man = protest Comments: To: Scott Dirks In-Reply-To: <4lgc2a$173k@usenetp1.news.prodigy.com> On Mon, 22 Apr 1996, Scott Dirks wrote: > Jeff Seale wrote: > > > >In this inane thread about blues being dead, someonemade a rather > >coy remark about Muddy's Hoochie Coochie Man being not being a > >protest song. > > > >I'd like to disagree. When I hear Muddy singing it, I hear "I'm a > >man, even though you (favorite expletive here) have treated me and > >my family as much less." I also hear a little "revenge" - I could > >take your woman and make love to her all night. > > > >So yeah, I think it is a bit of a protest. > > > > Oh come on, Jeff, get real. Do you REALLY think Muddy was thinking about > anything except "gettin' some"? If you do, I believe you've missed the > point of that song. The only thing he was protesting was NOT gettin' > some. > > Scott > It's interpretation, Scott.... Your interpretation is fine and so is Jeff's. What's the big deal!! I always thought art was whatever the perception of the on-looker/listener sees. I can just imagine what the repsonses would sound like if this were an abstract painting list. Keith B. ========================================================================= Date: Tue, 23 Apr 1996 19:13:09 -0400 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Jazzfest meeting places Comments: To: bit-listserv-blues-l@uunet.uu.net Offbeat, Howlin Wolf s, Carrollton Station, Madigan's, The Leaf, & Tipitina s have offered to play host for all of us online visitors to NOLA during J&H fest this year. The clubs are all offering to let us use their places as meeting spots at different times throughout J&H. We ll be setting up meeting times and days throughout the week and posting information during the festival as well as digital photos. (If anyone wants pics of Dick Waterman let me know, I plan on taking photos of the photographer this time ) So far we have the following clubs listed with the performers playing on those nights, along with times & cover charge. Try to remember that there ll be a ton of people going to the clubs besides us and we ll only add to the confusion (did I say J&H could be confusing? ) if we try to set up to many meeting places so we ve tried to limit the number of meeting spots...only 1 or 2 a night with suggestions for other places. There are some urls included to check on what's happening during the week pasted in below. Sonny Landreth will be online in the cabin on 4/25 at 5pm EST. Tommy Malone of the subdudes will be there at 1am EST on 4/26 from Howlin' Wolfs. We'll be uploading pictures from the show at Howlin' Wolfs on the 26th & the Maple Leaf the night of the WWOZ benefit. If you've never been to J&H before check out the Offbeat site, the schedules there are great as well as the other info they have. There's an article in the current issue about the subdudes, check it out then log on to talk to Tommy Malone on the 26th. Offbeat is located at...http://www.neosoft.com/%7Eoffbeat/ Muddy's Cabin...http://www.vivanet.com/~catbauer http://www.yatcom.com/neworl/jfest/jfesttop.html 4/26 /96 Howlin' Wolf: Tiny Town & Sonny Landreth 10:00p *Tommy Malone will be online at 1am EST. We can meet between 6 & 7pm at Howlin' Wolfs located at 828 S. Peters. I was told they ll have food available if anyone wants to eat. The show starts at 10p ($12 cover) with Tiny Town, made up of Tommy Malone Johnny Ray Allen, Pat McLaughlin & Kenny Blevins. Then Sonny Landreth should be on about 90 minutes later. Count on a cool show, they're all friends and odds are they'll play together before the night is over...and if it doesn't look like that'll happen I plan on starting a rumor they will so they won t have a choice. : ) Other options are... Jimmy's: Terrance Simien and the Malet Playboys, Nathan Williams and the Zydeco Cha Chas 10:30p Kiefer UNO Lakefront Arena: Allman Brothers, Fabulous Thunderbirds, John Mooney 9:00p 4/ 27/96 Maple Leaf: WWOZ Benefit with Marcia Ball, Tracy Nelson, Irma Thomas and Walter 'Wolfman' Washington 10p We can meet at the Leaf around 9pm. The Maple Leaf is located at 3116 Oak St. and if you tell them you read this online you can get a free draft beer. The cover for the show is $15. Other choices for later in the night... Carrollton Station: John Mooney and the Bluisiana Band, 10:30p Jimmy's: Radiators 10:30p (Jimmy's 18 year anniversary) *** Mid-City Bowling Lanes: Iguanas 10:00p 4/28/96 Carrollton Station: Walter 'Wolfman' Washington Quartet 10:00p Dream Palace (formerly Cafe Istanbul): Mem Shannon 10:00p*** Madigan's: John Mooney & The Electric Blues 9:00p til *** Maple Leaf: Geno Delafose & French Rockin' Boogie 10p Mid-City Bowling Lanes: Beau Jocque, Boozoo Chavis 10:00p Praline Connection Blues & Gospel Club: Rockin' Doopsie Birthday Party Doors open at 9:00p Snug Harbor: Nicholas Payton Sextet Shows at 9:00p and 11:00p 4/29/96 Howlin' Wolf: Marcia Ball Mid-City Bowling Lanes: Snooks Eaglin & George Porter, Jr. 9:00p Snug Harbor: Charmaine Neville: Shows at 9:00p and 11:00p 4/30/9630 HOB: John Mooney This is John Mooney's cd release party and will be *the* place to be if you're in NOLA during the week. We can meet at . Other shows that night... Maple Leaf: ReBirth Brass Band 10p *** Praline Connection Blues & Gospel Club: African Drum Summit 8:00p Snug Harbor: Ellis Marsalis Shows at 9:00p and 11:00p *** (9p show maybe?) 5/1/96 Maple Leaf: The Milwaukeans 10p*** Carrollton Station: TBA House of Blues: Funky Meters & Wild Magnolias (N.O. Mardi Gras Indians) 9:00p Howlin' Wolf: Anders Osborne & John Mooney and Bluesiana 10:00p*** Jimmy's: C.J. Chenier and his Red Hot Louisiana Band 9:30p*** Mid-City Bowling Lanes: Beau Jocque & Steve Riley 10:00p 5/2/96 Carrollton Station: Tab Benoit and Raful Neal 10:00p*** Dream Palace (formerly Cafe Istanbul): Grand Opening of the Dream Palace featuring the Radiators 10:00p*** House of Blues: Subdudes C.J. Chenier plus special guests 9:00p Howlin' Wolf: Iguanas 10:00p*** Jimmy's: Kenny Neal & Walter 'Wolfman' Washington 9:30p Maple Leaf: John Mooney and Bluesiana 10p Mid-City Bowling Lanes: Boozoo Chavis, Nathan and the Zydeco Cha Chas & Gene Delafose 10:00p 5/3/96 Carrollton Station: Lil' Queenie and Mixed Knots 10:00p Late Set with John Mooney 2:30am House of Blues: Salif Keita, Ben Harper, Alvin Youngblood Hart, 10:00p Howlin' Wolf: Alex Chilton 10:00p Kiefer UNO Lakefront Arena: Van Morrison, Buddy Guy, Radiators 9:00p Maple Leaf: Mamou, Beausoleil & Stavin' Chain 10p Mermaid Lounge: Corey Harris & C.C. Adcock 10:00p Mid-City Bowling Lanes: George Porter Jr. and the Runnin' Pardners + Tab Benoit 10:00p Snug Harbor: Ellis Marsalis - Shows at 9:00p and 11:00p According to Ed Branley..."One of the best burger platters in town" so maybe this is the place to meet for dinner. Tipitina's: Subdudes, Iguanas & Anders Osborne 10:00p 5/4/96 Howlin' Wolf: Subdudes 10:00p Maple Leaf: Jumpin' Johnny Sansone, Walter 'Wolfman' Washington & Smilin' Myron 10p Mid-City Bowling Lanes: Iguanas & the Rebirth Brass Band 10:00p 5/5/96 House of Blues: Black Top Blues-A-Rama Featuring Earl King, Tommy Ridgley, Robert Ward, Grady Gaines, Guitar Shorty, W.C. Clark & Mike Morgan and the Crawl Mid-City Bowling Lanes: Beau Jocque, Boozoo Chavis w/ Referee & Rosie Ledet 10:00p Catbauer@vivanet.com ========================================================================= Date: Tue, 23 Apr 1996 19:58:00 EDT Reply-To: edward c liu From: edward c liu Subject: NYC Area Club Dates Pointer Howdy all, The latest New York City Area Club Dates Pointer is available for the month of May. Information on the list will also usually be available at the following locations on the web: - Mai Cramer's Real Blues Page at - The Blues Shed at If you wish to receive the listing by e-mail, drop a note to me at: edwick@cc.bellcore.com with a subject line of "NYC CLUB DATES". Thank you for your support! -- Ed Edward C. Liu | "If you send me to Washington as your leader, edwick@cc.bellcore.com | I'll personally see to it that every living | American gets his portion ... after I get mine." | -- Louis Jordan, "Jordan For President" The opinions in this message are mine and not Bellcore's. Really! ========================================================================= Date: Tue, 23 Apr 1996 17:12:22 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Mic'ing Acoustic guitars field report Hi Blues people! Today I did live sound for Tom Prasada-Rao, who is a singer songwriter, and plays fingerstyle acoustic steel string (a very lovely Breedlove 6-string with which he is an endorser) to accompany himself. First let me say that Tom is a really good guitar player who can do three things at once: play a riff on the lower strings play syncopated chord changes on the higher strings sing a melody that weaves in and out of the chords and riffs in very interesting ways, both rhythmically, melodically, and harmonically... whew! How do they DO that? I'm happy if I can get the bend just right with a bit O vibrato and yell YEAH! every time! sheesh So, I had a lot of good sounds to work with both on voice and guitar. Remember, you cannot mic what is not there. Don't expect the sound system to make Donny Osmond sound like Muddy Waters. He has a Fishman piezo PU in the bridge of the Breedlove, and a very nice Rane preamp/processor/eq for it, and his agent asked me yesterday to bring a mic for the guitar as well. *Remember, if you use a mic AND a PU summed to mono (panpots centered or into a mono speaker system) you will get bigtime phase cancellations* BAD idea... But rather than argue with the agent, I decided to bring the mic and a good floor monitor and let Tom hear the various combinations. And BESIDES, then I could report back on a head to head comparison to all of you! He showed up over an hour before the show. (dead giveaway for a pro...) And asked what mic I had brought. I pulled out the Neumann KM-84, and he lit up like a light bulb... "Alright!" and before I could get a word out he says: "I don't need the piezo, it will sound like junk compared to that mic".. Ok, I said, and indeed we got a really nice guitar sound. I put the mic at about the 17th fret pointed towards the bridge and down to try to keep the voice out of it. BUT, I didn't get to compare the mic to the piezo head to head like I wanted. Now I am certain that the piezo is not going to compare to a 1200.00 Neumann mic... (the current version is called the KM184 and may be had for in the 800's) So why not conclude (as PW and others have) the mics rule and piezo's drool? 1. You will NEVER get enough gain out of a mic to use an acoustic in a loud band.... 2. Many times even loud talking will mask the guitar at the levels the mic is capable of before feedback. Very careful EQ, and a speaker system with well controlled dispersion can usually get you over the hump in these situations, but for a band you will need a piezo or a Sunrise system (the only mag system I really like for acoustic) 3. Bands are so full of thick, muddy mids (the upper ranges and overtones of the bass, the KB, the electric guitars, etc) that unless you have a pretty bright tone on the acoustic you will never ever be heard. Piezo's cut through the mud very well, with very few feedback problems if interfaced correctly. My conclusions: If you have a solo act in a relatively quiet environment, and you don't need to move around while you play, use a good mic. If you get a piezo system spend the money and get a *good one* with a proper preamp and a good DI. I did live sound for Brent Barry (voice and acoustic only) and he used a Takamine into one of my Westcam DI's and even the crowd raved about the guitar sound, (and Brent was ecstatic) so don't dismiss piezo's too quickly. The Sunrise system is very viable and sounds really really good if you have the money. Me? I'd put a state of the art piezo/Rane system together on my Taylor, and a Neuman KM84 in my gig bag as well! (after I won the lottery!) keep playing! DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 23 Apr 1996 19:16:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Arkansas State Blues Conference Will the lectures and papers read at this conference be published at some point?? -Bonnie Kalmbach ========================================================================= Date: Tue, 23 Apr 1996 17:54:31 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Hoochie Coochie Man = protest Comments: To: BALISTRK@BAYDENOC.CC.MI.US In-Reply-To: from "Keith T. Balistreri" at Apr 23, 96 06:32:14 pm > Oh come on, Jeff, get real. Do you REALLY think Muddy was thinking about > > anything except "gettin' some"? If you do, I believe you've missed the > > point of that song. The only thing he was protesting was NOT gettin' > > some. > > It's interpretation, Scott.... Your interpretation is fine and so is > Jeff's. What's the big deal!! I always thought art was whatever the > perception of the on-looker/listener sees. > I can just imagine what the repsonses would sound like if this were > an abstract painting list. Yes, but the question here isn't my/your/his interpretation (AKA opinion). It's what Muddy meant when he wrote it and performed it. A renown womanizer, and not particularly noted for his participation in social issues (well, other than the afore mentioned :-), it's obvious to me what he meant. Was there any protest, rebellion, etc., intended by Mr. Morganfield? Going by his body of music, I seriously doubt it. He wrote about life as he lived it. Of course, I'm free to say that, to ME, it's a protest song, love song, fugue, "Our song", religious song (some people _do_ worship sex :-}, dirge, or anything else I wish to interpret it as, and no one can argue it because it's MY interpretation. But when we try to read this into the authors intention, based upon such specious reasoning, it sounds rather credulous. Of coiurse, if one has some "inside information" (e.g. "Muddy told me he really meant it as ", then we might have something to discuss. -- IronMan Mike Curtis ========================================================================= Date: Tue, 23 Apr 1996 21:00:34 -0400 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: John L. Hooker and Acostic Blues. What to get? Comments: To: SOO3713@alpha.cc.oberlin.edu Owen asks: >For all you knowledgable people out there. Not me, but grateful as I am for a non-political thread, I'll reply anyway. :) >I need to get some more acoustic blues. All I have is some Lightnin, and >Robert Johnson. I don't have any Leadbelly, or welll, you name it I don't have >it. My faves: Big Bill Broonzy, Blind Willie McTell, Booker "Bukka" White (try Sky Songs...it's incredible), Big Joe Williams.....*Archie Edwards*! Karen ========================================================================= Date: Wed, 24 Apr 1996 04:06:39 GMT Reply-To: dresserd@DNS.NXI.COM From: Derek Dresser Organization: Agate Internet Services (AIS) Subject: Paul Rishell & Annie Raines - tour schedule Comments: To: bit-listserv-blues-l@uunet.uu.net I just updated Paul Rishell and Annie Raines touring schedule on their web pages. If you get a chance to see them this summer, don't miss it. http://www.nxi.com/WWW/rishell/ Derek ========================================================================= Date: Wed, 24 Apr 1996 01:26:04 GMT Reply-To: "D.G.Poole" From: "D.G.Poole" Organization: Pipeline USA Subject: Carolina Blues Festival Comments: To: bit-listserv-blues-l@uunet.uu.net Hi! Coming May 18 at Castle McColloch in Jamestown,NC is the 10th annual Carolina Lite Blue Festival! The line up: Delbert McClinton Little Milton Pinetop Perkins Carey Bell Bob Margolin Debbie Davies Etta Baker The Misdemeanors Promises to be a great show. Gates open at 3 pm. Show starts at 4 pm. Blues under the big tent come rain or shine. $15 in advance/ $18 day of the show/ $25 for Gold Circle seating. Want more info? Call 1-910-333-1994 or send e-mail to bluedog33@usa.pipeline.com See Ya There! David Poole ========================================================================= Date: Tue, 23 Apr 1996 22:13:42 -0400 Reply-To: BALISTRK@BAYDENOC.CC.MI.US From: "Keith T. Balistreri" Subject: Re: Hoochie Coochie Man = protest Comments: To: Mike Curtis In-Reply-To: <199604240054.RAA23786@kaiwan009.kaiwan.com> On Tue, 23 Apr 1996, Mike Curtis wrote: > > Yes, but the question here isn't my/your/his interpretation (AKA opinion). > It's what Muddy meant when he wrote it and performed it. A renown > womanizer, and not particularly noted for his participation in social issues > (well, other than the afore mentioned :-), it's obvious to me what he meant. > Was there any protest, rebellion, etc., intended by Mr. Morganfield? Going > by his body of music, I seriously doubt it. He wrote about life as he lived > it. > > Of course, I'm free to say that, to ME, it's a protest song, love song, > fugue, "Our song", religious song (some people _do_ worship sex :-}, dirge, > or anything else I wish to interpret it as, and no one can argue it because > it's MY interpretation. But when we try to read this into the authors > intention, based upon such specious reasoning, it sounds rather credulous. > > Of coiurse, if one has some "inside information" (e.g. "Muddy told me he > really meant it as ", then we might have something to discuss. > > > > > -- IronMan Mike Curtis > I could get wordy and articulate, but obvioulsy it's a waste of time. In much art we never know what exactly the artist is trying to get across to the people. If he/she gets a reaction, I think most artists would be happy. Whatever Jeff, me, or whoever gets out of it (Song, painting, play, movie,...)....however we interpret it is what it is... Keith B. "The eyes believe themselves; the ears believe others; and the heart believes the truth." -Ibo Proverb ========================================================================= Date: Tue, 23 Apr 1996 19:17:08 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: John L. Hooker and Acostic Blues. What to get? Karen recommended: > >Big Bill Broonzy, Blind Willie McTell, Booker "Bukka" White (try Sky >Songs...it's incredible), Big Joe Williams.....*Archie Edwards*! and I concur with the pick of Sky Songs by Bukka White - very nice album on Arhoolie. Another artist on Arhoolie to check out is Mance Lipscomb (You Got to Reap What You Sow, I think the album is called). There is just so much good stuff out there it's incredible - of the newer acoustic releases my favorites include Mooney & Thackery's Sideways in Paradise (Blind Pig), and Paul Geremia's Gambling Woman Blues (thanks to Ranko for mentioning it on the list - I hadn't heard of it before, and it is an excellent album!) as well as Robert Lucas. One of my favorites from the '60's blues revival is Devil Got My Woman by Skip James (Vanguard), which includes 'Worried Blues', one of my favorite slow blues. It may take time, but here's my recommendation - buy it all!!! :-) -Jim (hndful@uniserve.com) ========================================================================= Date: Tue, 23 Apr 1996 22:15:50 -0400 Reply-To: PIANOBLUES From: PIANOBLUES Organization: America Online, Inc. (1-800-827-6364) Subject: Pinetop Perkins Comments: To: bit-listserv-blues-l@uunet.uu.net I am trying to contact Pinetop for a gig playing with eight other boogie/blues piano players. Anyone have a contact number? ========================================================================= Date: Tue, 23 Apr 1996 22:15:49 -0400 Reply-To: PIANOBLUES From: PIANOBLUES Organization: America Online, Inc. (1-800-827-6364) Subject: PINE TOP PERKINS Comments: To: bit-listserv-blues-l@uunet.uu.net I would like to contact Pinetop for a possible booking for a all-piano stage blues/boogie festival. Anyone have a phone number? ========================================================================= Date: Tue, 23 Apr 1996 22:31:38 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: "Champion" Jack Dupree Comments: To: rjbauman@iquest.net On April 23, RJ Bauman wrote: >>>If anyone can lead me to more than summary >>>information of Champion Jack Dupree's life here in >>>the U.S. , I'd be very grateful. >>>All of the sudden I got an urge to write about him >>>but it seems there isn't much available where I'm >>>looking. I had pretty much retired from being an active agent when I met Jack at 1990 New Orleans Jazz Fest. I told him that - if he wanted to do one last tour - I would book it for him and travel as his road manager. He came back the next year and I traveled with him for seven weeks. We went from ocean (San Diego) to ocean (Newport, RI) and from New Orleans to Toronto. He was so grumpy he made Walter Matthau look like an elf. I once asked him about Fats Waller and Billie Holiday. He spit on the floor (nice restaurant too) and snarled, "F*ck 'em! They're dead and I'm giggin' for money tonight!" Oh, yes, he was some piece of work . . . . . Dick Waterman ========================================================================= Date: Wed, 24 Apr 1996 02:59:13 GMT Reply-To: cuthulu@rlabs.com From: cuthulu Organization: Radar Labs 23 Subject: Re: Restrictions Comments: To: bit-listserv-blues-l@uunet.uu.net On Mon, 22 Apr 1996 19:01:35 EST, Jim Miller wrote: > If we want government to stimulate the development and diffusion of diversity >in music I believe that one area where a more libertarian solution could be >applied would be in the removal of government restrictions. One of the problem >with the anti-government rhetoric is that it is generaly confined to the big bad >federal government. The major enemy of a more diverse musical world is LOCAL >governments. No blues, but this is one of the most intelligent posts I have ever read. Bravo! Triple Smiley Award! :) :) :) -------------------------------- Quarks, Kooks, Heretics, Lunatics, Defilers of God, Set off in leaky vessels Towards the hole in the horizon - philip glass, the voyage visit http://www.rlabs.com -------------------------------- ========================================================================= Date: Wed, 24 Apr 1996 08:54:10 +0100 Reply-To: BIBGA@HHS.SE From: Gorgen Antonsson Subject: George Barnes and Dylan (little blues!) --Boundary (ID I5yyCAZ85EOZ5aIfBwhocQ) Content-type: TEXT/PLAIN; CHARSET=US-ASCII In his George Barnes biography some days ago, Chris Smith noted that Barnes was listed as playing on a track on Bob Dylan's "The freewheelin' Bob Dylan" but was confused as there was no backing on that specific track... Well, if we look him up in _the_ Dylan discography, Michael Krogsgaard's "Master of the tracks: the Bob Dylan reference book of recording" (Copenhagen: Scandinavian Society for Rock-Research, 1988), George Barnes is listed as playing on the 14 Nov 1962 session. However, when later given access to Columbia files, Krogsgaard has had to update the information in his discography considerably. In "Bob Dylan: the recording sessions" part 1 & 2 in the Dylan fanzine The Telegraph, no 52 (1995), p. 69-131, and 53 (1995), p. 54-119, he has published his findings. It turned out that there were several band sessions for this LP, although only one such track ended up on the end version of the LP ("Corrina Corrinna", without Barnes). The 1 Nov 1962 session: "Backing undocumented, but probably George Barnes (guitar) ..." (no 52, p. 87). The only track from this session to make it onto a Columbia issue is "Rocks and gravel," which appeared on the _promotional edition_ of "Freewheelin'" but was replaced before the record was finally issued. The 14 Nov 1962 session: "Backing undocumented, but probably same backing as November 1 for track 1..." (p. 88). Track 1 is the 45 rpm version of "Mixed up confusion" (several versions have seen the light of day on bootlegs - and the version said to be the singles version on Dylan's "Biograph" box isn't! Mixed-up confusion indeed!) So, no - you can't hear George Barnes on "The freewheelin' Bob Dylan"! Sorry for digressing! Gorgen Antonsson, Stockholm --Boundary (ID I5yyCAZ85EOZ5aIfBwhocQ)-- ========================================================================= Date: Wed, 24 Apr 1996 02:59:46 -0400 Reply-To: Claudio Caponi MARNR From: Claudio Caponi MARNR Subject: Re: Spivey-Cadence report Art Schuna is right, of course: The Everlasting Blues vs. Otis Spann is Spivey LP 1013, and not LP 1031, as I erroneously wrote. This is the one with the GREAT Johnny Young on mandolin. I repeat: these LPs are great for Chicago Blues addicts. I just hope that bluezellers leave some of the Spivey catalogue available for me, after I recover from yesterday's devaluation of our currency (the Bolivar went from 290/$ to 499/$). Claudio "I've got the devaluation blues" Caponi ccaponi@dino.conicit.ve | Claudio Caponi | I've had my fun... Ministerio del Ambiente | Caracas - Venezuela | Otis Spann ========================================================================= Date: Wed, 24 Apr 1996 09:01:23 +0200 Reply-To: Mittendorp From: Mittendorp Organization: Crossroads Subject: (no subject) Dear bluesfriends, The European tour of RJ Mischo and his Band (Twin Cities) is almost finished. RJ did 28 shows in Holland, Belgium, Germany and Switzerland and it was a great success.We booked almost all the dates and there was so much interest from clubs and festivals athat we are already planning a new European tour for the band in November'97. A/o will he than be on the International Blues Festival of Luzern in Switzerland together with Lonnie Brooks, Keb' Mo, Duke Robillard, John Hammond and Mississippi Heat. RJ just released a new live CD on CrossCut Records called "Rough 'n' tough". The recordings were made live in Germany during his last tour. Next week the next tour will start. The Percy Strother Band (also Twin Cities). He will also do a four week tour including Italy, Belgium, Holland, Germany and Switzerland. Other acts that we will have over in Europe in May and June. - The King Brothers Band - Big Boy Henry & Lightnin' Wells - 'Diamond' Jim Greene A friend of mine is looking for the address or fax nr of two publishers of blues books. - Bicknickel Publications - Weslyan University Press. Please answer by private e-mail. Regards and thanks, Jan Mittendorp Crossroads Blues agency ========================================================================= Date: Wed, 24 Apr 1996 08:13:00 GMT Reply-To: Mr G M Smith From: Mr G M Smith Subject: Crossroads Soundtrack The "showdown" does not appear on the soundtrack album. If,however, you are a fan of Cooder's take on the blues boosted by the wonderful vocals of Evans and King,it's well worth buying anyway. Whilst on this topic,I have read suggestions that far from being just "guitar coach" as listed in the credits,Arlen Roth was responsible for much of the actual playing attributed to Mr Cooder. Anybody have any insights into this? Re. Funding; it is noticeable in this neck of the woods that Jazz has achieved a level of respectability that permits local government subsidy of quite large events,but Blues? NAAAAH! Yours, Garry Smith. ========================================================================= Date: Wed, 24 Apr 1996 00:34:44 -0700 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Re: Quick, tell me about the Crossroads Soundtrack CD Comments: To: Denis Shortall In-Reply-To: <4ljbps$cnp@hobbes.compusult.nf.ca> GET IT!! IT is an excellent CD, I think that steve is on there, but hey man big deal skip that track. the cd is worth the money, there is song called Bad Luck Blues ( I think that't the name) that kills me everytime. GET IT!! if you are not satisfied I'll buy it back (for a reasonably discounted used cd price:) Isaac--- On Tue, 23 Apr 1996, Denis Shortall wrote: > as per the subject... can someone recommend? > > Is the "cutting heads" excerpt on there? > is the CD all Ry Cooder? > (perhaps someone kept Steve Vai off there) > > i'd like to know soon because it is on sale here... > > thanks, please e-mail reply to me > deniss@cs.mun.ca > ========================================================================= Date: Wed, 24 Apr 1996 03:51:00 -0400 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM Comments: cc: Markovd@METAMOR.COM From: "J.E. Downey" Organization: Exarch Services Subject: Re: JazzFesters 1st weekend Maggie down in N'awlins sat herself down for a chat with Mem Shannon and >Mem reiterated to me that >he would >love to meet the Blues-L folks who have been >so supportive of his album and live >shows. >He agreed that the best time/date would be his Friday 4/26 appearance >at Margaritaville on Decatur Street. I'm just curious if Mem had heard of us independently, or if this had to begin at some point with "you've probably heard of this thing called internet" or what. Also, last I heard, Mem had not given up the cab job. Still true? BLUE JOE IN RED RUSSIA (where we'd gladly kill innocent babies if we had to, just to get our hands on a couple of oyster po'boys.) J.E._Downey@bakermck.com ========================================================================= Date: Wed, 24 Apr 1996 05:24:31 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1934 Mr. Laurens Hammond introduced his "pipeless organ". His B3 and the "Leslie" he also invented are pretty much THE standard in Blues. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ Nothing in the world is more dangerous than sincere ignorance and conscientious stupidity. - Martin Luther King Jr. ========================================================================= Date: Wed, 24 Apr 1996 05:28:09 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Also on this day... On this day in 1981, the IBM-PC was introduced. Here it is only 15 years later and our printers are more powerful than it was. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ Nothing in the world is more dangerous than sincere ignorance and conscientious stupidity. - Martin Luther King Jr. ========================================================================= Date: Tue, 23 Apr 1996 11:44:33 +0100 Reply-To: Bluesman From: Bluesman Subject: *BLUES-L Must Have BLUES records EVER. Hi folks! As you maybe have already read some days ago, I asked you to tell me about your MUST HAVE blues records ever.So as I promised, here are the results.Thanks so much to all the people who is sending me their must have.You'll see that some suggestions are repeated, those are supposed to be the most recommended. I've also searched through my 95-96 BLUES-L database with the keys "best blues record" "best CD" "best CD" "desert island record" and so on, and I've mixed everything to make this sort of blues-cocktail.:) If you feel like keep on sending me your MUST HAVE, then just do it. If I receive enough messages, I can sort them in some kind of poll, with the most recommended. Hope this help us to very well invest our blues bucks...:-) I'm also joining recommended blues records to Jam with.Send me your suggestions.Thanks again. Enjoy it: ============================================================================ Muddy Waters - Chess Box Howling Wolf - Chess Box E.C. - From The Cradle E.C. - Layla Allman Brothers - Live At The Fillmore (the latest Tom Dowd re-master) Todd Rundgren - Todd the double LP where'd that come from, eh?) Rolling Stones - Beggars Banquet Santana - Abraxas (in case there was any female companionship to be had or especially if there wasn't) Born Under a Bad Sign" or "King of the Blues Guitar" - Albert King The Real Folk Blues" - Muddy Waters Hoodoo Man Blues" - Buddy Guy & Junior Wells Chicago-The Blues-Today!" with Buddy and Junior-not as well recorded West Side Soul and Black Magic - Magic Sam For Muddy and the Wolf pick up the CHESS BOXES MUDDY MISSISSIPPI WATERS LIVE - Johnny Winter and Muddy Waters FOLK SINGER, Buddy Guy plays some cool guitar on that one. Freddie King - LET'S HIDE AWAY AND DANCE AWAY WITH FREDDIE KING - All instrumental, all great. CROSSCUT SAW, ALBERT KING IN SAN FRANCISCO and LIVE WIRE/BLUES POWER. SRV would have to be TEXAS FLOOD and THE SKY IS CRYING. Johnny Winter, the early stuff: THE PROGRESSIVE BLUES EXPIREMENT and JOHNNY WINTER. Buddy Guy musts are A MAN & THE BLUES, LEFT MY BLUES IN SAN FRANCISCO if you like acoustic guitar: BG & JR. WELLS, ALONE AND ACOUSTIC Junior Wells' HOODOO MAN BLUES in your shopping bag. THE ESSENTIAL SONNY BOY WILLIAMSON JOHN MAYALL & THE BLUESBREAKERS WITH ERIC CLAPTON anything Sonny Terry & Brownie McGhee or Lightin' Hopkins Mississippi Muddy Waters Live and Hard Again - Muddy Waters Albert King, King of the Blues Guitar. Freddie King: Woman Across the River and /The best of Freddie King Elmore James: The 2 disc Box Set Muddy: Hard Again Buddy Guy: Damned Right I've Got the Blues Buddy Guy: _Slippin' In_ and _A Man and His Blues_ Muddy Waters: _Hard Again_, _Trouble No More: The Singles_, and _The Best of Muddy Waters_. I don't think you'll go wrong with the boxed set either. Howling Wolf: I'm rather fond of _The London Sessions_, and the boxed set is somewhere on my list. The MCA 2-fer (_Howling Wolf/Moaning at the Moon_(?) ) is supposed to be good, too. John Lee Hooker: Rhino Records' _John Lee Hooker: The Ultimate Collection_. Albert King: Rhino Records' _Albert King: The Ultimate Collection_ SRV: Everything except maybe _In the Beginning_. Also, check out Lonnie Mack's _Strike Like Lightning_. Other stuff I'd recommend: - BB King's _Live at the Regal_ and _King of the Blues_ (the boxed set); I know *I* couldn't live on a desert island without BB King =8^). - _The Essential Sonny Boy Williamson_ on MCA/Chess - _Mojo Hand: The Lightning Hopkins Anthology_ on Rhino Records. Actually, you can grab just about anything on Rhino (_Blues Masters_ series) and you probably won't go wrong. - _Dancing the Blues_, Taj Mahal, in case you wanna throw a mean blues party on the beach =8^). - The Alligator Records 20th Anniversary 2-CD set and 20th Anniversary Tour 2-CD set - _Showdown_ with Albert Collins, Johnny Copeland, and Robert Cray - Saffire & the Uppity Blues Women, _Old, New, Borrowed, and Blue_. - The _Guitar Greats: String Dazzlers_ Roots N' Blues CD. - _Big Bill Broonzy: Good Time Tonight_ Roots N' Blues CD. Albert King - "Thursday Night in SAn Francisco" Elmore James - "Let's Cut It" BB King "Blues Summit" and "Spotlight On Lucille" SRV - "Texas Flood" Jimmie Vaughan "Strange Pleasure" Johnny Winter "Live And" E C "From the Cradle" T-bone Walker "T-bone Blues" Allman Bros. "Live at the Fillmore" Freddy King Sings Miss. Muddy Live Muddy One More Mile Johnny Shines/Snooky Pryor Back To The Country Allman Brothers early 70's Soundboard recordings Champion Jack Blues From the Gutter Freddy King / Texas Sensation T-BONE Walker / His original 1942-1947 performances Jimmy Rogers / Chicago Bound Chuck Berry / The EP Collection Eric Clapton / EC was here Kyu Sakamoto / Sukiyaki (whoops! this isn't blues, but I need) Here's E.Clapton's selection: ============================= Ranata Scotto / Senza Mama Ernest Blanc and Nicolai Gedda / Au Fond Du Temple Saint Robert Jhonson / Crossroads Blues Muddy Waters / Feel Like Going Home Stevie Wonder / I Was Made to Love Her Ray Charles / Hard Times Freddie King / I love the Woman Prince / Purple Rain He told those selection on the BBC radio program "Desert Island Discs" Albert King "Thursday Night in SAn Francisco" & "Wednesday Night .." too! The Paul Butterfield Blues Band / "Strawberry Jam" on Winner Records. Allman Brothers - Fillmore East Robert Johnson - Complete Recordings (Disc 1) SRV - Texas Flood Muddy Waters - Hard Again Cream - Wheels of Fire Hendrix - Band of Gypsies B.B. King -- Live at the Regal Son House: Death Letter Muddy Waters - Chess Box "Showdown," featuring Albert Collins, Johnny Copeland and Robert Cray. B.B. King - Live at the Regal The Best of Muddy Waters Albert King - Born Under a Bad Sign John Lee Hooker Desert Island records. ======================================= Muddy - Got My Mojo Workin. Hooker didnt actually ask for this he just talked about Muddy. BBC choice? Robert Cray - Nothin But A Woman. Hook chose this because he liked pretty women, well who dont? Wolf - Howlin For My Baby (Hook: Wolf, who I would like to have in the desert) BB King/Hooker - You Shook Me. John actually asked for You Shook Me by Bee Stevie Ray Vaughan - Texas Flood. A live recording of the number from I no not where. Not a big SRV fan see. Eric Clapton - Layla Albert King - Crosscut Saw A live recording?? Bobby Bland Goin Down Slow - a snatch of a live version. Albert King Born Under A Bad Sign OR King of The Blues Guitar OR The Ultimate Collection....... Freddy King Sings.... Muddy Waters Hard Again OR Miss. Muddy Live Johnny Winter Nothin But The Blues OR any JW that has "Produced by Dick Shurman on it" James Cotton Mighty Long Time T-Bone Walker I Want A Little Girl OR Imperial Recordings Buddy Guy Stone Crazy Albert King Blues At Sunrise/or Sunset.... Rod Piazza Live At BB's VERY EARLY Robert Cray like his first two recordings Delmark's 40th anniversary blues the also do one for jazz.SAMPLER CD. Rhino Blues Masters Series, or some other compilations. "blues intro" I recommend - Alligator Records 20th Anniversary 2-CD set. The Everlasting Blues versus Otis Spann -- Spivey LP 1013 Junior Well's HOODOO MAN BLUES or Magic Sam's WEST SIDE SOUL YAZOO CD 1080/1 : HENRY "RAGTIME TEXAS" THOMAS - TEXAS WORRIED BLUES. Johnny Winter's best recording is "Captured Live" ......Gary Primich, Mr Freeze, off course! The following is the list of the best blues CDs of 1995 according to the editors of "CD Review," January 1996. Charles Brown: "These Blues" (Verve) John Lee Hooker: "Chill Out" (Pointblank) R.L. Burnside: "Bad Luck City" (Fat Possum/Capricorn) Ronnie Earl & the Broadcasters: "Blues Guitar Virtuoso Live in Europe" (Bullseye Blues) Joe Louis Waker: "Blues of the Month Club" (Verve) Little Charlie & the Nightcats: "Straight Up!" (Alligator) Johnnie Johnson: "Johnnie Be Back" (MusicMasters) Greg Piccolo & Heavy Juice: "Acit Blue (Fantasy) Preacher Boy & the Natural Blues: (Blind Pig) Luther Allison: "Blue Streak" (Alligator) "Sudden Stop" - Colin James Folk Grammy Nominee'96: Train-a-comin by Steve Earle.Best album Ive heard in years. 4. Fred McDowell MISSISSIPPI DELTA BLUES (Arhoolie 304) Slippin' in - Buddy Guy was the best CD purchase I have made to date. KING*B.B. BLUES IS KING MCA31368 $9.04 recorded in 1967 live in a Chiacgo club, considered by many to be even hotter than the classic "Live at the Regal". Has some tear-your-heart-apart vocals, and BB plays the sh*t out of Lucille. The only negative is that they left off "Sweet Sixteen Pts 1 & 2" from that gig, with what our Dick Shurman considers the best recorded BB guitar solo ever. This number is currently only available in its entirity for the well-heeled on the expensive boxed set King of the Blues. Note: all but one of the tracks of "Blues is King" is also on: KING*B.B. GREAT MOMENTS WITH B.B KING MCA4124 $13.24 Blues Hit Big Town - Delmark - Classic stuff from 1953-1954 - Junior Wells Hoodoo Man Blues - Delmark - One of the best Blues lps, period. - Junior Wells Big Mama Thorton Ball N Chain is one of the best blues recordings you will ever hear. Muddy's "One More Mile" were superb.one of the three best blues CDs that I purchased last year. CA. NITECRY was voted "Best Blues Band" for the second consecutive year. Their debut CD release, "Run for Cover", containing 13 original band compositions, received the nod for "Best CD" of 1994. In addition Houston Stackhouse - Crying Won't Help You om Genes/Blues Vault Series. EXCELLENT. TUTU JONES - I'M FOR REAL (JSP #252) Chicago The Blues Today V1 - and think it's one of the best records I've ever heard. HENRY QUALLS - Blues From Elmo Texas (hope I spelled it write) DUKE LEVINE Country Soul Guitar. VERY TASTEFUL BIG BAD SMITTY - Mean Disposition (Black Magic) - Our very own Bonnie Shirley Brown - Diva of Soul" I love this! I can't stop playing it! Johnny Shines: TOO WET TO PLOW. Kokomo Arnold's Complete Recording v.1. It sounds better to me every time I listen. _Giant Step/De Old Folks at Home_ by Taj Mahal. Satan & Adam's _Mother Mojo_ counts as well. Otis Spann's "Down To Earth" .Best blues CD I've purchased this year. Muddy Waters Folk Singer Magic Sam West Side Soul Black Magic Johnny Shines Last Night's Dream Too Wet to Plow Junior Wells Hoodoo Man Blues HENRY QUALLS - Blues From Elmo Texas BIG BAD SMITTY - Mean Disposition (Black Magic) BENNIE SMITH - The Urban Soul of Bennie Smith (Blues Highway) - Once again Bonnie turned me on to the tastiest guitar player EVER, another BUKKA WHITE - Complete Recordings (Columbia) PORTRAIT OF A DELTA BLUESMAN, a solo cd on Omega. - Pinetop Perkins Sonny Terry's 1947-1950 Capitol Recordings : some of his best recordings Bo Diddley/Go Bo Diddley (MCA CHD 5904).Combines his first 2 LPs. Freddie King Sings is his best recording,' but that's MHO.LW Colin James & The Little Big Band as possibly the best of the many recent Sins - by Anson Fundferburgh and the Rockets featuring Sam Myers. NPR's "A Prairie Home Companion" Brownie McGhee McDowell's work. There are three out now that I know of: MISSISSIPPI DELTA BLUES is out under the name YOU'VE GOT TO MOVE (same song selection); GOOD MORNING LITTLE SCHOOL GIRL; and THIS AIN'T NO ROCK N' ROLL. In my opinion, the first is essential; it presents acoustic Fred McDowell at its best. For McDowell's gospel music, FRED MCDOWELL: AMAZING GRACE (Testament TCD 5004) is astounding and is also essential. The gospel on GOOD MORNING LITTLE SCHOOL GIRL is not as powerful as the Testament set. I agree that the "London Howling Wolf Sessions" is a must have. Besides "Pure Dynamite, JB Live at the Regal" would also be a must have, it's better than "At the Apollo", its contemporary. Black Top Release, (BT-1117) Working Girl Blues - Phillip Walker JIMMY DAWKINS - KANT SHECK DEES BLUZE (EARWIG - #4920CD) EARWIG 2406 W. LUNT AVENUE CHICAGO, IL 60645 This is a must have CD by a must hear bluesman. The cover cut 2. Son House DELTA BLUES - ORIGINAL LIBRARY OF CONGRESS RECORDINGS Absolutely essential. Muddy Waters revers Son House, as do I. However, the Otis Spann release, Biggest Thing Since Colossus is _absolutely_ essential!!! ROD PIAZZA & THE MIGHTY FLYERS / LIVE AT BB KING'S (BIG MO 10262) BIG MO RECORDS RR1 BOX 389C NORWICH VT 05055 - Absolutely Essential The Complete Recordings of Blind Willie Johnson (Sony);Absolutely essential. Pat Hare - (amazing IMHO) guitar on James Cotton's Cotton Crop Blues' (1954, Sun Records version) - some of the best blues guitar I've ever heard. Anson Funderburgh - Talk to you by hand,Black Top 1001 (Simply one of the BEST blues records. Luther Allison Motown Years CD.The guitar work is chilling,(perhaps his very best or near to it). Johnny Winter's best recording is "Captured Live". Luther Allison - Motown Years.If it's better than the "Live In Paris" import, it's worth way more than $15.00! side 1 of the Allmans "Live at the Fillmore" as my backup jamming band for months on end I realized pentatonic minor scale in E by jamming with Cream's live version of Spoonful (since it was over 16 minutes long, there was plenty of time) 16. Contemporary Blues Album of the Year has got to be "Soul Fixin Man" It's Luther's best album and it deserves to be recognized. ALBERT COLLINS AND THE ICEBREAKERS / LIVE '92 - '93 (POINTBLANK 7243 8 40658 2 9) POINTBLANK RECORDS 338 N FOOTHILL ROAD BEVERLY HILLS, CA 90210 Without a doubt, this is one of the best albums of the year, and it is destined to take its place in musical history as one of the greatest live albums of all time. LW's Must have: Freddy King - FK Sings Muddy Waters - One More Mile Robert Johnson - Complete BB King - Live At the Regal Albert King - Ultimate Collection Johnny Shines - Traditional Delta Blues Miss Fred Mcdowell - You Gotta Move (aka Miss Delta Blues) Lthgin Hopkins - Complete Aladdin T-Bone Walker - Complete Imperial Son House - Father of The Delta Blues Little Walter - The Blues World of Little Walter (I hope that's the title) Jeff Seale must have: TD Bell and Erbie Bowser It's About Time (Spindletop) Otis Spann Otis Spann's Chicago Blues (Testament) Wille Kent Too Hurt to Cry (Delmark) Various (Joe Calicott, Jr Kimbrough) Blow My Blues Away Vol II (Arhoolie) Jr. Wells HooDoo Man Blues (Delmark) Lightnin Hopkins Complete Aladdin Recordings Lavelle White Miss Lavelle (Antones) Big Bad Smitty Mean Disposition (Black Magic) Steve Levine must have Muddy - The Chess Box Junior Wells - Hoodoo Man Blues Sonny Boy Williamson - The Essential Sonny Boy Williamson Skip James - Devil Got My Woman Mississippi John Hurt - The Immortal Mississippi John Hurt Walter Horton - Fine Cuts, Can't Keep Loving You Ranko Vujosevic Must Have 1. Arthur "Big Boy" Crudup - "Mean Ol' Frisco" (Charly) 2. RL Burnside - "Too Bad Jim" (Fat Possum) 3. Rare Chicago Blues 1962-1968 (Bullseye) 4. Sonny Boy Williamson - "King Biscuit Time" (Arhoolie) 5. Sonny Boy Williamson - "Essential SBW" (Chess) 6. Maxwell Street Jimmy Davis (Wolf) 7. Muddy Waters - "Hard Again" (Blue Sky) 8. Johhny Young - "Chicago Blues" (Arhoolie) 9. Fenton Robinson - "Somebody Loan me a Dime" 10. Bo Carter - "1931-1940" (Yazoo) Sara Oxton Must Have 1. Bobby Bland, Two Steps From the Blues 2. Spencer Wiggins, Soul City USA 3. Chuck Willis, King of the Stroll 4. OV Wright, Nickel & A Nail 5. Sam Cooke, A Man & His Music 6. John Lee Hooker, Complete VeeJay Recordings 7. Earl Bostic, Dance Time w/ Earl Bostic 8. BB King, Live at the Regal 9. Ray Price, Night Life 10. Eddie Floyd, Knock on Wood William Shute Must Have MIKE STOCKTON AND THE RHYTHMATORS It's My Soul (Azure) JOE GUITAR HUGHES Texas Guitar Slinger (Me & My, Holland) FLETCHER HENDERSON Fletcher Henderson and the Blues Singers, Vols. 1&2 (Document, Austria) Various artists The Earliest Negro Vocal Groups, Vol. 3 (Document) T-BONE WALKER The Complete Black & White/Capitol Recordings (Capitol) various artists Swinging The Blues (Document) various artists SARG ROCKERS, Vols. 1 & 2 (Collector/White Label, Holland) Gary Joneson Must Have SBW 1 Vol.3 (Document) Jimmy & Mamma Yancy Vol.1 Chicago Piano (Atlantic) SBW 2 Essential Leroy Carr & Scrapper Blackwell (Document DLP543) Vinyl Otis Spann Heart Loaded with Trouble (Bluesway) Vinyl Buddy Guy & Junior Wells Alone & Acoustic (Alligator) Jimmy Reed (Charly) Blues Masterworks Vol. 17 SBW 1 Vol. 1 (Document) Ron Thmpson Just Like A Devil (Winner) Little Walter Boss Blues Harmonica (Chess) Vinyl Jimmy Dawkins -- Hot Wires: 1981. Stunning slow blues. Sweet Black Angel - Earl Hooker.It's all instrumental including some C&W. "Spiders on the Keys" - James Booker . Almost all instrumental, pop oriented and New Orleans ragtime/stride/boogie woogie. 2. Ronnie Earl "Blues Guitar Virtuoso Live in Europe" The title is a little suspect but it almost hits the mark. Ronnie Earl is dazzling on the album. 12 tracks, all instrumentals with wall to wall guitar. Subject: Top Blues Albums of 1995 1. Luther Allison "Blue Streak" ============================================================================ Jose. Spain. ****************************************************************************** - Everyday I Have The Blues - ========================================================================= Date: Wed, 24 Apr 1996 03:05:45 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Quick, tell me about the Crossroads Soundtrack CD >From what I remember Arlen Roth was the guitar coach for Ralph Macchio (sp?) so he looked like he was playing the guitar. Ry Cooder played the soundtrack. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Wed, 24 Apr 1996 09:53:49 GMT Reply-To: tdevit3@NEWS-S01.NY.US.IBM.NET From: tdevit3@NEWS-S01.NY.US.IBM.NET Subject: Re: BIG SUGAR Comments: To: bit-listserv-blues-l@uunet.uu.net Two CDs + 1 CD "EP" that I know about: Big Sugar Provogue (Euro) PRD 70522 (Hypnotic Records in Canada?) Five Hundred Pounds Provogue PRD 70592 (Also Hypnotic) .500 lbs. also re-released in US on Silvertone I believe. EP Ride Like Hell on Silvertone 1241-42287-2 includes 2 tracks from 500 lbs. You are right...Big Sugar well worth checking out. ========================================================================= Date: Wed, 24 Apr 1996 09:54:56 GMT Reply-To: tdevit3@NEWS-S01.NY.US.IBM.NET From: tdevit3@NEWS-S01.NY.US.IBM.NET Subject: Re: quick, tell me about the Crossroads soundtrack CD Comments: To: bit-listserv-blues-l@uunet.uu.net No Vai ========================================================================= Date: Wed, 24 Apr 1996 06:47:19 -0400 Reply-To: Fretman6@AOL.COM From: "J.B. Eanes" Subject: Re: Son Seals and more... Comments: To: birmingh@sls.lib.il.us I spoke with Red....Son's sax player at Blues Etc... in Chicago a couple of weeks ago on a Saturday night.. I asked the same question about the rhythm section since I did'nt recognize the new players. Red did'nt indicate any specific reason for the changes but did go on to mention that the new guitar player is from Maine. I don't remember where the drummer and bass player were from but, the bass player looked like someone I've seen in other Chicago bands in the past. The show was excellent and I can't really say that the personnel change had any adverse effect on Son's sound at all. One things for sure....the new drummer is quite a character and plays a big role when these guys are getting the crowd ready for their boss to take the stage. J.B. We also saw Little Milton at Buddy Guy's on the previous Friday night and that show was absolutely killer too. I saw Buddy and his "Big Band" at a club in Davenport on this past Saturday night. The sound system was pitiful and it took quite a while for things to settle down. Buddy did a good show as usual but I could'nt quite figure if the horns helped anything, or maybe got in his way. Tony Zamagni on keyboards was drowned out most of the show but when he was heard, his licks were impeccable. Mayber this band will become tighter after a few more dates. ========================================================================= Date: Wed, 24 Apr 1996 07:28:47 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Re Champion Jack Dupree Loved Richard the Younger's reminiscence about Champion Jack. I recall that after the Toronto gig, the promoter (yours truly, who had made an inconsequential dollar) took the troupe out to dinner afterwards. The old bugger may have been in his 80s at the time, but he made passes at three different waitresses in the course of the meal. Incidentally, CBC Radio recorded the show (Rita Chiarelli and Colin Linden opened with an acoustic set), but I never got a copy of the tape. Must call my old friend Danny Greenspoon and see if the Corportion's archives can spit up a copy... Which reminds me that I haven't actually SEEN Waterman since; it's about time he went back on the road again with another champion; he knows better than anyone how to do that job. Richard the Elder ========================================================================= Date: Wed, 24 Apr 1996 08:40:29 -0400 Reply-To: Michael Meadors From: Michael Meadors Subject: Re: Roy Rogers Web Site Comments: To: Jim Witteveen You wrote: >Has anyone heard this release? I really liked Slide of Hand and his Blind >Pig albums with Norton Buffalo, but was sort of disappointed with his last >release, Slide Zone. One of the great slide guitarists around, particularly >his acoustic stuff, IMHO. Roy Rogers is one of the most talented slide guitarists going, though his name is not well recognized in general music circles. I've been listening to his music for a number of years and he continues to inspire me with his smooth, fluid phrasing and use of dynamics. Unfortunately, he is not a powerhouse of a singer. His voice, although certainly decent enough, never quite matches the intensity or power of his slide playing. Just my opinion on why he's not a big name. I'm a fan, consequently, but a critical fan (I love Roy's playing but not necessarily always his song selections and production quality). I've had the new CD for a week or two now and have found it to be one of his better efforts. I particularly like the straight ahead rockin' blues numbers (there are a few on this CD), along with a couple of quieter acoustic numbers and a couple of other unique things that don't fit into any category at this moment. Overall, if you like Roy in general, I would recommend getting the CD. It certainly offers a variety of styles. There should be something in there you like. Best wishes -- Mike Meadors harp/slide/vox BLUESONICS "Blues for full grown people" ========================================================================= Date: Wed, 24 Apr 1996 08:40:32 -0400 Reply-To: Michael Meadors From: Michael Meadors Subject: Re: Newt, was public funding (no blues content) Comments: To: FORCELLAD@CCSUA.CTSTATEU.EDU You wrote: Please listen to the Austin Lounge Lizards CD "Small Minds" for the >definitive in Newtness. Song is titled Gingrich the Newt. Q: How many Republicans does it take to change a lightbulb? A: It doesn't matter. They eliminated the funding for the ladder. Mike Meadors harp/slide/vox BLUESONICS "Blues for full grown people" ========================================================================= Date: Wed, 24 Apr 1996 12:34:55 GMT Reply-To: Lily Sazz From: Lily Sazz Organization: Trailblazers Subject: Trailblazers Gig - Hamilton Comments: To: bit-listserv-blues-l@uunet.uu.net Greetings Trailheads! We're SO excited about this Friday night at La Luna! It's such a cool club to play, and because our gigs in Hamilton are so few and far apart these days, we figure there will be a great turn out! The purpose of this night is to raise the funds needed to pay for the following 2 days in studio. Generating income has been challenging over the winter months, and La Luna is a straight door gig. So please come out if you're in our area, and share in an evening of great music and awesome Lebanese food if you're hungry! Cover charge is only 3 bucks! We will be back at Pucks Farm on April 27th-28th, and will hopefully by then, have a complete enough demo to shop to our interested record labels, and so on. In the meantime, we recorded this little demo last week, that will be called "FUN RAISIN" (that's with the D and the G of the 2 words sort of scratched out)... and how appropriate, since we recorded at GRAPEVINE Studio in Cambridge, Ontario. This tape consists of 7 songs, 6 cover and 1 original, and will be available for sale strictly through the band for (proposed price only) $8 dollars Canadian. It does sound great, with thanks to producer/engineer Ken Baker and the mixing prowess of Ken with our guitar player Alex (LX) MacDougall together, not to mention outstanding 'one-take-jake' performances by each and every Trailblazer. Soundbytes of this session will be available from the website very soon. For orders of "Fun Raisin" via the internet, email us and we'll be more than happy to take care of you personally. Watch for upcoming changes in our website... we'll be adding a scrap book section soon with new pics of members of the band in various situations... like LX with SRV and Chet Atkins, Lily with Bridget Fonda and Jessica Tandy, etc. FRIDAY APRIL 26TH LA LUNA 228 King St W, Hamilton 905- 577-0233 SPECIAL GUESTS: Loose Cannons http://www.hookup.net/~lilysazz/ To order Master Plan by The Trailblazers call toll free: 1-800-JOE-RADIO (1-800-563-7234) For 24 Hour Live Performance Info: 905-521-2783 (messages CAN be left) ========================================================================= Date: Wed, 24 Apr 1996 08:57:04 -0400 Reply-To: robbd@VYGER.ENET.DEC.COM From: robbd@VYGER.ENET.DEC.COM Subject: New boxed sets Comments: To: "blues-l@brownvm.brown.edu"@vbormc.vbo.dec.com Looking for news/reviews/opinions on the recently-released box of KING-label gems, the title of which momentarily escapes me, and the same for CAPITOL's "Cresent City" new arrival. In terms of price, where's the best place to buy these? Cheers, - Dougie ========================================================================= Date: Wed, 24 Apr 1996 08:44:46 -0400 Reply-To: parrishr From: parrishr Subject: Blues Societies Max and I would like to know what bluesellers' experiences are with blues societies outside of our area (D.C.). Also we would like to know what kinds of activities the societies sponsor and how bluesellers would rate the society in terms of added value to the blues scene. If you post, please send me a private e-mail as my blues-l perusal time is limited right now. Thanks, Ruth (wincing at the suggestion that I should change my name to Bertha de Blues) ========================================================================= Date: Wed, 24 Apr 1996 09:26:38 -0400 Reply-To: FLAMINAMY1@AOL.COM From: David Mandelbaum Subject: "Wild" Jimmy Spruill Memorial concert On Monday, May 6th a memorial concert for "Wild" Jimmy Spruil will take place at Tramps, 51 W. 21 Street, in NYC. Tickets are ten dollars and all proceeds will go towards a memorial stone with all remaining money going to his family. The line-up for the concert includes Laverne Baker, Rosco Gordon, Little Joe Cook, Bob Gaddy and Larry Dale, Charles Ward and many more. Tickets are available at Tramps, Ticketmaster, and all Tower and HMV record stores. Anyone wishing to make a contribution can send a check payable to Mrs. Clara Spruill. c/o Studio 502, 750 8th Ave., New York, NY 10036 For more information contact Arno Rocha 212 840-3508. David ========================================================================= Date: Wed, 24 Apr 1996 06:32:16 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Re Champion Jack Dupree >Loved Richard the Younger's reminiscence about Champion Jack. I recall that >after the Toronto gig, the promoter (yours truly, who had made an >inconsequential dollar) took the troupe out to dinner afterwards. The old >bugger may have been in his 80s at the time, but he made passes at three >different waitresses in the course of the meal. > Incidentally, CBC Radio recorded the show (Rita Chiarelli and Colin >Linden opened with an acoustic set), but I never got a copy of the tape. >Must call my old friend Danny Greenspoon and see if the Corportion's >archives can spit up a copy... ...sounds like a great live album to me!!! Rita Chiarelli acoustic live would be great (I heartily recommend her stuff anyway), and along with Colin Linden and Champion Jack... sounds like a fantastic night! The first I heard of Champion Jack was Blues from the Gutter, one of the 'bluest' of blues albums. Then I picked up Forever and Ever, and I was surprised at the difference - this album's good humoured and a lot of fun. An interesting and highly talented man. -Jim (hndful@uniserve.com), noting that several bluezellers have books in them just waiting to come out... :-) ========================================================================= Date: Wed, 24 Apr 1996 09:32:55 +0000 Reply-To: tkelley@ARL.MIL From: Troy Kelley Organization: ARL Subject: Re: Re[2]: Wait a Minute...Class Date: Tuesday, 23 April 1996 3:10pm ET To: GO-MAIN.TKELLEY@DOASMAIN.SNADS, Internet From: DUTTWEILER.J@GOMAIL Subject: Re: Re 2 : Wait a Minute...Class In-Reply-To: The letter of Tuesday, 23 April 1996 2:56pm ET -Just for the record re: the "funding" Newt's district in Georgia gets. The -fast majority of that wonderful statistic Mr. Kelley uses includes the -Military base located there and the defense contracts for Lockheed, So Newt's district is the only one with a Military Base and a defense contractor? So that explains why it gets more funding than any other district? -located there - both of these predate Mr. Newt's being the representative of -that particular district (which was just created either 2 or 4 years ago) as -does the construction of that particular lake mentioned (which was what, gee, -thirty or more years ago). Mumm... I doubt that. Newt has been around for a long time. I know the lake gets additional funding for "upkeep". BTW, when Newt first ran for office he was considered a "liberal long haired history proffessor" - which is essentially what he was, and he ran against a conservative democrat. Funny how things change. Troy ========================================================================= Date: Wed, 24 Apr 1996 08:38:46 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Re: Re Champion Jack Dupree In-Reply-To: Message of Wed, 24 Apr 1996 06:32:16 -0800 from On Wed, 24 Apr 1996 06:32:16 -0800 Jim Witteveen said: > >The first I heard of Champion Jack was Blues from the Gutter, one of the >'bluest' of blues albums. Then I picked up Forever and Ever, and I was >surprised at the difference - this album's good humoured and a lot of fun. >An interesting and highly talented man. I'm crazy about the above. I agree they are very different, but IMHO both are very, very good. LW ========================================================================= Date: Wed, 24 Apr 1996 10:03:00 -0400 Reply-To: "timothy (t.b.) bosley" From: "timothy (t.b.) bosley" Subject: Re: Important Vote/No Blues Content Comments: To: BALISTRK@baydenoc.cc.mi.us In message "Re: Important Vote/No Blues Content", 'BALISTRK@BAYDENOC.CC.MI.us' writes: >I really don't get your message here. Who on Blues-l took away Jim Hartac, >Boogie Nation, or Peter Sellers right to free speech. They made some >kind of statement and some people responded to that statement. It's called > action...reaction. >And that is the evolution of free speech Is that how you remember it? Funny...I don't remember it that way at all......unless you consider being told to take it somewhere else to be the evolution of free speech. ========================================================================= Date: Wed, 24 Apr 1996 14:18:09 GMT Reply-To: marc borms From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Re: Pinetop Perkins Comments: To: bit-listserv-blues-l@news.Belgium.EU.net PIANOBLUES (pianoblues@AOL.COM) wrote: : I am trying to contact Pinetop for a gig playing with eight other : boogie/blues piano players. Anyone have a contact number? Who else is already contacted, and where/when does this festival take place ? -- Marc 'embee' Borms marc@az.vub.ac.be Illustrator of "Plug In: The Guide to Music on the Net". Everything you want to know about your favorite band, music style, MIDI and more on the Net. Published by Prentice-Hall, April 96. At bookstores everywhere by Gurley & W.T.Pfefferle. If they don't have it ask! http://www.prenhall.com/~plugin ========================================================================= Date: Wed, 24 Apr 1996 07:43:26 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: April 25 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BOSTIC, EARL (asax/KING REC) b. 1913-0425, TULSA, OK COOK, STU (b/CREEDENCE CLEARWATER) b. 1945-0425, OAKLAND, CA DEAN, JOE (FROM BOWLING GREEN) (p) b. 1908-0425, ST. LOUIS, MO FITZGERALD, ELLA JANE (v) b. 1917-0425, NEWPORT NEWS CITYVA FRANKLIN, CAROLYN (v/songw) d. 1988-0425, BLOOMFIELD HILLS,MI 43 GORDON, DEXTER KEITH (tsax) d. 1990-0425, PHILADELPHIA, PA 67 HUMPHREY, BOBBI (flute) b. 1950-0425, MARLIN TX JACKSON, WILLIS "GATOR TAIL" (tsax) b. 1928-0425, MIAMI, FL JIMENEZ, SANTIAGO "DON"(acc/ARHOOLIE REC) b. 1913-0425, SAN ANTONIO, TX KING, ALBERT [ALBERT NELSON] (g) b. 1923-0425, INDIANOLA, MS LEIBER, JERRY (songw/STOLLER) b. 1933-0425, BALTIMORE, MD MCCLINTON, O. B. (songw/GOLDWAX REC) b. 1940-0425, SENATOBIA, MS MCINTOSH, ROBBIE (d/AVERAGE WHITE BAND) b. 1950-0425, BRIGHTON, UK MILLER, THOMAS (of THE FLARES) b. 1938-0425, LOS ANGELES, CA NORTON, CATHI (BLUES-L MEMBER) b. 1949-0425, MUNCIE, IN PHILLIPS, EARL (d/HOWLIN' WOLF) b. 1920-0425, HARLEM, NY SHINES,JOHNNY[JOHN NED LEE SHINES JR.](g) b. 1915-0425, FRAYSER, TN SOUTH, EDDIE (violin) d. 1962-0425, CHICAGO, IL 57 WEATHERFORD, TEDDY (p/ERSKINE TATE) d. 1945-0425, CALCUTTA, INDIA 41 ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 24 Apr 1996 14:38:18 GMT Reply-To: marc borms From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Re: CD number of "Too wet to Plow" ? Comments: To: bit-listserv-blues-l@news.Belgium.EU.net Peter Gallagher (pega@XS4ALL.NL) wrote: : Hi all, : if somebody could post the Label and number of Johnny Shines' lauded CD : "Too wet to Plow", I'd be most appreciative. Available on Labor, LAB7003, 02/95. embee. -- Marc 'embee' Borms marc@az.vub.ac.be Illustrator of "Plug In: The Guide to Music on the Net". Everything you want to know about your favorite band, music style, MIDI and more on the Net. Published by Prentice-Hall, April 96. At bookstores everywhere by Gurley & W.T.Pfefferle. http://www.prenhall.com/~plugin If you want me to draw something, ask ! ========================================================================= Date: Wed, 24 Apr 1996 09:47:29 CST Reply-To: William Shute From: William Shute Subject: Mary Wells "Jubilee"-label sessions From: Bill Shute No time for a "review," but I want to highly recommend the UK Sequel label collection of Mary Wells' l968-69 recordings for the Jubilee label. A fine complement to Ichiban's collection of her ATCO label material (that CD is called "Dear Lover"), all of this material was co-produced and co-written (except for a handful of covers) with her then=husband, Cecil Womack. In fact, the producer credits and songwriting credits read C&M Womack (Cecil and Mary). This is very creative, progressive soul that fits no formula and reflects no particular regional sound. Cecil Womack, who (presumably) plays guitar throughout, really knows how to make a small group sound big and full, and the EXTREME stereo separation on these sides gives the music a three- dimensional sound, particularly on cheap equipment. The originals such as "Soul Train" and "Don't Look Back" and the sublime "Love and Tranquility" are instant classics, and her covers defy description: her versions of "Stag-o-Lee"(!!!) and Bobby Bare's "500 miles" might sound like originals if you're not looking at the album as you listen, and "Apples, Peaches, Pumpkin Pie" and "Sunny" (both pop hits) are made so natural sounding and soulful that these versions surely are the definitive ones. (I have an old scratchy UK copy of her album of Beatle covers---that cries out for reish along with her 20th Century label work in general. Ichiban, are you listening?). Wells' classy, coy, yet bold and deeply soulful voice is a joy to listen to, and the Mary & Cecil writing-producing team really deserve a significant place in the 60s soul pantheon. What an incredibly productive and creative period this was!!!! I've always collected soul vinyl used since I was a kid, and I have a ton, but with all these CD reissues of stuff I could never find an actual copy of (and with all the unreleased tracks--this has 7 unrel. tracks), I have become completely awestruck. How beautiful it is to hear so many great artists extending themselves creatively, taking chances, finding their own "voices." A beautiful CD--thanks to Sequel for going to the effort of putting this together. MARY WELLS "Complete Jubilee Sessions" Sequel (UK) CD NEX CD 257 26 tracks recorded l968-69 for "Jubilee" Records reissue l993 Bill Shute San Antonio, TX ========================================================================= Date: Wed, 24 Apr 1996 14:48:08 GMT Reply-To: marc borms From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Blues-L convention Comments: To: bit-listserv-blues-l@news.Belgium.EU.net All these articles, and esp. Mr. Waterman's, made me 'St.Louis'-minded. Which other 'native-European' is planning to go to the St.Louis blues Fest ? Mr. Waterman : just reserve a baby grand for me on Saturday eve ! embee. -- Marc 'embee' Borms marc@az.vub.ac.be Illustrator of "Plug In: The Guide to Music on the Net". Everything you want to know about your favorite band, music style, MIDI and more on the Net. Published by Prentice-Hall, April 96. At bookstores everywhere by Gurley & W.T.Pfefferle. http://www.prenhall.com/~plugin If you want me to draw something, ask ! ========================================================================= Date: Wed, 24 Apr 1996 14:51:21 GMT Reply-To: marc borms From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Who's Buddy Guy's secret guest Comments: To: bit-listserv-blues-l@news.Belgium.EU.net At the end of May, Buddy Guy will be on stage in the 'Vooruit', Ghent, Belgium. He is announced with a 'special guest'. Who is joining Buddy on his recent tour ? embee. -- Marc 'embee' Borms marc@az.vub.ac.be Illustrator of "Plug In: The Guide to Music on the Net". Everything you want to know about your favorite band, music style, MIDI and more on the Net. Published by Prentice-Hall, April 96. At bookstores everywhere by Gurley & W.T.Pfefferle. http://www.prenhall.com/~plugin If you want me to draw something, ask ! ========================================================================= Date: Wed, 24 Apr 1996 11:06:13 -0400 Reply-To: Dave Markovits From: Dave Markovits Subject: Champion Jack I had the pleasure of seeing Jack on my first JazzFest trip in 91. I went to see Jeff Healy at Tip's and Jack opened. I was totally floored. I've always loved piano blues, Sunnyland Slim, Detroit Junior, but Jack turned me into an addict. He passed on shortly after that. When I think of all the artists I've discovered to listen to, I really wish I would have discovered him earlier. I've been fortunate enough to go to Tip's quite a few times since then, and I do believe the spirit of Profeesor Longhair still lurks about. Everytime I walk in the club, I smile when I think of the CJD show I was fortunate enough to see. Long live piano blues!! Bein' Reminescent, David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Wed, 24 Apr 1996 10:09:51 -0500 Reply-To: sprice@INAV.NET From: Steve Price Subject: Re: *BLUES-L Must Have BLUES records EVER. Comments: To: Bluesman In-Reply-To: I'm always astonished how little folk blues is on the must have list of blues fans. I expected maybe 8 or 10 to one electric to folk blues, but Jose's list is more like 15 or 20 to one. Here and there a stray Lightenin', a Brownie, Sonny, Bukka, one Skip James, one Mississippi John Hurt, some Fred McDowell. But no Blind Lemmon Jefferson, no Manse Lipscomb, no Leadbelly--did I miss Robert Johnson in there? No Son House, no Charlie Patton, no Gary Davis, no Blind Blake, no Blind Boy Fuller, no Jesse Fuller, no Snooks, no Robert Pete, no Robert Wilkins, was Willie McTell in there? I dig electric blues, too, but I'm always astonished at how few of my must haves end up on other's must haves. Steve ========================================================================= Date: Wed, 24 Apr 1996 10:30:41 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Piano Blues With all the talk about Fess, Champion Jack...etc. Is there any NEW blues piano talent out there. Any up n comers that are in the vein as the older folks....It seems (to me) that there is a lack of YOUNG piano players in the blues style. Plenty of guitar slingers (1900 and some odd in Nashville alone :-)), but not that many piano players that are getting attention LW 'playin since theys babies" ========================================================================= Date: Wed, 24 Apr 1996 11:39:59 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: *BLUES-L Must Have BLUES records EVER. Comments: To: sprice/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=sprice#a#INAV#f#NET@s1boca.corp.wrgrace.com, BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com * But no Blind Lemmon Jefferson, *no Manse Lipscomb, no Leadbelly--did I miss Robert Johnson in there? No *Son House, no Charlie Patton, no Gary Davis, no Blind Blake, no Blind Boy *Fuller, no Jesse Fuller, no Snooks, no Robert Pete, no Robert Wilkins, *was Willie McTell in there? When I sent in my "must haves" I didn't put much thought into it. I just listed some of my favorite albums I've been listening to, mostly ones with great harp. (and I forgot LittleWalter!). I should have included Robert Johnson, Son House, Blind Blake, Blind Lemon Jefferson, Tommy Johnson and The Mississippi Sheiks. -Steve ========================================================================= Date: Wed, 24 Apr 1996 11:41:50 -0400 Reply-To: M David Tilson From: M David Tilson Organization: Columbia University Subject: Re: Deep South Country Blues Piano Comments: To: bit-listserv-blues-l@uunet.uu.net I am working on a lecture on the above subject, and I have posted a first draft on my home page (URL http://www.columbia. edu/~mdt1/ ). It is in a file named Personal #2. Critical comments, corrections, suggestions, and additional information on the subject would be appreciated. TIA -dave- ========================================================================= Date: Wed, 24 Apr 1996 12:06:32 -0500 Reply-To: MARCIAG@VMS.CIS.PITT.EDU From: Marcia Grodsky Subject: More Good News from Pittsburgh It's hard to believe that a few months ago sleep looked more appealing than going out to see live music here. We now have, not one, but TWO new clubs booking touring blues acts. I've al- ready mentioned Tobacco Road House, which is a revival of the old Decade. Although open for business, the "Grand Opening" is still two weeks away. But some of the blues acts already booked are: Sunday May 12 Tino Gonzales Sunday May 19 E.C. Scott Friday June 7 Mike Morgan & the Crawl AND Smokin Joe Kubek with Bnois King (double bill) ******Tuesday August20 Lavelle White ******** ****(I know that's 119 days away, but those of you who have been listen- ing to me whine for the past couple of years about not getting to see Miss Lavelle will be relieved to know that seventeen weeks from now I'll have to find a new topic to whine about) This alone would make me ecstatic, but there's more. Another new club is opening. Buffalo Blues, which also has some former Decade employees involved, is opening this weekend, with a policy of booking (Fridays and Saturdays) *just* blues! Although the place wasn't finished when I saw it, it looks like it'll be an attractive venue. They're going to be serving southern cooking and there's talk of gospel brunches. Bands booked for the next two weekends (I'm so excited, I've had to retype this line three times) are: Friday April 26 Lonnie Shields Saturday April 27 Robert Jr. Lockwood Friday May 3 Kinsey Report Saturday May 4 Big Jack Johnson (with Meadville, Pa.'s amazing Rodger Montgomery, I assume) E. C. Scott and Robert Jr. Lockwood will be firsts for me and I'm really looking forward to them. It's incredible, but Lockwood only lives a couple of hours away and yet never plays here. And Johnson --- well, I've been getting tired of making the hour-plus trek to see him in Canonsburg at a venue that, to put it charitably, leaves something to be desired. If anybody needs booking information, or directions, please email me. ---Marcia marciag@vms.cis.pitt.edu ========================================================================= Date: Wed, 24 Apr 1996 12:15:59 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Piano Blues Comments: To: ISTS024/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=ISTS024#a#UABDPO#f#DPO#f#UAB#f#EDU@s1boca.corp.wrgrace.com, BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *With all the talk about Fess, Champion Jack...etc. Is there any NEW blues *piano talent out there. Any up n comers that are in the vein as the older *folks....It seems (to me) that there is a lack of YOUNG piano players in *the blues style. Plenty of guitar slingers (1900 and some odd in Nashville *alone :-)), but not that many piano players that are getting attention I guess you haven't heard of Daryl Davis. Daryl is a Washington DC based piano player, singer, guitarist and writer who is known mostly for playing with Chuck Berry (he plays with Berry when he's touring the east coast). He's recorded with Cephas & Wiggins and was a member of the Legendary Blues Band. He learned directly from Johnnie Johnson and Pinetop Perkins, which shows in his style (and he has a degree in music from Howard University). Daryl is one of the best living blues piano players - I've heard him play just like Pinetop, Jimmy Yancy, Fess, etc. My article on him should be in next month's Music Monthly. I can get you a copy if you want, or I'll tell you the url for it once it's online. -Steve ========================================================================= Date: Wed, 24 Apr 1996 12:27:22 EDT Reply-To: Toby Levy From: Toby Levy Subject: SITTING & THINKING: Leadbelly & Rev Davis on Biograph LEADBELLY, REVEREND GARY DAVIS, DAN SMITH / GOOD MORNING BLUES (BCD 113 ADD) BIOGRAPH RECORDS 16 RIVER STREET CHATHAM, NY 12037 TEL: 518-392-3400 FAX: 518-392-2666 e-mail CD@BIOGRAPH.COM Here's a cd that is sure to please anyone interested in the history of folk music. It provides a healthy sample of music by two of the most influential figures in the folk music boom of the 1950s, and introduces a third figure who while of lesser stature historically, performs music as compelling as the others. The six songs performed by Leadbelly were recorded in 1940. Except for the first number, all of Leadbelly's songs are preceded by commentary by Woodie Guthrie. Woodie Guthrie's wife believes this recording session was used as an audition tape for a radio show that never made it to the air. The five songs by the Reverend Gary Davis were recorded in 1971, the year before Davis died. Biograph would later release the rest of this recording session on another cd. Dan Smith, a blues harp player, contributes four songs recorded in 1975. He is backed by three musicians on a variety of string instruments. At various times they play guitar, banjo, mandolin and bass. Smith was born in Alabama in 1911 and grew up picking cotton. He learned harmonica as boy but worked at manual labor jobs until he lost his sight on the job in 1960. A few later his music became his profession. WENT OUT ON THE MOUNTAIN / WHOA BACK / WORRIED BLUES / GOOD MORNING BLUES / YOU CAN'T LOSE ME CHARLIE / BOLL WEEVIL / BABYLON IS FALLING DOWN / WHERE SHALL I BE WHEN THE FIRST TRUMPET SOUNDS / LINING THE TRACK / COTTON NEEDS PICKING / CANDY MAN / HESITATION BLUES / WHISTLING BLUES / HOW HAPPY I AM / SOON MY WORK WILL ALL BE DONE NY CD-Takes WENT OUT ON THE MOUNTAIN: With a voice full of the pain and suffering that dogged him for most of his life, Leadbelly tells a sad little story as he picks out a boogie on his guitar. "Did you get that letter I threw in your back yard? Babe, I would come to see you but the white folks have got me barred." WHOA BACK: Here Woodie explains that Leadbelly is going to sing a work song used by a man driving a yoke of oxen coming home after many weeks on the road. As he sings exuberantly of his work, he forced to pause and yell to the oxen to get back in line. "Mighty fine, Leadbelly," Says Woodie when its over. WORRIED BLUES: Woodie asks Leadbelly what he does best and Leadbelly tells him its singing and playing the blues. After a little discussion on the meaning of the blues, Leadbelly sings a beautiful rendition of this classic. His girl is worrying him, and he can't eat or sleep. GOOD MORNING BLUES: Woodie calls Leadbelly a "Blues Doctor" and asks what the blues means to him. Leadbelly gives a beautiful description of what it's like to have the blues and have to deal with other people who happen not to have it at the moment. He says you have to talk to the blues, and he breaks into this classic blues song. This is just another example of how much emotion can be packed into a vocal arrangement. YOU CAN'T LOSE ME CHARLIE: Woodie explains that Leadbelly is going to sing a ragtime number. This breakneck song is sung with great gusto by Leadbelly. BOLL WEEVIL: Woodie asks Leadbelly to sing his new theme song. Leadbelly responds with a plaintive song telling of the success of the farmer's worst enemy. The song fades out long before the conclusion of the story. Could the audition tape ran have run out? BABYLON IS FALLING DOWN: Dan Smith takes over with a rousing gospel tune. With a wailing harmonica, he celebrates the triumph of the Lord over all the sinners in Babylon. Bessie Jones keeps up the intensity by hitting a hot tambourine. WHERE SHALL I BE WHEN THE FIRST TRUMPET SOUNDS: This is a bluegrass gospel number. With Michael Cooney on banjo, Dan Smith plays a lilting harmonica and sings of his imminent salvation. LINING THE TRACK: This song describes Dan Smith's work on the railroad, which included the responsibility to make sure that the track kept to a straight line. With his harp blowing like a locomotive, he sings this work song that have run through his mind hour after hour day after day as he kept that railroad straight. COTTON NEEDS PICKING: Dan Smith sings another work song, fast paced, with his best harp playing of his four selections on this cd. He's gone run a rope and pick to the left and right, use his knees so he doesn't have to bend. He's going to pick all day and all night. There's a lot of work that needs to be done! CANDY MAN: Gary Davis was the godfather of all the folkies in New York City during the 50s. In this song he is heard encouraging folk guitarist Larry Breezer to keep up with him on an instrumental version of one of the Reverend's most famous songs. Davis' next four songs are all performed solo, HESITATION BLUES: You only have to listen to this one song to realize the mastery of Gary Davis. In the most casual of tones, Davis rambles through this classic blues, chuckling at the more risque parts and advising the women not to fall for the lines of the song if they are sung to them by admiring men. And his guitar playing is absolutely perfect. WHISTLING BLUES: The Reverend tells a story while he gently strums on his guitar. The story revolves around a woman who hustled him. When she whistles at him, Davis emulates the whistling sound on his guitar. After the story he plays a pretty blues on the guitar and just before he ends it he makes the guitar sound like a piano. HOW HAPPY I AM: A beautiful folk gospel. The depth of Gary Davis' faith is revealed by the lusty soulful singing of this moving musician. "I know something that's mighty swell, sweet little story I love to tell, Jesus saved my soul from hell, glory hallelu!" SOON MY WORK WILL ALL BE DONE: This is another song of faith, and a prophetic one to boot. The 75 year old Davis sings of preparing to pass over the threshold to the great beyond. In a year he would get to reunite with his Mother and all the other good people he was looking forward to meeting. This song, performed slowly and majestically, is truly moving. Reviewed by Toby Levy Copyright NY CD Blues - 1996 NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ ========================================================================= Date: Wed, 24 Apr 1996 12:34:12 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0081 From: "DUTTWEILER.J" Subject: Piano Blues Date: Wednesday, 24 April 1996 12:33pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Piano Blues Well, I don't know how old he is, but David Maxwell, who recently appeared on John Primer's "The Real Deal," is an exceptional pianist and tore it up on that particular CD (check out a review of this CD on NY CD Blues' Code Blue page at http://www.panix.com/~bsco/). Any additional info anyone could provide about Mr. Maxwell would be of interest, I'm sure, to this list. He is, along with Mr. Primer, "the real deal." JD LW wrote: > With all the talk about Fess, Champion Jack...etc. Is there any NEW blues > piano talent out there. Any up n comers that are in the vein as the older > folks....It seems (to me) that there is a lack of YOUNG piano players in > the blues style. Plenty of guitar slingers (1900 and some odd in Nashville > alone :-)), but not that many piano players that are getting attention > > LW 'playin since theys babies" ========================================================================= Date: Wed, 24 Apr 1996 09:46:30 -0700 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Re: Lil' Ed with David Weld & the Blues Imperials Having seen Lil' Ed both with and without Dave Weld, I must say I like the band better with Dave than without. I think they complement each other quite well. Their music seems a bit more raw and powerful. I like that. Joe ========================================================================= Date: Wed, 24 Apr 1996 09:50:40 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Does music make you smarter? Hi Everybody! LW asked me for some info on the comment I made concerning the ability of some music to increase scores on intelligence tests, so my wife-the-mighty-reference-librarian found these for me! *disclaimer* I think that IQ tests are total crap, and don't measure anything meaningful at all. I also think our culture's definition of intelligence is reductionistic and culturally biased. I have gotten almost a 40-point spread on the several IQ tests I have taken personally, so I have to ask what they are really worth. I guess it does prove what I have always known.... I'm real good at some stuff and real bad at others... (and I'm *really* bad at the dishes... honey could you do them??) har har sorry In spite of all that, these results are still very interesting! ------ Source: Science News, Aug. 27, 1994 Title: Tuning up young brains. (early music training encourages development of spatial intelligence) ------ Source: Prevention, Feb 1994 Title: Learning Keys: Music may give kids' minds a head start. Abstract: Research has shown that children who are given musical training excercise the same brain patterns necessary for abstract reasoning. Research complete in Aug. 1993 found that inner-city children's reasoning skills that tested below the US average doubled after music training. ------ Source: Nature, Oct 14 1993 Title: Music and spatial task performance. Abstract: 36 college students were asked to listen to Mozart's music and a relaxation tape in a survey to determine the causal relationship between music cognition and cognition relating to abstract activities. The examinees were evaluated on the Stanford-Binet intelligence scale. The examinees performed better in a test conducted after a music spell rather than after listening to the relaxation tape. ----- Source: Time magazine Oct. 25 1993 p. 25 no abstract available. ----- Now for a mild bit of editorializing (sorry) *DEATH* to those who cut school budgets and music programs..... DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Wed, 24 Apr 1996 13:00:34 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Piano Blues Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU On 24 Apr 96 at 10:30, ISTS024%UABDPO.BITNET@BROWNVM wrote: > With all the talk about Fess, Champion Jack...etc. Is there any NEW blues > piano talent out there. Any up n comers that are in the vein as the older > folks....It seems (to me) that there is a lack of YOUNG piano players in > the blues style. Plenty of guitar slingers (1900 and some odd in Nashville > alone :-)), but not that many piano players that are getting attention Well there is our very own "embee", for one. Henry Butler out of New Orleans is another great one. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Wed, 24 Apr 1996 11:57:57 CST Reply-To: William Shute From: William Shute Subject: Willie Mitchell "Walkin' With Willie"CD From: Bill Shute WILLIE MITCHELL COMBO AND THE FOUR KINGS (and various artists) "Walkin' With Willie" Roller Coaster (UK) RCCD 3009 I special-ordered this CD soon after I wrote that birthday tribute to Willie Mitchell a while back. I saw it on a list, and hoped that it was THE Willie Mitchell. Roller Coaster's output is often rockabilly/ 50s rocknroll, so I thought that maybe THIS Willie Mitchell was some rockabilly guy from Iowa who put out one local 45 and now we are treated to his entire works, including later country 45s put out under othernames and acetates of Elvis covers. Such an album may well be up by alley too, but this one is THE Willie Mitchell of Memphis, Tennessee, and this collection contains early, pre-HI material (which I was hoping for when I ordered it)--specifically, l959 recordings for Eddie Bond's "Stompertime" label, including the original recording of "The Crawl." Mitchell leads the band, and wrote all the songs except the standard "Rag Mop" of Mills Brothers/Johnnie Lee Wills fame. This is basically vocal-group R&B, with a jazz-tinged small group lounge R&B combo backing. The vocal group includes Mitchell's longtime vocalist DON BRYANT on lead. Only six titles were issued at the time--the 13 tracks here include some unreleased songs, and multiple takes of a few. These are not incredibly distinictive records, not a kind of Rosetta Stone of Memphis music, but they are of interest to the serious Memphis R&B fan if only because little of Mitchell's pre-HI work has been reished (to my knowledge) and because this really captures the CLUB sound of the smarter supper clubs, the kind of places that indirectly gave birth to 60s memphis R&B, and the kind of place where Lewis Steinberg and Al Jackson Jr. learned their craft on a nightly basis (they were in the Mitchell band at this time,and are pictured, but detailed personnel listings aren't available). ---------------------------- That's the first 13 tracks. The other 16 songs are from various artists who recorded for the Philadelphia "Swan" label and subsidiaries. (roller coaster has the rights to this catalog) Earl Wade's 2 tracks, from l958, remind one of a less-intense Little Richard. The four tracks by the post-Hearts Lee Andrews are nice vocal group R&B, circa l961, but there are no songs here that reach out and grab you well-known R&B sax man Buddy Lucas turns in two novelty-ish dance numbers that hold up pretty well...for those of us who like novelty-ish dance numbers! Norfolk, VA's Showmen (of IT WILL STAND fame) evidently turned up on Swan after their period with Joe Banashak producing (an lp of that material was out on Charly in the l980s, don't know if it's come out on CD), but by l965 this vocal-group material must have been old-fashioned sounding and it's difficult to imagine it getting airtime beside Wilson Pickett and James BRown! As for pop crossover possibilities, music this rootsy would have had no place on the l965 Stones/Byrds pop charts. Still, fanatics like me who used to collect all kinds of off-the-wall 45s will find the material interesting...no doubt it reflects material they may have done in club gigs. Larry Clinton (not the Dipsy Doodle bigband leader)'s l963 45 is, like most of the material here, from the waning days of vocal group R&B, as it tried to inject contemporary elements into it. Finally, there are two songs (well, performances would be a better word as they are "unfinished" and broken into with studio chatter, etc.) by an unknown artist. These rock a bit more, tho the vocalist (either a high pitched male or a lower pitched female...I really can't tell!) is a bit "imprecise" in the pitch area. I love these kind of scraps... I'll take them over an album by Saffire, Tinsley Ellis, or Roy Rogers (the "blues" one) anyday! They date from 58-59, and Buddy Lucas is on the booting sax, but that's all that's known. --------------------------------------------- As you can see, this is an album "for collectors only," but if you want a CD version of going out 45-hunting and coming back with a stack of odd, musty singles by bands you never heard of...and records you've never heard of by familiar names...and just sitting back and getting surprised and filling in gaps in your musical experience...then this'll do fine. Once again, I LOVE these throw-together comps of various 45s. It's a fine antidote to today's over-produced, over-rehearsed, over-overdubbed, under-spontaneous, and under-souled digital dreck. These records have the taste and smell of REAL HUMAN BEINGS. And of course, the Willie Mitchell material, the reason I ordered this, is of significant historical interest, and I'm sure the more I play those sides, the more connections I'll make with the Mitchell (and the whole Memphis scene) who blossomed later. Besides, this is as close as you can get to a good table at the l958 Memphis club. Bill Shute San Antonio, TX if I get time tonight, I'll be digesting more of that fine new 2-CD Floyd Dixon set on Capitol Blues Classics. I listened to the 2nd CD last night, with many tracks where Floyd is a supporting musician for vocalist Mari Young (I think). Quite interesting. The area where jazz-met-R&B in the late 40s/early 50s has always interested me. ========================================================================= Date: Wed, 24 Apr 1996 13:09:05 -0400 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Billboard's Top 15 Billboard's Top 15 Blues Albums for the week ending April 27, 1996 1. Ledbetter Heights, Kenny Wayne Shepherd 2. Greatest Hits, Stevie Ray Vaughan & Double Trouble 3. Phantom Blues, Taj Mahal 4. Alligator Records 25th Anniversary Collection, Various Artists 5. Long Way Home, Clarence "Gatemouth" Brown 6. From The Cradle, Eric Clapton 7. Keb' Mo', Keb' Mo' 8. Blues, Jimi Hendrix 9. Blues For Greeny, Gary Moore 10. Grateful Heart: Blues & Ballads, Ronnie Earl & The Broadcasters 11. Chill Out, John Lee Hooker 12. Some Rainy Morning, Robert Cray 13. Hot Biscuits: House Of Blues Sampler, Various Artists 14. Cover To Cover, The Jeff Healey Band 15. One Foot In The Blues, ZZ Top *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Wed, 24 Apr 1996 12:25:47 -0500 Reply-To: sprice@INAV.NET From: Steve Price Subject: Re: Piano Blues Comments: To: L W In-Reply-To: On Wed, 24 Apr 1996, L W wrote: > With all the talk about Fess, Champion Jack...etc. Is there any NEW blues > piano talent out there. Any up n comers that are in the vein as the older > folks....It seems (to me) that there is a lack of YOUNG piano players in > the blues style. Plenty of guitar slingers (1900 and some odd in Nashville > alone :-)), but not that many piano players that are getting attention > > LW 'playin since theys babies" > Out on I think Red House (Minneapolis) is (hope I spell this right) Radislav Lorcovich (or Lorkovich). He's from the Davenport, Iowa, was hanging around Iowa City, but did a bunch of European tours. Haven't seen him since last summer, so I don't know where he's been, but he's incredible. Not a powerful voice, but pleasant all the same. And the piano is incredible. Steve ========================================================================= Date: Wed, 24 Apr 1996 13:27:33 -0400 Reply-To: BluesMojo@AOL.COM From: Doug Carlisle WSFM Subject: Stuff needed........read on. Hi y'all, I live in North Carolina, and I understand there are some blues shows coming to this state soon. If you have info, please e-mail me. Also, is there a new Billboard Blues chart available yet?? The current one on the net is from the week of 4/13/96 Thanks, Doug Bluesmojo@aol.com ========================================================================= Date: Wed, 24 Apr 1996 12:29:39 -0500 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: Piano Blues > With all the talk about Fess, Champion Jack...etc. Is there any NEW blues > piano talent out there. Any up n comers that are in the vein as the older > folks....It seems (to me) that there is a lack of YOUNG piano players in > the blues style. Plenty of guitar slingers (1900 and some odd in Nashville > alone :-)), but not that many piano players that are getting attention I've worried about this before. I've met a couple of very talented piano players here in Austin. They can play some mean Blues, but they don't record. I think the "guitar blues" made the transition to Rock, but the "piano blues" didn't. And it seems like a lot of people get into the Blues through Rock (you mean someone did "Ice Cream Man" before Van Halen?) I also think there's a greater difference between the piano and the electronic keyboard than there is between the acoustic guitar and the electric guitar. So maybe musicians didn't want to play stickly piano music when they could do so much more with the keyboard. I love piano blues and would love to see a crop of new young talent appear on the scene. I just don't see it happening. Bruce Roberts Austin, TX "Who died and made you T-Bone Walker?" - line from the TV show 3rd Rock From the Sun ========================================================================= Date: Wed, 24 Apr 1996 13:57:50 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Piano Blues/Big Joe Duskin Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com Speaking of piano blues, does anyone know if Big Joe Duskin is still alive? I picked up his cd "Cincinnati Stomp" this weekend, and it's an excellent piano blues recording, with Jimmy Johnson on one track, and Bob Margolin on several. -Steve ========================================================================= Date: Wed, 24 Apr 1996 11:14:53 +0000 Reply-To: ksailors@hooked.net Comments: Authenticated sender is From: "Kenneth M. Sailors" Organization: Personal Copy Subject: L. Armstrong? So, I bought "The Last Real Texas Blues Band" featuring Doug Sahm (buy it if you don't have it. It kicks!) and he does a tune called "Bad Boy" credited to L.Armstrong and A. Long. Anyone know if L. Armstrong is _Louis_ Armstrong? I can hear him singing this but I don't know. Help me out? )))((( -(.)(.)- | | | | \/ | ////\\\\ \__/ Eugie!Baange "I'm just naturally crazy,baby" ========================================================================= Date: Wed, 24 Apr 1996 12:01:21 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Gearheads "Dialing in your Sound" Hi Everybody! Thought I'd pass on some ideas that popped up recently on getting that "perfect guitar sound that you have in your mind". As many of you know, I got a new Matchless amp recently. I have wanted one of them since I first heard one. I walked up to their first little booth at NAMM years ago and was floored by the sound of their amps, it was MY SOUND, there it was! No one else had yet come close! Couldn't afford one of course.... I came *really* close with a couple of really nice customs over the years since, and even bought all Matchless' componentry for one of the customs... But there was something so right, so dialed in about the DC-30 that I always swore I would have one someday. Since getting one I have discovered some interesting stuff: When you get really really close to "your sound" *little tiny* things can mess it up. Like all other amps, Matchless sound different with different tubes in 'em. "My sound" can go away pretty quick if I change tubes. Right now I am using NOS German Amperex power tubes Telefunken and French Amperex in the front end, and a Mullard rectifier... yikes! The tubes in that amp are worth over $325.00! It sounds amazing, so I think I've got my sound dialed in right... wrong! I run into Mark (Matchless prez) at NAMM and asked him about their guitar cables. He shows me their guitar cable which he likes. So I get one, and hated it! oh well.... Back to the GHS Soundlinks (best cable I have heard yet) Goes to show you even people with many many years of experience in making great amps and in recording *like different things*... So where is right and where is wrong... not in AUDIO, I'll tell you that! What do *you* like? That's "right"! If I change the German Amperex's to some NOS Phillips I have, I like the E natural guitar better through the amp, and yet the Eb guitar likes the Amperex's... Oh and if I plug the amp into my Matchless 4-12 cabinet everything changes again! Moral of the story? Don't get obsessed with your sound! There is no end to that road... ever.. ;-] What have I learned? 1. Use the biggest strings and highest action you can stand (and you won't know if you can stand them until you play hard for a month with them) preferably with a wound third... 2. Use the biggest frets you can find... 3. Get your guitar setup by a pro... (no you CAN'T set it up as well as he can) A proper setup will adjust the neck, clean up the frets, set the intonation, and set the PU height. What a difference. Yes it costs 30-60 bucks so what... (btw I have an intonation method that I gave to my guitar builder and he uses. If any of you are interested in how to get that guitar to REALLY play in tune, post me privately) 4. Get those PU's away from the strings! At least 3/8" or more. Listen as all the air and expressiveness come back to your guitar 5. Lose the wang bar. Have the trem blocked or taken out comepletely. Fixed bridge guitars sound better... period. 6. Find a good guitar pro shop and patronize them. Don't expect pro service and great tech help and repair from "Whores R Us" guitars... They have to sell so cheap that they cannot afford to *hire* pros to help you! 7. Once you get the guitar that is right for you, go play every amp in the universe before you buy. Holy cow, there are some nice amps out there now! Play 'em all. What turns YOU on? *OR* you can ignore all the above, play a guitar with a wang bar, little skinny strings, cheap cord, and solid state amp. And STILL make great music! So does gear matter? Of course it does. Just don't lose your perspective! DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Wed, 24 Apr 1996 14:00:00 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Goin To Louisiana Anyone got the lyrics to this tune... THANKS LW ========================================================================= Date: Wed, 24 Apr 1996 15:34:36 -0400 Reply-To: RhythmShrk@AOL.COM From: Bernie Clarke Subject: Re: Does music make you smarter? In a message dated 96-04-24 13:15:28 EDT, you write: >Hi Everybody! > >LW asked me for some info on the comment I made concerning the ability of >some music to increase scores on intelligence tests, so my >wife-the-mighty-reference-librarian found these for me! > Absolutely! I am the smartest person on earth and I owe it all to music! Bernie Clarke (It makes you a liar too!) ========================================================================= Date: Wed, 24 Apr 1996 13:11:23 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Hot Licks vids question Hi all. Just got my latest Hot Licks catalogue, and I'm debating whether to get Danny Gatton's 'Telemaster!' video, or his 'Strictly Rhythm Guitar' vid. Have any of you seen and used either one of these videos, and if so, which do you recommend? I'm primarily looking for something to help add spice and variety to my rhythm playing. Thanks! -Jim (hndful@uniserve.com) ========================================================================= Date: Wed, 24 Apr 1996 16:04:21 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Drummer Needed for DC Area Blues Band Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I'm in the process of starting a new band (fronted by a female singer/guitarist). We have everything we need except a drummer. It's going to be a five piece (two guitars, bass, drums and harp), and we will probably be able to get some gigs fairly soon. If you are an experienced blues drummer in the Washington DC area and you're interested, or you know someone who's interested, please get in touch with me. -Steve Levine ========================================================================= Date: Wed, 24 Apr 1996 15:32:15 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 04/25 B O R N :Bechet, Leonard V. Born:1877 NEW ORLEANS, LA Career:TROMBONE Style:TRAD / JAZZ With:Brother of Sidney Bechet / Young Superior Brass Band / Silver Bells Band BOSTIC, EARL ( EARL EUGENE BOSTIC ) Born:1913 TULSA, OK Career:ALTO SAX / ARRANGER / CLARINET / FLUTE / LEADER Style:BLUES / JAZZ With:BENNY MOTEN / FATE MARABLE / DON REDMAN / EDGAR HAYES / LIONEL HAMPTON / HOT LIPS PAGE / JAKI BYARD / JIMMY COBB / JOHNNY COLES / JOHN COLTRANE / BENNY GOLSON / BLUE MITCHELL / STANLY TURRENTINE CHAMBERS, PAUL ( LAURENCE DUNBAR,JR ) Born:1935 PITTSBURGH, PA Career:BASS Style:JAZZ With:Paul Quinichette / Benny Green / Joe Roland / Jay Jay Johnson / Kai Winding / George Wallington / Miles Davis FAIRWEATHER, DIGBY ( RICHARD JOHN CHARLES ) Born:1946 ROCHFORD, UK Career:CORNET / LEADER / AUTHOR / EDUCATOR Style:JAZZ With:Eggy Ley / Midnite Follies Orchestra / Velvet / Ron Russell / Pizza Express All-Stars / Hugh Rainey / Eric Silk / Gene Allen / Lennie Hastings / Dave Shepherd / Alex Welsh FITZGERALD, ELLA Born:1918 NEWPORT NEWS,VA Career:SINGER Style:JAZZ / BIG BAND With:Chick Webb / Duke Ellington / Count Basie / Oscar Peterson / Joe Pass Fougerat, Tony Botn:1900 NEW ORLEANS, LA Career:CORNET / LEADER Style:TRAD / JAZZ dixie leader from early 1920s to 1960. Franzella, Sal Born:1915 NEW ORLEANS, LA Career:CLARINET Style:TRAD / JAZZ With:Benny Meroff 1936 / Isham Jones 1937 / Paul Whiteman 1938 / Louis Prima HENDERSON, RICK ( RICHARD ANDREWS ) Born:1928 WASHINGTON, D.C. Career:ALTO SAX / TENOR SAX Style:JAZZ / BLUES / BIG BAND With:Duke Ellington / Dinah Washington JACKSON, WILLIS "GATOR TAIL" Born:1928 MIAMI, FL Career:TENOR SAX Style:BLUES LONG, HUEY C Born:1904 SEALY, TX Career:GUITAR Style:JAZZ / BLUES PHILLIPS, EARL Born:1920 HARLEM, NY Career:DRUMMER Style:BLUES With:HOWLIN' WOLF SHINES, JOHNNY Born:1915 FRAYSER, TN Career:GUITAR / SINGER Style:BLUES STURGIS, TED Born:1913 CAPE CHARLES, VA Career:PIANO / BASS / ALTO SAX Style:BLUES / JAZZ Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us The Following were Recorded on this Date in the Years: ========================================================================= Date: Wed, 24 Apr 1996 14:59:00 -0400 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re: Does music make you smarter? >LW asked me for some info on the comment I made concerning the ability of >some music to increase scores on intelligence tests Um, Don... "Some" music? I thought you said that evidence showed classical music did this. Didn't you say classical music? [Kindly forgive my snipping, and best regards to Don's wife who did the research shown below] >[T]hese results are still very interesting! >Source: Science News, Aug. 27, 1994 >Title: Tuning up young brains. (early music training >encourages development of spatial > intelligence) Well, I hope you'll forgive me, but this says nothing, absolutely nothing whatsoever, about classical music in particular. It does not in any way support your thesis, as I understood it. >Source: Prevention, Feb 1994 > >Title: Learning Keys: Music may give kids' minds a head start. > >Abstract: Research has shown that children who are given musical >training excercise the same > brain patterns necessary for abstract reasoning. >Research complete in Aug. 1993 > found that inner-city children's reasoning skills >that tested below the US average > doubled after music training. Exact same situation. >Source: Nature, Oct 14 1993 > >Title: Music and spatial task performance. > >Abstract: 36 college students were asked to listen to Mozart's music and >a relaxation tape in a > survey to determine the causal relationship between >music cognition and cognition > relating to abstract activities. The examinees >were evaluated on the > Stanford-Binet intelligence scale. The examinees >performed better in a test > conducted after a music spell rather than after >listening to the relaxation tape. This compares music and non-music. If it compared one type of music against another, it would tend to support what I understand to be your thesis. But that is not the case here. >Source: Time magazine Oct. 25 1993 p. 25 >no abstract available. Um, no comment. >Now for a mild bit of editorializing (sorry) > >*DEATH* to those who cut school budgets and music programs..... Sounds fine, I like it. But maybe the case for classical music at the expense of other kinds is not so clear. Despite the assumptions that all sorts of people make as to how good it is for us. Me, I didn't have a brain in my damn head till I saw Dave Sherman and the Nighthawks open for the legendary Koko Taylor. Hey, Mr. Landlord! Knock on the door? When the police come, tell 'em, the joint is closed! Let the good times roll! BLUE JOE IN RED RUSSIA (not meaning any offense, and still chuckling over Don's quote from Groucho: "Time flies like an arrow. Fruit flies like a banana.") J.E._Downey@bakermck.com ========================================================================= Date: Wed, 24 Apr 1996 15:06:20 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: JOHNNY SHINES, A TRIBUTE 1) INTRODUCTION "Everybody has the blues. If you didn't have them yesterday and don't have them today, you're bound to have them tomorrow." ~ Johnny Shines JOHNNY SHINES was born John Ned Lee Shines Jr., on Sunday, April 25 (not 26), 1915, Frayser (then a suburb of Memphis), TN. Shines was "rediscovered" by British researcher Mike Rowe, author of CHICAGO BREAKDOWN (Eddison Press, 1973), in 1964 on a tip from Willie Dixon. This prompted Sam B. Charters to recorded him (in Dec'65, w/Walter Horton) for the award winning VANGUARD Records series : Chicago/The Blues/Today! "Johnny Shines's best material crackles with energy. In his prime, his slashing slide guitar carried more of the spirit of his onetime running mate Robert Johnson than any other traditional blues artist. Shines, however, was never a Johnson imitator. He had his own sound, his own guitar style, and a voice that can still take you on a roller coaster ride. (However, he did learn from Johnson and his classic recordings. "Ramblin'" and "Dynaflow Blues" feel like Johnson's best work.) Shines has too much personal magnetism to be confused with anyone else. Like many artists of his generation, he is also master of the spoken word, a gifted storyteller, a social critic, and a historian dedicated to telling the truth. On stage or off, he pulls no punches, and his independent spirit and readiness to fight for what he perceives to be fair have no doubt ruffled the feathers of the movers and shakers in Chicago's blues business., Shine's distinctive style and songwriting skills should have brought him fame and fortune in music, but such was not the case. During the 40s and 50s, when he was at his peak, he only issued a handful of records. Although critically acclaimed today, these were not sufficient to keep him in the business at the time. Working outside of music in the 50s and over much of his career, he returned to the studio with Sam Charters & Pete Welding in the 60s. These Chicago sessions showed his musical power had not diminished. Subsequent recordings, including his collaboration with Robert Jr Lockwood, have generally maintained a high quality. His later guitar work was hampered by a stroke, but he remained a powerful artist sustained by one of the all-time great blues voices." ~ Barry Lee Pearson, All-Music Guide JOHNNY SHINES died on Monday, April 20, 1992, DCH Regional Medical Center, Tuscaloosa, AL., shortly after 4:00 am. Shines had planned to perform Saturday (April 25) at a celebration marking his 77th birthday, and was scheduled to appear on August 1, at the Robert Johnson Memorial Blues Festival, in Greenwood, MS., along with Honeyboy Edwards, Henry Townsend and Robert Jr. Lockwood. In 1980, Johnny Shines was nominated for a Grammy award for his Rounder record with Robert Jr. Lockwood called "Hangin' On." On October 4, 1992, he was inducted into the W. C. HANDY AWARDS' BLUES HALL OF FAME. On Sunday May 1, 1994, The Alabama Blues Society along with Johnny's family, friends, and fans held a memorial service at the Cedar Oak Memorial Park in Tuscaloosa, AL. The discography below is NOT complete as it does not include all his recordings as an accompanist. Everyone should watch out for the upcoming (July) STONY PLAIN CD. Produced by Holger Petersen, it will contain the "Country Blues" & "Too Wet To Plow" sessions, which are mostly acoustic, with Sugar Blue (1 cut) and Roosevelt Sykes (2 cuts) helping out. I also understand that Petersen will include some interview material. Bound to be a desert island silver platter! I'd like to thank Leonard Watkins for sharing with us his interviews with Peter Guralnick, Johnny Nicholas and Kent DuChaine - three people who knew Shines as a person and a musician, and after reading the interviews, it will be obvious to you that Shines made a strong, lasting impact on their lives. This profile will be in 6 parts : 1) Introduction 2) Discography 3) Leonard Watkins Profile 4) Peter Guralnick Interview 5) Johnny Nicholas Interview 6) Kent Duchaine Interview. The complete profile will be available on BLUES WEB ========================================================================= Date: Wed, 24 Apr 1996 15:06:41 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: JOHNNY SHINES, A TRIBUTE 3) LEONARD WATKINS PROFILE JOHNNY SHINES (1915 - 1992) =========================== Johnny Ned Shines was born in Frazier, Tennessee on April 25, 1915. He spent most of his youth in Memphis and the surrounding Delta area. His first major musical influence was Howlin' Wolf and Shines was referred to as "Little Wolf" at the start of his career. He wrote a song called "Little Wolf" which is on his "Traditional Delta Blues" recording (Biograph BCD 121). In the mid to late thirties he traveled with Robert Johnson, who eventually became his biggest influence. When Robert Johnson died, Shines decided to go to Africa and see if all the tales he heard were true. He never met that goal and instead settled in Chicago. While living there, working as a construction worker, he recorded some material at Chess Records. At the time of these recordings, Chess was pushing Muddy Waters, almost exclusively. Shines' Chess recordings were rarely released and some that were came out under the name "Shoe Shine Johnny". He recorded some excellent material for the J.O.B label. In 1958, he became disgruntled with the musicians union over back tax and other problems. He pawned all his equipment around this time and quit the music business. In a 1994 interview, Testament records founder & blues historian Pete Welding told me about his locating Shines. "I was excited to find Johnny. He was one of the people that I was looking for all the time I was in Chicago. I had been looking for him and had a number of other people looking for him also. Johnny Young actually found him-Shines was working as a photographer in blues clubs at night. He would take a picture of you and your girlfriend so you would have a memento of the evening. I started talking to him about recording, and then Sam Charters came to town to do "Chicago- The Blues Today". Sam wanted to record him and I thought exposure on Vanguard would be great. I thought he was a marvelous player and just a wonderful, soft spoken, scholarly man. I had the luxury of recording him over a long period of time. He came up with some pieces that he hadn't played in a long time. I would interview him and during the course of the interview, he would start remembering all those old songs he had played". The 1966 Vanguard recording, "Chicago: The Blues Today" , put his music career back on path. Shines begin traveling with Big Walter Horton and Willie Dixon as the "Chicago All Stars". It was during this period that he recorded for Blue Horizon and Testament Records, which were recently reissued on CD by Hightone. A Rolling Stone review of his 1975 classic recording "Too Wet To Plow" (Tomato 2696364), Greil Marcus said of Shines' playing and singing: "Shines steps outside himself, considers his place in the world, draws you into his body, and then, still standing a few steps off, tells you where you are: where, for the moment you live".. Shines moved to Tuscaloosa, Alabama in the late sixties. He continued to play Delta blues and remained one of the last living Delta blues artists. He suffered a stroke in 1980 that hampered his playing. His voice was still as strong as ever, he could still scream like a panther or whisper ever so softly. In 1990, he began working with Kent DuChaine. The two were brilliant together. His 1991 recording with Snooky Pryor, "Back To The Country", (Blind Pig BP 74391) won a W.C Handy award, which was his last recording and only Handy Award. In 1992, Shines passed away in a Tuscaloosa hospital, 5 days shy of his seventy seven birthdate. ========================================================================= Date: Wed, 24 Apr 1996 15:06:33 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: JOHNNY SHINES, A TRIBUTE 2) DISCOGRAPHY JOHNNY SHINES : SELECTED ALBUM/CD DISCOGRAPHY RELEASE DATE ========================================================================= ADELPHI 1005 : VARIOUS - REALLY CHICAGO BLUES (6 cuts) 1970 ADVENT 2803 : JOHNNY SHINES 1974 ATLAS 5002 : JOHNNY SHINES - MISTER BLUES IS BACK TO STAY 1981 BIOGRAPH 12044 : JOHNNY SHINES - SITTING ON TOP OF THE WORLD 1972 BIOGRAPH 12048 : JOHNNY SHINES & COMPANY (w/David Bromberg) 1974 BIOGRAPH CD 121 : JOHNNY SHINES - TRADITIONAL DELTA BLUES 1991 BIOGRAPH CD 125 : JOHNNY SHINES - MR. COVER SHAKER (1974) 1992 BLACK & BLUE 33502: JOHNNY SHINES - CHICAGO BLUES FESTIVAL 1972 1973 BLACK & BLUE 33582: JOHNNY SHINES - HEY BA-BA-RE-BOP! (live, Boston) 1971 BLIND PIG 004-77 : JOHN NICHOLAS & FRIENDS-TOO MANY HABITS (3 cuts) 1977 BLIND PIG CD 74391: JOHNNY SHINES/SNOOKY PRYOR - BACK TO THE COUNTRY 1991 BLUE HORIZON 4607: JOHNNY SHINES - LAST NIGHT'S DREAM 1968 BLUE HORIZON 63212: JOHNNY SHINES - LAST NIGHT'S DREAM 1968 BLUE LABOR 110 : JOHNNY SHINES - TOO WET TO PLOW 1975 BOURBON 2003 : JOHNNY SHINES - LIVE, TOKYO, 1975 1975 BASF 20707 : CHICAGO BLUES ALL-STARS (2 cuts) 1969 CHESS 411 : VARIOUS - DROP DOWN MAMA (2 Chess cuts) 1970 EPM FDC CD 5514 : ROOSEVELT SYKES - MUSIC IS MY BUSINESS (1 cut) 1994 EVIDENCE CD 26047 : LUTHER JOHNSON - ON THE ROAD AGAIN (1 cut) 1994 FLYRIGHT 563 : JOHNNY SHINES / ROBERT JR. LOCKWOOD (JOB cuts) 1980 FLYRIGHT CD 10 : JOHNNY SHINES / ROBERT JR. LOCKWOOD (JOB cuts) 1989 HIGHTONE CD 8028 : JOHNNY SHINES (Advent album) 1991 JSP 1079 : JOHNNY SHINES / BLIND WILL DUKES (1978) (6 cuts) 1984 LABOR CD 7011 : JOHNNY SHINES - WORRIED BLUES AIN'T BAD 1995 LRC CDC 9077 : VARIOUS - BLUES MEN (2CD) (3 cuts w/Willie Dixon)1993 MCA CD 9340 : VARIOUS - CHESS BLUES BOX (4CD) (1 Chess cut) 1993 MCA CD 93002 : VARIOUS - DROP DOWN MAMA (2 Chess cuts) 1990 MOVIEPLAY 21693 : JOHNNY SHINES - CHICAGO BLUES FESTIVAL 1972 1973 MPS 15003 : CHICAGO BLUES ALL-STARS (2 cuts) 1969 MPS 15244 : CHICAGO BLUES ALL-STARS (2 cuts) 1969 PARIS ALBUM 28516 : ROBERT JR. LOCKWOOD & JOHNNY SHINES - HANGIN' ON 1980 PAULA CD 14 : JOHNNY SHINES / ROBERT JR. LOCKWOOD (JOB cuts) 1993 ROUNDER CD 2020 : JOHNNY SHINES - HEY BA-BA-RE-BOP! (live, Boston) 1992 ROUNDER 2023 : ROBERT JR. LOCKWOOD & JOHNNY SHINES - HANGIN' ON 1980 ROUNDER 2026 : JOHNNY SHINES - MISTER BLUES IS BACK TO STAY 1981 SONY CBS CD 48584 : VARIOUS - ROOTS OF RHYTHM & BLUES (8 cuts) 1992 SONY EPIC 37318 : VARIOUS - OKEH CHICAGO BLUES (4 cuts) 1982 STONY PLAIN 1005 : JOHNNY SHINES - COUNTRY BLUES 1974 STONY PLAIN CDsoon: JOHNNY SHINES - (COUNTRY BLUES/TOO WET TO PLOW) 1996 TESTAMENT 2207 : VARIOUS - CHICAGO BLUES : THE BEGINNING (4 cuts) 1973 TESTAMENT 2212 : JOHNNY SHINES - MASTERS OF MODERN BLUES V.1 1966 TESTAMENT 2217 : JOHNNY SHINES WITH BIG WALTER 1969 TESTAMENT 2221 : JOHNNY SHINES - STANDING AT THE CROSSROADS 1971 TESTAMENT CD 4001 : VARIOUS - TESTAMENT RECORD SAMPLER (2 cuts) 1995 TESTAMENT CD 5002 : JOHNNY SHINES - MASTERS OF MODERN BLUES 1993 TESTAMENT CD 5015 : JOHNNY SHINES WITH BIG WALTER 1995 TESTAMENT CD 5021 : VARIOUS - BOTTLENECK BLUES (1 unissued cut) 1995 TESTAMENT CD 5022 : JOHNNY SHINES - STANDING AT THE CROSSROADS 1995 TOMATO CD 2696362 : JOHNNY SHINES - TOO WET TO PLOW 1989 TRIO 3040 : JOHNNY SHINES (Advent album) 1974 VANGUARD 9218 : VARIOUS - CHICAGO/THE BLUES/TODAY V.3 (6 cuts) 1966 VANGUARD CD 79218 : VARIOUS - CHICAGO/THE BLUES/TODAY V.3 (6 cuts) 1989 WARNER BR CD 45285: JOHNNY SHINES - LAST NIGHT'S DREAMS(Blue Horizon)1993 WOLF CD 120914 : JOHNNY SHINES - 1915-1992 (Webster College,1974) 1994 XTRA 1142 : JOHNNY SHINES - COUNTRY BLUES (Stony Plain cuts) 1974 ZYTGLOGGE 220 : JOHNNY SHINES/PIANO RED - LIVE, BERN (6 cuts) 1978 ========================================================================= ========================================================================= Date: Wed, 24 Apr 1996 15:07:30 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: JOHNNY SHINES, A TRIBUTE 4) PETER GURALNICK INTERVIEW PETER GURALNICK (1-16-96) ========================== (Peter Guralnick, one of the most respected music scholars in the world, produced several of Shines recordings. Mr Guralnick is also author of many books including "The Listeners Guide To Blues", "Sweet Soul Music" and his latest "Last Train To Memphis". Interviewed : Leonard Watkins) LW: Do you recall when you first heard Johnny...? PG: The first I heard was "Ramblin" , which was on Blues Classics, an Arhoolie subsidiary. It was before Vanguard's, "Chicago The Blues Today" came out. It was probably in 1964 or so. LW: If someone was not familiar with Johnny's music, which recordings would you recommend.. PG: It's hard to say, he made so many great recordings. The thing that introduced me to his music was "Chicago The Blues Today", but it wasn't Johnny's favorite. He hadn't been playing for quite a while, and went in with no rehearsal. I like the excitement and sheer explosiveness of it. "Dynaflow Blues" was phenomenal, and I always liked "Last Nights Dream". LW: One of my favorites is "Traditional Delta Blues" on Biograph. PG: Oh yeah. That is probably better recorded. LW: I'm not sure if Johnny ever got out from under Robert Johnson's shadow. PG: To a broad audience, maybe. The most immediate identification was Robert Johnson. I think anybody who listened to Johnny could hear a very distinct personality of his own. LW: I believe his timing was sometimes very unique. It was his. PG: That stuff he did on Columbia had that kind of sprung rhythm song on it. It was back in 1946, when he and Muddy recorded. Muddy did "Hard Day Blues" and Johnny did "Delta Pine Blues" and "Evil Hearted Woman". "Delta Pine" was like a sprung rhythm kind of thing. It was very unusual. LW: After Johnny's stroke in 1980 his playing suffered, but I think his voice was still very strong. PG: He could sing great. When he got tired his intonation suffered. Sometimes he pushed himself. One of the great things about Johnny as a person, was the pride he had. He was really an admirable person. LW: He certainly didn't fit the stereotypical bluesman. PG: No, no he was very adamant that the stereotyping of the blues man did a disservice to the cultural contribution that the blues represented. At the same time he had his had fun. He had the stroke when we started to make the second album with Johnny and Robert Jr. Lockwood. They came in to Boston to rehearse. Robert tore up his thumb, unloading the equipment. That was amazing, because someone with less determination than Robert,would have let that been the end of his career. That was the end of the album. Then between the time we did those rehearsals and the time we actually made the album, Johnny had the stroke. It was really terrible. Johnny had so much pride and tried so hard to overcome it. He was always squeezin a rubber ball and doing rehabilitation to get his strength back. LW: You did a eulogy at Johnny's funeral. PG Yes, I did one of them. There were several. LW: So where does Johnny fit within the whole blues thing? PG: Johnny was a great spirit, a great blues man in his own right. He had his own individual voice. He had a very free ranging imagination. He come up with these really funny themes, going off in directions where nobody else would think of. It could be rocket ships to Mars or he did something like "Fat Black Vampire Blues". His mind was always working.He was a very deep thinker. I think his sensitivity and intelligence came out in his music. LW: He always wanted to go to Africa,but he never made it. PG: No he didn't. He had a tremendous curiosity and an interest in all kinds of things. I'm not sure that served him well in terms of rediscovery. Just as he was concerned about the new blues audiences looking for a stereotypical blues player. He may have been too sophisticated for some blues audiences. LW: I could see where that could happen. I think it's happening with Robert Jr. Lockwood. PG: Yes, I think that's true. I don't know if it's continues to be true. It certainly isn't true in all instances. Johnny was a guy who could engage in dialogue on any subject, with anybody. When he got in front if an audience, it wasn't with his hat in his hand. It wasn't like a second class citizen, looking for a hand out. I think sometimes, he may have been have been hurt not to get a stronger reception He saw reception that other blues artists got and it wasn't like he begrudged them for what they got. Sometimes he missed getting it himself. Other times I saw him put across his music and get a tremendous response from the audience. He was a very proud guy and he was not going to beg, whether it was for applause or anything else. LW: In the liner notes to "Last Nights Dream" you said Johnny was one of the most remarkable men you've ever met. That's a very strong statement. PG: The thing I kept coming back to, was when I first met him. It was the exploratory mind he had. Conversation is difficult in almost every situation.You have to bridge a gulf in a sense. It's particularly true of people you are just meeting and from different backgrounds. Johnny had such am insight, an articulate insight into the workings of people and politics. He could be lots of different things. A very unusual guy. I ran a boys camp and I'll never forget Johnny coming to the camp and playing for the kids. He did a little concert for the kids and the counselors. He took it as an opportunity not just to sing some songs, but also to give a history lesson on the African-American role in music and where the blues came from. It was a terrible strain in a way.It's like introducing two friends you're not sure if they are going to like each other. It was really bringing two worlds together. I was worried about whether the kids would like him and would they give him a good reception. This was in the summer of 1972. The interesting thing is in the 25 or 30 years since then, the mark that this one concert made on a large percentage of the people that were there is absolutely astonishing. LW: They obviously received him well. PG: They received him well,but that wasn't as significant as the as the effect that he had on their lives and their appreciation of music. These were kids who have never heard the blues and didn't even know what it was. I run into people today, who are probably in their thirties now who still recall that show as being a landmark in their lives. LW: That's amazing. PG: Yes, but it wouldn't have been if it had just been the music. Johnny actually took the trouble to create a lesson as well as entertainment. He put it across in a very effective and engaging fashion. Long before people were talking about "Blues In Schools" it was one of Johnny's missions. He used to have a quote that was something like "If you don't remember the roots, how can you nurture the branches ?" LW: I appreciate you talking to me, as I know you thought a lot of Johnny. PG: I really thought the world of him. ========================================================================= Date: Wed, 24 Apr 1996 15:07:56 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: JOHNNY SHINES, A TRIBUTE 5) JOHNNY NICHOLAS INTERVIEW JOHNNY NICHOLAS (1-20-96) ========================= (Johnny Nicholas co-produced and played on Shines' last recording and also played with him at the Ann Arbor Blues Festival. Interviewer : Leonard Watkins) LW: You co-produced and played on Johnny's last recording "Back To The Country" on Blind Pig. Your playing was great. JN: Well that was a real special session and Johnny drove out from Alabama. He stayed up here for a couple of weeks, while we played a few gigs around central Texas. Then we did the recording session. The session was done in a studio out in an old barn in the country. It was just all kind of fit together. LW: How did you become involved with the recording. JN: Oh I been knowing Johnny since 1968. I met Johnny in Chicago and backed him up on the Ann Arbor Blues and Jazz Festival in 1972. I played with him before that around Chicago and Michigan. I met Johnny through Big Walter (Horton) and then after that festival we did some traveling together. Johnny played on my very first album I ever made on Blind Pig, which was Blind Pig's first release, it's out of print now. It's called "John Nicholas and Friends" with Big Walter, Johnny, and members of Asleep At The Wheel. I always stayed in touch with Johnny. Jerry from Blind Pig called me up and said he wanted to do an album with Johnny, but he felt like he needed another artist on there to sell the thing. So we called in Snooky, course Snooky and Johnny hadn't played together in quite a few years. LW: They were a great match. JN: Oh yeah. They both stayed up here, we have a guest house that me and a friend built. They stayed up here the whole time. It was real cozy man. We were going to take that whole package on the road when Johnny died, you know. I was working with Snooky and we were going to bring Johnny in on the thing. We got word that he had died and Snooky and I went out there to Alabama. LW: How many takes did most tunes on the album need. JN: Those are all first takes. We did a little bit of over dubbing, but very little of that. I really don't think there were more than one or two songs that had two takes on it. They were just about all first takes. We pretty much just spent a couple of days in the studio and it's not that we were rushing it. We did a lot to rehearsing in the studio, it's kind of hard to back someone up, especially in that style. It took a little while, it took a lot of concentration. You know it's hard to think for someone else or what someone else is thinking. Even though I kind of knew Johnny's style. You know, without trying to copy his style and play it the way it felt right. That came across, the music was happening so it worked out. LW: They left the monologue on the front of "Crossroads" on the album. That's great. JN: Yeah, that was good they put that in there. That's basically what we did. Johnny would just kind of hum the way he wanted it to go. We had a similar thing happen with "Blues Come To Texas", I kind of called Johnny on that. I was talking to him I said "Johnny, you must have really liked Blind Lemon Jefferson's songs." He kind of give me that look and said "uh huh". I tell you a funny little story. When he says in there "Some people say them Texas blues ain't bad, but they must not have had those Beaumont blues I had". Well on the way out there they stopped in Beaumont to eat and he ate some 'gator, with some real spicy sauce. It didn't agree with him and I guess he was up all night. Everybody knew that at the session and when he sang that he just kind of ad-libbed that, threw it in. LW: One of the best songs on there you wrote, actually it's one of the best songs I ever heard, "Peace In Hell". JN: Yeah that's a good tune. Let me tell you the story on that one. I had recorded that on an album that I made out here, that's basically not available anywhere, because I never distributed it. I sell it on the road and stuff. I did it called "Glad To Get To Hell" and I really did it more like a , I guess the closest style is early George Jones. Originally the song said "I'll be glad to get to hell cause it can't be no worse" , but Johnny said "I'll be glad to get to hell so I can lay down by the fire and rest", Johnny added that. LW: It sounded like it was made for him. JN: Well that's what I thought. He had done one my songs before but never recorded it, "Too Many Bad Habits". He did a hell of a job it too. That one, when I started fooling around with it and put it in that delta style. I knew, I said "man". We just kind of picked that up. It was the day we were going over to the studio. I wish we would have had time for him to sing it a few more times, like on a gig or really work with it. Still it's powerful. LW: The recording won a Handy award, I guess it was Johnny's only Handy. JN: Yes sir. I think it was his only one. LW: Did he ever play any guitar in the studio JN: No, he just couldn't, his left hand wouldn't do what he wanted it to do. He tried on a couple of gigs we did, he put the slide on, he could over with what he did. You could tell he just couldn't where he wanted the slide to go I can't imagine how frustrating that must have been for somebody like Johnny, but he had such a good attitude about life. That's what was so cool about Johnny, he had everything in such a good perspective. In all the times I've played, all the guys I gravitated to were guys like Johnny, Robert Jr., Roosevelt Sykes and Big Walter. Those were really my mentors. They had that real old country mentality, which you know is the best, it's just the best of people who had that. As opposed to the Jr. Wells jive-ass. LW: Do you think Johnny was still under Robert Johnson's shadow. JN: Yeah and that wasn't fair. Even the songs Johnny did of Robert's he did them much his own. What people don't even understand, I mean there's so much ignorance out here.If you know what's going on, I can take probably eighty percent of Robert Johnson's songs and at least eighty percent of them are directly derived from someone else's style. No more so that what Johnny did with his. That's just bullshit he didn't just pop up and create the whole deal and that's not to take anything away from how incredible he was. There ain't nothing new man. LW: What did you learn from Johnny that was most valuable. JN: Well, aside from a few very special licks, that whenever I play them I know they come from Johnny. More than that the best things that I learned from Johnny was his approach to life and his straight forwardness, he wasn't a jive-ass and he'd let you know if you were being a jive-ass. Johnny was just very blunt and tell you exactly how he felt. He was sometimes very uncomfortable to be around, or made you uncomfortable. If you are willing to learn and are willing to humble around guys like that and they see that you are sincere, then you can learn and they'll show you. If you already think you know it, then you're "fucked". LW: Do you have a fondest memory of Johnny. JN: Fondest memory of Johnny would be about 1971 at my house in An Arbor. When he , Arthur Crudup, and my self. We cooked rice, blackeye peas and chicken. I'll never forget Johnny sitting there eating and chewing up them chicken bones, crunching up them chicken bones right up to the big one. Then that whole evening we stayed up and watched as the sun went down. Those guys just talked for about six hours, I was just there and listened. Hearing them reminisce about stuff and that whole cooking and eating together. Me and friend of mine we just there and I remember the room getting dark listening to those guys talk. Nobody turned on a light. I guess that's probably one of my fondest memories, that particular evening, that was real special. ========================================================================= Date: Wed, 24 Apr 1996 15:08:29 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: JOHNNY SHINES, A TRIBUTE 6) KENT DUCHAINE INTERVIEW KENT DUCHAINE (1-22-96) ======================= (Kent DuChaine was Shines' friend and music partner from 1990 until his death. Interviewer : Leonard Watkins). LW: When did you first meet Johnny? KD: I first met Johnny in person in Tuscaloosa in 1989. I sat with him for an hour or two. I went back to see him again in late October and offered to do some shows with him. Then we started working together in January 1990. LW: Was he playing much before you came South? KD: He had been playing some with the Kokomo Blues Band and I'm sure he was playing festivals from time to time. LW: Do you recall if Johnny had a favorite recording that he had done ? KD: Yeah he did. The one that he told he liked the best was the one he did with Bruce Bromberg (Johnny Shines: Hightone HCD 8028). LW: What are some the things that Johnny taught you that are most valuable to you? KD: Well, he taught me a little about being calm in situations. I'm sure that he went through the worse situations that anyone could possibly be put in. He was in prison, he was black, he lived in the South and he went through all that persecution. So whenever we had troubles arise, I was always quite frantic and he was always quite calm. That's one of the things he helped me with. His contribution to me, in a lot of ways, was telling me stories about the past and about people that I never got to meet. LW: At one time wasn't he considering an autobiography? KD: Yeah, as far I know he was in the process of writing something, but he was going to wait, until after he died to have it published. He said it had some skeletons in the closet. LW: I've read a lot about Johnny, but I don't recall anything about him being in prison. KD: Yeah, he spent some time in prison. That one song he wrote "Joliet Prison Blues". I have heard that he killed a guy and from what I understood it was some Jewish shop keeper who accused him of stealing or something. LW: Johnny was very intelligent wasn't he. KD: He was always studying and reading, trying to learn new things. He had like three different classes that he had graduated from the college in Tuscaloosa. He said it was because when he was a youngster, they put hay bales in the schools to keep the kids from going to school. Keep them working, so they really didn't get anything hardly of an education. LW: Did he talk a lot about the past? KD: He talked from time to time about different things. I never really plugged him, because I knew he had a sore spot about people plugging him about stuff. I have a few regrets, in the fact, that I didn't press him a little bit more on things. I just let him talk about things when he wanted to talk about them. Usually when he would talk things, it was because I was playing music from a particular artist while we were traveling. Then he would reminisce. LW: Was Robert Johnson his biggest influence? KD: There's no doubt it was Robert Johnson. LW: Do you think he lived under Robert's shadow, somewhat. KD: That's true, but it worked to his advantage too. It's like me being associated with Johnny Shines and Johnny being associated with Robert, people come to see me for that reason. So I think it worked for him in that respect too. People associating him with Robert, so they wanted to see what it was all about. As you know, sometimes he'd start singing and sound just like Robert. LW: Which do you think you enjoyed the most, playing with Johnny or just being with him? KD: Playing with him, I mean it was great. Just listening to his voice and being with him. He was such a legendary blues guy. Then learning things differently. I always played Robert Johnson's "Kind Hearted Woman" and songs like that in the key of E and Johnny always played them in the key of A. It taught me to look at the music a little bit differently. He had me playing me some different things that I probably wouldn't have played. That was a real highlight for me. Then traveling with him, he was just like a buddy. The age didn't make any difference.It was like he was my age or we were both the same age. He did the same things I did. He stayed up late, woke up early, fished and hiked. It's hard to say which one was more influential or enjoyable. LW: What are some of the moments that you had with Johnny that come to mind? KD: I remember we were driving to do that recording "Back To The Country" and he told me if I saw a sign that advertised turtle or alligator to stop. He ordered a bunch of alligator and for three days he was stopped up he couldn't do anything. All he did was bitch about it. LW: Were you there for the entire session on "Back To The Country"? KD: Yeah, I only played on three of them. Johnny brought me along because I was working with him. He was showing me all the different songs that he wanted to do and he wanted me to be able to play them. Then the producers took me aside and said "Well, this is John Nicholas's project, because Johnny brought you in we'll let you play on a few songs". I told them "That's fine with me. I just want to make sure that everything's okay for Johnny. If he wants me to play, then you're going to have let me play. The decision is his". Then they started arguing, the head producer, because Johnny was playing and he was showing me some stuff on guitar and this producer came up and said "You're not going to play guitar on this recording", he said that to Johnny. I could see Johnny was just really getting furious with them. He was holding back and he said "Well if I want to play guitar on this recording, I'm going to play guitar on this recording". The guy said "No, you're not" and Johnny was just like fuming at that point. He was getting ready to leave and I said "Whatever you decide Johnny, I'm with you. If you want to jump 'em, lets get 'em" Then Johnny turned and said "I'm just showing Kent some things that I want him to play on this recording". LW: Was "Trouble In Mind" one of them? KD: Well, when I met Johnny "Trouble In Mind" was one of my big songs. I always played that song before I brought Johnny on. We never played it together, but he always sang the harmonies from the audience. When we were out there, he said "Kent I want to record "Trouble In Mind" and I want you to sing it" . I said "Johnny this is your recording, these producers ain't going to let me sing this on your recording". I told him to sing and I'll play it. I think that's what he was looking for. I think he was asking me, in that way, if he could do that one. He knew how special it was for me to play and sing it. LW: What other recordings are you and Johnny on together? I know there is a live one. I think it's called "The Roots Of Robert Johnson". KD: Yeah, The Smithsonian Festival. That was a big deal for me. There was all these black artists from the South, that were there to perform for the "Roots Of Rhythm and Blues: The Robert Johnson Era". So it was all music that was based from that time period. There was gospel, flute music, railroad work songs, you know several different styles of blues. I got to play on a few of those songs with Johnny, they list it as "The Ensemble". That "Watermelon Call" was real short on the recording, but I've got it with three or four minutes with Johnny, going off on it. That was great. LW: Are you familiar with one of Johnny's song "Fat Black Vampire Blues"? KD: Apparently he did a soundtrack for a movie and he had a vampire song about coming out of the Mississippi mud. LW: I wonder if that's ever made it out on a recording. KD: I don't know for sure if it has or not. He had that one that he did where he would have his guitar talk. The setting was he was sitting in his living room and his wife was talking to him about getting a new car. Then he would say "What do we need a new car for" and make some words on his guitar with the slide. He goes through the whole thing and about half way through he says something like "motherfucker" , but he says it on the guitar, you could hear it just plain as day. LW: How long did it take playing with Johnny before you felt comfortable, or did you feel comfortable from the start? KD: Well actually I did, because I've played with quite a few blues guys over the years. I went over to his house, at least a half a dozen times and practiced with him. I was only nervous for him, whether he was going to be comfortable with me playing with him. Sometimes old blues men can get a little cantankerous on stage and it can get embarrassing. Johnny was a perfect gentlemen all the time. LW: Who are some of the others you played with before Johnny? KD: Well, I did work with people like Eddie Burns, Boogie Woogie Red, Luther Tucker, Smoky Smothers, Margie Evans, it's hard to remember all of them. Then I shared the bill with a whole bunch of people. Doing the opening acts and then hanging with them. People like Bukka White, Howlin Wolf and John Lee. LW: Why did you come South? KD: I started, you know really running the roads, leaving home about 17 or 18. When I got out of high school it was like I got to get out of here, I got to keep moving and find out more about these blues. I had made some trips down South, but I never stayed. I never came to the Alabama south I always went down to Texas. When I started performing, I decided I wanted to be a solo artist so I could control my future. So I said the best way to do that is learn how to sing, play the guitar and then just start traveling and playing. If you're going to travel and live out of your car in the winter time, you got to go south. I had actually written up a grant to go and tour to all the different towns that the blues guys came from and put together a recording with it. I never got it financed, I had a couple of people that were interested, but it never came through. I was in Colorado one winter and I went to Mardi Gras in New Orleans and was playing, and I was playing along the Gulf Coast at spring break time. I just decided to hang, to keep coming back here. I had to go North and work for a summer and I came back, that's basically it.Been here ever since. LW: You still keep moving, don't you? KD: Yeah, I did about a hundred thousand miles last year. Well since Johnny died, I've been moving a lot more. I tried to stay as local as I could while he was around, so that if things came up in short notice I would be available to go and travel and work with him. Then when he died, I started working Europe.Then three years ago I started going out West on a regular basis in the summer time. I've been up Canada pretty much now and I may be going to up to Alaska this summer for some festivals. So I've been running the roads a lot more. LW: How much traveling did you and Johnny do? KD: Well I took him up to Minnesota two or three times. We toured to Edmonton, Canada for a festival.We went out to the West Coast a couple, three times. We know we traveled all over the Southeast playing. LW: Did Johnny get a good reception in most places? KD: Oh Yeah. Most people that came to the shows, they knew who he was. You know I hate to say it, but the people up North they know more about the blues and are more supportive of it. LW: I've seen you two in Birmingham and I didn't feel like he got the reception he deserved. That used to really bother me. KD: People get spoiled you know. A lot of people came up to me and they just thought Johnny was "some drunk old nigger". I'm like well, he had a stroke and his eye's a little bit funny, so he looks like he's under the influence of alcohol a little bit, and he's seventy seven years old and so he's moving awful slow. Then after these people found out who he was, they were just absolutely blown away. They just didn't know and it was sad. LW: It seems to me he got less recognition in Alabama than other places. KD: Well that's true. I mean, when I first started coming down South to play blues, maybe 1981 or 1982,there wasn't any blues being played anywhere. There wasn't any blues clubs, if there were, they were all in the black community. For a good ten years it seemed like I had to play just "shit holes". I felt that I knew my craft because I had been playing it for so many years. So it was really kind of a eye opener for me. Here's the area where the music was raised and there was no support for it. You know what's happened in last five or six years. Things have come around and there's places actually starting to call themselves blues clubs. I think that's what happened to Johnny, when he came South around 1969 or 1970. He said he booked a gig down in Utah and he went down there to play. He started playing his numbers and people came up to him and all they to hear was James Brown, Michael Jackson and stuff like that. They didn't want to hear that blues. So he was pretty frustrated by that too. LW: I know at one point in the early fifties he got tired of the business and pawned his equipment. KD: It's a frustrating business, as you know. That's the whole foundation for my career as far as work goes. I've done a few jobs behind the counter, cooking and stuff. It's one of those business's that's tough and it's tough to have a family and Johnny had a family. I can imagine in his situation he was probably considered kind of a minor player in the Chicago area, because all the greats were there and playing around. So he probably didn't make a lot of money when he did play and it was probably tough to get as much work as he needed to get to sustain whatever lifestyle he had. I mean, I lived in my car for three years and I lived in a tent for three years. I worked my way up from there.You just can't ask a family to do stuff like that. LW: Are there certain performances he did that stick out in your mind? KD: I can remember one concert where we'd been playing on the road. We'd done probably six or seven nights in a row and part of his problem was his muscles weren't strong enough to play the guitar. Part of it was because of the stroke and part of it was because he didn't play a lot. We were down in Florida at the Flora Bama and he started playing on his own. He said "Kent, I want to play on my own for a little bit". So I sat out and man he just started cooking. It was like the old Johnny, he was just all over the place. That was kind of one of my goals that I was hoping to achieve, because I didn't necessarily want to be hooked up with him, for the rest of my life, so to speak. I wanted to experience things from him and maybe help him get stronger to where he could go out and do things on his own again. I got a glimpse of that, that night. That here's a possibility that maybe if Johnny kept playing more, his chops would start coming back and his hands would get stronger. LW: Did his inability to play as well after his stroke ever get him down? KD: He got down on himself. We talked about that. He was real frustrated.He could hear the notes and know which notes to play, but he couldn't hold the strings down hard enough. He couldn't move his fingers fast enough to get around as much as he would like. I can imagine what kind of frustration that would be. LW: Was Johnny peculiar about equipment at all? KD: He never complained about anything, like the way the PA was set up or anything like that. He always had his own amp and I just adjusted it they way he wanted it, turned it up as loud as he wanted it then let him do his thing. I think other people used to turn his equipment down, because they thought it was too sharp and shrill. I didn't feel like I had any sort of right to do that. I just let Johnny do his thing and I tried to best I could to back him up and make him feel comfortable. ========================================================================= Date: Wed, 24 Apr 1996 16:22:39 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Does music make you smarter? Blue Joe in Red Russia wrote in response to DC, who wrote in response to LW: >Sounds fine, I like it. But maybe the case for classical music at the >expense of other kinds is not so clear. Despite the assumptions that >all sorts of people make as to how good it is for us. That's all interesting, and I agree that an appreciation of music is important for young people (I'm glad my parent forced me into taking guitar lessons when I was a kid, that's for sure!). But when it comes to music, that's not the real story. The best university study that I've heard of states (and I paraphrase, because I haven't got my issue of Hoard's Dairyman magazine in front of me at the moment): The best music to milk cows to is country, followed closely by rock music. Cows respond poorly to classical music - it makes them jumpy, causing them to give between 2 and 5% less milk per milking. Variances in tempo, volume, and intensity were given as reasons for this. The steady beat and even tempos of rock, blues, and country have a calming effect on bovines, allowing for better conditions for cow and milker! So, if anyone tells you that rock 'n' roll (or blues, for that matter) makes cows stop milking and chickens stop laying (as I heard once, as a kid), they're dead wrong! :-) So for me, blues is best! -Jim (hndful@uniserve.com) ========================================================================= Date: Wed, 24 Apr 1996 20:16:47 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Dead e-mail ... Had a server crash. If anyone sent me e-mail today please resend it, as it is possible I never got it. Thanks (and sorry to use the waves for this) Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Wed, 24 Apr 1996 20:44:14 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Does music make you smarter? >Blue Joe in Red Russia wrote in response to DC, who wrote in response to LW: > >>Sounds fine, I like it. But maybe the case for classical music at the >>expense of other kinds is not so clear. Despite the assumptions that >>all sorts of people make as to how good it is for us. And Jim Witteveen replied: > >That's all interesting, and I agree that an appreciation of music is >important for young people (I'm glad my parent forced me into taking guitar >lessons when I was a kid, that's for sure!). But when it comes to music, >that's not the real story. The best university study that I've heard of >states (and I paraphrase, because I haven't got my issue of Hoard's Dairyman >magazine in front of me at the moment): The best music to milk cows to is >country, followed closely by rock music. Cows respond poorly to classical >music - it makes them jumpy, causing them to give between 2 and 5% less milk >per milking. Variances in tempo, volume, and intensity were given as >reasons for this. The steady beat and even tempos of rock, blues, and >country have a calming effect on bovines, allowing for better conditions for >cow and milker! > >So, if anyone tells you that rock 'n' roll (or blues, for that matter) makes >cows stop milking and chickens stop laying (as I heard once, as a kid), >they're dead wrong! :-) > >So for me, blues is best! I say: > Cows don't care what type of music it is, as long as the band has a good horn section. Any udder opinions out dere? Chris Smith (chris@skerries.demon.co.uk) 24 hours in a day; 24 beers in a case. Coincidence? ========================================================================= Date: Wed, 24 Apr 1996 08:48:20 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: Gearheads "Dialing in your Sound" Comments: To: dcicchet@LASIERRA.EDU >5. Lose the wang bar. Have the trem blocked or taken out comepletely. >Fixed bridge guitars sound better... period. Yup. First thing I did when I bought my new strat last year was take off the trem bar and hand it to the salesman on the way out the door. >2. Use the biggest frets you can find... I have a tele copy made by Washburn that was comparitively cheap, but I can't part with it because it has great big frets you can't get on stock Fenders, plus an extra coat of neck laquer without the extra charge. It's getting new pickups though , ofcourse. >3. Get your guitar setup by a pro... (no you CAN'T set it up as well as he can) A proper setup will adjust the neck, clean up the frets, set the intonation, and set the PU height. What a difference. Yes it costs 30-60 bucks so what... My experience is these guys don't know any more than you do. Sometimes less. One guy told me you CAN'T really intonate a guitar because it's a tempered instrument. Plus, they seem to be in a hurry to get you out before you lose them a customer on the floor. I'd pay the money for good service, though, no question. RJ Bauman (forgive me, I was a percussionist for 22 years before ever picking up a guitar) "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Wed, 24 Apr 1996 20:57:01 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Mary Wells "Jubilee"-label sessions Bill Shute wrote > >No time for a "review," Pretty good review for a non-review, Bill! but I want to highly recommend the UK Sequel >label collection of Mary Wells' l968-69 recordings for the Jubilee >label. A fine complement to Ichiban's collection of her ATCO label >material (that CD is called "Dear Lover"), all of this material was >co-produced and co-written (except for a handful of covers) with her >then=husband, Cecil Womack. In fact, the producer credits and songwriting >credits read C&M Womack (Cecil and Mary). >This is very creative, progressive soul that fits no formula and reflects >no particular regional sound. Cecil Womack, who (presumably) plays guitar >throughout, really knows how to make a small group sound big and full, >and the EXTREME stereo separation on these sides gives the music a three- >dimensional sound, particularly on cheap equipment. > >The originals such as "Soul Train" and "Don't Look Back" and the sublime >"Love and Tranquility" are instant classics, and her covers defy description: >her versions of "Stag-o-Lee"(!!!) and Bobby Bare's "500 miles" might sound >like originals if you're not looking at the album as you listen, and >"Apples, Peaches, Pumpkin Pie" and "Sunny" (both pop hits) are made >so natural sounding and soulful that these versions surely are the >definitive ones. (I have an old scratchy UK copy of her album of >Beatle covers---that cries out for reish along with her 20th Century >label work in general. Ichiban, are you listening?). > >Wells' classy, coy, yet bold and deeply soulful voice is a joy to listen >to, and the Mary & Cecil writing-producing team really deserve a significant >place in the 60s soul pantheon. What an incredibly productive and creative >period this was!!!! I've always collected soul vinyl used since I was >a kid, and I have a ton, but with all these CD reissues of stuff I could >never find an actual copy of (and with all the unreleased tracks--this has >7 unrel. tracks), I have become completely awestruck. How beautiful it >is to hear so many great artists extending themselves creatively, taking >chances, finding their own "voices." > >A beautiful CD--thanks to Sequel for going to the effort of putting this >together. > >MARY WELLS >"Complete Jubilee Sessions" >Sequel (UK) CD >NEX CD 257 > >26 tracks recorded l968-69 for "Jubilee" Records > >reissue l993 > > > >Bill Shute >San Antonio, TX Chris Smith (chris@skerries.demon.co.uk) 24 hours in a day; 24 beers in a case. Coincidence? ========================================================================= Date: Wed, 24 Apr 1996 21:41:00 EDT Reply-To: edward c liu From: edward c liu Subject: Re: jammin' with blues records Howdy, Don't know who posted the original request, but my recommendation is _The Essential Little Walter_ for a jam album for blues guitarists. I found it pretty easy to find the right key on his stuff, especially when I started playing with recordings. Someone else I knew said that he felt any album that's not being led by a guitar player is a good album for a guitar player to jam with or practice your lead work on. It helps you avoid the headcutting instinct and keeps you focused on the playing more. I imagine a similar sentiment might apply to other instruments as well. -- Ed Edward C. Liu | "If you send me to Washington as your leader, edwick@cc.bellcore.com | I'll personally see to it that every living | American gets his portion ... after I get mine." | -- Louis Jordan, "Jordan For President" The opinions in this message are mine and not Bellcore's. Really! ========================================================================= Date: Wed, 24 Apr 1996 21:46:00 EDT Reply-To: edward c liu From: edward c liu Subject: Preacher Boy Opinions? Howdy all, Does anybody out there have _Preacher Boy & the Natural Blues_ from Blind Pig? I'm reviewing it for NYCD Blues, and I've got my own opinions about it (which I am sure I will share, unsolicited, when I get around to it =8^), but I'm wondering if anybody else has it and, if so, what you think about it. Just trying to engender some more blues-like discussion. -- Ed Edward C. Liu | "If you send me to Washington as your leader, edwick@cc.bellcore.com | I'll personally see to it that every living | American gets his portion ... after I get mine." | -- Louis Jordan, "Jordan For President" The opinions in this message are mine and not Bellcore's. Really! ========================================================================= Date: Wed, 24 Apr 1996 19:09:08 -0700 Reply-To: Bob Fulkerth From: Bob Fulkerth Subject: The Record Store I found a hard to find record, Danny White's Kiss Tomorrow Goodby, at Jim Russell Rare Records in New Orleans, 522-2602. I'd called all over the US for it, and they had it. Give it a try if you have a hard to find record need. ========================================================================= Date: Thu, 25 Apr 1996 00:30:56 -0400 Reply-To: James Leftwich From: James Leftwich Subject: Last chance to win CD Blues folks, I'll be choosing a winner in my CD giveaway contest next Wednesday, May 1. Some lucky soul (it could be you) will walk away with Jordan Patterson's _Give Me a Chance_ on JSP Records. Drop by my site and read a review of the CD by NY CD Blues, enter the contest (choose one of two easy trivia questions), or just check out some blues and beer links. Starting May 1, Sherman Robertson's _Here and Now_ (Code Blues Records) will be put in the kitty. ============================================================================= Jim Leftwich Jim's Blues N' Brews leftwich@cloud9.net http://www.cloud9.net/~leftwich "I'm on cloud9!" :) New CD Giveaway: Jordan Patterson ============================================================================= ========================================================================= Date: Thu, 25 Apr 1996 00:47:39 -0400 Reply-To: James Leftwich From: James Leftwich Subject: Robert Johnson derivative? Help me out here, A friend of mine (who shall remain nameless and happens to own a blues label) told me that Robert Johnson was the first bluesman to learn stuff off the record and that much of his stuff had already been done before by the likes of Son House, Willie Brown, Ishman Bracey, et al. I protested offering his atmospheric lyrics as sure proof of his orginality. Plus, his slide playing was much more intricate than anything that had come before. Am I right? Is this guy off his rocker? ============================================================================= Jim Leftwich Jim's Blues N' Brews leftwich@cloud9.net http://www.cloud9.net/~leftwich "I'm on cloud9!" :) New CD Giveaway: Jordan Patterson ============================================================================= ========================================================================= Date: Thu, 25 Apr 1996 01:22:11 -0400 Reply-To: Bluesagent From: Bluesagent Organization: America Online, Inc. (1-800-827-6364) Subject: Chris Cain Press Release/Tour Dates Comments: To: bit-listserv-blues-l@uunet.uu.net PRESS RELEASE For Immediate Release April 24, 1996 BAY AREA BLUES MAN CHRIS CAIN HITS THE ROAD Santa Cruz, CA-San Francisco Bay Area blues music singer, songwriter, and guitarist Chris Cain kicks off his Spring tour through the middle United States on Saturday, April 27 at Kansas City's Grand Emporium. Lauded by critics as one of the brightest stars on the blues music horizon, Cain has enjoyed extensive airplay and print coverage of his most recent work "Somewhere Along the Way" on Blind Pig Records. 'Somewhere Along the Way' is Cain's 4th CD and reached the #2 slot on the Hard Report's Blues Breaker's chart in December of 1995, after spending 3 months in the top 5. The March 1996 issue of DownBeat magazine gave it 4 stars, and comparing it to his previous recordings said "....the guitar licks are fresher, the songs have more edge and most importantly, Cain steps out as a first rate vocalist." Blues Access magazine's Spring 1996 issue called Cain a "triple threat blues talent" and said "Cain is a gifted vocalist, versatile guitarist and a well above average songwriter who, at the age of 40, has already been honing his musical skills for nearly three decades." Chris Cain has accumulated a long list of awards and nominations over the years, including three 1996 BAMMIE (Bay Area Music Awards-San Francisco's answer to the GRAMMY) nominations for Best Blues Vocalist, Best Blues Musician and Best Blues Club Band. Cain will travel with a five piece unit that includes David Kirk Mathews on keyboards, Ron Johnson on bass, Robi Bean on drums and Bill Esparza on saxophone. For interviews, photos and complete bio information on Chris Cain, contact Maria Stanford at Blind Pig Records. Phone 415-550-6484. Tour itinerary attached. APRIL 27 GRAND EMPORIUM KANSAS CITY APRIL 29 ZOO BAR LINCOLN APRIL 30 MOJO'S COLUMBIA MO MAY 1 OFF BROADWAY ST. LOUIS MAY 2 BIG HEAVY'S LOUISVILLE MAY 4 BLUES CITY CAFE MEMPHIS MAY 5 BB KING'S MEMPHIS MAY 8 SKIP'S ANGOLA IN MAY 9 WILBERT'S CLEVELAND MAY 10 SOUP KITCHEN DETROIT MAY 11 RHYTHM KITCHEN GRAND RAPIDS MAY 23 JOE DADDY'S VENTURA CA MAY 24-25 BB KING'S LOS ANGELES MAY 26 SANTA CRUZ BLUES FESTIVAL MAY 30 BUDDY GUY'S CHICAGO MAY 31 BUDDY GUY'S CHICAGO JUNE 1 LADY LUCK CASINO DAVENPORT IA ========================================================================= Date: Thu, 25 Apr 1996 01:35:09 -0400 Reply-To: smirkyface From: smirkyface Subject: Johnny "Clyde" Copeland Johnny "Clyde" Copeland was admitted into Columbia Presbyterian Hospital on Tuesday morning. Tuesday evening he underwent open heart surgery. The operation went very well. I don't have a room number yet, but he's on the 7th floor of the Millstein Bld. BRIAN MCLEAN PHOTOGRAPHY & SMIRKYFACE PRODUCTIONS "life's too short to live the blues" http://www.netaxs.com/~blmclean ========================================================================= Date: Wed, 24 Apr 1996 21:44:11 -0800 Reply-To: Scott or Jill Oviatt From: Scott or Jill Oviatt Organization: Internet Alaska Subject: Great Tomatoe Blues??? Comments: To: bit-listserv-blues-l@uunet.uu.net Anyone out there heard of this? A friend of mine loaned me a dubbed tape, and I had to give it back before I wore it out! It is chock full of blues classics by the orginal artists....Sky is Cryin', Midnight Special, stuff like that. I really need to find that cd for my own. He didn't have any credits with it and we were sitting around at work today trying to figure out who was on it. If you have this, could you please post the label? I have internet searches on key words and have not turned up anything yet. Thanks you so very much, Wild Willy ========================================================================= Date: Thu, 25 Apr 1996 01:57:34 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Robert Johnson derivative? Comments: To: leftwich@cloud9.net >>>A friend of mine (who shall remain nameless and >>>happens to own a blues label) told me that Robert >>>Johnson was the first bluesman to learn stuff >>>off the record and that much of his stuff had already >>>been done before by the likes of Son House, Willie >>>Brown, Ishman Bracey, et al. He is right in his concept but wrong on the names. Johnson was a protegy of House & Brown, living right there in Robinsonville with them. Hence no need to hear their records. Bracey likewise was from northern Mississippi. However, Johnson clearly lifted source material from Roosevelt Sykes, Lonnie Johnson, Mississippi Sheiks, Kokomo Arnold and others with whom he probably never had personal contact. As to whether he was the first, I'll leave that for others to debate. Dick Waterman ========================================================================= Date: Thu, 25 Apr 1996 02:14:53 -0400 Reply-To: BLUESROCCO@AOL.COM From: Jim Rocco Subject: Re: Piano Blues Comments: To: ISTS024@uabdpo.dpo.uab.edu Speaking of younger(?) piano players, who was the piano player that toured with Clapton on his "From The Cradle" tour? Seems to me I remember him being pretty good. Jim ========================================================================= Date: Thu, 25 Apr 1996 03:15:35 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Robert Johnson derivative? >>>>A friend of mine (who shall remain nameless and >>>happens to own a blues >label) told me that Robert >>>Johnson was the first bluesman to learn stuff >>>>off the record and that much of his stuff had already >>>been done before >by the likes of Son House, Willie >>>Brown, Ishman Bracey, et al. Dick Waterman replied to James Leftwich: > >He is right in his concept but wrong on the names. Johnson was a protegy of >House & Brown, living right there in Robinsonville with them. Hence no need >to hear their records. Bracey likewise was from northern Mississippi. >However, Johnson clearly lifted source material from Roosevelt Sykes, Lonnie >Johnson, Mississippi Sheiks, Kokomo Arnold and others with whom he probably >never had personal contact. >As to whether he was the first, I'll leave that for others to debate. > >Dick Waterman Just about as soon as blues began to be recorded, people started 'to learn stuff off the record' - among other reasons, recording artists had status, and records could be played over and over. Leroy Carr's 'How Long How Long Blues' is probably based on recordings by Ida Cox and Alberta Hunter, for instance, and listening will multiply examples. As well as whole songs, striking lines and concepts got spread much faster ('sitting here wondering, will a matchbox hold my clothes' became general from Blind Lemon's record IMHO). The story of popular music, and the mutation of folk music into popular music, in this century cannot be properly understood without considering the impact of records and other mass media. Chris Smith (chris@skerries.demon.co.uk) 24 hours in a day; 24 beers in a case. Coincidence? ========================================================================= Date: Thu, 25 Apr 1996 00:35:27 -0700 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Re: Robert Johnson derivati Comments: To: James Leftwich In-Reply-To: I gotta agree with your friend , it seems that R.J. got allot of his stuff off of records. I can hear influences of Skip James, Peetie Wheatstraw, Leroy Carr, and of course Lonnie Johnson and Son House. WHile it is known that R.J. learned directly form Mr. House I really don't know about the rest. I also think that the popularity of records and jukebox's in that day lends itself to this theory. On Thu, 25 Apr 1996, James Leftwich wrote: > Help me out here, > > A friend of mine (who shall remain nameless and happens to own a blues > label) told me that Robert Johnson was the first bluesman to learn stuff > off the record and that much of his stuff had already been done before by > the likes of Son House, Willie Brown, Ishman Bracey, et al. > > I protested offering his atmospheric lyrics as sure proof of his > orginality. Plus, his slide playing was much more intricate than anything > that had come before. > > Am I right? Is this guy off his rocker? > > > > ============================================================================== > Jim Leftwich Jim's Blues N' Brews > leftwich@cloud9.net http://www.cloud9.net/~leftwich > "I'm on cloud9!" :) New CD Giveaway: Jordan Patterson > ============================================================================== > ========================================================================= Date: Thu, 25 Apr 1996 02:56:00 -0700 Reply-To: "Bonn, Bob" From: "Bonn, Bob" Subject: Jammin & Practice tracks Someone recommended the Jamtrax tapes the other day. They're good, but too short for me. I'll just be getting into "..a slow blues in G.." when it wraps up and moves hastily on to something else. But it gave me an idea. I picked up a second hand synth with MIDI connections and plugged one end into my computer and the other into a tape deck. I spent about 100 UK Pounds on the kit (I had the computer and tape deck already. All I needed was the MIDI card, sequencer software and the synth). In one evening I had made 3 hours of custom backing tracks for all my party pieces. That's the kind of job those MIDI synths were made for, they lap it up. Now I can have "... a slow blues in G..." all night, or at the touch of a key ".. a slightly faster blues in Bb..." I've also made up backing tracks for a couple of friends who play in bars at night. One guy with aspirations of tapping greatness wanted the backing off a Via or Satriani track (it had a lot of arpeggios in it) so he brought the CD round. After a couple of hours we had a backing track which was so like the original that I'm convinced the original was done with the same synth. I'm no musician (I just have fun pretending to be one in private) but from time to time, real musicians visit us (like Alex Newberry, played honkey tonk keyboards on the Crossroads album) so I switch on the equipment and the computer records the evening session. Later I can tidy it up the file and stick the good bits on tape as a new backing track. So, for not a lot of money and with very little effort, even a non-musician can have an infinite variety of instant, repeatable and editable backing music. Have fun, Bob Bonn. bonnb@xxeupo13.hou.xwh.bp.com ========================================================================= Date: Thu, 25 Apr 1996 10:17:48 CDT Reply-To: sylviap@cartermill.com From: "sylviap@cartermill.com" Subject: HELP Dear bluezy lovers, Anyone got the following lyrics: Joe Cocker: Two Wrongs; Night comes; Shelter me J.L. Hooker: Strip me naked (ther's a section (3) I can't understand clearly) I tried with different lyrics sites and to my great surprise I could not find it. If someone can provide this lyrics it would be really MARVELLOUS!!! (It is difficult for a non English person trying to understand Cocker's lyrics!!!) Thank you very much God bless!!!! Sylvia Hello to Keith and Lea!!!! ========================================================================= Date: Thu, 25 Apr 1996 05:24:39 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1953 U.S. genetic researcher James Dewey Watson, 25, and English geneticist Francis H. C. Crick, 37, of Cambridge University publish their first article on the unique structure of DNA. Some 40 years later the real object of their quest, the elusive "Blues Gene", has yet to be isolated. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ The pleasure we derive from doing favors is partly in the feeling it gives us that we are not altogether worthless. It is a pleasant suprise to ourselves. - Eric Hoffer ========================================================================= Date: Thu, 25 Apr 1996 04:24:45 -0700 Reply-To: Kelly Hoggard From: Kelly Hoggard Organization: The Wolfpack Subject: Re: Robert Johnson derivative? Comments: To: James Leftwich James Leftwich wrote: > > Help me out here, > > A friend of mine (who shall remain nameless and happens to own a blues > label) told me that Robert Johnson was the first bluesman to learn stuff > off the record and that much of his stuff had already been done before by > the likes of Son House, Willie Brown, Ishman Bracey, et al. > > I protested offering his atmospheric lyrics as sure proof of his > orginality. Plus, his slide playing was much more intricate than anything > that had come before. > > Am I right? Is this guy off his rocker? I don't think we should presume that Robert Johnson had no influences! In fact, if he was as musical as his recordings indicate, he probably sucked up anything he heard, which in fact, Johnny Shines (I think) stated in the Searching for Robert Johnson video. Where do you think 'Red Hot' came from? It was a common thing for people to take other peoples' tunes and rewrite them in their own way: 'Sweet Home Kokomo' (Kokomo Arnold) became 'Sweet Home Chicago' (R.J.) -- kelly@netusa1.net(Kelly Hoggard) The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! Check out their home page at http://www.netusa1.net/~kelly/ ========================================================================= Date: Thu, 25 Apr 1996 05:55:09 -0400 Reply-To: Jon Duttweiler From: Jon Duttweiler Subject: Sitting & Thinking - Johnny Mars JOHNNY MARS STATESIDE WITH MARTIN & KENNEDY MM&K RECORDINGS #31001-2 Johnny Mars has been tagged the "Jimi Hendrix of the harp," and if that's not enough to catch your attention nothing will! Born in South Carolina, Mars was raised in New York state where he grew up listening to Little Walter and Jimmy Reed. Johnny happened to catch Hendrix playing in New York City's Greenwich Village in the mid-60s and his musical directions abruptly changed. Profoundly influenced by what he saw in Hendrix, Mars was no longer content simply to copy the styles of blues harp greats such as Walter, James Cotton and Sonny Boy Williamson. As he proclaims in the song "Stateside" on this disc, people kept telling him he couldn't do "that" on a harp and he kept right on doing it! Unable to truly "breakout" in the States, Mars took up residence in England in 1972 and released several albums in Europe. This disc marks Mars first US release since that time, and finds him teamed up with old band mates Dan Kennedy, playing guitar and bass, and Bill Martin on keyboards. Both gentlemen share in the backup vocal duties. Joining these three are Dave Lauser on drums, Joe Orlando on bass for two tracks, Robert Berry contributing organ for one track and Stephanie and Stacie Kennedy providing additional backup vocals. The music on this disc uses the blues as a starting to point to journey into areas of jazz, funk and rock only to come back to the blues once again. Mars' voice is well suited to the blues, and listening to his harp is instructional in the capabilities of that instrument. The other musicians round out these sides in fine fashion and make this a disc that is not only enjoyable to listen to, but musically instructive. Strap on you seat belt and take a journey to Mars via Stateside! EARLY IN THE MORNING / IT TAKES TIME / HAVE YOU HEARD ABOUT THE BLUES / STATESIDE / MOVE / REMEMBER / HARP DANCE / LIVING IN THE SHADOW / YOU KNOW THE RULES / HOME SWEET HOME - REFLECTION I / HOME SWEET HOME: REPRISE / LONDON BLUES NY CD Takes EARLY IN THE MORNING: Kicking off with a sustained harp moan that sounds like a Mack truck about to run you down, this track roots Mars and company firmly in the blues camp. Building on a familiar blues theme, Mars gives a straight up blues harp performance. Kennedy delivers stinging guitar work in support and the rest of the band is tight and together. Mars' vocals are well suited for blues singing, and this track is, all in all, very satisfying blueswise! IT TAKES TIME: Mars' musical variations rear up on the opening of this number, letting you know he's not going to stick to anyone else's set formula. A number combining soul and funk, this cut bounces ahead on the driving bass work of Kennedy and some interesting keyboard work from Martin. HAVE YOU HEARD ABOUT THE BLUES: Actually more of a soul ballad then a traditional blues song, this song is a litany of the variety of "blues" affecting this world. Mars' vocals are again compelling as he sings and speaks the lyrics of this number. His harp work is brisk, blowing staccato runs or single notes. Martin provides an intricate orchestration on the keyboards to furnish an aural "canvas" on which this song is "painted." STATESIDE: The title cut opens up with slick string work and jumps into a brisk shuffle beat. Mars gives an autobiographical portrait of his career as he tells listeners he's headed back "stateside...because that's where the blues come from." More of that canvas of sound from Martin as this song moves into some unusual harmonies and melodic patterns, always coming back to the blues base. This cut expresses Mars' musical philosophy, both lyrically and with the music itself. MOVE: 2001: A Space Odessy? No, but this track starts out taking you on a trip to, where else?, Mars! Polyrhythms, big keyboard orchestrations, acrobatic harp work, fluid, jazz flavored guitar, this cut doesn't push boundaries, it has none. Johnny Mars gives a study in what can be accomplished with the harp when you refuse to be constrained in a mold. An all instrumental journey into uncharted "Martian" territory. REMEMBER: True to this track's name, this is a journey down memory lane with Johnny Mars. Mars and Kennedy play harp and acoustic guitar, respectively, and engage in some dialogue reminiscing about their experiences playing blues and all the different artists they've played with. Musically straight blues, this is an entertaining and informative number letting you know where Mars has come from. HARP DANCE: This track takes you back into orbit after the laid-back nature of the last one. A funky uptempo beat, with horns and sharp rhythm guitar work laying a background, Mars makes his harp "dance." Actually, this instrumental may very well have you wanting to get up and dance as well. LIVING IN THE SHADOW: Straight out down and dirty blues, this is one of the stand-out cuts on the disc. Solid, searing guitar work by Kennedy coupled with Mars' soulful singing and pyrotechnic harmonica deliver a first class number. An original by Mars, my only complaint is that its too short! YOU KNOW THE RULES: A funk and blues fusion, this cut explores the rules of respect and dignity that any individual deserves. One might look at this as an extension of the point Muddy Waters was trying to get across when he sang "I'm a man!" Upbeat with a double time tempo, Mars delivers up more amazing harmonica work and the band provides tight, in the groove backing. HOME SWEET HOME - REFLECTION I: A soulful ballad reflecting on the relationships of humanity and environment, this track illustrates Mars' inclination to use his music to communicate more than the traditional blues fare. Sweet, liquid harp work from Mars on top of the characteristic grand orchestrations from Martin and Kennedy are coupled with Mars' gentle singing to make for a song that does, indeed, make one reflect. HOME SWEET HOME (REPRISE): Really a continuation of the previous track, this cut again takes you into outer space before bringing you back to earth with a driving rhythm and hot harmonica. This track reprises the theme of the previous track, but while the first was reflective, this track is urgent and insistent. Interesting exercise in the ability of music to communicate different "feelings" using the same themes. LONDON BLUES: Mars closes out the disc with another straight-on blues number, slow and deep. Along with Kennedy's stirring guitar work, Martin provides some wonderful piano and Robert Barry adds in a fine organ backdrop. Mars' vocals are again right on the mark along with his stellar, if conventional for this cut, harp work. Another top track for a disc that shows that blues doesn't have to be one dimensional. It's good to have Johnny Mars stateside again! Reviewed by Jon Duttweiler Copyright NY CD Blues @1995-1996 All Rights Reserved. Unauthorized use prohibited. NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 25 Apr 1996 10:49:03 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Gearheads "Dialing in your Sound" In-Reply-To: <199604241904.MAA18100@inet.lasierra.edu> Speaking of "Dialing in your Sound", has anyone seen/heard a gadget called VG8 (VG for Vitual Guitar) I think it's made by Rolland. Basically you override your pickups with a small sensor near your bridge and from then on your pickups are virtual. You can even place a pickup at the 12th fret or spread a pickup along your frets. The box acts as a filter and you can dial in different virtual guitar/amp combinations so your strat can sound just like a Les Paul on say, a Tremolux. Or how about a 12 string acoustic with a whammy bar :):). I watched a half hour demo on the tube one time. All this for a mere $3000 Cdn or so :):). But amaaazing! phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [25/4/96 6:40 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 25 Apr 1996 10:57:03 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Little Charlie & the Nightcats I experienced the LC &N last night and I must say I was more than a little impressed. What a tight band and what musicianship. I can't begin to say enough about Little Charlie's guitar playing, he's a wizard. Rick Estrin remains one of my alltime favourite harpsters. For you guitar wanks, Charlie was playing a Strat and a goldtop ES 295. What is that beautiful old Gibson he has on earlier album covers? On another note I have been listening to Byther Smith's "Addressing the Nation ...." Is it just me or is there a strong similarity between the title cut and Otis Rush's "Double Trouble"? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [25/4/96 6:49 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 25 Apr 1996 07:38:27 -0400 Reply-To: FORCELLAD@CCSUA.CTSTATEU.EDU From: Domenic Forcella Subject: Blues in my Kitchen Greetings, just got my copy of the "Blues in my Kitchen, Cooking with the DC Blues Society. It sure puts the two loves of my life - Blues and Food - in a good light. Some great food ideas and nicely done bios of DC blues people. I may have to take some time off to do some cooking. It also keeps me in touch with some of the DC Blues Society I knew when I lived in DC as well as the great tradition of being built for comfort and not for speed. Domenic Forcella Traveling with the Blues wfcs - 107.7 ========================================================================= Date: Thu, 25 Apr 1996 07:00:31 CST Reply-To: William Shute From: William Shute Subject: does music make one smarter? From: Bill Shute Well, I don't know about classical music or cows, but there's no question that blues music CAN make one WISER. Bill Shute San Antonio, TX (student of "professors" Skip James, JB Lenoir, Jimmy Dawkins, et al) btw, the vocalist whom Floyd Dixon backs on that new Capitol CD is Mari JONES (not Young, as I stated yesterday). Mary Anne and I danced yesterday to the Willie Mitchell 1959 cuts I discussed, and they are really fine. WM's trumpet is quite audible. Hope I didn't under-appreciate those sides in what I wrote about them. Also, check out the new Pat Boyack and the Prowlers album, their 2nd. What a hot band! Dave Gonzalez fans should love Boyack, and Jimmy Morello is one of the few remaining "blues shouters." ========================================================================= Date: Thu, 25 Apr 1996 08:25:02 -0400 Reply-To: "M. B. Ober" From: "M. B. Ober" Subject: Re: Does music make you smarter? Interesting idea that music might make you smarter. or at least score better on Very Strange Tests... I wonder if Mozart is better or worse than Morganfield or Mem. Nothing like a cultural bias when checking out influences on tests with a cultural bias. I have noticed among my aquaintance a tendency for those very good at music to be also very good at math, so I thought I'd poll you music types (and any math types who have gravitated here because you're so good at music) to see if my observation will hold up. A corollary is that my [visual] artist husband and *way* too many of his colleagues are miserable spellers. Maggie ========================================================================= Date: Thu, 25 Apr 1996 08:33:35 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Does music make you smarter? Comments: To: "M. B. Ober" On 25 Apr 96 at 8:25, M. B. Ober wrote: > Interesting idea that music might make you smarter. or at least score > better on Very Strange Tests... I wonder if Mozart is better or worse than > Morganfield or Mem. Nothing like a cultural bias when checking out > influences on tests with a cultural bias. > > I have noticed among my aquaintance a tendency for those very good at music > to be also very good at math, so I thought I'd poll you music types (and > any math types who have gravitated here because you're so good at music) to > see if my observation will hold up. A corollary is that my [visual] artist > husband and *way* too many of his colleagues are miserable spellers. > Maggie I remember reading about a study that showed Mathematical skills seemed to predict musical skills. The reverse wasn't necessarily true, musical skills didn't predict math skills. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Thu, 25 Apr 1996 07:53:57 -0500 Reply-To: James Foster From: James Foster Subject: SUPER SOUL MUSIC! MABLE JOHN: Stay Out Of The Kitchen For years I've been "addicted" to great soul music and, in particular, the "southern" soul that studios such as Fame and Stax created and gave to the world. Fantasy Records, which owns most, if not all, of the Stax catalog has been issuing both CD versions of previously released albums as well as new compilations of much of this material, including, of course, their two outstanding multi-disc sets. However, as is now well-known among soul music aficionados, those GREAT sets focused on previously-released material and the Stax vaults are rich with much UNRELEASED material of exceptional quality (look, for example, at the excellent Otis Redding disc, "Remember Me" (SCD-8572-2), featuring an hour of previously unreleased songs which are uniformly excellent). I recently purchased another of these compilations which I must rave about: Mable John "Stay Out Of The Kitchen" (SCD-8578-2). Mable John, as the indefatigable Rob Bowman (Stax researcher without peer) states in his copious liner notes, is "an enigma". As this disc testifies she can sing with the best of the southern soul singers, though she is virtually unknown except to the "die-hard" fan. Born in Louisiana and raised in Detroit her first recording was with her brother, THE Little Willie John, in 1957. In 1960 she recorded for THE Barry Gordy on his Tamla label and then moved to Stax in 1966. Much more detail on her initial years, along with discussions with many of those involved, can be found in the excellent liner notes to this release. While much of Mable John's previously released Stax material is available on the "The Complete Stax/Volt Singles: 1959-1968", the power of this collection is the previously unreleased material. The disc is composed of 25 songs, 18 of which have never been issued before! Currently, I'm partial to "Love Tornado", a "lost soul great", but all the cuts have something to offer. Backing musicians are, as to be expected from Stax in the late 60's, great: Booker T. AND Isaac Hayes on keyboards with Steve Cropper, Al Jackson, Jr. and others. Mable John was recognized by the Rhythm and Blues Foundation with a Pioneer Award in 1995 (an article on the 1996 ceremony and awardees, who include Dave Bartholomew, Bobby Womack, Johnny 'Guitar' Watson, and many other worthy folks, appears in the May 1996 of DISCoveries Magazine). Mable currently resides in the Los Angeles area and devotes her time to church work. She certainly deserves all the attention she is receiving as she is really one of the great southern soul singers of our time. If you love the soul music of Stax studios then track down this disc and celebrate the great music of Mable John! Enjoy! James Foster jfoster@sedl.org ========================================================================= Date: Thu, 25 Apr 1996 09:05:41 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Blues in my Kitchen Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, FORCELLAD/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=FORCELLAD#a#CCSUA#f#CTSTATEU#f#EDU@s1boca.corp.wrgrace.com *It sure puts the two loves of my life - Blues and Food - in a good *light. Some great food ideas and nicely done bios of DC blues *people. * *I may have to take some time off to do some cooking. Domenic, Just be careful if you decide to make Archie Edwards' corn whiskey!!! :-) -Steve ========================================================================= Date: Thu, 25 Apr 1996 08:21:25 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Great Tomatoe Blues??? Comments: To: Scott or Jill Oviatt Tomato, tomatoe, what's the difference... RHi70386 GREAT TOMATO BLUES PACKAGE RHINO 11/91 > From: Scott or Jill Oviatt > Subject: Great Tomatoe Blues??? > Anyone out there heard of this? A friend of mine loaned me a dubbed > tape, and I had to give it back before I wore it out! It is chock full > of blues classics by the orginal artists....Sky is Cryin', Midnight > Special, stuff like that. I really need to find that cd for my own. He > didn't have any credits with it and we were sitting around at work today > trying to figure out who was on it. If you have this, could you > please post the label? Eliot Williams University of Wisconsin Department of Medicine ecwillms@macc.wisc.edu ========================================================================= Date: Thu, 25 Apr 1996 15:12:00 +0000 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Info Request: Booba Barnes and Guitar Gabriel Hi, It's really been a while (not to say more) since I've posted to the list. Actually I'm so busy that I even haven't been able to monitor Blues-l over the last weeks. So sorry if it has already been discussed in length, but I would be very happy to receive asap detailed information about the deaths of Booba Barnes and Guitar Gabriel. I will miss them both. I had once the pleasure to spend a few hours with Booba Barnes in Utrecht a few years ago (Interview was published in the Belgian JAzz in Time magazine in 1994). He was really a great showman and -Ifound him to be- a nice guy! For Guitar Gabriel, some of you may remember that I consider his recent excellent Music Maker CD (see Joel's Blues Wolrd e-zine) as one of the most interesting album produced recently. I would be pleased if these informtions were sent by private E-mail as I won't have time enough to read the digest files from Blues-L before end of next week! For bluezellers from belgium and The Netherlands: - sunday 28 april: RJ MISHO in "Chateau d'OUPEYE"(near Liege, belgium) for Info: just send me an E-mail. - 1 may: Boogie Town Festival in Louvain-La-Neuve (Belgium) with T Birds, Canned HEat, Keb Mo, Duke Robillard, John Hammond, ... - friday/saterday 3/4 May: MOULIN BLUES FESTIVAL in Ospel (NL) with Friday: T.Birds, Luther Gtr JR Johnson, Rod Piazza, Rufus Thomas Saterday: Smokey Wilson (both solo and with his band), Roomful of Blues, Ian Moore, Buckwheat Zydeco, Soul Drivers, Butler Twins, Keb Mo, Big Boy Henry, Harmonica Fats and Bernie Pearl, ... Info: +31-495-641545 - Saterday 18 May: Ecaussinnes Spring Blues festival. I'll send more details about it hopefully end of next week. Jean-Pierre "Young Man"Urbain P.S. What I listened to today/yesterday: LIttle F. King and Robert Lowery (Orleans), Hopkins (reissues on Tradition..), Too Late Too Late (Document Cd), Casey Jones (airwax). P.S.2 To those of the list who might have sent me messages over the last 2 months or so: I've had a serious mailer problem and lost many mails that I hadn't even looked at! ========================================================================= Date: Thu, 25 Apr 1996 08:14:32 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Re: Robert Johnson derivative? In-Reply-To: Message of Thu, 25 Apr 1996 00:47:39 -0400 from On Thu, 25 Apr 1996 00:47:39 -0400 James Leftwich said: > >A friend of mine (who shall remain nameless and happens to own a blues >label) told me that Robert Johnson was the first bluesman to learn stuff >off the record and that much of his stuff had already been done before by >the likes of Son House, Willie Brown, Ishman Bracey, et al. > >I protested offering his atmospheric lyrics as sure proof of his >orginality. Plus, his slide playing was much more intricate than anything >that had come before. > >Am I right? Is this guy off his rocker? I take the side of your friend. Robert copped it pretty much all from those who came before him. I don't think Robert Johnson was a originator of anything musically. I think th was extremely talented, but no great innovator. LW "MHO" >============================================================================== >Jim Leftwich Jim's Blues N' Brews >leftwich@cloud9.net http://www.cloud9.net/~leftwich >"I'm on cloud9!" :) New CD Giveaway: Jordan Patterson >============================================================================== ========================================================================= Date: Thu, 25 Apr 1996 09:41:18 EST Reply-To: apaul@CLIFF.WHOI.EDU From: Alora Paul Subject: The Byrds trivia Not blues, but interesting enough for me to risk sharing it... According to my RnR Hall of Fame calendar for today, 4/25 "The Byrds, inducted 1991 Following the departures of Gene Clark and David Crosby, the Byrds re-formed in 1968, taking on drummer Kevin Kelly and guitarist Gram Parsons. When Parsons died of a heroin overdose in September 1973, his road manager hijacked Parson's casket, transported it to Joshua Tree National Monument, California, and set it afire. Today, Parson cultists still visit the cremation site near the Cap Rock formation." sort of rock and roll viking kind of thing, i guess... alora paul apaul@whoi.edu ========================================================================= Date: Thu, 25 Apr 1996 08:36:46 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Music makes you smarter I don't know if music makes you smarter (it OBVIOUSLY hasn't helped me), but my daughter listens to classical music while doing her homework. She said it helps her study. She makes good grades so something's working...... Not a real scientific test, but it works for her. LW 'dumb as a rock, still' ========================================================================= Date: Thu, 25 Apr 1996 09:20:03 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: Various talents Hello everyone. Well, today is my birthday....yes at last I'm 16. It's already been a stellar day and I'm very excited because tonight is the occasion of my CD release party. A gazillion talented musicians coming in (the house is a disaster area) to play and I'm in heaven. It's been an interesting experience, getting written up in papers and seeking reviews, etc. My God...lessons in humility and resilience. But today I got one that I just have to share. It was written by a journalism undergrad for the student paper and some of the journalism faculty/ friends and me rolling on the floor for about 15 minutes. Bear in mind that my new CD is titled "Various Stage of Undress." In the beginning paragraph it states I have been playing for 20 years, while at the end of the article he concludes "Even after 30 years of guitar playing, her future is still bright." -- a gem of a line (where's my geritol?). In the article, he says "It seems unbelieveable someone with such an extensive musical background would find themselves at a desk..." (!) , but "she said...'It's tough having a family and supporting them.'" (Stuart's gonna love that.) He claims my musician friends are professors at I.U., (not), and whereas in the beginning of the article I am described as a "secretary," in the end I am a noted "faculty" member. I remember talking to this kid. He came in with my press kit and said he was going to interview me. He asked me about three questions, one of which was "now that your career is taking off...what are you going to do...." (gesturing around my office) "...with this?!?" I laughed and said..."Well, do you think I ought to say that the first chance I get I'm going to drop 'all this' like a hot potato? Do you think my boss will like to read that in tomorrow's paper?" He replied "uh..I guess not." So I was kind of prepared for today's article. When he was asking me about when my career was "going to take off" I smart-assed: "Well, I don't get too far, but I catch everything along the way -- the snowplow approach." He quoted this in big type under my picture. But my favorite thing of all...the thing that really had us all going, was his title for the article: "Norton Shows Diverse Talents in Various Stages of Undress" Cathi N. ========================================================================= Date: Thu, 25 Apr 1996 09:25:58 -0500 Reply-To: T-Bone From: T-Bone Subject: Re: Blues in my Kitchen In-Reply-To: <29526524@MHS> On Thu, 25 Apr 1996, Steve Levine wrote: > *It sure puts the two loves of my life - Blues and Food - in a good > *light. Some great food ideas and nicely done bios of DC blues > *people. > * > *I may have to take some time off to do some cooking. > > Domenic, > > Just be careful if you decide to make Archie Edwards' corn whiskey!!! :-) That made it in there?!?!?! Hm, may have to buy a few copies of that ... T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Remember! Friends don't let friends drink and post." - Amy Ashton ========================================================================= Date: Thu, 25 Apr 1996 10:42:13 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Various talents Comments: To: Cathi Norton On 25 Apr 96 at 9:20, Cathi Norton wrote: > "Norton Shows Diverse Talents in Various Stages of > Undress" Do these show on the cover photo? Is there a poster available for the den? P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Thu, 25 Apr 1996 07:48:45 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: April 26 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BASIE, WILLIAM JAMES "COUNT" (p) d. 1984-0426, HOLLYWOOD, FL 79 CLARK,CLAUDINE(v/TINY GRIMES/PARTY LIGHTS)b. 1941-0426, MACON, GA COHN, ZINKY (p) d. 1952-0426, CHICAGO, IL 43 DAVENPORT, CHARLES "COW COW" (p) b. 1895-0426, ANNISTON, AL DONEGAN, DOROTHY (p) b. 1922-0426, CHICAGO, IL DUCHAINE, KENT (g/JOHNNY SHINES) b. -0426, ?AL EDDY, DUANE (g) b. 1938-0426, CORNING, NY EDWARDS, TEDDY (tsax) b. 1924-0426, JACKSON, MS GAINES, LEE (b v lead/DELTA RHYTHM BOYS) b. 1914-0426, HOUSTON, MS GRIFFITH, SHIRLEY (g/BLUESVILLE REC) b. 1908-0426, BRANDON, MS HEWSTON, CURTIS (BLUES-L MEMBER) b. 1957-0426, LINCOLN, NE HILLERY, MABLE (p) d. 1976-0426, NEW YORK CITY, NY 46 JOHNSON, WALTER (d/TAB SMITH) d. 1977-0426, NEW YORK CITY, NY 73 KINSEY, RALPH (d/KINSEY REPORT) b. 1952-0426, GARY, IN LOVE, PRESTON (sax/JOHNNY OTIS) b. 1921-0426, OMAHA, NE NEWTON-DAVIS, BILLY (of THE NYLONS) b. 1951-0426, CLEVELAND, OH NORD, ERIC "BIG DADDY" (owner: HUNGARY I) d. 1989-0426, LOS GATOS, CA 69 PERKINS, ROY (v/cajun) b. 1935-0426, LAFAYETTE, LA RAINEY, GERTRUDE "MA" (v/PARAMOUNT REC) b. 1886-0426, COLUMBUS, GA STEIN, JULES C. (co-founder: MCA REC) b. 1896-0426, SOUTH BEND, IN WILLIAMS, MAURICE (lead/THE ZODIACS) b. 1938-0426, LANCASTER, SC ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 25 Apr 1996 09:46:03 CST Reply-To: William Shute From: William Shute Subject: follow-up re Mable John From: Bill Shute All I can say to James Foster's beautiful tribute to Mable John is AMEN! However, I wanted to add two other sources for Ms. John's music: The recent compilation MOTOWN'S BLUES EVOLUTION has three of those fine, early Tamla/Motown recordings for Berry Gordy; and the Joe Tex compilation "Different Strokes" on UK Charly, which is mostly unreleased material, has a fine duet of Mable John with Joe Tex. I think there is an alternate take or two of Mable John on some UK Stax reissues,possibly one of the _000 Volts of Stax series, but I can't retrieve that kind of info from my murky, confused long-term memory. Bill Shute San Antonio, TX ========================================================================= Date: Thu, 25 Apr 1996 11:48:23 -0400 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: Intonation Repost Request (No Blues) Sorry folks, but I seem to have lost the post regarding the method for setting up proper guitar intonation. Can whoever posted this please get in touch with me? Thanks RW ========================================================================= Date: Thu, 25 Apr 1996 11:07:23 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Blues in my Kitchen Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, tbone1/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=tbone1#a#IO#f#COM@s1boca.corp.wrgrace.com *> Domenic, *> *> Just be careful if you decide to make Archie Edwards' corn whiskey!!! :-) * *That made it in there?!?!?! Yeah, I hope the BATF isn't monitoring this list! :) ========================================================================= Date: Thu, 25 Apr 1996 11:21:42 -0400 Reply-To: bob unger From: bob unger Subject: Satan & Adam - Tonight ***** Reminder ******* All you 'zellers who will be in or near NYC tonight, Satan & Adam are having their record release party at C.H.I.C.A.G.O. BLUES in Manhattan at 14th street and 8th Avenue. The party is set to start around 9-ish and everyone is welcome! I'll be there (unless my ride craps out on me) I'll be the guy with a beard and mustache and a blues-l sweatshirt....... BU bob@sun.bnkst.edu ========================================================================= Date: Thu, 25 Apr 1996 08:42:20 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Gearheads "Dialing in your Sound" Pat said: > Speaking of "Dialing in your Sound", has anyone >seen/heard a gadget called VG8 (VG for Vitual Guitar) >I think it's made by Rolland. Basically you override >your pickups with a small sensor near your bridge and from >then on your pickups are virtual. You can even place >a pickup at the 12th fret or spread a pickup >along your frets. The box acts as a filter and you >can dial in different virtual guitar/amp combinations >so your strat can sound just like a Les Paul on >say, a Tremolux. Or how about a 12 string acoustic >with a whammy bar :):). I watched a half hour demo >on the tube one time. All this for a mere $3000 Cdn >or so :):). But amaaazing! Checked out one of these at NAMM and they are pretty cool. They convert the sound to digital and process it to sound anyway you want. Is it REALLY *just* like "Tele with Matchless" (or whatever) like the front panel says? nahhh. But pretty darn good anyway. This is not for those who really want a signature tone. This is for those who want good sounds, lots of them, and extreme versatility. A show band comes to mind. A friend plays guitar for a bunch of sixties pop bands (Mama's and Papa's etc) and uses a Zoom. This is LOTS better for guys like him. If you are a pro sideman type this will knock your socks off. However, some of the computer boneheads are doing their "obsolescence catechism" on this unit claiming it will "obsolete" this that and the other. It won't, but it is a nice device that will add to a guitar players toolbox. I've got one or two of the CD demos from Roland still left of this unit. If Pat or anyone would like one send me your snail mail and I'll send it to you. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Thu, 25 Apr 1996 15:47:48 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Blues-L Convention In-Reply-To: <960422143406_519379645@emout13.mail.aol.com> The following might be of interest: http://www.intellicast.com/weather/stl/ http://aix.cait.wustl.edu/st-louis/hotels/downtown.html http://essrl.wustl.edu/~adl/local-music/ phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [25/4/96 11:42 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 25 Apr 1996 15:54:19 GMT Reply-To: "Jennifer A. Zogott" From: "Jennifer A. Zogott" Organization: New York University Subject: Junior Brown management? Comments: To: bit-listserv-blues-l@uunet.uu.net I'm trying to get in touch with management for Junior Brown. Please reply to me by e-mail. Thanks in advance for any help. Jennifer Zogott * * * "How many bubbles in soap? How many chews in gum? How many rolls in a wheel? Where did eyeballs come from?" - Screamin' Jay Hawkins ========================================================================= Date: Thu, 25 Apr 1996 16:22:12 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Re: Mary Wells "Jubilee"-label sessions Comments: To: bit-listserv-blues-l@uunet.uu.net I SECOND THAT EMOTION! >MARY WELLS "Complete Jubilee Sessions" Sequel (UK) CD NEX CD 257 > ========================================================================= Date: Thu, 25 Apr 1996 09:23:50 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Does music make you smarter? Previously: >>Source: Science News, Aug. 27, 1994 > >>Title: Tuning up young brains. (early music training >>encourages development of spatial >> intelligence) Joe said: >Well, I hope you'll forgive me, but this says nothing, absolutely >nothing whatsoever, about classical music in particular. It does not >in any way support your thesis, as I understood it. Sheesh, feels like English 102 and I got assigned a thesis! dang! Well, if I have to have one, here it is: There is plenty of evidence that music training increases some kinds of intelligence Part of training is learning to listen, part of listening is making choices about what to listen to. Classical music is admired throughout academe for its compositional richness, melodic complexity, and harmonic inventiveness. Of all music styles it is the most academically respected. Not because it is "better" but because of the richness of its heritage. So I suggest that an examination of the articles quoted will result in classical music backgrounds, and usages popping out right and left. In the original post I said something like: "What do YOU think makes you smarter, Ice-T or Mozart"? I don't think this is -hard to answer-, nor is this perspective one that lends itself well to logic 101 debates... hmmm? Oh, and "early music training" as stated in the first two citations almost always revolves around basic classical training. Or maybe Joe could get the articles and show how they REALLY used Metallica's "Live Shit - Binge and Purge" for this early music training.... >>Source: Nature, Oct 14 1993 >> >>Title: Music and spatial task performance. >> >>Abstract: 36 college students were asked to listen to Mozart's music and >>a relaxation tape in a >> survey to determine the causal relationship between >>music cognition and cognition >> relating to abstract activities. The examinees >>were evaluated on the >> Stanford-Binet intelligence scale. The examinees >>performed better in a test >> conducted after a music spell rather than after >>listening to the relaxation tape. >This compares music and non-music. If it compared one type of music >against another, it would tend to support what I understand to be your >thesis. But that is not the case here. And this exposes your prejudices (well mine too..) I know some makers of relaxation tapes and they certainly DO consider it music. You dismiss it because this study supports the very thesis you have assigned me.... Once again, don't you think that Mozart would outperform Danzig in these tests as well as he outperformed relaxation tapes? What is YOUR thesis? >>Source: Time magazine Oct. 25 1993 p. 25 > >>no abstract available. >Um, no comment. A wise choice considering that you have not read any of these. >Sounds fine, I like it. But maybe the case for classical music at the >expense of other kinds is not so clear. Despite the assumptions that >all sorts of people make as to how good it is for us. Actually, while classical is the backbone, there are many styles taught and exposed already in music instruction. I used to go to Perry Beach's house for music theory coaching. I would work on his whole-house stereo, and he would show my how to improve my composing. He was one of the finest theory and composition teachers in the country, and his teachers traced back straight back to Ravel. I asked him: "I want to write music with the sophistication of Ravel, Debussy, and Ellington, with the power and beauty of the blues, and I want to blow over all that like Charlie Parker. You know what he said: Ok, the road to that place starts right HERE with *Bach*. And you know what, he was right.... DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Thu, 25 Apr 1996 17:09:00 +0100 Reply-To: Ray Templeton From: Ray Templeton Subject: Re: Robert Johnson Re the discussion about whether Robert Johnson learned from records: Yazoo released an LP about 10 years ago, which I think has been reissued on CD, entitled "The Roots of Robert Johnson". This consisted of a dozen or so records, either that Johnson seemed to have learned directly from, or that illustrated some other connection. They had to scratch around a bit, and even included at least one record released after Johnson's death, but the point was well made. Sorry, I don't have the release number handy, but Yazoo records are easy enough to come by. There was an article in an early issue of Living Blues covering similar ground (I think it was written by Paul Garon, but again I don't have it to hand). I have to say that, much as I love Johnson's records, I've always been surprised at the extent to which he is so widely held up as a totem. My suspicion is that there is a strong element of tokenism in this - rock fans can buy one blues record and say how important it is, which saves them the trouble of having to buy any others. To put it another way, it suits people to think that he is unique, and it helps somebody to take this view if they can imagine that he was utterly, brilliantly original. He wasn't unique. He was special - but so are an awful lot of others. There is scope for somebody else to do an album of "The Heirs of Robert Johnson", showing all the ways in which his songs were covered by later artists. In my view, at least a few of these might even have been improvements. I don't really want to open that can of worms in this forum, but I would say that that Johnny Shines JOB record of "Ramblin'" (which derives from Johnson's "Walking Blues" - not "Rambling On My Mind") is one of my all time favourite records in any idiom under the sun. Ray Templeton ========================================================================= Date: Thu, 25 Apr 1996 16:34:18 GMT Reply-To: rew4@PSUVM.PSU.EDU From: Ross Whitwam Subject: Re: JOHNNY SHINES, A TRIBUTE 3) LEONARD WATKINS PROFILE Comments: To: BLUES-L%BROWNVM.BITNET@psuvm.psu.edu I greatly enjoyed reading the profile and reminiscences of Johnny Shines provided by LW, but I was confused to read that Howlin' Wolf was Shines' "first musical influence". I believe Chester Burnett was born 1910, around the same time as Shines, but had Burnett made a local splash well before his recording career started (in 1948, or so, wasn't it?)? The time of this influence must have been the early 30's, if Shines was born in 1915. Or was this influence the *other* blues singer sometimes known as Howlin' Wolf, J.T. Smith, about whom I know nothing other than Yazoo released an album of his songs titled: _Funny Papa Smith: The Original Howling Wolf 1930-31_ (Yazoo L-1031) (The album contains Smith's song "Howling Wolf Blues pts. 1 & 2, from which he derived the moniker, I guess.) Ross Whitwam rew4@psu.edu Dept. Biochem + Molec Biology Penn State University + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + LW wrote, and Eric LeBlanc posted: > JOHNNY SHINES (1915 - 1992) > =========================== > >Johnny Ned Shines was born in Frazier, Tennessee on April 25, 1915. >He spent most of his youth in Memphis and the surrounding Delta >area. His first major musical influence was Howlin' Wolf and Shines >was referred to as "Little Wolf" at the start of his career. He >wrote a song called "Little Wolf" which is on his "Traditional >Delta Blues" recording (Biograph BCD 121). ========================================================================= Date: Thu, 25 Apr 1996 09:46:45 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Gearheads: Intonation I got a bunch of responses about intonation, so here it is: RJ said: >Ok. I've got a problem that keeps coming back. All my guitars seem to >play in tune for most chord shapes, except one. If I retune to nail >one chord shape, another sounds like junk. Even after I've intonated >by using the 12th fret harmonic and 12th fret fretted normally. >My action is set moderately high, but not so high it is tiring to chord. Tuning is a compromise; every time you press down a string, you make that note slightly sharp. This is the nature of the beast. BUT, you can minimize this with a really good nut setup. First, if you have noticeable fret wear (dips) on your frets in the first five fret positions, you will need either a fret job or a fret dressing to make them all the same height. Check the nut string height by pressing the string down at the 3rd fret (G on the E strings). You should see just a *little* light (maybe the thickness of a business card or a little less) under the string as it passes over the first fret. If there is more than this, you will make everything you press down, noticeably sharp, and there is nothing you can do at the bridge or the neck to fix this. Here is the intonation method: First you MUST have the truss rod dialed in, and have good frets and new strings or you are wasting your time trying to get intonated. BTW RJ mentioned as well that a lot of "guitar techs" are no better than the average player. It's true, but keep looking, they are worth their weight in gold. If you are near Los Angeles or San Diego or are willing to ship your guitar I can make a couple of recommendations. Anyway, This method requires a true chromatic tuner. I use a Boss TU12, but there are lots of them. Here's the text of my original letter to my guitar builder about this: I realized that with a chromatic tuner you can tune a string at any position on the fretboard, at any fret. This got me thinking about the nature of guitar intonation. It is a function of string length, of the pitch of an open string versus the pitch of a fretted string, right? We adjust the length of the string to compensate for the difference in the two. What I noticed was that although the guitar was "perfectly" intonated at the 12th fret, the accuracy of pitch would drift as you went further up the neck. (yes, I was very careful to maintain consistent pressure on the string) I thought this might be a function of the tuner, or just an anomaly of fretted instruments. I decided to find out. I perfectly tuned the high E string open. Then I fretted the octave B at the 19th fret using my normal string pressure. Even though I had set the bridge for "perfect" intonation when the string was fretted at the 12th fret, it had gone sharp at the 19th. So I adjusted the bridge back a little, retuned the open E, then checked the fretted octave B. After doing this a couple of times. I was able to get the open E and the 19th fret octave B both perfectly in tune. I did this with all the strings at the 19th fret, and boy was I amazed. It is the best intonation I have ever heard! I can do barre chords at the 14th fret, in perfect tune! And the 12th fret intonation is still centered on the tuner. What I think is happening is that as you go up the neck and pitch gets sharper with less distance between the frets, any inaccuracies in the string's length become more pronounced, and show up more on the tuner. Because of this, you can do a much more accurate job of setting the proper string length when using the 19th fret rather than the 12th fret for setting intonation. I've never been able to do an "open D figure" chord at the 17th fret (F maj.) in perfect tune before. He tried it on one of his most picky customers and called back raving about it. Give this a try and let me know how it works for you. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Thu, 25 Apr 1996 11:54:35 -0500 Reply-To: Kevin DeBell From: Kevin DeBell Subject: Tomato Blues Yes, the Great Tomato Blues Package is distributed by Rhino. I *just* (like in the last 1/2 hour) saw a copy of the 2-cd set at Borders Books & Music on Michigan Ave. here in Chicago for $19.99. A Rhino sticker was slapped on there, but the pressing was Tomato 2696-152. I'll pick it up if someone wants it - email me privately - kevin kdebell@wpo.it.luc.edu ========================================================================= Date: Thu, 25 Apr 1996 12:46:25 -0400 Reply-To: TDominey From: TDominey Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Does music make you smarter? Comments: To: bit-listserv-blues-l@uunet.uu.net Most definitely... It was also found through a lot of those tests conducted on children that repetitive, bass-heavy rhythms actually lowered testing scores below the level without the introduction of music - like it actually damaged the cognitive neurons from firing. Any music lover knows how frenetic and unbalanced they feel after time away from their passion. I'm glad to see some great topics here - I am a new subscriber - I'm a blues DJ on public radio in Charleston, S.C. Anyone been to Chas. lately? ========================================================================= Date: Thu, 25 Apr 1996 16:50:26 GMT Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: Memphis in May Beale St. Music Festival 1996 Comments: To: rjbauman@iquest.net On Mon, 22 Apr 1996 05:35:12 +0000, R.J. Bauman wrote: >Since I couldn't find this info anywhere else on the net, I thought >I'd post it here. If anybody wants to HTMLize it and put a link on >their page , or forward it to other newsgroups , they're welcome to. >Memphis in May Beale St Music Festival Artists and Performance Times FYI, this is up at the excellent site Memphis Mojo: http://www.Memphismojo.com/memphismay.html *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Thu, 25 Apr 1996 10:09:56 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: WILLIS "GATOR TAIL" JACKSON, A TRIBUTE (w/DISCOGRAPHY) "Willis Jackson is one of the Rhythm & Blues saxophone giants, one of the originators of the honking school of sax players that added so much excitement to R & B as well as being one of the smoothest, coolest sax players on the scene when it came to blues and ballads". ~ Tony Burke, editor of Blues & Rhythm "... on a fast blues, that couldn't have lasted more than two minutes, JACKSON managed to peel off his tie and jacket, kick off his shoes, drop to his knees and bend over backwards all the while squealing his brains out!". ~ Bob Porter, describing Willis Jackson's appearance on November 20, 1956 Ed Sullivan TV Show, featuring Dr. Jive's R&B package with Bo Diddley, LaVern Baker, and The Five Keys Bar Walker & tenor saxophone meister WILLIS JACKSON was born on Wednesday, April 25, 1928, Miami, FL. His first outing (actually he galloped out) on record was on Cootie Williams' April 1949 Mercury recording : 'GATOR TAIL part 1 & 2 (Mercury 8131), practically a solo spot for his saxophone : imagine, if you will, a roller coaster ride goin' out of control. By the time you reach part 2, he's bursting, and that's at the beginning! Sort of like Albert Collins bungie-jumping! 'GATOR TAIL - actually his complete Mercury Recording with Cootie Williams - is now available for the first in the 7CD Box set, POLYGRAM 525 609 : BLUES BOOGIE & BOP - 1940S MERCURY SESSIONS. Michel Ruppli & Ed Novitsky's The Mercury Labels: A Discography (Greenwood Press) also tells us that he recorded "Let'em Roll" and "Slidin' And Glidin'" at the same recording date, followed by a further 1949 session featuring vocalist Eddie Mack. After leaving Mercury Records, Cootie Williams & WILLIS JACKSON recorded the wonderful SHOTGUN BOOGIE, featuring Eddie Mack on vocals - a Tennessee Ernie Ford hillbilly tune with a short JACKSON solo. During this time (1950), he also played on a Eddie Mack Derby recording. After that, JACKSON was on his own, recording for APOLLO (see DELMARK CD 460 for the complete sides), ATLANTIC/ATCO, DELUXE and Bobby Robinson's FIRE Label. From 1959-64, he recorded well over 25 jazz albums for PRESTIGE/MOODSVILLE Records, including a 1962 album where he accompanies Johnny "Hammond" Smith, then he moved on to VERVE, CADET, ATLANTIC/COTILLION and finally with MUSE Records (1973-). If you enjoy the 'organ combo' sound, many of these albums have wonderful slow moving blues & ballads. During his stay at ATLANTIC Records (1951-1953), he accompanied his wife, Ruth Brown ("5-10-15 hours", "Shine on", "Daddy daddy", "I'll wait for you") and the pioneer R&B vocal group, THE CLOVERS ("Blue Velvet", "In the morning time", "Comin' on", "One mint julep", "Your cash ain't nothin' but trash"). During his stay at KING/DELUXE, he accompanied Little Willie John ("All around the world", "Home at last", "Need your love so bad", "I'm Stickin' with you baby"), Bill Jennings ("Wishbone'), Titus Turner ("Follow me", "Tears of joy follow me") and Champion Jack Dupree ("She cooks me babbage", "Stumbling block"). Sometime in the late 60s, Paul Winley convinced WILLIS JACKSON, Dave "Baby" Cortez, George Benson, and Sterling "Satan" Magee (now recording as SATAN & ADAM) to record a R&B session that was released on Bellaphon (as the Harlem Underground Band) and Upfront Records. I've included these in the discography. The discography does not include his many jazz albums. WILLIS JACKSON died on Sunday, October 25, 1987, New York City, NY., at the Columbia-Presbyterian Medical Center, a week after undergoing heart surgery & suffering complications from diabetes. He was survived by his wife Ann, and 2 sons (Leon, Ronald). When asked why Cootie Williams gave him all that solo space, he replied "I was a blowin M@+#ERF*(KER!". Today, Sil Austin, Gil Bernal, Chuck Higgins, Lynn Hope, Joe Houston, Illinois Jacquet, Big Jay McNeely, Jack McVea, Hal "Cornbread" Singer, Clifford Solomon, Noble "Thin Man" Watts and Paul "Hucklebuck" Williams remain from that era. References : Tony Burke WHISKEY,WOMEN & KM-705 ALBUM NOTES Jim Dawson NERVOUS MAN NERVOUS : BIG JAY MCNEELY & THE RISE OF THE HONKING TENOR SAX (Big Nickel) Galen Gart HISTORY OF RHYTHM & BLUES : FIRST PRESSINGS (Big Nickel. Pub) Bob Porter DELMARK CD 460 BOOKLET Michel Ruppli ATLANTIC RECORDS - A DISCOGRAPHY (Greenwood Press)* Michel Ruppli KING LABELS - A DISCOGRAPHY (Greenwood Press)* Michel Ruppli MERCURY LABELS - A DISCOGRAPHY (Greenwood Press)* Michel Ruppli PRESTIGE LABEL - A DISCOGRAPHY (Greenwood Press)* (*Web Site or ) Selected ALBUM/CD DISCOGRAPHY : (no jazz releases) (+ vinyl only) ============================================================================= +ATLANTIC 16661 VARIOUS A RHYTHM & BLUES SAXOPHONE ANTHOLOGY(4 cuts) ATLANTIC 81292 VARIOUS ATLANTIC RHYTHM & BLUES V. 1 (1 cut) ATLANTIC 82061 RUTH BROWN MISS RHYTHM ATLANTIC 82312 THE CLOVERS DOWN IN THE ALLEY - BEST OF +BELLAPHON 15224 VARIOUS THE HARLEM UNDERGROUND BAND CAPRICORN 42009 VARIOUS THE FIRE/FURY RECORDS STORY (1 cut) CHARLY 243 JACK DUPREE BLUES FOR EVERYONE DELMARK 452 VARIOUS HONKERS & BAR WALKERS V. 2 (1 alt tk) DELMARK 460 WILLIS JACKSON CALL OF THE GATORS (Apollo Recordings) +JUKEBOX LIL 623 COOTIE WILLIAMS THINGS AIN'T WHAT THEY USED TO BE (2 cuts) MUSE 6011 WILLIS JACKSON BAR WARS POLYGRAM 525 609VARIOUS BLUES BOOGIE & BOP - 1940S MERCURY SESSIONS POLYGRAM 845 825VARIOUS BACK BEAT - THE RHYTHM OF THE BLUES V. 1 RHINO 71131 VARIOUS BLUES MASTERS V.13: NEW YORK CITY BLUES RHINO 71511 LIT WILLIE JOHN FEVER - BEST OF +SWINGTIME 1003 COOTIE WILLIAMS TYPHOON (2 DERBY cuts) +UPFRONT 184 WILLIS JACKSON WHISKEY,WOM 705 WILLIS JACKSON ON MY OWN ============================================================================ ========================================================================= Date: Thu, 25 Apr 1996 12:09:57 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Re: Gearheads: Intonation In-Reply-To: Message of Thu, 25 Apr 1996 09:46:45 -0800 from On Thu, 25 Apr 1996 09:46:45 -0800 Don Cicchetti said: > >BTW RJ mentioned as well that a lot of "guitar techs" are no better than >the average player. It's true, but keep looking, they are worth their >weight in gold. If you are near Los Angeles or San Diego or are willing >to ship your guitar I can make a couple of recommendations. There is a tech in B'ham (Billy Gallant) and I will not take my guitars to any one but him. He knows how I like MY action and he's the best around. I used to work on my own (sometimes still do), but I can't say enough about how great it is to have a very good tech in town. You always know it's going to be done correctly. The only problem is he doesn't work on Nationals or he'd rather not work on them...No one in B'ham wants to work on a National..So I have to do the National myself, luckily I haven't needed any serious work on it..YET LW ========================================================================= Date: Thu, 25 Apr 1996 12:15:51 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Midnight Crooze in Memphis Anyone have any info on the Rounder Midnight Criuse at midnight during the Beale Street Fest...??? Last year they called it something like 25th Annv. of Rounder Records, but I've heard there will be another one this year.... If anyone has the lineup for the cruise, e-mail it. please THANKS LW ========================================================================= Date: Thu, 25 Apr 1996 12:19:46 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Beale Street Lineup Question I thought the first schedule I saw had Michelle Shockedlisted, but the one with the times that was posted on Blues-l did not list Michelle Shocked.. So does anyone know if she will be playing at the fest and WHEN/WHERE LW 'Michelle moves me' ========================================================================= Date: Thu, 25 Apr 1996 13:22:10 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: JOHNNY SHINES, A TRIBUTE 3) LEONARD WATKINS PROFILE Comments: To: rew4@psuvm.psu.edu On 25 Apr 96 at 16:34, rew4@psuvm.psu.edu wrote: > I greatly enjoyed reading the profile and reminiscences of > Johnny Shines provided by LW, but I was confused to read > that Howlin' Wolf was Shines' "first musical influence". > > I believe Chester Burnett was born 1910, around the same time as > Shines, but had Burnett made a local splash well before his > recording career started (in 1948, or so, wasn't it?)? > The time of this influence must have been the early 30's, > if Shines was born in 1915. While it is true that Howlin' Wolf's recording career did not begin till he was in his 40s, he was an active performer in the Delta long before that. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Thu, 25 Apr 1996 12:26:28 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: J.Hammond Questions (last call) I will be interviewing John Hammond EARLY in the morning tommorrow. Anyone have any interesting questions, Please send them my way... If you already sent some I got them, no need to send them again THANKS LW ========================================================================= Date: Thu, 25 Apr 1996 17:17:29 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Robert Johnson derivative? Comments: To: bit-listserv-blues-l@uunet.uu.net James Leftwich wrote: > >Help me out here, > >A friend of mine (who shall remain nameless and happens to own a blues >label) told me that Robert Johnson was the first bluesman to learn stuff >off the record and that much of his stuff had already been done before by >the likes of Son House, Willie Brown, Ishman Bracey, et al. > >I protested offering his atmospheric lyrics as sure proof of his >orginality. Plus, his slide playing was much more intricate than anything >that had come before. > >Am I right? Is this guy off his rocker? I read years ago that John Fahey did a college paper on Robert Johnson wherein he traced 28 of RJ's 29 tuns back to earlier records...and that doesn't mean that song 29 WASN'T someone else's, just that Fahey didn't find it. IMHO Johnson's greatest talent was his ability to absorb the best of other's styles, and synthesize something great out of them. But he wasn't anywhere near the "originator" he's credited as these days, again, IMHO. Scott ========================================================================= Date: Thu, 25 Apr 1996 13:55:38 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re[2]: Piano Blues His name is Chris Stainton. And he is a fantastic player. I'm not sure how "young" he is, though. Looks to be well into his 40's to me. He has some impressive credentials, which I don't happen to have with me at the moment. Shannon (Not meaning to imply that "well into his 40's" is old....I tend to think of "younger" players as people in their 20's, since I'm firmly in my 30's.) ______________________________ Reply Separator _________________________________ Subject: Re: Piano Blues Author: BLUESROCCO@aol.com at INTERNET_TP Date: 4/25/96 2:37 AM Speaking of younger(?) piano players, who was the piano player that toured with Clapton on his "From The Cradle" tour? Seems to me I remember him being pretty good. Jim ========================================================================= Date: Thu, 25 Apr 1996 12:49:29 -0700 Reply-To: Kelly Hoggard From: Kelly Hoggard Organization: The Wolfpack Subject: Re: Little Charlie & the Nightcats Comments: To: Pat Hertel Pat Hertel wrote: > > I experienced the LC &N last night and I must > say I was more than a little impressed. What a > tight band and what musicianship. I can't > begin to say enough about Little Charlie's > guitar playing, he's a wizard. Rick Estrin > remains one of my alltime favourite harpsters. > For you guitar wanks, Charlie was playing a > Strat and a goldtop ES 295. What is that > beautiful old Gibson he has on earlier album > covers? > Little Charlie's gonna be at the Slippery Noodle Monday night! I can't wait! The guitar on the cover of 'Disturbing The Peace' is a Charlie Christian ES-150. I've seen Charlie play an ES-350 and he told me once that he's got plenty more at home! -- kelly@netusa1.net(Kelly Hoggard) The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! Check out their home page at http://www.netusa1.net/~kelly/ ========================================================================= Date: Thu, 25 Apr 1996 13:59:54 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: On this day... >On this day in 1953 U.S. genetic researcher James Dewey Watson, 25, >and English geneticist Francis H. C. Crick, 37, of Cambridge >University publish their first article on the unique structure of DNA. >Some 40 years later the real object of their quest, the elusive >"Blues Gene", has yet to be isolated. > >P.W. Fenton >Tampa, Florida >http://www.gate.net/~pwfenton/ > >The pleasure we derive from doing favors is partly in the feeling >it gives us that we are not altogether worthless. It is a >pleasant suprise to ourselves. - Eric Hoffer There was a song that was a hit in the UK a few years back that ran in part 'I pull my old blue jeans on' - heard by at least one small child (obviously of foodie parents) as 'I pull my aubergines on'. Blues content: Muddy's Blue Sky version of 'Manish Boy' nudged the lower reaches of the pop charts here when it was used by Levis in a commercial. Chris Smith (chris@skerries.demon.co.uk) 24 hours in a day; 24 beers in a case. Coincidence? ========================================================================= Date: Thu, 25 Apr 1996 12:56:48 -0700 Reply-To: Kelly Hoggard From: Kelly Hoggard Organization: The Wolfpack Subject: Re: Does music make you smarter? Comments: To: "M. B. Ober" M. B. Ober wrote: > > I have noticed among my aquaintance a tendency for those very good at music > to be also very good at math, so I thought I'd poll you music types (and > any math types who have gravitated here because you're so good at music) > Maggie I was always under the impression that the opposite was true. Those aptitude tests that I took in high school were set up to show those with an artistic bent couldn't be analytical and vice versa. Being slightly anbidexterous - I write lefthanded, throw righthanded, eat lefthanded, use scissors righthanded, screwdrivers lefthanded, kick leftfooted, play guitar righthanded - I always thought that I was a deviation because there was no clear right brain or left brain dominance in me. Verily I say unto you: I can solve two equations with two unknown variables and play "Why I Sing The Blues" at the same time. :-) -- kelly@netusa1.net(Kelly Hoggard) The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! Check out their home page at http://www.netusa1.net/~kelly/ ========================================================================= Date: Thu, 25 Apr 1996 14:04:42 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Great Tomatoe Blues??? Let's call the whole thing oeuf. >Tomato, tomatoe, what's the difference... > > RHi70386 GREAT TOMATO BLUES PACKAGE > RHINO 11/91 > >> From: Scott or Jill Oviatt >> Subject: Great Tomatoe Blues??? > >> Anyone out there heard of this? A friend of mine loaned me a dubbed >> tape, and I had to give it back before I wore it out! It is chock full >> of blues classics by the orginal artists....Sky is Cryin', Midnight >> Special, stuff like that. I really need to find that cd for my own. He >> didn't have any credits with it and we were sitting around at work today >> trying to figure out who was on it. If you have this, could you >> please post the label? > >Eliot Williams >University of Wisconsin >Department of Medicine >ecwillms@macc.wisc.edu Chris Smith (chris@skerries.demon.co.uk) 24 hours in a day; 24 beers in a case. Coincidence? ========================================================================= Date: Thu, 25 Apr 1996 14:04:56 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: The Byrds trivia > Not blues, but interesting enough for me to risk sharing it... > > According to my RnR Hall of Fame calendar for today, 4/25 > > "The Byrds, inducted 1991 > > Following the departures of Gene Clark and David Crosby, the Byrds > re-formed in 1968, taking on drummer Kevin Kelly and guitarist Gram > Parsons. When Parsons died of a heroin overdose in September 1973, > his road manager hijacked Parson's casket, transported it to Joshua > Tree National Monument, California, and set it afire. Today, Parson > cultists still visit the cremation site near the Cap Rock formation." > > sort of rock and roll viking kind of thing, i guess... > > alora paul > apaul@whoi.edu I can think of a number of musicians to whom that should be done BEFORE they're in the box... %-) 'Swans sing before they die; 'Twere no bad thing, Should certain persons die Before they sing' - ST Coleridge Chris Smith (chris@skerries.demon.co.uk) 24 hours in a day; 24 beers in a case. Coincidence? ========================================================================= Date: Thu, 25 Apr 1996 14:07:26 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Does music make you smarter? >On 25 Apr 96 at 8:25, M. B. Ober wrote: > >> Interesting idea that music might make you smarter. or at least score >> better on Very Strange Tests... I wonder if Mozart is better or worse than >> Morganfield or Mem. Nothing like a cultural bias when checking out >> influences on tests with a cultural bias. >> >> I have noticed among my aquaintance a tendency for those very good at music >> to be also very good at math, so I thought I'd poll you music types (and >> any math types who have gravitated here because you're so good at music) to >> see if my observation will hold up. A corollary is that my [visual] artist >> husband and *way* too many of his colleagues are miserable spellers. >> Maggie > PW Fenton wrote in response: >I remember reading about a study that showed Mathematical skills >seemed to predict musical skills. The reverse wasn't necessarily >true, musical skills didn't predict math skills. > >P.W. Fenton >Tampa, Florida >http://www.gate.net/~pwfenton/ > >"The large print giveth, and the small print taketh away" > - Tom Waits The great mathematician Gottfried Leibnitz said something like 'music is how people do mathematics without knowing it'. JS Bach's the boy who proves him right, both as a composer and as someone to listen to. Chris Smith (chris@skerries.demon.co.uk) 24 hours in a day; 24 beers in a case. Coincidence? ========================================================================= Date: Thu, 25 Apr 1996 13:07:28 -0700 Reply-To: Kelly Hoggard From: Kelly Hoggard Organization: The Wolfpack Subject: Re: Great Tomatoe Blues??? Comments: To: williams@heme.medicine.wisc.edu Eliot Williams wrote: > > Tomato, tomatoe, what's the difference... > Careful! Some Hoosiers are touchy about the way their fruits and vegetables are spelled. At least the word 'potatoe'..... -- kelly@netusa1.net(Kelly Hoggard) The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! Check out their home page at http://www.netusa1.net/~kelly/ ========================================================================= Date: Thu, 25 Apr 1996 13:28:34 -0400 Reply-To: James Leftwich From: James Leftwich Subject: Philly festival (long) Hey, Thought this may be of interest. Joel you may want to include this on your page. This is my single favorite festival of the year (ok so I've never been to Chicago). In years past they've had two weekends: one of New Orleans music and one blues. This year they've combined the two. Any further information (tourist packages) point your browser at http://www.libertynet.org CoreStates Jam on the River Memorial Day Weekend Friday-Monday, May 24-27, 1996 More Music, More Bands, More Food and More Fun for Less Money! Take two parts Jambalaya Jam, one part RiverBlues, add a couple of heaping spoonfuls of gospel, jazz and funk and top it off with a dash of R&B and you've cooked up four nights and three days of the hottest music to ever hit the Philadelphia waterfront - the, CoreStates Jam on the River, Memorial Day Weekend, Friday-Monday, May 24-27, 1996. The CoreStates Jam on the River, the first festival of the season and the official kick-off to summer at Penn's Landing, returns with a new mix of music, more bands, more food, more crafts and new lower ticket prices, thanks to title sponsor CoreStates. The music never ends with the Jam's new music mix of 47 bands and 440 artists! New features for the '96 festival will be more music and more bands on all four days of the festival. New features in this year's festival include: The Friday Night Blues Jam, The Sunday Gospel Jam, a two-day Zydeco Dance Party, The Battle of the Brass Bands: Philadelphia vs. New Orleans, and a focus on the Women of the Blues. Independence Blue Cross Junior Jam Children can learn to two-step, capture the Mardi Gras spirit with face painting and craft workshops, and march in a Mardi Gras parade. They also can make musical instruments and jam with Trout Fishing in America, The DINNER DOGS and other kid favorites. All Independence Blue Cross Junior Jam activities are free with a child's festival admission of $2 (children under 2 are free). Independence Blue Cross Junior Jam hours are 12-6 p.m. Saturday-Monday. More great food!! In addition to the talent menu, festivalgoers will be treated to the best of New Orleans and Philadelphia cooking plus a delicious array of Caribbean, Latin American, and Mediterranean dishes. From jambalaya to cheesesteaks, and shrimp creole to fries, there is something to tempt every palate. Festival Hours The Friday Night Blues Jam swings into action from 5-10:30 p.m. Festival hours are Noon-10 p.m. on Saturday and Sunday, and Noon-9 p.m. on Monday. Ticket prices Friday Night Blues Jam $5 Saturday-Monday Adults $10 ($12 at the gate) Kids (2-12) $2 Kids (2 under). Free Groups (min20) $9 Tickets are available through TicketMaster outlets seven days a week, or call charge-by- phone 215/336-2000, 717/693-4100, 302/984-2000, 609/665-2500. For free Philadelphia visitors information, contact the Philadelphia Visitors Center, 16th Street and JFK Boulevard, Philadelphia, Pa 19102 , 215-636-1666 or 800-668.5724. CoreStates Jam on the River Music Schedule The music never ends with the Jam's new music mix of 47 bands and 440 artists! Friday, May 24th * The Friday Night Blues Jam in the Philadelphia Loves Visa Tent Enjoy a down home barbecue feast along with some of the best of the blues * "Papa John" DeFrancesco * GREG PICCOLO and Heavy Juice * Keisa Brown & 1 Nite Stand * The Holmes Brothers * The Duke Robillard Band Saturday, May 25th * CoreStates Jam on The River Stage 11th Annual Philadelphia Loves Visa Tent * USAir Jambalaya Jam Stage (Founding Sponsor) * Trout Fishing in America GREG PICCOLO and Heavy Juice Benoit LeBlanc * Beau Jocque and The Zydeco High Rollers Mamou Keb' Mo' * BeauSoleil AVEC Michael DOUCET Keb' Mo' Women of the Blues Show * The Duke Robillard Band BeauSoleil AVEC Michael Doucet Marla B.B. * Etta James and The Roots Band The Barbara Walker Story * Keisa Brown & 1 Nite Stand * Deborah Coleman & The Thrill Seekers * Zydeco Dance Party * Mamou * Beau Jocque & The Zydeco High Rollers Sunday, May 26th * CoreStates Jam on The River Stage 11th Annual Philadelphia Loves Visa Tent * USAir Jambalaya Jam Stage (Founding Sponsor) * Trout Fishing in America Chris Duarte Group Zachary Richard * Zachary Richard Tabu Ley Rochereau Et Tabu Ley Rochereau Et L'orchesstra * Rockin' Dopsie, Jr. & The Zydeco Twisters L'orchestra Afrisa International Afrisa International * Preservation Hall Jazz Band Charmaine Neville Band The Non-stop Gospel Jam * Zachary Richard William Hickerson & the Gospel Jam Band * Battle of the Brass Bands Treme Brass Band Ben Pressley & the Vessels * Wild Bunch Brass Band Joy Unlimitied * Treme Brass Band Rapture * Brass Band Rumble: Philly vs. New Orleans Gabriel Hardeman Delegation * Metropolitan Male Ensemble * Tri-State Mass Choir * Wilmington-Chester Mass Choir * Chris Duarte * Charmaine Neville Band Monday, May 27th * CoreStates Jam on The River Stage 11th Annual Philadelphia Loves Visa Tent * USAir Jambalaya Jam Stage (Founding Sponsor) * The Philadelphia Legends of Jazz Orchestra The Dukes of Destiny Pablo B' & The Committee * Wayne Toups & Zydecajun the subdudes Jean Carne * the subdudes Jean Carne Rick Valenti & his Blues Band * The Radiators Chubby Carrier & The Zydeco Dance Party * Bayou Swamp Band Chubby Carrier & The * Bayou Swamp Band * Wayne Toups & Zydecajun Talent information, accurate at time of publication, is subject to change. ========================================================================= Date: Thu, 25 Apr 1996 13:20:25 -0700 Reply-To: Kelly Hoggard From: Kelly Hoggard Organization: The Wolfpack Subject: Re: Robert Johnson Comments: To: Ray Templeton I wouldn't want or expect people to regard Robert Johnson as the end-all and be-all of delta blues, much like how people think of SRV, but I be of the opinion that he was the highest exponent of the form, meaning though not a great innovator, he synthesized what influences he had, and took it to his highest level. The same thing could be said about Johann Sebastien Bach-no great innovator, but the best example of the style. -- kelly@netusa1.net(Kelly Hoggard) The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! Check out their home page at http://www.netusa1.net/~kelly/ ========================================================================= Date: Thu, 25 Apr 1996 13:36:33 -0700 Reply-To: Kelly Hoggard From: Kelly Hoggard Organization: The Wolfpack Subject: Re: Re[2]: Piano Blues Comments: To: shannon oconnor shannon oconnor wrote: > > His name is Chris Stainton. And he is a fantastic player. I'm not > sure how "young" he is, though. Looks to be well into his 40's to me. > He has some impressive credentials, which I don't happen to have with > me at the moment. Chris played piano for Joe Cocker for a long time - when Leon Russell wasn't. -- kelly@netusa1.net(Kelly Hoggard) The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! Check out their home page at http://www.netusa1.net/~kelly/ ========================================================================= Date: Thu, 25 Apr 1996 11:04:39 -0800 Reply-To: Scott or Jill Oviatt From: Scott or Jill Oviatt Subject: Re: Great Tomatoe Blues??? Comments: To: williams@heme.medicine.wisc.edu At 08:21 AM 4/25/96 GMT-6, Eliot Williams wrote: >Tomato, tomatoe, what's the difference... > > Ummmm, potatoe? Thanks for the label info. I am on a mission now to actually find it in my local record store. Wild Willy __________________________________________________________________ obligatory signatures for oviattws@alaska.net V.3.0 Scott Oviatt (Wild Willy) That's alright....I still got my guitar http://alaska.net:80/~oviattws/beta.htm Jill Oviatt (Ladybuck) The man who fears the unknown will one day take fright at his own backside. --Sinbad, from "The Golden Voyage of Sinbad" http://alaska.net:80/~oviattws/ladybuck/peachpg.htm ========================================================================= Date: Thu, 25 Apr 1996 15:13:47 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Guitar info. Vintage gear heads only! I'm going down to my local money-hole to test drive a '59 Gretsch "Tennessean". They want $1500 for it. Anybody know ballpark what it's worth, assuming it's in any kind of reasonable condition? Mr. Shoaf, you out there? :) Thanks.... Riffin Rick (((( oo-) /- .....feedin' my jones F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 25 Apr 1996 15:24:19 -0700 Reply-To: steve.roberts@OCTEL.COM From: Steve Roberts Subject: YIKES! JOE BEARD'S "BLUES UNION" Hey all- Heavy workload prevents me from elaborating at my (usual) great length, but... ...I'm three quarters of the way through my first listen to "Blues Union" (Audioquest AQ 1039), Joe Beard's collaboration with Ronnie Earl and the Broadcasters (with guest appearance by Fathead Newman on sax). It was released about a month ago, and it's Straight-Up Hot. I'm blown away. Drop everything and run, fellow BluesLers, to the corner store...this one's a "gotta-own," for sure. Anyone else heard this? >>insert the customary disclaimer about me having no business relationship with Joe, Ronnie or Audioquest (wish I did, though...) >>insert the thing about opinions being mine, not my employers (although if there's anyone in the whole organization with any blues sense, they'd agree, I'm sure...) S ========================================================================= Date: Thu, 25 Apr 1996 16:04:28 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Johnny "Clyde" Copeland Update Comments: cc: blmclean@netaxs.com The owner of the venue where I will open for Johnny on June 2nd just got off the phone with Johnny's agent. According to him, Johnny did not have "open heart surgery". Johnny made an expected and scheduled visit to the hospital that installed a valve in his heart to have it checked. Sort of a preventative maintnence visit. He was there overnight and everything checked out fine. His tour plans are not effected in any way. Good news. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Thu, 25 Apr 1996 18:45:46 GMT Reply-To: CKUT_online@babylon.montreal.qc.ca From: CKUT online Organization: Babylon, Montreal, Canada Subject: Re: Little Charlie & the Nightcats Agree. I was at the LC&Nc show last night- Charlie is definitely a hot player! Vocals could have a little higher in the mix but otherwise a great show. You can always tell wgen players have been together for a long time. You could hear Charlie include a phrase in his rhythm which would then appear in the next part of Rick's solo. ========================================================================= Date: Thu, 25 Apr 1996 16:30:10 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: YIKES! JOE BEARD'S "BLUES UNION" Comments: To: Steve Roberts In-Reply-To: <17fd1d00@corp.octel.com> On Thu, 25 Apr 1996, Steve Roberts wrote: > ...I'm three quarters of the way through my first listen to "Blues > Union" (Audioquest AQ 1039), Joe Beard's collaboration with Ronnie > Earl and the Broadcasters (with guest appearance by Fathead Newman on > sax). It was released about a month ago, and it's Straight-Up Hot. > I'm blown away. > Drop everything and run, fellow BluesLers, to the corner store...this > one's a "gotta-own," for sure. Anyone else heard this? Not just a gotta-own, but a gotta-own-under-penalty-of-death. I couldn't get it out of the carousel for several days. This CD is huge, Beard is great and I think Ronnie is slowly beco- ming one of my most admired and enjoyed current blues(wo)men. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 25 Apr 1996 13:31:14 -0700 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Going into the studio?any suggestions? Well my new blues band (HOT FOR MAMA) is going into the studio tommorow to record a demo. Does anyone have some worthwhile suggestions to pass along. I would be real greatfull as it is only my third time in a studio and my first blues band in a studio. Please no one suggest the bottle of J.D. thing since we only have 7 hours (of free time!!) to get it done I don't want to have any drinkin there. Thanks in advance, Isaac (I-DOG) ========================================================================= Date: Thu, 25 Apr 1996 06:27:25 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: Beale Street Lineup Question Comments: To: ISTS024@UABDPO.DPO.UAB.EDU On 25 Apr 96 , honorable zeller L W wrote: > I thought the first schedule I saw had Michelle Shockedlisted, but the one > with the times that was posted on Blues-l did not list Michelle Shocked.. > > So does anyone know if she will be playing at the fest and WHEN/WHERE > > LW 'Michelle moves me' > > She's not on my list nor on the WWW Memphis mojo page. Sorry.............. RJ "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Thu, 25 Apr 1996 16:33:39 -0400 Reply-To: James Leftwich From: James Leftwich Subject: amp question (guitar folk only) Hey, I listened to a friend's old Ampeg Jet and was impressed. I found out today that Ampeg has a new Jet out there with Reverb. Anyone familiar with this amp? Is $375 a good price? ============================================================================= Jim Leftwich Jim's Blues N' Brews leftwich@cloud9.net http://www.cloud9.net/~leftwich "I'm on cloud9!" :) New CD Giveaway: Jordan Patterson ============================================================================= ========================================================================= Date: Thu, 25 Apr 1996 12:38:46 -0800 Reply-To: Scott or Jill Oviatt From: Scott or Jill Oviatt Organization: Internet Alaska Subject: Re: Lil' Ed with David Weld & the Blues Imperials Comments: To: bit-listserv-blues-l@uunet.uu.net Kelly Hoggard wrote: > > Pat Hertel wrote: > > > > .... and Dave Weld was originally part of that group. What > > is the full story here anyhow? > > > > phertel@cmc.doe.ca > > OR bv808@freenet.carleton.ca > > Local Time [23/4/96 6:34 AM] > > "Tuesday's just as bad..." > > Here's what I've heard: Lil' Ed evidently fell out of favor with Bruce > Iglauer at Alligator - too much drinking, missing gigs, etc. Meanwhile > Dave Weld is trying to get his act out there, and decides to help out Ed, > which in turn helps out Dave. So, now Lil' Ed is Dave's sideman, although > Ed's singin' and playin' is carrying the show. I know, because I saw them > at the Three Rivers, Michigan blues fest on Labor Day, and at IUSB in > South Bend a month later. Ed, as i said, does carry the show - regardless > of what problems he has had, he still has it! As for Dave......practice, > practice, practice...... > -- > kelly@netusa1.net(Kelly Hoggard) > > The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! > Check out their home page at http://www.netusa1.net/~kelly/ Oh...I don't know about that! (refering to the comment about Dave Weld) I saw them here in Alaska a couple weeks ago, and I really got a kick out of them both. Yes, Ed was out front, but Dave had his moments as well. They shared the stage. In fact, I enjoyed Dave's style of playing more than Eds'. Ed is quite a showman for sure. He got down on his knees on the floor and crawled around the entire club ON HIS KNEES jamming away the whole time. He would get up there and shake his guitar so wildly I thought his head would roll off. He reminded me of a little chimpanzee shaking a banana. I have never laughed so much at a blues show before! I hope I get a chance to see them again. I talked to Dave, and he said they had played together from the start. Wild Willy -- __________________________________________________________________ obligatory signatures for oviattws@alaska.net V.3.0 Scott Oviatt (Wild Willy) That's alright....I still got my guitar http://alaska.net:80/~oviattws/beta.htm Jill Oviatt (Ladybuck) The man who fears the unknown will one day take fright at his own backside. --Sinbad, from "The Golden Voyage of Sinbad" http://alaska.net:80/~oviattws/ladybuck/peachpg.htm ========================================================================= Date: Thu, 25 Apr 1996 13:53:41 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Does music make you smarter? In-Reply-To: <830392247.27774.0@skerries.demon.co.uk> from "Chris Smith" at Apr 24, 96 08:44:14 pm > Cows don't care what type of music it is, as long as the band has a good > horn section. Any udder opinions out dere? As these words flow pasteurize, we can talk about milking a thread. It's a mooving experience, but too much bull for me. That's my steak in the matter. I think we've butchered this enough. I'll just hoof it on outa here and put it out to pasture. These are not the cream of the crop - I've heard butter. I just keep churnin' em out. Hay - what's your beef? I refuse to Cowtow. To quote Willie: I might look like a farmer ..... -- IronMan Mike Curtis ========================================================================= Date: Thu, 25 Apr 1996 21:02:17 GMT Reply-To: rew4@PSU.EDU From: Ross Whitwam Subject: Re: JOHNNY SHINES, A TRIBUTE 3) LEONARD WATKINS PROFILE Comments: To: blues-l%brownvm.BITNET@psuvm.psu.edu Of course you're right. I should have realised that myself, considering how polished even Wolf's very first recordings for Sun were. You don't get that good without plenty of practice under your belt. Other people have responded privately that it was indeed Burnett to whom Shines was referring. I guess I was misinterpreting "first musical influence" to mean "earliest influence", which I assumed would have occured at the latest in Shine's teen years -- i.e,. the early 1930's -- when Wolf himself would have been only in his early 20's. I thought that was a bit premature for even an artist of Wolf's gifts to have developed enough of a local reputation to pick up proteges. (Though perhaps I'm mistaken there, too.) Now I suspect Shines meant something more along the lines of "first *major* musical influence", which could have occurred later in his own musical development. Ross Whitwam rew4@psu.edu Dept. Biochem + Molec Biology Penn State University + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + >On 25 Apr 96 at 16:34, rew4@psuvm.psu.edu wrote: > >> I greatly enjoyed reading the profile and reminiscences of >> Johnny Shines provided by LW, but I was confused to read >> that Howlin' Wolf was Shines' "first musical influence". >> >> I believe Chester Burnett was born 1910, around the same time as >> Shines, but had Burnett made a local splash well before his >> recording career started (in 1948, or so, wasn't it?)? >> The time of this influence must have been the early 30's, >> if Shines was born in 1915. > >While it is true that Howlin' Wolf's recording career did not begin >till he was in his 40s, he was an active performer in the Delta long >before that. > >P.W. Fenton >Tampa, Florida >http://www.gate.net/~pwfenton/ > >"The large print giveth, and the small print taketh away" > - Tom Waits ========================================================================= Date: Thu, 25 Apr 1996 14:16:18 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Going into the studio?any suggestions? Isaac said: >Well my new blues band (HOT FOR MAMA) is going into the studio tommorow >to record a demo. Does anyone have some worthwhile suggestions to pass >along. I would be real greatfull as it is only my third time in a studio >and my first blues band in a studio. Please no one suggest the bottle of >J.D. thing since we only have 7 hours (of free time!!) to get it done I >don't want to have any drinkin there. 1. Get your guitars/basses well setup and intonated. Bring a tuner. (they probably have one, but why assume?) 2. Get new strings. (unless you like that old-string sound) and several spare sets. 3. Rehearse... a lot. you should be at least 25% more "ready" than you think you should be. 4. Think a lot about all your parts. Record your solos, develop them. Even if you don't use the developed one, and improvise a better one on the spot, the development work will make you better prepared to improvise well. 5. Be rested, fit and ready. Don't eat big meals and donuts and crap the day of the sessions. good luck! DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Thu, 25 Apr 1996 16:28:52 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 04/26 B O R N : 04/26 CLARK,CLAUDINE Born:1941 MACON, GA Career:SINGER Style:BLUES With:TINY GRIMES DAVENPORT, COW COW ( charlies DAVENPORT ) Born:1895 ANNISTON, AL Career:PIANO / SINGER / COMPOSER Style:BLUES WROTE:I'LL BE GLAD WHEN YOU'RE DEAD YOU RASCAL YOU / MAMA DON'T ALLOW DONEGAN, DOROTHY Born:1924 CHICAGO, IL Career:PIANO Style:JAZZ EDWARDS, TEDDY ( THEODORE MARCUS EDWARDS ) Born:1924 JACKSON, MS Career:ALTO SAX / TENOR SAX / LEADER Style:JAZZ/ BIG BAND With:Danny Horton / Larance Marable / Nathanial Weeks / Howard McGhee / Dexter Gordon / Red Callender / Jimmy Rowles FORD, ADRIAN DE BRABANDER Born:1940 SYDNEY, NSW, AUSTRALIA Career:PIANO / TROMBONE / CLARINET / LEADER / ARRANGER / COMPOSER Style:JAZZ With:Jazz Pirates 1963 / Geoff Bull 1965-67 / York Gospel Singers / Big Apple Union / Yarra Yarra JB / Unity JB / Bill Haesler / Nick Boston / Charlestown Strutters / Alvin Alcorn GAINES, LEE Born:1914 HOUSTON, MS Career:SINGER Style:BLUES With:DELTA RHYTHM BOYS GEORGE, KARL ( CURTIS ) Born:1913 ST.LOUIS, MO Career:TRUMPET Style:JAZZ / BIG BAND GIUFFRE, JIMMY ( JAMES PETER GIUFFRE ) Born:1921 DALLAS, TX Career:TENOR SAX / BARITONE SAX / CLARINET / ARRANGER Style:JAZZ / BIG BAND With:Boyd Raeburn / Jimmy Dorsey / Buddy Rich 1948 / Woody Herman / Garwood Van / Spade Cooley 1950 / Lighthouse All Stars 1951-52 / Shorty Rogers' Giants GRIFFITH, SHIRLEY Born:1908 BRANDON, MS Career:GUITAR Style:BLUES LEE, GORDON Born:1953 OCEANSIDE, NY Career:PIANO Style:JAZZ LOVE, PRESTON Born:1921 0MAHA, NE Career:ALTO SAX / LEADER Style:BLUES / JAZZ / BIG BAND PERKINS, ROY Born:1935 LAFAYETTE, LA Career:SINGER Style:CAJUN RAINEY, MA ( GERTRUDE MELISSA NIX PRIDGETT ) Born:1886 COLUMBUS, GA Career:SINGER Style:TRAD / JAZZ / BLUES With:LOVE AUSTIN / TOMMY LADNIER / JOE SMITH / LOUIS ARMSTRONG SCHILLING, HAPPY ( GEORGE SCHILLING SR. ) Born:1886 NEW ORLEANS, LA Career:TROMBONE / GUITAR / LEADER Style:TRAD / JAZZ early dixieland influence / Johnny Fischer / led the band at Hineman's ball park for New Orleans Pelicans' games. STEIN, JULES C. Born:1896 SOUTH BEND, IN Career:MCA RECORDS Style:BLUES / JAZZ co-founder: MCA REC TOUGH, DAVE ( DAVID JARVIS TOUGH Born:1908 OAK PARK, IL Career:DRUMMER Style:JAZZ / BIG BAND With:Frank Teschemacher / Dick McPartland / Jimmy McPartland / Bud Freeman / Sig Meyers / Art Kassel / Eddie Condon / Red Nichols / Tommy Dorsey / Bunny Berigan / Benny Goodman / Jack Teagarden / Joe Marsala / Artie Shaw / Woody Herman / Charlie Spivak WILLIAMS, DAVE "FAT MAN" Born:1920 NEW ORLEANS, LA Career:PIANO Style:TRAD / JAZZ Preservation, Dixieland halls during the 1960s. Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us The Following were Recorded on this Date in the Years: ========================================================================= Date: Thu, 25 Apr 1996 14:25:53 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Does music make you smarter? >I was always under the impression that the opposite was true. Those >aptitude tests that I took in high school were set up to show those with >an artistic bent couldn't be analytical and vice versa. Being slightly >anbidexterous - I write lefthanded, throw righthanded, eat lefthanded, >use scissors righthanded, screwdrivers lefthanded, kick leftfooted, play >guitar righthanded - I always thought that I was a deviation because >there was no clear right brain or left brain dominance in me. Verily I >say unto you: I can solve two equations with two unknown variables and >play "Why I Sing The Blues" at the same time. :-) My theory (or guess would probably be a better word) - I would bet that great songwriters and players who aren't technically brilliant and theoretically knowledgeable (although they may be some of the great musicians in any genre) are probably not the mathematical/analytical type of person. Meanwhile, the genius at the technical/theoretical portion of music is probably the one with more mathematical aptitude. But then again, I could be way off base. Any thoughts? -Jim (hndful@uniserve.com) ========================================================================= Date: Thu, 25 Apr 1996 13:29:00 -0400 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re[2]: Does music make you smarter?X400-Recipients: I recognize that our society's definition of intelligence is reductionist and culturally biased, but what kind of blabbering idiot would write something like this to the list: "Me, I didn't have a brain in my damn head till I saw Dave Sherman and the Nighthawks open . . ." Yeah, well, the name is Dave Sherman and the *Nightcrawlers*. NightCRAWLERS, pal. I mean, good Christmas!!! I wonder how the author of the quote would feel if it were HIS group and he saw the name misrepresented like that. Probably not too great. Where do we get these people, anyway? BLUE JOE IN RED RUSSIA J.E._Downey@bakermck.com (#1 fan of Dave Sherman and the Nightcrawlers in the once and future Soviet Bloc) P.S. Maybe I should refer to *your* society's definition of intelligence now that I think about it. ========================================================================= Date: Thu, 25 Apr 1996 17:35:12 -0400 Reply-To: BluesBeatM@AOL.COM From: "(R. Schneider)" Subject: Re: YIKES! JOE BEARD'S "BLUES UNION" Comments: To: steve.roberts@octel.com Joe Beard's new CD, called Blues Union, also features Ronnie Earl and the Broadcasters. Beard has never sounded so great, and his beautifully toned guitar work is reminiscent of Otis Rush. This is a bluesman neglected too long, but this CD should open a few ears. Audioquest Music zeroed in on the right person! ========================================================================= Date: Thu, 25 Apr 1996 17:17:48 -0400 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Adam Gussow/Blues Brothers article Comments: To: bit-listserv-blues-l@uunet.uu.net I rec'd this from Adam Gussow regarding a copy of an article written by Steve Knopper recently... he asked me to post this for him. He'll be doing the "Journeyman's Road" column in the Summer '96 issue of Blues Access also. Thanks so much for sending me a copy of the Blues Brothers article, with my (mis-)quotes. Steve Knopper phoned me up a couple of weeks ago and I spoke with him for forty minutes, making a series of careful distinctions which he basically managed to flatten out, turning me into Mr. Almost Stick-in-the-Mud. I NEVER, for example, said that blues was a response to slavery. Of course it's not that: it's a response, among other things, to a particular period in African-American history--roughly 1885 to 1920--when white-on-black lynchings were flaring out of control (blacks weren't lynched during slave days--too valuable), when the first generation of young black men born after the end of slavery was coming of age, when these same black men were systematically being stripped of the vote, when Jim Crow laws prescribing "separate but equal" public accommodations were systematically being imposed (Mississippi led the country in all these systematic racial imprisonments), when the sharecropping system which had arisen during Reconstruction met economic depressions of the 1890s--- This is the sort of stuff I told Knopper. I made it clear that I didn't hate the Blues Brothers, that I didn't think they'd had a terrible effect on American culture. I talked about their movie as one of several moments you might point to in attempting to account for the New Blues Craze--others being Muddy Waters' recording by/with Johnny Winter in "Hard Again" (1976?), the ascendance of Stevie Ray Vaughan (1982-82), the Cray/Copeland/Collins "Showdown" album (1985) and the rise of Alligator Records in general. I cited the law of unintended consequences as a way of arguing that the Blues Brothers, in giving the song "Sweet Home Chicago" fresh currency, may well have laid the groundwork for the unexpected and stunning success of the Robert Johnson reissues (1989). Above all, I told Knopper, my interest was to UNDERSTAND the Blues Brothers phenomenon, not simply get cranky. I did say that the Blues Brothers represented a modern reemergence of the blackface minstrel phenomenon. I talked about Thomas Dartmouth Rice and his "Jim Crow" dance of the 1830s--how, by appropriating a black song/dance style and giving it a humorous spin, he'd become an overnight success, spawning an entire musical theatre form: the blackface minstrel show, in which you had two wisecracking "endmen" named Tambo (who played the tambourine) and Bones (who clacked the bones) fronting a group of four or five other musicians. I talked about Belushi and Ackroyd as an eerie modern refiguring of this form--how the facial blacking (burnt cork) that TD Rice and others (and later Al Jolson) used had become, for Belushi and Ackroyd, a blue tinting (see the first Blues Brothers album) and dark shades, with pink lips in an exaggerated minstrel mode. And yes, I talked about the overriding facetiousness of the Blues Brothers--yo baby, get down, anything for a laugh--which isn't EVIL, simply typically American: a vision of the blues precisely analogous to Disneyland's vision of American history. Belushi and Ackroyd were clowns. I mean this not as a harsh judgment. They owe at least as much to Beckett's "Endgame" and the rodeo/circus clown tradition as they do to the blues tradition. So what about the guys backing them up, and playing supporting roles in the movie? How, Knopper asked, did I think Matt Murphy, Donald "Duck" Dunn, Steve Cropper, etc. felt about being part of a moneymaking operation that turned blues into low-comic facetiousness? Of course I had, and have, no idea. A gig's a gig, I suppose; as long as outright humiliation wasn't part of the bargain, why not. But I also pointed out that one value being communicated was: hey, we're just a couple of wild and crazy white guys, we're amateurs--it's pretty obvious we HAVEN'T paid our dues--and yet here we are, backed up by (black-and-white) pros, in CHARGE, baby! Accumulate enough images like this, back them up with enough money, spread them around widely enough, and people may begin to forget (or never learn) that real blues digs deep, tangles with you on a profound level, even heals you. I'm not a "blues purist," and told Knopper that. There's no one right way to play blues. Too many purists are classicists, lost in a time warp where Little Walter and B.B. King are dehistoricized icons rather than--as I see them--radical innovators who were young once, intensely concerned both with listening to everything going on around them (jazz as well as blues) and fusing those influences in a new style. Breaking the mold. But there are different ways of breaking the mold--some proceeding from deep cultural knowledge, some merely from ignorance. I certainly don't, by the way, think that the Blues Brothers or anybody connected with them DELIBERATELY tried to recreate a blackface minstrel show. They didn't need to: the cultural form itself--whites putting on black rags, burlesquing black songs, having a whopping good time--is too deeply engrained in our national fabric. Thanks again for the e-mail forward----- Yrs. Adam Catbauer@vivanet.com ========================================================================= Date: Thu, 25 Apr 1996 16:45:30 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: ACL and Joe Ely question Comments: To: rjbauman@iquest.net This has little or nothing to do with the blues, but since there's a good ACL following onthe list, I thought I'd ask anyway. Joe Ely was on ACL lately doing some songs from "Letter from Laredo" and he brought out a large, blond flamenco guitarist. Questions: 1) Is this the same guy who played on the album? 2) Did anyone get his name? 3) What's the story on this guy? Anyone know anything about him? Jim ========================================================================= Date: Thu, 25 Apr 1996 14:31:26 -0700 Reply-To: David Orange From: David Orange Organization: UNLV Biological Sciences Subject: Re: Too much change??? Comments: To: bit-listserv-blues-l@uunet.uu.net In article , Dennis Miele wrote: > In article <199604112109.OAA02061@wavenet.com> Shaun T Cronin > writes: > > > > Some people think SRV is a rock artist. Some think he was a blues > >artist (which he was). > > I think the SRV Blues/Rock debate is interesting. Almost every lick he played > came from Albert King so therein lies the *Blues* part, as well as the song > selection/construction. But I think the *Rock* side of the equation might > have something to do with the rhythm section sound/attack. Any opinions? > > (personally, I think he leans more towards Blues) Then again, is 'rock' a synonym for 'popular' e.g. playing arenea and selling a bajillion records? Jes' wonderin' Regards, David -- ->:) David Orange Send Email to: orange@nevada.edu http://www.nscee.edu/unlv/Colleges/College_of_Science_and_Math/Biology/Orange.html ========================================================================= Date: Thu, 25 Apr 1996 17:21:43 -0500 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: Various talents Comments: To: canorton@JOURNALISM.INDIANA.EDU In-Reply-To: from "Cathi Norton" at Apr 25, 96 09:20:03 am In an earlier message, Cathi Norton said: ] Well, today is my birthday....yes at last I'm 16. Cool!!! Does this mean you can go out on dates and everything? ] "Norton Shows Diverse Talents in Various Stages of ] Undress" I always knew ya had it in ya.... -- * The most exciting phrase to hear in science, the one that heralds new * discoveries, is not "Eureka!" (I found it!) but "That's funny ..." * -- Isaac Asimov ========================================================================= Date: Thu, 25 Apr 1996 17:58:46 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: ACL and Joe Ely question Comments: To: James Bardsley In-Reply-To: <9603258304.AA830475872@mail-sh.lsumc.edu> Ahhhhh, my favorite homeboy! I happened to miss this show. How was it? Joe has a rep for the most high-energy shows around. I haven't seen him live in about 4 years. How does the Letter to Laredo stuff translate live? -Jeff (who did see Toni Price at Greune Hall last Sunday - naah, naaah, naah) On Thu, 25 Apr 1996, James Bardsley wrote: > This has little or nothing to do with the blues, but since there's a good ACL > following onthe list, I thought I'd ask anyway. > > Joe Ely was on ACL lately doing some songs from "Letter from Laredo" and he > brought out a large, blond flamenco guitarist. Questions: > 1) Is this the same guy who played on the album? Yes > 2) Did anyone get his name? Teye > 3) What's the story on this guy? Anyone know anything about him? Sorry, can't answer this one. --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball #10 U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc02.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Thu, 25 Apr 1996 19:09:50 -0400 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Robert Johnson derivative? Page 128 of Francis Davis's book THE HISTORY OF THE BLUES... lists these "probable sources" for some of Robert Johnson's most famous songs: "Sweet Home Chicago" -- Kokomo Arnold's "Old Original Kokomo Blues" (I believe someone already mentioned this) "Milkcow Blues" -- Son House's "My Black Mama" and K. Arnold's "Milkcow Blues" "If I Had Possession Over Judgment Day" -- Charley Patton's "Screamin' and Hollerin' the Blues"; Hambone Willie Newbern's "Roll and Tumble Blues"; and Sleepy John Estes's "The Girl I Love, She Got Long Curly Hair." "Malted Milk; Drunken Heated Man"; "Love In Vain" -- Lonnie Johnson's work in general "32-20 Blues" -- Skip James's "22-20 Blues" "Hell Hound on My Trail" -- Skip James's "Devil Got My Woman" "Me and the Devil Blues" -- Peetie Wheatstraw's "Six Weeks Old Blues" "Preachin' Blues" -- Son House's "Preachin' the Blues" "Crossroads Blues" -- Charley Patton's "Down the Dirt Road Blues" "From Four Til Late" -- Charley Patton's "Tom Rushen Blues" Also, I seem to remember reading a comparison of lyrics in Sam Charters's POETRY OF THE BLUES. (I wish I had that book, but I borrowed it from a library that I had to return it to!) So...this just makes me wonder...How important is "originality"? Karen ========================================================================= Date: Thu, 25 Apr 1996 19:09:53 -0400 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Does music make you smarter? Maggie said: > I have noticed among my aquaintance a tendency for those very good at music > to be also very good at math, so I thought I'd poll you music types (and > any math types who have gravitated here because you're so good at music) > Maggie And Kelly replied: >I was always under the impression that the opposite was true. Those >aptitude tests that I took in high school were set up to show those with >an artistic bent couldn't be analytical and vice versa. Being slightly >anbidexterous - I write lefthanded, throw righthanded, eat lefthanded, >use scissors righthanded, screwdrivers lefthanded, kick leftfooted, play >guitar righthanded - I always thought that I was a deviation because >there was no clear right brain or left brain dominance in me. Verily I >say unto you: I can solve two equations with two unknown variables and >play "Why I Sing The Blues" at the same time. :-) I remember reading somewhere that those who have studied music have more left brain activity while listening than do those who have not studied music. This seemed to suggest that those who receive formal musical education tend to be more analytical of music than the untrained listener. Speaking for myself, I've loved music ever since I was able to play the yellow and red 78s on the green plaid cardboard record player, but I've never been anything but mediocre at playing an instrument (can't sing at all). And though I'm lousy in algebra, I'm actually pretty good in geometry. (This I know from helping my kids with their homework.) I can analyze a poem, a novel, a movie, or anything else literary, but I'd have a real problem with analyzing something mechanical or electronic. All of this leads me to wonder if this isn't simply a case of interest, not ability or aptitude. Oh, btw, Kelly, good news for you: Studies also show that that the truly gifted person shows no clear hemispheric dominance, but instead is able to integrate the logical and intuitive parts of his intellect. You must be very well-balanced! :-) Karen (Btw, of my two kids, the one who excels in band and music is also the one who's not-so-good at math. Go figure.) ========================================================================= Date: Thu, 25 Apr 1996 19:07:36 EDT Reply-To: dgross@XCALIBUR.IINC.COM From: dgross@XCALIBUR.IINC.COM Subject: The New Joe Beard CD... ...Is excellent! I concur with those who spoke before, and double it! They did a great job capturing his sweet, soulful voice, and Ronnie Earl & co. really complement Joe's style. I bought this and the new Buddy Guy (what's with all the merchandise?!) on the same day, and have only listened to the Buddy Guy once 'cuz I can't stop listening to the Joe Beard! I liked what I heard of the Buddy Guy, and I'll get around to listening to it again...eventually :-). I'm not just saying this 'cuz Joe's a Rochesterian...buy the CD and see for yourself!!! --Dan Gross dgross@iinc.com Dan Gross Programmer by day, Drummer by night. Elba, NY Blues fan all the time... dgross@iinc.com Next Performance (e-mail for details): http://www.iinc.com/~dgross 4/27, North Java Inn, North Java NY 9:30pm ========================================================================= Date: Thu, 25 Apr 1996 18:55:36 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re[2]: ACL and Joe Ely question Comments: To: Jeff Seale The LOL material was pretty much all he did, and it was great. I don't know who the electric guitarist was- an older guy, a bit beefy looking- not nearly so impressive as David Grissom ( not many are) but I think he was deliberatley supposed to be a sideman, not the up-front kind of player Grissom is. -Jim, LSUMCS _______________________________________________________________________________ Subject: Re: ACL and Joe Ely question From: Jeff Seale at INTERNET-SH Date: 4/25/96 5:59 PM Ahhhhh, my favorite homeboy! I happened to miss this show. How was it? Joe has a rep for the most high-energy shows around. I haven't seen him live in about 4 years. How does the Letter to Laredo stuff translate live? -Jeff (who did see Toni Price at Greune Hall last Sunday - naah, naaah, naah) On Thu, 25 Apr 1996, James Bardsley wrote: > This has little or nothing to do with the blues, but since there's a good ACL > following onthe list, I thought I'd ask anyway. > > Joe Ely was on ACL lately doing some songs from "Letter from Laredo" and he > brought out a large, blond flamenco guitarist. Questions: > 1) Is this the same guy who played on the album? Yes > 2) Did anyone get his name? Teye > 3) What's the story on this guy? Anyone know anything about him? Sorry, can't answer this one. --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball #10 U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc02.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Thu, 25 Apr 1996 17:05:51 -0700 Reply-To: Stan Ruffo From: Stan Ruffo Subject: FW: YIKES! JOE BEARD'S "BLUES UNION" Comments: To: Barry Silverberg Beautiful recording! Every word and every note straight from the heart, live to two track analog! -- Stan Ruffo Blues On Tap - Sundays at 8pm on Visalia's KIOO 99.7FM 800 N. Ben Maddox Way, Suite 2200, Visalia, CA 93292, (209)625-6049 ---------- From: Barry Silverberg[SMTP:bsco@PANIX.COM] Sent: Thursday, April 25, 1996 1:30 PM To: Multiple recipients of list BLUES-L Subject: Re: YIKES! JOE BEARD'S "BLUES UNION" On Thu, 25 Apr 1996, Steve Roberts wrote: > ...I'm three quarters of the way through my first listen to "Blues > Union" (Audioquest AQ 1039), Joe Beard's collaboration with Ronnie > Earl and the Broadcasters (with guest appearance by Fathead Newman on > sax). It was released about a month ago, and it's Straight-Up Hot. > I'm blown away. > Drop everything and run, fellow BluesLers, to the corner store...this > one's a "gotta-own," for sure. Anyone else heard this? Not just a gotta-own, but a gotta-own-under-penalty-of-death. I couldn't get it out of the carousel for several days. This CD is huge, Beard is great and I think Ronnie is slowly beco- ming one of my most admired and enjoyed current blues(wo)men. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 25 Apr 1996 19:12:00 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re: Guitar info. Vintage gear heads only! Comments: To: MILLER@SCI.WFBR.EDU Essentially the Tennessean, or 6119, is a one-pickup cheaper version of the 16" maple-bodied 6120 (Nashville) which is so prized. The 6119 also has less binding, simpler inlay and cheaper tuners. Some odd models were made with two pickups and the same tone circuits as the Nashville, and are therefore "budget 6120s". I wouldn't pay anything like $1500 for a single pickup Gretsch of any sort ( unless it was a on-of-akind-white Falcon, in which case I'd consider it.) It's only my opinon, but I think if you want a player, I'd go looking for a new or used "new" Gretsch , possible a 6120 or a Country Gent. You could probably buy a new 6120, retail price $2000, for $1500, and I'm nearly sure you could get a Country Gnt for that. I did, and when I didn't like the pickups on mine ( mine is one of the early reissues, built in 1989. The ppickups are supposed to be improved since then.) I replaced them and the pots with vintage pu's and pots from a wrecked 1960 Gretsch CG. I'm really happy with mine and it is /very/ well built. Many of the vintage Gretsches have suspect construction, so examine it carefully. -Jim _______________________________________________________________________________ Subject: Guitar info. Vintage gear heads only! From: MILLER@SCI.WFBR.EDU at INTERNET-SH Date: 4/25/96 3:10 PM I'm going down to my local money-hole to test drive a '59 Gretsch "Tennessean". They want $1500 for it. Anybody know ballpark what it's worth, assuming it's in any kind of reasonable condition? Mr. Shoaf, you out there? :) Thanks.... Riffin Rick (((( oo-) /- .....feedin' my jones F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 25 Apr 1996 15:19:00 -0400 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re[2]: Does music make you smarter? Sez Don C.: >In the original post I said something like: "What do YOU think makes >you >smarter, Ice-T or Mozart"? I don't think this is -hard to answer-, >nor is this perspective one that lends itself well to logic 101 >debates... hmmm? I guess you specifically said this: >>Research has shown that listening to classical music actually >>increases intelligence. . . Call me crazy, but it seems like kind of a bold statement to me. BLUE JOE IN RED RUSSIA (leading all of Asia in classical music composition and appreciation, but still got blues like you ain't never seen!) J.E._Downey@bakermck.com ========================================================================= Date: Fri, 26 Apr 1996 01:04:16 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Does music make you smarter? Comments: To: bit-listserv-blues-l@uunet.uu.net The research published in Nature cited by Don from 1993 that looked at intellectual performance and music used a Mozart sonata for 2 Pianos (K.448) by Murray Perahia and Rada Lupu released on CBS (MK39511)...just in case anyone needed to increase their intellectual performance before finals. Art Schuna ========================================================================= Date: Fri, 26 Apr 1996 04:48:25 GMT Reply-To: jgreen@interlog.com From: Jgreen Organization: InterLog Internet Services Subject: WTB:Hooker Comments: To: bit-listserv-blues-l@uunet.uu.net Greetings, I am looking for a copy of Jojn Lee Hooker's Free Beer and Chicken on vinyl, Preferably the original. If you have this lp, please email me with condition and asking price. Thanks, Joanne ========================================================================= Date: Fri, 26 Apr 1996 01:44:40 GMT Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Preacher Boy Opinions? Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199604250159.AA25119@gpo.cc.bellcore.com> edward c liu writes: > Does anybody out there have _Preacher Boy & the Natural >Blues_ from Blind Pig? I listened to parts of this on several occassions - I don't know why, but I didn't care for it. It's been long enough ago that I last heard it, that I can't really give you any reasons at this time. Art Schuna ========================================================================= Date: Thu, 25 Apr 1996 22:10:19 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Adam Gussow/Blues Brothers article Comments: cc: CATBAUER In 1990 I visited my daughter who was going to school in Florence, Italy. She took me to visit a friend of hers who was a musician. She said he was crazy about the Blues and was dying to meet me. He turned out to be an interesting guy very much into acoustic Blues. As I spoke about as much as 3 years of high school Italian can teach you, and he spoke very little English, my daughter spent the evening playing interpreter. He was mostly interested in getting me to write down lyrics that he didn't understand on a number of old recordings. He asked me to jam and I said I would if he had another guitar. He motioned me to follow him. A followed him to a room where I expected he had a guitar or two, but I was not prepared for what I saw once inside. The room was a shrine. Not to Robert Johnson, or Son House, or Lightnin' Hopkins as I might have expected, but to "I Fratelli Di Blues", Jake and Elwood. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ The pleasure we derive from doing favors is partly in the feeling it gives us that we are not altogether worthless. It is a pleasant suprise to ourselves. - Eric Hoffer ========================================================================= Date: Thu, 25 Apr 1996 13:07:10 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: JOHNNY SHINES, A TRIBUTE 3) LEONARD WATKINS PROFILE Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, rew4/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=rew4#a#PSUVM#f#PSU#f#EDU@s1boca.corp.wrgrace.com *I greatly enjoyed reading the profile and reminiscences of *Johnny Shines provided by LW, but I was confused to read *that Howlin' Wolf was Shines' "first musical influence". I'm pretty sure he got the nickname "Little Wolf" after he sat in with Howlin' Wolf's band when Wolf was taking a break. I'm pretty sure the story is in Robert Palmer's "Deep Blues." -Steve ========================================================================= Date: Fri, 26 Apr 1996 07:10:22 GMT Reply-To: marc borms From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Re: Champion Jack Comments: To: bit-listserv-blues-l@news.Belgium.EU.net Dave Markovits (Markovd@METAMOR.COM) wrote: : I had the pleasure of seeing Jack on my first JazzFest trip in 91. : I went to see Jeff Healy at Tip's and Jack opened. I was totally floored. : I've always loved piano blues, Sunnyland Slim, Detroit Junior, but Jack turned : me into an addict. He passed on shortly after that. When I think of all the : artists I've discovered to listen to, I really wish I would have discovered him : earlier. : I've been fortunate enough to go to Tip's quite a few times since then, : and I do believe the spirit of Profeesor Longhair still lurks about. : Everytime I walk in the club, I smile when I think of the CJD show I was : fortunate enough to see. Long live piano blues!! As a 'pianoman' myself, I have to admit all Dave feels about Jack. Although he was one of the first bluesmen I discovered ( I got his 'Big Fat Mama' record from the local library...), I never have been fortunate enough to see him. My first pianobook was a book called '6 bluespianists' ( or something like that ) including songs of Jack, but also Otis Span, Speckled Red, L.B.Montgomery, ... I played and played them again, and again, and again,... And Jack's songs are still one of my absolutely favorites ! embee. -- Marc 'embee' Borms marc@az.vub.ac.be Illustrator of "Plug In: The Guide to Music on the Net". Everything you want to know about your favorite band, music style, MIDI and more on the Net. Published by Prentice-Hall, April 96. At bookstores everywhere by Gurley & W.T.Pfefferle. http://www.prenhall.com/~plugin If you want me to draw something, ask ! ========================================================================= Date: Fri, 26 Apr 1996 07:19:05 GMT Reply-To: marc borms From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Re: Piano Blues Comments: To: bit-listserv-blues-l@news.Belgium.EU.net P.W. Fenton (pwfenton@GATE.NET) wrote: : On 24 Apr 96 at 10:30, ISTS024%UABDPO.BITNET@BROWNVM wrote: : > With all the talk about Fess, Champion Jack...etc. Is there any NEW blues : > piano talent out there. Any up n comers that are in the vein as the older : > folks....It seems (to me) that there is a lack of YOUNG piano players in : > the blues style. Plenty of guitar slingers (1900 and some odd in Nashville : > alone :-)), but not that many piano players that are getting attention : Well there is our very own "embee", for one. Henry Butler out of New : Orleans is another great one. Nobody heard of Axel Zwingenberger ? This guy from Austria is the fastest boogiewoogie player ever heard. Recorded with the 'Mojo Blues Band' from Austria and also with Champion Jack Dupree. A few years ago, I saw a video about pianoblues with Axel playing together with Big Joe Duskin. About 10 years ago, I met Axel in the BananaPeel blues club in Belgium where he had a gig together with the Mojo Blues Band and Little Willie Littlefield. Isn't Bob Hall still playin' piano ? He isn't that old, is he ? And there are still lots of others, I think : Katie Webster, Bob Hall ( isn't he still playin' piano ? He isn't that old, is he ? ), ... embee. -- Marc 'embee' Borms marc@az.vub.ac.be Illustrator of "Plug In: The Guide to Music on the Net". Everything you want to know about your favorite band, music style, MIDI and more on the Net. Published by Prentice-Hall, April 96. At bookstores everywhere by Gurley & W.T.Pfefferle. http://www.prenhall.com/~plugin If you want me to draw something, ask ! ========================================================================= Date: Fri, 26 Apr 1996 01:39:08 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Going into the studio?any suggestions? Comments: To: dcicchet@LASIERRA.EDU In-Reply-To: <199604252119.OAA03925@inet.lasierra.edu> from "Don Cicchetti" at Apr 25, 96 02:16:18 pm Lotsa good advice. I'd hesitate to change strings the same day as the session, though. I find that a set a day or two old stays in tune longer, especially if you use those almost invisible strings (e.g. anything lighter than mediums). I'd rather go in with a month old set than change them in the studio and constantly be retuning them. These are some things that have worked for me over the years: I'd strongly suggest lyric sheets and charts. Even if you don't read, it's good to have patterns written out, e.g. 2 vocal verses, harp solo, bridge, guitar chorus until he hits the "bumb-da-bump" part, etc. Studio time is expen$ive. Stupid mistakes like forgetting a line, etc., cost you big bucks. Also, out-of-tune instruments can ruin an otherwise excellent cut, so check tuning frequently. I like to keep my tuner in line while I record. While rehearsal is good, you can be "overprepared". Be careful you don't burn yourself out by overpracticing. Know where to draw the line. It's much better to prepare over several weeks than to "cram" the night before. No drugs, alcohol, or even coffee or soda. Herb tea and water only. The other stuff is hard on throats, and just having it in the studio can tempt the vocalist(s). You might want to cut the instrumentals one day, then come back another well rested day for vocals. You DON'T want to do vocals after a 10 hour shift at the factory and 8 hours of cutting instrumentals, especially if the singer is an emotional sort that has to sing along (like there's any other type :-) I find a little exercise before a session helps me to play better. Also, if you start feeling a little burnt, take a break. Doing otherwise just spins your wheels. Stretching exercises are good rejuvenators. For recording, I find that keeping the arrangements and solos just a little on the "easier" side can do wonders. And good luck in the studio. -- IronMan Mike Curtis ========================================================================= Date: Fri, 26 Apr 1996 01:50:45 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Robert Johnson derivative? Karen wrote: >So...this just makes me wonder...How important is "originality"? Well, it depends how you define originality. Robert Johnson, while his influences are obvious, put a twist on them and came up with his own style. That is originality. BB King took Blind Lemon Jefferson, Charlie Christian and Lonnie Johnson and came up with his own style. If you listen you can hear the influences but when BB King plays you know it's him. Hendrix took Buddy Guy, Curtis Mayfield and Albert King and revolutionized how play guitar. With early SRV, you could quite easily trace his solos riff by riff back to Buddy Guy, Huber Sumlin, Albert King etc. But even then he had tone and passion that led to a style that was all his own. So was Robert Johnson's music derivative? In one sense, probably just as much as Hendrix'. Robert Johnson just took what he heard and then put his own personality on it. He was an origianl artist. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Fri, 26 Apr 1996 18:59:04 -0500 Reply-To: Glenn Howze From: Glenn Howze Organization: Auburn University Subject: Re: ACL and Joe Ely question Comments: To: jbards@MAIL-SH.LSUMC.EDU The Joe Ely Questions. Is it the same guy who is on the album. Yes. All of the flamenco work on the album was done by the guy who was on ACL. His name. Teye. Know little about him. European. Dutch I think. I have seen him live once. Outstanding. Hope that Joe can hold on to him. If you don't know Ely, check him out. Lord of the Highway, Musta Notta Gotta Lotta and Live at Liberty Lunch. later ========================================================================= Date: Fri, 26 Apr 1996 19:06:48 -0500 Reply-To: Glenn Howze From: Glenn Howze Organization: Auburn University Subject: Re: Re[2]: ACL and Joe Ely question Comments: To: jbards@MAIL-SH.LSUMC.EDU You Lubbock guys should know everything about the FLATLANDERS. Teye was the flameco player and Jesse Taylor was the lead electric. Jesse is hard to beat. If I remember correctly, he has played lead with both Jimmie Dale and Butch and has been on other Ely albums. I guess he is the "older guy" you're talking about. Taylor compares farily well with most other string players. later ========================================================================= Date: Fri, 26 Apr 1996 07:50:06 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Re[2]: ACL and Joe Ely question Comments: To: jbards@mail-sh.lsumc.edu In-Reply-To: <9603258304.AA830483372@mail-sh.lsumc.edu> On Thu, 25 Apr 1996 jbards@mail-sh.lsumc.edu wrote: > The LOL material was pretty much all he did, and it was great. I don't know who > the electric guitarist was- an older guy, a bit beefy looking- not nearly so > impressive as David Grissom ( not many are) but I think he was deliberatley > supposed to be a sideman, not the up-front kind of player Grissom is. I think that it was Jesse Guitar Taylor. And if it was, I'd have to say that he can play circles around David Grissom. I think that comparing the LtL material to the stuff that Grissom played on is like comparing apples and oranges. -Jeff --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball #10 U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc02.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Fri, 26 Apr 1996 08:57:58 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Going into the studio?any suggestions? Comments: To: Mike Curtis On 26 Apr 96, Mike Curtis had this to say: > > > Lotsa good advice. I'd hesitate to change strings the same day as the > session, though. I find that a set a day or two old stays in tune longer, > especially if you use those almost invisible strings (e.g. anything lighter > than mediums). I'd rather go in with a month old set than change them in > the studio and constantly be retuning them. I was sure someone was going to say this when Don C. recommended new strings. It's a common belief. I suspect that Don doesn't share it because Don knows how to string a guitar so that it doesn't go out of tune. A local musician and luthier, who is also my good friend and mentor, taught me (at age 40) how to string a guitar, and explained to me the dynamics of what makes them go out of tune. I have not had a problem since. I can put on a set of strings right before leaving the house for a gig and it's in tune when I take it out of the case, and stays that way all night. I always check it with an electronic tuner between each set and it rarely even needs a slight tweaking. At the risk of sounding like a T.V. network "tease" I'll say at this point that I will post "Guitar Stringing 101" seperately, and clearly titled so that people who couldn't care less can simply delete it and move on. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ I'd hate to be a teetotaller. Imagine getting up in the morning and knowing that's as good as you're going to feel all day. - Dean Martin ========================================================================= Date: Fri, 26 Apr 1996 09:25:28 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Best Blues Band in Connecticut Competition The Connecticut Blues Society (a not for profit organization) is sponsoring The Best Blues Band in Connecticut Competition. Dates and registered bands are as follows: ------------------------------------------------------------------- DATES CLUBS BANDS May 9th Hungry Tiger Smokin' Opey 120 Charter Oak St. House Rockers Manchester, Ct. Steady Rollers May 16th Maple Tree The Penetrators 781 Hopmeadow Rd. The Tone Cats Simsbury, Ct. D.W. Armstrong Triple Threat Blues Band May 23rd The Muni Larry Willey & the Blues Talkers 485 Main St. Mudcat Blues Band Hartford, Ct. Blues Alley Chris Tofield & the Blues Benders May 30th Cafe 9 The Hornets 250 State St. XY Eli & Red House New Haven, Ct. D. Smith Blues Band June 6th Black-Eyed Sally's Jim Shepley Band 350 Asylum St. Johnny Vibrato & the Razorbacks Hartford, Ct. Dan Pritchard Blues Band The Esquires June 13th To be determined Briefcase Full of Blues Brandy Bob & the Milkbone Daddys Blue Steele Johnny & the Eastcoast Rockers June 20th Husky Blues THE FINAL 1254 Storrs Rd. Storrs, Ct. --------------------------------------------------------------------------- ========================================================================= Date: Fri, 26 Apr 1996 15:00:34 +0100 Reply-To: Roadrunner Tour Management From: Roadrunner Tour Management Subject: Hooker Video / CD ??? I recently saw this new John Lee Hooker video on "Talkin blues" (NBC) with Robert Cray playing guitar. Any idea from which release this was taken??? BTW; I apologise to all the the blues-l folks who have been trying to get in contact with me recently. Once again I've been drifting around Europe for a few weeks (touring). Well, I'm back for a few weeks now! Cheers Carsten :------------------------------------------------------: : : : "R O A D R U N N E R T O U R M A N A G E M E N T" : : : : <<<< KEEPING THE BLUES ALIVE >>>> : : : : E-Mail: roadrun@iol.ie : : : : http://www.iol.ie/~roadrun/index.html : : : :------------------------------------------------------: ========================================================================= Date: Fri, 26 Apr 1996 07:13:41 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Piano Blues >Nobody heard of Axel Zwingenberger ? >This guy from Austria is the fastest boogiewoogie player ever heard. >Recorded with the 'Mojo Blues Band' from Austria and also with Champion Jack Dupree. It's kind of funny the coincidences that happen on the list sometimes - I just happened to be looking around in a used cd store yesterday after trying to rid myself of some of the dross in my collection (and getting 65 measly piddling little dollars for 20 disks....), and I saw the Mojo Blues Band's cd in the rack. Is it worth picking up? -Jim (hndful@uniserve.com) -currently listening to a cassette entitled 'Monkey Junk' by one Leonard Watkins...and I must say, I am impressed!!!! Good stuff, LW!!! ========================================================================= Date: Fri, 26 Apr 1996 10:14:06 -0400 Reply-To: RaGs_tRiPs_On_Gras From: RaGs_tRiPs_On_Gras Subject: LONNIE_SHIELDS ?? I am excited to be able to see Lonnie Shields tonite @ Buffalo Blue, a new Blues Bar here in Pittsburgh. I was netsurfing and could not find much info about him and his style of blues.... I do know he is on Rooster Blues Record with an album PORTRAIT and was the Living Blues Critics Poll Award Any info will be appreciated. +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | Laissez les bon temps roulez!! | | // ~~ ~~ \\ | Let the good times roll!! | | /d-(+)-(+)-b\ | ------------------------------ | | // L \\ | SANJAY 'RAGS' RAJAN | | // //|\\ \\ | sanjay_rajan@formtek.com | | ////`~-~'\\\\ | FORMTEK,INC. | | // //|||\\ \\ | PITTSBURGH, PA | | // /|||\ \\ | ------------------------------ | | -/-- /\o/\ --\- | Visualize Whirled Peas!! | | /"\ | | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Fri, 26 Apr 1996 10:29:11 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Piano Blues Marc Borms wrote re pianists > >Isn't Bob Hall still playin' piano ? He isn't that old, is he ? Yes and no - not much older than me, so he can't be very old %-] > >And there are still lots of others, I think : >Katie Webster, Bob Hall ( isn't he still playin' piano ? He isn't that old, is >he ? ), ... > Katie last I heard was incapacitated by a stroke :-[ Chris Smith (chris@skerries.demon.co.uk) 24 hours in a day; 24 beers in a case. Coincidence? ========================================================================= Date: Fri, 26 Apr 1996 10:33:54 -0400 Reply-To: Chris Smith From: Chris Smith Subject: bizarre behaviour by email (no blues) Attention, computerheads! I'm set to get an acknowledgement that 'my message to blues-l has been successfully distributed', but recently I'm getting my own messages to blues-l back with this at the top of them. What gives? How to fix? Thanks for your attention. >Unknown user 'richard_norton' at bbs.fullcoll.edu >---------------- Chris Smith (chris@skerries.demon.co.uk) 24 hours in a day; 24 beers in a case. Coincidence? ========================================================================= Date: Fri, 26 Apr 1996 07:45:37 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: April 27 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BENSON, CRAIG B. (STAX REC's lawyer) b. 1945-0427, MEMPHIS, TN BROWN, ARELEAN (v) d. 1981-0427, CHICAGO, IL 56 CARROLL, HOWARD(g/THE DIXIE HUMMINGBIRDS) b. 1925-0427, PHILADELPHIA, PA GOODING, CUBA (of THE MAIN INGREDIENT) b. 1944-0427, NEW YORK CITY, NY HILL, ARZELL "Z. Z." (v/MALACO REC) d. 1984-0427, DALLAS, TX 48 MCCOY, GEORGE (g/ADELPHI REC) d. 1988-0427, BELLEVILLE, IL 66 MELCHIONE, MICHAEL (of BUCKWHEAT ZYDECO) b. 1947-0427, CHICAGO, IL MURRELL, HERBIE (of THE STYLISTICS) b. 1949-0427, LANE, SC NATHAN, SYD (founder : KING REC) b. 1904-0427, CINCINNATI, OH NEWBORN, CALVIN [EDWIN CALVIN NEWBORN] b. 1933-0427, MEMPHIS, TN PEEBLES, ANN b. 1947-0427, EAST ST. LOUIS, IL ROY, JACKIE (prod/BILLY PRESTON) d. 1991-0427, LOS ANGELES, CA 59 SIMPKINS,LEW (a&r/prod/PREMIUM/UNITED REC)d. 1953-0427, ROCHESTER, MN 35 WAITS, FREDDIE (DAHOUD) (d/MOTOWN REC ) b. 1940-0427, JACKSON, MS WILSON, HARDING"HOP"(steel g/GOLDBAND REC)b. 1921-0427, GRAPELAND, TX ------------------------------------------------------------------------------- ========================================================================= Date: Fri, 26 Apr 1996 07:57:14 -0800 Reply-To: James Carmin From: James Carmin Subject: Re: YIKES! JOE BEARD'S "BLUES UNION" I'm planning on reviewing this excellent cd, but until then count me in on the JOE BEARD bandwagon as this is one *fine* new recording. It's always great hearing RONNIE EARL, and he accompanies Joe's really nice voice and guitar in a wonderful way. I'm also pretty excited by BRUCE KATZ's great keyboards. Joe's a great songwriter too with 5 original tracks appearing on this disc, but there's also one hell of a killer cover of PERCY MAYFIELD's "Sinner's Prayer," that I've been listening to over and over. Rochester NY is lucky to have Joe Beard and now the rest of us are too with this excellent AudioQuest recording. James C. jcarmin@teleport.com ========================================================================= Date: Fri, 26 Apr 1996 11:06:25 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: PW's "On this day...." Re: DNA Comments: To: pwfenton@gate.net I've met and talked with the famous Nobel Laureates, Watson & Crick. I can tell you right now why 40 years after the discovery of DNA why they still haven't isolated the illusive "Blues Gene". These guys are serious science geeks. They ain't go NO mojo workin. They ain't got no black cat bones. 'fact, they ain't got a blues molecule between 'em. I'm workin' on it here. Gimme time. ;) Riffin Rick (doin' science by day....) (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 26 Apr 1996 11:11:05 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Jimi Hendrix of harp???? 'Scuze me, I'm pretty sure that particular comparison has been used for the longest time in reference to Little Walter, one of (if not) THE earliest true electric harp players making deliberate use of fat, dirty tones and distortion. Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 26 Apr 1996 16:06:48 +0100 Reply-To: rof From: rof Subject: Re: Piano Blues Comments: To: Chris Smith Comments: cc: rof@aber.ac.uk In-Reply-To: Your message of "Fri, 26 Apr 1996 10:29:11 EDT." <830528414.26648.0@skerries.demon.co.uk> In message <830528414.26648.0@skerries.demon.co.uk>, Chris Smith writes: > Marc Borms wrote re pianists > > > >Isn't Bob Hall still playin' piano ? He isn't that old, is he ? > > Yes and no - not much older than me, so he can't be very old %-] > > > >And there are still lots of others, I think : > >Katie Webster, Bob Hall ( isn't he still playin' piano ? He isn't that old, > is > >he ? ), ... > > > Katie last I heard was incapacitated by a stroke :-[ > > > Chris Smith (chris@skerries.demon.co.uk) > 24 hours in a day; 24 beers in a case. Coincidence? Speaking of British pianists ... has anyone out there heard of Jon Cleary? Excellent New Orleans i.e. Professor Longhair / Dr. John / James Booker style piano. Rob. ========================================================================= Date: Fri, 26 Apr 1996 11:21:45 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Stringing a Guitar - Delete at will --Message-Boundary-3884 Content-type: text/plain; charset=US-ASCII Content-description: Information about this message. 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Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Stringing a Guitar - Delete at will A good friend of mine had just the night before played his first gig with a newly formed band that had been rehearsing for months. They couldn't have been better prepared. I asked him, "So how did the gig go last night?". His reply was, "Oh man it was awful, I made the mistake of putting new strings on the day before the gig, and I was out of tune all night." To which I said, "Mistake? I change my strings before every gig, and I never go out of tune. Not since Eddie taught me how, anyway" Eddie, was a mutual friend. Eddie (Ed Wright) is an excellent Blues guitarist, and an expert Luthier. He is one of the nicest, kindest, and most generous men I know. He was performing miracles on a tele of mine (raising a low fret) when I mentioned something I had seen him do on stage that puzzled me. I saw him flexing his whammy bar (he played a Strat) several times, BETWEEN phrases, when his guitar was silent. "Oh that.." he responded, "I probably felt like I was going out of tune. That usually puts it back in tune". "Back in tune?", I said, "I always thought that damn thing put you out of tune." Ed said "Didn't I ever show you how to keep your guitar in tune? When I finish this I'll restring your guitar for you and it won't go out of tune." I will pass on the simple things I learned. All you have to do to rid yourself of tuning problems is to faithfully do what he told me. First, go to Radio Shack and buy a tube of teflon lubricant. It comes in a dispenser that looks like a hypodermic needle. Next, and this is a biggie, wash your hands. You wind up handling the end of the string that winds around the tuning peg a lot. If your hands are oily you will defeat the rest of the process by making that end slippery. It doesn't matter if you replace one string at a time, or take all the old ones off first. (unless, of course, you have a beautiful archtop and your bridge just rests on the surface. You probably don't want that to move, so one at a time for you.) It also doesn't matter what order you do them either. Place a tiny drop of the lubricant on every point that touches your strings (EXCEPT YOUR TUNING PEGS). Each string slot in the nut, each spot that the string touches the bridge, and if you have a Fender type trem, where the string bends into the trem block. I was taught to do this before I put each string on, but I like to do this after, so as to avoid getting any lubricant on the part of the string that's going to be wrapped around the tuner post. I usually put on each string leaving enough slack that I can lift it away and place my drop of lubricant underneath. Perhaps I should explain what the lubricant is for. It's for the Blues. It's for string benders. When you bend a string you stretch it, and a tiny bit of string slides over each of those friction points. If there is too much friction, when you release the string not all of it slides back over the friction point and you are "out of tune". Next, and maybe most important is to never exceed 3 turns of string around the tuning peg (2 is plenty). If you are lucky enough to have locking pegs you really don't need to wrap more than once. If you have non-locking tuners, you need to learn how to make a "locking" loop when you thread on the string. This is much easier to show than to describe. In fact I think I'll refer you to an illustration. I will attach a .gif file to illustrate the technique. I have seen a wide variety of recommended ways to thread your strings, this one works. As each string is put on, using a tuner, bring it up to pitch, and a half step beyond. Don't worry you'll lose that half step in no time at all with neck flex and string stretch. When all the strings are on and "rough tuned", it's time to stretch them. With the guitar lying in front of you, using as many fingers as you need, bend each string several times as far as you can, the high ones towards the low ones, and the low ones towards the high ones. Retune the whole guitar to concert pitch (it will be very flat). Repeat the stretching process and retune (it will be slightly flat). Once more and it may not be flat at all. Now pick it up and play normally for a few minutes, and then check the tuning. If you have done it all by the book, it will be smack on. Put it away, it's ready to play, and it will stay that way. It's that simple. Here's a neat thing for you Strat players with trems. If you are playing and you suspect you are slightly out of tune. Flex the trem once or twice and you will go back to smack on. I'm not BSing you. After the strings have been stretched, the only thing that makes them go out of tune (if they are locked right at the tuning pegs) is their hanging up at the friction points. Flexing the whammy usually frees them and they are right back at the correct pitch. Locking tuners are best, but learning to make the "locking loop" is almost as good. If you have Fender vintage slotted tuners, all you have to do is follow Fender's instructions and stay at a three wrap maximum and they work perfectly. I wish ALL my guitars had those slotted tuners. For folks who can't handle the Mime encoded .gif illustration I've attached, you can view it on the web at: http://www.gate.net/~pwfenton/loop.gif P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ I don't want to achieve immortality through my work . . . I want to achieve it through not dying. - Woody Allen ========================================================================= Date: Fri, 26 Apr 1996 10:44:33 -0400 Reply-To: bob unger From: bob unger Subject: Satan & Adam party Did anyone make it to Satan & Adam's record release party last night? My ride fell through and I didn't go....... BU bob@sun.bnkst.edu ========================================================================= Date: Fri, 26 Apr 1996 08:29:15 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Re[2]: Does music make you smarter? Sez Joe: >Sez Don C.: > >>In the original post I said something like: "What do YOU think makes >>you >>smarter, Ice-T or Mozart"? I don't think this is -hard to answer-, >>nor is this perspective one that lends itself well to logic 101 >>debates... hmmm? > >I guess you specifically said this: > >>>Research has shown that listening to classical music actually >>>increases intelligence. . . > >Call me crazy, but it seems like kind of a bold statement to me. Actually, I said this: ------ Research has shown that listening to classical music actually increases intelligence... Do you think Ice-T increases anyone's intelligence? How 'bout Stone Temple Pilots? hmmm? ------ Good (selective) editing Joe! Looks like we're back to logic 101 again... took it years ago. ho-hum I won't call you crazy or anything else for that matter. You live with the persona you exhibit, as do I. I made the case for classical being first the music of choice when these tests are conducted already, I could get many more studies to show that, but I think everyone else is bored with this so I am going to bail....... wheeeee.... right now BYE DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Fri, 26 Apr 1996 11:34:43 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: PW's "On this day...." Re: DNA Comments: To: MILLER@SCI.WFBR.EDU On 26 Apr 96, MILLER@SCI.WFBR.EDU had this to say: > I've met and talked with the famous Nobel Laureates, Watson & Crick. I can > tell you right now why 40 years after the discovery of DNA why they still > haven't isolated the illusive "Blues Gene". > > These guys are serious science geeks. They ain't go NO mojo workin. They ain't > got no black cat bones. 'fact, they ain't got a blues molecule between 'em. But they are artists, non the less. Their work was pure genius and beauty. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ I don't want to achieve immortality through my work . . . I want to achieve it through not dying. - Woody Allen ========================================================================= Date: Fri, 26 Apr 1996 11:35:05 -0400 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Re: YIKES! JOE BEARD'S "BLUES UNION" Comments: To: bit-listserv-blues-l@uunet.uu.net In article <17fd1d00@corp.octel.com>, Steve Roberts writes: > > >>insert the customary disclaimer about me having no business > relationship with Joe, Ronnie or Audioquest (wish I did, though...) > > No disclaimer on this one, I know Joe and his family, and think he's the greatest. I am happy he's recorded again and want to invite anyone in the Upstate NY area to come see him at the Lilac Festival on May 12th in Rochester, NY. Joe opens the show @ noon, then John Mooney, Francine Reed, Duke Robillard & Delbert McClinton. Not a bad way to spend a Sunday afternoon. Catbauer@vivanet.com ========================================================================= Date: Fri, 26 Apr 1996 11:45:23 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1923, Bessie recorded "Tain't Nobody's Business If I Do" for Columbia Records P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ Ah, make the most of what we yet may spend, Before we too into the Dust descend. - Omar Khayyam ========================================================================= Date: Fri, 26 Apr 1996 11:46:38 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: PW's "On this day...." Re: DNA Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, MILLER/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=MILLER#a#SCI#f#WFBR#f#EDU@s1boca.corp.wrgrace.com *I've met and talked with the famous Nobel Laureates, Watson & Crick. I can *tell you right now why 40 years after the discovery of DNA why they still *haven't isolated the illusive "Blues Gene". * *These guys are serious science geeks. They ain't go NO mojo workin. They ain't *got no black cat bones. 'fact, they ain't got a blues molecule between 'em. * *I'm workin' on it here. Gimme time. ;) I guess once you discover the "blues gene" you can make true "SRV clones." :-) -Steve ========================================================================= Date: Fri, 26 Apr 1996 08:46:00 PDT Reply-To: Doug Cox From: Doug Cox Subject: Canadian Acoustic CD release >From: Doug Cox >Subject: Canadian Acoustic CD release > >I am pleased to announce the release of my cd "Bone Bottle Brass or Steel" - a tribute to the Dobro and Slide Guitar. Featured guests on the Cd include Long John Baldry, Bob Bossin, Clive Gregson, David Grier, Ken Hamm, Ellen McIlwaine, John Reischman, Tony Trischka, Shari Ulrich and Diamond Joe White. For more info, please check out my web page at http://www.islandnet.com/~dobro > > >Doug Cox ========================================================================= Date: Fri, 26 Apr 1996 12:01:55 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Also on this day... On this day in 1954, nationwide tests of Salk anti-polio vaccine began. I remember it vividly because I had an absolutely startling revelation, for a six year old, the day we got our polio shots. My friend and classmate Louis was in line in front of me, and he jerked his arm just as the needle stuck him. Consequently he began to bleed from the wound. What I saw blew my six year old mind. His blood was RED! Just like mine! You see, Louis was black and I had just assumed that the differences between us went all the way through. Thus began my enlightenment. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ Ah, make the most of what we yet may spend, Before we too into the Dust descend. - Omar Khayyam ========================================================================= Date: Fri, 26 Apr 1996 09:34:54 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Studio suggestions I believe it was Mike who warned of over-practice. This is a real danger, but only if you are underpracticed to begin with. You should have a regular practice routine that keeps you in fightin' form at all times. You will want to increase it for recording, but *not* just the night before the session! My point is that you *will* discover that you are not nearly as ready as you thought you were when the tape rolls. Everyone goes through this, so really increase rehearsal in the two weeks or so before sessions. You *should* get really really bored with the tunes! Push past that wall of boredom and you will rediscover the tunes anew, and find that you now almost have them learned. Tape your rehearsals! Nothing fancy, just use a cassette deck. But the truth is priceless... good luck DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Fri, 26 Apr 1996 09:41:17 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Stringing a Guitar - Delete at will P-dub said: edit edit >I will pass on the simple things I learned. All you have to do to >rid yourself of tuning problems is to faithfully do what he told me. >First, go to Radio Shack and buy a tube of teflon lubricant. It >comes in a dispenser that looks like a hypodermic needle. >Place a tiny drop of the lubricant on every point that touches your >strings (EXCEPT YOUR TUNING PEGS). This whole post was great advice IMO. I would add that (for you sportsmen out there) Outer's "Gunslick" (anhydrous graphite) works great for this too. I'm not sure how it compares to the Teflon, but it works pretty well for me, and I use it at the friction point in the base of the bridge (non-trem that is) as well. play that guitar! DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Fri, 26 Apr 1996 13:03:45 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Trouble with the "Stringing" post Some people may have trouble reading the post at all because of the attached .gif illustration. If that is the case, and you want the info, email me, and I will send a text only version privately. I can probably send you the illustration in whatever form you need also. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ Ah, make the most of what we yet may spend, Before we too into the Dust descend. - Omar Khayyam ========================================================================= Date: Fri, 26 Apr 1996 13:37:39 -0400 Reply-To: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM From: Jim Smith Subject: W. Pa. Blues-l TV alert In-Reply-To: <199604261603.MAA23066@osceola.gate.net> The ACL featuring Gatemouth Brown and Ke Mo is scheduled to be aired on Wed May 1 on WQED Ch 13 at 11:00 PM. Jim Smith ========================================================================= Date: Fri, 26 Apr 1996 17:39:20 GMT Reply-To: bluesdj@HALCYON.COM From: Roberta Penn Organization: Northwest Nexus Inc. Subject: Handys help Comments: To: bit-listserv-blues-l@uunet.uu.net I'm covering the Handy awards and Memphis in May for the paper here in Seattle and also Music Central/MSN and I need to file a story via the internet Friday morning......can't seem to find a place in Memphis to file from and was wondering if any blueszellers in Memphis could help me out with suggestions of places I could file from. Basically I need to use a computer with windows 95 and a modem for a couple of hours.....any suggestions????? And shouldn't we blueszellers who are going to be in Memphis try to get together down there? Thanks. This is the second time I've sent this post, sorry if some of you got it before, but it bounced back to me and I didn't see it in my mail so I'm thinkin' something weird happened...... ========================================================================= Date: Fri, 26 Apr 1996 13:42:06 -0400 Reply-To: James H Spence From: James H Spence Subject: Re: JOHNNY SHINES, A TRIBUTE 3) LEONARD WATKINS PROFILE Comments: To: Steve Levine In-Reply-To: <03EAFD2D@MHS> > I'm pretty sure he got the nickname "Little Wolf" after he sat in with > Howlin' Wolf's band when Wolf was taking a break. I'm pretty sure the > story is in Robert Palmer's "Deep Blues." > -Steve Does this explain the references to a "Howling Wolf Jr" and "Little Howling Wolf" in the Magic Sam Live CD notes? Or is that someone else? Jim Spence ========================================================================= Date: Fri, 26 Apr 1996 17:43:47 GMT Reply-To: bluesdj@HALCYON.COM From: Roberta Penn Organization: Northwest Nexus Inc. Subject: Piano blues Comments: To: bit-listserv-blues-l@uunet.uu.net How about Mitch Woods, Mr. B., Marcia Ball???? And Marcus Roberts has done quite a bit of blues....but I don't believe there will never be another Otis Spann, Roosevelt Sykes, Charles Brown or Champion Jack. ========================================================================= Date: Fri, 26 Apr 1996 17:56:51 GMT Reply-To: cuthulu@rlabs.com From: cuthulu Organization: Radar Labs 23 Subject: Re: Gearheads "Dialing in your Sound" Comments: To: bit-listserv-blues-l@uunet.uu.net On Wed, 24 Apr 1996 08:48:20 +0000, "R.J. Bauman" wrote: >>5. Lose the wang bar. Have the trem blocked or taken out comepletely. >>Fixed bridge guitars sound better... period. >Yup. First thing I did when I bought my new strat last year was take off >the trem bar and hand it to the salesman on the way out the door. The stock Strat tremolo bar blows. Use it once, even gingerly, and all the strings go out of tune. Yet you may be reluctant to drill or otherwise mar the instrument to install a locking system. When I got my strat, I replaced the stock trem with a better, tighter one that allows tuning at the bridge -- it's called a Dive Bomber, and I don't know if they're still made, but it's a direct replacement for the stock strat trem.. Instead of a locking nut, I purchased Sperzel locking tuners, which work just as well. Now I can whang to my heart's content, and it stays in tune very well. I can even set the tuned guitar down for days, come back, and it's still perfectly tuned. >>3. Get your guitar setup by a pro... (no you CAN'T set it up as well as he >can) A proper setup will adjust the neck, clean up the frets, set the >intonation, and set the PU height. What a difference. Yes it costs 30-60 >bucks so what... >My experience is these guys don't know any more than you do. >Sometimes less. One guy told me you CAN'T really intonate a guitar >because it's a tempered instrument. Plus, they seem to be in a hurry >to get you out before you lose them a customer on the floor. >I'd pay the money for good service, though, no question. It's very easy to "intonate" your guitar on your own. The thing to have a professional do is adjust the torsion bar in the neck -- stay away from that! However, the torsion bar rarely if ever needs adjustment, and you should only consider it if you have intonation problems after the guitar has received a heavy jolt. When I intonate my guitar, the first thing I do is disassemble all of the mechanical parts and clean them thoroughly. I soak all metal parts in WD40 and scrub them with a toothbrush to remove rust and scale. Then I rinse them under hot water and dry them with a blow dryer. Next, I reassemble the guitar and restring it, tuning the A to 440 and the rest of the open strings by ear. I lay the guitar flat, strike the open string and listen. Then I fret that string at the 12th fret and listen. If there is a significant difference between the two tones, I adjust the height of the string until the tones match. I do this for each string. You could use a frequency counter, but the guitar IS a tempered instrument, so it's pointless for the overall tuning. When you're finished with this, the guitar sounds like crap! Retune it, A to 440, and recheck the 12th fret tones. If there is still a difference in the octave tones, you don't need to adjust individual string height anymore, you need to adjust overall bridge arc. I lay a small level on the bridge, and adjust the bottom and top heights until the octaves are acceptable on all strings. Observe the bubble in the level, and you have a reference for when you adjust the bridge the next time. This works very well for me. -------------------------------- Quarks, Kooks, Heretics, Lunatics, Defilers of God, Set off in leaky vessels Towards the hole in the horizon - philip glass, the voyage visit http://www.rlabs.com -------------------------------- ========================================================================= Date: Fri, 26 Apr 1996 14:52:31 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Gearheads "Dialing in your Sound" On 26 Apr 96, cuthulu had this to say: > It's very easy to "intonate" your guitar on your own. The thing to have > a professional do is adjust the torsion bar in the neck -- stay away > from that! However, the torsion bar rarely if ever needs adjustment, and > you should only consider it if you have intonation problems after the > guitar has received a heavy jolt. > > When I intonate my guitar, the first thing I do is disassemble all of > the mechanical parts and clean them thoroughly. I soak all metal parts > in WD40 and scrub them with a toothbrush to remove rust and scale. Then > I rinse them under hot water and dry them with a blow dryer. > > Next, I reassemble the guitar and restring it, tuning the A to 440 and > the rest of the open strings by ear. I lay the guitar flat, strike the > open string and listen. Then I fret that string at the 12th fret and > listen. If there is a significant difference between the two tones, I > adjust the height of the string until the tones match. I do this for > each string. You could use a frequency counter, but the guitar IS a > tempered instrument, so it's pointless for the overall tuning. > > When you're finished with this, the guitar sounds like crap! Retune it, > A to 440, and recheck the 12th fret tones. If there is still a > difference in the octave tones, you don't need to adjust individual > string height anymore, you need to adjust overall bridge arc. I lay a > small level on the bridge, and adjust the bottom and top heights until > the octaves are acceptable on all strings. Observe the bubble in the > level, and you have a reference for when you adjust the bridge the next > time. > > This works very well for me. I have no idea why it would. I mean you no disrespect, but the correct way to set intonation on a guitar is not a matter of individual preference or opinion. The method you have described is so completely wrong I wouldn't know where to begin. I would suggest you obtain nearly ANY book on the subject and read it carefully. If another person taught you these methods, stop listening to them. And to anyone else interested, please refer to a guitar maintenance book and not this post. Don C.... have you got the energy to post a basic "how and when to intonate"? I'm pooped from typing out the "String Your Guitar So It Stays In Tune" saga. (and I've had a few beers since then - I'm off) P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ Ah, make the most of what we yet may spend, Before we too into the Dust descend. - Omar Khayyam ========================================================================= Date: Fri, 26 Apr 1996 12:03:03 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Gearheads "Dialing in your Sound" cuthulu (what's your name?) said: edit edit >It's very easy to "intonate" your guitar on your own. The thing to have >a professional do is adjust the torsion bar in the neck -- stay away >from that! However, the torsion bar rarely if ever needs adjustment, and >you should only consider it if you have intonation problems after the >guitar has received a heavy jolt. Couple of responses. Guitars need truss rod adjustments about twice a year and it is best done by a pro. When the season changes, so does the tension on the neck. You will never get the intonation dialed in right until the frets are level, the nut is setup right, and the truss rod is at proper tension. Even when all this is done, it take me a good 45 minutes or more to intonate using the method I described. I would call it moderately easy, not very easy. And if you haven't done it before it can be quite difficult. If you are not picky about intonation you can do a "quicky" job and it can sound pretty good. If you want it nailed dead on..... trust me, you have to take it a little more seriously. >When I intonate my guitar, the first thing I do is disassemble all of >the mechanical parts and clean them thoroughly. I soak all metal parts >in WD40 and scrub them with a toothbrush to remove rust and scale. Then >I rinse them under hot water and dry them with a blow dryer. Careful with the water... it can stay in the threads and rust later.... >Next, I reassemble the guitar and restring it, tuning the A to 440 and >the rest of the open strings by ear. I lay the guitar flat, strike the >open string and listen. Then I fret that string at the 12th fret and >listen. If there is a significant difference between the two tones, I >adjust the height of the string until the tones match. I do this for >each string. You could use a frequency counter, but the guitar IS a >tempered instrument, so it's pointless for the overall tuning. Nonsense! You will NEVER get it even close by ear unless you have absolute perfect pitch. It's not pointless at all, proper intonation can make your guitar sound amazingly better. You must have a really good tuner to do proper intonation. Sorry but this is bad science and misinformation. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Fri, 26 Apr 1996 15:14:14 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Blues gene not found (retraction). Decorum requires that I clarify that when I jokingly called Watson & Crick science geeks, it was actually with the utmost respect, in deference to their contribution to modern science and devotion to the search for knowledge in their fields. And of course, being one (kinda) myself, it was just a good- natured bit o' fun poked in their direction, from one to another. Good, imaginative and innovative science is actually as much "art" as blues is. No offense intended to my fellow science-persons out there on -L in academia and industry. Now get back to the lab bench and find that damned illusive "blues gene" and clone it! ;) Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 26 Apr 1996 16:25:01 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Red Tops Reunion; 50s Memphis R&B & Proto-Soul Comments: cc: mkaldin@beachnet.com Tomorrow night in Oxford, Mississippi (as a part of the mini-festival getting started here) the 4 surviving members of the legendary Memphis R&B band the Red Tops will be playing in a Red Tops reunion. Playing at the reunion will be Calvin Newborn, Herman Green, and Robert "Fat Sonny" Williams, the three surviving members of the band. The Red Tops were founded by Phineas Newborn Sr. (Calvin's father) in Memphis in the late 40s. Through the 60s they were *the* dance band of the area, and a central part of the West Memphis music scene (the Red Tops played the Plantation Inn) out of which the Memphis sould bands at Stax and Hi developed. Those who miss it can see Herman Green doing his jazz thing at Memphis in May Beale Street Fest. It is interesting that, even though they are going to have a Memphis Music stage at the Beale Street Fest, it hasn't occurred to anyone there to have this reunion in the band's home town.... R. L. Burnside and Junior Kimbrough will be playing earlier in the day on the Square here. Also, tonight in Oxford at Proud Larry's will be Junior Wells. He was really good at his last appearance there in December. Tom Freeland Tom Freeland ========================================================================= Date: Fri, 26 Apr 1996 09:25:32 -0700 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Zellers at JazzFest -- Updates -- First Weekend For anyone who brought their laptop or might still be yet to arrive in New Orleans (or lives here--though I think that's just me and Bill Morgan), the following 'Zellers have agreed to meet on Sunday night, 4/28, between 10-11pm, at Donna's Bar & Grill to reconnoiter and then experience John Sinclair & The Blues Scholars: Dick Waterman Tom Morgan Jim Bardsley Cat Bauer Bill Morgan Maggie Mortensen Mark Kosterich (tentative) David Markowitz (tentative) George Rossi (of Li'l Georgie & the Shufflin' Hungarians) Rest assured we'll raise a glass or two to PW, Freeland, Don O., Don C., LW, Cathi, Blue Joe, Barry, Riffin Rick, Pat Hertel, Shaun, et al, et al, et al. For the uninitiated, Sinclair is a blues scholar, poet and dynamic spoken word performer who recounts rip-roaring tales to the accompaniment of a kickin' blues ensemble. (My favorites are a history of the P-Vine Special, and an electrifying, ribald retelling of the later life and poisoning of Robert Johnson.) He's also one of the originators of the Ann Arbor Blues Festival, a historian of blues and the Mardi Gras Indians and brass band traditions in New Orleans, writes a column for OffBeat magazine, and is a blues deejay on local station WWOZ. Donna's is a down-home, neighborly joint (with good barbeque and a fair assortment of draft brews) at the corner of Rampart and St. Ann Streets (800 Rampart--596-6914). It's far enough off the beaten paths that we should be spared hordes of tourists. Be there if you can! A smaller group of us will also gather tonight (Friday) at Mem Shannon's 10:30pm gig at Margaritaville on Decatur Street. Not a particularly good venue for conversation, as the location and Jimmy Buffet association draw huge numbers of rowdy, clueless tourists who couldn't care less who's playing--but it's still worth a trip to see Mem. Cat asked that repost below some of the spots she has lined up for potential meetings at other places and times (I've edited a bit for brevity). A personal pick for MUST: Thursday May 2nd at Jimmy's: Kenny Neal & Walter 'Wolfman' Washington 9:30p --Maggie Maggie Mortensen<>Exarch Services<>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 'Born with the blues, my blue suede shoes, and underlying depression...' --Van Morrison ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ============================= Cat's listings: 4/26 /96 Howlin' Wolf: Tiny Town & Sonny Landreth 10:00p *Tommy Malone will be online at 1am EST. Jimmy's: Terrance Simien and the Malet Playboys, Nathan Williams and the Zydeco Cha Chas 10:30p 4/ 27/96 Maple Leaf: WWOZ Benefit with Marcia Ball, Tracy Nelson, Irma Thomas and Walter 'Wolfman' Washington 10p Other choices for later in the night... Carrollton Station: John Mooney and the Bluisiana Band, 10:30p Jimmy's: Radiators 10:30p (Jimmy's 18 year anniversary) *** Mid-City Bowling Lanes: Iguanas 10:00p 4/28/96 Carrollton Station: Walter 'Wolfman' Washington Quartet 10:00p Dream Palace (formerly Cafe Istanbul): Mem Shannon 10:00p*** Madigan's: John Mooney & The Electric Blues 9:00p til *** Maple Leaf: Geno Delafose & French Rockin' Boogie 10p Mid-City Bowling Lanes: Beau Jocque, Boozoo Chavis 10:00p Praline Connection Blues & Gospel Club: Rockin' Doopsie Birthday Party Doors open at 9:00p 4/29/96 Howlin' Wolf: Marcia Ball Mid-City Bowling Lanes: Snooks Eaglin & George Porter, Jr. 9:00p 4/30/96 HOB: John Mooney This is John Mooney's cd release party Maple Leaf: ReBirth Brass Band 10p *** Praline Connection Blues & Gospel Club: African Drum Summit 8:00p Snug Harbor: Ellis Marsalis Shows at 9:00p and 11:00p *** (9p show maybe?) ========================================================================= Date: Fri, 26 Apr 1996 13:42:50 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Harmonica Seminar Comments: To: Harp-L WARNING: COMMERCIAL CONTENT. If this offends you, please stop here. DIATONIC HARMONICA SEMINAR Host: IronMan MIKE CURTIS Date: Saturday, April 18, 1996 Time: 10:00 AM - 3:00 PM Place: Main Street Restaurant 4902 Main Street Yorba Linda CA Cost: $25 in advance. Due to limited class size, reservations are required. On Saturday, May 18, I'll hosting a diatonic harmonica seminar for intermediate, advanced, and expert diatonic harmonicists. Sorry, but due to the complexity of the seminar material, it would be unfair to include beginners, both to them and the more advanced players. This will be held at Main Street Restaurant in Yorba Linda, a couple of blocks from the President Nixon library and birthplace. Yorba Linda is near Anaheim. What you'll learn: How a diatonic can be played chromatically! How to get "killer" tone! Various vibrato techniques and how they'll AUTOMATICALLY improve your tone and volume while cutting feedback! The hidden secrets of amplified harmonica! The hidden secrets of microphones! What you NEED to know about amplifiers and effects! How learning other positions will help you excel in second position! The seven positions every diatonic player should know! Learn how to make your harmonicas sound their best AND last their longest. And LOTS more! This seminar is NOT for beginners. I could pull in a much larger crowd and more money if I accommodated beginners, but I have a lot to share with professionals and skilled amateurs, and accommodating anyone less than intermediate would be a disservice to everyone. The course assumes that you can play single notes and bend notes reasonably well. To get the most out of the seminar, you'll need a pencil/pen and note pad, a C major diatonic, a few junkers (any key) and/or old reed plates, and tools for disassembling and tuning reeds. The Lee Oskar toolkit is ideal and highly recommended. -- IronMan Mike Curtis ========================================================================= Date: Fri, 26 Apr 1996 15:53:49 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 04/27 B O R N : 04/27 BEST, DENZIL DECOSTA Boorn:1917 NEW YORK, NY Career:DRUMMER Style:JAZZ With:GEORGE SHEARING / ARTIE SHAW / COLEMAN HAWKINS / CHUBBY JACKSON / TYREE GLENN KAY, CONNIE Born:1927 TUCKAHOE, NY Career:DRUMMER Style:JAZZ / BLUES With:Sir Charlies Thompson / Miles Davis / Cat Anderson / Lester Young / Berly Booker / Stan Getz / Coleman Hawkins / Modern JAzz Quartet / Chet Baker / Cannonball Adderley / Paul Desmond / Benny Goodman KHAN, STEVE Born:1947 LOS ANGELES, CA Career:GUITAR Style:JAZZ With:George Benson / Hubert Laws / Maynard Ferguson / Buddy Rich / Steely Dan / Billy Joel / Larry Coryell / Brecker Brothers / Manolo Badrena / Anthony Jackson / Steve Jordan / He is the son of the Iyricist Sammy Cahn MATLOCK, MATTY ( JULIAN C. MATLOCK ) Born:1909 PADUCAH, KY Career:CLARINET Style:TRAD / JAZZ / BIG BAND Outstanding dixieland arranger / Beasley Smith 1928-29 / Tracy-Brown Orchestra / Jimmy Joy / Ben Pollack 1929 / Original member Bob Crosby band formed 1935 / Bunny Berigan 1937 / Eddie Miller 1943-4 / Prominent freelance musician-arranger with Red Nichols / Ben Pollack / Pee Wee Hunt / Early 50s dixieland group on radio show Pete Kelly's Blues,in 1955 movie of same title and arranged much of music / Billy Maxted / Phil Harris / Red Nichols / Active into 70s. NATHAN, SYD Born:1904 CINCINNATI, OH Career:PRODUCER / OWNER Style:BLUES / JAZZ With:KING / FEDERAL RECORDS NEWBORN, CALLVIN ( EDWIN CALVIN NEWBORN ) Born:1933 MEMPHIS, TN Career:GUITAR / PIANO / FLUTE / PICCOLO / LEADER Style:JAZZ / BIG BAND / BLUES Brother Phineas / Tuff Green's Rocketeers 1951-52; father's band / Roy Milton 1953 / again with father1954-56 / Phineas Newborn / Earl Hines 1959 PRICE, RUTH Born:1938 PHOENIXIVILLE, PA Career:SINGER Style:BLUES / JAZZ SMITH, TOMMY Born:1967 LUTON, BEDFORDSHIRE, UK Career:TENOR SAX / SOPRANO SAX / FLUTE Style:JAZZ With:GORDON BECK / NIELS-HENNING ORSTED PEDERSEN / GARY BURTON / JASON REBELLO / IDRIS MOHAMMAD WAITS, FREDDIE ( FREDRICK DOUGLAS DAHOUB ) Born:1943 JACKSON, MS Career:DRUMMER Style:JAZZ / BLUES / BIG BAND With:Mephis Slim / John Lee Hooker / Ray Bryant / Johnny Hodges / Andrew Hill / McCoy Tyner / Mercer Ellington / Teddy Edwards / Ella Fitzgerald Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us The Following were Recorded on this Date in the Years: ========================================================================= Date: Fri, 26 Apr 1996 17:38:29 -0500 Reply-To: akapil@MEDICINE.BSD.UCHICAGO.EDU From: "" Subject: Re: PW's "On this day...." Re: DNA/Can I help >I've met and talked with the famous Nobel Laureates, Watson & Crick. I can >tell you right now why 40 years after the discovery of DNA why they still >haven't isolated the illusive "Blues Gene". > >These guys are serious science geeks. They ain't go NO mojo workin. They ain't >got no black cat bones. 'fact, they ain't got a blues molecule between 'em. You got that right! I am in the midst of guys like that now. They would NOT recognise a blue note if it hit them in the face! > >I'm workin' on it here. Gimme time. ;) Let's get a collaboration thing going! Here's a thought-what do you think would happen if you transfected a bacterial colony with the gene? > >Riffin Rick >(doin' science by day....) Adit. Aditya Kapil, PhD IBD Research Center Department of Medicine University of Chicago Ph: (312) 702 2283 FAX: (312) 702 2281 ========================================================================= Date: Fri, 26 Apr 1996 18:49:06 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Norton Buffalo/Ronnie Earl Well, I almost pulled it off. A jam with Norton Buffalo & Ronnie Earl. Both Ronnie and Norton will be in Hartford Saturday night at separate gigs. Norton with Steve Miller at the Meadows and Ronnie with the Broadcasters at Arch Street Tavern. I'm interviewing Norton Saturday morning and introducing Ronnie at his gig Saturday night. I invited Norton to come over after the Steve Miller show to play with Ronnie. Norton was excited and really wanted to do it, but unfortunately the Miller bus is leaving right after the gig and Norton must be on it. Maybe next time, eh? Stew Crossen ____________________________________________________________________________ The Blues Playground - Sundays at 9pm on 107 FM WCCC - Hartford, CT 50,000 watts of Blues power! Host/programmer: Stew Crossen (Beef Stew) 18 Boxwood Drive Vernon, CT 06066-5106 tel: 800.970.5151 http://www.neca.com/~bfstew bfstew@neca.com Reporting to: Living Blues, The Hard Report and BluesWire magazine. ========================================================================= Date: Fri, 26 Apr 1996 16:46:02 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Zellers at JazzFest -- Updates -- First Weekend EX>For anyone who brought their laptop or might still be yet to arrive in New EX>(or lives here--though I think that's just me and Bill Morgan), the followin EX>have agreed to meet on Sunday night, 4/28, between 10-11pm, at Donna's Bar & EX>reconnoiter and then experience John Sinclair & The Blues Scholars: EX>Dick Waterman EX>Tom Morgan EX>Jim Bardsley EX>Cat Bauer EX>Bill Morgan EX>Maggie Mortensen EX>Mark Kosterich (tentative) EX>David Markowitz (tentative) EX>George Rossi (of Li'l Georgie & the Shufflin' Hungarians) EX>Rest assured we'll raise a glass or two to PW, Freeland, Don O., Don C., LW, EX>Blue Joe, Barry, Riffin Rick, Pat Hertel, Shaun, et al, et al, et al. EX>For the uninitiated, Sinclair is a blues scholar, poet and dynamic spoken wo EX>who recounts rip-roaring tales to the accompaniment of a kickin' blues ensem EX>favorites are a history of the P-Vine Special, and an electrifying, ribald r EX>the later life and poisoning of Robert Johnson.) He's also one of the origi EX>the Ann Arbor Blues Festival, a historian of blues and the Mardi Gras Indian EX>band traditions in New Orleans, writes a column for OffBeat magazine, and is EX>deejay on local station WWOZ. EX>Donna's is a down-home, neighborly joint (with good barbeque and a fair asso EX>draft brews) at the corner of Rampart EX>and St. Ann Streets (800 Rampart--596-6914). It's far enough off the beaten EX>that we should be spared hordes of tourists. EX>Be there if you can! EX>A smaller group of us will also gather tonight (Friday) at Mem Shannon's 10: EX>at Margaritaville on Decatur Street. Not a particularly good venue for conv EX>as the location and Jimmy Buffet association draw huge numbers of rowdy, clu EX>tourists who couldn't care less who's playing--but it's still worth a trip t EX>Cat asked that repost below some of the spots she has lined up for potential EX>at other places and times (I've edited a bit for brevity). EX>A personal pick for MUST: Thursday May 2nd at Jimmy's: Kenny Neal & Walter EX>Washington 9:30p Also, the Fat Possum Mississippi Juke Joint Caravan rolls into The Mardi Gras Cabaret & Restaurant (formerly Bugsy's) on Wednesday, May 1. Larry McCray and Brint Anderson the following night. Snooks Eaglin and C.J. Chenier on May 3, and Corey Harris and Brint Anderson on May 5. I should note that there are what seems like hourly performances (I frequently exaggerate) by various artists at Tower Records and the Louisiana Music Factory. Bill Morgan From: The Big Easy ========================================================================= Date: Thu, 25 Apr 1996 11:16:28 GMT Reply-To: Dave_J._Herda@infozone.telluride.co.us From: "Dave J. Herda" Organization: InfoZone Telluride Co (970)-728-0472 Subject: What's up Dave? Comments: To: Markovd@METAMOR.COM How's it goin Dave? Just wanted to let you know that I'm moving out of Telluride tomorrow and I'm headed back to Sweet Home Chicago. I'll be off for Memphis next Thursday, but once I'm back on the net I'll drop you a line and maybe we can get together and check out some blues clubs. Take it easy and keep on playin those blues! Peace--D ========================================================================= Date: Fri, 26 Apr 1996 14:39:04 -0700 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: No blues: Grammar Patrollers only For the enjoyment of card-carrying patrollers, I present the following sad true tale. Names have been omitted to protect the guilty--except mine, of course. ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ Maggie Mortensen wrote: > > I was searching the web for music promotional firms in the Southern > U.S. recently and came upon your site. > > I started to just skip it, but then, being an independent businessperson myself, I > decided that if I were you I would want to know the reasons why someone eliminated my > company as a business prospect. > > First, it's difficult to take a business entity seriously if they don't even go to > the trouble to make sure that their promotional materials are spelled correctly and > use proper grammar. "Too bang the drums" should be spelled "to bang"; "Our artist's" > is not a possessive but a plural and doesn't take an apostrophe; "There new artists" > IS a possessive and should be "Their new artists". > > And last but certainly not least, the site is so poorly designed that it's almost > impossible to read the light colored lettering of some words against the brick > wallpaper. (FYI, I viewed this site using Netscape 2.01, so it's definitely not > a problem of an outdated browser.) > > I hope you'll take these comments as they're intended. I know if MY site was turning > people off, I'd want to know why. > > If you designed the site yourself, maybe just a good editor is all that's needed. If > someone else did it for you, I'd seriously reconsider hiring them again. > > Regards, > > Maggie Mortensen ============================== and the offending party replied: From: :::: peabrain@remedial.edu :::: Organization: >Dear ms mortensen; > Thank you very much for bringing to our attention, the improper grammer usage >intailed in our Streetwise Wed Site, inwich we will correct immediately. We do not >profess to be English professors here, but we are one of the leading #1 promoters in >the South-East conf., with a very healthy and consistant track record of independent >record >label trouble-shooting, to promoting their artist to maximum unit sale potential. If >you are browsing your netscape 2.01 for an english professor, we will be the first to >tell you " next time listen to your first mind". You said that you were searching for >a music promotion company, you should reconsider us, we are very good at that and that >is what we are in the business for. Again thank you for taking time to inform us of > our errors, and feel free to keep assisting us in any way you can. We are not >perfect, but that does'nt mean were not seeking perfection. >sincerely; >===================== It certainly *does'nt*, does it? After I got his response, I checked their site again and sure 'nuff, they had corrected the spelling. But not only did they leave the bad color design, they had added the dreaded FRAMES to it! -- Maggie Mortensen<>Exarch Services<>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 'Born with the blues, my blue suede shoes, and underlying depression...' --Van Morrison ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Fri, 26 Apr 1996 21:02:01 -0500 Reply-To: Dave Daubard From: Dave Daubard Subject: Re: Johnny "Clyde" Copeland Update Comments: To: "P.W. Fenton" In-Reply-To: <199604252003.QAA66364@osceola.gate.net> Hey --- This is Holly Bullamore, Johnny Copeland's manager. For the record... Johnny had open heart surgery - his sixth since last May on Tuesday. The purpose of the surgery was to stop some internal bleeding and to clean out an infection that had developed in his chest which had caused some discomfort and tiredness. He had been performing the last three weekends in Cambridge, Portland, ME, Bethlehem, PA, Pawling, NY, and NYC, but we, obviously had to cancel this weekend in Philadelphia, He is doing fine, is hoping to be released this weekend and expects to play next weekend in Piermont, NY --- but we'll see about that (he doesn't ALWAYS have the last word). Thanks to everyone for their concern. Take care. Holly. ========================================================================= Date: Fri, 26 Apr 1996 19:12:49 -0700 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Re: Jimi Hendrix of harp???? Comments: To: bit-listserv-blues-l@cs.washington.edu Riffin Rick wrote: > > 'Scuze me, I'm pretty sure that particular comparison has been used for the > longest time in reference to Little Walter, one of (if not) THE earliest true > electric harp players making deliberate use of fat, dirty tones and distortion. Not sure who the original message was referring to. Anyway, Jim Fitting, of the former band Treat Her Right, from Boston, deserves notice here. Jimi Hendrix took electric guitar to new levels, but certainly didn't invent the art form. To maintain the guitar-o-centric subject heading, Little Walter might be the Charlie Christian of harp. Jim Fitting could be a Jimi Hendrix of harp. Or a Little Walter for the 80s/90s. Adrian (wishin I was in NO) ========================================================================= Date: Sat, 27 Apr 1996 01:26:54 -0400 Reply-To: Toronto Blues Society From: Toronto Blues Society Subject: big joe duskin >Speaking of piano blues, does anyone know if Big Joe Duskin is still >alive? I picked up his cd "Cincinnati Stomp" this weekend, and it's an >excellent piano blues recording, with Jimmy Johnson on one track, and >Bob Margolin on several. dear steve and bluezellers, i presented big joe duskin at the harbourfront centre soul 'n' blues festival several years ago and then i lost track of him. i recently found him living in paris and recording for a french label. picture joe in paris cruising around in memphis slim's rolls royce. it may be a stretch, but i think joe is being treated well by the french. i'll see if i can dig up the contact info. regards, derek andrews. ========================================================================= Date: Sat, 27 Apr 1996 01:23:01 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Son House - "At Home"-The 1969 Rochester Recordings I was lurking in the Tower on Sunset again today (my second home) and I picked up a few CDs. Based on Jon Duttweiler's review, I picked up the The Pounders, "Rockin' the Blues." A good little record indeed. Not brilliant but a great rockin' blues album. Good beer drinkin' music. I also picked up Rage Against The Machine's new one for some nice quiet music for reflecting on life and such:-) That is a great album as well if you like their kind of music. On to the CD I want to talk about. I was lurking in the blues section and I spied a Son House recording I didn't have. It is entitled "Son House-At Home-The Legendary 1969 Rochester Sessions-Complete" (Document DOCD-5148).I couldn't leave without. The CD is a collection of recordings made by Steve Lobb at Son House's Rochester home between September 22-24, 1969. I was a little wary at first. I thought the performances would be a little ragged and the sound quality not that great. Well the sound quality isn't that great. And the performances a little ragged in areas. As to be expected. It is a home recording without the perfection that can be onbtained in the studio. The music. My God, the Music! The music rises above all that. It is astounding. A testament to the power and emotion that Son House put into his music. The first track, "Son's Blues" is quite ragged at the beggining. But when Son House gets going "Son's Blues" turns into a powerful tour-de-force that leaves you breathless at the end of the 20 (!) minutes. Along with some great acapalla tracks, ("Yonder Comes My Mother", "I'm So Sorry Baby", "Evening Train" and "Never Mind Grinning In your Face") there are also great versions of "Preachin' Blues" and "Empire State Express" among others. Some of the performance are a little ragged but it is a minor concern. There is so much emotion in the performances by Son House that it overcomes everything.. I had chills running up and down my spine listening to this CD. If you are a fan of Son House then you need this CD. It is a very intimate portrait of one of the greatest bluesman to walk this planet. It gave me an rare and valuable insight into one of my idols. While the Columbia recordings and the recent re-issues on Capital are a better place to start for the un-initiated. But if you have already found this man and his music then this CD is a valuable addition to your collection. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Sat, 27 Apr 1996 05:02:24 GMT Reply-To: CKUT_online@babylon.montreal.qc.ca From: CKUT online Organization: Babylon, Montreal, Canada Subject: Re: bizarre behaviour by email (no blues) Comments: To: chris@SKERRIES.DEMON.CO.UK I'm getting the same message back whenever I reply to a message! John Detcheverry, CKUT FM 90,3 ========================================================================= Date: Sat, 27 Apr 1996 05:39:16 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Going into the studio?any suggestions? Comments: To: "P.W. Fenton" In-Reply-To: <199604261259.IAA16324@osceola.gate.net> from "P.W. Fenton" at Apr 26, 96 08:57:58 am I know how to string a guitar, double wrap the post (actually, my main guitar, a 1968 Fender Coronado, has Schallers, which have a hole down the center of the post, and plier-bending the strings to a perfect right angle before attaching them eliminates string slippage, as well as winding unraveling when you cut them), stretch the new strings, etc., so they don't stretch any more, etc., but when you put brand new unstretched metal into a stretched situation, they require a little time to settle in. It's simple physics. While the tuner doesn't show much variance, _I_ can hear it, and it sounds bad to _me_. If you don't have absolute pitch, your mileage may vary. But when it goes on Memorex, _someone_ is going to notice it. (_I_ sure will :-) There are several things that cause new strings to go out of tune. Certainly improper installation at the tuners and/or bridge and/or tailpiece will cause slippage, etc., as is poor hardware such as cheap tuning heads, poorly designed whammies, tailpieces, loose neck, etc. On my Coronado, most of these are nonissues. The tremelo tailpiece is remarkably stable. The bridge sits on sharpened allen screws and rocks when you whammy it. I replaced the tuners with Schallers a long time ago, which fixed the last problem it had. IMHO the Coronado is one of the best instruments Fender ever made, except for the cheezy pickups (which are long gone). The first time I tried a Strat with a stock tremelo, I almost puked up last weeks lunch. I have a Strat with a Rose tremelo and locking nut, and chocked it so it whammies down in pitch only, and still find it annoyingly out of pitch quite a bit (although no worse than anyone elses, but it annoys me). Even if you were to weld the strings to the tuners and bridge, they still require time to restress themselves. Even if you tune a broken in E set down to SRV Eb, they require time to readjust. If you have an acute ear, you can hear it. A lot of tuners have poor resolution and won't show it up, or will minimize it. But it's still there. -- IronMan Mike Curtis ========================================================================= Date: Fri, 26 Apr 1996 23:37:57 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: Piano blues Comments: To: bluesdj@HALCYON.COM I think it's true that the likes of those mentioned below (plus a lot more legends) won't be easy to develop in this generation. I just don't see too many clubs / bars with piano entertainment period, and the piano bars here in Indy don't feature blues pianists, only players who might play a blues number now and then. There's a band out of Cincinatti that has a keyboard player leading the band, but I don't see that to often in blues clubs either. Anybody else know the Beaumonts? RJ Bauman On 26 Apr 96 , honorable zeller Roberta Penn wrote: > How about Mitch Woods, Mr. B., Marcia Ball???? And Marcus Roberts has done quite a bit of blues....but I > don't believe there will never be another Otis Spann, Roosevelt Sykes, Charles Brown or Champion Jack. > > "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Sat, 27 Apr 1996 10:06:59 -0400 Reply-To: John Manley From: John Manley Subject: Memphis in May lineup I know this is a repeat so I'm sorry for the bandwith...but if someone has the Memphis lineup would you please post or send me email directly? The first one to respond earns a free beer at the fest :-) Thanks! JM ========================================================================= Date: Sat, 27 Apr 1996 00:17:37 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Motown's making up for lost time I admit it. I was skeptical about this CD release. LA on Motown?? C'mon! Sure, "Luther's Blues" had some good stuff on it, but it couldn't carry the whole thing! Right? Well , the "Luther's Blues" album is well represented by it's best material, but what I'm so excited about is the included tracks from Luther's other two Motown albums--- plus a killer live cut from the 1972 Ann Arbor Blues Festival!!! Judged on it's own, this CD has to rank as one of the best Luther Allison releases. Everything you want from Luther is here in abundance. Great guitar work, passionate vocals, nice grooves, and some harmonica and slide too. The material is just superb. There are a couple of cool funky Motown grooves and some wha-wha guitar, but it does not dominate the CD anymore than the piano/organ work. This sounds like Luther Allison in 1996 most of the time. Solid, rock-influenced BLUES. After hearing this, you can compare Luther to whoever you want playing blues music in the 1970's and you would have to say he had earned his due here before going to Paris. "Soul Fixin' Man" and "Blue Streak" need not have been what it took to put Allison in the position he is in now among American blues fans. I'll leave it to NYCD to go over the tracks........... RJ Bauman "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Sat, 27 Apr 1996 09:40:08 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Champion Jack Dupree Whoops! I have been privately taken mildly to task by my friend Derek Andrews that I did not acknowledge in my recent post about Champion Jack Dupree that the Toronto Blues Society (of which I am a board member, and of which Derek is the president) co-sponsored the event with me. And since Derek also works as the programmer for Harbourfront, Toronto's marvellous year-round water's edge playground and cultural centre (the two are often synonymous) and was of great help in making the event happen, I should acknowledge his help too. Harbourfront, always on the brink of submersion by lack of government funding, will soon anounce its summer programme, and anyone in reach of this city will, as always, be amazed at the breadth of the music Derek organizes, and most of the events are free. Richard the (abashed) Elder ========================================================================= Date: Sat, 27 Apr 1996 16:28:33 +0300 Reply-To: Mitocaru Constantin From: Mitocaru Constantin list global ========================================================================= Date: Sat, 27 Apr 1996 10:44:53 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Going into the studio?any suggestions? Comments: To: Mike Curtis On 27 Apr 96, Mike Curtis had this to say: > > stretch any more, etc., but when you put brand new unstretched metal into a > stretched situation, they require a little time to settle in. It's simple > physics. While the tuner doesn't show much variance, _I_ can hear it, and > it sounds bad to _me_. If you don't have absolute pitch, your mileage may > vary. But when it goes on Memorex, _someone_ is going to notice it. (_I_ > sure will :-) > problem it had. IMHO the Coronado is one of the best instruments Fender > ever made, except for the cheezy pickups (which are long gone). > > Even if you were to weld the strings to the tuners and bridge, they still > require time to restress themselves. Even if you tune a broken in E set > down to SRV Eb, they require time to readjust. If you have an acute ear, > you can hear it. A lot of tuners have poor resolution and won't show it up, > or will minimize it. But it's still there. It seems to me that if the Coronado was one of the best instruments Fender ever made it might be just a tad more popular than it was. Certainly Strats, Teles, Jazzmasters, Jaguars, and Mustangs were/are all much more popular, but what would a million guitar players know? Speaking of the Coronado, I think that it may be your Coronado that needs to "settle in" any time anything is changed. What you are calling string stretch, may actually be "Coronado flex". I never have that problem, and I know I'm not alone. As for electronic tuners, the cheapest can discriminate variations in pitch as well or BETTER than any human. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ Immature artists imitate. Mature artists steal. - Lionel Trilling ========================================================================= Date: Sat, 27 Apr 1996 11:07:10 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... (This may be the most astounding and important "On this day...", and I'm not making this up) On this day in 4977 BC, according to Johannes Kepler, the universe was created. So, although we can't pinpoint the first Blues composition, we know it could not have happened more than 6973 years ago.... according to Kepler anyway. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ I get so tired listening to one million dollars here, one million dollars there, it's so petty. - Imelda Marcos ========================================================================= Date: Sat, 27 Apr 1996 03:27:29 -0700 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Re: Piano Blues Various 'Zeller wrote: : > With all the talk about Fess, Champion Jack...etc. Is there any NEW blues : > piano talent out there. Any up n comers that are in the vein as the older : > folks....It seems (to me) that there is a lack of YOUNG piano players in : > the blues style. Plenty of guitar slingers (1900 and some odd in Nashville : > alone :-)), but not that many piano players that are getting attention : Well there is our very own "embee", for one. Henry Butler out of New : Orleans is another great one. >Nobody heard of Axel Zwingenberger ? >Isn't Bob Hall still playin' piano ? He isn't that old, is he ? >Katie Webster >Jon Cleary As someone who listens to more piano and brass blues than guitarslingers, I want to add a BIG second recommendation on Jon Cleary and Henry Butler. (Cleary has become a sort of adopted New Orleanian, and Butler divides his time between here and Baton Rouge.) Both unbelievable boogiers, but on Butler's latest recording he's leaned more toward straight-ahead jazz. But my most recent beloved discovery is a piano man that 'Zeller Tom Morgan turned me on to: George Rossi, of Li'l Georgie & the Shufflin' Hungarians. Raised from his teen years on Booker and Fess, George kicks the shit out of stride and boogie numbers on his recent CD, and he and can get down in the alley with the best of 'em on the blues. George is in town this week for JazzFest and I'm gonna do my damndest to get some local players I know to let him sit in with them, just cause I'm dying to hear him live. Another adopted New Orleanian (Brit by birth) that all key-lovers should check out is Carl "Sonny" Leyland. The biggest piano surprise of my live was at last year's Piano Night at Tipitina's, where a tribute to Fess showcases up to a dozen players. George Wein, THE George Wein of impressario fame, got on the bench and played some of the most inspired blues I've ever heard. Til then, I didn't even know the man played at all. For anyone who's never seen it, there's a wonderful video made by a guy named Stevenson Palfi about Fess and Booker. It's called "Piano Players Rarely Ever Play Together." A very moving portrait of Fess. And another video which I've practically worn down to fuzz is about my favorite piano jazz composer of all time, Abdullah Ibrahim, called "A Brother With Perfect Timing." Shot in New York but contains terrific street scenes from his home in Capetown, South Africa. Video stores can order both for you. --Maggie Maggie Mortensen<>Exarch Services<>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Sat, 27 Apr 1996 11:12:02 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Comments: To: Mitocaru Constantin On 27 Apr 96, Mitocaru Constantin had this to say: > list global act local Earth Day, 1996 ;^) ========================================================================= Date: Sat, 27 Apr 1996 11:51:09 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Also on this day... On this day in 1903, The U.S. Supreme court, in Giles v. Harris, upheld a clause in Alabama's Constitution denying blacks the right to vote. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ I get so tired listening to one million dollars here, one million dollars there, it's so petty. - Imelda Marcos ========================================================================= Date: Sat, 27 Apr 1996 10:25:07 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: April 28 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BARKSDALE, EVERETT (g/DEE JAY REC) b. 1910-0428, DETROIT, MI BAUZA, MARIO (asax/latin) b. 1911-0428, HAVANA, CUBA FANTASTIC JOHNNY C (v) b. 1943-0428, GREENWOOD, SC GUY, PHIL (g/JSP REC) b. 1940-0428, LETTSWORTH, LA JONES, LLOYD (g) b. 1950-0428, SEATTLE, WA LEE, GEORGE E. (sax/JULIA LEE) b. 1896-0428, BOONEVILLE, MO PATTON, CHARLEY(g/PARAMOUNT/VOCALION REC) d. 1934-0428, INDIANOLA, MS 43 SIPPEN, IAN (owner: RED LIGHTNIN' REC) d. 1973-0428, MOROCCO -- SMITH, MOSES "WHISPERING" (hca/EXCELLO) d. 1984-0428, BATON ROUGE, LA 52 THOMPSON, ODELL (bjo/ROUNDER) d. 1994-0428, MEBANE, NC 82 WHITE, SONNY (p/BILLIE HOLIDAY) d. 1971-0428, NEW YORK CITY, NY 63 ------------------------------------------------------------------------------- ========================================================================= Date: Sat, 27 Apr 1996 17:18:01 GMT Reply-To: welemali From: welemali Organization: I'm not organized Subject: Muddy Waters and Lenny Kravitz I was just listening to Hootchie Cootchie Man, and suddenly it struck me that it sounded very similar to Kravitz's Are you gonna go my way, well at least the shitty acoustic version of it. I'd appreciate any comments on this one. Also, if anyone has some blues sheet music I'd like to take a look at it. I'm trying to pick up the alto sax, but it's hard to try and play the blues when I don't even a blues scale. Anyway, just listen to the two songs, and let me know. ---------------------------------------------------------------------------- "You are going to find that many of the truths we cling to depend greatly on our own point of view" -- Obi Wan Kenobi He speaks the truth, if you want to hear more of that very rare ideal drop me a note. ========================================================================= Date: Sat, 27 Apr 1996 13:30:52 -0400 Reply-To: RNABooking From: RNABooking Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Piano Blues Comments: To: bit-listserv-blues-l@uunet.uu.net Big Al Dupree from Dallas. ========================================================================= Date: Sat, 27 Apr 1996 13:00:25 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 04/28 B O R N : 04/28 BARKSDALE, EVERERETT Born:1910 DETROIT, MI Career:GUITAR Style:JAZZ / BLUES With: EDDIE SOUTH / BENNY CARTER / ED HALL / SIDNEY BECHET / HERMAN CHITTISON / ART TATUM BURTON, ROY VICTOR Born:1936 ROCHESTER, KENT, UK Career:TROMBONE Style:TRAD / JAZZ With:Corner House JB COLON, WILLIE Born:1950 BRONX, NY Career:SINGER / TROMBONE / LEADER Style:JAZZ DEARIE, BLOSSOM Born:1926 EAST DURHAM, NY Career:SINGER / PIANO Style:JAZZ / BIG BAND With:Blue Flames with Woody Herman / Blue Reys with Alvino Rey / The Blue Stars, she wrote arrangements, Their version of Lullaby of Birdland, sung in French, was a big hit ELLINGTON, DUKE ( EDWARD KENNEDY ) Born:1899 WASHINGTON, D.C. Career:PIANO / LEADER / COMPOSER / ARRANGER Style:JAZZ / BIG BAND With:Louis Thomas / Daniel Doyle / Oliver 'Doc' Perry / Elmer Snowden / Otto Hardwick / Arthur Whetsol HAMILTON, CHARLIE Born:1904 AMA, LA Career:PIANO / BANJO Style:TRAD / JAZZ JACKSON, OLIVER JR. ( BOPS JUINOR ) Born:1933 DETROIT, MI Career:DRUMMER Style:JAZZ / BIG BAND With:Thad Jones / Paul Chambers / Tommy Flanagan / Teddy Wilson / Charlie Shavers / Buck Clayton / Benny Goodman / Lionel Hampton Kenny Burrell / Earl Hines / Budd Johnson / Bill Pemberton / Dill Jones / Sy Oliver / Oscar Peterson LEE, GEORGE E Born:1896 BOONEVILLE, MO Career:BARITONE SAX / SINGER / LEADER Style:JAZZ / BLUES / BIG BAND With:Brother of Julia Lee / Jesse Stone / Eddie Thompkins / Budd Johnson / Keg Johnson / Tommy Douglas / Herman Walder / Baby Lovett ROWSER, JIMMY ( JAMES EDWARD ) Born:1926 PHILADELPHIA, PA Career:BASS Style:JAZZ / BIG BAND With:Dinah Washington / Maynard Ferguson / Red Garland / Lee Morgan / Junior Mance / Ray Bryant / Illinoise Jacquet / Herb Ellis / Benny Goodman / Al Cohn / Zoot Sims / Les McCann TCHICAL, JOHN MARTIN Born:1936 COPENHAGEN, DENMARK Career:ALTO SAX / TENOR SAX / BARITONE SAX / CLARINET Style:JAZZ With:Archie Shepp / Don Cherry / John Coltrane / Albert Ayler TEAGARDEN, NORMA ( NORMA FRIEDLANDER ) Born:1911 VERNON, TX Career:PIANO Style:TRAD / JAZZ / BIG BAND SISTER OF JACK-CHARLIE-CUB With:JACK TEAGARDEN 1944-46 / MATTY MATLOCK / PETE DAILY / BEN POLLACK / TURK MURPHY TUCKER, MICKEY Born:1941 DURHAM, NC Career:PIANO Style:JAZZ / BLUES With:James Moody / Thad Jones-Mel Lewis Band / Damita Jo / Timmy Rogers / Roy Brooks / Eddie Jefferson / Art Blakey / Art Farmer ZOTTOLA, GLENN Born:1947 PORT CHESTER, NY Career:TRUMPET / ALTO SAX Style:JAZZ With:LIONEL HAMPTON-1970 / MEL TORME / TONY MARTIN / PATTI PAGE / TEX BENEKE / BENNY GOODMAN / BOB WILBER / PEANUTS HUCKO Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us The Following were Recorded on this Date in the Years: ========================================================================= Date: Sat, 27 Apr 1996 14:53:35 -0400 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: 'Zellers at the Handy's The Bluzman is coming to the festivities in Memphis. Has there been a time and place determined for list members to meet? I have made a special Blues L t-shirt, so I can be easily be identified while I am there, and of course I'll be trying to spot those with the "Official Blues-L" shirts. Looking forward to great times, Blues, Barbeques, and Booze. See y'all there. Bluz!! Ed ========================================================================= Date: Sat, 27 Apr 1996 16:37:45 -0400 Reply-To: SOO3713@ALPHA.CC.OBERLIN.EDU From: Owen Okie Subject: buddy guy on JHL albums. I love Buddy Guy, and I love JLH, and I jsut found out that Buddy played guitar on a JLH album. Can anyone name this album (or albums if there are more than one) Thanks! Owen ========================================================================= Date: Sat, 27 Apr 1996 16:04:12 -0500 Reply-To: 00LCSPECTOR@BSUVC.BSU.EDU From: "Lee C. Spector" <00lcspector@BSUVC.BSU.EDU> Subject: Piano Blues There is a somewhat straight forward reason why there are not many piano blues people coming up and it is essentially that the blues public isn't all that interested in them. I know this is an often repeated message on my part, but when arguably the greatest blues piano man alive, Omar Sharriff, can't sell records or get many gigs, it sends a message. First, it tells other record companies that fans are not interested and second, it doesn't give exposure to potential new piano people that blues is a viable place to put their skills. Now as to why this might be the case, I have a "theory" that I am not wedded to, but might be a good starting off point. People generally come to blues from two main places - jazz and rock. Those who come from jazz are more inclined to like piano players since the piano has a very important place in jazz, while the guitar is not as visable. Those who come from rock are more inclined to like guitar because of the emphasis of guitar in rock. It used to be that more people got to blues from jazz, especially since back in the fourties and fifties there was no rock and therefore, the fifties and sixties was the hayday of blues piano. Now, most folks come from rock and guitar has taken over. I think this might explain, somewhat, why there is an emphasis in not only guitar based blues, but also electric blues as well. Ever since the folk bloom died out, accustic blues has also not done very well. In any case, it's just a theory and if nothing else it gives me a chance to put my quarterly plug in for Omar, whose cd's can be purchased from Have Mercy Records. I have no affiliation with Have Mercy, other than a consumer who wants to hear more of Omar and a great soul/blues group called the Soul Prophets. Lee Lee C. Spector Department of Economics ========================================================================= Date: Sat, 27 Apr 1996 16:19:15 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Piano Blues Maggie Mortenson's post about blues pianists reminds me to tell all and sundry that RCA/BMG has just reissued (in Canada, anyway, and I hope in the US as well) a double CD of Oscar Peterson's first sessions. Beginnings (1945-1049) is an astonishing record, showing how deeply Peterson was influenced by blues and the boogie pianists like Albert Ammons and Pete Johnson. But the man's technique - even then - is simply awesome, and there is no wonder that he became the jazz giant that he did. Incidentally, I have also heard tapes of a three-handed collection of boogies by three Canadian pianists, Scott Cushnie (who acually once played with Aerosmith!), Joan Besen (she's in a country band called Prairie Oyster), and Doug Riley (long one of the best studio players in these parts). If it ever sees the light of day, I'll pass on the news - it's very good indeed. Richard the Elder ========================================================================= Date: Sat, 27 Apr 1996 16:27:11 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Going into the studio A word of advice. Don't spend all your money. Save at least the same sum of money that you're using to make the record, so that you have the wherewithall to market it once it's finished. I've never forgotten the guy who came into my office,years ago, to announce that he had just pressed up 1,000 albums. "Now what should I do?" he asked. My answer: Read Diane Sward Rapaport's book How to Make and Sell Your Own Recording (Ms. Rapaport is at Headlands Press, Box N, Jerome, AZ 86331, but I think Prentice Hall has the book nationally at bigger bookstores and specialist music stores). It's the bible for anyone making an indie record. Richard the Elder ========================================================================= Date: Fri, 26 Apr 1996 21:36:54 GMT Reply-To: Jack Oudiz From: Jack Oudiz Organization: Midtown Computer Services Subject: Re: Piano Blues/Big Joe Duskin Comments: To: bit-listserv-blues-l@uunet.uu.net >Speaking of piano blues, does anyone know if Big Joe Duskin is still >alive? I picked up his cd "Cincinnati Stomp" this weekend, and it's an >excellent piano blues recording, with Jimmy Johnson on one track, and >Bob Margolin on several. Yes Big Joe is very much alive and performed at last Fall's Ojai Bowlfull of Blues where my very close friend Dan Pollock had the privilige of backing him on guitar. I have a tape of the set and he also performed a piano duo with Sonny Leyland and then a TRIO! with Leyland and Rob Rio. Boogie woogie all night long baby! Jack Oudiz "I asked my baby if she could stand to see me cry, She said doggone you I could stand to see you die!" ========================================================================= Date: Fri, 26 Apr 1996 21:39:55 GMT Reply-To: Jack Oudiz From: Jack Oudiz Organization: Midtown Computer Services Subject: Re: Chris Cain Press Release/Tour Dates Comments: To: bit-listserv-blues-l@uunet.uu.net \ Blues Access magazine's Spring 1996 >issue called Cain a "triple threat blues talent" and said "Cain is a >gifted vocalist, versatile guitarist and a well above average songwriter >who, at the age of 40, has already been honing his musical skills for >nearly three decades." I am honored to be quoted on my review. And I meant every word. An excellent album by a major talent. Jack Oudiz "I asked my baby if she could stand to see me cry, She said doggone you I could stand to see you die!" ========================================================================= Date: Sat, 27 Apr 1996 16:47:15 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Going into the studio?any suggestions? Comments: To: pwfenton@GATE.NET In-Reply-To: <199604271446.KAA16356@osceola.gate.net> from "P.W. Fenton" at Apr 27, 96 10:44:53 am > It seems to me that if the Coronado was one of the best instruments > Fender ever made it might be just a tad more popular than it was. > Certainly Strats, Teles, Jazzmasters, Jaguars, and Mustangs were/are > all much more popular, but what would a million guitar players know? Aha! If everyone is doing it, then it must be right! P.T. Barnum had a rather unflattering name for those who follow the masses, and said that one is born every minute. Of course, that was back when the birth rate was substantially less :-) But seriously, I don't really care much what "everyone else" is doing. I have always preferred to make my own decisions and make up my own mind. I own a Strat and a Coronado, and the Coronado is clearly a superior guitar. Everyone else I know who either owns a Coronado or has played one loves it. Have you actually tried one? Of course, "best" is always a subjective call. If you hate escargo, there is no "best". The Coronado is a great guitar. But if you want a solid body with sustain and resistance to high-volume feedback, you probably will like a Strat, Tele, Les Paul, etc., better. Have you ever played a Coronado? Why was the Coronado not that popular? First, the Coronado was an expensive guitar, I believe originally listing substantially higher than Strats and Teles. Secondly, the Coronado is a hollow body, and was issued at a time when solid bodies were in vogue. Fender was not noted for its hollow body guitars, especially back then. I don't recall it being properly marketed. I bought mine from the nephew of a dealer, practically brand new. I had never heard of it. Third, it came with thin sounding, unshielded single coil pickups that buzzed when you even mentioned "neon". Fourth, its electrical design wasn't all that good. Fifth, it's a rather hokey looking f-hole instrument, not hip like the solid bodies the "real" musicians played back then. Sixth, Jimi/Jimmy/Buddy/Duane/Eric/King-of-your-choice didn't play one. But that is all meaningless in this discussion. The tremelo is the best I've ever seen. While its range isn't that great - it'll drop about three semitones on all strings, plenty for subtle effect but inadequate for dive bombing - it doesn't affect tuning very much at all, due I'm sure in great measure to the floating bridge. The neck is great - the best I've ever played. (Of course, when I first bought it, I dressed every fret under every string for perfect action - it took me over a year). It's mounted very solidly to the body, which is a true hollow body. While it doesn't sustain as good as a solid body, and tends to feed back at "acid rock concert" volume, it has a very unique and pleasant sound. For non-SRV blues, jazz, and generl purpose, it's a great guitar. Strats are great, but they're always Strats, and can be nothing else regardless of the bill of goods Roland would like to sell us along with their VG-8 :-) If you want a Strat, you are best off getting one ;-) But if you're looking for a great guitar with a lot of character for recording and low to moderately loud volume live performance, the Coronado has a lot to say for itself, especially if you replace the pickups and controls. I use a DiMarzio dual sound and Carvin humbucker (the one with a zillion pole pieces) with a 741 op amp voltage follower to isolate the pickups from cable capacitance, amplifier or effects mismatch, etc. This gives the humbucker position a much brighter natural top end (not shrill and fingernails-on-the-blackboard shreechy sounding like treble boost circuits), not at all unlike single coil, but with the fat bottom characteristic of humbuckers. ALL guitars I've tried have the same problems with new strings. Some are much worse than others, and some folks can't string a guitar properly. But I don't know any session players here in Hollywood (CA, not FL :-) who go into the studio with a less than day old set of strings. But then again, what do the best musicians in the world know about guitar strings ;-) > Speaking of the Coronado, I think that it may be your Coronado that > needs to "settle in" any time anything is changed. What you are > calling string stretch, may actually be "Coronado flex". I never > have that problem, and I know I'm not alone. Then how come it also happens when I break an E 1st string (which happens VERY seldom on the Coronado - it has been YEARS - another design coup for the Coronado)? The string loses tension (and of course pitch) just as much as when I change a full set. If it were the Coronado "settling in", this should be substantially less pronounced. In many cases, it's MORE pronounced, but I suspect it's because I don't carry needlenose pliers with me to "right angle" the new string (or I don't have time to get them out of the car during the middle of a set when I'm the sole "band member" :-) When you break a string once or twice every ten years, you keep a spare set of strings, but don't worry about pliers. Besides, when I break a string, I change it, play another couple of songs, take a break, get the needle nose, and change the entire set. A new set is OK for gigs, but not for sessions recorded for posterity (or money :-) Also, this theory of the Coronado needing "time to settle in", if it were the case, would bean that changing strings one at a time would mean less "settling in" than yanking all strings en masse. But it makes no discernable difference. > As for electronic tuners, the cheapest can discriminate variations in > pitch as well or BETTER than any human. Theoretically true. For the purpose of this discussion, I'll ignore electronic malfunction, which certainly does occur, especially in the static sensitive VLSI CMOS components required to build tuners. In practice, cheap, damaged, or malfunctioning analog D'Arsonval meter movements can exhibit unacceptable variations. Also, I've seen at least one tuner that has no movement or equivalent, and shows only "in tune", "sharp", or "flat". (I don't recall the model or specifics, but thankfully it's not common). These don't detect anything finer than their design spec "in tune" range. I own two tuners (Boss TU-12 and a cheapie called a "Piggy"), both of which have analog meter movements. It's surprising (and revealing) to note the discrepancies between the meters. A good quality jeweled meter movement retails at substantially higher than an entire inexpensive tuner. Yes I know they buy 'em wholesale, but we PAY retail for tuners, so I'm comparing apples to apples. When in doubt, I tend to go with my ear. Another thing to consider is that all tuners I've seen deal only with equal temperament, which is actually musically incorrect. Back in the "olde days", just temperament was used, and pianos, etc., were tuned to a particular key. I believe it was Bach who instituted equal tuning to allow instruments to play in all keys, but it was a compromise - trading ragged chords for chromaticity. Temperament" refers to the actual pitch of the notes. Equal means they're all the same. "Just temperament" refers to a particular key and altering the notes to produce the smoothest chords. In other words, an E note ain't always quite an E note. This is one reason why many guitarists refuse to use tuners, preferring to tune to more of a just temperament, which produces much better chords for the basic position it's optimized for. These tend to pull strings into tune while playing, especially on single note leads. This is why many guitarists get an E from another instrument, hit an E chord, and tune for the best chord. (Of course, some do this because their instruments were intoned by Atila the Hun, but that's a whole new ball of yarn, let alone thread :-) Equal temperament on most chording instruments is one of the major reasons good horn sections sound soooo nice in comparison. Good horn section players generate just temperament "by ear". Because vocal "harmonizers" use equal termperament (at least the ones I've checked out), GOOD live vocalists sound better and "blend" better. All diatonic (blues style) harmonicas use just temperament (or close), at least on the lower 6 notes; except for the Golden Melody, which uses equal temperament. Those using open tuning for slide guitar will generally get the best results by using the tuner ONLY for the root notes and tuning thirds and fifths (etc.) by ear for the smoothest chord. While I use and greatly appreciate tuners, it's important to know exactly what they're good for and where they fall short. -- IronMan Mike Curtis ========================================================================= Date: Sat, 27 Apr 1996 17:02:50 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: PW's "On this day...." Re: DNA Comments: To: Steve.Levine@CORP.WRGRACE.COM In-Reply-To: <98F59BC9@MHS> from "Steve Levine" at Apr 26, 96 11:46:38 am > I guess once you discover the "blues gene" you can make true "SRV clones." :-) Sheesh - don't you know nuttin? Them's the blues-ROCK genes. They're also known as the blues-rock levis (hey - you all heard of "Blue Genes"). As we say in the telephone biz, "get your fax straight". A somewhat apocryphal tale about the old TV show "DRAGNET": Sgt. Friday walks into a business supply store looking for a facsilime machine. The saleslady asks "Can I interest you in a new copier"? Friday replies, "No Ma'am. Just the fax, Ma'am". -- IronMan Mike Curtis ========================================================================= Date: Sun, 28 Apr 1996 01:46:26 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Jimi Hendrix of harp???? Comments: To: bit-listserv-blues-l@uunet.uu.net Adrian Spidle wrote: > [edit] >Jim Fitting could be a Jimi Hendrix of harp. Or a Little Walter for the >80s/90s. > Excuse me? Jim Fitting is good, but he's doesn't even belong in the same conversation as pioneering virtuosi like Hendrix and Little Walter. Unless Fitting sold his soul to the devil in the last few years (a la the Robert Johnson legend), he'd be more accurately described as maybe the Slim Harpo of the 80s/90s. IMHO. Scott ========================================================================= Date: Sat, 27 Apr 1996 22:18:03 -0400 Reply-To: BLUESROCCO@AOL.COM From: Jim Rocco Subject: Re: Piano blues Comments: To: bluesdj@halcyon.com Let us not forget the great Memphis Slim. Jim ========================================================================= Date: Sat, 27 Apr 1996 19:54:29 -0700 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Re: Also on this day... Comments: To: "P.W. Fenton" In-Reply-To: <199604261603.MAA23066@osceola.gate.net> ENLIGHTENMENT, I knew it all along, P.W. is Budhha, Isaac On Fri, 26 Apr 1996, P.W. Fenton wrote: > On this day in 1954, nationwide tests of Salk anti-polio vaccine > began. I remember it vividly because I had an absolutely startling > revelation, for a six year old, the day we got our polio shots. My > friend and classmate Louis was in line in front of me, and he jerked > his arm just as the needle stuck him. Consequently he began to > bleed from the wound. What I saw blew my six year old mind. His > blood was RED! Just like mine! You see, Louis was black and I had > just assumed that the differences between us went all the way > through. Thus began my enlightenment. > > P.W. Fenton > Tampa, Florida > http://www.gate.net/~pwfenton/ > > Ah, make the most of what we yet may spend, > Before we too into the Dust descend. > - Omar Khayyam > ========================================================================= Date: Sat, 27 Apr 1996 20:11:52 -0700 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Re: Going into the studio?any suggestions? Comments: To: "P.W. Fenton" In-Reply-To: <199604271446.KAA16356@osceola.gate.net> As for electronic tuners, the cheapest can discriminate variations in pitch as well or BETTER than any human. --------------------- I don't think so P.W. Myself and a group of guitarists once where in the situation to test this opinion with all our various tuners. And we all tuned up to them the best we could and then checked the Harmonics and octaves and, it was quite obvious that there was a big difference. My friends Strobe tuner was the only one that really came close to maching the differences that we heard. Truthfully if you are in a quite situation and have decent ears, there is a difference. Tuning is a science unto itself and it takes some mastery. I recommend for anyone hooked on electronic tuners to try out there ear and hear whats going on, you might be surprised. Personally if I am playing in a slide tuning (vestapol, open A, G, E...) I will always tune by ear to the perfect Harmonic intervals (none of that tempered shit for slide). I do use an electronic tuner for its great ease, but I'll always check with my ear for the downright info to see if I am in tune. Isaac ========================================================================= Date: Sat, 27 Apr 1996 20:41:59 -0700 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Recording Success!! YES!!! Well, thanks all, recording last night was a great success (to say the least). WE (Hot For Mama) had worked up Three tunes for our demo, and given free studio time (6 hours) went in and Kicked ass. Even thoug all you guys where talking about rehearsals etc... unfortunetely we where only able to have one rehearsal with this new drummer (Paul GOD OF DRUMS). and all we did was work on these three tunes. So for your info, I changed strings 3 hours before going into the studio, practically to the exact specs that P.W. gave (even though I hadn't had a chance to read them). And once we had the SOUND, it all just came out like Foam from a tap. the tunes we recorded are Nothing But the Blues-- Max Longmire, our version is most influenced by Guitar Slims (we get a bit jazzier though) Mellow Down Easy-- Walter Jacobs, we really go crazy on this one (not in an S.R.V. way) Sixteen Chicks-- ???? I forgot who wrote it at the moment. We steamrolled this song ala rockabilly, we had the engineers dancing. HOT. so my first reall studio outing was a great success and thank you all, Once we print up some duplicates I will be sure to send some out some of you zellers. I'd hook up the whole list if I could but I just don't have the dough. The initial responces are awesome, I don't really wan't to boast anymore but hey, WE sound great!!!!, I can't wait till we have more experience playing together. Thanks all, Isaac (who is so stoked right now!) ========================================================================= Date: Sun, 28 Apr 1996 18:14:34 +1000 Reply-To: Kratingtone From: Kratingtone Subject: MNN "Music Network Navigator" Comments: To: KPierce@age.cuc.ab.ca, X@age.cuc.ab.ca, mpj@kepler.unh.edu, GRIND@unh.edu, kiwimusic-request@mit.edu, KIWIMUSIC@mit.edu, dewy-fields-request@ifi.uio.no, dewy-fields@ifi.uio.no, fruit-request@gdb.org, FRUIT@gdb.org, woj@remsu.rutgers.edu, FEGMANIAX@gnu.ai.mit.edu, eric@enterprise.bih.harvard.edu, LEVEL42@enterprise.bih.harvard.edu, John Adams , jrhumphr@eos.ncsu.edu, tiffanyde@urvax.edu, DZ5401a@american.edu, SERAVES@american.edu, mb0458@cmsuvmb.cmsu.edu, ASTA-L@cmsuvmb.cmsu.edu, jarvis@psych.edu, jschrag@alias.com, CHORUS@psych.toronto.edu, keith@celtech.com, DIRECT@celtech.com, BALLROOM-Request@mitvma.mit.edu, BALLROOM@mitvma.mit.edu, tmh1@psuvm.psu.edu, FOLKDJ-L@psuvm.edu, scoth@wmvm1.cc.wm.edu, FOLKTALK@wmvm1.cc.wm.edu, bwoolf@pro-woolf.clark.net, FOGELBERG@pro-woolf.clark.net, stormcock-request@dcs.qmw.ac.uk, dorn@indigo.mese.com, INDIGO-GIRLS@indigo.mese.com, poi-pounders-request@presto.ig.com, gregbb@uhunix.uhcc.hawaii.edu, ACID-JAZZ@ucsd.edu, pimmel@cs.wisc.edu, lotus@crd.lotus.com, funky-music-request@mit.edu, FUNKY-MUSIC@mit.edu, TBUCK@KNOX.BITNET, MILES@HEARN.NIC.SURFNET.NL, shot-of-rhythm-request@chinacat.unicom.com, rockin@mudhoney.micro.umn.edu, GRUNGE-L@ubvm.cc.ubvm.edu, Lack_William_E1@msmail.muohio.edu, BUFFETT@miamiu.acs.muohio.edu, djh@gnu.ai.mit.edu, COSTELLO@gnu.aai.mit.edu, DEAD-HEADS-Approval@nemesis.Berkeley.EDU, DEAD-HEADS@nemesis.Berkeley.EDU, dead-flames-approval@nemesis.Berkeley.EDU, DEAD-FLAMES@nemesis.Berkeley.EDU, abbott@ms.uky.edu, HEY-JOE@ms.uky.edu, JANES-ADDICTION@ms.uky.edu, tim@boulder.colorado.edu, perry@bng.com, POWDERWORKS@cs.colorado.edu, datta@cs.uwp.edu, numan@cs.uwp.edu, echoes-request@fawnya.tcs.com, undercover-request@tempest.cis.uoguelph.ca, gschmitz@luna.cas.usf.edu, BUZZ-FACTORY@nosferatu.cas.usf.edu, a3@a3.hacktic.nl, rnovak@nyx.cs.du.edu, slade-request@gnu.ai.mit.edu, larryn@csufres.csufresno.edu, BACKSTREETS-request@virginia.edu, BACKSTREETS@virginia.edu, abbott@ms.uky.edu, U2-LIST@ms.uky.edu, DLodge@mcs.dundee.ac.uk, KOSMOS@mit.edu, CHALKHILLS-Request@presto.ig.com, woolf@pro-woolf.clark.net, bwoolf@pro-woolf.clark.net, kirsten@mik.uky.edu, rnovak@acca.nmsu.edu, tiger-request@acca.nmsu.edu, J.Arnold@ma30.bull.com, mkwong@ucsd.edu.org, fng@acca.nmsu.edu, btl@ebgt.org, goathunter@wkuvx1.wku.edu, JOURNEY-L@wkuvx1.wku.edu, zen@fish.com, AL-ATEWART@fish.com, abbott@ms.uky.edu, TEARS4@ms.uky.edu, ckkwan@acsu.buffalo.edu, ACTMUS-L@ubvm.cc.buffalo.edu, RNovak@nyx.cs.du.edu, perfect-beat-request@gnu.ai.mit.edu, KPierce@age.cuc.ab.ca, WESTCANAALTER@age.cuc.ab.ca, a3@a3.hacktic.nl, RNovak@nyx.cs.du.edu, eu20-request@gnu.ai.mit.edu, finlandia-owner@phoenix.oulu.fi, FINLANDIA@phoenix.oulu.fi, fan-julie@musique.org, CHANTER-LISTE@wimsey.com, Majordomo@wimsey.com, LISTSERV@IRLEARN.NITNET, montevec@csr.unibo.it, GENERAL@csr.unibo.it, elendil@mintir.new-orleans.la.us, NEW-ORLEANS@mintir.new-orleans.la.us, BAGPIPE-Request@cs.dartmouth.edu, BAGPIPE@cs.dartmouth.edu, jj_hayden@solinet.net, SIDEDRUM@solinet.net, fan-julie@musique.org, JULIEMASSE-LISTE@wimsey.com, tango-request@mitvma.mit.edu, TANGO@mitvma.mit.edu, libhtk@suvm.syr.edu, MORRIS@suvm.acs.syr.edu, listserf@orbital.demon.co.uk, david.bowen@cray.com, BBSHOP@cray.com, dns@cs.nott.ac.uk, STICKY-Request@cs.nott.ac.uk, aspmo@acvax.inre.asu.edu, asdbt@acvax.inre.asu.edu New! World New! Web New! Way New! Music New! MNN "Music Network Navigator" Now! Click'n'Roll on http://www.thehub.com.au/~sarsit ### More than 100 of Music sites are waiting for you! Now! ### ========================================================================= Date: Sun, 28 Apr 1996 18:19:00 +1000 Reply-To: Kratingtone From: Kratingtone Subject: MNN "Music Network Navigator" Comments: To: KPierce@age.cuc.ab.ca, X@age.cuc.ab.ca, mpj@kepler.unh.edu, GRIND@unh.edu, kiwimusic-request@mit.edu, KIWIMUSIC@mit.edu, dewy-fields-request@ifi.uio.no, dewy-fields@ifi.uio.no, fruit-request@gdb.org, FRUIT@gdb.org, woj@remsu.rutgers.edu, FEGMANIAX@gnu.ai.mit.edu, eric@enterprise.bih.harvard.edu, LEVEL42@enterprise.bih.harvard.edu, John Adams , jrhumphr@eos.ncsu.edu, tiffanyde@urvax.edu, DZ5401a@american.edu, SERAVES@american.edu, mb0458@cmsuvmb.cmsu.edu, ASTA-L@cmsuvmb.cmsu.edu, jarvis@psych.edu, jschrag@alias.com, CHORUS@psych.toronto.edu, keith@celtech.com, DIRECT@celtech.com, BALLROOM-Request@mitvma.mit.edu, BALLROOM@mitvma.mit.edu, tmh1@psuvm.psu.edu, FOLKDJ-L@psuvm.edu, scoth@wmvm1.cc.wm.edu, FOLKTALK@wmvm1.cc.wm.edu, bwoolf@pro-woolf.clark.net, FOGELBERG@pro-woolf.clark.net, stormcock-request@dcs.qmw.ac.uk, dorn@indigo.mese.com, INDIGO-GIRLS@indigo.mese.com, poi-pounders-request@presto.ig.com, gregbb@uhunix.uhcc.hawaii.edu, ACID-JAZZ@ucsd.edu, pimmel@cs.wisc.edu, lotus@crd.lotus.com, funky-music-request@mit.edu, FUNKY-MUSIC@mit.edu, TBUCK@KNOX.BITNET, MILES@HEARN.NIC.SURFNET.NL, shot-of-rhythm-request@chinacat.unicom.com, rockin@mudhoney.micro.umn.edu, GRUNGE-L@ubvm.cc.ubvm.edu, Lack_William_E1@msmail.muohio.edu, BUFFETT@miamiu.acs.muohio.edu, djh@gnu.ai.mit.edu, COSTELLO@gnu.aai.mit.edu, DEAD-HEADS-Approval@nemesis.Berkeley.EDU, DEAD-HEADS@nemesis.Berkeley.EDU, dead-flames-approval@nemesis.Berkeley.EDU, DEAD-FLAMES@nemesis.Berkeley.EDU, abbott@ms.uky.edu, HEY-JOE@ms.uky.edu, JANES-ADDICTION@ms.uky.edu, tim@boulder.colorado.edu, perry@bng.com, POWDERWORKS@cs.colorado.edu, datta@cs.uwp.edu, numan@cs.uwp.edu, echoes-request@fawnya.tcs.com, undercover-request@tempest.cis.uoguelph.ca, gschmitz@luna.cas.usf.edu, BUZZ-FACTORY@nosferatu.cas.usf.edu, a3@a3.hacktic.nl, rnovak@nyx.cs.du.edu, slade-request@gnu.ai.mit.edu, larryn@csufres.csufresno.edu, BACKSTREETS-request@virginia.edu, BACKSTREETS@virginia.edu, abbott@ms.uky.edu, U2-LIST@ms.uky.edu, DLodge@mcs.dundee.ac.uk, KOSMOS@mit.edu, CHALKHILLS-Request@presto.ig.com, woolf@pro-woolf.clark.net, bwoolf@pro-woolf.clark.net, kirsten@mik.uky.edu, rnovak@acca.nmsu.edu, tiger-request@acca.nmsu.edu, J.Arnold@ma30.bull.com, mkwong@ucsd.edu.org, fng@acca.nmsu.edu, btl@ebgt.org, goathunter@wkuvx1.wku.edu, JOURNEY-L@wkuvx1.wku.edu, zen@fish.com, AL-ATEWART@fish.com, abbott@ms.uky.edu, TEARS4@ms.uky.edu, ckkwan@acsu.buffalo.edu, ACTMUS-L@ubvm.cc.buffalo.edu, RNovak@nyx.cs.du.edu, perfect-beat-request@gnu.ai.mit.edu, KPierce@age.cuc.ab.ca, WESTCANAALTER@age.cuc.ab.ca, a3@a3.hacktic.nl, RNovak@nyx.cs.du.edu, eu20-request@gnu.ai.mit.edu, finlandia-owner@phoenix.oulu.fi, FINLANDIA@phoenix.oulu.fi, fan-julie@musique.org, CHANTER-LISTE@wimsey.com, Majordomo@wimsey.com, LISTSERV@IRLEARN.NITNET, montevec@csr.unibo.it, GENERAL@csr.unibo.it, elendil@mintir.new-orleans.la.us, NEW-ORLEANS@mintir.new-orleans.la.us, BAGPIPE-Request@cs.dartmouth.edu, BAGPIPE@cs.dartmouth.edu, jj_hayden@solinet.net, SIDEDRUM@solinet.net, fan-julie@musique.org, JULIEMASSE-LISTE@wimsey.com, tango-request@mitvma.mit.edu, TANGO@mitvma.mit.edu, libhtk@suvm.syr.edu, MORRIS@suvm.acs.syr.edu, listserf@orbital.demon.co.uk, david.bowen@cray.com, BBSHOP@cray.com, dns@cs.nott.ac.uk, STICKY-Request@cs.nott.ac.uk, aspmo@acvax.inre.asu.edu, asdbt@acvax.inre.asu.edu New! World New! Web New! Way New! Music New! MNN "Music Network Navigator" Now! Click'n'Roll http://www.thehub.com.au/~sarsit ### More than 100 of Music sites are waiting for you! Now! ### ========================================================================= Date: Sun, 28 Apr 1996 09:43:21 +0000 Reply-To: Mary Ng Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Mary Ng Organization: Monash University Subject: Blues Records Comments: To: all@vaxc.cc.monash.edu.au Hi, After reading this message base for awhile I was wondering if there is a site were I can trade some of my less listened to blues/gospel records, no point hanging onto stuff you don't listen to, & wouldn't mind finding more material to listen to as well...interested in 78's, lps, eps & cd's.... Thanks, Mary ========================================================================= Date: Sun, 28 Apr 1996 12:03:54 +0000 Reply-To: tony burke From: tony burke Subject: None Tony Burke, B&R Magazine, Bedford, UK signoff blues-l ========================================================================= Date: Sun, 28 Apr 1996 09:01:00 EDT Reply-To: Debra Eisert From: Debra Eisert Subject: Re: Blues piano What can I say? I agree that the piano is not getting the type of blues exposure designed to bring up new talent. Too bad. Having said that, The Queen City Blues Festival has featured a piano stage the last couple years. (Shannon, are they planning that for this July as well?) ##################################################################### Debra Eisert "It is the mark of an educated man to debra@iglou.com be able to entertain a thought without Cincinnati, OH accepting it." -- Aristotle ##################################################################### ========================================================================= Date: Sun, 28 Apr 1996 09:01:23 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Piano blues >Let us not forget the great Memphis Slim. > >Jim Hear, hear. But wasn't this thread about living/up and coming pianists? Chris Smith (chris@skerries.demon.co.uk) Be nice to your children; they'll choose your nursing home. ========================================================================= Date: Sun, 28 Apr 1996 08:44:35 -0500 Reply-To: Gary Croisatiere From: Gary Croisatiere Organization: Triangle Music Subject: Looking for Barbara Carr recording Comments: To: bit-listserv-blues-l@uunet.uu.net Does anyone know where I can obtain the Barbara Carr recording "Street Women". Reviewed in Living Blues #122. Please email me with info. Gary Triangle Music ========================================================================= Date: Sun, 28 Apr 1996 09:59:48 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Blues Playground Playlist 4/28/96 TO: Commercial Radio Promotion FROM: Stew Crossen - WCCC 107 FM - Hartford, CT SUBJECT: The Blues Playground Playlist DATE: April 28, 1996 ____________________________________________________________________________ Playlist for THE BLUES PLAYGROUND 4-28-96 ARTIST ALBUM LABEL TRK James Peterson Don't Let The Devil Ride Waldoxy 9 Lonnie Shields Portrait Rooster 2 Ace Moreland Keepin' A Secret King Snake 12 Tre' Delivered For Glory JSP 2 Paul Oscher Knockin' On The Devil's Door Viceroots 8 Willie "Big Eyes" Smith Bag Full Of Blues Blind Pig 5 Monster Mike Welch These Blues Are Mine Tone-Cool 2 John Primer The Real Deal Code Blue 2 Al Miller Wild Cards Delmark 5 Sarah Brown Sayin' What I'm Thinkin' Blind Pig 6 Keri Leigh Southern Shades Of Blue Waldoxy 6 Bob Margolin My Blues & My Guitar Alligator 12 Guitar Shorty Get Wise To Yourself Black Top 1 Candye Kane Knockout Antone's 1 Innes Subin Superstitious Viceroy 11 ____________________________________________________________________________ The Blues Playground - Sundays at 9pm on 107 FM WCCC - Hartford, CT 50,000 watts of Blues power! Host/programmer: Stew Crossen (Beef Stew) 18 Boxwood Drive Vernon, CT 06066-5106 tel: 800.970.5151 http://www.neca.com/~bfstew bfstew@neca.com Reporting to: Living Blues, The Hard Report and BluesWire magazine. ========================================================================= Date: Sun, 28 Apr 1996 10:12:37 -0500 Reply-To: "Eliot C. Williams" From: "Eliot C. Williams" Subject: King Records Box Set Well, folks, it's finally here: the long-awaited King R&B box. And it was worth the wait. The King and Federal labels were arguably the home of *the* best R&B committed to vinyl during that genre's heyday in the 1950s. While much of this great material has been reissued in one form or another over the years, the incredible King catalog surely deserves the kind of deluxe box set treatment that has been accorded its contemporaries like Atlantic, Okeh, and Chess in recent years. Although I don't think this set quite does it justice (where is Bear Family when we really need them...) it's only because the sheer volume of quality material released on King/Federal over the years is simply too great to be distilled down to a mere four discs (for example, there's only one James Brown cut on the whole set!). But this is a mighty good start. It's got the familiar classics from Hank Ballard, The Dominoes, Five Royales, Roy Brown, Wynonie Harris, Little Willie John, Freddie King, et al. It's got the originals of songs more familiar through cover versions: Tiny Bradshaw's "Train Kept-a-Rollin"; Sonny Thompson and Lula Reed's "Drown In My Own Tears"; Billy Gayles' "I'm Tore Up"; Little Willie Littlefield's "K.C. Lovin" (aka "Kansas City"); Dave Bartholemew's "My Ding- a-ling"; Hank Ballard's "The Twist". It's got great instrumentals: Earl Bostic's "Flamingo"; Todd Rhodes' "Blues for the Red Boy"; Freddie King's "Hideaway". It's got risque songs (just about anything by Bullmoose Jackson or Wynonie Harris). It's got Lonnie Johnson, Professor Longhair, Little Esther Phillips and Champion Jack Dupree. It's got great stuff you may never have heard before: check out Earl "Connelly" King's "Don't Take It so Hard" or Johnny "Guitar" Watson's "Gangster of Love". But most of all it's just wall-to-wall, great, tough R&B. I can't vouch for the documentation since my box arrived without the advertised 36 page booklet. And I do have one complaint about the content: considering all of the great stuff they had to leave out (for example, some of Otis Redding and Joe Tex's first records), they really didn't have to include 25 minutes of various speeches and conversation featuring label owner Syd Nathan on disc 4. Nathan had the good sense and/or good fortune to employ two of the best producers in the business (Henry Glover and Ralph Bass). But as these tapes make clear, he was a notorious tightwad and not exactly a prince of people. I'd much rather listen to his artists sing than to him talk. But it's a small price to pay considering what else is on this great box. EW Eliot Williams University of Wisconsin Department of Medicine ecwillms@macc.wisc.edu ========================================================================= Date: Sun, 28 Apr 1996 11:52:12 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: A plea for Garlic Beef I'm all ready to make my Garlic Beef...AND I CAN'T FIND MY COPY OF THE RECIPE!!!!! Please... I think it was Riffin Rick's recipe but I'll take it from anybody. Please send me a copy. HELP!!!! P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ I get so tired listening to one million dollars here, one million dollars there, it's so petty. - Imelda Marcos ========================================================================= Date: Sun, 28 Apr 1996 11:56:54 EDT Reply-To: John Hanna <102515.744@COMPUSERVE.COM> From: John Hanna <102515.744@COMPUSERVE.COM> Subject: Blues in S.C.? It looks like I will be moving to South Carolina in August. Could anyone please tell me what the local music scene is like? Where are the good blues clubs? What are the local radio stations like? Is there an active blues society? Also, how are the commmercial Internet Service Providers? Thanks in advance, John Hanna "Ain't enough coming in to take of what's gotta go out" --Otis Rush ========================================================================= Date: Sun, 28 Apr 1996 14:05:59 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Thank You Blues-L-ers - Garlic Beef To all the kind folks who sent me the Garlic Beef recipe that Riffin' Rick had nothing to do with, and Delta Doc originated, THANK YOU. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ I get so tired listening to one million dollars here, one million dollars there, it's so petty. - Imelda Marcos ========================================================================= Date: Sun, 28 Apr 1996 18:06:42 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Re: King Records Box Set Eli, I ordered the King Box from a reputable dealer who failed to mail the baby to me as requested. So I have been waiting for about thtee weeks for it to arrive here. But.....even though I ain't heard it yet, and have probably got most of the track in the box anyway, you are dead wrong about the Syd Nathan stuff. Some of us have been waiting to hear this stuff for years. Some of Syd's messages to his sales staff were made on record and are a facsinating insight into the world of R&B in the 50's. So I for one can't wait to hear this stuff. Oh, I thought everyone had heard Johnny Watson's "Gangster" TB ========================================================================= Date: Sun, 28 Apr 1996 12:45:12 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: April 29 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ADAMS, GEORGE (tsax) b. 1940-0429, COVINGTON, GA ANDERSON, WILLIAM "CAT" (tpt/ELLINGTON) d. 1981-0429, NORWALK, CA 64 BARRETTO, RAY (conga/EL WATUSI) b. 1929-0429, BROOKLYN, NY CARR, LEROY (p/SCRAPPER BLACKWELL) d. 1935-0429, INDIANAPOLIS, IN 30 DIZZ, LEFTY (WALTER WILLIAMS) (g) b. 1937-0429, OSCEOLA, AR EDWARDS, FLO (of WARD SINGERS/DAVIS SIST) d. 1990-0429, PHILADELPHIA, PA 68 ELLINGTON, EDWARD "DUKE" (p) b. 1899-0429, WASHINGTON, DC HUTTO, J. B. (g/NOT 1926) b. 1929-0429, ELKO, SC GARDNER, CARL (lead/COASTERS/ROBINS) b. 1928-0429, TYLER, TX HAMPTON, GLADYS (manager/LIONEL HAMPTON) d. 1971-0429, NEW YORK CITY, NY 66 HILL, RAYMOND (sax/INK TURNER/SUN REC) b. 1933-0429, CLARKSDALE, MS JOHNSON, BILLY(g/MOONGLOWS/SONNY THOMPSON)d. 1987-0429, LOS ANGELES, CA 58 LAWHORN, SAMMY (g/MUDDY WATERS) d. 1990-0429, CHICAGO, IL 54 LEE, FRANKIE LITTLE [FRANKIE LEE JONES](v)b. 1941-0429, MART, TX LENOIR, J. B. (g) d. 1967-0429, URBANA, IL 38 MCNEELY,CECIL"BIG JAY" (tsax/J. OTIS) b. 1927-0429, WATTS, CA MILLS, DONALD F. (lead/THE MILLS BROS) b. 1915-0429, PIQUA, OH RUSH, OTIS (OTIS BOYD) (g/nrPHILADELPHIA) b. 1934-0429, NESHOBA, MS STEIN, JULES C. (co-founder: MCA REC) d. 1981-0429, LOS ANGELES, CA 85 TERRELL, TAMMI [TOMASINA MONTGOMERY] (v) b. 1945-0429, PHILADELPHIA, PA ------------------------------------------------------------------------------- ========================================================================= Date: Sun, 28 Apr 1996 16:14:25 -0400 Reply-To: Greg Hermanns From: Greg Hermanns Subject: Re: Piano Blues Watch/listen for 'Mr.B' (Mark Braun) great boogie & blues. Miss Honey Alexander (Piazza) doesn't venture far from the band. Didn't Greg 'Fingers' Taylor play with Jimmy Buffet for a while & do a decent job. Marcia Ball. ========================================================================= Date: Sun, 28 Apr 1996 21:27:59 GMT Reply-To: CKUT_online@babylon.montreal.qc.ca From: CKUT online Organization: Babylon, Montreal, Canada Subject: Re: Norton Buffalo/Ronnie Earl Comments: To: bfstew@NECA.COM I was only able to achieve a good arrangement like that once. Nappy Brown was playing at the Spectrum in Montreal on the same night that Tinsley Ellis was playing at the Peel Pub Blues bar, which is unfortunately now closed (Louis D., are you out there?). I had seen Tinsley the night before and he asked me if I could get Nappy to drop by after the show. I caught up with him between sets and after his show we headed up to Tinsley's gig. It was a great reunion; I've certainly never seen Tinsley so happy on stage. John D. ========================================================================= Date: Sun, 28 Apr 1996 17:51:05 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 04/29 B O R N : 04/29 ADAMS, GEORGE ( RUFUS ) Born:1940 COVINGTON, GA Career:TENOR SAX / FLUTE Style:JAZZ With:ROY HAYNES / ART BLAKEY / CHARLES MINGUS / GIL EVENS / MCCOY TYNER BARRETTO, RAY ( RAYMOND B ) Born:1929 NEW YORK, NY Career:CONGA DRUMS / PERCUSSION / LEADER Style:JAZZ With:HERBIE MANN / CANNONBALL ADERLEY /GENE AMMONS / RED GARLAND / DIZZY GILLESPIE / TITO PUENTE / JOE ZAWINUI / LOU DONALDSON BUDDLE, ERROL ( ERROL LESLIE BUDDLE ) Born:1928 ADELAIDE, AUSTRALIA Career:TENOR SAX / BARITONE SAX / CLARINET / BASSOON Style:JAZZ With:Johnny "Scat" Davis / Elvin Jones / Australian Jazz Quartet / Voted Musician of the Year by Australian Music Maker 1952. BUTLER, JACQUES ( JACK ) Born:1909 WASHINGTON, D.C. Career:TRUMPET / SINGER Style:TRAD / JAZZ DIZZ, LEFTY (WALTER WILLIAMS) Born:1937 OSEOLA, AR Career:GUITAR / SONGWRITER Style:BLUES McNEELY, "BIG" JAY ( CECIL JAMES McNEELY ) Born:1927 LOS ANGELES, CA Career:TENOR SAX / LEADER Style:BLUES MILLS, DONALD Born:1915 PIQUA, OH Career:SINGER TENOR LEAD Style:POP / BIG BAND MILLS BROTHERS MORGAN, RUSS Born:1904 SCRANTON, PA Career:LEADER / TROMBONE / SINGER / ARRANGER Style:BIG BAND With:The Scranton Sirens / Paul Specht / Jean Goldkette / Phil Spitalny / Ted Fio Rito / Freddy Martin / Russ Case / Will Bradley / Toots Mondello / Arthur Rollini / Joe Venuti / Claude Thornhill / Chauncey Morehouse / Cappy Lewis / Jack Morgan / David Morgan / Jack Fulton / Judy Richards / Bernice Parks / Amy Terris / Carolyn Clark / Gloria Whitney / Jack Russell / Carol Kay / Jacquelyn Moore / Phyllis Lynn / Pat Laird / Manon Smith / Juanita Crowley. RIMINGTON, SAMMY ( SAMUEL ) Born:1942 LONDON, UK Career:CLARINET / ALTO SAX Style:TRAD / JAZZ With:Kid Thomas / Barry Martyn / Ken Colyer / Chris Barber SIMPKINS, ANDY ( ANDREW ) Born:1932 RICHMOND, IN Career:BASS Style:JAZZ / BLUES With:Three Sounds / George Shearing / Carmen McRae / Joe Williams / Clare Fischer / Stephane Grappelli / Dave Mackay / Don Menza / Buddy DeFranco / Sarah Vaughan SMITH, LEWIS ARTHUR (LEW) Born:1930 PICKERING, YORKSHIRE, UK Career:REEDS / ALTO SAX / FLUTE Style:JAZZ With:John Dankworth's band / Denny Boyce with wife June in the trumpet section / Lew and June migrated to Melbourne in 1961 / Alan Lee / Brian Brown / 'Boof' Thomson / Gary Hyde / Ted Preston / Maximum Load / Barry Bruce / Mike Nelson's Four on the Floor / Will Upson's Big Band / Nookemburra with Don Bancroft / Lazy River JB TILMANS, TOOTS (JON JEAN THIELEMANS ) Born:1922 BRUSSELS, BELGIUM Career:HARMONICA / GUITAR Style:JAZZ / BIG BAND With:Benny Goodman / George Shearing Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us The Following were Recorded on this Date in the Years: ========================================================================= Date: Sun, 28 Apr 1996 19:24:25 -0400 Reply-To: BluesDJ478@AOL.COM From: David J Boyd Subject: Re: Piano Blues Lovie Lee, the last piano player for Muddy Waters is alive and well in Chicago- Had him live in studio WFBE_FM Flint, Mich. a year ago and his playing is as tight as ever- good CD on Earwig as well ========================================================================= Date: Sun, 28 Apr 1996 20:15:37 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: HANDYS HELP > From: Roberta Penn > And shouldn't we blueszellers who are going to be in Memphis try to > get together down there? Yeah, yeah. What's the final plan on the get-together? Don O. ========================================================================= Date: Sun, 28 Apr 1996 20:55:04 -0500 Reply-To: Gary Croisatiere From: Gary Croisatiere Organization: Triangle Music Subject: Barbara Carr Recording Comments: To: bit-listserv-blues-l@uunet.uu.net Does anyone know where I can get the Barbara Carr recording "Street Women". Reviewed in Living Blues #122. No name listed for the label it is on. please email me any info. on this. Gary Triangle Music The Blues CD Source ========================================================================= Date: Sun, 28 Apr 1996 23:15:04 -0400 Reply-To: PIANOBLUES From: PIANOBLUES Organization: America Online, Inc. (1-800-827-6364) Subject: Pinetop Perkins Comments: To: bit-listserv-blues-l@uunet.uu.net Does any one have a phone number to contact Pinetop for a booking? I am in charge of getting piano players for the QueenCity Blues festival here in Cincinnati and woul like to contact him for a possible booking. ========================================================================= Date: Sun, 28 Apr 1996 20:23:07 -0700 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Re: Robert Johnson derivative? Comments: To: Chris Smith In-Reply-To: <830416520.2637.0@skerries.demon.co.uk> > striking lines and concepts got spread much faster ('sitting here > wondering, will a matchbox hold my clothes' became general from Blind > Lemon's record IMHO). And to think that I thought He said Soul instead of clothes, Hmmm seemed kinda profound that way. Well, it maid sence to me. Isaac ========================================================================= Date: Sun, 28 Apr 1996 23:20:05 -0400 Reply-To: PIANOBLUES From: PIANOBLUES Organization: America Online, Inc. (1-800-827-6364) Subject: BOOGIE/BLUES PIANO Comments: To: bit-listserv-blues-l@uunet.uu.net I am interested in contacting boogie and blues piano players for future invite to a large acoustic piano gathering in Cincinnati to promote the old piano styles that are being lost as the "old-timers" are dying off. Any one interested please send me a message so I can compile the list. ========================================================================= Date: Sun, 28 Apr 1996 23:22:13 -0400 Reply-To: PIANOBLUES From: PIANOBLUES Organization: America Online, Inc. (1-800-827-6364) Subject: BOOGIE/BLUES SHEET MUSIC Comments: To: bit-listserv-blues-l@uunet.uu.net Any one have source for original sheet-music for old boogie and blues? I would appreciate the information as much of this is out of print. Thanks. ========================================================================= Date: Mon, 29 Apr 1996 04:01:06 GMT Reply-To: Lily Sazz From: Lily Sazz Organization: Trailblazers Subject: PRESS RELEASE - TRAILBLAZERS Comments: To: bit-listserv-blues-l@uunet.uu.net APRIL 27, 1995 TRAILBLAZERS RELEASE NEW ALBUM WITH A TWIST http://www.hookup.net/~lilysazz/latest.html Hamilton, Ontario's hottest blues/r'n'b band, the Trailblazers, have released a new 7-song cassette EP, entitled FUN RAISIN (that's with the D and the G crossed out). After months of delays during the recording of their current full-length CD, the band be So far, response has been phenomenal. "The cover alone sells the album. Everyone wants one!", "The fidelity is surprisingly good, and the performances are incredible.", were some of the comments the band has received so far. The album features 6 tasty "blazerized" cover tunes, and one BONUS ORIGINAL TRACK, "Turn Your Heart Around", a live version sneak preview of a song from the next all-original full-length album. The cassette sells for $8 Canadian, plus $2 postage, or $8 U. - 30 - ========================================================================= Date: Sun, 28 Apr 1996 19:24:05 GMT Reply-To: Four One Company Ltd From: Four One Company Ltd Organization: Four One Company Ltd Subject: Chernobyl. April 26, 1986 Comments: To: bit-listserv-blues-l@uunet.uu.net Detailed descriptions and visual examples - http://www.icis.net/fourone => MAPS => BELARUS => Chernobyl On April 26, 1986, in Kiev region, Ukraine, 12 km off the Belarussian border, a catastrophe broke out - the major break-down of the power unit at the Chernobyl nuclear power station. By its scale, complicity and long-term consequences, it is the most severe catastrophe throughout the entire world history of atomic energy use." M a p s & A t l a s e s ****************************** FOUR ONE COMPANY LTD 523 Hamilton Road,London Ontario,N5Z 1S3,Canada Fax: (519)433-5903 Tel: (519)433-1351 E-Mail: four.one@icis.on.ca http://www.icis.net/fourone ========================================================================= Date: Mon, 29 Apr 1996 01:10:42 -0700 Reply-To: Kelly Hoggard From: Kelly Hoggard Organization: The Wolfpack Subject: Re: Motown's making up for lost time Comments: To: rjbauman@iquest.net R.J.'s post about Luther Allison's Motown recordings reminds me that I once read that LA was Motown's only blues signee, much like Rare Earth was their only all-white rock band. Diversification, indeed! Before, heading to Paris, LA used to play frequently in South Bend's Vegetable Buddies. I personally saw him at V.B's successor in Mishawaka, IN: the Music Box. It was the first time I realized that a blues guitarist could actually have any degree of virtuosity!! Of course, now I know better-there's a lot of 'em. Kelly (originally from South Bend, home of Motown's Jr. Walker) -- kelly@netusa1.net(Kelly Hoggard) The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! Check out their home page at http://www.netusa1.net/~kelly/ ========================================================================= Date: Mon, 29 Apr 1996 00:01:35 -0700 Reply-To: Stan Ruffo Comments: RFC822 error: TO field duplicated. Last occurrence was retained. Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Stan Ruffo Subject: BOT Playlist 4/28/96 Comments: To: Renee Grace , Orleans Records , Sony Music , Vent Records Stan Ruffo Productions 800 N. Ben Maddox Way, Suite 2200 Visalia, California 93292 ph.(209) 625-6049 steamin@valleynet.com / www.valleynet.com/~steamin PROGRAM: "Blues On Tap" w/ Steamin' Stan Ruffo STATION: KIOO 99.7FM (Kay-eye-oh-oh), Visalia, CA SUBJECT: Playlist 1796 - Commercial Radio DATE & TIME: Sunday - April 28, 1996 8pm - 10pm Artist Title Label Track Pat Boyack On The Prowl Bullseye 2 Luther Allison Blue Streak Alligator 3&4 Roomful Of Blues Turn It On, Turn It Up Bullseye 1 Coco Montoya Gotta Mind To Travel Blind Pig 7 Doug MacLeod Working Man's Blues Recorded live at Blue Cafe 4/23/96 Koko taylor Jump For Joy Alligator 10 John Mayall Fan The Flames Silvertone 6 Little Milton Live At Westville Prison Delmark 1 Lavelle White Miss Lavelle Antones 3 Jimmy Rogers Feelin' Good Blind Pig 1 Joey Razor Joint B Jump Hectic 1 Saffire Old,New,Borrowed, Blue Alligator 4 Buddy Guy LIVE / The Real Deal Silvertone 6 Joe Beard Blues Union AudioQuest 10 Chuck Roberson Something Good For You Ecko 3 Rod Piazza Blues In The Dark Black Top 12 Doug MacLeod You Can't Take My Blues AudioQuest 12 William Clarke Groove Time Alligator 4 Little Johnny Lawton No Mercy Corn Bread 4 Kim Wilson That's Life Antones 4 Smokey Wilson The Real Deal Bullseye 2 Blues On Tap reports to Living Blues and The Hard Report ========================================================================= Date: Mon, 29 Apr 1996 06:53:33 GMT Reply-To: "JOHN W. SCHARBROUGH" From: "JOHN W. SCHARBROUGH" Organization: Traders' Connection, Inc. Subject: Live Blues in Indpls.In. Comments: To: bit-listserv-blues-l@uunet.uu.net Hello, I want to tell you about Indys new HOT Blues act..The Shifters! If you like hard swinging blues "real" like a big fat 1/2 cheeseburger w/ everything heck this out.... The Shifters The Shifters are now jamming on the Indianapolis blues circuit. This is a houserocking blues band formed of veteran musicians; "Fast" John Scharbrough on guitar,Allen Banks on electric and Stand up bass, Tom Harold,vocals and blowing the harmonica and Dennis Cavanagh on the drums Fast John played lead guitar in Sleprock,The Cruisematics,The Michigan Street Blues Band,and once played backup guitar for the late "Lefty" Leroy Bates. John Has opened up for Edgar Winter and 38 Special, and has won awards from the Indpls. Blues Society Allen Banks is a seriously jazz influenced bass guitar man who has played with the Jimmie Coe big band,Robert Coleman,and Class Action. Allen is comfortable on the stand-up bass as well as the electric bass. Tom Harold is an extremely talented harmonica player and vocalist, and has been tearing up the blues scene with Automatic 32. Tom took his talents to Ireland where he found a blues hungry and grateful audience. Tom is now back back in Indy with The Shifters and rocking the town. Drummer Dennis Cavanagh kept time recently for No Regrets,a first class Indpls. band,and is a well polished veteran of the Indy music scene. Dennis and bassist Allen Banks make a powerful rhythm section for Tom Harold and Fast John to weave their unique blend of houserocking blues routines around. .......................................................................... Catch them live at; Caseys Pub,Irvington plaza,Indpls.,In. June 1st The Slippery Noodle Inn 372 S. Meridian St. Indpls.,In. June 3rd .......................................................................... The Shifters booking info: John Scharbrough @ 546-1866 or FastJohn@trader.com .......................................................................... See you there! --- * Traders' Connection Web BBS * http://www.trader.com * info@trader.com ========================================================================= Date: Mon, 29 Apr 1996 06:57:29 GMT Reply-To: "JOHN W. SCHARBROUGH" From: "JOHN W. SCHARBROUGH" Organization: Traders' Connection, Inc. Subject: Live blues in Indy Comments: To: bit-listserv-blues-l@uunet.uu.net The Shifters live show dates: Caseys Pub,Irvington Plaza,Indpls.In...................June 1st The Slippery Noodle Inn 372 S.Meridian Indpls.,In..... June 3rd Be There! --- * Traders' Connection Web BBS * http://www.trader.com * info@trader.com ========================================================================= Date: Mon, 29 Apr 1996 18:02:55 +1000 Reply-To: Kratingtone From: Kratingtone Subject: MNN "Music Network Navigator" Comments: To: KPierce@age.cuc.ab.ca, X@age.cuc.ab.ca, mpj@kepler.unh.edu, GRIND@unh.edu, kiwimusic-request@mit.edu, KIWIMUSIC@mit.edu, dewy-fields-request@ifi.uio.no, dewy-fields@ifi.uio.no, fruit-request@gdb.org, FRUIT@gdb.org, woj@remsu.rutgers.edu, FEGMANIAX@gnu.ai.mit.edu, eric@enterprise.bih.harvard.edu, LEVEL42@enterprise.bih.harvard.edu, John Adams , jrhumphr@eos.ncsu.edu, tiffanyde@urvax.edu, DZ5401a@american.edu, SERAVES@american.edu, mb0458@cmsuvmb.cmsu.edu, ASTA-L@cmsuvmb.cmsu.edu, jarvis@psych.edu, jschrag@alias.com, CHORUS@psych.toronto.edu, keith@celtech.com, DIRECT@celtech.com, BALLROOM-Request@mitvma.mit.edu, BALLROOM@mitvma.mit.edu, tmh1@psuvm.psu.edu, FOLKDJ-L@psuvm.edu, scoth@wmvm1.cc.wm.edu, FOLKTALK@wmvm1.cc.wm.edu, bwoolf@pro-woolf.clark.net, FOGELBERG@pro-woolf.clark.net, stormcock-request@dcs.qmw.ac.uk, dorn@indigo.mese.com, INDIGO-GIRLS@indigo.mese.com, poi-pounders-request@presto.ig.com, gregbb@uhunix.uhcc.hawaii.edu, ACID-JAZZ@ucsd.edu, pimmel@cs.wisc.edu, lotus@crd.lotus.com, funky-music-request@mit.edu, FUNKY-MUSIC@mit.edu, TBUCK@KNOX.BITNET, MILES@HEARN.NIC.SURFNET.NL, shot-of-rhythm-request@chinacat.unicom.com, rockin@mudhoney.micro.umn.edu, GRUNGE-L@ubvm.cc.ubvm.edu, Lack_William_E1@msmail.muohio.edu, BUFFETT@miamiu.acs.muohio.edu, djh@gnu.ai.mit.edu, COSTELLO@gnu.aai.mit.edu, DEAD-HEADS-Approval@nemesis.Berkeley.EDU, DEAD-HEADS@nemesis.Berkeley.EDU, dead-flames-approval@nemesis.Berkeley.EDU, DEAD-FLAMES@nemesis.Berkeley.EDU, abbott@ms.uky.edu, HEY-JOE@ms.uky.edu, JANES-ADDICTION@ms.uky.edu, tim@boulder.colorado.edu, perry@bng.com, POWDERWORKS@cs.colorado.edu, datta@cs.uwp.edu, numan@cs.uwp.edu, echoes-request@fawnya.tcs.com, undercover-request@tempest.cis.uoguelph.ca, gschmitz@luna.cas.usf.edu, BUZZ-FACTORY@nosferatu.cas.usf.edu, a3@a3.hacktic.nl, rnovak@nyx.cs.du.edu, slade-request@gnu.ai.mit.edu, larryn@csufres.csufresno.edu, BACKSTREETS-request@virginia.edu, BACKSTREETS@virginia.edu, abbott@ms.uky.edu, U2-LIST@ms.uky.edu, DLodge@mcs.dundee.ac.uk, KOSMOS@mit.edu, CHALKHILLS-Request@presto.ig.com, woolf@pro-woolf.clark.net, bwoolf@pro-woolf.clark.net, kirsten@mik.uky.edu, rnovak@acca.nmsu.edu, tiger-request@acca.nmsu.edu, J.Arnold@ma30.bull.com, mkwong@ucsd.edu.org, fng@acca.nmsu.edu, btl@ebgt.org, goathunter@wkuvx1.wku.edu, JOURNEY-L@wkuvx1.wku.edu, zen@fish.com, AL-ATEWART@fish.com, abbott@ms.uky.edu, TEARS4@ms.uky.edu, ckkwan@acsu.buffalo.edu, ACTMUS-L@ubvm.cc.buffalo.edu, RNovak@nyx.cs.du.edu, perfect-beat-request@gnu.ai.mit.edu, KPierce@age.cuc.ab.ca, WESTCANAALTER@age.cuc.ab.ca, a3@a3.hacktic.nl, RNovak@nyx.cs.du.edu, eu20-request@gnu.ai.mit.edu, finlandia-owner@phoenix.oulu.fi, FINLANDIA@phoenix.oulu.fi, fan-julie@musique.org, CHANTER-LISTE@wimsey.com, Majordomo@wimsey.com, LISTSERV@IRLEARN.NITNET, montevec@csr.unibo.it, GENERAL@csr.unibo.it, elendil@mintir.new-orleans.la.us, NEW-ORLEANS@mintir.new-orleans.la.us, BAGPIPE-Request@cs.dartmouth.edu, BAGPIPE@cs.dartmouth.edu, jj_hayden@solinet.net, SIDEDRUM@solinet.net, fan-julie@musique.org, JULIEMASSE-LISTE@wimsey.com, tango-request@mitvma.mit.edu, TANGO@mitvma.mit.edu, libhtk@suvm.syr.edu, MORRIS@suvm.acs.syr.edu, listserf@orbital.demon.co.uk, david.bowen@cray.com, BBSHOP@cray.com, dns@cs.nott.ac.uk, STICKY-Request@cs.nott.ac.uk, aspmo@acvax.inre.asu.edu, asdbt@acvax.inre.asu.edu, CGOHSW1@NIU.BITNET, FILMUS-L@iubvm.ucs.indiana.edu, R.MacPhail@cescc.bridgewater.edu, SAVOYNET@bridgewater.edu, soundtracks-request@ifi.unizh.ch, micat-l-request@nrm.se, eliz@world.std.com, MUSICALS@world.std.com, SAS14@psu.edu, datta@cs.uwp.edu, space-music@cs.uwp.edu, mhotti@paju.oulu.fi, VOCALIST@phoenix.oulu.fi, zzboyr@acc.wuacc.edu, DOUBLEREED-L@acc.wuacc.edu, bress-request@quartz.gly.fsu.edu, jtiller@ringer.jpl.nasagov, HANDBELL-L@ringer.jpl.nasa.gov, dkelzenb@blue.weeg.uiowa.edu, bec@albany.edu New! World New! Web New! Way New! Music New! MNN "Music Network Navigator" Now! Click'n'Roll http://www.thehub.com.au/~sarsit More than 100 of music sites are waiting for you. Now! ### ========================================================================= Date: Mon, 29 Apr 1996 09:08:00 GMT Reply-To: Mr G M Smith From: Mr G M Smith Subject: Son House/JSP Sampler/A Plea Picked up a couple of nice discs over the weekend... "Up Jumped The Blues" is a sampler of up tempo Blues stuff from JSP records featuring the likes of Carey & Lurrie Bell,UP Wilson,Tu Tu Jones, Johnny Mars and others of that ilk. Great fun and not a duff track of the nineteen or so on the disc. The other was "Son House,the Complete '65 Sessions". Not,it must be said,an easy listen,which is not to denigrate the Great Man or his work,simply stating a fact. Despite being a little past his best due to age and having been out of the performing loop for some years,the sheer power that comes across when it does all come together is hairaising. Especially effective are the unaccompanied songs like "John The Revelator". If you've just got into Blues via the likes of SRV or EC approach this with caution. Do your Howlin' Wolf and Robert Johnson first,in that order. Then,with your ear a little more attuned to what is to most of us a musical tradition as foreign as Arabic,enjoy the works of the wonderful Mr House. The recording and mastering,by the way,are first class. A decent system will put The Man in the room there with you! My plea; does anybody know what label the Howlin Wolf Chess Box is on in the UK? I'm finding rather hard to track down. This is a three disc set I believe. Yours, Garry Smith (who intends to become a Baptist preacher,as he don't wanna work no more). ========================================================================= Date: Mon, 29 Apr 1996 06:58:30 -0500 Reply-To: Roger Struve From: Roger Struve Subject: A plea for Garlic Beef -Reply Comments: To: pwfenton@GATE.NET Riffin ' Rick's recipe???????? For shame PW, for alas, it was Delta Doc Roger's recipe, culled from repeated attempts to perfect the famous Stan Mazlak's recipe from NE mInneapolis!!! Say pretty please! IN crockpot (off) 1/2 cup reg. Kikkoman SOy Sauce, 1/4 cup olive oil, 2 whole bulbs of garlic all cloves quartered and halved. Soak overnight. IN Mornineg: Add one chopped onion, 10 oz of stale beer, 1 tsp salt, 1 tsp pepper, 1 1/2 cups of beef stock, 3-4 lb whole sirloin tip roast. Turn Crockpot on, low, vent closed (if you have a vent), 8-10 hours, till it falls apart, serve on hard rolls (preferably rye or pumpernickel). Enjoy, bon appetit!!! delta doc dead hand ========================================================================= Date: Mon, 29 Apr 1996 08:16:21 -0400 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: Re: HANDYS HELP Comments: To: don.o@chrysalis.org In a message dated 96-04-28 21:31:40 EDT, don.o@CHRYSALIS.ORG (Don O) writes: > > From: Roberta Penn > > > And shouldn't we blueszellers who are going to be in Memphis try to > > get together down there? > >Yeah, yeah. What's the final plan on the get-together? > >Don O. > > > I asked the same thing a couple days ago and got no reply. I will be there, so I hope 'zellers that have them will wear their Blues-L shirts. Have set no mail.Hope to meet you all on Beale Street!! BLUZ!!! Ed ========================================================================= Date: Mon, 29 Apr 1996 08:30:54 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: More big ears .... Well it is that time again. We could use more writers for our CD reviews. If you are interested get in touch with me privately via e-mail. Just like the rest of us - no pay, good fun and a lot of surprises. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 29 Apr 1996 08:33:34 -0400 Reply-To: Leo Aspiras From: Leo Aspiras Subject: Black & Tan Hi all: no i am not trying to find out about a certain type of beer but was wondering if anybody out there has seen this film which features a young duke ellington......i saw this film over the weekend on a local black owned PBS station here in d.c........i had chills after watching it......does anybody know anything about this film........ on a blues note, saw the ACL program over the weekend featuring clarence gatemouth brown (a great part of his set was when he brought up john loudermilk.....i believe he is the author of the song tobacco road....he was great) and keb 'mo.......... and all those people in n'awlins......toast a few for everybody else on the list......... thanx..... scatman leo down d.c. way....... ========================================================================= Date: Mon, 29 Apr 1996 08:41:58 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: CD winner and next giveaway .... Comments: cc: Steven H Bard +1 +1 201 386 7384 Last month's CD winner was Steve Bard (5 Biograph CD's). Congrats Steve. This month we are giving away 5 Code Blue releases. Every one except the sound track to Heaven's Prisoners (which is a good solid compilation) & the new Sherman Robertson, Here and Now. Jon will have more to say on this one later this month. The new Sherman Robertson, however, can be won at - Jim's Blues N' Brews http://www.cloud9.net/~leftwich All 6 CD's are reviewed at the new Code Blue review home page - http://www.panix.com/~bsco/codeblue/ And the NY CD Blues giveaway is still on our home page under the little blue clickie [Win CD's]. Have some fun - + these are some very good CD additions, whether you win them or not. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 29 Apr 1996 08:03:22 CST Reply-To: William Shute From: William Shute Subject: Bowie Street Blues Festival From: Bill Shute 9th Annual Bowie St. Blues Festival "Back 40" grounds, Institute of Texan Cultures San Antonio, TX Sunday, 28 April l996 ------------------- Randy Garibay & Cats Don't Sleep Jim Suhler & Monkey Beat Johnny Nicholas Texas Johnny Brown and his Quality Blues Band Miss Lavelle White ------------------- This year's Bowie Street Festival must be judged a smash hit. I'd estimate there were over 1000 people in attendance, the weather was good (and hot, about ninety-seven degrees F), and most of all the music was fine AND diverse. With this venue, a grassy side of a hill where you sit with blankets, every seat is a good seat. Randy Garibay, one of the great, relatively unknown outside of South Texas Tex-Mex R&B/bluesmen, has been playing since the late 50s, when he and his pal Rocky Morales were backing visiting musicians such as Big Joe Turner, Bobby Bland, and Dinah Washington at San Antonio's legendary Eastwood Country Club. Randy's played in various R&B units since then, and made a lot of waves last year when he appeared as part of the San Antonio contingent at the Antone's anniversary shows. The tough-looking Mr. Garibay plays a stinging blues guitar, has a deep powerful and natural blues voice, and works the stage and the crowd like a pro. He develops a solo in a unique manner and his distinctly San Antonio take on life and the blues make him a musician you don't forget. His originals such as "Too Close to the Border" (where he asserts that even though he doesn't play Tejano, he's still a Chicano!) and that instant-anthem, "Barbacoa Blues" (allow me to buy any visiting blues-l-ers a barbacoa taco on a weekend morning, so you can understand the true meaning of this song!!!!!), had the crowd going wild, and his well-chosen covers highlight all his good qualities. With a band including Rocky Morales (who also plays harmonica! besides his sublime Tenorsax) and Jack Barber, Garibay is a major talent I'd put up against ANYONE playing today. Jim Suhler and Monkey Beat--I liked their SHAKE album, and the live show was very much like that. LOUD slide-gtr based powertrio blues. The cover of Dark Was The Night, Cold WAs The Ground was majestic, and Jim knows how to work a crowd. He walked through the crowd on one tune, and when he got to our blanket announced that he was lookin for a cold beer! Anyway, Jeff Seale didn't care very much for Suhler's style of music, and I certainly would not place him in the company of Garibay or Hash Brown or Pat Boyack, but he went over well and he certainly is a bluesman. If you like his recordings, you'll love him in person. Johnny Nicholas, who runs a restaurant up in Fredericksburg, is perhaps more of an "entertainer" than a riveting live performer. Maybe in the intimacy of a small venue, his warmth and wit come through, but Jeff and I found him to be uninteresting. His slide guitar blues adaptation of San Antonio Rose was novel, but the attempts at Cajun material and John Hammond-style solo acoustic blues fell flat in OUR humble opinions. Maybe a big outdoor show is not the best setting for a solo performer like that (giving him benefit of the doubt)? Some people whose opinions I respect do like him a lot, so I'll leave the choice up to you. Texas Johnny Brown--since Jeff and I are a two-man TJB fan club, we were once again blown away by the master's charm, power, wit, and effortless sense of hip. He was called back for TWO encores, and as always, everyone leaves his show/set a devoted fan. He epitomizes all the good qualities of the Gulf Coast Blues scene. A record deal is finally in the works (they aren't giving out anymore particulars now), and Johnny and band are headed to France for a week of shows and a live radio broadcast. BOOK THIS MAN!!! Private e-mail me and I'll give you his manager's name and phone number!!! On a sad note, Teddy Reynolds is deteriorating physically, with prostate cancer and gangrene in both legs, altho Teddy's positive attitude and loving heart keep him going. Paula, TJB's manager, wanted me to tell you all that Teddy appreciates the cards and support he has been shown and that that love keeps him going. As someone who lost his life-partner to cancer, I can also attest that EVERY little card or message means A LOT to someone like Teddy. Next time you listen to your blacktop GULF COAST BLUES album, or any of his other fine recordings, drop him a line and let him know how much you enjoy them.When I got home last night, I dug out the l990 dutch "Double Trouble"-label album of Clarence Green "Guitar Crying The Blues," featuring Teddy on keyboards. Anyway, getting back to TJB, let's hope the release of the capitol 3-CD Amos Milburn set will give Johnny Brown's career another shot in the arm. We had to leave before Miss Lavelle (how was she, Jeff?), but when I saw her a few months back at the Continental Club with TD Bell she was fine. And as headlining "star" here, I know she would have risen to the occasion./ This is the big blues event of the year in San Antonio, and the big and DIVERSE crowd is a good sign for the blues in this town...and we need it with the virtual death of live blues clubs in SA. There's still hope, tho. We;'ll keep our fingers crossed and do whatever we, as individual fans, can do. Bill Shute San Antonio, TX ========================================================================= Date: Mon, 29 Apr 1996 09:09:34 -0400 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Preston Shannon title? label? I need the title and label for Preston Shannon's recent release -- left the CD in the studio and I can't get in there today. Thanks in advance... Southside Dave Prychitko Blues 101, WNYO-Oswego ========================================================================= Date: Mon, 29 Apr 1996 09:01:22 -0400 Reply-To: DiGeRiDoo_RaGs From: DiGeRiDoo_RaGs Subject: MEMPHIS_BEALE_ST_SUMMIT!! Comments: To: BLUZMANED@AOL.COM, bluesdj@AOL.COM getting ready to be @ Beale St. there was talk of BLUEZELLERS getting together. Are we having a BEALE_ST SUMMIT :) +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | Laissez les bon temps roulez!! | | // ~~ ~~ \\ | Let the good times roll!! | | /d-(+)-(+)-b\ | ------------------------------ | | // L \\ | SANJAY 'RAGS' RAJAN | | // //|\\ \\ | sanjay_rajan@formtek.com | | ////`~-~'\\\\ | FORMTEK,INC. | | // //|||\\ \\ | PITTSBURGH, PA | | // /|||\ \\ | ------------------------------ | | -/-- /\o/\ --\- | Visualize Whirled Peas!! | | /"\ | | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Mon, 29 Apr 1996 09:34:21 -0400 Reply-To: TDominey From: TDominey Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Muddy Waters and Lenny Kravitz Comments: To: bit-listserv-blues-l@uunet.uu.net You picked up on a facet of Kravitz's work that is so frustrating - when his first record came out, critics and many listeners were hopeful of this bright star that may turn into another Wonder, Prince, or other generational musician. Since then, most of his work contains schlocky classic rock guitar riffs and other stadium nonsense. His last album was supposed to be a funk/rock double album, but only the rock was released to earn him the "one of the worst records of 1995" award by Entertainment Weekly. Hmmm, yeah, so I am a little frustrated. Kravitz's guitar work sounds a lot like "Led Zeppelin II," which in itself happens to be based on Blind Lemon, Hooker, and Willie Dixon. So who knows where the influence comes from. ========================================================================= Date: Mon, 29 Apr 1996 08:50:47 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Re: MEMPHIS_BEALE_ST_SUMMIT!! In-Reply-To: Message of Mon, 29 Apr 1996 09:01:22 -0400 from On Mon, 29 Apr 1996 09:01:22 -0400 DiGeRiDoo_RaGs said: > getting ready to be @ Beale St. > there was talk of BLUEZELLERS getting together. > Are we having a BEALE_ST SUMMIT :) What I suggest is a breakfast meeting saturday morning on Beale Street. I forget the name of the resturant/bar, but I'll find out. Then I'll post details and whoever ('eller) get's there first tell the waiter(s) that this is a blues-l thing and you expect others. So others can ask for the blues-l table or something. We can always hang out at the back of the blues-l tent some of us we'll be wearing Blues-l shirts and one of use will be wearing a POB shirt.....More later LW > | // //|\\ \\ | sanjay_rajan@formtek.com | > | ////`~-~'\\\\ | FORMTEK,INC. | > | // //|||\\ \\ | PITTSBURGH, PA | > | // /|||\ \\ | ------------------------------ | > | -/-- /\o/\ --\- | Visualize Whirled Peas!! | > | /"\ | | > +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Mon, 29 Apr 1996 09:52:57 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re: big joe duskin Cincinnati blues veteran Big Joe Duskin is alive and well and still playing up a storm. He will be opening a show here in Cincinnati on May 23 headlining those sassy ladies of the acoustic blues, Saffire: The Uppity Blues Women. Shannon ______________________________ Reply Separator _________________________________ Subject: big joe duskin Author: Toronto Blues Society at INTERNET_TP Date: 4/27/96 2:07 AM >Speaking of piano blues, does anyone know if Big Joe Duskin is still >alive? I picked up his cd "Cincinnati Stomp" this weekend, and it's an >excellent piano blues recording, with Jimmy Johnson on one track, and >Bob Margolin on several. dear steve and bluezellers, i presented big joe duskin at the harbourfront centre soul 'n' blues festival several years ago and then i lost track of him. i recently found him living in paris and recording for a french label. picture joe in paris cruising around in memphis slim's rolls royce. it may be a stretch, but i think joe is being treated well by the french. i'll see if i can dig up the contact info. regards, derek andrews. ========================================================================= Date: Mon, 29 Apr 1996 13:49:17 GMT Reply-To: Lily Sazz From: Lily Sazz Organization: Trailblazers Subject: TRAILBLAZERS PRESS RELEASE (no missing text this time) Comments: To: bit-listserv-blues-l@uunet.uu.net APRIL 27, 1995 TRAILBLAZERS RELEASE NEW ALBUM WITH A TWIST http://www.hookup.net/~lilysazz/latest.html Hamilton, Ontario's hottest blues/r'n'b band, the Trailblazers, have released a new 7-song cassette EP, entitled FUN RAISIN (that's with the D and the G crossed out). After months of delays during the recording of their current full-length CD, the band became frustrated and decided to vent some steam by spending a day in a 'padded room', Grapevine Recording Studio in Cambridge, Ontario. They recorded 7 songs on 8 tracks, everything in one take. They had so much fun, and were so pleased with the results, that they decided to release it and generate some revenue to help pay for mounting recording expenses. Fun Raisin has become the Trailblazers' third album, quite by accident. So far, response has been phenomenal. "The cover alone sells the album. Everyone wants one!", "The fidelity is surprisingly good, and the performances are incredible.", were some of the comments the band has received so far. The album features 6 tasty "blazerized" cover tunes, and one BONUS ORIGINAL TRACK, "Turn Your Heart Around", a live version sneak preview of a song from the next all-original full-length album. The cassette sells for $8 Canadian, plus $2 postage, or $8 U.S., including postage. It is only available from the Trailblazers, and will be available at some local record stores. For ordering info, call 905-521-3040 or via email at trailblazers@hookup.net. WWW: http://www.hookup.net/~lilysazz/. - 30 - ========================================================================= Date: Mon, 29 Apr 1996 10:02:57 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re[2]: Blues piano Comments: To: Debra Eisert Yes, we are planning to have the piano stage again. Sad to say we won't have Pigmeat Jarrett to play this year, but I'm sure the line-up, once finalized, will be one worth making the journey to Cincinnati to enjoy! Shannon (Debra--I know it's not a journey for you...just throwing in advertising wherever I can! :) ) ______________________________ Reply Separator _________________________________ Subject: Re: Blues piano Author: Debra Eisert at INTERNET_TP Date: 4/28/96 9:43 AM What can I say? I agree that the piano is not getting the type of blues exposure designed to bring up new talent. Too bad. Having said that, The Queen City Blues Festival has featured a piano stage the last couple years. (Shannon, are they planning that for this July as well?) ##################################################################### Debra Eisert "It is the mark of an educated man to debra@iglou.com be able to entertain a thought without Cincinnati, OH accepting it." -- Aristotle ##################################################################### ========================================================================= Date: Mon, 29 Apr 1996 10:06:23 -0400 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: Preston Shannon title? label? Comments: To: James Foster In-Reply-To: On Mon, 29 Apr 1996, James Foster wrote: > Dave, > > Preston's latest album is called "Midnight In Memphis" and it's on the > Bullseye label. Thanks, Jim ========================================================================= Date: Mon, 29 Apr 1996 09:05:28 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Joe Beard Can someone tell me more about the new Joe Beard cd, besides how good it is. Is it slick & polished blues Does it have a soulful tint..? Chicago blues tint... jazz blues tint... ????? Some kind of description about what kind of blues would be helpful. I plan on buying it at lunch. I wanna make sure it's "up my alley" Thanks LW ========================================================================= Date: Mon, 29 Apr 1996 09:11:53 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Texas Johnny Brown in Paris and NOT Paris, Texas ;-) We Texans are known for being generous among other things and now we're sharing on of our best bluesmen with you folks in Europe. Texas Johnny Brown and the Quality Blues Band will be playing at the Chesterfield Cafe in Paris, France May 7-11. Anyone in Europe who can get to Paris won't be disappointed in Johnny Brown. BTW, Johnny's drummer, John Griffin is a Blues-L'er himself. Make sure you say hi. These guys are the nicest in the business. -Jeff ( the biggest fan of the man) --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball #10 U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc02.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Mon, 29 Apr 1996 07:34:57 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: April 30 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BANGS, LESTER (critic) d. 1982-0430, NEW YORK CITY, NY 33 CAMPBELL, LUCIE E. (gospel songw) b. 1885-0430, DUCK HILL, MS DAVIS, GARY D. REV. (g/VOCALION REC) b. 1896-0430, LAURENS, SC JOHNSON, HALL (of the HALL JOHNSON CHOIR) d. 1970-0430, NEW YORK CITY, NY 82 KULBERG, ANDY (b/flute/BLUES PROJECT) b. 1944-0430, BUFFALO, NY MARCHAN, BOBBY (v/HUEY "PIANO" SMITH) b. 1930-0430, YOUNGSTOWN, OH MUDDY WATERS [MCKINLEY MORGANFIELD] (g) d. 1983-0430, DOWNERS GROVE, IL 68 ROBINSON, JIMMY LEE "LONESOME" (g) b. 1931-0430, CHICAGO, IL SCOTT, MABEL (v/EXCLUSIVE REC) b. 1915-0430, RICHMOND, VA WHITELEY, KEN(g/prod/ORIGINAL SLOTH BAND) b. 1951-0430, BELLEFONTE, PA ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 29 Apr 1996 11:04:09 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Memphis In May Recommendation: Calvin Newborn Comments: To: BLUZMANED@aol.com With Otis Rush, Luther Allison, Gatemouth Brown, and others playing (not to mention Alex Chilton), this statement may seem a bit hyperbolic, but arguably the best guitarist playing Memphis In May is not a headliner and would probably get missed by blues-lers from outside the Mid-South. Memphis music legend Calvin Newborn is playing with Herman Green's Green Machine in the Memphis tent Friday night, I think at 7 or 7:30. I saw the current incarnation of the Green Machine last Saturday with Calvin, and he was astounding. This is jazz, not blues (I saw Herman and Calvin do an R&B set later in the day Saturday, also). But Newborn has to be seen for those of you interested in guitar wizardry. I highly highly recommend this. Newborn was in the family band set up by his father in the late 40s that played the Plantation Inn in West Memphis, Ark. That was the band that Memphis soul musicians viewed as *the* area band of his youth. Calvin has played with just about everyone significant in 50s R&B or jazz-- Mingus, Ray Charles, Ike Turner, Jackie Brenston, B.B. King (he's on B.B.'s first session, and B.B. helped him select his first guitar). If you haven't seen him, this is probably the thing at Beale Street Fest you are LEAST likely to see in your home town. I do wish he would play a thing he called "My Inventory" that was a tribute to T.Bone Walker. He played this last Saturday, but, unfortunately, only in the R&B set, not the jazz set. Tom Freeland ========================================================================= Date: Mon, 29 Apr 1996 10:06:36 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Beale Street question There is a resurant on Beale that is sort of nicer than the others. I think it is in between King's Palace and Run Boogie. That's where I suggest meeting on Saturday morning. They have good food :-)...Can anyone supply the name of that resturant.... THANKS LW ========================================================================= Date: Mon, 29 Apr 1996 09:26:41 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Going into the studio?any suggestions? Mike Curtis said edit edit >ALL guitars I've tried have the same problems with new strings. Some are >much worse than others, and some folks can't string a guitar properly. But >I don't know any session players here in Hollywood (CA, not FL :-) who go >into the studio with a less than day old set of strings. But then again, >what do the best musicians in the world know about guitar strings ;-) I record regularly, and my new strings stabilize in about a half-hour of practicing after installation. I use Sperzels. For traditional tuners, giving it a day or so may help. >I own two tuners (Boss TU-12 and a cheapie called a "Piggy"), both >of which have analog meter movements. It's surprising (and revealing) to >note the discrepancies between the meters. This is actually true. In the studio everyone must agree on whose tuner is the reference one, and use it only. They do vary. Not by much if everyone is using good ones, but this does happen. >Another thing to consider is that all tuners I've seen deal only with equal >temperament, which is actually musically incorrect. Which is kinda like politically incorrect... i.e. it means more as rhetoric than in practice! >Back in the "olde >days", just temperament was used, and pianos, etc., were tuned to a >particular key. I believe it was Bach who instituted equal tuning to allow >instruments to play in all keys, but it was a compromise - trading ragged >chords for chromaticity. The term you are looking for is "just intonation" not just temperment. The two main types of temperment used, equal temperment (our normal tuning scheme which allows for key changes and is slightly inaccurate for any given key) and just intonation in which the relationships of all the notes in *that key* are consonant, or mathmatically perfect. In Physics of Sound and Vibration class we bring in a piano tuner who sets up a grand with just intonation for a certain key. Than a pianist will play a familiar piece in that key . It's quite interesting and something I wish every one could hear at least once. Personally, while it is clearly perfectly in tune, (for that key at least) it is rather boring, and uninteresting-sounding to my ears. It is certainly not a big revelation or anything. Face it, we are used to equal temperment and it sounds right to us. And when you change keys on the just intonated piano? OHMYGOSH it is WRETCHED! Not an option for real-world playing.... >This is one reason why many guitarists refuse to use tuners, preferring to >tune to more of a just temperament, which produces much better chords for >the basic position it's optimized for. This works for certain tunes, if they are not too harmonically complex and stays pretty much in the same position. It goes to hell in a hurry if those conditions change. *However* many guitar players do this because they are too cheap and ignorant to get a proper nut setup and general setup which greatly reduces the need for this fudging. Also they won't often pay for a real tuner. >These tend to pull strings into tune >while playing, especially on single note leads. What do you do when you're sharp already? Sound terrible that's what.... >This is why many guitarists >get an E from another instrument, hit an E chord, and tune for the best >chord. (Of course, some do this because their instruments were intoned by >Atila the Hun, but that's a whole new ball of yarn, let alone thread :-) I have played and done live sound and recording for many many years and I have never once heard this method work. The two guitars are NEVER in tune. If one player sticks to lead he can fake his/her way through, (kinda) but if they hit the same chord.... eeeeuuuwww!!! Showing up for a gig without a tuner and going "gimme an E" to someone is a dead giveaway for "amateur-hell night".... (this happened to me last week while I was doing live sound... I asked them to both play a D when they were done "tuning"... ooohhh ouucchhh... pain.... I said "don't ever get up on stage without a tuner again"....) >Equal temperament on most chording instruments is one of the major reasons >good horn sections sound soooo nice in comparison. Good horn section players >generate just temperament "by ear". Because vocal "harmonizers" use equal >termperament (at least the ones I've checked out), GOOD live vocalists sound >better and "blend" better. All true. You can hear this with orchestras and even on slide players... It don't work on fretted playing though. Remember it's -just intonation-, not just temperment. Equal Temperment - Tuning adjusted so that all keys are equally in tune (or equally out of tune if you wish to put it that way) Just Intonation - Perfect, consonant tuning relationships for *one key only*. Not practical for fretted instruments, pianos, organs etc where playing on more than one key is needed. >While I use and greatly appreciate tuners, it's important to know exactly >what they're good for and where they fall short. Slide players can tune by ear based on the root notes, (then check it against the rest of the band!) IF you have VERY good ears, but regular guitars should ALWAYS be tuned with a good pro-grade tuner. My guitar builder has a t-shirt... sez "TUNE IT OR DIE" I love it! DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Mon, 29 Apr 1996 11:25:24 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Little Whitt & Big Bo show Yesterday the local blues society had Little Whitt and Big Bo (with 'eller Mike McCracken playing 'right on' ryhthm). I didn't catch much of their show at the ABS Showcase Saturday, but what I did hear was Bo singing from way down inside. It has been a problem with me that this particular blues society never gave LW/BB the respect they deserve. On more than one occasion they called them Little Whitt and Big MO. The local radio station that does a blues show DID NOT EVEN have the LW/BB cd. They asked to borrow mine. (gee whiz) Anyway the show they put on tn B'ham yesterday will change all that. I have attended these park shows before (Ron Thompson & Joanna Connor) I never seen a better response. There was an encore for Bo, Whitt & Mike, with Topper Price sittin in on one tune. Sometimes you have to slap someone right upside the head to get their attention, yesterday Bo & Whitt did some head slapping. I have to mention Mike McCracken's restraint, he sits off to the side, giving BO and Whitt all the attention. He never takes a solo, just lays down the groove with dead on ryhthm playing. You got to give him credit, it's not every day you see such a good musician with such a great attitude... It certainly made me feel good that some of my best friends (the best friends a person could have) , FINALLY got hip to Whitt & Bo... Who knows maybe the radio station will invest in a Little Whitt / Big Bo CD return MINE.... LW ========================================================================= Date: Mon, 29 Apr 1996 18:44:57 +0100 Reply-To: Bluesman From: Bluesman Subject: Bluesmen's guitars names Let's begin with a quiz...:) Let's see how many bluesmen's guitars names do we remember...:) Post them here, I'll join them and post a later message with all the names. I'm the first, so I choose: B.B. King's Lucille. O:-) Jose. Spain. ****************************************************************************** - Everyday I Have The Blues - ========================================================================= Date: Mon, 29 Apr 1996 10:49:10 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0136 From: "DUTTWEILER.J" Subject: eRIC's BLUES DATES: April 30 Date: Monday, 29 April 1996 10:48am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: eRIC's BLUES DATES: April 30 In-Reply-To: The letter of Monday, 29 April 1996 10:39am ET Seeing as how tomorrow is Jimmy Lee (Lonesome) Robinson's birthday (not to mention the day THE MAN died, Mr. Muddy Waters, at FAR to young an age But I'm sure more will be mentioned on that later), I thought I might query the list as to information about this artist, of whom I know nothing. I ask because over the weekend I picked up the American Folk Blues Festival 1965 which has one track by him and couldn't find anything about him in the books I own. Anyone out there know anything about him? I also picked up the 1967 disc of the same series. Awhile back there had been some questions about Hound Dog Taylor discography and I can't remember if this disc was mentioned, but it is chock full of Hound Dog, in fact Hound Dog is on every cut except the accoustic acts. Hearing him back up Koko Taylor on Wang Dang Doodle is a treat, as is his version of Elmore's The Sky is Crying. Also, the one track by Son House, Got a Letter this Morning, is quite powerful - wish they had included more of him JD (observing a moment of silence in respect for the memory of THE MAN's passing ) ========================================================================= Date: Mon, 29 Apr 1996 13:35:05 -0400 Reply-To: BluesMojo@AOL.COM From: Doug Carlisle WSFM Subject: Radio Airplay Check your Mailing List!!! North Carolina's #1 Rated blues show should be on your service list. If it's not...ADD IT!! Look for weekly playlist reports right here...... (Mail) WSFM Surf 107 c/o Houserockin Blues Box FM 107 -or- 201 N.Front St. Wilmington, NC 28402 50,000 watt commercial station covering all of NC coast & North Myrtle Beach Reports to "Hard Report" Time & Day: 9am-12pm Sundays Studio # (910) 251-1075 SUNDAYS ONLY!!! For more info, e-mail me: Doug Bluesmojo@aol.com ========================================================================= Date: Mon, 29 Apr 1996 13:45:21 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Tuning, tuners, faith & reason - techie stuff One of my firmest beliefs is that there will never be a computer that can meet or exceed the capabilities of the human mind. What computers do well, on the other hand, and in fact way better than the human mind, is count. Electronic tuners COUNT, and they do it far better than the best musician. When a musician argues that he can hear far more accurately than, or as accurately as, an electronic tuner, it's one of those "safe" arguments. The only way to check a human's ability to discriminate pitch, is with an electronic tuner (or frequency counter). Obviously, if you are declaring yourself more accurate, the electronic tuner couldn't possibly be counted on to be the judge. The fact is, the cheesiest electronic tuner is better than you are. Apparent differences between tuners are products of differences in resolution, not reliability, and that resolution is in almost all cases greater than your own. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Mon, 29 Apr 1996 13:45:20 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Bluesmen's guitars names Comments: To: Bluesman On 29 Apr 96 at 18:44, Bluesman wrote: > Let's begin with a quiz...:) > > Let's see how many bluesmen's guitars names do we remember...:) > Post them here, I'll join them and post a later message with all the > names. > > I'm the first, so I choose: > > B.B. King's Lucille. O:-) Of course there's Elmore James' guitar named "Myron" P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Mon, 29 Apr 1996 13:13:56 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 04/30 B O R N : 04/30 CONLON, KEITH ANDREW Born:1944 AELAIDE, SA, AUSTRALIA Career:DRUMMER / SINGER Style:JAZZ With:University Jazz Group 1962 / Bruce Gray's All Stars 1978 / Don Burrows DAVIS, REV. BLIND GARY Born:1896 LAURENS, SC Career:SINGER / GUITAR Style:BLUES With:VOCALION RECORDS DUHE, LAWRENCE Born:1887 LaPLACE, LA Career:CLARINET Style:TRAD / JAZZ Kid Ory / Evan Thomas / Retired from music in 1944. HEATH, PERCY Born:1923 WILMINGTON, NC Career:BASS Style:JAZZ / BIG BAND With:Miles Davis / Fats Navarro / J.J. Johnson / Dizzy Gillespie / Charlie Parker / Thelonious Monk / Clifford Brown / Horace Silver MORGAN, GRAHAM GEORGE Born:1937 MELBOURNE. VIC, AUSTRALIA Career:DRUMMER / LEADER Style:JAZZ With:Ted Preston Quartet / Channel 9 Orchestra 1958 / To the US 1962 / To Sydney 1963 / Graeme Lyall quintet / In US 1973 performed with Cleo Laine at Carnegie Hall / 1985 Peter Sullivan big band. ROBINSON, JIMMY LEE "LONESOME" Born:1931 CHICAGO, IL Career:BASS / DRUMMER / GUITAR Style:BLUES With:EDDIE TAYLOR / FREDDIE KING / SONNY COOPER / ELMORE JAMES / WILLIE MABON / SUNNYLAND SLIM SCOTT, MABEL Born:1915 RICHMOND, VA Career:SINGER Style:BLUES With:EXCLUSIVE RECORDS TWARZDZIK, DICK ( RICHARD ) Born:1931 DANVERS, MA Career:PIANO Style:JAZZ / BIG BAND With:CHARLIE MARIANO / SERGE CHALOFF / LIONEL HAMPTON / CHET BAKER VER PLANK, BILLY ( JOHN FENNO ) Born:1930 NORWALK, CT Career:TROMBONE / COMPOSER / ARRANGER Style:JAZZ WADUD, ABDUL ( KHABIR DEVAUGHN, RONALD ) Born:1947 CLEVELAND, OH Career:CELLO Style:JAZZ With:Arthur Blythe / Frank Lowe / Sam Rivers / Chico Freeman WAIN, BEA Born:1917 NEW YORK, NY Career:SINGER Style:BIG BAND With:Larry Clinton / Fred Waring / Gene Kardos / Ted Straeter / Your Hit Parade / Married radio announcer Andre Baruch WEISS, SID Born:1914 SCHENECTADY, NY Career:BASS Style:JAZZ / BIG BAND With:Louis Prima / Wingy Manone / Charlie Barnet / Artie Shaw / Joe Marsala / Tommy Dorsey / Benny Goodman / Abe Lyman / Hal Mclntyre Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us The Following were Recorded on this Date in the Years: ========================================================================= Date: Mon, 29 Apr 1996 14:29:52 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Gearheads only! (bad case of G.A.S.) G uitar A cquisiton S yndrome .............you guys all know it, and I'm sufferin a bad case of it these days. That nasty need to feed a guitar jones. LAst week, I was test driving Gretsch Nashvilles and was unsatisfied with how they felt and sounded in my hands and thru my amp. Decided as much as I love what Brian Setzer does with his, they ain't for me. Too durned many knobs and pickup selector switches. Yikes! BUT!>>>>>> I got my hands on and played at great length an Epiphone "Riviera" model, which is basically an ES-335 at about one-third the price and with a trapeze style tailpiece rather than the stop-bar tailpiece (found on the Sheraton model). Wow! I am totally impressed with this instrument. Beautiful construction, fully bound on the body and arched front and back, less ornate with nickel-silvered hardware than the Sheraton which has gold all around, but just beautiful all the same. And a big, FAT neck which felt as sweet as sugar to my Les Paul playing hands. I've slept on it for a few nights now, and have decided (I think) that I need to have one. ;) I already own one Epiphone and find it to be a first-class player, which is paramount for a working musician like me. I look at those photos of John Lee Hooker and Stevie Ray playing the same guitar and that of course helps boost my confidence in the quality of the instrument. In fact, I saw Stevie play his live back in ummmmm...'83 or '84. Any comments on these guitars, good or bad, subjective or objective. I know somebody here on -L not too long ago bought a Sheraton but can't remember who it was. AT about $695 (without case) I think this is a damned fine guitar and I love the tone. My brother has a mint '68 ES-335 in Chuck Berry red that I've played and man this is damned close! Comments? Thanks, my fellow GAS sufferers. :) Riffin Rick (....got it wicked bad....) F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Mon, 29 Apr 1996 14:31:30 EDT Reply-To: Toby Levy From: Toby Levy Subject: Blues on Broadway I've had the New Yorker from April 15th sitting around my desk for a while now, waiting to see if anyone was going to mention the article "Black and Blues", but no one has, so here it is: The New Yorker, April 15th, pages 99-101 contains an article called "Black and Blues" which is a review of a play by August Wilson entitled "Seven Guitars." The play is a depiction of the impact of the Blues on Black life of the 1940s. Wilson is in the process of writing a play about Black life in every decade of the 20th century. He has yet to write a play about the first decade of the century and has not written one yet of the 80s or 90s. The review is quite positive and I would be interested to know if any bluezellers have seen "Seven Guitars" and what they thought of it. The play is at the Walter Kerr Theater 219 W 48th St. Toby ========================================================================= Date: Mon, 29 Apr 1996 14:35:13 -0400 Reply-To: Oded Maron From: Oded Maron Subject: Joe Beard Comments: To: ISTS024@uabdpo.dpo.uab.edu In-Reply-To: L W's message of Mon, 29 Apr 1996 09:05:28 CDT From: L W Can someone tell me more about the new Joe Beard cd, besides how good it is. Is it slick & polished blues Does it have a soulful tint..? Chicago blues tint... jazz blues tint... ????? To my ears, it's very similar to the live Percy Mayfield on Winner. Relaxed, but still emotionally wrenching blues played by experts. Oded ========================================================================= Date: Mon, 29 Apr 1996 14:45:26 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Gearheads only! (bad case of G.A.S.) Comments: To: MILLER@SCI.WFBR.EDU On 29 Apr 96 at 14:29, MILLER@SCI.WFBR.EDU wrote: > Any comments on these guitars, good or bad, subjective or objective. I know > somebody here on -L not too long ago bought a Sheraton but can't remember who > it was. AT about $695 (without case) I think this is a damned fine guitar and > I love the tone. My brother has a mint '68 ES-335 in Chuck Berry red that I've > played and man this is damned close! I recently acquired a Sheraton (actually my second), and it can be seen on the opening picture of my homepage. I love it. I may get around to replacing the pick-ups, but I'm in no hurry. As value per dollar, you can't beat these Epiphones. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Mon, 29 Apr 1996 22:03:18 +0300 Reply-To: T P Uschanov From: T P Uschanov Subject: Re: King Records Box Set Comments: To: Tony Burke In-Reply-To: <830714802.8536.1@bluestb.demon.co.uk> There is a WWW page on the box with 4 audio samples at http://www.3rdcoast.com/musvault/r&b/kingset.htm. I just downloaded them, and they sounded great. I don't think Wynonie Harris could imagine, on going into the studio one day in 1947, that 49 years later the record he was making could be heard on a computer on another continent by means of a thing like the Internet... I'll definitely buy the box sooner or later, but I'd like to know by whom the 4th sample on the page is; there are namely no artist credits! It's titled "The Wild Stage of Life" and is by a Dinah Washington-style femme singer. T P Uschanov, University of Helsinki, Finland, European Union tuschano@cc.helsinki.fi ### http://www.helsinki.fi/~tuschano/ "Omnia praeclara tam difficilia, quam rara sunt." (Baruch Spinoza, 1632-1677) ========================================================================= Date: Mon, 29 Apr 1996 14:10:35 -0500 Reply-To: Birmingham From: Birmingham Subject: Buddy Guy As I was going through last weeks Sunday paper (Chicago Sun Times p. 9, Sunday, April 21, 1996) I ran across a Q & A w/Buddy Guy. I thought one of the questions was of interest to this list. Q. "How would you answer blues purist types who say your live shows in recent years have sacrificed blues tradition in favor of ... catering to the rock crowd?" A. "The greatest blues player who ever lived and died is unheard of until someone transformed it [the blues] into semi-rock-type music ... So I'm trying to be in between so I can show you that I am blues, and show where rock and a lot of other music came from." Sean Birmingham ========================================================================= Date: Mon, 29 Apr 1996 15:07:54 EDT Reply-To: george morales From: george morales Organization: TEMPLE UNIVERSITY Subject: buddy guy's big band i am thinking of seeing buddy guy on may 9th in Glenside, PA.has anyone seen him on this recent tour which is being advertised as Buddy Guy & His Big Band? What can I expect? thanks, george +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ | GEORGE MORALES GEORGEM@VM.TEMPLE.EDU | | TEMPLE UNIVERSITY (215)204-6866 | +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Mon, 29 Apr 1996 15:16:04 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Bluesmen's guitars names Comments: To: Isaac Sprintis On 29 Apr 96 at 12:04, Isaac Sprintis wrote: > Damn man, where did you find that out? > Elmore is the man, and now so is P.W. I hope you're joking as much as I was. "Get up early in the mornin', I believe I'll dust my broom.... talk to me, Myron" P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Mon, 29 Apr 1996 14:20:57 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: too much fun You ever have one of those evenings that turn out so good that your face hurts from grinning? Well I just had one and I thought I'd share some of it with y'all. Last night I went down to the Blue Cat Blues Club in Dallas to catch the jam session hosted by local blues/soul singer Gregg Smith. Cover charge $4. After a slow start by the new house band, Gregg took the stage and immediately got the place jumping with some serious blues shouting. Then he announced that his friend Lucky Peterson was in the house (Gregg often tours with Lucky and opens for him on the road). Lucky jumped up onstage and played some blistering guitar for a couple of long tunes, then switched over to B-3 for some killer soul tunes ("Love and Happiness" and several others) with Gregg on vocals. During the middle of this, Bobby Patterson joined them onstage and the soul session got SERIOUS. Lady Lotion took the stage next. You'll be able to hear her on an upcoming Topcat Records release. She has a big booming voice and a stage act that would almost make Etta James blush (almost). Well since I've seen Lady Lotion quite a bit lately, I stayed for a couple of songs and then decided to head down to Schooners to check out Hash Brown's blues jam. On my way out the door I bumped into the KNON program director who was returning from one of our benefits, a big crawfish cookoff. He had quite a bit of leftover crawfish in his trunk and gave me a 5 pound sampler to take home for a late night snack (it was GOOD, too!). I get down to Schooners and there's Sam Myers on the dance floor with a pretty lady. The Hash Brown Band is on the bandstand with a trumpet player, Tony High on trombone, and a new guitar player and vocalist I hadn't seen before. Now one of my biggest thrills is to walk into a jam session like this and have someone I've never seen before blow me away. Well I got my thrill. The gentleman is from Tyler, Texas (East of Dallas) and his name is Felton Blaylock. He was playing a black B.B. King Lucille guitar and I mean he was *PLAYING* it! Nice voice, too. No original tunes this night, just some of B.B.'s stuff, but very well done. He has his own band out in Tyler and says he has a bunch of nice original songs. I shall be investigating further! Later this week, I am going to see Buddy Guy, the Handy's, and the Memphis festival. However, I am doubtful I will have more fun than I did at home for a grand investment of $4 (not counting beverages and tip jar contributions-which were optional). BTW, Bobby Patterson has just self-released his first album in a long, long time and is sounding better than ever. The CD is called "Second Coming" and has 8 original soul and R&B tunes. Great stuff. Bill Shute, you NEED that one! Don O. ========================================================================= Date: Mon, 29 Apr 1996 15:20:00 EDT Reply-To: edward c liu From: edward c liu Subject: SITTING AND THINKING: Buddy Moss _Atlanta Blues Legend_ Howdy all, My last NYCD Blues posting for the Biograph record label. -- Ed Edward C. Liu | "If you send me to Washington as your leader, edwick@cc.bellcore.com | I'll personally see to it that every living | American gets his portion ... after I get mine." | -- Louis Jordan, "Jordan For President" The opinions in this message are mine and not Bellcore's. Really! *------------------------------cut heer------------------------------* BUDDY MOSS ATLANTA BLUES LEGEND BIOGRAPH #139 ADD Buddy Moss' story is one familiar to any serious fan of the blues, and indeed can be used as a template. The story goes something like this: a talented musician records prolifically during the 1930's after performing with or tutoring many of the famous blues names of the era. For one reason or another, the career is cut short and the artist's recordings are forgotten until the folk blues revival of the 1960's, at which time the artist's "rediscovery" heralds much hype over the next "blues legend," with more recording sessions and acoustic tours on college campuses following until the artist's death. In Buddy's case, the hype as a blues legend is rightfully deserved. He was one of the great Piedmont style guitarists, but his five year stint in jail for allegedly murdering his wife ensured his name would not be included among the blues canon of Blind Willie McTell, Josh White, Curley Weaver, and Barbecue Bob (all of whom Buddy performed or recorded with). This disc was recorded during his "revival" in the 1960's, and were among the last that Buddy ever recorded. HURRY HOME / RED RIVER / PUSHIN' IT / COMIN' BACK / HOW I FEEL TODAY / THAT'LL NEVER HAPPEN NO MORE / OH LAWDY MAMA / I'M SITTING ON TOP OF THE WORLD / KANSAS CITY / IT WAS IN THE WEARY HOUR NIGHT / CHESTERFIELD / I'VE GOT TO KEEP TO THE HIGHWAY / COME ON AROUND TO MY HOUSE / STEP IT UP AND GO / EVERYDAY SEEMS LIKE SUNDAY / I GOT A WOMAN, DON'T MEAN ME NO GOOD / BETTY AND DUPREE / EVERY DAY, EVERY DAY NYCD Takes HURRY HOME: The sudden fade-in on this track may cause a double take, but it appears that Buddy managed to catch the engineer off guard. This minor recording difficulty is quickly forgotten as Buddy dives into this slow tempo blues. Buddy's vocals, baritone bordering on a tenor, are rich and full-throated, loaded with character and depth. The guitar work is meaty and challenging, with complex and fairly intricate fingerpicking. RED RIVER: Another slow tempo blues where Jeff Espina's harmonica joins Buddy's guitar and vocals. Buddy's voice runs smooth and deep, meaty enough to sink your teeth into. He keeps the accompaniment to a minimum, opting to speak more with his vocals and the harmonica. The sound quality here is superb, to the point where you can hear Buddy's voice echoing in the recording studio. PUSHIN' IT: Buddy shifts gears for a high-charged, mile-a-minute riff-based blues. His guitar playing sets his fretboard on fire, and he is aided immeasurably by some very clean harp playing by Jeff. He keeps the vocals relatively sedate, but definitely on a higher energy level than the previous two tracks. If there were any doubts about this man's living legend status, they should be gone by now. COMIN' BACK: The tempo gets taken down again for a slow blues as Buddy tells the woman leaving him that she's going to be "coming back some old cold, rainy day." There's a great deal of depth here, even though the lyrics and delivery are very simple. His vocals are extremely heartfelt, as though this were a man who can see the handwriting on the wall, but is resigned to his fate. The harmonica is there, but the real star of the show is Buddy's vocal performance. HOW I FEEL TODAY: A very folksy introduction introduces this slow blues that gives the harmonica a break. Buddy opts for negligible accompaniment during his verses, turning this into a call-and-response with his guitar. The calls are Buddy's down-in-the-bottom vocals, while the responses are intricate, fascinating fingerpicked runs. Extra treats are Buddy's whistled solos during the song, wonderfully reproduced on disc. THAT'LL NEVER HAPPEN NO MORE: Vintage acoustic fingerpicking kicks off this medium tempo blues on a 12-string guitar. Buddy's vocals are extremely smooth, giving a very jazzy feel to this solo acoustic blues, and he delivers them with a dry touch of humor. This could be called the forerunner to Little Charlie and the Nightcats' "I'll Never Do That No More." The sound quality is terrific; some woody squeaks and fingers dragging on strings increase the intimacy of the performance. OH LAWDY MAMA: Buddy kicks into a simple riff as Jeff Espina's harmonica riffs away above it. The basic version of this song has been used as a base for many, many a blues song, including Freddie King's "See See Baby." Buddy's playing and singing is pure, beautiful, spartan simplicity, with most of the musical gymnastics being performed by Jeff. I'M SITTING ON TOP OF THE WORLD: The famous riff is played on the harmonica, probably by Buddy himself, while guest guitarist "J.J." plays a simple strummed rhythm accompaniment. Buddy's harmonica playing is as expressive as his guitar work, and that says a lot. This track is very short on vocal work -- after only one verse, Buddy chooses to sing the rest of it with his harp. KANSAS CITY: Buddy continues on harp to J.J.'s chunky strumming. This version of the song is probably older than the one more familiar to most modern blues listeners, with an alternate set of lyrics (including some borrowed from "Catfish Blues"). Buddy's harp playing is as intricate and stunning as anything he did on guitar on the previous tracks, with some wonderful trills and turnarounds. Be on the lookout for the false ending. IT WAS IN THE WEARY HOUR NIGHT: Buddy returns to guitar, picking percussively on a resonator guitar for this slow blues. His vocals are simply heavenly, full of emotion and feeling. If his vocals don't move you, check your chest because you haven't got a heart. His accompaniment is extremely sparse, leaving his vocals in center stage. There are times when his vocals sound like Luther Allison's on his acoustic album "Hand Me Down My Moonshine." CHESTERFIELD: A Blind Willie McTell-ish blues-rag about Chesterfield cigarettes. This song would be entirely fitting in Blind Willie's repertoire, and might have been penned during the period when Buddy played with Blind Willie in the 1930's. The guitar playing is full of energy, driving the track forward at a steady clip. Buddy's vocals are also very similar to Blind Willie's, managing to communicate tremendous excitement without sounding frantic. A superb good-time, foot-stomping blues. I'VE GOT TO KEEP TO THE HIGHWAY: More percussive popping of bass strings and intricate treble string runs introduce this prototype to Big Bill Broonzy's "Key To The Highway." The gymnastics are left for the introduction and the guitar solo sections, as Buddy's vocals are as straightforward and simple as you can get, as is his accompaniment (although Buddy is not above the occasional string pop, flashy run, or gratuitous harmonic, as though he were just making sure you're paying attention). COME ON AROUND TO MY HOUSE: Another high-energy blues-rag, with guitar accompaniment provided by Buddy augmented by J.J. The lyrical pattern is identical to Robert Johnson's "They're Red Hot." The accompaniment (which features at least one of the performers on a 12-string guitar), achieves some amazing levels of complexity as these two weave in and out of each other's musical lines with ease and grace. STEP IT UP AND GO: Another two guitar duel that opens with some intricate dueling between Buddy and J.J.. This is probably the original version of the song which John Lee Hooker took and turned into an electrified/electrifying classic in the early days of his career. Again, Buddy's singing manages to be driven and excited without resorting to shouting. The guitar dueling is even more over-the-top than on the previous track, with some truly jaw-dropping results. EVERYDAY SEEMS LIKE SUNDAY: A slow riff blues. Buddy does the vocal parts with a greater sense of urgency, pushing his vocals into a higher register than he had on previous tracks and singing his lyrics in something closer to a shout. He sticks to simple strummed rhythms, leaving the guitar pyrotechnics for the response sections of the call-and-response, or during his solos. There are short phrases when he sounds like Albert Collins would have on an acoustic. I GOT A WOMAN, DON'T MEAN ME NO GOOD: J.J returns for the last three tracks. This track features some spellbinding guitar work, with single-note acoustic playing by Buddy being complemented by continuous chord strumming by J.J. Buddy delays his singing entrance, waiting for nearly two minutes before getting to words. Buddy also takes some time to go exploring musically, stretching out the track for nearly twice as long as most of the others on this disc. BETTY AND DUPREE: Some very atmospheric, moody guitar introduces this slower blues grind. This song is in the tradition of blues storytelling, as Buddy narrates the story of two tragically fated lovers. The first verse, as Betty tells Dupree that she wants a diamond ring, could be placed into a blues love song, but the accompaniment makes one sure this story won't have a happy ending. This kind of matching of musical style and semantic content makes this a real masterpiece. EVERY DAY, EVERY DAY: A peppy, upbeat blues to close out this disc. Again, Buddy picks out some fine single-note accompaniment to J.J.'s strumming; Buddy's guitar playing is only a stone's throw away from what turned into the electric blues in Chicago. The introductory verse is a variation on B.B. King's "Every Day I Have The Blues," but it's not clear who did it first. All of the lyrics are delivered with authority and grace, and the guitar accompaniment is superb. Reviewed by Edward C. Liu Copyright 1996 NY CD Blues Unauthorized use prohibited NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ ========================================================================= Date: Mon, 29 Apr 1996 19:21:38 GMT Reply-To: Martin Green From: Martin Green Organization: De Montfort University, Leicester Subject: Re: Music makes you smarter Comments: To: bit-listserv-blues-l@uunet.uu.net Probably, though it without a doubt makes me a damned sight poorer [finacially speaking]. Peace, Mart. ========================================================================= Date: Mon, 29 Apr 1996 15:37:09 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: DC Blues Society Jam Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com The next free DC Blues Society blues jam will be on Sunday May 5, at Food For Thought (1738 Connecticut Ave. NW) from four - eight PM. All musicians are welcome to perform. There is no cover and DC Blues Society members get a 10% discount on food and drink. This will be the last Food For Thought jam of the season. Starting in June, the society will have monthly picnics and the annual festival will be on September 7, at Carter Barron Ampitheater. The monthly jams at Food For Thought will start again in October. For more information call the DC Blues Society at (202) 828-3028 or visit the DC Blues Homepage at http://intelus.com/dcblues ========================================================================= Date: Mon, 29 Apr 1996 16:02:06 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Norton Buffalo Interview Last Saturday morning, I had the pleasure to spend several hours with musician/composer/actor Norton Buffalo. We had a tentative time set for 11:00 am and since Norton is on the road with Steve Miller, I called the hotel at 10:30 Friday night and left a reminder message for him. As it turned out he didn't get in until 5:30 Saturday morning. When I called the hotel at 10:15 Saturday morning, I woke him up! He was unbelievably pleasant and said he'd get "up and at'em" and to come on in. I grabbed two mic stands, two of my best EV's, my portable four track and jumped in the car, (I made Dave Carpenter go too!). When we got to the hotel, Norton came down and we walked across the street to the Hartford Civic shops in search of cappuccino. We found it and headed back to the hotel, where Norton talked with us for over two hours straight, most of which I got on tape. He even blew his harp for us, and did a "rap" tune he wrote. Later, he invited us to lunch, and the Steve Miller show. Unfortunately, I had to be on air at WCCC at 2:00pm to 7:00pm and later host Ronnie Earl's gig in Hartford. So I had to decline his offer, (kicking myself). To make a long story even longer, Norton is incredibly down to earth. Inspite of his 100+ record discography, movie roles and sound track credits, he remains practically untouched by the industry's trappings. He's a devoted father, teacher, friend and regular guy. Norton is currently recording his next album with his band The Knockouts. Hopefully, it'll be out this year. Check out this gifted and very talented artist. Thanks for your indulgence, Beef Stew ____________________________________________________________________________ The Blues Playground - Sundays at 9pm on 107 FM WCCC - Hartford, CT 50,000 watts of Blues power! Host/programmer: Stew Crossen (Beef Stew) 18 Boxwood Drive Vernon, CT 06066-5106 tel: 800.970.5151 http://www.neca.com/~bfstew bfstew@neca.com Reporting to: Living Blues, The Hard Report and BluesWire magazine. ========================================================================= Date: Mon, 29 Apr 1996 16:14:03 -0400 Reply-To: "Lost John From: "Lost John Subject: Re: Bluesmen's guitars names On 29 Apr 96 at 18:44, Bluesman wrote: > Let's begin with a quiz...:) > > Let's see how many bluesmen's guitars names do we remember...:) > Post them here, I'll join them and post a later message with all the > names. > > I'm the first, so I choose: -- > B.B. King's Lucille. O:-) Old Number One, Butterscotch, and Lenny - SRV _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ _/ /\ _/ _/ || _/ _/ || _/ _/ John Carley || _/ _/ johnc@vedge.com || _/ _/ (514)332-6430 x232 || _/ _/ |\||/| _/ _/ \ / _/ _/ " There's only two things in life / \ _/ _/ but I forget what they are..." ( ) _/ _/ - John Hiatt \____/ _/ _/ _/ _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ ========================================================================= Date: Mon, 29 Apr 1996 15:15:28 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Memphis Hotel Room Share ? A friend of ours who was going to split our room MAY NOT be able to go to the fest after all (family health problems). If anyone would like to split our room, let me know private e-mail. The room has two king size beds. The hotel is Holiday Inn midtown a short & straight drive to Beale and the cost for the room friday THRU sunday is 180.00 (90.00 split).... My friend will let me know for sure tommorrow (I strongly suggest he stay home) and I'll have to check with my wife, if anyone is interested in splitting the room. Subject to approval of course :-) LW ========================================================================= Date: Mon, 29 Apr 1996 15:27:15 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: Memphis Hello everybody. The evil El-Capitan (Jef Jaisen) has advertised that I need help in Memphis. No doubt I will. However, I was expressing my frustration to him about being unable to hog-tie the occasional booking agents for some of the performers (in order to land some interview appts.). The list they sent out (to use to schedule such appts.) is apparently outdated -- some of the agents no longer represent the acts performers, etc. So although I would love any hints/leads about how to go about setting up some of these appts., I have full confidence I'll get into plenty o' trouble down there (re: restaurants, clubs, etc.). So any helpful advice is appreciated. And if I don't do interviews for the magazine I'll just have fun (a tough proposition huh?). As for my address, Mary Katherine -- it is canorton@journalism.indiana.edu I hope I'll run into a lot of you bluezers...even though I'm hoping the weather will be much too warm for the blues-l SWEATSHIRT I have...you'll just have to recognize me by the large tattoos on my face. Cathi N. ========================================================================= Date: Mon, 29 Apr 1996 06:37:10 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: Buddy Guy Comments: To: birmingh@SLS.LIB.IL.US Holy Christ in a dump truck, Buddy Guy is following in the footsteps of Cream :-) RJ Bauman On 29 Apr 96 , honorable zeller Birmingham wrote: > As I was going through last weeks Sunday paper (Chicago Sun Times p. 9, > Sunday, April 21, 1996) I ran across a Q & A w/Buddy Guy. I thought one > of the questions was of interest to this list. > > Q. "How would you answer blues purist types who say your live shows in > recent years have sacrificed blues tradition in favor of ... catering to > the rock crowd?" > > A. "The greatest blues player who ever lived and died is unheard of > until someone transformed it [the blues] into semi-rock-type music ... So > I'm trying to be in between so I can show you that I am blues, and show > where rock and a lot of other music came from." > > Sean Birmingham > > "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Mon, 29 Apr 1996 16:43:08 -0400 Reply-To: Fretman6@AOL.COM From: "J.B. Eanes" Subject: Gibson info....GEARHEADS Comments: To: Steve.Levine@corp.wrgrace.com Can anyone tell me what year this guitar was made?. Gibson ES-335TD (Walnut with small headstock) Serial no.: 776722 I would apreciate any help in this matter. Thanks in advance. J.B. ========================================================================= Date: Mon, 29 Apr 1996 16:54:03 -0400 Reply-To: James Leftwich From: James Leftwich Subject: Re: Blues on Broadway Comments: To: Toby Levy In-Reply-To: I had the pleasure of seeing _Seven Guitars_ Saturday night. It was wonderful. Beautiful ensemble acting, right-on dialogue, great set design...It's the most fun I've had on Broadway. It easily balances its pathos with its humor. Unforunately, there wasn't more impromptu blues making. Highly recommended despite the steep price. Makes me want to track down other August Wilson...Does anyone know if his previous works use the blues theme? Jim Leftwich leftwich@cloud9.net Come win a *FREE* CD at Jim's Blues N Brews http://www.cloud9.net/~leftwich ========================================================================= Date: Mon, 29 Apr 1996 20:54:59 GMT Reply-To: Girish Venkitachalam From: Girish Venkitachalam Organization: Iowa State University, Ames, Iowa USA Subject: Johnnie Johnson Info Needed!! Hi all, I recently got to hear Johnnie's piano in a couple of albums by JLH and the Kentucky Headhunters. I really fell for Johnnie's playing. I did some research and found that Johnnie had played piano in most of Chuck Berry's recordings, and that Johnny B Goode was written for JJ. Well, my question is this: if I have the money to buy just one album of JJ's which one should I get?? Any other JJ info would also be appreciated. TIA, -- Girish ---------------------------------------------------------------------------- http://www.public.iastate.edu/~girishv/homepage.html (Netscape 2.0 Preferred) ---------------------------------------------------------------------------- Mirrors are the doors through which Death comes and goes. You only have to watch yourself all your life in a mirror, and you'll see Death at work like bees in a glass hive. -----Jean Cocteau ---------------------------------------------------------------------------- If each one of us could make just one other happy, the whole world would know happiness. ---- Georges Simenon ---------------------------------------------------------------------------- ========================================================================= Date: Mon, 29 Apr 1996 17:14:41 -0400 Reply-To: MojoBandit@AOL.COM From: Dave Ruthenberg Subject: Buddy Guy's Detroit Rip-off A couple of weeks ago I was covering Corey Harris for the next issue of the Blues Rag. He was opening for Buddy Guy in Detroit at the Majestic Theatre. I was absolutely disgusted to find out that Buddy Guy's road manager had insisted that all admissions be GA - no big deal - but that meant no seats! $25 a pop and no chairs. They had 1,000 people there who, for the most part, were equally angered at this situation. I was speaking to the promoter who told me that they usually don't do shows this way at the Majestic, but Buddy's people "insisted on it." I think Buddy is forgetting his fans and allowing himself to be consumed by a "rock star mentality." I don't mind Buddy getting the money he deserves, but does it have to be at the expense of his fans' comfort? I was glad that I got in on a press pass and could sit on a platform. Just wonderin' what those on the blues-l think about this - or am I overreacting? Dave ========================================================================= Date: Mon, 29 Apr 1996 17:24:44 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re[2]: Bluesmen's guitars names > > I'm the first, so I choose: -- > B.B. King's Lucille. O:-) -- > Old Number One, Butterscotch, and Lenny - SRV How about Blackie -- Eric Clapton Shannon ========================================================================= Date: Mon, 29 Apr 1996 15:48:53 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re[2]: Bluesmen's guitars names Hey, How can you forget, Lucy, Albert King's Flying V. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Tue, 30 Apr 1996 09:00:40 -1000 Reply-To: Andrew Gregg From: Andrew Gregg Subject: Re: Re[2]: Bluesmen's guitars names Comments: To: Jim Witteveen >> >> I'm the first, so I choose: > >-- > B.B. King's Lucille. O:-) > >-- > Old Number One, Butterscotch, and Lenny - SRV > > How about Blackie -- Eric Clapton O.K............"Betty Jean" - Jimi Hendrix "Lucy" - Albert King ========================================================================= Date: Mon, 29 Apr 1996 19:05:13 -0400 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: eRIC's BLUES DATES: April 30 JD asks: >Seeing as how tomorrow is Jimmy Lee (Lonesome) Robinson's birthday (not to >mention the day THE MAN died, Mr. Muddy Waters, at FAR to young an age But >I'm sure more will be mentioned on that later), I thought I might query the >list as to information about this artist, of whom I know nothing. >I ask because over the weekend I picked up the American Folk Blues Festival >1965 which has one track by him and couldn't find anything about him in the >books I own. Anyone out there know anything about him? If you can get past the picture of Gregg Allman on the latest Blues Revue (#22), there is a good, informative article about Jimmie Lee Robinson written by D. Thomas Moon. Jimmie Lee's been around for a long time and has played with such greats as Little Walter, Eddie Taylor, Elmore James, Magic Sam and more. The only solo album I know about is Jimmie Lee Robinson and the Ice Cream Men: Lonely Traveller (Delmark). On a personal level, he's a vegetarian, converted to Islam, and drives a cab; Scott Dirks could tell you more, because he's the one who told me those things! You've got something really great in the 1965 American Folk Blues Fest CD! In fact, over the weekend I posted a note about this very CD in answer to a question, but I had connection problems, and since I haven't seen it show up yet, I'll repeat the information. The person asked about Buddy Guy playing with John Lee Hooker. Well, Buddy does play with JLH on this album; in fact, he plays *bass*. I don't know whether any other songs that were recorded during this session but do not appear on this particular CD were ever released. I know some others (notably Eddie Boyd) have been. > also picked up the 1967 disc of the same series. Awhile back there had been >some questions about Hound Dog Taylor discography and I can't remember if this >disc was mentioned, but it is chock full of Hound Dog, in fact Hound Dog is on >every cut except the accoustic acts. Hearing him back up Koko Taylor on Wang >Dang Doodle is a treat, as is his version of Elmore's The Sky is Crying. Don't forget Little Walter's appearance on this CD! Isn't he great? I've heard said that this was LW's last recording session. Can anyone confirm this? Karen ========================================================================= Date: Mon, 29 Apr 1996 19:17:14 EDT Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: Norton Buffalo Interview Hey Stew, Thanks again for making me go. Wish I could have spent more time with Norton. Like you said, real down to earth. Just one of those rare times when everybody is instantly comfortable with each other. Looking forward to his new disc. Dave Carpenter - WHUS-FM ========================================================================= Date: Mon, 29 Apr 1996 16:36:19 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Son House/JSP Sampler/A Plea Garry Smith wrote: > The other was "Son House,the Complete '65 Sessions". Not,it must be >said,an easy listen,which is not to denigrate the Great Man or his >work,simply stating a fact. Despite being a little past his best due to age >and having been out of the performing loop for some years,the sheer power >that comes across when it does all come together is hairaising. Especially >effective are the unaccompanied songs like "John The Revelator". In terms of guitar technique, Son House wasn't a facile as he was when he first recorded, but of the *originally released cuts* it's hard to really hear that. When hearing the outtakes you get to hear all the false starts and missed notes. But if you listened to the outtakes of nearly anyones recording session you would hear the same thing. I will argue the point that Son House was a little past his best. On these sessions, the video I have seen and the live recordings I have heard, I would say that this was a man still at his peak. As to whether this collection is an easy listen. If you can't stand music that will raise the hairs on the back of your head, send chills down your spine and move you to the very core of your soul then this is not for you. > If you've just got into Blues via the likes of SRV or EC approach >this with caution. I would say, "Go and buy it, now!" I think I'm blues-evangalising again. If you aren't already converted then go out now, no matter whether you listen to SRV/EC or not. little snip >Mr House. The recording and mastering,by the way,are first class. A decent >system will put The Man in the room there with you! Glad you have found Mr. House. Indeed, when I listen to this album it seems he is in the same room. On a sadder note, the deaths of 32 people due to a lone gunman in Tasmania has been heavy on my mind today. This is not something that one would expect in Australia, let alone a place as beautiful as Tasmania. As an Australian, I have always regraded Australia to be relatively innocent with regards to the voilence that plagues other countries. Not any more. This is a very sad day. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Mon, 29 Apr 1996 16:49:55 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: OTIS RUSH, A TRIBUTE (w/DISCOGRAPHY) OTIS RUSH was born Otis Boyd, Sunday, April 29, 1934, Neshoba, MS., about 10 miles outside Philadelphia, MS. (Correct all your reference books :-)) "Part of the celebrated West Side school of guitarists (the other two notables being Buddy Guy and Magic Sam), Rush quickly distanced himself from the pack by coming up with a style that was more broodingly intense and introspective than either of them. His early recordings combined Robert Johnson-like anguished vocals with sweet, stinging guitar solos in a B. B. King mode, both with a unique voice. Influencing countless young guitarists on both sides of the Atlantic (Jimmy Page, Eric Clapton, and Stevie Ray Vaughan being just the tip of the iceberg), Rush continues to record and tour to this day, still occasionally connecting with the private demons that make his brand of blues so compelling." ~ Cub Koda, ALL-MUSIC Guide Otis Rush won the W. C. Handy Blues Hall of Fame on Nov. 18, 1984. His latest CD is the "Live And Awesome" Adelphi set, which comes from a 1991 European tour arranged by Diversified Talent Services. According to Adelphi Records, this is NOT a bootleg, and Otis Rush will receive royalties. His next new recording will be for Isaac Tigrett's House Of Blues Records ALBUM/CD DISCOGRAPHY REL. DATE ====================================================================== ADLPHI CD : OTIS RUSH - Live and Awesome (Europe, 1991) 1996 ALLIGATOR CD 4797 : OTIS RUSH - Lost in the blues (Sonet set,'77)1991 ANTONE'S CD 0004 : VARIOUS - 10th Anniversary Anthology (1 cut) 1986 ATLANTIC CD 82367 : OTIS RUSH - Mourning in the Morning 1992 BLACK & BLUE 33516 : OTIS RUSH - Screamin' & Cryin' 1975 BLIND PIG 3188 : OTIS RUSH - Tops 1985 BLIND PIG CD 73188 : OTIS RUSH - Tops 1989 BLUE HORIZON 4602 : OTIS RUSH - Blues Masters - Vol. 2 1972 BLUE HORIZON 4805 : OTIS RUSH - Chicago Blues 1973 BLUE HORIZON 63222 : OTIS RUSH - This One's a Good Un 1968 BMW CD 24 : OTIS RUSH - Double Trouble 1995 BULLFROG 301 : OTIS RUSH - Right Place, Wrong Time 1976 BLUE MOON 1028 : OTIS RUSH/LITTLE WALTER - Live in Chicago 1970 BLUE SILVER 3009 : OTIS RUSH - Right Place, Wrong Time 1976 CASTLE CD 1009 : OTIS RUSH - LIVE IN JAPAN 1996 CHARLY CD 217 : OTIS RUSH - Classic Recordings 1992 CHARLY CD BM 24 : OTIS RUSH - Double Trouble 1994 CHARLY CD 1683 : OTIS RUSH - Double Trouble 1994 CHESS 1538 : OTIS RUSH/ALBERT KING - Door to Door (6 cuts)1969 CLEO 1283 : OTIS RUSH/LITTLE WALTER - Live in Chicago 1970 COTILLION 9006 : OTIS RUSH - Mourning in the Morning 1969 DELMARK 638 : OTIS RUSH - Cold Day in Hell 1976 DELMARK CD 638 : OTIS RUSH - Cold Day in Hell (w/extra cuts) 1992 DELMARK 643 : OTIS RUSH - So many roads (Trio set, 1975) 1978 DELMARK CD 643 : OTIS RUSH - So many roads (Trio set, 1975) 1995 EDSEL 220 : OTIS RUSH - Right Place, Wrong Time 1976 EVIDENCE CD 26014 : OTIS RUSH - Screamin' & Cryin' (1974) 1992 EVIDENCE CD 26034 : OTIS RUSH - Live in Europe (Isabel,1977) 1993 FLYRIGHT 560 : OTIS RUSH - Groaning the blues 1980 FLYRIGHT 562 : OTIS RUSH - Other takes 1956/58 1980 FLYRIGHT CD 01 : OTIS RUSH - The Cobra Recordings, 1956-1958 1988 FLYRIGHT CD 18 : VARIOUS - Chicago Guitars (alt tk, 9 cuts) 1990 GUIMBANDA 1136 : OTIS RUSH - Right Place, Wrong Time 1976 HIGHTONE CD 8007 : OTIS RUSH - Right Place, Wrong Time 1987 INTERMEDIA 5003 : OTIS RUSH/LITTLE WALTER - Live in Chicago 1970 ISABEL 900.521 : OTIS RUSH - Live in Europe 1977 MCA CD 10667 : VARIOUS - Best of Duke-Peacock Blues (1 cut) 1992 MCA/CHESS CD 9322 : OTIS RUSH/ALBERT KING - Door to Door (6 cuts)1990 P-VINE 702 : OTIS RUSH - Right Place, Wrong Time 1976 PAULA CD 01 : OTIS RUSH - V.1 : Cobra Recordings 1956-1958 1992 POLYGRAM CD 518 769: OTIS RUSH - Ain't Enough Comin' In 1994 SONET 756 : OTIS RUSH - Troubles Troubles 1978 TRIO 3086 : OTIS RUSH - Blues Alive! 1975 VANGUARD 9217 : VARIOUS - Chicago/The Blues/Today!v.2 (5cuts)1966 VANGUARD CD 79217 : VARIOUS - Chicago/The Blues/Today!v.2 (5cuts)1989 ====================================================================== ========================================================================= Date: Mon, 29 Apr 1996 19:04:23 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: U.P. Wilson Fort Worth's U.P. Wilson will be in the studio this week in London cutting his third CD for JSP Records. Don O. ========================================================================= Date: Mon, 29 Apr 1996 20:13:20 -0400 Reply-To: SliderDW@AOL.COM From: Don Williams Subject: Re: Re[2]: Bluesmen's guitars names Comments: To: mpagregg@dpi.tas.gov.au "Miss Gibson" was Rev. Gary Davis' big acoustic six string. Don Williams ========================================================================= Date: Tue, 30 Apr 1996 10:29:30 -1000 Reply-To: Andrew Gregg From: Andrew Gregg Subject: Re: Tasmanian Massacre Blues Comments: To: Shaun T Cronin Comments: cc: Jim Witteveen >On a sadder note, the deaths of 32 people due to a lone gunman in Tasmania >has been heavy on my mind today. This is not something that one would >expect in Australia, let alone a place as beautiful as Tasmania. As an >Australian, I have always regraded Australia to be relatively innocent with >regards to the voilence that plagues other countries. Not any more. This is >a very sad day. > Shaun to bring you (and the list) up to speed, It looks like 35-6 people and 18 injured (5 of those critical). THe gunman was a 28 yo loner and obviously very skilled with his weapon. From reports Ive heard, he was picking his targets, leading with the gun and killing, such as a hunter would. He was using military style weapons that had been illegally obtained. He has been captured alive, but suffering from burns after he torched the guest house he eventually holed himself up in. The acts he has committed are beyond anything our country has ever experienced before, including the shooting of a mother, 3 year old child and then stalking of her 6 year old who was running to hide. No motive, nor explaination has been given so far as to why the gunman has gone on this rampage, and early press reports of schitzophrenia have been disspelled. No words can describe the feelings of rage, anger, disbelief amd sorrow that all Tasmanians feel at present. I know one of the people who has been shot and know many others who also have lost someone (in a total population of 500K), or who has survived. It is truly a black day for Tasmania and for all humanity. Peace Andrew Gregg (With the blues, in Tasmania) 'Tell me why does a viligante man Carry that sawnoff shotgun in his hand Would he shoot his brother and sister down??' - Woody Guthrie ========================================================================= Date: Mon, 29 Apr 1996 20:52:00 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: U.P. Wilson Comments: To: Don O In-Reply-To: <9604291904.0QSLS04@chrysalis.org> On Mon, 29 Apr 1996, Don O wrote: > Fort Worth's U.P. Wilson will be in the studio this week in London cutting his > third CD for JSP Records. Off the shoulders of his last would make this effort, CD of the millenium. Barry (trembling at how good U.P. is) NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 29 Apr 1996 20:11:03 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Piano blues I've been watching this thread, wondering when someone would mention Ann Rabson, who (IMHO) is one of the best blues/boogie pianists recording today. Her work with Saffire gets better with every CD. She has a solo CD coming out later this year, which I am very eagerly awaiting. And another name ... unrecorded yet ... if you are ever in Toronto, look out for a keyboard player named Tyler Yerema. He is young (early 20s) and really knows his blues. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Mon, 29 Apr 1996 21:35:33 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Buddy Guy's Detroit Rip-off Comments: To: MojoBandit@aol.com On April 29, David Ruthenberg wrote: >>>I was absolutely disgusted to find out that Buddy >>>Guy's road manager had insisted that all admissions >>>be GA - no big deal - but that meant no seats! Somebody is jivin' you here . . . No road manager has the authority to make the determination of whether a concert has chairs or general admission. This is part of the contract that the promoter and the agent have negotiated far in advance of the date. The agent functions with the authority of the artist's management. The road manager is merely carrying out the provisions of the contract. He has no authority to mandate admisson policies. Dick Waterman ========================================================================= Date: Mon, 29 Apr 1996 21:35:36 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Blues on Broadway Comments: To: levyt@rl.af.mil On April 29, Toby Levy asked: >>>The review is quite positive and I would be >>>interested to know if any bluezellers have seen >>>"Seven Guitars" and what they thought of it. The >>>play is at the Walter Kerr Theater 219 W 48th St. I made a post right after the opening night on March 28th. I was commissioned by the producers to create a collage of seven guitarist's hands to be given to August Wilson at a party following the opening night's performance. To summarize the plot again briefly: It is the flashback story of a Pittsburgh blues singer who goes to Chicago in 1948, records two songs and then returns home where he is jailed on a trumped up charge. When he gets out of jail, he finds that his record (i.e. the track played is Arthur Crudup's "Who's Loving You Tonight") is getting major airplay and he is invited back to Chicago for further recordings. However, he is murdered before he can cash in on his success. I met with August Wilson and members of the cast after opening night, and he was gracious and genuinely engaging in his knowledge of blues music. The collage was made up from photographs of the hands of BB King, Muddy Waters, Son House, Lightning Hopkins, Elizabeth Cotton,. Fred McDowell and Mance Lipscomb. In addition to the one collage given to August Wilson, they also requested multiple prints of the hands of Jack Owens, Otis Rush. Etta Baker, Joe Louis Walker, Booker White and Fruteland Jackson to be distributed to individual members of the cast. The selection of hands had nothing to do with relative fame but only on the way that the composition of hand and guitar came together. The underlying theme of blues music is continuing throughout the play but certainly not the premise of Mister Wilson's work If anyone has a web page and would like to display the hands, I'll be happy to send off a copy of each one. Dick Waterman ========================================================================= Date: Mon, 29 Apr 1996 21:35:41 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Bluesmen's guitars names Comments: To: uc262@cclx1.unican.es Bluesmen asked the question: >>> Let's begin with a quiz...:) >>> Let's see how many bluesmen's guitars names do >>>we remember...:) >>> Post them here, I'll join them and post a later >>>message with all the >>>names. Many of the bluesmen that I worked with showed strong matriarchal tendencies when speaking to their instruments. "Get in tune, you Mother." "Hey! Look out with that damn guitar. Set that Mother down easy." "Damn straight it plays good. You don't want to know what I paid for this Mother." Apparently, there are no Father guitars . . . . Dick Waterman ========================================================================= Date: Mon, 29 Apr 1996 18:59:31 -0700 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Lonnie Johnson? Does anyone out there know if Lonnie Johnson used Finger picks, nails, or bare fingers to play his outstanding guitar style. I have been working on some of his tunes and Damn could that guy play. What virtuosity, whatever he was drinking I'll take a double. And on this topic, what about other great players of that time. Does anyone know about Tampa Reds right hand technique? Well I think that I'll get back to shedding on these guys, I could stay up all night for weeks working on just one of L.J.'s tunes, complex shit. Peace, Isaac ========================================================================= Date: Mon, 29 Apr 1996 22:06:24 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Bluesmen's guitars names Comments: To: Jinxblues@aol.com i've sort of read and sort of ignored this thread. Has anyone pointed out that Albert King called his guitar Lucy and even recorded a song called "I Love Lucy"? Tom Freeland ========================================================================= Date: Mon, 29 Apr 1996 19:09:05 -0700 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Re: Blues on Broadway Comments: To: Dick Waterman In-Reply-To: <960429213535_283676107@emout09.mail.aol.com> What about Hond Dog's hands? Even if they haven't heard him that sixth finger alway's grabs people's attention. on that note I think everyone should take Dick Waterman's advice and get the greatest blues shirt EVER MADE, The Hound Dog Taylor shirt. You can get this shirt from Alligator re. and the shirt includes that famous quote. "when I die thay'll say "He couldn't play shit but he sure made it sound good"". Another REALLY cool shirt is the Johnny Winter Tatoo shirt, with a copy of Johnny's dragon tatoo on the front!! Isaac-- not affiliated......blahblah alligator.... On Mon, 29 Apr 1996, Dick Waterman wrote: > On April 29, Toby Levy asked: > > >>>The review is quite positive and I would be >>>interested to know if any > bluezellers have seen >>>"Seven Guitars" and what they thought of it. The > >>>play is at the Walter Kerr Theater 219 W 48th St. > > I made a post right after the opening night on March 28th. I was commissioned > by the producers to create a collage of seven guitarist's hands to be given > to August Wilson at a party following the opening night's performance. > To summarize the plot again briefly: It is the flashback story of a > Pittsburgh blues singer who goes to Chicago in 1948, records two songs and > then returns home where he is jailed on a trumped up charge. > When he gets out of jail, he finds that his record (i.e. the track played is > Arthur Crudup's "Who's Loving You Tonight") is getting major airplay and he > is invited back to Chicago for further recordings. > However, he is murdered before he can cash in on his success. > I met with August Wilson and members of the cast after opening night, and he > was gracious and genuinely engaging in his knowledge of blues music. > The collage was made up from photographs of the hands of BB King, Muddy > Waters, Son House, Lightning Hopkins, Elizabeth Cotton,. Fred McDowell and > Mance Lipscomb. In addition to the one collage given to August Wilson, they > also requested multiple prints of the hands of Jack Owens, Otis Rush. Etta > Baker, Joe Louis Walker, Booker White and Fruteland Jackson to be distributed > to individual members of the cast. > The selection of hands had nothing to do with relative fame but only on the > way that the composition of hand and guitar came together. > The underlying theme of blues music is continuing throughout the play but > certainly not the premise of Mister Wilson's work > If anyone has a web page and would like to display the hands, I'll be happy > to send off a copy of each one. > > Dick Waterman > ========================================================================= Date: Mon, 29 Apr 1996 22:51:48 -0400 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Midnight Crooze in Memphis Comments: To: bit-listserv-blues-l@uunet.uu.net Friday, May 3: Moonlight on the Mississippi: 11:00 (leaves dock at midnight) until 2:00 a.m. aboard the memphis Showboat. Board at the cobblestones at the foot of Monroe and Riverside. Tickets are $16.00. Bill Perry Band and Hadda Brooks. Sponsored by Pointblank/Virgin Records and Gibson Musical Instruments. VERSUS Sunday, May 5: Blues Brunch: Memphis Showboat. Boarding begins at 10:00 a.m. Boat returns at 1:00 p.m. Ronnie Earl and the Broadcasters and Preston Shannon will be performing. Tickets are $25.00 and include breakfast buffet. Sponsored by Rounder/Bullseye. Personally, as Preston Shannon's #1 fan, I would lean towards the second choice. Also I think the boat serves stuff like steamship round of beef. Denise ========================================================================= Date: Mon, 29 Apr 1996 21:58:43 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Buddy Guy's Detroit Rip-off Comments: To: Dave Ruthenberg In-Reply-To: <960429171440_480828757@emout10.mail.aol.com> On Mon, 29 Apr 1996, Dave Ruthenberg wrote: > A couple of weeks ago I was covering Corey Harris for the next issue of the > Blues Rag. He was opening for Buddy Guy in Detroit at the Majestic Theatre. I > was absolutely disgusted to find out that Buddy Guy's road manager had > insisted that all admissions be GA - no big deal - but that meant no seats! > $25 a pop and no chairs. They had 1,000 people there who, for the most part, > were equally angered at this situation. I wish that half as many folks who'd pay $25 for Buddy or B.B. or Junior would pay $3 for all the other folks who put on wonderful shows that aren't celebrities. I'd stand for great shows, but I'll admit that these puppies are pretty flat and I'll be hobbling for a day or so after. I'd prefer chairs, I want chairs. For $25 they should carry me in. Steve ========================================================================= Date: Mon, 29 Apr 1996 22:53:49 -0400 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Memphis!! May 2-5 Comments: To: bit-listserv-blues-l@uunet.uu.net Hi Zellers! Things are crazier than I expected around Memphis this week. Crossroads '96 was just held this past weekend, and Sunday we enjoyed the Beale St. Music Society's Jug Band tribute, which featured John Sebastian and Yank Rachell, both of whom are sticking around for the coming weekend's festivities. I am trying to rope them into our get-together. Also on hand is Delta blues researcher Gayle Dean Wardlow, with a box of 78's and a couple of vintage guitars, and I'm trying to convince Preston Shannon, Rufus Thomas, Dr. Ernest C. Withers (THE photographer) and Bobby Rush to join us. The Music Fest people just got back to me today with the bad news that the festival is too spread out for them to offer us a tent and tables, so I'm trying for one of three clubs. But as L.W. pointed out to me in private email, it's a tactical nightmare to set up a backline at a good time for everyone. Nonetheless, I have three Beale Street sites on the hook and will know something tomorrow, Tuesday. That's why I'm asking all of you who are planning on attending to call me with your contact numbers as soon as you arrive. If you don't receive a personal email from me with my number, please take a minute to drop me a line with your hotel name and location, and I'll leave a message for you with the last minute arrangements. Please let me hear from you. Denise ========================================================================= Date: Mon, 29 Apr 1996 19:54:08 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Bluesmen's guitars names Dick,=20 I seem to recall that Son House had a resonator guitar stolen in the = Cleveland airport. Did it ever turn up, or is it still at large in = Shaker Heights, Parma, or Solon? Uncle Ray ---------- From: Dick Waterman[SMTP:Jinxblues@AOL.COM] Sent: Tuesday, April 30, 1996 1:35 AM To: Multiple recipients of list BLUES-L Subject: Re: Bluesmen's guitars names Bluesmen asked the question: >>> Let's begin with a quiz...:) >>> Let's see how many bluesmen's guitars names do >>>we = remember...:) >>> Post them here, I'll join them and post a later >>>message with = all the >>>names. Many of the bluesmen that I worked with showed strong matriarchal = tendencies when speaking to their instruments. "Get in tune, you Mother." "Hey! Look out with that damn guitar. Set that Mother down easy." "Damn straight it plays good. You don't want to know what I paid for = this Mother." Apparently, there are no Father guitars . . . . Dick Waterman ========================================================================= Date: Mon, 29 Apr 1996 22:10:52 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Son House/JSP Sampler/A Plea Comments: To: Shaun T Cronin In-Reply-To: On Mon, 29 Apr 1996, Shaun T Cronin wrote: > > As to whether this collection is an easy listen. If you can't stand music > that will raise the hairs on the back of your head, send chills down your > spine and move you to the very core of your soul then this is not for you. These were the very words I was looking for. I think he sings up to heaven from the pits of hell. The guitar work nothing short of chilling. Steve ========================================================================= Date: Mon, 29 Apr 1996 22:17:17 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Bluesmen's guitars names Comments: To: Dick Waterman In-Reply-To: <960429213540_283676193@emout07.mail.aol.com> On Mon, 29 Apr 1996, Dick Waterman wrote: > Bluesmen asked the question: > > >>> Let's begin with a quiz...:) > > >>> Let's see how many bluesmen's guitars names do >>>we remember...:) > >>> Post them here, I'll join them and post a later >>>message with all > the > >>>names. > > Many of the bluesmen that I worked with showed strong matriarchal tendencies > when speaking to their instruments. > > "Get in tune, you Mother." > "Hey! Look out with that damn guitar. Set that Mother down easy." > "Damn straight it plays good. You don't want to know what I paid for this > Mother." > Reminds me of Iowa slide guitar player Joe Price (no relation whatsoever) has a vintage National steel he calls "Grandmother." :^) Steve Price ========================================================================= Date: Mon, 29 Apr 1996 20:44:04 +0000 Reply-To: ksailors@hooked.net Comments: Authenticated sender is From: "Kenneth M. Sailors" Subject: Thank You, delta doc (for the Garlic Beef) A while back, I sent a public & private thank you to delta doc roger for his Maslak's Garlic Beef recipe. I don't know if that posted & I want to be sure to express my appreciation. I made this stuff 6 weeks ago & it was INSANE! I can't get it out of my mind. Used fresh beer. If you haveb't made this stuff & you eat beef then, well, you don't eat beef. I spread mine out over 4 meals (I ate it alone) & by the 4th time I heated this stuff up in the pot it was --- there are no words (I slow cooked it in a Magnalite pot, I have no crock pot. Keep it on very low heat). Make it, it's worth the time. Thanks again /))((\ -(.)(.)- | \/ | Eugie! ////\\\\ Baange \__/ "I'm just naturally crazy, Baby!" ========================================================================= Date: Tue, 30 Apr 1996 00:38:09 -0400 Reply-To: BALISTRK@BAYDENOC.CC.MI.US From: "Keith T. Balistreri" Subject: Re: Van Morrison Comments: To: DeniseTapp In-Reply-To: <4m3v84$5e9@newsbf02.news.aol.com> Just want to let people know that Van (the man) Morrison is goiong to be on David Letterman tomorrow night. That's Tuesday night. Keith B. "And Sam Cooke is on the radio And the night is filled with space And your fingertips touch my face You're a friend of mine And I'm real gone." -V. Morrison ========================================================================= Date: Tue, 30 Apr 1996 05:43:34 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Lonnie Johnson? Comments: To: bit-listserv-blues-l@uunet.uu.net Isaac Sprintis wrote: > >Does anyone out there know if Lonnie Johnson used Finger picks, nails, or >bare fingers to play his outstanding guitar style. I have been working >on some of his tunes and Damn could that guy play. What virtuosity, >whatever he was drinking I'll take a double. > >And on this topic, what about other great players of that time. Does >anyone know about Tampa Reds right hand technique? > >Well I think that I'll get back to shedding on these guys, I could stay >up all night for weeks working on just one of L.J.'s tunes, complex shit. Isaac, I can't claim to be the ultimate authority on Lonnie Jonson's style, but I do believe that on most of the Lonnie Johnson recordings I've heard, and on a couple of videos I've seen of him playing, he played with a flat pick. Scott ========================================================================= Date: Tue, 30 Apr 1996 06:59:43 GMT Reply-To: marc borms From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Re: Bowie Street Blues Festival Comments: To: bit-listserv-blues-l@news.Belgium.EU.net : Jim Suhler and Monkey Beat--I liked their SHAKE album, and the live show : was very much like that. LOUD slide-gtr based powertrio blues. The cover : of Dark Was The Night, Cold WAs The Ground was majestic, and Jim knows how : to work a crowd. He walked through the crowd on one tune, and when he got : to our blanket announced that he was lookin for a cold beer! Jim seems to like visiting the crowd. He did the same thing two years ago on the Belgium Rhythm and Blues Festival. Walking through the crowd and then climbing the P.A.-tower. Last year I saw Jim in a very, very small club in the neighbourhood. The place was so small, he could reach the other side with his hand without leaving the stage ! He walked through the club ( I should say : room ) and took himself a beer behind the bar... Marc 'embee' Borms marc@az.vub.ac.be Illustrator of "Plug In: The Guide to Music on the Net". Everything you want to know about your favorite band, music style, MIDI and more on the Net. Published by Prentice-Hall, April 96. At bookstores everywhere by Gurley & W.T.Pfefferle. http://www.prenhall.com/~plugin If you want me to draw something, ask ! ========================================================================= Date: Tue, 30 Apr 1996 07:11:44 GMT Reply-To: marc borms From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Bluesquiz II Comments: To: bit-listserv-blues-l@news.Belgium.EU.net When I read all the articles in this list, I see the 'quiz'-thread about guitarnames is popular. Let's start another one : Which bluesartist likes walking through the crowd or leaves the stage while singing/playing.... I will start the list : 1. The number ONE : Big Jay McNeely He walked to the closet while playin' his sax and left the club for a few minutes... but he kept on playin'.. He did the same on the Belgium Rhythm and Blues Festival but walked to a 7000-people crowd. 2. Jim Suhley climbs the PA-tower during BRBF. 3. Rod Piazza walks over the bar between the bottles and glasses in a local bluesclub. Who else ? -- Marc 'embee' Borms marc@az.vub.ac.be Illustrator of "Plug In: The Guide to Music on the Net". Everything you want to know about your favorite band, music style, MIDI and more on the Net. Published by Prentice-Hall, April 96. At bookstores everywhere by Gurley & W.T.Pfefferle. http://www.prenhall.com/~plugin If you want me to draw something, ask ! ========================================================================= Date: Tue, 30 Apr 1996 10:21:55 +0300 Reply-To: Jouni Ilari Hyyti{inen From: Jouni Ilari Hyyti{inen Subject: Re: OTIS RUSH, A TRIBUTE (w/DISCOGRAPHY) Comments: To: Eric LeBlanc-CISTI In-Reply-To: <9604292349.AA11076@dao.nrc.ca> On Mon, 29 Apr 1996, Eric LeBlanc-CISTI wrote: > OTIS RUSH was born Otis Boyd, Sunday, April 29, 1934, Neshoba, MS., about > 10 miles outside Philadelphia, MS. (Correct all your reference books :-)) > > "Part of the celebrated West Side school of guitarists (the other two > notables being Buddy Guy and Magic Sam), Rush quickly distanced himself > from the pack by coming up with a style that was more broodingly intense > and introspective than either of them. His early recordings combined > Robert Johnson-like anguished vocals with sweet, stinging guitar solos > in a B. B. King mode, both with a unique voice. Influencing countless > young guitarists on both sides of the Atlantic (Jimmy Page, Eric Clapton, > and Stevie Ray Vaughan being just the tip of the iceberg), Rush continues > to record and tour to this day, still occasionally connecting with the > private demons that make his brand of blues so compelling." > > ~ Cub Koda, ALL-MUSIC Guide > > Otis Rush won the W. C. Handy Blues Hall of Fame on Nov. 18, 1984. His > latest CD is the "Live And Awesome" Adelphi set, which comes from a 1991 > European tour arranged by Diversified Talent Services. According to Adelphi > Records, this is NOT a bootleg, and Otis Rush will receive royalties. His > next new recording will be for Isaac Tigrett's House Of Blues Records > > ALBUM/CD DISCOGRAPHY REL. DATE > ====================================================================== > ADLPHI CD : OTIS RUSH - Live and Awesome (Europe, 1991) 1996 > ALLIGATOR CD 4797 : OTIS RUSH - Lost in the blues (Sonet set,'77)1991 > ANTONE'S CD 0004 : VARIOUS - 10th Anniversary Anthology (1 cut) 1986 > ATLANTIC CD 82367 : OTIS RUSH - Mourning in the Morning 1992 > BLACK & BLUE 33516 : OTIS RUSH - Screamin' & Cryin' 1975 > BLIND PIG 3188 : OTIS RUSH - Tops 1985 > BLIND PIG CD 73188 : OTIS RUSH - Tops 1989 > BLUE HORIZON 4602 : OTIS RUSH - Blues Masters - Vol. 2 1972 > BLUE HORIZON 4805 : OTIS RUSH - Chicago Blues 1973 > BLUE HORIZON 63222 : OTIS RUSH - This One's a Good Un 1968 > BMW CD 24 : OTIS RUSH - Double Trouble 1995 > BULLFROG 301 : OTIS RUSH - Right Place, Wrong Time 1976 > BLUE MOON 1028 : OTIS RUSH/LITTLE WALTER - Live in Chicago 1970 > BLUE SILVER 3009 : OTIS RUSH - Right Place, Wrong Time 1976 > CASTLE CD 1009 : OTIS RUSH - LIVE IN JAPAN 1996 > CHARLY CD 217 : OTIS RUSH - Classic Recordings 1992 > CHARLY CD BM 24 : OTIS RUSH - Double Trouble 1994 > CHARLY CD 1683 : OTIS RUSH - Double Trouble 1994 > CHESS 1538 : OTIS RUSH/ALBERT KING - Door to Door (6 cuts)1969 > CLEO 1283 : OTIS RUSH/LITTLE WALTER - Live in Chicago 1970 > COTILLION 9006 : OTIS RUSH - Mourning in the Morning 1969 > DELMARK 638 : OTIS RUSH - Cold Day in Hell 1976 > DELMARK CD 638 : OTIS RUSH - Cold Day in Hell (w/extra cuts) 1992 > DELMARK 643 : OTIS RUSH - So many roads (Trio set, 1975) 1978 > DELMARK CD 643 : OTIS RUSH - So many roads (Trio set, 1975) 1995 > EDSEL 220 : OTIS RUSH - Right Place, Wrong Time 1976 > EVIDENCE CD 26014 : OTIS RUSH - Screamin' & Cryin' (1974) 1992 > EVIDENCE CD 26034 : OTIS RUSH - Live in Europe (Isabel,1977) 1993 > FLYRIGHT 560 : OTIS RUSH - Groaning the blues 1980 > FLYRIGHT 562 : OTIS RUSH - Other takes 1956/58 1980 > FLYRIGHT CD 01 : OTIS RUSH - The Cobra Recordings, 1956-1958 1988 > FLYRIGHT CD 18 : VARIOUS - Chicago Guitars (alt tk, 9 cuts) 1990 > GUIMBANDA 1136 : OTIS RUSH - Right Place, Wrong Time 1976 > HIGHTONE CD 8007 : OTIS RUSH - Right Place, Wrong Time 1987 > INTERMEDIA 5003 : OTIS RUSH/LITTLE WALTER - Live in Chicago 1970 > ISABEL 900.521 : OTIS RUSH - Live in Europe 1977 > MCA CD 10667 : VARIOUS - Best of Duke-Peacock Blues (1 cut) 1992 > MCA/CHESS CD 9322 : OTIS RUSH/ALBERT KING - Door to Door (6 cuts)1990 > P-VINE 702 : OTIS RUSH - Right Place, Wrong Time 1976 > PAULA CD 01 : OTIS RUSH - V.1 : Cobra Recordings 1956-1958 1992 > POLYGRAM CD 518 769: OTIS RUSH - Ain't Enough Comin' In 1994 > SONET 756 : OTIS RUSH - Troubles Troubles 1978 > TRIO 3086 : OTIS RUSH - Blues Alive! 1975 > VANGUARD 9217 : VARIOUS - Chicago/The Blues/Today!v.2 (5cuts)1966 > VANGUARD CD 79217 : VARIOUS - Chicago/The Blues/Today!v.2 (5cuts)1989 > ====================================================================== > + ANTONE' S CD 0016: VARIOUS- Antone's anniversary collection:volume 2 (1 cut) 1991 (Natural Ball) Blue Night Records BN 073-1669: Various- Chicago Guitar Killers (2 cuts) .1979 (Ooh-wee baby and I won't be worried no more, chess stuff) Boot ? Fontana 885 431 TY: Various- American Folk Blues Festival '66 (2 cuts) (All your love and It's My Own Fault) LR CD-2069: Various- American folk Blues Festival '66 (same as Fontana) 1990. ???? From the American Folk blues festival '66 tour there is (?) on an eastgerman Amiga label one cut "It takes time". I have never seen this record , but If there is someone on the list who knows more about it, please send us some information. Dick, perhaps ?. Notorious Charly has also published "Door to Door" stuff on the BM series (CD BM 2). The name of the CD is from the all possible names "So many roads". Jouni ========================================================================= Date: Tue, 30 Apr 1996 04:30:04 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Bluesmen's guitars names Jose wrote > Let's begin with a quiz...:) > > Let's see how many bluesmen's guitars names do we remember...:) > Post them here, I'll join them and post a later message with all the >names. > > I'm the first, so I choose: > > B.B. King's Lucille. O:-) > > Johnny 'Guitar' Watson's is called 'Freddie'. A bit naff, this habit/gimmick, IMHO - if BB King hadn't done it, would anybody else have? Chris Smith (chris@skerries.demon.co.uk) Be nice to your children; they'll choose your nursing home. ========================================================================= Date: Tue, 30 Apr 1996 04:45:47 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Bluesquiz II Comments: To: marc borms On 30 Apr 96, marc borms had this to say: > When I read all the articles in this list, I see the 'quiz'-thread > about guitarnames is popular. > Let's start another one : > Which bluesartist likes walking through the crowd or leaves the stage > while singing/playing.... > > I will start the list : > > 1. The number ONE : Big Jay McNeely > He walked to the closet while playin' his sax and left > the club for a few minutes... but he kept on playin'.. > > He did the same on the Belgium Rhythm and Blues Festival but > walked to a 7000-people crowd. > > 2. Jim Suhley climbs the PA-tower during BRBF. > > 3. Rod Piazza walks over the bar between the bottles and glasses > in a local bluesclub. > > Who else ? Just about everybody, including me. The latest twist is singing into your pickups. But you need your amp miked and someone who's alert on the P.A. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ I get so tired listening to one million dollars here, one million dollars there, it's so petty. - Imelda Marcos ========================================================================= Date: Tue, 30 Apr 1996 05:12:02 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Van Morrison Comments: To: BALISTRK@BAYDENOC.CC.MI.US On 30 Apr 96, BALISTRK@BAYDENOC.CC.MI.US had this to say: > Just want to let people know that Van (the man) Morrison is goiong to > be on David Letterman tomorrow night. That's Tuesday night. This isn't really to Keith in particular, but I'm wondering... How many performers can be "the man". On any given day you can read on this list... "the man - Muddy Waters, SRV - the man, Bobby "Blue" Bland - the man!, etc. sincerely, "The Man, P.W. Fenton" ========================================================================= Date: Tue, 30 Apr 1996 05:24:04 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1983, the Blues lost it's greatest practitioner. ========================================================================= Date: Tue, 30 Apr 1996 10:37:25 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Bluesmen's guitars names >Date: Tue, 30 Apr 1996 10:01:50 +0100 >To:Chris Smith >From:Bo.Carlsson@hks.se (Bo Carlsson) >Subject:Re: Bluesmen's guitars names > Lefty Dizz called his EXTREAMLY messed up stratocaster the baby. And late at night when everything went well and he tossed it up in the air and played it while it was falling he sometimes proclaimed "I am the baby". Mr Bo ========================================================================= Date: Tue, 30 Apr 1996 10:40:08 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Van Morrison Comments: To: "P.W. Fenton" >On 30 Apr 96, BALISTRK@BAYDENOC.CC.MI.US had this to say: > >> Just want to let people know that Van (the man) Morrison is goiong to >> be on David Letterman tomorrow night. That's Tuesday night. > >This isn't really to Keith in particular, but I'm wondering... >How many performers can be "the man". On any given day you can read >on this list... "the man - Muddy Waters, SRV - the man, Bobby >"Blue" Bland - the man!, etc. > >sincerely, > >"The Man, P.W. Fenton" I guess anyone who sings I=B4m a Man wants to be called just that. But on th= e other hand - wasn=B4t Sonny boy II called "the goat". Mr Bo. "The mannish boy" ========================================================================= Date: Tue, 30 Apr 1996 06:54:53 -0500 Reply-To: Roger Struve From: Roger Struve Subject: On this day... -Reply Comments: To: pwfenton@GATE.NET I THOT Son House died in 1988?! ddr ========================================================================= Date: Tue, 30 Apr 1996 11:48:42 GMT Reply-To: marc borms From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Re: Tuning, tuners, faith & reason - techie stuff Comments: To: bit-listserv-blues-l@news.Belgium.EU.net : When a musician argues that he can hear far more accurately than, or as : accurately as, an electronic tuner, it's one of those "safe" : arguments. The only way to check a human's ability to discriminate : pitch, is with an electronic tuner (or frequency counter). : Obviously, if you are declaring yourself more accurate, the electronic : tuner couldn't possibly be counted on to be the judge. And second : just try to tune your guitar yourself with a bunch of guys drinkin' beer and talkin',shoutin' together a few meters in front of you .... embee. -- Marc 'embee' Borms marc@az.vub.ac.be Illustrator of "Plug In: The Guide to Music on the Net". Everything you want to know about your favorite band, music style, MIDI and more on the Net. Published by Prentice-Hall, April 96. At bookstores everywhere by Gurley & W.T.Pfefferle. http://www.prenhall.com/~plugin If you want me to draw something, ask ! ========================================================================= Date: Tue, 30 Apr 1996 08:20:15 EDT Reply-To: george morales From: george morales Organization: TEMPLE UNIVERSITY Subject: buddy guy on tv just saw a listing for buddy guy's appearance on the Tonight Show w/ Jay Leno will be broadcast on Thursday May 2,1996. Thanks to those who replied to my query about buddy guy's recent tour. george +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ | GEORGE MORALES GEORGEM@VM.TEMPLE.EDU | | TEMPLE UNIVERSITY (215)204-6866 | +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Tue, 30 Apr 1996 12:10:52 GMT Reply-To: marc borms From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Re: Roy Rogers Web Site Comments: To: bit-listserv-blues-l@news.Belgium.EU.net : Roy Rogers is one of the most talented slide guitarists going, though his : name is not well recognized in general music circles. I've been listening : to his music for a number of years and he continues to inspire me with his : smooth, fluid phrasing and use of dynamics. Unfortunately, he is not a : powerhouse of a singer. His voice, although certainly decent enough, never : quite matches the intensity or power of his slide playing. Just my opinion : on why he's not a big name. Last year, Roy was, IMHO, one of the highlights of the Belgium Rhythm and Blues Festival.... Almost unknown to me before that day, but he really shook the crowd. embee. -- Marc 'embee' Borms marc@az.vub.ac.be Illustrator of "Plug In: The Guide to Music on the Net". Everything you want to know about your favorite band, music style, MIDI and more on the Net. Published by Prentice-Hall, April 96. At bookstores everywhere by Gurley & W.T.Pfefferle. http://www.prenhall.com/~plugin If you want me to draw something, ask ! ========================================================================= Date: Tue, 30 Apr 1996 08:14:53 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: King Records Box Set Comments: To: T P Uschanov > From: T P Uschanov > There is a WWW page on the box with 4 audio samples at > http://www.3rdcoast.com/musvault/r&b/kingset.htm. > I'll definitely buy the box sooner or later, but I'd like to know by whom > the 4th sample on the page is; there are namely no artist credits! It's > titled "The Wild Stage of Life" and is by a Dinah Washington-style femme > singer. It's Lula Reed, singing with Sonny "Long Gone" Thompson & band. EW Eliot Williams University of Wisconsin Department of Medicine ecwillms@macc.wisc.edu ========================================================================= Date: Tue, 30 Apr 1996 09:15:21 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Blues on Broadway Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, leftwich/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=leftwich#a#CLOUD9#f#NET@s1boca.corp.wrgrace.com *Makes me want to track down other August Wilson...Does anyone know if his *previous works use the blues theme? He has used blues themes and African American folklore in his past plays, but I'm not sure if he used music in any of his plays before Seven Guitars. One of his earlier plays is called "Two Trains Running." -Steve ========================================================================= Date: Tue, 30 Apr 1996 14:28:49 +0100 Reply-To: WALLER JONATHAN From: WALLER JONATHAN Subject: Ann Pebbles Hello Men and Women of the blues... Do any of you knowledgable folk know what Ann Peebles is doing these days? Thanks In Advance... Jon Waller *Robben Ford...he knows all those fancy chords..* ========================================================================= Date: Tue, 30 Apr 1996 09:19:51 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Bluesquiz II Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *When I read all the articles in this list, I see the 'quiz'-thread *about guitarnames is popular. *Let's start another one : *Which bluesartist likes walking through the crowd or leaves the stage *while singing/playing.... Sugar Blue usually spends some time walking through the audienc while playing. When I saw Mark Hummel a couple of years ago, he had the swing dancers form a line and follow him through the club. At the WAMA Crosstown Jam last year Linwood Taylor walked through Tornado Alley with his wireless, and even walked into the ladies room. :) ========================================================================= Date: Tue, 30 Apr 1996 08:25:44 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Walter Horton & the Blue Tones When I purchased the Joe Beard CD yesterday, I also bought Walter Horton "Little Boy Blue" live at the Knickerbocker Club with Sugar Ray and The Blue Tones....Wow very nice (on JSP, btw). Ronnie Earl wails on both CD's. Sugar Ray does some fine playing and singing himself. Very fine stuff. A friend that I haven't talked to in a few weeks called last night and said "I just bought a Joe Beard CD today that you got to hear"....I couldn't help but laugh, seeing that we bought it the same day...:-) LW ========================================================================= Date: Tue, 30 Apr 1996 08:29:51 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Bluesquiz II Comments: To: marc borms > From: marc borms > Which bluesartist likes walking through the crowd or leaves the stage > while singing/playing.... One of the first guitarists to do this was Guitar Slim. Since this was before the days of wireless transmitters he bought a 300 foot cord. I can remember reading a description by someone who arrived at a club and found Slim playing in the parking lot surrounded by a huge crowd, while the rest of his band was back on stage playing to a nearly empty room. EW Eliot Williams University of Wisconsin Department of Medicine ecwillms@macc.wisc.edu ========================================================================= Date: Tue, 30 Apr 1996 07:36:01 -0600 Reply-To: Jessica Jones From: Jessica Jones Subject: Buddy Guy Show in Denver-comments In-Reply-To: <199604300406.AAA27470@listserv.brown.edu> I saw the Buddy Guy/Corey Harris show last week in Denver. Although the tickets were general admission, there was seating all along both sides of the theater, and of course, in the balcony. We got there early, got great seats, enjoyed the show immensely. As D.W. said, somebody was jivin' you about Buddy not allowing seating. Buddy was ill (our dry altitude does seem to abuse singers) but gave it all he had, and his excellent band filled in the gaps. If you've only heard Corey Harris on CD, best go see him. His voice, which i thought sounded thin and reedy on CD is full and powerful in person. I'd go see him for that voice alone, but his guitar playing is a treat as well. jessica ========================================================================= Date: Tue, 30 Apr 1996 09:29:11 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Johnny Shines Video? Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I recently saw a clip of Johnny Shines playing with Honeyboy Edwards and Big Walter. The clip I saw was part of a documentary narrated by BB King (I don't know what this documentary was called, I just turned on the tv and it was on some cable channel). I've herad recently that the Shines/Edwards/Horton clip is from a full length video. Can anyone tell me where I can get this video? Thanks, Steve ========================================================================= Date: Tue, 30 Apr 1996 09:42:41 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Corey Harris in Denver-comments Comments: To: Jessica Jones On 30 Apr 96 at 7:36, Jessica Jones wrote: > If you've only heard Corey Harris on CD, best go see him. His voice, > which i thought sounded thin and reedy on CD is full and powerful in > person. I'd go see him for that voice alone, but his guitar playing is a > treat as well. > jessica > You've got to hear him on a park bench. Unbelievable power. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Tue, 30 Apr 1996 13:22:47 GMT Reply-To: Doug <104077.450@COMPUSERVE.COM> From: Doug <104077.450@COMPUSERVE.COM> Organization: CompuServe, Inc. (1-800-689-0736) Subject: Blues Festivals Comments: To: bit-listserv-blues-l@uunet.uu.net Ski Sawmill Mountain Resort Blues Festival On The Mountain This is the third year for this event. The resort has had such performers as Rod Piazza, and Tinsley Ellis. This year the festival is on Saturday July 20. Headlining this year's event is Jimmy Thackery & The Drivers along with special guest Skeeter Brandon & Highway 61. Ski Sawmill is located near Morris, PA in the norht central protion of Pennsylvania. This ski resort is located in the heart of the Pine Creek Valley which is very close to the Pennsylvania Grand Canyon. The festival is a very laid back event with the tunes taking place on the slopes giving it a very natural ampitheather "feel". Last year I stayed in one of the rooms, but a lot of Blues folks camped out. The daytime protion of the event went from 1 - about 6:00. After that one of the opeing Blues bands performs in the Sawmill Restaurant...this is included with the Festival ticket! This year Paul Mark & The Van Dorens will be opening the Festival On The Mountain and doing the night time portion of the Festival until the wee hours of the morning. The resort phone number is (800) 532-7669...the rumor is that tickets are $12 in advance! ========================================================================= Date: Tue, 30 Apr 1996 06:52:18 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Bluesquiz II Comments: To: pwfenton@GATE.NET In-Reply-To: <199604300849.EAA20124@osceola.gate.net> from "P.W. Fenton" at Apr 30, 96 04:45:47 am > > Which bluesartist likes walking through the crowd or leaves the stage > > while singing/playing.... > > > > I will start the list : > > > > 1. The number ONE : Big Jay McNeely > > He walked to the closet while playin' his sax and left > > the club for a few minutes... but he kept on playin'.. > > > > He did the same on the Belgium Rhythm and Blues Festival but > > walked to a 7000-people crowd. I've work with Jay quite a bit. He uses this to great advantage, IMHO more skillfully than anyone else I've seen. He used to lead the audience a la Pied Piper. One time, he took them out of the club, down the street, and a transit bus pulled up to the bus stop. Jay headed inside the bus - with the crowd following and the bus driver looking totally bewildered! He walked the length of the bus, U-turned, and exited, all the time playing his sax. When we were booked for the summer at a new club on Catalina Island, the first night no one knew we were there, so he walked out the door playing, around the corner to the "competition", inside, playing to the music of THEIR band, got the audience to follow him out, and back to "our" club. Afterward, the police told him never to do that again (I wonder who put them up to that ;-) But we had the Island from that night on, and there was a line outside the club every night. -- IronMan Mike Curtis ========================================================================= Date: Tue, 30 Apr 1996 08:51:15 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Re: Bluesquiz II In-Reply-To: Message of Tue, 30 Apr 1996 09:19:51 -0400 from How bout John "Boogie Daddy" Wells (former 'eller) used to strap a drum to himself and walk through the crowd. I think he called it the "Walking Bo Diddley"......something like that anyway.... LW ========================================================================= Date: Tue, 30 Apr 1996 13:56:36 GMT Reply-To: Paolo Morati From: Paolo Morati Organization: Italia Online Subject: Porretta Soul Festival 1996 Comments: To: bit-listserv-blues-l@uunet.uu.net Zelma Redding and Phil Walden will be the guests of honour at the "Porretta Soul Festival 1996" which will take place in Porretta Terme in the Italian region of Emilia Romagna from the 18th to the 21st July. Other guets will be Laven Baker, Sweet Inspirations (with Dee Dee Warwick), Jackie Moore, Rufus Thomas, Ann Peebles, Sly Johnson, Margie Johnson, James Govan, Mira Walkers Singers, Davell Crawford & The New Orleans Band and the Italian band Distretto 51. ========================================================================= Date: Tue, 30 Apr 1996 09:04:47 -0500 Reply-To: James Foster From: James Foster Subject: Re: Ann Pebbles Comments: To: WALLER JONATHAN At 2:28 PM 4/30/96, WALLER JONATHAN wrote: >Hello Men and Women of the blues... > >Do any of you knowledgable folk know what Ann Peebles is doing these days? > >Thanks In Advance... > >Jon Waller I read that Ann has a new album of material due out on the Bullseye label in a few months. I know that I will be looking for that one! James ========================================================================= Date: Tue, 30 Apr 1996 10:05:39 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Bluesquiz II Comments: To: marc@sc1000.az.vub.ac.be In a message dated 96-04-30 03:41:52 EDT, marc@SC1000.AZ.VUB.AC.BE (marc borms) writes: > >When I read all the articles in this list, I see the 'quiz'-thread >about guitarnames is popular. >Let's start another one : >Which bluesartist likes walking through the crowd or leaves the stage >while singing/playing.... > > There are amazing stories about Guitar Slim to this effect. I think I've read an interview with Earl King describing Slim getting a guitar chord long enough to go out in front of a bar and hail passers by on the street. Tom Freeland ========================================================================= Date: Tue, 30 Apr 1996 14:34:00 GMT Reply-To: Mr G M Smith From: Mr G M Smith Subject: RE; My Son House Comments Far be it for me to ruffle feathers by casting aspersions at a Major Cultural Icon. My comments about Mr House being a little past his best were based on the booklet which stated that he had not played for some years and did not even own a guitar at the time of his rediscovery. This information,taken in conjunction with the revered gentleman's age,suggested to me that there was a time when his guitar playing may have been a little more fluent. I would draw a parallel with Rev Gary Davis whose later recordings ie "Children of Zion" while powerful and emotive, especially in comparison with Stefan Grossman's technically perfect but sterile renditions of his music,are simply not comparable with his late '30's/ early 40's performances in terms of execution. Can somebody,please,point me towards a reissue of Son House's early recordings? As for its not being an "easy listen",I stand by that. To most Blues neophytes many of these guys, especially the older ones,sound simply inept in comparison with later copyists. It takes time to learn what they are about and to really Get It,especially if you live in the UK and are that much further removed from the source material and its originators. Even in the Home of the Blues, I recall that there are those prepared to stand up and be counted (and shot down) with the statement, "Muddy Sucks". Yours, Impressed to hell with Son House but still looking for the label that issued the Howlin' Wolf Chess Box, Garry Smith. ========================================================================= Date: Tue, 30 Apr 1996 09:11:49 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Memphis & Guitar I'm afraid to take one my 'real' guitars to Memphis because I would cry if they got "gone"...So I may have to make one of the old crappy wall hangers playable. I don't think time will permit much playing, except some street picking. If anyone has suggestions on how to take one of my better guitars and keep it safe please lemme know. Also if Denise or anyone has anything like a jam planned (no time really) Please lemme know... LW ========================================================================= Date: Tue, 30 Apr 1996 10:20:10 -0400 Reply-To: "David L. Prychitko" From: "David L. Prychitko" Subject: Re: Bluesquiz II In-Reply-To: On Tue, 30 Apr 1996, Eliot Williams wrote: > > From: marc borms > > Which bluesartist likes walking through the crowd or leaves the stage > > while singing/playing.... Eddy Clearwater does it, too. Also, though I never saw him, I understand that Taildragger crawled all over the place... Dave Prychitko ========================================================================= Date: Tue, 30 Apr 1996 14:25:50 GMT Reply-To: Stephanie Manna From: Stephanie Manna Subject: James Peterson Press release On April 27th, James Peterson headlined the Alabama Blues Society Spring Showcase in Tuscaloosa,Al and was presented with the "Blues Treasure Award 1996" for a lifetime of dedication to the blues. A very happy time for James and a great time for all. James is traveling with a hot band and is going to leave a smoked club behind on each stop on this tour. He's just added a trailer to his van to be able to carry all and instruments around the country. His band consists of six men playing: 2 guitars,bass,drums,Hammond B3, keyboard, tenor sax and trumpet. Its not easy to tour with a Hammond B3 and all these guys and instruments, but the sound is worth all of it. I hope you will catch his show in your town and see and hear what all the fuss is about. There's alot of talent in this band and they love what they do; you will too. 5/3 Lou's Blues Club, Atlanta, Ga 5/4 The Full Moon Saloon, Baltimore, Md 5/5JM Randalls, Williamsburg, Va. 5/6 BJ's On The Water, Ocean City, Md 5/7 Old Glory, Washington, DC 5/9 Terra Blues, New York, NY 5/10 Black Eyed Sally's, Hartford, Ct. 5/11Main Street Brewing Co,Worcester,Ma 5/12 Debbie's, Niagra Falls, N.Y. 5/15 State College, Pa 5/16 Norwich Grill, Norwich, NY 5/17 Tiny Grill, Utica,NY 5/18 River St. Jazz Cafe, Plains, Pa 5/20 Five Oclock Club,Sarasota,Fl 5/32 Silver King Tavern,St.Petersburg,Fl 5/24 The Chukker,Tuscaloosa,Al 5/25 DOWNHOME BLUESFESTIVAL,Huntsville, Al 5/26 Huey's, Memphis, Tn 5/31,6/1 Kingston Mines, Chicago, Il 6/15 CARUTHERSVILLE BLUESFESTIVAL, Caruthersville,Mo 7/6 MISSISSIPPI VALLEY BLUESFESTIVAL, Davenport, Ia 7/28 POCONOS FESTIVAL, Lake Harmony, Pa 8/31 MILLER RIVERFRONT BLUESFESTIVAL,Peoria, Il 9/6 TWO RIVERS BLUESFESTIVAL, Carolton, Ky. ========================================================================= Date: Tue, 30 Apr 1996 00:25:43 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: OTIS RUSH, A TRIBUTE (w/DISCOGRAPHY) Comments: To: leblanc@DAO.NRC.CA On 29 Apr 96 , honorable zeller Eric LeBlanc-CISTI wrote: > Otis Rush won the W. C. Handy Blues Hall of Fame on Nov. 18, 1984. His > latest CD is the "Live And Awesome" Adelphi set, which comes from a 1991 > European tour arranged by Diversified Talent Services. According to Adelphi > Records, this is NOT a bootleg, and Otis Rush will receive royalties. His > next new recording will be for Isaac Tigrett's House Of Blues Records > > ALBUM/CD DISCOGRAPHY REL. DATE > ====================================================================== > ADLPHI CD : OTIS RUSH - Live and Awesome (Europe, 1991) 1996 Is this CD available? It's announced release came long ago but I must have missed it when it finally came out. "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Tue, 30 Apr 1996 00:31:07 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: Bluesquiz II Comments: To: williams@heme.medicine.wisc.edu On 30 Apr 96 , honorable zeller Eliot Williams wrote: > > One of the first guitarists to do this was Guitar Slim. Since this > was before the days of wireless transmitters he bought a 300 foot > cord. I can remember reading a description by someone who arrived > at a club and found Slim playing in the parking lot surrounded by > a huge crowd, while the rest of his band was back on stage playing to > a nearly empty room. EW > I've heard Slim would walk right into traffic, and even stand on the hood of a car in New Orleans. "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Tue, 30 Apr 1996 08:43:00 -0600 Reply-To: bmpech@MSCD.EDU From: Bruce Pech Subject: Re: Bluesquiz II Comments: To: marc borms In-Reply-To: <4m4efg$l6o@rc1.vub.ac.be> On Tue, 30 Apr 1996, marc borms wrote: > When I read all the articles in this list, I see the 'quiz'-thread > about guitarnames is popular. > Let's start another one : > Which bluesartist likes walking through the crowd or leaves the stage > while singing/playing.... > > Marc 'embee' Borms As P.W. said, probably just about everyone ... Personally, I've seen Albert Collins "crowd walk" 3 or 4 times; Lucky Peterson stroll out of the tent and into the street playing his axe at the DuMaurier Jazz Festival in Toronto last summer; Luther Allison wander through the audience in a Denver club (with a detour into the men's room -- from which he emerged playing a different guitar); and James Cotton take what appeared to be an impromptu plunge into the crowd at a Boulder club recently (neither his band, roadies or the club management seemed to be prepared for Cotton's walk -- but fortunately the audience pitched in to keep his mike cord up and out of the fray). -- BP Boulder, CO ========================================================================= Date: Tue, 30 Apr 1996 07:46:12 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: May 1 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ALVIS, HAYES J. (b/GRIMES/MCSHANN) b. 1907-0501, CHICAGO, IL BASS, RALPH (prod/SAVOY/KING REC) b. 1911-0501, BRONX, NY BIG MAYBELLE [MAYBELLE LOUISE SMITH] (v) b. 1924-0501, JACKSON, TN BROWN, ADA SCOTT(v/BENNIE MOTEN/OKEH REC) b. 1890-0501, KANSAS CITY, KS BROWN, STERLING A. (author) b. 1901-0501, WASHINGTON, DC CHAMBERS, HENDERSON (tbn/TINY BRADSHAW) b. 1908-0501, ALEXANDRIA, LA GIBSON, LACY (g/SON SEALS) b. 1936-0501, SALISBURY, NC HOGG, SMOKEY(ANDREW HOGG)(g/p/MODERN REC) d. 1960-0501, MCKINNEY, TX 46 JOHNSON, CANDY (tsax/BRADSHAW/DOGGETT) b. 1922-0501, MADISON CO, IL JONES, SPIKE (:-) d. 1965-0501, BEL-AIR, CA 53 LITTLE WALTER (hca/songw/CHESS REC) b. 1930-0501, MARKSVILLE, LA LOPEZ, LUCKY (LEO EVANS) (g/JSP REC) b. 1937-0501, EAST ESTABUCHIE, MS MALONEY, TOM (g/JOHNNIE JOHNSON) b. 1952-0501, ST. LOUIS, MO MARX, ALBERT L. (owner: DISCOVERY REC) d. 1991-0501, LOS ANGELES, CA 79 MCGEE, SAM (g/KIRK MCGEE) b. 1894-0501, FRANKLIN, TN MORRIS, WILLIAM (founder of the AGENCY) b. 1873-0501, SCHWARZENAU,GERMANY MYERS, BOB (g) d. 1983-0501, CHICAGO, IL 57 PARKER, RAY JR. (g/GHOST BUSTERS/RAYDO) b. 1954-0501, DETROIT, MI PATTON, CHARLEY(g/PARAMOUNT/VOCALION REC) b. 1891-0501, HERON'S PLACE, MS PERETTI, HUGO (prod/HUGO & LUIGI) d. 1986-0501, ENGLEWOOD, NJ 68 PRICE, JESSE (d/CAPITOL REC) b. 1909-0501, MEMPHIS, TN TURNER, TITUS (v/songw) b. 1933-0501, ATLANTA, GA WHITSETT, CARSON (of BOOKER T. & MGs) b. 1945-0501, MS WISE, JAMES (of ARCHIE BELL & DRELLS) b. 1948-0501, HOUSTON, TX ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 30 Apr 1996 09:54:58 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Re: RE; My Son House Comments In-Reply-To: Message of Tue, 30 Apr 1996 14:34:00 GMT from On Tue, 30 Apr 1996 14:34:00 GMT Mr G M Smith said: > Far be it for me to ruffle feathers by casting aspersions at a >Major Cultural Icon. My comments about Mr House being a little past his >best were based on the booklet which stated that he had not played for >some years and did not even own a guitar at the time of his rediscovery. Talking with John Hammond friday he mentioned Son House and said Son was kind of "frail" at the time he saw him. We went on to discuss what a force he must have been in his "prime". I still say that old or young, frail or strong Son House kicks the shit of most blues players.PERIOD(IMHO) . He doesn't have to play a note on the guitar. The emotion and passion that the man put in to his playing and singing is IMHO rarely equalled... LW ========================================================================= Date: Tue, 30 Apr 1996 10:02:35 -0500 Reply-To: Steve Price From: Steve Price Subject: Rev. Gary Davis appreciation In-Reply-To: <960430100537_103453248@emout19.mail.aol.com> This is the 100th birthday of one of the most powerful voice of blues and gospel, Rev. Gary Davis. In addition, he was a giving man, willing to share his music with the young who used to gather at his home to learn his amazing guitar style. He influenced numbers of our best musicians and singers. I'm told that I was at Newport the year Gary's Live at Newport album was recorded there. I'm told I was on my father's shoulders off a bit to the side because the crowd of hippies (I don't even think that word was in use yet) made my dad nervous. But he loved Gary's music. In the last few years I've managed to learn a few of Gary's guitar licks and still enjoy singing his songs. It pleases me that his work is available on CD, so many years so much of it was totally unavailable. So celebrate Gary's 100th by spinning Harlem Street Singer, or Say NO to the Devil, or Blues and Rags, or any of them. They're all so good. Steve ========================================================================= Date: Tue, 30 Apr 1996 11:09:47 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Wading into the crowd Crowd wading is, first and foremost, a crowd pleaser. Anything at all that you can do that acknowledges the crowd like that is worth it's weight in gold (and in my case that's a LOT of gold). I only take a few guitar solos a night. I don't need to, I've got a fabulous guitar player. But one of those solos usually involves a "walkabout". I go upstairs, downstairs, out in the street, in the bathrooms.... I go behind the bar and chug a beer held by the bartender while I continue playing, or I put my head under a tap and hope. I let people pluck my strings while I finger with the left hand. The crowd goes nuts. Not because I'm a great guitar player. I'm not. My guitar player could play circles around me. But I'm clearly having fun, and I'm relating to the audience on an individual basis. They love you, because you love them. Crowd walking in itself is beginning to become a bit of a Blues cliche, so just strutting around and grimacing while you play ain't gonna get it. You got to get out there and have some fun with the audience. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Tue, 30 Apr 1996 17:11:00 +0100 Reply-To: bengans From: bengans Subject: Re: buddy guy's big band >i am thinking of seeing buddy guy on may 9th in Glenside, PA.has anyone >seen him on this recent tour which is being advertised as Buddy Guy & His >Big Band? >What can I expect? >thanks, >george Sad to say but volume and a crappy guitar sound, IMHO. Sevenson ========================================================================= Date: Tue, 30 Apr 1996 11:05:10 -0400 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Memphis May 2-5 Meeting Comments: To: bit-listserv-blues-l@uunet.uu.net To everyone headed for Memphis: The Center for Southern Folklore, at Beale and Second Streets, has volunteered enthusiastically to serve as our headquarters. I will get a guest book and sign over there by Wednesday afternoon, so please drop by as soon as you can and leave the group a note about where we can find you. The Center opens at 10:00 a.m., and we have the run of the place on Saturday morning. There is usually a modestly equipped backline in place, with piano, drums and an old amp or two, and we will be in easy reach of that breakfast L.W. describes, as well as Beale Street's other charms. See you then, if not before. Denise ========================================================================= Date: Tue, 30 Apr 1996 10:17:14 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Re: Memphis May 2-5 Meeting In-Reply-To: Message of Tue, 30 Apr 1996 11:05:10 -0400 from On Tue, 30 Apr 1996 11:05:10 -0400 DeniseTapp said: > >The Center opens at 10:00 a.m., and we have the run of the place on >Saturday morning. There is usually a modestly equipped backline in place, >with piano, drums and an old amp or two, and we will be in easy reach of >that breakfast L.W. describes, as well as Beale Street's other charms. OH YEAH !!. It appears like a jam could happen....?? LW ========================================================================= Date: Tue, 30 Apr 1996 14:56:38 GMT Reply-To: marc borms From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Re: Corey Harris in Denver-comments Comments: To: bit-listserv-blues-l@news.Belgium.EU.net P.W. Fenton (pwfenton@GATE.NET) wrote: : On 30 Apr 96 at 7:36, Jessica Jones wrote: : > If you've only heard Corey Harris on CD, best go see him. His voice, : > which i thought sounded thin and reedy on CD is full and powerful in : > person. I'd go see him for that voice alone, but his guitar playing is a : > treat as well. : > jessica : > : You've got to hear him on a park bench. Unbelievable power. I prefer hearing him on a guitar :-) ( this summer on BRBF'96). embee. -- For all the guys in Norway : Celebrating his 'silly thread' day ... :-) ========================================================================= Date: Tue, 30 Apr 1996 10:25:27 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re: Bluesquiz II Luther Allison Buddy Guy Lonnie Brooks ______________________________ Reply Separator _________________________________ Subject: Bluesquiz II Author: marc borms at INTERNET_TP Date: 4/30/96 3:53 AM When I read all the articles in this list, I see the 'quiz'-thread about guitarnames is popular. Let's start another one : Which bluesartist likes walking through the crowd or leaves the stage while singing/playing.... I will start the list : 1. The number ONE : Big Jay McNeely He walked to the closet while playin' his sax and left the club for a few minutes... but he kept on playin'.. He did the same on the Belgium Rhythm and Blues Festival but walked to a 7000-people crowd. 2. Jim Suhley climbs the PA-tower during BRBF. 3. Rod Piazza walks over the bar between the bottles and glasses in a local bluesclub. Who else ? -- Marc 'embee' Borms marc@az.vub.ac.be Illustrator of "Plug In: The Guide to Music on the Net". Everything you want to know about your favorite band, music style, MIDI and more on the Net. Published by Prentice-Hall, April 96. At bookstores everywhere by Gurley & W.T.Pfefferle. http://www.prenhall.com/~plugin If you want me to draw something, ask ! ========================================================================= Date: Tue, 30 Apr 1996 10:52:26 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: OTIS RUSH, A TRIBUTE (w/DISCOGRAPHY) Comments: To: "R.J. Bauman" In-Reply-To: Does "not a bootleg" mean that Otis was aware of the recording at the time and cooperated (hardly likely given his state in 1991), or that the people who put it out decided to pay him some money? If the latter is the case, did they negotiate the fees and/or give him the right to approve the music for release? Just wondering... ========================================================================= Date: Tue, 30 Apr 1996 15:54:07 GMT Reply-To: jake jones From: jake jones Organization: trib.com Subject: Hans Olsen Comments: To: bit-listserv-blues-l@uunet.uu.net Has anyone heard of a blues man by the name of Hans Olsen??? I saw him on TV in concert, I think it was on PBS. He was KILLER! I've been to all the music stores here in town (Casper,Wyo.) with no luck, they don't even have him listed on their order sheet's...... If you know where I might get some information please drop me a line at: (jjones@trib.com) Thanks, Jake Jones ========================================================================= Date: Tue, 30 Apr 1996 10:57:58 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: Safe Guitars? On Tuesday, LW said: "I'm afraid to take one my 'real' guitars to Memphis because I would cry if they got "gone".." I remembered LW saying something like this earlier about attending festivals. Last night I got a call from a friend in Nashville, TN. In the course of the conversation he mentioned that he had just played Memphis last weekend. He stayed in the same (gulp) hotel I have reserved this weekend --right downtown. He parked in the alley right next to the hotel, thinking with all the activity from the porters, etc., it would be cool. Everything was stolen. The only miracle was that he had just borrowed enough money the week before, from his parents (slow gigging month had him strapped for cash he said) and paid up his insurance. Whew. He said I should watch myself...as Rod Piazza got himself ripped off at gunpoint down there at BB Kings. Gave me a chill. Cities are cities -- no special bad rappin' for Memphis. Watch yourself...don't leave anything in your car -- even for a minute. It just isn't any fun to find something as personal as your guitar has been lifted. It really hurts. This has happened to a traveling band I know THREE times in the last couple of years. I hate to throw a damper on anybody's enthusiasm, but just remember to watch your stuff. Cathi N. ========================================================================= Date: Tue, 30 Apr 1996 11:04:35 CDT Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: Re: Johnnie Johnson Info Needed!! Comments: cc: Girish Venkitachalam Johnnie Johnsons played with Chuck Berry for over 25 years. In fact, he hired Chuck Berry in 1953 when his (Johnnie's) sax player was sick for a New Year gig. Chuck was about 27 years old. He played and Johnnie liked what he heard. Later, Berry became band leader (per Johnnie's approval) and wrote the songs that he did. The solos you hear on Chuck Berry's albums are mostly Johnnie's piano solos transcribed for guitar and played by Chuck. The song Johnny 'B' Good was not written by Johnnie but by Chuck Berry, although story has it that Berry told Johnnie one day: "Hey Johnnie, you better be good" and he wrote the song for him! Johnson never got any credit on the Chuck Berry songs because in those days most of the backup musicians did not get credit on the albums; the singer got credit. That is why you never see Johnnie Johnson's name on the Berry albums. Johnson recorded most of the hits with Berry including Maybeline and Johnny 'B' Good. He was acknowledged for his work by the likes of Bruce Springstein, Keith Richards, and Eric Clapton. He IS the piano player on Clapton's "24-Nights" and you can hear Eric call his name right before a solo on one of the songs. I interviewed Johnnie Johnson a few weeks ago and he is a modest, intelligent, and sweet man. See him if you get a chance. Nuri Nuri, Host/Producer "Blues Brunch", Sundays 12-3p, KPFT 90.1FM-Houston >Hi all, > >I recently got to hear Johnnie's piano in a couple of albums by JLH and the >Kentucky Headhunters. I really fell for Johnnie's playing. I did some research >and found that Johnnie had played piano in most of Chuck Berry's recordings, and >that Johnny B Goode was written for JJ. Well, my question is this: if I have the >money to buy just one album of JJ's which one should I get?? Any other JJ info >would also be appreciated. > >TIA, > >-- >Girish > >---------------------------------------------------------------------------- >http://www.public.iastate.edu/~girishv/homepage.html (Netscape 2.0 Preferred) >---------------------------------------------------------------------------- >Mirrors are the doors through which Death comes and goes. You only have to >watch yourself all your life in a mirror, and you'll see Death at work like >bees in a glass hive. -----Jean Cocteau >---------------------------------------------------------------------------- >If each one of us could make just one other happy, the whole world would >know happiness. ---- Georges Simenon >---------------------------------------------------------------------------- > > ========================================================================= Date: Tue, 30 Apr 1996 18:05:24 +0100 Reply-To: Bluesman From: Bluesman Subject: Re: Bluesquiz II Comments: To: marc borms In-Reply-To: <4m4efg$l6o@rc1.vub.ac.be> On Tue, 30 Apr 1996, marc borms wrote: > When I read all the articles in this list, I see the 'quiz'-thread > about guitarnames is popular. > Let's start another one : Great! > Which bluesartist likes walking through the crowd or leaves the stage > while singing/playing.... > 1. The number ONE : Big Jay McNeely > 2. Jim Suhley climbs the PA-tower during BRBF. > 3. Rod Piazza walks over the bar between the bottles and glasses > in a local bluesclub. Let me add my two cents: Lucky Peterson: Astonishing! I saw him two months ago.Suddenly, he jumped off the stage and came through the seats playing his cordless guitar.It was quite a big theater: no matter, he walked all around! Everybody was clapping and yealling...wow! He happened to play some seconds just in front of me....:-)'' But I enjoyed even more the cat who taught me what the damned Blues was, when I just was listening radio-crap by that time O:) : Otis Grand. After that show, my life changed...:)) Since then, Everyday I Have The Blues..:) Jose. Spain. ****************************************************************************** - Everyday I Have The Blues - ========================================================================= Date: Tue, 30 Apr 1996 18:25:07 +0100 Reply-To: Bluesman From: Bluesman Subject: WHY BLUES????? :) I've been talking to a friend about music and so on.When it came the time to speak about Blues, he explained me that he couldn't understand how can I enjoy so much the Blues, as almost all the songs are the SAME, the chord progressions are almost allways I-IV-V, the squeleton is the same, and it's almost impossible (at least for him) distinguish between two songs... I tried to speak about feeling and some kind of arguments, but I had to have lunch....:) He frightened me, maybe he was right..........naaaaaaaaaaaahhhhhh!! ;)) What do you think should I answer him? Not too hard statements please,he is a good guy....;-) Jose. Spain. ****************************************************************************** - Everyday I Have The Blues - ========================================================================= Date: Tue, 30 Apr 1996 11:43:17 -0500 Reply-To: akapil@MEDICINE.BSD.UCHICAGO.EDU From: "" I've seen Buddy Guy do this in his club at a gig I attended about a year ago. He again, like Guitar Slim had a VERY long cord. He actually went outside, crossed the street and sat on the footpath (hobo style) on the other side and played for what seemed to me to be almost 5-10 mins!! I've been told that he has been doing this since his younger days-playing the Chicago south and westside clubs. Magic Sam his contemporary in those days was also "notorious" for the crowd-walk thing. He apparently was known to have used the "crowd-prowl" for amorous intentions, more then anything else. Adit. >When I read all the articles in this list, I see the 'quiz'-thread >about guitarnames is popular. >Let's start another one : >Which bluesartist likes walking through the crowd or leaves the stage >while singing/playing.... > >I will start the list : > >1. The number ONE : Big Jay McNeely > He walked to the closet while playin' his sax and left > the club for a few minutes... but he kept on playin'.. > > He did the same on the Belgium Rhythm and Blues Festival but > walked to a 7000-people crowd. > >2. Jim Suhley climbs the PA-tower during BRBF. > >3. Rod Piazza walks over the bar between the bottles and glasses > in a local bluesclub. > >Who else ? > > > >-- >Marc 'embee' Borms >marc@az.vub.ac.be >Illustrator of "Plug In: The Guide to Music on the Net". Everything you want >to know about your favorite band, music style, MIDI and more on the Net. >Published by Prentice-Hall, April 96. At bookstores everywhere by Gurley & >W.T.Pfefferle. >http://www.prenhall.com/~plugin >If you want me to draw something, ask ! > > Aditya Kapil, PhD IBD Research Center Department of Medicine University of Chicago Ph: (312) 702 2283 FAX: (312) 702 2281 ========================================================================= Date: Tue, 30 Apr 1996 12:34:43 -0400 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Blues on Broadway Comments: To: bit-listserv-blues-l@uunet.uu.net August Wilson also wrote a great play (his first maybe?) called "Ma Rainey's Black Bottom." It is an excellent show. If any has a chance to check it out, run and get tickets!! Lea Gilmore Baltimore, MD "Wild Women Don't Have the Blues" ========================================================================= Date: Tue, 30 Apr 1996 12:49:57 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re[2]: Bluesquiz II Mike Curtis said: When we were booked for the summer at a new club on Catalina Island, the first night no one knew we were there, so he walked out the door playing, around the corner to the "competition", inside, playing to the music of THEIR band, got the audience to follow him out, and back to "our" club. Afterward, the police told him never to do that again (I wonder who put them up to that ;-) But we had the Island from that night on, and there was a line outside the club every night. -------------- I've seen my friend Sonny Moorman do this many times. One of the clubs he plays regularly is in a mall where there is a motley collection of nightclubs. He often wonders out in to the mall concourse, or across the way to another club, all the while carrying on some dynamic solos. Sometimes Bad Bob, the bass player, wanders off, too, leaving drummer Jim McNeely alone on the bandstand. The first time I took one of my friends to see Sonny & his band I was stopped in traffic directly outside the club where they were playing. Sonny saw us through the window and came out on the street, I told my friend to roll down her window, and we carried out the usual introductions, all the while with a guitar solo in the works. You often see guitarists these days journey out into the audience and select some object (usually a beer bottle) for slide playing, too. This is always a crowd-pleaser. The day that drummers go mobile is the day we need to go back to caging the band behind chicken wire. :D Shannon (Just kidding!!!!!!!!!!!!!!!!!!!!!!!) ========================================================================= Date: Tue, 30 Apr 1996 12:10:14 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Re: Wading into the crowd In-Reply-To: Message of Tue, 30 Apr 1996 11:09:47 -0500 from On Tue, 30 Apr 1996 11:09:47 -0500 P.W. Fenton said: >basis. They love you, because you love them. Crowd walking in itself >is beginning to become a bit of a Blues cliche, so just strutting >around and grimacing while you play ain't gonna get it. You got to >get out there and have some fun with the audience. I never understood the tongue playing or licking the neck as I've seen several people do. Does anyone really get off on that....?? LW "muscially speaking" ========================================================================= Date: Tue, 30 Apr 1996 13:15:36 -0400 Reply-To: BluesMojo@AOL.COM From: Doug Carlisle WSFM Subject: Playlist...sorry it's late!! WSFM Surf 107fm Playlist for "Houserockin' Blues" 4-21-96 mail: Box fm 107 Wilmington, NC 28402 E-mail: Bluesmojo@aol.com Featured Artist: Sherman Robertson "Here & Now" Hour 1 Sherman Robertson Victim of Circumstance Code Blue/Atlantic Albert King Blues Power Rhino Sherman Robertson In the Here & Now Code Blue/Atlantic Sherman Robertson Born Lucky Code Blue/Atlantic Duke Robillard Love Slipped In Pointblank Robert Cray Never Mattered Much Mercury (JAZZ) Miles Davis Catembe Warner Bros. Sherman Robertson I'll Cry When It's Over Code Blue/Atlantic Roomful Of Blues Angry Woman Bullseye/Rounder John Lee Hooker Chill Out Pointblank Hour 2 Sherman Robertson Fool Code Blue/Atlantic Ronnie Earl & Broadcasters Ice Cream Man Bullseye/Rounder Sherman Robertson Looking Up At the Bottom Code Blue/Atlantic Sherman Robertson Tail Is Waggin' the Dog Code Blue/Atlantic Jimi Hendrix Catfish Blues MCA (JAZZ) Acoustic Alchemy Reference Point GRP Sherman Robertson Salty Tears Code Blue/Atlantic Eric Clapton Reconsider Baby Reprise/Duck Paul Butterfield Blues Band Come On in this House Winner Hour 3 Sherman Robertson Value Of Love Code Blue/Atlantic Taj Mahal Cheatin' On you Private Catfish Hodge Cool Breeze Wildcat Sherman Robertson Are you Happy Now Code Blue/Atlantic Sherman Robertson This World Code Blue/Atlantic Stevie Ray Vaughan Tightrope Epic Derek & the Dominos Bottle of Red Wine Polydor (JAZZ) Sam Riney Playing with Fire Spindletop Sherman Robertson Hard Love Code Blue/Atlantic Big Boy Henry Miss Lucy Gray Blue Moon Chris Smither Link Of Chain Hightone ========================================================================= Date: Tue, 30 Apr 1996 13:20:19 -0400 Reply-To: RhythmShrk@AOL.COM From: Bernie Clarke Subject: Re: Re[2]: Bluesquiz II In a message dated 96-04-30 12:53:19 EDT, you write: > The day that drummers go mobile is the day we need to go back to > caging the band behind chicken wire. :D All of the drummers that can walk and play at the same time are used up by Drum and Bugle Corps, so there ain't any left anyway! Bernie Clarke ========================================================================= Date: Tue, 30 Apr 1996 12:13:54 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Re: Safe Guitars? In-Reply-To: Message of Tue, 30 Apr 1996 10:57:58 -0500 from On Tue, 30 Apr 1996 10:57:58 -0500 Cathi Norton said: >He said I should watch myself...as Rod Piazza got himself >ripped off at gunpoint down there at BB Kings. Gave me a >chill. > >Cities are cities -- no special bad rappin' for Memphis. >Watch yourself...don't leave anything in your car -- even >for a minute. It just isn't any fun to find something as >personal as your guitar has been lifted. It really hurts. >This has happened to a traveling band I know THREE times in >the last couple of years. I hate to throw a damper on >anybody's enthusiasm, but just remember to watch your >stuff. My wife had a real nice camera stolen from BB's. She sat it down for a split second and never saw it again. I have made arrangements to borrow a guitar that is not vintage or worth the trouble to steal. Plays well enough for slide or straight playing. It would be nice if I learned how to play either style.:-) btw: I think last year some $%›hole skinhead punks started some trouble on Beale around BB's. That's second hand info, didn't experience it myself LW ========================================================================= Date: Tue, 30 Apr 1996 12:26:01 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Re: WHY BLUES????? :) In-Reply-To: Message of Tue, 30 Apr 1996 18:25:07 +0100 from On Tue, 30 Apr 1996 18:25:07 +0100 Bluesman said: > I've been talking to a friend about music and so on.When it came the time >to speak about Blues, he explained me that he couldn't understand how can >I enjoy so much the Blues, as almost all the songs are the SAME, the chord >progressions are almost allways I-IV-V, the squeleton is the same, and it's >almost impossible (at least for him) distinguish between two songs... > > He frightened me, maybe he was right..........naaaaaaaaaaaahhhhhh!! ;)) Why would you be frightened....? > What do you think should I answer him? Not too hard statements please,he >is a good guy....;-) I usually tell them that it's not what you play, IT'S HOW YOU PLAY IT and WHERE IT COMES FROM. There are a lot of fine tunes thet never even make the IV or V change....Just sit there in the I chord and nail it. It' not what you play it's how you play it. LW 'not a chord counter' ========================================================================= Date: Tue, 30 Apr 1996 13:37:11 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Wading into the crowd Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU On 30 Apr 96 at 12:10, ISTS024%UABDPO.BITNET@BROWNVM wrote: > On Tue, 30 Apr 1996 11:09:47 -0500 P.W. Fenton said: > >basis. They love you, because you love them. Crowd walking in itself > >is beginning to become a bit of a Blues cliche, so just strutting > >around and grimacing while you play ain't gonna get it. You got to > >get out there and have some fun with the audience. > > I never understood the tongue playing or licking the neck as I've seen several > people do. Does anyone really get off on that....?? Apparently, loads of people do. And most of the time its fake. It's all left hand hammers and pulls. My guitar player pulls that one and the behind the head playing as well. The audience loves it. The times that *I* wind up shouting praise at him, the audience is usually talking... Go figure. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Tue, 30 Apr 1996 14:15:28 -0400 Reply-To: SliderDW@AOL.COM From: Don Williams Subject: Re: Wading into the crowd Comments: To: ISTS024@uabdpo.dpo.uab.edu In a message dated 96-04-30 13:51:22 EDT, ISTS024@UABDPO.DPO.UAB.EDU (L W) writes: >On Tue, 30 Apr 1996 11:09:47 -0500 P.W. Fenton said: >>basis. They love you, because you love them. Crowd walking in itself >>is beginning to become a bit of a Blues cliche, so just strutting >>around and grimacing while you play ain't gonna get it. You got to >>get out there and have some fun with the audience. > >I never understood the tongue playing or licking the neck as I've seen >several >people do. Does anyone really get off on that....?? > >LW "muscially speaking" > Get off on it hell--I never understood why they don't get electrocuted!!! Is there a greahead in the house who can explain this in layman's terms? Don Williams ========================================================================= Date: Tue, 30 Apr 1996 14:26:31 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Wading into the crowd Comments: To: SliderDW@aol.com On 30 Apr 96 at 14:15, SliderDW@aol.com wrote: > In a message dated 96-04-30 13:51:22 EDT, ISTS024@UABDPO.DPO.UAB.EDU (L W) > writes: > >I never understood the tongue playing or licking the neck as I've seen > >several > >people do. Does anyone really get off on that....?? > > > >LW "muscially speaking" > > > Get off on it hell--I never understood why they don't get electrocuted!!! > Is there a greahead in the house who can explain this in layman's terms? Don, from Jimi Hendrix, who was the first person *I* saw do this, to the many folks who do it today, it's all a bit of fakery. One acts as if they are playing with their tongue (or teeth), but one is actually playing with hammer ons and pull offs with the "neck hand". P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Tue, 30 Apr 1996 07:41:23 CST Reply-To: William Shute From: William Shute Subject: Jean Toomer, on the Mississippi From: Bill Shute I just happened to be reading Jean Toomer's poem "Blue Meridian" this morning and stumbled across a passage I thought would interest my fellow blues-l-ers. With the Mississippi and the Delta so prevalent in blues legend and blues history, this section of the poem should strike a chord in many: "The Mississippi, sister of the Ganges, Main artery of earth in the western world, Is Waiting to become In the spirit of America, a sacred river. Whoever lifts the Mississippi Lifts himself and all America; Whoever lifts himself Makes that great brown river smile. The blood of earth and the blood of man Course swifteraand rejoice when we spiritualize." --Jean Toomer, circa l936 BTW, on one of his l970s albums on Impulse, Marion Brown did a wonderful musical adaptation of the "Karintha" section of Toomer's CANE. Bill Shute San Antonio, TX (BIG fan of Bobby Patterson!) ========================================================================= Date: Tue, 30 Apr 1996 13:25:12 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: Jim Suhler > : He walked through the crowd on one tune, and when > : he got > : to our blanket announced that he was lookin for a cold beer! > > Jim seems to like visiting the crowd. He did the same thing > two years ago on the Belgium Rhythm and Blues Festival. > Walking through the crowd and then climbing the P.A.-tower. Jim almost always takes a walk. In Dallas, at the Greenville Bar and Grill, there is one they call the "walk of death". As at most clubs, the tables are so uneven and rock back and forth so bad that I hesitate to even set a beer on them. Jim will walk across all the tables in the room, up on the bar, then climb up on a balcony that runs across the length of the club. He creeps along the outside of the balcony on a thin ledge until he reaches the stairway and then slides down the banister. All this while playing slide and using both hands for almost the whole time. He has tried to get the club to install a trapeze, but so far they haven't. When he plays together with Mike Morgan, Mike follows him throught the whole route. However Mike hasn't quite mastered the slide down the banister bit and I've seen a few near disasters. They also venture outside onto Greenville Avenue and stop the traffic. In one case, they stopped a passing car, got on the hood, and it drove off with them for several blocks-out of the range of their transmitter gadgets. That left the crowd with several minutes of just the rhythm section because they couldn't get a ride back! One of their other favorite tricks is to go outside, then come back in with one rifding on the others' shoulders, both playing. Jim almost got decapitated by a ceiling fan doing that one at Schooners. Jim's bass player, Carlton Powell, has a transmitter gadget, too, and often goes off in a different direction from the guitarist. Jim and Monkey Beat will be back in the studio in June cutting their third CD. Don O. ========================================================================= Date: Tue, 30 Apr 1996 13:25:17 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: blues guitarist tricks U.P. Wilson: Numerous one handed guitar antics. Often plays with the butt of the guitar sitting on a stool. Usually walks through the club playing one handed with a tip jar affixed to the neck. Long John Hunter: Long walks, often across the street. Picks out the prettiest ladies in the audience and sits the butt of his guitar in their laps and plays one handed. If they hold onto the guitar he will often walk off and leave them holding it. His sax man takes long walks, too. Little Jr One Hand: As the name suggests. Also uses a variety of phallic vibrators as a slide. Guitar Shorty: Probably the king of antics. One handed playing, riding his guitar around like a hobby horse while playing, playing with his butt, head stands, rolls, flips, every show is different. Don O. ========================================================================= Date: Tue, 30 Apr 1996 14:26:08 -0400 Reply-To: RNABooking From: RNABooking Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Bowie Street Blues Festival Comments: To: bit-listserv-blues-l@uunet.uu.net >>We had to leave before Miss Lavelle (how was she?)<< Miss L kicked butt. She finally got the crowd up and dancing. Strong set. It was a great little festival! I have the priviledge of booking this each year. Special thanks to Joe Horn and Sam Baird. By the way, I have signed Johnny Brown to my booking agency and he will record a new CD for Antone's Records in the near future. Contact RNA Booking for dates: (512) 416-1300. Ronnie Narmour ========================================================================= Date: Tue, 30 Apr 1996 13:55:20 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 05/01 B O R N : 05/01 ALVIS, HAYES ( JULIAN ) Born:1907 CHICAGO, IL Career:TUBA / BASS Style:TRAD / JAZZ / BIG BAND With:Jelly Roll Morton / Earl Hines 1928-30 / Jimmie Noone 1931 / Mills Blue Rhythm Band / Duke Ellington 1935 BIG MAYBELLE [MAYBELLE LOUISE SMITH] Born:1924 JACKSON, TN Career:SINGER Style:BLUES BROWN, ADA ( ADA SCOTT ) Born:1890 KANSAS CITY, KS Career:PIANO / SINGER Style:BLUES BYERS, BILLY ( WIILLIAM MITCHELL ) Born:1927 LOS ANGELES, CA Career:TROMBONE / ARRANGER / COMPOSER Style:JAZZ / BIG BAND CHAMBERS, HENDERSON ( HENDERSON CHARLIES CHAMBERS ) Born:1908 ALEXANDRIA, LA Career:TROMBONE Style:JAZZ / BIG BAND With:SPEED WEBB / ZACK WHYTE / AL SEARS / LOUIS ARMSTRONG / DON REDMAN / ED HALL / LUCKY MILLINDER / CAB CALLOWAY / DUKE ELLINGTON / MERCER ELLINGTON / COUNT BASIE GIBSON, LACY Born:1936 SALISBURY, NC Career:GUITAR Style:BLUES With:SON SEALS HALBERSTADT, RANDY Born:1953 LONG ISLAND, NY Career:PIANO Style:JAZZ HORN, SHIRLEY Born:1934 WASHINGTON, D.C. Career:PIANO / SINGER Style:JAZZ JOHNSON, CANDY Born:1922 MADISON COUNTY, IL Career:TENOR SAX Style:BLUES / JAZZ With:TINY BRADSHAW / BILL DOGGETT LITTLE WALTER [MARION WALTER JACOBS] Born:1930 MARKSVILLE, LA Career:SINGER / GUITAR / HARMONICA Style:BLUES With:ROLLING STONES / MUDDY WATERS LOPEZ, LUCKY (LEO EVANS) Born:1937 EAST ESTABUCHIE, MS Career:GUITAR Style:BLUES With:JSP RECORDS McGEE, SAM FLEMING Born:1894 FRANKLIN, TN Career:GUITAR Style:BLUES With:KIRK MCGEE MORRIS, WILLIAM Born:1873 SCHWARZENAU, GERMANY Career:the AGENCY Style:BLUES / JAZZ / POP With:WILLIAM MORRIS AGENCY NEWTON, JAMES Born:1953 LOS ANGELES, CA Career:FLUTE / COMPOSER Style:JAZZ DAVID MURRAY / ANTHONY DAVIS OXLEY, DAVE Born:1910 NEW ORLEANS, LA Career:DRUMMER / SINGER Style:TRAD / JAZZ PARKER, RAY JR. Born:1954 DETROIT, MI Career:GUITAR Style:BLUES With:GHOST BUSTERS PATTON, CHARLEY Born:1891 HERON'S PLACE, MS Career:GUITAR Style:BLUES With:PARAMOUNT / VOCALION RECORDS PRICE, JESSE Born:1909 MEMPHIS, TN Career:DRUMMER Style:BLUES / JAZZ / BIG BAND With:George E. Lee / Thamon Hayes / Count Basie / Prince Stewart / Harlan Leonard / Ella Fitzgerald / Louis Armstrong / Stan Kenton / Count Basie / Jay McShann SKERRITT, FREDDIE ALFRED Born:1904 MONTSERATT, B.W.I. Career:BARITONE SAX / ALTO SAX Style:BIG BAND / LATIN SULLIVAN, IRA (BREVARD JR. ) Born:1931 WASHINGTON, D.C. Career:TRUMPET / TENOR SAX Style:JAZZ With:SONNY STITT / HOWARD McGHEE / WARDELL GRAY / LESTER YOUNG / ROY ELDRIDGE / CHARLIE PARKER / BILL RUSSO / ART BLAKEY / RED RODNEY Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us The Following were Recorded on this Date in the Years: ========================================================================= Date: Tue, 30 Apr 1996 14:58:59 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Playlist...sorry it's late!! Comments: To: Doug Carlisle WSFM In-Reply-To: <960430131534_284145088@emout13.mail.aol.com> On Tue, 30 Apr 1996, Doug Carlisle WSFM wrote: > WSFM Surf 107fm > Playlist for "Houserockin' Blues" > 4-21-96 > mail: Box fm 107 > Wilmington, NC 28402 > E-mail: Bluesmojo@aol.com > > Featured Artist: Sherman Robertson "Here & Now" Excel choice for a featured artist. BTW all New Yawk types, SR and John Primer are coming to Manny's Car Wash this month, both on the same bill. Should be great. I'll be in Baltimore. Only a 1/2 boo hoo as I hope to meet up with some of the Baltzellers who got in touch with me (I will be getting back in touch w/you just as soon as I have an agenda set). Really looking to it. Barry. NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 30 Apr 1996 14:41:48 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: Faking it?!?!??! Tuesday, PW Fenton said: "from Jimi Hendrix, who was the first person *I* saw do this, to the many folks who do it today, it's all a bit of fakery. One acts as if they are playing with their tongue (or teeth), but one is actually playing with hammer ons and pull offs with the "neck hand"." Oh my God...you mean...all this time they've been faking it?!? You mean our love has been based on a lie?!??!? Cathi N. ========================================================================= Date: Tue, 30 Apr 1996 14:54:45 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Wading into the crowd Comments: To: "P.W. Fenton" In-Reply-To: <199604301825.OAA41342@osceola.gate.net> On Tue, 30 Apr 1996, P.W. Fenton wrote: > > > > > Get off on it hell--I never understood why they don't get electrocuted!!! > > Is there a greahead in the house who can explain this in layman's terms? > > Don, from Jimi Hendrix, who was the first person *I* saw do this, to > the many folks who do it today, it's all a bit of fakery. One acts > as if they are playing with their tongue (or teeth), but one is > actually playing with hammer ons and pull offs with the "neck hand". Yep, that's how we harmonica players do it, too. s.p. ;^) ========================================================================= Date: Tue, 30 Apr 1996 14:57:55 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Re: Faking it?!?!??! In-Reply-To: Message of Tue, 30 Apr 1996 14:41:48 -0500 from On Tue, 30 Apr 1996 14:41:48 -0500 Cathi Norton said: >Tuesday, PW Fenton said: > > "from Jimi Hendrix, who was the first person *I* saw do >this, to the many folks who do it today, it's all a bit of >fakery. One acts as if they are playing with their tongue >(or teeth), but one is actually playing with hammer ons and >pull offs with the "neck hand"." > > Oh my God...you mean...all this time they've been faking >it?!? You mean our love has been based on a lie?!??!? It still made you feel good, didn't it. Admit it, you loved it :-) LW ========================================================================= Date: Tue, 30 Apr 1996 16:20:50 EDT Reply-To: george morales From: george morales Organization: TEMPLE UNIVERSITY Subject: johnnie johnson live w/ los lobos & others i recieved dates from the grateful dead list for johnnie johnson performing on a concert tour dubbed "The Further Festival".He is performing along w/ Los Lobos, Hot Tuna, Bob Weir, Rob Wasserman, Bruce Hornsby and others. if anyone would like info for their area, please send private e-mail to my address: georgem@vm.temple.edu (p.s. dont forget buddy guy's appearance on the tonight show on 5/2/96) +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ | GEORGE MORALES GEORGEM@VM.TEMPLE.EDU | | TEMPLE UNIVERSITY (215)204-6866 | +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Tue, 30 Apr 1996 13:33:32 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Faking it?!?!??! >Tuesday, PW Fenton said: > > "from Jimi Hendrix, who was the first person *I* saw do >this, to the many folks who do it today, it's all a bit of >fakery. One acts as if they are playing with their tongue >(or teeth), but one is actually playing with hammer ons and >pull offs with the "neck hand"." Cathi said: > Oh my God...you mean...all this time they've been faking >it?!? You mean our love has been based on a lie?!??!? YES! WE MEN *CAN* FAKE IT TOO!!! neener neener.... DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 30 Apr 1996 13:35:49 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Tommy Castro Hi Everybody! Tommy Castro got a pretty darn good review of his show here in Riverside, California over the weekend. They said the vocals were no great shakes but the guitar and the band were awesome. Guess I shoulda gone! Anybody seen Tommy? Whaddaya think? DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 30 Apr 1996 15:27:07 -0500 Reply-To: David Silberberg From: David Silberberg Subject: Re: the Man (was Re: Van Morrison) At 05:12 AM 4/30/96 -0500, P.W. Fenton wrote: >This isn't really to Keith in particular, but I'm wondering... >How many performers can be "the man". On any given day you can read >on this list... "the man - Muddy Waters, SRV - the man, Bobby >"Blue" Bland - the man!, etc. > How many? As many as there are people reading this list / newsgroup. And, of course, not all of them need be male.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Tue, 30 Apr 1996 17:46:37 -0400 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: Re: Faking it?!?!??! Comments: To: dcicchet@LASIERRA.EDU In-Reply-To: <199604302036.NAA12933@inet.lasierra.edu> > >Tuesday, PW Fenton said: > > > > "from Jimi Hendrix, who was the first person *I* saw do > >this, to the many folks who do it today, it's all a bit of > >fakery. One acts as if they are playing with their tongue > >(or teeth), but one is actually playing with hammer ons and > >pull offs with the "neck hand"." > > Cathi said: > > > Oh my God...you mean...all this time they've been faking > >it?!? You mean our love has been based on a lie?!??!? > Don added: > YES! > > WE MEN *CAN* FAKE IT TOO!!! > > > neener neener.... > >DC When it's 6:00 AM, you've got a belly full of rum, and your side is started to ache........well, a guy's got to do what a guy's got to do. ;) RW ========================================================================= Date: Tue, 30 Apr 1996 16:55:59 EDT Reply-To: ron kraemer From: ron kraemer Subject: Opened for Doug Jay/Little Sammy Davis!! This past Sunday, my band opened up for the "Harmonica Rumble" put on by the Bucks County Blues Society. We had a 45 minute set, followed by Doug Jay, then Little Sammy Davis. On a beautiful spring Sunday afternoon, the Sports Zone bar filled up with 300+ Blues fans! They cheered us on, and didn't stop all night. What a treat to play in front of folks wanting nothing better than to be entertained by The Blues! My Harp-guy, Kevin Magowan, never played better. He was chomping at the bit for weeks! I also got to hook up again with 'Zeller George Morales who made the trip North from Temple. After we finished, Doug Jay and the Bluejays pumped up the volume a notch and Doug showed off some great chops. Little Sammy's band was thankfully not as loud, but were EXTREMELY tight and smooth. He had the dance floor filled for his entire set. A definite highlight was Little Sammy coming over to my bass player and myself at the bar, huddling us together as he started singing some songs and blowin' "air" harp at the end of the night. Spellbound? You bet. Ron P.S. Thanks for all the studio tips from Don C. and others. A timely discussion, as we're going in next weekend to record OUR demo! ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters (and in another life....) Ron Kraemer and the Hurricanes ************************************************************ ========================================================================= Date: Tue, 30 Apr 1996 17:58:30 -0400 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: Recent CD buys In-Reply-To: Was browsing through my favorite new/used store last week when a box full of blues discs came in. Picked up: Tinsley Ellis - Storm Warning - Trouble Time Ronnie Earl and the Broadcasters - Retrospective Harp Dog Brown and the Bloodhounds - Bad Dog Robben Ford - Mystic Mile Delbert McClinton - Best of Duke Robillard and the Pleasure Kings - Rockin' Blues Must have been my lucky day. RW ========================================================================= Date: Tue, 30 Apr 1996 15:57:45 +0000 Reply-To: william higdon From: william higdon Organization: michigan state university Subject: Corey Harris CD Comments: To: bit-listserv-blues-l@relay2.uu.net I read about Corey Harris in the latest copy of Living Blues magazine. Was thinking about picking up his CD. I would be interested in what anyone (especially a "purist") thought of it. Regards, Bill Higdon. ========================================================================= Date: Tue, 30 Apr 1996 16:20:09 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: Fakin' it Me and LW said: > Oh my God...you mean...all this time they've been faking >it?!? You mean our love has been based on a lie?!??!? >It still made you feel good, didn't it. Admit it, you >loved it :-) >LW Admit it? NEVER! ;?) Cathi N. ========================================================================= Date: Tue, 30 Apr 1996 14:31:43 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Faking it?!?!??! Comments: To: ISTS024@UABDPO.DPO.UAB.EDU In-Reply-To: from "L W" at Apr 30, 96 02:57:55 pm > > "from Jimi Hendrix, who was the first person *I* saw do > >this, to the many folks who do it today, it's all a bit of > >fakery. One acts as if they are playing with their tongue > >(or teeth), but one is actually playing with hammer ons and > >pull offs with the "neck hand"." > > > > Oh my God...you mean...all this time they've been faking > >it?!? You mean our love has been based on a lie?!??!? > > It still made you feel good, didn't it. Admit it, you loved it :-) Well, _I_ admit it freely. This is the entertainment business. Music is PART of it, but there's much more. Many feel that the world will beat a path to their door if they become virtuouso musicians. when it doesn't happen, they go to work for the post office. and go to work for the post office, etc. We oftentimes refer to this as the "music business", when in fact it's the ENTERTAINMENT business. As performers our job is to entertain the audience. While music is part of this, it's far from the "whole enchilada". While Hendrix was an exceptional guitarist, he recognized that there was more to being an entertainer than just standing stationary and playing incredible licks. An entertainer talks to the audience, tries to get them involved in the show (whether this is singing along, clapping, or just paying attention), uses visual as well as auditory means, spends his breaks communing with the audience rather than out in the parking lot doing what musicians do out there, etc., and anything else at their disposal to set their act apart from the run of the mill. A great musician makes great music, just like a good high fidelity stereo system, or a DJ, etc. Why should I come see you if you do nothing more than my stereo? But my stereo can't chew on the strings (or even fake it :-) like Jimi could. In the entertainment business, we don't have to be "honest" on stage, at least when it comes to tricks like these. Or even lyrics, for that matter. How many vocalists sing about things they've never personally experienced (e.g. monogamy, humility, etc. :-))) Also, in the same field are magicians, noted for their "dishonesty", if you will. When Kreskin saws a woman in half, it's OK, isn't it? I feel the same when Jimi hammers and pulls while pretending to chew. It's great fun. -- IronMan Mike Curtis ========================================================================= Date: Tue, 30 Apr 1996 17:23:45 -0400 Reply-To: TDominey From: TDominey Organization: America Online, Inc. (1-800-827-6364) Subject: Hooker Wanted Comments: To: bit-listserv-blues-l@uunet.uu.net Okay...I have a bit of an disagreement going on with a friend over which John Lee Hooker "boogie" style record is his best...any opinions? ========================================================================= Date: Tue, 30 Apr 1996 17:35:12 -0400 Reply-To: JukeFreak@AOL.COM From: Karen Hanson Subject: Re: Wading into the crowd LW said: >I never understood the tongue playing or licking the neck as I've seen several >people do. Does anyone really get off on that....?? Thank you, LW! I agree! I've often wondered if I was to the only one who was thought this looked ridiculous! Is this supposed to get the women all excited??? Geez, give me a break! It's disgusting. I feel the same way about the crowd-walking, especially when the guitarist goes up to women and has them strum! I think it's egotistical and patronizing. Besides, I can see them better when they're up on stage. Karen ========================================================================= Date: Tue, 30 Apr 1996 07:45:58 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Memphis Weather Anybody wanting to know the weather situation in Memphis can check out the URL below for current and forecast info. It is following the flooding conditions, too. The festival site is prone to MUD. Be prepared. Does anybody know if new sod has been laid in Tom Lee Park? http://cirrus.sprl.umich.edu/wxnet/fcst/memphis.txt RJ Bauman "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Tue, 30 Apr 1996 14:51:29 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Faking it?!?!??! Comments: To: Wack_Ron/rfh@SASK.AECL.CA In-Reply-To: from "Ron Wack" at Apr 30, 96 05:46:37 pm Ron Wack writes> > > WE MEN *CAN* FAKE IT TOO!!! > > > > neener neener.... > > > >DC > > When it's 6:00 AM, you've got a belly full of rum, and your side is > started to ache........well, a guy's got to do what a guy's got to do. > ;) > > RW I know how _I_ would feel with a "bellyful of rum", especially at 6 am after the bars have been closed for four hours, and it ain't ;) Didn't you mean to use this "smiley": %-Q -- IronMan Mike Curtis ========================================================================= Date: Tue, 30 Apr 1996 17:52:03 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Hooker Wanted Comments: To: TDominey On 30 Apr 96 at 17:23, TDominey wrote: > Okay...I have a bit of an disagreement going on with a friend over which > John Lee Hooker "boogie" style record is his best...any opinions? Why didn't you tell us what you and your friend's opinions are? (or was that just a ruse?) P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Tue, 30 Apr 1996 07:53:16 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: the Man Comments: To: davidis@INTERACCESS.COM On the new Buddy Guy CD, there is a loud drunk guy yelling "You d'man, Buddy, you d'man." I almost burst out laughing at church one time when, as the priest was praying , the thought occurred to me, "You d'man Jesus." It just seemed so spectacularly out of place I thought it was funny and had to bite my lip really hard :-) RJ Bauman On 30 Apr 96 , honorable zeller David Silberberg wrote: > At 05:12 AM 4/30/96 -0500, P.W. Fenton wrote: > > >This isn't really to Keith in particular, but I'm wondering... > >How many performers can be "the man". On any given day you can read > >on this list... "the man - Muddy Waters, SRV - the man, Bobby > >"Blue" Bland - the man!, etc. > > > > > "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Tue, 30 Apr 1996 15:17:37 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Hendrix' Dental Work (Was Re: Faking it?!?!??!) PW said: > "from Jimi Hendrix, who was the first person *I* saw do >this, to the many folks who do it today, it's all a bit of >fakery. One acts as if they are playing with their tongue >(or teeth), but one is actually playing with hammer ons and >pull offs with the "neck hand"." PW may be right but...:-) I remember reading an interview with Hendrix where he was asked a similiar question (are you using your teeth or hammer ons/pull offs?) Hendrix replied teeth that he was using his teeth. He said it was a common trick on the chitlin' circuit which was strewn with broken teeth. I also have seen a video which showed Hendrix playing with his teeth and best as I could make out, his teeth were hitting the strings. Also, if one was using hammer-ons and pull-offs, the attack would be a lot different from using your teeth (or whatever). It sounded like the attack was from the strings being plucked (by the teeth) not from hammer-ons and pull-offs. This technique is reccomended by 9 out of 10 dentists who need your money.:-) Just my few pennies. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Tue, 30 Apr 1996 15:17:43 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Was Son House past his prime? Garry Smith had mentioned that the liner notes for the 1965 sessions alluded to Son House being a little past his prime. Having listened to Son House's sessions from the '30s, '40s and '60s I will conceed there was a loss in technical facility on the guitar. However, in terms of vocal power and sheer emotion, almost all of the sessions recorded in 1965 and from the subsequent live recordings, show Son House to be in peak form. The long years where he didn't play did diminish his abilities as a guitarist (still some mighty fine playing on those sessions though) but did nothing to affect his ability to preach fire, brimstone and the blues. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Tue, 30 Apr 1996 15:23:30 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Wading into the crowd Played with a band where the singer would take his "cohd-less" mic and sit down at a table with some of the audience and sing a song. They loved it! DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 30 Apr 1996 15:23:53 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Wading into the crowd Comments: To: SliderDW@AOL.COM In-Reply-To: <960430141527_103603689@emout15.mail.aol.com> from "Don Williams" at Apr 30, 96 02:15:28 pm > >I never understood the tongue playing or licking the neck .... > --I never understood why they don't get electrocuted!!! Electricity requires a path, with at least two points, an "entrance" and an "exit". The voltages on these must be different, or in technical terms, a potential difference must exist. If the guitarists chews on one wire coming out of an electrical outlet, nothing will happen. BUT if he is standing on the other wire (i.e. a path and a potential difference exist), PLENTY will happen. Folks who do this are frequently nicknamed "Smokey". If the stage is moist, or amplifiers are improperly grounded, or electrical outlets improperly wired (yeah, I know this _never_ happens in clubs, does it fellas ;-), etc., it can set up a path with a potential difference. Keith Relf, formerly lead singer and harmonicist with the Yardbirds, was electrocuted on stage, I believe through the guitar amp and the mic. Of course, they use 220 volts in England, but 117 volts is plenty lethal, too. The worst is 440 volts. As the voltage gest higher, it tends to "flash" over the skin rather than internally. This is why electrical workers, etc., who are electrocuted by 220,000 or 440,000 volts often survive. So yes it IS something that should be avoided. One way around this is to use a wireless guitar, wireless mics, etc. Unfortunately, batteries can get expensive, and typical 7.2 volt NiCd rechargeables don't work that well or last long enough. Most don't have sufficient amp-hour ratings. I use 8.4 volt, 150 mAh NiCds in mine, and they last long enough to cover a 4 hour gig. The 8.4 volt NiCds will recharge in a typical recharger, although you'll probably want to leave them in longer. When they become warm to the touch, they've been in the charger long enough. There are also 9.6 volt NiCds, but these require a custom charger. NiCds will usually have the recommended charging rate printed on them. To compute the amp-hour rating, take the 14 hour charge rate (e.g. mine is 15 mA) and multiply it by ten. Most "9 volt" NiCds I've seen are 7.2 volts (low transmit power and shorter range) at 75 mAh (less battery life). -- IronMan Mike Curtis ========================================================================= Date: Tue, 30 Apr 1996 18:26:48 -0400 Reply-To: Barronblu@AOL.COM From: Barron Ruth Subject: the blues barons Comments: To: buchman@mindspring.com, KIRKA@aol.com, hze@mindspring.com, vaylor@paradise.net, LIBDGB@emory.edu, ariane@ix.netcom.com, TSJ1@oddhiv1.em.cdc.gov, GFDATL@aol.com, Krazykat2@aol.com, TARGET7@aol.com, CoshHC@aol.com, HTNeditor@aol.com, 72240.70@compuserve.com, DKriests@netcom.com, CHerrell01@aol.com, Honse11@aol.com, mrhc74c@prodigy.com, 75477.551@compuserve.com, TRB2628@aol.com, JTilley271@aol.com, Mitch_Leff@yr.com, SMOOTHIE@ix.netcom, LANDJ@fleishman.com, RaSwords@aol.com, WFY261@aol.com, JScales905@aol.com, ronb@monitormed.com, tharris@cyberatl.net, SLT1@cidhiv1.em.cdc.gov, abraxas1@minspring.com, mksheff@cennet.mc.peachnet.edu, Tasman3@aol.com, JPLHTN@aol.com, GandGSmith@aol.com, bogo@sohonet.com, Dranago@aol.com, magerton@dkmc.org, hebaugh@dkmc.org], chancock@dkmc.org, areeves@dkmc.org dear blues barons supporter or blues lover The Blues Barons thank all of you that have made it to one of our gigs. Support is everything and we much appreciate it. The more you all are into it and the more you turn out the better we will be. This friday night May 3, we have the great experience of playing Dottie's, which is rapidly becoming one of Atlanta's premier music clubs. Dotties features, Blues, Rock, Alternative, and Rockabilly music. On May 3 we will be opening for the Memphis Fever an excellent Rockabilly band. Music starts at 10:00 and there is a cover charge of $5.00. We will play for 90 minutes and are gonna give it everything we got! Dotties has a full bar and a great menu. Dotties is located almost directly across the street from Daddy D'z on Memorial Drive. the phone number is 404 523 3444. I forgot to mention that Dotties has an excellent sound system! Don't miss it! On Saturday Night May 4 we will be back at our old favorite Daddy D'z, music starts at 9:00. I'm sure if the Dotties gig goes well, then we will really be on it for Saturday Night. Also Micheal D. (the Doctor) will be with us at Dotties! Folks our schedule for June will be posted on my home answering machine 404/892/9283. Thanks for your support! Barron ========================================================================= Date: Tue, 30 Apr 1996 18:39:24 -0400 Reply-To: FORCELLAD@CCSUA.CTSTATEU.EDU From: Domenic Forcella Subject: Blues on Broadway Lea reminded me that I saw Ma Rainey about 13 years ago. I second her recommendation. Joe Seneca had a major role. Domenic Forcella Traveling with the Blues ========================================================================= Date: Wed, 1 May 1996 09:01:00 PDT Reply-To: David Blanken From: David Blanken Subject: Re: Wading into the crowd >> I never understood the tongue playing or licking the neck as I've seen >several >> people do. Does anyone really get off on that....?? > >Apparently, loads of people do. And most of the time its fake. It's >all left hand hammers and pulls. My guitar player pulls that one and >the behind the head playing as well. The audience loves it. The >times that *I* wind up shouting praise at him, the audience is >usually talking... Go figure. > >P.W. Fenton >Tampa, Florida >http://www.gate.net/~pwfenton/ I don't know about playing with your tongue, but the late great Roosevelt "Booba" Barnes played with this teeth. In the movie Deep Blues, you can hear Booba picking the guitar with his teeth. He gets loads of pinched harmonics. He even says " I said I wasn't gonna do this no more" before he starts picking. Wild stuff!!! -Dave- ========================================================================= Date: Tue, 30 Apr 1996 16:15:34 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: WHY BLUES????? :) Comments: To: ISTS024@UABDPO.DPO.UAB.EDU In-Reply-To: from "L W" at Apr 30, 96 12:26:01 pm <"All blues sounds the same"> Hardly. John Lee Hooker. Johnny Winter. Little Walter. Big Joe Turner. Sonny Boy Williamson II. T-bone Walker. Stevie Ray Vaughn. Aside from Helen Kelleer, is there anyone who can't tell a vast difference between these artists and the songs they do? Also, a lot of blues (but not all by a long shot!) uses the 12 bar I-IV-V chord progression. This also is nothing of note. There are only so many chords and progressions. Because of this, chord progressions are not considered to be copyrightable. One problem I've noticed is that many bands have one or two "stock" blues tunes. Back in the 60's and 70's, this was always something like "Stormy Monday" or variants thereof. Invariably, these were poorly done. People came to view ALL blues as "Stormy Monday variants done by tepid musicians". While a lot of blues tunes are similar, there is still a great variety within the blues genre if one has taken the time to explore it. And every day, blues artists push the "limits" of blues even further. As much flak as Robert Cray gets from some, 1. he's blues, and 2. he doesn't use the 12 bar format as a rule. -- IronMan Mike Curtis ========================================================================= Date: Tue, 30 Apr 1996 19:13:02 -0400 Reply-To: VentRec From: VentRec Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Hendrix' Dental Work (Was Re: Faking it?!?!??!) Comments: To: bit-listserv-blues-l@uunet.uu.net I saw Hendrix do this from about six feet away and, believe me, he was using his teeth. I know about the hammer-on trick and saw that he was NOT doing that. You could hear that "tooth tone" as well! Mike McCracken ========================================================================= Date: Tue, 30 Apr 1996 16:04:41 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Hooker Wanted House Rent! Uncle Ray ---------- From: TDominey[SMTP:tdominey@AOL.COM] Sent: Tuesday, April 30, 1996 9:23 PM To: Multiple recipients of list BLUES-L Subject: Hooker Wanted Okay...I have a bit of an disagreement going on with a friend over which John Lee Hooker "boogie" style record is his best...any opinions? ========================================================================= Date: Tue, 30 Apr 1996 19:52:39 -0400 Reply-To: BALISTRK@BAYDENOC.CC.MI.US From: "Keith T. Balistreri" Subject: Re: Wading into the crowd Comments: To: Don Cicchetti In-Reply-To: <199604302226.PAA18925@inet.lasierra.edu> I used to play with a band here in the U.P. of Michigan with a unbelieveably great harp player. (Al Eck, now in Vegas with band called the Suffleaires) A night would never go by where he didn't haul his butt on the bar blowing his heart out. Nothing looks better than a harp player hunched over in perfect form on top of a bar. Keith B. "I woke up this morning with the Blues all 'round my bed Thinking about what you, my baby, said. Do say the word and give my poor heart ease, The Blues ain't nothing but a fatal heart disease." -W. C. Handy ========================================================================= Date: Tue, 30 Apr 1996 18:59:18 -0500 Reply-To: bolt From: bolt Subject: Buddy Guy Tour Prices I was curious how much ticket prices were in other parts of the country for Buddy Guy's new tour. He plays May 01 & 02 here in Houston at Rockefeller's, an intimate venue with reserved seating. Ticket prices are $65 and $55, I held off until they were all sold out and picked up a few $25 standing room tickets. I know that 10-15 years ago (when I first saw BG in person), I'd have probably not been able to afford even a $25 ticket. I'm just afraid there are numerous fans who are getting priced out of the experience. Also, the May 02 show starts late because BG is flying to tape the Leno Show that day. I pray Buddy gets plently of rest on the plane, because I'd hate to see him cut short a $65 a seat show. Reg Burns +++++++++++++++++++++++++++++++++++++++++++++++++ + I'll listen to reason when it comes out on CD + + + + bolt@neosoft.com Houston, TX + +++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Tue, 30 Apr 1996 17:10:00 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Who is Richard Norton! Comments: cc: "Alan C. Rollins" and why can't we get rid of him? I am so dang tired of getting this notice back from his server! -----Unknown user 'richard_norton' at bbs.fullcoll.edu----- Can this guy be unsubscribed? PLEASE!!!!??? spam spam spam spam.... thanks DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 30 Apr 1996 17:23:22 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Wading into the crowd Mike Curtis wrote: >Keith Relf, formerly lead singer and harmonicist with the Yardbirds, was >electrocuted on stage, I believe through the guitar amp and the mic. I heard, and this is weird, that he was electrocuted while playing guitar in his bathtub. Seriously, that is what I had heard. Now, whether it is true or not is another matter. Is there someone out there with an answer that will set this matter straight? Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Tue, 30 Apr 1996 19:23:15 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Wading into the crowd Comments: To: Karen Hanson In-Reply-To: <960430173510_481634282@emout16.mail.aol.com> On Tue, 30 Apr 1996, Karen Hanson wrote: > I've often wondered if I was to the only one who > was thought this looked ridiculous! Is this supposed to get the women all > excited??? Geez, give me a break! It's disgusting. > I feel the same way about the crowd-walking, especially when the guitarist > goes up to women and has them strum! I think it's egotistical and > patronizing. Besides, I can see them better when they're up on stage. > > Karen > Boy, no kidding! Especially when the particular solo isn't anything special. While I agree with Karen, I have to say, I've seen audiences go nuts for it while was sitting there or standing there thinking, oh, come on, just play. When audiences yawn through that, they'll stop. But they don't. They flip for it. I can almost understand it, sort of the reason I like to sit close to the stage. Still, I saw a harp leap into the audience from a stage I was playing on. He'd been rather shy (compared to most harp players, who are so in your face). The folks went nuts for him, forgot about the rest of us. Last weekend I was playing on a balcony. I'd like to see someone try it from there. Steve ========================================================================= Date: Wed, 1 May 1996 01:34:32 +0100 Reply-To: Roadrunner Tour Management From: Roadrunner Tour Management Subject: Re: Little Whitt & Big Bo Comments: To: ISTS024@UABDPO.DPO.UAB.EDU If any of you would like to read some more about Bo&Whitt, you could check out this following web-page I created for Bo&Whitt with some of last years interviews and photos! Enjoy!!! : http://www.iol.ie/~roadrun/whitt.html Cheers Carsten :------------------------------------------------------: : : : "R O A D R U N N E R T O U R M A N A G E M E N T" : : : : <<<< KEEPING THE BLUES ALIVE >>>> : : : : E-Mail: roadrun@iol.ie : : : : http://www.iol.ie/~roadrun/index.html : : : :------------------------------------------------------: ========================================================================= Date: Tue, 30 Apr 1996 19:35:40 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Hendrix' Dental Work (Was Re: Faking it?!?!??!) In-Reply-To: On Tue, 30 Apr 1996, Shaun T Cronin wrote: > I remember reading an interview with Hendrix where he was asked a similiar > question (are you using your teeth or hammer ons/pull offs?) Hendrix > replied teeth that he was using his teeth. He said it was a common trick on > the chitlin' circuit which was strewn with broken teeth. I also have seen a > video which showed Hendrix playing with his teeth and best as I could make > out, his teeth were hitting the strings. Also, if one was using hammer-ons > and pull-offs, the attack would be a lot different from using your teeth > (or whatever). It sounded like the attack was from the strings being > plucked (by the teeth) not from hammer-ons and pull-offs. Gee, I saw a video of him doing it and it was so obviously hammers and pulls, as he drew the guitar up to his face and pulled it back again without stopping, I thought it was impossible to mistake. Actually a friend of mine does this because he's too cheap to buy dental floss. Another friend does it because he hasn't had a decent meal in weeks. Another because he's hungry for good music. (Sorry folks) Steve ========================================================================= Date: Tue, 30 Apr 1996 20:39:58 -0400 Reply-To: Renato154@AOL.COM From: Renato Tonelli Subject: Re: copywright infringement I have just found out that two of my photos have been used without permission and to add icing to the cake the photo credits have been attributed to others. One photo of David Honeyboy Edwards has been published in a book "Pistoia Blues" in Italy while a photo of Frank Frost has been used as the cover for a cd on Earwig. Has anyone out there experienced a similar situation and what action did they/you take if any. I know both culprits personally and I am waiting for my blood to cool down before I contact them. Renato Tonelli ========================================================================= Date: Tue, 30 Apr 1996 18:43:05 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: copywright infringement I've had photos used without permission on festival programs, album = jackets, and elsewhere. Two major daily newspapers have run my photos = without credit...and, yes at least one of my photos has run in a = magazine with someone else's credit. ---------- From: Renato Tonelli[SMTP:Renato154@AOL.COM] Sent: Wednesday, May 01, 1996 12:39 AM To: Multiple recipients of list BLUES-L Subject: Re: copywright infringement I have just found out that two of my photos have been used without = permission and to add icing to the cake the photo credits have been attributed to others. One photo of David Honeyboy Edwards has been published in a = book "Pistoia Blues" in Italy while a photo of Frank Frost has been used as = the cover for a cd on Earwig. Has anyone out there experienced a similar situation and what action = did they/you take if any. I know both culprits personally and I am waiting for my blood to cool = down before I contact them. Renato Tonelli ========================================================================= Date: Tue, 30 Apr 1996 21:41:51 -0400 Reply-To: LKnight1@AOL.COM From: Leslie Ann Knight Subject: Playlists 4/22 and 4/29, 1996 April 22, 1996 Playlist Monday Morning Blues with Leslie Ann Knight 6:00am - 9:00am - KKUP 91.5 FM, Cupertino, CA 510 797-0654 / Fax 510 791-1084 / LKnight1@aol.com Artist / CD Title / Track / Label ----------------------------------------- Elmer Lee Thomas The Monday Morning Blues Theme on CD Sonny Landreth / Blues Attack / Frisco Bay... / AVI Mississippi Heat / Thunder In My Heart / Steamrollin / Van der Linden Luther Allison / Blue Streak / Walking Papers / Alligator Jerry Lightfoot and the Essentials / Burning Desire / Lost In The Shuffle / Connor Ray Big Bill Broonzy / Taste of Tradition / St. Louis Blues / Tradition Brownie McGhee and Elmer Lee Thomas / Brownie s Blues / Jump Little Children / Goldstar Kid Ramos / Two Hands, One Heart / It s Been A Long Time... / Black Top John Hammond / Found True Love / Howlin For My Darlin / Virgin Sonny Rhodes / Out Of Control / Dollar Bill Woman / King Snake Rick Holmstrom / Lookout! / Holmes Hop / Black Top Cephas-Wiggins / Cool Down / Nine Pound Hammer / Alligator Alvin Youngblood Hart / Big Mam s Door / Gallows Pole / OKeh/550 Music Hans Olson / Kachina Blues / Me and B. McGhee / Blond Sun Doug MacLeod / You Can t Take My Blues / Title track / Audioquest Paul Oscher / Knockin On Devil s Door / My Baby s Gone / Viceroots Little Jonny and the Giants / No Mercy / You ve Got To Move On / Cornbread Little Jonny and the Giants / No Mercy / Sportin Life / Cornbread Kenny Blue Ray / Strat Daddy / Soul Control / Blue Ray Bobby Murray / The Blues Is Now / The Future Is Now / Viceroots ------------------------------------------------ Live in the KKUP studio, members of Tattoo Blue. Live performance of Love Is A Train. Tattoo Blue / Don t Try This At Home / Long As I m Moving / BeeZerk Tattoo Blue / Don t Try This At Home / How You Carry On / BeeZerk Tattoo Blue / Don t Try This At Home / Walk Away / BeeZerk Tattoo Blue / Don t Try This At Home / Hello Josephine / BeeZerk Tattoo Blue / Don t Try This At Home / You Got What It Takes / BeeZerk Tattoo Blue / Don t Try This At Home / Feelin Happy / BeeZerk Tattoo Blue / Don t Try This At Home / Love Is A Train / BeeZerk ------------------------------------------------- Mick Martin and the Blues Rockers / Got To Play The Blues / Title Track / Blues Rock Mighty Blue Kings / Meet Me In Uptown / Pink Cadillac / R-Jay Little Jonny and the Giants / No Mercy / Clear The Deck / Cornbread Joey Razor and the Blue Blades / Joint B Jump / Joint B Jump / Hectic John Hammond / Found True Love / Found Love / Virgin-Pointblank Jerry Lightfoot and the Essentials / Burning Desire / Someone s Doggin / Connor Ray Bobby Murray / The Blues Is Now / Let My Guitar... / Viceroots First Class Blues Band / Self titled / Vintage Shuffle / Acoustic Music -------------------------------------------------- Conducted a short phone interview with Greg Piccolo. Greg Piccolo / Heavy Juice / Big Boss Man / Fantasy Greg Piccolo / Heavy Juice / Bolo Blues / Fantasy ---------------------------------------------------- Fred McDowell / A Taste of Tradition / Good Morning Schoolgirl / Tradition Closing Theme for Monday Morning Blues: Joey Razor and the Blue Blades / Joint B Jump / After Hours Taxi / Hectic Notes: Greg Piccolo called in from a rest stop in Wyoming. He was on his way to the Bay Area. He had been in the van sleeping for the past 5 hours. He was a good interview and interacted very well. I heavily promoted his Slim s and Moe s Alley dates for this week. His new Acid Blue CD had not arrived, so we played tunes from his Heavy Juice CD. Callers requested Joey Razor and the Blue Blades and Kenny Blue Ray. ***************************************** April 29, 1996 Playlist Monday Morning Blues with Leslie Ann Knight 6:00am - 9:00am - KKUP 91.5 FM, Cupertino, CA 510 797-0654 / Fax 510 791-1084 / LKnight1@aol.com Artist / CD Title / Track / Label ----------------------------------------- Elmer Lee Thomas / The Monday Morning Blues Theme on CD Rick Holmstrom / Lookout! / Hit It / Black Top John Hammond / Found True Love / I ve Got To Find... / Virgin Ike Cosse / The Spot Is Hot / Homeboy / Independent Brownie McGhee and Elmer Lee Thomas / Brownie s Blues / Good Morning Blues / Goldstar Doug MacLeod / You Can t Take My Blues / Hey Bartender... / Audioquest Juanita Williams / Introducing J.W. / You Haven t Hurt Me / /Big Mo Mick Martin and the Blues Rockers / I ve Got To Play... / I Don t Play Games / Blues Rock Little Jonny and the Giants / No Mercy / Dana Lee / Cornbread Joe Guitar Hughes / Texas Guitar Gunslinger / Ouchee Baby / Bullseye Luther Allison / Blue Streak / Midnight Creeper / Alligator Joey Razor and the Blue Blades / Joint B Jump / Come To Cali / Hectic Sonny Rhodes / Out of Control / She s Excited / King Snake Lightnin Slim / Real Excello R and B / She s My Crazy Little Baby / Ace Taj Mahal / Mule Bone / Hey Hey Blues / Gramavision Guitar Shorty / Get Wise To Yourself / My Baby Loves... / Black Top Bobby Murray / The Blues Is Now / Vicki / Viceroots Tattoo Blue / Don t Try This At Home / /Long As I m Moving / /BeeZerk Jerry Lightfoot and the Essentials / Burning Desire / Night Train from Oakland / Connor Ray Joe Beard / Blues Union / I Count The Days... / Audioquest Brownie McGhee and Elmer Lee Thomas / Brownie s Blues / Drinkin Wine... / Goldstar John Hammond / /Mileage / 32-20 Blues / Rounder Advance CD: Soul Proprietors / Too Cool To Be Hip / The Brugie / Adina Soul Proprietors / Too Cool To Be Hip / Next Time You See Me / Adina Kenny Blue Ray / Strat Daddy / Soul Control / Blue Ray Kenny Blue Ray / Strat Daddy / Dimples / Blue Ray Kenny Blue Ray / Strat Daddy / The Stumble / Blue Ray Etta James / 7 Year Itch / Jump Into My Fire / Island Little Jonny and the Giants / No Mercy / No Mercy / Cornbread Hans Olson / Kachina Blues / Mr. Unlucky / Blond Sun Brownie McGhee and Sonny Terry / Amer. Folk Blues Fest 1970 / Walk On /Optimism Mick Martin and the Blues Rockers / I ve Got To Play... / Ride With Me / Blues Rock AlleyGators / Mojo Alley / Mardi Gras Boogie / Red Hot Soul Proprietors / Too Cool To Be Hip / Gizzards and Beans / Adina Johnny Nitro / Car Fixin Blues / Car Fixin Blues / The Saloon Little Jonny and the Giants / No Mercy / You ve Got To Move On / Cornbread Rod Piazza and the Mighty Flyers / Essential Coll. / Sinister Woman / Hightone Chicago Bob Nelson / Back To Bogalusa / Swamp Jump / King Snake Hound Dog Taylor / Alligator 25th Anniv. / Yonder s Wall / Alligator Sasha Smith / Straight Up / Good As Gone / Buck and Bronx Closing Theme for Monday Morning Blues: Joey Razor and the Blue Blades / Joint B Jump / After Hours Taxi / Hectic Notes: Heavily propmoted Soul Propritors gigs and Kenny Blue Ray s gigs. I had two calls from listeners wanting to know how to get the Brownie McGhee-Elmer Lee Thomas CD. I gave them the fax number to the producer of the CD in Australia and encouraged them to order it. Another caller asked me to refer him to a harmonica instructor. Had requests for Rick Holmstrom, Rod Piazza and the new Guitar Shorty CD on Black Top. --------------------------------------------- Record Companies: For airplay on KKUP, Monday Morning Blues Program CD s may be mailed to: Leslie Ann Knight Knight and Day Media Control 36629 Cabrillo Drive Fremont, CA 94536 ========================================================================= Date: Tue, 30 Apr 1996 22:44:11 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: copywright infringement Comments: To: Renato154@aol.com On April 29, Renato Tonelli said: >>>I have just found out that two of my photos have >>>been used without permission and to add icing to >>>the cake the photo credits have been attributed to >>>others. One photo of David Honeyboy Edwards has >>>been published in a book >>>"Pistoia Blues" in Italy while a photo of Frank Frost >>>has been used as the cover for a cd on Earwig. >>>Has anyone out there experienced a similar >>>situation and what action did they/you take if any. Two of my photographs were used without my permission in the Francis Davis blues book. However, they were credited to me which made me all the more angry. I sent them a bill for $3,000.00 just to get their attention. They said the most they had ever paid for a black & white photo was $250.00. So I said, OK, send me $250.00 per shot and an extra $250.00 to teach you a lesson. They have a nice book and I made a very quick $750.00. ***************** 1/ Make sure you have the original negatives in case you have to show them in court. 2/ Invest a small amount of money in getting a lawyer to write a letter for you. 3/ Have the lawyer write a letter to the publisher (record company) requesting that they show ownership and/or legal clearance to use the photograph in question. 4/ Tell them that all copies of the book (CD) should be removed from public sale until the matter is resolved. 5/ Tell them that if the matter is not dealt with swiftly, they will be responsible for all legal expenses that it costs you to bring them into court. Good luck . . . Dick Waterman ========================================================================= Date: Tue, 30 Apr 1996 22:52:09 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Wading into the crowd Comments: To: shaun@pacificnet.net Mike Curtis wrote: >>>Keith Relf, formerly lead singer and harmonicist >>>with the Yardbirds, was electrocuted on stage, I >>>believe through the guitar amp and the mic. I am probably wrong since this is not an area that I know much about but . . . I think it was a group called Stone The Crows. They were playing an outdoor show and came onstage after it had rained. The guitarist was standing in a small amount of water and his lips touched the microphone, and he was electrocuted. Dick Waterman ========================================================================= Date: Tue, 30 Apr 1996 23:15:08 -0400 Reply-To: BLUESROCCO@AOL.COM From: Jim Rocco Subject: Re: Beale Street question Comments: To: ISTS024@uabdpo.dpo.uab.edu L.W., Here's a list of restaurants here in Memphis on Beale St. Alfreds is about the nicest and is large enough to handle a Blues-L meeting. Landry's at Riverside and Beale (263 Wagner Place) is about the coolest with a super large dining room and bar with an EXCELLENT view of the river that tugs at all our hearts. Landry's used to be Capt'n Bilbo's. Blues City Cafe...138 Beale...526-3637 B.B.Kings...143 Beale...524-5464 Crawdads...153 Beale...521-0800 King's Palace Cafe...162 Beale...521-1851 Rum Boogie Cafe...182 Beale...528-0150 Silky O'Sullivans...183 Beale...522-9596 Alfreds On Beale...197 Beale...525-3711 Beale Street Barbeque...205 Beale...526-3637 Landry's Seafood House...263 Wagner Place...526-1966 Should we have a vote? Jim Rocco ========================================================================= Date: Tue, 30 Apr 1996 15:05:56 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: blues guitarist tricks Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com The first time I saw Little Charlie and the Nightcats they did a pretty cool trick. Little Charlie put his guitar behind his head. I thought "Big deal," because I've seen about a billion guitarists do that. Then the bass player put his uproght bass behind his head to mimic Charlie! That was cool. The bass player also rode the bass like a horse and played on his back with the bass on top of him (when Charlie was on his back playing guitar). This is a band that is very talented and doesn't need stage tricks, but the stage tricks add a lot to their show. -Steve ========================================================================= Date: Tue, 30 Apr 1996 13:41:23 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Wading into the crowd Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, ISTS024/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=ISTS024#a#UABDPO#f#DPO#f#UAB#f#EDU@s1boca.corp.wrgrace.com *I never understood the tongue playing or licking the neck as I've seen several *people do. Does anyone really get off on that....?? Only with the right girl. :-) -Steve ========================================================================= Date: Wed, 1 May 1996 13:10:10 +0000 Reply-To: Deputy Dawg Comments: Authenticated sender is From: Deputy Dawg Subject: I-IV-V PROGRESSIONS This is my first post...take it easy on me! There has been alot of discussion over the last few days about the "infamous" I-IV-V standard blues pattern. I feel that this is one of the most versatile patterns there are. For example, give John Lee Hooker, Buddy Guy, Eric Clapton, and Johnny Winter the same I-IV-V pattern song and the end result will be four totally different sounds. Each one characteristic to the artist performing it. It all depends on the interpretation and the feel for the music. To the normal "every-day-joe" it will, without a doubt, sound like the same old song, but the true "blues-lover" is able to pick up the passion and the "feel" of the artists interpretation. Stevie Ray Vaughan (IMHO) is one of the masters of "diguising" the I-IV-V pattern. Deputy Dawg Defender of the Peace. ========================================================================= Date: Wed, 1 May 1996 00:18:40 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: BUDDY GUY TOUR PRICES > From: bolt > I know that 10-15 years ago (when I first saw BG in person), I'd > have probably not been able to afford even a $25 ticket. I'm just afraid > there are numerous fans who are getting priced out of the experience. And a lot of those would be yelling "play Stevie, man". If Buddy can sell out a house at $50 or more a head, I say more power to him. He's paid his dues and it is time for him to collect. How many years did he spend getting crappy wages for doing what he loved? For years I had to drive 200 miles to Austin to see Buddy because nobody would book him in Dallas/Fort Worth. The cover charge at Antones was usually $8 and I always told them they weren't charging enough. I, for one, am very glad that Buddy has made the big time. It's simple supply and demand economics. If someone doesn't want to fork over big bucks to see Buddy, then don't. Go see Guitar Shorty, or James Harman, or Rod Piazza, or any of the hundreds of other great road acts out there that often don't draw a full house at $10 a head. There are some incredible bargains on the blues circuit today. The experience is available on CD for $12.95. The T-shirts, caps, and boxer shorts are slightly more. How much are Barbra Streisand tickets? Don O. ========================================================================= Date: Tue, 30 Apr 1996 23:58:07 -0700 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Re: Johnny Shines Video? Comments: To: Steve Levine In-Reply-To: <441B29B5@MHS> I think that you are talkin about the video Good Mornin Blues, it is released by Yazoo, and I bought it at the Virgin Megastore in L.A. so I think that it is pretty easy to get. You also get Bukka White, Furry Lewis and Sam Chatman plus a bunch of others. It is a pretty good video, and it is narated by BB King (a young one at that). Isaac On Tue, 30 Apr 1996, Steve Levine wrote: > I recently saw a clip of Johnny Shines playing with Honeyboy Edwards > and Big Walter. The clip I saw was part of a documentary narrated by BB > King (I don't know what this documentary was called, I just turned on > the tv and it was on some cable channel). I've herad recently that the > Shines/Edwards/Horton clip is from a full length video. Can anyone tell > me where I can get this video? > > Thanks, > > Steve > ========================================================================= Date: Wed, 1 May 1996 03:17:44 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: buddy guy fort worth 4/30 Buddy Guy played to a packed house last night at the Caravan of Dreams club in Fort Worth. This was his second night at the club and both evenings were sold out. Ticket prices were $33.50 (reserved seats) with a few $26 standing room tickets. Corey Harris opened a little after 8 pm and put on a nice show. He played about 45 minutes, mostly delta slide and mostly other folk's material. Corey started out with Son House's "Death Letter" and it was clear from the start that he was more than a little hoarse. Songs from Muddy, Mississippi Fred McDowell, Son's "Preachin Blues", and other covers made up most of his set. All well done, though I don't think he is quite as good a player as Jerry Ricks, or even Kevin Moore. See all 3 and form your own opinion. He did several original songs that are not on his Alligator album, but those came toward the end of the set when his voice was getting a little worse and the talking of those waiting for Buddy was becoming more than a minor nuisance. I look forward to hearing him again sometime, hopefully a full show where I can hear more of his original songs and more of his real voice. Buddy and his big band took the stage shortly after 9 and ripped into "Going Down", the tune made famous by Freddie King. Towards the end of the song, part of the audience was singing along, which I think surprised Buddy a bit. Of course he encouraged it and stretched things out a bit. Blues-l'er Scott Ferman, siting next to me, groaned a bit about the sing-alongs starting too early. We both cracked up at the end of the song when Buddy made the same comment and said to save our singing for later when he could check on who was messing up. Next up was "Sweet Little Angel" that sort of turned into "Black Night" and then into the former again. Nice playing throughout. Then came Buddy's standard sing-along tune, Denise Lasalle's (made famous by Z.Z. Hill) "Slippin In". We sang along. Buddy grinned. All was well. I won't bore you with a song by song breakdown of the whole show. It was pretty much a standard Buddy Guy show. Flashes of brilliance interlaced by stretches of "entertainment". I was a little leary of the addition of the horn section and keyboards to the tour, but I found them to fit very well with the show and at no time did they overpower "The Man" ("You're The Man" was hollered from the audience more than once, which gave us blues-l'ers a chuckle). Numerous long walks in the audience (followed by the horn section), ladys playing the strings while Buddy fingered the fretboard, gratuitous drum solo, bass solo, and Scott Holt song, and the usual "I can play Clapton/JL Hooker/Hendrix/Stevie stuff (but mercifully only about 5 minutes worth). Only 2 tunes from his Silvertone output, "Feels Like Rain" (another sing along) and a shortened version of "Mustang Sally". A nice take on Johnnie Taylor's "Still Called the Blues", Albert King's "I'll Play the Blues For You", and even one of Buddy's old Chess numbers, played all the way through and truly outstanding (wish I could remember which one). Like Corey Harris, Buddy had a sore throat and some hoarseness. Unlike Corey, Buddy had the cure, cognac. At least 10 shots from backstage, and it really seemed to help his voice. However, I have to say the first hour was much, much better than the second. Throughout, Buddy and the band were grinning and laughing and it was obvious they were having a very good time. At the end of the show, as the band played on, Buddy tossed guitar picks to the audience, and wandered the front of the stage signing album covers, photos, pick guards, and whatever. That's the first time I've seen him do that. Overall, this was one of the better Buddy Guy shows I have seen in the last several years. I felt like I got my money's worth, and then some, even at $33.50. I think Buddy's smile is worth at least $10 all by itself. Your mileage may vary. For those of you in need of more Buddy Guy merchandise, you can now own a black polka dot t-shirt to match his favorite strat. Only $25. He sold a bunch of them, too. Not to me, though. Don O. ========================================================================= Date: Wed, 1 May 1996 03:59:09 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: clarksdale to memphis Anyone coming up through Clarksdale to Memphis for the Handy's/Memphis festival? Could I talk you into stopping by Jim O'Neal's record store and picking up a copy of his delta blues map for me? Repayment and eternal gratitude guaranteed. Don O. don.o@chrysalis.org ========================================================================= Date: Wed, 1 May 1996 05:01:29 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Hooker Wanted >House Rent! > >Uncle Ray > >---------- >From: TDominey[SMTP:tdominey@AOL.COM] >Sent: Tuesday, April 30, 1996 9:23 PM >To: Multiple recipients of list BLUES-L >Subject: Hooker Wanted > >Okay...I have a bit of an disagreement going on with a friend over which >John Lee Hooker "boogie" style record is his best...any opinions? Ray is right. Doesn't a messsage called 'hooker wanted' belong on one of those alt.sex lists, though? :-) Chris Smith (chris@skerries.demon.co.uk) Be nice to your children; they'll choose your nursing home. ========================================================================= Date: Wed, 1 May 1996 08:35:21 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Hendrix' Dental Work (Was Re: Faking it?!?!??!) Steve wrote >> I remember reading an interview with Hendrix where he was asked a similiar >> question (are you using your teeth or hammer ons/pull offs?) Hendrix >> replied teeth that he was using his teeth. He said it was a common trick on >> the chitlin' circuit which was strewn with broken teeth. I also have seen a >> video which showed Hendrix playing with his teeth and best as I could make >> out, his teeth were hitting the strings. Also, if one was using hammer-ons >> and pull-offs, the attack would be a lot different from using your teeth >> (or whatever). It sounded like the attack was from the strings being >> plucked (by the teeth) not from hammer-ons and pull-offs. > > Gee, I saw a video of him doing it and it was so obviously >hammers and pulls, as he drew the guitar up to his face and pulled it >back again without stopping, I thought it was impossible to mistake. > > Actually a friend of mine does this because he's too cheap to buy >dental floss. > > Another friend does it because he hasn't had a decent meal in >weeks. Another because he's hungry for good music. (Sorry folks) > > Steve Fangs very much for sharing that with us, Steve. Chris Smith (chris@skerries.demon.co.uk) Be nice to your children; they'll choose your nursing home. ========================================================================= Date: Wed, 1 May 1996 07:33:32 CST Reply-To: William Shute From: William Shute Subject: re Keith Relf's death From: Bill Shute I saw(in passing as I was skimming this morning's blues-l mail) someone say that Keith Relf was electrocuted on stage. This is definitely not true. Mr. Relf, one of my all-time heroes, WAS electrocuted, but it happened in his home. I don't have any Yardbirds info here with me at work, but I believe it happened in l976. There are two cassette-only releases of Keith's home recordings from the last year or two of his life available--these are called MUSICAL SPECTRUM Vol. 1 and 2. They are very much like the acoustic tracks on the second disc of the EMI Little GAmes box set and (IMHO) have a decidedly Syd Barrett-like senseto them.I got those tapes MANY years ago and have no idea where one would find them today...or even in which box my copies are! God bless the late Keith Relf!!! Bill "Funky Broadway Ain't Funky No More" Shute San Antonio, TX ========================================================================= Date: Wed, 1 May 1996 09:45:06 -0300 Reply-To: Rob Hutten From: Rob Hutten Subject: Lyrics help: Henry Spaulding's "Cairo Blues" I'm trying to transcribe Henry Spaulding's 1929 recording of "Cairo Blues". Can anyone help me out with the passages in [brackets]? I have a clip of Henry Townsend playing a wonderful and faithful version of this song on one of Stephan Grossman's videotapes - it's helped some, but there are still words I can't make out: -Rob Cairo, Cairo is my baby's home Cairo, Cairo is my baby's home Goin' to Cairo, baby, and it won't be long God I know she take my lovin' [on] I know my babe, she will take my lovin' [on] Know by that I swear I won't stay here long Hmmm, hmmmmmm mmmm. Hmmm, hmm won't stay here long Women in Cairo will treat you nice and sweet Women in Cairo will treat you kind and sweet Get you [arrested] and take you off off their [beat] Kick you and [argue], beat you and cut you too Kick you and [argue], beat you and cut you too Bring you to [....] [husband] Hmm, babe, Cairo, hmm babe. Cairo, Cairo is my baby's home I'm goin' home and I'm swearin' it won't be long. ========================================================================= Date: Wed, 1 May 1996 09:45:06 -0400 Reply-To: Dave Markovits From: Dave Markovits Subject: Chicago Bluesfest Good morning, If anyone is coming to the Chicago Bluesfest, send mail. I'd love to hook up with some fans from the list. I will try to post a comprehensive list of who is playing in the clubs a week or so prior. It's always a great weekend here in Chicago. There are usually pretty large all-star jams, exhibits, free in-store appearances and stuff too. (Hopefully the weather here in paradise will cooperate. Thursday night the 30th for those arriving early is a south side blues pub crawl. It' leaves Legends and goes to Lee's Unleaded Blues, Cuddle Inn(Home of Johnny Laws)and the Celebrity Lounge. Tix are 15 bucks and they bus you to each club, a blast. I have several friends who plan to attend, including Adit Kapil from the list. I live downtown about a mile from the fest. My home phone is 312 266 1428. My daytime number appears with my signature. I also just returned from New Orleans, Kudo's to Bill Morgan for playing me Guitar Slim Jr. and his hospitality. Also thanks to CatBauer who woke me up early one morning. CAt we'll meet someday down the Blue highway. Rambling on my mind; David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Wed, 1 May 1996 09:45:23 -0400 Reply-To: "Lost John From: "Lost John Subject: Re: Gibson Info...Gearheads Comments: cc: johnc@vedge.com On April 29, J.B Eanes wrote: >Can anyone tell me what year this guitar was made?. >Gibson ES-335TD (Walnut with small headstock) >Serial no.: 776722 >I would apreciate any help in this matter. Thanks in advance. J.B. Forgive if someone has already responded to this. If not it might be of interest to some of us. Gibson's serial numbering scheme over the years could be charitably described as less than systematic. In many cases, more than just a serial number is required to identify a guitar. A combination of factors are sometimes necessary, such as: - the type of Gibson logo on the headstock, whether the i is dotted, whether the b is closed or open on top etc. - whether there is a "Made in USA" stamp or decal, - whether the serial number is stamped into the back of the headstock, or on an orange paper label glued to the inside (of semi-hollow or hollow bodies, viewed thru the f-hole). The best book that I've found is "Guitar Identification", by A.R. Duchossoir. It's a comprehensive list of numbers and identification tips that cover instruments by Fender, Gibson, Gretsch, and Martin. I can get you the ISBN number if you like. My copy is several years old. There's an updated edition that Gibson (I think) is flogging for your viewing and ordering pleasure at: http://www.gibson.com/mall/products/identify.html Good luck. -- _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ _/ /\ _/ _/ || _/ _/ || _/ _/ John Carley || _/ _/ johnc@vedge.com || _/ _/ Montreal || _/ _/ |\||/| _/ _/ \ / _/ _/ " There's only two things in life / \ _/ _/ but I forget what they are..." ( ) _/ _/ - John Hiatt \____/ _/ _/ _/ _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ ========================================================================= Date: Wed, 1 May 1996 08:43:37 CST Reply-To: William Shute From: William Shute Subject: "On The Philadelphia Beat, Vol. 1" CD From: Bill Shute Attention James, Jyrki, Bill P. Sara O., and other blues-l soulsters: various artists ON THE PHILADELPHIA BEAT, VOL. 1--NORTHERN SOUL Bear Family BCD 15 844 AH 28 tracks, recorded in Philadelphia circa l965-l969 for Jamie-distributed labels such as Dionn, Phil-L.A. of Soul, Arctic, Vent, Top & Bottom, and for the parent Jamie label itself artists: Moses Smith Fantastic Johnny C. The Ethics Volcanos Pookie Hudson The Ambassadors (my fave! "If I'm All You Got, I'm All YOu Need" is an anthem!) Dorothy and the Hesitations Kenny Gamble and the Romeos Honey and the Bees Tyrone Ashley Barbara Mason Benny Harper The Temptones (w/ Daryl Hall) Kit-Kats (the rock band, w/ a Soul Survivors-like tune) The Pentagons Cliff Nobles Brenda and the Tabulations The Kayettes Soul Brothers Six Big Dee Irwin an instrumental backing track by an unknown group The l960s Philly scene has not been reissued much on CD (at least on legit reissues--I know there are a number of bootleg Euro reissues that we never see here in the US), so this is a goldmine of rare singles. As usual for Bear Family, liner notes are wonderful, there are lots of pics of both artists and record labels, the sound is wonderful, and most of all the MUSIC is hot and often sweet. I can't get enough 60s regional soul comps. Bear Family promised MANY more black music comps from the Jamie archives, so keep your eyes/ears open. Has vol. 2 of this come out yet? Bill Shute San Antonio, TX ========================================================================= Date: Wed, 1 May 1996 09:52:36 -0400 Reply-To: "Matthew D. Lautenschlager" From: "Matthew D. Lautenschlager" Subject: Re: Lyrics help: Henry Spaulding's "Cairo Blues" Comments: To: Rob Hutten In-Reply-To: <199605011245.AA07959@dragon.acadiau.ca> cancel BLUES_L@BROWNUM.BROWN.EUD ========================================================================= Date: Wed, 1 May 1996 11:01:25 -0400 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: Re: Hooker Wanted In-Reply-To: <01BB36AF.5F166320@ip-pdx15-12.teleport.com> The double vinyl "Endless Boogie" is pretty decent. RW ========================================================================= Date: Wed, 1 May 1996 09:07:45 CST Reply-To: William Shute From: William Shute Subject: JL Hooker "l965 London Sessions" CD From: Bill Shute This 11-track CD contains the material done by John Lee Hooker in May/ June l965 w/ the great UK R&B/blues combo, The Groundhogs, led by Tony "T.S." McPhee. They at one time billed themselves as John Lee's Groundhogs and were huge fans of The Master, so these sessions must have been a dream come true after they had served as JLH's UK backing band. Actually, these are some of the most successful of the US bluesman- backed-by-UK R&B/beat band recordings. McPhee and crew have an intuitive sense about JLH's timing and irregular bar structures/chord changes, while avoiding the temptation of playing so loosely that they don't have to adapt to Hooker's changes. Hooker resembles his Vee-Jay style here, except that the backing band is the Groundhogs. Horns were overdubbed later on to the session, but they sound fine and have to be among the few successful attempts to mate Hooker n Horns. As Neil Slaven points out in his perceptive liner notes, "John Lee's worked with a few horn players in his time and confounded all of them. By being overdubbed, these unknown players were able to display an alertness that wouldn't have been possible if they'd been present on the original session." John Lee Hooker "The l965 London Sessions" Sequel (UK) NEB CD 657 Hooker--vcl, gtr Tony McPhee--gtr Tom Parker--keyboards Pete Cruickshank--bass Dave Boorman--drums overdubbed horn section orig. issued on "Wand" label in USA reissued l993 Bill Shute San Antonio, TX ps, REAL McPhee fans will want to find the album by his band "Herbal Mixture" on the Distortions label. It came AFTER these, but before the 'Hogslate60s/ early 70s heyday. Also, I have always loved the as-yet-unreissued LP of McPhee paired with Billy Boy Arnold. ========================================================================= Date: Wed, 1 May 1996 09:02:18 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: THE Memphis Blues-l meeting Just a reminder to those who would like to meet other -ellers at the Beale Stree Festival. As Denise Tapp said yesterday, The Center Of Southern Folklore (is that right) on Beale Street on Saturday morning. They open at 10:00 am and we can hang out there for awhile. Then make plans accordingly. I think she mentioned they have a piano, drums, couple of amps, so if anyone wants to play, I reckon they can. So we can meet at the above mentioned place and aprox time in the AM and go from there, I'm curious to who plans on showing up there...???? LW ========================================================================= Date: Wed, 1 May 1996 09:12:58 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: blues guitarist tricks In-Reply-To: On Tue, 30 Apr 1996, Steve Levine wrote: > The first time I saw Little Charlie and the Nightcats they did a pretty > cool trick. Little Charlie put his guitar behind his head. I thought > "Big deal," because I've seen about a billion guitarists do that. Then > the bass player put his uproght bass behind his head to mimic Charlie! > That was cool. The bass player also rode the bass like a horse and > played on his back with the bass on top of him (when Charlie was on his > back playing guitar). This is a band that is very talented and doesn't > need stage tricks, but the stage tricks add a lot to their show. > > -Steve > There's a Cajun band out of Des Moines (go figure) who moved to Columbia, Missouri, --I'm blanking on their name, something like the tadpoles, but that's not it--. The bass player leaps onto the dance floor and puts the upright bass on his back, dances madly, WHILE PLAYING A KILLER SOLO. That's impressive. Wish I could remember their name. Excellent show. Steve ========================================================================= Date: Wed, 1 May 1996 07:28:43 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: May 2 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BENJAMIN, BENNIE (songw/afro-amer) d. 1989-0502, MANHATTAN, NY 81 BISHOP, WALLACE (d/LES HITES) d. 1986-0502, HILVERSUM,NETHERLAN 80 BOOKER, CONNIE MACK (p/MODERN REC) b. 1929-0502, BURROW, CASSELL (d) d. 1979-0502, CHICAGO, IL 65 CAIN, RANDY (of THE DELFONICS) b. 1942-0502, PHILADELPHIA, PA DAWSON, WILLIAM L. (arr/gospel) d. 1990-0502, TUSKEGEE, AL 90 DICKENS, DOLES (b/5 RED CAPS) d. 1972-0502, NJ -- FIELDS, FRANK(b/FATS DOMINO/SMILEY LEWIS) b. 1914-0502, PLAQUEMINE, LA HAYES, P. T. (hca) d. 1983-0502, CHICAGO, IL 60 HOLMES, RICHARD "GROOVE" (o) b. 1931-0502, CAMDEN, NJ HURTE, LEROY E. (owner: BRONZE REC) b. 1915-0502, MUSKOGEE, OK JOHNSON, WILLIE (co-lead/GOLDEN GATE QT) b. 1913-0502, WASHINGTON, NC LASTIE, BETTY ANN (p) b. 1941-0502, NEW ORLEANS, LA MOORE, WILLIE C. "BOLL WEENIE BILL" (g) d. 1971-0502, ALBANY, NY 58 MYERS, BOB (g) b. 1925-0502, BYHALIA, MS OLDHAM, OSCAR (d/JIMMY FORREST) d. 1953-0502, CHICAGO, IL -- ROLLINS, ALAN"BLUES-LYNX"(BLUES-L MEMBER) b. 1945-0502, PITTSFIELD, MA SMITH, WILLIAM O. (g/COLEMAN HAWKINS) b. 1917-0502, BARTOW, GA WATSON, LEO (scat v/SPIRITS OF RHYTHM) d. 1950-0502, LOS ANGELES, CA 52 WRAY, LINK (g) b. 1935-0502, DUNN, NC ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 1 May 1996 09:36:50 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Recent CD buys > Was browsing through my favorite new/used store last week when a box > full of blues discs came in. Picked up: > > Tinsley Ellis - Storm Warning > - Trouble Time > Ronnie Earl and the Broadcasters - Retrospective > Harp Dog Brown and the Bloodhounds - Bad Dog > Robben Ford - Mystic Mile > Delbert McClinton - Best of > Duke Robillard and the Pleasure Kings - Rockin' Blues > > Must have been my lucky day. > > RW > Don't get me wrong Ron, but I noticed all of these are white guys. No intent to start black-white discussion, but just to make things colorful, here is what I picked up during my last week trip through Big Ten Universities campuses: 1. Candy - Big Maybelle (Savoy Jazz) 2. The Best of Luisiana Red - Louisiana Red (Evidence) 3. Vietnam Blues - J.B. Lenoir (Evidence) 4. Rockin My Blues Away - Washboard Sam (RCA - Bluebird) ... and, man, was a lucky!!!! Ranko ========================================================================= Date: Wed, 1 May 1996 08:57:00 -0600 Reply-To: bmpech@MSCD.EDU From: Bruce Pech Subject: Fakin' It -- Rev. Gary Davis Back in the 60s, I went to a few of Rev. Davis' gigs. Occasionally, he'd play a number about courting his girl on her parents' porch. As he told the story, if they heard him playing his guitar, they'd assume that the courting couple were behaving themselves. Then the Rev. Davis demonstrated how the couple fooled her parents. He'd mimic putting his right arm around his girl while he continued to play a raggy instrumental by hammering on and pulling off with his left hand. Even though he was playing an acoustic, he got enough volume out of his J-200 to make believers of the audience. At least I *think* it was the Rev. Davis. 30 year old memories aren't terribly reliable. It might have been John Hurt (if so, I'd appreciate DW setting me straight). BP Boulder, CO ========================================================================= Date: Wed, 1 May 1996 15:07:22 GMT Reply-To: "Jennifer A. Zogott" From: "Jennifer A. Zogott" Organization: New York University Subject: CD/book on blues history Comments: To: bit-listserv-blues-l@uunet.uu.net Someone told me today that they recently read about either a book or CD on the topic of 19th century precursors of the blues. He said that he most likely saw it in a review in either the Village Voice or the New York Times within the past week. Does this ring any bells with anyone? I realize it's a bit vague. Please respond via e-mail. Thanks very much. Jennifer Zogott * * * "How many bubbles in soap? How many chews in gum? How many rolls in a wheel? Where did eyeballs come from?" - Screamin' Jay Hawkins ========================================================================= Date: Wed, 1 May 1996 11:30:02 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: And a good one to you too . . . Those of us who have chosen the second weekend of the New Orleans Jazz Fest instead of Memphis In May wish good weather and great music to those Zellers who will be gathering in Memphis. Dick Waterman ========================================================================= Date: Wed, 1 May 1996 10:23:51 -0500 Reply-To: cecalhoun@SIOUX.SODAK.NET From: C E Calhoun Subject: Re: copywright infringement Comments: To: Jinxblues@AOL.COM In-Reply-To: <960430224408_481857826@emout07.mail.aol.com> sue the bastards!!! ========================================================================= Date: Wed, 1 May 1996 10:34:19 -0500 Reply-To: bolt From: bolt Subject: Re: BUDDY GUY TOUR PRICES > > From: bolt > > > I know that 10-15 years ago (when I first saw BG in person), I'd > > have probably not been able to afford even a $25 ticket. I'm just afraid > > there are numerous fans who are getting priced out of the experience. > >And a lot of those would be yelling "play Stevie, man". If Buddy can sell out >a house at $50 or more a head, I say more power to him. He's paid his dues and >it is time for him to collect. How many years did he spend getting crappy >wages for doing what he loved? For years I had to drive 200 miles to Austin to >see Buddy because nobody would book him in Dallas/Fort Worth. The cover charge >at Antones was usually $8 and I always told them they weren't charging enough. >I, for one, am very glad that Buddy has made the big time. It's simple supply >and demand economics. If someone doesn't want to fork over big bucks to see >Buddy, then don't. Go see Guitar Shorty, or James Harman, or Rod Piazza, or >any of the hundreds of other great road acts out there that often don't draw a >full house at $10 a head. There are some incredible bargains on the blues >circuit today. The experience is available on CD for $12.95. The T-shirts, >caps, and boxer shorts are slightly more. > >How much are Barbra Streisand tickets? > >Don O. I have no problem in Buddy "collecting" on his many years of paying "his dues". I am probably one of Buddy's biggest fans, I've seen him every time he comes to town and own most of his recordings. I do have a problem with the powers that be (be it Buddy's management, the local promoter or whoever), booking an artist into a venue that obviously underaccomodates their popularity. Houston is the 4th largest city in the U.S. and Buddy is arguably one of the most popular blues artists in the world. If the choice is $65/$55 per head in a 200 seat venue or $30/$20 per head in a 750 seat venue, lets do the logical thing and accomodate as many fans as possible. Like it or not, many of us who have supported Buddy throughout the years have evolved from the "play Stevie, man" stage, which does not diminish our love for the blues. Hopefully those that evolved won't be asked to drink out of a different water fountain than those that were simply created. I spoke to Corey Harris in Austin during the SXSW show. I told him that I hoped to see him again when he toured with Buddy to Houston, but I wasn't sure I'd be able to afford $65 to see them. Corey was amazed at the prices and confessed that if he was in my shoes, he certainly wouldn't be able to go. Reg Burns +++++++++++++++++++++++++++++++++++++++++++++++++ + I'll listen to reason when it comes out on CD + + + + bolt@neosoft.com Houston, TX + +++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Wed, 1 May 1996 11:38:14 -0400 Reply-To: TabbMan@AOL.COM From: John Moore Subject: Re: blues guitarist tricks Comments: To: Steve.Levine@corp.wrgrace.com how about Buddy Guy,at his club he usually ends up out on Wabash St. playin on the side walk lookin in ========================================================================= Date: Wed, 1 May 1996 12:52:23 -0400 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: Re: Recent CD buys Comments: To: rvujosev@CCAD.UIOWA.EDU In-Reply-To: <199605011436.JAA22228@monet.ccad.uiowa.edu> Ranko wrote: > > Don't get me wrong Ron, but I noticed all of these > are white guys. No intent to start black-white discussion, Imagine that! Thought never crossed my mind. Maybe whoever brought them in has a race problem. RW ========================================================================= Date: Wed, 1 May 1996 10:58:31 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Fakin' It -- Rev. Gary Davis Comments: To: Bruce Pech In-Reply-To: On Wed, 1 May 1996, Bruce Pech wrote: > Back in the 60s, I went to a few of Rev. Davis' gigs. Occasionally, he'd > play a number about courting his girl on her parents' porch. As he told > the story, if they heard him playing his guitar, they'd assume that the > courting couple were behaving themselves. Then the Rev. Davis demonstrated > how the couple fooled her parents. He'd mimic putting his right > arm around his girl while he continued to play a raggy instrumental by > hammering on and pulling off with his left hand. Even though he was > playing an acoustic, he got enough volume out of his J-200 to make > believers of the audience. > > At least I *think* it was the Rev. Davis. 30 year old memories aren't > terribly reliable. It might have been John Hurt (if so, I'd appreciate DW > setting me straight). > > BP Boulder, CO > YES! THAT WAS GARY! He did that, told that story, and man, he could pull it off convincingly! He's got a song on his Guitar and Banjo album called "The Boy Was Kissing The Girl (And Playing The Guitar At The Same Time)." I'd forgotten that little trick in this thread. Steve ========================================================================= Date: Wed, 1 May 1996 10:56:28 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Re: Recent CD buys In-Reply-To: Message of Wed, 1 May 1996 12:52:23 -0400 from On Wed, 1 May 1996 12:52:23 -0400 Ron Wack said: >Ranko wrote: >> >> Don't get me wrong Ron, but I noticed all of these >> are white guys. No intent to start black-white discussion, > > >Imagine that! Thought never crossed my mind. Maybe whoever brought them >in has a race problem. I have a definite race problem. I don't understand how someone can watch cars go around and around and...etc in circles for hours. I hate the races. LW ' horse races, dawg races, people races..etc' ========================================================================= Date: Wed, 1 May 1996 12:02:36 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: CD/book on blues history Comments: To: zogott@is2.nyu.edu In a message dated 96-05-01 11:55:15 EDT, zogott@IS2.NYU.EDU (Jennifer A. Zogott) writes: >Someone told me today that they recently read about either a book >or CD on the topic of 19th century precursors of the blues. He said >that he most likely saw it in a review in either the Village Voice >or the New York Times within the past week. Does this ring any bells >with anyone? I realize it's a bit vague. > > This has to be a reference to the Yazoo 3 CD-Set BEFORE THE BLUES. The NYTimes did a short not very informative review of the set a Sunday or two ago. Sometime in the last month, I posted complete discographical information to these sets (there are 69 songs and almost no discographical information is in the booklets). There has a been a little discussion of the series in this list and in the Old Time Country Music list. Tom Freeland ========================================================================= Date: Wed, 1 May 1996 10:59:15 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Re: BUDDY GUY TOUR PRICES In-Reply-To: Message of Wed, 1 May 1996 10:34:19 -0500 from 65 dollars to see Buddy Guy......NO WAY. I wouldn't pay 65.00 bucks a head to see anybody....ANYBODY The max I would pay is probally about 15.00 for a VERY good artists, I wouldn't pay 15 to see Buddy unless, I was sure he was going to do more playing than BS'ing. LW ========================================================================= Date: Wed, 1 May 1996 12:20:40 -0400 Reply-To: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM From: Jim Smith Subject: Fakin' It -- Rev. Gary Davis Comments: To: bmpech@MSCD.EDU In-Reply-To: It was Gary DAvis. He demonstrates that wizardry on some pf the videos put out by Stefan Grossman. Jim Smith >Back in the 60s, I went to a few of Rev. Davis' gigs. Occasionally, he'd >play a number about courting his girl on her parents' porch. As he told >the story, if they heard him playing his guitar, they'd assume that the >courting couple were behaving themselves. Then the Rev. Davis demonstrated >how the couple fooled her parents. He'd mimic putting his right >arm around his girl while he continued to play a raggy instrumental by >hammering on and pulling off with his left hand. Even though he was >playing an acoustic, he got enough volume out of his J-200 to make >believers of the audience. > >At least I *think* it was the Rev. Davis. 30 year old memories aren't >terribly reliable. It might have been John Hurt (if so, I'd appreciate DW >setting me straight). > >BP Boulder, CO > ========================================================================= Date: Wed, 1 May 1996 12:37:03 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: BUDDY GUY TOUR PRICES Comments: To: L W In-Reply-To: On Wed, 1 May 1996, L W wrote: > The max I would pay is probally about 15.00 for a VERY good artists, I wouldn't > pay 15 to see Buddy unless, I was sure he was going to do more playing than > BS'ing. ^^^^^^ LW - shouldn't that be BG'ing in deference to his greatness. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Wed, 1 May 1996 10:28:30 -0700 Reply-To: Stan Ruffo From: Stan Ruffo Subject: Re: re Keith Relf's death Martin Pugh, guitarist and guitar builder, who has been my regular partener on stage and on record for the past two years played with Keith Relf in Armegeddon, Keith Relf's last band. They were based in the LA area. I will see Martin Saturday, (if I don't get a chance to talk to him before), and I'll find out what he remembers about Keith's untimely passing. -- Stan Ruffo Blues On Tap - Sundays at 8pm on Visalia's KIOO 99.7FM 800 N. Ben Maddox Way, Suite 2200, Visalia, CA 93292, (209)625-6049 ---------- From: William Shute[SMTP:WSHUTE@ACCDVM.ACCD.EDU] Sent: Wednesday, May 01, 1996 6:33 AM To: Multiple recipients of list BLUES-L Subject: re Keith Relf's death From: Bill Shute I saw(in passing as I was skimming this morning's blues-l mail) someone say that Keith Relf was electrocuted on stage. This is definitely not true. Mr. Relf, one of my all-time heroes, WAS electrocuted, but it happened in his home. I don't have any Yardbirds info here with me at work, but I believe it happened in l976. There are two cassette-only releases of Keith's home recordings from the last year or two of his life available--these are called MUSICAL SPECTRUM Vol. 1 and 2. They are very much like the acoustic tracks on the second disc of the EMI Little GAmes box set and (IMHO) have a decidedly Syd Barrett-like senseto them.I got those tapes MANY years ago and have no idea where one would find them today...or even in which box my copies are! God bless the late Keith Relf!!! Bill "Funky Broadway Ain't Funky No More" Shute San Antonio, TX ========================================================================= Date: Wed, 1 May 1996 12:55:07 +0100 Reply-To: bengans From: bengans Subject: Re: Hooker Wanted >Okay...I have a bit of an disagreement going on with a friend over which >John Lee Hooker "boogie" style record is his best...any opinions? There s a new Capitol album out now containing 3 CDs called The early recordings 1948-1952. What knocked me out was the sound quality on some of that stuff, man I got goosebumps allover the first time I heard this. It is as if you could "touch" Hookers voice on some tracks. I highly recommend this set cause I think JLH was at his best on the oldest stuff, (and some of the VeeJay recordings as well.) I prefer John Lee alone or with just a rhythm guitar backing. When it comes to a single track it s gotta be Boogie Chillun on Modern or Boogie Chillen on VeeJay. Sevenson "How-how-how-how!!" John Lee Hooker ========================================================================= Date: Wed, 1 May 1996 18:15:22 GMT Reply-To: Art Schuna From: Art Schuna Organization: UW-Madison Subject: Re: Corey Harris CD Comments: To: bit-listserv-blues-l@uunet.uu.net In article <31863879.725B@math.msu.edu>, higdon@MATH.MSU.EDU says... > >I read about Corey Harris in the latest copy of Living Blues magazine. >Was thinking about picking up his CD. I would be interested in what >anyone (especially a "purist") thought of it. As someone who's been labeled a "purist" (and damn proud of it I might add!!), I enjoy Corey's CD a lot. He does a lot of acoustic blues - it's kind of like a pre-war blues CD without the background hiss from the old 78 sources of pre-war recordings. Art Schuna ========================================================================= Date: Wed, 1 May 1996 13:17:50 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Re: Corey Harris CD In-Reply-To: Message of Wed, 1 May 1996 18:15:22 GMT from On Wed, 1 May 1996 18:15:22 GMT Art Schuna said: >In article <31863879.725B@math.msu.edu>, higdon@MATH.MSU.EDU says... >> >>I read about Corey Harris in the latest copy of Living Blues magazine. >>Was thinking about picking up his CD. I would be interested in what >>anyone (especially a "purist") thought of it. > >As someone who's been labeled a "purist" (and damn proud of it I might >add!!), I enjoy Corey's CD a lot. He does a lot of acoustic blues - >it's kind of like a pre-war blues CD without the background hiss from >the old 78 sources of pre-war recordings. I'm no purist: I was very excited about the Corey Harris CD (as some of you may recall), but I did not really care for it, my wife didn't like and my friends didn't like it. So I traded it in. I listen to a lot of Son House, Muddy, Lightin', Fred McDowell.....etc. When I want to hear that type of blues, I choose the masters. THAT IS NO REFLECTION ON COREY HARRIS AND HIS ENORMOUS TALENT, just a reflection on my taste/prefernce LW 'if you call me a purist, I'm gonna tell you how good Robben Ford is !!' ========================================================================= Date: Wed, 1 May 1996 13:28:24 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Depression era slide question I was reading an ad in a magazine about slides. They mentioned the medicine bottle slide and said it was the type of medicine bottle used for slide during the depression. I thought the bottle neck was the one used during that time and the medicine bottle came later.... I'm just wonderin' if the medicine bottle slide was really that popular amongst the depression era slide players.....? LW ========================================================================= Date: Wed, 1 May 1996 13:51:21 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 05/02 B O R N : 05/02 ALEXANDER, VAN Born:1915 NEW YORK, NY Career: PIANO / ARRANGER / COMPOSER / LEADER Style:BIG BAND With:Si Zentner / Ted Nash / Shelly Manne / Irv Cottler / "Butch" Stone / Ray Barr / Neal Hefti / Alvin Stoller / Slam" Stewart / Charlie Shavers / Don Lamond / Arnold Fishkind / Bill Schallen / Dick Raymond / David Allen / Phyllis Kenny / arranged for Chick Webb / Benny Goodman / Paul Whiteman CARTER, VIVIAN JAMES (VIV) Born:1935 SPRINGVALE, VIC, AUSTRALIA Career:DRUMMER / WASHBOARD Style:JAZZ To England, 1955 / Trevor Williams's band 1955 / Ken Colyer 1955 / Mike Peters 1955 / Cy Laurie 1956 / Acker Bilk 1957-58 / Bob Cort / To Germany with Pete Deuchar JB / Colin Sims / Llew Hird / Mickey Ashman / returned to Melbourne 1964 / to Sydney 1965 / Geoff Bull / Chris Williaras JB / Unity Hall JB / Neil Steeper / Eclipse Alley Five 1970 / San Francisco JB 1979 CROSBY, BING ( HARRY LILLIS ) Born:1901 TACOMA,WA Career:SINGER /ACTOR / TV Style:POP / BIG BAND With:PAUL WHITEMAN CRUSTO, MANUEL Born:1918 NEW ORLEANS, LA Career:CLARINET / TENOR SAX / ALTO SAX / TRUMPET Style:TRAD / JAZZ HOLMES, GROOVE ( RICHARD ARNOLD ) Born:1931 CAMDEN, NY Career:ORGAN Style:BLUES / JAZZ With:LES McCANN / BEN WEBSTER / GENE AMMONS / GERALD WILSON / HOUSTON PEARSON KNOX, EMILE Born:1902 NEW ORLEANS, LA Career:BASS DRUMMER Style:TRAD / JAZZ LASTIE, BETTY ANN Born:1941 NEW ORLEANS, LA Career:PIANO Style:BLUES MYERS, BOB Born:1925 BYHALIA, MS Career:GUITAR Style:BLUES SMITH, WILLIAM O. Born:1917 BARTOW, GA Career:GUITAR Style:BLUES / JAZZ With:COLEMAN HAWKINS SMYTHE, PAT Born:1923 EDNBURGH, UK Career:PIANO / ARRANGER / COMPOSER Style:JAZZ With:DIZZY REECE / JOE HARRIOTT / SHAKE KEANE / BOBBY ORR / KENNY WHEELER / JOHN McLAUGHLIN WILCOX SPIEGLE ( NEWELL WILCOX ) Born:1903 SHERBURNE, NY Career:TROMBONE Style:JAZZ With:CALIFORNIA RAMBLERS / JEAN GOLDKETTE / JOE VENUTI Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us The Following were Recorded on this Date in the Years: ========================================================================= Date: Wed, 1 May 1996 13:26:13 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0131 From: "DUTTWEILER.J" Subject: Corey Harris CD Comments: To: higdon@MATH.MSU.EDU Date: Wednesday, 1 May 1996 8:36am ET To: Internet, GO-MAIN.HIGDON1@DOASMAIN.SNADS From: DUTTWEILER.J@GOMAIL Subject: Corey Harris CD Bill Higdon wrote: > I read about Corey Harris in the latest copy of Living Blues magazine. > Was thinking about picking up his CD. I would be interested in what > anyone (especially a "purist") thought of it. I think Harris' CD is great, much better than the review which appeared in either LB or BR (sorry, can't remember which). A full review of this CD (by myself, in fact) can be found at NY CD Blues on the Alligator page (http://www.panix.com/~bsco/ follow the link to the Alligator page). Harris' music is genuine (avoiding the word "authentic"). If you like acoustic Delta blues, you will definitely appreciate Corey Harris. JD ========================================================================= Date: Wed, 1 May 1996 13:39:27 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: B&R..Albert King Question There is an article on Albert King's recorded output in the current Blues & Ryhthm, the writer (I forget his name Mr. Briggs) said that the live version of "I'll Play The Blues For You" was unintentionally funny. He may have even mentioned the word "embarassingly" (sp)..He was talking about the version on "Blues At Sunrise" (I'm pretty sure that's the version he was talking about) Am I missing something, I don't recall anything funny about AK's little rap during this version at all. It's my wife's favorite tune and of course in her mind Albert King can do no wrong. Did I misread the article, it wouldn't be the first time..... LW 'very good article btw' ========================================================================= Date: Wed, 1 May 1996 14:49:15 -0400 Reply-To: BaKa_RaGs From: BaKa_RaGs Subject: Re: Hooker Wanted Comments: To: bengans@mail.RIKSMEDIA.SE In-Reply-To: from "bengans" at May 1, 96 12:55:07 pm I think JLH's 2 CD compliation of LIVE recording @ Bates College I believe, is FANTASTIC....Its on TOMATO RECORDS and is called ALONE. +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | Laissez les bon temps roulez!! | | // ~~ ~~ \\ | Let the good times roll!! | | /d-(+)-(+)-b\ | ------------------------------ | | // L \\ | SANJAY 'RAGS' RAJAN | | // //|\\ \\ | sanjay_rajan@formtek.com | | ////`~-~'\\\\ | FORMTEK,INC. | | // //|||\\ \\ | PITTSBURGH, PA | | // /|||\ \\ | ------------------------------ | | -/-- /\o/\ --\- | Visualize Whirled Peas!! | | /"\ | | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Wed, 1 May 1996 15:16:26 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: CD/book on blues history >In a message dated 96-05-01 11:55:15 EDT, zogott@IS2.NYU.EDU (Jennifer A. >Zogott) writes: > >>Someone told me today that they recently read about either a book >>or CD on the topic of 19th century precursors of the blues. He said >>that he most likely saw it in a review in either the Village Voice >>or the New York Times within the past week. Does this ring any bells >>with anyone? I realize it's a bit vague. >> >> > >This has to be a reference to the Yazoo 3 CD-Set BEFORE THE BLUES. The >NYTimes did a short not very informative review of the set a Sunday or two >ago. > >Sometime in the last month, I posted complete discographical information to >these sets (there are 69 songs and almost no discographical information is in >the booklets). There has a been a little discussion of the series in this >list and in the Old Time Country Music list. > >Tom Freeland I agree with Tom's deduction, but will use the reference to a book to recommend Paul Oliver's wonderful 'Songsters and Saints' (Cambridge UP), which deals with precursors of the blues, other styles of black folk music with religious music (other than quartet and choral) and sermons, as heard on records up to 1943. Chris Smith (chris@skerries.demon.co.uk) Be nice to your children; they'll choose your nursing home. ========================================================================= Date: Wed, 1 May 1996 15:16:48 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Fakin' It -- Rev. Gary Davis >Back in the 60s, I went to a few of Rev. Davis' gigs. Occasionally, he'd >play a number about courting his girl on her parents' porch. As he told >the story, if they heard him playing his guitar, they'd assume that the >courting couple were behaving themselves. Then the Rev. Davis demonstrated >how the couple fooled her parents. He'd mimic putting his right >arm around his girl while he continued to play a raggy instrumental by >hammering on and pulling off with his left hand. Even though he was >playing an acoustic, he got enough volume out of his J-200 to make >believers of the audience. > >At least I *think* it was the Rev. Davis. 30 year old memories aren't >terribly reliable. It might have been John Hurt (if so, I'd appreciate DW >setting me straight). > >BP Boulder, CO It was indeed the Rev. The tune's on a couple of LPs, with snappy titles like 'The Boy Was Kissing The Girl (And Playing The Guitar At The Same Time)'. That's called 'preserving the element of surprise', I believe ;-) Chris Smith (chris@skerries.demon.co.uk) Be nice to your children; they'll choose your nursing home. ========================================================================= Date: Wed, 1 May 1996 15:18:29 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Living Blues Staff Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com Does anyone on the list work for Living Blues? I don't mean just writing for the magazine, but actually working on the staff. If so, can you please contact me? Thanks, Steve Levine ========================================================================= Date: Wed, 1 May 1996 14:26:23 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Re: Corey Harris CD > In article <31863879.725B@math.msu.edu>, higdon@MATH.MSU.EDU says... > > > >I read about Corey Harris in the latest copy of Living Blues magazine. > >Was thinking about picking up his CD. I would be interested in what > >anyone (especially a "purist") thought of it. > In my opinion, there is no reason to give it more than one listen to that album. Nothing new, original, or exciting on it. He might be good "on the bench" but he is certainly emotionless on this album. I expected much more from it. However, the real issue here is no Corey Harris, but rather almost all latest releases by Alligator. I listen to most of them once, think "this is all right" and really never again have desire to go back to those albums again. For more exciting blues music I look for other labels and albums. Ranko ========================================================================= Date: Wed, 1 May 1996 14:36:55 -0500 Reply-To: cecalhoun@SIOUX.SODAK.NET From: C E Calhoun Subject: Re: And a good one to you too . . . Comments: To: Jinxblues@AOL.COM In-Reply-To: <960501113001_284813173@emout19.mail.aol.com> it will be interesting to compare comments from the n. o. folks who see van morrison either friday or sat. and the memphis beale streeters who see him sunday nite. for those of you going to n. o., i understand than van will have two of the marsaills family, dr. john, levon helm and others in his ensamble in n. o. his first show in nyc at the supper club this week was given very mixed reviews by vanatics who saw it. apparently van was at his dr. jeckle, mr. hyde best during the show. however, for those of you that have never seen him live, you are in for a treat because this boy can play the blues! ========================================================================= Date: Wed, 1 May 1996 15:58:21 -0400 Reply-To: BaKa_RaGs From: BaKa_RaGs Subject: Corey Harris CD I say GO GET THE CD....if U dig ACOUSTIC BLUES.... Corey Harris...takes us back in time to Pre-War era Blues... I love it... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | Laissez les bon temps roulez!! | | // ~~ ~~ \\ | Let the good times roll!! | | /d-(+)-(+)-b\ | ------------------------------ | | // L \\ | SANJAY 'RAGS' RAJAN | | // //|\\ \\ | sanjay_rajan@formtek.com | | ////`~-~'\\\\ | FORMTEK,INC. | | // //|||\\ \\ | PITTSBURGH, PA | | // /|||\ \\ | ------------------------------ | | -/-- /\o/\ --\- | Visualize Whirled Peas!! | | /"\ | | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Wed, 1 May 1996 15:12:24 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: WHY BLUES????? :) > I've been talking to a friend about music and so on.When it came the time > to speak about Blues, he explained me that he couldn't understand how can > I enjoy so much the Blues, as almost all the songs are the SAME, the chord > progressions are almost allways I-IV-V, the squeleton is the same, and it's > almost impossible (at least for him) distinguish between two songs... That's also what I hate about Shakespeare's sonnets. Just 14 lines, always with the same rhyme scheme. Even worse -- haiku! How can anyone possibly like poems which all have the same number of syllables in each of just three lines? Your friend clearly doesn't understand that one of the great tests of creativity is the abiity to be original within the constraints of a disciplined art form. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Wed, 1 May 1996 15:28:03 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Depression era slide question Comments: To: L W In-Reply-To: On Wed, 1 May 1996, L W wrote: > I was reading an ad in a magazine about slides. They mentioned the medicine > bottle slide and said it was the type of medicine bottle used for slide > during the depression. I thought the bottle neck was the one used during that > time and the medicine bottle came later.... > > I'm just wonderin' if the medicine bottle slide was really that popular > amongst the depression era slide players.....? > > LW > I think the real innovation, LW, the one that made the biggest difference in the delta sound was the advent of strings. The earlier guitars were extremely limited in their tonal quality, particularly with slide playing, which had a ratchety sound, until strings were used. Robert Johnson immitated the first delta musicians to put strings on guitars, and he inspired a whole group of youger musicians with the popularity of his recordings. Slide guitar playing really took off after that, although there are some "purists" who prefer only the pre-string style of playing. Steve ========================================================================= Date: Wed, 1 May 1996 15:32:20 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Re: Depression era slide question In-Reply-To: Message of Wed, 1 May 1996 15:28:03 -0500 from On Wed, 1 May 1996 15:28:03 -0500 Steve Price said: >> >his recordings. Slide guitar playing really took off after that, >although there are some "purists" who prefer only the pre-string style of >playing. Most of those pre-string purists are percussionists :-) (sp) LW ========================================================================= Date: Wed, 1 May 1996 16:40:14 -0400 Reply-To: SOO3713@ALPHA.CC.OBERLIN.EDU From: Owen Okie Subject: while were on the JHL theme... I'm wondering if anyone knows the name of the Hooker album that has Buddy Guy on it? Also, I'm curious as to what other think of the Hooker and Heat album... Owen ========================================================================= Date: Wed, 1 May 1996 16:33:28 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Corey Harris CD Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I think it's a great debut album (how many 26 year old solo acoustic blues artists are recording with major blues labels?), but I prefer seeing him live. -Steve ========================================================================= Date: Wed, 1 May 1996 16:51:14 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Corey Harris CD Comments: To: Ranko Vujosevic In-Reply-To: <199605011926.OAA16436@monet.ccad.uiowa.edu> On Wed, 1 May 1996, Ranko Vujosevic wrote: > However, the real issue here is no Corey Harris, but rather almost all > latest releases by Alligator. I listen to most of them once, think "this is all right" > and really never again have desire to go back to those albums again. > For more exciting blues music I look for other labels and albums. Ranko, None of these are second plays for you? Long John Hunter - Border Town Legend Cephas & Wiggins - Cool Down Billy Boy Arnold - Eldorado Cadillac Luther Allison - Blue Streak Barry For me it was the Allison. NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Wed, 1 May 1996 16:12:00 -0400 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM From: "J.E. Downey" Subject: Re[2]: BUDDY GUY TOUR PRICES LW declaimed: >65 dollars to see Buddy Guy......NO WAY. I wouldn't pay 65.00 bucks a head >to see anybody....ANYBODY To which the undersigned, in reply, wonders: Although if we could somehow bring back Muddy for one final magnificent show, I suppose you might make an exception? BLUE JOE IN RED RUSSIA (listened with great pleasure indeed to "Sings Bill Broonzy" today). J.E._Downey@bakermck.com ========================================================================= Date: Wed, 1 May 1996 16:01:50 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Re: Re[2]: BUDDY GUY TOUR PRICES In-Reply-To: Message of Wed, 1 May 1996 16:12:00 -0400 from On Wed, 1 May 1996 16:12:00 -0400 J.E. Downey said: >LW declaimed: > >>65 dollars to see Buddy Guy......NO WAY. I wouldn't pay 65.00 bucks a head >>to see anybody....ANYBODY > >To which the undersigned, in reply, wonders: > >Although if we could somehow >bring back Muddy for one final magnificent show, I suppose you might >make an exception? My wife asked the same damn question, to which I firmly replied...NO WAY WOULD I PAY 65 bucks to see him (not even 50 bucks) Anyway if Muddy came back he would stop by my house..:-) LW ========================================================================= Date: Wed, 1 May 1996 15:59:16 -0700 Reply-To: Kelly Hoggard From: Kelly Hoggard Organization: The Wolfpack Subject: Re: eRIC's BLUES DATES: April 30 Comments: To: "DUTTWEILER.J" DUTTWEILER.J wrote: > > Date: Monday, 29 April 1996 10:48am ET > To: Internet > From: DUTTWEILER.J@GOMAIL > Subject: eRIC's BLUES DATES: April 30 > In-Reply-To: The letter of Monday, 29 April 1996 10:39am ET > > Seeing as how tomorrow is Jimmy Lee (Lonesome) Robinson's birthday (not to > mention the day THE MAN died, Mr. Muddy Waters, at FAR to young an age But > I'm sure more will be mentioned on that later), I thought I might query the > list as to information about this artist, of whom I know nothing. > > I ask because over the weekend I picked up the American Folk Blues Festival > 1965 which has one track by him and couldn't find anything about him in the > books I own. Anyone out there know anything about him? > Jimmy Lee Robinson has an album on Delmark (Jimmy Lee Robinson and the Ice Cream Men) that features 91.5 FM - WFMT's classic blues show from Chicago, 'Blues Before Sunrise' host Steve Cushing on drums and my good friend Rockin' Johnny Burgen on guitar. Rockin' Johnny currently plays with Sam Lay and played with Taildragger when the Boston Blackie incident occurred. -- kelly@netusa1.net(Kelly Hoggard) The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! Check out their home page at http://www.netusa1.net/~kelly/ ========================================================================= Date: Wed, 1 May 1996 17:09:33 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: EC's blues playing: Before v. after CREAM Here's a little nugget for you to ruminate on and maybe reply to. The answers are completely subjective and by definition "opinion", so it's practically flame-free. :) I'm among the zellers out there who thinks that Clapton is a fine blues player, regardless of the merits (or not) of the Cradle album. I was just listening to the Bluesbreakers (Beano) album and it occurred to me that I really like his earlier blues more than any of the stuff post-Cream and up to the Cradle album. Now I realize why. I really, really like the stuff played on his Les Pauls and ES-335s. Lots of folks forget that despite his trademark black Strat, that he earned his chops and did a lot of his "sheddin'" on Gibsons. That sound pretty much went away after Cream. He's played Strats ever since, now about 25 years, and then all of a sudden, on Cradle and the tours, back to a rack of different Gibson models like Imelda Marcos had shoes! Now mind you, there's some great stuff out there that he's done on old Blackie, but to my ears, his best blues, and I emphasize BLUES was done on those big chunky Gibsons. And I don't think it's just the darker tone, I think he actually PLAYS them differently. The Strat work seems to be much more pin-point almost finesse playing, and the Gibson stuff is much more raw, meatier and emotional sounding. Not the vocals, I'm strictly speaking about guitar work. Listen to the Beano album, and then listen to some of the blues material off of say, the 24 Nights album, which was all Strat stuff I think, and then maybe throw in Cradle as an experimental "control" for age and style changes. Do you hear it? He plays differently on the two different guitar styles, more than just a pure tone thing. Or is it just me? ;) Riffin Rick (mind you, I've got both those guitars in MY tool box, so I'm fairly objective) F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 1 May 1996 08:10:04 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Bluesquiz II Comments: To: bit-listserv-blues-l@uunet.uu.net "David L. Prychitko" wrote: > >On Tue, 30 Apr 1996, Eliot Williams wrote: > >> > From: marc borms >> > Which bluesartist likes walking through the crowd or leaves the stage >> > while singing/playing.... > >Eddy Clearwater does it, too. Also, though I never saw him, I understand >that Taildragger crawled all over the place... > Taildragger still does, when it gets good to him. First time I saw him was at the Chicago Blues Fest about 10 years ago, and he came down off the Front Porch stage and crawled in the wet grass and mud for a while while singing...it was wild; he's a skinny bald headed guy, and he was writhing and squirming and looked like some kind of serpent. He's also stuck the mic down the front of his pants and had it dangle out of his open zipper... Scott ========================================================================= Date: Wed, 1 May 1996 08:16:00 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Real Deal video report card Buddy Guy B not real enthused at first. Picked up later. Band A Great Production C- too many fadeouts to street scenes having nothing to do with anything. Bad photography, bad camera placement. Interview segments interupted the show. Many shots missed in favor of lesser shots, ie showing BG doing nothing while Johnnie Johnson solos. Sound B BG had big time sound problems with his black signature strat. Otherwise great sound. Material A Left out "Ain't That Lovin you Baby" from CD, which didn't really fit Buddy's style. It was worth the $12.95 I paid for it at CDNow. But having seen him as often as I have it's not as good as my mind's eye imagination while just listening to the CD. RJ Bauman "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Wed, 1 May 1996 18:45:02 -0400 Reply-To: USBLUE5@AOL.COM From: "Gordon, Rich" Subject: Re: Bluesquiz II Comments: To: Steve.Levine@corp.wrgrace.com James Peterson definitely loves to get into the audience/crowd. He makes them part of the show. Rich Gordon ========================================================================= Date: Wed, 1 May 1996 18:45:04 -0400 Reply-To: USBLUE5@AOL.COM From: "Gordon, Rich" Subject: Re: Bluesquiz II Comments: To: bmpech@mscd.edu I saw Lucky Peterson and Kenny Neal, backed by the Silent Partners at Theodore's in Janesville, WI. They went together out into the parking lot and around the building. They sang the last verse thru Kenny's telecaster at the bar. Rich Gordon ========================================================================= Date: Wed, 1 May 1996 18:45:04 -0400 Reply-To: USBLUE5@AOL.COM From: "Gordon, Rich" Subject: Re: No Subject Comments: To: akapil@medicine.bsd.uchicago.edu I saw Buddy go out on to Wabash in the pouring rain. I think he would have stayed in the street longer, but he roadie keep yelling at him about the electricity thing. Rich Gordon ========================================================================= Date: Wed, 1 May 1996 22:46:56 GMT Reply-To: Mark Rader Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Mark Rader Organization: Communications Accessibles Montreal, Quebec Canada Subject: Re: Blues Records Comments: To: MMNG1%STUDENT.BITNET@BROWNVM.brown.edu I,m not sure this will go to you, as i,m not sure how this "posting" works. i don't know if this is going just to you or the newsgroup. (i'm new). i am directing this to you, mary. i would be interested in some of your culls. if you want to give me a list and description of condition please do so. i am Mark Rader - e-mail rader@cam.org mail: Mark Rader 204 l'hopital apt. 503 Montreal, Quebec, canada H2Y-1V8 hope to hear from you ========================================================================= Date: Wed, 1 May 1996 19:00:27 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: If Muddy Came Back . . . . . Comments: To: ISTS024@uabdpo.dpo.uab.edu In a message dated 96-05-01 18:09:09 EDT, ISTS024@UABDPO.DPO.UAB.EDU (L W) writes: > >Anyway if Muddy came back he would stop by my house..:-) > > > No, if Muddy came back, he would stop by HIS house . . . and find out that it was gone! Dick Waterman ========================================================================= Date: Wed, 1 May 1996 15:10:41 -0500 Reply-To: David Melton From: David Melton Subject: Re: EC's blues playing: Before v. after CREAM Comments: To: MILLER@SCI.WFBR.EDU At 5:09 PM 5/1/96, "" wrote: >Now mind you, there's some great stuff out there that he's done on old Blackie, >but to my ears, his best blues, and I emphasize BLUES was done on those big >chunky Gibsons. And I don't think it's just the darker tone, I think he >actually PLAYS them differently. The Strat work seems to be much more >pin-point >almost finesse playing, and the Gibson stuff is much more raw, meatier and >emotional sounding. Not the vocals, I'm strictly speaking about guitar work. > >Listen to the Beano album, and then listen to some of the blues material >off of say, the 24 Nights album, which was all Strat stuff I think, and then >maybe throw in Cradle as an experimental "control" for age and style changes. > >Do you hear it? He plays differently on the two different guitar styles, more >than just a pure tone thing. Or is it just me? ;) > >Riffin Rick > >(mind you, I've got both those guitars in MY tool box, so I'm fairly objective) >=============================================================================== I agree, my favorite Eric Clapton by far is his work with John Mayall, with that unbelievable tone on the Les Paul. I think for me that's his deepest stuff as far as straight ahead blues is concerned. The live album entitled "EC Was Here" to me was his last work that really resembled is older style. '75? However, the solo on the Derek and the Dominoes (l970?) studio rendition of "Have You Ever Loved a Woman" is really screamin'. He really had the fire on that record, and he played all Strat. To me that was the end of his very best playing and he has never quite equaled it since, IMHO, of course. Dave Melton ========================================================================= Date: Wed, 1 May 1996 14:59:26 -0400 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Suffering from blues envy! (or something like that :-) Comments: To: bit-listserv-blues-l@uunet.uu.net I REALLY wish that I could join all of you lucky zellers who are going to Memphis this weekend. I hope that you have a fabulous time! Will my zeller pals PROMISE to tell me every detail??? I'll see ya in St. Louis...! Lea Gilmore Baltimore, MD "Wild Women Don't Have the Blues" ========================================================================= Date: Wed, 1 May 1996 17:35:53 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: WHY BLUES????? :) Ian Angus wrote: >Your friend clearly doesn't understand that one of the great tests >of creativity is the abiity to be original within the constraints of >a disciplined art form. Sort of reminds me of story about blues master guitarist Yngwie Malmsteen. He moved onto "more advanced" musical studies because, by the time he was 15 (I think) he had exhausted all the harmonic possibilities of the blues. We all must be way behind him in our musical intellect. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Wed, 1 May 1996 20:33:27 -0400 Reply-To: PHWoolfman@AOL.COM From: Pete Wulforst Subject: Re: EC's blues playing: Before v. after CREAM Comments: To: MILLER@sci.wfbr.edu It's not just you; way back in the late 60's, I can remember having a conversation with Gil Reinhart, another guitarist on the subject of Clapton's Blues Breakers stuff vs Cream. The playing on the "Beano" album was dark and savage; he sounded like a man possessed. Absolutely nothing he has played since then even comes close; he is truly spooky on that Mayall album. Although, I do have to add that I am maybe one of the only people in the world who thought that "Fresh Cream" was the masterpiece of the Cream era. Again, a very dark album, and Clapton's tone is as fat and juicy as any I've heard. And I certainl had never heard anything like Rollin' and Tumblin'!! And, even thought I am a Strat fan, I never thought EC sounded as good on a Fender. As a matter of fact, I recently heard the remixed "big name" concert from the 70s with Winwood, Townshend etc, (somebody help me, I can't remember the name) and thought his playing and tone sounded positively anemic. Pete Wulforst ========================================================================= Date: Wed, 1 May 1996 21:09:22 -0400 Reply-To: Neil Cassidy From: Neil Cassidy Subject: acoustic blues fest If anyone out there is within a drive of Columbus,OH this Sat (5/4) you should check out The 3rd annual Traditional Bluesfest presented by the Columbus Blues Alliance. Here's the linup: 1:30-2:30 harp workshop with Annie Raines guitar workshop with Paul Rishell 3-4 Biersdorf & Kolbe 4:15-5:15 Libby Rae Watson 5:30-6:30 Robert Jones 6:30-7:30 dinner break 7:30-8:30 Mudcat and Kane 8:45-9:45 Paul Rishell & Little Annie Raines 10-11 Steve James Tickets are $15. The show is atThe Columbus Marriot North located at 6500 Doubletree Av. Call (614) 459-5849 for info. ========================================================================= Date: Tue, 30 Apr 1996 23:53:34 GMT Reply-To: Jack Oudiz From: Jack Oudiz Organization: Midtown Computer Services Subject: Re: Corey Harris CD Comments: To: bit-listserv-blues-l@uunet.uu.net Forget the Alligator comment (though I agree for many releases), this Corey Harris album is SUPERB!! It's everything John Hammond (who I dearly respect) should be and more. This from a guy in his 20's is really hard to believe. What a future! I guarantee you, you have not heard blues like this from a living acoustic bluesman in at least 20 years. The feeling alone is overwhelming let alone the skill and beauty of the playing. Don't putz around, GET IT and then thamk me.8^) Jack Oudiz "I asked my baby if she could stand to see me cry, She said doggone you I could stand to see you die!" ========================================================================= Date: Wed, 1 May 1996 19:01:22 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Jimmie Rodgers/Django Reinhardt Hi all! Just picked up my first Jimmie Rodgers (the blue yodeller) c.d., and it's really bringing me back to my musical roots... the first tape I ever owned was called 'Train Songs', one side by Hank Snow, the other by Jimmie Rodgers. I was about 8 years old and got it as a gift, listened to it until it got eaten up by my little cassette player, and since then I don't believe I've heard a single Jimmie Rodgers song (and I still remembered most of the words to 'Ben Dewberry's Final Run!). This is a fantastic album ('First Sessions 1927 - 1928' on Rounder), and the blues influence is plain to hear - his 'Blue Yodels' are amazing; he could do some amazing things with his voice. So now I know what made me get into the blues - the subliminal influence of Jimmy Rodgers from 15 years ago! On another non-blues note, while I'm at it, I also picked up Django Reinhardt in Brussels, a set of songs recorded in 1942, released on Verve. This is the first exposure I've had to Django, and his guitar playing just makes my jaw drop in amazement. And listening to this album is like stepping into a time machine - the crackles and hiss, the swing style of the band... listening to this makes me feel like I'm in a black and white movie :-). Good stuff! -Jim (hndful@uniserve.com) (By the way, Ranko, just to even things out, I also got Miles Davis' Birth of the Cool, and Otis Redding Sings Soul Ballads... :-) ) ========================================================================= Date: Wed, 1 May 1996 19:41:37 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Preachin' The Blues I think that part of the territory that comes with being a die-hard blues fan is that you have a tendancy to try and convert people. Well, at least I do. In a nice way. Not too often. When I can. Kitten, a friend and vocalist that I work with) has a great voice and while being a big Janis Joplin fan, she hasn't heard too much blues. So the other night I went to her place armed with Magic Sam's "West Side Soul." First cut I played was "That's All I Need." She liked it but wasn't overly excited. However, I had another song up my sleeve. I put on "My Love Will Never Die" and stood back. When the song was finished she just sat there in silence for about a minute. She could hardly say a thing. The power of the performance had totally moved her. Last night, a friend of mine dropped by before rehearsal. Red plays bass in the same band I'm in and studies film-composing. Over beers before we had talked about the blues he admitted that he didn't really like the blues. So as I was running around my apartment trying to find all that I needed before I left, I said "Listen to this" and put on Son House. I nearly fell on the floor when he asked, "Who is this? This is great!" Son House was the last thing I thought Red would like. But he loved it. It's great to play Magic Sam and Son House to people who have had a limited exposure to the blues and have them get into it. A little bit of preachin' doesn't hurt every now and again. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Wed, 1 May 1996 19:41:42 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: EC's blues playing: Before v. after CREAM Comments: cc: slydemann@EARTHLINK.NET Dave Melton wrote (Welcome back, Dave!) >However, the solo on the Derek and the Dominoes (l970?) studio rendition of >"Have You Ever Loved a Woman" is really screamin'. He really had the fire >on that record, and he played all Strat. To me that was the end of his >very best playing and he has never quite equaled it since, IMHO, of course. The "Layla" album, IMHO, ranks with the "Beano" album as Clapton's best work. While Clapton had a great tone and played with passion when playing with the Bluesbreakers and Cream, the tone and passion were still evident on "Layla." What happened after though? Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Wed, 1 May 1996 19:51:32 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Suffering from blues envy! (or something like that :-) Lea Gilmore wrote: >I REALLY wish that I could join all of you lucky zellers who are going to >Memphis this weekend. I hope that you have a fabulous time! Will my >zeller pals PROMISE to tell me every detail??? I echo Lea's sentiments. And if *any* of you bluezellers in Memphis try to behave yourselves I will be very disappointed. Please post the stories revealing the guilty parties upon return:-) Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Thu, 2 May 1996 01:55:36 GMT Reply-To: CKUT_online@babylon.montreal.qc.ca From: CKUT online Organization: Babylon, Montreal, Canada Subject: Re: Bluesquiz II Comments: To: USBLUE5@aol.com If you check the cover of the latest (posthumous) release by Albert Collins you'll notice a very long lead cord piled up on top of the amp. Albert always did a walk-thru in his show. During Blues '92 Buddy Guy shared the stage with A.C. and they ended up together in the lobby of the theatre. Buddy, using a wireless, was able to continue into the street, while A.C. was restricted by his lead cord. John Detcheverry ========================================================================= Date: Thu, 2 May 1996 12:50:24 -1000 Reply-To: Andrew Gregg From: Andrew Gregg Subject: Skip James rediscovery material Greetings, I'm wondering what other output Skip James may have put out other than the two Vanguard releases I have ('Today' and 'Devil got my Woman')?? Anyone know what else (other than the awesome pre-war material, which I have) is available by this incredible talent??? ********************************************************************** * Andrew Gregg * * * Dept of Primary * I see angels on Ariels * * Industry * in leather & chrome * * ooOO00OOoo * Swooping down from heaven * * Email : * to carry me home * * mpagregg@aries.dpi.tas.gov.au * * * * - Richard Thompson * ********************************************************************** ========================================================================= Date: Wed, 1 May 1996 21:06:01 +0000 Reply-To: ksailors@hooked.net Comments: Authenticated sender is From: "Kenneth M. Sailors" Subject: Re: EC's blues playing: Before v. after CREAM On Wed, 1 May 1996 MILLER@SCI.WFBR.EDU> wrote: [...] > > to my ears, his best blues, and I emphasize BLUES was done on > >those big chunky Gibsons. [...] The Strat work seems to be much more pin-point > >almost finesse playing, and the Gibson stuff is much more raw, meatier and > >emotional sounding. Yeah, like the lame, uninspired playing on Layla (the album). Totally lacking in fire, imagination or feeling. Besides, it was all Duane, right? Ok, it's a joke. It's a joke. I agree that EC's playing on "Beano" & "Fresh Cream" sound like a man still trying to measure up (in HIS mind) SO much fire in his playing then. He seems so...clinical...now, though more skilled overall. Technique...or feeling? You be the judge.. /))((\ -(.)(.)- | | | \/ | Eugie!Baange ///\\\ "I'm just naturally crazy, baby!" \__/ ========================================================================= Date: Wed, 1 May 1996 21:07:59 +0000 Reply-To: ksailors@hooked.net Comments: Authenticated sender is From: "Kenneth M. Sailors" Subject: Re: EC's blues playing: Before v. after CREAM On May 1, 1996 Pete Wulforst said: > As a matter of fact, I recently heard the remixed "big name" concert from the > 70s with Winwood, Townshend etc, (somebody help me, I can't remember the > name) and thought his playing and tone sounded positively anemic. That would be "The Rainbow Concert"? /))((\ -(.)(.)- | | | \/ | Eugie!Baange ///\\\ "I'm just naturally crazy, baby!" \__/ ========================================================================= Date: Thu, 2 May 1996 00:07:52 -0400 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Roy Rogers News For we unfortunate ones who don't find ourselves somewhere between New Orleans and Memphis this week, I've got a few updates re: Roy Rogers and his new web site. Roy just completed a hugely successful tour of France in April, and after two days in Copenhagen, will be back home for a few weeks before setting out on his U.S. tour. If you're on America Online, you can chat with Roy on Thursday, May 16, starting at about 11 p.m. Eastern Time (8 p.m. Pacific) at Center Stage. (There might be another chat elsewhere sometime in mid-June.) I'm also working with his folks to get all you qualified radio hosts copies of his latest -- "Rhythm & Groove" -- and any previous releases you may need. BUT PLEASE, don't call me! I'll call you! And now, at both America Online and his web site, you can enter a contest to win some great stuff -- including an autographed Gibson Epiphone Blues Master Guitar. The contest runs through June. Thanks to all of you who have come by in the past week. Do it again! It's at: http://www.vivanet.com/~blues/roy/rogers.html *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Wed, 1 May 1996 23:57:05 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: Re: BUDDY GUY TOUR PRICES > From: L W > > 65 dollars to see Buddy Guy......NO WAY. I wouldn't pay 65.00 bucks > a head to > see anybody....ANYBODY "25 cents? 25 cents? I wouldn't pay 25 cents to go in nowhere!"--Bessie Smith, from "Gimme a Pigfoot", 1933. Don O. ========================================================================= Date: Wed, 1 May 1996 21:47:25 -0800 Reply-To: Jordan From: Jordan Subject: May 1996 Bay Area Blues Beat Hi Everyone, Here's the latest column of my BABB, which is written for the Long Beach (CA) based publication, Southland Blues. If you want, check out my BABB Archive web site, (URL at bottom of this page.) Take care and see you next month. Regards from San Francisco, Joseph ******************************************************************* For inclusion in the May 1996 issue of Southland Blues Bay Area Blues Beat by Joseph Jordan SAN FRANCISCO: First off, a quick note to Big Bill Clarke from your many Bay Area fans and friends. Get well soon! Thank our lucky blues stars you got a yellow light on behind and not a red one. The following Beat was inadvertently cropped in my April column, so SB is kindly running it again in full. PROCLAMATION OF NOTE: File this Beat under, "Sometimes Politicians Get It Right" department. The City of Oakland, in its wisdom, and to its credit, has proclaimed that each February 25th, from now on, will be "Brownie McGhee Day." The late, much beloved musician/story-teller/social activist had lived in Oakland for decades in the residence he enjoyed calling, "the house that blues built." Brownie's B.I.T. Foundation # is: 510-797-0654. BAY AREA BLUES BEAT VENUE OF THE MONTH: The 4th Street Tavern, San Rafael. Club owner and friend of the blues, John Radovich has recently switched his booking strategy to a seven day a week, "all-blues, all the time" policy. This gives Marin County it's first all-blues club in at least three decades, if not ever. Featured artists have included Shuggie Otis, Chris Cain and local heroes, the Russell Brothers. Good luck, John and thanks for helping to keep blues alive. BLUES BEAT FESTIVAL TIP #1: I mentioned this last year and I still feel the same way. One of the coolest blues events on the West Coast is the Santa Cruz Blues Festival. Ink in your calendar and make your northbound trip plans so you can attend the fourth annual showcase on May 27th and 28th in the beautiful and intimate Aptos Village Park. This year's fest is dedicated to the "Mississippi Saxophone" genius of former Los Angeles treasure, George "Harmonica" Smith. Saturday will feature the bands of Dr. John, Rod Piazza & Miss Honey, Coco Montoya and Geno Delafose. On Sunday, you'll see: John Lee Hooker, Charles Brown, Angela Strehli, Elvin Bishop, The Soul Drivers, Chris Cain, Tommy Castro, Gary Smith and Candye Kane. 'Nuff said. These great musicians and many others will appear in this perfect setting that features terrific sound, green grass, a friendly staff, marvelous food and lots of beautiful people (I promise.) Call the SCBF Hotline at 408-479-9814 for more information and then get yourself up here. It truly is "The Little Festival That Could." BLUES BEAT FESTIVAL TIP #2: The weekend before will see the 16th Annual Fountain Blues Festival at San Jose State, on Saturday. May 18th from Noon until 6:30 p.m. Although I've never attended this fest, I've heard it's a sparkler and this year's line-up seems to bear that out. Long-time producer Ted Gehrke has put together a strong show by booking Johnnie ("Be Good") Johnson, Lowell Fulson, Tommy Castro, James Armstrong and Brownie McGhee prodigies, The Elmer Lee Thomas Revue. Should be a good one. Call 408-924-6261 for more info. And don't forget to ask me, 'cause I do know the way. BLUES BEAT ON THE INTERNET: Here's three more web sites for Bay Area blues related areas of interest you may wish to check out: VENUE: Great American Music Hall at: http://www.musichallsf.com LABEL: Mobile Fidelity at: http://www.mofi.com/ ARTIST: John Lee Hooker at: http://www.teleport.com/~boydroid/blues/jhooker.htm Is there is any blues-related info you want to know about in the Bay Area? Send a line to SB or e-mail me: sobluesmag@aol.com. See you next month. - End - Find my "Complete Bay Area Blues Beat Archive" at: http://www.glide.org/cny/students/joseph/default.html "Down these mean streets, a man must go." - Raymond Chandler - ========================================================================= Date: Wed, 1 May 1996 22:11:40 -0800 Reply-To: Jordan From: Jordan Organization: San Francisco Denizen Subject: Re: while were on the JHL theme... Comments: To: bit-listserv-blues-l@uunet.uu.net In article <01I4759VFYUA00B1VU@alpha.CC.OBERLIN.EDU>, SOO3713@ALPHA.CC.OBERLIN.EDU wrote: > I'm wondering if anyone knows the name of the Hooker album that has > Buddy Guy on it? > > Also, I'm curious as to what other think of the Hooker and Heat album... > > Owen I interviewed John Lee at his Redwood City, California home last June for a cover article I wrote for Blues Revue (Sept/Oct ' 95) and he told me, unsolicited, that "Hooker and Heat" was one of his favorite albums. Joseph San Francisco -- Find the complete "Bay Area Blues Beat Archive" at: http://www.glide.org/cny/student/joseph/default.html Down these mean streets, a man must go. - Raymond Chandler - ========================================================================= Date: Wed, 1 May 1996 23:19:27 -0700 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: 12 tone blues. Man do I have the blues tonight, I am trying to finish a final for my school on theory analysis. So I have to analysis some 20th sentury serial music , that truly doesn't deserved to be called music. What is up with MATH and music whoever the retard was that decided to get all vulcan on music deserves to die (I think that he is dead allready). So here I am listening to Mr. Bloomfield and dissecting some piece of shit music that I cant get a B.F.A without, and I am wondering this Anton Webern guy(the composer) ever heard a soulfull not in his life. Well I'll stop bitching now, but let it be said that music needs soul or else its some Yngwie Malmsteen, Zamfir crap. Long live the blues!! VIVA le Charley Patton. Isaac<----pretty out of it bout now, dont mind the typos ggrreamar petrol:) ========================================================================= Date: Thu, 2 May 1996 05:05:20 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Skip James rediscovery material Comments: To: Andrew Gregg In-Reply-To: <9605020300.AA03788@dpi.tas.gov.au> On Thu, 2 May 1996, Andrew Gregg wrote: > Greetings, > I'm wondering what other output Skip James may have put out other than the > two Vanguard releases I have ('Today' and 'Devil got my Woman')?? Biograph #122 Skip James - Greatest of the Delta Blues Singers As usual Biograph has done a stellar sound quality job and the material is dates December 16th,1964 - Falls Church Virginia. You can find a review at http://www.panix.com/~bsco/biograph/ There is also at least one Wolf release with Skip but I've not listened for a while and do not remember sound quality etc. I am sure tho that the Biograph is a get. If you don't mind compilations Biograph also has CD #107 Skip James, Bukka White And Blind Willie McTell - Three Shades of Blue (excellent quality as well). Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 2 May 1996 05:31:34 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1938, Ella Fitzgerald recorded one of her biggest hits, A-Tisket, A-Tasket with Chick Webb's Band. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ I find television very educational. Every time someone switches it on I go into another room and read a good book. - Groucho Marx ========================================================================= Date: Thu, 2 May 1996 07:07:34 -0400 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Memphis Weather Comments: To: bit-listserv-blues-l@uunet.uu.net In article , "R.J. Bauman" writes: >The festival site is prone to MUD. Be prepared. Does anybody know >if new sod has been laid in Tom Lee Park? > > I'm sorry to snicker at this, and I certainly do not intend to make fun of R.J., but every Spring our city spends wads to put new sod down in Tom Lee Park, only to have it destroyed by the first 50,000 or so folks who attend the first day of the music festival. It's sort of like spitting into the wind and failing to duck. Memphis in May, and I refer to the place and time rather than the month long festival, is something of a crapshoot. You may be blessed with some of the most beautiful days since the Creation, and then again you may think your name is Noah. In the worst case, it can still be a blast. This past February at the Folkie gathering in DC and surrounded by a foot of snow, I was entertained by Roy Book Binder's recollection of last year's festival, wherein he laughed about being trapped under an umbrella during a thundering downfall with a blues great. I'd bet the farm I don't own that floods and droughts have influenced a lot of the blues that we all love. You take what the gods give you, and you swim or sink. Denise ========================================================================= Date: Thu, 2 May 1996 14:43:53 UTC Reply-To: Francisco Molla Ruiz From: Francisco Molla Ruiz Organization: Universidad de Alicante Subject: Larry Garner Larry Garner is about to play in Spain (May 10th and 11th) and any specific city/venue is given yet. Could any list member tell a fax number or e-mail address for us to ask for this info? This will be the first time for Larry Garner to play in Spain and we have to be there... Thanks in advance. F. Molla. ========================================================================= Date: Thu, 2 May 1996 08:11:20 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Re: Memphis Weather In-Reply-To: Message of Thu, 2 May 1996 07:07:34 -0400 from On Thu, 2 May 1996 07:07:34 -0400 DeniseTapp said: >In article , "R.J. Bauman" > writes: > >>The festival site is prone to MUD. Be prepared. Does anybody know >if new sod has been laid in Tom Lee Park? YES but that is FUN mud. I think you were seen stomping in the mud to Koko Taylor last year...Am I right....? That was some fine mud, some of the best I ever stomped in. Memphis has some fine mud, they named an island after it. Koko in the pouring rain with people shouting/clapping stomping in the mud..YEAH However when it does rain the blues tent gets unbearable, it appears the rain converts eveyone to blues fans :-). LW 'a MUD-head' ========================================================================= Date: Thu, 2 May 1996 08:30:34 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: New York Info Needed My sister-in-law will be in NY on June 12th - 14th, she was wonering if anyone has any info on the band Cruel 13. They are supposed to be a John Campbell tribute band, with former JC guitarist, Zonder Kennedy. I never heard of them so any info & if they may be playing in the area at that time. If you know of any other acts playing in the area at that time, it would be appreciated THANKS LW ========================================================================= Date: Thu, 2 May 1996 09:54:59 -0400 Reply-To: bob unger From: bob unger Subject: knock...knock.... Anybody out there? Has everybody gone to Memphis or New Orleans? It seems so dark and lonely here.....I hate the way my voice eecchhooeess down the chambers of an empty blues-l........... "baby please dont go baby please dont go baby please dont go down to Memphis/Orleans ya know I love ya so" BU bob@sun.bnkst.edu ========================================================================= Date: Thu, 2 May 1996 08:55:16 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Booba Barnes Question Could someone tell me the details/date of Booba Barnes death. (or tell me how to get the blues-l archived stuff) THANKS LW ========================================================================= Date: Thu, 2 May 1996 09:55:09 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0021 From: "DUTTWEILER.J" Subject: Corey Harris CD Comments: To: BLUES-L@brownvm.brown.edu], higdon@MATH.MSU.EDU Date: Thursday, 2 May 1996 9:54am ET To: Internet, GO-MAIN.HIGDON1@DOASMAIN.SNADS From: DUTTWEILER.J@GOMAIL Subject: Corey Harris CD I don't know if this post made it through yesterday, as I have been experiencing server problems. If this is a dupe, I apologize. JD --------------------------( Forwarded letter 1 follows )--------------------- Date: Wednesday, 1 May 1996 8:36am ET To: Internet, GO-MAIN.HIGDON1@DOASMAIN.SNADS From: DUTTWEILER.J@GOMAIL Subject: Corey Harris CD Bill Higdon wrote: > I read about Corey Harris in the latest copy of Living Blues magazine. > Was thinking about picking up his CD. I would be interested in what > anyone (especially a "purist") thought of it. I think Harris' CD is great, much better than the review which appeared in either LB or BR (sorry, can't remember which). A full review of this CD (by myself, in fact) can be found at NY CD Blues on the Alligator page (http://www.panix.com/~bsco/ follow the link to the Alligator page). Harris' music is genuine (avoiding the word "authentic"). If you like acoustic Delta blues, you will definitely appreciate Corey Harris. JD ========================================================================= Date: Thu, 2 May 1996 10:05:34 -0400 Reply-To: bob unger From: bob unger Subject: Dukes Blues Have been listening to Duke Robillards latest, "Dukes Blues" and cant get it out of my cd player. I noticed the copyright, though, is 1994. Has this cd been out for the last 2 years and is only now getting recognized? BU bob@sun.bnkst.edu ========================================================================= Date: Thu, 2 May 1996 11:17:50 -0300 Reply-To: Rob Hutten From: Rob Hutten Subject: Grinnin' In Your Face Probably a stupid question: Did Son House write "Grinnin' In Your Face"? He's generally credited with it, but I'm wondering if there's a traditional foundation for the song as there is in "John the Revelator". -Rob ========================================================================= Date: Thu, 2 May 1996 10:24:03 -0400 Reply-To: schOO_bEE_dOO_RAGS From: schOO_bEE_dOO_RAGS Subject: WEATHER_in_MEMPHIS!!! Weather Conditions at 8 AM CDT on 2 MAY 96 for Memphis, TN. Temp(F) Humidity(%) Wind(mph) Pressure(in) Weather ======================================================================= 62 75% SSW at 6 30.05 Partly Cloudy CHESTER-DECATUR-FAYETTE-HARDEMAN-HARDIN-HAYWOOD-HENDERSON-LAUDERDALE- MADISON-MCNAIRY-SHELBY-TIPTON- 902 PM CDT WED MAY 1 1996 THURSDAY... PARTLY CLOUDY WITH A HIGH IN THE UPPER 70S. SOUTH WIND 10 TO 15 MPH. THURSDAY NIGHT... MOSTLY CLOUDY WITH A 30 PERCENT CHANCE OF SHOWERS AND THUNDERSTORMS. LOW IN THE MID 60S. FRIDAY... PARTLY CLOUDY. HIGH IN THE UPPER 80S. SATURDAY... PARTLY SUNNY AND QUITE WARM. HIGHS IN THE 80S. SUNDAY... PARTLY CLOUDY..SCATTERED SHOWERS MAINLY MIDDLE AND EAST. LOWS FROM NEAR 60 EAST TO NEAR 70 SOUTHWEST. HIGHS IN THE LOWER TO MIDDLE 80S. MONDAY... PARTLY CLOUDY AND COOLER. LOWS MID 50S TO MID 60S. HIGHS IN THE 70S. BLUEZELLERS........looks like WARM WEATHER, SOME RAIN and LOT OF MUD....... :) And as they say down in the Bayou.... Laissez les bon temps roulez!! Let the good times roll!! +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | Laissez les bon temps roulez!! | | // ~~ ~~ \\ | Let the good times roll!! | | /d+(+)-(+);b\ | ------------------------------ | | // L \\ | SANJAY 'RAGS' RAJAN | | // //|\\ \\ | sanjay_rajan@formtek.com | | ////`---'\\\\ | FORMTEK,INC. | | // //|||\\ \\ | PITTSBURGH, PA | | // /|||\ \\ | ------------------------------ | | -/---/\o/\---\- | Visualize Whirled Peas!! | | /"\ | | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Thu, 2 May 1996 10:31:54 -0400 Reply-To: mjg@bradley.bradley From: mjg@BRADLEY.BRADLEY Subject: Nick Holt/Brownie Does anybody else out there own a copy of Nick Holt's Wolf release called "You Better Watch Yourself?" This has to be my best blues CD purchase in over a year. Hey Art (or anybody else who may know). Can you tell me when the tracks on Brownie McGhee's Flyright (105) release "Carolina Blues" were recorded? Also, does Sonny Terry appear on this album? Thanks, Mark Political Science/Bradley University ========================================================================= Date: Thu, 2 May 1996 10:32:10 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0048 From: "DUTTWEILER.J" Subject: Re: EC's blues playing: Before v Date: Thursday, 2 May 1996 10:31am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: EC's blues playing: Before v > On May 1, 1996 > Pete Wulforst said: > > > As a matter of fact, I recently heard the remixed "big name" concert from > > 70s with Winwood, Townshend etc, (somebody help me, I can't remember the > > name) and thought his playing and tone sounded positively anemic. > > That would be "The Rainbow Concert"? Just to point out for accuracy's sake that this particular concert was organized by Townshend to help get his friend, EC, back performing after an extended absence due to substance abuse. I agree, his performance on this disc is anemic, for him, but should not be used as a representative sample of Clapton's output. JD ========================================================================= Date: Thu, 2 May 1996 10:49:35 EDT Reply-To: John Doukas From: John Doukas Subject: Lonnie Johnson and Tampa Red A few days back, Isaac Sprintis asked for opinions on Lonnie Johnson's and Tampa Red's right hand techniques (e.g., use of picks). It was suggested that Lonnie mostly used a flatpick. Well, here's my ideas. I've posted in the past my opinion (one shared by many, many others) that Lonnie Johnson was one of the most creative musicians ever. No qualifications, such as "American" or "jazz" or "blues" or "guitarists", are needed. As befitting this creativity, Lonnie recorded in many different settings and styles. His earliest recordings (1925-early 1926) were divided rather evenly between his violin and guitar work. As a violinist, he was rather rough (even more so than a "country" fiddler like Lonnie Chatmon, but less so than someone like Henry Sims). However, as a guitarist, he was as polished as could be. On most of his early work, he did not use a plectrum. To my ear he used index finger and thumb, and damped the bass strings quite a bit with his palm. He might use a thumb pick (I think not, however), but he clearly does not wear a pick on the index finger, as the tonal variations he obtains would not have been possible. There are so many aspects to this early work that take one's breath away (the clarity of tone, the sinewy string bends and vibratos, the almost unbelievable single string runs, the lush 7th cord progressions, etc). However, one of my favorite points is the rhythm he established with his thumb and palm. It is not a regular alternating beat, although he could do this, as on the 1926 guitar duet "Nile of Genago", and the 1932 "Sliding Delta/Crow Jane" variant "Racketeer's Blues". Nor is it the heavily damped but steady monotonic bass of Big Bill Broonzy. Lonnie's bass is a heavy, forceful, damped thud placed on what might seem random beats, but which produces the most incredible drive and propulsion. I would rate his bass rhythm work right up with that of Charley Patton and early Big Joe Williams. This is all the more remarkable when one realizes that Patton and Williams were primarily of a rhythmic orientation, whereas Johnson was of a melodic orientation. However, Lonnie did use a plectrum in some of his early work. The best examples are probably his jazz recordings. In particular, he uses a pick on 1927's "I'm Not Rough", by Louis Armstrong and His Hot Five. By contrast, he fingerpicks "Hotter Than That" and "Savoy Blues" three days later with Armstrong et al., and seems to inspire Johnny St. Cyr to switch from plectrum banjo to guitar on the second song (although Johnny retains the pick). He clearly fingerpicks a 12 string in 1928 on Duke Ellington and His Orchestra's "The Mooche", however that same session's "Hot and Bothered" is less clear. It may be with a flatpick, although I lean towards not. However, in 1928, Lonnie again uses a pick on The Chocolate Dandies' "Paducah", however he fingerpicks that session's "Stardust". In my opinion, the major change in Lonnie's right hand technique occurs in 1939, when he begins to use a flatpick in his blues and ballad work almost exclusively. He is still playing an acoustic, however he appears to be evolving a new still which emphasizes the single-string work at the expense of a rhythm. A few years later, he begins to use electrics as well as acoustics, and begins to move away from the key of D. Most of Lonnie's pre-1940 work is in the absolute key of D, using either dropped D tuning of dropped D/dropped G tuning. The lowered bass strings allowed him to generate that propulsive bass more easily, however at the same time it also made playing outside of D and G more difficult. With his de- emphasis of bass lines post-1939, he seems to have moved to regular tuning and other keys, such as A and C. As for Tampa Red, I haven't given his right hand technique as much thought as I have that of Mr. Johnson. I feel his early work on National guitars clearly is fingerpicked. I lean towards hearing a thumb and index finger, with a plastic thumbpick on the thumb and a metal finger pick on the index finger. However, I am less familiar with his latter work on archtops and other non-resophonics, and therefore can't offer much help. I will say that Tampa's early work has always struck me as heavily influenced by Lonnie Johnson, although this may sound surprising for a slide guitarist. However, I hear in Tampa's slide work the same single-string melodic emphasis as I do in Lonnie's fretted work. ========================================================================= Date: Thu, 2 May 1996 11:02:28 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Guitar tricks Well, I don't know about any neck-licking on stage that I'd let my wife know about. ;) But seriously..... ya know, actually playing behind your back actually isn't that hard. Not behind the head, but behind the BACK. I've tried this just as a goof a couple of times. If you swing the guitar around the right way, it actually ends up sitting in your hands almost exactly as it is when it's in front of you, you just have to arch your back a bit so your shirt or jacket doesn't rub against the strings. As long as you can play without looking at what you're doing, it's not that difficult. It's like a behind-the-back pool shot. It looks a lot tougher than it is. The question is..why do it? Now ya wanna hear HARD? When I saw SRV in his first ever-tour supporting the Texas Flood album, he did this thing where he was wearing the guitar sort of side-saddle, the strap slung over his right shoulder rather than the left (I think it was) and without missing a beat during one of those fast-cookin' Texas shuffles he would alternately swing the guitar behind and in front of him- self from down-stroke to down-stroke! There was guitar and hands flying all over the place, and he didn't miss a beat. My friend and I were sweating just watching this with our mouths open. Ah, Stevie, where are ya now? :( Riffin Rick (((( oo-) /- "..ain't no floods and tornados, and the sun shines every day." F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 2 May 1996 11:16:12 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Identify that Gibson! One fellow blues-ler very accurately described Gibson's serial # archiving as somewhat less than systematic. I have copies of their serial #s that I got from Gibson a long time ago when I was trying to track down the age of my Les Paul Custom. The same serial # came up in 1966 and 1971. So, of course I always claimed the older date, as an aspiring young 6-stringer is wont to do. Then, I was embarassed to be corrected by an expert who kindly informed me no Les Pauls were made in 1966. Oops. Okay, so it's a 1971. So, well, my 25 year old Lester is still no ordinary plank o' wood, as they say in the bidness. Still lookin' for that '57 Goldtop to fall into my lap....... ;) (pshaw!.....when monkeys fly outa my b---!........" Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 2 May 1996 10:24:37 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Re: Guitar tricks In-Reply-To: Message of Thu, 2 May 1996 11:02:28 -0500 from On Thu, 2 May 1996 11:02:28 -0500 said: >Now ya wanna hear HARD? When I saw SRV in his first ever-tour supporting the >Texas Flood album, he did this thing where he was wearing the guitar sort of >side-saddle, the strap slung over his right shoulder rather than the left >(I think it was) and without missing a beat during one of those fast-cookin' >Texas shuffles he would alternately swing the guitar behind and in front of >him- >self from down-stroke to down-stroke! There was guitar and hands flying all >over the place, and he didn't miss a beat. My friend and I were sweating just >watching this with our mouths open. I have seen him do that and you are right, very cool. I have played behind my head , back, between my legs (guitar you fool :-)), ...etc none of real hard to do. We were watching ACL and Danny Gatton threw a towel over the neck and went to wailing. I tried it and it was very easy, also. Of course, I'm talking about playing with a towel, not playing like Danny Gatton. My dull personality would never allow me to do anything like that in front of people. That was in my electric days. LW ========================================================================= Date: Thu, 2 May 1996 10:32:22 CST Reply-To: William Shute From: William Shute Subject: W.C.Clark/Rufus Thomas--new releases From: Bill Shute It's hard for the serious music fan not to spend all his/her discretionary income on CDs when there are s o many wonderful new releases and reissues coming out. I find myself economizing on some aspects of my lifestyle so I can have more music money. In fact, this new W>C>Clark album, which I got for $7.99 on cassette in Austin, was "paid for" by my getting ice water instead of soda when I go out to lunch, and the Rufus Thomas album was "paid for" by my switching to store brand/generic laundry detergents and household cleaning items. Well, maybe not literally, but you regular blues-record buyers know what I mean! WC Clark "Texas Soul" Black Top 1131 This 2nd black top album from WC Clark is certainly well-titled. Not until the fourth song do we encounter a traditional "blues" song structure, but with a man as richly talented as Mr. Clark--both as composer, guitarist, and SOULFUL singer--it's wonderful to hear him performing material that one would associate stylistically more with a Syl Johnson-type singer. The album mixes solid Texas blues with more soul-oriented "after hours" material (which is beautifully arranged and sung) with some interesting, distinctive covers (Sam Cooke; Willie Nelson's "Funny How Time Slips Away"; etc.). With his second BT album, I guess Mr. Clark did not feel the need to "prove" his blues credentials to folks outside Texas who have not had the privilege of seeing him live. Whatever, WC Clark has produced a winner of a contemporary blues album here--and with Derek O'Brien on board as well as the fine horn charts of Kaz Kazanoff, you can't go wrong with this solid album. As I bought the cassette of this, you can be sure I'll be playin' the heck out of it this summer as we take long trips to the beach and MA and I take leisurely "day trips" through the Texas Hill Country. RUFUS THOMAS "Blues Thang!" Sequel 1054-2 Wow, a new studio album from Rufus Thomas! Is this his first since THAT WOMAN IS POISON? What a crime! I remember hearing Mr. Thomas say, on some TBS Elvis tribute show live from Graceland a few years back, when interviewed by George Klein, that he had recorded a new album for the revived "Sun" label and that it would be coming out within the next year. Anyone know anything about that? Denise? This album is less of a novelty album than POISON (which,by the way, I loved and still play often), more of a unified piece of work. Mixing new Thomas originals with a few lesser-known Thomas oldies with covers of Mighty Sam McClain, Charlie Rich, and Willie Mabon; and featuring a band including Michael Toles, Marvell Thomas, and Steve Potts (who drummed with Booker T and the MGs when I saw them live back in...was it l994?)....this album fits Rufus Thomas' persona and talent just like a hand-tailored suit that not only looks good but is designed to complement one's build and bring out the strong points in one's appearance. I've just played this once so far, but in that play I was blown away at what a soulful, mature, and finely-crafted piece of work this is. Rufus Thomas is a precious national resource. Because he has always been a first class ENTERTAINER, there has been a tendency to underrate him or take him for granted. Why, last year on this network, someone was making some point about IMPORTANT artists (whatever that hell THAT means!) who somehow "define" a genre (whatever the hell THAT means!), and this person used Rufus Thomas as an example of someone who DID NOT have these qualities. Heck, as a FIGURE in the Af-Am music world of the twentieth-century, only a few people--Louis Armstrong, James Brown, Cab CAlloway, et al--have been around so long and been in the forefront so long. Noone has ever had to "rediscover" Rufus Thomas. He has never gone away, and until recently (and he STILL may be at it-=-I don't live in Memphis, so I don't know) he was STILL active as a broadcaster!!!!!!! And no matter how old he is, he is still the epitome of hip. He could literally do anything and get away with it--how many other 60 year old men could wear hot pants on stage and make a fashion statement and still be hipper than any teen (don't answer "John Mayall" to that, please! tho I love Mayall too). But image and persona do not make a good recording. And this is a wonderful album that is ALREADY on my best of 96 list. I may write further about this album as I REALLY listen to it and begin to digest it & more fully appreciate it. This is just a "cheerleading" message after one listen to alert you of the album's existence and to encourage you to buy it. In its own way, this is as satisfying as that Percy Sledge "comeback" album of 94-95 on Sky Ranch (BTW, I saw that Don Covay made a new album in the last year or two for Sky Ranch...has ANYONE seen or heard that????), although (obviously) VERY different. What other 79 year old man would have a shirtless pic of himself on his album's cover?(oops, better not give Homesick James any ideas!) Bill Shute San Antonio, TX ps, I saw a new album from Frank Frost with Fred James (I really enjoyed the DEEP BLUES album on Appaloosa), but it isn't on Appaloosa. Anyone gotten that yet? I'll have to drink a few more ice waters and use a few more boxes of 99-cent laundry detergent before I get that one. ========================================================================= Date: Thu, 2 May 1996 08:47:20 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: May 3 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BECK, JIM (pioneer recording eng) d. 1956-0503, DALLAS, TX 39 BROWN, JAMES (v/songw/prod) b. 1933-0503, BARNWELL, SC CROSBY, BING (v) b. 1903-0503, TACOMA, WA GIBSON, HARRY "THE HIPSTER" (v/p) d. 1991-0503, BRAWLEY, CA 77 HOMESICK JAMES (g) b. 1914-0503, SOMERVILLE, TN JOHNSON, WILLIE (co-lead/GOLDEN GATE QT) d. 1980-0503, LOS ANGELES, CA 67 KERSEY, BILL (cl/LUCKY MILLINDER) b. 1909-0503, DRESDEY, ONTARIO MERRITT, JYMIE (b/B. B. KING/BULLMOOSE) b. 1926-0503, PHILADELPHIA, PA RAY, BOBBY "BLUES" (v) b. 1946-0503, CROSSETT, AR REYNOLDS, MARIE "CALDONIA" (v) d. 1984-0503, CINCINNATI, OH 63 ROBINSON, SUGAR RAY (boxer) b. 1921-0503, DETROIT, MI ROULETTE, FRED (steel g) b. 1939-0503, EVANSTON, IL RUSSELL, GENE(p/YOUNG-HOLT TRIO/3 SOUNDS) d. 1981-0503, LOS ANGELES, CA 48 SEEGER, PETE (bjo) b. 1919-0503, PATTERSON, NY STEWART, D. K. (p/CRAY/PAUL DELAY) b. 1951-0503, EUGENE, OR SUMMERS, JIMMY (g) b. 1923-0503, SCHLATER, MS ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 2 May 1996 12:07:12 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0120 From: "DUTTWEILER.J" Subject: Brightest New Blues Artist Date: Thursday, 2 May 1996 12:04pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Brightest New Blues Artist Sitting around thinking about the myriad of new blues releases and artists on what seems to be an explosion of new labels specializing in blues, I realized that there is practically no way to keep up with everything. And while we've all probably heard of the Mem Shannons and Sherman Robertsons (who are two of my favorite "new" blues artists), there must be plenty of local, or even national, blues artists generating excitement out there that many haven't heard of. So, a question: who is the brightest new blues artist you are currently listening to? What have they released? What "style" of blues is it? What label? Are they distributed nationally or only locally? And, perhaps most importantly, what is it about them that moves you? JD ========================================================================= Date: Thu, 2 May 1996 12:09:57 -0400 Reply-To: FORCELLAD@CCSUA.CTSTATEU.EDU From: Domenic Forcella Subject: eRIC's BLUES DATES -SUGAR RAY May 3, the birthday of one of the best boxers ever. And zellers there is a common thread with the blues and boxing. The rip off of the boxers by manageers and promoters always comes to mind when we discuss the way some record labels behave. Domenic Forcella Traveling with the Blues ========================================================================= Date: Thu, 2 May 1996 19:19:42 GMT+2 Reply-To: Serdar Mayda From: Serdar Mayda Organization: DEU ENGINEERING FACULTY Subject: help for zztop I am a new blues listener and i would like learn everythink about ZZTOP and their Blues carrier.Could someone help? Serdar Mayda Dokuz Eylul Univ. Dept.of Geol. e-mail:mfjeo02@izmir.eng.deu.edu.tr ========================================================================= Date: Thu, 2 May 1996 11:53:26 -0500 Reply-To: akapil@MEDICINE.BSD.UCHICAGO.EDU From: "" Subject: HELP.....SAN FRANCISCO BLUES CLUBS INFO!!!!!!!!!!!!!!!!!!! Hi everyone, I'm off to San Francisco on the 18th of May and will be there till the 22nd of the month. I'd like some info on blues clubs (addresses, cover charges etc) and gig schedules. I would also be keen to meet up with 'zellers in the area if possible. I will be staying at 'The Sheraton Palace Hotel'. Thanks in advance. regards, Adit. Aditya Kapil, PhD IBD Research Center Department of Medicine University of Chicago Ph: (312) 702 2283 FAX: (312) 702 2281 ========================================================================= Date: Thu, 2 May 1996 11:55:41 -0500 Reply-To: Timothy M Dellinger From: Timothy M Dellinger Subject: Re: Corey Harris CD >Harris' music is genuine (avoiding the word "authentic"). If you like >acoustic Delta blues, you will definitely appreciate Corey Harris. I was also disappointed with the Corey Harris. At first, I thought "Wow, great, someone who plays in my favorite style!", but then after a good intense listen, I found that I was not interested in Corey Harris at all. -- -- It is a miracle that curiosity survives Tim Dellinger formal education. -Albert Einstein tdelling@uiuc.edu ========================================================================= Date: Thu, 2 May 1996 10:10:10 -0700 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Artist help needed. Can someone help me out on this one? This past weekend on one of the local blues shows I heard a song called The Sissy's Strut. It is a pretty cool guitar instrumental. Anyone know who recorded this thing? Thanks, Joe ========================================================================= Date: Thu, 2 May 1996 13:19:12 -0400 Reply-To: smirkyface From: smirkyface Subject: Bobby "Blue" Bland Has anyone seen B"B"B perform in the last couple of weeks? I want to know his band configuration. I heard he was traveling with a horn section. BRIAN MCLEAN PHOTOGRAPHY & SMIRKYFACE PRODUCTIONS "life's too short to live the blues" http://www.netaxs.com/~blmclean ========================================================================= Date: Thu, 2 May 1996 13:19:13 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0045 From: "DUTTWEILER.J" Subject: Re: Corey Harris CD Date: Thursday, 2 May 1996 1:19pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: Corey Harris CD > >Harris' music is genuine (avoiding the word "authentic"). If you like > >acoustic Delta blues, you will definitely appreciate Corey Harris. > > I was also disappointed with the Corey Harris. At first, I thought > "Wow, great, someone who plays in my favorite style]", but then after a > good intense listen, I found that I was not interested in Corey Harris at > all. I find this difficult to understand other than chalking it up to the vagaries of taste. I devoted considerable time to listening to this CD for the review I wrote, often with my wife present, who is not a great lover of the blues. I found Harris' performances powerful and full of an emotional intensity quite startling from a 26 year old. My wife also was moved by this disc, and she is not easily moved (no cracks, please ;-)) To each his own, I guess. JD ========================================================================= Date: Thu, 2 May 1996 12:15:41 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Re: Corey Harris CD In-Reply-To: Message of Thu, 2 May 1996 11:55:41 -0500 from On Thu, 2 May 1996 11:55:41 -0500 Timothy M Dellinger said: >>Harris' music is genuine (avoiding the word "authentic"). If you like >>acoustic Delta blues, you will definitely appreciate Corey Harris. > > I was also disappointed with the Corey Harris. At first, I thought >"Wow, great, someone who plays in my favorite style!", but then after a >good intense listen, I found that I was not interested in Corey Harris at >all. I've already admitted to not being moved by Corey's CD, I would still buy it again just to support a NEW acoustic blues artist. I have to applaud Alligator for FINALLY putting out a solo acoustic artist (an Alligator first). I haven't heard Guy Davis yet...opinions...please especially you purists :-) LW ========================================================================= Date: Thu, 2 May 1996 12:20:52 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Norton in Memphis I bet this Richard_Norton guy doesn't go to Memphis....:-) LW ========================================================================= Date: Thu, 2 May 1996 13:25:08 -0400 Reply-To: James Leftwich From: James Leftwich Subject: Sherman Robertson Hey You've heard his glowing reviews on Blues-L, now enter to win his CD for *free*. Sherman Robertson's _Here and Now_ is a hot new release, and to win it all you have to do is come by my page and answer an obscenely easy trivia question. While you're there be sure to read NY CD Blues' informative review. ============================================================================= Jim Leftwich Jim's Blues N' Brews leftwich@cloud9.net http://www.cloud9.net/~leftwich "I'm on cloud9!" :) New CD Giveaway: Sherman Robertson ============================================================================= ========================================================================= Date: Thu, 2 May 1996 13:37:19 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Norton in Memphis Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU On 2 May 96 at 12:20, ISTS024%UABDPO.BITNET@BROWNVM wrote: > I bet this Richard_Norton guy doesn't go to Memphis....:-) Or St Louis. I'm not too thrilled with Compuserve either. I now get 4 error messages for every post I make. There will be four for this post also. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Thu, 2 May 1996 13:37:19 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Artist help needed. Comments: To: Joe Lempkowski On 2 May 96 at 10:10, Joe Lempkowski wrote: > Can someone help me out on this one? > > This past weekend on one of the local blues shows I heard a song called > The Sissy's Strut. It is a pretty cool guitar instrumental. Anyone know > who recorded this thing? I'm not at home where I could check, but I'm pretty sure it's on one of the collections of early Albert Collins stuff. Almost positive. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Thu, 2 May 1996 14:01:14 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Corey Harris CD Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com Can those of you who don't like Harris' cd please tell me why? I listened to it on the way home last night and I liked it even better than when i first heard it. I think he is an excellent guitarist and singer (his vocals, IMHO, are better than John Hammond's, Catfish Keith's, Keb Mo's and many other acoustic blues singers - not to put those guys down or anything, he just has more of a natural blues voice) and he has a great selection of material. Plus his arrangements are very nice (when was the last time you heard Louis Jordan's "Early in the Morning" done by a solo acoustic player?). I really can't find anything wrong with his debut album. -Steve ========================================================================= Date: Thu, 2 May 1996 14:15:49 -0400 Reply-To: "Lost John From: "Lost John Subject: Re: Brightest New Blues Artist Comments: cc: johnc@vedge.com On May 2, DUTTWEILER.J@GOMAIL wrote: > So, a question: who is the brightest new blues artist you are currently >listening to? What have they released? What "style" of blues is it? What >label? Are they distributed nationally or only locally? >And, perhaps most importantly, what is it about them that moves you? The first thing to grab my attention in a long while, primarily as a guitar player, but also as a blues fan, is Kelly Joe Phelps. He recently did a live-in the-studio spot here in Montreal on an otherwise shitty "blues" radio program, a half-hour before he was to appear at a club downtown (for something like a three-dollar cover). Unfortunately, the timing was bad and there was no way I could go. But his playing absolutely KILLED me. He plays a National steel (on his lap, no less) and is one of the most fluid, clean, and innovative slide players I've ever heard. Something along the lines of John Campbell (but better IMHO, and without the "straight from the crypt" baritone vocals). Otherwise, I know nothing about him (young or old, where he's from, etc.). Heard a couple of great cuts from his first CD on the same radio program, and was bigtime impressed. I haven't yet been able to find his CD, but it's at the top of my get list. (BTW, I don't play lap-style, but I suspect that contortionists like KJP and Jeff Healy, are capable of pretzeling out a few voicings and innovative stretches that we mortals are not able to reproduce. Any thoughts ?) -- _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ _/ /\ _/ _/ || _/ _/ || _/ _/ John Carley || _/ _/ johnc@vedge.com || _/ _/ Montreal || _/ _/ |\||/| _/ _/ \ / _/ _/ " There's only two things in life / \ _/ _/ but I forget what they are..." ( ) _/ _/ - John Hiatt \____/ _/ _/ _/ _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ ========================================================================= Date: Thu, 2 May 1996 14:17:14 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0079 From: "DUTTWEILER.J" Subject: Re: Corey Harris CD Comments: To: Steve.Levine@CORP.WRGRACE.COM Date: Thursday, 2 May 1996 2:16pm ET To: Internet, GO-MAIN.LEVINE2@DOASMAIN.SNADS From: DUTTWEILER.J@GOMAIL Subject: Re: Corey Harris CD Steve wrote: > Can those of you who don't like Harris' cd please tell me why? I > listened to it on the way home last night and I liked it even better > than when i first heard it. I think he is an excellent guitarist and > singer (his vocals, IMHO, are better than John Hammond's, Catfish > Keith's, Keb Mo's and many other acoustic blues singers - not to put > those guys down or anything, he just has more of a natural blues > voice) and he has a great selection of material. Plus his arrangements > are very nice (when was the last time you heard Louis Jordan's "Early > in the Morning" done by a solo acoustic player?). I really can't find > anything wrong with his debut album. Steve, I agree with you. Harris' voice, to me, is one of the most moving and powerful I had heard in a long time (and I'm not sure what the complaint is about his playing, which I also thought excellent). It is rich and deep with a certain "aged" quality that belies his years. JD ========================================================================= Date: Thu, 2 May 1996 18:20:58 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Dukes Blues In-Reply-To: <199605021405.KAA17297@sun.bnkst.edu> On Thu, 2 May 1996, bob unger puzzled: > Have been listening to Duke Robillards latest, "Dukes Blues" and cant get > it out of my cd player. I noticed the copyright, though, is 1994. Has this > cd been out for the last 2 years and is only now getting recognized? > > BU > bob@sun.bnkst.edu > I believe what you have there is a rerelease of the CD which came out in Canada first under the Stony Plain label nya nya nyanyaanyaaa :):) (I may be 45 but I'm maturing ever so slowly) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [2/5/96 14:12 PM] "Thursday's always sad..." ========================================================================= Date: Thu, 2 May 1996 14:24:00 -0400 Reply-To: SliderDW@AOL.COM From: Don Williams Subject: Re: Artist help needed. Comments: To: Joe.Lempkowski@eng.sun.com In a message dated 96-05-02 13:56:17 EDT, Joe.Lempkowski@ENG.SUN.COM (Joe Lempkowski) writes: > >Can someone help me out on this one? > >This past weekend on one of the local blues shows I heard a song called >The Sissy's Strut. It is a pretty cool guitar instrumental. Anyone know >who recorded this thing? > >Thanks, Well, I'm not sure what you heard, but the New Orleans-based band called The Meters did a song by that title. Don Williams ========================================================================= Date: Thu, 2 May 1996 18:27:08 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Bob Unger's query How prevalent is it that CD's come out somewhere else and aren't "noticed" (let's face it the U.S. is the biggest market)? Case in point, the Coco Montoya CD was out on a european label maybe a year or more before the U.S. Blind Pig release where upon it certainly became "noticed". How did it do before that? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [2/5/96 14:22 PM] "Thursday's always sad..." ========================================================================= Date: Thu, 2 May 1996 13:28:17 CST Reply-To: William Shute From: William Shute Subject: brightest new blues artist--suggestions From: Bill Shute Here are my suggestions in response to the question about who are the "brightest new blues artists." If I define "brightest new blues artist" as someone who has become nationally known outside the HARDCORE blues circles within the last few years, I would suggest the following: GUY FORSYTH LARRY GARNER JAY OWENS PAT BOYACK Here in San Antonio, I would nominate BOBBY GONZALES (aka "Bobby G"), who's still only 18 or 19. RE an older SA artist who SHOULD be nationally known, I'd have to say RANDY GARIBAY...altho George Underwood, Jitterbug Webb, and many others would qualify. Up in Austin, I would like to champion the great, and STILL YOUNG Matthew Robinson, most recently playing with Blues Boy Hubbard in "The Dynamic Duo with The Jets" (hey, you folks in the Netherlands, how were Robinson/Hubbard and crew when they played at a festival of yours in November????) As far as brightest COMEBACK artist, a few faves would be Syl Johnson, Bobby Patterson, Texas Johnny Brown, Bruce Channel, Earl Gaines, Clifford Curry, Margaret Lewis, Ollie Nightingale. Finally, I'd like to add that I consider Denny Freeman a WORLD-CLASS guitar player. He is certainly well-known to the discriminating, and he has three albums (two on Amazing, one of Crosscut) you can find easily, but as a musician's musician, he doesn't seem to be on an ego trip and allows his music to do most of his self-promotion...therefore, he may not be as well-known in the blues world as he SHOULD be. Another should-be-bigger artist is Bobby Mack of Wimberley, Texas, who has three albums out. He is a broadbased artist who, in a just world, would be getting FM airplay, although he can play the blues with intensity and sensitivity. Getting back into the REAL blues mold, I'm stunned that HASH BROWN is not yet a household name in the blues world. His two albums on Double Trouble and Browntone are both better than most of what's advertised in any blues magazines, and the real test is that he has been chosen by such all-time greats as Zuzu Bollin and Henry Qualls to work with them. Sorry if I'm getting carried away, but one reason I post on blues-l is to champion artists I support and believe in and who I think need to be better known. I appreciate it when YOU all turn me on to something I NEED to know about--I might not have heard about the new Bobby Patterson album if Don O. did not call it to our attention the other day! With the marginal existence (in a material sense) of most blues artists, they need people like you and me to help promote them and "spread the word" among our network and circles of like-minded acquaintances. Personally, I wish blues-l had more of THAT, and fewer of some areas, like people-who-evidently-do-not-have-a-life who seem to post every one of their non-thoughts on any subject under (I guess!) the delusion that we care. Still, blues-l has a higher signal-to-noise ratio than ANY other network/group I've run across in cyberspace. And I'm willing to hit the "delete" button twenty times each morning if that's what it takes to get the OTHER twenty or thirty INFORMATIVE, THOUGHT-PROVOKING, INTERESTING posts. Even in baseball terms, blues-l would have a pretty good "batting average." Bill Shute(same birthday as T-Bone Walker, I think...) San Antonio, TX ========================================================================= Date: Thu, 2 May 1996 14:02:04 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 05/03 B O R N : 05/03 CLEVELAND, JIMMY ( JAMES MILTON CLEVELAND ) Born:1926 WARTRACE, TN Career:TROMBONE Style:JAZZ / BIG BAND With:QUINCY JONES / THELONIOUS MONK COMDEN, BETTY Born:1915 NEW YORK, NY Career:LYRICIST Style:POP / BIG BAND HAVENS, BOB 1930 QUINCY, IL Career:TROMBONE / VIBES Style:TRAD / JAZZ / BIG BAND With:RALPH FLANAGAN / GEORGE GIRARD / AL HIRT / PETE FOUNTAIN / LAWRENCE WELK / BOB CROSBY / DICK CATHCART / DON GOLDIE HOMESICK JAMES (JOHN A WILLIAMSON ) Born:1914 SOMERVILLE, TN Career:BASS/ GUITAR / HARMONICA Style:BLUES LAWSON, YANK (JOHN RHEA LAWSON ) Born:1911 TRENTON, MO Career:TRUMPET Style:TRAD / JAZZ / BIG BAND With:BOB CROSBY / BEN POLLACK / TOMMY DORSEY / BENNY GOODMAN / LAWSON-HAGGART JAZZ BAND LEWIS, JOHN ( JOHN AARON LEWIS ) Born:1920 LaGRANGE, IL Career:PIANO / ARRANGER Style:JAZZ / BIG BAND With:DIZZY GILLESPIE / CHARLIE PARKER / MILES DAVIS-1948 / ILLINOIS JACQUET / LESTER YOUNG / J.J. JOHNSON / ZOOT SIMS / KING PLEASURE / MODERN JAZZ QUARTET MERRITT, JYMIE Born:1926 PHILADELPHIA, PA Career:BASS Style:BLUES B.B.KING / BULLMOOSE JACKSON SUMMERS, JIMMY Born:1923 SCHLATER, MS Career:GUITAR Style:BLUES Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Thu, 2 May 1996 19:00:06 GMT Reply-To: VT From: VT Subject: The Meters - was Re: Artist help needed. The Meters: from the All Music Guide - Genre: ROCK Music Style: Soul, Funk, R&B Roots and Influences: Booker T. & the MG's+, Dave Bartholomew+, Smiley Lewis+, Fats Domino+, Huey "Piano" Smith+ Similar Artists: Beastie Boys, James Brown+, Lee Dorsey+, Dr. John, Labelle+, Mad Lads, Aaron Neville+, The Neville Brothers+, Ivan Neville+, Robert Palmer, Rufus Thomas, Betty Harris+, The JB's+, David Rubinson+, Sly Stone+, Allen Toussaint+ (scale 1-3; 3=highest) Importance: 3 Popularity: 2 Artist: 3 The top instrumental band in New Orleans during the late 60s and much of the 70s, both on their own and as a session crew (formed in 1966). Keyboardist Art Neville, guitarist Leo Nocentelli, bassist George Porter Jr, and drummer Zigaboo Modeliste played on numerous sessions for producer Allen Toussaint before they climbed the R&B charts themselves in 1969 with "Sophisticated Cissy" and "Cissy Strut" on the Josie label. They remained with Josie into the early '70s, issuing more funky hit instrumentals such as "Look-Ka Py Py" and "Chicken Strut" before spending the mid-'70s with the major labels Reprise and Warner. The quartet went their separate ways in 1977 but sometimes re-form for the New Orleans Jazz & Heritage Festival. ~Bill Dahl -- Bill Dahl, All-Music Guide -- Vincent vt@usa.pipeline.com On May 02, 1996 14:32:02, 'vt@usa.pipeline.com(VT)' wrote: >"Cissy Strut" - is a famous funky instrumental by the METERS > >Vincent >vt@usa.pipeline.com > >On May 02, 1996 10:10:10 in , 'Joe Lempkowski >' wrote: > > >>Can someone help me out on this one? >> >>This past weekend on one of the local blues shows I heard a song called >>The Sissy's Strut. It is a pretty cool guitar instrumental. Anyone know >>who recorded this thing? >> >>Thanks, >> >>Joe > > ========================================================================= Date: Thu, 2 May 1996 18:36:54 GMT Reply-To: Mike Stefano From: Mike Stefano Organization: Queen's University Subject: brightest new blues artists I'd have to vote for "Monster" Mike Welch. Great player, still a teenager with LOTS of potential. Can be real mean and still play tastefully and with expression. ========================================================================= Date: Thu, 2 May 1996 15:13:51 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Nick Holt/Brownie Comments: To: mjg@BRADLEY.BRADLEY In-Reply-To: <199605021422.JAA12919@bradley.bradley.edu> On Thu, 2 May 1996 mjg@BRADLEY.BRADLEY wrote: > Does anybody else out there own a copy of Nick Holt's Wolf release > called "You Better Watch Yourself?" This has to be my best blues CD > purchase in over a year. Own and love it too. Wolf has just about pulled everyone of the Slim team out from behind him and fronted each separately. I am particularly taken with Holt's vocals. Barry P.S. Interesting you should note this one - I'm preparing to re- view over this weekend. NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 2 May 1996 14:10:09 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Artist help needed. Comments: To: Joe Lempkowski In-Reply-To: <9605021710.AA04233@mtv5-broadcast.Eng.Sun.COM> Cissy Strut was originally a big hit for the Meters a little over 25 years ago. ========================================================================= Date: Thu, 2 May 1996 18:32:40 GMT Reply-To: VT From: VT Subject: Re: Artist help needed. "Cissy Strut" - is a famous funky instrumental by the METERS Vincent vt@usa.pipeline.com On May 02, 1996 10:10:10 in , 'Joe Lempkowski ' wrote: >Can someone help me out on this one? > >This past weekend on one of the local blues shows I heard a song called >The Sissy's Strut. It is a pretty cool guitar instrumental. Anyone know >who recorded this thing? > >Thanks, > >Joe ========================================================================= Date: Thu, 2 May 1996 15:13:55 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: eRIC's BLUES DATES -SUGAR RAY Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *May 3, the birthday of one of the best boxers ever. And zellers there *is a common thread with the blues and boxing. *The rip off of the boxers by manageers and promoters always comes to *mind when we discuss the way some record labels behave. May 3 is also the birthday of Blues-ler Mary Katherine Sheffield. I think she turns 24 or 25 tomorrow, I'm not sure. :-) Happy birthday MK! -Steve Levine ========================================================================= Date: Thu, 2 May 1996 19:28:25 GMT Reply-To: hawkeye under glass From: hawkeye under glass Organization: Netcom uid 422 Subject: Re: kelly joe phelps Kathy Fieberling (kathyfie@IX.NETCOM.COM) wrote: : In <3177F4F8.131E@pi.net> albert haar writes: : > : >Can anybody tell me more about Kelly Joe. He's playing overhere in : >Assen, the Netherlands. Maybe he want's to play in our bluesshow. : He's great, and a nice guy too. Go see him play. In fact take 30 or : so of your frinds. : Hugh only saw him once (earlier this year opening for b.b.), laptop bottleneck, vocals. excellent. can't find any web rousrces on him, so i guess i'll have to write a letter or something. if any of you know other records by him, drop me a line. "Lead Me On" is great stuff, but not enough. we need more... jeff --- R.J. "jeff" Sanders sanders@netcom.com - Home of the Null Smiley [tm] - nuller than null "...let everybody get together then and we'll try to make it." - Howling Wolf ========================================================================= Date: Thu, 2 May 1996 19:28:47 GMT Reply-To: Michael Twomey From: Michael Twomey Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: help for zztop Serdar Mayda (MFJEO02@IZMIR.ENG.DEU.EDU.TR) wrote: : I am a new blues listener and i would like learn everythink about : ZZTOP and their Blues carrier.Could someone help? : Serdar Mayda : Dokuz Eylul Univ. : Dept.of Geol. : e-mail:mfjeo02@izmir.eng.deu.edu.tr As soon as their blues career starts, we'll let you know. Mike Twomey ========================================================================= Date: Thu, 2 May 1996 15:46:50 EDT Reply-To: Toby Levy From: Toby Levy Subject: SITTING & THINKING: Buddy Guy and Junior Wells BUDDY GUY & JUNIOR WELLS - DRINKIN' TNT 'N' SMOKIN' DYNAMITE BLIND PIG #71182 BLIND PIG RECORDS PO BOX 2344 SAN FRANCISCO CA 94126 The first time this reviewer saw Buddy and Junior perform was at the 1970 Ann Arbor Blues Festival. That was early into their blues partnership and they performed a scintillating set that drove the crowd wild. About five years later I had the opportunity of seeing them perform a couple of times as they played in a western New York night club. By that time the Buddy/Junior alliance had become about as tight as a partnership can get. The music on this cd was recorded at the peak of their partnership, in 1974. Performed at a festival in Switzerland, Guy and Wells were joined by Pinetop Perkins on piano with a rhythm section organized and led by Rolling Stone Bill Wyman. Wyman maintained ownership of the taping of this concert and finally mixed it and released it in 1980. Eight years later Blind Pig released it on cd for the American audience. The music is a rare treat, an accurate portrayal of the exciting and vital live blues of two Living Blues Legends. INTRODUCTION / AH'W BABY EVERYTHING GONNA BE ALRIGHT / HOW CAN ONE WOMAN BE SO MEAN / CHECKING ON MY BABY / WHEN YOU SEE THE TEARS FROM MY EYES / INTRODUCTION / TEN YEARS AGO / MESSING WITH THE KID / HOODOO MAN BLUES / MY YOUNGER DAYS NY CD-Takes INTRODUCTION: This introduction is in French, and you can sense the excitement as the boys from Chicago take the stage. AH'W BABY EVERYTHING GONNA BE ALRIGHT: The band plunges into a number that showcases Buddy's and Junior's talents. This Little Walter classic is guaranteed to get any crowd moving. Buddy uses an interesting picking technique that sounds like a tuneful rubber band as Junior sings in his rich full voice and wails away on his blues harp. Junior is the master of the dramatic pause and he wraps up this song with a flourish. HOW CAN ONE WOMAN BE SO MEAN: Junior kicks off this slow blues with a harp flourish, and as he sings the first verse, Buddy plays his trademark stinging guitar behind Junior's voice. Right away you know the band has some serious cooking planned. Junior solos first, a brief and heartfelt wail. Junior calls out Buddy after the next verse and Buddy steps up with a long beautiful solo that builds from the first to the last note. CHECKING ON MY BABY: This was one of harp legend Sonny Boy Williamson's greatest numbers, and Junior does it consummate justice. Buddy and Junior add a little funk to the song and juice up the tempo a bit to turn it into a danceable shuffle. Junior's harp playing couldn't be more different from Sonny Boy's, but it sounds great and the whole song is just a lot of fun. WHEN YOU SEE THE TEARS FROM MY EYES: Buddy steps up to the microphone for this Guy-Wells composition, his voice just as soulful and yet completely different from Junior's. Junior barks out his notes in response to Buddy's singing about laying awake in his little cabin with the wind howling around his door. As Buddy's incredible solo reaches toward crescendo, Pinetop and Junior add layers of soulful piano and harp on top of Buddy's spicy guitar. INTRODUCTION: This is not really an introduction. Its a little speech by Buddy Guy telling how much he enjoys playing overseas and how special this particular performance is to him. He says if he ever gets to feeling like he misses his home, he tunes to D Natural and plays the following number. TEN YEARS AGO: This is the centerpiece of the album, by far the longest song, a slow blues of consummate beauty. Buddy sings about how bad things were for him just ten years back. Junior takes the firs solo, moaning through the low notes on the harp with startling intensity. Buddy begins his solo even as Junior is ending, with the band yelling encouragement tot he two of them. Buddy ends the song with a little excursion into scat singing. MESSING WITH THE KID: Junior yells "Look out!" to kick off a spirited version of this song that he has come to be associated with. Normally performed with horns, its interesting to hear Buddy and the rest of the band taking on the horn parts. Buddy gets his solo time in, but the excitement here is all Junior, and he revels in it. HOODOO MAN BLUES: Although the lyrics are taken from two Sonny Boy Williamson songs, this song has been so completely rearranged that Wells can rightfully claim authorship credit. The song tells the story of a hoodoo man whose spells don't work because a hoodoo man of greater power has taken over. Performed at a snail's pace, the dramatic effect is wonderful. Buddy's solo here is one of his finest ever. This song really needs Junior's acting out to be fully appreciated, but it still sounds good here. MY YOUNGER DAYS: Junior sings a Sonny Boy Williamson tune to close out this cd, a midtempo boogie in which his harp playing is at its best. You can feel the audience bouncing around in their seats. They sure saw one heck of a show. Reviewed by Toby Levy Copyright NY CD Blues - 1996 ========================================================================= Date: Wed, 1 May 1996 09:54:27 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Johnny Winter on Tour? Is Johnny Winter on tour, or if not on tour, playing out the occasional dates? I heard a (fairly reliable) rumor last night that he's playing here in Cincinnati on the 21st of this month. Any info will be appreciated. Thanks!!!!! Shannon ========================================================================= Date: Wed, 1 May 1996 09:56:53 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re[2]: the Man (was Re: Van Morrison) Anyone who has the audacity to call me "the man" will find out very quickly how I hit like a girl! :) Shannon ______________________________ Reply Separator _________________________________ Subject: Re: the Man (was Re: Van Morrison) Author: David Silberberg at INTERNET_TP Date: 4/30/96 5:41 PM At 05:12 AM 4/30/96 -0500, P.W. Fenton wrote: >This isn't really to Keith in particular, but I'm wondering... >How many performers can be "the man". On any given day you can read >on this list... "the man - Muddy Waters, SRV - the man, Bobby >"Blue" Bland - the man!, etc. > How many? As many as there are people reading this list / newsgroup. And, of course, not all of them need be male.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Thu, 2 May 1996 20:01:04 GMT Reply-To: hawkeye under glass From: hawkeye under glass Organization: Netcom uid 422 Subject: Re: kelly joe phelps found web entry at "http://www.teleport.com/~burnside/KellyJoePhelps.html" --- R.J. "jeff" Sanders sanders@netcom.com - Home of the Null Smiley [tm] - nuller than null "...let everybody get together then and we'll try to make it." - Howling Wolf ========================================================================= Date: Thu, 2 May 1996 16:14:29 -0500 Reply-To: Erica Wissolik From: Erica Wissolik Subject: Re: kelly joe phelps -Reply >>> hawkeye under glass 05/02/96 02:28pm can't find any web rousrces on him, so i guess i'll have to write a letter or something.<<<<<<<<< Kelly Joe Phelps PO Box 402 Vancouver, WA 98666 360-694-1474 There's a soundbite at http://www.mind.net/burnside/ >>>>>>>>if any of you know other records by him, drop me a line. "Lead Me On" is great stuff, but not enough. we need more... >>>>>>>>>>>> Dave Alvin says that he's producing a record for KJP this summer - coming at you on a major label though I forgot to ask which one. --Erica ========================================================================= Date: Thu, 2 May 1996 13:10:08 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Bluesquiz II Comments: To: CKUT_online@BABYLON.MONTREAL.QC.CA In-Reply-To: <5439454.7216196@babylon.montreal.qc.ca> from "CKUT online" at May 2, 96 01:55:36 am While the usual reason for wireless is freedom to roam, etc., one very valid and usually overlooked reason to use one is sound quality. A long guitar cord absorbs higher frequencies, especially on (high impedance) dual coil pickups (humbuckers). This is why humbuckers don't (usually) sound nearly as bright as single coil pickups. Distributed cable capacitance acts as a "tone control", bleeding off high frequencies. Try playing your Les Paul using a very short cable (i.e. one foot) and notice the much brighter yet full sound. A wireless will give this same effect. (This assumes that you can still HEAR high frequencies, of course :-) While Albert Collins is noted for playing a lot of high NOTES, his SOUND is typically devoid of the crisp highs one usually associates with Strats and wireless. A wireless provides even more highs (and less phase distortion) than a typical guitar cord. Wireless is also great for harmonica sound, especially if you use a crystal mic (very high impedance) such as Astatic JT-30, Shaker crystal, etc. These should be run into at least one megohm input impedance (regardless of manufacturers or marketers specs saying less) if you want good tone from them. They tend to get thin and shrill when operated into lower impedances. I use Nady Wireless Ones (a pair of 'em - I play harp, guitar, and bass pedals at the same time) for guitar and harp. The transmitters have a one megohm input impedance. I also like the compandoring (compression in the transmitter, expansion in the receiver), which gives the units a great dynamic range - around 120 dB, I believe is the spec. While the transmitters have level adjustments, and my harp pickup is substantially hotter than my guitar, I've found no need to adjust these. And I use incredible dynamics while playing, ranging from "full throttle" to "barely audible". -- IronMan Mike Curtis ========================================================================= Date: Thu, 2 May 1996 21:21:30 GMT Reply-To: Art Schuna From: Art Schuna Organization: UW-Madison Subject: Best Comeback (was Re: brightest new blues artist--suggestions) Comments: To: bit-listserv-blues-l@uunet.uu.net In article <19960502.143209.764638.NETNEWS@AUVM.AMERICAN.EDU>, WSHUTE@ACCDVM.ACCD.EDU says... >As far as brightest COMEBACK artist, >a few faves would be Syl Johnson, Bobby Patterson, Texas Johnny Brown, >Bruce Channel, Earl Gaines, Clifford Curry, Margaret Lewis, Ollie Nightingale. Bill - I'm surprised Andre Williams isn't on your list....but maybe you haven't gotten around to getting his new release on St. George. This has a great early 50's sound with vocal group backing (I'd give you the name of the group but it escapes me right now. I think it might be the El Dorados). Anyway he does a reprise of his "hit" Jail Bait. There's a fantastic 8 minute version of "Who do You Love?" - the chugging sound created between the vocals and Studebaker John's harmonica is mesmerizing. There are a few new songs written by Andre which are also real winners - "I Get High" and "Gin" come to mind. Another fantastic comeback is "Pig Trader Blues" by Yank Rachell on the Slippery Noodle Records label. I picked this up in Indianapolis a few weeks ago when I was at the Slippery Noodle. He's on mandolin backed by David Morgan on acoustic guitar. Great set. He also tells the story of his first mandolin which he got in a trade for a pig, hence the title of this CD. I listened to this and then dug out my Wolf complete recordings Vol. 2 with Sonny Boy I on harmonica and played them back to back. Mighty fine listening. I'm not sure if Slippery Noodle CDs are widely available but you can mail or phone order from them directly. I also picked up the Cooler Kings disc on this label which I like very much - but they aren't a comeback group since as far as I know, they haven't been gone :-) Art Schuna ========================================================================= Date: Thu, 2 May 1996 16:17:59 CDT Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: Johnnie Johnson's schedule For those of you who are interested, I just received Jphniie's schedule and thought I'ld share it with you: JOHNNIE JOHNSON'S TENTAIVE SUMMER TOUR SCHEDULE Date Type of Event City/State ---- ------------- ---------- May 18 Fountain Blues Festival San Jose, CA May 25 Ratdog Gig San Francisco, CA May 29-June 2 Nescape Blues Festival Brazil, S.A. June 8 Billy Blues Houston, TX June 14 The Bottom Line New York, NY June 15 Fleatwoods Alexandria, VA June 16 The Turning Point Piermont, NY June 29 Lakewood Amp. Atlanta, GA June 22 Charlotte Amp. Charlotte, NC June 23 Walnut Creek Raleigh, NC June 25 VA Beach or Merriweather Post Virginia Beach, VA June 26 Nissan Pavilion Bristow, VA June 28 Deer Creek Music Center Noblesville, IN June 29 Alpine Valley or Marcus Amp. Milwaukee, WI June 30 The World Chicago, IL July 2 Pine Knob Clarkston, MI July 3 Molson Amp. or Kingswood Toronto, Ont. July 4 Darien Center Darien, NY July 6 Spac Saratoga, NY July 7 Meadows Hartford, CT July 8 Great Woods Mansfield, MA July 10 Montage Scranton, PA July 11 Lib. State Park or Downing Stadium Jersey City, NJ July 12 Mann or Ent.enter Philadelpia, PA July 14 Star Lake Burgetstown, PA July 15 Polaris Columbus, OH July 17 Riverport St. Louis, MO July 18 Sandstone Kansas City, KS July 20 Fiddler's Green Denver, CO July 22 Wolf Mountain Salt Lake City, UT July 24 Hilton Amp. Reno, NV July 25 Shoreline Amp. Mountain View, CA July 27 The Gorge Seatle, WA July 28 Portland Meadows Portland, OR July 30 California Expo Sacramento, CA August 1 Blockbuster Devore, CA August 4 Desert Sky Pavillion Phoenix, AZ August 7 Riverfront Blues Festival Ft. Smith, AK Unlisted dates are either his off dates or his rehearsal dates. Hope this helps! Nuri Nuri, Host/Producer "Blues Brunch", Sundays 12-3pm, KPFT 90.1FM - Houston ========================================================================= Date: Thu, 2 May 1996 14:27:36 -0700 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Pick O' The Week Notice my Irish side showing in the Subject: line. ;-) Anyway my pick of the week is Byther Smith's Housefire on Bullseye. The more I listen to this, the more I miss Chicago. This thing is great. I can't wait for the Chicago Blues Festival. Joe ========================================================================= Date: Thu, 2 May 1996 17:37:06 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Part 2 -- Johnny Winter in Cincinnati Okay, I just sent a blank message concerning Johnny Winter's appearance in Cincinnati. Sorry about that. It's late, I'm hungry, I want to go home. It's true. Johnny Winter will be performing at Bogart's here in Cincinnati on Friday, JUNE 21. Tickets are $15, show is at 8:30 p.m. For more info, check Bogart's web site at http://www.bogarts.com/shows/index.html Shannon ========================================================================= Date: Thu, 2 May 1996 17:45:31 -0400 Reply-To: BluesMojo@AOL.COM From: Doug Carlisle WSFM Subject: Radio Playlist for Sunday 4-28-96 "Houserockin' Blues" c/o WSFM SURF 107 Box fm 107 Wilmington, NC 28402 host: Doug Carlisle Sundays 9am-12pm Report to: "Hard Report" & BLUES-L 50,000 watt commercial station featured c/d: Buddy Guy: "Live! The Real Deal" Hour 1 Buddy Guy I've got me eyes on you Silvertone Studebaker John & Hawks Cold, cold heart Blind Pig Robert Cray Tell the landlord Mercury John Lee Hooker Goin' mad blues Music Club Bo Diddley Bo Diddley Checker Buddy Guy Sweet black angel Silvertone John Lee Hooker Chill out Pointblank (JAZZ) Branford Marsalis Say hey Columbia Buddy Guy Talk to me baby Silvertone Roy Buchanan/Delbert McClinton You can't judge a book.... Music Club Ronnie Earl & Broadcasters Still soul searching Bullseye Jimi Hendrix Mannish boy MCA Hour 2 Buddy Guy My time after a while Silvertone Eric Clapton Hoochie coochie man Reprise Son Seals Don't pick me for your fool Alligator's 25th Koko Taylor Evil Alligator's 25th Stevie Ray Vaughan Pride & Joy Epic Buddy Guy I've got news for you Silvertone (JAZZ) David Sanborn Hideaway Warner Bros. Buddy Guy Damn right I've got the blues Silvertone Frank Hovington Mean old frisco Rounder's 25th Roomful of Blues Texas Flood Rounder's 25th Hour 3 Buddy Guy First time I met the blues Silvertone Chris Smither Bittersweet HighTone Memphis Sheiks Matrimony Blues Inside Memphis Taj Mahal The hustle is on Private Buddy guy Ain't that lovin' you Silvertone Stevie Ray Vaughan Little Wing Epic (JAZZ) Spyro Gyra Stripes MCA Buddy Guy Let me love you baby Silvertone Kenny Wayne Shepherd Born w/ a broken heart Giant Willie "Big Eyes" Smith Sure as you live Blind Pig Johnny Neel & Last Word Maydell Big Mo ========================================================================= Date: Thu, 2 May 1996 14:51:59 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Long cords and Wireless Mike said: >While the usual reason for wireless is freedom to roam, etc., one very valid >and usually overlooked reason to use one is sound quality. > >A long guitar cord absorbs higher frequencies, especially on (high >impedance) dual coil pickups (humbuckers). edit edit Yes they do, and 20 feet is the practical maximum even for single coils. I can't use wireless since I use a variable booster/buffer amp in the guitar that can output +20dbv (very very hot signal) when cranked up, (for when you just HAVE to have that -gain- through yer brain....) Ain't no cohd-less out there can handle that signal. Also, to be honest, I can *hear* the wireless system and don't like what it does to my tone. Yet I know there are a lot of people who like them and who sound just fine. There is another solution however. Deane Jensen and I started work on a transformer system a few years back that would turn the signal into low impedance at the guitar, and back to high impedance at the amp, with as much cord as you could ever want between them and no loss of anything important. No loss of treble, no loss of bass, no loss of tone, and only about 1.5db level drop through the whole system. And trust me, you won't notice 1.5db in a guitar setup. If anyone is interested in how to do this let me know, and maybe I can get this project off the way back burner! DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Thu, 2 May 1996 17:49:34 -0400 Reply-To: Jon Duttweiler From: Jon Duttweiler Subject: Sitting & Thinking - John Primer Well, the month of May is Code Blue month at NY CD Blues and all of their CDs are reviewed are at our site. *PLUS* we are giving away 5 of their 6 releases in our monthly giveaway game (details on our main page -just hit the [Win CD's] ). Also, as Jim already informed the list, the newest Sherman Robertson, "Here and Now," is available to win at his "Jim's Brews and Blues" (you can drop by and read the NY CD Blues review of it as well). Code Blue is a great new blues label that deserves some attention! Now, on with the show... ____________________________________________ JOHN PRIMER THE REAL DEAL CODE BLUE #82863-2 There may not be a more aptly title blues CD released in the past ten years. If any "up and coming" artist can claim to be the "real deal," John Primer can. Raised in Mississippi, he moved to Chicago in 1963 where he went to school on the likes of Muddy Waters, Howlin' Wolf, Jimmy Reed and BB and Albert King. In 1974, he joined the house band at Theresa's and played with luminaries such as Willie Dixon, Junior Wells and Sammy Lawhorn (one of Muddy Water's vastly underrated guitarists!). Primer followed in Lawhorn's footsteps in 1980 by becoming part of Muddy Waters' last band, playing with the great man until Muddy's death in 1983. Of course, for the past 13 years he has been the second guitarist for Magic Slim and the Teardrops. I call that "real deal" credentials! This release, Primer's fourth solo outing by my count, is his first on a "major" label (Code Blue is a division of Atlantic Records), and should propel him into the limelight he so richly deserves. Mostly a collection of Primer originals, he does pay tribute to his influences in covers of tunes made famous by Muddy Waters, Willie Dixon and Ray Charles. On the covers, as well as his originals, Primer roots himself firmly in the Chicago blues traditions. A blues "traditionalist," Primer is not an imitator. His is a straight ahead approach to the blues, as you would expect from someone working 13 years with Magic Slim. But Primer puts his own mark on the music, where you can hear his influences yet know this is John Primer. The guitar work, of course, is exceptional on this CD. What stands out are Primer's vocals, which are the strongest and most self-assured that I have heard from him. Producer Mike Vernon has surrounded Primer with a stellar group of sideman, including the wonderful Billy Branch on harmonica and longtime Albert Collins' bassman Johnny B. Gayden. From the Teardrops we have drummer Earl Howell and rhythm guitarist Jake Dawson, who has filled in Primer's shoes for that band. Rounding out the mix is the splendid pianist David Maxwell who contributes his driving style to this disc. This is a first class group of blues musicians who are tight and play exceptionally well together, making what very well may be one of the blues CDs of this, or any, year! STOP DRAGGIN' THAT CHAIN AROUND / TOMORROW MIGHT NOT BE THE SAME / STILL IN LOVE WITH YOU / BLIND MAN BLUES / HOW LONG WILL YOU BE MINE / GOOD UNDERSTANDING / COME BACK BABY / CRYIN' FOR YOUR LOVE / BAD BLOOD / I CALLED MY BABY / SHE WON'T GIMME NO LOVIN' / TIRED AND WORRIED NY CD Takes STOP DRAGGIN' THAT CHAIN AROUND: Primer and company open up the set with a rousing shuffle by bassist/producer Bob Greenlee. This is the type of cut that might have been recorded by any number of Chicago bands in the 50s but is all too rare today. Strong, driving rhythms, coupled with Billy Branch's smoking harp work provide Primer an excellent backdrop for stinging lead guitar work. Primer's vocals at times take on a distinctly Muddy Waters edge and Dave Maxwell's piano is raging in the background! TOMORROW MIGHT NOT BE THE SAME: A John Primer original, this track harkens back once again to the Chicago blues of the fifties. The feel is definitely Muddy Waters, with Dave Maxwell playing Otis Spann's role to the hilt! Primer seemed to have learned more than just the music from Muddy, giving the many standout musicians in this lineup a chance to shine, Maxwell on piano and Billy Branch again blowing smoke on harp. STILL IN LOVE WITH YOU: The band gets into a deep, slow groove on this cut as Primer heats up vocally. Primer's slide work is not as frenetic as Muddy's, but there is an unmistakable quality that marks it of that lineage. Maxwell again pounds the ivories, providing "maximum r&b!" This is a cut that cooks from beginning to end and will have you wishing it would never end. BLIND MAN BLUES: Primer's cover of the Lafeyette Leak penned Waters' tune would warm Muddy's heart. Close your eyes during parts of this cut and you'll swear someone managed to go back and record Muddy and band in its prime with modern recording equipment. Every ingredient for stellar Chicago blues is here, from Primer's vocals, which at times eerily sound like Muddy, to Branch's wonderfully syncopated harp playing to Maxwells rousing piano. HOW LONG WILL YOU BE MINE: Utilizing many Chicago blues standard building blocks, this cut has a distinct Elmore James quality to it that Primer works to great effect. Primer's vocals take on a hard edge for this cut and his slide work as just the right "saw playing" touch. The band rips along through this cut, with Dave Maxwell again standing out on the ivories. GOOD UNDERSTANDING: This Willie Dixon tune is really a showcase for Dave Maxwell's piano, which is the highlight of the cut. Primer handles this in an easy vocal styling while Maxwell flat burns up the keys. The guitar solo is a study in taste - a study many would-be blues guitarists should attempt to undertake. While Primer is more than able to burn up the fret, he clearly knows the value of phrasing and timing. COME BACK BABY: Slow blues ballad, made famous by Ray Charles, with just a touch of a country feel to the way Branch blows his harp. This is a laid back number that settles the listener back in a groove and carries you along with it. Primer's guitar playing is beautiful and plaintive as he engages in counterpoint with Billy Branch's harmonica, the instrumentals winding in and out amongst themselves. It can't be done much better than this. CRYIN' FOR YOUR LOVE: Back to a Primer original, this shuffle turns the heat back up and gets the blood pumpin'. Branch's harpwork and Maxwell's piano are again given a chance to standout, which they do! Maxwell rolls up and down the keyboard and provides a solid anchor under both Primer's and Branch's solo work. A top flight example of Chicago blues at its best! BAD BLOOD: Mike Vernon penned this "socially aware" blues number, that opens up with a biting single string lead from Primer over the rhythm section. Decrying the divisiveness with society, man's perennial inhumanity to man, this track has a sparse feel to it. A second guitar and piano are down in the mix with only Primer's lead and the drums right up front. Very effective demonstration of how music reinforces, and sometimes IS, the message. I CALLED MY BABY: Primer takes off on another Elmore James inspired cut, again getting just the right singing sound out of his slide work. Dave Maxwell sounds all the world like Otis Spann or Pinetop Perkins here, rolling up and down the ivories and then cutting back to solid rhythm work. If you love piano, he'll blow you away here! Branch's harmonica is sizzling in the background and Primer's vocals are gutty. Superlatives are hard to come buy when a band is this consistently good! SHE WON'T GIMME NO LOVIN': The band gets in the groove on this cover of the Albert King song. Primer doesn't try to imitate King, he just puts his own stamp on it and gets tight and funky. His lead work is particularly scintillating in the background and them comes out front for a blistering solo that blends right into Billy Branch harp attack! TIRED AND WORRIED: This cut is a rollicking rocker in the best of the Chicago blues traditions. Another Primer original, the band cooks the whole way through this number, tight, solid and rocking. This is the type of song that helped create rock 'n' roll, but is firmly blues all the way. Primer and company have made a CD that is first rate, 100% Chicago blues, as good as anything that has come out in years! Give this disc a listen and you'll agree that Primer is, in fact, the "real deal!" Reviewed by Jon Duttweiler Copyright NY CD Blues @1995-1996 All Rights Reserved. Unauthorized use prohibited. NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 2 May 1996 22:14:59 GMT Reply-To: "W.T. Pfefferle, Ph.D." From: "W.T. Pfefferle, Ph.D." Organization: customer of Internet America Subject: JazzFest! Comments: To: bit-listserv-blues-l@uunet.uu.net Great review of New Orleans Jazz Fest http://web2.airmail.net/bhate/zig.htm ========================================================================= Date: Thu, 2 May 1996 16:09:19 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Gearheads - point to point redux Hi everybody! Randy Smith, the prez of Mesa Boogie has a pretty good article on the point to point controversy on their we page. The address is: http://www.mesaboogie.com/point.html Of course his philosophy produces amps which sound like his version of good tone, and other's will be be different. But it is an interesting perspective and he makes some really good points. Did any of you see the near-enshrinment of Ken Fischer (of Trainwreck circuits) in the last Vintage Guitar. Man if that writer had drooled any more he would have been electrocuted. Of course, it made me want to hear one of those amps. Has anyone heard a Trainwreck amp? Opinions? DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Thu, 2 May 1996 23:37:14 GMT Reply-To: Budgie From: Budgie Organization: Hawklords Subject: These blues are...whose? Comments: To: bit-listserv-blues-l@uunet.uu.net Not only is this probably going to seem like a very simple question to just about everyone in this group, but I'm about to butcher some lyrics too. I heard a song on the radio yesterday with a chorus that went something like this: I got one thing I love So don't try to waste my time You can take anything you want But these blues are mine Who does this? Thanks in advance. Ron -- Everytime we try to impose order we create chaos. We create chaos--breakdown. I have my doubt; a state of eternal conflict is all I have found. We build a wall that is made of tears, watch the house fall down...and at the end of my life...yes, at the end of my life...all shall be well...all is as it was always meant to be... (Killing Joke) ========================================================================= Date: Thu, 2 May 1996 16:54:46 -0700 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Re: Corey Harris CD Comments: To: L W In-Reply-To: I don't know if I'm a purist, But I'll tell you what I think of Guy Davis. He plays exceptional guitar, a tad bit safe for my taste but great execution and tone. The tunes he has on his album, are many of my favorites especially the Blind Willie McTell. I heard his record in a local store at a listening station, and I listened to the entire lp. But i didn't buy it for one reason, the covers that he does are kinda note for note. That and he didn't really speak to me that much, I didn't feel what he was singing ring out in my soul. But I would like to see him live, and I if I had money to spare i would consider picking up that record to give another run through. Isaac On Thu, 2 May 1996, L W wrote: > On Thu, 2 May 1996 11:55:41 -0500 Timothy M Dellinger said: > >>Harris' music is genuine (avoiding the word "authentic"). If you like > >>acoustic Delta blues, you will definitely appreciate Corey Harris. > > > > I was also disappointed with the Corey Harris. At first, I thought > >"Wow, great, someone who plays in my favorite style!", but then after a > >good intense listen, I found that I was not interested in Corey Harris at > >all. > > I've already admitted to not being moved by Corey's CD, I would still buy it > again just to support a NEW acoustic blues artist. I have to applaud Alligator > for FINALLY putting out a solo acoustic artist (an Alligator first). > > I haven't heard Guy Davis yet...opinions...please especially you purists :-) > > LW > ========================================================================= Date: Thu, 2 May 1996 16:59:48 -0700 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Thanks... Thanks to everyone who responded. I'll be looking for this on some medium (CD, casette, or vinyl) The general consensus was The Meters/Cissy Strut. It looks like it ought to be pretty easy to find. Joe ========================================================================= Date: Thu, 2 May 1996 18:25:54 -0700 Reply-To: Douglas Edward Smith From: Douglas Edward Smith Organization: Stanford University, CA 94305, USA Subject: Re: Corey Harris CD Comments: To: bit-listserv-blues-l@uunet.uu.net I like the Corey Harris CD and would recommend it. I'm looking forward to hearing him at the Chicago Blues Festival May 31-June 2. The music is great and the recording quality is vastly superior to anything recorded in the 60's, let alone the 1930's. (I can only stand so much hiss, pop, crackle and clipped dynamic range, no matter how good Robert Johnson was) I also like Keb Mo's CD a lot; it is a more polished full band playing, as compared to the spare, unaccompanied, "unprocessed", solo music of Harris. Doug ========================================================================= Date: Fri, 3 May 1996 02:40:33 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1971, National Public Radio was born. All things considered, it was one of the best things to ever happen to radio. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ I find television very educational. Every time someone switches it on I go into another room and read a good book. - Groucho Marx ========================================================================= Date: Fri, 3 May 1996 01:06:12 -0600 Reply-To: DeWayne Brown From: DeWayne Brown Subject: Re: help for zztop Comments: To: Michael Twomey In-Reply-To: Tsk, Tsk, Mike. I suggest you pull out your old ZZTop if you have any, and have another listen. At least pick up `One Foot in Blues'. DeWayne Brown, Director CROSSROADS Outreach (Edmonton Alberta Canada) voice: (403) 474-7421 fax: (403) 471-2311 email: dewbr@freenet.edmonton.ab.ca On Thu, 2 May 1996, Michael Twomey wrote: > Serdar Mayda (MFJEO02@IZMIR.ENG.DEU.EDU.TR) wrote: > : I am a new blues listener and i would like learn everythink about > : ZZTOP and their Blues carrier.Could someone help? > > : Serdar Mayda > : Dokuz Eylul Univ. > : Dept.of Geol. > : e-mail:mfjeo02@izmir.eng.deu.edu.tr > > As soon as their blues career starts, we'll let you know. > Mike Twomey > ========================================================================= Date: Fri, 3 May 1996 06:21:31 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Blues CD's on the net - a plug but a good one. Disclaimers first - we have no financial or business interest in Strategy Records. This is just our pay back to everyone who has been visiting our site. You should definitely put in your url list (or if you have a site and a links list, ADD THIS LINK) the new home of Strategy Records at - http://www.panix.com/~bsco/strategy/ Here's the skinny on Strategy. Many of you may know Karl and Strategy Records. For those of you who don't - he is simply the best resource for blues discs on the net. Unlike the other online CD resources Karl carries the complete output from all the blues labels and he offers them at $13.99 each (that includes all S&H and any taxes). If for any reason Karl does not have a disc in house he will do special orders. This means that all the discs from labels like Wolf, Document etc. are available. No more waiting or missing out on those hard-to-finds. I highly recommend you give Karl your attention. He works hard and he really is a blues lovers friend. In addition, here are a few extras from Strategy - 1. he ships worldwide 2. he is further discounting all NY CD Blues "featured labels". When you get to his site read the offer - it's very nice and also worth using. (we also have no financial or other interest in any of our "featured labels" - these are just the labels that we are reviewing at our site). 3. besides e-mail he has phone and FAX contacts. You can actually talk to a living breathing person on this one. I know this is a plug, but it's one worth checking into. Once again - if you have a site, PLEASE add Karl's link. He really deserves all of our support. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Fri, 3 May 1996 06:50:56 -0400 Reply-To: TDominey From: TDominey Organization: America Online, Inc. (1-800-827-6364) Subject: Re: WHY BLUES????? :) Comments: To: bit-listserv-blues-l@uunet.uu.net Granted many blues songs stick to 8 and 12 bar progressions, and some songs are virtually identical with a little tinkering of the lyrics, but artists like Jr. Kimbrough and Satan (of Satan & Adam) play licks on the guitar that I still can't figure out...they definitely get out of the I-IV-V rut... ========================================================================= Date: Fri, 3 May 1996 07:11:24 -0400 Reply-To: Michael Coch From: Michael Coch Organization: The Pipeline Subject: (was Re: Van Morrison) Van & Spoon. On May 01, 1996 09:56:53 in article , 'shannon oconnor ' wrote: >Subject: Re: the Man (was Re: Van Morrison) >Author: David Silberberg at INTERNET_TP For those of you interested, Van Morrison just finished a 4 night set at New York's Supper Club with Jimmy Witherspoon opening and joining him later in the show. Spoon sang wonderful versions of "What A Wonderful World" and "Time's Gettin' Tougher Than Tough" and with Van of note was a strong rendition of "Stormy Monday." Best, Mike ========================================================================= Date: Fri, 3 May 1996 07:37:38 EDT Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: These blues are...whose? Those blues are Monster Mike Welch's. CD is These Blues Are Mine. If I remember correctly, the label is Code Blue. Dave Carpenter Blues Music Director - WHUS-FM University of Connecticut - Storrs, CT http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Fri, 3 May 1996 08:54:40 -0300 Reply-To: Rob Hutten From: Rob Hutten Subject: Mike Bloomfield book A friend of mine is looking for an out-of-print book entitled "Mike Bloomfield: The Rise And Fall Of An American Guitar Hero" Books In Print has no listing for such a book, and it's not found in any of the Beasley catalogues I have (#83-90). If anyone has any information as to the availability of this book, please email me. Thanks, -Rob ========================================================================= Date: Fri, 3 May 1996 07:59:00 -0400 Reply-To: FORCELLAD@CCSUA.CTSTATEU.EDU From: Domenic Forcella Subject: Johnny Winter on tour(?) a CT visit Johnny Winter will bw at the Webster Theater in Hartford, Ct on May 11 with the Rick Derringer Band. The Webster is Hartford's newest music venue. An old classic theater with the seats removed, big stage, great sound, and 2 bars. The Webster is running the gamut of musical tastes. Domenic Forcella Traveling with the Blues (no interest in the Webster except as another place for Blues) ========================================================================= Date: Fri, 3 May 1996 08:18:24 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: These blues are...whose? Dave Carpenter wrote: >Those blues are Monster Mike Welch's. CD is These Blues Are Mine. If I remember >correctly, the label is Code Blue. Wrong label Dave. Its Tone-Cool #CDTC 1154 Beef Stew ____________________________________________________________________________ The Blues Playground - Sundays at 9pm on 107 FM WCCC - Hartford, CT 50,000 watts of Blues power! Host/programmer: Stew Crossen (Beef Stew) 18 Boxwood Drive Vernon, CT 06066-5106 tel: 800.970.5151 http://www.neca.com/~bfstew bfstew@neca.com Reporting to: Living Blues, The Hard Report and BluesWire magazine. ========================================================================= Date: Fri, 3 May 1996 09:09:45 -0400 Reply-To: Chris Smith From: Chris Smith Subject: mark bradley's query Sorry to bug everybody on blues-l with this, but as can be seen I tried to reply to Mark Bradley's query privately, and it failed - so Mark, here's another stab at it. >Date: Thu, 2 May 96 18:38:46 +0100 >From: punt-2.mail.demon.net Mail System (MMDF) >Sender: mmdf@punt-2.mail.demon.net >Subject: Failed mail (msg.aa08344) >To: chris@skerries.demon.co.uk > > Your message could not be delivered to >'mjg@bradley.bradley.demon.co.uk (host: relay-1.mail.demon.net) (queue: >badhosts)' for the following >reason: ' (BHST) Unknown host/domain name in >"mjg@bradley.bradley.demon.co.uk"' > > > Your message follows: > >Received: from post.demon.co.uk ([158.152.1.72]) by punt-2.mail.demon.net > id aa08344; 2 May 96 18:37 +0100 >Received: from skerries.demon.co.uk ([158.152.255.88]) by >relay-3.mail.demon.net > id aa11804; 2 May 96 18:37 +0100 >X-Sender: (Unverified) >Mime-Version: 1.0 >Content-Type: text/plain; charset="us-ascii" >To: mjg@bradley.bradley.demon.co.uk >From: Chris Smith >Subject: Re: Nick Holt/Brownie >Message-ID: <831058653.11804.0@skerries.demon.co.uk> > >You wrote > >>Hey Art (or anybody else who may know). Can you tell me when the tracks on >>Brownie McGhee's Flyright (105) release "Carolina Blues" were recorded? >>Also, does Sonny Terry appear on this album? >> >>Thanks, >> >>Mark >>Political Science/Bradley University > >From my discography in progress. The layout's a mess, but it gives you what >you want to know, I hope. You get details of the one Fuller track with >Terry on as well: > >BLIND BOY FULLER >BLIND BOY FULLER and SONNY TERRY (WC-3138/9/40, WC-3143) >BROTHER GEORGE and HIS SANCTIFIED SINGERS (OKeh 05671, 05729) >Blind Boy Fuller, v/g; Sonny Terry, v-1/hca-2; Bull City Red, v-3/wb-4. >New York City, NY, 19 Jun 1940 > >WC-3138-A I Don't Want No Skinny Woman- 2, 4 OK 05657, Cq 9377, >Co 30090, 37788, > Fly LP 105, Jass LP 3, 5LP 1, Doc CD 5096, > EPM(F) CD 158562 > >BROWNIE McGHEE >Brownie McGhee, v/g; Jordan Webb, hca ex-1; Oh Red, wb ex-2. >Chicago, Il, 6 Aug 1940 > >WC-3223-A Picking My Tomatoes OK 05785, Cq 9563, Co 30152, Fly LP >105, > Wf CD 114, Co 2CD 52933, > Best of Blues(F) 2CD 20 >WC-3224-A Me And My Dog Blues -1 OK 05933, Cq 9765, Co 30152, Fly LP >105, > Wf CD 114, Co 2CD 52933 >WC-3226-A I'm Callin' Daisy OK 06007, Cq 9766, Fly LP 104, Doc >LP 541, > Co 2CD 52933 > >Chicago, Il, 7 Aug 1940 > >WC-3236-A Poison Woman Blues OK 05881, Cq 9566, Co 2CD 52933, >Fly LP 105, > Wf CD 114 > >BROWNIE McGHEE (BLIND BOY FULLER # 2) >or BLIND BOY FULLER # 2 >Brownie McGhee, v/g; prob Jordan Webb, hca-1; Washboard Slim (Robert >Young), wb ex-2/sp-3. >Chicago, Il, 22 May 1941 > >C-3782-1 Step It Up And Go No. 2 -3 OK 06698, Cq 9940, Co >30027, 37460, > 2CD 52933, Fly LP 105 >C-3783-1 Money Spending Woman -1 OK 06419, Cq 9937, Fly LP 105, Wf >CD 114, > Co 2CD 52933 >C-3788-2 Double Trouble -1 OK 06419, Cq 9939, Fly LP 105, Wf >CD 114, > Co 2CD 52933 >C-3793-1 Try Me One More Time OK 06265, Cq 9940, Fon(NL) LP 682099, > Fly LP 105, Wf CD 114, Co 2CD 52933 > > >Chris Smith (chris@skerries.demon.co.uk) >Be nice to your children; they'll choose your nursing home. > > Chris Smith (chris@skerries.demon.co.uk) Be nice to your children; they'll choose your nursing home. ========================================================================= Date: Fri, 3 May 1996 09:15:12 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: European Mail Order Catalogs? Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com Can anyone tell me a good source for mail ordering cds in Europe. My brother lives in Denmark, and he wants me to send him a catalog where he can order cds (blues and other styles of music) from. Does elderly Instruments ship to Europe? -Steve ========================================================================= Date: Thu, 2 May 1996 19:27:19 -0700 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Girls Just Wanna Get Paid/Let The Good Times Roll Interesting little item in New Orleans' weekly paper, Gambit, this week: ================================ GOOD TIMES ROLL FOR SINGER Just in time for JazzFest, the U.S. Fifth Circuit Court of Appeals has affirmed a district court judgment declaring R&B musician Shirley Goodman as the co-author and part copyright owner of the hit song "Let the Good Times Roll." The appeals court decision also affirms the lower court award to Goodman of $670,899 in royalty payments. Composed in 1956 by Goodman and her childhood friend Leonard Lee--under their professioal name "Shirley & Lee"-- the song has since been recorded by such artists as Chuck Berry, Jimi Hendrix, B.B. King, Ray Charles and Barbra Streisand. The teenage party record was an R&B hit in the 50s and was banned by "some white DJs who thought it was suggestive," according to the Penguin Encyclopedia of Popular Music. Shirley & Lee worked together as a rock n roll duo from 1953 to 1961, composing and recording songs. After they split, Lee recorded for Imperial Records and Shirley journeyed to New Orlens to work with dr. John and others. Goodman's suit claimed that Lee listed himself as sole author of the smash hit when he had the song copyrighted. Consequently he received all of its royalties from 1956 until his death in 1976. Goodman demanded her share of royalty payments when Lee's widow tried to renew the copyright. ================================== -- Maggie Mortensen<>Exarch Services<>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 'Born with the blues, my blue suede shoes, and underlying depression...' --Van Morrison ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Fri, 3 May 1996 09:50:58 -0400 Reply-To: BluesMojo@AOL.COM From: Doug Carlisle WSFM Subject: Looking for an artist??? Help!! Good FRIDAY y'all!!! I'm looking for the female artist who sings in a current Mercedes TV commercial......is it Ella Fitzgerald??? What is the name of the song??? Doug bluesmojo@aol.com ========================================================================= Date: Fri, 3 May 1996 09:19:11 CST Reply-To: William Shute From: William Shute Subject: happy birthday Homesick James! From: Bill Shute When I saw on Henry Busse Jr.'s birthday list that today is Homesick James Williamson's birthday, I just had to say something, even though it is a Friday morning, I'm looking to get through work as fast as I can today, I haven't had enough coffee, and I'm in a bad mood. Despite all that, Homesick James deserves some praise and birthday good-wishes. Not only does Homesick have a distinguished blues record going back to the late 30s, not only does he have a series of fine recordings spanning multiple decades (check out his great l960s Prestige album, which has been reissued on CD/cassette), not only is he STILL making fine music (his two on Appaloosa are wonderful), but to me his Earwig album GOIN BACK IN THE TIMES (is that the title? as I said, I'm burned out this morning)--mostly solo electric gtr, but with Honeyboy Edwards joining him on some tracks--is one of the best REAL blues albums of the DECADE. Here AT LAST is a record worthy of the pre-war greats--- with the irregular bar structures, percussive effects on the gtr, and spontaneous from-the-gut blues as truth-telling, GOIN BACK IN THE TIMES should be filed alongside Skip James, Robert Pete Williams, and the like. This is the rich, AFRICAN-American music that is what the blues SHOULD be about. With every bar-band now playing R&B covers and labelling themselves a blues band; with every rock has-been reinventing himself/herself as a "blues" performer just because they owned the first few Stones albums as a kid; with people like Tinsley Ellis and Ronnie Earl, who should be playing fusion ersatz-jazz, siphoning off the blues fan's $$$$$$$; it's even more important that performers such as Homesick, Henry Qualls, Honeyboy Edwards, Frank Frost-Big Jack Johnson-Sam Carr, , Yank Rachell, Peppermint Harris, much of the Fat Possum stable of artists, Brewer Phillips, et al are still around and active. With the passing of Zuzu Bollin, the health problems of Jessie Mae Hemphill, the weakened position of Snuff Johnson, the recent death of Erbie Bowser (and also of Mr. Stubbs!!!), and so many other losses, EVERY performance and recording of those still at it becomes precious and even more valuable. When Homesick drags that slide across the strings of his gtr, he summons up primal forces and a rich tradition that makes me feel revived, transformed, and WISER. With roots like his, he's the blues equiv. of those centuries-old redwood trees in California or those turtles off the coast of South America who were born before Abraham Lincoln was born! Thanks to Homesick James Williamson for hangin' in there and serving as a living reminder of the power of REAL blues. Bill Shute "livin' like a bear" in San Antonio, TX (quoting homesick james...) ========================================================================= Date: Fri, 3 May 1996 10:14:26 -0400 Reply-To: NashHead From: NashHead Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Looking for an artist??? Help!! Comments: To: bit-listserv-blues-l@uunet.uu.net The one I've been hearing is Janis Joplin. M-E Baer >Subject: Looking for an artist??? Help!! >From: Doug Carlisle WSFM >Date: Fri, 3 May 1996 09:50:58 -0400 >Message-ID: <960503095055_389453021@emout07.mail.aol.com> > > I'm looking for the female artist who sings in a current Mercedes TV >commercial......is it Ella Fitzgerald??? What is the name of the song??? > >Doug > >bluesmojo@aol.com M-E Baer BaerFeat Productions ========================================================================= Date: Fri, 3 May 1996 07:52:50 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: May 4 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ADAMS, OLETA (v) b. 19 -0504, KANSAS CITY, MO ASHFORD, NICKOLAS (of ASHFORD & SIMPSON) b. 1942-0504, FAIRFIELD, SC BELKIN, HERBERT (ceo/MOBILE FIDELITY REC) b. 1939-0504, NEW YORK CITY, NY BROOKS, SHELTON (songw) b. 1886-0504, AMESBURG, ONTARIO BURTON, JOSEPH (tbn/JUNIOR WELLS/B.B.KING)b. 1952-0504, CHICAGO, IL BUTTERFIELD, PAUL (hca) d. 1987-0504, HOLLYWOOD, CA 44 CARTER, RON (b) b. 1937-0504, FERNDALE, MI DAVIS, GUY (g/hca/RED HOUSE REC) b. 1956-0504, NEW YORK CITY, NY DAVIS, TYRONE (v/DAKAR/ICHIBAN REC) b. 1938-0504, GREENVILLE, MS DICKERSON, DAVE (g/FLYRIGHT REC) b. 1913-0504, TIP TOP, W. VA DROUSSART, GUY (JOSEPH SPENCE biographer) b. 1949-0504, ANTWERP, BELGIUM FULSON, NOWELL DEWAYNE (d) d. 1994-0504, LOS ANGELES, CA 32 HAMILTON, WILLIAM "FESS" (p) b. 1895-0504, MIDWAY, KY HUNT, VAN ZULA CARTER (v/NOAH LEWIS) d. 1995-0504, MEMPHIS, TN 93 JACKSON, JACKIE (of THE JACKSONS) b. 1951-0504, GARY, IN LITTLE, WILBUR (b) d. 1987-0504, AMSTERDAM, HOLLAND 59 PAYNE, SONNY (d/BOSTIC/BASIE/GRIMES) b. 1926-0504, NEW YORK CITY, NY SLOVEN, LARRY (co-owner: HIGHTONE REC) b. 1950-0504, WELLS,JOHN "BOOGIE DADDY"(BLUES-L MEMBER) b. 1947-0504, STARKVILLE, MS WEST, DOC (d/HOT LIPS PAGE) d. 1951-0504, CLEVELAND, OH 35 ------------------------------------------------------------------------------- ========================================================================= Date: Fri, 3 May 1996 10:48:21 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Girls Just Wanna Get Paid/Let The Good Times Roll Comments: To: Maggie Mortensen On 2 May 96, Maggie Mortensen had this to say: > Interesting little item in New Orleans' weekly paper, Gambit, this week: > Goodman's suit claimed that Lee listed himself as sole author of the smash hit when he > had the song copyrighted. Consequently he received all of its royalties from 1956 until > his death in 1976. Goodman demanded her share of royalty payments when Lee's widow > tried to renew the copyright. > ================================== The obvious question for this juror would be why did she wait until Lee was dead to make her claim? Did the article go into that? P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ I find television very educational. Every time someone switches it on I go into another room and read a good book. - Groucho Marx ========================================================================= Date: Fri, 3 May 1996 10:48:20 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Looking for an artist??? Help!! Comments: To: BluesMojo@aol.com On 3 May 96, BluesMojo@aol.com had this to say: > Good FRIDAY y'all!!! > > I'm looking for the female artist who sings in a current Mercedes TV > commercial......is it Ella Fitzgerald??? What is the name of the song??? Please tell me you are not listening to Janis Joplin and guessing Ella Fitzgerald. One of them sounds like an angel, and the other sounds like worn out brake pads. Do the lyrics go... "Oh Lord won't you buy me a Mercedes Benz, My friends all drive Porches and I must make amends"? If so... that's the brake pads. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ I find television very educational. Every time someone switches it on I go into another room and read a good book. - Groucho Marx ========================================================================= Date: Tue, 30 Apr 1996 18:19:13 +0100 Reply-To: Bluesman From: Bluesman Subject: Bluesquiz II And Luther Allison also! I missed him when he came to my town :-( but all my friends told me that he jumped out of stage too! :-o Jose. Spain. ****************************************************************************** - Everyday I Have The Blues - ========================================================================= Date: Fri, 3 May 1996 11:04:35 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: These blues are...whose? Comments: To: "david m. carpenter" <103156.340@COMPUSERVE.COM> In-Reply-To: <960503113737_103156.340_IHE55-1@CompuServe.COM> On Fri, 3 May 1996, david m. carpenter wrote: > Those blues are Monster Mike Welch's. CD is These Blues Are Mine. If I remember > correctly, the label is Code Blue. Yes, Yes and No. The label is Tone Cool. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Fri, 3 May 1996 14:55:26 GMT Reply-To: "D.G.Poole" From: "D.G.Poole" Organization: Pipeline USA Subject: Re: European Mail Order Catalogs? Comments: To: bit-listserv-blues-l@uunet.uu.net On May 03, 1996 09:15:12 in article , 'Steve Levine ' wrote: >BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#B >ROWN#f#EDU@s1boca.corp.wrgrace.com >To: Netnews Server > >Can anyone tell me a good source for mail ordering cds in Europe. My >brother lives in Denmark, and he wants me to send him a catalog where >he can order cds (blues and other styles of music) from. Does elderly >Instruments ship to Europe? > >-Steve Check out www.cdworld.com David ========================================================================= Date: Fri, 3 May 1996 11:09:49 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: European Mail Order Catalogs? Comments: To: Steve Levine In-Reply-To: On Fri, 3 May 1996, Steve Levine wrote: > Can anyone tell me a good source for mail ordering cds in Europe. My > brother lives in Denmark, and he wants me to send him a catalog where > he can order cds (blues and other styles of music) from. Does elderly > Instruments ship to Europe? > -Steve Steve, I posted earlier the new home page for Strategy Records. No catalog tho. However, if your brother has web access he can go to our main site (see below) and there are plenty of cat- alogs on-line all blues and all available mail order to Eur- ope. If no access let me know and I will forward you TEL. & FAX for Karl and/or e-mail. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Fri, 3 May 1996 11:22:13 -0400 Reply-To: Dave Markovits From: Dave Markovits Subject: James Carr Excuse me for drawing a blank. Can anyone on the list tell me about Memphis singer James Carr. He is playing two nights, Fri. May 10th and Sat. May 11th at Rosa's(Chicago's friendliest Blues Lounge) Also, Does anybody have a current lineup of acts playing at The Kansas City Blues and Jazz Fest. I know Mem, Boozoo Chavis and others are appearing,but the lineup is slipping my mind. It being Friday and all. EnjoyDavid Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Fri, 3 May 1996 09:31:40 -0600 Reply-To: Bruce Stovel From: Bruce Stovel Subject: handys Hey, people! It's May 3. Who won the Handys, and what were the night's highlights? Anyone know? Bruce Stovel ========================================================================= Date: Fri, 3 May 1996 10:39:03 -0500 Reply-To: Storm Bailey From: Storm Bailey Subject: Brightest New Blues Artist "New" is of course an ironic description for all the people mentioned who've worked so long and hard for some national exposure...but, anyway, folks outside of SE wisconsin have a chance to hear Madison's own Paul Black and the Flip Kings (with "Westside" Andy Linderman on harp). You might have seen Paul demoing Latch Lake slides at NAMM or wherever, but his new Private/HOB release was supposed to be out April 30 (might be called 'King Dollar Holler' but I'm not sure). I am, I admit, a fan, but Paul's slide playing and electified delta sensibility just might put you right. (They don't sell blues records here in Decorah IA but I'm leaving town this weekend to get this one...) Storm ========================================================================= Date: Fri, 3 May 1996 10:37:58 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: WHY BLUES????? :) Comments: To: TDominey In-Reply-To: <4mcoeg$3br@newsbf02.news.aol.com> On Fri, 3 May 1996, TDominey wrote: > Granted many blues songs stick to 8 and 12 bar progressions, and some > songs are virtually identical with a little tinkering of the lyrics, but > artists like Jr. Kimbrough and Satan (of Satan & Adam) play licks on the > guitar that I still can't figure out...they definitely get out of the > I-IV-V rut... > I think it's only a rut if your imagination is limited. I know that some recordings are direct immitations of others, but neither the I-IV-V, nor the "shuffle in A" are limited forms unless in the hands of someone uninspired. And not to split hairs, but the simplest licks, that are easily learned, can be played either with inspiration or uninspired. It's not just the ones hard to figure out that make music beautiful, soulful, or expressive. Steve ========================================================================= Date: Fri, 3 May 1996 11:47:12 EDT Reply-To: L McCaffrey From: L McCaffrey Please take me off the list. I do not have any time to read it anymore. Thanks, Luke ------------------------------------------------------------------------------ L McCaffrey ========================================================================= Date: Fri, 3 May 1996 15:57:36 GMT Reply-To: Jeffrey Daniels From: Jeffrey Daniels Organization: UMR Missouri's Technological University Subject: Piano Blues Comments: To: bit-listserv-blues-l@uunet.uu.net Davel Crawford, has a great New Orlean's/gospel sound, plays a mean piano and organ. I can't remember the name of his new cd, it came out about 4 months ago. You wanted some new young talent, Davel is only 21. Jeff ========================================================================= Date: Fri, 3 May 1996 09:07:20 -0700 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Re: Nick Holt/Brownie I really dig the new Nick Holt CD on Wolf. It is a very good release. The Teardrops never cease to amaze me. If Magic Slim isn't around or doesn't feel like singing, both his brother and John Primer are excellent vocalists. This has been in one of the CD players since I bought it. Joe ========================================================================= Date: Fri, 3 May 1996 12:09:20 -0400 Reply-To: Oded Maron From: Oded Maron Subject: Paul deLay Band Anybody know when the new Paul deLay is coming out on Evidence? I picked up "Take it from the turnaround" (on Evidence) which contains two of his older albums - "The other one" and "Paulzilla" (minus 3 tracks). These are an amazing couple of albums. Paul deLay is not only the best harp player you never heard, he's also probably the best blues harp player out there. In addition, his band totters and swings in such fresh and unexpected ways that I smile every time I listen to this disk. Another bonus of this compilation are some of the most brutally honest liner notes I've ever read. They talk uncompromisingly about deLay's alcohol, drug and health problems. If you don't have any deLay and you're hungry for some fresh blues - run run run don't walk. Oded ========================================================================= Date: Fri, 3 May 1996 11:55:36 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: James Carr Comments: To: Markovd@metamor.com In a message dated 96-05-03 11:52:19 EDT, Markovd@METAMOR.COM (Dave Markovits) writes: > Excuse me for drawing a blank. Can anyone on the list tell me about Memphis >singer James Carr. He is playing two nights, Fri. May 10th and Sat. May 11th >at Rosa's(Chicago's friendliest Blues Lounge) > >Also, Does anybody have a current lineup of acts playing at The Kansas City >Blues and Jazz Fest. I know Mem, Boozoo Chavis and others are appearing,but >the lineup is slipping my mind. It being Friday and all. This is a MUST SEE. He was on Goldwax, in the 70s Goldwax hoped to make him into the "next Otis Redding." He damn near had the voice, but nothing else worked for him. But he made some really great recordings (you need to hear his "Pouring Water On A Drownding Man" and "Dark End of the Street"). His recordings are finally widely available on a reissue, I forget the label (Razor and TIe?). I bought them on insanely expensive Japanese reissues. Tom Freeland ========================================================================= Date: Fri, 3 May 1996 11:24:58 -0500 Reply-To: akapil@MEDICINE.BSD.UCHICAGO.EDU From: "" Subject: WC Handy Awards in Memphis Hi all, The Chicago based blues band, Willie Kent and the Gents have been offered the WC Handy award for outstanding contribution to the art form for the year 95-96. They will be receiving the award in Memphis, presumably at the fest. Congratulations Willie and gang!! Adit. Aditya Kapil, PhD IBD Research Center Department of Medicine University of Chicago Ph: (312) 702 2283 FAX: (312) 702 2281 ========================================================================= Date: Fri, 3 May 1996 11:24:20 -0400 Reply-To: Michael Kaloyanides From: Michael Kaloyanides Subject: I'm back. I'm back from my soundtrack research trip to California. I was able to visit the people and facilities at Paramount, Universal and Sony studios. The high point was participating in a scoring session for Star Trek Deep Space Nine and watching the creation of sound effects for the upcoming films TWISTER and THE PHANTOM. As for blues, I got to Harvell's in Santa Monica and B.B. King's in Universal City where I saw Johnny Dyer, Rick Holstrom (sp) B.J. Sharp, Smokey Wilson, Smokin' Joe Kubek, John "Juke" Logan, and Doug MacLeod, who all performed together for the Willie Dixon Foundation fundraiser. LW, I said hello to Doug from you and he returns the greetings. I'm very sorry not to have had the opportunity to visit our own Don C. My apologies and regrets, Don. Michael G. Kaloyanides Department of Music & Sound Recording University of New Haven ========================================================================= Date: Fri, 3 May 1996 13:34:04 -0300 Reply-To: Rob Hutten From: Rob Hutten Subject: Books of blues lyrics I'm becoming somewhat obsessed these days with transcribing old blues tunes. But, it seems that other people have probably had the same idea too :-) so I'm now collecting references to collections of blues lyrics. I already have Eric Sackheim's book "The Blues Line", and I just found these references in my blues-l archive: (probably from good ol' Eric) Lyric books : available from : R. R. MacLeod, PAT Publications, ============= 19 Braidburn Terrace, Edinburgh EH10 6ET, Scotland. YAZOO 1-20, 312 pages, 1988 (ISBN 0 9520611 0 4) (inc. YAZOO 1001-1020) YAZOO 21-83, 512 pages, 1992 (ISBN 0 9520611 1 2) (inc. YAZOO 1021-1083) DOCUMENT -1, 482 pages, 1994 (ISBN 0 9520611 2 0) (inc. DOCUMENT 5001-5048) I also found this in Books In Print: "Blueswomen: Profiles of 37 Early Performers, with an Anthology of Lyrics, 1920-1945" by Anna S. Bourgeois, ISBN 0-89950-963-0 Is anyone familiar with any of these books? Are the transcriptions reasonably accurate? Are there other good collections out there? I'm really only interested in the period from the '20s to the '40s (at least as far as collecting lyrics is concerned) so for now I'm not interested in the Downhome collection of post-WWII lyrics. As always, any help would be appreciated. -Rob ========================================================================= Date: Fri, 3 May 1996 12:37:07 -0400 Reply-To: BluesMojo@AOL.COM From: Doug Carlisle WSFM Subject: I should have made myself clear My apologies, The Mercedes commercial I'm talking about is the newest commercial with the Mercedes with the round headlights.....NOT the Janis Joplin commercial "won't you buy me a Mercedes Benz...." If you know the female singer & song, please let me know. My wife is driving me batty wondering who the singer is!!! By the way, Mercedes Benz donations would be graciously accepted....you ship it... Thanks, Doug Bluesmojo@aol.com ========================================================================= Date: Fri, 3 May 1996 12:03:58 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: James Carr Comments: To: Dave Markovits > From: Dave Markovits > Excuse me for drawing a blank. Can anyone on the list tell me about Memphis singer James Carr. He is playing two nights, Fri. May 10th and Sat. May 11th at Rosa's(Chicago's friendliest Blues Lounge > James Carr has been called "The World's Greatest Soul Singer". Judged by the quality of his vocals, that assessment is pretty close to the mark. He recorded some great sides for Goldwax in the 60s and then dropped out of sight for fifteen years or so. He has recently resurfaced and has cut at least one record with his old producer, Quinton Claunch, within the last couple of years. His old Goldwax material has also been reissued. His stage shows (and he himself) have been described as somewhat erratic, but I read a recent concert review that was positively glowing. If you like Memphis Soul, don't pass this one up. EW Eliot Williams University of Wisconsin Department of Medicine williams@heme.medicine.wisc.edu ========================================================================= Date: Fri, 3 May 1996 11:58:38 -0700 Reply-To: Kelly Hoggard From: Kelly Hoggard Organization: The Wolfpack Subject: Re: Thanks... Comments: To: Joe Lempkowski Joe Lempkowski wrote: > > Thanks to everyone who responded. I'll be looking for this on some medium > (CD, casette, or vinyl) The general consensus was The Meters/Cissy Strut. > It looks like it ought to be pretty easy to find. > > Joe Kelly Hoggard, the king of incomplete information responds: Cissy Strut also appears on one of the two volume set, 'Best of New Orleans Rhythm & Blues' which may be on Rhino, maybe not. Iko, Iko -- kelly@netusa1.net(Kelly Hoggard) The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! Check out their home page at http://www.netusa1.net/~kelly/ ========================================================================= Date: Fri, 3 May 1996 13:07:54 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: handys Comments: To: Bruce Stovel At 09:31 AM 5/3/96 -0600, Bruce Stovel wrote: >Hey, people! It's May 3. Who won the Handys, and what were the night's >highlights? Anyone know? > >Bruce Stovel ---------------------------------------------------------------------- Luther Allison walked away with: Male artist Blues album Instrumental guitar Koko Taylor won Contemporary Female artist So far thats what I know. Beef Stew ____________________________________________________________________________ The Blues Playground - Sundays at 9pm on 107 FM WCCC - Hartford, CT 50,000 watts of Blues power! Host/programmer: Stew Crossen (Beef Stew) 18 Boxwood Drive Vernon, CT 06066-5106 tel: 800.970.5151 http://www.neca.com/~bfstew bfstew@neca.com Reporting to: Living Blues, The Hard Report and BluesWire magazine. ========================================================================= Date: Fri, 3 May 1996 12:06:11 -0700 Reply-To: Kelly Hoggard From: Kelly Hoggard Organization: The Wolfpack Subject: Re: handys Comments: To: Bruce Stovel It's 12:30 PM and no one has listed the Handy Award winners on Blues-L yet. Could be all 'zellers are too partied out? -- kelly@netusa1.net(Kelly Hoggard) The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! Check out their home page at http://www.netusa1.net/~kelly/ ========================================================================= Date: Fri, 3 May 1996 13:13:48 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Paul deLay Band Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com * Paul deLay is not *only the best harp player you never heard, he's also probably the best *blues harp player out there. I second that. deLay is a truly amazing musician. -Steve ========================================================================= Date: Fri, 3 May 1996 10:30:23 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: WHY BLUES????? :) TDominey wrote: >Granted many blues songs stick to 8 and 12 bar progressions, and some >songs are virtually identical with a little tinkering of the lyrics, but >artists like Jr. Kimbrough and Satan (of Satan & Adam) play licks on the >guitar that I still can't figure out...they definitely get out of the >I-IV-V rut... Hmmm. Now you've got me a little interested in Satan and Adam. Anyway, Jr. Kimbough solved the I-IV-V "problem" by staying only on the I chord:-) An easy solution but it sure sounds good. I love one-chord trance inducing boogies. I know a few people who can't stand music that revolves aroung one chord. "Where are the changes?" they cry. "The Bridge! Has anyone seen the bridge?" There is nothing worse than hearing a good song or groove ruined by a chord change/bridge that doesn't need to be there. That is one reason why I couldn't attend songwriting classes as it broke songwriting down into a formula. "You must put this here and do that there etc. While some people are very talented at it others tend to produce the boring, mindless drivel that is heard a lot on radio. Oops, I'm ranting. Anyway, IMHO, the I-IV-V progression is a device that still offers infinite possibilities for expression. It just requires a little imagination. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Fri, 3 May 1996 10:30:28 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: JLH/BG in GP In the latest issue of Guitar Player has a cover story and interview with John Lee Hooker and Buddy Guy. It is a very interesting interview. A good read and John Lee tells us why he wears those shades. There is also a piece on the death of Brownie McGhee. There is also a piece on Richard Thompson's technique. His music doesn't sound like the blues but it sure feels like the blues. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Fri, 3 May 1996 13:32:47 -0400 Reply-To: Hugh Hardy From: Hugh Hardy Subject: Pickups for Tone I have two SRV Strats. Yesterday I put my new Fralin VH pickups in one = and ABed them. (Don C. - you may find this interesting). Visually, the = Texas Specials are a different wire than on a Stock old Fender guitar. = The Fralins are like a vintage Strat P/U except that they are just a tad = towards the hot side of normal... but still within the range of a = vintage Strat P/U. The results... Surprisingly, I didn't notice much volume difference = between the two. The most pronounced difference with in the neck P/Us. = The Fralin was full of character, bell like and had an open quality. The = Texas Special was more dead sounding and didn't have the same "airy" = quality. The other pickups were closer, but the Fralins were better. A = little more high end. A little more grind in the lead pickup. I'm sold folks. Now I know why Chris Duarte prefers the Fender vintage = sound to the Texas Specials. And it's interesting that there is very = little volume difference. Regards, Hugh Hardy ========================================================================= Date: Fri, 3 May 1996 12:35:04 CST6CDT Reply-To: "Sara C. Oxton" From: "Sara C. Oxton" Organization: University of Minnesota Subject: Re: James Carr Comments: To: Skipjames@aol.com I echo Tom's sentiments about James Carr. If he's in your town, it's worth crawling on your belly a mile to see him. Hopefully the backing band will do him justice. A reissue CD is available on Razor and Tie. I think it came out last year. A CD of new material, entitled "Soul Survivor," came out about the same time. A line from the album notes pretty much sums up James Carr: "if soul music is gold, welcome to Fort Knox." I do not have a complete line up for the KC Jazz & Blues Fest, however I am told Little Milton, Al Green, and Roomful of Blues are on the show. Sara _________________________________________ Sara C. Oxton Executive Secretary University of Minnesota Department of Food Science & Nutrition 1334 Eckles Ave. St. Paul, MN 55108 Ph: (612) 624-2787 Fax: (612) 625-5272 soxton@che2.che.umn.edu ========================================================================= Date: Fri, 3 May 1996 13:02:56 -0500 Reply-To: David Silberberg From: David Silberberg Subject: Re: James Carr At 12:03 PM 5/3/96 GMT-6, Eliot Williams wrote: > >James Carr has been called "The World's Greatest Soul Singer". >Judged by the quality of his vocals, that assessment is pretty close >to the mark. He recorded some great sides for Goldwax in the 60s >and then dropped out of sight for fifteen years or so. As I recall from Peter Geralnik's book, Carr had substantial mental problems, basically "dropping out" of his life periodically - perhaps going into catatonic states. I'll reread the part about him in "Sweet Soul Music". His Goldwax stuff is out on Razor and Tie - and I would not disagree with "The World's Greatest Soul Singer" assessment: "Dark Side of the Street" is probably the greatest cheating song ever in Soul music (or country, for that matter....) David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Fri, 3 May 1996 13:13:21 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 05/04 B O R N : 05/04 BROOKS, SHELTON Born:1886 AMESBURG, ONTARIO, CANADA Career:SONGWRITER Style:BLUES BURTON, JOSEPH Born:1952 CHICAGO, IL Career:TROMBONE Style:BLUES With:JUNIOR WELLS / B.B.KING CARTER, RON ( RONALD LEVIN ) Born:1937 FERNDALE, MI Career:BASS / CELLO / VIOLIN / CLARINET / TROMBONE / TUBA Style:JAZZ With:CHICO HAMILTON / ERIC DOLPHY / CANNONBALL ADDERLEY / JAKI BYARD / RANDY WESTON / BOBBY TIMMONS / / MAL WALDRON / MILES DAVIS / LENA HORNE / STANLEY TURRENTINE / HERBIE HANCOCK / WAYNE SHORTER / FREDDIE HUBBARD / McCOY TYNER / WYNTON MARSALIS DEJAN, LEO Born:1911 NEW ORLEANS, LA Career:TRUMPET Style:TRAD / JAZZ DI PASQUA, MICHAEL Born:1953 ORLANDO, FL Career:DRUMMER / PERCUSSIONIST Style:JAZZ With:ZOOT SIMS / AL COHN / DON ELLIOTT / GERRY MULLIGAN / CHET BAKER / JACKIE CAIN-ROY KRAL / DAVE FRIEDMAN / DAVE SAMUALS / EBERHARD WEBER / JAN GARBAREK FERGUSON, MAYNARD Born:1928 VERDUN, QUEBEC, CANADA Career:TRUMPET Style:JAZZ / BIG BAND With:CHARLIE BARNET / STAN KENTON / HANK JONES / MILT HINTON / BUDD JOHNSON / HERB GELLER FRIEDMAN, DON ( DONALD ERNEST ) Born:1935 SAN FRANCISCO, CA Career:PIANO Style:JAZZ GULLIN, LARS Born:1928 VISBY, SWEDEN Career:BARITONE SAX / COMPOSER / ARRANGER Style:JAZZ / BIG BAND With:ARNE DOMNERUS / ROLFE ERICSON / CLIFFORD BROWN / CHET BAKER McCALL, MARY ANN Born:1919 PHILADELPHIA, PA Career:SINGER Style:JAZZ / BIG BAND With:WOODY HERMAN / CHARLIE VENTURA OWENS, CHARLIES (BROWN, CHARLES M Born:1939 PHOENIX, AZ Career:TENOR SAX / ALTO SAX Style:BLUES / JAZZ / BIG BAND PAYNE, SONNY ( PERCIVAL ) Born:1926 NEW YORK, NY Career:DRUMMER Style:BLUES / JAZZ / BIG BAND With: HOT LIPS PAGE / EARL BOSTIC / TINY GRIMES / ERSKINE HAWKINS 1950-53 / COUNT BASIE 1954-1964 / ILLINOIS JACQUET / HARRY JAMES PURTILL, MOE ( MAURICE ) Born:1916 HUNTINGTON, NY Career:DRUMMER Style:JAZZ / BIG BAND With:Red Norvo / Glenn Miller / Tommy Dorsey / Kay Kyser / Richard Himber / Tex Beneke STAPELTON, BILL ( WILLIAM JOHN ) Born:1945 BLUE ISLAND, IL Career:TRUMPET/ FLUGELHORN / ARRANGER Style:JAZZ / BIG BAND WILLIAMS, RICHARD ( GENE Born:1931 GALVESTON, TX Career:TRUMPET Style:JAZZ / BIG BAND With:LIONEL HAMPTON / GIG GRYCE / CHARLIE MINGUS / SLIDE HAMPTON / DUKE ELLINGTON Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Fri, 3 May 1996 14:15:21 -0400 Reply-To: NashHead From: NashHead Organization: America Online, Inc. (1-800-827-6364) Subject: Re: kelly joe phelps -Reply Comments: To: bit-listserv-blues-l@uunet.uu.net Erica Wissolik wrote: > Dave Alvin says that he's producing a record for KJP this > summer - coming at you on a major label though I forgot to > ask which one. Also, I understand Kelly Joe Phelps appears on Keb' Mo's 2nd CD - due out in June. M-E Baer BaerFeat Productions ========================================================================= Date: Fri, 3 May 1996 11:27:22 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: TRIX 3320 : HOMESICK JAMES - GOT TO MOVE TRIX 3320 : HOMESICK JAMES - GOT TO MOVE ============================================================================ JOHN WILLIAM HENDERSON b. 1914/MAY/03, SOMERVILLE, TN Note : According to his passport & Pete Welding, Homesick James was born May 3, 1914, though both Sheldon Harris & Jim O'Neal have this date as April 30, 1910. And, to make it worst, a 1905 date is also around! "They started calling me Homesick in '48. I come back to the states from the military and the first person who said it was Lazy Bill Lucas. He was the first man to call me Homesick James but it was Sunnyland Slim who gave me that name..." ~ interview by Chris Millar, Blues & Rhythm #95 (Jan 1995) A year or so after recording for Chicago record store owner Chester Scales, Homesick James A. Williamson entered the studio on June 12/1952, this time for Art Sheridan's Chance Records, beginning in earnest a career that continues today. This 1994 recording captures that early 'Chance' sound, right down to having a pianist (Jeff Levine) who plays in the tradition of his longtime friend, the late Lazy Bill Lucas (1918-1982). Producer & drummer Chris Millar (of Fedora Records fame) has also included (wisely) a 2nd guitarist, Oakland-born Ron Thompson, a musician who knows well how to complement an old-time bluesman like Homesick James. Given his age, Homesick's voice is sometimes a little weak but still very becoming, especially as his (slide) playing is still very strong, as is evident on "That's All Right", and the four tracks ("Baby Please Set A Date", "Hawaiian Boogie", "Dust My Broom", "Got To Move") associated with his cousin Elmore James (1918-1963). Included on this CD are also three solo tracks performed on the national steel guitar, two of which ("Mr. Pawnshop Man", "Bein' With The One You Love") pay homage to one of his mentors, piedmont bluesman Blind Boy Fuller (1907-1941). If you like you're blues deep and with feeling, take a listen to this CD. You'll love it! Credits : Homesick James, vocals, el. gtr, national steel gtr ; Jeff Levine, piano ; Joe Rosato, el. bass ; Ron Thompson, gtr ; Chris Millar, drummer/producer. Recording Date : February 3, 1994, Double D Music Studio, Fresno, CA. Contents: (TOTAL TIME = 51:27) 1. CAN'T AFFORD TO DO IT (2:50) - 2. TIN PAN ALLEY (4:33) - 3. MR. PAWNSHOP MAN (THREE BALL BLUES) (solo) - 4. BABY PLEASE SET A DATE (3:22) - 5. WELFARE GIRL (5:45) - 6. HAWAIIAN BOOGIE (inst) (2:50) - 7. DUST MY BROOM (2:38) (solo) - 8. THAT'S ALL RIGHT (4:11) - 9. HIGHWAY 51 (4:29) - 10. TENNESSEE WOMAN (5:15) - 11. GOT TO MOVE (2:46) - 12. BEIN' WITH THE ONE YOU LOVE (LOST LOVER BLUES) (solo) (3:01) - 13. HOMESICK'S WOMAN (5:54) - 14. HOMESICK TALKING (O:21) CD DISCOGRAPHY : ---------------- APPALOOSA 73 : HOMESICK JAMES - SWEET HOME TENNESSEE 1995 APPALOOSA 97 : HOMESICK JAMES - JUANITA 1994 EARWIG 4929 : HOMESICK JAMES - GOIN' BACK IN THE TIMES 1994 FANTASY OBCCD 529 : HOMESICK JAMES - BLUES ON THE SOUTH SIDE 1990 STANHOPE : HOMESICK JAMES - LIVE! FROM THE STANHOPE HOUSE! 1996 TRIX 3315 : HOMESICK JAMES - GOIN' BACK HOME soon TRIX 3320 : HOMESICK JAMES - GOT TO MOVE 1995 ========================================================================= Date: Fri, 3 May 1996 13:37:16 -0500 Reply-To: akapil@MEDICINE.BSD.UCHICAGO.EDU From: "" Subject: Re: handys >It's 12:30 PM and no one has listed the Handy Award winners on Blues-L >yet. Could be all 'zellers are too partied out? I just did about a half hour ago........Willie Kent for outstanding contributions to the blues. Adit. >-- >kelly@netusa1.net(Kelly Hoggard) > >The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! >Check out their home page at http://www.netusa1.net/~kelly/ > > Aditya Kapil, PhD IBD Research Center Department of Medicine University of Chicago Ph: (312) 702 2283 FAX: (312) 702 2281 ========================================================================= Date: Fri, 3 May 1996 11:29:51 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: FANTASY OBCCD 529 : HOMESICK JAMES - BLUES ON THE SOUTH SIDE FANTASY OBCCD 529 : HOMESICK JAMES BLUES ON THE SOUTH SIDE ========================================================================= JOHN WILLIAM HENDERSON b. 1914/MAY/03, SOMERVILLE, TN This 1964 Samuel B. Charters production is Homesick James' first album release (a 1962 album for Armand "Jump" Jackson remains unissued). I still consider it one of his best recordings, especially on slow tunes like "GOIN' DOWN SWINGIN'", "JOHNNY MAE" and Robert Johnson's "STONES IN MY PASSWAY". Personnel : Homesick James, vocals, el. gtr ; Lafayette Leake, piano ; Eddie Taylor, el. bass ; Clifton James, drums ; Samuel B. Charters, producer Chicago, IL., Tuesday, January 7, 1964, THE WOMAN I'M LOVIN PRESTIGE LP 7388,FANTASY OBCCD 529 SHE MAY BE YOUR WOMAN PRESTIGE LP 7388,FANTASY OBCCD 529 GOIN' DOWN SWINGIN' PRESTIGE LP 7388,FANTASY OBCCD 529 HOMESICK'S SHUFFLE (INST) PRESTIGE LP 7388,FANTASY OBCCD 529 JOHNNY MAE PRESTIGE LP 7388,FANTASY OBCCD 529 GOTTA MOVE PRESTIGE LP 7388,FANTASY OBCCD 529 LONESOME ROAD PRESTIGE LP 7388,FANTASY OBCCD 529 WORKING WITH HOMESICK (INST) PRESTIGE LP 7388,FANTASY OBCCD 529 THE CLOUD IS CRYING PRESTIGE LP 7388,FANTASY OBCCD 529 HOMESICK'S BLUES PRESTIGE LP 7388,FANTASY OBCCD 529 CRAWLIN' (INST) PRESTIGE LP 7388,FANTASY OBCCD 529 STONES IN MY PASSWAY PRESTIGE LP 7388,FANTASY OBCCD 529 CROSSROADS UNISSUED IF I BE LUCKY UNISSUED Reference : --------- The Prestige label : a discography / compiled by Michel Ruppli & Bob Porter (Greenwood Press, 1980). CD DISCOGRAPHY : ---------------- APPALOOSA 73 : HOMESICK JAMES - SWEET HOME TENNESSEE 1995 APPALOOSA 97 : HOMESICK JAMES - JUANITA 1994 EARWIG 4929 : HOMESICK JAMES - GOIN' BACK IN THE TIMES 1994 FANTASY OBCCD 529 : HOMESICK JAMES - BLUES ON THE SOUTH SIDE 1990 STANHOPE : HOMESICK JAMES - LIVE! FROM THE STANHOPE HOUSE! 1996 TRIX 3315 : HOMESICK JAMES - GOIN' BACK HOME soon TRIX 3320 : HOMESICK JAMES - GOT TO MOVE 1995 ========================================================================= Date: Fri, 3 May 1996 17:11:04 GMT Reply-To: jurkovic@WORLDACCESS.NL From: jurkovic@WORLDACCESS.NL Organization: World Access Subject: MAKE A LOT OF MONEY EASY!!! IT WORKS!!! 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R. MacLeod, PAT Publications, > ============= 19 Braidburn Terrace, Edinburgh EH10 6ET, Scotland. > > YAZOO 1-20, 312 pages, 1988 (ISBN 0 9520611 0 4) (inc. YAZOO 1001-1020) > YAZOO 21-83, 512 pages, 1992 (ISBN 0 9520611 1 2) (inc. YAZOO 1021-1083) > DOCUMENT -1, 482 pages, 1994 (ISBN 0 9520611 2 0) (inc. DOCUMENT >5001-5048) >Is anyone familiar with any of these books? Are the transcriptions >reasonably accurate? I have flipped through the first of the Yazoos and was unaware of the Document one. As I recall, the mission of the Yazoo books was complete transcription of the lyrics on the numbered Yazoo LPs. I assume the Document is something of the same. I believe the "rep" of these lyric transcriptions is that they are good-but-not-great (some errors. Seems to me the relative ability of lyric transcribers ranks something like Southerner, American, European, Japanese. ;-) These are in the "European" rank. Those wanting the best will just have to hire L.W., Gayle Dean Wardlow, or me. And you should SEE P-Vine's attempt at Muddy Waters and Elmore James). Nevertheless, for someone becoming obssesed with early blues lyric transcription, I would think these would be essential. Tom Freeland ========================================================================= Date: Fri, 3 May 1996 15:06:34 -0400 Reply-To: RNABooking From: RNABooking Organization: America Online, Inc. (1-800-827-6364) Subject: Gary Primich Itinerary Comments: To: bit-listserv-blues-l@uunet.uu.net Gary Primich Itinerary Black Top Records RNA Booking (512) 416-1300 RNABooking@aol.com 05/02/96- Port Charlotte, FL, USA- Gatorz 05/03/96- Tallahassee, FL, USA- Dave's CC Club 05/04/96- Melborne Bch, FL, USA- Sebastion Bch Inn 05/06/96- Jacksonville Bch, FL, USA- Tortuga's 05/07/96- Sarasota, FL, USA- Five O'Clock Club 05/08/96- Sarasota, FL, USA- Five O'Clock Club 05/09/96- St. Petersburg, FL, USA- Ringside 05/10/96- Del Ray Bch, FL, USA- Backroom 05/11/96- Ft. Meyers, FL, USA- Shooters 05/24/96- Dallas, TX, USA- Blue Cat Blues 05/25/96- Ft. Worth, TX, USA- J & J's Blues Bar 06/06/96- El Paso, TX, USA- Wildhares 06/07/96- Tucson, AZ, USA- The Rialto 06/08/96- Phoenix, AZ, USA- Rhythm Room 06/09/96- San Diego, CA, USA- Belly Up 06/10/96- Hollywood, CA, USA- Athletic Club 06/11/96- Los Angeles, CA, USA- The Derby 06/13/96- Ventura, CA, USA- Joe Daddy's 06/14/96- Long Beach, CA, USA- Blue Cafe 06/15/96- Redondo Bch, CA, USA- Catalina Cantina 06/20/96- Little Rock, AR, USA- Smitty's 06/22/96- Naperville, IL, USA- Frankie's Blue Room 06/23/96- Indianapolis, IN, USA- Slippery Noodle 07/03/96- Vancouver, BC, CAN- The Yale 07/04/96- Portland, OR, USA- Waterfront Blue Fest 07/05/96- Seattle, WA, USA- The Central 07/06/96- Seattle, WA, USA- The Central 07/08/96- Salt Lake City, UT, USA- Dead Goat 07/09/96- Denver, CO, USA- Brendans 07/10/96- Denver, CO, USA- Brendans 07/11/96- Lewisville, CO, USA- Pasquale's 07/13/96- Wichita, KS, USA- Panama Red's 07/24/96- Austin, TX, USA- Blues on the Green 08/05/96- Luzern, Switzerland- Blues Fest 08/09/96- Nottodden, Norway- Blues Fest 09/01/96- St. Louis, MO, USA- Blues Fest 09/05/96- Lafayette, LA, USA- Poet's 09/06/96- Mandeville, LA, USA- Ruby's Roadhouse 10/12/96- Helena, AR, USA- King Bisquit Blues Fest ========================================================================= Date: Fri, 3 May 1996 15:32:38 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Who is M. Jackson (Help) Who is M. Jackson who wrote Rock Me which can be heard on the new Jimmy Rogers disc, Blue Bird? Could it be Marvin Jackson, former guitarist with Albert Collins? Just a guess, anybody know for real? Beef Stew ____________________________________________________________________________ The Blues Playground - Sundays at 9pm on 107 FM WCCC - Hartford, CT 50,000 watts of Blues power! Host/programmer: Stew Crossen (Beef Stew) 18 Boxwood Drive Vernon, CT 06066-5106 tel: 800.970.5151 http://www.neca.com/~bfstew bfstew@neca.com Reporting to: Living Blues, The Hard Report and BluesWire magazine. ========================================================================= Date: Fri, 3 May 1996 15:56:46 -0400 Reply-To: BlueKing@AOL.COM From: Gregory A King Subject: Re: Pickups for Tone Comments: To: hhardy@bconnex.net I'm new to the listserv so - hello. I play a USA Strat Plus with Lace Sensors. I have played vintage, Texas, and other rail pu's but I really love the Lace's. The 'phase setting' (neck and middle pu's) is so clear and bell like that I can do SRV's Lenny and really make the harmonics ring. Plus - these Laces' are real quiet, real smooth. I like 'em. gk ========================================================================= Date: Fri, 3 May 1996 15:51:28 -0400 Reply-To: RNABooking From: RNABooking Organization: America Online, Inc. (1-800-827-6364) Subject: Miss Lavelle White Itinerary Comments: To: bit-listserv-blues-l@uunet.uu.net Miss Lavelle White Antone's Records RNA Booking (512) 416-1300 RNABooking@aol.com 05/04/96- Dallas, TX, USA- Private Party 05/10/96- Tallahassee, FL, USA- Dave's CC Club 05/11/96- Tallahassee, FL, USA- Dave's CC Club 05/12/96- Tallahassee, FL, USA- Dave's CC Club 05/13/96- Jacksonville Bch, FL, USA- Tortuga's 05/15/96- Sarasota, FL, USA- Five O'Clock Club 05/16/96- St. Petersburg, FL, USA- Dave's Bar 05/17/96- Melborne Bch, FL, USA- Sebastion Bch Inn 05/18/96- Miami, FL, USA- Tobacco Road 05/24/96- Austin, TX, USA- Top of the Marc 06/07/96- Austin, TX, USA- Antone's 06/15/96- Albquerque, NM, USA- Blues Society show 06/16/96- Albuquerque, NM, USA- Jazz Workshop 06/19/96- Phoenix, AZ, USA- Rhythm Room 06/20/96- Tucson, AZ, USA- The Rialto 06/21/96- Long Beach, CA, USA- Blue Cafe 06/22/96- Hermosa Bch, CA, USA- Cafe Bugaloo 06/23/96- Monterey, CA, USA- Monterey Blues Fest 06/26/96- Denver, CO, USA- Brendan's 06/28/96- Lincoln, NE, USA- Zoo Bar 06/29/96- Madison, WI, USA- Harmony Bar 06/30/96- Minneapolis, MN, USA- Westbank Festival 07/03/96- Lansing, MI, USA- Capitol Hill Station 07/04/96- Grand Rapids, MI, USA- Rhythm Kitchen 07/05/96- Louisville, KY, USA- Waterside Fest 07/06/96- St. Louis, MO, USA- Miller Music Blast 07/07/96- Davenport, IA, USA- Miss. Valley Fest 07/12/96- Austin, TX, USA- Top of the Marc 08/07/96- Austin, TX, USA- Blues on the Green 08/08/96- Wichita, KS, USA- Panama Red's 08/09/96- Kansas City, MO, USA- Grand Emporium 08/10/96- St. Louis, MO, USA- Off Broadway 08/15/96- Louisville, KY, USA- Big Heavy's 08/16/96- Chicago, IL, USA- Kingston Mines 08/17/96- Chicago, IL, USA- Kingston Mines 08/18/96- Cleveland, OH, USA- Cleveland Blues Fest 08/20/96- Pittsburg, PA, USA- Tobacco Roadhouse 08/22/96- New York, NY, USA- Manny's Car Wash 08/23/96- Sommerville, MA, USA- Johnny D's 08/25/96- Portsmouth, NH, USA- Muddy River 08/28/96- Eureka Springs, AR, USA- Eureka Live 08/29/96- Little Rock, AR, USA- Smitty's 08/30/96- Dallas, TX, USA- Blue Cat Blues 08/31/96- Ft. Worth, TX, USA- J & J's Blues Bar 09/21/96- Handzame, Belgium- Blues Fest ========================================================================= Date: Fri, 3 May 1996 16:03:01 -0400 Reply-To: RNABooking From: RNABooking Organization: America Online, Inc. (1-800-827-6364) Subject: Mike Morgan & the Crawl Itinerary Comments: To: bit-listserv-blues-l@uunet.uu.net Mike Morgan & the Crawl Black Top Records RNA Booking (512) 416-1300 RNABooking@aol.com 05/05/96- New Orleans, LA, USA- House of Blues 05/09/96- Wichita, KS, USA- Panama Red's 05/10/96- Lincoln, NE, USA- Zoo Bar 05/11/96- Lincoln, NE, USA- Zoo Bar 05/12/96- Omaha, NE, USA- McKenna's 05/14/96- Chicago, IL, USA- Legend's 05/15/96- Rockford, IL, USA- Big Cities Lounge 05/16/96- Grand Rapids, MI, USA- Rhythm Kitchen 05/17/96- Cleveland, OH, USA- Wilbert's 05/18/96- Royal Oaks, MI, USA- Memphis Smoke 05/19/96- Lansing, MI, USA- Capitol Hill Station 05/21/96- Indianapolis, IN, USA- Slippery Noodle 05/22/96- St. Louis, MO, USA- Off Broadway 05/23/96- Louisville, KY, USA- Stevie Ray's 05/24/96- Elkhart, IN, USA- Flytraps 05/25/96- Elkhart, IN, USA- Flytraps 05/26/96- Niagara Falls, NY, USA- Debbies 05/29/96- Syracuse, NY, USA- Dinosaur BBQ 05/30/96- Hartford, CT, USA- Black Eyed Sally's 05/31/96- Sommerville, MA, USA- Johnny D's 06/01/96- Glens Falls, NY, USA- Blues Fest 06/01/96- New York, NY, USA- Manny's Car Wash 06/02/96- Portsmouth, NH, USA- Muddy River 06/04/96- Storrs, CT, USA- Husky Blues 06/06/96- New Brunswick, NJ, USA- Old Bay 06/07/96- Pittsburg, PA, USA- Tobacco Roadhouse 06/08/96- Baltimore, MD, USA- Blues Society show 06/13/96- Lafayette, LA, USA- Poet's 06/14/96- Memphis, TN, USA- B.B. King's 06/15/96- Memphis, TN, USA- B.B. King's ========================================================================= Date: Fri, 3 May 1996 16:45:06 -0400 Reply-To: RNABooking From: RNABooking Organization: America Online, Inc. (1-800-827-6364) Subject: Tracy Nelson Itinerary Comments: To: bit-listserv-blues-l@uunet.uu.net Tracy Nelson Itinerary Rounder Records RNA Booking (512) 416-1300 RNABooking@aol.com 06/28/96- Brooklyn, NY, USA- Celebrate Brooklyn 07/19/96- Seattle, WA, USA- The Backstage 07/20/96- Victoria, BC, CAN- Street Dance 07/21/96- Victoria, BC, CAN- Pagliacci's 09/28/96- San Francisco, CA, USA- Blues Fest 10/04/96- Long Beach, CA, USA- Blue Cafe 10/05/96- Hermosa Bch, CA, USA- Cafe Bugaloo 10/12/96- Helena, AR, USA- King Bisquit Blues Fest 10/18/96- Madison, WI, USA- Harmony Bar 10/19/96- Milwaukee, WI, USA- Irish Spring House ========================================================================= Date: Fri, 3 May 1996 16:12:40 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Who is M. Jackson (Help) Comments: To: Stew Crossen In-Reply-To: <199605031932.PAA27401@orion.neca.com> The M. Jackson credited for Rock Me would be Lil' Son Jackson. ========================================================================= Date: Fri, 3 May 1996 17:13:27 -0400 Reply-To: RNABooking From: RNABooking Organization: America Online, Inc. (1-800-827-6364) Subject: Teddy Morgan Itinerary Comments: To: bit-listserv-blues-l@uunet.uu.net Teddy Morgan Itinerary Antone's Records RNA Booking (512) 416-1300 RNABooking@aol.com 05/02/96- Chicago, IL, USA- Legend's 05/03/96- South Bend, IN, USA- Madison Oyster Bar 05/04/96- Grand Rapids, MI, USA- Rhythm Kitchen 05/05/96- Lansing, MI, USA- Capitol Hill Station 05/08/96- Louisvile, KY, USA- Stevie Ray's 05/09/96- Indianapolis, IN, USA- Slippery Noodle 05/10/96- Cleveland, OH, USA- Wilbert's 05/11/96- St. Joseph, MI, USA- Czar's 05/14/96- Olean, NY, USA- Hickey Tavern 05/15/96- Syracuse, NY, USA- Dinosaur BBQ 05/16/96- Rochester, NY, USA- Lilac Festival 05/17/96- New York, NY, USA- Manny's Car Wash 05/18/96- Cambridge, MA, USA- House of Blues 05/20/96- Chattanooga, TN, USA- Sand Bar 05/21/96- Atlanta, GA, USA- Blind Willies 05/24/96- Austin, TX, USA- Antone's 05/30/96- El Paso, TX, USA- Wildhares 05/31/96- Alpine, TX, USA- Railroad Blues 06/01/96- Alpine, TX, USA- Railroad Blues 06/02/96- Tucson, AZ, USA- The Rialto 06/04/96- Phoenix, AZ, USA- Rhythm Room 06/05/96- Long Beach, CA, USA- Blue Cafe 06/06/96- Ventura, CA, USA- Alexander's 06/07/96- Hermosa Bch, CA, USA- Cafe Bugaloo 06/08/96- Sherman Oaks, CA, USA- Cozy's 06/09/96- San Francisco, CA, USA- Cafe DuNord 06/12/96- San Jose, CA, USA- The Agenda 06/13/96- San Francisco, CA, USA- DNA Club 06/14/96- Tahoe City, CA, USA- Humpty's 06/15/96- San Luis Obispo, CA, USA- Mother's 06/16/96- San Francisco, CA, USA- Cafe DuNord 06/27/96- Lawrence, KS, USA- Jazzhaus 06/27/96- Columbia, MO, USA- Mojo 06/29/96- Kansas City, MO, USA- Grand Emporium 06/30/96- Milwaukee, WI, USA- Summer Fest 07/01/96- Indianapolis, IN, USA- Slippery Noodle 07/02/96- Indianapolis, IN, USA- Slippery Noodle 07/03/96- Chicago, IL, USA- Legend's 07/04/96- Naperville, IL, USA- Frankie's Blue Room 07/06/96- Davenport, IA, USA- Miss Valley Fest 08/21/96- Austin, TX, USA- Blues on the Green ========================================================================= Date: Fri, 3 May 1996 19:05:16 EDT Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: These blues are...whose? Beef Stew (and others) wrote: > Wrong label Dave. Its Tone-Cool #CDTC 1154 Thanks for setting the record straight (no pun intended). Blame it on the early morning fog. Dave Carpenter Blues Music Director - WHUS-FM University of Connecticut - Storrs, CT http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Fri, 3 May 1996 19:44:27 -0400 Reply-To: BALISTRK@BAYDENOC.CC.MI.US From: "Keith T. Balistreri" Subject: Re: Vintage instruments Comments: To: Gregory A King In-Reply-To: <960503155645_389728738@emout07.mail.aol.com> I need help!! A Chiropractor friend of mine here in the north country is opening a pawn shop. Being a musician he asked me if I would be interested in taking care of the instrument aspect of the shop. Being a drummer I really don't know much about guitars or any vintage stuff. Can someone lead me in the right direction as to where to start...magazines, books,....anything the will educate me in this area. I would great appreciate this... Keith B. Escanaba, MI (snow tonight) "The almanac says we should have a mild winter this summer." ========================================================================= Date: Fri, 3 May 1996 19:52:40 -0400 Reply-To: MacRockin@AOL.COM From: M McCracken Subject: 1996 Handy Award winners The 1996 W. C. Handy Awards The 1996 Handys were presented Thursday, May 2, in Memphis. Here's a complete list of winners 1. Blues Entertainer of the Year: Luther Allison 2. Blues Band of the Year: Joe Louis Walker & the Bosstalkers 3. Contemporary Blues - Male: Luther Allison 4. Contemporary Blues - Female: Koko Taylor 5. Soul Blues - Male: Little Milton 6. Soul Blues - Female: Etta James 7. Traditional Blues - Male: Jimmy Rogers 8. Traditional Blues - Female: Katie Webster 9. Acoustic Blues - Artist of the Year: John Hammond 10. Best New Blues Artist: Coco Montoya (Corey Harris) 11. Blues Instr. - Guitar: Luther Allison 12. Blues Instr. - Harmonica: Charlie Musselwhite 13. Blues Instr. - Keyboards: Pinetop Perkins 14. Blues Instr. - Bass: Willie Kent 15. Blues Instr. - Drums: Willie "Big Eyes" Smith 16. Blues Instr. - Other: Clarence "Gatemouth" Brown 17. Contemporary Blues Album of the Year: Luther Allison, Blue Streak 18. Soul Blues Album of the Year: Percy Sledge, Blue Night 19. Traditional Blues Album of the Year: John Lee Hooker, Chill Out 20. Comeback Blues Album: Jimmy Johnson, I'm a Jockey 21. Acoustic Blues Album of the Year: Rory Block, When a Woman Gets the Blues 22. Reissue Album of the Year: Otis Rush, So Many Roads 23. Blues Song of the Year: Luther Allison, Cherry Red Wine Mike McCracken ========================================================================= Date: Fri, 3 May 1996 20:39:58 -0400 Reply-To: SOO3713@ALPHA.CC.OBERLIN.EDU From: Owen Okie Subject: rory block One of my musical heroes (mark knopfler) is on a Rory Block album called "Ain't I a Woman" Could someone telll me what they think about Rory and about this album in particular? This info would be greatly appreciated. Thanks! Owen ========================================================================= Date: Fri, 3 May 1996 19:02:04 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: rory block Owen, Don't know the album, but I've worked with Rory. Tell me who else might = attempt "Elder Green Blues", "M & O Blues", and other untouched Delta = classics. This woman is all right with me! Uncle Ray ---------- From: Owen Okie[SMTP:SOO3713@ALPHA.CC.OBERLIN.EDU] Sent: Saturday, May 04, 1996 12:39 AM To: Multiple recipients of list BLUES-L Subject: rory block One of my musical heroes (mark knopfler) is on a Rory Block album = called "Ain't I a Woman" Could someone telll me what they think about Rory and = about this album in particular? This info would be greatly appreciated. Thanks! Owen ========================================================================= Date: Fri, 3 May 1996 20:06:18 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Anyone heard of Bob Pierce? I have a couple of houseguests who were at Jazzfest today and approached by a smooth talker who was singing the praises of an English guitarist by the name of Bob Pierce. He's supposed to play tonight with Bryan Lee; I'm familiar with Bryan Lee. Anyone know anything about Bob Pierce? Bill Morgan From: The Big Easy ========================================================================= Date: Sat, 4 May 1996 00:02:08 -0400 Reply-To: AreUADummy@AOL.COM From: AreUADummy@AOL.COM Subject: [<-Dummies Wanted->] Dummy? Doesn't seem like a very wise choice for a name, when you are trying to jump right into the investment world. For years, self-proclaimed financial experts have tried their best to sell customers on their Wisdom. It may be the avuncular smile, pinstripe suit, the advertising jingle, or the firm handshake; your money manager, financial planner, or broker has striven for the image that smacks intelligence, success, respectability, experience-in one word, Wisdom. And for years, those "experts" have been making money off of Dummies. You know about Dummies. At one point, you may have been a Dummy yourself. Have you ever listened to a salesman on the phone and after a while, actually thought that the voice-activated vacuum cleaner he was trying to sell you actually made sense? You were being a Dummy. Or what about that time, when you bought shares of World Dashed Hopes Fund just because your broker told you that it was the top performer in its category over the past five years? Terribly, terribly Dumb. Basking on the excesses brought about by this Dumb "stuff", the financial establishments hadn't banked on one thing....the day when the tables might turn when some of us Dummies (yes....a capital D) actually showed up. Well, the staff members of The Daily Dummy believe that we are the Dummies that have showed up. The Daily Dumy is the greatest thing since sliced cyberspace. When was the last time that you saw a newsletter that came to you everyday at lunch, and in the evening? The Daily Dummy is the rightful heir to Investor's Business Daily, AND the future must-read of every successful investor. After all it is written by all of us. That's right, a financial newsletter that doesn't TELL you what to do with your money, but instead offers the collective wisdom and wit of our readers....the biggest investment club in the universe (We at Dumb Head Quarters might say "on the planet," but why think so small?) You say you'd like to SEE the thing first? No prob. To get a free week's subscription, e-mail "DailyDummy@aol.com" asking for a free trial. Then you can read it, print it out, and race right back here to sign up. OK, OK, we're kidding--pass it around to all your friends first, get them to sign up, THEN race right back here to sign up. Hey, because we at Dummy HQ like you so much, we'll also send you two weeks of Investor's Business Daily absolutely FREE when you subscribe. We'll also send you our thirteen steps to becoming a Dummy, and the Dumb Investment Guide. Subscription rates for electronic delivery are as follows: Year billing: $31.20 ($0.12 an issue) Bi-Year Billing: $52.00 ($0.10 an issue) Allow about two days for processing. (You can't tell, since all of this was just in print, but it was actually spoken in a voice that sounded suspiciously like James Earl Jones's.) Keep it Dumb! :D ========================================================================= Date: Fri, 3 May 1996 21:47:07 -0700 Reply-To: Stan Ruffo From: Stan Ruffo Subject: Keith Relf not electrocuted! Martin Pugh, guitarist for the last band that Keith Relf formed and lead = had this to say, when I asked him about Keith Relf's passing. Armageddon was back in London working on the second A&M album. Things = were not going as the folks at A&M indicated they would. Martin came=20 back to the "states" to get things rolling smoothly again. While Martin = was=20 back here, Keith remained in London. Keith had been struggling with a = respiratory ailment, possibly asthma. Keith stayed up late one=20 evening, sitting in a chair (in the living room) with his electric = guitar, presumably working on some arrangements. In the morning, = Keith's two boys found him slumped over in the chair. There were unsubstantiated rumors that Keith = had somehow been electrocuted. However, Martin was told and it is his = belief that Keith had an asthma attack and was unable to catch his = breath. And=20 because his inhaler was not found anywhere near him that he succumbed as = a=20 result. =20 -- Stan Ruffo Blues On Tap - Sundays at 8pm on Visalia's KIOO 99.7FM 800 N. Ben Maddox Way, Suite 2200, Visalia, CA 93292, (209)625-6049 ========================================================================= Date: Sat, 4 May 1996 06:46:47 -0400 Reply-To: Mike Cooper From: Mike Cooper Organization: Spring Grove Artisans Subject: Play list: DME on Primestar Primestar here in Michigan (cable free zone) has a set of music channels by Digital Music Express, one of which is all Blues. It's great for between CDs and the radio blues shows. Repetitious and Alligator prone, perhaps. Great sound quality, except during heavy precipitation. Is there anywhere available a play list? -- ------------------------ Mike Cooper Spring Grove Artisans coop@datawise.net ------------------------ ========================================================================= Date: Sat, 4 May 1996 08:17:52 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: May 5 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BARBARIN, PAUL (d) b. 1899-0505, NEW ORLEANS, LA BOWSER, ERBIE (p/T.D. BELL) b. 1918-0505, DAVILA, TX CANNON, ACE (asax/BILL BLACK/HI) b. 1934-0505, GRENADA, MS DAVIS, GARY REV. (g/VOCALION REC) d. 1972-0505, HAMMONTON, NJ 76 FRANK, MICHAEL ROBERT (ceo/EARWIG REC) b. 1949-0505, PITTSBURGH, PA GUESNON, GEORGE "CREOLE" (g/bjo/ARHOOLIE) d. 1968-0505, NEW ORLEANS, LA 61 HARPER, JOE (g) b. 1930-0505, RAYMOND, MS HILL, BUNKER (v/MALA REC) b. 1941-0505, WASHINGTON, DC JONES, ALLEN A. (prod/BAR-KAYS/STAX) d. 1987-0505, MEMPHIS, TN -- MCTELL, WILLIE BLIND (g) b. 1898-0505, THOMSON, GA MILLER, JAY D. (prod/songw/EXCELLO REC) b. 1922-0505, EL CAMPO, TX MOORE, PEE WEE (bsax/WYNONIE HARRIS) b. 1928-0505, RALEIGH, NC PARKER, SONNY (v/LIONEL HAMPTON) b. 1925-0505, YOUNGSTOWN, OH TAYLOR, JOHNNIE (v/STAX/MALACO REC) b. 1938-0505, CRAWFORDSVILLE, AR THOMAS, OLICE (v/BLIND BOYS OF AL) b. 1926-0505, GAINESVILLE, AL THOMPSON, ASHLEY (g/GUS CANNON'S JUG) b. 1896-0505, RIPLEY, TN TIBBS, ANDREW (v/ARISTROCRAT/PEACOCK REC) d. 1991-0505, CHICAGO, IL 72 WELCH, ROBERT "GTR" (g/ARHOOLIE REC) b. 1896-0505, MEMPHIS, TN ------------------------------------------------------------------------------- ========================================================================= Date: Sat, 4 May 1996 10:31:47 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Chicago R&B Kings Last night I went to see the Chicago Rhythm and Blues Kings at the Silver Dollar in Toronto. As always they put on a fine show -- I've been a fan of this soul blues group since it evolved out of The Mellow Fellows. I was surprised and saddened, however, to find that Martin Albritton wasn't with them. He has been the band's vocalist since Big Twist died, and is one of my favorite "unknown" singers. Members of the band told me that Albritton had a heart attack late last year, and had to have open heart surgery. They don't expect him to be able to return to performing. Fortunately, his replacement, Billy McGregor, does very well on the soul classics this band excells at, so the tradition continues, but Martin Albritton will definitely be missed. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Sat, 4 May 1996 12:08:17 -0400 Reply-To: BlueKing@AOL.COM From: Gregory A King Subject: Re: Play list: DME on Primestar Comments: To: coop@datawise.net In a message dated 96-05-04 07:15:14 EDT, coop@DATAWISE.NET (Mike Cooper) writes: >Primestar here in Michigan (cable free zone) has a set of music channels by >Digital >Music Express, one of which is all Blues. It's great for between CDs and the >radio >blues shows. Repetitious and Alligator prone, perhaps. Great sound quality, >except >during heavy precipitation. > >Is there anywhere available a play list? I had the same service in Jax Fl. The cable server had an 800 # to call for the last 5 or 6 songs played. It was a great service. I used to just leave it on all day as background. ========================================================================= Date: Sat, 4 May 1996 12:08:22 -0400 Reply-To: BlueKing@AOL.COM From: Gregory A King Subject: Joe Kelly Comments: To: BluesMojo@aol.com Anyone ever hear of the Joe Kelly Blues Band (Chicago, circa 68-69)? Kelly was the original bass player for the Shadows of Night (hit was a Gloria remake) but switched to guitar and blues after the first Shadows album. Joe was hot, stinging and real expressive. Used to see him at a place called the Cellar in Arlington Heights IL. I also saw Albert and Freddie King, Muddy Waters, Willie Dixon, Cream, Hendix and so many others there. I was sixteen at the time. Just wondering what ever happened to smokin' Joe Kelly. ========================================================================= Date: Sat, 4 May 1996 12:14:38 -0500 Reply-To: Dave Daubard From: Dave Daubard Subject: Re: Artist help needed. Comments: To: "P.W. Fenton" In-Reply-To: <199605021736.NAA44886@osceola.gate.net> "Do the Sissy" was recorded in '69 by Albert Collins on Imperial records It's the 1st cut on the Imperial collection. ========================================================================= Date: Sat, 4 May 1996 14:00:09 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 05/05 B O R N :05/05 BARBARlN, PAUL ( ALDOLPHE PAUL BARBARIN ) Born:1901 NEW ORLEANS, LA Career:DRUMMER / LEADER / COMPOSER Style:TRAD / JAZZ With:Clarence Parson / Eddie Vincent / Art Simms / Freddie Keppard / Jimmie Noone / Luis Russell / parade work with Onward and Excelsior Bands / King Oliver February 1925 / Walter Pichon / Armand Piron / Luis Russell / Joe Robichaux's New Orleans Rhythm Boys / Henry 'Red' Allen's Sextet / Sidney Bechet / Louis Armstrong / Art Hodes / Died taking part in a street parade BOWSER, ERBIE Born:1918 DAVILLA, TX Career:PIANO Style:BLUES With:T.D. BELL CARLSON, FRANK L. Born:1914 NEW YORN, NY Career:DRUMMER / PERCUSSION Style:JAZZ / BIG BAND COLLINS, CAL ( CALVIN ) Born:1933 MEDORA, IN Career:GUITAR Style:JAZZ / BIG BAND With:BENNY GOODMAN / SCOTT HAMILTON / WARREN VACHE / JOHN BUNCH / KETER BETTS / SPIKE MOORE COWELL, STANLEY Born:1941 TOLEDO, OH Career:PIANO / COMPOSER Style:JAZZ With:MARION BROWN / MAX ROACH / STAN GETZ / HEATH BROTHERS DAILY, PETE ( THAMAN PIERCE ) Born:1911 PORTLAND, IN Career:CORNET / LEADER Style:JAZZ With:FRANK MELROSE / BUD FREEMAN / BOYCE BROWN / ART VAN DAMME / WARREN SMITH / NAPPY LAMARE / JOE DARENSBOURGH / JERRY FULLER / SMOKEY STOVER GAYLOR, RUTH Born:1918 BROOKLYN, NY Career:SINGER Stytle:JAZZ / BIG BAND With:Hudson-Delange / Mitchell Ayres / Bunny Berigan / Teddy Powell / Married and retired awhile 1941-43 / 1943-45 with Hal McIntyre MCTELL, WILLIE BLIND Born:1898 THOMSON, GA Career:GUITAR Style:BLUES MINOR, DONALD Born:1935 NEW ORLEANS, LA Career:CLARINET Style:TRAD / JAZZ MOORE, PEE WEE Born:1928 RALEIGH, NC Career:BARITONE SAX Style:BLUES With:WYNONIE HARRIS PARKER, SONNY Born:1925 YOUNGSTOWN, OH Career:SINGER Style:BLUES / JAZZ With:LIONEL HAMPTON PRIMMER, STERLING Born:1931 ALBURY, NSW, AUSTRALIA Career:PIANO Style:JAZZ With:Bill Townsend's jazz band / Bruge Lansley's group. Travelled in England, Europe, and Canada, 1953-56 / Frank Johnson / Greg Gibson / John Hamon / Terry Wynn / Noel Crow / Fortified Few TAYLOR, JOHNNY Born:1938 CRAWFORDSVILLE, AR Career:SINGER Style:BLUES THOMPSON, ASHLEY Born:1896 RIPLEY, TN Career:GUITAR Style:BLUES / JAZZ With:GUS CANNON'S JUGBAND WALRATH, JACK (ARTHUR ) Born:1946 STUART, FL Career:TRUMPET Style:JAZZ With:CHARLIE MINGUS 1974-79 / DANNIE RICHMOND WELCH, ROBERT "GUITAR" Born:1896 MEMPHIS, TN Career:GUITAR Style:BLUES With:ARHOOLIE RECORDS Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Sat, 4 May 1996 17:41:25 GMT Reply-To: CKUT_online@babylon.montreal.qc.ca From: CKUT online Organization: Babylon, Montreal, Canada Subject: Re: help for zztop Comments: To: dewbr@FREENET.EDMONTON.AB.CA Iwas surprised that "One Foot in the Blues" didn't include my favourite ZZ Top blues: Dust My Broom. John D. ========================================================================= Date: Sat, 4 May 1996 17:39:03 GMT Reply-To: CKUT_online@babylon.montreal.qc.ca Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: CKUT online Organization: Babylon, Montreal, Canada Subject: Re: Brightest New Blues Artist Comments: To: baileyst@MARTIN.LUTHER.EDU Let's throw a harp player into the discussion. I've gotten two cd's featuring Carlos del Junco: "Just Your Fool" Carlos del Junco Band-Live "Big Road Blues" Thom "Champagne Charlie" Roberts & Carlos del Junco Carlos is the winner of Hohner's World Harmonica Championship and his style incorporates not only the influences of the traditional blues greats but also jazz and latin influences. His chromatic work and his tone immediately show him to be a player who has learned his lessons well, then added his own personality and talents to achieve an individual and recognizable sound. John Detcheverry, CKUT FM 90,3 >Lost John: I sure hope that the "shitty blues show" wasn't on CKUT! ========================================================================= Date: Sat, 4 May 1996 15:35:44 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Re: Duke's BLues Duke's Blues was indeed the result of a discussion between Holger Petersen, Stony Plain's president, owner, a&r man and occasional shipping clerk, at the Winnipeg Folk Festival a few years back. Duke Robillard was discussing a contractual relationshbip with Virgin/Pointblank, Holger suggested a one-off recording for his label in which Duke would pay tribute to the blues people who had influenced him. Duke asked Virgin if this would be cool, and they said to go ahead. As a result, the record was eventually financed by Stony Plain, and released by the label in Canada. When Virgin/Pointblank heard it, they entered into negotiations with Stony Plain to release it internationally (except in Canada). This has now happened, and the label also carries the SP logo. Duke's relationship with the Canadian label continues; he has produced a wonderful album with Jimmy Witherspoon, and there is a possibility of a project with Kansas City pianist Jay McShann. Oh, yes, unless anyone didn't know, I work with Stony Plain, and, of course, recommend everything they do without reservation! Richard the Elder ========================================================================= Date: Sat, 4 May 1996 15:57:24 -0500 Reply-To: Timothy M Dellinger From: Timothy M Dellinger Subject: Re: rory block Owen Okie says: >One of my musical heroes (mark knopfler) is on a Rory Block album called >"Ain't I a Woman" Could someone telll me what they think about Rory and about >this album in particular? This info would be greatly appreciated. I think "Aint I a Woman" is a dull album that's not really worth listening to. The vocals on all the blues cuts are muffled and sound like Rory is holding back, or trying to do something she doesn't want to/can't do. The non-blues tracks are supposed to have touching lyrics, but the words just don't flow like they should. Rory is excellent, and the albums "Mama's Blues" and "When a Woman Gets the Blues" prove it. She is one of the best Delta style acoustic players around, and has superb, expressive vocals... unlike many other contemporary acoustic bluesmen who have been mentioned recently on blues-l. Forget all about "Aint I a woman" and go get some of her better stuff. -- -- It is a miracle that curiosity survives Tim Dellinger formal education. -Albert Einstein tdelling@uiuc.edu ========================================================================= Date: Sat, 4 May 1996 14:52:12 -0500 Reply-To: Gary Croisatiere From: Gary Croisatiere Organization: Triangle Music Subject: Re: European Mail Order Catalogs? Comments: To: bit-listserv-blues-l@uunet.uu.net > Can anyone tell me a good source for mail ordering cds in Europe. My > brother lives in Denmark, and he wants me to send him a catalog where > he can order cds (blues and other styles of music) from. Does elderly > Instruments ship to Europe? > !!!Steve, If you will email me your brothers name and address I will send him one our catalogs. We sell only blues and ship world-wide. (We can also special order other types of music). If you also want a catalog for yourself, I would be glad to send you one. -- Gary Croisatiere Triangle Music - The Blues Source ========================================================================= Date: Sat, 4 May 1996 19:47:56 GMT Reply-To: Jeffrey Daniels From: Jeffrey Daniels Organization: UMR Missouri's Technological University Subject: Brightest New Blues Artist Comments: To: bit-listserv-blues-l@uunet.uu.net You mentoined Sherman Robertson, who I also like, have you heard The Hoax. They are also on Code Blue records, and they are fantastic. They are a real young British band. I think they have been opening up for Buddy Guy lately, that would be a show not to miss. They have 1 cd out, "Sounds Like This", and a single on the "Heavens' Prisoners Soundtrack". This soundtrack is awsome, SRV, Albert King, BB King, John Lee Hooker,... Jeff Daniels The happiest I've ever been Is when my feet are on the road to sin M.Ball ========================================================================= Date: Sat, 4 May 1996 01:24:36 GMT Reply-To: Joseph Occhiogrosso From: Joseph Occhiogrosso Organization: The Pipeline Subject: blues history Comments: To: bit-listserv-blues-l@uunet.uu.net I'm looking for a WEB site that offers a history of blues. I need the info for a high school class I;m teaching on American music. ========================================================================= Date: Sat, 4 May 1996 17:47:04 -0400 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Billboard's Top 15 Billboard's Top 15 Blues Albums for the week ending May 11, 1996 1. Ledbetter Heights, Kenny Wayne Shepherd 2. Greatest Hits, Stevie Ray Vaughan & Double Trouble 3. Live: The Real Deal, Buddy Guy 4. Phantom Blues, Taj Mahal 5. Alligator Records 25th Anniversary Collection, Various Artists 6. Long Way Home, Clarence "Gatemouth" Brown 7. From The Cradle, Eric Clapton 8. Blues, Jimi Hendrix 9. Keb' Mo', Keb' Mo' 10. Blues For Greeny, Gary Moore 11. Hot Biscuits: House Of Blues Sampler, Various Artists 12. Chill Out, John Lee Hooker 13. Some Rainy Morning, Robert Cray 14. Blue House, Marcia Ball 15. Sad Street, Bobby "Blue" Bland *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Sat, 4 May 1996 18:12:06 -0400 Reply-To: "JOHN W. SCHARBROUGH" From: "JOHN W. SCHARBROUGH" Subject: Re: brightest new blues artists Comments: To: bit-listserv-blues-l@uunet.uu.net Message-ID: <547cc$b310.38b@tcnntp.trader.com> Date: Sat, 04 May 1996 16:49:00 GMT References: <4mavc6$pnn@knot.queensu.ca> Reply-To: FastJohn@trader.com (JOHN W. SCHARBROUGH) Organization: Traders' Connection, Inc. Posting-Version: TCON NNTPSend v 1.0.5 ; site 204.120.67.7 Lines: 6 I vote for the Shifters! Fast John --- * Traders' Connection Web BBS * http://www.trader.com * info@trader.com ========================================================================= Date: Sat, 4 May 1996 11:27:08 -0400 Reply-To: DWRYMAN2 From: DWRYMAN2 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: brightest new blues artist--suggestions Comments: To: bit-listserv-blues-l@uunet.uu.net I'd like to echo Bill's post as I too appreciate all the information on artists--new and established--that I am turned on to thru blues-l. I feel like a student in class when I sign on.:) And to add to his list of brightest COMEBACK artist, along with Earl Gaines and Clifford Curry, I have to include Roscoe Shelton. The three are performing in Nashville as Excello Legends review and have also recorded together including a live recording that is upcoming--I believe it will be on Appaloosa. They were nominated for Nashville Music Award this spring and Roscoe was also nominated for best reissue recording. Roscoe is still writing and will be going into studio this summer and also a European tour this fall. I would definately include him in the thread of great artists who for whatever reason never achieved widespread acclaim. Give Roscoe a listen and if that soaring tenor does not move you, you might ought to check your pulse.;) Denise W ========================================================================= Date: Fri, 3 May 1996 21:32:20 GMT Reply-To: mclas@KCTS.ORG From: mclas@KCTS.ORG Organization: KCTS Television Subject: origins of The Lemon SOng Comments: To: bit-listserv-blues-l@uunet.uu.net Can anyone tell me the original blues song that Led Zeppelin stole the lemon song from? Thanks, Sam M mclas@kcts.org ========================================================================= Date: Sat, 4 May 1996 18:51:07 -0500 Reply-To: 00LCSPECTOR@BSUVC.BSU.EDU From: "Lee C. Spector" <00lcspector@BSUVC.BSU.EDU> Subject: Spann I know that the Ann Arbor blues festival site is named after Otis Spann. I also know that some of music from these festivals is being released. What I don't know is whether any of these releases will contain anything by Spann. Does anyone know if he will be featured on one of these releases in the future? Lee Lee C. Spector Department of Economics ========================================================================= Date: Sat, 4 May 1996 20:07:00 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Joe Kelly Comments: To: Gregory A King In-Reply-To: <960504120821_106516906@emout08.mail.aol.com> Joe Kelley lives in Austin now and has toured internationally over the last couple of years with Ray Sharpe and Long John Hunter (whose Alligator CD he plays on). ========================================================================= Date: Sat, 4 May 1996 18:16:51 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: WHY BLUES????? :) Comments: To: shaun@PACIFICNET.NET In-Reply-To: from "Shaun T Cronin" at May 3, 96 10:30:23 am <8, 12 bar progressions, monochord "progressions", stock tune formulae requiring verse, bridge, chorus, etc.> The nice thing about music is that all of these, and MORE, are all musically valid forms. and we might even expand formats much further - one example that comes to mind is Steve Stills "Suite: Judy Blue Eyes", considered to be a single song but comprised of far more than just verse, bridge, chorus. and then at another extreme we have Hooks "Boogie Chillun" with a simple guitar hook (excuse the pun) and expressive, heartfelt vocal that's musical and conversational at the same time. One thing I think would help a lot of blues artists is to recognize that we're free to explore beyond the typical :-) If you haven't heard them, and want to hear some unbelievably creative "rhythm/lead" strummed guitar (electric no less), you really should check out Satan and Adam. (Adam plays harmonica - Satan sings and plays guitar). -- IronMan Mike Curtis ========================================================================= Date: Sat, 4 May 1996 21:27:29 -0400 Reply-To: BlueKing@AOL.COM From: Gregory A King Subject: Re: origins of The Lemon SOng Comments: To: mclas@kcts.org It comes from "Killing Floor" a very old delta tune. Don't know the original artist. Johnson maybe? bk ========================================================================= Date: Sat, 4 May 1996 21:50:51 -0400 Reply-To: "JOHN W. SCHARBROUGH" From: "JOHN W. SCHARBROUGH" Subject: Re: Bluesquiz II Comments: To: bit-listserv-blues-l@uunet.uu.net Message-ID: <537cc$13634.a7@tcnntp.trader.com> Date: Sat, 04 May 1996 00:06:52 GMT References: <4m4efg$l6o@rc1.vub.ac.be> Reply-To: FastJohn@trader.com (JOHN W. SCHARBROUGH) Organization: Traders' Connection, Inc. Posting-Version: TCON NNTPSend v 1.0.5 ; site 204.120.67.7 Lines: 22 Tom Harold of the Shifters, Indianapolis cool blues band,does that everytime they play Hollywood Fats "Eyes on you". The band takes it *way* low and Tom walks around to each table jammin..check them out! The Shifters live show dates: Caseys Pub,Irvington Plaza,Indpls.In...................June 1st The Slippery Noodle Inn 372 S.Meridian Indpls.,In..... June 3rd *;-> Johnny --- * Traders' Connection Web BBS * http://www.trader.com * info@trader.com ========================================================================= Date: Sat, 4 May 1996 22:28:39 -0400 Reply-To: Newellz From: Newellz Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Blues Societies Comments: To: bit-listserv-blues-l@uunet.uu.net The Northeast Blues Society is run/founded By Don Wilcock (King Biscuit editor and Buddy Guy biographer). We (actually, he...) organize weekly blues jams in Schenectady NY, sponsor regional Blues concerts, and generally foster a sense of purpose for Blues musicians in upstate NY. A great organization. For info: Northeast Blues Society Michele Jeanene Enterprises PO BOX 2336 Scotia, NY 12302 feel free to e-mail me and I will forward Ed Newell newellz@aol.com ========================================================================= Date: Sat, 4 May 1996 22:56:59 -0400 Reply-To: Newellz From: Newellz Organization: America Online, Inc. (1-800-827-6364) Subject: Glens Falls Blues Fest. Comments: To: bit-listserv-blues-l@uunet.uu.net Here's a tip for any Blues fans in the Northeast: The fourth annual Glens Falls Blues Festival will be held on Saturday, June 1st in Glens Falls, NY. (yes, I know there are other fests going on...) This free outdoor fest will feature The Holmes Brothers, Mike Morgan and The Crawl, Oxford Blues, Jill Hughes, The Improbable Blues Band, and The George Boone Blues Band. Even though I am a member of one of the other bands ( I probably ain't tellin'...) my vote for most likely to knock the crowd off their coolers is George Boone. He is the Northeast's greatest "undiscovered" talent; a go-for-the-throat bona-fide guitar monster. He's come home to Schenectady after years on the road with the likes of Screamin' Jay Hawkins, and I'd rate his talent with any Blues guitar player alive today. Witness and believe. Please e-mail if you would like more info on the fest. Ed Newell newellz@aol.com ========================================================================= Date: Fri, 3 May 1996 21:35:47 GMT Reply-To: mclas@KCTS.ORG From: mclas@KCTS.ORG Organization: KCTS Television Subject: lyrics about food/sex Comments: To: bit-listserv-blues-l@uunet.uu.net I am looking for lines from blues (or rock & roll) songs in which language about food is used as sexual metaphor. Any suggestions? Actual quotes of lines would be most helpful. Thanks, Sam mclas@kcts.org ========================================================================= Date: Sun, 5 May 1996 07:44:27 GMT Reply-To: Andrew Moodie From: Andrew Moodie Organization: The National Capital FreeNet Subject: Re: Johnny Winter on tour(?) a CT visit Comments: To: bit-listserv-blues-l@uunet.uu.net Domenic Forcella (FORCELLAD@CCSUA.CTSTATEU.EDU) writes: > Johnny Winter will bw at the Webster Theater in Hartford, Ct on > May 11 with the Rick Derringer Band. > > The Webster is Hartford's newest music venue. An old classic theater > with the seats removed, big stage, great sound, and 2 bars. The Webster > is running the gamut of musical tastes. > > Domenic Forcella > Traveling with the Blues > (no interest in the Webster except as another place for Blues) If anyone is going to this show, tell us about it. I know lots of people who are dying to hear how Johnny is these days and if he's going to tour again. Andrew ========================================================================= Date: Sun, 5 May 1996 04:20:45 -0400 Reply-To: smirkyface From: smirkyface Subject: Carlos Johnson I've yet to see Carlos Johnson mentioned here. He was at Warmdaddy's in philly this weekend, and put on one hell of a show. One of the best show I seen ever. BRIAN MCLEAN PHOTOGRAPHY & SMIRKYFACE PRODUCTIONS "life's too short to live the blues" http://www.netaxs.com/~blmclean ========================================================================= Date: Sun, 5 May 1996 11:06:11 GMT Reply-To: "." <102650.1043@COMPUSERVE.COM> From: "." <102650.1043@COMPUSERVE.COM> Organization: . Subject: Blues best albums Comments: To: bit-listserv-blues-l@uunet.uu.net The best blues collections: Ulit. Collection: John Lee Hooker Complete Collection (BOX) - Robert Johnson Bottle Knifes and Steel - assci. Artists ========================================================================= Date: Sun, 5 May 1996 08:09:14 -0400 Reply-To: BLUESROCCO@AOL.COM From: Jim Rocco Subject: Re: origins of The Lemon SOng Comments: To: mclas@kcts.org 4 May 96, Sam M asks > "Can anyone tell me the original blues song that Led Zeppelin stole the lemon song from?" Let's not call it "stole"...Let's call it "borrowed" When Elmore James put his name as author of "Dust My Broom" we were not bothered by it because Elmore did his own thing with it. And justifiably so. When Clapton had his name installed as credit to "Crossroads" , again it was acceptable. Clapton did his own " thing" with it. The same goes for Zeppelin with the lines they borrowed, mostly from Robert Johnson or Willie Dixon, they took them and did their own thing with them. Like when they borrowed, "I got a bird to whistle and I have a bird to sing" from Johnson's "Stones In My Passway" it gave me goose bumps the first time I heard it. Since I was heavily into the blues as a player and a listener from the late fifties I knew exactly where the line came from and it excited me to realize that old blues DID stand the test of time and it was world wide. When they did "I Can't Quit You" by Willie Dixon It gave me that "warm brandy in the tummy" feeling. It was the first time I KNEW that the Blues were here to stay....FOREVER! No matter who did them, they were here to stay! Comparing body parts to various other objects such as fruits, vegetables, and motorized forms of transportation(check out Robert's "Phonograph Blues", or "Terraplane Blues") has been around forever. Sonny Boy "really love your peaches, they're so mellow and fine" Williamson used it often, as they all did. The line, ".....squeeze my lemon 'til the juice run down my leg" undoubtably came from Robert Johnson"s "Traveling Riverside Blues", recorded at Dallas, June 20, 1937. Where Robert picked it up from is anyones guess. Traveling Riverside Blues........Robert Johnson: If your man get personal want to have your fun if your man get personal want to have your fun Best come on to Friar's Point, mama, and barrelhouse all night long. I got womens in Vicksburg clean on into Tennessee I got womens in Vicksburg clean on into Tennessee But my Friars Point rider now hops all over me I aint gonna state no color but her front teeth crowned with gold I aint gonna state no color but her front teeth is crowned with gold She got a mortgage on my body now a lien on my soul Lord, I'm going to Rosedale gonna take my rider by my side Lord, I'm going to Rosedale gonna take my rider by my side We can still barrelhouse, baby, 'cause it's on the river side Now you can squeeze my lemon 'til the juice down my...... (spoken)'til the juice run down my leg, baby, you know what I'm talkin about..... You can squeeze my lemon 'til the juice run down my leg (spoken) that's what I'm talkin' 'bout but I'm going back to Friars Point if I be rocking to my end. or thereabouts......... Jim Rocco ========================================================================= Date: Sun, 5 May 1996 08:51:12 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: origins of The Lemon SOng Comments: To: BLUESROCCO@aol.com On 5 May 96, BLUESROCCO@aol.com had this to say: > 4 May 96, Sam M asks > "Can anyone tell me the original blues song that Led > Zeppelin stole the lemon song from?" > > Let's not call it "stole"...Let's call it "borrowed" > When Elmore James put his name as author of "Dust My Broom" we were not > bothered by it because Elmore did his own thing with it. And justifiably so. > When Clapton had his name installed as credit to "Crossroads" , again it was > acceptable. Clapton did his own " thing" with it. The same goes for Zeppelin > with the lines they borrowed, mostly from Robert Johnson or Willie Dixon, > they took them and did their own thing with them. Like when they borrowed, "I > got a bird to whistle and I have a bird to sing" from Johnson's "Stones In My > Passway" it gave me goose bumps the first time I heard it. Since I was > heavily into the blues as a player and a listener from the late fifties I > knew exactly where the line came from and it excited me to realize that old > blues DID stand the test of time and it was world wide. When they did "I > Can't Quit You" by Willie Dixon It gave me that "warm brandy in the tummy" > feeling. It was the first time I KNEW that the Blues were here to > stay....FOREVER! No matter who did them, they were here to stay! Would you get a nice warm and fuzzy feeling about how General Motors was here to stay if I "borrowed" your car one day? P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ I find television very educational. Every time someone switches it on I go into another room and read a good book. - Groucho Marx ========================================================================= Date: Sun, 5 May 1996 09:12:55 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1891, Peter Ilich Tchaikovsky was guest conductor at a 5 day music festival marking the opening of New York City's "Music Hall". The "Music Hall" was later renamed "Carnegie Hall" in honor of Andrew Carnegie. Around a hundred years later Roy Buchanan, Lonnie Mack, and Albert Collins would appear together on the same stage Tchaikovsky once graced. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ I don't want to achieve immortality through my work . . . I want to achieve it through not dying. - Woody Allen ========================================================================= Date: Sun, 5 May 1996 08:34:07 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Brightest New Blues Artist Among the new records across my desk for review in The Record, the Canadian music industry weekly for which I write, are a couple that will interest others Blues-L people: 1) Alvin Youngblood Hart - Big Mama's Door - Okeh 67593 (via Sony Music). Acoustic blues in the tradition by a young black artist. Sleeve endorsement from Taj Mahal (now there's an under-appreciated artist; I can't remember reading his name on BLues-L, and yet he is a hard-working, convincing evangelist for all forms of blues). Don't know much about Hart (apart from the record company bumf which I can't seem to find to hand), but this is well worth hearing. 2) Roy Rogers - Rhythm and Groove - Virgin/Pointbank 41494. By far his best record yet, apart from a disappointing duet with Maria Muldaur on one song that simply doesn't cut it. Excellent guitar work, a band that digs in, and good piano work from Philip Aaberg (well-known in New Age circles for his reflective solo albums). Rogers sounds very Ry Cooder-like on some of the cuts (and there's nothing wrong with that!) , and Charlie Musselwhite also appears as a special guest. 3) Paul Oscher - Knockin' on the Devil's Door - Viceroots 8028. A new label, distributed (at least in Canada) by St. Clair, offers a strong album by Oscher, whom many will remember as a harp player who started with Muddy in the late '60s. Willie Smith's on drums, and this one cooks along very nicely; Muddy's influence is strong, and Oscher plays guitar as well as harp throughout. I wouldn't call the last two artists "new" blues artists, but the music is well worth finding. One of the things I've found so good about this list is the way we spread the word about new and old records we can recommend. Here are three for starters (and, wow, none of 'em are on Stony Plain!)... Richard the Elder ========================================================================= Date: Sat, 4 May 1996 14:37:47 -0700 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Heaven's Prisoners Soundtrack? Jeff Daniels sez re The Hoax: >They have 1 cd out, >"Sounds Like This", and a single on the "Heavens' Prisoners Soundtrack". >This soundtrack is awsome, SRV, Albert King, BB King, John Lee Hooker,... Does anyone know if this soundtrack is from a movie based on James Lee Burke's novel of the same name? And if so, anything about the release of the movie? (According to Barry S., the writer's name is on the credits, but he was unable to supply much more info.) Burke is my current favorite detective writer; any fans of hardboiled American detective fiction out there who haven't read Burke are in for a treat when they encounter his protagonist, Cajun detective Dave Robicheaux, an engrossing combination of machismo and spiritual seeker. Burke writes lushly descriptive prose about the Acadiana area around New Iberia, Louisiana and its people and culture, with sidetrips to decadent, crime-soaked New Orleans. --Maggie Maggie Mortensen<>Exarch Services<>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 'Born with the blues, my blue suede shoes, and underlying depression...' --Van Morrison ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Sun, 5 May 1996 10:06:47 -0400 Reply-To: BLUESROCCO@AOL.COM From: Jim Rocco Subject: Re: origins of The Lemon SOng Comments: To: pwfenton@gate.net Yeah, P.W.......Maybe if General Motors would have "borrowed" a TERRAPLANE, it (just like the blues) would still be around ! Jim ========================================================================= Date: Thu, 25 Apr 1996 23:05:10 +0100 Reply-To: Gill Swinton From: Gill Swinton Organization: Gennett Solutions Subject: Who wrote Forty-Four - useful book Comments: To: bit-listserv-blues-l@moderators.uu.net No-one can say for certain who wrote "forty four". While I think it is pretty safe to say Eric Clapton can make no claims on this number, Little Brother Montgomery, Lee Green, Ernest (44) Johnson,Roosevelt Sykes and possibly others all seem to have a stake in this songs creation. I would suggest that anyone really interested in the history of the "44 Blues" should read the lengthy section of Paul Olivers book "Screening The Blues" devoted to this very topic. Regards Paul Swinton Paul@swinton.demon.co.uk In article <01BB27C0.575F7B60@ip-pdx06-51.teleport.com>, "Raymond O. Varner" writes >Memphis Slim once told me, in an interview, that Sykes stole the piano figure > from Ernest "44" Johnson of "Vicksburg Blues" Fame. Could be. > >Uncle Ray > > >---------- >From: P.W. Fenton[SMTP:pwfenton@GATE.NET] >Sent: Thursday, April 11, 1996 10:23 PM >To: Multiple recipients of list BLUES-L >Subject: Re: Who wrote Forty-Four? > >On 11 Apr 96 at 21:02, Jeff Krauss wrote: > >> Eric Clapton in his current concerts sings a song that goes: >> "I done wore my forty-four so long, it made my shoulder sore" >> (I have it on boots from 1993 and 1994 Royal Albert Hall concerts, and I >> heard the song when he performed in Washington DC last fall.) >> I also have a compilation CD that has Howlin Wolf singing Forty-four. >> Did he write this, or did someone else? > >Roosevelt Sykes wrote that song and it's one of my favorites. Not for >it's lyrics, which are pretty damn mean, but for that outstanding >musical construction. That is one of those songs that couldn't exist >as just a melody. You need the whole package. > >P.W. Fenton >Tampa, Florida >http://www.gate.net/~pwfenton/ > >"The large print giveth, and the small print taketh away" > - Tom Waits -- Gill Swinton ========================================================================= Date: Thu, 25 Apr 1996 23:22:59 +0100 Reply-To: Gill Swinton From: Gill Swinton Organization: Gennett Solutions Subject: Dead Cats on the Line Comments: To: bit-listserv-blues-l@moderators.uu.net Can any pre-war blues enthusiast out there help me? For several years, amongst other research topics, I have been trying to track down all references to "Dead Cats on the Line". I am pretty sure I possess all versions that have "Dead Cats on the Line" or variations as its title, but I would be very glad to hear from anybody that has heard this phrase in the lyrics of a song (not mentioning the line in its title) I have only been able to trace 2 references so far in tracks by Blind Boy Fuller and Brownie McGhee. Any information greatly appreciated and credit will be given in finished work. Thanks, Paul -- Paul Swinton Paul@swinton.demon.co.uk ========================================================================= Date: Sun, 5 May 1996 10:22:22 -0400 Reply-To: KAZGOOSE From: KAZGOOSE Organization: America Online, Inc. (1-800-827-6364) Subject: Boston Radio Blues Comments: To: bit-listserv-blues-l@uunet.uu.net Hello Out there... i enjoy listening to 95.3's Blue morning jam here in Boston on Sunday mornings and also to 92.5 Blues Acoustic late nights on Sundays to but i just don't have my fill during the week since we don't have a station to my knowledge that is devoted to the format...anyone out thre know of some additional programming that i can tune my home/car radio to so as to light up my days and nights... peace joe ========================================================================= Date: Sun, 5 May 1996 10:13:37 -0500 Reply-To: bolt From: bolt Subject: Muddy Waters Reunion Band CD Can someone give me their thoughts on the Muddy Waters Reunion Band 2-CD set recently released on Icehouse. Thanks. Reg Burns +++++++++++++++++++++++++++++++++++++++++++++++++ + I'll listen to reason when it comes out on CD + + + + bolt@neosoft.com Houston, TX + +++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Sun, 5 May 1996 11:12:15 -0400 Reply-To: Hugh Hardy From: Hugh Hardy Subject: Re: Pickups for Tone Comments: To: Don Cicchetti Don, I bought a totally original Tele (1958) for $275 in 1980. I tried = to sell it and the best offer I got was $200 - so I traded it! Another great story... my friend Peter had this Strat that he loved = (1956 Sunburst). He sold it to me in 1981 in a moment of madness for = $2200. I sold it back to him two years later for the same $$$. Then, in = another moment of madness, he sold it to a dealer who sold it into = Boston. About two years later he saw an ad for a '56 Strat in a = Peterborough (small town 2 hours from Toronto). Missing his old Strat, = he went to see it. He opened the case and...you guessed it ...the = "Lazarrus" Strat. Apparently, someone had bought it in the U.S. Peter = still has the same guitar. But it's for sale. (just kidding). Regards, Hugh Hardy ========================================================================= Date: Sun, 5 May 1996 11:35:30 EDT Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: Boston Radio Blues Comments: To: KAZGOOSE Try Mai Kramer's show Fridays and Saturdays from 9 pm to 1 am on WGBH 89.7FM. I listen to her on the way home from my doing my show Saturday nights. Dave Carpenter Blues Music Director - WHUS-FM 91.7 University of Connecticut - Storrs, CT http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Sun, 5 May 1996 16:07:54 GMT Reply-To: Kathy Fieberling From: Kathy Fieberling Organization: Netcom Subject: Colorado Blues Soc. Open Stage Greetings, The CBS will be at The Denver Blues Co. having another accoustic blues open stage on Mat 8th from 7pm to 11pm or so. If you haven't made down to one yet, now is the time. Good players, good crowd, great room. Hope to see you there, Hugh ========================================================================= Date: Sun, 5 May 1996 12:32:35 -0400 Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Spann Comments: To: bit-listserv-blues-l@uunet.uu.net In article <01I4BGPGR2FY8Y810E@BSUVC.bsu.edu> "Lee C. Spector" <00lcspector@BSUVC.BSU.EDU> writes: >I know that the Ann Arbor blues festival site is named after Otis >Spann. I also know that some of music from these festivals is being >released. What I don't know is whether any of these releases will >contain anything by Spann. Does anyone know if he will be featured >on one of these releases in the future? None to date that I know about. The latest Roots & Rhythm catalog lists the 2 latest: Roosevelt Sykes/Victoria Spivey - "Grind It" (SKR2103) Walter Horton/The King Biscuit Boys - "Well All Right (SKR2104) CDNow's database indicates these will be release on June 4/ 1996. Art Schuna ========================================================================= Date: Sun, 5 May 1996 10:23:02 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: May 6 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- CAMPBELL, EDDIE C. (g) b. 1939-0506, DUNCAN, MS CARLISLE, CLIFF (g/dobro) b. 1904-0506, TAYLORSVILLE, KY COX, HERB (lead/CLEFTONES) b. 1939-0506, CINCINNATI, OH DOUGLASS, HARRY (lead/DEEP RIVER BOYS) b. 1916-0506, BRIDGEVILLE, DE HARRIS, HOMER (g/COLUMBIA/TESTAMENT REC) b. 1916-0506, DREW, MS JARVIS, AL (dj/JIVIN' WITH JARVIS) d. 1970-0506, NEWPORT BEACH, CA 60 MANN, KAL (co-owner : CAMEO-PARKWAY REC) b. 1917-0506, PHILADELPHIA, PA MAYS, WILLIE (v/baseball/SAY HEY!) b. 1931-0506, WESTFIELD, AL PAUL, CLARENCE (arr/prod/songw/MOTOWN) d. 1995-0506, LOS ANGELES, CA 67 ROBINSON, SYLVIA (v/g/MICKEY & SYLVIA) b. 1936-0506, NEW YORK, NY SADLER, COOL PAPA (g/songw) d. 1994-0506, BERKELEY, CA 59 SEGER, BOB (: (v) b. 1945-0506, ANN ARBOR, MI TRUSS, LEONARD "RED" (v/THE STEELERS) d. 1995-0506, CHICAGO, IL 48 VALENTINO, RUDOLPH (:-) (v) b. 1895-0506, CASTELLANETA, ITALY WEBSTER, PAUL (tpt) d. 1966-0506, NEW YORK CITY, NY 56 WILSON, PAUL (of THE FLAMINGOS) d. 1988-0506, CHICAGO, IL 53 ------------------------------------------------------------------------------- ========================================================================= Date: Sun, 5 May 1996 17:26:20 GMT Reply-To: "JOHN W. SCHARBROUGH" From: "JOHN W. SCHARBROUGH" Organization: Traders' Connection, Inc. Subject: Re: Wading into the crowd Comments: To: bit-listserv-blues-l@uunet.uu.net Are you geting plenty of blues gigs in Fla? I want to come down on a *working* vacation and play some guitar...Johnny,the Shifters... The Shifters live show dates in 1996 Chubbys Club @Lasalle 3219 e. Michigan St. Indpls, In....Jan 6th Chubbys......".................."......................Feb 3rd Shi-Kay Pub 1415 N. Emerson Ave. Indpls.,In............March 30th Chubbys Club LaSalle 3219 e. Michigan St.Indpls.,In...April 6th Fountain Square,1100 S. Virginia Ave. Indpls.,In........April 11th Caseys Pub,Irvington Plaza,Indpls.,In..................April 26th Caseys Pub, "..........:.......".......................June 1st The Slippery Noodle Inn 372 S.Meridian Indpls.,In..... June 3rd More to be announced! --- * Traders' Connection Web BBS * http://www.trader.com * info@trader.com ========================================================================= Date: Sun, 5 May 1996 17:26:39 GMT Reply-To: "JOHN W. SCHARBROUGH" From: "JOHN W. SCHARBROUGH" Organization: Traders' Connection, Inc. Subject: Chubbys blues jam(Indpls.In.)up from the grave.... Comments: To: bit-listserv-blues-l@uunet.uu.net Chubbys Club LaSalle started up the Blues Jam again with a bang on Thurs, May 2nd. Fast John (the Shifters) was cooking.Lightning was there, Sals new band opened up w/ Mr X on guitar. The locals showed their appreciation for The coolest blues jam on that block and everybody was all smiles! Chub even served up $1.00 beers!Fast Johnny did a 8 minute blazing 5 string guitar solo and played slide w/ the mic stand and jumped up on some chairs,ect!Between 9:00 and 12:00 there must have been 20 something different people on stage... --- * Traders' Connection Web BBS * http://www.trader.com * info@trader.com ========================================================================= Date: Sun, 5 May 1996 13:51:44 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: origins of The Lemon SOng Comments: To: Jim Rocco In-Reply-To: <960505080913_484612117@emout09.mail.aol.com> On Sun, 5 May 1996, Jim Rocco wrote: > 4 May 96, Sam M asks > "Can anyone tell me the original blues song that Led > Zeppelin stole the lemon song from?" > > Let's not call it "stole"...Let's call it "borrowed" > When Elmore James put his name as author of "Dust My Broom" we were not > bothered by it because Elmore did his own thing with it. And justifiably so. > When Clapton had his name installed as credit to "Crossroads" , again it was > acceptable. Clapton did his own " thing" with it. The same goes for Zeppelin > with the lines they borrowed, mostly from Robert Johnson or Willie Dixon, I agree with PW that it's ripping off if they don't credit the source. Willie won his lawsuits against Zeplin, so it wasn't "acceptable" to pretend they wrote the songs they ripped off from him. But we should also acknowledge that blues has developed with people copping licks, songs, lyrics, and ideas from others both from direct contact and lifting stuff from records. The recent thread about Robert Johnson's "influences," both in person and from records recordings, isn't an anomoly. I've seen Bessie Smith's "Backwater Blues" credited to the artists who covered it, including Sonny & Brownie, Bill Broonzy, Leadbelly, and others. A number of outstanding and original players like Clifton Chenier and Lightenin' Hopkins take credit for their versions of numbers of songs that earlier recordings indicate (at least to me) aren't theirs. I doubt it will ever all be straightened out, regardless of the hard and valuable work of folklorists, and I doubt that labels and artists will ever try to straighten out their acts completely when money is at stake, and in the case of most blues performers, a very small pool of money. And I think that most folks who dig listening to music aren't going to be all in a tizzy when they find out that one or another artist copped a song from someone else, however famous or obscure either of the players are. Most of the folks I know try to be conscientious about their source material, but there's nothing new about that kind of stuff. A label might put someone's name on a song because that person does vocals on this recording, but they're also nicking the song more than likely. And I don't know how juries find one case a rip off and another case not. Steve ========================================================================= Date: Sun, 5 May 1996 15:09:59 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Dead Cats on the Line Comments: To: Gill@swinton.demon.co.uk In a message dated 96-05-05 10:27:17 EDT, Gill@SWINTON.DEMON.CO.UK (Gill Swinton) writes: > I have only been able to trace 2 references so far in tracks by Blind Boy >Fuller and Brownie McGhee. >Any information greatly appreciated and credit will be given in finished >work. Try the Rev. J.M. Gates release on Okeh (No. 8684) recorded March 18, 1929. One side was "You Midnight Ramblers" and the other "Dead Cat on the Line." There are none in Memphis / Mississippi blues recordings? I would be slightly surprised by that. Make that quite surprised. I know I've encountered the line somewhere, and I have only a limited amount of Fuller and McGhee recordings. By the way, the phrase is in the Dictionary of American Regional English, which states: {prob. origin in ref. to a catfish on a fishing line] and that it is Southern. The map of occurances of the phrase shows 6 in South Carolina (clustering mostly toward Georgia) 2 in North Carolina, West Virginia, Mississippi, and Texas, and one each in Florida, Georgia, Alabama, Tennessee, Missiouri, Kentucky, and Virginia. I would call that pretty pan-Southern. The definition is "Something causing suspicion, mistrust, or concern; something immoral." One of the examples says this (this is a Virginia example from Smithsonian Letters, 1982): "'Dead cat on the line' is an expression I had not heard since my youth in 1936. In our home in Loudoun County, Va. my father had an old 78 rpm record.. featering sermons by a black minister named Reverend Gates. On one side... was 'You midnight Ramblers' and on the other side 'Dead Cat On The Line.' ..[Story of the phone company not being able to get a message through; man sent to investigate reported that a cat had climbed up the telegraph [sic] pole and died on the line] If a child don't favor his father in some way, there's a dead cat on the line." [elipses and addition original to D.A.R.E.]. There is one other LONG definition that is very very colorful about its usage with dead fish, from Louisiana, and some other examples. If you really need them let me know and I will send them. Tom Freeland (there is nothing like having the right books in your library) ========================================================================= Date: Sun, 5 May 1996 15:15:14 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: origins of The Lemon SOng Comments: To: Steve Price On 5 May 96, Steve Price had this to say: > I agree with PW that it's ripping off if they don't credit the > source. Willie won his lawsuits against Zeplin, so it wasn't > "acceptable" to pretend they wrote the songs they ripped off from him. > > But we should also acknowledge that blues has developed with > people copping licks, songs, lyrics, and ideas from others both from > direct contact and lifting stuff from records. The recent > thread about Robert Johnson's "influences," both in person and from > records recordings, isn't an anomoly. Don't lose sight of the fact that Robert Johnson probably didn't claim all those songs as his own. It was only the work of a non-musician many years later that attached his name to classics that we all know were written (and recorded) earlier. Despite the message of Dire Strait's "Money For Nothing", it's rarely the artist getting "money for nothing". ("Chicks for free", on the other hand, may have some validity ;^) P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ I don't want to achieve immortality through my work . . . I want to achieve it through not dying. - Woody Allen ========================================================================= Date: Sun, 5 May 1996 12:52:08 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Guitar Shorty at Harvelle's I went down to Santa Monica last night with a few friends (and ran into a few others by chance) to hang out and see some shows. Someone suggested that we head off to Harvelle's to see what was happening. I though the band was going to be the regular Saturday night house band. So I walk in and realize that another band was playing. I check who was playing and it is Guitar Shorty! There has been discussion on Blues-L about Guitar Shorty so I was quite pleased to stumble onto this show. At the time I walked in he was well into a lengthy version of "That's Why I sing the Blues." The band was groovin' and he had a good part of the crowd on the dancin' away. I was quite impressed with Guitar Shorty's playing. It is inspired by Hendrix (though I hear that he was an influence on Hendrix. This true?) but he has a warm smooth tone that echoed T-Bone, Buddy Guy and a few others. I couldn't get close enough to get a good view of the stage so I didn't really see if he engaged in the antics he is famous for. But he played and sang up a storm. Did finish with "The Star Spangled Banner" as the band was packing up. It was a great show. What I really liked was that the crowd were all grooving to the music and you could see that Guitar Shorty was having a good time keeping the crowd going. I reccomend catching Guitar Shorty if he is in your area. That wasn't the end of the evenings musical entertainment. As the last stragglers left the club they were entertained by a certain Australian and his Irish friend 'entertaining' the crowd with renditions of 'Waltzing Matilda' and Monty Python's "Philosopher Song." A good night:-) Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Sun, 5 May 1996 14:16:52 +0100 Reply-To: bengans From: bengans Subject: Re: European Mail Order Catalogs? >Can anyone tell me a good source for mail ordering cds in Europe. My >brother lives in Denmark, and he wants me to send him a catalog where >he can order cds (blues and other styles of music) from. Does elderly >Instruments ship to Europe? > >-Steve Dear Steve, If your brother lives in Denmark I would advice him to order a cataloge from the store I work for, Bengans records of Gothenburg Sweden. I am personally in charge of the blues department and we have a mailorder department where he can order just about anything he wants, -to probably the best prices in northern Europe! I have a good blues section and if there s something I don t carry, I always make an effort trying to get it. Since we re both in the EEC there s no customs added to shipments. I know for a fact that our price levels are from65-75% of what one has to pay in Denmark for the same record, (in general). He can call our mailorder 1pm-4pm mon thru fri for a free cataloge. (46) 31 42 52 23 He can write to this address: BENGANS RECORDS POSTORDER STIGBERGSTORGET 1 414 63 GOTEBORG SWEDEN or e mail at the above address. Sincerely Sevenson ========================================================================= Date: Sun, 5 May 1996 15:12:10 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 05/06 B O R N : 05/06 DOUGLASS, HARRY Born:1916 BRIDGEVILLE, DE Career:SINGER (LEAD) Style:BLUES / JAZZ With:DEEP RIVER BOYS DUNMALL, PAUL Born:1953 LONDON, UK Career:ALTO SAX / TENOR SAX / CLARINET Style:JAZZ FRIESEN, DAVID Born:1942 TACOMA, WA Career:BASS Style:JAZZ With:John Handy / Marian McPartland /Joe Henderson / Billy Harper / Ted Curson / John Stowell / Ricky Ford / Duke Jordan / Paul Horn / Mal Waldron GREY, CAROLYN Born:1922 LOS ANGELES, CA Career:SINGER Style:BIG BAND With:GENE KRUPA HARRIS, HOMER Born:1916 DREW, MS Career:GUITAR Style:BLUES With:COLUMBIA / TESTAMENT RECORDS SHIELDS, BERNIE (BERNARD SAXON SHIELDS) Born:1893 NEW ORLEANS, LA Career:GUITAR / MANDOLIN / BANJO / KAZOO / ORGAN Style:TRAD / JAZZ Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Fri, 3 May 1996 18:58:55 +0100 Reply-To: bengans From: bengans Subject: Re: European Mail Order Catalogs? >Can anyone tell me a good source for mail ordering cds in Europe. My >brother lives in Denmark, and he wants me to send him a catalog where >he can order cds (blues and other styles of music) from. Does elderly >Instruments ship to Europe? > >-Steve Dear Steve, If your brother lives in Denmark I would advice him to order a cataloge from the store I work for, Bengans records of Gothenburg Sweden. I am personally in charge of the blues department and we have a mailorder department where he can order just about anything he wants, -to probably the best prices in northern Europe! I have a good blues section and if there s something I don t carry, I always make an effort trying to get it. Since we re both in the EEC there s no customs added to shipments. I know for a fact that our price levels are from65-75% of what one has to pay in Denmark for the same record, (in general). He can call our mailorder 1pm-4pm mon thru fri for a free cataloge. (46) 31 42 52 23 He can write to this address: BENGANS RECORDS POSTORDER STIGBERGSTORGET 1 414 63 GOTEBORG SWEDEN Sincerely Sevenson ========================================================================= Date: Sun, 5 May 1996 20:08:59 GMT Reply-To: John Detcheverry From: John Detcheverry Organization: SPC Subject: Blues in Montreal Comments: To: bit-listserv-blues-l@uunet.uu.net As usual, a few blues shows have been included in this year's Montreal International Jazz Festival: Friday June 28 @ The Spectrum: Taj Mahal/ Keb' Mo Wed. July 3 @ The Spectrum: Ben Harper Friday July 5 @ The Spectrum: Colin James Sat. July 6 @ Place des Arts, Theatre Maisonneuve Acoustic Blues: John Hammond/Corky Siegel's Chamber Blues/James Cotton Trio. The regular line-up of free blues shows hasn't been announced yet. For those who've never been here, we've had some great free outdoor shows at this festival including: Danny Gatton, Wild Child Butler, Lazy Lester, Charlie Musselwhite, William Clarke, John Hammond, Delbert McClinton, Sugar Blue, Sue Foley, Guitar Shorty,... Just a few off the top of my head. When the whole line-up isout I'll post it. As an incentive, maybe I should check the exchange rate for $US-$Canadian? Hope I meet a few zellers here this summer! John Detcheverry, CKUT FM 90,3 ========================================================================= Date: Sun, 5 May 1996 16:18:51 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Guitar Shorty at Harvelle's Comments: To: Shaun T Cronin In-Reply-To: re: Guitar Shorty's influence on Jimi Hendrix. YES. They were related & Shorty can do all the Hendrix licks - hands behind his back. He has some live recordings where he does in fact do that Jimi thing, and he does it outstandingly. I do not believe this material is available on CD as someone informed me of that fact. However should it become available - look for the guy at the tip of the line smiling. Me waiting to purchase the disc. I say him a while back at Chicago Blues in NYC and he ran a great show. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sun, 5 May 1996 16:25:41 -0400 Reply-To: Jon Duttweiler From: Jon Duttweiler Subject: Re: Muddy Waters Reunion Band CD Comments: To: "GO-MAIN.BOLT" At 11:16 AM 5/5/96 GMT, you wrote: >Can someone give me their thoughts on the Muddy Waters Reunion Band 2-CD set >recently released on Icehouse. Thanks. > >Reg Burns I have only listened to it one time so far (and a full review will be forthcoming for NY CD Blues), first impressions are if you life Chicago blues this is certainly well worth having. Louis Myers, Pinteop Perkins, Bob Stroger, Mojo Buford and Ted Harvey are all the "real deals," they helped create the sound. Perkins is in GREAT voice and Louis Myers is exceptional. Like I said, full review will be forthcoming, but I think you'll like this one. JD ========================================================================= Date: Sun, 5 May 1996 17:06:38 -0400 Reply-To: Greg Hermanns From: Greg Hermanns Subject: Re: Tommy Castro Band Don C. asks about The Tommy Castro Band. I've seen them a couple of times in San Francisco and they put out a large amount of energy and force. The vocals are medium ;-), but grow on ya. They usually play a pretty tight session. Looking forward to catching up with them this month. Greg Hermanns gregfh@tso.cin.ix.net ========================================================================= Date: Sun, 5 May 1996 17:08:56 -0400 Reply-To: Greg Hermanns From: Greg Hermanns Subject: Address for Tom Mazzolini Anyone know of an e-mail address for Tom Mazzolini producer of the San Francisco Blues Festival. I've got a 'snail-mail' add. Greg Hermanns gregfh@tso.cin.ix.net ========================================================================= Date: Sun, 5 May 1996 14:17:32 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Spann Like Lee, I've wondered about these recordings. I was at Ann Arbor in = '69, ''70, and '72. It appeared that all three fests were recorded = completely, front to back. And I drool over hearing Roosevelt Sykes', = Big Joe Williams', and others' sets that I remember as spectacular. I know about the material that has been released. Does anyone know about = the disposition of the rest? Uncle Ray ---------- From: Lee C. Spector[SMTP:00lcspector@BSUVC.BSU.EDU] Sent: Saturday, May 04, 1996 11:51 PM To: Multiple recipients of list BLUES-L Subject: Spann I know that the Ann Arbor blues festival site is named after Otis Spann. I also know that some of music from these festivals is being released. What I don't know is whether any of these releases will contain anything by Spann. Does anyone know if he will be featured on one of these releases in the future? Lee Lee C. Spector Department of Economics ========================================================================= Date: Sun, 5 May 1996 19:36:44 +0100 Reply-To: Weidel From: Weidel Organization: Not at This Time Subject: Re: Booba Barnes Question Comments: To: bit-listserv-blues-l@uunet.uu.net In article , ISTS024@UABDPO.DPO.UAB.EDU wrote: > Could someone tell me the details/date of Booba Barnes death. > (or tell me how to get the blues-l archived stuff) I believe it was April 3rd, of cancer. Bob Weidel ========================================================================= Date: Sun, 5 May 1996 17:10:11 -0700 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Buddy Guy and Frank Thomas sneaker commercial Comments: To: bit-listserv-blues-l@cs.washington.edu Anybody else see the b&w commercial featuring Buddy Guy and Frank Thomas sitting down, Buddy playing a little soundtrack for Frank Thomas narrating his life and hard times as a baseball player... pretty cute anyway. Saw it twice today, once it was followed closely by John Lee Hooker's soda ad. Adrian ========================================================================= Date: Sun, 5 May 1996 19:42:20 +0100 Reply-To: Weidel From: Weidel Organization: Not at This Time Subject: Re: Pinetop Perkins Comments: To: bit-listserv-blues-l@uunet.uu.net In article <4m1c7o$9v7@newsbf02.news.aol.com>, PIANOBLUES wrote: > Does any one have a phone number to contact Pinetop for a booking? I am in > charge of getting piano players for the QueenCity Blues festival here in > Cincinnati and woul like to contact him for a possible booking. The last I heard, contact Day and Night Productions P.O. Box 4757, Silver Spring, MD 20914. (301) 384-2350. I am not affiliated with them, I simply looked in the Living Blues Directory. Bob Weidel ========================================================================= Date: Sun, 5 May 1996 21:23:17 -0500 Reply-To: "J.F. Bronowich" From: "J.F. Bronowich" Subject: Re: WHY BLUES????? :) -- [ From: J.F. Bronowich * EMC.Ver #2.5.02 ] -- Ian Angus wrote: <<>> I had a much less articulate but similar reply formulating when I read yours . Very well said. =Joe= ========================================================================= Date: Sun, 5 May 1996 21:20:07 -0500 Reply-To: "J.F. Bronowich" From: "J.F. Bronowich" Subject: Re: Van Morrison/James Cotton -- [ From: J.F. Bronowich * EMC.Ver #2.5.02 ] -- I saw Van get up onstage with James Cotton at Chicago Blues in NYC last weekend. He blew a pretty good harp, even up there with J.C.! BTW, Cotton had one of the greatest backing bands I've even seen, including a guitarist named Rico who absolutely tore up everything he played. He was quite amazing. Also, his bandleader was the drummer, a huge, brusing guy with a great sense of humor. Great drummer, too. They played everything pefectly, and during their warm-up tunes mixed in some funky R&B things with the stadards that really lit up the crowd. Does anyone know if these guys record with Cotton? (I haven't been able to find his new record yet). I'd go see them alone. So, if you haven't guessed by now, this is a ringing endoresement of the current James Cotton show. Should you have a chance to catch it, go. ========================================================================= Date: Sun, 5 May 1996 21:41:40 -0400 Reply-To: Renato154@AOL.COM From: Renato Tonelli Subject: Re: copywright infringement,pt. 2 Thanks to everyone who responded to my query with advice and words of support. Renato Tonelli ========================================================================= Date: Sun, 5 May 1996 22:10:51 -0400 Reply-To: David Goldstein Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: David Goldstein Organization: ICANECT Subject: Re: Brightest New Blues Artist Comments: To: "DUTTWEILER.J" Comments: cc: bit.listserv.blues-l@news.icanect.net DUTTWEILER.J wrote: > > Date: Thursday, 2 May 1996 12:04pm ET > To: Internet > From: DUTTWEILER.J@GOMAIL > Subject: Brightest New Blues Artist > > Sitting around thinking about the myriad of new blues releases and artists on > what seems to be an explosion of new labels specializing in blues, I realized > that there is practically no way to keep up with everything. > > And while we've all probably heard of the Mem Shannons and Sherman Robertsons > (who are two of my favorite "new" blues artists), there must be plenty of > local, or even national, blues artists generating excitement out there that > many haven't heard of. > > So, a question: who is the brightest new blues artist you are currently > listening to? What have they released? What "style" of blues is it? What > label? Are they distributed nationally or only locally? > > And, perhaps most importantly, what is it about them that moves you? > > JDThere is a blues guitarist that plays with the J.W. Williams band at B.L.U.E. Chicago that is the best guitarist that I have ever heard. It might have been the atmosphere, with Eddie Campbell, Lurrie Bell, and Big Time Sarah sitting in also, but the lead guitarist had the purest tone and knew every blue lick and how to put them together. He is a white guy with a little goatee, a short choppy haircut, and wore a tan suit with a turtle neck and a gold medallion. If anyone knows his name and if he has anything out, please let me know. ========================================================================= Date: Sun, 5 May 1996 22:41:37 -0500 Reply-To: bolt From: bolt Subject: Blues-L Thanks Thanks to all at Blues-L that turned me on to James Carr and Paul Geremia. If it wasn't for y'all I'd have never (or just considerably later) heard of them. Thanks again!!! Reg Burns +++++++++++++++++++++++++++++++++++++++++++++++++ + I'll listen to reason when it comes out on CD + + + + bolt@neosoft.com Houston, TX + +++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Sun, 5 May 1996 23:55:52 -0400 Reply-To: AEGMendenh@AOL.COM From: Gordon Mendenhall Subject: CDs or tapes of blues harmonica Any suggestions for DCDs and/or tapes of great blues harmonical playing especially for a novice player to learn from. Thanks. ========================================================================= Date: Mon, 6 May 1996 00:02:37 -0400 Reply-To: AvatarRec@AOL.COM From: Miguel Gonzalez Subject: How do I get out of this list ??? Ditto ========================================================================= Date: Sun, 5 May 1996 23:14:40 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Van Morrison/James Cotton Comments: To: "J.F. Bronowich" In-Reply-To: <199605060029.UAA02953@metric.inch.com> The sidemen under discussion are Rico McFarland on guitar and Brian Jones on drums. Rico's been on the scene for over twenty years, starting out as Little Rico, child prodigy. He's maybe the most dead-on Little Milton imitator when he wants to be (he's recorded with Artie White playing hat way) and among others has also recorded with Jimmy Johnson (Johnson's Whacks) and his own band Amuzement Park. B.J. was with Joanna Connor for a good stretch before Cotton and works at Kingston Mines a lot when he's not on the road. ========================================================================= Date: Mon, 6 May 1996 06:01:35 GMT Reply-To: cuthulu@rlabs.com From: cuthulu Organization: Anti-American Civil Liberties Union Subject: Re: Billboard's Top 15 Comments: To: bit-listserv-blues-l@uunet.uu.net On Sat, 4 May 1996 17:47:04 -0400, Curtis Hewston wrote: >Billboard's Top 15 Blues Albums >for the week ending May 11, 1996 > 1. Ledbetter Heights, Kenny Wayne Shepherd > 2. Greatest Hits, Stevie Ray Vaughan & Double Trouble I'm getting real sick of seeing these two here. -------------------------------- "Quarks, Kooks, Heretics, Lunatics, Defilers of God, Set off in leaky vessels Towards holes in the horizon" philip glass, the voyage visit http://www.rlabs.com -------------------------------- ========================================================================= Date: Sat, 4 May 1996 01:03:41 +0100 Reply-To: Bill Bell From: Bill Bell Organization: Ragdoll Productions Subject: Re: Bluesmen's guitars names I've called my Strat Grub >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >> (```\ /````\ >> >> ~) ~ \ >> >> {:::|||||||||||| [] []:]| >> >> ) / >> >> (~ /~\ % / >> >> ``` ``` >> >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >> BYE BYE JOHNNY BE GOOD >> >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> ========================================================================= Date: Mon, 6 May 1996 07:46:58 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Jimmie Rodgers/Django Reinhardt Comments: To: Jim Witteveen >On another non-blues note, while I'm at it, I also picked up Django >Reinhardt in Brussels, a set of songs recorded in 1942, released on Verve. >This is the first exposure I've had to Django, and his guitar playing just >makes my jaw drop in amazement. And listening to this album is like stepping >into a time machine - the crackles and hiss, the swing style of the band... >listening to this makes me feel like I'm in a black and white movie :-). >Good stuff! > >-Jim (hndful@uniserve.com) > >(By the way, Ranko, just to even things out, I also got Miles Davis' Birth >of the Cool, and Otis Redding Sings Soul Ballads... :-) ) Anyone who is into guitar should give Django a try. His playing is very bluesy with bends & vibratos.And BB King has said that Django was an early influence on his playing. Mr Bo ========================================================================= Date: Mon, 6 May 1996 14:00:31 +0700 Reply-To: "Peter E. Beal" From: "Peter E. Beal" Subject: Blues in The Economist The Economist (the UK political/economic/business magazine), in its issue of May 4th-10th, carries an article on "The Rebirth of the Blues", complete with a picture of T-Bone Walker. The article essentially says (as we have known all along) that many successful pop/R&R groups drew heavily on the blues (the Rolling Stones are cited with Keith Richards quoted as saying "the idea of playing with Muddy Waters was 'when I got to heaven'"). But the article indicates that blues will always be a form peripheral to the main stream of popular music, no matter how much it has influenced it, and despite the fact that "Specialist record labels have discovered a growing demand for authentic music." If people want more I will try to find the time to key in the entire article. ========================================================================= Date: Mon, 6 May 1996 07:19:58 GMT Reply-To: marc borms From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Roy Hawkins Comments: To: bit-listserv-blues-l@news.Belgium.EU.net This weekend, I enjoyed a Roy Hawkins album 'Highway 59'. He was an L.A. blues pianist, died in the seventies. Although, he made some real good songs ( 'The thrill is gone' is his' !?) he never was famous. Who knows anything else of this pianist ? embee. -- Marc 'embee' Borms marc@az.vub.ac.be Illustrator of "Plug In: The Guide to Music on the Net". Everything you want to know about your favorite band, music style, MIDI and more on the Net. Published by Prentice-Hall, April 96. At bookstores everywhere by Gurley & W.T.Pfefferle. http://www.prenhall.com/~plugin If you want me to draw something, ask ! ========================================================================= Date: Mon, 6 May 1996 01:02:19 -0700 Reply-To: Stan Ruffo Comments: RFC822 error: TO field duplicated. Last occurrence was retained. Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Stan Ruffo Subject: BOT Playlist 5/5/96 Comments: To: Renee Grace , Sony Music , Vent Records Stan Ruffo Productions 800 N. Ben Maddox Way, Suite 2200 Visalia, California 93292 ph.(209) 625-6049 steamin@valleynet.com / www.valleynet.com/~steamin PROGRAM: "Blues On Tap" w/ Steamin' Stan Ruffo STATION: KIOO 99.7FM (Kay-eye-oh-oh), Visalia, CA SUBJECT: Playlist 1896 - Commercial Radio DATE & TIME: Sunday - May 5, 1996 8pm - 10pm Artist/Title/Label/Track Guitar Shorty/Get Wise To Yourself/Black Top/5 Doug MacLeod/You Can't Take My Blues/AudioQuest/12 Smokey Wilson/The Real Deal/Bullseye/4 Clarence Gatemouth Brown/Long Way Home/Verve/7 Bobby Blue Bland/Sad Street/Malaco/8 Rod Piazza/Harpburn/Black Top/4 Luther Allison/Blue Streak/Alligator/7 Sonny Rhodes/Out Of Control/King Snake/10 Little George Smith/Harmonica Ace/Flair / Virgin/8 Microwave Dave/Goodnight, Dear/Blues Works/5 Studebaker/Tremeluxe/Blind Pig/10 Willie Dixon/The Original Wand Dang/MCA/4 Louis Jordan/Blues Masters Vol.14/Rhino/2 Bill Perry/Love Scars/Pointblank/1 Joe Beard/Blues Union/AuidoQuest/6 Big Mama Thornton/Hound Dog/MCA/1 Charlie Musselwhite/In My Time/Alligator/1 Johnny Dyer/Jukin'/Blind Pig/4 Freddie King/Live At The Ballroom/Black Top/1&2 Stick McGhee/Atlantic R&B '47-'74 Vol 1/Atlantic/1 Paul Black/King Dollar/HOB/5 Chris Cain/Somewhere Along The Way/Blind Pig/8 Pat Boyack/On The Prowl/Bullseye/12 John Lee Hooker/Chill Out/Pointblank/5 Steamin' Stan Ruffo/Unreleased//9 Interview with John Mayall by Stan Ruffo 5 Tickets given away to Mayall / Ford concert for May 9th in Bakersfield Highlights of the Handy winners Blues On Tap reports to Living Blues and The Hard Report. ========================================================================= Date: Mon, 6 May 1996 01:47:01 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: CDs or tapes of blues harmonica Comments: To: AEGMendenh@AOL.COM In-Reply-To: <960505235551_107396782@emout17.mail.aol.com> from "Gordon Mendenhall" at May 5, 96 11:55:52 pm > > Any suggestions for DCDs and/or tapes of great blues harmonical playing > especially for a novice player to learn from. Thanks. WARNING: Shameless plug for my new tape and self promotion follows. If you don't like commercial content, please ignore. I don't do this often. I play as a single (harmonica, guitar, bass pedals - same time - and vocals), and have a new tape available - about an hours worth of originals and good cover tunes. My style is a unique jazz-flavored blues. I play all keys on a C diatonic (I use windsavers to bend the "unbendable" notes, and also because they improve tone greatly). Don't let the "single" scare you off - I'm VERY highly regarded for my harmonica playing and "big" sound, and have gotten many great reviews, such as: "Mike Curtis is the Best Harmonica Player I've Ever Heard." Walter Trout (John Mayalls Bluesbreakers, Canned Heat) "You were GREAT!" (at the House of Blues 10th annual blues harmonica blowdown) Left Coast Carl (KSPC radio) "Great Stuff" (Steamin' Stan Ruffo, KIOO radio) "Monster Musician" (Jon Gindick, author, "Country & Blues Harmonica for the Musically Hopeless) The tapes are US$10 for continental US, and $12 international. Price includes shipping. CA residents add 83c tax. Please make checks payable to Mike Curtis, and note that it is for the "IronMan Mike Curtis Tape" (I also handle the harp-l tape). Send to: IronMan MIKE CURTIS TAPE 7921 Wilkinson Avenue North Hollywood CA 91605-2210 While the harmonica on the tape is definitely not beginner level, I'm available on line for help with anything you have questions on. And as long as I'm at it, I play every Friday (6-10pm) at Main Street Restaurant, 4902 Main, Yorba Linda (714/777-9427), Saturday and Tuesday (9pm-midnite plus) at the Oyster House, 12446 Moorpark, Studio City (818/761-8686), and Sunday May 19 (8:30pm) at Smokin Johnnies BBQ (and no they don't serve Spam :-), 11720 Ventura, Studio City. If you're a musician or vocalist, I have a liberal sit-in policy. I'm also putting on an all-day advanced/expert harmonica workshop Saturday May 18 in Yorba Linda. I'll cover playing the diatonic chromatically, getting great tone and volume, amplified harp secrets, greatly increasing your variety, and lots more. The workshop is only $25. Drop me email for details. -- IronMan Mike Curtis ========================================================================= Date: Mon, 6 May 1996 08:25:05 +0000 Reply-To: A Renko From: A Renko Organization: Centre for Scientific Computing Subject: gig query of Fab. T-birds Comments: To: bit-listserv-blues-l@funet.fi hi! Does anybody have some info on T-birds gigs? As far as I'm concerned the only gig I know is 16th May at Tavastia's (Helsinki). Are there anymore gigs in Finland or Scandinavia? Please,let me now! regards Ari Renko ========================================================================= Date: Mon, 6 May 1996 11:10:30 +0200 Reply-To: Peter Gallagher From: Peter Gallagher Subject: All those W's.. Is it just me or does the letter "W" show up surprisingly often in the blues world? For example.... Muddy Waters Howlin Wolf Li'l Walter Sonny Boy Williamson(s) Big Walter Horton Willie Dixon Bukka White Robert Pete Williams ... not to mention LW and PW ;-> regards, PeterG ( just [w]ondering... ) -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Mon, 6 May 1996 05:54:04 -0400 Reply-To: Mike Cooper From: Mike Cooper Organization: Spring Grove Artisans Subject: Re: blues guitarist tricks Steve Price wrote: > > The bass player leaps onto the dance floor and puts the > upright bass on his back, dances madly, WHILE PLAYING A KILLER SOLO. > That's impressive. Wish I could remember their name. Excellent show. > Here in West Michigan, the Wild Woodies, out of K'zoo, do a lot of this. The lead plays a BIG Gibson (sorry; not a gear head) standing atop the standup bass with bass player standing on the hips of the standup. Also, simulated bass humping and other fun. These guys portray themselves as Rockabilly; a three piece who rotate vocals. See them in the bars from Grand Haven to New Buffalo to Coldwater, or perhaps opening for someone. -- ------------------------ Mike Cooper Spring Grove Artisans coop@datawise.net ------------------------ ========================================================================= Date: Mon, 6 May 1996 18:10:20 GMT Reply-To: "Cashflow Solutions LTD." From: "Cashflow Solutions LTD." Organization: Pavilion Internet plc Subject: Classical music background vs blues Comments: To: bit-listserv-blues-l@britain.eu.net I am finding difficulty in resolving a problem: I am a "classically" trained pianist - having started as a kid from the age of 5 upwards, and having been taught by a dear old lady (god rest her soul) who taught me scales, sight reading and classical pieces - but not to play by ear! Becasue of my "rigid" musical background I am fidning it so hard to get a blues teacher - with 2 people having said over the phone they would not be able to teach me - because it is about the "feel" of the music. I have been trying to teach myself the blues with soem reasonable success, but is there anywhere on the internet that has music notation, reference sources etc for playing the blues rather than biographies, record sales etc. BTW I have been trying play along to other records, but am trying to find any technical shortcuts. Thanks for your patience and understanding from a frustrated blues pianist. Tim Lea ========================================================================= Date: Mon, 6 May 1996 06:44:49 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Blues Playground Playlist 5/4/1996 TO: Commercial Radio Promotion FROM: Stew Crossen - WCCC 107 FM - Hartford, CT SUBJECT: The Blues Playground Playlist AIR DATE: May 5, 1996 ____________________________________________________________________________ _____ Playlist for THE BLUES PLAYGROUND 5-4-96 ARTIST ALBUM LABEL TRK Stevie Ray Vaughan Couldn't Stand The Weather Epic 5 James Peterson Don't Let The Devil Ride Waldoxy 1 Dave Hole 25th Alligator Anniversary Alligator 10/2 Rogers/Buffalo Travellin' Tracks Blind Pig 8 Fabulous Thunderbirds Roll Of The Dice (single) Private 1 Lady Blue & The Tramps Livin' And Lovin' The Blues Bear 1 Joe Beard Blues Union AudioQuest 10 Jimmy Rogers Blue Bird AcousticSounds 13 Studebaker John Tremoluxe Blind Pig 1 Rhythmtown Jive Analog Travelog Globe 2 Ramblin Dan Stevens Demo Demo 1 Monster Mike Welch These Blues Are Mine Tone-Cool 2 Preston Shannon Midnight In Memphis Bullseye 8 Casey Jones On My Way To Chicago Part 1 Airwax 1 Debbie Davies Loose Tonight Blind Pig 1 Harmonica Fats Blow, Fat Daddy, Blow Bee Bump 1 ____________________________________________________________________________ The Blues Playground - Sundays at 9pm on 107 FM WCCC - Hartford, CT 50,000 watts of Blues power! Host/programmer: Stew Crossen (Beef Stew) 18 Boxwood Drive Vernon, CT 06066-5106 tel: 800.970.5151 http://www.neca.com/~bfstew bfstew@neca.com Reporting to: Living Blues, The Hard Report and BluesWire magazine. ========================================================================= Date: Mon, 6 May 1996 10:49:03 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Pickups for Tone In-Reply-To: <960503155645_389728738@emout07.mail.aol.com> On Fri, 3 May 1996, Gregory A King wrote: > I'm new to the listserv so - hello. > > I play a USA Strat Plus with Lace Sensors. I have played vintage, Texas, and > other rail pu's but I really love the Lace's. The 'phase setting' (neck and > middle pu's) is so clear and bell like that I can do SRV's Lenny and really > make the harmonics ring. Plus - these Laces' are real quiet, real smooth. I > like 'em. > > gk > What's the difference between the gold, blue and red and which ones have you got and why? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [6/5/96 6:08 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 6 May 1996 13:29:59 +0200 Reply-To: Peter Gallagher From: Peter Gallagher Subject: Re: CDs or tapes of blues harmonica Comments: To: AEGMendenh@AOL.COM In-Reply-To: <960505235551_107396782@emout17.mail.aol.com> from "Gordon Mendenhall" at May 5, 96 11:55:52 pm With almost anything by Little Walter or Sonny Boy Williamson, you won't go wrong. Others who come to mind are Sonny Terry, Don Baker, James Cotton, Walter Horton. Good luck and "blow that thing - go ahead on and blow your brains out, man!" -- Brownie McGhee talking to Sonny Terry PeterG > > Any suggestions for DCDs and/or tapes of great blues harmonical playing > especially for a novice player to learn from. Thanks. > > -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Mon, 6 May 1996 08:41:05 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: All those W's.. Peter Gallagher wrote >Is it just me or does the letter "W" show up surprisingly often in the >blues world? >For example.... > >Muddy Waters >Howlin Wolf >Li'l Walter >Sonny Boy Williamson(s) >Big Walter Horton >Willie Dixon >Bukka White >Robert Pete Williams >... not to mention LW and PW ;-> > > What about all those Johnsons and Smiths (modesty forbids further comment %-> ) Chris Smith (chris@skerries.demon.co.uk) Beauty is in the eye of the beer holder. ========================================================================= Date: Mon, 6 May 1996 08:45:31 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: European Mail Order Catalogs? Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I got many helpful responses to my quesion about European mail order catalogs. I want to thank everyone who helped me. I really appreciate it. Thanks again! -Steve ========================================================================= Date: Mon, 6 May 1996 07:52:25 CST Reply-To: William Shute From: William Shute Subject: question re Little Buster From: Bill Shute Like many blues-l-ers, I have been listening to and enjoying the album "Right On Time" by LITTLE BUSTER AND THE SOUL BROTHERS on the Bullseye Blues label. My question is...the liner notes and promo material for the album discuss a "hit" (??) l967 single called "Young Boy Blues" recorded by Edward "Little Buster" Forehand on the Jubilee label (written by Doc Pomus)...has either side of this single appeared on any of the MANY Jubilee label reissues on the UK Sequel label? If so, which one? Thanks in advance. Bill Shute Little Buster fan in San Antonio, TX ps, attention Augie Meyers fans: the city of San Antonio has as of last week instituted a new public relations campaign to attract even more tourists here. The campaign is called "Pure San Antonio" and the city hired Augie Meyers to write the musical theme--it's a minute-long rewrite of Augie's local anthem "Hey Baby, que paso" but with mostly new lyrics and the refrain "pure/pura San Antonio". Catchy. If there's a TV commercial that plays in other parts of the country, maybe you can hear it there. ========================================================================= Date: Mon, 6 May 1996 08:52:30 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: CDs or tapes of blues harmonica Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, AEGMendenh/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=AEGMendenh#a#AOL#f#COM@s1boca.corp.wrgrace.com *Any suggestions for DCDs and/or tapes of great blues harmonical playing *especially for a novice player to learn from. Thanks. The Essential Little Walter The Essential Sonny Boy Williamson Sun Blues Harmonica Classics Walter Horton - Fine Cuts Walter Horton - Can't Keep Loving You John Cephas & Phil Wiggins - Dog Days of August Chicago The Blues Today, Vol. 1,2 and 3 (doesn't have harp on every track, but has some great work by Jr. Wells, James Cotton, Horton and others) Best of Slim Harpo The Paul Butterfield Blues Band James Cotton - Best of the Verve Years Sonny Boy Williamson & Big Joe Williams - Throw a Boogie Woogie Jr. Wells - Hoodoo Man Blues Best of Muddy Waters That should be enough to get you started! :) -Steve ========================================================================= Date: Mon, 6 May 1996 09:24:23 -0400 Reply-To: FORCELLAD@CCSUA.CTSTATEU.EDU From: Domenic Forcella Subject: Help-San Diego Street Scene Can anyone give me some info on the San Diego Street Scene dates. And any contact points to get on a mailing list. Street Scene has to be one of the best places to catch the Blues and any other music you might want. It runs Fri & Sat 6-11 and Sun 11-7. With 14 stages the music is constant and varied. Any help appreciated, I'm having to make up for not being able to make NO or Memphis. Thanks. Domenic Forcellad Traveling with the Blues ========================================================================= Date: Mon, 6 May 1996 06:21:20 -0700 Reply-To: Rich DelGrosso From: Rich DelGrosso Subject: SKEETER BRANDON Folks on the List, True or false: Skeeter Brandon once worked with Clarence Carter. Just trying to verify an article I read. Thanks Rich DelGrosso ========================================================================= Date: Mon, 6 May 1996 14:15:03 +0100 Reply-To: Martin Curtis From: Martin Curtis Organization: Quondam Limited Subject: Peter Green Returns Peter Green appeared at the Buxton Opera House last night, taking part in the annual Alexis Korner Memorial Concert. Apart from a cameo, last year, at a Gary Moore gig, it was his first major stage apearance for 20 years - this time with his band The Splinter Group. The audience gave him a standing ovation when he appeared and there was an immense feeling of emotion and pathos in the house as he, clearly extremely nervous, prepared to play. All of us in the audience, I'm sure, reflected upon the tragedy that had befallen such a wonderful talent. I wish I could report that none of his skills had been dulled by the events of the past two decades, but sadly and somewhat inevitably in the circumstances, Peter was a mere shadow of his former self, despite one or two exquisite moments of touch and space. He played 4 or 5 numbers and then called it a day. My wife just broke down and cried - so tragic, so sad. It must have taken a huge effort for him to make such a return and I only hope that his rehabilitation is enhanced by the event. I'm not sure what company he is keeping, musically, at the moment and I hope that the members of his band are genuine in their motives (a new CD is imminent). The potential for exploiting such a vunerable figure is clear and I hope that Peter has someone looking out for him (or maybe I'm just being cynical). -- Martin Curtis ========================================================================= Date: Mon, 6 May 1996 09:38:15 -0400 Reply-To: BlueKing@AOL.COM From: Gregory A King Subject: Re: Classical music background vs blues Comments: To: cashflow@pavilion.co.uk In a message dated 96-05-06 07:03:59 EDT, cashflow@PAVILION.CO.UK (Cashflow Solutions LTD.) writes: >I have been trying to teach myself the blues with soem reasonable >success, but is there anywhere on the internet that has music >notation, reference sources etc for playing the blues rather than >biographies, record sales etc. > >BTW I have been trying play along to other records, but am trying to >find any technical shortcuts. > > Try drinking say a half bottle of some cheap vodka at 2-3AM, shake off your ridgid training, throw on some good I-IV-V slow blues, and just wail. Best way to get the feel. blueking ========================================================================= Date: Mon, 6 May 1996 09:38:18 -0400 Reply-To: BlueKing@AOL.COM From: Gregory A King Subject: Re: Pickups for Tone Comments: To: phertel@cmc.doe.ca In a message dated 96-05-06 07:31:51 EDT, phertel@CMC.DOE.CA (Pat Hertel) writes: > What's the difference between the gold, blue and red and which >ones have you got and why? > > The Gold is the standard lace. Blue has been tweaked for more of a "clean vintage" tone (sounds more Tele/country like to me) and Red is a "hot" pu used for over the top treble in the bridge position. Use Red if you are after the Vai or Satriani sound (or buy one of those "light touch" Ibenez rubberband guitars). I have played around with all three. At first it seemed that Gold in the neck position, Blue in the mid and Red in bridge would be the best but I found the Red too thin and squeaky. The Blue sounded crisp but seemed to lose something in the "out of phase" neck & mid toggle. I can still get that Tele tone with the Golds in the mid & bridge setting. I went back to all Gold and like it that way. The Golds are meaty, fat and really sound great through a vintage Fender 50 amp. Clapton has been using the Laces for several years now - in fact the white Strat he is currently playing on the blues tour is all Lace. blueking ========================================================================= Date: Mon, 6 May 1996 09:39:06 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Looking for an artist (was: Is it Ella?) There's also the fabulous Etta James in I think a Jaguar commercial over the past year, singing "At Last". Etta (like Ella) could also not be mistaken for old brake pads. :) Funny thing about that Benz commercial with Janis Joplin...I think those folks at Benz just didn't "get it". Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Mon, 6 May 1996 09:38:20 -0400 Reply-To: BlueKing@AOL.COM From: Gregory A King Subject: Re: CDs or tapes of blues harmonica Comments: To: pega@xs4all.nl Let's not forget Charlie Musselwhite (try "Signature" on Alligator). And if you have never heard Corky Seigel do "I Don't Want You To Be My Girl" or "ISPE Blues" you are missing some hot harp. bk ========================================================================= Date: Mon, 6 May 1996 09:43:23 -0400 Reply-To: bob unger From: bob unger Subject: Syracuse info Does anybody have any info on the New York State Blues Fest. in Syracuse. The dates....the lineup.....etc.... BU bob@sun.bnkst.edu ========================================================================= Date: Mon, 6 May 1996 09:43:11 -0400 Reply-To: BlueKing@AOL.COM From: Gregory A King Subject: Re: All those W's.. Comments: To: chris@skerries.demon.co.uk In a message dated 96-05-06 09:23:28 EDT, chris@SKERRIES.DEMON.CO.UK (Chris Smith) writes: >What about all those Johnsons and Smiths (modesty forbids further comment %-> >) > > > Not to mention Freddie, Albert, B.B. and....... greg king ========================================================================= Date: Mon, 6 May 1996 10:01:06 EDT Reply-To: John Doukas From: John Doukas Subject: Dead Cats on the Line Gill Swinton requested songs with the line "Dead Cats on the Line". Tampa Red and Georgia Tom recorded "Dead Cats on the Line" in 1934 for Vocalion. It is included on Columbia /Legacy CK53235 "Tampa Red: The Guitar Wizard" . ========================================================================= Date: Mon, 6 May 1996 10:01:18 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Peter Green Returns Comments: To: Martin Curtis On 6 May 96 at 14:15, Martin Curtis wrote: > Peter Green appeared at the Buxton Opera House last night, taking part in > the annual Alexis Korner Memorial Concert. Apart from a cameo, last year, > at a Gary Moore gig, it was his first major stage apearance for 20 years - > this time with his band The Splinter Group. > > The audience gave him a standing ovation when he appeared and there > was an immense feeling of emotion and pathos in the house as he, clearly > extremely nervous, prepared to play. All of us in the audience, I'm sure, > reflected upon the tragedy that had befallen such a wonderful talent. What tragedy was this? I always thought he had CHOSEN not to play music any more, not that anything had "befallen" him. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Mon, 6 May 1996 07:03:24 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: May 7 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ABBEY, LEON (fiddle) b. 1900-0507, MINNEAPOLIS, MN BATES, LEROY "LEFTY" (g) b. 1924-0507, PELAHATCHIE, MS BUMBLE BEE SLIM [ADMIRL AMOS EASTON](g/p) b. 1905-0507, BRUNSWICK, GA BUTLER, CALEB (bg/BLIND BOYS OF AL) b. 1948-0507, WASHINGTON, DC CHENIER, CLEVELAND (wbd/CLIFTON CHENIER) d. 1991-0507, LAFAYETTE, LA 69 ELY, CLAUDE BROTHER (gospel/KING REC) d. 1978-0507, NEWPORT, KY 55 HALL, ROY(p/WHOLE LOTTA SHAKIN' GOIN' ON) b. 1922-0507, BIG STONE GAP, VA HILL, BERTHA "CHIPPIE"(v/LOUIS ARMSTRONG) d. 1950-0507, NEW YORK CITY, NY 45 HOUSTON, THELMA (v) b. 1943-0507, LELAND, MS JOHNSON, CHINK (tbn/HENDERSON) b. 1926-0507, NEW YORK CITY, NY KANSAS CITY RED (ARTHUR STEVENSON) (d) d. 1991-0507, CHICAGO, IL 65 KANSAS CITY RED (ARTHUR STEVENSON) (d) b. 1926-0507, DREW MS MAESTRO, JOHNNY (lead/CRESTS/BROOKLYN BRI b. 1939-0507, NEW YORK CITY, NY PUCKETT, RILEY (g) b. 1894-0507, ALPHARETTA, GA RODGERS, SONNY (g) d. 1990-0507, MINNEAPOLIS, MN 50 RUCKER, SPARKY (g) b. 1946-0507, KNOXVILLE, TN RUFFIN, JIMMY (v/MOTOWN REC) b. 1939-0507, COLLINSVILLE, MS WINGFIELD, PETE (prod/p/B. B. KING) b. 1948-0507, KIPHOOK, UK ZWINGENBERGER, AXEL (boogie woogie p) b. 1955-0507, HAMBURG, GERMANY ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 6 May 1996 10:04:52 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Interesting weekend of blues. G'morning, fellow 'zellers. Man, my butt is draggin this rainy Monday in Massachusetts. I did the unthink- able this past weekend and played all three nights, Friday, Saturday and Sunday. Since last Friday, I think I've logged about 12 hours sleep total. Oy. This is a tuff thing to do for regular joes with regular day jobs and a family. I don't recommend it. On the other hand, I guess I would ;) Anyway, my band Gate Street Blues was hosting (our first time ever) the open blues jam at the fabulous "Zoots" in Billerica, MA, and who strolls in but the guitar player featured on the cover of Blues Wire magazine for May. I'm embarassed to say I can't remember his last name, but anyway, Matt somebody who is up for the part of Stevie Ray Vaughan in the upcoming feature film that we've chatted about here on -L, off and on. It was perfect timing, I really wanted to go home and put my kid to bed and me to follow soon after. I'm ripping through my best ALbert King solo on Crosscut Saw, and *Boiiiinggg* goes my b-string. Perfect! Finished the song and quickly welcomed (and congratulated) our first guest 6-stringer of the night. Cut to the chase....I hope this kid gets the part. He looks like Stevie and he walks the walk. Now mind you, I mean this guy looks like SRV naturally, NOT that he was all dressed up to look the part. And he played the equivalent of an entire set with my boys and played NO SRV stuff. There was no pretense. He was humble and gracious and friendly to chat with, and onstage he was classy, and played really tastefully and comped beautifully with the harp playing. It was a pleasure to sit back and watch my band with somebody else playing a completely different guitar style than my own. And I'll tell you what, this kid Matt, when he stepped up to play lead, MAN! he got your attention quick. ANd great voice too. No Texas drawl, just a nice, natural bluesy growl. Maybe a Blues-Ler from my area can fill us in with his full name and his band (I think Cat In The Hat) and what's up with the movie deal? Over all, a great weekend of blues and rubbed elbows with future celebrity. :) Riffin Rick (yawning) :O F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Sun, 5 May 1996 13:37:03 -0700 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Re: Girls Just Wanna Get Paid/Let The Good Times Roll Comments: To: "P.W. Fenton" P.W. Fenton wrote: > The obvious question for this juror would be why did she wait until > Lee was dead to make her claim? Did the article go into that? > An excellent question...and since Goodman and Lee continually denied the persistent rumors that they were lovers throughout his lifetime, I could see a nice little flashback mystery story developing around this line of inquiry. Maybe our illustrious listserv administrator, Allan-who-writes-mysteries-on-the-side, ought to consider this plot line. No local rumors around this contretemps, though; not that I've heard of anyway. --M. -- Maggie Mortensen<>Exarch Services<>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 'Born with the blues, my blue suede shoes, and underlying depression...' --Van Morrison ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Mon, 6 May 1996 10:24:34 -0400 Reply-To: RhythmShrk@AOL.COM From: Bernie Clarke Subject: Re: Syracuse info In a message dated 96-05-06 09:45:06 EDT, you write: >Does anybody have any info on the New York State Blues Fest. in Syracuse. >The dates....the lineup.....etc.... > >BU >bob@sun.bnkst.edu > > The Festival will be held July 19, 20, 21. I do not have specific lineups, but i can tell you that you can see Bernie Clarke and the Rhythm Sharks at Styleen's Rhythm Palace on Friday night at 10:30. Also featured this year will be Anson Funderburgh and the Rockets with SAM MYERS! That harp player, whateverhisname, will be there too with the piano pounding Miss Honey! (I do have to say that Rod P might be one of only three harp players that could get my attention away from Miss Honey while the Mighty Flyers are performing. See ya there! Bernie Clarke ========================================================================= Date: Mon, 6 May 1996 10:28:45 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Blind Boy Fuller Recordings Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com This weekend I picked up the Blind Boy Fuller cd EAST COAST PIEDMONT STYLE and I can't stop listening to it. This one is staying in my cd player for a long time! I need to get more Fuller albums. Which ones would you recommend? I know that there are a few by Document and at least one on Yazoo. Is there much overlap between the Document and Yazoo collections? Does either label have better sound quality or liner notes? I'd appreciate any suggestions. Thanks, Steve ========================================================================= Date: Mon, 6 May 1996 10:46:00 -0400 Reply-To: "timothy (t.b.) bosley" From: "timothy (t.b.) bosley" Subject: Signing off Been an interesting time.....but will be signing off. Those of you that have been corresponding with me and have my address as tbosley@bnr.ca, I do not know how much longer that is going to work. You might wish to begin using tbosley@nortel.com or tbosley@nortel.ca for all correspondence. ========================================================================= Date: Mon, 6 May 1996 10:17:43 CST Reply-To: William Shute From: William Shute Subject: Z.Z.Hill--complete UA sessions From: Bill Shute ZZ HILL "The Complete Hill Records Collection: United Artists Recordings, l972-75" Capitol Blues Collection (#17) CDP 7243 8 36296 2/6 2-CD set 32 tracks reissue of 3 orig. lp's: The Best Thing That's Happened to Me ('72) ZZ ('73-'74) Keep On Lovin' You ('75) Nice to see Capitol diversifying a bit and including this reissue among its Blues Collection series. I remember hearing the first two albums back then at friends' houses and hearing some tracks on the radio, and they hold up rather well...perhaps because a man with roots as deep as Hill was not about to jump on any trend that came by, and thus he was creating these albums to conform (to some extent) with the harmonies in his head, and not just to sound like what was on the radio.And Hill's deep soul vocalizing never dates, despite the sometimes-ginchy arrangements on the third lp, from '75. I'm playing these CDs at work today (got this set a few weeks ago--this is probably my seventh or eighth time through them), and good soul is a fine background for daily life and work. For me, the first lp is vintage Hill--recorded (I think...sounds like it) on the West Coast, yet the Southern roots have not vanished from the arrangements, which are uncluttered and give the vocalist room to breathe. The second lp got the most attention, I think, back then. At least I heard it by far the most of the three. There is a definite country feel to it--kind of like a Soul variant on the style of "country soul" offered back then by country artists such as Narvel Felts and Charlie Rich. Anyone who's lived in the south and/or southwest knows how intertwined these musics were and how many black country fans there were (and how many white country artists were HUGE soul fans). I think this one was done at Muscle Shoals...so need I say more? The third lp is the one that's dated the most. However, a number of excellent songs, and the involvement of Lamont Dozier on some and then Allen Toussaint and the Meters on a number of others does keep the quality level up somewhat. To me, though, the soul radio marketplace had deteriorated somewhat by l975, and the inevitable reflection of this in the "sound" of HIll's records keep the third album from being among my favorites of his. Still, it's great to have these available in such a nice package. I'll be playing these A LOT over the years to come. If you want to further follow the Hill saga in his pre-Malaco years, Ichiban Soul Classics has just come out with a comp of his Columbia- period recordings from the late 70s, the period that followed his affiliation with UA.Haven't gotten that one yet. Bill Shute San Antonio, TX ========================================================================= Date: Mon, 6 May 1996 10:36:22 CST Reply-To: William Shute From: William Shute Subject: Slow'n'Moody--Black&Bluesy CD From: Bill Shute various artists "Slow'n'Moody--Black & Bluesy" Pointblank Classic CD 7243 8 41401 2 0 22 tracks recorded l965-l971 for Kent/Modern records, Los Angeles Like the Storming 60s Soul Sounds CD I mentioned a few weeks back, this CD collects material from the Kent/Modern family of labels, material which has been reissued on the UK Kent label, Ace's soul subsidiary, and now finds itself being re-reissued in the country of its origin. And once again, this diverse, well-programmed collection plays like some wonderful R&B/soul radio station in your dreams, the material ranging from ZZ Hill (I've always thought his Kent material from the mid-late 60s was among his best) to Little Richard, post VeeJay, pre Okeh; along with many lesser-known but deserving names such as Clay Hammond, Mary Love, Jimmy Robbins, Jeanette Jones, Jeb Stuart, Willie Gauff and the Love Brothers, Tommy Youngblood, Jackie Day, et al. BB King and Johnny Copeland also weigh in with mid-60s R&B. The liner notes by UK soul authority Adrian Croasdell will help you (as they did me) with the lesser-known names, the sound is from master tapes, the running time is a little more than an hour. Let's hope that Pointblank/Virgin US keep up the flow of UK Kent soul reissues. unfortunately, this CD may go right past you in the stacks if you aren't looking for it. It has a beige cover, with blue paint splotches on the upper right, and a couple dancing in the lower right. You may have to thumb thru countless rows of Motown and Billboard year-by-year hits comps, endless Rhino reissues, slow jams comps, etc etc, but if you're at all interested, it'll be worth it. And at about 11 bucks, domestic prices, it's a great buy. I'll keep you posted on further Pointblank soul/R&B items as I see them. Artists include ZZ Hill Clay Hammond Little Richard Terry & The Tyrants Jimmy Robbins Jeanette Jones Jackie Day Arthur & Mary Jeb Stuart Willie Gauff & The Love Brothers Joe Haywood Angels of Joy Yvonne Baker Tammi Young Mary Love Little Henry and the Shamrocks Tommy Youngblood Johnny Copeland The MIghty Hannibal Stacy Johnson BB King Bill Shute San Antonio, TX BTW, if the folks at Capitol Blues Collections are looking for something to reissue, how about a comprehensive collection of Jimmy McCracklin's "Imperial"-label sides? ========================================================================= Date: Mon, 6 May 1996 16:05:28 +0100 Reply-To: Martin Curtis From: Martin Curtis Subject: Re: Peter Green Returns Comments: To: "P.W. Fenton" In-Reply-To: <199605061400.KAA41892@osceola.gate.net> In message <199605061400.KAA41892@osceola.gate.net>, "P.W. Fenton" writes > > >What tragedy was this? I always thought he had CHOSEN not to play >music any more, not that anything had "befallen" him. > >P.W. Fenton >Tampa, Florida >http://www.gate.net/~pwfenton/ > >"The large print giveth, and the small print taketh away" > - Tom Waits Yes he *chose* not to play again. The tragedy is that, during the period that ensued, health problems, albeit self-inflicted by chemicals earlier on in his life, have clearly taken an immense toll upon him. I saw him play a long time ago and last night was a sad experience in contrast with those earlier days (or are my rose tinted Retrospective Ray Bans playing tricks on me?) BTW - the biography by Martin Celmins covers the subject reasonably well. -- Martin Curtis ========================================================================= Date: Mon, 6 May 1996 12:14:23 -0400 Reply-To: MojoBandit@AOL.COM From: Dave Ruthenberg Subject: Re: Billboard's Top 15 Comments: To: cuthulu@rlabs.com I suspect you speak for many others on the list as well. Dave ========================================================================= Date: Mon, 6 May 1996 12:27:15 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: Slow'n'Moody--Black&Bluesy CD Bill Shute wrote: >various artists >"Slow'n'Moody--Black & Bluesy" >Pointblank Classic CD 7243 8 41401 2 0 >22 tracks >recorded l965-l971 for Kent/Modern records, Los Angeles >this diverse, well-programmed collection plays like some >wonderful R&B/soul radio station in your dreams..... Indeed it does, Bill. This is a great album! Beef Stew ____________________________________________________________________________ The Blues Playground - Sundays at 9pm on 107 FM WCCC - Hartford, CT 50,000 watts of Blues power! Host/programmer: Stew Crossen (Beef Stew) 18 Boxwood Drive Vernon, CT 06066-5106 tel: 800.970.5151 http://www.neca.com/~bfstew bfstew@neca.com Reporting to: Living Blues, The Hard Report and BluesWire magazine. Member of the Connecticut Blues Society ========================================================================= Date: Mon, 6 May 1996 12:17:25 -0500 Reply-To: MR ROBERT W BELEW From: MR ROBERT W BELEW Subject: Buddy Guy in Knoxville,TN ! I went to the BG show last night and I must say that I was a little disapointed, the sound was somewhat awful which may be the fault of the venue itself but what really got me was the sudden announcement by Buddy that he was unaware that they had a cerfew and that if he had known he would have started sooner. This was at 10:20pm. I thought he was setting us up for a long encore but he slipped out and vanished. It was a 90 minute show with the other guitar player doing two pretty long songs, he was from TN you see. I think that the crowd deserved at least one encore, they certainly wanted one........ A fellow in the crowd who seemed to have it from a higher source said that this is Buddy's un-announced retirement tour. Any truth to that ???? Block Dog ========================================================================= Date: Mon, 6 May 1996 12:37:19 -0400 Reply-To: parrishr From: parrishr Subject: ISO Digitech Echo Pedal (sorry, no blues content) Does anyone know where I could get a Digitech Echo Plus pedal? Private e-mail please. ========================================================================= Date: Mon, 6 May 1996 09:53:36 -0700 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Re: Carlos Johnson Carlos Johnson is a killer singer and guitar player. I saw him a few months ago when he was in San Mateo, CA with Billy Branch and the S.O.B.'s. He is awesome. Carlos is currently on his own and has played and toured with Son Seals and Billy Branch and the S.O.B.'s. He is on the Billy Branch and the S.O.B.'s Red Beans recording (recently re-issued on Evidence) called Where's My Money. Joe ========================================================================= Date: Mon, 6 May 1996 12:56:13 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Blind Boy Fuller Recordings Steve Levine wrote: >This weekend I picked up the Blind Boy Fuller cd EAST COAST PIEDMONT >STYLE and I can't stop listening to it. This one is staying in my cd >player for a long time! I need to get more Fuller albums. Which ones >would you recommend? I know that there are a few by Document and at >least one on Yazoo. Is there much overlap between the Document and >Yazoo collections? Does either label have better sound quality or liner >notes? I'd appreciate any suggestions. > For great sound, Yazoo; only drawback, no tracks with Sonny Terry. For everything he did, in ok but not great sound, Document. There's also a pretty good collection on Best of Blues and one on Travelin' Man. When I wrote Fuller's instalment of 'The Blues Collection' partwork, I recommended Volumes 3 and 5 of the Document series, for a good cross-sction of his work and minimal overlap with other CDs, plus the Yazoo, Columbia and BoB CDs. The Travelin' Man CD (repackaged) was the free CD with that issue, and it's pretty good, too, although the Brother George and His Sanctified Singers titles are perhaps a little demanding. Disclaimer: I have written notes for Yazoo and the Interstate group, who own Travelin' Man, and I currently write notes for Document. I still believe the above to be unbiassed opinions! Chris Smith (chris@skerries.demon.co.uk) Beauty is in the eye of the beer holder. ========================================================================= Date: Mon, 6 May 1996 12:07:04 CST Reply-To: William Shute From: William Shute Subject: Blind Mississippi Morris CD From: Bill Shute BLIND MISSISSIPPI MORRIS "You Know I Like That" Icehouse CD P2 53553 15 tracks--released mid-l995 Morris Cummings, aka Blind Mississippi Morris, hails from Miss. I believe and has become something of a fixture in Memphis. He possesses a blues voice that can range from raw to seductive and he and producers Rusty McFarland/Brad Webb know how to record that voice so as to give it depth and a little distortion. Morris' harp blowing might not be the most technically facile I've ever heard, but once again it is distortion-laden and produces a very FAT tone that I for one like a lot. Morris also seems to possess a sense of humor/irony and seems like he puts some effort into being an ENTERTAINER, so that's sure to incur the wrath of some of the humorless types in the so-called blues community. Overall, the album reminds me of a Rod Piazza album with more authentic vocals, without Miss Honey, and maybe with Jim Suhler on gtr. LIVING BLUES described the backing band as being "rocked out," but that is often a codeword for "white musicians" by those who think it's important that we be aware of those kind of things. Actually, the background band is no MORE rocked out than some of the bands I've heard on Wolf's Chicago Blues Sessions CDs--perhaps what makes them sound that way to some ears is that there is no funk element to their playing, yet they do not APE a l950s /Chicago session either. The songs--most being Cummings and/or band originals--are quite good within the standard blues song vocabulary...women, leaving, loneliness, bravado, playing the blues, etc. Unfortunately, the closing medley of well-known tunes by Muddy, Wolf, and JLH does not (IMHO) serve Blind Mississippi Morris well, as he fails to distinguish these warhorses in any way. It also serves to undercut, to some extent, the excellence of the previous 14 songs. I'd have left it off...altho maybe it goes over well in performances with a lot of tourists in the audience. Forgetting that, tho, this is a solid first album and BMM seems like he has a lot of commercial potential. After all, he's like a REAL version of what the Blues Brothers were playing at being. He too may be playing to some extent, but that's fine with me. His music mostly delivers the goods, it's suitably raw, it sounds great at loud volume, and he looks cool on the cover. One final note: some kind of award should be given to The Midtown Horns, Jim Spake and Scott Thompson--these gentlemen seem to be on every other GOOD album I've bought in the last six months. Or is it just that I buy a lot of albums with a Tennessee connection? If you liked that Lee McBee album I was raving about six months ago, you ought to like Blind Mississippi Morris--singer and harp blower... and, unlike McBee, Morris does almost exclusively originals.Besides that, being recorded in Memphis, it has that ineffable SOMETHING that knocks it up a few notches in my book. See if you can hear some at your store at a loud volume--try "Killing Kind" or "Junkyard Dog." I look forward to album #2 from Blind Mississippi Morris and crew. Bill Shute San Antonio, TX ========================================================================= Date: Mon, 6 May 1996 17:14:44 GMT Reply-To: blueslvr@got.net From: "Roy W. Forgy" Organization: got net? Subject: Re: Buddy Guy's Detroit Rip-off Comments: To: bit-listserv-blues-l@uunet.uu.net On Mon, 29 Apr 1996, Dave Ruthenberg wrote: ]:-> ]:->> A couple of weeks ago I was covering Corey Harris for the next issue of the ]:->> Blues Rag. He was opening for Buddy Guy in Detroit at the Majestic Theatre. I ]:->> was absolutely disgusted to find out that Buddy Guy's road manager had ]:->> insisted that all admissions be GA - no big deal - but that meant no seats! ]:->> $25 a pop and no chairs. They had 1,000 people there who, for the most part, ]:->> were equally angered at this situation. ] I refuse to attend any show where I can't sit down and see the show. The ones that really make me mad are the ones that sell reserved seats then allow people to stand up in front of the seats. I don't mind paying $25 for a good act but I want to be able to see them when I get there. I now do most of my Blues watching at small clubs and local bars because of this and have found a lot of great acts in the area... Roy W. Forgy blueslvr@sirius.com blueslvr@got.net Boulder Creek, CA ========================================================================= Date: Mon, 6 May 1996 13:05:03 CST Reply-To: William Shute From: William Shute Subject: Langston Hughes 'Chicago Defender' pieces From: Bill Shute Of interest to blues-l colleagues interested in the broader cultural perspective of the music will be the recent collection of essays/ columns by Langston Hughes published between l942-62 in the CHICAGO DEFENDER. Chapter 8 of the book, pp. 191-217, deals exclusively with music and is called "Beating Out The Blues." There's no SPECIFIC information/facts here (like what you get from looking at ads or club listings in the Defender), but Hughes' unique philosophical spin on things is always worthwhile, and more than that these pieces help put YOU to some extent in the milieu of the time, particularly the Jim Crow element that can not ever be taken OUT of the music of the period without throwing the baby out with the bath water. Here's the publication info: LANGSTON HUGHES AND THE CHICAGO DEFENDER Essay on Race, Politics, and Culture l942-62 Edited by Christopher C. DeSantis Urbana, IL: University of Illinois Press, l985. ISBN 0-252-06474-7 (paperback edition...) Bill Shute San Antonio, TX ========================================================================= Date: Mon, 6 May 1996 14:20:27 -0400 Reply-To: gutber@rz.uni-leipzig.de From: gutber@RZ.UNI-LEIPZIG.DE Subject: Eb Davis web page I do not know if some of ou have ever heard of singer Eb Davis. He is living for years now in Berlin, Germany, where he has his own band and a nice following. As having now a web-side some of you maybe interested to check out this really good blues musisian and gentleman http://avus.de/viktoria/bands/eb_davis/index_e.html Best, Thomas ========================================================================= Date: Mon, 6 May 1996 13:29:58 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Choice Venues (was Buddy Guy's Detroit Rip-off) Comments: To: "Roy W. Forgy" In-Reply-To: <318e32b3.63595240@news.got.net> On Mon, 6 May 1996, Roy W. Forgy wrote: > > I refuse to attend any show where I can't sit down and see the show. The ones > that really make me mad are the ones that sell reserved seats then allow people > to stand up in front of the seats. I don't mind paying $25 for a good act but > I want to be able to see them when I get there. I now do most of my Blues > watching at small clubs and local bars because of this and have found a lot of > great acts in the area... > I've always prefered my blues, and folk and whatever, in venues like this. They're more intimate and, when the sound is right, subtle and tasty. I'm much more likely to spend my $25 on five or eight smaller shows than one Buddy. I know Buddy puts on a great show, because back when he was affordable, I've seen him. I don't begrudge folks who draw as big as Buddy, I'm just not likely to be in the crowd. Some of us folk have to stretch our entertainment dollars. But I think great shows are to be had. (There's also the league of SRV clones, I'll admit.) I also tend to prefer the tent to the big stage at the Mississippi Valley Blues Fest, and similar festivals I've been to. And the smaller clubs after. Steve (always hoping folks will drop in to hear good shows by nobody you've ever heard before) ========================================================================= Date: Mon, 6 May 1996 14:32:01 EDT Reply-To: Lyndon Stambler <102126.2067@COMPUSERVE.COM> From: Lyndon Stambler <102126.2067@COMPUSERVE.COM> Subject: blues list Dear Blues List: I would very much like to SUBSCRIBE to the Blues List. My e-mail address is: 102126,2067@compuserve.com. Thank you very much, Lyndon Stambler ========================================================================= Date: Tue, 23 Apr 1996 18:03:36 GMT Reply-To: Scott Dirks From: Scott Dirks Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Sun Records - The Blues Years 1950-58 Comments: To: bit-listserv-blues-l@uunet.uu.net Great news! I was just listening to the vinyl yesterday, and wondering if it would ever be released on CD. Also wondering if they'd ever get the credit right on "Off The Wall", which was credited to Walter Horton but was in fact Joe Hill Louis. Did they? Scott ========================================================================= Date: Mon, 6 May 1996 14:00:27 -0500 Reply-To: James Foster From: James Foster Subject: Jazz Fest (brief report) We arrived back in Texas last night, after spending a few days at the second weekend of the New Orleans Jazz Fest. The crowds were large (over 91,000 on Saturday) and the heat was high. The addition of many "pop-rock" acts to this year's festival caused the crowds to surge (for example, the Joan Osborne performance was reportedly dangerously crowded). I don't know...the growth of this festival is not bad, but the inclusion of many non-regional acts to the EXCLUSION of many deserving New Orleans artist is shameful (see the OffBeat magazine article on this very issue). With that said here are some other thoughts about the varied performances I caught (the FOOD, by the way, was uniformly GREAT): 1. The "blues" acts: I did see Gatemouth, Kenny Neal, and Joe Louis Walker. All of these guys had their moments, but overall I was lukewarm to each of them. Now, before anyone starts calling me crazy ("you don't like JLW?!?"), these guys could all play, but for different reasons (choice of material, extensive use of "rock-feedback-screeching" techniques) I remained unimpressed. On a better note: the gospel tent, always a good bet at the festival, was awesome this year. In fact, one of the best performances of ALL my festival visits would have to be the gospel quintet THE CHRISTIANAIRES. Great singing and playing by this group, based in Mississippi, but traveling the gospel circuit. It was one of those musical moments. like Jimmy Smith's performance a few years ago, that defies description. Anyway, this group has six albums out and I, for one, will be out this evening trying to find any of them. Also of note at the gospel tent was a very nice little set by ELDER ROMA WILSON AND FAMILY, whose 1995 album on Arhoolie is a "must" buy. Two harmonica-playing singers, and a guitar player (who played her guitar with her hand "reversed", coming over the top of the guitar neck...very unusual). This was primitive, funky rousing music that was in marked contrast to the choir-based performances that surrounded it on the schedule. There were many other great gospel performances, many by local choirs. The New Orleans gospel scene is a tremendous "un-marketed" reservoir of talent. Allen Toussaint has mentioned this recently and hopes to record some of this fine music for his new label, NYNO Records. Let's wish him the best of luck. Okay, not the briefest review, but that's all I have time for now. Other thoughts by folks who went would be appreciated. James Foster Austin, TX ========================================================================= Date: Mon, 6 May 1996 15:06:31 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Blind Mississippi Morris CD Comments: To: WSHUTE@accdvm.accd.edu In a message dated 96-05-06 13:44:55 EDT, you write: >One final note: some kind of award should be given to The Midtown Horns, >Jim Spake and Scott Thompson--these gentlemen seem to be on every other >GOOD album I've bought in the last six months. Or is it just that I buy >a lot of albums with a Tennessee connection? I just saw these guys behind Sam Moore (of Sam and Dave fame) at Beale Street Fest. I can't remember who I've seen Spake play with/behind, but I know its at least Rufus Thomas, Herman Greene, the Band, and Alex Chilton (he was regular in Chilton's band in the mid-80s). I think I've seen him behind three or four others, also. Last year at Beale Street I think I saw him in 3 or 4 different sets. Tom Freeland ========================================================================= Date: Mon, 6 May 1996 15:12:52 -0400 Reply-To: Dave Markovits From: Dave Markovits Subject: Memphis/New Orleans Alright Let's have it!! If you were at Memphis in May or New Orleans Jazzfest let's hear some reviews. Hope everyone had a safe trip too. I would love to hear about Carey Bell and Alex Chilton especially from Memphis. Boozoo Chavis, Buddy Guy, from New Orleans. Thanks,(Only 25 days and counting until Chicago Blues fest) David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Mon, 6 May 1996 14:16:18 -0500 Reply-To: Craig Edmundson From: Craig Edmundson Subject: audio snippets Hello, Several bluezellers have web pages that feature short segments of commercial recordings. I would like to do the same thing. How does one go about getting permission to use copyrighted material? Do you contact ASCAP or BMI? Or the lable that issued the recording? TIA. Craig -------------------------------- Craig L. Edmundson cedmunds@netserv.unmc.edu cedmunds@probe.net http://www.probe.net/~cedmunds/ ========================================================================= Date: Mon, 6 May 1996 15:16:21 -0400 Reply-To: UncleSean From: UncleSean Organization: America Online, Inc. (1-800-827-6364) Subject: Re: More Good News from Pittsburgh Comments: To: bit-listserv-blues-l@uunet.uu.net In response to Marcia's good news about the Pittsburgh Blues Scene: It's going to get better this summer. The Pittsburgh Blues Festival has announced its lineup this year: Chris Duarte, Rod Piazza, James Cotton, Johnny "Clyde" Copeland, Rory Block, Bob Margolin, Billy Boy Arnold and other national and local acts. The festival is at Station Square in Pittsburgh on July 19-21. If anybody would like some information, please feel free to e-mail me. I'm involved in helping organize the festival. Thanks Sean Smith UncleSean@aol.com ========================================================================= Date: Mon, 6 May 1996 15:28:09 EDT Reply-To: denr@VAX.GRC.NIA.NIH.GOV From: Dennis Rozanski Subject: Alvin Youngblood Hart album info Does anyone have a suggested name and telephone # for someone at Okeh/Sony Music, in regards to Alvin's new release "Big Mama's Door"? Much appreciated, Dennis ========================================================================= Date: Mon, 6 May 1996 15:49:02 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 05/07 B O R N : ABBEY, LEON Born;1900 MINNEAPOLIS, MN Career:VIOLIN / LEADER Style:TRAD / JAZZ With:S J. ROSAMUND JOHNSON / SAVOY BEARCATS BAGGE, LARS ( ERIC LARS OTTO BAGGE ) Born:1935 STOCKHOLM, SWEDEN Career:PIANO / COMPOSER / BASSOON / TRUMPET Style:BIG BAND With:Lars Gullin 1955 / Carl-Henrik Norin Orch BATES, LEROY "LEFTY" Born:1924 PELHATCHIE, MS Career:GUITAR Style:BLUES BUMBLE BEE SLIM [ADMIRL AMOS EASTON] Born:1905 BRUNSWICK, GA Career:GUITAR / PIANO Style:BLUES FORMANECK, MICHAEL Born:1958 SAN FRANCISCO, CA Career:BASS / ELECTRIC BASS GUITAR Style:JAZZ With:NORMAN WILLIAMS / EDDIE HENDERSON / JOE HENDERSON / TONY WILLIAMS / DAVE LIEBMAN / TOM HARRELL / HERBIE MANN / CHET BAKER / BOB MOSES / BILL CONNORS HALL, ROY Born:1922 STONE GAP, VA Career:PIANO Style:BLUES HAWTHORNE, MICHAEL "FRANK" (MIKE) Born:1940 LONDON, UK Career:TROMBONE / SINGER Style:JAZZ / BLUES Brisbane in 1951 / Varsity Five / Moreton Bay JB / Rod Byrne / Ashley Keating / Alan Whitworth / Bay City NO JB / Marty Mooney / Nick Boston / Boston's Colonial JB / Pacific Jazzmen / Ken Herron / Chile Beans / Vintage Jazz and Blues Band INGE, EDWARD ( EDWARD FREDRIEK INGE ) Born:1906 KANSAS CITY, MO Career:CLARINET / ALTO SAX / TENOR SAX / ARRANGER Style:JAZZ / BIG BAND JOHNSON, CHINK Born:1926 NEW YORK, NY Career:TROMBONE Style:BLUES / JAZZ With:FLETCHER HENDERSON KANSAS CITY RED (ARTHUR STEVENSON) Born:1926 DREW, MS Career:DRUMMER Stlye:BLUES O'BRIAN, FLOYD W Born:1904 CHICAGO, IL Career:TROMBONE Style:JAZZ / BIG BAND With:EDDIE CONDON / FATS WALLER / MEZZ MEZZROW / CHOCOLATE DANDIES / PHIL HARRIS / GEORGE WETTLING / GENE KRUPA / BOB CROSBY / EDDIE MILLER / SHORTY SHEROCK / ART HODES PORTER, YANK ( ALLEN PORTER ) Born:1895 NORFOLK, VA Career:DRUMMER Style:JAZZ With:Louis Armstrong / Bud Harris / James P. Johnson / Fats Waller / Joe Sullivan / Teddy Wilson / Benny Carter / Art Tatum PUCKETT, RILEY Born:1894 ALPHARETTA, GA Career:GUITAR Style:BLUES QUINICHETTE, PAUL Born:1921 DENVER, CO Career:TENOR SAX Style:JAZZ / BIG BAND With:NAT TOWLES / ERNIE FIELDS / JAY McSHANN / JOHNNY OTIS / LOUIS JORDAN / LUCKY MILLINDER / HENRY "RED" ALLEN / HOP LIPS PAGE / COUNT BASIE / BENNY GOODMAN / NAT PIERCE / BILLIE HOLLIDAY / SAMMY PRICE / BUDDY TATE STEWART, HERB ( HERBERT STEWART Born:1926 LOS ANGELES, CA Career:TENOR SAX / ALTO SAX Style:JAZZ / BIG BAND ZWINGENBERGER, AXEL Born:1955 HAMBURG, GERMANY Career:PIANO Style:JAZZ With:SIPPI WALLACE / JOE NEWMAN / JOE TURNER Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Mon, 6 May 1996 20:33:57 GMT Reply-To: "Jennifer A. Zogott" From: "Jennifer A. Zogott" Organization: New York University Subject: Handy awards Comments: To: bit-listserv-blues-l@uunet.uu.net Does anyone have a complete listing of the Handy awards given out this weekend? Can you e-mail them to me? Many thanks, Jennifer * * * "How many bubbles in soap? How many chews in gum? How many rolls in a wheel? Where did eyeballs come from?" - Screamin' Jay Hawkins ========================================================================= Date: Mon, 6 May 1996 16:42:57 -0400 Reply-To: LKnight1@AOL.COM From: Leslie Ann Knight Subject: Blues Reporter/Vol.1, No.1, Part 1 May 1996, Volume 1, Number 1, Part 1 Blues Reporter News, Venues and Reviews Bay Area and Beyond by Leslie Ann Knight Kenny 'Blue' Ray leases a song to Budweiser I've been known to announce Kenny Blue Ray on my blues radio program as "the man with tone for days . . ." Relentless practicing and many years on the road with Marcia Ball is finally paying off. An original tune, Blues For Albert King, from Kenny Ray's first CD, Fired Up!, has been leased for use in a forthcoming Budweiser television commercial. Kenny Ray said, "The TV commercial will air for about a year. I think they'll run my tune under their commercial filmed in an African setting. I also have a new instructional video titled, Kenny 'Blue' Ray, All Blues." Kenny's most recent Strat Daddy CD has received rave reviews. Way to go, Kenny! Mick Martin and the Blues Rockers Sacramento based Mick Martin and the Blues Rockers make a rare Bay Area showing the weekend of June 7-8 at Blues On B in San Mateo. These top of the line blues men have released three CD's on BluesRock Records. Their most recent effort, Got To Play The Blues, sports fourteen outstanding blues originals and has received solid airplay and reviews. Their CD is available at Tower Records stores. Elmer Lee Thomas Blues Revue opens for Robert Cray in Edmonton, Alberta, Canada on Thursday, July 4th The Elmer Lee Thomas Blues Revue is a four-piece traditional acoustic blues band sporting a full, fat sound, sans drums. This hard-working acoustic band has earned the honor of opening for Robert Cray in Canada on the 4th of July. The Elmer Lee Thomas says. "We're looking forward to playing on the same show with Robert Cray. We feel honored that he likes our music. This is a great opportunity for the band We'll be shooting off some 'blues rockets' on July 4th. We're ready." During 1995 Elmer Lee Thomas was the focus of Brownie McGhee's efforts to help get him the notice he deserves in the music industry. Brownie McGhee stepped out of an eight year retirement for the sole purpose of bringing more attention to Elmer Lee Thomas. These men played some wonderful festivals together during 1995; Chicago, Monterey Bay Blues Festivals, plus Long Beach Blues Festival, Brownie's final public performance. Check out The Elmer Lee Thomas website: http://www.babls.org/elt0916.html Little Jonny and the Giants . . . release their second CD, No Mercy. Former Pontiax guitarist, Jon Lawton's singing and playing comes straight from the heart. His strong sense of phrasing and brilliant musical mind are truths that will assert themselves upon listening to this new CD or catching his live show. Little Jonny masterfully straddles the gap between nostalgic glimpses of the past while delivering some mighty potent contemporary blues. Little Jonny's No Mercy CD will have the die-hard blues fans smiling broadly and will serve as a fine introduction to blues novices. This vibrant CD is evidence that Little Jonny and the Giants have established a unique identity. To order the new No Mercy CD or their first CD, Telecaster Music, just fax 510 769-0786 for information. Jam session extraordinaire Every Monday Mamou hosts a jam session at the Bird Kage near the Oakland-Berkeley line. Here's something that will appeal to all of you 9 to 5-er's. The jam session is happening early in the evening, from 8:00 until 10:30 P.M. Mamou has developed an excellent reputation as an organizer of raw East Bay blues talent. Mamou said, "We've had some wonderful artists sit in on this jam session - a fine lady guitarist, Guitar G.G., and Snake Boy with his steel guitar and harmonica. Even Oakland blues legend Beverly Stovall sat in recently. I'll be featuring guitarist Johnny Ray for a few consecutive weeks coming up. He's got that biting Albert King style." The Bird Kage is located at 4822 Telegraph Avenue. Mamou and the International Few play Every Saturday from 5:00 until 9:00 P.M. Sweet Jimmy's, 17th and San Pablo, Oakland Then Every Sunday from 9:00 P.M. until 1:00 A.M. The Monte Carlo Yosemite and 3rd, near Candlestick Park, San Francisco ========================================================================= Date: Mon, 6 May 1996 16:43:06 -0400 Reply-To: LKnight1@AOL.COM From: Leslie Ann Knight Subject: Blues reporter/Vol. 1, No. 1, Part 2 May 1996, Volume 1, Number 1, Part 2 Blues Reporter News, Venues and Reviews Bay Area and Beyond by Leslie Ann Knight RETRO This website is devoted exclusively to celebrating classic 20th century entertainment, design and lifestyles. RETRO launched on February 2nd and it s already being cited as one of the hotspots of the Internet. Within it s first seven weeks online the publisher was honored with three awards; 1.Cool Site of the Day 2.Magellan Four Star Award, 3.IPPA Design Excellence Award. The RETROradio section of the magazine is steeped in full-length tunes using Real Audio 2.0, which provides real- time audio streaming with no downloading. It s one of the most popular places on the RETRO site. In fact, more than 2/3 of RETRO readers visit the RETROradio area every time they log on. Roots music lovers must check this site out. The publisher-editor of RETRO Nancy Eaton graciously donated a web site to the Blues Is Truth Foundation, founded by Brownie McGhee. If you ever loved the music of Sonny Terry and Brownie McGhee I suggest reading Ms. Eaton9s moving remembrances of Brownie McGhee (http://www.retroactive.com/inretrospect.html)and more about how you can support this non-profit organization at http://www.retroactive.com/bit.html 16th Annual Metro-Fountain Blues Festival Saturday, May 18th The Free Metro-Fountain Blues Festival is scheduled to lead off a fine day of blues, barbecue and big time partying. Be there early because it begins at noon with: The Elmer Lee Thomas Blues Revue James Armstrong Back To Life featuring Pam Hawkins Tommy Castro Band Lowell Fulson Johnnie Johnson The festival is held on the San Jose State Campus at 5th and San Fernando, Downtown San Jose. KKUP-FM 91.5 celebrates 24 years on the air Sunday May 19th with an open house, 1:00 until 5:00 P.M. As of Sunday, May 5th the KKUP-FM studio was moved from it s free-standing Cupertino garage to a larger facility in Santa Clara s Franklin Mall. The new KKUP phone number is 408 260-2999. Please join us in celebrating our move to this new location and our longevity as broadcasters dedicated to diversity and making a difference in the world around us. Get steeped in the blues on KKUP-FM 91.5 Mark your calendars for the weekend on June 8-9. That s our date for the Annual KKUP Blues Marathon. We ll keep you informed of the schedule and all about the blues bands we ll present playing live in the studio. Jump-start your week with house-rocking blues every Monday as Leslie Ann Knight hosts Monday Morning Blues from 6:00 until 9:00 A.M. on KKUP 91.5 FM. KKUP supports the blues loving community with more than 30 hours of blues each week. For more information about KKUP-FM and my involvement in the blues world, check out this web site: http://www.deepideas.com/kkup ========================================================================= Date: Mon, 6 May 1996 16:34:44 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: New Buddy Guy Review Page. Comments: To: bit-listserv-blues-l@uunet.uu.net [ Article crossposted from rec.music.bluenote.blues ] [ Author was Barry Silverberg ] [ Posted on 6 May 1996 16:34:22 -0400 ] If anyone is interested we just installed a new review page for Buddy Guy at - http://www.panix.com/~bsco/buddyguy/ Barry (includes all 3 of his JSP releases) -- NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com -- NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 6 May 1996 14:04:52 -0700 Reply-To: Isaac Sprintis From: Isaac Sprintis Subject: Performance Success Last Night I did my first Performance playing my National. The concert was at my school (California Institute of the Arts) and along with playing a song that I wrote (titled Cornbread) I played and sang "Nobody's Fault but mine" (Blind Willie Johnsons Version, not Zeppelins) And I feel really good, during my first piece I thought that I heard someone crying in the audience. And since none of my family was there I was suspicious, but I found out that one of my friend's parents' was balling during my piece. I am really touched by that, and since it's a pretty personal song I am happy others felt what I was trying to get across. Now "Nobody's Fault but mine" was actually my Singing Debut, and although I was pretty nervous I was able to let go and belt. I felt like I was making John Hammond faces all night but thats cool. When it was all over, I got some heavy duty aplause I thought they weren't gonna let me off the stage. Well I guess I can sing after all:) Thanks, Isaac <---- Ready for big time (hehehehe) ========================================================================= Date: Mon, 6 May 1996 17:10:09 -0400 Reply-To: BluesMojo@AOL.COM From: Doug Carlisle WSFM Subject: Commercial Radio Playlist WSFM Surf 107 Box fm 107 Wilmington, NC 28402 Bluesmojo@aol.com ***If I'm not on your mailing list, send E-mail and I'll send you my show's info..... Featured Artist & c/d: Joe Beard "Blues Union" Hour 1 Joe Beard Lay For Me Sometime Audioquest Gales Bros. Hand Me Down House of Blues Robert Cray Little Boy Big Mercury Joe Beard Just to Be With You Audioquest Joe Beard I Count The Days You're Gone Audioquest John Lee Hooker Chill Out Pointblank (JAZZ) Dave Koz So Far From Home Capitol Joe Beard Sinners Prayer Audioquest Tab Benoit You Got What I Want Justice Ronnie Earl & Broadcasters For Abby Bullseye Hour 2 Joe Beard Salle Mae Audioquest Jimi Hendrix Hear My Train a Comin' MCA Eric Clapton Five Long years Reprise James Cotton Digging my Potatoes Alligator's 25th Lonnie Brooks Got Lucky Last Night Alligator's 25th Joe Beard Please Don't Light the Flame Audioquest Joe Beard Feets out in the Hall Audioquest Professor Longhair Go to the Mardi Gras Rounder (JAZZ) John Patitucci A Better Mousetrap GRP Joe Beard Think Audioquest Preston Shannon Baby I Will Bullseye Hoopsnakes Hoopsnake Roll Mouth Piece Hour 3 Joe Beard Telling it like it Is Audioquest Taj Mahal Here in the Dark Private Stevie Ray Vaughan Crossfire Epic Doug MacLeod Bus with No Destination Audioquest Buddy Guy Talk to me Baby Silvertone Joe Beard Don't Know Why Audioquest Paul Oscher I'm Sorry Viceroots (JAZZ) Jack DeJohnette Exotic Isles MCA Joe Beard Late in the Evening Audioquest Kenny Wayne Shepherd Deja Voodoo Giant ========================================================================= Date: Mon, 6 May 1996 17:15:38 -0400 Reply-To: "Lisa A. Eller, N8PSF" From: "Lisa A. Eller, N8PSF" How do I get off of this list???!!!!! "Like cold water to a weary soul, so is good news from a distant land." Proverbs 25:25 ========================================================================= Date: Mon, 6 May 1996 16:33:25 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Roy Hawkins Comments: To: marc borms In-Reply-To: <4mk96u$qc4@rc1.vub.ac.be> On Mon, 6 May 1996, marc borms wrote: > This weekend, I enjoyed a Roy Hawkins album 'Highway 59'. > He was an L.A. blues pianist, died in the seventies. > > Although, he made some real good songs ( 'The thrill is gone' is his' !?) > he never was famous. > > Who knows anything else of this pianist ? > The guitarist in my band would love to hear the original version of "Thrill is Gone." He says it's attributed to Ray Hawkins and Rick Darnell on the B.B. King box set and to Art Benson and Dale Pettite on another B.B. King album. He figures the box set is more accurate, but swears it's "Ray," not Roy. Anyone have a first recorded (pre-B.B. King) version? Thanks. Steve ========================================================================= Date: Mon, 6 May 1996 17:46:34 -0400 Reply-To: smirkyface From: smirkyface Subject: Steve Guyger homepage. Well, someone beat me to it. This is a good homepage for a great harp player. http://home.ptd.net/~chon/sguyger.html BRIAN MCLEAN PHOTOGRAPHY & SMIRKYFACE PRODUCTIONS "life's too short to live the blues" http://www.netaxs.com/~blmclean ========================================================================= Date: Mon, 6 May 1996 17:46:29 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Sun Records - The Blues Years 1950-58 >Great news! I was just listening to the vinyl yesterday, and wondering >if it would ever be released on CD. Also wondering if they'd ever get >the credit right on "Off The Wall", which was credited to Walter Horton >but was in fact Joe Hill Louis. Did they? > >Scott Get it quick Scott! MCA just won their court case against Charly, and as the Sun Box includes material Phillips leased to Chess, its one of the allegedly 100,000 discs going into the crusher. Chris Smith (chris@skerries.demon.co.uk) Beauty is in the eye of the beer holder. ========================================================================= Date: Mon, 6 May 1996 21:19:00 BST-1 Reply-To: bsmithb@cix.compulink.co.uk From: Brian Smith Subject: eRIC's BLUES DATES: May 7 Comments: To: leblanc@dao.nrc.ca > WINGFIELD, PETE (prod/p/B. B. KING) b. 1948-0507, KIPHOOK, UK Ah memories!! Pete used to live not a hundred yards away from where I'm sitting now. I used to know him in the late 60s. He was actually born in Liphook, Hampshire, not Kiphook. In fact the demo record he cut with Jellybread which was used to get a recording contract with Blue Horizon was on a label he called Liphook, I've still got a copy of that demo LP here with a rather beautiful rendition of "Evening" on it. ========================================================================= Date: Mon, 6 May 1996 17:26:35 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: origins of The Lemon SOng > Let's not call it "stole"...Let's call it "borrowed" > When Elmore James put his name as author of "Dust My Broom" we were not > bothered by it because Elmore did his own thing with it. And justifiably so. > When Clapton had his name installed as credit to "Crossroads" , again it was > acceptable. Clapton did his own " thing" with it. The same goes for Zeppelin > with the lines they borrowed, mostly from Robert Johnson or Willie > Dixon No, let's call it "stole." There is a big difference between what Elmore James did, as part of the folk process, in the blues culture where that form of "borrowing" was common, and what Led Zeppelin did, as middle class blues wannabes, stealing songs for commercial gain, and refusing to give credit to the music's creators. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Mon, 6 May 1996 17:39:30 -0500 Reply-To: cecalhoun@SIOUX.SODAK.NET From: C E Calhoun Subject: Re: Who wrote Forty-Four - useful book Comments: To: Gill Swinton In-Reply-To: <8h7WLDAWc$fxEwwD@Swinton.demon.co.uk> howlin' wolf wrote it didn't he? ========================================================================= Date: Mon, 6 May 1996 18:58:21 -0400 Reply-To: LKnight1@AOL.COM From: Leslie Ann Knight Subject: Playlist 05/06/96 May 6, 1996 Playlist Monday Morning Blues with Leslie Ann Knight 6:00am - 9:00am - KKUP 91.5 FM, Cupertino, CA 510 797-0654 / Fax 510 791-1084 / LKnight1@aol.com Artist / CD Title / Track / Label ----------------------------------------- Elmer Lee Thomas The Monday Morning Blues Theme on CD Sonny & Brownie / Midnight Special / Blues Before Sunrise / Fantasy Little Jonny and the Giants / No Mercy / Worried / Cornbread Big Maybelle / Candy / Ramblin Blues / Nippon Columbia Ronnie Earl / Blues & Ballads / Drown In My.../ Bullseye Lead Belly / Goodnight Irene / New Orleans / Tradition Hans Olson / Kachina Blues / One Of These Mornings / Blond Sun Mem Shannon / Cab Drivers Blues / Taxi Cab Driver / Bert Town Joey Razor and the Blue Blades / Joint B Jump / Come To Cali / Hectic Kenny Blue Ray / Fired Up! / Blues For Albert King / Blue Ray Mick Martin and the Blues Rockers / Got To Play.../ Blues In My Soul / Blues Rock Tab Benoit / What I Live For / Who s been Talkin / Justice Sonny Rhodes / Out of Control / Power of the Boogie / King Snake Alleygators / Mojo Alley / Pompadour / Red Hot Ike Cosse / The Spot Is Hot / Title track / Independent Tommy Castro / Exception To the Rule / Title track / Blind Pig Rick Holmstron / Lookout! / She s My Baby / Black Top Sasha Smith / Straight Up! / Good As Gone / Buck n Bronx Soul Proprietors / Too Cool To Be Hip / The Fossil / Adina Candye Kane / Knockout / I m On A Bender / Antone s Luther Allison / Blue Streak / Cherry Red Wine / Alligator Long John Hunter / Bordertown Legend / Nasty Ways / Alligator Paul Oscher /Knockin On the Devil s Door/My Baby s Gone/Viceroots Elmer Lee Thomas Blues Revue / Acoustic Lee Yours / Heartache and Trouble / MoeToe Elmer Lee Thomas Blues Revue / Acoustic Lee Yours / Leavin Blues / MoeToe Taj Mahal / Cadillac Tone / Mojo Bone / Blue Ray Sonny & Brownie / At Sugar Hill / Baby, I Knocked.../ Fantasy Mississippi Heat / Thunder.../ Better day / Van der Linden W.C. Clark / Texas Soul / You ll Need Another... / Black Top Debbie Davies / Loose Tonight / This Man Is Killin.../Blind Pig Eddie Clearwater / Boogie My Blues.../ Real Fine Woman / Delmark Pinetop Perkins / Self Titled / Hi-Heel Sneakers / Earwig Joey Razor and the Blue Blades / Joint B Jump / Joint B Jump / Hectic Apollo s Ladies/Don t You Feel My Leg/Easy Riding Blues/Delmark Bob Nelson / Back To Bogalusa / Came Home.../ King Snake John Hammond / Found True Love / You Had Too Much / Virgin Bobby Murray / The Blues Is Now / Let My Guitar.../Viceroots Tattoo Blue / Don t Try This At Home / Love Is A Train / BeeZerk Closing theme for Monday Morning Blues: Joey Razor and the Blue Blades / Joint B Jump / After Hours Taxi / Hectic Notes: Requests for Kenny Ray s Cadillac Tone CD, Debbie Davies and Rick Holmstrom. Promoted Elmer Lee Thomas Blues Revue s Friday night concert, Joey Razor s shows and talked about Luther Allison walking away with an arm-full of Handy Awards. This was my first broadcast in our beautiful new studio. KKUP moved from it s free-standing garage in Cupertino to a larger studio inside Franklin Mall in Santa Clara, CA. Announced that Jon Lawton will be my in-studio guest next week to promote his new CD, No Mercy. -------------------------------- Record Companies: For airplay on KKUP, Monday Morning Blues Program CD s may be mailed to: Leslie Ann Knight Knight and Day Media Control 36629 Cabrillo Drive Fremont, CA 94536 ========================================================================= Date: Mon, 6 May 1996 20:36:01 -0400 Reply-To: BlueKing@AOL.COM From: Gregory A King Subject: Sour Lemon Songs and Rippoffs? Comments: To: ianangus@dis.on.ca In a message dated 96-05-06 19:19:38 EDT, ianangus@DIS.ON.CA (Ian Angus) writes: >There is a big difference between what Elmore James did, as part of >the folk process, in the blues culture where that form of "borrowing" >was common, and what Led Zeppelin did, as middle class blues >wannabes, stealing songs for commercial gain, and refusing to >give credit to the music's creators. Blues wannabes? Page, Beck, Clapton, Green, Bloomfield, blues WANNABES? So you think that only a poor black person can get or play the blues? You think the exposure brought to the genre and the major players by guys like Clapton and Page - who touted their heros and endlessly listed the older players as prime influences - was a bad thing? Or somehow just for gain? If it wasn't for Claptons early stuff with Mayall AND Zeps first album - which can still give me the chills - I, and a few million just like me, might have missed the blues all together. And to even think that Zeps version of I Can't Quit You was not lightyears from the original - and somehow not "valid" blues is ridiculous. Yes, Zep was wrong in not crediting the real author - but they paid for that - and never did it again. And, if you don't think that us middle class white boys and girls can get the blues - get a grip. Blue (Mr. Middle Class) King ========================================================================= Date: Mon, 6 May 1996 21:28:03 -0400 Reply-To: James Leftwich From: James Leftwich Subject: amp decision I am currently considering buying one of these amps: used Fender Princeton Reverb new Peavey Classic 30 new Fender Blues Deluxe used Ampeg Which would you buy (must be under $400)? none of the above? ============================================================================= Jim Leftwich Jim's Blues N' Brews leftwich@cloud9.net http://www.cloud9.net/~leftwich "I'm on cloud9!" :) New CD Giveaway: Sherman Robertson ============================================================================= ========================================================================= Date: Tue, 7 May 1996 00:21:34 GMT Reply-To: Vito Cortese From: Vito Cortese Organization: University of Pittsburgh Subject: Help on Caravan cover Comments: To: bit-listserv-blues-l@uunet.uu.net I've become obsessed with finding a cover of Duke Ellington's Caravan that I've heard from time to time on the radio. It's a really hot guitar version with a rockabilly (almost surfy) sound to it. If I remember right, there may be someone's name in the band title. They may also have local (Pittsburgh) ties. Any and all guesses are welcome (vito@city-net.com). I think I could recognize the name if it's thrown out there. Any off-the-beaten-path CD recommendations are also encouraged (I have SRV, JLH, Albert Collins, and Johnny Copeland covered). Vito PS: I can strongly recommend Roy Gaines' "Gainelining" to anyone who likes the gentlemen mentioned above. Think George Benson smoking two packs a day and playing hardcore Texas blues and you have a good start. -------------------------------- Vito Cortese CDS Corp. vito@city-net.com http://www.city-net.com/~vito -------------------------------- ========================================================================= Date: Mon, 6 May 1996 19:11:17 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Peter Green Returns PW wrote: >What tragedy was this? I always thought he had CHOSEN not to play >music any more, not that anything had "befallen" him. The tragedy, I believe (and someone can correct me if I'm wrong), was that of mental illness or disturbance, which caused him not to play music anymore. And mental illness is a tragedy indeed, whether it's a great musician like Peter Green or Joe Blow on the street. -Jim (hndful@uniserve.com) ========================================================================= Date: Mon, 6 May 1996 19:11:19 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Classical music background vs blues Tim Lea wrote: >I am finding difficulty in resolving a problem: >BTW I have been trying play along to other records, but am trying to >find any technical shortcuts. >Thanks for your patience and understanding from a frustrated blues >pianist. My sister, who's a Royal Conservatory graduate and piano teacher, has the same problem - she has a great deal of difficulty playing the blues. I envy her ability to read and write music, but she doesn't have a good 'ear', has difficulty improvising, and has trouble with blues rhythm. The thing to do is relax your playing style and your mind, and _not_ to think technically (this is very hard to explain, but her style is very rigid and 'stiff', and this may be your problem as well). I'm not saying throw theory away (but then again, that's an old argument around here that's been beaten to death and beyond :-) ). I don't think there's any short cuts (speaking here as a guitarist who wishes there were!!!) with any musical instrument... just play until you drop... -Jim (hndful@uniserve.com) ========================================================================= Date: Mon, 6 May 1996 19:36:16 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Jazz Fest (brief report) James wrote: Also of note at the gospel tent was a >very nice little set by ELDER ROMA WILSON AND FAMILY, whose 1995 album on >Arhoolie is a "must" buy. Two harmonica-playing singers, and a guitar >player (who played her guitar with her hand "reversed", coming over the top >of the guitar neck...very unusual). This was primitive, funky rousing >music that was in marked contrast to the choir-based performances that >surrounded it on the schedule. I second your opinion on Elder Wilson's album - mostly just Roma Wilson accompanying himself on his harp - very unusual, unique, and emotionally touching music, and I recommend it as well!!! -Jim (hndful@uniserve.com) ========================================================================= Date: Mon, 6 May 1996 19:50:20 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: amp decision Comments: cc: leftwich@CLOUD9.NET Jim Leftwich asked: >I am currently considering buying one of these amps: > >used Fender Princeton Reverb >new Peavey Classic 30 >new Fender Blues Deluxe >used Ampeg > >Which would you buy (must be under $400)? none of the above? Ok I'm jumping in ahead of our gearhead guru, Don C, but if you only have $400 then the Fender Blues Deluxe is a great amp. I use it for blues, country and rock and it sounds great. You also get a lot of power too. Even though it is rated at 40 watts, it is plenty loud for most club gigs. When I play country, I have the volume set to 3 1/2 and that is loud enough for most country gigs. Turning up to 4 or 5 allows you to get a good volume for larger rooms and rock/blues. I do like the overdrive channel as well. It has 'that' fender tone (when using a strat) and sings when you get it right. I even managed to get a tone really similar to Hendrix on "Foxy Lady." Trouble is I can't remember how. For songs where I need a lot of gain I'll add in a tube screamer to boost the channel (sometimes I'll use a Rat for a more 'modern' and harsh tone. Don C has some cool suggestion on modifications for the Blues Deluxe but that is his territory. I'm only an apprentice gearhead:-) IMHO, you can't go wrong with a Blues Deluxe. Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Mon, 6 May 1996 20:34:52 -0700 Reply-To: David Wade From: David Wade Organization: Netcom Subject: Re: Help-San Diego Street Scene Domenic Forcella wrote: > > Can anyone give me some info on the San Diego Street Scene dates. And any > contact points to get on a mailing list. > As I recall it always seems to be on the same weekend as the Long Beach Blues Festival which is over the Labor Day weekend this year. However, I REALLY hope they don't double up this year. I wan't to get back to SD for that show. David ========================================================================= Date: Mon, 6 May 1996 22:50:13 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Sour Lemon Songs and Rippoffs? > Blues wannabes? Page, Beck, Clapton, Green, Bloomfield, blues WANNABES? Yep. > So you think that only a poor black person can get or play the blues? I didn't say it, and I don't think it. I said there is a difference between what Elmore James did and what Led Zeppelin did. James was ripped off by record companies who put his name on songs so they could collect the composers credits. He saw little, if any of the cash. LZ, armed with agents and lawyers and tight contracts, put their name on other peoples' work, so they could collect the credits. They got rich that way. James was a victim. Led Zepplin were victimizers. No matter how talented they may have been (and I admit that their recordings give me chills -- in the sense of leaving me cold) their guilt in this matter is patently obvious. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Mon, 6 May 1996 21:21:23 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Reading vs "ear" (was Re: Classical..) Comments: To: hndful@UNISERVE.COM In-Reply-To: <96May6.191124pdt.30794-163+73@haven.uniserve.com> from "Jim Witteveen" at May 6, 96 07:11:19 pm I've noticed this a lot. People who learn to read music, it seems, often come to DEPEND on it. My Mom was like this - an excellent pianist/organist sight reader who didn't DARE play anything by ear - or by "feel". Put a chart in front of her and away she'd go! But try calling out a few changes or a familiar tune and she'd "chicken out". But she could play diatonic and chromatic harmonica fluently by ear. I first learned to play harmonica strictly by ear. Ditto drums and guitar. I actually learned to "write" music first, while I was a professional musician. Many of the musicians I work with are fluent readers. It was a lot less work to write out charts than teach them tunes I wanted to play. I eventually became a decent reader (not "sight", but well enough to get through a typical recording session chart without embarrassing myself _too_ badly :-) I make good use of red marker, etc., to highlight all the repeats, d.s. al coda's, etc. (Fortunately, most session charts I've run into are written "straight through" :-) I theorize that, just as sight reading must be learned and finely honed, likewise a good ear must be developed, and the best way to develop it is through necessity. When one learns to read first, there is little need to have a good ear. And of course if one has a great ear, reading is an optional skill. But I know incredible sight readers who also have developed great ears, and those with phenomenal ears who later learned to be great sight readers. I know some great blues artists who are also trained musicians. What seems to be the "secret" of these is that they didn't take the "Easy way" out when confronted with these "needs". And notice the word "need" in place of "option"? The most "feeling" musicians that I know all can play well by ear, whether they read or not. Coincidence? I'm quite convinced it is not. There is a freedom one has in playing by ear. I also believe that we tend to be more creative out of necessity when we don't have the chart telling us every move to make. Kinda like how NYC cab drivers drive - they ignore lane lines and such :-) Considering this, when I instruct students in blues and jazz harmonica, I encourage them to also develop their "ear". While I firmly believe that good reading skills are important and should be developed eventually, I believe that a good ear is more important, because it gives us freedom to create our own music, and express it in our own way. I've never seen a good book on learning to play blues, and I suspect this is the reason. If there IS such a book, I'd sure like to know about it - both for myself and my students. -- IronMan Mike Curtis ========================================================================= Date: Tue, 7 May 1996 00:42:00 -0400 Reply-To: /G=J.E./S=Downey/@BMMOSCOW.BMCK.SPRINT.COM Comments: To: ianangus@dis.on.ca From: "J.E. Downey" Subject: Sour Lemon Songs and Rippoffs? "Blue (Mr. Middle Class) King" saw it this way: >Yes, Zep was wrong in not crediting the real author - but they >paid for that - and never did it again. Q: What did they pay? Was there a court action or settlement? Q: Also, what is the Dust My Broom story? Whatever the blues tradition, did Elmore James put his name as sole author of what was substantially someone else's composition, or did he call himself the co-author? I assume that on "Crossroads", everybody's favorite superstar put himself down as the co-author? BLUE JOE IN RED RUSSIA (like Ian says, let's call it "stole") J.E._Downey@bakermck.com ========================================================================= Date: Mon, 6 May 1996 21:25:10 +0000 Reply-To: ksailors@hooked.net Comments: Authenticated sender is From: "Kenneth M. Sailors" Subject: Re: Help on Caravan cover On Tue, 7 May 1996 Vito Cortese wrote: > I've become obsessed with finding a cover of Duke Ellington's Caravan > that I've heard from time to time on the radio. > It's a really hot guitar version with a rockabilly (almost surfy) sound One guy that I know covered Caravan is the King of Surf Guitar - Dick Dale. It's on his "Tribal Thunder" CD. Could be him. /))((\ -(.)(.)- | | | \/ | Eugie!Baange ///\\\ "I'm just naturally crazy, baby!" \__/ ========================================================================= Date: Tue, 7 May 1996 00:56:21 -0000 Reply-To: gene From: gene Could someone please tell me about Rod Piazza touring schedule I shirly would appreciate it you can E-MAIL me at:jazlyn@berkshire.net Thank you kindly Gene Phelps ========================================================================= Date: Tue, 7 May 1996 01:50:43 EDT Reply-To: Joseph Leichter From: Joseph Leichter Subject: Re: Peter Green Returns Sounds like the time Brian Wilson was on DAvid Letterman....a mere sad shadow..... ========================================================================= Date: Mon, 6 May 1996 23:37:53 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: your mail Comments: To: jazlyn@BERKSHIRE.NET In-Reply-To: <01BB3BB0.0A5EF9E0@ppp06.berkshire.net> from "gene" at May 7, 96 00:56:21 am > > Could someone please tell me about Rod Piazza touring schedule > I shirly would appreciate it you can E-MAIL me at:jazlyn@berkshire.net > Thank you kindly > Gene Phelps Danny Wilson posts a very comprehensive and up to date schedule of harmonica performances on harp-l. To subscribe or unsubscribe to Harp-L, send mail to: majordomo@garply.com subscribe harp-l (or for digest - note TWO hyphens!) subscribe harp-l-digest (and as the last line) end -- IronMan Mike Curtis ========================================================================= Date: Tue, 7 May 1996 01:52:49 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: muddy's cabin Just back from Memphis in May, the Handy's, and other adventures. More on that later. For now, I just wanted to let y'all know the cabin is still in place, right where it has been, as of yesterday (May 6). Jim O'Neal says it is supposed to grow wheels and leave before the Chicago blues fest. Don O. ========================================================================= Date: Tue, 7 May 1996 02:44:04 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: origins of The Lemon SOng Comments: To: Ian Angus In-Reply-To: <9605061830.aa03132@admin.dis.on.ca> On Mon, 6 May 1996, Ian Angus wrote: > > Let's not call it "stole"...Let's call it "borrowed" > > When Elmore James put his name as author of "Dust My Broom" we were not > > bothered by it because Elmore did his own thing with it. And justifiably so. > > When Clapton had his name installed as credit to "Crossroads" , again it was > > acceptable. Clapton did his own " thing" with it. The same goes for Zeppelin > > with the lines they borrowed, mostly from Robert Johnson or Willie > > Dixon > > No, let's call it "stole." > > There is a big difference between what Elmore James did, as part of > the folk process, in the blues culture where that form of "borrowing" > was common, and what Led Zeppelin did, as middle class blues > wannabes, stealing songs for commercial gain, and refusing to > give credit to the music's creators. But this is what I don't get. I know Zeppelin made a fortune and didn't want to pay royalties, but why does Elmore get off when copped someone's song and didn't give credit? And Leadbelly? And Big Bill Broonzy (who mostly did give credit)? And Lightenin' (who didn't, when he copped songs from Lemmon Jefferson and Arthur Cruddup and others) and Clifton Chenier (albeit his arrangements were unique)? I know Zeppelin made a fortune and perfered pay lawyers rather than royalties. And I know that songs get different takes, different versions, and so forth. But I sure have a hard time saying that Sonny & Brownie's version of something Sonny & Brownie both knew Blind Boy Fuller wrote is theirs because they changed one line, or waited till he died. It's a process, a folk process, yes, for versions to proliferate, and it also happens across styles of music, thus both black and white versions of John Henry. It always struck me as odd to lay copyrights on music--hey, I know the composers deserve their share of money--but music has a dynamic of its own that we're comfortable with in one context and that looks like crass avarice in another. And yes, I'd rather see Zeppelin pay Willie rather than Elmore pay some guy who purchased the copyright to Robert Johnson's stuff (which I understand Johnson's family is litigating). It strikes me as odd, and I assume once the law is involved there will be cases in which justice is served and cases where it isn't, but it will be dealt with in legal, not musically traditional terms. Steve ========================================================================= Date: Tue, 7 May 1996 00:50:00 PDT Reply-To: Gary Joneson From: Gary Joneson Subject: Harmonica Gigs >> Could someone please tell me about Rod Piazza touring schedule >> I shirly would appreciate it you can E-MAIL me at:jazlyn@berkshire.net >Danny Wilson posts a very comprehensive and up to date schedule of harmonica >performances on harp-l. This schedule is also on the WEB at: http://www.island.net/~blues/mags.html Gary BluesWEB http://www.island.net/~blues/ ========================================================================= Date: Tue, 7 May 1996 08:35:53 +0200 Reply-To: Mariusz Sado From: Mariusz Sado ok. ========================================================================= Date: Tue, 7 May 1996 12:12:07 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Rod Piazza's sched In-Reply-To: <199605070637.XAA21551@kaiwan009.kaiwan.com> > > > > Could someone please tell me about Rod Piazza touring schedule > > I shirly would appreciate it you can E-MAIL me at:jazlyn@berkshire.net > > Thank you kindly > > Gene Phelps You could also try "http://www.pollstar.com/search.htm" if you have a browser. They usually have some (though incomplete) info Here's what I found: Date City State Venue 05/24/96 Yosemite CA Strawberry Festival 05/25/96 Santa Cruz CA Blues Festival 06/01/96 Jackson AR Blues Festival 06/08/96 San Bernardino CA Main Street Festival phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [7/5/96 7:56 AM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 7 May 1996 07:13:56 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: origins of The Lemon SOng > But this is what I don't get. I know Zeppelin made a fortune and didn't > want to pay royalties, but why does Elmore get off when copped someone's > song and didn't give credit? And Leadbelly? And Big Bill Broonzy (who > mostly did give credit)? The early bluesmen were performers who were paid for performing. The concept of "authors credits" was unknown in traditional blues culture. Lyrics, tunes and ideas were liberally borrowed, enhanced, etc., because that's how blues grew. For most performers, that way of behaving carried over into the era of records. They were paid to show up in the studio and sing. They seldom if ever received royalties for those records. But copyright law allowed record companies to put the name of a composer on a record -- that entitled them to claim money from any other record company which recorded the song. That is, for example, why Ma Rainey is credited with "CC Rider." She didn't wriote it, and she probably got no money for writing it -- but her record company got money for claiming she did. This continued well into the 1960s. Record companies ripped off performers who came from an oral blues tradition, who either didn't know what their legal rights were, or lacked the resources to enforce them. None of those explanations apply to Led Zeppelin. They violated copyright. They knew they were doing it. Their lawyers tried to prevent the legitimate authors from getting their fair share. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Tue, 7 May 1996 08:24:08 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0165 From: "DUTTWEILER.J" Subject: Re: Peter Green Returns Comments: To: hndful@UNISERVE.COM Date: Tuesday, 7 May 1996 8:23am ET To: Internet, GO-MAIN.HNDFUL@DOASMAIN.SNADS From: DUTTWEILER.J@GOMAIL Subject: Re: Peter Green Returns > > PW wrote: >>What tragedy was this? I always thought he had CHOSEN not to play >>music any more, not that anything had "befallen" him. > >The tragedy, I believe (and someone can correct me if I'm wrong), was that >of mental illness or disturbance, which caused him not to play music >anymore. And mental illness is a tragedy indeed, whether it's a great >musician like Peter Green or Joe Blow on the street. > >-Jim (hndful@uniserve.com) My understanding is that Green's absence was the result of a personal spiritual decision, NOT any kind of mental imbalance. Is this not the case? JD ========================================================================= Date: Tue, 7 May 1996 08:47:19 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Seven Guitars Yesterday, August Wilson's "Seven Guitars" was nominated by the Antoinette Perry (Tony) Awards as "Best Play". P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Tue, 7 May 1996 09:08:37 -0400 Reply-To: FORCELLAD@CCSUA.CTSTATEU.EDU From: Domenic Forcella Subject: Seven Guitars - Tony(s) PW wrote that Seven Guitars got nominated for Best Play. The news report up here referred to it as a murder story and said it received 8 nominations the most of any play. Domenic Forcella Traveling with the Blues ========================================================================= Date: Tue, 7 May 1996 08:13:51 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: New release: Sarah Brown I'm not pluggin a web site and I don't have an "arrangement" with Blind Pig. Just wanted to let you know about a cd you might have passed by. Sarah Brown is probably the best known blues bassist you've never heard of. She's put down the basslines for most of the Austin cats that we all love. She's been the bass player around the Antone's gang and she's a damn good songwriter as well. Her new cd is called Sayin What I'm Thinkin (BPCD 5030). If you like the sounds of the EARLY T-Birds (not the rock crap), then you'll probably dig this cd. Sarah's vocals are not as dynamic as Etta James or Koko Taylor, but she's a hell of a lot better than Sue Foley. ;-) Why isn't Sarah on Antone's and SUe somewhere else? 11 of the 12 songs are Sarah Brown originals and the one cover is J.B. Hutto's Please Help. Derek O'Brien, Fran Christina, Lou Ann Barton, Angela Strehli, Marcia Ball, and Doyle Bramhall all make guest appearances. Check it out. -Jeff --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball #8 U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc02.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Tue, 7 May 1996 08:11:23 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Re: Sour Lemon Songs and Rippoffs? In-Reply-To: Message of Mon, 6 May 1996 20:36:01 -0400 from On Mon, 6 May 1996 20:36:01 -0400 Gregory A King said: >and Page - who touted their heros and endlessly listed the older players as >prime influences - was a bad thing? Or somehow just for gain? If it wasn't >for Claptons early stuff with Mayall AND Zeps first album - which can still >give me the chills - I, and a few million just like me, might have missed the >blues all together. And to even think that Zeps version of I Can't Quit You IMHO you HAVE missed the blues all together, anyone who thinks of Zep or Jimmy Page as ASSETS to blues music, has MISSED THE BLUES. Sorry, I don't mean to sound hateful, but any blues fan knows that Zep was not, is not and can not be an asset to blues. It has nothing to do with color, it has to do with ethics. LW 'just MHO' ========================================================================= Date: Tue, 7 May 1996 06:21:58 -0700 Reply-To: Rich DelGrosso From: Rich DelGrosso Subject: Skeeter Brandon Folks on the List, True or False: Skeeter Brandon once worked with Clarence Carter(?) Just following up a claim. Thanks for responding. Rich DelGrosso ========================================================================= Date: Tue, 7 May 1996 09:18:35 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: origins of The Lemon SOng Comments: To: Ian Angus In-Reply-To: <9605070818.aa11704@admin.dis.on.ca> On Tue, 7 May 1996, Ian Angus wrote: > The early bluesmen were performers who were paid for performing. > The concept of "authors credits" was unknown in traditional blues > culture. Lyrics, tunes and ideas were liberally borrowed, enhanced, > etc., because that's how blues grew. > > For most performers, that way of behaving carried over into the > era of records. They were paid to show up in the studio and sing. > They seldom if ever received royalties for those records. > > But copyright law allowed record companies to put the name of a > composer on a record -- that entitled them to claim money from > any other record company which recorded the song. That is, for > example, why Ma Rainey is credited with "CC Rider." She didn't > wriote it, and she probably got no money for writing it -- but > her record company got money for claiming she did. No, I think you're mixing apples and oranges. I agree the performers got ripped off, and Zep and Clapton didn't. But credit for songs is different from copyright. I don't know that Leadbelly actually claimed credit for Bessie Smith's song "Backwater Blues" or what Elmore said, or what Broonzy laid claim to, or what any of those performers SAID about the authorship of songs they performed, but you're claiming that they DIDN'T KNOW THE DIFFERENCE between when they copped stuff and when they wrote their own, and I don't buy that, albeit there will always be borderline cases in oral traditions. This oral tradition GREW UP with copping stuff from records, Leadbelly from Bessie, Broonzy from Leroy Carr, RJ from everybody. I can't justify, and I don't see how you justify, anybody not giving credit when they knew they were copping someone elses stuff. Admitting that record companies are the big crooks for most of history, you were saying what Elmore did was acceptable when he didn't give credit. If Elmore said in a concert, "Hey, listen, just between you, me, and the wall, Dust My Broom is RJ's song, but I've published it with my name on it so that some guy in California who only ripped off RJ's family doesn't get the dough from my recording," I'd buy that. But that's not what you said. You said it was part of the blues tradition to claim authorship. By that logic, Zep was just working in the tradition. Steve ========================================================================= Date: Tue, 7 May 1996 09:26:08 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Cathi Norton recording Finally got Cathi Norton's CD, Various Stages Of Undress. It is one of those really rare recordings, that my ENTIRE household enjoyed. It was one of the first things we did when we got home. I had to grab my guitars, Lousie & Bernice and play a while before anything else. Cathi's CD has a variety of music styles, I would not hesitate to say there is something for any type of music fan. I was impressed and so was my wife and daughter. VERY NICE CD and very good band. Cathi is a helluva vocalist...PERIOD. I do regret that I never made it to her hotel room. for some frolicking.. (in a muscial sense :-)) LW ========================================================================= Date: Tue, 7 May 1996 10:36:41 -0400 Reply-To: Toronto Blues Society From: Toronto Blues Society Subject: new york state of blues. Comments: cc: bob@sun.bnkst.edu >Does anybody have any info on the New York State Blues Fest. in Syracuse. >The dates....the lineup.....etc.... > >BU >bob@sun.bnkst.edu dear bob unger, you can get the scoop on the new york state blues festival, july 19-21, in syracuse from jim murphy, 315-488-8804. he books the festival. fyi, these are the same dates as the harbourfront centre "heineken soul 'n' blues" festival in toronto. for toronto info email: info@harbourfront.on.ca or phone 416-973-3000, box office 973-4000. only one show is ticketed, and it is about to be announced, as are the full festival details. private email to me would be another way of securing advance info. regards, derek andrews. ========================================================================= Date: Tue, 7 May 1996 07:40:58 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: May 8 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BAILEY, PHILLIP (v/EARTH WIND & FIRE) b. 1951-0508, DENVER, CO BARNES, GERALDINE (gospel) d. 1994-0508, -- BOATNER, JOSEPH (v/INK SPOTS 1952-) d. 1989-0508, LACONIA, NH 70 BOND, GRAHAM (p/o/asax) d. 1974-0508, LONDON, UK 37 CAPLIN, ARNOLD S. (owner: BIOGRAPH REC) b. 1929-0508, NEW YORK CITY, NY DENNIS, GENE (hca) d. 1962-0508, CHICAGO, IL 42 JOHNSON, ROBERT (g/songw) b. 1911-0508, HAZLEHURST, MS LAMARE, NAPPY (g/bjo) d. 1988-0508, NEWHALL, CA 81 LORENZ, GEORGE "THE HOUND DOG" (dj) d. 1972-0508, BUFFALO, NY -- MILES, LUKE "LONG GONE" (g) b. 1925-0508, LACHUTE, LA NELSON, RICK (:-) b. 1940-0508, TEANECK, NJ SAMWELL-SMITH, PAUL (of THE YARDBIRDS) b. 1943-0508, TWICKENHAM, UK WIGGINS, PHIL (hca/CEPHAS & WIGGINS) b. 1954-0508, WASHINGTON, DC WILLIAMS, MARY LOU (p/arr/ANDY KIRK) b. 1910-0508, ATLANTA, GA ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 7 May 1996 10:41:03 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Help on Caravan cover Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, vito/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=vito#a#CITY-NET#f#COM@s1boca.corp.wrgrace.com *It's a really hot guitar version with a rockabilly (almost surfy) sound *to it. If I remember right, there may be someone's name in the band title. *They may also have local (Pittsburgh) ties. I don't know about that version, but Gary Primich does a great harp instrumental of Caravan on his album "Traveling Mood." -Steve ========================================================================= Date: Tue, 7 May 1996 10:52:43 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Going Nomail Blues-Lers, I'll be going NOMAIL for the next 10 days or so while I'm away teaching in Woods Hole at the MBL. You can private e-mail at my usual address if needed, as I'll be checking my mail from there via Telnet. See ya on the flipside! Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 7 May 1996 10:02:14 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 05/07 B O R N : ABBEY, LEON Born;1900 MINNEAPOLIS, MN Career:VIOLIN / LEADER Style:TRAD / JAZZ With:S J. ROSAMUND JOHNSON / SAVOY BEARCATS BAGGE, LARS ( ERIC LARS OTTO BAGGE ) Born:1935 STOCKHOLM, SWEDEN Career:PIANO / COMPOSER / BASSOON / TRUMPET Style:BIG BAND With:Lars Gullin 1955 / Carl-Henrik Norin Orch BATES, LEROY "LEFTY" Born:1924 PELHATCHIE, MS Career:GUITAR Style:BLUES BUMBLE BEE SLIM [ADMIRL AMOS EASTON] Born:1905 BRUNSWICK, GA Career:GUITAR / PIANO Style:BLUES FORMANECK, MICHAEL Born:1958 SAN FRANCISCO, CA Career:BASS / ELECTRIC BASS GUITAR Style:JAZZ With:NORMAN WILLIAMS / EDDIE HENDERSON / JOE HENDERSON / TONY WILLIAMS / DAVE LIEBMAN / TOM HARRELL / HERBIE MANN / CHET BAKER / BOB MOSES / BILL CONNORS HALL, ROY Born:1922 STONE GAP, VA Career:PIANO Style:BLUES HAWTHORNE, MICHAEL "FRANK" (MIKE) Born:1940 LONDON, UK Career:TROMBONE / SINGER Style:JAZZ / BLUES Brisbane in 1951 / Varsity Five / Moreton Bay JB / Rod Byrne / Ashley Keating / Alan Whitworth / Bay City NO JB / Marty Mooney / Nick Boston / Boston's Colonial JB / Pacific Jazzmen / Ken Herron / Chile Beans / Vintage Jazz and Blues Band INGE, EDWARD ( EDWARD FREDRIEK INGE ) Born:1906 KANSAS CITY, MO Career:CLARINET / ALTO SAX / TENOR SAX / ARRANGER Style:JAZZ / BIG BAND JOHNSON, CHINK Born:1926 NEW YORK, NY Career:TROMBONE Style:BLUES / JAZZ With:FLETCHER HENDERSON KANSAS CITY RED (ARTHUR STEVENSON) Born:1926 DREW, MS Career:DRUMMER Stlye:BLUES O'BRIAN, FLOYD W Born:1904 CHICAGO, IL Career:TROMBONE Style:JAZZ / BIG BAND With:EDDIE CONDON / FATS WALLER / MEZZ MEZZROW / CHOCOLATE DANDIES / PHIL HARRIS / GEORGE WETTLING / GENE KRUPA / BOB CROSBY / EDDIE MILLER / SHORTY SHEROCK / ART HODES PORTER, YANK ( ALLEN PORTER ) Born:1895 NORFOLK, VA Career:DRUMMER Style:JAZZ With:Louis Armstrong / Bud Harris / James P. Johnson / Fats Waller / Joe Sullivan / Teddy Wilson / Benny Carter / Art Tatum PUCKETT, RILEY Born:1894 ALPHARETTA, GA Career:GUITAR Style:BLUES QUINICHETTE, PAUL Born:1921 DENVER, CO Career:TENOR SAX Style:JAZZ / BIG BAND With:NAT TOWLES / ERNIE FIELDS / JAY McSHANN / JOHNNY OTIS / LOUIS JORDAN / LUCKY MILLINDER / HENRY "RED" ALLEN / HOP LIPS PAGE / COUNT BASIE / BENNY GOODMAN / NAT PIERCE / BILLIE HOLLIDAY / SAMMY PRICE / BUDDY TATE STEWART, HERB ( HERBERT STEWART Born:1926 LOS ANGELES, CA Career:TENOR SAX / ALTO SAX Style:JAZZ / BIG BAND ZWINGENBERGER, AXEL Born:1955 HAMBURG, GERMANY Career:PIANO Style:JAZZ With:SIPPI WALLACE / JOE NEWMAN / JOE TURNER Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Tue, 7 May 1996 09:51:52 CST Reply-To: William Shute From: William Shute Subject: Guitar Shorty "Get Wise To Yourself" From: Bill Shute GUITAR SHORTY "Get Wise To Yourself" Black Top BT 1126 released early l996 David "Guitar Shorty" Kearney--vcl, gtr, composer This third album from the latest phase of Guitar Shorty's long career will I HOPE get him the widespread following he so richly deserves. Shorty may well be best-known for his amazing live performances. Yes, the somersaults, playing with his butt, and the like are amazing, but in some ways they detract from what a quality player, singer, and songwriter this man is. Shorty's first album on Black Top--TOPSY TURVY--was not universally well- received because some felt it didn't feature enough of his guitar and lacked the over-the-top quality of his live shows. Those wanting more of the gtr were happier with his earlier JSP-label CD, MY WAY ON THE HIGHWAY, which was more spontaneous and less-arranged than TOPSY TURVY. I however felt that TOPSY TURBY was a masterpiece--a very subtle album full of beautifully arranged compositions that WERE NOT obvious, hit-you-over-the-head anthems or vehicles for gtr pyrotechnics. Shorty's prowess as a mature songwriter really came though--particularly the more you listened to the album. In concert (I've seen him twice, in 94-95) Shorty features over half covers. I asked him about this, and he said that he felt that his own compositions were not well-known enough to the audience to go over well. He felt that when he put his own spin on a song the audience already knew, this gave the audience a reference point and allowed them to see what his "style" is. Then, he felt, they had a better entry point for his own material. This certainly makes sense, and others (Joe Hughes, Jitterbug Webb) have told me this. I hope that with this new album, Guitar Shorty begins to feature more of his own fine original compositions in concert. The new GET WISE TO YOURSELF seems to have all the good qualities of his two earlier lps on JSP and Black Top--the gtr emphasis of the JSP (and the accessibility of the tunes) and the richness and complexity of the Black Top. However, with a set of really memorable songs, and with heaps of his biting, imaginative gtr playing on EVERY song, this is perhaps his best album yet!!! Once again, the horn charts and arrangements of Kaz Kazanoff are hip yet uncluttered (and do I detect a bit of BB King influence in some of Shorty's vocalizing?). And besides Shorty's witty and catchy new compositions ("I'm The Clean Up Man" "My Baby loves to do the Bump") and remakes of old obscure Shorty classics ("You Dont' tReat me Right"), he chooses TWO Swamp Dogg covers, and this is a smart move, because Swamp Dogg's sense of humor is not unlike Shorty's. Yes, Guitar Shorty has produced another FINE modern blues album, with deep roots but completely 90s. I listen to this album, and I wonder why every music fan between 25 and 50 is not actively buying releases on Black Top/Bullseye Blues/etc. Well, to answer my own question, probably because few HAVE HEARD of this man or his music. I have brought friends to both of the Shorty shows I've seen, and they are amazed. "Why haven't I heard of this man?" they ask. Please do what you can to promote him to YOUR friends and acquaintances. I know we have a number of blues broadcasters on blues-l, but we all have workmates and friends who are not (yet) dedicated blues fans, and it's albums like this one that will win them over. Don't wait ten years for this to retroactively get four-stars in some yuppie blues record guide written by some dilettante.Take a chance--get it now! Bill Shute San Antonio, TX note: I just noticed that I never ONCE brought up some of the more famous persons Shorty has "influenced." That was not intentional, but it's telling because Shorty's music speaks for itself. That he was married to so-and-so's sister or that so-and-so borrowed aspects of his live act from Shorty is not really important. ========================================================================= Date: Tue, 7 May 1996 07:58:26 -0800 Reply-To: James Carmin From: James Carmin Subject: Re: Help on Caravan cover Comments: cc: vito@CITY-NET.COM Kenneth M. Sailors quoted Vito and then wrote: >> I've become obsessed with finding a cover of Duke Ellington's Caravan >> that I've heard from time to time on the radio. >> It's a really hot guitar version with a rockabilly (almost surfy) sound > >One guy that I know covered Caravan is the King of Surf Guitar - Dick >Dale. It's on his "Tribal Thunder" CD. Could be him. Dick Dale it probably is, but check out harpist extrordinaire GARY PRIMICH's cover of "Caravan" on Mr. Freeze (Flying Fish, 1994); it cooks. James C. jcarmin@teleport.com ========================================================================= Date: Tue, 7 May 1996 09:57:18 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Write Me A Few Lines ..Lyrics Does anyone have the lyrics to Fred McDowell's "Write Me A Few Of Your Lines" IF you have them and it's not much trouble, could you email them to me. THANKS LW ========================================================================= Date: Tue, 7 May 1996 08:07:00 -0800 Reply-To: James Carmin From: James Carmin Subject: Re: Help on Caravan cover Comments: cc: vito@CITY-NET.COM >Dick Dale it probably is, but check out harpist extrordinaire GARY PRIMICH's >>cover of "Caravan" on Mr. Freeze (Flying Fish, 1994); it cooks. >James C. >jcarmin@teleport.com Oops... Not Gary's latest, Mr Freeze, but it's on TRAVELLIN' MAN (Flying Fish, 1994), both are very fine cds but only TRAVELLIN' has Caravan. James "too early to type here on the left coast" C. >jcarmin@teleport.com ========================================================================= Date: Tue, 7 May 1996 10:16:11 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: Memphis (long) Hello y'all... Back from Memphis -- an 8-hour, straight-shot drive yesterday through a pounding rain storm. But not to worry, I had plenty of sounds on the headphones, to keep me pushing the speed-limit every so slightly all the way. What a trip -- the weather there gave some relief from the endless rain we've had here in Indiana. I was home an entire hour before Steve James checked into "The Bates Motel" (my house) for a couple of days in mid-tour. We both agreed that what looked like a "huge lake" alongside nearby Interstate 65 seemed strange only in that it had a barn standing in the middle of it. People are boating between their houses and barns. Not good. Anyway...Memphis was a full course musical meal. Met a few Blues-l'ers, including the hospitable Denise Tapp, and the famous LW (although try as I might, I never DID hear him play that guitar!). LW's wife Brenda, BTW, IS a member of the bluesmen's wives hall-of-fame...wonderful lady. Ed T., Alice, RJ Bauman and Tina...Roberta Penn, Ree Ann, Don O. and his friend Craig, Meri F.,.gosh...a bundle of signatures now have faces to go with them. Rumor has it that this year's attendance broke last year's record by more than 35,000(!). I think they were all standing in the portolet lines myself. It was C-R-O-W-D-E-D on Saturday friends. I haven't been in that sort of a crush, since the last pantyhose sale at Walmart. But if you planned a strategy (Don O. was a master at this -- you can tell he manuvers through blues crowds on a regular basis), it wasn't too bad. In general, it seemed the festival was planned well, though I was amazed at the lack of trash containers on the city streets. Peculiar, because otherwise it was clear that much planning and organization went into the event which undoubtedly prevented major problems. As for the music. Wow. Where else could you (if you were willing to sacrifice your behind on a hard seat for eight hours in a row) see that kind of talent back-to-back for such a low price? Otis Rush, R.L. Burnside, Big Mike G., Gatemouth Brown, John Hammond, Luther Allison, Carey Bell, Duke Robillard, Bob Margolin, Robert Jr. Lockwood, Shirley Brown, Sam Moore, Dorothy Norwood, etc., etc. Can't even remember them all, and of course it was impossible to see everything. I ran back and forth between the blues and gospel tents for the most part, but the blues line-up was especially impressive. It was interesting to see many of the players in different formats. I'd never seen, for instance, Robert Jr. Lockwood with a big band. Carey Bell had his usual road-runnin' crew with him (excellent), but Gatemouth also had a big bunch backing him. They all seemed entirely at ease with bands or without. Luther Allison, fresh from a huge haul of Handy Awards the night before, came out swinging. He was showering the people in front with sincere sweat before two numbers were over. He worked 'em over, under, sideways and down. And as predicted, played an amazing show -- extra long. That spoiled our confirmed plans for an interview that night, but his wife re-scheduled one the following day. (I showed up; they didn't -- sigh. Particularly frustrating because I had some great questions for him, and also missed hearing LW play at the Center for Southern Culture -- dang.) Did, however, get a great interview with Carey Bell after his show Saturday. What a character. He told me, among many other things, that just like Douglas Tate (famed Englander on the Harp-L list) HE got his fair share of "whuppin's" for playing harp at school...gave his lunch money to some kid to teach him how and charged up bologna (to "his peoples") at a local store to eat..."They caught up to me behind that, though...more whuppin's" -- smile. (I'll put that interview on here one day soon.) He was as generous and sweet as he could be. (Didn't ask him about the phaser and toys though B.Bean!) Well, people bugged out a little early Sunday evening to get positioned for the Van Morrison show at the BIG stage nearby, so the crowd for Duke Robillard and John Hammond was relatively small. But people..we were MIGHTY. We made enough noise to sound like a crowd twice our size, and so we should. Duke was wonderful...really professional, with a band to kill for. The sax player was a treat. John Hammond, of course, turned a few converts to religion as he always does -- throwing everything and the kitchen sink into his show. After he finished, and the roar of we mighty lessened, he promised to return shortly with Duke's band. Van might be the man, kids, but oh mama, John Hammond singing with Duke's band...I had to pull out my smelling salts. Wow. Wow a second time. Told Duke his lineup of guitars was nearly as handsome as he was...he snorted...didn't fall for it. (He remarked that he hoped the guitars were handsomer!) But I did play that white & gold Gretch of his in a Louisville store once (when he was getting it set up), and it's sweet. Missed Van altogether. Made it to B.B. King's (club) to see Chris Cain (another great surprise -- hadn't really heard him before), and then crashed to make the one-day drive yesterday. I hope somebody else will tell us about Morrison's show...maybe Waterman stayed conscious long enough (I hear he swoons when Morrison duets with Percy S.) to be able to report Van's Jazz Fest performance. Well, this is getting long and it's not even a start on a description of the whole weekend/all that great music. I loved the music -- incredible. I hated big tall guys who pushed. And what can I say about the young ones? -- like the sweet kid standing next to me in front of Otis, who turned to me and said in surprised recognition -- "OH!...that's a Robert Palmer song!" Cathi N. ========================================================================= Date: Mon, 6 May 1996 14:46:30 -0700 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: One Woman's Jazz Fest (long) Here we are returning to normal after the most crowded JazzFest ever--and I don't mean just in terms of musical proliferation. The sheer mass of humanity this year was staggering; the reported attendance on the last Saturday was 93,000 people through the official gates (average daily attendance is usually around 26,000). And the crowds in the clubs at night were enough to send this correspondent reeling home without even attempting to enter at least three eagerly anticipated gigs. (At the Blues Divas show at the Maple Leaf on the first Saturday night, there were approximately 300 people partying in the street *outside* the club. I didn't even attempt to fight my way inside.) A bigger problem than the actual volume of people was, for me, the TYPE of crowd it seemed this year. On Frenchman Street last Friday it looked like spring break in Lauderdale or Bourbon Street at Mardi Gras, with beer-soaked collegians jamming the street and actually jumping on and rocking the cars of those misguided few who attempted to drive on the street. Not a pretty scene. Our own Blues Kitty Ms. Bauer was so dismayed that she even changed her flight and went home early, one of what I'm sure were many disgruntled attendees who feel, as do I, that JazzFest has become a victim of its own success. I personally am seriously considering renting out my French Quarter apartment next year for a usurious sum and spending the first weekend at the Festival Internationale de Louisiane in Lafayette and the second weekend at the Memphis Festival. Quibbles notwithstanding, there were blues treasures to be had this year, as always, and my personal greatest joy was getting to meet so many Zellers and finding that they were each and every one as delightful in meatspace as they are in cyberspace. Dick Waterman, Cat Bauer, Tom Morgan, Jim McGlynn, Steve Robinson, Bill Morgan, George Rossi--here's hoping it was just the first of many more pleasurable encounters at future events. (Jim Bardsley, you were sorely missed and we seized the opportunity of your absence to talk really, really bad about you!) ;^) Biggest disappointment (besides the overwhelming crowds): the fact that scheduling problems prevented Mr. Waterman's photo exhibit from appearing at the Fairgrounds. Biggest new pleasure: the opening of a new venue for New Orleans roots music and jazz: The Funky Butt, on Rampart Street, a club that is unbelievably elegant, and boasts piano great *Henry Butler* as musical director. Beautiful place inside, with a dining room that serves Vietnamese food and soul food (!). Pretty eccentric, even by New Orleans standards. Highly recommended to anyone coming to visit, and it's only a half block down from Donna's on Rampart, home of the brass bands. A gathering of about ten Zellers the first Sunday at Donna's for a performance by blues poet John Sinclair was highlighted for me by the opportunity to surprise Sinclair: he didn't know that his old buddy and Ann Arbor Festival compadre Dick Waterman would be in attendance, and was thrilled to pieces to see him. And the music: my personal best would not have been achieved without the kind offices of Ms. Cat herself, who got me listed for the press party and soldout John Mooney album release show Tuesday at the House of Blues. "Show?" Nah, not nearly descriptive enough. "Explosion" comes closer to the mark. We knew it was gonna be nothin' nice when the stage lights came up to reveal two full drum kits, two full keyboard setups, an upright bass, congas, and seven guitars. And oh, Lord, when the band hit the stage-- flanking Mr. Mooney were Richie Hayward and Paul Barrere of Little Feat, Jon Cleary and Mitch Woods on the keys, Michael Ward on congas--all in addition to the regular Mooney sidemen of Carlo Nuccio (d) and Jeff Sarli (b). Never before have I seen every single eye in the House of Blues riveted on the stage in rapt attention. They did almost every number off Mooney's new CD , and when they broke into a full-throated rendition of Feat's "Dixie Chicken", this old Feat fanatic nearly wept with joy. Our stomping and hollering was rewarded with three great encore numbers, the highlight of which was Mooney wailing a terrific acapella version of "Grinning in Your Face". Whew and double whew. Mooney's new CD is highly recommended: "Against The Wall", 7001087006-2 on the new House of Blues label. The opening track, "Sacred Ground", is guaranteed to lift you right outta your chair. It took me two full days to regain the use of my voice, by which time it was off to catch the Van Morrison/Buddy Guy show at Keifer Arena. Huge thrill for me: I haven't gotten to see Van for fifteen years, since the days of his frequent stands at the Great American Music Hall in San Francisco. Ah, Van. Anyone wishing for the Van of the old r&b days ("Jackie Wilson Said", "Cleaning Windows") or Celtic mystic period ("Rave On John Donne", "VanLose Stairway") was undoubtedly disappointed, but for me the great appeal of Van has always been his unrelenting musical stretching, and this time around he pulled out a two-hour set of straight-ahead, big-band jazz with Mose Allison touches. The only r&b remnants came in the form of flourishes by the four-horn section, with a soprano sax playing a haunting counter-melody behind several tunes. Van was in superior vocal form, and displayed none of his notorious bad-boy tendencies; generous with solos to the musicians, but not to the point of laziness with his own contributions. He opened with four jazz standards from the new album with Georgie Fame, and the only two old hits he did were "Tupelo Honey" and an encore of "Moondance" -- both of which seemed obviously chosen because they lend themselves perfectly to jazz arrangements. In fact, "Honey" segued so seamlessly into "Why Must I Always Explain" that it was several minutes before I realized the change had occurred. Unfortunately, Buddy Guy, who closed the concert, was such a grave disappointment that we only stayed for four numbers. He deferred to his accompanying guitarist for what seemed like three-quarters of every song, and the sound was so full of screeching fuzz that it was painfully annoying. The whole group seemed so listless, just going through the motions, that we left to catch another dose of John Mooney in a 2am set at Carrollton Station. Oh, and at his fairgrounds performance on the first Friday, Mem Shannon announced his retirement from the cab driving business! (A story covered a few days later in USA Today, of all places.) Get this for irony: after five JazzFest gigs on the first weekend, and then a trip to the Handy Awards as a nominee, Mem returned to New Orleans last Saturday to put in a full weekend of cab driving, his last one. He's selling the cab at the end of May, and then spending a very busy summer touring from coast to coast (I'll post the dates/places separately later). Alas, an attempt to get him and Dick Waterman together for a cab ride and photo shoot of that last weekend did not jell. Pity...those could've been some historic shots. So...another year, another JazzFest, another few thousand brain cells destroyed. And now I believe I'll sleep until Thursday. --Maggie Maggie Mortensen<>Exarch Services<>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 'Born with the blues, my blue suede shoes, and underlying depression...' --Van Morrison ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Tue, 7 May 1996 11:19:46 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: DC Blues Benefit June 2 Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com BIG BLUES BENEFIT to help Sky Shaw, DC's Celebrated "Pulp Man," guitarist/vocalist meet expenses brought on by severe arm injuries which occurred recently. All friends are welcome to come and play the blues - or just to show up - Sunday, June 2, 9 PM at Madam's Organ (2406 18th St. NW). Suggested donation: $5.00. For more info call Pat (202-667-5370) or Chris (202-364-2549). ========================================================================= Date: Tue, 7 May 1996 09:16:33 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: amp decision James said: >I am currently considering buying one of these amps: > >used Fender Princeton Reverb >new Peavey Classic 30 >new Fender Blues Deluxe >used Ampeg > >Which would you buy (must be under $400)? none of the above? Well, that blues deluxe is pretty nice, and a good buy for the money. It can be modded to get a bit more out of it in terms of tone, but it's design makes some mods nearly impossible, and the reveb is pretty stinky. But it is a great buy for the money and a pretty decent amp. I'd get an old silverface princeton reverb and get my amp guy to hotrod it. He puts a 12" speaker, a Super output stage, a 4-10 Bassman/AC-30 type front end, and some other stuff and changes. Ends up being an amazingly good amp. I suspect the total will go above 400.00 including buying the old amp however... but not way over... DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 7 May 1996 12:23:20 -0400 Reply-To: YaHoo_RaGs From: YaHoo_RaGs Subject: JULY_19_to_21 seems to be a busy busy weekend all around... :) JULY 19-21 ---------- Pittsburgh Blues Fest, Pittsburgh, PA Kansas City Blues Fest, Kansas City, MO New York State Blues Fest, Syracuse, NY Toronto Blues & Soul Fest, Toronto, CANADA 19th Annual Vancouver Folk Music Festival, Vancouver, BC, CANADA any more that weekend...??? +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | Laissez les bon temps roulez!! | | // ~~ ~~ \\ | Let the good times roll!! | | /d+(+)-(+);b\ | ------------------------------ | | // L \\ | SANJAY 'RAGS' RAJAN | | // //|\\ \\ | sanjay_rajan@formtek.com | | ////`---'\\\\ | FORMTEK,INC. | | // //|||\\ \\ | PITTSBURGH, PA | | // /|||\ \\ | ------------------------------ | | -/---/\o/\---\- | Visualize Whirled Peas!! | | /"\ | | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Tue, 7 May 1996 11:18:47 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Memphis Thoughts The most powerful performer I saw was Ronne EARL on the Sunday Brunch Cruise. My wife was appalled that people could actually get in the food line while Ronnie & the Braodcasters were playing. I have NEVER seen an artist have the effect Ronnie had on my wife. She CRIED, tears running down her cheeks. Then she made the comment about how foolish she felt about crying when a lady a few tables away turned around and she was crying worse. I have never seen that happen. I don't think there is a better blues (or ?) player on this planet. Robert Lockwood needs to retire or respect his audience. He needs to take some lessons on respect for the record buyers from Gatemouth & Carey Bell. I was insulted that he can get up there and do 100% of nothing. Living on his past and it was obvious he could care less about the audience. He is probally the only professional muscian I have ever seen with less presence than myself. He needs to retire, he doesn't really care about the audience at all. My wife got her picture made with him and he was irritated that the guy taking the picture took to long to snap it. If I had been her I would have said forget it, where's Carey Bell.. I don't tolerate artists who are not appreciative of their audience. His band was decent. I think my favorite set of the weekend was Jimmy Rogers as BB's , his first set was classic. The second set his speed demon son played too much. He's a extremely talented player, but gee slow it down some.... (Jimmy Rogers first set was about as good as anything I've ever seen) Preston Shannon, I swear he played Sweet Home Alabama, Hideawy, Stormy Monday, Crosscut Saw, MUSTANG SALLY. I started to wonder if I jumped off the boat could I swim back to shore. A very talented guitar player, but nothin special. Gatemouth the most talented muscian at the festival, great performer. The stage people threatened to cut the power if he did not quit playing. He was not finished yet. I'd like to see his entire show, very impressive Carey Bell GREAT...ABSOLUTELY RL Burnside ...too much of that same beat began to bore me John Hammond...great as always Big Mike Griffin did a good job, really proud for him Anson, Sam & Rockets as good as I ever seen them Blind Boys Of Alabama , the other stage was too loud, but they were SUPERB. (VERY VERY GOOD) John Mayall not the best I've seen him, but good nonetheless OTIS RUSH, a different man than last year. Outstanding and just think I almost missed him, because of last year's performance. Didn't care to see Luther Allison and NO REGETS. Otherwise I would have missed Jimmy Rogers (I would have missed most acts to see Jimmy) I had a great time meeting the FABULOUS 'ellers ALL OF THEM. I'm sorry I was not real sociable,but contrary to my "net personality" I am a very quiet person. Apologies if I came off as being ride or anything. That was probally my last time to attend this festival, too many people. The first year was about 7000 people the whole weekend, this year was unbearable I hear Clarksdale calling my name..... LW 'probally left off someone' ========================================================================= Date: Tue, 7 May 1996 12:52:21 -0400 Reply-To: "William E. Forrester" From: "William E. Forrester" Subject: Re: Syracuse info (NY State Blues Fest) Comments: To: bob unger In-Reply-To: <199605061343.JAA28501@sun.bnkst.edu> On Mon, 6 May 1996, bob unger wrote: > Does anybody have any info on the New York State Blues Fest. in Syracuse. > The dates....the lineup.....etc.... July 19-21. Some of the performers will be Rod Piazza, Duke Robillard, Anson Funderburgh, Carey Bell, Tino Gonzales, Smokey Wilson, Guitar Shorty, Studebaker John, Chubby Carrier, and Roy Bookbinder. Local and regional groups will include Little Georgie & the Shufflin' Hungarians, Ned Lucas, and Blue-zeller Bernie Clarke & the Rhythm Sharks. Details have not yet been announced, but further information can be obtained by calling 1-800-234-4SYR. Bill Forrester ========================================================================= Date: Tue, 7 May 1996 12:56:44 -0400 Reply-To: "William E. Forrester" From: "William E. Forrester" Subject: Anybody know CD SOURCE? A classified ad in the latest issue of Blues Revue indicates that over 120,000 cd's (including any that were reviewed or advertised in this issue of Blues Revue) are available for $8.99 (including postage) from an outfit in Kansas City called CD SOURCE. Is anyone familiar with this company? Bill Forrester ========================================================================= Date: Tue, 7 May 1996 13:18:19 -0400 Reply-To: smirkyface From: smirkyface Subject: Re: Sour Lemon Songs and Rippoffs? >On Mon, 6 May 1996 20:36:01 -0400 Gregory A King said: >>and Page - who touted their heros and endlessly listed the older players as >>prime influences - was a bad thing? Or somehow just for gain? If it wasn't >>for Claptons early stuff with Mayall AND Zeps first album - which can still >>give me the chills - I, and a few million just like me, might have missed the >>blues all together. And to even think that Zeps version of I Can't Quit You > >IMHO you HAVE missed the blues all together, anyone who thinks of Zep or Jimmy >Page as ASSETS to blues music, has MISSED THE BLUES. Sorry, I don't mean to >sound hateful, but any blues fan knows that Zep was not, is not and can not be >an asset to blues. It has nothing to do with color, it has to do with ethics. > >LW 'just MHO' Coming from a middle class black west indian background, and never having the benefit of listening to the blues as a kid, my early introductions to the blues came via Led Zep. It's because of Zepplin, that I went out and bought my first Willie Dixon LP. It's because of Clapton, that I'm a Robert Johnson fan, and SRV turned me onto Albert King and Albert Collins. What matters is that you get to the blues, I think it's less important on how you got there. Now if I can only explain what benefits I got from Captain and Tenille(sp?) ;) BRIAN MCLEAN PHOTOGRAPHY & SMIRKYFACE PRODUCTIONS "life's too short to live the blues" http://www.netaxs.com/~blmclean ========================================================================= Date: Tue, 7 May 1996 12:33:52 -0500 Reply-To: Jim Bardsley From: "Bardsley, James R" Subject: Re: amp decision Comments: To: leftwich@CLOUD9.NET, Multiple@pop3a.lsumc.edu, recipients@pop3a.lsumc.edu, of@pop3a.lsumc.edu, list@pop3a.lsumc.edu, BLUES-L@pop3a.lsumc.edu I'd definitley go with a used Princeton Reverb if you could get it cheap enough to afford to do the folowing: 1) Have a heavy duty output transformer put it in. 2) Replace the stock speaker with a 12" Celestion Vintage 30 I have several friends who can do this simple mod for you at a reasonable price. When it's done, you have basically a supercharged Deluxe Reverb in a small package, and it kicks butt. These same guys are telling me they're getting a lot of the new Fenders back in for repair pretty quickly- a lot of problems with the printed circuit boards. Ditto for the Peavey's , which are almost disposable. Jim In message James Leftwich writes: > I am currently considering buying one of these amps: > > used Fender Princeton Reverb > new Peavey Classic 30 > new Fender Blues Deluxe > used Ampeg > > Which would you buy (must be under $400)? none of the above? > > > ============================================================================== > > Jim Leftwich Jim's Blues N' Brews > leftwich@cloud9.net http://www.cloud9.net/~leftwich > "I'm on cloud9!" :) New CD Giveaway: Sherman Robertson > ============================================================================== ========================================================================= Date: Tue, 7 May 1996 17:47:13 +0000 Reply-To: "Tony.OConnor" From: "Tony.OConnor" Subject: Lightnin Hopkins - guitarTAB Hi, I saw a listing for a guitarTAB instruction book for Lightnin Hopkins recently. It's caled 'Mel Bay presents Lightnin Hopkins, Blues Guitar Legend'. Has anyone any comment on this or another in the series. I'll have to order it through the mail so I can't check it out myself. There is an accompanying (extra bucks) tape - is this material commonly-available or is the tape worth buying ? Thanks, Tony. -- _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ _/ Tony O'Connor, _/ _/ Dept. Biochemistry, Tel : (+353)-91-524411 Ext:2431 ) _/ _/ University College Galway, Fax : (+353)-91-25700/35391 ) _/ _/ Galway, E-mail : tony.oconnor@ucg.ie _/ _/ Ireland. _/ _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ ========================================================================= Date: Tue, 7 May 1996 12:39:50 CST Reply-To: William Shute From: William Shute Subject: re "Caravan"--some guesses From: Bill Shute That "rockabilly-sounding" and "almost surf" version of CARAVAN could be two versions that spring to mind: the classic version by The Fendermen on their Soma album; also, the version by The Virtues (of "Guitar Boogie Shuffle" fame). There are other covers in that vein, and I know that some early 60s post-rockabilly garage-instrumental bands covered the Fendermen's cover (!) of "Caravan," and probably never heard ANY of Ellington's versions. Bill Shute San Antonio, TX (when in San Antonio, please visit Henry's Puffy Tacos--just had a great lunch there...) ========================================================================= Date: Tue, 7 May 1996 10:36:49 -0700 Reply-To: "David Hirning (Write Stuff)" From: "David Hirning (Write Stuff)" Subject: Kenny Wayne Sheperd article from USA Today Playing the young blood blues Kenny Wayne Shepherd has his future in his hands >From USA TODAY, DATE: 05/07/96 By Marco R. della Cava LOS ANGELES -- Kenny Wayne Shepherd looks tired. Not surprising when playing guitar makes your body buck and writhe, as if the ghosts of Jimi Hendrix and Stevie Ray Vaughan were wrestling inside it. And why not collapse into a House of Blues couch if you've performed five months of mostly sold-out gigs, thanks to a sizzling debut album, Ledbetter Heights, that topped Billboard's blues chart? Or sigh at the thought of more concerts, notably opening for Bob Dylan on May 16 in Clarkston, Mich., and the Eagles on their summer European tour? Such is life for a touring pro. But is it any life for an 18-year-old? Says a baby-faced Shepherd: ``For the next few years, I don't see having any kind of life at all.'' But the question is moot. His song has begun. Kenny Wayne, as fans and DJs call the prodigy from Shreveport, La., is poised to become the nation's next guitar hero. Between an upswing in the popularity of blues and nods from icons such as B.B. King, who calls Shepherd ``a pure talent,'' some say the teen needs only to survive the moral and physical strains of the road ahead. ``In 15 years, he could be where Eric Clapton is today,'' suggests Ken Shepherd, Kenny Wayne's father and manager, and a veteran radio station programmer. ``But timing is everything in this business. The next year is going to be intense.'' Meaning, work, work, work. Kenny Wayne smiles wanly at mention of his father. ``If he's not working all the time he feels something's wrong,'' he says with a soft Southern inflection. ``And he wants me to do the same thing. I guess if I cram now it'll pay off later.'' Kenny Wayne says he's ``great friends'' with Dad, who is divorced. And Ken Sr. says if Jr. quit tomorrow, ``it'd be a shame, but it'd be OK.'' Burnout is something both must watch for. Music pundits are quick to laud Shepherd's innate talent; he started playing at age 7 and has never taken formal lessons. They also are equally quick to offer words of caution. ``Every generation wants its own guitar heroes, and Kenny Wayne is being marketed effectively with his tie to Stevie Ray Vaughan,'' a seminal influence, says Chris Morris, senior writer at Billboard. ``The time is right for an artist like this, because the blues renaissance is in good shape. ``But,'' he adds, ``Shepherd's problem is that he is the latest in a long line of people'' vying for the late Texan's guitar crown. ``How many people wind up like Stevie Ray? One or two a generation?'' says Leland Rucker, managing editor of Blues Access magazine. Kenny Wayne counters: ``There will never be another Stevie, and I'm not trying to be someone I'm not.'' Despite knowing Vaughan's songs ``note for note,'' he plays none in concert. Notes Rucker: ``To be called `the next someone' is such a tough thing. You have to find your voice.'' In fact, the missing bullet in the young guitar slinger's arsenal, critics and friends say, is that he doesn't sing. Yet. ``That works against him because listeners want the whole package: Guitarists who play, write and sing,'' says Morris. Debra DeSalvo, associate editor of Blues Revue magazine, explains that ``It's a long tradition in blues, from Muddy Waters on up. . . . Maybe it's simply a desire to hear the performer's human voice as well as their guitar voice.'' Another up-and-coming guitarist, Eric Gales, 21, is more blunt: ``If he can sing at all, he will be pressured to sing.'' Kenny Wayne, who also writes music, is listening. ``I'm working on (singing). It's just an intimidation thing now. You get rave reviews for one thing, and are told you have to do something that you're not nearly as good at.'' He looks down, sighing. ``I'm 18. I'm not even sure my voice is through changing. But everyone says you got to sing, and you do. Especially if you want things done your way.'' Which means control. Over music and career. Right now, that's ``out of my hands. . . . They book the shows, give me an itinerary. I have a few weeks off for my birthday in June, and that's only because I insisted.'' He shakes his long blond hair, which on stage surrounds his head a la Cousin Itt. About the only things Kenny Wayne does control now are his hands and the way they make his Fender Stratocaster howl. At a recent House of Blues show, where Kenny Wayne was joined onstage by rock guitarist Slash, the Louisiana kid made the twenty- to fortysomething crowd pump their fists in the air when he took apart Jimi Hendrix's Voodoo Chile and put it back together with the greatest of ease. While his sound recalls the biting, blisteringly fast work of Vaughan, it also boasts the melodic sweetness of another past hero, Duane Allman. Kenny Wayne is undoubtedly the next great white hope of blues guitar. The musician cannot explain his talent. ``It's all kind of crazy. No one in my family is a musician. I guess it's a gift.'' Ken Shepherd remembers his son ``going through my blues records at age 7, trying to pick out the notes to a Muddy Waters song. I thought that was, um, strange.'' Kenny Wayne says he played ``mostly in my room until I was 13.'' Then a blind bluesman in New Orleans named Brian Lee brought him onstage. ``I played until 3 a.m. I knew then that I could really do this.'' Gigs at radio conventions led to a studio session, and then a contract with Giant (now Revolution) Records. After two years, 27 songs and a few drummers (``Most can't keep time if you gave them a watch,'' he quips), out popped Heights and its monster single, Deja Voodoo. This cat was out of the bag. ``If he continues to grow he'll be fantastic,'' says B.B. King, with whom Kenny Wayne has shared a bill. King dismisses the notion that the young player is hampered by being derivative and by not singing. ``He should remember his idols and just try to be himself,'' he says. ``As for singing, there are a lot of (blues artists) who sing, but not in a way that I would call singing. (Kenny) should just do what he does and the sky's the limit.'' Gales calls his peer a ``bad man,'' while drummer Chris Layton, formerly of Vaughan's trio and guest on a Heights track, calls him a ``gifted, old soul. . . . He loves Stevie's playing, but anyone great doesn't go through periods'' of imitation. ``I think he's a natural-born player,'' says Layton. ``I don't think he'll quit at 30 and go open a few restaurants.'' Kenny Wayne concurs. ``I want to be playing until I can't play anymore. I got a head start. I plan on using those years.'' In the meantime, he misses his mom, two older sisters and his buddies back in Shreveport, where fun would mean cruising in a new pickup truck he has bought but never seen. ``I'm a real `friends' kinda guy,'' he says. Sometimes friends of friends ``freak out and say, `Whoa, you got Kenny Wayne Shepherd in your living room!' But I'm not into that ego stuff. Hey, I'm just a guy like anyone else.'' Radio jocks, record labels and blues fans disagree. Time will tell if history does, too. GNviaNewsEDGE Copyright (c) 1996 Gannett/USA TODAY Electronic News Received by NewsEDGE/LAN: 5/7/96 2:40 AM ========================================================================= Date: Tue, 7 May 1996 10:37:44 -0700 Reply-To: Douglas Eidsmore From: Douglas Eidsmore Organization: Netcom Subject: Blues Photos Comments: cc: Crisi I need photos of Blues artists from the 30's and 40's for a multimedia project/game. Does anyone know of a source of such photos? ========================================================================= Date: Tue, 7 May 1996 13:57:43 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Sarah Brown Comments: To: seale@bioc02.uthscsa.edu On May 7, Jeff Seale said: >>>I'm not pluggin a web site and I don't have an >>>"arrangement" with Blind Pig. Just wanted to let you >>>know about a cd you might have passed by. >>>Sarah Brown is probably the best known blues >>>bassist you've never heard of. (snip) >>>Check it out. I have known "Sister Sarah" since she was in a trio with John Nicholas and Fran Christina. They were living in Ann Arbor and backing up everyone who traveled without a band. I used them to play behind a Carey Bell & Big Walter Horton combination and many other times as well. I just came back from New Orleans and it looks like the sun is going to shine on John Mooney's back door after all these years of paying dues and working really hard for a break. I can only wish the same for Sarah Brown.. and hope that radio programmers give her the opportunity to be heard. Don't let this release go neglected. At least give it a listen . . . Dick Waterman ========================================================================= Date: Tue, 7 May 1996 11:27:59 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: I am Jealous After reading Cathi Norton's, Maggie Mortenson's and LW's reports on Memphis and New Orleans I have been afflicted with an extreme case of blues jealousy. I wish I was there! Oh, the agony of not being there! Seriously. I'm glad you all had a great time and thanks for letting us know how it was. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Tue, 7 May 1996 11:28:09 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Sour Lemon Songs and Rippoffs? I've sat this one out until now even though I'm a huge Zeppelin fan. They are one of my favourite bands and helped steer me to the blues. Willie Dixon had every right to sue Led Zeppelin. "Whole Lotta Love", lyrically at least, is a direct rip-off from "You Need Love." Musically, the issue is vague, IMHO. I have even heard a bootleg from a Zeppelin concert, two or three months prior to the release of "II" where the band, while jamming, stumbles into the "Whole Lotta Love" riff (not the song though). Still, there are enough similarities between the songs for Willie Dixon to recieve writers credit. "Whole Lotta Love" isn't the only song where the copyright becomes questionable. "Dazed and Confused" (I forget the exact details) is distrubingly similar to a song released in the mid-sixties in England. I have a CD I picked up in Japan that has all the original versions of the songs Led Zep covered (I mean, stole, or should I say appropriated? Borrowed? Whatever), were influenced by or turned up, in various disguises, on the Zeppelin albums. Makes interesting listening. Zeppelin were stupid and dis-honest in not granting songwriters credit when credit was due. No ifs no buts. There are no excuses. Still, while I acknowledge that they were wrong, I think that Led Zeppelin were one of the greatest rock bands ever. And they helped me get into the blues as they did others. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Tue, 7 May 1996 04:20:54 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: Sour Lemon Songs and Rippoffs? Comments: To: BlueKing@AOL.COM ===============Blues wannabes? Page, Beck, Clapton, Green, Bloomfield, blues WANNABES? So you think that only a poor black person can get or play the blues? You think the exposure============= Well, one of the WORST CD's I ever bought was the Clapton, Page, and Beck blues on the Charly label. What a train wreck. Thankfully, I think it has been discontinued. I think Page is and was a very sloppy player, although he put a solo album about 10 years ago that had some decent blues on it. As for Green and Bloomfield being wannabees, NO WAY! RJ Bauman "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Tue, 7 May 1996 04:20:53 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Memphis trip Here's a few highlights/ comments on our trip to Memphis this weekend. 1) The weather was good. A little warm, but good. No rain. 2) The A/C in BB's was broken but it's supposed to be fixed by today if you're headed that way. 3) The crowds are getting big. Really big for this festival. That made seeing the more popular acts in the blues tent more difficult than it should have been, but we were prepared for that. Getting a beer was often as simple as raising a hand or yelling at the beer vendor roaming the blues tent with a keg on his back. If he was gone, it still took only a minute. 4) Many thanks to Denise Tapp and all the folks with the Center for Southern Folklore and Beale St. Blues Society who pitched in to help out. Denise was a terrific host for our blues-l meeting and made certain our visit was worthwhile. Dr. Withers (sp) showed off some great photos of Memphis musicians and blues artists in general. Some of these would be very familiar to many of you. Great footage from earlier Memphis events was also a nice treat. LW played some of the nastiest slide ever heard from a sleeping person with a borrowed guitar, and was accompanied by some fine harp playing by Jorge Banderas (sp). Another player played, too, but I'm sorry I don't recall his name. If you're listening, dude, I want you to know that I was listening to YOU, too. It was nice meeting all of the zellers there! (Yes, his name really IS RAGS) 5) For two people who have as divergent tastes in guitar players as we do, LW and I (and our better halves) sure ran into one another a lot. But good company is good company, and they ARE that. 6) Cathi N. , Tina wants to be like you when she grows up. :-) 7) Don O is as nice a guy as you'll ever meet and knows how to have good time. I'm gonna count on that when I get to Dallas someday......... 8) Rita, I mean Ms. Beale, I can't think of a better/ nicer/ gentler artist to support than Chris Cain!!! I hope you go far together. 9) There is nothing that can stop me from going to the Handy's next year after all the great things I hears about the jam later. Wish I was there. 10) The acts we caught playing on Beal--- Jimmy Rogers, Chris Cain, and Joe Louis Walker---- were especially good (Although we left early during Jimmy Rogers because we'd had a long day) 11) If you get a chance to do the blues brunch cruise, DO IT. It was heaven. Ronnie Earl and the Broadcasters were just awesome. A really moving performance. Preston Shannon is a good player with a great stage presence, but we were a little suprised to hear Stormy Monday, Mustang Sally, Sweet Home Alabama all in a 70 minute set. He did do a great cover of Cross Cut Saw, though. Albert would have been proud. At the festival, we were particualrly impressed with R.L Burnside, Gatemouth Brown, Coco Montoya (sounds much better to me live than on CD), Cary Bell, and Duke Robillard. Thre biggest surprise was Bob Margolin, who I''ve never seen better. We missed Otis Rush, and Luther Allison drove us away with his volume level. Thanks to Denise, I was able to get my Otis fix on the way home, though. :-) We sacrificed seeing Van Morrison, Allmann Brothers, and John Hammond (man, I'm bummed about that) but got hold of really good seats at BB's on Sat and Sunday. (Thanks LW and Brenda for finding us Friday). The music at BB's was worth it. And we got out tabs picked yp by complete strangers on sat. and sunday. Very bizarre. It's also neat bumping into and talking to the artists at BB's. As a whole they are soooo friendly. BB's is under new ownership since I don't know whenm but the food was consistently better than it was last year. RJ Bauman "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Tue, 7 May 1996 14:15:04 -0400 Reply-To: MoJo_RaGs From: MoJo_RaGs Subject: MEMPHIS_Thought... Ahhhhhhhh!!!! it was so cool to meet other Bluezellers down by Beale Street... cool beans and warm brown rice indeed :) on another note... i was most impressed with R.L.BURNSIDE.... he was truly amazing........ ahhhhhhh!!! i need to get some of his recordings.... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | Laissez les bon temps roulez!! | | // ~~ ~~ \\ | Let the good times roll!! | | /d+(+)-(+);b\ | ------------------------------ | | // L \\ | SANJAY 'RAGS' RAJAN | | // //|\\ \\ | sanjay_rajan@formtek.com | | ////`---'\\\\ | FORMTEK,INC. | | // //|||\\ \\ | PITTSBURGH, PA | | // /|||\ \\ | ------------------------------ | | -/---/\o/\---\- | Visualize Whirled Peas!! | | /"\ | | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Tue, 7 May 1996 11:28:04 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Help name my cat In a fit of god knows what (kindness, insanity latent parental-type feelings), I adopted kitten on the weekend. She is, of course, extremely cute and is all black (with a touch of white on the neck). But she needs a name. I was thinking of a blues-approved name but I couldn't think of anything. So if anyone out there had a great idea for a blues-type name for my kitten then let me know. All I can offer in return is my thanks and a beer if you come by LA. Thanks, Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Tue, 7 May 1996 14:42:48 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Lemons and credits 'n' stuff Many folks in this discussion seem to be concerned about the issue of "giving credit". If a bunch of Rock 'n' Rollers had a monster hit with one of my compositions, I wouldn't care who they claimed wrote the thing as long as I got the royalty checks. Do any of you know the names of the two people who wrote "Happy Birthday To You"? No? Do you think they care? They just hope the postman knows their names. LZ got sued because they were collecting someone else's paycheck, not because they weren't giving the correct credit on their liner notes. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Tue, 7 May 1996 18:35:45 GMT Reply-To: Antonello Diteodoro From: Antonello Diteodoro Organization: The National Capital FreeNet Subject: Re: Joe Kelly Comments: To: bit-listserv-blues-l@uunet.uu.net Gregory A King (BlueKing@AOL.COM) writes: > Anyone ever hear of the Joe Kelly Blues Band (Chicago, circa 68-69)? > > Kelly was the original bass player for the Shadows of Night (hit was a Gloria > remake) but switched to guitar and blues after the first Shadows album. Joe > was hot, stinging and real expressive. Used to see him at a place called the > Cellar in Arlington Heights IL. I also saw Albert and Freddie King, Muddy > Waters, Willie Dixon, Cream, Hendix and so many others there. I was sixteen > at the time. > > Just wondering what ever happened to smokin' Joe Kelly. I had the pleasure of knowing Joe Kelly and jammin' with him in LOndon Ontario in the late eighties. I was on tour with Bernard Allison (Luther;s boy), when I met him. I ran into him a couple of more times in London but ever since the scene went tits up there I haven't seen him since. He is a fine player. Tony D. -- "I've been crazy... Yes I'm still a fool, I've been crazy all of my life... ========================================================================= Date: Tue, 7 May 1996 15:00:57 EDT Reply-To: Newman/Rabson <71552.541@COMPUSERVE.COM> From: Newman/Rabson <71552.541@COMPUSERVE.COM> Subject: Memphis-Rbt Lockwood Jr. This is my first posting on Blues-l. Hope I get it right. I just want to say to L W who didn't enjoy Mr. Lockwood in Memphis that, while I can't speak for the Memphis in May festival, I can say that Mr. Lockwood's performance at the Handys was wonderful - I find it difficult to imagine that his show was as bad as all that. Perhaps Mr. Lockwood was too tired to stand for a long time for a photo with your wife. He's a very young-looking gentleman but does have a few miles on him and playing music is hard work. Still - I don't know the circumstances here but you know, you got to cut people some slack. Performers have bad days, too. If all Mr. Lockwood does is make great music for us that's enough. That's his job. Anything else seems like gravy. Ann Rabson ========================================================================= Date: Tue, 7 May 1996 15:10:15 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0069 From: "DUTTWEILER.J" Subject: Re: Help name my cat Comments: To: shaun@PACIFICNET.NET Date: Tuesday, 7 May 1996 3:09pm ET To: Internet, GO-MAIN.SHAUN1@DOASMAIN.SNADS From: DUTTWEILER.J@GOMAIL Subject: RE: Help name my cat In-Reply-To: The letter of Tuesday, 7 May 1996 2:43pm ET Mojo, Caledonia, Lucille - just off the top of my head. JD ========================================================================= Date: Tue, 7 May 1996 14:11:42 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: TJ Wheeler & Ronnie Earl One of the funniest things I saw (there were plenty) in Memphis was TJ Wheeler and Ronnie Earl. The two have very, VERY different personalities. Ronnie was kind of timid and TJ was the life of the party. T.J. was dancing and Ronnie stopped to say something and TJ grabbed him and started dacing with him. You would have had to have been there to see Ronnie's face. I was grabbing the camera, didn't get it in time. :-) LW ========================================================================= Date: Tue, 7 May 1996 14:37:58 -0500 Reply-To: cecalhoun@SIOUX.SODAK.NET From: C E Calhoun Subject: Re: Kenny Wayne Sheperd article from USA Today Comments: To: "David Hirning (Write Stuff)" In-Reply-To: saw kws at the memphis festival. his initial program was bad, loud flash guitar-reminisient of 'spinal tap'. perhaps his dedut cd says more about his talent and roots, but seeing him live was not appealing or enjoyable. oh well, he is only a youngster. ========================================================================= Date: Tue, 7 May 1996 15:39:31 -0400 Reply-To: MoJo_RaGs From: MoJo_RaGs Subject: MEMPHIS_THoughts II I second and third's other bluezellers opinion that Denise was a great host... Thanks again....Denise... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | Laissez les bon temps roulez!! | | // ~~ ~~ \\ | Let the good times roll!! | | /d+(+)-(+);b\ | ------------------------------ | | // L \\ | SANJAY 'RAGS' RAJAN | | // //|\\ \\ | sanjay_rajan@formtek.com | | ////`---'\\\\ | FORMTEK,INC. | | // //|||\\ \\ | PITTSBURGH, PA | | // /|||\ \\ | ------------------------------ | | -/---/\o/\---\- | Visualize Whirled Peas!! | | /"\ | | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Tue, 7 May 1996 14:25:38 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Re: Memphis-Rbt Lockwood Jr. In-Reply-To: Message of Tue, 7 May 1996 15:00:57 EDT from <71552.541@COMPUSERVE.COM> On Tue, 7 May 1996 15:00:57 EDT Newman/Rabson said: > >Still - I don't know the circumstances here but you know, you got to cut >people some slack. Performers have bad days, too. If all Mr. Lockwood does >is make great music for us that's enough. That's his job. Anything else >seems like gravy. I know everybody has bad days, but at least act like you care. I understand poor performances (Do I ever !). I missed the Handys. My point was he DID NOT make great music at the festival A few years ago I saw him with just a bass player and himself. It was excellent he actually talked to the audience some, sang so you could hear him, played his guitar like he cared. I still love his recordings. I'm glad Carey Bell, Gatemouth Brown, Jimmy Rogers weren't tired :-). I'm curious as to the others who were there, feel free to disagree with me LW 'talkin' bout Lockwood's performance not his band' ========================================================================= Date: Tue, 7 May 1996 16:00:13 -0400 Reply-To: MoJo_RaGs From: MoJo_RaGs Subject: LYNCH_HIM...:) > Unknown user 'richard_norton' at bbs.fullcoll.edu > ------------------------- geee......Can this dude from CA be unsubscribed for the rest of the BLUEZELLERS sake :) +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | Laissez les bon temps roulez!! | | // ~~ ~~ \\ | Let the good times roll!! | | /d+(+)-(+);b\ | ------------------------------ | | // L \\ | SANJAY 'RAGS' RAJAN | | // //|\\ \\ | sanjay_rajan@formtek.com | | ////`---'\\\\ | FORMTEK,INC. | | // //|||\\ \\ | PITTSBURGH, PA | | // /|||\ \\ | ------------------------------ | | -/---/\o/\---\- | Visualize Whirled Peas!! | | /"\ | | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Tue, 7 May 1996 16:12:16 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0126 From: "DUTTWEILER.J" Subject: LYNCH_HIM...:) Date: Tuesday, 7 May 1996 4:11pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: LYNCH_HIM...:) In-Reply-To: The letter of Tuesday, 7 May 1996 4:09pm ET I noticed there was an ad in the back of Living Blues for a Richard Norton. I wonder if this is the same guy? Hope if it is he plays the blues better than he keeps up with his Net housekeeping JD ========================================================================= Date: Tue, 7 May 1996 16:18:03 -0400 Reply-To: NHVTNC@AOL.COM From: NHVTNC@AOL.COM Subject: Playlist "Houserockin' Blues" WSFM Sundays 9am-12pm Box fm 107 Wilmington, NC 28402 Bluesmojo@aol.com Featured c/d: W.C. Clarke "Texas Soul" Hour 1 W.C. Clarke I Only Have Love For You Black Top/Rounder Robben Ford & Blue Line Running Out On Me Stretch/Blue Thumb Duke Robillard Band Tell Me Why Pointblank Robert Cray Band I'll Go On Mercury W.C. Clarke Just the One I'm Looking For Black Top/Rounder W.C. Clarke Reminscing Black Top/Rounder John Lee Hooker Chill Out (Things Gonna Change) Pointblank (jazz) Diane Schuur & BB King I Can't Stop Loving You GRP W.C. Clarke Why Do Things Happen To Me? Black Top/Rounder Jimmy Rip Cold Comfort House of Blues Gales Brothers Hand Me Down House of Blues ------------------------------------------------------------------------------ ------------------------------------------ Hour 2 W.C. Clarke Rough Edges Black Top/Rounder Roomful Of Blues I Left My Baby Bullseye/Rounder Jimi Hendrix Born Under a Bad Sign MCA W.C. Clarke Leave My Heart Alone Black Top/Rounder W.C. Clarke That's Where It's At Black Top/Rounder Eric Clapton Third Degree Reprise/Duck Otis Grand Careless Living Sequel (jazz) Richard Elliot By My Side Manhattan/Capitol W.C. Clarke Funny How Time Slips Away Black Top/Rounder Mojo Buford Married Woman Blues Blue Loon Vaughan Brothers Baboom/Mama Said Epic ------------------------------------------------------------------------------ ---------------------------------------- Hour 3 W.C. Clarke You'll Need Another Favor Black Top/Rounder Taj Mahal The Car Of your Dreams Private Otis Rush All Your Love Sequel Peter Green's Fleetwood Mac Rattlesnake Shake Castle W.C. Clarke I Want To Keep you Black Top/Rounder Ian Moore Muddy Jesus Capricorn The Paladins Keep On Lovin' Me Baby Alligator (jazz) Henry Johnson A Love Like That MCA W.C. Clarke Ain't No Fun For Me Black Top/Rounder Stevie Ray Vaughan & Double Trouble Taxman Epic Kenny Wayne Shepherd I've Had Enough Giant W.C. Clarke Baby, What About Me? Black Top/Rounder ========================================================================= Date: Tue, 7 May 1996 16:21:06 -0400 Reply-To: MoJo_RaGs From: MoJo_RaGs Subject: Re: Help name my cat how about MOJOOOOOOOOO :) or BEALE :) or BEE BEE [for Black Beauty :) BBKing :) ] or WEEEDOOO [take off on VOODOO :)] or HANDEE [take off on W.C HANDY :)] or GUMBOOOOOO or BAYOUUUUUU or........... :) +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | Laissez les bon temps roulez!! | | // ~~ ~~ \\ | Let the good times roll!! | | /d+(+)-(+);b\ | ------------------------------ | | // L \\ | SANJAY 'RAGS' RAJAN | | // //|\\ \\ | sanjay_rajan@formtek.com | | ////`---'\\\\ | FORMTEK,INC. | | // //|||\\ \\ | PITTSBURGH, PA | | // /|||\ \\ | ------------------------------ | | -/---/\o/\---\- | Visualize Whirled Peas!! | | /"\ | | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Tue, 7 May 1996 17:23:37 -0400 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: Re: Help name my cat In-Reply-To: If the white is a spot, why not "Spot?" - if she's amorous - "Hooker" (might be too young to tell) - spooky looking - "Voodoo" - slinky - "Tail Dragger" There's always Shecat, Lucille, Minnie, Koko... Had a cat once named "Pudder" Forgive me folks, mundane tasks at work these days. RW (had a horse once I called "Weinerhead") ========================================================================= Date: Tue, 7 May 1996 15:29:43 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re: Help name my cat Comments: To: Shaun T Cronin Bessie! (Smith). Jim _______________________________________________________________________________ Subject: Help name my cat From: Shaun T Cronin at INTERNET-SH Date: 05/07/96 2:48 PM In a fit of god knows what (kindness, insanity latent parental-type feelings), I adopted kitten on the weekend. She is, of course, extremely cute and is all black (with a touch of white on the neck). But she needs a name. I was thinking of a blues-approved name but I couldn't think of anything. So if anyone out there had a great idea for a blues-type name for my kitten then let me know. All I can offer in return is my thanks and a beer if you come by LA. Thanks, Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Tue, 7 May 1996 15:57:07 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Back to the studio I was asked if I wanted to record at a local studio FREE. It's a course here at the college on recording and they needed someone to be a guinea pig. I said "sure". That's going to be fun, I hope to get my unconfident harp playing friend to play with me. I think if he heard himself on a professional recording it would help his confidience. It's one of (if not THE) best studios in town. LW ========================================================================= Date: Tue, 7 May 1996 16:36:00 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 05/08 B O R N : 05/08 BLAND, JACK Born:1899 SEDALIA, MO Career:GUITAR / BANJO Style:TRAD / JAZZ CAPLIN, ARNOLD S. Born:1929 NEW YORK, Career:PRODUCER Style:BLUES / JAZZ owner: BIOGRAPH RECORDS JARRETT, KEITH Born:1945 ALLENTOWN, PA Career:PIANO / ARRANGER / LEADER Style:JAZZ With:TONY SCOTT / ART BLAKEY / CHARLES LLOYD / CECIL McBEE / MILES DAVIS JOHNSON, ROBERT Born:1911 HAZELHURST, MS Career:GUITAR / SINGER / COMPOSER Style:BLUES MILES, LONG GONE ( LUKE ) Born:1925 LACHUTE, LA Career:SINGER Style:BLUES / JAZZ NICHOLS, RED ( ERNEST LORING ) Born:1905 OGDEN, UT Career:CORNET / LEADER Style:TRAD / JAZZ With:MIFF MOLE / PAUL WHITEMAN / RUTH ETTING / GLEN GRAY / JOE RUSHTON / JACK COON / MANNY KLEIN WILLIAMS, MARY LOU ( MARY ELFRIEDA WINN ) Born:1910 PITTSBURGH, PA Career:PIANO / ARRANGER / COMPOSER Style:JAZZ With:COOTIE WILLIAMS / EARL HINES / ANDY KIRK Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Tue, 7 May 1996 21:22:38 GMT Reply-To: Timothy M Dellinger From: Timothy M Dellinger Organization: University of Illinois at Urbana Subject: Re: Help name my cat Comments: To: bit-listserv-blues-l@uunet.uu.net Shaun T Cronin writes: >. I was thinking of a blues-approved name but I couldn't think of >anything. >So if anyone out there had a great idea for a blues-type name for my kitten >then let me know. >Shaun Cronin 'Woke up this morning between midnight and day. I was >shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son >House The following is meant to be funny. Do not take it seriously. Do not get offended. Do not flood the list with flames. What to name your cat depends on whether you're a purist or not. If you're *not* a purist, then you are content with cheap rip off second rate names that are not original at all, and have blues content in name only, but not in spirit. Also note that classically trained cat namers have trouble getting into the spirit of cat naming, and tend to be mechanical and too abstract in their cat naming. As a good All-American purist with a Son House quote in your .sig, you should opt for something in the spirit of the blues. Something that a bluesman would name a cat. How does the cat act? "Sweetness" , "Scrapper" , "Heartbreaker". Perhaps "Girlfriend" or "Blackie." If you want a closer tie to specific blues then "Cici Rider" or just "CC" for short. (Why can't a cat have a last name, too?). Maybe "Queen of Spades" and just "Queen" for short. A good voodoo name would be good too. "Jezebel" is a bit overused, but wouldn't be too bad. "Lucifer" ("Lucy") is very common, but still an option. You could name it after a president : "Bush" is a good cat name, while "Clinton" isn't so hot. I think that the cat will name itself soon enough. Good luck. -- -- It is a miracle that curiosity survives Tim Dellinger formal education. -Albert Einstein tdelling@uiuc.edu ========================================================================= Date: Tue, 7 May 1996 16:30:21 -0500 Reply-To: David Silberberg From: David Silberberg Subject: Re: Help name my cat At 11:28 AM 5/7/96 -0700, Shaun T Cronin wrote: >In a fit of god knows what (kindness, insanity latent parental-type >feelings), I adopted kitten on the weekend. She is, of course, extremely >cute and is all black (with a touch of white on the neck). But she needs a >name. I was thinking of a blues-approved name but I couldn't think of >anything. > We adopted an all-black Persion last year that we named Koko, in honor of.... Well, need I say more? David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Tue, 7 May 1996 14:52:34 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: And the Winner is...(name my cat thingy) First is a big thanks to everybody for their suggestions. You are all a fine bunch of people. I was calling the kitten Mary after a friend. A sort of in-joke. But I've been threatened with pain if I reveal why. Rags had some great suggestions as did LW, RichardPAZ@Aol,Maggie, Jim Bards and Jon Duttweiler. And there were others. I thank you all. The runners-up were Doug (BluesMojo@aol.com) and Ron Waxk, who suggested "Koko" (as in Taylor), and Jack Glidewell and Steve Levine, who suggested "Muddy." But the winner is........Dick Waterman who suggested "Evie House Cat." So Dick gets the beer. The contest is over. I thank you and so does Evie House Cat. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Tue, 7 May 1996 17:52:55 -0400 Reply-To: JukeFreak@AOL.COM From: "(Karen Hanson)" Subject: Chicago Blues Legends CD Hi everyone! Just returned from New Orleans and the great smorgasbord of music (and food) that is the Jazz & Heritage Fest! My first time and it was great! Of course, I had to buy new CDs.... One I picked up is called Chicago Blues Legends (Wolf Records). No wavering here; I knew immediately I would buy it when I saw the lineup: Four songs by Dave Myers (I've seen Myers live, but never heard him recorded! --fronting a band, that is); Mac Thompson (whom I did not know, but have since learned is Jimmy and Syl Johnson's brother); Three songs by Jimmy Lee Robinson (freshly recorded in January of 1996! If that person who asked about Robinson a few weeks ago is reading this, here are some more songs! The only thing is the CD doesn't list any of the other musicians on the songs. Anybody know?) Also...Willie Johnson (good stuff), Detroit Junior and Floyd Jones. The liner notes are interesting and informative and have some great pictures, too. And since I didn't have a CD player with me, it made for a great read on the plane! Obviously a brand new release--Anyone else heard it? Opinions? Karen ========================================================================= Date: Tue, 7 May 1996 17:27:03 EST Reply-To: shannon oconnor From: shannon oconnor Subject: A Successful CD Release Party! For those of you who were busy in Memphis on Sunday, May 5, I thought I'd let you know you missed a GREAT CD release party for my friends Sonny Moorman & the Dogs and their fantastic new recording, TELEGRAPH ROAD. And if you noticed that some important faces were missing from the vicinty of Sun Studio on that day, it's because the Sun Studio/706 Records folks were here in Cincinnati to co-host and participate in the celebration. Again, the CD is TELEGRAPH ROAD, and it's on the 706 Records label. For a gander at the cover and a brief description, check out Sun Studio's web site at http://www.sunstudio.com and click into "releases." For a more glowing and wordy review and description, feel free to e-mail me. I can't say enough good things about this band. It's a name to remember; I'm confident you'll be hearing more about them from other sources than me. And you'll be able to say, "You know, that pesky Shannon on BLUES-L knows these guys..." Shannon ========================================================================= Date: Tue, 7 May 1996 22:11:11 GMT Reply-To: Bill Izzo From: Bill Izzo Organization: University of Delaware Subject: (no subject) Comments: To: bit-listserv-blues-l@uunet.uu.net Anyone have an update on Johnny Copeland's condition? I know that he had open heart surgery a few weeks back. A Delaware Blues Fan ========================================================================= Date: Tue, 7 May 1996 18:25:19 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Who wrote Forty-Four - useful book >howlin' wolf wrote it didn't he? Nope Chris Smith (chris@skerries.demon.co.uk) Beauty is in the eye of the beer holder. ========================================================================= Date: Tue, 7 May 1996 22:49:01 GMT Reply-To: cuthulu@rlabs.com From: cuthulu Organization: Anti-American Civil Liberties Union Subject: KWS in USA Today Comments: To: bit-listserv-blues-l@uunet.uu.net Kenny Wayne Shepherd is featured in the 5/07/96 edition of USA Today on the front page of the lifestyles section. It's a nice, soft profile of the young man. It quotes B.B. King, Eric Gales and a few others, and it raises the SRV clone issue. It also calls him "the great white hope for the blues." Why can't we just have a great hope for the blues? But, as long as we're assigning colors, I call dibs on "the great purple hope for the blues." Kevan Smith cuthulu@rlabs.com the great purple hope for the blues ========================================================================= Date: Tue, 7 May 1996 18:02:23 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Memphis-Rbt Lockwood Jr. Comments: To: Newman/Rabson <71552.541@COMPUSERVE.COM> Ann Rabson wrote... > This is my first posting on Blues-l. Hope I get it right. On behalf of everyone here I'd like to welcome Ann Rabson to Blues-l. For those of you who have been living in solitary confinement for the past decade, I'll just say that Ann is one-third of Saffire, The Uppity Blues Women, and is one of my absolute favorite boogie and blues piano players, as well as a really neat person. Saffire, by the way has a new CD coming out on Alligator this month. Welcome aboard Ann! Ian Angus PS: Usual disclaimer ... I have no connection with etc etc except for the fact that I REALLY like Saffire. ========================================================================= Date: Tue, 7 May 1996 18:33:08 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Blues photos The best source of blues photos anywhere is Showtime Archives, a marvelous collection organized by Dave Booth and Colin Escott in Toronto. Contact Dave at 191 Concord Ave., Toronto, Ont. M6H 2P2. His phone is (416) 532-4145 and the fax is 532-1849. He is remarkably helpful; shots from his collection have graced thousands of albums, magazine articles, books, etc - this is how he makes his living. Michael Ochs' collection in California (sorry, I don't have an address) is maybe better known, but for blues and r&b I don't think Showtime's collection can be bettered anywhere in the world. Richard the Elder ========================================================================= Date: Tue, 7 May 1996 09:19:36 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: Memphis-Rbt Lockwood Jr. Comments: To: ISTS024@UABDPO.DPO.UAB.EDU On 7 May 96 , honorable zeller L W wrote: > I know everybody has bad days, but at least act like you care. I understand > poor performances (Do I ever !). > > I missed the Handys. My point was he DID NOT make great music at the festival > A few years ago I saw him with just a bass player and himself. It was excellent > he actually talked to the audience some, sang so you could hear him, played > his guitar like he cared. I still love his recordings. > > I'm glad Carey Bell, Gatemouth Brown, Jimmy Rogers weren't tired :-). > > I'm curious as to the others who were there, feel free to disagree with me > > LW 'talkin' bout Lockwood's performance not his band' > > The only other time I saw him was last year, and he was MUCH WORSE last year than this year, IMO. Last year he wouldn't allow pictures at all-- yelling at people who took them during his "performance." The band was indeed good, and I enjoyed his jazzy 12 string playing. I think the old guy's holding up pretty good but certainly not up to his best. Man, LW, it must have been really something when you saw him REALLY MOTIVATED. I wish I was there!!!! I agree that he didn't hold up to what Carey Bell and Gate did, but I think he was better than Big Mike Griffin, who was too wild for me. Now that was a blues/rock set. I think the thing people get off on Mike Griffin is that his PRS looks like a toy in his hands. People were laughing out loud and saying things like, "Geez, that m... f.. is F'n HUGE. I can't complain much about players. They're all better than me, even if they don't take their playing in the same direction I would. Hope to see you next year, LW. RJ "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Tue, 7 May 1996 16:26:32 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Welcome Ann Rabson! Welcome to Blues-L! It's a great group of people with only a few oddballs or kinda-weird folk with funny ideas.. Nobody *I* know of course! ;-] Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Wed, 8 May 1996 09:45:04 -1000 Reply-To: Andrew Gregg From: Andrew Gregg Subject: Re: KWS in USA Today Comments: To: cuthulu@rlabs.com >Why can't we just have a great hope for the blues? But, as long as we're >assigning colors, I call dibs on "the great purple hope for the blues." You mean Prince?????????(or whatever that bozo - albiet incredibly talented bozo calls himself nowadays)??????????????????? ========================================================================= Date: Tue, 7 May 1996 16:45:18 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Help name my cat Shaun, How 'bout "Stealin", as in the lyric: "I gotta outside woman. She's tight like that. I see her six times a week just to feed her cat. Stealin', stealin'. Pretty Mama don't you steal on me..." Uncle Ray ---------- From: Shaun T Cronin[SMTP:shaun@PACIFICNET.NET] Sent: Tuesday, May 07, 1996 6:28 PM To: Multiple recipients of list BLUES-L Subject: Help name my cat In a fit of god knows what (kindness, insanity latent parental-type feelings), I adopted kitten on the weekend. She is, of course, extremely cute and is all black (with a touch of white on the neck). But she needs a name. I was thinking of a blues-approved name but I couldn't think of anything. So if anyone out there had a great idea for a blues-type name for my kitten then let me know. All I can offer in return is my thanks and a beer if you come by LA. Thanks, Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Tue, 7 May 1996 09:44:27 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: KWS in USA Today Comments: To: cuthulu@rlabs.com =========raises the SRV clone issue. It also calls him "the great white hope for the blues."========== Well, if this is what KWS wants he's going about it all wrong. Sadly, I don't think the poor kid has much say in the matter. This is his daddy's dream and he's running the show. As for BB's quotes in the story, he said the exact same thing about Jeff Healy some years back. The man's a diplomat. That's the way BB is, I think. He is very supportive of everybody. Hell, had toured with a 13 year old whom he said could be better than he was! And who's to say that he's not totally sincere?? Maybe, but I just think he's being diplomatic. RJ Bauman "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Tue, 7 May 1996 19:50:11 -0400 Reply-To: SliderDW@AOL.COM From: Don Williams Subject: Re: Help name my cat Comments: To: shaun@pacificnet.net I used to have a cat name Delta (well, you know, the Delta Cats....) Don Williams ========================================================================= Date: Tue, 7 May 1996 09:48:57 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: For Meri, Ed, and Alice. Just want to say hey to Bluzman Ed, Alice Brown, and Meri Farnmorth, whom I also met in Memphis. Don't want you guys to think I forgot about you guys!! Stay in touch keep smilin' RJ Bauman "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Tue, 7 May 1996 20:57:25 -0400 Reply-To: RAHalonen@AOL.COM From: Reeann Halonen Subject: Home from Memphis Hi I arrived home safe and sort of sound. Happy to be back in rainy old Seattle and my own bed but what an ADVENTURE. It was like life capsulized. I laughed a lot and cried some ..... felt perfectly safe and at home (mostly) and really scared once. It was a thrill. The music was incredible. It's impossible to name a favorite but the Blind Boys, Charlie Musslewhite (who actively took in the festival) Van Morrison (he's an enigma) seem to stick out in my mind. One of the best parts was being at B.B.'s listening to Luther Allison, Saffire (it's all running together like one long/too short day) Ronnie Earl and Chris Cain. Thanks so much to Denise for everything and I'm so happy to have met most 'zellers who were there. Ree Ann ========================================================================= Date: Tue, 7 May 1996 18:40:37 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Memphis Thoughts LW (and others) made me salivate with his report on Memphis: >Gatemouth the most talented muscian at the festival, great performer. The stage >people threatened to cut the power if he did not quit playing. He was not >finished yet. I'd like to see his entire show, very impressive I've of course heard a lot about Gate (mainly about his personality, not so much about his music), and I just picked up his last Alligator album - in one word, fantastic. I've got some of his other stuff on compilations and his work as a sideman on other albums, but this is great (and I'm drawing a complete blank on the title...) >RL Burnside ...too much of that same beat began to bore me I can see this happening. I've never seen RL live, but I've got Too Bad Jim (and love it), but I can imagine that after an hour or so it could begin to get monotonous. Which is not to say that I don't like his stuff (no flames... please!!! :-) ), but variety is the spice of life. >Blind Boys Of Alabama , the other stage was too loud, but they were SUPERB. >(VERY VERY GOOD) This is good to hear - I saw them about a month ago, and to be perfectly honest, they weren't great (sound problems and other difficulties made it worse), but it honestly seemed like they were on their last legs. I'm glad they're back up to snuff, and I can't wait to see them again!!! >That was probally my last time to attend this festival, too many people. The >first year was about 7000 people the whole weekend, this year was unbearable Sounds like I'd love everything about these festivals, but I can live without the hordes of people - it's good to see good music getting a good audience, though. >I hear Clarksdale calling my name..... So do I!!! See you there! :-) I'm already counting down the days... Does anyone know who'll be playing in Clarksdale this year? -Jim (hndful@uniserve.com) ========================================================================= Date: Tue, 7 May 1996 21:37:42 -0400 Reply-To: RhythmShrk@AOL.COM From: Bernie Clarke Subject: Re: And the Winner is...(name my cat thingy) In a message dated 96-05-07 17:47:43 EDT, you write: > >The runners-up were Doug (BluesMojo@aol.com) and Ron Waxk, who suggested >"Koko" (as in Taylor), and Jack Glidewell and Steve Levine, who suggested >"Muddy." My dog's name is Koko (as in Taylor), so it has been used already anyway! Bernie Clarke ========================================================================= Date: Tue, 7 May 1996 18:10:31 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: New release: Sarah Brown Question? Does anyone know if this is the same Sarah Brown of The Boogie Brothers and Sister Sarah of Michigan circa 1969? Uncle Ray ---------- From: Jeff Seale[SMTP:seale@BIOC02.UTHSCSA.EDU] Sent: Tuesday, May 07, 1996 1:13 PM To: Multiple recipients of list BLUES-L Subject: New release: Sarah Brown I'm not pluggin a web site and I don't have an "arrangement" with Blind Pig. Just wanted to let you know about a cd you might have passed by. Sarah Brown is probably the best known blues bassist you've never heard of. She's put down the basslines for most of the Austin cats that we all love. She's been the bass player around the Antone's gang and she's a damn good songwriter as well. Her new cd is called Sayin What I'm Thinkin (BPCD 5030). If you like the sounds of the EARLY T-Birds (not the rock crap), then you'll probably dig this cd. Sarah's vocals are not as dynamic as Etta James or Koko Taylor, but she's a hell of a lot better than Sue Foley. ;-) Why isn't Sarah on Antone's and SUe somewhere else? 11 of the 12 songs are Sarah Brown originals and the one cover is J.B. Hutto's Please Help. Derek O'Brien, Fran Christina, Lou Ann Barton, Angela Strehli, Marcia Ball, and Doyle Bramhall all make guest appearances. Check it out. -Jeff --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball #8 U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc02.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Tue, 7 May 1996 18:45:58 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Memphis/Robert Jr. Just a couple of quick thoughts about Robert Jr.'s performance, and = disposition. First, I wasn't there, so thanks for all the reports to = drive my liver searing envy. I've had occasion to do business with = Robert four or five times since 1978. He's been a guest in my home, and = I spent part of every day for a week with he and Anne during an = engagement in Seattle a few years back. Having said that. I attended a performance by Robert in Ohio in late '93 = or early '94. When I approached him, I could see in his eyes that he had = no idea who I was. He greeted me perfunctorally and turned his attention = elsewhere. Anne and I had a nice chat, and I withdrew a bit chastened. Later he approached me, probably after trying his damndest to place me, = and it became clear he thought I was Paul deLay. Right part of the = country...wrong person. My point to this rambling is that memory, patience, and certain fine = motor abilities fail us all as we age. Robert is a fiercely proud man, = and this painful withering of his skills and control must hurt him = deeply. I see what similar failings are doing to my mother's = disposition, who is afflicted with Altzeimers'. Should Robert retire? Not for my money! I'll take 30% of Robert Jr. over = 100% of many successful young pretenders any day. He is a steady rollin' = man. Uncle Ray ========================================================================= Date: Tue, 7 May 1996 19:04:52 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: KWS in USA Today Very insightfully, RJ wrote about KW Shepherd: >Sadly, I don't think the poor kid has much say in the matter. >This is his daddy's dream and he's running the show. Can you say 'stage father', boys and girls? If that ain't obvious from the piece, then I don't know what is. The kid wants to go home and drive his truck. I say let him! (and I've never even heard him play, so that's not a comment on his music.) It's sad when parents have to live their lives vicariously through their kids. Go to a little league game or a local peewee hockey game and you'll see the same thing. -Jim (hndful@uniserve.com) ========================================================================= Date: Tue, 7 May 1996 22:09:16 -0400 Reply-To: Lacook01@AOL.COM From: "Lorri A. Cook" Subject: Re: Kenny Wayne Sheperd article from USA Today Comments: To: cecalhoun@sioux.sodak.net Wow--I don't know what you saw in Memphis. But the Kenny Wayne Sheperd I saw in Pittsburgh completely blew me away. When this young man finds his own voice, there'll be but a few who can touch him. L.A. Cook (Lacook01@aol.com) ========================================================================= Date: Wed, 8 May 1996 02:03:21 GMT Reply-To: Mike Lattrell From: Mike Lattrell Organization: PANIX Public Access Internet and Unix, NYC Subject: Band needed in Peekskill,NY Comments: To: bit-listserv-blues-l@uunet.uu.net A friend of mine was at the last minute asked to book a couple of bands for a benifit concert in Peekskill, NY. on Sunday May 19th. She is looking for a blues, blues/jazz, or dixieland band that will volunteer it's time to perform for a benifit to restore the historic Depew Park Bandstand in Depew Park, Peekskill, NY. This is a good opportunity for any local bands to get some exposure, play at an outdoor event, and get a foot in the door for upcoming paid events that will be scheduled at the Bandstand once it is restored. She is looking to fill in the noon-2pm time slot. (There will be a P.A. set up for the bands) Sponsored by The Peekskill Historic Preservation Advisory Board. Any interested parties please contact: Susan Morrison 914-734-9759 or 212-627-8200 ========================================================================= Date: Tue, 7 May 1996 21:15:48 -0600 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: MEMPHIS TRIP > From: "R.J. Bauman" > Getting a beer was often as simple as raising a hand or yelling at the beer > vendor roaming the blues tent with a keg on his back. Dang! I kept looking for a place to buy one of them strap on kegs. I really wanted one (but with a different kind of beer in it). Don O. ========================================================================= Date: Tue, 7 May 1996 23:24:31 -0400 Reply-To: Blcrowe@AOL.COM From: "Jamie A. Kittel" Subject: Re: Guitar Shorty "Get Wise To Yourself" Comments: To: WSHUTE@accdvm.accd.edu I have been looking for this album for MONTHS!!! I heard a track on public radio called "You left me dreaming". I LOVED IT!! I'm really bummed about not finding it. He really amazes me. Also, anybody having any tour dates please let me know. I would love to see him live. ========================================================================= Date: Tue, 7 May 1996 23:39:42 EDT Reply-To: Newman/Rabson <71552.541@COMPUSERVE.COM> From: Newman/Rabson <71552.541@COMPUSERVE.COM> Subject: Memphis - Rbt Lockwood R.J. Thanks for the kind words and for voting for me in Living Blues. I didn't even vote in that one. I meant to. Yank was GREAT in Memphis. He was strong. He played great, sang great. Yank rules! See ya' on the road. Ann Rabson ========================================================================= Date: Wed, 8 May 1996 00:30:10 -0400 Reply-To: Blcrowe@AOL.COM From: "Jamie A. Kittel" Subject: Nate Armstrong I, too, am posting for the first time, so I hope this is done correctly. I apologize in advance if I did this incorrectly. I just recently, for the 5th time, saw Big Daddy Kinsey and the Kinsey Report at the Blind Pig here in Ann Arbor, MI. As always, Nate Armstrong was AMAZING. He blows my mind every time (although, the Pig's sound staff wasn't on the ball, Donald was getting upset throughout the show because monitors kept going out, and the levels were all messed up). ANYWAYS, anybody having any more information (such as touring info, or other projects Nate has worked with), please let me know. Also,. if people know of little known harp players that I may be interested in, please let me know about that, too. I have begun to play harp once again, (mostly thanks to John Popper, Little Walter, Little Sonny, Nate Armstrong, James Cotton, and Paul Butterfield).(Let's not forget the Wolf!). Hey, Hey, The Blues is alright! ========================================================================= Date: Tue, 7 May 1996 22:10:39 -0400 Reply-To: TDominey From: TDominey Organization: America Online, Inc. (1-800-827-6364) Subject: Ted Hawkins Comments: To: bit-listserv-blues-l@uunet.uu.net Question for you all - I played some tracks from Californnia artist Ted Hawkins (booming voice - a lot like Sam Cooke) recently on our radio show, and received a call from one listener who was not mad but a little distraught. They told me I shouldn't be playing material by someone who was a convicted child molester. Now, I don't know if this is true or not, and I don't want to ruffle feathers, but can ANY of you tell me if this is true? It won't stop me from playing the music, for I have a lot of respect for the artistry. But, I would still like to know for my own knowledge. Cheers - TD ========================================================================= Date: Wed, 8 May 1996 01:11:17 -0400 Reply-To: Blcrowe@AOL.COM From: "Jamie A. Kittel" Subject: Re: Ted Hawkins Question for you all - I played some tracks from Californnia artist Ted Hawkins (booming voice - a lot like Sam Cooke) recently on our radio show, and received a call from one listener who was not mad but a little distraught. They told me I shouldn't be playing material by someone who was a convicted child molester. Now, I don't know if this is true or not, and I don't want to ruffle feathers, but can ANY of you tell me if this is true? It won't stop me from playing the music, for I have a lot of respect for the artistry. But, I would still like to know for my own knowledge. Cheers - TD Music is Music....who cares??? I wouldn't stop playing the music because of that. ========================================================================= Date: Tue, 7 May 1996 22:07:44 -0700 Reply-To: Stan Ruffo From: Stan Ruffo Subject: Welcome Ann Rabson! I just want to say welcome to Ann! I think all will agree, it's great you have joined Blues-L -- Stan Ruffo Blues On Tap - Sundays at 8pm on Visalia's KIOO 99.7FM 800 N. Ben Maddox Way, Suite 2200, Visalia, CA 93292, (209)625-6049 ========================================================================= Date: Wed, 8 May 1996 05:38:13 GMT Reply-To: cuthulu@rlabs.com From: cuthulu Organization: Bad Credit? Slow Credit? No Credit? No Problem! Subject: Re: Jazz Fest (brief report) NO BLUES Comments: To: bit-listserv-blues-l@uunet.uu.net On Mon, 6 May 1996 14:00:27 -0500, James Foster wrote: >We arrived back in Texas last night, after spending a few days at the >second weekend of the New Orleans Jazz Fest. >(the FOOD, by the way, was uniformly GREAT): You didn't eat any of the crawfish, did you? They came from China this year. Due to a variety of reasons, LA's crawfish production is low this year, causing high prices. The chinese mudbugs beat them in price quite handily. Of course, the two reasons China can do that -- slave labor and no food safety regulations. It's enough to make a head-sucker weep. Kevan Smith cuthulu@rlabs.com the great purple hope for the blues ========================================================================= Date: Wed, 8 May 1996 05:39:21 GMT Reply-To: cuthulu@rlabs.com From: cuthulu Organization: Bad Credit? Slow Credit? No Credit? No Problem! Subject: Re: audio snippets Comments: To: bit-listserv-blues-l@uunet.uu.net On Mon, 6 May 1996 14:16:18 -0500, Craig Edmundson wrote: >Hello, > >Several bluezellers have web pages that feature short segments of >commercial recordings. I would like to do the same thing. How does one >go about getting permission to use copyrighted material? Do you contact >ASCAP or BMI? Or the lable that issued the recording? TIA. If you're just going to include a short clip, that is called fair use, and you don't need to contact anyone for permission. Kevan Smith cuthulu@rlabs.com the great purple hope for the blues ========================================================================= Date: Wed, 8 May 1996 02:12:25 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Memphis Thoughts Comments: To: hndful@uniserve.com I have a couple of responses to what L.W. and others have said about Beale Street. First, some thoughts of my own: I missed a LOT of the festival because of work demands and am sorry that I missed seeing other blues-L folks. Memphis music of the Stax variety came up a number of different ways, none mentioned so far. Sam Moore and Shirley Brown both performed, and George Clinton dedicated "Atomic Dog" to Rufus Thomas (my favorite dedication of the festival), and Van Morrison a song to Booker T and the MGs. I did not see the Memphis Horns play with Doyle Bramhall, nor, for that matter, Alex Chilton (whose Stax connection is through Ardent's distribution by Stax). I thought this music should have been more acknowledged in the Memphis stage. I thought both Sam Moore and Shirley Brown both sang before relatively undistinguished backup bands. This was particularly true of Moore, who has performed in Memphis to much better effect before a band led by Marvel Thomas. I thought Moore sang *very* well (when not leaning on the crowd for singalongs as-does Al Green) and Brown quite well. I ducked in the Gospel tent VERY briefly and was stunned by Dorothy Norwood. She was performing as loudly and rocking as hard as anyone I saw that weekend. I only heard "Shake The Devil Off" and her closer (because I had stayed with Sam Moore). Did anyone else hear more? I was impressed. I was also impressed by Luther Allison, who did a VERY intense set Friday night. Bobby Rush was fun on Saturday (my 15 year old daughter was annoyed that I pulled her away from Fishbone to see Bobby Rush, but was quite placated and even amazed by the P-Funk set later that evening, which was what I had brought her to see). And I absolutely positively agree with everything negative everyone said about crowding. There were too damn many people at this thing. The blues-tent was packed BEYOND the gills for the Friday and Saturday sets I heard. The P-Funk crowd was absurd; I wish drunk fraternity types had not found out about them last summer (did anyone else have their shoes thown up on? my wife did). One other passing gripe: the sound for the first 40 minutes of P-Funk was incredibly bad; the horns were inaudible. In a message dated 96-05-07 21:56:57 EDT, you write: >>RL Burnside ...too much of that same beat began to bore me > >I can see this happening. I've never seen RL live, but I've got Too Bad Jim >(and love it), but I can imagine that after an hour or so it could begin to >get monotonous. Which is not to say that I don't like his stuff (no >flames... please!!! :-) ), but variety is the spice of life. I am not suprised by this. I saw him the week before. It is my opinion that it does RL no good to lean on backup musicians so much. That presents the danger of removing the 'rough edges' and producing a more boring set. Which is not too far from what I saw the previous week at the festival in Oxford. But I have seen R.L. perform with great energy and without "too much of the same beat." LW should give him another chance, and try to find an opportunity to see him (maybe locally in North Mississippi?) without the accompaniment that Fat Possum seems to think he needs. Tom Freeland ========================================================================= Date: Wed, 8 May 1996 01:17:19 -0500 Reply-To: Wordsmith From: Wordsmith Organization: Evansville Online Subject: Re: Help name my cat Comments: To: bit-listserv-blues-l@uunet.uu.net In-Reply-To: I don't know if it'll help you any, but when I adopted my dog (which looks like a coyote) I hung the name of HOODOO on her. Seemed a fit and proper name for a bluesman's dog. Hoodoo is spoiled rotten, by the way. Hope this helps. Eric Pulsifer Cynthiana, IN (formerly of San Bernardino, CA) {(8 On Tue, 7 May 1996, Shaun T Cronin wrote: > In a fit of god knows what (kindness, insanity latent parental-type > feelings), I adopted kitten on the weekend. She is, of course, extremely > cute and is all black (with a touch of white on the neck). But she needs a > name. I was thinking of a blues-approved name but I couldn't think of > anything. > > So if anyone out there had a great idea for a blues-type name for my kitten > then let me know. All I can offer in return is my thanks and a beer if you > come by LA. > > Thanks, > > Shaun > > Shaun Cronin 'Woke up this morning between midnight and day. I was > shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son > House > > ========================================================================= Date: Wed, 8 May 1996 01:36:16 -0700 Reply-To: Kelly Hoggard From: Kelly Hoggard Organization: The Wolfpack Subject: Re: Spann Comments: To: Art Schuna Art Schuna wrote: > > In article <01I4BGPGR2FY8Y810E@BSUVC.bsu.edu> "Lee C. Spector" <00lcspector@BSUVC.BSU.EDU> writes: > > >I know that the Ann Arbor blues festival site is named after Otis > >Spann. I also know that some of music from these festivals is being > >released. What I don't know is whether any of these releases will > >contain anything by Spann. Does anyone know if he will be featured > >on one of these releases in the future? > > None to date that I know about. The latest Roots & Rhythm catalog lists the > 2 latest: Roosevelt Sykes/Victoria Spivey - "Grind It" (SKR2103) > Walter Horton/The King Biscuit Boys - "Well All Right (SKR2104) > > CDNow's database indicates these will be release on June 4/ 1996. > > Art Schuna There are already a couple of discs available on Schoolkids Records out of Ann Arbor, including rereleases of the festival albums originally on Atlantic. the king of incomplete information, Kelly Hoggard -- kelly@netusa1.net(Kelly Hoggard) The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! Check out their home page at http://www.netusa1.net/~kelly/ ========================================================================= Date: Wed, 8 May 1996 01:46:28 -0700 Reply-To: Kelly Hoggard From: Kelly Hoggard Organization: The Wolfpack Subject: was Re: Best Comeback (now Slipper Noodle Sound) Comments: To: Art Schuna Art Schuna wrote: > Another fantastic comeback is "Pig Trader Blues" by Yank Rachell on the > Slippery Noodle Records label. I picked this up in Indianapolis a few > weeks ago when I was at the Slippery Noodle. He's on mandolin backed > by David Morgan on acoustic guitar. Great set. He also tells the > story of his first mandolin which he got in a trade for a pig, hence the > title of this CD. I listened to this and then dug out my Wolf complete > recordings Vol. 2 with Sonny Boy I on harmonica and played them back to > back. Mighty fine listening. I'm not sure if Slippery Noodle CDs are widely > available but you can mail or phone order from them directly. I also picked > up the Cooler Kings disc on this label which I like very much - but they > aren't a comeback group since as far as I know, they haven't been gone :-) > > Art Schuna Well, look out for a Slippery Noodle Inn (and Sound) website coming soon! Thursday I meet with SLI owner Hal Yeagy to help him get his stuff on the web. Also, the Blues Society of Indiana will have a presence on the web soon. Yank's CD is a good one, showing that the octogenarian still has it in him. I was especially impressed with how well David Morgan accompanied him. Of all the people I've seen play with Yank, David is about the only one who captures that thirties feel that a lot of Yank's music still has! The fine Cooler Kings CD, by the way, besides some great songwriting, features the voice and harpwork of blues-l'er Cathy Norton's hubby Stuart, along with Indy's top blues guitarist Gordon Bonham on guitar and my very good friend Rick Bole on the drums. We all knew that though, didn't we? -- kelly@netusa1.net(Kelly Hoggard) The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! Check out their home page at http://www.netusa1.net/~kelly/ ========================================================================= Date: Wed, 8 May 1996 02:19:30 -0700 Reply-To: Kelly Hoggard From: Kelly Hoggard Organization: The Wolfpack Subject: Re: Help on Caravan cover Comments: To: Vito Cortese Vito Cortese wrote: > > I've become obsessed with finding a cover of Duke Ellington's Caravan > that I've heard from time to time on the radio. > > It's a really hot guitar version with a rockabilly (almost surfy) sound > to it. If I remember right, there may be someone's name in the band title. > They may also have local (Pittsburgh) ties. > > Any and all guesses are welcome (vito@city-net.com). I think I could > recognize the name if it's thrown out there. Any off-the-beaten-path CD > recommendations are also encouraged (I have SRV, JLH, Albert Collins, and > Johnny Copeland covered). > > Vito > > PS: I can strongly recommend Roy Gaines' "Gainelining" to anyone who likes > the gentlemen mentioned above. Think George Benson smoking two > packs a day and playing hardcore Texas blues and you have a good start. > > -------------------------------- > Vito Cortese > CDS Corp. > vito@city-net.com > http://www.city-net.com/~vito > -------------------------------- Could it be the Chet Atkins/Les Paul version your thinkin' of? the king of incomplete information, Kelly Hoggard -- kelly@netusa1.net(Kelly Hoggard) The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! Check out their home page at http://www.netusa1.net/~kelly/ ========================================================================= Date: Wed, 8 May 1996 09:33:24 +0200 Reply-To: Peter Gallagher From: Peter Gallagher Subject: Apologies required??? Dear 'Zellers, I've been having problems with my provider - my mail hasn't been coming in.... :-( It occurred to me that perhaps "bounce" messages might be going to the list (to the presumable annoyance of all concerned).... As a result, I'm going "nomail" until I get it sorted out. If you've been getting "bounce" messages, please accept my humblest apologies (I'm not too please about it myself!). Would some kind heart please post a reply to this, so that I know what th situation is? Thanks! regards as always, PeterG ("oh Mr. Mailman, please stop by my door today!) ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Wed, 8 May 1996 07:46:40 GMT Reply-To: Peter Gallagher From: Peter Gallagher Organization: XS4ALL, networking for the masses Subject: Re: Help name my cat Comments: To: bit-listserv-blues-l@relay1.uu.net Howabout "lightnin'" ? regards, PeterG -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." ========================================================================= Date: Wed, 8 May 1996 08:07:10 GMT Reply-To: John Detcheverry From: John Detcheverry Organization: SPC Subject: Mystery Solved! Comments: To: bit-listserv-blues-l@uunet.uu.net For everyone who's getting that "unknown user" message here's the response I got to my query: Unknown user 'richard_norton' at bbs.fullcoll.edu -> >---------------- -> >I keep getting this message whenever I post to listserv@brown.edu. How can -> I (and several others who are getting the same thing) get rid of this? -> John Detcheverry Your blues mailing list was sending mail to a user that's no longer on my system. Is there any way that you can contact the List administrator and have his name removed from the list??? Perhaps the blues-l admin can resolve this. ========================================================================= Date: Wed, 8 May 1996 05:12:24 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1951, U.S. scientists at the tiny Pacific atol of Eniwetok, set off the world's first thermonuclear reaction, making possible H-Bomb Ferguson. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ I don't want to achieve immortality through my work . . . I want to achieve it through not dying. - Woody Allen ========================================================================= Date: Wed, 8 May 1996 05:55:15 -0400 Reply-To: AvatarRec@AOL.COM From: Miguel Gonzalez Subject: HOW DO I GET OUT OF THIS ?? Comments: To: pega@xs4all.nl I lost the damn instructions ! ========================================================================= Date: Wed, 8 May 1996 07:37:39 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: HOW DO I GET OUT OF THIS ?? Comments: To: AvatarRec@aol.com On 8 May 96 at 5:55, AvatarRec@aol.com wrote: > I lost the damn instructions ! > The first instruction was to not lose the instructions. Oh well, here are the instructions for you, and the others I've noticed lately in the same predicament. To this address: listserv@brownvm.brown.edu send this message: signoff blues-l Don't put anything on the subject line. That's it! P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Wed, 8 May 1996 07:28:28 -0400 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: So, who's goin' to Chicago Comments: To: bit-listserv-blues-l@uunet.uu.net Yes!! I have just finalized my plans to attend the Chicago Blues Festival. I want to meet some of you zellers in the FLESH! I also want to write glowing reviews about my incredible time, so you can feel the *pain* I felt missing the Handy's :-) (Yeah, I know that was a little dramatic...) But really, please e-mail me if you are planning to go and if I missed this discussion earlier...sorry! I would also like to interview a few blue ladies for my research while I am there. If anyone would like to help me contact some of your favorites, I would be just too pleased. By the way (sorry for the bragging thang) but I just won a local vocal gospel soloist competition. Although I love and sing the blues (and write about it every chance I get!), I come from "the church" and love gospel music. I sang a Mahalia Jackson song "Move on Up a Little Higher." Thanks for all of the post on the gospel performers. They are some of the singers and musicians out there!! Lea Gilmore Baltimore, Maryland "Wild Women Don't Have the Blues!" (only when they miss cool blues festivals;-) ========================================================================= Date: Wed, 8 May 1996 08:02:00 EDT Reply-To: Debra Eisert From: Debra Eisert Subject: Welcome Ann Rabson! When I saw "Ann Rabson" attached to a post, I did a double take. Could it really be her? Saffire had been a favorite since I first heard them several years ago. I love the sound. I love blues speaking to women. I love the stage presence. They will be playing Cincinnati in two weeks (but who's counting?) and I know that I will enjoy yet another superlative show! ##################################################################### Debra Eisert "It is the mark of an educated man to debra@iglou.com be able to entertain a thought without Cincinnati, OH accepting it." -- Aristotle ##################################################################### ========================================================================= Date: Tue, 7 May 1996 12:10:31 -0700 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Re: Help Name My Cat Shaun wrote: >So if anyone out there had a great idea for a blues-type name for my kitten >then let me know You say she's a black cat? Well then, of course her name should be "Bone". --Maggie Maggie Mortensen<>Exarch Services<>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 'Born with the blues, my blue suede shoes, and underlying depression...' --Van Morrison ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Wed, 8 May 1996 08:28:35 EDT Reply-To: TSCHANZ@VM.TEMPLE.EDU From: "William R. Tschanz" Organization: TEMPLE UNIVERSITY Subject: The Guy Buddy Guy is in Philly at the Keswick Theatre (actually in Glenside PA.) Its an old building with good acustics. Cost...$27.50. May 9th. I have a seat at the center, 11 rows from stage. I hope it's worth it. If it is worth raving about, I'll post.......... On a more personal note......For my daughter"s 13'th birthday we decided to venture to Medly Music in Bryn Mawr PA. Melody lynn was looking around the guitars and found her first guitar... She picked out a Mexican made telecaster, black with white pickgard, maple fret board, fender tunners. Got her a little Squire 25G amp. Look out guys MELLY'S GOT A TELE! ____________________________________________________ | > | WILLIAM R. TSCHANZ TSCHANZ@VM.TEMPLE.EDU > | CIVIL ENGINEERING WRTSCHANZ@AOL.COM > | TEMPLE UNIVERSITY ----------- > |___________________________________________________> ========================================================================= Date: Wed, 8 May 1996 08:56:25 -0400 Reply-To: MoJo_RaGs From: MoJo_RaGs Subject: Welcome Ann Rabson!! Yep!!! Yep!!! Welcome aboard Ann... I remember seeing the Saffire play @ Pitt Blues Festival last year....and I loved every bit of them Blues :) +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | Laissez les bon temps roulez!! | | // ~~ ~~ \\ | Let the good times roll!! | | /d+(+)-(+);b\ | ------------------------------ | | // L \\ | SANJAY 'RAGS' RAJAN | | // //|\\ \\ | sanjay_rajan@formtek.com | | ////`---'\\\\ | FORMTEK,INC. | | // //|||\\ \\ | PITTSBURGH, PA | | // /|||\ \\ | ------------------------------ | | -/---/\o/\---\- | Visualize Whirled Peas!! | | /"\ | | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Wed, 8 May 1996 08:33:27 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU Comments: Resent-From: ISTS024@UABDPO From: L W Subject: Muddy's Cabin leaves Stovall, MS Here's the info on Muddy's cabin.... LW ----------------------------Original message---------------------------- My apologies for laying so low on this, but here is the news. The Stovall deal with the House of Blues reagrding the Muddy Waters cabin is done. HoB are donating $20,000 per annum to the Sunflower River Blues and Gospel Festival for the next five years, while they move Muddy's cabin around the world as an educational and historical exhibit. As of this writing (May 7), the cabin is being dismantled, and should be down by the end of the day. No less than the esteemed Jim O'Neal was on hand for the dismantling and he reportedly expressed NO desire to chain himself to the cabin in protest. HoB has committed to spend $125,000 to refurbish the cabin, and may indeed purchase the last remaining sharecropper cabin standing on Stovall Plantation in order to have original materials to use in that effort. (This would represent the only profit to the Stovalls in this deal.) In five year's time, the refurbished cabin will be returned to the Stovall family, unless we negotiate a different deal in the interim. I cannot emphasize how much this is a win-win situation for the Blues. This icon will be preserved, rather than collapse into a heap of lumber as it has shown such a fierce determination to do over the last twelve months. From my family's standpoint, this has also removed a significant "attractive nuisance" from our property that was bound to result in someone falling through a rotten floorboard, and putting us center stage in Our Litigious Society. Also important in this effort is that it prevents the financial collapse of the Sunflower River Blues and Gospel Festival, which was reeling from the loss of all its NEA funding this year. The $20,000 from HoB not only replaces the NEA funds, but adds in a little cushion that may be used to add a second Gospel headliner this year. The five year HoB commitment means that this festival, already dubbed the "purest Blues festival in America," will survive into the 21st century. One of our goals has been to keep this festival from ever "going commercial," and while this ensures a great event for Blues and Gospel purists, it makes the festival unattractive to large corporate sponsors. The HoB deal allows us to maintain artistic integrity, and remain financially solvent. A lot of you folks called for my head on a platter when rumors of this deal first came out. I encourage you to think about this end result. It is for sure that no help was going to come from the same government that is so happily engaged in eviscerating all arts programs, and HoB came through when we needed them with a deal that returns the cabin to its home in only five years. Will HoB benefit in this deal? -- hell, for a $225,000 investment, they'd better -- and more power to them! Frankly, if Jim O'Neal and Dick Waterman think this deal is ok, which of you has a better Blues pedigree than these guys to think otherwise? I reiterate -- in fifty years, Blues fans will care a lot more that they are able to see and experience Muddy's Cabin than about the structure of the deal that allowed that cabin's preservation. The cabin will make it first appearance at the Chicago Blues Festival. I encourage you all to visit it there, and draw your own conclusions first hand. Personally, I would like to thank the House of Blues for stepping in where no one else would, and performing this service. ========================================================================= Date: Wed, 8 May 1996 09:40:08 -0400 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: Ted Hawkins Comments: To: "Jamie A. Kittel" In-Reply-To: <960508011115_109052223@emout09.mail.aol.com> What's more important, music or our children? Peace, nitra Has anyone heard Rush Limburgh's new theme song? What do you think? (BTW, I 'm not being a smartact. I really don't know how to spell his last name.) On Wed, 8 May 1996, Jamie A. Kittel wrote: > Question for you all - > > I played some tracks from Californnia artist Ted Hawkins (booming voice - > a lot like Sam Cooke) recently on our radio show, and received a call from > one listener who was not mad but a little distraught. They told me I > shouldn't be playing material by someone who was a convicted child > molester. Now, I don't know if this is true or not, and I don't want to > ruffle feathers, but can ANY of you tell me if this is true? It won't > stop me from playing the music, for I have a lot of respect for the > artistry. But, I would still like to know for my own knowledge. > > Cheers - TD > > Music is Music....who cares??? I wouldn't stop playing the music because of > that. > ========================================================================= Date: Wed, 8 May 1996 07:20:16 -0500 Reply-To: topcat@COMPUTEK.NET From: "" Subject: Re: Guitar Shorty at Harvelle's Comments: To: Shaun T Cronin I spoke with Shorty for about 2 hours the night he played at our club in Dallas (The Texas Blues Cafe). He was Hendrix's brother-in-law! And YES, he definately was a major influence on Hendrix's playing. Shorty was a 5 year old child prodigy on the guitar. His grandmother saw this and set him up with various guitar tutors, and after a lesson or two, every single tutor would call up his grandmother and tell her that Shorty couldn' learn any more from the tutor, and that only if he had a problem learning something, he should call the tutor and ask. otherwise the tutor was a waste of time with Shorty. He knew more about playing guitar than the tutors by the end of the lessons!!! What a story! Heard from Shorty's mouth. What a talent! GO SEE HIM ANYTIME YOU CAN. All the best, Richard Chalk TopCat Records ========================================================================= Date: Wed, 8 May 1996 09:55:21 -0400 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Cathi Norton recording Comments: To: bit-listserv-blues-l@uunet.uu.net Cathi's CD is bad!! She is a great vocalist and darn nice person. Try to get yourself a copy asap!!! Lea ========================================================================= Date: Tue, 7 May 1996 15:58:52 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Help name my cat Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com There's always the ever popular "Fluffy." Just don't tell John Lee Hooker! :) -Steve ========================================================================= Date: Wed, 8 May 1996 10:02:48 -0400 Reply-To: Kyle Whatley From: Kyle Whatley Subject: New Jazz Site Comments: To: j-germuska@nwu.edu, apeleg@interramp.com, ragtimers@ragtimers.org, winhink@magicnet.net, mcgonig@mbnet.mb.ca, curtis@magicnet.net, p.stubley@shef.ac.uk, centrale@xs4all.nl, biggroove@accessone.com, borshu1@server.uwindsor.ca, mhl@brazilonline.com, LMCohen@jazznet.com This is to inform you that the Concordia University Archives of Montreal, Canada, has a Web page describing its jazz holdings. Its URL is: http://archives3.concordia.ca/Jazz.html If you think it is appropriate, please list it on your site. Nancy Marelli Director, Concordia University Archives ========================================================================= Date: Wed, 8 May 1996 10:17:01 -0400 Reply-To: alison hardage From: alison hardage Subject: Blues Lunch in St. Pete Comments: To: "P.W. Fenton" For anyone in the Tampa / St. Petersburg area who happens to check their mail quite often: On Thursday, May 9th, you can spend your lunchtime at the Ringside Cafe as part of the audience for the filming of NBC affiliate, Channel 8's, "Wes Side Story." The featured guests are Sarasota Slim and his band - performing , of course! The Ringside is located at 4th Street and 28th Avenue North, St. Petersburg. Filming is scheduled to start at 12 o'clock ========================================================================= Date: Wed, 8 May 1996 07:26:50 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: May 9 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ANDERSON, ELESTER (g) d. 1980-0509, TARBORO, NC 54 BROWN, OLIVE [OLIVE JEFFERSON] (v) d. 1982-0509, ST. LOUIS, MO 68 EUROPE, JAMES REESE (songw/EUBIE BLAKE) d. 1919-0509, BOSTON, MA 38 FOREHAND, A. C. (g/gospel) d. 1972-0509, MEMPHIS, TN 81 FOX, CHARLES (author/critic) d. 1991-0509, WEYMOUTH, UK 70 HEBROD, WARREN (tsax/EDGAR BLANCHARD) d. 1994-0509, LOS ANGELES, CA -- JACQUET, LINTON (d/ILLINOIS JACQUET) d. 1974-0509, OAKLAND, CA 63 JEFFERSON, EDDIE (v/scat) d. 1979-0509, DETROIT, MI 60 JOEL, BILLY (: (p) b. 1949-0509, LONG IS., NY KATZ, STEVE (g/hca/BLUES PROJECT) b. 1945-0509, BROOKLYN, NY LOGAN, HAROLD (co-owner: DOUBLE L REC) d. 1969-0509, NEW YORK CITY, NY 45 MARGOLIN, BOB (g/ICHIBAN/ALLIGATOR REC) b. 1949-0509, BOSTON, MA NEAL, BOB (prod) d. 1983-0509, NASHVILLE, TN 66 POLLOCK, ED (cl/sax/MA RAINEY) b. 1899-0509, NEW ORLEANS, LA PRATER, DAVE (of SAM & DAVE) b. 1937-0509, OCILLA, GA REED, A. C. (tsax) b. 1926-0509, WARDELL, MO ROYAL, MARSHALL (asax) d. 1995-0509, LOS ANGELES, CA 82 SHAW, WOODY (tpt) d. 1989-0509, NEW YORK CITY, NY 44 SIMON, GEORGE T. (author) b. 1912-0509, NEW YORK CITY, NY ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 8 May 1996 10:25:04 -0400 Reply-To: TDominey From: TDominey Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Help name my cat Comments: To: bit-listserv-blues-l@uunet.uu.net Zydeco! ========================================================================= Date: Wed, 8 May 1996 10:45:32 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: I predict I predict that in June we will still be receiving cat name suggestions. It's a question everyone feels qualified to answer, and due to the newsgroup echo it will be there to be read long after the cat has given up her 9th life. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Wed, 8 May 1996 09:35:23 -0600 Reply-To: Michael Scully From: Michael Scully Subject: Re: New release: Sarah Brown Re Sarah Brown, Uncle Ray asked: >Question? Does anyone know if this is the same Sarah Brown of The Boogie >Brothers and Sister Sarah of Michigan circa 1969? > This is my first post to this list--Hi all! They are one and the same. Sarah Brown grew up in Ann Arbor. Around 1970, Atlantic released a record of that years AA Blues and Jazz fest. The Boogie Bros were on two cuts--one on their own and one behind Johnny Shines. ========================================================================= Date: Wed, 8 May 1996 07:15:46 -0500 Reply-To: David Melton From: David Melton Subject: Re: Help name my cat Comments: To: TDominey Lightnin' ========================================================================= Date: Wed, 8 May 1996 12:17:10 -0400 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: Re: Welcome Ann Rabson! In-Reply-To: <199605072329.QAA12842@inet.lasierra.edu> I just had my first listen to Saffire, the Uppity Blues Women on the Alligator 25th (ashamed of myself). Ann, you play some mean piano. I'll be listening to you gals a lot more. Welcome to Blues-L. RW ========================================================================= Date: Wed, 8 May 1996 11:30:37 EDT Reply-To: Toby Levy From: Toby Levy Subject: SITTING & THINKING: Big Walter Horton WALTER HORTON - FINE CUTS BLIND PIG #70678 BLIND PIG RECORDS PO BOX 2344 SAN FRANCISCO CA 94126 Big Walter's harp can be heard on many albums of Chicago Blues from the 50s and beyond, but albums with Walter as the headliner are rare indeed. They are always a treasure, and this one is no exception. Recorded in 1977, about four years before Walter passed on to Blues Heaven, every song may be savored, like expensive wine long in the bottle. Walter plays a wide variety of styles expertly. He is backed mainly by a long time associate, John Nicholas, who plays both guitar and piano. Also credited on the album is Ron Levy on piano, but there is no guide as to which song or songs he is on. The best bet is that when you hear Mark Kazanoff's saxophone, it's Ron Levy on piano. The only complaint one could have about this cd is its brevity. Even thought here are eleven songs, the total time is only about 36 minutes. But perhaps one can never get enough Big Walter! EVERYBODY'S FISHIN' / DON'T GET AROUND MUCH ANYMORE / RELAXIN' / WE GONNA MOVE TO KANSAS CITY / WALTER'S SWING / HOBO BLUES / STOP CLOWNIN' / NEED MY BABY / LA CUCARACHA / WORRIED LIFE / PUT THE KETTLE ON NY CD-Takes EVERYBODY'S FISHIN': Walter's harp introduces this catchy little jump blues. Walter has a great singing voice, complete unpretentious and weathered by many long hard nights in the bars and night clubs. Walter knows how to fish. He can catch a catfish in a lake without any bait. Walter cries out the title of the song and everybody in the band calls it back to him. It's easy to imagine him getting the audience involved in this call and response during live performances. DON'T GET AROUND MUCH ANYMORE: Here Walter plays an amazingly beautiful rendition of a Duke Ellington piece. Although he sneaks a little blues harp in, its mainly a jazz cut, and it leaves one wishing Walter had recorded more Jazz. The band follows Walters lead on this instrumental, as they shift from a slow to medium tempo halfway through the song. RELAXIN': The band comes out smoking on this shuffle instrumental. One of the longer songs on the cd, Walter has room to really solo and the result is some beautiful music. Unlike many harp players, Walter never went in for musical gymnastics, concentrating on playing as sweetly as possible. And is this cut ever sweet! Mark Kazanoff gets some quality solo time here as well. WE GONNA MOVE TO KANSAS CITY: Walter's harp wails the introduction to this slow blues. Walter's got problems at home in this song and his solution is to move to a place where his woman is not as popular. Walter moves effortlessly from pulsating notes on the high end of his harp, to gut wrenching moans from the bottom of his instrument. WALTER'S SWING: This jumping instrumental brings to mind Little Walter's immortal "Juke." The band provides a sparse background as Walter fills every space with heavenly sounds from his harp. This one sounds like the result of the band improvising in the studio. We are grateful it made it onto a record. HOBO BLUES: THis more like a vignette, as Walter takes the stage alone to turn his harp into an approaching train. STOP CLOWNIN': This number is vintage Chicago Blues. A lazy shuffle, Walter sings barely above a whisper as he promises not to allow his heart to be broken anymore. His harp solo starts at barely above a whisper as well, slowly building in intensity. NEED MY BABY: This is a somewhat happier livelier shuffle. Walter is saying he has an all weather woman: "In the winter she cools me, in the summer she keeps me warm." His harp playing here is a little rougher, as he growls out his lust for all the world to hear. LA CUCARACHA: Can you imagine the Mexican standard turned into a boogie? You will be pleasantly surprised. Walter plays with the conventions of this song, all the while his harp sounding like a saxophone many times the size and range of his tiny instrument. WORRIED LIFE: Walter returns to the slow blues to sing the sad blues standard of separation, "You ain't gonna worry my life any more." After you hear his solo you will forget you ever heard any one else do this song. PUT THE KETTLE ON: Walter closes with a rave-up that is a lot fun. Once again he involves the band in calling back to him everything he sings with some variation. Walter wants his woman to have his tea ready for him when he walks in the door, so get that kettle going, Walter's on his way back home. Walter closes the cd on the same joyous note he started the cd with. He is a treasure. Reviewed by Toby Levy Copyright NY CD Blues - 1996 ========================================================================= Date: Wed, 8 May 1996 11:42:03 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: On the matter of Ms. Rabson . . . I join with others in welcoming Ann Rabson to the list . . .She is an old friend and a valued advisor. However, the way to make her feel most welcome is to assure Ms. Rabson that her presence will not provide any protective shield for Saffire, women keyboard players or any other category into which she might fit. If Saffire comes to the marketplace with a performance or album that is not up to expectations, then 'fair commentary' should exist. And if Ms. Rabson is posing for a picture with LW's wife and snaps at the photographer for taking too long, she has the obligation to immediately retire from the music industry. Dick Waterman ========================================================================= Date: Wed, 8 May 1996 11:44:45 -0400 Reply-To: SliderDW@AOL.COM From: Don Williams Subject: Re: Ted Hawkins Comments: To: TDominey@aol.com Yes, it is true that the late Ted Hawkins was convicted of and served prison sentences for several sexual offenses against children. This information appeared in several of the obituaries published at the time of his death. Don Williams ========================================================================= Date: Wed, 8 May 1996 11:45:26 +0000 Reply-To: tkelley@ARL.MIL From: Troy Kelley Organization: ARL Subject: Buddy Guy needs to do BALTIMORE Anyone out there with any kind of connections with Buddy Guy's management - tell him to PLAY BALTIMORE next time. He played D.C last night and I am so bummed because last time I had tickets to see him I had the flu and I couldn't make it - now he is not even coming to my town, he is going right past to N.Y, and Philly - during the week even - which makes it even harder to take a road trip for a couple of hours to see him. So I am going to miss him again. I got them Baltimore Blues.... Troy ========================================================================= Date: Wed, 8 May 1996 12:07:19 -0400 Reply-To: Peter Welch From: Peter Welch Subject: Happy Birthday Phil Wiggins & RJ In-Reply-To: <199605071440.HAA24875@desiree.teleport.com> from "James Carmin" at May 7, 96 07:40:58 am According to James Carmin: > > Here's a few dates (b. born, d. death) for tomorrow. If you have any > corrections/additions, let me know at leblanc@dao.nrc.ca. > > ------------------------------------------------------------------------------- > artist notes/full name yyyy-mmdd, city/county state age > ------------------------------------------------------------------------------- > JOHNSON, ROBERT (g/songw) b. 1911-0508, HAZLEHURST, MS Happy Birthday to everyone's favorite derivative bluesman, Robert Johnson. > WIGGINS, PHIL (hca/CEPHAS & WIGGINS) b. 1954-0508, WASHINGTON, DC Happy birthday, Phil Wiggins: A great harp player and a real ambassador of the blues. -Peter ========================================================================= Date: Wed, 8 May 1996 15:56:51 GMT Reply-To: Aaron Solomon From: Aaron Solomon Organization: Northwestern University, Evanston IL Subject: Re: Help name my cat Comments: To: bit-listserv-blues-l@uunet.uu.net Look no further for your cat's name.... Call it: BLIND DOG :) Aaron solboy@nwu.edu ========================================================================= Date: Wed, 8 May 1996 15:58:15 GMT Reply-To: bbbean@sheltonlink.com From: bbbean@SHELTONLINK.COM Organization: inlink Subject: Re: Blind Mississippi Morris CD Comments: To: bit-listserv-blues-l@uunet.uu.net In <960506150628_107752115@emout16.mail.aol.com>, Tom Freeland writes: >In a message dated 96-05-06 13:44:55 EDT, you write: > >>One final note: some kind of award should be given to The Midtown Horns, >>Jim Spake and Scott Thompson--these gentlemen seem to be on every other >>GOOD album I've bought in the last six months. Or is it just that I buy >>a lot of albums with a Tennessee connection? > >I just saw these guys behind Sam Moore (of Sam and Dave fame) at Beale Street >Fest. I can't remember who I've seen Spake play with/behind, but I know its >at least Rufus Thomas, Herman Greene, the Band, and Alex Chilton (he was >regular in Chilton's band in the mid-80s). I think I've seen him behind >three or four others, also. Last year at Beale Street I think I saw him in 3 >or 4 different sets. Spake is one of the three sax men in Memphis who get called for everything (Andrew Love and Lannie McMillan are the others). he's got a real affinity for blues and R&B, although he's a hell of a jazz man and rocker as well. he regularly gigs around town with teh coolers and used to be part of the Midtown Jazzmobile. If you attend any festival in memphis, chances are excellent that you'll see Spake on stage at least once. BBB B.B. Bean bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Wed, 8 May 1996 12:10:55 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Ted Hawkins Nitra wrote in response to TD's comment on Jamie's message: >What's more important, music or our children? >Peace, >nitra >Has anyone heard Rush Limburgh's new theme song? What do you think? >(BTW, I 'm not being a smartact. I really don't know how to spell his >last name.) > > >On Wed, 8 May 1996, Jamie A. Kittel wrote: > >> Question for you all - >> >> I played some tracks from Californnia artist Ted Hawkins (booming voice - >> a lot like Sam Cooke) recently on our radio show, and received a call from >> one listener who was not mad but a little distraught. They told me I >> shouldn't be playing material by someone who was a convicted child >> molester. Now, I don't know if this is true or not, and I don't want to >> ruffle feathers, but can ANY of you tell me if this is true? It won't >> stop me from playing the music, for I have a lot of respect for the >> artistry. But, I would still like to know for my own knowledge. >> >> Cheers - TD >> >> Music is Music....who cares??? I wouldn't stop playing the music because of >> that. >> Well, our children, obviously, but what's the point of Nitra's question? Ted Hawkins was fined and deported from Britain for possession of child pornography, and reliable sources say he was also molesting children here, but none of that comes through in his music. If it did, I'd be the first to say 'don't play it on the air'. Equally, if somebody played it and said'if you molest children, you can sound as good as that,' there'd be cause for concern. (That may sound silly, but it's the same syllogism that led some beboppers to take heroin, in the hope of playing as good as Charlie Parker.) We have to separate artists from their art, otherwise homophobes would stop us listening to Tchaikovsky, the antidrugs people would burn Coleridge's poetry, and on and on and on. Chris Smith (chris@skerries.demon.co.uk) Beauty is in the eye of the beer holder. ========================================================================= Date: Wed, 8 May 1996 16:01:15 GMT Reply-To: bbbean@sheltonlink.com From: bbbean@SHELTONLINK.COM Organization: inlink Subject: Re: Memphis/New Orleans Comments: To: bit-listserv-blues-l@uunet.uu.net In , Dave Markovits writes: > Alright Let's have it!! > >If you were at Memphis in May or New Orleans Jazzfest let's hear some reviews. > >Hope everyone had a safe trip too. > >I would love to hear about Carey Bell and Alex Chilton especially from Memphis. > Carey did a great set, but marred the sound by toying with cheesy effects units (octave pedal and phase shifter) for most of the time. However, at the end of Bob Margolin's set, he brought out Nick Gravanites, Billy C. Wirtz, and carey Bell for a Jam, and you could smell the chemistry. They were all at the top of their form and wailed. Didn't catch Alex. BBB B.B. Bean bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Wed, 8 May 1996 11:39:59 -0500 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: On the matter of Ms. Rabson . . . Comments: To: Jinxblues@AOL.COM In-Reply-To: <960508114203_530803586@emout15.mail.aol.com> from "Dick Waterman" at May 8, 96 11:42:03 am In an earlier message, Dick Waterman said: ] However, the way to make her feel most welcome is to assure Ms. Rabson that ] her presence will not provide any protective shield for Saffire, women ] keyboard players or any other category into which she might fit. Dick, Dick...."protective shield"? C'mon, man -- you, of all people should know -- NOBODY IS SAFE HERE!! (_MY_ presense here sure hasn't created a safe heaven for whitebluesclonederivativeimitators, has it? ) -- * The most exciting phrase to hear in science, the one that heralds new * discoveries, is not "Eureka!" (I found it!) but "That's funny ..." * -- Isaac Asimov ========================================================================= Date: Wed, 8 May 1996 12:51:29 -0400 Reply-To: MojoBandit@AOL.COM From: Dave Ruthenberg Subject: Re: Muddy's Cabin Movin' I didn't realize that one had to have a "blues pedigree" equal to or exceeding Jim O'Neal and/or Dick Waterman to have an opinion on the Muddy Waters cabin situation. Frankly, this kind of thinking is quite troubling. If one were to adhere to such logic, blues-l would not exist. Dave ========================================================================= Date: Wed, 8 May 1996 11:56:32 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Riverbank Blues Fest Mark your calendars: What: Riverbank Blues Festival when: June 22, noon where: Iowa City, Iowa, on the bank of Iowa River by Iowa Memorial Union how much: $3 (now, this is a DEAL!!!!) who: BIG JACK JOHNSON and his band featuring LESTER "MAD DOG" DAVENPORT BYTHER SMITH LOUIS MCTIZIC (best kept Iowa blues secret - one of few old-time blues musicians who instead of going to Chicago went to Dubuque, Iowa) SHADE OF BLUE (local blues, R&B sensation) WARNING: In solidarity with Robert Jr. Lockwood, if you come to festival you will NOT be able to take pictures with me. Oh, yeah, the fest is sponsored by the University of Iowa. Our own Johnson County Blues Society picked the artists though. And, there is more..... Right after the fest (7:00pm), in downtown Iowa City, Catfish Keith and Greg Brown will perform as part of Iowa Art Festival. This is FREE. Drop me a note if you are coming.... Ranko ========================================================================= Date: Wed, 8 May 1996 13:21:11 -0400 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: Ted Hawkins Comments: To: Chris Smith In-Reply-To: <831571743.23208.0@skerries.demon.co.uk> Chris, Would you buy a record by Charles Manson? Prejudice is one thing, an immoral criminal another. But then, my standards are rigid. Peace, nitra BTW, how many people refused to buy OJ's videotape? On Wed, 8 May 1996, Chris Smith wrote: > Nitra wrote in response to TD's comment on Jamie's message: > > >What's more important, music or our children? > >Peace, > >nitra > >Has anyone heard Rush Limburgh's new theme song? What do you think? > >(BTW, I 'm not being a smartact. I really don't know how to spell his > >last name.) > > > > > >On Wed, 8 May 1996, Jamie A. Kittel wrote: > > > >> Question for you all - > >> > >> I played some tracks from Californnia artist Ted Hawkins (booming voice - > >> a lot like Sam Cooke) recently on our radio show, and received a call from > >> one listener who was not mad but a little distraught. They told me I > >> shouldn't be playing material by someone who was a convicted child > >> molester. Now, I don't know if this is true or not, and I don't want to > >> ruffle feathers, but can ANY of you tell me if this is true? It won't > >> stop me from playing the music, for I have a lot of respect for the > >> artistry. But, I would still like to know for my own knowledge. > >> > >> Cheers - TD > >> > >> Music is Music....who cares??? I wouldn't stop playing the music because of > >> that. > >> > Well, our children, obviously, but what's the point of Nitra's question? > Ted Hawkins was fined and deported from Britain for possession of child > pornography, and reliable sources say he was also molesting children here, > but none of that comes through in his music. If it did, I'd be the first to > say 'don't play it on the air'. Equally, if somebody played it and said'if > you molest children, you can sound as good as that,' there'd be cause for > concern. (That may sound silly, but it's the same syllogism that led some > beboppers to take heroin, in the hope of playing as good as Charlie > Parker.) We have to separate artists from their art, otherwise homophobes > would stop us listening to Tchaikovsky, the antidrugs people would burn > Coleridge's poetry, and on and on and on. > > > Chris Smith (chris@skerries.demon.co.uk) > Beauty is in the eye of the beer holder. > ========================================================================= Date: Wed, 8 May 1996 12:16:35 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: L W Subject: Re: On the matter of Ms. Rabson . . . In-Reply-To: Message of Wed, 8 May 1996 11:42:03 -0400 from On Wed, 8 May 1996 11:42:03 -0400 Dick Waterman said: >And if Ms. Rabson is posing for a picture with LW's wife and snaps at the >photographer for taking too long, she has the obligation to immediately >retire from the music industry. Sorry not gonna let this pass: I said he should reitre because of his attitude toward the music, we could care less about this photo. My wife stopped to say she appreciated his music, someone else took the picture. She didn't even mention it until after the fest that night, I made the comment about how I was disappointed in Mr. Lockwood's performance. I'm sorry that people misunderstood about the photo. We already have a very nice photo of Mr. Lockwood, that was a gift. I think in her NAIVE mind she thought it would be nice to let Mr. Lockwood know she appreciated his music. LW ========================================================================= Date: Wed, 8 May 1996 10:43:09 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: What's Going On? In the LW's post on Muddy's Cabin I saw this: >Also important in this effort is that it prevents the financial collapse of >the Sunflower River Blues and Gospel Festival, which was reeling from the >loss of all its NEA funding this year. What's going on? Why? Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Wed, 8 May 1996 10:35:54 -0700 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Re: Memphis Thoughts LW, I usually avoid these thing, but the message about your vacation in Memphis really bugged me. It's too bad that Robert Jr. made such a negative impression. I had the pleasure to see him backed by the Aces in Chicago over ten years ago and that performance was stellar. I saw him a few months back in Oakland w/ Jr. Wells, Jimmy Rogers and Johhny Johnson and he put on a spectacular performance. In fact, it was the best one of the night. He was talking with the audience and goofing around. He sold some tapes after the show and autographed one for me. I found him to be a very serious (possibly cranky) old man. At the show in Oakland, the weakest performance of the night was by Jimmy Rogers. His set was short around 15 minutes. His harmonica player, Madison Slim, sang more tunes than Jimmy did that night. I had seen Jimmy Rogers about a dozen times and this was a dissappointing show. Apparently, Jimmy wasn't feeling well that night and was planning on cancelling the show. When I think of a Jimmy Rogers show, I don't think of the show in Oakland. The show that stirs my memory was at a club in Chicago in the Hilton called Blues Alley. It was an incredible performance by Jimmy and he was backed by Pete Crawford and Scotty and the Bad Boys. Guys like Robert Jr and Jimmy Rogers aren't young anymore and life on the road isn't an easy way of life. Would I go back to to see either of them? In a heartbeat. They are the real deal. They may not be around much longer. You spend a great deal of time complaining about Robert Jr., Jimmy D. Lane, and Preston Shannon, but spend very little time writing about the good stuff you saw like Carey Bell, John Hammond or others. If your not careful, you will end up a crabby old man like your perception of Robert Jr. Lockwood. Also, if you found too many people in Memphis, you probably ought to steer clear of Chicago in a few weeks. They expect 600,000 people will show up for the Chicago Blues Festival. Personally, I am glad these artists are getting to see some larger crowds show up in support of the blues. They inject money into the system. Performing is their livelihood (or job), I would like to see some of my favorite performers earn a better than decent living. If the crowd size increases, so be it. A tour guide in Hawaii told me, "The only person who can ruin your vacation is you." Cheers, Joe ========================================================================= Date: Wed, 8 May 1996 13:41:44 -0400 Reply-To: James Leftwich From: James Leftwich Subject: amplifiers I just read the Guitar Player interview with JL Hooker and Buddy Guy (it's online). In the piece John Lee says his favorite amp was an old Silvertone but uses Fender now. Buddy says he uses a Fender Bassman. What I ask is...what kinds of amps do our favorited bluesmen play through? How many use reverb for example. ============================================================================= Jim Leftwich Jim's Blues N' Brews leftwich@cloud9.net http://www.cloud9.net/~leftwich "I'm on cloud9!" :) New CD Giveaway: Sherman Robertson ============================================================================= ========================================================================= Date: Wed, 8 May 1996 12:58:23 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: I predict Comments: To: "P.W. Fenton" In-Reply-To: <199605081444.KAA05564@osceola.gate.net> On Wed, 8 May 1996, P.W. Fenton wrote: > I predict that in June we will still be receiving cat name > suggestions. It's a question everyone feels qualified to answer, > and due to the newsgroup echo it will be there to be read long after > the cat has given up her 9th life. Or due to the fact that some subscribers will ignore Shaun's post that he has already chosen a name and suggest one anyway... -Jeff --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball #8 U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc02.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Wed, 8 May 1996 12:59:30 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re[2]: Help name my cat: AAARRRGGHH! Comments: To: Aaron Solomon Good Lord, is there no humanity?? Can't we just let this topic die a decent death and bury it in a shoebox in the back yard? Jim _______________________________________________________________________________ Subject: Re: Help name my cat From: Aaron Solomon at INTERNET-SH Date: 05/08/96 12:43 PM Look no further for your cat's name.... Call it: BLIND DOG :) Aaron solboy@nwu.edu ========================================================================= Date: Wed, 8 May 1996 17:57:33 GMT Reply-To: bbbean@sheltonlink.com From: bbbean@SHELTONLINK.COM Organization: inlink Subject: Re: All those W's.. Comments: To: bit-listserv-blues-l@uunet.uu.net In <199605060910.AA02054@xs1.xs4all.nl>, Peter Gallagher writes: >Is it just me or does the letter "W" show up surprisingly often in the >blues world? >For example.... > >Muddy Waters >Howlin Wolf >Li'l Walter >Sonny Boy Williamson(s) >Big Walter Horton >Willie Dixon >Bukka White >Robert Pete Williams >.... not to mention LW and PW ;-> Don't forget Dick aterman and Chris Strach (I know its a stretch, but I couldn't resist) BBB B.B. Bean bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Wed, 8 May 1996 11:05:40 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: BIOGRAPH RECORDS : A PROFILE 1) INTRODUCTION ARNOLD STEWART CAPLIN, founder & owner of BIOGRAPH Records, was born on Wednesday, May 08, 1929, New York City, NY. The label was started in 1967 "to preserve music that has its roots in America - Jazz, Ragtime and Blues". In those early years, BIOGRAPH Records reissued rare blues recordings (Blind Lemon Jefferson/Ma Rainey/Blind Blake/Ramblin' Thomas), traditional blues artists (Johnny Shines/Fred McDowell/Bukka White/Skip James/Buddy Moss), old-timey (West Maryland Highballers, Fields & Wade Ward, Original Bogtrotters) and early jazz/piano roll (Eubie Blake/Scott Joplin/James P. Johnson). During those years they also acquired the catalogs of Center Records (New Orleans Jazz), Dawn Records (Jazz), Melodeon Records (Skip James, Bois Sec Ardoin & Canray Fontenot, Stanley Brothers), QRS Music Roll Company, and Regal Records (Blind Willie McTell, Memphis Minnie, Little Brother Montgomery, Jimmy Rogers). (For more details, see http://www.biograph.com, where everyone of their CD releases is available, including complete liner notes & track listing.) "I don't know Caplin personally, but I'm familiar with all his piano roll LPs & CDs. While several labels have issued hot piano roll LPs over the years, Caplin is the only one who has done a thorough job of reissuing classic blues & ragtime piano rolls, relying on material from the blues roll collection of Mike Montgomery and the ragtime roll collection of Trebor Tichenor. When Caplin started issuing CDs he was wise enough to re-record the rolls digitally and the sound is worlds improved over the LPs. He has made an invaluable contribution to these piano rolls being heard by others, and while I can't speak with any authority about the blues audio recordings he has released, I'm confident that those recordings are also valuable additions to what's available." ~ Rob Deland For the purpose of this tribute, I've summarized the NY CD Blues reviews as available on Barry Silverberg's Web site . The complete reviews were done by Jon Duttweiler, Toby Levy & Edward C. Liu, and do remember that the Biograph liner notes are available on their Web site . I'd like to thank Deland Robert & Barry Silverberg (and of course his team of reviewers) for helping out with this profile. Other postings : BIOGRAPH RECORDS : A PROFILE 2) NY CD BLUES REVIEWS BIOGRAPH RECORDS : A PROFILE 3) CD DISCOGRAPHY ========================================================================= Date: Wed, 8 May 1996 21:08:42 -0700 Reply-To: Pekka Tiittanen From: Pekka Tiittanen Organization: Kansanterveyslaitos Subject: Blues in Edmonton, Canada? Comments: To: bit-listserv-blues-l@uunet.uu.net Hi, Is there any blues clubs in Edmonton? I'm going to take 747 and be in Edmonton in August 14-21 and would like to enjoy some blues. PJ 'I took 747 cause greyhound runs too slow..' ========================================================================= Date: Wed, 8 May 1996 11:41:21 -0700 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Organization: Canada Internet Direct, Inc. Subject: *Vancouver, B.C. Interest* Comments: To: bit-listserv-blues-l@uunet.uu.net The Purple Onion Cabaret is now running regular "Blue Monday" sessions (in the intimate confines of the lounge) featuring Kenny "Blues Boss" Wayne, backed by Hurricane & The Twisters. Sets run from 9 to 1 - but go early and stay late, because the place packs up solid pretty quickly. The Purple Onion is on Water Street in Gastown, a couple doors down from the Old Spaghetti Factory. Kenny Wayne is a remarkable blues and boogie pianist who covers a variety of R&B styles from New Orleans to Chicago, and then some. Hurricane & The Twisters is a tight four-piece led by David "Hurricane" Hoerl on harmonica and vocals. The band also features guitar, acoustic bass (a great player who can slap and tickle in the best Willie Dixon tradition!), and drums. Catch them if you can!! - Roger B. ========================================================================= Date: Wed, 8 May 1996 14:48:16 -0400 Reply-To: smirkyface From: smirkyface Subject: original blues Just curious to see if any of you have a favorite local blues band that is doing original material. BRIAN MCLEAN PHOTOGRAPHY & SMIRKYFACE PRODUCTIONS "life's too short to live the blues" http://www.netaxs.com/~blmclean ========================================================================= Date: Wed, 8 May 1996 14:54:24 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Help name a stoopid cat! Why don't you take this thread over to Harp-L? And see what they'll do with it. Beef Stew _________________________________________________________________________ The Blues Playground - Sundays at 9pm on 107 FM WCCC - Hartford, CT Host: Stew Crossen 18 Boxwood Drive Vernon, CT 06066-5106 tel: 800.970.5151 web: http://www.neca.com/~bfstew e: bfstew@neca.com Reports to: Living Blues, The Hard Report, BluesWire, The Blues Audience Stew Crossen is a member of the Connecticut Blues Society ========================================================================= Date: Wed, 8 May 1996 14:55:12 -0400 Reply-To: Pnlsdds@AOL.COM From: Douglas Goldberg Subject: Acoustic Allman Bros. Band Hi, In 1992 the Allman Brothers band recorded an acoustic concert and only 15,000 CDs were pressed. It is available as a fund raiser for the International Rhett Syndrome Association which is a not for profit organization. Rhett syndrome is a rare disease that causes permanent profound mental retardation in girls around 1.5 to 2 years. It is undetectable during pregnancy. Here is an opportunity to get a unique CD (the rendition of In Memory of Elizabeth Reed is superb) and a chance to help some little girls who need some help. The cost of the CD is $20.00 and more information is available at: http://www2.paltech.com/irsa/form.htm ========================================================================= Date: Wed, 8 May 1996 15:01:17 -0400 Reply-To: bob unger From: bob unger Subject: Re: Ted Hawkins So how long does a convicted criminal have to pay for his crime. A man commits a crime (the nature of the crime should not be an issue here) he is caught, convicted, serves his time, and is freed..... Should the public continue to shun him? In Ted Hawkins case, he tried to get on with his life as a musician....apparently he was succeeding prior to his death. But, Geez, the man is dead, no longer a "threat".....why would anybody still not want to hear his music? BU bob@sun.bnkst.edu ========================================================================= Date: Wed, 8 May 1996 15:03:21 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Muddy's Cabin Movin' Comments: To: MojoBandit@aol.com On 8 May 96 at 12:51, MojoBandit@aol.com wrote: > I didn't realize that one had to have a "blues pedigree" equal to or > exceeding Jim O'Neal and/or Dick Waterman to have an opinion on the Muddy > Waters cabin situation. Frankly, this kind of thinking is quite troubling. If > one were to adhere to such logic, blues-l would not exist. Dave, I think you misread that. What was mentioned was Jim O'Neal's and Dick Waterman's "Blues pedicure". Both of them have tiny little paintings of famous scenes in Blues history painted on their toenails. Ask them to take their shoes off sometime. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Wed, 8 May 1996 12:15:53 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: BIOGRAPH RECORDS : A PROFILE 2) NY CD BLUES REVIEWS The NY CD Blues reviews ----------------------- BIOGRAPH CD 107 3 SHADES OF BLUES- SKIP JAMES/WILLIE MCTELL/BUKKA WHITE "This disc .. starts off with Booker T. "Bukka" White, a fiery, primal, hard-edged bluesman who sang and played slide guitar like a raging bull. Following Booker is Skip James, master of the Bentonia school of blues. Finally, the disc closes with a set of tunes from Blind Willie McTell." ~ Reviewed by Edward C. Liu BIOGRAPH CD 113 LEADBELLY/GARY DAVIS/DAN SMITH - GOOD MORNING BLUES "Here's a cd that is sure to please anyone interested in the history of folk music. It provides a healthy sample of music by two of the most influential figures in the folk music boom of the 1950s, and introduces a third figure (DAN SMITH) who while of lesser stature historically, performs music as compelling as the others." ~ Reviewed by Toby Levy BIOGRAPH CD 115 VARIOUS - BOOGIE WOOGIE BLUES "Collected on this cd are 16 rolls recorded by eight wonderful musicians (Cow Cow Davenport, James P. Johnson, Clarence Williams, Clarence Johnson, Jimmy Blythe, Everett Robbins, Hersal Thomas, Lemuel Fowler) during the roaring twenties, when ragtime was king and boogie woogie was still a radical new stepchild of jazz and blues. The songs on this cd sound anything but mechanical, they surge with a joy that is highly contagious." ~ Reviewed by Toby Levy BIOGRAPH CD 118 SON HOUSE - DELTA BLUES (LIBRARY OF CONGESSS) "This is one of the most important cds for anyone interested in studying the history of the blues. Son House was one of the biggest influences on the immortal Robert Johnson, and House also was Muddy Water's strongest influence. ~ Reviewed by Toby Levy BIOGRAPH CD 121 JOHNNY SHINES - TRADITIONAL DELTA BLUES "This disc provides exactly what the title advertises. This set of fourteen songs are pure, 100% certified traditional Delta blues, played and sung by Johnny on acoustic and National steel guitars. It is a stark, extremely intimate portrait of this wonderful blues performer." ~ Reviewed by Edward C. Liu BIOGRAPH CD 122 SKIP JAMES - GREATEST OF THE DELTA BLUES "This disc was recorded in 1964, shortly after James had been "rediscovered" after a 20 year absence from performing. They feature just James and his guitar - pure unadulterated Delta blues and nothing else! This is the sound of Mississippi, the sound of the Delta, by one of the greatest ever. Give it a listen!" ~ Reviewed by Jon Duttweiler BIOGRAPH CD 123 REV. GARY DAVIS - FROM BLUES TO GOSPEL "The music on this cd was recorded by the Reverend Gary Davis in his home town of New York City in 1971, the year before he died at the age of 76. Biograph had earlier released five other songs from this recording session on BCD 113. This cd displays the breadth of Gary Davis' talent, from six down and dirt blues songs to seven heavenly gospel numbers." ~ Reviewed by Toby Levy BIOGRAPH CD 124 MEMPHIS MINNIE/JIMMY ROGERS/ST. LOUIS JIMMY - EARLY ..1949 "This disc might have been better attributed to "Memphis Minnie and Friends." Minnie is only on the first five tracks of this collection. The remaining tracks include some other Chicago blues luminaries that you may have heard of -- Sunnyland Slim, Jimmy Rogers, and Little Walter, to name three. The tracks presented here give a background for where Muddy and the rest of the electric Chicago blues performers came from." ~ Reviewed by Edward C. Liu BIOGRAPH CD 125 JOHNNY SHINES - MR. COVER SHAKER "Johnny recorded the tracks on this disc for Biograph in 1974. The first half of the disc features Johnny singing solo, accompanied only by his own guitar. The second half of the disc is composed of Johnny's work with Dave Bromberg's band, which also happened to be some of Johnny's favorites." ~ Reviewed by Edward C. Liu BIOGRAPH CD 126 BLIND WILLIE MCTELL - PIG 'N WHISTLE RED "This disc is a collection of the 1950's sessions recorded for the short-lived Regal Records company. These sessions feature Blind Willie McTell and his collaborator Curley Weaver performing as they would at the Pig N' Whistle Red barbecue stand. These tracks are wonderfully recorded and sequenced, providing an intimate snapshot of two of the finest bluesmen who ever lived." ~ Reviewed by Edward C. Liu BIOGRAPH CD 130 FRED MCDOWELL/FURRY LEWIS/ROBERT WILKINS - WHEN I LAY MY ... "Fred McDowell, Furry Lewis and Robert Wilkins were among the most popular country blues artists performing during the folk music boom of the 60s. All of the music on this cd was recorded in the late 60s." ~ Reviewed by Toby Levy BIOGRAPH CD 138 LARRY JOHNSON/JOHN HAMMOND - MIDNIGHT HOUR BLUES "Although he is an excellent picker, it's Johnson's voice that is the bright shining miracle of this cd. John Hammond provides many fills and frills to Johnson's guitar that make Johnson's blues even more moving. They got together in the town house of a millionaire in New York City on the afternoon of February 2nd, 1971, and nailed down these immortal eleven tracks." ~ Reviewed by Toby Levy BIOGRAPH CD 139 BUDDY MOSS - ATLANTA BLUES LEGEND "He was one of the great Piedmont style guitarists, but ensured his name would not be included among the blues canon of Blind Willie McTell, Josh White, Curley Weaver, and Barbecue Bob (all of whom Buddy performed or recorded with). This disc was recorded during his "revival" in the 1960's, and were among the last that Buddy ever recorded." ~ Reviewed by Edward C. Liu Other postings : BIOGRAPH RECORDS : A PROFILE 1) INTRODUCTION BIOGRAPH RECORDS : A PROFILE 3) CD DISCOGRAPHY ========================================================================= Date: Wed, 8 May 1996 15:22:45 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Ted Hawkins Comments: To: bob unger On 8 May 96 at 15:01, bob unger wrote: > So how long does a convicted criminal have to pay for his crime. > > A man commits a crime (the nature of the crime should not be an issue here) > he is caught, convicted, serves his time, and is freed..... Should the public > continue to shun him? In Ted Hawkins case, he tried to get on with his life > as a musician....apparently he was succeeding prior to his death. But, Geez, > the man is dead, no longer a "threat".....why would anybody still not want to > hear his music? O.J. Simpson hasn't been convicted of anything and we are doing a good job of shunning him. Sometimes the NATURE of a person's crime makes you really dislike that person. I'm not likely to have an interest in the work left behind by a person I dislike. Abusing children is something that easily gets most people's "dislike". If I dislike you strongly now, I think it's unlikely I'll take a liking to you once your dead. Why would I suddenly take an interest in your music? There is plenty of music out there to enjoy. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Wed, 8 May 1996 14:47:10 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 05/09 B O R N : 05/09 MATTHEWS, BILL ( WILLIAM MATTHEWS ) Born:1899 ALGIERS, LA Career:DRUMMER / TROMBONE Style:TRAD / JAZZ MORRISSEY, DICK Born:1940 HORLEY, SURREY, UK Career:TENOR SAX / SOPRANO SAX / FLUTE Style:JAZZ With:HARRY SOUTH / PHIL BATES / PHIL SEAMAN / TERRY SMITH / JIM MULLEN / AVERAGE WHITE BAND / HERBIE MANN POLLOCK, ED Born:1899 NEW ORLEANS, LA Career:CLARINET / TENOR SAX Style:BLUES / JAZZ With:MA RAINEY REED, A. C. Born:1926 WARDELL, MO Career:TENOR SAX / SONGWRITER Style:BLUES WITH:EARL HOOKER / BUDDY GUY / ALBERT COLLINS / SON SEALS / ROLLING STONES SIMON, GEORGE T. (THOMAS) BORN:1912 NEW YORK, NY CAREER:WRITER / RECORD PRODUCER STYLE:JAZZ Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Wed, 8 May 1996 14:36:10 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Queen City (Cincinnati) Blues Fest In case you haven't noticed before from my posts, we here in Cincinnati are a bit disorganized in getting our Blues Fest off the ground. We have dates (July 13 & 14) and a venue (Sawyer Point park on the riverfront) and an admission cost (FREE!), but haven't confirmed a line-up of artists yet. I can now announce with almost certainty that ONE of our national headliners will be....Little Charlie and the Nightcats! It's a start! To keep up-to-date, check our web site at http://ourworld.compuserve.com/homepages/gcbs. Shannon ========================================================================= Date: Wed, 8 May 1996 15:34:46 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: original blues Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *Just curious to see if any of you have a favorite local *blues band that is doing original material. There is a great blues singer/guitarist/harp player/percussionist in DC named Robert Lighthouse who does a lot of originals. Charlie Sayles and Doug Jay also do a fair amount of original material. -Steve ========================================================================= Date: Wed, 8 May 1996 16:05:19 -0400 Reply-To: SOO3713@ALPHA.CC.OBERLIN.EDU From: Owen Okie Subject: The Band. REcently got The Band's Last Waltz. I'm wondering what happened to all the members after they broke up (in particular the lead guitarist)? Also, is Dr John actually a Dr by trade, or is this just a nickname? Thanks Owen 3 weeks tilChicago my first blues festival! ========================================================================= Date: Wed, 8 May 1996 19:56:56 GMT Reply-To: Neil Giordano From: Neil Giordano Organization: Center for Documentary Studies Subject: San Francisco Bay Blues -- date? Comments: To: bit-listserv-blues-l@uunet.uu.net Hi folks, I=B9m searching for this little tidbit: a date (or approximate date as th= e case may be) for Jesse Fuller=B9s =B3SF Bay Blues=B2 (Hollis Music Inc., = BMI). The BMI web page lists everything but dates. A short story in an upcoming issue of DoubleTake magazine excerpts a few lines from the song, and we need to list proper credit, if not get permission directly from the publisher. Thank you in advance. E-mail please. Neil Giordano DoubleTake Magazine Center for Documentary Studies at Duke University neilgio@acpub.duke.edu ========================================================================= Date: Wed, 8 May 1996 16:12:25 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: The Band. Comments: To: SOO3713@alpha.CC.OBERLIN.EDU On 8 May 96 at 16:05, SOO3713@alpha.CC.OBERLIN.EDU wrote: > Also, is Dr John actually a Dr by trade, or is this just a nickname? He's neither a doctor nor a John. Both are adopted names. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Wed, 8 May 1996 13:37:12 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: BIOGRAPH RECORDS : A PROFILE 3) CD DISCOGRAPHY BIOGRAPH CD DISCOGRAPHY ---------------------- (P.O. BOX 369 CANAAN, NY 12029 TEL: 518-392-3400 ; FAX: 518-392-2666 ; e-mail CD@biograph.com ; http://www.biograph.com) ============================================================================== BIOGRAPH CD 101 SCOTT JOPLIN - THE ENTERTAINER, CLASSIC RAGTIME (PIANO ROLL) BIOGRAPH CD 102 SCOTT JOPLIN - ELITE LYNCOPATIONS, CLASSIC RAGTIME (ROLL) BIOGRAPH CD 103 VARIOUS - GREATEST RAGTIME OF THE CENTURY V. 1 (PIANO ROLL) BIOGRAPH CD 104 FATS WALLER - CLASSIC JAZZ SOLOS BIOGRAPH CD 105 JAMES P. JOHNSON - CAROLINA SHOUT BIOGRAPH CD 106 GEORGE GERSHWIN - RHAPOSODY IN BLUE BIOGRAPH CD 107 3 SHADES OF BLUES- SKIP JAMES/WILLIE MCTELL/BUKKA WHITE BIOGRAPH CD 108 EARL "FATHA" HINES - WAY DOWN YONDER IN NEW ORLEANS BIOGRAPH CD 109 BENNY GOODMAN - EARLY YEARS BIOGRAPH CD 110 SCOTT JOPLIN - KING OF RAGTIME WRITERS BIOGRAPH CD 111 JELLY ROLL MORTON - BLUES & STOMPS FROM RARE PIANO BIOGRAPH CD 112 EUBIE BLAKE - MEMORIES OF YOU BIOGRAPH CD 113 LEADBELLY/GARY DAVIS/DAN SMITH - GOOD MORNING BLUES BIOGRAPH CD 114 FATS WALLER - LOW DOWN PAPA BIOGRAPH CD 115 VARIOUS - BOOGIE WOOGIE BLUES BIOGRAPH CD 116 VARIOUS - GREATEST RAGTIME OF THE CENTURY V. 2 BIOGRAPH CD 117 VARIOUS - JAZZIN' BABY BLUES BIOGRAPH CD 118 SON HOUSE - DELTA BLUES (LIBRARY OF CONGESSS) BIOGRAPH CD 119 KATHY HART & BLUESTARS - TONIGHT I WANT IT ALL BIOGRAPH CD 120 VARIOUS - MODERN ART OF JAZZ (SIMS,HINTON,PETTIFORD,...) BIOGRAPH CD 121 JOHNNY SHINES - TRADITIONAL DELTA BLUES BIOGRAPH CD 122 SKIP JAMES - GREATEST OF THE DELTA BLUES BIOGRAPH CD 123 REV. GARY DAVIS - FROM BLUES TO GOSPEL BIOGRAPH CD 124 MEMPHIS MINNIE/JIMMY ROGERS/ST. LOUIS JIMMY - EARLY ..1949 BIOGRAPH CD 125 JOHNNY SHINES - MR. COVER SHAKER BIOGRAPH CD 126 BLIND WILLIE MCTELL - PIG 'N WHISTLE RED BIOGRAPH CD 127 GEORGE LEWIS - V. 1 - CLASSIC NEW ORLEANS JAZZ BIOGRAPH CD 128 JIM ROBINSON - V. 2 - CLASSIC NEW ORLEANS JAZZ BIOGRAPH CD 129 DORSEY BROS/RED NICHOLS - NEW YORK JAZZ IN THE.. BIOGRAPH CD 130 FRED MCDOWELL/FURRY LEWIS/ROBERT WILKINS - WHEN I LAY MY ... BIOGRAPH CD 131 ZOOT SIMS - RARE DAWN SESSIONS BIOGRAPH CD 132 GETZ/SIMS/GRAY/QUINCHETTE - RARE DAWN SESSIONS BIOGRAPH CD 133 BOILERMAKER JAZZ BAND - DON'T GIVE UP THE SHIP BIOGRAPH CD 134/5 CHARLIE ROUSE/JULIUS - LESS JAZZ MODES (2CD) BIOGRAPH CD 136 PAUL QUINCHETTE - KID FROM DENVER BIOGRAPH CD 137 DEXTER GORDON/ZOOT SIMS/AL COHN - WE THREE BIOGRAPH CD 138 LARRY JOHNSON/JOHN HAMMOND - MIDNIGHT HOUR BLUES BIOGRAPH CD 139 BUDDY MOSS - ATLANTA BLUES LEGEND BIOGRAPH CD 140 BOILERMAKER JAZZ BAND - BURGUNDY STREET BLUES BIOGRAPH CD 141 BUTCH THOMPSON - PLAYS JELLY ROLL MORTON ============================================================================== Other postings : BIOGRAPH RECORDS : A PROFILE 1) INTRODUCTION BIOGRAPH RECORDS : A PROFILE 2) NY CD BLUES REVIEWS ========================================================================= Date: Wed, 8 May 1996 15:25:23 -0500 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: Ted Hawkins > So how long does a convicted criminal have to pay for his crime. > > A man commits a crime (the nature of the crime should not be an issue here) > he is caught, convicted, serves his time, and is freed..... Should the public > continue to shun him? In Ted Hawkins case, he tried to get on with his life > as a musician....apparently he was succeeding prior to his death. But, Geez, > the man is dead, no longer a "threat".....why would anybody still not want to > hear his music? Well he's dead, but his victims are still here and probablly still dealing with what he did. This isn't the type of crime that someone does and everyone gets on with their life like nothing happened. Bruce Roberts Austin, TX ========================================================================= Date: Wed, 8 May 1996 13:55:36 +0000 Reply-To: ksailors@hooked.net Comments: Authenticated sender is From: "Kenneth M. Sailors" Organization: Personal Copy Subject: Re: Help name my cat On Wed, 8 May 1996 TDominey suggested: __ Zydeco! Hey! That's MY cat's name. Has been for 2 years. We also have a dog named Abbey (as in ...Road). She replaced our last dog, Aja Zydeco replaced Zuma (Neil Young). Album titles make great pet names. ))/\(( -(.)(.)- | | Eugie!Baange | \/ | "I'm just naturally crazy,baby" ////\\\\ \__/ ========================================================================= Date: Wed, 8 May 1996 17:03:52 -0400 Reply-To: "Lost John From: "Lost John Subject: Re: The Band Owen Okie wrote: >REcently got The Band's Last Waltz. I'm wondering what happened to all >the >members after they broke up (in particular the lead guitarist)? >Also, is Dr John actually a Dr by trade, or is this just a nickname? >Thanks Robbie Robertson (lead guitarist) has, in the past 8 years, released two solo albums, one called Robbie Robertson, the other Storyville, as well as participated in an album called "Music for the Native Americans". Garth Hudson (keyboards etc.) has appeared on numerous recordings by artists as varied as David Lindley and the Northern Pikes. Levon Helm, apart from movie appearances and a recent PBS "travelogue" type series, was part of Ringo Starr's AllStar Touring Band back in 88. Richard Manuel, I believe, committed suicide (I forget what year). Rick Danko ? I dunno. Dr. John - still alive and well. Lots of solo albums and guest spots on albums by people like Maria Muldaur to you-name-it. He gets my vote as one of the coolest personalities on the planet. (BTW - gotta love the Staple Singers in that flick) Seeya - -- _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ _/ /\ _/ _/ || _/ _/ || _/ _/ John Carley || _/ _/ johnc@vedge.com || _/ _/ (514)332-6430 x232 || _/ _/ |\||/| _/ _/ \ / _/ _/ " There's only two things in life / \ _/ _/ but I forget what they are..." ( ) _/ _/ - John Hiatt \____/ _/ _/ _/ _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ ========================================================================= Date: Wed, 8 May 1996 22:00:59 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: amplifiers Comments: To: James Leftwich >I just read the Guitar Player interview with JL Hooker and Buddy Guy (it's >online). In the piece John Lee says his favorite amp was an old >Silvertone but uses Fender now. Buddy says he uses a Fender Bassman. > >What I ask is...what kinds of amps do our favorited bluesmen play through? >How many use reverb for example. > >=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D >Jim Leftwich Jim's Blues N' Brews >leftwich@cloud9.net http://www.cloud9.net/~leftwich >"I'm on cloud9!" :) New CD Giveaway: Sherman Robertson >=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D Various guitar-magazines has had long bits abot famous blues-rigs over the years. And what is most striking is the mass of different amps - there is of course a lot of Fenders but also just about anything you can think of. And a lot of times musicians travel without amps. (Ive seen Albert King enter a stage and put everything on ten on my friends tiny super reverb, I=B4ve seen Magic Slim using my Traynor, Ive seen Otis Rush play a Yamaha. And all of them sounded like themselves. Mr Bo ========================================================================= Date: Wed, 8 May 1996 16:22:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Biograph/Shirley Brown > > BIOGRAPH CD 124 MEMPHIS MINNIE/JIMMY ROGERS/ST. LOUIS JIMMY - EARLY ..1949 > > "This disc might have been better attributed to "Memphis Minnie and Friends." > Minnie is only on the first five tracks of this collection. The remaining > tracks include some other Chicago blues luminaries that you may have heard of > -- Sunnyland Slim, Jimmy Rogers, and Little Walter, to name three. The > tracks presented here give a background for where Muddy and the rest of the > electric Chicago blues performers came from." > > ~ Reviewed by Edward C. Liu > I just picked up this disc recently; it is excellent. These are from the rare (until now) Regal recording sessions in 1949. Little Brother montgomery does one of his finest versions of "Vicksburg Blues"; Memphis Minnie chortles and comments "it's gettin' hot in *here*!" on one cut - and - Jimmy Rogers 1949 version of "Ludella" is possibly even better than the one he cut for Chess in 1950. I'm leaning toward the earlier version as my favorite. Many thanks to eRIC for another fine tribute. As for Shirley Brown - I think she's great! How was she in Memphis? -Bonnie I named *my* kitten, found starving (and trying to eat a dusty piece of french fry) at a truck stop in Clarksdale) "Henry Lee". He is now about one year old and as today is Robert Johnson's birthday, I thought it should be his too. If I come home with french fries on my breath, he's *very* interested. I think Albert Schweitzer said something about there being "only two things that make life bearable - cats and music". ========================================================================= Date: Wed, 8 May 1996 14:30:37 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Muddy's Cabin Movin' >I didn't realize that one had to have a "blues pedigree" equal to or >exceeding Jim O'Neal and/or Dick Waterman to have an opinion on the Muddy >Waters cabin situation. Frankly, this kind of thinking is quite troubling. If >one were to adhere to such logic, blues-l would not exist. I thought exactly the same thing when I read this. Now, I agree with them on this (the whole issue of Muddy's cabin), but their contributions to the blues world, great as they may be, does not mean that they are always right! That being said, I think that the contribution that'll be going to the Sunflower River Festival because of this deal is a great thing, and although this is far from an optimum resolution, it may be the only one available. -Jim (hndful@Uniserve.com) ========================================================================= Date: Wed, 8 May 1996 14:37:24 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Ted Hawkins >Chris, >Would you buy a record by Charles Manson? Prejudice is one thing, an >immoral criminal another. But then, my standards are rigid. >Peace, >nitra Nitra, I respect your rigid standards, but I think you're comparing apples and oranges here. Charles Manson is famous because he was an insane mass murderer, and that's the only reason his songs have ever been released. I wouldn't buy 'em (although I do have a song that was co-written by him 'Never Learn Not to Love', ironically enough, on an album called 20/20 by the Beach Boys). I also refuse to buy OJ's video tape, because this is the case of someone (guilty or not) simply profiting off of the brutal murders of two innocent people. However, the Ted Hawkins case is far different. He gained no fame from his crimes, but for his music. His music is beautiful; his voice is the best I've heard in a long time, and his songs have nothing to do with his criminal record, either promoting his aberrant behaviour or gaining by it. So I can in good conscience listen to Mr. Hawkins (and others whose lifestyles do not conform with my moral code) and wholeheartedly enjoy his music. -Jim (hndful@uniserve.com) ========================================================================= Date: Wed, 8 May 1996 14:52:04 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: SITTING & THINKING: Big Walter Horton >WALTER HORTON - FINE CUTS BLIND PIG #70678 >BLIND PIG RECORDS PO BOX 2344 SAN FRANCISCO CA 94126 The >only complaint one could have about this cd is its brevity. Even >thought here are eleven songs, the total time is only about 36 >minutes. But perhaps one can never get enough Big Walter! >EVERYBODY'S FISHIN' / DON'T GET AROUND MUCH ANYMORE / >RELAXIN' / >WE GONNA MOVE TO KANSAS CITY / WALTER'S SWING / HOBO >BLUES / STOP >CLOWNIN' / NEED MY BABY / LA CUCARACHA / WORRIED LIFE / >PUT THE >KETTLE ON I'm sorry, but I have to take issue with the glowing review of this album. This is _far_ from Walter Horton's best work, and I really wouldn't recommend it that highly. Not only is it very short, but it also includes two versions of the same song (Everybody's fishin' and Put the Kettle On could probably be laid on tracks one atop the other, and you'd have the same song), the song selection isn't great, and the performances are ho-hum. Note: all IMHO, so take it or leave it. Which leads me to a couple of questions about NYCD Blues - why do you only print positive reviews? In general, I do agree with the reviews, but at times I wonder if we were listening to the same album (like in this case). I think some constructive criticism can be helpful, and it would allow me to take your recommendations a bit more seriously if I knew that one of you guys had actually heard a c.d. that you didn't really like that much. Also, I've been wondering if there is some kind of agreement that you have with the record companies, promotion-wise. -Jim (hndful@uniserve.com) Just questioning... not flaming. ========================================================================= Date: Wed, 8 May 1996 17:58:31 -0400 Reply-To: BlueKing@AOL.COM From: Gregory A King Subject: Jimmy Page and Roots Comments: To: pwfenton@gate.net I may be a newbie to this great listserv but I am no newbie to the blues. (I really am enjoying all the news, info and such.) A few days ago I posted a response to a post that referenced Zep ripping off composers for fame and profit. I said that I was grateful for guys like Page who really brought blues into the spotlight during the late '60's and early '70's. Page has been prasied and reviled here - personal preference. But we are talking about the blues right? Lying, cheating, stealing, loving, losing, winning, revenge, murder, drinking, druging, fucking, blues? I mean, you guys know the histories of the great old bluesmen and women. People shooting each other in bars - stealing money - hard drinking - harder loving. If for one instant you believe that guys like Robert Johnson didn't care for a little fame and profit and were somehow *pure* artists who only lived to play - then you may be missing something real basic about our genre. I never justified Zep not giving credit where it was due, although I do suspect that Atlantic Records had more control than Mr. Page. My real point was this: Growing up with a big band piano playing father I thought blues was Al Hirt, Benny Goodman. Pete Foutain, Glen Miller etc. (and some of that music is definitely blues) but I had never really *got it*. In '68 I saw Zep at the Electric Playground in Chicago. Great concert that also featured Savoy Brown with Kim Simmons. Page mentioned that they were headed to a place called Alices after the show. We went. Alices was a long time Chi blues club. That night I saw Page, Clapton, Muddy, Willie Dixon, Sam Lay, Duck Dunn, Al Kooper, Jim Scwhall and others blow the roof off 'till past dawn. Page and Clapton heaped praise on Muddy and Wille saying that if it weren't for them..... This happened again at the infamous Fathers & Sons concert about two months later with Muddy and Bloomfield leading an all star cast. My interest in Clapton and Page, and the great and beautiful music they were making (or copying if you are an eliteist), brought me to Muddy and then to the rest. I will always be grateful for that. And - if you think I "missed" the blues because I was an early Page fan and you get nothing when you listen to Zeps first album - I feel sorry for you. Just my thoughts - I'll shut up about it now. I love this group. greg ========================================================================= Date: Wed, 8 May 1996 22:56:28 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Ted Hawkins Comments: To: bob unger Glad this came up. I must confess I listened to Pat Hare the other day, and I feel a bit guilty, the guy was a killer, and then I put on Hound Dog Taylor who shot Brewer Phillips, and then I had a treat of Taildragger who shot Boston Blackie. And I realy must say I regret my time spent listening to Leadbelly, and James Brown, and Chuck Berry, and Jerry lee lewis.:-). Not a bunch of softies. But on the other hand - it wasn=B4t that long since mr Hawkins was alive. It cant be very nice to have been confronted by him as a kid and then hear the man on the radio... This got me to think a bit. I have always liked Ted Hawkins a lot and I had no idea of why he served time. This might destroy my listening pleasure in the future. Hell - one can really be fooled by a sweet voice. Pat Hare was at least honest enough to record "I wanna murder my baby" and he sounded like he wanted to something nasty to his guitar. Mr Bo ========================================================================= Date: Wed, 8 May 1996 16:57:24 -0700 Reply-To: Kelly Hoggard From: Kelly Hoggard Organization: The Wolfpack Subject: Re: Memphis-Rbt Lockwood Jr. & Ann Rabson & LW & Keb Mo' Hey! Welcome Ms. Rabson to the Blues-L! As a newcomer myself, it is a pleasure to see a bonafide BLUES STAR <:)> on the list! And what a better way to start than to put LW in his place! Actually, LW's and everybody's opinions, though we all don't agree all the time, are what make this list so great! With the combination of people-from performers, movers and shakers, entrepreneurs, and hard-core blues lovers-making up the list, I enjoy reading the different perspectives everyone brings here. Deep down, I'm sure LW puts.Robert Jr. on as high a pedestal as we all do! And now for my Robert Jr. story: At last year's Chicago Blues Fest, the two things I anticipated the most was the West Side Guitars (Eddie C. Campbell, Otis Rush, and Luther Allison) on the Petrillo Main Stage and the Front Porch lineup that had the Class of 1915 featuring Brownie McGhee and Robert Jr. Lockwood. An extra treat occurred during Robert Jr.'s set: he was joined by Dave Myers and Keb Mo. While Robert and Dave immediately fell in to groovin' like mad, ol' Keb looked like he didn't even know what a 12-bar progression was! Schoolin' the younstas indeed! By the way, Dave Myers is my candidate for 'Most Should Be Better Known Than He Is'. This dude still is an incredible musician and is available for work. He plays great solo guitar and sings wonderfully! Any different opinions about Keb Mo are welcome (but a Sony recording contract ain't gonna make you a bluesman if you ain't one already)! -- kelly@netusa1.net(Kelly Hoggard) The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! Check out their home page at http://www.netusa1.net/~kelly/ ========================================================================= Date: Wed, 8 May 1996 17:03:18 -0700 Reply-To: Kelly Hoggard From: Kelly Hoggard Organization: The Wolfpack Subject: Re: Artist help needed. Comments: To: "P.W. Fenton" P.W. Fenton wrote: > > On 2 May 96 at 10:10, Joe Lempkowski wrote: > > > Can someone help me out on this one? > > > > This past weekend on one of the local blues shows I heard a song called > > The Sissy's Strut. It is a pretty cool guitar instrumental. Anyone know > > who recorded this thing? > > I'm not at home where I could check, but I'm pretty sure it's on one > of the collections of early Albert Collins stuff. Almost positive. The tune you are refering to, P.W., is "Doin' the Cissy", now available on the Albert Collins complete Imperial collection. As to my previous post, the "Cissy Strut" by The Meters is indeed available on Rhino's "Best of New Orleans Rhythm & Blues, Vol. 1 & 2". 'ooh-wee, ooh-wee, baby, won't you let me take you on a sea cruise' -- kelly@netusa1.net(Kelly Hoggard) The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! Check out their home page at http://www.netusa1.net/~kelly/ ========================================================================= Date: Wed, 8 May 1996 17:05:41 -0700 Reply-To: Kelly Hoggard From: Kelly Hoggard Organization: The Wolfpack Subject: Re: Norton in Memphis Comments: To: "P.W. Fenton" P.W. Fenton wrote: > I'm not too thrilled with Compuserve either. I now get 4 error > messages for every post I make. There will be four for this post > also. It seems to me that this Richard Norton must not have a ComuServe account anymore and should be taken off the blues-l mailing list. Am I wrong? -- kelly@netusa1.net(Kelly Hoggard) The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! Check out their home page at http://www.netusa1.net/~kelly/ ========================================================================= Date: Wed, 8 May 1996 17:18:52 -0500 Reply-To: Bill Zerbe From: Bill Zerbe Subject: Re: original blues >Just curious to see if any of you have a favorite local >blues band that is doing original material. > Cotton Candy Washington and So Many Men http://www.qni.com/~bzerbe ========================================================================= Date: Wed, 8 May 1996 17:25:34 -0700 Reply-To: Kelly Hoggard From: Kelly Hoggard Organization: The Wolfpack Subject: Re: original blues Comments: To: smirkyface smirkyface wrote: > > Just curious to see if any of you have a favorite local > blues band that is doing original material. Yeah! The Wolfpack! :) What did you expect me to say? 15 seconds of our music can be found at http://www.netusa1.net/~kelly/products.html#slippery -- kelly@netusa1.net(Kelly Hoggard) The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! Check out their home page at http://www.netusa1.net/~kelly/ ========================================================================= Date: Wed, 8 May 1996 18:37:32 -0400 Reply-To: JukeFreak@AOL.COM From: "(Karen Hanson)" Subject: Alvin Youngblood Hart I had never heard of Alvin Youngblood Hart until I read the article in the last issue of Living Blues. A few days ago I saw his CD, apparently a brand new release, featured at the listening station (or whatever they call it) at Tower Records. I listened to the first song and it was sold. Wow! String-snappin', guitar-thumpin' acoustic, great vocals, excellent variety (including a banjo number). Hart covers songs by Lead Belly, McTell, and Patton, and also includes seven originals. Taj Mahal also plays and sings on two songs. I like it a lot! Karen ========================================================================= Date: Wed, 8 May 1996 17:46:10 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Buddy Guy's Amps Comments: To: Bruce Roberts I read earlier today that someone mentioned Buddy Guy and the two Bassman reissues he's been using for the last couple of years. You're about to see him switch over to the Victoria amp- he heard them and fell in love and Mark Baier has been working with him for the last couple of months to design and tweak a couple of amps to Buddy's liking. I'm not sure if they're the 50- or 80-watt models, or what confguration of speakers he ordered ( 2 12"s? 4 10's?), but if I find out any more from Mark I'll post it here. Jim ========================================================================= Date: Wed, 8 May 1996 17:57:39 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: The Band The Band has a new album released (at least in Canada) by Capitol/EMI; it's better than the Jericho effort of a couple of years back, but it's still pretty scrappy. Champion Jack Dupree gets a tune, and Richard the Younger gets a thankyou on the sleeve (for coping with the old man, presumably). The Canadian album has a rockin' version of the old Lieber-Stoller Coasters hit Young Blood, but I gather this is not on the US version. I'll buy anything by The Band, with or without Robbie Robertson. It was always Levon that made it work, incidentally; one of the few drummers whose sound was (and is) truly distinctive. If the new albu,m titled High on the Hog, is a five, compared with the 10s of their heyday, it's still better than most stuff around. So there! Cheers Richard the Elder ========================================================================= Date: Wed, 8 May 1996 17:46:21 -0700 Reply-To: Kelly Hoggard From: Kelly Hoggard Organization: The Wolfpack Subject: Re: Jimmy Page and Roots Comments: To: BlueKing@AOL.COM Great post Greg!!! Until you pointed it out, I thought that Leadbelly, Sonny Boy, Little Walter, were straight-arrow dudes who never did anything questionable!! Just kidding. Let's stir up some discussion: I think 'Since I've Been Loving You' from Led Zep III is a GREAT blues tune!! What do you think? from a man who prefers his eighth notes with a little swing in them, Kelly -- kelly@netusa1.net(Kelly Hoggard) The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! Check out their home page at http://www.netusa1.net/~kelly/ ========================================================================= Date: Wed, 8 May 1996 17:54:33 -0700 Reply-To: Kelly Hoggard From: Kelly Hoggard Organization: The Wolfpack Subject: Re: Help name my cat If it's a black cat then the obvious nam is 'Bone' so you can introduce he/she as 'here's my black cat, Bone' -- kelly@netusa1.net(Kelly Hoggard) The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! Check out their home page at http://www.netusa1.net/~kelly/ ========================================================================= Date: Wed, 8 May 1996 16:24:54 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: The Band. The Band is out touring again, without "lead" guitarist Robbie = Robertson. As far as I know, the line-up includes Danko, Manuel, Hudson, = and Helm. Mac Rabanneck (sp?) is not a doctor, except of a hard knocks degree in = the music of the Crescent City. Mac created the Dr. John gris-gris = persona as a musical vehicle. In fact, he created it to be assumed by = Ronnie Baron. The story goes that Baron damaged his hand, amputated a = finger, I think, and could not become the "Dr." character. So...Mac did = it himself. The rest is history, as they say. Uncle Ray ---------- From: Owen Okie[SMTP:SOO3713@ALPHA.CC.OBERLIN.EDU] Sent: Wednesday, May 08, 1996 8:05 PM To: Multiple recipients of list BLUES-L Subject: The Band. REcently got The Band's Last Waltz. I'm wondering what happened to all = the members after they broke up (in particular the lead guitarist)? Also, is Dr John actually a Dr by trade, or is this just a nickname? Thanks Owen 3 weeks tilChicago my first blues festival! ========================================================================= Date: Wed, 8 May 1996 20:03:49 -0400 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: 'zellers in Memphis There are so many to thank for the hospitality shown to Blues-L members during last weeks festivities. To begin with, Judy Pizer and the staff at the Center for Southern Folklore for providing a place for us to gather, and of course, Denise Tapp for all of her efforts in coordinating the event. I think Denise did a great job!! Thanks are also due to the Beale Street Blues society for providing great quantities of breakfast food, juice, and coffee. Guys and gals, I believe I can speak for all in thanking you for welcoming us. It is really cool to be able to associate faces now with some of the people who's posts I have been reading for the past couple years. Cathi, Meri, Greg, Rags, Laura, L W, Alice, R J , Don O, Ree Anne, John, and I hope I didn't slight anyone, It was a pleasure meeting you all. We'll have to do it again sometime, and hopefully soon!! BLUZ!!, Y'all, Ed ========================================================================= Date: Wed, 8 May 1996 19:21:35 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re[2]: amplifiers Comments: To: Bo Carlsson Hey Bo, since when is a Super Reverb "tiny"????? The super reverb has long been one of the favorite amps of blues players. A really well broken-in one, when fully opened up, will roar and howl like a banshee. Buddy Flett, guitarist for my favorite local swamp-blues group, The Bluebirds, uses one to good advantage. Jim _______________________________________________________________________________ Subject: Re: amplifiers From: Bo Carlsson at INTERNET-SH Date: 5/8/96 6:14 PM >I just read the Guitar Player interview with JL Hooker and Buddy Guy (it's >online). In the piece John Lee says his favorite amp was an old >Silvertone but uses Fender now. Buddy says he uses a Fender Bassman. > >What I ask is...what kinds of amps do our favorited bluesmen play through? >How many use reverb for example. > >=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D >Jim Leftwich Jim's Blues N' Brews >leftwich@cloud9.net http://www.cloud9.net/~leftwich >"I'm on cloud9!" :) New CD Giveaway: Sherman Robertson >=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D Various guitar-magazines has had long bits abot famous blues-rigs over the years. And what is most striking is the mass of different amps - there is of course a lot of Fenders but also just about anything you can think of. And a lot of times musicians travel without amps. (Ive seen Albert King enter a stage and put everything on ten on my friends tiny super reverb, I=B4ve seen Magic Slim using my Traynor, Ive seen Otis Rush play a Yamaha. And all of them sounded like themselves. Mr Bo ========================================================================= Date: Wed, 8 May 1996 19:40:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Clarksdale Sunflower Fest news:96May7.184053pdt.30829-151+1@haven.uniserve.com Jim Witteveen wrote: >>I hear Clarksdale calling my name..... > >So do I!!! See you there! :-) I'm already counting down the days... Does >anyone know who'll be playing in Clarksdale this year? The Sunflower Festival in Clarksdale is about 95 per cent local artists (who have very little national name recognition: i.e. Big Moody, Johnny Billington, Arthniece Jones, Eddie Cusic, etc.). They are all very good, not jaded by 2000 nights on the road, and very refreshing. -Bonnie ========================================================================= Date: Wed, 8 May 1996 19:59:57 -0500 Reply-To: 305 Spin From: 305 Spin Subject: Memphis, one more Just a few more brief notes on the weekend in Memphis as in little sleep, great food when you could get it and incredible blues and blues'ers. Our night started with the Handy's which was produced pretty well and provided plenty of talent. On the way into the hall we ran into Ronnie Earl and he was really focused. I hadn't seen him since Helena and he was looking good. Except for the John Sebastian entourage (especially his totally wired "personal" photographer) the entire evening was well done. I really can do without this retro ? stuff by Tracy Nelson, John Sebastian and Al Kooper (who wandered aimlessly around Beale all weekend). Keri Leigh we can keep despite her incredible enthusiasm!! There were several great performances including Joe louis Walker, Robert Jr. Lockwood (who is one of the nicest, most sincere and giving individuals I have met - come on lw!!), Clarence Gatemouth Brown, Jimmy Rogers and on and on. I do hope the Blues Foundation can have more pull and get more of the nominees and winners there. Everyone is out on tour like normal trying to make a living. Maybe they should give some more incentive! Following the Handy's we did the party at BB's where our Saffire Ladies held court and set the stage for Ronnie Earl and Bob Margolin to show us how it is done. Ronnie was working hard as he did all weekend. He must have set a record for most guest appearances and unscheduled gigs over a weekend. Of course, Luther Allison was sky as he had swept the handy's and once he got this mixed band of talent together he really worked them hard. He was open to anyone joining them and worked with all the talent equally. Included some pretty impressive dancing by the Saffire Ladies too!!! Over the next few days, we fought the festival crowds (actually stayed pretty much put in the Blues tent) saw some great one hours sets and really enjoyed the great weather next to the mississippi. But the place to be all weekend was on Beale street. If you are planning to go, make sure you spend mucho hours at several clubs. My highlight (other than seeing Ronnie Earl in such great form) for the weekend was Luther Allison joining Larry McCray at Blues Alley. They did this two nights in a row. Saturday night (Sunday morning), Luther played Larry's flying V and Larry played "Lucille". They rocked hard until Larry cooked his amp, bailed out and left Luther to finish the set in his usual intense fashion. What more could you want?? Memphis has a great scene. I saw lots of local talent playing to some great crowds. Sometimes the likes of a Charlie Musselwhite, Bob Margolin or Ronnie Earl would join them. Let's support this scene year round, not just during this major weekend. It seems to me that Memphis is really cooking and has the potential for some great blues brew. Anyone up for this weekend?? John Moore ps I also enjoyed meeting several of you Blues L'rs. Keep the faith. 305 Spin http://www.305spin.com Sedalia, Missouri USA blues@305spin.com ========================================================================= Date: Wed, 8 May 1996 21:47:04 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: SITTING & THINKING: Big Walter Horton Comments: To: Jim Witteveen In-Reply-To: <96May8.145206pdt.30831-156+738@haven.uniserve.com> On Wed, 8 May 1996, Jim Witteveen wrote: > Which leads me to a couple of questions about NYCD Blues - why do you only > print positive reviews? In general, I do agree with the reviews, but at > times I wonder if we were listening to the same album (like in this case). > I think some constructive criticism can be helpful, and it would allow me to > take your recommendations a bit more seriously if I knew that one of you > guys had actually heard a c.d. that you didn't really like that much. Also, > I've been wondering if there is some kind of agreement that you have with > the record companies, promotion-wise. Jim, Fair questions - here are the answers. There are quite a number of CD's we could not give positive go-get reviews to. Policy is we pass them by and don't share them. In particular what we're up to is passing on recs for CDs we have liked and think others might like too. I personally, and I speak for noone else here, am of the opinion that if an artist took the time and the label spent the bucks and a producer made the effort I doubt that the purpose was to make bad music so I wouldn't blast anyone out in public - I'd rather just let the disc pass in the wind. As for agreements with record companies - none. In fact even @ the NY CD Blues site if you order discs from Strategy we get nothing - we are totally free to write what we please and we do, its just that our bent is praising what we like and what we think others might like - the bangs we leave to others. If you were on the inside you'd better understand what's passed and what is given a go-get. Also and this is probably the most important factors in reading reviews (ours or others) it all is nothing more than opinion. What I might like you might hate. I have seen a particular disc passed on by one of us and thrilled over by another. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Wed, 8 May 1996 16:34:29 EDT Reply-To: Newman/Rabson <71552.541@COMPUSERVE.COM> From: Newman/Rabson <71552.541@COMPUSERVE.COM> Subject: Thanks for warm welcome Thanks to all for the rather overwhelming warm welcome. I am surprised and delighted. I was planning to just quietly hang out but I'm afraid LW happened to push my button real quick (which sounds like a hokum line). I am glad to be here during my times off the road (which will hopefully be few) and - as Dick Waterman says - don't hold your fire at me or SAFFIRE or piano players or whatever. I sure don't intend to hold mine. Ann Rabson ========================================================================= Date: Wed, 8 May 1996 21:55:10 -0400 Reply-To: RAHalonen@AOL.COM From: Reeann Halonen Subject: Re: On the matter of Ms. Rabson . . . Comments: To: Jinxblues@aol.com >and if Ms Rabson is posing ..... > I love this list Ree Ann ========================================================================= Date: Wed, 8 May 1996 22:41:39 -0400 Reply-To: BALISTRK@BAYDENOC.CC.MI.US From: "Keith T. Balistreri" Subject: Re: original blues Comments: To: smirkyface In-Reply-To: On Wed, 8 May 1996, smirkyface wrote: > Just curious to see if any of you have a favorite local > blues band that is doing original material. > > BRIAN MCLEAN > PHOTOGRAPHY > & > SMIRKYFACE > PRODUCTIONS > "life's too short to live the blues" > http://www.netaxs.com/~blmclean > I have two favorites in this area(Northern Mich and Wis.) doing originals 1. Rockin' Jimmy Crimmins and the Blues Weasels... just releases a cd some powerful stuff on it especially the ones written by Dave Lark...really nice stuff. 2.Tohubohu...Don't want to spend timing blowing my own horn. It's a trio I'm in. We do blues, jazz, r&b...and we do origianls... For three peice we sound pretty damn good. Being a drummer I have always found it stressfull to play three peice. Do any other musicians agree? I'm always worried about sounding full enough. But in time I am learning the sometimes "less is more." Keith B. ========================================================================= Date: Wed, 8 May 1996 20:44:12 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Re: Jazz Fest (brief report) NO BLUES CU>On Mon, 6 May 1996 14:00:27 -0500, James Foster CU>wrote: CU>>We arrived back in Texas last night, after spending a few days at the CU>>second weekend of the New Orleans Jazz Fest. CU>>(the FOOD, by the way, was uniformly GREAT): CU>You didn't eat any of the crawfish, did you? They came from China this CU>year. Due to a variety of reasons, LA's crawfish production is low this CU>year, causing high prices. The chinese mudbugs beat them in price quite CU>handily. Of course, the two reasons China can do that -- slave labor and CU>no food safety regulations. It's enough to make a head-sucker weep. Actually not all of the crawfish came from China. Although most of the prepared crawfish dishes used Chinese crawfish -- I'm not sure about the boiled crawfish. The one exception to the prepared dishes is the crawfish bread which is made with Louisiana crawfish. The reason that the owner of Panorama Foods uses local crawfish to make his crawfish bread is because he is a politician in Marksville, La, and he'd rather pay two dollars a pound more for mudbugs than lose his political position to someone willing to buy local crustaceans. Bill Morgan From: The Big Easy ========================================================================= Date: Wed, 8 May 1996 22:53:07 -0400 Reply-To: BALISTRK@BAYDENOC.CC.MI.US From: "Keith T. Balistreri" Subject: Re: Ted Hawkins Comments: To: bob unger In-Reply-To: <199605081901.PAA09939@sun.bnkst.edu> On Wed, 8 May 1996, bob unger wrote: > So how long does a convicted criminal have to pay for his crime. > > A man commits a crime (the nature of the crime should not be an issue here) > he is caught, convicted, serves his time, and is freed..... Should the public > continue to shun him? In Ted Hawkins case, he tried to get on with his life > as a musician....apparently he was succeeding prior to his death. But, Geez, > the man is dead, no longer a "threat".....why would anybody still not want to > hear his music? > > BU > bob@sun.bnkst.edu > I agree 100%...I can't believe we are actually talking about not listening to Hawkins music. How do we no what really happened and how do we know if he didn't try to better himself... Do we stop listening to people that were convicted of burgalry? And how about theft or assault or drug possession or jay walking. We never really know the full cicumstances of each situation...how and why people get so down and out to do the things they do. I've down some things in my life and spent a little time in jail...but I've manaaged to get sh*t together. I sure hope that people won't want to see me play because of my past. Keith B. ========================================================================= Date: Wed, 8 May 1996 22:53:14 -0400 Reply-To: "John R. Vanderpool" From: "John R. Vanderpool" Subject: Re: Alligator 25th Anniversary 2CD set > The whole set is Great! i agree - i snarfed it up for just $11.99 at the New Orleans Jazz Fest fish -- "shadow captain, of a charcoal ship... trying to give the light the slip." -d. crosby for earth science info check out: http://daac.gsfc.nasa.gov John R. Vanderpool NASA/GSFC/HSTX ========================================================================= Date: Wed, 8 May 1996 23:44:22 -0400 Reply-To: SOO3713@ALPHA.CC.OBERLIN.EDU From: Owen Okie Subject: getting an acoustic Hey, I'm intereted in purchasing an acoustic guitar this summer and would like opinions from people who aren't trying to sell it to me. First of all, I'd like to get something good for blues like Lightin Hokins, Dire Straits acoustic stuff, and I'm iterested in learning Flamenco. I'd like recommendations, but kepp in mind that I'm not rich (a have little idea of what I can expect to pay.) I've only been palyign for 2 years so I don't want anything fancy, just a good guitar that suits my needs. Thanks! Owen ========================================================================= Date: Wed, 8 May 1996 08:16:42 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: A Successful CD Release Party! Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com * For those of you who were busy in Memphis on Sunday, May 5, I thought * I'd let you know you missed a GREAT CD release party for my friends * Sonny Moorman & the Dogs and their fantastic new recording, TELEGRAPH * ROAD. And if you noticed that some important faces were missing from * the vicinty of Sun Studio on that day, it's because the Sun Studio/706 * Records folks were here in Cincinnati to co-host and participate in * the celebration. Does this have anything to do with the Dire Straits song Telegraph Road? Just curious, Steve ========================================================================= Date: Wed, 8 May 1996 21:29:32 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: original blues Comments: To: blmclean@NETAXS.COM In-Reply-To: from "smirkyface" at May 8, 96 02:48:16 pm > > Just curious to see if any of you have a favorite local > blues band that is doing original material. Oh, well - here's my self-plug :-) I'm not a band, actually, but I _think_ I'm one. Electric harmonica, guitar, bass pedals (same time), and vocals. I work mostly places that "hire only full bands". I played the 10th Annual Blues Harmonica Blowdown at the House of Blues about a month ago, with Rod Piazza, James Harman, Bernie Pearl/Harmonica Fats, Billy Boy Arnold, and a local band, Flat Top Tom and his Jump Cats. Left Coast Carl, a local DJ, said "You were ...... GREAT". Walter Trout (a big blues star in Europe, formerly with Mayall and Canned Heat) says "Mike Curtis is the best harmonica player I've ever heard". My biggest problem (other than overcoming the "you're a single" objection by some pointy-headed club owners) is that oftentimes people in the audience think I'm doing some kind of "Karaoke", so I've devised several tunes where I "introduce the band". I do a mixture of originals and covers. My originals are the most requested tunes I do. -- IronMan Mike Curtis ========================================================================= Date: Wed, 8 May 1996 22:01:48 -0700 Reply-To: Rich DelGrosso From: Rich DelGrosso Subject: Re: LW's Terraplane Request Comments: cc: ISTS024@UABDPO.DPO.UAB.EDU LW, You've got the right idea. In G tuning you can get part of the sound by fretting the first two strings ( D and B) at the third fret and moving your finger back and forth: D --3--3-3-3--2-3---- B --3--3-3-3--2-3---- G ------------------- D ------------------- G 0----0------0---0-- D ------------------- But this same seventh chord can be played as you described, at the fifth fret, which adds the G on the top: D --5--5-5-5--5-5---- B --6--6-6-6--5-6---- G --7--7-7-7--6-7---- D ------------------- G 0----0------0---0-- D ------------------- I believe your question was regarding the change in the chord on the third beat. The easiest way to play this is to barre the first two strings at the fifth fret. Then you make the chord change by lifting your ring finger and shifting your middle finger to the third string, and then placing these fingers back to the original chord. The IV chord (C) is then played as a barre at the fifth fret: D --5--8--5-8-5---8-5-8--5-- B --5--5--5-5-5---5-5-5--5-- G --5----------------------- D --5----------------------- G --5-----5-------5------5-- D -------------------------- Son House Style. Hope this helps. Rich DelGrosso ========================================================================= Date: Thu, 9 May 1996 00:04:54 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Ted Hawkins Comments: To: bob unger In-Reply-To: <199605081901.PAA09939@sun.bnkst.edu> On Wed, 8 May 1996, bob unger wrote: > So how long does a convicted criminal have to pay for his crime. > > A man commits a crime (the nature of the crime should not be an issue here) > he is caught, convicted, serves his time, and is freed..... Should the public > continue to shun him? In Ted Hawkins case, he tried to get on with his life > as a musician....apparently he was succeeding prior to his death. But, Geez, > the man is dead, no longer a "threat".....why would anybody still not want to > hear his music? Didn't Leadbelly kill a man? Didn't Robert Pete Williams kill a man? Sorry, I'm not much of a historian. Steve ========================================================================= Date: Thu, 9 May 1996 01:09:38 -0400 Reply-To: BlueKing@AOL.COM From: Gregory A King Subject: Re: Jimmy Page and Roots Comments: To: kelly@netusa1.net In a message dated 96-05-08 18:57:02 EDT, kelly@netusa1.net (Kelly Hoggard) writes: >Let's stir up some discussion: I think 'Since I've Been Loving You' from Led >Zep III is a GREAT blues tune!! What do you think? > > Absolutely Kelly! What a classic bass line! I do think the first two Zep albums are seminal white boy blues. Those two, along with Claptons work with Mayal, Beck-Ola, the Bloomfield and Kooper stuff (Drunk Again - with Pigboy Crabshaw? Are you kidding me? Great stuff!), Moby Grape, Green with Mac, and a very few others are "root" albums for us white boys. I mean theres' a whole bunch of us 40-50 year old guys - white punks from the suburbs - that were brought to the blues by listening to these guys first. I also think that it's a branch of blues music that plays a real part in blues history. greg ========================================================================= Date: Thu, 9 May 1996 01:12:40 -0400 Reply-To: BlueKing@AOL.COM From: Gregory A King Subject: Pratice amp question. Comments: To: kelly@netusa1.net Anyone recomend a good, small pratice amp? I am looking for a clean tone and some available grit in a small package. Not too much bigger than a Pignose? greg ========================================================================= Date: Thu, 9 May 1996 00:40:57 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: jsp news Here's a few tidbits from London's JSP records: U.P. Wilson was in the studio in London last week and recorded 9 reels of tape, 23 songs, over 2 days. There will probably be 2 new U.P. Wilson CDs from those sessions. One will probably be bare bones 3 piece, the other may have horns, keys, or whatever added on later. Lonnie Shields will release his next album on JSP. It's mostly soul and R&B flavored, with little real blues content (at least to my ears, your mileage may vary). New CDs by the Butler Twins, Terry Singleton (from Baton Rouge-produced by Larry Garner), and Bob Kirkpatrick are just out. I'll post an interview with Bob here shortly (most of which went into the liner notes). Don O. sort of associated, but barely ========================================================================= Date: Thu, 9 May 1996 07:27:51 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: =?iso-8859-1?Q?Re=C42=C5=3A?= amplifiers >Date: Thu, 9 May 1996 07:25:29 +0100 >To:jbards@mail-sh.lsumc.edu >From:Bo.Carlsson@hks.se (Bo Carlsson) >Subject:Re: Re=C42=C5: amplifiers > >>Hey Bo, since when is a Super Reverb "tiny"????? The super reverb has >>long been >>one of the favorite amps of blues players. A really well broken-in one, wh= en >>fully opened up, will roar and howl like a banshee. Buddy Flett, >>guitarist for >>my favorite local swamp-blues group, The Bluebirds, uses one to good >>advantage. >>Jim > Yea, I know all of that. I use one myself. But compared to the size of Albert King when he leaned over Seppos amp - turned it up and pushed some mighty flying-V licks through it. The amp was dancing over the floor..... Well I guess I described Seppos feelings more than reality, on the other hand - Mr King used bigger amps most of his career. Mr Bo ========================================================================= Date: Thu, 9 May 1996 00:15:35 -0700 Reply-To: Stan Ruffo From: Stan Ruffo Subject: Re: original blues Not only all that, but I thought enough of this gentleman to invite him to perform on the Blues On Tap Blues Cruise, sailing from San Pedro, CA to Ensenada, MEX. on October 11, 1996 -- Stan Ruffo Blues On Tap - Sundays at 8pm on Visalia's KIOO 99.7FM 800 N. Ben Maddox Way, Suite 2200, Visalia, CA 93292, (209)625-6049 ---------- From: Mike Curtis[SMTP:wd6ehr@KAIWAN009.KAIWAN.COM] Sent: Wednesday, May 08, 1996 9:29 PM To: Multiple recipients of list BLUES-L Subject: Re: original blues > > Just curious to see if any of you have a favorite local > blues band that is doing original material. Oh, well - here's my self-plug :-) I'm not a band, actually, but I _think_ I'm one. Electric harmonica, guitar, bass pedals (same time), and vocals. I work mostly places that "hire only full bands". I played the 10th Annual Blues Harmonica Blowdown at the House of Blues about a month ago, with Rod Piazza, James Harman, Bernie Pearl/Harmonica Fats, Billy Boy Arnold, and a local band, Flat Top Tom and his Jump Cats. Left Coast Carl, a local DJ, said "You were ...... GREAT". Walter Trout (a big blues star in Europe, formerly with Mayall and Canned Heat) says "Mike Curtis is the best harmonica player I've ever heard". My biggest problem (other than overcoming the "you're a single" objection by some pointy-headed club owners) is that oftentimes people in the audience think I'm doing some kind of "Karaoke", so I've devised several tunes where I "introduce the band". I do a mixture of originals and covers. My originals are the most requested tunes I do. -- IronMan Mike Curtis ========================================================================= Date: Thu, 9 May 1996 04:29:04 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Clarksdale Sunflower Fest Comments: To: Bonnie Kalmbach On 8 May 96, Bonnie Kalmbach had this to say: > The Sunflower Festival in Clarksdale is about 95 per cent local artists > (who have very little national name recognition: i.e. Big Moody, Johnny > Billington, Arthniece Jones, Eddie Cusic, etc.). They are all very good, > not jaded by 2000 nights on the road, and very refreshing. I'm not taking issue with the quality of the performers at the Sunflower Festival. I'm sure they are wonderful, but I do take issue with what you imply 2000 nights on the road will do to you. You don't get "jaded" by 2000 nights on the road, you get damn good at what you do. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ I don't want to achieve immortality through my work . . . I want to achieve it through not dying. - Woody Allen ========================================================================= Date: Thu, 9 May 1996 09:41:56 +0100 Reply-To: rof From: rof Subject: Re: Ted Hawkins Comments: To: Blcrowe@AOL.COM Comments: cc: rof@aber.ac.uk In-Reply-To: Your message of "Wed, 08 May 1996 01:11:17 EDT." <960508011115_109052223@emout09.mail.aol.com> I remember reading an article a year or two before Ted Hawkins died which described his background, how he'd been regularly raped and abused. Maybe this doesn't excuse the fact that he inflicted the same shit on others, but it's useful to know some facts about someone before slagging them off. Personally I listen to Ted Hawkins' music in the same I listen to Lomax's prison recordings (or any other recordings for that matter) ... for the music, not because I particularly like the character behind it. > I played some tracks from Californnia artist Ted Hawkins (booming voice - > a lot like Sam Cooke) recently on our radio show, and received a call from > one listener who was not mad but a little distraught. They told me I > shouldn't be playing material by someone who was a convicted child > molester. Now, I don't know if this is true or not, and I don't want to > ruffle feathers, but can ANY of you tell me if this is true? It won't > stop me from playing the music, for I have a lot of respect for the > artistry. But, I would still like to know for my own knowledge. > > Cheers - TD ========================================================================= Date: Thu, 9 May 1996 05:06:48 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1964, Hello Dolly! became the nation's top pop record. The milestone put Louis Armstrong on the Billboard music chart in the top spot for the first time in his 41-year music career. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ I don't want to achieve immortality through my work . . . I want to achieve it through not dying. - Woody Allen ========================================================================= Date: Thu, 9 May 1996 02:56:36 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Clarksdale Sunflower Fest Comments: To: pwfenton@GATE.NET In-Reply-To: <199605090832.EAA90024@osceola.gate.net> from "P.W. Fenton" at May 9, 96 04:29:04 am > > On 8 May 96, Bonnie Kalmbach had this to say: > > > The Sunflower Festival in Clarksdale is about 95 per cent local artists > > (who have very little national name recognition: i.e. Big Moody, Johnny > > Billington, Arthniece Jones, Eddie Cusic, etc.). They are all very good, > > not jaded by 2000 nights on the road, and very refreshing. > > I'm not taking issue with the quality of the performers at the > Sunflower Festival. I'm sure they are wonderful, but I do take > issue with what you imply 2000 nights on the road will do to you. > You don't get "jaded" by 2000 nights on the road, you get damn good > at what you do. Actually, that depends. Your chops will become finely tuned, but it can be a major drag on your spirit. If you're touring with a band that does the same set every night, made up of "record copy" versions because the fans know every note of every song you've ever done, and you're any kind of a creative person, you will likely become jaded, just like the assembly line worker who puts the same screw into the same hole every day of his life. If the material is varied, and you're learning and performing new stuff, it does a lot to keep you fresh. Smart bands know this and try to shuffle material in and out of the sets. Even a couple of tunes "for the musicians" can help immensely. It doesn't take a lot to keep musicians refreshed. And of course, if you get a lively audience, it will do wonders for you. Some audiences are terrible, and they sometimes get the performance they deserve. Sorry, folks, but I firmly believe that the audience has an obligation, too. Sometimes I think that "Musician Hell" would be touring with an immensely popular band that has exactly one nights worth of material, and these are all mandatory. Fortunately, all the touring acts I've worked with have had a large repertoire and a reasonable level of artistic freedom, and included enough tunes "for the band" to keep us content. -- IronMan Mike Curtis ========================================================================= Date: Thu, 9 May 1996 07:22:06 GMT Reply-To: CKUT_online@babylon.montreal.qc.ca From: CKUT online Organization: Babylon, Montreal, Canada Subject: Re: original blues Comments: To: blmclean@NETAXS.COM There are a couple of bands here in Montreal who have some strong original material: The Stephen Barry Band has been together for 25 years and has a new cd out "Happy Man" with several originals. Robert David, a former member of the same band, has a few strong tunes, and a unique presentation. He plays accordion, harp, and Wak-a-matic (a kind of foot-operated rubboard). Ray Bonneville also has a cd out called "On The Main" which includes good originals. John Detcheverry ========================================================================= Date: Thu, 9 May 1996 05:52:36 -0400 Reply-To: Jon Duttweiler From: Jon Duttweiler Subject: Sitting & Thinking - Sherman Robertson I'm The Man This is still Code Blue month at NY CD Blues and, as I told you last week, all of their CDs are reviewed are at our site. *PLUS* we are giving away 5 of their 6 releases in our monthly giveaway game (details on our main page -just hit the [Win CD's] ). The newest Sherman Robertson, "Here and Now," is available to win at "Jim's Brews and Blues" (you can drop by and read the NY CD Blues review of it as well), and you can check out the new Buddy Guy page, which has nothing to do with Code Blue, but has reviews of some great Buddy Guy CDs. Now, on with the show... ______________________ SHERMAN ROBERTSON - I'M THE MAN - CODE BLUE 82695-2 CODE BLUE 590 FIFTH AVENUE 16TH FLOOR, NEW YORK, NY 10036 TEL: 212-575-6732 FAX: 212-575-6595 e-mail You had better get used to the name "Sherman Robertson," because you'll be hearing it a lot from now on in the blues world. Combining Texas and Louisianna style blues with the sophistication of the West Coast, Robertson has put out one killer solo debut CD on British producer Mike Vernon's (who produced the early, blues based, Fleetwood Mac material) Code Blue label. While originally recorded in 1993 and released on the Inidgo label, all in all this may well be the surprise CD of the year for me. With not a bad lick on the disc, Robertson grabs hold of you, makes you sit up and take notice with his forceful and energetic style. Robertson began playing guitar when he was thirteen years old after hearing, of all people, Hank Williams. Robertson says "It was country, but it seemed to me that the man had the blues the way he was yodeling and wailing. I said, 'Wow, that's what I want to do.'" His guitar style was influenced by more likely blues artists such as Freddie King and Floyd London. After playing a number of years with east Texas blues bands in clubs and bars, he moved to Louisiana and spent over five years with Clifton Chenier's band. Later he spent some time with Rockin' Dopsie and played in the studio with Paul Simon on the "Graceland" sessions. An expressive singer as well as scintillating guitarist, Robertson often sounds like Robert Cray, but with a harder edge. Rather than lay on top of the rhythms, his voice and guitar slice right through them. Joining Robertson on these sides are Kim Foreman playing C3 Hammond and accoustic piano, Larry Jolivette on bass and Nathaniel Jolivette and B. A. Fox on drums. Gary Shaw contributes a second guitar, while Matt Little plays Roland piano and clarinet. Rounding out the cast is Mel Collins kicking in horns and Mike Vernon with percussion. Together, this cast does what a good rhythm section is supposed to, make you forget their there. They are tight and together, allowing Robertson to really shine forth and show that, for this disc, at least, he really is "the Man!" I'M YOUR MAN / SOMEBODY'S MESSIN' / AM I LOSING YOU? / SPECIAL KIND OF LOVING / MAKE IT RAIN / OUT OF SIGHT OUT OF MIND / LINDA LOU / HOME OF THE BLUES / OUR GOOD THING IS THROUGH / VACATING THE BLUES / HELPING HAND / TAKE A MESSAGE NY CD Takes I'M YOUR MAN: Honestly on this first cut you may check your CD liner to make sure this is Sherman Robertson and not Robert Cray. Robertson is not derivative, but he does sound eerily like Cray on this tune. This cut is a jumping number penned by Mike Vernon and shows off both Robertson's vocals and stinging solo work. A great intro that let's you know you're in for a revelation with this disc. SOMEBODY'S MESSIN': Another jumping number with some nice horn work in the background riding strong, persistent rhythms. Robertson's vocals are right on the mark, even engaging in a little "scat" towards the end of the cut. His guitar work is piercing and tasteful. While you get the feeling he could let loose with the best of them, note for note, Robertson consistently shows he knows the value of a note, a pause and a phrase. AM I LOSING YOU?: A soulful ballad, this cut is extremely mellow throughout, with Robertson's voice so easy to listen to it just carries you along. This song seems very much in the "West Coast" style. Flowing guitar work, easy rhythm. This might be the cut to turn on with the lights down low. SPECIAL KIND OF LOVING: Robertson takes it up a notch with this mid-paced shuffle. Here he sounds much more like the Texas/Louisianna bluesman he is. His guitar playing is very much in the vein of Albert Collins, cold and precise with nothing wasted! His vocals have a certain swagger to them as well that really sells this song. One of the highlights of a CD full of them. MAKE IT RAIN: For this cut Robertson gets dark and dusky. The lyrical metaphors are similar to BB Kings "How Blue Can You Get," but without the somewhat playful feel of that song. No matter how much he tries, his woman still can find a way to make it rain. Add the stellar string work from Robertson and some nice piano, and you have another winner. OUT OF SIGHT OUT OF MIND: This up-tempo cut is another track with a "West Coast" feel to it. Smooth, flowing guitar, brisk rhythm and horns in the background blending together, make this another song perfect for turning down the lights. Robertson's guitar is so tasteful and tasty you wonder why other guitarists don't strive for this sound. Some great sax and guitar interplay close out this cut. LINDA LOU: Robertson turns back to that Texas feel with this side. An up-beat shuffle, he opens this up with a stinging guitar solo. His voice, so smooth and silky before, takes on the right edge and gruffness to it for this track. Kim Foreman contributes an organ solo along with Mel Collins' sax and then Robertson takes over on guitar, showing when he wants he can flat out blister the strings. This track rips it up! HOME OF THE BLUES: This cut adds a touch of funk to Robertson's West Coast side to come up with a winning mix. With the bass and drums laying down a strong rhythm, Robertson is out on top with polished vocals and guitar work. Engaging horn arrangements give this track a big sound with a touch of classic soul to it. OUR GOOD THING IS THROUGH: Another mellow blues/soul ballad that gives Robertson a chance to shine through on vocals. Here that Robert Cray "smoothness" takes on a bit of an edge. Very tasteful guitar work in the George Benson vein with a blues tinge. VACATING THE BLUES: This track, written by Robertson, Vernon and the gang, takes us back to Texas for another shuffle number. The whole band gets in the act on this one, with Collins blowing a mean sax and Robertson kicking in some more razor-sharp leads, with a little "duel" taking place three quarters through. The lyrics are up-beat, illustrating the blues ain't just about being blue! All around another highlight track. HELPING HAND: A double time shuffle rhythm starts this off with Robertson's guitar coming in a few measures later slower paced on top. The Roland piano gets a workout in the background as Robertson's vocals and guitar take center stage. Robertson's tone is a bit fatter on this cut, but the licks just as sharp and fluid. Another Robertson original. TAKE A MESSAGE: Robertson turns the heat up one last time for this disc closer. Veering toward "blues/rock," but with a whole lot of soul, on this cut Robertson shows he really can cut it loose with the best of them. Yet, as with most good music, its the vocals that really make the song, and here Robertson shows again he's a force to be rec Reviewed by Jon Duttweiler Copyright NY CD Blues @1995-1996 All Rights Reserved. Unauthorized use prohibited. NY CD BLUES - http://www.panix.com/~bsco/ - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 9 May 1996 06:10:18 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: jsp news Comments: To: Don O In-Reply-To: <9605090040.00YIZ01@chrysalis.org> On Thu, 9 May 1996, Don O wrote: > Lonnie Shields will release his next album on JSP. It's mostly soul and R&B > flavored, with little real blues content (at least to my ears, your mileage may > vary). This is great to hear. When I met Lonnie up at the Poconos Fest. he said that he was looking forward to returning to soul and R&B and gospel too. Any gospel Don on or gonna be on that release. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 9 May 1996 06:39:00 -0400 Reply-To: Michael.Abbott@BMHKG-03.SMJARDIN.LANGATE.SPRINT.COM From: Michael Abbott Subject: Dr John In his post of 8 May re:Dr John, Uncle Ray said: "The story goes that Baron damaged his hand , amputated a finger I think and could not become the "Dr" character. So.....Mac did it himself" I recall seeing an interview with the Doctor where he gave a different take on this one. He didn't talk about where the "Dr John" name came from, but he did say that he had injured his hand, and that the injury had a part to play in him developing his style of piano playing - using the injured left hand to thump out chords on the piano. I think he also mentioned being a guitar player in pre-injury days. Interesting how a number of great musicians have adapted to/overcome injury or disability to make incredible music - Django Reinhardt (burnt fretting hand, leaving only 2 properly functioning fingers), Jerry Garcia (missing right index finger), Blind Blake, Blind Lemon Jefferson, Reverend Gary Davis, Beethoven (limited blues content) etc... ========================================================================= Date: Thu, 9 May 1996 10:30:02 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Muddy's Cabin Movin' In-Reply-To: <199605081902.PAA73756@osceola.gate.net> On Wed, 8 May 1996, P.W. Fenton wrote: > Dave, I think you misread that. What was mentioned was Jim O'Neal's > and Dick Waterman's "Blues pedicure". Both of them have tiny little > paintings of famous scenes in Blues history painted on their > toenails. Ask them to take their shoes off sometime. Oooh, now I get it. I thought he meant "pet agree" as in they both agree as to what the cat should be named. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [9/5/96 6:04 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 9 May 1996 07:41:07 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0364 From: "DUTTWEILER.J" Subject: Re: SITTING & THINKING: Big Walt Date: Thursday, 9 May 1996 7:40am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: SITTING & THINKING: Big Walt > On Wed, 8 May 1996, Jim Witteveen wrote: > > Which leads me to a couple of questions about NYCD Blues - why do you only > > print positive reviews?... > > Jim, > > Fair questions - here are the answers. There are quite a number > of CD's we could not give positive go-get reviews to. Policy is > we pass them by and don't share them. In particular what we're > up to is passing on recs for CDs we have liked and think others > might like too... > > If you were on the inside you'd better understand what's passed > and what is given a go-get. Also and this is probably the most > important factors in reading reviews (ours or others) it all is > nothing more than opinion. What I might like you might hate. I > have seen a particular disc passed on by one of us and thrilled > over by another. > > Barry I'd just like to add a couple of thoughts to what Barry posted. I have said it before, but it bears repeating, there is simply TOO MUCH great music out there to spend time being negative about releases we can't recommend. If a disc is reviewed by us its because one of us felt it worthy of recommendation. We don't always agree, in fact there is a disc coming up for review which I have high regard for and Barry doesn't think so much of (and NO, I won't tell you which one it is). The point being, we try to give a sense of what the disc contains - the artist, the music, and our individual impressions of them. If you think your tastes run in similar directions, check it out, if not, give it a pass. But why spend time and energy being negative, when there's so much more out there to be positive about? Hey, if we haven't reviewed it its because either we couldn't recommend it or we just haven't gotten to it yet JD ========================================================================= Date: Thu, 9 May 1996 11:49:22 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Orinal music + Help me name my pet rock! Just kidding. PLEASE. I'M JUST KIDDING!! Getting back to our regularly scheduled program ... There was a query about local bands with original tunes. Canada is is chock-a-block with artists putting out original "indie" material. If they were in the U.S. many would be on a major label. In Ottawa alone there is The Tony D. Band, Suzie Vinnick, Mumbo Jumbo Voodoo Combo, The Drew Nelson Band, The Bird, Andrea and the Fun Guys and I haven't named them all. All with CDs with at least some original material. Take Tony D. (who happens to lurk this list once in a while) he has two CDs (three if you count the "compilation" CD) and a third in the can. I understand he's getting known in Europe but who in the U.S. has heard him or of him? Matter of fact he posted within minutes of the now famous SAFFIRE post and no-one noticed. Okay he's not SAFFIRE famous but that's kind of my point. There seems to be a one way barrier here. Does anyone know the ropes? Richard the elder? What's happening here? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [9/5/96 7:29 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 9 May 1996 07:54:01 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: SITTING & THINKING: Big Walter Horton Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *I'm sorry, but I have to take issue with the glowing review of this album. *This is _far_ from Walter Horton's best work, and I really wouldn't *recommend it that highly. Not only is it very short, but it also includes *two versions of the same song (Everybody's fishin' and Put the Kettle On *could probably be laid on tracks one atop the other, and you'd have the same *song), the song selection isn't great, and the performances are ho-hum. As a harp player and HUGE fan of Walter Horton (he's my all time favorite blues harp player), I have to disagree. Yes, this album is far from his best work (and it could be longer), but I think his two Blind Pig albums are great, and essential albums for fans of Big Walter. His version of "Don't Get Around Much Anymore" is almost worth the price of the album. -Steve ========================================================================= Date: Thu, 9 May 1996 07:43:23 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Stephen Barry Band in Toronto I see a Montreal-based Blues-L subscriber figures that the Stephen Barry Band is one of the best "undiscovered" bands in that city. The Stephen Barry Band will be making a rare foray out of Montreal (where the group is rightly revered) to play at Toronto's recently reopened and revived Silver Dollar club. Stephen and the band will play May 31 and June 1; the vast Richard Flohil & Associates organization will be doing what it can to publicise and promote the event. And we'd better see some local Blues-L people there (and paying cover charge too!) or else there'll be words! Seriously (he added seriously!), I was pleasantly surprised by the Happy Man album, which I hadn't heard before-it's much better than some of his previous stuff, which is why I'm delighted to be working with him. I think Toronto audiences will be pleased to discover him, and ex-Montrealers (we call them the car people) who have left home to live in Toronto will know how good he is, and hopefully will turn out in force. Spread the word! Richard Flohil ========================================================================= Date: Thu, 9 May 1996 08:35:38 EDT Reply-To: "Eric C. Shoaf" From: "Eric C. Shoaf" Subject: Re: Buddy Guy's Amps JB wrote: I read earlier today that someone mentioned Buddy Guy and the two Bassman reissues he's been using for the last couple of years. You're about to see him switch over to the Victoria amp- he heard them and fell in love and Mark Baier has been working with him for the last couple of months to design **************************************************************************** For those of you not familiar with Victoria Amps, there is a nice profile of the company in the new (June 1996) issue of Vintage Guitar Magazine. Eric Shoaf ========================================================================= Date: Thu, 9 May 1996 08:59:39 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Ted Hawkins >>Chris, >>Would you buy a record by Charles Manson? Prejudice is one thing, an >>immoral criminal another. But then, my standards are rigid. >>Peace, >>nitra >Nitra, I respect your rigid standards, but I think you're comparing apples >and oranges here. Charles Manson is famous because he was an insane mass >murderer, and that's the only reason his songs have ever been released. I >wouldn't buy 'em (although I do have a song that was co-written by him >'Never Learn Not to Love', ironically enough, on an album called 20/20 by >the Beach Boys). I also refuse to buy OJ's video tape, because this is the >case of someone (guilty or not) simply profiting off of the brutal murders >of two innocent people. > >However, the Ted Hawkins case is far different. He gained no fame from his >crimes, but for his music. His music is beautiful; his voice is the best >I've heard in a long time, and his songs have nothing to do with his >criminal record, either promoting his aberrant behaviour or gaining by it. >So I can in good conscience listen to Mr. Hawkins (and others whose >lifestyles do not conform with my moral code) and wholeheartedly enjoy his >music. > >-Jim (hndful@uniserve.com) Nitra asked me the question, but Jim has answered it for me. Thanks, Jim. One of the nice things about blues-l is the synergy. Chris Smith (chris@skerries.demon.co.uk) Beauty is in the eye of the beer holder. ========================================================================= Date: Thu, 9 May 1996 08:48:38 EST Reply-To: Saint Bob From: Saint Bob Organization: Luse Lehman Gorman Pomerenk &Schick Subject: Western Maryland blues festival Anyone have any schedule info on the Western Maryland blues fest that begins on the last day of May? I have to be in Philly on Saturday but want to work the festival into my plans. -------------------- The truth about aggressive driving: If one more lipstick-applying secretary, denture-clacking old fart, stereo-tweaking dork or lost loser gets in my way, I'll mow them down with a renewed vigor and enthusiasm not seen by many. ========================================================================= Date: Thu, 9 May 1996 08:17:42 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: Shakey Morning friends... I'm a little shakey today -- a big tree fell on our house last night..black storm, raging winds, snappng of the trees around us like toothpicks crushed by some giant, angry hand. We were not hurt; our house only slightly mushed. A huge big maple in the back of our house was snapped off in the center, and one large limb of another fell on the house. No lights, no phone, mother nature on the run. We played guitar like Nero playing fiddle during the fire...nervously (smile). Outside, high-wire transformers burst into flame. Boy when that Steve James comes to visit, he makes an impression! (Actually he was playing mandolin with Yank in Indy by that time, lucky man.) It was scary, but sure straightens out who's in charge pretty quick...and it ain't me. Stuart just sang a tune he wrote many years ago: "I heard that twister comin'..didn't have no time to pray/Yeah I heard it comin'..didn't have no time to pray/I asked Lord God up above me/pleeeeeeease take that mean ol' thing away." "Musta been the devil, the way it skake it's tail all around/Yeah...musta been the devil, the way it shake it's tail all around/Made me sorry for my sins/All I could do was hit the ground." And I sang "glory Hallelujah" backups. Amen. Cathi N. ========================================================================= Date: Thu, 9 May 1996 13:28:48 GMT Reply-To: "Jennifer A. Zogott" From: "Jennifer A. Zogott" Organization: New York University Subject: non-performer Handys Comments: To: bit-listserv-blues-l@uunet.uu.net I have been trying for several days to get a list of the non-performer Handy awards given out last weekend; maybe some of you are back from Memphis now with the answer. Please e-mail me - many thanks. Jennifer Zogott * * * "How many bubbles in soap? How many chews in gum? How many rolls in a wheel? Where did eyeballs come from?" - Screamin' Jay Hawkins ========================================================================= Date: Thu, 9 May 1996 08:44:51 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Stavin Chain I think this has already been discussed, but could someone tell me what "Stavin Chain" means....THANKS. Does anyone know of a book that has some detailed info on Lucille Bogan LW ========================================================================= Date: Thu, 9 May 1996 09:54:14 -0500 Reply-To: MARCIAG@VMS.CIS.PITT.EDU From: Marcia Grodsky Subject: Re: New release: Sarah Brown Comments: To: seale@BIOC02.UTHSCSA.EDU Margaret Moser has an interesting interview with Sarah Brown in the Austin Chronicle (available at their web site). ---Marcia ========================================================================= Date: Thu, 9 May 1996 08:54:46 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Dr John Comments: To: Michael.Abbott@BMHKG-03.SMJARDIN.LANGATE.SPRINT.COM According to Dr. John's autobiography, he started out as a guitar player but injured his hand (in a bar fight as I recall) and had to switch to piano. This must be one of the more fortuitous injuries in blues history... > "The story goes that Baron damaged his hand , amputated a finger > I think and could not become the "Dr" character. So.....Mac did > it himself" > > I recall seeing an interview with the Doctor where he gave > a different take on this one. He didn't talk about where the "Dr > John" name came from, but he did say that he had injured his > hand, and that the injury had a part to play in him developing > his style of piano playing - using the injured left hand to > thump out chords on the piano. I think he also mentioned being > a guitar player in pre-injury days. Eliot Williams University of Wisconsin Department of Medicine williams@heme.medicine.wisc.edu ========================================================================= Date: Thu, 9 May 1996 09:06:59 -0500 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Kanasas City Has anyone heard anything about the new Robert Altman film about Kanasas City in the 1930's, called "Kanasas City"? Bruce Roberts Austin, TX ========================================================================= Date: Thu, 9 May 1996 10:08:45 -0500 Reply-To: MARCIAG@VMS.CIS.PITT.EDU From: Marcia Grodsky Subject: Blues-L T Shirts I has said several weeks ago that the minimum re-order was 5 dozen, and I've had approximately that many responses. From the past orders I know that about 20% of the people who said they were interested will not actually order, but that somewhere near the same number of new orders will materialize, so I've decided to go ahead with it. Later today (or tomorrow) I'll post ordering information (which will be basically the same as in the past). A number of people who responded expressed interest in other kinds of merchandise. We've discussed this in the past, and I'm willing to consider it. The company which does the t shirts has a full line of merchandise. My main concern with mugs, which a number of people have requested, is the problem of shipping them. But I will think about it. There's no need to clog the list with this stuff, but I'll take private email on what other blues-l merchandise you want. While all t-shirt proceeds will continue to go to the Delta Blues Museum for the time being, if we do decide to add other items we'll have another vote on which organization gets the proceeds from those items. ---Marcia marciag@vms.cis.pitt.edu ========================================================================= Date: Thu, 9 May 1996 10:09:29 -0400 Reply-To: gm From: gm Subject: blues soundtrack for new movie has anyone listened to the soundtrack of a movie called Heavens Prisoners? I saw the commercial for it tues night while watching the NY Rangers game and caught the tail end of it.It listed artists on the soundtrack including buddy guy and BB King. ========================================================================= Date: Thu, 9 May 1996 09:19:26 -0500 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: Ted Hawkins Comments: To: sprice@INAV.NET In-Reply-To: from "Steve Price" at May 9, 96 00:04:54 am In an earlier message, Steve Price said: ] On Wed, 8 May 1996, bob unger wrote: ] > So how long does a convicted criminal have to pay for his crime. ] > ] > A man commits a crime (the nature of the crime should not be an issue here) ] ] Didn't Leadbelly kill a man? Didn't Robert Pete Williams kill a man? Look how much blues lyrical content relates to murder, as well as pedophilia ("Good Morning Little School Girl" comes to mind). I have to second Bob's point, too. The man's done his time -- let him put the crime behind him. -- * The most exciting phrase to hear in science, the one that heralds new * discoveries, is not "Eureka!" (I found it!) but "That's funny ..." * -- Isaac Asimov ========================================================================= Date: Thu, 9 May 1996 14:13:35 GMT Reply-To: marc borms From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: 'zeller meetings ... Comments: To: bit-listserv-blues-l@news.Belgium.EU.net First of all, I wanna say sorry for the low blues-content of this article. In fact, it has a blues-l content. For more than a year now, I follow this list with a growin' enthusiasm. Almost the same as I feel when I play a baby grand myself.... And then I read all those posts about 'zellers meeting each other in Memphis, probably will read them about 'zellers meeting each other in Chicago next month and, with my nails bit off my fingers, sure will read the posts about the St. Louis meeting on Labour Day weekend. And i feel a little bit of blues when I see that most of the 'zellers do live in the States, don't they ? Because I am not in the possibility to visit often American bluesfestivals, I sure would appreciate some european 'zeller meetings... Who can help ? embee 'the pianoman', playin' faster than his shadow... ps. P.W., if you visit Germany this month, come over to Belgium : great beer, some gigs this month, a few 'zellers available ;-) pps. As a pianoplayer myself, I sure wanna welcome Ann Rabson to the list. At last, pianoman meets pianowoman :-) Any European gigs in the (near) futur, Ann ? ========================================================================= Date: Thu, 9 May 1996 09:25:17 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Ted Hawkins Comments: To: Anita Samuel nitra wrote... > Would you buy a record by Charles Manson? Prejudice is one thing, an > immoral criminal another. But then, my standards are rigid. > BTW, how many people refused to buy OJ's videotape? If blues fans stopped buying or playing records by performers whose behaviour has been reprehensible at times we'd have to cut a lot of people out of our collections. Ike Turner, James Brown, Little Willie John come to mind. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Thu, 9 May 1996 09:25:17 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Blues in Santa Clara or Dallas? I will be in Santa Clara CA May 14-15-16, and then in Dallas TX May 21-22-23. Any suggestions for blues clubs/concerts/radio shows would be greatly appreciated. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Thu, 9 May 1996 07:44:39 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: May 10 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ALEXANDER, ARTHUR (v/songw) b. 1940-0510, FLORENCE, AL BANKS, RON (lead/THE DRAMATICS) b. 1951-0510, DETROIT, MI BOGAN, TED (g/MARTIN,BOGAN & ARMSTRONG) b. 1910-0510, SPARTANBURG, SC BOOKER, SHERMAN (p/COMBO REC) b. 1928-0510, PHOENIX, AZ CARTER, MAYBELLE (g/CARTER FAMILY) b. 1909-0510, COPPER CREEK, VA CHENIER, CLEVELAND (wbd/CLIFTON CHENIER) b. 1921-0510, OPELOUSAS, LA CODAY, BILL (v) b. 1942-0510, COLDWATER, MS COOK, ANN "BAD" (v/VICTOR REC) b. 1903-0510, ST. FRANCISVILLE,LA DONOVAN [DONOVAN LEITCH] (g) b. 1946-0510, GLASGOW, SCOTLAND FAMBOROUGH, HENRY (of THE SPINNERS) b. 1938-0510, MONROE, LA FICARA, KEN (BLUES-L MEMBER) b. 1965-0510, NEW YORK CITY, NY GABLER, BERNARD (co-owner: COMMODORE REC) d. 1974-0510, NEW YORK CITY, NY 56 JENKINS, GEORGE (d/DINAH WASHINGTON) d. 1967-0510, SAN FRANCISCO, CA 49 KING, LAVERNE MELODY "SUGAR"(v/GILLESPIE) d. 1987-0510, PHILADELPHIA, PA 62 MARTIN, CARL(of MARTIN,BOGAN & ARMSTRONG) d. 1979-0510, PONTIAC, MI 73 MOSCHELLA, JIMMY (of THE ELEGANTS) b. 1938-0510, STATEN ISLAND, NY PICCOLO, GREG(tsax/BLACK TOP REC/ROOMFUL) b. 1951-0510, WESTERLY, RI PONDER, JIMMY (g) b. 1946-0510, PITTSBURGH, PA RANEY, JIMMY (g) d. 1995-0510, LOUISVILLE, KY 67 RAPP, DANNY (lead/DANNY & THE JUNIORS) b. 1941-0510, PHILADELPHIA, PA SIMS, FRANKIE LEE (g/SPECIALTY REC) d. 1970-0510, DALLAS, TX 64 VAUGHN, MAURICE JOHN (g/ALLIGATOR REC) b. 1949-0510, CHICAGO, IL WALKER, KENNETH (of bogus THE PLATTERS) d. 1976-0510, SYDNEY, AUSTRALIA 25 WILLIAMS, CHARLES "HUNGRY" (d) d. 1986-0510, NEW YORK CITY, NY 31 WILLIAMS, LARRY (p/SPECIALTY REC) b. 1935-0510, NEW ORLEANS, LA ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 9 May 1996 10:44:25 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Johnny Winter Cancelled Okay, for those of you who reserved your plane tickets to come to Cincinnati on June 21 to see Johnny Winter....the show has been cancelled. If he's scheduled to come to your city, check with the venue. Shannon ========================================================================= Date: Thu, 9 May 1996 07:45:40 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: May 11 Here's a few dates (b. born, d. death) for Saturday. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ABNER, EWART JR. (songw/arr/prod/VEEJAY) b. 1923-0511, CHICAGO, IL BERLIN, IRVING [ISRAEL BALINE SR.](songw) b. 1888-0511, TYUMEN, RUSSIA BLAND, JAMES A. (afro-amer songw) d. 1911-0511, PHILADELPHIA, PA 56 BLUMENFELD, ROY (d/BLUES PROJECT) b. 1944-0511, BRONX, NY BURDON, ERIC (v/THE ANIMALS) b. 1941-0511, NEWCASTLE TYNE UK CAMARATA,SALVADOR (co-founder:LONDON REC) b. 1913-0511, GLENRIDGE, NJ COOK, OLIVIA "LADY CHARLOTTE" (p) b. 1913-0511, NEW ORLEANS, LA FISHER, BOB (prod/ceo: SEQUEL REC) b. 1947-0511, LEICESTER, UK FLATT, LESTER (g/EARL SCRUGGS) d. 1979-0511, NASHVILLE, TN 64 HARTINGS, DEBORAH (b/BO DIDDLEY) b. 1959-0511, EVANSVILLE, IN HIGGINBOTHAM, J. C. (tbn) b. 1906-0511, SOCIAL CIRCLE, GA HODGES, JOHNNY (asax/ELLINGTON) d. 1970-0511, NEW YORK CITY, NY 62 MARLEY, BOB (g/songw) d. 1981-0511, MIAMI, FL 36 MCCOY, JOE "KANSAS" (g/MEMPHIS MINNIE) b. 1905-0511, RAYMOND, MS OVERBEA, DANNY (g/CHESS REC) d. 1994-0511, CHICAGO, IL 68 SATIN, ARNIE (of THE DOVELLS) b. 1943-0511, PHILADELPHIA, PA SEWARD, ALEC (g) d. 1972-0511, NEW YORK CITY, NY 71 SMITH, RICHARD J. (tpt/HARLAN LEONARD) b. 1909-0511, KANSAS CITY, MO STILL, WILLIAM GRANT (arr) b. 1895-0511, WOODVILLE, MS TRUCKS, BUTCH (d/ALLMAN BROS) b. 1947-0511, JACKSONVILLE, FL WILSON, HOMER (g) d. 1980-0511, CAIRO, IL -- ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 9 May 1996 07:46:49 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: May 12 Here's a few dates (b. born, d. death) for Sunday. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BISHOP, JOE (tpt/fluegehorn) d. 1976-0512, HOUSTON, TX 68 BLEDSOE, GEORGE (b/INK SPOTS) d. 1982-0512, HONOLULU, HI 82 BROWN, HILLARD (d) b. 1913-0512, BIRMINGHAM, AL CARR, WYNONA (p/songw/SPECIALTY REC) d. 1976-0512, CLEVELAND, OH 51 COSBY, HENRY (arr/prod/MOTOWN REC) b. 1938-0512, DETROIT, MI DANE, BARBARA [BARBARA JEAN SPILLMAN] (v) b. 1927-0512, DETROIT, MI GREER, JOHN BIG (tsax/RCA/MILLINDER) d. 1972-0512, HOT SPRINGS, AR 48 HALE, JACK DONALD (tbn/MEMPHIS HORNS) b. 1927-0512, MEMPHIS, TN JOHNSON, EARNEST "FLUNKEY" "44" (p) d. 1972-0512, GREENVILLE, MS 69 KINSEY, DONALD (g/KINSEY REPORT) b. 1953-0512, GARY, IN MACON, ALBERT (g/ROBERT THOMAS) d. 1993-0512, SOCIETY HILL, AL 73 MOORE, TINY (mand) b. 1920-0512, HAMILTON COUNTY, TX PIMMEL, DAVID (BLUES-L MEMBER) b. 1970-0512, KENNEWICH, WA PURIFY, JAMES (of JAMES & BOBBY PURIFY) b. 1944-0512, PENSACOLA, FL ROYAL, MARSHALL (asax) b. 1912-0512, SAPULPA, OK SWAN, BILLY (g) b. 1932-0512, CAPE GIRARDEAU, MO WASHINGTON, JAYOTIS (of THE PERSUASIONS) b. 1941-0512, DETROIT, MI WHITFIELD, NORMAN (prod/arr/MOTOWN REC) b. 1940-0512, HARLEM, NY WIGGINS, GERRY (p) b. 1922-0512, NEW YORK CITY, NY WINWOOD, STEVE (v/SPENCER DAVIS GROUP) b. 1948-0512, BIRMINGHAM, UK YOUNG, BILLY (v/OTIS REDDING/JOTIS REC) b. 1940-0512, DAINGERFIELD, TX ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 9 May 1996 10:49:32 -0400 Reply-To: Oded Maron From: Oded Maron Subject: SITTING & THINKING: Big Walt In-Reply-To: "DUTTWEILER.J"'s message of Thu, 9 May 1996 07:41:07 GMT Reply-To: "DUTTWEILER.J" > On Wed, 8 May 1996, Jim Witteveen wrote: > > Which leads me to a couple of questions about NYCD Blues - why do you only > > print positive reviews?... > But why spend time and energy being negative, when there's so much more out there to be positive about? I said it before, and I'll say it again: if you only write positive reviews then you are actually hurting the good CDs. By showing what you don't like, you make the stuff that you do like have meaning. Otherwise, all the CDs that get equally spectacular reviews just get equally ignored. Oded ========================================================================= Date: Thu, 9 May 1996 07:41:22 -0700 Reply-To: Guy Tapper From: Guy Tapper Subject: Re: The Band. >The Band is out touring again, without "lead" guitarist Robbie Robertson. >As far as I know, the line-up includes Danko, Manuel, Hudson, and Helm. > Not quite true. As pointed out earlier, Richard Manuel committed suicide about 9 years ago. The other three still touring and recording as the band. Guy Tapper Marine Life Research Group Scripps Institution of Oceanography 9500 Gilman Dr. La Jolla CA 92093-0227 (619)534-2358 (619)534-6500 fax ========================================================================= Date: Thu, 9 May 1996 10:22:07 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Dr John Comments: To: Eliot Williams In-Reply-To: <1C6DCA66894@heme.medicine.wisc.edu> The Dr. John hand damge story (which I've read and heard directly from him) was that when he was young, he was charged with looking after band member Ronnie Barron. They were at some motel and he went to Ronnie's room and found some guy pistol-whipping Ronnie. Mac interceded and had his hand over the gun trying to wrest it away from the assailant when it went off and blew away at least one finger. ========================================================================= Date: Thu, 9 May 1996 11:21:47 -0400 Reply-To: vOOdOO_RaGs From: vOOdOO_RaGs Subject: REGARDING_TED_HAWKINS!!! I recall the first time I brought up TED HAWKINS name way back and how good his album was, not many BLUEZELLERS commented about his Blues.... And now with a "sensational" issue about TED, everybody has an opinion..... Strange are the ways of the world, I think sometimes.... Also, have we sounded the DEATHKNELL of the "Name the Cat" issue. I seen 'Zellers who otherwise have nothing to say, reel out lotsa names for a cat!!! +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | Laissez les bon temps roulez!! | | // ~~ ~~ \\ | Let the good times roll!! | | /d+(+)-(+);b\ | ------------------------------ | | // L \\ | SANJAY 'RAGS' RAJAN | | // //|\\ \\ | sanjay_rajan@formtek.com | | ////`---'\\\\ | FORMTEK,INC. | | // //|||\\ \\ | PITTSBURGH, PA | | // /|||\ \\ | ------------------------------ | | -/---/\o/\---\- | Visualize Whirled Peas!! | | /"\ | | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Thu, 9 May 1996 10:41:06 -0500 Reply-To: Heather Loren Miller From: Heather Loren Miller Subject: Re: Help name my cat Comments: To: Shaun T Cronin In-Reply-To: Hi, Shaun. Since the phrase "black cat bone" appears periodically in blues lyrics, not to mention African American literature, why don't you call her "Bone"? Take care, and get some Neosporin for those scratches and bites. Heather hmiller@tiger.lsu.edu On Tue, 7 May 1996, Shaun T Cronin wrote: > In a fit of god knows what (kindness, insanity latent parental-type > feelings), I adopted kitten on the weekend. She is, of course, extremely > cute and is all black (with a touch of white on the neck). But she needs a > name. I was thinking of a blues-approved name but I couldn't think of > anything. > > So if anyone out there had a great idea for a blues-type name for my kitten > then let me know. All I can offer in return is my thanks and a beer if you > come by LA. > > Thanks, > > Shaun > > Shaun Cronin 'Woke up this morning between midnight and day. I was > shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son > House > ========================================================================= Date: Thu, 9 May 1996 11:40:55 -0400 Reply-To: Charles L Isbell From: Charles L Isbell Subject: Re: SITTING & THINKING: Big Walt In-Reply-To: <199605091449.KAA12017@fiber-bits.ai.mit.edu> (message from Oded Maron on Thu, 9 May 1996 10:49:32 -0400) From: Oded Maron | Reply-To: "DUTTWEILER.J" | > On Wed, 8 May 1996, Jim Witteveen wrote: | > > Which leads me to a couple of questions about NYCD Blues - why do you only | > > print positive reviews?... | But why spend time and energy being negative, when there's | so much more out there to be positive about? | |I said it before, and I'll say it again: if you only write positive |reviews then you are actually hurting the good CDs. By showing what |you don't like, you make the stuff that you do like have meaning. |Otherwise, all the CDs that get equally spectacular reviews just get |equally ignored. So it is written, so it is true. It is also the case that if every review is negative... or tepid... or in any way the same, they'll be pretty useless. Basically, there's just no information in a constant. The right thing to do is to review albums you love, hate and feel indifferent about so that the reader can align your tastes with hers. As a reviewer, I have to constantly remind myself of this because it is hard to review things that you don't like and even harder to write one about something you don't care about. Writing a thorough review takes energy and it seems like a waste to write a review about something uninteresting. On the other hand, given that you're expending the energy to write reviews, you'd be wasting it not to occasionally go out of your way to define your tastes and boundaries for your audience. Peace. "They praise these tiny indie bands, but if a band finally gets mainstream success, the same people who praised them attack them for 'selling out.' People often play at being nonconformists to mask their own feelings of not fitting in." -Kyle Baker, Why I Hate Saturn -\--/- Don't just adopt opinions | \/ | Some of you are homeboys develop them. | /\ | but only I am The Homeboy From hell -/--\- ========================================================================= Date: Thu, 9 May 1996 15:40:07 GMT Reply-To: Bill Izzo From: Bill Izzo Organization: University of Delaware Subject: Copeland's Recovery? Comments: To: bit-listserv-blues-l@uunet.uu.net Any news on Johnny Copeland's recovery? I know that he had open-heart surgery a few weeks back. A Delaware Blues Fan ========================================================================= Date: Thu, 9 May 1996 09:10:40 -0700 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: CD Recomendation... Last week, I had the opportunity to pick up a copy of a great new CD just issued on the Evidence label. Carl Weathersby's, "Don't Lay Your Blues On Me" is one the best new albums I've come across in the past several months. As a fellow blues-l'er simply put it, "Carl Weathersby kicks ass!!" and this comment rings true about this album. It contains 10 great tracks from one of the hottest bluesmen on the Chicago scene. For those of you who don't know about Carl, he is one of the most incredible guitarists playing the blues today. Born in Mississippi and raised in Indiana, Carl was heavily influenced by the great Albert King, who was a family friend. He also toured with Albert King in the late 70's and early 80's. Carl sat in with Billy Branch and the SOBs in a club on Chicago's South Side and has been with them ever since. He has filled up several passports touring the world with a literal who's who of the blues. He has appeared on recordings by Carey Bell, Buster Benton, Billy Branch, Robert Covington, George Gruntz and an Alligator compilation. Carl is also an outstanding vocalist. He received much critical acclaim for his singing on Billy Branch's 1995 Verve release, "The Blues Keep Following Me Around." Carl's strong songwriting abilities haven't gone unnoticed. He was nominated for a 1996 W.C. Handy award in the Song Of The Year category for "The Blues Follow Me Around." "Don't Lay Your Blues On Me" is Carl's debut album and consists of some very strong original blues. He brings a tremendous amount of energy to this release. The results are first-class expressing a great deal of soul. His blues sound fresh and exciting reflecting the turmoil and surroundings of the present day, yet firmly rooted and influenced by the past greats. Carl Weathersby knows the blues and is a true bluesman. Regards, Joe P.S. I am not affiliated with Evidence Records. I am a fan of Carl Weathersby and his music. ========================================================================= Date: Thu, 9 May 1996 12:27:44 -0400 Reply-To: Bhblues@AOL.COM From: "(Bob Halperin)" Subject: Re: getting an acoustic Unfortunately, there is no one acoustic guitar that will adequately do everything you want. The signature sound of Dire Straits is that of a National Res-O-Phonic guitar, which will run you into big bucks. I'm not sure what Lightning Hopkins used (I'm sure there's someone out there who will know), but it sounds like an old, possibly concert-size wood-body acoustic. While it's possible to use one guitar to achieve some approximation of both of these sounds, the really tough part is flamenco. Flamenco playing requires a flamenco-style guitar, which is strung with high-tension nylon strings and has a very thin cedar top. This construction gives it a very bright, choppy sound with hardly any sustain -- just perfect for flamenco music. My best advice, after having worked in music stores, is to go out to music stores and play all the instruments in your price range. Don't be intimidated by snotty sales clerks -- If they start pressuring you to buy, walk away. Does the guitar sound good to you, does it feel good to you? Will the store back it up with a guarantee? Keep looking and you'll find what you want. Happy hunting, Bob Halperin ========================================================================= Date: Thu, 9 May 1996 11:39:31 -0500 Reply-To: Birmingham From: Birmingham Subject: Jimmy Reed record Does anyone know anything about the Jimmy Reed record Wailin' the Blues? My fiancee brought it home, someone had donated it to her library. It contains the songs: Side One Side Two I was so wrong Going fishing Where can you be Help yourself Go on to school Wear something green My first plea When your doing allright Little rain A new leaf I've checked several record guides with no luck. BTW, there is an interesting quote on the back of the cover. "When the last name (Big Bill Broonzy) passed away in 1958 many critics claimed the art of the Blues had died with him." Marcel Chauvard and Jacques Demetre Sean Birmingham ========================================================================= Date: Thu, 9 May 1996 12:34:34 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: SITTING & THINKING: Big Walt Comments: To: Oded Maron In-Reply-To: <199605091449.KAA12017@fiber-bits.ai.mit.edu> On Thu, 9 May 1996, Oded Maron wrote: > I said it before, and I'll say it again: if you only write positive > reviews then you are actually hurting the good CDs. By showing what > you don't like, you make the stuff that you do like have meaning. > Otherwise, all the CDs that get equally spectacular reviews just get > equally ignored. Oded, Point taken but ..... when someone says I only sell Cadillacs do you think that Cadillacs are no good because they don't sell any Volkswagons, Chryslers etc. Policy is again (and you can either pass our reviews by or not) - if we like it we will let you know and if we don't we will keep it to ourselves. I'd say give some of the CD's we give the highest praise to a spin and then say if you agree or disagree with us - proof will be in the pudding. I think that our policy of only praise for what we like is not dif- ferent than for example, Living Blues' policy of mostly covering black blues artists. The policy is up front. You can toss it if you want but you might consider that we're offering real as well as legitimate good listening picks (and you may disagree w/these picks - but the recs are honest and well thought out). I get disheartened when you reiterate that you would toss us out cause we don't care to knock anyone. If we did it covertly then you'd have cause and case - but what we do is upfront all of the time - in fact at our site it's on the main page so it's clear. BTW at the site you will see distinctions of reviews. There are must gets, could gets, beware gets - but never don't gets. Another point to consider is that our reviews are more than just I like this - I don't like that. We try to convey what's on each track so you can decide if this set of cuts will work for you. I may love a CD and the mix may not be your cup of tea, so whether the review is stellar or blasting you should still be given what there is to listen to on it, so that irrespective of the reviews bent you also know what the disc itself has to offer. Sorry to get windy but when it comes to values and policy I tend to go on. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 9 May 1996 12:42:43 EDT Reply-To: Newman/Rabson <71552.541@COMPUSERVE.COM> From: Newman/Rabson <71552.541@COMPUSERVE.COM> Subject: Re: 'zeller meetings ... >> Any European gigs in the (near) futur, Ann ? Ann's on the road for a few days, so I'll take that one... It looks like Saffire will be playing festivals in Bellinzona, Switzerland, and Rovigo, Italy on June 28 & 29, respectively. George Newman (Ann Rabson's husband) ========================================================================= Date: Thu, 9 May 1996 16:38:36 GMT Reply-To: cuthulu@rlabs.com From: cuthulu Organization: Bad Credit? Slow Credit? No Credit? No Problem! Subject: Re: KWS in USA Today Comments: To: bit-listserv-blues-l@uunet.uu.net On Tue, 7 May 1996 19:04:52 -0800, Jim Witteveen wrote: >Can you say 'stage father', boys and girls? If that ain't obvious from the >piece, then I don't know what is. The kid wants to go home and drive his >truck. I say let him! (and I've never even heard him play, so that's not a >comment on his music.) It's sad when parents have to live their lives >vicariously through their kids. Go to a little league game or a local peewee >hockey game and you'll see the same thing. KWS is back in Shreveport for a while. He's shooting a video for Aberdeen, from Ledbetter Heights. I heard it's being shot on a local lake. Presumably, KWS will be driving his truck while he's here. BTW, I am not the Kevin Smith that was in his band. Kevan Smith cuthulu@rlabs.com the great purple hope for the blues ========================================================================= Date: Thu, 9 May 1996 11:12:15 -0600 Reply-To: Bennett Pearce From: Bennett Pearce Organization: UAB Pediatric Cardiology Subject: Re: Dr John Comments: To: bit-listserv-blues-l@uunet.uu.net In article <1C6DCA66894@heme.medicine.wisc.edu>, williams@heme.medicine.wisc.edu wrote: > According to Dr. John's autobiography, he started out as a guitar > player Actually he is still an awesome guitar player but does this only for short periods during his shows. I've seen him play a guitar on two occaissons and he so more than passably. Usually he does so late in the show (Tipatina's after 2AM) but its well worth seeing if you get the chance. -- Bennett Pearce, MD ========================================================================= Date: Thu, 9 May 1996 14:09:30 -0400 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: Re: Ted Hawkins In-Reply-To: <9605091030.aa11309@admin.dis.on.ca> I don't know how it is in the rest of the world, but around here (Saskatchewan, Canada) when a convicted child molester gets released from jail after doing his/her time, the media keeps a pretty close eye on them. If they're known to be in a certain area, it's splashed all over the papers, radio and TV. There's quite a controversy about whether the media should be allowed to do this. The person did the crime and the time, so some people feel that their debt to society has been paid, and they should be left alone. On the other hand, is it fair to the kids and their parents to be unaware of someone who has the potential to re-offend? Myself, I'm of the mind to give the ex-c's the benefit of the doubt. If they've done the time, got some counselling, and are trying to put their life back together, more power to them. Then again, I don't have small kids of my own running around the neighborhood. It's pretty easy to see where the concern parents have comes from. As far as the Ted Hawkins thread goes, I'll listen to him or anyone else for that matter. But I'll REALLY listen to the lyrics. If there's even the slightest bit of inuendo to anything as disgusting as child abuse, rape, etc., I'll burn it so no-one else has a chance to listen to it either. RW ========================================================================= Date: Thu, 9 May 1996 13:13:08 -0400 Reply-To: James Leftwich From: James Leftwich Subject: Robert Johnson's Grave Come by my page and visit Robert Johnson's grave site. And while you're there enter to win a *free* CD Sherman Robertson's _Here and Now_. ============================================================================= Jim Leftwich Jim's Blues N' Brews leftwich@cloud9.net http://www.cloud9.net/~leftwich "I'm on cloud9!" :) New CD Giveaway: Sherman Robertson ============================================================================= ========================================================================= Date: Thu, 9 May 1996 13:22:59 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Copeland's Recovery? Comments: To: Bill Izzo On 9 May 96 at 15:40, Bill Izzo wrote: > Any news on Johnny Copeland's recovery? I know that he had open-heart > surgery a few weeks back. I have been told by his agent that he expects to honor all his bookings, and wasn't expecting to even have much of a recovery period. In other words... good news. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Thu, 9 May 1996 10:31:33 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: test don't read test test ========================================================================= Date: Thu, 9 May 1996 13:42:34 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: SITTING & THINKING: In General Comments: To: "P.W. Fenton" In-Reply-To: <199605091732.NAA32952@osceola.gate.net> On Thu, 9 May 1996, P.W. Fenton wrote: > No.... you are reading that analogy wrong. It's more like General > Motors saying, "We only like making the FRONT of the car, so that's > all we are going to make." People wanting a car would not find that > very valuable. Likewise, people wanting to read an album review do > not find a review that can ONLY have PRAISE in it to be very > valuable. Your policy makes your reviews read like advertisements, > instead of critical comment. You're part right Paul. If you want to read positive & negative re- views NY CD Blues is not who you would turn to. If what you wanted was a list of recommended discs and an analysis of each of them we would be a useful choice. Barry P.S. thanks for the tip, when I need just the front of a car I now know who to call ;-). NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 9 May 1996 12:35:34 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Free Blues in B'ham Just in case someone may be close to B'ham: On May 18th there will be a FREE blues & Bar B Q (BQ ain't free :-)) with Little Whitt & Big Bo, Microwave Dave & The Nukes, Little Jimi Reed, Dick's Hat Band, Topper Price & Upsetters and JERRY MCCAIN....That's a bargain. (others probally) You HAVE to get advance tickets, but they are free Also we're having a party on May 25th anyone (almost) is welcome to come and stay overnight. It's not a full blown "POB Bash" but it's a bash with musicians and whatnot....(we're about 40 miles outside B'ham) You need info on either send private mail THANKS LW ========================================================================= Date: Thu, 9 May 1996 13:09:53 -0400 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Buddy Guy needs to do BALTIMORE Comments: To: bit-listserv-blues-l@uunet.uu.net Ditto what Troy said. So often performers will play D.C. just assuming that we Baltimoreans will come on down (and we do...), but it would be great if they could stop by some time. Lea Gilmore Baltimore, MD "Wild Women Don't Have the Blues" ========================================================================= Date: Thu, 9 May 1996 13:54:48 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: SITTING & THINKING: In General Comments: To: Barry Silverberg On 9 May 96 at 13:42, Barry Silverberg wrote: > On Thu, 9 May 1996, P.W. Fenton wrote: > > No.... you are reading that analogy wrong. It's more like General > > Motors saying, "We only like making the FRONT of the car, so that's > > all we are going to make." People wanting a car would not find that > > very valuable. Likewise, people wanting to read an album review do > > not find a review that can ONLY have PRAISE in it to be very > > valuable. Your policy makes your reviews read like advertisements, > > instead of critical comment. > > You're part right Paul. If you want to read positive & negative re- > views NY CD Blues is not who you would turn to. If what you wanted > was a list of recommended discs and an analysis of each of them we > would be a useful choice. > > Barry > P.S. thanks for the tip, when I need just the front of a car I now > know who to call ;-). Of course, on the other hand, if you wrote negative reviews ocassionally, you'd get a whole lot more people bitching at you for dissing their fovorite album. You can't win. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Thu, 9 May 1996 13:33:32 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: SITTING & THINKING: In General Comments: To: Barry Silverberg On 9 May 96 at 12:34, Barry Silverberg wrote: > On Thu, 9 May 1996, Oded Maron wrote: > > I said it before, and I'll say it again: if you only write positive > > reviews then you are actually hurting the good CDs. By showing what > > you don't like, you make the stuff that you do like have meaning. > > Otherwise, all the CDs that get equally spectacular reviews just get > > equally ignored. > > Oded, > Point taken but ..... when someone says I only sell Cadillacs do > you think that Cadillacs are no good because they don't sell any > Volkswagons, Chryslers etc. No.... you are reading that analogy wrong. It's more like General Motors saying, "We only like making the FRONT of the car, so that's all we are going to make." People wanting a car would not find that very valuable. Likewise, people wanting to read an album review do not find a review that can ONLY have PRAISE in it to be very valuable. Your policy makes your reviews read like advertisements, instead of critical comment. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Thu, 9 May 1996 13:09:57 -0500 Reply-To: James Foster From: James Foster Subject: TED HAWKINS, FOR REAL As far as I know (and I've been interested in and researched Ted's work & life) for a number of years, Ted NEVER molested any child. He was convicted of a "crime against a child" which involved the teenage daughter of his lover at the time...there was no consummation of any kind. This may not make any of you feel differently, but Ted was aware of what sexual assault was and he was NO child molester. Ted was a victim himself, having been violently raped by a man when he was very young and later brutally assaulted while in prison. Ted was no saint (he would be the first to say so, if he were alive), but to casually call him a child molester on an Interent mailing list/newsgroup is to commit a disservice to his entire life. Please, let's all exercise a bit more integrity when we speak of matters we know little of. James Foster ========================================================================= Date: Thu, 9 May 1996 11:10:02 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Well if that don't beat all.... If you already got this, please accept my apology for the multiple postings. Hey everybody! I was doing a sound consult with a local church, and got to reading a Christian music catalog while I was waiting for someone and lo and behold.... They have a Christian SRV clone now.... YIKES!!! He is called "Sleepy Ray" which is a close to "Stevie Ray" as I have heard yet. Anybody heard of this guy? Ya know this reminds me of when pore ole Bruce Lee died... Remember how the ripoffs all started coming out with names as close as they could to "Bruce Lee" I mean it seems like there was a "Star Name Thesaurus" or something, and the flacks pull it out when you die.... The promo info about the disc was all the usual mantle-passing stuff, pretty standard verbage about the next Texas guitar slinger... yadda yadda.... What a crock... Why do publicists assume we are idiots?? Here's the bottom line folks... Stevie's sound and success was NOT due to any of the following: Texas (sorry guys) Clothes Hats Old beatup Fenders (you-beat-um or pre-beaten) Big strings Big hands Drugs Clever Promotion / hype being part of a scene It was due to **VISION** dammit! And NO ONE ELSE can *ever* have his vision. They can only have their own. Of course deep desire, talent, years of practice, and commitment factored in too. In spite of all this, SRV was vastly less original than Jimi, let alone Muddy or RJ or dozens of others. So....... what do you think the chance of having ONE SLIM THREAD of originality is when you start out an SRV clone, THEN shoehorn all your stuff into the "Contemporary Christian Music World".. (where it was said in a recent CC seminar that the scene is so bad that Jesus Himself couldn't get signed, and wouldn't chart if he did....) OUCHHH! hurts me to think of it... Mebbe ah'll jest call myself Sneezy Ray or sumpin'.... tell dah world ahhmm seventeen and get some promo goin.... I think we should call 'em all "Sleazy Ray Con" mahself... DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Thu, 9 May 1996 13:14:31 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Charles Brown & The Handys Someone told me that Charles Brown was not able to attend the Handy Awards. Does anyone know why he was not able to attend. Was he sick...? LW ========================================================================= Date: Thu, 9 May 1996 18:31:07 +0000 Reply-To: Bob Bingham From: Bob Bingham Anybody know who Fruitland Jackson is. An English promoter I was speaking to the other day mentioned his name to me and I had to plead ignorance. I know he is a solo, aacoustic performer but that is about it. Is this guy any good? ========================================================================= Date: Thu, 9 May 1996 14:22:43 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Buddy Guy needs to do BALTIMORE Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I don't know if Buddy is going to be in Baltimore any time soon, but I just read in the Baltimore Sun that BB King will be playing at Pier Six Pavilion August 22, with The Neville Brothers, Taj Mahal and Delbert McClinton. -Steve ========================================================================= Date: Thu, 9 May 1996 14:32:56 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Handy Awards Question Shortly after the Handys were over someone posted a list of the winners (I don't remember who). In the category of Best New Blues Artist, Coco Montoya was listed as winner with Mem Shannon written next to it in parenthesis. I meant to ask about it then, but can anyone tell me why Mem's name was listed that way and what it meant? P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Thu, 9 May 1996 18:35:10 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Dr John -> Little Charlie In-Reply-To: On Thu, 9 May 1996, Bennett Pearce wrote: > Actually he is still an awesome guitar player but does this only for short > periods during his shows. I've seen him play a guitar on two occaissons Which reminds me that when I last saw LC and the NC, Little Charlie and Rick Estrin switched instruments. While Estrin was quite good, for a beginner, on the Strat, Little Charlie blew a pretty mean harp. I mean better than just good. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [9/5/96 14:30 PM] "Thursday's always sad..." ========================================================================= Date: Thu, 9 May 1996 13:44:05 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 05/10 B O R N : 05/10 ALEXANDER, ARTHUR Born:1940 FLORANCE, AL Career:SINGER / SONGWRITER Style:BLUES ASTAIRE, FRED ( FREDERLICK AUSTERLITZ ) Born:1899 OMAHA, NE Career:DANCER / SINGER / ACTOR Style:JAZZ / BIG BAND With:Ginger Rogers / Oscar Peterson BOGAN, TED Born:1910 SPARTANBURG, SC Career:GUITAR Style:BLUES With:MARTIN,BOGAN & ARMSTRONG CHENIER, CLEVELAND Born:1921 OPELOUSAS, LA Career:WASHBOARD Style:ZYDECO With:CLIFTON CHENIER CLARK, GARNET Born:1914 WASHINGTON, D.C. Career:PIANO Style:JAZZ / BIG BAND With:BENNY CARTER / BILL COLEMAN / DJANGO REINHARDT / ALEX HILL / ADELAIDE HALL COOK, ANN "BAD" Born:1903 ST. FRANCISVILLE, LA Career:SINGER Style:BLUES DEPPA, CLAUDE Born:1958 CAPE TOWN, SOUTH AFRICA Career:TRUMPET Style:JAZZ With:RONY SCOTT / ANDY SHEPPARD / BRIAN ABRAHAM / JAZZ WARRIORS / CARLA BLEY GOLLA, GEORGE Born:1935 CHORZOW, POLAND Career:GUITAR/ COMPOSER / ARRANGER Style:JAZZ With:Bernice Lynch / Gus Merzi 1957 / Bryce Rohde / In 1962 a decade with Eric Jupp's studio orchestra / Don Burrows / John Holman / Newport and Montreux Festivals 1972 HARPER, PHIL Born:1965 BALTIMORE, MD Career:TRUMPET Style:JAZZ With:HARBER BROTHERS / BROTHER OF WINARD / ART BLAKEY / JAVON JACKSON / ROBIN EUBANKS / CECIL BROOKS lll / JOE CHAMBERS / ETTA JONES / ERROL PARKER HENDRICKSON, AL ( ALTON REYNOLDS ) Born:1920 EASTLAND, TX Career:GUITAR Style:JAZZ / BIG BAND HUNT, PEE WEE ( WALTER HUNT Born:1907 MOUT HEALTHY, OH Career:SINGER / TROMBONE TRAD / JAZZ / BIG BAND With:GLEN GREY LEWIS, MEL (MELVIN SOKOLOFF) Born:1929 BUFFALO, NY Career:DRUMMER / LEADER Style:JAZZ / BIG BAND With:BOYD RAEBURN-1948 / STAN KENTON / FRANK ROSOLINO / HAMPTON HAWES / BILL HOLMAN / GERRY MULLIGAN / BENNY GOODMAN / THAD JONES PONDER, JIMMY ( JAMES WILLIS ) Born:1946 PITTSBURGH, PA Career:GUITAR Style:JAZZ PRINCE, ROBERT Born:1929 NEW YORK, NY Career:COMPOSER Style:JAZZ RILEY, THEODORE Born:1924 NEW ORLEANS, LA Career:TRUMPET Style:TRAD / JAZZ Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Thu, 9 May 1996 13:38:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Off nights/reply to Paul F. From: WIRCS2::KALMBACH "Bonnie Kalmbach" To: IN%"pwfenton@gate.net",KALMBACH Subject: RE: Re: Clarksdale Sunflower Fest >I'm not taking issue with the quality of the performers at the >Sunflower Festival. I'm sure they are wonderful, but I do take >issue with what you imply 2000 nights on the road will do to you. >You don't get "jaded" by 2000 nights on the road, you get damn good >at what you do. > I dunno, Paul, I think it depends on the individual artist. I'm sure you've seen a number of performers just going through the motions on an off-night. If it were your sole way of making money and you had to play every day, it could happen to you too. -Bonnie Nice: >I don't want to achieve immortality through my work >. . . I want to achieve it through not dying. >- Woody Allen ========================================================================= Date: Thu, 9 May 1996 13:31:10 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: sam myers There is an outstanding interview in the Dallas Observer this week with Sam Myers. I don't know if they have a web site or not (I only have e-mail access) but it might be worth a search if they have that article posted. As usual, Sam pulls no punches! Don O. ========================================================================= Date: Thu, 9 May 1996 13:34:57 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins In-Reply-To: Message of Thu, 9 May 1996 18:31:07 +0000 from On Thu, 9 May 1996 18:31:07 +0000 Bob Bingham said: >Anybody know who Fruitland Jackson is. An English promoter I was speaking to >the other day mentioned his name to me and I had to plead ignorance. I know >he is a solo, aacoustic performer but that is about it. Is this guy any good? I can't express how much admiration I have for Fruteland Jackson, he is very sincere about the blues. He teaches some blues in schools and last time I saw him he was a long way from rich and famous. I probally respect this man as much as any person in the music business. I support his efforts, he loves the music and has yet to really prosper from it (since as I last seen home) I would love to see him become as popular as Luther or Buddy. IMHO he is deserving of all the good things he gets....I would like to hear how he's doing.... LW ========================================================================= Date: Thu, 9 May 1996 18:25:17 GMT Reply-To: BLUESBABE From: BLUESBABE Organization: SoVerNet, Inc. Subject: TUCSON BLUES CLUBS???? Comments: To: bit-listserv-blues-l@uunet.uu.net I WILL BE VISITING TUCSON AZ. MAY 20TH-MAY 26TH,,, ANYONE OUT THERE THAT CAN TURN ME ON TO SOME HOT BLUES CLUBS TO ENJOY DURING MY STAY???? PLEASE POST OR E- MAIL ME . THANKS.. BLUESBABE SUZZIE:) ========================================================================= Date: Thu, 9 May 1996 11:37:46 -0700 Reply-To: Stan Ruffo From: Stan Ruffo Subject: Re: blues soundtrack for new movie Recently released on Atlantic. Music From The Motion Picture Heaven's Paradise These are all top shelf relatively well known tunes and artists. SONG TITLE - PERFORMED BY: Good Morning Little Schoolgirl - Jr. Wells Born Under A Bad Sign - Albert King Red House - Buddy Guy Baby Bee - Kenny Neal I Never Loved A Man - Aretha Franklin The Thrill Is Gone - BB King Bo's Bounce - CC Adock Twenty Ton Weight - The Hoax The Things (That) I Used To Do - SRV I Ain't Gonna Suffer No More - John Lee Hooker Don't Answer The Door 1&2 - BB King Good Moanin' Blues - Walter Horton It Hurts To Love Someone - Guitar Slim -- Stan Ruffo Blues On Tap - Sundays at 8pm on Visalia's KIOO 99.7FM 800 N. Ben Maddox Way, Suite 2200, Visalia, CA 93292, (209)625-6049 ---------- From: gm[SMTP:georgem@VM.TEMPLE.EDU] Sent: Thursday, May 09, 1996 7:09 AM To: Multiple recipients of list BLUES-L Subject: blues soundtrack for new movie has anyone listened to the soundtrack of a movie called Heavens Prisoners? I saw the commercial for it tues night while watching the NY Rangers game and caught the tail end of it.It listed artists on the soundtrack including buddy guy and BB King. ========================================================================= Date: Thu, 9 May 1996 11:44:46 -0700 Reply-To: Stan Ruffo From: Stan Ruffo Subject: Re: SITTING & THINKING: Big Walter Horton Right On Steve! Big Walter's version of Don't Get Around Much Anymore is indeed my favorite version of the song! -- Stan Ruffo Blues On Tap - Sundays at 8pm on Visalia's KIOO 99.7FM 800 N. Ben Maddox Way, Suite 2200, Visalia, CA 93292, (209)625-6049 ---------- From: Steve Levine[SMTP:Steve.Levine@CORP.WRGRACE.COM] Sent: Thursday, May 09, 1996 4:54 AM To: Multiple recipients of list BLUES-L Subject: Re: SITTING & THINKING: Big Walter Horton *I'm sorry, but I have to take issue with the glowing review of this album. *This is _far_ from Walter Horton's best work, and I really wouldn't *recommend it that highly. Not only is it very short, but it also includes *two versions of the same song (Everybody's fishin' and Put the Kettle On *could probably be laid on tracks one atop the other, and you'd have the same *song), the song selection isn't great, and the performances are ho-hum. As a harp player and HUGE fan of Walter Horton (he's my all time favorite blues harp player), I have to disagree. Yes, this album is far from his best work (and it could be longer), but I think his two Blind Pig albums are great, and essential albums for fans of Big Walter. His version of "Don't Get Around Much Anymore" is almost worth the price of the album. -Steve ========================================================================= Date: Thu, 9 May 1996 14:51:59 -0400 Reply-To: Anita Samuel From: Anita Samuel Subject: Crime and Punishment Comments: To: "Keith T. Balistreri" In-Reply-To: Keith, When things go wrong between equal adults and bad things happen, I think as you do. When animals prey on their young, their elderly, or the defenseless, I draw the line.... I would not want to hear their names, talk less about their voices. Peace, nitra On Wed, 8 May 1996, Keith T. Balistreri wrote: > On Wed, 8 May 1996, bob unger wrote: > > > So how long does a convicted criminal have to pay for his crime. > > > > A man commits a crime (the nature of the crime should not be an issue here) > > he is caught, convicted, serves his time, and is freed..... Should the public > > continue to shun him? In Ted Hawkins case, he tried to get on with his life > > as a musician....apparently he was succeeding prior to his death. But, Geez, > > the man is dead, no longer a "threat".....why would anybody still not want to > > hear his music? > > > > BU > > bob@sun.bnkst.edu > > > I agree 100%...I can't believe we are actually talking about not listening > to Hawkins music. How do we no what really happened and how do we know if > he didn't try to better himself... > Do we stop listening to people that were convicted of burgalry? And how > about theft or assault or drug possession or jay walking. > We never really know the full cicumstances of each situation...how and why > people get so down and out to do the things they do. I've down some things > in my life and spent a little time in jail...but I've manaaged to get > sh*t together. I sure hope that people won't want to see me play > because of my past. > > Keith B. > ========================================================================= Date: Thu, 9 May 1996 14:45:17 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Well if that don't beat all.... Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *I was doing a sound consult with a local church, and got to reading a *Christian music catalog while I was waiting for someone and lo and *behold.... They have a Christian SRV clone now.... *He is called "Sleepy Ray" which is a close to "Stevie Ray" as I have heard *yet. Are you sure it's not "Sleepy Ray Estes"? :-) -Steve ========================================================================= Date: Thu, 9 May 1996 11:53:48 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: ALBERT KING/GAYLE DEAN WARDLOW/MIKE STEWART BLUES-L(and) : I just noticed that BLUES WORLD has just updated it's BLUES & RHYTHM page. It now includes Keith Briggs' feature on Albert King from B&R #109. If you're a fan of ALBERT KING, you should take a look. BLUES WORLD has also included a interview with Gayle Dean Wardlow, the renowned 'dean of all blues researchers'. If you're a fan, especially of prewar blues of Robert Johnson, Son House, Skip James, this is a must read. (As an aside, you may want to check another interview with a renouned collector - Mike "Backwards Sam" Stewart is featured on The Old-Time Herald Web site v.5, #4 May - July 1996. eRIC ========================================================================= Date: Thu, 9 May 1996 14:54:26 -0400 Reply-To: Mtpowel@AOL.COM From: Matt Powell Subject: Re: amp decision Comments: To: shaun@pacificnet.net I would also defer to the real 'gearheads' regarding your choices - but having said that......I had a post-CBS Princeton reverb into which I stuffed a 15" EV full range speaker and I loved it. The EV speaker was considerably more efficient and provided a bit more sound pre watt. I was playing a Gibson ES335 mostly at the time, and I would run the Princeton 'all knobs to the right'. It was just a great amp for the rock/blues trio format that I was working in at the time. Great sustain & tone, but not enough horsepower to be really obscene volume-wise. With the 335 I'd just The few times we played in larger halls and outside I'd just mike it. Simple, bullet-proof ( few things in life are as reliable as Fender amps, ) and small. I have also used Marshall 50-watt heads, Fender Twins, old Ampeg stuff. But for a great $$$/performance ratio that Princeton/EV speaker unit was great!! I can't really tell you why I ever got rid of it now that II think about it...., Anyway, thats my 2 cents......... Matt Powell ========================================================================= Date: Thu, 9 May 1996 15:04:16 -0400 Reply-To: MARCIAG@VMS.CIS.PITT.EDU From: Marcia Grodsky Subject: Blues-L T Shirt Order Form & Instructions From: AXPVMS::MARCIAG 9-MAY-1996 14:37:43.41 To: IN%"blues-l@brownm.brown.edu" CC: MARCIAG Subj: Blues-L T Shirt Order Form & Instructions If possible, print out the order form, fill it in, and mail it. DO NOT EMAIL YOUR ORDER. Send your order through the U.S. mail, accompanied by a check. If you are outside the U.S., send me private email and we'll work on payment/ mailing arrangements on a case by case basis. If you can't print out the order form, just make sure that whatever you send me is very clear with respect to quantity, size(s), colors, etc. T-shirts will be a good quality 100% cotton. Sweatshirts will be a medium weight blend. Postage and handling, as in the past, are based on the chart that the University uses in its mail-order catalog. It's just too hard to figure each individual order. Any extra money collected through the p&h charges goes right into the pot for the Delta Blues Museum. All proceeds of the t shirt sales go to the museum, as previously voted on by Blues-L memebers who purchased the shirts in the initial order. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ORDER FORM NAME: ADDRESS: CITY: STATE & ZIP: EMAIL ADDRESS: T-SHIRTS S M L XL XXL XXXL $14 $14 $14 $14 $15 $16 COLOR White w/ Blue & Black Blue w/ White & Black Black w/ White & Blue SWEATSHIRTS S M L XL XXL XXXL $23 $23 $23 $23 $25 $26 COLOR Lt.Gray w/ Dk. Blue Dk. Blue w/ White POSTAGE & HANDLING (U.S. orders only) $0 - $15.00 add $3.00 $16 -$25.00 add $3.50 $26 -$50.00 add $4.50 $51 -$75.00 add $5.00 $76 -$100.00 add $5.50 over $100.00 add $6.00 Make checks payable to: Marcia Grodsky Mail order form and check to: Marcia Grodsky Darlington Memorial Library 601 Cathedral of Learning University of Pittsburgh Pgh. Pa. 15260 Questions or problems: marciag@vms.cis.pitt.edu ========================================================================= Date: Thu, 9 May 1996 18:30:23 GMT Reply-To: Mike Stefano From: Mike Stefano Organization: Queen's University Subject: Johnny Winter Just saw that Johnny has cancelled his show in Cincy. Has he had a relapse? What's going on. I'm really hoping it's money hassles with promoters or some such thing, and not health problems. Anyone in the know? ========================================================================= Date: Thu, 9 May 1996 14:27:38 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: SITTING & THINKING: In General Comments: To: "P.W. Fenton" In-Reply-To: <199605091754.NAA19200@osceola.gate.net> I don't write many reviews any more, but when I did, I always figured the priority system was: 1. Let people know about something good they maybe wouldn't know about otherwise. 2. Warn people about something bad that's getting a lot of hype. 3. Let people know and provide some information to add insight about something good and well-publicized. 4. Warn people about something which is already widely understood to be bad. ========================================================================= Date: Thu, 9 May 1996 16:30:53 -0400 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: Hung-up In-Reply-To: A co-worker (jazz sax player) and I where talking about some seamingly good musicians inability to get really "into" the music. They seem to not be able to let themselves go. He was specifically comparing a Brazilian guitar player with the guitar player in his group. Technically, they where about even, but the Brazilian put so much more into his playing that he stole the show. The question of whether this has anything to do with the _general_ North American type of "I don't want to look stupid" attitudes, or "I don't want to show people this side of me", came up. Attitudes like these are holding a lot of talented musicians back. This is one of the main draws towards the blues for me. The held-back feeling is nonexistant in the blues. It's overflowing with emotion, both in the music and the lyrics. It's what it's all about. Then there's the "wanna-be rock stars" I've run into that go out and spend thousands of $ on equipment and lessons and can't tap their foot in time to the music. I know a bass player like this, don't ask me how, but his playing comes out passable and sometimes quite good. Go figure. I'll shut up now RW (bored to friggin' tears at work this week) ========================================================================= Date: Thu, 9 May 1996 14:43:32 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Fruteland Jackson Comments: To: Bob Bingham In-Reply-To: <18310770300234@cybervault.com> Fruteland Jackson is an excellent singer-guitarist who has a lot of nice original material and experience in educational settings, based in Chicago. I'd say he's fortyish. I've found him to be an effective performer who achieves nice empathy with his audiences. ========================================================================= Date: Thu, 9 May 1996 15:51:44 -0400 Reply-To: FORCELLAD@CCSUA.CTSTATEU.EDU From: Domenic Forcella Subject: Johnny Winter It's 3:50 pm in Connecticut and I just talked to the Protix outlet and the Webster Theater. Both said he is still on for the 11th with Rick Derringer Band. If its a jive, I'll let you know Sunday Domenic Forcella Traveling with the Blues ========================================================================= Date: Thu, 9 May 1996 14:39:11 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re: Well if that don't beat all.... Comments: To: Don Cicchetti How about we make a retro-political statement, and call him "Sleazy Ray Cohn"? -Jim =) _______________________________________________________________________________ Subject: Well if that don't beat all.... From: Don Cicchetti at INTERNET-SH Date: 05/09/96 2:27 PM If you already got this, please accept my apology for the multiple postings. Hey everybody! I was doing a sound consult with a local church, and got to reading a Christian music catalog while I was waiting for someone and lo and behold.... They have a Christian SRV clone now.... YIKES!!! He is called "Sleepy Ray" which is a close to "Stevie Ray" as I have heard yet. Anybody heard of this guy? Ya know this reminds me of when pore ole Bruce Lee died... Remember how the ripoffs all started coming out with names as close as they could to "Bruce Lee" I mean it seems like there was a "Star Name Thesaurus" or something, and the flacks pull it out when you die.... The promo info about the disc was all the usual mantle-passing stuff, pretty standard verbage about the next Texas guitar slinger... yadda yadda.... What a crock... Why do publicists assume we are idiots?? Here's the bottom line folks... Stevie's sound and success was NOT due to any of the following: Texas (sorry guys) Clothes Hats Old beatup Fenders (you-beat-um or pre-beaten) Big strings Big hands Drugs Clever Promotion / hype being part of a scene It was due to **VISION** dammit! And NO ONE ELSE can *ever* have his vision. They can only have their own. Of course deep desire, talent, years of practice, and commitment factored in too. In spite of all this, SRV was vastly less original than Jimi, let alone Muddy or RJ or dozens of others. So....... what do you think the chance of having ONE SLIM THREAD of originality is when you start out an SRV clone, THEN shoehorn all your stuff into the "Contemporary Christian Music World".. (where it was said in a recent CC seminar that the scene is so bad that Jesus Himself couldn't get signed, and wouldn't chart if he did....) OUCHHH! hurts me to think of it... Mebbe ah'll jest call myself Sneezy Ray or sumpin'.... tell dah world ahhmm seventeen and get some promo goin.... I think we should call 'em all "Sleazy Ray Con" mahself... DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Thu, 9 May 1996 15:38:22 -0400 Reply-To: Jon Duttweiler From: Jon Duttweiler Subject: Re: SITTING & THINKING: Big Walt At 10:51 AM 5/9/96 GMT, you wrote: >I said it before, and I'll say it again: if you only write positive >reviews then you are actually hurting the good CDs. By showing what >you don't like, you make the stuff that you do like have meaning. >Otherwise, all the CDs that get equally spectacular reviews just get >equally ignored. > >Oded I totally disagree. I think this attitude is a product of the combative nature of the society we live in. I'm all in favor of competition, but this idea generally devolves into sophomoric posturings of who, what, which is the "best" when there simply is no such thing! I like beer, but I quit trying to determine the "best" beer a decade ago when I realized there were so many good ones out there (at that time mostly all imports, but thankfully things have changed now!) and much of it depended on what mood I was in. The same with music, and the blues. What I like is not limited to particular artists or styles, but to passion and emotion, originality and familiarity. What I try to do in a review is not just tell you I liked something, but what I liked about it and why - some description of what the CD incorporates. That way YOU might be able to determine whether you would like that particular disc as well. But the ONLY way you'll ever really know is to listen to it for yourself - and I personally have enjoyed a GREAT MANY things, movies, recordings, restaurants, that CRITICS were negative about, so the only that did is tell me I didn't have the same taste that critic did. Well, I'd rather stick to reviewing music I can recommend and let you find out if our tastes coincide that way then spend the time tearing up something I can't recommend and you determining I was a jerk for not liking what you liked. No, I think too many "critics" in our society are just frustrated - musicians, directors, actors, chefs, whatever. I don't review CDs as a frustrated musician, I review them as a fan, as a lover of the art form. Let someone else tear it down, I for one prefer to spend my time building it up. If that makes me less credible to some, so be it - but its their loss, not mine! JD ========================================================================= Date: Thu, 9 May 1996 13:13:25 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Well if that don't beat all.... Comments: To: Don Cicchetti Don C wrote: >I was doing a sound consult with a local church, and got to reading a >Christian music catalog while I was waiting for someone and lo and >behold.... They have a Christian SRV clone now.... > >YIKES!!! > >He is called "Sleepy Ray" which is a close to "Stevie Ray" as I have heard >yet. Same *tired* old SRV re-treads:-) >Why do publicists assume we are idiots?? But think of the blurbs. "Sleepy Ray-The Chosen One". "The Disciple of the Blues and God.". A title for his first album, "Genesis." A title for his second album, "The Second Coming." "The Gospel according to Sleepy Ray." The list could go on. Oh, there is one more they could use. "Sleep Ray - On a mission from God!" Aaaaaargh! >Here's the bottom line folks... snip >So....... what do you think the chance of having ONE SLIM THREAD of >originality is when you start out an SRV clone, THEN shoehorn all your >stuff into the "Contemporary Christian Music World".. (where it was said in >a recent CC seminar that the scene is so bad that Jesus Himself couldn't >get signed, and wouldn't chart if he did....) Actually, didn't the Pope chart a few years back with readings of the Rosary. And Pat Boone is doing a heavy metal album (This is true! I am not making this up). Maybe JC could have a chance. How about if EC was to play on the album? >OUCHHH! hurts me to think of it... > > >Mebbe ah'll jest call myself Sneezy Ray or sumpin'.... tell dah world >ahhmm seventeen and get some promo goin.... Nah, it would never work. No-one would fall for a a young kid being touted as the next SRV or the next hope for the blues. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Thu, 9 May 1996 13:13:30 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Blues Guitar Contest at Cosy's (LA) Tonight For the LA Bluzellers there is a blues guitar contest happening at Cosy's in Sherman Oaks tonight. I'll be there (and having a go) and I think that fellow bluzeller Isaac Sprintis will also be there and playing. So if ya have nothin' else to do come on down, let's have a few beers and hang out. I'll be the one with the natural-finish Strat with the Maple neck and white pickguard. Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Thu, 9 May 1996 13:13:39 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Saints 'n' Sinners 'n' Heroes The recent thread about whether one should listen to Ted Hawkins because of his past was very interesting. It seems to me that a lot of people think that their musical heroes (idols, influences) lie outside the realm of normal human experiences and that an idealized view of their heroes lives take over from reality. The lives of the famous tend to take upon mythical proportions. Our heroes can do no wrong and woe and behold those who say that they have done so. The blues is world is full of artists who have led less than perfect lives. If you examine the lives of Son House, Hound Dog Taylor, Robert Johnson, SRV etc you will find periods or instances in their lives that were, at the least, less than flattering or at the worst, chilling to read about. Some of them rise above their problems, others struggle with their demons constantly with various degrees of success, others simply never win. Our musical heroes do not exist on a piece of plastic that comes to life when we turn on out CD player. They have/had lives where they experienced what we all do. I've been guilty of assuming that my musical heroes led 'perfect lives' only to have the illusion shattered. But sometimes, to fully appreciate the artist and where they are coming from. I don't run from their music though. you need to know what is going on whether it be good or bad. The blues is about the truth. When you listen to the best blues artists you hear about their lives. Some you hear the struggle that can go on within a person. It is about trying to overcome their feelings. Sometimes, in Pat Hare's example, it becomes reality. Of course, the blues world is full of some really nice people. You hear that in their music as well. The fact that my musical heroes were very human and had human failings and sometimes succumbed to tempation makes their music more real. Reality is not sugar-coated and neither should music. We all have done things in the past that we regret and are sorry about. We should be judged on how we have progessed since then, not for that moment. The fact that my heroes have feat of clay reveals their humanity and releases their music. They aren't some manufactured trash. They are real people who led real lives. The truth can be harsh but it also can create freedom. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Thu, 9 May 1996 15:55:09 -0400 Reply-To: Jon Duttweiler From: Jon Duttweiler Subject: Re: SITTING & THINKING: In Gener At 01:57 PM 5/9/96 GMT, GO-MAIN.PWFENTO2 wrote: > No.... you are reading that analogy wrong. It's more like General > Motors saying, "We only like making the FRONT of the car, so that's > all we are going to make." People wanting a car would not find that > very valuable. Likewise, people wanting to read an album review do > not find a review that can ONLY have PRAISE in it to be very > valuable. Your policy makes your reviews read like advertisements, > instead of critical comment. > I'm afraid your analogy doesn't make sense at all, Paul, Barry's original was closer to the point. The point is, we like "making" certain types of reviews. We tell folks up-front we only "make" certain types of reviews. You don't come to us if your looking for other types of reviews just like you wouldn't go to (to use Barry's analogy) a Cadillac dealership if you're looking for a Lincoln - Cadillac doesn't make Lincolns. Now, if you're saying our reviews aren't the "whole car," I'll have to take exception with you. (And, of course, this is where analogies start to break down - when you try to stretch them out beyond their original point). JD ========================================================================= Date: Thu, 9 May 1996 15:04:53 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: Handy Awards Question In-Reply-To: Message of Thu, 9 May 1996 14:32:56 -0500 from On Thu, 9 May 1996 14:32:56 -0500 P.W. Fenton said: >Shortly after the Handys were over someone posted a list of the >winners (I don't remember who). In the category of Best New Blues >Artist, Coco Montoya was listed as winner with Mem Shannon written >next to it in parenthesis. I meant to ask about it then, but can >anyone tell me why Mem's name was listed that way and what it meant? The list that The Blues Foundation gave me made no mention of Mem Shannon. It just said Coco Montoya....? LW ========================================================================= Date: Thu, 9 May 1996 15:23:24 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Well if that don't beat all.... Comments: To: Steve Levine In-Reply-To: <737979D1@MHS> On Thu, 9 May 1996, Steve Levine wrote: > *I was doing a sound consult with a local church, and got to reading a > *Christian music catalog while I was waiting for someone and lo and > *behold.... They have a Christian SRV clone now.... > > *He is called "Sleepy Ray" which is a close to "Stevie Ray" as I have heard > *yet. > > Are you sure it's not "Sleepy Ray Estes"? :-) > > -Steve I thought maybe Sleepy Ray Yawn. Steve ========================================================================= Date: Thu, 9 May 1996 15:21:40 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: amp decision In-Reply-To: <960509145426_290620950@emout16.mail.aol.com> On Thu, 9 May 1996, Matt Powell wrote: > I would also defer to the real 'gearheads' regarding your choices - I always regret being talked into things by gearheads. I suggest you try the ones out you listed and trust your ears. They're going to sound different in different settings, and new amps have sometime (I'm told by gearheads) when speakers must be broken in. But I'm always happy when I trust my ears and always sad when I let someone more informed talk me into things I didn't like as much. Steve (many of my best friends are gearheads--and know I ain't listening) ========================================================================= Date: Thu, 9 May 1996 13:33:48 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Well if that don't beat all.... Previously I said: >*I was doing a sound consult with a local church, and got to reading a >*Christian music catalog while I was waiting for someone and lo and >*behold.... They have a Christian SRV clone now.... > >*He is called "Sleepy Ray" which is a close to "Stevie Ray" as I have heard >*yet. Steve replied: >Are you sure it's not "Sleepy Ray Estes"? :-) I looked all over for a last name, and couldn't find one. Also it's a young guy. Do you think Estes is into the Contemporary Christian music world? ;-] DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Thu, 9 May 1996 16:32:56 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: SITTING & THINKING: In General Comments: To: Jon Duttweiler On 9 May 96 at 15:53, Jon Duttweiler wrote: > At 01:57 PM 5/9/96 GMT, GO-MAIN.PWFENTO2 wrote: > > No.... you are reading that analogy wrong. It's more like General > > Motors saying, "We only like making the FRONT of the car, so that's > > all we are going to make." People wanting a car would not find that > > very valuable. Likewise, people wanting to read an album review do > > not find a review that can ONLY have PRAISE in it to be very > > valuable. Your policy makes your reviews read like advertisements, > > instead of critical comment. > > > > I'm afraid your analogy doesn't make sense at all, Paul, Barry's original > was closer to the point. The point is, we like "making" certain types of > reviews. We tell folks up-front we only "make" certain types of reviews. > You don't come to us if your looking for other types of reviews just like > you wouldn't go to (to use Barry's analogy) a Cadillac dealership if you're > looking for a Lincoln - Cadillac doesn't make Lincolns. > > Now, if you're saying our reviews aren't the "whole car," I'll have to take > exception with you. (And, of course, this is where analogies start to break > down - when you try to stretch them out beyond their original point). Well, I AM saying your "reviews" are not the "whole car". I thought that was pretty clear. A "review" is a critical examination. What you guys do is not. Call them recommendations... call them advertisements... call them endorsements. All those descriptive labels would fit what you do, and would have value within those definitions. But limited as they are, they are not reviews, and therefore have little value as reviews. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Thu, 9 May 1996 16:40:27 -0400 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: TED HAWKINS, FOR REAL Comments: To: James Foster In-Reply-To: James, If what you say is true, you're right! Noone deserves to have his sullied. Asante sana for setting the record straight. Peace, nitra On Thu, 9 May 1996, James Foster wrote: > As far as I know (and I've been interested in and researched Ted's work & > life) for a number of years, Ted NEVER molested any child. He was > convicted of a "crime against a child" which involved the teenage daughter > of his lover at the time...there was no consummation of any kind. This may > not make any of you feel differently, but Ted was aware of what sexual > assault was and he was NO child molester. Ted was a victim himself, having > been violently raped by a man when he was very young and later brutally > assaulted while in prison. Ted was no saint (he would be the first to say > so, if he were alive), but to casually call him a child molester on an > Interent mailing list/newsgroup is to commit a disservice to his entire > life. Please, let's all exercise a bit more integrity when we speak of > matters we know little of. > > > James Foster > ========================================================================= Date: Thu, 9 May 1996 16:30:52 -0400 Reply-To: UncleSean From: UncleSean Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Rod Piazza's sched Comments: To: bit-listserv-blues-l@uunet.uu.net Here's another date: Rod Piazza is playing the Pittsburgh Blues Festival on July 21. Sean Smith ========================================================================= Date: Thu, 9 May 1996 16:44:37 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Saints 'n' Sinners 'n' Heroes Comments: To: Shaun T Cronin On 9 May 96 at 13:13, Shaun T Cronin wrote: > The recent thread about whether one should listen to Ted Hawkins because of > his past was very interesting. I don't think anyone ever said that one shouldn't listen to Ted Hawkins. One person said that she didn't, and couldn't, because of who she felt the man was in relation to her own principles. The resulting furor argued as if she told everyone else they couldn't or shouldn't. Another one of those newsgroup debates with no actual argument at it's core that still manages to develope a life of it's own. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Thu, 9 May 1996 14:00:19 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Ted Hawkins Comments: To: Wack_Ron/rfh@SASK.AECL.CA In-Reply-To: from "Ron Wack" at May 9, 96 02:09:30 pm While I'm as revulsed by child molestation as anyone, I also recognize that people certainly can change, and need to be given the benefit of the doubt. However, children have the right to protection, too, and are defenseless, so this more important aspect needs to be taken into any argument. While I DON'T feel that the news media is the party that should be responsible (but then again, I don't think much of the news media in general - they're not in the "news" business - they're in the entertainment/rating biz, and have shown themselves to be grossly irresponsible when ratings are at stake), I _do_ feel it's important that people know that this person has demonstrated a propensity for child molestation in the past and if you have kids, keep an eye on 'em. But buying the child molesters records? Does that further child molestation? Certainly not. If the molester doesn't make money in music, he'll make it somewhere else. Would _I_ buy a known child molesters records? Well, I'm not crazy about the idea, but if I liked the MUSIC enough, yes I probably would. But I buy records by womanizers, alcoholics, druggies, satan worshippers, and all the other wierdos that make up the music biz. Sheesh - if I had to make moral judgments on musicians, I'd probably end up listening only to my music :-) I'm also very cognizant of lyrics. I've noticed that most folks don't really listen to the words. I wonder how many express indignation at Hawkins, yet blithely listen to the song "Good Mornin' Little Schoolgirl"? I know what a "little schoolgirl" is in my mind - how old is she in yours??? -- IronMan Mike Curtis ========================================================================= Date: Thu, 9 May 1996 17:15:16 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: SITTING & THINKING: In General Comments: To: Jon Duttweiler On 9 May 96 at 16:46, Jon Duttweiler wrote: > This is called argument by definition - you define something the way you > want to prove whatever it is you want to prove. YOU define "review" as a > "critical examination," but "critical" need not, contrary to many laymen's > view, be the same as "criticism" as it is customarily thought of, i.e. a > negative portrayal. First of all I'm not arguing. I am explaining my point of view and what it's based on. Second the dictionary and I agree on the definition of review. No one said that "critical" meant "negative", neither, for your information does "criticism". The "laymen", and "customarily thought of" definitions were introduced by yourself. I am well aware of what all of those words mean, and have the resources (a dictionary) to check on my definitions. > It is a reasoned examination of comparative worth. You nailed it right there. Comparative. There is nothing comparative in what NY CD Review does. They are ALL GOOD, ALL THE TIME. What's comparative about that? > Frankly, I think that is pretty much what we do. We illuminate and > illucidate. If you personally find what we do of little value to you, then > that, of course, is your right. I didn't say whether they had any value to me. I said that they have little value (to anyone) as reviews. If you presented them as "endorsements", or "advertisements", or "recommendations", then they would have value according to those definitions. I don't have any more ways of explaining that, so I'm done with the subject. (I'm sure that will make many folks happy) P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Thu, 9 May 1996 17:19:00 -0400 Reply-To: Dave Markovits From: Dave Markovits Subject: Johnny Winter(Cincinnati) I called Bogarts after that was posted and that show was never confirmed anyway. You can't cancel a show that isn't confirmed. According to the people that I talked to in New York, who manage him, he was talking about touring and awaiting offers. Otherwise he was gonna play close to him. Connecticut isn't that far from NYC. Just a thought, David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Thu, 9 May 1996 17:21:17 -0400 Reply-To: Aceboy123@AOL.COM From: "Greg A. Lewis" Subject: Suggestions? Hi, I am a beginner-novice guitarist (steel-stringed acoustic). I think that I have mastered the basics of guitar, and would like to get into more stylistic playing. I am interested in playing blues-rock. Are there any exercises or books that you would suggest? I would like to get a lot faster than I already am. I do chromatic permuations daily, but would like to play something a bit more exciting. Are there any licks that would help me get better. Any CD's that would give me a bit of inspiration? Well, thanks in advance for your suggestions... Greg P.S. I am tentatively looking to take lessons... I live in the Boston area if anyone is interested in a new student :) "I read the news today oh boy..." -------- John Lennon ========================================================================= Date: Thu, 9 May 1996 16:17:38 CST Reply-To: "Dave Luciani, CE Video" From: "Dave Luciani, CE Video" Organization: University of Wisconsin-Extension Subject: Web source for blues tablature Anyone know of a good source or two for finding blues tablature on the web? Hoping to find old stuff like Jimmy Reed, T-Bone Walker, The Wolf, etc., as well as SRV. Thanks. - Dave ========================================================================= Date: Thu, 9 May 1996 14:29:32 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: amp decision >On Thu, 9 May 1996, Matt Powell wrote: > >> I would also defer to the real 'gearheads' regarding your choices - Steve Price replied: > I always regret being talked into things by gearheads. I suggest >you try the ones out you listed and trust your ears. They're going to >sound different in different settings, and new amps have sometime (I'm >told by gearheads) when speakers must be broken in. But I'm always happy >when I trust my ears and always sad when I let someone more informed talk >me into things I didn't like as much. Good points, Steve. No one should talk someone into anything. You should have a very clear sense of what you want to sound like, and you should listen closely to those giving you recommendations to see if they are on your wavelength. Then go listen to the recommended stuff and see if it does it for you. Be patient and don't buy on impulse, do your homework, and you will usually make the right choice. Watch out for those who "have religion" about a certain brand or product because they may not have the slightest interest in what YOU want to sound like. I had a student worker here who wanted an amp, yet all the ones he really liked were major money. He asked me for a recommendation. I asked him many questions, not about gear, but about what kind of music he liked and which guitar players' tone moves him. He really likes Mark Knopfler's clean tone a lot, and he likes the Edge as well. We discussed it with my amp guy, and he listened as well. (noticed how all these "gearheads" are listening instead of talking?) We went and bought a used silverface Princeton Reverb out of the "Recycler" and took it to Tim Pinnell to work on. Tim put a Super output section/transformers/tubes in it as well as a 12" speaker, and a front-end that was kind of 4-10 Bassman/AC-30-ish (and some secret tricks of his own). Very reasonable total cost, and an amp WAY beyond anything in the music store. (unless your music store has Matchless, Trainwreck, Victoria, etc etc and you are rich) So I brought it up to him, and he used it in a show that night. He was really stoked and came back and told me it is the "best amp in the world". I was very relieved because you always wonder if you are on the same wavelength with someone. We were, because we cared about him, and LISTENED to him. That amp blew me away so much, that I went out and got my own! (wife's rolling eyes at this point) Remember, someone who is not sure of what they want, and is told not to trust gearheads, is very likely to end up shark-bait at the first music store he/she walks into! (YEAH MAN! WOLF down at riphoff-haus music said this Korean guitar and this great little SS amp are the very BEST, and he gave me 10% off!!!) No matter who you go to for advice, remember to listen closely to the gear and the people, and make sure they are listening to YOU!.. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Thu, 9 May 1996 16:46:59 CST Reply-To: "Dave Luciani, CE Video" From: "Dave Luciani, CE Video" Organization: University of Wisconsin-Extension Subject: Buddy Guy concert Anybody a bit disapointed with a recent Buddy Guy performance? I saw him for the first time two weeks ago and was disapointed, not in his music, which was great, but in his stage actions, which were unexpected. Maybe I was naive, but I had no clue he catered so heavily to a college-aged crowd. I'm 35, and saw him in a theatre setting not a club with my wife on our 10th anniversary, so I wasn't ready for a night of standing. Ninety minutes is a long time to stand when you've got a comfortable chair to sit in. And I certainly don't mean to whine but what benefit is gained by standing for 90 minutes at a concert. Seems to me you can have just as good a time sitting. Of course, it's not Buddy's fault the crowd never sat down. Does Buddy always use the f-word to get his point across? I'm no saint, but man he takes a different attitude to the stage than the last blues great I saw in a theatre--B.B. King. The other issue I couldn't figure out about Buddy was his insistence and continued acknowledgement of every good looking woman he saw in the crowd. Once or twice and you'd never notice it, but over and over again and I started to wonder what he was more interested in--playing the blues or scoping new woman friends. As I said earlier, the music was great, and that's what I went for, but the atmosphere took away from the total performance. I'd see him again I suppose, even in the same theatre, but only if I could get seats in the front row of the balcony. I'll stand and applaud as hard as anybody--but I'm not interested in standing for 90 minutes. - Dave ========================================================================= Date: Thu, 9 May 1996 17:53:00 EDT Reply-To: Debra Eisert From: Debra Eisert Subject: Paris, Texas Listening to the soundtrack of Paris TX reminded us that it was used behind a beer commercial several years ago. Really made you want to go grab a cool one to quench the thirst. But, we couldn't remember WHAT beer. (Miller?) Can anyone remember better than my household? Thanks! ##################################################################### Debra Eisert "It is the mark of an educated man to debra@iglou.com be able to entertain a thought without Cincinnati, OH accepting it." -- Aristotle ##################################################################### ========================================================================= Date: Thu, 9 May 1996 18:14:57 -0400 Reply-To: ghost From: ghost Subject: Hawkins >Date: Thu, 9 May 1996 13:09:57 -0500 >Reply-To: James Foster >Sender: Blues Music List >From: James Foster >Subject: TED HAWKINS, FOR REAL >As far as I know (and I've been interested in and researched Ted's work & >life) for a number of years, Ted NEVER molested any child. He was >convicted of a "crime against a child" which involved the teenage daughter >of his lover at the time...there was no consummation of any kind. This may >not make any of you feel differently, but Ted was aware of what sexual >assault was and he was NO child molester. Ted was a victim himself, having >been violently raped by a man when he was very young and later brutally >assaulted while in prison. Ted was no saint (he would be the first to say >so, if he were alive), but to casually call him a child molester on an >Interent mailing list/newsgroup is to commit a disservice to his entire >life. Please, let's all exercise a bit more integrity when we speak of >matters we know little of. Does anyone have the details on the deportation from England? I think that would shed some light on the matter. Wouldn't they have wanted to prosecute, rather than just deport, if they had evidence of molestation (as opposed to possession of child-pornography, horrible as that is)? Or is that just my naive view of the legal system (I'm afraid it may be). Can you, who apparently know more about this case than anyone else who has yet responded, tell us what "the affair was never consummated" in association with "crime against a child" is supposed to mean, beyond the obvious? Is it supposed to reassure us of something? Don't be so mysterious; people are being mysterious enough about this. Terry Gross on Fresh Air asked Hawkins about his conviction, & he said something like "the girl was 17 & her parents objected". This made it sound like a consenting couple, not child molestation. (I don't believe in 17-year-old-girls sleeping with men much older than 17 at all, but when it happens I don't believe it can be classified as child-molestation, though it usually makes for a pretty creepy relationship with a lot of the psychological trappings of child-molestation (verified by a friend of mine who was in such a relationship, talking long after the fact). Still, I'd agree its a different can of worms.) Gross didn't ask him about England; didn't bring up his reasons for leaving at all. There have been allusions to something vile involved brought up here previously, but this is the 1st I've seen of details. As someone just said, "there are crimes & then there are crimes" & someone else also said (paraphrased) "It doesn't surprise you too much when someone who sounds like a murderer murders". Hawkins doesn't *sound* like a child-molester, for what its worth, which probably isn't all that much. What this all boils down to is that everyone who heard Hawkins sing doesn't want *any part* of it to be true, we liked him that much. ----------------------------------------------------------------------- ----------------------------------------------------------------------- For years I've been reading that Sam Cooke died after being shot by a motel manager while attempting to rape someone. Cooke doesn't *sound* like a rapist, also for whatever that's worth. The story rapidly changed at the time from "attempted rape of a hotel guest or fan of his" to "attempted rape of a prostitute" after the woman was picked up a week or so later for prostitution. Cooke's manager, also on the Fresh Air show, said that the prostitute was a long-time associate (for want of a better term) of Cooke's, & that Cooke had a large sum of money on him that night, & that the money wasn't found on Cooke's body. His manager thinks he was killed for the money he was carrying & the whole attempted-rape story concocted after the fact. Of course, his manager was a long-time associate of a far better stripe, was & is a church deacon, & wants to believe the best of his friend under obviously cursed circumstances. Still, why not believe the manager, if given a choice (the police didn't bother to investigate the manager's story)? Gross asked him why he didn't try to get the courts to set the matter straight, & he said he had but had finally given up. Then he said something very curious. I had the quote from the manager here on my desk & now I can't find it (when I put my desk in order I'll be dead), but the jist of it was "Its a lie. You can destroy your whole life trying to track down a lie". Which struck me as kind of odd at the time because coming from a religious man I would have thought it would have been something like "you can save your whole life trying to track down a lie". ------------------------------------------------------------------------- ------------------------------------------------------------------------- As far as goes Leadbelly, Little Willie John, etc: I certainly put what even the courts at the time called manslaughter in a different category from murder, rape, attempted rape, child-molestation. People who kill other people in bar-room fights aren't people I'd care to hang around with, but they didn't shoot anybody in the back in cold blood, they didn't rape anybody, & they didn't molest any children. ========================================================================= Date: Thu, 9 May 1996 21:44:31 +0100 Reply-To: Edward Antonio Davey From: Edward Antonio Davey Subject: *musicCONNECT* record catalogue ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ *musicCONNECT* record catalogue ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ A comprehensive, detailed and searchable on-line music catalogue. Find out more at: http://www.veryreal.co.uk Many thanks. ED DAVEY ========================================================================= Date: Thu, 9 May 1996 19:29:18 -0300 Reply-To: Leonardo Kenji Shikida From: Leonardo Kenji Shikida Subject: help ! Blue and Lonesome lyrics ! Hello guys ! I'm looking for "Blue and Lonesome" lyrics, from Charles Ford e" from Charles Ford Bluesband Can anyone send it to me ? Please ? Thanks in advance Kenji ========================================================================= Date: Thu, 9 May 1996 18:28:59 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re: Johnny Winter(Cincinnati) Comments: To: Dave Markovits Perhaps the Johnny Winter show in Cincinnati wasn't "confirmed"...but then how do you define "confirmed"? Bogart's had Johnny Winter's name and face posted on their marquee, had the concert info (including starting time and ticket price) listed on their web site, printed in local entertainment guides, and included in their weekly e-mailing to folks (like me) on their e-mail delivery list. Nowhere was the word "tentative" or "unconfirmed" included in that campaign. Just curious about semantics. It's that editor in me. Shannon ______________________________ Reply Separator _________________________________ Subject: Johnny Winter(Cincinnati) Author: Dave Markovits at INTERNET_TP Date: 5/9/96 6:14 PM I called Bogarts after that was posted and that show was never confirmed anyway. You can't cancel a show that isn't confirmed. According to the people that I talked to in New York, who manage him, he was talking about touring and awaiting offers. Otherwise he was gonna play close to him. Connecticut isn't that far from NYC. Just a thought, David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Thu, 9 May 1996 18:37:23 +0100 Reply-To: Weidel From: Weidel Organization: Not at This Time Subject: Re: Memphis Thoughts Comments: To: bit-listserv-blues-l@uunet.uu.net In article <96May7.184053pdt.30829-151+1@haven.uniserve.com>, Jim Witteveen wrote > >RL Burnside ...too much of that same beat began to bore me > > I can see this happening. I've never seen RL live, but I've got Too Bad Jim > (and love it), but I can imagine that after an hour or so it could begin to > get monotonous. Which is not to say that I don't like his stuff (no > flames... please!!! :-) ), but variety is the spice of life. No flames coming... but I've seen RL several times and find I enjoy him most when I just kinda zone out. Sure the beat is repetitive, but think of it as Mississippi zen. > > >Blind Boys Of Alabama , the other stage was too loud, but they were SUPERB. > >(VERY VERY GOOD) They always are. > > >I hear Clarksdale calling my name..... > > So do I!!! See you there! :-) I'm already counting down the days... Does > anyone know who'll be playing in Clarksdale this year? I'll be there, first time since '93. Booba (RIP) closed the show that year. RL played a nice afternoon set, also Big Jack, Jessie Mae Hemphill, etc. Haven't heard anything about this year except the dates, Aug 2-4, but I'm sure to be there. Bob Weidel ========================================================================= Date: Thu, 9 May 1996 19:08:14 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: SITTING & THINKING: In General Comments: To: pwfenton@gate.net In a message dated 96-05-09 17:06:29 EDT, pwfenton@GATE.NET (P.W. Fenton) writes (about those NY CD reviews): >Well, I AM saying your "reviews" are not the "whole car". I thought >that was pretty clear. > >A "review" is a critical examination. What you guys do is not. Call >them recommendations... call them advertisements... call them >endorsements. All those descriptive labels would fit what you do, >and would have value within those definitions. But limited as they >are, they are not reviews, and therefore have little value as >reviews. PW's analogy was nice but probably more confusing than a direct way of saying it: The reviews are devoid of analysis or depth, in part because of the policy of "only being nice." From the readers viewpoint, the reviews seem to make EVERY record sound the same. They have the same sort of benign uncritical (I use that word on purpose) upbeat tone about EVERYTHING and I can't tell the records apart, even if I had heard them. The bland sameness of the reviews means that they provide neither an interesting critical commentary on the recordings nor a useful consumer guide, the two obvious "offices" of criticism. I will say that it is more interesting for me to write about my enthusiasms, so I can understand that. I pretty much don't pay enough attention to things I dislike unless they are a particular affront. Nevertheless, I think you can even discuss your enthusiasms in a "critical" way. Uniformly upbeat and positive reviews do not do that. Tom Freeland ========================================================================= Date: Thu, 9 May 1996 23:25:45 GMT Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: Handy Awards Question Comments: To: ISTS024@UABDPO.DPO.UAB.EDU On Thu, 9 May 1996 15:04:53 CDT, you wrote: >On Thu, 9 May 1996 14:32:56 -0500 P.W. Fenton said: >>Shortly after the Handys were over someone posted a list of the >>winners (I don't remember who). In the category of Best New Blues >>Artist, Coco Montoya was listed as winner with Mem Shannon written >>next to it in parenthesis. I meant to ask about it then, but can >>anyone tell me why Mem's name was listed that way and what it meant? >The list that The Blues Foundation gave me made no mention of Mem Shannon. >It just said Coco Montoya....? That was: 10. Best New Blues Artist: Coco Montoya (Corey Harris) and I don't know what it meant either, except that Corey Harris was one of the nominees in that category. Was there a tie? Mike McCracken posted the results. What's up with that Mike? *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Thu, 9 May 1996 19:45:09 -0400 Reply-To: PHWoolfman@AOL.COM From: Pete Wulforst Subject: Re: Jimmy Page and Roots Comments: To: kelly@netusa1.net Have to agree, even though I would not classifiy myself particularly as Zep or Page fan (and certainly not a Plant fan - strictly a matter of taste). "Since I've Been Lovin' You" is a killer slow blues with some nice added chords, passionate guitar, and yes, even a really effective vocal. The use of dynamics really add to the spooky feel. Just a word on matters of taste: as a musician, I lately find myself more and more offended by people who don't like a particular performer and therefore feel qualified to rag on about how so-and-so's music "sucks". I have pretty broad taste in music, but there are certainly lots of things I don't like. However, that doesn't keep me from appreciating said artist's ability to do whatever he/she does. (Even as I turn it off) I responded to this particular post because I was often guilty in my (relative) youth of making the kind of arbitrary judgements that now offend me. And, as usual I've rambled away from the original subject. Also, "AMen" to Greg, from one of those 40-50 year old guys! Pete Wulforst, Hampstead Md. ========================================================================= Date: Thu, 9 May 1996 16:46:26 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: help ! Blue and Lonesome lyrics ! Pick up Little Walter's original recording and transcribe them from the source. Uncle Ray ---------- From: Leonardo Kenji Shikida[SMTP:kenji@DCC.UFMG.BR] Sent: Thursday, May 09, 1996 10:29 PM To: Multiple recipients of list BLUES-L Subject: help ! Blue and Lonesome lyrics ! Hello guys ! I'm looking for "Blue and Lonesome" lyrics, from Charles Ford e" from Charles Ford Bluesband Can anyone send it to me ? Please ? Thanks in advance Kenji ========================================================================= Date: Wed, 8 May 1996 23:18:46 -0700 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Mem Shannon Tour Dates: May - July Looks like Mem's keeping pretty busy through the summer; trying to make up for that lost cab revenue, no doubt. 5/17/96 Friday Wilbert's Cleveland OH 5/18/96 Saturday Lilac Festival Rochester NY 5/19/96 Sunday Crawfish Festival Riverdale NJ (isn't that Archie & Veronica's home?) 5/24/96 Friday Twist and Shout Bethesda MD 5/25/96 Saturday Tin Angel Philadelphia PA 5/26/96 Sunday Winter Island Blues Festival Salem MA 5/26/96 Sunday Harpers Ferry Allston MA 6/4/96 Tuesday House of Blues New Orleans LA 6/7/96 Friday Smokey Row Houma LA 6/12/96 Wednesday The Dingo Bar Albuquerque NM 6/13/96 Thursday Rhythm Room Phoenix AZ 6/14/96 Friday La Vida Roadhouse Brea CA 6/15/96 Saturday Jack's Sugar Shack Hollywood CA 6/21/96 Friday Great American Music Hall San Francisco CA 6/23/96 Sat/Sun Monterey Bay Blues Festival Monterey CA 7/4/96 Thursday Summer Fest Milwukee WI 7/5/96 Friday Fitzgeralds/American Music Fest Chicago IL 7/6/96 Saturday Miss. Valley Blues Fest Davenport IA 7/16/96 Sunday Concert Series at Oaks Park Portland OR 7/21/96 Sunday Kansas City Jazz and Blues Festival Kansas City KS 7/27/96 Saturday Sherman Fest Milwaukee WI -- Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ "I'm not sure, but I think that ALL music started in New Orleans." --Ernie K-Doe ========================================================================= Date: Thu, 9 May 1996 20:50:02 -0400 Reply-To: James Leftwich From: James Leftwich Subject: Mem Shannon Tour Dates: May - July (fwd) ---------- Forwarded message ---------- Date: Wed, 8 May 1996 23:18:46 -0700 From: Maggie Mortensen To: Multiple recipients of list BLUES-L Subject: Mem Shannon Tour Dates: May - July Looks like Mem's keeping pretty busy through the summer; trying to make up for that lost cab revenue, no doubt. 5/19/96 Sunday Crawfish Festival Riverdale NJ (isn't that Archie & Veronica's home?) Does anyone know anything about this festival? ============================================================================= Jim Leftwich Jim's Blues N' Brews leftwich@cloud9.net http://www.cloud9.net/~leftwich "I'm on cloud9!" :) New CD Giveaway: Sherman Robertson ============================================================================= ========================================================================= Date: Thu, 9 May 1996 21:33:03 -0400 Reply-To: JukeFreak@AOL.COM From: "(Karen Hanson)" Subject: Little Walter and Otis Rush Okay, another new CD I got... (y'all didn't like the other two)... It's called Windy City Blues and is a live recording of Little Walter and Otis Rush at the 1967 Chicago Blues Festival. (I didn't even know there was a Chicago Blues Festival in 1967, since I think this year is supposedly the 13th, isn't it?) Anyway, it's on the Blue Moon label, and the only date I can find is a Roman numeral: MCMXCIV (1994?). The sound quality is not very good, as it sort of fades in and out....The liner notes contain warmed-over biographical blurbs and not much more. Anyway, I guess what I'm wondering is if anybody knows anything about this recording, who did it, the festival, etc. It must be one of the last recordings of Little Walter, except for the Am. Folk Blues Fest, which I believe took place in the autumn of '67. Karen ========================================================================= Date: Thu, 9 May 1996 19:27:11 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Saints 'n' Sinners 'n' Heroes Comments: To: "P.W. Fenton" PW Fenton: >I don't think anyone ever said that one shouldn't listen to Ted >Hawkins. One person said that she didn't, and couldn't, because of >who she felt the man was in relation to her own principles. > >The resulting furor argued as if she told everyone else they couldn't >or shouldn't. I agree. The point I was making was on a tangent but I feel some of the posts touched upon the issues raised. I have often seen people who are quite surprised when an artist is revealed to have the same flaws and problems that we all have. Nobody i sperfect but artists are aften expected to be. In recognizing the humanity is an artist we get closer to what makes an artist "great". IMHO, of course. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Thu, 9 May 1996 07:38:10 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Muddy's Cabin leaves Stovall, MS Comments: To: bit-listserv-blues-l@uunet.uu.net L W wrote: > >HoB has committed to spend $125,000 to refurbish the cabin, and may indeed >purchase the last remaining sharecropper cabin standing on Stovall >Plantation in order to have original materials to use in that effort. $125,000 for a pile of kindling that probably cost less than $125 to build before Muddy moved in. I agree with LW; if everybody's happy witht he deal, I'm happy for them. But wouldn't it have been nice for Muddy to live in a $125,000 house back in those days? Or for some other worthy blue artist to have a $125,000 house now? Scott ========================================================================= Date: Thu, 9 May 1996 19:21:14 GMT Reply-To: Poindexter Regan From: Poindexter Regan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: SITTING & THINKING: Big Walt Comments: To: bit-listserv-blues-l@uunet.uu.net "DUTTWEILER.J" wrote: [big edit] > > But >why spend time and energy being negative, when there's so much more out there >to be positive about? > >Hey, if we haven't reviewed it its because either we couldn't recommend it or >we just haven't gotten to it yet > >JD Here's why: 1) The primary job of a reviewer/critic is to help the consumer seperate the worthy purchases from the worthless ones, and if you don't warn someone off of a lame release, you're only doing half your job. 2) Your policy implies that if you don't review it, it's not worth having, and this can't possibly be true. I doubt you've got the resources or manpower to review every single blues release, let alone every worthy one. I don't think that warning someone off of a bad release is "being negative", I think it's a case of being thorough. And as much as I appreciate the intent of what NYCD is trying to do (and I do--don't misinterpret the above as a flame), I find it very hard to take any of the NYCD reviews very seriously knowing that they'll all read like press releases from the record companies. Scott ========================================================================= Date: Thu, 9 May 1996 23:18:39 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Handy Awards Question Comments: To: Curtis Hewston In-Reply-To: <199605092321.TAA18645@magicnet.magicnet.net> On Thu, 9 May 1996, Curtis Hewston wrote: > On Thu, 9 May 1996 15:04:53 CDT, you wrote: > > >On Thu, 9 May 1996 14:32:56 -0500 P.W. Fenton said: > >>Shortly after the Handys were over someone posted a list of the > >>winners (I don't remember who). In the category of Best New Blues > >>Artist, Coco Montoya was listed as winner with Mem Shannon written > >>next to it in parenthesis. I meant to ask about it then, but can > >>anyone tell me why Mem's name was listed that way and what it meant? > > >The list that The Blues Foundation gave me made no mention of Mem Shannon. > >It just said Coco Montoya....? > > That was: > > 10. Best New Blues Artist: Coco Montoya (Corey Harris) > > and I don't know what it meant either, except that Corey Harris was > one of the nominees in that category. Was there a tie? > > Mike McCracken posted the results. What's up with that Mike? I asked him right when they were first posted and he said that the ones in parentheses were the picks of his local blues society and he had removed all but that one, only a mistake to have missed it. Steve ========================================================================= Date: Thu, 9 May 1996 21:38:13 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Saints 'n' Sinners 'n' Heroes Comments: To: shaun@PACIFICNET.NET In-Reply-To: from "Shaun T Cronin" at May 9, 96 07:27:11 pm > In recognizing the humanity is an artist we get closer to what makes an > artist "great". IMHO, of course. Yikes! And all this time I thought it was talent and technique! Silly me ;-) (Sorry, Shaun - couldn't resist) -- IronMan Mike Curtis ========================================================================= Date: Thu, 9 May 1996 22:39:58 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: jazzfest postmortem (long) Kind of late with this report, but I needed the recovery time from the heat and stupidity (mostly my own) that accompanied this year's Jazz and Heritage Festival. I also had to clean up after four houseguests. I only attended three days of this year's Jazzfest at the Fairgrounds instead of the six days that I intended. I missed the entire first weekend and Thursday of the second week. zeller sightings The highlight of the first week was that I got a chance to meet several blues-lers on the club circuit while taking in some fine music. In addition to seeing Mem Shannon and the Rebirth Brass Band at Margaritaville, I met with Maggie "the cat" Mortensen and her new friend from upstate New York, George Rossi (who has a band with an odd Hungarian name that I can't remember -- the Gabor Sisters maybe?). Maggie mentioned that Dick Waterman might be there, but having never met him, we could only guess what he looked like. We asked men who looked like our imaginary Waterman if they were the alias Jinxblues but had no success. As it turned out, Dick Waterman wasn't even there. The following Saturday, Blues-ler Chicago Dave Markovits dropped by my apartment after the Fairgrounds show ended bearing a six-pack of Abita Amber and towing an Aussie pal. I had a very pleasant time sharing beers and lies with those two. I'd recommend contacting Dave if you're going to the Chicago Blues Festival, but bring an Australian with you and a six-pack -- Shaun Cronin might be available, but he drinks Guinness in 55 gal. drums. Finally, on Sunday night I had the pleasure of meeting Dick Waterman and Tom Morgan along with their significant others at Donna's Bar and Grill. Special thanks to Maggie Mortensen for arranging the get together, which was great fun. John Sinclair performed with his Blues Scholars and Dick showed off a box of some of his 8 x 10 photos. Sorry I didn't get the chance to meet James Foster, Jim McGlynn or Cat Bauer. Musical Highlights Two performances really stick out as the best of the fest: Van Morrison at the Fairgrounds and the Fat Possum Mississippi Jook Joint Caravan at The Mardi Gras Cabaret. I didn't know what to expect from Van Morrison. I'd never seen him perform live, but in the past few years I'd seen some pretty lackluster performances by him on late night television, in which he droned and slurred his way through the vocals. Not so this time, Morrison gave a genuinely robust performance that was a wonderful blend of jazz and rhythm and blues. He opened the performance with "Moondance,' which fell somewhere between the jazzier interpretation on his most recent recording and the original. The band was remarkable with a great horn section. Unfortunately this was the most crowded day of the festival and the most crowded stage. I was able to fight my way to about 80 yards from the stage and well off to the side. I could see Van and his horn players, but none of the other musicians. Nevertheless, the sound was quite good. The Fat Possum Caravan featured R.L. Burnside, Paul "Wine" Jones, and Lil' Dave Thompson. Dave Thompson was much too slick for this show. He didn't fit the Juke Joint theme, and I found his set tedious. Thompson performed right after Jones and before Burnside. I thought his set interfered with the mood of their performances. If they had to include Thompson, he should have opened and done fewer songs. That drawback aside, Jones and Burnside had all but the severely anesthetized moving throughout their sets. For extra entertainment, a couple of really quirky characters were dancing at the front of the stage during Burnside's performance. One dental floss thin elastic cowboy with slouched posture was doing dips and deep knee bends punctuated with an air guitar solo while another guy with a Warren Beatty hairdo from the "Shampoo" period minimized his dance step to a shadow boxing style that missed the Burnside beat with regularity. Burnside maintained a smile as he watched these characters on the dance floor, I'm sure realizing that he incited this hypnotic state. Everyone was entranced by that beat during the encore; not a soul remained in his or her seat. Some other very good performances were Earl King, Salif Keita, The Williams Brothers and Red Tyler. I didn't get to spend as much time at the Gospel Tent or the Jazz Tent as I would have liked. I was fortunate to catch the last song of the Williams Brothers at the gospel tent - exceptional performance by a small gospel group -- I'd probably include them in my Best of list if I had seen more of them. Finally, I enjoyed seeing Katie Webster and the Vasti Jackson Group. Although Katie's voice seemed very frail after a couple of songs. I think the heat was getting to her. I saw her interview a few hours after her performance in which she gave a convincing display of how powerful her voice still is and she appeared to be healthy. Her interview was the most enjoyable. She talked about working with Otis Redding and mentioned several country artists that she enjoys: George Jones, Tammy Wynette, Patsy Cline, Garth Brooks, and the "Achy Breaky Man" (she likes the way he dances). Fest food These were some of my favorite foods of the festival: Creole's Stuffed Bread, Alligator Pie, Garlicky Oysters on Fried Eggplant, Fried Plantains, Pheasant, Quail and Andouille Gumbo, Marie's Sweet Potato Pie And the greatest disappointment -- the booth that served cochon de lait has been replaced by another cochon de lait vendor who serves cochon de fat. Bill Morgan From: The Big Easy ========================================================================= Date: Fri, 10 May 1996 04:56:40 GMT Reply-To: Mike Lattrell From: Mike Lattrell Organization: PANIX Public Access Internet and Unix, NYC Subject: Christine Santelli gig Comments: To: bit-listserv-blues-l@uunet.uu.net The Christine Santelli Band will be at: Dan Lynch Blues Bar 2nd Ave & 14th St (NYC) Friday May 10th http://www.panix.com/~specty/band.htm ========================================================================= Date: Thu, 9 May 1996 03:57:42 GMT Reply-To: Jack Oudiz From: Jack Oudiz Organization: Midtown Computer Services Subject: Re: SITTING & THINKING: Big Walt Comments: To: bit-listserv-blues-l@uunet.uu.net >No, I think too many "critics" in our society are just frustrated - >musicians, directors, actors, chefs, whatever. I don't review CDs as a >frustrated musician, I review them as a fan, as a lover of the art form. >Let someone else tear it down, I for one prefer to spend my time building it >up. If that makes me less credible to some, so be it - but its their loss, >not mine! Well I hope that your reviews are less filled with hackneyed opinions than this little gem. If you're going to repeat these dreary, inane cliches at least spare yourself the embarrassment of claiming them as the product of your inspired mind. Your idea that criticizing a musical performance is destructive to music is one of the silliest things I've ever read. The problem that I see with most blues "reviewers" is not that they criticize but that they really don't have any basis on which to impart anything of note to anyone. Their only discernible skills and talents lie in their facility with a word processor and a vocabulary replete with every worn out cliche. They know nothing about music or musicianship and therefore can teach nothing about its appreciation. At best they tell me that a performance was "hot", "scorching", "smoking", that the guitarist is a "master". Some of this stuff is downright embarrassing. Every aspiring "critic" should be forced to sit down with some of Pete Welding's writings and then come back and give me that BS about "negative" reviews. THere is no other art form I know of that allows such an incompetent level of criticism to flourish. If saying that some guy is out of tune or a drummer can't hold a beat is considered "tearing down" the art form then baby we lost the war a long time ago. Just look at what's going on on the Net. Every yoho with a keyboard has suddenly become a blues "critic" with his/her own web page, newsletter, newsgroup, etc. from which to pontificate and tell the world what he/she thinks about a performance. Does the fact that you read Doestoevsky entitle you to be a literary critic? Does the world really need the benefit of your opinions? Or is it just ego-driven air pollution? ========================================================================= Date: Thu, 9 May 1996 04:06:41 GMT Reply-To: Jack Oudiz From: Jack Oudiz Organization: Midtown Computer Services Subject: Re: CD Recomendation... Comments: To: bit-listserv-blues-l@uunet.uu.net Joe Lempkowski wrote: >Last week, I had the opportunity to pick up a copy of a great new CD just >issued on the Evidence label. Carl Weathersby's, "Don't Lay Your Blues On >Me" is one the best new albums I've come across in the past several months. >As a fellow blues-l'er simply put it, "Carl Weathersby kicks ass!!" and this >comment rings true about this album. It contains 10 great tracks from one >of the hottest bluesmen on the Chicago scene. Joe, that was a very nice piece you did on "B". I called Carl a few months back and he told me about this new Evidence recording he was working on. Glad to hear it's now out. I couldn't agree more about the scope of the man's talents. Beyond his musicianship though, Carl is one of the warmest and funniest human beings on the planet. He's a man who loves to laugh amd make others laugh. Whether he's impersonating one of Albert King's infamous tantrums or telling a story in dialect about his deep South uncles, I'm on the ground the minute he starts in. Carl also has a magical rapport with kids he works with on the Blues in Schools projects he does with Billy Branch. He's a former Special Services badass who can melt the heart of the hardest kids with his humor and warmth. Hope the CD is a BIG success for a very deserving man. ========================================================================= Date: Thu, 9 May 1996 04:11:39 GMT Reply-To: Jack Oudiz From: Jack Oudiz Organization: Midtown Computer Services Subject: Re: Memphis/Robert Jr. Comments: To: bit-listserv-blues-l@uunet.uu.net Great post Ray. ========================================================================= Date: Fri, 10 May 1996 05:34:53 GMT Reply-To: cuthulu@rlabs.com From: cuthulu Organization: Bad Credit? Slow Credit? No Credit? No Problem! Subject: The Myth of Tone Comments: To: bit-listserv-blues-l@uunet.uu.net On Wed, 8 May 1996 13:41:44 -0400, James Leftwich wrote: >I just read the Guitar Player interview with JL Hooker and Buddy Guy (it's >online). In the piece John Lee says his favorite amp was an old >Silvertone but uses Fender now. Buddy says he uses a Fender Bassman. >What I ask is...what kinds of amps do our favorited bluesmen play through? >How many use reverb for example. People use whatever amps they can afford in the beggining. They learn how to play it to generate a sound they like. If they find one that generates the sound they like better, they get it later. You can find a sound you like through any amplifier, almost. I've played through cheap Crates all the way up to Rane and Gallien-Kruger. Right now I have an Ampeg. If it's got some fuzz and some bite, it's OK. The thing is to play, and to not have to twiddle knobs. Having said that, match these well known combos a> Gibson Les Paul b> Fender Strat c> Rickenbacker 1>Marshall Stack 2>Reverb DeLuxe 3>Hiwatt Pretty, easy, huh? Now where did you learn it .... HYPE! What would you think if a blues guitarist played a Roland Guitar Synth? I saw Jesse Thomas play one .... Kevan Smith cuthulu@rlabs.com the great purple hope for the blues ========================================================================= Date: Fri, 10 May 1996 06:17:50 GMT Reply-To: Undetermined origin c/o LISTSERV maintainer Comments: RFC822 error: Incorrect or incomplete address field found and ignored. Comments: RFC822 error: Incorrect or incomplete address field found and ignored. Comments: RFC822 error: Incorrect or incomplete address field found and ignored. Comments: RFC822 error: Mail origin cannot be determined. Comments: RFC822 error: Original tag data was -> @inlink.com () From: Undetermined origin c/o LISTSERV maintainer Organization: inlink Subject: Re: Skip James rediscovery material Comments: To: bit-listserv-blues-l@uunet.uu.net Andrew: There's a good Skip James on GENES and I think they're due out with another one. Joel Slotnikoff > ********************************************************************** ========================================================================= Date: Fri, 10 May 1996 03:08:47 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Dr John > In his post of 8 May re:Dr John, Uncle Ray said: > > "The story goes that Baron damaged his hand , amputated a finger > I think and could not become the "Dr" character. So.....Mac did > it himself" > > I recall seeing an interview with the Doctor where he gave > a different take on this one. He didn't talk about where the "Dr > John" name came from, but he did say that he had injured his > hand, and that the injury had a part to play in him developing > his style of piano playing - using the injured left hand to > thump out chords on the piano. I think he also mentioned being > a guitar player in pre-injury days. > > Interesting how a number of great musicians have adapted > to/overcome injury or disability to make incredible music - > Django Reinhardt (burnt fretting hand, leaving only 2 properly > functioning fingers), Jerry Garcia (missing right index finger), > Blind Blake, Blind Lemon Jefferson, Reverend Gary Davis, > Beethoven (limited blues content) etc... I was talking to a guitar player with a Scottish jazz band that does Django style music, and he said that when invited to join, he decided he'd better learn 'Nuages' (Django's greatest hit). He said it was impossible to play until he tried making the chords with two fingers only. Let's not forget Johnny Otis (right hand lost an argument with a chainsaw, but he still plays piano). Chris Smith (chris@skerries.demon.co.uk) Beauty is in the eye of the beer holder. ========================================================================= Date: Fri, 10 May 1996 01:29:08 -0600 Reply-To: DeWayne Brown From: DeWayne Brown Subject: Re: Blues in Edmonton, Canada? Comments: To: Pekka Tiittanen In-Reply-To: <31916FCA.7B52@ktl.fi> Pekka, yes there are number of venues that you may want to check out when you get here. (1) There is the Commerical Hotel (Blues on Whyte) which is located at 10329 - Whyte Ave (82 Ave) Good down home blues. Saturday afternoons are reserved for jams. (Get there early). (2) The Grinder; 10957 - 124st. Not too well known, but a good hot spot. (3) The Sidetrack Cafe 10333 - 112st. Usually good blues, but a very expensive evening. (4) West Edmonton Music Society. Only know by local artists. (My favorite) Sets in a warehouse and local talent come to play and play and play. Check the answering machine when you get here for dates as it is usually only once a week. 452-4706. Sounds like you may be coming around the time of our Folk Festival. If so, this is a must!! Feel free to call me when you are in town. Dew DeWayne Brown, Director CROSSROADS Outreach (Edmonton Alberta Canada) voice: (403) 474-7421 fax: (403) 471-2311 email: dewbr@freenet.edmonton.ab.ca On Wed, 8 May 1996, Pekka Tiittanen wrote: > Hi, > > Is there any blues clubs in Edmonton? > I'm going to take 747 and be in Edmonton > in August 14-21 and would like to enjoy some blues. > > PJ > 'I took 747 cause greyhound runs too slow..' > ========================================================================= Date: Fri, 10 May 1996 03:39:57 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Kanasas City >Has anyone heard anything about the new Robert Altman film about >Kanasas City in the 1930's, called "Kanasas City"? > > >Bruce Roberts >Austin, TX Tahere maust bae saome maistake in tahis paosting. Chris Smith (chris@skerries.demon.co.uk) Beauty is in the eye of the beer holder. ========================================================================= Date: Fri, 10 May 1996 03:40:41 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Stavin Chain LW wrote >I think this has already been discussed, but could someone tell me what >"Stavin Chain" means....THANKS. Does anyone know of a book that has some >detailed info on Lucille Bogan > >LW Leonard 'Stavin' Chain' is a badman/trickster/(mainly) sexual athlete figure. It's been suggested that the name is a pun on 'a stave in a chain' as a metaphor for - umm - well, think about it! There's some discussion of the songs in Paul Oliver's 'Screening the Blues', aka 'The Blues Tradition' in the US. There were a couple of articles by Richard Noblett in 'Blues Unlimited' from a sociological perspective, which I guess represent the most detailed look at the topic. I don't have time to research the issue numbers right now, but if you can't find them, get back to me. If you look in the 'Guinness Who's Who of Blues' you'll find what there is to know about Lucille Bogan. The article is based on a short feature by Bob Eagle (who traced her son) in 'Living Blues' issue 44. Best Chris Smith (chris@skerries.demon.co.uk) Beauty is in the eye of the beer holder. ========================================================================= Date: Sat, 4 May 1996 14:26:23 GMT Reply-To: David Martin From: David Martin Organization: Knoware Internet Subject: muddy's cabin...the lyrics Comments: To: bit-listserv-blues-l@uunet.uu.net x-anon-password:pira*cetam They got Muddy Water's cabin, gonna put it on the road Gonna take it down the highway, like it was a V-8 Ford Gonna roll into Chicago, show the brothers what they missed But the brothers in Chicago, sure know when they're bein dissed They can take it off to Europe, they can put it on the White House lawn But Izak Tigrett should remember, that a House is not a Home Any questions? InHome Health Services For information: Cost-effective cognitive enhancement/life extension http://www2.smart.net/~inhome medications sent directly from Europe. Fax: +31-20-682-4441 ========================================================================= Date: Fri, 10 May 1996 01:18:09 -0700 Reply-To: Joe Corriveau From: Joe Corriveau Organization: Aimnet Information Services Subject: Re: Web source for blues tablature Comments: To: bit-listserv-blues-l@uunet.uu.net This may not have everything your looking for, but it's a good start. http://www.leo.org/archiv/music/guitar.html Joe bigjoe@aimnet.com ========================================================================= Date: Fri, 10 May 1996 09:49:22 +0000 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: I'm back - still talking about reviews Hi you all, I'm back after a bit more than two months of absence on this list and was really amazed to see that the subject that is now being discussed on Blues-L is actually exactly the one which partly made me stay silent during a while (in addition of my very busy avtivities these last weeks). So.. I'm hesitating... nevertheless... Old zellers will maybe remember that I've often sent "reviews" (may I still call my posts thsi way?) or let say information about new product I liked. Two months ago someone started with the same issue and I felt myself a bit attacked, to be honnest. Most of what I sent were indeed also positive things about albums I think should be discovered by many people. So later today you'll find a few things (I will not call them review so I won't be killed for their content) about albums I liked much which came out recently. Given my very limited available time for posting I'm NOT gonna be lengthy on what I don't find moving but since people apparently want to see negative reviews I'll try to give an idea of what I don't like. But obviously this is IMHO. My position is that there are many things which actually don't need any reviews as they are heavily supported by advertisment policies and honnestly they don't move me a lot not to say more (Luther Allison is an example on which I know many people will disagree, Mam Shannon is another one, nice OK, but....). and I also know -from experience- that my tastes and what I am looking or in the blues is not what everyone is looking for and inevitably, it means that I dislike stuff people rave about... A few names ???? OK, but please don't start a flame war this is IMHO again. Among the more or less recent products that I heard I DO NOT recommend at least if what you're loking for is similar to what I'm searching for in the music: Mike Welch...., the recent The Ford Blues Band (on Crosscut/Blue Rock It), kenny Wayne Shepherd, Tommy Castro, all the Provogue stuff. I've also been partly disappointed by Wiggins and Cephas on Alligator (nice but I don't think this is the best album they recorded), by Williw Willis on Trix (I was maybe expecting toomuch), Tre (on JSP, nice well played but not that impressive), the new John Hammond..(sorry for all the Hammond fans but this is IMHO, he's too clean for me...), the Sequel Ann Arbor Blues Fest (I was expecting much more but still it's an interesting document)... But there are also a number of maybe lesser known guys who deserve a bit more recognition. The new Willie Foster (see the review on Blues World), Little Freddie King, Andre Williams, Robert Lowery (OK, not that new but still they deserve a bit more recognition than what they have), Blind Mississippi Norris (Don't have to add anything on it, Bill Shute has done the work -as always with the good arguments - nice to see you're there back too Bill :-) and among reissues the wonderfull SUPERB Arhoolie set with Smoky Babe and Herman E Johnson, Buddy Moss, the Global Village reissues of the BRI Virginia TRadition stuff, and all the superb Document stuff.... OK, I have to work now. I'll post a few things later on today. Nice to see that you're all still there! Jean-Pierre "(still) Young Man" Urbain P.S. As you all see I'm my English is still "engaginly wonky.... " (hi Chris :-)..... ========================================================================= Date: Fri, 10 May 1996 10:44:53 +0000 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Arhoolie CD: Smoky babe/ herman E Johnson Call his a review, an add, a recommendation, what you want, honnestly I don't care. This is just an album you all should buy! Herman E. Johnson / Smokey babe "Louisiana Country Blues" Arhoolie CD440 Smoky babe: I'm Broke and I'm Hungry / Too Many Women / Two Wings / Mississippi River / My Baby She Told Me / Rabbit Blues / Black Ghost / Ain't Got No Rabbit Dog / Bad Whiskey / Black Gal / My Baby Put Me Down / Going Back Home / Regular Blues / Herman E. Johnson: I Just keeps on Wanting You / You Don't Know My Mind / Motherless Children / Depression Blues / She's a Looking For Me / She Had Been Drinking / I'm Growing Older / Po'Boy / Leavin' Blues / Piano Blues / Where the Mansion's Prepared For Me This album just came in at the last minute while I was preparing to send my material to our editor (Blues Gazette), but I couldn't resist! Both Herman E Johnson and Smoky Babe were discovered and recorded by Dr Harry Hoster in Louisiana. The Smoky Babe tracks which are reissued here, were initially available on a Folklyric LP 118, an Arhoolie LP 2019 and in Europe on 77LA. Born in Itta Bena Mississippi, Smoky Babe was discovered in Scotlandville in Louisiana where he was working at a filling station as mechanic. He passed away in 1975. What I've always found fascinating with Smoky's country blues is its enthusiasm, exuberance which invites you to stomp your feet or just stand up and dance, even when his blues are sad in text, they are joyful in the way they are communicated. The Smoky Babe cuts were recorded in February 1960 with Lazy Lester or Clyde Caysey on Harmonica (whose playing is reminiscent of Noah Lewis on Ain't Got No Rabbit Dog), or William and/or Sally Dotson on vocals both coming for a rhythmic and irresistible Rabbit Blues which is one of the highlights of this superb album. Rabbit Blues is an amazing song which was part of the traditional material from the South which supplied for example a framework for children's games or which was a lively feature of quilting time just before the winter, as explained in the liner notes by Harry Hoster. Sally Dotson is also responsible for part of the vocals on the comic Black Ghosts on which she dialogues with Smoky on the idea of being haunted by a black ghosts. In addition of being an great entertainer, Smoky Babe was also a nice musician who could produce some superb bottleneck sound (on Bad Whisky) in the best tradition of Northern Mississippi players. All in all, the country blues of Smoky babe is simply one of the most joyful I know of. Herman E Johnson, from Scotlandville Louisiana, who died in 1975 had only one full LP available on the market (Arhoolie LP 1060) which is entirely reissued here. Coming from a very religious family, but not being member of any church himself, Herman Johnson is in fact quite an original musician. His music is sober, intimate and moving. These different characteristics are amplified by his use of a knife blade with which he produces a very expressive guitar sound and which often enables him to leave out words of songs and let his slide speaks, in a tradition which reminds us of Blind Willie Johnson. And this is maybe the most remarkable trademark of Herman Johnson's music: this ever present dialogue between him and his guitar. Unlike many artists who accompany themselves with their instruments, Johnson uses his instrument as a partner to produce some fascinating music. Louisiana Country Blues is again, like almost all of Arhoolie's reissues, a highly welcome release: two outstanding LP's on one CD, by , most importantly, two superb musicians. This is a run don't walk album! Jean-Pierre "Young Man" Urbain P.S. Not affiliated etc... ========================================================================= Date: Fri, 10 May 1996 10:48:44 +0000 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Rykodisc/Tradition CDs: Lightnin'Hopkins Although I had these sides on LP I coundln't resist and I bought the CDs when I saw them in the record stores. here it comes: LIGHTNIN'HOPKINS "Autobiography in Blues" Rykodisc/Tradition TCD 1002 In the evening / Trouble In Mind Time / Mama and Papa Hopkins Time / The Foot Race Is On Time / That Gambling Life Time / When the Saint Go Marching in Time / Get Off My Toe Time / 75 Highway Time / Bottle Up and Go Time / Short Haired Woman Time / So Long Baby Time / Sante Fe Blues Time "Country Blues " Rykodisc/Tradition TCD 1003 Long Time / Rainy Day Blues / Baby / Long Gone Like a Turkey Through The Corn / Prison Blues Come Down On Me / Backwater Blues / Gonna Pull A Party / Bluebird, Bluebird / See See Rider / Worrying My Mind / Till The Gin Gets Here / Bunion Stew / You Got To Work To Get Your Pay / Go Down Old Hannah / Hear My Black Dog Bark Lightnin' Hopkins was certainly the most prolific, both quantitatively and qualitatively speaking, Texas blues musician of the post world war II period. These two CDs are straightforward reissues of the Tradition LP's which were published back in 1960 with material originally recorded by Mack McCormick during different sessions in 1959 in Houston. Other tracks recorded during these sessions were also published on 77LA, Candid, Arhoolie, Everest. At the time these sessions were held, Hopkins's commercial recording career had started to wane and it was mainly thanks to the interest and enthusiasm of Mack McCormick, Chris Strachwitz and Samuel Charters that Hopkins was brought to the attention of the new growing white folk revival audience. If his early sides for Gold Star, Aladdin, or Herald are without any doubts the very best things he recorded in his career, it was surprising to discover how easily he could adapt himself and his music to an acoustic set-up. While the electricity of the instrument was moved away in order to please the audience of the folk revival, his music remained almost unchanged, real and direct, utterly personal, rough-edged. He made dozens of albums for this new audience, and these sides, among the first he recorded in his new career, rank among the best. Almost 40 years later, the magic still works and his music demonstrate once again what a huge talent and essential musician he was and how well, maybe more than anyone else, his personality summarises what being a blues musician could mean: storyteller, entertainer, poet, improviser. Hopkins' idiosyncratic style is so intense that he was able to capture both the black (in the 40's) and the white audiences (later) with the same intensity. The sleeves notes are simply (slightly) edited versions of the original ones, the song credits are still a bit strange (all the tracks but one from TCD 1002 are credited to Hopkins and McCormick !!) and we could have hoped to see some more tracks from the old British 77LA LP added (or some other of the 65 sides Mack McCormick recorded in 1959), but for those who don't owe the original Tradition LPs, it's really a good opportunity to enlarge their CD collection with some fine stuff reissued with a good sound quality. Jean-Pierre "Young Man" Urbain P.S. .. not affiliated ..... ========================================================================= Date: Fri, 10 May 1996 10:51:14 +0000 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Orleans CD: the Original Pin Stripe Band THE ORIGINAL PIN STRIPE BRASS BAND "Your Last Chance To Dance" Orleans OR 1311 Lord, Lord, Lord / I Ate Up the Apple Tree / Last Chance To Dance / It's So Hard To Say Goodbye To yesterday / Higher and Higher / Together / Glory, Glory If like me you're mostly thinking that Brass bands are to be experienced and enjoyed "live", then you should try this one. The Original Pin Stripe Brass Band are coming here with a really surprisingly and enjoyable album. My initial suspicion was directly blown away after the first few second of the opening Lord Lord Lord . Brass band are integral part of New Orleans's traditional musical culture, but contrary to what some readers might think, this album is everything but an old fashioned brass band: the music lives, with efficient percussions, modern rhythm, bass drum, they just play a blend of music styles to which it is really hard to resist. They masterfully combine jazz, r&b, soul, blues, dynamic gospel, boogie, soul and even some funky vocals on Together. Brass band addicts know what they have to do and if you're at least a bit open minded and interested in all the various form of African American culture, then you should really give it a try! Jean-Pierre Urbain Distributed in Europe by All Blue Record Service (Tel/Fax: +32-51-72 29 54). P.s. again !!! Not affiliated,..... ========================================================================= Date: Fri, 10 May 1996 09:19:04 GMT Reply-To: an478163@ANON.PENET.FI From: an478163@ANON.PENET.FI Organization: Knoware Internet Subject: Re: Muddy's Cabin leaves Stovall, MS Comments: To: bit-listserv-blues-l@uunet.uu.net Didn't ZZ top contribute a bunch of money to the Clarksdale museum? Did they cut a deal to take the museum on the road in return? Its a shame the House of Blues/Izak Tigrett doesn't have the class that ZZ top does. ========================================================================= Date: Fri, 10 May 1996 07:15:41 -0400 Reply-To: smirkyface From: smirkyface Subject: Re: The Myth of Tone >On Wed, 8 May 1996 13:41:44 -0400, James Leftwich >wrote: >>I just read the Guitar Player interview with JL Hooker and Buddy Guy (it's >>online). In the piece John Lee says his favorite amp was an old >>Silvertone but uses Fender now. Buddy says he uses a Fender Bassman. >>What I ask is...what kinds of amps do our favorited bluesmen play through? >>How many use reverb for example. > >People use whatever amps they can afford in the beggining. They learn >how to play it to generate a sound they like. If they find one that >generates the sound they like better, they get it later. > >You can find a sound you like through any amplifier, almost. > >I've played through cheap Crates all the way up to Rane and >Gallien-Kruger. Right now I have an Ampeg. > >If it's got some fuzz and some bite, it's OK. > >The thing is to play, and to not have to twiddle knobs. > >Having said that, match these well known combos >a> Gibson Les Paul >b> Fender Strat >c> Rickenbacker > >1>Marshall Stack >2>Reverb DeLuxe >3>Hiwatt > >Pretty, easy, huh? Now where did you learn it .... HYPE! > >What would you think if a blues guitarist played a Roland Guitar Synth? >I saw Jesse Thomas play one .... > >Kevan Smith >cuthulu@rlabs.com >the great purple hope for the blues Hey, I've got a Roland303, and its a great sounding guitar. BRIAN MCLEAN PHOTOGRAPHY & SMIRKYFACE PRODUCTIONS "life's too short to live the blues" http://www.netaxs.com/~blmclean ========================================================================= Date: Fri, 10 May 1996 07:52:56 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Sitting&Thinking-Clarification First of all I want to thank everyone for their input on this. I read each and every post, and since I am the person who began NY CD Blues I actually took each one as a Letter To The Editor. It is all appreciated. Our policy is as stated and it is certainly fair to read our posts as recommendations. It is in fact what we are doing - recommending to others discs we have liked. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Fri, 10 May 1996 08:27:21 -0400 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: Hawkins Comments: To: ghost In-Reply-To: <199605092214.SAA05706@endor.harvard.edu> The deacon is right. Truth is hard to uncover if lies are ever believed. About Sam Cooke. It's my understanding that when his body was "discovered" it was completely naked. How many rapist undress to rape? Also, he was outside the motel room when he was shot, wasn't he? Georgie Woods, a radio announcer/civil rights activist/good friend of Sam Cooke's, tried for years to disprove the "rumor" and (possibly) get enough evidence to prove murder--to no avail. He talked about it over the air for years. If Hawkins was innocent of child molestation, we do ourselves and each other a disservice by repeating rumors. Incidently, you can't tell a man's morals/character by his voice. Ask innocent women who fell in love with and married abusers and/or murderers. Peace, nitra On Thu, 9 May 1996, ghost wrote: > >Date: Thu, 9 May 1996 13:09:57 -0500 > >Reply-To: James Foster > >Sender: Blues Music List > >From: James Foster > >Subject: TED HAWKINS, FOR REAL > > >As far as I know (and I've been interested in and researched Ted's work & > >life) for a number of years, Ted NEVER molested any child. He was > >convicted of a "crime against a child" which involved the teenage daughter > >of his lover at the time...there was no consummation of any kind. This may > >not make any of you feel differently, but Ted was aware of what sexual > >assault was and he was NO child molester. Ted was a victim himself, having > >been violently raped by a man when he was very young and later brutally > >assaulted while in prison. Ted was no saint (he would be the first to say > >so, if he were alive), but to casually call him a child molester on an > >Interent mailing list/newsgroup is to commit a disservice to his entire > >life. Please, let's all exercise a bit more integrity when we speak of > >matters we know little of. > > > > Does anyone have the details on the deportation from England? > I think that would shed some light on the matter. > Wouldn't they have wanted to prosecute, rather than just deport, > if they had evidence of molestation (as opposed to possession of > child-pornography, horrible as that is)? Or is that just my naive > view of the legal system (I'm afraid it may be). > > Can you, who apparently know more about this case than anyone else > who has yet responded, tell us what "the affair was never consummated" in > association with "crime against a child" is supposed to mean, > beyond the obvious? Is it supposed to reassure us of something? > Don't be so mysterious; people are being mysterious enough about this. > > Terry Gross on Fresh Air asked Hawkins about his conviction, & he said > something like "the girl was 17 & her parents objected". This made it > sound like a consenting couple, not child molestation. (I don't believe in > 17-year-old-girls sleeping with men much older than 17 at all, but when it > happens I don't believe it can be classified as child-molestation, though it > usually makes for a pretty creepy relationship with a lot of the > psychological trappings of child-molestation (verified by a friend of mine > who was in such a relationship, talking long after the fact). Still, > I'd agree its a different can of worms.) > > Gross didn't ask him about England; didn't bring up his reasons for > leaving at all. There have been allusions to something vile involved > brought up here previously, but this is the 1st I've seen of details. > > As someone just said, "there are crimes & then there are crimes" > & someone else also said (paraphrased) > "It doesn't surprise you too much when someone who sounds like a murderer > murders". Hawkins doesn't *sound* like a child-molester, for what its > worth, which probably isn't all that much. > > > What this all boils down to is that everyone who heard Hawkins sing doesn't > want *any part* of it to be true, we liked him that much. > > ----------------------------------------------------------------------- > ----------------------------------------------------------------------- > > For years I've been reading that Sam Cooke died after being shot by > a motel manager while attempting to rape someone. Cooke doesn't > *sound* like a rapist, also for whatever that's worth. > The story rapidly changed at the time from > "attempted rape of a hotel guest or fan of his" to > "attempted rape of a prostitute" after the woman was picked up a week > or so later for prostitution. > > Cooke's manager, also on the Fresh Air show, said that the prostitute > was a long-time associate (for want of a better term) of Cooke's, & that > Cooke had a large sum of money on him that night, & that the money wasn't > found on Cooke's body. His manager thinks he was killed for the money he > was carrying & the whole attempted-rape story concocted after the fact. > Of course, his manager was a long-time associate of a far better stripe, > was & is a church deacon, & wants to believe the best of his friend under > obviously cursed circumstances. Still, why not believe the manager, if given > a choice (the police didn't bother to investigate the manager's story)? > > Gross asked him why he didn't try to get the courts to set the matter straight, > & he said he had but had finally given up. Then he said something very curious. > I had the quote from the manager here on my desk & now I can't find it > (when I put my desk in order I'll be dead), but the jist of it was > "Its a lie. You can destroy your whole life trying to track down a lie". > Which struck me as kind of odd at the time because coming from a religious > man I would have thought it would have been something like > "you can save your whole life trying to track down a lie". > ------------------------------------------------------------------------- > ------------------------------------------------------------------------- > > As far as goes Leadbelly, Little Willie John, etc: > > I certainly put what even the courts at the time called manslaughter > in a different category from murder, rape, attempted rape, > child-molestation. People who kill other people in bar-room fights aren't > people I'd care to hang around with, but they didn't shoot anybody in the > back in cold blood, they didn't rape anybody, & they didn't molest any > children. > ========================================================================= Date: Fri, 10 May 1996 08:45:24 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Best Blues in Connecticut 1996 Competition Thursday night May 9th, the Connecticut Blues Society (a not for profit organization) sponsored its first in a series of six shows called The Best Blues Band in Connecticut 1996 Competition. Over the six weeks twenty two bands compete for the opportunity to go Memphis to compete at The Blues Foundation Talent Contest. Thursday night's show: DATE CLUB BANDS May 9th Hungry Tiger Steady Rollers 120 Charter Oak St. Smoking Opey Manchester, CT. House Rockers And the winner is: Smokin' Opey! ------------------------------------------------------------------- Future dates and bands May 16th Maple Tree The Penetrators 781 Hopmeadow Rd. The Tone Cats Simsbury, CT. D.W. Armstrong Triple Threat Blues Band May 23rd The Muni Larry Willey & the Blues Talkers 485 Main St. Mudcat Blues Band Hartford, CT. Blues Alley Chris Tofield & the Blues Benders May 30th Cafe 9 The Hornets 250 State St. XY Eli & Red House New Haven, CT. D. Smith Blues Band June 6th Black-Eyed Sally's Jim Shepley Band 350 Asylum St. Johnny Vibrato & the Razorbacks Hartford, CT. Dan Pritchard Blues Band The Esquires June 13th Burke's Tavern Briefcase Full of Blues 13 Hope Street Brandy Bob & the Milkbone Daddys Niantic, CT Blue Steele Johnny & the Eastcoast Rockers June 20th Husky Blues THE FINAL 1254 Storrs Rd. Storrs, CT. _________________________________________________________________________ The Blues Playground - Sundays at 9pm on 107 FM WCCC - Hartford, CT Host: Stew Crossen 18 Boxwood Drive Vernon, CT 06066-5106 tel: 800.970.5151 web: http://www.neca.com/~bfstew e: bfstew@neca.com Reports to: Living Blues, The Hard Report, BluesWire, The Blues Audience Stew Crossen is a member of the Connecticut Blues Society ========================================================================= Date: Fri, 10 May 1996 08:47:38 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Paris, Texas Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *Listening to the soundtrack of Paris TX reminded us that it was used behind a *beer commercial several years ago. Really made you want to go grab a cool one *to quench the thirst. But, we couldn't remember WHAT beer. (Miller?) Can *anyone remember better than my household? Thanks! I'm pretty sure it was Molson, and there was a waterfall or some other kind of nature scene in it. I remember the first time I saw that commercial. My brother and I were watching tv, and when it came on he said "They stole the Paris, Texas soundtrack!" ========================================================================= Date: Fri, 10 May 1996 07:58:09 CST6CDT Reply-To: "Sara C. Oxton" From: "Sara C. Oxton" Organization: University of Minnesota Subject: KC-Robert Altman film In response to Bruce Roberts' query about the new Robert Altman film... "Kansas City" was shot on location over the summer and fall. It deals with the halcyon days of Kansas City during the Pendergast years when the city was wide open, the liquor ran free, and the music was sensational. My radio partner's sister-in-law has a speaking part in the film as a telegraph operator. Hopefully she won't end up on the cutting room floor. I'm not sure when it will be released. Sara _________________________________________ Sara C. Oxton Executive Secretary University of Minnesota Department of Food Science & Nutrition 1334 Eckles Ave. St. Paul, MN 55108 Ph: (612) 624-2787 Fax: (612) 625-5272 soxton@che2.che.umn.edu ========================================================================= Date: Fri, 10 May 1996 08:00:36 -0500 Reply-To: James Foster From: James Foster Subject: Re: Hawkins Comments: To: ghost >Does anyone have the details on the deportation from England? >I think that would shed some light on the matter. >Wouldn't they have wanted to prosecute, rather than just deport, >if they had evidence of molestation (as opposed to possession of >child-pornography, horrible as that is)? Or is that just my naive >view of the legal system (I'm afraid it may be). Ted was deported from England because of a passport violation. He was picked up, as he often was, on some minor charge (i.e. disturbing the peace) and then deported when it was determined that his passport was not current. His home was searched at the time and the police found 28 videotapes, made by Ted, of kids and adults playing on the beach and in the parks around his home. Because Ted had, in the past, solicited teenage girls he was labelled a sex offender. That past, combined with his mental instability (this guy spent most of the early years of his life in prison, state institutions, and on the street...as one author put it "he was not bred with the same social interactions that most of us have"), has lead to the common story of his being a "child molester" (he was also, as a large balck man in an all-white community, viewed as an aberration). However, in the case of his deportation the court explicitly stated that this was NOT about molestation. Ted was one of the most powerful live performers I've ever been priviledged to witness...he moved a roomful of grown "sane" adults to tears and awe with just his voice and a guitar. He certainly suffered many traumas while he was alive and he certainly was aware that he had wronged others at times in his life. But again, he was NEVER convicted for molesting anyone. James Foster ========================================================================= Date: Fri, 10 May 1996 09:01:27 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1775, Col Ethan Allen captured Ft Ticonderoga, NY and totally re-decorated the family room. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ I don't want to achieve immortality through my work . . . I want to achieve it through not dying. - Woody Allen ========================================================================= Date: Thu, 9 May 1996 23:11:39 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: Little Walter and Otis Rush Comments: To: JukeFreak@AOL.COM The Blue Moon label is part of the Magnum licensing group, who put out a boot of Buddy Guy and Junior Wells called "Original Blues Brothers" and re-releaesed Roy Ames illigitimate tapes of Freddie King at the Texas Opry House 1976. I strongly suspect the CD you're talking about is also not legit. Richard Shurman might know the origin of the Otis Rush/Little Walter recording too. RJ Bauman On 9 May 96 , honorable zeller (Karen Hanson) wrote: > It's called Windy City Blues and is a live recording of Little Walter and > Otis Rush at the 1967 Chicago Blues Festival. (I didn't even know there was > a Chicago Blues Festival in 1967, since I think this year is supposedly the > 13th, isn't it?) Anyway, it's on the Blue Moon label, and the only date I > can find is a Roman numeral: MCMXCIV (1994?). The sound quality is not > very good, as it sort of fades in and out....The liner notes contain > warmed-over biographical blurbs and not much more. > > "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Fri, 10 May 1996 08:25:22 CST6CDT Reply-To: "Sara C. Oxton" From: "Sara C. Oxton" Organization: University of Minnesota Subject: Memphis next week? To all the Memphis correspondants... My radio partner will be spending the day in Memphis next Wednesday, May 15. He's wondering what is going on musically that night. I am assuming that Ruby Wilson will be playing at BB's that night, but am wondering if there's something special in another club that he ought to know about. Private email, please. Thanks in advance. Sara _________________________________________ Sara C. Oxton Executive Secretary University of Minnesota Department of Food Science & Nutrition 1334 Eckles Ave. St. Paul, MN 55108 Ph: (612) 624-2787 Fax: (612) 625-5272 soxton@che2.che.umn.edu ========================================================================= Date: Fri, 10 May 1996 09:24:11 -0400 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Blues Artists Online 5/12 Comments: To: bit-listserv-blues-l@uunet.uu.net Alvin Youngblood Hart, Delbert McClinton, Duke Robillard, John Mooney, Greg Piccolo.will be chatting with fans on the web, Sunday, May 12 from the Lilac Festival in Rochester, NY. Okeh recording artist, Alvin Youngblood Hart will start at 4pm EST. He will be followed by Greg Piccolo, John Mooney, Delbert McClinton and Duke Robillard. The url is http://www.vivanet.com/~catbauer/cabin.html and is accessible with any forms capable browser including AOL, Prodigy and CompuServe. In addition, Canadian band, the Bare Naked Ladies will be online, Thursday, May 16th. Time to be announced. Rykodisc recording artist, Mem Shannon will be online, May 18th at 8:30pm EST. Catbauer@vivanet.com ========================================================================= Date: Fri, 10 May 1996 06:39:47 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Sonny Rhodes Live in Vancouver Sonny Rhodes rocked the Yale Hotel in Vancouver last night with his own unique brand of Texas (by way of New Jersey) blues. The room was packed, and the Sonny Rhodes band didn't disappoint. They played a nice mix of original songs (most from his latest release, Out of Control) and cover tunes like 'I'd Rather Drink Muddy Water', with Sonny playing his Strat for the first set, and his lap steel guitar for the next two sets. The band was tight, and the second guitarist was spectacular as well (I can't for the life of me remember his name, unfortunately) - lots of octave playing, and he did something I've never seen a blues guitarist do - kind of a hammer-on with his right index finger that produced a unique steel guitar sound. Sonny cuts an imposing figure onstage, wearing a black shirt and jeans, sequined vest, and his trademark turban; but when he hits the perfect note he opens up with a grin that lets you know that he loves what he's doing. He's a dynamic performer with a great guitar style (nice mix of speedy licks and pure soul), and he's a real nice guy to boot - I had a chance to talk to him for a bit, and he couldn't have been more gracious. The last song the band played before we had to leave was Santo & Johnny's 'Sleepwalk', with Sonny playing Hawaiian-style on his lap steel and guest harpist Hurrican Dave Harold (who had never played the song before and did an amazing job). And Sleepwalk is an apt description for how I feel this morning after two hours of sleep... If the Sonny Rhodes band comes to your town - check 'em out - fantastic! I LOVE THE BLUES!!!! -Jim ========================================================================= Date: Fri, 10 May 1996 08:37:07 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: Ted Hawkins In-Reply-To: Message of Thu, 9 May 1996 14:00:19 -0700 from This Hawkins thread reminds me of someone named David Duke who's past was a HOT topic during his run for office. I just wonder if you can fogive Ted can you forgive David Duke. Same thing, but one did not serve time for whatever actions he did......I have no opinion, but I betcha there is double standard here.....What you think LW ========================================================================= Date: Fri, 10 May 1996 08:43:27 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: Muddy's Cabin leaves Stovall, MS In-Reply-To: Message of Fri, 10 May 1996 09:19:04 GMT from On Fri, 10 May 1996 09:19:04 GMT said: > >Its a shame the House of Blues/Izak Tigrett doesn't have the class that >ZZ top does. I think John Lee Hooker's publishing company would disagree with you on that LW ========================================================================= Date: Fri, 10 May 1996 09:37:09 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0047 From: "DUTTWEILER.J" Subject: Re: SITTING & THINKING: Big Walt Date: Friday, 10 May 1996 9:37am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: SITTING & THINKING: Big Walt I think, once again, this is a matter of definition and one's perceptions. You cannot define MY "primary job" to me. If this is what you look for in a review, then pass on mine - won't hurt my feelings a bit. Our policy DOES NOT state if we haven't reviewed it its not worth having - its we EITHER can't recommend it, which is a far different thing, or we haven't gotten to it. Since it should be obvious, as is pointed out, that we can't possibly review EVERY single blues release out there, for someone to assume that a lack of review from us is some qualitative statement borders on deliberate obtuseness. Also, since this is one area where personal perceptions and needs seem to determine viewpoint, this thread has probably reached as much of a level of understanding as is possible. JD Scott's post read: > 1) The primary job of a reviewer/critic is to help the consumer seperate > the worthy purchases from the worthless ones, and if you don't warn > someone off of a lame release, you're only doing half your job. > > 2) Your policy implies that if you don't review it, it's not worth > having, and this can't possibly be true. I doubt you've got the > resources or manpower to review every single blues release, let alone > every worthy one. > > I don't think that warning someone off of a bad release is "being > negative", I think it's a case of being thorough. And as much as I > appreciate the intent of what NYCD is trying to do (and I do--don't > misinterpret the above as a flame), I find it very hard to take any of > the NYCD reviews very seriously knowing that they'll all read like press > releases from the record companies. > > Scott ========================================================================= Date: Fri, 10 May 1996 06:51:17 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: The Hot Spot (was re:Paris, Texas) Speaking of movie soundtracks, I'm wondering if any of you have seen this movie - if so, is it worth watching? I've heard the soundtrack has John Lee Hooker and Miles Davis on it, so it may be worth watching even if the movie is less than an artistic success... -Jim (hndful@uniserve.com) ========================================================================= Date: Fri, 10 May 1996 15:48:13 +0100 Reply-To: BIBGA@HHS.SE From: Gorgen Antonsson Subject: Re: Little Walter and Otis Rush This was up six months or so back, too. The recordings are included in the "Blues records 1943-1970" discography, have been out in various LP guises before, are of dubious legality - and, no, there was no Chicago Blues Festival this early. Gorgen Antonsson, Stockholm ========================================================================= Date: Fri, 10 May 1996 09:40:57 -0400 Reply-To: TDominey From: TDominey Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Kanasas City Comments: To: bit-listserv-blues-l@uunet.uu.net I haven't heard anything about the film, but the soundtrack is really nice. 30's period jazz standards pumped up by modern jazz musicians...don't have a musician list, but you should check that out too. ========================================================================= Date: Fri, 10 May 1996 10:11:26 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Problem with "NOMAIL" mode. SInce I can't get our server to set me to NOMAIL, maybe someone on the list can get the message thru? Twice I have sent to the listserver at Brownvm. to set me to nomail, it acknowledges that it got the message and updates my settings for me, but doesn't actually do it. It's kinda like asking someone "Do you know what time it is?" and they answer "yeah", and walk away. :( >From way down yonder on Cape Cod........... Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 10 May 1996 07:28:24 -0700 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: SF bay area blues next week? Comments: To: bit-listserv-blues-l@cs.washington.edu Hi all; I'm heading to Yosemite for Mem day weekend, and wonder what blues happenings might be in the Big City on Tuesday, Wednesday, or Thursday pm? Thanks in advance, Adrian ========================================================================= Date: Fri, 10 May 1996 14:28:49 GMT Reply-To: Budgie From: Budgie Organization: Hawklords Subject: These blues are Monster Mike Welch's. Comments: To: bit-listserv-blues-l@uunet.uu.net I now know this because of those who responded to my question. Thanks! Ron -- Everytime we try to impose order we create chaos. We create chaos--breakdown. I have my doubt; a state of eternal conflict is all I have found. We build a wall that is made of tears, watch the house fall down...and at the end of my life...yes, at the end of my life...all shall be well...all is as it was always meant to be... (Killing Joke) ========================================================================= Date: Thu, 9 May 1996 16:06:36 -0400 Reply-To: GUILLOTINE From: GUILLOTINE Subject: John Sebastian Hi, I need info about John Sebastian. I have an instructional video for harp taught by him but know nothing about. Thanks, Serdar, Turkey ========================================================================= Date: Fri, 10 May 1996 09:49:29 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re: The Myth of Tone Comments: To: cuthulu@rlabs.com I think tone is in the ear of the beholder, but some folks are much more attuned ( no pun intended) to tone as an issue than others, and also I think one's preferences change from time to time. Eric Johnson, for an extreme example , is an absolute fanatic, claims he can even hear the difference between types of batteries used in his Tube Screamer. Neil Young, playing overseas and using a voltage regulator, can tell when the current pull is off by 5%. It's not all that suprising that you liked the Galien-Krueger, one of the best sounding solid-state amps around. They are particularly good matched with active pickups ( David Gilmour is famous for using this combo) like the ones you have in your Strat. I'm kind of suprised you moved over to a tube amp- there is some mythology among the toneheads that active pickups don't sound that good paired with tubes. Jim _______________________________________________________________________________ Subject: The Myth of Tone From: cuthulu@rlabs.com at INTERNET-SH Date: 05/10/96 1:30 AM On Wed, 8 May 1996 13:41:44 -0400, James Leftwich wrote: >I just read the Guitar Player interview with JL Hooker and Buddy Guy (it's >online). In the piece John Lee says his favorite amp was an old >Silvertone but uses Fender now. Buddy says he uses a Fender Bassman. >What I ask is...what kinds of amps do our favorited bluesmen play through? >How many use reverb for example. People use whatever amps they can afford in the beggining. They learn how to play it to generate a sound they like. If they find one that generates the sound they like better, they get it later. You can find a sound you like through any amplifier, almost. I've played through cheap Crates all the way up to Rane and Gallien-Kruger. Right now I have an Ampeg. If it's got some fuzz and some bite, it's OK. The thing is to play, and to not have to twiddle knobs. Having said that, match these well known combos a> Gibson Les Paul b> Fender Strat c> Rickenbacker 1>Marshall Stack 2>Reverb DeLuxe 3>Hiwatt Pretty, easy, huh? Now where did you learn it .... HYPE! What would you think if a blues guitarist played a Roland Guitar Synth? I saw Jesse Thomas play one .... Kevan Smith cuthulu@rlabs.com the great purple hope for the blues ========================================================================= Date: Fri, 10 May 1996 10:46:14 -0400 Reply-To: vOOdOO_RaGs From: vOOdOO_RaGs Subject: KANSAS_CITY_The_Movie I hear there has been problems getting distributors for the movie KANSAS CITY..... i hear the soundtrack of the movie regularly on our local Jazz Station.... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | Laissez les bon temps roulez!! | | // ~~ ~~ \\ | Let the good times roll!! | | /d+(+)-(+);b\ | ------------------------------ | | // L \\ | SANJAY 'RAGS' RAJAN | | // //|\\ \\ | sanjay_rajan@formtek.com | | ////`---'\\\\ | FORMTEK,INC. | | // //|||\\ \\ | PITTSBURGH, PA | | // /|||\ \\ | ------------------------------ | | -/---/\o/\---\- | Visualize Whirled Peas!! | | /"\ | | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Fri, 10 May 1996 10:58:03 -0400 Reply-To: Peter Welch From: Peter Welch Subject: Re: Ted Hawkins/David Duke In-Reply-To: from "Leonard Watkins" at May 10, 96 08:37:07 am According to LW: > > This Hawkins thread reminds me of someone named David Duke who's past was a > HOT topic during his run for office. I just wonder if you can fogive Ted can > you forgive David Duke. Same thing, but one did not serve time for whatever > actions he did......I have no opinion, but I betcha there is double standard > here.....What you think Nah, David Duke has never changed...he just became more sophisticated by obfuscating his racist/reactionary message with various codewords. Now back to the Blues...Anyone heard the new Paul DeLay CD on Evidence? -Peter ========================================================================= Date: Fri, 10 May 1996 10:58:56 -0400 Reply-To: TDominey From: TDominey Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Suggestions? Comments: To: bit-listserv-blues-l@uunet.uu.net If you are looking for a good start in the foundation of blues playing (8 and 12 bar, etc.) check out Mel Bay's "Blues Rhythm Guitar" Guide. It comes with a cassette to go along to, and has lots of snazy chords - most of which are found in jazz guitar playing. Anyway, you can learn all kinds of chord progressions within the 8 and 12 bar formations. Good place to start before learning scales... ========================================================================= Date: Fri, 10 May 1996 10:59:26 -0400 Reply-To: TDominey From: TDominey Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Arhoolie CD: Smoky babe/ herman E Johnson Comments: To: bit-listserv-blues-l@uunet.uu.net We got the disc too at WSCI-FM - been playing "Black Gal" and "Bad Whiskey" a lot - GREAT DISC FOLKS! ========================================================================= Date: Fri, 10 May 1996 10:11:14 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: L "the hornet's nest W Comments: To: Leonard Watkins In-Reply-To: On Fri, 10 May 1996, Leonard Watkins wrote: > This Hawkins thread reminds me of someone named David Duke who's past was a > HOT topic during his run for office. I just wonder if you can fogive Ted can > you forgive David Duke. Same thing, but one did not serve time for whatever > actions he did......I have no opinion, but I betcha there is double standard > here.....What you think Now, damn it LW, there you go tryin to stir up a hornet's nest on a Friday. Instead of talking David Duke, let's talk about the new Ladysmith Black Mambazo cd on Shanachie - Thuthukani Ngoxolo (Let's Develop in Peace). Just got it last night and it is AMAZING. For those interested Shanachie 64064. Texas Jeffrey says check it out. -Jeff --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball #8 U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc02.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Fri, 10 May 1996 07:24:31 -0500 Reply-To: David Melton From: David Melton Subject: Re: Problem with "NOMAIL" mode. Comments: To: MILLER@SCI.WFBR.EDU At 10:11 AM 5/10/96, "" wrote: >SInce I can't get our server to set me to NOMAIL, maybe someone on the list >can get the message thru? Twice I have sent to the listserver at Brownvm. >to set me to nomail, it acknowledges that it got the message and updates >my settings for me, but doesn't actually do it. > >It's kinda like asking someone "Do you know what time it is?" and they answer >"yeah", and walk away. :( =============================================================================== Yes, I indeed had the same frustrating problem before I left on my trip a few weeks ago. I solved it by simply unsubscribing, then re-subscribing when I got back. Oh, It's 8:l4 AM :) Dave Melton ========================================================================= Date: Fri, 10 May 1996 11:41:06 EST Reply-To: apaul@CLIFF.WHOI.EDU From: Alora Paul Subject: Re[2]: Handy Awards Question that was Corey Harris' name in parens and I didn't understand it either. was he a runner-up or was it a tie or was it the author's choice for who should've won it? wondering myself....anyone? thanks. alora ------ On Thu, 9 May 1996 14:32:56 -0500 P.W. Fenton said: >Shortly after the Handys were over someone posted a list of the >winners (I don't remember who). In the category of Best New Blues >Artist, Coco Montoya was listed as winner with Mem Shannon written >next to it in parenthesis. I meant to ask about it then, but can >anyone tell me why Mem's name was listed that way and what it meant? ========================================================================= Date: Fri, 10 May 1996 09:07:36 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Tone Hypocrites Dontcha just love it when someone says something like: "Oh pore little me, everyone is telling me what to play!" "I'm a rebel though, and *I* play what *I* want!!" "Hey, ya ever notice how cool a yadda-ya sounds through a yadda-ya (insert what you are playing at the moment)" hee hee hee.... Welcome to the world of tone freaks gentlemen.... COFFEE BREAK'S OVER! BACK ON YER 'EADS DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Fri, 10 May 1996 15:24:33 +0000 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Orleans: Robert Lowery This album has been out there since a while but the more I listen to it the more I think Lowery's music could deserve a bit more recognition. So here it is (IMHO obviously) Robert Lowery "A Good Man is Hard To Find" Orleans OR 1411 Louisiana Blues / If I had Possession Over Judgement Day / Good Man is Hard To Find / Hobo Blues / Snake Hippin'Mama / My Baby's Callin'Me / Watch You While You Sleep / Last Fair deal Gone / Sittin'On Top of the World/ Move on Little Girl / When the Saints Go Marching In/ Mojo Hand. Recorded in New Orleans in 1992, this is the second album of Robert Lowery for the NO based Orleans Records of Carlo Ditta. Born in Arkansas in 1932, Robert Lowery moved to California in the mid-50's. Although he was remarked in the 70's for his excellent singles on Blues Connoisseur, it wasn't until a few years ago that his first debut full album was released on Orleans Records, consisting of fields recordings done by Carlo Ditta (Earthquake Blues) just in front of his home in Santa Cruz. On these sides, as well as on his previously issued recordings, he showed himself as an authentic and deep rural blues artist much influenced by the sound of Crudup, Stackhouse, Muddy, Wolf, Hooker, Hopkins and naturally Robert Johnson which clearly was his main man. Here he is again with a set consisting of five originals and six covers wonderfully backed by the harmonica of Virgil Thraster, the upright bass of Raphael Semmes and the subtle piano of Katie Webster without fogetting his own stomping foot. The results is a real pleasure of deep rural stuff. His laid-back, sometimes declamatory, vocal style is reminiscent of prewar delta musicians while his guitar, maybe not as rich as during the 70's, sometimes evokes people such Hopkins (on Watch You While You Sleep) or Robert Johnson and Stackhouse when he picks up his bottleneck. His music can also be highly rhythmic as shown on the up tempo Snake Hippin' Mama on which Thraster plays some excellent and really very efficient harp. The addition of Katie Webster on tracks such as Hobo Blues or Sitting on the Top of the World brings a welcome variety in this very enjoyabe album. It has become popular to produce "counrty blues" album these years, but what differentiates this album from much of what we hear nowadays is the authenticity of the music. Kudos for the sidemen which are there just as they have to be: efficient, following Lowery, answering his guitar, supporting the beat, enriching the music. Although this album has remained surprisingly overlooked in the blues world since it appeared a bit more than a year ago, this is one the best rural/down home blues album I've heard over the last two years. Recommended! Jean-Pierre Urbain Distributed in Europe by All Blue Record Service (Tel/Fax: +32-51-72 29 54). P.S. Not related, affiliated, .... ========================================================================= Date: Fri, 10 May 1996 16:07:24 GMT Reply-To: cuthulu@rlabs.com From: cuthulu Organization: Bad Credit? Slow Credit? No Credit? No Problem! Subject: Re: original blues Comments: To: bit-listserv-blues-l@uunet.uu.net On Wed, 8 May 1996 15:34:46 -0400, Steve Levine wrote: >There is a great blues singer/guitarist/harp player/percussionist in DC >named Robert Lighthouse who does a lot of originals. Charlie Sayles and >Doug Jay also do a fair amount of original material. I saw a Shreveport-based band the other night called Third Story, and they played some original songs. It's an interracial outfit, which is always nice to see in the South, consisting of two young college guitarists and some older "street wise" members on drums, bass and vocals. The lead guitarist is fun to watch, and he reminds me a bit of GE Smith. The singer has a beautiful gold tooth grin and a very assured voice. If they can stay together, they're going places. Kevan Smith cuthulu@rlabs.com the great purple hope for the blues ========================================================================= Date: Fri, 10 May 1996 12:15:03 -0400 Reply-To: gm From: gm Subject: buudy guy and fab t-birds in PA/NJ thanks to all who replied about the blues soundtrack for Heavens Prisoners. just found out that on Aug 25 at the Sony Blockbuster Centre in Camden NJ Buddy Guy,Joe Cocker, the Radiators and the Fab T-Birds will be performing. i found this at http://www.pollstar.com the local paper here in Phila PA noted that on May 24, Junior Wells will be in concert at the North Star Bar. Enjoy, George ========================================================================= Date: Fri, 10 May 1996 12:21:19 -0400 Reply-To: James Leftwich From: James Leftwich Subject: Re: The Hot Spot (was re:Paris, Texas) Comments: To: Jim Witteveen In-Reply-To: <96May10.065118pdt.30735-24520+1172@haven.uniserve.com> Critics hated the Hot Spot. I thought it was excellent film noir. Don Johnson is the star and does surprisingly well. Good soundtrack. On Fri, 10 May 1996, Jim Witteveen wrote: > Speaking of movie soundtracks, I'm wondering if any of you have seen this > movie - if so, is it worth watching? I've heard the soundtrack has John Lee > Hooker and Miles Davis on it, so it may be worth watching even if the movie > is less than an artistic success... > > -Jim (hndful@uniserve.com) > ============================================================================= Jim Leftwich Jim's Blues N' Brews leftwich@cloud9.net http://www.cloud9.net/~leftwich "I'm on cloud9!" :) New CD Giveaway: Sherman Robertson ============================================================================= ========================================================================= Date: Fri, 10 May 1996 11:31:27 -0500 Reply-To: cecalhoun@SIOUX.SODAK.NET From: C E Calhoun Subject: Re: KC-Robert Altman film Comments: To: "Sara C. Oxton" In-Reply-To: question? is the sound track available and does anyone know who plays on it? thanks. ========================================================================= Date: Fri, 10 May 1996 12:17:43 -0400 Reply-To: WIFORD From: WIFORD Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Ted Hawkins Comments: To: bit-listserv-blues-l@uunet.uu.net How can you jump from Ted Hawkins to David Duke? Duke wants to be a political leader and is accused of pushing an unacceptable philosophy, which if the accusations are true, could cause a great deal of harm. Ted Hawkins is taking a permanent dirt nap. Whatever he did in the past, good or bad, he is not going to do it any more. If he did something bad while he was alive, why take it out on his music? If listeners knew nothing about Ted Hawkins' past, would the music hurt someone? I don't think so. In Duke's case, the ideas he is accused of promoting have the same dangerous potential no matter who espouses them. Bill Ford ========================================================================= Date: Fri, 10 May 1996 11:36:11 -0500 Reply-To: cecalhoun@SIOUX.SODAK.NET From: C E Calhoun Subject: Re: Hawkins Comments: To: Anita Samuel In-Reply-To: i had read at some piont in time that sam was murdered because he had run afoul of some 'whiteys' and upon his death, his wife immediately took up with another very popular singer of that period (i can't recall who just now). ========================================================================= Date: Fri, 10 May 1996 09:32:01 -0700 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Re: Little Walter and Otis Rush Comments: cc: JukeFreak@AOL.COM Karen, It think the album you are referencing falls into Dick Shurman's category number four: "Warn people about something which is already widely understood to be bad." This album is horrible. It surfaces on a new label every few years. It is far from either artists best work. (The Little Walter cuts show just how bad off he was near the end.) The recording quality is hideous. According to many there was no 1967 Chicago Blues Festival (I can't recall 1967 as I was only six at the time and I am certain many of the "40 - 50 year old guys - white punks from the suburbs" were too busy partying and listening to Moby Grape or Led Zeppelin to remember ;-)) You have been hoodwinked. Regards, Joe ========================================================================= Date: Fri, 10 May 1996 11:29:31 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Little Walter and Otis Rush Comments: To: "R.J. Bauman" In-Reply-To: The Little Walter/Otis Rush LP/CD was an old thread on Blues-L. It was recorded at the U. of Chicago in the mid-'60s (not particularly well) and is a bootleg, ripoff and desecration of the reputation of a dead person (it's about the worst Little Walter anyone could ever not want to hear). It was originally released as part of a stream of such abominations by a desperate junkie (the story was well covered in the Bay Area press) and other than its appeal for people who want to hear everything Walter or Otis played no matter how bad or how morally reprehensible the circumstances of availability are, there's nothing good about it on any level. By the way, speaking of things that are supposedly "not bootlegs," there is indeed quite a dispute about the legality of the live Otis on Genes/Adelphi. Apparently the promoters of an unsuccessful tour (at a time when Otis was in terrible shape) hawked the tapes to try to get back some of their lost money, even though the tour contract said nothing about a recording and Otis never signed the recording contract they sent him later, according to his manager. A number of companies wouldn't touch the tapes, but as usual, someone finally did. Enjoy. ========================================================================= Date: Fri, 10 May 1996 11:37:08 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Ted Hawkins > From:Leonard "I like trouble" Watkins > This Hawkins thread reminds me of someone named David Duke who's past was a > HOT topic during his run for office. I just wonder if you can fogive Ted can > you forgive David Duke. Same thing, but one did not serve time for whatever > actions he did......I have no opinion, but I betcha there is double standard > here.....What you think If David Duke made a great blues record I might listen to it. If Ted Hawkins had run for governor I might not have voted for him. EW Eliot Williams University of Wisconsin Department of Medicine williams@heme.medicine.wisc.edu ========================================================================= Date: Fri, 10 May 1996 16:30:34 GMT Reply-To: blues@INAV.NET From: blues@INAV.NET Organization: Internet Navigator, Inc. Subject: Nees Fest. Schedules Comments: To: bit-listserv-blues-l@uunet.uu.net Could some kind L-ers e-mail me info on dates and schedules for the following: Mississippi Valley Blues Fest Chicago Blues Festival St. Louis Blues Festival TIA! Kyle ========================================================================= Date: Fri, 10 May 1996 16:38:31 GMT Reply-To: blues@INAV.NET From: blues@INAV.NET Organization: Internet Navigator, Inc. Subject: Fat Possum production values Comments: To: bit-listserv-blues-l@uunet.uu.net After RL's show at Memphis, I had a chance to converse with fellow Fat Possum artist Paul "Wine" Jones backstage (or is it backtent?). I asked him about the Hound Dog Taylor-style instrumentation on his LP "Mule" (two guitars, drums and no bass - incindentally the same lineup used by alternative blues vampires and Blues-L favorites Jon Spencer Blues Explosion). Paul made it sound like it was Fat Possum's idea to give him any backup band at all on the album (or was it Robert Palmers idea), and that he usually played acoustic. If this is true, why would they do it that way. Is an electric album supposed to be more commercially friendly or what? BTW, I love both "Mule" and "Too Bad Jim just the way they are. Kyle ========================================================================= Date: Fri, 10 May 1996 16:43:10 GMT Reply-To: cuthulu@rlabs.com From: cuthulu Organization: Bad Credit? Slow Credit? No Credit? No Problem! Subject: Re: getting an acoustic Comments: To: bit-listserv-blues-l@uunet.uu.net On Wed, 8 May 1996 23:44:22 -0400, Owen Okie wrote: >First of all, I'd like to get something good for blues like Lightin Hokins, > Dire Straits acoustic stuff, and I'm iterested in learning Flamenco. >I'd like recommendations, but kepp in mind that I'm not rich (a have little >idea of what I can expect to pay.) I've only been palyign for 2 years so I >don't want anything fancy, just a good guitar that suits my needs. If you scout around, you can find an Alvarez Artist series for around $400. Despite the low price, they're great guitars -- beautiful wood and great sound. It's a nice, affordable alternative to Martins. Kevan Smith cuthulu@rlabs.com the great purple hope for the blues ========================================================================= Date: Fri, 10 May 1996 17:11:38 +0000 Reply-To: "Tony.OConnor" From: "Tony.OConnor" Subject: Cleaning Guitar - alcohol? NEWS server down and I can't really wait until monday so I'm posting here. I've gotta clean the fretboard of my acoustic guitar. What should I use - commercial cleaning spray/cream, alcohol, or just good old spit and elbow grease ? Thanks, Tony. -- Tony O'Connor, Dept.Biochemistry, UCG. tony.oconnor@ucg.ie ========================================================================= Date: Fri, 10 May 1996 12:57:28 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Ted Hawkins Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com Just because it's Friday (and to tie two threads together) - I guess it's not a good idea to name your cat Ted Hawkins. ========================================================================= Date: Fri, 10 May 1996 13:07:03 -0400 Reply-To: James Leftwich From: James Leftwich Subject: annoying messages Who manages the list? Just now I got 4 messages telling me there were problems with my post. This has been going on for quite some time. Is there someone authorized and capable of rectifying the situation? On a happier note, everyone go out and buy the new John Mooney CD _Against the Wall_. The man has a style all his own. Funky slide with a solid New Orleans backbeat and a rich voice. This guy is due for popularity. It should be easy to find since it's on the new House of Blues label. See him live if you get the chance. NYC folks, is anyone going to Chicago B.L.U.E.S. tonight or Saturday night? Let me know if you want to meet. ============================================================================= Jim Leftwich Jim's Blues N' Brews leftwich@cloud9.net http://www.cloud9.net/~leftwich "I'm on cloud9!" :) New CD Giveaway: Sherman Robertson ============================================================================= ========================================================================= Date: Fri, 10 May 1996 13:10:56 -0400 Reply-To: David Goldstein From: David Goldstein Subject: Excellent Chicago Blues There is a blues guitarist that plays with the J.W. Williams Band at B.L.U.E. Chicago that is the best guitarist that I have ever heard. It might have been the atmosphere, with Eddie Campbell, Lurrie Bell, and Big Time Sarah sitting in also, but the lead guitarist had the purest tone and knew every blue lick and how to put them together. He is a white guy with a little goatee, a short choppy haircut, and wore a tan suit with a turtle neck and a gold medallion. If anyone knows his name and if he has anything out, please let me know. If the river was whiskey And I was a diving duck, I would dive to the bottom and never would come up.. McKinley Morganfield ========================================================================= Date: Fri, 10 May 1996 12:32:18 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: Hawkins In-Reply-To: Message of Fri, 10 May 1996 11:36:11 -0500 from On Fri, 10 May 1996 11:36:11 -0500 C E Calhoun said: >i had read at some piont in time that sam was murdered because he had run afoul >of some 'whiteys' and upon his death, his wife immediately took up with another What's a "whitey".....???? LW ========================================================================= Date: Fri, 10 May 1996 12:33:11 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: John Hammond recording I just got a recording of John Hammonds called "Solo" on Vangaurd, it sure is good. I receommend it highly... Also as a test, my wife had never heard Chris Durate. I had a tape from the library and wanted her to hear it, without knowing who it was. See we have some friends who worship Durate, so I thought I would let her hear him. I didn't say nothing just played the tape, a fourth of the way through the first tune she said "Who's that, that's terrible, sounds like endless noodling".. I had no idea if she would say he's great, adequate or terrible....I was kind of suprised that she didn't care to hear anymore of it.... (I don't think he's that "terrible", but not my preference) Probally get flamed for negatvie Durate stuff, so NYCD keep it positive :-)' LW ========================================================================= Date: Fri, 10 May 1996 14:41:40 -0400 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: Another soundtrack ? In-Reply-To: <01I4I8AEKJ6A94EH7A@vms.cis.pitt.edu> These soundtrack questions brought to mind a soundtrack that was mentioned here a couple of months ago that I thought was due out in April. It was from the movie, "What to do while Dead in Denver" or something like that. Does anyone have any info on this? Thanks RW (got the apt-building-construction-next-door blues) ========================================================================= Date: Fri, 10 May 1996 13:49:56 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: John Mooney Comments: To: James Leftwich On 10 May 96, James Leftwich had this to say: > On a happier note, everyone go out and buy the new John Mooney CD _Against > the Wall_. The man has a style all his own. Funky slide with a solid New > Orleans backbeat and a rich voice. This guy is due for popularity. It > should be easy to find since it's on the new House of Blues label. See > him live if you get the chance. I heard a couple of cuts on the radio here, and I really liked what I heard. He has a quality in his voice that is very reminiscent of the late Son House. A little sort of wavering falsetto that trails off from the end of each phrase. I intend to buy it. It'll be my first John Mooney. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ Ah, make the most of what we yet may spend, Before we too into the Dust descend. - Omar Khayyam ========================================================================= Date: Fri, 10 May 1996 13:49:57 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: annoying messages Comments: To: James Leftwich On 10 May 96, James Leftwich had this to say: > Who manages the list? Just now I got 4 messages telling me there were > problems with my post. This has been going on for quite some time. Is > there someone authorized and capable of rectifying the situation? We have a listowner, Alan Rollins - blzlynx@polaris.net, and he tells us it's a tremendous amount of work he does every day, but I don't think he ever actually reads the list. The last time this happened I wrote him personally 4 times without any response. I think it might be time for a change. Maybe there is a whole lot of work involved that I am not aware of, but it seems to me the list owner should be someone who knows what's going on on the list itself. If Alan had posted one single message during the last two months he'd know. He doesn't seem to know anything about the list unless someone tracks him down and tells him. I once hunted him down by long distance telephone when the list was shut down all day. Something to think about anyway. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ I don't want to achieve immortality through my work . . . I want to achieve it through not dying. - Woody Allen ========================================================================= Date: Fri, 10 May 1996 19:45:08 GMT Reply-To: Gary Engle From: Gary Engle Organization: Capital Area Internet Service, Inc. Subject: Re: Johnny Winter Cancelled Comments: To: bit-listserv-blues-l@uunet.uu.net He also cancelled at Jaxx, Springfield VA on 5-11-96. Anyone know what's up or why? ...Gary On Thu, 9 May 1996 10:44:25 EST, shannon oconnor wrote: > Okay, for those of you who reserved your plane tickets to come to > Cincinnati on June 21 to see Johnny Winter....the show has been > cancelled. > > If he's scheduled to come to your city, check with the venue. > > > > > Shannon ========================================================================= Date: Fri, 10 May 1996 11:00:01 -0700 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Rock --> Rock/Blues --> Blues Transition Greg writes: >I mean theres' a whole bunch of us 40-50 year old guys - white >punks from the suburbs - that were brought to the blues by listening to >these guys first. This made me wonder a bit about the actual raw number of people that have been introduced to the blues by the likes of Led Zeppelin and Stevie Ray Vaughn. I don't doubt for a second that the connection is there, but how many of these people, 40-50 year old white guys from the suburbs, actually buy blues albums. Bruce Iglauer has stated that 25,000 copies of a blues album can be considered a successful release. I would also anticipate that there are many hard core blues fans who buy multiple titles throughout their life spans. I know I personally have more than a couple of albums and I'll bet several people on this list are in a similar position. More than a couple of people on this list have stated that there is a large number of people who have been turned onto the blues by these blues/rock types. Why doesn't this translate into record sales? Do white males aged 40 - 50 not buy recordings? Are there around 25,000 of us who pay for recordings and the 40 - 50 year old crowd have somehow figured out how to get them for free? The number of record stores in the mall that have blues sections seem to carry releases by the King family (BB, Albert, and Freddy), John Lee Hooker, Buddy Guy, Muddy and the Wolf. Most of the stores I've seen with any kind of a selection are always in the downtown area of larger cities. If the influenced live in the suburbs, it would seem natural that the stores be located out there too. Where are these people? How come you never bump into them in stores? I keep hearing about this connection, but I don't know of anyone who has become rich as a result of it. (Although I have heard Buddy Guy has bought himself a well deserved Rolls Royce.) So what's the deal? Any care to ponder this one? Joe ========================================================================= Date: Fri, 10 May 1996 14:57:53 -0400 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: Re2: Hawkins In-Reply-To: > On Fri, 10 May 1996 11:36:11 -0500 C E Calhoun said: > >i had read at some piont in time that sam was murdered because he had run afoul > > >of some 'whiteys' and upon his death, his wife immediately took up with another > > What's a "whitey".....???? > > LW > ---------------- "Whitey" would be a good name for a black cat with a white spot. What do you figure, Shaun? RW ========================================================================= Date: Fri, 10 May 1996 13:00:14 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Charles Brown's health I just talked with Dan Caron and he said Charles Brown is fine, he had some problems that kept him from making the Handys, but nothing serious in the least. Just in case anyone (beside myself) was concerned. Charles is fine and Dan Caron should be online soon :-) LW ========================================================================= Date: Fri, 10 May 1996 14:07:38 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: John Hammond recording Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU On 10 May 96, ISTS024%UABDPO.BITNET@BROWNVM had this to say: > I just got a recording of John Hammonds called "Solo" on Vangaurd, it sure > is good. I receommend it highly... > > Also as a test, my wife had never heard Chris Durate. I had a tape from the > library and wanted her to hear it, without knowing who it was. See we have > some friends who worship Durate, so I thought I would let her hear him. I > didn't say nothing just played the tape, a fourth of the way through the first > tune she said "Who's that, that's terrible, sounds like endless noodling".. > I had no idea if she would say he's great, adequate or terrible....I was > kind of suprised that she didn't care to hear anymore of it.... > > (I don't think he's that "terrible", but not my preference) > > Probally get flamed for negatvie Durate stuff, so NYCD keep it positive :-)' Who is Durate? Do you me Jimmy Durante...the schnoz? It's pronounced Do - are - tay and spelled that way too - DUARTE If you're gonna trash somebody you got to get his name right. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ I don't want to achieve immortality through my work . . . I want to achieve it through not dying. - Woody Allen ========================================================================= Date: Fri, 10 May 1996 13:18:46 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Fat Possum production values Comments: To: blues@inav.net In-Reply-To: <4mvre7$di2@composer.inav.net> On Fri, 10 May 1996 blues@INAV.NET wrote: > After RL's show at Memphis, I had a chance to converse with fellow Fat > Possum artist Paul "Wine" Jones backstage (or is it backtent?). I asked > him about the Hound Dog Taylor-style instrumentation on his LP "Mule" > (two guitars, drums and no bass - incindentally the same lineup used by > alternative blues vampires and Blues-L favorites Jon Spencer Blues > Explosion). Paul made it sound like it was Fat Possum's idea to give > him any backup band at all on the album (or was it Robert Palmers idea), > and that he usually played acoustic. > > If this is true, why would they do it that way. Is an electric album > supposed to be more commercially friendly or what? BTW, I love both > "Mule" and "Too Bad Jim just the way they are. I'm not surprised that a label would do this. We saw that when Jose asked for people's must-have albums, it was about 18 to one electric to acoustic blues. Alas. Steve ========================================================================= Date: Fri, 10 May 1996 13:26:43 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Cleaning Guitar - alcohol? Comments: To: "Tony.OConnor" In-Reply-To: On Fri, 10 May 1996, Tony.OConnor wrote: > NEWS server down and I can't really wait until monday so I'm posting here. > I've gotta clean the fretboard of my acoustic guitar. What should I use - > commercial cleaning spray/cream, alcohol, or just good old spit and elbow > grease ? > Thanks, > Tony. > -- > Tony O'Connor, Dept.Biochemistry, UCG. tony.oconnor@ucg.ie > Well, guitar polish would probably be best, like Dr. Stringfellow or Martin Guitar Polish (available in fine music stores), but in the absense of that, Lemon Pledge, and since your playing blues on it, you should use Blind Lemon Pledge. Steve ========================================================================= Date: Fri, 10 May 1996 13:24:20 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: John Hammond recording In-Reply-To: Message of Fri, 10 May 1996 14:07:38 -0500 from On Fri, 10 May 1996 14:07:38 -0500 P.W. Fenton said: > >Who is Durate? Do you me Jimmy Durante...the schnoz? ** ?? Nuff said LW ========================================================================= Date: Fri, 10 May 1996 11:39:45 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Last Night's Blues Guitar Contest at Cozy's (LA) Well, I'm tired, in dire need of coffee and have an overly playful cat (Yes, it's Evie) occasionally pitching in with the typing but I need to give you the lowdown on the blues guitar contest held at Cozy's in Sherman Oaks last night. Where so I start. Ok. First. It should be a rule that you are not to play blues on a floyd-rose equiped guitar. Call me a purist :-) but it just ain't right. Strats, Les Pauls etc are so much better. There were long hairs with their metal machines. There were Strat toting gunslingers. Les Paul weilding assassins. Harmonica playing, guitar playing madmen. Well, a madman. More of him later. Jimi and SRV wannabees abounded. And a girl came up and blew everyone out of the club with a stunning display of blues. This and more all happened last night. The general level of the guitarists was good except there were way too many SRV/Jimi clones and guys who thought that loud screaming bends equals blues guitar. It did get a little grating after a while. But let's get onto the good stuff. Yes, the performance of the Bluzellers in the contest. First up was Isaac Sprintis. Isaac and I met up earlier and we had a beer and a game of pool before the contest started. It's always good to meet Bluzellers in the flesh. Isaac played his butt off. Some very cool moves that I would like to learn (Isaac, we need to jam:-)) Another cool thing about Isaac's solo was that it was improvised. A lot of the contestants had obviously worked it all out but Isaac was shooting straight from the hip. IMHO, he stood out from the rest because he didn't rely on the overworked cliches that others were relying on. Next up was me. So as I am writing this I get to say that, truthfully, I played a damn good solo (IMHO, of course). I had my T-Bone/Robben Ford/Magic Sam/Albert King moves all working. And I even played some Shaun in there. I found myself a few times doing things I have never played before. Actually improvisation! I have no idea how it sounded but it felt great! You can also ask my girlfriend what she thought. She said that both Isaac's solo and mine stood out because we tried to be different. Biased she may be but she was there:-) Then Iron Man Mike Curtis bounded on stage. Playing both harp and guitar he played up a storm. You have to see this guy. He is a lot of fun and he sounds great. And Mike made the play-offs! Unfortunately, Isaac and I missed out but the 5 finalists were all very good. And the winner was a girl named Mel (I think) who tore the roof off the joint! She just laid down some wicked guitar. I was on the floor in amazement. She is one hell of a blues player and deserved to win. She was the third of the finalists. When she had finished I turned to one of the judges (I was sitting next to them) and said, "The show is over. She won! Stop the contest!" So all in all it was a great night. Congratulations to Mike Curtis who held the Blues-L flag high by making the final five. And Isaac wasn't all that far behind either. Us Blues-L guys threw in our best and tried. And had a good time. What more can I say. It was fun! Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Fri, 10 May 1996 20:29:40 GMT Reply-To: Gary Engle From: Gary Engle Organization: Capital Area Internet Service, Inc. Subject: Johnny Winter Comments: To: bit-listserv-blues-l@uunet.uu.net Who is managing Johnny Winter now? Is it still Slatus? Does anyone have a current phone number for who is booking him or where they are located? ...Gary gengle@erols.com ... ========================================================================= Date: Fri, 10 May 1996 14:38:57 -0400 Reply-To: Bob Crafton From: Bob Crafton Subject: Cleaning Guitar - alcohol? >X-POP3-Rcpt: crafty@viper.nauticom.net >X-Envelope-To: blues-l@brownvm.brown.edu >Date: Fri, 10 May 1996 17:11:38 +0000 >Reply-To: "Tony.OConnor" >Sender: Blues Music List >From: "Tony.OConnor" >Subject: Cleaning Guitar - alcohol? >To: Multiple recipients of list BLUES-L > >NEWS server down and I can't really wait until monday so I'm posting here. >I've gotta clean the fretboard of my acoustic guitar. What should I use - >commercial cleaning spray/cream, alcohol, or just good old spit and elbow >grease ? > Thanks, >Tony. >-- > Tony O'Connor, Dept.Biochemistry, UCG. tony.oconnor@ucg.ie > DO NOT use alcohol!!!!! It will dry the wood and probably make the pigments in the rosewood run. Take a trip to your local hardware store and get some linseed oil and some 0000 grade steel wool. Remove strings and clean the fretboard with the linseed oil and steel wool, avoiding getting any on the finish. Wipe off the linseed oil and leftover bits of steel wool and apply a little little linseed oil and let in soak into the fretboard overnight. Wipe off the excess oil and yer done. This will clean and condition the wood so that it won't wear out as fast or crack as easily. Crafty> ========================================================================= Date: Fri, 10 May 1996 14:53:35 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: John Hammond recording From: "P.W. Fenton" To: "P.W. Fenton" On 10 May 96, P.W. Fenton had this to say: > Who is Durate? Do you me Jimmy Durante...the schnoz? > > It's pronounced Do - are - tay and spelled that way too - DUARTE > > If you're gonna trash somebody you got to get his name right. ..and if you are gonna take jab at someone else's spelling don't press send until you proof read your own post! Curses! Foiled again! P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ Ah, make the most of what we yet may spend, Before we too into the Dust descend. - Omar Khayyam ========================================================================= Date: Fri, 10 May 1996 12:15:46 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Stop with the Cat Names please (Was Re2: Hawkins RW said, >"Whitey" would be a good name for a black cat with a white spot. What do you >figure, Shaun? Maybe, but my cat has a name. It is Evie House Cat. No ifs. No buts. Thanks to all those who suggested names but let's leave it at that. The thread was fun for a while. Let the thread die a natural death. But Evie is really cute though:-) Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Fri, 10 May 1996 14:15:29 -0500 Reply-To: cecalhoun@SIOUX.SODAK.NET From: C E Calhoun Subject: Re: Hawkins Comments: To: ISTS024@UABDPO.DPO.UAB.EDU In-Reply-To: slang for white males ========================================================================= Date: Fri, 10 May 1996 15:21:54 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Stop with the Cat Names please Comments: To: Shaun T Cronin On 10 May 96, Shaun T Cronin had this to say: > Thanks > to all those who suggested names but let's leave it at that. The thread was > fun for a while. Let the thread die a natural death. But Shaun... Somewhere, at this very moment, someone is on their second free hour of AOL access and has discovered NEWSGROUPS. He clicks on something called "Blues-L" looking for information about Sheryl Crow. He reads message after message all about dead black men with unfamiliar names, until there, at last, is a post from someone named Shaun who needs a name for his new cat. FINALLY something he can participate in. He types furiously.... "Hi Shaun. How about Jake, or Elwood?" And the beat goes on.... P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ Ah, make the most of what we yet may spend, Before we too into the Dust descend. - Omar Khayyam ========================================================================= Date: Fri, 10 May 1996 15:27:19 -0400 Reply-To: Peter Welch From: Peter Welch Subject: Harry The Hipster on Delmark!! Has anyone listened to Delmark's new Harry "The Hipster" Gibson release? I had a look at the track listing and noticed that a lot of the tracks appeared on a disc I have called "Boogie Woogie in Blue" on the Musicraft label... I'm just wondering if the extra tracks are worth getting... -Peter "Hey, Stop that Dancin' up there!" ========================================================================= Date: Fri, 10 May 1996 12:43:06 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Cleaning Guitar - alcohol? Hi Everybody! Don't put ANYTHING containing water (polish of any kind, Lemon Pledge etc) on an unfinished (Rosewood/Pau Ferro/Ebony etc) fingerboard!! NEVER EVER... The water in these products is very very bad for that bare wood. Use fine steel wool with a touch of tung oil to clean the fingerboard. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Fri, 10 May 1996 16:03:29 -0400 Reply-To: ghost From: ghost Subject: Re: David Duke, was never Ted Hawkins; among other things, Duke can't sing like an angel, & that's not his only lack of resemblence >Date: Fri, 10 May 1996 08:37:07 CDT >Sender: Blues Music List >From: Leonard Watkins >Subject: Re: Ted Hawkins >This Hawkins thread reminds me of someone named David Duke who's past was a >HOT topic during his run for office. I just wonder if you can fogive Ted can >you forgive David Duke. Same thing, but one did not serve time for whatever >actions he did......I have no opinion, but I betcha there is double standard >here.....What you think Duke hasn't changed his tune, he's just changed record labels; now he's on one with wider distribution. ========================================================================= Date: Fri, 10 May 1996 14:22:35 EDT Reply-To: David Howard From: David Howard Subject: -No Subject- blues-l ========================================================================= Date: Fri, 10 May 1996 13:15:15 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Stop with the Cat Comments: cc: Wack_Ron/rfh@sask.aecl.ca >Zellers, > >My post was meant as a joke only. I wasn't suggesting changing the cat's name >or trying to keep the thread going. I'll go back to lurking for a while, I >think. RW, Don't go away. All is forgiven (not that you did anything anyway). I just used your post to spread the message. Stay with us! Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Fri, 10 May 1996 16:55:40 -0400 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: Re: Stop with the Cat Comments: To: shaun@PACIFICNET.NET In-Reply-To: <"v01530504adb9451e8a85(a)(091)206.101.8.168(093)*"@MHS> Shaun said: > Maybe, but my cat has a name. It is Evie House Cat. No ifs. No buts. Thanks > to all those who suggested names but let's leave it at that. The thread was > fun for a while. Let the thread die a natural death. > > But Evie is really cute though:-) > > Shaun > Zellers, My post was meant as a joke only. I wasn't suggesting changing the cat's name or trying to keep the thread going. I'll go back to lurking for a while, I think. RW ========================================================================= Date: Fri, 10 May 1996 16:21:23 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Was 'annoying messages' / now 'New Mooney CD' Comments: To: leftwich@cloud9.net On May 10, Jim Leftwich posted: >>>On a happier note, everyone go out and buy the >>>new John Mooney CD _Against the Wall_. The man >>>has a style all his own. Funky slide with a solid New >>>Orleans backbeat and a rich voice. This guy is due >>>for popularity. It should be easy to find since it's on >>>the new House of Blues label. See him live if you get >>>the chance. I have read everything and posted nothing all week simply becausre I am not familiar enough with Ted Hawkins and/or only favorable reviews. But I'll join Jim with a ringing endorsement for the new John Mooney CD. If this is his Warholian 15 minutes of fame, I hope he enjoys every second of it. Mooney used to visit with Son House in Rochester and he does the old man proud with "Grinning' In Your Face" as his live show encore. His show at Jazz Fest was a powerful 75 minute performance in blazing heat of over 90 degrees. He's got a full schedulede of festivals booked and I recommend you catch him along the road. So I'm ending the week with one thumb up for John Mooney. Dick Waterman (Long friendship but no business connections with aforementioned artist.) ========================================================================= Date: Fri, 10 May 1996 16:26:06 -0400 Reply-To: Peter Welch From: Peter Welch Subject: Floyd Dixon on Capitol I've noticed that Capitol has released a 2-CD set of Floyd Dixon. Is this worth buying? I've heard the Specialty disc, how does this compare? -Peter ========================================================================= Date: Fri, 10 May 1996 15:35:55 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 05/11 B O R N : 05/11 BERLIN, IRVING ( ISRAEL BALINE ) Born:1888 TEMUN, RUSSIA Career:COMPOSER / LYRICIST Style:POP / BIG BAND BLEY, CARLA ( BERG ) Born:1938 OAKLAND, CA Career:COMPOSER / LEADER / KEYBOARDS Style:JAZZ With:CHARLES MOFFETT / PHAROAH SANDERS / MICHAEL MANTLER / STEVE LACY / DON CHERRY / LEW SOLOFF BRYDEN, BERL Born:1920 NORWICH, NORFOLK, UK Career:SINGER / WASHBOARD Style:BLUES / TRAD / JAZZ With:GEORGE WEBB / HUMPHREY LYTTELTON / LIONAL HAMPTION / FATTY GEORGE / ALEX WELSH / BUD FREEMAN CAMARATA, TOOTS ( SALVADOR TUTTU CAMARATA ) Born:1913 GLEN RIDGE, NJ Career:TRUMPET / ARRANGER / STUDIO / LEADER Style:BIG BAND / POP With:CHARLIE BARNET / JIMMY DORSEY / ELLA FITZGERALD / BING CROSBY / DICK HAMES / JERI SOUTHERN / DOLORAS GRAY / DISNEY STUDIOS HIGGINBOTHAM J.C. Born:1906 ATLANTA, GA Career:TROMBONE Style:JAZZ / BIG BAND With:HENRY "RED" ALLEN / LUIS RUSSELL / FLETCHER HENDERSON / BENNY CARTER / TINY GRIMES HUMPREY, RALPH S Born:1944 BERKELEY, CA Career:DRUMMER Style:JAZZ JOSEPH, JULIAN Born:1966 HAMMERSMITH, LONDON, UK Career:PIANO / COMPOSER Style:JAZZ With:COURTNEY PINE / PHILLIP BENT / PAUL HUNT / BRANFORD MARSALIS / WYNTON MARSALIS MASSICOT, BUTZ ( PERCY MASSICOT ) Born:1910 NEW ORLEANS, LA Career:DRUMMER Style:TRAD / JAZZ MULLENS, MOON ( ED EDWARD ) Born:1916 MAYHEW, MS Career:TRUMPET Style:JAZZ / BLUES / BIG BAND With:Chris Columbus / Hot Lips Page / Earl Bostic / Benny Carter / Louis Armstrong big band / Lionel Hampton / Duke Ellington OLIVER, KING ( JOSEPH OLIVER ) Born:1885 NEW ORLEANS, LA Career:CORNET / LEADER Style:TRAD / JAZZ With:Eagle / Onward Brass / Magnolia / Olympia / and Kid Ory bands / Lawrence Dewey / Bill Johnson / Louis Armstrong / Jimmie Noone / Johnny Dodds / Baby Dodds / Lil Hardin Armstrong / Barney Bigard / Albert Nicholas ROACH, FREDDIE Born:1931 BRONX, NY Career:ORGAN / ALTO SAX / VIBES / FLUTE / PIANO / BASS Style:JAZZ SMITH, RICHARD Born:1909 KANSAS CITY, MO Career:TRUMPET / ARRANGER Style:JAZZ / BIG BAND TURNER, BIG JOE ( JOSEPH VERNON ) Born:1911 KANSAS CITY, MO Career:SINGER Stle:BLUES / TRAD / JAZZ With:PETE JOHNSON / PETE BROWN / LAWRENCE BROWN / HUMPHREY LYTTELTON / JIMMY WITHERSPOON VALDAMBRINI, OSCAR Born:1924 TURIN, ITALY Career:TRUMPET / COMPOSER Style:JAZZ Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Fri, 10 May 1996 16:19:20 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Stop with the Cat Names please (Was Re2: Hawkins Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, shaun/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=shaun#a#PACIFICNET#f#NET@s1boca.corp.wrgrace.com *Maybe, but my cat has a name. It is Evie House Cat. No ifs. No buts. Thanks *to all those who suggested names but let's leave it at that. The thread was *fun for a while. Let the thread die a natural death. Why don't you call her "Evie Ray House Cat"? :-) Sorry, I couldn't resist! I promise I will no longer post anything about cat names. (I will, however, post names of cool blues cats when appropriate). -Steve ========================================================================= Date: Fri, 10 May 1996 16:43:37 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Blues Review & The House of Blues I'm sort of suprised I haven't heard a peep about it here, cause I've had it a whole day now, and I usually get it late. I'm talking about the new Blues Review issue for June/July. I strongly suggest that you ignore the fact that Dan Aykroyd, Jim Belushi, and John Goodman are on the cover and get yourself a copy. It has the most thorough examination of the House Of Blues, it's founder Isaac Tigrett, it's corporate officers, and the non-profit International House of Blues Foundation, that I have ever seen. It may not change your mind, but it will answer your questions and quell your speculations. Without going into too much detail, I'll say that I personally went from sitting on the fence, to admiring Isaac Tigrett and what he is doing. If you are a Blues lover, you should read every word. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ Ah, make the most of what we yet may spend, Before we too into the Dust descend. - Omar Khayyam ========================================================================= Date: Fri, 10 May 1996 15:45:26 -0500 Reply-To: Rob Varak From: Rob Varak Subject: Re: KC-Robert Altman film Comments: To: "Sara C. Oxton" In-Reply-To: There was an extremely favorable preview of the film in Downbeat a couple months ago. It was the issue with Sinatra on the cover. Ro Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Fri, 10 May 1996 17:01:21 -0400 Reply-To: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM From: Jim Smith Subject: John Mooney Comments: To: pwfenton@GATE.NET In-Reply-To: <199605101753.NAA83108@osceola.gate.net> Definitely check out his "Late Last Night" and "Travelin' On" releases. Both capture what it's like to see John live. A truly moving experience. Jim Smith > > >> On a happier note, everyone go out and buy the new John Mooney CD _Against >> the Wall_. The man has a style all his own. Funky slide with a solid New >> Orleans backbeat and a rich voice. This guy is due for popularity. It >> should be easy to find since it's on the new House of Blues label. See >> him live if you get the chance. > >I heard a couple of cuts on the radio here, and I really liked what I >heard. He has a quality in his voice that is very reminiscent of the >late Son House. A little sort of wavering falsetto that trails off >from the end of each phrase. > >I intend to buy it. It'll be my first John Mooney. > >P.W. Fenton >Tampa, Florida >http://www.gate.net/~pwfenton/ > >Ah, make the most of what we yet may spend, >Before we too into the Dust descend. >- Omar Khayyam > ========================================================================= Date: Fri, 10 May 1996 16:07:28 -0500 Reply-To: akapil@MEDICINE.BSD.UCHICAGO.EDU From: "" Subject: Re: Last Night's Blues Guitar Contest at Cozy's (LA) That was a very interesting read, Shaun! Well done all you guys (Isaac, Shaun and Mike), I'm sure you did us 'zellers proud. I wish I could have been there. I was fascinated by the result.......... this lady called Mel (you think?). Further details on her recordings, albums, perormances (maybe a Chicago tour) etc, will be much appreciated. regards Adit. Aditya Kapil, PhD IBD Research Center Department of Medicine University of Chicago Ph: (312) 702 2283 FAX: (312) 702 2281 ========================================================================= Date: Fri, 10 May 1996 16:15:52 -0500 Reply-To: akapil@MEDICINE.BSD.UCHICAGO.EDU From: "" Subject: Re: Excellent Chicago Blues His stage name is Giles Corey. His real name is Andre something-or-the-other. The reason they changed his name is because the drummer is also called Andre. ....And yes he has his inspired moments, but on the whole I feel sometimes he lacks versatility. The first time I saw him play I also was blown away by how he put his leads together. I think he has the tension and release thing down to a science. However on subsequent occasions I have found him doing the exact same things over and over. David, I can't tell where you are from looking at your e-mail address... but if you are from Chicago, i would highly recommend a band called the Aron Burton Blues Band....they play on Teusdays at Blue Chicago (536 N. Clark Street). regards, Adit. >There is a blues guitarist that plays with the J.W. Williams Band at >B.L.U.E. Chicago that is the best guitarist that I have ever heard. It >might have been the atmosphere, with Eddie Campbell, Lurrie Bell, and >Big Time Sarah sitting in also, but the lead guitarist had the purest >tone and knew every blue lick and how to put them together. He is a >white guy with a little goatee, a short choppy haircut, and wore a tan >suit with a turtle neck and a gold medallion. If anyone knows his name >and if he has anything out, please let me know. > >If the river was whiskey And I was a diving duck, >I would dive to the bottom and never would come up.. > >McKinley Morganfield > > Aditya Kapil, PhD IBD Research Center Department of Medicine University of Chicago Ph: (312) 702 2283 FAX: (312) 702 2281 ========================================================================= Date: Fri, 10 May 1996 21:14:01 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Re: Arhoolie CD: Smoky babe/ herman E Johnson Comments: To: bit-listserv-blues-l@uunet.uu.net I SECOND THAT EMOTION 4X! Herman E. Johnson / Smokey babe "Louisiana Country Blues" Arhoolie CD440 a highly welcome release: two outstanding LP's on one CD, by , most importantly, two superb musicians. This is a run don't walk album! ========================================================================= Date: Fri, 10 May 1996 14:24:28 -0700 Reply-To: Doug Henry From: Doug Henry Subject: New Blues Web Site Hello from the Bid D'. We are a blues club located in Deep Ellum, Texas, home to the blues. Our web site is you are interested is http://www.ondaweb.com/bluecat/ Please give us a look when you get a chance and pass us along or link us in if you are so inclined. Thanks. The Big Cat @ Blue Cat Blues. ========================================================================= Date: Fri, 10 May 1996 17:41:25 -0400 Reply-To: JukeFreak@AOL.COM From: "(Karen Hanson)" Subject: Re: Little Walter and Otis Rush Comments: To: Joe.Lempkowski@eng.sun.com Joe replied: >This album is horrible. >It surfaces on a new label every few years. >It is far from either artists best work. (The Little Walter cuts show >just how bad off he was near the end.) I've heard others say that LW really went downhill in his final years, and I've been curious to hear. The 1967 AFBF Cd is a pretty good performance, I think. This one, however, stinks. Interesting. >The recording quality is >hideous. Boy, you got that right. >According to many there was no 1967 Chicago Blues Festival >(I can't recall 1967 as I was only six at the time and I am certain >many of the "40 - 50 year old guys - white punks from the suburbs" >were too busy partying and listening to Moby Grape or Led Zeppelin >to remember ;-)) >You have been hoodwinked. Thanks for your concern, Joe, but I don't think hoodwinked is the appropriate word. If I had believed the information on the album, I wouldn't have asked the question. And, freak as I am, I'm interested in anything Little Walter did, even the bad stuff. It's unfortunate that somebody unscrupulous may be making money off of it; I understand that. But I'm sort of obsessed and I must have it all. Karen ========================================================================= Date: Fri, 10 May 1996 16:53:45 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Blues Review & The House of Blues > > I'm sort of suprised I haven't heard a peep about it here, cause I've > had it a whole day now, and I usually get it late. I'm talking about > the new Blues Review issue for June/July. > > I strongly suggest that you ignore the fact that Dan Aykroyd, Jim > Belushi, and John Goodman are on the cover and get yourself a copy. > > It has the most thorough examination of the House Of Blues, it's > founder Isaac Tigrett, it's corporate officers, and the non-profit > International House of Blues Foundation, that I have ever seen. It > may not change your mind, but it will answer your questions and quell > your speculations. > > Without going into too much detail, I'll say that I personally went > from sitting on the fence, to admiring Isaac Tigrett and > what he is doing. > > If you are a Blues lover, you should read every word. > > P.W. Fenton > Tampa, Florida > http://www.gate.net/~pwfenton/ > > Ah, make the most of what we yet may spend, > Before we too into the Dust descend. > - Omar Khayyam > Well, Paul, now as you started me talking... That did it for me! After Gregg Allman, now Aykroyd, Belushi, and Goodman, I am quitting my subscription to Blues Revue. It was up for renewal after this issue anyway. I respect some people might enjoy the magazine and support their editorial policy, but I don't. I personally can't stand House of Blues and everything they stand for in their miserable corporate world. They are trying to squeeze a buck out of blues, and that's fine with me if people like what they do. I don't! And I don't like to give my back for a magazine that devotes 1/2 of the issue to the House of Blues. I did not trust a single word Isaac Tigrett said, and I dispise them all even more after reading the article(s). Ranko ========================================================================= Date: Fri, 10 May 1996 07:50:07 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: Blues Review & The House of Blues Comments: To: pwfenton@GATE.NET You meant Blues Revue, right? I saw one in Memphis and kind of stepped in front of the guy holding it (you know who you are). LW was about to sit and play a little bit and I didn't want to spoil his mood buy letting him catch a glimpse of that. :-) RJ Bauman On 10 May 96 , honorable zeller P.W. Fenton wrote: > I'm sort of suprised I haven't heard a peep about it here, cause I've > had it a whole day now, and I usually get it late. I'm talking about > the new Blues Review issue for June/July. > > I strongly suggest that you ignore the fact that Dan Aykroyd, Jim > Belushi, and John Goodman are on the cover and get yourself a copy. > > It has the most thorough examination of the House Of Blues, it's > founder Isaac Tigrett, it's corporate officers, and the non-profit > International House of Blues Foundation, that I have ever seen. It > may not change your mind, but it will answer your questions and quell > your speculations. > > Without going into too much detail, I'll say that I personally went > from sitting on the fence, to admiring Isaac Tigrett and > what he is doing. > > If you are a Blues lover, you should read every word. > > P.W. Fenton > Tampa, Florida > http://www.gate.net/~pwfenton/ > > Ah, make the most of what we yet may spend, > Before we too into the Dust descend. > - Omar Khayyam > > "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Fri, 10 May 1996 18:07:53 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Blues Revue & The House of Blues Comments: To: Ranko Vujosevic On 10 May 96, Ranko Vujosevic had this to say: > Well, Paul, now as you started me talking... > > > That did it for me! After Gregg Allman, now Aykroyd, Belushi, > and Goodman, I am quitting my subscription to Blues Revue. It was up for > renewal after this issue anyway. I respect some > people might enjoy the magazine and support their editorial policy, but > I don't. > > I personally can't stand House of Blues and everything they stand for > in their miserable corporate world. They are trying to squeeze a buck out of blues, > and that's fine with me if people like what they do. I don't! And I don't > like to give my back for a magazine that devotes 1/2 of the issue to the > House of Blues. > > I did not trust a single word Isaac Tigrett said, and I dispise them > all even more after reading the article(s). Ranko, It sounds like there is nothing anyone could do or say to change your mind. Sounds like the definition of a "closed mind". You don't believe the owner, you don't believe the magazine writers and you don't believe the Blues artists that make money from them. Is there room for ANYONE else in Rankoworld? P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ Ah, make the most of what we yet may spend, Before we too into the Dust descend. - Omar Khayyam ========================================================================= Date: Fri, 10 May 1996 18:25:45 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Carr Pulls Into Chicago . . . If any 'Zellers are going to see James Carr at Rosa's on Chicago's West Side this weekend, pah-leez post a detailed report . . . Dick Waterman ========================================================================= Date: Fri, 10 May 1996 15:35:06 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: John Mooney >I heard a couple of cuts on the radio here, and I really liked what I >heard. He has a quality in his voice that is very reminiscent of the >late Son House. A little sort of wavering falsetto that trails off >from the end of each phrase. > >I intend to buy it. It'll be my first John Mooney. Nice description of Mooney's voice, PW. This guy has got blues feeling oozing out of his vocal chords. His guitar playing isn't flashy and loaded with blues/rock stylings (a big plus in my opinion)- it's straight blues, from the heart. I have his previous album on Bullseye Blues, which is somewhat marred by muddy sound (the songs, however, are fantastic), and his acoustic album with Jimmy Thackery (Sideways in Paradise, which I've talked about a few times here); I think everyone in the universe should own at least one copy of that album. I'm gonna pick up this new album, and I'm sure I'll love it. -Jim (hndful@uniserve.com) ========================================================================= Date: Fri, 10 May 1996 15:37:26 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Hawkins James Foster wrote: >Ted was one of the most powerful live performers I've ever been priviledged >to witness...he moved a roomful of grown "sane" adults to tears and awe >with just his voice and a guitar. He certainly suffered many traumas while >he was alive and he certainly was aware that he had wronged others at times >in his life. But again, he was NEVER convicted for molesting anyone. I never had a chance to see Ted live - I discovered his music just shortly prior to his death. But he's also one of the most powerful _recorded_ performers that I've heard. And thanks for clearing this molestation issue up and getting (what I hope are) the actual facts out in the open. I've only been on the net for about a year, but I know that rumours and innuendo can spread like wildfire (the supposed 'Good Times' virus scare that I'm sure everyone heard about last year was a good example of that). Have a good weekend, yall. -Jim (hndful@uniserve.com) ========================================================================= Date: Fri, 10 May 1996 15:48:56 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Australian for hire for Blues Fests. Comments: cc: wmorga@bigeasy.com Bill Morgan wrote: >The following Saturday, Blues-ler Chicago Dave Markovits dropped by my >apartment after the Fairgrounds show ended bearing a six-pack of Abita >Amber and towing an Aussie pal. I had a very pleasant time sharing >beers and lies with those two. I'd recommend contacting Dave if you're >going to the Chicago Blues Festival, but bring an Australian with you >and a six-pack -- Shaun Cronin might be available, but he drinks >Guinness in 55 gal. drums. Bill is right. I am available for blues festivals as the essential Australian. It is a little known fact that a blues festival ain't a blues festival unless there is an Australian running amok somehwere. I assure my fees are reasonable (ya gotta get me there somehow) and if you can't get the preferred 55 gal. drums of Guinness I'm sure we can negotiate. Also avalable for parties of any other activities where beer and general mayhem, and the Blues, collide. Can play the guitar a bit and talk about any subject for hours on end whether I have a clue what's going on or not. Rumour has it that I'll be making an appearance at this year's Long Beach Blues Fest. Shaun, Australian for Hire Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Fri, 10 May 1996 17:48:18 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Sam Cooke's death > For years I've been reading that Sam Cooke died after being shot by > a motel manager while attempting to rape someone. Cooke doesn't > *sound* like a rapist, also for whatever that's worth. I suggest you read Daniel Wolff's "You Send Me: The Life and Times of Sam Cooke," a fine biography which should be available in any large bookstore. It explores what is known about Cooke's death in considerable detail. While the author regrains from coming to specific conclusions, it seems clear that ... 1. Cooke didn't rape or attempt to rape anyone. 2. The woman he was with was a prostitute whose specialty was stealing money from her customers, then running off with their clothes. 3. Cooke had been drinking and probably was using cocaine that night. 4. He was shot by the motel manager, who says he forced his way into her office. In a nutshell, it seems likely that Cooke was stoned and angry because his money and clothes had been stolen. He stormed into the motel office, frightened the manager, who shot him. Cooke, like many great musicians, had a dark side. It seems to have contributed to his death. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Fri, 10 May 1996 17:48:18 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Rock --> Rock/Blues --> Blues Transition > Greg writes: > > >I mean theres' a whole bunch of us 40-50 year old guys - white > >punks from the suburbs - that were brought to the blues by listening to > >these guys first. Everyone I meet who was an intense Led Zeppelin fan was about 10 years old in 1970. Which would make them about 36 now. Us 40-50 year old white guys from the suburbs mostly came to blues through 50s R&R/R&B or the 60s Folk/Blues Revival. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Fri, 10 May 1996 19:07:32 -0400 Reply-To: James Leftwich From: James Leftwich Subject: Re: John Mooney (long) Comments: To: Jim Smith In-Reply-To: On Fri, 10 May 1996, Jim Smith wrote: > Definitely check out his "Late Last Night" and "Travelin' On" releases. > Both capture what it's like to see John live. A truly moving experience. Having been a huge fan and acquaintance of Mr. Mooney (sometimes called the Moon Man) thought I'd give a little background. BTW, funnily enough he was the first blues act I ever saw live. John grew up in Rochester where his encounters with Son House made a solid imprint on his vocal and instrumental intensity. When I interviewed John once he vehemently stated that Son "Didn't *show* him anything." They jammed and talked, sometimes much to the chagrin of Son's wife's aversion to the blues (devil's music). John then dropped out of high school at age 15 or 16 and set out on the road hoboing. He eventually ended up in Ann Arbor where someone from Blind Pig heard him, which led to _Comin' Your Way_ (BP70779). This was the mid 70s I believe. It was a largely acoustic record with Mooney credited with Vocals, National Steel Standard and bottleneck guitars, mandolin, washboard, congas and feet. Tracklist follows: 1. Brand New Woman (4:09) 2. Shake Hands and Tell Me Goodbye - trad- (3:06) 3. Ain't Gonna Get Drunk No More (2:44) 4. I'm Mad (2:50) 5. Train is Leavin' -trad- (3:42) 6. Pony Blues -trad "Son" House- (3:05) 7. Talk a Walk Round The Corner -Carr & Mooney- (3:45) 8. Dirty Rat (1:53) 9. Move to Louisiana (2:25) 10.Shout Sister Shout -A. Crudup- (1:33) 11.Hot Tub Mambo (2:20) 12.Reap What You Sow (3:25) 13.Stop That Thing -trad J.Estes & Mooney- (2:48) All in all a fun record (still in print), which is particularly interesting because it comes before Mooney moved to New Orleans. His later work (since moving to the Crescent City) is much funkier and electric. _Telephone King_ recorded a couple years later begins to show a New Orleans "influence". The piano is thrust further into the forefront. A solid record about on par with _Comin Your Way_. Then came _Late Last Night_ (Bullseye Blues/Rounder CD BB 9505) after a long recording hiatus. For this 1990 disc, Mooney tried to translate his raucus, funky live sound onto CD. It's definitely more electric than anything previous. It also has a "spooky, atmospheric" quality to it. Tracklist follows: 1. Late Last Night 2. RIP 3. Country Gal 4. Baby Please Don't Go 5. Travelin' On 6. Lovin' Mood 7. It Don't Matter 8. Out That Door 9. Late on in the Evening 10.Coma Mama 11.Country Boy John wrote 8 of these. He would later re-record Late on in the Evening for his latest CD _Against the Wall_. The arrangements are sparser with Jon Cleary (brilliant pianist), David Ranson (bass), and Kenneth Blevins (Drums). In 1991, Mooney played slide on 3 cuts on Champion Jack Duprees' classic CD_Forever & Ever_ (Bullseye Blues/Rounder CD BB9512). People are beginning to take notice. Next came _Testimony_ (DOMCD001) on Domino records in 1992. I attended the record release party for the disc and John was very enthusiastic about the CD. Unfortunately, I don't think it sold all that well. It's definitely a departure from _Late Last Night_ in that it is more polished. His covers are tasteful and the originals shine (a funny side note -- John turns Lil Queen of Spades into a tale of his child cutting teeth and crying in the back seat...very funny). John Cleary is back onboard on the keys while Dr. John and Ivan Neville make appearances on a few cuts. Clearly, John is establishing himself with the New Orleans elite. Scary things! I can't find my copy of _Travellin' On_ or _Sideways in Paradise_. Perhaps someone can fill in the blanks here. INHO these are two essentials. _Travellin' On_ was recorded live in Europe (Germany I think) and _Sideways in Paradise_ is an impromptu jam session with Jimmy Thackery at a poolside in the Caribbean. Both are loads of fun, the former is wild, infectious electric slide, the latter is subtle and humorous. Which brings us to Mr. Mooney's latest effort _Against the Wall_ (HOBme 7001087006-2) which just came out April 30. This IMHO is his best-to-date (with Travellin' On close behind). It's generally a rockin' good time. 1. Sacred Ground 2. Doggone Thing 3. Sweat N Bones 4. Broken Mold 5. Late on in the Evening 6. 3 Sides (2 Every Story) 7. The Bitter Pill 8. U Tol' Me 9. One Step Forward 10.Someone been Missing Somebody (2 Long) He wrote or co-wrote all but the Michelle Schocked track "The Bitter Pill" If the first cut "Sacred Ground" doesn't "getcha" you need your blues taste buds examined! This is what he sounds like live, an experience no one should ever miss. I'm told John pays tribute to Son House after his shows with a moving rendition of "Grinning in Your Face". That voice will ring in your head for weeks. John Mooney DESERVES YOUR ATTENTION HE IS IMHO THE GREATEST BLUESMAN DESERVING GREATER RECOGNITION. Sorry if I got a little enthused there at the end, but this guy is great and I really do think you'd enjoy his latest CD. ============================================================================= Jim Leftwich Jim's Blues N' Brews leftwich@cloud9.net http://www.cloud9.net/~leftwich "I'm on cloud9!" :) New CD Giveaway: Sherman Robertson ============================================================================= ========================================================================= Date: Fri, 10 May 1996 16:12:08 -0700 Reply-To: steve veloudos From: steve veloudos Subject: Free Music Arizona blues/rock band Dirty Money would like to send you a free sampler tape! Email us your mailing address and we'll send it out to ya! Thx... Zebra Music zebra@getnet.com http://www.getnet.com/~zebra/dirt.html ========================================================================= Date: Fri, 10 May 1996 19:52:39 -0400 Reply-To: PHWoolfman@AOL.COM From: Pete Wulforst Subject: Re: Rock --> Rock/Blues --> Blues Transition Comments: To: Joe.Lempkowski@eng.sun.com In the 60s I was exposed to the blues by the Animals, then later by Butterfield, Bloomfield, Bluesbreakers etc. For a long time, my preferences definitely ran towards the younger white artists, probably because they were young and flashy, but it wasn't long before I reached back to people like Muddy Waters, The various Kings, Buddy etc. This month I will turn 47, I still play regularly (into my 8-track porta-studio) and I actively collect blues, jazz, and rock recordings. I stopped playing out quite a while back when my job responsibilities and middle age dictated that I sleep regularly. I have joked that may get back into the swing of things after I retire. I'll not bore you with the contents of my collection, but I will say that one of my all-time favorites is Earl Hooker. I've never warmed to the acoustic solo players the way I should, and that is a deficiency on my part. The point is, people like me exist, and through the miracle of transportaion we manage to get ourselves to decent records to buy our jazz, blues, and harder-to-find rock recordings. If we don't see as many live shows as we used to, well, I for one need my beauty rest. Pete Wulforst ========================================================================= Date: Fri, 10 May 1996 20:01:31 -0400 Reply-To: ac928@osfn.rhilinet.gov From: Jim McGlynn Subject: Jazz Fest notes It's taken five days for me to get myself sorted out after Jazz Fest, but thought it still might not be too late to toss a few thoughts listward. I'd been in town a few hours when Maggie Mortensen clued me to what was to become for me the REVELATION of da Fest -- John Mooney. I'd seen him at his regular Sunday night gig at Madigan's the past couple times I'd been in town, but either the man has turned a corner or I've come to my senses. He's doing astonishing work and is by far my favorite current practitioner of the art. His stuff is well in the tradition, but not at all a replication of what has gone before. Yes, he's got those sublime Delta chops on slide and his voice does indeed growl and soar like House, but Mooney's not serving up a history lesson -- this shit is alive and vibrant and, with the addition of frequent second-line syncopation, entirely his own. I join those other 'zellers who've urged any and all to see him live and to check out his new CD "Against The Wall" on the new HOB label and his previous effort, "Testimony" with George Porter, Jr. of the Meters and Fess's frequent drummer, John Vidacovich. Highlights of the Fest at the fairgrounds for me (along with Mooney's set) were Johnny Adams with the Julius Farmer band and Allen Toussaint whose band was not surprisingly the tightest imaginable. It's no surprise to anyone that much of the best music in town happens outside of the Fest program and I was thrilled to witness what has to count as one of the most amazing presentations of blues talent in a club in many a year -- Black Top's Blues-A-Rama at the House of Blues on Sunday night with -- get this -- Robert Ealey, Grady Gaines, Earl King, Robert Ward, Tommy Ridgely, W.C. Clark and Guitar Shorty each doing their own sets. I'll post more on this later but I've gotta get this sent now before my hour of freenet time elapses and I lose it all. Still haven't gotten the hang of writing offline, so my apologies to all. Jim McGlynn -- ========================================================================= Date: Fri, 10 May 1996 18:21:12 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Re: annoying messages PW>On 10 May 96, P.W. Fenton had this to say: PW>We have a listowner, Alan Rollins - blzlynx@polaris.net, and he PW>tells us it's a tremendous amount of work he does every day, but I PW>don't think he ever actually reads the list. The last time this I can say for sure that he reads the list; I've received personal e-mail from him on two occasions, most recently about two weeks ago regarding a get together at Donna's Bar and Grill. However, I can't say how frequently or thoroughly he reads the list. Bill Morgan From: The Big Easy ========================================================================= Date: Fri, 10 May 1996 17:18:26 -0700 Reply-To: Guy Tapper From: Guy Tapper Subject: Re: Rock --> Rock/Blues --> Blues Transition >> Greg writes: >> >> >I mean theres' a whole bunch of us 40-50 year old guys - white >> >punks from the suburbs - that were brought to the blues by listening to >> >these guys first. > >Everyone I meet who was an intense Led Zeppelin fan was about 10 >years old in 1970. Which would make them about 36 now. > >Us 40-50 year old white guys from the suburbs mostly came to >blues through 50s R&R/R&B or the 60s Folk/Blues Revival. > >Ian Angus >"Built for comfort, not for speed" Speaking as a (nearly) 43-year-old, I came to embrace REAL blues by first hearing blues-rock: Cream, Zep, Hendrix, ZZTop, John Mayall, the Allmans, and lots more, most of which I can't stand to listen to anymore. What really struck me as I went backward and dug into the originators of the music were the lyrical phrases and musical licks (and sometimes whole songs) that were copped from them and which I had ignorantly assumed were original ideas. I didn't, however, develop a taste for blues from 50s R&B or 60s Folk/Blues. I was too young. My interest in music as more of an active pursuit began about the time the Beatles were coming to America for the first time. So I guess my experience would more closely match that of Greg. Guy Tapper Marine Life Research Group Scripps Institution of Oceanography 9500 Gilman Dr. La Jolla CA 92093-0227 (619)534-2358 (619)534-6500 fax ========================================================================= Date: Fri, 10 May 1996 19:36:21 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Rock --> Rock/Blues --> Blues Transition Comments: To: Joe Lempkowski In-Reply-To: <9605101800.AA06181@mtv5-broadcast.Eng.Sun.COM> On Fri, 10 May 1996, Joe Lempkowski wrote: > Greg writes: > > >I mean theres' a whole bunch of us 40-50 year old guys - white > >punks from the suburbs - that were brought to the blues by listening to > >these guys first. > > This made me wonder a bit about the actual raw number of people that have been > introduced to the blues by the likes of Led Zeppelin and Stevie Ray Vaughn. I > don't doubt for a second that the connection is there, but how many of these > people, 40-50 year old white guys from the suburbs, actually buy blues albums. > number of people who have been turned onto the blues by these blues/rock types. > Why doesn't this translate into record sales? Do white males aged 40 - 50 > not buy recordings? Are there around 25,000 of us who pay for recordings and > the 40 - 50 year old crowd have somehow figured out how to get them for free? > The number of record stores in the mall that have blues sections seem to carry > releases by the King family (BB, Albert, and Freddy), John Lee Hooker, Buddy > Guy, Muddy and the Wolf. Most of the stores I've seen with any kind of a > selection are always in the downtown area of larger cities. If the influenced > live in the suburbs, it would seem natural that the stores be located out > there too. Where are these people? How come you never bump into them in > stores? > > I keep hearing about this connection, but I don't know of anyone who has > become rich as a result of it. (Although I have heard Buddy Guy has bought > himself a well deserved Rolls Royce.) > > So what's the deal? Any care to ponder this one? Personally, I think that part of the Zeppelin-Clapton-SRV thing that has brought a bunch of folks into blues, is that a lot of people are also only mesmerized by stardom and celebrity. There are probably more people who've seen Elvis this year in weird sightings than have seen my favorite blues players. A lot of folks have to know that the critics, labels, media, and MTV have approved of a certain player before venturing an honest listen, and by that time it can hardly be an honest listen. So a few, Buddy, Junior, and B.B., get big audiences. They're stars, have celebrity status, and so forth. My great aunt blames this whole (she called it) Beatles-phenomenon on Frank Sinatra. Do you buy that, blues-l? Casey Casum used to say that if it's really any good you'll hear it eventually on American Top 40s. Steve ========================================================================= Date: Fri, 10 May 1996 19:47:14 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 05/11 B O R N : 05/11 BERLIN, IRVING ( ISRAEL BALINE ) Born:1888 TEMUN, RUSSIA Career:COMPOSER / LYRICIST Style:POP / BIG BAND BLEY, CARLA ( BERG ) Born:1938 OAKLAND, CA Career:COMPOSER / LEADER / KEYBOARDS Style:JAZZ With:CHARLES MOFFETT / PHAROAH SANDERS / MICHAEL MANTLER / STEVE LACY / DON CHERRY / LEW SOLOFF BRYDEN, BERL Born:1920 NORWICH, NORFOLK, UK Career:SINGER / WASHBOARD Style:BLUES / TRAD / JAZZ With:GEORGE WEBB / HUMPHREY LYTTELTON / LIONAL HAMPTION / FATTY GEORGE / ALEX WELSH / BUD FREEMAN CAMARATA, TOOTS ( SALVADOR TUTTU CAMARATA ) Born:1913 GLEN RIDGE, NJ Career:TRUMPET / ARRANGER / STUDIO / LEADER Style:BIG BAND / POP With:CHARLIE BARNET / JIMMY DORSEY / ELLA FITZGERALD / BING CROSBY / DICK HAMES / JERI SOUTHERN / DOLORAS GRAY / DISNEY STUDIOS HIGGINBOTHAM J.C. Born:1906 ATLANTA, GA Career:TROMBONE Style:JAZZ / BIG BAND With:HENRY "RED" ALLEN / LUIS RUSSELL / FLETCHER HENDERSON / BENNY CARTER / TINY GRIMES HUMPREY, RALPH S Born:1944 BERKELEY, CA Career:DRUMMER Style:JAZZ JOSEPH, JULIAN Born:1966 HAMMERSMITH, LONDON, UK Career:PIANO / COMPOSER Style:JAZZ With:COURTNEY PINE / PHILLIP BENT / PAUL HUNT / BRANFORD MARSALIS / WYNTON MARSALIS MASSICOT, BUTZ ( PERCY MASSICOT ) Born:1910 NEW ORLEANS, LA Career:DRUMMER Style:TRAD / JAZZ MULLENS, MOON ( ED EDWARD ) Born:1916 MAYHEW, MS Career:TRUMPET Style:JAZZ / BLUES / BIG BAND With:Chris Columbus / Hot Lips Page / Earl Bostic / Benny Carter / Louis Armstrong big band / Lionel Hampton / Duke Ellington OLIVER, KING ( JOSEPH OLIVER ) Born:1885 NEW ORLEANS, LA Career:CORNET / LEADER Style:TRAD / JAZZ With:Eagle / Onward Brass / Magnolia / Olympia / and Kid Ory bands / Lawrence Dewey / Bill Johnson / Louis Armstrong / Jimmie Noone / Johnny Dodds / Baby Dodds / Lil Hardin Armstrong / Barney Bigard / Albert Nicholas ROACH, FREDDIE Born:1931 BRONX, NY Career:ORGAN / ALTO SAX / VIBES / FLUTE / PIANO / BASS Style:JAZZ SMITH, RICHARD Born:1909 KANSAS CITY, MO Career:TRUMPET / ARRANGER Style:JAZZ / BIG BAND TURNER, BIG JOE ( JOSEPH VERNON ) Born:1911 KANSAS CITY, MO Career:SINGER Stle:BLUES / TRAD / JAZZ With:PETE JOHNSON / PETE BROWN / LAWRENCE BROWN / HUMPHREY LYTTELTON / JIMMY WITHERSPOON VALDAMBRINI, OSCAR Born:1924 TURIN, ITALY Career:TRUMPET / COMPOSER Style:JAZZ Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Fri, 10 May 1996 17:36:02 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Sam Cooke's death A few years back I interviewed a man who claimed to be working in a gas = station on the same block as the motel where Sam was killed. He claims = to have been among the first couple of people on the scene. His = recollection of the events are: Sam was rolled for his pants and cash by the hooker.=20 She ran from the room and hid in a phone booth. Sam thought she ran into the motel office. Sam was raving, pantless, at the office door. The motel manager shot Sam. This "witness" also claimed that the motel manager and the hooker were = related. Uncle Ray ---------- From: Ian Angus[SMTP:ianangus@DIS.ON.CA] Sent: Friday, May 10, 1996 5:48 PM To: Multiple recipients of list BLUES-L Subject: Sam Cooke's death > For years I've been reading that Sam Cooke died after being shot by > a motel manager while attempting to rape someone. Cooke doesn't > *sound* like a rapist, also for whatever that's worth. I suggest you read Daniel Wolff's "You Send Me: The Life and Times of Sam Cooke," a fine biography which should be available in any large bookstore. It explores what is known about Cooke's death in considerable detail. While the author regrains from coming to specific conclusions, it seems clear that ... 1. Cooke didn't rape or attempt to rape anyone. 2. The woman he was with was a prostitute whose specialty was stealing money from her customers, then running off with their clothes. 3. Cooke had been drinking and probably was using cocaine that night. 4. He was shot by the motel manager, who says he forced his way into her office. In a nutshell, it seems likely that Cooke was stoned and angry because his money and clothes had been stolen. He stormed into the motel office, frightened the manager, who shot him. Cooke, like many great musicians, had a dark side. It seems to have contributed to his death. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Fri, 10 May 1996 20:10:39 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Rock --> Rock/Blues --> Blues Transition Comments: To: Ian Angus In-Reply-To: <9605101853.aa00494@admin.dis.on.ca> On Fri, 10 May 1996, Ian Angus wrote: > > Greg writes: > > > > >I mean theres' a whole bunch of us 40-50 year old guys - white > > >punks from the suburbs - that were brought to the blues by listening to > > >these guys first. > > Everyone I meet who was an intense Led Zeppelin fan was about 10 > years old in 1970. Which would make them about 36 now. Hey, I was 10 in 1970 . . . Hey, I'm 36 . . . HEY, I WAS INTO ZEPPELIN BACK THEN--Don't blame me for that, I was escaping from my blues roots, and listening to Rock & Roll. Then I find out they were copping blues licks . . . no wonder I grew up and went back to Muddy, Sonny Boy, and all those other guys--when I was fifteen. > > Us 40-50 year old white guys from the suburbs mostly came to > blues through 50s R&R/R&B or the 60s Folk/Blues Revival. 40-60, as my dad filled the house with blues from before I was born. Steve ========================================================================= Date: Fri, 10 May 1996 21:14:34 -0400 Reply-To: Greg Hermanns From: Greg Hermanns Subject: Re: Reviews of Memphis & N.O.J.F. Again, thanks to James foster, Cathi N., Maggie , RJ & others for taking the time to post reviews (bragging about ;' ) ) of the Memphis deal and Jazz Fest! I'm jealous as hell 'cause I couldn't make either one and can't wait to get to events later this year & meet fellow 'zellers. Festival time is upon us. Greg Hermanns In wine there is wisdom. In beer is strength. In water is bacteria. --German saying ========================================================================= Date: Fri, 10 May 1996 18:16:23 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Otis Rush & Little Walter I read the various posts about the truly wretched Rush/Jacobs live = recording in question. It's hard to say enough bad about this piece of = work. Don't buy it unless you are an unrelenting, totally possessed, = Walter or Otis "completist". However, if you want to hear some great collaborations between the two = (with others) and some tasty producing by Willy Dixon, go for the Cobra = Otis Rush stuff. I'm specially moved by "Double Trouble" with Walter = weaving in and out of the horn sections dark figures. Uncle Ray ========================================================================= Date: Sat, 11 May 1996 04:25:27 GMT Reply-To: jwingat@INFOAVE.NET From: jwingat@INFOAVE.NET Organization: SunBelt.Net INTERNET Access Subject: SRV - The Best There Ever Was Comments: To: bit-listserv-blues-l@uunet.uu.net Can there be any doubt that Stevie Ray Vaughn was the best blues guitarist to ever walk the planet? His playing was so fluid, so powerful, so solid. Although he was short of stature, Stevie was a mighty, mighty man when it came to making a Stratocaster cry the blues. He wasn't the first blues guitarist, and he surely owed a lot to those who influenced him such as the traditional black urban blues players, Texas blues and even Jimi Hendrix (who was a blues guitarist on acid). I've heard many try to emulate him; I even heard a band on the radio called "Texas Flood" that ought to be sued if they aren't paying half their earnings to Stevie's estate. But none has matched the pure power that Stevie brought to the guitar. To me, he will always be THE MAN. ========================================================================= Date: Sat, 11 May 1996 04:34:47 GMT Reply-To: jwingat@INFOAVE.NET From: jwingat@INFOAVE.NET Organization: SunBelt.Net INTERNET Access Subject: Re: Cleaning Guitar - alcohol? Comments: To: bit-listserv-blues-l@uunet.uu.net Steve Price wrote: >On Fri, 10 May 1996, Tony.OConnor wrote: >> NEWS server down and I can't really wait until monday so I'm posting here. >> I've gotta clean the fretboard of my acoustic guitar. What should I use - >> commercial cleaning spray/cream, alcohol, or just good old spit and elbow >> grease ? >> Thanks, >> Tony. >> -- >> Tony O'Connor, Dept.Biochemistry, UCG. tony.oconnor@ucg.ie >> > Well, guitar polish would probably be best, like Dr. Stringfellow >or Martin Guitar Polish (available in fine music stores), but in the >absense of that, Lemon Pledge, and since your playing blues on it, you >should use Blind Lemon Pledge. > Steve The above advice is good, but he failed to say that you should NEVER use alcohol on any wooden surface. If a drop touches a finished surface it ruins that area of finish on the guitar. I personally like the Martin polish. Jim ========================================================================= Date: Fri, 10 May 1996 20:27:50 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: SRV - The Best There Ever Was >Can there be any doubt that Stevie Ray Vaughn was the best blues >guitarist to ever walk the planet? Yes. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Sat, 11 May 1996 03:18:30 GMT Reply-To: blueslvr@got.net From: "Roy W. Forgy" Organization: got net? Subject: Re: Bluesquiz II Comments: To: bit-listserv-blues-l@uunet.uu.net In a message dated 96-04-30 03:41:52 EDT, marc@SC1000.AZ.VUB.AC.BE (marc ]:->borms) writes: ]:-> ]:->> ]:->>When I read all the articles in this list, I see the 'quiz'-thread ]:->>about guitarnames is popular. ]:->>Let's start another one : ]:->>Which bluesartist likes walking through the crowd or leaves the stage ]:->>while singing/playing.... ] It was a trade mark of Albert Collins, he didn't use a cordless either he prefered to drag a 50ft cable around. If the place was small he even went outside sometimes. Roy W. Forgy blueslvr@sirius.com blueslvr@got.net Boulder Creek, CA ========================================================================= Date: Sat, 11 May 1996 00:14:25 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Rock --> Rock/Blues --> Blues Transition Comments: To: gtapper@ucsd.edu On May 10, Guy Tapper wrote : >>>What really struck me as I went backward and dug >>>into the originators of the music were the lyrical >>>phrases and musical licks (and sometimes whole >>>songs) that were copped from them and which I had >>>ignorantly assumed were original ideas. This is good stuff from Guy. The important aspect here is that the listener care enough to do this digging back toward to originators. It does not matter if your point of entry to blues music was Cream doing Wolf; Zep doing Dixon; Stones doing Muddy; Raitt doing Fred McDowell; Joplin doing Big Mama; Boz doing Fenton Robinson; Stevie Ray doing Topsy Davis; on and on and on . . Each of these musicians realized they they were doorways through which a listener should pass. The role of the popularizer is to bring contemporary technology and technique to an existing art form. The important thing is that you realize that they were not 'the end' but rather 'the means to the end' and kept of moving toward the source. The pity of it all is when young fans only go back to SRV or Hendrix and stop there. They were great musicians who brought innovative artistry to a musical form that flowed before them, through them and after them. Dick Waterman ========================================================================= Date: Fri, 10 May 1996 11:14:13 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: John Sebastian Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, i9542005/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=i9542005#a#UU10#f#BIM#f#ULUDAG#f#EDU#f#TR@s1boca.corp.wrgrace.com * I need info about John Sebastian. I have an instructional video *for harp taught by him but know nothing about. He is the son of the late classical harmonica genius John Sebastian, and one of the founders of the sixties rock group The Loving Spoonful (which was named after a song either by Son House or John Hurt - some of the older blues-lers can probably verify that). He also played harp on the Doors' "Roadhouse Blues," and did the theme song for the popular seventies tv show Welcome Back Kotter. -Steve ========================================================================= Date: Sat, 11 May 1996 04:59:16 GMT Reply-To: "Alex D." From: "Alex D." Organization: University of Oregon Subject: Re: SRV - The Best There Ever Was Comments: To: bit-listserv-blues-l@uunet.uu.net In article <4n0t7k$ibn@news1.sunbelt.net>, jwingat@INFOAVE.NET says... > >Can there be any doubt that Stevie Ray Vaughn was the best blues >guitarist to ever walk the planet? I'm a huge SRV fan but before you call him the best ever try a little Son House. He is by far the best anyone will ever see. As good as SRV is Son is better. ========================================================================= Date: Fri, 10 May 1996 20:11:45 -0500 Reply-To: MR TERRY W SPRING From: MR TERRY W SPRING Subject: James A. Bland In the blues dates for Saturdy, there is a James A. Bland, an afro-american songwriter, who died in 1911. Any relation to Bobby Bland? ========================================================================= Date: Sat, 11 May 1996 02:30:15 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Better times for Jesse Mae . . . Better times ahead for Jesse Mae Hemphill. An individual in the music industry is underwriting the cost of improving her living conditions. A trench will be dug and pipes installed for running water; a stove and refrigerator will be purchased; plumbing will be ungraded with new fixtures; repair work will be done on the trailer itself. The airconditioner donated by Blues-L members last year is now in place. If you already have all of the above conveniences, count your blessings . . . she has not. Dick Waterman ========================================================================= Date: Fri, 10 May 1996 23:31:07 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: SRV - The Best There Ever Was "Texas Flood"!!? A Stevie Ray Vaughn song? You can rest assured that the = members of Texas Flood (the band) knew they were paying homage to Larry = Davis. They'll start sending checks to SRV's estate when SRV starts = sending cash to Otis Rush for "Double Trouble". I first heard Stevie Ray at the SF Blues Fest in 1979. To be sure he = caused quite a stir. His guitar pyrotechnics were awesome. At that time = his playing was...ahem, "bluesier", much more of the influence of Hubert = Sumlin, Albert Collins, Eddie Jones, and others. I enjoyed his = performances. Best blues guitar player ever? Yeah. And Mona Lisa was a man. Young = person, get thee to school! Uncle Ray ---------- From: jwingat@INFOAVE.NET[SMTP:jwingat@INFOAVE.NET] Sent: Saturday, May 11, 1996 4:25 AM To: Multiple recipients of list BLUES-L Subject: SRV - The Best There Ever Was Can there be any doubt that Stevie Ray Vaughn was the best blues guitarist to ever walk the planet? His playing was so fluid, so powerful, so solid. Although he was short of stature, Stevie was a mighty, mighty man when it came to making a Stratocaster cry the blues. He wasn't the first blues guitarist, and he surely owed a lot to those who influenced him such as the traditional black urban blues players, Texas blues and even Jimi Hendrix (who was a blues guitarist on acid). I've heard many try to emulate him; I even heard a band on the radio called "Texas Flood" that ought to be sued if they aren't paying half their earnings to Stevie's estate. But none has matched the pure power that Stevie brought to the guitar. To me, he will always be THE MAN. ========================================================================= Date: Fri, 10 May 1996 23:35:22 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: John Sebastian Lovin' Spoonful...named from John Hurt's "Coffee Blues". Uncle Ray ---------- From: Steve Levine[SMTP:Steve.Levine@CORP.WRGRACE.COM] Sent: Friday, May 10, 1996 3:14 PM To: Multiple recipients of list BLUES-L Subject: Re: John Sebastian * I need info about John Sebastian. I have an instructional video *for harp taught by him but know nothing about. He is the son of the late classical harmonica genius John Sebastian, and one of the founders of the sixties rock group The Loving Spoonful (which was named after a song either by Son House or John Hurt - some of the older blues-lers can probably verify that). He also played harp on the Doors' "Roadhouse Blues," and did the theme song for the popular seventies tv show Welcome Back Kotter. -Steve ========================================================================= Date: Fri, 10 May 1996 05:46:03 GMT Reply-To: jackieo@MIDTOWN.NET From: Jack Oudiz Organization: Midtown Computer Services Subject: Re: SRV - The Best There Ever Was Comments: To: bit-listserv-blues-l@uunet.uu.net jwingat@INFOAVE.NET wrote: >Can there be any doubt that Stevie Ray Vaughn was the best blues >guitarist to ever walk the planet? His playing was so fluid, so >powerful, so solid. Although he was short of stature, Stevie was a >mighty, mighty man when it came to making a Stratocaster cry the >blues. He wasn't the first blues guitarist, and he surely owed a lot >to those who influenced him such as the traditional black urban blues >players, Texas blues and even Jimi Hendrix (who was a blues guitarist >on acid). I've heard many try to emulate him; I even heard a band on >the radio called "Texas Flood" that ought to be sued if they aren't >paying half their earnings to Stevie's estate. But none has matched >the pure power that Stevie brought to the guitar. To me, he will >always be THE MAN. Be gentle folks! It's really not fun when it's this easy... ========================================================================= Date: Sat, 11 May 1996 02:39:09 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: NEW BLUES WEB SITE > From: Doug Henry > > Hello from the Bid D'. We are a blues club located in Deep Ellum, > Texas, home to the blues. Our web site is you are interested is > http://www.ondaweb.com/bluecat/ This club (The Blue Cat) is one of my favorite places in DFW. Good folks. Don O. not associated-just a customer ========================================================================= Date: Sat, 11 May 1996 03:33:31 GMT Reply-To: CKUT_online@babylon.montreal.qc.ca From: CKUT online Organization: Babylon, Montreal, Canada Subject: Re: Arhoolie CD: Smoky babe/ herman E Johnson Comments: To: tdominey@AOL.COM We also got it at CKUT. Great album. 24 tracks and not a bad one in the lot! John Detcheverry ========================================================================= Date: Sat, 11 May 1996 04:55:36 -0400 Reply-To: VentRec From: VentRec Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Handy Awards Question Comments: To: bit-listserv-blues-l@uunet.uu.net Sorry about that (extra name) in there folks! It was indeed the "pick" of the Alabama Blues Society and one that I missed when I removed the others society "picks." Mike McCracken ========================================================================= Date: Sat, 11 May 1996 05:08:34 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: the unending cat names >On 10 May 96, Shaun T Cronin had this to say: > >> Thanks >> to all those who suggested names but let's leave it at that. The thread was >> fun for a while. Let the thread die a natural death. > and PW Fenton replied >But Shaun... Somewhere, at this very moment, someone is on their >second free hour of AOL access and has discovered NEWSGROUPS. He >clicks on something called "Blues-L" looking for information about >Sheryl Crow. He reads message after message all about dead black >men with unfamiliar names, until there, at last, is a post from >someone named Shaun who needs a name for his new cat. FINALLY >something he can participate in. He types furiously.... "Hi Shaun. >How about Jake, or Elwood?" > >And the beat goes on.... > >P.W. Fenton >Tampa, Florida >http://www.gate.net/~pwfenton/ > >Ah, make the most of what we yet may spend, >Before we too into the Dust descend. >- Omar Khayyam And let's not forget that cats have nine lives. She'll be back - and this time it's purrsonal. Chris Smith (chris@skerries.demon.co.uk) Beauty is in the eye of the beer holder. ========================================================================= Date: Sat, 11 May 1996 05:09:02 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: remarkable statement by Dick Waterman Dick Waterman wrote >I have read everything and posted nothing all week (snip) This man is either a saint or a masochist. I usually delete half the postings unread. No, no, not the half YOU are in, gentle reader. :-) Chris Smith (chris@skerries.demon.co.uk) Beauty is in the eye of the beer holder. ========================================================================= Date: Sat, 11 May 1996 05:12:31 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Saints 'n' Sinners 'n' Heroes >On 9 May 96 at 13:13, Shaun T Cronin wrote: > >> The recent thread about whether one should listen to Ted Hawkins because of >> his past was very interesting. > PW Fenton replied: >I don't think anyone ever said that one shouldn't listen to Ted >Hawkins. One person said that she didn't, and couldn't, because of >who she felt the man was in relation to her own principles. > >The resulting furor argued as if she told everyone else they couldn't >or shouldn't. > >Another one of those newsgroup debates with no actual argument at it's >core that still manages to develope a life of it's own. > It all started with a dj (sorry - forgot your name) saying they'd been told by a listener that it was wrong to play Hawkins' music because of his alleged past. So yes, someone, albeit not on this list, and therefore not a real person ;-) did indeed say that nobody should listen to him. BTW, I thought Shaun's posting about 'idols with feet of clay' was right on the money. However, I wonder about the suggestion that 'blues is about the truth'. I think that's ok, as long as it's remembered that one truth in this world is that people deceive themselves and others, consciously and otherwise. There's a lot of bragging, posturing, and so on in the blues - and don't flame me! I'm not saying it's unique to blues, or the only component! Chris Smith (chris@skerries.demon.co.uk) Beauty is in the eye of the beer holder. ========================================================================= Date: Sat, 11 May 1996 05:16:03 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Rock --> Rock/Blues --> Blues Transition >On May 10, Guy Tapper wrote : > >>>>What really struck me as I went backward and dug >>>into the originators >of the music were the lyrical >>>phrases and musical licks (and sometimes >whole >>>>songs) that were copped from them and which I had >>>ignorantly assumed >were original ideas. Dick Waterman commented: > (snip) >The pity of it all is when young fans only go back to SRV or Hendrix and stop >there. They were great musicians who brought innovative artistry to a musical >form that flowed before them, through them and after them. > >Dick Waterman When the young and very good British jazz saxophonist Courtney Pine talks about his influences he refers to 'the tradition', and what he says makes it clear that he means 'jazz since Charley Parker'. Sigh... Chris Smith (chris@skerries.demon.co.uk) Beauty is in the eye of the beer holder. ========================================================================= Date: Sat, 11 May 1996 01:40:37 -0500 Reply-To: David Melton From: David Melton Subject: Re: SRV - The Best There Ever Was Comments: To: Shaun T Cronin At 8:27 PM 5/10/96, Shaun T Cronin wrote: >>Can there be any doubt that Stevie Ray Vaughn was the best blues >>guitarist to ever walk the planet? > >Yes. > But he sure was the best Stevie Ray Vaughan I ever heard! Dave Melton (Incoherent thought resulting from just returning home from gig but still having to fire up the computer syndrom) ========================================================================= Date: Sat, 11 May 1996 10:50:11 GMT Reply-To: "JOHN W. SCHARBROUGH" From: "JOHN W. SCHARBROUGH" Organization: Traders' Connection, Inc. Subject: Live Blues in Indy-the Shifters Comments: To: bit-listserv-blues-l@uunet.uu.net Check out the leanest meanest harmonica drivin jumping blues band in Indpls., The Shifters live show dates in 1996 Chubbys Club @Lasalle 3219 e. Michigan St. Indpls, In....Jan 6th Chubbys......".................."......................Feb 3rd Shi-Kay Pub 1415 N. Emerson Ave. Indpls.,In............March 30th Chubbys Club LaSalle 3219 e. Michigan St.Indpls.,In...April 6th Fountain Square,1100 S. Virginia Ave. Indpls.,In........April 11th Caseys Pub,Irvington Plaza,Indpls.,In..................April 26th Caseys Pub, "..........:.......".......................June 1st The Slippery Noodle Inn 372 S.Meridian Indpls.,In..... June 3rd Caseys pub and the Noodle are next! Who are these guys you might ask.. well.. The Shifters The Shifters are now jamming on the Indianapolis blues circuit. This is a houserocking blues band formed of veteran musicians; "Fast" John Scharbrough on guitar,Allen Banks on electric and Stand up bass, Tom Harold,vocals and blowing the harmonica and Dennis Cavanagh on the drums Fast John played lead guitar in Sleprock,The Cruisematics,The Michigan Street Blues Band,and once played backup guitar for the late "Lefty" Leroy Bates. John Has opened up for Edgar Winter and 38 Special, and has won awards from the Indpls. Blues Society Allen Banks is a seriously jazz influenced bass guitar man who has played with the Jimmie Coe big band,Robert Coleman,and Class Action. Allen is comfortable on the stand-up bass as well as the electric bass. Tom Harold is an extremely talented harmonica player and vocalist, and has been tearing up the blues scene with Automatic 32. Tom took his talents to Ireland where he found a blues hungry and grateful audience. Tom is now back back in Indy with The Shifters and rocking the town. Drummer Dennis Cavanagh kept time recently for No Regrets,a first class Indpls. band,and is a well polished veteran of the Indy music scen. Dennis and bssist Allen Banks make a powerful rhythm section for To Harold and Fast John to weave their unique blend of houserocking blues routines around. .......................................................................... Catch them live at; Caseys Pub,Irvington plaza,Indpls.,In. June 1st The Slippery Noodle Inn 372 S. Meridian St. Indpls.,In. June 3rd .......................................................................... The Shifters booking info: John Scharbrough @ 546-1866 or FastJohn@trader.com .......................................................................... Lator,Gotta turn on Jay Zahowski's nothing but the blues..... --- * Traders' Connection Web BBS * http://www.trader.com * info@trader.com ========================================================================= Date: Sat, 11 May 1996 07:16:17 -0400 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Alvin Youngblood Hart Comments: To: bit-listserv-blues-l@uunet.uu.net Thought I should post this under each artist's name also... Alvin Youngblood Hart, Delbert McClinton, Duke Robillard, John Mooney, Greg Piccolo.will be chatting with fans on the web, Sunday, May 12 from the Lilac Festival in Rochester, NY. Okeh recording artist, Alvin Youngblood Hart will start at 4pm EST. He will be followed by Greg Piccolo, John Mooney, Delbert McClinton and Duke Robillard. The url is http://www.vivanet.com/~catbauer/cabin.html and is accessible with any forms capable browser including AOL, Prodigy and CompuServe. In addition, Canadian band, the Bare Naked Ladies will be online, Thursday, May 16th. Time to be announced. Rykodisc recording artist, Mem Shannon will be online, May 18th at 8:30pm EST. Catbauer@vivanet.com ========================================================================= Date: Sat, 11 May 1996 07:33:22 -0400 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Re: John Mooney Comments: To: bit-listserv-blues-l@uunet.uu.net John will be online Sunday along with Delbert McClinton, Duke Robillard, Alvin Youngblood Hart & Greg Piccolo starting at 4pm. The url is http://www.vivanet.com/`catbauer, pray we don't have any rain or else everything gets cancelled because it's an outdoor venue. : ) Catbauer@vivanet.com ========================================================================= Date: Sat, 11 May 1996 08:20:29 -0400 Reply-To: Jon Duttweiler From: Jon Duttweiler Subject: Re: SRV - The Best There Ever Was This illustrates a point I made in another thread about the fascination of our culture with "the best." Someone always has to be (or find) the "best," but in a world so varied and filled with such marvellous things, the "best" is always shifting and changing, and usually is dependent upon who and what YOU are rather then the other. I remember this discussion in the early seventies - the BEST guitar player: was it Claption, Hendrix or Townshend? Well, it all depended on what you wanted. Who was "better," the Beatles or the Stones? Or, closer to home, Muddy, the Wolf or John Lee? These are all artificial tags - they have no real meaning. I use to look for the best beer, the best coffee and the best bbq sauce (just to name a few of my "obsessions" ;-)) Never could find any, because as my own awareness expanded, I constantly found new, better, different, which all suited my test "best" at a particular time. Sometimes I simply can't get enough Son House. Other times I think Otis Rush must have been touched by God Himself to be able to speak so intimately to my soul. And while I don't listen to much Hendrix, sometimes I hear "Red House" or "Voodoo Chile" and think I could stay there forever. The point is not finding the "best," but growing beyond the point of having to look for the "best" and start looking and listening to those who move you in some fashion. Well, I'm done preachin' now! ;-) JD YES! I review for NY CD BLUES Definitive CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ ========================================================================= Date: Sat, 11 May 1996 09:25:53 -0400 Reply-To: FORCELLAD@CCSUA.CTSTATEU.EDU From: Domenic Forcella Subject: James Peterson Saw James Peterson in Hartford last night and all I can say: If he is in your area it is a must see. The whole show (the 2 hours straight) I saw was terrific. It started with a chance to talk to James at the bar before he went on. And continued as zeller Dave Carpenter introduced the show. James doesn't just play music, he makes the whole audience feel like part of the show and they are. He had people singing, dancing, clapping, swaying and in general having a great time. And yes ther was a whole lot of laughter. I've never seen the dance area so crowded. James came off the stage (it was too small to hold everyone anyway) a number of times, including playing out on the street. James played some from his new CD and I'm waiting for its release. Well, I know that I don't get into a music critic but I enjoyed and so did a packed hartford night spot, and that is the only critique that matters (to me). If you want to see someone who puts on a great show, backed by talented musicians, who get a chance to showcase their talents too, take in James Peterson, you won't be disappointed. This reads like someone who is still reeling from a good night out. I AM. Domenic Forcella Traveling with the Blues ========================================================================= Date: Sat, 11 May 1996 14:38:16 GMT Reply-To: Stephanie Manna From: Stephanie Manna Subject: Re: James Peterson On May 11, 1996 09:25:53, 'Domenic Forcella ' wrote: Saw James Peterson in Hartford last night and all I can say: If he is in your area it is a must see.The whole show (the 2 hours straight) I saw was terrific.It started with a chance to talk to James at the bar before he went on.And continued as zeller Dave Carpenter introduced the show.James doesn't just play music, he makes the whole audience feel like part of the show and they are. He had people singing, dancing, clapping,swaying and in general having a great time. And yes ther was a whole lot of laughter. I've never seen the dance area so crowded.James came off the stage (it was too small to hold everyone anyway) a number of times, including playing out on the street.James played some from his new CD and I'm waiting for its release.Well, I know that I don't get into a music critic but I enjoyed and so did a packed hartford night spot, and that is the only critique that matters (to me).If you want to see someone who puts on a great show, backed by talented musicians, who get a chance to showcase their talents too, take in James Peterson, you won't be disappointed. This reads like someone who is still reeling from a good night out. I AM. >Domenic Forcella >Traveling with the Blues To those who weren't in Hartford, and would like to catch his show, here's the itinerary: 5/11 Main Street Brewing Company,Worcester,Ma 5/12 Debbies,Niagra Falls,NY 5/15 Cafe 210,State College,Pa 5/16 Norwich Grill,Norwich,NY 5/17 Tiny's Grill,Utica,NY 5/18 River St. Jazz & Blues,Plains,Pa 5/19 Depew Park, Peekskill,NY 5/ 22 Filling Station,Sheffield,Al 5/24 The Chukker,Tuscaloosa,Al 5/25 THE DOWNHOME BLUESFESTIVAL,Huntsville,Al 5/26 Huey's,Memphis,Tn. 5/31,6/1 Kingston Mines,Chicago,Il 6/6 Billys Blues,Houston,Tx 6/7 JUNETEENTH BLUESFESTIVAL,Houston,TX(headlining) ========================================================================= Date: Sat, 11 May 1996 14:36:50 +0000 Reply-To: Bob Bingham From: Bob Bingham Subject: John Sinclair Does anyone on the list know if John Sinclair has an e-mail address. If so please send it to me and I will be eternally grateful. I used to live and play music in Ann Arbor in the early 70's and I wanted to see if he remembered me. ========================================================================= Date: Sat, 11 May 1996 10:59:38 -0400 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: Re: born 05/11 Comments: To: shuffle@ic.mankato.mn.us Every reference I have shows Big Joe's birthdate as May 18, 1911. (ref: Penquin Encyclopedia of Popular Music, Harris' "Blues Who's Who", Santelli's "Big Book of the Blues".) If you can document otherwise, please let me know so I can correct my files. BLUZ!!! Ed ========================================================================= Date: Sat, 11 May 1996 11:13:00 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: That Modest Proposal About SRV Comments: To: jackieo@midtown.net Could it be that the person who wrote: >>Can there be any doubt that Stevie Ray Vaughn was the best blues >>guitarist to ever walk the planet? Was making an ironic jab at the Rock-->Rock/ Blues-->Blues Transition thread? I didn't think so either. But it's more interesting (or less stupid?) if you take it that way. Tom Freeland ========================================================================= Date: Sat, 11 May 1996 11:35:35 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Handy Awards Question Comments: To: ventrec@aol.com On 11 May 96, VentRec had this to say: > Sorry about that (extra name) in there folks! It was indeed the "pick" of > the Alabama Blues Society and one that I missed when I removed the others > society "picks." A pity. I had hoped that it signified a tie for Mem Shannon. He was my pick as well. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ Ah, make the most of what we yet may spend, Before we too into the Dust descend. - Omar Khayyam ========================================================================= Date: Sat, 11 May 1996 12:02:49 -0400 Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Floyd Dixon on Capitol Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199605102026.QAA100445@poe.acc.Virginia.EDU> Peter Welch writes: >I've noticed that Capitol has released a 2-CD set of Floyd >Dixon. Is this worth buying? I've heard the Specialty disc, >how does this compare? If you liked the Specialty set, you should also enjoy this Capitol release of Aladdin/Imperial recordings. They were recorded between 1949-52 (i.e. just prior to the Specialty). Johnny Moore plays guitar on quite a few of these recordings. Johnny's perhaps best known for leading the group from which Charles Brown got his start. Art Schuna ========================================================================= Date: Sat, 11 May 1996 12:04:48 -0400 Reply-To: DWRYMAN2 From: DWRYMAN2 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: NEW BLUES WEB SITE Comments: To: bit-listserv-blues-l@uunet.uu.net Have never been to Deep Ellum or Bluecat but gotta say I love your T-shirt and get so many comments when I wear it--Great job, and by the way, my sentiments exactly! No Black, No White, Just Blues. Denise. ========================================================================= Date: Sat, 11 May 1996 13:24:03 -0400 Reply-To: Calliope99 From: Calliope99 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Rock --> Rock/Blues --> Blues Transition Comments: To: bit-listserv-blues-l@uunet.uu.net I've been lurking and reading here for a while, but this is my first post. I hope you will all forgive any "newcomer's faux pas" I may commit... I'm not one of those "40-50 year old white guys from the suburbs", but the female version thereof. I don't really know where my love of the blues came from, but I do know that in the late fifties, when my friends were buying Elvis Presley records, I was buying Fats Domino. When they started buying Beatles records, I was buying the Stones. Then there was Cream, and Hendrix and the Allman Brothers. My epiphanic experience occurred when I was 17 and first heard "Stormy Monday" on the Allman Brothers "...at Filmore East" album. The introduction described it as an "old T-Bone Walker song." Well, I loved the song, but had never heard of T-Bone Walker and made haste to find out who this person was. That exploration opened the door to the blues for me. And I came to understand that much, if not most, of the music I had always loved had roots in the blues. I now find myself in the most delightful position. I have a fifteen year old daughter, and the house is always full of her friends. They're about equally divided between those who are "into" alternative music, and those who listen almost exclusively to sixties music. Many of the latter are learning to play guitar, and a couple of those refer to themselves as "blues junkies". Their exposure to blues has been limited to the references at hand--what they're hearing on the radio; i.e., Clapton, SRV, ZZ Top, Hendrix, etc. The most fun I've had in years has been showing these kids where what they love came from, by sharing my collection with them. We'll be listening to SRV's version of "The Sky is Crying" and I'll play Elmore James' version, and they get it. Or I'll lend someone Willie Dixon's Chess Box and they'll come back with all sorts of questions about the songs and the artists, so I'll start lending them books. That leads to lending more CD's. It's more gratifying than I can say to see how they respond to it. Maybe some of us were born loving the blues, but for most of us that interest was kindled by something we heard somewhere that led us to explore deeper (and older). One person's point of reference is no less valid than another's. Brenda ========================================================================= Date: Sat, 11 May 1996 13:57:15 EDT Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: James Peterson I must second all that Dom said in his post about James' show in Hartford. Man, James even had the "insurance guys in ties" who came in for dinner rockin' and clapping. I'm sure they stayed much longer than they had planned. The two hours was just the beginning. After playing from 10 straight through to midnight, then taking a short break, James jumped behind the B3 and continued right up til almost 2:00. James will be playing tonight (Saturday) in Worcester, MA at the Main St. Brewing Company. If you want to have a helluva fun time, go, and tell him Dave and Dom sent you. Dave Carpenter Blues Music Director - WHUS-FM University of Connecticut - Storrs, CT http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Sat, 11 May 1996 13:22:16 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Texas Johnny Brown Web Site OK, now I'm gonna plug a website with every post I make to Blues-L ;-) I've created a web page for TEXAS JOHNNY BROWN and the Quality Blues Band. TJB is Texas' best kept secret, but if I know him like I do, then he won't be ours exclusively anymore. In fact, the folks in Paris, France are winding up a week of Texas Johnny Brown and the Chesterfield Cafe tonight. TJB will also be performing at the Chicago Blues Festival along with Pete Mayes. For the latest in news about Texas Johnny Brown and his band (including updates in the condition of Teddy "Cry, Cry" Reynolds, set your web browsert to http://bioc09.uthscsa.edu/~seale/tjbrown.html Let me know what you think of it so far. -Jeff --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball #8 U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc09.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Sat, 11 May 1996 11:43:20 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Rock --> Rock/Blues --> Blues Transition Dick Waterman said: edit edit >The pity of it all is when young fans only go back to SRV or Hendrix and stop >there. They were great musicians who brought innovative artistry to a musical >form that flowed before them, through them and after them. And there is the heart of it. Thanks Dick. We point to, and honor those who founded this art. There is nothing wrong with being a "popularizer", as long as we remember, and tell others, where it all came from. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Fri, 10 May 1996 17:25:36 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re[2]: Stop with the Cat Names please Comments: To: "P.W. Fenton" But hey, Sheryl Crow plays a Telecaster! Doesn't that make her blues? (actually I thought "Tuesday Night Music Club" was a good abum and a great start.) -Jim _______________________________________________________________________________ Subject: Re: Stop with the Cat Names please From: "P.W. Fenton" at INTERNET-SH Date: 05/10/96 4:51 PM On 10 May 96, Shaun T Cronin had this to say: > Thanks > to all those who suggested names but let's leave it at that. The thread was > fun for a while. Let the thread die a natural death. But Shaun... Somewhere, at this very moment, someone is on their second free hour of AOL access and has discovered NEWSGROUPS. He clicks on something called "Blues-L" looking for information about Sheryl Crow. He reads message after message all about dead black men with unfamiliar names, until there, at last, is a post from someone named Shaun who needs a name for his new cat. FINALLY something he can participate in. He types furiously.... "Hi Shaun. How about Jake, or Elwood?" And the beat goes on.... P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ Ah, make the most of what we yet may spend, Before we too into the Dust descend. - Omar Khayyam ========================================================================= Date: Sat, 11 May 1996 19:29:40 GMT Reply-To: Steven Levine From: Steven Levine Organization: CAPCON Library Network, Washington, DC Subject: Blues Revue's Done it Again I got the latest issue of Blues Revue in the mail today (odd, because I didn't renew my subscription and I thought the one with Cher's ex husband on the cover was my last). Guess who's on the cover? Those great, influental bluesmen Jim Belushi, Dan Ackroyd and John Goodman. Oh well, at least I didn't pay for this one. -Steve -- ========================================================================= Date: Sat, 11 May 1996 15:44:10 -0400 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: Rock --> Rock/Blues --> Blues Transition Comments: To: Calliope99 In-Reply-To: <4n2ifj$eu5@newsbf02.news.aol.com> Brenda, I'd like to do the same for my young one with gospel. What I hear is, "Aw, Mom, please". Any suggestions? Asante sana, nitra On Sat, 11 May 1996, Calliope99 wrote: > I've been lurking and reading here for a while, but this is my first post. > I hope you will all forgive any "newcomer's faux pas" I may commit... > > I'm not one of those "40-50 year old white guys from the suburbs", but the > female version thereof. I don't really know where my love of the blues > came from, but I do know that in the late fifties, when my friends were > buying Elvis Presley records, I was buying Fats Domino. When they started > buying Beatles records, I was buying the Stones. Then there was Cream, > and Hendrix and the Allman Brothers. My epiphanic experience occurred > when I was 17 and first heard "Stormy Monday" on the Allman Brothers > "...at Filmore East" album. The introduction described it as an "old > T-Bone Walker song." Well, I loved the song, but had never heard of > T-Bone Walker and made haste to find out who this person was. That > exploration opened the door to the blues for me. And I came to understand > that much, if not most, of the music I had always loved had roots in the > blues. > > I now find myself in the most delightful position. I have a fifteen year > old daughter, and the house is always full of her friends. They're about > equally divided between those who are "into" alternative music, and those > who listen almost exclusively to sixties music. Many of the latter are > learning to play guitar, and a couple of those refer to themselves as > "blues junkies". Their exposure to blues has been limited to the > references at hand--what they're hearing on the radio; i.e., Clapton, SRV, > ZZ Top, Hendrix, etc. The most fun I've had in years has been showing > these kids where what they love came from, by sharing my collection with > them. We'll be listening to SRV's version of "The Sky is Crying" and I'll > play Elmore James' version, and they get it. Or I'll lend someone Willie > Dixon's Chess Box and they'll come back with all sorts of questions about > the songs and the artists, so I'll start lending them books. That leads > to lending more CD's. It's more gratifying than I can say to see how they > respond to it. > Maybe some of us were born loving the blues, but for most of us that > interest was kindled by something we heard somewhere that led us to > explore deeper (and older). One person's point of reference is no less > valid than another's. > > Brenda > ========================================================================= Date: Sat, 11 May 1996 19:35:47 UTC Reply-To: Lemmy Caution From: Lemmy Caution Organization: ALPHAVILLE Subject: Re: Well if that don't beat all.... Comments: To: bit-listserv-blues-l@rutgers.edu Don Cicchetti wrote: > > If you already got this, please accept my apology for the multiple postings. > > Hey everybody! > > I was doing a sound consult with a local church, and got to reading a > Christian music catalog while I was waiting for someone and lo and > behold.... They have a Christian SRV clone now.... > > YIKES!!! > > He is called "Sleepy Ray" which is a close to "Stevie Ray" as I have heard > yet. > > Anybody heard of this guy? > > Ya know this reminds me of when pore ole Bruce Lee died... Remember how > the ripoffs all started coming out with names as close as they could to > "Bruce Lee" I mean it seems like there was a "Star Name Thesaurus" or > something, and the flacks pull it out when you die.... > > The promo info about the disc was all the usual mantle-passing stuff, > pretty standard verbage about the next Texas guitar slinger... yadda > yadda.... What a crock... > > Why do publicists assume we are idiots?? > > Here's the bottom line folks... > > Stevie's sound and success was NOT due to any of the following: > > Texas (sorry guys) > > Clothes > > Hats > > Old beatup Fenders (you-beat-um or pre-beaten) > > Big strings > > Big hands > > Drugs > > Clever Promotion / hype > > being part of a scene > > It was due to **VISION** dammit! And NO ONE ELSE can *ever* have his > vision. They can only have their own. > > Of course deep desire, talent, years of practice, and commitment factored > in too. > > In spite of all this, SRV was vastly less original than Jimi, let alone > Muddy or RJ or dozens of others. > > So....... what do you think the chance of having ONE SLIM THREAD of > originality is when you start out an SRV clone, THEN shoehorn all your > stuff into the "Contemporary Christian Music World".. (where it was said in > a recent CC seminar that the scene is so bad that Jesus Himself couldn't > get signed, and wouldn't chart if he did....) > > OUCHHH! hurts me to think of it... > > Mebbe ah'll jest call myself Sneezy Ray or sumpin'.... tell dah world > ahhmm seventeen and get some promo goin.... > > I think we should call 'em all > > "Sleazy Ray Con" mahself... > > DC > > ____________________________________________________ > Don Cicchetti > La Sierra University Library Media Services > Audio/Video/Computer/Satellite > Studio Production, Event Services, Academic support > dcicchet@lasierra.edu > > Time flies like an arrow > Fruit flies like a banana.... > > --- Groucho > ____________________________________________________all most everything you said holds true. except that line about originality . SRV was not only vastly more original than hendrix, he was a better singer, and a tastier guitar player. end of story -- Jonnie (LEMMY) blukatz@idirect.com ========================================================================= Date: Sat, 11 May 1996 15:57:27 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Rock --> Rock/Blues --> Blues Transition Comments: To: Anita Samuel On 11 May 96, Anita Samuel had this to say: > Brenda, > I'd like to do the same for my young one with gospel. > What I hear is, "Aw, Mom, please". Any suggestions? > Asante sana, > nitra Yes. Go out and buy Aretha's Gospel album and slip it on between "Natural Woman" and "Pink Caddilac" P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ Ah, make the most of what we yet may spend, Before we too into the Dust descend. - Omar Khayyam ========================================================================= Date: Sat, 11 May 1996 16:00:57 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Liking Crow Comments: To: jbards@mail-sh.lsumc.edu On 10 May 96, jbards@mail-sh.lsumc.edu had this to say: > But hey, Sheryl Crow plays a Telecaster! Doesn't that make her blues? > > (actually I thought "Tuesday Night Music Club" was a good abum and a great > start.) > -Jim I too own, and love, the Sheryl Crow album. BLUES is great music, but it ain't the only music. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ Ah, make the most of what we yet may spend, Before we too into the Dust descend. - Omar Khayyam ========================================================================= Date: Sat, 11 May 1996 15:17:50 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 05/12 B O R N : 05/12 DANE, BARBARA [BARBARA JEAN SPILLMAN] Born:1927 DETROIT, MI Career:SINGER Style:BLUES With:PETE SEEGER / KID ORY / GEORGE LEWIS / DICK OXTOT / TURK MURPHY / LOUIS ARMSTRONG / JESSE FULLER / GARY DAVIS / LIGHTIN' HOPKINS / BIG JOE WILLIAMS / MEMPHIS SLIM / LITTLE BROTHER MONTGOMERY / EARL HINES DOLDINGER, KLAUS Born:1936 BERLIN, GERMANY Career:TENOR SAX / SOPRANO SAX Style:JAZZ With:KENNY CLARKE / MAX ROACH / DONALD BYRD JENNEY, JACK ( Truman Elllot JENNY ) Born:1910 MASON CITY, IA Career:TROMBONE Style:JAZZ / BIG BAND With:ARTIE SHAW MASER, ELERY Born:1904 NEW ORLEANS, LA Career:CLARINET / TENOR SAX Style:TRAD / JAZZ PARKES, FREDERICK WILLIAM RICHARD (FRED) Born:1931 MELBOURNE, VIC. AUSTRALIA Career:CLARINET Style:JAZZ With:Len Barnard's band / Kenn Jones's Powerhouse band / Robin McCulloch's Datsun Dixielanders / Powerhouse for Sacramento appearance / In 1982 with Peter Gaudion's Blues Express / 1983 Ross Anderson's New Melbourne JB PEACOCK, GARY Born:1935 BURLEY, ID Career:BASS Style:JAZZ With:HANS KOLLER / ATTILA ZOLLER / TONY SCOTT / BUD SHANK / PAUL HORN / TERRY GIBBS / SHORTY ROGERS / PAUL BLEY / JIMMY GIUFFRE / GEORGE RUSSELL / BILL EVANS / ALBERT AYLER / DON CHERRY / DON ELLIS WIGGINS, GERALD ( GERALD FOSTER WIGGINS SR. ) Born:1922 NEW YORK, NY Career:PIANO / ARRANGER Style:JAZZ / BIG BAND Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Sat, 11 May 1996 16:53:54 -0400 Reply-To: SliderDW@AOL.COM From: Don Williams Subject: Re: John Sinclair Comments: To: mitawan@cybervault.com I don't know whether he has an email address, but he is a regular contributor to Offbeat Magazine, and they're on the web. Don Williams ========================================================================= Date: Sat, 11 May 1996 22:54:53 +0200 Reply-To: JORGE =?iso-8859-1?Q?MU=D1OZ?= RODRIGUEZ From: JORGE =?iso-8859-1?Q?MU=D1OZ?= RODRIGUEZ Subject: Tren 3 Playlist This is the playlist for that weekend on Tren-3: ****************************************************************************= **** * TREN 3.- Radio 3 - RNE. Saturday 11, May. 1996. At 00:00 hours = * ****************************************************************************= **** Title Artist (Composer) = Label ----------------------------------------------------------------------------= ---- Mississippi Freight Train JAMES COTTON (Cotton) Verve=09 Like A Rolling Stone ROLLING STONES (Dylan) = Virgin Rainy Day Women #2 &35 LITTLE MIKE & THE TORNADOES (Dylan) Flying= Fish Watching The River Flow CANDYE KANE (Dylan) = Antone=92s If You Gotta Go SUE FOLEY (Dylan) = Antone=92s To Be Alone With You SUE FOLEY (Dylan) = Antone=92s Don=92t Think Twice CLARENCE GATEMOUTH BROWN (Dylan) = Verve Knocking On Heaven=92s Door ERIC CLAPTON Live '77 (Dylan) = Polydor What Was It You Wanted CHRIS SMITHER (Dylan) = Hightone Catfish JOE COCKER (Dylan/Levy) A= & M Catfish BOB DYLAN (Dylan/Levy) = Cbs Blind Willie McTell BARRENCE WHITFIELD (Dylan) = Edsel Maggie=92s Farm THE BLUES BAND (Dylan) = Cobalt God=92s Gift To Man TOM PETTY & THE HEARTBREAKERS (Petty) = Mca Mississippi Freight Train (#2) JAMES COTTON (Cotton) = Verve To Hell With It (#2) CURTIS SALGADO (Salgado) Pr10rity=09 Streamline Train RED NELSON (Nelson/Lofton) = Decca/Charly Roll=92Em Pete JOE TURNER (Turner/Johnson) Vocalion/= " The Blues Ain=92t Nothing But... GEORGIA WHITE (White) Decca/= " Lonesome Bedroom Blues CURTIS JONES (Jones) Vocalion/ = " Blues Before Sunrise LEROY CARR (Carr) Vocalion/ = " Black Angel Blues TAMPA RED (Whitakker) Vocalion/ = " You Just As Well Let Her Go CASEY BILL WELDON (Weldon) Vocalion/ = " Oh! Red HARLEM HAMFATS (McCoy/McCoy) Decca/ = " Police Station Blues PEETIE WHEARSTRAW (Wheatstraw) Vocalion/ = " Milk Cow Blues KOKOMO ARNOLD (Arnold) Decca/ = " Devil's Got My Woman SKIP JAMES (James) Paramount/ = " Baby Please Don=92t Go BIG JOE WILLIAMS (Williams) Bluebird/= " Good Morning Little Schoolgirl SONNY BOY WILLIAMSON (Williamson)Bluebird/ = " To Hell With It (#1) CURTIS SALGADO (Salgado) = Pr10rity =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D ****************************************************************************= **** * TREN 3.- Radio 3 - RNE. Sunday 12, May 1996. At 00:00 hours = * ****************************************************************************= **** Title Artist (Composer) = Label ----------------------------------------------------------------------------= ---- Mississippi Freight Train JAMES COTTON (Cotton) Verve=09 It=92s Alright LIL=92ED & THE BLUES IMPERIALS (Taylor) = Alligator Look On Yonder=92s Wall HOUND DOG TAYLOR (Gillum) = Alligator Hey Bartender FLOYD DIXON (F.Dixon) = Alligator Jack The Ripper ROY BUCHANAN (Cooper/Wray) = Alligator Got Love If You Want It THE SHADOWS (J.Moore) Wild= Dog She Wants To Sell My Monkey LUTHER =93HOUSEROCKER=94 JOHNSON (Whittaker)= Ichiban Get Up And Go LUTHER =93GUITAR JR.=94 JOHNSON= (Arr:Johnson) Telarc Sally Mae JOHN LEE HOOKER (Hooker) = Capitol John Lee=92s Original Boogie JOHN LEE HOOKER (Hooker) = Capitol Throw This Old Dog A Bone JOHN LEE HOOKER (Hooker) = Capitol Johnny Lee=92s Mood (One Voice) JOHN LEE HOOKER (Hooker) = Capitol Two Voice Original Mood JOHN LEE HOOKER (Hooker) = Capitol Three Voice Original Mood JOHN LEE HOOKER (Hooker) Capitol=09 Mississippi Freight Train (#2) JAMES COTTON (Cotton) Verve=09 Sweet Black Angel BUDDY GUY (Nighthawk) = Silvertone Hold On To What You Got JOHNNY COPELAND (Copeland) = Gitanes Something To Remember You By A.COLLINS & J.COPELAND (E.Jones) = Alligator To Hell With It (#2) CURTIS SALGADO (Salgado) Pr10rity=09 Boogie Woogie Stomp ALBERT AMMONS (Ammons) Blue= Note/Charly Yancey Stomp JIMMY YANCEY (Yancey) Victor/ = " I Don=92t Know CRIPPLE CLARENCE LOFTON (Lofton) Solo Art/= " Beer Drinking Woman MEMPHIS SLIM (Chatman) Bluebird/ = " Goin=92 Down Slow ST.LOUIS JIMMY (Oden) Bluebird/= " Bottle It Up And Go TOMMY McCLENNAN (McClennan) Bluebird/ = " Crawlin=92 King Snake TONY HOLLINS (Hollins) OKeh/= " Take A Little Walk With Me ROBERT LOCKWOOD (Lockwood) Bluebird/ = " Gotta Find My Baby DOCTOR CLAYTON (Cleighton) Bluebird/ = " Romance In The Dark LIL GREEN (Green) Bluebird/ = " Hard Time Blues IDA COX (Cox) Vocalion/ = " To Hell With It (#1) CURTIS SALGADO (Salgado) = Pr10rity =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D Host/Programmer: Jorge Munoz (El Maki) Lopez de Hoyos 462 28043 Madrid (Spain) =20 ///// \\\\\ /// ~ ~ \\\ \(-{.}^{.}-)/ \| / \ |/ | =A8 | /\ -=3D- / "When the train it left the station, / /\_/ there was two lights on behind..." *Er Makis* =20 ========================================================================= Date: Sat, 11 May 1996 14:17:03 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: SRV Outburst Apologies all around for my recent outburst in reference to the "SRV is = the best blues guitar player ever post". Sometimes I can't control these = fits of venal screed. In my own defense, I am a public school teacher = ever in search of the elusive teachable moment. My zeal sometimes clouds = my judgement and eye for flamebait. Sheepishly, Uncle Ray ========================================================================= Date: Sat, 11 May 1996 20:17:02 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Just testing - nothing to read Testing 1 2 3 my apologies ========================================================================= Date: Sat, 11 May 1996 20:27:05 -0400 Reply-To: mjg@bradley.bradley From: mjg@BRADLEY.BRADLEY Subject: HOB/Blues Revue Just finished reading the most recent Blues Revue: To think that such profit-motivated, commercialistic institutions as House of Blues and Blues Revue are in any way serving to "promote" the African-American art-form known as the "blues" is at best quite foolish. Reminds me of when we all sat idly by when those corporate hacks told us that Wal-Mart wouldn't destroy small-town America. Wake up out there!!! Long live Ranko, LIVING BLUES, and vinyl. Mark (another one of those bitter, cynical divorced guys) "Living is good When you've got someone to live with" (TED HAWKINS) ========================================================================= Date: Sun, 12 May 1996 01:42:00 BST-1 Reply-To: bsmithb@cix.compulink.co.uk From: Brian Smith Subject: SRV Outburst Comments: cc: uncleray@TELEPORT.COM On Sat, 11 May 1996 Raymond O. Varner" confessed > Sometimes I can't control these fits of venal screed. In my own > defense, I am a public school teacher Clearly had the misfortune of a sheltered life then!! :-) You should get out more, buy some Sun House or if you prefer electric some Hendrix....although the best therapy I could suggest would be to listen to Mike Bloomfield's 11 minute version of "Don't Throw Your Love On Me So Strong"...IMHO it puts a vast number of other pickers into perspective... :-) - (another smiley to show there's no venom in this message) ========================================================================= Date: Fri, 10 May 1996 23:18:01 GMT Reply-To: jackieo@MIDTOWN.NET From: Jack Oudiz Organization: Midtown Computer Services Subject: Re: SRV - The Best There Ever Was Comments: To: bit-listserv-blues-l@uunet.uu.net : >I'm a huge SRV fan but before you call him the best ever try a little Son >House. He is by far the best anyone will ever see. As good as SRV is Son is >better. Try Lonnie Johnson or Scrapper Blackwell or Willy Johnson or Jody Williams (just toname a few of a long list) on for size sometime. Then talk to Otis Rush and see what he thinks, or Albert King from whom SRV copped almost everything he ever thought of. SRV did virtually nothing to innovate or advance the state of blues guitar except increase the volume and speed at which it was played. His greatest (though some might lament it) contribution was in bringing the blues to young white rockers. And commercially that is all that counts for some folks. ========================================================================= Date: Sat, 11 May 1996 20:45:26 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: HOB/Blues Revue Comments: To: mjg@bradley.bradley On 11 May 96, mjg@bradley.bradley had this to say: > Just finished reading the most recent Blues Revue: > > To think that such profit-motivated, commercialistic institutions as > House of Blues and Blues Revue are in any way serving to "promote" > the African-American art-form known as the "blues" is at best quite > foolish. Reminds me of when we all sat idly by when those > corporate hacks told us that Wal-Mart wouldn't destroy small-town > America. Wake up out there!!! > > Long live Ranko, LIVING BLUES, and vinyl. ...and bring back the good old steam powered internet. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ Immature artists imitate. Mature artists steal. - Lionel Trilling ========================================================================= Date: Sat, 11 May 1996 21:05:28 -0400 Reply-To: Traci Grisham From: Traci Grisham Subject: HELP: UPCOMING DENVER BLUES INFO? Hey Fellow Blues Fans! I need your help. I am going to be spending Memorial Day Weekend in Denver, and I was wondering if anyone knew of a good local band with a gig Saturday or Sunday night? Any assistance would be **greatly** appreciated. :-) Thanks!! Traci ========================================================================= Date: Sat, 11 May 1996 20:03:08 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: HOB/Blues Revue Comments: To: pwfenton@GATE.NET In-Reply-To: <199605120049.UAA91158@osceola.gate.net> from "P.W. Fenton" at May 11, 96 08:45:26 pm > > On 11 May 96, mjg@bradley.bradley had this to say: > > > Just finished reading the most recent Blues Revue: > > > > To think that such profit-motivated, commercialistic institutions as > > House of Blues and Blues Revue are in any way serving to "promote" > > the African-American art-form known as the "blues" is at best quite > > foolish. Reminds me of when we all sat idly by when those > > corporate hacks told us that Wal-Mart wouldn't destroy small-town > > America. Wake up out there!!! > > > > Long live Ranko, LIVING BLUES, and vinyl. > > ...and bring back the good old steam powered internet. Actually, I think it all depends on whether you've played there :-) -- IronMan Mike Curtis ========================================================================= Date: Sun, 12 May 1996 03:36:02 GMT Reply-To: vvisa@SIERRA.NET From: vvisa@SIERRA.NET Organization: Sierra-Net Subject: Guitar Mac has a new CD on the way. Comments: To: bit-listserv-blues-l@uunet.uu.net Guitar Mac and his Blues Express has a new CD on the way, will be released before June 1 1996. It is a hot one called SIZZLE. also he will be performing at the California State Fair for 6 blues filled days, from 2 to 6:30 the first and second week-ends Aug 16,17,18, and 23,24,25. for a blues filled day at the Cal. State Fair stop by and get your share of Great Blues. ========================================================================= Date: Sun, 12 May 1996 03:59:58 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: John Mooney Comments: To: bit-listserv-blues-l@uunet.uu.net Just to add my 2 cents, I really liked his CD: MOONEY*JOHN LATE LAST NIGHT BUL9505 this was electric, the sound was pretty minimalist, sounded almost solo. He did a great version of "Baby, Please Don't Go" and definitely has a low down and Nawlins sound. I paired the "REVIEW" of this CD with Big Joe Williams, that's how highly I thought of it. -- Vincent vt@usa.pipeline.com On May 10, 1996 13:49:56 in article , '"P.W. Fenton" ' wrote: >On 10 May 96, James Leftwich had this to say: > > >> On a happier note, everyone go out and buy the new John Mooney CD _Against >> the Wall_. The man has a style all his own. Funky slide with a solid New >> Orleans backbeat and a rich voice. This guy is due for popularity. It >> should be easy to find since it's on the new House of Blues label. See >> him live if you get the chance. > >I heard a couple of cuts on the radio here, and I really liked what I >heard. He has a quality in his voice that is very reminiscent of the >late Son House. A little sort of wavering falsetto that trails off >from the end of each phrase. > >I intend to buy it. It'll be my first John Mooney. > >P.W. Fenton >Tampa, Florida >http://www.gate.net/~pwfenton/ > >Ah, make the most of what we yet may spend, >Before we too into the Dust descend. >- Omar Khayyam ========================================================================= Date: Sun, 12 May 1996 03:55:43 GMT Reply-To: Rick Fenton From: Rick Fenton Organization: Public Live Access Network (PLAnet) Subject: Saturday Night Blues Web Page Comments: To: bit-listserv-blues-l@uunet.uu.net Hi all, just wanted to let you know that I finally got the Saturday Night Blues Web Site up and running. SNB is a 2 hour network blues radio show on the Canadian Broadcasting Corporation. The address is http://www.radio.cbc.ca/radio/programs/snb Thanks for your time Rick Fenton ========================================================================= Date: Sun, 12 May 1996 04:36:37 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: REVIEW was Re: John Mooney (long) Comments: To: bit-listserv-blues-l@uunet.uu.net Oh, what the heck - here's the "review" of that John Mooney I thought so highly of..... Date: Sun, 13 Feb 1994 22:22:52 -0500 To: BLUES-L From: VT Subject: REVIEW - Blues CDs - #94-13 This pairs John Mooney, a white guy with one of the greats of Delta Blues - Big Joe Williams........ So what do you do when you're snowed in for 2 days? Aside from THAT, you listen to music and think about it and what you might say about it to your friends..... well, that's "reviewing" for me. As mentioned in another post of mine, here are 3 more CDs from my collection, again they are not new to me, I've had them for a couple of years now (more maybe...), and the two artists are "paired" for a couple of reasons - one I cannot say for now, but the other will be revealed in the reviews. MOONEY*JOHN LATE LAST NIGHT BUL9505 $12.98 Well, I was in my local CD shop browsing again, and there's this thing playing, I took very little notice until the classic "Baby, Please Don't Go" comes on, my ears perked up, because it sounds like a lowdown deep Eric Clapton - very bluesy - I peg it as EC and keep on my way through the racks, then the next track ran on - hold on a mo' - I grasped my friendly storekeeper warmly by the throat and DEMANDED to know who it was that was pretending to be a bluesy Clapton........well the rest is history and a record on my charge sheet..... This one is John Mooney on very restrained and lightly amplified ELECTRIC guitar, many tracks played with slide. He is accompanied by just bass, drums and piano, these are sparse, so much so - this almost has the feel of someone solo - and has that deep DARK Delta sound mixed in with a bit of Nawlins. Mooney does have an inflection to his singing, which I find very attractive and entirely suitable to this music. There is nothing dramatic or stunning in the playing or singing - BUT the whole CD *IS* dramatic and stunning. I liked this CD so much that it hardly left my CD player for a week. Late Last Night - Almost Hawaiian sounding electric slide, very tasty. Rich, rich dark voice sings and the slide plays in unison - this is stuff to make your hair stand on end. The slide is so tasty, it will make your mouth water. Yes, he's a WHITE man, but he sounds BLUE - proving once again blue men can sing the whites! RIP - Nawlins like beat intro, this one lopes along, gets your feet tapping, lyrics are trying to be clever...... Country Gal - has a more rockin' beat, the voice is great, then that slide comes in, hmmmm-mmm! Baby Please Don't Go - taken at a very slow tempo, this classic gets an extremely bluesy treatment - arguably this is the BLUEST version I've heard, it is almost mournful - superb. Both vocals and slide are just right, and the low accompaniment, makes you feel that this is a almost solo performance. I dunno, with hindsight - I think EC would have a hard job playing and singing like this....... Do yourself a favor - if you can get to hear this album start with this track first (# 4) and the next 2, and see if it can then be removed from your hands without calling out the National Guards...... Travelin' On - yeah, Nawlins beat - kinda chunky and choppy, but Mooney deliberately drags on the beat, very effective. The vocals again are outstanding then that slide comes in at 1:27..... uh-huh...you *do* have the right one baby, yeah, play it again Sam! Lovin' Mood - great intro, you get Mooney's voice full strength undiluted and you'd better be prepared. The guitar has that open root position ringing tone, then that slide - I think the man was born with a bottleneck on his finger - doesn't matter how good you think you are or whether technically you can play rings round him - listen and weep, to how well this is played - now try and sing like him too....... It Don't Matter - up tempoed, again Mooney seems to manage to make it sound slower than it actually is, must be his diction and playing, that your brain speeds up so that this sounds kinda slow.... maybe it won't work with you ;-) Out That Door - the piano is slightly more noticeable, this again has a great rhythm, I can't explain it, but it's just there, most probably due to the New Orleans (aka Nawlins) influence.....I think his guitar solo has a slight wah-wah but if I hadn't mentioned it you probably wouldn't have noticed... it's OK, you can always go and wash your hands after touching this CD! Late On In the Evening - there's that inflection in his voice I was talking about - but the slide sounds like Muddy had taken over (again no insult or exaggeration....), but it is still Mooney, dark rich baritone voice and slide. Coma Baby - (sorry, this title reminds me of that newspaper headline featured in the book/movie "Bright Lights, Big City") - this is definitely up tempoed, Mooney doesn't drag or slow things down but rides the beat, great almost 50's jazz like guitar playing. Country Boy - has a beat similar to the classic rock thing "Slow Down", but flavored by Nawlins, and the lyrics are full of references to NO, nice slide fills, just tasty like the food from there........ Rating: a solid and tasty 8 WILLIAMS*BIG JOE SHAKE YOUR BOOGIE ARH315 $12.16 I love this album. If you're interested in Big Joe Williams at all, this is the CD to buy. Rating: solid 9 G*d you people are so demanding....... Big Joe Williams is famous for playing a NINE string guitar - the 2nd, 3rd, and 4th strings are paired (ie: the B, G, D strings in conventional tuning) at least that's what it looks like in photos - he first started using this back in 1940. This was not a gimmick, it really did give him a distinct sound - the hard Delta bass lines, with ringing trebles. Williams is the archetypal itinerant traveling bluesman. I believe our Date Man eRIC knew him, and our lovely Bon-bon Bonnie the K has met him.... He was most effective in a solo setting - he is full strength undiluted Delta, but definitely his own person - to me, the Mooney CD reviewed previously had that quality, strangely enough the Mooney is bluer to my ears, and this one is more jovial, but no less intense - so read on: At 67 mins and 24 tracks this is a bargain, it is a compilation from 2 Arhoolie LPs 1002 & 1053. First 12 tracks were recorded Oct/5/1960, remaining 12 were Dec/14/69 Sloppy Drunk Blues - the ringing 9-string intro announces that this is Big Joe. This is the Sonny Boy Williamson #1 thing, but here all compositions are credited to Big Joe. Nice bouncing version. Yo Yo Blues - sure sounds like the song Hobo Blues made famous by John Lee Hooker. Here Big Joe definitely sings "Yo Yo" - I can just see a dark brooding bluesman like Big Joe playing with one of those things......I wonder if he could "walk the dog"? President Roosevelt - he sings of things that the Pres did and tells of the man's passing - in this song he calls "Sonny Boy". The guitar figure is particularly good here. Forty Four Blues - yes, well I know this as a Howlin' Wolf composition - here the 9-string makes this for Joe. This is intense even though the jangling guitar almost gives it a festive sound. There are some strange key or dominant changes in here at 2:09 and 2:37. Greystone - now this is very intense - it may sound deceptively light - but listen. It starts off by calling Annie Mae and you'd think this a song about a woman - the song then "develops" into one where he is singing about his recent experience of being arrested and put in jail - maybe he started a song about Annie Mae and decided to sing about his experience instead. (I know the sleeve notes say "Anna" but it sounds like Annie to me) I Want My Crown - has some really great singing by Mrs Mary Williams. Hear this one. I'd better highlight from now on: Brother James - Joe introduces this one and it's about his friend getting drunk and killing himself and his own wife in a car accident. Shake Your Boogie - great track, one of my favorites, has a JL Hooker beat on the intro, but becomes Big Joe. Vitamin A Blues - very personal She Left Me a Mule to Ride - again a tune I think is by S.B. Williamson #1, the bass lines are particularly effective here, almost sounds like a real slapped double bass. So Glad - another highly personal song - where he introduces it with reminiscences about his own mother - "So Glad, Lord, I made it back home one more time......" below are from 1969 Louisiana Bound - the guitar sounds lightly amplified, so that the slide can whine more. Killing Floor Blues - more whining slide - this tune is quite different from the one by the Wolf. Throw the Boogie Woogie - another of my favorites, boogies like mad. Dirt Road Blues - has snapping bass lines. I'm ending up talking about every track, just take my word for it all the rest is wonderful stuff. I'm sorry, I do have to say more: Charlie Musselwhite appears on 3 tracks, wonderful contributions: Death of Dr. Martin Luther King Army Man in Vietnam King Jesus Rating - don't tell me you got so engrossed you've forgotten I've already rated this one? WILLIAMS*BIG JOE BLUES ON HIGHWAY 49 DEA604 $12.25 Didn't I say Big Joe Williams was an archetypal ITINERANT TRAVELING bluesman? well this album was recorded literally after he walked into Delmark's offices from his travels with a bus ticket stub in his pocket...... This is an album full of travel tales/songs, some of them are introduced by Joe describing the Highways. 12 tracks and at 39 minutes may not sound as good a bargain as the Arhoolie - and maybe it isn't, but I waited for this to come out on CD and bought it at the first opportunity - you should have asked my regular suppliers how I chased this one.... some of them are still not accepting calls from me :-) Recorded July 13 and 20, 1961 - this album is just Big Joe on vocals and 9-string and Ransom Knowling on acoustic bass on some tracks. The sound quality has lots of presence - almost like he's in my room, and he might be in your room when you play this - I told you he traveled! The sleeve notes say that a tragedy befell Big Joe before these recording were made - apparently he sent for his wife and son to join him in Chicago where he was starting to do well as an entertainer, but learnt that they had disappeared, a month later word came his wife had died. I don't detect these events in this recording. Anyway, this album is full of travel songs and tales, and I really like it. The 12 tracks are: Highway 49 Overhaul Your Machine Blues Left Texas No. 13 Highway Down in the Bottoms Poor Beggar That Thing's In Town Walk on, Little Girl Tiajuana Blues (that's the way it's spelt) 45 Blues (about the highway not the gun) Arkansas Woman and ends with, appropriately enough: Four Corners of the World. Again trust me it's all wonderful stuff, if you already have "Shake Your Boogie", and liked it, this is the next one to get. Rating: a solid 8. -- Vincent vt@usa.pipeline.com ========================================================================= Date: Sun, 12 May 1996 04:44:00 GMT Reply-To: "JOHN W. SCHARBROUGH" From: "JOHN W. SCHARBROUGH" Organization: Traders' Connection, Inc. Subject: Re: Rock --> Rock/Blues --> Blues Transition Comments: To: bit-listserv-blues-l@uunet.uu.net Keep on Jamming and recording,it's never too late to get a new band togeather! Ever go to any open stages? John in Indy... --- * Traders' Connection Web BBS * http://www.trader.com * info@trader.com ========================================================================= Date: Sat, 11 May 1996 22:00:29 -0700 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Subject: Stolen Instr. List (no blues content) Thought I'd post this as a music related community service. A new web page for listing stolen musical gear is found at: http://web20.mindlink.net/pha/stlngear.htm Postings are international......... (and it was started by a great Vancouver blues guitarist, Andreus Schuld !) - Roger B. ========================================================================= Date: Sun, 12 May 1996 05:09:03 GMT Reply-To: "JOHN W. SCHARBROUGH" From: "JOHN W. SCHARBROUGH" Organization: Traders' Connection, Inc. Subject: Hollywood Fats Gif Comments: To: bit-listserv-blues-l@uunet.uu.net Would anyone know where I could obtain a Gif or any photos of Hollywood Fats(my new favorite guitar player!) Also what kind of guitar did he use to record Rock this house or Eyes on you.. Thanks,John S. --- * Traders' Connection Web BBS * http://www.trader.com * info@trader.com ========================================================================= Date: Sat, 11 May 1996 21:35:51 -0500 Reply-To: David Melton From: David Melton Subject: Re: HELP: UPCOMING DENVER BLUES INFO? Comments: To: Traci Grisham At 9:05 PM 5/11/96, Traci Grisham wrote: >Hey Fellow Blues Fans! > >I need your help. I am going to be spending Memorial Day Weekend in >Denver, and I was wondering if anyone knew of a good local band with a gig >Saturday or Sunday night? Any assistance would be **greatly** >appreciated. :-) > >Thanks!! > >Traci I just played in Denver a couple of weeks ago at a place called "Brendans". It's a great club, basement kind of thing. I don't have a schedule for May but I have April's here so here's the phone # - 303-595-0609 In April they had bands like W.C. Clark and Little Charlie, and alot of probaobly local bands that I'm sure are good. Hope that helps Dave Melton ========================================================================= Date: Sat, 11 May 1996 22:10:29 -0500 Reply-To: David Melton From: David Melton Subject: Re: SRV - The Best There Ever Was Comments: To: "Alex D." At 11:59 PM 5/10/96, Alex D. wrote: >In article <4n0t7k$ibn@news1.sunbelt.net>, jwingat@INFOAVE.NET says... >> >>Can there be any doubt that Stevie Ray Vaughn was the best blues >>guitarist to ever walk the planet? > >I'm a huge SRV fan but before you call him the best ever try a little Son >House. He is by far the best anyone will ever see. As good as SRV is Son is >better. Just one more thought on this. Stevie Ray will always be one of my very favorite guitar players. Like every artists dream, he emulated his favorites and put it all together to make his own thing out of it. No one can touch Stevie Ray at what he did, anymore than we can touch Robert Johnson or Son House or whoever. You can't copy a soul, in my opinion. The best blues guitarist? I think Stevie Ray would have been a little embarrassed by that label, and if he were still around he would be pointing whoever said that in the direction of all the originals that he was always so gracious to acknowledge. One of the best? Oh yea! ========================================================================= Date: Sun, 12 May 1996 06:12:17 GMT Reply-To: "Shane K. Bernard" From: "Shane K. Bernard" Organization: Texas A&M University Subject: Re: Paris, Texas Comments: To: bit-listserv-blues-l@uunet.uu.net In article <3AECD5B2@MHS>, Steve Levine says: >I'm pretty sure it was Molson, and there was a waterfall or some other >kind of nature scene in it. I remember the first time I saw that >commercial. My brother and I were watching tv, and when it came on he >said "They stole the Paris, Texas soundtrack!" Yes, I remember that, too. Hope Ry Cooder made some $$$ off that commerical, but, knowing the way those things generally work, I doubt it seriously. (Cooder composed the 'Paris TX' soundtrack, which is available on CD.) SKB Swamp Pop Music Pages http://http.tamu.edu:8000/~skb8721/swamp.html ========================================================================= Date: Sat, 11 May 1996 23:16:41 -0500 Reply-To: David Melton From: David Melton Subject: In defense of SRV Comments: To: jackieo@MIDTOWN.NET At 6:18 PM 5/10/96, Jack Oudiz wrote: >. SRV did virtually nothing >to innovate or advance the state of blues guitar except increase the >volume and speed at which it was played. Aw, common, isn't that a bit harsh? This isn't a flame or anything, but I have to disagree with that statement. As far as volume and speed, Johnny Winter had him beat by about 27 years or so. (I'm certainly not knocking Johnny, folks) As far as innovation, "virtually nothing" in my opinion comes up a little short. I do agree he wasn't the most innovative, however I will always know him when I hear him, and that tells me he did alot more than "virually nothing" in that regard. > His greatest (though some might lament it) contribution was in bringing >the >blues to young white rockers. And commercially that is all that >counts for some >folks. I also feel that this falls a little short. He was a great spokesman of the blues, he loved it and shared it beautifully. I think his contribution to the blues reached a lot more than just young, white rockers. Just ask Buddy Guy. Dave Melton ========================================================================= Date: Sun, 12 May 1996 04:18:53 -0400 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: Rock --> Rock/Blues --> Blues Transition Comments: To: "P.W. Fenton" In-Reply-To: <199605112001.QAA50534@osceola.gate.net> PW, I can't get her to listen to Aretha! She likes TLC, BoyzIIMen, Brandy, Michael Jackson. She knows Coltrane and Miles when she hears them, but not Otis Redding, Aretha, Jackie Wilson, Sam Cooke. One of the problems is (maybe) we don't have a radio/cassette in the car. Peace, nitra On Sat, 11 May 1996, P.W. Fenton wrote: > On 11 May 96, Anita Samuel had this to say: > > > Brenda, > > I'd like to do the same for my young one with gospel. > > What I hear is, "Aw, Mom, please". Any suggestions? > > Asante sana, > > nitra > > Yes. Go out and buy Aretha's Gospel album and slip it on between > "Natural Woman" and "Pink Caddilac" > > P.W. Fenton > Tampa, Florida > http://www.gate.net/~pwfenton/ > > Ah, make the most of what we yet may spend, > Before we too into the Dust descend. > - Omar Khayyam > ========================================================================= Date: Sun, 12 May 1996 06:17:40 -0400 Reply-To: Shovelhead Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Shovelhead Organization: whatever Subject: Re: Johnny Winter on tour(?) a CT visit Comments: To: FORCELLAD@CCSUA.CTSTATEU.EDU Domenic Forcella wrote: > > Johnny Winter will bw at the Webster Theater in Hartford, Ct on > May 11 with the Rick Derringer Band. > > The Webster is Hartford's newest music venue. An old classic theater > with the seats removed, big stage, great sound, and 2 bars. The Webster > is running the gamut of musical tastes. > > Domenic Forcella > Traveling with the Blues > (no interest in the Webster except as another place for Blues)I understand that Johnny cancelled his gig at Jaxx in Virginia.....Does anyone know if he will be playing in the D.C. area anytime soon?Does anyone have a complete tour schedule? ========================================================================= Date: Sun, 12 May 1996 13:38:26 +0100 Reply-To: bengans From: bengans Subject: Let SRV have his rest... ....he knocked me out with his first record, just as Albert King did with his Live wire/Bluespower just as Tommy Johnson did with his Big road blues just as CCR did with their Born on the bayou just as Robert Johnson with his Come on in my kitchen, (even before the Columbia CD box) just as Muddy did with Louisiana blues, and ("The Levi s song") just as Emmy Lou Harris did with her latest album. just as so many other records did to me the first time I heard them, (and sometimes still do). There s a time and a place for a lot of good music, but we can debate ourselves to death what SRV did to promote/progress/harm the blues. One thing s for sure, whenever we hear a SRV lick on the radio, most blues diggers will be able to tell. He had *some* impact. Let him rest... ...and let s find another thread. Sevenson "You can t take it with you, that s one thing for sure" T-Bone Walker ========================================================================= Date: Sun, 12 May 1996 07:40:55 -0400 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Blues Artists Online 5/12 Comments: To: bit-listserv-blues-l@uunet.uu.net Only in Rochester would we see snow in May. As I drove John Mooney and his drummer to the club where we had rescheduled some of the bands last night John was reminded why he relocated to New Orleans...poor guy flew in from temps in the 70s to snow. We are scrambling to move the artists to different locations for the festival and that may cause some problems in getting everyone online today. Please check the chatroom during the day for updates, hopefully we can get Delbert, Duke and a couple of others online from a different location. Catbauer@vivanet.com ========================================================================= Date: Sun, 12 May 1996 09:22:41 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Paris, Texas On 12 May 96, Shane K. Bernard had this to say: > Yes, I remember that, too. Hope Ry Cooder made some $$$ off that > commerical, but, knowing the way those things generally work, I > doubt it seriously. (Cooder composed the 'Paris TX' soundtrack, which > is available on CD.) Please, since you know, (and the rest of us probably don't), explain to us the way those things generally work, and why you seriously doubt the composer of a musical work used in a commercial would make any money. As a composer who has never faced that dilemma, your knowledge in this area would be valuable to me. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ Immature artists imitate. Mature artists steal. - Lionel Trilling ========================================================================= Date: Sun, 12 May 1996 09:34:33 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1965, the Rolling Stones begin 2 days of recording in the historic Chess studios in Chicago. Among the tunes recorded there are the basic tracks for "Satisfaction". P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ I find television very educational. Every time someone switches it on I go into another room and read a good book. - Groucho Marx ========================================================================= Date: Sun, 12 May 1996 10:11:01 -0400 Reply-To: smirkyface From: smirkyface Subject: A good saturady night This weekend at Warmdaddy's, we had the pleasure of presenting Billy Boy Arnold and Steady Rollin' Bob Margolin. It was a great two days of blues. They both did material from their new CD's, which was refreshing, since it didn't seem like the same old s**t. I can still hear Bob's "going south" playing in my head. He had a young guy on bass that had "it". Tad Walters, just 21 and plays bass, harp and sings the blues like he's been there. I hope I got his name right. Look for this kid in the future, he's going places. Billy Boy Arnold just impressed me all around. He seemed so comfortable at what he was doing. During the break after the first set, Bob Margolin and I ran around the corner to catch Saffire "The Uppity Blues Women" while they were on break between their set at the Tin Angel. This was a thrill for me, because I've been trading email with Ann Rabson for a couple of months now and I finally got to meet her. Needless to say, she's a very charming person. Actually they're all very nice (look, I'm using "nice" in a sentence) people. So yes, I'd have to say it was a good saturady night. BRIAN MCLEAN PHOTOGRAPHY & SMIRKYFACE PRODUCTIONS "life's too short to live the blues" http://www.netaxs.com/~blmclean ========================================================================= Date: Sun, 12 May 1996 10:30:34 -0400 Reply-To: Brian E Rice From: Brian E Rice Subject: Re: John Sinclair At 02:36 PM 5/11/96 +0000, you wrote: >Does anyone on the list know if John Sinclair has an e-mail address. If so >please send it to me and I will be eternally grateful. I used to live and >play music in Ann Arbor in the early 70's and I wanted to see if he >remembered me. > > I dont know if he has an email address, either. But I do know that he now makes his home in New Orleans where he is a DJ at a radio station. berice@concentric.net Brian E. Rice (Ann Arbor, MI - The home of Otis Spann Memorial Field) "The blues ain't nothin' but a botheration on your mind." ========================================================================= Date: Sun, 12 May 1996 10:51:05 +0100 Reply-To: Weidel From: Weidel Organization: Not at This Time Subject: Re: Clarksdale Sunflower Fest Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199605090832.EAA90024@osceola.gate.net>, "P.W. Fenton" wrote: > On 8 May 96, Bonnie Kalmbach had this to say: > > > The Sunflower Festival in Clarksdale is about 95 per cent local artists > > (who have very little national name recognition: i.e. Big Moody, Johnny > > Billington, Arthniece Jones, Eddie Cusic, etc.). They are all very good, > > not jaded by 2000 nights on the road, and very refreshing. > > I'm not taking issue with the quality of the performers at the > Sunflower Festival. I'm sure they are wonderful, but I do take > issue with what you imply 2000 nights on the road will do to you. > You don't get "jaded" by 2000 nights on the road, you get damn good > at what you do. > > P.W. Fenton I think Bonnie is right here. Clarksdale is real different. These artists are playing in front of family and neighbors. They are very responsive to the crowd and their set changes. We've all seen bands doing their usual tour set, who ignore opportunities to soar because it wasn't on the playlist. This inflexibility can reduce the music to step-aerobics. Bob Weidel ========================================================================= Date: Sun, 12 May 1996 11:40:37 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: The Road (was: Clarksdale Sunflower Fest) Comments: To: Weidel > > On 8 May 96, Bonnie Kalmbach had this to say: > > > > > The Sunflower Festival in Clarksdale is about 95 per cent local artists > > > (who have very little national name recognition: i.e. Big Moody, Johnny > > > Billington, Arthniece Jones, Eddie Cusic, etc.). They are all very good, > > > not jaded by 2000 nights on the road, and very refreshing. > > > In article <199605090832.EAA90024@osceola.gate.net>, "P.W. Fenton" > wrote: > > I'm not taking issue with the quality of the performers at the > > Sunflower Festival. I'm sure they are wonderful, but I do take > > issue with what you imply 2000 nights on the road will do to you. > > You don't get "jaded" by 2000 nights on the road, you get damn good > > at what you do. > > > > P.W. Fenton On 12 May 96, Bob Weidel had this to say: > > I think Bonnie is right here. Clarksdale is real different. These artists > are playing in front of family and neighbors. They are very responsive to > the crowd and their set changes. We've all seen bands doing their usual > tour set, who ignore opportunities to soar because it wasn't on the > playlist. This inflexibility can reduce the music to step-aerobics. Like I said in my first sentence, Bob, I wasn't taking issue with the quality of the performers at Clarksdale's Sunflower. I was just pointing out that playing "on the road" can sharpen your skills. It doesn't necessarily make you "jaded", or for that matter, inflexible or un-responsive to the crowd. In fact, I think the road teaches the opposite. A good example is my friend James Peterson. When he was living in Tampa a couple of years ago, and hosting a weekly Blues jam for just a few bucks and all the chicken wings he could eat, I saw him turn in some pretty lackluster performances. Now that his Malaco/Waldoxy album "Don't Let The Devil Ride" made a splash, and he's been touring steadily for decent money, it's made him everything he could be and more. He acts like he's 20 or 30 years younger, and DEFINES playing to the crowd. Touring is a grind, but more often than not it improves performing skills. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ I find television very educational. Every time someone switches it on I go into another room and read a good book. - Groucho Marx ========================================================================= Date: Sun, 12 May 1996 11:46:09 -0400 Reply-To: BlueKing@AOL.COM From: Gregory A King Subject: Re: Rock --> Rock/Blues --> Full Circle In a message dated 96-05-11 16:40:45 EDT, samuel@CASTLE.BEAVER.EDU (Anita Samuel) writes: > Maybe some of us were born loving the blues, but for most of us that >> interest was kindled by something we heard somewhere that led us to >> explore deeper (and older). One person's point of reference is no less >> valid than another's. This was my original point that started this thread. I made the point that I was brought to the blues by young white guitar players - some of who went on to play rock. What has amazed me here - and has always struck me as silly - is the purists that refuse to recognize or will discount the talent of later players. SRV copped everything from Albert? Eric from Buddy? Where do you stop? Rembrant wasn't a valid or talented artist because he copped everything from the cave dwellers that painted their walls? Liszt sucked because Bach did it first? Ken Kesey can't write because Mark Twain was the MAN? Then ALL blues players are not valid talents because they copped the use of the pentatonic scale from the 9th Century Mideast and their beat from tribal Africa. Or should we go all the way back to the creators of the major scale from which all music comes? Where does it stop? The purists reverence for the old masters is very valid. My admiration of the new masters is just as valid. To explore your favorite musics beginings is great - to get stuck in the past seems narrow (and a little sad) to me. Yes, give credit to those who built the foundation but don't miss the beauty and the talent of those who are still building the house. greg ========================================================================= Date: Sun, 12 May 1996 11:46:12 -0400 Reply-To: BlueKing@AOL.COM From: Gregory A King Subject: Re: SRV - The Best There Ever Was for some In a message dated 96-05-11 21:46:10 EDT, jackieo@MIDTOWN.NET (Jack Oudiz) writes: > SRV did virtually nothing >to innovate or advance the state of blues guitar except increase the >volume and speed at which it was played. His greatest (though some >might lament it) contribution was in bringing the blues to young white >rockers. And commercially that is all that counts for some folks. > > and Son House (and the rest) were in it purely for the joy of playing and turned down any monies paid for playing and shunned any fame or commecial success and never, ever copped any licks from anyone else......right? For some of us - SRV tops the list of players. He was the best ever. Tone, phrasing, style - it just gets to my heart. It's a style that speaks to me and he was the best at that style. If it's not for you - okay, no problem. My best doesn't have to be your best. But my best is no less valid than your best either. greg ========================================================================= Date: Sun, 12 May 1996 11:46:14 -0400 Reply-To: BlueKing@AOL.COM From: Gregory A King Subject: Re: Rock --> Rock/Blues --> Buying the Blues Comments: To: Joe.Lempkowski@eng.sun.com In a message dated 96-05-10 15:37:23 EDT, Joe.Lempkowski@ENG.SUN.COM (Joe Lempkowski) writes: > >More than a couple of people on this list have stated that there is a large >number of people who have been turned onto the blues by these blues/rock >types. >Why doesn't this translate into record sales? Do white males aged 40 - 50 >not buy recordings? Are there around 25,000 of us who pay for recordings and >the 40 - 50 year old crowd have somehow figured out how to get them for free? >The number of record stores in the mall that have blues sections seem to >carry >releases by the King family (BB, Albert, and Freddy), John Lee Hooker, >Buddy >Guy, Muddy and the Wolf. Most of the stores I've seen with any kind of a >selection are always in the downtown area of larger cities. If the >influenced >live in the suburbs, it would seem natural that the stores be located out >there too. Where are these people? How come you never bump into them in >stores? > > I have just counted my blues collection (including boxed sets) and I have 97 pure blues cd's (not counting blues rock). Us blues fans have always been small in number when compared to "Top 40" fans and music stores - especially the chain stores - stock what sells the best. But we are out here. greg ========================================================================= Date: Sun, 12 May 1996 12:45:04 -0400 Reply-To: JRush11279 From: JRush11279 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: KANSAS_CITY_The_Movie Comments: To: bit-listserv-blues-l@uunet.uu.net Kansas City, the movie, is making its debut at the Caines film festival this summer. It is due for general release on August 16th; however, the soundtrack is supposed to be available within a week or two, if it isn't out already. ========================================================================= Date: Sun, 12 May 1996 13:00:28 EDT Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: koko Taylor's clu closed? Did I miss this? I heard that Koko's place in Chicago closed. Is it true? Dave Carpenter Blues Music Director - WHUS-FM University of Connecticut - Storrs, CT http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Sun, 12 May 1996 13:00:39 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: CORRECTION - On this day... Comments: cc: Jinxblues@aol.com Earlier today I said... > On this day in 1965, the Rolling Stones begin 2 days of recording in > the historic Chess studios in Chicago. Among the tunes recorded > there are the basic tracks for "Satisfaction". Dick Waterman who was in the TV studio when Howlin' Wolf and the Stones did their "Shindig" appearance, said it occured in April of '65 and that the Stones performed their hit record "Satisfaction" there, which would seem to make May 12, 1965 a rather unlikely date for those Chess sessions (Since the record was already out). Some further checking revealed that my source for this "On this day..." post was indeed wrong. The sessions started on this day in 1964. The satisfaction tracks were started at Chess and finished later at RCA's Hollywood studios. Waterman has a sharp eye for an old fart. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ I find television very educational. Every time someone switches it on I go into another room and read a good book. - Groucho Marx ========================================================================= Date: Sun, 12 May 1996 12:20:27 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Rock --> Rock/Blues --> Buying the Blues > >Why doesn't this translate into record sales? Do white males aged 40 - 50 > >not buy recordings? . Where are these people? How come you never bump into them in > >stores? Well, I'm a 50 year old white male from the suburbs. And I have about 700 blues CDs, and about 3000 vinyl LPs, mostly blues. I guess you just haven't been in the stores when I was there. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Sun, 12 May 1996 10:54:18 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: SRV - The Best There Ever Was for some Comments: To: BlueKing@AOL.COM In-Reply-To: <960512114612_397076667@emout16.mail.aol.com> from "Gregory A King" at May 12, 96 11:46:12 am > For some of us - SRV tops the list of players. He was the best ever. Tone, > phrasing, style - it just gets to my heart. It's a style that speaks to me > and he was the best at that style. If it's not for you - okay, no problem. My > best doesn't have to be your best. But my best is no less valid than your > best either. DISCLAIMER: This is NOT a flame. Not even close. Just my 1. opinion, and 2. analysis. I'm NOT discussing the relative merits of SRV (who I personally think was incredible, but that's beside the point). Now that we've got that out of the way..... Now that statement is sensible. Instead of expressing it as an absolute (SRV was the greatest ever, implying that I'm stupid, ill informed, lack judgment, etc., should I disagree), you've expressed it as YOUR opinion (_I_ think SRV was the greatest). The first is expressed as a dogma, something that cannot be argued with the "faithful" because it is inherently the truth and those disagreeing are heretics. The second is expressed as your personal opinion, something no one can argue because it is just that - an opinion. Music is subjective. Maybe someone is technically great. But what if I don't like his/her music, style, technique, selection of material, or maybe the artist just annoys me in general? How many on this list appreciate Julian Bream (or even know who he is or what he does ;-) (Classical guitarist, for those not into suspense ;-). The guy is incredible technically. But if you don't like the music, he's boring. Some consider Bob Dylan their all time favorite harmonica player, even though it is pretty well universally accepted in the harmonica community that Dylan is technically pathetic. But what he does sounds fine with his music (my opinion), and it gets to those who love that style of music. I've even recommended to some of my original-tune-acoustic-guitar friends that they take up "Bob Dylan harp" to expand their original music sets. "Oh, I can't play harmonica". "That's fine - just blow and draw on it and make noise like Bob Dylan and Neil Young" :-) and it works great! I know I've just stepped on a lot of harmonica players toes, because we get little respect, largely because a lot of folks use the harmonica as a noisemaker so we all get painted with the same brush. But one note from my harp will instantly dispel that (yes I can impress people with as little as a single note - maybe something like a low, fat, resonant note with a vibrato that makes honey look like vinegar by comparison :-). Any really good harp player can do the same. So I don't see it as a problem. Harmonica is actually two instruments in one. It's a toy/noisemaker (Dylan et al), and it's the most expressive instrument ever devised (Little/Big Walter, SonnyBoys/Terry, and all the other blues harp greats). It's important to recognize that harmonica is the easiest instrument to learn, but undisputably the most difficult to play at truly virtuouso level. Who is the "best ever" harmonica player? Blues guitar meister Walter Trout (who formerly played with British blues harp legend John Mayall and the Bluesbreakers, and harmonica with Canned Heat) told me that he thinks I am. (I'm still burping from that pat on the back!) But does this mean that I'm the absolute best? Of course not. Walter expressed it as _his_ opinion. There are a lot of mighty fine harmonica players out there. There are many more of whom neither of us have ever heard. There are a great many styles of harmonica playing. I have my own unique style, playing mostly single note melodies in all keys on a single harp. Norton Buffalo, a great second position player, did an excellent solo on Bonnie Raitts "Runaway" using four different harps and second position on each of them. I would never have done it like that myself. Not that I dislike Nortons solo - I think it's incredible - arguably one of the best harmonica solos ever - relaxed, expressive, elegant, polished, and it blows your socks off. It's simply not my style of playing. My solo uses a single harp, and is a little closer to the synth solo on Del Shannons original, but a lot more "jazzy" with a lot of fast runs and arpeggios. It's apples and orangutans :#| I greatly appreciate the different styles of harmonica, guitar, and other instruments. But it's really unimportant who's the best at anything. This is music, not football where there's one winner of the Superbowl and everyone else is a loser, even Buffalo after their incredible post season records the last several years. When we play music, EVERYONE is a "winner". When we listen to music, we usually have a LOT of artists we enjoy. How many of us would give up this marvelous variety in favor of any single artist? How many SRV foaming at the mouth fanatics (and I mean that in the kindest way possible) listen to NOTHING but SRV? And how many Dylan enthusiasts get as big a kick out of Bobs harp playing as the SRV enthusiasts get out of Stevies guitar pyrotechnics, or Hookers funky guitar playing and offbeat (literally :-) approach? All are "winners"! -- IronMan Mike Curtis ========================================================================= Date: Sun, 12 May 1996 18:15:05 GMT Reply-To: ian@broonzy.demon.co.uk From: "Ian K. McKenzie" Subject: Cannon's Jug Stompers I read recently about a recording made in the 1963 by Gus Cannon, Will Shade and Milton Roby. The record (Stax 702) was allegedly withdrawn by Stax because it did not fit with their (then) new image. Any one know where any copies of this album are? According to 'The Blues Collection Vol62', " Copies . . were recalled so efficiently that only a handful escaped to collector's shelves." *********************************************** Ian K. McKenzie Portsmouth England Tel: 01707 851160 Fax: 01705 296828 *********************************************** ========================================================================= Date: Sun, 12 May 1996 14:24:18 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 05/13 B O R N : 05/13 DOUGLAS, JIM Born:1942 GIFFORD, EAST LOTHIAN, SCOTLAND Career:GUITAR / BANJO Style:JAZZ With:ALEX WELSH / EARL HINES / RUBY BRAFF / KEITH SMITH DUNBAR, RUTH KATHLEEN, nee KEILY (KATE SISTER KATE Born:1923 MANCHESTER, UK Career:SINGER Style:BLUES / JAZZ To Australia 1920s / With: Ray Price's group 1959 / Paramount JB / Ian Cuthbertson / Graeme Bell 1963-64 / Black Opals / Frank Traynor / Waratah Festival 1973 retired from music / Resumed in '80s / Ted Sly's East Coast group EVANS, GIL ( IAN ERNEST GILMORE GREEN ) Born:1912 TORONTO, CANADA Career:PIANO / LEADER / ARRANGER Style:JAZZ / BIG BAND With:Skinnay Ennis / Claude Thornhill / Billy Butterfield / Miles Davis GARLAND, RED (WILLIAM ) Born:1923 DALLAS, TX Career:PIANO Style:JAZZ / BIG BAND With:MILES DAVIS / EDDIE VINSON / JOHN COLTRANE GERSH, SQUIRE ( GIRSBACK, WILLIAM ) Born:1913 SAN FRANCISCO, CA Career:TUBA / BASS Style:TRAD / JAZZ McMAHON, WILLIAM "BASS" Born:1918 BIRMINGHAM, AL Career:BASS Style:BLUES / JAZZ With:TINY BRADSHAW PLATTER, BOBBY ( ROBERT PLATTER ) Born:1914 NEWARK, NJ Career:ALTO SAX / CLARINET / FLUTE Style:JAZZ / BIG BAND SULLIVAN, MAXINE ( MARIETTA WILLIAMS ) Born:1911 HOMESTEAD, PA.Career:SINGER / VALVE TROMBONE Style:JAZZ / BIG BAND With:CARL KRESS / CLAUDE THORNHILL / JOHN KIRBY / BENNY GOODMAN / GLEN GRAY / WORLDS GREATEST JAZZ BAND / BOBBY HACKETT / BOB WILBUR / SCOTT HAMILTON / KEITH INGHAM TOMPKINS, ROSS Born:1938 DETROIT, MI Career:PIANO Style:JAZZ / BIG BAND VON OHLEN, JOHN (BARON ) Born:1941 INDIANAPOLIS, IN Career:DRUMMER Style:JAZZ / BIG BAND With:STAN KENTON Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Sun, 12 May 1996 12:22:26 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Love In Vain Zellers, I'm recycling a question I posted some months ago. Does anyone out there = have any knowledge of the status, current ownership, and possible future = production possibilities for the screenplay "(All My) Love In Vain". It = is a fictionalized, but fairly accurate, biographical account of the = life and times of Robert Johnson. Last I heard the property was owned by the Rolling Stones. They made a = halting attempt at putting it into production, but it apparently = whithered on the vine.=20 I've read the screenplay. It ain't no "Crossroads". Thank Gawd! Uncle Ray ========================================================================= Date: Sun, 12 May 1996 12:36:09 -0700 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Organization: Canada Internet Direct, Inc. Subject: Sonny Rhodes in Vancouver, B.C. Comments: To: bit-listserv-blues-l@uunet.uu.net Sonny Rhodes will be appearing tomorrow (Monday 13th) night at The Purple Onion in Gastown, along with Kenny "Blues Boss" Wayne, and Hurricane & The Twisters. This last minute addition to the regular "Blue Monday" line-up at the Onion is due to a sudden cancellation of Sonny's Victoria date. Thanks to Kenny Wayne and the management of the Onion for "picking up the slack" for Sonny's tour schedule. AND!! Blues-L's own Roger B. (that's me!) will be playing bass as fill-in for the Twisters' regular bassist, who is on the road with another act this week. ========================================================================= Date: Sun, 12 May 1996 16:42:29 -0400 Reply-To: Blcrowe@AOL.COM From: "Jamie A. Kittel" Subject: Re: SRV - The Best There Ever Was for some > SRV did virtually nothing >to innovate or advance the state of blues guitar except increase the >volume and speed at which it was played. His greatest (though some >might lament it) contribution was in bringing the blues to young white >rockers. And commercially that is all that counts for some folks. > > I, too, think that if SRV were here today, and heard somebody say that, he'd quickly produce a long list of players HE believed were better than him, too. He was excellent at what he did, and I appreciate him for that. Watch that BB King and Friends video where he plays on "The Sky Is Crying" with Albert King. You can see how honored and impressed he is to be playing with one of his idols. I think he's ONE of the best, but then again, I don't think I can place the title "THE BEST" on anybody. Everyone has their own unique quality, and just can't be compared. It's like trying to say that John Popper is better than Little Walter. They do completely different things with their instruments. It just can't be done.... JK "Hey, Hey, the blues is alright" ========================================================================= Date: Sun, 12 May 1996 16:44:43 -0400 Reply-To: TDominey From: TDominey Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Love In Vain Comments: To: bit-listserv-blues-l@uunet.uu.net The last thing I heard about a screenplay for Robert Johnson was that Martin Scorcesse (sp.?) had signed on to produce a filmatic version of R.J. Probably would be filled with all kinds of dramatic license. ========================================================================= Date: Sun, 12 May 1996 16:51:50 EDT Reply-To: Newman/Rabson <71552.541@COMPUSERVE.COM> From: Newman/Rabson <71552.541@COMPUSERVE.COM> Subject: alledged saffire post Just off the road and relaxing with the mail and I see that someone refered to something I wrote as a SAFFIRE posting. Please understand - I do NOT speak for the band in any way. I speak only for myself. This point may seem trivial but it's not. Imagine that you say something and people assume that you're speaking for the company you work for. Not good, right. If you want a SAFFIRE opinion you'll have to ask for one and we can formulate one. Otherwise you'll just have to understand that it's just me. Thanks, Ann Rabson ========================================================================= Date: Sun, 12 May 1996 22:54:25 -0700 Reply-To: Karen-Marlies Schenck From: Karen-Marlies Schenck Organization: EUnet Belgium, Leuven, Belgium Subject: ANDRE WILLIAMS? Comments: To: bit-listserv-blues-l@news.Belgium.EU.net I am looking for Andre Williams' song "Pass me the Biscuits" I think it was originally on Fortune. Anybody know of a CD with this track? ========================================================================= Date: Sun, 12 May 1996 21:14:54 GMT Reply-To: Jim Farris From: Jim Farris Organization: Netcom Subject: Jammin' Jim's (KKUP) Playlist 5/12/96 Here's the playlist for Late Night City Blues on KKUP 91.5 FM for Sunday, May 12th 1996, the first show out of the station's new studio in the Franklin Mall in downtown Santa Clara, California: Song Title; Artist Record Co.; CD Title Late Night City Blues; Chris Cain Blue Rockit Records; Late Night City Blues Tramp; Ford Blues Band CrossCut Records; Ford Blues Band Live Don't Stand Still; Guy Forsyth Antones; The Guy ForsytH Band Workin' On My Addictions; L'il Georgie and the Shufflin' Hungarians Queen Bee Brand; L'il Georgie and the Shufflin' Hungarians Enough is Enough; Ike and the Coldbloods OTR Studios; The Spot is Hot! Blues and My Guitar; Lowell Fulson Rounder Records; It's a Good Day Real Name is Danger Zone; Lowell Fulson Bullseye Blues; Hold On Sun Going Down; Lowell Fulson Bullseye Blues; Them Update Blues Get On Down; Lowell Fulson Bullseye Blues; Them Update Blues I'm Having It So Hard; Dave Thompson Fat Possum; little dave and big love Let Me Down Easy; Lydia Pense Crescendo; The Best of Cold Blood Warm October Night; Lousy Little Gods OceanRock; Lousy Little Gods It's My Life Baby; Johnny Winter Alligator Records; Guitar Slinger Buffalo River Home; John Hiatt KFOG 104.5; Warriors KFOG Jam She's Gone; Robbie Laws & the Urban Allstars Midnight Rain Music; Midnight Rain Joint B Jump; Joey Razor & the Blue Blades Hectic Records; Joint B Jump A Place Called Home; Anders Osborne Sony Music Studios; Which Way to Here Love Is A Train; Tattoo Blue Beezerk Records; Don't Try This at Home That's What the Blues is All About; Joint Chiefs Joint Chiefs Prod; In Session Gizzards & Beans; Sole Proprietors Tape; Demo I Got the Blues; Rolling Stones Rolling Stone Records; Sticky Fingers Stranger Blues; Little Johnny & the Giants Corn Bread Records; No Mercy Tornado; Rory Block Rounder Records; Tornado Take Me to the River; Ugly Jesters Caraway Management Group; Demo TV Mama; Anthony Paule Blue Dot Records; Big Guitar I Still Love You Baby; Duke Robilard Pointblank; Duke's Blues Too Close to Crying; Garry & the Moodswingers Blue Light Productions; Go Fever I Don't Play Games; Mick Martin & the Blues Rockers Blues Rock Records; Got to Play the Blues Bluz Alley; Debi Francis Bluz Dog Management; Bluz Alley Just Like a Minstrel; Blue Funk Demo; Tape Strat Daddy; Kenny Blue Ray Blue Ray Records; Strat Daddy It Happens All Over Again; Blues Controversy BC Productions; All Shades of the Blues Pick a Bale of Cotton; Leadbelly Smithsonian; Where Did You Sleep Last Night? Avalon; Rhythm Sheiks New Blues Classics; Migration of the Groove Late Night City Blues; Chris Cain Blue Rockit Records; Late Night City Blues Jammin' Jim Farris Late Night City Blues KKUP 91.5 FM ========================================================================= Date: Sun, 12 May 1996 14:35:30 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Well if that don't beat all.... "Lemmy Caution" said: >>all most everything you said holds true. except that line about >originality . >SRV was not only vastly more original than hendrix, he was a better >singer, and a tastier guitar player. end of story heee hee hee hee ha ha ha hah hooooOOOO ha ha ha ha hee hee that's some funny shit man!! hey, when you gonna open at the Improv? ;-] DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Sun, 12 May 1996 21:36:17 GMT Reply-To: Jim Farris From: Jim Farris Organization: Netcom Subject: Re: San Francisco Bay Blues -- date? The San Francisco Blues Festival will be held on Saturday, September 28th (maybe the 29th too). That's the date that Duke Robillard is performing there. Jammin' Jim Farris KKUP 91.5 FM Neil Giordano wrote: >Hi folks, > >I=B9m searching for this little tidbit: a date (or approximate date as th= >e >case may be) for Jesse Fuller=B9s =B3SF Bay Blues=B2 (Hollis Music Inc., = >BMI). >The BMI web page lists everything but dates. A short story in an upcoming >issue of DoubleTake magazine excerpts a few lines from the song, and we >need to list proper credit, if not get permission directly from the >publisher. Thank you in advance. E-mail please. > > Neil Giordano > DoubleTake Magazine > Center for Documentary Studies at Duke University > neilgio@acpub.duke.edu ========================================================================= Date: Sun, 12 May 1996 16:49:33 -0500 Reply-To: Mark Halverson From: Mark Halverson Subject: Red Deveils Can anyone tell me what is the current status of the LA Blues Band the "RED DEVILS?" I thought they were a great young band with alot of potential. Haven't seen nor heard anything from or about them, so presume they canned it. Hope not. Bruce Willis was affiliated with the band for awhile, and occassionally performed with them - which probably didn't let people take them seriously. One record that I know of - "Live at the King King." Great high power blues. Writing from Mankato Minnesota. Blues is big here - even in rural Minnesote. In fact, I'll be on the air in a couple hours (7:00 pmCDST) as cohost of Blues Before Monday 7-10:00pm CDST. 89.7 & 91.3 FM. Any suggestions on hot new stuff to air (I'm a recent list subscriber, & looks like I'll have to alter my life to keep track with the message flow here. Maybe someone with absolutely no life can maintain an "executive summary" of the list. ========================================================================= Date: Sun, 12 May 1996 21:45:34 GMT Reply-To: Jim Farris From: Jim Farris Organization: Netcom Subject: Re: Blues in Santa Clara or Dallas? KKUP 91.5 FM has a brand new studio in Santa Clara, CA. There are two Blues shows broadcast during that time that you should definitely check out. One is "Key to the Highway" on Wednesdays from 2-5 PM. The other is "Heavy Traffic" on Thursdays from 3-5 PM. You'll hear Blues and nothing but the Blues. My show is on Saturday midnight till Suday morning at 3AM. Jammin' Jim Farris Late Night City Blues KKUP 91.5 FM Ian Angus wrote: >I will be in Santa Clara CA May 14-15-16, >and then in Dallas TX May 21-22-23. > >Any suggestions for blues clubs/concerts/radio shows >would be greatly appreciated. > >Ian Angus >"Built for comfort, not for speed" ========================================================================= Date: Sun, 12 May 1996 15:04:18 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Rock --> Rock/Blues --> Full Circle Gregory A King said: >What has amazed me here - and has always struck me as silly - is the purists >that refuse to recognize or will discount the talent of later players. SRV >copped everything from Albert? Eric from Buddy? Where do you stop? Rembrant >wasn't a valid or talented artist because he copped everything from the cave >dwellers that painted their walls? Liszt sucked because Bach did it first? >Ken Kesey can't write because Mark Twain was the MAN? First you set up a simple-minded strawman (purists aren't recognizing new talent!!) and then knock him over pretending you actually proved some point or another. Wrong... NO ONE refused to recognize *anyone's* talent. No one -discounted- anyone's talent. All of this is a non-issue. The point is, that everyone is happy that you came to the blues, whether from Stevie or Johnny or Jimi. Almost everyone on this list loves the newer guys as well. You throw words like "purist" around with no basis whatsoever in fact. If you read the words of SRV himself on this subject, I guess you will start calling HIM a purist too, because he *constantly* pointed back to his influences whenever the opportunity to feel proud of "his blues" came up. It is his humility as well as his playing that made people like Buddy Guy love him. You could learn from his attitude. >The purists reverence for the old masters is very valid. My admiration of the >new masters is just as valid. And your (threotical) admiration of Snoop Doggy Dogg is just as valid as my admiration of Telemann.. So what??? Who CARES who you admire? Who cares who I admire? Hey Greg, who exactly is a purist on this list? When I asked my music theory/composition teacher to help me write and harmonize like Debussy, he told me: "Ok, you need to start with Bach, because when you have Bach, you have the headwaters of all the rest. THEN, you can go to Debussy". And he was right. If you want to play the blues, no responsible person will start you with Jimmy Page. They will start you with Son House, Robert Johnson, Muddy Waters, et al. Because THAT is the headwaters of this river. That is where it all came together. THAT is what SRV would have told you, THAT is what Jimi listened to (along with Ellington, Bach and Debussy) and to start playing "blues" by listening to blues-rock will only produce another ignorant philistine calling himself a "bluesman".. ha ha... yeah right.. >To explore your favorite musics beginings is >great - to get stuck in the past seems narrow (and a little sad) to me. Yes, >give credit to those who built the foundation but don't miss the beauty and >the talent of those who are still building the house. Who has missed any current artist? who on this list? hmmmm? I'm waiting... see, you can't name a single bluezeller who is not hip to the current scene can you? So why are characterizing us out of such ignorance? You have a lot to learn. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Sun, 12 May 1996 22:38:06 GMT Reply-To: bluesdj@HALCYON.COM From: Roberta Penn Organization: Northwest Nexus Inc. Subject: Handy reporting Comments: To: bit-listserv-blues-l@uunet.uu.net Though I missed the blues-l meeting (didn't even hear about it until it was over), I did make it to Memphis, Clarksdale, Helena, the Handys, the Blues Symposiums and Memphis in May. I wrote a story for Music Central about the Handys that is still up at www.musiccentral.msn.com. And in a couple of weeks my Delta Diary, featuring interview clips, photos and music clips, will be up. I will let the blues list know the actually date it goes up as soon as I know. Would welcome all feedback. Thanks. Roberta ========================================================================= Date: Sun, 12 May 1996 22:56:32 GMT Reply-To: bluesdj@HALCYON.COM From: Roberta Penn Organization: Northwest Nexus Inc. Subject: Kansas City Comments: To: bit-listserv-blues-l@uunet.uu.net Kansas City is closing the Seattle Film Festival. The soundtrack is in the stores, produced by Hal Wilner, who has good blues connections though he hasn't produced blues albums. His mentor was Joel Dorn, who produced much of the jazz on Atlantic in the '70s and the Neville Bros.'s "Fiyo on the Bayou," and others. Wilner was also close friends with the great blues shouter and songwriter Doc Pomus ("Save the Last Dance for Me," "Lonely Avenue," "Viva Las Vegas" and many other tunes recorded by B.B. King, Elvis, Big Joe Turner, etc.) The music on the disc features mostly young jazz players. A couple of the numbers are the album are blues numbers. One, "I Left My Baby," features Kevin Mahogany on vocals. Mahogany is the closest thing we've got to a blues shouter these days. No one will ever replace Big Joe Turner who could get the whole room's attention without a microphone, but Mahogany is good. Roberta. ========================================================================= Date: Sun, 12 May 1996 18:58:21 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: News Part I: LaVerre sued for photo theft (MEMPHIS COMMERCIAL APPEAL) One Handy report we did NOT get was of Steve LaVere being served process in a suit by longtime Memphis photographer Ernest C. Withers for theft of photographs. This was reported in the 5/8/96 Commercial Appeal. Apparently, LaVerre was served with process in the lawsuit while at the Handy awards. Withers was a photographer in Memphis for 50 years. Among his pictures were: the earliest known photo of Howlin' Wolf, photos of Elvis Pricsley with Bobby Bland and Junior Parker in 1956, photos of B.B. King. These have turned up in blues postcard books, calendars, etc. with the statement "Photo by Ernest C. Withers Copyright 1989 Stephen C. LaVere." Withers states that in 1968 he agreed to loan LaVere some negatives, and that he never surrendered copyright to LaVere. That's about it for the content of the Commercial Appeal article. LaVere has in the past copyrighted photos with no concievable right to do so-- that studio portrait of Robert Johnson is a good example of that. The photographer, and not the Johnson heirs would have the rights for that one. I realize that I still owe this list a story about the Robert Johnson estate case (I've been intensely busy with work lately) and, when I get that, I will include information about LaVere. Tom Freeland ========================================================================= Date: Sun, 12 May 1996 18:58:30 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: News Part III: David Malone (Kimbrough) in the MEMPHIS COMMERCIAL APPEAL The Friday, May 10 Memphis Commercial Appeal (section C page 1) has a long article about Jr. Kimbrough's son david Kimbrough's career, written by Michel Donahue. The article notes that he recorded I GOT THE DOG IN ME under the name David Malone, his stepfather's name. He is about to record as David Kimbrough Jr. and the Holly Springs Riythmn Section for Shade Tree Records here in Oxford. Peter Lee, owner of Shade Tree, and Memphis music writer Robert Gordon are both quoted. Tom Freeland ========================================================================= Date: Sun, 12 May 1996 18:58:06 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: News Part I: Huey Meaux's life of crime in TEXAS MONTHLY The May issue of Texas Monthly has a profile of Huey Meaux and discussion of his criminal charges. Anyone interested in swamp pop should check it out. It has some of his history (true stuff-- discovering Sir Doug, Freddy Fender, the Winter brothers, recording and working with Lightnin' Hopkins, George Jones, Clifton Chenier, T-Bone Walker, etc., and stuff you wonder about-- riding in the back seat of the car when the Big Bopper wrote "Chantilly Lace") and some stuff about the criminal charges, written by Joe Nick Patoski, a reporter who has apparently known Meaux for some time. And some colorful quotes from the Crazy Cajun (a nickname that sounds, uh, a lot less appealling in light of the criminal charges) such as "I like to keep my artists in the dark so their stars shine brighter." The story is slightly frustrating due to a tendency to hint at or allude to stories without telling them outright. And on the cover, you see that, unlike most folks, Huey smiled for the mug shot camera. Tom Freeland ========================================================================= Date: Sun, 12 May 1996 19:01:23 -0400 Reply-To: Niles Frantz From: Niles Frantz Organization: GNN Subject: Re: koko Taylor's clu closed? Comments: To: bit-listserv-blues-l@uunet.uu.net In article <960512170028_103156.340_IHE52-1@CompuServe.COM> david m. carpenter wrote: >Did I miss this? I heard that Koko's place in Chicago > closed. Is it true? I was walking down Division at the end of the week and there was NO MORE KOKO'S! It was some other kind of joint. Now I had only been there about 5 or 6 times, but I kinda liked it. Saw Johnny B. Moore and Mississippi Heat there. Hmmmm... Guess it wasn't making the corporate entertainment conglomerate enough money. Niles A loop is a loop is a loop. ========================================================================= Date: Sun, 12 May 1996 19:06:39 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Rock --> Rock/Blues --> CUT IT OUT Comments: To: dcicchet@lasierra.edu Someone out there wrote: >>Ken Kesey can't write because Mark Twain was the MAN? Nope. It was the drugs. This list has outbreaks of this sort of heathenism (I saw the word purist in that post, and some crap about Rembrandt and cave painters) the way some folks have seasonal allergies. I suspect the deal here is that it is a modest amount of work to write a post with substantive content, but (like assholes) EVERYONE has an opinion. They just vary wildly in the degree to which they are well informed. Tom Freeland ========================================================================= Date: Sun, 12 May 1996 19:13:20 -0400 Reply-To: Niles Frantz From: Niles Frantz Organization: GNN Subject: Re: Carr Pulls Into Chicago . . . Comments: To: bit-listserv-blues-l@uunet.uu.net In article <960510182545_395882917@emout15.mail.aol.com> Dick Waterman wrote: >If any 'Zellers are going to see James Carr at Rosa's on > Chicago's West Side >this weekend, pah-leez post a detailed report . . . > >Dick Waterman I wouldn't call it detailed, but here's what I remember: Carr was backed by The Platinum Band, who usually work with Tyrone Davis. The band, including 3 horns, 2 guitars, keys, bass and drums, took the entire first set. However, those who arrived early enough were treated to two songs each from Otis Clay and Tyrone Davis ("Turn Back the hands of Time" and "Turning Point"), in addition to blues, R&B and soul standards from the band. I only stayed for the first of two sets by Carr, who now looks all of his however-many years. Slim and balding, he wore a shiny brown suit and open collared shirt. His eyes, however, are full of intensity, and his voice is full and clear. He did a rather short first set, perhaps 6 or 7 songs, including "At The Dark End of the Street." Once he got warmed up, he was a compelling performer, and would occasionally let out wall-shaking roars and cutting moans to emphasize his lyrics. I'm not very familiar with Carr's material, but went to the show on the strength of his reputation. Therfore, I don't know the names of the songs he sang. I am very pleased to have heard him perform, and would recommend others do the same. If there are others on blues-l who heard the second set, I'd love to know how that one went. Note: A Chicago Tribune photographer was there who said a shot might run in Monday's newspaper. Niles A loop is a loop is a loop. ========================================================================= Date: Sun, 12 May 1996 16:28:45 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Portland Fest Her's fairly up to date info on Portland, Oregon's Waterfront Blues = Fest. It takes place July 3rd through the 7th on the banks of the Willamette = River. Admission is a voluntary donation of two bucks and two containers = of non-parishable food. National acts, so far, in no particular order are:=20 Charlie Musselwhite, Junior Wells, Otis Clay, Syl Johnson, Big Jack = Johnson, The Dirty Dozen, Sonny Rhodes, Louisiana Red, Gino Delafose, = Elvin Bishop, Canned Heat, Sista Monica, Alvin Youngblood Hart, Bugs = Henderson, James Harmon, Gary Primich, Burnin' Chicago Blues Machine, = Big Dave and the Ultrasonics, Kenny "Blue" Ray and Cathy Lemons, and = more yet to be named. Regional acts of merit include:=20 Paul deLay, Curtis Salgado, Too Slim and the Taildraggers, Duffy Bishop, = Lloyd Jones Struggle, Kelly Joe Phelps, and the Blubinos, and many more. more at: http://europa.com/pdxbluesfest/welcome.html Beautiful setting - right price - two stages, no set breaks - = interesting food - congenial folks - all procedes to charity There are several interesting peripheral events including Bill Rhoades' = Seventh Annual Harmonica Blow-off. The Blow-off will feature Paul deLay, = Mark Hummel, Bill Rhoades, Steve Bailey, and four more players yet to be = named. Usual disclaimers...no biz interest, except I'll be MCing the = Blow-off...etc...blah, blah. Uncle Ray ========================================================================= Date: Mon, 13 May 1996 09:39:59 -1000 Reply-To: Andrew Gregg From: Andrew Gregg Subject: Re: Australian for hire for Blues Fests. Comments: To: Shaun T Cronin >Bill is right. I am available for blues festivals as the essential >Australian. It is a little known fact that a blues festival ain't a blues >festival unless there is an Australian running amok somehwere. I assure my >fees are reasonable (ya gotta get me there somehow) and if you can't get >the preferred 55 gal. drums of Guinness I'm sure we can negotiate. Also >avalable for parties of any other activities where beer and general mayhem, >and the Blues, collide. Can play the guitar a bit and talk about any >subject for hours on end whether I have a clue what's going on or not. Of course, if you want to be a purist, you could always import an Australian, right from Australia's delta, Tasmania. Andrew Gregg In the Delta. ********************************************************************** * Andrew Gregg * * * Dept of Primary * I see angels on Ariels * * Industry * in leather & chrome * * ooOO00OOoo * Swooping down from heaven * * Email : * to carry me home * * mpagregg@aries.dpi.tas.gov.au * * * * - Richard Thompson * ********************************************************************** ========================================================================= Date: Sun, 12 May 1996 19:44:15 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Organization: PANIX Public Access Internet and UNIX, NYC Subject: Re: Rykodisc/Tradition CDs: Lightnin'Hopkins Comments: To: bit-listserv-blues-l@uunet.uu.net Just to follow up on Jean-Pierre's rec for Tradition here is what is out already - with plenty more coming. From a first listen to the sound qulaity is stellar and performances strong. In addition the series is budget priced and worth dollars more. BIG BILL BROONZY - Treat Me Right Tradition #1005 LEADBELLY - Goodnight Irene Tradition #1006 LIGHTNIN' HOPKINS - Country Blues Tradition #1003 LIGHTNIN' HOPKINS - Autobiography In Blues Tradition #1002 ODETTA - Sings Ballads And Blues Tradition #1004 BLIND LEMON JEFFERSON - Moanin' All Over Tradition #1011 LEADBELLY - In The Shadows Of The Gallows Pole Tradition #1018 MISSISSIPPI FRED MCDOWELL - Steakbone Slide Guitar Tradition #1012 SONNY TERRY & BROWNIE MCGHEE - Blowin' The Fuses Tradition #1013 BIG JOE WILLIAMS - Have Mercy Tradition #1014 JIMMY WITHERSPOON - 'Spoon & Groove Tradition #1015 COMPILATION - Steeped In The Blues Tradition #1016 -- NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sat, 11 May 1996 23:28:43 -0700 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Rubbin' Elbows at the Funky Butt While I was sitting at the bar of The Funky Butt on Rampart Street last night, who should sidle up and plop down on the next stool but piano giant Henry Butler. He proceeded to empty his jacket pockets' contents onto the bar while searching for some elusive item, and from out of his inside breast pocket he produced a copy of John Sinclair's CD "Full Moon Night." Yet another affirmation of the superior level of discourse to be found on Blues-L. --Maggie -- Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ "I'm not sure, but I think that ALL music started in New Orleans." --Ernie K-Doe ========================================================================= Date: Sun, 12 May 1996 18:15:44 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Aesthetics 101 Ok folks, Since we don't have a FAQ on this, here is my suggestion on some general content to put in one if we had one. oh, and BTW, I would LOVE it if we had a strictly moderated group. I am on a tightly moderated martial arts group (CyberDojo) and it is GREAT. You can argue, you can disagree, but you can't say: so and so (action movie star) sucks, you can't say "my style is the best", you can't say some other MA style sucks etc etc. If you do this sort of no-brain flamebait you are promptly unsubscribed by the moderator. VERY cool. A well-mannered, yet very informative and interesting group. If Blues-L were more tightly moderated we could tell all subscribers things like: Obvious flamebait (Muddy Waters sucks for instance, or ain't led zep great blues!!) will get you unsubbed. Starting fights about who is "the best" anything will get you unsubbed. Characterizing the entire group (you sad and tragic bunch of purist-losers stuck in the past) will get you unsubbed. Calling people racists without compelling evidence will get you unsubbed. you get the idea. I would love it. just a thought.... anyway, back to aesthetics... (or esthetics to us yanks...) In art criticism it is considered philistine (which I define as being ignorant very loudly) to get in fights over the "best painter" or the "best composer" or the "best violinist" etc. Why? Because of obvious retort: SEZ WHO? "The best" is always opinion, and cannot be supported in any convincing manner. Arguing over who is best is an activity on the intellectual level of: Godzilla can kick Mothra's BUTT!!! No WAY, you JERK! Mothra RULES!! or Hulk Hogan can kick Diesel's BUTT!! etc etc Instead, we trace the influences of the artists we love. We search out their lives, history, and recordings. We unearth unknown artists that deserve better exposure. We remind the young and overly-opinionated of the roots of the style. We welcome new artists and discuss whether they lead in a good direction or not. So what can be said in aesthetics? What IS good? Is it possible to say that Picasso, for instance, was a better artist than Warhol? I think so, but it requires some thought, some research, and a familiarity with both subjects. Robert Hughes, for instance makes a compelling case that Andy Warhol was not terribly artistically significant. (he was certainly culturally significant, but that is not the same thing is it?) That doesn't mean that no one is allowed to enjoy Warhol! It means that Hughes has contributed to the knowledge of 20th century art, and to me, he identifies those factors that have always left me curiously unsatisfied with Warhol. Others will disagree. Hughes would make no effort to disagree with, or discourage someone who loves Warhol. I doubt Dick Waterman would tell a raving SRV fan that SRV sucks... But if he said SRV kicks butt on Son House there could be trouble! I have read several SRV books, and found that Stevie was a real gentleman about his influences and what he owed to them. He would be cringing if he heard some of his "fans" and their nattering on about him. We who love the blues try to show these unsophisticated people where it all came from, and if they shutup long enough to understand what the activity we engage in on this list *IS*, (talking about gear right?) they join the community of blues fans, instead of seeing us as antagonists. I guess I just want to remind everyone of the sheer futility of these "yadda-ya is the best kazoo player in the world, man" discussions. Everyone here has an opinion, and their own personal likes/dislikes, and *no one cares*, nor should anyone care. Please contribute something meaningful, or got back to the chat-room you came from, OK??? Tell us a story "man, when I first heard "Crossfire" on the car radio I hit the dashboard, and said YES, real music is BACK! and bought "In Step" as soon as I could find it" or "I am so lucky, I got to sit on the stage 5 feet from Jimi" (all true) but shut yer mouth about who "the best" is. We just don't care.... DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Sun, 12 May 1996 21:18:39 -0400 Reply-To: Peter Welch From: Peter Welch Subject: Re: ANDRE WILLIAMS? Comments: To: ping9787@pophost.ping.be In-Reply-To: <3196CE91.155A@pophost.ping.be> from "Karen-Marlies Schenck" at May 12, 96 10:54:25 pm According to Karen-Marlies Schenck: > > I am looking for Andre Williams' song "Pass me the Biscuits" > I think it was originally on Fortune. Anybody know of a CD with this > track? I don't know about a CD, but "Pass Me the Biscuits" is on a vinyl compilation of R&B & Blues rarities called "Jook Block Busters, Vol. 1" on Valmor Records...I believe this is still in print. -Peter ========================================================================= Date: Sun, 12 May 1996 21:41:42 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Rykodisc/Tradition CDs: Lightnin'Hopkins Comments: To: bsco@panix.com In a message dated 96-05-12 20:09:44 EDT, bsco@PANIX.COM (Barry Silverberg) writes: >Just to follow up on Jean-Pierre's rec for Tradition here is what >is out already - with plenty more coming. From a first listen to >the sound qulaity is stellar and performances strong. In addition >the series is budget priced and worth dollars more. >LEADBELLY - Goodnight Irene Tradition #1006 >BLIND LEMON JEFFERSON - Moanin' All Over Tradition #1011 I want to register a dissent on this one. I have heard one (the Lead Belly, which I am reviewing for a magazine) and seen the track listing for another (the Blind Lemon Jefferson). On the Lead Belly, the sound quality is fairly good. BUT, both of these CDs are straight reissues of 60s LPs, and the song selections are (for purposes of reviewing this artist's careers) are nearly random. They don't provide a basic introduction to the musicians (much less a thorough introduction), they don't "fill out" some other collection. They just happen to be some sides that Tradition had available to put to vinyl in the 60s. And now Ryko is bringing them to CD, in vinyl-sized reissues. Why? I can see no reason. In the specific case of Lead Belly, the Tradition stuff seems to have been taken from Moses Asch's recordings of at Folkways records, and put out without licensing by Tradition. (It is almost a lead-pipe cinch that the Paramount Blind Lemon Jefferson sides are not licensed). Smithsonian/Folkways has put out a MUCH better MUCH more representative set from Lead Belly's recordings with Asch's Folkways recordings. And Rounder is putting out the Library of Congress ones complete. What is the point of this Tradition reissue? The sound is nice. The packaging appears to be nice BUT contains at least one howler (the track listing is a bare minimum for liner notes to get right, right? Not this one. One of the songs is listed twice, but only appears once-- a song is misnamed). I cannot imagine why you would want to pay a few less bucks for this random selection when you could have a really representative look at Lead Belly on Smithsonian. And, keeping in mind that I have *only seen the track listing on the Tradition Blind Lemon Jefferson* (they were online early this year trying to find out about these recordings, not being aware even that Jefferson recorded for Paramount), it is an odd choice of songs far inferior to the Yazoo set. Tom Freeland ========================================================================= Date: Sun, 12 May 1996 22:30:02 -0400 Reply-To: JukeFreak@AOL.COM From: "(Karen Hanson)" Subject: Re: koko Taylor's clu closed? David asked: >Did I miss this? I heard that Koko's place in Chicago > closed. Is it true? And Niles answered: >I was walking down Division at the end of the week and there >was NO MORE KOKO'S! It was some other kind of joint. Now I >had only been there about 5 or 6 times, but I kinda liked it. >Saw Johnny B. Moore and Mississippi Heat there. >Hmmmm... Guess it wasn't making the corporate entertainment >conglomerate enough money. In an article in the Chicago Tribune (April 29), Bill Dahl lists poor (or nonexistent) parking, high drink prices, and not enough big-name bands as the main reasons for Koko's closing. The operator of the club, Ala Carte Entertainment, will open (or by now maybe has opened) a New Orleans theme club on the site, dj only, no live bands. Karen ========================================================================= Date: Sun, 12 May 1996 19:51:09 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: In defense of SRV Comments: cc: slydemann@EARTHLINK.NET Dave Melton wrote: >At 6:18 PM 5/10/96, Jack Oudiz wrote: >>. SRV did virtually nothing >>to innovate or advance the state of blues guitar except increase the >>volume and speed at which it was played. > >Aw, common, isn't that a bit harsh? This isn't a flame or anything, but >I have to disagree with that statement. As far as volume and speed, >Johnny Winter had him beat by about 27 years or so. (I'm certainly not knocking >Johnny, folks) As far as innovation, "virtually nothing" in my opinion >comes up a little short. I do agree he wasn't the most innovative, however >I will always know him when I hear him, and that tells me he did alot more >than "virually nothing" in that regard. > >> His greatest (though some might lament it) contribution was in bringing >>the >blues to young white rockers. And commercially that is all that >>counts for some >folks. > >I also feel that this falls a little short. He was a great spokesman of the >blues, he loved it and shared it beautifully. I think his contribution to >the blues reached a lot more than just young, white rockers. Just ask >Buddy Guy. Dave has nailed it. To say that SRV was the best or that he sucked is a ludicrous position. SRV was a bona-fide talent and did a lot for the blues. The esteem that SRV was held in by his influences more than an adequate testament to his prowess. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Sun, 12 May 1996 22:40:23 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Looking for a blues CD in Chicago I will be in Chicago on Tuesday and want to find Wolf's release of Maxwell Street Jimmy Davis. I have been looking for this album for awhile, but wasn't able to find it. Any suggestion which store in Chicago may carry this album and other Wolf, and other Wolf releases for that matter? Ranko ========================================================================= Date: Sun, 12 May 1996 21:34:14 -0700 Reply-To: apiana From: apiana Organization: Salvia Subject: Re: Rock --> Rock/Blues --> Buying the Blues Comments: To: Ian Angus Ian Angus wrote: > > > >Why doesn't this translate into record sales? Do white males aged 40 - 50 > > >not buy recordings? . Where are these people? How come you never bump into them in > > >stores? > > Well, I'm a 50 year old white male from the suburbs. > > And I have about 700 blues CDs, and about 3000 vinyl > LPs, mostly blues. I guess you just haven't been in the > stores when I was there. > > Ian Angus > "Built for comfort, not for speed" I agree with Ian. I'm in may late 30's and my husband is in his early 40's and we too have thousands of CD's and LP's about evenly split between Blues, Rock, and Jazz (yes, there is alot of overlap in styles, but we KNOW which is which). We haven't noticed alot of younger people buying blues, but we are glad to hear that they are. May be they have to do it sneakedly, so their friends don't notice that they are not buying rap! P.S. Some of our current likes in all styles are Coco Montoya, Fred McDowell, Clifford Brown, John Coltrane, REM, Smashing Pumpkins. We can not be narrow. Long live diversity! ========================================================================= Date: Sun, 12 May 1996 21:52:02 -0700 Reply-To: apiana From: apiana Organization: Salvia Subject: Re: Rock --> Rock/Blues --> Buying the Blues Ian Angus wrote: > Well, I'm a 50 year old white male from the suburbs. > > And I have about 700 blues CDs, and about 3000 vinyl > LPs, mostly blues. I guess you just haven't been in the > stores when I was there. > > Ian Angus > "Built for comfort, not for speed" [apiana]now writes: I agree with Ian. I'm in may late 30's and my husband is in his early 40's and we too have thousands of CD's and LP's about evenly split between Blues, Rock, and Jazz (yes, there is alot of overlap in styles, but we KNOW which is which). We haven't noticed alot of younger people buying blues, but we are glad to hear that they are. May be they have to do it sneakedly, so their friends don't notice that they are not buying rap! No real criticism intended, but there does seem to be a little friction between the generations (whats new). I know sixty-year olds that were turned on to the blues by the rolling stones. We got in to it via Cream and LZ. So what, it is all good music. P.S. Some of our current likes in all styles are Coco Montoya, Fred McDowell, Clifford Brown, John Coltrane, REM, Smashing Pumpkins. We can not be narrow. Long live diversity! Enjoy. Yours, Char & Mike ========================================================================= Date: Mon, 13 May 1996 00:21:50 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: CORRECTION - On this day... Comments: To: "P.W. Fenton" In-Reply-To: <199605121704.NAA36204@osceola.gate.net> On Sun, 12 May 1996, P.W. Fenton wrote: > Some > further checking revealed that my source for this "On this day..." > post was indeed wrong. Gee, P.W., we thought you've been making this stuff up. At least now we know you have a bad source. I'm more inclined to believe you now. Steve ========================================================================= Date: Mon, 13 May 1996 02:47:47 -0400 Reply-To: Lamiaceae@AOL.COM From: Lamiaceae@AOL.COM Subject: Re: In defense of SRV ok >Shaun Wrote: >Dave has nailed it. To say that SRV was the best or that he sucked is a >ludicrous position. SRV was a bona-fide talent and did a lot for the >blues. The esteem that SRV was held in by his influences more than an >adequate testament to his prowess. >Shaun Shaun and Dave are right, and beyond that it is silly and unrealistic to compair, or criticize SRV, Eric Clapton, Jimmy Page, B.B. King, Albert King, Jimi Hendrix, Albert Collins, John Lee Hooker, Elmore James, Gary Moore, Jimmy Vaughan, Johnny Winter, Muddy Waters, Lightnin' Hopkins, etc, etc. They all have their own unique styles and they are all very good. They all built on each others shoulders like Einstein upon Newton, or "Miles" upon "Bird." Some are more original in the sounds that they produce, and others continue a tradition with only slight interpetation. Black or White, old or new, it does not matter. Robert Johnson may have "copied" Son House. Sun House heard the blues from some one else. We just don't know who. So what. "There are only two types of music, good and bad." Yes, there are some poor guitarists on the scene, but I have heard very few. Of the hundreds of blues guitarists that I have heard live and on record for the last 28 years, most are contributing to the blues in some way. And if all "Led Zeppelin did was turn on a few white kids to the blues"[not my words], so be it. Actually, I think that LZ is one of the greatest rock bands ever anyway. SRV was one of the greatest blues-rock / rock-blues guitarists - I, anyway, like hyphenated terms (i.e. Santana: blues-salsa-jazz-rock, how else could one describe them) - SRV did do at least one Wes Montgomery-like Jazz tune too. But he is not better than country blues Johnny Shines for example, they are both good yet different. You get my ideas. Lets all stop "flaming" about our favorites. Bye. -Mike P.S. Salvia apiana is the plant White Sage. Lamiaceae is the Mint family that the Sages are part of. ========================================================================= Date: Mon, 13 May 1996 07:58:26 GMT Reply-To: ibis@prods.demon.co.uk From: Ian Middleton Organization: Ibis Productions Subject: Bob Brozman - "King of the National Steel" Comments: To: bit-listserv-blues-l@moderators.uu.net Bob Brozman, King of the National Steel Guitar will undertake a 15 date tour of the UK late May - early June. Full dates are below. A musical cornucopia combining jazz, blues, calypso and Hawaiian styles, fused together in a finger-picked, bottle-necked frenzy of virtuosity Guitarist Witty and compelling...an astonishing variety of moods, rhythms and dynamics Folk Roots MAY 22 AYR, Civic Theatre 23 EDINBURGH, Pleasance Cabaret Bar 24 SOUTH SHIELDS, The Cellar 25 DERRY, Jazz & Blues Festival 27 GUERNSEY,THe Cobo Hotel 28 EXETER, Arts Centre 29 NORWICH, Arts Centre 30 NORTHAMPTON, Black Bottom Club 31 SWINDON, Arts Centre JUNE 01 GAINSBOROUGH, Trinity Arts Centre 02 SALTBURN BY SEA, The Spa Hotel 03 SUNDERLAND, The Ropery 04 CHESTER, Telford's Warehouse 05 NEWTOWN, POWYS, Jump'n Jive Club 07 STAINES, Old Town Hall Arts Centre Ian Middleton, Ibis Productions ibis@prods.demon.co.uk For further details please call Ian Middleton on 01330 844456 -- --------------------------------------------------------------------------- | Ian Middleton EMail ibis@ | --------------------------------------------------------------------------- ========================================================================= Date: Mon, 13 May 1996 00:57:35 -0700 Reply-To: Stan Ruffo Comments: RFC822 error: TO field duplicated. Last occurrence was retained. Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Stan Ruffo Subject: BOT Playlist 5/12/96 Comments: To: Leslie Ann Knight , Renee Grace , Frank Migliorelli , Sony Music , "Anton Glovsky, Tradition Records" , Vent Records Stan Ruffo Productions 800 N. Ben Maddox Way, Suite 2200 Visalia, California 93292 ph.(209) 625-6049 steamin@valleynet.com / www.valleynet.com/~steamin PROGRAM: "Blues On Tap" w/ Steamin' Stan Ruffo STATION: KIOO 99.7FM (Kay-eye-oh-oh), Visalia, CA SUBJECT: Playlist 1996 - Commercial Radio DATE & TIME: Sunday - May 12, 1996 8pm - 10pm Artist Title Label Track Long John Hunter Border Town Legend Alligator 9 Elmer Lee Thomas Radio Blues MOT 6 Kathy Norton Various Stages of Undress Flat Rock 5 Alvin Youngblood Hart Big Mama's Door Okeh 2 Robert Johnson The Complete Recordings Columbia 9 Coco Montoya Ya Think I'd Know Better Blind Pig 6 Bill Coday Sneakin' Back Ecko 6 Radio Kings It Ain't Easy Icehouse 15 Little Johnny & The Giants No Mercy Corn Bread 6 Preston Shannon Midnight In Memphis Bullseye Blues 1 Kelly Joe Phelps Lead Me On Burnside 4 Jr. Wells Hoodoo Man Blues Delmark 5 Kim Lembo Mama Lion Blue Wave 3 John Mooney Against The Wall HOB 2 Chubby Carrier Who Stole the Hot Sauce Blind Pig 2 Sherman Robertson Here And Now Atlantic 12 Doug MacLeod You Can't Take My Blues AudioQuest 12 Various Heaven's Prisoners (soundtrk) Atlantic 2 Sarah Brown Sayin' What I'm Thinkin Blind Pig 9 Buddy Guy Live / The Real Deal Silvertone 8 Various 25th Anniversary Collection Alligator 2-17 Slim Harpo The Scratch Excello 17 Gary Moore Blues For Greeny Charisma 4 Monster Mike Welch These Blues are Mine Tone-Cool 11 TJ Parker Last Time It's Gonna Rain Icebone 2 Various Collector's Choice Rounder 7 Steamin' Stan Ruffo Live At The Bastille SRP 4 Blues On Tap reports to Living Blues and The Hard Report. ========================================================================= Date: Mon, 13 May 1996 10:40:15 +0000 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Re: Tradition/Rykodisk In a recent message Tom Freeland writes >I want to register a dissent on this one. I have heard one (the Lead Belly, >which I am reviewing for a magazine) and seen the track listing for another >(the Blind Lemon Jefferson). On the Lead Belly, the sound quality is fairly >good. BUT, both of these CDs are straight reissues of 60s LPs, and the song >selections are (for purposes of reviewing this artist's careers) are nearly (snip) ... I just want to second Tom's note. I have had the opportunity to listen to some of the recent Tradition reissues (Lead Belly, Big Bill, Odetta, Hopkins) and must indeed say that I've been disappointed. For LEad Belly, the work done by the guys for the Smithsonian/Folkways and Rounder are without any doubts THE places to go! Actually, in some sense (as I briefly mentioned a few days ago) the Hopkins sets are also a bit frustrating for all those who were expecting additional tracks recorded in Houston in 1959 and intially on 77La for example. Nevertheless, with Hopkins we know that there are only a very few bad albums (One of which is the Verve set which was published a few yars ago! - one to avoid!) so that it IS finally difficult to produce a bad Hopkins album (the same holds for McDowell). So my advice would be not to jump blindly on the Tradition reissues (IMHO). Jean-Pierre "Young Man" Urbain ========================================================================= Date: Mon, 13 May 1996 05:19:09 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Aesthetics 101 Comments: To: Don Cicchetti On 12 May 96, Don Cicchetti had this to say: > Ok folks, > > Since we don't have a FAQ on this, here is my suggestion on some general > content to put in one if we had one. > > oh, and BTW, I would LOVE it if we had a strictly moderated group. I am > on a tightly moderated martial arts group (CyberDojo) and it is GREAT. > You can argue, you can disagree, but you can't say: so and so (action > movie star) sucks, you can't say "my style is the best", you can't say some > other MA style sucks etc etc. If you do this sort of no-brain flamebait > you are promptly unsubscribed by the moderator. VERY cool. A > well-mannered, yet very informative and interesting group. A great idea... as long as I get to be the annoying little cybergod who gets to decide who is heard and who is not. Seriously, I'd rather have chaos and flamebait than one person who decides who's post is worthy. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "Everyone wants to have a big pile of money, but distrusts anyone who actually does." - P.W. Fenton ========================================================================= Date: Mon, 13 May 1996 08:17:56 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1938, Louis Armstrong and his Orchestra recorded the classic, "When The Saints Go Marching In", on Decca Records. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Mon, 13 May 1996 07:54:44 -0500 Reply-To: Roger Struve From: Roger Struve Subject: John Hammond recording -Reply I've been recommending SOLO for quite a number of years to people who want to know the quintessential definition of JOHN HAMMOND. ALSO very good are the LIVE CD on Rounder which was recorded live at McCabe's, and if you can find the LP's, Footwork (footloose?) on Vanguard, and Can't Beat the Kid (also on Vanguard). Regards, delta doc roger ========================================================================= Date: Mon, 13 May 1996 08:13:51 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: SRV - The Best There Ever Was In-Reply-To: Message of Fri, 10 May 1996 23:18:01 GMT from On Fri, 10 May 1996 23:18:01 GMT Jack Oudiz said: >copped almost everything he ever thought of. SRV did virtually nothing >to innovate or advance the state of blues guitar except increase the >volume and speed at which it was played. His greatest (though some He added a few tunes to Buddy Guy's play list...I don't think SRV was the first to play at loud volumes or play fast. Buddy's been doing that for awhile. If SRV is so bad, how come Buddy Guy can't stop trying to be SRV You tell me I have no idea LW ========================================================================= Date: Mon, 13 May 1996 08:17:19 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: SRV - The Best There Ever Was In-Reply-To: Message of Fri, 10 May 1996 23:18:01 GMT from On Fri, 10 May 1996 23:18:01 GMT Jack Oudiz said: >might lament it) contribution was in bringing the blues to young white >rockers. And commercially that is all that counts for some folks. Well a few weeks ago 'comercially" was the whole reason bluesmen record and play. That was a very popular statement on here....What happened LW ========================================================================= Date: Mon, 13 May 1996 09:21:55 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Blues Playground Playlist 5/12/96 FROM: Stew Crossen - WCCC 107 FM - Hartford, CT SUBJECT: The Blues Playground Playlist AIR DATE: May 12, 1996 ____________________________________________________________________________ Playlist for THE BLUES PLAYGROUND 5-12-96 ARTIST ALBUM LABEL TRK C. Stevens/Texas Flood Blue Drops Of Rain Eureka 1 Johnny Winter Hey! Where's Your Brother Pointblank 1 Little Jimmy King Something Inside Of Me Bullseye 5 Mark Nomad Got To Carry On Blue Star 1 D.W. Armstrong All These Years Rent Party 6 Vala Cupp One Thing On My Mind Dali 3 Eddy Clearwater Blues Hang Out Evidence 1 D. Smith Blues Project Shake For Me DSB 1 Garry & Moodswingers Go Fever! Blue Light 1 The Hornets The Hornets Hornet 2 Jerry McCain I've Got The Blues All Over Me Ichiban 6 Chris Smither Happier Blue Flying Fish 2 Dan Penn Do Right Man Sire 6 Mary Flower Blues Jubilee Resounding 1 Stevie Ray Vaughan Couldn't Stand The Weather Epic 12 _________________________________________________________________________ The Blues Playground - Sundays at 9pm on 107 FM WCCC - Hartford, CT Host: Stew Crossen 18 Boxwood Drive Vernon, CT 06066-5106 tel: 800.970.5151 web: http://www.neca.com/~bfstew e: bfstew@neca.com Reports to: Living Blues, The Hard Report, BluesWire, The Blues Audience Stew Crossen is a member of the Connecticut Blues Society ========================================================================= Date: Mon, 13 May 1996 06:30:17 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Aesthetics 101 Don C wrote: >If Blues-L were more tightly moderated we could tell all subscribers things >like: >Obvious flamebait (Muddy Waters sucks for instance, or ain't led zep great >blues!!) will get you unsubbed. Here's the problem with this one, Don - it seems like these types of posts aren't coming from subscribers. I don't think there's any regular contributors on Blues-l that post flamebait purposefully. For some reason these post tend to show up on weekends (I don't know why - maybe there should be a rule about posting while under the influence :-) ), and the poster is generally never heard from again. It is _our own fault_ that these threads keep going, even though the original poster had no intention of beginning a reasonable discussion or debate. Folks, if you see something like this, IGNORE IT!!! The poster will go away, the thread will die, and all things will be well in Blueselleville. >Calling people racists without compelling evidence will get you unsubbed. I do agree with this one. The word racist seems to be thrown around on a seemingly random basis, usually without substantiation, and this is a word that is beginning to lose any meaning in the English language. My $..02 worth, -Jim (hndful@uniserve.com) BTW, I ordered in four of Sonny Rhodes' cd's to the local cd shop, and I'm wondering if anyone has any recommendations on where to start! Happy Monday! ========================================================================= Date: Mon, 13 May 1996 09:36:33 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On the tube... Wednesday, May 15 10:00 pm - PBS - "Rhythm, Country & Blues": country and R&B stars perform duets; featuring Al Green and Lyle Lovett, Natalie Cole and Reba McEntire, Little Richard and Tanya Tucker, Vince Gill and Gladys Knight, Clint Black and the Pointer Sisters, Aaron Neville and Trisha Yearwoo ========================================================================= Date: Mon, 13 May 1996 09:37:33 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: SRV - The Best There Ever Was Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I don't believe in using the word "best" to describe anything, especially to such a karge and divcerse list. There can never be one musician who is best - the word is always subjective and relative. -Steve ========================================================================= Date: Mon, 13 May 1996 08:44:44 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Least respected Who IYHO do you think is the least respected blues artist that desverves more respect....Maybe someone who has made a difference, but not really getting the respect they deserve..... LW ========================================================================= Date: Mon, 13 May 1996 06:45:44 -0700 Reply-To: Garry Segal From: Garry Segal Subject: Where to Advertise? Comments: To: BLUES-L@BROWNVM.BROWN.EDU.Hey.there.Fellow.L'ers, There.has.been.some.posts.on.Blues.buying.power.recently.and.I.had.a@ix.netcom.com question for y'all. I have released a CD that has great reviews and airplay and I'm emabarking on an ad campaign. Its an indy release with limited promo $'s so I need to make every ad count. Where do you get your NEW Blues/R&B/Soul CDs? (Besides stores) What mags are you likely to order a CD from? Yeah I know the basic mag line up of LB, BA, BR as well as some smaller ones. Although they all have good subscriber numbers how many folks actually buy CDs from ads in them? I am just looking for some help here, I play Blues/R&B/Soul fulltime to support myself and family and it's tough.* I do not represent any mags.* Not trying to start a Blues Mag debate! I think they ALL are good, as variety is the spice that makes blues nice, and any mention of Blues, R&B in any mag is great for everyone. Please hold your spamcusations, just looking for some ideas! Thanks in advance for any tips! Private email fine! email BlueSngr@ix.netcom.com Garry "yup, that MOODSWINGER guy" Segal Band page info http://www.island.net/~blues/BlueSngr.html Thanks to Gary J. ========================================================================= Date: Mon, 13 May 1996 08:46:02 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Blues Revue & HOB I think there is a need for all the magazines. I stopped my subscription long before BRQ became Blues Revue. The reason I stopped was because I did not like some of the things said about another blues publication. I still do not like the claim best selling blues magazine in the US (or whatever the claim is) a blues magazine does not have Greg Allman or John Goodman on the cover..period I think there are more desvering blues people for a major magazine to put on it's cover...?? I really have no opinion on HOB, except the TV show is a joke. The club may be great, never been there. The show is right below the Love Boat as far as entertainment value....To each his own. You can't please everyone.. LW ========================================================================= Date: Mon, 13 May 1996 09:33:22 -0400 Reply-To: gm From: gm Subject: BLUES CLASSICS BOX SET (Long) i thought i would post this excerpt from the latest issue of tower records e-mail magazine(pulse) "due to what the liner notes describe as "a series of corporate business deals and complicated takeovers",MCA Records has amassed one of the largest catalogs of blues masters, which include those of Chess/Checker Duke/Peacock, Decca and ABC, plus many early Brunswick and Vocalion sides.'BLUES CLASSICS' (MCA 7/30) which compiles many of the House of Seagram's crown blues jewels into a three-cd set, starts with Furry LEwis' 1927 "Billy Lyons and Stack O' Lee" and finishes with BB King's 1969 "The Thrill is Gone".What lies between will satisfy the converted as well as answer any novice's question,"What's the big deal about blues?": Tampa Red,Peetie Wheatstraw,Blind Boy Fuller,Sleepy John Estes, ALberta Hunter,Rosetta Tharpe,Joe Turner,Louis Jordan,Muddy Waters,Memphis SLim,Little Walter,Big Mama Thornton,Lightnin' Hopkins, Little Walter, Sonny Boy Williamson(Rice Miller), Howlin' Wolf,Buddy Guy Junior Parker,Bobby "Blue" Bland,Albert Collins,Otis Rush,John Lee Hooker,Etta JAMes and Koko Taylor for starters and that's not even naming everyone included.This set merely scratches the surface,which is a testament to MCA's vast blues holdings.(Demerit: zero mention in the liner notes of Salvatore "Sal the Swindler"Pisello, who reportedly brokered MCA's acquisition of the Chess catalog.)copyrightMTS george ========================================================================= Date: Mon, 13 May 1996 09:57:07 -0400 Reply-To: FORCELLAD@CCSUA.CTSTATEU.EDU From: Domenic Forcella Subject: Johnny Winter Just talked to the Webster Theater, correction not the theater but a person there. She said the Johnny Winter show went fine. Good crowd and they liked him. That's about all I could get. Domenic Forcella Traveling with the Blues ========================================================================= Date: Mon, 13 May 1996 09:00:50 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: ANDRE WILLIAMS? > > I am looking for Andre Williams' song "Pass me the Biscuits" > > I think it was originally on Fortune. Anybody know of a CD with this > > track? > > > I don't know about a CD, but "Pass Me the Biscuits" is on a > vinyl compilation of R&B & Blues rarities called "Jook Block Busters, > Vol. 1" on Valmor Records...I believe this is still in print. And there is (was?) a whole LP of Williams' material that includes "Biscuits" - the LP is titled "Bacon Fat" after Andre's biggest hit. It came out four or five years ago. Interestingly, there is no company name on the label but I suspect it's from the UK. I'd be curious to know more about UK labels like Valmor and Savage Kick that are still doing vinyl reissue work. EW Eliot Williams University of Wisconsin Department of Medicine williams@heme.medicine.wisc.edu ========================================================================= Date: Mon, 13 May 1996 10:05:57 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Blues Revue & HOB Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU On 13 May 96 at 8:46, ISTS024%UABDPO.BITNET@BROWNVM wrote: > I really have no opinion on HOB, except the TV show is a joke. The club may be > great, never been there. The show is right below the Love Boat as far as > entertainment value....To each his own. You can't please everyone.. What was wrong, in your opinion, with the TV show? Was it that the types of music featured did not fit your expectations based on the word "Blues" in the title? Or was there something wrong about the show aside from that? The show seemed to be basically recording artists shown in a live concert setting. The pictures were clear, the sound was good, what made it "right below the Love Boat"? P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Mon, 13 May 1996 07:10:49 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC'S BLUES DATES: May 13 Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ABSHIRE, NATHAN (acc/cajun) d. 1981-0513, BASILE, LA 67 ARCENEAUX, FLOYD (tpt/JOE SCOTT/G.GAINES) d. 1992-0513, HOUSTON, TX 58 BAKER, CHET (tpt) d. 1988-0513, AMSTERDAM, HOLLAND 58 BROOKS, RICHARD (v/songw/THE IMPRESSIONS) b. 1940-0513, CHATTANOOGA, TN CATLETT, BUDDY (sax/BASIE/BLACKWELL) b. 1933-0513, LONG BEACH, CA FRANKLIN, CAROLYN (v/songw) b. 1944-0513, MEMPHIS, TN GIBSON, JACK "JOCKEY" "THE RAPPER" (dj) b. 1920-0513, CHICAGO, IL LOUIS, JOE (boxer) b. 1914-0513, LAFAYETTE, AL MCMAHON, WILLIAM "BASS" (b/TINY BRADSHAW) b. 1918-0513, BIRMINGHAM, AL MOORE, PHIL (arr/BLACK & WHITE REC) d. 1987-0513, LOS ANGELES, CA 70 MORRIS, FLOYD (p) d. 1988-0513, CHICAGO, IL 62 PLATER, BOBBY (asax/BASIE/BRADSHAW) b. 1914-0513, NEWARK, NJ SMITH, JOHN (of THE MONOTONES) b. 1938-0513, NEWARK, NJ STOKES, EDDIE (of BUCKWHEAT ZYDECO) b. 1945-0513, LAKE CHARLES, LA SULLIVAN, MAXINE (v) b. 1911-0513, HOMESTEAD, PA TANNER, GID (fiddle) d. 1960-0513, DACULA, GA 74 VALENS, RITCHIE (g/LA BAMBA) b. 1941-0513, PACOIMA, CA WELLS, MARY (v/MOTOWN REC) b. 1943-0513, DETROIT, MI WILLS, BOB (vln/TEXAS PLAYBOYS) d. 1975-0513, FORT WORTH, TX 70 WONDER, STEVIE (kybds/hca/songw) b. 1950-0513, SAGINAW, MI ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 13 May 1996 07:11:32 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: May 14 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BECHET, SIDNEY (ssax/cl) b. 1897-0514, NEW ORLEANS, LA BECHET, SIDNEY (ssax/cl) d. 1959-0514, PARIS, FRANCE 62 BRUCE, JACK (b/THE CREAM) b. 1943-0514, GLASGOW, SCOTLAND BYRNE, DAVID (v/TALKING HEADS) b. 1952-0514, DUMBARTON, SCOTLAND DARIN, BOBBY [WALDEN R. CASSOTO](v/songw) b. 1936-0514, BRONX, NY GAINES, GRADY (tsax/BLACK TOP REC) b. 1934-0514, WASKOM, TX GONSALVES, PAUL (tsax/ELLINGTON) d. 1974-0514, LONDON, UK 53 LOWE, SAMMY(tpt/arr/prod/ERSKINE HAWKINS) b. 1918-0514, BIRMINGHAM, AL MEYER, ABE (ex/MCA REC) d. 1969-0514, HOLLYWOOD, CA 68 RELF, KEITH (hca/YARDBIRDS) d. 1976-0514, LONDON, UK 33 SNOWDEN, ELMER (g) d. 1973-0514, PHILADELPHIA, PA 72 STEIN, WILLIAM H. (co-founder: MCA REC) d. 1943-0514, LOS ANGELES, CA 48 STONEMAN, POP (g) b. 1893-0514, GALAXY, VA TREADWELL, GEORGE (tpt/manager: DRIFTERS) d. 1967-0514, NEW YORK CITY, NY 47 WILLIAMS, PEARLIS (d/HARLEM HAMFATS) b. 1909-0514, GLOUCESTER, MS ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 13 May 1996 09:19:10 -0500 Reply-To: Roger Struve From: Roger Struve Subject: Least respected -Reply Comments: To: ISTS024@UABDPO.DPO.UAB.EDU No doubt in my mind......Warner WIlliams of a little bit of blues. He may be the greatest living relatively unknown bluesman of our times. He knocked me completely out when i saw him in the workshop at the Miss. valley Blues Fest last year in Moline Illinois. Been playing the blues for 56 years now, i reckon. Lives near DC. Very interesting guy, and someone i keep in contact with., regards, delta doc roger ========================================================================= Date: Mon, 13 May 1996 10:19:58 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: The Official Press Release HOUSE OF BLUES RESTORES MUDDY WATERS' HOME, "MUDDY'S CABIN": CENTERPIECE OF MAJOR EDUCATIONAL EFFORT The rustic cabin where legendary blues great Muddy Waters was born, perhaps the most historic site in American blues history, will be transformed into a traveling exhibit that is part of a major educational outreach and fund raising effort specifically designed to aid American blues artists. "Muddy's Cabin," which was severely destroyed by a powerful tornado, has been restored by House of Blues owner Isaac Tigrett, although it is still owned by the Stovall family. It is scheduled to be on display at upcoming major blues festivals In Chicago and Clarksdale, Mississippi. The exhibit will educate Americans about the "blues" and generate much-needed funds to support indigent musicians and a number of organizations, including the International House of Blues Foundation and the Buddy Guy Foundation, which are dedicated to preserving this great American art form. Muddy's cabin will provide millions of blues fans in America and abroad the opportunity to stand in the birthplace of American blues. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Mon, 13 May 1996 09:30:09 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: Blues Revue & HOB In-Reply-To: Message of Mon, 13 May 1996 10:05:57 -0500 from On Mon, 13 May 1996 10:05:57 -0500 P.W. Fenton said: > >What was wrong, in your opinion, with the TV show? Was it that the >types of music featured did not fit your expectations based on the >word "Blues" in the title? Or was there something wrong about the show >aside from that? That was my main complaint. I don't think Dan Ackroyd's in between bluesman act was funny or entertaining. >The show seemed to be basically recording artists shown in a live >concert setting. The pictures were clear, the sound was good, what >made it "right below the Love Boat"? The Love Boat was pretty clear also, sound was fine. Gavin Macleod never did a bluesman impersonation that I recall seeing. It lived up to it's advertising If you watched the Love Boat you knew what to expect, if you watched the HOB you never knew what you'd see. From blues legend Nancy Sinatra to alternative bands. I think there are plenty of deserving blues artists to fill up at least two seasons of programming....That's MO, others may love the show and that's great for all involved... LW 'I wonder if the Love Boat ever had Nancy Sinatra on it..??? ' ========================================================================= Date: Mon, 13 May 1996 09:34:09 CDT Reply-To: "Nuri A. Nuri" From: "Nuri A. Nuri" Subject: Re: SRV - The Best There Ever Wa >Can there be any doubt that Stevie Ray Vaughn was the best blues >guitarist to ever walk the planet? His playing was so fluid, so >powerful, so solid. Although he was short of stature, Stevie was a >mighty, mighty man when it came to making a Stratocaster cry the >blues. He wasn't the first blues guitarist, and he surely owed a lot >to those who influenced him such as the traditional black urban blues >players, Texas blues and even Jimi Hendrix (who was a blues guitarist >on acid). I've heard many try to emulate him; I even heard a band on >the radio called "Texas Flood" that ought to be sued if they aren't >paying half their earnings to Stevie's estate. But none has matched >the pure power that Stevie brought to the guitar. To me, he will >always be THE MAN. Stevie is VERY big in my book and has a special place in my heart. However, "Texas Flood" is a Larry "Tootsie" Davis song and not a Stevie song, although Stevie covered it many times and perhaps even made it famous. So, Larry Davis's estate should get the earnings (since Davis passed away last year). Nuri Nuri, Host/Producer "Blues Brunch, Sundays 12-3p, KPFT 90.FM-Houston ========================================================================= Date: Mon, 13 May 1996 10:36:41 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Queen City Blues Festival Lineup!!!! We have a line-up for the Queen City (Cincinnati) Blues Festival! Here's a e-mail forwarded from the Greater Cincinnati Blues Society president! Remember...the festival is free and open to the public. Shannon -0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0 For Immediate Release Queen City Blues Fest '96 will be held July 13 and 14 at the Bicentennial Commons at Sawyer Point Park, Cincinnati, Ohio. Saturday, July 13 - 2:00pm-11:00pm Sunday, July 14 - 2:00pm-10:00pm National, regional, and local blues acts, workshops. Main Stage at P&G Pavilion - Little Charlie and the Nightcats, Sonny Moorman and the Dogs, Kelly Richey, Cincinnati Blues All-Stars, H-Bomb Ferguson, Steve Tracy and the Crawling Kingsnakes, Cross Eyed Cat, Soul Therapy, Blues Persuaders, Little Milton Arches Boogie Piano Stage - Carl Sonny Leland, Henry Butler, Joshua Paxton, Big Joe Duskin, Ricky Nye, Bob Seeley, Ann Rabson, Arthur Meftizza, Tom Dooley, Liz Pennock and Dr. Blues Free, outdoors Ride the Blues Train! I&O passenger train running from Sawyer Point to the East End both days. 12:00-9:00 pm. One hour round trip. Acoustic acts in the club car. Tickets $4 per one way trip. Call Ticketmaster (513) 749-4949. Tickets on sale soon. Travel Info: 1-800 CINCY USA Contact Person: Mary Ann Kindel (513)684-GCBS ========================================================================= Date: Mon, 13 May 1996 09:44:33 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re: NEW BLUES WEB SITE Comments: To: don.o@CHRYSALIS.ORG I'd ( also not associated, just a consumer) second that. Blue Cat Blues is one of the better venues in the south/southwest, and I'm happy it's in driving distance of Shrevesville. Jim _______________________________________________________________________________ Subject: NEW BLUES WEB SITE From: don.o@CHRYSALIS.ORG at INTERNET-SH Date: 05/11/96 11:21 PM > From: Doug Henry > > Hello from the Bid D'. We are a blues club located in Deep Ellum, > Texas, home to the blues. Our web site is you are interested is > http://www.ondaweb.com/bluecat/ This club (The Blue Cat) is one of my favorite places in DFW. Good folks. Don O. not associated-just a customer ========================================================================= Date: Mon, 13 May 1996 11:03:49 -0400 Reply-To: SliderDW@AOL.COM From: Don Williams Subject: Re: John Hammond recording -Reply Comments: To: roger.lew.struve@medtronic.com In a message dated 96-05-13 09:38:15 EDT, roger.lew.struve@MEDTRONIC.COM (Roger Struve) writes: > >ALSO very good are the LIVE CD on Rounder which was recorded live at >McCabe's, and if you can find the LP's, Footwork (footloose?) on >Vanguard, and Can't Beat the Kid (also on Vanguard). > > Footwork is supposed to come out on CD within a month or two according to someone I know who called the record company to ask! Don Williams ========================================================================= Date: Mon, 13 May 1996 11:00:44 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Least respected Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *Who IYHO do you think is the least respected blues artist that desverves *more respect....Maybe someone who has made a difference, but not really *getting the respect they deserve..... Maybe George "Harmonica" Smith, who was one of the great influental blues harp players, but often is overshadowed by the "big three" - Little Walter, Big Walter and Sonny Boy Williamson. Smith's influence on the West Coast scene is immeasurable. ========================================================================= Date: Mon, 13 May 1996 14:59:38 GMT Reply-To: Jos Potting From: Jos Potting Organization: Planet Internet Subject: Re: W.C.Clark/Rufus Thomas--new releases Comments: To: bit-listserv-blues-l@uunet.uu.net William Shute wrote: >Wow, a new studio album from Rufus Thomas! Mr. Rufus Thomas was at the Moulin Blues Festival in the Netherlands and it was a great, swingin' party. Go and see him live and (especially the girls) scream 'We Love You Rufus', he'll love it!. ========================================================================= Date: Mon, 13 May 1996 11:09:42 EDT Reply-To: Newman/Rabson <71552.541@COMPUSERVE.COM> From: Newman/Rabson <71552.541@COMPUSERVE.COM> Subject: John Hammond Album I haven't heard Mr. Hammonds new one in its entirety yet but I did buy it based on the piano work. I plan to listen to it as soon as time allows. I heard a cut on the radio while driving through NC (WNCW). I almost went off the road - the piano was my idea of right. Anyway I called and found out who it was (Mr B.). As soon as I got to my favorite CD store (this past weekend) I bought it. Generally I prefer John solo (and nearly everyone else) but am sure looking forward to this one. Ann Rabson ========================================================================= Date: Mon, 13 May 1996 10:25:05 -0500 Reply-To: akapil@MEDICINE.BSD.UCHICAGO.EDU From: "" Subject: SRV/Buddy Guy >On Fri, 10 May 1996 23:18:01 GMT Jack Oudiz said: > >>copped almost everything he ever thought of. SRV did virtually nothing >>to innovate or advance the state of blues guitar except increase the >>volume and speed at which it was played. His greatest (though some > >He added a few tunes to Buddy Guy's play list...I don't think SRV >was the first to play at loud volumes or play fast. Buddy's been doing that >for awhile. If SRV is so bad, how come Buddy Guy can't stop trying to be SRV >You tell me I have no idea >LW > I think you will find that a lot of times Buddy Guy does a lot of other peoples stuff not because he "can't stop trying to be", but because he has this habit of trying to musically say "here is what this guy learnt from me". I myself am not too keen on this side of him, but I love the guy's guitar playing dearly. He plays some of the most harrowingly beautiful slow blues stuff I've ever heard....when he is on! The closest I have ever heard SRV come to GOOD slow blues is on the PBS special recently, where he did some sort of an improv on 'Riviera Paradise', ........this performance was at best (IMHO) 'quite good'. He doesn't come close to making me feel the way Otis, Buddy, Magic Sam...(and Slim for that matter!) do; not to forget some of the unknown bluesmen doing the Chicago club scene right now. Having said that I'm probably a half generation youger than some of the more knowlegdeable prople out there on this list and have to admit that the reason I started listening to guys like Albert King in the first place was because SRV once said that he learnt a lot from Albert and Freddie!....However....once you've tasted single malt....... regards Adit. Aditya Kapil, PhD IBD Research Center Department of Medicine University of Chicago Ph: (312) 702 2283 FAX: (312) 702 2281 ========================================================================= Date: Mon, 13 May 1996 10:22:44 -0500 Reply-To: MARCIAG@VMS.CIS.PITT.EDU From: Marcia Grodsky Subject: Blues L T Shirt Orders --- Problems? I'm pretty dismayed by the mail that I received over the weekend about the Blues-L t shirts. The problems seem to boil down to two things: 1) I received a huge quantity of email from people who either didn't understand or didn't see the order instructions. We've been through this order process a couple of times now, and I've never run into this volume of problems before. I used essentially the same order instructions as before, so I'm really not sure where the problem is. If I screwed up something that I'm unaware of, please let me know and I'll try to clarify it. Meanwhile, you *CAN NOT* order a shirt be emailing me your address and order. You have to send the order, accompanied by payment, by snail mail. People outside the US should email me before sending any order, and I'll work out payment methods and postage. 2) I'm really taken aback by the large number of people who have sent me email saying that they don't read blues-l and want me to send them personal email appraising them of any and all developments re the t shirt sale. I can't poss- ibly accommodate this. I have a job and other responsibilities. This is a vol- unteer project. I don't mean to be snide about this and I'm more than willing to explain anything that anybody doesn't understand, give more details to any- body who missed out on earlier discussions, or email an order form to anybody who doesn't have one, but there are limits as to what I can or will do. Thanks for your understanding and cooperation. ---Marcia marciag@vms.cis.pitt.edu ========================================================================= Date: Mon, 13 May 1996 11:36:47 -0400 Reply-To: Dave Markovits From: Dave Markovits Subject: Chicago Blues Month I have heard from a variety of people who will be attending our beloved BluesFest at the end of the month. If you're coming to Chicago let me know. I've met some great people from the list and intend to meet as many folks as possible.(Aussies Ok)Thanks Bill Morgan. Anyway; The city has planned some great stuff surrounding Fest month. Tuesdays at the Chicago Cultural Center 78 E. Washington will screen different Blues Vids every Tuesday at 5 and 6. Tomorrow is two documentary videos shot at Buddy Guy's Legends. One is James Harmon and the other is Mike Morgan and the crawl. Afterwards free shuttle to Legends and free admission to the club. Next Tuesday I believe Detroit Junior is playing. I have Legends newsletter at home and will post Tues. acts tomorrow. These free events at the cultural center are always worthwhile. May 28th has the Noon Blues hour at Daley Center Plaza(Free) May 25th has rollin' on Randolph with Otis Clay (Again Free) Thursdays after work, Free sets at Chicago Music Mart(Jackson and State) This week; Howard and the White Boys, Next week Trey and the Blue Knights, and the following week Wailin' Walter. 5-6p.m. Thursday May 16th- Bobby Blue Bland/Larry MCcray/and Shirley King play at the Dusable Museum 56th and Cottage Grove. 17 Bucks. Take care; David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Mon, 13 May 1996 11:30:43 -0400 Reply-To: VoodooMojo@AOL.COM From: VoodooMojo@AOL.COM Subject: 50 yr old black dude from ghetto What is all this crap all youse middle-aged honkies be talkin bout? Sun Hose, Lonny Jonsun, Jonnie Shines, Muddie Waders, Robert Jonsun? You all be talkin bout your music collections and all that. Any true bluesman dont have that stuff. We got the one and only, the best, no, the GREATEST bluesman ever in our collection....Mr Slim Whitman... And Roger Whitaker is better than that Wolf guy you be harpin on. And we all know that the BEST damn blues musician is Zamfir with his steel pan flute....Man, his lips be 'Smokin'...And whats this Zeppelin crap? Why dont we talk about things like when an "..... augmented ninth works better than a diminished fifth when......" than, "my dog he got three legs, your dog he got none..." ? and "My cat he got three hundred names, your cat he be dead."? And what was this censorship garbage from dickochet rabbit and deputy dawg? Man, you honkies got it all wrong!...keep on bickering amongst yourselves whilst I sit back and listen to the great Ace Cannon. bye y'all the only true mojo ========================================================================= Date: Mon, 13 May 1996 09:20:45 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Aesthetics 101 >On 12 May 96, Don Cicchetti had this to say: > >> Ok folks, >> >> Since we don't have a FAQ on this, here is my suggestion on some general >> content to put in one if we had one. >> >> oh, and BTW, I would LOVE it if we had a strictly moderated group. I am >> on a tightly moderated martial arts group (CyberDojo) and it is GREAT. >> You can argue, you can disagree, but you can't say: so and so (action >> movie star) sucks, you can't say "my style is the best", you can't say some >> other MA style sucks etc etc. If you do this sort of no-brain flamebait >> you are promptly unsubscribed by the moderator. VERY cool. A >> well-mannered, yet very informative and interesting group. PW replied: >A great idea... as long as I get to be the annoying little cybergod >who gets to decide who is heard and who is not. > >Seriously, I'd rather have chaos and flamebait than one person who >decides who's post is worthy. It doesn't have to be tha way. A group can agree on some basic standards and a reasonable moderator can deal with the flagrant violations wihtout any such paranoid scenario developing. I've seen it happen, and it can work. If lots of us think it can't, of course, it won't, and that's fine too. But your scenario is an overheated one. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Mon, 13 May 1996 12:26:32 -0400 Reply-To: mjg@bradley.bradley From: mjg@BRADLEY.BRADLEY Subject: Pink Anderson LPs I finally found a copy of the great Pink Anderson LP "Carolina Blues Man" over the weekend (still-sealed and only 8.00!!). Talk about an underappreciated talent! This LP was released on the Bluesville label in 1960 (re-mastered and re-released in 1984), the first of three recorded for Bluesville. I have the 1964 record "Ballad and Folksinger," but I don't have any information on the third release. Does anybody have this other Bluesville recording? What is its title, and is it worth looking for? Mark ========================================================================= Date: Mon, 13 May 1996 16:25:21 GMT Reply-To: Beckie Sansom From: Beckie Sansom Organization: The National Capital FreeNet Subject: Otis Rush Recommendations? Comments: To: bit-listserv-blues-l@uunet.uu.net Hi there people.Have really enjoyed the postings about the various festivals and i`ve tried not to be too jealous about not being able to attend.Next year!! Anyhow,I would like to request that people recommend their favourite Otis releases.Please forgive me for asking.I know this has been covered in the past,so e-mail responses would be fine.So far i`ve decided on Live in Japan,Cold Day In Hell,but I want to purchase at least three others. incidentally,we are going to have our Ottawa Blues Fest this year in July. Many great artists such as Smokin` Joe Kubek and our very own local hot shot Tony D will be appearing.Can`t wait!! Last year Luther Allison, Son Seals, Robert Jr. Lockwood, Dave Hole, Koko Taylor,and John Mayall were all here and I saw them all!! Robert J Dewar & Beckie Sansom Ottawa Ontario Canada -- xBeckie Sansom Gloucester, Ontario ========================================================================= Date: Mon, 13 May 1996 09:35:33 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Aesthetics 101 > Don C wrote: >>If Blues-L were more tightly moderated we could tell all subscribers things >>like: >>Obvious flamebait (Muddy Waters sucks for instance, or ain't led zep great >>blues!!) will get you unsubbed. Jim W. replied: >Here's the problem with this one, Don - it seems like these types of posts >aren't coming from subscribers. I don't think there's any regular >contributors on Blues-l that post flamebait purposefully. For some reason >these post tend to show up on weekends (I don't know why - maybe there >should be a rule about posting while under the influence :-) ), and the >poster is generally never heard from again. It is _our own fault_ that >these threads keep going, even though the original poster had no intention >of beginning a reasonable discussion or debate. Folks, if you see something >like this, IGNORE IT!!! The poster will go away, the thread will die, and >all things will be well in Blueselleville. Listserv's can be setup to reject posts from non-subscribers. People who wish to subscribe can read the FAQ about what is out of bounds, and what may be contentious. This is not an insurmountable barrier. >>Calling people racists without compelling evidence will get you unsubbed. > >I do agree with this one. The word racist seems to be thrown around on a >seemingly random basis, usually without substantiation, and this is a word >that is beginning to lose any meaning in the English language. So at least there are some things that we can consider out of bounds. Good. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Mon, 13 May 1996 16:28:13 GMT Reply-To: Steven Hirsch From: Steven Hirsch Organization: National Agricultural Library Subject: Re: The Band. Comments: To: bit-listserv-blues-l@uunet.uu.net In article <01I4GW1GESO200RFBU@alpha.CC.OBERLIN.EDU>, Owen Okie wrote: >REcently got The Band's Last Waltz. I'm wondering what happened to all the >members after they broke up (in particular the lead guitarist)? > >Also, is Dr John actually a Dr by trade, or is this just a nickname? > >Thanks > > Owen To follow-up, I keep hearing that Robbie Robertson and Clapton are going to collaborate on an album. They wrote that awful theme song for Scorsese's "The Color of Money" years ago. Garth, IMHO one of the best musicians in rock, is all over Dave Olney's latest album "High, Wide and Lonesome" playing keyboards and sax. The Band played here last month supporting "High on the Hog" their latest album. I haven't heard it yet, but highly recommend "Jericho" from 2 years ago. The reviewer really panned Danko's playing, singing, and overall physical condition. I did see them a year ago, one of their best concerts since The Last Waltz, but they really miss Richard Manuel's singing. Is it just me, or is he one of the most affecting white rnb singers? And when will they release his version of "You Don't Know Me"? Steve, a big Band fan. Saw them with Dylan in '74, and many times since. ========================================================================= Date: Mon, 13 May 1996 12:43:12 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0065 From: "DUTTWEILER.J" Subject: Otis Rush Recommendations? Date: Monday, 13 May 1996 12:43pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Otis Rush Recommendations? Robert J Dewar wrote: > Anyhow,I would like to request that people recommend their favourite > Otis releases.Please forgive me for asking.I know this has been covered in t > past,so e-mail responses would be fine.So far i`ve decided on Live in > Japan,Cold Day In Hell,but I want to purchase at least three others. > incidentally,we are going to have our Ottawa Blues Fest this year in > July. Many great artists such as Smokin` Joe Kubek and our very own > local hot shot Tony D will be appearing.Can`t wait]] Last year Luther > Allison, Son Seals, Robert Jr. Lockwood, Dave Hole, Koko Taylor,and > John Mayall were all here and I saw them all]] > > Robert J Dewar & Beckie Sansom Having embarked on this same quest about a year ago on this list, I will be more than happy to contribute this time around. Most definitely get "Right Place, Wrong Time" as well as "So Many Roads" which is another "live" CD on Delmark. "Tops" is also good (on Blind Pig) as is "Live In Europe" on Evidence. The "live" Otis out there tends to be repetitive, which is why I like "Tops" so much (stellar version of "Right Place, Wrong Time" on it). But heck, what the Otis Rush bug has bit you, its ALL essential JD Ooops, forgot to mention, though I'm sure others will, his Cobra sides, which are definitive West Side blues and available in serveral different forms, recorded in the 50s. ========================================================================= Date: Mon, 13 May 1996 19:53:00 -0500 Reply-To: Patrik Urbansson From: Patrik Urbansson Subject: Piano Willie? Jimmy Rogers played in Sweden a couple of years ago. Jimmy Rogers wasn't in shape that night but his band were. Two of the members stole the show that night, Steve Guyger and Piano Willie. I know what Steve Guyger is doing today but what is Piano Willie doing? ========================================================================= Date: Mon, 13 May 1996 13:27:31 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Grammar Patrol . . . Comments: To: pwfenton@gate.net On May 13, PW Fenton issued a Muddy's Cabin press release which contained the line: >>>"Muddy's Cabin," which was severely destroyed by a >>>powerful tornado, Hmmm, sorry, can't let this one slide past. It was either 'severely damaged" or 'destroyed,' but it could not have been 'severely destroyed.' The press release also refers to the cabin as 'the birthplace of American blues' which seems to be historically inaccurate at the most and certainly a gross overstatement at the least. Grammar Patrol ========================================================================= Date: Mon, 13 May 1996 17:47:13 GMT Reply-To: vvisa@SIERRA.NET From: vvisa@SIERRA.NET Organization: Sierra-Net Subject: Guitar Mac and his Blues Express Comments: To: bit-listserv-blues-l@uunet.uu.net Guitar Mac and his Blues Express has a new CD on the way, will be relaesed before June 1, 1996. It is a hot one called SIZZLE. also he will be performing at the California State Fair for 6 filled days from 2:00 to 6:30pm the first and second week end Aug 16,17,18 and Aug 23,24,25. for a blues filled day at the Cal. State Fair stop by and get your share of Great Blues. ========================================================================= Date: Mon, 13 May 1996 14:02:25 -0400 Reply-To: smirkyface From: smirkyface Subject: Re: 50 yr old black dude from ghetto MEDICATION TIME BRIAN MCLEAN PHOTOGRAPHY & SMIRKYFACE PRODUCTIONS "life's too short to live the blues" http://www.netaxs.com/~blmclean ========================================================================= Date: Mon, 13 May 1996 13:58:30 +0000 Reply-To: tkelley@ARL.MIL From: Troy Kelley Organization: ARL Subject: Re: SRV - the best ever Date: Fri, 10 May 1996 05:46:03 GMT From: Jack Oudiz Subject: Re: SRV - The Best There Ever Was jwingat@INFOAVE.NET wrote: >Can there be any doubt that Stevie Ray Vaughn was the best blues >guitarist to ever walk the planet? His playing was so fluid, so >powerful, so solid. Although he was short of stature, Stevie was a >mighty, mighty man when it came to making a Stratocaster cry the >blues. He wasn't the first blues guitarist, and he surely owed a lot >to those who influenced him such as the traditional black urban blues >players, Texas blues and even Jimi Hendrix (who was a blues guitarist >on acid). I've heard many try to emulate him; I even heard a band on >the radio called "Texas Flood" that ought to be sued if they aren't >paying half their earnings to Stevie's estate. But none has matched >the pure power that Stevie brought to the guitar. To me, he will >always be THE MAN. -Be gentle folks! -It's really not fun when it's this easy... I will go out on a limb and defend this guy. I usually don't get into "this guy is the best" or "that guy is the best" kinda arguments, BUT SRV is argueably one of the best blues guitar players ever. Don't tell me I should go listen to Son House or Buddy Guy or Albert King or Freddy King or Albert Collins or who ever because I HAVE and SRV is on there level easy. SRV was one of the greatest "mistake free" guitarists I have ever heard. This is one thing that I have always liked about Eric Clapton, was his mistake free playing. But UNLIKE EC of later years, SRV plays with so much more power and feeling. SRV doesn't do anything spectacular in terms of licks, and he really doesn't go out on a limb for each song (he played Vodoo Chile more or less the same each time he played it) but he didn't make any mistakes and he played with power and feeling. The other thing that SRV invented was that cool blues guitar sound. No one before him had the Strat-tuned half step down-with a tube screamer- -lots of bass-blues guitar sound. Not Albert, BB, Freddy, even Jimi didn't play a half step down all the time. SRV invented that sound. That in itself makes him great. Troy ========================================================================= Date: Mon, 13 May 1996 13:10:34 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 05/14 B O R N : Bechet, Sidney Born:1897 NEW ORLEANS, LA Career;SOPRANO SAX / CLARINET / LEADER / COMPOSER Style:TRAD / JAZZ With:Silver Bells Band in 1911 / Eagle Band in 1914 / Clarence Williams in 1915 / Freddie Keppard / To Europe with Will Marion Cook, 1919-1921 BUFFINGTON, JIM JAMES LAWRENCE BUFFINGTON Born:1922 JERSEY SHORE, PA Career:FRENCH HORN Style:JAZZ CLARK, GRANT Born:1891 AKRON, OH Career:LYRICIST Style:POP / BIG BAND DANKWORTH. ALEC Born:1960 LONDON, UK Career:BASS / COMPOSER Style:JAZZ With:SON OF JOHNNY DANKWORTH & CLEO LAINE / TOMMY CHASE / CLARK TRACEY / TOMMY SMITH / JULIAN JOSEPH / MOSE ALLISON / MEL TORME / CLARK TERRY DARIN, BOBBY ( WALDEN ROBERT CASSOTTO ) Born:1936 BRONX, NY Career:SINGER / PIANO / GUITAR / DRUMMER / SONGWRITER Style:POP/ BIG BAND MARTIN, SKIP Born:1916 ROBINSON, IL Career:ARRANGER / TENOR SAX / ALTO SAX Style:JAZZ / BIG BAND PLATER, BOBBY Born:1914 NEWARK, NJ Career:ALTO SAX Style:BLUES / JAZZ With:COUNT BASIE / TINY BRADSHAW PORCINO, AL Born:1925 NEW YORK, NY Career:TRUMPET Style:JAZZ / BIG BAND SINGLETON, ZUTTY ( ARTHUR JAMES SINGLETON ) Born:1898 BUNKIE, LA Career:DRUMMER Style:TRAD / JAZZ With:LOUIS ARMSTRONG / CARROLL DICKERSON / ROY ELDRIDGE / EDDIE CONDON / NAPPY LAMARE / BILL COLEMAN / MEZZ MEZZROW TACK, GEORGE WILLIAM (TACKA, FATSO) Born:1919 MELBOURNE, VIC. AUSTRALIA Career:CLARINET / TENOR SAX / SINGER Style:JAZZ With:Ade Monsbourgh / George Fong / Don Banks / Charlie Blott / Tony Newstead's South Side Gang / Portsea Trio / Bill Miller / Will McIntyre VISOR, CARRINGTON LIVINGSTON JR Born:1934 WASHINGTON, D.C.Career:TENOR SAX / FLUTE / CLARINET / COMPOSER Style:JAZZ WILLIAMS, PEARLIS Born:1909 CLOUCESTER, MS Career:DRUMMER Style:BLUES / JAZZ With:HARLEM HAMFATS WILLIAMSON, STU ( STUART LEE WILLIAMSON ) Born:1933 BRATTLEBORO, VT Career:TRUMPET / VALVE TROMBONE Style:JAZZ / BIG BAND Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Mon, 13 May 1996 14:05:49 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: SRV - The Best There Ever Was >On Fri, 10 May 1996 23:18:01 GMT Jack Oudiz said: > >>copped almost everything he ever thought of. SRV did virtually nothing >>to innovate or advance the state of blues guitar except increase the >>volume and speed at which it was played. His greatest (though some LW replied > >He added a few tunes to Buddy Guy's play list...I don't think SRV >was the first to play at loud volumes or play fast. Buddy's been doing that >for awhile. If SRV is so bad, how come Buddy Guy can't stop trying to be SRV >You tell me I have no idea >LW Because that's where the $$ are. (No moral judgement expressed or implied.) Chris Smith (chris@skerries.demon.co.uk) If a synchronised swimmer drowns, do the rest have to? ========================================================================= Date: Mon, 13 May 1996 14:06:57 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Pink Anderson LPs >I finally found a copy of the great Pink Anderson LP "Carolina >Blues Man" over the weekend (still-sealed and only 8.00!!). Talk >about an underappreciated talent! This LP was released on the >Bluesville label in 1960 (re-mastered and re-released in 1984), the >first of three recorded for Bluesville. I have the 1964 record "Ballad >and Folksinger," but I don't have any information on the third release. >Does anybody have this other Bluesville recording? What is its >title, and is it worth looking for? > >Mark The second album was called 'Medicine Show Man', and while I don't have it, I bet it's worth looking for! NB, Original Blues Classics have his first and third LPs out on CD (OBCCD 504 and 577 resp). They also have Rev. Gary Davis and Pink Anderson, 'Gospel, Blues & Street Songs' on OBCCD 524. This is an old Riverside LP with a side of each man, and is absolutely positively definitely worth looking for! Pink's sides are from 1950, recorded at a fair in Virginia, and Rev. Davis's are from 1956. Chris Smith (chris@skerries.demon.co.uk) If a synchronised swimmer drowns, do the rest have to? ========================================================================= Date: Mon, 13 May 1996 13:15:50 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re[2]: The Band. Comments: To: Steven Hirsch Yeah, and Jim Weider seems tobe fitting in really well as the guitarist, too. His style is his own, but very compatible with Robertson's. Jim _______________________________________________________________________________ Subject: Re: The Band. From: Steven Hirsch at INTERNET-SH Date: 05/13/96 1:06 PM In article <01I4GW1GESO200RFBU@alpha.CC.OBERLIN.EDU>, Owen Okie wrote: >REcently got The Band's Last Waltz. I'm wondering what happened to all the >members after they broke up (in particular the lead guitarist)? > >Also, is Dr John actually a Dr by trade, or is this just a nickname? > >Thanks > > Owen To follow-up, I keep hearing that Robbie Robertson and Clapton are going to collaborate on an album. They wrote that awful theme song for Scorsese's "The Color of Money" years ago. Garth, IMHO one of the best musicians in rock, is all over Dave Olney's latest album "High, Wide and Lonesome" playing keyboards and sax. The Band played here last month supporting "High on the Hog" their latest album. I haven't heard it yet, but highly recommend "Jericho" from 2 years ago. The reviewer really panned Danko's playing, singing, and overall physical condition. I did see them a year ago, one of their best concerts since The Last Waltz, but they really miss Richard Manuel's singing. Is it just me, or is he one of the most affecting white rnb singers? And when will they release his version of "You Don't Know Me"? Steve, a big Band fan. Saw them with Dylan in '74, and many times since. ========================================================================= Date: Mon, 13 May 1996 14:23:28 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Least respected >*Who IYHO do you think is the least respected blues artist that desverves >*more respect....Maybe someone who has made a difference, but not really >*getting the respect they deserve..... > Walter Davis - you can hear his economical, modal piano style on JImmy McCracklin's early postwar sides, Mercy Dee, J.D. Nicholson ... A great songwriter, too. Chris Smith (chris@skerries.demon.co.uk) If a synchronised swimmer drowns, do the rest have to? ========================================================================= Date: Mon, 13 May 1996 11:25:43 -0700 Reply-To: Doug Henry From: Doug Henry Subject: Rod Piazza & The Mighty Flyers Rod Piazza & The Mighty Flyers will be at Blue Cat Blues, Dallas, Texas on June 2 and 3 for two nights. This is a barbecue and blues event with free bbq at 7pm and showtime each night at 9:00. See web page at http://www.ondaweb.com/bluecat/ for more info or pricing. Two night price available. ========================================================================= Date: Mon, 13 May 1996 11:29:01 -0700 Reply-To: Doug Henry From: Doug Henry Subject: Brody Buster Brody Buster will be at Blue Cat Blues, in Dallas, Texas on May 18 for one night. Brody Buster is the 11 year old harmonica prodigy, and is traveling with his Black, White, & blues Show Band. For more information see our web page at http://www.ondaweb.com/bluecat/ ========================================================================= Date: Mon, 13 May 1996 18:33:18 GMT Reply-To: bbbean@sheltonlink.com From: bbbean@SHELTONLINK.COM Organization: inlink Subject: Re: Blues Revue's Done it Again Comments: To: bit-listserv-blues-l@uunet.uu.net In , Steven Levine writes: >I got the latest issue of Blues Revue in the mail today (odd, because I >didn't renew my subscription and I thought the one with Cher's ex husband >on the cover was my last). Guess who's on the cover? Those great, >influental bluesmen Jim Belushi, Dan Ackroyd and John Goodman. Oh well, >at least I didn't pay for this one. Well I guess compared to the stellar blues legends Hootie and the Blowfish and the Sex Pistols that play at HOB,Akroyd et al are the real thing. Oddly enough when I first met Bob Vorel (publisher of Blues Revue) he was a dyed-in-the-wool purist. I guess thats changed now. BBB B.B. Bean bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Mon, 13 May 1996 21:55:08 +0300 Reply-To: T P Uschanov From: T P Uschanov Subject: Re: Stolen Instr. List (no blues content) Comments: To: "Roger B." In-Reply-To: On Sat, 11 May 1996, Roger B. wrote: > Thought I'd post this as a music related community service. A new web page > for listing stolen musical gear is found at: > > http://web20.mindlink.net/pha/stlngear.htm Some of you might find it fascinating that I, upon seeing the subject line, thought someone had put up a web page devoted to stolen instrumentals, such as "12 Bar Original," which the Beatles stole from Booker T. and the MGs... T P Uschanov, University of Helsinki, Finland, European Union tuschano@cc.helsinki.fi ### http://www.helsinki.fi/~tuschano/ "Omnia praeclara tam difficilia, quam rara sunt." (Baruch Spinoza, 1632-1677) ========================================================================= Date: Mon, 13 May 1996 11:59:17 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: 50 yr old black dude from ghetto Comments: To: abuse@aol.com Comments: cc: voodoomojo@aol.com I've forwarded this post to a department at AOL that deals with net abuse. >Date: Mon, 13 May 1996 11:30:43 -0400 >Reply-To: VoodooMojo@AOL.COM >Sender: Blues Music List >From: VoodooMojo@AOL.COM >Subject: 50 yr old black dude from ghetto >To: Multiple recipients of list BLUES-L > >What is all this crap all youse middle-aged honkies be talkin bout? Sun Hose, >Lonny Jonsun, Jonnie Shines, Muddie Waders, Robert Jonsun? You all be talkin >bout your music collections and all that. Any true bluesman dont have that >stuff. We got the one and only, the best, no, the GREATEST bluesman ever in >our collection....Mr Slim Whitman... And Roger Whitaker is better than that >Wolf guy you be harpin on. And we all know that the BEST damn blues musician >is Zamfir with his steel pan flute....Man, his lips be 'Smokin'...And whats >this Zeppelin crap? Why dont we talk about things like when an "..... >augmented ninth works better than a diminished fifth when......" than, "my >dog he got three legs, your dog he got none..." ? and "My cat he got three >hundred names, your cat he be dead."? And what was this censorship garbage >from dickochet rabbit and deputy dawg? Man, you honkies got it all >wrong!...keep on bickering amongst yourselves whilst I sit back and listen to >the great Ace Cannon. >bye y'all >the only true mojo Dear sir, This inflammatory post was received by the Blues-L Mailing List this morning. Our list is devoted to discussing all aspects in the blues, not to dispensing such obvious flamebait and dealing with it on a regular basis. The person who posted this message obviously has no interest in intelligent discourse, and should be informed on basic netiquette. Sincerely, Jim Witteveen ========================================================================= Date: Mon, 13 May 1996 14:22:22 -0500 Reply-To: akapil@MEDICINE.BSD.UCHICAGO.EDU From: "" Subject: Re: 50 yr old black dude from ghetto What's up buddy.........you feeling alright or what? >What is all this crap all youse middle-aged honkies be talkin bout? Sun Hose, >Lonny Jonsun, Jonnie Shines, Muddie Waders, Robert Jonsun? You all be talkin >bout your music collections and all that. Any true bluesman dont have that >stuff. We got the one and only, the best, no, the GREATEST bluesman ever in >our collection....Mr Slim Whitman... And Roger Whitaker is better than that >Wolf guy you be harpin on. And we all know that the BEST damn blues musician >is Zamfir with his steel pan flute....Man, his lips be 'Smokin'...And whats >this Zeppelin crap? Why dont we talk about things like when an "..... >augmented ninth works better than a diminished fifth when......" than, "my >dog he got three legs, your dog he got none..." ? and "My cat he got three >hundred names, your cat he be dead."? And what was this censorship garbage >from dickochet rabbit and deputy dawg? Man, you honkies got it all >wrong!...keep on bickering amongst yourselves whilst I sit back and listen to >the great Ace Cannon. > >bye y'all > >the only true mojo > > Aditya Kapil, PhD IBD Research Center Department of Medicine University of Chicago Ph: (312) 702 2283 FAX: (312) 702 2281 ========================================================================= Date: Mon, 13 May 1996 14:27:10 -0500 Reply-To: Birmingham From: Birmingham Subject: Magic Slim & Warren Haynes Warren Haynes sat it with Magic Slim last Saturday night at B.L.U.E.S ETC. in Chicago. They did four songs with Warren taking the vocals on "Have You Ever Loved A Woman". He also broke out the slide on "Can't Hold Out". Magic Slim was a man possessed offering to help any woman become a mother in honor of Mother's Day. I left after the second set, anyone know what went on during the last set? Sean Birmingham ========================================================================= Date: Mon, 13 May 1996 15:27:11 -0400 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: 50 yr old black dude from ghetto Comments: To: VoodooMojo@aol.com In-Reply-To: <960513113043_112516281@emout07.mail.aol.com> I hope you don't think that I/we think you're Black! In future, if you want to be taken seriously, use your name. NoMoMojo On Mon, 13 May 1996 VoodooMojo@AOL.COM wrote: > What is all this crap all youse middle-aged honkies be talkin bout? Sun Hose, > Lonny Jonsun, Jonnie Shines, Muddie Waders, Robert Jonsun? You all be talkin > bout your music collections and all that. Any true bluesman dont have that > stuff. We got the one and only, the best, no, the GREATEST bluesman ever in > our collection....Mr Slim Whitman... And Roger Whitaker is better than that > Wolf guy you be harpin on. And we all know that the BEST damn blues musician > is Zamfir with his steel pan flute....Man, his lips be 'Smokin'...And whats > this Zeppelin crap? Why dont we talk about things like when an "..... > augmented ninth works better than a diminished fifth when......" than, "my > dog he got three legs, your dog he got none..." ? and "My cat he got three > hundred names, your cat he be dead."? And what was this censorship garbage > from dickochet rabbit and deputy dawg? Man, you honkies got it all > wrong!...keep on bickering amongst yourselves whilst I sit back and listen to > the great Ace Cannon. > > bye y'all > > the only true mojo > ========================================================================= Date: Mon, 13 May 1996 12:40:13 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: SRV - the best ever Comments: cc: tkelley@ARL.MIL Ok, I know I shouldn't respond to this, but my willpower is weak this morning. But Troy Kelley wrote: >I will go out on a limb and defend this guy. I usually don't get into >"this guy is the best" or "that guy is the best" kinda arguments, BUT >SRV is argueably one of the best blues guitar players ever. I think that almost everyone on this list agrees with this. SRV was a hell of a blues player and is up there. Where he stands though exactly is a matter of opinion. The guy you are defending made the idiotic statement that SRV *was the best*!?!? That is what a few of us got upset about (and rightly so). >Don't tell me I should go listen to Son House or Buddy Guy or Albert >King or Freddy King or Albert Collins or who ever because I HAVE and SRV >is on there level easy. Ya know, when I think of the blues two names seem to stand tall and cast shadows over us all. Son House and Muddy Waters. To elevate SRV, while being very popular and influential, to this level, ahead of so many others, is absurd. Others have touched the shoulders of giants but the rest of us must be content to stand at heir feet. BTW, if you do come onto this list and say that SRV was the greatest ever then expect to be told to go and listen to Son House, Muddy Waters etc because you obviously need to do so. >SRV was one of the greatest "mistake free" guitarists I have ever heard. >This is one thing that I have always liked about Eric Clapton, was his >mistake free playing. But UNLIKE EC of later years, SRV plays with so >much more power and feeling. Mistake free?! I have a boot from 1985 where SRV makes some very noticable mistakes. Missed notes, missed changes (!) etc. SRV wasn't a god. He was human *and he made mistakes* in his playing. Probably more than you realize. BTW what is it about mistkae free playing that impresses people so? Listen to any great blues guitarist (especially live recordings) you will hear mistakes. The thing is they know how to recover and use their mistakes to create something. Go talk to any guitarist who solos and improvises. They will tell you that they make mistakes all the time. It is about recovering and using your mistakes. That is one thing I don't like about EC's playing. It is too perfect. It doesn't have the wild abandon that really marks a great guitarist. True beauty (and improvisation) never is found in perfection. >SRV doesn't do anything spectacular in terms of licks, and he really >doesn't go out on a limb for each song (he played Vodoo Chile more or >less the same each time he played it) but he didn't make any mistakes >and he played with power and feeling. I won't deny SRV's emotional qaulities. But see above about mistakes. >The other thing that SRV invented was that cool blues guitar sound. No >one before him had the Strat-tuned half step down-with a tube screamer- >-lots of bass-blues guitar sound. Not Albert, BB, Freddy, even Jimi >didn't play a half step down all the time. SRV invented that sound. That >in itself makes him great. I think Jimi spent a good deal of his career a half-step down except for some early stuff. But this argummnt is really stupid. Alber King tuned way more than a half-step down and invented the realy cool blues guitar sound that influenced and certain Texan guitar-slinger. But of course it wasn't as good as he didn't use a Tube-Screamer. BB King came up with that sweet blues guitar sound. But he used a Gibson tuned to E. At least Albert Collins used a Fender, but it wasn't a Strat, even though it was a cool blues sound. What type of statement is "Not Albert, BB, Freddy, even Jimi didn't play a half step down all the time."? Becasue they didn't play a half-step down it lessens their accomplishments? They didn't need to! They already had a tone! Troy, the vast majority of people on this list do like SRV and what he did. But if you are going to defend posts like "SRV was the greatest ever" you are getting into deep waters. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Mon, 13 May 1996 15:33:00 -0400 Reply-To: MVinyl@AOL.COM From: Mike Vinyl Subject: Re: ANDRE WILLIAMS? Comments: To: ping9787@pophost.ping.be The Andre Williams LP that Eliot was talking about is Australian release of dubious origins and is available through Norton Records in New York. At least it was a couple of years back when I got my copy. Norton's phone number is (718) 789-4438. Incidently, Mr. Williams is very much alive and well and Norton just put out some recent recordings of his with the El Dorados. ========================================================================= Date: Mon, 13 May 1996 14:54:26 -0500 Reply-To: akapil@MEDICINE.BSD.UCHICAGO.EDU From: "" Subject: Blues in the movies?? Hi I've seen a few movies with blues in them, but the songs always seem to be in the background of a club for about a mintute or two. Two notable exceptions are Crossroads and Blues Brothers. Are there any other movies out there with 'densely packed' blue sound tracks.....or with a good blues-oriented story line? Thank you all. Adit. Aditya Kapil, PhD IBD Research Center Department of Medicine University of Chicago Ph: (312) 702 2283 FAX: (312) 702 2281 ========================================================================= Date: Mon, 13 May 1996 16:19:00 EDT Reply-To: edward c liu From: edward c liu Subject: SITTING AND THINKING: Hubert Sumlin, _Heart and Soul_ Howdy all, Submitted for your reading enjoyment. If you won't enjoy it, don't read it =8^). -- Ed Edward C. Liu | "If you can't laugh at yourself, then you've edwick@cc.bellcore.com | never seen yourself sleeping." | -- Harry Anderson The opinions in this message are mine and not Bellcore's. Really! *------------------------------cut heer------------------------------* HUBERT SUMLIN HEART & SOUL BLIND PIG #73389 This disc from Blind Pig reunites two living legends of the blues -- guitarist Hubert Sumlin and harmonica player James Cotton. Hubert's first break in the blues world did not come when he joined the Howlin' Wolf band, but when he was touring with James Cotton on the chitlin circuit before the duo made their way to Memphis and Sam Phillips' Sun Studios. The two parted the ways in Chicago to gain notoriety as reigning sidemen, with Cotton backing Muddy Waters and Sumlin backing Howlin' Wolf. Backed by Little Mike and the Tornadoes, Hubert and Cotton pick up where they left off for this album. These are two masters of their trade, and the interplay between these musicians is astounding to hear. This disc is composed of 7 originals by Hubert, plus three certifiable blues classics. Bring a fork and a steak knife to the stereo, because you're in for some real meaty blues here. YOUR FOXY SELF / CHUNKY / SITTING ON TOP OF THE WORLD / I WANT YOU / BRING YOUR LOVE TO ME / THE RED ROOSTER / JUKE / NO TIME FOR ME / GOT THE BLUES / OLD FRIENDS NYCD Takes YOUR FOXY SELF: A staccato rockabilly burst from the guitar starts off this fast-paced rocker. Hubert's vocals combine his naturally smooth vocal tone with some wonderfully rough-hewn lyrics. The guitar Hubert contributes is extremely simple, playing off Cotton's harp wonderfully, before he kicks off into a straight-ahead twangy lead. CHUNKY: An instrumental that re-defines the word funky. Hubert's guitar pecks and scratches like a chicken, with each and every note sharply articulated and picked with surgical precision. Even the "chunks" from his muted strings are done with absolute control. Cotton's harp parts are pure Chicago magic, and Little Mike gets in some tasty keyboard licks as well before the song is through. The way these three players weave in and out of each others' lines is simply spectacular. SITTING ON TOP OF THE WORLD: One of two tributes on this disc to Hubert's mentor in the blues, this is a masterful take on the Howlin' Wolf classic. It starts with a lonely, lonely howl from Cotton's harp. The band follows his lead with one of the most downhearted intros ever put on record. Hubert's vocals are wonderfully understated, and he is tremendously effective at using his guitar to echo his vocal lines. I WANT YOU: A fast-paced, straightforward 12-bar that could be used instead of CPR to revive heart attack victims. Hubert steps forward for vocal chores, and then steps back to let Cotton strut his stuff during the first solo section. Hubert's rhythm is exemplary, maintaining his presence on the track without detracting from Cotton's solos or his own voice. The second solo is pure wizardry from Hubert. There may be people who play it faster, but none who play it better. BRING YOUR LOVE TO ME: Hard, chunky rhythm chords lead into this quick shuffle done in the vein of Elmore James or Hound Dog Taylor. Subtlety goes out the window in favor of a rhythm groove that can level buildings. Hubert's guitar work is masterful, managing-to combine power and energy with his precise picking style to produce some unique and gripping music. THE RED ROOSTER: The second tribute to the Wolf. The band slows it way down, giving Hubert and Cotton plenty of room to work. The two instruments play off each other wonderfully, playing the famous riff in sync during the vocal section and backing each other flawlessly for the solo sections (Cotton first, Hubert after). Down and dirty blues done the way it ought to be. JUKE: Cotton's re-take on the Little Walter classic, and the third of the three tunes on this disc not penned by Hubert. The band takes this version at a steady clip, a mite faster than the original. This is Cotton's show all the way, with his harmonica gleefully running amuck with the same exuberant energy and primal force Little Walter had. The only complaint one might have is that they cut the track way too short at a minute and a half. NO TIME FOR ME: Only a master guitarist like Hubert can manage to take a simple riff and load it up with as much pain and hurting as he does for the intro to this slow blues. Cotton's harmonica is similarly loaded, packing a mighty wallop. This is a stripped down number with minimal accompaniment from the rhythm section, leaving plenty of room for Hubert's stricken vocals, his sharp-edged guitar, and Cotton's mournful harmonica. These two dig deep enough to find water in the Sahara. GOT THE BLUES: A simple, catchy riff is started by Hubert and picked up by the band for this funky, stop-time number. Hubert's vocals are a delight, syncopated from the beat to surprise you and catch you off guard. Cotton and Hubert have a friendly duel for the solo section, each filling in the holes left by the other. OLD FRIENDS: Another stripped down number, leaving Cotton and Hubert to their own devices. There is sheer studio magic happening on this track. The two form a wonderful duo, with Hubert's spare rhythm guitar and vocals backing Cotton's exuberant, gripping harmonica. From the intro to the fadeout, you can really feel the bond between these two performers coming through loud and clear. Reviewed by Edward C. Liu Copyright 1996 NY CD Blues Unauthorized use prohibited NY CD Blues at http://www.panix.com/~bsco/ ========================================================================= Date: Mon, 13 May 1996 20:27:00 GMT Reply-To: RogerB From: vvisa@SIERRA.NET Organization: Sierra-Net Subject: Blues power Comments: To: bit-listserv-blues-l@uunet.uu.net Roger B if you see Sonny Rhodes, tell him we send a big warm ' hello' from Sacramento, California. from Guitar Mac. We have another CD on the way should be released before June 1. we called this one SIZZLE . Ronnie Stewart is playing guitar and there is 2 cuts with Roy Rogers, from the LP that was done in Europe with Tom Mazzolini. Phil G says Hi also. Guitar Mac and His Blues Express. ========================================================================= Date: Mon, 13 May 1996 20:25:32 GMT Reply-To: Jos Potting From: Jos Potting Organization: Planet Internet Subject: blues lessons Comments: To: bit-listserv-blues-l@uunet.uu.net Today I bought a Big Joe Turner cd called 'Roll 'em' . I was wondering if someone on the list (and not living in Europe) knows this album. In order to get a historical view of blues I decided to subsribe to a series of blues records that is accompagnied by a paper called The Blues Collection. The Big Joe Turner cd is number 42, still 10 artists to go ( Champion Jack Dupree, Johnny Copeland, Arthur Crudup among them) The music on the ceedees is of varying quality and seemed to be compilations of material from different sources: sometimes it is consisting a live performance, sometimes there are 'hits' on it from a certain decennium. The magazines concerning the musicians are very informative with great stories and nice pictures. I am curious to know if somebody on the list recognizes this description of this series and what opinion he/she has on it. Hopefully I pass my blues examination (I failed in English but I'm working on it!) Jos ========================================================================= Date: Mon, 13 May 1996 20:25:17 GMT Reply-To: Jos Potting From: Jos Potting Organization: Planet Internet Subject: what about compilations? Comments: To: bit-listserv-blues-l@uunet.uu.net There is a question to which I cannot find a definitive answer! Maybe someone on the list can help me (I'm not sure if this question was asked and answered before, I'm reading the list for six months). The last two Ceedees I bought were both compilations: The Rounder and the Alligator Anniversary boxes. I also had the opportunity to listen to the 4 cd set Chess Blues (o.k. I confess: I made a backup ;' ) I was very pleased by what was on them, especially the variation of styles and the introduction to unknown artists. So far so good, no problems but hours of pleasure. But I discovered more bluescompilations in my collection which I once enthusiastically bought or taped. However, compared to my last gains they were not exciting, not wanting to know more about the artists and have titles like 'Blues Ballads Volume 1' or 'Best in Blues'. Here is my question: what makes a compilation album a good one; is it the fact that 'The best of question' is not taken seriously? Is there one final aim for making compilations? greetings (no tulips) from Holland, Jos ========================================================================= Date: Mon, 13 May 1996 16:14:22 +0000 Reply-To: tkelley@ARL.MIL From: Troy Kelley Organization: ARL Subject: Re: SRV - the best ever Comments: To: Shaun T Cronin Shaun T Cronin wrote: > > >I will go out on a limb and defend this guy. I usually don't get into > >"this guy is the best" or "that guy is the best" kinda arguments, BUT > >SRV is argueably one of the best blues guitar players ever. > > I think that almost everyone on this list agrees with this. SRV was a hell > of a blues player and is up there. Where he stands though exactly is a > matter of opinion. The guy you are defending made the idiotic statement > that SRV *was the best*!?!? That is what a few of us got upset about (and > rightly so). OK. It is impossible to say one is "the best" unless you have some kind of criteria to judge by. And I think you could come up with some kind of criteria that SRV would win. But he is ARUGUEABLY one of the best guitar players. > > >Don't tell me I should go listen to Son House or Buddy Guy or Albert > >King or Freddy King or Albert Collins or who ever because I HAVE and SRV > >is on there level easy. > > Ya know, when I think of the blues two names seem to stand tall and cast > shadows over us all. Son House and Muddy Waters. To elevate SRV, while > being very popular and influential, to this level, ahead of so many others, > is absurd. Others have touched the shoulders of giants but the rest of us > must be content to stand at heir feet. (more flame bait) I don't consider Muddy Waters to be a great guitar player. He was good. But that was not what he strove to be. Muddy was a great song writer and he had a huge set of balls that he could project nicely on stage, he was a great blues man - but I don't think that he could not play Rivera Paradise like SRV. > > BTW, if you do come onto this list and say that SRV was the greatest ever > then expect to be told to go and listen to Son House, Muddy Waters etc > because you obviously need to do so. I have. I don't understand your point here. > > >SRV was one of the greatest "mistake free" guitarists I have ever heard. > >This is one thing that I have always liked about Eric Clapton, was his > >mistake free playing. But UNLIKE EC of later years, SRV plays with so > >much more power and feeling. > > Mistake free?! I have a boot from 1985 where SRV makes some very noticable > mistakes. Missed notes, missed changes (!) etc. SRV wasn't a god. He was > human *and he made mistakes* in his playing. Probably more than you > realize. Yeah.. when he was all screwed up on drugs he made a few mistakes. But when he was clean and sober, he was right on the money ALL THE TIME. Check out his last Austin City Limits performance. That performance was awesome. > > BTW what is it about mistkae free playing that impresses people so? Listen > to any great blues guitarist (especially live recordings) you will hear > mistakes. Mumm.. You mean like your 1985 bootleg SRV performance? The thing is they know how to recover and use their mistakes to > create something. Go talk to any guitarist who solos and improvises. They > will tell you that they make mistakes all the time. It is about recovering > and using your mistakes. That is one thing I don't like about EC's playing. > It is too perfect. It doesn't have the wild abandon that really marks a > great guitarist. True beauty (and improvisation) never is found in > perfection. I am a guitarist. I play blues and jazz. I don't like to make mistakes. Most guitarists you will ask don't like mistakes - whether they improvise or not. I totally disagree that improvision should have mistakes to be truely creative. There is an absolute purity and beauty in mistake free improvisation. Listen to some John Coltrane if you want an example of that or - the early live CREAM stuff with Eric C. in his prime was mistake free improvisation. Why do you think they called him God? > > >SRV doesn't do anything spectacular in terms of licks, and he really > >doesn't go out on a limb for each song (he played Vodoo Chile more or > >less the same each time he played it) but he didn't make any mistakes > >and he played with power and feeling. > > I won't deny SRV's emotional qaulities. But see above about mistakes. As a musician I appreciate mistake free playing. But I also like Buddy Guy, who I think makes some great mistakes here and there, but he is having a good time doing it and I like his vibe. > > >The other thing that SRV invented was that cool blues guitar sound. No > >one before him had the Strat-tuned half step down-with a tube screamer- > >-lots of bass-blues guitar sound. Not Albert, BB, Freddy, even Jimi > >didn't play a half step down all the time. SRV invented that sound. That > >in itself makes him great. > > I think Jimi spent a good deal of his career a half-step down except for > some early stuff. But this argummnt is really stupid. Well.. it might be stupid, but your wrong. All the Jimi stuff that I have on record and have ever played along with, only a few songs are played a half step down. I would say he tuned down 10 to 20 percent of the time. > > Alber King tuned way more than a half-step down and invented the realy cool > blues guitar sound that influenced and certain Texan guitar-slinger. But of > course it wasn't as good as he didn't use a Tube-Screamer. BB King came up > with that sweet blues guitar sound. But he used a Gibson tuned to E. At > least Albert Collins used a Fender, but it wasn't a Strat, even though it > was a cool blues sound. > > What type of statement is "Not Albert, BB, Freddy, even Jimi didn't play a > half step down all the time."? Becasue they didn't play a half-step down it > lessens their accomplishments? They didn't need to! They already had a > tone! I guess the point was that SRV invented a GREAT blues guitar sound. Albert played a flying-V through a Fender, and his tone was generic. When I listen to Albert I can tell it is him because of his licks, which were unusual because he was playing a guitar upside down, but not his tone. BB played a 335 through a fender. Nothing special there but he has great tone in his hands, and that great BB vibroto. Jimi played through lots of different things, but he defined the overdriven rock-n-roll sound of a Strat and a Marshall. Why do you think there are so many guys who sound like SRV? Kenny Wayne Shepard and Chris Duarte' and a whole host of others? Maybe it is because that sound that SRV defined is such a great sound?? > > Troy, the vast majority of people on this list do like SRV and what he did. > But if you are going to defend posts like "SRV was the greatest ever" you > are getting into deep waters. I like deep "muddy" waters. Troy ========================================================================= Date: Mon, 13 May 1996 13:44:58 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Gearheads *New-manufacture 12AX7 Tubes* I learned this morning, that Phillips purchased some of the Telefunken machinery with which to make tubes, and is producing a new 12AX7 in the Czech Republic. The source for this information is a normally reliable one, and I sure hope it is true. He said that you cannot hear the difference between this tube and the Telefunken originals, even on good tube hi-fi gear. The Telefunkens are going for 50.00 each BTW --yikes!-- The new Phillips tubes are 10.00 each in small quantities. Great price if the tube is anywhere near as good as it is supposed to be. I have one on order, and will let you know what I think of it. If you want to try one out yourself, you can get them from: Antique Electronic Supply 6221 S. Maple Ave Tempe, AZ 85283 602 820-5411 Ask for the Phillips 12AX7 made to be a replica of the Telefunkens. If anybody gets some of these I would love to hear your opinion on them. I hope they make some 6L6's, EL84's, 12AT7's etc! DC no affiliation with any sales org. or manufacturer. (and if I was I could get 'em cheaper huh? dang!) ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Mon, 13 May 1996 15:53:45 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: SRV - the best ever In-Reply-To: Message of Mon, 13 May 1996 16:14:22 +0000 from On Mon, 13 May 1996 16:14:22 +0000 Troy Kelley said: > >(more flame bait) I don't consider Muddy Waters to be a great guitar player. >He was good. But that was not what he strove to be. >Muddy was a great song writer and he had a huge set of balls that he could >project nicely on stage, he was a great blues man - >but I don't think that he could not play Rivera Paradise like SRV. Muddy did not need to play Rivera Paradise, he got his point across without a bunch of notes. Albert King played very few notes, but he got his point across and used RESTRAINT. Albert said when you find the perfect note why noodle around looking for a more perfect note. I do not think you understand what the BLUES is about. It has nothing do with mistakes, lots of notes, complex arrangements, tones, hats, boots...etc It's all about expressing yourself. The hardest thing for a guitar player to learn is restraint. Take BB King for example, he can play one note and say it all. I like SRV, but he never said it like Albert, BB, Freddie.....etc. God knows no one never said it like SON HOUSE and never will IMHO...... LW ========================================================================= Date: Mon, 13 May 1996 16:08:34 -0500 Reply-To: Vicki Bean From: Vicki Bean Organization: inlink Subject: Re: non-performer Handys Comments: To: bit-listserv-blues-l@uunet.uu.net In article <4msrug$qq5@news.nyu.edu>, "Jennifer A. Zogott" wrote: > I have been trying for several days to get a list of the non-performer > Handy awards given out last weekend; maybe some of you are back from > Memphis now with the answer. > > Please e-mail me - many thanks. > > Jennifer Zogott > * * * > Jennifer, I have a list of Handy winners, but the only non-performer winners are for labels/albums/song of the year. Is this what you want? Or are you perhaps thinking of the Keeping the Blues Alive Award which is given to non-performers. There is also the Hall of Fame which includes both. Just let me know, I'll be happy to send you the list that I have. Vicki Bean -- vbean@sheltonbbs.com ========================================================================= Date: Mon, 13 May 1996 17:17:21 -0400 Reply-To: Peter Welch From: Peter Welch Subject: Re: Blues in the movies?? Comments: To: akapil@medicine.bsd.uchicago.edu In-Reply-To: <199605131954.OAA17644@medicine> from "daemon" at May 13, 96 02:54:26 pm According to Aditya: > > Hi > > I've seen a few movies with blues in them, but the songs always seem to be > in the background of a club for about a mintute or two. Two notable > exceptions are Crossroads and Blues Brothers. Are there any other movies out > there with 'densely packed' blue sound tracks.....or with a good > blues-oriented story line? > I recently saw a trashy action flick called "Next of Kin" (Plot: The Mob battles Chicago Cop (via the hills of Kentucky) Patrick Swayze and his vengeful mountain folk relatives.)... well, anyway, looking for the key witness in a murder investigation, Swayze and his brother visit the Checkerboard Lounge of all places (a blues band is playing in the background: the credits never say who it is..Willie Kent maybe? The Sons of Blues?)...In the bar scene, I see a guy in the background and realize that it's Billy Branch...Billy (playing a character called "Preacher") gets in a couple of lines as he breaks up a fight between Swayze and some bar denizens...That cracked me up..I'm a fan of bad movies (Highly recommend "Next of Kin" to "Mystery Science Theatre" fans), and it's even funnier to see one of my favorites, Billy Branch, make a cameo. Another harp player/singer, Tad Robinson, appears in yet another cheesy action flick: Steven Segal's "Under Siege"...Tommy Lee Jones plays a terrorist/Blues player who manages to get on board the U.S.S. Missouri with a bunch of his cohorts by playing at the Captain's birthday bash...It's funny to watch Jones fake harp playing (you even hear the harp playing after Jones moves it away from his mouth...The sound must be on serious delay <-:)...Tad Robinson does the singing for TLJ's band, although it would have been amusing to see Tad spray the crowd with an Uzi once the terrorists announced who they were. -Peter ========================================================================= Date: Mon, 13 May 1996 16:12:15 -0500 Reply-To: Vicki Bean From: Vicki Bean Organization: inlink Subject: Re: Handy Awards Question Comments: To: bit-listserv-blues-l@uunet.uu.net In article <9604108317.AA831753723@cliff.whoi.edu>, apaul@CLIFF.WHOI.EDU wrote: > that was Corey Harris' name in parens and I didn't understand > it either. was he a runner-up or was it a tie or was it the author's > choice for who should've won it? > > wondering myself....anyone? > > thanks. > alora > ------ > > On Thu, 9 May 1996 14:32:56 -0500 P.W. Fenton said: > >Shortly after the Handys were over someone posted a list of the > >winners (I don't remember who). In the category of Best New Blues > >Artist, Coco Montoya was listed as winner with Mem Shannon written > >next to it in parenthesis. I meant to ask about it then, but can > >anyone tell me why Mem's name was listed that way and what it meant? I don't know why that was either, but I'm even more confused by Coco winning in the "new" category. Any guesses? Thanks -- vbean@sheltonbbs.com ========================================================================= Date: Mon, 13 May 1996 16:13:32 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Blues L T Shirt Orders --- Problems? Comments: To: Marcia Grodsky > I'm pretty dismayed by the mail that I received over the weekend about the > Blues-L t shirts. Marcia -- I strongly suggest that you take the letter you just sent to the list, add a line or two about where to send T-shirt orders, and just send that to anyone who sends you questions, queries, dumb requests, etc. If they write again -- ignore 'em. You have done a phenomenal job of organizing this, and I'm sure the whole list will support you if you give a quick and polite brush off to people who can't follow simple instructions. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Mon, 13 May 1996 16:17:50 -0500 Reply-To: Vicki Bean From: Vicki Bean Organization: inlink Subject: Re: Blues Review & The House of Blues Comments: To: bit-listserv-blues-l@uunet.uu.net On the House of Blues and Blues Revue, you said.... > > > > Well, Paul, now as you started me talking... > > > That did it for me! After Gregg Allman, now Aykroyd, Belushi, > and Goodman, I am quitting my subscription to Blues Revue. It was up for > renewal after this issue anyway. I respect some > people might enjoy the magazine and support their editorial policy, but > I don't. > > I personally can't stand House of Blues and everything they stand for > in their miserable corporate world. They are trying to squeeze a buck out of > blues, > and that's fine with me if people like what they do. I don't! And I don't > like to give my back for a magazine that devotes 1/2 of the issue to the > House of Blues. > > I did not trust a single word Isaac Tigrett said, and I dispise them > all even more after reading the article(s). > > Ranko You both said a mouthful. I am also wondering why there's not been more chatter about all of this. I have heard grumblings everywhere, but not a printed or typed word! Amazing! VBean -- vbean@sheltonbbs.com ========================================================================= Date: Mon, 13 May 1996 17:19:40 EST Reply-To: shannon oconnor From: shannon oconnor Subject: LBC--Quote for the Day My head is clouded with cold viruses and I've coughed my eyeballs out today, so please excuse the LBC. But I noticed that the "quote of the day" on my daily planner seemed applicable to a recurring discussion here on BLUES-L: "After all, there is but one race--humanity." --George Moore Shannon ========================================================================= Date: Mon, 13 May 1996 16:33:39 -0500 Reply-To: Vicki Bean From: Vicki Bean Organization: inlink Subject: Re: Sam Cooke's death Comments: To: bit-listserv-blues-l@uunet.uu.net In article <01BB3E9B.2B327280@ip-pdx07-59.teleport.com>, "Raymond O. Varner" wrote: > A few years back I interviewed a man who claimed to be working in a gas = > station on the same block as the motel where Sam was killed. He claims = > to have been among the first couple of people on the scene. His = > recollection of the events are: > > Sam was rolled for his pants and cash by the hooker.=20 > She ran from the room and hid in a phone booth. > Sam thought she ran into the motel office. > Sam was raving, pantless, at the office door. > The motel manager shot Sam. > > This "witness" also claimed that the motel manager and the hooker were = > related. > > Uncle Ray > > > ---------- > From: Ian Angus[SMTP:ianangus@DIS.ON.CA] > Sent: Friday, May 10, 1996 5:48 PM > To: Multiple recipients of list BLUES-L > Subject: Sam Cooke's death > > > For years I've been reading that Sam Cooke died after being shot by > > a motel manager while attempting to rape someone. Cooke doesn't > > *sound* like a rapist, also for whatever that's worth. > > I suggest you read Daniel Wolff's "You Send Me: The Life and > Times of Sam Cooke," a fine biography which should be > available in any large bookstore. It explores what is known > about Cooke's death in considerable detail. > > While the author regrains from coming to specific conclusions, > it seems clear that ... > > 1. Cooke didn't rape or attempt to rape anyone. > > 2. The woman he was with was a prostitute whose specialty > was stealing money from her customers, then running off > with their clothes. > > 3. Cooke had been drinking and probably was using cocaine > that night. > > 4. He was shot by the motel manager, who says he forced his > way into her office. > > In a nutshell, it seems likely that Cooke was stoned and angry > because his money and clothes had been stolen. He stormed into > the motel office, frightened the manager, who shot him. > > Cooke, like many great musicians, had a dark side. It seems > to have contributed to his death. > > > Ian Angus > "Built for comfort, not for speed" I read Etta James' book "Rage to Survive" and she goes along with the four items you have listed above. Etta says that she was there, along with another friend that I can't recall the name, but it appeared to them that the Hotel manager was in cahoots with the hooker. It's a pretty good book, filled with stories like this. V.Bean -- vbean@sheltonbbs.com ========================================================================= Date: Mon, 13 May 1996 18:11:00 -0400 Reply-To: Lacook01@AOL.COM From: "Lorri A. Cook" Subject: Re: Severely Destroyed Maybe "severely destroyed" was an actual description; Muddy's cabin could have been twirled to toothpicks... Lacook@aol.com ========================================================================= Date: Mon, 13 May 1996 17:16:11 -0500 Reply-To: Dave Daubard From: Dave Daubard Subject: Re: JULY_19_to_21 Comments: To: YaHoo_RaGs In-Reply-To: <199605071630.MAA02124@mirage.formtek.com> On Tue, 7 May 1996, YaHoo_RaGs wrote: > seems to be a busy busy weekend all around... :) > > JULY 19-21 > ---------- > Pittsburgh Blues Fest, Pittsburgh, PA > Kansas City Blues Fest, Kansas City, MO > New York State Blues Fest, Syracuse, NY > Toronto Blues & Soul Fest, Toronto, CANADA > 19th Annual Vancouver Folk Music Festival, Vancouver, BC, CANADA > How about the Mid Mississippi Muddy Waters Blues Fest in Quincy, IL? I think it is the 7/20 & 21th.> > +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ > | _-\\|//-_ | | > | // \\ | Laissez les bon temps roulez!! | > | // ~~ ~~ \\ | Let the good times roll!! | > | /d+(+)-(+);b\ | ------------------------------ | > | // L \\ | SANJAY 'RAGS' RAJAN | > | // //|\\ \\ | sanjay_rajan@formtek.com | > | ////`---'\\\\ | FORMTEK,INC. | > | // //|||\\ \\ | PITTSBURGH, PA | > | // /|||\ \\ | ------------------------------ | > | -/---/\o/\---\- | Visualize Whirled Peas!! | > | /"\ | | > +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ > ========================================================================= Date: Mon, 13 May 1996 22:16:14 GMT Reply-To: an478163@ANON.PENET.FI Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: an478163@ANON.PENET.FI Organization: Knoware Internet Subject: Re: 50 yr old black dude from ghetto Comments: To: VoodooMojo@AOL.COM I ain't got nothin to do wit it, but I b'lieve the fella's right.. I used to have a .25 automatic belonging to the great Ace Cannon. ========================================================================= Date: Mon, 13 May 1996 17:33:59 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re: Gearheads *New-manufacture 12AX7 Tubes* Comments: To: Don Cicchetti Do you think they could be better than the Sovtek 12AX7WXTs? I've been mightly impressed with them. -You better hope that what they do next is make some 6V6s...getting almost impossible to find. What was that GZ34 you were recommending to try in my Victoria? JIm _______________________________________________________________________________ Subject: Gearheads *New-manufacture 12AX7 Tubes* From: Don Cicchetti at INTERNET-SH Date: 05/13/96 5:15 PM I learned this morning, that Phillips purchased some of the Telefunken machinery with which to make tubes, and is producing a new 12AX7 in the Czech Republic. The source for this information is a normally reliable one, and I sure hope it is true. He said that you cannot hear the difference between this tube and the Telefunken originals, even on good tube hi-fi gear. The Telefunkens are going for 50.00 each BTW --yikes!-- The new Phillips tubes are 10.00 each in small quantities. Great price if the tube is anywhere near as good as it is supposed to be. I have one on order, and will let you know what I think of it. If you want to try one out yourself, you can get them from: Antique Electronic Supply 6221 S. Maple Ave Tempe, AZ 85283 602 820-5411 Ask for the Phillips 12AX7 made to be a replica of the Telefunkens. If anybody gets some of these I would love to hear your opinion on them. I hope they make some 6L6's, EL84's, 12AT7's etc! DC no affiliation with any sales org. or manufacturer. (and if I was I could get 'em cheaper huh? dang!) ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Mon, 13 May 1996 15:36:37 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: SRV - the best ever Comments: To: tkelley@ARL.MIL In-Reply-To: <31975FDE.2153@arl.army.mil> from "Troy Kelley" at May 13, 96 04:14:22 pm >.. I don't think [Muddy] could play Rivera Paradise like SRV. Riviera Paradise is not blues - not even close. It's undeniably and unequivocally jazz. But more importantly, Muddy was an innovator. When he did a tune, it was instantly distinguishable that it was Muddy. He played "pure blues" in the "Muddy" style. He didn't copy others. So the real question is, would Muddy have TRIED to play RP ;-) (And no I doubt he had the chops needed to play it :-) SRV combined chops, tricks, licks, etc., from a great many artists. His Hendrix influence is obvious. But what was good about him is that he wasn't a Hendrix COPY. Even when he did Little Wing, which I personally believe to be a tribute to Jimi, it was still recognizably Stevie Ray Vaughn. A good musician steals. A bad musician copies. SRV was a good musician. -- IronMan Mike Curtis ========================================================================= Date: Mon, 13 May 1996 15:15:35 -0500 Reply-To: David Melton From: David Melton Subject: Re: Otis Rush Recommendations? Comments: To: Beckie Sansom At 11:25 AM 5/13/96, Beckie Sansom wrote: >Hi there people.Have really enjoyed the postings about the various >festivals and i`ve tried not to be too jealous about not being able >to attend.Next year!! > Anyhow,I would like to request that people recommend their favourite >Otis releases.Please forgive me for asking.I know this has been covered in the >past,so e-mail responses would be fine.So far i`ve decided on Live in >Japan,Cold Day In Hell,but I want to purchase at least three others. > incidentally,we are going to have our Ottawa Blues Fest this year in >July. Many great artists such as Smokin` Joe Kubek and our very own >local hot shot Tony D will be appearing.Can`t wait!! Last year Luther >Allison, Son Seals, Robert Jr. Lockwood, Dave Hole, Koko Taylor,and >John Mayall were all here and I saw them all!! > >Robert J Dewar & Beckie Sansom >Ottawa Ontario Canada >-- >xBeckie Sansom >Gloucester, Ontario Most essential of all: get the Cobra stuff! There is a CD of it somewhere but I forgot the title. Don't have it because I lent it out and never got it back! His singing and playing is brilliant, and deep as it gets in my book. I also highly recommend "Right Place Wrong Time", which I believe is ONE of the best electric blues LP's ever made. His playing is nothing short of stunning. I am always inspired when I listen to it. Dave Melton ========================================================================= Date: Mon, 13 May 1996 23:01:12 GMT Reply-To: Ben Lauter From: Ben Lauter Organization: University of Rochester - Rochester, New York Subject: ZZ Top: Fans, New Album? Anyone into ZZ Top on this group? Billy Gibbons rocks!!! I personally think "Gimme All Your Lovin'" is one of the coolest rock/blues/boogie songs of all time. Fans, info? Ben -- |*|/*/ |*| /*/_ /*/_ "You wanted the best, you got the best...the hottest |*|\*\ |*|****/****/ band in the land....KISS!!!!!" |*| \*\ |*| /*/ /*/ |*| \*\|*|/*/ /*/ "She walks by moonlight....no one really knows" -SHE ========================================================================= Date: Mon, 13 May 1996 19:20:56 -0400 Reply-To: BALISTRK@BAYDENOC.CC.MI.US From: "Keith T. Balistreri" Subject: Re: L "the hornet's nest W Comments: To: Jeff Seale In-Reply-To: On Fri, 10 May 1996, Jeff Seale wrote: > > Instead of talking David Duke, let's talk about the new Ladysmith > Black Mambazo cd on Shanachie - Thuthukani Ngoxolo (Let's Develop in Peace). > Just got it last night and it is AMAZING. For those interested Shanachie > 64064. > > Texas Jeffrey says check it out. > > -Jeff > > --------------- > Jeff Seale, PhD |Texas Tech Red Raiders > Department of Biochemistry |Baseball #8 > U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 > email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 > http://bioc02.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs > Great idea!!! A few years ago my wife and I went to Milwaukee to visit my family. Summerfest was happening so we decided to go down. Well, we stood in line for the main stage because they let a certain amount of people in free for the lawn seats. Well, we stood for maybe a half an hour and got in for free to see Ladysmith Black Mambazo with Hugh Masekela. Mariam makeba and Paul Simon. What an unbelievable. Ladysmith was the highlite of the evening....harmonies from heaven!! This was a few years before the lead singer was killed in SouthAfrica. I haven't heard this new cd of thiers and haven't boughten one since he died. But it sounds like it's worth it. Keith B. ========================================================================= Date: Mon, 13 May 1996 16:48:04 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: SRV - the best ever Comments: To: ISTS024@UABDPO.DPO.UAB.EDU LW wrote: >Muddy did not need to play Rivera Paradise, he got his point across >without a bunch of notes. Albert King played very few notes, but he got his >point across and used RESTRAINT. Albert said when you find the perfect note >why noodle around looking for a more perfect note. I do not think you >understand what the BLUES is about. It has nothing do with mistakes, lots of >notes, complex arrangements, tones, hats, boots...etc It's all about expressing >yourself. The hardest thing for a guitar player to learn is restraint. Take >BB King for example, he can play one note and say it all. I like SRV, but >he never said it like Albert, BB, Freddie.....etc. God knows no one never >said it like SON HOUSE and never will IMHO...... And in IMHO as well. Damn fine post. This is what I was trying to say but not as eloquent as LW. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Mon, 13 May 1996 16:48:10 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: SRV - the best ever Comments: To: tkelley@ARL.MIL Troy Kelley wrote: >OK. It is impossible to say one is "the best" unless you have some kind of >criteria to judge by. And I think you could come up with some kind of criteria >that SRV would win. But he is ARUGUEABLY one of the best guitar players. And you could come if with criteria by which he would lose as well. SRV was a great player. As for his final standing let's wait a few years till the clones decay and the dust settles. One indication of greatness is how one stands the test of time. snip >(more flame bait) I don't consider Muddy Waters to be a great guitar player. >He was good. But that was not what he strove to be. >Muddy was a great song writer and he had a huge set of balls that he could >project nicely on stage, he was a great blues man - >but I don't think that he could not play Rivera Paradise like SRV. Well, LW has already rendered this point mute. Check out his post for a perfect response to this. >> BTW, if you do come onto this list and say that SRV was the greatest ever >> then expect to be told to go and listen to Son House, Muddy Waters etc >> because you obviously need to do so. > > I have. I don't understand your point here. It was more in reference to the guy who started all this. snip again. >Yeah.. when he was all screwed up on drugs he made a few mistakes. But when >he was clean and sober, he was right on the money ALL THE TIME. Check out his >last Austin City Limits performance. That performance was awesome. Still there are some great performances out there on drugs. Knowing SRV was human I'd say the he made mistakes more often than we care to realize. But the way he played led us to believe that things were planned that way. It is a sign of a good musician. >> BTW what is it about mistkae free playing that impresses people so? Listen >> to any great blues guitarist (especially live recordings) you will hear >> mistakes. > >Mumm.. You mean like your 1985 bootleg SRV performance? Listen to BB King "Live at the Regal." On one song (I forget which one. I can't find my copy.) BB adds an extra beat to what was to be a 4 beat solo break. But the band is hot, no-one notices and it sounds great! A sloppy un-inspired performance isn't pretty to listen to. Studio performances tend to be perfect because artists have time to go back in a cover their tracks. Live music tends to be on the edge and if an artist is really improvising then they are living on the edge. You may fall off every now and again but when you are on it is amazing. Most of the time our contact with artists is via recordings. This means performances can be edited. We hear the artists at their best. If you were to follow an artist around and see as many gigs as possible then you will witness bad shows along with the great. >I am a guitarist. I play blues and jazz. I don't like to make mistakes. Most >guitarists you will ask don't like mistakes - whether they improvise or not. > >I totally disagree that improvision should have mistakes to be truely creative. > >There is an absolute purity and beauty in mistake free improvisation. >Listen to some John Coltrane if you want an example of that or - >the early live CREAM stuff with Eric C. in his prime was mistake >free improvisation. Why do you think they called him God? As I said before, we are witnessing "snapshots" of these artists. Selected performances. I'm sure that there were nights when Coltrane and Clapton didn't fire. Purity in improvisation doesn't come from being mistake-free or not. It exists when it some from the heart and when the artists is plating beyond their limits. Anyway, if a mistake sounds good it isn't a mistake:-) >> >SRV doesn't do anything spectacular in terms of licks, and he really >> >doesn't go out on a limb for each song (he played Vodoo Chile more or >> >less the same each time he played it) but he didn't make any mistakes >> >and he played with power and feeling. >> >> I won't deny SRV's emotional qaulities. But see above about mistakes. > > As a musician I appreciate mistake free playing. But I also like >Buddy Guy, >who I think makes some great mistakes here and there, but he is having a >good time doing it and I like his vibe. Like Hound Dog Taylor and Lefty Dizz. It wasn't perfect but it sure sounded good. >> >The other thing that SRV invented was that cool blues guitar sound. No >> >one before him had the Strat-tuned half step down-with a tube screamer- >> >-lots of bass-blues guitar sound. Not Albert, BB, Freddy, even Jimi >> >didn't play a half step down all the time. SRV invented that sound. That >> >in itself makes him great. >> >> I think Jimi spent a good deal of his career a half-step down except for >> some early stuff. But this argummnt is really stupid. > >Well.. it might be stupid, but your wrong. All the Jimi stuff that I have >on record and have ever played along with, only a few songs are played a half >step down. I would say he tuned down 10 to 20 percent of the time. Am I wrong? At least 5 (out of 11) tracks on "Are You Experienced" are in Eb. The majority of "Electric Ladyland" is in Eb. I think all the live recordings I have are in Eb. Know thy Hendrix! snip > I guess the point was that SRV invented a GREAT blues guitar sound. Albert >played a flying-V through a Fender, and his tone was generic. When I listen to >Albert I can tell it is him because of his licks, which were unusual because he >was playing a guitar upside down, but not his tone. BB played a 335 through a >fender. Nothing special there but he has great tone in his hands, and that >great BB vibroto. Jimi played through lots of different things, but he defined >the overdriven rock-n-roll sound of a Strat and a Marshall. Albert had a tone! You don't have an unmistakable sound because you have a generic tone. Good lord. Listen to "Live Wire-Blues Power". Your comment regarding BB sums this up. It isn't the equipment. It's the hands. SRV would sound like SRV no matter what the played as would Albert, BB etc. >Why do you think there are so many guys who sound like SRV? Kenny Wayne Shepard >and Chris Duarte' and a whole host of others? Maybe it is because that sound >that SRV defined is such a great sound?? I agree. It's a great sound. But it had become a cliche and is becoming boring real fast. Of the 40 guitarists who played at the Blues guitar contest I attended last week, at least 30 of them were doing the screaming Jimi/SRV thing. And doing it very poorly. I wish all these guys who spend their time trying to sound like SRV would try and sound like someone else (themselves). > I like deep "muddy" waters. Who doesn't?:-) Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Mon, 13 May 1996 15:53:53 -0700 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Cash McCall hospitalized Although I am no longer a subscriber to this list, I am writing to let concerned friends know that blues singer/guitarist Cash McCall had a stroke at his home today, and was taken to the hospital by ambulance. I don't know how serious the stroke was, but he could not talk at all, so evidently some motor functions were impaired. I'm sure many blues-l subscribers will want to send good thoughts his way. I've contacted David Nelson, editor of Living Blues Magazine, who'll try to get more information for me; when anything more definite is known I'll let Tom Freeland or Dick Waterman know so they can keep the list apprised. Mary Katherine Aldin ========================================================================= Date: Tue, 14 May 1996 12:42:26 +1300 Reply-To: MIKE GARNER From: MIKE GARNER Organization: The Waikato Polytechnic Subject: harp microphones I was very interested in the thread, a number of weeks back, talking about the best mics to use for getting the fat-toned amplified harp sound. I've used a Shure Green Bullet for twenty years and didn't know about the Astatic, that seemed to be the favourite of those who contributed to the thread. I'd like to buy one. They're not available in New Zealand (though the Green Bullet is). I see in Blues Review, "Kevins Harps" has Astatic JT 30s for sale at $75. This seems a good price but is this the exact model recommended? Or is this a cheaper/less useful/whatever model? Help! If you can recommend this model I'll buy one - and won't hold you liable for the consequences - promise! Please e-mail privately, I'm on NO-MAIL at the present due to an industrial dispute. regards from New Zealand Mike Garner ========================================================================= Date: Mon, 13 May 1996 20:35:05 -0400 Reply-To: MIGNOGNARJ@AOL.COM From: Will Johnson Subject: Stop mail Please, I would like to stop receiving Blues mail. My mailbox is a mess.. thankyou ========================================================================= Date: Mon, 13 May 1996 19:42:46 -0500 Reply-To: bolt From: bolt Subject: Re: L "the hornet's nest W > Great idea!!! A few years ago my wife and I went to Milwaukee to visit >my family. Summerfest was happening so we decided to go down. Well, we >stood in line for the main stage because they let a certain amount of people >in free for the lawn seats. Well, we stood for maybe a half an hour and >got in for free to see Ladysmith Black Mambazo with Hugh Masekela. Mariam >makeba and Paul Simon. What an unbelievable. Ladysmith was the highlite >of the evening....harmonies from heaven!! This was a few years before >the lead singer was killed in SouthAfrica. I haven't heard this new cd of >thiers and haven't boughten one since he died. But it sounds like it's >worth it. > >Keith B. > I may be wrong, but I thought it was one of the other members of the group, not the lead singer. Reg Burns +++++++++++++++++++++++++++++++++++++++++++++++++ + I'll listen to reason when it comes out on CD + + + + bolt@neosoft.com Houston, TX + +++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Mon, 13 May 1996 12:56:19 GMT Reply-To: "Mike R. Prevost" From: "Mike R. Prevost" Organization: RENAISSANCE INTERNET SERVICES Subject: Re: original blues Comments: To: bit-listserv-blues-l@uunet.uu.net smirkyface wrote: >Just curious to see if any of you have a favorite local >blues band that is doing original material. There is a good group here in Huntsville, Alabame called "Microwave Dave and the Nukes". I havent heard these folks but I heard they are GREAT. I saw a great group in Charelston Alabama called Blue Light Special. In their CD (Gone With THe Wind) cover it gives contace info of Erwin Music, P.O. Box 291 Mount Pleasant, SC 29464 Phone/Fax: 803 722 3263 Some other bands in the Charleston area are: Chicago Bob Nelson Drink Small Lightnin' Bug Rhodes Tony & Company Randy Crowe I saw a great little group in Ch > BRIAN MCLEAN > PHOTOGRAPHY > & > SMIRKYFACE > PRODUCTIONS > "life's too short to live the blues" > http://www.netaxs.com/~blmclean ========================================================================= Date: Mon, 13 May 1996 21:07:42 -0400 Reply-To: SliderDW@AOL.COM From: Don Williams Subject: Re: Cash McCall hospitalized Comments: To: mkaldin@beachnet.com In a message dated 96-05-13 20:42:25 EDT, mkaldin@BEACHNET.COM (Mary Katherine Aldin) writes: > > Although I am no longer a subscriber to this list, I am writing to >let concerned friends know that blues singer/guitarist Cash McCall had a >stroke at his home today, and was taken to the hospital by ambulance. I >don't know how serious the stroke was, but he could not talk at all, so >evidently some motor functions were impaired. I'm sure many blues-l >subscribers will want to send good thoughts his way. I've contacted David >Nelson, editor of Living Blues Magazine, who'll try to get more information >for me; when anything more definite is known I'll let Tom Freeland or Dick >Waterman know so they can keep the list apprised. > >Mary Katherine Aldin > > This is very sad news. I never met Cash McCall but I think he's always been oe of the most under-rated guitar playes on the blues scene. He should be much better known than he is, based on his talent. Can someone ask Mary Katherine if there is an address where we can send get well cards? And I suppose everyone will think this is a silly question, but does he have medical insurance? Most blues musicians sure don't. My grandfather had a stroke two years ago, and the medical bills after what Medicare paid were horrendous. I'll send good thoughts his way indeed. Don Williams ========================================================================= Date: Mon, 13 May 1996 21:16:40 -0400 Reply-To: JukeFreak@AOL.COM From: "(Karen Hanson)" Subject: Re: SITTING AND THINKING: Hubert Sumlin, _Heart and Soul_ Comments: To: edwick@cc.bellcore.com Just wanted to let you know that y'all have a knack for posting reviews of albums I've just bought. Must be some sort of cosmic connection. I even have a folder in my blues file for "Sitting & Thinking." I enjoy reading the descriptions as I listen. So there! :-P Karen (Btw, that other Blind Pig release that I got for a steal at the mall record store--the "cut-out"--It's a Johnny Shines/Snooky Pryor album called "Back to the Country." Tasty snack!) ========================================================================= Date: Tue, 14 May 1996 02:13:28 +0100 Reply-To: Roadrunner Tour Management From: Roadrunner Tour Management Subject: Re: Bob Brozman - "King of the National Steel" Comments: To: ibis@prods.demon.co.uk Bob is suppose to have a web-page on National Steel guitars. Did anyone ever stumble across it? Might even know the http-address? Cheers Carsten *R O A D R U N N E R T O U R M A N A G E M E N T* "Keeping The Blues Alive" e-mail:roadrun@iol.ie http://www.iol.ie/~roadrun/index.html ========================================================================= Date: Tue, 14 May 1996 02:23:00 BST-1 Reply-To: bsmithb@cix.compulink.co.uk From: Brian Smith Subject: Otis Rush Recommendations? Comments: cc: ck617@FREENET.CARLETON.CA One essential in my collection is Mourning in the Morning,..stonking blues/soul.... ...a man can't get out the water if he can't see no ground.... IMHO not purist blues but one hell of an album. ========================================================================= Date: Mon, 13 May 1996 21:54:18 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Clarksdale Museum in the MEMPHIS COMMERCIAL APPEAL All in all, given this article, the LaVere article and the Kimbrough article last week, the Commercial Appeal is doing a good job of covering the blues lately. Everything from here to the signature is from the Commercial Appeal..... 5/13/96 Commercial Appeal, section B page one SINGING THE BLUES: PLANS ARE AT ODDS IN THE DELTA by Bartholomew Sullivan The article begins by noting that Mayor Henry Espy wants people from around the world to envision Clarksdale as a blues stopping off place. "He envisions tourists strolling down a 'Blues Alley' where they could visit a blues museum and step inside the old cabin where the late bluesman Muddy Waters grew up. But the museum may not have anything to display, and the cabin just left town." It notes that Espy planned to put the museum artifacts in the train station center rather than returning them the the museum's original location in the Carnegie Library. "But federal officials say that could violate the terms of a federal grant." The library had asked the National Endowment whether inclusion of the museum in the old frieght depot center would violate a grant that had already been spent to renovate the library for the collection. The National Endowment said it would. "For the moment, the plans for the frieght depot are on hold." The city has bought the frieght depot. "Since January, the library board has been recnovating the 82-year old brown brick Carnegie building for use as exhibit space for its 17 year old museum, using $250,000 from the federal humatnities endowment. The work should be completed next month, said Director Ronald Gorsegner, and plans are for the entire collection to return to its former home." It notes that the director of challenge grants of the National Endowment stated that to move the artifacts after getting money for renovation could be a failure to comply with grant terms. Mayor Espy stated that the library asked the wrong question, and stated he was hoping the library could house paper artifacts and paperwork, with physical artifcats in the depot. He stated that the Endowment letter will not slow plans to make Blues Alley a reality. Noted that plans are well underway to renovate the passeger depot down the street as a blues club, although construction had not started. "Also last week, bluesman Muddy Water's original broad-beamed shack was lifted from its foundation on the Stovall Plantation for a tour of the United States and Europe, organized by the Los Angeles-based House of Blues. Espy says that, when the cabin returns to Mississippi, he wants it displayed in the Blues Alley. The cabin is owned by the Stovall family. "Howard Stovall of Memphis said Espy had not communicated that interest to him and no specific plans for the cabin's return to Clarksdale had been made. Although he said that was his 'inclination,' Stovall said he found it 'curious' that architect renderings of the Blues Alley give the Waters cabin a prominent spot." The article then notes that under the 5 year contract with HOB, they will donate $20,000 a year to the Sunflower festival and spend $125,000 to renovate the cabin, and that it will be first displayed at Chicago Blues fest. "Espy says the shack's departure, which he initially considered a loss to the region, should in the long run increase world-wide interest in the home of the blues." Tom Freeland ========================================================================= Date: Mon, 13 May 1996 22:00:44 -0400 Reply-To: BALISTRK@BAYDENOC.CC.MI.US From: "Keith T. Balistreri" Subject: Re: cd care...i need help Comments: To: Barry Silverberg In-Reply-To: <4n5t4f$8cu@panix.com> Can anyone please help me. I just bought my first Son House cd and my wife took it out of the player and set it down on a table, right by a candle. Well she knew enough to set the cd on it's face but wax from the candle dripped onto the side that plays. Does anyone please have any suggestions how to get the wax off without ruining the cd. thanks, Keith B. ========================================================================= Date: Mon, 13 May 1996 18:16:38 -0500 Reply-To: David Melton From: David Melton Subject: Re: Otis Rush Recommendations? Comments: To: bsmithb@CIX.COMPULINK.CO.UK At 9:23 PM 5/13/96, Brian Smith wrote: >One essential in my collection is Mourning in the Morning,..stonking >blues/soul.... > >...a man can't get out the water if he can't see no ground.... > > >IMHO not purist blues but one hell of an album. =============================================================================== I'll second that. "Reap what you sow" makes the hair on my neck stand up! Dave Melton ========================================================================= Date: Mon, 13 May 1996 22:04:53 EDT Reply-To: Newman/Rabson <71552.541@COMPUSERVE.COM> From: Newman/Rabson <71552.541@COMPUSERVE.COM> Subject: Re: original blues <> Wish it were so. Sadly, Lightning Bug passed several ago. A. ========================================================================= Date: Mon, 13 May 1996 22:12:01 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Severely Destroyed Comments: To: Lacook01@aol.com On May 13, Lacook01 said: >>>Maybe "severely destroyed" was an actual >>>description; Muddy's cabin could have been twirled >>>to toothpicks... First of all, you have said "to toothpick" when you mean "into toothpicks." I interpret "destroyed" to indicate total destruction. There would be no further point of reference beyond that and "severely" would indicate something less than complete. However, feel free to use vocabulary as it pleases you. Muddy's Cabin, indeed, could have been twirled into toothpicks but that is not the case. If it was, then House Of Blues could have ordered up a supply of gin and vermouth, trucked in a billion olives and served up an Endless Martini with a sliver of the Cabin stuck into every glass . . . Grammar Patrol ========================================================================= Date: Mon, 13 May 1996 19:16:43 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Stop mail Comments: To: abuse@aol.com Comments: cc: mignognarj@aol.com This message forwarded to AOL's increasingly busy netiquette department: >Date: Mon, 13 May 1996 20:35:05 -0400 >Reply-To: MIGNOGNARJ@AOL.COM >Sender: Blues Music List >From: Will Johnson >Subject: Stop mail >To: Multiple recipients of list BLUES-L > >Please, I would like to stop receiving Blues mail. My mailbox is a mess.. > >thankyou Dear Sir, I'm forwarding this message because I am tired of receiving these messages on Blues-L, a blues mailing list. The subscriber receives a message when he/she joins the list. It says _"KEEP THIS MESSAGE SHOULD YOU WANT TO UNSUBCRIBE"_, or words to that effect. Yet, time and again, we receive messages from people who do not have the understanding or courtesy to do so. Please inform this AOL member about the simple rules of netiquette, particularly when dealing with mailing lists.. All it take to unsubscribe is to send a message to LISTSERV@BROWNVM.BROWN.EDU with the message: unsubscribe blues-l in the body. Simple, isn't it? Sincerely, Jim Witteveen (hndful@uniserve.com) ========================================================================= Date: Wed, 27 Mar 1996 02:07:03 -0600 Reply-To: Lee Grady From: Lee Grady Subject: Otis! box set Hello, This is more of a "soul" than "blues" question, but does anyone out there have the Otis Redding box set: "Otis! The Definitive Otis Redding" (4 CDs, Rhino)? Specifically, I'm wondering whether Rhino used mono master tapes for all or most of the studio recordings. I have the older "Otis Redding Story" (3 CDs, Atlantic) which contains stereo masters for about two thirds of the cuts (the early stereo mixes really water down the "pop" and drive of the Stax/Volt recordings). Any other comments about the set would be appreciated also (I guess I'm looking for a reason to pick up the Rhino box). Thanks. Lee Grady lcgrady@facstaff.wisc.edu Madison, WI ========================================================================= Date: Mon, 13 May 1996 22:54:34 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: original blues Comments: To: Newman/Rabson <71552.541@COMPUSERVE.COM> In-Reply-To: <960514020453_71552.541_EHL220-1@CompuServe.COM> On Mon, 13 May 1996, Newman/Rabson wrote: > < Drink Small Just discovered Mr. Small - wowser! Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 13 May 1996 23:05:02 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Otis! box set Comments: To: lcgrady@facstaff.wisc.edu In a message dated 96-05-13 22:57:51 EDT, lcgrady@FACSTAFF.WISC.EDU (Lee Grady) writes: >This is more of a "soul" than "blues" question, but does anyone out there >have the Otis Redding box set: "Otis! The Definitive Otis Redding" (4 CDs, >Rhino)? Specifically, I'm wondering whether Rhino used mono master tapes >for all or most of the studio recordings. I have the older "Otis Redding >Story" (3 CDs, Atlantic) which contains stereo masters for about two thirds >of the cuts (the early stereo mixes really water down the "pop" and drive of >the Stax/Volt recordings). Any other comments about the set would be >appreciated also (I guess I'm looking for a reason to pick up the Rhino box). >Thanks. > > >From the booklet on the Rhino set: "Prior to 1967, the Stax Sutdio in Memphis was no geared toward the production of stereo records. After Otis's death in 1967, several LPs were prepared at Atlantic Studios in New York City or at Stax Studios where the maxing facilities had been updated to accomodate sterio. After careful audition of the master tapes, it was decided that the stereo mixes that existed were inferior to the original mono mixes. Therefore, the tracks on Volumes 1-3 are the original mono single or LP mixes. The live tracks on volume 4 are all stereo mixes." Volume 4 is all live. Of course you want this!!! Tom Freeland ========================================================================= Date: Mon, 13 May 1996 23:16:38 -0400 Reply-To: Lacook01@AOL.COM From: "Lorri A. Cook" Subject: Re: Severely Destroyed Dear Grammar Patrol; Oh, have a heart! If my post were lyrics, you'd allow me a little alliteration, wouldn't you? That's gotta only be worth half of a ruler crack across the ol' knuckles, eh, G.P.? Lacook01 ========================================================================= Date: Mon, 13 May 1996 20:21:24 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: workshop Comments: To: HARPNBLUZ@aol.com Comments: cc: Harp-L In-Reply-To: <960513230441_398487754@emout10.mail.aol.com> from "HARPNBLUZ@aol.com" at May 13, 96 11:04:42 pm > I know I should know this but where and when is your workshop this weekend. My harmonica workshop will be held at: Main Street Restaurant, 4902 Main St., Yorba Linda CA 10:00 AM to 3:00 PM Workshop fee: $25.00 Some of the material to be covered: How a diatonic (blues style) harmonica can be played in all keys - and why you'd want to do this. Learn to have KILLER tone, BLAZING speed, fantastic sounding sustained notes, great vibrato, great control. Learn the seven positions every harmonica player should know, and how this will help you play better "cross harp"; the hidden secrets of amplified harmonica, microphones, amplifiers, effects, and LOTS more. Class size is limited, because I want to provide a lot of individual attention. This is a hands-on workshop, so bring a C harp, tools to disassemble and tune harps, and some old junkers or junk reed plates. Reservations recommended. Call 818/765-2804 and leave your number for further information and/or reservations. -- IronMan Mike Curtis ========================================================================= Date: Mon, 13 May 1996 20:28:33 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Severely Destroyed Comments: To: Jinxblues@AOL.COM In-Reply-To: <960513221201_112980238@emout15.mail.aol.com> from "Dick Waterman" at May 13, 96 10:12:01 pm I thought this was a blues list, where everyone has a second grade education and third rate grammar. Besides, my grammar passed away many years back. She was a sweet lady. But seriously, I for one appreciate proper grammar and spelling. Clear, well expressed writing is a pleasure to read and understand. Poorly scrawled out (and often poorly thought out) writing is not only a chore to read, but also to understand, and is in fact frequently misunderstood. So I personally view grammar/spelling as far more than just "nice window dressing". -- IronMan Mike Curtis ========================================================================= Date: Mon, 13 May 1996 22:49:34 -0500 Reply-To: 00LCSPECTOR@BSUVC.BSU.EDU From: "Lee C. Spector" <00lcspector@BSUVC.BSU.EDU> Subject: Carr On Monday in the Chicago Tribune there is a review of the James Carrnc that's Carr (i have vno editor here) concert with a nice picture. I'll post it in a couple days when I retun home where I have an editor if there is an interest in it. Lee Lee Spector Department of Econmocs (many of my students probably think this spelling is correct) ========================================================================= Date: Mon, 13 May 1996 23:53:49 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: MABEL JOHN (answering LW's "respect" question) Earlier today, LW asked who doesnt get enough respect. I'm not sure if "insufficient respect" is quite the issue, but the soul / blues singer who had the least career but with the absolute most talent has to have been Mabel John (IMHO I would say this is even more true with her than with James Carr). She recorded a single (or two?) for Motown, 6-8 for Stax (backed by Booker T & The MGs, song writing by the likes of Hayes / Porter), and was a one of Ray Charles' backup singers. She put out NO LPs in the 60s/70s. My introduction was through the Stax box 1 and then 2, and then a Stax disk that filled out (and repeated some of) the boxes. I HIGHLY recommend that Stax single CD, even if you aren't up for the stax single boxes (and if you aren't up for those boxes, why the hell not? What's wrong with you?). This weekend, I acquired a Motown blues collection with 3 Motown sides, which confirm that THIS WOMAN COULD DO NO WRONG. She had a voice the equal (in her own style) of singers like Irma Thomas and Ann Peebles. Really. I am serious. I already noted the backup band and songwriters behind her. I have no idea why she didnt become a sucess. I do wonder how her voice is now. She lives in the Los Angeles area. Oh, and she is Little Willie John's sister. Tom Freeland ========================================================================= Date: Tue, 14 May 1996 02:48:23 GMT Reply-To: CKUT_online@babylon.montreal.qc.ca From: CKUT online Organization: Babylon, Montreal, Canada Subject: Re: Blues in the movies?? Comments: To: pw7e@POE.ACC.VIRGINIA.EDU How about Albert Collins in "Adventures in Babysitting"? ========================================================================= Date: Mon, 13 May 1996 21:05:56 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Misteaks (was SRV - the best ever) Comments: To: shaun@PACIFICNET.NET In-Reply-To: from "Shaun T Cronin" at May 13, 96 04:48:10 pm This simply isn't true! EVERYONE makes mistakes. A GOOD player will make you believe he intended to play that fluff, but that's an art unto itself. If you flub a note, work around it. If it's REALLY bad, just REPEAT it! Oldest trick in the book. Listen to the synth solo on Steely Dans "Get Back Jack" (or whatever it's called - you know the song). There are SEVERAL notable fluffs in that solo, but because they're repeated, we accept them as what Fagan INTENDED to play. Instead of mistakes, we chalk them up as "style". Why do I define these as "mistakes"? By listening to Fagans later works, which are notably more "melodic" and less "dissonant". What exactly is a "mistake"? You might define it as "hitting a note you didn't mean to". BUT - what if you can make that mistake SOUND good? Is it still a "mistake"? Many musicians would say so. I wouldn't. That's why fluffs can often throw someone elses performance way off, but don't throw me. While it's great to seek perfection (and I try my best, too!), recognizing that it isn't going to happen and preparing yourself to deal with it can make music a LOT more fun, both for you and your audience. SRV played great, but he made mistakes. He was excellent at playing around them, though, and you really have to listen hard to find them. Coltrane ditto. ANYONE who improvises well also makes mistakes. The good ones just don't tattle on themselves :-) -- IronMan Mike Curtis p.s. I like the synth solo on "Back Jack". Mistakes aren't always bad :-) ========================================================================= Date: Tue, 14 May 1996 04:04:58 GMT Reply-To: Mike Lynch From: Mike Lynch Organization: Wolfe Internet Access, L.L.C. Subject: Re: In defense of SRV Comments: To: bit-listserv-blues-l@uunet.uu.net David Melton wrote: Just ask Buddy Guy. >Dave Melton Just ask Buddy Guy what, Dave? Mike Lynch mlynch@wolfenet.com ========================================================================= Date: Mon, 13 May 1996 21:57:27 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: harp microphones Comments: To: HTMEG@TWP.AC.NZ In-Reply-To: <580AFA90862@ad2.twp.ac.nz> from "MIKE GARNER" at May 14, 96 12:42:26 pm Actually, I've never found a mic I didn't like for harp. 80% of tone comes from the player, and if you have good tone and technique, you'll sound fine, whether it's through the PA and SM-58 vocal mic or vintage Green Bullet and Original '59 Bassman. You mentioned Green Bullet and JT-30, so I'll cover the relative merits of these first. The Shure Green Bullet is a controlled magnetic mic. It's rich in midrange, has terrible treble and bass response, high output, and is tough enough to use for cracking walnuts, knocking obnoxious guitarists upside their pointy leedle haids, and other general demolition jobs. They're medium impedance, and work well into pretty much any amp. They have a decent range of sound. they tend to feed back a bit, due to the rich midrange. The Astatic (Conneaut Industries) JT-30 is a crystal mic, and _M_U_S_T_ be run into a VERY high impedance. Crystal mics are not as robust as dynamics and controlled magnetics, and should not be dropped onto concrete, etc., left in the car on a hot summer day, damp environments, etc. they REQUIRE a VERY high impedance to work into. Some tube amps aren't high enough - you need at least a megohm (million ohms). Astatic now claims 500k (k= thousand ohms), but my experience is that they're quite thin sounding at 500k. In telephone discussions with Astatics engineers, I've been told not to operate crystal or ceramic mics into less than a meg (and WHY, which I'd be happy to go into off-list). I use a Digitech digital sampler pedal (used for a little slapback) as input for all my harp mics. It has one megohm input impedance. The JT-30 has one great sound. When it's tightly cupped, it "blooms" into a BIG, fat, "distorted sounding" tone. Because of this, you don't have to run amp volume as high, ergo feedback is less of a problem. But it's a one dimensional mic. If you like "that" sound all the time, you'll like the JT-30. I have an electret lavolier mic, about the size of the tip of the little finger, that is easily tight-cupped, and has a BIG, FAT sound when so used. It also has a nice "uncupped" acoustic kind of sound. It's a Numark, but brand name and model doesn't matter - its a very generic electret "cheapie". One fellow on harp-l found similar mics @ $1 each, and reported quite favorably on them. If you choose the JT-30, I recommend you go with one of the custom jobs (Rod Piazza or Crystal Balls). I assume these use cherry-picked elements, VERY important! Not all mics are equal, even the same models. I own a pair of AKG D1000E's that are as different as night and day, even though they're the same model! Buying mics mail order is kinda like getting married mail order. You probably know what she's gonna look like, but not a lot else ;-( -- IronMan Mike Curtis ========================================================================= Date: Mon, 13 May 1996 17:14:47 -0500 Reply-To: Mark Halverson From: Mark Halverson Subject: Byther Smith meets St. Peter Byther Smith and his current band are playing at Patrick's on Third in St. Peter, Minnesota, this Friday evening, May 17. St. Peter is a town of about 10,000, 65 miles or so southwest of the Twin Cities metro area. While this relatively rural area has developed an active blues scene, I think its something of a coup that Byther would be playing a gig in my hometown, and wish to note it for the world (I have no proprietary interest in this gig, but was part of a small group that presented Byther in the same area (Mankato) about 16 months ago). Rural Minnesota has not historically been a blues hotbed - to say the least! Any reports on a recent Byther gig? Anyone see this message that lives close enough to St. Peter to consider attending the gig? Anyone actually planning to be there? Enough. Hope to see you there!! ========================================================================= Date: Mon, 13 May 1996 21:47:02 -0500 Reply-To: David Melton From: David Melton Subject: Re: In defense of SRV Comments: To: Mike Lynch At 11:04 PM 5/13/96, Mike Lynch wrote: >David Melton wrote: > > Just ask Buddy Guy. > >>Dave Melton > >Just ask Buddy Guy what, Dave? > >Mike Lynch >mlynch@wolfenet.com Oh oh, I'm on the spot. Well, ok, exactly what I meant by that, ah, er, was ask him (Buddy Guy) what he thought of Stevie Ray. I can only go by what I have read because I never "asked Buddy Guy" myself, but I am under the impression that he (Stevie Ray) was held in very high regard by aahh....eerr....Buddy Guy. But if I quote what I read, this whole thing will start all over again and we don't want that now do we.....:) Dave Melton ========================================================================= Date: Tue, 14 May 1996 15:50:27 -1000 Reply-To: Andrew Gregg From: Andrew Gregg Subject: Re: Misteaks (was SRV - the best ever) > > As much as I love SRV - He sure did make mistakes. On one solo on one of the songs on 'The Sky is Crying' ('May I have a talk with you?' ??) he makes a very audible 'miss' around the 3:00 mark. So there! Andrew P.S Mind you - you dont seem to notice it because of his outraegous style. ========================================================================= Date: Mon, 13 May 1996 16:31:42 -0400 Reply-To: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM From: Jim Smith Subject: Pink Anderson LPs Comments: To: mjg@BRADLEY.BRADLEY In-Reply-To: <199605131528.KAA23030@bradley.bradley.edu> He and Gary Davis shared a Bluesville release, each having 1 side of the LP. It's title is "Gospel Blues & Street Songs" and includes "He's in the Jailhouse Now" and "I Got Mine". BTW the two other lps you mention are available on CD from Fantasy's Original Blues Classics label. Jim Smith >I finally found a copy of the great Pink Anderson LP "Carolina >Blues Man" over the weekend (still-sealed and only 8.00!!). Talk >about an underappreciated talent! This LP was released on the >Bluesville label in 1960 (re-mastered and re-released in 1984), the >first of three recorded for Bluesville. I have the 1964 record "Ballad >and Folksinger," but I don't have any information on the third release. >Does anybody have this other Bluesville recording? What is its >title, and is it worth looking for? > >Mark > ========================================================================= Date: Tue, 14 May 1996 09:24:39 +0200 Reply-To: "F. van der Leeuw" From: "F. van der Leeuw" Subject: Re: SRV/Buddy Guy In-Reply-To: <199605131525.KAA05215@medicine> On Mon, 13 May 1996, wrote: > guitar playing dearly. He plays some of the most harrowingly beautiful slow > blues stuff I've ever heard....when he is on! The closest I have ever heard > SRV come to GOOD slow blues is on the PBS special recently, where he did The best way of comparing SRV and Buddy Guy seems to me to listen to their duets on their "it's still called the blues - live" CD. Frank van der Leeuw Amsterdam ========================================================================= Date: Mon, 13 May 1996 23:17:12 -0700 Reply-To: Stan Ruffo From: Stan Ruffo Subject: Re: harp microphones Mike, The actual model number is JT30VC. The VC of course stands for volume control. A lot of harp players eventually modify them anyway, but if you want to secure the most prevalent model that is it. -- Stan Ruffo http://www.valleynet.com/~steamin ---------- From: MIKE GARNER[SMTP:HTMEG@TWP.AC.NZ] Sent: Monday, May 13, 1996 4:42 PM To: Multiple recipients of list BLUES-L Subject: harp microphones I was very interested in the thread, a number of weeks back, talking about the best mics to use for getting the fat-toned amplified harp sound. I've used a Shure Green Bullet for twenty years and didn't know about the Astatic, that seemed to be the favourite of those who contributed to the thread. I'd like to buy one. They're not available in New Zealand (though the Green Bullet is). I see in Blues Review, "Kevins Harps" has Astatic JT 30s for sale at $75. This seems a good price but is this the exact model recommended? Or is this a cheaper/less useful/whatever model? Help! If you can recommend this model I'll buy one - and won't hold you liable for the consequences - promise! Please e-mail privately, I'm on NO-MAIL at the present due to an industrial dispute. regards from New Zealand Mike Garner ========================================================================= Date: Tue, 14 May 1996 09:51:23 +0200 Reply-To: "F. van der Leeuw" From: "F. van der Leeuw" Subject: Re: SRV - the best ever In-Reply-To: On Mon, 13 May 1996, Shaun T Cronin wrote: > >SRV is argueably one of the best blues guitar players ever. > > I think that almost everyone on this list agrees with this. SRV was a hell > of a blues player and is up there. Just a pity that, judging by the dozens of SRV bootlegs, SRV hasn't been able to build up a repertoire of over a handfull of songs throughout the years... Frank van der Leeuw Amsterdam ========================================================================= Date: Tue, 14 May 1996 04:29:15 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: ZZ Top: Fans, New Album? On 13 May 96, Ben Lauter had this to say: > Anyone into ZZ Top on this group? Billy Gibbons rocks!!! I personally > think "Gimme All Your Lovin'" is one of the coolest rock/blues/boogie songs > of all time. > > Fans, info? > Ben > -- > |*|/*/ |*| /*/_ /*/_ "You wanted the best, you got the best...the hottest > |*|\*\ |*|****/****/ band in the land....KISS!!!!!" > |*| \*\ |*| /*/ /*/ > |*| \*\|*|/*/ /*/ "She walks by moonlight....no one really knows" -SHE Boy, that Newsgroup echo was the best thing we ever did. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "Everyone wants to have a big pile of money, but distrusts anyone who actually does." - P.W. Fenton ========================================================================= Date: Tue, 14 May 1996 05:26:13 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Ladysmith Black Mambazo fatality Keith Ballistreri wrote and Reg Burns replied >> Great idea!!! A few years ago my wife and I went to Milwaukee to visit >>my family. Summerfest was happening so we decided to go down. Well, we >>stood in line for the main stage because they let a certain amount of people >>in free for the lawn seats. Well, we stood for maybe a half an hour and >>got in for free to see Ladysmith Black Mambazo with Hugh Masekela. Mariam >>makeba and Paul Simon. What an unbelievable. Ladysmith was the highlite >>of the evening....harmonies from heaven!! This was a few years before >>the lead singer was killed in SouthAfrica. I haven't heard this new cd of >>thiers and haven't boughten one since he died. But it sounds like it's >>worth it. >> >>Keith B. >> > > >I may be wrong, but I thought it was one of the other members of the group, >not the lead singer. > >Reg Burns > It was Headman Shabalala, lead singer Joseph's brother, who was shot. Chris Smith (chris@skerries.demon.co.uk) If a synchronised swimmer drowns, do the rest have to? ========================================================================= Date: Tue, 14 May 1996 05:31:33 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1955, Bo Diddley's "Bo Diddley" backed with "I'm a Man" first appeared on the R&B chart. It got to #2 making it his most successful record. The A side introduced what became known as the Bo Diddley beat. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "Everyone wants to have a big pile of money, but distrusts anyone who actually does." - P.W. Fenton ========================================================================= Date: Tue, 14 May 1996 05:55:07 -0400 Reply-To: Mike Cooper From: Mike Cooper Organization: Spring Grove Artisans Subject: Re: SRV - The Best There Ever Was Jack Oudiz wrote: > > (SRV's) greatest (though some > might lament it) contribution was in bringing the blues to young white > rockers. I'd add that many of us in the older set were re-kindled at the same time. May I also suggest that the young SRV woodshedded with the best of them and the acclaimed SRV was eager to repay (Lonnie Mack, Buddy Guy)? -- ------------------------ Mike Cooper Spring Grove Artisans coop@datawise.net ------------------------ ========================================================================= Date: Tue, 14 May 1996 05:58:48 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: muddy and imitation (was SRV palaver) Someone wrote (this thread is awf'lly complex!) > >But more importantly, Muddy was an innovator. When he did a tune, it was >instantly distinguishable that it was Muddy. He played "pure blues" in the >"Muddy" style. He didn't copy others. So the real question is, would Muddy >have TRIED to play RP ;-) > I have no interest whatever in SRV (there! I said it and I'm glad, do you hear, glad! Oh the relief of being out of the closet!), but to say that Muddy Waters didn't copy others is ridiculous and unhistorical. And the fact that he did copy others (Son House, Robert Johnson) doesn't detract from his achievement at all, or mean that he was not also an innovator. Don Cicchetti said some wise stuff in his aesthetics 101 post about the futility of trying to elect 'the best' by shouting about it, but obviously all the shouting has rendered some of us deaf. Chris Smith (chris@skerries.demon.co.uk) If a synchronised swimmer drowns, do the rest have to? ========================================================================= Date: Tue, 14 May 1996 06:00:34 -0400 Reply-To: Mike Cooper From: Mike Cooper Organization: Spring Grove Artisans Subject: Re: Rock --> Rock/Blues --> Blues Transition Joe Lempkowski wrote: > > Most of the stores I've seen with any kind of a > selection are always in the downtown area of larger cities. If the influenced > live in the suburbs, it would seem natural that the stores be located out > there too. Holland, MI's CD store has a great selection of blues and many boots; I rub elbows there with more Hope College kids than old(er) buyers. Discretionary income? -- ------------------------ Mike Cooper Spring Grove Artisans coop@datawise.net ------------------------ ========================================================================= Date: Tue, 14 May 1996 06:07:28 -0400 Reply-To: Mike Cooper From: Mike Cooper Organization: Spring Grove Artisans Subject: Re: Rock --> Rock/Blues --> Blues Transition Ian Angus wrote: > > Us 40-50 year old white guys from the suburbs mostly came to > blues through 50s R&R/R&B or the 60s Folk/Blues Revival. > This 43 yr old white boy from small MI town was listening in 1970 to "Second Winter," Allmans' "Fillmore East," and "USA Union" on the way to finding the blues. FWIW. -- ------------------------ Mike Cooper Spring Grove Artisans coop@datawise.net ------------------------ ========================================================================= Date: Tue, 14 May 1996 10:49:34 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Misteaks (sic) In-Reply-To: <199605140405.VAA21149@kaiwan009.kaiwan.com> On Mon, 13 May 1996, Mike Curtis wrote: > > > This simply isn't true! EVERYONE makes mistakes. A GOOD player will make > you believe he intended to play that fluff, but that's an art unto itself. > If you flub a note, work around it. If it's REALLY bad, just REPEAT it! > Oldest trick in the book. Listen to the synth solo on Steely Dans "Get Back > Jack" (or whatever it's called - you know the song). There are SEVERAL > notable fluffs in that solo, but because they're repeated, we accept them as > what Fagan INTENDED to play. Instead of mistakes, we chalk them up as The old joke in the computer world is "It's not a bug it's a feature" I guess the equivalent here would be "It's not a flub it's a passing note" :):) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [14/5/96 6:29 AM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 14 May 1996 06:17:47 -0500 Reply-To: Todd Ehlers From: Todd Ehlers Subject: House lyric structure Son House scholars: I've always been fascinated by "Death Letter Blues." My blues collection is not extensive (yet) but it seems that this one has a lyric structure all its own. The great Mr. House takes tried and true 12-bar form but lays a terrific lyric rhyming pattern on it that I haven't heard duplicated. For example: 1. You know I fooled them, and slowly walked away. 2. Said that's a fine old gal, gonna lay there till judgement day. Lines one and two are spread over the first four bars. Then lines one and two take their time across the next eight bars with instrumental breaks for dramatic effect. Many 12-bar blues: First line First line (repeat) Second line 4 bars 4 bars 4 bars "Death Letter Blues:" First two lines First line (and then) Second line 4 bars Across next 8 bars. Is this peculiar to "Death Letter Blues"? Are there more examples from the great ones? It's a form that would seem to be best used for heavy blues, DLB being a top-notch example. Just curious. TIA, Todd E. -- ========================================================================= Date: Tue, 14 May 1996 12:06:00 +0100 Reply-To: rof From: rof Subject: Re: SRV - The Best There Ever Was Comments: To: Mike Cooper Comments: cc: rof@aber.ac.uk In-Reply-To: Your message of "Tue, 14 May 1996 05:55:07 EDT." <3198587B.2F3B@datawise.net> Correct me if I'm wrong but I get the feeling that this SRV fixation is mainly centred in the U.S. ...Living in the U.K. I've never met anyone who owned one of his albums, nevermind putting him on a level with Buddy Guy etc. Rob, Aberystwyth > I'd add that many of us in the older set were re-kindled at the same time. M > ay I also > suggest that the young SRV woodshedded with the best of them and the acclaime > d SRV was > eager to repay (Lonnie Mack, Buddy Guy)? > > -- > ------------------------ > Mike Cooper > Spring Grove Artisans > coop@datawise.net > ------------------------ ========================================================================= Date: Tue, 14 May 1996 07:32:40 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: House lyric structure Comments: To: Todd Ehlers On 14 May 96 at 6:17, Todd Ehlers wrote: > Son House scholars: > > I've always been fascinated by "Death Letter Blues." My blues collection > is not extensive (yet) but it seems that this one has a lyric structure > all its own. The great Mr. House takes tried and true 12-bar form but > lays a terrific lyric rhyming pattern on it that I haven't heard > duplicated. For example: > > 1. You know I fooled them, and slowly walked away. > 2. Said that's a fine old gal, gonna lay there till judgement day. > > Lines one and two are spread over the first four bars. Then lines one and > two take their time across the next eight bars with instrumental breaks > for dramatic effect. > > Many 12-bar blues: > > First line First line (repeat) Second line > 4 bars 4 bars 4 bars > > "Death Letter Blues:" > > First two lines First line (and then) Second line > 4 bars Across next 8 bars. > > Is this peculiar to "Death Letter Blues"? Are there more examples from > the great ones? It's a form that would seem to be best used for heavy > blues, DLB being a top-notch example. The same lyric structure is used on Robert Johnson's "Walking Blues" (which has origin's pre-dating Johnson's recording) P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Tue, 14 May 1996 06:41:15 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Paula Lockheart Info Please Can anyone tell me anything about a singer named PAULA LOCKHEART? Last year, I picked up a CD called "The Incomplete Paula Lockheart" (Flying Fish FF70113). It contains tracks from 3 LPs she recorded in 1977, 1979, and 1987. She performs in a variety of styles, including country, but the majority of the songs are blues or R&B related. I've never heard of her otherwise, and the liner notes aren't very informative. Any info about her history, career, etc. would be appreciated. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Tue, 14 May 1996 12:53:38 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: SRV - The Best There Ever Was Comments: To: rof >Correct me if I'm wrong but I get the feeling that this SRV fixation is >mainly centred in the U.S. ...Living in the U.K. I've never met anyone >who owned one of his albums, nevermind putting him on a level with Buddy >Guy etc. > >Rob, Aberystwyth > I think youre wrong (but tou might be right when about the UK). I=B4ve seen some SRV-clones both in Norway and Sweden. Mr Bo ========================================================================= Date: Tue, 14 May 1996 12:55:58 +0100 Reply-To: WALLER JONATHAN From: WALLER JONATHAN Subject: Re: SRV - The Best There Ever Was Comments: To: rof In-Reply-To: <19623.832071960@osfb.aber.ac.uk> You are wrong...Im in the UK and I have all his albums... ========================================================================= Date: Tue, 14 May 1996 07:58:07 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0295 From: "DUTTWEILER.J" Subject: Re: Byther Smith meets St. Peter Date: Tuesday, 14 May 1996 7:57am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: Byther Smith meets St. Peter Please, please, PLEASE don't EVER do this in your subject line again I thought someone was reporting that Byther had met St. Peter at the "Pearly Gates." Whoo, almost was there myself ;-) JD > Byther Smith and his current band are playing at Patrick's on Third in St. > Peter, Minnesota, this Friday evening, May 17. St. Peter is a town of about > 10,000, 65 miles or so southwest of the Twin Cities metro area. While this > relatively rural area has developed an active blues scene, I think its > something of a coup that Byther would be playing a gig in my hometown, and > wish to note it for the world (I have no proprietary interest in this gig, > but was part of a small group that presented Byther in the same area > (Mankato) about 16 months ago). Rural Minnesota has not historically been a > blues hotbed - to say the least] > > Any reports on a recent Byther gig? > > Anyone see this message that lives close enough to St. Peter to consider > attending the gig? > > Anyone actually planning to be there? > > Enough. Hope to see you there!! ========================================================================= Date: Tue, 14 May 1996 08:02:33 -0400 Reply-To: CATBAUER From: CATBAUER Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Blues Artists Online 5/12 Comments: To: bit-listserv-blues-l@uunet.uu.net Due to the weather (it started snowing as I was taking John Mooney to his hotel around 1am the night before and continued most of the night) we had to move several of the bands to other venues, in addition a number of the artists were behind schedule in arriving to Rochester for the festival because of heavy rain throughout the area. The artists that couldn't be moved to indoor locations were told to make the decision themselves whether to play or not because of the wind a lot decided not to. Everyone tried their best but we just couldn't make it work because of the problems in trying to get all the artists to one central location, but the good news is all are going to reschedule and are looking forward to it. Catbauer@vivanet.com ========================================================================= Date: Tue, 14 May 1996 12:39:11 GMT Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: The Official Press Release Comments: To: "P.W. Fenton" On Mon, 13 May 1996 10:19:58 -0500, P.W. Fenton wrote: >HOUSE OF BLUES RESTORES MUDDY WATERS' HOME, "MUDDY'S CABIN": >CENTERPIECE OF MAJOR EDUCATIONAL EFFORT >The rustic cabin where legendary blues great Muddy Waters was born, Who writes this stuff? I sure hope their restoration is more accurate. Muddy Waters was born near Rolling Fork, some 120 miles south of Stovall's. He mother died when he was three, and he was taken to Stovall's to live with his grandmother. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Tue, 14 May 1996 08:45:42 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: The Official Press Release Comments: To: Curtis Hewston On 14 May 96 at 12:39, Curtis Hewston wrote: > On Mon, 13 May 1996 10:19:58 -0500, P.W. Fenton wrote: > > >HOUSE OF BLUES RESTORES MUDDY WATERS' HOME, "MUDDY'S CABIN": > >CENTERPIECE OF MAJOR EDUCATIONAL EFFORT > > >The rustic cabin where legendary blues great Muddy Waters was born, > > Who writes this stuff? I sure hope their restoration is more > accurate. Muddy Waters was born near Rolling Fork, some 120 miles > south of Stovall's. He mother died when he was three, and he was > taken to Stovall's to live with his grandmother. I also seem to remember Denise Tapp telling us a good while back that the "cabin" was in fact just the corner room of what had been a much larger structure, and that the idea that Muddy lived in a tiny one room cabin was a modern misinterpretation. I wonder if HOB will restore it to something it never was...??? P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Tue, 14 May 1996 07:58:12 -0500 Reply-To: James Foster From: James Foster Subject: PETER LEE'S Midnight Creeper label and more... Peter Lee, the original founder of the FAT POSSUM RECORDS (since sold to Capricorn), has started another label called MIDNIGHT CREEPER, based in Oxford. Writing in the latest issue of ICE: THE CD NEWS AUTHORITY (http://www.webcom.com/~ice/) blues authority (and former blues-l member) Mary Katherine Aldin writes that Lee's just finished recording a host of folks live in Bentonia, including Bud Spires and Jack Owens in a variety of formats. These recordings will be released as part of a series tentatively titled "Deep Southern Blues". On June 18th Midnight Creeper will release works by John Weston and Ray Drew. I know that Lee also was running a label called SHADE TREE, which is set to release the David Kimbrough, Jr. album this summer. Are SHADE TREE and MIDNIGHT CREEPER different entities or did Lee just change the name of his label? Do any of our Oxford folks (Tom, Dick, Ed) know more about this situation? Peter Lee, like Jim O'Neal and the folks at Malaco, are recording vital music, all from a geographically small area. Let's support them! James ========================================================================= Date: Tue, 14 May 1996 07:56:13 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: SRV - The Best There Ever Was In-Reply-To: Message of Tue, 14 May 1996 12:06:00 +0100 from On Tue, 14 May 1996 12:06:00 +0100 rof said: >Correct me if I'm wrong but I get the feeling that this SRV fixation is >mainly centred in the U.S. ...Living in the U.K. I've never met anyone >who owned one of his albums, nevermind putting him on a level with Buddy >Guy etc. To be painfully honest, his first major breakthrough was at the Montreaux (sp) Jazz festival. He was the FIRST EVER unsigned artist to play that particular festival. I don't recall that festival being in the US. LW 'don't know much about geography, so it could be in Kansas' ========================================================================= Date: Tue, 14 May 1996 08:57:57 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Otis Rush Recommendations? Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com You should alo get the compilation cds Chicago! The Blues Today. There is some amazing work by Rush on this collection, including the instrumentals "Rock" and "Everything's Gonna Be Alright," and his version of "Mean Old World." Another great Otis Rush album is Mourning in the Morning (one of my favorites). -Steve ========================================================================= Date: Tue, 14 May 1996 09:49:08 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: PETER LEE'S Midnight Creeper label and more... Comments: To: jfoster@sedl.org In a message dated 96-05-14 09:40:27 EDT, jfoster@SEDL.ORG (James Foster) writes: >On June 18th Midnight Creeper will release >works by John Weston and Ray Drew. I know that Lee also was running a >label called SHADE TREE, which is set to release the David Kimbrough, Jr. >album this summer. Are SHADE TREE and MIDNIGHT CREEPER different entities >or did Lee just change the name of his label? Do any of our Oxford folks >(Tom, Dick, Ed) know more about this situation? Peter Lee, like Jim O'Neal >and the folks at Malaco, are recording vital music, all from a >geographically small area. Let's support them! I believe that Peter Lee is on this list, although not very active (I've seen at least one post). He has founded several labels designed to to release different styles of music. I believe SHADE TREE is the Parent, and MIDNIGHT CREEPER is the actual label for releasing new blues. Another label will release world beat music. I know this stuff because I have done some legal work for Peter. Tom Freeland ========================================================================= Date: Tue, 14 May 1996 06:54:11 -0700 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Re: Misteaks (was SRV - the best ever) Comments: To: bit-listserv-blues-l@cs.washington.edu > > And furthermore I couldn't help but notice the amazing soulfulness and overall je ne sais quoi of the subject heading! Adrian ========================================================================= Date: Tue, 14 May 1996 10:05:11 +0000 Reply-To: tkelley@ARL.MIL From: Troy Kelley Organization: ARL Subject: Re: BLUES-L Digest - 12 May 1996 to 13 May 1996 Date: Mon, 13 May 1996 15:53:45 CDT From: Leonard Watkins Subject: Re: SRV - the best ever On Mon, 13 May 1996 16:14:22 +0000 Troy Kelley said: > >(more flame bait) I don't consider Muddy Waters to be a great guitar player. >He was good. But that was not what he strove to be. >Muddy was a great song writer and he had a huge set of balls that he could >project nicely on stage, he was a great blues man - >but I don't think that he could not play Rivera Paradise like SRV. -Muddy did not need to play Rivera Paradise, he got his point across -without a bunch of notes. Rivera Paradise does not have a "bunch of notes" - maybe you should listen to it before you comment on it. -Albert King played very few notes, but he got his -point across and used RESTRAINT. Albert said when you find the perfect note -why noodle around looking for a more perfect note. I do not think you -understand what the BLUES is about. I hate this comment so much I could puke all over my computer. Who the hell are you to tell me what the BLUES is about??? Are you the expert!!??? You don't know me from Adam. You don't know my life or my work. Please don't tell me what I know and what I don't know. Get off you high horse and come down to earth. -It has nothing do with mistakes, lots of -notes, complex arrangements, tones, hats, boots...etc It's all about expressing -yourself. No DAAA... Really??? Boy that is a brilliant statement. Thanks for clarifying that for me. I have been wondering about that for a long time. Stevie was wonderful at expressing himself. I don't think you can deny that. -The hardest thing for a guitar player to learn is restraint. Take -BB King for example, he can play one note and say it all. I like SRV, but -he never said it like Albert, BB, Freddie.....etc. God knows no one never -said it like SON HOUSE and never will IMHO...... -LW You have your opinion and I have mine. "Lots of notes" does not scare me and I respect a man who can play a lot of notes, WHEN THEY ARE APPROPRIATE!! If the song is an uptempo song - then it is appropriate to play your ass off. I never heard Stevie "overdo" a song. Steve would milk a note for all it is worth in MANY, MANY songs. He had restraint. Troy ========================================================================= Date: Tue, 14 May 1996 07:20:29 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: May 15 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BURRIS, J. C. (hca/ARHOOLIE REC) d. 1988-0515, KINGS MOUNTAIN, NC 60 CLAY, SONNY (p) b. 1899-0515, TX DAYLIE, HOLMES "DADDY-O" (Chicago dj) b. 1920-0515, COVINGTON, TN FREEMAN, ERNIE (p/arr/IMPERIAL REC) d. 1981-0515, HOLLYWOOD, CA 58 GORDON, JOE (tpt) b. 1928-0515, BOSTON, MA GREEN, JOHNNY (songw) d. 1989-0515, BEVERLY HILLS, CA 80 HALL, EDMOND (cl) b. 1901-0515, RESERVE, LA HARRIS, I. J. (IRON JAW) (v/CASH REC) b. 1946-0515, MARIANNA, AR JOHNSON, ELVA (g) b. 1896-0515, HARDWARE, VA JOHNSON, LARRY (g/hca) b. 1938-0515, ATLANTA, GA LARKINS, ELLIS (p) b. 1923-0515, BALTIMORE, MD LEE, BARBARA (of THE CHIFFONS) d. 1992-0515, NEW YORK CITY, NY 48 MAHER, JOHN JR. (publisher: DOWN BEAT) d. 1991-0515, CHICAGO, IL 43 MCKENZIE, MAC (g) b. 1915-0515, CHARLESTON, SC MITCHELL, JAMES (tsax/bsax/HI/STAX REC) b. 1931-0515, ASHLAND, MS ROBINSON, L. C. "GOOD ROCKIN'" (g/vln) b. 1915-0515, BRENHAM, TX THAIN, GARY (b/KEEF HARTLEY) b. 1948-0515, WELLINGTON,NEW ZEAL WELCH, LENNY (v/SINCE I FELL FOR YOU) b. 1938-0515, ASBURY PARK, NJ WILLIAMS, JOHNNY REV "UNCLE" (g) b. 1906-0515, ALEXANDRIA, LA ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 14 May 1996 14:21:06 GMT Reply-To: "Pamela J. Larsen" Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: "Pamela J. Larsen" Organization: Chenango Net Services Subject: Re: James Peterson Comments: To: FORCELLAD@ccsua.CTSTATEU.EDU Domenic, Thanks for the review. James Peterson is playing in my town on Thursday and I'll be sure to be there!Have you ever had the chance to see his son Lucky Peterson play? It'll be interesting to see how they compare. Pam ========================================================================= Date: Tue, 14 May 1996 10:33:30 -0400 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: Blue Highway Playlist for 5/11/96 WFBE 95.1FM (Flint Mi) Blue Highway Playlist for 5-11-96, with host Ed Tremewan Artist, Song, Album, Label, Time --------------------9pm------------------ Buddy Guy/G E Smith, Sweet Black Angel, The Real Deal, Silvertone, 7:49 Randy Volin, Little Love, Used Guitars, Volin. 3:02 John Lee Hooker, I Aint Gonna Suffer...,Soundtrack; Heavens Prisoners, Code Blue, 6:24 Preston Shannon, Size 12 Shoes, Midnight In Memphis, Bullseye, 3:49 ==================Break================ Doug McLeod, Title Cut, You Cant Take My Blues, Audioquest, 4:59 The Dick Powell Band, Walkin Blues, Blue Plate Special, Powell. 8:04 C D Morris, Blues Power, Hoo Doo Man, American Entertainment, 3:01 =================Break================ Kelly Joe Phelps, Markin Stone Blues, Lead Me On, Burnside, 4:58 Joe Beard/Ronnie Earl, Just To Be With You, Blues Union, Audioquest, 5:24 Monster Mike Welch, I Forget, These Blues Are Mine, Tone Cool, 4:21 Koko Taylor, Wang Dang Doodle, Earth Shaker, Alligator, 4:51 =================10 pm Break================ Jimmy Rogers, Blue and Lonesome, Feelin Good, Blind Pig, 4:30 Chicago Bob Nelson, Came Home This Morning, Back To Bogalusa, Kingsnake, 5:06 James Solberg, Bad Love, See That My Grave..., Atomic Theory, 6:54 Jesse Austin, Givin Mama And Papa...,Baby's Back, Roesch Records, 4:39 =================Break=================== Champion Jack Dupree, Lonesome Bedroom, Back Home In...., Bullseye, 6:22 Chris Cain, Before the Rooster Crows, Somewhere Along....., Blind Pig, 4:59 Harmonica Fats/Bernie..., House Goin Round..., Blow Fat Daddy.., Bee Bump, 4:13 Tommy Castro, Hard Luck Case, Exception to The Rule, Blind Pig, 2:58 =================Break=================== Maurice Davis, Brown Sugar, Tape Single, Self Produced, 4:59 Luther Allison, Cherry Red Wine, 25th Anniversary , Alligator, 4:22 Paul Oscher, Sugar Babe, Knockin On Devils Door, Viceroots, 5:22 ================11 pm Break=================== (All girl set) Sarah Brown, Devils Best Disguise, Sayin What I'm...., Blind Pig, 4:18 Deborah Coleman, What should I Do, Takin' A Stand, New Moon Music,4:14 Cotton Candy, When Will I Be W/You, They Call Me C.C., Co-Zee Prod., 4:43 Joanna Connor, Howlin', Rock & Roll Gypsy, Ruff Records, 3:53 ===================Break======================= Otis Rush, Intro/The Preacher, I Got A Woman, Gamblers Blues, Feel So Bad, Live and Awesome, Genes, 39:16 =============Break===================== (blues can be about anything set) Z Z Top, Blue Jean Blues, The Best Of...., Warner Bros, 4:42 Lonnie Mack, Oreo Cookie Blues, Strike Like Lightning, Alligator, 4:51 Jelly Roll Kings, Slop Jar Blues, Rockin The Juke Joint Down, Earwig, 2:13 =================Break=============== Luther allison, Put your Money...., Soul Fixin Man, Alligator, 6:28 Mr. B, Cow Cow Blues (exit theme), Blue Ivory, Blind Pig, 2:57 BLUZ!!! Ed ========================================================================= Date: Tue, 14 May 1996 10:39:16 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Muddy and Stevie Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *-Muddy did not need to play Rivera Paradise, he got his point across *-without a bunch of notes. * *Rivera Paradise does not have a "bunch of notes" - maybe you should listen *to it before you comment on it. I think what LW was trying to say is that Muddy and Stevie had two completely different styles, and that it doesn't matter that Muddy's playing wasn't as technically brilliant as Stevie's. While I think that SRV was a great musician (and certainly one of the most popular mainstream blues players), Muddy was one of the founders of a genre and style. Muddy's influence on Chicago blues alone will always make him one of the greatest ever. I doubt that Little Walter, Professor Longhair, Charlie Patton, Freddie King, Son House, etc. could play Riviera Paradise - does that make them lesser bluesmen than SRV? Hell no! -Steve L ========================================================================= Date: Mon, 13 May 1996 13:36:33 GMT Reply-To: jackieo@MIDTOWN.NET From: Jack Oudiz Organization: Midtown Computer Services Subject: Re: Rock --> Rock/Blues --> Full Circle Comments: To: bit-listserv-blues-l@uunet.uu.net Gregory A King wrote: >What has amazed me here - and has always struck me as silly - is the purists >that refuse to recognize or will discount the talent of later players. SRV >copped everything from Albert? Eric from Buddy? Where do you stop? Rembrant >wasn't a valid or talented artist because he copped everything from the cave >dwellers that painted their walls? Liszt sucked because Bach did it first? >Ken Kesey can't write because Mark Twain was the MAN? >Then ALL blues players are not valid talents because they copped the use of >the pentatonic scale from the 9th Century Mideast and their beat from tribal >Africa. Or should we go all the way back to the creators of the major scale >from which all music comes? Where does it stop? >The purists reverence for the old masters is very valid. My admiration of the >new masters is just as valid. To explore your favorite musics beginings is >great - to get stuck in the past seems narrow (and a little sad) to me. Yes, >give credit to those who built the foundation but don't miss the beauty and >the talent of those who are still building the house. Noble sentiments Greg. However you missed the point. It has nothing to do with "purism". And yes of course everyone is in some way "derivative" of what came before. The point made was that in judging the "greatness" of a player one should go beyond "he sounded great" or "I really liked him" or "I learned the blues from him." B.B. King owed a GREAT deal to Lonnie Johnson, Charlie Christian, Johnny and Oscar Moore and most of all to T-Bone Walker. Yet he created a revolution in the playing of the blues guitar that was monumental. He single-handedly created a style that did not exist before. And influenced virtually every guitarist that came after. To me that is one helluva measure of greatness. My last words on a thread that I deeply regret having been suckered into. I personally have no taste for the sound of SRV but I certainly can see why others might differ and I respect that. Nuff said. ========================================================================= Date: Tue, 14 May 1996 07:31:24 -0500 Reply-To: David Melton From: David Melton Subject: Re: Freddie and Stevie Comments: To: Steve.Levine@CORP.WRGRACE.COM At 10:39 AM 5/14/96, Steve Levine wrote: >I doubt that Little Walter, Professor >Longhair, Charlie Patton, Freddie King, Son House, etc. could play >Riviera Paradise - does that make them lesser bluesmen than SRV? Hell no! > >-Steve L Not to stray from your point which I agree with, I had this thought: Freddie King was quite a musician and very versitile. Judging from what I've heard of his instramental work, I would bet he could have taken a pretty good crack at it. In fact, I will stick my neck out and venture to say it would be just as incredible but in his own way. Dave Melton ========================================================================= Date: Tue, 14 May 1996 10:25:31 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Teddy Reynolds update As you know by now, Teddy Reynolds plays keyboards with Texas Johnny Brown. He had triple bypass surgery back in the fall and has developed some complications. Johnny's manager, Paula, sent me a note with an address to send Teddy cards and letters. Teddy Reynolds c/o Silver Threads Nursing Home 3402 Village, Room 26 Houston, TX 77026 I know that Teddy would love to hear from each one of you. You might not realize it, but if you've heard any Gulf Coast blues artists, there's a good chance that you've heard Teddy backing them on keyboards. -Jeff BTW, you can find out more about Teddy and TJB at their web page: http://bioc09.uthscsa.edu/~seale/tjbrown.html --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball #8 U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc09.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Tue, 14 May 1996 11:20:24 EDT Reply-To: Mark Wiggins From: Mark Wiggins Subject: Exit of SRV discussion Okay. I've been subscribed to this list for 2 days now and have noticed that there sure is a lot of fighting over SRV being the greatest or not. It's funny, because so far, no one has denied he's greatness, nor his contribution to the blues. I just keep thinking to myself "beauty (greatness, best of, ect.,) is in the eyes of the beholder". I respect your opinions, that's why I subscribed to the list. I guess I'm wondering why, with all of the other possible topics and people revolving around the blues, would you waste so much time on trying to dispute someone's matter of opinion. I've seen a couple of listings about new album releases, new amp tubes, and harp mics that I've enjoyed. To me, this is what this listserv should be about. Can I suggest that we mark the SRV discussion off as unresolvable because of matters of opinions d P.S. For you blues musicians in Connecticut, my band (Gina Gunn and the Bullets I being a Bullet) hosts a blues jam every I being a Bullet) host an open blues jam every Thursday night at Holly J's Cafe in East Hampton (RT 66). It was voted 2nd best open jam in the state (next to the Hunger Tiger) by the Advocate Readers Poll. Would love to see you there. Mark Wiggins DRUMMIN' OUT SUCCESS Operating Systems Programmer ___ ___ University Computer Center / _ _ \ 196 Auditorium Road, U-138 | |_| |_| | Storrs, Connecticut 06269-3138 | \___/ | Internet: WIGGINS@UCONNVM.UCONN.EDU | / \ | (860) 486-2792 / \ /\___/\ / \ ========================================================================= Date: Tue, 14 May 1996 10:29:34 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Threads Well, in the last few weeks, we've seemed to once again recycle most of our favorite threads around here, Zep, SRV, HOB, purists, etc... You think we could start that black vs. white thing again, just to make things complete? ;-) ;-) ;-) ;-) ;-) -Jeff (no, I don't want to start that again) --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball #8 U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc09.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Tue, 14 May 1996 11:22:44 EST Reply-To: mstringer@HEARST.COM From: Mark Stringer Subject: Ol' black getto guy I want more from the ol getto guy. he's da real deal. oh yaaa ========================================================================= Date: Tue, 14 May 1996 11:41:35 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Cassandra Wilson Sings Son House . . . These are taken from The New York Times review of Cassandra Wilson's performance: Ms. Wilson sang tunes from her new album, ``New Moon Daughter'' (Blue Note), tunes that were separated by a handful of decades, an ocean and culture; they ranged from the Irish pop group U2's ``Love Is Blindness'' to the Mississippi blues guitarist Son House's ``Death Letter.'' (snip) The band, hissing and humming behind her, never raising its voice, always responsive to the shades of emotion she conveyed, helped Ms. Wilson on her road to making an entire hall become a community. And with their steady refusal to commit to cliche, she and the band balanced out the material's tendency toward nostalgia, using nostalgia to tease, but never muffle, the imagination. ========================================================================= Date: Tue, 14 May 1996 11:28:25 EST Reply-To: mstringer@HEARST.COM From: Mark Stringer Subject: get lost grama patrol I say GET LOST GRAMMMA PATROL ========================================================================= Date: Tue, 14 May 1996 11:34:44 -0400 Reply-To: TDominey From: TDominey Organization: America Online, Inc. (1-800-827-6364) Subject: New Station on the Block Comments: To: bit-listserv-blues-l@uunet.uu.net We're new on the block! While we may be new around the newsgroup, WSCI-FM in Charleston, S.C. has been broadcasting South Carolina's longest running blues program for over 13 yrs now - "Blues in the Night." Also, we produce "South to Louisiana" - the best of cajun, zydeco, blues, r&b, carnival time, jazz, etc. Anything with a Louisiana flavor! If we are not currently on your service list, we should be! WSCI-FM, 89.3 is a 100,000 watt public radio station covering the Lowcountry of S.C., including the metropolitan area of Charleston. "Blues in the Night" - Time & Day: 9pm-10pm Every Saturday night (commercial free). "South to Louisiana" - Time & Day: 10pm - 11pm Every Friday night (commercial free). Contact info: WSCI-FM / Attn: Todd Dominey / Post Office Box 20,001 / Charleston, S.C. / 29413-0001. 803.722.4051 Look for weekly playlist reports here on the blues newsgroup! For more info, e-mail us: Todd - tdominey@aol.com ========================================================================= Date: Tue, 14 May 1996 15:46:12 GMT Reply-To: Steven Hirsch From: Steven Hirsch Organization: National Agricultural Library Subject: Re: The Band. Comments: To: bit-listserv-blues-l@uunet.uu.net >Also, is Dr John actually a Dr by trade, or is this just a nickname? > >Thanks > > Owen Did anyone ever mention that the Doctor's name is Mac Rebenack? Steve ========================================================================= Date: Tue, 14 May 1996 15:51:17 GMT Reply-To: bbbean@sheltonlink.com From: bbbean@SHELTONLINK.COM Organization: inlink Subject: Elmhurst/Chicago Comments: To: bit-listserv-blues-l@uunet.uu.net I'm going to spend a week at Elmhurst College (near Chicago) brushing up on the dreaded THEORY (probably be doomed to be a jazzbeaux now - it'll ruin all my blues licks), and am looking for suggestions for night spots, restaurants, the whole ball of wax. I've never been to Chicago, and while my knowledge of the city's musical heritage is fairly deep, my knowledge of its geography and current scene is almost nil. I'm also looking for an inexpensive hotel within 10 or 15 minutes of the college. BBB B.B. Bean bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Tue, 14 May 1996 09:02:39 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: no no no, here's how it goes... "If you play a clam once It's a mistake If you play it again... IT'S JAZZ! DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 14 May 1996 09:04:53 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: SRV - The Best There Ever Was Rob from the UK said: >Correct me if I'm wrong but I get the feeling that this SRV fixation is >mainly centred in the U.S. ...Living in the U.K. I've never met anyone >who owned one of his albums, nevermind putting him on a level with Buddy >Guy etc. Yeah.... But YOU lot buy all that Oasis bollocks so I guess it all evens out donnit? ;-] DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 14 May 1996 09:07:29 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: SRV - The Best There Ever Was Mr Bo said (edit edit) >I=B4ve seen some SRV-clones both in Norway and Sweden. OH NOOOOO!! You're kidding! whew, scary stuff.... I wonder if they have a SRV clone in say.... Baghdad.. (or maybe they should all be sent to Baghdad...) DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow =46ruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 14 May 1996 09:31:57 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Exit of SRV discussion Mark Wiggins said: (edit edit) >I guess I'm wondering why, with all of the other >possible topics and people revolving around the blues, would you waste so much >time on trying to dispute someone's matter of opinion. I've seen a couple of >listings about new album releases, new amp tubes, and harp mics that I've >enjoyed. To me, this is what this listserv should be about. ALRIGHT! Another gearhead!! ;-] Actually talking about gear is not what we are about, although a fair amount of it goes on, happily enjoyed by many and tolerated by the rest. (thank you thank you) What really knocks me out is the sheer number of actual *blues people* on this list. People who actually have heard Muddy live! People who have managed fabulous blues talents, people who work for record labels, people who are music historians and writers, lots of musicians, hosts of blues radio programs, and several recording engineers. This group is so full of talent and history that it amazes me. We ignored the "yadda-ya is the best" kitty-litter-posts for DAYS before someone jumped in. We were probably bored.... Just hang out and you'll see. It's a great group. And what kind of amp do YOU like? ;-] DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 14 May 1996 09:40:55 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: get lost grama patrol Mark Stringer said: >I say GET LOST GRAMMMA PATROL no no no... It's *Please* get lost, *Mr.* Grammar Patrol", Mrs. Littella, That's "Grammer", *not* "Grammma" ohhh that's different never mind... DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 14 May 1996 09:49:52 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Spelling patrol.... I said: >That's "Grammer", *not* "Grammma" No Mrs Littella, it's spelled Grammar, not Grammer... sheesh what a wally... DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 14 May 1996 11:32:11 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Last night Studio xperience I finally got the harp player off the couch and into the studio. He did fine he was very nervous as expected, it was a very nice studio(real nice). The engineer mentioned putting him in another room and that blew his mind. That would not work for him. So he boxed me in with sound proof stuff to help the mic bleeding. The students just watched and did not actually do the recording. It was fun, I wasn't pleased with my playing or singing (I hesitate to call it singing). Everyone that was involved really liked it. I can't say anything bad about the actual recording, but my playing/singing was not good. I'm just glad I got my harp playing friend out of his living room. When it was over he was very happy that he went through with it. I think his confidence was boosted tremendously. The best thing all night was when one of the students who played harmonica said "I listen to Charlie Mooslewhite a lot". The engineer was real particular about everything being set up just right, he said "If magic happens I want the sound to be good"....Unfortunately magic did not even drive by. DON & other sutdio/sound people: Do ya'll take courses on "bed-side manners" I have never had anything but great treatment from sound "engineers". It sure helps to have people who care and make you feel as comfortable as possible....Hats off to all you guys. LW 'we played Riveria Paradise backwards while warming up, just for fun :-)' ========================================================================= Date: Tue, 14 May 1996 12:04:35 -0500 Reply-To: Peter Lee From: Peter Lee Subject: Re: Ladysmith Black Mambazo fatality >Chris Smith wrote: >It was Headman Shabalala, lead singer Joseph's brother, who was shot. I remember the news reports on how it happened and how typical and horribly South African it was. I was back home in Ladysmith--my home town--visiting my parents when Mr. Shabalala was shot. He was traveling to or from Escourt (where his brother lives) to Durban. A young, white security guard (a safe and typical job for your usual thick white South African) pulled Mr. Shabalala's van off the highway and shot him when he got out. It was over some sort of alleged traffic incident. I'm not sure what happened to the killer, though. I don't think any of members of the group live in Ladysmith anymore. And I don't know why they called themselves "Ladysmith" Black Mambazo. The Zulu name for the town is Nambiti (place of safety) a much prettier name than Ladysmith. (Lady Smith was a 14 year old Spaniard who married a 50 year old Englishman.) Anyway, I've been a fan of Ladysmith Black Mambazo's for a long time and have some very worn out tapes of their South African releases. If you can get hold of this stuff it is absolutely incredible. Most of it is religious material and all of it sung in Zulu. Bayeti, Peter Lee ========================================================================= Date: Tue, 14 May 1996 10:10:09 -0700 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Re: Blues Revue & HOB LW writes: >I still do not like the claim best selling blues magazine in the US (or >whatever the claim is) a blues magazine does not have Greg Allman or John >Goodman on the cover..period >I think there are more desvering blues people for a major magazine to put on >it's cover...?? Absolutely. This magazine is the pits. Gregg Allman is featured on the cover and gets significant exposure. A guy whose whole life has revolved around the blues (either playing or living 'em), Lurrie Bell gets one or two pages. The "Women in the Blues" issue focusing on Janis Joplin and Honey Piazza, without mentioning any of the blues women from Chicago or Texas was an unfortunate oversight. How can you do a tribute to women and act as if Denise LaSalle, Lavelle White, Bonnie Lee, Zora Young, E.C. Scott, etc... don't even exist? There also seems to be a real focus placed on race. The obligatory question asked almost every black artist, can white people play the blues gets to be very annoying particularly when that question closes almost every interview. There was also a dig at blues-l a few issues back. (Not that it isn't deserved, since we sure can dish it out here.) For a magazine that claims to be so "open" covering artists which Living Blues doesn't, they sure seem to be at the opposite end of the spectrum. When they do cover high profile artists like Otis Rush, they seem to do a great deal of research from the other magazines and they don't present a whole lot of new information. >The show is right below the Love Boat as far as entertainment value.... >To each his own. You can't please everyone.. Has anyone ever been able to figure out how Isaac was simultaneously working at every bar and lounge on the Love Boat? This has always stumped me. Joe ========================================================================= Date: Tue, 14 May 1996 13:06:00 -0400 Reply-To: MoJo_rAgS From: MoJo_rAgS Subject: Re: Cassandra Wilson Sings Son House . . . Comments: To: Jinxblues@AOL.COM In-Reply-To: <960514114135_113323141@emout17.mail.aol.com> from "Dick Waterman" at May 14, 96 11:41:35 am Cassandra Wilson's new album is getting a lot of airplay on our local Jazz stations. Its haunting and interestingly enough I heard one of the numbers on Echoes, the New Age music program on Public Radio. So many genre of music. Gotta love it!!! Get the album folks. Its worth it. +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | Laissez les bon temps roulez!! | | // ~~ ~~ \\ | Let the good times roll!! | | /d-(@)-(@)-b\ | ------------------------------ | | // L \\ | SANJAY 'RAGS' RAJAN | | // //|\\ \\ | sanjay_rajan@formtek.com | | ////`---'\\\\ | FORMTEK,INC. | | // //|||\\ \\ | PITTSBURGH, PA | | // /|||\ \\ | ------------------------------ | | -/---/\o/\---\- | Visualize Whirled Peas!! | | /"\ | | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Tue, 14 May 1996 13:09:44 -0400 Reply-To: MoJo_rAgS From: MoJo_rAgS Subject: JULY_19_to_21 Updating events for the week of July 19 to 21 JULY 19-21 ---------- Pittsburgh Blues Fest, Pittsburgh, PA Kansas City Blues Fest, Kansas City, MO New York State Blues Fest, Syracuse, NY Toronto Blues & Soul Fest, Toronto, CANADA 19th Annual Vancouver Folk Music Festival, Vancouver, BC, CANADA Mid Mississippi Muddy Waters Blues Fest,Quincy, IL COOL BEANS.... GET OUT AND SUPPORT THE MUSIC FOLKS!! +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | Laissez les bon temps roulez!! | | // ~~ ~~ \\ | Let the good times roll!! | | /d-(@)-(@)-b\ | ------------------------------ | | // L \\ | SANJAY 'RAGS' RAJAN | | // //|\\ \\ | sanjay_rajan@formtek.com | | ////`---'\\\\ | FORMTEK,INC. | | // //|||\\ \\ | PITTSBURGH, PA | | // /|||\ \\ | ------------------------------ | | -/---/\o/\---\- | Visualize Whirled Peas!! | | /"\ | | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Tue, 14 May 1996 10:19:17 -0700 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Jimmy Rogers in Bay Area For those of you in or visiting the San Francisco Bay Area this week, Jimmy Rogers will be appearing at Biscuits & Blues in San Francisco from Tuesday night until Saturday night. Joe ========================================================================= Date: Tue, 14 May 1996 13:01:00 -0400 Reply-To: DMIELE From: DMIELE Organization: Exxon Research & Engineering Subject: Re: Gearheads *New-manufacture 12AX7 Tubes* Comments: To: bit-listserv-blues-l@uunet.uu.net Don Cicchetti wrote: > > I learned this morning, that Phillips purchased some of the Telefunken > machinery with which to make tubes, and is producing a new 12AX7 in the > Czech Republic. I read an ad in Musician magazine that Whirlwind has purchased and upgraded tube-producing facilities in China. They claim to be producing very high quality tubes. Someone told me that they are making 7591's , which is great news for old Ampeg owners. I have no more detail than that. Has anyone else heard about this? ========================================================================= Date: Tue, 14 May 1996 12:28:21 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re: get lost grama patrol Comments: To: mstringer@HEARST.COM Yeah, and you can't even misspell it the same way twice in a row! =) I think you NEED the Grammer Patrol. I think secretly, in your heart of hearts, you WANT the structure and security of the Grammer Patrol ( what was your relationship with your mother like?). Anyway, I liked the Grammer Patrol, thought it was funny, and you can't keep a good English Lit teacher down. Jim, son of an English lit teacher, also _______________________________________________________________________________ Subject: get lost grama patrol From: mstringer@HEARST.COM at INTERNET-SH Date: 05/14/96 11:56 AM I say GET LOST GRAMMMA PATROL ========================================================================= Date: Tue, 14 May 1996 13:27:30 -0400 Reply-To: Peter Welch From: Peter Welch Subject: Big Al Dupree Has anyone heard a CD called "Big Al Dupree Swings the Blues"? Is this any good? I'm a big fan of Texas/California jump blues, so it sounds like it would be good...Any recommendation? Thanks, -Peter ========================================================================= Date: Tue, 14 May 1996 17:29:32 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: HOB/Blues Revue Whinge Count me in as one of those who is somewhat disappointed with the latest issue of Blues Revue. Despite pretentions to the contrary the coverage of the HOB is by no means a balanced one, they are "puff pieces". This harkens back to the discussion on CD reviews, i.e. do you say "bad" things or not. More than likely it is an advertiser revenue issue for BR, they can hardly criticize one of the hands that feeds them. What it stacks up to is one big advertisement for the HOB and a stroking for Tigrett. (an indian Guru? How 60's :) ) It makes you look askance at the Hohner "River" harp article. It is my understanding that this IS a fine harp BUT Hohner is also and avertiser. Blues Revue or Blues Revenue? Don't get me wrong, there are some positive aspects to the HOB. I have yet to meet an artist who was not well treated and happy to play a HOB. The articles also go into the HOB's "good works". The cynics among us may regard these as tax writeoffs or such but I would never say such a thing. The Muddy's Cabin adventure is pure showmanship which I predict blues fans will not really buy (in a literal sense) into. My problem with HOBdom is it's general attitude towards it's audience, an audience which I feel it has misread. The blues audience is, in general, an audience of "old" farts (such as I). This does not preclude a younger element but I speak in generalities. Take a look at the picture of the Boston HOB. Nice room with nice little tables, it doesn't hint at the fact that when the music starts those tables are gone and you, you grimy prole, must stand sardine-like, your warming beer in your hand. I can stand for hours in drizzle at a bluesfest but I cannot, will not stand for that. Boston HOB is my only HOBian experience and things may be much better elsewhere, particularly if there is some larger competition such as I assume New Orleans can provide. The article on the L.A. HOB includes an accusatory wheeze from it's manager (booker, whatever). Something to the effect "I booked a major doubleheader blues act and only 300 people showed up, we have room for a 1000 or more. So if I put on Cher or Nirvana you can just SHADDUP!" In a city with a population nearing that in all of Canada, only 300 blues fans showed up for a major act and this guy's conclusion is that it's the fan's fault, so there. It's second hand, but I have heard of lineups there where the elite are whisked in and the masses of the unwashed are left to languish. If that is the signal then as a fan I may just get pissed off enough not to go even if it's someone I want to see. With the HOB it just seems, to me at least, to be "Like it or lump it". In their defense, the HOB is a business and it has a bottom line. Their problem after that is twofold. Can they make a living on the Blues? They give signals to the contrary while trying to rationalize their inclusion of a hodge podge of music styles. This leads to the second problem. Marketing. How can you retain your market by fractionating it, all the while taking it in the shorts because you have defined yourself rather narrowly as the House of BLUES? BLUES get it?! phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [14/5/96 13:25 PM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 14 May 1996 10:28:49 -0700 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Re: Blues in the movies?? Comments: To: akapil@MEDICINE.BSD.UCHICAGO.EDU Here are a couple with lots of blues: Chicago Blues on Rhapsody Films. This film has lots of blues and gobs of social commentary on Afro-American life in 1960s Chicago. (Not that a whole lot has changed.) Sweet Home Chicago on MCA. An hour long look into the history of the blues on Chess Records. Naturally, this only deals with the positive aspects of the Chess brothers, but it has loads of interviews. There are several blues performances that have made it onto video tape by Muddy Waters, Willie Dixon, Albert King, Freddy King, Buddy Guy and Jr. Wells. These usually are more fun to watch than an hour of the House of Blues TV show. Joe ========================================================================= Date: Tue, 14 May 1996 13:30:21 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Exit of SRV discussion Comments: To: Mark Wiggins On 14 May 96 at 11:20, Mark Wiggins wrote: > Okay. I've been subscribed to this list for 2 days now and have noticed > that there sure is a lot of fighting over SRV being the greatest or not. It's > funny, because so far, no one has denied he's greatness, nor his contribution > to the blues. I just keep thinking to myself "beauty (greatness, best of, > ect.,) is in the eyes of the beholder". I respect your opinions, that's why I > subscribed to the list. I guess I'm wondering why, with all of the other > possible topics and people revolving around the blues, would you waste so much > time on trying to dispute someone's matter of opinion. I've seen a couple of > listings about new album releases, new amp tubes, and harp mics that I've > enjoyed. To me, this is what this listserv should be about. Can I suggest that > we mark the SRV discussion off as unresolvable because of matters of opinions d Mark, rest assured that long time members of this group have simply been silent on the SRV thread, with the thought being, if you don't fuel it, the fire will go out. Believe me, there are not many subjects I enjoy reading about less, than the deification of the late SRV. Give it a little more than 2 days, because the last 2 have not been representative. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Tue, 14 May 1996 13:37:14 EST Reply-To: shannon oconnor From: shannon oconnor Subject: That One Note, SRV, Etc., Etc. LW said.... "Muddy did not need to play Rivera Paradise, he got his point across without a bunch of notes. Albert King played very few notes, but he got his point across and used RESTRAINT. Albert said when you find the perfect note why noodle around looking for a more perfect note"...etc. Just to throw a weasel in the blender, I've read more than one interview with that Unholy Blues Guy Mr. E. Clapton where he says in his solos he's often seeking that "one note" that expresses the feeling. Gee, then could what he plays actually be...BLUES??? Just a thought. Shannon P.S. I like SRV quite well, thank you. ========================================================================= Date: Tue, 14 May 1996 13:48:43 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: get lost grama patrol >I say GET LOST GRAMMMA PATROL Impeccable grammar there, but now the spelleng polise will come after you! Chris Smith (chris@skerries.demon.co.uk) 2 + 2 = 5 for large values of 2 ========================================================================= Date: Tue, 14 May 1996 17:44:37 GMT Reply-To: "Daniel S. Lewart" From: "Daniel S. Lewart" Organization: University of Illinois at Urbana Subject: Re: Byther Smith (ALIVE AND WELL) in St. Peter Comments: To: bit-listserv-blues-l@uunet.uu.net Mark Halverson writes: > Any reports on a recent Byther gig? I had the good fortune to see him in Chicago in December and in Champaign in February. Those were two of the best shows I've ever been to! Daniel Lewart d-lewart@uiuc.edu ========================================================================= Date: Tue, 14 May 1996 14:17:07 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: "Seven Guitars" voted 'Best Play' August Wilson's "Seven Guitars," a play about a murdered blues singer, was voted 'Best Play' by the New York Drama Critics' Circle. It is already nominated for eight Tony awards and these will be named on June 2nd. Dick Waterman ========================================================================= Date: Tue, 14 May 1996 13:23:59 -0400 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: The Official Press Release Comments: To: "P.W. Fenton" >I also seem to remember Denise Tapp telling us a good while back that >the "cabin" was in fact just the corner room of what had been a much >larger structure Aha. This clarifies something for me. Alan Lomax wrote, commenting on his own records from 1942, "This document paints a stark picture of a sharecropper family in a brown four-room shack in the middle of a cotton field." -- The Land Where The Blues Began, p. 412. I'd thought that maybe he'd lived in more than one house at Stovall's. Cool. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Tue, 14 May 1996 11:23:01 -0700 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Re: Least respected I don't know if this answers the question, but the blues artist who has earned a great deal of my respect is: Detroit Junior The man is suffering with kidney problems. He is on kidney dialysis three times a week. It is very physically draining. He still manages to maintain a rigorous performing schedule. He puts what energy he can muster into his performances. He puts on a great show. He is an extremely nice man. He is very friendly and always has time to chat with one of his fans. He is a gifted songwriter and has a very deep history in the blues. Joe ========================================================================= Date: Tue, 14 May 1996 14:23:12 -0400 Reply-To: "Lost John From: "Lost John Subject: SRV/Baghdad/So Long Comments: cc: johnc@vedge.com Recent chatter: >Ive seen some SRV-clones both in Norway and Sweden. >>OH NOOOOO!! >>You're kidding! >>whew, scary stuff.... >>I wonder if they have a SRV clone in say.... Baghdad.. >>(or maybe they should all be sent to Baghdad...) >>DC Maybe all ever-so-smug, elitist, sarcastic, know-it-all, mouthy little assholes should go to Baghdad, where they can strictly moderate and mold their mailing lists in their own image, and summarily unsubscribe anyone whose opinion differs from their own. Wouldn't that be nice? I hear they have great gear in Baghdad. It's been real. For the most part, it's been interesting. But the level of elitism, xenophobia, and intolerance that's been bouncing around on this list is a little more than I care to voluntarily subject myself to on a daily basis. Enjoy what you can from the list. Some of you deserve each other. Seeya. -- _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ _/ /\ _/ _/ || _/ _/ || _/ _/ John Carley || _/ _/ || _/ _/ || _/ _/ |\||/| _/ _/ \ / _/ _/ " There's only two things in life / \ _/ _/ but I forget what they are..." ( ) _/ _/ - John Hiatt \____/ _/ _/ _/ _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ ========================================================================= Date: Tue, 14 May 1996 14:19:27 EDT Reply-To: Mark Wiggins From: Mark Wiggins You're all right. I jumped in to quickly and I'm sorry. Most of the listings that I've since read have been good and informative and I'm glad to be here. Again I'm sorry. Anyway, on a separate matter (gearheads need only continue), I was asked what type of amp I liked. Although I am a drummer (Pearl BLX series for those of you who care), I enjoy listening to gear talk. I goof around, on my off time playing the acoustic guitar but am just a want-a-be. Anyway, as far as my amp of preference I'd have to say it would be a Fender Vibrolux Reverb. The guitar player in my band plays a Gibson ES-335 (68 or 69) through a Vibrolux and gets some pretty nice tone. I think the Twin Reverb is nice too but often to much power for the small night club. It's tough to work it. I probably don't know enough to offer any real intelligent conversation about guitar amps or most musical equipment for that matter but I will always listen... Thanks Mark Mark Wiggins DRUMMIN' OUT SUCCESS Operating Systems Programmer ___ ___ University of Connecticut / _ _ \ 196 Auditorium Road, U-138 | |_| |_| | Storrs, Connecticut 06269-3138 | \___/ | Internet: WIGGINS@UCONNVM.UCONN.EDU | / \ | (860) 486-2792 / \ /\___/\ / \ ========================================================================= Date: Tue, 14 May 1996 11:53:59 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: House lyric structure Comments: To: Todd Ehlers Todd Ehlers wrote: >Son House scholars: > >I've always been fascinated by "Death Letter Blues." My blues collection >is not extensive (yet) but it seems that this one has a lyric structure >all its own. The great Mr. House takes tried and true 12-bar form but >lays a terrific lyric rhyming pattern on it that I haven't heard >duplicated. For example: > >1. You know I fooled them, and slowly walked away. >2. Said that's a fine old gal, gonna lay there till judgement day. > >Lines one and two are spread over the first four bars. Then lines one and >two take their time across the next eight bars with instrumental breaks >for dramatic effect. > >Many 12-bar blues: > >First line First line (repeat) Second line >4 bars 4 bars 4 bars > >"Death Letter Blues:" > >First two lines First line (and then) Second line >4 bars Across next 8 bars. > >Is this peculiar to "Death Letter Blues"? Are there more examples from >the great ones? It's a form that would seem to be best used for heavy >blues, DLB being a top-notch example. > >Just curious. TIA, PW pointed out that Robert Johnson used the same rhyming scheme. A lot of the blues that Son House played (that I heard) used this structure. It was by no means unique to Son House but at the moment I can't remember any other songs off the top of my head. Any other examples? Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Tue, 14 May 1996 18:43:13 GMT Reply-To: "J.J. Perry" From: "J.J. Perry" Organization: Indiana University Subject: Something new (and good) to talk about... Comments: To: bit-listserv-blues-l@uunet.uu.net With all this SRV and HOB brouhaha on the list, I would just like to say that I got the new LB in the mail today with EDDY CLEARWATER on the cover, and all is right with the world (at least for the rest of the afternoon). J. J. ========================================================================= Date: Tue, 14 May 1996 14:58:14 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0573 From: "DUTTWEILER.J" Subject: Piedmont Blues Society Date: Tuesday, 14 May 1996 2:57pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Piedmont Blues Society Does anyone on the list know if the Piedmont Blues Preservation Society has an online presence (Web page, email)? Or is anyone on the list a member? I w would like to get some info from them a would appreciate any help anyone out there can offer Thanks, JD ========================================================================= Date: Tue, 14 May 1996 15:00:37 -0400 Reply-To: FORCELLAD@CCSUA.CTSTATEU.EDU From: Domenic Forcella Subject: Cassandra Wilson review Cassandra Wilson was reviewed in Monday's Hartford (CT) Courant after her performance at the Iron Horse Music Hall in Northampton, Mass. on Saturday night. A sampling of Courant Jazz Critic Owen McNally's comments: ..the jazz world's hottest diva ..ranged from the mesmerizingly etheral to rocking, juke joint blues ..blessed with one of the most beautiful, posh, and resonant voices in popular music ..for all her moon-inspired mystic edge, never slips into New Age sentiments lastly, As she proved on a miraculous reworking of the Monkees' hit "Last Train to Clarksville," she can take any material, regardless of its origin or species, and through some magical evolution transform it into a higher form of musical life. Thought you might like to see this. I wouldn't have spotted except for today's postings. Domenic Forcella Traveling with the Blues ========================================================================= Date: Tue, 14 May 1996 15:01:15 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0575 From: "DUTTWEILER.J" Subject: Something new (and good) to talk Date: Tuesday, 14 May 1996 3:00pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Something new (and good) to talk Until someone pouts about LB not ever having any white guys on their cover, then we can start all over, only in the opposite vein JD (only kidding, let's not start ) > With all this SRV and HOB brouhaha on the list, I would just like > to say that I got the new LB in the mail today with EDDY CLEARWATER > on the cover, and all is right with the world (at least for the > rest of the afternoon). > > J. J. ========================================================================= Date: Tue, 14 May 1996 12:09:56 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: get lost grama patrol Jim said: >Yeah, and you can't even misspell it the same way twice in a row! =) > >I think you NEED the Grammer Patrol. I think secretly, in your heart of hearts, >you WANT the structure and security of the Grammer Patrol ( what was your >relationship with your mother like?). > >Anyway, I liked the Grammer Patrol, thought it was funny, and you can't keep a >good English Lit teacher down. > >Jim, son of an English lit teacher, also Well, I wasn't expecting the *grammar inquisition*! **NOBODY EXPECTS THE GRAMMAR INQUISITION** Our chief weapons are fear, devotion, and a well-worn copy of "The Elements of Style".... DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 14 May 1996 12:25:50 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: BB King Autobiography Saw this in the latest issue of Rolling Stone. I can't remember if it has been mentioned on the list before. "The legendary bluesman BB King has been hard at work recounting his tale for 'Blues All Around Me:The Autobiography of BB King', which will be published by Avon Books in November. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Tue, 14 May 1996 12:22:59 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: LADYSMITH BLACK MAMBAZO : A DISCOGRAPHY Comments: cc: streemus@WATERVALLEY.NET Thank you Peter for your note on this amazing group. A good friend, who was born in South Africa, would always bring back their early albums & since he know I was a harmony group fan, you can image how I reacted! Especially their early albums. I had the albums autographed by Joseph - he was very surprised the see so many of the albums! I also asked him to translate the titles & believe it or not, he would break into song on nearly every track - tracks that date back over 15 years. Too bad his present (large) group does not break away & do a few of the early small group (6 men) titles. They should could sing. Since the death of Headman, the new group now has 3 of his sons helping out. The last CD Joseph recorded with Headmam is the Flame Tree set. The Japanese JVC is also worth looking out for. eRIC JOSEPH BHEKIZIZWE SHABALALA b. 1941-0828, LADYSMITH, S. AFRICA HEADMAN MSONGELWA SHABALALA b. 1945-1010, LADYSMITH, S. AFRICA d. 1991-1211, DURBAN, S. AFRICA LADYSMITH BLACK MAMBAZO : DISCOGRAPHY (corrections welcomed) ============================================================================= FLAME TREE CD 502 INKANYEZI NEZAZI GALLO 14 AMABUTHO GALLO 18 IMBONGI GALLO 23 UMAMA LO! GALLO 27 ISITIMELA GALLO 35 UKUKHANYA KWELANGA GALLO 81 AMAQHAWE GALLO 86 UKUSINDISWA GALLO 91 SHINTSHA SITHOBALA GALLO 92 PHEZULU EMAFINI GALLO 129 USHAKA GALLO 153 IMDLEL A YASEZULWINI GALLO 186 EZINKULU GALLO 205 INTOKOZO GALLO 253 NQONQOTHA MFANA GALLO 300 ULWANDLE OLUNGCWELE GALLO 321 PHANSI EMGODINI GALLO 353 UMTHOMBO WAMANZI GALLO 393 INDUKU ZETHU GALLO 472 IBHAYIBHELI GALLO 477 VARIOUS - RHYTHM OF RESISTANCE (anthology) GALLO 504 INKAZIMULO GALLO 547 INALA JVC (JAPAN) CD 5230 ZULU TRADITIONAL (OSAKA, 1990) MUSIC FOR LITTLE PEOPLE CD2870 BEST OF SHANACHIE CD 43021 INDUKU ZETHU SHANACHIE CD 43030 ULWANDLE OLUNCGWELE SHANACHIE CD 43040 INALA SHANACHIE CD 43055 UMTHOMBO WAMANZI SHANACHIE CD 43074 CLASSIC TRACKS SHANACHIE CD 43098 BEST OF SHANACHIE CD 64053 LIPH' IQINISO SHANACHIE CD 64064 THUTHUKANI NGOXOLO WARNER BROS. CD 25582 SHAKA ZULU WARNER BROS. CD 25753 JOURNEY OF DREAMS WARNER BROS. CD 26125 TWO WORLDS ONE HEART WARNER BROS. CD 42553 GIFT OF THE TORTOISE : MUSICAL ========================================================================= Date: Tue, 14 May 1996 12:26:08 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: SRV/Baghdad/So Long >On 14 May 96 at 14:23, Lost John Long John Lost John John wrote: > >> Recent chatter: >> >> >Ive seen some SRV-clones both in Norway and Sweden. >> >> >>OH NOOOOO!! >> >> >>You're kidding! >> >> >>whew, scary stuff.... >> >> >>I wonder if they have a SRV clone in say.... Baghdad.. >> >> >>(or maybe they should all be sent to Baghdad...) >> >> >>DC >> >> >> Maybe all ever-so-smug, elitist, sarcastic, know-it-all, mouthy little >> assholes should go to Baghdad, where they can strictly moderate and mold >> their mailing lists in their own image, and summarily unsubscribe anyone >> whose opinion differs from their own. Wouldn't that be nice? I hear they >> have great gear in Baghdad. And all the running revisionist capitalistic resistors of the revolution, along with euro/afrocentric boneheads, and dinosaurs, and sad & lonely purists too.... It's a drag bein' oppressed innit? you poor boy. What the hell are you talking about? Sounds like a job for *Thorazine Man*! >> It's been real. >> For the most part, it's been interesting. But the level of elitism, >> xenophobia, and intolerance that's been bouncing around on this list is >> a little more than I care to voluntarily subject myself to on a daily >> basis. Not to say humor and sarcasm at childish posts either... Too bad. And I *love* the xenophobia part. I don't think we've ever been called that before. Looks like you are an insult elitist... Shoulda stuck with "asshole"... >> Enjoy what you can from the list. Some of you deserve each other. >> Seeya. Well, I deserve Cathi Norton, but she's married... Oh, and here's some cryptomythology from Paul F. >First Mary Katherine, and now Long John Lost John Long John Lost >John. It looks like Don Cicchetti's fear of electronic flashes has >alienated yet another list member. What exactly is an "electronic flash", Paul? hmmm? What are you trying to say here? If my humor offended he-who-speak-with-27-repetitive-names, then I suggest you go panhandle a quarter and call someone who cares. Oh, and btw, Mary Katherine Aldin and I get along great. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 14 May 1996 12:40:58 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Severely Destroyed Severly destroyed?!?! Is this along the lines of 'a trio of three men' or 'a short dwarf.'? Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Tue, 14 May 1996 14:52:20 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 05/15 B O R N : 05/15 BARNES, JOHN Born:1932 MANCHESTER, UK Career:ALTO SAX / TENOR SAX / BARITONE SAX / CLARINET Style:TRAD / JAZZ With:ZENITH SIX / MIKE DANIELS / ALAN ELSDON / ALEX WELCH / HUMPHREY LYTTELTON / SPIKE ROBINSON BURRIS, J. C. ( JOHNNY CHARLIES BURRIS ) Born:1928 KINGS MOUNTAIN, NC Career:SINGER / BONES / HARMONICA Style:BLUES With:SONNY TERRY / STICKS MCGHEE CLAY, SONNY ( WILLIAM ROGERS CLAY ) Born:1899 PHOENIX, AZ Career:DRUMMER / PIANO / TENOR SAX / XYLOPHONE Style:JAZZ With:JELLY ROLL MORTON / JOHNNY SPIKES / GEORGE MORRISON / KID ORY CORNFORD, BOB Born:1940 BRAZIL Career;PIANO / KEYBOARDS / COMPOSER / ARRANGER Style:JAZZ With:MARK MURPHY / SANDRA KING / NORMA WINSTONE / ELAINE DELMAR / TONY COE / BOBBY WELLINS / KENNY WHEELER / LEE KONITZ / JOHN DANKWORTH DAYLIE, HOLMES "DADDY-O" Born:1920 COVINGTON, TN Career:DISC JOCKEY Style:BLUES / JAZZ CHICAGO RADIO DONALD, PETER ( ALEXANDER ) Born:1945 SAN FRANCISCO, CA Career:DRUMMER Style:POP / BIG BAND FLANNERY, KENNETH JOHN (KEN) Born:1927 SYDNEY, NSW, AUSTRALIA Career;TRUMPET / LEADER Style:JAZZ Port Jackson JB 1944 / Bob Rowan / Rex Kidney / Kevin Ryder / Ray McCormack / Lyle Booth / Wally Wickham / Jim Somerville / Billy Weston's big band / Frank Coughlan 1951 / Tommy Tycho / Ray Price Dixielanders / Les Welch / Dick Hughes GORDON, JOE Born:1928 BOSTON, MA Career:TRUMPET Style:JAZZ With:SABBY LEWIS / GEORGIE AULD / LIONEL HAMPTON / CHARLIE MARIANO / CHARLIE PARKER / ART BLAKEY / DON REDMAN / DIZZY GILLESPIE / HORACE SILVER / HERB POMEROY / BARNEY KESSELL / BENNY CARTER / SHELLY MANN HALL, EDMOND Born:1901 RESERVE, LA Career:CLARINET Style:TRAD / JAZZ With:JACK CAREY / LEE COLLINS / BUDDY PETIT / CHRIS KELLY / KID THOMAS / CLAUDE HOPKINS / LUCKY MILLINDER / ZUTTY SINGLETON / JOE SULLIVAN / HENRY "RED" ALLEN / TEDDY WILSON / EDDIE CONDON / LOUIS ARMSTRONG HAMILTON, JIMMY Born:1917 DILLON, SC Career:CLARINET / ALTO SAX / TENOR SAX Style:JAZZ / BLUES / BIG BAND With: LUCKY MILLINDER / JIMMY MUNDY / BILL DOGGETT / TEDDY WILSON / EDDIE HEYWOOD / YANK PORTER / DUKE ELLINGTON KROG, KARIN ( KARIN KROG BERGH ) Born:1937 OSLO, NORWAY Career:SINGER Style:JAZZ / BIG BAND With:JON CHRISTENSEN / JAN GARBAREK / ARILD ANDERSEN / DON ELLIS / CLARE FISCHER / DEXTER GORDON / ARCHIE SHEPP / BENGT HALLBERG / RED MITCHELL LARKINS, ELLIS ( ELLIS LANE LARKINS ) Born:1923 BALTIMORE, MD Career:PIANO Style:JAZZ / BIG BAND With:BILLY MOORE / ED HALL / ELLA FITZGERALD / RUBY BRAFF / HELEN HUMES / JOE WILLIAMS LOWE, SAMMY ( SAMUEL MILTON ) Born:1918 BIRMINGHAM, AL Career:ARRANGER / TRUMPET Style:JAZZ / BLUES / BIG BAND O'BRYANT, JIMMY (JIMMIE) Born:1896 ARKANSAS Career:CLARINET / ALTO SAX Style:BLUES / JAZZ With:TENNESSEE TEN / JELLY ROLL MORTON / W.C.HANDY / KING OLIVER / LOVE AUSTIN SCHRADER, KEITH GRAHAM (GRAHAM, GRAMPS) Born:1933 ADELAIDE, SA, AUSTRALIA Career:PIANO / ARRANGER Style:JAZZ With: Penny Rockets / Don Armstrong / Ken Way / Phil Langford / Peter Hooper WETZEL, BONNIE JEAN Born:1926 VANCOUVER, WA Career:BASS Style:JAZZ / BIG BAND MARRIED to Ray Wetzel Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Tue, 14 May 1996 15:54:51 -0400 Reply-To: John DiModica From: John DiModica Subject: Re: Bummed about Buddy In-Reply-To: <199605141731.NAA57606@osceola.gate.net> Hey Y'all I have seen Buddy Guy over the past ten years and am quite disappointed w/ recent performances. Saw him this past weekend at the Roxy in Boston. It was a big rock-n-roll gig - not the soulful BLUES shows of old. Yeah, Buddy still rips - but too much of the show was spent going from one histrionic crescendo to the next w/out the subsatnce of song development and just plain laying into the material. It showed no respect for the material that I know Buddy has the utmost respect for. How can he continue to win-over Blues converts when he is perverting the music that he is so much a part of?? Myself, a blues afficionado, as well as many of my friends who are not so knowledgeable about the blues or with Buddy's music per se would much rather hear him put on shows like those of 6, 7 years ago - where he'd rip through songs one minute, then bring it down to a whisper the next, his entusiasm, soul and charm fully in place. Man, he WAS great then. But, alas, I do think that the level of fame he's attained of late has diminished his performances if not his raw talent. I'm sorry, but he has gone too flashy - rising to the greater demands of a wider audienc base, but lessening his impact and power as a performer at the same time. I took 8 friends to see him over the weekend - paying $25 a head no less (!) and was really disappointed. Guess I'll wait til Luther Alison comes back to town (at a nice small joint like the House of Blues) for my chance to hear the REAL DEAL. What do ya'all think? Bummed in Boston- John D. ========================================================================= Date: Tue, 14 May 1996 13:20:47 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Apologies to PW P-dub pointed out that I had posted a private message, and so I did. What a goof I am... Sorry to him and to you all. He used -my name- in his post instead of "you", leading me to assume it was for the list. No excuses, I should have checked the header. Posting private messages to the group is VERY VERY uncool, and I would never do it on purpose. Once again, please accept my apologies. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 14 May 1996 13:25:15 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: SRV/Baghdad/So Long Comments: To: johnc@VEDGE.COM Lost John wrote, with great wit and wisdom (and very little 'tolerance', might I add) >Maybe all ever-so-smug, elitist, sarcastic, know-it-all, mouthy little >assholes should go to Baghdad, where they can strictly moderate and mold >their mailing lists in their own image, and summarily unsubscribe anyone >whose opinion differs from their own. Wouldn't that be nice? I hear they >have great gear in Baghdad. >It's been real. >For the most part, it's been interesting. But the level of elitism, >xenophobia, and intolerance that's been bouncing around on this list is >a little more than I care to voluntarily subject myself to on a daily >basis. >Enjoy what you can from the list. Some of you deserve each other. >Seeya. Thank you John. Your contributions to the list have been immense and we will really miss you. We could use more of you on Blues-L! We thank you from the bottom of our little hearts for the uplifting and intelligent discussion which you have offered us, and we hope that in the future you will deign to grace us with your superior presence. Your use of the word xenophobia was particularly nice - you are obviously very well educated, intelligent, and impress the shit out of me. I remain, as always, Your neighbourhood ever-so-smug, elitist, sarcastic, know-it-all, mouthy little asshole, Jim Witteveen (hndful@uniserve.com) Godspeed! ========================================================================= Date: Tue, 14 May 1996 14:57:30 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: Bummed about Buddy In-Reply-To: Message of Tue, 14 May 1996 15:54:51 -0400 from On Tue, 14 May 1996 15:54:51 -0400 John DiModica said: > >What do ya'all think? I think Buddy's making more money than he's ever made in his life. I'm sure he's happy doing what he's doing. I have trouble understanding why Luther & Buddy have gained so much popularity. I know they are very talented, but so is Jimmy Rogers, Carey Bell, Lurrie Bell, Raful Neal, Phillip Walker, Johnny Copeland..........etc, yet they haven't come close to the "wide audience' popularity of Buddy & Luther. The only thing I can see is Buddy & Luther play a whole lot of guitar and I think that attracts lots of people who would not go to a blues show otherwise. I can not take either one of them. They both play too much guitar for my taste. I would rather see Phillip Walker alone, than Buddy, Luther and Jr Wells together. I think the blues content would be much higher at Phillip Walker's show. That's just my taste, I'm happy that Buddy, Luther and BONNIE finally got their due. There's not a doubt in my mind that they dang sure deserve it, but they ain't alone. LW 'Don't understand the Buddy & Luther mania' ========================================================================= Date: Tue, 14 May 1996 16:23:03 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Exit of SRV discussion Mark Wiggins wrote > Okay. I've been subscribed to this list for 2 days now and have noticed >that there sure is a lot of fighting over SRV being the greatest or not. It's >funny, because so far, no one has denied he's greatness, nor his contribution >to the blues. I just keep thinking to myself "beauty (greatness, best of, >ect.,) is in the eyes of the beholder". I respect your opinions, that's why I >subscribed to the list. I guess I'm wondering why, with all of the other >possible topics and people revolving around the blues, would you waste so much >time on trying to dispute someone's matter of opinion. I've seen a couple of >listings about new album releases, new amp tubes, and harp mics that I've >enjoyed. To me, this is what this listserv should be about. Can I suggest that >we mark the SRV discussion off as unresolvable because of matters of opinions >d > > Er - Mark, have you noticed that the above is *your opinion* of what this list shoyld be about? Where does that leave your suggestion that the expression of opinions should be off-limits? Chris Smith (chris@skerries.demon.co.uk) 2 + 2 = 5 for large values of 2 ========================================================================= Date: Tue, 14 May 1996 13:34:35 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Last night Studio xperience Leonard Watkins said: (edit edit) >DON & other sutdio/sound people: Do ya'll take courses on "bed-side manners" >I have never had anything but great treatment from sound "engineers". >It sure helps to have people who care and make you feel as >comfortable as possible....Hats off to all you guys. We simply will never get good recordings without fostering a good atmosphere. An audio pro will always have a very relaxed, yet confident/competent vibe about them. Most of us are musicians ourselves, and with some exceptions we actually like musicians. >LW 'we played Riveria Paradise backwards while warming up, just for fun :-)' And it sounded just like FREEBIRD right? ;-] DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 14 May 1996 16:33:38 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Apologies to PW Comments: To: Don Cicchetti On 14 May 96 at 13:20, Don Cicchetti wrote: > P-dub pointed out that I had posted a private message, and so I did. > > What a goof I am... And you might as well confess the rest... that you didn't know that xenophobia was a fear of xenon (found in electronic flash units). P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Tue, 14 May 1996 16:37:25 -0400 Reply-To: Dave Markovits From: Dave Markovits Subject: Detroit Junior I must second Joe Lempowski's nice words about Detroit Junior. Junior has been on dialysis for what I know being about two years. I try to see him play as much as possible. He's played Bluesfest here on several occasions, and headlined one of the smaller stages at Jazzfest 2 summers ago. My favorite gig was when he played afterwork, happy hour, gigs at the Underground Wonder Bar, on Walton. This Chicago, Gold Coast, Jazz bar features light Jazz and rarely ever Blues. Just Junior by himself on Piano after work on Fridays. What a way to unwind. He stopped doing those about a year ago. He started doing them at the now defunct Martini's on Grand for a short time as well. He'd sit at the bar and tell stories about Howlin' Wolf. He is playing at Legend's next Tuesday 5 bucks. He also plays at B.l.u.e.s. about once a month. Detroit Junior will be at the fest in Toledo, Ohio on May 25th as well. He frequently plays as a sideman with Maurice John Vaughn too. He has his own album out on Blue Suit(a Toledo based label) called" Turn up the Heat" Check it out. David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Tue, 14 May 1996 16:37:30 -0400 Reply-To: Chris Smith From: Chris Smith Subject: temper, temper My system garbled a couple of messages together, so I don't know who said this, and he'll probably fail to see this response (I'll bet it was a he - age 15, at a guess): >I hate this comment so much I could puke all over my computer. Who the hell >are you to tell me what the BLUES is about??? Are you the expert!!??? You >don't know me from Adam. You don't know my life or my work. Please don't >tell me what I know and what I don't know. >Get off you high horse and come down to earth. > You been forgetting to take the pink pills with your lunch again? Who said free speech had to please you? It's the essence of email that we don't know each other, most of the time. If you don't want to debate, don't join a debating club. Chris Smith (chris@skerries.demon.co.uk) 2 + 2 = 5 for large values of 2 ========================================================================= Date: Tue, 14 May 1996 14:02:45 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: HOB/Blues Revue Whinge > Boston HOB is my only HOBian experience and things may > be much better elsewhere, particularly if there is Pat Hertel wrote (among other things): > some larger competition such as I assume New Orleans > can provide. > The article on the L.A. HOB includes an accusatory > wheeze from it's manager (booker, whatever). Something > to the effect "I booked a major doubleheader blues act > and only 300 people showed up, we have room for a 1000 or more. I've seen a few shows at the LA HOB and it is a great live venue. Good sound and good sight-lines. Prices are a little steep (for me at least) but no too bad. I saw Robben Ford/Debbie Davies there it was a great show. And the place was full of people. I'd like to know what show it was where the turn out was so small. There is a double bill with Koko Taylor and Ronnie Earl next month (the 16th, I think) at LA HOB. Plan to be there. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Tue, 14 May 1996 13:56:46 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Gearheads *New-manufacture 12AX7 Tubes* "DMIELE" said: >I read an ad in Musician magazine that Whirlwind has purchased and >upgraded tube-producing facilities in China. They claim to be producing >very high quality tubes. Someone told me that they are making 7591's , >which is great news for old Ampeg owners. I have no more detail than >that. Has anyone else heard about this? The company that makes these tubes in China is based in England and is called "PM Tubes". Whirlwind is the US distributor. I got some of these from a contact with them at NAMM. A matched quad of EL84's. They were just OK. No better than the Sovteks and nowhere as nice as NOS (new, old stock) German Amperex's or Phillips. They also shorted out and went belly-up after 20 minutes or so in my Matchless. I called Whirlwind and they sent me a replacement set. As soon as I can try them out I'll give ya all a report. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 14 May 1996 23:58:54 GMT Reply-To: dresserd@DNS.NXI.COM From: Derek Dresser Organization: Agate Internet Services (AIS) Subject: Help with Lyrics to Charlie Patton's 'I shall not be moved' Comments: To: bit-listserv-blues-l@uunet.uu.net If anyone knows or has the lyrics to Charlie Patton's song 'I shall not be moved', please post them or e-mail me directly. I learned the arrangement and know a couple of verses, but I don't have the recording to get the rest of the lyrics. I need to get it eventually, but I'd love to start singing the song in the meantime. Thanks, Derek http://www.nxi.com/WWW/rishell/ ========================================================================= Date: Tue, 14 May 1996 17:54:59 -0400 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: Re: SRV/Baghdad/So Long In-Reply-To: <3198CF90.41C67EA6@vedge.com> I, for one, had to look up xenophobia in the dictionary. When I first read it I thought it might have something to do with being afraid of a condition in Nuclear Reactors called "Xenon Flux". Maybe someone should start the "Illiteracy Patrol" to go along with the "Grammar Patrol." RW (illiterate and damn proud of it) ========================================================================= Date: Tue, 14 May 1996 15:55:18 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: SRV/Baghdad/So Long In-Reply-To: Message of Tue, 14 May 1996 12:26:08 -0800 from >>> For the most part, it's been interesting. But the level of elitism, >>> xenophobia, and intolerance that's been bouncing around on this list is ********** >Too bad. And I *love* the xenophobia part. I don't think we've ever been ********** Now ya'll know I'm dumb as a rock and have no &*›%ing clue what that word means AM I ONE OF THEM...IS IT GOOD OR BAD..Is that why in the morning my..nevermind LW (a xenophobic....maybe) btw: I looked it up in my dictionary and it wasn't there. ========================================================================= Date: Tue, 14 May 1996 17:31:51 +0100 Reply-To: bengans From: bengans Subject: Too much SRV for me.... ...I m signing off! Sevenson ========================================================================= Date: Tue, 14 May 1996 16:13:14 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Exit of SRV discussion PW Wrote > Give it a little more than 2 days, because the last 2 have not been > representative. Actually, they have been very representative ... they have been devoted to intense, even over-wrought, discussions of subjects which will fade away in 48 hours or so ... with longer continuing threads about cat names and such to provide continuity. Don't like the topics on Blues-L? Wait a few minutes... Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Tue, 14 May 1996 17:29:31 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: characteristic discussions Comments: To: Ian Angus On 14 May 96 at 16:13, Ian Angus wrote: > PW Wrote > > Give it a little more than 2 days, because the last 2 have not been > > representative. > > Actually, they have been very representative ... they have > been devoted to intense, even over-wrought, discussions > of subjects which will fade away in 48 hours or so ... with > longer continuing threads about cat names and such to provide > continuity. > > Don't like the topics on Blues-L? Wait a few minutes... Yes, but this has been our longest bout of SRV debates since that time about a year ago when I said his death gave him more notoriety than he'd have if he were alive today. Of course I'd never say that now. Like Buddy Guy, and B.B. King I've learned to love, honor, and cherish the holy ghost. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Tue, 14 May 1996 17:31:16 EDT Reply-To: Newman/Rabson <71552.541@COMPUSERVE.COM> From: Newman/Rabson <71552.541@COMPUSERVE.COM> Subject: Detroit Junior Hey Dave - I sure agree, Detroit Junior deserves more then he gets. I also agree with whoever it was who mentioned Walter Davis. I've been trying to get that CD of Detroit Junior's. My favorite CD store - I assumed they'd have it - didn't. I'm also interested in getting a second copy of Howard Armstrong's CD. Anyone have contact information for Blue Suit? Ann ========================================================================= Date: Tue, 14 May 1996 16:41:20 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re[2]: SRV/Baghdad/So Long Comments: To: Don Cicchetti _______________________________________________________________________________ Subject: Re: SRV/Baghdad/So Long From: Don Cicchetti at INTERNET-SH Date: 05/14/96 4:28 PM >On 14 May 96 at 14:23, Lost John Long John Lost John John wrote: > Maybe all ever-so-smug, elitist, sarcastic, know-it-all, mouthy little >> assholes should go to Baghdad, where they can strictly moderate and mold >> their mailing lists in their own image, and summarily unsubscribe anyone >> whose opinion differs from their own. Wouldn't that be nice? I hear they >> have great gear in Baghdad. >And all the running revisionist capitalistic resistors of the revolution, >along with euro/afrocentric boneheads, and dinosaurs, and sad & lonely >purists too.... >>It's a drag bein' oppressed innit? you poor boy. >What the hell are you talking about? Sounds like a job for *Thorazine Man*! I was thinking more like "PROZAC PERSON". I do give extra vocabulary points for "xenophobia" though. Must have been subscribing to "Word for The Day". Oh, well another one bites the dust, and if a tree falls in the forest...? JIm >> It's been real. >> For the most part, it's been interesting. But the level of elitism, >> xenophobia, and intolerance that's been bouncing around on this list is You know, on the whole, this is the most flame-free, reasonable and self-policed discussion group I've ever participated in. If this level of static disturbs one's deleicate sensibilities, then perhaps one should himself over on the Prodigy or alt.VanHalen groups and toughen up a little. Jim ========================================================================= Date: Tue, 14 May 1996 14:43:46 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: xenophobic? Leonard? nah... >Now ya'll know I'm dumb as a rock and have no &*=93%ing clue what that word= means >AM I ONE OF THEM...IS IT GOOD OR BAD..Is that why in the morning my..neverm= ind > >LW (a xenophobic....maybe) > >btw: I looked it up in my dictionary and it wasn't there. Ask P-dub... Something about flashbulbs.... ;-] DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow =46ruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 14 May 1996 13:57:33 -0500 Reply-To: David Melton From: David Melton Subject: Re: Jimmy Rogers, the best there ever was Comments: To: Ian Angus JUST KIDDING!!!!!! I think we've all got this one worked out now. I'm sure done. Dave Melton ========================================================================= Date: Tue, 14 May 1996 22:06:36 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: SRV - The Best There Ever Was Comments: To: bit-listserv-blues-l@uunet.uu.net Die stupid thread, please die, die, die. Oh, I'm sorry, he's dead already - no wonder he's been so quiet....... so who the h*ll's been making all the noise? -- Vincent vt@usa.pipeline.com ========================================================================= Date: Tue, 14 May 1996 17:28:35 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Blues in the movies? I think we've done this before, but try and check the movie Lotto Land, with a packed blues score by the Holmes Brothers (Wendell Holmes also has a lead part). This will go almost direct to video in August, but the soundtrack is available on (ahem!) Stony Plain Records, distributed in all sorts of good record stores in the United States. Richard the Elder ========================================================================= Date: Tue, 14 May 1996 15:25:36 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: **John Tesh** The best that ever was!! I am not kidding!! come on... ya wanna argue!! ;-] DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 14 May 1996 18:17:03 -0400 Reply-To: Jinxblues From: Jinxblues Organization: America Online, Inc. (1-800-827-6364) Subject: Re: House lyric structure Comments: To: bit-listserv-blues-l@uunet.uu.net In a discussion of Son House lyric patterns, Todd Ehlers quoted the lines as being : >1. You know I fooled them, and slowly walked away. >2. Said that's a fine old gal, gonna lay there till judgement day. Mister House is actually singing: You know, I folded my arms and slowly walked away (second line is correct) Dick Waterman dick waterman jinxblues@aol.com ========================================================================= Date: Tue, 14 May 1996 23:27:00 BST-1 Reply-To: bsmithb@cix.compulink.co.uk From: Brian Smith Subject: Re: Otis Rush Recommendations? Comments: To: slydemann@EARTHLINK.NET In-Reply-To: Dave Melton wrote: > I'll second that. "Reap what you sow" makes the hair on my neck stand up! I'm glad I'm not the only one it hits like that!! I originally bought it when it first came out on vinyl, played it a great deal then rather neglected it only rediscovering it about 12 months ago after which I can't stop playing it. Unfortunately I've never seen it as a CD release in the UK. I'd love to find another album like that. Our fellow bluezeller Mark Naftalin was involved in that album along with various Butterfield bods....if only they could have collaborated on another one...or six!! B ========================================================================= Date: Tue, 14 May 1996 17:30:58 -0500 Reply-To: Heather Loren Miller From: Heather Loren Miller Subject: HOB: New Orleans Comments: To: Pat Hertel In-Reply-To: On Tue, 14 May 1996, Pat Hertel wrote: > My problem with HOBdom is it's general attitude towards > it's audience, an audience which I feel it has misread. > The blues audience is, in general, an audience of "old" > farts (such as I). This does not preclude a younger > element but I speak in generalities. (snip) > Boston HOB is my only HOBian experience and things may > be much better elsewhere, particularly if there is > some larger competition such as I assume New Orleans > can provide. > > phertel@cmc.doe.ca > OR bv808@freenet.carleton.ca > Hi, everyone. As a blueseller who lives near New Orleans, I can offer some limited observations about it as a venue. From what I have heard, the HOB pays better than other clubs in town, so they get pretty good acts; the other clubs can't compete, and aren't offering the shows they once did. (I'm assuming this is not the case during events such as JazzFest.) As far as the layout of the performance area goes, it's not bad if you get there when the doors open and grab a table. Of course, this means sitting for an hour and a half; however, some of us have developed powerful muscles for sitting and reclining 8^P. When I saw Bobby "Blue" Bland three years ago (all my friends and my spouse were at the Pink Floyd concert), the audience numbered between three and four hundred. I know that Eric Clapton's show sold out through Ticketmaster in less than an hour, but I'm not sure how many seats or SRO spots that involved. The New Orleans HOB also provides a venue for up-and-coming bands; we can always tell when a band is about to hit the national scene, because they start playing at the HOB. All in all, it's not a musical legend like the HOB executives probably like to believe it is, but those of us in the New Orleans area *can* see good shows sometimes. Take care. Heather hmiller@tiger.lsu.edu ========================================================================= Date: Tue, 14 May 1996 15:54:00 PDT Reply-To: Gary Joneson From: Gary Joneson Subject: Re: Least respected > Detroit Junior >to maintain a rigorous performing schedule. He puts what energy he can >muster into his performances. He puts on a great show. He is an His performances are superb! >extremely nice man. He is very friendly and always has time to chat >with one of his fans. He is a gifted songwriter and has a very deep >history in the blues. One of the nicest people to sit down and chat with, he is one fine gentleman! Gary Detroit Jr http://www.island.net/~blues/detroit.htm ========================================================================= Date: Tue, 14 May 1996 19:21:57 -0400 Reply-To: PHWoolfman@AOL.COM From: Pete Wulforst Subject: Re: Otis Rush Recommendations? Comments: To: slydemann@earthlink.net Amen to "Right Place, Wrong TIme". If anyone is ever in doubt about why Otis is held in such high regard as a guitarist by so many people, try "Tore Up" from that album. Exquisite is about the best description I can come up with for his playing on that cut. Also, after listening to that, for a whole other experience, try "Cold Day in Hell", from the album of the same name. I don't pretend to know exactly what the man is singing about here, (and its really none of my business anyway), but IMHO this is one of the scariest performances of any kind of music I have ever heard. I've had the LP for quite a few years, and I still think this is the most chilling portrait of emotional anguish I have ever heard. Otis is always described as inconsistent, and I'll admit I have heard him both live and on recordings where he failed to move me on the kind of level that I am describing. But, I wonder, would anyone be capable of maintaining that type of emotional level consistently; it would be exhausting. Pete Wulforst ========================================================================= Date: Tue, 14 May 1996 19:28:17 -0400 Reply-To: ghost From: ghost Subject: Xeno, the misunderstood ->Date: Tue, 14 May 1996 15:55:18 CDT ->Reply-To: ISTS024@UABDPO.DPO.UAB.EDU ->Sender: Blues Music List ->From: Leonard Watkins ->Subject: Re: SRV/Baghdad/So Long ->In-Reply-To: Message of Tue, 14 May 1996 12:26:08 -0800 from >>> For the most part, it's been interesting. But the level of elitism, >>> xenophobia, and intolerance that's been bouncing around on this list is ********** >Too bad. And I *love* the xenophobia part. I don't think we've ever been ********** ->Now ya'll know I'm dumb as a rock and have no &* %ing clue what that word means ->AM I ONE OF THEM...IS IT GOOD OR BAD..Is that why in the morning my..nevermind ->LW (a xenophobic....maybe) ->btw: I looked it up in my dictionary and it wasn't there. That's because your dictionary is xenophobic (I couldn`t resist) Green Linnet's "World Music" sub-label is "Xenophile" (that should be a clue) ========================================================================= Date: Tue, 14 May 1996 19:52:06 EDT Reply-To: David Howard From: David Howard Subject: Lonesome Sundown I was just diggin some serious swamp blues the other night and started wondering about Lonesome Sundown. Has anything been heard from him since his mid-'70's "comeback" album. In the grand scheme of things he seems sorta underated. Any opinions? D.N. Howard ========================================================================= Date: Tue, 14 May 1996 16:58:25 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Who do you love? Top 20 In the interest of *healthy* opinion-sharing (as opposed to pointless arguments about the "best") who do you love in music? Who really knocks you out? Here's my list: 1 Muddy Waters 2 Samuel Barber 3 Duke Ellington 4 BB King 5 Pete Townshend 6 Jimi Hendrix 7 Debussy 8 Freddie King 9 Albert King 10 Albert Collins 11 Ravel 12 Justin Hayward 13 Dizzy Gillespie 14 Bird 15 Sonny Rollins 16 Aaron Copland 17 Ladysmith Black Mambazo 18 Anything with Maire' Brennan's (Clannad) voice on it. 19 Midnight Oil 20 Bach, who made most of the rest of it possible. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 14 May 1996 09:14:04 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: Gearheads *New-manufacture 12AX7 Tubes* Comments: To: dcicchet@LASIERRA.EDU ==============Ask for the Phillips 12AX7 made to be a replica of the Telefunkens. If anybody gets some of these I would love to hear your opinion on them. I hope they make some 6L6's, EL84's, 12AT7's etc! DC=============== I believe Ibanez is now making an effects unit called the Tube King which has an actual 12 AX7 tube in it. It's a tube distortion pedal and it sells for $120.00 in a catalog I have, if anybody's interested. I have no idea what using this with a solid state amp would sound like. RJ Bauman "If the Blues was Whiskey, I'd be Drunk All the Time" ========================================================================= Date: Tue, 14 May 1996 20:42:30 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: SRV - The Best There Ever Was >Rob from the UK said: > >>Correct me if I'm wrong but I get the feeling that this SRV fixation is >>mainly centred in the U.S. ...Living in the U.K. I've never met anyone >>who owned one of his albums, nevermind putting him on a level with Buddy >>Guy etc. > >Yeah.... > >But YOU lot buy all that Oasis bollocks so I guess it all evens out donnit? > >;-] > >DC > > >____________________________________________________ >Don Cicchetti Whoa there, Don! Shouldn't that read 'some of you lot buy all that Oasis bollocks'? Enough with the group libels, already! Chris Smith (chris@skerries.demon.co.uk) 2 + 2 = 5 for large values of 2 ========================================================================= Date: Tue, 14 May 1996 21:12:29 -0400 Reply-To: privacy@INTERLINK-BBS.COM From: privacy@INTERLINK-BBS.COM Subject: New Anonymous Remailer Comments: To: Private@sparky.midwest.net, citizens@sparky.midwest.net You may be familiar with anon.penet.fi, which give you an anonymous account. Our service allows YOU to choose what the return address will be! Please write for more info. ========================================================================= Date: Wed, 15 May 1996 01:03:50 GMT Reply-To: Andrew Mark Connolly From: Andrew Mark Connolly Organization: Dalhousie University Subject: Sun Songs Comments: To: bit-listserv-blues-l@uunet.uu.net On May 20 I'm doing a theme show on the local college radio station. I've decided to do my show on the sun, and I'm looking for songs that talk about the sun, or mention the sun or have sun in the title. Please e-mail me with you suggestions before May 20. I'm looking for a variety of styles: alternative, folk, blues, jazz, classical, opera... and whatever else there is that would fit on a college radio station. The weirder the better. Oh, and I'm ESPECIALLY looking for Canadian stuff. Be Seeing You! Andrew -- ------------------------------------------------- |Vox Clamantis: A Voice Crying in the Wilderness.| ------------------------------------------------- E-zine for voices from dark corners. http://catalog.com/kingston/vox/ info: craigm@iclnet93.iclnet ------------------------------------------------- |"It's harder to believe than not to" Steve Taylor| ------------------------------------------------- ========================================================================= Date: Tue, 14 May 1996 21:20:32 -0400 Reply-To: alison hardage From: alison hardage Subject: Blues Lunch In St. Pete Comments: To: "P.W. Fenton" For anyone in the Tampa / St. Petersburg area who happens to check their mail quite often: On Thursday, May 9th, you can spend your lunchtime at the Ringside Cafe as part of the audience for the filming of NBC affiliate, Channel 8's, "Wes Side Story." The featured guests are Sarasota Slim and his band - performing , of course! The Ringside is located at 4th Street and 28th Avenue North, St. Petersburg. Filming is scheduled to start at 12 o'clock. ========================================================================= Date: Wed, 15 May 1996 01:22:44 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Bad Credit? Slow Credit? No Credit? No Problem! Subject: Re: SRV - The Best There Ever Wa Comments: To: bit-listserv-blues-l@uunet.uu.net On Mon, 13 May 1996 09:34:09 CDT, "Nuri A. Nuri" wrote: >Stevie is VERY big in my book and has a special place in my heart. However, >"Texas Flood" is a Larry "Tootsie" Davis song and not a Stevie song, >although Stevie covered it many times and perhaps even made it famous. So, >Larry Davis's estate should get the earnings (since Davis passed away last >year). I thought it was a Charlie Patton Song, "Flood in Mississippi," changed by subbing Texas for Mississippi. Kevan Smith cuthulu@rlabs.com the great purple hope for the blues ========================================================================= Date: Tue, 14 May 1996 18:41:18 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Who do you love? Top 20 I'm up for this one D. C. In no order of preference. No historic = implications. Just who rings my chimes, at least, for now. 1. Johnny Young 2. J. B. Lenoir 3. Big Walter 4. Muddy 5. Wolf 6. Big Joe Williams 7. Hip Lankchin 8. Son House 9. Charlie Patton 10. J. B. Hutto 11. Tommy Johnson 12. Skip James 13. Juke Boy Bonner 14. Rice Miller 15. Archie Brown Lee 16. Mercy Dee Walton 17. Troyce = Henry Key 18. The Meters(can't break 'em up, sorry) 19. Rosetta Tharpe 20. O. V. Wright...do I hafta stop here?? Uncle Ray ---------- From: Don Cicchetti[SMTP:dcicchet@LASIERRA.EDU] Sent: Wednesday, May 15, 1996 12:58 AM To: Multiple recipients of list BLUES-L Subject: Who do you love? Top 20 In the interest of *healthy* opinion-sharing (as opposed to pointless arguments about the "best") who do you love in music? Who really knocks you out? Here's my list: 1 Muddy Waters 2 Samuel Barber 3 Duke Ellington 4 BB King 5 Pete Townshend 6 Jimi Hendrix 7 Debussy 8 Freddie King 9 Albert King 10 Albert Collins 11 Ravel 12 Justin Hayward 13 Dizzy Gillespie 14 Bird 15 Sonny Rollins 16 Aaron Copland 17 Ladysmith Black Mambazo 18 Anything with Maire' Brennan's (Clannad) voice on it. 19 Midnight Oil 20 Bach, who made most of the rest of it possible. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Wed, 15 May 1996 11:42:03 -66000 Reply-To: Jason MONTFORT From: Jason MONTFORT Subject: Re: SRV - The Best There Ever Was Comments: To: Chris Smith In-Reply-To: <832095091.16705.0@skerries.demon.co.uk> Regarding this message: On Tue, 14 May 1996, Chris Smith wrote: > >Rob from the UK said: > > > >>Correct me if I'm wrong but I get the feeling that this SRV fixation is > >>mainly centred in the U.S. ...Living in the U.K. I've never met anyone > >>who owned one of his albums, nevermind putting him on a level with Buddy > >>Guy etc. > > > >Yeah.... > > > >But YOU lot buy all that Oasis bollocks so I guess it all evens out donnit? > > > >;-] > > > >DC > > > > > >____________________________________________________ > >Don Cicchetti > > Whoa there, Don! Shouldn't that read 'some of you lot buy all that Oasis > bollocks'? Enough with the group libels, already! > > > Chris Smith (chris@skerries.demon.co.uk) > 2 + 2 = 5 for large values of 2 > ::-------------------------------------------------------------------- I don't believe there is a fixation with Stevie Ray Vaughan. Firstly SRV has earn't the right be held up there with the likes of Buddy Guy. So you haven't met anyone who owns a SRV album. Have you heard any SRV? If you haven't then I think you'll pleasantly surprised when you do. Being from Australia I liked to keep away from the debate of UK and USA, but there isn't a fixation in Australia on SRV, in fact there is just a strong healthy interest in good music! Jason ========================================================================= Date: Tue, 14 May 1996 18:52:22 +0000 Reply-To: ksailors@hooked.net Comments: Authenticated sender is From: "Kenneth M. Sailors" Subject: Re: Otis Rush Recommendations? On Mon, 13 May 1996 David Melton wrote: > Most essential of all: get the Cobra stuff! There is a CD of it somewhere > but I forgot the title [...]. Available on Paula Records #PDC01 Otis Rush 1956-1958 Cobra Recordings. At least that's the one I found. ...And "Double trouble" will curl (os straighten) your hair. /))((\ -(.)(.)- | | | \/ | Eugie!Baange ///\\\ "I'm just naturally crazy, baby!" \__/ ========================================================================= Date: Tue, 14 May 1996 21:51:54 EDT Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Full Mail Box Apology I just got online and found my mailbox full. My apologies for any annoyances this may have caused. (no affiliation with Richard Norton, just couldn't get to the pc in time) Dave Carpenter ========================================================================= Date: Wed, 15 May 1996 11:02:57 +0000 Reply-To: Deputy Dawg Comments: Authenticated sender is From: Deputy Dawg Subject: Leaving the list I have repeatedly tried to sign off the list. Obviously, I am still here. Can anyone help me? Deputy Dawg Defender of the Peace. ========================================================================= Date: Wed, 15 May 1996 01:54:39 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Bad Credit? Slow Credit? No Credit? No Problem! Subject: Re: Aesthetics 101 Comments: To: bit-listserv-blues-l@uunet.uu.net On Mon, 13 May 1996 09:20:45 -0800, Don Cicchetti wrote: >>On 12 May 96, Don Cicchetti had this to say: >>> Ok folks, >>> Since we don't have a FAQ on this, here is my suggestion on some general >>> content to put in one if we had one. >>> oh, and BTW, I would LOVE it if we had a strictly moderated group. I am >>> on a tightly moderated martial arts group (CyberDojo) and it is GREAT. >>> You can argue, you can disagree, but you can't say: so and so (action >>> movie star) sucks, you can't say "my style is the best", you can't say some >>> other MA style sucks etc etc. If you do this sort of no-brain flamebait >>> you are promptly unsubscribed by the moderator. VERY cool. A >>> well-mannered, yet very informative and interesting group. >PW replied: >>A great idea... as long as I get to be the annoying little cybergod >>who gets to decide who is heard and who is not. >>Seriously, I'd rather have chaos and flamebait than one person who >>decides who's post is worthy. >It doesn't have to be tha way. A group can agree on some basic standards >and a reasonable moderator can deal with the flagrant violations wihtout >any such paranoid scenario developing. I've seen it happen, and it can >work. If lots of us think it can't, of course, it won't, and that's fine >too. But your scenario is an overheated one. I think the best solution comes from the poster who advocates self restraint. When you see flamebait, insults, spam or what-not, just ignore it. Following up to it keeps the thread alive, and it can get quite ugly when it involves multiple newsgroups. If the message is really offensive or massively crossposted, a nice e-mail to the user's sysadmin works wonders. If it's anonymous, an e-mail to the remailer sysadmin works. Unfortunately, you have to be able to read headers pretty well in a lot of cases. Sometimes I post things designed to stir y'all up a bit, but just to see what you're passionate about, not to really piss you off. So it's a fine line, and a moderator might not always "get it." Kevan Smith cuthulu@rlabs.com the great purple hope for the blues ========================================================================= Date: Tue, 14 May 1996 22:21:18 -0400 Reply-To: bob vanarsdall From: bob vanarsdall Subject: Tabby's Blues Box, Baton Rouge LA (Enough of SRV, and I don't know about xenophobic - I caught her TV show the other night, and she didn't scare me off, though six feet tall and all dressed in leather she might scare some folks) Just got back from a long project in Baton Rouge which caused me to miss Jazzfest, but did allow me time to go to Tabby's. Tabby's is run by Tabby and Rose Thomas, and used to be a hangout for Whispering Smith, Henry Grey, and Guitar Kelly when Tabby started it up some 11 years ago. It is in an old store building with rusted tin ceilings, both walls covered with tour posters for Tabby and other Baton Rouge bluesfolk, many in Swedish, Danish, and German. Tabby's has been designated a Louisiana "Heritage Hall", a distinction with an interesting history, mainly given to Tabby to allow him to get around some liquor laws. The night I went Tabby hosted J. Monque' D (pronounced Jay Monkey Dee) releasing his new CD. Tabby and Jay had just played at Jazzfest that afternoon, and showed no signs of wear. Jay is something of a comedian, but a good harp player in the Little Walter tradition. He played with the house band, cueing them along through a couple of good sets. Guitar Kelly was in the audience, walking with a cane, and was recognized from the stage a couple of times - they said his doctors don't let him come to the bar but twice a week. Best part of the evening was Chris Thomas wandering in and taking over the leads for both Jay and Tabby's sets; the playing definitely notched up about three levels when he came in. Talking with Tabby between sets, he said that having folks wander in is how he likes it. It isn't unusual to have a couple of Neals, Thomases, and others from Baton Rouge dropping in to sit in with whomever is "featured" on any given night. Chris is recording for Warner Brothers now, but was definitely not in any star mode, just backing up the players and doing a great job at it. Tabby's is on North Boulevard between 13th and 14th Streets in Baton Rouge, about 80 miles from New Orleans. He doesn't compete with HOB as a venue, and could use your business.... Bob ========================================================================= Date: Tue, 14 May 1996 22:21:22 -0400 Reply-To: bob vanarsdall From: bob vanarsdall Subject: Festival Internationale, Lafayette LA Blues purists, delete now. The only full day I took off in Louisiana, I looked at the Jazzfest reports and decided there were too many people - 135,000 over the first two days of the first weekend. I was a regular at Jazzfest from 1976-1987 (lived in Baton Rouge), so I figured I'd try something else. There is a festival in Lafayette LA which happens the same weeked as the first weekend of Jazzfest called Festival Internationale. It is free, takes place in downtown Lafayette, and is very, very interesting for anyone interested in African, Caribbean, and zydeco music. Now in its 10th year, this festival is nominally devoted to cultures of the French-speaking world. They bring in musicians, vendors, actors, and writers from all over the world for a week, culminating with three days of music on three stages set up downtown. You can hear music from Senegal, Camaroon, Mali, Haiti, Martinique, Corsica, Quebec, French Polynesia, and a host of zydeco from all over south Louisiana and Texas. Why am I posting this to Blues-L? Because I got to hear folks playing (and selling) the kora, a predecessor to the banjo; I got to hear singers from Mali who sounded remarkably like field hollers with harmony; I got to see a group from Martinique (Tanbou Bo Kanal) with 36 people in costumes set up rhythms and get a crowd jumping with only percussion instruments and a James Brown-like jabbing horn section; dance to Step Rideau and the Zydeco Outlaws from Houston - hot, hot zydeco music; and Vas-tie Jackson, blues session man with ZZ Hill, Katie Webster, and others. For those with a taste for the more exotic, let me recommend this festival. It is as close to a "world music" festival as I've seen in the States. Much of the music from Africa is from the same lineage as blues, just different branches of the same family tree. The zydeco is as good as you will see in one place outside Fred's Y-Ki-Ki in Opelousas or the zydeco festival in Plaisance. The Abita beer trucks are strategically stationed. The food is great, with all the south Louisiana usuals like jambalaya, crawfish etoufee, and red beans. Oh, yes, and did I mention that it is all free and there is no parking problem? Bob Here's the schedule for Saturday 28 April: Barachois (New Brunswick) Maalesh (Comoros/Reunion) Prince Diabate (Guinea) Micheal Ray (LA) Black Umfolosi (Zimbabwe) Coumba Sidibe (Mali) Tanbou Bo Kanal (Martinique) Les Mecenes (French Guiana) E Voce de Corsica (Corsica) Juan Pablo Torres (Cuba) Les Quatre Etoiles (Zaire) Kate and Anna McGarrigle (Quebec) Casa Samba (LA) for Sunday 28 April, most of the above played again, plus: Cesaria Evora (Cape Verde Islands) Vas-tie Jackson (Mississippi) Step Rideau (Houston) Barachois (Canada) ========================================================================= Date: Tue, 14 May 1996 19:36:00 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Who do you love? Top 20 Don included the following folks in his top 20: >2 Samuel Barber At the risk of appearing ignorant, who is this? It's the only name on the list I didn't recognize...(do I pass??? :-) ) >19 Midnight Oil Well, another fan of the Oils! They are one of my favourite live acts - pure energy, great songs, power and passion. They put out what is arguably (I had to add that word based on recent discussion :-) the greatest rock album of all time, Diesel and Dust - the dual acoustic guitar sound, the horns, and the outstanding work of one of the greatest drummers in the history of rock 'n' roll, Rob Hirst. I'll add the obvious Dylan choice to the list, along with Johnny Cash, Neil Young, Hothouse Flowers, and the Beach Boys (esp. Brian Wilson). I love Mark Knopfler's work as well, with the Notting Hillbillies, Dire Straits, Chet Atkins, and his soundtrack stuff (particularly the soundtrack to the movie Cal, which is moody and atmospheric - very good stuff). But to get back to the blues (this is blues-l, after all), I've found that I don't listen all that much to music from other genres (besides r&b, soul, gospel, a bit of jazz, and old time country music like Jimmie Rodgers) since I got into the blues a few years ago. I've never been big on classical music (just a lack of effort on my part - I know there's a lot of good stuff out there - I just haven't looked for it...I'll start working on the classical collection once I've run out of blues albums to buy). For me, music must fit several criteria to be listenable - played on real instruments with passion and emotion, and the songs must touch my heart in some way. For me, there's almost no such thing as background music. I can tune everything else in the world out when I hear something that really hits me. I'd be interested in your thoughts... -Jim (hndful@uniserve.com) ========================================================================= Date: Tue, 14 May 1996 23:09:53 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Well, it's in my dictionary . . . Xenophobia (zRn2o-fAb1, zT2no-) n. A person unduly fearful or contemptuous of that which is foreign, especially of strangers or foreign peoples. ========================================================================= Date: Tue, 14 May 1996 23:15:31 EDT Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: get lost grama patrol Gotta love the Monty Python reference. Monty Python was the best comedy troupe EVER! Dave Carpenter Blues Music Director - WHUS-FM University of Connecticut - Storrs, CT http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Tue, 14 May 1996 23:15:29 EDT Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: **John Tesh** The best that ever was!! John Tesh isn't fit to wash Yanni's jock strap. Dave Carpenter ========================================================================= Date: Tue, 14 May 1996 23:27:40 -0400 Reply-To: Greg Hermanns From: Greg Hermanns Subject: Re: Rock-->Rock/Blues------> From: Don Cicchetti Subject: Re: Rock --> Rock/Blues --> Blues Transition Dick Waterman said: edit edit >The pity of it all is when young fans only go back to SRV or Hendrix and stop >there. They were great musicians who brought innovative artistry to a musical >form that flowed before them, through them and after them. And there is the heart of it. Thanks Dick. We point to, and honor those who founded this art. There is nothing wrong with being a "popularizer", as long as we remember, and tell others, where it all came from. DC ----------------------------------------------------------------------------- Amen, Dick and DC. Greg Hermanns ========================================================================= Date: Wed, 15 May 1996 12:28:17 +0000 Reply-To: Deputy Dawg Comments: Authenticated sender is From: Deputy Dawg Subject: STEVIE RAY I really enjoyed being on this list with all of you...until about a week ago when people started going crazy about SRV. Can't we just let it rest? The man played his music the way he wanted to. I can assure you he wasn't trying to be "THE BEST". All he wanted to do was make his "NO. 1" talk. And he did it. There has been times when I have listened to Buddy Guy and thought "No one could do it better". There have also been times when I have listened to John L. Hooker and thought "No one could do it better". The point is that probably none of these guys really gives a shit about being "THE BEST". All they are really interested in is giving us "THE BEST" of what they do... BLUES. Stevie Ray played his last solos beside Clapton, Buddy Guy, and Robert Cray. That might not qualify him as "THE BEST", but it should command a little bit of respect. So *please* leave the man alone. Deputy Dawg Defender of the Peace. ========================================================================= Date: Tue, 14 May 1996 22:46:51 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re: Who do you love? Top 20 Comments: To: Don Cicchetti You SUCK! CLAPTON is God! No, wait a minute, CLapton is a Weasel. No Wait, maybe that was The Weasel. No wait, Hendrix could beat up on your father. STevie Ray Rules! No wait, uh.....yur all a bunch of xenophobic, jingoistic , bifurcaters, So There! Last Jan _______________________________________________________________________________ Subject: Who do you love? Top 20 From: Don Cicchetti at INTERNET-SH Date: 5/14/96 7:53 PM In the interest of *healthy* opinion-sharing (as opposed to pointless arguments about the "best") who do you love in music? Who really knocks you out? Here's my list: 1 Muddy Waters 2 Samuel Barber 3 Duke Ellington 4 BB King 5 Pete Townshend 6 Jimi Hendrix 7 Debussy 8 Freddie King 9 Albert King 10 Albert Collins 11 Ravel 12 Justin Hayward 13 Dizzy Gillespie 14 Bird 15 Sonny Rollins 16 Aaron Copland 17 Ladysmith Black Mambazo 18 Anything with Maire' Brennan's (Clannad) voice on it. 19 Midnight Oil 20 Bach, who made most of the rest of it possible. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 14 May 1996 22:45:13 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Exit of SRV discussion In-Reply-To: <199605141731.NAA57606@osceola.gate.net> On Tue, 14 May 1996, P.W. Fenton wrote: > On 14 May 96 at 11:20, Mark Wiggins wrote: > > > Okay. I've been subscribed to this list for 2 days now and have noticed > > that there sure is a lot of fighting over SRV being the greatest or not. > Give it a little more than 2 days, because the last 2 have not been > representative. > I was actually thinking what a bizarre impression someone would have if they'd only been on blues-l a day or two. Turns out to be true. Surely there are recurring strange topics, but there's bound to be something interesting, isn't there? ;^) Steve ========================================================================= Date: Tue, 14 May 1996 22:49:55 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: SRV/Baghdad/So Long In-Reply-To: <3198CF90.41C67EA6@vedge.com> On Tue, 14 May 1996, Lost John this list is > a little more than I care to voluntarily subject myself to on a daily > basis. > > Enjoy what you can from the list. Some of you deserve each other. > Seeya. Hey, looks like we lost John. Steve ========================================================================= Date: Tue, 14 May 1996 23:46:07 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Festival Internationale, Lafayette LA Comments: To: bob vanarsdall In-Reply-To: On Tue, 14 May 1996, bob vanarsdall wrote: > Blues purists, delete now. ^^^^^^^^^^^^^^^^^^^^^^^^^^ > There is a festival in > Lafayette LA which happens the same weeked as the first weekend of Jazzfest > called Festival Internationale. It is free, takes place in downtown > Lafayette, and is very, very interesting for anyone interested in African, > Caribbean, and zydeco music. > I almost deleted this based on your warning. But I glanced and saw that this is for anyone interested in traditional music. Some of us think of blues purists as (ahem) xenophobic elitists, others as aficianados. I want to thank Bob for his post on this festival I'd never heard of. It's an excellent discussion, and perks my interest up immensely. I think this is just the sort of thing that makes blues-l a rewarding forum, so don't apologize at all for posting this to blues-l. I think of self-proclaimed blues purists as people with an interest in the traditions of the music, and in musical traditions. I think folks think of themselves that way to distinguish themselves from the huge audiences for the extremely homogenized (however pleasant) music heard on, for example, MTV. When performers take blues in that direction, it feels to us decreasingly like blues, like it fits in the tradition whence it sprang (hence the mixed reviews Buddy's shows). The traditional music(s) described by Bob may not be "Blues," but they are of interest to "blues purists" because (1) they maintain their ties to their traditions and (2) those traditions have influenced and are influenced by the blues tradition(s). Steve ========================================================================= Date: Wed, 15 May 1996 00:49:12 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Tabby's Blues Box, Baton Rouge LA Comments: To: rvana@interpath.com Bob vanarsdall said this about Tabby Thomas' place: >>>Tabby's is on North Boulevard between 13th and >>>14th Streets in Baton Rouge, about 80 miles from >>>New Orleans. He doesn't compete with HOB as a >>>venue, and could use your business.... Tabby is a rightous guy, runs a good club and certainly deserves your support. He is like Raful Neal and James Peterson in sending his son along a solid musical path. The Baton Rouge area also gave us Buddy Guy, Robert Pete Williams, Slim Harpo, Clarence Thomas, Silas Hogan, Guitar Slim and many others. If you are going to sit in with those musicians, you had better get sharp on "King Bee" and "The Things I Used to Do" because it is "not" a "Sweet Home Chicago" kind of town. Dick Waterman ========================================================================= Date: Tue, 14 May 1996 21:51:00 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Exit of SRV discussion Yes, yes, to be sure! Uncle Ray ---------- From: Steve Price[SMTP:sprice@INAV.NET] Sent: Wednesday, May 15, 1996 3:45 AM To: Multiple recipients of list BLUES-L Subject: Re: Exit of SRV discussion On Tue, 14 May 1996, P.W. Fenton wrote: > On 14 May 96 at 11:20, Mark Wiggins wrote: > > > Okay. I've been subscribed to this list for 2 days now and have noticed > > that there sure is a lot of fighting over SRV being the greatest or not. > Give it a little more than 2 days, because the last 2 have not been > representative. > I was actually thinking what a bizarre impression someone would have if they'd only been on blues-l a day or two. Turns out to be true. Surely there are recurring strange topics, but there's bound to be something interesting, isn't there? ;^) Steve ========================================================================= Date: Wed, 15 May 1996 00:58:50 -0400 Reply-To: Toronto Blues Society From: Toronto Blues Society Subject: toronto talent search Comments: cc: Toronto Downtown Jazz Society FOR IMMEDIATE RELEASE The Toronto Blues Society NEW BLUES TALENT SEARCH Call For Entries The Toronto Blues Society and the Heineken Soul 'n' Blues Festival at Harbourfront Centre (July 19 - 21) are looking for the best of the new blues. The New Blues Talent Search is open to Canadian blues acts who have not made a nationally distributed recording (cassette/CD) or a recording for a major label. Six finalists will be selected by our panel of music industry judges to appear in one of two live showcases at the Black Swan Tavern on Friday July 12 and Saturday July 13, where each finalist will perform a forty-five minute set for the final judging (acts must be available to perform on either day). Finalists only will be contacted by phone on or before June 29, 1996. The Toronto Blues Society New Blues Talent Search winner will receive a booking to perform during the Heineken Soul 'n' Blues Festival, and other prizes to be announced. TO ENTER: Send a cassette tape with a maximum of three songs (material must have been recorded within the past two years.) Make sure the cassette label includes a contact name, address & phone, and include information on the act and a photo. Entry fee is $10 (cheque payable to the Toronto Blues Society.) All materials become the property of the Toronto Blues Society and will not be returned. DEADLINE: Recordings must be received by midnight June 15, 1996. MAIL TAPES TO: Toronto Blues Society New Blues Talent Search, 544 Richmond Street W., Toronto, ON M5V 1Y4 For further information contact the Toronto Blues Society at (416) 504-2037, e-mail tbs@io.org, web site www.io.org/~tbs/ This contest is produced with the support of the Ontario Arts Council, the Municipality of Metropolitan Toronto and the City of Toronto through the Toronto Arts Council Media Contact: Barbara Isherwood, tel. (416) 504-2037, (416) 504-2078 (fax) ========================================================================= Date: Wed, 15 May 1996 01:03:10 -0400 Reply-To: Toronto Blues Society From: Toronto Blues Society Subject: blues with a feeling award Comments: cc: cdnfolk@io.org, Toronto Downtown Jazz Society May 8, 1996 FOR IMMEDIATE RELEASE The Toronto Blues Society celebrates our 11th Anniversary with the presentation of the 1995 Blues With A Feeling Award to MORGAN DAVIS Monday, May 27, 1996, 8:00 p.m. Silver Dollar, 486 Spadina Ave. Everyone is invited to join the Toronto Blues Society for a joint celebration of our 11th Anniversary, and the presentation of the 1995 Blues With A Feeling Award to MORGAN DAVIS. The "BWAF" is presented annually to a member of the Canadian blues community in recognition of their outstanding contribution to preserving the blues. The recipient is chosen by Toronto Blues Society members. Guitarist, vocalist and songwriter Morgan Davis has been a fixture on the Canadian blues scene for over 20 years. His lifelong study of the blues began when as a teenager in California he worked his way back from the Rolling Stones to discover the music of the Mississippi Delta. By the age of 16 he was already performing, and starting to develop his noted ability to extract the subtlest nuances from the blues form. Arriving in Canada in 1968, he first teamed up with Oklahoma guitar player Slim Smith, then hit the road with the Rhythm Rockets in the 1970's, and later formed The Knights of The Mystic Sea, which became one of Toronto's busiest blues bands. During his many years on the road, Davis has jammed with many of his heroes, including Muddy Waters, John Hammond, Bukka White and Hubert Sumlin. Davis has three recordings to his credit. His 1982 debut album I'm Ready to Play featured his composition "Why'd You Lie" made popular by Colin James. Morgan Davis, his 1990 release produced by Colin Linden for the Stony Plain Record label, was nominated for a JUNO award. His most recent CD, Live captures Davis in his natural milieu - on stage in front of an audience. Davis tours regularly, with his band as well as solo, playing clubs and festivals across Canada. Morgan joins such previous BWAF recipients as blues grande-dame Jodie Drake, blues bassist and promoter Gary Kendall, and Canada's own "Prime Minister of the Blues" Dutch Mason. Admission is $5.00 (free for Toronto Blues Society Charter members.) For further information call (416) 504-2037, e-mail tbs@io.org, web site www.io.org/~tbs/ This event is produced with the support of the Ontario Arts Council, the Municipality of Metropolitan Toronto and the City of Toronto through the Toronto Arts Council. Media Contact: Barbara Isherwood, tel. (416) 504-2037, (416) 504-2078 (fax) ========================================================================= Date: Tue, 14 May 1996 20:48:02 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Leaving the list Comments: To: mancil@BLUE-RIDGE.NAVY.MIL In-Reply-To: <199605150200.LAA26633@blue-ridge.navy.mil> from "Deputy Dawg" at May 15, 96 11:02:57 am > I have repeatedly tried to sign off the list. Obviously, I am still > here. Can anyone help me? Try this: 1. Send mail to the command processor, not the list: listserv@BROWNVM.BROWN.EDU 2. Subject is optional - the command processor will throw it away: ----- 3. In the body of the message, send: signoff blues-l (or blues-l-digest if one is available???) 4. put a pair of hyphens after the command, just in case your mailer appends one o' them novelettas that'll make the processor puke: -- And away ya go! -- IronMan Mike Curtis ========================================================================= Date: Tue, 14 May 1996 22:57:10 -0800 Reply-To: Bob Hardin From: Bob Hardin Subject: Don't like blue-flamewars? I'm sorry, I just have to post this... While I'm certainly no expert, I _do_ subscribe to a number of lists and with only _one exception_ so far, they all go through cycles of flamewars/heated discussions/personal attacks followed by making up and comments about what a great list it is (not like those _other_ lists). And all of them seem to have newcomers who react negatively and oldtimers who reassure them that it's not representative, just hang on and things will get better - and they do! The one exception? A list called "Chileheads", devoted to the growing, cooking, and eating of hot chile peppers of all kinds. Maybe the subject matter is too hot to begin with... I say, keep posting and helping me learn about the blues - you're all GREAT! I can barely keep up with the traffic, but I will _never_ sign off! Bob #---------------------------------------#----------------------------# | Bob & Becky Hardin | The Rule: | | email: hardin@pacificnet.net | There is _always_ an | | http://www.pacificnet.net/~hardin | exception to the rule. | #---------------------------------------#----------------------------# ========================================================================= Date: Wed, 15 May 1996 07:33:38 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: SRV - The Best There Ever Was Comments: To: Don Cicchetti >Mr Bo said (edit edit) > >>I=B4ve seen some SRV-clones both in Norway and Sweden. > >OH NOOOOO!! > >You're kidding! > >whew, scary stuff.... > >I wonder if they have a SRV clone in say.... Baghdad.. > >(or maybe they should all be sent to Baghdad...) ____________________________________________________ >Don Cicchetti I don=B4t know about Baghdad - but it is scary. Sometimes I think it is a plan to take over planet earth. Small green men are putting on hats and boots n strats and get bookings all over the world. When we hear Cold Shot for the seventh time in a row we all fall to sleep and our bodies is taken over by small green men. They put on hats........ Bo But I have most of SRV:s records - great artist (But stay clear of Cold Shot= :-) ========================================================================= Date: Wed, 15 May 1996 02:40:21 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: House lyric structure >Todd Ehlers wrote: > >>Son House scholars: >> >>I've always been fascinated by "Death Letter Blues." My blues collection >>is not extensive (yet) but it seems that this one has a lyric structure >>all its own. The great Mr. House takes tried and true 12-bar form but >>lays a terrific lyric rhyming pattern on it that I haven't heard >>duplicated. For example: >> >>1. You know I fooled them, and slowly walked away. >>2. Said that's a fine old gal, gonna lay there till judgement day. >> >>Lines one and two are spread over the first four bars. Then lines one and >>two take their time across the next eight bars with instrumental breaks >>for dramatic effect. >> >>Many 12-bar blues: >> >>First line First line (repeat) Second line >>4 bars 4 bars 4 bars >> >>"Death Letter Blues:" >> >>First two lines First line (and then) Second line >>4 bars Across next 8 bars. >> >>Is this peculiar to "Death Letter Blues"? Are there more examples from >>the great ones? It's a form that would seem to be best used for heavy >>blues, DLB being a top-notch example. >> >>Just curious. TIA, And Shaun asked> > >PW pointed out that Robert Johnson used the same rhyming scheme. A lot of >the blues that Son House played (that I heard) used this structure. It was >by no means unique to Son House but at the moment I can't remember any >other songs off the top of my head. > >Any other examples? > >Shaun > >Shaun Cronin 'Woke up this morning between midnight and day. I was >shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son >House Son House's first record, 'My Black Mama' is a good example! (BTW Tom, it's 'I *folded my arms* and slowly walked away' - much better sense and poetry.) While I'm on the subject of Mr House, I recommend John Cowley's brilliant article 'Really The Walking Blues' in 'Juke Blues' issue 1 to anyone interested in who influenced whom in the House/Johnson/Muddy nexus. Another song with the structure under discussion is Sleepy John Estes' 'Sloppy Drunk Blues'. Now that really is a weird number! Chris Smith (chris@skerries.demon.co.uk) 2 + 2 = 5 for large values of 2 ========================================================================= Date: Wed, 15 May 1996 03:11:41 -0400 Reply-To: smirkyface From: smirkyface Subject: Blues Jam Top 10 list Another tuesday night, another blues jam. I've always thought there should be a list of things not to do at a blues jam. After about a year of emceeing(sp?) one, I think I'm qualified to start a list. Please add to this. The Top Ten Things Not To Do At A Blues Jam 10.Forgetting your harps, then trying to borrow someone elses. BRIAN MCLEAN PHOTOGRAPHY & SMIRKYFACE PRODUCTIONS "life's too short to live the blues" http://www.netaxs.com/~blmclean ========================================================================= Date: Wed, 15 May 1996 00:50:52 -0700 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Organization: Canada Internet Direct, Inc. Subject: Re: Who do you love? Top 20 Comments: To: bit-listserv-blues-l@uunet.uu.net Jim Witteveen wrote: > For me, > music must fit several criteria to be listenable - played on real > instruments with passion and emotion, and the songs must touch my heart in > some way. For me, there's almost no such thing as background music. I can > tune everything else in the world out when I hear something that really hits me. > > I'd be interested in your thoughts... > > -Jim (hndful@uniserve.com) Okay.... this might start up something, but I can't resist: Define "REAL instruments" - Roger B. ========================================================================= Date: Wed, 15 May 1996 10:58:58 +0100 Reply-To: ROBERT FORD From: ROBERT FORD Subject: Re: Who do you love? Top 20 Comments: To: "Raymond O. Varner" In-Reply-To: Your message of "Tue, 14 May 1996 18:41:18 -0000." <01BB41C4.FC18CDA0@ip-pdx09-19.teleport.com> > In the interest of *healthy* opinion-sharing (as opposed to pointless > arguments about the "best") who do you love in music? > > Who really knocks you out? > > Here's my list: > > 1 Muddy Waters > > 2 Samuel Barber > > 3 Duke Ellington > > 4 BB King > > 5 Pete Townshend > > 6 Jimi Hendrix > > 7 Debussy > > 8 Freddie King > > 9 Albert King > > 10 Albert Collins > > 11 Ravel > > 12 Justin Hayward > > 13 Dizzy Gillespie > > 14 Bird > > 15 Sonny Rollins > > 16 Aaron Copland > > 17 Ladysmith Black Mambazo > > 18 Anything with Maire' Brennan's (Clannad) voice on it. > > 19 Midnight Oil > > 20 Bach, who made most of the rest of it possible. > > > DC > > > ____________________________________________________ > Don Cicchetti > La Sierra University Library Media Services > Audio/Video/Computer/Satellite > Studio Production, Event Services, Academic support > dcicchet@lasierra.edu > Are you sure you can't find room for that 'Oasis bollocks' in there?!!! Well, I don't like them either, but each to their own. Regards, Rob. ========================================================================= Date: Wed, 15 May 1996 10:51:34 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: blues with a feeling award In-Reply-To: On Wed, 15 May 1996, Toronto Blues Society wrote: > May 8, 1996 > > FOR IMMEDIATE RELEASE > > The Toronto Blues Society celebrates > our 11th Anniversary with the presentation of the 1995 > Blues With A Feeling Award to > MORGAN DAVIS > Monday, May 27, 1996, 8:00 p.m. > Silver Dollar, 486 Spadina Ave. > Well deserved. It's WAY past time that Morgan Davis was recognized for his work. Another artist that no-one south of 49 knows about and (irony) American born at that. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [15/5/96 6:20 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 15 May 1996 12:43:38 +0000 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Orleans CD: Little Freddie King As I've not ben on the list during a while this set might well have been discussed earlier on Blues-L as it ame out a while ago. In any cass, it's a worthwhile products for fans of some real stuff. So here it goes (IMHO obviously) Little Freddie King "Swamp Boogie" Orleans 1611 Cleo's Back / Mean Little Woman / Swamp Boogie / I Use To Be Down / San Ho Zay / Bus Station Blues / Kinky Cotton Fields / Baby Got it All / What I'd Say / I'm Gonna Haul Right off and Cry / The Great Chinese / Cast Squall Blues Fans of rural, Down Home and real stuff should be happy these last years as many labels have produced a bunch of nice CDs by mostly overlooked, unknown or forgotten blues musicians (Little Jimmy Reed, Willie Foster, Robert Lowery, ...) And in this sense, we can only welcome this new set by Little Freddie King. Born Fredrick Martin in Mc Comb Mississippi in 1940, he grew up listening to the music of his father musician, Muddy, B.B.King,... He received his nickname in the 60's and played with Polka Dot Slim, Snooks Eaglin,... After an album for Ahura Mazda in the 70's, he kept however his day job as a mechanic although he toured Europe with Bob Diddley and John lee Hooker in the mid-70's. In September 1994, Carlo Ditta proposed him to record an album and the result is entitled "Swamp Boogie" with a bit less than 40 minutes of straighforward down home blues. Contrary to what might be expected from his nickname, I wouldn't call this album a Freddie King influenced musician although one finds a cover of a Freddie King tune. Actually, this album reflects all his different influences and his experience mixing some down to the earth stuff (Baby Got it All, I'm Gonna Haul Right Off and Cry), some Hopkins touch (Bus Station Blues), some good old swamp stuff (I used to Be Down) or the Bo Dilldley-ish The Great Chinese. The album closes on a Delta rooted acoustic Cat Squall Blues, actually a remake of Catfish Blues. >From the liner notes we learn that Little Freddie King has spent much of his time trying simply to play, to teach and explain the blues in colleges and workshops instead of pursuing some hypothetical fame, and that's what we actually hear: a honnest musician (gtr/vcl) playing some enjoyable and refreshing unpretentious down home stuff. Thanks to Carlo Ditta for putting out this album. Recommended. Jean-Pierre "Young Man" Urbain Distributed in Europe by All Blue Record Service (Tel/Fax: +32-51-72 29 54). P.S. Not affiliated, .... ========================================================================= Date: Wed, 15 May 1996 10:42:36 GMT Reply-To: Erik Vanem From: Erik Vanem Organization: University of Oslo, Norway Subject: Otis Rush - Live and awesome ?? Comments: To: bit-listserv-blues-l@nac.no Keywords: I've heard about a new Otis Rush album called live and awesom or something, but I've never seen it. Does anyone know if it exists. Is it a reissue of an older album or is it a whole new recording ?? I would also be grateful for songlist etc.... Thanks ! EV ========================================================================= Date: Wed, 15 May 1996 13:28:08 +0200 Reply-To: Anders Carlson From: Anders Carlson Could you please send over your list ========================================================================= Date: Wed, 15 May 1996 07:46:46 EDT Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: **John Tesh** The best that ever was!! >John Tesh isn't fit to wash Yanni's jock strap. > >Dave Carpenter >and perhaps vice versa? >Skipjames Almost certainly correct. Neither one knows beans about laundering athletic gear. Dave Carpenter ========================================================================= Date: Wed, 15 May 1996 11:55:20 GMT Reply-To: Undetermined origin c/o LISTSERV maintainer Comments: RFC822 error: Mail origin cannot be determined. Comments: RFC822 error: Original tag data was -> @wrtls.com@uunet.uu.net (Rocket Man) From: Undetermined origin c/o LISTSERV maintainer Organization: Erols Internet Services Subject: YOU CAN MAKE SOOO MUCH MONEY IN SOOO LITTLE TIME!!!! - somoney.txt (1/1) Comments: To: bit-listserv-blues-l@uunet.uu.net begin 644 somoney.txt M2&5L;&\A($DG=F4@9V]T('-O;64@87=E2!N965D960@=&\@<&%Y(&]F9B!T:&]S92`-"F)I;&P@ M8V]L;&5C=&]R6EN9R!T:&%T($D@1DE.04Q,62!&3U5.1"!)5"$@5&AA="=S(')I9VAT(0T* M22!F;W5N9"!I="$@06YD($D@2$%412!'150@4DE#2"!154E#2R!30TA%3453 M(2$@22!H871E('1H;W-E(`T*2!D87)N(&=E="!R:6-H M('%U:6-K('-C:&5M92!O=70@=&AE2`H;6]R92!L:6ME("=D97-P97)A M=&4@2!#87)D($%.1"!M>2!6:7-A+BXN22`-"G=A2!T:&5S92!D87ES+"`@4T\@22!42$]51TA4+BXN+B`-"DD@=&AO=6=H M="!)(&-O=6QD('-N:69F(&]U="!A('-C86T@96%S:6QY+B`@5T%3($D@5U)/ M3D3\@#0I"96-A=7-E(&]F('1H M92!W87D@:70@=V]R:V5D($%.1"!"14-!55-%($E4(%=/54Q$($].3%D@0T]3 M5"!-12`-"D9)5D4@1$],3$%24R`H04Y$($9)5D4@4U1!35!3*2P@5$A!5"=3 M($%,3"!)($5615(@4$%9+BXN+D5615(A(0T*#0H@("!/:RP@6]U M(&4M;6%I;"!F86YA=&EC2!N M86UE(&]N('1H92!L:7-T(&%N9"!215!/4U1%1"!)5"`-"D].($%3($U!3ED@ M3D574T=23U504R!!3D0@3$]#04P@0E5,3$5424X@0D]!4D0@#0I-15-304=% M($%214%3(%1(050@22!+3D57+B`@22!T:&5N('=A:71E9"!T;R!W871C:"!T M:&4@;6]N97D@#0IC;VUE(&EN+BXN<')E<&%R960@=&\@;6%Y8F4@6]U+"!42$%4(%=!4R!%6$-)5$E.1R$A("!3;R!H M;W<@#0IM=6-H(&1I9"!)(&=E="!I;B!T;W1A;"!R971U7=H97)E('EO=2!C86X@=&AI M;FL@#0IO9B$@(%1H92!M;W)E('!O2!Y;W4@2`-"F-O2!S;F%I;"`-"FUA:6P@*%53(%!O2!R97!O&%C=&QY+"!Y;W4@87-K/R`@22!H M879E(&-A2`-"G!R;W9I9&5D('1H92!M;W-T9&5T86EL960L('EE M="!S=')A:6=H=&9O2!G970@=&AI2!A;F0@9V5T('EO=7(@8V%S:"!O;B!I M=',@=V%Y+B`@#0I33RP@05)%(%E/52!214%$62!43R!-04M%(%-/344@0T%3 M2"$A(3\_($A%4D4@5T4@1T\A(2$@#0H-"BHJ*B!42$4@3$E35"!/1B!.04U% M4R!)4R!!5"!42$4@14Y$($]&(%1(25,@05)424-,12X@*BHJ#0H-"D]++"`@ M4F5A9"!T:&ES(&-A2X@($=E="!A('!R:6YT;W5T(&]F('1H:7,@ M:6YF;W)M871I;VXL(`T*:68@>6]U(&QI:V4L('-O('EO=2!C86X@96%S:6QY M(')E9F5R('1O(&ET(&%S(&]F=&5N(&%S(&YE961E9"X-"@T*24Y35%)50U1) M3TY3.@T*#0HQ+B`@5&%K92!A('-H965T(&]F('!A<&5R(&%N9"!W6]U2!M86MI;F<@6EN M9R!O;F4@9&]L;&%R(&9O6]U(`T*:6YC;'5D92!Y;W5R(&YA;64@86YD(&%D9')E2!O6]N92!O;B!T M:&4@;&ES="!U<"`-"G-L;W0@;VYE(&]N('1H92!L:7-T+B`@4&]S:71I;VX@ M,B!N86UE('=I;&P@;F]W(&UO=F4@=&\@=&AE(`T*<&]S:71I;VX@,2!S;&]T M("P@('!OFEP8V]D92!!3D0@#0I#3U5.5%)9(&EN('!O7,@:&%V92!A M(&=O86P@:6X@;6EN9"$A(2!)9B!Y;W4@8V%N(%5512`-"F5N8V]D92!T:&4@ M9FEL92!W:&5N('5P;&]A9&EN9RP@('1H870@=VEL;"!M86ME(&ET(&5A2!G970@82!C;W!Y(&]F('1H92!A6]U(&YE960@:&5L<"!U<&QO861I;F2!A65T(')E;&%T:79E;'D@7,@=&\@<&]S="!O2!D97-C"P@8VAO;W-E("=!5%1!0T@G+"!S96QE8W1I M;F<@)U5512<@86YD($Y/5"`-"B=46%0G+"!T:&5N(&-H;V]S92`G0G)O=W-E M)R!T;R!G;R!L;V]K(&9O"!I;B!T=V\@9&%Y2!N M;W0@=&\@7=A>2D@#0IW:&5N M('EO=2!R96%L:7IE(%E/52!(250@5$A%($))1R!424U%($%4($Q!4U0A(2`@ M#0H-"C6]U(&%L=V%Y M6]U6]U('=A;G0@:6X@>6]U2P@('-I;7!L>2!R92UA8W1I=F%T92`-"G1H:7,@9FEL92!A9V%I;CL@4F5P M;W-T:6YG(&ET(&EN('1H92!O;&0@<&QA8V5S('=H97)E('EO=2`-"F]R:6=I M;F%L;'D@<&]S=&5D(&%N9"!P;W-S:6)L>2!S;VUE(&YE=R!P;&%C97,@>6]U M(&YO=R!K;F]W(&]F+B`@#0I$;VXG="!E=F5R(&QO7,@:V5E<"!A(&-O<'D@870@>6]U6)R;V]K($QN+@T*("`@("`@07!T+B`S M,#,@("`@(`T*("`@("!""!$6]U M(&$@9&]L;&%R(&%N9"!A;'=A>7,@:V5E<`T*86X@97EE(&]N('1H92!L;V-A M;"!P;W-T:6YG6EN9R!T:&4@9V%M92!F86ER;'DN(%EO M=2!K;F]W('=H97)E('EO=7(@;F%M92!S:&]U;&0@#0IB92XN+BXN#0H-"BHJ M*B!!1T%)3BP@($A/3D535%D@25,@5$A%($)%4U0@5$A)3D<@5T4@2$%612!' M3TE.1R!&3U(@55,@3TX@5$A)4PT*4$Q!3BX@(`T*#0HM36EK92!$;W1S;VXL M($)O=6QD97(L($-/#0H-"BHJ*B!">2!T:&4@=V%Y+"!I9B!Y;W4@=')Y('1O M(&1E8V5I=F4@<&5O<&QE(&)Y('!O2!I Subject: Re: TOP 20 Hey folks out there in BLUES-L where are all those great Blues women on this Top 20, like Sippie Wallace when she sings those "Suitcase Blues", Katie Webster, and you can't beat Saffire: The Uppity Blues Women, or Etta James one of my all time favorites. Come on folks there are Top 20's of both genders. Speak up ladies. Or maybe we just need a Top 20 list for Blues Women since there are so many FINE blues women out there to grace our ears with the sweet sound of a woman's voice filling the air with the Blues. Just 2 cents worth from this old Women's Blues writer (and closet Blues Woman) Young "Blues" Jeni ========================================================================= Date: Wed, 15 May 1996 08:13:15 -0400 Reply-To: Niles Frantz From: Niles Frantz Organization: GNN Subject: Re: Carr Pulls Into Chicago . . . Comments: To: bit-listserv-blues-l@uunet.uu.net In article <4n5qp4$ote@news-e2d.gnn.com> Niles Frantz wrote: >>If any 'Zellers are going to see James Carr at Rosa's on >> Chicago's West Side >>this weekend, pah-leez post a detailed report . . . >> >>Dick Waterman Chicago Tribune 5/13/96 reprinted without permission Back in soul's spotlight James Carr's comeback train makes a sweet stop in Chicago by Bill Dahl, Tribune staff writer Singer James Carr is nearly as legendary for his reclusive tendencies as for his amazing series of 1960s hits, which rate with the most sensational performances in Memphis soul history. Carr, slowly mounting a comeback bid, finally made it to Chicago over the weekend for toe nights at Rosa's, electrifying a wall to wall crowd Friday and making it clear that his lengthy absence has been a tragedy. The singer's visit brought a couple of local soul greats out that first night. Otis Clay and Tyrone Davis graciously sang two numbers apiece before Carr's eagerly awaited entrance. Davis' Platinum band backed Carr for the shows, and the combination proved magical. Led by guitarist Kenneth "Hollywood" Scott, the nine-piece group had done its homework. Opening with a shuffling "Gonna Send You Back to Georgia," Carr's deep hued vocal power was no less stunning than during his 60s heyday. Mustering every ounce of intensity at his disposal, Carr delivered pure Southern soul without a hint of pretense. As punchy interjections from the three-piece horn section urged him onward, Carr rode an infectious "Freedom Train" before launching into his anguished ballads, "You've Got My Mind Messed Up" and the incomparable "The Dark End of the Street." His bone-chilling cries seemed to spring from somewhere darker and more ominous than most of us ever dare to explore. There were admittedly a few rough spots. Carr sang several bars of Jow Simon's devotional "My Adorable One" before realizing that the band was playing the late Otis Redding's "These Arms of Mine." (He later did the other song full justice.) And bassist Joewaun Scott, otherwise in solid cahoots with dynamic drummer Edmond Farr all night long, couldn't quite come to grips with the chord changes of Carr's driving 1966 hit "Pouring Water On a Drowning Man." But Carr didn't let it deter him; he dramatically dropped to one knee and pleaded prodigiously for the liquid not to engulf him before ending his second set after only three songs. It's depressing to contemplate how far James Carr might have gone had personal problems not interfered. But it's most encouraging that he seems to have conquered them at last. Niles A loop is a loop is a loop. ========================================================================= Date: Wed, 15 May 1996 09:16:06 -0400 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: Who do you love? Top 20 In-Reply-To: <31998CDC.7BD5@direct.ca> In no particular order: Elmore James ZZ Hill Denise LaSalle Jimmy Reed BB King Otis Redding Otis Clay John Hurt Otis Spann Ruth Brown Bobby Bland Dinah Washington This list does not include gospel, reggae or world music--just blues. Peace, nitra ========================================================================= Date: Wed, 15 May 1996 09:05:18 +0000 Reply-To: tkelley@ARL.MIL From: Troy Kelley Organization: ARL Subject: Mistakes -Jack" (or whatever it's called - you know the song). There are SEVERAL -notable fluffs in that solo, but because they're repeated, we accept them as -what Fagan INTENDED to play. Donald Fagan might play a little guitar, But he did NOT do the solos on most, - if not all, of the Steely Dan albums. I doubt if that is what he INTENDED to play Troy ========================================================================= Date: Wed, 15 May 1996 09:11:14 EDT Reply-To: Newman/Rabson <71552.541@COMPUSERVE.COM> From: Newman/Rabson <71552.541@COMPUSERVE.COM> Subject: Re: TOP 20 Well Jeni - As I recall someone mentioned Sister Rosetta Tharp who would surely be on my list, as well. Please don't have a seperate list for women. I hate all that implies. 20 eh? Well next week may be different. Hell - later this morning may be. Jimmy Yancy Leroy Carr Thelonious Monk Memphis Minnie Cripple Clarence Lofton Son House Roberta Martin Blind John Davis Big Maceo Merriweather Otis Spann Mary Lou Williams Walter Davis Johnny Shines Erwin Helfer Rosetta Tharp Ray Charles Washboard Sam Archibald Art Wheeler Yank Rachell No order and - I left LOTS out. Just the way I feel this morning. Ann Rabson ========================================================================= Date: Wed, 15 May 1996 09:08:24 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Blues Jam Top 10 list Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *The Top Ten Things Not To Do At A Blues Jam * *10.Forgetting your harps, then trying to borrow someone elses. 9. Play along with the band while sitting in the audience. ========================================================================= Date: Wed, 15 May 1996 09:16:02 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Sun Songs Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, aconnoll/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=aconnoll#a#IS#f#DAL#f#CA@s1boca.corp.wrgrace.com *On May 20 I'm doing a theme show on the local college radio station. I've *decided to do my show on the sun, and I'm looking for songs that talk *about the sun, or mention the sun or have sun in the title. Please e-mail *me with you suggestions before May 20. I'm looking for a variety of *styles: alternative, folk, blues, jazz, classical, opera... and whatever *else there is that would fit on a college radio station. The weirder the *better. Just play a set of Son House. :) -Steve ========================================================================= Date: Wed, 15 May 1996 09:25:51 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Mistakes Comments: To: tkelley@ARL.MIL On 15 May 96 at 9:05, Troy Kelley wrote: > -Jack" (or whatever it's called - you know the song). There are SEVERAL > -notable fluffs in that solo, but because they're repeated, we accept them as > -what Fagan INTENDED to play. > > Donald Fagan might play a little guitar, But he did NOT do the solos on most, > - if not all, of the Steely Dan albums. > > I doubt if that is what he INTENDED to play Yo Troy... Donald Fagan plays piano....and very well. He played virtually every piano solo Steely Dan recorded, including the one that was being discussed (Do It Again) before you offered up your knowledge. The word "Solo" does not mean "guitar". P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Wed, 15 May 1996 13:19:27 GMT Reply-To: bbbean@sheltonlink.com From: bbbean@SHELTONLINK.COM Organization: inlink Subject: Re: Grammar Patrol . . . Comments: To: bit-listserv-blues-l@uunet.uu.net In <960513132731_490081737@emout12.mail.aol.com>, Dick Waterman writes: >The press release also refers to the cabin as 'the birthplace of American >blues' which seems to be historically inaccurate at the most and certainly a >gross overstatement at the least. What are you saying? Surely there were no bluesmen (or women) before Muddy! He came out of a vacuum to teach Jake and Elwood, right? BBB B.B. Bean bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Wed, 15 May 1996 06:33:43 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Real Instruments (was: Who do you love? Top 20) Roger B wrote: >Okay.... this might start up something, but I can't resist: >Define "REAL instruments" Actually, I thought of this after I posted, and went 'Uh-oh, spoke too soon'... Seeing as how I've seen several blues artists whose keyboard players utilized (gasp!) synthesizers, this statement doesn't completely hold true. I was specifically thinking about a bunch of cd's that I got rid of a couple of weeks ago - including the Alan Parsons Project and other synth-based groups from the '80's - that's the kind of music I was referring to. So really, it was a broad statement that isn't 100% accurate - 90% maybe.... :-) -Jim (hndful@uniserve.com) ========================================================================= Date: Wed, 15 May 1996 08:31:28 CST6CDT Reply-To: "Sara C. Oxton" From: "Sara C. Oxton" Organization: University of Minnesota Subject: Re: Who do you love? Top 20 Comments: To: Don Cicchetti Don's expansive and impressive Top 20 list inspired me to offer my contribution: (not in order) 1-Snooks Eaglin 2-James Carr 3-Frank Sinatra 4-Louis Prima 5-Albert King 6-Little Milton 7-Lightning Hopkins 8-OV Wright 9-Ben Webster 10-Webb Pierce 11-Otis Clay 12-Ella Mae Morse 13-Otis Redding 14-Bud Powell 15-Fred Below 16-Ray Price 17-Elvis Presley (I admit it, I'm hooked) 18-the Gershwins 19-Nat King Cole 20-Perez Prado _________________________________________ Sara C. Oxton Executive Secretary University of Minnesota Department of Food Science & Nutrition 1334 Eckles Ave. St. Paul, MN 55108 Ph: (612) 624-2787 Fax: (612) 625-5272 soxton@che2.che.umn.edu ========================================================================= Date: Wed, 15 May 1996 08:25:42 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Top 20 No order except the first FIVE 1 Muddy Waters 2 Son House 3 Albert King 4 Freddie King 5 Little Walter 6 Sonny Boy II 7 Duane Allman era Bros 8 Tampa Red 9 Hank Crawford 0 Wes Montgomery 11 Chet Atkins 12 Fred McDowell 13 Robert Johnson 14 Lowell George's Little Feat 15 Johnny Shines 16 Charley Patton 17 Blind Willie Johnson 18 Blind Lemon Jefferson 19 Robert Lockwood 20 Otis Spann LW 'subect to change' ========================================================================= Date: Wed, 15 May 1996 08:40:53 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: Blues Jam Top 10 list In-Reply-To: Message of Wed, 15 May 1996 09:08:24 -0400 from On Wed, 15 May 1996 09:08:24 -0400 Steve Levine said: >*The Top Ten Things Not To Do At A Blues Jam >* >*10.Forgetting your harps, then trying to borrow someone elses. > >9. Play along with the band while sitting in the audience. I seen Jr. Wells do #10 In Memphis a drunk fellow was playing harp along with John Hammond. He also said if you don't think John Hammond is the greatest musician on the &*››ing planet you need to leave. He would yell for everybody to shut up and then yell out song titles to John (as if John needed help)... ***** 8. Play Freebird, Stormy Monday, Hideaway, Mustang Sallly or Sweet Home Chicago LW ========================================================================= Date: Wed, 15 May 1996 09:52:05 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Who do you love? Top 20 Don asked >In the interest of *healthy* opinion-sharing (as opposed to pointless >arguments about the "best") who do you love in music? > >Who really knocks you out? > Not in order: 1. Blind Willie Johnson 2 Blind Willie McTell 3 Charles Ives 4 Son House 5 Franco et le TPOK Jazz 6 Haydn 7 Bach 8 Thelonious Monk 9 The Swan Silvertones 10 Dennis McGee 11 Bartok 12 Ladysmith Black Mambazo 13 Bob Marley 14 Miles Davis 15 Robert Nighthawk 16 Muddy Waters 17 Howlin' Wolf 18 The Mini-Musical Female Duet (go on, ask me!) 19 Duke Ellington 20 Jesse Thomas and several thousand more! Next week half the above would be different. Chris Smith (chris@skerries.demon.co.uk) 2 + 2 = 5 for large values of 2 ========================================================================= Date: Wed, 15 May 1996 08:52:52 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Lonesome Sundown Comments: To: David Howard > From: David Howard > I was just diggin some serious swamp blues the other night and started > wondering about Lonesome Sundown. Has anything been heard from him since his > mid-'70's "comeback" album. In the grand scheme of things he seems sorta > underated. Any opinions? Definitely underrated but unfortunately, definitely dead. LONESOME SUNDOWN [CORNELIUS GREEN] (g) d. 1995-0423, GONZALES, LA 66 Eliot Williams University of Wisconsin Department of Medicine williams@heme.medicine.wisc.edu ========================================================================= Date: Wed, 15 May 1996 15:38:13 +0000 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: SPRING BLUES FESTIVAL (ECAUSSINNES, BELGIUM) Just a reminder for the zellers from Benelux for next weekend (as we have four days free, I post it today) SATERDAY 18 May 1996 9th SPRING BLUES FESTIVAL ECAUSSINNES, BELGIUM - El Fish (B) - Sam Taylor (USA) - Percy Strother (USA) - Rob Bio (USA) - Eddy Clearwater (USA) - Walter Wolfman Washington (USA) - The King Brothers (USA) - The Temptations (USA) It's usually a very nice festival to which I advise zellers from Benelux to go. If I meet any zeller, I offer one of our nice Belgian beers (btw, the best beer in the world ..... :-) Ecaussinnes lies South-West from Brussels and is easily reached by car, train, ..... Hope to see some of you there (I'll be frontstage with my Blues-L T Shirt on). You'll hear about the performances next week. Jean-Pierre "Young Man" Urbain ========================================================================= Date: Wed, 15 May 1996 08:55:30 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: Real Instruments (was: Who do you love? Top 20) In-Reply-To: Message of Wed, 15 May 1996 06:33:43 -0800 from > >>Okay.... this might start up something, but I can't resist: >>Define "REAL instruments" > >Actually, I thought of this after I posted, and went 'Uh-oh, spoke too >soon'... Seeing as how I've seen several blues artists whose keyboard >players utilized (gasp!) synthesizers, this statement doesn't completely I noticed the new Doug MacLeod had Jimi Bott playing a phone book, in his hands that was a "REAL" instrument....What a drummer. I don't know about drumming but I sure like what Jimi Bott does. LW ========================================================================= Date: Wed, 15 May 1996 10:00:12 -0400 Reply-To: "JOHN W. SCHARBROUGH" From: "JOHN W. SCHARBROUGH" Subject: Re: Pratice amp question. Comments: To: bit-listserv-blues-l@uunet.uu.net Message-ID: <5f7cc$8332b.1@tcnntp.trader.com> Date: Wed, 15 May 1996 13:51:42 GMT References: <960509011240_290307499@emout14.mail.aol.com> Reply-To: FastJohn@trader.com (JOHN W. SCHARBROUGH) Organization: Traders' Connection, Inc. Posting-Version: TCON NNTPSend v 1.0.5 ; site 204.120.67.7 Lines: 17 Just play through your practice P.A...no amp at all! Thats what I've been doing. Save the loud stuff for gigs.. Johnny The Shifters live show dates: Caseys Pub,Irvington Plaza,Indpls.In...................June 1st The Slippery Noodle Inn 372 S.Meridian Indpls.,In..... June 3rd --- * Traders' Connection Web BBS * http://www.trader.com * info@trader.com ========================================================================= Date: Wed, 15 May 1996 10:00:22 -0400 Reply-To: "JOHN W. SCHARBROUGH" From: "JOHN W. SCHARBROUGH" Subject: Re: Pratice amp question. Comments: To: bit-listserv-blues-l@uunet.uu.net Message-ID: <5f7cc$83335.20e@tcnntp.trader.com> Date: Wed, 15 May 1996 13:51:53 GMT References: <960509011240_290307499@emout14.mail.aol.com> Reply-To: FastJohn@trader.com (JOHN W. SCHARBROUGH) Organization: Traders' Connection, Inc. Posting-Version: TCON NNTPSend v 1.0.5 ; site 204.120.67.7 Lines: 8 and use a Fender Twin for gigs and mabey a tube screamer...and a stage tuner. Johnny ;-> --- * Traders' Connection Web BBS * http://www.trader.com * info@trader.com ========================================================================= Date: Wed, 15 May 1996 10:13:47 -0400 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: Who do you love? Top 20 In-Reply-To: Add Morgana King to this list. On Wed, 15 May 1996, Anita Samuel wrote: > In no particular order: > > Elmore James ZZ Hill > > Denise LaSalle Jimmy Reed > > BB King Otis Redding > > Otis Clay John Hurt > > Otis Spann Ruth Brown > > Bobby Bland Dinah Washington > This list does not include gospel, reggae or world music--just blues. > Peace, > nitra > ========================================================================= Date: Wed, 15 May 1996 09:11:15 -0500 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Erbie Bowser Happy birthday Erbie Bowser. He was one of my favorite local musicians and a major part of the Austin Blues scene. Until his death last year he was a regular at the Continental Club's friday happy hour with TD Bell and at Marcia Ball's annual Pianorama. His recordings include "It's About Time" with TD Bell and "Texas Piano Professors" with Dr. Hepcat and the Grey Ghost. He is missed here in Austin. Bruce Roberts Austin, TX ========================================================================= Date: Wed, 15 May 1996 10:22:29 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Lonesome Sundown >I was just diggin some serious swamp blues the other night and started >wondering about Lonesome Sundown. Has anything been heard from him since his >mid-'70's "comeback" album. In the grand scheme of things he seems sorta >underated. Any opinions? > >D.N. Howard Underrated - agreed. He died in April last year, not having done anything on record since his 'comeback' album. Chris Smith (chris@skerries.demon.co.uk) 2 + 2 = 5 for large values of 2 ========================================================================= Date: Wed, 15 May 1996 10:23:10 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0846 From: "DUTTWEILER.J" Subject: Muddy's Cabin Press Story Date: Wednesday, 15 May 1996 10:22am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Muddy's Cabin Press Story Thought ya'll might be interested in this printed in the Atlanta morning paper: Clarksdale, Miss. -- The cabin of blues music legend Muddy Waters has been put on a flat-bed truck and moved to New Orleans to become a part of a blues attaction that will tour the world during the next five years. Howard Stovall of Memphis, on whose Mississippi Delta land Waters' home sat, said his family had agreed to lease the cabin to Isaac Tigrett, founder of the House of Blues nightclub chain. Stovall said he was told that the cabin will be dismantled and reassembled at each stop during the tour. "I understand it's first going in June to the Chicago Blues Festival," Stovall said. Stoval defended the action against criticism from musicians and blues preservationists who opposed moving the cabin from its plantation site. "Where were they when the cabin was rotting down?" Stovall asked. "Nobody came up with and ideas" until the House of Blues agreement, Stovall said. Stovall said the House of Blues plans to spend $125,000 restoring the cabin. In addition, he said, Tigrett has promised to donate $20,000 a year for five years to Clarksdale's Sunflower River Blues Association for its annual Blues Festival. After five years, Stovall said, the cabin will be returned to the Stovall family. Stovall said his family did not pursue the availability of historic preservation grant funds to save the cabin from decay. "Now the cabin gets preserved and the festival gets funds," Stovall said. Asked why the Muddy Waters cabin move had been kept secret, Stovall said he didn't want a crowd on the scene. He said part of the House of Blues deal included a "suitable monument" being erected at the cabin site. Article by Panny Mayfield, Clarksdale Press-Register ========================================================================= Date: Wed, 15 May 1996 10:27:39 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Who do you love? Top 20 This list of 20 probably understates my love of 60s Memphis soul (anything backed by Booker T & the MGs), New Orleans R&B and piano, and omits a lot of folks who did a very few near-perfect recordings and either nothing else or a lot of so-so stuff. Plus, there is not much recent stuff mostly because it is still subject to a Scotch verdict (not proven), and omits the piano music of Scott Joplin and the songwriting of Hank Williams. As everyone's, its subject to change. Robert Wilkins Memphis Jug Band Robert Johnson Memphis Minnie Willie McTell Tommy Johnson The Carter Family Frank Stokes and Dan Sane Louis Armstrong with Earl Hines Skip James Muddy Waters Howlin' Wolf Jerry Lee Lewis Otis Redding the Staples Singers Richard Thompson (solo, with Linda Thompson, and Fairport Convention) Bob Dylan the Band Rolling Stones (Beggars Banquet to Exiles on Main Street) Parliament-Funkadelic thats it Tom Freeland ========================================================================= Date: Wed, 15 May 1996 10:28:44 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Blues Jam Top 10 list >*The Top Ten Things Not To Do At A Blues Jam >* >*10.Forgetting your harps, then trying to borrow someone elses. > >9. Play along with the band while sitting in the audience. 8 Play along with the audience while sitting in the band. I HATE audience participation! Chris Smith (chris@skerries.demon.co.uk) 2 + 2 = 5 for large values of 2 ========================================================================= Date: Wed, 15 May 1996 10:23:27 EDT Reply-To: Mark Wiggins From: Mark Wiggins Chris Smith Wrote: >Er - Mark, have you noticed that the above is *your opinion* of what this >list shoyld be about? Where does that leave your suggestion that the >expression of opinions should be off-limits? I didn't suggest that the expression of opinions should be off limits. I merely suggested that the SRV discussion had been beat to death and was getting nowhere. I was just looking for something a little more interesting or shall I say a little more intellectually stimulating. Sorry for YOUR misunderstanding. ========================================================================= Date: Wed, 15 May 1996 10:29:21 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Who do you love? Top 20 Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com In no particular order: Muddy Waters Little Walter Big Walter Sonny Boy Williamson (Rice Miller) Charlie Patton Son House Blind Boy Fuller Merle Travis Hank Williams Toots Thielemans Paul deLay Charlie Parker Cephas & Wiggins Robert Johnson Robert Nighthawk Jimmie Rodgers Jimmy Rogers Dire Straits Pink Floyd Johnny Shines ========================================================================= Date: Wed, 15 May 1996 10:38:18 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Ladysmith Black Mambazo fatality >>Chris Smith wrote: >>It was Headman Shabalala, lead singer Joseph's brother, who was shot. and Peter Lee replied > (interesting stuff, edited) >I don't think any of members of the group live in Ladysmith anymore. And I >don't know why they called themselves "Ladysmith" Black Mambazo. The Zulu >name for the town is Nambiti (place of safety) a much prettier name than >Ladysmith. (Lady Smith was a 14 year old Spaniard who married a 50 year old >Englishman.) > >Anyway, I've been a fan of Ladysmith Black Mambazo's for a long time and >have some very worn out tapes of their South African releases. If you can >get hold of this stuff it is absolutely incredible. Most of it is religious >material and all of it sung in Zulu. > I second the last paragraph! They called themselves Black Mambazo in tribute to Aaron Lerole's kwela (pennywhistle) group, and because 'Joseph Shabalala likens their vocal phrasing to the sharp atack of an axe (imbazo [plural mambazo, I believe]).' They added 'Ladysmith' because it was their hometown. (This from David B. Coplan's excellent 'In Township Tonight'.) And now, thank God, we can abandon the debate about SRV, and start a flamewar about which language has the 'prettiest' placenames! %-O Disclaimer: I am not related to Lady Smith, so far as I know. Chris Smith (chris@skerries.demon.co.uk) 2 + 2 = 5 for large values of 2 ========================================================================= Date: Wed, 15 May 1996 10:28:58 -0400 Reply-To: TDominey From: TDominey Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Cassandra Wilson Sings Son House . . . Comments: To: bit-listserv-blues-l@uunet.uu.net Have you ever SEEN her in concert? I had the pleasure of doing public relations for the Spoleto Festival here in Chas., and got to have coffee with her while we waited for a music writer to arrive. Sensing an uncomfortable silence when we began, I broke the ice by talking about Robert Johnson. On her last album "Blue Light Til Dawn" she covered 2 - "Come on in my Kitchen" and "Hellhound on my Trail." She is the real deal folks - she had an encyclopedic knowledge of Johnson, as well as the amorous undertones in "Kitchen" - It was so pleasing to know that she didn't just cover this stuff for any other reason than her own appreciation. ========================================================================= Date: Wed, 15 May 1996 09:43:14 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: So I got Maxwell Street Jimmy Davis So I went to Chicago and went straight to the Jazz Record Mart, as most people suggested. The store is absolutely the blues (and jazz) fan's heaven. I grabbed 4 CDs and before even searching half of the blues selection, run out of the store, with a pain in my stomach caused by the fact that I can't spend $200-300 on CDs that I wanted right there. I bought: 1. Maxwell Street Jimmy Davis (on Wolf) This CD is a must for all "purists." -:) 2. Magic Sam - West Side Soul (Delmark) - Should have bought this one long time ago though... 3. Jimmie Lee Robinson "Lonely Traveler" (Delmark) I wanted more from Jimmy Lee for a long time and I GOT IT. The biggest surprise!! I listened Magic Sam's album and said "All right, that's it, desert island album," and I put it aside. But I could not get Jimmy Lee's album off my player. Great singing and guitar work, great songs, the album keeps surprising you with variety of "strange" songs and styles. I have to mention The Ice Cream Man (Scott Dirks, harp, Johnny Burgin, guitar, and Steve Kushing, drums), who backed Jimmy Lee. Steve and Scott's production is right on money. Backing is very understated, letting you fully enjoy Jimmy Lee's musicianship. I LOVE THIS ALBUM. 4. Andrew BB Odom - "Goin' to California" (Flying Fish) This one I bought based on Blues-l suggestions, since I never heard Odom before. Great singer, although too clean and sterile backing for my taste by the backing band. ========================================================================= Date: Wed, 15 May 1996 07:43:47 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: May 16 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ALLEN, MALVIENA (v) b. 1956-0516, CHICAGO, IL BASCOMB, DUD (tpt/ERSKINE HAWKINS) b. 1916-0516, BIRMINGHAM, AL BROWNE, EDDIE (b/MILLINDER) d. 1989-0516, BRIDGEPORT, CT 73 CARTER, BETTY [LILLIE MAE JONES] (v) b. 1930-0516, FLINT, MI COBHAM, BILLY (d) b. 1944-0516, PANAMA DAVIS, SAMMY JR (v) d. 1990-0516, BEVERLY HILLS, CA 64 DESHAY, JAMES (g) b. 1919-0516, BENOIT, MS HERMAN, WOODY (cl) b. 1913-0516, MILWAUKEE, WS HOLT, ISAAC "REDD" (of YOUNG-HOLT TRIO) b. 1932-0516, ROSEDALL, MS JACKSON, G. P. ("GP") (g) b. 1920-0516, ALLIGATOR, MS JACKSON, JANET (v) b. 1966-0516, GARY, IN JAMES, CHRIS (g) b. 1966-0516, SAN DIEGO, CA JOHNSON, C. J. DR. (v/gospel/SAVOY REC) b. 1913-0516, DOUGLASVILLE, GA JOHNSON, MARV (v/UNITED ARTISTS REC) d. 1993-0516, COLUMBIA, SC 54 LEE, BARBARA (of THE CHIFFONS) b. 1943-0516, BRONX, NY LIBERACE :-) b. 1919-0516, WEST ALLIS, WS LONDON, MEL (prod/songw) d. 1975-0516, CHICAGO, IL 43 REINHARDT, DJANGO (g) d. 1953-0516, SAMOIS, FRANCE 43 ROCK, JOSEPH V. (songw/v/THE SKYLINERS) b. 1936-0516, PITTSBURGH, PA SMITH, ADOLPH (g/THE SPIDERS) b. 1926-0516, NEW ORLEANS, LA TERKEL, STUDS (author/dj) b. 1912-0516, NEW YORK CITY, NY TRESVANT, RALPH (of THE NEW EDITION) b. 1968-0516, BOSTON, MA ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 15 May 1996 09:55:42 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Top 10 People, I listen to most: 1. Sonny Boy Williamson II 2. Byther Smith 3. Big Maybelle 4. Luther Allison (Motown compilation) 5. Muddy Waters 6. Al Green 7. RL Burnside 8. Paul Geremia 9. Otis Spann 10. Mississippi Fred McDowell all right, here is 10 more.. 11. Memphis Minnie 12. Johnny Young 13. Otic Clay 14. Bo "Horny" Carter 15. Neville Brothers 16. Honeyboy Edwards 17. Robert Nighthawk 18. Buddy Guy and latest two additions... 19. Maxwell Street Jimmy Davis 20. Jimmy Lee Robinson Ranko ========================================================================= Date: Wed, 15 May 1996 07:59:38 -0800 Reply-To: James Carmin From: James Carmin Subject: Raful Neal I'm listening right now to Raful Neal's excellent Alligator release LOUISIANA LEGEND (previously on another label, King Snake). It's a great piece of music (especially the opening cut "Luberta," powerful stuff) and it made me realize I hadn't heard much about Kenny's father for awhile. Anyone got any news about what Raful's been doing these days? James C. jcarmin@teleport.com ========================================================================= Date: Wed, 15 May 1996 11:05:11 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0009 From: "DUTTWEILER.J" Subject: Mississippi Fred McDowell Date: Wednesday, 15 May 1996 11:04am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Mississippi Fred McDowell Sorry if this is a duplicate, but as far as I can tell this message didn't get posted to the list. ------------------------------------ Can anyone tell me (what a stupid question, of COURSE someone on this list can tell me ;-)) what Mississippi Fred McDowell release contains the conversation with him where he talks about blues and gospel songs and says the blues were called "reals" by the, I assume, Church folks? I use to have the LP with this on it but got rid of it during my own struggle between gospel and "reals" and now can't remember which it was. TIA JD ========================================================================= Date: Wed, 15 May 1996 10:08:40 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Top 20 In no particular order I've just about worn out my first copy of Joe Ely's new Letter to Laredo 1. Lightnin Hopkins 2. Pete Mayes 3. Texas Johnny Brown (but I am getting a little tired of just the 3 cuts on the Atlantic Guitar cd) 4. Big Bad Smitty 5. Bennie Smith 6. Joe Ely 7. Toni Price 8. Larry Davis 9. Otis Spann 10. Muddy Waters 11. James Cotton 12. Anson Funderburgh 13. Sarah Brown 14. Waylon Jennings 15. Bobby Bland 16. Long John Hunter 17. Joe Guitar Hughes 18. Pat Boyack & the Prowlers 19. W.C. Clark 20. John Lee Hooker -Jeff --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball #12 U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc09.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Wed, 15 May 1996 11:06:54 +0000 Reply-To: tkelley@ARL.MIL From: Troy Kelley Organization: ARL Subject: Re: Mistakes Comments: To: "P.W. Fenton" P.W. Fenton wrote: > > On 15 May 96 at 9:05, Troy Kelley wrote: > > > -Jack" (or whatever it's called - you know the song). There are SEVERAL > > -notable fluffs in that solo, but because they're repeated, we accept them as > > -what Fagan INTENDED to play. > > > > Donald Fagan might play a little guitar, But he did NOT do the solos on most, > > - if not all, of the Steely Dan albums. > > > > I doubt if that is what he INTENDED to play > > Yo Troy... Donald Fagan plays piano....and very well. He played > virtually every piano solo Steely Dan recorded, including the one > that was being discussed (Do It Again) before you offered up your > knowledge. > > The word "Solo" does not mean "guitar". > I stand corrected. Thanks. Troy ========================================================================= Date: Wed, 15 May 1996 11:17:27 -0400 Reply-To: bob unger From: bob unger Subject: Todays Top 20 My 20 knockouts for today in no particular order...... 1. T-Bone Walker 2. Django Rheinhardt 3. Albert King 4. Albert Collins 5. SRV 6. Etta James 7. Billie Holiday 8. Bessie Smith 9. Koko 10 Weather Report (with Jaco Pastorius) 11. Rod Piazza & the Mighty Flyers 12. Lyle Lovett 13. Lucky Peterson (circa 1994) 14 Muddy 15. SBWII 16. Little Walter 17. William Clarke 18. Duke Robillard (Dukes Blues) 19. Allman Bros. 20 Danny Gatton BU bob@sun.bnkst.edu ========================================================================= Date: Wed, 15 May 1996 10:13:17 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: Raful Neal In-Reply-To: Message of Wed, 15 May 1996 07:59:38 -0800 from On Wed, 15 May 1996 07:59:38 -0800 James Carmin said: >I'm listening right now to Raful Neal's excellent Alligator release >LOUISIANA LEGEND (previously on another label, King Snake). It's a great >piece of music (especially the opening cut "Luberta," powerful stuff) and >it made me realize I hadn't heard much about Kenny's father for awhile. I interviewed Kenny and he said here talk to my daddy some (what a nice son) and Raful said "Louisiana Legend" was his favorite recording of himself At that time Raful played the club he owns in Louisiana and talked about how much fun it is when the entire Neal family plays together at the club. It appears the Neal family is a very tight family, very refreshing these days LW ========================================================================= Date: Wed, 15 May 1996 10:20:14 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Lightnin' I left Lightnin' Hopkins off my list and there can be NO list without Lightin' Hopkins...... LW ========================================================================= Date: Wed, 15 May 1996 11:03:13 EST Reply-To: mstringer@HEARST.COM From: Mark Stringer Subject: TOWNSHEND I must tell everyone that Pete Townshend can play some very convincing blues. I'm testitifing as witness to his recent NYC Supper club appearence. His guitaring, piano playing and singing all brought the blues spirit to life. NIce sounds also came from his keyboard playing sideman.DMark ========================================================================= Date: Wed, 15 May 1996 15:22:48 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Top 25 (guitar) Blues Albums Comments: To: bit-listserv-blues-l@uunet.uu.net Thought you might be interested in what "Guitar World" thought were the top blues albums. Surprisingly I found myself agreeing most of the time - if this was meant as an ELECTRIC guitar only list: 25 ESSENTIAL BLUES ALBUMS By Bill Milkowski, Alan Paul and Harold Steinblatt 1. CLARENCE "GATEMOUTH" BROWN The Original Peacock Recordings (Rounder) These early-Fifties sessions capture the Texas guitarist in his swinging prime, particularly on such classics as "Okie Dokie Stomp" and "Depression Blues." Jazz meets blues when Gate's on the gig. 2. ALBERT COLLINS Ice Pickin' (Alligator) All of Albert's Alligator sessions are marked by his signature ice pick intensity, but this, his first, bursts with the energy of a great talent suppressed for too long. This 1978 album, released after a nine-year recording hiatus, marked the beginning of Collins' reemergence as a contemporary blues guitar powerhouse. 3. ALBERT COLLINS, ROBERT CRAY AND JOHNNY COPELAND Showdown (Alligator) This loose, free-wheeling jam session features some of Cray's most stinging moments on record. It's also a career highlight for longtime blues journeyman Copeland, while Collins is in his usual fine form. An excellent starting point for beginning students of the Texas sound. 4. GUITAR SLIM Sufferin' Mind (Specialty) Eddie "Guitar Slim" Jones, a major influence on great guitarists from Buddy Guy to Jimi Hendrix, was especially admired for his flamboyant stage antics and 100-foot guitar cord. But, as this collection amply demonstrates, his crazed, slashing guitar work-rooted in the Texas jump blues of T-Bone Walker and Gatemouth Brown-was rocking and utterly original. Includes the blues standard, "Things I Used To Do." 5. BUDDY GUY A Man And The Blues (Vanguard) Guy's debut as a solo artist, released in 1968, finds him in great over-the-top form, singing and wailing the blues on his Strat with equal fervor. A frenzied masterpiece. 6. EARL HOOKER Two Bugs & A Roach (Arhoolie) John Lee's cousin is one of the true unsung treasures of the blues; his Chicago peers widely regarded him as a slide giant as well as the most well-rounded guitarist on the blues scene. This collection is a fine introduction. 7. JOHN LEE HOOKER The Ultimate Collection (Rhino) An indispensible collection which, like Rhino's other "ultimate" compilations, lives up to its billing. Hooker's legendary sense of the boogie will set your club foot a-rockin'. 8. ELMORE JAMES King Of The Slide Guitar (Capricorn) These slide-powered tunes, culled from recordings made from 1959-63, demonstrate how far one man can go with an electrifying tone, a classic riff and a lot of hysteria. Includes not one but two inspired renditions of "Dust My Broom," as well as "The Sky Is Crying," "Shake Your Moneymaker" and "Done Somebody Wrong." 9. ALBERT KING The Ultimate Collection (Rhino) Few blues players have had as profound an impact on rock guitarists as King. This two-CD collection, a fine overview of King's lengthy career, offers up reams of macho, aggressive overbending. Next stop, particularly for Stevie Ray Vaughan devotees: Live Wire/Blues Power (Stax). 10. B.B. KING Live At The Regal (MCA) Documents a legendary 1964 performance by a legendary artist. The King puts his great voice, sweet tone and signature vibrato to work on such staples as "It's My Own Fault," "Every Day I Have The Blues" and "Sweet Little Angel." A treasure trove of sophisticated yet down-home blues. 11. B.B. KING The Best Of B.B. King, Vol. One (Flair/Virgin) Filled with the licks that inspired thousands of would-be Kings, this reissue features the best of B.B.'s early work-which makes it very great, indeed. Among the treasures are the original versions of "You Upset Me Baby," "Three O'Clock Blues" and "Five Long Years." 12. FREDDY KING Hide Away: The Best Of Freddy King (Rhino) This anthology includes such stellar vocal tracks as "Have You Ever Loved A Woman," but the highlights are the instrumentals-including the original "Hide Away"-which have enough tasty blues licks to satisfy even the most ravenous riffmongers. Especially recommended for those who wish to be Eric Clapton. 13. JOHN MAYALL & ERIC CLAPTON Bluesbreakers (Polygram) E.C. plays Chicago-style with impressively precocious authority on this album, which turned countless rock fans on to the blues. Clapton's most "pure" album, and the work which inspired all those comparisons to the deity. 14. JIMMY REED Speak The Lyrics To Me, Mama Reed (Vee Jay) Reed and his longtime partner Eddie Taylor helped write the book on Chicago blues guitar. This anthology includes the blue standards "Baby What You Want Me To Do," "Big Boss Man" and "Bright Lights, Big City," plus 22 other stellar examples of Reed's mellow boogie beats. 15. FENTON ROBINSON Somebody Loan Me A Dime (Alligator) Underrated throughout his career, Robinson colors his jazz-tinged playing with all manner of dynamic subtleties. This is his best album, and the title track is a bona fide masterpiece. 16. OTIS RUSH Cobra Recordings, 1956-1958 (Paula Records) The classic Otis Rush, with such tunes as "All Your Love," which gave lots of British guitarists something to practice, and "Double Trouble," which supplied you-know-who with the name of his band. The Cobra label's heavily reverbed treatment of Rush's vocal histrionics and passionate soloing make these tracks among the most terrifying in all bluesdom. 17. MAGIC SAM West Side Soul (Delmark) The late Magic Sam Maghett fully lived up to his nickname on this 1968 album, casting an exuberant spell with his soaring vocals and rapid, clean-toned guitar lines. Highlights include the steamy solo on "I Don't Want No Woman" and the celestial r&b sizzler, "That's All I Need." 18. SON SEALS Live And Burning (Alligator) In his prime, Son Seals played vicious machine-gun blues with a Guild Starfire and sang with a marvelous rage. This live performance, recorded in a Chicago club in the late Seventies, captures him at his ferocious best. 19. HOUND DOG TAYLOR AND THE HOUSEROCKERS Beware Of The Dog (Alligator) Taylor's buzz-saw guitar tone and slide work cut straight to the blues bone. For those who like their meat raw and red. 20. STEVIE RAY VAUGHAN AND DOUBLE TROUBLE In Step (Epic) Stevie Ray's final album with Double Trouble was also his finest, featuring consistently scalding guitar work throughout-the hot solos in "Crossfire" and "Tightrope" will particularly trigger your smoke detector. With In Step, Vaughan joined the pantheon of modern blues greats. 21. JOE LOUIS WALKER Blue Soul (Hightone) The finest album by contemporary blues' finest guitarist. Includes grooving r&b ("Ain't Nothin' Going On"), biting acoustic slide ("I'll Get To Heaven On My Own") and crazed, overdriven slow blues ("City Of Angels"). 22. T-BONE WALKER Low-down Blues (Charly) Walker's beautifully tempered, sophisticated playing impacted decisively on B.B. King, Buddy Guy and their bluesy ilk on the one hand, and on Chuck Berry and the world of rock guitarists on the other. Grab a martini. 23. MUDDY WATERS The Chess Box (Chess/MCA) This three-CD set is a box of blues gold. Waters' association with Chess lasted for 25 years, and this collection includes the cream of a very extensive crop of recordings. They're all here-Waters' slide guitar classics ("Honey Bee," "Rollin' And Tumbling"); his hits ("Hoochie Coochie Man," "I'm Ready"); and his later triumphs ("You Can't Lose What You Ain't Never Had"). Also included is the song from which a certain celebrated band took its name: "Rolling Stone." 24. JOHNNY "GUITAR" WATSON Three Hours Past Midnight (Flair/Virgin) Extremely intense and wild, Watson was a major influence on Jimi Hendrix, among others. Sort of a more modern, extroverted Gatemouth Brown. 25. HOWLIN' WOLF Moanin' In The Moonlight/Howlin' Wolf (Chess/MCA) This one CD of Wolf's first two Chess albums includes all the hits, offering an excellent sampling of Hubert Sumlin's landmark guitar work. Sumlin echoed Wolf's vocals with an exceedingly dirty tone. Grunge to the max by the guitarist who influenced a generation of rockers. BLUES ADDRESSES: Alligator, P.O.Box 60234, Chicago, IL 60660; Charly, 156-166 Ilderton Road, London SE 15 1NT England; Delmark, 4243 N. Lincoln Chicago, IL 60618; Paula, P.O. Box 1125, Shreveport, LA 71163; Rounder, P.O. Box 154 East Cambridge, MA 02138; Specialty, 10th & Parker, Berkeley, CA 94710; Vanguard, 1299 Ocean Avenue, Santa Monica, CA 9040; Vee-Jay, P.O. Box 1500, Radio City Station, New York, NY 10101-1500. Originally appeared in Guitar World May 1995 -- Vincent vt@usa.pipeline.com ========================================================================= Date: Wed, 15 May 1996 10:18:57 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: TOP 20 No particular order, ignoring quite a few contemporary performers whom I really like (eg Saffire, Dana Gillespie) but who haven't been around long enough to be considered indispensible... Muddy Waters Howlin Wolf BB King Etta James Louis Jordan Otis Redding Aretha Franklin T Bone Walker Johnny Otis Big Joe Turner Brownie McGhee & Sonny Terry Ruth Brown Ray Charles Jimmy & Jeannie Cheatham John Lee Hooker Jimmy Witherspoon Sonny Boy Williamson II Little Walter Dinah Washington Professor Longhair Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Wed, 15 May 1996 08:25:44 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Oasis bollocks Previously I said: >>But YOU lot buy all that Oasis bollocks so I guess it all evens out donnit? >> >>;-] >> >>DC >> >> >>____________________________________________________ >>Don Cicchetti Chris smith responded: >Whoa there, Don! Shouldn't that read 'some of you lot buy all that Oasis >bollocks'? Enough with the group libels, already! You are so right! I am guilty of slander of the UK record-buying public. I apologize. Yes, SOME of you buy that Oasis bollocks! So I guess it evens out a bit? DC (I've got a soft spot in my heart/head for the UK, my Grandfather was from Liverpool) ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Wed, 15 May 1996 08:37:15 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Who do you love? Top 20 Jim said: > Don included the following folks in his top 20: >>2 Samuel Barber > >At the risk of appearing ignorant, who is this? It's the only name on the >list I didn't recognize...(do I pass??? :-) ) Samuel Barber was a 20th century American composer. His material combines the beauty of melody and counterpoint with the color and pathos of 20th century classical. His best-known piece is "Adagio for Strings" and NO it is NOT the bloody theme-song from some movie.... All of his stuff is grand, Just go to the classical section and get something by Barber. >>19 Midnight Oil > >Well, another fan of the Oils! They are one of my favourite live acts - >pure energy, great songs, power and passion. They put out what is arguably >(I had to add that word based on recent discussion :-) the greatest rock >album of all time, Diesel and Dust - the dual acoustic guitar sound, the >horns, and the outstanding work of one of the greatest drummers in the >history of rock 'n' roll, Rob Hirst. That is a *wonderful* album, but hey everyone knows the greatest RnR album is "Who's next"! ;-] oh jeez, here they go again! DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Wed, 15 May 1996 11:38:27 -0400 Reply-To: John DiModica From: John DiModica Subject: Re: Otis Rush - Live and awesome ?? Comments: To: Erik Vanem In-Reply-To: <4ncces$1e1@ratatosk.uio.no> On Wed, 15 May 1996, Erik Vanem wrote: > I've heard about a new Otis Rush album called live and awesom or something, but > I've never seen it. > Does anyone know if it exists. Is it a reissue of an older album or is it a whole > new recording ?? > I would also be grateful for songlist etc.... Erik, others - The best Live Otis album I know of is "So Many Roads" recorded in Japan in the late 60s/early 70s - it rip- one of my favorites. Its on Delmark. Good listnin' John DiModica ========================================================================= Date: Wed, 15 May 1996 08:39:39 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Aesthetics 101 Kevan said: (edit edit) >Sometimes I post things designed to stir y'all up a bit, but just to see >what you're passionate about, not to really piss you off. So it's a fine >line, and a moderator might not always "get it." Do you think that if a moderator doesn't "get it", that a whole bunch of US might not "get it", and if a bunch of us don't "get it" then could it possibly be.... oh I don't know.... SPAM????? DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Wed, 15 May 1996 11:39:20 EST Reply-To: mstringer@HEARST.COM From: Mark Stringer Subject: Re[2]: Who do you love? Top 20 Comments: To: Skipjames@AOL.COM 1. Clarence "Gatemouth" Brown 2. Holin Wolf 3. Hubert Sumlin 4. Sunny Boy Williamson 5. Lucky Peterson 6. Jimi Hendrix 7. Leadbelly 8. Creadence Clearwater Revival 9. Freddie King 10. Alber King 11. John Paris 12. Pete Townshend 13. Lightnin Hopkins 14. Muddy Waters 15. Johnny Winter 16. Chuck Berry 17. Hank Williams 18. Robert Johnson 19. Jimmy Smith 20. Blind (someone) Jefferson No particular order _Mark ========================================================================= Date: Wed, 15 May 1996 09:43:09 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0812 From: "DUTTWEILER.J" Subject: Mississippi Fred McDowell Date: Wednesday, 15 May 1996 9:42am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Mississippi Fred McDowell Can anyone tell me (what a stupid question, of COURSE someone on this list can tell me ;-)) what Mississippi Fred McDowell release contains the conversation with him where he talks about blues and gospel songs and says the blues were called "reals" by the, I assume, Church folks? I use to have the LP with this on it but got rid of it during my own struggle between gospel and "reals" and now can't remember which it was. TIA JD ========================================================================= Date: Wed, 15 May 1996 11:47:28 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Friends on Blues-L Wow. I've been reading my e-mail long-distance while I'm away from home and some boys and girls just can't get along. Well, while everybody is snipping at one another (ooh, bad gramma) I've had some nice conversations with a couple of Blues-Lers who happen to reside close to where I am in a lab down on Cape Cod (Woods Hole, MA), and they are my e-mail pal Meri Farnworth in Hyannis and Alora Paul here at the Oceanographic Institute in Woods Hole. Alora might even stop by the pub where I've been pickin' and grinnin my dobro in the after-lab hours over pitchers of Newcastle. Let's have fun! We're a fairly interesting bunch o' folks, as a whole. Chat up some blues and be open minded, eh? Just checkin' in via the miracle of Telnet... Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 15 May 1996 16:54:31 +0100 Reply-To: Bluesman From: Bluesman Subject: BLUES IRC channel support needed I'm trying to register #blues as an official IRC channel on undernet.org, and we just need 10 or more e-mail addresses which just vote YES.If you want contribute building this blues channel, just fill in this form with your nick on IRC and e-mail address or any other blues fans more which would like to support the idea and e-mail it to me, Ok? Thanks for your support! Nickname | E-mail address --------------------------------------------------------------- 1: 2: 3: 4: 5: 6: 7: 8: 9: 10: Jose. Spain. ****************************************************************************** - Everyday I Have The Blues - ========================================================================= Date: Wed, 15 May 1996 12:47:30 -0400 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: Re: Top 20 In-Reply-To: This is a great thread. Gives a lot of insight into folk's various tastes in music. No particular order: 1. Ronnie Earl 2. Duke Robillard 3. Robben Ford 4. Doobies (early stuff) 5. J L Hooker 6. Muddy 7. Doors 8. Al DeMiola 9. Howlin' Wolf 10. Etta James 11. Luther Allison 12. Steve Miller 13. Alvin Lee 14. Jimmy Buffet 15. Buddy Guy 16. Son Seals 17. Chris Rea 18. Bob Marley 19. Richard Newell 20. Shaun Voth (local "prodigy" - trio called Wide Mouth Mason) Bound to change by tommorrow. RW (...well I ain't xenophobic, baby; just got the Big Word Blues) ========================================================================= Date: Wed, 15 May 1996 11:57:53 -0400 Reply-To: James Leftwich From: James Leftwich Subject: CD sales Out of curiosity, does anyone know how many blues CDs get sold? How big is the market? How many sales is regarded as a success? Is there somewhere on the 'Net where I could discover this information? ============================================================================= Jim Leftwich Jim's Blues N' Brews leftwich@cloud9.net http://www.cloud9.net/~leftwich "I'm on cloud9!" :) New CD Giveaway: Sherman Robertson ============================================================================= ========================================================================= Date: Wed, 15 May 1996 12:06:34 -0400 Reply-To: Peter Welch From: Peter Welch Subject: Re: Who do you love? Top 20 In-Reply-To: <134A9597@MHS> from "Steve Levine" at May 15, 96 10:29:21 am Whom do I love to hear these days? George Smith Little Walter Louis Jordan Albert King James Brown Cousin Joe Slim Gaillard William Clarke Cab Calloway Little Charlie & The Nightcats Pee Wee Crayton Larry Garner Melvin Taylor Rick Holmstrom Willie Johnson (w/Howlin' Wolf) The Five Royales Brownie McGhee & Sonny Terry Ann Peebles Mark Whitfield Guitar Shorty -Peter ========================================================================= Date: Wed, 15 May 1996 16:14:08 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: Who do you love? Top 20 Comments: To: bit-listserv-blues-l@uunet.uu.net On May 15, 1996 09:52:05 in article , 'Chris Smith ' wrote: >18 The Mini-Musical Female Duet (go on, ask me!) > >Chris Smith (chris@skerries.demon.co.uk) >2 + 2 = 5 for large values of 2 Alright I'll bite - who are these? -- Vincent vt@usa.pipeline.com ========================================================================= Date: Wed, 15 May 1996 12:13:02 -0400 Reply-To: James Leftwich From: James Leftwich Subject: Re: Carr Pulls Into Chicago . . . Comments: To: Niles Frantz In-Reply-To: <4nch7j$rjg@news-e2d.gnn.com> On Wed, 15 May 1996, Niles Frantz wrote: > > Chicago Tribune > 5/13/96 > reprinted without permission > > Back in soul's spotlight > > James Carr's comeback train makes a sweet stop in Chicago > by Bill Dahl, Tribune staff writer -snip- > > It's depressing to contemplate how far James Carr might have > gone had personal problems not interfered. But it's most > encouraging that he seems to have conquered them at last. Can someone outline what these problems were? I just can't get enough of Mr. Carr. Anyone recommend similar artists? ============================================================================= Jim Leftwich Jim's Blues N' Brews leftwich@cloud9.net http://www.cloud9.net/~leftwich "I'm on cloud9!" :) New CD Giveaway: Sherman Robertson ============================================================================= ========================================================================= Date: Wed, 15 May 1996 12:22:42 -0400 Reply-To: James Leftwich From: James Leftwich Subject: TOP 20 In no particular order Robert Johnson Charley Patton Otis Rush Professor Longhair Ry Cooder The Replacements/Paul Westerberg Early R.E.M. SRV John Lee Hooker John Mooney James Carr The Rolling Stones Jimi Hendrix Albert Collins Son House Robert Wilkins John Fahey Muddy Waters Howlin' Wolf Hubert Sumlin ============================================================================= Jim Leftwich Jim's Blues N' Brews leftwich@cloud9.net http://www.cloud9.net/~leftwich "I'm on cloud9!" :) New CD Giveaway: Sherman Robertson ============================================================================= ========================================================================= Date: Wed, 15 May 1996 11:34:31 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Top 20 In-Reply-To: How in the hell could I forget Son House!!? -Jeff On Wed, 15 May 1996, Jeff Seale wrote: > In no particular order > > I've just about worn out my first copy of Joe Ely's new Letter to Laredo > > 1. Lightnin Hopkins > 2. Pete Mayes > 3. Texas Johnny Brown (but I am getting a little tired of just the 3 cuts > on the Atlantic Guitar cd) > 4. Big Bad Smitty > 5. Bennie Smith > 6. Joe Ely > 7. Toni Price > 8. Larry Davis > 9. Otis Spann > 10. Muddy Waters > 11. James Cotton > 12. Anson Funderburgh > 13. Sarah Brown > 14. Waylon Jennings > 15. Bobby Bland > 16. Long John Hunter > 17. Joe Guitar Hughes > 18. Pat Boyack & the Prowlers > 19. W.C. Clark > 20. John Lee Hooker > > -Jeff > > --------------- > Jeff Seale, PhD |Texas Tech Red Raiders > Department of Biochemistry |Baseball #12 > U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 > email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 > http://bioc09.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs > --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball #4 (coaches poll) U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc09.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Wed, 15 May 1996 12:35:54 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Mississippi Fred McDowell Comments: To: JONATXXX@gomail.doas.state.ga.us In a message dated 96-05-15 11:55:29 EDT, JONATXXX@GOMAIL.DOAS.STATE.GA.US (DUTTWEILER.J) writes: >Can anyone tell me (what a stupid question, of COURSE someone on this list >can >tell me ;-)) what Mississippi Fred McDowell release contains the conversation >with him where he talks about blues and gospel songs and says the blues were >called "reals" by the, I assume, Church folks? I use to have the LP with >this >on it but got rid of it during my own struggle between gospel and "reals" and >now can't remember which it was. > > its "reels" as in "jigs and reels" I am almost certain. He is talking about blues music as dance music. I DO NOT PLAY NO ROCK AND ROLL on Capital is it, I believe. Tom Freeland ========================================================================= Date: Wed, 15 May 1996 12:42:12 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0073 From: "DUTTWEILER.J" Subject: Re: Top 20 Date: Wednesday, 15 May 1996 12:41pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: Top 20 In-Reply-To: The letter of Wednesday, 15 May 1996 11:56am ET I really didn't want to do this, 20 is so limiting but, with the usual disclaimer of no particular order, here goes: Otis Rush Luther allison Muddy Waters Magic Sam Magic Slim Son House Duane Allman era Bros (as LW put it) CSN(&Y) - first two albums Otis Redding Eric Clapton (yes, yes, I ADMIT it, though I can do without much of what he did after Derek & the Dominoes) BB King Albert King Jimmy Dawkins Albert Collins Byther Smith Buddy Guy (while I confess to liking his recent output, the early stuff KNOCKS me out ) Smokey Wilson Blind Willie Johnson Son Seals Robert Johnson ========================================================================= Date: Wed, 15 May 1996 12:44:13 EDT Reply-To: Toby Levy From: Toby Levy Subject: Oh no! It's SITTING & THINKING: Jimmy Rogers' Feeling Good Without apologies, here's a glowing review for an album I love: JIMMY ROGERS - FEELING GOOD BLIND PIG #5018 BLIND PIG RECORDS PO BOX 2344 SAN FRANCISCO CA 94126 BOOKING - THE BLUES MGMT GROUP - TOM RADAI TEL: 414-321-0188 FAX: 414-321-1098 Jimmy Rogers was about 70 years old when this album was recorded and released back in 1984 by a small California company. You'd never suspect Jimmy is a senior citizen by listening to this cd. Jimmy Rogers lives and breathes Chicago Blues, and with an extremely talented California back up band, every song on this cd is a joy. Jimmy Rogers, whose legal name is James Lane, started playing professionally while still a teenager. He moved to Chicago in 1941 and joined the Muddy Waters band in 1950. Shortly after breaking with Muddy to form his own band he recorded the only song to make the top seller charts, the 1957 classic , "Walking by Myself." Jimmy sits out three songs on the album to let the back up band come to the fore. What a band it is! With Rod Piazza on harp, Miss Honey on piano, and Junior Watson on guitar, the result is blues ecstasy. ROCK THIS HOUSE / YOU'RE SO SWEET / HARP THROB / ANGEL CHILD / YOU DON'T KNOW / SLICK CHICK / SHARP HARP / BLUE AND LONESOME / CHICAGO BOUND / TRICKY WOMAN / ST LOUIS / ROCK WITH YOU BABY NY CD-Takes ROCK THIS HOUSE: Many many bands have recorded this number, but Jimmy shows his pride of authorship with incredible ease. You can picture Jimmy up on countless tiny Chicago nightclub stages, as he shouts encouragement to his band while the audience is worked into a frenzy. "We're gonna start at Midnight and rock em till the break of dawn. You don't have to be afraid, you're daddy won't do you no harm," Jimmy sings as Junior Watson unleashes his first of many fine solos. YOU'RE SO SWEET: Rod Piazza joins in here and the intensity immediately rises a notch. Jimmy glides through this shuffle blues on a cushion of ecstasy. He sounds great and the band excels. At one point Jimmy exclaims that the band is "just like Maxwell House tea: good to the last drop." Miss Honey's piano is allowed a little up front time here, with much more to come later. HARP THROB: Jimmy sits this one out as Rod hits all the right notes on an uptempo instrumental that really rocks. To these ears, Rod is the best harp player performing today, and this blast from twelve years ago shows he was well on his way back then. Honey and Junior Watson know just what to do to push Rod one step forward and they do it over and over until the song is just a frenzy of blues excitement. ANGEL CHILD: Jimmy returns with another of his classics, a slow blues that features the piano stylings of Miss Honey. Honey Piazza was a student of the recordings of Otis Spann, and its as if he comes back to life on this cut. Jimmy is wondering what happened to his Angel Child. "She left California about nine long days ago. What's taking her so long, people I just don't know." Junior Watson's solo here is very effective. YOU DON'T KNOW: Here's a nifty boogie that Jimmy sings with lusty authority. All his woman wats to do is run around. She doesn't know HOW to treat Jimmy right. But the band knows how, and they provide a super accompaniment. Rod and Honey sound like they've been playing this song as long as Jimmy, but he was probably playing it before they were born! SLICK CHICK: Hey look out, there's pretty girls everywhere, and Jimmy's picked out one slick chick for himself. Her name's Rose and she wears real fine clothes. The band's boogying drives Jimmy to cry out "If can't dig these blues, you got a hole in your soul." SHARP HARP: Rod's next solo cut is a Champion Jack Dupree classic instrumental. Jack was a piano player, so you know Miss Honey is going to be given an opportunity to shine, and does she ever! The interplay between Rod and Honey is blues at its best, a feast for hungry ears. BLUE AND LONESOME: Here's a Jimmy Rogers song that Rod Piazza later added to his own repertoire, and it's understandable: this is one beautiful slow blues. "I'm blue and lonesome and I don't know what to do. All of my trouble is on account of you," Jimmy sings as Junior Watson produces from his guitar music that sounds like it comes straight from a broken heart. CHICAGO BOUND: This is one of Jimmy's greatest songs and it's always exciting no matter who performs it, and it's doubly exciting to hear him perform it with such a tight backup band. Honey plays like the train that drives Jimmy from Georgia to Memphis to St Louis to Chicago. When Jimmy gets to Chicago Rod really wails on the harp, and Jimmy says he's going to stay in Chicago cause it's the greatest place around. TRICKY WOMAN: We slow down to a smooth shuffle as Jimmy complains that after one night with a woman, she is trying to trick him into a commitment. Rod blows his brains out as Jimmy shouts encouragement. ST LOUIS: Jimmy's last appearance on the album is a loving slow blues, in which he decides to go back to St Louis to visit an old friend, maybe even settle down there. The band plays in full nostalgia mode, as Jimmy remembers how wonderful the times were when he used to live there. ROCK WITH YOU BABY: Rod Piazza closes the album with a song he wrote that showcases his massive talents. As he pleads with his woman to play ball with him, Honey plays the sweetest piano this side of heaven. Junior Watson gives one of his jazziest solos and Rod turns his harp into a saxophone and shows just what can be done with his tiny instrument. A delightful ending to a delightful album. Reviewed by Toby Levy Copyright NY CD Blues - 1996 NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ ========================================================================= Date: Wed, 15 May 1996 17:00:05 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Blues Jam Top 10 list In-Reply-To: <608F7998@MHS> On Wed, 15 May 1996, Steve Levine wrote: > *The Top Ten Things Not To Do At A Blues Jam > * > *10.Forgetting your harps, then trying to borrow someone elses. > > 9. Play along with the band while sitting in the audience. > 8. Lose interest in the tune that's being played and go off on your own with all the knobs set to 10 7. See if you can play faster than anybody else 6. Do show tunes while playing a ukelele 5. Laugh raucously at mistakes (don't forget to point) 4. Keep time by breaking wind phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [15/5/96 11:00 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 15 May 1996 10:03:22 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Real Instruments - definition I would define a real instrument as one you can play -through-, one that allows the musician to express their ideas and feelings as easily as possible. Years ago, when synths, sequencers, and drum machines first came out, they really locked you into thinking, playing, and even composing through the machine's set of values. A "drum pattern" was locked in by the chip that produced it, and the timing could never breath or flow naturally. Sequencers had a "speed" control and could go faster or slower but could not vary the time in musically interesting ways. Samplers were controlled by lock-step timing systems with no creative variation as well. Remember the "sequenced bass" parts back in the eighties and how bloody boring they got? These were not real instruments to me. We all knew that an acoustic guitar was real because you could pick it up, and you HAD to express yourself or it would just sit there! Of course you HAD to press the start button on a drum machine as well, but once you did that, it played itself, you could break for tea, go to the loo, and the music went on without you. This is not a recipe for making exciting music that involves the listener. Yet the futurist bozos (everything is obsolete except what I am selling today) were shoving this stuff down our throats claiming we could "hookup three 300.00 synths, and have an "orchestra"... har har.. you betcha... So there was a big backlash against this stuff and a return to real instruments. Despite all I've said, some people managed to make good music that was interesting to listen to, on this equipment. But they did it in spite of the equipment's limitations, not because of them. Once sequencers became a computer program, things got lots better. You could now "play things into" the sequencer with any timing you wished, using a click, or completely free-running. I use a Mac laptop with Master Tracks Pro, a Roland JV880, and an old DX-7 as a controller keyboard. It works just like a multi-track recorder. Hit record, and play a bass line (with or without click) go back, put the bass track in playback and play drums on the keys. Get as wild as you want, it records what you play. (the first thing I did was Baba O'Reilly, and I got the Moonie drum parts pretty dang close) I can play -through- this system. What comes out sounds like Don C., not like the machine. So it is a real instrument to me. Still I can't wait to get the tracks done, and haul the guitar out and wail for a while! So there are degrees of "reality" in instruments. They are more real IMO as they are more responsive and transparent. That is, they let the player shine through. oh, and BTW, I think an electric guitar into a rack full of compressors, delays, heavy chorusing, and harmonizers can get unreal dang fast! How much of YOU do you hear through all that processing? not much IMO. I started doing most of my practicing on electric with the guitar unplugged, just the fingers, pick, wood, and strings. It made me a much better player because it is 100% REAL. I either make the music interesting, the phrasing clean and expressive, the parts well-thought out, or nothing happens at all. When I play thorugh an amp now, I generally don't use any FX, and I play better than at any other time in my life. "Real" may be hard to define, but it is important for each of us to define it for ourselves. after all, who's in charge here? Us, or the gear? DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Wed, 15 May 1996 13:00:17 -0400 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Re: 50 yr old black dude from ghetto Comments: To: bit-listserv-blues-l@uunet.uu.net Are you suppose to be black!!?? Your post is not only wierd it is offensive! Lea Gilmore Baltimore, MD ========================================================================= Date: Wed, 15 May 1996 13:18:13 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0096 From: "DUTTWEILER.J" Subject: Re: Mississippi Fred McDowell Date: Wednesday, 15 May 1996 1:17pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: Mississippi Fred McDowell In-Reply-To: The letter of Wednesday, 15 May 1996 12:52pm ET Thanks for those of you who responded. I have been informed of two things: a) its "reel" (as in a dance number) not "real"; and b) it is on "I Don't Play No Rock and Roll" Thanks again, all JD ========================================================================= Date: Wed, 15 May 1996 12:21:28 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Django Question In-Reply-To: Message of Wed, 15 May 1996 11:17:27 -0400 from > >2. Django Rheinhardt I was reading MY favorite magazine, Vintage Guitar, and there was an interview with god...oops, I mean Chet Atkins and he said he had Django's autograph and it was "D. Rheinhardt"..Chet said he had heard that that was THE only thing Django could write....Has anyone ever heard that before...Is it ture LW Oh Yeah: add T-Bone Walker, Charles Brown, Koko Taylor, Rory Block, Bo Carter, Memphis Minnie, ok lets make it your favorite thousand :-) ========================================================================= Date: Wed, 15 May 1996 17:27:32 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: TOP 20 No particular order (except the first) and probably some glaring omissions: 1) Albert King 2) Albert King (He's worth 2 okay) 3) Luther Allison 4) Jimmy Dawkins 5) Mississippi John Hurt 6) Byther Smith 7) Johnny Littlejohn 8) Smokin' Joe Kubek et al 9) Ronnie Earl 10)Larry Garner 11)Luther Johnson 12)Robert Cray 13)Big Maybelle 14)Big Dave & the Ultrasonics 15)Bobby Radcliff 16)Albert Collins 17)SBW II 18)SRV I :) 19)Tony D 20)Little Charlie and the Nightcats phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [15/5/96 12:57 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 15 May 1996 10:36:53 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Mississippi Fred McDowell Comments: To: "DUTTWEILER.J" JD, "I Do Not Play No Rock'n'Roll" (Capitol) has the talk in question. It is at the beginning of "Everybody's Down on Me." Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Wed, 15 May 1996 10:30:06 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Blues Jam Top 10 list >On Wed, 15 May 1996, Steve Levine wrote: > >> *The Top Ten Things Not To Do At A Blues Jam >> * >> *10.Forgetting your harps, then trying to borrow someone elses. >> >> 9. Play along with the band while sitting in the audience. Pat added: > 8. Lose interest in the tune that's being played and > go off on your own with all the knobs set to 10 > > 7. See if you can play faster than anybody else > > 6. Do show tunes while playing a ukelele > > 5. Laugh raucously at mistakes (don't forget to point) > > 4. Keep time by breaking wind 3. INSIST on doing the Allman Bros. chromatic changes on "Stormy Monday" 2. Find out you brought the Eb guitar AFTER you start your solo. 1. Getting drunk/stoned and refusing to leave the stage. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Wed, 15 May 1996 13:31:19 -0400 Reply-To: Michael Dube From: Michael Dube Subject: "tubes" and apologies Hello there, I am new to this list and am using a different email program than usual. So I apologize to the person who got my last two postings directly to his or her address. I'll try this again.... I am unfamiliar with equipment outside of orchestral instruments. Could anyone please explain to me what "tubes" and "harps" are? Thanks! Susan Pontow Indiana University of Pennsylvania fbvb@iup.edu Music Performance (clarinet and sax) Music Education Mathematics Education ========================================================================= Date: Wed, 15 May 1996 14:49:19 -0300 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: Who do you love? Top 20 Subject to change, here's my 20: Son House Jack Owens Blind Willie McTell Leadbelly J.D. Short Woody Guthrie Robert Pete Williams John Hurt Skip James Tommy Johnson Ishmon Bracey Blind Willie Johnson Johnny Shines Howlin' Wolf Charley Patton Mitchell's Christian Singers Fred McDowell Jaime Guardia (my other love is Andean folk music) Johnny Cash (when he's on, he's danged near perfect) Bessie Smith ========================================================================= Date: Wed, 15 May 1996 13:47:08 +0000 Reply-To: jknight@MICROMASS.COM From: jknight@MICROMASS.COM Organization: InterLan Communications Subject: Re: TOP 20 Comments: To: bit-listserv-blues-l@uunet.uu.net Current heavy rotation: 1. Al Green (Is Love) 2. Joe Beard (latest, Audioquest) 3. John Cale (Helen of Troy) 4. James Carr (Razor + Tie) 5. Coyle and Sharpe (On the Loose) 6. Little Whitt and Big Bo (latest, Vent) 7. Scott Ainsle (latest) 8. Brian Eno (Warm Jets) 9. Neil Young (Tonight's the Night) 10. Percy Mayfield (Specialty v2) 11. Lurrie Bell (latest, Delmark) 12. Charles Bukowski (Hostage) 13. Professor Longhair (latest, Rounder) 14. Snooks Eaglin (Capitol Blues Coll.) 15. W.C. Clark (latest, Black Top) 16. John Coltrane (Soultrane) 17. Bobby Byrd (Got Soul) 18. Grateful Dead (live '77) 19. Gram Parsons (solo) 20. Thelonious Monk (new Complete London Session) Good thread. John K ========================================================================= Date: Wed, 15 May 1996 14:02:30 -0400 Reply-To: smirkyface From: smirkyface Subject: Irene A couple of years back I heard a slow blues song titled "Irene". I can't remember the name of the artist or the name of the cd. I think he was based out of Texas. Any info would be helpful. BRIAN MCLEAN PHOTOGRAPHY & SMIRKYFACE PRODUCTIONS "life's too short to live the blues" http://www.netaxs.com/~blmclean ========================================================================= Date: Wed, 15 May 1996 12:58:39 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Last CD in YOUR player What's the lasy CD,LP or tape you listened to... Mine would have to be Matt Murphy "Way Down South" in the car and at home it was Muddy Waters Chess box disc #2 LW ========================================================================= Date: Wed, 15 May 1996 14:07:28 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Carr Pulls Into Chicago . . . Comments: To: leftwich@cloud9.net In a message dated 96-05-15 13:03:42 EDT, leftwich@CLOUD9.NET (James Leftwich) writes: >Can someone outline what these problems were? I just can't get enough of >Mr. Carr. Anyone recommend similar artists? There was a wonderful piece on Carr that Robert Gordon wrote in the LA Weekly some years ago. I do not have a copy or the date (I think Dick Waterman might). It tells the whole story, and tells it well. Similar artists? Well, he was supposed to be the "next Otis Redding." Tom Freeland ========================================================================= Date: Wed, 15 May 1996 14:13:51 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Raful Neal Comments: To: jcarmin@teleport.com On May 15, James Carmin posted about Raful Neal and asked: >>>Anyone got any news about what Raful's been doing >>>these days? He and Tab Benoit co-headlined one of the bigger stages at New Orleans Jazz Fest two weekends ago. They had a huge crowd in perfect weather and went over very well. They may be doing other festivals in this format. Dick Waterman ========================================================================= Date: Wed, 15 May 1996 11:02:23 -0700 Reply-To: Guy Tapper From: Guy Tapper Subject: top 20 Anuna Beatles Big Bill Broonzy Albert Collins Ronnie Earl Duke Ellington Benny Goodman John Lee Hooker Lightnin' Hopkins Elmore James Skip James Robert Johnson Van Morrison Jelly Roll Morton Mozart Louis Spohr T Bone Walker Muddy Waters Hank Williams Dwight Yoakam Guy Tapper Marine Life Research Group Scripps Institution of Oceanography 9500 Gilman Dr. La Jolla CA 92093-0227 (619)534-2358 (619)534-6500 fax ========================================================================= Date: Wed, 15 May 1996 14:14:00 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Mississippi Fred McDowell Comments: To: JONATXXX@gomail.doas.state.ga.us On May 15, JDUTTWEILER said : >>>Can anyone tell me (what a stupid question, of >>>COURSE someone on this list can tell me ;-)) what >>>Mississippi Fred McDowell release contains the >>>conversation with him where he talks about blues >>>and gospel songs and says the blues were called >>>"reals" by the, I assume, Church folks? I use to have >>>the LP with this on it but got rid of it during my own >>>struggle between gospel and "reals" and now can't >>>remember which it was. I can't recall which album it was. Probably "I Do Not Play No Rock & Roll" or perhaps one of the live sessions from London. The word is "reel," and the dictionary defines it as: >>>2.a. A fast dance of Scottish origin. b. The Virginia >>>reel. c. The music for one of these dances. -reel2er n. Dick Waterman ========================================================================= Date: Wed, 15 May 1996 14:14:14 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0146 From: "DUTTWEILER.J" Subject: Last CD in YOUR player Date: Wednesday, 15 May 1996 2:13pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Last CD in YOUR player Coming into work today it was the Reunion Blues Band, Back Home to Clarksdale, last night it was Lightnin' Hopkins, the Complete Alladin Recordings, disc 2. JD > What's the lasy CD,LP or tape you listened to... > > Mine would have to be Matt Murphy "Way Down South" in the car and at home it > was Muddy Waters Chess box disc #2 > > LW ========================================================================= Date: Wed, 15 May 1996 11:32:07 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Top 20 Ok. Here is my list. No real order (except the first three) and a few surprises (I hope). 1. Son House 2. Magic Sam 3. Hound Dog Taylor 4. Muddy Waters 5. T-Bone Walker 6. Jimi Hendrix 7. AC/DC 8. Robben Ford 9. Albert King 10. BB King 11. Robert Ward 12. John Lee Hooker 13. Albert Collins 14. The Screaming Blue Messiahs 15. Miles Davis 16. Husker Du 17. Sonny Sharrock 18. Mississippi Fred McDowell 19. Little Walter 20. Shonen Knife Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Wed, 15 May 1996 14:23:00 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Now Playing - No particular order Muddy Waters B.B. King Buddy Guy Howlin' Wolf Albert Collins Albert King Peter Green Roosevelt Sykes Otis Spann Gladys Knight Professor Longhair Lightnin' Hopkins Florida Mass Choir Memphis Slim Sonny Boy Williamson Mem Shannon Louis Armstrong Benny Goodman Billie Holiday Judy Garland Aaron Copeland Toy Matinee Crash Test Dummies Robert Nighthawk Finbar Furey Bonnie Raitt Keb Mo Tom Waits Count Basie King Oliver Henry Butler All Nevilles Igor Stravinsky Glenn Miller Bulgarian Women's Radio Choir Bedrich Smetana Randy Newman Mahalia Jackson The Meters P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Wed, 15 May 1996 13:21:01 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: Carey Bell (long) Hey y'all...Here's a little conversation with C Bell that will soon be published in the blues society newsletter...it's long, so delete now if yer not ready: Follow that Mule By Cathi Norton There's no treat quite like talking with a blues old-timer. I confess all thoughts of finding out exactly what gear or technique is used flees in the face of the opportunity to share time -- which is always at a premium after they have found some measure of hard-won success. And so it was when I spoke with Carey Bell during the Memphis-in-May Beale St. Festival. Freshly returned from Hong Kong, Bell delivered a driving show with his backup band, and met with me afterwards -- clearly excited by the crowd's obvious appreciation of his music. Carey Bell, born Carey Bell Harrington, on November 14, 1936 in Macon, MS., worked on a farm and taught himself harp at age eight before running away from home at 14 to play country and western music in Meridian, MS. After relocating to Chicago with his "stepfather" Lovey Lee in the mid-'50s, he has since worked steadily as a mainstay of harmonica blues. Building a solid reputation as an innovative player with a style all his own, Carey has performed with just about everybody who crossed his path (Little and Big Walter, Johnny Young, Eddie Taylor, Earl Hooker, John Lee Hooker, Hound Dog Taylor, Jimmy Dawkins, Muddy Waters, Willie Dixon, etc. etc.) A generous, unassuming man, seemingly in great health and spirits, Carey graciously showed me to a quiet, cool room (gosh it was hot in Memphis that day!) for an interview. Cathi: It's good to see you. Carey: You saw me before!?!?? Cathi: Yeah! Back in Chicago. Long time ago. Carey: No kiddin'!? I didn't see YOU! Cathi: Well, you did, but you don't remember me, see, cause I was good lookin' then (laughs). Carey: Oh (looks at me)...you better lookin' now! Cathi: (Laughs)...well thanks sweetheart. Carey: 'Cause you older...older you get the better lookin' you get... Cathi: I think that's true (laughter). Carey: Yeah,...I bet you know more too! Cathi: I bet you're right. Carey: (Cackles) Cathi: I was reading that when you were coming up you played with Lovey Lee. Did you go up to Chicago with him? Lovey Lee was your stepfather? Carey: Yeah, when I was a kid....we came to Chicago....Yeah...actually we went as a...he wasn't really my stepfather -- he took me in when I run away from home. So we just started a-callin' "Dad" and "Son" you know. Cathi: I reading that you've played bass, drums, and guitar as well as harp. Carey: Used to. Cathi: Used to? Did you do that when you were comin' up? But you started harp when you were real young though? Carey: I was eight years old. That was my first instrument. Cathi: And you played with a gospel group? Carey; No...I played Western and Country. But I played with a gospel group, playing guitar for about six months in Chicago. I couldn't get the guitar to work right like I wanted and I quit. And I picked up the bass...and that worked it right -- pretty good. Cathi: I see. Well, then you worked at the Club Zanzibar with Little Walter? Carey: OH! Yeah, that's the first time I met Little Walter. Cathi: Tell me about him a little bit. Carey: Oh I say I knowed that...I knowed we'd talk about him (laughter)...It was okay...it was neat; we had a lot of fun together. Cathi: Well, what'd you do when you played with him? Play bass? Carey: No..played harp. Cathi: You played harp and so did he? Carey: No he sung. Cathi: (Laughs) Oh! You played harp and he sang?!? Carey: He did the song and I played 'em. Well, he played harp, but ah...see when he would let me sit in, I was under his thumb...he'd say "I'm 'onna sing"...and he called me "Junior." He's say "Well, you play the harp, Junior, you know more songs." I used to play identical like Walter. Cathi: I heard that Luther Allison played harp too. And I wondered how everybody worked that -- when there was a bunch of harps in the same group. You took turns? Carey: That's easy.... No you don't take turns. It's like when Luther was the guitar player, well, Luther wouldn't play his harp--he had to play his guitar while Walter'd do his thing, you know. He wasn't hired as a harp player; he was hired as a guitar player for Walter. Well, Walter hired him...you know...that's what he hired him...to play guitar, not harp (laughs). Cathi: (Laughter) You came up with just about everybody, like Eddie Taylor -- you played with him in '66. CareY; Yeah...we had a band together. Cathi: In Chicago in those days the economics were pretty hard and people were scramblin'... Carey: I found a day job, and you know I quit playing for awhile too. That was in the '60s...'61 to '65. Naw...I came to Chicago in 1956 and I was too young to go into the bars; I wasn't but 17 then. And it was hard for me to go in places to play 'cause I wasn't old enough. And that's when I got hired by Little Walter. I went to Zanzibar and they wouldn't let me in. Honeyboy Edwards took me there, and Little Walter come out and he got me in the bar. And the owner/manager told Little Walter -- said "You got to sit him back there in the back with you." But anyway, back at that time I had a job -- I found a job washing cars then just two days a week -- Saturdays and Sundays. And during that time I had a kitchenette -- it wasn't but $14 a week. And I could make $40-50 or more at the car wash with tips...so I was cool with that. Cathi: (Laughs) You were makin' out! Makin' any money on the weekends? Carey: Yeah...1969 the first good job I had was in San Francisco with Paul Butterfield and Mike Bloomfield and we played at the Fillmore -- that was GREAT! Came back and stayed 'bout a week and then went to Paris with Eddie Taylor, John Lee Hooker -- as a bass player -- and Lowell Fulson....and that was great. And so I came back and still found another day job. I actually worked at a day job up until 'round '75 I believe it was. You know what? I knowed there was something in this world better for me than a day job. This IS a job, but I don't punch no clock. I set my time -- sometime -- sometime I don't set my time: they set my time, when they hirin'. But you know, like now it's hot; it's hot; but I love it -- I love what I'm doin'. I didn't like plyin' that mule. See, I'm from Mississippi. I lived on a farm; I had two mules and I got tired of walkin' 'round with them mules. Them mules were doin' something awful! Cathi: (Laughs) Carey: ...and I had to...ack (lifts his feet as if to shake something off) -- if you know what I mean! (Laughs) And I said "Now I know I gotta do something but this here!" Peoples was drivin' down the highways, 100 in the shade...peoples was blowin' their horn and wavin' at us. And I prayed to the good Lord would it rain...Oh God... It would cloud up (heaves a hearty sigh)...and God..."please let it rain!" Send the rain down (laughter). Cathi: (Laughter) Well, at least the car wash was cleaner huh? Carey: Yeah (laughs). Cathi: So you went over to Europe with John Lee and Hound Dog Taylor in '69? Carey: Yeah...first time I went. Oh yeah..Hound Dog. Me and Hound Dog -- we started -- we used to do everything together...besides getting drunk. We used to get drunk every Sunday... Cathi: (Laughs) After work was done? Carey: No...before work (laughter)... Cathi: And then Willie Dixon's Chicago Blues All-Stars -- I loved Willie Dixon! Carey: Yeah, I loved him so much I married his daughter. (Laughs) Cathi: (Laughter) Then I bet you REALLY loved him! Carey: Wellllllll...yes, 'til I lost my mind! Cathi: You lost your mind?!? Carey: Yes,...we'd been married two years -- got married on Easter Sunday...this Easter Sunday was two years, and I ain't found my mind yet! Cathi: (Laughter) Does she like that -- a crazy man? Carey: Well, she like anything...you know that Muddy Water's recording "I got a rich man's woman livin' on a poor man's pay?" That where she at....that where she at. (Laughs) Cathi: So were you inspired to play music just because you were looking for something that was fun to do? Carey: No..no-no-no...when I first got my harmonica I wasn't lookin' to make a career out of it; I just wanted to play it. And 'round '49 or '50 or something like that there was a guy at school who played, and I wanted to play one. I used to take my lunch money and give it to him -- give him my lunch money to teach me how to play. And I would go to the grocery store -- my peoples had an account -- and I would take food, like baloney and stuff like lunchmeat and put it on their bill! Cathi: (Laughs) Carey: Yeah, but then my peoples caught up with it -- that I was doing this -- gettin' stuff and puttin' it on their bill. And that was all right. Yeah, I didn't care. But I got a whuppin' though! I got a whuppin'! Cathi: (laughter) Well.....I guess that was worth it huh? Carey; And then, you know, it was funny. At lunch time he played harp...you know, playing around with the kids, and there were some trees where they had cut the trees down -- wasn't nothing left but stumps. Then he would sit on that stump and be blowin' his harps. And have all the little girls 'round him. Cathi: Oooooh! Carey: And I wanted THAT too! Cathi: (Laughter) Carey: I got to learn how to play this harp where I can teach them girls!!! Cathi: (Laughter) There's lots of folks who learned for girls huh? Carey: Yeah! I know what you mean. Well...you don't know 'bout that! You don't know 'bout the boys....well, you DO know 'bout the boys, but you know.... Cathi: (Laughter) Carey: ...you be amazin' at how little boys lookin' at you when you was a kid going to school. Cathi: Well, I've heard stories of this! Carey: (Laughter) YEAH! Anyway...I would be in class and hold my hand up like this (raises hand)..."Could I be excused to go to the bathroom?" I wouldn't go to the bathroom -- I would go to the bathroom and stand behind it...it was one of those outer bathrooms -- didn't have 'em like now. And I would stand behind it and be playin' my harp. And the kids would come out and "Ah...Carey back out there -- behind the toilet...blowin' harp" -- yeah! (Laughs) Cathi: Did you get whipped? Carey: That was when they whupped kids. And the principal said "This is awful; I gotta spank you!" See then it wasn't no spankin' -- it was a whuppin'! Cathi: So did you play juke joints in the south....? Carey: Oh yeah, that's all they had! They didn't have nothin' else. It was just called one of them Saturday night fish fries you know? Cathi: Rent parties? Carey: Oh yeah, you'd go out to somebody's house and play. We'd play at schools and sometimes actually a club, but that was it. Cathi: I was going to ask you what it was like to play in a hillbilly band. You didn't have any trouble playing with them? Carey: Oh that was great! I made more money than they did. I was the only black dude down there going in the front door. And I was playing with them and peoples would throw money on the stage. And the band leader'd say: "That's your money buddy; pick it up." And at the end of the night I'd have more money than they did! Cathi: (Laughs). What about Maxwell St. (in Chicago)? You played down there I know. Down there with the bargains (laughs). Carey: It's what you call it! If you wanted to find somebody, you go over to Maxwell on Sundays. Just hang around -- somebody will show up! If you haven't seen 'em in years and years -- but if they lived in Chicago, just hang out on Sunday, you'll see 'em. Cathi: Last time I was down there some guy came up to me and said "Would you like a watch? I can't take 'em back!" He had a pile of watches all up and down his arms! Carey: Oh...let me tell you what I did.... I bought some rings and thought I had something. He said "Look man...give me $15 for these here -- go put 'em somewhere -- go hide 'em." I gits a cab and go all the way home -- think I got something. And I think my wife wore 'em one day or two days, washed dishes with 'em and the set fell out! (Laughs) I think the hot water with the dishes melted the glue! Cathi: Well, you know you played down there at the Peanut Barrel in Bloomington (Indiana) -- do you remember that? You might not, but this band called The Cooler Kings played in front of you and they had a harp player ... CareY; What was the harp player's name you know? Cathi: Stuart Norton...He's my husband. Carey: You kiddin'!! Where he at?!? Cathi: He wanted me to be sure and tell you hello. He wanted me to tell you that he was jammin' with you after the gig -- and he said "Well, me and Carey got into this head-cuttin' contest...." Carey: HA!!!! (Laughs) Cathi: "...and Carey kicked my ass." He said "I was blowin' pretty good but then Carey did this thing and I just said 'forget it -- you win'!" (Laughter) Carey: (Laughter) I want to send him something (fishes promo picture out of case & signs it). Cathi: (sees Carey's autograph and laughs)....Now that's good -- now I'm going to have to get him to frame that "You've got a good wife." That'll be up in the livingroom! Thank you. Carey: (Laughs) You welcome....now tell your husband that I'm ready for another jam session with him! Cathi: I will! What have you been doing lately, Carey -- recording? Carey; I'm due to go in the studio any day -- as soon as I get the numbers to go. Soon as I get time; I'm so booked up -- soon as I get a little chance. I'm always playing.... Cathi: So playing, for you has been a matter of keeping working? -- playing whatever side thing you needed to, to.... Carey; I played with everybody where I could make some money! It didn't matter...if it'd been a MULE, I'd a played behind HIM (Laughs) Cathi N. ========================================================================= Date: Wed, 15 May 1996 14:31:47 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Carr Pulls Into Chicago . . . Comments: To: leftwich@cloud9.net On May 15, James Leftwich quoted Bill Dahl's Chicago Tribune review and added to it: >>>> It's depressing to contemplate how far James Carr >>>might have >>>> gone had personal problems not interfered. But >>>it's most >>>> encouraging that he seems to have conquered >>>them at last. >>>Can someone outline what these problems were? I >>>just can't get enough of Mr. Carr. Anyone >>>recommend similar artists? I recommend Peter Guralnick's "Sweet Soul Music" for its detailed observation of Memphis soul music during the time period of 1950s into early 1970s. James Carr is severly emotionally disturbed but advances in medical technology now enable him to be treated successfully. He has medication and is able to function adequately if he takes it correctly. No one has ever hinted that drugs or alcohol abuse are in any way connected with his problems. The maddening aspect of his illness is its very unpredictable nature. Sara Oxton reports that Carr's trips to the St. Paul area have been musically brilliant and otherwise uneventful. Other situations have seen him become catatonic and have to be helped from the stage. There is the horror story of his going to Japan and freezing at the microphone at the beginning of the first show. He was taken from the stage and returned to Memphis. Closest to his style? Probably Percy Sledge, who has covered at least four or five songs that Carr did first. The St. Louis Blues Festival has indicated that their Saturday night finale of Sledge, Sam Moore and Wilson Pickett might have James Carr joining them. Dick Waterman ========================================================================= Date: Wed, 15 May 1996 19:45:08 UT Reply-To: roger struve From: roger struve Subject: How does one know whose advice and taste are similar You know, i've been thinking about BLUES-L, and we do post a LOT of opinions on whose CD (or LP or casette or whatever) that we've listened to recently and were impressed, or someone whom we've listened to for a number of years, and of course, everyone is entitled to their own opinion on whose good and whose not. And i'm not knocking that at all! But does anyone have an idea how one can reliably translate any particular poster's comments so that for instance, i would know if I would like this particular poster's recommendation or not? I've thot maybe each of us could have some sort of default header or "ender" on our posts that would list our particular favorites (maybe our favorite 10 or so blues people....or top ten blues tunes regardless of songwriter/performer) which would perhaps impart a sense of where that poster's tastes lie. Any other suggestions would be much appreciated.....barring the old "caveat emptor" philosphy or ye olde "trial and error" approach (i tend to be frugal in my expenditures!) best regards, delta doc roger ========================================================================= Date: Wed, 15 May 1996 13:57:42 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 05/16 B O R N : 05/16 BASCOMB, DUD ( WILBUR ODELL ) Born:1916 BIRMINGHAM, AL Career:TRUMPET Style:JAZZ / BIG BAND With:Erskine Hawkins / Duke Ellington / Sam Taylor BERT, EDDIE Born:1922 YONKERS, NY Career:TROMBONE Style:JAZZ / BIG BAND CARTER, BETTY ( LILLIE MAE JONES ) Born:1930 FLINT, MI Career:SINGER / LEADER Style:JAZZ / BIG BAND With:DIZZY GILLESPIE / CHARLIE PARKER / LIONAL HAMPTON / RAY CHARLES / NORMAN SIMMONS / JOHN HICKS / MULGREW MILLER / BENNY GREEN / CYRUS CHESTNUT / COBBAM, BILLY ( WILLIAM C. COBBAM ) Born:1944 PANAMA Career:DRUMMER Style:JAZZ / JAZZ-ROCK With:HORACE SILVER / RANDY BRECKER / MIKE BRECKER / MILES DAVIS / GEORGE DUKE / JOHN SCOFIELD HERMAN, WOODY ( WOODROW WILSON HERMAN ) Born:1913 MILWAUKEE, WI Career:CLARINET / VOCAL / LEADER Style:JAZZ / BIG BAND With:Tom Gerun / Harry Sosnik / Gus Arnheim / Isham Jones / Cappy Lewis / Joe Bishop / Frank Carlson / Hy White / Walter Yoder / Saxey Mansfield / Nick Ciazza / Herb Tompkins / Ray Hofner / Deane Kincaide / Bob Price / Billie Rogers / Bill Harris / Flip Philips / Dave Tough / Red Norvo / Stan Getz / Terry Gibbs / Milt Jackson / Al Cohn / Zoot Sims / Red Mitchell / Urbie Green / Vince Guaraldi / Bill Chase / Jake Hanna / Milt Bernhart / Sharri Kaye / Mary Ann McCall / Carol Kaye / Kitty Lane / Muriel Lane / Carolyn Grey / Anita O'Day / Frances Wayne HOLT, REDD ( ISAAC ) Born:1932 ROSEDALL, MS Career:DRUMMER Style:JAZZ With:YOUNG-HOLT TRIO / RAMSEY LEWIS JACKSON, G. P. ("GP") Born:1920 ALLIGATOR, MS Careert:GUITAR Style:BLUES JACOBSON, PETE Born:1950 NEWCASTLE UPON TYNE, UK Career:PIANO Style:JAZZ With:MORRISSEY-MULLEN / DON WELLER / BOBBY WELLINS / BARBARA THOMPSON / JIMMY KNEPPER / CHRIS BISCO MOORE, MICHAEL ( MICHAEL WATSON MOORE ) Born:1943 GLEN ESTE, OH Career:BASS Style:JAZZ MORRIS, MARLOWE Born:1915 NEW YORK, NY Career:PIANO / DRUMMER Style:JAZZ Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Wed, 15 May 1996 14:53:01 -0400 Reply-To: Dave Markovits From: Dave Markovits Subject: Some Fav's Muddy Buddy R.l. Burnside Junior Kimbrough Byther Smith Jimmy Smith Kenny Burrell Johnny Winter Stones Alex Chilton Magic Sam Solomon BurkeDavid Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Wed, 15 May 1996 14:53:58 -0400 Reply-To: TDominey From: TDominey Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Festival Internationale, Lafayette LA Comments: To: bit-listserv-blues-l@uunet.uu.net Cesaria Evora? CESARIA EVORA????? DAMN! What I wouldn't have given to see this empress of the Morna! The morna, for those who may not know, is a slow-song poetic form of music usually based on the themes of longing, loneliness, and sour relations from the Cape Verdian islands. Sounds like the Blues, huh? Damn right - the previous author said it best - "Branches of the Same Tree." Thanks for the posting about that Festival - it sounds amazing. ========================================================================= Date: Wed, 15 May 1996 14:08:16 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Re: Cassandra Wilson Sings Son House . . . > Have you ever SEEN her in concert? I had the pleasure of doing public > relations for the Spoleto Festival here in Chas., and got to have coffee > with her while we waited for a music writer to arrive. Sensing an > uncomfortable silence when we began, I broke the ice by talking about > Robert Johnson. On her last album "Blue Light Til Dawn" she covered 2 - > "Come on in my Kitchen" and "Hellhound on my Trail." > > She is the real deal folks - she had an encyclopedic knowledge of > Johnson, as well as the amorous undertones in "Kitchen" - It was so > pleasing to know that she didn't just cover this stuff for any other > reason than her own appreciation. > I tried hard not to get involved in the Casandra Willson thread but couldn't stand it anymore, as her "Blue Light Til Dawn" was one of few blues (if I can call it blues) (and jazz) albums that I sold to a used CD store. That album was 40+ minutes of pure bore (TO ME). I bet she can put me in sleep in concert before the second song is over. Ranko ========================================================================= Date: Wed, 15 May 1996 15:08:19 -0400 Reply-To: Leo Aspiras From: Leo Aspiras Subject: Scatman's 20 all right....i'll enter the mosh pit and name my 20: 1) Rod Piazza & The Mighty Flyers 2) Roomful of Blues 3) Steady Rollin' Bob Margolin 4) Little Charlie and The Nightcats 5) James Cotton 6) Muddy Waters 7) Little Walter 8) Hound Dog Taylor 9) Professor Longhair 10) Jimi Hendrix 11) Jim Hall (Concierto) 12) Stanley Clarke/Al DiMeola/Jean-Luc Ponty 13) Albert Collins 14) Robert Johnson 15) Junior Wells 16) Big Joe Williams 17) Louisiana Red 18) Earl Hooker 19) Otis Rush 20) Mike Bloomfield ***these are CD's/Vinyl that have been getting play at home and at work**** there are more but I think 20 was the cutoff number.......lada.... scatman leo down d.c. way...... ========================================================================= Date: Wed, 15 May 1996 14:19:07 -0500 Reply-To: akapil@MEDICINE.BSD.UCHICAGO.EDU From: "" Subject: Re: Last CD in YOUR player "Lonesome Blues"...............Johnny B. Moore at home. Right now (in the lab) I'm listening to" Lightnin"......Lightnin' Hopkins Adit. Aditya Kapil, PhD IBD Research Center Department of Medicine University of Chicago Ph: (312) 702 2283 FAX: (312) 702 2281 ========================================================================= Date: Wed, 15 May 1996 12:18:20 -0700 Reply-To: Stan Ruffo From: Stan Ruffo Subject: Re: Pratice amp question. For dynamic entertainers, the best practice *gear* is the gear you intend you use in performance! -- Stan Ruffo Blues On Tap - Sundays at 8pm on Visalia's KIOO 99.7FM 800 N. Ben Maddox Way, Suite 2200, Visalia, CA 93292, (209)625-6049 ========================================================================= Date: Wed, 15 May 1996 15:17:25 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re: Last CD in YOUR player Easy answer. Sonny Moorman & the Dogs...TELEGRAPH ROAD. Shannon ______________________________ Reply Separator _________________________________ Subject: Last CD in YOUR player Author: ISTS024@UABDPO.DPO.UAB.EDU at INTERNET_TP Date: 5/15/96 3:16 PM What's the lasy CD,LP or tape you listened to... Mine would have to be Matt Murphy "Way Down South" in the car and at home it was Muddy Waters Chess box disc #2 LW ========================================================================= Date: Wed, 15 May 1996 15:22:12 -0500 Reply-To: Charles d'Orban From: Charles d'Orban Subject: Lonesome Sundown Comments: To: David Howard >I was just diggin some serious swamp blues the other night and started >wondering about Lonesome Sundown. Has anything been heard from him since his >mid-'70's "comeback" album. In the grand scheme of things he seems sorta >underated. I think he died a year or 2 ago. I agree that he's underated and that the "comeback" album (BEEN GONE TOO LONG LONESOME SUNDOWN; WEA/ATLANTIC/RHINO/HIGHTONE 1292 8031 2) is great. I presume you know about the Excello reissue (I'm a Mojo Man). Charles ========================================================================= Date: Wed, 15 May 1996 15:29:00 -0400 Reply-To: Peter Welch From: Peter Welch Subject: Re: Top 25 (guitar) Blues Albums In-Reply-To: <4ncss8$ie8@news1.t1.usa.pipeline.com> from "VT" at May 15, 96 03:22:48 pm According to VT: > > Thought you might be interested in what "Guitar World" thought were the top > blues albums. > > Surprisingly I found myself agreeing most of the time - if this was meant > as an ELECTRIC guitar only list: > > > > 25 ESSENTIAL BLUES ALBUMS > > By Bill Milkowski, Alan Paul and Harold Steinblatt > > 1. CLARENCE "GATEMOUTH" BROWN The Original Peacock Recordings > (Rounder) > 2. ALBERT COLLINS Ice Pickin' (Alligator) > 3. ALBERT COLLINS, ROBERT CRAY AND JOHNNY COPELAND Showdown > (Alligator)> > 4. GUITAR SLIM Sufferin' Mind (Specialty) > 5. BUDDY GUY A Man And The Blues (Vanguard) Guy's debut as a solo > artist, released in 1968, finds him in great over-the-top form, singing and > wailing the blues on his Strat with equal fervor. A frenzied masterpiece. This is a fantastic album and one of Buddy's best, but I wouldn't call BG's guitar playing "frenzied" on this disc. If you want frenzied try "I was Walking Through the Woods" or "Stone Crazy" or the JSP stuff...Nevertheless, "A Man and the Blues" is a good choice. > > 6. EARL HOOKER Two Bugs & A Roach (Arhoolie) Interesting choice...There's too much wah-wah on this for my liking...There's no doubt that any top blues guitarist list should include Earl Hooker, but I would have gone with "Blue Guitar" on Paula. > > 7. JOHN LEE HOOKER The Ultimate Collection (Rhino) > 8. ELMORE JAMES King Of The Slide Guitar (Capricorn) > 9. ALBERT KING The Ultimate Collection (Rhino) > 10. B.B. KING Live At The Regal (MCA) Documents a legendary 1964 > 11. The Best Of B.B. King, Vol. One (Flair/Virgin) > 12. FREDDY KING Hide Away: The Best Of Freddy King (Rhino) > 13. JOHN MAYALL & ERIC CLAPTON Bluesbreakers (Polygram) > 14. JIMMY REED Speak The Lyrics To Me, Mama Reed (Vee Jay) > 15. FENTON ROBINSON Somebody Loan Me A Dime (Alligator) Underrated Nice to see Fenton Robinson & Eddie Taylor get some recognition. > > 16. OTIS RUSH Cobra Recordings, 1956-1958 (Paula Records) > 17. MAGIC SAM West Side Soul (Delmark) > 18. SON SEALS Live And Burning (Alligator) > 19. HOUND DOG TAYLOR AND THE HOUSEROCKERS Beware Of The Dog (Alligator)> > 20. STEVIE RAY VAUGHAN AND DOUBLE TROUBLE In Step (Epic) > 21. JOE LOUIS WALKER Blue Soul (Hightone) Yes, JLW...I still like his "Live at Slim's, Vol. 1" the best...The slide playing on "Don't Play Games" is brilliant. > 22. T-BONE WALKER Low-down Blues (Charly) > 23. MUDDY WATERS The Chess Box (Chess/MCA) This three-CD set is a box > 24. JOHNNY "GUITAR" WATSON Three Hours Past Midnight (Flair/Virgin) Another fine choice...Another great disc is the JGW's Charly issue called "Gangster of Love"...It's got some supersonic guitar instrumentals on there from the early 50s that sound like nothing else even today. > > 25. HOWLIN' WOLF Moanin' In The Moonlight/Howlin' Wolf (Chess/MCA) > This one CD of Wolf's first two Chess albums includes all the hits, > offering an excellent sampling of Hubert Sumlin's landmark guitar work. > Sumlin echoed Wolf's vocals with an exceedingly dirty tone. Grunge to the > max by the guitarist who influenced a generation of rockers. Hubert is great and immensely influential, but let us not forget Wolf's first major lead guitarist, Willie Johnson, who's sound is still one of the toughest you'll hear. When Ace comes out with their Pee Wee Crayton Modern issues, I would add those to the list. -Peter ========================================================================= Date: Wed, 15 May 1996 14:39:06 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Last CD in YOUR player Comments: To: Leonard Watkins In-Reply-To: On Wed, 15 May 1996, Leonard Watkins wrote: > What's the lasy CD,LP or tape you listened to... Jimmy Rogers with Ronnie Earl & the Broadcasters is playing on the cd player here at work right now. -Jeff --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball #4 (coaches poll) U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc09.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Wed, 15 May 1996 12:52:27 -0800 Reply-To: Bob Hardin From: Bob Hardin Subject: Chileheads >From: Rob Hutten > >Ooooh! ooooh! Oooooooh! > >A list for chile pepper eaters???? Wow. Do you have the subscription >info handy? I want on. I guess I should have anticipated this - what better time to listen to the blues than when your mouth and belly are on fire! I'm thinking of John Lee singing "Burnin' Hell"... As requested, here is the listserver signon for Chile-heads: To subscribe send a message containing only the following to the LISTSERV address (LISTSERV@chile.ucdmc.ucdavis.edu ) : SUBSCRIBE Chile-Heads To post messages to the list use the address: Internet: chile-heads@chile.ucdmc.ucdavis.edu Enjoy! Bob #---------------------------------------#----------------------------# | Bob & Becky Hardin | The Rule: | | email: hardin@pacificnet.net | There is _always_ an | | http://www.pacificnet.net/~hardin | exception to the rule. | #---------------------------------------#----------------------------# ========================================================================= Date: Wed, 15 May 1996 19:46:42 GMT Reply-To: Girish Venkitachalam From: Girish Venkitachalam Organization: Iowa State University, Ames, Iowa USA Subject: Re: Last CD in YOUR player In article , Leonard Watkins writes: |> What's the lasy CD,LP or tape you listened to... |> |> Mine would have to be Matt Murphy "Way Down South" in the car and at home it |> was Muddy Waters Chess box disc #2 |> |> LW The Zappa classic 'Hot Rats'. Amazing by any standards . . -gv- -- Girish ---------------------------------------------------------------------------- http://www.public.iastate.edu/~girishv/homepage.html (Netscape 2.0 Preferred) ---------------------------------------------------------------------------- I find television very educational. Every time someone switches it on I go into another room and read a good book. - Groucho Marx ========================================================================= Date: Wed, 15 May 1996 15:09:17 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Irene Comments: To: smirkyface In-Reply-To: On Wed, 15 May 1996, smirkyface wrote: > A couple of years back I heard a slow blues song titled "Irene". > I can't remember the name of the artist or the name of the cd. > I think he was based out of Texas. Any info would be helpful. If I'm not mistaken (and I probably am) it was Long John Hunter on his Spindletop CD, Ride With Me. It is an awesome cd as is his latest in Alligator, Border Town Legend. -Texas Jeffrey, Flatlands Legend --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball #4 (coaches poll) U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc09.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Wed, 15 May 1996 13:19:20 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Last CD in YOUR player >What's the lasy CD,LP or tape you listened to... > >Mine would have to be Matt Murphy "Way Down South" in the car and at home it >was Muddy Waters Chess box disc #2 Satan's Horn by Ray Bailey - I was listening to it this morning as I drove to town to cash my check... It's a great album - nice, rough-edged guitar work, Hammond organ, and very funky bass. A very good modern blues album, and I believe it won the LB award in '93 for best debut album. Does anyone know what Ray Bailey's up to these days? -Jim (hndful@uniserve.com) ========================================================================= Date: Wed, 15 May 1996 17:14:18 -0400 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: Re: Last CD in YOUR player In-Reply-To: Last was Alligator's 25th. Right now is Coco Montoya, which I just bought along with Son House "Delta Blues and Spirituals", which is next. RW ========================================================================= Date: Wed, 15 May 1996 15:09:11 -0400 Reply-To: Ken Ficara From: Ken Ficara Subject: Blues festivals - Canada Does anyone have any info on blues festivals near Ottowa or Hull in Canada, or near Montreal? Thanks. Ken ========================================================================= Date: Wed, 15 May 1996 15:22:12 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Irene Comments: To: smirkyface > From: smirkyface > A couple of years back I heard a slow blues song titled "Irene". > I can't remember the name of the artist or the name of the cd. > I think he was based out of Texas. Any info would be helpful. I'll assume you don't mean "Goodnight Irene" (Leadbelly). "Irene" is a great swamp blues number originally recorded by Guitar Gable (aka Gabriel Perrodin, from Louisiana not Texas). Lazy Lester has covered it and there may be other cover versions as well. I have the Guitar Gable version on LP and am not sure if it's on CD. Lazy Lester's version is on "Lazy Lester Rides Again", which I think has been issued on CD. EW Eliot Williams University of Wisconsin Department of Medicine williams@heme.medicine.wisc.edu ========================================================================= Date: Wed, 15 May 1996 13:36:54 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Last CD in YOUR player David Lindley con El Rayo-X "Very Greasy" with the immortal lines: I saw Jack Nicholson drinkin' a pina colada at Trader Vics... His hair was PERFECT! AAAAOOOOOOOO!!! DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Wed, 15 May 1996 15:42:14 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Last CD in YOUR player In-Reply-To: On Wed, 15 May 1996, Leonard Watkins wrote: > What's the lasy CD,LP or tape you listened to... Cathi Norton, Various Stages of Undress (who could resist after that story from the kid journalist) Steve ========================================================================= Date: Wed, 15 May 1996 16:40:20 -0400 Reply-To: RNABooking From: RNABooking Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Last CD in YOUR player Comments: To: bit-listserv-blues-l@uunet.uu.net Chubby Carrier's new one. ========================================================================= Date: Wed, 15 May 1996 15:55:40 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: How does one know whose advice and taste are similar Comments: To: roger struve In-Reply-To: On Wed, 15 May 1996, roger struve wrote: > > But does anyone have an idea how one can reliably translate any particular > poster's comments so that for instance, i would know if I would like this > particular poster's recommendation or not? Well, hopefully the poster will give a good description that reveals what is (objectively) on the album (there're horns or not, guitar is electric or not). The poster will reveal his or her likes and dislikes in comparing the work in question, justifying the opinion offered. Personally I just run everything by LW. Steve ========================================================================= Date: Wed, 15 May 1996 16:56:07 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Irene Comments: To: blmclean@netaxs.com On May 15, the wonderfully named 'smirkyface' said: >>>A couple of years back I heard a slow blues song >>>titled "Irene". >>>I can't remember the name of the artist or the >>>name of the cd. >>>I think he was based out of Texas. Any info would be >>>helpful. You probably mean "Goodnight, Irene" by Huddie Ledbetter A/K/A Leadbelly. It appears on almost any collection of his work.. Dick Waterman ========================================================================= Date: Wed, 15 May 1996 13:56:03 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Blues Jam Top 10 list Comments: To: dcicchet@LASIERRA.EDU In-Reply-To: <199605151733.KAA14740@inet.lasierra.edu> from "Don Cicchetti" at May 15, 96 10:30:06 am > > >On Wed, 15 May 1996, Steve Levine wrote: > > > >> *The Top Ten Things Not To Do At A Blues Jam > >> * > >> *10.Forgetting your harps, then trying to borrow someone elses. > >> > >> 9. Play along with the band while sitting in the audience. > > > Pat added: > > > 8. Lose interest in the tune that's being played and > > go off on your own with all the knobs set to 10 > > > > 7. See if you can play faster than anybody else > > > > 6. Do show tunes while playing a ukelele > > > > 5. Laugh raucously at mistakes (don't forget to point) > > > > 4. Keep time by breaking wind > > > 3. INSIST on doing the Allman Bros. chromatic changes on "Stormy Monday" > > 2. Find out you brought the Eb guitar AFTER you start your solo. > > 1. Getting drunk/stoned and refusing to leave the stage. > > > > DC > > > ____________________________________________________ > Don Cicchetti > La Sierra University Library Media Services > Audio/Video/Computer/Satellite > Studio Production, Event Services, Academic support > dcicchet@lasierra.edu > > > Time flies like an arrow > Fruit flies like a banana.... > > --- Groucho > ____________________________________________________ > More things NOT to do at a jam: Play leads constantly, even when it's someone elses solo (Although harmonica players are most guilty a la Muddy Waters Band style, I've seen a lot of guitarists who also do this) Play the wrong harmonica (same as "forget you're tuned to Eb" for guitarists) (If you play in all positions, this isn't a "biggie" :-) Play louder than the vocalist (Charlie Mingus said "If you can't hear the singer, you're playing too loud.") Ignore the changes you've been told to play and go with a standard 12 bar blues instead. Ignore visual cues, such as 5 fingers (go to the V chord), palm down (drop the volume), guitar neck bob (break), etc. Forget to tell the band what key your song is in, especially when you use a lot of obscure jazz chords (I'm sometimes guilty of this, having perfect pitch) -------- In certain cases (when you have ALL of the "right" personnel), it's OK to improvise on the song format - but this generally is a "no-no". -------- How do you get a bass player to turn down at a jam session? Put sheet music in front of him :-) -- IronMan Mike Curtis ========================================================================= Date: Wed, 15 May 1996 17:00:10 -0400 Reply-To: ar550@freenet.carleton.ca From: Patrick Beaudry Subject: OTTAWA-HULL BLUESFEST Since some of you might have seen Ottawa-Hull on Good Morning America this morning, here's the line-up for our Bluesfest: Friday, July 5 6:00 p.m. - Suzie Vinnick (Great local performer) 7:30 p.m. - Clarence "Gatemouth" Brown 9:00 p.m. - Roomful of Blues Saturday, July 6 12:00 noon - Mumbo Jumbo Voodoo Combo (Great local Band) 1:30 p.m. - The Holmes Brothers 3:00 p.m. - Smokin' Joe Kubek 4:30 p.m. - Andy J. Forrest 6:00 p.m. - Terrance Simien 7:30 p.m. - Johnny Clyde Copeland 9:00 p.m. - Stars of the Commitments Sunday, July 7 12:00 noon - The Holmes Brothers (Gospel Set) 1:30 p.m. - Jay Geils and Magic Dick's Bluestime 3:00 p.m. - Sue Foley (Great local and international performer) 4:30 p.m. - Carey Bell 6:00 p.m. - The Tony D. Band (Great local band, you Europeans know...) 7:30 p.m. - Otis Grand & the Big Blues Band (Feat. Darrell Nulisch) 9:00 p.m. - The Robert Cray Band Many local bars will also feature great music. Take a trip to the Canada's capital and hear some great music. As information, Pat -- If you don't like the blues, you've got a hole in your soul... PAT BEAUDRY'S MIDWEEK BLUES / CHUO-FM89.1 / WEDNESDAYS AT 8 p.m. Ottawa, Ontario, Canada ========================================================================= Date: Wed, 15 May 1996 15:52:34 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: Last cd? Leonard W.... Last listened to Cathi Norton's "VS" CD? Leonard...Leonard....yer killin' me over here! Tell that Brenda to keep an eye on you! ;>) Cathi N. ========================================================================= Date: Wed, 15 May 1996 16:54:26 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Last CD in YOUR player In a message dated 96-05-15 15:09:49 EDT, you write: >> What's the lasy CD,LP or tape you listened to... In the last 48 hours its been: Huey Smith and the Clowns, Rock n Roll Reunion on Ace; Steve Earle's new one (Feelin' Allright), Richard Thompson's new one (You? Me? Us?), the new Yazoo ROOTS OF RAP compilation, and the Tradition Leadbelly reissue. Huey Smith is essential. The Earle and Thompson will likely be on my best-of-the-year selection come December (I *know* the Earle will). The ROOTS OF RAP collection is more peculiar than (and not nearly as wonderful as) the BEFORE THE BLUES sets. It has a VERY questionable title, a lot of unusual white and black pre-war stuff, and doesn't quite jell as a compilation. The Leadbelly reissue I am reviewing: I've already commented on it to this list. Tom Freeland ========================================================================= Date: Wed, 15 May 1996 21:07:57 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Re: Last CD in YOUR player Comments: To: bit-listserv-blues-l@uunet.uu.net The last CD I listened to was the new LEGACY 53798 : THE STANLEY BROTHERS - COMPLETE COLUMBIA RECORDINGS. All 22 sides! The late Carter Stanley had one the great voices - very blue (grass) & lonesome. eRIC ========================================================================= Date: Wed, 15 May 1996 17:18:50 -0400 Reply-To: smirkyface From: smirkyface Subject: Re: Irene >On Wed, 15 May 1996, smirkyface wrote: > >> A couple of years back I heard a slow blues song titled "Irene". >> I can't remember the name of the artist or the name of the cd. >> I think he was based out of Texas. Any info would be helpful. > >If I'm not mistaken (and I probably am) it was Long John Hunter on >his Spindletop CD, Ride With Me. It is an awesome cd as is his latest >in Alligator, Border Town Legend. > >-Texas Jeffrey, Flatlands Legend > >--------------- >Jeff Seale Thanks to everyone for the quick responce. Jeff had the answer I was looking for. Man you people know your blues. BRIAN MCLEAN PHOTOGRAPHY & SMIRKYFACE PRODUCTIONS "life's too short to live the blues" http://www.netaxs.com/~blmclean ========================================================================= Date: Wed, 15 May 1996 17:25:55 -0400 Reply-To: smirkyface From: smirkyface Subject: Re: Last CD in YOUR player That would be RUSH "counterparts" It's a new brand of canadian blues, yeah, yeah, that's it. BRIAN MCLEAN PHOTOGRAPHY & SMIRKYFACE PRODUCTIONS "life's too short to live the blues" http://www.netaxs.com/~blmclean ========================================================================= Date: Wed, 15 May 1996 17:12:12 -0400 Reply-To: RNABooking From: RNABooking Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Top 20 Comments: To: bit-listserv-blues-l@uunet.uu.net OK why not? Slim Harpo Hound Dog Taylor Clifton Chenier Muddy Waters Billy Holiday Lavelle White Johnny Copeland Irma Thomas Etta James Koko Taylor Freddie King Elmore James Trudy Lynn Barbara Lynn Snooky Pryor Maceo Parker Steve James Mississippi John Hurt Carol Fran & Clarence Hollimon James Brown Tyrone Davis Al Green ========================================================================= Date: Wed, 15 May 1996 16:24:15 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: memphis pt1 Here's a review of the Handy's, Memphis in May (MIM) and assorted other adventures. Sorry for the long delay but it took me quite awhile to type all this up. This will be split in several parts due to circumstances beyond my control. Those of you not interested in reviews containing personal opinions, a travelogue style, various smart-ass comments, and general long-windedness are invited to hit the delete key now. This is LONG. You have been warned. The mother of all reviews follows. This is all blues-L's fault. If folks had not posted the list of performers at the Handy Awards and the Memphis in May festival I would have been blissfully ignorant until someone else posted their review. As soon as I saw Otis Rush and Luther Allison would be at the same place on the same weekend I was determined to be there. As luck would have it, my friend Craig Hopkins (who runs the Stevie Ray Vaughan fan club in Dallas) saw the same thing and offered to drive us up. Ah, a chauffeur. We rocketed out of Big D on Thursday morning and didn't even get out of Dallas County before we had our first blues encounter. On I-30, just east of downtown, we sped past the big blue box on wheels that I like to call the blues SWAT team (it sort of looks like a SWAT truck) or, alternately, the "A Team" van. The latter because it's the transportation for Anson Funderburgh and the Rockets and sweet Sam Myers, a funky looking truck that is unmistakable. Sure enough, as we whizzed past, there was Sam riding shotgun, and, I'm sure, telling the roadie how to drive. We waved, they didn't, and we soon left them far behind. On the radio in NE Arkansas we heard some nice Howlin Wolf coming out of KABF in Little Rock. We arrived at the Ramada Inn in West Memphis ($50/night including tax) in time to catch a quick nap before the Handy's and were glad later that we took advantage of that. On the way across the mighty Mississippi WEVL was playing King Oliver. We got down to the hall about an hour before the show and parked directly in front at a meter about 50 feet from the door. Right living pays off, you know. :') This was my first time at the Handy Awards and I must say I was impressed by the amount of live music. The Movers, winners of the blues talent competition, opened things up with some nice Roomful-style big band blues. Yank Rachell played 4 songs with John Sebastian and was a big crowd favorite. He started out kind of tentatively, but quickly got into things, calling out keys and making the other musicians jump. His mandolin playing was strong and lively. His voice was not quite as strong, but it was clear he was really enjoying himself. Robert Lockwood Jr put on a short set of Robert Johnson's material (and his own). A good, strong set that I enjoyed. Charlie Musselwhite did some nice solo acoustic guitar work and later added a harp rack. Of course, of all the things to quote, the Memphis paper quoted Charlie the next day joking about being a little out of tune "but it's close enough for blues". Keri Leigh and her hubby Mark Lyon did several delta slide style tunes before hushing the crowd with their nominated song "Here's Your Mop Mr. Johnson". Keri was visibly nervous. I didn't think that was possible. Gatemouth Brown played some guitar and fiddle with his band, Joe Louis Walker did an amazing solo acoustic slide version of his nominated song "Bluesifyin" (that was really outstanding), Jimmy Rogers did a few of his classic songs with his band and was then joined by Joe Louis Walker, Tracy Nelson and Al Kooper did several rocked out numbers, and Luther Allison closed things out with Koko Taylor and was later joined by Coco Montoya, Ronnie Earl, Mark Lyon, and Ruth Brown. Quite a bit of music, wouldn't you say? The awards part was nice, too. Ruth Brown was a great host and seemed to have a good time doing it. She chastized Luther Allison several times with "you better quit coming out on my stage!" as he walked off with award after award. Luther was about to bust, he was so happy. Coco Montoya was genuinely surprised to win best new artist and accepted very graciously. I really thought Mem Shannon would take that one. Jimmy Rogers was setting up for his performance when he won his award and seemed startled to have the spotlight suddenly on him. Ruth Brown got in a few good natured digs while accepting for an absent Etta James. Her comments were something along the lines of "I'm getting tired of accepting her awards for her. I may just have to take this one home for my *very* empty desk!" A lot of the winners were not present, and somehow, Willie Kent, who was there, never made it to the stage, but overall the program seemed to run pretty smoothly and on time. I wasn't watching the clock, but I think the show ended up around 10:30 or 11 pm. Little Milton and Charles Brown were the only no-shows from the scheduled list. Next up was the big jam session at B.B. King's club. Yep, we sprung for the Golden Circle tickets at $50 a pop. B.B.'s club was stuffed to the gills, but somehow the table right at the door was open, so we camped out there for the evening. I was saddened to hear B.B's no longer served Mud Pie (bad move) and was then informed (after a long while) the food we ordered was out. They had nothing left in the kitchen but appetizers and only a few of those. Pretty poor planning for such a major event. They could have made a bundle off of food service that night. The jam was a long time coming. Again, I wasn't watching my watch, but I think The Movers finally got their equipment in place about 12:30. By that time Koko Taylor and a couple of other folks had come and gone. I do believe Gaye Adegbalola was the first one on the dance floor (and the last one still going at the end of the night). Saffire and Bob Margolin took the stage next and had a good ole party until after 2 am. Unfortunately, by the time they concluded, Mem Shannon, Jimmy Rogers, Sonny Rhodes, and several others had left the building. Sonny had already left once to tuck the wife in and get his lap steel, but a little before 2, he decided he had to give it up, much to my dismay and despite my begging as he headed out the door. :'( Fortunately, Ronnie Earl stuck it out and took the stage at 2:10 am with Bob Margolin, a horn section, and Annie Rains on harp. Ronnie didn't get to play much at the Handys and quickly made up for it. Wow. I sure enjoy his playing. I also enjoyed Annie's harp, though I had to stop and ask her who she was, since she was never introduced from the stage. Ronnie dedicated a slow tune to Luther Allison, who by then was making his way through the entire crowd, shaking hands and signing autographs. What a class guy. 5 Handys that night and still working the crowd like a new artist. I got my picture snapped with him, hopefully it will come out. Toni Lynn Washington joined the festivities and added her sweet soulful voice to the mix. Things were definitely cooking onstage, if not in B.B.'s kitchen. Around 3:15 Luther Allison took the stage and grabbed the crowd by the throat. His set at the Handy's had been absolutely torrid but the first 30 minutes or so on B.B.'s stage were even better. Scary stuff. By about 4 am things had calmed down a bit. The last song lasted about 20 minutes or so and was little more than a meandering jam. We left about 4:15 as the last song wound down and picked our way through a menacing crowd of "spare changers" that had staked out the front of B.B.'s club. end part 1 ========================================================================= Date: Wed, 15 May 1996 16:24:18 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: memphis pt2 Now I know LW has said he won't pay $50 to go see anyone, but I think I got my money's worth considering all the music at the Handys (starting at 7:30) and then a jam session lasting until 4:15. If only there had been mud pie. We got up the next afternoon (yeah) and terrorized the used record stores in Memphis. No wonderous discoveries, but a few goodies to add. A Muddy Waters Chess 45 with a song I'd never heard ("Little Brown Bird"), Albert King on Coun-Tree (already had it, wanna swap?), a Jimmy McCracklin LP on Minit I didn't have, and a couple of other doo-dads. Craig was bargaining at River Records for B.B.'s second 78 on Bullet but the guy couldn't find where he'd put it. As we drove about that afternoon WDIA was playing some nice soul and blues stuff. We also heard Ron Levy interviewed on WEVL. After semi-satisfying our vinyl junkie needs, we headed off to the first day of the Memphis in May festival. We parked about 3 blocks away for a grand total of 25 cents (to take the meter up to 6pm). As we approached the blues tent we spied the "A team" van out back and wandered inside, a bit early, to get ready for Anson and Sam. The front row was unoccupied so we did something about it. The tent filled up pretty quickly and things kicked off on time at 6:30 pm. Anson and Sam did a very nice set. Anson was playing tough, Ronnie Earl was sitting out in the audience, and Sam was in fine voice. Pretty much the ususal set, "Sweet Little Angel", "Empty Arms", "Gonna Quit Getting Sloppy Drunk", "let the Good Times Roll", "Keep on Trying", etc. During the extravaganza (as Sam likes to call it) I spied Cathi Norton playing Papparazzi and then heading for the exit. I caught up to her outside and once she heard I had a seat saved for her on the front row she was not in as big a hurry to leave. Meri joined us shortly thereafter. R.L. Burnside was up next in the blues tent and I think Cathi introduced us to LW, Brenda, RJ Bauman, and Tina before his set started. She also clued me in to the purpose of the wristbands everyone had picked up when they came in (I think my comment was "I don't need no steenking wristband!"). Well when she told me I could get into most of the clubs on Beale for FREE with that wristband I changed my tune and hopped back and got one. Especially after she told me Jimmy Rogers was at B.B.'s on Friday night and Joe Louis Walker on Saturday. I'd have gotten tattooed for those guys. R.L., backed by a second guitarist and drums, jumped off into a rolling boogie and never looked back. The Burnside aerobics class was in full swing in front of the stage and pretty soon front row seats weren't all that great anymore. I thought most of his set had a strong JL Hooker feel to it. He even did a solo version of "Whiskey and Women". Good stuff, if somewhat repetitive. Sort of that trance-boogie thing. I hung out until 8:30 then made my way over to the big River Stage for my main man, Otis Rush. It had been several years since I had seen Otis, but the recent glowing reports coming from Dick Shurman and from some of my Chicago friends had me stoked. The crowd for Otis' set was very thick, young, and pushy up near the stage. It was a zoo. Just before he started, a young girl in front of me turned and asked amid all the pushing and shoving "Who's next?" and "Is he good?" I think I would have asked that before fighting all the way up there. After a couple of warm ups from the band, Mr Rush took the stage looking dapper in a grey suit and white cowboy hat and playing his trademark red guitar. Apparantly, he's traded his tinted glasses in for contacts. It took awhile before the sound man brought the level up on his guitar. Doofus. Things started a little slowly, but by the time he got into "Right Place, Wrong Time" he was percolating. The band had a hard time starting up "Please, Please, Please" but eventually caught on. "Homework" was next. Pretty weird listening to a man over 60 singing about not being able to do his homework. Otis' intro to "My Own Fault" gave me *the chill*. A good 'un, too. I caught another one on a shortened instrumental "I Wonder Why". I guess I'm just a sucker for Otis Rush. His playing at times was transcendent and his amazing voice was right on form. I resisted the temptation to shorten the life of the guy that yelled "Freebird!" between two of Otis' numbers. He was serious. So was I. By this time it was about 10 pm and I had to make the decision between seeing Luther Allison again or cutting out early to see Jimmy Rogers at B.B.'s. Jimmy won. After waiting in line, I got inside just at the end of the first set and was thrilled to see the great Ted Harvey leaving from behind the drums. I hadn't noticed him at the Handys the night before. After a long break the band came back and did a couple of warm ups before bringing Jimmy to the stage to the trumpet of Ted Harvey's trademark whistle. I like JR's son, Jimmy Lane Jr a lot, though I have to agree with LW that he does get a little busy at times. While sucking down Memphis Brown beer, I had the pleasure of hearing "You're Sweet", "Pretty Girls Everywhere", "Early in the Morning", "Big Boss Man", "Sloppy Drunk", and superb takes on "Your Time to Cry" and "Gold Tailed Bird". The third set was very short and they quit just before 2 am. Since it was still early, we went looking for more music and found Ronnie Earl onstage with Ron Levy at the Black Diamond. After 2 or 3 songs they decided to call it quits, too, so we wandered back through the crowd to the truck. Yeah, the crowd. At 2 am there were probably 5000 people on Beale Street. There were street vendors selling beer, frozen drinks, and etc. It was a mob. It looked for all the world like Bourbon Street at Mardi Gras. The Memphis paper the next morning estimated 40,000 people had attended the festival that day. The blues-l breakfast was at 10 am the next morning but we didn't really get rolling until noon. I am not a morning person. Consequently, we missed LW's fretwork, the photo exhibit, some of Denise's cool videos, and a few of the blues-l'ers in attendance. Major kudos to Denise for her hard work in organizing everything and acting as a central contact point. We owe you. Despite my tardy arrival, I got to meet Denise, Bluzman Ed, ReeAnn, Preston Shannon, and say howdy again to LW and Brenda. I also scarfed a few of those sausage biscuits. Speaking of LW, coming into town that morning I had noticed the Watkins' combination liquor store and pawn shop just past the dog track. One of LW's crafty relatives, no doubt. The music on Saturday started with some tough decision making (at least for me). Doyle Bramhall, Rev. Billy C. Wirtz, and Dave Thompson on 3 different stages and starting within about 10 minutes of each other. I've been a "Doylehead" for many years but this was a chance to catch him with the Memphis Horns, so I started out at his stage. Pretty much a standard high quality Doyle set with a mix of his material with soul and blues covers ("The Hunter", "Birdnest on the Ground", etc). He sounded good with the Memphis Horns, but not significantly different from his regular sound. I'm still not that crazy about his current guitarist, Zonder Kennedy. I miss Robin Syler and especially David Murray. After 4 or 5 numbers I decided I needed to check out Rev. Billy. Billy Wirtz is mainly a comedy act but he has just the type of bizarre, warped humor that makes me laugh. He is also a very good blues and boogie piano player and I hope he eventually makes an album that shows off what he can do without all the clowning. He is a good clown, though. I noticed Charlie Musselwhite and his wife chuckling at stage right and Bruce Iglauer grinning, farther back in the crowd. The audience participation was in full effect with hundreds of people waving their hands in the air and chanting "eat sh** and die" on cue. Songs about his wrestling addicted grandma, men getting in touch with their feelings, and an ex wife had everyone chuckling. I stayed til the end and then wandered over to the blues tent hoping to catch the end of Dave Thompson's set. Unfortunately, Dave was a no-show. Someone said something about him getting caught in traffic. end part 2 ========================================================================= Date: Wed, 15 May 1996 16:24:21 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: memphis pt3 Carey Bell was up next and what a treat he was. Unlike some others, I thought his band was pretty average. Carey was the main thing to get excited about. After 2 warm ups by the band, Carey came out for "Wrapped Up in Love Again". His harp and vocals sounded fantastic and he was feeling pretty good. That was followed by "You Know It Ain't Right" and "Rich Man's Woman". On the latter, he jumped way up in the air during a harp solo. On "Down in the Bottom" Carey switched on his organ emulator, which gave the term mouth organ a whole new meaning. I have to agree he may have used that gadget a bit much, but no matter, he was playing great. He did some real nice chromatic on "Broke and Hungry" and took a long walk out into the crowd during an instrumental. LW was our man on the spot with his camera. At the end of the set he walked around onstage and shook hands with the audience. He also stuck around and signed autographs after his set. A class set from a classy guy that certainly deserves to be more widely known. Bob Margolin was up next in the blues tent but I got Craig and Cathi to save my seat so I could skip out and catch Shirley Brown. What a singer she is. Shirley is more on the soul end of the blues and is probably unknown to most white blues fans. That's a shame. Dressed in a long black dress with a bright gold jacket, she spent most of her time seated, but that didn't stop her voice from soaring. Songs like "Joy and Pain" and "Leave the Bridge Standing" were interspersed with amusing advice and philosophy on how to keep your man under control. The ladies loved it. At one point Shirley declared she was going to "funk them Funkadelics right off this river tonight" (referring to Parliament's set on the same stage later that evening). I'd have loved to see her go chin to chin with George Clinton, but alas, that was not to be. Shirley closed out with her big R&B hit, "Woman to Woman" and with that I skipped off (via the daiquiri stand) to catch the end of Bob Margolin. I walked into the blues tent just as Bob Margolin called Billy Wirtz, Carey Bell, and Nick Gravenites onstage. Talk about timing! They launched into "Born in Chicago" with Nick on vocals with Carey playing harp and Billy on piano. Sounded fine. Nick left the stage and some serious jamming began with Bob's slide guitar work dueling with Carey and Billy. They closed out with "Got My Mojo Workin" with the expected crowd sing-a-long. Next up at the blues tent was Bobby Rush. The tent saw it's first serious overcrowding of the festival with people standing all the way to the back and then outside. It was packed! After a short warm up, out strides Bobby accompanied by his jiggle girl. Only one tonight, though I've seen him with three in the past. "She's So Fine" started things off accompanied by much hoochie coochie shaking by the jiggle lady and strutting by Mr. Rush. A mean version of "Evil" followed and Bobby started wailing on his harp. He played a lot of harp this evening, more than I had seen on previous shows. The jiggle girl made her costume change at the end of that number while Bobby played some good chromatic during "You Know What to Do". Mr. Rush left for *his* costume change at the end of that number as the MC exhorted the sweating crowd to cheer heartily. This was a SHOW, not just a performance! "I'm Ready", "I'll Pay You Back", "I Ain't Studdin You", "I Ain't Henpecked", and "What's Good for the Goose is Good for the Gander" followed in rapid succession accompanied by numerous costume changes and the same style of humorous philosophy and advice for the lovelorn expressed by Shirley Brown, only from the man's perspective. As with many soul/blues performers, his set varied from hardcore blues to R&B to soul with nary a break. "My Babe" was followed by "Take Me to the River" which was followed by "I'm a Man". During "Has Anyone Seen My Baby", the giant bedsheet sized panties were brought out to help the audience recognize his woman's most prominent asset. Ah, show business. Bobby ended the show with "Hoochie Coochie Man" and his usual closer, "Let Me Leave With the One I Love". I don't know which I enjoyed more, the show or the reactions of people like Cathi Norton who weren't quite prepared for it. :') Following Bobby Rush I headed down the street to catch Parliament Funkadelic with George Clinton. I knew it was going to be extremely crowded, but it was even worse than I expected. There was a genuinely dangerous crowd situation. The Allman Brothers were starting on the opposite end of the park at almost the same time. There were, literally, tens of thousands of people heading in opposite directions. There was a severe crush. It's a wonder no one was hurt. I finally got through the crowd to the spot I had staked out earlier. There was a 5 foot 10 inch security fence that jutted out from the side of the stage about 30 feet on the right side. Being a tall gomer, I knew I could stand right there and peer over the fence at the stage without getting in the zoo out front. It was great for me, but it pissed off everyone else. Within a few minutes, people were ripping at the plastic sheeting on the fence and trying to push over the posts. Security guys with flashlights chased people away for awhile, but eventually called in the police to clear the area around the fence. The cops told me "You're fine" because they could see I had no reason to mess with the fence. As soon as the cops left it started all over again. When I wasn't worried about being used as a battering ram, The P-Funk were putting on a pretty good show. I think the crowd sang as much, maybe more than the band. George was in full multi-colored hair regalia, Sir Nose was doing the flips and dancing on top of speaker stacks, and the general P-Funk looniness was in full effect (a male musician dressed in a wedding dress, Arab outfits, you name it). I stayed for "Up for the Downstroke", "Flashlight", and "Tear the Roof Off" (We Want the Funk) before deciding the mess wasn't worth risking my safety for. Heck, that wasn't blues, anyway! As I made my way out of the park, the speakers were blaring an announcement that no more tickets were available. A firetruck was slowly making its way down the hill to the gate. Obviously, crowd control was becoming a concern. Beale was flooded with hoards of people, as it had been the night before. I cued up in line at BB King's to see Joe Louis Walker at about 11 pm and got inside after about a 15 minute wait. Of course, that coincided with the end of the first set. The waiter told me there would only be one more set from the band because the club was very concerned about the crowd situation at the park. They planned to close early. Most of the staff had been at the club until 6 am the previous morning due to the late Handy jam show and they were beat. Joe Louis' second set was short but very intense. For me, it was one of the highlights of a great weekend of music. His slide playing on "Rain on My Window" was fantastic. He could have played that song all night as far as I was concerned. Joe Louis played exactly 7 tunes lasting just under an hour and then left the stage with no explanation, goodbyes, or anything. Sure enough, they started tearing down the equipment and that was all for JLW. I got the feeling the band wasn't very happy about quitting early. I know I wasn't. end part 3 ========================================================================= Date: Wed, 15 May 1996 16:24:22 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: memphis pt4 Since the air conditioning at BB's wasn't working and my partner Craig hadn't shown up yet, I decided to wait for him out front. He waded through the crowd about 30 minutes later (around 1 am) and we wandered down to Willie Mitchell's club to see Preston Shannon. The crowd on Beale was very thick, very young, and mostly, very drunk. There were thousands of people all up and down Beale Street. I found Willie Mitchell's club a refreshing change of pace. The audience was 95% African American and the music was fine soul/blues standards. No "Sweet Home Alabama" this night. Several vocalists got up onstage and sang while Preston and his band backed them. Tunes included some Bobby Womack soul standards, "Purple Rain" (!), and a very funky version of "Nobody Knows You When You're Down and Out" done by Preston and the band. There was a strange dude onstage, dressed in a faux policeman's uniform (a la The Village People) who picked up a guitar and proceeded to play air guitar along with Preston on several numbers. Very weird. The highlight for me was a nice rendition of "I'll Play the Blues for You". The one solid blues tune we heard and very nicely done. The live music session ended up a little after 2 am when they switched over to a DJ. I left the club a Preston Shannon fan. On our way back to the truck we came across Doyle Bramhall and his wife Barbara sitting on a corner and trying unsuccessfully to get a cab by cell phone. We gave them a lift back to their hotel and finally got back to ours about 3:30 am. The fourth day of our blues orgy started at 2:30 pm with Big Mike Griffin in the blues tent. He put on a good show, spending time on the front of the stage mugging and posing for photographers while performing the best of his Waldoxy output. On his last song he took a long walk out into the crowd, up on the risers, and ended up playing some slide with a cane he borrowed from someone in the front row. Was it Brenda or LW that jumped up and took pictures of that? Next up was Robert Lockwood Jr. This was a big band set (sax, guitar, bass, keyboards, drums, and harp) and they took 4 warm ups before RL came out. Things started off in a very jazzy mode (tunes like "Kidney Stew") before getting off into Robert Johnson's "Ramblin On My Mind". I have to agree with those that preferred Robert's Handy set, but this wasn't too bad, either. He didn't cuss the photographers or stop in the middle of songs, as I've seen him do before. He finished up with "What's the Score" and "This is the Blues" and made a fast exit. Anytime I get to see a legend like Robert Lockwood, I consider myself lucky. Gatemouth Brown was the next performer in the blues tent and another very packed house ensued. Not quite as stifling as the crowd for Bobby Rush, but darn close. Gates's Express (sax, keyboards, bass, drums,and guitar) kicked things off with one warm up number. Mr. Brown took the stage and proclaimed it was time for some "cosmic planetary music" (yes that is a quote). Far out, man. Before he would proceed he ordered the stage lights off. Too bright. For the whole show he appeared as little more than a silhouette. His first tune was a jazzy guitar instrumental called "Bits and Pieces". Gate was playing great, with long fluid runs, interspersed with sax, organ, and bass solos. A Percy Mayfield tune was next ("River's Invitation", I think) with the first of many long pipe smoking session while the band carried the load. "Ain't got Nothing But the Blues" and a real jumpin' and jazzy "C Jam Blues" followed, again with major pipe smoking sessions during the performance. A slow jazzy instrumental was next with Gate switching to fiddle (while still wearing his guitar) during the middle of the tune. He played both with a bow and by plucking. A rousing version of Bill Doggett's "Honky Tonk" was next, and thankfully he played that one on guitar. After announcing he was taking us to Louisiana on the next tune, the stage crew came up and told him he was out of time. Gate convinced them otherwise. "Big Mamou" followed, probably a shortened version, but very nice nonetheless. The keyboard player switched over to accordian and Gate fiddled as along as he could get away with it. At the end of his set the tent almost completely cleared, much to the relief of those who remained. I have to make a couple of comments about Gate's set. I believe it was LW who felt that Gate was the pinnacle of professionalism while Robert Lockwood was not. I came away with the opposite opinion. I always thought stage lights are not there for the comfort and convenience of the performer, but so the audience can see who they came to see! While I fully understand that they are an annoyance, to any performer, Gate's insistence on performing in the dark was a little disappointing. Of all the dozens of acts I saw over this weekend, he was the only one that made such demands. The long pipe breaks were sort of a bother, too. That said, Gate played and sang well and I enjoyed his set. On the other hand, Robert, who is known to hate photographers (who, he is convinced, are making tons of money from his image) made it through his show with nary a grimmace or fist shake. Now that's a professional. I'm sure everyone that saw those two sets came away with a different evaluation, but that was mine. As they tore down Gatemouth's set and got ready for Duke Robillard, I prevailed upon my seat savers once more and scampered off to catch a little of Marcia Ball. She was doing her standard slow rolling New Orleans "stuff" and I enjoyed "Facts of Life", "2 for the Job", and "Mama's Cookin'" before feeling the need for another overpriced daiquiri. I returned to the blues tent just moments before Duke Robillard began his set. He was backed by drums, bass, and sax and I have to say I really liked this bare bones arrangement. "Love Slipped In" was followed by T-Bone's "Glamour Girl", featuring an absolutely superb T-Bone style lead in. Duke is one of the best at this style of blues and Ronnie Earl was watching from the side or at the front of the stage for most of his set. Watching intently. "You Upset Me", "I Tried", a Guitar Slim number, and "That's My Life" followed, and were equally as good. During the last tune Duke played behind his head for awhile, one of the few gimmicks I saw the whole weekend. Duke was another highlight of the weekend for me. I am so glad he has left that rock crap (ie. the Temptation album) behind and has gotten back to the real stuff. Anyone that has not picked up the "Duke's Blues" album on Pointblank is missing out, as far as I'm concerned. It's sad to note that there were only a few hundred people present for his set, most of them up at the front. end part 4 ========================================================================= Date: Wed, 15 May 1996 16:24:24 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: memphis pt5 John Hammond was up next and he was another highlight for me. He took the stage alone and proceeded to put more into his performance than any other musician I saw all weekend. His attack was ferocious. There were times when he was blowing his harp that I thought his cheeks were going to blow out. He alternated between acoustic guitar and a National steel, adding a harp rack as required. His eyes were closed for most of his performance and there was no doubt that he was putting everything he had into his show. I was mightily impressed. I have yet to hear a John Hammond recording that really moves me, and I have several, but his live performance is something else. This was my first time to see him live, but it won't be my last. Duke and his band came out and joined John (on harp) onstage for 5 closing numbers. Hammond did a nice Howlin' Wolf on "Who Will be Next". "How Long", Charles Brown's "Trouble Blues", Jimmy Reed's "I Found True Love", and (guess who's) "Diddley Daddy" (!) closed things out. So ended the Memphis in May festival for us. We had no desire whatsoever to wade through the masses to hear Van Morrison. A few general comments on the MIM festival: I loved the stroll around beer guy, even if I didn't like the beer he was selling. Bad beer is always better than no beer (yes, you may quote me). The music on the sound system in the Blues tent between acts was HORRIBLE! I saw Bruce Iglauer (Alligator), Ron Levy (Bullseye), and Paul Lee (Waldoxy/Malaco) hanging around that tent a lot. Why didn't they take that sound guy a stack of CDs? Please! Someone save us from that horrible stuff next year! The next morning, with directions kindly provided by Denise, we headed west and then south to visit the gravesite of Albert King. We paid our respects, then headed south to Clarksdale. On the way we listened to Dr David Evans playing jug band and string band music on WEVL as we headed south out of Memphis. We managed to get past all the enticing casino signs without losing any money ("loosest slots!") and picked up some nice blues on WQMA radio (1520 am) outside of Clarksdale. Apparantly, that's a full time blues station. Playing good stuff, too. Once in Clarksdale we followed the signs (!) to the Delta Blues Museum. What a concept! Actual signposts pointing the way to a blues point of interest! Unfortunately, the museum is currently undergoing major renovation. The former Carnegie Library is just an empty shell populated by construction workers. However there is a temporary exhibit hall, just down the street and in walking distance. Inside are a number of nice displays, a friendly, helpful, and knowledgeable staff, and just lots of cool stuff. There's a nice life sized, wax Muddy Waters figure in one corner with a sign that reads "Keep your hands off the Hoochie Coochie man!" Good advice, so we didn't poke him to see if he'd move. Right around the corner is Jim O'Neal's Stackhouse Delta Record Mart, another must stop for anyone visiting Clarksdale. It's the only building shaped like a paddle wheel river boat. You can't miss it. Inside is a combination blues museum, record and CD shop, Rooster Blues archive, and the one and only Jim O'Neal. The loan department is still closed. Jim was pretty busy so we didn't visit too much, but he remembered me from entering some of his contests from his mail order catalog. Just call me Mr. Second Place. We left with several CDs, some Lps and 45's, and a copy of his delta blues map kit. He also passed on the good news that Muddy's Cabin had not yet grown wheels and left. Muddy's cabin was our next stop. I understand from a post here that the very next day it was carted away by HOB. Once again, right living paid off. We paid attention to the sign from the Stovall's threatening a "heavy Mojo" would be laid on anyone taking souvenirs and left with nothing but photos. That was plenty. Our last stop was Helena, Arkansas where we paid a visit to Bubba Sullivan's blues corner. He has a nice little record shop in the corner of a furniture store. Lots of memorabilia and photos from blues festivals adorn the walls. A nice joint and a friendly chap. Right across the street is a small cafe featuring "The Original Bluesburger" which was large, delicious, and came with mounds of fries, so many that I didn't have room for chocolate pie (which is saying something) and at only $3.50. With that to fuel us, we headed back to Big D after a fine weekend of blues. Finis (and I don't mean Tasby) Don O. ========================================================================= Date: Wed, 15 May 1996 16:23:29 CST Reply-To: jbards@MAIL-SH.LSUMC.EDU From: James Bardsley Subject: Re[2]: Last CD in YOUR player Comments: To: shannon oconnor Easy answer: Mem Shannon, A Cab Driver's Blues. I went out looking for the new John Mooney and didn't find it, but I did come home with this and Mr. Jesse Thomas's last effort. Mem's album- and I am from the OTHER side of the state, I'm not biased- is really quite excellent. I was totally unprepared for the sound clips from his cab that were interspersed among the songs. I was also very impressed with the guitar playing: Mem is no speed demon, but his solos are well constructed and paced- they usually start with a theme, build a tension and release it. Classic styling. The young'uns could learn a lot from him. Get this one next time you're out. Jim - gonna put on Mr. Jesse tonight and raise a glass in his memory _______________________________________________________________________________ Subject: Re: Last CD in YOUR player From: shannon oconnor at INTERNET-SH Date: 05/15/96 4:08 PM Easy answer. Sonny Moorman & the Dogs...TELEGRAPH ROAD. Shannon ______________________________ Reply Separator _________________________________ Subject: Last CD in YOUR player Author: ISTS024@UABDPO.DPO.UAB.EDU at INTERNET_TP Date: 5/15/96 3:16 PM What's the lasy CD,LP or tape you listened to... Mine would have to be Matt Murphy "Way Down South" in the car and at home it was Muddy Waters Chess box disc #2 LW ========================================================================= Date: Wed, 15 May 1996 14:31:22 -0800 Reply-To: James Carmin From: James Carmin Subject: Re: Last CD in YOUR player >What's the lasy CD,LP or tape you listened to... > For me it's MEM SHANNON's, programmed to play 2 cuts: "Maxine," which is one hell of a song (*sure wish I'd personally known Mem's friend Maxine*), and "One Hot Night," which is as dark as blues can get. James C. ========================================================================= Date: Wed, 15 May 1996 14:36:18 -0700 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Re: Last CD in YOUR player Comments: To: bit-listserv-blues-l@cs.washington.edu Leonard Watkins wrote: > > What's the lasy CD,LP or tape you listened to... > > Mine would have to be Matt Murphy "Way Down South" in the car and at home it > was Muddy Waters Chess box disc #2 > > LW Last cd at home: John Mooney, Testimony. Last .au file downloaded off the net: Macho Man by the Village People Adrian ========================================================================= Date: Wed, 15 May 1996 17:40:36 EST Reply-To: shannon oconnor From: shannon oconnor Subject: How to Advertise a Jam? For you jammers out there...what sort of advertising would grab your attention and make you come out to a jam? Meaning, whoat would entice you to one venue over another? The host band? The sound system? Location? The chance to have a multi-track tape of your performance made? Date? Time? Cover cost? Size of the venue? What? Thanks!!!! Shannon ========================================================================= Date: Wed, 15 May 1996 16:41:55 -0500 Reply-To: David Silberberg From: David Silberberg Subject: Re: Blues in the movies? (Ads, actually) At 05:28 PM 5/14/96 -0500, Richard Flohil wrote: >I think we've done this before, but try and check the movie Lotto Land, >with a packed blues score by the Holmes Brothers (Wendell Holmes also has a >lead part). This will go almost direct to video in August, but the >soundtrack is available on (ahem!) Stony Plain Records, distributed in all >sorts of good record stores in the United States. > This isn't a movie - it's a TV ad - but.... A new commercial for Miller's new beer (called, I think, "Millers") shows a "young" blues guitarist trying to get some licks in at a jam session - new guitarist, new beer, etc. Is the guitarist Keb' Mo'? BTW, the Frank Thomas / Buddy Guy commercials for Nike (Reebock?) are OK, altho I don't believe Big Hurt's humility for a minute.... ...and. the Hooker commercial for Pepsi ("This could be the end of the blues as we know them") is terrific. David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Wed, 15 May 1996 15:15:42 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: In my CD Player..... Right now it's the first disk from "Magic Sam-Live." Earlier today it was Mississippi Fred McDowell, "I Do Not Play No Rock'n'Roll." I've been going back to my high school days recently and AC/DC's "For Those About To Rock" has been in heavy rotation (Hadn't listened to this one for about ten years or so. Still a great rock album after all this time). And soon it'll be Robert Ward's, "Black Bottom" as I'll be working on the solo from "Silver and Gold." Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Wed, 15 May 1996 22:27:12 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: Top 25 (guitar) Blues Albums Comments: To: bit-listserv-blues-l@uunet.uu.net Damn! someone I can agree with ? :-) On May 15, 1996 15:29:00 in article , 'Peter Welch ' wrote: >According to VT: >> >> Thought you might be interested in what "Guitar World" thought were the top >> blues albums. >> >> Surprisingly I found myself agreeing most of the time - if this was meant >> as an ELECTRIC guitar only list: >> >> >> >> 25 ESSENTIAL BLUES ALBUMS >> >> By Bill Milkowski, Alan Paul and Harold Steinblatt >> >> 1. CLARENCE "GATEMOUTH" BROWN The Original Peacock Recordings >> (Rounder) >> 2. ALBERT COLLINS Ice Pickin' (Alligator) >> 3. ALBERT COLLINS, ROBERT CRAY AND JOHNNY COPELAND Showdown >> (Alligator)> >> 4. GUITAR SLIM Sufferin' Mind (Specialty) >> 5. BUDDY GUY A Man And The Blues (Vanguard) Guy's debut as a solo >> artist, released in 1968, finds him in great over-the-top form, singing and >> wailing the blues on his Strat with equal fervor. A frenzied masterpiece. > > >This is a fantastic album and one of Buddy's best, but >I wouldn't call BG's guitar playing "frenzied" on this disc. >If you want frenzied try "I was Walking Through the Woods" or >"Stone Crazy" or the JSP stuff...Nevertheless, "A Man and the >Blues" is a good choice. > This was my thought too - although I didn't regard Buddy as being frenzied on his Chess stuff ........ BTW - was "Man and the Blues" really Buddy's debut as a solo artist? I don't have my references handy, but weren't his Chess sides earlier? > >> >> 6. EARL HOOKER Two Bugs & A Roach (Arhoolie) > >Interesting choice...There's too much wah-wah on this >for my liking...There's no doubt that any top blues guitarist >list should include Earl Hooker, but I would have gone with >"Blue Guitar" on Paula. > Again ditto!! I didn't like "2 Bugs and a Roach" for exactly the same reason, and absolutely would recommend the Paula "Blue Guitar" too. >> >> 7. JOHN LEE HOOKER The Ultimate Collection (Rhino) >> 8. ELMORE JAMES King Of The Slide Guitar (Capricorn) >> 9. ALBERT KING The Ultimate Collection (Rhino) Although this isn't a bad choice - I have argued for the single Atlantic CD "King of the Blues Guitar" - and my Aussie friend (who unfortunately isn't on the list any more) would have argued til he was blue in the face in favor of "Born Under a Bad Sign" the gold version of course.... >> 10. B.B. KING Live At The Regal (MCA) Documents a legendary 1964 >> 11. The Best Of B.B. King, Vol. One (Flair/Virgin) BB gets two entries and I think I would have included "Blues is King" - as no doubt some others would have too (what, agreeing with me??) >> 12. FREDDY KING Hide Away: The Best Of Freddy King (Rhino) >> 13. JOHN MAYALL & ERIC CLAPTON Bluesbreakers (Polygram) >> 14. JIMMY REED Speak The Lyrics To Me, Mama Reed (Vee Jay) >> 15. FENTON ROBINSON Somebody Loan Me A Dime (Alligator) Underrated > >Nice to see Fenton Robinson & Eddie Taylor get some >recognition. > > >> >> 16. OTIS RUSH Cobra Recordings, 1956-1958 (Paula Records) I probably would take "Right Place, Wrong Time" but this is equally good. But the ONE Chess side of "So Many Roads, So Many Trains" (the original Chess single version) is outstanding....... Oh, and don't forget his tracks on "Chicago: the Blues Today!" >> 17. MAGIC SAM West Side Soul (Delmark) >> 18. SON SEALS Live And Burning (Alligator) >> 19. HOUND DOG TAYLOR AND THE HOUSEROCKERS Beware Of The Dog >(Alligator)> >> 20. STEVIE RAY VAUGHAN AND DOUBLE TROUBLE In Step (Epic) >> 21. JOE LOUIS WALKER Blue Soul (Hightone) > >Yes, JLW...I still like his "Live at Slim's, Vol. 1" >the best...The slide playing on "Don't Play Games" is brilliant. > Hey! are you living in MY HOUSE???? >> 22. T-BONE WALKER Low-down Blues (Charly) >> 23. MUDDY WATERS The Chess Box (Chess/MCA) This three-CD set is a box >> 24. JOHNNY "GUITAR" WATSON Three Hours Past Midnight (Flair/Virgin) > > >Another fine choice...Another great disc is the JGW's >Charly issue called "Gangster of Love"...It's got some supersonic guitar >instrumentals >on there from the early 50s that sound like nothing else even today. > Now, I KNOW you're in my house! where the **** are you hiding?!!!! >> >> 25. HOWLIN' WOLF Moanin' In The Moonlight/Howlin' Wolf (Chess/MCA) >> This one CD of Wolf's first two Chess albums includes all the hits, >> offering an excellent sampling of Hubert Sumlin's landmark guitar work. >> Sumlin echoed Wolf's vocals with an exceedingly dirty tone. Grunge to the >> max by the guitarist who influenced a generation of rockers. > > >Hubert is great and immensely influential, but let us not >forget Wolf's first major lead guitarist, Willie Johnson, who's >sound is still one of the toughest you'll hear. > ahhhh - but the beauty of this CD is that you do get Willie Johnson on the earlier tracks as well >When Ace comes out with their Pee Wee Crayton Modern >issues, I would add those to the list. > And WAYNE BENNETT (on the Bobby Blue Bland stuff) - of course Wayne himself was most proud of his work with the CARPENTERS (that well known blues family act....) >-Peter Thanks, good comments Peter. -- Vincent vt@usa.pipeline.com ========================================================================= Date: Wed, 15 May 1996 18:33:40 -0400 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: Re: Otis Rush - Live and awesome ?? On Wed, 15 May 1996, Erik Vanem wrote: > I've heard about a new Otis Rush album called live and awesom or something, but > I've never seen it. Otis Rush Live and Awsome is a new product from Genes Records. It consists of live recordings from Rush's 1995 European tour, and is better than I expected stuff. I played 4 cuts off the album on my show last week, and got a couple of positive phone calls about it. BLUZ!! Ed ========================================================================= Date: Wed, 15 May 1996 18:24:49 -0400 Reply-To: rmandler@BBN.COM From: Roland Mandler Organization: BBN Subject: Blues Commercials I believe I caught the tail end of a T J Maxx commercial with Ronnie Earl & the Broadcasters providing the background music. Was I dreaming, or has anybody else heard this? - Roland ========================================================================= Date: Wed, 15 May 1996 18:32:14 EDT Reply-To: Newman/Rabson <71552.541@COMPUSERVE.COM> From: Newman/Rabson <71552.541@COMPUSERVE.COM> Subject: How to Advertise a Jam? Shannon OConnor asks what would bring me out to a jam. The assurance that a piano (electric is OK but NOT a synth, a piano) would be available. Unlike harp players and guitarists we can't just bring one in case we're asked to sit in. Ann ========================================================================= Date: Wed, 15 May 1996 15:26:23 -0800 Reply-To: Sherie Brubaker From: Sherie Brubaker Subject: 5/18/96 Sat Sac Blues Society Blues in the Park Comments: To: bluslovr@AOL.COM, lknight1@AOL.COM, LRUCKER@AOL.COM, msbeale@AOL.COM, PNEEL89564@AOL.COM, ROOSTERMAN@AOL.COM, RSOLIS@ASANTE.COM, dugsmith@ipx.netcom.com, murranch@ix.netcom.com, JAZZINFO@JAZZNOW.COM, com@kfog1045.dot.ca.gov, STEVE.SIACOTOS@MTV.GTEGSC.COM, pulsemag@netcom.com, wpc@netcom.com, markj@proxim.com, vvisa@sierra.net, SFBEAT@SIRIUS.COM, newsroom@TheReporter.com, llham@ucdavis.edu Here's the Press release again, plus revised upcoming events list. SACRAMENTO BLUES SOCIETY Sac Blues Hotline 916-556-5007 Sacramento, CA PRESS RELEASE - PUBLIC SERVICE ANNOUNCEMENT Contact: Sherie Brubaker Event Date: 5-18-96 O: 916-654-6237 H: 916-383-6557 Sacramento Blues Society BLUES IN THE PARK The Sacramento Blues Society (SBS) present the first of two 1996 Blues in the Park events at Tahoe Park. This free community event will feature The JOHNNY NOCTURNE BAND FEATURING BRENDA BOYKIN. This is also a benefit for the Sacramento Food Bank. When the Johnny Nocturne Band wails, their style moves from sophisticated swing to big beat rock and roll. Taking it's cue from the past masters of the "Little Big Band era", the Johnny Nocturne Band creates musical fire in the tradition of the early West Coast jump bands but brings a modern sensibility to its sound. This is not music for polite conversation or meaningful discussion. This is wailing, get down on top of it, let your hair down, dance music of the highest order. This eight piece band features Brenda Boykin who's brassy contralto blues and jazzy vocals spice up the soup. When Brenda appears, she takes over the stage, singing, purring, cajoling and mesmerizing the crowd with her sensuous moves. This will be the premier performance of Grass Valley's The Bandana Blues in Sacramento. This four piece band with two guitarists are sure to get the crowd warmed up. Johnny Nuggett's Health & Happiness Blues & Road Show will surely get the crowd rockin' and rolling before the day is through. Event Date/Time: May 18th Saturday Noon to 6 pm Bands: 1st: The Bandana Band 2nd: JOHNNY NOCTURNE BAND FEATURING BRENDA BOYKIN 3rd: Johnny Nuggett's Health & Happiness Blues & Road Show Where: Tahoe Park, 3535 - 59th Street, Sacramento Cost: FREE ADMISSION Other: Benefit for the Sac Food Bank. Please bring donations. Food and beverages available for sale. For More Information: Media staff: Contact Sherie at her phone numbers above. Public: Contact The Sacramento Blues Society Hotline 556-5007 for more information. Please make sure all listings say the event is Sponsored by The Sac Blues Society and lists our Hotline phone 556-5007. THANKS! DON'T MISS THE FUN - UPCOMING SAC BLUES SOCIETY EVENTS! 5/19/96 Jimmy Rogers, 8pm, The Sacramento Inn, $5 admission + $2.50 drink minimum per person per set. Don't miss this Legendary Bluesman who created the Chicago Blues sound with Muddy Waters. 5/24-27/96 Memorial Weekend Sacramento Jubilee, many Blues Bands will be featured all weekend including Mick Martin, Nitecry, Catfish & the Crawdaddies, Lena Mosley + more. 372-5277 6/22/96 Blues Cruise on the Sacramento River. 5-8 pm on The Elizabeth Louise, Docked at Raley's Landing in West Sac. Call 427-3755 for info & tickets. Lena Mosley and the Badd Shoes Blues Band + dinner provided. Get your advance tickets at The Beat, as we have sold out weeks before this event, several years in a row. 7/13/96 Lady Bianca with Angel Reyes opening at The Sacramento Inn. 8pm -1 am. Admission Price to be announced. Come hear this powerhouse lady singer and help us build the SBS bank account back up so we can have more Blues in the Park events next year. Non-smoking indoor venue .. with air conditioning! 7/27/96 Blues in the Park, Cancelled due to lack of funds. 8/4/96 Legendary Bluesman, Snooky Pryor, with the Rusty Zinn Band opening at the Sacramento Inn, 2-7 pm. Admission Price to be announced. Non-smoking indoor venue .. with air conditioning! 8/17/96 Blues in the Park Noon-7pm, William Land Park at Amphitheater or behind Fairy Tale Town. East of Land Park Dr. between 13th Ave and Sutterville Rd. Free. Frankie Lee will headline. Animal Rhythm Band will open plus one more band to be announced. Benefit for Sac Food Bank, please bring non-perishable food to donate. 9/28/96 2nd Annual Blues on the Waterfront in Old Sac. Noon to 7 pm. Benefit for the Sac Food Bank. Free ========================================================================= Date: Wed, 15 May 1996 16:27:05 -0600 Reply-To: Gary Constantine From: Gary Constantine Subject: Re: Last CD in YOUR player Comments: To: "DUTTWEILER.J" DUTTWEILER.J wrote: > > Date: Wednesday, 15 May 1996 2:13pm ET > To: Internet > From: DUTTWEILER.J@GOMAIL > Subject: Last CD in YOUR player > > Coming into work today it was the Reunion Blues Band, Back Home to Clarksdale, > last night it was Lightnin' Hopkins, the Complete Alladin Recordings, disc 2. > > JD Actually, I have two in the player: Hollywood Fats -- Rock This House Quartetto Gelato --- Rustic Chivalry Gary ............ ========================================================================= Date: Wed, 15 May 1996 18:46:44 -0400 Reply-To: BALISTRK@BAYDENOC.CC.MI.US From: "Keith T. Balistreri" Subject: Re: Last CD in YOUR player Comments: To: Don Cicchetti In-Reply-To: <199605152039.NAA24429@inet.lasierra.edu> On Wed, 15 May 1996, Don Cicchetti wrote: > David Lindley con El Rayo-X "Very Greasy" Don... What a wonderful cd, when I get home from work I'm going to put it on immediately. His distinctive guitar sound and vocals are so full of life. Thanks for reminding me about a cd that's way in back of one of my stacks..... Keith B. ========================================================================= Date: Wed, 15 May 1996 15:39:20 -0800 Reply-To: Sherie Brubaker From: Sherie Brubaker Subject: Jimmy Rogers performs in Sacramento Sun 5/19/96 Comments: To: bluslovr@AOL.COM, lknight1@AOL.COM, LRUCKER@AOL.COM, msbeale@AOL.COM, PNEEL89564@AOL.COM, ROOSTERMAN@AOL.COM, RSOLIS@ASANTE.COM, dugsmith@ipx.netcom.com, murranch@ix.netcom.com, JAZZINFO@JAZZNOW.COM, com@kfog1045.dot.ca.gov, STEVE.SIACOTOS@MTV.GTEGSC.COM, pulsemag@netcom.com, wpc@netcom.com, markj@proxim.com, vvisa@sierra.net, SFBEAT@SIRIUS.COM, newsroom@TheReporter.com, llham@ucdavis.edu SACRAMENTO BLUES SOCIETY Sac Blues Hotline 916-556-5007 Sacramento, CA PRESS RELEASE - PUBLIC SERVICE ANNOUNCEMENT Contact: Sherie Brubaker Event Date: 5-18-96 O: 916-654-6237 H: 916-383-6557 JIMMY ROGERS: SAC BLUES SOCIETY PRESENTS A BLUES LEGEND The Sacramento Blues Society (SBS) and the Sacramento Inn proudly presents JIMMY ROGERS. Jimmy met Muddy Waters in the 1940s and they were the prototype of the two-guitar, bass and drums type group. Little Walter joined them on harmonica and the band made headlines for about 10 years. Together they created the Modern Chicago Blues style which significantly influenced British bands such as the Rolling Stones, the Beatles, Led Zeplin, Eric Clapton and many more. Rogers' importance as a blues guitarist and songwriter cannot be overstated. He developed a style of guitar accompaniment involving lead fills, bass runs and chords that has influenced every blues player after him, including Keith Richards and Stevie Ray Vaughn. Roger's songs are classics. "That's All Right" was his first hit solo recording in 1950, followed in 1952 with "Back Door Friend" and the double hits of 1954 "Sloppy Drunk" and "Walking by Myself", perhaps his finest effort. "You're The One", "Back Door Friend", and "Goin Away Baby" were also big hits. Two of Jimmy's songs, "Goin' Away Baby" and "Leave Me Alone" are on Eric Clapton's new CD, From the Cradle. He has appeared on the David Letterman show in addition to firing up crowds all over America and Europe during his tours. Jimmy has a new release, Feelin' Good, with special guest Rod Piazza on Blind Pig Records. He also recorded in 1994 on Bulleye/Rounder with Ronnie Earl and the Broadcasters. Jimmy also has a another new CD with special guest Johnnie Johnson on piano. Jimmy Rogers has released numerous recordings during his 50+ years as a Blues musician. "Chicago Bound" re-released by MCA, "Jimmy Rogers" (a double album) on Chess. "I'm Ready, Blue Sky", "Chicago's Jimmy Rogers Sings the Blues" on Shelter, "Feelin' Good" with Junior Watson, Rod Piazza and the Mighty Flyers. In 1979 with Left Hand Frank "Chicago Blues" and "Live" both on the English JSP label. "Ludella" on Antone's Record reunites veteran players of Muddy Water's and Howlin' Wolf's bands. Kim Wilson of the Fabulous Thunderbirds produced and plays harmonica on it. This recording won a W. C. Handy award for Best Traditional Blues, and hundreds of reviewers all gave it highest marks. Event: JIMMY ROGERS, A BLUES LEGEND Event Date: Sun. May 19th, 8 pm Where: The Sacramento Inn, 1401 Arden Way, Behind Sears at the Arden Fair Mall Cost: $ 5 Other: Non-Smoking Event For More Information: Media staff: Contact Sherie Brubaker at her phone numbers listed above. Public: Contact The Sacramento Blues Society Hotline 556-5007 for more information. UPCOMING EVENTS! - WE GOT LOTS OF GOOD TIMES COMIN' UP 5/18/96 Sat. Free Blues in the Park at Tahoe Park, 12-6 pm, Benefit for Sac Food Bank. The Bandana Band, Johnny Nocturne Band featuring Brenda Boykin, and Johnny Nuggett's Health and Happiness Blues and Road Show. 5/24-27/96 Memorial Weekend Sacramento Jubilee, many Blues Bands will be featured all weekend including Mick Martin, Nitecry, Catfish & the Crawdaddies, Lena Mosley + more. 372-5277 6/22/96 Blues Cruise on the Sacramento River. 5-8 pm on The Elizabeth Louise, Docked at Raley's Landing in West Sac. Call 427-3755 for info & tickets. Lena Mosley and the Badd Shoes Blues Band + dinner provided. Get your advance tickets at The Beat, as we have sold out weeks before this event, several years in a row. 7/13/96 Lady Bianca with Angel Reyes opening at The Sacramento Inn. 8pm -1 am. Admission Price to be announced. Come hear this powerhouse lady singer and help us build the SBS bank account back up so we can have more Blues in the Park events next year. Non-smoking indoor venue .. with air conditioning! 7/27/96 Blues in the Park, Cancelled due to lack of funds. 8/4/96 Legendary Bluesman, Snooky Pryor, with the Rusty Zinn Band opening at the Sacramento Inn, 2-7 pm. Admission Price to be announced. Non-smoking indoor venue ... with air conditioning! 8/17/96 Blues in the Park Noon-7pm, William Land Park at Amphitheater or behind Fairy Tale Town. East of Land Park Dr. between 13th Ave and Sutterville Rd. Free. Frankie Lee will headline. Animal Rhythm Band will open plus one more band to be announced. Benefit for Sac Food Bank, please bring non-perishable food to donate. 9/28/96 2nd Annual Blues on the Waterfront in Old Sac. Noon to 7 pm. Benefit for the Sac Food Bank. Free ========================================================================= Date: Wed, 15 May 1996 15:56:15 -0700 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Re: Who do you love? Top 20 Comments: To: bit-listserv-blues-l@cs.washington.edu John Mooney Son House Bo Diddley Hank Williams (both of 'em, really) Guy Clark Warren Zevon The Kinsey Report Richard Thompson Charlie Patton Roy Buchanan Webb Wilder Steve Earle Jerry Jeff Walker Muddy Waters Howlin' Wolf Los Lobos Dr John Jimi Hendrix Curtis Mayfield most any Neville Brother combo and Son House ========================================================================= Date: Wed, 15 May 1996 19:05:30 -0400 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: Last CD in YOUR player Comments: To: Leonard Watkins In-Reply-To: Bill Coday's "Sneakin'Back" nitra On Wed, 15 May 1996, Leonard Watkins wrote: > What's the lasy CD,LP or tape you listened to... > > Mine would have to be Matt Murphy "Way Down South" in the car and at home it > was Muddy Waters Chess box disc #2 > > LW > ========================================================================= Date: Wed, 15 May 1996 16:01:52 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Pratice amp question. Comments: To: steamin@VALLEYNET.COM In-Reply-To: <01BB4259.437CDE40@visalia1-12.valleynet.com> from "Stan Ruffo" at May 15, 96 12:18:20 pm > For dynamic entertainers, the best practice *gear* is the > gear you intend you use in performance! Good general advice. I'd like to explore the "other" side a little. While it's good to "get your sound down", there's a lot to be said for practicing with a minimal amount of equipment, too. I play a minimum of three nights a week (usually more), which certainly counts as practice time, and keeps me sharp on my gear. If I played one gig a month, you'd better believe I'd practice with every stick of gear I planned to use on the gig. But with this schedule, my needs are to improve my basic chops, learn new licks, identify my weaknesses (darned if I can find 'em, though ;-), and work on improving these areas. This is best done using the most direct approach - just me and the instruments (harp and guitar). As far as band practice, it depends on your practice goals. Is the band sound "together", and you just want to learn new tunes? When I played several years with Big Jay McNeely, we had a couple of practices (mostly, we learned on the job, or wrote out charts, etc.). We brought one SMALL amp and ran two guitars and the bass through it, and the drummer brought a snare and hihat. No vocal mic - we didn't need it. But we were all studio musicians, and the bands "sound" was together. We were playing five nights a week, plus a matinee, and parties, etc., and the last thing we needed was a practice with all the gear. Are you happy with your sound? Then you might choose to practice through the PA, etc. Is the practice room small? Then a 50 or 100 watt amplifier will never be driven as hard as it will be in a large, dead room. You may be a lot better off running through a much smaller amp and micing it to the level you need. All of the above is my opinion, and works for me. Your mileage may vary. BTW, I agree with Stan, too - you need to KNOW your gigging gear - I just wanted to explore alternatives. -- IronMan Mike Curtis ========================================================================= Date: Wed, 15 May 1996 16:01:37 -0700 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Organization: Canada Internet Direct, Inc. Subject: To Guitar Mac (Sacramento) Comments: To: bit-listserv-blues-l@uunet.uu.net Sorry to use the list to pass along a sort of private correspondence - but I only saw a "reply to the reply" after the original was gone (I'm no-mail right now).....: To Guitar Mac from Sonny Rhodes: Roger B. passed along your best wishes, and the info. on your new C.D. - Sonny's comment was "Great! Those guys must have the cream of the Bay Area crop on that one..." (referring to the release and Roy Rogers et.al. guesting on it) Sonny is en route into the Canadian Prairies, then Chicago, and home to New Jersey. (and he really tore it up at the Purple Onion here in Vancouver last Monday!!) - Roger B. ========================================================================= Date: Wed, 15 May 1996 23:10:08 GMT Reply-To: bbbean@sheltonlink.com From: bbbean@SHELTONLINK.COM Organization: inlink Subject: Re: Blues Revue & HOB Comments: To: bit-listserv-blues-l@uunet.uu.net In <199605131406.KAA95420@osceola.gate.net>, "P.W. Fenton" writes: >What was wrong, in your opinion, with the TV show? Was it that the >types of music featured did not fit your expectations based on the >word "Blues" in the title? Or was there something wrong about the show >aside from that? PW - You're leavin' flamebait, but I'll bite anyhow. What bothers ME is that the types of music don't fit my definition of blues. Simply put. If I were to tune into Monday Night football and see a concert show, I'd feel the same way. I grew up watching Don Kirshner's Rock Concert and the Midnight Special on TV. I think concert shows are great. But you don't sell hot dogs as steak, and you shouldn't fob off a faux hip concert series under the label blues. Isaac's certainly free to do what he wants. God forbid he should stop on my account. But don't expect me or the blues community in general to get all excited and pant like a dog just because he uses the word blues, and occasionally throws us a bone. BBB B.B. Bean bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Wed, 15 May 1996 15:40:26 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: How does one know whose advice and taste are similar Comments: To: deltadocroger@MSN.COM In-Reply-To: from "roger struve" at May 15, 96 07:45:08 pm > But does anyone have an idea how one can reliably translate any particular > poster's comments so that for instance, i would know if I would like this > particular poster's recommendation or not? Unfortunately, it's doggone hard to describe music using words. Or slightly editing a Frank Zappa quote for G rated audiences, "Talking about music is like copulating about architecture". -- IronMan Mike Curtis ========================================================================= Date: Wed, 15 May 1996 14:27:00 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Real Instruments - definition Comments: To: dcicchet@LASIERRA.EDU In-Reply-To: <199605151706.KAA13299@inet.lasierra.edu> from "Don Cicchetti" at May 15, 96 10:03:22 am And so do all professionals that I know. This tells you the TRUTH about your technique, etc. A friend of mine tries to play bass, but he's terrible. One BIG reason is that he refuses to practice unamplified. He ALWAYS cranks it as loud as he can stand, which of course masks all his mistakes. Volume is one type of "effect", and while a lot of musicians sound jim dandy "loud", the best bands I've heard can play at low volume and sound incredible. When we practice without amplifiers, effects, etc., there is nothing to smooth over our lack of technique or chops. When you muff a note, bend to the wrong microtone, pick sloppily, etc., you don't have a reverb, delay, chorus, etc., covering it over. We only have the truth. When we polish our playing on the guitar, these effects can greatly help our sound. I use a lot of effects on guitar, such as slapback, tremelo (the old Fender style low frequency amplitude modulation), distortion (on a couple of songs - I usually play "clean"), chorus, compression (rarely), etc., and harmonica (light slapback echo, and sometimes Lexicon Vortex, and once or twice a night when I want more of a "jazz" feel, an octave divider). I tend to run just a little reverb all of the time, especially in "dry" rooms. But you don't notice it as an effect unless I turn it off. The trick to effects is to augment you the musician, and not to play the instrument for you. If you're not sharp, all the effects in the world will do no good. You'll still sound like a lousy musician. Regarding machines: I use a drum machine on most tunes when I play solo, but I don't program elaborate parts for it. I use the same three patterns for 90% of my tunes. They're very basic and simple. I use it more as a "fancy metronome" than a "drum replacement". Used in this function, it works quite well. I've heard others who program elaborate drum tracks for each song they do, and personally don't car for this. It _sounds_ like a machine - mechanical, unresponsive, artificial. I use a sequencer on a few tunes - usually to play the bass line so I can give my left foot (bass pedals) and right leg (I stand while playing, and do long sets 8-) a rest. I've got one sequence with a horn part that I harmonize on harmonica with (What's Goin' On). But I generally dislike sequencers. I like to be flexible, spontaneous, creative, and free to play what I want, when I want, and as I want. When playing along with a sequncer, you're limited to what IT has been programmed to do. I can tolerate this only so much when playing a live gig. -- IronMan Mike Curtis ========================================================================= Date: Wed, 15 May 1996 19:55:55 -0400 Reply-To: JukeFreak@AOL.COM From: "(Karen Hanson)" Subject: Re: Oh no! It's SITTING & THINKING: Jimmy Rogers' Feeling Good Comments: To: levyt@rl.af.mil You wrote: >Jimmy Rogers was about 70 years old when this album was recorded >and released back in 1984 by a small California company. You'd >never suspect Jimmy is a senior citizen by listening to this cd. >Jimmy Rogers lives and breathes Chicago Blues, and with an >extremely talented California back up band, every song on this cd >is a joy. Ooops! Jimmy Rogers will be 72 in June. That makes him about....ummm...60 years old when the album was recorded back in 1984. Thanks for another review of something I have (and love). Interesting to hear what you have to say. I think "Feelin' Good" is the most energetic of all JR's albums. And Miss Honey is outstanding! Karen ========================================================================= Date: Tue, 14 May 1996 22:23:23 GMT Reply-To: jackieo@MIDTOWN.NET From: Jack Oudiz Organization: Midtown Computer Services Subject: Whoring the Blues - Blues Revue Comments: To: bit-listserv-blues-l@uunet.uu.net Bob Vorel your sign is wrong, it's not "It's the Music Stupid" it's "It's the Profits Stupid" The cover of the latest BR reminds me of the astute comments once made about the Blues Brothers personna being nothing more than a 90's version of Blackface entertainers. The masquerading in dark suits and shades being yet another variation of a racist lampoon. I found the BR cover of three clueless, soulless white guys prancing in "blues rags" repulsive. Once again Vorel and BR missed no opportunity throughout the issue to bring up the "white blues" incendiary issue. Vorel has almost singularly used this rag as a platform for claiming the "universality" of the blues. In this regard listen to bluesman and writer Julio Finn, brother of Billy Boy Arnold: " ...the press and the record companies got up to their old tricks, one of which was the attempt to redefine the blues in order to take it out of black culture and appropriate it for white music. To this end the blues was called 'a universal music', and 'the blues aren't black or white, but human...' The argument - waged exclusively by white journalists - reached such a pitch that it became a question of whether the blacks had anything to do with the blues at all..." "The oft-posed question, 'can whites play the blues?' ought to be retired. Undoubtedly they can - since they do it. Paul Butterfield, Elvin Bishop, Alexis Koerner, Mike Bloomfield....have played the blues with a dedication and expertise which entitles them to the right to be proud of their acheivement, However-and as far as I know they have never claimed to be-they can never be bluespeople. Why not? Because the blues is not something they live but something they do-which makes all the difference in the world...Their white skin bars them from ever living the blueslife, for in America skin color is EVERYTHING, the alpha and omega of a person's destiny. There can be no question of white people suffering in the same manner as people with black skin - in America, they couldn't even if they wanted to. Their suffering is different. The blues is part of the white American's heritage, but it is different from the other arts: it is the product of a special kind of inhumanity one people suffered at the hands of another. The outcome has been an art form so deeply inbued with the stamp of that experience that it is inseperable from the people from whom it springs. The blues is the cultural memorial of slavery, a musical memoir commerating the history of blacks in the United States. Unlike other arts, its intrinsic spirit can only be transmitted by blood or, if you like, psychically. No amount of enthusiasm, no amount of time spent living with black people, will ever endow a non-Afro-American with it. 'Only people who have been down the line,' says James Baldwin, 'know what this music is about.' Anyone-French, Ethiopian, Mongolian - can play a 'blues'. But only a black American can be a bluesperson. He alone was the Man Without a Name, the Nigger, the Sambo. He alone lives the blues." Now Mr. Vorel in the new BR issue editorial: "The blues are not a place, a time, a single song, or even ONE person's viewpoint. It is music...an art form that knows no boundaries; either cultural, racial, religious, or linguistic. The blues are universal!" Funny thing, Finn was writing back in 1986 and quoting Vorel in 1996. Somethings never change. ========================================================================= Date: Wed, 15 May 1996 19:55:57 -0400 Reply-To: JukeFreak@AOL.COM From: "(Karen Hanson)" Subject: Re: Last CD in YOUR player LW asks: >What's the lasy CD,LP or tape you listened to. 1. In the car: Hubert Sumlin, Heart & Soul 2. At work: Big Jack Johnson, Oilman 3. Home office: Otis Spann, Down to Earth 4. Living room: (in the CD changer) Alvin Youngblood Hart, Big Mama's Door; Jimmy Rogers (the Capitol reissue); and Jesse Thomas, Looking for That Woman Karen ========================================================================= Date: Wed, 15 May 1996 19:58:11 EDT Reply-To: David Howard From: David Howard Subject: Two Steps from the Bland Bobby Blue Bland is blowing through town next month. Can anybody tell me what kind of performing form the man is in these days? D.N. Howard ========================================================================= Date: Wed, 15 May 1996 17:01:00 -0700 Reply-To: NED_KRAFT@HP0000.DESK.HP.COM From: Ned Kraft Subject: Help - David Russell Delurking for assistance: I'll be in Chicago for the blues fest and I lost the phone number of a drummer named Dave (David) Russell. He played drums for Willie Kent out in San Francisco a few months ago. If anyone knows him and could put me in touch that would be fantastic. Thanks, Dirty Ned Hoosier Daddy Sorry for the bandwidth waste - private e-mail please. Look forward to meeting Lea, RJ, Cathi and others. ========================================================================= Date: Thu, 16 May 1996 10:00:00 PDT Reply-To: David Blanken From: David Blanken Subject: Re: Last CD in YOUR player LW (the threadmaster) wrote: > What's the lasy CD,LP or tape you listened to... > > Mine would have to be Matt Murphy "Way Down South" in the car and at home it > was Muddy Waters Chess box disc #2 > > LW This morning, while getting ready for work it was Robert Pete Williams "When a man takes the blues. Vol.2" (Arhoolie). Yesterday while getting ready for work it was Drink Small "Round Two" (Ichiban).Mr Small was mentioned on the list recently as someone who deserves more respect (another LW thread!) and I couldn't agree more! Driving into work this morning, I was grooving to Joe Louis Walker's latest "Blues of the month club". ========================================================================= Date: Wed, 15 May 1996 20:17:45 -0400 Reply-To: BALISTRK@BAYDENOC.CC.MI.US From: "Keith T. Balistreri" Subject: Re: Who do you love? Top 20 Comments: To: "Raymond O. Varner" In-Reply-To: <01BB41C4.FC18CDA0@ip-pdx09-19.teleport.com> 1. Beatles 2. Stevie Ray 3. Frank Zappa 4. Thelonious Monk 5. Carlos Santana 6. Frebby Johnston 7. Robert Cray 8. Van Morrison 10. Powder Blues 11. Seigal Schwall 12. Kate Bush 13. Tom Waits 14. Ricky Lee Jones 15. Elvis Costello 16. Paul Butterfield 17. Vivaldi 18. Nighthawks 19. Miles Davis 20. Hendrix It's not easy making a top 20 list...there's so much to choose from. Keith B. ========================================================================= Date: Thu, 16 May 1996 00:00:41 GMT Reply-To: Jerry Nickodemski From: Jerry Nickodemski Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: In defense of SRV Comments: To: bit-listserv-blues-l@uunet.uu.net Guys, Don't just ask Buddy Guy ask any legendary blues player - from EC to BB to Ralph Collins - and they will tell you that SRV played the blues like no one else could. I got news for y'all, though. Be on the lookout for Kenny Wayne Shepherd - another Texa boy who grew up listenin' to SRV practice in the blues clubs of Dallas. The manchild (he's only 18) kicks out the jams like the master himself!! Jerry Nickodemski ========================================================================= Date: Wed, 15 May 1996 20:27:24 -0400 Reply-To: BALISTRK@BAYDENOC.CC.MI.US From: "Keith T. Balistreri" Subject: Re: Hopkins/Johnson...a good score? Comments: To: Jim Witteveen In-Reply-To: <96May14.193606pdt.30759-154+1204@haven.uniserve.com> I have been pretty limited to mostly electric/type band blues. I just bought my first acoustic/blues cd..Son House. Anyway, I work at a community college here in Northen Michigan and we are doing our spring cleaning. Well the folks in the library are geting rid of some lps, mostly junk that will be put in our summer auction. But I found two that are like brand new. One is Lightin' Hopkins, "Double Blues" a double album on the Fantasy label. The other is Robert Johnson, "King of the Delta Blues Singers" on Columbia. These lps look like they have never been played. A few bucks and they're mine. Someone please let me know if I did good? A good score? Keith B. ========================================================================= Date: Wed, 15 May 1996 17:26:59 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Who do you love? Top 20 Hey thanks to everyone for jumping in on this one. I learned what a bunch of hip people are really on this list! Whew! Great lists! Very impressive y'all. Anybody else? DC I use a rattlesnake for a necktie... ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Thu, 16 May 1996 00:17:22 GMT Reply-To: Jerry Nickodemski From: Jerry Nickodemski Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: SRV - the best ever Comments: To: bit-listserv-blues-l@uunet.uu.net Ain't nobody did it better than SRV. He lived the blues his whole (short) life. I will say the KWS is a reincarnation of Stevie Ray. I can't tell the difference. In all of the SRV stuff I've read, I've yet to see anyone bring up Lonnie Mack. He taught SRV to play the 12-string. If you've never listened to "Strike Like Lightning", pick it up. The cut - Double Whammy - will kick your ass! -jerry nickodemski ========================================================================= Date: Wed, 15 May 1996 16:47:49 -0500 Reply-To: David Melton From: David Melton Subject: Re: Last CD in YOUR player Comments: To: JukeFreak@AOL.COM Here are the 7 CD's in my changer at the moment: 1. Albert King - Hard Bargain 2. Smokey Wilson - The Real Deal 3. Freddie King - Blues Guitar hero; the Influential Early Sessions 4. Elmore James - Rolling and Tumbling 5. Otis Rush - Right Place, Wrong Time 6. Otis Rush - Mourning in the Morning 7. Junior Brown - Guit With It Dave Melton ========================================================================= Date: Thu, 16 May 1996 01:44:00 BST-1 Reply-To: bsmithb@cix.compulink.co.uk From: Brian Smith Subject: Re: Last CD in YOUR player Comments: To: ISTS024@UABDPO.DPO.UAB.EDU In-Reply-To: Otis Spann - Biggest Thing Since Colossus ========================================================================= Date: Thu, 16 May 1996 00:26:19 GMT Reply-To: Jerry Nickodemski From: Jerry Nickodemski Organization: Prodigy Services Company 1-800-PRODIGY Subject: Kenny Wayne Shepherd Comments: To: bit-listserv-blues-l@uunet.uu.net I'm looking for any information of KWS. I can't get enough of his first - and only I think - CD. Anybody know when - or if - he's coming to the East Coast this summer? He was here in CT a couple of times in the fall and winter, but he always played with about 5 other bands. Anybody know if he's planning another CD soon or if he's got anything else out there? I'm 41 and never even thought about joining any type of fan club, but I love this guy so much, I might start one!! Help!!!! jerry nickodemski ========================================================================= Date: Thu, 16 May 1996 00:39:57 GMT Reply-To: Anonymous IU Student From: Anonymous IU Student Organization: Indiana University Subject: Re: Last CD in YOUR player Comments: To: bit-listserv-blues-l@uunet.uu.net LW asks: >What's the latest CD,LP or tape you listened to. > I have six in there right now-- 1. Hollywood Fats-Rock This House 2. Little Mike and the Tornadoes-Heart Attack 3. John Primer-The Real Deal 4. Alligator Records 25th Collection-Disc 2 5. Sol Hoopii-Master of the Hawaiin Guitar 6. I think Southern Culture on the Skids is in there, pretty rockin' stuff. J. J. ========================================================================= Date: Wed, 15 May 1996 20:49:59 -0400 Reply-To: BLUESROCCO@AOL.COM From: Jim Rocco Subject: John Kay and the Sparrows I've been transferring a number of my old albums from vinyl to ADAT and will burn them to disk here shortly to halt the deterioration factor and in the process rediscovered some old favorites (oh, how tastes change over the years!). I would appreciate some help from more informed members of this list on the availability of material by John Kay & Sparrows. Their vocals and harp are predictably numb but the bass and guitar parts are worth saving. The guitar players name escapes me but he has a Hubert Sumlin type of attack on the blues tracks. Not the same tone mind you....just the attack. About half their recordings were blues covers, the rest were that dated sixties style. My copies are beyond salvage. Also in that same era was an artist named David Allen. He recorded with a group called the "Arrows". He is attributed with being among if not the first to record with the "fuzz" effect. Are any of his recordings available on CD? And mostly.....I have a very worn album by my very favorite blues artists that I desperately want replaced, "The Blues Every Which Way" by Willie Dixon and Memphis Slim. When I think "blues", this is the sound I hear. Any help here is greatly appreciated.....Especially with the Memphis Slim and Willie Dixon recording. Jim Rocco "Forget those fancy chords...just get this beat", "Throw the fancy chords away....and get this slow beat" John Lee Hooker ========================================================================= Date: Thu, 16 May 1996 00:46:54 GMT Reply-To: Anonymous IU Student From: Anonymous IU Student Organization: Indiana University Subject: Re: In defense of SRV Comments: To: bit-listserv-blues-l@uunet.uu.net Jerry Nickodemski wrote: > Guys, > > Don't just ask Buddy Guy ask any legendary blues player - from EC >to BB to Ralph Collins - and they will tell you that SRV played the blues >like no one else could. That's what makes him special. It's also what makes his imitators a joke. Read on > >I got news for y'all, though. Be on the lookout for Kenny Wayne Shepherd >- another Texa boy who grew up listenin' to SRV practice in the blues >clubs of Dallas. The manchild (he's only 18) kicks out the jams like the >master himself!! Oh joy...does he wear a hat like all the other Strat-wielding SRV clones? The fact that he plays like SRV should knock him down a notch, considering you said SRV was great because he could "play the blues like no one else could." Sorry, trying to let this thread die... J. J. ========================================================================= Date: Wed, 15 May 1996 21:01:11 -0400 Reply-To: BLUESROCCO@AOL.COM From: Jim Rocco Subject: Re: SRV - LONNIE MACK Comments: To: NLLY56A@prodigy.com About the Lonnie Mack-Strike Like Lightning CD and Stevie Ray. Love that acoustic trade-off in the song, "Oreo Cookie Blues". Lonnie outshined the other two, but then we dont know how many "cookies" they consumed that session. Jim Rocco ========================================================================= Date: Thu, 16 May 1996 00:56:25 GMT Reply-To: skb8721@tam2000.tamu.edu From: "Shane K. Bernard" Organization: Texas A&M University (Student) Subject: Re: Paris, Texas Comments: To: bit-listserv-blues-l@uunet.uu.net "P.W. Fenton" wrote: >Please . . . explain to . . . >us . . . why you seriously doubt the >composer of a musical work used in a commercial would make any money. I doubt Cooder made any money off this beer commercial because its soundtrack was _not_ an excerpt from his "Paris TX" score, but a close facsimile arranged (presumably) by another composer. A few notes differ here and there, but the melody still is recognizably Cooder's. Technical legal definitions exist as to what constitutes musical plagerism, and they partly involve the frequency with which notes in an alleged plagarism deviate from those in the original composition. If enough notes differ, it's legally not plagerism, even though the alleged plagerism may have clearly borrowed from another artist's work. I'm not saying this is what happened to Cooder, but I wouldn't be surprised. I say this because my father is a 1950s R&B musician who recorded for labels like Chess and Mercury. I now oversee the collection of his royalties, and I know he often has not been paid by some labels for the use of his compositions -- not in commercials, but on recent CD compilations (some of them high-profile) issued by major US and overseas labels. ========================================================================= Date: Wed, 15 May 1996 18:18:21 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: In defense of SRV Jim Hartac said: > Don't just ask Buddy Guy ask any legendary blues player - from EC >to BB to Ralph Collins - and they will tell you that SRV played the blues >like no one else could. > >I got news for y'all, though. Be on the lookout for Kenny Wayne Shepherd >- another Texa boy who grew up listenin' to SRV practice in the blues >clubs of Dallas. The manchild (he's only 18) kicks out the jams like the >master himself!! > > Jerry Nickodemski Hey! whew doggies, this post was so cool, so very hip, so completely rotund, that there can be only one response.. deafening silence... c'mon ellerz, you can do it! DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Wed, 15 May 1996 18:27:50 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Early Robert Ward I was wonderin' if anyone out there is familiar with the sides recorded by Robert Ward in the late '60s/early '70s with the musicians that became the Ohio Players. I am very familiar with Robert Ward's three Black Top releases, "Fear No Evil", "Rhythm of The People", and "Black Bottom" (Listening to "Rhythm" at this moment). He has become a big influence on my guitar playing with his beautiful blues/R&B stylings. I would like to check out his earlier stuff and I know that a CD is out there with it all on there. Has anyone heard it and what is it like? If you haven't checked Robert Ward out yet do so. If you like R&B with a heavy blues influence (or is it the other way around?) and tasty guitar with soulful vocals then check him out. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Wed, 15 May 1996 18:27:54 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Cephas and Wiggins The Cephas and Wiggins cut on the "Alligator 25th Anniversary Album", "Action Man" has got me interested in the 'East Coast Piedmont' style (as mentioned in the liner notes). Is there anyone out there who can give me a quick rundown on the Peidmont style from a guitarist's point of view. Especially tunings. I know there was a discussion about this a few months ago and I will dig through my files to see what I have. But any info is appreciated. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Thu, 16 May 1996 01:14:01 GMT Reply-To: Allison Peake From: Allison Peake Organization: Cen-Com Internet Subject: Re: NASHVILLE Comments: To: bit-listserv-blues-l@uunet.uu.net Barry Bean wrote: >I'll be spending a few days in Nashville next week and need some ideas on blues > and jazz hotspots to check out. I'm also on the lookout for a decent music > store or sax shop. > >BBB > >- >B.B. Bean bbbean@cris.com >http://www.cris.com/~Bbbean >- ========================================================================= Date: Wed, 15 May 1996 18:42:02 -0700 Reply-To: Michael Hewitt From: Michael Hewitt Organization: Hilmar High School Subject: Re: Last CD in YOUR player Atlantic Blues: Guitar >From the boxed set... All I can say is...sorry, I can't say anything...too busy listening; ) Big Daddy ========================================================================= Date: Wed, 15 May 1996 18:49:12 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Robert Ward (Was: In my CD Player.....) Shaun said: And soon it'll be >Robert Ward's, "Black Bottom" as I'll be working on the solo from "Silver >and Gold." Another blues-l coincidence of note - I just got Robert Ward's 'Black Bottom' this morning. I haven't had a chance to listen to the whole album yet, but what I've heard, I like. Very soulful voice, and an unusual guitar tone. I think I'm really gonna love this one... Silver and Gold is very neat - nice lyrics and interesting chord progression... all I can say is Good Luck, Shaun! -Jim (hndful@uniserve.com) ========================================================================= Date: Wed, 15 May 1996 18:53:57 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: In defense of SRV >I got news for y'all, though. Be on the lookout for Kenny Wayne Shepherd >- another Texa boy who grew up listenin' to SRV practice in the blues >clubs of Dallas. The manchild (he's only 18) kicks out the jams like the >master himself!! > > Jerry Nickodemski Alright everybody! Calm down! Hands beside your chairs! Do not, I repeat, do not! hit the 'reply' button. Take a deep breath... aaah, yes, that's good. Now wipe the foam off your lips and clean off your keyboard...relax...count to ten...good. Now move along... :-) -Jim (hndful@uniserve.com) ========================================================================= Date: Wed, 15 May 1996 21:02:07 -0500 Reply-To: Storm Bailey From: Storm Bailey Subject: Stuck in MY cd player Paul Black and the Flip Kings: KING DOLLAR man oh man here in my office (just finished grading exams): HARD AGAIN Storm ========================================================================= Date: Wed, 15 May 1996 22:05:53 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Early Robert Ward Comments: To: shaun@pacificnet.net In a message dated 96-05-15 21:50:36 EDT, you write: >I would like to check out his earlier stuff and I know that a CD is out >there with it all on there. Has anyone heard it and what is it like? > >If you haven't checked Robert Ward out yet do so. If you like R&B with a >heavy blues influence (or is it the other way around?) and tasty guitar >with soulful vocals then check him out. > > I came to Robert Ward through that first Black Top CD, and was DELIGHTED to get the old stuff (on Relic, I think?) last Spring. I went berzerk about it on this list at the time. If you like the first Robert Ward and early 60s soul (maybe I should say "or" not "and") you will LOVE that release. It has originals of I think 7 of the songs on the first Black Top, and it has unreleased and quite rare stuff. HIGHLY recommended. Tom Freeland ========================================================================= Date: Wed, 15 May 1996 22:13:02 EDT Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: How does one know whose advice and taste are similar > But does anyone have an idea how one can reliably translate any particular > poster's comments so that for instance, i would know if I would like this > particular poster's recommendation or not? Call up your local blues dj and ask them to play it for you (if the recommendation in question is a record or CD). Dave Carpenter Blues Music Director - WHUS-FM University of Connecticut - Storrs, CT http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Wed, 15 May 1996 22:15:25 -0400 Reply-To: bob vanarsdall From: bob vanarsdall Subject: Re: Last CD in YOUR player Irma Thomas -Walking Around Heaven - her New Orleans gospel album on Rounder Bob ========================================================================= Date: Thu, 16 May 1996 09:42:30 +0000 Reply-To: Deputy Dawg Comments: Authenticated sender is From: Deputy Dawg Subject: Last CD in my... The last CD in my player was Stevie Ray Vaughan "In the Beginning". HA-HA-HA! Take that!!! (you know who you are...) Deputy Dawg Defender of the Peace. ========================================================================= Date: Wed, 15 May 1996 19:52:50 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: The Guitar Stylings of Robert Ward (Was: Re: Robert Ward) Jim Witteveen wrote: >Another blues-l coincidence of note - I just got Robert Ward's 'Black >Bottom' this morning. I haven't had a chance to listen to the whole album >yet, but what I've heard, I like. Very soulful voice, and an unusual guitar >tone. I think I'm really gonna love this one... Silver and Gold is very >neat - nice lyrics and interesting chord progression... all I can say is >Good Luck, Shaun! "Silver and Gold" is a great song for someone to use to study the style Robert Ward. It is a gorgeous ballad with beautiful lyrics. On this album, "Black Bottom", he plays a Tele (or a Strat) through a Magnatone. This gives Robert his very characteristic sound. Robert uses fourths a lot in his intros and solos. "Silver and Gold" is no exception. A gentle intro lick consisting of a series of fourths diationic to E open the song. The utilization of fourths with the characteristic sound of Robert's amp makes for an unmistakable combination. It blows me away every time. Very beautiful. The chord progression is very interesting. It starts off in E major and features a descending progression diatonic to the harmonized E major scale. For non-theory people, the progression is E, D#m7 (should be D#m7b5 but I hear an A instead of an Ab), C#m7, B Major (not sure on whether a 7th is in there), A major, G#m and F#m. He then ascends before basing the rest of the structure around E Major and C#m7. The solo is based almost exclusively around E Major Pentatonic. A very Hendrix/Curtis Mayfield vibe is felt. But with Robert's tone and use of fourths, you know it is him. A very nice solo in which melody, simplicity and feeling rule. Robert Wards playing isn't technically demanding or that hard (apart from some chord voicings) to figure out. But with the playing so on the money, in the pocket and tasty that it is more than worth studying. Some serious hours spent on Robert Ward's playing will give you great ideas to spice up your rhythm playing and great licks to add to your solos. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Thu, 16 May 1996 01:43:35 GMT Reply-To: raebc@roanoke.infi.net From: "Rae B. Creedle" Organization: InfiNet Subject: Piedmont Blues SocietyPiedmont Blues Society Comments: To: bit-listserv-blues-l@uunet.uu.net In message - Tue, 14 May 1996 14:58:14 GMT"DUTTWEILER.J" Tuesday, 14 May 1996 2:57pm ETDUTTWEILER.J@GOMAIL writes: :> :>Date: Tuesday, 14 May 1996 2:57pm ET :>To: Internet :>From: DUTTWEILER.J@GOMAIL :>Subject: Piedmont Blues Society :> :> :>Does anyone on the list know if the Piedmont Blues Preservation Society has an :>online presence (Web page, email)? Or is anyone on the list a member? :> :>I w would like to get some info from them a would appreciate any help anyone :>out there can offer :> :>Thanks, :>JD JD, The PBPS web page is: ttp://www.rbdc.com/~jbspain/una-usa/pbps.html The president is John Amber, email: rock92@spyder.net Their annual festival is this weekend near Winston-Salem, NC. I don't know if there are still tickets available. Their answering machine message has a list of stores selling the tickets. (Phone 1-910-333-1994) We live in Virginia, so we had to get our tickets by mail, but I know the tickets are being sold at the Record Exchange in Winston-Salem, Greensboro, Chapel Hill, and Raleigh, among other stores. Rae Rae B. Creedle raebc@roanoke.infi.net ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ Old mainframe programmers never die.... They just get Warped. ========================================================================= Date: Wed, 15 May 1996 22:13:46 -0500 Reply-To: Mark Halverson From: Mark Halverson Subject: MINNESOTA BLUES FESTIVAL It was suggested a few hundred Blues List e-mails ago that I post a schedule for the 3rd annual Minnesota Blues Festival. The festival is a private venture held at the Brown County Fair grounds in New Ulm (those of you that speak German rejoice!), Minnesota. This is roughly 90 miles southwest of the Twin Cities. Here goes: Friday, June 14 5:00 Fabulous Hackmasters 7:00 Soulmates 9:00 Bryan Koenig & the Standback Blues Band 11:00 A.C. Reed & the Sparkplugs Saturday, June 15 1:00 Sweet Pea & JJ Louis Band 3:00 Radio X 5:00 Otis & the Alligators (one of my favorites & all time great at the Brokedown Palace, Washburn, Wisconsin - the USA's northernmost blues club!!! - ? ) 7:00 The Senders 9:00 Fenton Robinson 11:00 Tinsley Ellis Sunday, June 16, 1996 12:00 The Joel Johnson Band 2:00 R.J. Mischo & His Redhot Blues Band 4:00 Howard "Guitar" Luedtke and Blue Max 6:00 Uptown Rhythm Kings The festival apparently has had some growing pains, but still has a solid lineup. Crowds are much smaller & access much better than most festivals. Sponsored in part by New Ulm's Schell's brewery, a small family owned brewery which has been in business 140 years or so - which produces some excellent brews - a great brewery to tour if you have a couple hours to spare while in town. Tickets available at regional outlets and TicketMonopoly (507) 626-7919. Don't forget to check out the MCs on Saturday night - especially the one that looks a bit like Jerry Garcia (bless his blues-loving soul!!!) who has recently been squandering unreasonable amounts of time playing with Blues List and who authored this document. Also a good one day festival in the same area (Kasota, Minnesota) the next Saturday. More details on that later. 5/15 ========================================================================= Date: Wed, 15 May 1996 22:47:45 -0700 Reply-To: Stoneface From: Stoneface Organization: Penn State University, Center for Academic Computing Subject: Re: Last CD in YOUR player Comments: To: bit-listserv-blues-l@uunet.uu.net > > What's the lasy CD,LP or tape you listened to... Lloyd Jones - "Trouble Monkey" ========================================================================= Date: Wed, 15 May 1996 14:51:49 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Last CD in YOUR player Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *What's the lasy CD,LP or tape you listened to... I'm not sure what you mean by that. I don't have any lasy tapes or cds, but I have one Lazy Lester cd. :) (okay, I'll stop with the TYPO PATROL comments, especially since I'm the tyop kign). At home - Robert Nighthawk and Houston Stackhouse - Masters of Modern Blues In my car - Dire Straits (first, self-titled album) -Steve L ========================================================================= Date: Thu, 16 May 1996 00:04:07 -0400 Reply-To: Lacook01@AOL.COM From: "Lorri A. Cook" Subject: Re: Irene I recently acquired a CD with a version of "Irene". It's Black Top's Live at Tipitina's Blues-a-Rama, Volume 6 (BT-1073). This version was performed by Snooks Eaglin.. Lacook01 (Lorri Cook) ========================================================================= Date: Thu, 16 May 1996 00:24:24 -0400 Reply-To: Lacook01@AOL.COM From: "Lorri A. Cook" Subject: Re: Last CD in your player.... Currently stuck on Albert Collins, I have a thinning cassette tape in my truck of "Showdown!", while at home, I have the Black Top CD Blues Cocktail Party (BT 1066). The Blues Cocktail Party CD allowed me to hear some performers mentioned on Blues-l; Rod Piazza and the Mighty Flyers, Anson Funderburgh and the Rockets, and Mike Morgan and the Crawl. ========================================================================= Date: Wed, 15 May 1996 21:34:58 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: How to Advertise a Jam? Comments: To: shannon_oconnor@SWPCO.COM In-Reply-To: <9604158322.AA832207636@smtpgate.swpco.com> from "shannon oconnor" at May 15, 96 05:40:36 pm I come to a jam to play, and don't want to hear excuses why I can't. I attend jams only where I KNOW I'll be able to sit in, REGARDLESS of how many jammers show up, or anything else. The band playing is relatively unimportant, at least in these parts (Hollywood CA), where we have an abundance of great musicians that show up at jams. In fact, we have one fellow who's a rather mediocre sax player and has a not-that-good band who runs arguably the best blues jam in Southern California. He got me to come to his jam by telling me "I give LONG sets - no '2 number' stuff - 45 minutes!" Now that his jams are so popular, he can't go 45 minutes, but he really goes overboard to accommodate everyone the best he can. He can't play sax, but he's a genius at running jams. But the host band should be capable of (and willing to) back up pretty much anything that might come up. Some jams are poorly run, and time runs out before everyone has a chance to sit in. Does the jam MC have the nerve to cut things short when necessary (and IN TIME!), or bring up three guitarists and a couple of harmonica players at the same time if it becomes necessary? Or is the MC a wimp who will bow to pressure by the more prominent, or (worse) their "buddies"? Do this to me ONCE and you'll NEVER see me again at your jam. I'm a doggone hard fellow to get mad, but I REALLY get upset when this happens, and feel there is absolutely no excuse for it. Do I speak for others??? At the best run jams I know of, I've popped in at 1 am (bars legally shut down at 2 am here in CA) and always felt confident of getting up for at least one song - even if it's just on harmonica with three other harmonicists. At jams I'm usually asked to do a harmonica/guitar/vocal solo while the band takes a break. I've got some killer solo blues, as well as things like "Take 5" on harp and guitar that are popular "jam nite" tunes, to break up the routine 12 bar stuff. But if there's not time, I'm quite content to sit in on harp, guitar, or bass. But I _really_ get annoyed when they don't take extreme measures to try and get everyone in. One jam (that I no longer attend) was run by a guitarist who played during EVERY song of the night. IMHO a GOOD jam will feature the band for the first set, then bring up jammers the rest of the night, with the band members sitting in only as required, or for the usual "band" numbers once or twice an hour. If you have a problem with really bad jammers, make it a "pro invitational jam", and advertise it as such prominently. New jammers can be invited up for one "audition" song, then informed as to their "status". No it's not easy, but in many cases it's a necessity. Running a jam isn't for the faint of heart, nor the terminally friendly. The other things you suggest might help, but this one factor is IMHO the MOST important, and if you muff it, it won't matter what else you have. -- IronMan Mike Curtis ========================================================================= Date: Thu, 16 May 1996 05:27:36 GMT Reply-To: Undetermined origin c/o LISTSERV maintainer Comments: RFC822 error: Incorrect or incomplete address field found and ignored. Comments: RFC822 error: Incorrect or incomplete address field found and ignored. Comments: RFC822 error: Incorrect or incomplete address field found and ignored. Comments: RFC822 error: Mail origin cannot be determined. Comments: RFC822 error: Original tag data was -> @inlink.com () From: Undetermined origin c/o LISTSERV maintainer Organization: inlink Subject: New on BLUES WORLD Comments: To: bit-listserv-blues-l@uunet.uu.net An interview with Gayle Dean Wardlow, America's premier blues researcher, Jazzfest Workshops (of particular note to anyone contemplating Blues In The Schools programs) Jazzfest Photos, and twelve new reviews from the dulcet pen of Marvin Hohman, herewith a sample: OTIS GRAND Nothing Else Matters---Sequel 1008 The first few bars spill the juice here. This is a superbly recorded album with a passel of prime accompaniment, only a portion emanating from guitarist Otis. Three vocalists share the front at different times--Kim Wilson for one number, Curtis Salgado for a quartet, Ray Norcia for another eight. Factor in a crackerjack backup unit, featuring the mighty House of Blues Horns, and this one achieves liftoff. In a world where emotion is often a fabricated gesture, the sincerity of Grand's playing rings true. Utilizing a well-worn menagerie of guitars and amps, he manages that hardest of achieve- ments--a persuasively distinctive signature. Check out "Coldburn" and "Looking Good." These instrumentals (one by Grand, the other by the grand Sam Maghett) testify as to just why Otis deserved that streak as UK blues guitarist of the year. And it doesn't hurt to pen a good lyric either. "Finish Line," "Marginal Man," "Waiting For The Hard Times To Go"---all provide more than a little meat for the vocalists to gnaw on. Salgado's soulmoan captivates on Gene Barge's "Mother-in-Law Blues," as does Sugar Ray's workout on B.B.'s "Days Of Old." And Grand knows how to stitch it all together. This is crys- talline and fervent class from start to finish. A ========================================================================= Date: Thu, 16 May 1996 06:14:39 GMT Reply-To: Mike Lynch From: Mike Lynch Organization: Wolfe Internet Access, L.L.C. Subject: Re: SRV Outburst Comments: To: bit-listserv-blues-l@uunet.uu.net "Raymond O. Varner" wrote: >Apologies all around for my recent outburst in reference to the "SRV is = >the best blues guitar player ever post". Sometimes I can't control these = >fits of venal screed. In my own defense, I am a public school teacher = >ever in search of the elusive teachable moment. My zeal sometimes clouds = >my judgement and eye for flamebait. >Sheepishly, >Uncle Ray Who the hell is SRV anyway? Some British rock band? Just wondering... Mike Lynch ========================================================================= Date: Thu, 16 May 1996 01:32:43 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: KNON LB poll April KNON Top 20 Blues Albums April 1996 Living Blues Poll artist/album/label 1. Long John Hunter/Border Town Legend/Alligator 2. The Prowlers/On the Prowl/Bullseye 3. Bobby Bland/Sad Street/Malaco 4. Sonny Rhodes/Out of Control/King Snake 5. Dickey Williams/Full Grown Man/Ichiban 6. Lonnie Brooks/Live at Peppers/Blacktop 7. Otis Rush/Live in Japan/Sequel 8. Little Milton/Greatest Hits/Malaco 9. Mem Shannon/A Cab Drivers Blues/Hannibal 10. Otis Grand/He Knows the Blues/Sequel 11. Freddie King/Live at Electric Ballroom/Blacktop 12. Taj Mahal/Phantom Blues/Private 13. EC Scott/Come and Get Your Love/Blind Pig 14. Eddie Campbell/King of the Jungle/Rooster Blues 15. Ernie Johnson/In the Mood/Waldoxy 16. Reunion Blues band/Back Home to Clarksdale/Icehouse 17. U.P. Wilson/This is U.P. Wilson/JSP 18. Wynonie Harris/Everybody Boogie/Delmark 19. Studebaker John/Tremolo/Blind Pig 20. Guitar Shorty/Get Wise to Yourself/Blacktop KNON 89.3 FM P.O. Box 710909 Dallas, TX 75371 e-mail: don.o@chrysalis.org 5 blues shows/10 hours each week/M-F 6-8 pm reporting weekly to CMJ and the Hard Report reporting monthly to Living Blues end ========================================================================= Date: Thu, 16 May 1996 01:32:44 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: new blues cds april Here's a listing of new blues CDs received at KNON FM in Dallas during April 1996. Don O. artist/album/label Ernie Johnson/In the Mood/Waldoxy Gatemouth Brown/Long Way Home/Verve Buddy Guy/The Real Deal/Silvertone Doc Pointer Band/Doc Pointer Band/wE-pO Smoky Babe & Herman Johnson/Louisiana Country Blues/Arhoolie Sherman Robertson/Here and Now/Code Blue Sarah Brown/Sayin' What I'm Thinkin/Blind Pig W.C. Clark/Texas Soul/Blacktop Scott Ainsle/Jealous of the Moon/Cattail Hoopsnakes/Hoopsnakes/Mouth Piece Charles Ford band/As Real as it Gets/Blue Rock'It Various/Hot Biscuits from House of Blues/HOB Jimmy Rip/Way Past Blue/HOB Gales Brothers/Left Hand Brand/HOB Doug MacLeod/You Can't Take My Blues/Audioquest Joe Beard with Ronnie Earl/Blues Union/Audioquest Various/Slow & Moody, Black and Bluesy/Pointblank John O'Daniel/Legacy/self Cotton Candy/They Call Me Cotton Candy/Co-Ze Roy Rogers/Rhythm and Groove/Pointblank Preston Shannon/Midnight In Memphis/Bullseye Studebaker John and the Hawks/Tremolux/Blind Pig Dick Powell/Blue Plate Special/self Paul Black/King Dollar/HOB John Mooney/Against the Wall/HOB Eric Clapton/Crossroads 2/Polydor Harmonica Fats & Bernie Pearl/Blow Fat Daddy Blow/Bee Bump Various/KING R&B Box Sampler/King Various/Music from Heaven's Prisoners/Code Blue Bob Kirkpatrick/Going Back to Texas/JSP Bobby Patterson/Second Coming/Proud end ========================================================================= Date: Thu, 16 May 1996 01:32:47 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: bob kirkpatrick JSP Records has just released Bob Kirkpatrick's first new album in 23 years, titled "Going Back to Texas". I first met Bob last year at one of Hash Brown's blues jams at The Bone in Dallas and was immediately struck by his wonderful voice and superb B.B. King style guitar work. I attended several gigs and was quickly convinced he was a major talent. After a phone call and a few tapes, John Stedman at JSP Records offered Bob the chance to go back in the studio again. About that same time, Richard Chalk of Topcat Records also approached Bob about recording. About 6 months went by without Bob committing to either label, then last fall he signed a one album deal with JSP. They went into Audio Dallas studio in late January and completed the album in 4 days. This is a band that knows nothing of studio gimmicks. The engineer nearly fell out of his chair when they faded a song, just like they do at live performances. Bob is not your average blues man. Although he has always loved music and performing, it has, until recently, taken a back seat to his career with the Federal Government. Bob drives a beautiful Mercedes to gigs at some of the dumpiest little blues bars in Dallas and that alone is proof he made the right choice. I hope he eventually gets out of those dumpy bars and onto some major festival stages in the next few years. I have no financial interest in Bob's career or in the CD, except for the few I sell through my mail order business. If you think I'm posting this to sell CDs you are mistaken. I just think Bob is an extraordinary talent that blues fans might be interested in, and one of the reasons I subscribe to blues-l is to learn about folks like that. What follows is an interview compiled for the liner notes with Bob telling his own story. Don O. Here's Bob Kirkpatrick's story as compiled from two interviews by Don O. on April 23, 1995 and February 18, 1996. I was born January 10, 1934 in North Louisiana in a little town called Haynesville, 4 miles from the Arkansas line. I grew up there in the sandy hills of Louisiana. I became interested in music about the age of 6. I tried to play piano a little bit and found it had too many keys. My dad had 6 brothers and they all played guitar, pianos, and what have you. I chose guitar from being around them. I went into the military in 1953 during the Korean conflict and saw action in Korea. After Korea I came back and attended school at Grambling, majoring in Physical Education. I was at Grambling 1955-1958. I worked with Ivory Joe Hunter over about 2 1/2 years while I was in school. I became acquainted with him through his road manager, Otis Jackson. He introduced me to Joe and got me to go along and play guitar for him when I could get away from school. It wasn't full time, just when I could arrange it with my school schedule. I did go on one road trip down to Daytona, Florida with him. Everything else was local around Louisiana. I first became heavily involved in blues about 1958. B.B. King did that to me. B.B. King was my main man, then and now. I really liked his style of playing and it just kind of grew on me. He inspired me so with "3 O'clock In The Morning" and so many others. He used to come through Monroe, Louisiana and play at the Carroll Auditorium down there. When I was in school at Grambling I became acquainted with him through my brother. I got to talk with him and we became acquaintances. I talked with him about playing the guitar and he told me to just keep after the practicing. He told me "You've got to feel what you do. Feel it within." After doing that awhile I got to see him again and he heard me play a little, back in the dressing area. He let me play his opening number that night along with his band and he came out and sang. He made me feel real big! I felt like I was about 50 feet tall! There would always be about 80% of Grambling down there when he would come through. In 1958 I became ill just before I was about to do my student teaching. The doctors recommended I take some time off from school and that's when I came to Dallas. I started working in Dallas and have been here ever since. I never have taught school, just a little substitute teaching in Dallas. I worked for the Veterans hospital for 7 years, transferred to the Federal National Mortgage in home loans for a few years, then transferred to Logistics Command for a few years, and ended up in the food and nutrition service. I was a food program specialist for the Federal government. I would visit schools or any organization that received government food subsidies. We did reviews and worked in conjunction with the Food Stamp Program. We were the ones that authorized food stores to accept food stamps from customers. We kept them abreast of changing regulations and things of that nature. I worked out of the Dallas office over on Commerce street. There were 5 of us to cover 59 counties in Northeast Texas. Of course I ended up getting 26 of those counties! Back in 1968 Bobby Bland had lost his guitar player and he asked me to go out on the road with him. The kids were small then, and I just had to turn it down. That was about the time I was in my first regular band. I really didn't form the band myself. There was another guy here in Dallas, Charles Ginyard, that was putting a group together so we had sort of a joint band. We worked together over about 6 or 7 years around the Dallas area. He passed away a few years back. I played at the Newport festival 3 different times starting about 1970. My brother was on the Board of Directors for the festival and he would bring me up every year. I was working for the government by then and I would set aside my vacation to go up and work at that show. I met a lot of people there, names that I had heard since I was very young. I used to use Muddy Waters' band to back me at Newport. He always let me use his band every year. Muddy was quite a guy. During the day when there was nothing really happening on the performance stage, we would sit out under the shade trees and I would give blues guitar seminars. Everyone would gather around and I'd demonstrate chord changes and a few licks. Everyone would have a good time and we would get a good crowd. Looked like everybody had a guitar at that time. Sometimes I would do as many as three of those in a day. During one of those festivals I roomed with my old acquaintance, B.B. King. It was in a women's dormitory. We stayed up late into the night with me asking him questions until he finally fell asleep on me! He's such a beautiful guy. After one of those appearances at Newport, Folkways Records contacted me and asked me to do a blues album for them. I went up there in 1973, did the album, and enjoyed every moment of it. It was called "Feeling the Blues" (Folkways #FTS31032). The distribution wasn't the greatest but it worked out pretty good. After that period I continued to work and raise the children. There was an Elks lodge in Dallas at what is now Martin Luther King Blvd. and Atlanta. I had a little group with an organ, drums, and a guy that alternated on several different horns. We worked there for 16 years playing weekends. We would do some of the annual Elks conventions and a few out of town things, but mostly it was just down at the local lodge on weekends. During the time I worked at the Elks Lodge I didn't have much time to become acquainted with the other musicians around town. I hear a lot of names of guys that were around back then that I really should have known, but didn't because I was so preoccupied between work, family, and playing at the lodge. I retired from the Federal government in May of 1986. I kind of laid off music for awhile. Then a friend of mine opened up a club, T.B.'s Lounge, about 4 years ago, and coerced me back into playing. She would even open the club on Wednesday nights for us to practice. Since I've been back in it I've enjoyed every moment. I met these guys working at T.B.'s. They were playing with another group and they kind of veered off from there and I picked them up. They were doing a good job and I liked their sound. Degge's (drums) been with me a little over two years and Jerry (bass) has been with me about a year and a half. I knew Wilford (sax) from way back in the 60's. He used to sit in with us when I was playing with Ginyard. I played briefly with Frankie Lee Daniels and Wilford was in his band. I knew Harry (keyboards) from the old days when North Dallas was up around Thomas and Hall. Harry was in Bo Thomas' band back when Bo had the Empire Room which later became the Ascot Room. I have quite a few original tunes I've been working on with the fellas. About a year ago we started to get out into some of the other clubs in town. Now I feel like I'm kind of back in it. I'm ready to get back on the festival circuit now that the kids are all grown and married. I have two girls and two boys. Now there's nobody but the wife and I, and she's ready to get me out of the house! She retires in April 96 after 23 years with the Feds. We've been married for 37 years and she's 100 percent in my corner. I'm available and I love to work! end ========================================================================= Date: Thu, 16 May 1996 06:26:46 GMT Reply-To: Mike Lynch From: Mike Lynch Organization: Wolfe Internet Access, L.L.C. Subject: Re: SRV - The Best There Ever Was for some Comments: To: bit-listserv-blues-l@uunet.uu.net Mike Curtis wrote: Who is the "best ever" harmonica player? Blues guitar meister Walter Trout >(who formerly played with British blues harp legend John Mayall and the >Bluesbreakers, and harmonica with Canned Heat) told me that he thinks I am. >(I'm still burping from that pat on the back!) But does this mean that I'm >the absolute best? Of course not. Walter expressed it as _his_ opinion. >There are a lot of mighty fine harmonica players out there. There are many >more of whom neither of us have ever heard. There are a great many styles >of harmonica playing. I have my own unique style, playing mostly single >note melodies in all keys on a single harp. Norton Buffalo, a great second >position player, did an excellent solo on Bonnie Raitts "Runaway" using four >different harps and second position on each of them. I would never have >done it like that myself. Not that I dislike Nortons solo - I think it's >incredible - arguably one of the best harmonica solos ever - relaxed, >expressive, elegant, polished, and it blows your socks off. It's simply not >my style of playing. My solo uses a single harp, and is a little closer to >the synth solo on Del Shannons original, but a lot more "jazzy" with a lot >of fast runs and arpeggios. It's apples and orangutans :#| I greatly >appreciate the different styles of harmonica, guitar, and other instruments. -- IronMan Mike Curtis OK Mike, that's enough about your harp playing; now let's hear about your great singing... Mike Lynch ========================================================================= Date: Thu, 16 May 1996 07:20:26 GMT Reply-To: Steve Hawkins From: Steve Hawkins Organization: Sound Advice Limited's Internet Access for KC Subject: Re: Last CD in YOUR player Comments: To: bit-listserv-blues-l@uunet.uu.net S.STATE.GA.US> wrote: Lee McBee and the Passions "44" Steve Hawkins shawkins@ sound.net ========================================================================= Date: Thu, 16 May 1996 06:27:58 GMT Reply-To: Leebone From: Leebone Organization: AltNet - Affordable Usenet Access - http://www.alt.net Subject: Bluesfan, needs Highway 61 info Comments: To: bit-listserv-blues-l@uunet.uu.net This summer I will be visiting a friend who just got relocated to Memphis. While I'm there, I would like to take a drive down "Blues Highway", which is just south of Memphis. I've never been in Mississippi before, and I was wondering if anyone could give me tour advice on which sights to visit. In other words, WHERE ARE ALL THE BLUES HOT SPOTS? I know Robert Johnson used to play in Robinsonville, but I need to know where a "Blues Tourist" can go to see areas of historical signifigance. I'll settle for taking a picture of an old delapitated juke joint. Can someone help? Post here, or E-Mail. -- Leebone ========================================================================= Date: Thu, 16 May 1996 06:35:18 GMT Reply-To: Leebone From: Leebone Organization: AltNet - Affordable Usenet Access - http://www.alt.net Subject: Re: BLUES IRC channel support needed Comments: To: bit-listserv-blues-l@uunet.uu.net Bluesman wrote: > I'm trying to register #blues as an official IRC channel on >undernet.org, and we just need 10 or more e-mail addresses which just >vote YES.If you want contribute building this blues channel, just >fill in this form with your nick on IRC and e-mail address or any other >blues fans more which would like to support the idea and e-mail it to >me, Ok? > Thanks for your support! > Nickname | E-mail address > --------------------------------------------------------------- > 1: > 2: > 3: > 4: > 5: > 6: > 7: > 8: > 9: >10: > Jose. > Spain. >****************************************************************************** > - Everyday I Have The Blues - Sounds good to me. lsyr@ccia.com (Leebone) ========================================================================= Date: Thu, 16 May 1996 06:39:43 GMT Reply-To: Leebone From: Leebone Organization: AltNet - Affordable Usenet Access - http://www.alt.net Subject: Re: TOWNSHEND Comments: To: bit-listserv-blues-l@uunet.uu.net Mark Stringer wrote: >I must tell everyone that Pete Townshend can play some very convincing blues. >I'm testitifing as witness to his recent NYC Supper club appearence. His >guitaring, piano playing and singing all brought the blues spirit to life. NIce >sounds also came from his keyboard playing sideman.DMark Having not made the big money with The Who for a years, he probably *has* the blues. LOL Just kidding, I like his music too. -- Leebone ========================================================================= Date: Thu, 16 May 1996 05:58:20 -0400 Reply-To: Jon Duttweiler From: Jon Duttweiler Subject: Sitting & Thinking - Sherman Robertson Here & Now We're still in the midst of our Code Blue month at NY CD Blues, we are giving away 5 of their 6 releases in our monthly giveaway game (details on our main page -just hit the [Win CD's] ) The 6th release, the subject of this review, is available to win at "Jim's Brews and Blues." So, on with the show... SHERMAN ROBERTSON HERE & NOW CODE BLUE #82888-2 Sherman Robertson has just released his second disc in the past year for Mike Vernon's Code Blue Records. If 1994's "I'm the Man" (also reviewed by NY CD Blues) was a surprise, Robertson's newest release, "Here & Now" is a revelation! Many artists put out fantastic debut releases only to spend the rest of their careers trying to match that early success. Robertson has not only matched it, but may well have succeeded in surpassing it with this new release. Building on a similar formula as the first disc, mixing West Coast and soul blues with more traditional Texas, Louisiana and Chicago sounds, Robertson winds his way through a variety of new songs. While only one cut is co-written by Robertson, the programming for this CD is strong and imaginative, rather than a simple rehash of covers of blues standard rip-offs. If you're not writing yourself, at least pick strong songs from those who are, and this is just what Robertson has done. Mike Vernon has again assumed production duties for this disc and assembled another first rate group of musicians to support Robertson. Kim Foreman on the B3 Hammond and other keyboards, and Gary Shaw contributing a second guitar reprise their roles from Robertson's first disc. John Bares plays bass and joins in on background vocals while Steve Holley provides the drums and Bob Ross additional keyboards. Once again Mike Vernon also kicks in some percussion work and background vocals. This group has a little sparser sound then presented on the first disc, somewhat leaner with more of a raw edge. And Robertson's guitar is just as sharp, his singing as full bodied and gutsy as ever. Make room on your CD rack for this disc because Sherman Robertson is definitely the "here and now" of the blues! VICTIM OF CIRCUMSTANCE / IN THE HERE AND NOW / BORN LUCKY / I'LL CRY WHEN IT'S OVER / FOOL / LOOKIN' UP AT THE BOTTOM / THE TAIL IS WAGGIN' THE DOG / SALTY TEARS / VALUE OF LOVE / ARE YOU HAPPY NOW / THIS WORLD / HARD LOVE NY CD Takes VICTIM OF CIRCUMSTANCE: This cut starts off with a pounding percussive roll before Robertson cuts in with his stinging single string attack. This cut combines elements of soul with the sophisticated stylings of the West Coast sound. Through it all, however, slices the laser sharp guitar licks and that smooth yet gritty voice of Sherman Robertson. This cut will definitely set you up for the rest of this stellar session and you will NOT be disappointed. IN THE HERE AND NOW: Robertson slows the pace down a notch for this soul/blues ballad. Giving the disc it's title, this song conjures up the excitement and joy of new love and the need to maintain that in "the here and now." Robertson's voice is again strong and passionate and is nicely backed up by a chorus of the musicians playing on the disc. Robertson finishes it off with just a touch of scat singing at the end. Definitely a winner for the soul/blues lovers out there. BORN LUCKY: This cut brings a touch of Texas to West Coast rhythms. The guitar lines have that biting, ice picking quality made famous by Albert Collins, but wrapped around sophisticated rhythm and melodic phrases. Robertson shows that he can also shout when he has to, taking his vocals one level higher in passion and emotion. I'LL CRY WHEN IT'S OVER: Robertson mixes soul balladeering with soaring blues guitar for this cut. A mellow heart puller in the best tradition of the early 70s, Robertson's vocals have that gospel tint to them that really sells this type of song. His guitar leads are sparing and terse, but very well placed and rounded out by the B3 Hammond just underneath in the mix. Is Robertson a bluesman with soul or a soul singer who can play the blues? It doesn't matter, because whatever he does, it works! FOOL: This track is a mid-paced tune with funky rhythms underlying throughout and is a great example of the musical motifs of a tune conjuring up the sense which the lyrics describe. This tune has a late evening "feel" to it, and are the late evening contemplations of a man feeling like a fool over a woman. This cut is on the jazzy side of blues, again with a lot of soulful elements to it. Light piano work and organ fill out the sound. LOOKIN' UP AT THE BOTTOM: Robertson dives deep into the blues for this track, playing it straight, down and dirty. The guitar opens up this slow number with a distinctly Albert Collins tone to it, crisp and lean, with the notes almost bitten off the strings. Robertson can play the full gamut of the blues, effortlessly moving from soulful stylings to this type of deep, BB King inspired blues. From the crying guitar (his solo at the end makes it sound like his guitar is weeping) to the expressive, throaty vocals, Robertson has the full package of tools and uses them effectively. This song is killer! THE TAIL IS WAGGIN' THE DOG: The only song on the disc co-written by Robertson, this cut is a slow paced shuffle with heavy rhythms and some more weeping guitar work from Robertson. Kim Foreman's organ again fills out the sound, substituting for the harmonica's duties in more traditional sounding blues. Robertson, while not going over the edge, is expanding the limits of the blues, incorporating elements from other musical genres to flesh out his presentation. SALTY TEARS: Another song along the same lines as the previous track, this tune cuts the pace up a bit. Robertson's guitar has a bit thicker sound for this cut and his licks are scorching! The keyboards again are omnipresent in the background and this cut adds some background vocals to good effect. The band, as on all these cuts, is tight and together, the sound very polished. VALUE OF LOVE: Robertson and company take us back into the realm of soul blues. This is a tune that one can easily imagine Bobby Bland singing and Robertson does it about as well as the master could. Robertson's vocals are the focal here, the song telling a story rather than just an "interruption" for solo virtuosity! But Robertson's guitar cuts through the mix and again punctuates this tune with spicy licks. ARE YOU HAPPY NOW: This cut starts out jumpin', with strong percussion and bass work right out front. The overall sound of this track is leaner then the others, delivering mostly the rhythms and Robertson's vocals and guitar. The organ fills in occasionally, but does not have as big a presence as on other cuts till further in on the track. THIS WORLD: Texas shuffle blues gives the foundation for this contemporary moan about the plight of the world. Robertson's guitar has that blistering edge that characterizes good Texas blues as he offers up a somewhat cynical view of life. The band adds in some intricate changes and bridges, both percussively and melodically on this cut. A song that will make you think, both musically and philosophically. HARD LOVE: Robertson closes out the disc with a fast paced rockin' blues number that again mixes in quite a bit of soul elements. Without the horns of classic Stax recordings from the late 60s or early 70s, the organ nevertheless gives many of the songs on this disc, including this one, that Stax "feel." Robertson's guitar playing, however, is as contemporary as the morning news and slices right through the mix, without ever becoming self-indulgent! Robertson and company wrap up another first rate release for Code Blue that navigates a pretty heady spectrum of soul and modern blues. Reviewed by Jon Duttweiler Copyright NY CD Blues @1995-1996 All Rights Reserved. Unauthorized use prohibited. NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 16 May 1996 10:14:36 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Blues festivals - Canada In-Reply-To: <199605151909.PAA13880@panix3.panix.com> On Wed, 15 May 1996, Ken Ficara wrote: > Does anyone have any info on blues festivals near Ottowa or Hull in Canada, > or near Montreal? Thanks. > > Ken > Ottawa Blues Festival is the weekend of 5 Jul Off the top of my head: Robert Cray Otis Grand Magic Dick et al Smokin' Joe Kubek Roomful Of Blues Sue Foley Tony D. Johnny Copeland Suzie Vinnick Holmes Brothers there are more I can't remember phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [16/5/96 6:06 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 16 May 1996 08:29:21 -0300 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: Last CD in YOUR player In-Reply-To: from "Leonard Watkins" at May 15, 96 12:58:39 pm > What's the lasy CD,LP or tape you listened to... work: Woody Guthrie - the early years home: Johnny Cash - The Johnny Cash Collection So I'm in a country stage right now - sue me. -Rob "I'm goin' down this oooold dusty rooooooooooad...." Hutten ========================================================================= Date: Thu, 16 May 1996 08:40:21 -0300 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: Blues Revue & HOB In-Reply-To: <4ndo8g$g07@news2.inlink.com> from "bbbean@sheltonlink.com" at May 15, 96 11:10:08 pm I guess I'm not the only one who got all fired up over the B&R #23 cover with the "Blues [sic] Brothers" on the cover. For what it's worth, here's a letter I sent to the editor. -Rob Hi - Just recieved issue #23. Thanks for the coverage of Corey Harris, Matt Murphy and John Mooney, three artists whom I've been wanting to check out. However, I can't say that I'm too pleased with the cover. Brownie McGhee is gone, without ever earning this level of exposure by your publication. Will we lose Jack Owens, Eugene Powell, Henry Townsend and others while you continue to do cover stories about people with (at best) a nominal relationship to the Blues? I still look forward to each issue for the reviews and articles by Dr. Evans and others, but it's getting harder for me to consider your publication as one who's interests lie in promoting the Blues. Goodman and Aykroyd are actors who portray rhythm and blues singers - do they deserve more coverage than the musical giants who helped define the art form for which your magazine is named? Sincerely, Rob Hutten rob@acadiau.ca ========================================================================= Date: Thu, 16 May 1996 07:48:19 EDT Reply-To: Toby Levy From: Toby Levy Subject: Jimmy Rogers' age Guess I should have used the calculator when I wrote that review that I posted yesterday. Jimmy Rogers birthdate is June 3, 1924. He was a mere 60 years old when he recorded "Feeling Good." I guess he qualified for senior citizen discounts but just barrely. Must be since I am now teetering on the brink of age 50 myself that I want to believe that all the active geezers are older than they really are! Toby ========================================================================= Date: Thu, 16 May 1996 06:53:40 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Early Robert Ward Comments: To: shaun@PACIFICNET.NET > I was wonderin' if anyone out there is familiar with the sides recorded by > Robert Ward in the late '60s/early '70s with the musicians that became the > Ohio Players. > I would like to check out his earlier stuff and I know that a CD is out > there with it all on there. Has anyone heard it and what is it like? It's called "Hot Stuff" and is on Relic. Tom Freeland is right on the money - one of the best early 60s soul recordings I've ever heard. Along with the Ohio Players material you get some stuff by the Falcons with Wilson Pickett. EW Eliot Williams University of Wisconsin Department of Medicine williams@heme.medicine.wisc.edu ========================================================================= Date: Thu, 16 May 1996 08:05:21 -0400 Reply-To: Tom Day From: Tom Day Subject: re. last cd in the player Alison Krauss The Rounder 25th Anniversary Blues compilation Ted Hawkins- Songs from Venice Beach (thanks to last week's debate) Mance Lipscomb- Texas Songster James Brown- The CD of JB Tom ****************************************************************************** Tom Day And the butterflies fornicate in the wind... tday@umabnet.ab.umd.edu ****************************************************************************** ========================================================================= Date: Thu, 16 May 1996 07:57:21 -0400 Reply-To: RNABooking From: RNABooking Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Two Steps from the Bland Comments: To: bit-listserv-blues-l@uunet.uu.net >>Bobby Blue Bland is blowing through town next month. Can anybody tell me what kind of performing form the man is in these days?<< Short sets and long medlies...but it's still great. Ronnie Narmour ========================================================================= Date: Thu, 16 May 1996 13:07:00 GMT Reply-To: Mr G M Smith From: Mr G M Smith Subject: Re; Who Do Ya Love My two penn'orth,with no particular significance to the order. Albert King Albert Collins BB King Elmore James Robert Johnson Professor Longhair Dr. John Lowell George Ry Cooder Bonnie Raitt Taj Mahal Howlin' Wolf Otis Redding The Meters Duane Allman Charlie Christian Joe Louis Walker SRV Muddy Waters Jo-Ann Kelly While I'm here,the last disc in my player was,and still is,the Alligator 25th Anniversary Collection. Yours, Garry Smith. ========================================================================= Date: Thu, 16 May 1996 08:42:20 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: DC Blues Society Band Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com This year's DC Blues Society Band (a band of local musicians chosen by singer/guitarist Dave Jackson) has its first gig June 2 at the Washington Folk Festival in Glen Echo, MD. We'll also be playing at the DC Blues Festival on September 7. We're also trying to get some club gigs to promote the blues society. The only problem is we don't have a demo tape yet, and I'm not sure we'll have time to do one (we just had our first practice earlier this week). With support from blues society members, we could definitely draw a big crowd to pretty much any place that booked us. If any DC area managers or booking people are interested, please let me know. Or if you know any club owners who might be interested please pass this message on to them. I'm going to try contacting some clubs myself, but I thought I'd try the list first. We'll probably have at least some promo material out soon, and hopefully we can get a demo tape made. -Steve Levine ========================================================================= Date: Thu, 16 May 1996 07:41:03 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: Don O's Memphis Don.. WONDERFUL stories about the Memphis Blues Fest -- even if you did give me away on that "jiggle girl"!!! Smile. I loved it -- I bet it'll be nice for everyone to get a bird's eye view of the thing...and I'm glad you also pointed out the often dangerous crowd situation. That was the scariest crowd situation(S) I've been in for a long time. I was amazed there wasn't some terrible incident(s) in the crushes that developed. I was with you all the way... Cathi N. ========================================================================= Date: Thu, 16 May 1996 08:54:54 -0400 Reply-To: BluesMojo@AOL.COM From: Doug Carlisle WSFM Subject: Commercial Radio Playlist WSFM "Surf 107" Box FM 107 Wilmington, NC 28402 Houserockin' Blues Sundays 9am-12pm Reported to: This list & "Hard Report" Host: Doug Carlisle...Bluesmojo@aol.com This week......"A Salute To Mom" Hour 1 BB King & Ruth Brown You're the Boss MCA C.J. Chenier Man Smart, Woman Smarter Alligator's 25th Katie Webster Hard Lovin' Mama Alligator's 25th Gary Moore Oh Pretty Woman Charisma Charlie Musselwhite Run Here Mama Blind Pig Muddy Waters She Moves Me MCA John Lee Hooker Good Rockin' Mama Drive Archive Gravy She's Fine Kudzu Buddy Guy Love Her With A Feeling Silvertone Big Walter Horton Back Home to Mama LaserLight Debbie Davies A Mother's Blues Blind Pig Jay Owens My Kind of Woman Code Blue Jesse "Wild Bill" Austin Big Mama's Calling Roesch The Pounders Hard Headed Woman Vent Hour 2 Sleepy John Estes Drop Down Mama LaserLight Etta James Tell Mama MusicClub Willy Murphy Kind Hearted Woman Atomic Theory The Heaters High Time Woman Blind Armadillo Bobby Mitchell Mama Don't Allow Rounder Lonnie Brooks Worked Up Woman MusicClub Pat Travers She Gets the Lovin' Blues Bureau Int'l Johnny Winter Good Time Woman Alligator John Lee Hooker Sugar Mama MCA Brownie McGhee Money Spending Woman Columbia/Legacy Joe Willie Wilkins Hard Headed Woman Memphis Archives Doug MacLeod One Good Woman Audioquest The Radio Kings Cookin' At Ma's Blue Sun/Icehouse Mark May & Agitators Sweet Shuffle Queen Icehouse Hour 3 Popa Chubby Sweet Goddess Of Love & Beer Okeh/550 Bugs Henderson Judi Likes the Blues Flat Canyon Paul Oscher Kind Hearted Woman Viceroots Blind Willie McTell Kind Mama Columbia/Legacy Lloyd Jones Drop Down Mama Audioquest Charlie Musselwhite Midnight Mama Alligator Robert Cray Nothin' But A Woman Rhino Big Mike Griffin High Maintenence Woman Waldoxy Gary Primich Easy Ridin' Mama Flying Fish Doug MacLeod Mystery Woman Audioquest Bryan Lee Smokin' Woman Justin Time Smokehouse Hoodoo Woman Blues King Snake Eddie Kirkland Sugar Mama Deluge ========================================================================= Date: Thu, 16 May 1996 09:10:30 EDT Reply-To: TRADITION@RYKO-MA.CCMAIL.COMPUSERVE.COM From: David Greenberg Subject: Re: Top 20 Comments: To: seale@BIOC02.UTHSCSA.EDU 1. Skip James 2. Son House 3. Lightnin' Hopkins 4. John Lee Hooker 5. Muddy Waters 6. Howlin' Wolf 7. Little Walter 8. Sonny Boy Williamson 9. Piano Red (Dr. Feelgood) 10. Pinetop Perkins 11. Koko Taylor 12. Brownie McGhee 13. Sonny Terry 14. James Cotton 15. Mississippi Fred McDowell 16. Snooks Eaglin 17. Albert Collins 18. Buddy Guy 19. Slim Harpo 20. Rev. Gary Davis (In order from best to best) -Anton Glovsky, Tradition Records/Rykodisc ========================================================================= Date: Thu, 16 May 1996 08:07:46 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Favorite Alt. take / false start Don't you love thos alternate takes and false starts, what are some ya'lls favorites:.. Little Village - SBWII (no contest) Muddy Waters - "Bitter With The Sweet" , I love it when Muddy says Spank that behind or something like that A Little Walter and Leonard Chess conversation that I can't recall the song title What's some of yours LW 'sorry no SRV content' ========================================================================= Date: Thu, 16 May 1996 09:29:10 -0400 Reply-To: FoG_LoVeR_RaGs From: FoG_LoVeR_RaGs Subject: Re: Last CD in YOUR player... Ravi Shankar/Philip Glass on their album PASSAGES, right now @ work..... Slim Gaillard Greatest Hits on tape in my car...... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | Laissez les bon temps roulez!! | | // ~~ ~~ \\ | Let the good times roll!! | | /d-(@)-(@)-b\ | ------------------------------ | | // L \\ | SANJAY 'RAGS' RAJAN | | // //|\\ \\ | sanjay_rajan@formtek.com | | ////`---'\\\\ | FORMTEK,INC. | | // //|||\\ \\ | PITTSBURGH, PA | | // /|||\ \\ | ------------------------------ | | -/---/\o/\---\- | Visualize Whirled Peas!! | | /"\ | | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Thu, 16 May 1996 09:16:48 -0400 Reply-To: TDominey From: TDominey Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Hopkins/Johnson...a good score? Comments: To: bit-listserv-blues-l@uunet.uu.net Lord have mercy...yes those are great records. The Johnson record is A MUST for any decent blues collection. It is a backbone of sorts of which everything else rotates around. The sound quality is obviously a little poor, for they were made on acetate drums in the 1930's. But, the songs have a way of haunting you, just like any other blues fan will tell you. The Hopkins disk is cleaner sounding, and well worth owning. If you've never owned a Hopkins record or even listened to him, he has an incredible sense of timing and humour in his work. A REAL pleasure to listen to. If you like that record, search out "LIGHTNIN!" on the Arhoolie label - great record. let us know how you like them! ========================================================================= Date: Thu, 16 May 1996 09:21:35 -0400 Reply-To: TDominey From: TDominey Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Whoring the Blues - Blues Revue Comments: To: bit-listserv-blues-l@uunet.uu.net Thanks for the great Blues Brothers analogy - that whole deal has always been a little disturbing to me. ========================================================================= Date: Thu, 16 May 1996 09:38:43 -0400 Reply-To: robbd@VYGER.ENET.DEC.COM From: robbd@VYGER.ENET.DEC.COM Subject: Re: King Records Box Set Comments: To: "blues-l@brownvm.brown.edu"@vbormc.vbo.dec.com Folks, as an overseas 'zeller, I get most of my U.S. CD releases thru a friend who gets them for me from Noteworthy Music in NH. Sadly, he's drawn a blank with them on an enquiry for this new box set, so can anyone point me in the direction of any other discount CD outlets (guide price & cat. no.)? Cheers, - Dougie ========================================================================= Date: Thu, 16 May 1996 09:48:43 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Favorite Alt. take / false start Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, ISTS024/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=ISTS024#a#UABDPO#f#DPO#f#UAB#f#EDU@s1boca.corp.wrgrace.com *A Little Walter and Leonard Chess conversation that I can't recall the song *title I think it's on "Worried Life Blues," from The Essential Little Walter ("Leonard, this mic is a bitch!") *What's some of yours Jimmy Rogers' two or three false starts of "Act Like You Love Me," before going into a classic shuffle, with some of Little Walter's best work as a sideman ever. Johnny Guitar Watson's "Love Me Baby" James Harman - "If The Shoe Fits" from Two Sides to Every Story I agree, "Little Village" is the mother of all false starts. (or is that the mother***** of all false starts?) :) -Steve ========================================================================= Date: Thu, 16 May 1996 10:10:55 EDT Reply-To: dgross@XCALIBUR.IINC.COM From: dgross@XCALIBUR.IINC.COM Subject: Favorite False Starts... Two occasions immediately spring to mind: 1.) Howlin' WOlf on the London Sessions, trying to show them how to play the riff to Little Red Rooster. 2.) Lightning Hopkins on "Mojo Hand" (can't remember what release it's off of...I think it might be called _Mojo_Hand_, best of...) telling the backing band that since they can't get it right, he's gonna play it by himself. --Dan Gross -- Dan Gross Programmer by day, Drummer by night. Elba, NY Blues fan all the time... dgross@iinc.com http://www.iinc.com/~dgross ========================================================================= Date: Thu, 16 May 1996 09:45:50 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Two Steps from the Bland D.N. Howard wrote: "Bobby Blue Bland is blowing through town next month. Can anybody tell me what kind of performing form the man is in these days?" To which I respond: "Dear boy, who cares? Bobby Bland is a pro, and with one arm behind his back, a sore throat, and a lame band, he could still out-sing almost anyone on the circuit. So go see him, and you'll be able to tell your grandchildren that you saw one of the greats." In fact, Richard the Younger and I share a wonderful blues memory of Bobby at Massey Hall in 1969, when we presented Bobby on a bill with Buddy Guy, a local band called Whiskey Howl (now no longer active), and-in place of Otis Spann, who was booked but never made the show (he died a few weeks later)-we brought up Lonnie Johnson on stage for what turned out to be his last ever appearance; Buddy played acoustic guitar for him, because Lonnie (who had had a stroke) could not play. I remember that Bobby had a young white kid in the band-his name's gone-who was incredibly good, and certainly gave Buddy a run for his money when Buddy came out to sit in with Bobby for the last song of the night. And then we all went to the legendary Blue Note Club (alas, long gone) and partied until very late... When Richard and I added up the damage, we had lost a total of $1200.00, which was a lot of money back then I did not have at that time, so I quit smoking the next day, to which I credit the fact that I'm still alive. I haven't seen Bobby in six or seven years, but last time we spoke I was on his band bus, and he was chain smoking, and, looking back over the years, I thanked him big-time for helping me lose that money.... Richard the Elder ========================================================================= Date: Thu, 16 May 1996 10:41:55 -0500 Reply-To: MARCIAG@VMS.CIS.PITT.EDU From: Marcia Grodsky Subject: Top Twenty (for today) Big Jack Johnson Duke Robillard Freddie King Junior Brown Leroi Brothers Tailgators Ronnie Dawson Lavelle White Lou Ann Barton Hadda Brooks Otis Spann Jerry Lee Lewis Evan Johns & the H Bombs Sam McClain Dave & Phil Alvin (gonna cheat here and count them as one choice) Candye Kane Pat Boyack & the Prowlers Long John Hunter (thanks to Texas Jeffrey for tipping me off to LJH) Sam Cooke Bobby Bland ---Marcia (who's looking at her list and can't believe she left Patsy Cline off) ========================================================================= Date: Thu, 16 May 1996 10:41:49 EDT Reply-To: dgross@XCALIBUR.IINC.COM From: dgross@XCALIBUR.IINC.COM Subject: Blues IRC Channel... Hey, for those of you blues fans who are interested in chatting, why not just go to the virtual version of "Muddy's Cabin", out on the WWW at http://www.vivanet.com/~catbauer/cabin.html ? It's been around for a while, and it's open all the time (well, free-form chats are discouraged when there's a "Blues Chat" going on in the room :-). The best part is that no special IRC software is needed! (I know that's especially important to you AOLers out there...). There's a group of us who more or less lurk/talk weekdays during the day...It would be nice to see more activity in there. Come on down, have a seat, sip a cold one (virtually, of course :-). HOB ain't taking this Cabin anywhere! :-) --Dan Gross Dan Gross Programmer by day, Drummer by night. Elba, NY Blues fan all the time... dgross@iinc.com Drummer/Vocalist, http://www.iinc.com/~dgross Stoney Lonesome Blues Band ========================================================================= Date: Thu, 16 May 1996 07:50:49 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: May 17 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BADIE, PETER (b/LIONEL HAMPTON) b. 1925-0517, NEW ORLEANS, LA BELL, JAMES "COOL PAPA" (baseball) b. 1903-0517, STARKVILLE, MS GOOD ROCKIN' CHARLES (hca) d. 1989-0517, CHICAGO, IL 56 HALL, JACK (owner: STINSON REC) d. 1989-0517, GRANADA HILLS, CA 68 HAMMOND, STICK HORSE (g/JOB/GOTHAM REC) d. 1964-0517, TAYLORTOWN, LA 68 HOWELL, JOHN E. (tpt/BASIE) d. 1980-0517, OAK PARK, IL 55 JACKSON, PERVIS (of THE SPINNERS) b. 1938-0517, NEW ORLEANS, LA LOPEZ, ISIDORO (asax) b. 1933-0517, BISHOP, TX MAHAL,TAJ (g/p) b. 1942-0517, NEW YORK CITY, NY MCLEAN, JACKIE (asax) b. 1932-0517, NEW YORK CITY, NY MONTGOMERY, JOE (p/J. B. LENOIR) b. 1909-0517, KENTWOOD, LA NELSON, ROMEO (p) d. 1974-0517, CHICAGO, IL 72 PIMVILLE, DAMBUZA (lead/MANHATTAN BROS) d. 1995-0517, S. AFRICA 72 POWELL, TINY (v/MY TIME AFTER AWHILE) b. 1922-0517, WARREN, AR QUINICHETTE, PAUL (tsax) b. 1916-0517, DENVER, CO REDMAN, DEWEY (tsax) b. 1931-0517, FORT WORTH, TX SHIPP, OLIVIA (b) b. 1880-0517, NEW ORLEANS, LA STEPNEY, CHARLES (prod/CHESS REC) d. 1976-0517, CHICAGO, IL 45 SYMONDS, IVAN (g) b. 1933-0517, HAMMONDS, NS TUCKER, IRA (lead/THE DIXIE HUMMINGBIRDS) b. 1925-0517, SPARTANBURG, SC WELK, LAWRENCE (WELK MUSIC/VANGUARD REC) d. 1992-0517, SANTA MONICA, CA 89 WINCHESTER,JESSE (g/songw) b. 1944-0517, BOSSIER CITY, LA WRIGHT, FRANK (tsax) d. 1990-0517, COLOGNE, GERMANY 64 ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 16 May 1996 10:21:44 EDT Reply-To: dgross@XCALIBUR.IINC.COM From: dgross@XCALIBUR.IINC.COM Subject: Re: Last CD In Your Player... Work: Lucky Peterson _Lifetime_ Home: Joe Beard _Blues Union_, Tracey Chapman _New Beginning_, Alligator _25th_, I and II, and _Duke's Blues_. Cassette Decks: Car: Lucky Peterson _Beyond_Cool_ Van: Stoney Lonesome Blues Band (hey, we're working on final mixdown, and I had to listen to it :-)...last _real_ tape would be a cassette copy of SRV's _Live at the El Mocambo_ -- Dan Gross Programmer by day, Drummer by night. Elba, NY Blues fan all the time... dgross@iinc.com Drummer/Vocalist http://www.iinc.com/~dgross Stoney Lonesome Blues Band ========================================================================= Date: Thu, 16 May 1996 10:50:54 -0400 Reply-To: Peter Welch From: Peter Welch Subject: Re: Favorite Alt. take / false start Comments: To: Steve.Levine@corp.wrgrace.com In-Reply-To: from "Steve Levine" at May 16, 96 09:48:43 am There's some great studio chat between Leonard Chess & Howlin' Wolf's band on studio sessions for various songs including "Howlin' for My Darling" and "Nature." on the much-maligned (and litigated) Charly boxed set. Also the recording session for Muddy's "Read Way Back" is a hoot to listen to...But again, this is on the Charly box... Elmore James story about hunting on tractors is great as well on the "Black Snake Blues" session the the Capricorn box. -Peter ========================================================================= Date: Thu, 16 May 1996 10:52:43 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Favorite Alt. take / false start Comments: To: Steve.Levine@corp.wrgrace.com mine is a Modern session with Elmore James and Ike Turner present. You get three quick ways of starting the song, one aborted because Elmore is thrown by the horns coming in. Each time presents a different approach to entering the song, each a great approach, and finally he takes off with it. I think its "My Kind of Woman"? Tom Freeland ========================================================================= Date: Thu, 16 May 1996 10:44:09 -0400 Reply-To: Calliope99 From: Calliope99 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Last CD in YOUR player Comments: To: bit-listserv-blues-l@uunet.uu.net The three discs in my changer right now are: Muddy Waters Chess Box - Disc 2 Jimmy Reed - Speak the Lyrics to Me, Mama Reed Patsy Cline - Greatest Hits Brenda ========================================================================= Date: Thu, 16 May 1996 10:48:08 -0400 Reply-To: Calliope99 From: Calliope99 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Who do you love? Top 20 Comments: To: bit-listserv-blues-l@uunet.uu.net To limit the list to 20 is so, well, limiting. But I must really love these because their discs are rarely, if ever, put back on the shelves: Lightnin' Hopkins Earl Klugh Grover Washington, Jr. Muddy Waters Al Green Lyle Lovett Patsy Cline Aretha Franklin Van Morrison Elmore James Billie Holiday John Coltrane Ray Charles Dave Brubeck Quartet Stevie Ray Vaughn Annie Lennox Bonnie Raitt John Prine Randy Newman The Neville Brothers In no particular order, of course... Brenda ========================================================================= Date: Thu, 16 May 1996 09:58:50 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Favorite Alt. take / false start > From: Leonard Watkins > Don't you love thos alternate takes and false starts, what are some ya'lls > favorites:.. My favorite, hands down, is a studio conversation between Jerry Lee Lewis and Sam Phillips in which Lewis opines that he's undoubtedly going to burn in hell for singing the devil's music. Phillips tries to reason with him, to no avail, while one of the other musicians (Jimmy Van Eaton?) is mumbling "Let's cut it!" in the background. Jerry Lee then rips into "Great Balls of Fire" with (even for him) unusual conviction. EW Eliot Williams University of Wisconsin Department of Medicine williams@heme.medicine.wisc.edu ========================================================================= Date: Thu, 16 May 1996 10:12:06 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Top 20 Oh, alright then, just because someone (Don O?) said it was hip! And in order as per my mood today: 1) Louis Armstong 2) Muddy Waters 3) Duke Ellington 4) Jelly Roll Morton 5) Lonnie Johnson 6) Bessie Smith 7) Robert Johnson 8) Bessie Smith 9) Son House 10) Jimmie Dale Gilmore 11) Lyle Lovett 12) Rev. Julius Cheeks 13) Sam Cooke 14) Prof. Longhair 15) Hank Williams (Sr.) 16) Bobby Bland 17) J.S. Bach 18) John Lee Hooker 19) Steve Earle 20) Humphrey Lyttleton Queries and explanations available on request! Richard the Elder ========================================================================= Date: Thu, 16 May 1996 11:02:21 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Don O's Memphis Comments: To: canorton@journalism.indiana.edu In a message dated 96-05-16 09:12:11 EDT, canorton@JOURNALISM.INDIANA.EDU (Cathi Norton) writes: >and I'm glad you also >pointed out the often dangerous crowd situation. That was >the scariest crowd situation(S) I've been in for a long >time. I was amazed there wasn't some terrible incident(s) >in the crushes that developed. I also HATED the crowd situation. At Bobby Rush, I never felt in danger, but the heat and discomfort got me. At P-Funk, it was worse. I got split off from my (15 year old) daughter, which turned out ok (somehow someway much later she came back to us). I had a fraternity-type guy land on my head while crowd surfing, and then refuse to let go of me when I tried to pull loose until finally I had to elbow my way out (this in the BACK of the crowd). My wife had someone throw up on her feet. THERE WERE TOO MANY NEAR-CHILDREN DRINKING TOO MUCH BEER. No matter how good the music is, under those conditions, it doesn't work. (I don't know whether it was the festival or what, but I liked P-Funk crowds a lot better pre-Lallapalooza. Oh well) The Van Morrison crowd was also too large and too packed, but not quite as obnoxious. It did have more than its share of drunks who would not shut up to listen to music. Tom Freeland ========================================================================= Date: Thu, 16 May 1996 14:51:13 GMT Reply-To: skb8721@tam2000.tamu.edu From: "Shane K. Bernard" Organization: Texas A&M University (Student) Subject: Re: Irene Comments: To: bit-listserv-blues-l@uunet.uu.net smirkyface wrote: >A couple of years back I heard a slow blues song titled "Irene". >I can't remember the name of the artist or the name of the cd. >I think he was based out of Texas. Any info would be helpful. I think this is probably "Irene" by Guitar Gable and the Musical Kings featuring King Karl on vocals. As noted, Gable's real name is Gabriel Perrodin; Karl's real name is Bernard Jolivette. They both are from around Lafayette, Louisiana, tho' Karl recently moved to Arizona for health reasons. Karl and Gable recently reunited for the first time in about 25 years to do several gigs with swamp rocker C. C. Adcock from Lafayette. (I saw them at Antone's in Austin TX and at Festival International de Louisiane in Lafayette.) Karl wrote "Irene" while attending nightschool around Lafayette in the '50s. His teacher caught him and almost made him throw away the lyrics. John Broven writes in "South to Louisiana: Music of the Cajun Bayous" that "Singer King Karl deservedly succeeded with the flip side [of "Congo Mombo"] "Irene," ("the sweetest girl I've ever seen.") "Irene," a melodic ballad in the Fats Domino vein, was an important influence on swamp pop music and the direct inspiration of "Just A Dream," the million-selling national hit by Baton Rouge teen idol Jimmy Clanton." Incidentally, in their Cajun/Creole homeland, Karl and Gable are considered swamp poppers, not swamp bluesman, and their sound is indeed different from the swamp bluesmen who also recorded at JD Miller's in Crowley. I have a chapter on Karl & Gable in my forthcoming book, "Swamp Pop: Cajun & Creole R&B". SKB Swamp Pop Pages http://http.tamu.edu:8000/~skb8721/swamp.html ========================================================================= Date: Thu, 16 May 1996 11:05:58 -0500 Reply-To: MARCIAG@VMS.CIS.PITT.EDU From: Marcia Grodsky Subject: What can you tell me about the Radio Kings? Subject line pretty much says it all. Thanks. ---Marcia ========================================================================= Date: Thu, 16 May 1996 11:08:06 -0500 Reply-To: MARCIAG@VMS.CIS.PITT.EDU From: Marcia Grodsky Subject: Midnight Creepers (band not label) question Does anybody know who's replaced Bird Foster as the vocalist for the Midnight Creepers? Is the harp player doing all the vocals, or have they added a vo- calist? Thanks for any info. ---Marcia ========================================================================= Date: Thu, 16 May 1996 10:12:00 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Blues Magazines Lets say something nice: What is your favorite blues magazine and WHY...? LW ========================================================================= Date: Thu, 16 May 1996 11:16:21 -0500 Reply-To: MARCIAG@VMS.CIS.PITT.EDU From: Marcia Grodsky Subject: Don O's report Never did I experience such a mixture of envy over the fact that I wasn't there and relief due to same as when I was reading Don O's report! I was ready to cry over all the things I missed, yet at the same time I was getting panicky just reading his report on crowd control (or lack thereof). Thanksto Don for the next best thing to being there! ---Marcia ========================================================================= Date: Thu, 16 May 1996 10:23:47 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: Don O's Memphis In-Reply-To: Message of Thu, 16 May 1996 11:02:21 -0400 from On Thu, 16 May 1996 11:02:21 -0400 Tom Freeland said: >In a message dated 96-05-16 09:12:11 EDT, canorton@JOURNALISM.INDIANA.EDU >(Cathi Norton) writes: > >>and I'm glad you also >>pointed out the often dangerous crowd situation. That was >>the scariest crowd situation(S) I've been in for a long >>time. I was amazed there wasn't some terrible incident(s) >>in the crushes that developed. A couple in front of us had their children (10 or 12 yrs old) and the police warned them about going in. They also asked us if we really wanted to go back in. We thought we did, but turned around and after a hour of non moving traffic we made the 5 minute drive to the hotel.... LW ******************* NON BLUES REQUEST: Could somone through private mail explain the "Rainbow" people to me. We don't see a lot of that in my neighborhood and we were kind of surprised. I'm curious to how it got started, what it means..? Someone referred to them as "Rainbow people"...I'm real curious about their lifestyle and ideology..Tell me all you know....THANKS ****************** ========================================================================= Date: Thu, 16 May 1996 11:38:39 -0400 Reply-To: smirkyface From: smirkyface Subject: Re: Two Steps from the Bland >>>Bobby Blue Bland is blowing through town next month. Can anybody tell >me what >kind of performing form the man is in these days?<< > >Short sets and long medlies...but it's still great. >Ronnie Narmour He did two sets at Warmdaddy's a couple of weeks ago. First set after the first song, he stop and talked to the crowd about the fact that he's on stage trying to do a show, but couldn't because of all the talking going on(very cool, it had to be done).He did about 40min after that. He was more comfortable during the second set, and the audience was really into what he was doing. The crowd got into and became part of the show. He talked a little about himself and also talking about his bypass surgery. Second set ran 1hr 50min. BRIAN MCLEAN PHOTOGRAPHY & SMIRKYFACE PRODUCTIONS "life's too short to live the blues" http://www.netaxs.com/~blmclean ========================================================================= Date: Thu, 16 May 1996 11:45:41 -0400 Reply-To: smirkyface From: smirkyface Subject: Manny's car..jam night Does anyone have info one the Jam at Manny's Car wash. Do you have to show up early to sign up? Is there a cover? Do you need to bring your amp? BRIAN MCLEAN PHOTOGRAPHY & SMIRKYFACE PRODUCTIONS "life's too short to live the blues" http://www.netaxs.com/~blmclean ========================================================================= Date: Thu, 16 May 1996 11:50:21 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: LAst CD in your player. Brian Setzer Orchestra and Dukes Blues. Gotta L O V E that big band swing and jump blues! >From the Cape of Cod, Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 16 May 1996 10:49:58 -0500 Reply-To: bolt From: bolt Subject: last CD in YOUR player A delightful performer who I recently saw open for Doyle Bramhall: Dave MacKenzie - Slender Man Blues Reg Burns +++++++++++++++++++++++++++++++++++++++++++++++++ + I'll listen to reason when it comes out on CD + + + + bolt@neosoft.com Houston, TX + +++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Thu, 16 May 1996 09:03:04 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Top 20 Richard the Elder said: >15) Hank Williams (Sr.) I don't think the **(Sr)** was necessary on THIS group! ;-] Hey, have any of you ever heard Hank's "The night I stole old Sammy Morgan's gin"? "Someone took my haid, n' left and elephant's there instaid, on the mornin' after drinkin' Sammy's gin"" funny stuff DC and if you don't like Hank Williams honey.... ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Thu, 16 May 1996 12:03:08 -0400 Reply-To: Leo Aspiras From: Leo Aspiras Subject: Alt Takes / False Starts my favorite is Jimi Hendrix (on some dutch radio recordings) where he is in the studio trying to tell a drummer how to play his interpretation of blue suede shoes....he is trying to get the drummer to lay down a certain beat.....don't know if that was mitch mitchell......but in the end he shouts into the mic "where's that grass man.....gimmie some grass man"....... i have this as part of a collage of audio clips intertwined with the playing of the infamous (probably out of print) "a child's garden of grass" people on this list from the d.c. area who remember when WHFS was broadcasting out of bethesda (across the street from the ol' psychedelly) remember when the dj's at night (weasel i think) would put together endless hours of common music threaded together with inane comedy routines (monty python, firesign theatre)....those were the days my friends....... scatman leo from d.c. ========================================================================= Date: Thu, 16 May 1996 11:08:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Arthur Kelly was Tabby's Blues Box I really like Arthur "Guitar" Kelly's tracks on Arhoolie's "Louisiana Blues" (now out on CD). Does he still perform or does he have any other recordings - in addition to that live one from Baton Rouge? Did he ever record for Jay Miller? -Bonnie ========================================================================= Date: Thu, 16 May 1996 11:07:59 -0500 Reply-To: bolt From: bolt Subject: Spann/Hopkins on Candid Was browsing the Schwann Spectrum and ran across a listing: Otis Spann & Lightnin' Hopkins - The Complete Candid Otis Spann/Lightnin' Hopkins Sessions; Mosaic MD3-139 Does anyone know if this is just a compilation of their available material on Candid or something different? Comments? Thanks. Reg Burns +++++++++++++++++++++++++++++++++++++++++++++++++ + I'll listen to reason when it comes out on CD + + + + bolt@neosoft.com Houston, TX + +++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Thu, 16 May 1996 16:42:09 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Favorite Alt. take / false start In-Reply-To: I have to go with LW on this one, the false start on SBW II's "Little Village" is a gem and funnnyyyy. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [16/5/96 12:32 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 16 May 1996 09:51:33 -0700 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Re: Last CD in YOUR player Car: Robert Covington, "Blues In The Night" - Evidence Work: Carl Weathersby, "Don't Lay Your Blues On Me" - Evidence Home: John Primer, "The Real Deal" - Code Blue Pick of the week: Carl Weathersby, "Don't Lay Your Blues On Me" - Evidence Honorable Mention: Eddie C. Campbell, "King Of The Jungle" - Rooster All of the above, if on vinyl would be worn out by now. Joe ========================================================================= Date: Thu, 16 May 1996 09:45:52 -0700 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Organization: Canada Internet Direct, Inc. Subject: Re: Real Instruments - definition Comments: To: bit-listserv-blues-l@uunet.uu.net Mike Curtis wrote: > > > > And so do all professionals that I know. This tells you the TRUTH about > your technique, etc. > > A friend of mine tries to play bass, but he's terrible. One BIG reason is > that he refuses to practice unamplified. He ALWAYS cranks it as loud as he > can stand, which of course masks all his mistakes. Volume is one type of > "effect", and while a lot of musicians sound jim dandy "loud", the best > bands I've heard can play at low volume and sound incredible. ------------- I'm glad to see all the discourse and opinion that my snide little crack ("define REAL") has generated. AND to see that it hasn't reduced itself to "I'm Right. You're wrong. Shut Up." type of nonsense. Iron Mike's comment on volume is a propos. As a (mostly) solid body bass player (the bass, not my body!!) I understand perfectly the concept of knowing that the instrument, un-amplified, has a certain set of dynamics to it, outside of the sound it makes when plugged in. A great way to practice finger dynamics on a solid body bass is to touch the body up to a (preferably wood) wall, and listen to the resonance it produces. I spent the summer of '72 in a wonderful, wood-panelled cabin, with no amp around; it was a valuable lesson in dynamics!! - Roger B. ========================================================================= Date: Thu, 16 May 1996 09:56:15 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Gearheads *New Manufacture 12AX7's* Hi everybody! I got the Phillips 12AX7 yesterday that I had told you all about. To quickly recap, they are currently made by Phillips in Yugoslavia (not the Czech republic as I was told at first) on equipment purchased from Telefunken (who haven't made tubes in years). The stupid war over there has not hurt the supply of these and there are lots of them available. Anyway, these new Phillips tubes are supposed to be clones of Telefunkens, so when I heard about them I ordered one up. I used my Matchless DC-30, and my Tom Anderson strat to compare them. Very interesting. They sound a little different than an actual Telefunken, more robust and more mids, yet very clear and detailed. I went back and forth between the Phillips and the Telefunken 5-6 times to be sure. At first I was disappointed that they weren't exactly the same, but then I decided to listen to play for a while with just the Phillips, and I came to really like it. This is a NICE tube! And I think guitar players will love it. It has much of the clarity and detail of a Telefunken, with more richness in the middle, and distorts beautifully. This is the best new-production tube I have seen in years and years. Mine ended up in the first position in my Mesa V-Twin pedal where it provides wonderful lead tone, and a very, very nice clean tone as well. To put things in perspective, if you are using an amp with Chinese or Russian 12AX7's you need to replace them all with these Phillips, they are WORLDS better... With the possible exception of the Sovtek 12AX7wxt I think which is also a telefunken clone, but I haven't compared them. You don't have those special Sovteks unless you bought them and put them in yourself. They don't come with new amps. If your 12AX7 tubes are labeled "Fender", "Mesa" or whatever, they are almost certainly the cheap Chinese or Russian ones, and these will make a noticeable improvement. I recommend these new Phillips 12AX7's very highly, and they are very reasonably priced as well. They have them at: Antique Electronic Supply 6221 S. Maple Ave Tempe, AZ 85283 602 820-5411 and Mojo Musical Supply PO Box 10676 Napa, CA 94581 800 927-6656 and probably many other places as well. Now if they would just make some 12AT7's, 5AR4's, EL-84's, 6V6's, and 6L6's...(!) DC No affiliation with any sales organization or manufacturer. ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Thu, 16 May 1996 09:45:00 -0700 Reply-To: Guy Tapper From: Guy Tapper Subject: you folks have great taste! Based on all the top 20 lists and last cd in the player posts, I wouldn't mind being a guest in your homes, cars, offices, etc. You folks have great taste in your music! Guy Tapper Marine Life Research Group Scripps Institution of Oceanography 9500 Gilman Dr. La Jolla CA 92093-0227 (619)534-2358 (619)534-6500 fax ========================================================================= Date: Thu, 16 May 1996 12:15:16 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: Last CD in YOUR player In-Reply-To: Message of Thu, 16 May 1996 10:44:09 -0400 from On Thu, 16 May 1996 10:44:09 -0400 Calliope99 said: >The three discs in my changer right now are: > >Muddy Waters Chess Box - Disc 2 Since the above is also in MY player and the name Brenda rings a bell (to say the least) I had to check that e-mail address...:-)...Great cd choice >Brenda LW ========================================================================= Date: Thu, 16 May 1996 12:26:27 -0600 Reply-To: James Bardsley From: James Bardsley Subject: Re: Top 20 Comments: To: Don Cicchetti In-Reply-To: <199605161605.JAA27006@inet.lasierra.edu> At 9:03 AM -0800 05/16/96, Don Cicchetti wrote: >Richard the Elder said: > >>15) Hank Williams (Sr.) > >I don't think the **(Sr)** was necessary on THIS group! > >;-] > >Hey, have any of you ever heard Hank's "The night I stole old Sammy >Morgan's gin"? > >"Someone took my haid, n' left and elephant's there instaid, on the mornin' >after drinkin' Sammy's gin"" > >funny stuff > >DC > >and if you don't like Hank Williams honey.... > > >____________________________________________________ >Don Cicchetti Yeah but HW Jr's great "I-woke-up-drunk-in-jail" song "I Sleep With My Butt Against the Wall" throws several quality points in his direction. Jim Bardsley "If we're treading on thin ice then we might as well dance." -Jesse Winchester @1971 ========================================================================= Date: Thu, 16 May 1996 12:31:06 -0600 Reply-To: James Bardsley From: James Bardsley Subject: Re: LAst CD in your player. Comments: To: MILLER@SCI.WFBR.EDU In-Reply-To: <01I4RTGWO8HA00E9TX@SCI.WFBR.EDU> At 11:50 AM -0500 05/16/96, "" wrote: >Brian Setzer Orchestra and Dukes Blues. > >Gotta L O V E that big band swing and jump blues! > > > > > >From the Cape of Cod, > >Riffin Rick > >*************************************************************************** Agreed on the new Brian Setzer Orchestra album- for get the name- something like "From The Bijou" (????). I listened to it twice before I figured out it was a live album- there's no leak thorugh of crowd noise or anything. At least I THINK it's live. Why else would he re-do "Rumble in Brighton"? ANyway, great effort, marvelous guitar playing. Setzer blows my mind. Great variety of tones out of- I presume he's using his Gretsch 6120 the whole time- that old Gretsch. You gotta love it. Jim Bardsley "If we're treading on thin ice then we might as well dance." -Jesse Winchester @1971 ========================================================================= Date: Thu, 16 May 1996 13:33:20 -0400 Reply-To: FINNY49911 From: FINNY49911 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Pratice amp question. Comments: To: bit-listserv-blues-l@uunet.uu.net If you prefer the sound of tube amps, I would get a Fender Vibro-Champ--I have a '64 Blackface which sounds incredible. Although it is only 4 watts of power it is pretty loud. Solid state amps like the Pignose just don't have the tone or convey the nuances of a player's picking technique as well as tube amps. Of course another problem is how much you want to spend. A blackface Vibro-Champ (made between '64-'67) will run you from $200-$350. Silver face Vibro-Champs (made between '68-'79) in general--except the early ones--in my opinion don't sound as good, and run about $200. You could also get a normal Champ which doesn't have the tremelo effect. ========================================================================= Date: Thu, 16 May 1996 13:56:14 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Spann/Hopkins on Candid Comments: To: bolt On 16 May 96 at 11:07, bolt wrote: > Was browsing the Schwann Spectrum and ran across a listing: > > Otis Spann & Lightnin' Hopkins - The Complete Candid Otis Spann/Lightnin' > Hopkins Sessions; Mosaic MD3-139 > > Does anyone know if this is just a compilation of their available material > on Candid or something different? Comments? Thanks. It's exactly what the title says, and if it's like the othe Mosaic collections it excellent in every possible way. They do really good work. I don't have this one yet but I intend to buy it. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Thu, 16 May 1996 13:58:32 -0400 Reply-To: MARCIAG@VMS.CIS.PITT.EDU From: Marcia Grodsky Subject: Last CD in Your Player I've been staying with some friends for the past couple of weeks, helping to care for a friend who was hit by a car. I've had to dig deep in my bag of tricks to find some music to play that won't make them wince, but last night I hit on something we could all agree on --- CATHI NORTON's cd, Various Stages of Undress. They were just as taken with it as I've been. Today on the way to work I was listening to something by a local blues band, JAMES KING AND THE USUAL SUSPECTS. The CD is in my car, but I think the name is "At Large". Jimmy King is a Pittsburgh harp player and vocalist whom I first heard about ten years ago when he sat in with another band. I had been impressed with him then, but in the intervening years he never lived up to that first impression. Now, however, he's really "gotten his act together". His vo- cals have become a testimonial to hard work and clean livin'! There's some very nice slide guitar from his bandmate, Jim Dougherty on here, as well as some excellent song writing by Doc and bass player, Chuck Beatty. About half the songs are originals. Two that stand out are "Really the Blues", a slow blues written by Beatty and "Emotional Inflation", a tune Jim Dougherty wrote which I could picture being done by somebody like Tony Bennett, but am glad that Jimmy King's doing it instead! And right now my toes are tapping as I'm playing DAVE AND DEKE's "Hollywood Barn Dance", a wonderful honky-tonk, hillbilly release put out by Dave Stuckey and Deke ("Brian Setzer is the Anti-Christ") Dickerson. When Deke isn't starting flame wars on the rockabilly groups he's writing some great tunes! ---Marcia ========================================================================= Date: Thu, 16 May 1996 10:00:56 -0800 Reply-To: Scott or Jill Oviatt From: Scott or Jill Oviatt Organization: Internet Alaska Subject: Re: ZZ Top: Fans, New Album? Comments: To: bit-listserv-blues-l@uunet.uu.net Ben Lauter wrote: > > Anyone into ZZ Top on this group? Billy Gibbons rocks!!! I personally > think "Gimme All Your Lovin'" is one of the coolest rock/blues/boogie songs > of all time. > > Fans, info? > Ben----------------------------------------------------------------------------- Oh yeah! We both are! Every girl's crazy 'bout a sharp-dressed man! And Cheap Sunglasses...and Nationwide...I could go on and on..let's not forget La Grange. -- Jill __________________________________________________________________ obligatory signatures for oviattws@alaska.net V.3.0 Scott Oviatt (Wild Willy) That's alright....I still got my guitar http://alaska.net:80/~oviattws/beta.htm Jill Oviatt (Ladybass) The man who fears the unknown will one day take fright at his own backside. --Sinbad, from "The Golden Voyage of Sinbad" http://alaska.net:80/~oviattws/ladybuck/peachpg.htm ========================================================================= Date: Thu, 16 May 1996 14:57:38 -0400 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: New discs and nomail In-Reply-To: <199605161659.JAA00258@inet.lasierra.edu> I added to my Son House and Coco Montoya purchase yesterday, Son Seals - Midnight Son, Elmore James - Dust my broom, and Hounddog Taylor and the Houserockers (All calcd 4701). Running out of time to listen to everything. Gone nomail til Wed. Have a great weekend folks! RW ========================================================================= Date: Thu, 16 May 1996 13:48:01 -0400 Reply-To: leddy@A1.POLICE.UPENN.EDU From: Gerald Leddy Subject: Lst on the Cd-player Yesterday... `Green Linnet' sampler and a local band, Stray Cats look-a-like (y'all better sit down for this one) `200lbs of Swingin' Hound'. Jerry. ========================================================================= Date: Thu, 16 May 1996 14:06:26 -0400 Reply-To: SliderDW@AOL.COM From: Don Williams Subject: Re: Bluesfan, needs Highway 61 info Comments: To: lsyr@ccia.com Jim O'Neal's store in Clarksdale sells a map of the Delta with all the blues locations marked on it including Sonny Boy's grave, Parchman, etc. etc. He is online at rooster232@aol.com and his store can probably mailorder you a map. I am not sure how much it costs. No affiliation with Jim O;Neal or his store, but Mary Katherine Aldin recommended the map to me awhile back, said she and a friend used it to go to John Hurt's grave in Avalon. Don Williams ========================================================================= Date: Thu, 16 May 1996 14:12:18 -0400 Reply-To: Ed Mezynski From: Ed Mezynski Subject: Re: How to Advertise a Jam? Comments: To: 71552.541@compuserve.com ]Shannon OConnor asks what would bring me out to a jam. ] ]The assurance that a piano (electric is OK but NOT a synth, a piano) would be ]available. Unlike harp players and guitarists we can't just bring one in ]case we're asked to sit in. ] ]Ann Ann, The third wednesday of each month, the Triangle Blues Society has a jam at the Berkeley Cafe, in Raleigh, NC. I think you played there about a month ago. If you can make any of these jams, let me know and I'll bet we can find you a piano!! ed ========================================================================= Date: Thu, 16 May 1996 11:37:09 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Favorite False Starts... Elvis Presley on "Milkow Blues Boogie" After a false start, Elvis says, "Fellas, that don't move me. Let's get real, real gone for a change." And they do. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Thu, 16 May 1996 14:03:28 -0500 Reply-To: David Silberberg From: David Silberberg Subject: Re: Last CD in my... "The Best of Acappella, Vol. 1" (Relic CD of some a capella east coast groups, none of whom made any national waves, apparently). David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Thu, 16 May 1996 15:16:01 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: New Professor this week? It is my understanding that this week will see the release of: Professor Longhair - "Fess' Gumbo"/ Stony Plain Sounds like something I'll need. Can you tell us anything about this Flohill the ancient? P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Thu, 16 May 1996 15:21:46 -0400 Reply-To: Oded Maron From: Oded Maron Subject: Spann/Hopkins on Candid In-Reply-To: "P.W. Fenton"'s message of Thu, 16 May 1996 13:56:14 -0500 <199605161756.NAA92840@osceola.gate.net> > Was browsing the Schwann Spectrum and ran across a listing: > Otis Spann & Lightnin' Hopkins - The Complete Candid Otis Spann/Lightnin' > Hopkins Sessions; Mosaic MD3-139 > Does anyone know if this is just a compilation of their available material > on Candid or something different? Comments? Thanks. This is all of their material on Candid plus a bunch of unreleased and alternate tracks. The Spann stuff is amazing. The Hopkins CD is also very good (when is he not?), except for the few tracks where he plays the piano. While interesting for Lightnin-heads, he is (to say the least) not as proficient on that instrument as he is on the guitar. Mosaic did a great job once again with liner notes, packaging, etc. Oded ========================================================================= Date: Thu, 16 May 1996 14:27:13 EDT Reply-To: NERD BOY From: NERD BOY Organization: Mt. Abraham Union High School hey I'm new on the list, just saying hello. if anyone knows could you send tour information on Kenny Wayne Shepherd. Or on John Lee Hooker thanks ========================================================================= Date: Thu, 16 May 1996 20:01:23 +0100 Reply-To: Roadrunner Tour Management From: Roadrunner Tour Management Subject: Re: In defense of SRV Comments: To: Jerry Nickodemski At 00:00 16/05/96 GMT, Jerry Nickodemski wrote: > Guys, > >ask any legendary blues player - from EC >to BB to Ralph Collins - and they will tell you that SRV played the blues >like no one else could. > >Be on the lookout for Kenny Wayne Shepherd >***The manchild (he's only 18) kicks out the jams like the >master himself!!*** > > Jerry Nickodemski > Bit of a contradiction there!?!?!? :-) ========================================================================= Date: Thu, 16 May 1996 15:17:16 -0500 Reply-To: Peter Lee From: Peter Lee Subject: Re: Bluesfan, needs Highway 61 info Go from Memphis down 61 to Clarksdale and stop in at the Stackhouse--Jim O'Neal's store--on Sunflower Ave and pick up his Delta travel guide. It's a great resource and lists all the sights (including Muddy's Cabin). You might also want to visit the Blues Museum at the Clarksdale Library. Incidentally, Mississippi Education Television has recently aired (twice) a documentary hosted by Levon Helm that features Willie Morris, Eudora Welty, and that bloke that wrote that big book about the civil war. Anyone else see it? Peter Lee ========================================================================= Date: Thu, 16 May 1996 15:18:56 -0500 Reply-To: James Foster From: James Foster Subject: Re: Spann/Hopkins on Candid Comments: To: Oded Maron Ah, yes, but like so many of the fine Mosaic sets this is no longer available. If you are at all interested in a Mosaic set (available only through the mail) then buy promptly. The T-Bone set will be unavailable soon. James Foster At 3:21 PM 5/16/96, Oded Maron wrote: > > Was browsing the Schwann Spectrum and ran across a listing: > > Otis Spann & Lightnin' Hopkins - The Complete Candid Otis Spann/Lightnin' > > Hopkins Sessions; Mosaic MD3-139 > > Does anyone know if this is just a compilation of their available material > > on Candid or something different? Comments? Thanks. > >This is all of their material on Candid plus a bunch of unreleased and >alternate tracks. The Spann stuff is amazing. The Hopkins CD is also >very good (when is he not?), except for the few tracks where he plays >the piano. While interesting for Lightnin-heads, he is (to say the >least) not as proficient on that instrument as he is on the guitar. >Mosaic did a great job once again with liner notes, packaging, etc. > >Oded ========================================================================= Date: Thu, 16 May 1996 22:16:50 PDT Reply-To: Jos Potting From: Jos Potting Subject: FW: what about compilations? There is a question to which I cannot find a definitive answer! Maybe someone on the list can help me (I'm not sure if this question was asked and answered before, I'm reading the list for six months). The last two Ceedees I bought were both compilations: The Rounder and the Alligator Anniversary boxes. I also had the opportunity to listen to the 4 cd set Chess Blues (o.k. I confess: I made a backup ;' ) I was very pleased by what was on them, especially the variation of styles and the introduction to unknown artists. So far so good, no problems but hours of pleasure. But I discovered more bluescompilations in my collection which I once enthusiastically bought or taped. However, compared to my last gains they were not exciting, not wanting to know more about the artists and have titles like 'Blues Ballads Volume 1' or 'Best in Blues'. Here is my question: what makes a compilation album a good one; is it the fact that 'The best of question' is not taken seriously? Is there one final aim for making compilations? greetings (no tulips) from Holland, Jos jpotting@pi.net ========================================================================= Date: Thu, 16 May 1996 13:33:55 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Thanks to Don O. Great stories about Memphis. Gotta go next time! DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Fri, 17 May 1996 00:04:20 +0300 Reply-To: T P Uschanov From: T P Uschanov Subject: Re: Last CD in YOUR player In-Reply-To: <319A87EA.5@telis.org> I spent today bending a Zep 'n' Stones-worshipping colleague of mine towards the virtues of vintage R&B by means of "Women, Whiskey and Fish Tails" by Wynonie Harris (Ace CDCHD 457). And I must say that it was a tremendous success... T P Uschanov, University of Helsinki, Finland, European Union tuschano@cc.helsinki.fi ### http://www.helsinki.fi/~tuschano/ "Omnia praeclara tam difficilia, quam rara sunt." (Baruch Spinoza, 1632-1677) ========================================================================= Date: Thu, 16 May 1996 16:28:09 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 05/17 B O R N : 05/17 BADIE, PETER Born:1925 NEW ORLEANS, LA Career;BASS Style:BLUES / JAZZ With:LIONEL HAMPTON IZENZON, DAVID Born:1932 PITTSBURGH, PA Career:BASS Style:JAZZ With:PAUL BLEY / ARCHIE SHEPP / BILL DIXON / ORNETTE COLEMAN / SONNY ROLLINS / MOSE ALLISON / PERRY ROBINSON / JAKI BYARD JACQUES,JUDY Born:1944 MELBOURNE,VIC, AUSTRALIA Career:SINGER Style:JAZZ With:Yarra Yarra JB 1960-63 / Gospel Four 1963 / poet Eric Beach / Barry Veith / Married to Sandro Donati / Mark Fitzgibbon / Gary Costello / Larry Keane / Ken Schroder / Peter Jones / Matt Kirsch / Jeremy Allsop / Graham Morgan / Bob Sedergreen's Blues on the Boil / Brian Brown Ensemble KATZMAN, LEE Born:1928 CHICAGO, IL Career;TRUMPET Style:JAZZ / BIG BAND McCORD, CASTOR Born:1907 BIRMINGHAN, AL Career:TENOR SAX / CLARINET Style:JAZZ / BIG BAND McLEAN, JACKIE ( JOHN LENWOOD JR ) Born:1932 NEW YORK, NY Career:ALTO SAX Style:JAZZ With:THELONIUOS MONK / MILES DAVIS / PAUL BLEY / GEORGE WALLINGTON / CHARLIE MINGUS PICARD, JOHN Born:1934 LONDON, UK Career:TROMBONE / PIANO Style:JAZZ With:HUMPHREY LYTTELTON / BRUCE TURNER / TONY COE POWELL,VANCE "TINY" Born:1922 WARREN, AR Career:SINGER Style:BLUES REDMAN, DEWEY (WALTER) Born:1931 FORT WORTH, TX Career:TENOR SAX / MUSETTE Style:JAZZ With:PHAROAH SANDERS / WES MONTGOMERY / ORNETTE COLEMAN / CHARLIE HAYDEN / DON CHERRY / PAT METHENY / MIKE BRECKER / JACK DeJOHNETTE ROLAND, JOE ( JOSEPH ALFRED ROLAND ) Born:1920 NEW YORK, NY Career:VIBES / LEADER Style:JAZZ / BIG BAND SMITH WARREN ( DOYLE ) Born:1903 MIDDLEBOURNE, WV Career:TROMBONE Style:JAZZ / BIG BAND SYMONDS, IVAN S. Born1933 HAMMONDS, NS Career:GUITAR Style:BLUES TRUNK, PETER Born:1936 FRANKFURT, GERMANY Career:BASS / CELLO / TRUMPET Style:JAZZ Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Thu, 16 May 1996 14:29:00 PDT Reply-To: Gary Joneson From: Gary Joneson Subject: 1996 San Francisco Blues Fest 24rd Annual San Francisco Blues Festival Date: September 28 - 29, 1995 Time: 11 a.m. to 5:30 p.m. Location: Great Meadow - Fort Mason, Marina Blvd. at Laguna. Producer: Tom Mazzolini Tickets go in sale June Information: 415-979-5588 Press Information: 415-864-2333 Fax: 415-826-6958 The San Francisco Blues festival presents five days of the BLUES! A week-long series of films, concerts and club dates all the way to the Festival weekend. Performers: Etta James & the Roots Band Percy Sludge, featuring Will Porter & the California All-Stars Charles Brown Johnny "Guitar" Watson Duke Robillard band John Hammond Snooks Eagin with George Porter Magic Dick & J. Geils / Bluestime Tracy Nelson Keb Mo' Saffire - the Uppity Blues Women Jimmy Thackery & the Drivers Gospel Hummingbirds Homesick James Chris Cain Band Alvin Youngblood Hart Harmonica Slim Ron Thompson & the Dusters Four Satins Free Downtown Concert Blues In The Plaza. Annual Kick-off concert Friday, September 27, 1996, Noon. Justin Herman Plaza on the Waterfront! Featuring a tribute to Paul Butterfield, with: Mark Naftalin Nick Gravenites Gary Smith Mark Ford A Week Of Blues September 23-27. The SFBF presents five nightly blues events around San Francisco, including an evening of blues films at the Roxie theater; plus four nights of shows at various clubs. Events include a showcase performance of Blind Pig recording artists, September 27. Gary San Francisco Blues Festival http://www.island.net/~blues/sfbf.htm ========================================================================= Date: Thu, 16 May 1996 17:36:41 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Reminder--SAFFIRE in Cincinnati, May 23!! Tickets are still available for SAFFIRE: The Uppity Blues Women, here in Cincinnati on Thursday evening, May 23. Opening for SAFFIRE is Big Joe Duskin. If you're within walking, driving, swimming (it's been raining a LOT here lately...) or flying distance, don't miss this show! Tickets are available through TicketMaster or at the Aronoff Center box office. Shannon ========================================================================= Date: Thu, 16 May 1996 17:37:00 -0400 Reply-To: MojoBandit@AOL.COM From: Dave Ruthenberg Subject: Re: Blues Magazines Comments: To: ISTS024@uabdpo.dpo.uab.edu Favorite Blues Mag? That's easy - THE BLUES RAG. Why? Because I publish it! Also dig Blues & Rhythm and Living Blues for the genuine love that is displayed for their subject material. Dave Ruthenberg ========================================================================= Date: Thu, 16 May 1996 22:10:41 GMT Reply-To: blueslvr@got.net From: "Roy W. Forgy" Organization: got net? Subject: Need Sacramento Blues fest info Comments: To: bit-listserv-blues-l@uunet.uu.net Looking for info on the upcomming Sacramento Blues Fest. Post here or E-Mail me... Thanks Roy W. Forgy blueslvr@sirius.com blueslvr@got.net Boulder Creek, CA ========================================================================= Date: Thu, 16 May 1996 17:57:20 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: New Professor Longhair The redoubtable PW asks: "It is my understanding that this week will see the release of: Professor Longhair - "Fess' Gumbo"/ Stony Plain. Sounds like something I'll need. Can you tell us anything about this, Flohill the ancient?" Well, yes I can. First the bad news. It is not coming out this week, or probably for another two or three months, The good news that it consists of piano solos only, was recorded a few months before his death, and Stony Plain's worthy leader Holger Petersen, has interspersed the tracks with snippets from the many interviews he did with the Prof. over the years-they're quite short and don't get badly in the way of the music. The session was (we think) the last studio session Longhair did, and it was done for the CBC (our tax dollars, JW!). The album's been prepared with the co-operation of the producer, Keef Whiting, and the Prof.'s estate; the sleeve "notes" are from interviews Holger did on a number of occasions withDr. John (Mac Rebennack), who naturally held the Prof. in high regard, and was able to pass on all sorts of fascination information. One track is included in a special 2-CD compilation (one album blues-based, the other folk/country, etc.) that has just been released in Canada to mark the label's 20th anniversary. Hope this helps. Richard the Elder Not, please, "the ancient" - I think 61 is an okay age, and given my workload I carry I still don't feel ancient! ========================================================================= Date: Thu, 16 May 1996 17:57:07 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: Dave Mackenzie > From: bolt > Subject: last CD in YOUR player > > A delightful performer who I recently saw open for Doyle Bramhall: > Dave MacKenzie - Slender Man Blues I am a big fan of Dave's, as well. A wonderful original songwriter and a fine player and singer. His one man acoustic show is great. He also has another CD out called "Rats in My Bedroom". Both CDs have some very nice original songs on them. Highly recommended. Don O. ========================================================================= Date: Fri, 17 May 1996 00:04:00 BST-1 Reply-To: bsmithb@cix.compulink.co.uk From: Brian Smith Subject: Re: Last CD in YOUR player Comments: To: slydemann@EARTHLINK.NET In-Reply-To: Dave wrote....> > Here are the 7 CD's in my changer at the moment: > > 1. Albert King - Hard Bargain Something else I haven't found in the UK yet - is this a best of compilation type thing of stuff to be found elsewhere or previously unreleased material? B ========================================================================= Date: Wed, 15 May 1996 20:31:39 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Last CD David Brewer - BAD HABITS. Some of you may know the title song. It was = covered by some Canadian guy who's name I don't recall. Brewer is a disciple of Albert Collins, even played with the Razorblade = for a while. His writing is pure blue collar genius. His machine = shop-trip hammer-in yo' face guitar is an acquired taste. I love the = guy. Uncle Ray ========================================================================= Date: Thu, 16 May 1996 16:42:10 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: A Sample of BB King I was driving down the freeway today, tuned into one of the rock stations when along came this song. Nothing special, electric drums, slacker vocals but what got me that they had sampled BB's voice. "I've been downhearted baby" came roaring out. A big contrast to the low key vocals of the song. I was a little surprised. Not often you hear BB, in any form on KROQ. The band was called Primitive Radio Gods. The song was called, "Standing at the Phone Booth with Change in My Hand" or some pretentious title. Led me to thinking what other blues artists have been 'sampled'. I know that Arrested Development used Junior Wells and Buddy Guy's, "Snatch Back and Hold It" (did I get the title right) for "Mama is Always On Stage." I heard an artist that used a sample of Albert King's guitar as a basis for a song. Can't remember who though. Anyone know of any others. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Thu, 16 May 1996 19:13:13 -0500 Reply-To: bolt From: bolt Subject: Who do you love? Top 20 In alphabetical order (except for #1), or I'd never finish: 1) Son House 2) Terry Allen 3) Luther Allison 4) Balfa Brothers 5) Beatles 6) Doyle Bramhall 7) John Campbell 8) Guy Clark 9) Jimmy Dawkins 10) Joe Ely 11) Buddy Guy 12) John Hiatt 13) Lightnin' Hopkins 14) Freddie King 15) Ladysmith Black Mambazo 16) Bob Marley 17) Otis Rush 18) Johnny Shines 19) Stevie Ray Vaughan 20) Bukka White Also receiving votes: Eddie Boyd, Roy Buchanan, James Carr, Eric Clapton, Willie Dixon, Fabulous Thunderbirds, Earl Hooker, Robert Earl Keen Jr., Albert King, B.B. King, Magic Sam, Willie Nelson, Andrew "BB" Odom, Preservation Hall Jazz Band, John Primer, Frankie Lee Sims, Otis Spann, Ernest Tubb, UB40, Little Walter and Mighty Joe Young. Reg Burns +++++++++++++++++++++++++++++++++++++++++++++++++ + I'll listen to reason when it comes out on CD + + + + bolt@neosoft.com Houston, TX + +++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Thu, 16 May 1996 17:17:00 PDT Reply-To: Gary Joneson From: Gary Joneson Subject: 1996 San Francisco Blues Fest Apologizes for sending this a second time, but there were a few serious typos the first time 24rd Annual San Francisco Blues Festival Date: September 28 - 29, 1996 Time: 11 a.m. to 5:30 p.m. Location: Great Meadow - Fort Mason, Marina Blvd. at Laguna. Producer: Tom Mazzolini Tickets go on sale June Information: 415-979-5588 Press Information: 415-864-2333 Fax: 415-826-6958 The San Francisco Blues festival presents five days of the BLUES! A week-long series of films, concerts and club dates all the way to the Festival weekend. Performers: Etta James & the Roots Band Percy Sledge, featuring Will Porter & the California All-Stars Charles Brown Johnny "Guitar" Watson Duke Robillard Band John Hammond Snooks Eaglin with George Porter Magic Dick & J. Geils / Bluestime Tracy Nelson Keb Mo' Saffire - the Uppity Blues Women Jimmy Thackery & the Drivers Gospel Hummingbirds Homesick James Chris Cain Band Alvin Youngblood Hart Harmonica Slim Ron Thompson & the Dusters Four Satins Free Downtown Concert Blues In The Plaza. Annual Kick-off concert Friday, September 27, 1996, Noon. Justin Herman Plaza on the Waterfront! Featuring a tribute to Paul Butterfield, with: Mark Naftalin Nick Gravenites Gary Smith Mark Ford A Week Of Blues September 23-27. The SFBF presents five nightly blues events around San Francisco, including an evening of blues films at the Roxie theater; plus four nights of shows at various clubs. Events include a showcase performance of Blind Pig recording artists, September 27. Gary San Francisco Blues Festival http://www.island.net/~blues/sfbf.htm ========================================================================= Date: Thu, 16 May 1996 20:37:27 -0400 Reply-To: MIGNOGNARJ@AOL.COM From: Will Johnson Subject: cancel mail CANCEL UNSUBSCRIBE STOP MAIL ========================================================================= Date: Thu, 16 May 1996 19:45:42 -0500 Reply-To: Mark Gobeyn From: Mark Gobeyn Subject: current favorites Son House (who else?) J.B. Lenoir Lightnin' Fred McDowell John Hurt Byther Smith Magic Slim (esp. Thursday nights at BLUES ETC.) Skip James Robert Pete Williams Son Thomas other cool stuff Jane Siberry Steve Forbert Bruce Cockburn Steve Earle Joan Armatrading Iris DeMent Dylan (of course) Guy Clark Van THE Man John Martyn (ultra cool!!!) all of the above preferably on vinyl played on British phono equipment ========================================================================= Date: Thu, 16 May 1996 20:50:33 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: A Sample of BB King Comments: To: shaun@pacificnet.net In a message dated 96-05-16 20:07:12 EDT, shaun@PACIFICNET.NET (Shaun T Cronin) writes: >Led me to thinking what other blues artists have been 'sampled'. I know >that Arrested Development used Junior Wells and Buddy Guy's, "Snatch Back >and Hold It" (did I get the title right) for "Mama is Always On Stage." I >heard an artist that used a sample of Albert King's guitar as a basis for a >song. Can't remember who though. Last year, on Little Axe's album THE HOUSE THAT WOLF BUILT, there were a number of samples, most notably Wolf's howl from "Moanin' at Midnight" and from a bit of interview included in the Chess box. This CD was discussed extensively on this list (no conclusion as to whether it was blues ) in the Spring. On the one hand I can't say I can recommend "go out and buy it," but on the other hand, you should at least hear the tracks that sample Wolf. Tom Freeland ========================================================================= Date: Thu, 16 May 1996 20:46:05 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: A Sample of BB King Comments: To: Shaun T Cronin On 16 May 96, Shaun T Cronin had this to say: > I was driving down the freeway today, tuned into one of the rock stations > when along came this song. Nothing special, electric drums, slacker vocals > but what got me that they had sampled BB's voice. "I've been downhearted > baby" came roaring out. A big contrast to the low key vocals of the song. I > was a little surprised. Not often you hear BB, in any form on KROQ. The > band was called Primitive Radio Gods. The song was called, "Standing at the > Phone Booth with Change in My Hand" or some pretentious title. > > Led me to thinking what other blues artists have been 'sampled'. I know > that Arrested Development used Junior Wells and Buddy Guy's, "Snatch Back > and Hold It" (did I get the title right) for "Mama is Always On Stage." I > heard an artist that used a sample of Albert King's guitar as a basis for a > song. Can't remember who though. > > Anyone know of any others. There was an album out by an interesting group called "Little Axe" not too lomg ago that is full of samples of Howlin' Wolf, Son House, Lightnin' Hopkins, etc. Very unusual, but quite enjoyable. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "Everyone wants to have a big pile of money, but distrusts anyone who actually does." - P.W. Fenton ========================================================================= Date: Thu, 16 May 1996 21:12:33 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: cancel mail Comments: To: MIGNOGNARJ@aol.com In a message dated 96-05-16 21:03:58 EDT, MIGNOGNARJ@AOL.COM (Will Johnson) writes: >CANCEL >UNSUBSCRIBE >STOP MAIL THREE STRIKES AND YOU ARE OUT! THIS MEANS YOU HAVE TO STAY AND CONTINUE SUFFERING THROUGH THAT OVERSTUFFED EMAIL BOX. (This is *not* how you unsubscribe from a mail list). I think (this is from memory) you send a message to listserv@brownvm.brown.edu with the words unsubscribe blues-l in the body of the message. Given the gang that hangs out hereabouts, I'm SURE I will be corrected, and fast, if I am mistaken. PW? Tom Freeland ========================================================================= Date: Thu, 16 May 1996 16:12:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Hubert Sumlin Hubert will be in town tonight. If I get a chance to talk to him, does anyone have any questions I can pass along? -Bonnie the K. ========================================================================= Date: Thu, 16 May 1996 21:35:23 -0400 Reply-To: Curtis Hewston From: Curtis Hewston Subject: ATTN: Radio Hosts/Directors Radio hosts and program directors: as promised, here's what you do to get a copy of Roy Rogers' latest release "Rhythm & Groove" from Virgin/Pointblank. NOTE: you must, of course, be a qualifiable radio host or program director, and the disc will only be sent to you c/o your station. E-mail your request to royroger@wco.com (not me, please) or fax it to (415) 898-3647. Include your full name, your show's name, your station's name and mailing address. It will be forwarded to the Virgin radio folks. (Previous requests have already been forwarded.) Roy's web site is at http://www.vivanet.com/~blues/roy/rogers.html *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Thu, 16 May 1996 18:59:09 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Bad Habits (was: Last CD) >David Brewer - BAD HABITS. Some of you may know the title song. It was covered by some Canadian guy who's name I don't recall. That would be Colin James, from his latest album, Bad Habits ( a mighty fine album, by the way). Just as an aside, has this thing been getting any airplay in the US? -Jim (hndful@uniserve.com) ========================================================================= Date: Thu, 16 May 1996 19:05:39 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Stop mail (AGAIN!) Comments: To: abuse@aol.com Comments: cc: mignognarj@aol.com This message forwarded (for the second time) to AOL's increasingly busy netiquette department: >Date: Mon, 13 May 1996 20:35:05 -0400 >Reply-To: MIGNOGNARJ@AOL.COM >Sender: Blues Music List >From: Will Johnson >Subject: Stop mail >To: Multiple recipients of list BLUES-L > >Please, I would like to stop receiving Blues mail. My mailbox is a mess.. > >thankyou Dear Sir, I'm forwarding this message because I am tired of receiving these messages on Blues-L, a blues mailing list. The subscriber receives a message when he/she joins the list. It says _"KEEP THIS MESSAGE SHOULD YOU WANT TO UNSUBCRIBE"_, or words to that effect. Yet, time and again, we receive messages from people who do not have the understanding or courtesy to do so. Please inform this AOL member about the simple rules of netiquette, particularly when dealing with mailing lists.. All it take to unsubscribe is to send a message to LISTSERV@BROWNVM.BROWN.EDU with the message: unsubscribe blues-l in the body. Simple, isn't it? Sincerely, Jim Witteveen (hndful@uniserve.com) ========================================================================= Date: Fri, 17 May 1996 02:09:14 GMT Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: Bluesfan, needs Highway 61 info Comments: To: Leebone On Thu, 16 May 1996 06:27:58 GMT, Leebone wrote: >This summer I will be visiting a friend who just got relocated to >Memphis. While I'm there, I would like to take a drive down "Blues >Highway", which is just south of Memphis. I've never been in >Mississippi before, and I was wondering if anyone could give me tour >advice on which sights to visit. That's easy: 1) Get Jim O'Neal's "Delta Blues Map Kit" ($7.50, I think). Phone Rooster Blues at (601) 627-2209. Or just go pick one up while you're in Clarksdale -- Sunflower Avenue. 2) Get "The Jazz and Blues Lover's Guide to the U.S." by Christiane Bird ($15, Addison-Wesley paperback). It's got about 45 pages (with photos) on Memphis and the Delta. 3) Have a very good road map and a lot of time to explore! 4) Don't forget your camera and a notebook, and music! *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Thu, 16 May 1996 21:49:00 -0500 Reply-To: Todd Ehlers From: Todd Ehlers Subject: Delta Drifters IA & WI dates Here are the club dates for "The Delta Drifters." They are based in NE Iowa: May 18, Saturday La Farge WI Thayer's Sportsmans May 24, Friday Madison WI Anchor Inn May 25, Saturday Lynxville WI Withey's Bar May 26, Sunday Bellvue IA Unknown Bar June 14, Friday Cassville WI Town Pump June 15, Saturday Cedar Rapids IA Bully's June 22, Saturday Tomah WI Poet's Club June 29, Saturday Elroy WI Iron Horse The Bellvue date is with keyboardist Radoslav Yorkovic. Check them out-- they're tight. Todd E. -- ========================================================================= Date: Thu, 16 May 1996 21:55:26 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: cancel mail In-Reply-To: <960516211232_536872355@emout09.mail.aol.com> >I think (this is from memory) you send a message to >listserv@brownvm.brown.edu with the words > >unsubscribe blues-l Send message to: listserv@brownvm.brown.edu No subject In the body of the message: signoff blues-l David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Thu, 16 May 1996 21:58:11 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Favorite False Starts... In-Reply-To: At 12:37 PM -0600 5/16/96, Shaun T Cronin wrote: >Elvis Presley on "Milkow Blues Boogie" > >After a false start, Elvis says, "Fellas, that don't move me. Let's get >real, real gone for a change." > >And they do. I think this is a terrific version / recording of a terrific song - but - This "false start" is so obviously fake (IMO) that it shouldn't really qualify as a "false start". David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Fri, 17 May 1996 02:42:57 GMT Reply-To: "scosio@adnc.com" From: "scosio@adnc.com" Organization: adnc.com Subject: Re: Last CD in YOUR player Comments: To: bit-listserv-blues-l@uunet.uu.net > LW asks: > >What's the latest CD,LP or tape you listened to. At home: Allman Brothers - A Decade of Hits (CD) In the car: A homemade Steely Dan tape (mostly Katy Lied & Royal Scam) \\|// (O-O) ________________oOO__(_)__OOo_________________ | Steve Cosio | | Owner, Great American Music (DJs) | | Talkshow Director, KSDO/San Diego | | scosio@adnc.com | |________________________Oooo._________________| .oooO ( ) ( ) ) / \ ( (_/ \_) ========================================================================= Date: Thu, 16 May 1996 22:08:44 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Favorite False Starts... > Elvis Presley on "Milkow Blues Boogie" > > After a false start, Elvis says, "Fellas, that don't move me. Let's get > real, real gone for a change." > > And they do. That wasn't a false start. That's just the way Presley planned it. Kind of hokey, but a great song. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Fri, 17 May 1996 00:05:00 -0400 Reply-To: SliderDW@AOL.COM From: Don Williams Subject: Re: A Sample of BB King Comments: To: shaun@pacificnet.net The weirdest sample I have ever heard: Bukka White's "Aberdeen Mississippi Blues" sampled into a song called "Electro Blues For Bukka White" by a group called Recoil. Done in the late 80s or very early 90s. Don Williams ========================================================================= Date: Thu, 16 May 1996 23:11:42 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Delta Drifters IA & WI dates > > Here are the club dates for "The Delta Drifters." They are based in NE > Iowa: > > May 18, Saturday La Farge WI Thayer's Sportsmans > May 24, Friday Madison WI Anchor Inn > May 25, Saturday Lynxville WI Withey's Bar > May 26, Sunday Bellvue IA Unknown Bar > > June 14, Friday Cassville WI Town Pump > June 15, Saturday Cedar Rapids IA Bully's > June 22, Saturday Tomah WI Poet's Club > June 29, Saturday Elroy WI Iron Horse > > > The Bellvue date is with keyboardist Radoslav Yorkovic. Check them out-- > they're tight. > > Todd E. > -- > It is Radoslav Lorkovic! But, that's not the point. I thought I may tell you a story, related to him, Blues-Ler Steve Price, and (drunk) myself. One Thursday, some months ago, we had quite a number of beers during our Blues Society's meeting, so we decide after the meeting to go down to a local bar and see Radoslav, who used to live in Iowa City, until 5-6 months ago. The night was slow, about 25 pople in the bar. During the break Radoslav and I started talking about Serbian songs and I suggested we do one together. Steve Price, quite a harp player I have to say (and a horrible singer, I have to say too -:), on harp, Radoslav on accordion and myself (drunk) singing performed a Serbian blues. Actually, it was a sad folk song. People liked it but I still don't go to that bar too often, afraid someone will recognize me. Off course, I would never do that, wasn't I drunk. Ranko ========================================================================= Date: Fri, 17 May 1996 00:09:25 -0400 Reply-To: SliderDW@AOL.COM From: Don Williams Subject: Re: A Sample of BB King Well, my vote for weirdest sample I have ever heard is Bukka White's "Aberdeen Mississippi Blues" sampled into a song called "Electro BLues For Bukka White" by a group called Recoil. (which describes my reaction perfectly!) Don Williams, trying to post this for the second time, first one seems to have failed ========================================================================= Date: Thu, 16 May 1996 23:56:25 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Delta Drifters IA & WI dates Comments: To: Ranko Vujosevic In-Reply-To: <199605170411.XAA25143@monet.ccad.uiowa.edu> On Thu, 16 May 1996, Ranko Vujosevic wrote: > > It is Radoslav Lorkovic! But, that's not the point. I thought I may tell > you a story, related to him, Blues-Ler Steve Price, and (drunk) myself. > > One Thursday, some months ago, we had quite a number of beers during > our Blues Society's meeting, so we decide after the meeting to go down to a local > bar and see Radoslav, who used to live in Iowa City, until 5-6 months ago. > The night was slow, about 25 pople in the bar. During the break Radoslav and I > started talking about Serbian songs and I suggested we do one together. Steve > Price, quite a harp player I have to say (and a horrible singer, I have to say too -:), ^^^^^^^^^^^^^^^ > on harp, Radoslav on accordion and myself (drunk) singing performed a Serbian > blues. Actually, it was a sad folk song. People liked it but I still don't go > to that bar too often, afraid someone will > recognize me. Off course, I would never do that, wasn't I drunk. > I can still show my face in that bar--and he says I'm the horrible singer! WHERE IS RADISLOV? He didn't play his gig last Friday at the above mentioned club and I didn't find out why not. Steve ========================================================================= Date: Thu, 16 May 1996 21:56:50 -0700 Reply-To: Garry Segal From: Garry Segal Subject: Mag Covers Magazines are not the eqivalent of archive style textbooks. I see them as a reflection of what is going today in the blues world. With healthy dose of roots material/artists tracing influences to what is happening *today*.Most of the mags loosely follow that format some with different concentrations of trad,contemp etc.... The cover w/"celebrity" blues guys on it showed some 90s high rollers who support dig and FINANCE blues organizations while running a legit business enterprise. Sorry but that is a Blues story of the day that I dont mind knowing about.Everyone knows they are actors, and shouldnt be taken as disrespect to who ever you might think may deserve a cover. That artist will probably show up there too! Blues has many strange bedfellows, so far I dont see much harm coming to blues through their efforts and alot of visibility for blues.(As much as mainstream USA can take!) I hope those who didnt like the cover read the articles because they were very staight forward, and the mag knew it would take some heat so there is a well written editorial about why the stuff was in there. I had doubts and questions on some stuff I read , but I always do! Again its a Magazine issue! Lighten up..its not going to the Smithsonian. Its the same old thing lots of NEW blues fans come through doors opened by celebs and such. WE NEED NEW BLUES FANS! The mag runs plenty of less glitzty downhome blues articles & pix. Doesnt deserve to be crucified on this one cover. Showbiz is part of the game folks! Not the whole banana but...just a mag cover, I'm " Not Affiliated with da Mag!" Just dont like seeing this blown out of proportion..... Garry "Honey Boy Edwards on the Cover Next, Please" ========================================================================= Date: Fri, 17 May 1996 01:32:18 -0400 Reply-To: Greg Hermanns From: Greg Hermanns Subject: Re: Who Do You Love..Top 20 No specific order: Muddy BB King Robert Johnson Johnny Winter John Hammond Taj Mahal Professor Longhair Snooks Eaglin Van Morrison Tom Waits Lightnin' Hopkins Randy Newman Leon Russell Rod Piazza James Cotton John Lee Hooker Junior Wells SRV Delbert McClinton Charlie Musselwhite ========================================================================= Date: Fri, 17 May 1996 01:33:16 -0400 Reply-To: Greg Hermanns From: Greg Hermanns Subject: Last CD in the player Dave Ray & Tony Glover....'Ashes in my Whiskey" ========================================================================= Date: Fri, 17 May 1996 01:41:15 -0400 Reply-To: Greg Hermanns From: Greg Hermanns Subject: New Metro Blues All Stars/ Louisville-Lex. Anyone in the Louisville or Lexington area familar with the New Metropolitan Blues All Stars? I ran into a lady who used to play piano with them, shes now in San Francisco. She told me to tell them 'HI' if I run across them. ========================================================================= Date: Fri, 17 May 1996 05:53:44 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Bad Credit? Slow Credit? No Credit? No Problem! Subject: Re: Mistakes Comments: To: bit-listserv-blues-l@uunet.uu.net On Wed, 15 May 1996 09:25:51 -0500, "P.W. Fenton" wrote: >On 15 May 96 at 9:05, Troy Kelley wrote: > >> -Jack" (or whatever it's called - you know the song). There are SEVERAL >> -notable fluffs in that solo, but because they're repeated, we accept them as >> -what Fagan INTENDED to play. >> >> Donald Fagan might play a little guitar, But he did NOT do the solos on most, >> - if not all, of the Steely Dan albums. >> >> I doubt if that is what he INTENDED to play > >Yo Troy... Donald Fagan plays piano....and very well. He played >virtually every piano solo Steely Dan recorded, including the one >that was being discussed (Do It Again) before you offered up your >knowledge. Anyway, considering how "punched" Steely Dan records are, I'm surprised anyone believes that the solos are just one take, rather than snippets of several takes. Don't get me wrong, I do enjoy Steely Dan. But, you can rest assured that everything on a Steely Dan record is the very closest they could come to their vision given the technology they had available. The so-called mistakes are quite intentional and done for effect. My favorite Steely Dan song is still FM. Especially that part, "nothing but blues and Elvis, and somebody else's favorite song ....." Kevan Smith cuthulu@rlabs.com the great purple hope for the blues ========================================================================= Date: Fri, 17 May 1996 07:10:29 GMT Reply-To: marc borms From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Great Boogie player : C.Watson Comments: To: bit-listserv-blues-l@news.Belgium.EU.net Hi 'zellers, Last night on my radio, I listened to BluesTown, one of the few blues programs in our l'tle country, and was very excited by a tune played by Chris Watson. He played the piano in a very, very fast boogiewoogie tempo. Who's this guy ? Any recordings ? embee 'who wanna play like Watson does'... ========================================================================= Date: Fri, 17 May 1996 03:21:07 -0400 Reply-To: "jose.eric.s.maglanque" From: "jose.eric.s.maglanque" Subject: last cd in my player Traditional Delta Blues -- Johnny Shines and Library of Congress Sessions -- Son House . . . for the past two months. -- Delta Slim ========================================================================= Date: Fri, 17 May 1996 07:21:58 GMT Reply-To: marc borms From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Re: JULY_19_to_21 Comments: To: bit-listserv-blues-l@news.Belgium.EU.net : seems to be a busy busy weekend all around... :) : JULY 19-21 : ---------- : Pittsburgh Blues Fest, Pittsburgh, PA : Kansas City Blues Fest, Kansas City, MO : New York State Blues Fest, Syracuse, NY : Toronto Blues & Soul Fest, Toronto, CANADA : 19th Annual Vancouver Folk Music Festival, Vancouver, BC, CANADA : any more that weekend...??? The Belgium Rhythm and Blues Festival,Peer, BELGIUM !!!! feat. Koko Taylor, Lonnie Brooks, Kenny Neal, Johny Dyer, S.Burke, L.Richard, O.Rush, Dirty Dozen and a lot more.... embee 'who knows where to go on July 20th !' ========================================================================= Date: Fri, 17 May 1996 04:15:06 -0400 Reply-To: gutber@rz.uni-leipzig.de From: gutber@RZ.UNI-LEIPZIG.DE Subject: Breminale 96 Bluesfestival For the european blueslovers, upcoming weekend the Breminale 96 Int. Bluesfestival is held on 24.+25. of mai in Bremen, Germany. Program is: 24.5. (friday) 18.30 Dicky Greenwood Band (NL) 20.00 Sam Taylor Blues Band (USA) 22.00 Lonnie Brooks Band (USA) 25.5. (sunday) 18.30 The Bluescasters (D) 20.00 The King Brothers (USA) 22.00 Sam Taylor Blues Band (USA) 23.30 The Fabulous Thunderbirds (USA) Tickets are DM 60 for both days, info under phone **49/421/4987588 or **49/421/500503 Also currently on tour in europe is Buddy Guy. Tonight 17.5. he plays in Berlin, Germany. Thomas ========================================================================= Date: Fri, 17 May 1996 09:06:00 GMT Reply-To: Mr G M Smith From: Mr G M Smith Subject: Re; BB King Sample I do believe (I said I DO believe!) Taj Mahal used a sample of Slim Harpo on "Squat That Rabbit" which can be found on "Like Never Before". Small Gearhead question for Don C. Do you know if these new valves,as we call them over here in the Mutha Country,will be available in the UK? Yours, Garry Smith. ========================================================================= Date: Fri, 17 May 1996 04:54:12 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Mag Covers Comments: To: Garry Segal On 16 May 96, Garry Segal had this to say: > Magazine issue! Lighten up..its not going to the Smithsonian. Its the > same old thing lots of NEW blues fans come through doors opened by > celebs and such. WE NEED NEW BLUES FANS! The mag runs plenty of less > glitzty downhome blues articles & pix. Doesnt deserve to be crucified > on this one cover. Showbiz is part of the game folks! Not the whole > banana but...just a mag cover, I'm " Not Affiliated with da Mag!" Just > dont like seeing this blown out of proportion..... > Garry "Honey Boy Edwards on the Cover Next, Please" > You don't want to get too reasonable now. You don't want REAL Blues fans to start looking at you as an "impurist". P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "Everyone wants to have a big pile of money, but distrusts anyone who actually does." - P.W. Fenton ========================================================================= Date: Fri, 17 May 1996 09:06:39 GMT Reply-To: marc borms From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Re: Dr John Comments: To: bit-listserv-blues-l@news.Belgium.EU.net : I was talking to a guitar player with a Scottish jazz band that does Django : style music, and he said that when invited to join, he decided he'd better : learn 'Nuages' (Django's greatest hit). He said it was impossible to play : until he tried making the chords with two fingers only. Let's not forget : Johnny Otis (right hand lost an argument with a chainsaw, but he still : plays piano). Did anybody know what happened with Horace Parlan's hand ? He's the great (jazz)pianist who accompanied the sax-player Archie Shepp on a lot of his recordings... I saw both of them live a few years ago in Antwerp, I think Horace had a problem with his right hand, but is still able to play some fine piano ... I can't beat him ! embee ( who still plays the piano with 10 fingers ;-) ) ========================================================================= Date: Fri, 17 May 1996 09:13:46 GMT Reply-To: marc borms From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Buddy Guy in Belgium Comments: To: bit-listserv-blues-l@news.Belgium.EU.net Next tuesday, Buddy Guy will be on stage in Ghent, 'Vooruit' . The special act mentioned in the press is 'the Hoax'. I think they'll play together ... embee. ========================================================================= Date: Fri, 17 May 1996 03:52:21 -0600 Reply-To: DeWayne Brown From: DeWayne Brown Subject: Toronto Blues Fellow Canadians! I will be in Toronto on business on the evening of 24May and 25May. I will be staying at the Chelsea Hotel (hope it's not a dive) Where can I find da blues for those 2 nights? Thanks, Dew. DeWayne Brown, Director CROSSROADS Outreach (Edmonton Alberta Canada) voice: (403) 474-7421 fax: (403) 471-2311 email: dewbr@freenet.edmonton.ab.ca ========================================================================= Date: Fri, 17 May 1996 07:25:52 -0400 Reply-To: Tom Day From: Tom Day Subject: False Starts My favorite is not technically a false start, but something the audience caused. At The Concert For Bangladesh, George Harrison introduces Ravi Shankar and his playing partners. Ravi talks for a little while and then the players take about a minute to tune their instruments. The crowd then gives them a big round of applause thinking they had just played a song. Ravi then says "Thank you, if you enjoy the tuning so much, I hope you will enjoy the playing more." Tom ****************************************************************************** Tom Day And the butterflies fornicate in the wind... tday@umabnet.ab.umd.edu ****************************************************************************** ========================================================================= Date: Fri, 17 May 1996 07:30:03 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Best Blues in CT. 1996 Competition Round 2 Thursday night May 16th, the Connecticut Blues Society (a not for profit organization) sponsored its SECOND in a series of six shows called The Best Blues Band in Connecticut 1996 Competition. Over the six weeks twenty two bands compete for the opportunity to go Memphis for the The Blues Foundation Talent Contest. Thursday night's show: DATE CLUB BANDS May 16th Maple Tree D.W. Armstrong 781 Hopmeadow Rd. Triple Threat Blues Band Simsbury, CT. The Penetrators The Tone Cats And the winner is: The Triple Threat Blues Band! --------------------------------------------------------------------- Future dates and bands... May 23rd The Muni Larry Willey & the Blues Talkers 485 Main St. Mudcat Blues Band Hartford, CT. Blues Alley Chris Tofield & the Blues Benders May 30th Cafe 9 The Hornets 250 State St. XY Eli & Red House New Haven, CT. D. Smith Blues Band June 6th Black-Eyed Sally's Jim Shepley Band 350 Asylum St. Johnny Vibrato & the Razorbacks Hartford, CT. Dan Pritchard Blues Band The Esquires June 13th Burke's Tavern Briefcase Full of Blues 13 Hope Street Brandy Bob & the Milkbone Daddys Niantic, CT Blue Steele Johnny & the Eastcoast Rockers June 20th Husky Blues THE FINAL with: 1254 Storrs Rd. Smokin' Opey Storrs, CT. The Triple Threat Blues Band Beef Stew The Blues Playground - Sundays at 9pm on 107 FM WCCC - Hartford, CT Host: Stew Crossen 18 Boxwood Drive Vernon, CT 06066-5106 Tel: 800.970.5151 Web: http://www.neca.com/~bfstew E: bfstew@neca.com Reports to: Living Blues, The Hard Report, BluesWire, The Blues Audience Stew Crossen is a member of the Connecticut Blues Society ========================================================================= Date: Fri, 17 May 1996 07:32:37 -0400 Reply-To: rmandler@BBN.COM From: Roland Mandler Organization: BBN Subject: Re: Last CD in YOUR player James Solberg "See That My Grave Is Kept Clean" ========================================================================= Date: Fri, 17 May 1996 07:44:36 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Last CD in YOUR player Uncle Eric wrote >The last CD I listened to was the new LEGACY 53798 : THE STANLEY BROTHERS - >COMPLETE COLUMBIA RECORDINGS. All 22 sides! The late Carter Stanley had one >the great voices - very blue (grass) & lonesome. > > eRIC This is just to say 'correctamundo, Eric,' and to note the last CD in my player, which was Rev. Emmett Dickinson: Complete Works. It's not all pleasure being a reviewer, I'll tell you! Chris Smith (chris@skerries.demon.co.uk) 2 + 2 = 5 for large values of 2 ========================================================================= Date: Fri, 17 May 1996 07:58:41 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: you folks have great taste! >Based on all the top 20 lists and last cd in the player posts, I wouldn't >mind being a guest in your homes, cars, offices, etc. You folks have great >taste in your music! > >Guy Tapper >Marine Life Research Group >Scripps Institution of Oceanography >9500 Gilman Dr. >La Jolla CA 92093-0227 > >(619)534-2358 >(619)534-6500 fax Guests in my home have to clean the last visitor's straw out of the guest bedroom when they arrive. That puts most of 'em off. :-> Chris Smith (chris@skerries.demon.co.uk) 2 + 2 = 5 for large values of 2 ========================================================================= Date: Fri, 17 May 1996 12:07:27 GMT Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: Midnight Creepers (band not label) question Comments: To: MARCIAG@VMS.CIS.PITT.EDU On Thu, 16 May 1996 11:08:06 -0500, you wrote: >Does anybody know who's replaced Bird Foster as the vocalist for the Midnight >Creepers? Is the harp player doing all the vocals, or have they added a vo- >calist? Thanks for any info. What happened to Bird Foster? They just played the Junkyard (Orlando) last weekend with Ace Moreland, but I didn't go. Haven't seen them for awhile now. Maybe it's Ace Moreland? They've been playing together a lot lately. P.S. Tonight it's Junior Wells at the Junkyard. I'll report if it's any good. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Fri, 17 May 1996 07:16:50 EDT Reply-To: NERD BOY From: NERD BOY Organization: Mt. Abraham Union High School Subject: Re: cancel mail ------- Forwarded Message Follows ------- Date sent: Thu, 16 May 1996 21:12:33 -0400 Send reply to: Skipjames@AOL.COM From: Tom Freeland Subject: Re: cancel mail To: Multiple recipients of list BLUES-L In a message dated 96-05-16 21:03:58 EDT, MIGNOGNARJ@AOL.COM (Will Johnson) writes: >CANCEL >UNSUBSCRIBE >STOP MAIL THREE STRIKES AND YOU ARE OUT! THIS MEANS YOU HAVE TO STAY AND CONTINUE SUFFERING THROUGH THAT OVERSTUFFED EMAIL BOX. (This is *not* how you unsubscribe from a mail list). I think (this is from memory) you send a message to listserv@brownvm.brown.edu with the words unsubscribe blues-l in the body of the message. Given the gang that hangs out hereabouts, I'm SURE I will be corrected, and fast, if I am mistaken. PW? Tom Freeland right you are my friend, and the dead cat ========================================================================= Date: Fri, 17 May 1996 08:22:16 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Buddy Guy in Belgium >Next tuesday, Buddy Guy will be on stage in >Ghent, 'Vooruit' . >The special act mentioned in the press is 'the Hoax'. >I think they'll play together ... > >embee. Oh God, let it not be true. Chris Smith (chris@skerries.demon.co.uk) 2 + 2 = 5 for large values of 2 ========================================================================= Date: Fri, 17 May 1996 08:24:23 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Mound City Blue Blowers Jeff Lichtman wrote and Tom Freeland forwarded: >In a message dated 96-05-16 20:29:48 EDT, you write: > >>While in New Orleans, I picked up some records, including a couple by the >>Mound City Blue Blowers. I bought them without knowing anything about the >>group. When I got them home and listened to them, I really liked them. >> >>The titles are: >> >> Arkansaw Blues/Blue Blues - Brunswick 2581 >> >> Barb Wire Blues/You Ain't Got Nothin' I Want - Brunswick 2648 >> >>I'd appreciate any information about this group, like who they are, where >>they come from, and is that really a kazoo they're playing? >> >> - Jeff Lichtman > >I have checked Dixon and Godrich's prewar blues discography (and the standard >post-war, too), Joel Whitburn's discography, and a couple of other books. I >could not look in Rust's Jazz discography because I don't have access to it. > I'm sending this request on to other hopefully better-informed sources, >'cause I'm curious. > >Tom Freeland This condensed from 'New Grove Dictionary of Jazz': Founded as novelty trio 1924 by Red McKenzie (comb-and-paper, voice), Jack Bland (bj, gtr) and Dick Slevin (kazoo and other homemade instrs). 'Arkansaw Blues' reputedly sold 1 million. Moved to NY, made 3 further recordings, played London winter 1924-5 with Eddie Lang, and recorded with him in NY. Between 1929 and 1936 McKenzie used the name for groups of up to 10 players (inc at different times Eddie Condon, Coleman Hawkins, Gene Krupa, Glenn Miller, Pee Wee Russell, Muggsy Spanier, Jack Teagarden, who all recorded with him in 1929-31 (!! says Chris).) Jack Bland was in the group till 1931; Slevin apparently left after 1925. In films: 'The Opry House' (1929) and 'We Called It Music' (1947). 'Blue-blowing' apparently became a term for Dixieland jazz on homemade or nonstandard instruments. Their entry in Rust is nearly 3 pages, so I'm sorry, but ... Chris Smith (chris@skerries.demon.co.uk) 2 + 2 = 5 for large values of 2 ========================================================================= Date: Fri, 17 May 1996 08:24:33 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Favorite False Starts... >Elvis Presley on "Milkow Blues Boogie" > >After a false start, Elvis says, "Fellas, that don't move me. Let's get >real, real gone for a change." > >And they do. > >Shaun > >Shaun Cronin 'Woke up this morning between midnight and day. I was >shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son >House I think it likely that this is a contrived false start rather than a real one. Elivs starts by doing it the way Billy Jack Wills (Bob's brother) did it as a Western Swing number, then rocks it up. (Don't believe anyone who says Elvis got if off a Kokomo Arnold record.) Elvis might have got 'There's Good Rockin' Tonight' from a record by Billy Jack Wills as well. Chris Smith (chris@skerries.demon.co.uk) 2 + 2 = 5 for large values of 2 ========================================================================= Date: Fri, 17 May 1996 08:35:01 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: TOWNSHEND >Mark Stringer wrote: > >>I must tell everyone that Pete Townshend can play some very convincing blues. >>I'm testitifing as witness to his recent NYC Supper club appearence. His >>guitaring, piano playing and singing all brought the blues spirit to life. >>NIce >>sounds also came from his keyboard playing sideman.DMark > >Having not made the big money with The Who for a years, he probably >*has* the blues. LOL >Just kidding, I like his music too. > >-- >Leebone It's not generally known that the now aging Townsend has admitted that he didn't actually write 'hope I die before I get old' in 'My Generation'. What he actually wrote was 'Bob Hope'll die before I get old.' :-] (Stolen from the 'Sunday Times' (British).) Chris Smith (chris@skerries.demon.co.uk) 2 + 2 = 5 for large values of 2 ========================================================================= Date: Fri, 17 May 1996 12:53:23 +0000 Reply-To: "Tony.OConnor" From: "Tony.OConnor" Subject: Dr.John - recomm's ? I've just seen some of the WEA/Atlantic/Rhino CDS on offer locally. I'm going to get some Dr.John as I have none of his material. Should I go for some individual albums or get the Best of (Rhino) ? Recommendations please :-) Thanks, Tony. -- _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ _/ Tony O'Connor, _/ _/ Dept. Biochemistry, Tel : (+353)-91-524411 Ext:2431 _/ _/ University College Galway, Fax : (+353)-91-525700 _/ _/ Galway, E-mail : tony.oconnor@ucg.ie _/ _/ Ireland. _/ _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ ========================================================================= Date: Fri, 17 May 1996 07:56:46 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: Mag Covers In-Reply-To: Message of Fri, 17 May 1996 04:54:12 -0500 from On Fri, 17 May 1996 04:54:12 -0500 P.W. Fenton said: >On 16 May 96, Garry Segal had this to say: >> Magazine issue! Lighten up..its not going to the Smithsonian. Its the >> same old thing lots of NEW blues fans come through doors opened by >> celebs and such. WE NEED NEW BLUES FANS! The mag runs plenty of less *********************** IMHO (this won't be popular) WE NEED MORE AFRICAN-AMERICAN (hate the term) blues fans. I want to see more color at blues shows in my area. The only place I've seen a good mixed audience is Clarksdale.....Just my opinion, but I would like the see more mixed crowds..... LW 'don't think John Goodman is going to help accomplish that' >P.W. Fenton >Tampa, Florida >http://www.gate.net/~pwfenton/ > >"Everyone wants to have a big pile of money, but distrusts >anyone who actually does." - P.W. Fenton ========================================================================= Date: Fri, 17 May 1996 09:31:45 -0400 Reply-To: Dave Markovits From: Dave Markovits Subject: Free Chicago Stuff Next Saturday the 22nd, a couple of free shows of interest here in Chicago. Tab Benoit will be giving a free in store appearance at Hear Records (Rush and Walton) at 1:00p.m. At 2:00p.m. Otis Clay will be appearing at the Cultural Center. 78 East Washington. They will be interviewing him and showing a documentary about his life. Hopefully he will be playing as well. Best things in life are free. David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Fri, 17 May 1996 09:41:50 -0400 Reply-To: Lacook01@AOL.COM From: "Lorri A. Cook" Subject: Blues Videos This month's issue of "Mix" magazine has an interesting article concerning roots music videos. Stefan Grossman's Guitar Workshop has a division named "Vestopol Videos". Vestopol's catalogue contains such titles as "Legends of Flatpicking Guitar", and "Legends of Country Blues Guitar", with footage of Big Bill Broonzy, Bukka White, Rev. Gary Davis, Son House, Leadbelly, Mississippi John Hurt, and others. There is also a collection of Bottleneck Blues Guitarists, Jazz Guitarists, Delta Blues, Texas Blues Guitarists, as well as the films of Pete and Toshi Seeger (apparently an extremely valuable source of filmed performances from the late '50's). Anyone interested in, and having difficulty finding performances of classic bluesmen on tape sould find these a useful resource. Mix's article was written by Blair Jackson, and easy enough to find in the May issue. Don't bother with the index--just find the Mix subscription insert; the article is to the left and right of this convenient bookmark. Lorri Cook (Lacook01) ========================================================================= Date: Fri, 17 May 1996 08:47:11 -0500 Reply-To: David L Bishop From: David L Bishop Subject: Who do you love.. Who do I love... Otis Rush Otis Spann Mem Shannon South Side Jukes SRV Albert Collins Lonnie Brooks Van Morrison Little Charlie and the Nightcats Etta James Lucky Peterson BB King Son Seals Steely Dan Crash Test Dummies Blood Sweat and Tears Tower of Power Chicago(early) Crusaders The list goes on and on and on.... Currently in CD Player: Home: Mem Shannon Work: Blood Sweat and Tears 4 Thanks for listening!!! ========================================================================= Date: Fri, 17 May 1996 09:48:33 -0400 Reply-To: KAZGOOSE From: KAZGOOSE Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Blues in the movies?? Comments: To: bit-listserv-blues-l@uunet.uu.net i don't know if you have noticed the trailers for Alc Baldwin's new action movie with the woman from Spuerman (Teri Hatcher) - but the soundtrack is all blues favorites - it may be worth checking out even if the movie isn't.... then again Teri Hatcher.... peace joe ========================================================================= Date: Fri, 17 May 1996 10:23:01 -0400 Reply-To: JIMBLUE1 From: JIMBLUE1 Organization: America Online, Inc. (1-800-827-6364) Subject: Miss. Valley Blues Fest. Comments: To: bit-listserv-blues-l@uunet.uu.net Does anyone know the schedule for the Mississippi Valley Blues Festival in Moline? Thanks in advance Jim Armstrong ========================================================================= Date: Fri, 17 May 1996 07:39:50 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: May 18 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BROOKS, RICHARD (dir/BLACKBOARD JUNGLE) b. 1912-0518, PHILADELPHIA, PA BROWN, FRANCES (v) d. 1982-0518, BOSTON, MA 66 BUBBLES, JOHN (v/BUCK & BUBBLES) d. 1986-0518, BALDWIN HILLS, CA 84 COPELAND, RAY (tpt) d. 1984-0518, SUNDERLAND, MA 57 FOSTER, GEORGE "POPS" (b) b. 1892-0518, MCCALL, LA GLENN, TYREE (tbn/BUDDY TATE) d. 1974-0518, ENGLEWOOD, NY 62 HARDEE, JOHN "BADMAN" (tsax) d. 1984-0518, DALLAS, TX 65 HAWKINS, WALTER (v/gospel) b. 1949-0518, OAKLAND, CA HOOPER, LOU (p) b. 1894-0518, CHATHAM, ONTARIO LABOSTRIE, DOROTHY (songw/TRUTTI FRUTTI) b. 1928-0518, RAYLAND, KY LITTLE SON JOE (g/MEMPHIS MINNIE) b. 1900-0518, HUGHES, AR SHAW, ROBERT (p/ARHOOLIE REC) d. 1985-0518, AUSTIN, TX 76 SMITH, LUCIUS (bjo) d. 1980-0518, SARDIS, MS 95 TAVARES, BUTCH (of THE TAVARES) b. 1953-0518, CAPE VERDE IS., TURNER, JOE BIG (v/songw) b. 1911-0518, KANSAS CITY, MO ------------------------------------------------------------------------------- ========================================================================= Date: Fri, 17 May 1996 07:40:39 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: May 19 Here's a few dates (b. born, d. death) for Sunday. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- COATES, ODIA (v/gospel) d. 1991-0519, OAKLAND, CA 49 DOBBS, C. D. (g) b. 1917-0519, OKOLONA, MS HAWKINS, COLEMAN (tsax) d. 1969-0519, NEW YORK CITY, NY 67 HILL, DUSTY (b/ZZ TOP) b. 1949-0519, DALLAS, TX HILL, TEDDY (tsax) d. 1978-0519, CLEVELAND, OH 68 HOPE, ELMO (p/JOE MORRIS/COLTRANE) d. 1967-0519, NEW YORK CITY, NY 43 JONES, GRACE (v) b. 1952-0519, SPANISHTOWN,JAMAICA LEVINE, STEVE (BLUES-L MEMBER) b. 1970-0519, SILVER SPRING, MD LYONS, JIMMY (asax) d. 1986-0519, BRONX, NY 52 MALCOLM X SHABAZZ :-) b. 1925-0519, OMAHA, NE MOORE, MONETTE (p) b. 1902-0519, GAINESVILLE, TX ROBINZINE, LEE (blues taxi driver!) b. 1923-0519, QUITMAN, MS SILVERMAN, SIME (founder: VARIETY) b. 1873-0519, CORTLAND, NY THACKERY, JIMMY (g/NIGHTHAWKS) b. 1953-0519, PITTSBURGH, PA TOWNSEND, PETE (:-) (g) b. 1945-0519, LONDON, UK ------------------------------------------------------------------------------- ========================================================================= Date: Fri, 17 May 1996 10:01:20 -0600 Reply-To: James Bardsley From: James Bardsley Subject: Re: Last CD Comments: To: "Raymond O. Varner" In-Reply-To: <01BB4344.7F684E80@ip-pdx12-48.teleport.com> In the car CD for the last two days: Robert Cray's "Some Rainy Morning". I am continually impressed at how good this effort is, especially compared to his previous two, which I thought were much more R&B than blues. Cray's guitar playing is outstanding on this CD- he must have locked himself in a room for a month to study T-Bone Walker's bends- although I think his tone still sucks. Last time I saw him he was using a reissue Fender Twin ( nothing wrong with that) and a solid-state Fender something- maybe another Twin. I wish someone would give him a Victoria or some other amp that has a good, pure clean sound. He really could use some work on this aspect of his performance. The vocals and writing are excellent. Jim ========================================================================= Date: Fri, 17 May 1996 07:46:34 -0700 Reply-To: Guy Tapper From: Guy Tapper Subject: Re: TOWNSHEND Comments: To: Chris Smith > >It's not generally known that the now aging Townsend has admitted that he >didn't actually write 'hope I die before I get old' in 'My Generation'. >What he actually wrote was 'Bob Hope'll die before I get old.' :-] > >(Stolen from the 'Sunday Times' (British).) > > >Chris Smith (chris@skerries.demon.co.uk) >2 + 2 = 5 for large values of 2 Chris- I always wondered how aging rockers like Pete and Neil ("It's better to burn out than it is to rust") Young felt about sentiments they expressed when they were somewhat younger. Maybe Neil really said something else too. Guy Tapper Marine Life Research Group Scripps Institution of Oceanography 9500 Gilman Dr. La Jolla CA 92093-0227 (619)534-2358 (619)534-6500 fax ========================================================================= Date: Fri, 17 May 1996 11:14:32 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1954, the Supreme Court's unanimous ruling in Brown v Topeka Board of Ed, reversed their 1896 `separate but equal' ruling in Plessy Vs Ferguson. Throughout the racist south something began hitting the fan. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "Segregation now, segregation tomorrow and segregation forever!" George C. Wallace (b. 1919), U.S. Democratic politician. Inaugural address, Jan. 1963, as Governor of Alabama ========================================================================= Date: Fri, 17 May 1996 10:21:54 -0500 Reply-To: Craig Edmundson From: Craig Edmundson Subject: Saturday in the Park-Sioux City The Saturday in the Park Festival in Sioux City, Iowa will include Taj Mahal, Coco Montoya and Sista Monica. The free event is scheduled for July 6, noon to 10:30 p.m. -------------------------------- Craig L. Edmundson cedmunds@netserv.unmc.edu cedmunds@probe.net http://www.probe.net/~cedmunds/ ========================================================================= Date: Fri, 17 May 1996 15:13:52 GMT Reply-To: bbbean@sheltonlink.com From: bbbean@SHELTONLINK.COM Organization: inlink Subject: Re: Last CD in YOUR player Comments: To: bit-listserv-blues-l@uunet.uu.net In , "scosio@adnc.com" writes: >> LW asks: >> >What's the latest CD,LP or tape you listened to. > Illinois Jacquet - Flying Home Stacked near the CD player (ie other most recently played): Larry Adler plays Gershwin Arnette Cobb Blows for 1300 SBWII Keep it to Ourselves Ray Charles Jazz+Blues Coleman Hawkins Retrospective Louis Jordan - 5 Guys Named Moe BBB B.B. Bean bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Fri, 17 May 1996 11:19:59 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: New Yazoo Compilations Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I saw an ad in Living Blues for two new Yazoo compilation albums: HARMONICA MASTERS and ROOTS OF RAP. Anyone heard these yet? They both look pretty good (especially the harmonica album - if it's anything like their compilation HARMONICA BLUES I'm getting it). I'll probably end up buying both (and I don't think I'll be satisfied with my blues collection until I have pretty much the entire Yazoo and Arhoolie catalogs). :) -Steve ========================================================================= Date: Fri, 17 May 1996 10:34:31 -0500 Reply-To: ROBERT W BELEW From: ROBERT W BELEW Subject: Blues Fest. tomorrow ! That's right folks the time has arrived for the Carolina Lite Blues festival in Jamestown, North Carolina! Brought to by the Piedmont Blues Preservation Society and Miller Lite ! The main event starts at 4:00pm Saturday the 18th at Castle McCoullgh ! It is just off off 85 south of Greensboro. The line up includes Bob Margolin, Carey Bell, Pinetop Perkins, Little Milton, Debbie Davies Band, Etta Baker and Delbert McClinton and The Misdemeanors ! Carey Bell and band will be playing tonight in Charlotte at the Double Door, 704-376-1446 ! There is a workshop tomorrow at 12:00 noon at the Howard Johnson, Highpoint with Bob Margolin and Carey bell ! It is a good bet that Pinetop will also show for this informal session ! Tickets are $18.00 at the gate for the big event under the tent ! Lot's of good food on site ! See you there ! If you need direction or any further information.... Call the info. Line at 910-333-1994 Block Dog ========================================================================= Date: Fri, 17 May 1996 14:55:36 GMT Reply-To: "scosio@adnc.com" From: "scosio@adnc.com" Organization: adnc.com Subject: Re: Dr.John - recomm's ? Comments: To: bit-listserv-blues-l@uunet.uu.net In article , "Tony.OConnor" wrote: > I've just seen some of the WEA/Atlantic/Rhino CDS on offer locally. I'm > going to get some Dr.John as I have none of his material. Should I go for > some individual albums or get the Best of (Rhino) ? Recommendations please > :-) Hi Tony: Dr John recommendations: Dr. John's Gumbo In A Sentimental Mood Goin Back To New Orleans (he won a Grammy for this one) Enjoy. Mac makes some of the best music around. \\|// (O-O) ________________oOO__(_)__OOo_________________ | Steve Cosio | | Owner, Great American Music (DJs) | | Talkshow Director, KSDO/San Diego | | scosio@adnc.com | |________________________Oooo._________________| .oooO ( ) ( ) ) / \ ( (_/ \_) ========================================================================= Date: Fri, 17 May 1996 12:05:55 EDT Reply-To: John Doukas From: John Doukas Subject: C. Patton's "I Shall Not Be Moved" A few days previous, a request was posted for the lyrics to Charlie Patton's version of "I Will Not Be Moved". At first, this request didn't quite grab me, as his lyrics closely follow those traditionally associated with this hymn. However, on re-listening to the song, I was reminded of several interesting points in Patton's performance (for that matter, I can't name a Patton song without at least several interesting points). So, here goes. The basic lyrics are as follows: I shall not be, I shall not be moved (2x) Like a tree planted by the water, I shall not be moved. On my way to Glory, I shall not be moved (2x) Like a tree planted by the water, I shall not be moved. Oh, turn back, I shall not be moved (2x) Like a tree planted by the water, I shall not be moved. On my way to heaven, I shall not be moved (2x) Like a tree planted by the water, I shall not be moved. Oh, Christians, I shall not be moved (2x) Like a tree planted by the water, I shall not be moved. This is not a literal reading of Patton's lyrics, however. As expected, he introduces slight variations into most lines. The most notable is to drop individual words, particularly "water", and to sound this portion of the melody with his bottleneck on the top string. Of course this is a standard technique, perhaps best associated with Blind Willie Johnson. (As an aside, I hear Patton playing in Johnson's favorite tuning, namely open E, although perhaps not to concert pitch. Anyone hear differently?). Another interesting moment comes when Patton sings "Oh, baby, I shall not be moved". What a perfect example of the secular blues world inserting itself upon a religious work, almost the reverse of Son House's "Preaching Blues". In Calt and Wardlow's excellent Patton biography they relate stories of Patton inserting religious pieces into his blues performances at all-night barrelhouses, with the effect of at least momentarily halting the dancer's in their tracks! Finally, there is Patton's beautiful guitar work, consisting of plaintive upper string bottleneck work coupled with a very rhythmic frailing of the lower strings. And when he switches to double-time a third of the way into the song, one almost agrees that hymns may not be so out of place at a Saturday night dance. ========================================================================= Date: Fri, 17 May 1996 18:03:25 EDT Reply-To: Bruno.Morchain@ETU.UNIV-COMPIEGNE.FR From: Bruno.Morchain@ETU.UNIV-COMPIEGNE.FR Subject: I want to quit the list My name is Xavier Hennequin and i have problems wwith all the messages sent thanks to the list, the messages are too many my count is completely full Therefore i want to quit the list I have no time to read and delete the messages Thank you and sorry for my english I can't send message from my own count but you can send messages to me.my mail address is ========================================================================= Date: Fri, 17 May 1996 12:38:17 -0400 Reply-To: James Leftwich From: James Leftwich Subject: Wish they'd play here Here's a new thread... Who never tours or never comes through your hometown that you would like to see in concert. I'll start the betting: Ry Cooder John Fahey ============================================================================= Jim Leftwich Jim's Blues N' Brews leftwich@cloud9.net http://www.cloud9.net/~leftwich "I'm on cloud9!" :) New CD Giveaway: Sherman Robertson ============================================================================= ========================================================================= Date: Fri, 17 May 1996 11:53:36 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: M Osborne/JL Hooker Anyone picked up the new Michael Osborn CD "A Background in the Blues"? Michael Osborne played guitar with John Lee Hooker for many years and Hooker guests (on vocals) on 3 great tracks and on guitar on one. The tracks with The Hook are worth the price of the CD by themselves (at least to me). Blue Rock'It #BRCD 125. Not associated, etc. Don O. How, How, How ========================================================================= Date: Fri, 17 May 1996 12:52:01 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re[2]: Blues in the movies?? The movie is called "Heaven's Prisoners." It looks like it has an all-blues soundtrack, including such names as Buddy Guy and B.B. King. The movie opens today. Reviews say the movie STINKS. C'est la vie. Apparently the first time you see Teri Hatcher on screen, she is unclothed. I wonder, for the sake of equality, if the same can be said for Alec Baldwin. Although I have to add he's not really my type. Shannon ______________________________ Reply Separator _________________________________ Subject: Re: Blues in the movies?? Author: KAZGOOSE at INTERNET_TP Date: 5/17/96 10:56 AM i don't know if you have noticed the trailers for Alc Baldwin's new action movie with the woman from Spuerman (Teri Hatcher) - but the soundtrack is all blues favorites - it may be worth checking out even if the movie isn't.... then again Teri Hatcher.... peace joe ========================================================================= Date: Fri, 17 May 1996 09:52:11 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: IRA TUCKER, OF THE DIXIE HUMMINGBIRDS (A TRIBUTE) Comments: cc: jjz1@psu.edu Gospel songwriter, producer and lead singer of The Dixie Hummingbirds, IRA TUCKER, was born Sunday, May 17, 1925, Spartanburg, SC. He was 13 when he joined the 'Birds (as a baritone singer). You first here his lead singing on the July 1944 Regis recording of "Book Of The Seven Seals". Other early highlights include "In The Storm Too Long" (Apollo, Feb46), "Jesus Has Traveled This Road Before" (Apollo, Jul48), "Lord, Come See About Me" (Gotham, Jul49) and "I'll Live Again" (Okeh, Dec51). "But the Birds' most powerful member is their lead singer, Ira Tucker. Tucker is the virtuoso of quartet. He looks to seduce his audience vocally. So, within a few bars of his opening note, he will scoop down between beats in a dizzying combine of wit and breath." ~ Anthony Heilbut (1971) "The Hummingbirds - and Ira Tucker especially - remained at the head of gospel quartet for almost thirty years, becoming the grand masters of the style. Always versatile and progressive in their harmonies, they could also pile on the emotional pressure and slay an audience in the Spirit ..." ~ Viv Broughton (1985) "There was no melodic or harmonic device that he [Ira Tucker] could not execute : his lyric voice was capable of cascading up and down not only the diatonic (seven-note) scale but the chromatic as well. Not only did he put his voice and vocal technique to use, he also became the model for the 'activity' singer. He ran up and down aisles, jumped from the stage, and spun around without sacrificing one iota of the pure musical sound that he first brought to the quartet. Indeed, he served as the model for many of the rhythm and blues and soul singers from Jackie Wilson and Clyde McPhatter to Bobby Blue Bland and The Temptations." ~ Horace Clarence Boyer (1995) In February 1952, The Dixie Hummingbirds began recording for Don Robey's Peacock Records. For the next 24 years, the group would remain the same : Ira Tucker, James Walker, James Davis, Beachey Thompson, William Bobo, and Howard Carroll - recording quartet masterpieces like "Christian Testimonial" ('54), "Let's Go To The Program" ('53), "Trouble In My Way"('52), "Christian's Automobile" ('57), "In The Morning" ('61), "Nobody Knows The Trouble I See" ('59), "Our Prayer For Peace" ('64), "Prayer Wheel" ('53), "Wading Through Blood And Water" ('52) until the death of their bass singer William M. Bobo (1921-1976). The recent 1995 Vanguard set ("GOSPEL AT NEWPORT") contains 2 tracks from their 1966 Newport set, proof that they could work an audience. The Mobile Fidelity live recording contains over 75 minutes, all recorded in front a church audience in New Brunswick, NJ. Those of you who have never witnessed The DIXIE HUMMINGBIRDS should also view Ashley James' 1995 film, "WE LOVE YOU LIKE A ROCK", a 77 minute history with interviews group members including Stevie Wonder, Paul Simon, Bobby Womack & Melvin Franklin (of The Temptations). In October 1978, Ebony Magazine voted them The World's Greatest Gospel Group, and on March 31, 1988, they were inducted into The Philadephia Hall of Fame. Of the "classic" group, founder James Davis retired in 1984, while James Walker (1926-1992) & Beachey Thompson (1915-1994) have died. The current lineup includes Ira Tucker, Paul Owens, Howard Carroll, and Carl Davis, and they remain one of the leading gospel quartets on the road today, a group that will celebrated 57 years of recording on September 19th. Today Ira Tucker lives in Philadelphia with his wife Louise. His 3 children are all involved with the music business : Linda & Sandray are two-thirds of the present Supremes, while Ira Jr., worked 18 years as Stevie Wonder's publicist. I'd like to thank Jerry Zolten (their official biographer) for his help with this posting. THE DIXIE HUMMINGBIRDS : CD DISCOGRAPHY ======================================= A.I.R. 10184 : DIXIE HUMMINGBIRDS - IN GOOD FAITH DOCUMENT upcoming : DIXIE HUMMINGBIRDS - (DECCA & APOLLO RECORDINGS) FREMEAUX & A 026 : VARIOUS - GOSPEL QUARTETS : V. 2 : 1921-1942 (2CD) HERITAGE 11 : ANGELIC GOSPEL SINGERS - TOUCH ME LORD JESUS (1 CUT) MCA SP 22043 : DIXIE HUMMINGBIRDS - BEST OF MOBILE FIDELITY 751 : DIXIE HUMMINGBIRDS - WE LOVE YOU LIKE ../EVERY DAY .. MOBILE FIDELITY 771 : DIXIE HUMMINGBIRDS - LIVE (NOV 14,1976, NEW JERSEY) RHINO 70288 : VARIOUS - JUBILATION! .. V.1 : BLACK GOSPEL (1 cut) SONY/LEGACY 57160 : VARIOUS - THE GOSPEL SOUND (2CD) (4 cuts) SONY/LEGACY 57163 : VARIOUS - THE ESSENTIAL GOSPEL SAMPLER (2 cuts) SONY/LEGACY 57164 : VARIOUS - PRECIOUS LORD : .. THOMAS A DORSEY (3 cuts) SONY/LEGACY 67007 : VARIOUS - THEY SING PRAISES (1 cut) SPIRIT FEEL 1012 : VARIOUS - THE GOSPEL SOUND OF SPIRIT FEEL (2 cuts) VANGUARD 77014 : VARIOUS - GOSPEL AT NEWPORT 1959,1964-1966 (2 cuts) REFERENCES : =========== BLACK GOSPEL : AN ILLUSTRATED HISTORY OF THE GOSPEL SOUND / VIV BROUGHTON, BLANDFORD PRESS, 1985 THE DIXIE HUMMINGBIRDS DISCOGRAPHY 1939-1959, BLUES & RHYTHM #20 (JUNE 1986) p.15-16; additions, BLUES & RHYTHM #27 (MARCH 1987) p.7 DUKE/PEACOCK RECORDS : AN ILLUSTRATED HISTORY WITH DISCOGRAPHY / GALEN GART & ROY C. AMES, BIG NICKEL PUBLICATIONS, P. O. BOX 157, MILFORD, NH. 03055 GOSPEL RECORDS 1943-1969 : A BLACK MUSIC DISCOGRAPHY / CEDRIC HAYES & ROBERT LAUGHTON, RECORD INFORMATION SERVICES, 1992 (2 VOLUME SET) THE GOSPEL SOUND : GOOD NEWS AND BAD TIMES / ANTONY HEILBUT (LIMELIGHT, 1985) HOW SWEET THE SOUND : THE GOLDEN AGE OF GOSPEL / HORACE CLARENCE BOYER, ELLIOT & CLARK, 1995 AN INTERVIEW WITH IRA TUCKER OF THE DIXIE HUMMUNGBIRDS, 27 APRIL 1978 / SEAMUS MCGARVEY, BLUES & RHYTHM #20 (JUNE 1986) p.10-14 ========================================================================= Date: Fri, 17 May 1996 11:53:33 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: Blues-l HOF What ever happened to the blues-l Hall of Fame? Don O. ========================================================================= Date: Fri, 17 May 1996 12:55:23 -0400 Reply-To: James Leftwich From: James Leftwich Subject: ?Crawfish? Festival Someone posted last week about a Crawfish (?) Festival in New Jersey. I think that was the name. Can someone help? ============================================================================= Jim Leftwich Jim's Blues N' Brews leftwich@cloud9.net http://www.cloud9.net/~leftwich "I'm on cloud9!" :) New CD Giveaway: Sherman Robertson ============================================================================= ========================================================================= Date: Fri, 17 May 1996 16:42:05 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Ike and Tina Turner Comments: To: bit-listserv-blues-l@uunet.uu.net Half watched the movie "What's Love Got to Do with It" the Tina Turner Story last night on ABC TV. I don't know how well this reflected the known facts, but somehow I got the impression it was a little "editted". Nevertheless I thought it was interesting that in the movie Tina says to her new Brit manager that she didn't want to sing those "sad sack" songs any more - referring to the Ike and Tina songs. I always thought those were great R&B songs. It's funny about attitudes - it really does depend on where you are looking from. Tina has gone "mainstream" or "adult contemporary" - leaving behind the "older fashioned" music - and movie implies that's progression. Where as we here may feel it's a backwards step? -- Vincent vt@usa.pipeline.com ========================================================================= Date: Fri, 17 May 1996 13:06:28 -0400 Reply-To: Bhblues@AOL.COM From: "(Bob Halperin)" Subject: Blues musician requesting info Hi, folks. My name is Bob Halperin and I've been a subscriber to blues-l for the past couple of weeks (just got on-line). I'm a solo blues guitar player, specializing in bottleneck and Piedmont-style with years & years of performing experience. Right now, I'm in the beginning stages of planning my first solo tour in late September/early October. This is a huge undertaking for me and I need help! I'm planning on taking off from my home in Portsmouth, NH and heading down through PA and out through OH, IN, IL and back through southern WI, southern MI and upstate NY. What I need is your input, from players and fans alike. Where are the blues-friendly solo gigs? What are your favorite places? If you could let me know as much info as you can (club/town/tel#/booker/any of the above), I will be eternally grateful. Thanks, Bob ========================================================================= Date: Fri, 17 May 1996 13:11:47 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: New Yazoo Compilations Comments: To: Steve.Levine@corp.wrgrace.com In a message dated 96-05-17 12:21:19 EDT, Steve.Levine@CORP.WRGRACE.COM (Steve Levine) writes: >I saw an ad in Living Blues for two new Yazoo compilation albums: >HARMONICA MASTERS and ROOTS OF RAP. Anyone heard these yet? They both >look pretty good (especially the harmonica album - if it's anything >like their compilation HARMONICA BLUES I'm getting it). > >I'll probably end up buying both (and I don't think I'll be satisfied >with my blues collection until I have pretty much the entire Yazoo and >Arhoolie catalogs). :) I have both. The ROOTS OF RAP one is kind of strange. It does not really make the argument stated in the liner notes (that these recordings show the vocal styles of rap music), which is particularly strange because there are recordings out there that would have. It is interesting in following Yazoo's current trend of mixing in (relatively rare) white country recordings with the country blues and related music. It has many of the same artists as the BEFORE THE BLUES set, and no recording overlap, but much overlap with prior Yazoo sets. The Harmonica one is probably "required" for harp afficianados. I have listened to it some and thought it good, but did not focus enough to have a more elaborate reaction. Tom Freeland ========================================================================= Date: Fri, 17 May 1996 17:02:25 GMT Reply-To: skb8721@tam2000.tamu.edu From: "Shane K. Bernard" Organization: Texas A&M University (Student) Subject: Re: Lonesome Sundown Comments: To: bit-listserv-blues-l@uunet.uu.net David Howard wrote: >I was just diggin some serious swamp blues the other night and started >wondering about Lonesome Sundown. Has anything been heard from him since his >mid-'70's "comeback" album. In the grand scheme of things he seems sorta >underated. Any opinions? >D.N. Howard Last I saw Lonesome Sundown was about 1985 and he was driving a tractor for the parish of Lafayette LA, or something like that. I'm not certain but I think the AVI label has issued some of his recordings on CD. (You might want to check AVI's homepage.) Sundown is mentioned in John Broven, "South to Louisiana: Music of the Cajun Bayous" (Gretna LA: Pelican, 1983). SKB ========================================================================= Date: Fri, 17 May 1996 12:11:43 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: Wish they'd play here In-Reply-To: Message of Fri, 17 May 1996 12:38:17 -0400 from On Fri, 17 May 1996 12:38:17 -0400 James Leftwich said: >Here's a new thread... > >Who never tours or never comes through your hometown that you would like >to see in concert. > >I'll start the betting: LYLE LOVETT !!!!! DOUG MacLeod !!!!! (almost got him booked for the B'ham Jam) Ronnie Earl LW ========================================================================= Date: Fri, 17 May 1996 13:05:19 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Wish they'd play here Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *Who never tours or never comes through your hometown that you would like *to see in concert. Johnny Winter Tom Waits Paul deLay Peter "Madcat" Ruth Gary Primich (played Tornado Alley about two years ago and hasn't been back since) James Harman (same as above) Rod Piazza Toots Thielemans Larry Adler Jumping Johnny Sansone ========================================================================= Date: Fri, 17 May 1996 11:12:46 -0600 Reply-To: Gary Constantine From: Gary Constantine Subject: Eddie Burns EDDIE BURNS DETROIT EVIDENCE ECD 26024-2 Picked this CD up a few days ago. A wonderful album but not great liner notes. Can anyone tell me more about this guy. Thanx, Gary ............ ========================================================================= Date: Fri, 17 May 1996 13:15:52 -0400 Reply-To: FORCELLAD@CCSUA.CTSTATEU.EDU From: Domenic Forcella Subject: Wish they would come here No question for me is to see Saffire - the Uppity Blues Women. I enjoy them but better yet my friends love them. And it sure would br nice to get them out to a performance. I gave one of my friends a cd as a gift. When she would take care of her grand-daughter and little Marissa would get cranky, Grandma would play 'Dump that Chump' and the two of them would dance the blues away. Saffire will always have a apecial meaning for me. (And I'm not saying that because I know Ann is on Blues-L.) Domenic Forcella Traveling with the Blues ========================================================================= Date: Fri, 17 May 1996 12:38:24 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Blues-l HOF David Pimmel was in charge of that. I haven't seen a "Pimmel post" in a few months.....Anyone know David's e-mail.... LW ========================================================================= Date: Fri, 17 May 1996 13:46:30 -0400 Reply-To: Oded Maron From: Oded Maron Subject: Wish they'd play here In-Reply-To: James Leftwich's message of Fri, 17 May 1996 12:38:17 -0400 From: James Leftwich Who never tours or never comes through your hometown that you would like to see in concert. Fenton Robinson James Carr Paul Delay Little Charlie and the nightcats (who always make it to Springfield but not to Boston) Oded ========================================================================= Date: Fri, 17 May 1996 16:50:44 GMT Reply-To: Undetermined origin c/o LISTSERV maintainer Comments: RFC822 error: Incorrect or incomplete address field found and ignored. Comments: RFC822 error: Incorrect or incomplete address field found and ignored. Comments: RFC822 error: Incorrect or incomplete address field found and ignored. Comments: RFC822 error: Mail origin cannot be determined. Comments: RFC822 error: Original tag data was -> @inlink.com () From: Undetermined origin c/o LISTSERV maintainer Organization: inlink Subject: Re: Blues Magazines Comments: To: bit-listserv-blues-l@uunet.uu.net > Lets say something nice: What is your favorite blues magazine and WHY...? LW While I've great fondness and admiration for the work Living Blues has done over the past quarter century, I have to choose Blues & Rhythm: The Gospel Truth as my favorite: for the depth and breadth of their coverage, the incredible knowledge of blues music possessed by their team of writers, their dogged determination to unearth every last fact and every vintage photo, their round-the-world news gathering network, the sheer quantity (and quality) of their reviews section, and the fact that they come out ten times a year like clockwork. While they cover the field with the dedication and detail of academics, they do not lose their sense of humour. Disclaimer: I do their webpage at no charge because I have this respect for them Check it out at http://www.bluesworld.com/BnR Note: Cilla Huggin's and her team at Juke Blues also do incredibly good work (both of these publications are descendants of Blues Unlimited, the original granddaddy of blues magazines, no longer published) but Juke Blues does not publish with the frequency of Blues & Rhythm: The Gospel Truth. Joel Slotnikoff BLUES WORLD e-mag http://www.bluesworld.com ========================================================================= Date: Fri, 17 May 1996 12:51:57 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: L B cover This month's Living Blues cover is one of the most drop dead gorgeous color photographs I've seen in a long while. It's a dang "Kodak Moment". Bravo, Mr. Fraher. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 17 May 1996 12:41:21 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Wish they'd play here On 17 May 96, James Leftwich had this to say: > Here's a new thread... > > Who never tours or never comes through your hometown that you would like > to see in concert. Oh yes. Here is my opportunity to say... PLEASE... Joe Louis Walker, PLEASE... Otis Rush, come to Tampa. I'll help you get the gigs. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 17 May 1996 13:01:57 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Death of Johnny "Guitar" Watson I've been informed that Johnny "Guitar" Watson died of a heart attack in Japan, apparently about 5 A.M. Chicago time today. I promised to write an obituary and would appreciate any details as they become available. That's all I know, but of course it's a shock. ========================================================================= Date: Sat, 18 May 1996 03:13:16 +0900 Reply-To: "yuki\"boogie\"yamada" From: "yuki\"boogie\"yamada" Subject: Need suggestion! : Blues Town ---If you don't like Japanese, Please ignore this mail! ;-) Hi! everyone. I'm Japanese grrrrl from Tokyo, and a new on this list. I have a plan to go U.S. next a year for study English and for OF COURSE listen to a lot of BLUES!! I've found it's very difficult to decide where I should go. Maybe it's California, Cincinnati, Texas....??? Now I really need your, blues fan's suggestion. Please mail me with simple English when you'll got a good idea! (private mail is better I think) Thank you so much (...and sorry for my poor English) -------------------------------- *From* yuki "boogie" yamada E-Mail yukinet@butaman.or.jp -------------------------------- -Johnny Winter and Blues Rock is my life.. ========================================================================= Date: Fri, 17 May 1996 13:10:50 -0500 Reply-To: David Silberberg From: David Silberberg Subject: Re: Toronto Blues At 03:52 AM 5/17/96 -0600, DeWayne Brown wrote: >Fellow Canadians! I will be in Toronto on business on the evening of >24May and 25May. I will be staying at the Chelsea Hotel (hope it's not a >dive) Where can I find da blues for those 2 nights? Not exactly (but maybe remotely) blues, but.... Wasn't the Chelsea Hotel in Toronto the hotel that Leonard Cohen lived in for a while? Seems to me he wrote some of his songs there - Suzanne? Sisters of Mercy? Or was it the Chelsea in New York? Jeez, I don't know.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Fri, 17 May 1996 13:10:53 -0500 Reply-To: David Silberberg From: David Silberberg Subject: Re: Who do you love? Top 20 As of right now, off the top: Luther Allison Little Willie John Howard Tate Hank Williams Sr. Emmylou Harris Bob Marley Sam Cooke O V Wright Lightning Hopkins Jimmy Rodger (America's Blue Yodeler) Al Green Aretha Franklin Koko Taylor T-Bone Walker Soul Stirrers Orioles Louis Jordan Elvis - on Sun Johnny Burnette and the Rock and Roll Trio Little Bobby Dylan But that can't be right: no room for The Kings, or Muddy or the Wolf, or the Everly Brothers, or Wynnonie Harris or Roy Brown, or Clyde McPhatter or Jackie Wilson, or.... Nope, can't do it, can't limit it to 20.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Fri, 17 May 1996 13:16:18 -0500 Reply-To: David Silberberg From: David Silberberg Subject: Re: Ike and Tina Turner At 04:42 PM 5/17/96 GMT, VT wrote: >Half watched the movie "What's Love Got to Do with It" the Tina Turner >Story last night on ABC TV. I don't know how well this reflected the known >facts, but somehow I got the impression it was a little "editted". > >Nevertheless I thought it was interesting that in the movie Tina says to >her new Brit manager that she didn't want to sing those "sad sack" songs >any more - referring to the Ike and Tina songs. I always thought those >were great R&B songs. > >It's funny about attitudes - it really does depend on where you are looking >from. Tina has gone "mainstream" or "adult contemporary" - leaving behind >the "older fashioned" music - and movie implies that's progression. > Tina had a special on Disney Channel about a year ago (they still replay it every once in a while) - mostly her talking about her past with Ike, the split, etc. She seems to have always wanted to do rock n' roll, not the blues / R & B that Ike wanted to do. Witness the original version of "Nutbush City Limits", vs. her later, rocked-up version. She indicates preference for the later version. David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Fri, 17 May 1996 18:12:39 GMT Reply-To: Mike Lattrell From: Mike Lattrell Organization: PANIX Public Access Internet and Unix, NYC Subject: Re: Manny's car..jam night Comments: To: bit-listserv-blues-l@uunet.uu.net smirkyface wrote: >Does anyone have info one the Jam at Manny's Car wash. >Do you have to show up early to sign up? >Is there a cover? >Do you need to bring your amp? > > BRIAN MCLEAN > PHOTOGRAPHY > & > SMIRKYFACE > PRODUCTIONS > "life's too short to live the blues" > http://www.netaxs.com/~blmclean Brian, I haven't been to the Manny's Jam in a while, but when I was in Popa Chubby's band (keys) we used to host the jam every week. I've since been in the house band from time to time subbing in for various bands hosting it. You should show up around 9-9:30. The house band usually plays a set from 9-10 and then the jam begins. If your a piano player, drummer, or horn player you have a good chance of getting on stage pretty quick. (IF YOU PLAY GUITAR OR BASS.....SIGN UP EARLY!!!!) It's worth checking out. But like any Jam, it has it's good and bad nights. And you never know you is gonna show up. I was in the house band one night and had the pleasure of backing Tinsley Ellis when he decided to pop in. "Let me hear ya say YEAH" Mike ========================================================================= Date: Fri, 17 May 1996 13:23:49 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Re: Wish they'd play here > *Who never tours or never comes through your hometown that you would like > *to see in concert. > > Non-blues: Parliament Funkadelic Tom Waits John Mellencamp Al Green The Neville Brothers 2-Pac Mojo Nixon Blues: Otis Spann SBW II J.B. Lenoir Maxwell Street Jimmy Davis Fred McDowell Muddy Waters Robert Nighthawk Memphis Minnie ... ========================================================================= Date: Fri, 17 May 1996 13:25:48 EDT Reply-To: NERD BOY From: NERD BOY Organization: Mt. Abraham Union High School Subject: Re: cancel mail ------- Forwarded Message Follows ------- Date sent: Fri, 17 May 1996 07:52:33 -0500 (CDT) From: Craig Edmundson Subject: Re: cancel mail To: NERD BOY Hello, I believe the correct way to "unsubscribe" from blues-l is to: 1. send email to: listserv.brownvm.brown.edu Don't type in a "subject." 2. in the body of the message, type this: SIGNOFF blues-l YourNameHere 3. send the mail. Of course, I could be wrong as well. :-) -------------------------------- Craig L. Edmundson cedmunds@netserv.unmc.edu cedmunds@probe.net http://www.probe.net/~cedmunds/ > I think (this is from memory) you send a message to > listserv@brownvm.brown.edu with the words > > unsubscribe blues-l hey guys I'm not the one who wanted to get off. I only comented that someone else was right. Nerd Boy a.k.a mshepard@mtabe.k12.uvm.edu ========================================================================= Date: Fri, 17 May 1996 18:10:40 GMT Reply-To: Aladdin Leather From: Aladdin Leather Organization: SoVerNet, Inc. Subject: Re: Who Do You Love..Top 20 Comments: To: bit-listserv-blues-l@uunet.uu.net Greg Hermanns wrote: >No specific order: >Muddy >BB King >Robert Johnson >Johnny Winter >John Hammond >Taj Mahal >Professor Longhair >Snooks Eaglin >Van Morrison >Tom Waits >Lightnin' Hopkins >Randy Newman >Leon Russell >Rod Piazza >James Cotton >John Lee Hooker >Junior Wells >SRV >Delbert McClinton >Charlie Musselwhite ROBERT JOHNSON BESSIE SMITH SON HOUSE LEADBELLY JOHN LEE HOOKER WILLIE DIXON MA RAINY GATHMOUTH BROWN SONNY TERRY AND BROWNIE MUDDY WATER MAGIC SAM LEVEE BAND W/JKP JELLY ROLL KEB MO KOKO TYLOR BILLIE HOLLIDAY SRV!!!! BLIND LEMON JEFFERSON BUDDY GUY BB KING.... AND THE LIST CAN GO ON AND ON AND ON THE BLUESBABE,, SUZZIE:) Your Humble Narrator, Aladdin Leather ========================================================================= Date: Fri, 17 May 1996 18:53:32 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: Favorite False Starts... Comments: To: bit-listserv-blues-l@uunet.uu.net D*mn! that's really interesting, Who is Billy Jack Willis - when he's not at home and being Bob's brother? please? Any reference recordings or reading? again, please? Thanks. -- Vincent (ignorant but polite) vt@usa.pipeline.com On May 17, 1996 08:24:33 in article , 'Chris Smith ' wrote: >>Elvis Presley on "Milkow Blues Boogie" >> >>After a false start, Elvis says, "Fellas, that don't move me. Let's get >>real, real gone for a change." >> >>And they do. >> >>Shaun >> >>Shaun Cronin 'Woke up this morning between midnight and day. I was >>shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son >>House > > >I think it likely that this is a contrived false start rather than a real >one. Elivs starts by doing it the way Billy Jack Wills (Bob's brother) did >it as a Western Swing number, then rocks it up. (Don't believe anyone who >says Elvis got if off a Kokomo Arnold record.) Elvis might have got >'There's Good Rockin' Tonight' from a record by Billy Jack Wills as well. > > >Chris Smith (chris@skerries.demon.co.uk) >2 + 2 = 5 for large values of 2 ========================================================================= Date: Fri, 17 May 1996 15:55:49 -0300 Reply-To: Rob Hutten From: Rob Hutten Subject: "Seven Guitars": Waterman's photos available on WWW BluesNet is very proud to offer to the World Wide Web community: "Seven Guitars": A Photography Exhibition Featuring the Photographs of Dick Waterman Check it out on BluesNet: http://dragon.acadiau.ca/~rob/blues/ The exhibition features eleven photographs of the hands of various blues performers. These photos are from a collage that Mr. Waterman was commissioned to present to playwright August Wilson on the event of the Broadway opening of his latest play, "Seven Guitars". A detailed writeup accompanies the photographs. Many thanks to Dick Waterman for allowing BluesNet to showcase his work. -Rob Hutten ========================================================================= Date: Fri, 17 May 1996 14:49:10 EDT Reply-To: dgross@XCALIBUR.IINC.COM From: dgross@XCALIBUR.IINC.COM Subject: Re: Blues-L HOF I think the House of Blues bought it, and they plan on installing it in the computer room of the renovated Muddy's Cabin. :-) ("Uh, we have a problem here. We got the Hall of Fame on a Unix formatted floppy, and we have a PC.") Sorry, --Dan Gross (Actually, I think it disappeared with David Pimmel, the former list admin...) Dan Gross Programmer by day, Drummer by night. Elba, NY Blues fan all the time... dgross@iinc.com Drummer/Vocalist http://www.iinc.com/~dgross Stoney Lonesome Blues Band ========================================================================= Date: Fri, 17 May 1996 14:53:17 EDT Reply-To: dgross@XCALIBUR.IINC.COM From: dgross@XCALIBUR.IINC.COM Subject: Re: Wish they'd play here One name springs immediately to mind: OTIS RUSH!!!! Unfortunately, the last time he was in the area was in his "pre-Cleaned-up" days, so he didn't leave a very good impression with some of the powers that be... --Dan Gross Dan Gross Programmer by day, Drummer by night. Elba, NY Blues fan all the time... dgross@iinc.com Drummer/Vocalist http://www.iinc.com/~dgross Stoney Lonesome Blues Band ========================================================================= Date: Fri, 17 May 1996 19:12:15 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Lucky Peterson's latest Comments: To: bit-listserv-blues-l@uunet.uu.net I picked up Lucky Peterson's latest CD on Verve - "Lifetime" - having been VERY impressed with "Get Ready" and seeing him live back in '93. Unfortunately this time I was disappointed. This is a curious mixture of funk and R&B. He has the fabulous Bootsy Collins guesting on some tracks, but something just didn't click with me on this recording. Bootsy has something in his bit in the liner notes about being good to get back to the blues roots - I found it very hard to associate this CD with blues, and you know I am one of the guilty parties for deviating from the ONE true path of the BLUES :-) Lucky does "Change is Gonna Come" the Sam Cooke song, having heard him close out his live show with this solo on the Hammond organ - this version is just not there. One of the covers is "We'll Be Together" by that well known bluesman STING. Perhaps not my cup of poison, but it might be just the thing you're looking for. -- Vincent vt@usa.pipeline.com VER531202 +PETERSON*LUCKY LIFETIME $13.66 VERVE 3/96 NEW RELEASE \bad condition change is gonna come ecstasy i ain't buying last thing i need lifetime next in line shining star time wash my back we'll be together ========================================================================= Date: Fri, 17 May 1996 14:11:08 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: BEST CD from an 'eller What's the best CD(s) or ??? you've been turned on to by a 'eller either a suggestion or maybe something mailed to you. My choices: JOHNNY YOUNG - CHICAGO BLUES Arhoolie (a must IMHO) Henry Qualls - Great stuff some incredible videos from an eller.... LW 'there's more' ========================================================================= Date: Fri, 17 May 1996 14:20:23 -0600 Reply-To: James Bardsley From: James Bardsley Subject: Re: Wish they'd play here Comments: To: ISTS024@UABDPO.DPO.UAB.EDU In-Reply-To: At 12:11 PM -0500 05/17/96, Leonard Watkins wrote: >On Fri, 17 May 1996 12:38:17 -0400 James Leftwich said: >>Here's a new thread... >> >>Who never tours or never comes through your hometown that you would like >>to see in concert. >> >>I'll start the betting: > >LYLE LOVETT !!!!! >DOUG MacLeod !!!!! (almost got him booked for the B'ham Jam) >Ronnie Earl > >LW Okay, since I'min Shreveport, I'm tempted to say "anyone", but my top ten would be: 10) Robert Earl Keen 9) Lonnie Johnson 8) Jim Suhler and Monkeybeat 7) Ronnie Earle and the Broadcasters 6) Joe Ely, but he's gotta have David Grissom with him and play the tunes from "Love and Danger" 5) Los Lobos 4)Anders Osborne ( and he's got to have Teresa with him) 3) Mem Shannon 2)Joe Kubek ( he used to come through here) 1) Ry Cooder Can I have some more choices? Jim Bardsley "If we're treading on thin ice then we might as well dance." -Jesse Winchester @1971 ========================================================================= Date: Fri, 17 May 1996 14:16:07 -0500 Reply-To: bolt From: bolt Subject: Re: Wish they'd play here Dear Mr. Otis Rush, Houston is the Right Place, Anytime. Screamin' and cryin', Reg Burns +++++++++++++++++++++++++++++++++++++++++++++++++ + I'll listen to reason when it comes out on CD + + + + bolt@neosoft.com Houston, TX + +++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Fri, 17 May 1996 15:29:53 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Who do you regret missing? Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com New thread: I've missed a lot of performances by musicians I could have seen and have now passed on, including: Danny Gatton Roy Buchanan Stevie Ray Vaughan Sunnyland Slim Albert Collins Johnny Shines Flora Molton Booba Barnes Then, of course, there are countless blues men and women who died before I became a blues fan, or even before I was born. What artists have you regretted staying home for? ========================================================================= Date: Fri, 17 May 1996 19:34:07 GMT Reply-To: Mike Lattrell From: Mike Lattrell Organization: PANIX Public Access Internet and Unix, NYC Subject: Re: Manny's car..jam night Comments: To: bit-listserv-blues-l@uunet.uu.net Mike Lattrell wrote: >smirkyface wrote: > >>Does anyone have info one the Jam at Manny's Car wash. >>Do you have to show up early to sign up? >>Is there a cover? >>Do you need to bring your amp? >> >> BRIAN MCLEAN >> PHOTOGRAPHY >> & >> SMIRKYFACE >> PRODUCTIONS >> "life's too short to live the blues" >> http://www.netaxs.com/~blmclean > > >Brian, > >I haven't been to the Manny's Jam in a while, but when I was in Popa >Chubby's band (keys) we used to host the jam every week. I've since >been in the house band from time to time subbing in for various bands >hosting it. > >You should show up around 9-9:30. The house band usually plays a set >from 9-10 and then the jam begins. If your a piano player, drummer, or >horn player you have a good chance of getting on stage pretty quick. >(IF YOU PLAY GUITAR OR BASS.....SIGN UP EARLY!!!!) > >It's worth checking out. But like any Jam, it has it's good and bad >nights. And you never know you is gonna show up. I was in the house >band one night and had the pleasure of backing Tinsley Ellis when he >decided to pop in. > >"Let me hear ya say YEAH" > >Mike THERE'S NO COVER................YOU DON'T NEED TO BRING AN AMP Mike ========================================================================= Date: Fri, 17 May 1996 15:57:25 -0400 Reply-To: Leo Aspiras From: Leo Aspiras Subject: Re: Wish they'd play here - reply ranko's wish list for blues artist named the following: ------------------------------------------------------------------ > *Who never tours or never comes through your hometown that you would like > *to see in concert. > > Non-blues: Parliament Funkadelic Tom Waits John Mellencamp Al Green The Neville Brothers 2-Pac Mojo Nixon Blues: > Otis Spann > SBW II > J.B. Lenoir Maxwell Street Jimmy Davis Fred McDowell > Muddy Waters Robert Nighthawk > Memphis Minnie ... ....ranko...i think you might have to wait till you get to the other side before you see these guys live........ scatman leo down d.c. way..... ========================================================================= Date: Fri, 17 May 1996 13:07:11 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Wish they'd play here >Here's a new thread... > >Who never tours or never comes through your hometown that you would like >to see in concert. Jerry McCain. I would be there if he came anywhere within a day's drive... Does anyone know how widely he tours? Has he been in Canada lately? -Jim (hndful@uniserve.com) ========================================================================= Date: Fri, 17 May 1996 15:02:22 -0500 Reply-To: Gary Croisatiere From: Gary Croisatiere Organization: Triangle Music Subject: Re: Last CD in YOUR player Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199605161129.AA22851@dragon.acadiau.ca>, Rob Hutten wrote: >> What's the lasy CD,LP or tape you listened to... John Coltrane - Live in Seattle -- Gary Croisatiere Triangle Music - The Blues Source ========================================================================= Date: Fri, 17 May 1996 15:06:36 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: Who do you regret missing? In-Reply-To: Message of Fri, 17 May 1996 15:29:53 -0400 from On Fri, 17 May 1996 15:29:53 -0400 Steve Levine said: > >What artists have you regretted staying home for? The one I actually stayed home for is CAREY BELL..Many years ago he came to the LAST blues club in B'ham. The crowd total was about 7 people and he tore the place up. My wife was there and a few friends. I can't remember why I missed it, but I do regret it. (Lurrie Bell & a killer band at that time) It's funny, I can't recall another show I COULD HAVE gone to and didn't that I regret....Thats a good batting average Shows I regret seeing: I wouldn't dare :-) LW ========================================================================= Date: Fri, 17 May 1996 16:18:04 -0400 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: Last CD in YOUR player Comments: To: Roland Mandler In-Reply-To: <319C63D5.ABD322C@bbn.com> Is that the same as the Lightnin Hopkins tune (of same title)? On Fri, 17 May 1996, Roland Mandler wrote: > James Solberg "See That My Grave Is Kept Clean" > ========================================================================= Date: Fri, 17 May 1996 15:13:41 -0500 Reply-To: Bill Zerbe From: Bill Zerbe Subject: Johnny "Guitar" Watson There was a recent post regarding the purported death of Johnny "Guitar" Watson. Can anyone confirm or dispute this report? It will be a sad loss if it is true. ========================================================================= Date: Fri, 17 May 1996 15:21:33 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: Last CD in YOUR player In-Reply-To: Message of Fri, 17 May 1996 16:18:04 -0400 from On Fri, 17 May 1996 16:18:04 -0400 Anita Samuel said: >Is that the same as the Lightnin Hopkins tune (of same title)? I think it is the Blind Lemon Jefferson tune. If I remember James Solberg does a very electric version...I'm sure Lightnin' did a version also. John Hammond does a right nice version of it. LW ========================================================================= Date: Fri, 17 May 1996 20:03:58 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Re: Arthur Kelly was Tabby's Blues Box Guitar Kelley cut for Excello in 1970 in Baton Rouge, with Whisperin' Smith, Silas Hogan's boy Sam and Mike Vernon (UK producer). There is other stuff around by Kelly, but I can't think where. ========================================================================= Date: Fri, 17 May 1996 15:19:25 -0500 Reply-To: Dan High From: Dan High Organization: Phoenix Data Net (713) 486-8337 http://www.phoenix.net Subject: Re: last CD in YOUR player Comments: To: bit-listserv-blues-l@uunet.uu.net My last CD: Also Alligator Records 25th Anniversary Collection (1996)(both disks). I especially like Disk 2. There's a 1966 version of "The Sky Is Cryin'," followed by Johnny Winter doing "Love, Life and Money" which is a kick-ass combo. This is a great collection of tunes... a must have. Currently listening to: House of Blues Sampler: "Hot Biscuits" -- Dan danhi@phoenix.net ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ You can't explain the blues... 'cuz no two people feel, hear, play, sing, or have the blues the same way. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Fri, 17 May 1996 20:19:58 GMT Reply-To: Girish Venkitachalam From: Girish Venkitachalam Organization: Iowa State University, Ames, Iowa USA Subject: Re: Wish they'd play here In article , James Leftwich writes: |> Here's a new thread... |> |> Who never tours or never comes through your hometown that you would like |> to see in concert. |> |> I'll start the betting: |> |> Ry Cooder |> John Fahey |> John Lee Hooker, Taj Mahal. -gv- -- Girish ---------------------------------------------------------------------------- http://www.public.iastate.edu/~girishv/homepage.html (Netscape 2.0 Preferred) ---------------------------------------------------------------------------- I find television very educational. Every time someone switches it on I go into another room and read a good book. - Groucho Marx ========================================================================= Date: Fri, 17 May 1996 20:21:14 GMT Reply-To: "J.J. Perry" Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: "J.J. Perry" Organization: Indiana University Subject: Re: M Osborne/JL Hooker Comments: To: don.o@CHRYSALIS.ORG Don O wrote: >Anyone picked up the new Michael Osborn CD "A Background in the Blues"? >Michael Osborne played guitar with John Lee Hooker for many years and Hooker >guests (on vocals) on 3 great tracks and on guitar on one. The tracks with The >Hook are worth the price of the CD by themselves (at least to me). Blue >Rock'It #BRCD 125. > I heard a Michael Osbourne song a few years back, "Spellbound," which also had the Hook and I believe Charlie Musslewhite on harp. I only heard it that one time, but I wrote it down and have kept it these past few years. Haven't seen the CD though, but it was cool stuff none the less. What Hooker albums is Osbourne on? J. J. ========================================================================= Date: Fri, 17 May 1996 16:36:43 -0400 Reply-To: Anita Samuel From: Anita Samuel Subject: Color at Blues Shows Comments: To: Leonard Watkins In-Reply-To: If you're sincere, try calling the Black stations in your town. Request a Bobby Bland tune (when he's coming to town). Many AA's don't come out because they don't know the artist is in town or aren't familiar with or comfortable in (jim crow legacy) a particular spot. Peace, nitra PS AfricanAmerican is ok. On Fri, 17 May 1996, Leonard Watkins wrote: > On Fri, 17 May 1996 04:54:12 -0500 P.W. Fenton said: > >On 16 May 96, Garry Segal had this to say: > >> Magazine issue! Lighten up..its not going to the Smithsonian. Its the > >> same old thing lots of NEW blues fans come through doors opened by > >> celebs and such. WE NEED NEW BLUES FANS! The mag runs plenty of less > *********************** > IMHO (this won't be popular) WE NEED MORE AFRICAN-AMERICAN (hate the term) > blues fans. I want to see more color at blues shows in my area. The only place > I've seen a good mixed audience is Clarksdale.....Just my opinion, but I would > like the see more mixed crowds..... > > LW 'don't think John Goodman is going to help accomplish that' > > > > >P.W. Fenton > >Tampa, Florida > >http://www.gate.net/~pwfenton/ > > > >"Everyone wants to have a big pile of money, but distrusts > >anyone who actually does." - P.W. Fenton > ========================================================================= Date: Fri, 17 May 1996 13:33:08 -0800 Reply-To: Sherie Brubaker From: Sherie Brubaker Subject: Rain contingency Plan for Sac Blues Society Blues in the Comments: To: bluslovr@aol.com, lknight1@aol.com, ROOSTERMAN@aol.com, dugsmith@ipx.netcom.com, murranch@ix.netcom.com, com@kfog1045.dot.ca.gov, wpc@netcom.com, markj@proxim.com, vvisa@sierra.net, SFBEAT@SIRIUS.COM, newsroom@TheReporter.com, llham@ucdavis.edu Park Sacramento Blues Society REVISED WITH RAIN CONTINGENCY PLAN PRESS RELEASE - PUBLIC SERVICE ANNOUNCEMENT Contact: Sherie Brubaker Event Date: 5-18-96 O: 916-654-6237 H: 916-383-6557 Date of Notice 5-17-96 Sacramento Blues Society BLUES IN THE PARK Please help us get the word out on this Free Community Event: IT IF RAINS HARD TOMORROW (SAT. 5/18/96), THIS EVENT WILL BE MOVED TO BLEACHER'S PUB, 900 University Ave, Sacramento, 922-0335. If the rain is light & intermittent, we will probably stay at Tahoe Park. The Sacramento Blues Society (SBS) present the first of two 1996 Blues in the Park events at Tahoe Park. This free community event will feature The JOHNNY NOCTURNE BAND FEATURING BRENDA BOYKIN. This is also a benefit for the Sacramento Food Bank. This will be the premier performance of Grass Valley's The Bandana Blues in Sacramento. This four piece band with two guitarists are sure to get the crowd warmed up. Johnny Nuggett's Health & Happiness Blues & Road Show will surely get the crowd rockin' and rolling before the day is through. Event Date/Time: May 18th Saturday Noon to 6 pm Bands: 1st: The Bandana Band 2nd: JOHNNY NOCTURNE BAND FEATURING BRENDA BOYKIN 3rd: Johnny Nuggett's Health & Happiness Blues & Road Show Where: Tahoe Park, 3535 - 59th Street, Sacramento OR IF IT RAINS HARD: Bleacher's Pub, 900 University Ave, 922-0335 Cost: FREE ADMISSION Benefit for the Sac Food Bank. Please bring donations. Food and beverages available for sale. For More Information: Media staff: Contact Sherie at her phone numbers above. Public: Contact The Sacramento Blues Society Hotline 556-5007 for more information. Please make sure all listings say the event is Sponsored by The Sac Blues Society and lists our Hotline phone 556-5007. THANKS! DON'T MISS THE FUN - UPCOMING SAC BLUES SOCIETY EVENTS! 5/19/96 Jimmy Rogers, 8pm, Mick Martin playing all Chicago Blues starts at 7 pm... The Sacramento Inn, $6 Blues Society Members, $8 public. Don't miss this Legendary Bluesman who created the Chicago Blues sound with Muddy Waters. 5/24-27/96 Memorial Weekend Sacramento Jubilee, many Blues Bands will be featured all weekend including Mick Martin, Nitecry, Catfish & the Crawdaddies, Lena Mosley + more. 372-5277 6/22/96 Blues Cruise on the Sacramento River. 5-8 pm on The Elizabeth Louise, Docked at Raley's Landing in West Sac. Call 427-3755 for info & tickets. Lena Mosley and the Badd Shoes Blues Band + dinner provided. Get your advance tickets at The Beat, as we have sold out weeks before this event, several years in a row. 7/13/96 Lady Bianca with Angel Reyes opening at The Sacramento Inn. 8pm -1 am. Admission Price to be announced. Come hear this powerhouse lady singer and help us build the SBS bank account back up so we can have more Blues in the Park events next year. Non-smoking indoor venue .. with air conditioning! 7/27/96 Blues in the Park, Cancelled due to lack of funds. 8/4/96 Legendary Bluesman, Snooky Pryor, with the Rusty Zinn Band opening at the Sacramento Inn or possibly another location, 2-7 pm. Admission Price to be announced. Non-smoking indoor venue .. with air conditioning! 8/17/96 Blues in the Park Noon-7pm, William Land Park at Amphitheater or behind Fairy Tale Town. East of Land Park Dr. between 13th Ave and Sutterville Rd. Free. Frankie Lee will headline. Animal Rhythm Band will open plus one more band to be announced. Benefit for Sac Food Bank, please bring non-perishable food to donate. 9/28/96 this event is in jeopardy due to lack of volunteers and funding. If you want to help, call the Hotline at 556-5007: 2nd Annual Blues on the Waterfront in Old Sac. Noon to 7 pm. Benefit for the Sac Food Bank. Free ========================================================================= Date: Fri, 17 May 1996 17:00:11 -0400 Reply-To: Ragas_for_RAGS From: Ragas_for_RAGS Subject: E_C_SCOTT... Blind Pig recording artist E.C.SCOTT will smoke the TOBACCO ROADHOUSE on Sunday May 19th @ 9 pm. Folks.... Any info about E.C.SCOTT for me.... I guess I check this grandma out anyway :) +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | Laissez les bon temps roulez!! | | // ~~ ~~ \\ | Let the good times roll!! | | /d-(@)-(@)-b\ | ------------------------------ | | // L \\ | SANJAY 'RAGS' RAJAN | | // //|\\ \\ | sanjay_rajan@formtek.com | | ////`---'\\\\ | FORMTEK,INC. | | // //|||\\ \\ | PITTSBURGH, PA | | // /|||\ \\ | ------------------------------ | | -/---/\o/\---\- | Visualize Whirled Peas!! | | /"\ )| | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Fri, 17 May 1996 17:07:54 -0400 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: Ike and Tina Turner Comments: To: VT In-Reply-To: <4nia8t$5op@news1.t1.usa.pipeline.com> VT, If there was any truth in the movie, Tina lived the blues. No battered woman wants to sing about how he done me wrong - not when she's trying to make a change. Any song that reminded her of her life with Ike is probably something she'd like to avoid and forget. It really is a matter of perspective. Tina has earned her right to hers. Peace, nitra On Fri, 17 May 1996, VT wrote: > Half watched the movie "What's Love Got to Do with It" the Tina Turner > Story last night on ABC TV. I don't know how well this reflected the known > facts, but somehow I got the impression it was a little "editted". > > Nevertheless I thought it was interesting that in the movie Tina says to > her new Brit manager that she didn't want to sing those "sad sack" songs > any more - referring to the Ike and Tina songs. I always thought those > were great R&B songs. > > It's funny about attitudes - it really does depend on where you are looking > from. Tina has gone "mainstream" or "adult contemporary" - leaving behind > the "older fashioned" music - and movie implies that's progression. > > Where as we here may feel it's a backwards step? > > -- > > Vincent > vt@usa.pipeline.com > ========================================================================= Date: Fri, 17 May 1996 17:00:00 EDT Reply-To: Debra Eisert From: Debra Eisert Subject: Re: Who do you regret missing? Last year Keb Mo' came to town (well, Hamilton -- close enough!). I had thought we were going. When I came home from work, my husband had invited non-blues type friends over. I would have walked out on my husband, (he'd have understood. kind of.) but the insult to my friends would have been harder to patch up. So, I put the cd on repeat and listened to it several times before someone changed it. One of these days.... As has been said, those concerts I would have liked to have had a chance to hear. First on my list -- Howling Wolf. Coming to blues via the rock route, he was the first "real" bluesman that truly touched me. ##################################################################### Debra Eisert "It is the mark of an educated man to debra@iglou.com be able to entertain a thought without Cincinnati, OH accepting it." -- Aristotle ##################################################################### ========================================================================= Date: Fri, 17 May 1996 17:01:43 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Death of Johnny "Guitar" Watson Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *I've been informed that Johnny "Guitar" Watson died of a heart attack in *Japan, apparently about 5 A.M. Chicago time today. I promised to write an *obituary and would appreciate any details as they become available. *That's all I know, but of course it's a shock. This is truly a sad day. Watson was one of the performers I never saw, and there was some talk of him possibly playing at Fleetwood's some time in the near future. I'm going to go home and listen to "Three Hours Past Midnight." -Steve "Heaven done called another blues stringer back home." -Jimmie Vaughan ========================================================================= Date: Fri, 17 May 1996 21:00:15 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: JOHNNY GUITAR WATSON DIES IN JAPAN? We just got a call from Mary Kathernie Aldin to tell us that Johnny Guitar Watson died whilst playing a gig in Japan. Possibly Wednesday night/Thursday morning. No further information other than this. If Blues-L has any more info or update please email me as B&R is going to press Monday. Thanks Tony Burke ========================================================================= Date: Fri, 17 May 1996 21:15:47 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: TOWNSHEND Comments: To: bit-listserv-blues-l@uunet.uu.net On May 17, 1996 08:35:01 in article , 'Chris Smith ' wrote: > >It's not generally known that the now aging Townsend has admitted that he >didn't actually write 'hope I die before I get old' in 'My Generation'. >What he actually wrote was 'Bob Hope'll die before I get old.' :-] > >(Stolen from the 'Sunday Times' (British).) > > >Chris Smith (chris@skerries.demon.co.uk) >2 + 2 = 5 for large values of 2 That's great...... and it's a happy birthday from him...... on Sunday (from Uncle eRIC's BLUES DATES) TOWNSEND, PETE (:-) (g) b. 1945-0519, LONDON, UK you too can go deaf by listening to the recently remastered "Who Live at Leeds" at high volumes. BTW - does anyone else think the Who's performance of "Won't Get Fooled Again" on Live Aid was one of the highlights? -- Vincent vt@usa.pipeline.com ========================================================================= Date: Fri, 17 May 1996 17:17:56 -0400 Reply-To: SliderDW@AOL.COM From: Don Williams Subject: Re: Wish they'd play here Comments: To: leftwich@cloud9.net In a message dated 96-05-17 13:06:34 EDT, leftwich@CLOUD9.NET (James Leftwich) writes: > >Here's a new thread... > >Who never tours or never comes through your hometown that you would like >to see in concert. > >I'll start the betting: > >Ry Cooder >John Fahey I'll see your Cooder and Fahey, and raise you an R.L. Burnside and a Jr. Kimbrough, who NEVER make it out here to the West Coast. Dom Williams ========================================================================= Date: Fri, 17 May 1996 16:22:46 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: WISH THEY'D PLAY HERE > From: James Leftwich > > Who never tours or never comes through your hometown that you would > like to see in concert? Otis Rush, Otis Rush, and Otis Rush Jerry McCain Magic Slim and the Teardrops Otis Grand Kim Wilson (with his blues band) Ronnie Earl Larry Garner AC Reed Casey Jones Philadelphia Jerry Ricks Katie Webster Fenton Robinson Etta James Johnny Copeland (It's been a long time and I miss him) Matt Guitar Murphy Hubert Sumlin Luther Allison (Why didn't he hit DFW on his recent tour??) Don O. ========================================================================= Date: Fri, 17 May 1996 17:16:49 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Death of Johnny "Guitar" Watson Comments: To: Richard Shurman On 17 May 96, Richard Shurman had this to say: > I've been informed that Johnny "Guitar" Watson died of a heart attack in > Japan, apparently about 5 A.M. Chicago time today. I promised to write an > obituary and would appreciate any details as they become available. > That's all I know, but of course it's a shock. I'm sure I join countless numbers who will mourn the parting of this legend. Johnny "Guitar" Watson was the only person I know who could change with every fad and fashion and still stay true to the Blues. His music was always vital, always timely, and ALWAYS funky. His Blues spoke to the experiences of the common man of each era he passed through. In a genre that shows such scorn for modern technology, he proved that you could take synthetic sounds and give them a soul. I love Johnny "Guitar" Watson. I will dedicate my show tonight to his memory. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 17 May 1996 16:22:54 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: IKE AND TINA TURNER > From: VT > > Half watched the movie "What's Love Got to Do with It" the Tina > Turner Story last night on ABC TV. I don't know how well this reflected > the known facts, but somehow I got the impression it was a little > "editted". According to Juke Blues, Ike is writting his own book called "Taking Back My Name". He's also on the cover of the latest Juke Blues. Somehow, I doubt Ike's version will make it to the silver screen. Don O. ========================================================================= Date: Fri, 17 May 1996 17:24:33 -0400 Reply-To: ac928@osfn.rhilinet.gov From: Jim McGlynn Subject: Re: Dr.John - recomm's ? Tony O"Connor writes: > >I've just seen some of the WEA/Atlantic/Rhino CDS on offer locally. I'm >going to get some Dr.John as I have none of his material. Should I go for >some individual albums or get the Best of (Rhino) ? Recommendations please >:-) This is one of the few times when there's no argument about whether or not one of those Ultradisc gold CD pressings is worth the extra cost. I'd recommend "Gumbo" from 1972 and "In the Right Place" from '73 even if they were only available individually. But packaged together as they are in a gold "Original Masters from Mobile Fidelity Sound Lab" two-fer, it's a no-brainer. "Gumbo" was Rebennack's salute to his New Orleans roots, a collection of timeless R&B and Indian gang classics given the good Doctor's fonk injection. It's relentlessly good, every cut a gem. "In The Right Place" was cut with Allen Toussaint and the Meters. The gold vs. regular pressing argument's never really pushed me one way or the other. But with two killer albums that'd cost the same if purchased separately, you can look at the gold as a free bonus. Jim McGlynn -- ========================================================================= Date: Fri, 17 May 1996 17:18:29 +0000 Reply-To: "M.Peters" From: "M.Peters" Subject: Re: Irene Comments: To: bit-listserv-blues-l@uunet.uu.net In the early '70s, Leo Kottke had a song on an album that I believe was called "Greenhouse". It was called 'Irene" and seems to be a distant reworking of "Goodnight Irene." ========================================================================= Date: Fri, 17 May 1996 21:24:23 GMT Reply-To: VT From: VT Subject: Re: Ike and Tina Turner Comments: To: Anita Samuel nitra, No argument about spousal abuse. What is wrong is wrong. I like Tina's contemporary stuff, but prefer her earlier stuff with Ike. She has every right to do what she wants to do - she doesn't need to earn it. What she has done IS admirable - but I can't help my preference in music. -- Vincent vt@usa.pipeline.com On May 17, 1996 17:07:54, 'Anita Samuel ' wrote: >VT, >If there was any truth in the movie, Tina lived the blues. No battered >woman wants to sing about how he done me wrong - not when she's trying to >make a change. Any song that reminded her of her life with Ike is probably >something she'd like to avoid and forget. > >It really is a matter of perspective. Tina has earned her right to hers. > >Peace, >nitra > >On Fri, 17 May 1996, VT wrote: > >> Half watched the movie "What's Love Got to Do with It" the Tina Turner >> Story last night on ABC TV. I don't know how well this reflected the known >> facts, but somehow I got the impression it was a little "editted". >> >> Nevertheless I thought it was interesting that in the movie Tina says to >> her new Brit manager that she didn't want to sing those "sad sack" songs >> any more - referring to the Ike and Tina songs. I always thought those >> were great R&B songs. >> >> It's funny about attitudes - it really does depend on where you are looking >> from. Tina has gone "mainstream" or "adult contemporary" - leaving behind >> the "older fashioned" music - and movie implies that's progression. >> >> Where as we here may feel it's a backwards step? >> >> -- >> >> Vincent >> vt@usa.pipeline.com >> > ========================================================================= Date: Fri, 17 May 1996 17:33:50 -0400 Reply-To: JukeFreak@AOL.COM From: "(Karen Hanson)" Subject: Re: Miss. Valley Blues Fest. Comments: To: JIMBLUE1@aol.com Jimblue1@aol.com asks: >Does anyone know the schedule for the Mississippi Valley Blues Festival in >Moline? Thanks in advance 1996 MISSISSIPPI VALLEY BLUES FESTIVAL -- JULY 5, 6 & 7 -- DAVENPORT, IA (LeClaire Park--Right across the river from Moline, IL) FRIDAY, JULY 5 Bandshell Stage 6 p.m. -- Li'l Brian Terry & the Zydeco Travelers 8 p.m. -- Coco Montoya 10 p.m. -- Big Daddy Kinsey & the Kinsey Report Tent Stage 5:30 p.m. -- Alvin Youngblood Hart 7 p.m. -- Keb' Mo' 9 p.m. -- John Hammond & Duke Robillard SATURDAY, JULY 6 Bandshell Stage 2:30 p.m. -- Mojo Blue Competition Winner 4 p.m. -- Debbie Davies 6 p.m. -- James Peterson 8 p.m. -- The Johnny Nocturne Band 10 p.m. -- Otis Rush Tent Stage 2 p.m. -- Catfish Keith 3:30 p.m. -- Big Al Dupree with the Teddy Morgan Band 5:30 p.m. -- Mem Shannon 7:30 p.m . -- Mississippi Heat 9:30 p.m . -- Von Freeman SUNDAY, JULY 7 Bandshell Stage 2:30 p.m. -- Blues Instigators 4 p.m. -- Dave Thompson Band 6 p.m. -- Miss Lavelle White 8 p.m. -- Smokey Wilson 10 p.m. -- Syl Johnson Tent Stage 2 p.m. -- Two Point Five 3:30 p.m. -- Omar Shariff 5:30 p.m. -- W.D. Gospel Singers 7:30 p.m. -- Robert Lockwood 9:30 p.m. -- Taj Mahal For more info, call Quad-Cities Convention and Visitors Bureau, 1-800-747-7800 Karen, Not affiliated, just happened to have a schedule ========================================================================= Date: Fri, 17 May 1996 17:33:52 -0400 Reply-To: JukeFreak@AOL.COM From: "(Karen Hanson)" Subject: Re: Who do you regret missing? Steve asks: >What artists have you regretted staying home for? Of course, all the artists who died before I met the blues... But...number one on my list: Brownie McGhee. He played Chicago Blues Fest last year.... I planned to see him.... I wanted to see him .... and I was an idiot and went home instead. Many other examples, too...but this is the main one, for obvious reasons. Karen ========================================================================= Date: Thu, 16 May 1996 20:27:22 -0700 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Johnny Guitar Watson dead! Just heard that JGW died on stage in Japan last night...the report I heard gave no details about cause, his age, etc., but I was stunned. Just saw him put on a terrific two-hour show last year at Tipitina's and was amazed at how great he looked and sounded. He couldn't have been more than 55 or so, could he? And just as he was experiencing a resurgence with that last album. Ain't That a Bitch AND A Real Mother For Ya... RIP, Johnny G...you were one of my top favorite soul bluesters for almost thirty years, and I for one will miss you terribly. --Maggie -- Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ "I'm not sure, but I think that ALL music started in New Orleans." --Ernie K-Doe ========================================================================= Date: Fri, 17 May 1996 18:21:03 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Good news re: Cash McCall I have a report that Cash McCall was released from the hospital today and is recovering at home. I gather from the report that he is doing quite well, particularly considering, and plans to be back to "gigging" as soon as he can. Tom Freeland ========================================================================= Date: Fri, 17 May 1996 18:26:37 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Johnny Guitar Watson dead! Comments: To: Maggie Mortensen On 16 May 96, Maggie Mortensen had this to say: > Just heard that JGW died on stage in Japan last night...the report I heard gave no > details about cause, his age, etc., but I was stunned. Just saw him put on a > terrific two-hour show last year at Tipitina's and was amazed at how great he looked and > sounded. He couldn't have been more than 55 or so, could he? And just as he was > experiencing a resurgence with that last album. > > Ain't That a Bitch AND A Real Mother For Ya... > > RIP, Johnny G...you were one of my top favorite soul bluesters for almost thirty years, > and I for one will miss you terribly. Johnny was born February 3rd 1935, so he was sixty one years old (and almost looking 40). He started playing professionally at age 15 playing keyboards for Chuck Higgins. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 17 May 1996 15:44:57 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Mistakes Comments: To: cuthulu@prysm.net In-Reply-To: <319c135b.809524@news.prysm.net> from "cuthulu" at May 17, 96 05:53:44 am > >Yo Troy... Donald Fagan plays piano....and very well. He played > >virtually every piano solo Steely Dan recorded, including the one > >that was being discussed (Do It Again) before you offered up your > >knowledge. > > > Anyway, considering how "punched" Steely Dan records are, I'm surprised > anyone believes that the solos are just one take, rather than snippets > of several takes. Don't get me wrong, I do enjoy Steely Dan. But, you > can rest assured that everything on a Steely Dan record is the very > closest they could come to their vision given the technology they had > available. The so-called mistakes are quite intentional and done for > effect. Do It Again was one of their first recordings. Their later stuff does show a lot of signs of attempted perfection. As to whether the keyboard solo indeed has reinforced fluffs, only Donald Fagan can answer. I can only speculate. But to me (opinion) it sounds like one of the best examples of "reinforcing" a mistake into "Hey - that's what I WANTED to do" I've ever heard. To my ear, there are several spots in the keyboard solo that shouldn't be there, and I speculate that, had that been a cut on the "Aja" album, would not have been there. This and a couple bucks will get you coffee at a lot of places. > My favorite Steely Dan song is still FM. Especially that part, "nothing > but blues and Elvis, and somebody else's favorite song ....." yup. Fagan has come up with some real lulu cuts (excuse the play on names :-) -- IronMan Mike Curtis ========================================================================= Date: Fri, 17 May 1996 18:01:10 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Toronto Blues Asked David Silverberg: "Wasn't the Chelsea Hotel in Toronto the hotel that Leonard Cohen lived in for a while? Seems to me he wrote some of his songs there - Suzanne? Sisters of Mercy? Or was it the Chelsea in New York?" No, the Chelsea Hotel in which Leonard "met" Janis Joplin (the rich details are in the song) was the one in Greenwich Village, New York. It certainly wasn't the mid-priced, semi-upscale Chelsea in Toronto, which is full of tour bus parties, businessmen, and totally respectable people who would never have oral sex with singers. And now I can't remember which damned Leonbard Cohen song it was anyway! Richard the Elder ========================================================================= Date: Fri, 17 May 1996 18:56:00 PDT Reply-To: Meridith Farnworth From: Meridith Farnworth Subject: Paging ReeAnne H...... ReeAnne H. from Seattle: I've been trying to contact you privately, but I guess I copied your email address wrong. Messages to you are bouncing. Please contact me here when you get a chance! sorry to post this to the list. OBC: I'm fixin' to head out to a place within staggering distance of my house for an evening of Blues!! Riffin' Rick: I *will* talk to the folks there and twist their arms to book Gate STreet (sure would be easier if I had that tape of yours, nudge nudge, wink wink) --Meri mfarn@fibusa.com ========================================================================= Date: Fri, 17 May 1996 18:15:02 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: More on Prof. Longhair I've just spent the afternoon with Holger Petersen, and I have now heard the tapes for the Stony Plain Longhair album, which will be released at the end of August or the beginning of September. The title is Fess' Gumbo: Piano Solos and Interviews. I gave the impression in my last post on all this that the interviews were taken from those done by Holger for his radio shows; in fact they were done byAndy Koslow, although you only hear Longhair. He is engaging and funny and articulate; the 30-50 second snippets appear throughout the album between the tunes, which may irritate casual listeners, but they are so short and often amusing that they add to the music rather than detract. They certainly add another dimension to our knowledge of the artist. And the delay in getting the record out has no sinister background - it's a small label that rarely puts out more than a dozen records a year, and since this is the label's 20th anniversary, Holger's been putting a lot of effort behind the double CD set called 20 Years of Stony Plain (which has a snippet from the Longhair album). It also contains bits from upcoming SP albums from Lowell Fulson, Long John Baldry, Jo-El Sonnier, Johnny Shines, and Roosevelt Sykes, all in the pipeline and slowly on their way to you... Richard the Elder ========================================================================= Date: Fri, 17 May 1996 18:23:16 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Who do you regret missing? Without question, Joe Venuti, the jazz violinist. He came through Toronto all the time, and I always said I'd go, and never did, and then...And Elmore James, when I was in Chicago, way way back, and he'd just come back from Mississippi, and there was a house party that was raised in a conversation in a studio with Roosevelt Sykes and Homesick James and I looked over at Bob Koester, who was running the session, and he quietly shook his head... Which is why I will see Stephane Grappelli again in November at Massey Hall (he's 86 now!) and why I won't miss trumpeter Doc Cheatham (92 I think, and still playing marvellously) when he comes in for the DuMaurier Downtown Jazz Festival in June. Richard Flohil ========================================================================= Date: Fri, 17 May 1996 20:03:27 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Toronto Blues Comments: To: Richard Flohil In-Reply-To: On Fri, 17 May 1996, Richard Flohil wrote: > Asked David Silverberg: "Wasn't the Chelsea Hotel in Toronto the hotel that > Leonard Cohen lived in for a while? Seems to me he wrote some of his songs > No, the Chelsea Hotel in which Leonard "met" Janis Joplin (the rich details > are in the song) was the one in Greenwich Village, New York. It certainly > wasn't the mid-priced, semi-upscale Chelsea in Toronto, which is full of > tour bus parties, businessmen, and totally respectable people who would > never have oral sex with singers. A little more uptown Richard - Chelsea, NY to be exact (23rd St.) about 1 1/2 miles north of Greenwich Village. But nonetheless it is close enough for a foreigner's guess ;-). Barry (used to do biz in Chelsea and never stayed in that hotel). NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Fri, 17 May 1996 19:25:07 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 05/18 B O R N : 05/18 BENNETT, LOU ( LOUIS BENOLT ) Born:1926 PHILADELPHIA, PA Career:ORGAN / COMPOSER Style;JAZZ With:JIMMY GOURLEY / KENNY CLARKE GREEN, REX WITHERS (HAMMERHEAD) Born:1922 HOBART, TAS, AUSTRALIA Career:PIANO Style:JAZZ With:Barrelhouse Four / Tony Nastead / Owen Yateman / Melbourne Jazz Club HOOPER, LOU (LOUIS STANLEY) Born:1894 NORTH BAXTON, ONT. Career:PIANO Style:BLUES / JAZZ With:ELMER SNOWDEN / BOB FULLER / ROSA HENDSERSON / LIZZIE MILES / MONETTE MOORE / ETHEL WATERS / MYNIE SUTTON LITTLE SON JOE Born:1900 HUGHES, AR Career:GUITAR Style:BLUES With:MEMPHIS MINNIE McPARTLAND, DICK (RICHARD GEORGE ) Born:1905 CHICAGO, IL Career:GUITAR / BANJO Style:JAZZ / BIG BAND BROTHER OF JIMMY McPARTLAND TUCKER, TOMMY Born1908 SOURIS, ND Career:LEADER Style:BIG BAND TURNER, BIG JOE ( JOSEPH VERNON ) Born:1911 KANSAS CITY, MO Career:SINGER Style:BLUES / TRAD / JAZZ With:PETE JOHNSON / PETE BROWN / LAWRENCE BROWN / HUMPHREY LYTTELTON / JIMMY WITHERSPOON WINDING, KAI (CHRESTEN) Born:1922 AARHUS, DENMARK Career:TROMBONE Style:JAZZ / BIG BAND With:Shorty Allen 1940 / Bobby Day / Sonny Dunham / Alvino Rey / Stan Kenton / Charlie Ventura / Buddy Stewart / J.J.Johnson ZWERIN, MICHAEL Born:1930 NEW YORK, NY Career:BASS TRUMPET / TROMBONE / PIANO Style:JAZZ With:MILES DAVIS / CLAUDE THORNHILL / MAYNARD FERGUSON / BILL RUSSO Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Fri, 17 May 1996 19:25:27 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 05/19 B O R N : 05/19 AULD, GEORGIE (John Altwergor) Born:1919 ONTARIO, CANADA Career:TENOR SAX / ALTO SAX / LEADER Style:JAZZ / BIG BAND With:ARTIE SHAW / Bob Kitsis / Al Avola / Dick Horvath / Ralph Hawkins / Johnny Best / Harry Geller / Dave Barbour / Henry Adler BRYANT, BOBBY ( ROBERT SR.) Born:1934 HATTIESBURG, MS Career:TRUMPET Style:JAZZ / BIG BAND BUSSE, HENRY Born:1894 MAGDEBURG, GERMANY Career:TRUMPET / LEADER / COMPOSER Style:BIG BAND With:PAUL WHITEMAN FORTUNE, SONNY ( CORNELIUS ) Born:1939 PHILADELPHIA, PA Career:ALTO SAX / SOPRANO SAX / FLUTE Style:JAZZ / BIG BAND With: ELVIN JONES / MONGO SANTAMARIA / LEON THOMAS / McCOY TYNER / BUDDY RICH / MILES DAVIS / GEORGE BENSON / NAT ADDERLEY FOSTER, POPS ( GEORGE FOSTER ) Born:1892 McCALL, LA Career:BASS / TUBA Style:TRAD / JAZZ With:MAGNOLIA BAND / KING OLIVER / KID ORY / JACK CAREY / ARMAND J. PIRON / FATE MARABLE / CHARLIE CREATH / ED ALLEN / LUIS RUSSELL / LOUIS ARMSTRONG / SIDNEY BECHET / ART HODES / MEZZ MEZZROW / BOB WILBUR / EARL HINES HERBET, GREGORY ( DELANO ) Born:1947 PHILADELPHIA, PA Career:TENOR SAX Style:JAZZ JANES, ROGER COLIN Born:1942 BRISTOL, UK Career:TROMBONE / SINGER / LEADER Style:JAZZ With:Penfield JB / Eddie Robbins / Yarra Yarra JB 1965 / moved England 1967 / Graeme Bell 1968 / Australia 1969 / Geoff Bull 1976 / Marty Mooney / Don Heap / Gary Walford MARIA, TANIA Born:1948 SAO LUIZ MANNHAE, BRAZIL Career:SINGER Style:JAZZ With:EDDIE GOMEZ McBEE, CECIL Born:1935 TULSA, OK Career:BASS Style:JAZZ With:PAUL WINTER 1963-64 / JACKIE McLEAN 1964 / WAYNE SHORTER 1965-66 / CHARLES LLYOD / YUSEF LATEEF / ALICE COLTRANE / JOANNE BRACKEEN / YOSUKA YAMSHITA MOORE, MONETTE Born:1902 GAINESVILLE, TX Career:PIANO Style:BLUES SCOTT, TOM Born:1948 LOS ANGELES, CA Career:TENOR SAX / COMPOSER / LEADER Style:JAZZ / BIG BAND SILVERMAN, SIME Born:1873 CORTLAND, NY Career:NEWSPAPERMAN Style:BLUES / JAZZ / BIG BANDS founder: VARIETY Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Fri, 17 May 1996 19:08:33 -0500 Reply-To: topcat@COMPUTEK.NET From: "" Subject: Re: bob kirkpatrick Comments: To: don.o@CHRYSALIS.ORG Don forgot to mention that Bob Kirkpatrick will be throwing a big album release party this Saturday Night at the Texas Blues Cafe in Dallas. All you Zellers in Big D land come on down! The Texas TopCats will be opening the show. And this is a KNON fundraising benefit as well, so bring your friends! All the best. Richard Chalk TopCat Records To: Multiple recipients of list BLUES-L JSP Records has just released Bob Kirkpatrick's first new album in 23 years, titled "Going Back to Texas". I first met Bob last year at one of Hash Brown's blues jams at The Bone in Dallas and was immediately struck by his wonderful voice and superb B.B. King style guitar work. I attended several gigs and was quickly convinced he was a major talent. After a phone call and a few tapes, John Stedman at JSP Records offered Bob the chance to go back in the studio again. About that same time, Richard Chalk of Topcat Records also approached Bob about recording. About 6 months went by without Bob committing to either label, then last fall he signed a one album deal with JSP. They went into Audio Dallas studio in late January and completed the album in 4 days. This is a band that knows nothing of studio gimmicks. The engineer nearly fell out of his chair when they faded a song, just like they do at live performances. Bob is not your average blues man. Although he has always loved music and performing, it has, until recently, taken a back seat to his career with the Federal Government. Bob drives a beautiful Mercedes to gigs at some of the dumpiest little blues bars in Dallas and that alone is proof he made the right choice. I hope he eventually gets out of those dumpy bars and onto some major festival stages in the next few years. I have no financial interest in Bob's career or in the CD, except for the few I sell through my mail order business. If you think I'm posting this to sell CDs you are mistaken. I just think Bob is an extraordinary talent that blues fans might be interested in, and one of the reasons I subscribe to blues-l is to learn about folks like that. What follows is an interview compiled for the liner notes with Bob telling his own story. Don O. Here's Bob Kirkpatrick's story as compiled from two interviews by Don O. on April 23, 1995 and February 18, 1996. I was born January 10, 1934 in North Louisiana in a little town called Haynesville, 4 miles from the Arkansas line. I grew up there in the sandy hills of Louisiana. I became interested in music about the age of 6. I tried to play piano a little bit and found it had too many keys. My dad had 6 brothers and they all played guitar, pianos, and what have you. I chose guitar from being around them. I went into the military in 1953 during the Korean conflict and saw action in Korea. After Korea I came back and attended school at Grambling, majoring in Physical Education. I was at Grambling 1955-1958. I worked with Ivory Joe Hunter over about 2 1/2 years while I was in school. I became acquainted with him through his road manager, Otis Jackson. He introduced me to Joe and got me to go along and play guitar for him when I could get away from school. It wasn't full time, just when I could arrange it with my school schedule. I did go on one road trip down to Daytona, Florida with him. Everything else was local around Louisiana. I first became heavily involved in blues about 1958. B.B. King did that to me. B.B. King was my main man, then and now. I really liked his style of playing and it just kind of grew on me. He inspired me so with "3 O'clock In The Morning" and so many others. He used to come through Monroe, Louisiana and play at the Carroll Auditorium down there. When I was in school at Grambling I became acquainted with him through my brother. I got to talk with him and we became acquaintances. I talked with him about playing the guitar and he told me to just keep after the practicing. He told me "You've got to feel what you do. Feel it within." After doing that awhile I got to see him again and he heard me play a little, back in the dressing area. He let me play his opening number that night along with his band and he came out and sang. He made me feel real big! I felt like I was about 50 feet tall! There would always be about 80% of Grambling down there when he would come through. In 1958 I became ill just before I was about to do my student teaching. The doctors recommended I take some time off from school and that's when I came to Dallas. I started working in Dallas and have been here ever since. I never have taught school, just a little substitute teaching in Dallas. I worked for the Veterans hospital for 7 years, transferred to the Federal National Mortgage in home loans for a few years, then transferred to Logistics Command for a few years, and ended up in the food and nutrition service. I was a food program specialist for the Federal government. I would visit schools or any organization that received government food subsidies. We did reviews and worked in conjunction with the Food Stamp Program. We were the ones that authorized food stores to accept food stamps from customers. We kept them abreast of changing regulations and things of that nature. I worked out of the Dallas office over on Commerce street. There were 5 of us to cover 59 counties in Northeast Texas. Of course I ended up getting 26 of those counties! Back in 1968 Bobby Bland had lost his guitar player and he asked me to go out on the road with him. The kids were small then, and I just had to turn it down. That was about the time I was in my first regular band. I really didn't form the band myself. There was another guy here in Dallas, Charles Ginyard, that was putting a group together so we had sort of a joint band. We worked together over about 6 or 7 years around the Dallas area. He passed away a few years back. I played at the Newport festival 3 different times starting about 1970. My brother was on the Board of Directors for the festival and he would bring me up every year. I was working for the government by then and I would set aside my vacation to go up and work at that show. I met a lot of people there, names that I had heard since I was very young. I used to use Muddy Waters' band to back me at Newport. He always let me use his band every year. Muddy was quite a guy. During the day when there was nothing really happening on the performance stage, we would sit out under the shade trees and I would give blues guitar seminars. Everyone would gather around and I'd demonstrate chord changes and a few licks. Everyone would have a good time and we would get a good crowd. Looked like everybody had a guitar at that time. Sometimes I would do as many as three of those in a day. During one of those festivals I roomed with my old acquaintance, B.B. King. It was in a women's dormitory. We stayed up late into the night with me asking him questions until he finally fell asleep on me! He's such a beautiful guy. After one of those appearances at Newport, Folkways Records contacted me and asked me to do a blues album for them. I went up there in 1973, did the album, and enjoyed every moment of it. It was called "Feeling the Blues" (Folkways #FTS31032). The distribution wasn't the greatest but it worked out pretty good. After that period I continued to work and raise the children. There was an Elks lodge in Dallas at what is now Martin Luther King Blvd. and Atlanta. I had a little group with an organ, drums, and a guy that alternated on several different horns. We worked there for 16 years playing weekends. We would do some of the annual Elks conventions and a few out of town things, but mostly it was just down at the local lodge on weekends. During the time I worked at the Elks Lodge I didn't have much time to become acquainted with the other musicians around town. I hear a lot of names of guys that were around back then that I really should have known, but didn't because I was so preoccupied between work, family, and playing at the lodge. I retired from the Federal government in May of 1986. I kind of laid off music for awhile. Then a friend of mine opened up a club, T.B.'s Lounge, about 4 years ago, and coerced me back into playing. She would even open the club on Wednesday nights for us to practice. Since I've been back in it I've enjoyed every moment. I met these guys working at T.B.'s. They were playing with another group and they kind of veered off from there and I picked them up. They were doing a good job and I liked their sound. Degge's (drums) been with me a little over two years and Jerry (bass) has been with me about a year and a half. I knew Wilford (sax) from way back in the 60's. He used to sit in with us when I was playing with Ginyard. I played briefly with Frankie Lee Daniels and Wilford was in his band. I knew Harry (keyboards) from the old days when North Dallas was up around Thomas and Hall. Harry was in Bo Thomas' band back when Bo had the Empire Room which later became the Ascot Room. I have quite a few original tunes I've been working on with the fellas. About a year ago we started to get out into some of the other clubs in town. Now I feel like I'm kind of back in it. I'm ready to get back on the festival circuit now that the kids are all grown and married. I have two girls and two boys. Now there's nobody but the wife and I, and she's ready to get me out of the house! She retires in April 96 after 23 years with the Feds. We've been married for 37 years and she's 100 percent in my corner. I'm available and I love to work! end <---- End Included Message ----> ========================================================================= Date: Fri, 17 May 1996 17:43:24 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Who do you regret missing? I've been lucky enough to see most of my contemporary favorites. I did = miss Rice Miller, Elmore James and Little Walter. Too bad, with a little = enterprise, I coulda hunted them down. Uncle Ray ---------- From: Steve Levine[SMTP:Steve.Levine@CORP.WRGRACE.COM] Sent: Friday, May 17, 1996 7:29 PM To: Multiple recipients of list BLUES-L Subject: Who do you regret missing? New thread: I've missed a lot of performances by musicians I could have seen and have now passed on, including: Danny Gatton Roy Buchanan Stevie Ray Vaughan Sunnyland Slim Albert Collins Johnny Shines Flora Molton Booba Barnes Then, of course, there are countless blues men and women who died before I became a blues fan, or even before I was born. What artists have you regretted staying home for? ========================================================================= Date: Fri, 17 May 1996 20:41:13 -0400 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Private Music Web Site/Miscellany I found a URL today while thumbing through the latest Blues Revue -- didn't buy it. Anyway, the Private Music label has created a very excellent site, featuring Etta James, Taj Mahal, Jimmy Witherspoon, The Fabulous Thunderbirds, and one named Chris Thomas who seems intriguing. (Anybody heard him?) Leo Kottke's there, too, whom I've always enjoyed. It's at: http://www.private-music.com/pm/ Latest few in my CD player, for the record: M.J. Hurt -- "1928 Sessions" Otis Rush -- "Ain't Enough Comin' In" Mississippi Heat -- "Learned The Hard Way" R.L. Burnside -- "Too Bad Jim" Jimmy Witherspoon -- "Spoonful" Roy Rogers/Norton Buffalo -- "Travellin' Tracks" U.P. Wilson -- "This Is U.P. Wilson" "The Cobra Records Story," 1 and 2 A local talk radio show uses as its theme a (really bad) B.B.King tune with him singing "It's showtime!" to some synthesized keyboards that reminds me of Herbie Hancock. Anybody know what this song is? *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Fri, 17 May 1996 17:50:25 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Wish they'd play here I got a few. Wolfman Washington J. J. Cale HiTide Harris (anywhere stateside) Snooks Eaglin Luther Kent Liegh Harris (sp?)(Little Queenie) The (Funky) Meters Fernest Arceneaux Uncle Ray ---------- From: James Leftwich[SMTP:leftwich@CLOUD9.NET] Sent: Friday, May 17, 1996 4:38 PM To: Multiple recipients of list BLUES-L Subject: Wish they'd play here Here's a new thread... Who never tours or never comes through your hometown that you would like to see in concert. I'll start the betting: Ry Cooder John Fahey ============================================================================= Jim Leftwich Jim's Blues N' Brews leftwich@cloud9.net http://www.cloud9.net/~leftwich "I'm on cloud9!" :) New CD Giveaway: Sherman Robertson ============================================================================= ========================================================================= Date: Fri, 17 May 1996 17:54:45 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Wish they'd play here Oded and others who have mentioned Paul deLay, The deLay Band could be coming to your town sometime fairly soon. With the new record deal, national touring may come soon. Uncle Ray ---------- From: Oded Maron[SMTP:oded@AI.MIT.EDU] Sent: Friday, May 17, 1996 5:46 PM To: Multiple recipients of list BLUES-L Subject: Wish they'd play here From: James Leftwich Who never tours or never comes through your hometown that you would like to see in concert. Fenton Robinson James Carr Paul Delay Little Charlie and the nightcats (who always make it to Springfield but not to Boston) Oded ========================================================================= Date: Fri, 17 May 1996 21:04:45 -0400 Reply-To: PHWoolfman@AOL.COM From: Pete Wulforst Subject: Re: Dr John Comments: To: marc@sc1000.az.vub.ac.be Horace Parlan's right hand is crippled by polio from childhood. He travels in some pretty fast company (for example, George Coleman) and is more than equal to the challenge. It was great to see his name on a post. Needlessly, I must add that he is an accomplished blues player. The fact that he was also a Mingus sideman at one point also attests to his gift; C.M. played a little piano too, when he wasn't tearing up the bass. Pete Wulforst, Hampstead Md ========================================================================= Date: Fri, 17 May 1996 21:11:05 -0400 Reply-To: BALISTRK@BAYDENOC.CC.MI.US From: "Keith T. Balistreri" Subject: Re: last CD in YOUR player Comments: To: Dan High In-Reply-To: <319CDF4D.31FA@phoenix.net> At home: "Overnight Sensation" Frank Zappa ---Some nasty lyrics but musically a wonderful cd with unbelievable guitar work by Zappa himself. In the car: "Underground" Thelonious Monk --- What can I say...I love his stuff. At work: "The Glory of Gershwin" Various artists from Oletta Adams to Elvis Costello. Keith B. ========================================================================= Date: Fri, 17 May 1996 19:05:04 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Three's Company The Fat Possum Mississippi Juke Joint Caravan will feature its starting lineup next Tuesday at the N.O. House of Blues -- which is to say the've replaced Dave Thompson with Junior Kimbrough -- should be a thematically sound performance and a more musically pleasing one -- I thought Lil' Dave Thompson was the third wheel of the performance I witnessed during Jazzfest. So it'll be R.L. Burnside, Junior Kimbrough and Paul Jones this time around.. Bill Morgan From: The Big Easy ========================================================================= Date: Fri, 17 May 1996 18:36:25 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Blues accessories Zellers, Here's a new lighthearted thread for any and all to jump on, with tongue = either in or out of cheek. Today, I bought an Elgin watch, as in "She's got Elgin movements from = her head down to her toes...". It seems my vanities and sense of style = is driven by my passion for blues and my gambler's superstitions. I carry a black cat bone and a Mojo Hand Root to the track. I have a = John the Conqueror candle and a gator's claw on my Lotto ticket shrine. = My closet is full of the obligatory blues footwear, Stacy Adams shoes. I = affect what Charlie Musselwhite once called "Harmonica Bandito" clothes; = banlon, sharkskin, and black leather. Maybe you can suggest some more blues accessories, and their music = connection. Did I mention that I have a shopping bag from Goldblatt's = autographed by Billy Boy Arnold? Uncle Ray ========================================================================= Date: Fri, 17 May 1996 21:56:22 -0400 Reply-To: BALISTRK@BAYDENOC.CC.MI.US From: "Keith T. Balistreri" Subject: Gales Bros./You Don't Love Me I was listening to the Gales Bros. new cd which I think is great. But I wonder if someone can help me? There is a song on it .."You Don't Love Me" and everytime I hear that guitar riff I can't help but think I've heard it before. Did another band do this song? Keith B. ========================================================================= Date: Sat, 18 May 1996 01:49:11 GMT Reply-To: ".\\ark \\'atkins" From: ".\\ark \\'atkins" Organization: Zippo Subject: Re: SRV - The Best There Ever Wa "Nuri A. Nuri" wrote: >Stevie is VERY big in my book and has a special place in my heart. However, >"Texas Flood" is a Larry "Tootsie" Davis song and not a Stevie song, >although Stevie covered it many times and perhaps even made it famous. So, >Larry Davis's estate should get the earnings (since Davis passed away last >year). I remember reading that when Stevie recorded Texas Flood there was some doubt about who actually wrote it. I believe that Davis and someone else each separately claimed they wrote it. Stevie tracked them _both_ down and paid them for the rights out of his own pocket. Both are credited on the album. This may have been written about in Caught In The Crossfire, but I can't remember where I saw it. How many artists do you think go to that much trouble to give credit where it's due? Stevie always gave far more credit than he took. He was a very humble man, and went out of his way to promote those who had influenced him. He (and his brother Jimmie) earned the respect of Muddy, Albert King, Buddy, John Lee Hooker, and many others (sometimes in spite of themselves as in Albert's case), well before his fame and gold records could have been the cause. These people were _very_ protective of their beloved blues, and didn't give their endorsements lightly. You can see what some of them said about him on my page at http://www.telepath.com/markw/srv.html. If he was good enough for them, why do so many of the blues snobs... er, *purists* on this list think they know better? -=[ .\\ark \\'atkins ]=- | markw@telepath.com | 1:147/3101 | http://www.telepath.com/markw | 1:147/2021 ========================================================================= Date: Fri, 17 May 1996 20:59:44 -0700 Reply-To: Craig Edmundson From: Craig Edmundson Subject: Browser ? *No Blues* I am wondering if any bluezellers are using Netscape Navigator 3.0; and if so, what platform are you running it on? Any problems with it? TIA. Craig --------------------------------------- Craig L. Edmundson | cedmunds@probe.net http://www.probe.net/~cedmunds/ cedmunds@netserv.unmc.edu ========================================================================= Date: Fri, 17 May 1996 19:41:09 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: TOWNSHEND Gut Tapper wrote: >Chris- > I always wondered how aging rockers like Pete and Neil ("It's >better to burn out than it is to rust") Young felt about sentiments they >expressed when they were somewhat younger. Maybe Neil really said >something else too. Honestly, I think Neil was. "Hey, Hey, My, My" was more of a commentary rather than an expression of ones beliefs. Then again I could be wrong. And if you've been checking everything that Neil has done since "Freedom" (One of the best albums of the '80s, IMHO) you would hear that he is a along way from burning out. He just gets stronger and stronger. BTW, I do really like "This Notes for You." Ok, it wasn't a 'true' blues album but it sure had the spirit. It was fun and a very affectionate tribute to the blues. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Fri, 17 May 1996 19:41:13 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Favorite False Starts... Ok. So the start on "Milkcow Blues Boogie" was contrived. It's just another illusion shattered. Such is life (but thanks to everyone for setting me straight). On this subject, check out Ricky Nelson's version. It smokes with a wicked solo by James Burton. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Sat, 18 May 1996 12:28:23 +0900 Reply-To: MIE SENOH From: MIE SENOH Subject: Re: Johnny Guitar Watson dead! Comments: To: Maggie Mortensen At 8:27 PM 96.5.16 -0700, Maggie Mortensen wrote: >Just heard that JGW died on stage in Japan last night...the report I heard >gave no >details about cause, his age, etc., but I was stunned. Just saw him put on a >terrific two-hour show last year at Tipitina's and was amazed at how great he >looked and >sounded. He couldn't have been more than 55 or so, could he? And just as he >was >experiencing a resurgence with that last album. > >Ain't That a Bitch AND A Real Mother For Ya... > >RIP, Johnny G...you were one of my top favorite soul bluesters for almost >thirty years, >and I for one will miss you terribly. > >--Maggie > > > >-- >Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA >~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ >"I'm not sure, but I think that ALL music started in New Orleans." > --Ernie K-Doe I was at that club in JAPAN(YOKOHAMA BLUES CAFE) last night. JGW broke down soon when began to sing "SUPERMAN LOVER"(opening number). Almost people thought it stage effect. But he was taken to the hospital in an ambulance, and died at that PM9:15(JAPAN)MAY 17 61years old.(too young $B!&!&!&!&!&!K (B His death was due to myocardinal infarction. I can't believe it now. That is the last thing I expected. Because he was great when came on stage!! I will plan to interview him for magazine on Sunday, so I listen to his album every day. JGW was a real great musician that could play HIP music. It matters little that sounds is blues or not. I think He sang anytime "THE BLUES today." I 'll never forget your BLUES! MIE SENOH(micro@kiwi.co.jp) ========================================================================= Date: Fri, 17 May 1996 20:05:41 -0700 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Official press release re Johnny Guitar Watson's death Comments: To: Lrucker@aol.com, Keith@keithbbr.demon.co.uk, Tony@bluestb.demon.co.uk, Leblanc@dao.nrc.ca, Roots@hooked.net, rshurman@CCS.NSLSILUS.ORG, JeffTamar@aol.com, jinxblues@aol.com, Tony@tonywbr.demon.co.uk, PFWells@Frank.mtsu.edu, Phil@philwbr.demon.co.uk, Roosterman@aol.com, chris@skerries.demon.co.uk The following is the exact text of a press release I received this afternoon from Bellmark Records, Johnny Guitar Watson's record company: ******************************* FOR IMMEDIATE RELEASE We at Bellmark Records join the world of contemporary music lovers and innovators everywhere in mourning the loss of the genius of Johnny "Guitar" Watson, 61, who collapsed at the beginning of a performance at the Yokohama Blues Cafe, Yokohama, Japan, Friday evening (5/17/96) at 9:16 p.m. Japanese time. As the band played his introduction and Johnny took the stage to enthusiastic applause, he was stricken with a heart attack. Attempts at CPR proved futile, and he was declared dead at the hospital. He leaves to mourn his passing, his wife Susan, his mother Wilma, son DeJohn, daughter Virginia and miillons of friends and fans around the world. Johnny was a musician wonderfully blessed with unusual and unique talent and he unselfishly gave of that talent to the artistic and creative development of others in our industry. Johnny emerged in the late 1950s with the Rhythm & Blues hits "The Gangster of Love," "Those Lonely Lonely Nights" and "Cuttin' In". During the mid-Sixties Watson pertnered with keyboardist Larry Williams and topped the charts with "Mercy Mercy Mercy" and "Nobody". Through the 1970s and 80s he enjoyed an extraordinary run of nine hit singles and six smash albums including the two gold albums "Ain't That A Bitch" and "A Real Mother For Ya". From: "Raymond O. Varner" Subject: Re: Official press release re Johnny Guitar Watson's death With deep regrets I will mourn the passing of Johnny Guitar Watson. I've = been a fan for twenty plus years, and will forever kick myself for not = attending his recent performance in Portland.=20 Carmen LaRosa, formerly of Brunswick Records, has shared some wonderful = Guitar Watson stories that I will pass along to this list...after while. Uncle Ray ---------- From: Mary Katherine Aldin[SMTP:mkaldin@BEACHNET.COM] Sent: Saturday, May 18, 1996 3:05 AM To: Multiple recipients of list BLUES-L Subject: Official press release re Johnny Guitar Watson's death The following is the exact text of a press release I received = this afternoon from Bellmark Records, Johnny Guitar Watson's record company: ******************************* FOR IMMEDIATE RELEASE We at Bellmark Records join the world of contemporary music lovers and innovators everywhere in mourning the loss of the genius of Johnny = "Guitar" Watson, 61, who collapsed at the beginning of a performance at the = Yokohama Blues Cafe, Yokohama, Japan, Friday evening (5/17/96) at 9:16 p.m. = Japanese time. As the band played his introduction and Johnny took the stage to enthusiastic applause, he was stricken with a heart attack. Attempts at = CPR proved futile, and he was declared dead at the hospital. He leaves to = mourn his passing, his wife Susan, his mother Wilma, son DeJohn, daughter = Virginia and miillons of friends and fans around the world. Johnny was a musician wonderfully blessed with unusual and unique talent = and he unselfishly gave of that talent to the artistic and creative = development of others in our industry. Johnny emerged in the late 1950s with the Rhythm & Blues hits "The = Gangster of Love," "Those Lonely Lonely Nights" and "Cuttin' In". During the mid-Sixties Watson pertnered with keyboardist Larry Williams and topped = the charts with "Mercy Mercy Mercy" and "Nobody". Through the 1970s and 80s = he enjoyed an extraordinary run of nine hit singles and six smash albums including the two gold albums "Ain't That A Bitch" and "A Real Mother = For Ya". From: Chris Smith Subject: Re: western swing (was false starts) Vincent Tseng wrote >D*mn! that's really interesting, > >Who is Billy Jack Willis - when he's not at home and being Bob's brother? >please? Any reference recordings or reading? again, please? > >Thanks. >-- > >Vincent (ignorant but polite) >vt@usa.pipeline.com > > > >On May 17, 1996 08:24:33 in article , 'Chris >Smith ' wrote: > > >>>Elvis Presley on "Milkow Blues Boogie" >>> >>>After a false start, Elvis says, "Fellas, that don't move me. Let's get >>>real, real gone for a change." >>> >>>And they do. >>> >>>Shaun >>> >>>Shaun Cronin 'Woke up this morning between midnight and day. I was > >>>shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son >>>House >> >> >>I think it likely that this is a contrived false start rather than a real >>one. Elvis starts by doing it the way Billy Jack Wills (Bob's brother) did > >>it as a Western Swing number, then rocks it up. (Don't believe anyone who >>says Elvis got if off a Kokomo Arnold record.) Elvis might have got >>'There's Good Rockin' Tonight' from a record by Billy Jack Wills as well. >> >> >>Chris Smith (chris@skerries.demon.co.uk) >>2 + 2 = 5 for large values of 2 Well, apart from being Bob's brother and having a recording career of his own in a modest way, he was a member of Bob Wills and the Texas Playboys, who were the absolute biggest stars of Western Swing. Bob's other brother Johnny Lee, was a Texas Playboy, too, and was actually more likely the source for 'Milkcow Blues Boogie.' (Billy Jack DID record 'Good Rocking Tonight', though.) JLW played tenor banjo, BJW played bass. Read Charles Townsend's 'San Antonio Rose: The Life and Music of Bob Wills'. Listening: there are stacks of Bob Wills recordings: look for anthologies of material from the forties, and anything in the 'Tiffany Transcriptions' series. For Western Swing in general, there are great CDs on Arhoolie. The music is - erm - eclectic: Texas fiddle music meets cowboy songs, black blues, poop music and New Orleans jazz, with added jokes. Lineup is typically two fiddles, two or more guitars (one steel), string bass, tenor banjo, piano sometimes, drums in later years, brass and reeds in the more successful groups. It's some of the most fun music ever made IMHO. Check it out. Chris Smith (chris@skerries.demon.co.uk) 2 + 2 = 5 for large values of 2 ========================================================================= Date: Sat, 18 May 1996 05:21:40 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Who do you regret missing? Steve Levine asked > >What artists have you regretted staying home for? Two tales: When I was 15 or so, James Brown came to Britain (this was in the 'Live at the Apollo' era, remember). I had enough money to see either Mr Brown or popular British beat combo Manfred Mann. Guess who I picked. (I did get to see JB much later in both our lives, of course, but his belly was not in conformity with skintight jumpsuits by then. Neither is mine, come to think of it.) and A friend of mine has still not forgiven her eldest daughter (now 24) for deciding to be born the night Little Brother Montgomery played the pub across the road from her house in north London. Chris Smith (chris@skerries.demon.co.uk) 2 + 2 = 5 for large values of 2 ========================================================================= Date: Sat, 18 May 1996 09:16:52 -0400 Reply-To: ac928@osfn.rhilinet.gov From: Jim McGlynn Subject: Re: Who do you regret missing? I've caught an awful lot of music since my first night out when I saw the Stones, the Impressions and Patti LaBelle and the Bluebells at the Mosque in Newark, NJ. And of course I've missed a few people I never got to see. But my biggest regret, hands down, is missing Jimi Hendrix at the Mosque in April 1968 when I had six front row seats in my wallet. Martin Luther King had the misfortune to be assasinated the day before the concert and not a single one of the people I was going with (all white) was willing to set foot in Newark that day. I remember scrambling for someone to go with (guess I just couldn't handle going by myself) without success. Jim McGlynn -- ========================================================================= Date: Fri, 17 May 1996 13:31:19 GMT Reply-To: jackieo@MIDTOWN.NET From: Jack Oudiz Organization: Midtown Computer Services Subject: Re: Death of Johnny "Guitar" Watson Comments: To: bit-listserv-blues-l@uunet.uu.net An obituary, rather lengthy at that, was published in this morning's Sacramento Bee. Stated that Watson collapsed prior to performance of apparent heart attack. Watson was 61. I will always remember him for his Three Hours Past Midnight recording and the hilarious stories that my good friend Dan Pollock tells of playing with Watson back in the late 50's in LA. RIP ========================================================================= Date: Sat, 18 May 1996 02:04:25 GMT Reply-To: Sue Klaus From: Sue Klaus Organization: Prodigy Services Company 1-800-PRODIGY Subject: LIL' V and the HEARTSTOPPERS WEB PAGE Comments: To: bit-listserv-blues-l@uunet.uu.net Lil' V and the Heartstoppers' web address: http://www.lilv.com e-mail lilv@sparklink.com Aunt Sue AXMA34A@prodigy.com http://pages.prodigy.com/IN/sueklaus/sueklaus.html Sue Klaus Designs! Jewelry Design Stained Glass Earrings Little Windows for your Ears! ========================================================================= Date: Fri, 17 May 1996 22:47:40 -0400 Reply-To: TDominey From: TDominey Organization: America Online, Inc. (1-800-827-6364) Subject: Re: A Sample of BB King Comments: To: bit-listserv-blues-l@uunet.uu.net I recently picked up a CD called "Abstract Vibes" - a collection of house/trip-hop music. There is this really laid back/cosmic song on there, that uses Muddy Water's "oooooooooooh yeah..." from Mannish Boy looped over and over. Kind of strange, but interesting. ========================================================================= Date: Fri, 17 May 1996 22:28:09 -0400 Reply-To: TDominey From: TDominey Organization: America Online, Inc. (1-800-827-6364) Subject: Hound Dog Taylor Comments: To: bit-listserv-blues-l@uunet.uu.net Okay, I need the story. I have heard conflicting stories (muddied over the years) about the demise of Hound Dog Taylor. I know that he and his brother fought with each other like boxers, and that they had a certain love for Canadian Mist. But wasn't there gun-play and a death mixed in somewhere? I need some input! By the way, that sound that Hound Dog had is just great - I also play a lot of Louisiana Red and John Spencer Blues Explosion. Obviously all three use the over-amplified grunge-y sound that's kind of takes you back to the intensity of Elmore James "Dust my Blues." Can anyone recommend other artists or CD's that have the same premise? Would appreciate it... ========================================================================= Date: Fri, 17 May 1996 22:26:41 -0400 Reply-To: TDominey From: TDominey Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Last CD In Your Player... Comments: To: bit-listserv-blues-l@uunet.uu.net Work: "Treasure Isle Time" - Heartbeat (various rock-steady) Home: Lightnin Hopkins - "Lightnin'" - Arhoolie Car: Hound Dog Taylor & the Houserockers: "Genuine Houserockin' Music" Ohhhhh yeah... ========================================================================= Date: Fri, 17 May 1996 21:54:21 -0400 Reply-To: TDominey From: TDominey Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Favorite False Starts... Comments: To: bit-listserv-blues-l@uunet.uu.net Thanks to whoever posted the "Essential" Little Walter false start - I had never noticed that before! I guess I need to turn up the stereo a little bit louder sometimes to catch that great stuff. Cheers - Have a great weekend folks... ========================================================================= Date: Fri, 17 May 1996 18:40:02 -0400 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Blues Magazines Comments: To: bit-listserv-blues-l@uunet.uu.net Favorite Blues Mag?? Living Blues! David Nelson and crew seem to have a sure 'nuf love for the music and a REAL dedication to it's history. Lea If Leo Aspiras reads this...Sorry, I was stuck at the Board Meeting until 1:00am!! Will see you soon. ========================================================================= Date: Fri, 17 May 1996 23:51:06 GMT Reply-To: Mike Lynch From: Mike Lynch Organization: Wolfe Internet Access, L.L.C. Subject: Hal Singer Tune Comments: To: bit-listserv-blues-l@uunet.uu.net I'm looking for a copy of an instrumental by saxophonist Hal Singer titled "Hot Rod". Anyone know if this tune is available on CD? I used to have it on a vinyl compilation called "Honkers and Shouters", but that disk is long gone. Any help tracking this tune down would be appreciated. Mike Lynch mlynch@wolfenet.com ========================================================================= Date: Sat, 18 May 1996 12:13:27 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Blues Magazines It is hard to name one favorite. LIVING BLUES is great for covering the current scene and for the interviews. Its design and layout in the last few years (those outstanding covers people have commented on lately) have been getting better and better, thanks to art director (i hope that is the title?) Susan Lee. BLUES AND RYTHMN has a great historical perspective and publishes very good research. Finally, I am very fond of 78 QUARTERLY (does it count as a magazine? a quarterly that seems about to give birth to the 9th issue in, what, just short of 30 years?). It has published detailed accounts of record companies and other essential background information. It is also easily one of the most eccentric publications on the planet. Not exactly a way to figure out what has been going on since 1942 (I don't think they have mentioned a reissue since 1969), and on occasion annoying (or worse), but still worth checking out if you are interested in prewar blues. Tom Freeland (has anyone out there actually seen a 78Q No. 9 yet?) ========================================================================= Date: Sat, 18 May 1996 12:12:42 -0400 Reply-To: bob vanarsdall From: bob vanarsdall Subject: The Band Documentary on A&E Friday's Wall Street Journal favorably reviewed a documentary on the Band to be broadcast on the US Arts & Entertainment network (A&E) on Sunday from 10-12pm. I checked my local listings and it will be on here in North Carolina on Saturday from 10-12pm, so those in the US with interest might check their local papers for scheduling. A&E tends to rebroadcast many things, so if you miss it this time it is sure to come around again. It is probably no Last Waltz, but promises to cover more about their breakup, influence on other musicians, and history afterwards. Bob ========================================================================= Date: Sat, 18 May 1996 12:44:07 -0400 Reply-To: smirkyface From: smirkyface Subject: Jam on the river Just wondering if any of you 'zellers are coming to philadelphia for the jam on the river next weekend? BRIAN MCLEAN PHOTOGRAPHY & SMIRKYFACE PRODUCTIONS "life's too short to live the blues" http://www.netaxs.com/~blmclean ========================================================================= Date: Fri, 17 May 1996 15:22:25 -0700 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Crawfish Festival in New Jersey Comments: To: leftwich@CLOUD9.NET James Leftwich asks: >Someone posted last week about a Crawfish (?) Festival in New Jersey. I >think that was the name. Can someone help? Although I'm not in the N.J. area, I do have a phone number you can call there for info: 212.631.4265 in Riverdale. Apparently, in addition to Mem Shannon, C.J. Chenier and Charmaine Neville will also be appearing at the festival. --Maggie -- Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ "I'm not sure, but I think that ALL music started in New Orleans." --Ernie K-Doe ========================================================================= Date: Sat, 18 May 1996 10:29:04 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Guitar Watson Correction In a post made yesterday, I mis-stated that Carmen LaRosa worked for = Brunswick Records. I meant to say that Mr. LaRosa worked for Amherst = Records. The company that Johnny Guitar Watson earned two gold records = for. I apologise for any confusion this may have caused. Uncle Ray ========================================================================= Date: Fri, 17 May 1996 16:00:42 -0700 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Re: Blues accessories Comments: To: uncleray@TELEPORT.COM Uncle Ray sez: >Here's a new lighthearted thread for any and all to jump on, with tongue = >either in or out of cheek. >Today, I bought an Elgin watch, as in "She's got Elgin movements from = >her head down to her toes...". >I carry a black cat bone and a Mojo Hand Root to the track. I have a = >John the Conqueror candle and a gator's claw on my Lotto ticket shrine. = >My closet is full of the obligatory blues footwear, Stacy Adams shoes. I = >affect what Charlie Musselwhite once called "Harmonica Bandito" clothes; = >banlon, sharkskin, and black leather. >Maybe you can suggest some more blues accessories, and their music = >connection. Did I mention that I have a shopping bag from Goldblatt's = >autographed by Billy Boy Arnold? What?!? No National Health sunglasses?? Or, at the very least, wraparounds? --Maggie Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ "I'm not sure, but I think that ALL music started in New Orleans." --Ernie K-Doe ========================================================================= Date: Thu, 16 May 1996 15:12:36 -0400 Reply-To: Oded Maron From: Oded Maron Subject: Favorite Alt. take / false start In-Reply-To: Leonard Watkins's message of Thu, 16 May 1996 08:07:46 CDT From: Leonard Watkins Don't you love thos alternate takes and false starts, what are some ya'lls favorites:.. Little Village - SBWII (no contest) Another good one is on James Brown's "Messing with the blues". He sings "Love don't love nobody", starting it off with a characteristic scream. Syd Nathan (the owner of King records) instructs the engineer to tell James "not to holler so much". The engineer communicates it as "Mr. Nathan says to cool the melody a little bit, you know, I mean, make it more of a melodic thing. Cause you sing the hell out of it, but, you know, just a little bit more melody, like ..." Syd Nathan breaks in again and says "he's trying to sing too hard", and the engineer relays it to James: "don't sing too hard". Of course, the released version is just as hollering as the interrupted first take. Oded ========================================================================= Date: Sat, 18 May 1996 14:09:08 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: boyack/mcbee As I think was mentioned several months back, Pat Boyack has added Lee McBee to the new lineup of The Prowlers. I got a chance to see tham last night and they sounded pretty good to me. Lee does a good job on Jimmy Morello's songs and has brought his own songs to the show as well. This was just their second gig together, but I think after a few months this will be a powerful combination. Sitting in last night were bass player Gil T. and a drummer from Austin. Pat says stand-up bass player Eric Matthews, formerly with Teddy Morgan, will be the band's full time bass player and will be joining them in a few weeks. The Prowlers latest CD, "On the Prowl" (Bullseye Blues-with the former lineup) has hit #24 on the April Living Blues Poll and has been at #7 on the Hard Report poll. Don O. ========================================================================= Date: Sat, 18 May 1996 16:07:37 -0400 Reply-To: silvio barrero From: silvio barrero Subject: ORIGINS OF BLUES I like blues and would like to know the origins of this music. Could someone help me finding a good source to learn this? Silvio Barrero ========================================================================= Date: Sat, 18 May 1996 13:08:16 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Favorite Alt. take / false start My favorite false start never saw a recording release. Paul deLay did = fifty four takes of the first position harp solo on WOULD YOU BABY = during the recording of his first album "Teasin' ". Each take was = different. I didn't know there were so many notes on a diatonic harp in = straight position. Uncle Ray ---------- From: Oded Maron[SMTP:oded@AI.MIT.EDU] Sent: Thursday, May 16, 1996 7:12 PM To: Multiple recipients of list BLUES-L Subject: Favorite Alt. take / false start From: Leonard Watkins Don't you love thos alternate takes and false starts, what are some = ya'lls favorites:.. Little Village - SBWII (no contest) Another good one is on James Brown's "Messing with the blues". He sings "Love don't love nobody", starting it off with a characteristic scream. Syd Nathan (the owner of King records) instructs the engineer to tell James "not to holler so much". The engineer communicates it as "Mr. Nathan says to cool the melody a little bit, you know, I mean, make it more of a melodic thing. Cause you sing the hell out of it, but, you know, just a little bit more melody, like ..." Syd Nathan breaks in again and says "he's trying to sing too hard", and the engineer relays it to James: "don't sing too hard". Of course, the released version is just as hollering as the interrupted first take. Oded ========================================================================= Date: Sat, 18 May 1996 13:30:31 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: TOWNSHEND Vincent said: >you too can go deaf by listening to the recently remastered "Who Live at >Leeds" at high volumes. It is a common perception that playing in front of all those Hi-Watts for all those years gave Pete his hearing problems. Acutally he attributes it much more to extremely loud levels in headphones while tracking in the studio, than even to playing live. Headphones can deafen you quicker than anything this side of a .44 magnum. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Sat, 18 May 1996 13:36:23 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: SRV - The Best There Ever Wa Mark Watkins said: >why do so many of the blues snobs... er, *purists* on this list think >they know better? Now just a dang minute here! *One person* says something you don't like and you are calling many of us snobs and purists... Would you like to be called an ignoramus because of such a statement? I prefer to think this was a little slip rather than a general trend from you. Try to be more careful with your characterizations please! DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Sat, 18 May 1996 17:08:03 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Getting called "purist" (baseball and NO blues) Comments: To: dcicchet@lasierra.edu Some, uh, lets not use a name here, wrote: >why do so many of the blues snobs... er, *purists* on this list think >they know better? And then I went to lunch today, and discussing the baseball standings (and the pathetic National League Central division, where you can lead without playing .500 ball), I was complaining that this sort of weirdness was a result of the divisional realignment. The other person defended realignment by saying he liked the race for the wild card slot. I said "You *like* the race fo the wild card slot?" to which he responded, "You're a purist." Jeez. Tom Freeland (not a purist but convinced he knows better) ========================================================================= Date: Sat, 18 May 1996 13:32:30 -0700 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: Getting called "purist" (baseball and NO blues) Comments: To: Skipjames@aol.com, dcicchet@lasierra.edu At 05:08 PM 5/18/96 -0400, Skipjames@aol.com wrote: >And then I went to lunch today, and discussing the baseball standings (and >the pathetic National League Central division, where you can lead without >playing .500 ball), I was complaining that this sort of weirdness was a >result of the divisional realignment. The other person defended realignment >by saying he liked the race for the wild card slot. I said "You *like* the >race fo the wild card slot?" to which he responded, "You're a purist." > LOL!!!! I love it!!! Mary Katherine > > > > ========================================================================= Date: Sat, 18 May 1996 15:21:52 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: SRV - The Best There Ever Wa We do know better, Mark. Everything you know is wrong. With apologies to the Firesign Theatre. Uncle Ray ---------- From: Don Cicchetti[SMTP:dcicchet@LASIERRA.EDU] Sent: Saturday, May 18, 1996 9:36 PM To: Multiple recipients of list BLUES-L Subject: Re: SRV - The Best There Ever Wa Mark Watkins said: >why do so many of the blues snobs... er, *purists* on this list think >they know better? Now just a dang minute here! *One person* says something you don't like and you are calling many of us snobs and purists... Would you like to be called an ignoramus because of such a statement? I prefer to think this was a little slip rather than a general trend from you. Try to be more careful with your characterizations please! DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Sat, 18 May 1996 15:25:17 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Getting called "purist" (baseball and NO blues) Ahh...the four "Bs". Blues, boxing, bourbon, and baseball! I'm in heaven = this year. My beloved Indians haven't been this good since JUKE was a #1 = single. I'm pretty sure Rocky Colavito was a blues guy. Uncle Ray ---------- From: Tom Freeland[SMTP:Skipjames@AOL.COM] Sent: Saturday, May 18, 1996 9:08 PM To: Multiple recipients of list BLUES-L Subject: Getting called "purist" (baseball and NO blues) Some, uh, lets not use a name here, wrote: >why do so many of the blues snobs... er, *purists* on this list think >they know better? And then I went to lunch today, and discussing the baseball standings = (and the pathetic National League Central division, where you can lead = without playing .500 ball), I was complaining that this sort of weirdness was a result of the divisional realignment. The other person defended = realignment by saying he liked the race for the wild card slot. I said "You *like* = the race fo the wild card slot?" to which he responded, "You're a purist." Jeez. Tom Freeland (not a purist but convinced he knows better) ========================================================================= Date: Sun, 19 May 1996 00:24:13 +0200 Reply-To: JORGE MUNOZ RODRIGUEZ From: JORGE MUNOZ RODRIGUEZ Subject: Tren 3 playlist. May 18/19 This weekend, on the air at midnight... Friday 17, Mayo 1996. ......................................................... Title (Composer) ARTIST -Label --------------------------------------------------------- Mississippi Freight Train #1 (Cotton) JAMES COTTON -Verve Headed Out Of Memphis (Buck) COLD BLUE STEEL -Icehouse Just Got In From Dallas (Buck) COLD BLUE STEEL -Icehouse Preacher Man (Boyack/Garza/Morello) PAT BOYACK & THE PROWLERS -Bullseye Killing Floor (Burnett) CARL WEATHERSBY -Evidence Should Have Been Gone (Weathersby) CARL WEATHERSBY -Verve How Long Will You Be Mine (Primer) JOHN PRIMER -Code Blue Talk To Me Baby (E.James) BUDDY GUY -Silvertone My Time After Awhile (Geddins/Badger/Feinberg) BUDDY GUY -Silvertone Blues All Around Me (A.Scott) LURRIE BELL -Delmark The Things The Blues Will Make You Do (Weathersby) CARL WEATHERSBY -Evidence Mississippi Freight Train #13 (Cotton) JAMES COTTON -Verve To Hell With It #14 (Salgado) CURTIS SALGADO -Pr10rity Why Do Things Happen To Me? (R.Hawkins) W.C.CLARK -Black Top You'll Need Another Favor (Taylor/Cireco) W.C.CLARK -Black Top You'll Need Another Favor (Taylor/Cireco) LARRY DAVIS -Bullseye Part Time Love (C.Hammond) LITTLE JOHNNY TAYLOR -Galaxy Ever Since (Forehand) LITTLE BUSTER & THE SOUL BROTHERS -Bullseye The Clock (Mitchell/Brown) PRESTON SHANNON -Bullseye Kasavubu (Copeland) JOHNNY COPELAND -Gitanes Restless Nights (J.T.Murphy) THE SHADOWS -Wild Dog Tired Of Living By Myself (F.Frost) FRANK FROST & SAM CARR -Evidence Sweet Black Angel (McCollum) ROBERT NIGHTHAWK -Aristocrat To Hell With It #1 (Salgado) CURTIS SALGADO -Pr10rity ************************************************************************ Saturday 18, Mayo 1996. Mississippi Freight Train #1 (Cotton) JAMES COTTON -Verve Two Time Boogie (Grimaldi) STUDEBAKER JOHN & THE HAWKS -Blind Pig Merry Way (deLay) THE PAUL deLAY BAND -Evidence Oat Bran (deLay) THE PAUL deLAY BAND -Evidence She Was All The World To Me (J.Louis) BIG JOE LOUIS & his BLUES KINGS -Ace Shufflin Little Lady (Buck) COLD BLUE STEEL -Icehouse Come On Home (Frost) FRANK FROST & SAM CARR -Evidence Can't Lose What You Never Had (Morganfield) PRESTON SHANNON -Bullseye You Got What I Want (Benoit) TAB BENOIT -Justice Don't Lay Your Blues On Me (Nails/Palmer/Wiley) CARL WEATHERSBY -Evidence Grown Men Cry (L.Garner) BILLY BRANCH -Verve Crazy Wolrd (Nails/Palmer/Garner) LARRY GARNER -Verve Someone New (Garner) LARRY GARNER -Sidetracked Mississippi Freight Train #13 (Cotton) JAMES COTTON -Verve To Hell With It #14 (Salgado) CURTIS SALGADO -Pr10rity The Southbound Train (Broonzy) BIG BILL BROONZY -Mercury In The Evening (L.Carr) BIG BILL BROONZY -Mercury The Bunny Hop (Anthony/Auletti) SAX MALLARD -Mercury That Mellow Saxophone (Montrell/Marascalco/Blackwell) BIG TOWN PLAYBOYS -Blue H Drinking Beer (Summers/Grimes) BIG TOWN PLAYBOYS -Blue Horizon Wine, Wine, Wine (Dixon/Davis) FLOYD DIXON -Aladdin Willyawannaboogie (SK.Clayton) STEVE "BIG MAN" CLAYTON -Hot Fox's Midnight Baby (SK.Clayton) STEVE "BIG MAN" CLAYTON -Hot Fox's Sail On Blues (Brown/Moore/Williams) CHARLES BROWN -Modern You Are My Firts Love (Brown) CHARLES BROWN -Modern Warsaw Concerto (Addinsell) CHARLES BROWN -Modern News All Over Town (Brown) CHARLES BROWN -Verve In The Middle Of The Night (JM.Robinson) BIG TOWN PLAYBOYS -Blue Horizon To Hell With It #1 (Salgado) CURTIS SALGADO -Pr10rity **************************************************************************** * TREN 3 -RADIO TRES -RADIO NACIONAL DE ESPANA -Sat. & Sun. at 00:00 hours * * (Seventeen years, next july, on the Air!) * **************************************************************************** Host & Programmer: Jorge Munoz Lopez de Hoyos 462 28043 Madrid.- Spain elmakitren@canaldinamic.es ///// \\\\\ /// ~ ~ \\\ \(-{.}^{.}-)/ \| / \ |/ | ~ | /\ -=- / "When the train it left the station, / /\_/ there was two lights on behind..." *Er Makis* ========================================================================= Date: Sat, 18 May 1996 18:38:52 -0400 Reply-To: smirkyface From: smirkyface Subject: Jam on the river I guess I should state that I'm not profiting from or affiliated with Corestates in any way. This is info on who, what, when, where, for the Jam on the river. It's long so you might want to save it and read it later. CoreStates Jam on the River Memorial Day Weekend Friday-Monday, May 24-27, 1996 More Music, More Bands, More Food and More Fun for Less Money! Take two parts Jambalaya Jam, one part RiverBlues, add a couple of heaping spoonfuls of gospel, jazz and funk and top it off with a dash of R&B and you've cooked up four nights and three days of the hottest music to ever hit the Philadelphia waterfront - the, CoreStates Jam on the River, Memorial Day Weekend, Friday-Monday, May 24-27, 1996. The CoreStates Jam on the River, the first festival of the season and the official kick-off to summer at Penn's Landing, returns with a new mix of music, more bands, more food, more crafts and new lower ticket prices, thanks to title sponsor CoreStates. The music never ends with the Jam's new music mix of 47 bands and 440 artists! New features for the '96 festival will be more music and more bands on all four days of the festival. New features in this year's festival include: The Friday Night Blues Jam, The Sunday Gospel Jam, a two-day Zydeco Dance Party, The Battle of the Brass Bands: Philadelphia vs. New Orleans, and a focus on the Women of the Blues. Independence Blue Cross Junior Jam Children can learn to two-step, capture the Mardi Gras spirit with face painting and craft workshops, and march in a Mardi Gras parade. They also can make musical instruments and jam with Trout Fishing in America, The DINNER DOGS and other kid favorites. All Independence Blue Cross Junior Jam activities are free with a child's festival admission of $2 (children under 2 are free). Independence Blue Cross Junior Jam hours are 12-6 p.m. Saturday-Monday. More great food!! In addition to the talent menu, festivalgoers will be treated to the best of New Orleans and Philadelphia cooking plus a delicious array of Caribbean, Latin American, and Mediterranean dishes. From jambalaya to cheesesteaks, and shrimp creole to fries, there is something to tempt every palate. Festival Hours The Friday Night Blues Jam swings into action from 5-10:30 p.m. Festival hours are Noon-10 p.m. on Saturday and Sunday, and Noon-9 p.m. on Monday. Ticket prices Friday Night Blues Jam $5 Saturday-Monday Adults $10 ($12 at the gate) Kids (2-12) $2 Kids (2 under). Free Groups (min20) $9 Tickets are available through TicketMaster outlets seven days a week, or call charge-by- phone 215/336-2000, 717/693-4100, 302/984-2000, 609/665-2500. For free Philadelphia visitors information, contact the Philadelphia Visitors Center, 16th Street and JFK Boulevard, Philadelphia, Pa 19102 , 215-636-1666 or 800-668.5724. CoreStates Jam on the River Music Schedule The music never ends with the Jam's new music mix of 47 bands and 440 artists! Friday, May 24th * The Friday Night Blues Jam in the Philadelphia Loves Visa Tent Enjoy a down home barbecue feast along with some of the best of the blues * "Papa John" DeFrancesco * GREG PICCOLO and Heavy Juice * Keisa Brown & 1 Nite Stand * The Holmes Brothers * The Duke Robillard Band Saturday, May 25th * CoreStates Jam on The River Stage 11th Annual Philadelphia Loves Visa Tent * USAir Jambalaya Jam Stage (Founding Sponsor) * Trout Fishing in America GREG PICCOLO and Heavy Juice Benoit LeBlanc * Beau Jocque and The Zydeco High Rollers Mamou Keb' Mo' * BeauSoleil AVEC Michael DOUCET Keb' Mo' Women of the Blues Show * The Duke Robillard Band BeauSoleil AVEC Michael Doucet Marla B.B. * Etta James and The Roots Band The Barbara Walker Story * Keisa Brown & 1 Nite Stand * Deborah Coleman & The Thrill Seekers * Zydeco Dance Party * Mamou * Beau Jocque & The Zydeco High Rollers Sunday, May 26th * CoreStates Jam on The River Stage 11th Annual Philadelphia Loves Visa Tent * USAir Jambalaya Jam Stage (Founding Sponsor) * Trout Fishing in America Chris Duarte Group Zachary Richard * Zachary Richard Tabu Ley Rochereau Et Tabu Ley Rochereau Et L'orchesstra * Rockin' Dopsie, Jr. & The Zydeco Twisters L'orchestra Afrisa International Afrisa International * Preservation Hall Jazz Band Charmaine Neville Band The Non-stop Gospel Jam * Zachary Richard William Hickerson & the Gospel Jam Band * Battle of the Brass Bands Treme Brass Band Ben Pressley & the Vessels * Wild Bunch Brass Band Joy Unlimitied * Treme Brass Band Rapture * Brass Band Rumble: Philly vs. New Orleans Gabriel Hardeman Delegation * Metropolitan Male Ensemble * Tri-State Mass Choir * Wilmington-Chester Mass Choir * Chris Duarte * Charmaine Neville Band Monday, May 27th * CoreStates Jam on The River Stage 11th Annual Philadelphia Loves Visa Tent * USAir Jambalaya Jam Stage (Founding Sponsor) * The Philadelphia Legends of Jazz Orchestra The Dukes of Destiny Pablo B' & The Committee * Wayne Toups & Zydecajun the subdudes Jean Carne * the subdudes Jean Carne Rick Valenti & his Blues Band * The Radiators Chubby Carrier & The Zydeco Dance Party * Bayou Swamp Band Chubby Carrier & The * Bayou Swamp Band * Wayne Toups & Zydecajun Talent information, accurate at time of publication, is subject to change. BRIAN MCLEAN PHOTOGRAPHY & SMIRKYFACE PRODUCTIONS "life's too short to live the blues" http://www.netaxs.com/~blmclean ========================================================================= Date: Sat, 18 May 1996 18:59:19 -0400 Reply-To: M David Tilson From: M David Tilson Organization: Columbia University Subject: Re: Not exactly blues, but req info on Ronny Van Zant Comments: To: bit-listserv-blues-l@uunet.uu.net This might not be the best newsgroup to post to, but it is the one I read because I am primarily a blues enthusiast; but a friend has asked me to try to find info about Van Zant, who died tragically in a plane crash, I think about 25 years ago. If someone can point me in the right direction to seek information, I will appreciate it. TIA ========================================================================= Date: Sat, 18 May 1996 23:32:06 GMT Reply-To: Ian Anderson From: Ian Anderson Organization: Southern Rag Ltd. Subject: ANNOUNCE: Folk Roots WWW update for June FOLK ROOTS WEB PAGES JUNE EDITION FOLK ROOTS magazine's web site is now updated for the June issue. http://www.cityscape.co.uk/froots/ This issue was mailed to all subscribers on Thursday May 16th and will be in UK shops on Thursday May 23rd. Cover feature is on that man they've now decided to christen 'the Quincy Jones of Irish music' (don't you just love marketing?), DONAL LUNNY. There are also pieces on French Canadian band LA BOTTINE SOURIANTE, Japan's THE BOOM, the history of AFRICAN ACOUSTIC GUITAR, young country bluesman COREY HARRIS, Cameroon's SALLY NYOLO, the controversy surrounding Chinese singer DADAWA's album Sister Drum, an on-the-spot report from Bamako in MALI, the unplugged FAIRPORTand much more including loads of the latest news and reviews. On the web pages you can also read a selection of exerpts: the latest charts, a competition to win copies of the new live OYSTERBAND "official bootleg" CD, and some of our CD reviews (including the Donal Lunny-produced Common Ground compilation, and the new Spider John Koerner and Kennedys albums). In addition to all the above, the updated pages include: * A diary listing of around 300 folk, roots and world music festivals in the UK and Europe during 1996, including contact information. * Ever-increasing links to other relevant web sites and newsgroups * Latest playlists for the BBC World Service radio show Folk Routes, * A freshly updated listing of all CDs of music from Madagascar at http://www.cityscape.co.uk/froots/madagcd.html * A subsidiary home page for Malagasy roots music group TARIKA at http://www.cityscape.co.uk/froots/tarika.html Ian Anderson (Folk Roots) ========================================================================= Date: Sat, 18 May 1996 20:08:17 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Getting called "purist" (baseball and NO blues) In-Reply-To: <01BB44CE.3B25B7E0@ip-pdx15-37.teleport.com> At 9:25 AM -0600 5/18/96, Raymond O. Varner wrote: >Ahh...the four "Bs". Blues, boxing, bourbon, and baseball! I'm in heaven >this year. My beloved Indians haven't been this good since JUKE was a #1 >single. Blues, boxing, bourbon, and baseball - wasn't that a Chevy commercial? David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Sun, 19 May 1996 02:06:00 BST-1 Reply-To: bsmithb@cix.compulink.co.uk From: Brian Smith Subject: Re: TOWNSHEND Comments: To: dcicchet@LASIERRA.EDU In-Reply-To: <199605182033.NAA14620@inet.lasierra.edu> On Sat, 18 May 1996 Don Cicchetti incoherently mumbled... > Headphones can deafen you quicker than anything this side of a .44 > magnum. Pardon!! Can you speak please!! :-) ========================================================================= Date: Sun, 19 May 1996 01:00:25 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Bad Credit? Slow Credit? No Credit? No Problem! Subject: Re: Irene Comments: To: bit-listserv-blues-l@uunet.uu.net On Wed, 15 May 1996 16:56:07 -0400, Dick Waterman wrote: >On May 15, the wonderfully named 'smirkyface' said: > >>>>A couple of years back I heard a slow blues song >>>titled "Irene". >>>>I can't remember the name of the artist or the >>>name of the cd. >>>>I think he was based out of Texas. Any info would be >>>helpful. > >You probably mean "Goodnight, Irene" by Huddie Ledbetter A/K/A Leadbelly. It >appears on almost any collection of his work.. >Dick Waterman I was thinking the same thing, but since he left off the "Goodnight," I thought it could very well be another song. I received the latest Smithsonian Folkways cd of Ledbetter's recordings. "Where Did You Sleep Last Night." I highly recommend it -- every song has been remastered and they never sounded so good. It features "Goodnight Irene," "Midnight Special," "In the Pines," "Shorty George" and many, many other songs. Just a pedantic point, in the liner notes, Smithsonian says the Leadbelly has been changed from one word to Lead Belly in accordance with the preferences of his surviving family, who said that's what it always was. Good thing they didn't choose some obscure symbol, eh? Kevan Smith cuthulu@rlabs.com the great purple hope for the blues ========================================================================= Date: Sun, 19 May 1996 01:00:28 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Bad Credit? Slow Credit? No Credit? No Problem! Subject: Re: Kenny Wayne Shepherd Comments: To: bit-listserv-blues-l@uunet.uu.net On Thu, 16 May 1996 00:26:19 GMT, Jerry Nickodemski wrote: >I'm looking for any information of KWS. I can't get enough of his first - > and only I think - CD. >Anybody know when - or if - he's coming to the East Coast this summer? >He was here in CT a couple of times in the fall and winter, but he always >played with about 5 other bands. >Anybody know if he's planning another CD soon or if he's got anything >else out there? KWS just finished shooting a video here in Shreveport. If I'm not mistaken, he's now touring with the Eagles in Europe. This is a six month gig. In January or February, he recorded a live concert in San Fransisco for a radio station there. That should be his next album. I heard the concert, and it's filled with just the same type of playing as Ledbetter Heights. Look for the release later this year. Kevan Smith cuthulu@rlabs.com the great purple hope for the blues ========================================================================= Date: Sat, 18 May 1996 18:39:36 +0000 Reply-To: ksailors@hooked.net Comments: Authenticated sender is From: "Kenneth M. Sailors" Subject: Re: Gales Bros./You Don't Love Me On 17 May 1996 Keith T. Balistreri wrote: [...] >There is a song [on the new Gales Bros CD] "You Don't Love > Me" and everytime I hear that guitar riff I can't help but think I've > heard it before. Did another band do this song? Without having heard this version, it's only a guess that it's the same one done by the (gulp) Allman Bros. on "Live at the Filmore East" /))((\ -(.)(.)- | | | \/ | Eugie!Baange ///\\\ "I'm just naturally crazy, baby!" \__/ ========================================================================= Date: Sat, 18 May 1996 22:06:21 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Irene Comments: To: cuthulu@prysm.net In a message dated 96-05-18 21:34:26 EDT, cuthulu@prysm.net (cuthulu) writes: >Just a pedantic point, in the liner notes, Smithsonian says the >Leadbelly has been changed from one word to Lead Belly in accordance >with the preferences of his surviving family, who said that's what it >always was. Good thing they didn't choose some obscure symbol, eh? Weirdly enough (continuing with the point), during his life, he ALWAYS wrote it as two words, and the one-word version came into currency after he had died. Tom Freeland ========================================================================= Date: Sat, 18 May 1996 22:55:13 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Blues Playground Playlist 5/19/96 TO: Commercial Radio Promotion FROM: Stew Crossen - WCCC 107 FM - Hartford, CT SUBJECT: The Blues Playground Playlist AIR DATE: May 19, 1996 ____________________________________________________________________________ Playlist for THE BLUES PLAYGROUND 5-19-96 ARTIST ALBUM LABEL TRK Janis Joplin Pearl Columbia 1 Coco Montoya Ya Think I'd Know Better Blind Pig 3 Kat In The Hat Time Keeps Rollin' KITH 9 Willie May Blues Decade Booman 1 Kim Lembo Mama Lion Blue Wave 11 Rogers & Buffalo R&B Blind Pig 2 Bo Didley A Man Amongst Men Code Blue 2 Tab Benoit What I Live For Justice 4 Sam Phillips & The Hounds Bad Luck Soul Barefoot 5 Roy Rogers Rhythm & Groove (sampler) Pointblank 1 Little Richard Slow'n Moody/Black'n Bluesy Pointblank 3 Otis Rush Live & Awesome Genes CD CO 9 Jason Ricci Jason Ricci North Magnolia 6 Anson Funderburgh Thru The Years 1981-1992 Black Top 4 Chris Duarte Texas Sugar Strat Magik Silvertone 8 ___________________________________________________________________________ The Blues Playground - Sundays at 9pm on 107 FM WCCC - Hartford, CT Host/programmer: Stew Crossen 18 Boxwood Drive Vernon, CT 06066-5106 Tel: 800.970.5151 Web: http://www.neca.com/~bfstew E: bfstew@neca.com Reports to: Living Blues, The Hard Report, BluesWire, The Blues Audience Stew Crossen is a member of the Connecticut Blues Society ========================================================================= Date: Sat, 18 May 1996 01:10:00 -0700 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Is It Time for Barbeque Yet? (no blues content and LONG) Subtitle: Sittin' and Droolin' With apologies to any of you in the still-frozen north (snow at the Lilac Festival! Where y'at, Ms. Cat?), it's officially summer in New Orleans, no matter how far away the calendar says the solstice is. Time for music festivals in Congo Square this weekend, gettin' sweaty at Tipitina's, and time for blues, beer and barbeque. Anybody else out there feeling the wood-smoke itch? Since I wasn't a blues-L member last summer and am told I missed out on a lot of good barbeque lore, I thought of y'all as the thermometer inched up toward 90 degrees today and I was seized by barbeque mania. And by happy coincidence, Winn Dixie put beef briskets on sale for a buck thirty- eight a pound; I picked up a ten-pounder and dusted off what has become my barbeque bible after many years of experimenting with every trendy grill and smoke method that came down the pike: 'Barbeque'n With Bobby Seale' (yes, THAT Bobby Seale). In hopes of getting folks to share their BBQ secrets with me, I present Bobby's methods below. It's expensive, and it's time-consuming, and it's worth every penny and minute. (Note: I'm usually kind of a cooking purist and don't use such things as seasoned salts and onion or garlic powders; if you're also of such a mindset, go ahead and use raw ingredients rather than prepared, but I urge you to try it at least once Bobby's way. I've done both, and somehow the ingredients he advocates give the meats more of a true, downhome BBQ- joint flavor. But chacun a son gout.) --Maggie (smelling that sauce simmerin' away even now) =========================== Bobby Seale's Pit-Que Method: The basic components of Bobby's methods are a lengthy marinating of the meats in a complex marinade; soaking of wood chips in the same marinade as the meats; rubbing the meats with a dry seasoning before searing them, and using the marinade to spray-baste the meats as they slowly cook over the pit fire. Here's how it works for ribs: You'll need: 4 to 5 slabs (10 to 15 pounds) pork spareribs 2 quarts baste-marinade (recipe follows) 1 to 1-1/2 quarts barbeque sauce (recipe follows) 1 tablespoon each (approximately) ground black pepper, garlic parsley salt, onion powder or onion parsley salt, paprika, celery seed (stored in a shaker) 1 pound of hickory wood chips, baste-soaked Marinate ribs: Crack each slab in 4 or 5 places. Place ribs in a sturdy plastic bag set in a rimmed pan and pour in approximately one quart of baste-marinade-- make sure it's enough to submerge ribs. Tie bag securely, marinate for 3 hours at room temperature or 24 hours in refrigerator, turning occasionally. Pit Fire: Presoak wood chips in 2 to 3 cups of baste-marinade for 30 minutes and let chips drain slightly before using. Spread half of soaked chips over a closed bed of 60 to 80 white-ash-hot charcoal briquettes. Let wood chips burn into pit fire until flames are out. Midway through 3 hour cooking time, add about another 30 briquettes and when they've burned down to white-ash-hot, spread second half of chips over them. When ribs are placed on grill close cover and adjust pit damper vents to three-fourths open. Sear Seasoning: AS pit fire gets ready, remove ribs from marinade and drain. Retain used marinade and strain through a fine sieve for spray-basting ribs during cooking. From shakers, sprinkle light coats of seasonings on both sides of rib slabs and rub seasonings in with your hands. Place ribs on lightly greased grill 4 to 6 inches above hot pit fire. Sear and brown, seal in coated seasonings for 3 to 5 minutes on each side. Pit Basting: Liberally brush or spray-baste browned ribs and turn and baste again every 20 to 15 minutes for 3 hours. Close cover after each basting. To control any pit flames, lightly spray douse them with baste or water and/or adjust damper vents. The objective is constant basting over a 250 to 300 degree pit fire for juicy, tender, moist, smoked spareribs. Saucing: During last 20 to 30 minutes of cooking time, brush on sauce or tong-dip in sauce every 10 minutes. Close pit cover after each saucing. ================================= Method for a large roast, such as brisket, chuck roast, or pork shoulder: After the coals have burned down to white-ash and you have sear- seasoned the roast, spread the coals out to make space in the center of the pit for an 8-inch drip pan (such as a pie or cake pan) and fill the pan with the baste-marinade liquid. Bank the coals evenly around the drip pan, spread the soaked wood chips on them, and place the roast above the drip pan. Midway through cooking time, add 10 to 12 briquettes and spread remaining soaked wood chips over the coals after they become white-ash-hot. Roasts will need about 15-20 minutes per pound cooking time. ================================= *Bobby-Que* Baste-Marinade Liquids: 3 quarts water 2 quarts apple juice 1 and a half cups red wine vinegar or cider vinegar 1 cup pure hickory liquid smoke 1 cup Worcestershire sauce 1 cup lemon juice or lime juice (from 5-6 lemons or limes) Vegetables (all coarsely chopped): 3 cups onions 2 cups red or green bell peppers 1 cup scallions 3 cups celery 1 cup chopped hot peppers (optional) 2 cloves garlic Rinds of 5-6 lemons or limes Seasonings: 1 tsp ground black pepper 2 tsp onion parsley salt 2 tsp garlic parsley salt 3 bay leaves Bring water to a boil in a pot that holds 8 quarts. Add all vegetables and seasonings and bring to a boil. Reduce heat to medium and stew for an hour, covered. Remove and discard stewed vegetables and add remaining liquid ingredients to water. Bring to boil again, reduce heat to low and simmer for 10 minutes, covered. Remove from heat. Use at room temperature if marinating meats from 3-5 hours, or cool to 200 degrees for quick marinating (one hour). Best is to cool completely and use to marinate meats in refrigerator for 24 hours. My personal alterations: I use 2 quarts of water and two quarts of apple juice. I skip all the seasoning ingredients and add one cup of liquid crab boil plus two pouches of dry crab boil seasonings, and leave the pouches in throughout the entire simmering process. If planning to use the marinade for beef, I substitute a strong red wine for the wine vinegar. ==================== Bobby Seale's Spicy Barbeque Sauce Make it to whatever degree of hot you wish by using the hot ingredients in any amount you want. Vegetables (finely chopped or pureed in blender with liquid ingredients): 1 cup onions 1/2 cup scallions 3/4 cup red or green bell pepper 1 cup celery 1/2 cup carrot 2 cloves garlic 1 teaspoon each: garlic parsley salt, black pepper, blended Italian herb seasoning, cayenne pepper 3 tablespoons dry mustard (or 1/3 cup prepared brown mustard 1 cup packed dark brown sugar OR 1 cup honey or molasses 2 tablespoons pure ground mild red chili powder Liquids: One 28-ounce can stewed tomatoes, OR 4-5 fresh tomatoes chopped, peeled and pureed OR 1 quart V-8 juice 2 6-ounce cans tomato paste 3/4 cup red wine vinegar (or to taste) 3/4 cup fresh lemon juice 3/4 cup dry red wine 1/2 cup spicy brown prepared mustard 1/2 cup Worcestershire sauce 1 cup pure hickory liquid smoke (or more to taste) 1/2 cup melted butter or margarine 2 cups water Hot Taste Options: 3 hot jalapeno peppers, chopped (or added to blender and pureed with vegetables) 2 tablespoons crushed dried peppers OR 1/3 cup Tabasco or Crystal hot sauce Combine *everything* and bring to a boil. Reduce heat to medium low (gently bubbling simmer) and cook for one hour, stirring frequently, or until sauce begins to thicken. Store in bottles; freezes well in plastic containers. Yields approximately 2 quarts. ================================= -- Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ "I'm not sure, but I think that ALL music started in New Orleans." --Ernie K-Doe ========================================================================= Date: Sat, 18 May 1996 23:33:02 -0400 Reply-To: Anita Samuel From: Anita Samuel Subject: Blues Origin I'm sorry I deleted your message. You wanted information on the origin of the blues.... Peace, nitra TITLE(s): Wild women don't have the blues [videorecording] San Francisco, CA. : California Newsreel, 1989. 1 videocassette (VHS) (58 min.) : sd., col. ; 1/2 in. Producers: Carole van Falkenburg and Christine Dall ; director: Christine Dall. Summary: The story of Ma Rainey, Ethel Waters, Bessie Smith, Alberta Hunter, Ida Cox, and other pioneering blues women from early in the century. We learn of their vision and their struggle, their pain and their humor. The film recreates the stories of these pioneering women who left an indeliable mark on the music and the heart of America. OTHER ENTRIES: Rainey, Ma, 1886-1939. n 50076486-1 Waters, Ethel, 1900-1977. n 84149705-2 Smith, Bessie. n 88644748-1 Hunter, Alberta. n 80158642-1 Cox, Ida, 1889-1967. n 85068361-1 Blues (Music) United States sh 85015115-7 Afro-American women musicians sh 85001930-1 California Newsreel (Firm) n 80142225-1 ----------------------------------------------------------- AUTHOR(s): Haskins, James, 1941- n 79038429-1 TITLE(s): Black music in America : a history through its people / James Haskins ; illustrated with photographs. 1st ed. New York : T.Y. Crowell, c1987. 198 p. : ill. ; 24 cm. Includes index. Bibliography: p. 185-188. Summary: Surveys the history of black music in America, from early slave songs through jazz and the blues to soul, classical music, and current trends. OTHER ENTRIES: Afro-Americans Music History and criticism Juvenile literature sh 85001932-6 Music United States History and criticism Juvenile literature sh 85088762-6 Afro-Americans Music History and criticism. Music History and criticism. ----------------------------------------------------- TITLE(s): From Jumpstreet [sound recording] : a story of black music. Washington, D.C. : National Public Radio, c1982. 5 sound cassettes (58 min. ea.) : 1 7/8 ips, 2 track, mono. 005800 005800 005800 005800 005800 Horizons series Contents: Pt. 1 West African Heritage -- pt. 2. Gospel spirituals -- pt. 3. Soul -- pt 4. Blues: country meets city -- pt. 5. Rhythm and blues -- pt 6. Early jazz -- pt. 7. The jazz vocalist -- pt. 8. Jazz people -- pt. 9. Black music in theatre and film -- pt. 10. Black influence in the recording industry. Summary: Ragtime, gospels, spirituals, jazz, blues--all are forms of the black music tradition. Through performances and interviews this series traces these and other music forms from their African sources to their present place in American music. -------------------------------------------------------------- AUTHOR(s): Titon, Jeff. n 81015319-1 TITLE(s): Early downhome blues : a musical and cultural analysis / Jeff Todd Titon. Urbana : University of Illinois Press, c1977. xvii, 296 p. : ill. ; 26 cm. & disc. (33 1/3 rpm. mono. 7 in.) in pocket. Music in American life Includes index. Bibliography: p. [279]-289. OTHER ENTRIES: Blues (Music) History and criticism --------------------------------------------------------------- AUTHOR(s): Bradford, Perry n 89610807-1 TITLE(s): Born with the blues; Perry Bradford's own story. The true story of the pioneering blues singers and musicians in the early days of jazz. New York, Oak Publications [c1965] 175 p. illus. 26 cm. OTHER ENTRIES: Musicians Correspondence sh 85089027-6 Jazz sh 85069833-2 Afro-American musicians sh 85001872-1 --------------------------------------------- AUTHOR(s): Leadbelly, 1885?-1949. n 79116019-2 TITLE(s): Songs. Selections The Leadbelly songbook; the ballads, blues, and folksongs of Huddie Ledbetter. Edited by Moses Asch and Alan Lomax. [Musical transcriptions by Jerry Silverman. Introductory essays and biographical sketches by Frederic Ramsey, Jr., Charles Edward Smith, Alan Lomax, Woody Guthrie and Pete Seeger. Foreword by Moses Asch] New York, Oak Publications [c1962] 96p. illus. 21cm. Discography & song index: p.96-97. OTHER ENTRIES: Leadbelly, 1885?-1949. Discography n 79116019-B Afro-American songs Folk songs, English United States sh 87003293-1 Asch, Moses. n 85320638-1 Lomax, Alan, 1915- n 50039476-1 ========================================================================= Date: Sat, 18 May 1996 11:59:35 -0700 Reply-To: Stan Ruffo From: Stan Ruffo Subject: Re: Browser ? *No Blues* I'm running 3.0 Gold on a pc (486/DX4 100) with no problems so far! Stan ---------- From: Craig Edmundson[SMTP:cedmunds@PROBE.NET] Sent: Friday, May 17, 1996 8:59 PM To: Multiple recipients of list BLUES-L Subject: Browser ? *No Blues* I am wondering if any bluezellers are using Netscape Navigator 3.0; and if so, what platform are you running it on? Any problems with it? TIA. Craig --------------------------------------- Craig L. Edmundson | cedmunds@probe.net http://www.probe.net/~cedmunds/ cedmunds@netserv.unmc.edu ========================================================================= Date: Sun, 19 May 1996 01:09:57 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Irene/Lead Belly In-Reply-To: <960518220620_493903465@emout17.mail.aol.com> On Sat, 18 May 1996, Tom Freeland wrote: > In a message dated 96-05-18 21:34:26 EDT, cuthulu@prysm.net (cuthulu) writes: > > >Just a pedantic point, in the liner notes, Smithsonian says the > >Leadbelly has been changed from one word to Lead Belly in accordance > >with the preferences of his surviving family, who said that's what it > >always was. Good thing they didn't choose some obscure symbol, eh? > > Weirdly enough (continuing with the point), during his life, he ALWAYS wrote > it as two words, and the one-word version came into currency after he had > died. I believe this. But I've also heard in his recordings that him pronouncing his first name Huddie (pronouncing, not spelling): oo in as in booth, Hooddie; yoo, long u in useful, Hyoodie; uh, short u in dust, Huddie. Unfortunately, I can't document this because the recordings I'm remembering actually perished when my home burnt down in 1974. I'm pretty sure I'm correct in this assertion, though, because in my early years I took my (ahem) Lead Belly seriously. But he had died before I was born. I believe I also heard this asserted in a documentary a few years ago when they unveiled a statue in his home town. Steve, sleeping in the pines, where the sun never shines ========================================================================= Date: Sun, 19 May 1996 01:57:49 -0400 Reply-To: Matt Butcher From: Matt Butcher Subject: Suggestions on blues recordings Hi fellow blues lovers! I've just recently have had the pleasure of getting on this blues list and wondered if some of you could give me some advice? I have only been listening to the blues for about four years, so my cd collection is not very big(100 blues discs). It ranges from Robert Johnson-BB King-Buddy Guy-Ronnie Earl, and I just wondered if anyone could send me a list of the top five recordings you could recommend to me, so my collection could grow. This would be very beneficial and appreciated. You can send these lists to me at my personal E Mail site so it won't take up room on this great list!! Thanks again Matt Butcher ========================================================================= Date: Sun, 19 May 1996 03:51:15 -0400 Reply-To: "JOHN W. SCHARBROUGH" From: "JOHN W. SCHARBROUGH" Subject: Re: Blues Jam Top 10 list Comments: To: bit-listserv-blues-l@uunet.uu.net Message-ID: <5137cc$22a37.19e@tcnntp.trader.com> Date: Sun, 19 May 1996 07:42:55 GMT References: Reply-To: FastJohn@trader.com (JOHN W. SCHARBROUGH) Organization: Traders' Connection, Inc. Posting-Version: TCON NNTPSend v 1.0.5 ; site 204.120.67.7 Lines: 7 #9.Dont bring your whole band and jam for 5 songs #8 Find a cooler song to play than stormy monday --- * Traders' Connection Web BBS * http://www.trader.com * info@trader.com ========================================================================= Date: Sun, 19 May 1996 03:53:47 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Favorite Alt. take / false start Does anybody have a copy of a tape I once heard of the Troggs (sorry!) having a huge and hilarious argument in the studio? It climaxes with lead singer Reg Presley saying in his West Country accent: 'Drummers? Oi sh*t 'em!' Chris Smith (chris@skerries.demon.co.uk) 2 + 2 = 5 for large values of 2 ========================================================================= Date: Sun, 19 May 1996 03:53:51 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: ORIGINS OF BLUES >I like blues and would like to know the origins of this music. Could >someone help me finding a good source to learn this? > >Silvio Barrero Start with Paul Olver's 'The Story of the Blues' and 'Blues Fell This Morning'. Chris Smith (chris@skerries.demon.co.uk) 2 + 2 = 5 for large values of 2 ========================================================================= Date: Sun, 19 May 1996 03:53:55 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: TOWNSHEND Brian Smith said >In-Reply-To: <199605182033.NAA14620@inet.lasierra.edu> > >On Sat, 18 May 1996 Don Cicchetti incoherently mumbled... > >> Headphones can deafen you quicker than anything this side of a .44 >> magnum. > >Pardon!! Can you speak please!! :-) > >old joke about a certain Austrian ex Grand Prix champion> Ten past three, I think, Brian. I never heard the very old joke, so why not share it with us? Chris Smith (chris@skerries.demon.co.uk) 2 + 2 = 5 for large values of 2 ========================================================================= Date: Sun, 19 May 1996 03:54:08 -0400 Reply-To: Chris Smith From: Chris Smith Subject: session musicians - discographical query As part of my Brownie McGhee-Sonny Terry discography project, I recently acquired a photocopy of the sleeve of 'And The Angel Sings' by Stuart Margolin (thanks, Kumi), on which Sonny makes a guest appearance. There's a long list of musicians, but no indication of what they play. Some I know or have found out (Byron Berline, Jimmy Messina, one or two others). However, the following names I don't know. Can any of you knowledgeable folks tell me what any of them plays? Even if you only know one, please tell me! David Plenn John Harris Doug Coulter George Nauful Gerry Gibson Jerry Rioppelle Murray MacLeod Tamara Hall Jim Horn Frank Morrocco Curley Hollingsworth Marc Jaco Paul Vinton The Fixer (Charlie Brown) The last four are described as 'those Dallas Playboys'. The LP is copyright 1980. Thanks for your time. Chris Smith (chris@skerries.demon.co.uk) 2 + 2 = 5 for large values of 2 ========================================================================= Date: Sun, 19 May 1996 08:32:14 GMT Reply-To: bluesdj@HALCYON.COM From: Roberta Penn Organization: Northwest Nexus Inc. Subject: Chris Thomas Comments: To: bit-listserv-blues-l@uunet.uu.net Chris Thomas is the son of Rockin' Tabby Thomas. He has recorded for High Tone, two releases. His Private CD, 21st Century Blues....From the Hood, is a mix of rap, rock and blues. I"ve never seen him live, but like his guitar playing and singing on record.. ========================================================================= Date: Sun, 19 May 1996 08:45:38 GMT Reply-To: bluesdj@HALCYON.COM From: Roberta Penn Organization: Northwest Nexus Inc. Subject: Current CD's in action Comments: To: bit-listserv-blues-l@uunet.uu.net John Mooney's "against the wall," excellent Paul Black's "king dollar," a coupla good cuts, but too intentionally raw for me Ray & Glover's "picture has faded," grizzled old guys with the folk blues, very nice Jimmie Dale Gilmore's "braver newer world," an advance of his upcoming release, a mixed-bag of rockabilly, blues and folk. ========================================================================= Date: Sun, 19 May 1996 05:18:11 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Is It Time for Barbeque Yet? (no blues content and LONG) Comments: To: Maggie Mortensen In-Reply-To: <319D85D8.5A42@accesscom.net> One of the meatiest posts in a long time - thanks Maggie. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sun, 19 May 1996 13:27:31 -0500 Reply-To: Patrik Urbansson From: Patrik Urbansson Subject: Louisiana Red receive award Last night Louisiana Red received the Monsteras Blues Festival Award (Sweden) which means he received 10.000 Skr (1.500 USD). The award are for people who has done something significant for the Blues.Red said it was the first award he ever received and he looked very surprised and confused. His concert was good, he's still a great singer and guitar player. He is also very irrational musician and the band had a hard time keeping up with him, but still a good concert. Patrik ========================================================================= Date: Sun, 19 May 1996 07:08:44 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: ORIGINS OF BLUES Sylvio wrote ... > I like blues and would like to know the origins of this music. Could > someone help me finding a good source to learn this? Two books I recommend ... "Deep Blues" by Robert Palmer has been criticized for inaccuracies, but I still think it is the best account of the origins and evolution of the Mississippi/Chicago blues. Very readable. "Looking Up at Down" by William Barlow, is more academic, but it covers a lot of important material which isn't in the Palmer book, especially in discussing the blues from other parts of the US. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Wed, 6 Mar 1996 07:21:43 -0500 Reply-To: Mike Shannon From: Mike Shannon Subject: Blues in Boston Will be in Boston this week, 5/20 - 5/24. Any suggestions for good blues? Thanks.... Mike ========================================================================= Date: Sun, 19 May 1996 09:16:36 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Just wait till I'm gone I'll be in Deutschland, but those of you who'll be keeping an eye on my house while I'm gone can watch: Wednesday, 22 May, Al Green on Letterman Thursday, 23 May, Bo Diddley on Conan (The Barbarian) Friday, 24 May, Neville Brothers on Jay Leno P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 19 May 1996 06:43:36 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: ORIGINS OF BLUES Ian recommended: >"Deep Blues" by Robert Palmer has been criticized for inaccuracies, >but I still think it is the best account of the origins and evolution >of the Mississippi/Chicago blues. Very readable. What inaccuracies have been criticized? I haven't heard about 'em, and I'm not really knowledgeable enough to know better, so... I recommend this book as well, even if only for the entertainment value - I learned a lot, and read the whole thing in one (long) sitting - it's fascinating stories and history like these that make the blues much more than just music. I also watched a video the other day about the history of the blues that had Robert Palmer in it - unfortunately I can't recall the title at the moment, but it's got some great footage of T-Bone Walker, Lonnie Johnson, Etta James, Sonny and Brownie, and a weird colour film of Lead Belly. If anyone needs the name of it, I'll get it today and post it tonight. Also watched The Search for Robert Johnson yesterday - very nicely done, and it made the whole Robert Johnson saga kind of come to life for me. I especially liked the part where John Hammond is one one side of the street playing, and Johhny Shines is playing on the other side of the street, and they're recreating the old street performers trying to draw the crowds away from each other - funny stuff. Does anyone know anything about the guy in that movie who claimed to be Robert Johnson's son? Is he involved in the lawsuit that has been going on? Enjoy the weekend! -Jim (hndful@uniserve.com) ========================================================================= Date: Sun, 19 May 1996 07:11:57 -0700 Reply-To: Rich DelGrosso From: Rich DelGrosso Subject: Guitar Gabriel Word has it that Guitar Gabriel (Nyles Jones) passed away recently. Did I miss a posting on it? Anyone have details? Can anyone verify this? Thanks Rich DelGrosso ========================================================================= Date: Sun, 19 May 1996 10:15:44 EDT Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: Blues in Boston Comments: To: Mike Shannon Mike Shannon asked: > Will be in Boston this week, 5/20 - 5/24. Any suggestions for good blues? Hi Mike, Check out Mai Cramer's calendar at: http://www.realblues.com:4100/necal.html If you don't have web access, let me know and I'll check it out for you. Dave Carpenter Blues Music Director - WHUS-FM University of Connecticut - Storrs, CT http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Sun, 19 May 1996 09:21:17 -0500 Reply-To: bolt From: bolt Subject: Houston Blues Info Sunday, May 26, from 5pm-9pm there will be a send-off show and celebration at Double Bayou Dance Hall. Featuring Pete Mayes and the Texas Houserockers, and special guests Jimmy "T-99" Nelson and Texas Johnny Brown, who will be heading to the Chicago Blues Festival June 2. Tickets are $4 at the door. Berr, wine coolers, set ups and barbecue will be for sale. BYOB and picnics are OK. There will also be a charter bus from Houston. Reservations are $20 ($2 discount for Houston Blues Society members). For bus reservations or directions to Double Bayou Dance Hall, call 942-9427 or 441-3804. Reg Burns -posted as a service to the Houston Blues Society ========================================================================= Date: Sun, 19 May 1996 15:45:00 BST-1 Reply-To: bsmithb@cix.compulink.co.uk From: Brian Smith Subject: Re: TOWNSHEND (No blues content) Comments: To: chris@SKERRIES.DEMON.CO.UK In-Reply-To: <832492474.22666.0@skerries.demon.co.uk> Apologies - no blues content - blame Chris Smith!! >old joke about a certain Austrian ex Grand Prix champion> > Ten past three, I think, Brian. I never heard the very old joke, so > why not share it with us? I think it was an old Snoopy strip from the mid 70s. Snoopy walks up to Charlie Brown and asks "Who is the current Formula One Champion?" CB - "Lauda" Snoopy shouts - "WHO IS THE CURRENT FORMULA ONE CHAMPION?" CB - "Lauda" Snoopy shouts at the top of his voice - "WHO IS THE CURRENT FORMULA ONE CHAMPION?" CB - "Lauda" Snoopy wanders off and muttering "Deaf b****r" ========================================================================= Date: Sun, 19 May 1996 12:49:47 -0400 Reply-To: GUILLOTINE From: GUILLOTINE Subject: Alvin Lee Any suggestion about Alvin Lee's blues album(s)?? ========================================================================= Date: Sun, 19 May 1996 12:51:07 -0400 Reply-To: GUILLOTINE From: GUILLOTINE Subject: National & dobro Both are the same or what? ========================================================================= Date: Sun, 19 May 1996 15:18:20 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Bad Credit? Slow Credit? No Credit? No Problem! Subject: Re: Browser ? *No Blues* Comments: To: bit-listserv-blues-l@uunet.uu.net On Fri, 17 May 1996 20:59:44 -0700, Craig Edmundson wrote: >I am wondering if any bluezellers are using Netscape Navigator 3.0; and if so, > what >platform are you running it on? Any problems with it? > >TIA. Netscape 3.0 under Windows NT 4.0. I do have two problems with it -- it will occasionally switch the mouse buttons and screw up the keyboard port so I can't input in any application. Kevan Smith cuthulu@rlabs.com the great purple hope for the blues ========================================================================= Date: Sun, 19 May 1996 10:47:44 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Favourite alt.take/start Chris Smith raised the famous "Troggs' tape", and it is hilarious, trying to figure out, in their west country Brit accents, just how many times they can say "fuck" in a sentence (approximately 20). One version of this is on a Rhino album titled The World's Worst Records but it's been edited down to seven or eight minutes. The full argument (already it sounds like Monty Python) may be found on a "bonus CD" enclosed with a two-CD box set of almost everything the Troggs did, released about two yers ago. And the drummer everyone shit on, is STILL with the band, which is still touring - and still being followed by people with their tape recorders on, in case they get into another argument... Incidentally, I have a Japanese P-Vine Howling Wolf album with much studio chat between Phil Chess and Wolf, and it's nearly as much fun as the whole Little Village argument on the Bummer Road Little Walter album. Wolf sings, "Mr. Airplane Man, sail down to Memphis, Tennessee" (I'm going from memory here) and Chess points out that "airplane men FLY, motherf---er, SAILORS sail!" Richard the Elder ========================================================================= Date: Sun, 19 May 1996 12:04:52 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: new Jimmie Dale Gilmore CD (was current CDs in action) Roberta Penn mentioned inter alia >Jimmie Dale Gilmore's "braver newer world," an advance of his upcoming >release, a mixed-bag of >rockabilly, blues and folk. I left him out of my top 20! When's it coming out, Roberta and what's the label/issue number? Chris Smith (chris@skerries.demon.co.uk) 2 + 2 = 5 for large values of 2 ========================================================================= Date: Sun, 19 May 1996 12:06:36 -0400 Reply-To: FRobinsonj@AOL.COM From: "Frank Robinson,Jr." Subject: Re: Official press release re Johnny Guitar Watson's death Comments: To: mkaldin@beachnet.com Blues-l folks and everybody; I am truly saddened to learn that Johnny "Guitar" Watson has left us. I learned of his early blues recordings only a few years ago and they have made a lasting impression upon me personally and as a musician. He had a truly unique guitar style. His phrasing, tone, attack and overall sound were truly innovative. One of my favorite Johnny "Guitar" Watson recordings is "HOT LITTLE MAMMA" which has been covered by Roomful of Blues amoung others. During his career, Watson seemed intent on not staying in a rut and was constantly seeking to stay with the times. Maybe it was this quality that attracted Frank Zappa to him. He was always on the move. Once again we have lost one of the Blues fathers. There ain't many of 'em left folks ! The ones that are still here and playing are true treasures beyond measure ... Johnny "Guitar" Watson will be missed. Frank "Frankie Lee" Robinson, Jr. ========================================================================= Date: Sun, 19 May 1996 12:06:41 -0400 Reply-To: bob vanarsdall From: bob vanarsdall Subject: Review: Documentary on the Band on A&E If you're a fan of the group, watch this one! They present lots of early footage, starting out with the Band's roots in early blues and r&b. They even start out with some footage of Sonny Boy Williamson playing on a TV show. There is some 50's footage of Robertson playing blues; interviews with Ronny Hawkins, John Hammond, Eric Clapton, George Harrison, Ringo Starr, Al Kooper, and Emmylou Harris on the importance of the Band's music and them as musicians. Intervews with (Phil?) Ramone, John Simon, and Todd Rundgren on recording the Band's various albums. Old footage of the Band from the Hawks days to recording various albums which I'd never seen anywhere before. John Hammond plays his National, and says that when he first played with the Band - after the breakup with Hawkins and before they started playing with Dylan - "They were the best blues and r&b band, I'd ever seen". Levon Helm says that playing with John Hammond was about the "...best band we'd ever been." This is definitely the "Levon Helm" version of the Band's story, for those who have read the two recent book on their history. Interviews with Band members include everyone at length, including the new members, but Robertson speaks only once, and that in a clip from Last Waltz. Allusions are made to "the suits" taking control, and to business deals "revealing themselves over time", which probably wouldn't make much sense if you hadn't read at least one of the books. More recent footage includes the re-formation of the Band in its current lineup beginning with the BobFest concert through the Jericho album. Bob ========================================================================= Date: Sun, 19 May 1996 09:33:48 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Blues Jam Top 10 list Comments: To: FastJohn@TRADER.COM In-Reply-To: from "JOHN W. SCHARBROUGH" at May 19, 96 03:51:15 am > #9.Dont bring your whole band and jam for 5 songs Actually, there are times when it's appropriate to bring your whole band and do a few tunes, like when you're appearing that weekend. I don't know about five tunes, though, especially if you want to appeal to the musicians waiting (which often comprises a large part of the house). > #8 Find a cooler song to play than stormy monday While Stormy Monday is frequently done, and often boringly, it's still a great tune. If YOU do it boringly, it's smart to use another song. If you can make it interesting, go for it. In MOST cases, I agree with you, though :-) I have two versions of SM - slow and fast. The fast one, I do as part of a medley, and clown up parts of it. -- IronMan Mike Curtis ========================================================================= Date: Sun, 19 May 1996 12:34:21 -0400 Reply-To: FRobinsonj@AOL.COM From: "Frank Robinson,Jr." Subject: Re: Eddie Burns Comments: To: gconstan@ccinet.ab.ca I met Eddie Burns about 7 years ago. He was performing at a Downstate NY club called the Turning Point and sounded fantastic! He was gracious enough the autograph his album " Treat Me Like I Treat You" for me. If you get to see him , consider yourself blessed.... Frank ========================================================================= Date: Sun, 19 May 1996 12:39:08 -0400 Reply-To: FRobinsonj@AOL.COM From: "Frank Robinson,Jr." Subject: Re: Wish they'd play here My List: Otis Rush Walter Wolfman Washington Ronnie Earl The Funky Meters Nathan and the Zydeco Cha Cha's Lynn August Frank ========================================================================= Date: Sun, 19 May 1996 17:32:16 GMT Reply-To: ".\\ark \\'atkins" From: ".\\ark \\'atkins" Organization: Zippo Subject: Re: National & dobro GUILLOTINE wrote: > Both are the same or what? These should help you figure it out: Lap Steel and Dobro Resources http://www.well.com/user/wellvis/resource.html Dobro http://www.gibson.com/products/dobro/dobro.html The Dobro Pages http://ourworld.compuserve.com/homepages/GMaass/ -=[ .\\ark \\'atkins ]=- | markw@telepath.com | 1:147/3101 | http://www.telepath.com/markw | 1:147/2021 ========================================================================= Date: Sun, 19 May 1996 13:01:35 -0500 Reply-To: bolt From: bolt Subject: L.Allison Safari CD Saw a listing of a Luther Allison european release called "Southside Safari". Does anyone have any information on this (possibly just a retitle of a U.S. release). It wasn't listed in the LA discograpghy in the 01-02/96 Living Blues. Also, is "Serious" on Blind Pig still available? I haven't seen it lately. Many thanks. Reg Burns +++++++++++++++++++++++++++++++++++++++++++++++++ + I'll listen to reason when it comes out on CD + + + + bolt@neosoft.com Houston, TX + +++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Sun, 19 May 1996 13:09:00 GMT Reply-To: Igor Isakovski From: Igor Isakovski Organization: MEDIS-informatika Subject: Blueser From Balkans Hello there! I'm brand new here (few days only), but I'm not new in Blues. Thanx God! :) I'm only 25, but Blues got me on age of 11. And it's going better and stronger every day:). Makedonija is in the center of the Balkans, a former Yugoslav republic - now named Republic of Macedonia. Any info on Blues will do me good. I'll try to keep you informed with the latest events from the Balkans, Makedonija especialy. I think that I'll need some help to keep the Blues here alive. In a terrible fire, back in 1995, I've lost almost all of my 4500 vinyls, and all of my over 400 CDs. Now, I'm stucked on #213 in mu CDs... The Blues is not on any TV since I quit my show, and I'm d.j.ing on only 2 radio stations. There are very few Blues shows here:(. So, _if you have time_, please read the following, and resend it to whome ever you may find concerned. Or, send me addresses where I should send it, on igor.isakovski@informa.mk Thanx in advance! To Whom It May Concern Regarding my experience with radio shows and the music included, especially blues, rhythm & blues, jazz and rock, I would like to propose You to send me promotional CD copies of Your publishing work. All those promotional copies will be presented on the following radio stations: Ravel Radio Station (96,7 FM) - covering 1 million listeners of the Macedonian population and Mega FM Radio Station (98 FM) - covering 1.200.000 listeners of the Macedonian population, which is over 2.5 million. Both are situated in Skopje, the capitol of the Republic of Macedonia and they are sponsored by themselves. Ravel Radio Station was created in February, 1994 and in its concept is oriented to 21 to 65-year-old listeners. The music is specified in the field of jazz, blues, rock and evergreen. Mega FM Radio Station was created in June, 1993 and it is oriented to 16 to 45-year-old listeners. The music is specified in the field of rock, jazz, blues and dance. Personal Biography I was born in Skopje, 1970. I started working at the National Radio Station of Macedonia in 1991 where I had two night shows per week. One of them was Taxi Blues and the other was Talk Show. Both focused on blues, rock and jazz. In 1993 I started DJ-ing in Radio Uno Radio Station (104 FM) with the same music concept. In June, the same year, I started working for Mega FM Radio Station where the Taxi Blues was renamed in the Blues Brothers. Later on, the show was transmitted on six other Macedonian radio stations and one TV station at the same time for 1 year. Blues Brothers is still on the air on Mega FM and Ravel with the same music concept including interviews and promotions of brand new music releases from Macedonia and abroad. Some of the guests in the show are the most popular Macedonian musicians and composers: Leb i Sol (the most popular and internationally recognized Macedonian music band) Nikola Dimusevski DOUBLE LIFE, MUSIC FOR..., LIVE (CD's) Bodan Arsovski ENDLESS VIEW (CD) Vlatko Stefanovski COWBOYS & INDIANS, SARAJEVO (CD's) Garabet Tavitjan Untitled (CD) Anastasia BEFORE THE RAIN SOUNDTRACK (CD) Kismet (Macedonian band working both in Australia and Macedonia) KISMET (CD) DAMIAN'S WAR (CD) Bankrot Blues Band (Macedonian blues band) NIGHT AT THE SPRING Album Day Off (Macedonian rock & blues band) Still demo band Besides my DJ work, I study World and Comparative Literature at the University of St. Kiril and Metodij in Skopje. I have published four books: Letters (Pisma) - novel, 1991 Black Sun (Crno Sonce) - poems, 1992 Explosions, Pregnant Moon, Eruptions ... (Eksplozii, Trudna Mesecina, Erupcii...) - short stories, 1993 Vulcan - Earth - (Vulkan-Zemja-) poems, 1995 Please contact me on: igor.isakovski@informa.mk or on my home address: boulevard ASNOM 32 - 3/14 91000 Skopje Macedonia, Europe tel/fax: +389 91 421 251 Sincerely, Igor Isakovski --- ~ SPEED 2.00 [NR] ~ Blues Brothers: MEGA98FM, RAVEL96.7FM, Monday 20 - 22 ========================================================================= Date: Sun, 19 May 1996 17:40:35 GMT Reply-To: "Robert J. Dewar" From: "Robert J. Dewar" Organization: National Capital Freenet, Ottawa, Canada Subject: Johnny "Guitar" Watson Comments: To: bit-listserv-blues-l@uunet.uu.net Wow, talk about a sobering experience reading about Mr. Watson`s death.I have recently purchased "3 Hours Past Midnight" on Flair/ Virgin,and was going to post to ask for what other releases the list would recommend.He is someone who I`d always known about but had never really gone looking for.And now he is gone. I derive so much pleasure from discovering a talent like Johnny for the first time that it doesn`t seem fair that he leave us so soon after that discovery. Robert J Dewar ========================================================================= Date: Sun, 19 May 1996 18:41:11 GMT Reply-To: Mike Lynch From: Mike Lynch Organization: Wolfe Internet Access, L.L.C. Subject: Re: Getting called "purist" (baseball and NO blues) Comments: To: bit-listserv-blues-l@uunet.uu.net "Raymond O. Varner" wrote: >Ahh...the four "Bs". Blues, boxing, bourbon, and baseball! I'm in heaven = >this year. My beloved Indians haven't been this good since JUKE was a #1 = >single. >I'm pretty sure Rocky Colavito was a blues guy. >Uncle Ray Ray- My old drinking buddy John "Mr. Solid" Lee used to call it Blues, Broads, Booze, and Baseball... Mike Lynch mlynch@wolfenet.com ========================================================================= Date: Sun, 19 May 1996 22:46:02 PDT Reply-To: Jos Potting From: Jos Potting Subject: what about compilations? There is a question to which I cannot find a definitive answer! Maybe someone on the list can help me (I'm not sure if this question was asked and answered before, I'm reading the list for six months). The last two Ceedees I bought were both compilations: The Rounder and the Alligator Anniversary boxes. I also had the opportunity to listen to the 4 cd set Chess Blues (o.k. I confess: I made a backup ;' ) I was very pleased by what was on them, especially the variation of styles and the introduction to unknown artists. So far so good, no problems but hours of pleasure. But I discovered more bluescompilations in my collection which I once enthusiastically bought or taped. However, compared to my last gains they were not exciting, not wanting to know more about the artists and have titles like 'Blues Ballads Volume 1' or 'Best in Blues'. Here is my question: what makes a compilation album a good one; is it the fact that 'The best of question' is not taken seriously? Is there one final aim for making compilations? greetings (no tulips) from Holland, Jos jpotting@pi.net ========================================================================= Date: Sun, 19 May 1996 20:56:56 GMT Reply-To: ethan r snow From: ethan r snow Organization: BrightNet Setup Subject: blind lemon jefferson Comments: To: bit-listserv-blues-l@uunet.uu.net I read in a Who's Who of Blues that there were actually Blind Lemon Jefferson clubs in California and New York. They were dated back to the early sixties. Does anybody know if they still exist. ========================================================================= Date: Sun, 19 May 1996 22:52:47 PDT Reply-To: Jos Potting From: Jos Potting Subject: Blues lessons I'm not sure if you received this letter, in case sorry for the duplication! Today I bought a Big Joe Turner cd called 'Roll 'em' . I was wondering if someone on the list (and not living in Europe) knows this album. In order to get a historical view of blues I decided to subsribe to a series of blues records that is accompagnied by a paper called The Blues Collection. The Big Joe Turner cd is number 42, still 10 artists to go ( Champion Jack Dupree, Johnny Copeland, Arthur Crudup among them) The music on the ceedees is of varying quality and seemed to be compilations of material from different sources: sometimes it is consisting a live performance, sometimes there are 'hits' on it from a certain decennium. The magazines concerning the musicians are very informative with great stories and nice pictures. I am curious to know if somebody on the list recognizes this description of this series and what opinion he/she has on it. Hopefully I pass my blues examination (I failed in English but I'm working on it!) Jos jpotting@pi.net ========================================================================= Date: Sun, 19 May 1996 16:23:17 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 05/20 B O R N : 05/20 BLYTHE, JIMMY ( JAMES LOUIS ) Born:1901 LOUISVILLE, KY Career;PIANO Style:TRAD / JAZZ With:TRIXIE SMITH / STATE STREET RAMBLERS / JIMMY BERTRAND / NATTY DOMINIQUE / STUMP EVANS / JOHNNY DODDS / BABY DODDS BOSWELL, VET Born:1911 BIRMINGHAM, AL Career:SINGER Style:JAZZ / BIG BAND With:THE BOSWELL SISTERS CLESS, ROD ( GEORGE RODERICK ) Born:1907 LENOX, IA Career:CLARINET Style:JAZZ With:FRANK TESCHMACHER / GENE KRUPA / MEZZ MEZZROW /MUGGYS SPANIER / ART HODES / BOBBY HACKETT / WILD BILL DAVISON / MAX KAMINSKY COLEMAN, BURL C " JAYBIRD " Born:1896 GAINSVILLE, AL Career:SINGER / GUITAR / HARMONICA Style:BLUES DAVIS, CHARLES A Born:1933 GOODMAN, MI Career:BARITONE SAX Style:JAZZ FLORENCE, BOB ( ROBERT C ) Born:1932 LOS ANGELES, CA Career:ARRANGER / PIANO / LEADER Style:JAZZ / BIG BAND FRAMPTON, DONALD ROGER (ROGER) Born:1948 PORTSMOUTH, UK Career:PIANO / SOPRANO SAX / ALTO SAX / LEADER / ARRANGER / COMPOSER Style:JAZZ 1967 to Australia / With:Billy Ross / Dave Kemp / Bob Jeffery / Ted Nettelbeck / Tony Gilbert / Neville Dunn's big band / Barry Stewart / Bruce Cale / Cliff Barnett / Dieter Vogt quartet /1972 Teletopa / David Ahern / Peter Evans / Phil Treloar /Jack Thorncraft./ Howie Smith / teaching in 1974 / Serge Ermoll / Galapagos Duck / Bruce Cale / Mike Nock / Dave Liebman / Conservatorium Symphony Orchestra / 1985 backed Lee Konitz / Guy Strazullo / Steve Elphick / Peter Boothman / Jeremy Sawkins / Lloyd Swanton / Gary Holgate /John Bartram GUMINA, TOMMY ( THOMAS JOSEPH GUMINA ) Born:1931 MILWAUKEE, WI Career;ACCORDION Style;JAZZ / POP O'CONNELL, HELEN Born:1920 LIMA, OH Career:SINGER Style:BIG BAND With:JIMMY DORSEY / DAVE GARROWAY / TEX BENEKE PETERSON, RALPH Born:1962 PLEASENTVILLE, NJ Career:DRUMMER / COMPOSER Style:JAZZ With:DAVID MURRAY / TERENCE BLANCHARD / DONALD HARRISON / CRAIG HARRIS / WYNTON MARSALIS / JON FADDIS / ART BLAKEY Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Sun, 19 May 1996 17:19:14 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: L.Allison Safari CD Comments: To: bolt In-Reply-To: <199605191801.NAA09326@mailbox.neosoft.com> On Sun, 19 May 1996, bolt wrote: > Also, is "Serious" on Blind Pig still available? I haven't seen it lately. > Many thanks. If Serious is still available Karl at Strategy would know and would have it - http://www.panix.com/~bsco/strategy/ or TEL. 203-266-7774. Barry Very nice disc and reviewed at our site if you are interested. NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sun, 19 May 1996 14:26:00 PDT Reply-To: Gary Joneson From: Gary Joneson Subject: Delta Snake News For those that may be interested the May issue of The Delta Snake News is now online at: http://www.island.net/~blues/snake.html Gary BluesWEB http://www.island.net/~blues/ ========================================================================= Date: Sun, 19 May 1996 15:01:29 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Cosmic questions: 1. Does God exist? 2. Why is anyone we disagree with, a purist? 3. How did pore ole SRV attract such a flea-bitten collection of boneheads for fans? (yes yes there's exceptions, cuz I'm a fan myself, and I'm only flea-bitten on tuesdays) I'm not even necessarily looking for the answers... What troubles me is: are these questions even answerable....?? *obligatory philosophy joke follows* 19 year old walks into his philosophy 101 prof's office after class... sez: "I am in a crisis over the questions of being and existence. I just don't KNOW that I exist. I could be someone else's dream for all I know!!!. You have to tell me!! Do I exist or not?? prof. says.. go home, think this over, read the chapter again, and we'll talk in the morning... kid comes back in the morning, disheveled, bags under the eyes, desperate look on his face, sez: "I was up all night! I couldn't sleep, I just don't have the answer!! PLEASE TELL ME! DO I EXIST OR NOT?? prof. looks over his glasses.... sez: who wants to know? DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Sun, 19 May 1996 19:08:48 -0400 Reply-To: Mark Jacobson From: Mark Jacobson Subject: Dave Spector I am a big fan of Dave Spector, and have been playing his "Live In Europe" CD a lot lately. Does anyone know if he is putting out a new studio CD (his Blueplicity was great, too). I would love to see him, if he is touring, and would also appreciate any information if anyone has such. TIA. Mark Jacobson ========================================================================= Date: Sun, 19 May 1996 18:42:06 -0500 Reply-To: Bill Zerbe From: Bill Zerbe Subject: Re: Death of Johnny "Guitar" Watson It is truly a great loss to the blues community around the world. I had the great fortune and honor to meet Johnny "Guitar" Watson last year at the 1995 Kansas City Blues and Jazz Festival, as well as members of his band. Mr. Watson was a great showman who gave 110% of himself on stage and was a true gentleman and fellow bluesman off of the stage. May his music and memory live on forever. Bill Zerbe Co-Ze Productions ========================================================================= Date: Sun, 19 May 1996 17:49:12 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: May 20 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BERLINER, EMILE (inventor/flat 78rpm) b. 1851-0520, HANOVER, GERMANY BERNHARDT, CLYDE E. B. (v/tbn) d. 1986-0520, NEWARK, NJ 80 BLYTHE, JIMMY (p) b. 1901-0520, LEXINGTON, KY BOSWELL, VET (of THE BOSWELL SISTERS) b. 1911-0520, BIRMINGHAM, AL BROWNING, IVAN H. (of 4 HARMONY KINGS) d. 1978-0520, LOS ANGELES, CA 87 COCKER, JOE (v) b. 1944-0520, SHEFFIELD, UK COLEMAN, JAYBIRD (hca) b. 1896-0520, GAINESVILLE, AL CURRY, PINELL (d) d. 1982-0520, CHICAGO, IL 47 DAVIS, CHARLES (bsax/tsax) b. 1933-0520, GOODMAN, MS EDWARDS, CLARENCE "SWAMP BLUES" (g) d. 1993-0520, BATON ROUGE, LA 60 FULLER, JOHNNY (g/HAUNTED HOUSE) d. 1985-0520, OAKLAND, CA 56 GABLER, MILT (a&r/DECCA/COMMODORE REC) b. 1911-0520, NEW YORK CITY, NY HUTTEN, ROB (BLUES-L MEMBER/BLUES NET) b. 1970-0520, KENTVILLE, NS JACOBS, DICK (arr/prod/JACKIE WILSON) d. 1988-0520, NEW YORK CITY, NY 70 LEWIS, RUDY (lead/THE DRIFTERS) d. 1964-0520, NEW YORK CITY, NY 28 LIPSCHULTZ, ALBERT (founder : DOWNBEAT) d. 1979-0520, CHICAGO, IL -- LONG, SHORTY (v/MOTOWN REC) b. 1940-0520, BIRMINGHAM, AL MAGEE, STERLING (of SATAN & ADAM) b. 1936-0520, MOUNT OLIVE, MS MONTGOMERY, MONK (b) d. 1982-0520, LAS VEGAS, NV 60 RANDAZZO, TEDDY (prod/songw) b. 1937-0520, NEW YORK CITY, NY SPIRES, BUD (hca/JACK OWENS) b. 1931-0520,?BENTONIA, MS THOMAS, LAFAYETTE "THING" (g) d. 1977-0520, BRISBANE, CA 48 TUNNELL, BON BON(v/THREE KEYS/JAN SAVITT) d. 1975-0520, PHILADELPHIA, PA 72 ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 20 May 1996 11:19:47 -1000 Reply-To: Andrew Gregg From: Andrew Gregg Subject: G.A.S - 1960 Dou-Sonic Greetings, I just picked up a great little Fender Dou-Sonic from a friend who has had it since 1963 (second owner). It in great shape - neck is made from a wonderful peice of figured maple with a slab rosewood fretboard. It got two great single coils & is finished in a colour Ive been told is called 'Desert Sand'. Its the first time Ive played a 3/4 scale (22.5") guitar. I did some checking in a couple of books & the serial number dates it as mid-late 1960, and Ive also found out that the pickups are wound to telecaster specifications. What else can I expect from these instruments?? I love the tone of the guitar & and am amazed at the sustain (I thought it wouldnt sustain very much at all). What do others think of these?? Approx US value?? Thanks Andrew ========================================================================= Date: Mon, 20 May 1996 11:33:24 -1000 Reply-To: Andrew Gregg From: Andrew Gregg Subject: Origins of term 'Jim Crow' I've just been reading Mr Calt's book on Skip James and was wondering where the term Jim Crow came from, and when it came into popular usage. Whilst I understand the meaning of he term, I'd like know a little more about it. Andrew ========================================================================= Date: Sun, 19 May 1996 22:17:02 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Origins of term 'Jim Crow' Comments: To: Andrew Gregg On 20 May 96, Andrew Gregg had this to say: > I've just been reading Mr Calt's book on Skip James and was wondering where > the term Jim Crow came from, and when it came into popular usage. > > Whilst I understand the meaning of he term, I'd like know a little more > about it. The most widely accepted explanation of the origins of "Jim Crow" involves a white minstrel performer. (American minstrel shows involved white men in exaggerated black makeup. The shows were vaudvillian comedy ensembles and are looked on nowadays as derisive and racist.) The minstrel performer Thomas "Daddy" Rice did a shuffling dance number with the lyrics, "I jump jes so... an' every time I turn around I jump Jim Crow." Rice claimed he based the character on an actual slave, belonging to a Mr. Crow, that he watched entertaining other slaves in a Kentucky livery stable. Rice eventually started using the name Jim Crow as his stage name. The name was eventually applied to all manner of separate facilities designated for blacks, such as the "Jim Crow car" on a train. The name was also applied to all of the various laws that were passed in the southern United States legalizing such segregation. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 19 May 1996 23:45:39 -0400 Reply-To: "jose.eric.s.maglanque" From: "jose.eric.s.maglanque" Subject: death bed cd; was Re: last cd in your player let's put a little twist on that last thread (which everybody seemed to like): Q: what cd (or song) would you want to be playing before you croak? mine is 'praise god i'm satisfied' by blind willie johnson, specifically 'dark night, cold ground'... so i can hum to it to my very last breath... ========================================================================= Date: Sun, 19 May 1996 23:55:18 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Origins of term 'Jim Crow' Comments: To: mpagregg@dpi.tas.gov.au In a message dated 96-05-19 21:57:54 EDT, you write: >I've just been reading Mr Calt's book on Skip James and was wondering where >the term Jim Crow came from, and when it came into popular usage. > >Whilst I understand the meaning of he term, I'd like know a little more >about it. It is most commonly used to refer to the laws (and social system) that was put into place in the South after the overthrow of Reconstruction governments, through the 2nd Reconstruction of the 1950s and 1960s. That is, it refers to the segregation laws of the South. A very readable history of those laws through their demise is found in C.Vann Woodward's THE STRANGE CAREER OF JIM CROW. It was first applied to refer to segregation in describing laws (and conditions) confronting free blacks in the North prior to the Civil War, and came to describe the Southern system later in the century. The phrase "Jim Crow" originated in the minstrel routine of the white performer Thomas "Daddy" Rice, who, beginning in 1828, performed a song-and-dance routine called "Jump Jim Crow." The routine (performed in blackface) had Rice in beggar rags, doing a shuffling dance on stage singing "I jum jis so / An ev'y time I turn about I jump Jim Crow." He said that he learned this song from an old Louisville, Ky slave belonging to a Mr. Crow. Some of the details from this are from Charles Regan Wilson's entry on Jim Crow in the ENCYCLOPEDIA OF SOUTHERN CULTURE. Tom Freeland ========================================================================= Date: Sun, 19 May 1996 23:43:24 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: death bed cd; was Re: last cd in your player Comments: To: "jose.eric.s.maglanque" In-Reply-To: <9605200346.AA3503@notes2.compuserve.com> On Sun, 19 May 1996, jose.eric.s.maglanque wrote: > let's put a little twist on that last thread (which everybody seemed to like): > > Q: what cd (or song) would you want to be playing before you croak? Oh, now, as I'm going out, I want to play my own guitar and sing my own self, maybe Rock Me Baby, love your daddy all night long, and let's hug a little and kiss a little lay back way in my arms, and maybe a little later I done had my fun if I don't get well no more, I'm going down slow, and later on I'll get a little religion and sing, You got to stand your test and judgment, and When the Lord gets ready you got to move, and Just a Closer Walk with Thee. And I'll cry, Lord, have mercy, have mercy on me. Steve ========================================================================= Date: Mon, 20 May 1996 00:43:53 -0400 Reply-To: JRush11279 From: JRush11279 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: JOHNNY GUITAR WATSON DIES IN JAPAN? Comments: To: bit-listserv-blues-l@uunet.uu.net Sad, but true. The AP article said he died Friday, of a heart attack at a blues club outside of Japan. ========================================================================= Date: Mon, 20 May 1996 08:09:27 GMT Reply-To: tdevit3@NEWS-S01.NY.US.IBM.NET From: tdevit3@NEWS-S01.NY.US.IBM.NET Subject: Re: L.Allison Safari CD Comments: To: bit-listserv-blues-l@uunet.uu.net Re Serious,... Blind Pig still list it in their catalog so am sure it will be still available. ========================================================================= Date: Mon, 20 May 1996 00:15:34 -0700 Reply-To: Stan Ruffo Comments: RFC822 error: TO field duplicated. Last occurrence was retained. Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Stan Ruffo Subject: BOT Playlist 2096 Comments: To: Michael McCracken , Joseph Jordan , Sony Music , Vent Records Stan Ruffo Productions 800 N. Ben Maddox Way, Suite 2200 Visalia, California 93292 ph.(209) 625-6049 steamin@valleynet.com / www.valleynet.com/~steamin PROGRAM: "Blues On Tap" w/ Steamin' Stan Ruffo STATION: KIOO 99.7FM (Kay-eye-oh-oh), Visalia, CA SUBJECT: Playlist 2096 - Commercial Radio DATE & TIME: Sunday - May 19, 1996 8pm - 10pm Artist Title Label Track Lowdown Towne Root Sause Blueline 6 Kid Ramos Two Hands One Heart Black Top 3 The Jesse Austin Band Steel Trap Roesch 1 Johnny Guitar Watson Three Hours Past Midnight Virgin 9 Jimmy Rogers Feelin' Good Blind Pig 2 Texas Son Bootleg Blues Guitar 2 Hollywood Fats Rock This House Black Top 16 Johnny Guitar Watson Three Hours Past Midnight Virgin 1 Lowell Fulson Storming 60's Soul Pointblank 16 Chubby Carrier Who Stole The Hot Sause Blind Pig 1 Etouffee Southern Style Fat Crab 7 Guitar Shorty Get Wise To Yourself Black Top 4 Joe Beard Blues Reunion AudioQuest 1 John Lee Hooker Modern Recordings 48-54 Flair / Virgin 21 Bo Diddley A Man Amongst Men Atlantic 5 Bo Diddley Chess Rhythm & Roll Vol 1 MCA / Chess 21 Johnny Dyer Jukin' Blind Pig 2 William Clarke Groove Time Alligator 14 Jimmy Thackery Wild Night Out Blind Pig 4 Johnny Guitar Watson Three Hours Past Midnight Virgin 9 Rick LA Holmes Holstrom Lookout! Black Top 8 Fleetwood Mac Live At The BBC Castle 1-3 Bessie Smith The Complete Rec. Vol 3 Columbia 1-10 Doug MacLeod You Can't Take My Blues AudioQuest 7 Kelly Joe Phelps Lead Me On Burnside 13 Red Prysock Blues Masters Vol 5 (Jump) Rhino 1 Camille Howard X-Temporaneous Boogie Specialty 16 Big Joe Turner Blues Masters Vol 14 (More) Rhino 6 Blues On Tap reports to Living Blues and The Hard Report. ========================================================================= Date: Mon, 20 May 1996 08:52:50 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Bad Credit? Slow Credit? No Credit? No Problem! Subject: Re: Irene/Lead Belly Comments: To: bit-listserv-blues-l@uunet.uu.net Hoodie is closest to the mark. I have a recording of him pronouncing his own name, and it is actually closest to *shudder* hootie, as in he of the blowfish variety. Kevan Smith cuthulu@rlabs.com the great purple hope for the blues ========================================================================= Date: Mon, 20 May 1996 09:35:07 GMT Reply-To: Peter Gallagher From: Peter Gallagher Organization: XS4ALL, networking for the masses Subject: Re: Who do you regret missing? Comments: To: bit-listserv-blues-l@relay1.uu.net I can say that in just one word... MUDDY regards, PeterG -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." ========================================================================= Date: Mon, 20 May 1996 05:58:27 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Which document would you .... The following questions were posed to me. I could use some input from others. Which of the following 2 documents would you prefer to be able to access to help you in making a decison about purchasing a CD - 1. The artist's bio and data sheet, 2. The liner notes from the CD you are considering or 3. Something else? Are any of the above choices better than a review of the disc and if so which one(s)? Thanks in advance. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 20 May 1996 12:35:32 GMT Reply-To: Peter Gallagher From: Peter Gallagher Organization: XS4ALL, networking for the masses Subject: Re: Blues lessons Comments: To: bit-listserv-blues-l@relay1.uu.net Hello again Jos, I've never actuall read one of the magazines you mentioned, though I've heard a few of the CD's. I found them to be a little "flat". I think this has to do with the magazine making compilations of songs/tunes which ahve little or no copyright left on them - or are at least _cheap_. Let's face it - they're giving away CD's with each issue. The purpose of these CD's may well also be to give a good "cross-section" of the artists in question ... an "individual" CD would be very often better than one of the "freebie" CD's. But who'e complaining - they're pretty much free... On the subject of compilations: I've picked up some surprisingly good ones, but the problem is always the "overlap" with other CD's. I must have a half-dozen versions of "mannish boy", etc. "Groetjes" PeterG Jos Potting writes: > artists to go ( Champion Jack >Dupree, Johnny Copeland, Arthur Crudup among them) >The music on the ceedees is of varying quality and seemed to be compilations of > material from different sources: >sometimes it is consisting a live performance, sometimes there are 'hits' on it > from a certain decennium. The >magazines concerning the musicians are very informative with great stories and > nice pictures. >I am curious to know if somebody on the list recognizes this description of this > series and what opinion he/she has >on it. >Hopefully I pass my blues examination (I failed in English but I'm working on > it!) >Jos > jpotting@pi.net -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." ========================================================================= Date: Mon, 20 May 1996 14:35:16 +0000 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Magazines I'm just back from a weekend during which I had the pleasure to be at the Spring Blues FEstival in Ecaussinnes, Belgium. A few good things (Eddie Clearwater, Rob Rio, King Brothers, Sam Taylor), a GREAT show (Percy Strother), some disappointmnt (Walter Wolfman Washington)... I'll talk about it later this week. To join the magazine story, and except for B&R (clearly my favorite mag!) here are my prefered ones in no particular order: - BLUES & RHYTHM (UK) see Joel's Blues Wolrd site) - JUKE BLUES (UK) - LIVING BLUES - SOUL BAG (FR), it's in French -my mother language- but it is certainly one of the best magazine around: about 70 A4 pages full of infos, superb discos, numerous reviews by leading experts....Andre J.M. Prevos (often here on Blues-L)'s regular book reviews are among the most interesting you'll find in blues mags: concise, clear and informative .... BTW, the last issue had a nice review of the Blues-L tape BLUESBYTES! Andre also recently had one of the best -if not The best- Blues/Internet guide/article that has been published in blues mags recently. (SOUL BAG, 25, Rue Trezel, F. 942300 Levallois-Perret, France, Tel:+1-47576466. One year: 175 ffr IMO) ... and this is maybe the best opportunity for all the (only-)English-speaking zellers out there to practice their French :-) :-) - BLUES ACCESS - BLUES GAZETTE (Belgium, but in English with contributors from the UK, USA, Belgium and Germany) .. OK, I contribute modestly to BG :-). so I am certainly biased. Specialist/writer/photographer Jacques Depoorter (the Editor) puts a lot of energy (and money) in it and he really is trying to do his best with this new a4 72 pages long magazine and, although still imperfect wrt to editing work and lay-out, I think it is -or will become- a valuable addition to the existing literature. (see Chris Smith's review in a recent Blues & Rhythm). To give an idea here is a quote: "Blues Gazette is devoted to all kinds of Blues and related styles such as Gospel, Soul and Jazz. It is also our intention to cover historical, social and other backgrounds of the music. We are not going to discuss the "Can a white man play the blues"-theme. Our vision is that blues is an African-American art form, so we will concentrate on African -American artists, but whenever we feel that someone not belonging to that category os worth your attention we fee free to feature him/her as well. Occasionally, other interesting venacular musics such as Cajun or Tex-Max may be covered too. English is not the native language of some of us (including myself) but as it is understood by almost everyone with a slight interest in Blues, it was a natural choice to publish the magazine in English. Jacques Depoorter- Editor" - BLOCK (NL).. in Dutch, but worth checking out! and although there are obviously no more there, I never get tired of reading old issues of Blues Unlimited, Blues World,Pickin'The Blues, Blues Limk, Talking Blues, ... Jean-Pierre Urbain P.S. If anyone wants to know more about BLUES GAZETTE (the third issue will come out next june), just send me a private E-Mail. P.S.2. I still have Babe Stovall/Herman E. Johnson 's superb Arhoolie reissue in my CD player! ========================================================================= Date: Mon, 20 May 1996 08:45:17 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1967, only a week after surrendering the top of the R&B chart to Martha & the Vandellas, Aretha Franklin regained the top spot with "Respect." A tune that also made #1 on the pop chart. It was originally recorded and written by Otis Redding who said he prefered Franklin's version to his own. Sock it to me, sock it to me, sock it to me, sock it to me.... P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Mon, 20 May 1996 14:12:07 +0100 Reply-To: WALLER JONATHAN From: WALLER JONATHAN Subject: Carr In London Greetings men and women of the blues... I have just heard that James Carr will be at the London Blues festival next weekend!..If any UK zellers are going can send a review to the list please? Thanks in advance!..Is this his first UK appearance???? Jon Waller *Robben Ford - He knows all those fancy chords!* ========================================================================= Date: Mon, 20 May 1996 09:12:54 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Blues lessons Jos Potting wrote >In order to get a historical view of blues I decided to subsribe to a series >of blues records that is accompagnied by a >paper called The Blues Collection. The Big Joe Turner cd is number 42, still >10 artists to go ( Champion Jack >Dupree, Johnny Copeland, Arthur Crudup among them) >The music on the ceedees is of varying quality and seemed to be compilations >of material from different sources: >sometimes it is consisting a live performance, sometimes there are 'hits' on >it from a certain decennium. The >magazines concerning the musicians are very informative with great stories and >nice pictures. > >I am curious to know if somebody on the list recognizes this description of >this series and what opinion he/she has >on it. > I know this series, but am disqualified from giving an opinion, as I write for it. (If I did give an opinion, it would not differ much from Jos's, though!) I'm surprised Jos has only just bought issue 42, as published issues are into the high 60s in Britain. (Copeland, Dupree and Crudup have all appeared.) I've just written 'Prewar Texas Blues', which will be issue 78 in 2-3 months. I believe the series is scheduled to go up to #90. Chris Smith (chris@skerries.demon.co.uk) 2 + 2 = 5 for large values of 2 ========================================================================= Date: Mon, 20 May 1996 09:19:42 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: death bed cd; was Re: last cd in your player >let's put a little twist on that last thread (which everybody seemed to like): > >Q: what cd (or song) would you want to be playing before you croak? > >mine is 'praise god i'm satisfied' by blind willie johnson, specifically 'dark >night, cold ground'... so i can hum to it to my very last breath... Blind Willie McTell: 'Statesboro Blues'. Chris Smith (chris@skerries.demon.co.uk) 2 + 2 = 5 for large values of 2 ========================================================================= Date: Mon, 20 May 1996 09:16:08 +0000 Reply-To: tkelley@ARL.MIL From: Troy Kelley Organization: ARL Subject: Re: SRV -How many artists do you think go to that much trouble to give -credit where it's due? Stevie always gave far more credit than he took. -He was a very humble man, and went out of his way to promote those who -had influenced him. He (and his brother Jimmie) earned the respect of -Muddy, Albert King, Buddy, John Lee Hooker, and many others (sometimes -in spite of themselves as in Albert's case), well before his fame and -gold records could have been the cause. These people were _very_ -protective of their beloved blues, and didn't give their endorsements -lightly. You can see what some of them said about him on my page at -http://www.telepath.com/markw/srv.html If he was good enough for them, -why do so many of the blues snobs... er, *purists* on this list think -they know better? YOU SAID IT!!! I get the feeling that just because SRV was not considered a pure "blues" artist that he is put down by the "purist" establishment. Of course.. I really don't know what the "blues" is according to some people on this list. Troy ========================================================================= Date: Mon, 20 May 1996 08:21:35 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: SRV In-Reply-To: Message of Mon, 20 May 1996 09:16:08 +0000 from On Mon, 20 May 1996 09:16:08 +0000 Troy Kelley said: >I get the feeling that just because SRV was not considered a pure >"blues" artist that he is put down by the "purist" establishment. > >Of course.. I really don't know what the "blues" is according to some >people on this list. I agree (what a scary thought). Some people in the same breath consider Luther and Buddy blues, but do not consider SRV blues. I've never understood that, Keb' Mo has a few blues tunes sprinkled in with pop stuff and he get's labeled blues. I think SRV is blues, but I do not agree that he invented them or did anything that hasn't been done. I will agree with you all day that SRV was very good, but you start saying he was the best, I start "making you puke on your terminal". I like SRV (own a few SRV's NO Luther, No Buddy Guy), but SRV did not hang the moon & stars...Sorry he did nothing innovative or added anything to the music....IMHO not a purist, but feel free to call me one, doesn't bother me in the least.... LW ========================================================================= Date: Mon, 20 May 1996 14:31:49 +0100 Reply-To: WALLER JONATHAN From: WALLER JONATHAN Subject: Carr In London (fwd) ---------- Forwarded message ---------- Date: Mon, 20 May 1996 14:12:07 +0100 (GMT) From: WALLER JONATHAN To: BLUES-l@BROWNVM.BROWN.EDU Subject: Carr In London Greetings men and women of the blues... I have just heard that James Carr will be at the London Blues festival next weekend!..If any UK zellers are going can send a review to the list please? Thanks in advance!..Is this his first UK appearance???? Jon Waller *Robben Ford - He knows all those fancy chords!* ========================================================================= Date: Mon, 20 May 1996 09:28:29 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: SRV Comments: To: tkelley@ARL.MIL On 20 May 96, Troy Kelley had this to say: > I get the feeling that just because SRV was not considered a pure > "blues" artist that he is put down by the "purist" establishment. Rarely. It's actually the SRV fanatics that get the disrespect. > Of course.. I really don't know what the "blues" is, according to some > people on this list. That would be your main problem, right there. P.W. Fenton Tampa, Florida I always wanted to be a member of the establishment. Somehow I thought I'd be wealthier. ========================================================================= Date: Mon, 20 May 1996 09:43:41 EST Reply-To: mstringer@HEARST.COM From: Mark Stringer Subject: Re[2]: Who do you regret missing? Comments: To: JukeFreak@AOL.COM this is only a test ========================================================================= Date: Mon, 20 May 1996 08:57:22 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: death bed cd; was Re: last cd in your player In-Reply-To: Message of Mon, 20 May 1996 09:19:42 -0400 from On Mon, 20 May 1996 09:19:42 -0400 Chris Smith said: >>let's put a little twist on that last thread (which everybody seemed to like): >> >>Q: what cd (or song) would you want to be playing before you croak? I'd have to say "Wang Dang Doodle" off of Koko's Audience With The Queen, I don't wanna a bunch of folks crying...It's too late for that, so carry on and have some fun out of respect for the deceased.... LW ========================================================================= Date: Mon, 20 May 1996 07:20:53 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: May 21 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- AKERS, DORIS (v/gospel songw) b. 1922-0521, KIRKSVILLE, MO ANDERSON, WILLIE LITTLE (hca) b. 1920-0521, WEST MEMPHIS, AR BRYANT, TOMMY (b/INK SPOTS) b. 1930-0521, PHILADELPHIA, PA GLOVER, HENRY(arr/songw/prod/tpt/KING REC)b. 1921-0521, HOT SPRINGS, AR HARRINGTON, VERNON (v) b. 1952-0521, CHICAGO, IL HENRY, BIG BOY (g/SWINGMASTER REC) b. 1921-0521, BEAUFORT, NC ISLEY, RONALD (lead/THE ISLEY BROS) b. 1941-0521, CINCINNATI, OH LEVY, MORRIS(owner:ROULETTE/GEE/RAMA REC) d. 1990-0521, GHENT, NY 62 MITCHELL, BLUE (tpt/JOHN MAYALL) d. 1979-0521, LOS ANGELES, CA 49 MOORE, EDDIE (d) d. 1990-0521, OAKLAND, CA 51 POOLE, CHARLIE (bjo) d. 1931-0521, EDEN, NC 39 SPECTER, DAVE (g/BLUEBIRDS/DELMARK REC) b. 1963-0521, CHICAGO, IL VALENTINE, HILTON (g/ANIMALS) b. 1943-0521, NORTH SHIELDS, UK WALLER, FATS (p/songw) b. 1904-0521, NEW YORK CITY, NY WILLIAMS, LEE "SHOT" (g/BLACK MAGIC) b. 1938-0521,nTCHULA, MS ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 20 May 1996 10:18:52 +0000 Reply-To: tkelley@ARL.MIL From: Troy Kelley Organization: ARL Subject: Re: SRV X-Mozilla-Status: 0001 Message-ID: <31A046CB.329D@arl.army.mil> Date: Mon, 20 May 1996 10:17:47 +0000 From: Troy Kelley Reply-To: tkelley@arl.army.mil Organization: ARL X-Mailer: Mozilla 2.0 (Macintosh; I; 68K) MIME-Version: 1.0 To: "P.W. Fenton" Subject: Re: SRV References: <199605201333.JAA84584@osceola.gate.net> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit P.W. Fenton wrote: > > On 20 May 96, Troy Kelley had this to say: > > > I get the feeling that just because SRV was not considered a pure > > "blues" artist that he is put down by the "purist" establishment. > > Rarely. It's actually the SRV fanatics that get the disrespect. And just why is that? I don't single out Muddy fanatics for any kind of special disrespect. > > > Of course.. I really don't know what the "blues" is, according to some > > people on this list. > > That would be your main problem, right there. And just what the HELL does that mean? I am really in no mood for more personal attacks P.W. Troy ========================================================================= Date: Mon, 20 May 1996 10:25:00 EDT Reply-To: Debra Eisert From: Debra Eisert Subject: Re: death bed cd The trouble with dying is that there is no guarantee of what music you get in the afterlife. So, with that thought in mind, how about Buddy Guy's "Where is the Next One Coming From?" ##################################################################### Debra Eisert "It is the mark of an educated man to debra@iglou.com be able to entertain a thought without Cincinnati, OH accepting it." -- Aristotle ##################################################################### ========================================================================= Date: Mon, 20 May 1996 10:46:07 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: SRV Comments: To: tkelley@ARL.MIL On 20 May 96, Troy Kelley had this to say: > P.W. Fenton wrote: > > > > On 20 May 96, Troy Kelley had this to say: > > > > > I get the feeling that just because SRV was not considered a pure > > > "blues" artist that he is put down by the "purist" establishment. > > > > Rarely. It's actually the SRV fanatics that get the disrespect. > > And just why is that? I don't single out Muddy fanatics for any kind > of special disrespect. That is admirable. One should never disrespect a Muddy fan. I would suppose that the reason SRV fans get disrespected would have to do with where they place the relative importance of SRV in the Blues "big picture". I can't speak for them though. > > > Of course.. I really don't know what the "blues" is, according to some > > > people on this list. > > > > That would be your main problem, right there. > > And just what the HELL does that mean? I am really in no mood for more personal > attacks P.W. I thought that was fairly clear. You say you really don't know what the "Blues" is. That could be be the main problem. Don't know how else to explain that. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Mon, 20 May 1996 14:44:44 GMT Reply-To: bbbean@sheltonlink.com From: bbbean@SHELTONLINK.COM Organization: inlink Subject: Re: Chileheads Comments: To: bit-listserv-blues-l@uunet.uu.net In , Bob Hardin writes: >>From: Rob Hutten >> >>Ooooh! ooooh! Oooooooh! >> >>A list for chile pepper eaters???? Wow. Do you have the subscription >>info handy? I want on. > > >I guess I should have anticipated this - what better time to listen to >the blues than when your mouth and belly are on fire! I'm thinking of >John Lee singing "Burnin' Hell"... Robert Johnson was also a reknowned pepper eater. In fact, Hellhound on my Trail was originally Hellhound on my Tail, written after an evening of eating habaneros. BBB B.B. Bean bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Mon, 20 May 1996 10:46:48 EST Reply-To: mstringer@HEARST.COM From: Mark Stringer Subject: Jon Paris Saturday night Jon Paris drove women to a wild shakin frenzy at Dan Lynch's. His set featured tunes from Louie Louie to cuts from his new album. Jon fired from a bag of tricks so deep, he had to teach his bass player the tunes in mid mania. Jon Paris leads a wild party worth checkin out. Did anyone see him open for Johnny Winter Sunday night? -Mark ========================================================================= Date: Mon, 20 May 1996 11:13:10 +0000 Reply-To: tkelley@ARL.MIL From: Troy Kelley Organization: ARL Subject: Re: SRV Comments: To: "P.W. Fenton" P.W. Fenton wrote: > > On 20 May 96, Troy Kelley had this to say: > > > P.W. Fenton wrote: > > > > > > On 20 May 96, Troy Kelley had this to say: > > > > > > > I get the feeling that just because SRV was not considered a pure > > > > "blues" artist that he is put down by the "purist" establishment. > > > > > > Rarely. It's actually the SRV fanatics that get the disrespect. > > > > And just why is that? I don't single out Muddy fanatics for any kind > > of special disrespect. > > That is admirable. One should never disrespect a Muddy fan. I would > suppose that the reason SRV fans get disrespected would have to do > with where they place the relative importance of SRV in the Blues > "big picture". I can't speak for them though. I think they know that SRV was one of the greatest blues guitarist ever. That should be simple enough. > > > > > Of course.. I really don't know what the "blues" is, according to some > > > > people on this list. > > > > > > That would be your main problem, right there. > > > > And just what the HELL does that mean? I am really in no mood for more personal > > attacks P.W. > > I thought that was fairly clear. You say you really don't know what > the "Blues" is. That could be be the main problem. Don't know how > else to explain that. I KNOW WHAT THE BLUES IS!!!! SOMEONE ELSE SAID THAT ABOUT ME!!! CAN"T YOU READ!! JEEZZEE!!! I have been playing the blues for 15 years!! I have played in front of all black audiences. I have listened to lots and lots of blues. My roomate in college is currently writing a doctoral disertation on the blues as part of a sociology degree! I know the blues!!! Man.... I think I broke my keyboard.. Troy ========================================================================= Date: Mon, 20 May 1996 11:34:39 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: SRV Comments: To: tkelley@ARL.MIL On 20 May 96, Troy Kelley had this to say: > I KNOW WHAT THE BLUES IS!!!! > I have been playing the blues for 15 years!! I have played in > front of all black audiences. I have listened to lots and lots of > blues. My roomate in college is currently writing a doctoral > disertation on the blues as part of a sociology degree! I know the > blues!!! > > Man.... I think I broke my keyboard.. You've played in front of all black audiences?????? Your ROOMATE is writing a dissertation on the Blues???????? Well then you win, man. SRV rules!! The man was down!! ========================================================================= Date: Mon, 20 May 1996 11:52:35 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: A Personal Attack AND Class Libel Against SRV Fans (was re: SRV) In a message dated 96-05-20 09:43:18 EDT, you write: >-why do so many of the blues snobs... er, *purists* on this list think >-they know better? > >YOU SAID IT!!! > >I get the feeling that just because SRV was not considered a pure >"blues" artist that he is put down by the "purist" establishment. > >Of course.. I really don't know what the "blues" is according to some >people on this list. What I find peculiar about the people (at least on this list) who seem to be unable to hear anything but SRV is the nastiness with which they present themselves. Consistently (for about 2 weeks now) there *has* been violent disagreement with a line of posts that started to the effect that "SRV was the greatest blues guitarist who walked the planet." The disagreements took several tacks: (1) That such an assertion was unverfiable; (2) That such an assertion was ludicrous given SRV's own view of himself and his place in the history of blues music; (3) That such an assertion was ludicrious as a matter of history, comparing SRV to his precessors. Each of these responses seems to me on the mark, and yet NOT ONE IS AN ATTACK ON SRV. I think some may have said that SRV was not particularly original, but some of his most vociferous advocates on this list have said that his achievment was how he 'put it together.' Nevertheless, the folks advocating SRV have escalated their tone of obnoxiousness. Today we are told there is something called a "'purist' establishment." What the *hell* would that be? If there is such an establishment why aren't purely blues artists getting better gigs? As I recall, SRV headlined the Delta Blues festival in the HEART OF THE MISSISSIPPI DELTA one year, as had Muddy Waters several years previously. How did the "blues establishment" let that happen? Particularly given that they "put" SRV "down"? (as a non-member of the blues establishment, at the time I kinda thought the Delta Blues festival would have been better served by finding a Delta bluesman to headline, but then I apparently have a bad attitude). So PW and LW (the W brothers) respond this morning with posts that amount to little more than "say WHAT??" and get attacked with (or at least PW gets attacked with): >P.W. Fenton wrote: >> >> On 20 May 96, Troy Kelley had this to say: >> >> > I get the feeling that just because SRV was not considered a pure >> > "blues" artist that he is put down by the "purist" establishment. >> >> Rarely. It's actually the SRV fanatics that get the disrespect. > >And just why is that? I don't single out Muddy fanatics for any kind >of special disrespect. See above AND below. It is the particular nastiness with which your SRV fan-ness manisfests itself. Muddy's fans (on this list, or, in my experience, elsewhere) do not behave this way. As a Muddy Waters fan myself, I am more puzzled than anything else by folks who think themselves blues fans and don't love Muddy Water's music. >> > Of course.. I really don't know what the "blues" is, according to some >> > people on this list. >> >> That would be your main problem, right there. > >And just what the HELL does that mean? I am really in no mood for more >personal attacks P.W. I think its pretty clear what that means. Tom Freeland ========================================================================= Date: Mon, 20 May 1996 08:59:12 -0700 Reply-To: apiana From: apiana Organization: Salvia Subject: Non-Performer Handys Someone (forgive me I forgot who) inquired who won the non-performer Handy Awards, also called the KBA (Keeping the Blues Alive) Awards. This list directly comes from the press release of the Blues Foundation. For more information, e-mail the Foundation at blues@memphisonline.com. They are as follows: Sponsor of the Year: Gibson Musical Instruments Organization of the Year: Houston Blues Society Club Operator of the Year: Buddy Fox (Manny's Car Wash) Promoter of the Year: Mike Cloeren (Poconos Blues Festival) Manager/Agent of the Year: Steve Hecht (Piedmont Talent) KBA in Education: Corporate: House of Blues Foundation Individual: Kenneth Jackson KBA in Film: "The Promised Land," Anthony Geffen, Producer KBA in Historical Preservation: Delta Blues Museum KBA in Advertising: Northwest Airlines KBA in Art: James Fraher KBA in Journalism: Art Tipaldi Char Ham ========================================================================= Date: Mon, 20 May 1996 11:19:17 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Why do people put SRV down? "Why do people on the List put Stevie Ray Vaughan down?" someone asked. There are a number of reasons, and I don't think it's because people on the list are necessarily "snobs" or "purists". And it's true that there are more mentions of SRV on this list than, possibly, Muddy Waters, John Lee Hooker, and Robert Johnson put together. It may be because, of all the blues revivalists (if I can call them that) he gets a disproportionate amount of attention, and I suggest that this may be more about his sudden (and tragic) death than it is about his talent. The fact that he had cleaned up his act, and THEN lost his life, somehow made it even worse. Secondly, while SRV was a talented player, he was NOT an original (in the sense that the giants were originals, or Jimi Hendrix). That's not to say that he did not extend the blues idiom considerably, and it's certainly not to say that his popularity - again, enhanced by his untimely death - did not bring hundreds of thousands of fans to the blues, and to the roots of the blues. For both these things, I suggest, he deserves the thanks of the entire community, because he has helped keep the blues alive simply by bringing more people to the music. Thirdly, I think that many people who were brought to the blues by SRV have yet to place his work in context; their gratitude for the music they have enjoyed as a result of his influence perhaps prevents their sense of perspective from being what it might be. I met Vaugan on a couple of times, most notably when he played four times in Toronto, opening for Dire Straits (I was the publicist on the gig). He was, to put it bluntly, coked out of his mind, and chafed considerably under the circumstances that he was an opening act in a less than and ideal setting (Varsity Arena). He played incredibly loudly and was about as subtle as a runaway tractor-trailer-Mark Knopfler certainly had a much greater appreciation of dynamics, and how to use the room's appalling acosutics to his advantage. On the Sunday night concert, I recall that Albert Collins joined Stevie for the final two numbers of his set, and the effect was magical - Stevie stopped (pardon the word) bullshitting/guitar wanking and actually PLAYED, and anyone who was listening must have noticed the difference. It added up to another memorable moment in Richard the Elder's long life!!! Richard the Elder (who asks that SRV fans/addicts read this carefully before they launch rocket-missile flames in my direction) ========================================================================= Date: Mon, 20 May 1996 12:19:12 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0086 From: "DUTTWEILER.J" Subject: Re: SRV Date: Monday, 20 May 1996 12:18pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: SRV Troy Kelley wrote: > > > > > Of course.. I really don't know what the "blues" is, according to so > > > > > people on this list. > > > > > > > > snip < < < < > > > > I thought that was fairly clear. You say you really don't know what > > the "Blues" is. That could be be the main problem. Don't know how > > else to explain that. > > I KNOW WHAT THE BLUES IS]]]] SOMEONE ELSE SAID THAT ABOUT ME]]] CAN"T YOU RE > > JEEZZEE]]] > > I have been playing the blues for 15 years]] I have played in front of all b > audiences. I have listened to lots and lots of blues. My roomate in college > currently writing a doctoral disertation on the blues as part of a sociology > I know the blues]]] > > Man.... I think I broke my keyboard.. Troy, I think you need to calm down, son. This whole thread hinges not on the relative merits of SRV vs. every other bluesmen or blueswomen who ever lived, but rather on the attitude displayed in your posts. This list resists quite strongly (and rightly) the self-proffessed "expert" who seeks to "educate" the rest of us as to the relative worths of those blues artists we hold in high esteem. To present one's own opinions is one thing, but to come in with a "these rubes don't know anything because I've been playing the blues for fifteen years, et al" just doesn't work here. People who post to this list aren't impressed with such credentials and are certainly not easily intimidated. You got off on the wrong foot here. Others have done it before (with even *better* "credentials" then yours) and stopped, took a deep breadth, recognized their mistake, apologized and moved on from there. I would humbly suggest you try to do the same. Later, JD ========================================================================= Date: Mon, 20 May 1996 09:22:57 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: SRV PW said: >>I would >> suppose that the reason SRV fans get disrespected would have to do >> with where they place the relative importance of SRV in the Blues >> "big picture". I can't speak for them though. Troy responded: >I think they know that SRV was one of the greatest blues guitarist ever. That >should be simple enough. PW: >> You say you really don't know what >> the "Blues" is. That could be be the main problem. Don't know how >> else to explain that. Troy: >I KNOW WHAT THE BLUES IS!!!! SOMEONE ELSE SAID THAT ABOUT ME!!! CAN"T YOU >READ!! > >JEEZZEE!!! > >I have been playing the blues for 15 years!! I have played in front of all >black >audiences. I have listened to lots and lots of blues. My roomate in college is >currently writing a doctoral disertation on the blues as part of a sociology >degree! >I know the blues!!! > >Man.... I think I broke my keyboard.. I wish a few more would break their keyboard while you're at it. This isn't sinking in, so I'll make it really, really clear. Many of us are SICK AND TIRED of SRV fans (of whom I am one) popping onto this list with tiresome crap about the "greatest ever" and all the rest of it. Quite frankly it's like calling David Sanborn "the greatest ever" on the jazz list. It's crap... complete crap. In the history of jazz, the shadows of Bird, Sonny Rollins, Trane, and others loom too large for that kind of statement. Why don't you all shut up and learn something instead of shooting your mouths off? *This list does not exist for stupid arguments over "the best"* No one CARES who you, or anyone else thinks is "the greatest ever"! Tell us what you like about him, tell us favorite tunes or solos, but shut the f--- up about the "Greatest ever" if you expect to get along with this list. Remember who is looking over your shoulder. Giants among whom Stevie may walk, but never with the moronic, egotistical attitude of many of his fans. So I am going to propose a moratorium on the use of the following words to describe musicians: "the greatest" "the best ever" "one of the best" no one cares about these opinions, we care about what you see in the art, why you like it, and what you know about it. Is this clear enough? DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Mon, 20 May 1996 12:37:11 -0400 Reply-To: FINNY49911 From: FINNY49911 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Which document would you .... Comments: To: bit-listserv-blues-l@uunet.uu.net I think I would prefer a review, I am not going to buy the CD in question because of the artists biography and certainly not what some biased fan or copywriter wrote on the liner notes. There's just too much music, and too little money for me to take chances on CDs. I would like to know if its good or bad. ========================================================================= Date: Mon, 20 May 1996 16:37:45 GMT Reply-To: JSC From: JSC Organization: Pacific Bell Subject: Heaven's Soldiers Comments: To: bit-listserv-blues-l@uunet.uu.net As a newbie to this group, and with a very sparse record collection, I was wondering if anyone has seen this film or heard the soundtrack? I think I saw the names BB King and Buddy Guy in the commercial--would the soundtrack make a good compilation for beginners? ========================================================================= Date: Mon, 20 May 1996 18:32:32 +0100 Reply-To: Bluesman From: Bluesman Subject: B.B. KING Tour Dates on Spain needed Hi! I would greatly appreciate if someone of you who knows the spanish tour dates for B.B. King could send them to me.Indeed I know almost all of them, but I need to confirm whether he's coming to the San Sebastian Jazz Festival or not. Thanks in advance. Jose. Spain. ****************************************************************************** - Everyday I Have The Blues - ========================================================================= Date: Mon, 20 May 1996 13:12:13 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0125 From: "DUTTWEILER.J" Subject: Re: SRV Date: Monday, 20 May 1996 1:11pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: SRV Don C. Wrote: > So I am going to propose a moratorium on the use of the following words to > describe musicians: > > "the greatest" > > "the best ever" > > "one of the best" > > no one cares about these opinions, we care about what you see in the art, > why you like it, and what you know about it. Well put Don This whole "best" "greatest" thing is adolescent and inane, especially in so far as true lovers of any art form are concerned. I'm constantly discovering "new" (to me) artists who expand my awareness of, and appreciation for, the blues. I find I can no more limit myself to one artist or style then I could eat the same food every day (although when it comes to BBQ that analogy might fail ;-). Tell us WHY and HOW an artist moves you, touches you, speaks to your soul - not that you think he's the best (and not that he (or she) does the above because he (or she) is the best ). JD ========================================================================= Date: Mon, 20 May 1996 12:10:18 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: Non-Performer Handys In-Reply-To: Message of Mon, 20 May 1996 08:59:12 -0700 from On Mon, 20 May 1996 08:59:12 -0700 apiana said: >KBA in Education: Corporate: House of Blues Foundation This is not meant as derogatory: Would someone please explain (gently) what the House Of Blues did for blues education in the past year... I haven't heard much about them doing blues education, but that doesn't mean that haven't.....Please leeme know about it LW ========================================================================= Date: Mon, 20 May 1996 13:14:18 -0400 Reply-To: FINNY49911 From: FINNY49911 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: SRV Comments: To: bit-listserv-blues-l@uunet.uu.net Not being a particular fan of Stevie Ray Vaughn, I have to admit he was an estimable guitarist. But on balance he had more chops than originality. But of course he died pretty young with perhaps his best years ahead of him. But was he a "blues" guitarist? Yes he studied and learned from the great players before him, and stylistically comes pretty close to them--i.e. Albert King, Buddy Guy, Freddie King, et al. But I believe there is something missing in SRV's interpretation of the blues as well as most other white artists laying claim to the "blues." While I am not saying that white people are incapable of genuine passion and heartfelt anguish when playing blues-based music, they will never be able to approach the people who created it. It is a cultural divide which I believe white people will never be able to fully feel, emotionally. It is not an intellectual appreciation. The culture that created the blues was a segregated society, shunned by the whites, with its culture for the most part looked down upon by the whites--except the white musicians who became the forefathers of country music and learned a lot from the black blues players, i.e. Jimmie Rodgers and Hank Williams, and people like Alan Lomax. Wmay identify with the pain, passion, and integrity of the blues there is a cultural divide that will forever separate them from the creators. What white person can ever claim to have truly experienced the racism, pain and anguish that it is to be black in American society. One might even say that the black culture that created the blues, the agrarian farming culture of the deep South and post-war urban centers, is also forever gone. Why is it that the people who listen to the blues are for the most part white? Most blacks listen to rap, dance-music, etc. For them the blues is ancient history, a reminder of even worse times for blacks before civil rights. I believe that what most people claim to be playing when they play the "blues" is simply blues-based rock. Yes they may be playing the same songs, the same licks, etc. but the cultural context is different. Yes great blues songs are timeless, but they are also a representation of the time and culture they were created in. A white man singing "Little Red Rooster" is merely singing a song, no matter how well he does it. No matter how much he wants to, he will never be a black blues singer. Now I am white, I play guitar, I love the blues, but I never ever will claim the music I play is the blues. I learn a lot from the blues and have utmost respect the black musicians who created the blues. But I am not a part of their culture no matter how much I would like to be. I'm a rock and roll guitar player--yes I know what many of you will say, blacks invented rock and roll too, but that's a whole 'nother discussion. ========================================================================= Date: Mon, 20 May 1996 13:22:38 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Non-Performer Handys Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU On 20 May 96, ISTS024%UABDPO.BITNET@BROWNVM had this to say: > On Mon, 20 May 1996 08:59:12 -0700 apiana said: > > >KBA in Education: Corporate: House of Blues Foundation > > This is not meant as derogatory: Would someone please explain (gently) what > the House Of Blues did for blues education in the past year... > > I haven't heard much about them doing blues education, but that doesn't mean > that haven't.....Please leeme know about it If you read the articles in Blues Revue you would know quite well. Seriously, despite the picture of the Blues promoters on the cover, there is information that would interest you in that issue. But, of course, if you refuse to read it... P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Mon, 20 May 1996 13:23:58 -0400 Reply-To: LKnight1@AOL.COM From: Leslie Ann Knight Subject: KKUP Blues Marathon/June 7-9 Press Release for immediate release May 19, 1996 Leslie Ann Knight, KKUP Publicist The 5th Annual KKUP 91.5 FM Blues Marathon is set for Friday, June 7th, 6:00P.M. through Sunday night June 9th at midnight This special programming is a fund raiser for KKUP which is entirely listener-supported. Fifty-four hours of non-stop compelling blues will be broadcast on 91.5 FM the weekend of June 7th through June 9th. On Sunday evening at 5:00P.M. acoustic fretsman Jon Lawton plays live in the studio then Elmer Lee Thomas and harmonica ace Jimmy Dewrance joins Leslie Ann Knight for a traditional acoustic set. Then at 6:00P.M. the Live-Band-Broadcast kicks in with an electrifying set of power-house blues. This broadcast will originate from the new KKUP facility in the Santa Clara Franklin Mall. Here's the special blues programming schedule: June 7 Friday 6:00 P.M. KKUP All Star deejays kick off the weekend. 9:00 P.M. Feature on Bay Area artists with Steve Acero and guest KSCU DJ The Jakester. June 8 Saturday Midnight The Blue Radish and John Fuller host 3:00 A.M. Lusty and dusty blues in the wee hours with Wendell Shinn. 6:00 A.M. Classic blues focusing on Elmore James and Big Bill Broonzy with Mark Owens 9:00 A.M. Tomas Montoya hosts. Noon New Orleans rhythm and blues and the soul explosion with host Steve Ahlgrim 3:00 P.M. Youngbloods of the blues with host Jammin' Jim Farris. 6:00 P.M. Jim Dandy to the Rescue - 50's R&B with hosts Jim Maley, Henry the Wallflower and the Rhythm Doctor. Guaranteed mayhem. 9:00 P.M. Jim Thomas and Gratia Rankin host. June 9 Sunday Midnight Jump-boogie blues and harmonica festival with host Johnnie Cozmik. 3:00 A.M. More lusty and dusty blues from your wee hours host Wendell Shinn. No one else was crazy enough to take this timeslot, so Wendell got both 3:00 - 6:00 A.M. shifts. 6:00 A.M. Mournin' in the Morning with host Curtis Jay. Some Gospel, tenor sax and Hammond B-3's. 9:00 A.M. Bay Area Blues Blasters featuring the music of Jesse Fuller, Mark Naftalin, Jimmy McCracklin, L.C. Robinson and Lafayette Thomas. Paul Jacobs hosts. Noon The Joint Is Jumpin' with hosts Steve Hathaway and Vida Lee. A retrospective of 40's and 50's jump-swing-blues and rhythm and blues. 3:00 P.M. A Tribute to Sonny Terry and Brownie McGhee with host and biographer of Brownie McGhee's forthcoming book, Leslie Ann Knight. 5:00 P.M. Live in-studio acoustic performances. Jon Lawton plays Sonny and Brownie songs. Plus guitarist Elmer Lee Thomas and harmonica wizard Jimmy Dewrance. Hosted by Leslie Ann Knight. 6:00 P.M. until Midnight: KKUP goes live all the way with a Live-Band-Broadcast. Here's the lineup. Tattoo Blue featuring Kathleen Cairns Joey Razor and the Blue Blades Rusty Zinn Sid Morris and the Roadhouse Rockers Ike and the Coldbloods Background on the bands: Tattoo Blue featuring Kathleen Cairns Tattoo Blue is one of the most sought-after blues bands in the Bay Area. This five piece unit features smoky voiced Kathleen Cairns lead vocals. Belgium's Blues Gazette says, "A dominant feature of this CD are the deep vocals of Kathleen Cairns who sings up a storm in the vein of Angela Strehli and Lou Ann Barton. The hot, exciting piano playing takes some of the spotlight too . . . a tight unit." Joey Razor and the Blue Blades This high-powered singer-song writer will perform his tongue-in-cheek original material with the ever swinging Blue Blades. Razor explains his song writing technique, "I'll pick up the guitar I don't have anything to do with it. The lyrics and music come out together, A to Z. I don't feel like I don't have any control over it. And then there are times it doesn't work. I also make up songs right on the stage with the band. Once I get started on a phrase, it just flows." Rusty Zinn Blues Band Splendid guitarist Rusty Zinn is a newly signed artist to the New Orleans based Black-Top Records label who as recently as 1995 toured and recorded with Mark Hummel. Kim Fields of Blues Revue Magazine said, "In just a few short minutes I knew I'd seen a piece of the blues-guitar future, Rusty Zinn." Thunderbirds front man Kim Wilson said, He's the best young guy I've heard in years. One of the most fun aspects of doing my solo blues thing is being there as Rusty's playing." Rusty began playing guitar at age eighteen, he's twenty-six now. The legends he's played with are Luther Tucker, Snooky Pryor, Jimmie Rogers, Billy Boy Arnold and Carrie Bell. Zinn's debut CD on Black-Top Records will be available June 18th. Sid Morris and the Roadhouse Rockers A Bay Area Blues legend, Sid Morris is a boogie-woogie pianist influenced by the New Orleans sounds of Professor Longhair. Morris played on the very first San Francisco Blues Festival and the San Jose State Blues Festival in 1980. Morris is one the great Bay Area mainstays of the blues scene. The KKUP blues staff feel honored that Sid Morris and the Roadhouse Rockers are among the bands scheduled for the KKUP-Live-Band-Broadcast. Ike and the Coldbloods Ike Cosse released his debut CD simply titled Ike, to a very receptive blues audience earlier this year. When asked what the word blues means to him, Ike reflected for a moment answering, "You don't want the blues. You try not to have the blues. That's tough. I've been down, but the blues, it's more of a musical idiom. The blues were here by natural evolution of things, long before W.C. Handy wrote about it. The blues evolved from all mankind. You can't define a feeling. You're blue. The blues is one of the greatest gifts of mankind." Blues fans: Please feel free to forward this press release to your blues friends. ========================================================================= Date: Mon, 20 May 1996 12:35:56 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: SRV In-Reply-To: Message of Mon, 20 May 1996 13:14:18 -0400 from On Mon, 20 May 1996 13:14:18 -0400 FINNY49911 said: >Now I am white, I play guitar, I love the blues, but I never ever will >claim the music I play is the blues. I learn a lot from the blues and have I am white and I PLAY THE BLUES. You or anyone else can not tell someone whether or not they are playing blues. The blues is a feeling all sexes & races have feelings. You can't look into another person and tell what he's feeling. I agree strongly that blues is black music, but anyone can play it, regardless of age/sex/race.....etc. The creators are gone, except for a few. I tend to think John Hammond's blues are much closer to the real thing than say Robert Cray.....What you think.. Blues is a expression of feeling and it doesn't have to be an oppressed feeling. LW 'not a bluesman, but I DO play the blues' ========================================================================= Date: Mon, 20 May 1996 12:48:32 -0500 Reply-To: David Silberberg From: David Silberberg Subject: Re: death bed cd; was Re: last cd in your player At 08:57 AM 5/20/96 CDT, Leonard Watkins wrote: >I'd have to say "Wang Dang Doodle" off of Koko's Audience With The Queen, I >don't wanna a bunch of folks crying...It's too late for that, so carry on and >have some fun out of respect for the deceased.... No, see, I want my family, friends, relatives - even my enemies to be sad, upset, inconsolable (sp?) for months after I've gone - I want them to see how empty and shallow life without me would be - that life would almost not be worth living after I've gone - Therefore, my choice would be an endless loop of Pat Boone doing "Tutti Frutti" as I go out.... (Actually, the video, where his tie is undone and he is snapping his fingers to the music) David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Mon, 20 May 1996 17:53:58 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: SRV Comments: To: bit-listserv-blues-l@uunet.uu.net Die stupid thread - PLEASE die, die, DIE! -- Vincent vt@usa.pipeline.com ========================================================================= Date: Mon, 20 May 1996 13:50:22 +0000 Reply-To: tkelley@ARL.MIL From: Troy Kelley Organization: ARL Subject: Pocono Blues Fest Anyone out there going to the Pocono Blues Fest at the end of July? If so, is it possible to find a hotel now or are the all booked up? Also, any campsites available by any chance? Troy ========================================================================= Date: Mon, 20 May 1996 12:49:10 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Party Music Something really light: I have a six CD player and I'm asking ya'll what six cd's you would play (shuffled) at these times. Warmup: (ie: sober) PRIMETIME: Wearing down: Prime time will be LIVE music, but it's more fun (& hopefully distracting :-)) if we include it here..... LW ========================================================================= Date: Mon, 20 May 1996 13:06:38 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: Re: SRV > From: Troy Kelley > I get the feeling that just because SRV was not considered a pure > "blues" artist that he is put down by the "purist" establishment. > > Of course.. I really don't know what the "blues" is according to > some people on this list. SRV is seldom "put down" by any knowledgeable blues fan. It is usually the SRV purists that are found to be annoying, not the man himself. Stevie would be the very first to tell you to check out all those blues guys that the "blues purists" talk about. It's when the SRV purists start spouting that the blues began and ended with SRV (and many of them do just that) that the "blues purists" get annoyed. There is a SRV listserv group that you can subscribe to if you want to hear nothing but SRV news and views. I recently rode up to Memphis and back with Craig Hopkins, a friend of mine, and founder of the SRV fan club. He had a tape he had put together with the original blues version of a song after SRV's version. I thought this was a wonderful idea. I am astounded Rhino or some other compilation company hasn't thought of this. Don O. ========================================================================= Date: Mon, 20 May 1996 13:19:28 -0600 Reply-To: James Bardsley From: James Bardsley Subject: Re: Heaven's Soldiers Comments: To: JSC In-Reply-To: <4nq74p$h9@gw.PacBell.COM> At 4:37 PM +0000 05/20/96, JSC wrote: >As a newbie to this group, and with a very sparse record collection, I >was wondering if anyone has seen this film or heard the soundtrack? I >think I saw the names BB King and Buddy Guy in the commercial--would the >soundtrack make a good compilation for beginners? That would be " Heaven's Prisoners". Haven't seen the movie or heard the soundtrack yet, but the book was very good, as are all of James Lee Burke's Dave Robichaux series. Jim Bardsley "If we're treading on thin ice then we might as well dance." -Jesse Winchester @1971 ========================================================================= Date: Mon, 20 May 1996 14:11:20 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: SRV Comments: To: finny49911@aol.com On 20 May 96, FINNY49911 had this to say: > Not being a particular fan of Stevie Ray Vaughn, I have to admit he was an > estimable guitarist. But on balance he had more chops than originality. > But of course he died pretty young with perhaps his best years ahead of > him. > > But was he a "blues" guitarist? Yes he studied and learned from the great > players before him, and stylistically comes pretty close to them--i.e. > Albert King, Buddy Guy, Freddie King, et al. But I believe there is > something missing in SRV's interpretation of the blues as well as most > other white artists laying claim to the "blues." Boy... I was right there with you up to this point. But then you added... > While I am not saying > that white people are incapable of genuine passion and heartfelt anguish > when playing blues-based music, they will never be able to approach the > people who created it. True... they're all dead. > I believe that what most people claim to be playing when they play the > "blues" is simply blues-based rock. Yes they may be playing the same > songs, the same licks, etc. but the cultural context is different. Yes > great blues songs are timeless, but they are also a representation of the > time and culture they were created in. Huh? Did you just say that great Blues songs are "timeless", and then say that they are a representation of the time in which they were created? > A white man singing "Little Red > Rooster" is merely singing a song, no matter how well he does it. No > matter how much he wants to, he will never be a black blues singer. Now there's a news flash... no matter how much you want to, you can't change your race. What in the world does that have to do with singing a song? Howlin' Wolf was "merely singing a song" also. Don't you see that? He didn't even write it. Does being African American give you some affinity with roosters? Don't be silly. > Now I am white, I play guitar, I love the blues, but I never ever will > claim the music I play is the blues. I learn a lot from the blues and have > utmost respect the black musicians who created the blues. But I am not a > part of their culture no matter how much I would like to be. Look... African Americans created the Blues. They OWN the Blues. Like anything else, what African Americans created was born out of their culture, and the adopted culture that was thrust upon them. However, the creators are long gone, and the culture it arose from is long gone. Yet it continues to live on after them. The Blues' appeal is without cultural barrier. The ability to perform and create "the Blues" is also without cultural barrier. The fact that the style of music appears to come easier to African Americans may indeed have to do with Black culture vs. white culture, but don't make the foolhearty assumption that cultures can't be bridged, or changed. Culture does not come attached to you like genetic material, it is something that is learned. And like anything that is learned, it can be learned by ANYONE. It can also be changed and rearranged to suit the needs of the time. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Mon, 20 May 1996 14:04:13 +0000 Reply-To: tkelley@ARL.MIL From: Troy Kelley Organization: ARL Subject: Re: SRV P.W. Fenton wrote: > > On 20 May 96, Troy Kelley had this to say: > > > I KNOW WHAT THE BLUES IS!!!! > > > I have been playing the blues for 15 years!! I have played in > > front of all black audiences. I have listened to lots and lots of > > blues. My roomate in college is currently writing a doctoral > > disertation on the blues as part of a sociology degree! I know the > > blues!!! > > > > Man.... I think I broke my keyboard.. > > You've played in front of all black audiences?????? > > Your ROOMATE is writing a dissertation on the Blues???????? > > Well then you win, man. SRV rules!! The man was down!! What kinda crap is this? This is really low. I won't waste anymore blues-L bandwidth on crap like this - except in saying, it is always a few bad apples that spoil the fun for everyone else isn't it? Troy ========================================================================= Date: Mon, 20 May 1996 20:18:37 -0700 Reply-To: Karen-Marlies Schenck From: Karen-Marlies Schenck Organization: EUnet Belgium, Leuven, Belgium Subject: JIMMY VAUGHN???? Comments: To: bit-listserv-blues-l@news.Belgium.EU.net Does anybody know what Jimmy Vaughn is up to these days? Records-tours?? Thanks in advance, Walter Broes ========================================================================= Date: Mon, 20 May 1996 11:33:02 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Don's race & blues FAQ >On Mon, 20 May 1996 13:14:18 -0400 FINNY49911 said: >>Now I am white, I play guitar, I love the blues, but I never ever will >>claim the music I play is the blues. I learn a lot from the blues and have LW said: >I am white and I PLAY THE BLUES. You or anyone else can not >tell someone whether or not they are playing blues. The blues is a feeling >all sexes & races have feelings. You can't look into another person and tell >what he's feeling. I agree strongly that blues is black music, but anyone >can play it, regardless of age/sex/race.....etc. The creators are gone, except >for a few. I tend to think John Hammond's blues are much closer to the real >thing than say Robert Cray.....What you think.. Blues is a expression of >feeling and it doesn't have to be an oppressed feeling. > >LW 'not a bluesman, but I DO play the blues' I think the Finny-meister made a good point, but perhaps it was a bit overstated. LW makes a good point as well. Still, we must be aware that our participation/understanding in the culture that the blues came from will be limited to some degree. The point is to share in it, not appropriate it, to love it, not mine it for influences and then pretend it doesn't exist and we owe the tradition nothing. To me, we whiteboys/girls can play the blues as long as we love it's culture, history, and founders. I also believe we are OBLIGATED to stand against racism in a very real way. That is our toll for traveling on the blues highway... How many of us blabber on about blues this and Muddy Waters the other, and go to our relative's house and quietly sit and listen while they spew racism to us over dinner? You *DO NOT* say "nigger" to my face, as my aunt and cousins did over Thanksgiving Dinner a few years ago. I will not tolerate that in my presence, so I got up, took my family and left. We have not seen them since, nor will we, till they apologize for subjecting me and my family to that filth. They say "nigger" I see, not some negative stereotype, I see Muddy, I see BB, I see Duke Ellington, I see my friends Curtis and Mike and Vincent C. And you *will not* use those terms to describe my friends and my heroes; not to MY face. Them's fightin' words. To me, you CANNOT be a racist in any way shape or form, and play blues. If you are a rascist, one of us, (not a black person, they generally just pity racists), one of us whites who love the blues will make a point of kicking your sorry bigot ass... It's the least we can do, considering what we owe.... DC disclaimer: I am calling NO individual on this list a racist, nor do I believe there are racists here. This is just my view of what we owe to whom. ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Mon, 20 May 1996 12:42:32 -0700 Reply-To: Jeff Seale From: Jeff Seale Organization: Univ. of Texas Health Science Center @ San Antonio Subject: Mag covers and white guys OK, first off, this is a smart-ass comment that may tie a few things together. Why are a lot of the guys on the cover of the "world's best selling blues magazine" white? Well, this is a rather large list of blues folks an all we've been talking about lately is SRV. point to ponder... -Jeff (.sig on vacation until the hard drive is rebuilt) ========================================================================= Date: Mon, 20 May 1996 18:13:12 EST Reply-To: Jim Miller From: Jim Miller Subject: Guitar Mags Comments: To: BLUES-L I think one problem with this SRV thing is that we have a bit of a clash between two different taste cultures. SRV was able to draw fans from the hard rock market much more than your typical blues musician. This particular taste culture tends to be younger (notice I said TENDS to be) and in fact many of us on this list went through a hard rock stage earlier in life (I still enjoy groups like Metallica but not nearly as much as Jr. Kimbrough). If you read the letters to the editors of such mags as Guitar world and especially Guitar for the Practicing musician you get a pretty good idea of what this world is like. Who is the best, who is faster, so and so sucks, so and so rules, so and so isn't a pimple on someone's ass....... I think you get the picture. What drove me away from this music was the "culture " surrounding it and not the music. Well, I believe occasionally we do get some of these folks who come to us via SRV along with their way of seeing things and it simply doesn't work on this list. I do believe that there are times we jump on a SRV fan a little too quickly who doesn't buy into the Beavis and Butthead take on life. Oh yes I forgot to mention, generally blues gives us a lot of room to improvise with songs because for one thing , the audience allows us. Just don't try to do this with an SRV song in front of a bunch of hard rockers. It's note-for-note hell folks. Talk about close minded purists..... ========================================================================= Date: Mon, 20 May 1996 11:49:17 -0700 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Re: Party Music Comments: To: bit-listserv-blues-l@cs.washington.edu Leonard Watkins wrote: > > Something really light: I have a six CD player and I'm asking ya'll what six > cd's you would play (shuffled) at these times. > > Warmup: > (ie: sober) Son House-> Father of the Delta Blues > PRIMETIME: John Mooney-> Travellin On > Wearing down: Bennie Wallace-> Twilight Time Adrian (3cd changer, can't think in bigger numbers) ========================================================================= Date: Mon, 20 May 1996 11:49:17 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: SRV Comments: To: dcicchet@LASIERRA.EDU In-Reply-To: <199605201625.JAA16979@inet.lasierra.edu> from "Don Cicchetti" at May 20, 96 09:22:57 am At the outset, I think Stevie Ray was incredible. OK - now that we've got the mandatory "blues genuflection" out of the way... What _I_ see as the big problem is not so much the fact that some seemingly believe that SRV should be deified, but that thay think we should all agree. Spread lightly over my front yard, this would likely make my lawn grow fabulously green. It's not an intelligent argument, though. Music is subjective. Anything stated about music, other than theory, bibliography, disography, etc., should be preceded with IMHO (in my humble opinion), or in the case of many SRC worshipers, IMNSHO (not so humble ;-) If YOUR _opinion_ is that SRV was the greatest, well and good. Just don't tell me what _M_Y_ opinion should be. And a lot of the "SRV was the greatest" posts have said exactly that - "You have to agree", etc. One reason that Stevie Ray Vaughn is so popular is that he plays what is technically blues/rock - one of his most obvious influences was Jimi Hendrix (whom I also like, but that's not the point). By marrying these somewhat associated but still separate genres, he's managed to attract a lot of rockers into the blues arena. Is this bad? Again, this is a matter of opinion. Any argument here as to absolute merit in either direction (YOU must agree) would be specious and credulous at best. Of course, an argument of opinion (I think this way) is quite fine. BTW, "argument" doesn't necessarily mean "heated" or "disagreeable". It's also another word for "discussion". Should SRV fans keep it to themselves? While many feel they should, I am not one of these. I enjoy freely discussing opinions. Just make sure to include an "IMHO" in your raves about SRV (or any other artist for that matter). An artist is great only in the minds of those who think they're great, which means that they also like the music of this artist. How many blues lovers love the classical violin playing of Isaac Stern, the "best musician ever" ;-) (Or maybe I should ask how many of you have HEARD of Stern :-) -- IronMan Mike Curtis ========================================================================= Date: Mon, 20 May 1996 14:45:19 EST Reply-To: apaul@CLIFF.WHOI.EDU From: Alora Paul Subject: one of many treasures of blues-l is the joy and privilege of actually meeting, live and in person, one of the blues-l brethren(sistren?). since it happens more rarely than many might wish, i'm quickly sharing with ya'll that i had the pleasure of meeting riffin' rick last week. but wait, that's not all...i got to hear him play his beautiful dobro. and exquisitely, i might add. you might have seen that rick was in woods hole, ma (cape cod) for a course at the marine biological lab and we met, along with about 50 of his closest comrades, at one of my favorite haunts in 'the hole'. the place was so rockin' that seated next to him as i was, i had the prime spot to hear him play. rick is a lovely person - charming and kind and genuine. funny and talented. go see gate st. blues if you're in the worcester area - or beyond, since things seem to be really opening up for them. (meri - you might even help to get them down here on the cape? you know how we'd love that! what about that new england blues fest at the melody tent?) no affiliation, nothing to gain. just impressed and delighted to have met our riffin' rick. alora ========================================================================= Date: Mon, 20 May 1996 14:56:45 -0400 Reply-To: RAGAS_for_RAGS From: RAGAS_for_RAGS Subject: Meanin' of BLUES... For me.... BLUES is a feelin' that is transcendental. Its a spiritual experience that takes me to different plateau wherein I express my passion for Art free of parochial divisiveness. What do u folks say.... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | Laissez les bon temps roulez!! | | // ~~ ~~ \\ | Let the good times roll!! | | /d-(@)-(@)-b\ | ------------------------------ | | // L \\ | SANJAY 'RAGS' RAJAN | | // //|\\ \\ | sanjay_rajan@formtek.com | | ////`---'\\\\ | FORMTEK,INC. | | // //|||\\ \\ | PITTSBURGH, PA | | // /|||\ \\ | ------------------------------ | | -/---/\o/\---\- | Visualize Whirled Peas!! | | /"\ )| | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Mon, 20 May 1996 14:31:14 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0198 From: "DUTTWEILER.J" Subject: Re: SRV and Original Version Date: Monday, 20 May 1996 2:31pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: SRV and Original Version Don O. recently wrote: > I recently rode up to Memphis and back with Craig Hopkins, a friend of mine, > and founder of the SRV fan club. He had a tape he had put together with the > original blues version of a song after SRV's version. I thought this was a > wonderful idea. I am astounded Rhino or some other compilation company hasn > thought of this. > Ok Don, this begs the question: How did SRV stand up to the originals and/or vice versa? JD ========================================================================= Date: Mon, 20 May 1996 14:54:52 -0400 Reply-To: FINNY49911 From: FINNY49911 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: SRV Comments: To: bit-listserv-blues-l@uunet.uu.net When you say "real," do you mean more authentic? John Hammond, to me, is similar to a period instrument classical orchestra playing Beethoven or Mozart on instruments from the 18th century. While I respect him, I don't go home and listen to him. Authentic is not playing blues on an old National steel guitar. Robert Cray mixes his blues with more modern soul and R&B. I believe he is trying to expand the blues, even though he may at time be unsuccessful. The last time I saw Otis Rush, a classic bluesman, he was mixing in old Sam Cooke songs into his set. I think you misunderstood the point I was trying to make. The "real" blues was a creation of a specific culture and time. The "blues" have become a generic form. Pentatonic scales, twelve bar format, and impassioned vocals to most people represent blues music. Anyone of any color or gender can play and play the idiom of the blues. Part of the legacy of the blues is that broke down the emotional and lyrical restraint imposed upon mainstream popular music. Take a look at the top forty chart before 1955 and compare it today. ========================================================================= Date: Mon, 20 May 1996 15:05:58 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: SRV (the keyboard ain't broken) In a message dated 96-05-20 15:02:08 EDT, tkelley@ARL.MIL (Troy Kelley) writes: >> > >> > Man.... I think I broke my keyboard.. >> >> You've played in front of all black audiences?????? >> >> Your ROOMATE is writing a dissertation on the Blues???????? >> >> Well then you win, man. SRV rules!! The man was down!! > >What kinda crap is this? This is really low. >I won't waste anymore blues-L bandwidth on crap like this - except in >saying, it is always a few bad apples that spoil the fun for everyone >else isn't it? > >Troy Oh, jeez, Troy, you TOLD US YOUR KEYBOARD WAS BROKEN. I'm SO disappointed. Tom ========================================================================= Date: Mon, 20 May 1996 14:07:23 -0500 Reply-To: Mark Halverson From: Mark Halverson Subject: OTIS & THE ALLIGATORS Comments: cc: David Bishop In response to a posting regarding the Minnesota Blues Festival which I made a few days ago (which may be updated and occassionally reposted), I received a couple of inquiries as to the availability of Otis & the Alligators recordings. Otis and the Alligators are from the Stevens Point (Point Beer!), Wisconsin area and have build up a fairly significant regional following (including me!). They record on False Dog records, basically their own label which also features a few other regional artists. They have two releases (on both CD and tape, I think): Serious Alligations and Tail Shakin' Blues. Both are available for $16.00 (CD) postpaid from: False Dog Records, 817 Lindbergh Avenue, Stevens Point, Wisconsin 54481. Phone: (7175) 345-2634. Both these releases are much better than the average self produced project and each contains several original works of reasonable quality. ========================================================================= Date: Mon, 20 May 1996 15:09:44 -0400 Reply-To: Leo Aspiras From: Leo Aspiras Subject: New England/Rhode Island Info Attention New England Blues-lers: Anybody living/or knows about any blues related events happening in the state of rhode island this memorial day weekend, please let me know by private e-mail........bars, festivals, back yard bar bq's, anything.......a friend of mine will be there and wants to know.......contact me by private e-mail......thanx....... scatman leo down d.c. way..... ========================================================================= Date: Mon, 20 May 1996 15:13:09 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Blues Collection (was Blues lessons) Richard the Elder wrote to me, and I'm sharing it with you as he requests: >DearChris, > >Are back issues of the Blues Collection series available? Who'dya write >too? How much? It sounds pretty interesting, but until this subject came up >on the Blues List, I've not even herd of it. And I have relatives in the UK >who could pick them up for me. Info, svp! Maybe you could share it with the >list? > >Best regards, > >Richard > > The cover price is GBP3.99 (about US$6) in the UK. Back issue info from the inside cover is: UK & Rep of Ireland: phone 01424 755111 in office hours or write to Back Issues Dept, THE BLUES COLLECTION, Orbis Publishing Ltd, PO Box 1, HASTINGS TN35 4TJ. Enclose name, address, postcode; state issue number(s) and number of copies wanted; specify whether you want CD or cassette version. Enclose cover price + 50p per copy for postage and packing. Cheques/POs to Orbis Publishing Ltd Australia: phone (03) 9805 1700 or write to Gordon & Gotch Ltd, PO Box 290, Burwood, Vic 3125. Enclose cover Price + Aus$1 per issue p+h. New Zealand: phone (09) 274 6700 or write to THE BLUES COLLECTION c/o Weldon-by-Mail Pty Ltd, PO Box 18071, Auckland. Malta: order through your newsagent. South Africa: phone (011) 477 7391, or write to Back Issues Department, Republican News Agency, PO Box 16034, Doornforntein 2028. Enclose cover price + 2 rand per issue p+h. Singapore/Malaysia: at the shop where you bought this issue. Chris Smith (chris@skerries.demon.co.uk) 2 + 2 = 5 for large values of 2 ========================================================================= Date: Mon, 20 May 1996 15:18:55 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Non-Performer Handys Comments: To: pwfenton@gate.net On Monday, May 20, Leonard Watkins asked: > >KBA in Education: Corporate: House of Blues Foundation > > This is not meant as derogatory: Would someone please explain (gently) what > the House Of Blues did for blues education in the past year... > > I haven't heard much about them doing blues education, but that doesn't mean > that haven't.....Please leeme know about it If you really honestly wanted an answer to your question, you would have contacted The Blues Foundation by phone, by fax, by Email, by letter or any other way. You would have asked the question and they would have provided an answer. No, Leonard, you are just having a boring Monday in Alabama and you saw this as a way to get a cheap thread started in a confrontational manner. Do you know why Art Tapaldi got a KBA in Journalism? Do you care? How about the KBA in Art For Jim Fraher? No, you are just looking to jerk somebody's chain and see who is going to rise to the bait. (I am living in metaphor hell!) You don't like the methods/ethics of HOB so you are miffed that they got an award. So you asked a non-question expecting to get back a non-answer. Leonard . . read a book . . practice the guitar . . .weed the garden . . .go fishing . . .wash the car . . . Do anything but don't appear to be an innocent naif when you are really just an agitator in disguise. Dick Waterman ========================================================================= Date: Mon, 20 May 1996 15:22:37 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: SRV Don said:. > >So I am going to propose a moratorium on the use of the following words to >describe musicians: > >"the greatest" > >"the best ever" > >"one of the best" > I'd just like to say this is the greatest, best ever suggestion I have ever read, ever. Chris Smith (chris@skerries.demon.co.uk) 2 + 2 = 5 for large values of 2 ========================================================================= Date: Mon, 20 May 1996 14:20:18 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: SRV In-Reply-To: Message of Mon, 20 May 1996 14:54:52 -0400 from On Mon, 20 May 1996 14:54:52 -0400 FINNY49911 said: >John Hammond, to me, is similar to a period instrument classical orchestra >playing Beethoven or Mozart on instruments from the 18th century. While I >respect him, I don't go home and listen to him. Authentic is not playing >blues on an old National steel guitar. EXACTLY: Authenic blues is expressing yourself, it has no time period. I never really listened to John Hammond at home, until I recently heard his "Solo" recording. I like that one alot. The thing that makes John Hammond "authenic" to ME, is he doesn't do the note-for-note thing, he expresses John Hammond. How do you get more authenic than expressing yourself.... >Robert Cray mixes his blues with more modern soul and R&B. I believe he is >trying to expand the blues, even though he may at time be unsuccessful. >The last time I saw Otis Rush, a classic bluesman, he was mixing in old >Sam Cooke songs into his set. As in Kenny Wayne mixing some blues with his rock...same thing...correct So is Kenny Wayne also expanding the blues.....? >I think you misunderstood the point I was trying to make. The "real" >blues was a creation of a specific culture and time. The "blues" have No I understood. So what was the cutoff date for real blues and did that culture exist all over the country....??? I understood & I'm not arguing with you, I just have a differnt idea of what the blues is all about... LW 'T-Bone is going to figure in here somewhere' ========================================================================= Date: Mon, 20 May 1996 15:49:10 -0400 Reply-To: RAGAS_for_RAGS From: RAGAS_for_RAGS Subject: Re: Party Muic > > Warmup: (ie: sober) CASSANDRA WILSON "New Moon Daughter" > > PRIMETIME: > BAKA BEYOND "Spirit of the Forest" > > Wearing down: > TAJ MAHAL/VISWA MOHAN BHATT "Mumtaz Mahal" +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | Laissez les bon temps roulez!! | | // ~~ ~~ \\ | Let the good times roll!! | | /d-(@)-(@)-b\ | ------------------------------ | | // L \\ | SANJAY 'RAGS' RAJAN | | // //|\\ \\ | sanjay_rajan@formtek.com | | ////`---'\\\\ | FORMTEK,INC. | | // //|||\\ \\ | PITTSBURGH, PA | | // /|||\ \\ | ------------------------------ | | -/---/\o/\---\- | Visualize Whirled Peas!! | | /"\ )| | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Mon, 20 May 1996 16:05:29 -0400 Reply-To: smirkyface From: smirkyface Subject: Re: Meanin' of BLUES... > For me.... > > BLUES is a feelin' that is transcendental. > Its a spiritual experience that takes me to different plateau > wherein I express my passion for Art free of parochial divisiveness. > > > What do u folks say.... > I was going to say that. BRIAN MCLEAN PHOTOGRAPHY & SMIRKYFACE PRODUCTIONS "life's too short to live the blues" http://www.netaxs.com/~blmclean ========================================================================= Date: Mon, 20 May 1996 16:40:42 -0400 Reply-To: smirkyface From: smirkyface Subject: Blues diet? I've been noticing a strange phenominum at the club lately. Actually it's been going on for quite a while but I didn't notice. It became apparent after I had a talk with Frank Bey(local blues, R&B singer and vegetarian) about heart disease and the lose of some of the blues greats. Besides being soundman at WD's, when we're busy, I'll take the band menus, then take their dinner order. Now our club has a great menu (Soul Food in a upscale setting) and the food always gets good reviews(we've even got chittlin's on special). Most of the National acts that come through seem to be getting health conscious. I get a lot of questions on how the foods prepared and can I go over the salads once again. I spoke with Billy Boy Arnold for a while one night when he was in town, and the conversation had more to do with the down side of eating red meat than about the blues. Has anyone else noticed this, or is it just me. ..got to go check the veggie burgers, I smell soy beans a burnin' BRIAN MCLEAN PHOTOGRAPHY & SMIRKYFACE PRODUCTIONS "life's too short to live the blues" http://www.netaxs.com/~blmclean ========================================================================= Date: Mon, 20 May 1996 13:40:38 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Don's race & blues FAQ Anton Angelo said: (edit edit) >There is something really fundamental about the blues, something that >trancends all sorts of boundaries. My mother teaches kindergarten (3 to >5 year olds) and uses blues and reggae (old style, dub) a lot with her >kids because they have an automatic affinity. > >Sometimes as an adult we need to relearn that, cue story; edit edit >He came over to my place and started playing the elderly upright piano I >had in the hall crying - wondering if he had trashed his life. I >accompanied the poor man on harmonica and we played for an hour. > >I remember he looked up at me, eyes redrimmed while we sang of his broken >heart, and he said,"Hey, this is the blues, is it not". He had never >understood before, but I think at this stage he had a clue. > >Then we got mightily drunk, and I never saw him again. > >Race had nothing to do with it, he just had the blues, for that there is >no other word in English. Yes, and we have discussed if Samuel Barber was a bluesman because of the depth of feeling his music is able to elicit. These *are* "blues" in a very broad and yet meaningful way. However, To deny that the specific cultural connections of The Blues as a uniquely African-American art form is simply not supportable. If the blues can be anything, then the blues is nothing. The blues came from a specific background, and that background is important. We must NEVER forget where the music came from, and who the music came from. It is an expression of the African-American experience, one that I am proud to partake in, and proud to acknowledge. If BB had heard your friend that night, he probably would have called it "the blues" too. That doesn't mean that he calls every white guy with a hat and raybans playing speedo-guitar and smirking, "the blues" does it? DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Mon, 20 May 1996 16:45:32 -0400 Reply-To: SliderDW@AOL.COM From: Don Williams Subject: Re: Heaven's Prisoner's (was Soldiers) Comments: To: jschive@pacbell.com In a message dated 96-05-20 13:26:05 EDT, jschive@PACBELL.COM (JSC) writes: > >As a newbie to this group, and with a very sparse record collection, I >was wondering if anyone has seen this film or heard the soundtrack? I >think I saw the names BB King and Buddy Guy in the commercial--would the >soundtrack make a good compilation for beginners? > > I have the Code Blue/Atlantic Records CD soundtrack to this film but have not seen the film itself. The soundtrack is as follows: 1.Good Morning Little School Girl, by Junior Wells 2. Born Under a Bad Sign, by Albert King 3. Red House, by Buddy Guy 4. Baby Bee, by Kenny Neal 5. I Never Loved a Man (The Way That I Love You), by Aretha Franklin 6. The Thrill Is Gone, by B.B. King 7. Bo's Bounce, by C.C. Adcock 8. Twenty Ton Weight, by The Hoax 9. The Things That I Used To Do, by Stevie Ray Vaughan & Double Trouble 10. I Ain't Gonna Suffer No More, by John Lee Hooker 11. Don't Answer The Door, Parts One and Two, by B.B. King 12. Good Moanin' Blues, by Walter "Shakey' Horton 13. It Hurts To Love Someone, by Guitar Slim I am not going to try to "review" this CD; those familiar with the artists and titles will pretty much have it figured out if they read this far. The sound quality is excellent, seems to me that these are all (except one or two) classics that were licensed for this film from masters. There are no liner notes at all. There is no "total time" indication anywhere on the set and the individual songs are also not timed. If they average 3 minutes each it's only 39 minutes of music. Some of the songs might be longer, but then again some might be shorter..... Don Williams ========================================================================= Date: Mon, 20 May 1996 20:40:21 GMT Reply-To: JSC From: JSC Organization: Pacific Bell Subject: Re: Heaven's Prisoners Comments: To: bit-listserv-blues-l@uunet.uu.net Thanks to those who corrected me on the title (I hate being dumb in public). BTW, Siskel & Ebert panned the film, but since this isn't rec.arts.movies, we're still waiting to hear about the soundtrack. :) ========================================================================= Date: Mon, 20 May 1996 17:15:13 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Blues diet? Comments: To: smirkyface On 20 May 96, smirkyface had this to say: > I've been noticing a strange phenominum at the club lately. Actually it's > been going on for quite a while but I didn't notice. It became apparent > after I had a talk with Frank Bey(local blues, R&B singer and vegetarian) > about heart disease and the lose of some of the blues greats. > Besides being soundman at WD's, when we're busy, I'll take the band menus, > then take their dinner order. Now our club has a great menu (Soul Food in a > upscale setting) and the food always gets good reviews(we've even got > chittlin's on special). Most of the National acts that come through seem to > be getting health conscious. I get a lot of questions on how the foods > prepared and can I go over the salads once again. > I spoke with Billy Boy Arnold for a while one night when he was in town, > and the conversation had more to do with the down side of eating red meat > than about the blues. > Has anyone else noticed this, or is it just me. > ..got to go check the veggie burgers, I smell soy beans a burnin' No, it's happening all over. It just takes a while for the trends to catch up to the latest research. Now we are told that things like mayonaise and peanut butter may be good for your heart (I ain't makin' that up). I expect to eventually hear about bacon being the best thing for you, especially if it's been treated with fire retardant chemicals. Ten years ago I smoked 4 packs of cigarettes a day, ate garbage, weighed 155 pounds, and could run a 5 minute mile. Today I don't smoke, eat steamed squash and water chestnuts, I weigh eight thousand pounds, and get winded reaching for the remote control. Go figure. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Mon, 20 May 1996 21:28:17 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: SRV Comments: To: bit-listserv-blues-l@uunet.uu.net On May 20, 1996 15:22:37 in article , 'Chris Smith ' wrote: >Don said:. >> >>So I am going to propose a moratorium on the use of the following words to >>describe musicians: >> >>"the greatest" >> >>"the best ever" >> >>"one of the best" >> >I'd just like to say this is the greatest, best ever suggestion I have ever >read, ever. > You know I wanted to say that as well.... but I was too SCARED of: "The Wrath of Don" (I think there's a movie in there somewhere....) -- Vincent vt@usa.pipeline.com ========================================================================= Date: Mon, 20 May 1996 16:42:28 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: Re: SRV AND ORIGINAL > From: Don.o@chrysalis.org > > and founder of the SRV fan club. He had a tape he had put > > together with the > > original blues version of a song after SRV's version. I thought > >this was a wonderful idea. I am astounded Rhino or some other compilation > >company hasn't thought of this. > From: DUTTWEILER.J@GOMAIL > Ok Don, this begs the question: How did SRV stand up to the > originals and/or vice versa? It really doesn't matter what I think. That would just be my opinion and would not change anyone's mind one way or another. We've wasted plenty of time on this subject already. I just think some record company should put together a "Roots of SRV" compilation (or set of compilations) so that all those originals would be easily available to anyone. Then everyone could buy it, form their own opinion, and that would lead to a whole new set of arguments. :') The back to back SRV/Original format might be a tough sell to his record label, but would be well worth the trouble. If nothing else, an album of just the originals could be tracked in the same order as SRV's albums. As it is, anyone with a good blues collection can probably lay their hands on most of it pretty quickly and make their own comparison tape. I may even do a radio show around this theme some day. There's an idea for all the other blues DJs on the list (although it's probably been done before). Don O. ========================================================================= Date: Mon, 20 May 1996 18:13:19 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Old National / formerly "SRV" Comments: To: FINNY49911@aol.com On May 20, finny49911 said: >>>Authentic is not playing blues on an old National >>>steel guitar. I sure am glad to finally find THIS out. And to think I wasted all those years with Son House, Booker White and Babe Stovall thinking they were playing the real stuff. Bummer . . . Dick Waterman ========================================================================= Date: Mon, 20 May 1996 15:15:03 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Bad bad Vincent Brown tha baddest bluesdude in the whole damn town! Previously >>I'd just like to say this is the greatest, best ever suggestion I have >ever >>read, ever. Vincent said: >You know I wanted to say that as well.... but I was too SCARED of: > >"The Wrath of Don" > >(I think there's a movie in there somewhere....) oh, but Vincent... My wrath is of such a puny, minor, inconsequential... nay, even unto WIMPY quality compared to yours.... I so appreciate your wonderful complement, but let's be fair... I have simple "girlie-wrath" compared to thee... DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Mon, 20 May 1996 16:08:06 -0400 Reply-To: FINNY49911 From: FINNY49911 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: SRV Comments: To: bit-listserv-blues-l@uunet.uu.net All art is timeless but is grounded in the moment of its creation. The paradox of all great art is that it is of its time and timeless. Michaelangelo's David is timeless, but a product of its culture. Beethoven's Ninth Symphony is timeless, yet a product of its culture. If a song by a bluesman endures, it is timeless, yet a product of its culture. There is a universality to all great art, even though it is grounded in a specific time and place and culture. Willie Dixon wrote "Little Red Rooster" though Howlin' Wolf was the most famous interpreter of the song. Wolf was part of the black culture that created the musical idiom of the blues in which the song was created. I'm not saying the culture's can't be bridged. Just the fact that white people listen to and enjoy what was termed "race" music is testament to the power of music to help overcome racial prejudice. The blues has now become a mainstream generic form. The Pentatonic scale, 12 bar format with impassioned vocals is something recognizable as blues even by people who have no great love for it. The point I was trying to get at is: the originators of the blues were the innovators. Innovation only happens once. People like SRV, Clapton, etc. are not innoy are removed from the source by time and culture, something they had nothing to do with. They can never capture the initial spontanaiety and force of originality of the bluesmen before them. Is SRV a bluesman in the tradition of Muddy Waters, Howlin' Wolf, Charley Patton, Son House, etc? I believe no. He is rather a stylist, keeping alive a certain style of music. Like any musical form, the blues idiom can be learned. But the forms very limitations, its simplicity limit any more innovations. When you add things the blues becomes something else, as the last 75 years can attest to. The blues are the roots of jazz, R&B, soul, funk, rock & roll, and even, yes, that whitest of all musics, country & western. ========================================================================= Date: Mon, 20 May 1996 18:59:23 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Academic Mumbo Jumbo Comments: To: finny49911@aol.com On 20 May 96, FINNY49911 had this to say: > All art is timeless but is grounded in the moment of its creation. The > paradox of all great art is that it is of its time and timeless. > Michaelangelo's David is timeless, but a product of its culture. > Beethoven's Ninth Symphony is timeless, yet a product of its culture. If a > song by a bluesman endures, it is timeless, yet a product of its culture. > There is a universality to all great art, even though it is grounded in a > specific time and place and culture. Where did you get this notion that all art is timeless, yet grounded in a specific time, place, and culture? It's patently ridiculous. Some art is very specific to, and inseparable from, a specific time period. Leni Riefenstahl's film "Triumph of The Will" is art, maybe even great art, but it is inseparable from the history that it's part of. A work's mere survival is not dependant on it's being timeless. Love is timeless. Jealousy is timeless. A song about a Terraplane, even as a sexual metaphor, is not. But it sure is art. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Mon, 20 May 1996 16:17:58 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: SRV The fin-man said: edit edit >The blues has now become a mainstream generic form. The Pentatonic scale, >12 bar format with impassioned vocals is something recognizable as blues >even by people who have no great love for it. so as not to unduly criticize this post, I agreed with much of what went before the above paragraph. BUT... "mainstream generic form?? horse-pucky... What a simplistic definition! The very existence of this list and journals like "Living Blues" prove just how wrongheaded this view is. We will not let Blues become a generic form. When it does, it becomes garbage, not blues. The blues must tell a story, it must tell the truth, there is a social/literary side to it without which it is the silliest music on earth. Even back in the 60's, when blues was very popular, people recognized that it was not a simple mainstream style. It is cultural, social, ethnic, and American. NOT generic. Who are you listening to? Gary Moore?? >The point I was trying to get at is: the originators of the blues were the >innovators. Innovation only happens once. People like SRV, Clapton, etc. >are not innoy are removed from the source by time and culture, something >they had nothing to do with. They can never capture the initial >spontanaiety and force of originality of the bluesmen before them. Is SRV >a bluesman in the tradition of Muddy Waters, Howlin' Wolf, Charley Patton, >Son House, etc? I believe no. He is rather a stylist, keeping alive a >certain style of music. And no one can capture the feelings associated with the creation of Handel's "Messiah" either. That does not mean that we cannot experience it in a very powerful way. We do NOT have to live everything that Robert Johnson experienced to play his music convincingly. Ask John Hammond, a child of privilege, yet he is genuine and convincing in his interpretations. No style can be re-created every six months. But we certainly can gain enormous insight and participate in wonderful art without doing that. It is what is there for us. To say that we cannot recreate those times is axiomatic, it is also irrelevant. The music lives. To say we cannot live up to the expressions of the founders is self-defeating, yet to claim we have is hubris. I say we should avoid both. >Like any musical form, the blues idiom can be learned. But the forms very >limitations, its simplicity limit any more innovations. When you add >things the blues becomes something else, as the last 75 years can attest >to. The blues are the roots of jazz, R&B, soul, funk, rock & roll, and >even, yes, that whitest of all musics, country & western. Ok, here is your guitar... we are going to play a nice minor-scale slow blues in A. You get to solo. Remember it's simplistic music, yet you have to move those people. Can you do it? Here comes the turnaround..... I can, and it takes EVERYTHING I've got... almost like giving blood! and I have played hard for 29 years! It is the most difficult, transcendent, nuanced, revealing, incandescant musical expression I am aware of, and I know a lot of 'em. Many top players have said this, and I will repeat it here. "A great slow blues, that moves people to tears, is the most difficult thing to play on earth". generic style my ass DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Mon, 20 May 1996 19:33:11 EDT Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Boston Area Fest. 5/26 For the New Englanders amongst us: Sunday in Salem, MA (north of Boston) 10:00 am - 8 pm is the Winter Island Blues Festival. Lineup is (in order of appearance except for Ron Levy, who was just added): Evelyn McDonald Collins Middle School Jazz Club The Movers (winners of last years Blues Foundation competition, just played the Handys) Carey Bell w/Walk That Walk Susan Tedeschi Band Big Jack Johnson & the Oilers Monster Mike Welch Mem Shannon All Star Jam Dave Carpenter Blues Music Director - WHUS-FM University of Connecticut - Storrs, CT http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Mon, 20 May 1996 23:38:54 GMT Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: Origins of term 'Jim Crow' Comments: To: Andrew Gregg On Mon, 20 May 1996 11:33:24 -1000, Andrew Gregg wrote: >I've just been reading Mr Calt's book on Skip James and was wondering where >the term Jim Crow came from, and when it came into popular usage. According "Juba To Jive: A Dictionary Of African-American Slang" (Penguin Books, 1994 Clarence Major, ed.), the "term comes from the song 'Jim Crow,' featured in a Negro minstrel show by Thomas Rice (1808-1860)." Also mentioned is that a "jim crow" was "a picklike comb used by slaves and ex-slaves in the south. Also, in the 1850's, a 'jim crow' was sometimes the name for a poor man." *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Mon, 20 May 1996 19:54:28 -0400 Reply-To: Schandani@AOL.COM Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Schandani@AOL.COM Subject: phone card Comments: To: omd-l@brownvm.brown.edu, banyan-l@brownvm.brown.edu, datsun-roadsters-l@brownvm.brown.edu, screen-l@brownvm.brown.edu, kiwimusic@brownvm.brown.edu, exotic-cars@brownvm.brown.edu, blindnws@brownvm.brown.edu, jpl-l@brownvm.brow Comments: cc: dsa-lgb@brownvm.brown.edu, erl-l-@brownvm.brown.edu, siscity@brownvm.brown.edu, funky-music@brownvm.brown.edu, sihd@brownvm.brown.edu, literacy@brownvm.brown.edu, mcluhan-l@brownvm.brown.edu --PART.BOUNDARY.0.22215.emout10.mail.aol.com.832636467 Content-ID: <0_22215_832636467@emout10.mail.aol.com.91226> Content-type: text/plain attached file phcdaol --PART.BOUNDARY.0.22215.emout10.mail.aol.com.832636467 Content-ID: <0_22215_832636467@emout10.mail.aol.com.91227> Content-type: text/plain; name="PHCDAOL" Content-Transfer-Encoding: quoted-printable SAVE MONEY - MAKE MONEY =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D =0D CALL FOR 19 CENTS A MINUTE FROM ANY PHONE (EVEN PAYPHONE), ANY TIME ANYWH= ERE, IN THE U.S.A. SOUNDS GOOD SAVE MONEY USING IT, MAKE MONEY SELLING IT, SUGGESTING IT TO FAMILY-FRIENDS-STORES-(CONVIENCE)-GAS STATIONS-ETC. MAKE MONEY WITH OR WITHOUT INVESTMENT CONTACT. =0D SUNNY 7825 MIDLOTHIAN TNPK SUITE 109 RICHMOND VIRGINIA 23235 PHONE 804 272 4091 PAGE 804 351 1153 FAX 804 320 9572 = --PART.BOUNDARY.0.22215.emout10.mail.aol.com.832636467-- ========================================================================= Date: Tue, 21 May 1996 01:01:10 GMT Reply-To: "M. Christopher Roebuck" From: "M. Christopher Roebuck" Organization: NetSide Corporation Subject: Secret Devil Tuning of Robert Johnson. Comments: To: bit-listserv-blues-l@uunet.uu.net It won't be long until the "trustee" of the Secret Devil Tuning of Robert Johnson will release it to the world. Every sensible blues guitarist knows the existing tablature on a majority (19/29) of RJ's music is inaccurate. Watch for the book from a major publisher soon! ========================================================================= Date: Mon, 20 May 1996 20:02:08 -0500 Reply-To: Coolg@dfw.net From: Jim Colegrove Organization: Gold Tooth Music, BMI Subject: Re: SRV Comments: To: bit-listserv-blues-l@uunet.uu.net In Juilo Finn's book, The Bluesman: The Musical Heritage of Black Men and Women in the Americas, published by Interlink Books, 1992 paperback edition, he states the following: "The oft-posed question 'Can whites play the blues?' ought to be retired. Undoubtedly they can. . . However--and as far as I know they have never claimed to be--they can never be "bluespeople." -- Jim Colegrove coolg@dfw.net ========================================================================= Date: Mon, 20 May 1996 21:12:14 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Secret Devil Tuning of Robert Johnson. Comments: To: "M. Christopher Roebuck" On 21 May 96, M. Christopher Roebuck had this to say: > It won't be long until the "trustee" of the Secret Devil Tuning of > Robert Johnson will release it to the world. > > Every sensible blues guitarist knows the existing tablature on a > majority (19/29) of RJ's music is inaccurate. > > Watch for the book from a major publisher soon! And hey kids... watch for the new Secret Devil Tuning trading cards!!!! Collect all six!!! P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Tue, 21 May 1996 01:13:38 GMT Reply-To: ".\\ark \\'atkins" From: ".\\ark \\'atkins" Organization: Zippo Subject: Re: SRV FINNY49911 wrote: >But was he a "blues" guitarist? Yes he studied and learned from the great >players before him, and stylistically comes pretty close to them--i.e. >Albert King, Buddy Guy, Freddie King, et al. But I believe there is >something missing in SRV's interpretation of the blues as well as most >other white artists laying claim to the "blues." While I am not saying >that white people are incapable of genuine passion and heartfelt anguish >when playing blues-based music, they will never be able to approach the >people who created it. Stevie himself never claimed to be as good as Muddy or Albert or anybody else. He once described himself as "a white boy tryin' to play Lightnin' Hopkins." His idols, on the other hand were much more generous in their assesment of his talent. They didn't have to praise this man nor, I believe, would they have unless they honestly felt it. They owed him nothing. They, more than anyone, were qualified to recognize a genuine talent such as his. >It is a cultural divide which I believe white people will never be able to >fully feel, emotionally. It is not an intellectual appreciation. The >culture that created the blues was a segregated society, shunned by the >whites, >We may identify with the pain, passion, and integrity of the blues there is >a cultural divide that will forever separate them from the creators. What >white person can ever claim to have truly experienced the racism, pain and >anguish that it is to be black in American society. I wish I could quote you some of the things I've read that Black blues players have said. I'm sure you've seen and heard some of it. Do you dispute BB when he says that *anyone* can experience the blues? The blues is *not* only about being black and suffering. That experience inspired much of the great body of music called the blues, but not all of it. The blues is much bigger that such a narrow definition. It's origins were based in the Black experience of a particular era, but the music has since broadened to encompass a range of expression to which all kinds of people can relate. Some people apparently wish it would have remained isolated and unaffected by "outside" influences, but that was never gonna happen. It was too good and too universal for that. The cross-polination, IMHO, has been not only inevitable but healthy. Why would you assume that it could not still be called blues? >One might even say that the black culture that created the blues, the >agrarian farming culture of the deep South and post-war urban centers, is >also forever gone. Why is it that the people who listen to the blues are >for the most part white? Most blacks listen to rap, dance-music, etc. For >them the blues is ancient history, a reminder of even worse times for >blacks before civil rights. A reminder, presumably, because some people have continued to insist that the only music that can be accurately labeled "blues" comes *only* from Black suffering, as you have done. This attitude has stigmatized the genre to the point that it has been largely rejected by the heirs of its creators. >I believe that what most people claim to be playing when they play the >"blues" is simply blues-based rock. Yes they may be playing the same >songs, the same licks, etc. but the cultural context is different. So what's your point? That music played in one context is "real blues" and then played in another becomes "blues lite"? Come on. From what I can tell, most of the blues' founders didn't share such a restricted vision of the blues. >I'm a rock >and roll guitar player--yes I know what many of you will say, blacks >invented rock and roll too, but that's a whole 'nother discussion. It seems pretty likely that Black people invented *music*, period ;). So are the rest of us really doomed to being outsiders and wannabes as a result of evolution and birth? That's discrimination isn't it... one of your requirements? -=[ .\\ark \\'atkins ]=- | markw@telepath.com | 1:147/3101 | http://www.telepath.com/markw | 1:147/2021 ========================================================================= Date: Mon, 20 May 1996 21:22:08 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: May 21st - On this day... On this day in 1856, the town of Lawrence, Kansas, was sacked by pro-slavery thugs who poured into the territory by the thousands in a move to pack the territorial legislature of Kansas with men who would vote to make Kansas a slave state. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Mon, 20 May 1996 21:34:00 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: See you next month I turned in my "On this day..." early. I'm still packing for Germany and I need to go nomail until I get back. Have a good time, but try not to wreck the place. See you around June. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Mon, 20 May 1996 22:04:20 -0400 Reply-To: smirkyface From: smirkyface Subject: Re: SRV >The fin-man said: edit edit > >>The blues has now become a mainstream generic form. The Pentatonic scale, >>12 bar format with impassioned vocals is something recognizable as blues >>even by people who have no great love for it. snip >What a simplistic definition! The very existence of this list and >journals like "Living Blues" prove just how wrongheaded this view is. We >will not let Blues become a generic form. When it does, it becomes >garbage, not blues. The blues must tell a story, it must tell the truth, >there is a social/literary side to it without which it is the silliest >music on earth. Even back in the 60's, when blues was very popular, >people recognized that it was not a simple mainstream style. It is >cultural, social, ethnic, and American. NOT generic. Who are you >listening to? Gary Moore?? snip >Ok, here is your guitar... we are going to play a nice minor-scale slow >blues in A. You get to solo. Remember it's simplistic music, yet you >have to move those people. Can you do it? Here comes the >turnaround..... snip >I can, and it takes EVERYTHING I've got... almost like giving blood! and >I have played hard for 29 years! > >It is the most difficult, transcendent, nuanced, revealing, incandescant >musical expression I am aware of, and I know a lot of 'em. OK, I'll bite. I think this needs to be said RRRRRREEEEEELLLLLLLLAAAAAAAXXXXXXXX Man this reads like brothers playin' the old blacker than thou, in this case bluer than thou. I don't believe that the blues has become a mainstream generic form. I do believe that it's becoming more mainstream. If the blues is an art form, then as art, some people will get it and some won't. >Ok, here is your guitar... we are going to play a nice minor-scale slow >blues in A. You get to solo. Remember it's simplistic music, yet you >have to move those people. Can you do it? Here comes the >turnaround..... This sounds more like testosterone talking than the blues. Hey, basta per oggi, a domani. BRIAN MCLEAN PHOTOGRAPHY & SMIRKYFACE PRODUCTIONS "life's too short to live the blues" http://www.netaxs.com/~blmclean ========================================================================= Date: Mon, 20 May 1996 22:05:40 -0400 Reply-To: JukeFreak@AOL.COM From: "(Karen Hanson)" Subject: Re: death bed cd; was Re: last cd in your player >Q: what cd (or song) would you want to be playing before you croak? How about Blind Willie McTell, "Dying Crapshooter's Blues"? I wouldn't mind being carried away to heaven (or wherever) on the beauty of Little Walter's "Blue Midnight"; I have, in fact, approached those gates many times while listening to this song. Other than that, The Best of Muddy Waters. IMHO, this is the perfect blues album. (Just a personal opinion, people; don't yell at me.) Karen ========================================================================= Date: Mon, 20 May 1996 22:05:46 -0400 Reply-To: JukeFreak@AOL.COM From: "(Karen Hanson)" Subject: Re: Which document would you .... Barry asked (and probably doesn't need my answer because I believe we've discussed this, but here it is anyway): >The following questions were posed to me. I could use some input >from others. >Which of the following 2 documents would you prefer to be able to >access to help you in making a decison about purchasing a CD - >1. The artist's bio and data sheet, >2. The liner notes from the CD you are considering or >3. Something else? >Are any of the above choices better than a review of the disc and >if so which one(s)? 1. The artist's bio and data sheet, plus a discography, is helpful to me because I can see what his/her background is, who else he/she has played with, what various kinds of music he/she has been involved in. The past inevitably influences the present (and future) and is therefore important to me. (This, however, is not foolproof by itself, because I have often been surprised to hear how different some artists sound solo than with somebody else's band.) 2. I like liner notes. I learn a lot from liner notes. But I do not trust them. I've found them often to be inaccurate, sometimes insipid, and sometimes syrupy. But I still like them. 3. Something else? No better way than to hear some songs from the album. Blues radio programs play an important role here as far as I'm concerned, as well as the DMX, which runs more or less constantly at my house during the day (even though I'm not home). (I know this isn't a document.) Karen (Feeling parenthetical) (and thankful for a subject that doesn't include those three controversial initials) ========================================================================= Date: Mon, 20 May 1996 22:09:28 -0400 Reply-To: Blcrowe@AOL.COM From: "Jamie A. Kittel" Subject: Re: death bed cd; was Re: last cd in your player >Q: what cd (or song) would you want to be playing before you croak? Sorry to say...it's not neccessarily Blues, but..."Descending"..the Black Crowes...as they're lowering my body into the ground.. Hey, Hey, The Blues is alright! ========================================================================= Date: Mon, 20 May 1996 19:19:30 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Blues-L is at it again After last week's discussion about SRV and the agreement to cool it, things became quiet on the weekend. The threads were interesting but rather benign. Come Monday morning, the SRV fires breaks out once more and our old favourite topics on what is the blues and can whites play the blues come back as well! It must be the fact that it's Monday. But I must admit today was entertaining. Blues-L, whether being gentle or being a raging torrent of opinions is a great place. And I'm very serious. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Mon, 20 May 1996 19:19:39 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: SRV AND ORIGINAL Don O wrote: >I just think some record company should put together a "Roots of SRV" >compilation (or set of compilations) so that all those originals would be >easily available to anyone. Then everyone could buy it, form their own >opinion, and that would lead to a whole new set of arguments. :') The back to >back SRV/Original format might be a tough sell to his record label, but would >be well worth the trouble. If nothing else, an album of just the originals >could be tracked in the same order as SRV's albums. As it is, anyone with a >good blues collection can probably lay their hands on most of it pretty quickly >and make their own comparison tape. Well, when I was living in Japan I frequently found such compilations for a lot of bands. I have a "Roots of Led Zeppelin" compilation that is amazing. Whoever put it together knew what they were doing. The songs you would expect are there with some surprises that made sense when you looked back throught the Zeppelin catalog. I sure there was a Rolling Stones and Robert Johnson compilations as well. As for an SRV one, I don't remember seeing one. I have a friend over there who maybe able to find out for me. Does anyone else know of such a compilation? Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Mon, 20 May 1996 19:19:50 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Party Music LW wrote: > > Something really light: I have a six CD player and I'm asking ya'll what six > cd's you would play (shuffled) at these times. Hound Dog Taylor and The Houserockers (first album) Buckwheat Zydeco "Waitin' for My Ya Ya" Muddy Waters "Hard Again" BB King "Live at the Regal" Magic Sam "Live" Johnny Copeland "Ain't Nothin' But A Party" And some early George Thorogood would go down nicely as well:-) Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Mon, 20 May 1996 19:19:59 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: death bed cd; was Re: last cd in your player A good start would "Burnin' Hell" by John Lee Hooker. Then some Hound Dog Taylor at his best so I would go smiling and moving. And I would also like (Be Warned! I'm about to commit an act of heresy!) Led Zep's version of "In My Time of Dying." I'm quite fond of that tune. To finish off, Magic Sam's version of "My Love Will Never Die" and Son House's "Death Letter." And AC/DC's "Highway to Hell" as a last laugh:-) Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Mon, 20 May 1996 22:34:55 EDT Reply-To: Newman/Rabson <71552.541@COMPUSERVE.COM> From: Newman/Rabson <71552.541@COMPUSERVE.COM> Subject: Re: SRV another angle Do you really think that men can actually sing blues. I mean the first recordings were of WOMEN so doesn't it follow that unless you've suffered Any-woman's Downhearted blues you can't possibly be real blues singers. I mean the great Bessie Smith had male musicians (including Eddy Lang who was white - by the way) but she didn't let 'em sing. By the way - for those of you who can't tell - I'm kidding. Ann ========================================================================= Date: Mon, 20 May 1996 22:37:22 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: SRV AND ORIGINAL Comments: To: shaun@pacificnet.net In a message dated 96-05-20 22:32:41 EDT, shaun@PACIFICNET.NET (Shaun T Cronin) writes: >Well, when I was living in Japan I frequently found such compilations for a >lot of bands. I have a "Roots of Led Zeppelin" compilation that is amazing. >Whoever put it together knew what they were doing. The songs you would >expect are there with some surprises that made sense when you looked back >throught the Zeppelin catalog. I sure there was a Rolling Stones and Robert >Johnson compilations as well. As for an SRV one, I don't remember seeing >one. I have a friend over there who maybe able to find out for me. Does >anyone else know of such a compilation? > > The ROOTS OF ROBERT JOHNSON set is on Yazoo, readily available here. The other series, on P-Vine from Japan, is ROOTS OF _____, and includes sets for Ry Cooder and the Rolling Stones, probably others. I am sure you can get this series, to the extent it is still in print, through Roots and Rythmn in El Cerrito, CA. They are available by fax, phone, and email. Unforturnately, I don't have it handy. Tom Freeland ========================================================================= Date: Mon, 20 May 1996 19:43:27 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Secret Devil Tuning of Robert Johnson. Mr. Roebuck will you be joining Mr. Sears to market these revolutionary = tunings? Could I interest you in my new John Lee Williamson harmonica? = It plays the SLOPPY DRUNK turnaround when you blow briefly on the one = hole. Or would you prefer to test my blues elixer made with a secret blend of = Muskadine grapes and Kudzu leaves? You can meet the Devil without going = to the crossroads. He plays a mean National, but his girlfriend thinks = she can sing. Uncle Ray ---------- From: M. Christopher Roebuck[SMTP:mroebuck@NETSIDE.NET] Sent: Tuesday, May 21, 1996 1:01 AM To: Multiple recipients of list BLUES-L Subject: Secret Devil Tuning of Robert Johnson. It won't be long until the "trustee" of the Secret Devil Tuning of Robert Johnson will release it to the world. Every sensible blues guitarist knows the existing tablature on a majority (19/29) of RJ's music is inaccurate. Watch for the book from a major publisher soon! ========================================================================= Date: Mon, 20 May 1996 19:49:52 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: death bed cd; was Re: last cd in your player "Dying Crapshooter" would do just fine for me, also. After I'm gone, = play whatcha want. I don't think I'll be listenin'. However, would = somebody please pour a bottle of I. W. Harper on my grave. I won't mind = if you run it through your kidneys first. Uncle Ray ---------- From: (Karen Hanson)[SMTP:JukeFreak@AOL.COM] Sent: Tuesday, May 21, 1996 2:05 AM To: Multiple recipients of list BLUES-L Subject: Re: death bed cd; was Re: last cd in your player >Q: what cd (or song) would you want to be playing before you croak? How about Blind Willie McTell, "Dying Crapshooter's Blues"? I wouldn't mind being carried away to heaven (or wherever) on the beauty = of Little Walter's "Blue Midnight"; I have, in fact, approached those gates = many times while listening to this song. Other than that, The Best of Muddy Waters. IMHO, this is the perfect = blues album. (Just a personal opinion, people; don't yell at me.) Karen ========================================================================= Date: Mon, 20 May 1996 20:04:33 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: T-birds First Previous to the release of GIRLS GO WILD, the Fabulous Thunderbirds did = an album produced by Doc Pomus. It was never released. I have a bootleg = copy, and take my word for it...it's a MONSTER. It includes Roomful's = horns and Al Copley on piano. Does anyone know the status of that = master? I'm guessing that it's the property of Mr. Pomus' estate. By the way, before anyone asks for copies, my third generation tape is = old and worn. And for the Stevie Ray Vaughn RULES! crowd. I have a boot = of SRV (god, I hate using those initials after all this rancorous = discourse on this list) playing at the 1978 Texas Blues Society Picnic. = Eat your Hearts out. I promise...I promise! I'll never will mention the late Mr. Vaughn ever = again. Who'll join me? Uncle Ray ========================================================================= Date: Tue, 21 May 1996 00:51:00 -0400 Reply-To: MurriAgncy From: MurriAgncy Organization: America Online, Inc. (1-800-827-6364) Subject: Honeyboy Edwards: Festival Availabilities Comments: To: bit-listserv-blues-l@uunet.uu.net I have recently begun doing bookings for David "Honeyboy" Edwards. As I'm sure most of you know, he was inducted into the Blues Hall of Fame this year, and also nominated for a Handy Award for Best Traditional Performer. At the age of 80, he continues an active touring schedule (he'll be in Europe this summer and perhaps again this fall), is at work on an autoobiography, and will be recording a new album for Earwig this summer. Honeyboy still has some selected dates available for summer and fall festivals in North America this year. If you'd like more information or to discuss his availabilities, please contact me at the address/phone below. Thanks! Kathy Murri murriagncy@aol.com The Murri Agency, P.O. Box 586, Hadley, MA 01035 (413) 527-8180 phone (413) 527-6240 fax ========================================================================= Date: Mon, 20 May 1996 22:03:29 -0700 Reply-To: apiana From: apiana Organization: Salvia Subject: Non-performer Handy's Cool it, all ready. I only posted the list of non-performer Hand'y awards because I figured that it would be of interest to every one. I received it by "snail" mail from the Blues Foundation. I did not think that it would generate controversy and criticism. I too thought some of the choices were a bit strange, but I am sure that the Blues Foundation had its reasons. The BF covers a national if not international sphere. So many of the "local" picks are unheard of out side their communities (just like the performers awards). For example (one I am personally aware of), several years ago Bernie Pearl won a Handy as Promotor of the Year for the Long Beach Blues Festival. Then probably few outside of Southern California knew of Bernie (at the time he also was a DJ on KLON, but I do not think that the show was syndicated then). Today he has nothing to do with the LBBF or KLON, but has his own festival, the Big Time Blues Festival. He is also known for his work and CDs with Papa John Creach(1) and Harmonica Fats(3). With some of the hate on the LIST, I might think that it were a speed metal news list. Let's not fight, let us nurture the blues. Bye. [real names] Char & Mike ========================================================================= Date: Tue, 21 May 1996 05:23:14 GMT Reply-To: Andrew Moodie From: Andrew Moodie Organization: The National Capital FreeNet Subject: London Blues Fest? Comments: To: bit-listserv-blues-l@uunet.uu.net I'm going to be in merry old England this weekend and I hear that there will be a blues fest going on. Anybody got any details?? Andrew ========================================================================= Date: Tue, 21 May 1996 00:44:28 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Non-performer Handy's Comments: To: apiana In-Reply-To: <31A14EA1.5CDB@gnn.com> On Mon, 20 May 1996, apiana wrote: > Cool it, all ready. [edit stuff about the non-performer Handys] > Let's not fight, let us > nurture the blues. Bye. > > [real names] Char & Mike > I second that emotion. I'm astonished at how personal and even brutal talk about music and art can be. My goodness, children, are you coming armed to St. Louis in August? Geez. We can certainly disagree without being so disagreeable, as my granny used to say. Steve ========================================================================= Date: Mon, 20 May 1996 22:47:28 -0700 Reply-To: Char_Mike From: Char_Mike Organization: apiana Subject: Re: Non-performer Handy's Comments: To: Steve Price Steve Price wrote: > > On Mon, 20 May 1996, apiana wrote: > > > Cool it, all ready. > > [edit stuff about the non-performer Handys] > > > Let's not fight, let us > > nurture the blues. Bye. > > > > [real names] Char & Mike > > > I second that emotion. I'm astonished at how personal and even > brutal talk about music and art can be. My goodness, children, are you > coming armed to St. Louis in August? Geez. We can certainly disagree > without being so disagreeable, as my granny used to say. > > Steve Thank you Steve. Char & Mike ========================================================================= Date: Tue, 21 May 1996 09:12:16 +0000 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Re: Guitar Gabriel Just to answer Rich Delgrosso 's question sent on Blues-L two days ago: YES, "Gabe" unfortunately passed away early april this year. There have been a few posts on Blues-L although the exact reasons behind his death have not been mentioned (correct me if I'm wrong). I had the pleasure to spend an afternoon/evening with Lightnin'Wells and Big Boy Henry (who did two wonderfull -and I really man it- gigd at the Ospel Festivalhere in Holland) two weeks ago and they told me that he was in a very poor health since a while. Altough they didn't knew the exact causes of his death they were not surprised when they heard of it. It is a great loss (-for me). Gabe was back since a few yars and recorded recently an excellent album for Music Maker. For those who might be interested, here are a few lines I wrote for the next issue of Blues Gazette (3, coming out in June) ************************************************************************** GUITAR GABRIEL (1925-1996) In the last issue of this magazine, I reviewed the latest album of country blues singer and guitarist Robert Lewis Jones, know as Guitar Gabriel, on Music Maker Recordings, pointing out how interesting, personal and attractive an album it was. The sad news came on Internet early April: Robert Lewis Jones passed away of natural causes on April 2, 1996. He was buried on April 4th in Winston-Salem, NC, with assistance from Music Maker Relief Foundation. He was born in October 1925 in Atlanta. In poor health since a while he was nevertheless still there playing, performing, and simply having an active life thanks to his friend Tim Duffy which really did a lot for him during the last year of his life. Gabe, like his friends called him, had been touring and playing in the 40's with Gary Davis, Lightnin' Hopkins, ... He recorded his first 45 in 1970 entitled "Welfare Blues" under the name of Nyle Jones for the small Gemini label (Gemini 101) - which was later also issued on a complete LP "My South My Blues" (Gemini 7101 also on Jambalaya CW204 under the Title "The Welfare Blues"). Mixing Hopkins' influence with a more East Coast traditional approach, his music was sincere and as Mike Leadbitter said in a Blues Unlimited review "Nyles sings and plays with great originality and possesses and engaging, gruff voice plus a personal directness - his chuckles and warm humour avoid a description "folksy": he appears to be thoroughly enjoying himself...". Although everyone thought that Nyles Jones had disappeared from the blues scene, or even had passed away, he was rediscovered by folklorist/researcher/musician Tim Duffy in the late 80's in Winston Salem, North Carolina: "Walking in the door I met this incredible blues artist who immediately had me talking him off into his world of drink houses, musicians and raconteurs. It was an exhilarating experience. The next day he pulled out his old worn guitar and performed for me in his living room and I really have never been the same since. his music was overwhelming, such pure emotion and power ..." (Tim Duffy, from the liner notes of "A Living Past", Music Maker recordings MMCD9401). A new story started between them and since then, Guitar Gabriel recorded various things with Duffy including his 1993 "Deep in The South" album on Karibu thanks to which Gabe was named the "best come back artist" of the year by Living Blues. They toured over Europe playing numerous festivals and more importantly maybe started to search old black entertainers who had eventually retired. The result of this collaboration was reviewed in the previous issue and is illustrated on the two excellent anthologies for Music Maker Recordings (A Living Past - MMCD 9401 and Came So Far - MMCD1294). Finally, the excellent "Guitar Gabriel Volume 1" (MMCD 0494) was published on the same label end of last year. A true, deep and pure musician is gone, but his music is still with us for a long time. *************************************************************************** Jean-Pierre "Young Man" Urbain P.S. Just for info: the Jambalaya LP/version of his very nice Gemini album is often listed in the second hand LPs sold by Red Lick (UK) ...at a very reasonable price. ========================================================================= Date: Tue, 21 May 1996 07:56:31 GMT Reply-To: Tommy Jansson From: Tommy Jansson Organization: Uppsala University Subject: Hound Dog Taylor Comments: To: bit-listserv-blues-l@uunet.uu.net Someone wondered about Hound Dog awhile ago. If my memory serves me right= =20 he and Brewer Phillips were involved in a gunfight. Hound Dog died of=20 cancer 1975 and just before he died he shot Brewer when they argued about= =20 women. Brewer=B4s supposed to have said some dirty words about Hound Dog=B4= s=20 wife. This was a fun (?) game they used to play when travelling. When=20 hospitalized Hound Dog held on to his life until Brewer came to visit=20 him. They separated as friends.=20 And yes. Hound Dog wrote Hideaway and Dust my broom! (The last one maybe=20 is a bit hmm suspicious...But I believe Hound Dog himself claimed it.) Enjoy them blues. ========================================================================= Date: Tue, 21 May 1996 09:49:00 GMT Reply-To: Mr G M Smith From: Mr G M Smith Subject: Deathbed Music (Warning;No SRV Content) OK,here's the scene... I'm 90 yrs old and in bed with my 25 yr old mistress (well,one of them,anyway) and in bursts her husband packing a .45,or preferably a .44 or maybe a 32-20 (a 38 special would,of course,be much too light) and blows me away. Playing in the background would be Elmore James' "One Way Out". On second thoughts,maybe she should be 19 yrs old! As for who can and can't play "proper" blues,how's about we just say that EVERBODY gets the Blues and that Black culture provided a voice that everybody with the will to do so (and that can involve a LOT of perseverence) can use? Yours, Missing The Gangster, Garry Smith. ========================================================================= Date: Tue, 21 May 1996 09:34:45 +0000 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: East Coast/Piedmont blues various ... A few things today: - I heard last weekend that Tim Duffy had decided to sell the excellent Music Maker albums to Decca... Could anyone confirm/infirm or add any informations on it (there's a strange story with Clapton around it...). Tim Dufy was still working on several projects and I'm wondering what will happen with these in the future.... - GREAT NEWS for Piedmont blues fans, Lightnin'Wells informed me that he was starting producing/working on a CD by (thanks to a Grant she received) the overlooked and still very active gtr/singer Algia Mae Hinton. - Check out the Global Village CD reissues of the Blue Ridge Institute LPs series Virginia Traditions published in the late 70's. I once reviewed the excellent "Non-Blues Secular Black Music" volume (Global Village CD 1001) here but two others volumes are also availabe on CD: "Native Virginia Ballads" (CD 1004) and my fav in this series: "Western Piedmont Blues " (Global Village CD 1003) with recordings from the 70' by the delicious Marvin and Turner Foddrell, John Tinsley, Clayton Horlsy, Lewis Muse (with his ukulele), Richard Wright, William Richardson, two cuts from 1953 from James Lowry and two pre-war sides from the enigmatic Luke Jordan (1929). Sound and music quality is great. While these artist may sound rather unknown outside the (maybe too small) circle of country blues fanatics, one should remember that several of them have had very interesting LPs out on Swingmaster, Southland, Odeon. Kudos to Kip Kornell for this set of excellent East Coast traditional blues that shoudl attract all persons interested in Bling Boy Fuller, Buddy Moss or traditional music in general. The wonderfull booklets which were accompanying the original Lps are still available directly (5$ each) from BRI, Ferrum College, ferrum, Virginia 24008. By running the risk of repeating myself: these are facinating musical documents for people interested in traditional stuff and in the links between white and black musical traditions in Virginia. (Global Village, 245 West 29th Street, New York, NY 10001.) (212)-6956024. Hopefully the recent very postive reviews published in Living Blues and Blues & Rhythm will bring these documents to the attention of a wider audience. They deserve it! - I still cannot understand why bluesman and (former) fisherman Big Boy Henry does not receive more attention. Altough he is now almost 75 years old (If I remember well), he has one of the most beautiful voices still around in the Piedmont blues tradition and is still a very "young" and enthousiast musician. He doesn't play guitar no more and is mostlly accompanied by Lightnin'Wells (who's with him since the arly 80's) which is a superb acoustic guitar player who really learned how to play real deep Piedmont blues with much feeling and personality (in addition of being a very nice and knowledgeable person with which you can speak during hours of Blind Boy Fuller, ...Check out his recent New Moon CD). Big Boy's recent New Moon Cd received excellent reviews -even in BR :-) - and I would really like to advise organisors in the US to book him for festivals, concerts, ... He played in Utrecht two weeks ago and just confirmed what many Europeans knew (he often came to Europe) he is a great entertainer, songwritter (see his various version of "Mr President"... one for Reagan, one for Clinton..), storyteller and a unique singer: Piedmont Blues at his best... Blind Boy or Piedmont blues fans all know this... for all the the others (including S.. fans, or those who liked Cephas and Wiggins' recent Alligator Cd -which disappointed me a bit, I was expecting more deepness... IMHO): you must run and discover Big Boy both on CD (both the New Moon and the Erwin are good places to start, and if you want more check out his numerous home made tapes or his two excellent Swingmaster LPs) and on stage. He really deserves it! While I'm writting this, I'm listening here in my office to his 93 ERWIN Cd "Big Boy Hnery and Friends: Carolina Blues JAm" featuring Gary Erwin, Dave Peabody, Chicago Bob Nelson, Sandra Hall: real, refreshing, natural and simply very enjoyable. Jean-Pierre "Young Man" Urbain ...in a Piedmont mood today.... ========================================================================= Date: Tue, 21 May 1996 05:37:09 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: SRV >P.W. Fenton wrote: >> >> On 20 May 96, Troy Kelley had this to say: >> >> > I KNOW WHAT THE BLUES IS!!!! >> >> > I have been playing the blues for 15 years!! I have played in >> > front of all black audiences. I have listened to lots and lots of >> > blues. My roomate in college is currently writing a doctoral >> > disertation on the blues as part of a sociology degree! I know the >> > blues!!! >> > >> > Man.... I think I broke my keyboard.. >> >> You've played in front of all black audiences?????? >> >> Your ROOMATE is writing a dissertation on the Blues???????? >> >> Well then you win, man. SRV rules!! The man was down!! > >What kinda crap is this? This is really low. >I won't waste anymore blues-L bandwidth on crap like this - except in >saying, it is always a few bad apples that spoil the fun for everyone >else isn't it? > >Troy This may come as a shock, Troy, but a bad apple is not someone who disagrees with you. Neither is disagreement - even sarcastically - spoiling the fun for everyone else. Your petulant, snotnosed whining, on the other hand... Chris Smith (chris@skerries.demon.co.uk) 2 + 2 = 5 for large values of 2 ========================================================================= Date: Tue, 21 May 1996 05:29:19 -0400 Reply-To: Enterado From: Enterado Organization: America Online, Inc. (1-800-827-6364) Subject: blues scales??? Comments: To: bit-listserv-blues-l@uunet.uu.net I am trying to teach myself guitar more specifically blues guitar and any info on soloing scales etec wpould help alot thanks tod enterado ========================================================================= Date: Tue, 21 May 1996 11:30:22 +0000 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Re: Piedmont.... correction Just to say that it was in Ospel (NL) and not in Utrecht.. but who cares? > advise organisors in the US to book him for festivals, concerts, ... He >played in Utrecht two weeks ago and just confirmed what many Europeans knew >... ^^^^^^ Jean-Pierre ========================================================================= Date: Tue, 21 May 1996 11:55:40 +0000 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: B&R Muddy Waters Disco on Blues World!!! Ok, many of you have certainly already seen it, but for the others.... AN ELECTRONIC AND UPDATED VERSION OF THE COMPLETE MUDDY WATERS DISCOGRAPHY (first publishd by B&R a few years ago) is now available on Blues Wolrd: <> A MARVELOUS WORK WHICH IS DUE TO PHIL WIGHT AND FRED ROTHWELL! Thanks to Tony for putting it on the Net and for Joel for having B&R on Blues World (btw, N01 in my bookmarks). Jean-Pierre ========================================================================= Date: Tue, 21 May 1996 03:19:39 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: SRV another angle Comments: To: 71552.541@COMPUSERVE.COM In-Reply-To: <960521023455_71552.541_EHL253-2@CompuServe.COM> from "Newman/Rabson" at May 20, 96 10:34:55 pm As long as we're getting all serious...... As I squint over the keyboard, looking for my glasses, I see the following: > Do you really think that men can actually sing blues. What's all this talk about men can't actually drink booze? Hey, I do it all the time. And so do a lot of my friends. Men can drink booze just as well as any women. Maybe even better than some! REALLY! Hey - if you check skid row, or the bowery, I bet you'll find more men winos than women winos down there, and that's GOTTA prove something. I mean, you don't get any more expert on booze consumption than a wino! And another thing ..... <<>> (uh, excuse me just a moment) (Hello? ... Yes this is IronMan ... yes .... well, I'm just replying to someone who said men can't drink booze. Can you imagine! .... Oh, really? ... You saw it, too? ..... You don't say? ... sing the blues? Hmmm - well - thanks! .... ok .... Bye!) ..... never mind ..... -- IronMan Mike Curtis ========================================================================= Date: Tue, 21 May 1996 13:26:34 +0300 Reply-To: T P Uschanov From: T P Uschanov Subject: Re: death bed cd; was Re: last cd in your player Comments: To: "jose.eric.s.maglanque" In-Reply-To: <9605200346.AA3503@notes2.compuserve.com> On Sun, 19 May 1996, jose.eric.s.maglanque wrote: > Q: what cd (or song) would you want to be playing before you croak? It would certainly be Henry Purcell's 'Harmonia Sacra' (McCreesh/ Gabrieli Consort & Players, Archiv 445 829-2). Sorry for low blues content, but you asked for it! T P Uschanov, University of Helsinki, Finland, European Union tuschano@cc.helsinki.fi ### http://www.helsinki.fi/~tuschano/ "Omnia praeclara tam difficilia, quam rara sunt." (Baruch Spinoza, 1632-1677) ========================================================================= Date: Tue, 21 May 1996 13:07:07 +0000 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: The Blues Series Books Ok, this is my last mail for today (I have to work a bit...). Many of you have certainly noticed in Living Blues 125 the "From the Archive" article concerning the series of books "The Blues Series" edited by Paul Oliver in the 1970's. I just want to inform interested US zellers that some of these Studio Vista books are still availbale from RED LICK (UK) at a >>ridiculous<< price of 1.50 pound + 75p postage. The titles they still have in stock are those of Bruce Bastin, Bob Groom, Paul Garon, Zur Heide and Evans. When I saw yesterday while I was looking for some info in LB 125 that Edward Komara was mentioning that some of these are about 40$ worth in the US, I thought some of you might be interested in this info. I did order the only title I missed (Bob Groom's Blues Revival) in my collection. At this price, you would not even want to xerox these historically interesting books. Red Lick Records: Tel 01766 512151 Fax 01766 512851 Jean-Pierre Urbain P.S. They also Blues Rec Vols 1 at 6 pounds and Gospel records Vol 1 and 2 at 15 pounds for >both< volumes. P.S. Not affiliated to red Lick, just a more than satisfied client!! ========================================================================= Date: Tue, 21 May 1996 11:10:47 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Micheal Coleman Band They are to be in Ottawa this friday. Anyone out there that can tell me if they're worth a listen? Sez, they are from Chicago. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [21/5/96 6:50 AM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 21 May 1996 06:32:31 -0400 Reply-To: M David Tilson From: M David Tilson Organization: Columbia University Subject: Re: Seeking piano blues in Chicago in June Comments: To: bit-listserv-blues-l@uunet.uu.net I'll be in Chicago the second or third week in June. I know the places on Halsted, which usually have the emphasis on guitar. Anybody clue me to a really good Chicago keyboard player? TIA, -dave- ========================================================================= Date: Tue, 21 May 1996 08:45:36 -0300 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: death bed cd In-Reply-To: <9605200346.AA3503@notes2.compuserve.com> from "jose.eric.s.maglanque" at May 19, 96 11:45:39 pm > Q: what cd (or song) would you want to be playing before you croak? "When I Lay My Burden Down" by Fred and Annie McDowell. -Rob ========================================================================= Date: Tue, 21 May 1996 20:18:53 -0400 Reply-To: "J. W. Patterson" From: "J. W. Patterson" Subject: Six CD Player Shawn Cronin wants advise on what CD:s to play in his six CD player. Frankly, unless ease in playing is your real concern, I would not use a six player, because of what you lose in sound quality. My guess is that you would have to pay at least $5000 to get the same sound quality that you can get for $1000 in a one CD player. jwp ========================================================================= Date: Tue, 21 May 1996 08:46:09 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: East Coast/Piedmont blues various ... Jean-Pierre Urbain wrote: (snip) > >- GREAT NEWS for Piedmont blues fans, Lightnin'Wells informed me that he was >starting producing/working on a CD by (thanks to a Grant she received) the >overlooked and still very active gtr/singer Algia Mae Hinton. > (snip) I will be greatly obliged if anyone who has any news of this CD's progress/release will keep me/us informed. Algia Mae Hinton really is an overlooked treasure. Chris Smith (chris@skerries.demon.co.uk) 2 + 2 = 5 for large values of 2 ========================================================================= Date: Tue, 21 May 1996 08:48:33 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Six CD Player Comments: To: "J. W. Patterson" In-Reply-To: On Tue, 21 May 1996, J. W. Patterson wrote: > Shawn Cronin wants advise on what CD:s to play in his six CD player. > Frankly, unless ease in playing is your real concern, I would not use a six > player, because of what you lose in sound quality. My guess is that you > would have to pay at least $5000 to get the same sound quality that you can > get for $1000 in a one CD player. jwp What causes the sound degradation in a multi-CD player? Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 21 May 1996 08:18:04 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: cyclical blues-l Last week I posted a sarcastic comment about the continuing arguments here on blues-l and suggested that we go ahead and get the black vs. white argument out of the way. Well, here it is a weekend later and PRESTO! black and white and culture all together! On top of that, we have this cycle's very own "Clapton's E string" - the secret Devil's tunings of Robert Johnson! -Jeff (you could make a calendar based on our threads) --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball #4 (coaches poll) U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc09.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Tue, 21 May 1996 09:17:46 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Irene/Lead Belly Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *Hoodie is closest to the mark. * *I have a recording of him pronouncing his own name, and it is actually *closest to *shudder* hootie, as in he of the blowfish variety. Maybe that will get him on the cover of Blues Revue! :-) -Steve ========================================================================= Date: Tue, 21 May 1996 13:37:00 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: Blues diet? Comments: To: bit-listserv-blues-l@uunet.uu.net On May 20, 1996 17:15:13 in article , '"P.W. Fenton" ' wrote: > >Ten years ago I smoked 4 packs of cigarettes a day, ate garbage, >weighed 155 pounds, and could run a 5 minute mile. > >Today I don't smoke, eat steamed squash and water chestnuts, I >weigh eight thousand pounds, and get winded reaching for the remote >control. Go figure. > Er- PW, do you think this might have something to do with age? Unfortunately it catches up to us all too soon - we exercise less AND our metabolisms slow down. If you weren't doing the healthier things that you're now doing - you might be in far worse shape - although eight thousand pounds is up there :-) ... still you can say that you're worth 40 men...... -- Vincent vt@usa.pipeline.com ========================================================================= Date: Tue, 21 May 1996 09:27:33 -0400 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Re: SRV Comments: To: bit-listserv-blues-l@uunet.uu.net Ok, I had made a very conscious decision to stay out of this conversation. Oh well, I lied. I just wish you would stop this constant black/white dialogue. Or is it black vs. white? Most folks on this list know much much more than the average person about the blues and it's derivation. You know where it came from and as long as you acknowledge it... Because I am African-American, can I not play Chopin with as much feeling as it's European creator? This being said, I know where that music came from and am happy to acknowledge it. There is a book entitled "Your Blues Ain't Like Mine." I think that is the attitude we need to embrace in approaching this entire argument. Peace, Lea Gilmore Baltimore, MD "Wild Women Don't Have the Blues." ========================================================================= Date: Tue, 21 May 1996 09:30:18 -0400 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Non-performer Handy's Comments: To: bit-listserv-blues-l@uunet.uu.net Nicely put Steve. Lea ========================================================================= Date: Tue, 21 May 1996 09:41:47 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Who do you regret missing? Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *But...number one on my list: Brownie McGhee. He played Chicago Blues Fest *last year.... I planned to see him.... I wanted to see him .... and I was an *idiot and went home instead. I did see him at the Chicago Blues Fest last year. It was my first Chicago trip and the only time I saw Brownie. I'm very, very glad I went. -Steve ========================================================================= Date: Tue, 21 May 1996 09:49:03 -0400 Reply-To: Chris Smith From: Chris Smith Subject: getting sherioush (was Re: SRV another angle) Mike Curtis wrote >As long as we're getting all serious...... > > > >As I squint over the keyboard, looking for my glasses, I see the following: > >> Do you really think that men can actually sing blues. > >What's all this talk about men can't actually drink booze? Hey, I do it all >the time. And so do a lot of my friends. Men can drink booze just as well >as any women. Maybe even better than some! REALLY! Hey - if you check >skid row, or the bowery, I bet you'll find more men winos than women winos >down there, and that's GOTTA prove something. I mean, you don't get any >more expert on booze consumption than a wino! And another thing ..... > > <<>> > >(uh, excuse me just a moment) > >(Hello? ... Yes this is IronMan ... yes .... well, I'm just replying to >someone who said men can't drink booze. Can you imagine! .... Oh, really? >... You saw it, too? ..... You don't say? ... sing the blues? Hmmm - well >- thanks! .... ok .... Bye!) > > > > >..... never mind ..... > > > > Oh well, if we're getting SERIOUS: Q: What's the difference between a pig and a drunk? A: A pig doesn't try to screw a drunk at 3 a.m. Chris Smith (chris@skerries.demon.co.uk) 2 + 2 = 5 for large values of 2 ========================================================================= Date: Tue, 21 May 1996 09:51:11 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: The Blues Series Books Comments: To: J.Urbain@ke.rulimburg.nl In a message dated 96-05-21 07:28:33 EDT, J.Urbain@KE.RULIMBURG.NL (Jean-Pierre Urbain) writes: >I just want to inform interested US zellers that some of these Studio Vista >books are still availbale from RED LICK (UK) at a >>ridiculous<< price of >1.50 pound + 75p postage. The titles they still have in stock are those of >Bruce Bastin, Bob Groom, Paul Garon, Zur Heide and Evans. >When I saw yesterday while I was looking for some info in LB 125 that Edward >Komara was mentioning that some of these are about 40$ worth in the US, I >thought some of you might be interested in this info. I did order the only >title I missed (Bob Groom's Blues Revival) in my collection. At this price, >you would not even want to xerox these historically interesting books. These books are very much worth having. The ones that he says available are Garon's Peetie Wheatstraw bio, Karl Gert zur Heide's book on LIttle Brother Montgomery, Groom's on the Blues Revival, and Bastin's on Piedmont blues. I believe Baston expanded his book to make his more recent book on the subject. One gripe about that Studio Vista series: NO INDEXES. gnash teeth. Paul Olivers' SAVANAH SYNCOPATERS was in that series. Others in the series that I can recommend include a Dixon and Godrich book, RECORDING THE BLUES, Dave Evans' TOMMY JOHNSON, Tony Russell's on white and black interinfluence, and a John Fahey bio of Charley Patton. That last one I don't have and REALLY WANT. I also really want the Memphis book by Bengt Olsson. While I've seen the price Komarra cites, I have also seen them available for less..... Tom Freeland ========================================================================= Date: Tue, 21 May 1996 09:54:19 -0500 Reply-To: MARCIAG@VMS.CIS.PITT.EDU From: Marcia Grodsky Subject: Too Many Choices --- Help Me Out I know, I know . . . a few months ago I was whining about this city being dead, no blues clubs, blah, blah, blah. Now I'm whining because I'd have to be cloned in order to see all the great acts coming to town. I've started to keep a separate calendar just of blues and rockabilly acts coming to town this summer, and I'm runing out of space. The wonderful thing is that a lot of new (to me, and usually to the city) acts are coming in. This makes it doubly difficult, because when I have to make a choice I usually go with the on e that I've never seen or may not get to see again. This past Sunday I got to see E.C. Scott, and that was a real pleasure. It's very seldom that any female vocalist other than Koko comes to town. I expect Lavelle White to be the highlight of my summer. But here's the immediate problem...this weekend we have Mem Shannon on Thursday, Bobby Parker on Friday and Sherman Robertson on Saturday. I've never seen any of them. If I can only make one or two, who would you recommend? ---Marcia P.S. Do they still make No Doze??? ========================================================================= Date: Tue, 21 May 1996 06:58:30 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Gone for a day... Hi all. Gone for a day, I was. For the second or third time since I became a bluezeller, I neglected to pick up my mail, post anything, respond to a post, chuckle, scream, punch my screen... and you went and had a great spat without me. *sniff* Eighty blues-l messages. A massive flow of information. Informative posts, bullshit posts, and everything in between. And I missed it. For what? Playin' the blues, jammin' in my friends' basement. A good tradeoff? Weeelllll, I think so... :-) Happy Tuesday! -Jim (hndful@uniserve.com) ========================================================================= Date: Tue, 21 May 1996 09:00:19 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Teddy Reynolds update I talked with Texas Johnny Brown's manager, Paula last week. Teddy was back in the hospital last week. Apparently, he's not doing very well. If you would like to send him your best wishes, here's the address: Teddy Reynolds c/o Silver Threads Nursing Home 3402 Vintage, Room 26 Houston, TX 77026 If you've enjoyed Teddy's playing, take a little time and let him know it. I'm sure it will lift his spirits. -Jeff --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball #4 (coaches poll) U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc09.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Tue, 21 May 1996 14:05:38 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: Bad bad Vincent Brown Comments: To: bit-listserv-blues-l@uunet.uu.net On May 20, 1996 15:15:03 in article , 'Don Cicchetti ' wrote: >tha baddest bluesdude in the whole damn town! > >Previously > >>>I'd just like to say this is the greatest, best ever suggestion I have >>ever >>>read, ever. > >Vincent said: > >>You know I wanted to say that as well.... but I was too SCARED of: >> >>"The Wrath of Don" >> >>(I think there's a movie in there somewhere....) > > >oh, but Vincent... > >My wrath is of such a puny, minor, inconsequential... nay, even unto >WIMPY quality >compared to yours.... > >I so appreciate your wonderful complement, but let's be fair... > >I have simple "girlie-wrath" compared to thee... > > >DC Oh, no! no wonder I'm "Brown" I've just er-hum in my pants from incurring the mere girlie-Wrath of Don...... I think there's still a connection with the Starship Enterprise (....and toilet paper....) Actually would you ban "Baddest" too? (I thought so....:-) in which case Don, you're Bad, the Baddest ever! -- Vincent vt@usa.pipeline.com ========================================================================= Date: Tue, 21 May 1996 10:04:41 -0400 Reply-To: TDominey From: TDominey Organization: America Online, Inc. (1-800-827-6364) Subject: Death Bed CD Picks Comments: To: bit-listserv-blues-l@uunet.uu.net No question - "Trouble in Mind" - Lightnin' Hopkins "I'm gonna let one of those big 1800's...pacify...this mind of mine." [Deep Hopkins' register] - "you know what I'm talkin' 'bout..." ========================================================================= Date: Tue, 21 May 1996 10:15:15 +0000 Reply-To: tkelley@ARL.MIL From: Troy Kelley Organization: ARL Subject: Re: SRV - Lets clear the air A few clairifications I would like to make about this SRV stuff. (Hey Don, my keyboard works again!!) First, I never said SRV was the "Best" or "Greatest" anything. Originally I was defending some guy (who I don't even know) who did say those things. I guess that is what I get trying to defend someone else's statement. However, I do believe that you could develop a criteria (Like a survey where you asked people who there favoriate blues guitarist was), and SRV would actually win. He did in Guitar Player Magazine quite a few times. So, on that "catagorey", according to "these" people, he is the best. Second. I suppose I got a little upset when the attacks on my knowledge or character were flung about. I get really upset when a supposedly intelligent discussion turns in insults. I don't see any place for it, and I would hope that everyone sees that the people who do resort to personal insults are only insulting themselves. Third, I guess I have learned that *some* blues fans are really sick of hearing about SRV. I have no problem with that. Actually that sounds like a personal problem to me, and should not be projected onto SRV. Lastly, back to the SRV discussion. Some people have stated that SRV was not an originator of anything, and I think this is false. He originated a blues guitar tone and style that is being copied by many other artists. That is his big contribution. I remember when I first heard Stevie my freshman year of college. His guitar was so unique sounding that it blew me away. I had never heard anyone that sounded like that. His tone and style were instantly recognizable as different. I know he learned from Albert, Freddy ect. ect. but he separated himself from those artists with his own fresh style and tone. He was a unique originator of a fresh blues guitar tone. Enough said. That's it from me. Troy. ========================================================================= Date: Tue, 21 May 1996 14:15:37 GMT Reply-To: Dennis J Booth From: Dennis J Booth Organization: Netcom Subject: Blues Videos Could anyone give me some infromation on where i can find Blues videos of some of the old Blues Artists. thank you Denny B ========================================================================= Date: Tue, 21 May 1996 11:29:42 -0300 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: Irene/Lead Belly In-Reply-To: <31a03289.100849003@news.prysm.net> from "cuthulu" at May 20, 96 08:52:50 am > Hoodie is closest to the mark. > I have a recording of him pronouncing his own name, and it is actually > closest to *shudder* hootie, as in he of the blowfish variety. Weird. He pronounces it "Huddie" (rhymes with "muddy") when he sings "Tell 'em Huddie Ledbetter's done been here and gone" in the amazing "Mr. Tom Hughes' Town". (Did I say "amazing"? Sorry, I meant "absolutely astounding".) In the Lomax interviews I've heard, he (Lomax) consistently pronounces it "Hyoodee". Confusing stuff. -Rob ========================================================================= Date: Tue, 21 May 1996 10:21:55 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Too Many Choices --- Help Me Out Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *But here's the immediate problem...this weekend we have Mem Shannon on *Thursday, Bobby Parker on Friday and Sherman Robertson on Saturday. I've never *seen any of them. If I can only make one or two, who would you recommend? I would Choose Mem Shannon and Sherman Robertson, only because I haven't seen either but I have seen Parker. I would choose Mem Shannon if I had to narrow it down to one because I really enjoy his debut album, and I haven't heard Sherman Robertson. Mem Shannon's playing at the Twist and Shout this Friday. I have band practice that night, but hopefully it will end early enough for me to go out and see the cab driver (or is it former cab driver now?) from New Orleans. -Steve ========================================================================= Date: Tue, 21 May 1996 08:19:10 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: May 22 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- FOWLER, T. J. (p/SAVOY REC) d. 1982-0522, DETROIT, MI 71 HAWES, HAMPTON (p) d. 1977-0522, LOS ANGELES, CA 49 HUGHES, LANGSTON (author) d. 1967-0522, NEW YORK CITY, NY 65 JOHN, MERTIS JR. (songw/owner : MEDA REC) b. 1932-0522, DETROIT, MI MORRIS, CORNER (g) b. 1905-0522, SUFFOLK, VA PEER, RALPH (arr/prod/RCA/PEER MUSIC) b. 1892-0522, KANSAS CITY, MO RHYTHM WILLIE [WILLIAM HOOD] (hca) d. 1954-0522, CHICAGO, IL -- RICKS JERRY (g/v) b. 1940-0522, PHILADELPHIA, PA ROBINSON, ROSCOE (v/WAND REC) b. 1928-0522, DUMONT, AL SIMON, CALVIN (of FUNKADELIC) b. 1942-0522, BECKLEY, W. VA SUN RA (keyb/arr) b. 1914-0522, BIRMINGHAM, AL TAYLOR, DALLAS (lead/THE DANDERLIERS) b. 1936-0522, CHICAGO, IL THOMAS, ALVIN JR. (p) d. 1979-0522, PHILADELPHIA, PA 49 THOMPSON, DAVE (g/FAT POSSUM REC) b. 1969-0522, JACKSON, MS ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 21 May 1996 10:26:12 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Billy Blues SA sold I guess my curse on the latest owners of Billy Blues worked! They've sold the place. No word on who the new owners are yet or what they plan to do. I hope they go back to booking *quality* blues acts instead of the local shit (pardon the expression) that they have lately. If they decide blues won't work for them, then I hope the hell they change the name this time. The previous owner had no business calling that place a blues joint! -Jeff --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball #4 U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc09.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Tue, 21 May 1996 10:27:55 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: SRV Comments: To: LeaGil In-Reply-To: <4nsgc5$ik8@newsbf02.news.aol.com> On Tue, 21 May 1996, LeaGil wrote: > Ok, I had made a very conscious decision to stay out of this conversation. > Oh well, I lied. I just wish you would stop this constant black/white > dialogue. Or is it black vs. white? Most folks on this list know much > much more than the average person about the blues and it's derivation. > You know where it came from and as long as you acknowledge it... Because > I am African-American, can I not play Chopin with as much feeling as it's > European creator? This being said, I know where that music came from and > am happy to acknowledge it. > A friend of mine, who was recently a presentor at the W.C. Handy Awards, and has recorded with Charles Brown says that Charles loves to play Chopin. (Personally, I love to play Charles Brown.) Steve (just driftin' and driftin' like a ship out on the sea) ========================================================================= Date: Tue, 21 May 1996 11:41:00 -0400 Reply-To: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM From: Jim Smith Subject: Blues Videos Comments: To: stampin@IX.NETCOM.COM In-Reply-To: <4nsj69$5dd@dfw-ixnews2.ix.netcom.com> Stefan Grossman's Guitar Workshop has a catalog of close to 100 videos that include many of the old Bluesmen as well as a good cross section of guitarists from many genres. The phone # is (201)729-5544 9 to 5 EDT. I have a number of them and they're well worth the $$$. Jim Smith >Could anyone give me some infromation on where i can find Blues videos >of some of the old Blues Artists. > >thank you > >Denny B > ========================================================================= Date: Tue, 21 May 1996 11:36:28 -0400 Reply-To: BluesMojo@AOL.COM From: Doug Carlisle WSFM Subject: Commercial radio playlist WSFM "Surf 107" Box Fm 107 Wilmington, Nc 28402 E-mail- Bluesmojo@aol.com Sundays 9am-12pm Reported to "Hard Report" and Blues-L Host: Doug Carlisle Sunday 5/19/96 **If your band wants airplay, send E-mail for info!!! Hour 1 Sherman Robertson Victim of Circumstance Code Blue Gary Moore If You Be My Baby Charisma Keb' Mo' Every Morning Okeh/Epic Jimi Hendrix Voodoo Chile Blues MCA Otis Rush Everyday I have the Blues LaserLight John Lee Hooker Deep Blue Sea Pointblank (Jazz) Ricky Peterson Night Watch Warner Bros. Eric Clapton Tore Down Reprise Clarence Gatemouth Brown Blues Power Verve Sarah Brown Barbwire Kiss Blind Pig Hour 2 Luther Allison Dust My Broom LaserLight Albert Collins/ Johnny Copeland Something to Remember... Alligator's 25th Bob Margolin Blues Lover Alligator's 25th Big Joe Williams I Done Stop Hollering LaserLight Chris Duarte Group Letter to my Girlfriend Silvertone BB King & Katie Webster Since I Met You Baby MCA Taj Mahal Fanning the Flames Private (Jazz) Jay Brandford Septet Blues Down in Red Hook Accurate Buddy Guy Sweet Black Angel Silvertone Ernie Johnson Love on the Other Line Waldoxy Hour 3 Joe Satriani Cool #9 Relativity Stevie Ray Vaughan Cold Shot Epic In From the Storm (Buddy Miles/Stanley Clarke) Have You Ever Been (to ElectricLadyLand) BMG/RCA Fabulous Thunderbirds Twist of the Knife Epic BB King/Etta James There's Something on Your Mind MCA Harmonica Fats/Bernie Pearl She's Way Out of My Class Bee Bump (Jazz) Bob James Soulero Columbia Kenny Wayne Shepherd Aberdeen Giant Mark Stallings & Famous Unknowns Marks Harpo Vent Coco Montoya The Heart of Soul Blind Pig ========================================================================= Date: Tue, 21 May 1996 08:47:39 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: SRV I said previously: >>Ok, here is your guitar... we are going to play a nice minor-scale slow >>blues in A. You get to solo. Remember it's simplistic music, yet you >>have to move those people. Can you do it? Here comes the >>turnaround..... Brian said: >This sounds more like testosterone talking than the blues. What utter bullshit... Any musician would know what I was speaking of... too bad you missed it. It's bad enough when some radical feminist throws around this sort of male-hating biology-as-destiny nonsense, but to see a (putative) man do it, is pretty alarming... Oh, and BTW, recent medical studies have shown that men deprived of testosterone are more hostile and less happy. Why don't you go off in the woods and chant and bang a drum for a while. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 21 May 1996 15:56:02 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: B&R Muddy Waters Disco on Blues World!!! Comments: To: bit-listserv-blues-l@uunet.uu.net J-P, Thank you very very much for that reference. The correct Web address is: http://www.bluesworld.com/MuddyQuarkHtml ^ (you dropped the "L" off the end) There is also a nice discog of Albert King on CD: http://www.bluesworld.com/AKingCDs These are both accessible from the BnR page: http://www.bluesworld.com/BnR -- Vincent vt@usa.pipeline.com On May 21, 1996 11:55:40 in article , 'Jean-Pierre Urbain ' wrote: >Ok, many of you have certainly already seen it, >but for the others.... > >AN ELECTRONIC AND UPDATED VERSION OF THE COMPLETE MUDDY WATERS >DISCOGRAPHY (first publishd by B&R a few years ago) >is now available on Blues Wolrd: > ><> > >A MARVELOUS WORK WHICH IS DUE TO PHIL WIGHT AND FRED ROTHWELL! > >Thanks to Tony for putting it on the Net and for Joel for having B&R on Blues >World (btw, N01 in my bookmarks). > >Jean-Pierre ========================================================================= Date: Tue, 21 May 1996 12:01:35 -0400 Reply-To: Ed Mezynski From: Ed Mezynski Subject: Re: SRV Comments: To: dcicchet@LASIERRA.EDU Don, Excellent proposal, DC! But before it goes to a vote, I'd like to say that this is "one of the best" ideas offered to the list in a long, long time. Guess I'll crawl back up on the porch with the other little dogs. ed mezynski ========================================================================= Date: Tue, 21 May 1996 12:01:22 -0400 Reply-To: Jerri Gibbs From: Jerri Gibbs Organization: MagicNet, Inc. Subject: Re: Midnight Creepers (band not label) question Comments: To: bit-listserv-blues-l@uunet.uu.net Curtis Hewston wrote: > > On Thu, 16 May 1996 11:08:06 -0500, you wrote: > > >Does anybody know who's replaced Bird Foster as the vocalist for the Midnight > >Creepers? Is the harp player doing all the vocals, or have they added a vo- > >calist? Thanks for any info. > > What happened to Bird Foster? They just played the Junkyard (Orlando) > last weekend with Ace Moreland, but I didn't go. Haven't seen them > for awhile now. Maybe it's Ace Moreland? They've been playing > together a lot lately. > > P.S. Tonight it's Junior Wells at the Junkyard. I'll report if it's > any good. > > *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*> Howard just pointed with his gun and said, "That way. Down Highway 61." > > curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ > *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*Hi y'all. Got the scoop (my boyfriend does sessions with them at Kingsnake Records in Sanford). Bird is still a member of the band... he's just been tied up on a couple of other things lately. Mike Galloway (the harp player) is still the lead vocalist though. As far as Ace Moreland... they have been playing with him a lot cuz' he just put out a new CD -- Keeping It Secret -- so Ace has been busy busy .. booked a lot! Excellent CD... by the way ( and not just because my boyfriend did the keyboards and organ for it either )!!! J. ========================================================================= Date: Tue, 21 May 1996 12:18:17 -0400 Reply-To: Oded Maron From: Oded Maron Subject: Eddie Taylor I'm listening to Eddie Taylor's "I feel so bad" on Hightone. It's a pretty good CD, and the backup band includes Phillip Walker and George Smith (has Hightone ever made a bad album?). My favorite cuts, though, are where it's just Eddie on the acoustic. Where can I find more solo acoustic stuff by him? Oded ========================================================================= Date: Tue, 21 May 1996 12:04:44 -0400 Reply-To: DMIELE From: DMIELE Organization: Exxon Research & Engineering Subject: Choices Comments: To: bit-listserv-blues-l@uunet.uu.net The Stanhope House, NJ's premiere blues club, is presenting some great show soon. I probably can't get to all of them. So can all you true-bluers help me to decide who to go see? The choices are: 1. Johnny "Clyde" Copeland 2. Luther Allison 3. Clarence "Gatemouth" Brown p.s. I've never seen any of them. Thanks for your help! ========================================================================= Date: Tue, 21 May 1996 09:31:36 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: SRV's hormonal problems Ed Mezynski said: (in response to a suggested moratorium on discussing "the best" anything) >Don, > >Excellent proposal, DC! But before it goes to a vote, I'd like to say >that this is "one of the best" ideas offered to the list in a long, long >time. NO WAY!! It's the **BEST EVER**!! wanna argue about it? Or is this just another testosterone problem?? ;-] DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 21 May 1996 09:33:47 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: How do you make a male hormone? TIP HIM REALLY WELL!! DC groan..... ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 21 May 1996 18:49:04 +0100 Reply-To: Bluesman From: Bluesman Subject: BLUES on TV Hi! Do you know any Blues related program on TV's over the world? I just know Talking Blues on NBC (and Talking Jazz for those of you who enjoy jazz :) Are there any other ones? Thanks. Jose. Spain. ****************************************************************************** - Everyday I Have The Blues - ========================================================================= Date: Tue, 21 May 1996 11:36:48 CST Reply-To: William Shute From: William Shute Subject: clarification re Texas Johnny Brown From: Bill Shute On Monday, 29 April l996, I posted a review of the Bowie Street Blues Festival,held the day before at the Institute of Texan Cultures here in San Antonio. On Tuesday, 30 April l996, an individual "responded" via blues-l to my review, and this "response" contained some incorrect information. I knew this information was wrong when I read the "response," but rather than answer myself, I sent a copy of the "response" to the parties whom the misinformation could adversely affect (Texas Johnny Brown and his manager, Paula Gingrich) and invited them to respond THEMSELVES so no misunderstanding or ambiguity would be possible. Therefore, I present Ms. Paula Gingrich, to present the CORRECT information: "In response to a recent posting on Blues-l, of which I just became aware, I would like to correct an apparent misunderstanding regarding representation of Texas Johnny Brown. My name is Paula Gingrich. I am Texas Johnny Brown's manager. I represent Mr. Brown in all of his business dealings. He has not signed with a booking agency and currently there are NO other official representatives for Mr. Brown. Anyone wishing to book Texas Johnny Brown and the Quality Blues Band should call me at 713-578-5626 or write me at PO Box 218726, Houston, TX 77218-8726. Thank you." --Paula Gingrich (20 May l996) I don't think Paula's statement can be misinterpreted. Thanks to PG and to Mr. Brown for taking the time to help me set the record straight. Remember, those of you in Chicago-land or in the midwest as a whole, Texas Johnny Brown will be appearing (backed by Pete Mayes and His House- rockers) at the Chicago Blues Festival, on the Crossroads Stage, at 2:30 pm SUNDAY, JUNE 2. For a REAL taste of South Texas Blues, Texas Johnny Brown is your man (you can also hear him on 8 cuts recorded in l949-50 as a member of Amos Milburn's band on that new three-CD Amos Milburn set put out in the Capitol Blues reissues series-- and also on the CLASSIC album, reissued on CD, ATLANTIC BLUES:GUITAR). Bill Shute San Antonio, Texas ========================================================================= Date: Tue, 21 May 1996 13:04:02 -0400 Reply-To: "Munson, Bill" From: "Munson, Bill" Subject: John Kay and the Sparrow A few days ago Jim Rocco asked about John Kay and the Sparrow, whose only LP was released posthumously by Columbia when Steppenwolf got big in the late '60s. (John Kay, Goldie McJohn and Jerry Edmonton from the Sparrow were all founding members of Steppenwolf, and ex-Sparrow Nick St Nicholas rejoined for the "Monster", "Birthday Party" and "Live" LPs). The complete story is told very thoroughly in the book "Magic Carpet Ride" by John Kay and John Einarson, published by Quarry Press a couple of years ago. Jim asks specifically about the guitarist. John Kay played mostly rhythm, but was a country blues lover (and previously performer). Any impressive guitar playing is probably him if it's subtle. If it's wilder stuff, I'd credit Dennis Edmonton (really McCrohan, from Oshawa Ontario). Dennis, by the way, was the only Sparrow who was never a member of Steppenwolf, but he did write "Born To Be Wild" (as Mars Bonfire), and that's gotta mean something! The full LP (minus one song I believe), plus lotsa bonus tracks, was issued on CD by Sony/Legacy. Also available on CD is the "Early Steppenwolf" LP that was really just a live recording of John Kay and the Sparrow in '66. Edmonton's guitar stands out there; he mostly attempts the classic Toronto sub-Robertson style (see previous posting) but not terribly successfully as I recall. ========================================================================= Date: Tue, 21 May 1996 10:21:20 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: SRV - Lets clear the air Troy Kelley wrote: >A few clairifications I would like to make about this SRV stuff. > >(Hey Don, my keyboard works again!!) > >First, I never said SRV was the "Best" or "Greatest" anything. >Originally I was defending some guy (who I don't even know) who did say >those things. I guess that is what I get trying to defend someone >else's statement. But by defending the guy's statement it seems to me to imply that you agree with him. >However, I do believe that you could develop a criteria (Like a survey >where you asked people who there favoriate blues guitarist was), and SRV >would actually win. He did in Guitar Player Magazine quite a few times. >So, on that "catagorey", according to "these" people, he is the best. "Favourite" does not equal "best." Reader polls like the one in Guitar Player are flawed. The Editors of GP have admitted this a few times. Yeah, SRV did win quite a few times. And last year Scott Henderson's album, "Dog Party" was won as best blues album. It's a great album but there where far more deserving albums. Winning a poll in a magazine just means you are popular, regardless of talent. snip >Third, I guess I have learned that *some* blues fans are really sick of >hearing about SRV. I have no problem with that. Actually that sounds >like a personal problem to me, and should not be projected onto SRV. I don't think it that there are people who are sick of hearing about SRV. It's more along the lines of "we are sick of hearing that SRV was the greatest/could do no wrong/is god/was perfect...... >Lastly, back to the SRV discussion. Some people have stated that SRV was >not an originator of anything, and I think this is false. He originated >a blues guitar tone and style that is being copied by many other >artists. That is his big contribution. What? The proliferation of clones is SRV's big contribution? KWS? Good lord no! I love SRV's tone but it is now a cliche, and a boring one at that. We now have the ridiculous situation where SRV tone+loud strat+wanking= "I'm playing the blues!" I would prefer SRV's contributions as being remembered as someone who played some fine music, played some fine guitar, was a great spokesman for the blues and helped turn people onto the blues. >I remember when I first heard Stevie my freshman year of college. His >guitar was so unique sounding that it blew me away. I had never heard >anyone that sounded like that. His tone and style were instantly >recognizable as different. I know he learned from Albert, Freddy ect. >ect. but he separated himself from those artists with his own fresh >style and tone. He was a unique originator of a fresh blues guitar tone. Even up until "In Step", there were times when it was hard to separate SRV from Albert. Yeah, he had a great tone. But a careful listen to, say, "Texas Flood" and with a good knowledge of blues guitar styles you work out where all SRV;s solos came from. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Tue, 21 May 1996 14:25:39 -0300 Reply-To: Rob Hutten From: Rob Hutten Subject: Paul Oliver's _Story Of The Blues_ Was I hallucinating, or was was there talk a while ago of this wonderful book being reissued or reprinted or re-whatever? Likewise, any news on the forthcoming updated version of Dixon & Godrich's discography? -Rob ========================================================================= Date: Tue, 21 May 1996 13:38:07 -0400 Reply-To: SliderDW@AOL.COM From: Don Williams Subject: Re: Eddie Taylor Comments: To: oded@ai.mit.edu In a message dated 96-05-21 12:57:04 EDT, oded@AI.MIT.EDU (Oded Maron) writes: > >I'm listening to Eddie Taylor's "I feel so bad" on Hightone. It's a >pretty good CD, and the backup band includes Phillip Walker and George >Smith (has Hightone ever made a bad album?). My favorite cuts, >though, are where it's just Eddie on the acoustic. Where can I find >more solo acoustic stuff by him? > >Oded > > There's some on the album "Chicago Blues At Home," originally released on the Advent Records label as an LP, I think Advent has since been bougt out by HighTone (!!) and they have reissued it as a CD -- it's still called "Chicago Blues At Home" and also has some great Johny Shines stuff on it. Don Williams ========================================================================= Date: Tue, 21 May 1996 13:40:20 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Choices Comments: To: DMIELE In-Reply-To: <31A1E99C.76AF@erenj.com> On Tue, 21 May 1996, DMIELE wrote: > The Stanhope House, NJ's premiere blues club, is presenting some great > show soon. I probably can't get to all of them. So can all you > true-bluers help me to decide who to go see? > The choices are: > 3. Clarence "Gatemouth" Brown Gate is such a beautiful man to watch go through his stuff, I'd vote for his show if you only can make 1. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 21 May 1996 13:44:43 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Johnny B. Moore's latest ... Based on the new live CD of Johnny B. Moore at Blue Chicago it looks like we have another rising star coming. Also there are a few wonderful cuts on the disc by Melvina Allen - a new name to me. Very impressive. BTW the disc is on Delmark. Another fine job from them. Johnny certainly showed what was possible on his Wolf CD but gotta give credit to Delmark for extracting this beauty. NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 21 May 1996 13:44:00 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Charles Brown CD Recommendations? Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I recently realized that my cd collection is sadly lacking anything by Charles Brown (I have a couple of tracks by Brown on various compilation tapes, but no albums). What is a good one to start with? Thanks in advance -Steve L ========================================================================= Date: Tue, 21 May 1996 14:04:36 -0400 Reply-To: Peter Welch From: Peter Welch Subject: Brownie McGhee on Savoy? Does anyone know if the Brownie McGhee LP, "Jumpin' the Blues" on the Savoy Jazz label will be reissued on CD anytime soon? This was a great collection of Brownie's more Jump Blues/R&B-oriented commercial recordings from the early 50s, but for some reason it's been left out of the Savoy reissue program that's been slowly trickling out of Japan. -Peter ========================================================================= Date: Tue, 21 May 1996 14:13:07 EDT Reply-To: Newman/Rabson <71552.541@COMPUSERVE.COM> From: Newman/Rabson <71552.541@COMPUSERVE.COM> Subject: Re: Seeking piano blues Erwin Helfer - one of my personal favorites - plays at a jazz club called Andy's most Friday nights - There's a free newspaper called the Reader which comes out on Thursdays - which has extensive listings of what's up in Chicago for the week. Ann ========================================================================= Date: Tue, 21 May 1996 13:30:42 -0500 Reply-To: Steve Price From: Steve Price Subject: SAFFIRE Itinerary Comments: To: Newman/Rabson <71552.541@CompuServe.COM> In-Reply-To: <960521181302_71552.541_EHL96-2@CompuServe.COM> Say, I bet a lot of people would be interested in Ann's itinerary. Am I wrong? I bet it would be neat if she posted it to blues-l. Don'tcha think? Steve ========================================================================= Date: Tue, 21 May 1996 13:33:45 EST Reply-To: scovillej@ISAIAH.CSPS.COM From: Jef Scoville Subject: Re: Who do you regret missing? Around 1970 Muddy Waters played at a high school near my home town. I was a budding young photographer and a guy from a local college newspaper asked me to come and photograph Muddy. I had heard of Muddy but didn't really have a clue. I took the gig, heard Muddy play, and then met him and sat in on the interview between sets. I enjoyed the man and the show very much. But I had no idea how priveleged I was. So yes, I was there, but in a very real sense I missed it. I'm sure that if I had known WHO I was meeting I would have a much clearer memory of it now. Live and learn! Jef Scoville scovillej@csps.com ========================================================================= Date: Tue, 21 May 1996 15:02:34 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Choices Comments: To: DMIELE@erenj.com On Tuesday, May 21, DMIELE said: >>>The Stanhope House, NJ's premiere blues club, is >>>presenting some great show soon. I probably can't >>>get to all of them. So can all you true-bluers help >>>me to decide who to go see? >>>The choices are: >>>1. Johnny "Clyde" Copeland >>>2. Luther Allison >>>3. Clarence "Gatemouth" Brown With out being overly grim, I'd give the opoinion that you should 'always' choose the musician who is (1) most frail; (2) lives the farthest away and (3) is the least likely to be available in your area again. We all wish Johnny Copeland a successful transplant surgery whenever it becomes available to him. In the meantime, check him out. Dick Waterman ========================================================================= Date: Tue, 21 May 1996 14:14:56 -0500 Reply-To: bolt From: bolt Subject: Re: Charles Brown CD Recommendations? >I recently realized that my cd collection is sadly lacking anything by >Charles Brown (I have a couple of tracks by Brown on various >compilation tapes, but no albums). What is a good one to start with? > >Thanks in advance > >-Steve L I really like "Charles Brown: LEGEND!", MCA #MCAD-22112. Features Earl Hooker on guitar. Reg Burns +++++++++++++++++++++++++++++++++++++++++++++++++ + I'll listen to reason when it comes out on CD + + + + bolt@neosoft.com Houston, TX + +++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Tue, 21 May 1996 19:36:27 GMT Reply-To: bbreen@SPRYNET.COM From: bbreen@SPRYNET.COM Organization: Sprynet News Service Subject: Re: Last CD in YOUR player Comments: To: bit-listserv-blues-l@relay1.uu.net Guitar Shorty - his new one - Get Wise to Yourself BTW -- just saw him on Saturday -- what an entertainer!! If you get the chance to see him - don't miss him. --bill-- --bill-- **************************************** Bill Breen bbreen@sprynet.com **************************************** ========================================================================= Date: Tue, 21 May 1996 15:31:20 -0400 Reply-To: Bronxharp From: Bronxharp Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Christine Santelli gig Comments: To: bit-listserv-blues-l@uunet.uu.net I missed that one.... I really DO think that the new full-color poster I've seen hanging up in the vestubule there is a very nice one. And she looks very hot in it, that's for sure. I never did see her play guitar, though. Guess I always come in too late.... Hey folks: check this band out... They're HOT! ========================================================================= Date: Tue, 21 May 1996 12:42:47 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Itineraries (was Saffire Itinerary) Comments: To: sprice@INAV.NET In-Reply-To: from "Steve Price" at May 21, 96 01:30:42 pm > > Say, I bet a lot of people would be interested in Ann's > itinerary. Am I wrong? I bet it would be neat if she posted it to > blues-l. Don'tcha think? yup, but (as a "medium name" local act here in LA :-) I'd like to see it go much further than just "big names". I'm surprised that we don't see a lot more itineraries. It seems we have plenty of blues musicians on board, many of whom perform professionally. Are there any general guidelines on posting itineraries, e.g. monthly, etc? This group is certainly high enough volume to warrant "suggested" limits. On harp-l, Danny Wilson puts together a weekly itinerary of worldwide acts featuring harmonica. Anyone who wants to be included submits their itinerary - big name or no name. It's great if you're looking for harmonica entertainment, and great exposure for the up and comers. And it consolidates this information into a single message per week. -- IronMan Mike Curtis "What do you do full-time, Daddy?" "I speed-read every post to Blues-L, son" ========================================================================= Date: Tue, 21 May 1996 15:04:27 -0500 Reply-To: Mark Halverson From: Mark Halverson Subject: Blues List Awards/SRV So maybe blues list should have its own awards voted on by its subscribers. There sure are a lot of people that seem to know it all. I suspect this would be technologically an easy enough thing to do. Perhaps its already been tried? I'm new here. Maybe awards for internet categories - a life for the most prolific list author? At least a wrist pad! I can see it now. SRV edges Muddy in a closely contested vote for best alltime performer, ZZ Top best comtemporary blues band . . . Oh, nevermind. ========================================================================= Date: Tue, 21 May 1996 15:14:09 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 05/22 B O R N : 05/22 BALL, KENNY ( KENNITH DANIEL ) Born:1930 LONDON, UK Career:TRUMPTER / LEADER Style:TRAD / JAZZ With:CHARLIE GALBRAITH / ERIIIC DELANEY / SID PHILLIPS / LOUIS ARMSTRONG / ANDY COOPER / JOHNNY PARKER BERK, DICK ( RICHARD ALAN ) Born:1939 SAN FRANCISCO, CA Career:DRUMMER Style:JAZZ With:CHARLIE MINGUS / MOSES ALLISON / FREDDIE HUBBARD / MILT JACKSON CAIN, JACKIE ( JACQUELINE RUTH CAIN ) Born:1928 MILWAUKEE, WI Career:SINGER Style:JAZZ With:CHARLIE VENTURA / ROY KRALL her husband EDWARDS, EDDIE ( EDWIN BRACareer:DORD EDWARDS ) Born:1891 NEW ORLEANS, LA TROMBONE Style:TRAD / JAZZ With:Original Dixieland Jazz Band / worked society bands in New York most of '30s and '40s / toured with reorganized Dixieland band for Katherine Dunham show, 1943 JOHNSON, FRANCIS WALTER (FRANK) Born:1927 MELBOURNE, VIC, AUSTRALIA Career:TRUMPET / SINGER / COMPOSER / LEADER Style:JAZZ With:Frank Johnson's Fabulous Dixielanders 1947-1956 / Johnson's most important work was as leader of his Fabulous Dixielanders LEIGHTON, ELAINE Born:1926 NEW YORK, NY Career:DRUMMER Style:JAZZ / BIG BAND MUNRO, CHARLES ROBERT (CHARLIE) Born:1917 CHRISTCHURCH, NEW ZEALAND Career:REEDS / FLUTE / CELLO / COMPOSER / ARRANGER / LEADER Style:JAZZ With:Maurie Gilman / Linn Smith / Sydney 1938 / Myer Nyman / Bert Mars / Wally Parks 1939 / Dud Cantrell / Sam Babicci / Tiny Douglas / Wally Norman / Sid Beckwith / Al Vincer / Django Kahn (a.k.a. John Hodgson / Bob Gibson, / Les Welch / Jim Gussey / Bryce Rohde / Mark`Bowden / George Golla / Bob McIvor / Don Andrews's Castillian Players / Ron Gowans / Dave Rutledge / Bob Iverson / Ken Brentnall / Marie Francis / Ed Gaston / Bruce Cale / Jack Thorpe / Mark Bowden / Wayne Ford / Georgina de Leon's Lucy Brown Quartet PEER, RALPH Born:1892 KANSAS CITY, MOCareer: ARRANGER / PRODUCER Style:BLUES With:RCA / PEER MUSIC SPRINGER, JOE ( JOSEPH ) Born:1916 NEW YORK, NY Career:PIANO Style:JAZZ / BIG BAND SUN, RA (HERMAN, SONNY BLOUNT Born:1914 BIRMINGHAM, AL Career:PIANO / ARRANGER / COMPOSER Style:JAZZ / BLUES / BIG BAND With:FLETCHER HENDERSON 1946-47 / GENE WRIGHT / COLEMAN HAWKINS / STUFF SMITH / JOHN GILMORE / PAT PATRICK Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Tue, 21 May 1996 15:15:00 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 05/21 B O R N : 05/21 ANDERSON, WILLIE LITTLE Born:1920 WEST MEMPHIS, AR Career;HARMONICA Style:BLUES BACHMAN, JACK Born:1917 NEW ORLEANS, LA Career:TRUMPET Style:TRAD / JAZZ Crawford-Ferguson Night Owls BARBER, BILL ( JOHN WILLIAM B ) Born:1920 HORNELL, NY Career:TUBA Style:JAZZ / BIG BAND BRYANT, TOMMY ( THOMAS ) Born:1930 PHILADELPHIA, PA Career:BASS Style:JAZZ / BIG BAND With:RAY BRYANT ( BROTHER ) / INK SPOTS BYRD, JOE ( GENE ) Born:1933 CHUCKATUCK, VA Career:BASS / GUITAR / FLUTE Style:JAZZ BROTHER OF CHARLIE DAY, DENNIS ( EUGENE MCNULTY ) Born:1917 NEW YORK, NY Career:SINGER Style:POP / BIG BAND With:JACK BENNY GLOVER, HENRY Born:1921 HOT SPRINGS, AR Career:ARRANGER / SONGWRITER / PRODUCER / TRUMPET Style:BLUES HEIDT, HORAC Born:1901 ALAMEDA, CA Career:LEADER Style:BIG BAND With:Charles Bradshaw / Lee Fleming / Norman Kingsley / Wayne Webb / Bob Riedel / Frankie Carle / Alvino Rey / Warren Covington / "Shorty" Sherock / Joe Rushton / Bobby Hackett / The King Sisters / Larry Cotton / Frank De Vol / Art Carney / Ruth Davis / Ollie O'Toole / Donna and her Don Juans / Ronnie Kemper / Gordon MacRae HOLMAN, BILL ( LEONARD HOLMAN ) Born:1927 OLIVE, CA Career:TENOR SAX / ARRANGER Style:JAZZ / BIG BAND With:CHARLIE BARNET / STAN KENTON / SHORTY ROGERS / ARRANGED FOR:STAN KENTON / WOODY HERMAN / MAYNARD FERGUSON / HERB POMEROY / GERRY MULLIGAN / COUNT BASIE / BUDDY RICH LIGHTFOOT, TERRY Born:1935 POTTERS BAR, MIDDLESEX, UK Career:CLARINET / ALTO SAX / SINGER / LEADER Style:TRAD / JAZZ With:DICK HAWDON / JOHN BENNETT / ROY WILLIAMS / PHIL RHODES / COLIN BATES / IAN HUNTER-RANDALL / MIKE COOKE MARABLE, LARRY ( LAWRENCE NORMAN ) Born:1929 LOS ANGELES, CA Career:DRUMMER Style:JAZZ McBRIDE CHRISTIAN Born:1972 PHILADELPHIA, PA Career:BASS Style:BLUES / JAZZ With:BOBBY WATSON / BENNY GOLSON / ROY HARGROVE / FREDDIE HUBBARD / BENNY CARTER WALLER, FATS ( THOMAS WALLER ) Born:1904 NEW YORK, NY Career:PIANO / ORGAN / SINGER / LEADER / COMPOSER Style;JAZZ / BIG BAND With:ERSKINE TATE / ANDY RAZAF / HERMAN AUTRY / JOHN "BUGS"HAMILTON / GENE SEDRIC / AL CASEY / CEDRIC WALLACE / "SLICK"JONES WHITTLE, KEITH RICHARD Born:1927 PERTH, WA, AUSTRALIA Career:DRUMMER Style:JAZZ With:Chris Gosper / Sylvia Capom / Dick Hatton / Bill Kirkham / Sam Sharp 1947 / Barry Bruce's Chicago JB / Ruby Braff / Ralph Sutton / George Masso / Lazy River JB Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Mon, 20 May 1996 18:21:29 -0700 Reply-To: Exarch/New Orleans From: Exarch/New Orleans Organization: Exarch Services Subject: Do You Love New Orleans Music? Or Come to JazzFest? Comments: To: new-orleans@yatcom.com, funky-music@mit.edu I hope you'll forgive a somewhat off-topic intrusion, but I would really like to have the musically informed opinions of this group regarding a New Orleans music service I'm considering starting. If you're one of the half million people who come to New Orleans for JazzFest, or if you have more than a passing interest in any form of New Orleans music (funk, zydeco, brassband, swamp pop, blues, r&b, rock/pop, Cajun, dixieland or jazz), I'd like to know whether you'd be interested in receiving a free monthly newsletter by e-mail that contains reviews of the live music shows that happened over the preceding month in New Orleans. There are plenty of sites on the Net that discuss and offer for sale the *recorded* music of New Orleans, and plenty of sites that tell you who will be playing in the clubs, but what I envision is compiling the efforts of a team of writers who are each out there, in the clubs and streets of New Orleans, four or five nights a week, and then reporting back on all the latest doings of the artists, the clubs, and the audiences. I want to make this a direct-to-you newsletter; I don't want to accept advertising and incur the obligations that financial support would entail. I want each writer to be able to speak his/her uncensored mind and to be able to opine and gossip freely. We would have one correspondent covering each genre of music, so that if you're interested in zydeco but not in trad jazz, you can skip straight to the zydeco column, just as you would in a magazine. I've been to many years' worth of JazzFests, and one of the things that make them unforgettable and irresistible for me is the thousands of people packing the clubs and spilling into the streets at night, all swept away by the infectious, ebullient spirit of the music that is the heart and soul of New Orleans. And I'm guessing that there are many thousands like me out there who cherish memories of (and dream of returning to) steamy Louisiana nights spent blissfully sweating to the music in places like The Maple Leaf, Tipitina's, the Rock 'N Bowl, Cafe Brazil, Jimmy's, Preservation Hall, Maxwell's, Howlin' Wolf, House of Blues, Pampy's Tight Squeeze, Snug Harbor, Trombone Shorty's, Margaritaville, The Funky Butt, Donna's Bar -- et al, et al, et al. And if there's enough interest, maybe we could recruit a writer to cover the zydeco and cajun clubs in the Lafayette area. Right now I'm just testing the waters to see how many people would like to receive such a newsletter. Rather than take up any more time and bandwidth here, here's how you can respond and cast your vote: 1. Send an e-mail to: exarch@accesscom.net 2. In the subject line, just put "NOLA music" I will e-mail you back a very short questionnaire requiring only Yes/No answers so you can tell me what features you'd like the newsletter to have. If there's sufficient interest, our team will start compiling the first issue. Many thanks for your time and attention, --Maggie ========================================================================= Date: Tue, 21 May 1996 16:27:36 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Free Beer! (DC area) Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I tried to have a jam party this weekend, but most of my musician firends were unable to make it. (I probably should have posted a BOB - Basement of Blues announcement, LW style, to the list last week) Now I'm left with about 2/3 of a keg of Sierra Nevada, which I'm pretty sure will stay drinkable and tasty in my basement. If any of you Washington DC area musicians want to come over to jam and drink some good beer, let me know. Or if you're not a musician and you still want some of this beer, you can always come over to listen and have some. Contact me for time and directions. -Steve ========================================================================= Date: Tue, 21 May 1996 16:36:36 -0400 Reply-To: smirkyface From: smirkyface Subject: Johnny Clyde.. Speaking of Johnny Clyde Copeland, has anyone spoken to him lately? BRIAN MCLEAN PHOTOGRAPHY & SMIRKYFACE PRODUCTIONS "life's too short to live the blues" http://www.netaxs.com/~blmclean ========================================================================= Date: Tue, 21 May 1996 13:57:00 PDT Reply-To: Gary Joneson From: Gary Joneson Subject: Re: Itineraries (was Saffire Itinerary) >On harp-l, Danny Wilson puts together a weekly itinerary of worldwide acts >entertainment, and great exposure for the up and comers. And it Danny's listing is also on the WEB for those with web access and is updated weekly. The Saffire schedule is included in the listing (Gaye Adegbalola, harp) and can be found at: http://www.island.net/~blues/mags.html Gary BluesWEB http://www.island.net/~blues/ ========================================================================= Date: Tue, 21 May 1996 15:54:32 -0500 Reply-To: "Alice E. Brown" From: "Alice E. Brown" Subject: Re: death bed cd; was Re: last cd in your player Comments: To: "Jamie A. Kittel" Comments: cc: ABROWN@uasaturn.uark.edu In-Reply-To: <960520220926_117701472@emout19.mail.aol.com> Not necessarily blues... Into the mystic by Van Morrison Alice ========================================================================= Date: Tue, 21 May 1996 17:08:01 -0400 Reply-To: Patrick Henson From: Patrick Henson Subject: Re: SRV - Lets clear the air I'm pretty new here, but this SRV thing is getting old. I'm just curious, if no white man can really play the blues, and SRV was just an Albert King clone, what was Duane Allman, just an Ellmore James clone? Later Pat ========================================================================= Date: Tue, 21 May 1996 15:04:32 -0600 Reply-To: PAN D' MONIUM From: PAN D' MONIUM Subject: JJ Cale After reading through a bunch of posts re: who's in the CD right now and seeing some esoteric and eclectic choices, I began to go through my old vinyl stuff and pulled out an old J.J. Cale album, "Shadows". Anybody know whatever happened to him? There were a few good tunes on that record, despite the pops and hisses. Thanks, Paul ========================================================================= Date: Tue, 21 May 1996 17:35:54 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: John Kay, Sparrow / Grammar Patrol Comments: To: bmunson@itac.ca On Tuesday, May 21, Bill Munson wrote: >>>A few days ago Jim Rocco asked about John Kay and >>>the Sparrow, whose only LP was released >>>posthumously by Columbia when Steppenwolf got >>>big in the late '60s. Sorry, Bill, "postumously" refers to a event that occurs following death and not after a band ceases to exist. Lennon, Hendrix, Joplin, et al were all issued "postumously," but you can't use it for Steppenwolf. Dick Waterman ========================================================================= Date: Tue, 21 May 1996 21:27:19 GMT Reply-To: James Elmore From: James Elmore Organization: SuperNet Inc. (908) 828-8988 Subject: Re: buudy guy and fab t-birds in PA/NJ Comments: To: bit-listserv-blues-l@uunet.uu.net gm wrote: > >just found out that on Aug 25 at the Sony Blockbuster Centre in Camden >NJ Buddy Guy,Joe Cocker, the Radiators and the Fab T-Birds will be >performing. >i found this at http://www.pollstar.com >the local paper here in Phila PA noted that on May 24, Junior Wells >will be in concert at the North Star Bar. >Enjoy, >George The same acts (touring under the collective banner of "The House of Blues 1996 Barnburner Tour") are also scheduled in Central New Jersey on Aug 30 at the Garden State Arts Center. ========================================================================= Date: Tue, 21 May 1996 17:55:12 EDT Reply-To: Newman/Rabson <71552.541@COMPUSERVE.COM> From: Newman/Rabson <71552.541@COMPUSERVE.COM> Subject: Itinerary Since you asked I'll ask my husband to post my schedule here each time he updates it on my web page. It includes SAFFIRE's schedule and also my solo dates - which are pretty scarce these days as my time is going to prepare for a solo album. Ann ========================================================================= Date: Tue, 21 May 1996 21:56:26 GMT Reply-To: James Elmore Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: James Elmore Organization: SuperNet Inc. (908) 828-8988 Subject: Re: Red Deveils Comments: To: mchlvrsn@HALVERSON.COM Mark Halverson wrote: >Can anyone tell me what is the current status of the LA Blues Band the "RED >DEVILS?" EDITED According to an interview with RED DEVIL (and ex-Blaster) drummer Bill Bateman, in the BLASTERS newsletter, AMERICAN MUSIC, the RED DEVILS are defunct. Bateman (along with Blaster bassist John Bazz) was backing Brian Setzer in a new group. The RED DEVILS also did some unreleased stuff backing Mick Jagger. ========================================================================= Date: Tue, 21 May 1996 18:10:42 -0400 Reply-To: smirkyface From: smirkyface Subject: Jam on the river Ok, if any of you 'zellers are coming to the jam on the river, I'll probably be working the WD's table up to 7pm. After that I'll be at Wd's. Later we'll be heading to South street Blues, for cheap beer and some blues. I'm still thinking about the cookout thing. Let me know if any of you are interested in stopping by the club, and yes, I'll put you on the guest list. BRIAN MCLEAN PHOTOGRAPHY & SMIRKYFACE PRODUCTIONS "life's too short to live the blues" http://www.netaxs.com/~blmclean ========================================================================= Date: Tue, 21 May 1996 15:24:48 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Johnny Guitar Watson >From today's LA Times. Tuesday, May 21, 1996 Johnny Watson, Pioneering R&B Guitarist, Dies By MYRNA OLIVER, Times Staff Writer Johnny "Guitar" Watson, seminal rhythm and blues recording artist whose flamboyant technique influenced Jimi Hendrix and Frank Zappa, has died at the age of 61. Watson, who sometimes referred to himself as the "Gangster of Love," the title of a hit album he first made in 1958 and reprised in 1977, died Friday night of a heart attack during a performance in Yokohama, Japan. His sudden death was announced over the weekend by Al Bell, president of Bellmark Records in Los Angeles, which recorded his most recent album,"Bow Wow," in 1994. Watson lived in Los Angeles. Enjoying renewed popularity, Watson only last March received a Pioneer Award from the Rhythm & Blues Foundation in a presentation and performance ceremony at the Hollywood Palladium. The "Bow Wow" album was nominated for a Grammy for bes contemporary blues collection in 1995. "We're enjoying a period of reinvention," the guitarist told a Los Angeles audience at the House of Blues last year, delighted with adaptations of his work by the likes of Snoop Doggy Dog and Ice Cube. Born in Houston, Watson started out playing piano like his father. But the guitar always held a fascination for the youth, especially after he inherited one from his grandfather, a Southern preacher who warned him against playing blues. "My grandfather used to sing while he'd play guitar in church, man," Watson told The Times in 1993. "It's kind of hung with me for a long time." Young John Watson, as he was originally known, was also influenced by T-Bone Walker and Clarence "Gatemouth" Brown. Watson started playing piano with the Chuck Higgins' Mellowtones in Los Angeles but soon switched to guitar, recording the futuristic "Space Guitar," which pioneered use of reverberation and feedback. Touring and recording with the Olympics and then Little Richard, Watson became known for his enthusiastic showmanship and bad-boy charm in trademark hat and shades. He played the guitar standing on his hands, by picking it with his teeth or while leaping into the audience attached to amplification equipment by a 150-foot cord. In the 1950s and 1960s, Watson enjoyed occasional hits including "Those Lonely, Lonely Nights" and "Cuttin' In." He also toured and recorded with popular rock 'n' roll singer Larry Williams. Watson hit his stride in the late '70s, walking a middle line between pop disco and freaky funk, with half a dozen hit albums. Among them were "Ain't That a Bitch," "A Real Mother for Ya," "Funk Beyond the Call of Duty" and "Master Funk." Watson is survived by his mother, Wilma; his wife, Susan, and two children, DeJohn and Virginia. Copyright Los Angeles Times Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Tue, 21 May 1996 15:25:57 -0700 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Who do you love: top 22 summary Comments: To: bit-listserv-blues-l@cs.washington.edu Here's an unscientific summary of the results (29 respondents, 330 total artists listed, not everybody included just 20, some went over, some under). If anyone wants the whole thing emailed to them personally just let me know. 6 tied with 5 votes Skip James Blind Willie Johnson BB King Mississippi Fred McDowell Charley Patton Hank Williams Sr 5 tied w/ 6 votes Buddy Guy Jimi Hendrix Lightnin Hopkins Otis Spann Stevie Ray Vaughan 7 votes-Professor Longhair 3 tied with 8 votes John Lee Hooker Little Walter Elmore James 2 tied with 9 votes Albert King Sonny Boy Williamson (II) 2 tied with 10 votes Albert Collins Robert Johnson 2 tied with 11 votes Son House Howlin' Wolf And, the winner in a landslide (23 votes) Muddy Waters ========================================================================= Date: Tue, 21 May 1996 16:22:37 -0600 Reply-To: Peter Scott From: Peter Scott Organization: University of Saskatchewan Subject: Wang Dang Doodle in Winnipeg Comments: To: bit-listserv-blues-l@uunet.uu.net The poster for "Wang Dang Doodle: A Gala Blues Showcase" being held in Winnipeg, May 25th, is available at: http://library.usask.ca/~scottp/ as dave.bmp dave.jpg or dave.gif ========================================================================= Date: Tue, 21 May 1996 16:37:08 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Micheal Coleman Band I don't know about Michael's band, but he is definitely a fine guitar = talent. I remember him well from the days of the James Cotton Big Band. = He was on my radio show once. I seem to recall he was living in Florida = at the time. Very personable gentleman and a skilled expressive blues = player. Uncle Ray ---------- From: Pat Hertel[SMTP:phertel@CMC.DOE.CA] Sent: Tuesday, May 21, 1996 11:10 AM To: Multiple recipients of list BLUES-L Subject: Micheal Coleman Band They are to be in Ottawa this friday. Anyone out there that can tell me if they're worth a listen? Sez, they are from Chicago. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [21/5/96 6:50 AM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 21 May 1996 17:28:23 -0700 Reply-To: Guy Tapper From: Guy Tapper Subject: blues on the air Many thanks to Adrian for compiling the results of the top 20 lists. Very interesting stuff. I learned of a lot of people that I knew nothing or next to nothing about before. I'll have to try and hear some of these people (not an easy thing to do in a city where there is no blues on the air except for a low wattage college station). We had a great local 4hr blues show on our public radio station, hosted by a knowlegeable guy named Dan Poitier, which was abruptly cancelled for a network program of pop music. Which brings me to a question. Do most of you 'zellers have blues radio shows in your cities and towns? If so, are they mostly public radio programs, or do some places actually have commercial blues radio? If you choose to respond to this, please mention what city you're writing about. Thanks in advance for satisfying my curiosity. Guy Tapper Marine Life Research Group Scripps Institution of Oceanography 9500 Gilman Dr. La Jolla CA 92093-0227 (619)534-2358 (619)534-6500 fax ========================================================================= Date: Tue, 21 May 1996 22:09:36 +0100 Reply-To: Byron Foulger From: Byron Foulger Subject: London Blues Festival etc Alan Moodie queried who might be on at the London Blus Festival this coming weekend, well here is the mail I sent about a month ago, as far as I know it's still correct >Final (hoped for) line-ups for the London Blues festival, to be held the >weekend of 24-26 May 1966 (a holiday weekend in UK), at two sites, >Brentford and Blackheath, is as follows per Alan Robinson, (hope I've got >these right!) >>> >>>Friday May 24 >>> Brentford >>> Keb Mo >>> John Hammond >>> >>>Saturday May 25 >>> Brentford Blackheath >>> Magic Slim Gatemouth Brown >>> James Carr Wolfman Washington >>> Corey Harris Keb Mo >>> Big Clara Eddie Clearwater >>> Neil Pattman Eric Bibb >>> Tre >>> >>>Sunday May 26 >>> Brentford Blackheath >>> Gatemouth Brown Fabulous Thunderbirds >>> Eddie Clearwater Magic Slim >>> Larry Garner James Carr >>> Eric Bibb Corey Harris >>> Jordan Patterson Big Clara >>> Big Joe Turner Tre >>> >>>Doesn't look a bad weekend does it? >> > Byron ========================================================================= Date: Tue, 21 May 1996 18:29:20 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: John Kay, Sparrow / Grammar Patrol Senior member of grammar patrol wrote: >Sorry, Bill, "postumously" refers to a event that occurs following death and >not after a band ceases to exist. > >Lennon, Hendrix, Joplin, et al were all issued "postumously," but you can't >use it for Steppenwolf. __________________________________________________ I really hate to rain on the grammar patrol's parade, but the word is POSTHUMOUSLY *sigh* The things we have to put up with here... :-) -Jim (hndful@uniserve.com) ========================================================================= Date: Tue, 21 May 1996 22:08:05 -0400 Reply-To: SliderDW@AOL.COM From: Don Williams Subject: Re: London Blues Festival etc Comments: To: byron@roker.demon.co.uk In a message dated 96-05-21 21:37:07 EDT, byron@ROKER.DEMON.CO.UK (Byron Foulger) writes: > >>Final (hoped for) line-ups for the London Blues festival, to be held the >>weekend of 24-26 May 1966 (a holiday weekend in UK), at two sites, >>Brentford and Blackheath, is as follows per Alan Robinson, (hope I've got these right!) >>>>Sunday May 26 >>>> Brentford Blackheath >>>> Gatemouth Brown Fabulous >Thunderbirds >>>> Eddie Clearwater Magic Slim >>>> Larry Garner James Carr >>>> Eric Bibb Corey Harris >>>> Jordan Patterson Big Clara >>>> Big Joe Turner Tre >>>> BIG JOE TURNER???? Is there a new blues artist currently using that name? The only Big Joe Turner I ever heard of (Joseph Vernon Turner) died in 1985. Please enlighten me. Don Williams ========================================================================= Date: Tue, 21 May 1996 09:38:53 EST Reply-To: mstringer@HEARST.COM From: Mark Stringer Subject: Re: blues scales??? Comments: To: Enterado Listen to the lyrics of a song called ONE NOTE SAMBA by Antonio Carlos Jobim -Mark >I am trying to teach myself guitar more specifically >blues guitar and any info on soloing scales etec wpould help >alot thanks >tod enterado ========================================================================= Date: Wed, 22 May 1996 02:17:20 GMT Reply-To: CKUT_online@babylon.montreal.qc.ca From: CKUT online Organization: Babylon, Montreal, Canada Subject: Re: SAFFIRE Itinerary Comments: To: sprice@INAV.NET ...and, in particular, will Saffire be coming to Montreal anytime soon? John Detcheverry ========================================================================= Date: Tue, 21 May 1996 12:11:11 EST Reply-To: mstringer@HEARST.COM From: Mark Stringer Subject: Re: Blues Videos Comments: To: Dennis J Booth Look in Blues Review magazine or Mix magazine, in there you'll find an add for Vestapool videos. I haven't seen any yet, but they supposedly have film of Leadbelly, Son House and others Mark >Could anyone give me some infromation on where i can find Blues videos >of some of the old Blues Artists. >thank you >Denny B ========================================================================= Date: Tue, 21 May 1996 23:16:18 -0400 Reply-To: James Leftwich From: James Leftwich Subject: tutor advice I just started playing guitar again after a few years. I never was any good...I never had any kind of discipline for practicing... I had been planning on buying a nice $400 amp but recently decided the money would be better spent on lessons (I can still use my Gorilla!). What should I look for in a tutor and how much should I expect to pay. It seems whenever I tried lessons in the past my tutor was always pushing the music he liked. Also, would it be better to learn on an acoustic or electric? I need to build hand strength too... ============================================================================= Jim Leftwich Jim's Blues N' Brews leftwich@cloud9.net http://www.cloud9.net/~leftwich "I'm on cloud9!" :) New CD Giveaway: Sherman Robertson ============================================================================= ========================================================================= Date: Tue, 21 May 1996 22:29:36 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: Re: RED DEVEILS > Mark Halverson wrote: > >Can anyone tell me what is the current status of the LA Blues Band > >the "RED > >DEVILS?" EDITED > From: James Elmore > According to an interview with RED DEVIL (and ex-Blaster) drummer > Bill > Bateman, in the BLASTERS newsletter, AMERICAN MUSIC, the RED DEVILS > are > defunct. Bateman (along with Blaster bassist John Bazz) was backing > Brian Setzer in a new group. The RED DEVILS also did some > unreleased > stuff backing Mick Jagger. Former Red Devil guitarist Paul Size also has an unreleased album with Johnny Moeller for Dallas Blues Society Records. It will probably be out this Summer. Don O. ========================================================================= Date: Tue, 21 May 1996 13:37:11 EST Reply-To: mstringer@HEARST.COM From: Mark Stringer Subject: Re: Choices Comments: To: DMIELE I've only seen "Gatemouth", I never miss him when he comes to town Mark _______________________________________________________________________________ Subject: Choices From: DMIELE at Internet Date: 5/21/96 12:36 PM The Stanhope House, NJ's premiere blues club, is presenting some great show soon. I probably can't get to all of them. So can all you true-bluers help me to decide who to go see? The choices are: 1. Johnny "Clyde" Copeland 2. Luther Allison 3. Clarence "Gatemouth" Brown p.s. I've never seen any of them. Thanks for your help! ========================================================================= Date: Wed, 22 May 1996 00:57:33 -0400 Reply-To: "JOHN W. SCHARBROUGH" From: "JOHN W. SCHARBROUGH" Subject: Re: JIMMY VAUGHN???? Comments: To: bit-listserv-blues-l@uunet.uu.net Message-ID: <5157cc$17318.30e@tcnntp.trader.com> Date: Wed, 22 May 1996 04:49:08 GMT References: <31A1360D.1C6D@pophost.ping.be> Reply-To: FastJohn@trader.com (JOHN W. SCHARBROUGH) Organization: Traders' Connection, Inc. Posting-Version: TCON NNTPSend v 1.0.5 ; site 204.120.67.7 Lines: 14 Could you post any findings on Jimmie Vagun? I was wondering the same. thanks, John ************************************************************************** John Scharbrough FastJohn@trader.com Guitar player for the Shifters, Indys new HOT houserocking blues band ************************************************************************** --- * Traders' Connection Web BBS * http://www.trader.com * info@trader.com ========================================================================= Date: Wed, 22 May 1996 00:00:00 CDT Reply-To: sylviap@cartermill.com From: "sylviap@cartermill.com" sign off ========================================================================= Date: Wed, 22 May 1996 08:06:04 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Bad Credit? Slow Credit? No Credit? No Problem! Subject: Re: Meanin' of BLUES... Comments: To: bit-listserv-blues-l@uunet.uu.net On Mon, 20 May 1996 14:56:45 -0400, RAGAS_for_RAGS wrote: > For me.... > > BLUES is a feelin' that is transcendental. > Its a spiritual experience that takes me to different plateau > wherein I express my passion for Art free of parochial divisiveness. > > > What do u folks say.... That you've started the weekend a little early :) Kevan Smith cuthulu@rlabs.com the great purple hope for the blues ========================================================================= Date: Wed, 22 May 1996 08:49:45 GMT Reply-To: Erik Vanem From: Erik Vanem Organization: University of Oslo, Norway Subject: Re: Charles Brown CD Recommendations? Comments: To: bit-listserv-blues-l@nac.no > I recently realized that my cd collection is sadly lacking anything by > Charles Brown (I have a couple of tracks by Brown on various > compilation tapes, but no albums). What is a good one to start with? > > Thanks in advance > > -Steve L I would recommend his album on Alligator. I don't remember what it's called, but I don't think he has got more that one release on Alligator. Anyway, that was my first C.B. album, and it's still the one I like the most. Erik ========================================================================= Date: Wed, 22 May 1996 05:05:23 -0400 Reply-To: MB From: MB Subject: Mayfair - Allentow, PA In-Reply-To: <199605220410.AAA29846@listserv.brown.edu> Hi, Please excuse me if this has already been posted. This Thursday through Monday is the 10th annual Allentown, PA Mayfair. Mayfair is principally a large potpourri of music and food. Of particular interest to BLUES-L-ers are Chubby Carrier and the Bayou Swamp Band (Thursday @ 9:15 p.m. in the Cabaret Tent), Mike Dugan and the Blues Mission (Saturday @ 9:45 p.m. in the Cabaret Tent), and Queen Bee and the Blue Hornet Band (Monday @ 9:15 p.m. at the Lakeside Stage). There are several other acts that *sound* as if they're blues-oriented but I'm not sure. There are acts and food from (at least) noon 'til 11:00 p.m. each day. All of the music is free. The food is not free but good and of huge variety, including regional favorites such as funnel cake. There is also a Kids' Stage running until 7:45 p.m. each day and other events and demonstrations (boomerang throwing - the guys that went down and beat the Aussies during the eighties come from this area, parent-child look-alike contest, etc.). Lots to do. If anyone is interested in coming and needs driving directions, please e-mail me privately. Please indicate from where you'll be driving. Regards, MB _______ _______ ______ __ __ ______ _____ _______ _______ _______ | | | _ | __ \ |/ | | __ \ |_| _ | __| __| | | | < < | __ < | |__ |__ | |__|_|__|___|___|___|__|__|\__| |______/_______|___|___|_______|_______| MARK BLASS - ALLENTOWN, PA - blassms@ttown.apci.com - OPINIONS MY OWN ========================================================================= Date: Wed, 22 May 1996 05:28:00 PDT Reply-To: Meridith Farnworth From: Meridith Farnworth Subject: Re: blues on the air Guy T. posed this question yesterday.... > Do most of you 'zellers have blues radio shows in your cities and towns? > If so, are they mostly public radio programs, or do some places actually > have commercial blues radio? If you choose to respond to this, please > mention what city you're writing about. oh, if only! Out here in the Blues Wasteland of Cape Cod, the local classic rock station (WPXC) plays a whopping 15 minutes of the Blues for their "Blues At Two" segment every afternoon. sigh. Thank goodness for dmx, which is ALWAYS tuned to channel 30! --Meri mfarn@fibusa.com p.s. ooops, Cape Cod is not a city....specifically, I mean the thriving (soon to be over- run with tourists) metropolis of Hyannis, MA ========================================================================= Date: Wed, 22 May 1996 06:42:00 PDT Reply-To: Meridith Farnworth From: Meridith Farnworth Subject: Moeller / Size (was: RED DEVEILS) Don O provided this good news to wake up to.... > Former Red Devil guitarist Paul Size also has an unreleased album with Johnny > Moeller for Dallas Blues Society Records. It will probably be out this Summer. Please keep the List (or me privately, at least) updated on this'n!! I had the pleasure of seeing Johnny and Paul in Austin (Antones 19th Anniversary, when they were doing business as The Moellers) in 1994, and really dug 'em. Perhaps a big part of how much my sister and I enjoyed them was that, not having previously heard *of* them, never mind actually hearing them play, we were both pleasantly surprised (to put it mildly!) with what they were playing. Oh, sure...I reckon some of us would call it Blues-Rock, but whatever label you'd affix to it, we both enjoyed the hell out of it! Flashback: I recall being there in Antones, while they were setting up, thinking "oh, man...who in the world are THESE kids?! It looks to me like they took a wrong turn on their way to Seattle" (the grunge-look thang). Then they got down to playing...yikes! Later that night, long about 3 a.m., the boys came back to the stage for a jam, at which time Paul (who'd played bass earlier in the evening) amazed the small crowd of *maybe* 10 die-hards that remained with his guitar skills. Throughout those two weeks that we spent in Austin, we had the pleasure of running into both Johnny and Paul a number of times, buying Paul a Happy Birthday (his 19th, as I recall with a sigh?) beer, and doing shots with both of 'em on a couple of different evenings. whoops, I'm rambling. Anyway, I've always kept an eye peeled for any available recordings with either / both. So far, all I've come up with is Johnny playing with Texas Heat. I'll be anxiously awaiting availability of this release! --Meri mfarn@fibusa.com p.s. I've never judged a book by its' cover since then, though this may or may not relate to a recent thread regarding how to dress when you're in the spotlight. ========================================================================= Date: Wed, 22 May 1996 07:29:01 -0400 Reply-To: FORCELLAD@CCSUA.CTSTATEU.EDU From: Domenic Forcella Subject: Radio Blues The "State of the Blues" (Connecticut Blues Society newsletter) lists 11 radio stations playing the blues. It is a mixture of college, public radio, and commercial. With this mix all parts of the state get some coverage but no part gets all the stations. The amount of airplay varies with one large commercial doing 1 hour and a small college station doing 17hrs of blues. More details if you would like them. Domenic Forcella Traveling with the Blues ========================================================================= Date: Wed, 22 May 1996 11:33:13 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Blues Videos In-Reply-To: <9604218327.AA832707541@smtplinkout.hearst.com> On Tue, 21 May 1996, Mark Stringer wrote: > Look in Blues Review magazine or Mix magazine, in there you'll find an add for > Vestapool videos. I haven't seen any yet, but they supposedly have film of > Leadbelly, Son House and others > > Mark > > > > > > > >Could anyone give me some infromation on where i can find Blues videos > >of some of the old Blues Artists. > > >thank you > > >Denny B > STEFAN GROSSMAN'S GUITAR WORKSHOP, P.O. BOX 802, SPARTA, NJ. 07871 tel: (201)729-5544 fax: (201)726-0568 phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [22/5/96 7:08 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 22 May 1996 08:44:16 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: blues on the air Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com * Which brings me to a question. Do most of you 'zellers have blues *radio shows in your cities and towns? If so, are they mostly public radio *programs, or do some places actually have commercial blues radio? If you *choose to respond to this, please mention what city you're writing about. *Thanks in advance for satisfying my curiosity. There are a few DC area radio stations that have regular blues shows. WPFW and WDCU are public, member-supported stations which feature blues several blues shows. The only commercial station I know of that has a blues show in the DC area is WRNR. -Steve ========================================================================= Date: Wed, 22 May 1996 08:59:59 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Paul Oliver's _Story Of The Blues_ >Was I hallucinating, or was was there talk a while ago of this >wonderful book being reissued or reprinted or re-whatever? > >Likewise, any news on the forthcoming updated version of Dixon & Godrich's >discography? > >-Rob The 4th edition of Dixon, Godrich & (Howard) Rye is scheduled for publication later this year by Oxford University Press. I know of no plans to re-publish 'Story of the Blues'. If you know different, let us know. Chris Smith (chris@skerries.demon.co.uk) 2 + 2 = 5 for large values of 2 ========================================================================= Date: Wed, 22 May 1996 08:04:09 CST6CDT Reply-To: "Sara C. Oxton" From: "Sara C. Oxton" Organization: University of Minnesota Subject: Re: blues on the air Here in the Twin Cities a few different radio sources offer "the good stuff." Fresh Air Radio has been at it the longest, however, and offers the best blues programming. Lazy Bill Lucas and Tony Glover are d-jay alumni of Fresh Air. The station has 30+ hours per week of blues and soul, along with forays into gospel, zydeco, and PFunk. Fresh Air is a community-supported station (non-commercial). Another non-commercial station with a good blues show is KBEM. Regular programming on this station is jazz and traffic reports (interesting niche). But on Friday night, they have an excellent blues show, 10-midnight. The commercial stations have tried to jump on the bandwagon with occassional blues tunes dropped into the rotation. But the selection of these tunes is limited and fairly predictable. And of course, there's the super-obnoxious, syndicated HOB show that airs every Sunday. A recent arrival here is Solid Gold Soul, a syndicated soul station on the AM band. It's out of Dallas, and lots of fun. The luxury of driving around with Carla Thomas at full blast is one of life's true pleasures. All-in-all, it's a pretty good scene here. Sara _________________________________________ Sara C. Oxton Executive Secretary University of Minnesota Department of Food Science & Nutrition 1334 Eckles Ave. St. Paul, MN 55108 Ph: (612) 624-2787 Fax: (612) 625-5272 soxton@che2.che.umn.edu ========================================================================= Date: Wed, 22 May 1996 15:32:43 CDT Reply-To: sylviap@cartermill.com From: "sylviap@cartermill.com" PLease I would like to unsuscribe coul you tell me how??? Thank you ========================================================================= Date: Wed, 22 May 1996 09:32:47 EDT Reply-To: ron kraemer From: ron kraemer Subject: Re: SRV - Lets clear the air Troy posted how he first heard SRV his freshman year in college, and was hooked... I first heard Stevie around '82, and saw him in '83. Thought he sounded a HELLUVA lot like Jimi. Many more listens later, and I came to appreciate the nuances that made him different. But I still remember my first impression, which was that he's only "doin' Hendrix". Ron (still an SRV fan) ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters (and in another life....) Ron Kraemer and the Hurricanes ************************************************************ ========================================================================= Date: Wed, 22 May 1996 08:33:16 -0500 Reply-To: Mark Halverson From: Mark Halverson Subject: MINNESOTA BLUES FESTIVAL It was suggested a few hundred Blues List e-mails ago that I post a schedule for the 3rd annual Minnesota Blues Festival. The festival is a private venture held at the Brown County Fair grounds in New Ulm (those of you that speak German rejoice!), Minnesota. This is roughly 90 miles southwest of the Twin Cities. Here goes: Friday, June 14 5:00 Fabulous Hackmasters 7:00 Soulmates 9:00 Bryan Koenig & the Standback Blues Band 11:00 A.C. Reed & the Sparkplugs Saturday, June 15 1:00 Sweet Pea & JJ Louis Band 3:00 Radio X 5:00 Otis & the Alligators (one of my favorites & all time great at the Brokedown Palace, Washburn, Wisconsin - the USA's northernmost blues club!!! - ? ) 7:00 The Senders 9:00 Fenton Robinson 11:00 Tinsley Ellis Sunday, June 16 12:00 The Joel Johnson Band 2:00 R.J. Mischo & His Redhot Blues Band 4:00 Howard "Guitar" Luedtke and Blue Max 6:00 Uptown Rhythm Kings The festival apparently has had some growing pains, but still has a solid lineup. Crowds are much smaller & access much better than most festivals. Sponsored in part by New Ulm's Schell's brewery, a small family owned brewery which has been in business 140 years or so - which produces some excellent brews - a great brewery to tour if you have a couple hours to spare while in town. Tickets available at regional outlets and TicketMonopoly (507) 626-7919. Don't forget to check out the MCs on Saturday night - especially the one that looks a bit like Jerry Garcia (bless his blues-loving soul!!!) who has recently been squandering unreasonable amounts of time playing with Blues List and who authored this document. Also a good one day festival in the same area (Kasota, Minnesota) the next Saturday. More details on that later. 5/15; 5/22; ========================================================================= Date: Wed, 22 May 1996 09:53:45 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Brownie McGhee on Savoy? >Does anyone know if the Brownie McGhee LP, "Jumpin' the Blues" >on the Savoy Jazz label will be reissued on CD anytime soon? > >This was a great collection of Brownie's more Jump >Blues/R&B-oriented commercial recordings from the early 50s, >but for some reason it's been left out of the Savoy reissue >program that's been slowly trickling out of Japan. > > >-Peter I don't know of any plans for it, but it sure should be reissued! The above assessment is entirely correct. Chris Smith (chris@skerries.demon.co.uk) 2 + 2 = 5 for large values of 2 ========================================================================= Date: Wed, 22 May 1996 09:59:37 -0400 Reply-To: NoBrains/LooksRAGS From: NoBrains/LooksRAGS Subject: BLUES_ON_THE_AIR_Listing.. How about a compilation of RADIO STATIONS around the country/world wherein BLUES are offered on a regular basis... Let me start with a couple.... DAYS M Monday Tu Tuesday W Wednesday Th Thursday F Friday Sa Saturday Su Sunday +--------------------------------------------------------------------------+ | CITY/STATE/COUNTRY | STATION | PROGRAM | DAYS | +--------------------------------------------------------------------------+ | BOSTON, MA, USA | WERS 88.9 | BLUESOLOGY | M/Tu/W/Th/F | | BOSTON, MA, USA | WGBH 89.7 | BLUES AFTER HOURS | F/Sa | | BOSTON, MA, USA | WBOS 90.9 | BLUES AFTER HOURS | F/Sa | | | | | | | PITTSBURGH, PA, USA | WYEP 90.3 | BLUES SHOWCASE | Sa | | | | | | | | | | | | | | | | | | | | | | Wanna add to it.... +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ | _-\\|//-_ | | | // \\ | Laissez les bon temps roulez!! | | // ~~ ~~ \\ | Let the good times roll!! | | /d-(@)-(@)-b\ | ------------------------------ | | // L \\ | SANJAY 'RAGS' RAJAN | | // //|\\ \\ | sanjay_rajan@formtek.com | | ////`---'\\\\ | FORMTEK,INC. | | // //|||\\ \\ | PITTSBURGH, PA | | // /|||\ \\ | ------------------------------ | | -/---/\o/\---\- | Visualize Whirled Peas!! | | /"\ )| | +-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-+ ========================================================================= Date: Wed, 22 May 1996 09:03:28 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: blues on the air In-Reply-To: <68C84176@MHS> Here in San Antonio, the San Antonio College station has a blues show on Sunday afternoon. The local rock station has the HOB radio hour on Sunday mornings, but that's not blues, now is it? ;-) ;-) ;-) -Jeff (it was a JOKE, their radio show is pretty good) --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball #4 (coaches poll) U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc09.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Wed, 22 May 1996 14:08:09 +0000 Reply-To: Bob Bingham From: Bob Bingham Subject: Stevie (Rock) Vaughn Let me preface my following statements by saying that I think Stevie Ray Vaughn was a fine guitarist and an above average singer. I had the pleasure of meeting him twice and opened a show for him once at the Orpheum Theater in Minneapolis. The first time I saw Stevie it was in a small club setting in Minneapolis. I stayed for about an hour. It was to damn loud! My initial impression was that this guy does the best imitation of Albert King of anyone I've ever heard. I still feel that way. What makes a "great" musician great is the ability to become a stylist. When I listen to B.B. King I can hear traces of Django and Lonnie Johnson etc.. But I also hear a very unique, original, guitar style. The same can be said of Otis Rush, Albert King, Freddy King and on and on. I feel, as allot of other professional guitarists, do that Stevies' playing never matured to the point where he became a stylist in his own right. I suspect that if you spoke privately with a great many other musicians you would find my opinion runs rampant among them. The problem is that once someone becomes a rock icon, like Stevie has, personal opinions follow suit. People become afraid to say what they really think. I know for a fact this is true in this case from a great many other players I've talked to. Stevie Ray became popular for many reasons allot of which had absolutely nothing to do with his guitar playing.Here are a few 1. He was a crossover artist (rock/blues) 2. He was white 3. Because of the previous he was very marketable, and he was good at what he did I personally liked his guitar playing but, in my opinion, he lacked the playing depth of musicians like Hollywood Fats, Junior Watson and especially Duke Robillard. Just ask yourself, why aren't these guys national heroes. I played in Luther Allisons' band at one time. He is twice as good a singer as Stevie and on a good night he could match him note for note on guitar. Why isn't he making the kind of money Stevie was making before he died.The answers to these questions are obvious and I've listed three of them above. In conclusion, I'm nt trying to diminish Stevies' playing ability or accomplishments, but I think its about time everyone calmed down, took a deep breath, a tried to place some of this stuff in it's proper perspective. A good dose of honesty wouldn't hurt either. Thanks for listening. Bob ========================================================================= Date: Wed, 22 May 1996 14:14:28 GMT Reply-To: ethan r snow From: ethan r snow Organization: BrightNet Setup Subject: Re: SAFFIRE Itinerary Comments: To: bit-listserv-blues-l@uunet.uu.net In article , sprice@INAV.NET says... > > Say, I bet a lot of people would be interested in Ann's >itinerary. Am I wrong? I bet it would be neat if she posted it to >blues-l. Don'tcha think? > > Steve Saffire does have their own web site where they list all of there tour dates. I'm not sure of the exact URL no. but can find it using Yahoo search engine. james ========================================================================= Date: Wed, 22 May 1996 09:26:35 -0500 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: BLUES_ON_THE_AIR_Listing.. In Austin we have "Blue Monday" on KUT monday evening from 8:00 to 12:00. BTW the best Blues radio show I've heard is Don O.'s on KNON in Dallas. Bruce Roberts Austin, TX ========================================================================= Date: Wed, 22 May 1996 10:31:54 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: BLUES_ON_THE_AIR_Listing.. Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com * How about a compilation of RADIO STATIONS around the country/world * wherein BLUES are offered on a regular basis... * I think this has already been done on The Blue Highway. (I don't have the url handy, can you help here Curtis?) -Steve ========================================================================= Date: Wed, 22 May 1996 10:41:54 -0400 Reply-To: Leo Aspiras From: Leo Aspiras Subject: Jump Blues Summit Hi everyone: I have to share this with everyone on the list who might be interested in jump blues......i received my latest issue of Bass Player magazine yesterday and there is an article about the whole genre of current jump blues.....Bass Player assembled an interview with all of my current favorites.....Ronnie James Weber (Little Charlie & The Nightcats....Mark Hummel....Rusty Zimm), Bob Parr (Brian Setzer.....Wynonna & Michael English), Bill Stuve (Rod Piazza & The Mighty Flyers....Johnny Dyer.....Rick Holmstrom.....Gary Primich....William Clark), Larry Taylor (Hollywood Fats.....Junior Watson......Charlie Musselwhite....Tom Waits), Tyler Pedersen (Johnny Dyer......Kid Ramos........Rick Holmstrom......William Clarke)...... As you can see, these are all West Coast bassists.......besides talking about the type of equipment they use, most cite Willie Dixon (in the 50's when he backed Muddy and Howlin' Wolf) as a prime influence......suprisingly even Marshall Pingatore was mentioned (he does the bass on Bill Haley's rock around the clock)......all of them pay homage to grandfather larry taylor who in the mid 70's formed L.A.'s Hollywood Fats Band...... At the end of the article, Bass Player recommends the following CD's for the uninitiated (i have most and also join in with the recommendations): 1) Rhino's Blues Masters Volume 5: Jump Blues Classics and Blues Masters 2) " " " " 14: More Jump Blues 3) L.A. label's Louis Jordan Wynonie Harris and Roy Brown compilations 4) Columbia's Roots N' Blues Series Willie Dixon - The Big Three Trio 5) Delmark's Wynonie Harris - Everybody Boogie (these were the four 1945 Apollo label sessions and Harris is backed by, among others, Illinois Jacquet's band (with a 23-year-old Charles Mingus on bass) and Oscar Pettiford & His All Stars. O.P.'s swingin' solos on "Everybody Boogie" and "Time to Change Your Town" are blue bop master- pieces. recommendations from the Bass Player for the 5 bassist are: 1) Black Top's Hollywood Fats Band - Rock This House (Larry Taylor) " " Junior Watson - Long Overdue (Bill Stuve/Larry Taylor) Not connected to Bass Player in anyway (just a longtime subscriber)..... Enjoy..... scatman leo down d.c. way.....bassist for Dave Sherman & The Nightcrawlers ========================================================================= Date: Wed, 22 May 1996 07:54:37 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: May 23 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BLACKWELL, BUMPS (p/prod/SPECIALTY REC) b. 1918-0523, SEATTLE, WA BOOZE, BEATRICE "WEE BEA" (v) b. 1920-0523, BALTIMORE. MD BRACKEN, JAMES C. (co-owner: VEE JAY REC) b. 1909-0523, KANSAS CITY, MO BRAGG, AL "TNT" (d/prod) b. 1934-0523, DALLAS, TX BRYANT, MARIE (v/ELLINGTON) d. 1978-0523, LOS ANGELES, CA 59 BUCKLE, RODNEY (owner : SONET REC) b. 1945-0523, LONDON, UK CROTHERS, SCATMAN (p/g/d) b. 1910-0523, TERRE HAUTE, IN FULWOOD, RAMON "TIKI" (d/FUNKADELIC) b. 1944-0523, PHILADELPHIA, PA GLENN, LLOYD (p/LOWELL FULSON) d. 1985-0523, LOS ANGELES CA 75 GUNTER, ARTHUR (g/EXCELLO REC) b. 1926-0523, NASHVILLE, TN GUY, FRED (g/ELLINGTON) b. 1899-0523, BURKEVILLE, GA HAYES, EDGAR J. (p/DECCA REC) b. 1904-0523, LEXINGTON, KY HILL, CHARES WESLEY (v/SOUTHERN SONS) b. 1919-0523, DANVILLE, VA JOHNSON, GENERAL NORMAN (of CHAIRMEN OF) b. 1943-0523, NORFOLK, VA MABLEY, JACKIE "MOMS" (v/comedy) d. 1975-0523, WHITE PLAINS, NY 78 PASS, JOE (g) d. 1994-0523, LOS ANGELES, CA 65 SHAW, ARTIE (cl) b. 1910-0523, NEW YORK CITY, NY SHURMAN, DICK (prod/author) b. 1950-0523, LOS ALAMOS, NM SPANN, LES (g) b. 1932-0523, PINE BLUFF, AR WRIGHT, BILLY (v/SAVOY REC) b. 1918-0523, ATLANTA, GA ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 22 May 1996 11:05:51 -0400 Reply-To: Ed Mezynski From: Ed Mezynski Subject: Re: SRV's hormonal problems Comments: To: dcicchet@LASIERRA.EDU Ed Mezynski said: (in response to a suggested moratorium on discussing "the best" anything) >>Don, >> >>Excellent proposal, DC! But before it goes to a vote, I'd like to say >>that this is "one of the best" ideas offered to the list in a long, long >>time. > > >NO WAY!! It's the **BEST EVER**!! > >wanna argue about it? > >Or is this just another testosterone problem?? Ok, BEST EVER works for me. And you might be interested to know that I double checked my testosterone level, and the dipstick showed full. Now, your supposed to check that in neutral, right? ;^{) ed ========================================================================= Date: Wed, 22 May 1996 11:07:16 -0400 Reply-To: Monny71@AOL.COM From: "Monica A. Widmaier" Subject: the blues I am new to this list but i was wondering if anyone could tell me of some good blues places to go in the Philly area...any places where you can hear the blues live....also, does anyone know where Buddy Guy is playing on Aug. 25th in Philly? I just got his live cd and it's sooo beautiful!!! Thanks! monica w. Monny71@aol.com ========================================================================= Date: Wed, 22 May 1996 11:17:55 -0400 Reply-To: TDominey From: TDominey Organization: America Online, Inc. (1-800-827-6364) Subject: Re: blues on the air Comments: To: bit-listserv-blues-l@uunet.uu.net I host "Blues in the Night" on public radio in Charleston, S.C. Every Sat. night at 9pm for an hour. Fortunately, there is a commercial radio station that popped up here in Charleston, and has quickly taken over 3 more frequencies - running the coast-line of S.C. and N.C. It's called "The Breeze" subtitled "Beach, Boogie and Blues." They tend to play a little too much beach music, but they still crank out the bloooze all day and night! If you're ever in the area, check it out. Cheers - T. Dominey ========================================================================= Date: Wed, 22 May 1996 11:30:16 -0400 Reply-To: BlueKing@AOL.COM From: Gregory A King Subject: Re: SRV and whiteboy blues It's been real interesting reading all these SRV comments. Some of the statements have really amazed me - like Son House being a better guitar player than Stevie? - two completely different styles. Or that SRV coped everything from Albert because their styles were similar? There are some of us here that will always favor the black/delta players. Praise them as the real Gods Of Blues because they "started it all". That's fine, some folks actually like tofu and bean sprouts. As a blues guitarist today I do feel I owe a debt to the "old masters". But my real debt is to the white boys who brought me the blues. And every single one of them - from Bloomfield to Page - pointed me to the ones who influenced them. When I saw Muddy on stage with Bloomfield at the Fathers and Sons concerts in Chicago I saw an expression of admiration shown not only by Bloomfield for Muddy but in Muddy for Mike as well. Muddy would rock and shout when Mike played a flash solo. There was no racial tension - no "you stole that from me" attitude. They were just a bunch of guys playing their music. I played second lead in an all black blues band fronted by Preacher Jim and never felt any white/black tension. We were playing blues - together. It is one of the best things about the blues - it's not white, black, brown, red or purple - it's blues. Get over it. greg ========================================================================= Date: Wed, 22 May 1996 10:34:44 -0500 Reply-To: Mark Halverson From: Mark Halverson Subject: Blues on the air listing On KMSU/KMSK, Mankato (89.7)& Austin (91.3), Minnesota and the network's several translators, blues has been integrated into the daytime programming and is featured on "Blues Before Monday" Sundays, 7 - 10:00 PM and on "Bluesbreak", a short daily segment that airs at 11:45 AM, or so. I,ve periodically visited the Blues Highway listing just pointed out by a subscriber. It appears to be a well maintained list: http://www.vivanet.com/~blues/makers.html Also a good listing of radio programming in the Living Blues "Blues Directory," an updated version (supposedly) due for release any day. By the way, I am the cohost of the dedicated blues programming mentioned above. Send review materials to: M.C. Halverson, 301 USOC - 201 North Broad Street, PO Box 3544, Mankato, MN 56002, if you wish. We report to various services and tend to give small label material prime consideration. We also do a "performance series" that brings national blues acts to our brodcast hub area. If anyone is on a routing (we're about 75 miles SW of the Twin Cities) that could conveniently pass through here, let me know. Does anyone really want to see stations' playlists on Blues List? I'll include mine (at least occassionally) if anyone really cares. ========================================================================= Date: Wed, 22 May 1996 11:40:56 -0400 Reply-To: BlueKing@AOL.COM From: Gregory A King Subject: Re: Stevie (Rock) Vaughn In a message dated 96-05-22 11:17:04 EDT, mitawan@CYBERVAULT.COM (Bob Bingham) writes: > Stevie Ray became popular for many reasons allot of which had absolutely >nothing to do with his guitar playing.Here are a few >1. He was a crossover artist (rock/blues) >2. He was white >3. Because of the previous he was very marketable, and he was good at what >he did hmmm...are you saying that black artists aren't marketable? gk ========================================================================= Date: Wed, 22 May 1996 15:36:55 GMT Reply-To: Mark A Basten From: Mark A Basten Organization: College of Engineering, Univ. of Wisconsin--Madison Subject: Re: blues on the air Comments: To: bit-listserv-blues-l@uunet.uu.net Guy Tapper writes: {snip} > Which brings me to a question. Do most of you 'zellers have blues >radio shows in your cities and towns? If so, are they mostly public radio >programs, or do some places actually have commercial blues radio? If you >choose to respond to this, please mention what city you're writing about. >Thanks in advance for satisfying my curiosity. > I'm just a mere listener (there's a mess of dj's on this list), but here in Madison, WI we have two wonderful blues shows on a local community radio station (WORT 89.9). For blues on commercial radio, the closest we get is the occasional song from JLH, Buddy, BB, JLW, or Paul Black (local slide guitarist) on a 'progressive' radio station (WMMM 105.5). They also carry the HOB Radio Hour and Blues Breaks. Maybe I'm just optimistic but it seems to me that the amount of blues airplay on this station has been slowly increasing over the past few years. Also, if you are not yet aware of it, you should check out a great web site created by 'zeller Curtis Hewston (http://www.vivanet.com/~blues/). Click on "Bluescasts" and you will get listings, by state, of various blues radio shows across the US. There is also a way to add shows that are not yet listed (hint, hint y'all!). This is a great resource for those long car trips but just be careful you don't start planning your trip around blues radio shows! (my wife: "We're leaving at WHAT time tonight??!!) Mark Basten basten@cae.wisc.edu ========================================================================= Date: Wed, 22 May 1996 15:38:32 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Bad Credit? Slow Credit? No Credit? No Problem! Subject: Re: SRV In-Reply-To: <4nqbjm$lj5@news1.t1.usa.pipeline.com> On Mon, 20 May 1996 17:53:58 GMT, VT wrote in bit.listserv.blues-l: >Die stupid thread - PLEASE die, die, DIE! Argh! They got me! Right in the volume knob! Goodbye cruel world. Am I a legend yet? Kevan Smith cuthulu@rlabs.com the great purple hope for the blues ========================================================================= Date: Wed, 22 May 1996 08:51:07 -0700 Reply-To: Guy Tapper From: Guy Tapper Subject: Re: BLUES_ON_THE_AIR_Listing.. >* How about a compilation of RADIO STATIONS around the country/world >* wherein BLUES are offered on a regular basis... >* > >I think this has already been done on The Blue Highway. (I don't have >the url handy, can you help here Curtis?) > >-Steve Blue Highway is at http://www.vivanet.com/~blues/ Guy Tapper Marine Life Research Group Scripps Institution of Oceanography 9500 Gilman Dr. La Jolla CA 92093-0227 (619)534-2358 (619)534-6500 fax ========================================================================= Date: Wed, 22 May 1996 12:34:45 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Seeking Info on the Blue Crab Festival in Florida What can anyone tell me about the Blue Crab (blues?) festival in Florida (between Jacksonville and Daytona) over Memorial Day Weekend? Big fest? Small? Good? Line-up? Any info would be appreciated muchly. Thanks! Shannon ========================================================================= Date: Wed, 22 May 1996 12:48:02 EDT Reply-To: Newman/Rabson <71552.541@COMPUSERVE.COM> From: Newman/Rabson <71552.541@COMPUSERVE.COM> Subject: Japan My brother is spending next year in Japan and I was thinking it would be a great way (probably the only way) to visit him if I could book a solo tour in Japan or if I could influence SAFFIRE to do a tour in Japan next year. Anyone out there know any blues promoters active in Japan? Ann Rabson ========================================================================= Date: Wed, 22 May 1996 10:09:20 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: SRV and whiteboy blues Greg... You missed the point... comepletely... die stupid threat die die die die die die DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Wed, 22 May 1996 10:10:08 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Stevie (Rock) Vaughn Die die die die die die stupid stupid thread die die DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Wed, 22 May 1996 13:48:35 EDT Reply-To: Newman/Rabson <71552.541@COMPUSERVE.COM> From: Newman/Rabson <71552.541@COMPUSERVE.COM> Subject: Rabson/Saffire Schedule ANN RABSON PERFORMANCE SCHEDULE (includes SAFFIRE appearances) Updated May 22, 1996 Please consult local listings for show times, ticket prices and availability. 5/23 Jarson Kaplan Theater Aranoff Center Cincinnati, OH 513-621-2787 with Saffire 5/25 Be Here Now Asheville, NC with Saffire 5/30-6/2 CRUISE WITH SAFFIRE! Livin' The Blues Cruise Port Canaveral, FL Saffire / Lucky Peterson / Midnight Creepers AND MORE! 407-788-8552 6/2 Sebastian Beach Inn Melbourne Beach, FL with Saffire 6/6 Sapphire Supper Club Orlando, FL with Saffire 6/7 Skipper's Smokehouse Tampa, FL with Saffire 6/8 South Florida Music Expo Ft. Lauderdale, FL with Saffire 6/9 Three River Festival Pittsburgh, PA with Saffire 6/21 Leapin' Lizard Festival Montgomery, AL with Saffire 6/23 House of Blues New Orleans, LA with Saffire 6/25 Indianapolis Museum of Art Indianapolis, IN with Saffire 6/28 Piazza Blues Festival Bellinzona, Switzerland with Saffire 6/29 Rovigo Blues Festival Rovigo, Italy with Saffire 7/13-14 Cincinnati Blues Festival Cincinnati, OH Ann solo 7/14-19 Blues Week Augusta Heritage Festival Davis & Elkins College Elkins, WV Classes conducted by a host of blues artists including Ann and the other members of Saffire. 7/23 festival Steamboat Springs, CO with Saffire 7/25 Linden's Ft. Collins, CO with Saffire 9/6 Dennos Museum Traverse City, MI with Saffire 9/7 & 9/8 Wheatland Music Festival Remus, MI with Saffire 9/18 Nat'l Conference on Child Abuse & Neglect Washington, DC with Saffire 9/22 The Double Door Charlotte, NC with Saffire 9/29 S.F. Blues Festival San Francisco, CA with Saffire 4/26/97 Grand Opera House Oshkosh, WI with Saffire ========================================================================= Date: Wed, 22 May 1996 17:51:08 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Bad Credit? Slow Credit? No Credit? No Problem! Subject: Re: Secret Devil Tuning of Robert Johnson. Comments: To: bit-listserv-blues-l@uunet.uu.net On Mon, 20 May 1996 21:12:14 -0500, "P.W. Fenton" wrote: >And hey kids... watch for the new Secret Devil Tuning trading >cards!!!! Collect all six!!! Aw, dagnabint! I'm the author of "Secret Devil Tuning," and it looks like my publisher, Ol' Scratch, Inc., jumped the gun. I gotta read small print better. Well, since the cat's out of the bag, here it is, from low to high: E A# E A# C G We of course assume no liability for improper use of this tuning. Kevan Smith cuthulu@rlabs.com the great purple hope for the blues ========================================================================= Date: Wed, 22 May 1996 18:02:10 GMT Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: Seeking Info on the Blue Crab Festival in Florida Comments: To: shannon oconnor On Wed, 22 May 1996 12:34:45 EST, shannon oconnor wrote: > What can anyone tell me about the Blue Crab (blues?) festival in > Florida (between Jacksonville and Daytona) over Memorial Day > Weekend? Big fest? Small? Good? Line-up? Any info would be > appreciated muchly. Friday through Monday in downtown Palatka, Florida (at US 17 and SR 100, about 50 miles south of Jacksonville). Small town (pop. 10,000). Modest line-up: FRIDAY 8 pm-midnight: Not Tonight, I've Got The Blues Band SUNDAY 12:30-3:30 pm: Pretty Boy Freud SUNDAY 4-7 pm: Cincinnati Blues All Stars SUNDAY 8-9:15 pm: Lucky Peterson SUNDAY 9:45-12:30 am: Midnight Creepers MONDAY 12:30-4 pm: Dr. Hector & The Groove Injectors It's free. For more info, call (904) 325-4406. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Wed, 22 May 1996 13:12:40 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Booking Honeyboy Edwards Well, in there was justice, people like Honeyboy Edwards should not need a booking agent - They should be (by default) invited to every festival there is - so they can pick ones the want to play in. Each blues society should have in their Articles specified that they cannot maintain non-profit status if they don't put on at least one gig for old-timers like Honeyboy. List of old-timers should be created and updated every year by a board of blues authorities. Ranko ... just dreaming off course... ========================================================================= Date: Wed, 22 May 1996 14:21:02 EST Reply-To: mstringer@HEARST.COM From: Mark Stringer Subject: Re[2]: Secret Devil Tuning of Robert Johnson. Comments: To: cuthulu@prysm.net I can't believe you let that kind of info out to the general public. Beware, the hell hounds run free. Mark >Aw, dagnabint! I'm the author of "Secret Devil Tuning," and it looks >like my publisher, Ol' Scratch, Inc., jumped the gun. I gotta read small >print better. >Well, since the cat's out of the bag, here it is, from low to high: >E A# E A# C G >We of course assume no liability for improper use of this tuning. ========================================================================= Date: Wed, 22 May 1996 14:36:58 -0400 Reply-To: Patrick Henson From: Patrick Henson Subject: Re: BLUES_ON_THE_AIR_Listing.. In Savannah, GA, we have the Savannah State College station(I can't recall their call letters),90.3 FM. They do "Nothin' But the Blues, Saturday 8:00am to 12:00 noon. Later Pat ========================================================================= Date: Wed, 22 May 1996 11:41:17 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: SRV and whiteboy blues, R.Ward, R.Lowery, R.Earl, Smokehouse... Mayve if we all stamp our feet, scream, and punch the air with our fists at the same time it'll go away! Alright, bluezellers who get the point already, ALL TOGETHER NOW: DIE STUPID THREAD!!! DIE!!! DIE!!! DIE!!! DIE!!! DIE!!! Let's get off this thing!!! I got a question: is Robert Ward touring at the moment? Which of his three Black Top releases is your favorite (I'll prob'ly get them all, but I'm curious). Also: I picked up Robert Lowery's album on the Orleans label - great acoustic blues with nice harmonica work, very tasty drum work, and several tracks featuring Katy Webster's piano - this is a very nice album for anyone who like the acoustic blues rough and ready - I recommend it. Oh, yeah, one more thing. Has anyone heard the album by Smokehouse on King Snake Records? It got a very positive review in the previous issue of LB (the one with Corey Harris on the cover), and I haven't heard it mentioned on Blues-L atall. Ah, what the heck, while I'm here... I picked up Ronnie Earl's album on Audioquest, Still River (1993), and I must say, WOW!!! Up til now I had kind of avoided his stuff, thinking it would be some guitar wankfest - how wrong I was!!! [I think it was LW's recommendation that led me to purchase it...thanks Leonard, if you're still here somewhere...] Yes, there's some jazz mixed in for good measure(a beautiful version of Coltrane's Equinox, for one), but Rego Park Blues is 11:34 of pure slow burning blues, with tasteful, crisp, emotional guitar work, and excellent Hammond playing by Bruce Katz - kudos to the producers for that Hammond Sound they acheived on this album - it rumbles and boils beneath the surface of each track, and grabs you during the solos. Good stuff, to say the very least!!! I have yet to hear an Audioquest album that I didn't like. -Jim (hndful@uniserve.com) ========================================================================= Date: Wed, 22 May 1996 13:46:07 -0500 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: Stevie (Rock) Vaughn Comments: To: dcicchet@LASIERRA.EDU In-Reply-To: <199605221713.KAA17534@inet.lasierra.edu> from "Don Cicchetti" at May 22, 96 10:10:08 am In an earlier message, Don Cicchetti said: ] Die die die die die die ] stupid stupid thread ] die die I just imagined a Deep Space Nine episode where COmmander Cisco and Dax are arguing vehemently as to whether nonhumans can be true bluesbeings.... -- * The most exciting phrase to hear in science, the one that heralds new * discoveries, is not "Eureka!" (I found it!) but "That's funny ..." * -- Isaac Asimov ========================================================================= Date: Wed, 22 May 1996 15:09:09 EDT Reply-To: ron kraemer From: ron kraemer Subject: Another "Hurricane" coup! I just found out that we'll be opening for "Satan and Adam" on Saturday night, June 1, at the Old Bay in New Brunswick, NJ!! Satan and Adam were one of the best acts at last year's Riverfest Blues in Philly, keeping the crowd up and dancing throughout their entire set. Ditto when I saw them at the North Star bar in Philly this past winter, so it should be more of the same. Ron (more than a little excited!) ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters (and in another life....) Ron Kraemer and the Hurricanes ************************************************************ ========================================================================= Date: Wed, 22 May 1996 14:09:47 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Booking Honeyboy Edwards Comments: To: Ranko Vujosevic In-Reply-To: <199605221812.NAA03091@monet.ccad.uiowa.edu> BTW, one of the best things Ranko did as founding President of the Johnson County (Iowa) Blues Society was book Honeyboy Edwards. It gathered the biggest crowd of any Society event (except the Riverbank Blues Fest, which the Society co-sponsors), and the Honeyboy played twice as long as he was contracted to. The crowd hung on every his every note and story. All ages were present. He just kept playing, didn't want even to take a break. It was a fantastic show. He was really enjoying the crowd's appreciation for his music. A longtime blues fan and record collector (who owns the local CD shop that has the most FANTASTIC blues section in the state) had brought long out of print records of Honeyboy's for him to autograph, and the collector told me he'd never heard him sound so good. So if you're considering booking him, that's the potential. Ranko's call, it was a good one. Steve ========================================================================= Date: Wed, 22 May 1996 15:13:16 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: SRV and whiteboy blues, R.Ward, R.Lowery, R.Earl, Smokehouse... Comments: To: Jim Witteveen In-Reply-To: <96May22.114117pdt.30783-15629+526@haven.uniserve.com> On Wed, 22 May 1996, Jim Witteveen wrote: > Ah, what the heck, while I'm here... I picked up Ronnie Earl's album on > Audioquest, Still River (1993), and I must say, WOW!!! Up til now I had > kind of avoided his stuff, thinking it would be some guitar wankfest - how > wrong I was!!! [I think it was LW's recommendation that led me to purchase > it...thanks Leonard, if you're still here somewhere...] Yes, there's some > jazz mixed in for good measure(a beautiful version of Coltrane's Equinox, > for one), but Rego Park Blues is 11:34 of pure slow burning blues, with > tasteful, crisp, emotional guitar work, and excellent Hammond playing by > Bruce Katz - kudos to the producers for that Hammond Sound they acheived on > this album - it rumbles and boils beneath the surface of each track, and > grabs you during the solos. Good stuff, to say the very least!!! I have > yet to hear an Audioquest album that I didn't like. Ronnie Earl's work on the new Audioquest Joe Beard CD BluesUnion is comparably captivating. Here (due to the presence of Mr. Beard) is more of a blues and soul side to Mr. Earl. Agreed too that AQ does not put out bad CD's. Has anyone listened to their jazz side. Just wondering what's there of interest. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Wed, 22 May 1996 15:19:40 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: R.Ward Comments: To: hndful@uniserve.com In a message dated 96-05-22 15:17:01 EDT, hndful@UNISERVE.COM (Jim Witteveen) writes: >I got a question: is Robert Ward touring at the moment? Which of his three >Black Top releases is your favorite (I'll prob'ly get them all, but I'm >curious). The first one. And after that, or maybe tied (or maybe AHEAD of it) the Relic release reissuing the 60s stuff. I'm not certain how to rank the 2nd and 3rd Black Top. ========================================================================= Date: Wed, 22 May 1996 12:23:05 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: GEARHEADS: I won a guitar! Yup, the subject header says it...It's a Yamaha Strat clone, with three pickups, and it came with a nice little amp. I haven't played electric guitar (I've been playing for +12 years, but always on acoustic, and lately on a Samick electric/acoustic), except for short test runs in music shops, and I haven't really paid much attention to the various electric guitars, qualitywise, since I never had the money to afford one. So, here's my question: where would the difference in quality between this and a Strat lie? I really like the tone of this guitar and my larger Fender amp, and I'm curious as to whether or not the difference is noticeable to your average hacker. Two things I have noticed on this guitar - the fret edges are a little ragged in places, and the volume knob is in an awkward location (I tend to hit it accidentally when playing). Other than that, I, a mere novice who has steadily (and rather stupidly) deleted most of the gearhead posts on Blues-L, would be hard-pressed to tell the difference between this and a higher quality guitar. So if someone could give me the scoop, I'd be much obliged. -Jim (hndful@uniserve.com) ========================================================================= Date: Wed, 22 May 1996 14:28:38 -0600 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Re: Booking Honeyboy Edwards > > BTW, one of the best things Ranko did as founding President of the > Johnson County (Iowa) Blues Society was book Honeyboy Edwards. It > gathered the biggest crowd of any Society event (except the Riverbank > Blues Fest, which the Society co-sponsors), and the Honeyboy played twice > as long as he was contracted to. The crowd hung on every his every note > and story. All ages were present. He just kept playing, didn't want > even to take a break. It was a fantastic show. He was really enjoying > the crowd's appreciation for his music. A longtime blues fan and record > collector (who owns the local CD shop that has the most FANTASTIC blues > section in the state) had brought long out of print records of Honeyboy's > for him to autograph, and the collector told me he'd never heard him > sound so good. > > So if you're considering booking him, that's the potential. > Ranko's call, it was a good one. > > Steve > Steve, you brown-nosed, frustrated harp player. My bigest MISTAKE was finding those gigs for youi and your band. See what happened!? You used to be a decent human being, now you havei an earing, long hair, "I-am-looking-through-you" kinda attitude, and no time for "old-timers." Anyway, meeting Honeyboy Edwards was THE most rewarding experience in my involvement with blues society. Since he doesn't drive (at least long distance) anymore, we payed bus fare for him, and Catfish Keith and I waited for him at the bus station. We took him to a very nice hotel and wanted to take him for dinner. He said that he did not want dinner, he brought his sandwich from home. He just wanted to rest a little bit. Before the gig I asked him how long he will play and he said 90 minutes. As Steve said, he ended up playing almost 3 hours. Catfish and I did an interview with him for two hours the following day and he was more than happy to tell us all those stories of his. After that two of our mambers drove him to Burlington, Iowa for another gig. He wanted to buy them breakfast on the way. Honeyboy Edwards is the sweetest person in the world (Oups, sorry Don, I just remember I was not suposed to say that -:). And he still puts on hell of a show. Ranko ========================================================================= Date: Wed, 22 May 1996 13:57:26 -0600 Reply-To: Bennett Pearce From: Bennett Pearce Organization: UAB Pediatric Cardiology Subject: Blues Clubs in Dallas Comments: To: bit-listserv-blues-l@uunet.uu.net Anyone know some good clubs in Dallas Ft Worth area? Whwere does Anson/Sam play on a regular basis? -- Bennett Pearce, MD ========================================================================= Date: Wed, 22 May 1996 13:35:57 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: GEARHEADS: I won a guitar! Jim said: >Yup, the subject header says it...It's a Yamaha Strat clone, with three >pickups, and it came with a nice little amp. I haven't played electric >guitar (I've been playing for +12 years, but always on acoustic, and lately >on a Samick electric/acoustic), except for short test runs in music shops, >and I haven't really paid much attention to the various electric guitars, >qualitywise, since I never had the money to afford one. So, here's my >question: where would the difference in quality between this and a Strat >lie? I really like the tone of this guitar and my larger Fender amp, and >I'm curious as to whether or not the difference is noticeable to your >average hacker. Two things I have noticed on this guitar - the fret edges >are a little ragged in places, and the volume knob is in an awkward location >(I tend to hit it accidentally when playing). Other than that, I, a mere >novice who has steadily (and rather stupidly) deleted most of the gearhead >posts on Blues-L, would be hard-pressed to tell the difference between this >and a higher quality guitar. So if someone could give me the scoop, I'd be >much obliged. Wouldn't dream of it! Play your new guitar and forget all that crap! So how did you win it? DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Wed, 22 May 1996 16:27:42 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 05/23 B O R N : 05/23 BEIRACH, RICHIE ( RICHARD BEIRACH ) Born:1947 NEW YORK, NY Career:PIANO Style:JAZZ With:DAVE LIEBMAN / STAN GETZ / FREDDIE HUBBARD LEE KONITZ / CHET BAKER BLACKWELL, BUMPS Born:1918 SEATTLE, WA Career:PIANO / PRODUCER Style:BLUES BOTHWELL, JOHNNY Born:1919 GARY, IN Career:ALTO SAX / LEADER Style:JAZZ / BIG BAND With:BOYD RAYBURN CLOONEY, ROSEMARY Born:1928 MAYSVILLE, KY Career:SINGER Style:JAZZ / BIG BAND With:TONY PASTOR / BENNY GOODMAN / DUKE ELLINGTON / THE HI LO'S / WOODY HERMAN / WARREN VACHE / SCOTT HAMILTON COLVILLE, RANDOLPH Born:1942 GLASGOW, SCOTLAND Career:CLARINET / SAXES / ARRANGER Style:TRAD / JAZZ With:KEITH NICHOLS / ALAN ELSDON CROTHERS, SCATMAN Born:1910 TERRE HAUTE, IN Career:PIANO / GUITAR / DRUMMER Style:BLUES / JAZZ EUELL, JULIAN ( THOMAS ) Born:1929 NEW YORK, NY Career:BASS Style:JAZZ FARBACH, RICK Born:1922 KOBLENZ, GERMANY Career:GUITAR / PIANO / SINGER / BASS / ARRANGER Style:JAZZ Arrived Australia 1939 / John Best / Took up bass in 1958 / began 10 years with Channel 7 / Retired to Tewantin 1979 GIBSON, ROBERT ALAN FRANKLIN (BOB) Born:1912 PERTH, WA, AUSTRALIA Career:reeds / violin / piano / cornet / leader /arranger Style:JAZZ With:Perth Symphony Orchestra age 14 / Bert Howell's band / Ron Moyle / Ern Pettifer / Jay Whidden / Roy Fox / Bert Howell / Fred Thomas / Bob Storey / Alf Warne / Keith Cerchi / Don Rankin / England 1948 / Australia 1950 / Alan Nash / Eric 'Boof' Thomson / Charlie Munro / Eric Morrison / Jock McKenna / Clare Bail / Frank Marcy / George Thompson / Jack Grimsley / John Bamford / John Blevins / Bob Barnard GUNTER, ARTHUR Born:1926 NASHVILLE, TN Career:GUITAR Style:BLUES With:EXCELLO RECORDS GUY, FRED Born:1897 BURKESVILLE, GA Career:BANJO / GUITAR Style:JAZZ / BIG BAND With:JOSEPH SMITH / DUKE ELLINGTON HAYES, EDGAR Born:1904 LEXINGTON, KY Career:PIANO / ARRANGER Style:BLUES LYTTLETON, HUMPHREY Born:1921 WINDSOR, UK Career:TRUMPET / LEADER Style:TRAD / JAZZ With:GEORGE WEBB / GRAEME BELL / BRUCE TURNER / TONY COE / JIMMY SKIDMORE / JOE TEMERLEY / DON CASTLE / DANNY MOSS / TONY ROBERTS / EDDIE HARVEY MOYE, DON Born:1946 ROCHESTER, NY Career:DRUMMER / PERCUSSIONIST Style:JAZZ With:STEVY LACY /. SONNY SHARROCK / DAVE BURRELL / GATO BARBIERI / ALAN SHORTER PEPLOWSKI, KEN Born:1959 CLEVELAND, OH Career:TENOR SAX / CLARINET Style:JAZZ With:BUDDY MORROW / BENNY GOODMAN SHAW, ARTIE (ARTHUR ARSHAWSKY) Born:1910 NEW YORK, NY Career:CLARINET / LEADER Style:JAZZ / BIG BAND With:Johnny Cavallaro / Paul Specht / Austin Wylie / Irving Aaronson / Johnny Green Sidemen:Lee Castle / Zeke Zarchy / Tony Pastor / Jerry Gray / Sammy Weiss / George Wettling / Buddy Morrow / Johnny Best / Al Avola / Cliff Leeman / Bernie Privin / Hank Freeman / Georgie Auld / Buddy Rich / Dave Barbour, / Charlie Margulis / Mannie Klein / George Thow / Bill Rank / Stan Wrightsman / Bobby Sherwood / Harry Geller / Skitch Henderson, / Jack Cathcart / Billy Butterfield / Jack Jenney / Vernon Brown / Jerry Jerome / Johnny Guarnieri / Al Hendrickson / Nick Fatool / Ray Conniff / Dave Tough / Conrad Gozzo / Claude Thornhill Vocalists: Peg La Centra / Dorothy Howe / Bea Wain / Dolores O'Neil / Anita Bradley / Billie Holliday / Helen Forrest / Pauline Byrne / Anita Boyer / Lena Horne / Georgia Gibbs SPANN, LES Born:1932 PINE BLUFF, AR Career:GUITAR Style:BLUES STAMM, MARVIN (LOUIS ) Born:1939 MEMPHIS, TN Career:TRUMPET / FLUGLEHORN / LEADER Style:JAZZ / BIG BAND WILLIS, DOC ( FRANCIS JOHN WILLIS ) Born:1925 MELBOURNE, VICTORIA, AUSTRALIA Career:TROMBONE Style:TRAD / JAZZ Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Wed, 22 May 1996 17:24:14 -0400 Reply-To: Lacook01@AOL.COM From: "Lorri A. Cook" Subject: New National Holiday What if Blues-l unilaterally proclaimed June 1 as a new national holiday, "SRV--the Best Thing Since Canned Tuna" Day. Now, realize that I did not say "...since Hot Tuna" Day; this is meant to smother, not fan the flames of devisiveness. Whattaya say, eh? Lorri Cook ========================================================================= Date: Wed, 22 May 1996 16:25:26 -0500 Reply-To: Rob Varak From: Rob Varak Subject: Re: Last CD in YOUR player In-Reply-To: <4nt5i1$g8k@juliana.sprynet.com> Ummm... actually, it's Snoop Doggy Dogg, but blueswise it was Rick L.A. Holmstrom. Spectacular instrumentals that never get dull. Rob (Back in the fray after finishing my final law school exams!!) Bow wow wow yipeo yippeay! Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Wed, 22 May 1996 17:53:08 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: R.L. Burnside's Alternative Album Comments: cc: mkaldin@beachnet.com Fat Possum and the Matador label (Liz Phair, Yo La Tengo, etc.) are co-releasing on Jun 18th a new R.L. Burnside album entitled A ASS POCKET OF WHISKEY. Recorded at Junior Kimbrough's juke joint with Jon Spencer Blues Explosion backing (and shouting, chanting, whatever), it has to be the first blues record to MY knowledge with a therimin on it. It was mixed by the person who mixes Jon Spencer's recordings. (I haven't seen the packaging yet). I have heard parts of each song on an advance copy, and am not sure what to make of it, except that I am absolutely positively certain it is going to make some folks out there REALLY ANGRY. Some of the songs are standards from R.L.'s rep; some, uh, aren't. All versions have LOTS of LOUD agressive guitar, not necessarily of the blues variety. Or not of the blues variety. The tracklisting: Goin' Down South Boogie Chillen Poor Boy 2 Brothers Snake Drive Shake 'm On Down The Criminal Inside Me Walkin' Blues Tojo Told Hitler Have You Ever Been Lonely The last track has the therimin. "Tojo Told Hitler" is a sequence of R.L.'s rhymning lines (If this isn't R.L.'s alternative album, then maybe its his 'party' album; included are the lines "The bee stung the bul and started the bull to bucking / Adam broke the law and started the whole world to fucking."). I hope in the next day or so to hear it complete, and will send impressions when I do. It's interesting......... Tom Freeland ========================================================================= Date: Wed, 22 May 1996 15:22:15 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: R.Ward Tom Freeland wrote: >In a message dated 96-05-22 15:17:01 EDT, hndful@UNISERVE.COM (Jim Witteveen) >writes: > >>I got a question: is Robert Ward touring at the moment? Which of his three >>Black Top releases is your favorite (I'll prob'ly get them all, but I'm >>curious). > >The first one. And after that, or maybe tied (or maybe AHEAD of it) the Relic >release reissuing the 60s stuff. I'm not certain how to rank the 2nd and 3rd >Black Top. I haven't heard Relic CD yet but I would rank "Fear No Evil" (the first one) ever so slightly ahead of "Black Bottom"(the 3rd one). The 2nd one, "Rhythm of the People" is great as well but doesn't quite reach the heights of the other 2. Still, all three are good bets so get them all! Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Wed, 22 May 1996 20:11:47 +0100 Reply-To: Byron Foulger From: Byron Foulger Subject: Big Joe Turner/London Blues For Alam Moodie I recently reposted the London blues fest listing from a month or two ago, now ther;'s been another query following on about 'Big Joe Turner', so again I'll remail the posting a sent on him Deja Vu ?, it's enough to make you think you've been here before!: >Whoa now peoples, did I anywher say it was THE Big Joe Turner? It's not >illegal for two people to have the same name you know, it does happen! But >it is Easter (or it was when this originally posted), the time of the >resurrection ain't it? >No, seriously, apparently this Big Joe, his real name I gather, has been >bass player with B. B. King, I think it is, for about ten years and is >presumably going on his own, using his not altogether unheard of 'name'. >If I can get any more info, I'll post. New info: he apparently claims to have recorded (don't know if issued!) with Albert King among others!! > Byron ========================================================================= Date: Wed, 22 May 1996 17:49:10 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: smokehouse > From: Jim Witteveen > Oh, yeah, one more thing. Has anyone heard the album by Smokehouse > on King > Snake Records? It got a very positive review in the previous issue > of LB > (the one with Corey Harris on the cover), and I haven't heard it > mentioned > on Blues-L atall. I heard this whole CD between sets on the sound system at a local club and made a point of going up to see what it was. I'd describe it as a cross between John Lee Hooker and Slim Harpo. Sort of swamp boogie chillun. I am looking for a copy of this CD, myself. Their previous album had a few good tracks but this one sounded uniformly fine. Title is "Cadillac in the Swamp", KS 026. Don O. ========================================================================= Date: Wed, 22 May 1996 15:28:09 -0700 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: R.L. Burnside's Alternative Album Comments: To: Skipjames@aol.com At 05:53 PM 5/22/96 -0400, Skipjames@aol.com wrote: >Fat Possum and the Matador label (Liz Phair, Yo La Tengo, etc.) are >co-releasing on Jun 18th a new R.L. Burnside album entitled A ASS POCKET OF >WHISKEY. Recorded at Junior Kimbrough's juke joint with Jon Spencer Blues >Explosion backing (and shouting, chanting, whatever), it has to be the first >blues record to MY knowledge with a therimin on it. It was mixed by the >person who mixes Jon Spencer's recordings. (I haven't seen the packaging >yet). > >I have heard parts of each song on an advance copy, and am not sure what to >make of it, except that I am absolutely positively certain it is going to >make some folks out there REALLY ANGRY. Some of the songs are standards from >R.L.'s rep; some, uh, aren't. All versions have LOTS of LOUD agressive >guitar, not necessarily of the blues variety. Or not of the blues variety. > >The tracklisting: > >Goin' Down South >Boogie Chillen >Poor Boy >2 Brothers >Snake Drive >Shake 'm On Down >The Criminal Inside Me >Walkin' Blues >Tojo Told Hitler >Have You Ever Been Lonely > >The last track has the therimin. "Tojo Told Hitler" is a sequence of R.L.'s >rhymning lines (If this isn't R.L.'s alternative album, then maybe its his >'party' album; included are the lines "The bee stung the bul and started the >bull to bucking / Adam broke the law and started the whole world to >fucking."). > >I hope in the next day or so to hear it complete, and will send impressions >when I do. It's interesting......... > >Tom Freeland > > ========================================================================= Date: Wed, 22 May 1996 15:28:12 -0700 Reply-To: Mary Katherine Aldin From: Mary Katherine Aldin Subject: Re: R.L. Burnside's Alternative Album Comments: To: Skipjames@aol.com At 05:53 PM 5/22/96 -0400, Skipjames@aol.com wrote: >Fat Possum and the Matador label (Liz Phair, Yo La Tengo, etc.) are >co-releasing on Jun 18th a new R.L. Burnside album entitled A ASS POCKET OF >WHISKEY. Recorded at Junior Kimbrough's juke joint with Jon Spencer Blues >Explosion backing (and shouting, chanting, whatever), it has to be the first >blues record to MY knowledge with a therimin on it. It was mixed by the >person who mixes Jon Spencer's recordings. (I haven't seen the packaging >yet). Can you find out for me : exactly what label will this be released on? Fat Possum/Matador? Matador/Fat Possum? Something else? Also--is that the right title? A ASS POCKET OF WHISKEY? I'll put this in my next column--Peter Lee said nothing about it in the interview--??? Thanks, and love, Mary Katherine ========================================================================= Date: Wed, 22 May 1996 17:12:24 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Smokestack Lightnin' I just read a revue of a new book called Smokestack Lightnin'. It = doesn't take a rocket scientist to figure out why the title caught my = eye. It turned out to be a "coffee table" book about barbeque.=20 It seems these two folks from NOLA ate, interviewed, and photographed = their way through a bunch of BBQ joints, nationwide. The review was = positive, but I'd rather hear it from someone on this list. Anybody seen = it? Uncle Ray ========================================================================= Date: Wed, 22 May 1996 21:19:43 -0400 Reply-To: alison hardage From: alison hardage Subject: Re: Seeking Info on the Blue Crab Festival in Florida Comments: To: shannon oconnor I found an ad in "It's All The Blues" by Mr. Z, about the Blue Crab Blues Festival in beautiful downtown Palatka, Florida. Festival office phone number is 904(?) 325-4406. The two most significant points seem to be that Lucky Peterson is scheduled to perform on Sunday, May 26th, and that IT IS FREE! Looks like 3 days and lots of bands. ========================================================================= Date: Wed, 22 May 1996 20:22:47 -0500 Reply-To: Scott Ferman From: Scott Ferman Subject: Smokehouse A quick internet check revealed that the Smokehouse CD 'Cadillac in the Swamp' on King Snake Records is available from: CDworld http://gate.cdworld.com for the price of $12.47 plus S&H No affiliation ....... Scott Dallas, TX ========================================================================= Date: Wed, 22 May 1996 10:01:29 EST Reply-To: mstringer@HEARST.COM From: Mark Stringer Subject: Re: tutor advice Comments: To: James Leftwich I use teachers like books. I'll pick one up, check it out, put it down if it doesn't immeadiately grab me or I'll buy it and spend some time with it. I've never been able to develope a long standing commitment with a teacher. But I've gotten useful info from each one I've experienced. Most teachers I've come across want a long term set-up, they'll offer discount rates. I think a real solid teacher student relationships is difficult to find, play the field until you find that CHEMISTRY -Mark >I just started playing guitar again after a few years. I never was any >good...I never had any kind of discipline for practicing... >I had been planning on buying a nice $400 amp but recently decided the >money would be better spent on lessons (I can still use my Gorilla!). >What should I look for in a tutor and how much should I expect to pay. It >seems whenever I tried lessons in the past my tutor was always pushing the >music he liked. >Also, would it be better to learn on an acoustic or electric? I need to >build hand strength too... ========================================================================= Date: Wed, 22 May 1996 22:04:30 EDT Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: blues on the air Meri lamented: >oh, if only! Out here in the Blues Wasteland of Cape Cod, the local classic >rock >station (WPXC) plays a whopping 15 minutes of the Blues for their "Blues At >Two" >segment every afternoon. >sigh. Thank goodness for dmx, which is ALWAYS tuned to channel 30! Hi Meri, Can you get WGBH out of Boston at 89.7? They've got blues from 9pm to 1am Fridays and Saturdays. I don't think our signal reaches Hyannis. I do have a regular listener in Fall River, but I don' t know how much farther east we get. Dave Carpenter Blues Music Director - WHUS-FM - 91.7 University of Connecticut - Storrs, CT http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Wed, 22 May 1996 22:07:27 -0400 Reply-To: Stephanie Manna From: Stephanie Manna Subject: Downhome Blues Festival This weekend, Saturday,May 25th is Alabama's largest bluesfestival;The 7th Annual North Alabama "Downhome Blues Festival". On the lineup, Koko Taylor,Marvin Sease,Bobby Rush,Shirley Brown,Willie Clayton,James Peterson,Micro-Wave Dave,Hamilton Loomis. Held at the Huntsville Dragway,5 mile north of Huntsville on HWY 53 North. Ticket are $15 advance,$18 at the Gate. Gates open at 10:00AM Showtime:1:00PM-Until. No glass or bottles. No BBQ Grills. Bring your tents,blankets,lawn chairs, small cooler only. for more info:205-536-4312 or 859-3338. If you email me, you won't get an answer till Monday, don't meet me there,beat me there! Supposed to have great food also! ========================================================================= Date: Wed, 22 May 1996 22:46:30 -0400 Reply-To: JukeFreak@AOL.COM From: "(Karen Hanson)" Subject: Grammar Patrol: Review vs. Revue Okay, I'm jumping on the Grammar Patrol wagon here. I've endured all I can with the confusion of "review" and "revue." When you are giving a description and evaluation of a performance, CD, or other musical endeavor, it's a "review." The magazine is called "Blues Revue" (read the cover). A "revue" is like a variety show--rather like the old Sonny and Cher show, or perhaps The Captain and Tenille. (Scary, isn't it?) This probably won't help, but I feel better now! :-) Karen (Btw, for you grammar "purists" out there....I know that italics or underlining should be used where I used quotation marks.) ========================================================================= Date: Wed, 22 May 1996 20:52:44 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Smokestack Lightnin' >I just read a revue of a new book called Smokestack Lightnin'. It doesn't take a rocket scientist to >figure out why the title caught my eye. It turned out to be a "coffee table" book about barbeque. >It seems these two folks from NOLA ate, interviewed, and photographed their way through a bunch of >BBQ joints, nationwide. The review was positive, but I'd rather hear it from someone on this list. Anybody >seen it? >Uncle Ray The book caught my eye at the Jazzfest book tent for the same reasons I'm sure. It's titled "Smokestack Lightning: The Art and Culture of Barbecue." And it's written by Lolis Eric Elie, who is a columnist with the New Orleans Times-Picayune, and Frank Stewart. Unfortunately, I haven't read the book either; I only had the chance to thumb through it. It looked appealing, and I enjoy Lolis Eric Elie's columns. I too would be interested iin hearing from someone who has read the book. Bill Morgan From: The Big Easy ========================================================================= Date: Wed, 22 May 1996 20:15:08 +0000 Reply-To: ksailors@hooked.net Comments: Authenticated sender is From: "Kenneth M. Sailors" Subject: Riley B. King Hey folks, It's been a while since I chimed in &, frankly, planning a computer room move is not a lot of fun. I got the blues (and yes, I *am* white, so let's put an end to _that_ one, ok?). Let me hear you say "Right on"*. Anyway, I like BB King and all, but I want to hear him *play*. What do y'all recommend to some one who wants to hear BB's guitar work? You guys haven't let me down yet. Thanks. *Freddie King "Big Legged Woman" from "Live at the Electric Ballroom" PS) Fer Christ sakes: Buy "The Last Real Texas Blues Band". /))((\ -(.)(.)- | | | \/ | Eugie!Baange ///\\\ "I'm just naturally crazy, baby!" \__/ ========================================================================= Date: Wed, 22 May 1996 02:10:21 GMT Reply-To: jackieo@MIDTOWN.NET From: Jack Oudiz Organization: Midtown Computer Services Subject: Re: Don's race & blues FAQ Comments: To: bit-listserv-blues-l@uunet.uu.net Don C. wrote: >I also believe we are OBLIGATED to stand against racism in a very real way. >That is our toll for traveling on the blues highway... Don: I love you, man. You summed it all up in those words. You wanna honor the blues and all those that created the music that's the way you do it. Period. And yes Don, I have run across my share of "blues lovers" who saw no contradiction in being racist dogs (or Republicans for that matter). That's the Blues Revue point of view of the blues taken to its logical extension. It's only music man. Thank you for your courage and wisdom. JO ========================================================================= Date: Wed, 22 May 1996 23:02:29 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: Re: WISH THEY'D PLAY HERE Be careful what you wish for, you just might get it. When I responded to this thread a few days back, I had forgotten that Dallas club owner Doug Henry had recently joined the list. He saved my list and is already working on making my wishes come true. I suspect he may have to charge $20 a head to afford Otis Rush, but I'm already saving my nickels. :') BTW, The Blue Cat will have Rod Piazza and the Mighty Flyers for 2 nights (June 3 & 4) so guess where I'll be those nights? They even have a special deal so you can get tickets for both nights and save some bucks. Now where else could you get a deal like that and where else would a club know that there are crazy people like me who will show up for both nights? Don O. not associated, except as a grinning customer ========================================================================= Date: Wed, 22 May 1996 21:21:41 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Riley B. King Comments: cc: ksailors@HOOKED.NET Kenneth M Sailors wrote: >Hey folks, >It's been a while since I chimed in &, frankly, planning a computer >room move is not a lot of fun. I got the blues (and yes, I *am* >white, so let's put an end to _that_ one, ok?). Let me hear you say >"Right on"*. Anyway, I like BB King and all, but I want to hear him >*play*. What do y'all recommend to some one who wants to hear BB's >guitar work? You guys haven't let me down yet. Thanks. The two BB King albums that really knocked me out guitar wise are "Live at the Regal" and "Blues is King." The solos that BB plays on "Everyday I Have the Blues" (Regal) are must-learn solos. They are amazing. You can learn a lot. Also on "Regal" is a great version of "Sweet Little Angel" which contains some BB's greatest slow blues playing (IMHO, of course). "Blues is King" is also live. "Gambler's Blues" features some intense guitar work. I spent some time with that album as well. Shaun (and guitarheads, be sure to check out Junior Brown's latest, "Semi-Crazy.") Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Wed, 22 May 1996 23:19:51 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: B.B. King Is it just me or does it seem a very long time since B.B.'s last album? Blues Summit, about 2 years, am I right? Anyone know if B.'s been in the studio and when we might expect the next one? Or is he mainly just working on that book? Don O. ========================================================================= Date: Wed, 22 May 1996 22:13:41 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: B.B. King Actually, I've just been browsing through the latest issue of "Guitar World." Amid the macho "I'm cool because I play guitar and drink beer/Yngwie is the greatest blues guitarist ever/Who is BB King?" sort of stuff (well it's not that bad but the letters column ends up like that at times) there is a lesson entitled "Talkin' Blues" by BB himself. BB talks about practice. And believe it or not he practices scales and arpeggios. He also talks about how to use them and make them fit your playing. It's a very interesting look how much BB knows (and he knows a lot!) about music. According to the mag the lesson is available at http://www.guitarworld.com with soundfiles but I just checked and the lesson isn't up yet. If you are a BB fan try and get a copy. It's a good read with some good licks to try out. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Wed, 22 May 1996 23:48:24 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Don's race & blues FAQ And yes >Don, I have run across my share of "blues lovers" who saw no >contradiction in being racist dogs (or Republicans for that matter). Jack, I don't understand this statement. Are you equating Republicans with Racist dogs? If so, I take offense. I'm not a republican (I'm Canadian), but I am a conservative, and a Christian. And I love the blues, and detest racism to my very core. To equate conservatism with racism is wrong (if not in all cases, then it is a massive generalization) - I could just as easily equate liberal policies with racism; I would _not_, but it makes about as much sense. Please clarify. -Jim (hndful@uniserve.com) ========================================================================= Date: Thu, 23 May 1996 02:58:43 -0400 Reply-To: "jose.eric.s.maglanque" From: "jose.eric.s.maglanque" Subject: blues on the air Guy T. posed this question yesterday.... > Do most of you 'zellers have blues radio shows in your cities and towns? In Manila, yes; one... 1 AM Saturday, thank you :) > If so, are they mostly public radio programs, or do some places actually > have commercial blues radio? If you choose to respond to this, please > mention what city you're writing about. Well, I guess the Philippine gubament don't care much for its publics cuz we's don't have no public programs, no suh! Commercial, yes. Fifteen minutes of 'em at a time! ========================================================================= Date: Thu, 23 May 1996 14:43:11 MNL Reply-To: "Thomas B. Colvin" From: "Thomas B. Colvin" Subject: blues on the asian airwaves... As a sign that there's a blues revival going on here in way-off Manila, two blues radio shows have come on air in the last two months: one features more traditional stuff, supplied to DJ Bob "Blues" Magoo by the San Juan Blues Club [local blues addicts]; another features more modern and rock-inflected material, hosted by Hoagie Pardo. We also get NBC's Talking Blues on cable. Thomas "Tomcat" Colvin Manila, Philippines ========================================================================= Date: Thu, 23 May 1996 08:23:16 GMT Reply-To: Peter Gallagher From: Peter Gallagher Organization: XS4ALL, networking for the masses Subject: Buddy Guy in Amsterdam(NL) Comments: To: bit-listserv-blues-l@relay1.uu.net Feller Zellers, THE Buddy Guy is playing tomorrow night (may 24th) here in Amsterdam, Netherlands in the terrific Paradiso. Given that: a) he's one of the REAL living legends b) he's gotten some criticism on the list from people who have seen him lately, I SURE am curious.... Is he going to blow me away? Is he going to "show off" and make us cringe with "I can do _him_ and I can do *him*" ... ? Perhaps a little of both - I'll let you know... regards, PeterG "hey Buddy - don't mess with _this_ kid!" :-) :-) -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." ========================================================================= Date: Thu, 23 May 1996 01:25:31 -0700 Reply-To: Char & Mike From: Char & Mike Organization: apiana Subject: [Fwd: Re: Don's race & blues FAQ] Jim Witteveen wrote: > > And yes > >Don, I have run across my share of "blues lovers" who saw no > >contradiction in being racist dogs (or Republicans for that matter). > > Jack, I don't understand this statement. Are you equating Republicans with > Racist dogs? If so, I take offense. I'm not a republican (I'm Canadian), > but I am a conservative, and a Christian. And I love the blues, and detest > racism to my very core. To equate conservatism with racism is wrong (if not > in all cases, then it is a massive generalization) - I could just as easily > equate liberal policies with racism; I would _not_, but it makes about as > much sense. Please clarify. > > -Jim (hndful@uniserve.com) Oh no. Not Politics and Racism on the blues-l! Sssttttooooopppppp! Mike :-( ========================================================================= Date: Thu, 23 May 1996 08:37:54 -0400 Reply-To: Chris Smith From: Chris Smith Subject: What does it take? Silver bullets? Gregory A. King wrote: >It's been real interesting reading all these SRV comments. Some of the >statements have really amazed me - like Son House being a better guitar >player than Stevie? - two completely different styles. Or that SRV coped >everything from Albert because their styles were similar? > >There are some of us here that will always favor the black/delta players. >Praise them as the real Gods Of Blues because they "started it all". That's >fine, some folks actually like tofu and bean sprouts. As a blues guitarist >today I do feel I owe a debt to the "old masters". But my real debt is to the >white boys who brought me the blues. And every single one of them - from >Bloomfield to Page - pointed me to the ones who influenced them. When I saw >Muddy on stage with Bloomfield at the Fathers and Sons concerts in Chicago I >saw an expression of admiration shown not only by Bloomfield for Muddy but in >Muddy for Mike as well. Muddy would rock and shout when Mike played a flash >solo. There was no racial tension - no "you stole that from me" attitude. >They were just a bunch of guys playing their music. I played second lead in >an all black blues band fronted by Preacher Jim and never felt any >white/black tension. We were playing blues - together. It is one of the best >things about the blues - it's not white, black, brown, red or purple - it's >blues. > >Get over it. > >greg I say AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAARRRRRRRRRRRRRGGGGGGGGGGGGGGGHHHHH!!!!! Chris Smith (chris@skerries.demon.co.uk) 2 + 2 = 5 for large values of 2 ========================================================================= Date: Thu, 23 May 1996 08:48:54 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: Don's race & blues FAQ Comments: To: hndful@uniserve.com In a message dated 96-05-23 03:08:30 EDT, hndful@UNISERVE.COM (Jim Witteveen) writes: >Jack, I don't understand this statement. Are you equating Republicans with >Racist dogs? If so, I take offense. I'm not a republican (I'm Canadian), >but I am a conservative, and a Christian. I have to ask if this writer equates "conservatism" with "Christianity"...... >And I love the blues, and detest >racism to my very core. To equate conservatism with racism is wrong (if not >in all cases, then it is a massive generalization) - I could just as easily >equate liberal policies with racism; I would _not_, but it makes about as >much sense. Please clarify. This is not the time or place for this debate, but you asked, and I'll help... A constant in the history of race relations in America has been attempts by racists to talk conservatism cloak themselves in the appearance of principle to resist change that effects the racial conditions. And, at least since the sixties national-level polititians have played along with this to appeal to racist votes (beginning either with Goldwater's appeal to Southerners through his "principled" opposition to the remedies crafted to break down Jim Crow, remedies like the public accomodations act (letting blacks eat in southern restaurants), Title VII (employment discrimination), and the voting rights acts, to Nixon's "Southern Strategy" learned from and in response to George Wallace's substitution of code language for straight-out race bating, to Reagan's speech advocating state's rights at the Neshoba County Fair just 'down the road' from where Schwerner, Chaney and Goodman were murdered, to Bush's thinly veiled linking of race and crime....). You can say that opposing any remedy to the structurally, legally mandated racism that governed this country for decades (centuries?) is not racist, but I have never, ever heard remedies proposed from the conservative camp. As a white southerner, I suppose I should be sensitive to the sort of "group description" that struck Jim as wrong. But the original writer did not accuse a particular conservative of racism; he made a general observation. And I could not argue with a general observation that the white south had a problem with racism. And in the same way, conservatism in the United States has had a long-standing problem with racism, based upon its regular resort to racist appeals. It is *not* "as eas[y to] equate liberal policies with racism" unless you ignore the path by which we got where we are. Based upon reading about other countries which have had substantial histories of contending with problems of race, I do not believe this to be peculiar to the history of the United States. So, does anyone want to talk about R.L. Burnside's new album on Fat Possum / Matador? Tom Freeland ========================================================================= Date: Thu, 23 May 1996 12:52:42 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: Riley B. King Comments: To: bit-listserv-blues-l@uunet.uu.net Try his live albums from the 60's - specifically: !MCA31106 +KING*B.B. LIVE AT THE REGAL 8 **** $9.58 &MCA 1/87 which is an acknowledged classic. (This used to be coupled with: MCA31080 +KING*B.B. LIVE IN COOK COUNTY JAIL 8.8/4 *** $9.58 &MCA 1/87 as a 2-fer CD - if you can still find it , then that's a bargain.) But many consider the following better: MCA31368 +KING*B.B. BLUES IS KING 8/2 $9.58 MCA 4/90 this one is BB live in a Chicago club - the atmosphere and interaction with the audience is better. most of the tracks from this latter album are also on: MCA4124 +KING*B.B. GREAT MOMENTS WITH B.B KING 8/2 $13.09 MCA 5/87 (but you do lose the continuity, even if you get more studio tracks) -- Vincent vt@usa.pipeline.com On May 22, 1996 20:15:08 in article , '"Kenneth M. Sailors" ' wrote: >Hey folks, >It's been a while since I chimed in &, frankly, planning a computer >room move is not a lot of fun. I got the blues (and yes, I *am* >white, so let's put an end to _that_ one, ok?). Let me hear you say >"Right on"*. Anyway, I like BB King and all, but I want to hear him >*play*. What do y'all recommend to some one who wants to hear BB's >guitar work? You guys haven't let me down yet. Thanks. > ========================================================================= Date: Thu, 23 May 1996 08:00:40 -0500 Reply-To: James Foster From: James Foster Subject: Re: Smokestack Lightnin' Comments: To: "Raymond O. Varner" At 5:12 PM 5/22/96, Raymond O. Varner wrote: >I just read a revue of a new book called Smokestack Lightnin'. It doesn't >take a rocket scientist to figure out why the title caught my eye. It >turned out to be a "coffee table" book about barbeque. > >It seems these two folks from NOLA ate, interviewed, and photographed >their way through a bunch of BBQ joints, nationwide. The review was >positive, but I'd rather hear it from someone on this list. Anybody seen >it? > >Uncle Ray I picked this book up last week after browsing through it in a local bookstore. The authors, Frank Stewart (photos) and Lolis Elie (text), start in Memphis and go all across the country, eating barbeque and debating the finer points of its history, lore, styles, and such. The book is not a review of each and every place these guys ate, nor is it a "recipe" book for preparing good barbeque (though there are some recipes). Essentially it is a collection of loosely strung together vignettes, each of which highlights some aspect of the culture of barbeque (and this can encompass just about anything). The writing style is loose and enjoyable, while Frank's photos (all black & white) are well-done (I love the one that captures a food stand in East St. Louis advertising "SNOUT SANDWICHES"!). For those looking for a music connection (beyond the title, which is the Wolf song that became their trip's theme) there are some interesting observations about blues music, particularly in chapter one which focuses on Memphis. Also, for the record, Lolis was the road manager for Wynton Marsalis while Frank was photographing Wynton's tour for the book "Sweet Swing Blues On The Road". All in all, I picked this book up on first glance and would recommend it to those who enjoy good design coupled with a fun topic. Enjoy. James Foster ========================================================================= Date: Thu, 23 May 1996 09:28:24 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: New National Holiday >What if Blues-l unilaterally proclaimed June 1 as a new national holiday, >"SRV--the Best Thing Since Canned Tuna" Day. Now, realize that I did not say >"...since Hot Tuna" Day; this is meant to smother, not fan the flames of >devisiveness. > >Whattaya say, eh? > >Lorri Cook The best thing since canned tuna is some more canned tuna, with Polish gherkins, so I votes no :-) Also: beep, beep...grammar patrol alert! It's spelled 'divisiveness'. Chris Smith (chris@skerries.demon.co.uk) 2 + 2 = 5 for large values of 2 ========================================================================= Date: Thu, 23 May 1996 06:35:08 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: [Fwd: Re: Don's race & blues FAQ] >Oh no. Not Politics and Racism on the blues-l! Sssttttooooopppppp! > >Mike :-( Hi all. Apologies for responding to the list to a political statement. I promise this is the last you'll hear from me on the list about politics. I simply felt that the statement deserved a response, and I should have responded privately. -Jim (hndful@uniserve.com) ========================================================================= Date: Thu, 23 May 1996 09:58:20 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: How to define BB's Style? Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I was listening to the BB King boxed set recently, and I started thinking about what genre or style of blues he plays. He's obviously not a Delta or Piedmont player, and he doesn't play the Muddy Waters style of Chicago blues. He's not from Texas, and doesn't play like what I would call Texas Blues (although the T-Bone influence is pretty strong). So, where would you place BB? Does he play Memphis style blues, or does BB have his own unique genre of the blues? ========================================================================= Date: Thu, 23 May 1996 10:33:16 -0400 Reply-To: Lacook01@AOL.COM From: "Lorri A. Cook" Subject: Re: New National Holiday Chris; That's Spelling Patrol territory--and I really tried on that one. My American Heritage Dictionary in this computer didn't have the word in there. RATS! I should have headed for the book version, instead of winging it. Can I plead typo? I just don't have what it takes to shoulder the burden of Spelling Patrol responsibility. Not near enough perfectionism. Lorri Cook (Lacook01) ========================================================================= Date: Thu, 23 May 1996 10:33:20 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Those brothers from Austin (sp?) Okay, this should be listed on the Blues-L FAQ: Stevie Ray and his brother Jimmie Lee...it's spelled V A U G H A N. I can't believe how on a daily basis people who call themselves fans of those two fellas keep mis-spelling that name. Today I saw Vagun and Vaughn, and once I saw Voghan. Sorry, haven't had coffee yet and I'm workin' on a million-hour sleep deficit. Just workin' hard with the boyz in the band, Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 23 May 1996 09:36:09 CST6CDT Reply-To: "Sara C. Oxton" From: "Sara C. Oxton" Organization: University of Minnesota Subject: Fresh Air playlist, 05/96 If anyone is interested, I am posting the May Blues playlist for Fresh Air Radio, KFAI, 90.3 & 106.7 FM, Minneapolis and St. Paul. This playlist is reported to Living Blues. Sara 1. Long John Hunter, Border Town Legend - Alligator 2. Bobby Bland, Sad Street - Malaco 3. Lonnie Brooks, Live @ Peppers - Black Top 4. Otis Rush, Live in Japan - Sequel 5. Eddie Campbell, King of the Jungle - Rooster 6. Wynonie Harris, Everybody Boogie - Delmark 7. Luther Allison, the Motown Years - Motown 8. various, Deep Soul Vol. II - Priority 9. Sarah Brown, Sayin' What I'm Thinkin - Blind Pig 10. various, Slow & Moody, Black & Bluesy - Pointblank 11. Freddie King, Live @ the Electric Ballroom - Black Top 12. Corey Harris, Between Midnight & Day - Alligator 13. Duke Robbilard, Duke's Blues - Pointblank 14. Amos Milburn, the Motown Sessions - Motown 15. various, Motown's Blue Evolution - Motown 16. Willie Willis, Down Home in Dallas - Trix 17. John Mooney, Against the Wall - House of Blues 18. WC Clark, Texas Soul - Black Top 19. Sherman Robertson, Here & Now - Atlantic 20. Gatemouth Brown, Long Way Home - Gitanes 21. Johnny Dyer, Jukin' - Blind Pig 22. Cephas & Wiggins, Cool Down - Alligator 23. Jeannie & Jimmy Cheatham, Gud Nuz Blues - Concord 24. Mojo Buford, Still Blowin' Strong - Blue Loon 25. Big Al Dupree, Swings the Blues - Dallas Blues Society _________________________________________ Sara C. Oxton Executive Secretary University of Minnesota Department of Food Science & Nutrition 1334 Eckles Ave. St. Paul, MN 55108 Ph: (612) 624-2787 Fax: (612) 625-5272 soxton@che2.che.umn.edu ========================================================================= Date: Thu, 23 May 1996 10:29:17 EDT Reply-To: Wayne Winkler From: Wayne Winkler Organization: East Tennessee State University Subject: Blues on the air Well, I hate to promote my own program, but since you asked... I'm the host of a prime-time blues program on WETS-FM, public radio in Johnson City, Tennessee. *Blue Monday* is heard from 12:30 pm to 5 pm each and every Monday (yes, even this coming holiday Monday!). WETS also has *In The Midnight Hour*, a blues/r&b program from 11 pm Saturday to 1 am Sunday, hosted by George Hammond. This program is followed by the exquisite *Blues Before Sunrise* with Steve Cushing from Chicago. WETS' jazz and traditional acoustic programs also feature a good deal of blues. If you're within 100 miles of Johnson City, check out 89.5. Wayne Winkler WETS-FM ========================================================================= Date: Thu, 23 May 1996 09:24:26 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: John Hammond conversation I did an interview with John Hammond a few weeks back and my tape recorder failed me. So I tried to do it in article format. I did not do a very good job of writing it, but as ya'll know I'm ain't no scholar LW ___________________________________ At age 17, John Hammond heard the few Robert Johnson songs available at that time and decided he could play also. Hammond has taken the style of others and made them into his own the same way Johnson did. About a year after he began to play, he was on the road. Since that time he has recorded with Charles Brown, Charlie Musslewhite, John Lee Hooker and many others. Although he has no favorite recording of his own, the album "Southern Fried" with Delany and Bonnie was fondly mentioned. Before leaving for England, Jimi Hendrix once played in Hammond's band during an informal situation. Besides the present, the sixties were his favorite time period. He felt that he was in the right place at the right time. He played often with Michael Bloomfield, Levon Helm, Robbie Robertson and many more. This was during the blues rediscovery period (so-to-speak) of artists like Arthur Crudup, Mississippi John Hurt, Son House & Skip James. He played gigs with Muddy Waters & Howlin Wolf. One story about the sixties came to Hammond's mind. Jerry Wexler sent him to record in Muscle Shoals with the Shoals musicians, who were backing everyone on Atlantic Records. Hammond could not get them on a Muddy Waters or Howlin Wolf groove.He just couldn't make it work.Duane Allman and Barry Oakley drove from Macon, Georgia in an old milk truck to meet him. When the Shoals musicians saw that Duane wanted to meet Hammond, it helped to get the groove together. The Allman Brothers began opening for Hammond and they had the opportunity to jam quite a bit. Then later on, Hammond started opening for the Allman Brothers. Once while doing a show with Robert Lockwood and Johnny Shines, Shines came backstage after the show. He told Hammond that he used to have a National guitar when he was younger. Hammond had an extra and thought that if anyone deserved a National guitar, it was Johnny Shines. So he had the guitar set up, polished, and mailed to him.He considers Shines an underrated player and a very real man. His father, John Hammond Sr., has been involved with the musical careers of many, many artists from Billie Holiday to Bruce Springsteen, to Stevie Ray Vaughan. Hammond did not see his father very much growing up, but believes his father's love for music influenced him. He does not have a favorite song, prefers playing solo acoustic blues and works very hard at it. His ideal atmosphere is a small theatre where everyone can see and hear. He likes the intimacy and sound quality of clubs. Some of today's solo acoustic performers he likes are Doug MacLeod, Steve James, Keb Mo' and John Mooney. He believes luck has a lot do with his success, and he considers himself real lucky. ========================================================================= Date: Thu, 23 May 1996 10:40:02 -0400 Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Guitar Gabriel/Music Maker Recordings Comments: To: bit-listserv-blues-l@uunet.uu.net I know Jean-Pierre Urbain posted reviews on these some time ago, but I just got around to getting them and thought I'd add my thoughts. Timothy Duffy is responsible for the Music Maker label, with releases devoted to documenting obscure blues performers from North Carolina and Georgia. They are "field recordings", but are done with high tech equipment so sound quality is excellent compared with other field recordings. The titles I obtained are "Guitar Gabriel, Vol. 1" (MMCD0494), and 2 anthologies "Came So Far" (MMCD1294) and "A Living Past" (MMCD9401). Although difficult to find, I managed to get all of these from Roots & Rhythm. The most important find of these is the Guitar Gabriel release. No blues issue in the past 2 years has received more playing time on disc player than this one. Gabriel is an excellent songwriter and story teller. All songs on this disc were written by him. In addition to his fine vocals, he also does a number of "talking blues" - spoken blues poetry done with very tasty instrumental accompaniment. "Blues for Dorothy" is a very moving song about his wife who had died. "You Got To Watch Yourself" could be one of the best blues songs you'll never hear on the radio due to its X-rated lyrics. "Old Man Rivers" has a tune which is based on "Old Man River", but the lyrics are about a guy who's so lazy that when he went fishing, he didn't put his hook in the water but expected the fish to jump in the boat. "Hospital Blues" is one of only a few blues performances (except Papa Charley Jackson) in which a banjo is the primary instrumentation. "Back in The Western Days" is over 10 1/2 minutes long - starting as talking blues about the days of Pretty Boy Floyd and Jesse James when "They wore their shotgun like they wore their pants" and later he sings in a falsetto voice to imitate a woman he met at a bar. He even throws in a little scat singing here. To me, Guitar Gabriel is as important as Henry Qualls as a blues discovery. Unfortunately, he recently died. We can only hope that Duffy had a lot of additional recordings in the can when he titled this one "Volume 1". I'd call this release a run don't walk recording - worth the extra effort to track it down. The 2 anthologies, "A Living Past" and "Came So Far" are more of a mixed bag. You get some additional Guitar Gabriel numbers on these releases, which as you can tell from the above is a definite plus. Big Boy Henry, Preston Fulp,Bishop and Marie Manning and a number of others are on these releases. Some of the tracks are more in a "folk" category, but there is enough country blues on these by lesser known artists that makes them worth owning. As stated above the sound is excellent. Complete lyrics are available in the booklet together with photos of the artists. My only complaint with the booklet is the lack of biographical information on the artists. Artists only get a sentence or two - with their relative obscurity, I found myself wanting to more about them than what's presented here. In summary - do what ever you have to do to find the Guitar Gabriel. The anthologies are well worth having if you can manage a few tracks in the folk vein but I think they are essential for those interested in present day country blues. Art Schuna Art Schuna ========================================================================= Date: Thu, 23 May 1996 07:42:50 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: May 24 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ABERBACH, JOACHIM (owner: HILL & RANGE) d. 1992-0524, MANHATTAN, NY 81 ALYN, GLEN (MANCE LIPSCOMB's biographer) b. 1947-0524, TX BLACKMON, LARRY (v/CAMEO REC) b. 1956-0524, NY CHONG,TOM(of BOBBY TAYLOR/CHEECH & CHONG) b. 1938-0524, EDMONTON, ALBERTA COWENS, HERBERT "KAT" (d/SAMMY PRICE) b. 1904-0524, DALLAS, TX DYLAN, BOB (g/p/songw) b. 1941-0524, DULUTH, MN EARLAND, CHARLES (p/o) b. 1941-0524, PHILADELPHIA, PA ELLINGTON, DUKE (p) d. 1974-0524, NEW YORK CITY, NY 75 FENTON, PAUL (BLUES-L MEMBER) b. 1948-0524, NEW YORK CITY, NY FIELDS, HERBIE (sax/PARROT REC) b. 1919-0524, ELIZABETH, NJ HOLIDAY, LUKE (gospel) d. 1989-0524, NEW YORK CITY, NY 45 JACKSON, CLIFF (p) d. 1970-0524, NEW YORK CITY, NY 67 JAMES, ELMORE [ELMORE BROOKS] (g) d. 1963-0524, CHICAGO, IL 45 LEE, JOHN (g/ROUNDER REC) b. 1915-0524, MOUNT WILLING, AL MARTIN, SARA (v) d. 1955-0524, LOUISVILLE, KY 70 PAPPALARDI, FRANK (boogie woogie p) d. 1973-0524, BEVERLY HILLS, CA 55 PRINCE BUSTER (v) b. 1938-0524, KINGSTON, JAMIACA SHEPP, ARCHIE (tsax) b. 1937-0524, FORT LAUDERDALE, FL WALKER, JAMES(co-lead/DIXIE HIMMINGBIRDS) b. 1926-0524, MILESTON, MS WATERS, JOHNNY "MISSISSIPPI" (g) b. 1935-0524, JACKSON, MS WHITE, MICHAEL (vln) b. 1933-0524, HOUSTON, TX YORK, RUSTY (g/songw/prod/KING REC) b. 1935-0524, HARLAN, KY ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 23 May 1996 10:33:36 -0400 Reply-To: Jerri Gibbs From: Jerri Gibbs Organization: MagicNet, Inc. Subject: Re: smokehouse Comments: To: bit-listserv-blues-l@uunet.uu.net Don O wrote: > > > From: Jim Witteveen > > > Oh, yeah, one more thing. Has anyone heard the album by Smokehouse > > on King > > Snake Records? It got a very positive review in the previous issue > > of LB > > (the one with Corey Harris on the cover), and I haven't heard it > > mentioned > > on Blues-L atall. > > I heard this whole CD between sets on the sound system at a local club and made > a point of going up to see what it was. I'd describe it as a cross between > John Lee Hooker and Slim Harpo. Sort of swamp boogie chillun. I am looking > for a copy of this CD, myself. Their previous album had a few good tracks but > this one sounded uniformly fine. Title is "Cadillac in the Swamp", KS 026. > > Don O. Just my .02 ... my boyfriend plays keyboards & organ on this CD so I got to sit in on a couple of recording sessions at King Snake. Not really being a blues fan, I didn't know what to expect. I liked the sound at the recording session, and now that I have the final product ... I love it! Very alive! ========================================================================= Date: Thu, 23 May 1996 10:53:55 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Commercial radio blues query. As far as I know, there's no commercial radio that plays an all-blues format anywhere in New England. There are several of the big stations here that have a blues show, a couple hours worth weekly, or at least periodically, and the same is true of the publicly supported stations as well. Lots of those, in fact. My band, Gate Street Blues had the pleasure of being invited to a simultaneous live broadcast and digital recording session this past Saturday in the very nice studios of WJUL 91.5 FM in Lowell, Massachusetts as their featured band on their weekly blues show. WJUL is part of UMass's media and sound engineering degree program and the young student who engineered our 2 hours onto DAT did an absolutely fantastic job! If he's representative of the quality of students they're producing, it speaks very highly of their program. These weekly sessions are provided free to up and coming blues bands (and others) to give experience to the students and to promote WJUL and their blues show. What they provided for us would have cost us a few thousand bucks probably in studio time. Locally, in the Worcester, Mass area I get my radio blues from listener-support- ed WCUW 93.1 FM for 3 hours, 6-9 pm Friday AND Saturday nights, with host and Worcester Phoenix music writer Mark Edmonds. Hope to be on that show soon. ;) Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 22 May 1996 13:32:05 GMT Reply-To: jackieo@MIDTOWN.NET From: Jack Oudiz Organization: Midtown Computer Services Subject: Re: Don's race & blues FAQ Comments: To: bit-listserv-blues-l@uunet.uu.net Jim Witteveen wrote: >Jack, I don't understand this statement. Are you equating Republicans with >Racist dogs? Jim, I'm glad you brought this up because I was afraid some might read it that way. No, that was not the intended implication. If you read David Nelson's excellent editorial in Living Blues several issues back, my meaning was in that vein. Essentially his point was that much of the Republican agenda is a direct attack on the lives of blacks (and poor people in general). Now you may argue from your conservative viewpoint otherwise, but in any case that was my point. No, Republican does not necessarily equate with racist, but, in my opinion, the Republican agenda is, in its essence, racist. ========================================================================= Date: Thu, 23 May 1996 15:28:13 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: How to define BB's Style? In-Reply-To: <1080A51D@MHS> On Thu, 23 May 1996, Steve Levine wrote: > I was listening to the BB King boxed set recently, and I started > thinking about what genre or style of blues he plays. He's obviously > not a Delta or Piedmont player, and he doesn't play the Muddy Waters > style of Chicago blues. He's not from Texas, and doesn't play like what > I would call Texas Blues (although the T-Bone influence is pretty > strong). So, where would you place BB? Does he play Memphis style > blues, or does BB have his own unique genre of the blues? > I guess if you have to pigeon hole him he is Memphis but what he does that's different from many is play "major" blues as opposed to "minor" blues In my semi-informed opinion ... :) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [23/5/96 11:04 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 23 May 1996 10:39:37 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: new Gatemouth? Anyone got any thoughts about the new Gate cd? Is it good even with that plethora of guest stars? -Jeff --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball #4 (coaches poll) U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc09.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Thu, 23 May 1996 08:50:58 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Conservatives and race This isn't about left and right folks! I just want to say that a hell of a case can be made, both philosophically and to a lesser extent politically, that civil rights are a basic, CONSERVATIVE, American virtue, NOT a liberal one that requires the left to force this change down America's throat. Even Dr. King recognized that this virtue is written into the basic documents of our country. When will we live up to them? DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Thu, 23 May 1996 11:55:15 -0400 Reply-To: bob unger From: bob unger Subject: blues-l donation Well, I'm still sitting here with $525 from BluesBytes, trying to figure out a way to get to Chicago for the opening of the Chess Museum so I could personally donate the check to Marie Dixon on behalf of blues-l, but I'm afraid there is no way that I'm going to get there. So, today I will be mailing the check to the Blues Heaven foundation. Not being to good at the written word, I enlisted the help of Cathi Norton who wrote the following, which will be mailed along with our donation. Bluesellers....I know that this is not a lot of money....but I feel very good about this and I want to thank all the members who contributed to the tape, as well as all the people who bought the tape....aw, hell, I thank evrybody on the list. We did something good here, despite the occasional flames and bickering. When it comes down to what we on the list are really here for, we put our money where our mouths are. We are helping to keep the blues alive. Here is the letter: Dear Marie Dixon: As you may or may not be aware, there exists a healthy group of blues lovers in a discussion group on the Internet which goes by the name of "Blues-L". We actively support the blues through a) shared information b) CD & album purchases and c) concert attendance, and are active in many other ways. Blues-L is growing by leaps and bounds. We meet each other at festivals, connect through travel and daily dialogue on the net, and support music by introducing each other to the latest (or favorite traditional) blues men and women and their work. Last year we designed and produced a t-shirt for the members of this discussion list and were able to contribute profits from their sale to a blues organization of the group's choice. This year, we put together a cassette tape of music which featured members of the blues-l in performance. The sale of this tape to blues-l members generated yet another profit for the group. A survey was conducted among the members and we voted to donate this profit to your organization in support of the blues. Therefore, please accept the enclosed check for $525, donated by Blues-L in the hopes that it will help Blues Heaven in its good works, for which, by the way, we are very grateful. Sincerely, Bob Unger and the members of Blues-L ========================================================================= Date: Thu, 23 May 1996 10:54:32 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Anson & the Rockets in SA All you S. Texas folks who are close to San Antonio, Anson Funderburgh and the Rockets with Sam Myers will be here in San Antonio tonight. They are the first blues band to play at the new club, the White Rabbit (of Austin fame). If any of you can make it, do so. It would be a good sign to have the first blues act to do well at this club. God knows we need to have a place that books QUALITY acts here in SA. Look for me, I'll be hangin out with my friends wearin my Buddy Guy t-shirt. -Jeff --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball #4 (coaches poll) U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc09.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Thu, 23 May 1996 15:54:33 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: MyVIEW - Kenny Burrell Comments: To: bit-listserv-blues-l@uunet.uu.net A little while back someone asked about Kenny Burrell - now you're talking about one of my childhood heroes. Jimmy Smith combined with Kenny Burrell eased me into jazz, and led me right back to the blues....... "It would take several albums for me to express what I feel about the blues; so in this one I'm just presenting a small cross-section of my thoughts. The blues isn't just a matter of a particular musical structure, a rigid harmonic form - it's a _feeling_ one gets from certain music; and also the special way one expresses those feelings." So goes the introduction to the 1968 Verve LP "Blues - The Common Ground" written by Kenny Burrell. He goes on to say: "One can detect a blues flavor in a flamenco tune, a gypsy folk song - in the folk music of most cultures, because the blues reflects the emotions of the common man. It is a part of one powerful force with many channels, and that force is the soul of man." I had this album since it first came out - no it is not out and out all blues, but many shades of and tunes which are "close" to blues. I was attracted first to the obvious driving big band tunes like "See See Rider" (with its fabulous lead in by Ron Carter on double bass) and "Everydays" - a composition credited to Stills (I often wondered if this was Stephen Stills of Buffalo Springfield/Crosby, Still & Nash fame....) But it took me quite a while before I really appreciated the outstanding tunes on the LP - "Soulful Brothers" - a Kenny Burrell composition. In contrast to the other tracks on the LP which were mainly guitar riding over big band arrangements (by Don Sebesky), "Soulful Brothers" was just a quartet - but what a quartet - Herbie Hancock on piano, Ron Carter on bass and Grady Tate drums. The arrangement was sparse, with terse phrasing - the bass walks but the guitar sings and talks to me. Yes it is jazz, but this is unmistakably the blues. This LP had been deleted for years and the only way one could hear this tune was the live recording on the CD "Fourmost" by the Jimmy Smith Quartet (Smith - organ, Burrell - guitar, Stanley Turrentine - tenor sax, and Grady Tate - drums) although it is the same tune, and it is nice, it doesn't have the bite of the LP version. Well, finally the LP version of "Soulful Brothers" is available again - BURRELL*KENNY VERVE JAZZ MASTERS 45 POL527652 This CD collects together his Verve recordings, many tunes are straight ahead jazz and ballads, but contains some of the tracks from "Blues - the Common Ground" - like "Every Day I have the Blues" - which Kenny remarked that BB King liked this version - I find it a little too over arranged. "Common Ground" is also included along with "Wonder Why" and the beautiful "Were You There?" - not all blues - nevertheless one can hear the overall bluesy feel Kenny gives everything he plays. "Blue Bash" with Jimmy Smith the title track of the 1963 album is also worthy of attention. There is a better cross section of his small combo works on the Bluenote release: BURRELL*KENNY BEST OF CAP30493 which includes his "Chitlins Con Carne" and "Midnight Blue" - again this is jazz but very much in the blues vein. However I personally like his work with Jimmy Smith that Hammond B-3 organ monster. Man when these two are together they swing and play some of the funkiest blues you have ever heard. I would thoroughly recommend the following two albums: SMITH*JIMMY BEST OF CAP91140 consisting of Jimmy Smith's Bluenote sides - all small combo stuff - there's a 20 minute workout with Kenny Burrell on the "Sermon". "All Day Long" is a great Burrell composition and just some great playing. And the all time classic "Back At The Chicken Shack" - that I am starting to hear bands play as either their warm up or playout last number. SMITH*JIMMY ORGAN GRINDER SWING VER825675 trio sides - Smith-Burrell-Grady Tate drums. Side one of this LP (now on CD) has some of the bluesiest blues, title track is great with stop time, "Oh, No Baby" smokes 9 minutes of prime Burrell/Smith - it really can't get much better than this. For some more recent stuff the two live albums should be considered: SMITH*JIMMY FOURMOST MiL9184 as mentioned has a nice live version of "Soulful Brothers" as well as "Thing Ain't What They Used to Be" the (Mercer) Ellington tune - quartet of Smith-Burrell-Tate and the fat sax of Stanley Turrentine. SMITH*JIMMY MASTER CAP30451 trio date Smith-Burrell -Smith - that's Jimmie Smith on drums. Live version of "Back At the Chicken Shack" - notice that Jimmy Smith plays the "bass" on the organ bass pedals - the bass lines have changed to something "fancier" - but loses the old pumping bass that made this tune so attractive........ Hopefully that should keep you guys going for a while. -- Vincent vt@usa.pipeline.com ========================================================================= Date: Thu, 23 May 1996 16:18:24 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: eRIC's BLUES DATES: May 24 Comments: To: bit-listserv-blues-l@uunet.uu.net A Happy Birthday to the PW - I see he's sharing it with another American classic - Mr. Robert Zimmerman......... -- Vincent vt@usa.pipeline.com >Here's a few dates (b. born, d. death) for tomorrow. If you have any >corrections/additions, let me know at leblanc@dao.nrc.ca. > >------------------------------------------------------------------------------- >artist notes/full name yyyy-mmdd, city/county state >age >------------------------------------------------------------------------------- >FENTON, PAUL (BLUES-L MEMBER) b. 1948-0524, NEW YORK CITY, NY >DYLAN, BOB (g/p/songw) b. 1941-0524, DULUTH, MN ========================================================================= Date: Thu, 23 May 1996 12:24:34 -0400 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Billboard's Top 15 Billboard's Top 15 Blues Albums for the week ending May 25, 1996 1. Ledbetter Heights, Kenny Wayne Shepherd 2. Greatest Hits, Stevie Ray Vaughan & Double Trouble 3. Live: The Real Deal, Buddy Guy 4. Alligator Records 25th Anniversary Collection, Various Artists 5. Phantom Blues, Taj Mahal 6. Long Way Home, Clarence "Gatemouth" Brown 7. From The Cradle, Eric Clapton 8. Keb' Mo', Keb' Mo' 9. Blues, Jimi Hendrix 10. Blues For Greeny, Gary Moore 11. Chill Out, John Lee Hooker 12. Hot Biscuits: House Of Blues Sampler, Various Artists 13. Ya Think I'd Know Better, Coco Montoya 14. Some Rainy Morning, Robert Cray 15. Against The Wall, John Mooney *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Thu, 23 May 1996 12:41:38 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: blues-l donation Comments: To: bob@sun.bnkst.edu In a message dated 96-05-23 12:30:50 EDT, bob@SUN.BNKST.EDU (bob unger) writes: > So, today I will be >mailing the check to the Blues Heaven foundation. Not being to good at >the written word, I enlisted the help of Cathi Norton who wrote the >following, >which will be mailed along with our donation. Great letter, great job Cathi and Bob. Tom Freeland (aware that the FAQ probably discourages me-too posts, but doing this one anyway. I don't usually! Promise!) ========================================================================= Date: Thu, 23 May 1996 11:55:35 EST Reply-To: mstringer@HEARST.COM From: Mark Stringer Subject: Re: new Gatemouth? Comments: To: Jeff Seale > Gate cd? Is it good even with >that plethora of guest stars? Does anyone know if the plethora actually recorded with Gatemouth or did they just add a track to the mix? Mark ========================================================================= Date: Thu, 23 May 1996 09:21:07 -0700 Reply-To: chris From: chris Subject: Spider John Koerner's latest- "Stargeezer" Time for the Red House Records May releases: Spider John Koerner's "StarGeezer," and Ralph McTell's "From Clare to Here." If you have any questions about them, you can contact me (Megan Zinn) at rhrpub@aol.com. If it takes me a little while to get back to you, don't fret, I'm probably just buried under email. The info on "StarGeezer" is below. I'll include info on Ralph McTell in the following post. Spider John Koerner "StarGeezer" RHR 84 * available on CD and cassette * 0-3365-10084-2/4 Spider John Koerner's got a new album. It just makes you want to celebrate. "StarGeezer" is Koerner's first new release in four years, but with Red House's reissue of his superb albums from the Sixties--"Blues, Rags & Hollers" (with Dave Ray & Tony Glover) and "Running, Jumping, Standing Still" (with Willie Murphy)--he's been rocking CD players through the Nineties. When Red House reissued those legendary albums, the gratitude from fans was incredible. We knew it was time to get Spider John into the studio again. So, he and Willie Murphy left Minneapolis and headed down the Mississippi to New Orleans to record "StarGeezer." Spider John is one of folk and blues' greatest innovators. He has influenced a generation of musicians, including Bob Dylan, John Lennon, the Doors, and Bonnie Raitt. As one-third of Koerner, Ray & Glover, he helped jump-start the folk blues revival of the early Sixties and he's been keeping folk music alive ever since. "StarGeezer" is an epic gathering of all the elements that have made Spider John Koerner great--witty and philosophical originals, idiosyncratic turns on classic songs, singing phrased with wry eccentricity and insight, and remarkable and utterly original guitar work. It's even got one of Spider John's favorite standards thrown in for good measure. It's "Running, Jumping Standing Still" meets "Nobody Knows the Trouble I've Been"--with the raucous mix of ragtime, blues, R&B and jazz of the former, combined with the distinctive takes on traditional folk music of the latter. "StarGeezer" was produced by the always inventive and influential Willie Murphy (who joins in on bass as well). He brought together a fabulous group of musicians, including ragtime fiddler Chip Smith, and three of New Orleans' musical masters: Saxophonist Reggie Houston, Professor Longhair drummer John Vidacovich, and pianist/accordionist Amasa Miller. "StarGeezer" is a rollicking good time--there is no one like Spider John. "...the most innovatively brilliant acoustic blues musician of his generation." --Sing Out! "Koerner has the wry wisdom and stability of a man completely at ease with himself and others--a legend who feels he doesn't have to bother to live up to the billing. And therefore he does." --Boston Phoenix "As far as I was concerned, 'Spider' John Koerner was up there with Blind Boy Fuller, Big Joe Williams and other great blues originals....just inspiration city! The man's still a true original--time hasn't disguised his inimitable sound." --Folk Roots "His guitar picking is faster 'n cleaner than ever, his voice is as strong 'n smirkin' as it was in '63, and the material that he does is great. He just bowls ya over with a combination of chops and sheer mother power." --Option "His music set me on the artistic path I've followed to this day. They just don't make anybody like Spider John Koerner anymore. They broke the mold." --Bonnie Raitt For more info contact Megan Rubiner Zinn at rhrpub@aol.com Christopher Adams chris@sparkie.osl.state.or.us ========================================================================= Date: Thu, 23 May 1996 13:04:07 EDT Reply-To: L McCaffrey From: L McCaffrey Subject: Re: tutor advice Comments: To: Mark Stringer In-Reply-To: <9604228327.AA832785537@smtplinkout.hearst.com> On Wed, 22 May 1996, Mark Stringer wrote: > I use teachers like books. I'll pick one up, check it out, put it down if it > doesn't immeadiately grab me or I'll buy it and spend some time with it. I've > never been able to develope a long standing commitment with a teacher. But I've > gotten useful info from each one I've experienced. Most teachers I've come > across want a long term set-up, they'll offer discount rates. I think a real > solid teacher student relationships is difficult to find, play the field until > you find that CHEMISTRY > > -Mark > > > I had a great relationship with my guitar teacher. I started playing about three years ago. I wanted to play blues. A local guy offered to teach me. I could read music but couldn't really play anything without the music. He taught me the standard blues scales, minor scales etc. and also taught jazz scales. I was never pushed to practice scales, but rather to practice improvising with the scales. I was always encouraged to try new things and explore the music. He was always there to give a helping hand. Instead of teaching me how to play blues, he taught practical theory and little "tricks" so I could learn blues my own way. I was also encouraged to try new styles of music, jazz, country, raggae. I was continuously being asked what style I wanted to work on each week. Every week I was lent a new CD of some artist and studied their styles. My teachers object was to teach me the tools needed to play blues, not teach me how to play the blues. I think that this was very important. It has helped me develope my own style. Of course my style stiil needs work. The lessons were $40/month (canadian) for 4 hours (1 hour/week), although usually we would go for about 2-3 hours each week. About half of each lesson was dedicated to jamming, and he would tell me good and bad points about my playing and give me some ideas. After about six months he told me he couldn't teach me anymore. I had aquired the tools, I just needed to learn how to use them. That is something that cannot be taught. He invited me to come play with his band at some of there gigs, and encouraged me to get my own band and start playing. Every once in a while I still go and jam with him. The last time I did, he smiled at me and said "you've got it". I've never felt better. Now I'm 19 and allowed into bars, so every chance I get, me and my friends/band go and play. Its great. I'm still and improving the tools that I was taught and learning on my own. I'm glad he quite me. I couldn't have progressed as far as I have if I didn't go on my own and find out what works and what doesn't. LM > ------------------------------------------------------------------------------ L McCaffrey ========================================================================= Date: Thu, 23 May 1996 13:30:59 -0400 Reply-To: Dave Markovits From: Dave Markovits Subject: R.L. Burnside I think it will be interesting to hear R.l.'s new album. I was talking to Kenny Brown at a show, about a year ago, and he told me they were touring with Jon Spencer's Band. I had never heard his music, but know lots of folks who enjoy it. I borrowed a cd, It wasn't totally my speed, but I do see similarities in what they do. It seems Spencer is a big R.L. fan and vice versa. John Spencer is not a millionaire rock star, but he has a solid following of people who enjoy what he does. I tried to go to the show here in Chicago(@Metro)to see this last tour and it was way sold out. There were probably 150 people outside trying to get tickets. Everybody I saw wearing R.L. shirts were older Blues fans. I never really heard anything about R.l.(nothing in the paper) the same goes for Junior with Iggy. The Sun Times printed a review, no mention of Junior whatsoever. I hope the album thumps. I think it will(I hope)My question is who will buy it? R.L. fans, definitely, we can only hope we enjoy it, Jon Spencer Fans, ???,rock fans?? Matador has produced some stuff that has sold quite a bit Liz Phair and others. I believe they are a subsidiary of Atlantic Records. Distribution for this lp will be more than favorable. Let's hope the touring with these acts has helped R.L. and Junior, I think it probably has, will it make a difference? Only time will tell. I saw the Fat Possum caravan here at Legends last time and the crowd was older Blues fans again. I talked to a great deal of people there. Many fans had seen R.l. previously he played Bluesfest last year. The crowd at Metro was a younger more punk rock crowd. I didn't see that kind of crowd at R.L's show. R.l. will be playing June 15th at Legends w/ Corey Harris and Paul"Wine" Jones. Bottom line for me is this cd will be totally different. I am looking forward to it immensely.R.L. has never disappointed yet. Let's chat it up on June 18th. Thanks; David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Thu, 23 May 1996 13:44:59 -0400 Reply-To: MistyMtMan From: MistyMtMan Organization: America Online, Inc. (1-800-827-6364) Subject: PHILLY JAMonRiver This Weekend!!! Comments: To: bit-listserv-blues-l@uunet.uu.net THIS WEEKEND: MAY 24-27 FOUR DAYS OF BLUES, GOSPEL, CAJUN, & ZYDECO MUSIC ON THE RIVER IN PHILADELPHIA, PA at beautiful PENN'S LANDING!! This year, the festivals formerly known as the RiverBlues and the Jambalaya Jam have combined to one big MEMORIAL WEEKEND MUSIC BLOWOUT! --- "The CoreStates JAM ON THE RIVER". Four stages with continuous music, food, and fun! Tickets only $10 in advance, $12 at gate day of show. Music from at 12 pm - 10 pm (Friday starting at 5pm, Mon. until 9) FRIDAY'S Blues Jam acts: Greg Piccolo & Heavy Juice Holmes Brothers Duke Robillard Band Papa John DeFrancesco Keisha Brown SATURDAY acts: Etta James Duke Robillard Beau Jacque Beauseliel w/Michael Ducet Trout Fishing in America Greg Piccolo Luther JOhnson Jean Carne Deborah Coleman Mamou Barbara Walker Ray Owen Dinner Dogs Allons Dancers Treme Brass Band SUNDAY acts: Rockin' Dopsie, Jr. Charmaine Neville Trout Fishing in America Zachary Richard Tabu Ley Rochereau Brass Band Rumble & Parade! with: Preservation Hall Jazz Band Terrence Simien Wild Bunch Brass Band Fortune Vincent Cruse Rick Valenti Blues Band Willie Henderson & Gospel Jam Ben Pressley & Vessels Joy UnlMetropolitan Male Chorus Tri-State Mass Choir Wilmington Chester Mass Choir Ray Owen Musical Mommy Mystique the Magician MONDAY acts: Wayne Toups & Zydecajun Anders Osborne The Radiators Dukes Of Destiny Chubby Carrier Keb' Mo' Chris Duarte Pablo B & The Committee Treme Brass Band Allons Dancers Mystique the Magician Dinner Dogs Give & Take Jugglers Quaaker City String Band Ronnie Jam & Jez Hot Swing Club For more information call The Philadelphia Visitors & Convention Bureau at: 1-800-668-5724 0r 1-800-537-7676 -------------------------------------------------------------- ========================================================================= Date: Thu, 23 May 1996 13:55:09 -0400 Reply-To: "John R. Vanderpool" From: "John R. Vanderpool" Organization: NASA/GSFC Subject: holmes brothers - good show to see!? they are playing at the Twist & Shout in Bethesda, MD tonite (thu 23-may) if anyone gets this and has any comments please send them to me! thanx, fish ========================================================================= Date: Thu, 23 May 1996 11:56:00 -0600 Reply-To: bmpech@MSCD.EDU From: Bruce Pech Subject: Re: How to define BB's Style? Comments: To: Pat Hertel In-Reply-To: On Thu, 23 May 1996, Pat Hertel wrote: > I guess if you have to pigeon hole him he is Memphis > but what he does that's different from many is play > "major" blues as opposed to "minor" blues > > In my semi-informed opinion ... :) According to a Robben Ford instructional video, part of BB's "sweet" sound is attributable to his frequent substitution of the major 6th for the flat 7th in the pentatonic scale. In my very poorly informed opinion (I'm trying to learn electric guitar and some dreaded "theory" after 30+ years of playing acoustic blues. Haven't made much progress yet ...) BP Boulder, CO ========================================================================= Date: Thu, 23 May 1996 18:15:20 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Bad Credit? Slow Credit? No Credit? No Problem! Subject: Re: death bed cd; was Re: last cd in your player Comments: To: bit-listserv-blues-l@uunet.uu.net On Tue, 21 May 1996 13:26:34 +0300, T P Uschanov wrote: >On Sun, 19 May 1996, jose.eric.s.maglanque wrote: > >> Q: what cd (or song) would you want to be playing before you croak? > >It would certainly be Henry Purcell's 'Harmonia Sacra' (McCreesh/ >Gabrieli Consort & Players, Archiv 445 829-2). > >Sorry for low blues content, but you asked for it! It's the epilogue to The Voyage by Philip Glass for me -- the part where Columbus ascends to the stars. Kevan Smith cuthulu@rlabs.com the great purple hope for the blues ========================================================================= Date: Thu, 23 May 1996 18:15:23 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Bad Credit? Slow Credit? No Credit? No Problem! Subject: Re: blues on the air Comments: To: bit-listserv-blues-l@uunet.uu.net On Tue, 21 May 1996 17:28:23 -0700, Guy Tapper wrote: > Which brings me to a question. Do most of you 'zellers have blues >radio shows in your cities and towns? If so, are they mostly public radio >programs, or do some places actually have commercial blues radio? If you >choose to respond to this, please mention what city you're writing about. >Thanks in advance for satisfying my curiosity. In Shreveport, LA, we are fortunate to have three radio stations that play the blues. I'm the public radio announcer who hosts a blues show on the Red River Radio network, a four-station, four-state network. My show is on each Tues. and Gri. from 10 to midnight. We also carry Blues Before Sunrise every Sun. morning from midnight until 5:00 a.m. Two commercial stations, KDKS and KMJJ, also have short blues shows on the weekends, but they tend to play the more commercial and well-played songs, like "Down Home Blues," "Cheatin' in the Next Room," "Stormy Monday," etc.... We're also developing a club scene. It's in its infancy, but so far shows some promise. Kevan Smith cuthulu@rlabs.com the great purple hope for the blues ========================================================================= Date: Thu, 23 May 1996 14:36:33 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Them brothers from Texas! :) Comments: To: don.o@chrysalis.org Howdy Don! Yeah, you're right that the Vaughan's are Dallas boys. I remembered that as I sent out my post to -L, but didn't feel like retracting it. Seems like most folks consider Stevie and Jimmie to be part of that whole Austin scene, so I just let it fly. I guess the Austin City Limits performances have some- thing to do with it. Thanks for the correction. Guess I had it comin' after raggin' on those mis-spellers out there. :) Duly noted and not even upset, (imagine!) Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 23 May 1996 14:45:20 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Sitting&Thinking-Nick Holt I know this CD had been discussed a while back but having just been informed that I haven't posted a review for a while here goes first of two nice Wolf's that I have recently enjoyed. Both of these will uploaded to our web site around June 1st along with 40 or so others that we hope you take the time to read and enjoy. Nick Holt NICK HOLT YOU BETTER WATCH YOURSELF WOLF #120.883 THE TOWN I LIVE IN / YAK, YAK / YOU BETTER WATCH YOURSELF / NEED SOME GOOD LOVIN' / ONE ROOM COUNTRY SHACK / YO BABY, YOU CALL ME / STANDING IN MY DOORWAY / CHANGE MY MIND / GOT TO BE SOME CHANGES / WALK UP THIS MORNING / SITTIN' IN MY BEDROOM / WHEN YOU GET A HEADACHE / AS THE YEARS GO PASSING BY NYCD Short Takes Another stellar musician to get pulled out from behind Magic Slim, and given his own front is this sharp as a tack bass man - Nick Holt. The sides here are not totally free of the effects of Slim as he is featured throughout, but the honors of center stage are Nick's. Also on tap are more of the Slim gang - John Primer, Earl Howell and a couple of solid additions in Chris Sandera on harp and one of my all time favorites, Eddie Shaw, blowing his soo-coool sax. The cuts themselves are a good mix of Holt originals and well chosen covers. On the cover side there's a handful from the likes of B.B. King, Bobby Bland, Mercy Dee Walton and others. Nick's contributions total 6 self penned sides. Wolf is delivering Chicago, aces up, once again. A CD worth the dollars you plunk, for it's music, for it's look at the Slim team rearranged, and for it's premonition of a bass man you will hear more from as a band leader and fronted vocalist. What should be noted is that the disc feels very fresh. It is not a rehash of Slim material, but rather a feel for what a new band leader would bring to this group if he were given the reins. Of all the cuts I find the following to be the surprises on this CD. First, The Town I Live In, which is a raw ballad blues and a tight opener for the disc. It shows off the vocal power of Nick and is a well chosen lead in. Written by McKinley Mitchell it has a very stirring feel to it. My very next pick is You Better Watch Yourself, the cover cut to this disc, and again a vocal showcase for Mr. Holt. This is a self penned Holt original. On this side Nick is a screamer as he is on several other sides, including the very nice Yo Baby, You Call Me - loud and bellowing and sharing the front with Chris Sandera who does a stellar job on harp. Finally I would recommend a good thorough listen to the closing cut, As The Years Go Passing By. This is a rich, deep, blasting shot of the blues. Nick is way down in a raw and emotional place here, with some great guitar solos that are interspersed between his killer singing and beautiful renditioning. Written by Albert King this is solid blues top-to-toe and closes out the CD with a strong beckoning to be on the lookout for Mr. Holt's next CD. Reviewed by Barry Silverberg NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 23 May 1996 14:46:07 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Sitting&Thinking-L.V. Banks L.V. Banks L.V. BANKS LET ME BE YOUR TEDDY BEAR WOLF #120.887 A quick synopsis of this CD would say, "guitar lovers beware". The reason this fits this disc so well is that the guitar work is outrageous. You will find everything from what L.V. claims to be his picking style to some juicy licks, slide style. This is a Chi town special, right from the best sounds it ever had. The guitar trio here is L.V. Banks, Michael Thomas and the new rising star John Primer. A quick note. It was Wolf Records who first pulled John out from behind Magic Slim and now this raging young buck has been signed to Code Blue Records. Way to go! Right behind the above mentioned guitar wizards you'll find Ike Anderson on bass, Jerome Price on drums, Allen Batts beating the keys on piano and organ and the Chicago Playboy's Horns comprised of Charles Kimble on sax and "Big James" Montgomery on trombone. To their credit Wolf has not stuck these additional musicians way in the back. In fact everyone on this disc gets their own air at some point through these sides. Of note are some big fronts from the pianoman Batts and the two horns. I think you will sit listening in amazement, as some of these cuts cross your ears. The slide work is chilling and for me stood out among the strong, basic Chicago blues that this set of cuts so well represents. This is another CD in Wolf's long list of Chicago Blues Sessions and well deserves your listen-to. THAT'S THE WAY OUR LOVE GOES / TEDDY BEAR / BORN IN THE CITY / NEW KIND OF LOVE / BLUE GUITAR / DOWN IN MISSISSIPPI / TAIL DRAGGER / I'M A MAN / SHE'S FINE / LADY IN RED / CHRISTMAS SONG NY CD Takes THAT'S THE WAY OUR LOVE GOES: The opening lines are slow, smooth, and hard breathing blues delivered with a full band orchestration and a sweet well plucked guitar fronted. L.V.'s vocals come in at just under 1 minute and they answer the question perfectly - YES, L.V. is a picker and a singer. The horns are very strong and get their own front for a while, as does the organ and Allen Batts. A nice way to open a set. TEDDY BEAR: The pace here ups a tad on this second L.V. penned side and the cover cut to the disc. Still keeping to the straight and true Chicago mold this song is more classic blues, done well and delivered honestly. Not a lot of fancy anything here, just meat (filet mignon) and potatoes (Dauphine) blues, with a brush stroke of slide towards the second half of the cut. Not a big flurry, but at least an appetizer for more to come. BORN IN THE CITY: This song features a couple of good strong fronted solos by L.V. and some very fine quick flurried picking on his axe. The flurries continue and make up a good portion of this side and give reason to my saying that this is a guitar lovers CD. This is a great side for listening to what a really good player can do on a guitar NEW KIND OF LOVE: Another mid-to-up tempo tune with a full horn section right in the front of the cut and a much brighter set of vocals from L.V. His singing is more in the B.B. King tradition here and the full backup from the others rounds out a good side. There is also plenty of non-vocal instrumental time on this cut to highly recommend it from a pure Chicago music vein. BLUE GUITAR: As the name suggests, this is a guitar grinder. The tone is deep and sweeter than on most of the preceding sides. It also leaves singing out totally. A first play side for a straight look at the Chicago blues. The big news here is the must listen to piano work of Allen Batts. He steals it, several times over. Again the side has some fine slide, not overwhelming, but done with taste and reserve. DOWN IN MISSISSIPPI: The pace climbs all the way up for this burner. This is the sixth L.V. original in a row. Definitely a dance 'til you drop cut, and full of fun. Even though it is the only side so far that holds this quick paced tempo, it doesn't stand out as an error in an otherwise mid-tempo set of tunes. Another first play side. TAIL DRAGGER: As L.V. leaves his own material he turns to the music of Howlin' Wolf and to honor the change he mouths the words in an imitation of the Wolf's patented sound. He does a good job of it, without getting silly as others have done. Here the steal is the horns, big and bright and with plenty of solo time. I'M A MAN: From the Wolf to the Waters, Muddy that is. True to Muddy's stylings, L.V. treats this side just as the Mudman would have, slow paced, tugging and punctuated at the end of every line with either a horn burst and/or a short guitar riff exclamation point. Plain, simple and good straight blues. SHE'S FINE: Back to L.V.'s own work, She's Fine is a shuffly number with some slide guitar featured. Still well done vocals in a definite dance floor cut. Alan Batts pokes up again, and takes a couple of long and well deserved front solos here. LADY IN RED: The tempo gets way down and dirty blue here. This is a grinding, pulling cut, that places you right in a club, sittin' two feet from the stage and peering up in awe. L.V.'s style is defined right here - little pyrotechnics, plenty of room for the other instruments and a damn fine set of chops accompanied by his straight and highly accomplished guitar playing. He deserves a lot more attention, and one can only hope that this CD will do the trick for him. CHRISTMAS SONG: To close this set the pace gets to moving once again. That Chi-town guitar is right there to set the mood, along with L.V.'s good vocals. He does not rely on just one instrument, but plays his axe and croons his tunes, each with the same verve, intensity and ability - all good and captivating. This is a disc that should get put high up on your next-trip-to-the-store list. Reviewed By Barry Silverberg NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 23 May 1996 12:03:23 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: How to define BB's Style? Pat Hertel wrote: > I guess if you have to pigeon hole him he is Memphis >but what he does that's different from many is play >"major" blues as opposed to "minor" blues I seem to remember somewhere that BB's style is the Memphis sound. BB does play a "major" blues using the major 3rd and the ninth and sixth a lot. The ninth and especially the sixth give BB's solos that "sweet" sound that is associated with him. If you wanna get theoretical then BB relies a lot on the Mixolydian mode. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Thu, 23 May 1996 12:16:24 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Acoustic Fingerpicking Types I'm starting to get into acoustic guitar a lot recently. The first thing I have noticed is that my volume when using isn't very loud. This seems to be a result of playing electric for all these years. Also, I tend to use hybrid picking a lot, another carry over from my electric technique. But I would like to move towards either using fingers only or playing with finger picks. So all you acoustic players could you help me with advice on, how to improve my volume (not by plugging in:-)), how to get a crisp tone using fingers and your preference regarding bare fingers or finger picks. Thanks. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Thu, 23 May 1996 19:30:17 GMT Reply-To: bbbean@sheltonlink.com From: bbbean@SHELTONLINK.COM Organization: inlink Subject: Re: cyclical blues-l Comments: To: bit-listserv-blues-l@uunet.uu.net In , Jeff Seale writes: (you could make a calendar based on our threads) I think this is tru of any online discussion group or mailing list. Just remember that, like the blues, discussion is based on repitition, and sometimes it takes an existing structure to come up with something new. BBB B.B. Bean bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Thu, 23 May 1996 15:17:25 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 05/24 B O R N : 05/24 BASSO, GIANNI Born;1931 ASTI, ITALY Career:TENOR SAX Style:JAZZ / BIG BAND Close friend of Oscar Valdambrini COWENS, HERBERT "KAT" Born:1904 DALLAS, TX Career:DRUMMER Style:BLUES / JAZZ With:SAMMY PRICE DEFRIES, DAVID Born:1952 LONDON, UK Career:TRUMPET / FLUGELHORN / TENOR HORN / PERCUSSION Style:JAZZ With:JULIAN BAHULA / DON WELLER / MARK WOOD / CHRIS MacGREGOR EARLAND, CHARLES Born:1941 PHILADELPHIA, PA Career:ORGAN / SOPRANO SAX Style:JAZZ FIELDS, HERBIE Born:1919 ELIZABETH, NJ Career:ALTO SAX / TENOR SAX Style:JAZZ / BIG BAND GEDDES, ALAN Born:1927 LITHGOW, NSW, AUSTRALIA Career:DRUMMER Style:JAZZ With:Doug Burgess 1946 / Col Anderson / Frank Smith / Noel Gilmour / Keith Cerchi / Gaby Rogers / Gus,Merzi / Jack Lander / Billy Weston's big band / the Port Jackson JB / Ray Price / Graeme Bell / Frank Smith / Keith Barr / John Sangster / Graeme Bell's All Stars through 1962-63 / Dick Hughes trio / John McCarthy / Jack Lesberg's quartet / Chris Taperell / Bob Barnard / tour with Oscar Peterson / Bob Barnard's jazz band 1974 / Dick Hughes's Famous Five 1977-84 / Noel Gilmour 1979 / Don Heap / Gary Walford / Merv Acheson / Tom Baker's Swing St Orchestra / Graeme Bell's All Stars / the Bruce Johnson Quartet / Red Bank / Roger Janes's band GREENLEE, CHARLES ( MAJEED, HARNEEFAN Born:1927 DETROIT, MI Career:TROMBONE Style:JAZZ / BIG BAND Humphrey, Willie Eli Born:1880 NEW ORLEANS, LA Career:CLARINET Style:TRAD / JAZZ KIEFER, RICK ( RICHARD ) Born:1939 CLEVELAND, OH Career:TRUMPET Style:JAZZ LEE, JOHN Born:1915 MOUNT WILLING, AL Career:GUITAR Style:BLUES LEVITT, STELLA Born:1930 LOS ANGELES, CA Career:SINGER Style:JAZZ / BIG BAND McINTYRE, WILLIAM LANDALE (WILL, WILLIE THE LION) Born:1919 BENALLA, VIC. AUSTRALIA Career:PIANO / SINGER Style:JAZZ With:Laurie Cowan / Wes Brown 1933-41 / Maurice Goode Orchestra 1947-51 / Tony Newstead's South Side Gang / 1952-54 Portsea Trio / Baron's Footwarmers / Lou Silbereisen / Jim Loughnan quartet / Don Roberts's Trio / George Tack's Jazzmen MOONDOG ( LOUIS THOMAS HARDIN ) Born:1916 MARYSVILLE, KS Career:MISELLANEOUS INSTRUMENTS Style:JAZZ / BLUES RUSSELL, TONY Born:1929 ESSEX, UK Career:TROMBONE Style:JAZZ / BIG BAND SHEPP, ARCHIE ( VERNON ) Born:1934 FORT LAUDERDALE, FL Career:TENOR SAX / TEACHER Style:JAZZ With:LEE MORGAN / CAL MASSEY / JIIY HEATH / JOHN COLTRANE SIGNORELLI, FRANK Born:1901 NEW YORK, NY Career:PIANO / COMPOSER Style:JAZZ With:PHIL NAPOLEON /JOE VENUTI / ADRIAN ROLLINI / PAUL WHITEMAN WHITE, MICHAEL ( WALTER ) Born:1933 HOUSTON, TX Career:VIOLIN / COMPOSER Style:JAZZ With:JOHN HANDY / SUN RA / PRICE LASHA / JOHN COLTRANE / ERIC DOLPHY YEOH, NIKKI Born:1973 LONDON, UK Career:PIANO / KEYBOARDS / COMPOSER Style:JAZZ With:COURTNEY PINE / CHANTE MOORE / NENEH CHERRY / PHILLIP BENT Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Thu, 23 May 1996 16:56:07 -0400 Reply-To: Eranosian From: Eranosian Subject: Re: blues on the air Meridith Farnworth posted this yesterday: > oh, if only! Out here in the Blues Wasteland of Cape Cod, the local classic > rock > station (WPXC) plays a whopping 15 minutes of the Blues for their "Blues At > Two" > segment every afternoon. > > sigh. Thank goodness for dmx, which is ALWAYS tuned to channel 30! > > --Meri > mfarn@fibusa.com > > p.s. ooops, Cape Cod is not a city....specifically, I mean the thriving > (soon to be over- > run with tourists) metropolis of Hyannis, MA > Have you tried WMVY (92.7)? Weeknights at 8 they play an hour of blues. It may not be much, but often it comes in handy in the car. Craig ========================================================================= Date: Thu, 23 May 1996 16:45:07 -0400 Reply-To: Jerry Zolten From: Jerry Zolten Subject: Re: B.B.King I'll put my neck out on the line here a bit on B.B.'s style. I hear a lot of different things in his work. As to vocals, I know he listened a lot to gospel as a kid growing up in Mississippi. Among others, he was particularly taken with the lead vocals of Rev. Sam McCrary of the Fairfield Four, and consciously modeled himself after McCrary and other high voiced emotional gospel singers. As to guitar, strictly in terms of influences, I hear a lot of Charlie Christian via T-Bone Walker in his approach, all tempered with a healthy dose of Delta blues and all those r&b cats he was playing on the radio as a DJ at WDIA. ========================================================================= Date: Thu, 23 May 1996 18:22:02 -0400 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Re: blues-l donation Comments: To: bit-listserv-blues-l@uunet.uu.net Excellent work Bob! I am very pleased at the results. And to my girl Cathy - you write one heck of a letter! Keep up the good work. Now, THIS (despite the incessant "SRV" stuff) makes me proud to be a member of blues-l... Lea Gilmore Baltimore, MD ========================================================================= Date: Thu, 23 May 1996 16:05:49 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: B.B.King Jerry Zolten wrote: > As to guitar, strictly in terms of >influences, I hear a lot of Charlie Christian via T-Bone Walker in his >approach, all tempered with a healthy >dose of Delta blues and all those r&b cats he was playing on the radio as a >DJ at WDIA. I think BB has mentioned that he was influenced by Lonnie Johnson and Blind Lemon Jefferson as well. I've always held the opinion that you could hear which decade a BB song is from by listening to the guitar in terms of tone and licks. I hear a distinct difference between BB's guitar style in the '50s, '60s, 70s and 80s/90s. It is all pure BB but there a noticable changes in the tone and the nature of his playing. As a general rule I would say that his tone has become more mellow over the years with his playing becoming a little more sophisticated. IMHO. Anyone else hear this? Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Thu, 23 May 1996 19:55:15 EDT Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: blues-l donation Comments: To: bob unger Do we have anyone in Chicago in our midst who could present the check? If it hasn't been mailed yet, mail it to them instead of directly to Blues Heaven. (Sorry if this has already been asked.) Dave Carpenter Blues Music Director - WHUS-FM University of Connecticut - Storrs, CT http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Fri, 24 May 1996 00:37:03 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Bad Credit? Slow Credit? No Credit? No Problem! Subject: Re: tutor advice Comments: To: bit-listserv-blues-l@uunet.uu.net On Tue, 21 May 1996 23:16:18 -0400, James Leftwich wrote: >I just started playing guitar again after a few years. I never was any >good...I never had any kind of discipline for practicing... Welcome back to the fold! >I had been planning on buying a nice $400 amp but recently decided the >money would be better spent on lessons (I can still use my Gorilla!). >What should I look for in a tutor and how much should I expect to pay. It >seems whenever I tried lessons in the past my tutor was always pushing the >music he liked. You should stay away from tutors who teach how to play specific songs or styles of music, because you'll be learning those on your own. Instead, find one who can ground you in the basics of the instrument and beyond. Learn how to read sheet music, not just tablature. Learn a classical style of left and right hand movement. Learn music theory. When you're grounded in the fundamentals, you can learn how to play any song and any style. And that, to me, is the fun of playing. >Also, would it be better to learn on an acoustic or electric? I need to >build hand strength too... Can't beat an acoustic to develop strength and big calluses. Kevan Smith cuthulu@rlabs.com the great purple hope for the blues ========================================================================= Date: Thu, 23 May 1996 21:27:57 -0400 Reply-To: FRobinsonj@AOL.COM From: "Frank Robinson,Jr." Subject: T-bone Walker --- The best there ever was... For My taste , T-bone epitomizes taste, humor , elagance and inventiveness. His guitar stylings have yet to be truly duplicated. Many have tried, few have succeeded. He was the model that folks like BB King, Little Milton, Ike Turner,Johnny Guitar Watson, Clarence Hollimon, Wayne Burnett, Ronnie Earl and MANY, MANY others have tried to follow....(even SRV). Frankie Lee Robinson ========================================================================= Date: Thu, 23 May 1996 18:36:33 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Major/minor keys Hi all. Reading about BB King playing a Memphis style, with the difference being that he played in minor keys rather than major (was it Pat that said this?) brought a question I've had to mind again. And what better place to ask it than blues-l? :-) I'm wondering if someone could explain to me the difference between minor key blues and major key blues, and a couple of examples of songs in each? The reason why I'm wondering is that when I jam with albums, I use the same basic scales for all songs, and they fit. (Did that make sense?) Anyway, I'd appreciate it if someone could take a minute and give a brief explanation. Thanks! -Jim (hndful@uniserve.com) ========================================================================= Date: Thu, 23 May 1996 21:34:00 -0400 Reply-To: FRobinsonj@AOL.COM From: "Frank Robinson,Jr." Subject: Re: Too Many Choices --- Help Me Out Comments: To: MARCIAG@vms.cis.pitt.edu Marcia, I wish I had your problem!!!!! Here in Atlanta there is ONLY Blind Willies' for national & touring blues bands and on weekends ONLY the Shadows/Excellos. Frank "Frankie Lee" Robinson ========================================================================= Date: Thu, 23 May 1996 21:43:13 -0400 Reply-To: FRobinsonj@AOL.COM From: "Frank Robinson,Jr." Subject: Re: blues on the air Here in Atlanta we have the following radio blues programs: 1. WRFG 89.3 FM "Good Morning Blues" weekdays 6-10 AM 2. WCLK 91.9 FM "Atlanta Olympic Blues Show" Rogene Bailey Host Saturdays 9-12 noon 3. WREK 91.1 FM Fridays 5-7PM (Ga Tech station) 4. WRAS 88.5 FM "Crossroads" Mondays 10PM -12 midnight 5. WQXI 790 AM 12 midnight - 2:00 AM Frank ========================================================================= Date: Thu, 23 May 1996 18:50:30 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Billboard's Top 15 >13. Ya Think I'd Know Better, Coco Montoya >15. Against The Wall, John Mooney Nice to finally see some new entries on the top 15! I was beginning to wonder if this list actually ever changed! Has anyone heard this new Coco Montoya album yet? If it's anything like his first, it's gonna be good... What label is it on? As for the John Mooney album, I've been watching the shelves in the local shop, and I don't believe it's been released in Canada as of yet(correct me if I'm wrong). How many album sales in a week does it take to get an album onto this ...ahem... venerable list? Is this strictly based on sales, or does airplay enter into it somehow? -Jim (hndful@uniserve.com) ========================================================================= Date: Fri, 24 May 1996 02:52:00 GMT Reply-To: James Rothe From: James Rothe Subject: Re: Why do people put SRV down? Richard: Your post was the very first post that I read on this list and, having been yet another blues fan who started listenning to and learning about this music because of SRV's contributions, I was very pleased to find that there is a listserv with intelligent, reserved commentators on it. Then I read the rest of the thread. Whew! You're obviously somewhat studied in the subject, and being a professional writer on the subject, I was wondering if you have any favorite/recommended reading on the blues. Any magazines, etc. that you like? ========================================================================= Date: Fri, 24 May 1996 03:05:49 GMT Reply-To: James Rothe From: James Rothe Subject: Re: Heaven's Soldiers In article <4nq74p$h9@gw.PacBell.COM>, jschive@PACBELL.COM says... > >As a newbie to this group, and with a very sparse record collection, I >was wondering if anyone has seen this film or heard the soundtrack? I >think I saw the names BB King and Buddy Guy in the commercial--would the >soundtrack make a good compilation for beginners? As others have pointed out, the movie is "Heaven's Prisoners." I saw it, I liked it. Some reviews said the plot was a little thick. I'd agree, but I still liked it. As for the music, I thought it was great. I'll probably pick up the sound-track; I happen to like collections like these. One thing I noticed, though, was that most of the music was played to back up a scene in a bar or strip-joint. (For that matter, don't you find that most scenes of strip-joints in modern movies and TV have blues playing in the background?) I couldn't help but think that so many average folks in the USA have this impression of the blues as being "depressing music for drunks in bars." This image is certainly not benefitting the genre. Any comments? Anyway, good movie. Great tunes. -- James Rothe http://bbs.trilogy.net/users/rotheja (There's a few decent blues links that you may want to check out) ========================================================================= Date: Thu, 23 May 1996 09:27:49 6 Reply-To: Mike Suffern From: Mike Suffern Subject: Meet in Chicago w/ tools Comments: To: shannon_oconnor@CCGATE.KDC.COM, Cathi Norton , rossentj@interaccess.com Hey everybody! I've been busy as hell at work the last three months but I did win the first Outstanding Employee Award given to anyone with less than a year with the company so maybe it's worth it. So, I haven't been on the net much at all the last few months. Still get all the messages. Just haven't been able to read them. A solution is in the works though. Who's gonna be at the fest in Chicago next weekend? Adit? Rob? Shannon?, Cathy? Tom? We'll be staying at the Palmer House Friday and Saturday nights, we'll just be slow getting downtown Friday - probably late afternoon. I'll have my new acoustic guitar and all of my harps in tow at the park (unless rain threatens) so the music will be non-stop. Hope to see lots of zellers to jam with. We'll be at the Front Porch most of the time with a trip to the new Juke Joint for a few gigs. You know where my heart lies. Mike [ Home Work Java, Web, ClientServer ] [ http://www.xnet.com/~msuffern/soundtravels.html - The Blues&Travel Site ] [ Chicago Blues Festival, Clapton, Chicago-London-Amsterdam Blues Guides ] ] --------------------------------------------------------------------- [ [ "We're gonna take control of the machinery ] [ Bad little actors that chew up the scenery ] [ Job number one is gonna be findin' a way - Todd Rundgren [TR-I]] [ That we can rave all night and meditate all day" "No World Order" ] ========================================================================= Date: Fri, 24 May 1996 03:30:58 GMT Reply-To: James Rothe From: James Rothe Subject: Re: SRV and whiteboy blues >die stupid threat die die die die die die All right, I'm sorry. I saw it. I watered it. And now it's still alive. I'll stop now. -- James Rothe http://bbs.trilogy.net/users/rotheja (There's a few decent blues links that you may want to check out) ========================================================================= Date: Thu, 23 May 1996 09:51:02 6 Reply-To: Mike Suffern From: Mike Suffern Subject: Re: How to Advertise a Jam? Comments: To: shannon oconnor On Wed, 15 May 1996 17:40:36 EST shannon oconnor wrote: > For you jammers out there...what sort of advertising would grab your > attention and make you come out to a jam? Meaning, whoat would entice > you to one venue over another? The host band? The sound system? > Location? The chance to have a multi-track tape of your performance > made? Date? Time? Cover cost? Size of the venue? What? > > Thanks!!!! > > > Shannon Shannon, In order: Day of the week - Wed used to be good, Tue or Thurs now. Location - anywhere between work and home cause I often work late Cost - cheap. I'll drop $10 on Club Soda and tips but I don't want to pay a cover. Lot's of young guys show up at jams and think they can just hang out without spending any money on drinks. The bar people have to enforce "buy something or leave". Time - start 7 - 9, end after midnight please. Band - anybody who's any good at all and pleasant - have to enjoy playing the Blues! P.A. - As long as there is one that works - monitors are nice. Tape - Nah. I tape it myself if I feel like it but then I miss some great performances. Maybe if it was cheap and optional. Sounds like a nightmare. An annual taping or quarterly would be cool. Everybody works on getting a few songs down well to record one particular night. That would get people to show on a regular basis too! Date? - Don't need one to jam, they just get in the way. Besides, I'm happily married. ;-) Mike [ Home Work Java, Web, ClientServer ] [ http://www.xnet.com/~msuffern/soundtravels.html - The Blues&Travel Site ] [ Chicago Blues Festival, Clapton, Chicago-London-Amsterdam Blues Guides ] ] --------------------------------------------------------------------- [ [ "We're gonna take control of the machinery ] [ Bad little actors that chew up the scenery ] [ Job number one is gonna be findin' a way - Todd Rundgren [TR-I]] [ That we can rave all night and meditate all day" "No World Order" ] ========================================================================= Date: Fri, 24 May 1996 04:10:42 GMT Reply-To: bbreen@SPRYNET.COM From: bbreen@SPRYNET.COM Organization: Sprynet News Service Subject: Re: Last CD in YOUR player Comments: To: bit-listserv-blues-l@relay1.uu.net Guitar Shorty -- his new one Get Wise to Yourself Fantastic Just saw him last Saturday -- what an entertainer. Don't miss him if you get the chance. ---bill-- --bill-- **************************************** Bill Breen bbreen@sprynet.com **************************************** ========================================================================= Date: Fri, 24 May 1996 00:20:20 -0400 Reply-To: alison hardage From: alison hardage Subject: Re: blues on the air Comments: To: TDominey About "the Breeze" with the Beach - Boogie - & - Blues format... It's a geographical thing and it's GREAT ! Axe them to play some of my stuff, hope you like it.I have 3 CD's on the Appaloosa label, and a 4th due soon. It was recorded live in the trenches and some of it was recorded at one of my favorite spots - the Sandollar on Folly Beach. So check out the Sandollar if you're ever in the Charleston area - it's the real deal! We're down here in the Tampa Bay area of Fla., and we play BOTH kinds of music - Rhythm AND Blues - Sarasota Slim AKA Gene Hardage (813) 822-6615 ========================================================================= Date: Fri, 24 May 1996 00:38:11 -0400 Reply-To: BlueKing@AOL.COM From: Gregory A King Subject: Re: B.B.King In a message dated 96-05-23 19:54:01 EDT, shaun@PACIFICNET.NET (Shaun T Cronin) writes: >I hear a >distinct difference between BB's guitar style in the '50s, '60s, 70s and >80s/90s. It is all pure BB but there a noticable changes in the tone and >the nature of his playing. As a general rule I would say that his tone has >become more mellow over the years with his playing becoming a little more >sophisticated. > > You nailed it there. I saw BB in '70 in a club outside Chicago. His tone was louder and a bit sharper, still sweet - but with a bit more sting. Saw him last year in Florida and noticed the mellow tone and his style has gotten very sophisticated - great licks - funny at times - dead serious at others - and can still bring tears to my eyes. I will listen to his stuff with your thoughts in mind - thanks for the insight into one of my idols. ps- Didn't he first start playing electric in the Chicago clubs before moving on to Memphis? Some of his sound may have developed there. greg ========================================================================= Date: Fri, 24 May 1996 00:38:11 -0400 Reply-To: BlueKing@AOL.COM From: Gregory A King Subject: Stupid thread tricks? Re:SRV thread. It seems to me that if you find a thread stupid or offensive and you wish it would go away - don't freaking read it. gk ========================================================================= Date: Fri, 24 May 1996 15:23:09 -1000 Reply-To: Andrew Gregg From: Andrew Gregg Subject: Introducin' the Blues Greetings, Whilst I dont make it a point to force blues music upon others (a rude thing to do), I dont mind introducing some people if I think they might not hear it in their surroundings. On the bus this morning, a private school student, a girl of approx 16 years, sat next to me and started to talk. She asked me what I was listening to & I explained that I was listening to Son House, A blues artist. When she said she had never knowingly heard of a blues singer I offered her my headphones & played her 'John the revelator' & 'Death Letter' of the Columbia 1965 sessions CD. It was strange to see the changes of expression on her face. In between what I'd say were verses she'd mutter "Wow" and "Cool". When she'd finished with those two she asked me a lot of questions about Son. She was amazed when I told her that whilst its thought he was 62-63 y.o (which to her was unbelieable) at the session, its believed he may have been 78-79 years old. She was truly take aback by the sound of Son, and has asked me where she may find his CD's. She thought it strange, but now reassuring, that I had been listening to the blues since when I was younger than she was (a little under ten years ago). One of the last things she asked (before I got off the bus) was : "Is there anyone else who sings and plays as good as this guy??" To which I replied : "For my money....no. Its downhill from here. But not that far down." I think I'll start her out on Skip James & Robert Johnson on Monday...maybe some Buddy Guy & Juniour Wells next week ;-) Andrew P.S - Isnt it wonderful to have a young mind to shape & contort!!!!!! ********************************************************************** * Andrew Gregg * * * Dept of Primary * "Hard times here an' everywere * * Industry * you go * * ooOO00OOoo * Times is harder than ever been * * Email : * before". * * mpagregg@aries.dpi.tas.gov.au * * * * - Skip James. * ********************************************************************** ========================================================================= Date: Fri, 24 May 1996 02:16:32 -0400 Reply-To: Claudio Caponi MARNR From: Claudio Caponi MARNR Subject: Server problems - Georgia White My server has been messing things up since last friday. Basically it kept erasing any incoming mail, which meant no blues-l for me this last week :-( Last monday I sent a message to some bluezellers I corresponded with in the past, asking if something was wrong with the list, as at the time I didn't know what was happening. This is to apologize if you replied to my message and never heard from me: I just never received your message... OBC: The cure for my server blues has consisted mainly of listening to what I consider one of the best reissues of recent years: Georgia White - Trouble in mind 1935-1941 - EPM Blues Collection 158322 25 tracks by this incredibly versatile singer-pianist, not one of them short of outsanding, and some true gems: Lil Johnson's "Get'em from the peanut man (Hot nuts)", "You lost your good thing now", "I'll keep sitting on it (if I can't sell it)" and a great rendition of "Trouble in mind". The label is french, and judging by this and the Curtis Jones CD I also got through cdconnection, they do a great job at remastering, as the sound is uniformly great. Has anyone heard some other CDs in this series? I don't remember seeing it mentioned on blues-l. BTW, on various tracks she is accompanied by an amazing guitarist I had never heard of: Ikey Robinson. Could somebody give me some info on him (bio, carreer, discography)? ccaponi@dino.conicit.ve | Claudio Caponi | I've had my fun... Ministerio del Ambiente | Caracas - Venezuela | Otis Spann ========================================================================= Date: Fri, 24 May 1996 01:04:25 -0700 Reply-To: John Dudley From: John Dudley Organization: Tulane University Subject: Re: SRV Comments: To: bit-listserv-blues-l@uunet.uu.net Don Cicchetti wrote: > > The fin-man said: edit edit > > >The blues has now become a mainstream generic form. The Pentatonic scale, > >12 bar format with impassioned vocals is something recognizable as blues > >even by people who have no great love for it. > > so as not to unduly criticize this post, I agreed with much of what went > before the above paragraph. > > BUT... "mainstream generic form?? > > horse-pucky... > Boy, I really don't want to get into all this, but... by "generic form," the original poster might have meant a set of particular characteristics trypical of a *genre* (i.e., blues, jazz, poetry, fiction, etc.). In other words, the 12-bar structure, pentatonic scale, etc., are now recognized and acknowledged as a valid kind of musical expression by musicologists and others. Just trying to help... -- ----------------------------------------- John Dudley jdudley@mailhost.tcs.tulane.edu ========================================================================= Date: Fri, 24 May 1996 06:41:51 GMT Reply-To: marc borms From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Rev.Billy C.Wirtz question Comments: To: bit-listserv-blues-l@news.Belgium.EU.net Heard some good pianoblues, played by Reverend C.Wirtz : 'Cousin cupcake got the blues'. I never heard before of this guy but I liked his style very, very much. Who's this guy and who can point me to some of his stuff ? embee. ps. On which album plays A. Copley together with the T-Birds ? ========================================================================= Date: Fri, 24 May 1996 06:50:28 GMT Reply-To: marc borms From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Re: Buddy Guy in Amsterdam(NL) Comments: To: bit-listserv-blues-l@news.Belgium.EU.net : b) he's gotten some criticism on the list from people who have seen him : lately, And these let me decide not to go to the concert in Ghent, last tuesday. The Hoax as special guest seems not to be the best choice... embee ========================================================================= Date: Fri, 24 May 1996 09:03:45 GMT Reply-To: Peter Gallagher From: Peter Gallagher Organization: XS4ALL, networking for the masses Subject: Would Muddy's version make it? Comments: To: bit-listserv-blues-l@relay1.uu.net Seeing as Etta James' recently made it to #2 in the British POP(!) charts with "I just wanna make love to you", I'm dead curious as to how Muddy's version would do if it was re-released. Purely academic, I know... But Etta's version was much less bluesy and I was wondering what the general public's reaction would be to a super-ballsy version like Muddy's. regards, PeterG ("dream on, Pete...") -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ========================================================================= Date: Fri, 24 May 1996 05:33:41 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Stupid thread tricks? >Re:SRV thread. > >It seems to me that if you find a thread stupid or offensive and you wish it >would go away - don't freaking read it. > >gk But Greg, you know we're the kind of people who slow down and gawp at road accidents! (I'M JUST KIDDING!! :-) ) Chris Smith (chris@skerries.demon.co.uk) 'This country is full of decent, trusting people. And besides, we don't have to tell them the truth.' (Michelle Pfeiffer in 'Love Field') ========================================================================= Date: Fri, 24 May 1996 09:39:35 GMT Reply-To: Peter Gallagher From: Peter Gallagher Organization: XS4ALL, networking for the masses Subject: Re: How to define BB's Style? Comments: To: bit-listserv-blues-l@relay1.uu.net I feel he plays more than one style - his repertoire is huge and covers too much diverse stuff to be regarded as "a style"... just my humble opinion. Funnily enough, he has said of himself that he is not a "bluesman", but rather - "bluesy". regards, PeterG Steve Levine writes: > BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#B > ROWN#f#EDU@s1boca.corp.wrgrace.com >To: Netnews Server >I was listening to the BB King boxed set recently, and I started >thinking about what genre or style of blues he plays. He's obviously >not a Delta or Piedmont player, and he doesn't play the Muddy Waters >style of Chicago blues. He's not from Texas, and doesn't play like what >I would call Texas Blues (although the T-Bone influence is pretty >strong). So, where would you place BB? Does he play Memphis style >blues, or does BB have his own unique genre of the blues? -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ========================================================================= Date: Thu, 23 May 1996 14:19:00 GMT Reply-To: Mr G M Smith From: Mr G M Smith Subject: DEVIL'S PIANO special offer Yes folks,now it can be revealed at a special Bluezeller price of only 50 pounds sterling,the secret of all the great blues pianists from Peetie Weetstraw to Prof. Longhair! Just mail me the above sum,or its equivalent in your local currency,and I will send you my booklet which explains how to retrofit YOUR piano,using only a pair of needle nose pliers,a 1/8th drill and the blood of a white cockerel,with the mysterious grey notes utilised by the Great Blues Pianists! Please note that the vendor is not to be held responsible for any damage incurred to Bechsteins,Steinways or the quality of the purchaser's afterlife. Not reccomended for synthesizers. Yours, Garry :-)> Smith ========================================================================= Date: Fri, 24 May 1996 06:28:09 -0400 Reply-To: Jon & Laura Duttweiler From: Jon & Laura Duttweiler Subject: Sitting & Thinking - Jay Owens The Blues Soul of... Here's another addition to our Code Blue Month of Reviews! Don't forget to check out our page to find out how you can win 5 Code Blue releases! JAY OWENS THE BLUES SOUL OF JAY OWENS CODE BLUE # 82696-2 Jay Owens knows how to preach, and well he should, having a mother who was a Pentecostal minister and a father who was a Deacon, preaching may run in the family. But what Isaac Jerome Owens is preaching is not the old time Gospel of his parents, but rather a powerful mixture of blues and soul as presented here on his debut album. Growing up in a musical family (his father played piano and his mother played the drums) and singing in Church, Owens learned the blues from an uncle who talked to him about Son House, Jimmy Reed and Elmore James. He got his first guitar when he was eleven and was influenced by Ink Spots guitarist Jimmy McLin. He has played with luminaries such as Al Green, O. V. Wright, Little Milton and Aaron Neville. He was involved in several bands and a gospel vocal group before finally breaking out on his own. This Code Blue recording was originally released on the Indigo label in 1992 and won several awards, including Living Blues Best Blues Album, Soul Blues category, and Best Debut Album of 1992. Produced by Mike Vernon, the disc is aptly titled, offering up a potent combination of blues and soul originals from the artist. Owens' singing is deeply soulful, the Gospel influences plainly evident and powerfully present. His guitar playing is terse, stinging, single string playing in the style of BB or Albert King. He has an economy of style that frames his songs rather than overpowers them. While an eminently satisfying guitar player, Jay Owens vocals are central here. Joining Owens on the disc are a tight group of musicians who provident excellent support. Put this disc on a step into the blues soul world of Jay Owens, its worth the trip. COME ON TO MY HOUSE / STEPPING STONE / BOTTOM LINE / CHASING MY DREAMS / LAKE CITY, FLA / WISHING WELL / BACK ROW / WHY YOU TREAT ME THIS WAY? / CAN'T DO THE SAME THING AGAIN / CROSSTOWN LOVE / MISSING YOU BLUES / MY KIND OF WOMAN / WE'RE HUMAN NY CD Takes COME ON TO MY HOUSE: Bright horn rhythms start this cut off and give way to Owens' stinging fretwork. The song epitomizes the approach Owens has taken with his song crafting. Elements of soul, gospel and blues combine to form a seamless whole that is wholly compelling. Strong, tight rhythm work coupled with Owens' guitar and vocals. Great opening cut. STEPPING STONE: Faster paced then the opening track, this cut opens up with Owens speaking the introduction. This song is very terse, from the staccato beat of the drums, to the sparse guitar lines, it pushes relentlessly ahead. Thematically, this song moves away from the "woe is me" attitude to viewing all that happens in life as "stepping stones." BOTTOM LINE: A light paced soul number with a heavy downbeat, this track settles into an easy groove that carries the listener along effortlessly. Owens sings with such seeming ease, his vocals reminding of a smoother Ray Charles, he is a pleasure to listen to. Tasteful guitar work and solid piano fill out this track. CHASING MY DREAMS: This is a blues number the way Billie Holliday sang 'em, melodic and soulful. Owens' voice and piano are the dominant forces on this cut, and both are in fine form. The lyrics give expression to Owens' approach to the blues, "singing the blues and chasin' my dreams." Owens' voice is as much his instrument as his guitar, and both are most enjoyable on this cut. LAKE CITY, FLA: Picking the pace back up, Owens opens up this shuffle with some tasty guitar soloing on top of a thin, but solid, rhythm line. Solid horn arrangements begin to fill out the sound about midway through and Owens starts to heat the strings up. Listen for the piano rocking down in the mix in the right channel. This cuts a winner. WISHING WELL: A slow paced blues number, but still with a splash of soul. Owens doesn't ascribe to formulas and his songs don't adhere to any "traditional" blues style, but that blues feel undergirds it all. This song reminds me of something that Bobby Bland or Little Milton might do, and I love both of them. Owens' guitar work is blistering at times on this cut, yet always well phrased with a wonderful sense of timing. He really is a pleasure to listen to. BACK ROW: Jay takes us out to the dance hall with this jumping shuffle. This cut should get you up and moving, with a strong, heavy rhythm section and rollicking beat. Owens guitar work is as hot and heavy as his vocals and some excellent organ playing fills in the holes. This track has a touch of that Texas feel to it as Jay really kicks it into high gear. Another highlight of the disc. WHY YOU TREAT ME THIS WAY?: This cut is a mid-tempoed number with Owens' and band adding a touch of funk. The rhythms are the predominant focus of this track and will have you rockin' along as Owens soars with his gospel vocalizations. More blistering single string work from Jay along with impeccable sidework make this another standout cut. CAN'T DO THE SAME THING AGAIN: Slowing the pace way down, Owens turns to a soul ballad that reminds me very much of the late great Otis Redding. At times Jay's vocals take on the same kind of the quality Redding brought to his tunes. This cut underscores that Owens is a vocalist, a communicator, rather than simply being a guitar player. If you have any soul in you at all this cut will reach it! CROSSTOWN LOVE: A light feeling jazzy number, this laid back track reminds me a lot of George Benson. Jay offers up some very nice light-fingered fret work and quite smooth vocals as the band churns in a mellow groove behind him This is a cut which shows off Owens' versatility as a performer. MISSING YOU BLUES: Owens gets deeper into the blues on what is probably the most "traditional" blues number on the disc. Jay's playing has a touch of fuzz to it as he opens with an extended solo. The pianist adds the right touch as Owens squeezes off the vocals with his gospel tinged chops and burns it up on guitar. MY KIND OF WOMAN: Another light number that blends a light jazz feel with a mid tempo shuffle type beat. This has an unmistakable West Coast feel to it that gives this CD a wonderful variety. Jay's playing is finesse rather than force, and flows like honey off his strings. A great song to lay back and mellow out to. WE'RE HUMAN: Unlike anything else on the CD, this track is a soul anthem to the "humanness" of all of us. Jay takes us through our foibles and our strengths and reminds us that they're often the same. A quiet, yet powerful ending to a disc that is remarkable in its breadth of style and depth of appeal. Jay Owens is one of those rare musicians in our day, one who doesn't sacrifice instrumental performance for vocal style and vice versa. He is a wonderfully gifted songster who is a delight to listen to as a guitarist. My suggestion is that you check out the "blues soul" of Jay Owens! Reviewed by Jon Duttweiler Copyright NY CD Blues @1995-1996 All Rights Reserved. Unauthorized use prohibited. NY CD BLUES - http://www.panix.com/~bsco/ - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Fri, 24 May 1996 07:15:29 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Ikey RObinson (was Georgia White) Claudio Caponi wrote >BTW, on various tracks Georgia White is accompanied by an amazing guitarist I >had >never heard of: Ikey Robinson. Could somebody give me some info on him >(bio, carreer, discography)? > >From 'New Grove Dictionary of Jazz', and Jim Williams' notes to RST Jazz Perspectives JPCD-1508-2: b. Dublin nr Radford Va 28 July 1904, d. Chicago 25 October 1990. Led a band fromo 1918, played professionally as a band member from 1922. To Chicago 1926, worked with Jelly Roll Morton and Clarence Moore. Recorded as a leader and with Jabbo Smith and others. 1930 to New York, worked with Wilbur Sweatman and Noble Sissle, recorded with Clarence Williams, led own groups. Back to Chicago 1934, with Erskine Tate and Carroll Dickerson, led own band from 1935. Worked in small groups in 40s, with Mike McKendrick as a duo to 1960. Worked in Original Jass All Stars in 60s, toured Europe early 70s, mainly played in Chicago from late 70s. In 1969 he entertained the troops in Vietnam!! He was a working musician until about a year before he died. And from me: Banjo Ikey Robinson was a tremendously accomplished jazz and blues guitarist, who usually worked in a hokum/light entertainment vein when recording as a name artist. As his nickname implies, he was also a fine banjo player, and he did a bit of clarinet also. Besides the CD mentioned above, he can be heard on Document DOCD-5236 as a member of the Hokum Boys, and on Arhoolie LP 1095 'Louie Bluie', which is the soundtrack of Terry Zwigoff's film about Howard Armstrong. On this, Ikey plays banjo on several numbers, and sings 'My Four Reasons', which was one of his old ones, and also a truly filthy parody of 'Darktown Strutters' Ball'. (I don't think this LP has gone to CD, but correct me if I'm wrong.) BTW, some of the guitar on Georgia White's records that has been attributed to Ikey is actually by Les Paul (confirmed by his engagement diaries). See the upcoming 4th ed of 'Blues & Gospel Records'. Chris Smith (chris@skerries.demon.co.uk) 'This country is full of decent, trusting people. And besides, we don't have to tell them the truth.' (Michelle Pfeiffer in 'Love Field') ========================================================================= Date: Fri, 24 May 1996 07:46:42 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Major/minor keys >Hi all. Reading about BB King playing a Memphis style, with the difference >being that he played in minor keys rather than major (was it Pat that said >this?) brought a question I've had to mind again. And what better place to >ask it than blues-l? :-) I'm wondering if someone could explain to me the >difference between minor key blues and major key blues, and a couple of >examples of songs in each? The reason why I'm wondering is that when I jam >with albums, I use the same basic scales for all songs, and they fit. (Did >that make sense?) Anyway, I'd appreciate it if someone could take a minute >and give a brief explanation. Thanks! > >-Jim (hndful@uniserve.com) For major key blues - anything by Big Bill Broonzy. For minors, Otis Rush: 'My Love Will Never Die' and 'Double Trouble'. You asked for theory, and here it comes! Minor keys are characterised by having a semitone between the second (supertonic) and third (submediant) notes of the scale, rather than a full tone. The interval between the tonic (key note) and the submediant is called the third of the scale, hence a major key has a major third, and a minor key has a minor third. F'rinstance (t = tone, s = semitone): A t B >>t<< C# s D t E t F# t G# s A is the scale of A major and A t B >>s<< C t D t E s F t G t A is the scale of A natural minor. In functional harmony, the interval between the seventh and eighth note needs to be a semitone, and an adjustment is made: A t B s C t D t E s F t+s G# s A is the scale of A harmonic minor. In practice - to avoid awkward leaps - composers generally use the melodic minor scale, which involves sharpening the sixth *and* seventh notes of the scale going up, and flattening them going down, so that the scale of A melodic minor is A t B s C t D t E t F# t G# s A going up and A t G t F s E t D t C s B t A going down. Minor keys are usually thought to have a 'sadder' sound than majors. There's something in this - if you sigh, you'll find that you produce a semitone. It's also a self-fulfilling prophecy, however: composers know that minors are sad, so they write sad music in minors! (Note to musicians on blues-l: if any of the above is incorrect, please correct it.) Chris Smith (chris@skerries.demon.co.uk) 'This country is full of decent, trusting people. And besides, we don't have to tell them the truth.' (Michelle Pfeiffer in 'Love Field') ========================================================================= Date: Fri, 24 May 1996 10:47:32 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: test pls ignore Possible problems since Mcgill U. is our Internet feed and they are down for a while .... phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [24/5/96 6:46 AM] "The eagle flies on friday..." ========================================================================= Date: Fri, 24 May 1996 06:06:50 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Stupid thread tricks? Freaking reading these threads doesn't perpetuate 'em, but freaking responding to them does. Bill Morgan BL>Re:SRV thread. BL>It seems to me that if you find a thread stupid or offensive and you wish it BL>would go away - don't freaking read it. BL>gk From: The Big Easy ========================================================================= Date: Fri, 24 May 1996 08:33:16 -0400 Reply-To: gm From: gm Subject: big jack johnson & luther "guitar jr" johnson the two artists in the subject line are playing in philadelphia, pa this weekend and i was wondering if anyone on the list has seen them play live and if so what can one except to hear and enjoy? thanks, george ========================================================================= Date: Fri, 24 May 1996 08:29:26 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: blues-l donation Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com Maybe we should also send them a copy of Blues Bytes, so they can hear the tape that raised the money for them. Just a suggestion, Steve ========================================================================= Date: Fri, 24 May 1996 09:07:38 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: big jack johnson & luther "guitar jr" johnson Comments: To: georgem@vm.temple.edu In a message dated 96-05-24 09:00:53 EDT, georgem@VM.TEMPLE.EDU (gm) writes: > >the two artists in the subject line are playing in philadelphia, pa >this weekend and i was wondering if anyone on the list has seen them >play live and if so what can one except to hear and enjoy? Jack Johnson is my favorite active bluesman in the Mississippi Delta. (To me this means "my favorite Delta bluesman," but I have this idiosyncrasy of connecting the regional style to an actual place on the map...). He is from Clarksdale, Mississippi. He used to play in a truly great band called the Jelly Roll Kings (see their Earwig release) with Frank Frost and Sam Carr. Based on the last couple of times I've seen him, you can expect a pretty tight band, very fine guitar and vocals from Jack, and a mix of originals (hopefully he will do his song about playing Country music), blues standards, and covers you would *not* expect (he does "You Are My Sunshine."). He is absolutely the real thing, and you should really like it. Tom Freeland ========================================================================= Date: Fri, 24 May 1996 09:34:46 -0500 Reply-To: MARCIAG@VMS.CIS.PITT.EDU From: Marcia Grodsky Subject: Re: blues-l donation Comments: To: bob@SUN.BNKST.EDU Congratulations and many thanks to Bob, Cathi, Marc, Rob and all the musicians who contributed to making this project work. Way to go! ---Marcia ========================================================================= Date: Fri, 24 May 1996 13:35:10 GMT Reply-To: Steven Levine From: Steven Levine Organization: CAPCON Library Network, Washington, DC Subject: Johnny "Guitar" Watson Funeral [ Article crossposted from soc.culture.african.american ] [ Author was Gabrielle Daniels ] [ Posted on Fri, 24 May 1996 01:16:32 -0700 ] Johnny "Guitar" Watson was buried today at Forest Lawn Cemetery in Glendale. Watson, 61, was on tour in Japan when he was stricken by a heart attack. Actresses Angela Bassett and Sharon Stone were among the stars who attended the funeral. KCAL-9 said that Watson influenced such music greats as Jimi Hendrix and Frank Zappa. -- ========================================================================= Date: Fri, 24 May 1996 09:44:51 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: SRV Rules! :-) Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com Here are the SRV rules (well, more like SRV commandments), I've come up with: 1) Thou shalt wear a cowboy hat and vest 2) Thou shalt play a beat up strat 3) Thou shalt tune to E flat 4) Thou shalt play through a tube screamer 5) Thou shalt wear a little goatee 6) Thou shalt learn "Pride and Joy," "Mary Had a Little Lamb," etc. note for note and so on ... feel free to add more :) Glad it's Friday, Steve ========================================================================= Date: Fri, 24 May 1996 10:21:21 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: New National Holiday What? Next thing you know, Dobro will want their own holiday as well. ;) Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 24 May 1996 09:01:36 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Fingerpicking & VOLUME Someone mentioned they were not getting the volume they would like out of their acoustic guitar. Assuming the guitar is capable of bold/loud volume: The way I do it is with no picks at all (occasional thumb). When strumming a chord or more than one string, I use downstrokes with my nails, raking down the strings. When picking I use both but mainly my fingertip, sometimes the nail hits the string also. I have tried the Alaska picks and they work, I was able to rake down with a heavy attack and they stayed in place. I like the feel of my fingertips and I have better control, muting....etc, without any picks at all. I will use a thumbpick if I'm playing with someone else. I prefer the feel of no picks at all. I have no problems with volume, but my guitars are loud BOOMING Gibsons and of course a National. That helps a lot. That's just my experience & what I prefer. I can't even use a flaptpick anymore LW ========================================================================= Date: Fri, 24 May 1996 14:25:05 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: big jack johnson & luther "guitar jr" johnson Comments: To: bit-listserv-blues-l@uunet.uu.net I think I'm allowed to do this...... I would like to second what Tom said - I have seen Big Jack several times up here in the NorthEast - he has been consistently great (hey, but then again I am biased since he has play my guitar and was the first to autograph it for me). There is only one criticism, which others may have commented on, is that he tends play a lot of standards/covers - this could be due to the band he travels with. BUT his version of "Catfish Blues" is outstanding. His sound is rawer and more downhome - Delta, although he can and does play surprisingly sophisticated licks too (eg: he can make a cheap Squier Strat sound like BB's Lucille) Luther "Guitar Junior" Johnson is also a legend - having played with Muddy Waters - I've seen him twice, and he is very good. He does have a regular touring band, so there is a lot of rapport in how they play together. Luther's sound is Chicago Westside - he sounds great when he does a Magic Sam cover. I would highly recommend both. -- Vincent vt@usa.pipeline.com On May 24, 1996 09:07:38 in article , 'Tom Freeland ' wrote: >In a message dated 96-05-24 09:00:53 EDT, georgem@VM.TEMPLE.EDU (gm) writes: > >> >>the two artists in the subject line are playing in philadelphia, pa >>this weekend and i was wondering if anyone on the list has seen them >>play live and if so what can one except to hear and enjoy? > >Jack Johnson is my favorite active bluesman in the Mississippi Delta. (To me >this means "my favorite Delta bluesman," but I have this idiosyncrasy of >connecting the regional style to an actual place on the map...). He is from >Clarksdale, Mississippi. He used to play in a truly great band called the >Jelly Roll Kings (see their Earwig release) with Frank Frost and Sam Carr. > >Based on the last couple of times I've seen him, you can expect a pretty >tight band, very fine guitar and vocals from Jack, and a mix of originals >(hopefully he will do his song about playing Country music), blues standards, >and covers you would *not* expect (he does "You Are My Sunshine."). He is >absolutely the real thing, and you should really like it. > >Tom Freeland ========================================================================= Date: Fri, 24 May 1996 10:31:55 -0400 Reply-To: gm From: gm Subject: live blues in phila pa thanks to all who repiled re: big jack johnson and luther "guitar jr" johnson. other artists in town(phila, pa)this weekend include: greg piccolo & heavy juice keisa brown & 1 nite stand THE HOLMES BROTHERS DUKE ROBILLARD BAND JAMES COTTON is also in town tonight but is playing at a small indoor bar and the artists mentioned above are playing outdoors at a riverfront jam for $5.00 Can anyone offer any insight into the artists listed above? I haven't seen any of them perform in concert or listened to any of their recordings. Thanks very much, george "trying to stretch my entertainment dollars" ========================================================================= Date: Fri, 24 May 1996 07:38:01 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: May 25 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BLIND TOM [THOMAS GREEN BETHUNE] (p) b. 1849-0525, COLUMBUS, GA BROWN, ROY (songw/GOOD ROCKIN' TONIGHT) d. 1981-0525, LOS ANGELES, CA 55 CRUTCHFIELD, JAMES (p/SWINGMASTER REC) b. 1912-0525, BATON ROUGE, LA DAVID, HAL (songw/BACHARACH) b. 1921-0525, NEW YORK CITY, NY DAVIS, MILES (tpt) b. 1926-0525, ALTON, IL DICEY, BILL (hca/SPIVEY/JSP) b. 1936-0525, ANNAPOLIS, MA ELBERT, DONNIE (v/DELUXE REC) b. 1936-0525, NEW ORLEANS, LA GALE, ERIC (g/KING CURTIS) d. 1994-0525, BAJA CALIFORNIA,MEX 55 GRAY, WARDELL (tsax) d. 1955-0525, LAS VEGAS, NV 34 GUESNON, GEORGE "CREOLE" (g/bjo/ARHOOLIE) b. 1907-0525, NEW ORLEANS, LA HAMILTON, JIMMY (tsax/cl/ELLINGTON) b. 1917-0525, DILLON, SC KAY, MONTE (owner: BIRDLAND/ROYAL ROOST) d. 1988-0525, LOS ANGELES, CA 63 OLIVER, PAUL (author) b. 1927-0525, NOTTINGHAM, UK PETTY, NORMAN (prod/BUDDY HOLLY) b. 1927-0525, CLOVIS, NM QUINICHETTE, PAUL (tsax) d. 1983-0525, NEW YORK CITY, NY 67 ROBINSON, BILL"BOJANGLES"(v/dancer/DECCA) b. 1878-0525, RICHMOND, VA ROUNDTREE, KHALIL (road manager/BOYZ II ) d. 1992-0525, CHICAGO, IL 36 TERRELL, PHA (v/ANDY KIRK) b. 1910-0525, KANSAS CITY, MO THOMAS, WILLIE B. (g/BUTCH CAGE/ARHOOLIE) b. 1912-0525, LOBDELL, MS TROTMAN, LLOYD (b/T-BONE WALKER) b. 1923-0525, BOSTON, MA WILLIAMSON, SONNY BOY (#2)(hca/CHESS REC) d. 1965-0525, HELENA, AR 65 ------------------------------------------------------------------------------- ========================================================================= Date: Fri, 24 May 1996 10:38:05 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Republican politics and racism. Okay, before an awful lot of people take serious offense out there, let's be careful not to equate conservative POLITICIANS and their agendas with the regular, good folk, the working stiffs of this country who lean conservative and don't have a racist bone in their bodies, who work, play, live with and among people of all races (happily), but who for MANY other legitimate reasons think right-of-center. Don't equate "conservative" political agendas pushed by politicians who are all operating for their own motives with the regular folk. Let's talk blues! Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 24 May 1996 09:43:06 -0500 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: Johnny "Guitar" Watson Funeral > KCAL-9 said that Watson influenced such music greats as Jimi Hendrix and > Frank Zappa. I remember seeing an A&E biography of Frank Zappa and they showed a scene with Zappa, Johnny "Guitar" Watson, a couple of Tibetan throat singers, and some asian drummers jamming together. I don't know what type of music you would call it, but they were all having a good time. Bruce Roberts Austin, TX ========================================================================= Date: Fri, 24 May 1996 09:52:07 -0500 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Antone's Records According to the Austin Chronicle, Antone's Records is in the process of signing a distribution deal with Discovery Records. I don't know what all this means, but just thought I'd pass it on. Bruce Roberts Austin, TX ========================================================================= Date: Fri, 24 May 1996 11:49:17 -0400 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: Paris, Texas In-Reply-To: Hey folks, Paris, Texas is on Showcase Sat night. RW ========================================================================= Date: Fri, 24 May 1996 10:02:06 -0500 Reply-To: Rob Varak From: Rob Varak Subject: Re: Meet in Chicago w/ tools Comments: To: Mike Suffern In-Reply-To: I will of course be there. I'll have my harps and somewhat rusty chops in hand. Let's get cracking on the specifics of the meeting!! I'm really looking forward to it after my final 2 weeks of law school hell. Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Fri, 24 May 1996 14:55:30 GMT Reply-To: skb8721@tam2000.tamu.edu From: "Shane K. Bernard" Organization: Texas A&M University (Student) Subject: New Swamp Pop Book Excerpt Comments: To: bit-listserv-blues-l@uunet.uu.net EXCERPT from "SWAMP POP: CAJUN AND CREOLE RHYTHM AND BLUES" (Jackson: University Press of Mississippi) by Shane K. Bernard. 244 pages; 30 b&w photos; discography; song and subject indexes; optional 14-track CD of swamp pop classics. Release date: August 1996. For a free flyer with info on how to order the book, send a street mailing address to: skb8721@tam2000.tamu.edu *** Steering down the asphalt ribbon called Highway 190, you accelerate through the subtropical night across the flat prairie between Opelousas and Eunice, eager for an evening of rough-hewn South Louisiana music. Which nightclub to check out? you wonder -- the Step Inn Club or the Green Lantern in Lawtell? The Purple Peacock in Eunice? Maybe the Jungle Lounge or the Rendezvous to the north at Ville Platte? A flicker of neon catches your eye: Slowing to a crawl you pull into the graveled lot of one of the oldest, perhaps the largest, certainly the most legendary swamp pop nightspot -- the Southern Club, on the outskirts of Opelousas. You enter the vast, smoky, dimly lit structure, cross a dancefloor of swirling couples and glance at the familiar figures mingling around the bandstand: Johnnie Allan, Warren Storm, Rod Bernard, Tommy McLain, Clint West, Bobby Charles. A motley group, one performer might wear sneakers, worn-out blue jeans and perhaps an old letter jacket; another, two-toned suedes, pleated slacks, a fancy dress coat and a flashy tie studded with musical notes. Most share an interest in pomade and wild pompadours, but some prefer the simple flattop. Allan takes the stage as a guitarist bangs out a random riff, a drummer stomps his bass pedal and a mike screeches momentarily. The singer gives a quick nod and the band breaks into the opening strains of a typically gut-wrenching South Louisiana ballad. Eyes shut tightly, his face contorted as though in pain, Allan belts: 'LONELY DAYS AND -- LONELY NIGHTS, DEAR . . . I CRY MYSELF TO SLEE--EEP!' You've just observed swamp pop in its natural habitat. . . . But what, exactly, is swamp pop? The swamp pop sound is typified by highly emotional vocals, simple, unaffected (and occasionally bilingual) lyrics, tripleting honky-tonk pianos, bellowing sax sections and a strong R&B backbeat. Upbeat compositions often possess the bouncy rhythms of Cajun and black Creole two-steps, and their lyrics frequently convey the local color and joie de vivre spirit pervading South Louisiana. Slow, usually melancholic swamp pop ballads, however -- with their heavy, triplety feel, undulating bass lines, climactic turnarounds and dramatic breaks -- exhibit the heart-broken, what's-the-use-of-living laments common to many traditional Cajun and black Creole compositions, born generations ago of widespread poverty, hard-living and the loneliness of a largely rural existence. Classics of the swamp pop genre include Dale and Grace's 'I'm Leaving It Up To You,' Johnny Preston's 'Running Bear,' Freddy Fender's 'Before The Next Teardrop Falls,' Phil Phillips' 'Sea Of Love' and Jimmy Clanton's 'Just A Dream,' all Top Ten national hits. Three of these, 'Running Bear,' 'I'm Leaving It Up To You' and 'Before The Next Teardrop Falls' reached number one on national charts; over twenty swamp pop recordings have broken into the Billboard Hot 100 since 1958. In South Louisiana, however, the birthplace of swamp pop, fans and artists regard numerous songs less popular nationally as even more essential to the basic swamp pop repertoire. These standards include such regional hits as Clint West's 'Big Blue Diamonds,' Tommy McLain's 'Sweet Dreams,' Randy and the Rockets' 'Let's Do The Cajun Twist,' T. K. Hulin's 'Graduation Night,' Rufus Jagneaux's 'Opelousas Sostan' and Johnnie Allan's 'South To Louisiana.' >From obscure South Louisiana origins swamp pop went on to exert an influence on popular music both in the U.S. and abroad. A few notable swamp pop-ish tunes include Bill Haley and the Comets' cover (rerecording) of 'Later Alligator,' the Rolling Stones' version of Barbara Lynn's 'You'll Lose A Good Thing,' the Honeydrippers' rendition of 'Sea of Love' and the Beatles' original composition 'Oh! Darling,' which exudes the triplety, emotionally charged swamp pop ballad sound. Recently the swamp pop sound appeared in national hits by country and western artists T. Graham Brown, Mark Collie and Billy Joe Royal. The makers of swamp pop music describe the genre in various terms: One might refer to it as white rhythm and blues; another, a combination of rock 'n' roll and country and western music; and yet another, rockabilly with a strong blues element. A few swamp pop musicians deny the genre possesses any distinctive qualities, insisting it resembles music hailing from anywhere in the U.S. Others, however, refer to swamp pop as a blend of many influences arising in a specific geographic region, a view embraced by this study. Specifically, I consider swamp pop a rhythm and blues hybrid influenced mainly by New Orleans rhythm and blues, country and western and Cajun and black Creole music, indigenous to East Texas and the Acadiana region of South Louisiana. (Acadiana embraces a twenty-two parish area of South Louisiana officially recognized by the state legislature for its sizable Cajun population.) . . . Although often misunderstood and even ignored by many enthusiasts of South Louisiana's ethnic music, swamp pop deserves recognition and preservation as the region's third major indigenous genre (along with Cajun and zydeco) not only because it once thrived in the region and even attracted a national audience, but because it descends from traditional Cajun and black Creole sources. Most swamp poppers grew up emersed in Cajun and black Creole culture and music, and as children also absorbed the strains of country and western music, which had appeared in the region by the mid-1930s; but it was the appearance of big-city rhythm and blues on the Cajun and black Creole prairies that acted as the catalyst for swamp pop's creation during the early 1950s. Although swamp pop is primarily a local rhythm and blues idiom, it bears the imprint of its ethnic roots and thus should be viewed not as an aberration of traditional music (as some maintain), but like Cajun and zydeco as a positive expression of the entire Cajun and black Creole experience. Information gathered from over fifty interviews with swamp pop musicians, songwriters, producers and promoters supports this interpretation. *** VISIT THE SWAMP POP MUSIC PAGES AT: http://http.tamu.edu:8000/~skb8721/swamp.html ========================================================================= Date: Fri, 24 May 1996 14:54:06 GMT Reply-To: skb8721@tam2000.tamu.edu From: "Shane K. Bernard" Organization: Texas A&M University (Student) Subject: Re: Do You Love New Orleans Music? Or Come to JazzFest? Comments: To: bit-listserv-blues-l@uunet.uu.net Exarch/New Orleans wrote: >If you're one of the half million people who come to New Orleans for >JazzFest, or if you have more than a passing interest in any form of >New Orleans music (funk, zydeco, brassband, swamp pop, blues, r&b, rock/pop, >Cajun, dixieland or jazz). . . . Maggie, I appreciate your efforts, but. . . . As a Cajun, professional historian, and author of a forthcoming book on South Louisiana music, I have to wonder why you list Cajun, zydeco and swamp pop as hailing from New Orleans . . . All three of these genres hail from the 22-parish Acadiana region, which New Orleans does not even border. In fact, the 1990 US census shows that New Orleans possesses a Cajun population of only 1% (whereas in Acadiana populations of 30-40% or more are common). For more information on Cajun, zydeco, swamp pop, and Cajun/rural black Creole culture in general, see the Cajun & Creole Pages at: http://http.tamu.edu:8000/~skb8721/l SKB Cajun in Exile Texas A&M University ========================================================================= Date: Fri, 24 May 1996 10:53:03 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: live blues in phila pa Comments: To: gm In-Reply-To: <31A5C85B.6928@vm.temple.edu> On Fri, 24 May 1996, gm wrote: > JAMES COTTON is also in town tonight but is playing at a small indoor > bar and the artists mentioned above are playing outdoors at a riverfront > jam for $5.00 James Cotton would be my choice. Why would you pass up seeing a master, who is getting up there in age and down there in health, at a small, indoor bar? Odds are Duke will be back around - James, I'm not so sure. Of course, I'm biased because James Cotton was the first blues act I saw. -Jeff --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball #4 U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc09.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Fri, 24 May 1996 12:43:00 GMT Reply-To: Igor Isakovski From: Igor Isakovski Organization: MEDIS-informatika Subject: BLUES ON THE AIR Reagrds! Here is some info from Skopje, Macedonia, Europe The "Blues Brothers" started on Macedonian National Radio in 1991. Later on, in 1995 show was transmitted on six other Macedonian radio stations and one TV station at the same time for 1 year. Monday, 20:00 - 22:00. Blues Brothers is still on the air on Mega FM and Ravel with the same music concept including interviews and promotions of brand new music releases from Macedonia and abroad. Some of the guests in the show are the most popular Macedonian musicians and composers: Leb i Sol (the most popular and internationally recognized Macedonian music band) Nikola Dimusevski DOUBLE LIFE, MUSIC FOR..., LIVE (CD's) Bodan Arsovski ENDLESS VIEW (CD) Vlatko Stefanovski COWBOYS & INDIANS, SARAJEVO (CD's) Garabet Tavitjan Untitled (CD) Anastasia BEFORE THE RAIN SOUNDTRACK (CD) Kismet (Macedonian band working both in Australia and Macedonia) KISMET (CD) DAMIAN'S WAR (CD) Bankrot Blues Band (Macedonian blues band) NIGHT AT THE SPRING Album Day Off (Macedonian rock & blues band) Still demo band Sincerely, Igor Isakovski --------------------------------------------------* igor.isakovski@informa.mk tel/fax: +389 91 421 251 blvd. ASNOM 32 - 3/14 91000 Skopje, Macedonia, Europe --- ~ SPEED 2.00 [NR] ~ Dogs come when you call. Cats have answering machines! ========================================================================= Date: Fri, 24 May 1996 11:04:55 -0500 Reply-To: Tom Kraft From: Tom Kraft Subject: Guitar Questions Guitar experts, A friend is needing to sell some of his guitars and Sunday I may go shopping. I have some questions about value though. Maybe ya'll can help, though I know how difficult it is sight unseen. I'm just trying to get some general ideas of what to offer. He has a '63 Gibson Firebird V (don't remember if it's reversed), all original except finish. This is the one I'm really interested in. A '69 ES 340. VG to EX condition w/OHSC. This one is probably out of my price range. A Leo Fender signature model G&L ASAT (the tele shape). This is an '89 in EX condition. Several '93 Martin D-16 Custom Shops. New. Way out of my range, but I'm still curious. All feedback is welcomed. TIA Tom Kraft ========================================================================= Date: Fri, 24 May 1996 12:14:26 -0400 Reply-To: Oded Maron From: Oded Maron Subject: Coco Montoya (was: Billboard's Top 15) In-Reply-To: Jim Witteveen's message of Thu, 23 May 1996 18:50:30 -0800 <96May23.185036pdt.30813-19878+104@haven.uniserve.com> From: Jim Witteveen Nice to finally see some new entries on the top 15! I was beginning to wonder if this list actually ever changed! Has anyone heard this new Coco Montoya album yet? If it's anything like his first, it's gonna be good... What label is it on? The new Coco Montoya is on Blind Pig. It's not as good as his first one - the singing actually seems worse. However, the guitar playing is very strong and the tune that's co-authored by Doug MacLoed is the best one (just like the first album). Overall, it's a very rock-country-blues sounding album (in that order). Oded ========================================================================= Date: Fri, 24 May 1996 09:27:49 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Vanilla Ice --- The best there ever was... just kidding! DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Fri, 24 May 1996 12:35:13 -0400 Reply-To: James Leftwich From: James Leftwich Subject: BB sample Has anyone heard the song that samples BB singing, "I've been downhearted, every since the day we met"? It's some techno band. Is it the Pet Shop Boys? It's getting a lot of airplay on WNEW here in New York. ============================================================================= Jim Leftwich Jim's Blues N' Brews leftwich@cloud9.net http://www.cloud9.net/~leftwich "I'm on cloud9!" :) New CD Giveaway: Sherman Robertson ============================================================================= ========================================================================= Date: Fri, 24 May 1996 09:37:28 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: JAMES WALKER, OF THE DIXIE HUMMINGBIRDS (A TRIBUTE) Comments: cc: jjz1@psu.edu Gospel singer, songwriter JAMES WALKER was born Monday, May 24, 1926, Mileston, MS. Known simply as "Walker" (as he did liked to walk out into the audience!), he replaced Paul Owens in the Dixie Hummingbirds on January 12, 1954, alternating lead singing with Ira Tucker for the next 38 years, until his last performance in August 1992, Camden, NJ. "He was one of the best to ever sing gospel music. He can never be replaced; it's like losing your brother. ... He could do just about any voice in the quartet" ~ Ira Tucker, Philadelphia Inquirer, November 6, 1992 Prior to joining The Dixie Hummingbirds, Walker was a member of The Union Melody Men (St. Louis, MO.), Harmonizing Four (Richmond, VA.) and a recording member of The Southern Sons Quartette/The Four Sharps, Cliff Givens' Jackson, Ms.-based quartets that recorded for Trumpet Records (1950-1953) (see : Ryan's history of Trumpet Records for details concerning Cliff Givens). The Trumpet sides feature Walker singing lead on "Rock In A Weary Land", "Search Me Lord", and "A Prayer for Tomorrow" which was revived on Peacock Records as "Our Prayer for Peace" ('64). His leads with the 'Birds also include "Christian's Testimonial" ('54), "Every Day And Every Hour" ('65), "The Little Wooden Church" ('64), "Prayer For The Sick"('65), "Take Care Of Me" ('54), "This Evening" ('64) and "Way Up On High" ('56). The Mobile Fidelity live set is a must if you want to here Walker at his best, especially on the 10 minute version of "I've Been Born Again". Don't forget to also rent the video, "WE LOVE YOU LIKE A ROCK" (1995), a 77 minute history of a gospel group that began in 1928 as The Church Of God Juniors. JAMES EMERDIA WALKER died Friday, October 30, 1992, Philadelphia, PA. He was survived by his wife, Kathryn Walker; daughters, Delores Foster, Shirley Atkins; two sisters, and five grandchildren. Burial was on November 7, 1992, Northwood Cemetery, West Oak Lane, PA. Today, The Dixie Hummingbirds (Ira Tucker, Paul Owens, Howard Carroll, Carl Davis) are still touring & should not be missed with they perform in your town! I'd like to thank Jerry Zolten (their official biographer) for his help with this posting. THE DIXIE HUMMINGBIRDS : CD DISCOGRAPHY ======================================= A.I.R. 10184 : DIXIE HUMMINGBIRDS - IN GOOD FAITH ALLIGATOR 2802 : THE SOUTHERN SONS - DEEP SOUTH GOSPEL (w/James Walker) COLLECTABLES 5336 : VARIOUS - AMAZING GRACE (2 cuts) DOCUMENT upcoming : DIXIE HUMMINGBIRDS - (DECCA & APOLLO RECORDINGS) FREMEAUX & A 026 : VARIOUS - GOSPEL QUARTETS : V. 2 : 1921-1942 (2CD) HERITAGE 11 : ANGELIC GOSPEL SINGERS - TOUCH ME LORD JESUS (1 CUT) MCA SP 22043 : DIXIE HUMMINGBIRDS - BEST OF MOBILE FIDELITY 751 : DIXIE HUMMINGBIRDS - WE LOVE YOU LIKE ../EVERY DAY .. MOBILE FIDELITY 771 : DIXIE HUMMINGBIRDS - LIVE (NOV 14,1976, NEW JERSEY) P-VINE 2186 : THE SOUTHERN SONS QUARTETTE - I LOVE THE LORD (w/Walker) RHINO 70288 : VARIOUS - JUBILATION! .. V.1 : BLACK GOSPEL (1 cut) SONY/LEGACY 57160 : VARIOUS - THE GOSPEL SOUND (2CD) (4 cuts) SONY/LEGACY 57163 : VARIOUS - THE ESSENTIAL GOSPEL SAMPLER (2 cuts) SONY/LEGACY 57164 : VARIOUS - PRECIOUS LORD : .. THOMAS A DORSEY (3 cuts) SONY/LEGACY 67007 : VARIOUS - THEY SING PRAISES (1 cut) SPIRIT FEEL 1012 : VARIOUS - THE GOSPEL SOUND OF SPIRIT FEEL (2 cuts) VANGUARD 77014 : VARIOUS - GOSPEL AT NEWPORT 1959,1964-1966 (2 cuts) REFERENCES : =========== BLACK GOSPEL : AN ILLUSTRATED HISTORY OF THE GOSPEL SOUND / VIV BROUGHTON, BLANDFORD PRESS, 1985 THE DIXIE HUMMINGBIRDS DISCOGRAPHY 1939-1959, BLUES & RHYTHM #20 (JUNE 1986) p.15-16; additions, BLUES & RHYTHM #27 (MARCH 1987) p.7 DUKE/PEACOCK RECORDS : AN ILLUSTRATED HISTORY WITH DISCOGRAPHY / GALEN GART & ROY C. AMES, BIG NICKEL PUBLICATIONS, P. O. BOX 157, MILFORD, NH. 03055 GOSPEL RECORDS 1943-1969 : A BLACK MUSIC DISCOGRAPHY / CEDRIC HAYES & ROBERT LAUGHTON, RECORD INFORMATION SERVICES, 1992 (2 VOLUME SET) THE GOSPEL SOUND : GOOD NEWS AND BAD TIMES / ANTHONY HEILBUT (LIMELIGHT, 1985) HOW SWEET THE SOUND : THE GOLDEN AGE OF GOSPEL / HORACE CLARENCE BOYER, ELLIOT & CLARK, 1995 AN INTERVIEW WITH IRA TUCKER OF THE DIXIE HUMMUNGBIRDS, 27 APRIL 1978 / SEAMUS MCGARVEY, BLUES & RHYTHM #20 (JUNE 1986) p.10-14 JAMES WALKER, 66, SANG GOSPEL WITH THE DIXIE HUMMINGBIRDS / ANDY WALLACE, PHILADELPHIA INQUIRER, FRIDAY, NOVEMBER 6, 1992, p.B15 TRUMPET RECORDS : AN ILLUSTRATED HISTORY WITH DISCOGRAPHY / MARC RYAN, BIG NICKEL PUBLICATIONS, 1992. ========================================================================= Date: Fri, 24 May 1996 11:46:55 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Do You Love New Orleans Music? Or Come to JazzFest? Comments: To: "Shane K. Bernard" In-Reply-To: <4o4ikh$ivs@news.tamu.edu> On Fri, 24 May 1996, Shane K. Bernard wrote: > Exarch/New Orleans wrote: > > >If you're one of the half million people who come to New Orleans for > >JazzFest, or if you have more than a passing interest in any form of > >New Orleans music (funk, zydeco, brassband, swamp pop, blues, r&b, rock/pop, > >Cajun, dixieland or jazz). . . . > > Maggie, > > I appreciate your efforts, but. . . . > > As a Cajun, professional historian, and author of a forthcoming book > on South Louisiana music, I have to wonder why you list Cajun, zydeco > and swamp pop as hailing from New Orleans . . . All three of these > genres hail from the 22-parish Acadiana region, which New Orleans does > not even border. In fact, the 1990 US census shows that New Orleans > possesses a Cajun population of only 1% (whereas in Acadiana > populations of 30-40% or more are common). For more information on > Cajun, zydeco, swamp pop, and Cajun/rural black Creole culture in > general, see the Cajun & Creole Pages at: > > http://http.tamu.edu:8000/~skb8721/l > > SKB > Cajun in Exile > Texas A&M University > Of course you are right that those forms don't "hail" from New Orleans, but they are present there, and have been for quite sometime. New Orleans has long been a nexus for many kinds of music to find an audience, and the music has come. If it stays long enough, I imagine it will be influenced by the other forms that reside in New Orleans as they will feel the influence of those forms. I don't think Maggie meant to usurp the music from its place of origin, only to point to its continuing presence in New Orleans as well. Moreover, as recordings proliferate, musicians will be playing it all with a love and relish who've never seen Spanish Moss. When I lived in New Mexico in the '70s there were a series of lawsuits to determine if anglos (as white people were called there) could make and market "Indian jewelry," or if they needed to call it "Indian-style jewelry." The result was that they could call it "Indian jewelry" but not "genuine Indian jewelry." that was before Native American swept the land. I'm glad that we don't have to worry about that sort of thing in music. Steve ========================================================================= Date: Fri, 24 May 1996 12:25:01 -0700 Reply-To: John Dudley From: John Dudley Organization: Tulane University Subject: Fat Possum Tour Comments: To: bit-listserv-blues-l@uunet.uu.net Just saw R.L. Burside, Junior Kimbrough, and Paul Jones the other night as part of some tour organized by the Fat Possum label. I was wondering how extensive this tour was, and if anyone else out there saw them. The show was great, of course -- despite the usual House of Blues crowd of clueless tourists and underage hipsters. A group of prep school kids smoking cigars and an overdressed couple doing some kind of lindy hop were particularly annoying. Anyway, be forewarned -- we showed up at about 9:30 (unusually early by New Orleans standards) for a 9 pm show and Junior Kimbrough was well into his set. He was quite impressive -- definitely worth the overpriced beer or two I would have had if we had gone earlier. -- ----------------------------------------- John Dudley jdudley@mailhost.tcs.tulane.edu ========================================================================= Date: Fri, 24 May 1996 13:45:25 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: How to define BB's Style? Peter Gallagher comments on Steve Levine's orignal query: >I feel he plays more than one style - his repertoire is huge and covers >too much diverse stuff to be regarded as "a style"... just my humble >opinion. > >Funnily enough, he has said of himself that he is not a "bluesman", but >rather - "bluesy". >regards, >PeterG > In the sixties, BB King was described in a record review in the British pop journal 'Record Mirror' as 'up and coming guitarist in the Clapton-Green vein'. I've always felt that says it all, really. %-O Chris Smith (chris@skerries.demon.co.uk) 'This country is full of decent, trusting people. And besides, we don't have to tell them the truth.' (Michelle Pfeiffer in 'Love Field') ========================================================================= Date: Fri, 24 May 1996 13:40:00 EDT Reply-To: Debra Eisert From: Debra Eisert Subject: Saffire/Big Joe Duskin Last night the Greater Cincinnati Blues Society presented Saffire along with Big Joe Duskin. My intentions were to attend, enjoy, and still remain analytical enough to write a carefully considered review. Why do we delude ourselves? Shortly into Duskin's rendition of Pinetop's Boogie, my mind turned off and I abandoned myself to the music. As has been noted on the list before, Duskin is a boogie pianist. Last night he played with a backup band of a bass, drums (a female drummer!) and guitar. His rollicking style tore through pieces such as You Dirty Rat, I Ain't Begging you, and Fatha Hines' Boogie Woogie on the St. Louis Blues. Saffire took the stage with their expected energy. All three musicians have different styles which contrast and complement each other. They showcased a nice mix of all three. Many of the pieces came from the newly released cd, Cleaning House. Based on last night, it should be on the must buy list. They also played several of their old favorites including Middle Aged Blues Boogie, Settle for Less, and Thunder Thighs. (My personal taste wanted more from the Broadcasting cd, but hey, who's complaining?) The night ended with Big Joe and Ann Rabson playing a duet along with Saffire and Duskin's guitarist Bobby Cunningham. I enjoyed myself enough that I couldn't be objective -- but my sister-in-law came with us, not knowing the music at all. She left with two Saffire cd's. Does that say something? If you are going to be in the area, Duskin and Ann Rabson will be playing at the Arches Piano Stage of the Queen City Blues Festival July 13-14. The price is right - free - and the music will sizzle. ##################################################################### Debra Eisert "It is the mark of an educated man to debra@iglou.com be able to entertain a thought without Cincinnati, OH accepting it." -- Aristotle ##################################################################### ========================================================================= Date: Fri, 24 May 1996 13:59:32 -0400 Reply-To: Daniel P Rease From: Daniel P Rease Subject: Collectors Disc I have a few vinyl collectors/import disc that I am looking to sell. One of interest to blues fans would be a John Mayell and Bluebreakers performance featuring Mick Taylor, Buddy Guy, Junior Wells and Albert King, I have a few other titles to offer with the standard fare Stones,Beck, Clapton etc Contact me offline if you have an interest at drease@polaris.umuc.edu See Ya Dan ========================================================================= Date: Fri, 24 May 1996 16:54:51 GMT Reply-To: jackieo@MIDTOWN.NET From: Jack Oudiz Organization: Midtown Computer Services Subject: Re: Republican politics and racism. Comments: To: bit-listserv-blues-l@uunet.uu.net "" wrote: >Okay, before an awful lot of people take serious offense out there, let's be >careful not to equate conservative POLITICIANS and their agendas with the >regular, good folk, the working stiffs of this country who lean conservative >and don't have a racist bone in their bodies, who work, play, live with and >among people of all races (happily), but who for MANY other legitimate reasons >think right-of-center. >Don't equate "conservative" political agendas pushed by politicians who are all >operating for their own motives with the regular folk. >Let's talk blues! >Riffin Rick Well put Rick, and that's exactly my intention. However, this IS talkin' blues my man! That is also my point. ========================================================================= Date: Fri, 24 May 1996 16:56:25 GMT Reply-To: jackieo@MIDTOWN.NET From: Jack Oudiz Organization: Midtown Computer Services Subject: Re: T-bone Walker --- The best there ever was... Comments: To: bit-listserv-blues-l@uunet.uu.net "Frank Robinson,Jr." wrote: >For My taste , T-bone epitomizes taste, humor , elagance and inventiveness. >His guitar stylings have yet to be truly duplicated. Many have tried, >few have succeeded. He was the model that folks like BB King, Little Milton, >Ike Turner,Johnny Guitar Watson, Clarence Hollimon, Wayne Burnett, >Ronnie Earl and MANY, MANY others have tried to follow....(even SRV). Yeah but you know what, I think his singing was even better than his guitaring! ========================================================================= Date: Fri, 24 May 1996 17:01:20 GMT Reply-To: jackieo@MIDTOWN.NET From: Jack Oudiz Organization: Midtown Computer Services Subject: Scrapper Blackwell Comments: To: bit-listserv-blues-l@uunet.uu.net Anybody else out there a Scrapper fan? There's a great compilation on Yazoo of Scrapper playing solo, with Leroy Carr and others. Recorded starting in late 20's it's incredible how much taste and intricacy the man had for so-called "country" blues. Playing jazzy riffs a la Lonnie Johnson. A WAY underappreciated giant. ========================================================================= Date: Fri, 24 May 1996 17:57:06 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Bad Credit? Slow Credit? No Credit? No Problem! Subject: Re: BLUES_ON_THE_AIR_Listing.. Comments: To: bit-listserv-blues-l@uunet.uu.net On Wed, 22 May 1996 09:26:35 -0500, Bruce Roberts wrote: >In Austin we have "Blue Monday" on KUT monday evening from 8:00 to 12:00. >BTW the best Blues radio show I've heard is Don O.'s on KNON in Dallas. > Sleepy Ray Vaughan is the best blues announcer ever :) Kevan Smith cuthulu@rlabs.com the great purple hope for the blues ========================================================================= Date: Fri, 24 May 1996 18:11:09 GMT Reply-To: bluesdj@HALCYON.COM From: Roberta Penn Organization: Northwest Nexus Inc. Subject: Delta Diary Comments: To: bit-listserv-blues-l@uunet.uu.net Music Central now has the complete Delta Diary up. Included are interviews (with both text and sound bites) with Super Chiken, Bruce Iglauer, Luther Allison, Eugene Gales, Jim O'Neal, musicians from the Delta Education Program, Joe Louis Walker, John Ruskey, Frank Frost and the manager of the Lady Luck Rhythm and Blues Casino. If you're interested you can find it at: www.musiccentral.msn.com Let me know what you think. Roberta ========================================================================= Date: Fri, 24 May 1996 11:43:34 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Village People --- The best there ever was... Why don't you go to the Y-M-C-A?? DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Fri, 24 May 1996 13:54:32 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: St. Louis Help??? Hey y'all. Things are heatin' up here with regard to the arrangements for the blues-l meet in St. Louis over Labor Day. Last word was that people could reserve hotel rooms at the Drury Inn by contacting agent Sharon Ratteree at 1-800-784-7581. I did this. She said Okay. Someone else asked me for this number (which I temporarily lost) and so I called Waterman for the number. He said there might be some difficulties with the room reservations because the RAMS were coming into town that weekend or something. Didn't hear from him again. A third party located Ratteree's number and called -- no answer. The second party called the Drury Inn(s) in St. Louis (of which there are two -- and I don't even know which is the target)...only to find that neither of them have ever heard of any of us. So here's the question: What's up? Are you blues-l'ers going to this shindig? If you aren't I have another fest I'm getting big pressure to attend and will do that. Don't want to miss meeting y'all, but it seems lame to commmit to a weekend in St. Louis with a major purpose of meeting y'all if you're not going. Any help on any of this from you? Who's going? Who knows what's what? Can I get a witness? Cathi N. ========================================================================= Date: Fri, 24 May 1996 19:20:13 GMT Reply-To: CKUT_online@babylon.montreal.qc.ca From: CKUT online Organization: Babylon, Montreal, Canada Subject: Re: blues-l donation Comments: To: MARCIAG@VMS.CIS.PITT.EDU I guess this tape came out before I subscribed to Blues-L. If they are they still available, can someone provide ordering details? John Detcheverry, CKUT FM 90,3 ========================================================================= Date: Fri, 24 May 1996 22:07:48 -0700 Reply-To: Jos Potting From: Jos Potting Subject: Michael De Jong At the Moulin Blues in Ospel, The Netherlands, I had the privilige to see and hear Smokey Wilson, Big Boy Henry and Keb 'Mo' acoustic. But I was impressed by another singer-gitarist: Michael De Jong. I was very impressed by his performance, his songs and voice (remembered suddenly a british singer, Kevin Coyne). The only information I have is that his parents were dutch, but that he lives in america for a long time. Since he originated from Holland they asked him to sing a song on the main stage after 8 hours festival to celebrate the libertation of the Netherlands from german occupation. Michael was sung an honest song and the audience managed to get silence for a small minute of introspection. Anybody who has some information/opinion on Michael de Jong? Jos. ========================================================================= Date: Fri, 24 May 1996 13:53:47 -0700 Reply-To: "James R. McCoy" From: "James R. McCoy" Organization: Oregon Public Networking Subject: Re: T-bone Walker --- The best there ever was... Comments: To: bit-listserv-blues-l@uunet.uu.net Jack Oudiz wrote: > > "Frank Robinson,Jr." wrote: > > >For My taste , T-bone epitomizes taste, humor , elagance and inventiveness. > > >His guitar stylings have yet to be truly duplicated. Many have tried, > >few have succeeded. He was the model that folks like BB King, Little Milton, > >Ike Turner,Johnny Guitar Watson, Clarence Hollimon, Wayne Burnett, > >Ronnie Earl and MANY, MANY others have tried to follow....(even SRV). > > Yeah but you know what, I think his singing was even better than his > guitaring! I agree. "T-Bone Blues" was one of my first purchases and now .... many, many cd's later .... it still is. ========================================================================= Date: Fri, 24 May 1996 16:29:33 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 05/25 B O R N : 05/25 ALLEN, MARSHALL Born:1924 LOUISVILLE, KY Career:ALTO SAX / CLARINET / FLUTE / OBOE Style:JAZZ With:Art Simmons in Paris 1949-50 / Sun Ra BERNHART, MILT Born:1926 VALPARISO, IN Career:TROMBONE Style:JAZZ / BIG BAND BLIND TOM [THOMAS GREEN BETHUNE] Born:1849 COLUMBUS, GA Career:PIANO Style:BLUES DAVID, HAL Born:1921 NEW YORK, NY Career:LYRICIST Style:POP / BIG BAND With:BURT BACHARCH DAVIS, MILES ( DEWEY III ) BORN:1926 ALTON, IL Career:TRUMPET / LEADER Style:JAZZ / BIG BAND With:CHARLIE PARKER / GIL EVANS / GERRY MULLIGAN / LEE KONITZ / JOHN COLTRANE / RED GARLAND / PAUL CHAMBERS / PHILLY JOE JONES / CANNONBALL ADDERLEY / HERBIE HANCOCK / RON CARTER / TONY WILLIAMS / WAYNE SHORTER / BILL EVANS / BOB BERG / MIKE STERN / JOHN SCOFIELD / MARCUS MILLER / DARYL JONES DICEY, BILL Born:1936 ANNAPOLIS, MA Career:HARMONICA Style:BLUES ELBERT, DONNIE Born:1936 NEW ORLEANS, LA Career:SINGER Style:BLUES FOSTER, GARY N Born:1936 LEAVENWORTH, KS Career:ALTO SAX / TENOR SAX / SOPRANO SAX Style:JAZZ / BIG BAND Guesnon, Creole George ( George Guesnon ) Born:1907 NEW ORLEANS, LA Career:BANJO / GUITAR Style:TRAD / JAZZ With:Sam Morgan / George Lewis / preserved gombo French dialect songs. KALLIN, KITTY Born:1922 PHILADELPHIA, PA Career:SINGER Style:BIG BAND With:JACK TEAGARDEN / JIMMY DORSEY / HARRY JAMES LEMER, PEPI Born:1944 LIFRACOMBE, DEVON, UK Career:SINGER Style:JAZZ With:MIKE GIBBS / BARBARA THOMPSON / ALAN PRICE / JEFF CLYNE PETIT, BUDDY (BUDDY CRAWFORD ) Born:1897 WHITECASTLE, LA Career:TRUMPET / LEADER Style:TRAD / JAZZ With:JIMMIE NOONE / JELLY ROLL MORTON ROBINSON, BILL"BOJANGLES" Born:1878 RICHMOND, VA Career:SINGER / DANCER Style: BLUES / JAZZ With: DECCA RECORDS RONEY, WALLACE Born:1960 PHILADELPHIA, PA Career:TRUMPET Style:JAZZ With:ART BLAKEY / CINDY BLACKMAN / TONY WILLIAMS / MARVIN :SMITTY" SMITH / CODY MOFFETT / GERI ALLEN / KENNY BARRON / RANDY WESTON / CHRISTOPHER HOLIDAY SIMMS, GINNY Born:1912 SAN ANTONIO, TX Career:SINGER Style:BIG BAND With:Tom Gerun / Kay Kyser 1934 TERRELL, PHA ( ELMER TERRELL ) Born:1910 KANSAS CITY, MO Career:SINGER Style:BIG BAND Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Thu, 23 May 1996 22:00:01 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: blues-l donation Comments: To: bob unger Bob -- I know I speak for a lot of people in thanking you for all your work on the BluesBytes tape. Equally, thanks to you and Cathi for the eloquent letter to the Blues Heaven foundation. We may yell and fuss and talk trash here on Blues-L, but we also do s ome good stuff, and you guys facillitated it wonderfully. Keep the blues alive ... Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Thu, 23 May 1996 22:00:01 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Getting together in CHI I know quite a few Bluezellers will be in Chicago for the featival next week. May I suggest Saturday Morning, at 10:45 am (15 minutes before things get started, in front of the Back Porch Stage, as a place for an informal, shake-hands and say hello gathering? I'm open to other suggestions, of course... Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Fri, 24 May 1996 19:32:25 GMT Reply-To: CKUT_online@babylon.montreal.qc.ca From: CKUT online Organization: Babylon, Montreal, Canada Subject: Re: Guitar Questions Comments: To: redox245@ELECTROTEX.COM Check out Gibson's home page on the web (http://www.gibson.com). They connect to Vintage Guitar and have a database available to search for guitar values. Fender also has a similar service. ========================================================================= Date: Fri, 24 May 1996 19:38:52 GMT Reply-To: CKUT_online@babylon.montreal.qc.ca From: CKUT online Organization: Babylon, Montreal, Canada Subject: Re: BLUES_ON_THE_AIR_Listing.. Comments: To: cuthulu@prysm.net Here in Montreal we have Cha Cha Cha in Blue every Sunday Night from 9-11pm on CKUT FM 90,3, Hosted by yours truly. (This is a community station.) We also have Blue Monday on CHOM FM, who also air Live from the HOB on Sunday evenings. John Detcheverry ========================================================================= Date: Fri, 24 May 1996 18:08:29 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Kim Wilson residence. Hey, my bass player bet me $20 that Kim Wilson lives here, where I am, in Worcester, Massachusetts. I told him that was absolute bullshit, but he was so confident it was scary. His last words on the matter were "If I come up with his phone number, is that proof enough?" My thinking is, would YOU leave the Austin/Dallas blues scene for Worcester, Massachusetts??????! I mean....what the -? I need help from my fellow blues-lers here! :) Thanks! Have a good long weekend! Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 24 May 1996 19:21:07 -0400 Reply-To: "William E. Forrester" From: "William E. Forrester" Subject: Re: Rev.Billy C.Wirtz question Comments: To: marc borms In-Reply-To: <4o3lnf$hfs@rc1.vub.ac.be> On Fri, 24 May 1996, marc borms wrote: > Heard some good pianoblues, played by Reverend C.Wirtz : > 'Cousin cupcake got the blues'. > I never heard before of this guy but I liked his style very, very much. > Who's this guy and who can point me to some of his stuff ? I saw him last week at the Dinosaur Bar-B-Que in Syracuse. He is a very funny guy. He is basically a comedy act, but he plays pretty good piano as well. His act is very fast-paced with lots of one-liners. He definitely fits in well with a blues-club crowd. His demonstration of different "blues faces" is great, and you have to see him playing boogie-woogie piano while lying flat on his back with his legs sticking straight up. His attempt to combine the blues piano styles of Professor Longhair and Yanni was also very succesful. If you get a chance to see him in person, by all means do so. ========================================================================= Date: Fri, 24 May 1996 17:15:39 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: BB sample Comments: cc: leftwich@cloud9.net >Has anyone heard the song that samples BB singing, "I've been downhearted, >every since the day we met"? It's some techno band. Is it the Pet Shop >Boys? It's getting a lot of airplay on WNEW here in New York. Yeah, it's getting played a lot here on LA rock radio. I mentioned on the list last week. The song is "Standing Outside A Phone Booth With Change In My Hand"(I think) and the name of the band is Primitive Radio Gods. Pretty average song except for BB:-) Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Fri, 24 May 1996 17:15:44 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Major/minor keys Most blues is very ambiguous in terms of whether it is major or minor (apart from already cited examples). Blues harmony is built around dominant 7th chords. A good test of this is play a blues lick with a minor third over a standard progression and then follow it by playing a lick that contains the major third. Both will work. Then you have Magic Sam. Check out "All Your Love" (West Side Soul). This songs treads a very fine line between both major and minor tonality. So cool! Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Fri, 24 May 1996 17:15:49 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Village People --- The best there ever was... Comments: cc: dcicchet@vega.lasierra.edu I don't know what possessed Don C to post such a message to the list but it is shameful. Everybody knows that Yngwie Malmsteen is the greatest bluesman that has ever lived. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Fri, 24 May 1996 20:08:32 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Johnny "Guitar" Watson/Frank Zappa Bruce Roberts wrote: >I remember seeing an A&E biography of Frank Zappa and they showed a >scene with Zappa, Johnny "Guitar" Watson, a couple of Tibetan throat >singers, and some asian drummers jamming together. I don't know what >type of music you would call it, but they were all having a good time. When Frank Zappa was a teenager he used to patronize a local soda shop and play Johnny "Guitar" Watson on the juke box over and over, convincing the owner to add more blues/r&b to the juke. Two of Zappa's biggest musical influences were J"G"W and Edgar Varese. Stew Crossen ___________________________________________________________________________ The Blues Playground - Sundays at 9pm on 107 FM WCCC - Hartford, CT Host/programmer: Stew Crossen 18 Boxwood Drive Vernon, CT 06066-5106 Tel: 800.970.5151 Web: http://www.neca.com/~bfstew E: bfstew@neca.com Reporting to: Living Blues, The Hard Report, BluesWire, The Blues Audience Stew Crossen is a member of the Connecticut Blues Society ========================================================================= Date: Fri, 24 May 1996 20:21:58 -0400 Reply-To: Chris Smith From: Chris Smith Subject: here's a little known fact A Dutch corespondent tells me that in Holland 'SRV' is the union for the gallant men and women who deliver the milk to your doorstep. Now then - which was the best one in the Osmond Family? And was there ever a better gospel singer than the Singing Nun? (Ok, was there ever a better Belgian gospel singer in holy orders than the Singing Nun?) Chris Smith (chris@skerries.demon.co.uk) 'This country is full of decent, trusting people. And besides, we don't have to tell them the truth.' (Michelle Pfeiffer in 'Love Field') ========================================================================= Date: Fri, 24 May 1996 19:39:57 -0500 Reply-To: Heather Loren Miller From: Heather Loren Miller Subject: Re: blues on the air Comments: To: Guy Tapper In-Reply-To: Hi, everyone. Baton Rouge has two blues radio shows: one three-hour show on Monday nights on KLSU (a college radio station) and one four-hour show on Saturday afternoons, hosted by Tabby Thomas. There may be others (I'm not counting DMX on cable, for instance) but I haven't found them yet. Baton Rouge is just far enough away from New Orleans that their stations get fuzzy. Take care. Heather hmiller@tiger.lsu.edu ========================================================================= Date: Sat, 25 May 1996 00:44:05 GMT Reply-To: ghost From: ghost Organization: Harvard University Subject: Blues-l tapes; was Re: blues-l donation Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199605231555.LAA06605@sun.bnkst.edu> bob unger writes: >Well, I'm still sitting here with $525 from BluesBytes, trying to figure out Could someone send me info on how to get copies of bluesbytes tapes I & II (if copies of either are still available)? I have that info here "somewhere" but *you* wouldn't want to leaf through somewhere either. While I'm at it, could someone involved in the process tell me if it really was a "you send your cut in, we slap it onto the tape" procedure as I was lead by the discussions I saw to believe? I've run into more than a little foul play in the compilation of a tape in another group, & would like confirmed my observations about the contrasting aboveground procedures here. ========================================================================= Date: Fri, 24 May 1996 20:51:25 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Scrapper Blackwell Jack Oudiz wrote >Anybody else out there a Scrapper fan? > >There's a great compilation on Yazoo of Scrapper playing solo, with >Leroy Carr and others. Recorded starting in late 20's it's incredible >how much taste and intricacy the man had for so-called "country" >blues. Playing jazzy riffs a la Lonnie Johnson. A WAY underappreciated >giant. Yes indeedy! And check out his re-discovery stuff from the sixties - available on Document DOCD-5275. And if you can find the super-rare Brooks Berry LP on Prestige Bluesville, where Scrapper accompanies her, you'll be in for a truly amazing experience. Chris Smith (chris@skerries.demon.co.uk) 'This country is full of decent, trusting people. And besides, we don't have to tell them the truth.' (Michelle Pfeiffer in 'Love Field') ========================================================================= Date: Sat, 25 May 1996 01:21:47 GMT Reply-To: ethan r snow From: ethan r snow Organization: BrightNet Setup Subject: new artists Comments: To: bit-listserv-blues-l@uunet.uu.net I've discovered some great new artists recently. Primarily Chris Smithers and Keb' Mo. Are there some other contemporary artists playing in the acoustic country blues style. ========================================================================= Date: Fri, 24 May 1996 18:46:48 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Bread --- The best there ever was... Baby ahmma want you!! how can you TOP that? DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Sat, 25 May 1996 01:44:29 GMT Reply-To: Buddy Donnelly From: Buddy Donnelly Organization: Shadow Information Services, Inc. Subject: Bootsy Collins and Lucky Peterson on a Blues cruise? Comments: To: bit-listserv-blues-l@uunet.uu.net Heard a rumor that Bootsy Collins was going to be on some kind of Blues Cruise in Florida soon, playing with Lucky Peterson. Does anybody have details on this gig? Buddy ========================================================================= Date: Fri, 24 May 1996 22:38:02 EDT Reply-To: Newman/Rabson <71552.541@COMPUSERVE.COM> From: Newman/Rabson <71552.541@COMPUSERVE.COM> Subject: Bootsy Collins and Lucky >>Heard a rumor that Bootsy Collins was going to be on some kind of Blues Cruise in Florida soon, playing with Lucky Peterson. Does anybody have details on this gig? Yes, indeedy - performers on the cruise include: Lucky Peterson w/ Bootsy Collins T.C. Carr and the Catch Saffire - The Uppity Blues Women Midnight Creepers Ace Moreland (Also a "Las Vegas style musical review" ... "especially for you Elvis fans" ... well, you've got to sleep sometime.) Cruise leaves Port Canaveral, FL on May 30, stops at Nassau and Lucaya, and returns on June 2; 800-788-4544. George Newman (Ann Rabson's husband - yes, I get to go along ) ========================================================================= Date: Fri, 24 May 1996 23:24:11 -0400 Reply-To: music From: music Subject: BLUES resources needed Greetings! We need your help. We are asking that you -- the members of BLUES-L mailing list help us locate music-related Internet sites to add to our growing resource called MUSICSEARCH (located at http://musicsearch.com). We have over 6,000 links already but we know that there are many more sites and groups out there on the Internet including those focusing on BLUES. If you know of any music-related resource located on the Internet please come by our site today and add it. It's fast and free. Thank you for your help. Sean Conkin http://musicsearch.com P.S. This notice has been posted only on music-related lists. ========================================================================= Date: Fri, 24 May 1996 18:53:48 -0700 Reply-To: Stan Ruffo From: Stan Ruffo Subject: Re: Kim Wilson residence. It is my understanding that he resides in Los Angeles...since signing with Private Music. Stan P/H Blues On Tap - Visalia CA ---------- From: [SMTP:MILLER@SCI.WFBR.EDU] Sent: Friday, May 24, 1996 4:08 PM To: Multiple recipients of list BLUES-L Subject: Kim Wilson residence. Hey, my bass player bet me $20 that Kim Wilson lives here, where I am, in Worcester, Massachusetts. I told him that was absolute bullshit, but he was so confident it was scary. His last words on the matter were "If I come up with his phone number, is that proof enough?" My thinking is, would YOU leave the Austin/Dallas blues scene for Worcester, Massachusetts??????! I mean....what the -? I need help from my fellow blues-lers here! :) Thanks! Have a good long weekend! Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Sat, 25 May 1996 05:35:31 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Bad Credit? Slow Credit? No Credit? No Problem! Subject: Re: Acoustic Fingerpicking Types Comments: To: bit-listserv-blues-l@uunet.uu.net On Thu, 23 May 1996 12:16:24 -0700, Shaun T Cronin wrote: >So all you acoustic players could you help me with advice on, how to >improve my volume (not by plugging in:-)), how to get a crisp tone using >fingers and your preference regarding bare fingers or finger picks. The trick is to grow your fingernails out and use them to play, like a classical player, or when strumming to use them like a flamenco player. Any decent classical guitar metod book will have instructions on growing and caring for your nails. Also, as you play more, your volume will improve as you build strength. Kevan Smith cuthulu@rlabs.com the great purple hope for the blues ========================================================================= Date: Sat, 25 May 1996 02:02:10 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Acoustic Fingerpicking Types Comments: To: cuthulu In-Reply-To: <31a69b47.20664343@news.prysm.net> On Sat, 25 May 1996, cuthulu wrote: > On Thu, 23 May 1996 12:16:24 -0700, Shaun T Cronin > wrote: > > >So all you acoustic players could you help me with advice on, how to > >improve my volume (not by plugging in:-)), how to get a crisp tone using > >fingers and your preference regarding bare fingers or finger picks. > > The trick is to grow your fingernails out and use them to play, like a > classical player, or when strumming to use them like a flamenco player. > Any decent classical guitar metod book will have instructions on growing > and caring for your nails. > > Also, as you play more, your volume will improve as you build strength. The other side of the coin is, I actually prefer the sound of just fingers, and not so much nail. The hand builds up muscle. But I'll also admit that when I absolutely have be loud without an amp (which I don't like) or a P.A. (and then mic the guitar or use those fishman transducers that got trashed on blues-l a few weeks ago), I'll use stiff metal finger picks on index and middle finger and metal thumb pick. That's a very different feel and requires quite a lot of practice to keep that up with the bare finger picking. It is not a sound I favor, as the long nail sound usually isn't quite right either. But I should admit that even when my nails are trimmed short, they're very thick and durable and I get both some meat and some nail when I play. Steve ========================================================================= Date: Sat, 25 May 1996 06:55:20 GMT Reply-To: Kathy Fieberling From: Kathy Fieberling Organization: Netcom Subject: Re: Scrapper Blackwell The way he would snap those strings just knocks me out. Fabulous voice too. ========================================================================= Date: Sat, 25 May 1996 07:07:23 GMT Reply-To: Kathy Fieberling From: Kathy Fieberling Organization: Netcom Subject: Re: Accoustic Fingerpicking Types I play with and without finger picks. I prefer to play without because I can feel the strings. It's also easier to snap strings with your bare fingers and thumb. Brushing with your nails and snapping add volume and texture to your playing. If it hurts, try putting lighter strings on you guitar. I actually have calouses(?) on my picking fingers. Be carefull though, once you start fingerpicking blues you may never go back to a flatpick. Try out some Blind Boy Fuller. His stuff is great. Also, Scrapper. ========================================================================= Date: Sat, 25 May 1996 03:49:05 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Acoustic Fingerpicking Types Comments: To: cuthulu@prysm.net In-Reply-To: <31a69b47.20664343@news.prysm.net> from "cuthulu" at May 25, 96 05:35:31 am > > On Thu, 23 May 1996 12:16:24 -0700, Shaun T Cronin > wrote: > > >So all you acoustic players could you help me with advice on, how to > >improve my volume (not by plugging in:-)), how to get a crisp tone using > >fingers and your preference regarding bare fingers or finger picks. > > The trick is to grow your fingernails out and use them to play, like a > classical player, or when strumming to use them like a flamenco player. > Any decent classical guitar metod book will have instructions on growing > and caring for your nails. > > Also, as you play more, your volume will improve as you build strength. While I play electric these days, my style of guitar is kinda based on acoustic technique. Fingernails are a poor basis for fingerpicking. They always seem to break, etc. Build your strength and technique. If you NEED them, use a thumbpick and metal fingerpicks. But I personally don't like them at all, and never have. The guitar is a very personal instrument to me. I like having MY fingers on the strings, and not finger picks. I'd gladly sacrifice volume for the intimate feel of fingers on the strings. But that's MY opinion. A lot of excellent acoustic guitarists use finger picks, and sound incredible. -- IronMan Mike Curtis ========================================================================= Date: Sat, 25 May 1996 03:53:34 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Bread --- The best there ever was... Comments: To: dcicchet@LASIERRA.EDU In-Reply-To: <199605250149.SAA03596@inet.lasierra.edu> from "Don Cicchetti" at May 24, 96 06:46:48 pm > > Baby ahmma want you!! > > how can you TOP that? Baby Ah'm a-want you - to STOP!!!! If a picture paints a thousand words, then why hasn't it painted your "greatest ever" stuff already??? How can you dudes claim that anyone is the greatest, other than Little Richard, who'll gladly tell you that HE is, and that HE invented rock and roll? And you know something? It's hard to argue with him on this, too! SHADDUP! -- IronMan Mike Curtis See the little faggot with the earring and the makeup, yeah buddy that's his own hair... ========================================================================= Date: Sat, 25 May 1996 09:09:10 -0700 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Imported New Orleans Music vs. Indigenous Steve Price wrote: >Of course you are right that those forms >don't "hail" from New >Orleans, but they are present there, and have been for quite sometime. >New Orleans has long been a nexus for many kinds of music to find an >audience, and the music has come. If it stays long enough, I imagine it >will be influenced by the other forms that reside in New Orleans as they >will feel the influence of those forms. I don't think Maggie meant to >usurp the music from its place of origin, only to point to its continuing >presence in New Orleans as well. ...and he is *so* right. I responded privately to Shane, but want to reinforce Steve's statement that the newsletter we're planning would cover all live music *performed* in New Orleans, which today includes a whole lot of zydeco--which you can now hear performed almost every night in one venue or another--and Cajun music. Anyone who's spent any amount of time in New Orleans quickly learns that this music is indigenous to the Acadiana area of southwest Louisiana, not to New Orleans. For anyone who hasn't responded to the newsletter questionnaire, you can do so on the web at http://www.accesscom.net/~exarch We'd really like your feedback to help us get this project off the ground. --Maggie Maggie Mortensen<><>Exarch Services<><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ "I'm not sure, but I think that ALL music started in New Orleans." --Ernie K-Doe ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Sat, 25 May 1996 14:36:35 GMT Reply-To: Mark A Basten From: Mark A Basten Organization: College of Engineering, Univ. of Wisconsin--Madison Subject: Re: T-bone Walker --- The best there ever was... Comments: To: bit-listserv-blues-l@uunet.uu.net In article jackieo@MIDTOWN.NET writes: >"Frank Robinson,Jr." wrote: > >>For My taste , T-bone epitomizes taste, humor , elagance and inventiveness. .... > >Yeah but you know what, I think his singing was even better than his >guitaring! Yeah! Is it just me or does anyone else think that T-bone's voice sometimes sounds like Nat Cole's (at least on the Imperial sides)? Mark Basten (basten@cae.wisc.edu) "My friends all think I'm a jerk, 'cause I never bother to work. I want you to know how I feel, I'm too lazy to work and too nervous to steal." ========================================================================= Date: Sat, 25 May 1996 15:08:56 GMT Reply-To: skb8721@tam2000.tamu.edu From: "Shane K. Bernard" Organization: Texas A&M University (Student) Subject: Re: Heaven's Prisoner's/C.C. Adcock Comments: To: bit-listserv-blues-l@uunet.uu.net Don Williams wrote: >>As a newbie to this group, and with a very sparse record collection, I >>was wondering if anyone has seen this film or heard the soundtrack? I >I have the Code Blue/Atlantic Records CD soundtrack to this film but have not >seen the film itself. The soundtrack is as follows: >7. Bo's Bounce, by C.C. Adcock Adcock renders this title on his self-named debut CD (Island 314-518 840-2, 1994) as "Beaux's Bounce," spelling "Bo" in imitation of Cajun surname spellings. (X is silent.) Adcock is a 25-year-old "swamp rock" guitarist from Lafayette LA who formerly backed Bo Diddley, Stanley "Buckwheat" Dural (Buckwheat Zydeco), and Lil' Buck Senegal. Heavily influenced by the blues, as well as by New Orleans R&B, swamp pop, Cajun, and zydeco music . . . sorta mixes it all together like no one else is really doing. Best track on the CD, IMHO -- his cover of Art Neville's "I'm Just A Fool To Care." Other tracks: Couchemal; Cindy Lou; What I Like (Womens); Sally Sue Brown; Kissin' Kouzans; Good Lovin'; Do Right Lil' Lady; Done Most Everything This CD will be issued overseas anytime now (finally) and Adcock is recording his 2nd CD at present. I don't think Island gave Adcock's debut CD the attention it deserved. I believe my interview with Adcock appeared in the "Talk Talk" section of the May issue of "Goldmine" (the one w/ B.B. King on the cover), but I'm uncertain. SKB Cajun in Exile Swamp Pop Music Pages: http://http.tamu.edu:8000/~skb8721/swamp.html ========================================================================= Date: Fri, 24 May 1996 23:02:00 GMT Reply-To: Igor Isakovski From: Igor Isakovski Organization: MEDIS-informatika Subject: blues on the air /table Originally message from sunjay-rajany: AT>AFCS > How about a compilation of RADIO STATIONS around the country/world AT> > wherein BLUES are offered on a regular basis... AT>AFCS > Let me start with a couple.... AT>AFCS > DAYS M Monday AT> > Tu Tuesday AT> > W Wednesday AT> > Th Thursday AT> > F Friday AT> > Sa Saturday AT> > Su Sunday AT>AFCS >+--------------------------------------------------------------------- AT>-+ AT>| CITY/STATE/COUNTRY | STATION | PROGRAM | DAYS | AT>AFCS >+--------------------------------------------------------------------- AT>-+ AT>| BOSTON, MA, USA | WERS 88.9 | BLUESOLOGY | M/Tu/W/Th/F | AT>| BOSTON, MA, USA | WGBH 89.7 | BLUES AFTER HOURS | F/Sa | AT>| BOSTON, MA, USA | WBOS 90.9 | BLUES AFTER HOURS | F/Sa | AT>| | | | | AT>| PITTSBURGH, PA, USA | WYEP 90.3 | BLUES SHOWCASE | Sa | AT>| | | | | AT>| SKOPJE, MAKEDONIJA | MEGAFM 98 | BLUES BROTHERS | M 20-22 | AT>| SKOPJE, MAKEDONIJA | RAVEL 96.7| BLUES BROTHERS | M 20-22 | AT>| | | | | AT>| | | | | AT>| AT> Igor "The Blues Brother" Isakovski AT> IMMMMMMMMMMMMMMMMMMMMMM; \\:.::. LONG LIVE AT> : Vampir : \[012[21\\ THE AT> HMMMMMMMMMMMMMMMMMMMMMM< _[012[21 ^ BLUES! AT> igor.isakovski@informa.mk 012[21 ^ AT> 012[21__ Cheers! AT>--- AT> ~ SPEED 2.00 [NR] ~ I "BIO SQUAD"!.............Vampir MS >=== > ~ OLX 2.1 TD ~ Chicken heads are the chief food of captive alligators. --- ~ SPEED 2.00 [NR] ~ Se bavtash so vampiri, pa posle gjavolot ti e kriv! ========================================================================= Date: Sat, 25 May 1996 09:27:59 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: May 26 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ALLEY, VERNON C. (b/BASIE/HAMPTON) b. 1915-0526, WINNEMUCCA, NV BABY FACE LEROY (FOSTER) (g/d/M.WATERS) d. 1958-0526, CHICAGO, IL 38 BLASS, MARK (BLUES-L MEMBER) b. 1943-0526, PHILADELPHIA, PA BOWMAN, EUDAY LOUIS (p/ragtime) d. 1949-0526, NEW YORK CITY, NY 61 COBBS, WILIE JUMPIN' (v) b. 1933-0526, AR ELMAN, ZIGGY (tpt/MEADE LUX LEWIS) b. 1914-0526, PHILADELPHIA, PA GUITAR SHORTY (JOHN HENRY FORTESCUE) (g) d. 1976-0526, ROCKY MOUNT, NC 52 HELM, LEVON (d/THE BAND) b. 1942-0526, MARVELL, AR HIGGINBOTHAM, J. C. (tbn) d. 1973-0526, NEW YORK CITY, NY 67 JACKSON, CALVIN (p/VICTORIA SPIVEY) b. 1919-0526, PHILADELPHIA, PA JOHN, LITTLE WILLIE (v/KING REC) d. 1968-0526, WALLA WALLA, WA 30 JOLSON, AL [ASA YOELSON] (v) b. 1886-0526, RUSSIA KRAVITZ, LENNY (g/songw) b. 1964-0526, NEW YORK CITY, NY LEBLANC, CARL (of THE DIRTY DOZEN) b. 1955-0526, LA LEE, PEGGY (v) b. 1920-0526, JAMESTOWN, ND MCCOY, CHARLIE (mand/g/HARLEM HAMFATS) b. 1909-0526, JACKSON, MS MOONDOG [LOUIS THOMAS HARDIN] (beat poet) b. 1916-0526, MARYSVILLE, KS MORROW, GEORGE (b/CLIFFORD BROWN) d. 1992-0526, ORLANDO, FL 66 NEWBORN, PHINEAS JR. (p) d. 1989-0526, MEMPHIS, TN 57 POWELL, WILLIAM (of THE O'JAYS) d. 1977-0526, CANTON, OH 35 RODGERS, JIMMIE (g/songw/father of C&W) d. 1933-0526, NEW YORK CITY, NY 35 SHARROCK, SONNY (g) d. 1994-0526, OSSINING, NY 53 SMITH, MAMIE (v) b. 1883-0526, CINCINNATI, OH TONEY, OSCAR JR. (v/BELL REC) b. 1939-0526, SELMA, AL TUDOR, DEAN (author/BLUES-L MEMBER) b. 1943-0526, TORONTO, ONT WILKINS, ROBERT REV. (g) d. 1987-0526, MEMPHIS, TN 91 ------------------------------------------------------------------------------- ========================================================================= Date: Sat, 25 May 1996 11:36:00 EST Reply-To: BOB-Philip Jenkins <0002117963@BOB.COM> From: BOB-Philip Jenkins <0002117963@BOB.COM> Subject: Just Wondering Hello, I was wondering if this group was about blues(as in the type of music), or if it was about the St. Louis Blues. If it's about the music, forget about this mail. If it is about the St. Louis Blues, reply with something to talk about. It can be about the St. Louis Blues, or about hockey in general. Sincerely, Philip Jenkins ========================================================================= Date: Sat, 25 May 1996 14:36:39 -0400 Reply-To: PHWoolfman@AOL.COM From: Pete Wulforst Subject: Re: Major/minor keys Comments: To: shaun@pacificnet.net And Otis Rush, in "All Your Love", at least the version on "Cold Day in Hell", does the regular verses in a minor key, then switches to major for the tempo change. Oh, by the way, I agree the major/minor is an ambiguous concept in blues. In major-key blues tunes, I tend to superimpose the Vminor scale and others, in order to break away from "blues box itis". For example, for blues in the key of G, I may go to a variation on a Dm scale, an F mixolydian, an Am, and sometimes even a fragment of a Bm scale. Needless to say, my blues are not always Chicago or Texas sounding, but that doesn't bother me in the least. I'm sure that somebody out there will gwt a good laugh out of this, but one of my biggest influences, specifically regarding minor blues guitar playing was Barry Melton of Country Joe and the Fish. (more specifically, "Death Sound Blues". After almost 30 years, that influence still somtimes shows. One caution,: if you happen to hit the major third during a true minor blues (that is, one constructed of minor chords), you'll see that not everything fits. One the other hand, one of my favorite tricks is to utilize brief "passing tone" (notes outside of the harmonic structure of the song) to wake myself. I'm not much of a music theorist, but I know what I am trying to convey. I apoligize if I have made any errors in describing these alternatives. You see, I am 47 years old, have been playing for 31 of those years, and stilll have not learned to read music. This is not something I'm proud of, so the last thing I want to do is fuel anothter "training vs feeling" debate. I think I sound pretty good sometimes, but I have no doubt that i could have benefited from training. One of my real weak points is figuring out complex tunes by ear. For tha reason, my own sings tend to be more harmonically sophisticated than the songs I cover. I dare say that if I heard some of my songs on a CD I wouldn't be able to figure them out! Pretty lame; maybe I'll learn to read music after I retire from my "real" job. (I haven't performed in public for about 12 years. I make recordings on my 8-track Porta-Studio and share them with friends. Sorry to run off at the mouth (keyboard), Pete Wulforst ========================================================================= Date: Sat, 25 May 1996 22:32:46 +0200 Reply-To: JORGE MUNOZ RODRIGUEZ From: JORGE MUNOZ RODRIGUEZ Subject: TREN 3, Playlist May 25/26 On RADIO 3, RNE, this week-end: Friday 24 at Midnight, May 1996. ______________________________________________________________________________ Title (Composer) ARTIST Label ______________________________________________________________________________ * Mississippi Freight Train #1 (Cotton) JAMES COTTON Verve Three Hours Past Midnight (Watson/Ling) JOHNNY GUITAR WATSON RPM Motor Head Baby (Watson/Haven) J.WATSON & CHUCK HIGGINS Combo/Ace Motor Head Baby (Watson/Delagarde) YOUNG JOHN WATSON Federal Highway 60 (Watson) YOUNG JOHN WATSON Federal Hot Little Mama (Watson/Davis) JOHNNY GUITAR WATSON Red Lightnin Too Tired (Watson/Taub/Josea) JOHNNY GUITAR WATSON RPM/Ace I'm Gonna Hit That Highway (Watson/Taub/Josea) JOHNNY GUITAR WATSON RPM/Ace Those Lonely Lonely Nights (King/Davis) JOHNNY GUITAR WATSON RPM/Ace 3 Hours Past Midnight tk2 (Watson/Ling) JOHNNY GUITAR WATSON RPM/Ace Ganster Of Love (Watson) JOHNNY GUITAR WATSON Red Lightnin The Bear (Watson) JOHNNY GUITAR WATSON Class/Ace Johnny Guitar (Watson) JOHNNY GUITAR WATSON Red Lightnin Looking Back (Watson) JOHNNY GUITAR WATSON Red Lightnin Broke And Lonely (Otis/Watson) JOHNNY GUITAR WATSON Federal When Did You Leave Heaven (Whitting/Bullock) JOHNNY GUITAR WATSON Chess Mercy Mercy Mercy (Zawinul) J.G.WATSON & LARRY WILLIAMS OKeh * Mississippi Freight Train #13 (Cotton) JAMES COTTON Verve Boogie Twist (Grimaldi) STUDEBAKER JOHN Blind Pig What You See Is What You Get (Williams) LIL'ED&BLUES IMPERIALS Alligator We're Gonna Rock (Grimaldi) STUDEBAKER JOHN Blind Pig Rockett 88 (Brenston) THE JAMES COTTON BAND Buddah Frank's Boogie Woogie (Frost) FRANK FROST & SAM CARR Evidence We're Outta Here (Buck/Dukes/Potlock) COLD BLUE STEEL Icehouse Had Enough (Castro) TOMMY CASTRO Blind Pig Hiding Place (W.Haynes) COCO MONTOYA Blind Pig Mother-In-Law Blues (G.Barge) OTIS GRAND & CURTIS SALGADO Sequel Damn Right I Got The Blues (Guy) BUDDY GUY Silvertone * To Hell With It #1 (Salgado) CURTIS SALGADO Pr10rity ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Saturday 25 at Midnight, May 1996. ______________________________________________________________________________ Title (Composer) ARTIST Label ______________________________________________________________________________ * Mississippi Freight Train #1 JAMES COTTON Verve Can't Quit The Blues (B.Guy) TOMMY CASTRO Blind Pig Leave This Town (Castro/McDonald) TOMMY CASTRO Blind Pig Rock Your Town (Weathersby/Wash) CARL WEATHERSBY Evidence Going Back To Texas (Kirkpatrick) BOB KIRKPATRICK Jsp Sad, Sad Blues (Kirkpatrick) BOB KIRKPATRICK Jsp Dyin' Flu (A.Collins) COCO MONTOYA Blind Pig Gonna Start To Walkin' (Grimaldi) STUDEBAKER JOHN Blind Pig Walkin' Through The Park (Morganfield) JOHNNY DYER Blind Pig I'm Your Hoochie Koochie Man (Dixon) JOHNNY DYER Blind Pig Standin''Round And Cryin' (Morganfield) JOHN MOONEY Blue Rock'It Standin' Around Cryin' '72 (Morganfield) MUDDY WATERS Chess * To Hell With It #12 CURTIS SALGADO Pr10rity San Ber'dino (Zappa) J.GUITAR WATSON & F.ZAPPA Ryko Andy (Zappa) J.GUITAR WATSON & F.ZAPPA Ryko Superman Lover (Watson/Ray) JOHNNY GUITAR WATSON DJM Ain't That A Bitch (Watson) JOHNNY GUITAR WATSON DJM A Real Mother For Ya (Watson) JOHNNY GUITAR WATSON DJM I'm Gonna Get You Baby (Watson) JOHNNY GUITAR WATSON DJM Ganster Of Love '78 (Watson) JOHNNY GUITAR WATSON DJM Baby Face, She Said Do-Do-Do-Do (War) JOHNNY GUITAR WATSON DJM I Don't Want To Be President (Watson/Mayfield) JOHNNY GUITAR WATSON DJM Do The Guitar (Watson) JOHNNY GUITAR WATSON A&M Two Hours Past Midnight (Davis/Josea) JOHNNY GUITAR WATSON Decca * To Hell With It #1 CURTIS SALGADO Pr10rity ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ **************************************************************************** * TREN 3 -RADIO TRES -RADIO NACIONAL DE ESPANA -Sat. & Sun. at 00:00 hours * * (Seventeen years, next July, on the Air!) * **************************************************************************** Host & Programmer: Jorge Munoz elmakitren@canaldinamic.es ////\\\\ // ~ ~ \\ (-{.}{.}-) | /\ | _/\ -- / "When the train it left the station, \/\__/ there was two lights on behind..." *Er Makis* ========================================================================= Date: Sat, 25 May 1996 20:53:14 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Re: Johnny "Guitar" Watson/Frank Zappa And, Eddie "Guitar Slim" Jones, and Clarence Gatemouth Brown and a whole host of West Coast vocal groups too. For those with a taste for FZ, and an interest in Johnny Guitar Watson there is lotsa stuff at present on alt.fan.frank-zappa. TB ========================================================================= Date: Sat, 25 May 1996 21:16:25 GMT Reply-To: Peter Ballantine From: Peter Ballantine Organization: SuperNet Inc. (908) 828-8988 Subject: Re: Carr Pulls Into Chicago . . . Comments: To: bit-listserv-blues-l@uunet.uu.net James Leftwich wrote: >On >> >> James Carr's comeback train makes a sweet stop in Chicago > >> It's depressing to contemplate how far James Carr might have >> gone had personal problems not interfered. But it's most >> encouraging that he seems to have conquered them at last. > >Can someone outline what these problems were? I just can't get enough of >Mr. Carr. Anyone recommend similar artists? > > >EDITED The best source for James Carr's story is Peter Guralnick's book, SWEET SOUL MUSIC (still in print), a portion of which was reprinted as the liner notes to the vinyl anthology of Carr's work on BLUE SIDE (1987). I don't know about the notes of the new RAZOR & TIE release, THE ESSENTIAL JAMES CARR. For "similar" artists, the most obvious choices are Otis Redding & Percy Sledge (the latter re-did many of Carr's better known songs), then on to O.V. Wright, Arthur Alexander, Solomon Burke, etc. For more suggestions and a wealth of information on Soul music, get Guralnick's book. It's essential. ========================================================================= Date: Sat, 25 May 1996 15:13:16 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Major/minor keys Comments: To: PHWoolfman@AOL.COM In-Reply-To: <960525143639_400777934@emout15.mail.aol.com> from "Pete Wulforst" at May 25, 96 02:36:39 pm As mentioned previously, melodies don't ALWAYS have to fit chords exactly. In fact, the smoothest sounding chords aren't tuned to "keyboard concert" pitch, which is virtually always equal tuned. The best sounding chords alter notes according to the key in which they're in, because they have to fit harmonically, and even tuning doesn't do this. Even tuning is a compromise to allow instruments to be played in all keys with a slight compromise in harmonic quality. This is one reason that guitar (especially slide) and harmonica are such popular blues instruments. Regarding playing "minor" scales over "major" chords, what sounds best is the "blues third", a note a little sharper than a minor third, but definitely flatter than a major third. When guitarists do handshake or wristshake vibrato on a minor third, it takes on the basic characteristics of the blues third, because these vibratos raise pitch. Same with the harmonica in second position, where a major third is bent down toward a minor third, but not quite (when the harmonica player is good, anyway :-) Playing a major third over a minor chord just doesn't work, unless the major third is used as a passing tone, or for tension (a note that "doesn't belong"). Hendrix "Foxy Lady" uses this, sort of. He's actually playing an E raised ninth, which has as part of the chord a major third and what amounts to a minor third (the raised ninth) in the next octave. More of a jazz chord, it's not frequently encountered in blues. I'm another blues player who superimposes different scales. I play harmonica, guitar, and bass pedals (same time), and therefore quite cognizant of the chords being played :-) I play one harmonica in all keys I use what we harmonicists would call "all positions" - harps come in all keys, and to describe playing, let's say, the "fifth" key of the harp, we say "second position". It's a lot less cumbersome than saying "A harmonica in the key of E", etc. Harmonica positions follow the circle of fifths, e.g. on a C major harp, C=1st position, G=2nd, D=3rd, A=4th, E=5th, B=6th, F#=7th (harps are labeled F# and not Gb), 8th=Db, 9th=Ab, 10th=Eb, 11th=Bb, and 12th=F. By being able to use all of these, I can easily superimpose different scales while improvising. (And yes I am definitely jazz flavored :-) Regarding blues being "Chicago", "Texas", etc., I find the blues genre is extremely flexible. While 12 bar I-IV-V changes are prevalent, they're not a requirement. Some blues artists (such as Robert Cray) don't use the 12 bar format, yet are definitely blues. While I really like the 12 bar format myself, I also appreciate the audiences need for variety. Back in the 60's, blues got a reputation for being always 12 bars and "Stormy Monday with different words", thanks in part to bands who didn't play blues but wanted to cover the genre. This turned a lot of people off blues. People generally like a lot of variety, and I think even the most dyed in the wool blues fanatic would get tired of listening to the same chords, rhythm, and essentially the same melody all night long. Some of the places I play aren't really "blues" houses - my regular Friday gig is a dinner house, with lots of families, children, and such. Yet most people really like my blues and request them frequently. I strongly suspect one factor is my variety. Jon Pepper mentioned this when reviewing my performance at the House of Blues 10th Annual Blues Harmonica Blowdown in the May 96 issue of Southland Blues. Referring to my racked harp/guitar "one man band" setup, he said "..... the question is does it hold up for an entire set, and with Curtis' eclectic mix, it does." Blues is great. I love it. And so do many people. While there's the temptation to specialize in a particular form of blues, I personally feel it's extremely important to make sure we blues entertainers don't specialize in one "song with different words". And one big way we can expand our sound is by knowing and using different melodic lines against chords. > One caution,: if you happen to hit the major third during a true minor blues > (that is, one constructed of minor chords), you'll see that not everything > fits. One the other hand, one of my favorite tricks is to utilize brief > "passing tone" (notes outside of the harmonic structure of the song) to wake > myself. To make the "passing tone" work, all we have to do is make sure we "resolve" it to an adjacent note. For example, in a minor key, we can use the major third as long as we go from it to either a minor third or fourth. > I'm not much of a music theorist, but I know what I am trying to convey. I disagree. You are indeed a music theorist, and from this discussion, I'd have to guess you have a good handle on theory. Maybe you haven't been to school, or know all the names, etc., but in practice, you understand theory. It's really not that hard. There are some nice, THIN books on it. My advice is to learn to WRITE music. If you use othr musicians in your 4 track studio, try first writing out chord charts, and maybe some simple bass lines, etc. Most bass players who read (and yes there are a couple out there!) can read treble clef as well as bass clef. (And no learning to read and/or learning theory won't disintegrate your blues soul). -- IronMan Mike Curtis ========================================================================= Date: Sat, 25 May 1996 22:11:49 GMT Reply-To: Glenn Adams From: Glenn Adams Organization: Prodigy Services Company 1-800-PRODIGY Subject: Long John Hunter Comments: To: bit-listserv-blues-l@uunet.uu.net Has anybody out there heard Long John Hunter's new Alligator release. I'm curious to know what it sounds like. I've been searching record stores all over Los Angeles trying to find it. Not even Tower Records, with their substantial blues selection is carrying it. I guess I'm going to have to order it. But I want to know what it sounds like first. - L.A. Slim VWWL65A@prodigy.com ========================================================================= Date: Sat, 25 May 1996 22:21:52 GMT Reply-To: Glenn Adams From: Glenn Adams Organization: Prodigy Services Company 1-800-PRODIGY Subject: Corey Harris interview. Rap ain't blues. Comments: To: bit-listserv-blues-l@uunet.uu.net While I am deeply in love with Corey's Alligator album and I listen to it frequently, I really have to strongly disagree with his statement in the Living Blues interview (#126 March/April 96) that rap music is modern blues for black youth in the 1990s. Corey states that rappers such as Ice Cube are bluesmen telling the story of their life experience just as bluesmen have been doing for the last several decades. While I would agree that Ice Cube may be relating stories from his life experience, Ice Cube certainly is not a bluesman. The blues are the blues and rap is rap. I have been a blues fan since before Corey was born and I personally dislike rap. Rap ain't blues. It never has been and it never will be. I am suprised that a musician and songwriter of Corey's caliber could make a statement like that. - L.A. Slim VWWL65A@prodigy.com ========================================================================= Date: Sat, 25 May 1996 17:31:55 -0700 Reply-To: Kelly Hoggard From: Kelly Hoggard Organization: The Wolfpack Subject: Re: Bootsy Collins and Lucky > Heard a rumor that Bootsy Collins was going to be on some kind of Blues > Cruise in Florida soon, playing with Lucky Peterson. Does anybody have > details on this gig? > Please!! Let's not have two weeks of posts from the purists who object to having Bootsy playing in a blues band!! I'm not saying that's what will happen, but after the SRV thing, who knows? IMHO, Bootsy is talented enough to do anything he wants, and I'll gladly dig whatever he does. The Groove Is In The Heart!! -- kelly@netusa1.net(Kelly Hoggard) The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! Check out their home page at http://www.netusa1.net/~kelly/ ========================================================================= Date: Sat, 25 May 1996 17:52:04 -0600 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: Just Wondering Comments: To: BOB-Philip Jenkins <0002117963@BOB.COM> In-Reply-To: <90960525163609/0002117961DF4EM@MCIMAIL.COM> Here in Colorado the Avalanche in going great guns. I don't think any of them play the blues, however. Jay Watterworth CU Boulder On Sat, 25 May 1996, BOB-Philip Jenkins wrote: > Hello, > I was wondering if this group was about blues(as in the type of music), or > if it was about the St. Louis Blues. If it's about the music, forget about > this mail. If it is about the St. Louis Blues, reply with something to > talk about. It can be about the St. Louis Blues, or about hockey in > general. > Sincerely, > Philip Jenkins > ========================================================================= Date: Sat, 25 May 1996 17:57:34 -0600 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: Bootsy Collins and Lucky Comments: To: Kelly Hoggard In-Reply-To: <31A7A67B.4169@netusa1.net> Anyone familiar with Bootsy's work with James Brown would have a hard time objecting to his being include on a blues cruise. Jay Watterworth CU Boulder On Sat, 25 May 1996, Kelly Hoggard wrote: > > Heard a rumor that Bootsy Collins was going to be on some kind of Blues > > Cruise in Florida soon, playing with Lucky Peterson. Does anybody have > > details on this gig? > > > > Please!! Let's not have two weeks of posts from the purists who object to > having Bootsy playing in a blues band!! I'm not saying that's what will > happen, but after the SRV thing, who knows? IMHO, Bootsy is talented enough > to do anything he wants, and I'll gladly dig whatever he does. > > The Groove Is In The Heart!! > > -- > kelly@netusa1.net(Kelly Hoggard) > > The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! > Check out their home page at http://www.netusa1.net/~kelly/ > ========================================================================= Date: Sun, 26 May 1996 01:24:00 BST-1 Reply-To: bsmithb@cix.compulink.co.uk From: Brian Smith Subject: Re: eRIC's BLUES DATES: May 24 In-Reply-To: <199605231442.HAA24189@desiree.teleport.com> << PAPPALARDI, FRANK (boogie woogie p) d. 1973-0524, BEVERLY HILLS, CA 55 >> Any relation to Felix as in Mountain/Cream producer? ========================================================================= Date: Sat, 25 May 1996 21:06:58 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 05/26 B O R N : 05/26 ALLEY, VERNON ( CREEDE ) BORN;1915 WINNEMUCCA, NY CAREER:BASS STYLE:TRAD / JAZZ / BIG BAND WITH:Wes People's Band / Saunders King / Lionel Hampton from 1940 to 1942 / featured on electric bass as early as 1940 BAIL, ALBERT CLARE (CLARE) BORN:1926 ADELAIDE, SA, AUSTRALIA CAREER:REEDS / FLUTE / ARRANGER STYLE:JAZZ With:Reg Lewis / Jack Allan / Rex Stewart / Artie Shaw / Frank Sinatra / Henry Mancini / Bob Barnard. BAKER, SHORTY ( HAROLD J. ) Born:1914 ST.LOUIS, MO Career:TRUMPET Style:JAZZ / BIG BAND With:Winfield Baker & His St.Louis Crackerjacks / Erskine Tate / Fate Marable / Eddie Johnson / Don Redman / Duke Ellington 1938 / 1939-40 Teddy Wilson's big band /1940-2 with Andy Kirk / 1942 he and wife Mary Lou Williams led combo / With Duke Ellington 1946-52 / Johnny Hodges BULL, GEOFFREY RANDOLPH (GEOFF, AlLY) Born:1942 SYDNEY, NSW, AUSTRALIA Career:TRUMPET / SINGER / LEADER Style:TRAD / JAZZ With:Melbourne NOJB 1961 / Olympia JB 1962 / Peter Neubauer / Dick Edser / To England and New Orleans 1964-67 / recording vith Alton Purnell / Barry Martin / Cap'n John Handy / returned to Syiney / Chris Williams / Barry Wratten / Gary Walford / Geoff Holden / Don Heap / Viv Carter / Returned to New Orleans 1974 and has divided his time between there and Sydney DI NOVI, GENE ( EUGENE ) Born:1928 BROOKLYN, NY Career:PIANO / SONGWRITER / DRUMMER / PERCUSSIONIST Style:JAZZ / BIG BAND ELMAN, ZIGGY ( Harry Finkelman ) Born:1914 PHILADELPHIA, PA Career:TRUMPET / LEADER Style:JAZZ / BIG BAND With:BENNY GOODMAN / TOMMY DORSEY JACKSON, CALVIN Born:1919 PHILADELPHIA, PA Career:PIANO / COMPOSER / LEADER / ARRANGER Style:JAZZ / BIG BAND With:VICTORIA SPIVEY LEE, PEGGY ( NORMA JEAN EGSTROM ) Born:1920 JAMESTOWN, ND Career:SINGER / COMPOSER Style:JAZZ / BIG BAND With:BENNY GOODMAN MCCOY, CHARLIE Born:1909 JACKSON, MS Career:MANDOLIN / GUITAR Style:BLUES With:HARLEM HAMFATS SMITH, MAMIE ( MAMIE ROBINSON ) Born:1883 CINCINNATI, OH Career:SINGER Style:BLUES With:WILLIE "THE LION" SMITH / JOE SMITH Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Sat, 25 May 1996 23:04:07 -0400 Reply-To: VoodooMojo@AOL.COM From: VoodooMojo@AOL.COM Subject: VANILLA ICE, VILLAGE PEOPLE, BREAD Youse guys got a lot of damn nerve coming down on me about my love for Roger Whitaker, Slim Whitman, Zamfir, and Ace Cannon when you be sayin this crap about this and about that. Next you'll be sayin stuff about how great Paul Revere and the Raiders be. Voods ========================================================================= Date: Sun, 26 May 1996 03:58:12 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Bad Credit? Slow Credit? No Credit? No Problem! Subject: Re: DEVIL'S PIANO special offer Comments: To: bit-listserv-blues-l@uunet.uu.net On Thu, 23 May 1996 14:19:00 GMT, Mr G M Smith wrote: > Yes folks,now it can be revealed at a special Bluezeller price >of only 50 pounds sterling,the secret of all the great blues pianists >from Peetie Weetstraw to Prof. Longhair! > Just mail me the above sum,or its equivalent in your local >currency,and I will send you my booklet which explains how to retrofit >YOUR piano,using only a pair of needle nose pliers,a 1/8th drill and the >blood of a white cockerel,with the mysterious grey notes utilised by the >Great Blues Pianists! > Please note that the vendor is not to be held responsible for >any damage incurred to Bechsteins,Steinways or the quality of the >purchaser's afterlife. > Not reccomended for synthesizers. me too, please! Kevan Smith cuthulu@rlabs.com the great purple hope for the blues ========================================================================= Date: Sun, 26 May 1996 04:03:29 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Bad Credit? Slow Credit? No Credit? No Problem! Subject: I'm mad, and here's why! Comments: To: bit-listserv-blues-l@uunet.uu.net The other night, I'm doing my blues show. A listener calls and requests Albert Collins' "I Ain't Drunk." I've played it before off a compilation CD, but this time I decide to play it off his "Icebreakers Live, '92 to '93," thinking it's the same version. Well, with about a minute left in the song, he starts saying "mother fucker" with his guitar. I fade it down and move on, pissed at myself for being so lazy. My question is: Can we start a list of blues songs with lyrics that will get you in trouble with the FCC. I know one we can start with:) Kevan Smith cuthulu@rlabs.com the great purple hope for the blues ========================================================================= Date: Sun, 26 May 1996 05:12:48 GMT Reply-To: Kathy Fieberling From: Kathy Fieberling Organization: Netcom Subject: Re: Just Wondering In <90960525163609/0002117961DF4EM@MCIMAIL.COM> BOB-Philip Jenkins <0002117963@BOB.COM> writes: > >Hello, > I was wondering if this group was about blues(as in the type of music), > or >if it was about the St. Louis Blues. If it's about the music, forget about >this mail. If it is about the St. Louis Blues, reply with something to >talk about. It can be about the St. Louis Blues, or about hockey in >general. > > Sincerely, > > Philip Jenkins I'll give you something to talk about. The St. Louis Blues suck. Go Avalanche! Hugh ========================================================================= Date: Sun, 26 May 1996 00:05:50 -0800 Reply-To: Bob Hardin From: Bob Hardin Subject: Endless Summer - Blues Festivals Just got back from a Cajun/Creole Festival in Simi Valley and as we were talking about other upcoming Blues festivals, I was telling a friend about all the festivals I've discovered via the Blues-L. Whereupon, _he_ suggested that it might be possible to tour the country attending Blues festivals, much like those surfer-dudes surfed the world in the movie "Endless Summer". So my question is, as I begin my planning for this fantastic, fantasy trip, is there a Web site, or database, or other repository that contains a list of American Blues festivals? I would ask for a worldwide list, but my budget restrictions are such that I will have _plenty_ of time to plan that trip later. Alternatively, I'm betting that some of you have already considered this and would have some suggested itineraries. Let's hear them! Bob #---------------------------------------#----------------------------# | Bob & Becky Hardin | The Rule: | | email: hardin@pacificnet.net | There is _always_ an | | http://www.pacificnet.net/~hardin | exception to the rule. | #---------------------------------------#----------------------------# ========================================================================= Date: Sat, 25 May 1996 20:39:39 -0700 Reply-To: Stan Ruffo From: Stan Ruffo Subject: Re: Long John Hunter Glenn, Long John Hunter is just plain ole Texas fun! Your basic combo with the addition of some great horns. I really like the sax on Arkansas. I would say there is something in this CD for most blues fans who like mild humor, great guitar, and vocals coming from a man that projects the fact that he is very comfortable in front of any type of audience. Although I am not connected with Alligator in any way, I will let them know about your experience looking for it. BTW, Alligator's direct mail order line is: 312-973-7736 They have an 800 #, I just can't find it. Also, they are on the net at http://www.alligator.com Stan Blues On Tap - Sundays 8pm on Visalia's KIOO 99.7FM ---------- From: Glenn Adams[SMTP:VWWL65A@PRODIGY.COM] Sent: Saturday, May 25, 1996 3:11 PM To: Multiple recipients of list BLUES-L Subject: Long John Hunter Has anybody out there heard Long John Hunter's new Alligator release. I'm curious to know what it sounds like. I've been searching record stores all over Los Angeles trying to find it. Not even Tower Records, with their substantial blues selection is carrying it. I guess I'm going to have to order it. But I want to know what it sounds like first. - L.A. Slim VWWL65A@prodigy.com ========================================================================= Date: Sun, 26 May 1996 04:54:32 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Corey Harris interview. Rap ain't blues. >While I am deeply in love with Corey's Alligator album and I listen to it >frequently, I really have to strongly disagree with his statement in the >Living Blues interview (#126 March/April 96) that rap music is modern >blues for black youth in the 1990s. Corey states that rappers such as Ice >Cube are bluesmen telling the story of their life experience just as >bluesmen have been doing for the last several decades. > While I would agree that Ice Cube may be relating stories from his >life experience, Ice Cube certainly is not a bluesman. The blues are the >blues and rap is rap. I have been a blues fan since before Corey was born >and I personally dislike rap. Rap ain't blues. It never has been and it >never will be. I am suprised that a musician and songwriter of Corey's >caliber could make a statement like that. > >- > L.A. Slim VWWL65A@prodigy.com Hmmm - 'walkin' the dogma', there, aintcha? Without wanting to start an acrimonious thread (somebody else'll do that!), it seems to me that Harris is discussing function and you are talking about form. What he appears to be saying is that rap >>functions<< in the same way as blues did for the rappers' grandparents (for their parents I guess soul would generally be the music that 'tells it like it is'.) This raises some questions - but in neither case does 'is, is, is'/'isn't isn't isn't' constitute a constructive approach! Chris Smith (chris@skerries.demon.co.uk) 'This country is full of decent, trusting people. And besides, we don't have to tell them the truth.' (Michelle Pfeiffer in 'Love Field') ========================================================================= Date: Sun, 26 May 1996 05:00:22 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Just Wondering >In <90960525163609/0002117961DF4EM@MCIMAIL.COM> BOB-Philip Jenkins ><0002117963@BOB.COM> writes: >> >>Hello, >> I was wondering if this group was about blues(as in the type >of music), >> or >>if it was about the St. Louis Blues. If it's about the music, forget >about >>this mail. If it is about the St. Louis Blues, reply with something >to >>talk about. It can be about the St. Louis Blues, or about hockey in >>general. >> >> Sincerely, >> >> Philip Jenkins > > > I'll give you something to talk about. The St. Louis Blues suck. > > > Go Avalanche! Hugh Would any of you folks like a regular report on how Essex are doing in the cricket this year? :-) Chris Smith (chris@skerries.demon.co.uk) 'This country is full of decent, trusting people. And besides, we don't have to tell them the truth.' (Michelle Pfeiffer in 'Love Field') ========================================================================= Date: Sun, 26 May 1996 08:54:09 GMT Reply-To: tdevit3@NEWS-S01.NY.US.IBM.NET From: tdevit3@NEWS-S01.NY.US.IBM.NET Subject: CC ADCOCK on Island Comments: To: bit-listserv-blues-l@uunet.uu.net Was interested to see the post re this CD...was released in NZ mid-94 and I would certainly recommend it to anyone with an interest in 'swamp' blues..the lead track Couchemal is strong and there's a nice version of Arthur Alexander's Sally Sue Brown ...Island 314-518-840-2. ========================================================================= Date: Sun, 26 May 1996 08:06:07 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: I'm mad, and here's why! Comments: To: cuthulu@prysm.net At 04:03 AM 5/26/96 GMT, cuthulu wrote: >Well, with about a minute left in the song, he starts saying "mother >fucker" with his guitar. I fade it down and move on, pissed at myself >for being so lazy. > >Can we start a list of blues songs with lyrics that will get you in >trouble with the FCC. I know one we can start with:) Kevan, here's my take on the situation: 1. You will only get in trouble with the FCC if: a. someone complains about the violation. b. they have evidence of the violation (a tape of the show). c. the tape clearly identifies the announcer AND the station. d. the FCC decide to act upon the complaint. Unless you personally have a thing about lyric content, don't be to concerned about it. I work in commercial rock radio and many stations around the world continue to play tunes like The Who's "Who Are You?", where Roger Daltry clearly says "Who the fuck are you?". Van Halen's tune where Dave says "I'll pay you for it, what the fuck." And The Stones' tune "Sparks Will Fly", where Mick says, "I'm wanna fuck your sweet ass." And in particular where it was Alberts guitar and not actually a vocal, I wouldn't be concerned at all. As you pointed out, it is your responsibility as a broadcaster to be aware of your program content. Stew Crossen ___________________________________________________________________________ The Blues Playground - Sundays at 9pm on 107 FM WCCC - Hartford, CT 50,000 watts of Blues Power! Host/programmer: Stew Crossen 18 Boxwood Drive Vernon, CT 06066-5106 Tel: 800.970.5151 Web: http://www.neca.com/~bfstew E: bfstew@neca.com Reporting to: Living Blues, The Hard Report, BluesWire, The Blues Audience Stew Crossen is a member of the Connecticut Blues Society ========================================================================= Date: Sat, 25 May 1996 15:38:08 -0700 Reply-To: Karen-Marlies Schenck From: Karen-Marlies Schenck Organization: EUnet Belgium, Leuven, Belgium Subject: Re: I'm mad, and here's why! Comments: To: bit-listserv-blues-l@news.Belgium.EU.net cuthulu wrote: > > The other night, I'm doing my blues show. > > A listener calls and requests Albert Collins' "I Ain't Drunk." > this time I decide to play it off his "Icebreakers Live, '92 to '93," thinking it's the same > version. > > Well, with about a minute left in the song, he starts saying "mother > fucker" with his guitar. I fade it down and move on, pissed at myself > for being so lazy. > > Kevan Smith > cuthulu@rlabs.com > the great purple hope for the blues Maybe it's because I live in "free" europe but how the fuck can a TALKING GUITAR get you in trouble? Has censorship and political correctness taken over the USA? It just strikes me as very weird. If a dog makes a sound resembling **** on the air, can you get in trouble for that too?(would be a great way to get rid of some annoying "pets" TV shows - accuse the little-bitty-doggy-baby of saying woof-fistfuck-woof) I pity radio people in the US. Keep playing those Collins' records though!! Walter Broes, antwerp (Belgium) ========================================================================= Date: Sun, 26 May 1996 11:06:29 -0400 Reply-To: WIFORD From: WIFORD Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Major/minor keys Comments: To: bit-listserv-blues-l@uunet.uu.net I have never thought there was any difficulty knowing if a blues piece was in a major or minor key. If, for instance in the key of C, you play a C minor triad on top of a C major triad, which is very common in blues, there is no reason to think of the key as being ambiguous in terms of whether it is a major or minor. The minor on top won't work unless the major is there for a foundation. The key remains solidly the same. On the other hand, I cannot off the top of my head, (correct me if I'm wrong) think of any blues progressions where the major third (I chord) works on top of a minor. If the I is changed to a minor, then not only the key, but the whole feeling of the piece is changed as well. To test this theory, chart the piece and look at the key signature you decide upon. You won't have any problem picking between a major and minor. I'm a piano player influenced mostly by Professor Longhair, Dr. John, Leon Russell, Johnny Otis and Jerry Lee Lewis. Certainly not the most varied or bluesiest group of players (and I am pretty much limited to an amalgamation of these styles) but what I said in the above paragraph is the truth as I know it. I would appreciate any education by folks more scholarly than me. Bill Ford (a.k.a. Reno Head) ========================================================================= Date: Sun, 26 May 1996 09:03:52 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Major/minor keys Comments: To: wiford@AOL.COM In-Reply-To: <4o9s1l$1lm@newsbf02.news.aol.com> from "WIFORD" at May 26, 96 11:06:29 am This would be a "major blues", despite the minor in the melody line, or superficial chord. The reason you don't see minor base chords with majors above them is that it's harmonically "wrong". When you play a major chord and put a minor above it, you have a raised ninth chord, which has tension but is harmonically correct. When you have a minor base chord with a major above, it's simply harmonically incorrect. There's a blues song I heard a while back (don't recall the name - I think it was something with Big Walter on it, though) where the tune is minor, but the bass player is playing a major scale. Big Walters bands never seemed to be as good as Little Walters, which IMHO is a major reason BW never received the same notoriety as LW. I've never heard anything by LW I'd consider really bad. BW's "Mouth Harp Maestro" is IMHO one of the worst albums I've heard. As much as I like LWs harp playing, personally I think BW was a superior harmonicist. But LW clearly has the best recordings featuring himself as leader. -- IronMan Mike Curtis ========================================================================= Date: Sun, 26 May 1996 09:42:51 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: I'm mad, and here's why! Comments: To: cuthulu@prysm.net In-Reply-To: <31a7d6ff.101488482@news.prysm.net> from "cuthulu" at May 26, 96 04:03:29 am <"Dirty" lyrics/content> Whether the FCC enforces "obscenity" law or not is not the primary issue IMHO - they seem to be almost nonexistent these days about enforcing much of anything less serious than jamming aircraft radar, etc. - although I'm not a DJ so who cares what MHO is :-) Many folks find dirty lyrics objectionable. I'd sure like it if they'd at least warn us on the record, either on a per-song basis or entire-record basis, maybe with a voluntary rating system similar to movies, etc., at least as far as "cuss words" and such. I'm not advocating censorship - just asking to be informed. I guess it's more of a a "truth in advertising" thing. Besides, a "bad" rating these days would probably sell MORE records :-) -- IronMan Mike Curtis ========================================================================= Date: Sun, 26 May 1996 12:47:14 -0400 Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Getting together in CHI Comments: To: bit-listserv-blues-l@uunet.uu.net In article <9605241744.aa09780@admin.dis.on.ca> Ian Angus writes: >I know quite a few Bluezellers will be >in Chicago for the featival next week. >May I suggest Saturday Morning, at 10:45 >am (15 minutes before things get started, >in front of the Back Porch Stage, as a place Ian - You and other bluezellers may not know this (i.e. those of you who don't get Jazz Record Mart's catalog), but JRM is doing a free in-store concert featuring Delmark blues artists from 10am to noon that day. I plan to be there - maybe others are too. This might not be a bad meeting place as an alternate choice. The tunes probably won't be too bad either. JRM is located on 444 N. Wabash - within walking distance of Grant Park. Art Schuna ========================================================================= Date: Sun, 26 May 1996 11:02:42 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Re: Just Wondering I'm beginning to think I may have erred in a response to a request not long ago on the St. Louis Cardinals listserv. There was a question sent to the Cardinals List about the address and subscription procedure for a listserv dedicated to the blues. Not knowing anything about hockey, I directed the person to this list . Bill (for whom references to ice, St. Louis Blues and Avalanche mean Albert Collins, W.C. Handy and again, Albert Collins) Morgan >>On Sat, 25 May 1996, BOB-Philip Jenkins wrote: >> Hello, >> I was wondering if this group was about blues(as in the type of mu >> if it was about the St. Louis Blues. If it's about the music, forget abou >> this mail. If it is about the St. Louis Blues, reply with something to >> talk about. It can be about the St. Louis Blues, or about hockey in >> general. >> >On Sat, 25 May 1996, Jay Waterworth wrote: >Here in Colorado the Avalanche in going great guns. I don't think any of them play the blues, however. >Jay Watterworth CU Boulder From: The Big Easy ========================================================================= Date: Sun, 26 May 1996 10:16:45 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Peer Pressure (was Vanilla Ice et al) Comments: To: VoodooMojo@AOL.COM In-Reply-To: <960525230406_121052654@emout10.mail.aol.com> from "VoodooMojo@AOL.COM" at May 25, 96 11:04:07 pm > Youse guys got a lot of nerve coming down on me about my love for Roger > Whitaker, Slim Whitman, Zamfir, and Ace Cannon when you be sayin this > about this and about that. Next you'll be sayin stuff about how great Paul > Revere and the Raiders be. I like Slim Whitman - you know how many records that guy sells? (Can you say "all time top seller"?) Yes he's corny, but very listenable and has a unique style. I also like Ace Cannon, and all the old rock and blues saxmen, for that matter. I do "Tuff" on harmonica, and it's one of my most requested tunes. And I also enjoy Paul Revere. I like music in general. I have one of those "25 greatest polkas" albums, too. It's a really "fun" genre. I occasionally slip in a polka on my blues gigs - and guess what the audience does? Yup - they get up and dance around, doing the most ridiculous "polka" steps imagineable, some just galloping all over the dance floor. They laugh. The mood in the club lightens considerably. I've never had anyone walk out during a polka. (Of course, I play just one!) Once we get beyond youth sufficienty and the consequential peer pressure thereof, and begin to think for ourselves, make our own decisions, and listen to music on its own merit instead of how it will make us look in the eyes of our lemming-like "peers", we may find that we actually like Mozart, Whitman, Jesse Fuller, and the many other musical treasures out there. I wonder just how popular rap would be if it were presented simply on its "musical" merits and not on the basis of peer pressure? One of the biggest obstacles to blues acceptance is this silly peer pressure. I've been booked to do my blues single at several alternative rock shows, and the audience LOVED it - especially the blues! But playing at a club "solo" (labeled "blues" and not "alt-rock"), these same types don't come in. Tony Bennett has been around since the Magna Carta, it seems. Yet he recently became very popular by being played on MTV. That's peer pressure, pure and simple. -- IronMan Mike Curtis ========================================================================= Date: Sun, 26 May 1996 10:42:44 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: May 27 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BEST, CLIFTON "SKEETER" (g) d. 1985-0527, NEW YORK CITY, NY 70 BRIDGEWATER, DEE DEE [DENISE GARRETT] (v) b. 1950-0527, MEMPHIS, TN CARMICHAEL, RALPH R. (arr/NAT KING COLE) b. 1927-0527, QUINCY, FL CARRUTHERS, EARL "JOCK" (bsax/LUNCEFORD) b. 1910-0527, WEST POINT, MO CARTER, CALVIN (a&r/prod/VEE JAY REC) b. 1925-0527, TUNICA, MS CHANDLER, LEN (g/folk) b. 1935-0527, AKRON, OH CRAWFORD, JESSE (o) d. 1962-0527, LOS ANGELES, CA 66 DENNIS, JACK (d/BOSTIC) b. 1930-0527, PHILADELPHIA, PA GODWIN, HARRY (manager/MEMPHIS SLIM) d. 1986-0527, MEMPHIS, TN 79 JONES, RUFUS (d/HAMPTON/ELLINGTON) b. 1936-0527, CHARLESTON, SC LEWIS, RAMSEY (p) b. 1935-0527, CHICAGO, IL NICHOLAS, ALBERT (cl/ELLINGTON) b. 1900-0527, NEW ORLEANS, LA RODNEY, RED (tpt/CHARLIE PARKER) d. 1994-0527, BOYNTON BEACH, FL 66 RUPP, FRANZ (p/MARIAN ANDERSON) d. 1992-0527, NEW YORK CITY, NY 91 SELLERS, JOHN BROTHER (g/VANGUARD REC) b. 1924-0527, CLARKSDALE, MS ZARDIS, CHESTER(b/DEDE PIERCE/KID HOWARD) b. 1900-0527, NEW ORLEANS, LA ------------------------------------------------------------------------------- ========================================================================= Date: Sun, 26 May 1996 12:52:37 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 05/27 B O R N : 05/27 BRIDGEWATER, DEE DEE ( DENISE GARRET ) Born;1950 MEMPHIS, TN Career;SINGER Style:JAZZ / BIG BAND With:THAD JONES-MEL LEWIS BAND / MARRIED CECIL 1970 CARRUTHERS, JOCK ( EARL MALCOM ) Born:1910 WEST POINT, MO Career:BARITONE SAX / ALTO SAX / CLARINET / SINGER Style:BLUES / JAZZ With:JIMMIE LUNCEFORD DISLEY, DIZ ( WILLIAM CHARLES DISLEY ) Born:1931 MANITOBA, CANADA Career:GUITAR / LEADER Style:JAZZ With:YORKSHIRE JAZZ BAND / BOB CORT / NANCY WHISKEY / STEPHANE GRAPPELLI HARTE, ROY Born:1924 NEW YORK, NY Career:DRUMMER Style:JAZZ JONES, RUFUS ( SPEEDY ) Born:1936 CHARLESTON, SC Career:DRUMMER Style:JAZZ / BIG BAND LEWIS, RAMSEY ( EMMANUEL, JR ) Born:1935 CHCIAGO, IL Career:PIANO / LEADER Style:JAZZ With:ELDEE YOUNG / RED HOLT / SONNY STITT / CLARK TERRY / MAX ROACH NICHOLAS, ALBERT Born:1900 NEW ORLEANS, LA Career:CLARINET Style:TRAD / JAZZ With:BARNEY BIGARD / LUIS RUSSELL / KING OLIVER / JACK CARTER / JOHN KIRBY / LOUIS ARMSTRONG / JELLY ROLL MORTON / ART HODES / BUNK JOHNSON / KID ORY / RALPH SUTTON / 1953 MOVED TO FRANCE ORSTED PEDERSON, NIELS HENNING Born:1946 ORSTED, DENMARK Career:BASS Style:JAZZ With:SONNY ROLLINS / BILL EVANS / KENNY DREW / OSCAR PETERSON SHANK, BUD ( CLIFFORD EVERETT SHANK JR. ) Born:1926 DAYTON, OH Career:ALTO SAX / BARITONE SAX / FLUTE Style:JAZZ / BIG BAND With:CHARLIE BARNET 1947-48 / STAN KENTON 1950-51 / LIGHTHOUSE ALL STARS 1953-56 TORRES, ED ( EDWARD TORRES ) Born:1943 NEW YORK, NY Career:DRUMMER TRAD / JAZZ With:JIM CULLUM ZARDIS, LITTLE BEAR (CHESTER ) Born:1900 NEW ORLEANS, LA Career:BASS Style:TRAD / JAZZ Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Sun, 26 May 1996 19:20:08 GMT Reply-To: Jim Farris From: Jim Farris Organization: Netcom Subject: Jammin' Jim's (KKUP) Playlist: 5/26/96 Jammin' Jim is currently seeking the recordings of Blues youngbloods to broaden his playlist. He features signed and unsigned artists on tape and CD, so if you're a Blues youngblood, reply to this message. Here's the playlist for Late Night City Blues on KKUP 91.5 FM for Sunday, May 12th 1996 Song Title; Track; Artist Record Co; CD Title; Catalog # Late Night City Blues; 3; Chris Cain Blue Rockit Records; Late Night City Blues; IND Needle Gun; 4; Guy Forsyth Antones; The Guy ForsytH Band; ANT0039 Tell Me Amigo; 5; Willie May BooMan Music; Blue Decade; BMCD 4014 The Walk; 4; Gary Smith Messaround Records; Up the Line; MRS CD002 Same Rules Don' Apply; 3; NiteCry Blue Rockit Records; Run For Cover; BRCD 116 I Just Wanna Rent; 6; Ike and the Coldbloods Independent; The Spot is Hot!; IC9501 Blues Epidemic; 3; Joey Razor & the Blue Blades Hectic Records; Joint B Jump; HSMCD1001 One Monkey Don't Stop No Show; 1; Bobby Rush Waldoxy Records; One Monkey Don't Stop No Show; WCD 2813 October Afternoon; 4; Mike Stockton Azure Records; It's My Soul; DDS1131 Blame It on the Few; 1; Anders Osborne Sony Music Studios; Which Way to Here; BT 067221 Seven Day Grind; 1; Board of Directors BOD Records; Choke Chain Blues; SHNK 0001 Miniskirts & Makeup; 4; Michael Osborn Blue Rockit Records; A Case for the Blues; BRCD 115 Gallow's Pole; 5; Alvin Youngblood Hart Okeh; Big Mama's Door; BK 67593 Black Satin; 3; Katie Webster Alligator Records; The Swamp Boogie Queen; ALCD 4766 Ditto; 4; Lady Bo Tape; Untitled; IND Me and My Guitar; 3; Joint Chiefs Joint Chiefs Prod; In Session; JCP-CD777 Saving My Love For You; 1; Elmer Lee Thomas Blues Revue Mo-Toe Publishing; Radio Blues; MOT 1220CD Every Day I Have the Blues; 1; Mighty Sam McClain Dead Ball Records; Live in Japan; 9888 Don't Change Horses; 2; Blue Funk Ind; Blue Funk; IND Place In This World; 2; Chris Cain Blind Pig; Can't Buy a Break; BPCD 5000 Let It Shine On Me; 22; Leadbelly Smithsonian; Where Did You Sleep Last Night?; SF CD 40044 Drink Muddy Water; 5; Sonny Rhodes King Snake Records; Out of Control; KS031 Walk Away; 4; Tattoo Blue Beezerk Records; Don't Try This at Home; IND After Hours Bar; 3; Dave Thompson Fat Possum; little dave and big love; 42089-2 Well I Lied; 4; Robert Cray KFOG 104.5; Warriors KFOG Jam; WARR1045-2 Sportin Life; 5; Little Johnny & the Giants Corn Bread Records; No Mercy; CB20096 Forever Ends Today; 3; Mick Martin & the Blues Rockers Blues Rock Records; Got to Play the Blues; BR004 The Bad Back Blues; 5; Kevin Crider KC Productions; Signatures; IND Like a Shotgun; 4; Rory Block Rounder; Tornado; ROUNDER CD 3140 Lorita; 2; Rhythm Shieks New Blues Classics; Migration of the Groove; #1004 The First Time I Met the Blues; 9; John Hammond Pointblank Records; Found True Love; 7243 8 40655 2 2 Rain, Rain, Rain; 1; Lousy Little Gods OceanRock; Lousy Little Gods; IND 40 Day & 40 Nights; 6; Charles Ford Blues Band Blue Rockit Records; As Real As It Gets; BRCD 124 Time for You to Go; 2; Mad Max Tape; Best of Mad Max; IND Something to Remember You By; 7; Duke Robilard Pointblank; Duke's Blues; 724384134426 California Blues; 2; Sista Monica Mo Muscle Records; Get Out My Way; MOR25870 Angel of the Blues; 9; Zakiya Hooker Silvertone Records; Another Generation of the Blues; ORE CD526 This Soul is Mine; 4; Tommy Castro Blind Pig; Exeption to the Rule; BPCD 5029 Late Night City Blues; 3; Chris Cain Blue Rockit Records; Late Night City Blues; IND end of playlist ************************ ========================================================================= Date: Sun, 26 May 1996 18:30:52 GMT Reply-To: CKUT_online@babylon.montreal.qc.ca From: CKUT online Organization: Babylon, Montreal, Canada Subject: Re: Just Wondering Comments: To: wmorga@BIGEASY.COM Anybody ever heard of The Zambonis? They're a group of punk-pop hockey players who sound like you might imagine the Hansen Brothers of Slap Shot would if they were also musicians. But I definitely didn't hear any blues in their music. ========================================================================= Date: Sun, 26 May 1996 18:41:46 GMT Reply-To: CKUT_online@babylon.montreal.qc.ca From: CKUT online Organization: Babylon, Montreal, Canada Subject: Re: I'm mad, and here's why! Comments: To: wd6ehr@KAIWAN009.KAIWAN.COM For any dj's who are worried about the lyrical content of the tunes they play on the air, stay away from thesse compilations: "Copulatin' Blues" and "Copulatin' Rhythms". You'll never get your hand off the fader. John Detcheverry, CKUT FM 90,3 ========================================================================= Date: Sun, 26 May 1996 16:24:23 -0400 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Re: new artists Comments: To: bit-listserv-blues-l@uunet.uu.net Guy Davis is a fabulous acoustic guitar blues player AND singer. Check him out! Lea ========================================================================= Date: Sun, 26 May 1996 20:47:57 GMT Reply-To: "JOHN W. SCHARBROUGH" From: "JOHN W. SCHARBROUGH" Organization: Traders' Connection, Inc. Subject: BSI talent contest date? Comments: To: bit-listserv-blues-l@uunet.uu.net Could anyone tell me when the Blues Society of Indiana will be holding their talent contest and who to contact about entering? BTW I just bought Jimmie Vaughan's Strange Pleasure! It's to cool for words... ************************************************************************** John Scharbrough FastJohn@trader.com Guitar player for the Shifters, Indys new HOT houserocking blues band ************************************************************************** --- * Traders' Connection Web BBS * http://www.trader.com * info@trader.com ========================================================================= Date: Sun, 26 May 1996 17:12:09 -0400 Reply-To: Stew Crossen From: Stew Crossen Comments: To: info@acerecords.co.uk TO: Commercial Radio Promotion FROM: Stew Crossen - WCCC 107 FM - Hartford, CT SUBJECT: The Blues Playground Playlist AIR DATE: May 26, 1996 ____________________________________________________________________________ Playlist for THE BLUES PLAYGROUND 5-26-96 ARTIST ALBUM LABEL TRK Eric Clapton From The Cradle Reprise 12 Freddie King Live At The Electric Ballroom Black Top Classics 8 Jesse Thomas Lookin' For That Woman Black Top Classics 3 Robert Ward Black Bottom Black Top 7 Lonnie Brooks Live At Pepper's 1968 Black Top 7 WC Clark Heart Of Gold Black Top 4 BB King Heaven's Prisoner's Sound Track Code Blue 6 CC Adcock Heaven's Prisoner's Sound Track Code Blue 7 The Hoax Heaven's Prisoner's Sound Track Code Blue 8 SRV Heaven's Prisoner's Sound Track Code Blue 9 Luther Allison Soul Fixin' Man Alligator 3 Luther Allison Motown's Blue Evolution Motown 18 Luther Allison Blue Streak Alligator 4 ___________________________________________________________________________ The Blues Playground - Sundays at 9pm on 107 FM WCCC - Hartford, CT 50,000 watts of Blues Power! Host/programmer: Stew Crossen 18 Boxwood Drive Vernon, CT 06066-5106 Tel: 800.970.5151 Web: http://www.neca.com/~bfstew E: bfstew@neca.com Reporting to: Living Blues, The Hard Report, BluesWire, The Blues Audience Stew Crossen is a member of the Connecticut Blues Society ========================================================================= Date: Sun, 26 May 1996 21:01:50 GMT Reply-To: "JOHN W. SCHARBROUGH" From: "JOHN W. SCHARBROUGH" Organization: Traders' Connection, Inc. Subject: BMP of the Shifters,just ask Comments: To: bit-listserv-blues-l@uunet.uu.net If anyone is interested in a Bmp of the Shifters, my new houserocking blues band,just ask and I'll zap you one. Sorry for the shameless promo's, but it's tough for a new band to get going and build a following so thanks for putting with me.I try to support ALL the blues acts in Indpls. and am extermely proud to be a part of it all. I have watched lots of guy's like Harvey Cook,Andre Fay,Dwight Edwards,Jerry Blues,Tim Duffy,Smoking Dave,and many others making it good and putting out killer albums. I'd like to hear from other Indiana blues scene lovers... See Ya, John S. The Shifters live show dates: Caseys Pub,Irvington Plaza,Indpls.In...................June 1st The Slippery Noodle Inn 372 S.Meridian Indpls.,In..... June 3rd Shi-Kay Lounge 1514 N. Emerson av. Indpls.,In..........July 13th ************************************************************************** John Scharbrough FastJohn@trader.com Guitar player for the Shifters, Indys new HOT houserocking blues band ************************************************************************** --- * Traders' Connection Web BBS * http://www.trader.com * info@trader.com ========================================================================= Date: Sun, 26 May 1996 18:31:10 EDT Reply-To: Newman/Rabson <71552.541@COMPUSERVE.COM> From: Newman/Rabson <71552.541@COMPUSERVE.COM> Subject: Re: Major/minor keys Yeay - one of the things which I love about blues is that it mixes major and minor and becomes so haunting sounding. Pianist Walter Davis sometimes appears IMHO to be playing a minor chord in one hand and a major chord in his other hand (sometimes 1 major and the 5 or 2 minor ). I'm not sure this is true (by the way) I'm no scholar but I ripped it off just the same). Another cool thing some of the oldtimers seem to be doing is (at the end of a turn around) playing da da da da da da da with the 5 in one hand and the 1 in the other. Detroit Junior and Henry Grey come immediatly to mind for living guys who seem to do this. Ann ========================================================================= Date: Sun, 26 May 1996 18:31:14 EDT Reply-To: Newman/Rabson <71552.541@COMPUSERVE.COM> From: Newman/Rabson <71552.541@COMPUSERVE.COM> Subject: Re: Acoustic Fingerpicki Heavier strings will also help your volume. Ann ========================================================================= Date: Sun, 26 May 1996 18:52:57 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Getting together in CHI Comments: To: aschuna@VMS2.MACC.WISC.EDU > Ian - > > You and other bluezellers may not know this (i.e. > those of you who don't get Jazz Record Mart's catalog), > but JRM is doing a free in-store concert featuring > Delmark blues artists from 10am to noon that day. I > plan to be there - maybe others are too. This might > not be a bad meeting place as an alternate choice. > The tunes probably won't be too bad either. JRM is located > on 444 N. Wabash - within walking distance of Grant Park. I think this is a great idea -- I would certainly be going to JRM to spend all my money sometime in the weekend anyway. So I withdraw my suggestion -- I will be at JRM by 10am or earlier on Saturday, and I'd be really pleased to meet any other bluezellers who are there. Otherwise, I'll be wearing my black blues-l t-shirt and a multi-pocketed white vest and a beat-up white Tilly hat. If you see me, say hello. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Sun, 26 May 1996 18:52:57 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: I'm mad, and here's why! > For any dj's who are worried about the lyrical content of the tunes they play > on the air, stay away from thesse compilations: "Copulatin' Blues" and > "Copulatin' Rhythms". You'll never get your hand off the fader. On the other hand, I get great listener response when I play "Rocket 69" Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Sun, 26 May 1996 20:53:15 -0400 Reply-To: Markmojo From: Markmojo Organization: America Online, Inc. (1-800-827-6364) Subject: Johnny Winter Comments: To: bit-listserv-blues-l@uunet.uu.net Just wondering how Johnny's live shows went? Also if anyone knows if he's healthy enough to get out there and do a tour? ========================================================================= Date: Sun, 26 May 1996 18:56:28 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: I'm mad, and here's why! I've had a bit more thorny problem in the past on my shows. It's one = I've never completely resolved. I'd be interested in hearing from the = women on this list with opinions about this issue. There are numerous songs of importance and merit in the rhythm and blues = and blues past that contain lyrics with specific, and sometimes = lighthearted, references to violence against women. For example: "Watch Her, Whip Her" - Sugarboy Crawford=20 "When I Been Drinkin" - Smokey Hogg I've made a tentative decision about dealing with these songs. I won't = tip my decision here. Let me hear your feelings on the "playability" of = these recordings. Uncle Ray ---------- From: cuthulu[SMTP:cuthulu@prysm.net] Sent: Sunday, May 26, 1996 4:03 AM To: Multiple recipients of list BLUES-L Subject: I'm mad, and here's why! The other night, I'm doing my blues show. A listener calls and requests Albert Collins' "I Ain't Drunk." I've played it before off a compilation CD, but this time I decide to play it off his "Icebreakers Live, '92 to '93," thinking it's the same version. Well, with about a minute left in the song, he starts saying "mother fucker" with his guitar. I fade it down and move on, pissed at myself for being so lazy. My question is: Can we start a list of blues songs with lyrics that will get you in trouble with the FCC. I know one we can start with:) Kevan Smith cuthulu@rlabs.com the great purple hope for the blues ========================================================================= Date: Sun, 26 May 1996 15:13:08 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Just Wondering In-Reply-To: At 11:02 AM -0600 5/26/96, Bill Morgan wrote: >Bill (for whom references to ice, St. Louis Blues and Avalanche mean >Albert Collins, W.C. Handy and again, Albert Collins) Morgan Come on, guys - considering how important ice hockey has been to the Black community, especially in the Delta, we could talk a little hy here.... David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Sun, 26 May 1996 23:25:37 EDT Reply-To: Newman/Rabson <71552.541@COMPUSERVE.COM> From: Newman/Rabson <71552.541@COMPUSERVE.COM> Subject: Etta James Discography Can anyone out there provide me with a discography of Etta James' work? Ann ========================================================================= Date: Sun, 26 May 1996 23:31:17 -0400 Reply-To: JEFF YARBROUGH From: JEFF YARBROUGH Subject: Artist Information I'm new to this list but I've been a blues fan for many years. Can anyone give me some info on an artist named Bill Perry? The cd is called "Love Scars". The short review I read said he had the voice of Robert Cray and the blazing guitar of Stevie Ray Vaughan. Sounds to good to be true. Thanks, Jeff. ========================================================================= Date: Mon, 27 May 1996 00:01:20 -0400 Reply-To: RAHalonen@AOL.COM From: Reeann Halonen Subject: Re: I'm mad, and here's why! In a message dated 96-05-26 22:00:55 EDT,Uncle Ray said >I've had a bit more thorny problem in the past on my shows. It's one I've >never completely resolved. I'd be interested in hearing from the women on >this list with opinions about this issue. > > Ray, I am relieved to know that there are those who are taking the subject matter seriously. I am always a little amazed at how often that kind of thinking (violence against women) goes apparently un-noticed or seems somehow acceptable. Much like racism. I guess what I feel is that those kinds of dangerous attitudes have been apart of our culture for a long time and that transitions are difficult and absolutely necessary. I would hope that fair minded folks would take on the responsibilty for change and at least attempt discussion on the topic whenever it shows its ugly head. I'm not sure that censorship is as much the answer as exposing the "thinking" for what it is ....WRONG. I also think that women have their work cut out for them trying to survive in this atmosphere and that it helps a lot when good men help to educate their "brothers". Ree Anne ========================================================================= Date: Mon, 27 May 1996 00:23:28 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: I'm mad, and here's why! Comments: To: Mike Curtis In-Reply-To: <199605261642.JAA19845@kaiwan009.kaiwan.com> As the producer of the offending cut on "Albert Collins Live '92-93" it's interesting to see the first reaction to Albert's risque (and clearly good-naturedly humorous) "talking guitar." I'd like to make three points, while regretting any real or imagined offense: 1. Albert was obviously just mouthing the words in order to reiterate what he was making the guitar "say." Anyone who knew him at all knows he wasn't an uncouth or foul-mouthed person. 2. Maybe it says something that nobody in the studio, Albert's management or the record company felt that this was sufficiently touchy with the FCC, good taste or whatever to necessitate a warning. 3. I'd like to suggest the cautionary note that the issue could have been avoided by just previewing what was going to be played before putting it out on the airwaves. I've always greatly preferred supplying my own standards to having someone else's imposed on me, especially regarding any form of censorship. Oh well, this probably hasn't changed anyone's mind-- the older I get the less I try to do that. But for what it's worth... anyhow, here's advance warning to the ones whose feathers this DID ruffle to avoid the false start at the beginning of the song "Let Me In" on the forthcoming Little Smokey Smothers CD on Cross Cut which I just finished producing for summer release (in Germany). ========================================================================= Date: Mon, 27 May 1996 01:36:09 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Blues Playground Top 20 Blues Albums 5/96 Comments: To: info@acerecords.co.uk The Blues Playground Radio Program Top 20 Blues Albums - ending May 31,1996 ARTIST ALBUM LABEL 1. Willie Smith Bag Full Of Blues Blind Pig 2. Cephas & Wiggins Cool Down Alligator 3. Billy Boy Arnold Eldorado Cadillac Alligator 4. Luther Allison Blue Streak Alliagtor 5. Guitar Shorty Get Wise To Yourself Black Top 6. Duke Robillard Duke's Blues Rounder 7. Coco Montoya Gotta Mind To Travel Blind Pig 8. Monster Mike Welch These Blues Are Mine Tone-Cool 9. Casey Jones (I-94) On My Way To Chicago Airwax 10. John Primer The Real Deal Code Blue 11. Roomful Of Blues Turn It On, Turn It Up! Bullseye 12. Gary Primich Mr. Freeze Flying Fish 13. Tab Benoit Standing On The Bank Justice 14. Harmonica Fats Blow, Fat Daddy, Blow Bee Bump 15. Eddie C. Campbell That's When I Know Blind Pig 16. Carey Bell Carey Bell's Blues Harp Delmark 17. Joe Louis Walker Blues Of The Month Club Verve 18. Albert Collins Live '92-'93 Pointblank 19. Paul Oscher Knockin' On The Devil's Door Viceroots 20. Joe Beard Blues Union AudioQuest ____________________________________________________________________________ The Blues Playground - Sundays at 9pm on 107 FM WCCC - Hartford, CT 50,000 watts of Blues Power! Host/programmer: Stew Crossen 18 Boxwood Drive Vernon, CT 06066-5106 Tel: 800.970.5151 Web: http://www.neca.com/~bfstew E: bfstew@neca.com Reporting to: Living Blues, The Hard Report, BluesWire, The Blues Audience Stew Crossen is a member of the Connecticut Blues Society ========================================================================= Date: Mon, 27 May 1996 00:34:59 -0500 Reply-To: Rob Varak From: Rob Varak Subject: Re: Getting together in CHI Comments: To: Art Schuna In-Reply-To: Art's idea sounds good to me. Is anyone gonna be around on Friday? Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke On Sun, 26 May 1996, Art Schuna wrote: > In article <9605241744.aa09780@admin.dis.on.ca> Ian Angus writes: > >I know quite a few Bluezellers will be > >in Chicago for the featival next week. > >May I suggest Saturday Morning, at 10:45 > >am (15 minutes before things get started, > >in front of the Back Porch Stage, as a place > > Ian - > > You and other bluezellers may not know this (i.e. > those of you who don't get Jazz Record Mart's catalog), > but JRM is doing a free in-store concert featuring > Delmark blues artists from 10am to noon that day. I > plan to be there - maybe others are too. This might > not be a bad meeting place as an alternate choice. > The tunes probably won't be too bad either. JRM is located > on 444 N. Wabash - within walking distance of Grant Park. > > Art Schuna > ========================================================================= Date: Mon, 27 May 1996 06:18:06 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Bad Credit? Slow Credit? No Credit? No Problem! Subject: Re: blues on the air Comments: To: bit-listserv-blues-l@uunet.uu.net On Fri, 24 May 1996 19:39:57 -0500, Heather Loren Miller wrote: >Hi, everyone. > >Baton Rouge has two blues radio shows: one three-hour show on Monday >nights on KLSU (a college radio station) and one four-hour show on >Saturday afternoons, hosted by Tabby Thomas. There may be others (I'm >not counting DMX on cable, for instance) but I haven't found them yet. >Baton Rouge is just far enough away from New Orleans that their stations >get fuzzy. You can hear KLSU live on the net with Real Audio by visiting the following URL: http://204.58.152.70/pub/lsu/klsu/klsu.htm Kevan Smith cuthulu@rlabs.com the great purple hope for the blues ========================================================================= Date: Mon, 27 May 1996 01:31:59 -0500 Reply-To: scottd@INTERACCESS.COM From: Scott Dirks Subject: Re: Getting together in CHI Comments: To: Art Schuna At 12:47 PM 5/26/96 -0400, Art Schuna wrote: >In article <9605241744.aa09780@admin.dis.on.ca> Ian Angus writes: >>I know quite a few Bluezellers will be >>in Chicago for the featival next week. >>May I suggest Saturday Morning, at 10:45 >>am (15 minutes before things get started, >>in front of the Back Porch Stage, as a place > >Ian - > >You and other bluezellers may not know this (i.e. >those of you who don't get Jazz Record Mart's catalog), >but JRM is doing a free in-store concert featuring >Delmark blues artists from 10am to noon that day. I >plan to be there - maybe others are too. This might >not be a bad meeting place as an alternate choice. >The tunes probably won't be too bad either. JRM is located >on 444 N. Wabash - within walking distance of Grant Park. > >Art Schuna > FYI, Jazz Record Mart is also presenting free live music from various Delmark and non-Delmark artists throughout the rest of the day during the fest. They haven't advertised it much because it was kind of a last-minute thing, and they didn't have a schedule confirmed. Of special note: Friday and Saturday nights from 10pm til midnight guitarist Jimmy Burns will be performing there. Jimmy is the younger brother of Detroit bluesman Eddie Burns and brother in law to the late Chicago blues guitarist Eddie Taylor, and is one of the most exciting discoveries on the Chicago blues scene in a long time. His repertoire ranges from pre-war artists like John Lee Williamson and Tommy McClennon through Sam Cooke and Curtis Mayfield, and he's an incredible singer (as well as a talented guitarist and harmonica player). He's been playing professionally off and on in Chicago since the '50s, and is currently working on his debut CD, which will be released on Delmark later this year. Disclaimer: I AM affiliated--I'm producing his CD. Scott http://www.geocities.com/SunsetStrip/4466 Check it out! ========================================================================= Date: Sun, 26 May 1996 13:35:48 -0700 Reply-To: Craig Edmundson From: Craig Edmundson Subject: Re: I'm mad, and here's why! Comments: To: RAHalonen@AOL.COM Uncle Ray and Ree Anne are to be commended for challenging subject matter that is readily construed as condoning violence against women. Lyrics advocating violence toward *anyone" have no place in a society where enlightenment and compassion increasingly take a back seat to willful ignorance and prejudice. I offer the following perspective only in the interest of demonstrating how things may not always be as they seem: Given the stage persona he cultivated, when Howlin' Wolf sings, "So many people, dead and in the grave Yes, so many people, dead and in the grave I better leave ya now darlin', 'fore I get out my blade" it's not too hard for a listener to imagine him making good on his threat. The problem is that off stage, Howlin' Wolf was a family man, devoted to his wife and two daughters. According to his wife, "at home, he was just a quiet man who smoked a pipe and read the paper." How can these two seemingly opposite images co-exist? Dennis Jarrett argues, in "The Singer and the Bluesman: Formulations of Personality in the Lyrics of the Blues," SOUTHERN FOLKLORE QUARTERLY 42 (January-December 1978): 31-37, that a blues singer presents "a kind of fictional self ... distinct from the singer-composer." Jarrett calls this "fictional self" the 'bluesman,' and argues that the personality of a bluesman is contained within his rhetoric. The bluesman "relies on lexical formulas which can be varied somewhat without losing their identity," and by using them the singer develops his own personality. Within this personality, the bluesman purposefully projects alternating images that may be moralizing and didactic ('I want to love you baby, but you keep driving me from your door'); bragging and bad ('yes so many people, dead and in the grave; I better leave ya now darlin', 'fore I get out my blade') and self-pitying ('now I'm old and gray, got no place to go; you got yourself a youngster, and you can't stand me no more'). This allows the singer to "function openly as a projection of the fantasies of his audience." The point I hope to make is that the blues is a complex expression of varying outlooks that must each be viewed within the context of the performance; i.e., the bluesman may speak to the fantasies of the men in the audience during one number, and to those of the women during the next. C. --------------------------------------- Craig L. Edmundson | cedmunds@probe.net http://www.probe.net/~cedmunds/ cedmunds@netserv.unmc.edu Reeann Halonen wrote: > > In a message dated 96-05-26 22:00:55 EDT,Uncle Ray said > > >I've had a bit more thorny problem in the past on my shows. It's one I've > >never completely resolved. I'd be interested in hearing from the women on > >this list with opinions about this issue. > Ray, > I am relieved to know that there are those who are taking the subject > matter seriously. I am always a little amazed at how often that kind of > thinking (violence against women) goes apparently un-noticed or seems somehow > acceptable. Much like racism. I guess what I feel is that those kinds of > dangerous attitudes have been apart of our culture for a long time and that > transitions are difficult and absolutely necessary. I would hope that fair > minded folks would take on the responsibilty for change and at least attempt > discussion on the topic whenever it shows its ugly head. I'm not sure that > censorship is as much the answer as exposing the "thinking" for what it is > ....WRONG. I also think that women have their work cut out for them trying to > survive in this atmosphere and that it helps a lot when good men help to > educate their "brothers". > Ree Anne ========================================================================= Date: Mon, 27 May 1996 06:27:34 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Artist Information Comments: To: JEFF YARBROUGH In-Reply-To: <199605270331.XAA17854@mail.jax-inter.net> On Sun, 26 May 1996, JEFF YARBROUGH wrote: > I'm new to this list but I've been a blues fan for many years. Can anyone > give me some info on an artist named Bill Perry? The cd is called "Love > Scars". The short review I read said he had the voice of Robert Cray and the > blazing guitar of Stevie Ray Vaughan. Sounds to good to be true. Thanks, Jeff. Don't know if I'd call him RC and SRV but this CD is well worth a pickup. He is a high energy player and vocals are strong. A very good CD and considering it is a debut album all the more for your attention. It is on Pointblank and I believe Mr. Perry got a leg up from Buddy Fox of Manny's Car Wash in NYC. Buddy had him as a regular at the club and always considered him worthy of recording. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 27 May 1996 07:02:56 -0400 Reply-To: "jose.eric.s.maglanque" From: "jose.eric.s.maglanque" Subject: Re: Acoustic Fingerpicking Types Comments: cc: shaun On Thu, 23 May 1996 12:16:24 -0700, Shaun T Cronin wrote: >So all you acoustic players could you help me with advice on, how to >improve my volume (not by plugging in:-)), how to get a crisp tone using >fingers and your preference regarding bare fingers or finger picks. Early on when I started playing fingerstyle with slide, I realized there are far more stuff you will be able to play using your bare fingers than with picks on. Indeed, there are stuff that you will not be able to pull off with picks on rather than with your fingers. OK, maybe you can do some of 'em, but... oh well, just e-mail me privately if you want to hear my gospel about that. - Delta Slim ========================================================================= Date: Mon, 27 May 1996 08:05:20 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: The Blues Playground playist 5/26/96 TO: Commercial Radio Promotion FROM: Stew Crossen - WCCC 107 FM - Hartford, CT SUBJECT: The Blues Playground Playlist AIR DATE: May 26, 1996 ____________________________________________________________________________ Playlist for THE BLUES PLAYGROUND 5-26-96 ARTIST ALBUM LABEL TRK Jimi Hendrix Are You Experienced? MCA 12 Freddie King Live At The Electric Ballroom Black Top Classics 8 Jesse Thomas Lookin' For That Woman Black Top Classics 3 Robert Ward Black Bottom Black Top 7 Lonnie Brooks Live At Pepper's 1968 Black Top 7 WC Clark Heart Of Gold Black Top 4 BB King Heaven's Prisoner's Sound Track Code Blue 6 CC Adcock Heaven's Prisoner's Sound Track Code Blue 7 The Hoax Heaven's Prisoner's Sound Track Code Blue 8 SRV Heaven's Prisoner's Sound Track Code Blue 9 Luther Allison Soul Fixin' Man Alligator 3 Luther Allison Motown's Blue Evolution Motown 18 Luther Allison Blue Streak Alligator 4 Luther Allsion Soul Fixin' Man Alligator 7 Luther Allison Blues Streak Allihator 7 ____________________________________________________________________________ The Blues Playground - Sundays at 9pm on 107 FM WCCC - Hartford, CT 50,000 watts of Blues Power! Host/programmer: Stew Crossen 18 Boxwood Drive Vernon, CT 06066-5106 Tel: 800.970.5151 Web: http://www.neca.com/~bfstew E: bfstew@neca.com Reporting to: Living Blues, The Hard Report, BluesWire, The Blues Audience Stew Crossen is a member of the Connecticut Blues Society ========================================================================= Date: Mon, 27 May 1996 08:32:54 -0400 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: I'm mad, and here's why! Comments: To: "Raymond O. Varner" In-Reply-To: <01BB4B35.1354E020@ip-pdx07-07.teleport.com> Ray, While I might play songs that praise a god I don't serve, I NEVER play lyrics that promote unprovoked violence against those weaker. If the music is exceptional I read PSA's over the track with the sound down too low to understand what's being said. This is an important issue for me because the station is 99% alternative and some of that music is anti AfricanAmerican and anti Semitic. There's not much I can do about what others play, but-t-t.... Peace, nitra On Sun, 26 May 1996, Raymond O. Varner wrote: > I've had a bit more thorny problem in the past on my shows. It's one I've never completely resolved. I'd be interested in hearing from the women on this list with opinions about this issue. > > There are numerous songs of importance and merit in the rhythm and blues and blues past that contain lyrics with specific, and sometimes lighthearted, references to violence against women. > > For example: > > "Watch Her, Whip Her" - Sugarboy Crawford > "When I Been Drinkin" - Smokey Hogg > > I've made a tentative decision about dealing with these songs. I won't tip my decision here. Let me hear your feelings on the "playability" of these recordings. > > Uncle Ray > > > ---------- > From: cuthulu[SMTP:cuthulu@prysm.net] > Sent: Sunday, May 26, 1996 4:03 AM > To: Multiple recipients of list BLUES-L > Subject: I'm mad, and here's why! > > The other night, I'm doing my blues show. > > A listener calls and requests Albert Collins' "I Ain't Drunk." > > I've played it before off a compilation CD, but this time I decide to > play it off his "Icebreakers Live, '92 to '93," thinking it's the same > version. > > Well, with about a minute left in the song, he starts saying "mother > fucker" with his guitar. I fade it down and move on, pissed at myself > for being so lazy. > > My question is: > > Can we start a list of blues songs with lyrics that will get you in > trouble with the FCC. I know one we can start with:) > > > Kevan Smith > cuthulu@rlabs.com > the great purple hope for the blues > ========================================================================= Date: Mon, 27 May 1996 14:10:55 UT Reply-To: roger struve From: roger struve Subject: Re: I'm mad, and here's why!delta doc at it again (kinda long this time...bring your coffee!) Comments: To: Craig Edmundson I've noticed as i've gotten older that the world which had always appeared to me to be quite clearly black and white on most any issue, has lost a very lot of that clarity....i see that realism has taken a greater hold on me than the idealism that i've always been consumed with. Understand that i've not forgotten the idealism...as a former 'love child/flower child/"hippie" (or hippie wannabe as the case may have been), i still believe in the magic of love and the world as a loving safe single community...i only now realize that as human beings with our characteristic traits (all animal species have their singular traits as well as sharing other animal oriented behaviours) that we are not the "perfect" angels that we believe we want everyone to be. There is violence in mankind (person kind). Freud i think described this duality as the primal ID vs. the societal EGO. The EGO knows better (because of societal expectations i suppose) and the ID is the inner conscience-less entity of our makeup. The battle goes on between the two (almost akin in my mind to the allegory contained within MR. Son House's continuing battle within himself to rectify the very strong GOD in him (as i think he was a Baptist preacher for a number of years) versus the supposed DEVIL that was personified by Blues music that he loved after a chance meeting with a certain other bluesman whose name currently escapes me to rely on reference from memory(was it McCoy?). Anyway the point is, I don't like violence and never have...a lot of it was perpetrated on me during my childhood years by many different people both related and not related (and you can draw your own conclusions about that). While i am absolutely not a 97lb weakling, i have walked away from encounters and been taunted for sticking to my philosophies about violence. I have, being a human imperfect being, been an absolute hypocrit about violence too on some very rare ocassions...(especially when my TYPE A personality takes over when driving the freeways at rush hour on Monday mornings...whew! (:-) Anyway, recently at my absolute most favorite Chinese restaurant ( and i know the owners, husband and wife, and they have seemed the most gracious of hosts for these many years, remember me, get kind of excited when people i know eat there and they tell them most excitedly that "Rahja" was just here eating too, the husband suddenly started yelling extremely loudly from the kitchen (if I could hear it YOU know it was loud) and this went on to the sound of loud hatchet sounds on a cutting block and escalated from there. After a few minutes the waitress came out of the back looking very shaken....and as she came by to see how my meal was i said fine, but what about you? Her reply revealed that the husband had suddenly got very mad at her and even tried to hit her with his fist. She was very shaken she told me as this had never happened to her before. Now as a side issue about men and women violence this woman is bigger than me (at least 260 lbs) and i would even be afraid to tackle this woman in the ring....and the Chinese fella is a tiny little guy....So she could have easily punched this guy out. To wrap this dissertation up, the idealistic part of me says you can't eat this man's food (no matter how wonderful it is....and it REALLY IS!) because of what he did. No one has the right to hit anyone else especially just because you're the boss. But the realistic part of me that also tries to spread a feeling of love to all those in my life feels forgiveness for this fella for just being an imperfect human being. I don't feel that this is an unethical feeling on my part, although i most certainly probably would have viewed it this way in my younger days. The point is, and i have asked this question a slightly different way, when i posted about Gregg Allman's blues listenability when taken in light of his drug bust actions, that the old BLUES songs were snapshots/pictures of real life...the pain, the humiliation, the frustration, the drugs (including alcohol and nicotine), the duality of class society in Amerika at the time, and the violence. Therefore to me to selectively ignore certain "types" of blues songs, (ie. certain blues songs with "restricted" language, or certain blues songs sung by virtual stool pigeons, etc.) is to deny real life in favor of the "preferred" idealistic view of life that we portend to strive to attain and believe in. Somehow, as difficult as it may seem at times, i strive to recognize life for what it is...and in understanding comes forgiveness, compassion, and eventual change for the whole world. (See...even when promoting the realism vision of the world, some of my idealism still sneaks in to help support and rationalize my philosophy of living!@) - --------- From: Blues Music List on behalf of Craig Edmundson Sent: Sunday, May 26, 1996 2:35 PM To: Multiple recipients of list BLUES-L Subject: Re: I'm mad, and here's why! Uncle Ray and Ree Anne are to be commended for challenging subject matter that is readily construed as condoning violence against women. Lyrics advocating violence toward *anyone" have no place in a society where enlightenment and compassion increasingly take a back seat to willful ignorance and prejudice. I offer the following perspective only in the interest of demonstrating how things may not always be as they seem: Given the stage persona he cultivated, when Howlin' Wolf sings, "So many people, dead and in the grave Yes, so many people, dead and in the grave I better leave ya now darlin', 'fore I get out my blade" it's not too hard for a listener to imagine him making good on his threat. The problem is that off stage, Howlin' Wolf was a family man, devoted to his wife and two daughters. According to his wife, "at home, he was just a quiet man who smoked a pipe and read the paper." How can these two seemingly opposite images co-exist? Dennis Jarrett argues, in "The Singer and the Bluesman: Formulations of Personality in the Lyrics of the Blues," SOUTHERN FOLKLORE QUARTERLY 42 (January-December 1978): 31-37, that a blues singer presents "a kind of fictional self ... distinct from the singer-composer." Jarrett calls this "fictional self" the 'bluesman,' and argues that the personality of a bluesman is contained within his rhetoric. The bluesman "relies on lexical formulas which can be varied somewhat without losing their identity," and by using them the singer develops his own personality. Within this personality, the bluesman purposefully projects alternating images that may be moralizing and didactic ('I want to love you baby, but you keep driving me from your door'); bragging and bad ('yes so many people, dead and in the grave; I better leave ya now darlin', 'fore I get out my blade') and self-pitying ('now I'm old and gray, got no place to go; you got yourself a youngster, and you can't stand me no more'). This allows the singer to "function openly as a projection of the fantasies of his audience." The point I hope to make is that the blues is a complex expression of varying outlooks that must each be viewed within the context of the performance; i.e., the bluesman may speak to the fantasies of the men in the audience during one number, and to those of the women during the next. C. --------------------------------------- Craig L. Edmundson | cedmunds@probe.net http://www.probe.net/~cedmunds/ cedmunds@netserv.unmc.edu Reeann Halonen wrote: > > In a message dated 96-05-26 22:00:55 EDT,Uncle Ray said > > >I've had a bit more thorny problem in the past on my shows. It's one I've > >never completely resolved. I'd be interested in hearing from the women on > >this list with opinions about this issue. > Ray, > I am relieved to know that there are those who are taking the subject > matter seriously. I am always a little amazed at how often that kind of > thinking (violence against women) goes apparently un-noticed or seems somehow > acceptable. Much like racism. I guess what I feel is that those kinds of > dangerous attitudes have been apart of our culture for a long time and that > transitions are difficult and absolutely necessary. I would hope that fair > minded folks would take on the responsibilty for change and at least attempt > discussion on the topic whenever it shows its ugly head. I'm not sure that > censorship is as much the answer as exposing the "thinking" for what it is > ....WRONG. I also think that women have their work cut out for them trying to > survive in this atmosphere and that it helps a lot when good men help to > educate their "brothers". > Ree Anne ========================================================================= Date: Mon, 27 May 1996 14:05:52 GMT Reply-To: "JOHN W. SCHARBROUGH" From: "JOHN W. SCHARBROUGH" Organization: Traders' Connection, Inc. Subject: moderated? Comments: To: bit-listserv-blues-l@uunet.uu.net Being a "new" computor user, I'm still learning my way around. I noticed that this newsgroup is designated "moderated". Also noticed that all of my postings are not getting posted.Could some tell me where I can find out more about this MODERATING buisness? mabey you could direct me to the Blues info newsgroups still support freedom of speach and the free exchang of information. ************************************************************************** John Scharbrough FastJohn@trader.com Guitar player for the Shifters, Indys new HOT houserocking blues band ************************************************************************** --- * Traders' Connection Web BBS * http://www.trader.com * info@trader.com ========================================================================= Date: Mon, 27 May 1996 11:01:41 EDT Reply-To: Newman/Rabson <71552.541@COMPUSERVE.COM> From: Newman/Rabson <71552.541@COMPUSERVE.COM> Subject: orlando area keys Is there anyone out there in the Orlando, FL area who has a portable keyboard they'd be willing to lend for 3 days in exchange for a guitar lesson or piano lesson? The keyboard needn't be performance quality. Just looks like I'll have a few days off there and I'd love to use my time writing. Ann ========================================================================= Date: Mon, 27 May 1996 11:20:28 -0400 Reply-To: Skipjames@AOL.COM From: Tom Freeland Subject: Re: moderated? Comments: To: FastJohn@trader.com In a message dated 96-05-27 10:30:49 EDT, you write: > Being a "new" computor user, I'm still learning my way around. I noticed >that this newsgroup is designated "moderated". I don't know where you got the notion blues-L is designated moderated. This is *not* a moderated list. A moderated list is one where someone reviews posts and rejects those that do not fit the defined content. On this list, anything sent to blues-L at the listserver goes out to the list members. >Also noticed that all of my postings are not getting posted.Could some tell me > where I can find out more >about this MODERATING buisness? mabey you > could direct me to the Blues info newsgroups still support freedom of speach > and the free exchang of information. Read my comment above. You are confused; before you announce some problem with "free speech" you should should see if you've made a mistake. Maybe you don't know how to send the postings. There could be: (1) delays at the listserver; (2) delays in your internet provider getting them into your mail; or (3) some error on your part. *I've* seen your advertisement for your band and at least one other posting in the last 24 hours. Have you sent something of general interest that I missed? Tom Freeland ========================================================================= Date: Mon, 27 May 1996 11:31:13 -0400 Reply-To: smirkyface From: smirkyface Subject: Big Jack Johnson Big Jack Johnson was at WD's for the weekend, great show. I talked to him for a while after the show sunday, and I can say he is one of the nicer people that I've met. He gave his new and not yet released CD to people that were celebrating a birthday during his stay at WD's. ...if anyone remembers my post on "blues diet", Big Jack had the House Salad and The Roasted Turkey dinner. ..I got to meet 'zeller Ron Kraemer last thursday. Nice guy, lot taller in person. BRIAN MCLEAN PHOTOGRAPHY & SMIRKYFACE PRODUCTIONS "life's too short to live the blues" http://www.netaxs.com/~blmclean ========================================================================= Date: Mon, 27 May 1996 11:32:25 EDT Reply-To: Newman/Rabson <71552.541@COMPUSERVE.COM> From: Newman/Rabson <71552.541@COMPUSERVE.COM> Subject: Re: I'm mad, and here's This question is a real tough one. I have very strong, mutually exclusive, opinions on it. I'm not good at expressing myself on "paper" and this is going to be hard to do but try to bear with me and understand what I'm trying to say. What I perform: I feel like my music (I can't dictate to others) is about real life not necessarily ideal life. I will say I DO feel silly singing truely masochitic stuff like those verses about how I wouldn't mind being abused by my sweetie out of 't'ain't Nobody's Business - so I don't sing 'em. On the other hand I wrote and perform a song about staying in a relationship with some one who "isn't sweet and gentle - doesn't treat me like he should" just because I keep "Hopin' It'll Be Alright". Now this is not the way I think life should be. Still I could imagine feeling this way. I didn't write but do a tune where I threaten to "message your wig with a Hickory stick" - still I can imagine threatening (if not doing it). What I listen to: As far as listening, I might be upset that someone is feeling like being violent but I'd rather hear about, get to understand it then be unaware that people are feeling this way. Even the humorous stuff. I once heard Luther Guitar Junior Johnson perform that humorous standard "She Wants to Sell My Monkey" and was amazed how much he was able to project a feeling of loss and lack of power over ones life - in that silly tune. Passion is a main ingredient in what I love in blues. I mean the blues artist is just the messenger. I can see how it would be nice to change the world so that people don't feel violent, desperate, without recourse, with nothing to lose, nowhere to turn - but just not hearing about it doesn't make it go away. I think the problem is with the culture not those who are telling us about how people feel. What I'd do: If I were on the radio (and I've done this as a guest DJ) I would play stuff based on what I thought was worth sharing but if there was some content I disagreed with I'd comment on it. Expressing my opinion. Sorry if I rambled. This is NOT an easy subject. Ann [TAPCIS: Message was sent to 1 address] ----End Forwarded Message(s)---- ========================================================================= Date: Mon, 27 May 1996 11:04:25 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Just Wondering Comments: To: BOB-Philip Jenkins <0002117963@BOB.COM> In-Reply-To: <90960525163609/0002117961DF4EM@MCIMAIL.COM> On Sat, 25 May 1996, BOB-Philip Jenkins wrote: > Hello, > I was wondering if this group was about blues(as in the type of music), or > if it was about the St. Louis Blues. If it's about the music, forget about > this mail. If it is about the St. Louis Blues, reply with something to > talk about. It can be about the St. Louis Blues, or about hockey in > general. Well, we often talk about Big Bad Smitty, Bennie Smith, Henry Townsend, etc. So, you could say that there is talk of St. Louis Blues around here... -Jeff (ex St. Louisan) --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball #4 (coaches poll) U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc09.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Mon, 27 May 1996 12:06:31 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: moderated? John Scharbrough wrote > Being a "new" computor user, I'm still learning my way around. I noticed >that this newsgroup is designated "moderated". Also noticed that all of my >postings are not getting posted.Could some tell me where I can find out more >about this MODERATING buisness? mabey you could direct me to the Blues info >newsgroups still support freedom of speach and the free exchang of >information. > It was suggested recently that this group ought to be moderated, so as a newish member myself, I took that to imply that it isn't. Some of the more rowdy exchanges we have would surely not take place on a moderated group! We do, however, have grammar and spelling patrols that are constantly on the prowl, looking for buisness and correcting your speach, mabey. :-) Why some of your postings are not getting posted, who knows? It's not censorship though,and btw nor is moderation where it exists; it's a set of rules about acceptable behaviour that you abide by if you want to join in the group, akin to not shouting 'Fire!' in a crowded theatre, or not having sex on the table at other people's dinner parties. (And if that's ok where you live, don't tell me, as I have enough jealousy to cope with in my life already. %-O ) Chris Smith (chris@skerries.demon.co.uk) 'This country is full of decent, trusting people. And besides, we don't have to tell them the truth.' (Michelle Pfeiffer in 'Love Field') ========================================================================= Date: Mon, 27 May 1996 10:36:00 +0000 Reply-To: thf4@WATERVALLEY.NET Comments: Authenticated sender is From: Tom Freeland Subject: Re: I'm mad, and here's Comments: To: Newman/Rabson <71552.541@COMPUSERVE.COM> Ann Rabson wrote a thoughtful post on performing, playing (for oneself), and playing (on the radio) blues with violent lyrics. I wanted to add some thoughts. One thing that has ALWAYS struck me about pre-war blues is the stark, matter-of-factness of the world presented in those songs. Violence was simply a part of that world and is presented as such. Far too often it is violence against women, and often presented in humorous terms (the Memphis Jug Band sang "I Whipped My Woman With A Singletree," a singletree being the bat-like, metal-studded front part of a harness), but not-rarely involves women shooting or striking back ("Frankie said stand back out of the smoke of my gun so I can watch old Albert die."). The thing that has always struck me is the matter-of-fact way in which these horrible things were often presented. Some of these songs-- "Frankie and Albert," "Cheatin' and Lyin' Blues" (Doc Clayton's song, later adapted by Robert Nighthawk: "I'm gonna murder my baby, if she don't stop cheating and lying. I'd rather be in the penitentiary than be worried out of my mind.")-- are favorites of mine. I think Ann's comments--that "the blues artist is just the messenger" and that she would play them on the radio but possibly comment on the content-- are absolutely right. The emotions generated by these lyrics were and are one of the elements with which blues (as art) was built. Omitting them presents an incomplete picture of blues-as-art and omits some of the power of these lyrics. Balance it out by playing some Memphis Minnie. SHE wouldn't have put up with s**t. For those that care, I've changed email addresses. I used to be skipjames@aol.com. Now I'm thf4@watervalley.net, FREE AT LAST of AOL as my main email source. Tom Freeland ========================================================================= Date: Mon, 27 May 1996 13:15:39 -0300 Reply-To: Rob Hutten From: Rob Hutten Subject: Portrait Of The Blues Just picked up a copy of a new book called "Portrait Of The Blues" by Paul Trinka, with photographs by Val Wilmer. First impressions: great photos, and lots of 'em. I've only read snippets of the writing but it seems fairly well put-together. The book is a large-format hardcover and contains "exclusive interviews with over fifty major blues and blues-influenced players", according to the dust jacket. There seems to be a strong focus on country blues and early Chicago artists. A couple photos really stand out, namely one of Jack Owens and his late wife Mabel, and a truly wonderful picture of Homesick James, Johnny Shines and Howlin' Wolf. Both photos are from 1972. I hadn't heard a thing about this book until I saw it in the store. The standard disclaimer applies - I have no affiliation, etc... just looks like a good book. Maybe I'll do up a proper review after I finish reading it. -Rob ========================================================================= Date: Mon, 27 May 1996 09:44:30 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: May 28 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BARBOUR, DAVID (g) b. 1912-0528, FLUSHING, NY BURGESS, SONNY (g) b. 1931-0528, NEWPORT, AR BURNS, BONNIE (prod/THE JACKSONS) b. 1949-0528, SEATTLE, WA CICCHETTI, LOUIS E. (prod/REGENTS/ELGINS) d. 1991-0528, CHARLESTON, SC 72 CREACH, JOHN PAPA(vln/JEFFERSON AIRPLANE) b. 1917-0528, BEAVER FALLS, PA CULSHAW, JOHN R. (introduced STEREO rec) b. 1924-0528, LONDON, UK FOGERTY, JOHN (g/songw/CCR) b. 1945-0528, BERKELEY, CA KIRK, ANDY (leader/CLOUDS OF JOY) b. 1898-0528, NEWPORT, KY KLINE, REX (d/JOHNNY HEARTMAN) d. 1988-0528, SACRAMENTO, CA -- KNIGHT, GLADYS(of GLADYS KNIGHT/THE PIPS) b. 1944-0528, ATLANTA, GA MCPHERSON, OZIE (v/FLETCHER HENDERSON) d. 1932-0528, NEW YORK CITY, NY -- NORTH, FREDDY (v/songw) b. 1939-0528, NASHVILLE, TN OLIVER, SY (arr/tbn/LUNCEFORD) d. 1988-0528, NEW YORK CITY, NY 77 ROSS, DOCTOR (g/hca/d) d. 1993-0528, FLINT, MI 67 SHUTE, BILL (BLUES-L MEMBER) b. 1958-0528, BOSTON, MA TINNEY, AL (p/THE JIVE BOMBERS) b. 1929-0528, ANSONIA, CT VALENTINE, CAL (g/RIGHT KING/GALAXY REC) b. 1937-0528, DALLAS, TX VERA, BILLY (g/songw/author) b. 1944-0528, RIVERSIDE, CA WALKER, T-BONE (g/p/songw) b. 1910-0528, LINDEN, TX WILLIAMS, MARY LOU (p/arr/ANDY KIRK) d. 1981-0528, DURHAM, NC 71 ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 27 May 1996 17:09:40 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Bobby Radcliff? What became of him? Is he still around? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [27/5/96 13:09 PM] "They call it stormy monday..." ========================================================================= Date: Mon, 27 May 1996 12:13:14 -0600 Reply-To: Peter Liberman From: Peter Liberman Organization: Tulane University Subject: REQ: Great Dog Songs Comments: To: bit-listserv-blues-l@uunet.uu.net I'm a dog lover compiling a list of songs about dogs. Any classic (old or recent) blues recordings come to mind? All I've found so far are Robert Johnson's Hellhound on My Trail and Little Milton's My Dog and Me, but I'm not that knowledgeable about the blues. Suggestions, by email or newsgroup, about songs from other genres also most welcome! Thanks, and Dog bless you. ========================================================================= Date: Mon, 27 May 1996 14:33:01 -0400 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: Re: REQ: Great Dog Songs Comments: To: liberman@MAILHOST.TCS.TULANE.EDU In-Reply-To: <31A9F0BA.4774@mailhost.tcs.tulane.edu> Listening to "Same Dog" by Coco Montoya right now. RW ========================================================================= Date: Mon, 27 May 1996 17:50:24 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Michael Coleman Thanks to those who convinced me to go see him, he is one good guitar player BUT (ain't it always the way) ... the band as a whole was little lame. This had a lot to do with the material. You can't deliver stuff like Kansas City, followed immediately by Sweet Home Chicago when the vocals (drummer) just aren't there. No matter that the guitar breaks are very nice indeed ...... phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [27/5/96 13:46 PM] "They call it stormy monday..." ========================================================================= Date: Mon, 27 May 1996 18:09:38 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: REQ: Great Dog Songs In-Reply-To: <31A9F0BA.4774@mailhost.tcs.tulane.edu> On Mon, 27 May 1996, Peter Liberman wrote: > I'm a dog lover compiling a list of songs about dogs. Any classic (old or > recent) blues recordings come to mind? All I've found so far are Robert > Johnson's Hellhound on My Trail and Little Milton's My Dog and Me, but > I'm not that knowledgeable about the blues. > > Suggestions, by email or newsgroup, about songs from other genres also > most welcome! > > Thanks, and Dog bless you. > Cropper, Steve et al Jammed Together @ Trashy Dog Dyer, Johnny Shake It! Little Dog Gaines, Grady Full Gain @ Shaggy Dog James, Etta Tell Mama (Volume 1) Watch Dog Johnson, Luther I Want to Groove With You Graveyard Dogs King, Earl Sexual Telepathy @ Happy Little Nobody's Waggy Tail Dog Mack, Lonnie Strike Like Lightning @ Hound Dog Man Nightcats, Little Charlie & Night Vision Dog Eat Dog Piazza, Rod Blues in the Dark Low Down Dog Taylor, Koko Force Of Nature Hound Dog Thornton, Big Mama The Rising Sun Collection Medley: Hound Dog / Walkin' The Dog Plus the CD named Blues album of the year in '95(?) by Guitar Player magazine (although you will find it in the jazz section) - it is exclusively about dogs: Henderson, Scott Dog Party phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [27/5/96 14:02 PM] "They call it stormy monday..." ========================================================================= Date: Mon, 27 May 1996 14:56:53 -0400 Reply-To: Tom Morgan From: Tom Morgan Subject: Bartender's Bop Playlist It's been quite a while since I've posted any playlists. Life has been real hectic and I am just now catching up. Here is today's show. Alot of spoken word material with Moms Mabley, Dusty Fletcher, Pigmeat Markham, Redd Foxx, Big Bill Broonzy, Memphis Slim, Sonny Terry, Brownie McGhee and Sonny Boy Williamson, all having their say about life and the blues. Title Group Year Label -------------------- -------------------- ---- ------------- Here Am I Do Lord Georgia Peach & the 46 Stash Send Me Harmonaires Fever Clark, Dee 62 Charly Nobody Wants You Curtis, King 61 Fantasy When You're Down and Out Drown in my Own Charles, Ray 55 Atlantic Tears Precious Lord Kings of Harmony 46 Stash Talk on the Broonzy;Terry;McGee 57 Folkways Spirituals Beautiful City Terry, Sonny 57 Folkways I'm Gonna Tell God Broonzy, Big Bill 57 Folkways How You Treat Me To Love Somebody Sweet Inspirations 68 Ichiban Mean Old World Cooke, Sam 63 ABKCO Young Men Moms Mabley 60 Chess A Whole Lot of Soul Foxx, Redd MF I'm Going Back In Fletcher, Dusty 47 Savoy There Here Comes the Judge Pigmeat Markham Chess Bobby's Blues Bland, Bobby Drop On In John, Mabel Stax Go Back To Him Burke, Solomon 62 Rhino You'll Never Know Big Maybelle 54 OKeh These Ain't Carr, James 67 Razor and Tie Raindrops Wedding Boogie Otis, Johnny 50 Savoy Goldilocks and the 3 Gaillard, Slim 83 Bears Life is Like That Broonzy; 90 Ryko Williamson;Slim Long Meter Hymn Broonzy; 90 Ryko Williamson;Slim I Could Hear My Name Broonzy; 90 Ryko Ringin Williamson;Slim Ratty Section Broonzy; 90 Ryko Williamson;Slim Have You Ever Been Broonzy; 90 Ryko To Nashville Williamson;Slim Bama's Stacker Lee Broonzy; 90 Ryko Williamson;Slim Everybody Needs Help Holiday, Jimmy 67 Minit `'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`' http://redlt.com/tom/ -- Home of Jazz Roots & Record Companies on the Web Free-lance Writer--Author--Program Director WTJU 91.1--Internet Consultant ========================================================================= Date: Mon, 27 May 1996 15:04:22 -0400 Reply-To: Tom Morgan From: Tom Morgan Subject: playlists for 5/13 & 5/20 Just in case, you've been wondering what I have been playing and what cds I brought back from N'awlins. Two playlists new CDs, Roots of Rap on Yazoo, Harlem Hamfats Vol 2 on Document, Alvin Youngblood Hart on OKeh (CD of the year so far), Harry the Hipster on Delmark, Roy Rogers and Satan and Adma also plus John Mooney Title Group Year Label -------------------- -------------------- ---- -------------- Crazy Blues Smith, Mamie 20 Document If I Had My Way I'd Johnson, Blind Yazoo Tear This Building Willie Down Papa Wants A Cookie Carr; Blackwell 30 Yazoo Hoodooin Woman Harlem Hamfats 37 Document Automobile Ride Henderson, Red Yazoo Through Alabama Carried Water for Carr; Blackwell 30 Yazoo the Elephants Dad's Ole Mule Tyrus and Tyrus Yazoo She's A Mellow Harlem Hamfats 36 Document Mother For You She's A Hum Dum Davis, Jimmie Yazoo Dinger My Buddy Blues 5 Breezes 40 New World Don't Let Old Age Ink Spots 37 Conifer Creep On You God Told Nicodemus Golden Gate Quartet 41 Legacy Jungle Fever Mills Bros 34 JSP Everybody Loves My Boswell Sisters 32 Collector's Baby Pickin Off Peanuts 7 Foot Dilly & His Yazoo Dill Pickles Your Feet's Too Big Ink Spots 35 Conifer Keep A Knockin Jordan, Louis 39 Charly You Can't Get That Jordan, Louis 44 Jukebox Lil No More I Like Em Fat Like Jordan, Louis 44 Charly That Hey Man You Just Gibson, Harry the 76 Delmark Made My Day Hipster Who Put The Gibson, Harry the 76 Delmark Benzedrine Hipster Shakin Hands With Rogers, Roy 96 Point Blank The Devil Joe Friday Hart, Alvin 96 OKeh Youngblood Last Go Round Levy, Ron 96 Bullseye Blues One Step Forward Mooney, John 96 House of Blues Bad Woman Blues Moorman, Sonny 96 706 Rest Your Saddle Hart, Alvin 96 OKeh Youngblood Blues For Brazil Rogers, Roy 96 Point Blank Stagga Lee Satan and Adam 96 Rave-On Living's A Strain Hart, Alvin 96 OKeh Youngblood New CDs, Amos Milbrun on Capitol, Camille HOward on Specialty, Lord Buckley on Rhino, Gumbo Stew on Ace and Mardi Gras Indians on Rounder Title Group Year Label -------------------- -------------------- ---- --------- Boogie and the Howard, Camille 47 Specialty Blues, The My Baby and Boogying Milburn, Amos 46 Capitol Down the Road Apiece Milburn, Amos 46 Capitol You Don't Love Me Howard, Camille 47 Specialty That's All I Need Baker, LaVern 55 Rhino Operation Blues Milburn, Amos 46 Capitol Play It Fair Baker, LaVern 55 Rhino Mood I'm In, The Howard, Camille 49 Specialty How Long Can I Go On Howard, Camille 49 Specialty Like This Mean Woman Milburn, Amos 47 Capitol Nickel Plated Baby Milburn, Amos 47 Capitol Train Whistle Blues Milburn, Amos 47 Capitol It's A Married Woman Milburn, Amos 47 Capitol Bad Rapping of the Lord Buckley Rhino Marquis de Sade Song of India Boogie Howard, Camille 52 Specialty Train, The Lord Buckley Rhino Mojo Hanna Lynn, Tami 63 Ace Things Have Changed Prince La La 61 Ace Tee Na Na Na Nay Bo, Eddie 62 Ace Mary Tick Tocks, The 63 Ace I'm Gonna Be A Wheel Mitchell, Bobby 57 Ace I'm Gonna Be A Mitchell, Bobby 63 Ace Wheel, No More Private Eye Johnson, Wallace 63 Ace I'll Make A Bet Nookie Boy 61 Ace I Found Out (You Are Willie Tee 62 Ace Me Cousin) Tuned In Turned On Robinson, Alvin 69 Ace I Shall Not Be Moved Lastie, Melvin 69 Ace Shoofly Bo Dollis & Monk 92 Rounder Boudreaux Oops Upside Your Dollis, Bo 92 Rounder Head `'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`' http://redlt.com/tom/ -- Home of Jazz Roots & Record Companies on the Web Free-lance Writer--Author--Program Director WTJU 91.1--Internet Consultant ========================================================================= Date: Mon, 27 May 1996 15:32:01 +0100 Reply-To: Weidel From: Weidel Organization: Not at This Time Subject: Re: big jack johnson & luther "guitar jr" johnson Comments: To: bit-listserv-blues-l@uunet.uu.net > Jack Johnson is my favorite active bluesman in the Mississippi Delta. (To me > this means "my favorite Delta bluesman," but I have this idiosyncrasy of > connecting the regional style to an actual place on the map...). He is from > Clarksdale, Mississippi. > > Based on the last couple of times I've seen him, you can expect a pretty > tight band, very fine guitar and vocals from Jack I've seen Big Jack in Clarksdale in '93 and in a concert at the Camden County park last year. He is always entertaining. I think his style is improving, he has a nice rapport with the audience. Although I like nearly all his work, I really hate that "Daddy, When is Momma Comin' Home?" song which has become his signature song. I usually go get a beer when that part of the playlist emerges. bob Weidel ========================================================================= Date: Mon, 27 May 1996 19:38:53 GMT Reply-To: welemali From: welemali Organization: I'm not organized Subject: Anyone have an opinion about the House of Blues tour?? I am in the NY area with just about enough time and money to go see one or two shows this summer. The House of Blues Tour with Joe Cocker and the rest of the gang at the Garden State Arts Center looks like it should be good. If anyone has seen it, or has heard about it, please let me know what you've heard. Also, if there's anything else out there around me, let me know. Thanks a bunch. -- *---------------------------------------------------------------------- ----* "You are going to find that many of the truths we cling to depend greatly on our own point of view." --- Obi-Wan Kenobi http://www2.cybernex.net/~linmarbo ========================================================================= Date: Mon, 27 May 1996 12:59:07 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: REQ: Great Dog Songs Comments: To: liberman@MAILHOST.TCS.TULANE.EDU In-Reply-To: <31A9F0BA.4774@mailhost.tcs.tulane.edu> from "Peter Liberman" at May 27, 96 12:13:14 pm > I'm a dog lover compiling a list of songs about dogs. Any classic (old or > recent) blues recordings come to mind? All I've found so far are Robert > Johnson's Hellhound on My Trail and Little Milton's My Dog and Me, but > I'm not that knowledgeable about the blues. > > Suggestions, by email or newsgroup, about songs from other genres also > most welcome! Jackie Wilsons "Doggin' Me Around" is one of my all time favorites. I do it as a harmonica instrumental. Also, Elvis' "Hound Dog", Fabians "Hound Dog Man", the Everly Brothers "Bird Dog". And there's "Me and you and a dog named Boo" (or something like that - I'm not sure who the artist is). Also, there's one (I think) by Larry Davis where he talks through a section about being kicked out by his wife for staying out late, smelling of "bar funk", and conversing futilely with his dog about staying in the dog house. There's the old (but definitely not blues ;-) "How Much is that Doggie in the Window". And I beliebe there's an old "Cowboy" song something like "Get along little dogie" (well, that's not quite "dog", unless they're talking about dachshunds ;-) And don't forget TV theme songs for "Dog" shows like Rin-tin-tin and Lassie. ========================================================================= Date: Mon, 27 May 1996 03:22:19 +0000 Reply-To: thf4@WATERVALLEY.NET Comments: Authenticated sender is From: Tom Freeland Subject: Dog Song Request (The Strange Life of Threads) Comments: To: Peter Liberman Someone out there wrote: > I'm a dog lover compiling a list of songs about dogs. Any classic > (old or recent) blues recordings come to mind? All I've found so > far are Robert Johnson's Hellhound on My Trail and Little Milton's > My Dog and Me, but I'm not that knowledgeable about the blues. Someone out there, in the last few months, did a "dog" radio show and got innundated in dog songs, including those from Tom Morgan's database. Whoever held on to that thread can innundate this guy in songs, from "Hound Dog" to "Walking the Dog" to "Philly Dog" to....... One that did NOT come up then, sadly enough, was any of the "Yellow Dog Blues" variants, which contain the line "going where the Southern cross the Dog." Trivia questions: Where is that person going? What is "the Dog"? and finally a tough one (I know the answer to 1 & 2 but no one seems to have an answer to three) why is it called "the Dog?" Tom Freeland ========================================================================= Date: Mon, 27 May 1996 13:28:41 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: T-Birds First This is the second time I've posted this question. I believe that the = first post did not go through. If it did, my apologies. Before the release of the Fabulous Thunderbirds first album GIRLS GO = WILD, they recorded a stunning pure blues album produced by Doc Pomus. = This recording included Roomful's horn section and Al Copley on piano. = The material is mostly covers ranging from Otis Rush to Sonny Boy. It = was never released. I'm assuming that the master is the property of Mr. = Pomus' estate. But, I don't know that. Anyone have information on = ownership and/or possible release of this project? I'd love to see it released. My bootleg tape is worn and ragged. Uncle Ray ========================================================================= Date: Mon, 27 May 1996 13:35:57 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: moderated? Comments: To: chris@SKERRIES.DEMON.CO.UK In-Reply-To: <833212878.24155.0@skerries.demon.co.uk> from "Chris Smith" at May 27, 96 12:06:31 pm > > John Scharbrough wrote > > > Being a "new" computor user, I'm still learning my way around. I noticed > >that this newsgroup is designated "moderated". Also noticed that all of my > >postings are not getting posted.Could some tell me where I can find out more > >about this MODERATING buisness? mabey you could direct me to the Blues info > >newsgroups still support freedom of speach and the free exchang of > >information. The reason your stuff doesn't get posted is most likely because you're not doing it right. If you use "reply", you reply to the originator and not to the list. If you want it to go to the group, use "group reply", which sends a copy to each user in the header, or edit the header to send to blues-l. I prefer group reply, because 1. it's easy, and 2. it sends a personal copy to everyone involved. I'm sure the reason for the "reply-to" policy is that a lot of folks who mean to reply to the originator use reply and it goes to the list. Seeing that keeping up on blues-l is already a full time job unless you speed read or delete articles by subject (which is why any time the thread changes it's smart to edit the subject :-), anything that'll cut bandwidth without adding censorship is a good idea. BTW, I'm personally in favor of moderation. I subscribe to several moderated newsgroups, and they work out extremely well. Flamefests and such are quenched before folks start calling the Mob to put out "hits" on one another, and a lot of aggravation is minimized - yet everyone still gets to say what they want as long as it's in a reasonable tone of voice. Also, in certain cases, bad language is minimized or eliminated (a plus in my book). IMHO the only ones who are "hurt" through this process are those I classify as "verbal flashers"; social losers whose intent is to get attention by offending as many as possible. -- IronMan Mike Curtis ========================================================================= Date: Mon, 27 May 1996 14:31:00 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Re: moderated? Actually the problem John is having is due to his reading the newsgroup as opposed to being subscribed to the list. Apparently the newsgroup *is* moderated. I've sent John instructions on how to subscribe to the list to the best of my memory. Bill Morgan SK>In a message dated 96-05-27 10:30:49 EDT, you write: SK>> Being a "new" computor user, I'm still learning my way around. I notice SK>>that this newsgroup is designated "moderated". SK>I don't know where you got the notion blues-L is designated moderated. This SK>is *not* a moderated list. A moderated list is one where someone reviews SK>posts and rejects those that do not fit the defined content. On this list, SK>anything sent to blues-L at the listserver goes out to the list members. SK>>Also noticed that all of my postings are not getting posted.Could some tel SK>me SK>> where I can find out more >about this MODERATING buisness? mabey you SK>> could direct me to the Blues info newsgroups still support freedom of SK>speach SK>> and the free exchang of information. SK>Read my comment above. You are confused; before you announce some problem SK>with "free speech" you should should see if you've made a mistake. Maybe yo SK>don't know how to send the postings. There could be: (1) delays at the SK>listserver; (2) delays in your internet provider getting them into your mail SK>or (3) some error on your part. *I've* seen your advertisement for your ban SK>and at least one other posting in the last 24 hours. Have you sent somethin SK>of general interest that I missed? SK>Tom Freeland From: The Big Easy ========================================================================= Date: Mon, 27 May 1996 14:42:15 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Dog Song Request (The Strange Life of Threads) Tom, It's called the "Dog" because the colloquialism for the Yazoo and Delta RR was the "Yellow Dog". No deeper meaning exists. Uncle Ray ---------- From: Tom Freeland[SMTP:thf4@WATERVALLEY.NET] Sent: Monday, May 27, 1996 3:22 AM To: Multiple recipients of list BLUES-L Subject: Dog Song Request (The Strange Life of Threads) Someone out there wrote: > I'm a dog lover compiling a list of songs about dogs. Any classic > (old or recent) blues recordings come to mind? All I've found so > far are Robert Johnson's Hellhound on My Trail and Little Milton's > My Dog and Me, but I'm not that knowledgeable about the blues. Someone out there, in the last few months, did a "dog" radio show and got innundated in dog songs, including those from Tom Morgan's database. Whoever held on to that thread can innundate this guy in songs, from "Hound Dog" to "Walking the Dog" to "Philly Dog" to....... One that did NOT come up then, sadly enough, was any of the "Yellow Dog Blues" variants, which contain the line "going where the Southern cross the Dog." Trivia questions: Where is that person going? What is "the Dog"? and finally a tough one (I know the answer to 1 & 2 but no one seems to have an answer to three) why is it called "the Dog?" Tom Freeland ========================================================================= Date: Mon, 27 May 1996 16:44:40 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: I'm mad, and here's why! Raymond wrote: > I've had a bit more thorny problem in the past on my shows. > It's one I've never completely resolved. I'd be interested in hearing > from the women on this list with opinions about this issue. > > There are numerous songs of importance and merit > in the rhythm and blues and blues past that contain lyrics with specific, and > sometimes lighthearted, references to violence against women. Normally, I won't play songs which make light of or condone violence against women. Occasionally, when the song fits the shjow for some reason, I'll break that rule, but I will explain why on the air. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Mon, 27 May 1996 16:44:40 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Getting together in CHI > Art's idea sounds good to me. Is anyone gonna be around on Friday? I'll be there -- watch for me. But It seems to me Saturday is best for a gathering, since more people will be there. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Mon, 27 May 1996 17:28:55 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 05/28 B O R N : 05/28 BARBOUR, DAVE ( DAVID MICHAEL) Born:1912 FLUSHING, NY Career:GUITAR / COMPOSER Style:JAZZ Wingy Manone 1934 / Red Norvo combo 1935-6 / Lennie Hayton 1936-7 / Hal Kemp 1938 / Artie Shaw 1939 / early 40s Raymond Scott big band / Lou Holden / Benny Goodman 1942-3 Married Goodman's vocalist, Peggy Lee BENNETT, MAX ( RAMON ) Born:1928 DES MOINES, IA Career:BASS / COMPOSER Style:JAZZ With:QUINCY JONES / L.A. EXPRESS / CRUSADERS / VICTOR FELDMAN BURTON, JOE Born:1928 CHICAGO, IL Career:PIANO Style:JAZZ / BIG BAND CREACH, JOHN PAPA Born:1917 BEAVER FALLS, PA Career:VIOLIN Style:BLUES With:JEFFERSON AIRPLANE FISCHER, JOHNNY ( JOHN HENRY PHILLIPS, SR. ) Born:1877 NEW ORLEANS, LA Career:CLARINET / LEADER Style:TRAD / JAZZ FREEMAN, RUSS ( RUSSELL DONALD FREEMAN ) Born:1926 CHICAGO, IL Career:PIANO Style:JAZZ / BIG BAND With:HOWARD McGHEE / AL KILLIAN / DEXTER GORDON / CHARLIE PARKER / SHORTY ROGERS / LIGHTHOUSE ALL STARS / ART PEPPER / CHET BAKER / SHELLY MANN HERFURT, SKEETS ( ARTHUR HERFURT ) Born:1911 CINCINNATI, OH Career:ALTO SAX / TENOR SAX / CLARINET Style:JAZZ / BIG BAND KIRK, ANDY Born:1898 NEWPORT, KY Career:TUBA / BASS / LEADER Style:JAZZ LADNIER, TOMMY ( THOMAS LADNIER Born:1900 MANDEVILLE, LA Career:TRUMPET Style:TRAD / JAZZ With:CHARLIE CREATH / GENE SEDRIC / JIMMIE NOONE / KING OLIVER / SAM WOODLING / FLETCHER HENDERSON / DOC CHEATHAM LITTLE, LITTLE JACK Born:1900 LONDON, UK Career:PIANO/ SINGER / LEADER / COMPOSER Career:JAZZ Composer or Iyricist of popular songs /Jealous 1924 / In a Shanty in Old Shanty Town 1932 / Hold Me 1933 / After I've Called You Sweetheart (1927) / You Broke the Only Heart That Ever Loved You 1946 LOFTON, TRICKY (LAWRENCE ELLIS) Born:1930 HOUSTON, TX Career:TROMBONE Style:JAZZ MARSH, ARNO ( ARNO LEROY MARSH ) Born:1928 GRAND RAPIDS, MI Career:TENOR SAX Style:JAZZ / BIG BAND RODITI, CLAUDIO Born:1946 RIO DE JANERIO Career:TRUMPET / FLUGELHORN Style:JAZZ With:ALAN DAWSON / CHARLIE ROUSE / HERBIE MANN / PAQUITO D'RIVERA / BUDDY MONTGOMERY / CHRIS CONNOR / MARK MURPHY / JIMMY HEATH / DIZZY GILLESPIE TRAPPIER, TRAPS ( ARTHUR BENJAMIN ) Born:1910 GEORGETOWN, SC Career:DRUMMER Style:JAZZ / BIG BAND WALKER, T-BONE ( AARON THIBEAUX WALKER ) Born:1910 LINDEN, TX Career:GUITAR / SINGER / LEADER Style:BLUES Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Tue, 28 May 1996 08:43:00 PDT Reply-To: David Blanken From: David Blanken Subject: Blues 101 Hi, all. I wonder if you guys can help me out. This week at work I'm doing a course called "Train the trainer". Part of the course is to give a 20 minute presentation on any subject to reinforce concepts that have been taught. Naturally, I've chosen to give my presentation on some aspect of the blues, but this where I've struck a dead end. I first thought of bringing in my guitar and demonstrating the basic structure of a blues song (12 bars, chord changes, etc), but I have to be able to measure the outcome of the presentation in some way. The guy who is conducting the course said that I have chosen a more difficult subject, as something like music appreciation can't always be measured in absolutes, but to give it a try anyway. I also thought of giving a short history of the blues and playing some examples and asking the group to name some artists or styles or something. Anyway, I thought I'd consult the best blues resource in the world and throw it open to you guys for suggestions. Please remember though that the outcome of the training has to be able to be tested or measured in some way. *Any* suggestions would be mucho appreciated. Regards, Dave **************************************************************************** ****** David Blanken National Library of Australia "You can write the truth with Email: D.Blanken@nla.gov.au the blues" - Bukka White Phone: (06) 262 1473 **************************************************************************** ****** ========================================================================= Date: Mon, 27 May 1996 22:57:05 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Bad Credit? Slow Credit? No Credit? No Problem! Subject: Dirty Lyrics was Re: I'm mad, and here's why! Comments: To: bit-listserv-blues-l@uunet.uu.net On Sun, 26 May 1996 08:06:07 -0400, Stew Crossen wrote: >At 04:03 AM 5/26/96 GMT, cuthulu wrote: > >>Well, with about a minute left in the song, he starts saying "mother >>fucker" with his guitar. I fade it down and move on, pissed at myself >>for being so lazy. >> >>Can we start a list of blues songs with lyrics that will get you in >>trouble with the FCC. I know one we can start with:) > Unless you personally have a thing about lyric content, don't > be to concerned about it. I work in commercial rock radio and > many stations around the world continue to play tunes like > The Who's "Who Are You?", where Roger Daltry clearly says > "Who the fuck are you?". Van Halen's tune where Dave says > "I'll pay you for it, what the fuck." And The Stones' tune > "Sparks Will Fly", where Mick says, "I'm wanna fuck your sweet ass." Actually, I do have a personal thing about it in that I don't want to play songs with dirty words on the air. In the comfort of my own home, however, and at clubs, etc..., I'm perfectly fine with it and laugh along, etc. The word fuck and its variants and a few other words I don;t want on my show, but things like son of a bitch, ass, etc. are fine. Yeah, I apply my subjective standards :) > As you pointed out, it is your responsibility as a broadcaster > to be aware of your program content. Yep, which is why I was hoping we could start a list of blues songs with "cussin'." I'm sure it would help more people than just me. Kevan Smith cuthulu@rlabs.com the great purple hope for the blues ========================================================================= Date: Mon, 27 May 1996 19:16:13 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: moderated? >On Mon, 27 May 1996, Chris Smith wrote: > >Its the SPELLING PATROL! (tataaaaa) >> We do, however, have grammar and spelling patrols that are constantly on >> the prowl, looking for buisness and correcting your speach, mabey. :-) Why >> ^^^^^^^^ ^^^^^^ ^^^^^ > ;) > > >phertel@cmc.doe.ca > OR bv808@freenet.carleton.ca >Local Time [27/5/96 12:44 AM] >"They call it stormy monday..." Yes, Pat, and I was >>quoting<< what the guy wrote. This is what we in the wacky world of satire like to call 'a joke'. They're quite popular in some circles; maybe you've heard of them. Chris Smith (chris@skerries.demon.co.uk) 'This country is full of decent, trusting people. And besides, we don't have to tell them the truth.' (Michelle Pfeiffer in 'Love Field') ========================================================================= Date: Mon, 27 May 1996 23:16:45 GMT Reply-To: "J.J. Perry" Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: "J.J. Perry" Organization: Indiana University Subject: Re: Corey Harris interview. Rap ain't blues. Comments: To: VWWL65A@PRODIGY.COM Glenn Adams wrote: >While I am deeply in love with Corey's Alligator album and I listen to it >frequently, I really have to strongly disagree with his statement in the >Living Blues interview (#126 March/April 96) that rap music is modern >blues for black youth in the 1990s. Corey states that rappers such as Ice >Cube are bluesmen telling the story of their life experience just as >bluesmen have been doing for the last several decades. > While I would agree that Ice Cube may be relating stories from his >life experience, Ice Cube certainly is not a bluesman. The blues are the >blues and rap is rap. I have been a blues fan since before Corey was born >and I personally dislike rap. Rap ain't blues. It never has been and it >never will be. I am suprised that a musician and songwriter of Corey's >caliber could make a statement like that. > I would not say that Ice Cube is a "bluesman" because he doesn't play "blues" music, the way we think of it. But I would say that he is a "bluesman" in that he is rapping about a feeling, one that is common in blues. He uses a different vocabulary than we might be used to, but the message is often still the same. I would characterize "rap" "rock and roll" "jazz" and other types of music as such, but they all have roots in blues, and a path can be traced from blues to rap quite easily (in fact, I studied this path this year in a course on Popular Music of Black America.) While Ice Cube's music isn't "blues" per se, I can see how Corey Harris can make the argument that he is a "bluesman." I can also see how that might be a controversial statement to some. To me, both arguments are relevant. J. J. ========================================================================= Date: Mon, 27 May 1996 19:32:12 -0400 Reply-To: LKnight1@AOL.COM From: Leslie Ann Knight Subject: Monday Morning Blues Playlist - 3 weeks Monday Morning Blues Playlists for May 13, 20 and 27, 1996 ---------------------------------------- May 13, 1996 Playlist Monday Morning Blues with Leslie Ann Knight 6:00am - 9:00am - KKUP 91.5 FM, Cupertino, CA 510 797-0654 / Fax 510 791-1084 / LKnight1@aol.com Artist / CD Title / Track / Label ----------------------------------------- Elmer Lee Thomas The Monday Morning Blues Theme on CD Duke Robillard / Duke s Blues / I Still Love You Baby / Pointblank Joe Louis Walker / Blues Of The Month Club / Bluesifying / Verve Roomful of Blues / Turn It On.../ I Left My baby / Bullseye Blues Rhythm Sheiks / The Hounds of Music / New Automobile / Independent Sugar Pie DeSanto / Down In The Basement / Soulful Dress / Chess-MCA Koko Taylor / Force of Nature / Let the Juke Joint Jump / Alligator Michael Henderson / Slide Guitar Blues(Compilation)/ Ramblin.../ Icehouse Dave Thompson / Little Dave & Big Love / Hey Momma / Fat Possum Mick Martin and the Blues Rockers / Got To Play.../ Playing with Fire / Blues Rock Booker T & MG s / Atlantic Soul / Green Onions / /Atlantic-Warner ------------------------- Ex-Pontiax guitarist Jon Lawton with a live in-studio interview and No Mercy CD feature by Little Jonny and the Giants A Cornbread Record ------------------------- Bruce Brothers / Little Hound Blues / Tore Down / BluesHound Monster Mike Welch / These Blues Are Mine / Jessie s Blues / ToneCool Jerry Lightfoot and the Essentials / Burning Desire / Change My Ways / ConnorRay Melvin Taylor / Self-titled / Texas Flood / Evidence Eddie Clearwater / Boogie My Blues.../ Mayor Daley s Blues / Delmark Guitar Shorty / You Better Get Wise To Yourself / Title Track / BlackTop Lonnie Brooks / Live at Pepper s 1968 / Hideaway / BlackTop Joe Guitar Highes / Texas Guitar Slinger / Walk On / Bullseye Blues Ray Charles / JATP Berlin 1962 / I Got A Woman / Pablo Greg Piccolo & Heavy Juice / Acid Blue / Rock Me Baby / Fantasy Lightnin Hopkins / Autobiography in Blues / So Long Baby Time / Tradition Lightnin Hopkins / Autobiography in Blues / Santa Fe Blues Time / Tradition Cephas & Wiggins / Cool Down / Action Man / Alligator Closing Monday Morning Blues Theme: Joey Razor and the Blue Blades / Joint B Jump / After Hours Taxi / Hectic -------------------------- Notes: The interview with Jon Lawton was well received. We had some calls from listeners asking where they could purchase the CD. I learned later on this day Jon Lawton sold five CD s based on the interview, one order came from a listener who heard the show in the Sierras. The signal reaches much farther than I had thought. Promoted the Fountain Blues Festival scheduled for Saturday May 18th at the San Jose State Campus. -------------------------- May 20, 1996 Playlist Monday Morning Blues with Leslie Ann Knight 6:00am - 9:00am - KKUP 91.5 FM, Cupertino, CA 510 797-0654 / Fax 510 791-1084 / LKnight1@aol.com Artist / CD Title / Track / Label ----------------------------------------- Elmer Lee Thomas The Monday Morning Blues Theme on CD Rick Holmstrom / Lookout! / Holmes Hop / BlackTop John Hammond / Found True Love / I ve Got To Find My baby / Virgin Ike & the Coldbloods / The Spot Is Hot / Homeboy / Independent Brownie McGhee and Elmer Lee Thomas / Brownie s Blues / Good Morning Blues / Goldstar Doug MacLeod / You Can t Take My Blues / Hey Bartender / Audioquest Juanita Williams / Introducing J.W. / You Haven t Hurt Me / Big Mo Mick Martin and the Blues Rockers / Got To Play.../ I Don t Play Games / Blues Rock Little Jonny and The Giants / No Mercy / Dana Lee / A Cornbread Record Joe Guitar Hughes / Texas Guitar Slinger / Ouchee baby / Bullseye Blues Luther Allison / Blues Streak / Midnight Creeper / Alligator Joey Razor and the Blue Blades / Joint B Jump / Come To Cali / Hectic Sonny Rhodes / Out of Control / She s Excited / King Snake Lightnin Slim / Real Excello R&B / She s My Crazy Little Baby / Ace Taj Mahal / Mule Bone / Hey Hey Blues / Gramavision Guitar Shorty / Get Wise... / My Baby Loves To Do the Bump / BlackTop Bobby Murray / The Blues Is Now / Vicki / Viceroots Tattoo Blue / Don t Try This At Home / Long As I m Moving / BeeZerk Jerry Lightfoot and the Essentials / Burning Desire / Night Train from Oakland / ConnorRay Joe Beard / Blues Union / I Count the Days / Audioquest Brownie McGhee and Elmer Lee Thomas / Brownie s Blues / Drinkin Wine... / Goldstar Sonny Terry and Brownie McGhee / Blowin The Fuses / Walk On / Tradition John Hammond / Mileage / 32-20 Blues / Rounder Soul Proprietors / Too Cool To Be Hip / The Brugie / Adina Soul Proprietors / Too Cool To Be Hip / Next Time You See Me / Adina Kenny Blue Ray / Strat Daddy / Soul Control / Blue Ray Paul Oscher / Knockin.../ Sonnymoon for Two / Viceroots Sonny Terry and Alec Seward / Steeped in the Blues... / Rock Me Momma / Tradition Lightnin Hopkins / Steeped in the Blues... / Backwater Blues / Tradition Big Bill Broonzy / Treat Me Right / See See Rider / Tradition Big Bill Broonzy / Black, Brown & White / Lowland Blues / Evidence Etta James / Seven Year Itch / Jump Into My Fire / Island Little Jonny and The Giants / No Mercy / No Mercy / A Cornbread Record Hans Olson / Kachina Blues / Mr. Unlucky / Blond Sun Brownie McGhee and Sonny Terry / Amer. Folk Blues Fest 1970 / Walk On / Optimism Mississippi Heat/Straight From the Heart/Mother-In-Law Blues/VanderLinden AlleyGators / Mojo Alley / Mardi Gras Boogie / Red Hot Tommy Castro / Exception To The Rule / Title Track / Blind Pig Soul Proprietors / Too Cool To Be Hip / The Fossil / Adina Lowdown Towne / Roadhouse Church / Root Sauce / BlueLine Guy Forsyth / Needlegun / Don t Stand Still / Antone s Rod Piazza and the Mighty Flyers / Essential Collection / Sinister Woman / Hightone Chicago Bob Nelson / Back to Bogalusa / Swamp Jump / King Snake Carl Weathersby / Don t Lay Your Blues On Me / Poverty / Evidence Candye Kane / Knockout / Easy Money / Antone s Closing Theme for Monday Morning Blues: Joey Razor and the Blue Blades / Joint B Jump / After Hours Taxi / Hectic ------------------------------------------------ Notes: Heavily promoted and announced the Santa Cruz Blues Festival coming up Memorial Day weekend. ------------------------------------------------ May 27, 1996 (Memorial Day) Playlist Monday Morning Blues with Leslie Ann Knight 6:00am - 9:00am - KKUP 91.5 FM, Cupertino, CA 510 797-0654 / Fax 510 791-1084 / LKnight1@aol.com Artist / CD Title / Track / Label ----------------------------------------- Elmer Lee Thomas The Monday Morning Blues Theme on CD John Hammond / Got Love If You Want It / Nadine / Pointblank Albert King / Hard Bargain / I Believe To My Soul / Stax Carl Weathersby / Don t Lay Your Blues On Me / Fannie Mae / Evidence Sue Foley / Big City Blues / Ain t Gonna Worry.../ Antone s Mick Martin and the Blues Rockers / Got To Play.../ Down The Rail / Blues Rock Mississippi Fred McDowell/Steakbone Slide Guitar/Big Fat Mama/Tradition Doug MacLeod / You Can t Take My Blues / Handle It Yourself/Audioquest Sonny Terry and Brownie McGhee / Blowin The Fuses / Stranger Blues / Tradition Billy Boy Arnold / Eldorado Cadillac / How Long.../ Alligator Ray Charles / JATP Berlin 1962 / Hide Nor Hair / Pablo Big Mama Thornton / Original Hound Dog / Rock A Bye Baby /Ace-Peacock Lacy Gibson / Cryin For My Baby / CB Blues / Delmark Larry O Neil / You Got Me Runnin / Built For Comfort / Muse Persusions / Right Around.../Little Red Rooster / Bullseye Blues James Armstrong/Sleeping with a Stranger/That Kind of Feeling/Hightone Johnny B. Moore / Live at Blue Chicago / Boogie Chillen / Delmark Floyd Dixon / Wake Up and Live / 450 Pound Woman / Alligator Joey Razor and the Blue Blades / Joint B Jump / Joint B Jump / Hectic Rhythm Sheiks The Hound of Music / Bad Checks / Independent Little Jonny and The Giants / No Mercy / Dana Lee / A Cornbread Record ----------------------------- A Memorial Day Barbecue set: Tom Ball-Kenny Sultan / Too Much Fun / Chicken ala Blues / Flying Fish Brownie McGhee and Sonny Terry/London Sessions/Cornbread, Peas, Black Molasses/Collectables Lowdown Towne / Root Sauce / Greasy BBQ / BlueLine Soul Proprietors / Too Cool To Be Hip / Gizzards & Beans / Adina Koko Taylor / Force of Nature / Put The Pot On / Alligator Kirk James / Backdoor Boogie / Cookin Biscuits / Independent Saffire / Cleaning House / Hungry Woman Blues / Alligator Paul deLay / Take It From the Turnaround /Oat Bran / Evidence ---------------------------- Hans Olson / Kachina Blues / Me & Brownie McGhee / Blond Sun Hans Olson / Kachina Blues / When I Get The Blues / Blond Sun Professor Longhair / Collector s Choice / Everyone s Blowin / Rounder Joey Razor and the Blue Blades / Joint B Jump /Blues Epidemic / Hectic Sonny Rhodes / Out of Control / Have Love Will Travel / King Snake Roomful of Blues / Turn It On.../ If You Know It / Bullseye Blues Elmer Lee Thomas Blues Revue / Radio Blues / Mo Money / Moe-Toe Kim Wilson / Tigerman / She Moves Me / Antone s Howlin Wolf / Cadillac Daddy Lp / Decoration Day / Rounder Howlin Wolf / Evil Lp / 44 Blues / Chess Floyd Dixon / Wake Up and Live / Livin A Lie / Alligator Closing Monday Morning Blues Theme: Joey Razor and the Blue Blades / Joint B Jump / After Hours Taxi / Hectic -------------------------------- Notes: Requests for anything by Howlin Wolf, and Roomful of Blues. Heavily promoted the upcoming KKUP blues marathon weekend set for June 7-9th with 54 hours of non-stop blues on 91.5 FM in Cupertino, CA. -------------------------------- Attention Record Companies: For airplay on KKUP, Monday Morning Blues Program CD s may be mailed to: Leslie Ann Knight Knight and Day Media Control 36629 Cabrillo Drive Fremont, CA 94536 ========================================================================= Date: Mon, 27 May 1996 19:15:06 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: Re: REQ: GREAT DOG SONGS > From: Mike Curtis > Also, there's one (I think) by Larry Davis where he talks through a > section > about being kicked out by his wife for staying out late, smelling of > "bar > funk", and conversing futilely with his dog about staying in the dog > house. That's Larry Garner's "Dog House Blues" off his Too Blues CD on JSP. Don O. ========================================================================= Date: Mon, 27 May 1996 20:38:18 -0400 Reply-To: JEFF YARBROUGH From: JEFF YARBROUGH Subject: Re: REQ: Great Dog Songs At 12:13 PM 5/27/96 -0600, you wrote: >I'm a dog lover compiling a list of songs about dogs. Any classic (old or >recent) blues recordings come to mind? All I've found so far are Robert >Johnson's Hellhound on My Trail and Little Milton's My Dog and Me, but >I'm not that knowledgeable about the blues. > >Suggestions, by email or newsgroup, about songs from other genres also >most welcome! > >Thanks, and Dog bless you. > > Peter, you asked for songs about dogs. I got a great cd for you. It's Scott Henderson's "Dog Party". It's on the Mesa Label. Great blues with humerous lyrics. Jeff. ========================================================================= Date: Mon, 27 May 1996 18:40:55 -0600 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Re: I'm mad, and here's why! Comments: To: cuthulu In-Reply-To: <31a7d6ff.101488482@news.prysm.net> A number of years ago (around 10) I was doing my weekly Blues and Jazz radio program. I was playing a poem by Charles Bukowski taken from a live reading he had done. Without meaning to, the next one played as well, a gem entitled "Shit and Death". I got a call from the station manager who suggested that I might be getting the station in hot water, something the small, community enterprise tried to avoid. I actually called the FCC in Washington to get the "official" word on the subject. The man I spoke with said they really didn't know how to handle "swear words". He said the "seven words" of George Carlin and the WBAI case were good guide lines though it had a lot to do with the time and nature of the radio program itself. I assumed from that that the code was pretty flexible. This means, of course, that it could bring pressure to bear in a random manner given the political mood of the "enforcers" or the times. But, it seems like a stretch to bust a guitar uttering profanity. (I would hope.) Jay Watterworth (One of the Sociology guys) CU Boulder On Sun, 26 May 1996, cuthulu wrote: > The other night, I'm doing my blues show. > > A listener calls and requests Albert Collins' "I Ain't Drunk." > > I've played it before off a compilation CD, but this time I decide to > play it off his "Icebreakers Live, '92 to '93," thinking it's the same > version. > > Well, with about a minute left in the song, he starts saying "mother > fucker" with his guitar. I fade it down and move on, pissed at myself > for being so lazy. > > My question is: > > Can we start a list of blues songs with lyrics that will get you in > trouble with the FCC. I know one we can start with:) > > > Kevan Smith > cuthulu@rlabs.com > the great purple hope for the blues > ========================================================================= Date: Mon, 27 May 1996 20:36:11 -0400 Reply-To: Stephanie Manna From: Stephanie Manna Subject: Downhome Bluesfestival I just got back from the 7th Annual North Alabama,"Down Home Blues Festival" held in Huntsville, back in the country, on the grounds of the Huntsville Dragway and surrounded by newly planted cotton fields, woods and little winding backroads. It was a great festival! I arrived after the music got kicking and missed Tim Cunningham and Micro-Wave Dave. James Peterson went on and started with "Don't Let The Devil Ride" and followed by getting off the stage and playing all through the crowd, much to their delight and surprise. To his surprise at the end of his set; James Peterson was presented with an award in recognition of his contribution of writing, performing and lifetime achievement in the music of blues. A very young Texas artist,(19 years old) Hamilton Loomis was up next and impressed the heck out of me with his stage presence and guitar work. Next up was one of my favorite performers, Bobby Rush. He had his full band and 1 dancer, and had the audience in the palm of his hand. Shirley Brown sat as she sang and storytold some of her hits. I have some of her CDs and her performance was just as good as her recordings, she's very sassy with a voice that soars! Willie Clayton had 'em rockin, with his big band and 3 female backup singers.He had a high energy, entertaining show and can sing like a songbird. I was impressed; by this point I was in awe at the amount of talent I had already seen for a $15 ticket and there was still more to come! At this point the stage was surrounded by police and the gate started bending as women crushed to the front to get closer to Marvin Sease. The gate stayed intact, thank goodness, but the women were going nuts! He's well known for a risque song,"Candy Licker" and his show is more risque. They loved him, I didn't (oh well, not my cup of tea). The Queen of the Blues was the final act and she was in looking great. I had a chance to talk with her before she went on. She told me a funny story about James Peterson's son, Lucky Peterson when he was only about 1 1/2 years old.She was working at the Governors House of Blues for the week, and baby Lucky slept with her and her husband and kept waking them up through the night wanting "pig feet". She took the stage, and owned it too! She did ,"Hound Dog" the way it was meant to be and did requests for the audience as well. I forget the name of the song, but Koko was rapping! Lee Parker has put on this festival for 7 years and he knows what he's doing! The grounds were nice, you could bring tents,umbrellas,chairs,blankets, small cooler. Folks were real comfortable and the food for sale was reasonably priced and good! I've read comments about black people not supporting the blues. This is not the case at the "Downhome". The majority of the audience were black and everyone had a great time. Don't miss it next year, its one of the best festivals I've ever been to, and I had a chance to see great performers I'd never seen before. In blues bliss,Stephanie Manna ========================================================================= Date: Mon, 27 May 1996 20:55:05 -0400 Reply-To: MB From: MB Subject: Mayfair/Big Jack Johnson Even though I live within walking distance to Allentown's Mayfair, I missed the earlier blues headliners - Chubby Carrier and Mike Dugan. Tonight both Big Jack Johnson and Queen Bee and the Blue Hornet Band are playing. We walked over to see BJJ. Since I wasn't familiar with Big Jack Johnson, I did a quick Internet look for him this afternoon. I found Vincent's photo collection and downloaded a .gif to get a look at Big Jack. We arrived a couple of minutes into the set and missed the opening announcements. There were three musicians on stage, drummer, bassist and a guitarist who was really smoking. He didn't look that much like Vincent's picture of Big Jack Johnson, but I attributed the discrepancy to the relatively low resolution of my old Mac's monochrome monitor. However after a couple of cuts all became clear as Big Jack Johnson, himself, appeared from behind the bandstand and took over lead guitar and vocals. IMHO that guy can really cook; much more energy than some other *name* bluesmen whom I've heard. I particularly liked his style of using a thumb pick only which frees his four fingers up picking or strumming. Near the end of the set, he put down his Epiphone in favor of *Big Red* and a slide. I didn't recognize Big Red's brand name, but it resembled a wide inverted VEE. All-in-all, a fine set. I felt as if I had heard a first-class bluesman. It appears that Big Jack Johnson plays a lot of blues festivals. Don't miss an opportunity to hear him. BTW, he will be in Bethlehem, PA at Godfrey Daniels on Friday, September 13th. Regards, MB _______ _______ ______ __ __ ______ _____ _______ _______ _______ | | | _ | __ \ |/ | | __ \ |_| _ | __| __| | | | < < | __ < | |__ |__ | |__|_|__|___|___|___|__|__|\__| |______/_______|___|___|_______|_______| MARK BLASS - ALLENTOWN, PA - blassms@ttown.apci.com - OPINIONS MY OWN ========================================================================= Date: Mon, 27 May 1996 23:05:36 -0400 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Live RealAudio Blues Radio I'm having the great pleasure at the moment to be listening *live* (as in real time, as in now!) via RealAudio the show "Juke Joint Blues" out of KLSU-FM in Baton Rouge, Louisiana. This three-hour show is on every Monday night from 9 pm to midnight (Central Time). What a great alternative for the blues radio deprived among us! The site is: http://www.audionet.com/pub/lsu/klsu/klsu.htm And you'll need the RealAudio software if you don't have it (it's free): http://www.realaudio.com and a 14.400 modem (28.800 is better) and a sound card and all that stuff. Wish I had a PC on my nightstand! *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Mon, 27 May 1996 23:53:34 -0400 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: A note to all! re: Goin' to Chicago Comments: To: bit-listserv-blues-l@uunet.uu.net Hi everyone. As you know, I was planning to go to Chicago this weekend. My plans have changed. My mother has had a massive heart attack and is in very critical condition. I must be with her. I am sorry I will not get the chance to meet a number of you, but I hope you have an incredible time. Please pray for my family and talk soon. Thanks, Lea Gilmore Baltimore, MD ========================================================================= Date: Tue, 28 May 1996 02:16:22 -0400 Reply-To: J Mac Mast From: J Mac Mast Organization: CampusMCI Subject: Re: Rev.Billy C.Wirtz question Comments: To: bit-listserv-blues-l@uunet.uu.net marc borms wrote: > > Heard some good pianoblues, played by Reverend C.Wirtz : > 'Cousin cupcake got the blues'. > I never heard before of this guy but I liked his style very, very much. > Who's this guy and who can point me to some of his stuff ? > > embee. > > ps. On which album plays A. Copley together with the T-Birds ? I've had the insane pleasure of knowing this wild man for about 10 years. First met him in a record shop in Raleigh, NC--hey was living in Cary, NC at the time. He was looking for material for his act while I was looking for old R & B. Me being a rather conservatively dressed person, he thought I might be a narc! Anyway the rockin reverend, while giving a halarious performance every time, plays one hell of jump blues piano. He has at least 4 cds out now on High Tone: Deep Fried & Sanctified HCD 8017 Backslider's Tractor Pull HCD 8024 A Turn For the Wirtz HCD 8042 Pianist Envy HCD 8051 If you get the chance to catch his act live, ask him to do "Rub a Little Boogie" and "Drinkin Little Woman". You won't be disappointed. Mac "Remember two wrongs dont never make it right, except in Fayetteville on Saturday night" The Rev. Billy Wirtz of the First House of Polyester and Throbbing Teen-Aged Desire. ========================================================================= Date: Tue, 28 May 1996 01:22:10 -0500 Reply-To: Wordsmith From: Wordsmith Organization: Evansville Online Subject: Re: Major/minor keys Comments: To: bit-listserv-blues-l@uunet.uu.net In-Reply-To: <960526223109_71552.541_EHL76-4@CompuServe.COM> On Sun, 26 May 1996, Newman/Rabson wrote: > Yeay - one of the things which I love about blues is that it mixes major and > minor and becomes so haunting sounding. Pianist Walter Davis sometimes > appears IMHO to be playing a minor chord in one hand and a major chord in > his other hand (sometimes 1 major and the 5 or 2 minor ). I'm not sure > this is true (by the way) I'm no scholar but I ripped it off just the same). Yes, that's about what it is. A 13th chord, used in blues and jazz, is little more than a Imaj7 with a IImin triad piled on top of it. Sounds so good! Out here in Evansville the music is mostly country and old rock; plain-vanilla I-IV-V progressions. Sometimes I feel I haven't heard a 13th in years! --Eric ========================================================================= Date: Tue, 28 May 1996 04:05:15 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: REQ: GREAT DOG SONGS > > From: Mike Curtis > > > Also, there's one (I think) by Larry Davis where he talks through a > > section > > about being kicked out by his wife for staying out late, smelling of > > "bar > > funk", and conversing futilely with his dog about staying in the dog > > house. > >That's Larry Garner's "Dog House Blues" off his Too Blues CD on JSP. > >Don O. And maybe that harks back to Hank Williams' Move It On Over', where he sings, also following a bustup with his wife, 'move over little dog, 'cause the big dog's movin' in'. Chris Smith (chris@skerries.demon.co.uk) 'This country is full of decent, trusting people. And besides, we don't have to tell them the truth.' (Michelle Pfeiffer in 'Love Field') ========================================================================= Date: Tue, 28 May 1996 01:30:41 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Major/minor keys Comments: cc: wiford@AOL.COM Bill Ford wrote: >I have never thought there was any difficulty knowing if a blues piece was >in a major or minor key. If, for instance in the key of C, you play a C >minor triad on top of a C major triad, which is very common in blues, >there is no reason to think of the key as being ambiguous in terms of >whether it is a major or minor. I was arguing from a strict theoretical position. If the chord is a I7, you can play a blues scale over the top. The blues scale has a minor third, I7 a major third. Hence the ambiguity. Even better, go listen to Magic Sam's, "All You Love"(A different song from the Otis Rush number of the same name). It is very hard to tell whether the key is minor or major. >The minor on top won't work unless the >major is there for a foundation. The key remains solidly the same. Yes, but even though the tonic is in C, what is the key? Major? Minor? Modal? You can't accurately state whether the key is major or minor. The third shifts constantly, the five moves as well, the seventh is flat but of you play a V7, it becomes major again. Writing out a blues solo is hell for transcribers. What key signature are you going to use? The number of accidentals is going to be tremendous. >On the other hand, I cannot off the top of my head, (correct me if I'm wrong) >think of any blues progressions where the major third (I chord) works on >top of a minor. If the I is changed to a minor, then not only the key, >but the whole feeling of the piece is changed as well. To test this >theory, chart the piece and look at the key signature you decide upon. You >won't have any problem picking between a major and minor. It doesn't work. The minor third is very powerful! Minor blues are minor. Forget about the major third. But when the tonic is a dominant 7 chord, mess with the third, I say. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Tue, 28 May 1996 01:30:48 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Corey Harris interview. Rap ain't blues. Comments: To: Glenn Adams Glenn Adams wrote: >While I am deeply in love with Corey's Alligator album and I listen to it >frequently, I really have to strongly disagree with his statement in the >Living Blues interview (#126 March/April 96) that rap music is modern >blues for black youth in the 1990s. Corey states that rappers such as Ice >Cube are bluesmen telling the story of their life experience just as >bluesmen have been doing for the last several decades. > While I would agree that Ice Cube may be relating stories from his >life experience, Ice Cube certainly is not a bluesman. The blues are the >blues and rap is rap. I have been a blues fan since before Corey was born >and I personally dislike rap. Rap ain't blues. It never has been and it >never will be. I am suprised that a musician and songwriter of Corey's >caliber could make a statement like that. Chris Adams wrote the response I wanted to write (and worded it better) when he said that Harris was talking about function rather than form. There are a few of artists that I consider to be blues in terms of function. Their music has a feeling, or an essence, that I call the blues. IMHO, of course. While I don't like all rap/hip-hop, there are and has been a lot of great rap/hip-hop artists. I know a lot of people don't like the music and I have my opinions as why. But I agree with Corey Harris on this one. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Tue, 28 May 1996 01:38:23 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Major/minor keys Comments: To: Wordsmith Eric wrote: >Yes, that's about what it is. A 13th chord, used in blues and jazz, is >little more than a Imaj7 with a IImin triad piled on top of it. Sounds so >good! Out here in Evansville the music is mostly country and old rock; >plain-vanilla I-IV-V progressions. Sometimes I feel I haven't heard a >13th in years! Hhhm. I would say that a thirteenth chord is spelt 1,major3, 5, b7, 9(2), 13(6). If you put a II minor triad on top of a Imaj7 then things get word. In C, for example, you would get the 3 and the 4 in the same chord. A little strange I think. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Tue, 28 May 1996 01:41:51 -0700 Reply-To: Stan Ruffo Comments: RFC822 error: TO field duplicated. Last occurrence was retained. Comments: RFC822 error: TO field duplicated. Last occurrence was retained. Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Stan Ruffo Subject: BOT Playlist 5/26/96 Comments: To: Dan Jacobson - email , Sony Music , Stan Ruffo Stan Ruffo Productions 800 N. Ben Maddox Way, Suite 2200 Visalia, California 93292 ph.(209) 625-6049 steamin@valleynet.com / www.valleynet.com/~steamin PROGRAM: "Blues On Tap" w/ Steamin' Stan Ruffo STATION: KIOO 99.7FM (Kay-eye-oh-oh), Visalia, CA SUBJECT: Playlist 2196 - Commercial Radio DATE & TIME: Sunday - May 26, 1996 8pm - 10pm Artist Title Label Track Johnny Dyer Jukin' Blind Pig 5 Mitch Woods Shakin' the Shack Blind Pig 2 Studebaker John Tremoluxe Blind Pig 7 Doug MacLeod You Can't Take My Blues AudioQuest 1 Lee Rocker Atomic Boogie Hour Black Top 2 Floyd Dixon Wake Up And Live Alligator 1 Little Anthony & Sugar Ray Take It From Me Tone-Cool 2 Madcat & Kane Key To The Highway Schoolkids 7 Alvin Youngblood Hart Big Mama's Door Okeh 2 Camille Howard X-Temporaneous Boogie Specialty 3 Bo Diddley A Man Amongst Men Atlantic 3 Garry & The Moodswingers Go Fever Bluelight 7 Amos Garrett Off The Floor Live Stony Plain 1 Bo Dollis Louisiana Spice Rounder 1-12 Radio Kings Live At BB Kings Icehouse 1 TJ Parker Last Time It's Gonna Rain Icebone 3 Saffire Cleaning House Alligator 10 The Movers Blues That Moves Independent 5 Billy C. Wirtz Songs of Faith and Inflam Hightone 8 Paul Black King Dollar HOB 7 Gary Primich Mr. Freeze Flying Fish 2 Howlin Wolf Rides Again Flair/Virgin 7 Ray Charles Berlin 1962 Pablo 10 Willie May Blue Decade Booman 1 Little Johnny Lawton No Mercy Corn Bread 2 Blues On Tap reports to Living Blues and The Hard Report. This playlist is also available at the following record stores in Visalia. Disc Jockey, Wherehouse Entertainment, and Ragin Records. ========================================================================= Date: Tue, 28 May 1996 06:35:51 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: NY CD Blues - Update. For anyone interested, we have just installed the following reviews from Stony Plain, Blind Pig, JSP, Wolf and Delmark along with complete blues catalog listings for the labels below. There are currrently 26 labels up at our site and you can download them all direct. As you know you can also order your CD's right off the site from Strategy Records rather inexpensively, as well as other blues titles you are looking for. As stated before, we have no financial or other interest in either Strategy Records or any of the labels covered. Just making the blues a little more accessible to everyone. ----------------------------------------------------------------- New reviews - E.C. Scott - Come Get Your Love Blind Pig #5019 Chubby Carrier - Dance All Night Blind Pig #5007 Studebaker John & the Hawks - Outside Lookin' in Blind Pig #5022 Preacher Boy - Preacher Boy & the Natural Blues Blind Pig #5017 Joanna Connor - Fight Blind Pig #5002 Gospel Hummingbirds - Taking Flight Blind Pig #5023 Mitch Woods & His Rocket 88s - Shakin' the Shack Blind Pig #5008 Debbie Davies - Loose Tonight Blind Pig #5015 Frankie Lee - Going Back Home Blind Pig #5013 Jimmy Thackery & the Drivers - Trouble Man Blind Pig #5011 Long John Baldry - It Still Ain't Easy Stony Plain #1163 Holmes Brothers - Lotto Land Stony Plain #1223 Maria Muldaur - Jazzabelle Stony Plain #1188 Maria Muldaur - Sweet and Slow Stony Plain #1183 King Biscuit Boy - Gooduns Stony Plain #1222 Jim Byrnes - That River Stony Plain #1219 Jimmy Witherspoon - Spoon's Blues Stony Plain #1211 Long John Baldry - On Stage Tonight Stony Plain #1192 Walter Horton - With Hot Cottage Stony Plain #1208 Downchild Blues Band - Gone Fishing Stony Plain #1139 Compilation - Blu Lu, Wee Bea & Baby Dee Delmark #684 Compilation - Willie Bryant Blues Around the Clock Delmark #685 Wynonie Harris - Everybody Boogie Delmark #683 Nick Holt - You Better Watch Yourself Wolf #120.883 Houston Stackhouse - Big Road Blues Wolf #120.915 L.V. Banks - Let Me Be Your Honey Bear Wolf #120.887 Butterbeans and Susie - Elevator Mama, Switchboard Papa JSP Jay Gordon - Blues Infested Blue Ace #91727 Jay Gordon - Jaywalkin Blue Ace #91728 ----------------------------------------------------------------- New Labels and Catalogs - Bullseye, Earwig, Icehouse, Ichiban, King Snake, Pointblank, New Moon, Rooster, Rykodisc, Tone-Cool, Tradition and Wild Dog. ----------------------------------------------------------------- Next month the following reviews should be up, along with selections from all of the above listed labels. John Lee Hooker - Boom Boom Pointblank #86553 John Lee Hooker - Mr. Lucky Pointblank #86237 John Lee Hooker - Chill out Pointblank #40107 Roy Rogers - Rhythm & Groove Pointblank #41494 Percy Sledge - Blue Night Pointblank #39871 Johnny Winter - Hey, Where's Your Brother? Pointblank #86512 Johnny Winter - Let Me in Pointblank #86244 Marva Wright - Born with the Blues Pointblank #88120 Compilation - Bluesmen & Rhythm Kings Ichiban #1191 Compilation - Play the Blues! Ichiban #1189 Compilation - Wild Women Do Get the Blues Ichiban #1190 Vernon Garrett - Caught In A Crossfire Ichiban 1128 Vernon Garrett - Too Hip To Be Happy Ichiban 1169 Theodis Ealey - Headed Back to Hurtsville Ichiban 1147 Clarence Carter - Hooked On Love Ichiban 1016 Clarence Carter - Between A Rock & A Hard Place Ichiban 1068 Jerry Mccain - Struttin' My Stuff Ichiban 9020 Travis Haddix - A Big Ole Goodun' Ichiban 1168 Gary B.B. Coleman - One Night Stand Ichiban 1034 Gary B.B. Coleman - Romance Without Finance Is ... Ichiban 1107 Artie White - Thangs Got To Change Ichiban 1044 Chick Willis - Holdin' Hands With The Blues Ichiban 1134 Trudy Lynn - First Lady Of Soul Ichiban 1180 Drink Small - The Blues Doctor Ichiban 1062 Willie Clayton - No Getting Over Me Ichiban 1182 Noble "Thin Man" Watts - King Of The Boogie Sax Wild Dog 9102 ----------------------------------------------------------------- P.S. Our new CD giveaway is Little Jimmy Reed's School Is Out on Vent Records and Roosevelt "Booba" Barnes' The Heartbroken Man on Rooster Blues. The game is also the easiest so far. Just a simple opinion poll. Hope you enjoy. Last month's game winner was James Carmin. Way to go James and thanks for playing. As they say in the trade Jim "the discs are in the mail." Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 27 May 1996 08:28:53 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: That Best Ever crap IMHO there is nothing wrong with someone posting that so and so is the greatest ever. Why would it not be, this whole list is usually based on opinion. When someone reviews a show or cd and says it's good, then is that not based on an opinion just like the best ever. How dare you say So & So's is great, I don't agree....How can you trash them their great...It's all a matter of opinion and very little postings are factual. So if John Doe thinks Keb Doe is great, then that's his opinion. Whats wrong with that. If Don thinks Vanilla Ice is the greatest or Troy Kelly thinks SRV is ther greatest, who can tell Don or Troy that THEIR opinion is wrong. That's ridiculous. If we start questioning somones right to their opinion, then we might as well "close up shop"...Heck the same people who were saying no more greatest threads were basically saying one political party was "the best ever"...It's a double standard on Blues-l. So if we are to continue with letting people speak their opinion, then where we will we draw the line. I see no difference what-so-ever in someone saying a particular CD is great, when others think it's lame...It's an opinion, so let others have their opinion....I recall one person saying a prticular guitar amp was greatest, then complains cause someone said SRV was the greatest. How can you say a particular amp is the greatest, when we I think it's not the greatest... LW 'posted with a friendly attitude' ========================================================================= Date: Mon, 27 May 1996 10:30:44 EDT Reply-To: Wayne Winkler From: Wayne Winkler Organization: East Tennessee State University Subject: I'm mad and here's why! This sure evolved into a heavy discussion, didn't it? Kevan's original point about lyric content is one that has occurred to all blues DJs (at least in the bluenose USA), but I don't worry too much about it. I have a sometimes dangerous habit of auditioning new material on the air, and sometimes get surprised (Karen Carroll's cover of "Love Her With A Feeling' may have blistered a few ears), but in 15 years of hosting a weekday afternoon blues program, I've never received a serious complaint concerning language. I do try to avoid playing REALLY nasty stuff in mid-day - we save that for late night. Uncle Ray's point about violence (particularly toward women) in blues lyrics poses a more serious ethical question. Those of us responsible for presenting the blues on the air are faced with a dilemma - do we censor (refuse to play) certain songs, or do we air them and thereby seem to be promoting such behavior? The unfortunate fact is that violence, particularly toward women, was an aspect of the bluesman's life, an aspect that was often reflected in his music. This is true not only in the blues, but in other forms of music as well. I once got a call from a listener complaining about Pat Hare's "Murder My Baby." I knew this listenr to be an avid fan of our Saturday afternoon opera broadcasts, and I asked her why she didn't complain when we devoted four hours to tales of rape, murder, incest, etc. A fairly snappy comeback, but it doesn't really address the question. I don't claim to have the RIGHT answer - I'll be interested to see how other blues broadcasters deal with this question - but I play the songs and try to address the violence when I talk about the songs. I mean, how can I NOT play Robert Johnson's "Me and The Devil Blues" - the threat of violence is part of the tension and beauty of the song. When I back announce that song, or "Murder My Baby" or any other song of that sort, I try to put the violence in its cultural/historical/sociological context - and usually follow with some Saffire or other feminist blues. As much as I abhor violence, I recognize it as a part of the blues tradition and as such, some of that is going to be reflected in my programming. For whatever it's worth, I would never play a modern blues song that reflected violence toward women - I expect modern bluesmen to know better. Wayne Winkler "Blue Monday," WETS-FM Johnson City, TN ========================================================================= Date: Tue, 28 May 1996 11:58:35 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: I'm mad, and here's >Date: Tue, 28 May 1996 11:57:57 +0100 >To:thf4@WATERVALLEY.NET >From:Bo.Carlsson@hks.se (Bo Carlsson) >Subject:Re: I'm mad, and here's > > Far too often it is violence against >>women, and often presented in humorous terms (the Memphis Jug Band >>sang "I Whipped My Woman With A Singletree," a singletree being the >>bat-like, metal-studded front part of a harness), > Hmm. I don=B4t think this is about violence. Its about love-making. Another question is way men (bluesmen and others) so often describe erotism in violent thermes. (banging ets.) Bo ========================================================================= Date: Tue, 28 May 1996 07:43:26 -0400 Reply-To: smirkyface From: smirkyface Subject: MojoBluesBand? I'm just wondering if anyone else out there has heard of the MojoBluesBand? This band hails from that blues mecca AUSTRIA. I just got their latest CD "RYTHM & BLUES PARTY, THE JAZZLAND SESSION, it features Red Holloway on sax and was recorded live at the Jazzland in Austria. This CD will be their tenth release to date and they're trying to get together a US tour. If anyone's interested in booking them, I can put you in contact with their US contact person. Standard Disclaimer Applies, blah blah blah, yakkity shmakkity. p.s. did I mention that I like the CD? BRIAN MCLEAN PHOTOGRAPHY & SMIRKYFACE PRODUCTIONS "life's too short to live the blues" http://www.netaxs.com/~blmclean ========================================================================= Date: Tue, 28 May 1996 08:43:17 -0300 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: That Best Ever crap In-Reply-To: from "Leonard Watkins" at May 27, 96 08:28:53 am > IMHO there is nothing wrong with someone posting that so and so is > the greatest ever. Why would it not be, this whole list is usually > based on opinion. When someone reviews a show or cd and says it's good, > then is that not based on an opinion just like the best ever. > [...] If Don thinks Vanilla Ice is the greatest or Troy Kelly thinks > SRV is ther greatest, who can tell Don or Troy that THEIR opinion is > wrong. That's ridiculous. Feel free to argue with this statement: "Jack Owens is the greatest living folk blues singer." But don't bother arguing with this one: "I enjoy Jack Owens' singing more than that of any other living folk blues singer." See the difference? The first statement has been presented as fact, the second as opinion. -Rob ========================================================================= Date: Tue, 28 May 1996 07:41:42 -0500 Reply-To: EARTH JUICE From: EARTH JUICE Subject: An Invitation/Introduction Comments: To: efl@IX.NETCOM.COM, EBLX86D@prodigy.com, bdwyer@nersp.nerdc.ufl.edu, acecsr@bitmailer.net, cj2irela@mechanical.watstar.uwaterloo.ca, TMACKLIN@jcvaxa.jcu.edu, damien@primenet.com, bambi@sirius.com, elson@westworld.com, rojoamor@einstein.com.ar, gwiz@dorsai.org, ozzie@inch.com, janski@niksula.hut.fi, jra@europa.com, jbowie@fred.net, mw@eis.net.au, vampidem@usa1.com, AESK83A@prodigy.com, wayne.hicks@prodigy.com, pyramus@wavenet.com, revolut@magicnet.net, rs1@mrc-lmb.cam.ac.uk, acid-jazz@ucsd.edu, blackexperience@listserv.prodigy.com, KXNN35A@prodigy.com, t-bird@salata.com, fchan@griffin.multimedia.edu -- [ From: Earth Juice * EMC.Ver #2.10P ] -- Expanded recipient data: To: Cottonlung@aol.com \ America On-Line: (Cottonlung) To: DJ FLIP1 \ PRODIGY: (VFCN49A) To: Earth Juice \ PRODIGY: (VPKZ84A) To: Karen King \ PRODIGY: (GLPZ88A) To: Kevin Amos \ PRODIGY: (VPKZ84B) To: Shixson362@aol.com \ America On-Line: (SHixson362) To: Tony Taylor \ PRODIGY: (CZHP90A) Hi There I'd like to introduce myself to you. My name is Bob Davis and I am also a big fan of for lack of a better name "Funk/Jazz-Rock/Black-Rock/Jazz-Funk" or whatever name you want to give to it !!! That means everything from Hendrix to Issac Hayes to Tom Browne to Lakeside to Ohio Players to D'Angelo to Billy Cobham to the Bar-Kays to Public Enemy to Passport to Booker T and the MG's to Living Colour to Stevie Ray Vaughn to James Brown to Al Green to Weather Report & everything in-between. At any rate we are just starting a new area on Prodigy dedicated to "Funk Music". This will include a Web page, Bulletin Board, Bi-weekly chats (with guests), Mailing lists, etc. Our very first (virgin) chat session will be on Wend. May 29 at 9pm on Prodigy in the Funk chat room in the "Music - Urban" area. The general topic will be "Evolution Of Funk". We will be back again on Saturday night June 1 at the same time and place for round 2 !!!! Come and check us out if you are on Prodigy and if you aren't..........grab one of those diskettes gathering dust in the corner and take advantage of your "10 free hours" and check us out !!!! I really appreciate the input some of you "early viewers" have given me on the web page http://pages.prodigy.com/funk (you will see some of your input reflected there shortly) For those of you who haven't checked it out yet feel free to give us input !!!! eel free to check out our page (still under construction) at http: //pages.prodigy.com/funk This will give you some idea where we are trying to go. Peace Bob P.S. - if you do not wish to be on this mailing list just respond with a reply stating so. ========================================================================= Date: Tue, 28 May 1996 08:35:52 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: That Best Ever crap Comments: To: Rob Hutten In-Reply-To: <199605281143.IAA01435@iceberg> On Tue, 28 May 1996, Rob Hutten wrote: > Feel free to argue with this statement: > "Jack Owens is the greatest living folk blues singer." > But don't bother arguing with this one: > "I enjoy Jack Owens' singing more than that of any other living folk > blues singer." Why can't we just read both as opinion and not start any u-no-whats here. When someone says so-and-so died on xx/xx/xx or so-and-so re- corded this-and-that that's fact. The onus can be on the writer or it can be on the reader - each one of us gets the call for each and every post that comes our way. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 28 May 1996 08:41:17 -0400 Reply-To: DMIELE From: DMIELE Organization: Exxon Research & Engineering Subject: Johnny "Clyde" Copeland 5/24 Comments: To: bit-listserv-blues-l@uunet.uu.net First thanks to all those who responded to my dilemma about who to see (Copeland, Gatemouth Brown, or Luther Allison). I've decided to go for 2 out of 3 (I'll just have to catch Luther another time). So when I arrived at the Stanhope House Friday night and inquired about Johnny Copleand's condition, I was told that he was supposed to be doing well and was expected to perform. The band took the stage at about 10PM and announced that Copeland would open the show and that his daughter, Shamika (sp?) who usually opens, would play the second set. The band played one instrumental, then Shamika sang about 3 or 4 tunes. She was very impressive, with a smooth yet powerful voice, especially for a 17 year old! Then Johnny walked slowly up to the stage. He strapped on his guitar and used a stool to alternately lean against or sit on. He was in good spirits, but on the first tune his tone seemed muffled and his playing was weak. The audience was very receptive, though and you could tell he appreciated it. Before the second song he adjusted the controls on his guitar and amp and really improved the tone. By the third song, Johnny was feeding off the audience's energy and he really came alive. He ended up putting on a wonderful show full of great playing and a real feeling of warmth between performer and audience. By the last tune, the crowd was on their feet, repeating the refrain "The rich get the Blues, the poor get the Blues, You get the Blues, and even I get the Blues", while Johhny stood there taking in their appreciation and good wishes. It was quite an emotional moment. I'm glad I did not miss this one. ========================================================================= Date: Tue, 28 May 1996 06:39:30 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: I'm mad and here's why! >Uncle Ray's point about violence (particularly toward women) in blues lyrics >poses a more serious ethical question. Those of us responsible for presenting >the blues on the air are faced with a dilemma - do we censor (refuse to play) >certain songs, or do we air them and thereby seem to be promoting such >behavior? Just a point on this - a disk jockey refusing to play a song isn't censorship, it's a matter of choice. >As much as I abhor violence, I recognize it as a part of the blues tradition >and as such, some of that is going to be reflected in my programming. For >whatever it's worth, I would never play a modern blues song that reflected >violence toward women - I expect modern bluesmen to know better. I can see your point on this one, but don't you think that this attitude is somewhat patronizing? 'Well, they didn't really know better back then'. Fact is, they did know better, just as most people do today. To say they didn't know that 'murdering my baby', 'whuppin her in the morning'... was wrong and definitely not something to brag about is a little bit condescending. That being said, I agree that this is a thorny issue. The same kinds of violence and mysogyny that I (and many others) decry in the world of rap, are in fact present to a certain degree in songs throughout the history of the blues. There is a difference, however, IMHO (and this may just be my own attempt to justify my listening habits) - I think a lot of the more debatable blues lyrics had a different tone than the hatred that's spewed by people like 2 Live Crew (the only reason why I specifically mention these artists is that I have transcriptions of some of their lyrics, and they are horrific to say the least). My collection of blues recordings is not nearly as vast as some of you on Blues-L, but I'm not aware of any blues song that advocates violence for the sake of violence, rape as being humourous and entertaining, and other degrading lyrics (to women and _all_ people)... does anyone have any examples? As for Albert Collins guitar saying nasty words - I haven't heard this one, but I honestly can't see it as being a problem (sounds funny to me, anyway). Looking forward to reading other thoughts on the issue - interesting discussion! -Jim (hndful@uniserve.com) ========================================================================= Date: Tue, 28 May 1996 09:27:38 -0400 Reply-To: TDominey From: TDominey Organization: America Online, Inc. (1-800-827-6364) Subject: Re: I'm mad, and here's why! Comments: To: bit-listserv-blues-l@uunet.uu.net Being a blues dj myself, I've run into some thorny phone calls from angry listeners concerning content, especially some of the blues songs. I received a call from a man who was dying to hear Albert Collins "Brick" one time. He asked me to dedicate it to his lovely wife. In the flury of doing a show live on the air, I put the CD on, and made the dedication without remembering the chorus of the song. Basically, the chorus, as I'm sure many of you know, is along the lines of "If you wrong me again, I'll throw a brick upside your head." He called back, happy as a clam, and me feeling pretty embarassed. There is some humor to it, but it is not something I wish to repeat. Since that time, I always try to put more emphasis on the female blues artist pressence on the program, almost like a response to the previous content. That seems to help balance it out. ========================================================================= Date: Tue, 28 May 1996 08:51:30 -0500 Reply-To: Vicki Bean From: Vicki Bean Organization: inlink Subject: Re: Etta James Discography Comments: To: bit-listserv-blues-l@uunet.uu.net In article <960527032537_71552.541_EHL95-2@CompuServe.COM>, Newman/Rabson <71552.541@COMPUSERVE.COM> wrote: > Can anyone out there provide me with a discography of Etta James' work? > > Ann Ann, I just finished reading Etta's book, "Rage to Survive," and there is a selected discography in the back of the book. It's a pretty good book, especially if you're an Etta fan. If you can't find the book, or don't wish to purchase it, please let me know and I will be happy to fax or write back with the information. Thanks. Vicki -- vbean@sheltonbbs.com ========================================================================= Date: Tue, 28 May 1996 09:50:41 -0400 Reply-To: Ian Angus From: Ian Angus Subject: Canadian Blues List Announcing the MAPLE BLUES LIST! The Toronto Blues Society is pleased to announce MAPLE BLUES, an Internet mailing list which is exclusively devoted to the discussion of blues music in Canada. It is open to anyone, but will be particularly oriented to performers, agents, event organizers, record companies, recording industry specialists, radio hosts, reviewers and writers. To participate in Maple Blues, you must first SUBSCRIBE. To do that, send an e-mail message to majordomo@io.org The body of the message should contain just one line: subscribe MAPLEBLUE-L You will receive a response which confirms that you are subscribed and which provides additional information on how to participate. ---------------------------------------------------- PS: Just in case anyone is wondering, this is not an attempt to "split the list" or anything of the sort. Maple Blues (which I am administering) will encourage people to take part in Blues-L. The new list is for people who are specifically interested in the Blues in Canada. People from other countries are welcome to participate, especially industry people (record companies, artists, promotors) who want to get their information out to radio programmers, bookers, etc. in Canada. Ian Angus "Built for Comfort, Not for Speed" ========================================================================= Date: Tue, 28 May 1996 07:08:24 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: eRIC's BLUES DATES: May 28 >CICCHETTI, LOUIS E. (prod/REGENTS/ELGINS) d. 1991-0528, CHARLESTON, SC 72 Any relation, Don? >WALKER, T-BONE (g/p/songw) b. 1910-0528, LINDEN, TX And a happy birthday to the greatest blues guitarist ever :-) !!! -Jim (hndful@uniserve.com) ========================================================================= Date: Tue, 28 May 1996 07:11:42 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: May 29 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BOSTIC, JOE (gospel/promoter) d. 1988-0529, SOUTHHAMPTON, NY 79 BROOKS, DAVID "BUBBA" (tsax) b. 1922-0529, FAYETTEVILLE, NC JACKSON, REBBIE (v) b. 1950-0529, GARY, IN KENNEDY, JOHN F. (president) b. 1917-0529, BROOKLINE, MA LEVY, RON(keyd/g/prod/BULLSEYE BLUES REC) b. 1951-0529, CAMBRIDGE, MA LIEBERSON, GODDARD (ceo/CBS/SONY) d. 1977-0529, NEW YORK CITY, NY 66 LUCAS, BILL "LAZY" (p) b. 1918-0529, WYNNE, AR PALMER, JACK (songw/JUMPIN' JIVE) b. 1900-0529, NASHVILLE, TN REDD, FREDDIE (p/TINY GRIMES) b. 1928-0529, NEW YORK CITY, NY ROCKWELL, TOM(owner: GENERAL ARTISTS CORP d. 1958-0529, NEW YORK CITY, NY 57 SALLEY, LEO (tpt/arr) b. 1921-0529, NEWARK, NJ SEEGER, ANTHONY(ceo/SMITHSONIAN/FOLKWAYS) b. 1945-0529, NEW YORK CITY, NY VONSCHMIDT, ERIC (g/songw) b. 1930-0529, WESTPORT, CT WRIGHT, EUGENE (b/GENE AMMONS/BRUBECK) b. 1923-0529, CHICAGO, IL ZIVANOVIC, BRANKO (owner : BELLAPHON REC) d. 1993-0529, FRANKFURT, GERMANY 70 ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 28 May 1996 14:03:56 GMT Reply-To: Walt Fritchen <102677.204@COMPUSERVE.COM> From: Walt Fritchen <102677.204@COMPUSERVE.COM> Organization: CompuServe, Inc. (1-800-689-0736) Subject: Re: Kim Wilson residence. Comments: To: bit-listserv-blues-l@uunet.uu.net Don't know about Massachusetts, but Kim Wilson is originally from Detroit. I first ran across him in the early 70's in the Minneapolis music scene before he departed for Austin...it would surprise me how ANYONE could leave Austin for ANYWHERE else....IMHO ========================================================================= Date: Tue, 28 May 1996 09:32:36 +0000 Reply-To: thf4@WATERVALLEY.NET Comments: Authenticated sender is From: Tom Freeland Subject: Is Blues-L sleeping? Ok, folks, I have blues-L moved to my internet provider and am now wondering: Is blues-L taking a Memorial Day nap? Or is my internet provider not getting me the mail? I have basically two message in the lasat 13 hours. And very few yesterday. Maybe it's that P.W. Fenton is on vacation? Tom Freeland ========================================================================= Date: Tue, 28 May 1996 09:53:00 EST Reply-To: mstringer@HEARST.COM From: Mark Stringer Subject: Hubert Sumlins solo gig Hubert Sulin -Terra Blues, Friday May 24 What's a three hour Sumlin solo gig like?--like a dimond out of its setting. Swashes, twirls and splinks of notes sprang sputterinly from the guitar. Lots of space and silence. Each tune/passage Sumlin followed with chuckels and shrugged shoulders. He seemed to have fun and so did I. Especially exciting was his single 12 bars of Killing Floor. Someone get this guy a band. Mark ========================================================================= Date: Tue, 28 May 1996 10:51:49 EDT Reply-To: Dan Brown <103043.3271@COMPUSERVE.COM> From: Dan Brown <103043.3271@COMPUSERVE.COM> Subject: Canned Heat On the Road Again Canned Heat is doing a short US tour this summer. Here are some dates and places: Sunday June 2, 1996 Grand Emporium 3822 Main Kansas City, MO 64111 Saturday June 8, 1996 Zyphyr Club 301 South West Temple Salt Lake City, UT 84101 Monday June 13, 1996 The Hot Spot 2150 Fairfield Ave. Fort Wayne, IN Saturday June 8, 1996 Sugar House 13th E. adn 21st So. Salt Lake City, UT Sunday June 9, 1996 Sunnyslope Blues Festival St. Chappele Winery Caldwell, ID Friday June 14, 1996 Backstage Cafe 133 West Liberty St. Louisville, KY Saturday June 15, 1996 Ramada Resorts & Conference Center/ Executive Inn One Executive Blvd. Owensboro, KY Saturday June 29, 1996 The Wild Duck 169 W. 6th Ave. Eugene, OR 97401 July 1 & 2, 1996 Yale Hotel 1300 Granville Vancouver, BC V6ZIM7 Wednesday July 3, 1996 Waterfront Blues Festival Tom McCall park Portland, OR Thursday July 4, 1996 4th of Jul'Ivar Myrtle Edwards Park Seattle, WA Friday July 5, 1996 Detour Tavern 221 Main Ave. South Renton, WA 98055 ========================================================================= Date: Tue, 28 May 1996 11:05:46 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: I'm mad, and here's >>Date: Tue, 28 May 1996 11:57:57 +0100 >>To:thf4@WATERVALLEY.NET >>From:Bo.Carlsson@hks.se (Bo Carlsson) >>Subject:Re: I'm mad, and here's >> >> Far too often it is violence against >>>women, and often presented in humorous terms (the Memphis Jug Band >>>sang "I Whipped My Woman With A Singletree," a singletree being the >>>bat-like, metal-studded front part of a harness), >> >Hmm. I don=B4t think this is about violence. Its about love-making. Another >question is way men (bluesmen and others) so often describe erotism in >violent thermes. (banging ets.) >Bo I never thought of it that way, and you may be right that's it's about lovemaking; but that doesn't mean it's not also about violence and who has the power and who doesn't. You raise the right question when you mention the description of sex in terms of violence, IMHO. Chris Smith (chris@skerries.demon.co.uk) 'This country is full of decent, trusting people. And besides, we don't have to tell them the truth.' (Michelle Pfeiffer in 'Love Field') ========================================================================= Date: Tue, 28 May 1996 10:26:28 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: DC Blues Society Band Gigs Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com The DC Blues Society has its first gigs in early June. We will be at the Washington Folk Festival in Glen Echo, MD on Sunday June 2. I think we start at three PM, and the festival is free. We'll be at Taliano's, in Takoma Park, MD Friday June 7. The cover for that show will probably be $5.00. Come on out and support local music! -Steve Levine ========================================================================= Date: Tue, 28 May 1996 11:13:30 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: How to advertise a blues jam? My band, Gate Street Blues, is currently hosting a blues jam at Zoots in Billerica, Mass, for a coupla months, and this is an interesting question by Shannon. This is the first time for us (the band) and the first try at an open jam by the club as well. I don't know what the club has done, except for some ads in local musician rags, but we've had a terrific turnout by some really top area names! This surprises me, because the timing is awful, in my opinion. I rarely even go to this jam, I'm a family guy and don't dig working Sunday nights. I let the other fellas grab all the glory, since they're such eager beavers. Shannon's question remains....what attracts you to a blues jam? For me, top of the list has to be club reputation. On the odd occasion that we're not committed somewhere else and I feel like a jam, I go to one or both of this area's best jams because of the reputation of the club and the fact that it attracts great players (that I can learn from)..AND!...that there's a BIG blues-lovin' crowd there, supportive of new faces. I hate playing to an empty room. Even on Sunday nights, these places are jumpin! Next, location. Any more than half hour drive is too much. Decent free parking is a must as well. Day of the week and time. Sundays are real popular around here although midweek jams are out there too. And Sunday jams always start early, end early. Cover charge. NOt a chance. :( Even if I'm there for fun or to learn from somebody by watching, if I'm playing, I'm not gonna pay a cover charge. If I'm onstage playing and singing, then I'm part of the entertainment that's keeping people in the club drinking and dancing, so don't axe me to pay a cover. In fact, one of the places I jam, they repeatedly pass a hat and pay YOU, the guest artists, even if it's only a token few bucks to cover your brewskies. That's a classy thing to do, IMO. Also very important is a friendly, supportive host band. I've played places (*ahem* a well-known place in Worcester, starting with a G______s) that make you sit and wait til the host band is good and ready, or tired of playing their own sets, and then maybe they let you up, IF they know you. And then let you just play along, rather than call a tune. I hate to pull attitude on anyone, but man, I've turned down gigs in nicer clubs than this particular dive. So anyway, not to belabor it, but a FRIENDLY host band is critical. Check your ego at the door. Lastly, things like PA system, a guest amp to use, etc, are all niceties that are greatly appreciated and any decent host band/club MUST provide to keep things running smoothly and minimize downtime between guest players. Nice lighting even helps set the mood. That's all for now! Enjoy the short week, Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 28 May 1996 15:23:00 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: Bobby Radcliff? Comments: To: bit-listserv-blues-l@uunet.uu.net Yes, yes - I saw Bobby Radcliff on Friday night (May/24) @ the Bayou in Mt. Vernon, Westchester County, NY. He was real good (well, I liked him) he plays regularly in NYC as he is resident there. I intend write a "MyVIEW" of that gig (soon). Just as a taster - Bobby did Magic Sam's "Found Me a New Love" and closed with a rousing "Feeling Good"...... On the same night I saw Hubert Sumlin @ Terra Blues, NYC - who was playing solo, a "MyVIEW" will follow (shortly) No, I can't be in two places at once, Hubert played from 7-10, I then got to the Bayou just before midnight to catch 1/2 of the first set and all of the last set of Bobby Radcliff. -- Vincent vt@usa.pipeline.com On May 27, 1996 17:09:40 in article , 'Pat Hertel ' wrote: >What became of him? >Is he still around? > >phertel@cmc.doe.ca >OR bv808@freenet.carleton.ca >Local Time [27/5/96 13:09 PM] >"They call it stormy monday..." ========================================================================= Date: Tue, 28 May 1996 08:16:58 -0700 Reply-To: Guy Tapper From: Guy Tapper Subject: Re: That Best Ever crap >On Tue, 28 May 1996, Rob Hutten wrote: >> Feel free to argue with this statement: >> "Jack Owens is the greatest living folk blues singer." >> But don't bother arguing with this one: >> "I enjoy Jack Owens' singing more than that of any other living folk >> blues singer." > > Why can't we just read both as opinion and not start any u-no-whats > here. When someone says so-and-so died on xx/xx/xx or so-and-so re- > corded this-and-that that's fact. The onus can be on the writer or > it can be on the reader - each one of us gets the call for each and > every post that comes our way. > > Barry > I've gotta go with Barry on this. If someone posts a "Joe Blow is the best tuba player in the universe" post, it should be obvious that this is an opinion and not a universal law. One can either accept or reject it, and certainly it can and should be debated. But people's personalities and their use of language differ, and some can't help but make their opinions sound like official pronouncements. That's hardly worth setting off major word wars like we've seen here recently. On the other hand, some of those posts did make interesting reading. All just my opinion, of course. :-) Guy Tapper Marine Life Research Group Scripps Institution of Oceanography 9500 Gilman Dr. La Jolla CA 92093-0227 (619)534-2358 (619)534-6500 fax ========================================================================= Date: Tue, 28 May 1996 11:57:08 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Hubert Sumlins solo gig Comments: To: Mark Stringer In-Reply-To: <9604288333.AA833304365@smtplinkout.hearst.com> On Tue, 28 May 1996, Mark Stringer wrote: > Hubert Sulin -Terra Blues, Friday May 24 > What's a three hour Sumlin solo gig like?--like a dimond out of its setting. > Swashes, twirls and splinks of notes sprang sputterinly from the guitar. Lots of > space and silence. Each tune/passage Sumlin followed with chuckels and shrugged > shoulders. He seemed to have fun and so did I. Especially exciting was his > single 12 bars of Killing Floor. Someone get this guy a band. And after his Saturday night show - he sauntered over to Tramps and played 4 songs along with Ronnie Earl and the Broadcasters. re: his band. Usually when he plays at Terra Blues he comes w/ a full band. As far as I know his sets this weekend were diff- erent from his previous shows ... and the band he comes with is very good, especially the harp played and his favorite organist or so it seems that she is his favorite because when she plays, he smiles wider than usual. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 28 May 1996 11:56:42 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: That Best Ever crap >On Tue, 28 May 1996, Rob Hutten wrote: >> Feel free to argue with this statement: >> "Jack Owens is the greatest living folk blues singer." >> But don't bother arguing with this one: >> "I enjoy Jack Owens' singing more than that of any other living folk >> blues singer." > > Why can't we just read both as opinion and not start any u-no-whats > here. When someone says so-and-so died on xx/xx/xx or so-and-so re- > corded this-and-that that's fact. The onus can be on the writer or > it can be on the reader - each one of us gets the call for each and > every post that comes our way. > > Barry > > NY CD BLUES - CD Reviews and On-Line Blues Catalogs > http://www.panix.com/~bsco/ > Barry Silverberg ... bsco@panix.com The difference, as has been pointed out before, is that one is an opinion, potentially supportable by reasoned argument, and the other is an assertion, not supportable by anything except repeating it, louder and/or more vehemently. Hence one is a useful statement, since it can be the subject of discussion, and the other is not. I don't want to start a u-no-what, honestly, but... And as for what's a fact - how do you KNOW that so-and-so died on xx/xx/xx, or that so-and-so recorded this-and-that? Unless you were there, you are believing a report, on a basis of testing it against what is probable (sure sounds like those other records people say are by Robert Johnson), the reliability of the source (Paul Oliver seems to know what he's talking about), and so on. 'Facts' are slippery little buggers: I once did a course where it was asked whether a number of statements were facts, among them 'the sun rose this morning'. If you said yes, the follow-up questions included 'did you see it' and 'does the sun actually 'rise'?' Long live uncertainty, opinion and mutability, says I! Chris Smith (chris@skerries.demon.co.uk) 'This country is full of decent, trusting people. And besides, we don't have to tell them the truth.' (Michelle Pfeiffer in 'Love Field') ========================================================================= Date: Tue, 28 May 1996 09:03:09 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Blues license plate frame At the mall in town we have a store that will make a license plate frame that says whatever you want.... I thought a blues theme would be cool. My first one was hey hey (on the top part) the blues is alright (on the bottom) But I wanted to ask you all for more suggestions. I want something that will let people know about the blues, is funny, and makes some sense to the uninitiated. Lyrics would be nice. Any ideas? DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 28 May 1996 09:04:39 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: That Best Ever crap >On Tue, 28 May 1996, Rob Hutten wrote: >> Feel free to argue with this statement: >> "Jack Owens is the greatest living folk blues singer." >> But don't bother arguing with this one: >> "I enjoy Jack Owens' singing more than that of any other living folk >> blues singer." Barry S. replied: > > Why can't we just read both as opinion and not start any u-no-whats > here. When someone says so-and-so died on xx/xx/xx or so-and-so re- > corded this-and-that that's fact. The onus can be on the writer or > it can be on the reader - each one of us gets the call for each and > every post that comes our way. Good point, BUT, the former was presented as fact, not opinion, so the discussion is already badly skewed towards argument rather than sharing somethin with us. NOBODY cares who someone else thinks is "the greatest ever". There simply isn't enough information there to respond to in any meaningful way. You have several possible responses: "No they aren't, Peter Frampton (or u-pick) is" "Define the greatest ever" "you're sooo right dude" None of these are enjoyable, meaningful, conversations to most of us. (of course one has to wonder if "greatest ever" posters are capable of that....) We want to hear: "Nigel Tufnel is my absolute FAVORITE blues guitarist, man when he pull out that violin bow and layers the phrygian mode over the pentatonic, and drops into lydian at the turnaround, it makes me jump up and shout" or "Nigel has the coolest tone... he tunes down to G#, and plays through 30" speakers and you have to peel people off the back wall" Share something! Tell us something new! Tell us why you love a certain artist. We don't give a rat's behind about your opinion of the "greates ever" welll unless it's Nigel of course.... DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 28 May 1996 01:25:00 GMT Reply-To: Igor Isakovski From: Igor Isakovski Organization: MEDIS-informatika Subject: REQ: GREAT DOG SONGS ACDCP>On Mon, 27 May 1996, Peter Liberman wrote: > I'm a dog lover compiling a list of songs about dogs. Any classic (old or > recent) blues recordings come to mind? All I've found so far are Robert > Johnson's Hellhound on My Trail and Little Milton's My Dog and Me, but > I'm not that knowledgeable about the blues. > > Suggestions, by email or newsgroup, about songs from other genres also > most welcome! > > Thanks, and Dog bless you. > Lightnin' Hopkins Lonesome Dog Blues RCD Blues Collection, RCD 16, track #16 igor.isakovski@informa.mk Igor Isakovski ASNOM 32/3-14, 91000 Skopje, Makedonija, Europe. "I got a dog in my back yard..." --- ~ SPEED 2.00 [NR] ~ "It's ME or That BLUES!" she said... I'll miss her.. ========================================================================= Date: Tue, 28 May 1996 09:08:48 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Starland Vocal Band --- The best there ever was... Quick! What was their OTHER big hit?? DC ========================================================================= Date: Tue, 28 May 1996 12:48:49 EDT Reply-To: TRADITION@RYKO-MA.CCMAIL.COMPUSERVE.COM From: David Greenberg Subject: Re[2]: Johnny "Guitar" Watson/Frank Zappa Comments: To: tony@BLUESTB.DEMON.CO.UK If any of you read Johnny's obituary in The New York Times on Sunday May 19, you read Zappa's quote in which he describes Watson's guitar sound as "an icepick to the forehead." That really says it all. -Anton Glovsky, Tradition Records/Rykodisc ========================================================================= Date: Tue, 28 May 1996 13:00:27 -0400 Reply-To: DMIELE From: DMIELE Organization: Exxon Research & Engineering Subject: Re: Major/minor keys Comments: To: bit-listserv-blues-l@uunet.uu.net Shaun T Cronin wrote: > > > Yes, but even though the tonic is in C, what is the key? Major? Minor? > Modal? You can't accurately state whether the key is major or minor. The > third shifts constantly, the five moves as well, the seventh is flat but of > you play a V7, it becomes major again. Try using the bass line for reference. The soloist (and even the vocalist) may be using a minor scale over the major chord, but the if the bass is playing a natural third, the song is in the major key. If the song is minor the bass wil have to use the flat 3rd. Sound reasonable? ========================================================================= Date: Tue, 28 May 1996 13:14:03 EDT Reply-To: Newman/Rabson <71552.541@COMPUSERVE.COM> From: Newman/Rabson <71552.541@COMPUSERVE.COM> Subject: DC Blues Society Band Gi Congratulations to the DC Blues society band. Tell me again who-all's in this band. Ann Rabson ========================================================================= Date: Tue, 28 May 1996 13:17:47 -0400 Reply-To: bob unger From: bob unger Subject: tape for Chess A lot of folks have written me and asked why dont I send along a copy of BluesBytes along with our donation, so I thought I answer this to the list. I wish I would have! But this nimble brain didn't even think of it. I sent the check out before I saw all the posts asking me to send the tape too. It's a good idea, but I'm afraid it's a little too late now...... Sorry if I disappointed anyone..... BU bob@sun.bnkst.edu bu@octet.com ========================================================================= Date: Tue, 28 May 1996 10:18:56 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Blues license plate frame Comments: To: dcicchet@LASIERRA.EDU In-Reply-To: <199605281606.JAA18203@inet.lasierra.edu> from "Don Cicchetti" at May 28, 96 09:03:09 am Maybe using a little visual imagery: sIGn (in childish script, with "s" and "n" backward) Born (which of course is BORN under a bad SIGN). -- IronMan Mike Curtis ========================================================================= Date: Tue, 28 May 1996 10:25:58 -0700 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Subject: Message to Kenneth Sailors Sorry to use the list for mail-forwarding, but due to a MAJOR crash, I have lost Kenneth Sailor's address. Ken - please contact me, re. Amos Garrett, etc. Roger B. emdrprac@direct.ca ========================================================================= Date: Tue, 28 May 1996 10:30:32 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: How to advertise a blues jam? Comments: To: MILLER@SCI.WFBR.EDU In-Reply-To: <01I58INTTNIG0016HQ@SCI.WFBR.EDU> from "owner-blues-l@BROWNVM.BROWN.EDU" at May 28, 96 11:13:30 am All the blues jams here provide amps and PA, unless you need something really unusual (which, playing electric harmonica and electric guitar at the same time, I do - but I typically just turn off treble, set the guitar amp for best harp sound, and run both through the guitar amp). I like to know that I'll get up as soon as possible, and that the host band isn't going to hold me for the whole night becaus they got a sparse turnout, etc. The "good" jam host bands will bring you up twice if there aren't that many musicians, or at least bring you up right away, then let you know that, if you hang around and there's time, they intend to bring you up again. There are many local publications, such as Southland Blues, LA Weekly, BAM, etc., that cover entertainment, and run free ads. Some of these accept ads only from the clubs; others from either clubs or bands. -- IronMan Mike Curtis ========================================================================= Date: Tue, 28 May 1996 10:40:38 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Canned Heat On the Road Again Canned Heat will be playing : >July 1 & 2, 1996 >Yale Hotel >1300 Granville >Vancouver, BC V6ZIM7 Question: is Robert Lucas touring with Canned Heat? If he is, I'll be there with bells on! -Jim (hndful@uniserve.com) ========================================================================= Date: Tue, 28 May 1996 17:38:48 GMT Reply-To: Steven Hirsch From: Steven Hirsch Organization: National Agricultural Library Subject: Re: Rev.Billy C.Wirtz question Comments: To: bit-listserv-blues-l@uunet.uu.net >Heard some good pianoblues, played by Reverend C.Wirtz : >'Cousin cupcake got the blues'. >I never heard before of this guy but I liked his style very, very much. >Who's this guy and who can point me to some of his stuff ? Lately he's also been writing columns for "Musician" magazine, available at newstands everywhere. I haven't seen him in years but he grew up around the DC area. Very funny, sort of Jerry Lee Lewis with a bizarre sense of humor. Steve, unconnected with "Musician" magazine in every way but a subscription. ========================================================================= Date: Tue, 28 May 1996 17:52:53 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: Blues license plate frame Comments: To: bit-listserv-blues-l@uunet.uu.net On May 28, 1996 09:03:09 in article , 'Don Cicchetti ' wrote: >At the mall in town we have a store that will make a license plate frame >that says whatever you want.... > >I thought a blues theme would be cool. > >My first one was > >hey hey (on the top part) > >the blues is alright (on the bottom) > > >But I wanted to ask you all for more suggestions. > >I want something that will let people know about the blues, is funny, and >makes some sense to the uninitiated. Lyrics would be nice. > >Any ideas? > >DC > Don, yes :-) "OASIS - The Best Ever" -- Vincent vt@usa.pipeline.com ========================================================================= Date: Tue, 28 May 1996 11:06:28 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: That Best Ever crap Comments: To: gtapper@UCSD.EDU In-Reply-To: from "Guy Tapper" at May 28, 96 08:16:58 am > >On Tue, 28 May 1996, Rob Hutten wrote: > >> Feel free to argue with this statement: > >> "Jack Owens is the greatest living folk blues singer." > >> But don't bother arguing with this one: > >> "I enjoy Jack Owens' singing more than that of any other living folk > >> blues singer." > > > > Why can't we just read both as opinion and not start any u-no-whats > > here. When someone says so-and-so died on xx/xx/xx or so-and-so re- > > corded this-and-that that's fact. The onus can be on the writer or > > it can be on the reader - each one of us gets the call for each and > > every post that comes our way. > > > > Barry > > > I've gotta go with Barry on this. If someone posts a "Joe Blow is > the best tuba player in the universe" post, it should be obvious that this > is an opinion and not a universal law. What about the arguments that state "You can't deny that Jack Owens is the absolute greatest folk blues singer of all time. For absolute proof, just LISTEN to the way he does "Those ain't buggers - it's the blues runnin' out my nose"! It makes you WANT to get a cold! And did you see him in concert when he snotted on his guitar? IN-friggin-CREDIBLE! NO ONE even comes CLOSE to Jack! And anyone who argues otherwise is a jealous idiot who has no concept of music". This has transcended opinion and entered the realm of dogma and ridicule. Should these be accepted as "opinion"? IMHO not. And certainly not in the opinion of the originator. Those writing such prose firmly believe it to be established fact. They're stated as unarguable absolutes. Is it _really_ asking so much to ask the foaming at the mouth to escape their hyperbole as opinion? And is it _so_ bad to challenge claims of absolute world superiority as being in the realm of opinion and not provable fact, even if just on principle? -- IronMan Mike Curtis ========================================================================= Date: Tue, 28 May 1996 13:27:32 -0600 Reply-To: James Bardsley From: James Bardsley Subject: Re: Starland Vocal Band --- The best there ever was... Comments: To: Don Cicchetti In-Reply-To: <199605281611.JAA18485@inet.lasierra.edu> At 9:08 AM -0800 05/28/96, Don Cicchetti wrote: >Quick! > >What was their OTHER big hit?? > >DC UMMMM, Ummmmmm, ummm..... "Afternoons Just Bite" ? Jim Bardsley "If we're treading on thin ice then we might as well dance." -Jesse Winchester @1971 ========================================================================= Date: Tue, 28 May 1996 11:40:26 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Major/minor keys Comments: To: shaun@PACIFICNET.NET In-Reply-To: from "Shaun T Cronin" at May 28, 96 01:38:23 am <13th chord> 1, 3, 5, 7nat, 9, and 13 (same as 2 and 6). Frequently done as a C chord based ninth with the 1st string fretted a couple frets high. Also done as an E based 6th with the lower seventh, and optionally with the 1st string as a ninth. I usually use a barred form of the E based that also has a hint of a fourth. Nice, FAT chord. > >Yes, that's about what it is. A 13th chord, used in blues and jazz, is > >little more than a Imaj7 with a IImin triad piled on top of it. Sounds so > >good! Out here in Evansville the music is mostly country and old rock; > >plain-vanilla I-IV-V progressions. Sometimes I feel I haven't heard a > >13th in years! Could you post the exact notes? Thanks. Interesting story about 13th chords - I played at a country-western "talent contest" a couple years back, and did one of my instrumental compositions, based on Ab13/G13 changes, with a passing resemblance to Dizzy Gillespies "Night in Tunisia", in the key of G. I figured they'd either love it for originality, or hate it because it was too jazzy-sounding. I got a kind of reserved response. Turns out they loved the harmonica but didn't like the changes. The band suggested that, next time, I stick to something a bit more traditional blues. -- IronMan Mike Curtis ========================================================================= Date: Tue, 28 May 1996 12:07:41 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Blues license plate frame Previously I said: >>At the mall in town we have a store that will make a license plate frame >>that says whatever you want.... >> >>I thought a blues theme would be cool. >>But I wanted to ask you all for more suggestions. >>Any ideas? Vincent replied: >Don, yes :-) > >"OASIS - The Best Ever" HEY! none of the -piedmont stuff- OK? We're talking BLUES here! Besides *everyone* knows that Elastica is the BEST EVER!!! DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 28 May 1996 15:01:00 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Starland Vocal Band --- The best there ever was... Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com The interesting thing about the Starland Vocal Band (and something that give this post blues content) is that Jay Summerour (harmonica half of Little Bit of Blues) used to play with them. I'm not sure if he recorded with them, but when I interviewed him a few years ago he told me he used to travel with them and he got to play Disneyland and Hershey Park, among other places, with them. I seriously doubt he is covering any Starland Vocal Band tunes with Warner Williams. :-) -Steve ========================================================================= Date: Tue, 28 May 1996 14:21:40 -0500 Reply-To: akapil@MEDICINE.BSD.UCHICAGO.EDU From: "" Subject: ALL 'ZELLERS ATTENDING CHICAGO FEST !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Hi This message is for all you zellers who will be at the Windy city over the weekeend (May31-June2) for the Chicago blues fest. We are meeting up at fellow zeller Dave Markovits' place at 11 AM on Friday the 31st. His address is Apt# 811, 1 E. Scott Ave, Chicago, IL. If anyone of you cannot make it to his place, but still would like to meet up with us please e-mail or call me (phone # is given below), by 5:00 PM on Thursday the 30th. We have some goodies planned! Hope to see you all here. ADit. Aditya Kapil, PhD IBD Research Center Department of Medicine University of Chicago Ph: (312) 702 2283 FAX: (312) 702 2281 ========================================================================= Date: Tue, 28 May 1996 13:58:50 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: more of best ever Does it not also bother anyone that an organization, magazine...etc can name a CD/Artist..etc "BEST OF THE YEAR" over all the other peformers, CD of the entire year. The awards (which I AM NOT KNOCKING) are totally 100% based on opinion also. It doesn't bother me, but neither does someone saying that The Rats are the best ever. I read once a year where somebody says that so and so was the best of the year or so and so CD is best of the year. I think it's the same thing. I ignore both types of statements... I couldn't pick a best of ever/year/week/month...etc. I could pick a favorite Just MVHO LW ========================================================================= Date: Tue, 28 May 1996 15:24:38 -0400 Reply-To: Dave Markovits From: Dave Markovits Subject: Chicago Blues Meeting.(LONG) Howdy Folks; I am making a valiant effort to meet the friendly crew coming to Chicago for our fest this weekend. Therefore,through brainstorming with Bluezeller Adit Kapil we have some ideas. As I previously mentioned, we will start the ball rolling on Thursday with a south side pub crawl. It starts at 8:oop.m. Thurs. 15 bucks. Well worth it I might add. Buddy Guy's Legends, Cuddle Inn, Celebrity Lounge, and Lee's Unleaded Blues. School busses shuttle you to all of the clubs. We definitely want to attend this. Friday morning; I am willing to host people from the list for a gathering of souls. Where; my place 1 East Scott #811 at 11:am. Scott is one block north of Division and State. 5 bucks from any downtown hotel. Or you can take the El (train) to Clark and Division walk East toward the lake 2 blocks. Make a left on State and you are there. My home phone is 440-1696. Saturday morning if you call, we can do the same thing. I am not even 10 minutes north of Grant Park so it works out great. Sunday morning; Adit and I were discussing meeting at Dick's last Resort. Yeah I know it's a tourist joint, close to the fest, they have their huge Gospel Brunch, It's a reasonable deal music is great. Sunday Night; Blue Chicago 736 N. Clark- Old School jam with Willie Kent, Little Smokey Smothers, Detroit Junior and others. Everyone that works there knows Adit. Just ask for him. These are all ideas, if we meet up we can change the plans, the weekend will of course be wide open. I am not a schedule kind of person especially. I have heard from Rags, John Chamberlain from D.C., Joe Sokohl Evanston, Sean Birmingham(Chicago) Ranko (who I still need to call)Iowa, Mike Suffern and Adit has talked to several others as well. Everything always works out on fest weekend, so I am sure I will meet some of you for sure. I nor does Adit take any responsiblity for anyone who od's on Chicago Blues this weekend. The weather has also been shitty as of late. I recommend some warmer clothes and possible rain gear. The weather is supposed to be nice for the fest though will see. Thanks for listening; David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Tue, 28 May 1996 14:41:41 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 05/29 B O R N : 05/29 AANDREWS, DONALD JOHN (DON) Born:1929 SINGLETON, NSW, AUSTRALIA Career:guitar / composer / arranger Styl:jazz at sixteen wrote the first of many film scores / primarily a studio musician and educator BOWDEN, MARK Born:1927 SYDNEY, NSW, AUSTRALIA Career:DRUMMER Style:JAZZ DOWELL, SAXIE ( HORACE K. DOWELL ) Born:1904 NORTH CAROLINA Career:ALTO SAX / TENOR SAX / CLARINET Stle:JAZZ / BIG BAND HAFER, DICK ( JOHN RICHARD ) Born:1927 WYOMISSING, PA Career:TENOR SAX Style:JAZZ / BIG BAND PALMER, JACK Born:1900 NASHVILLE, TN Career:SONGWRITER (JUMPIN' JIVE) Style:BLUES REDD, FREDDIE Born:1928 NEW YORK, NY Career:PIANO / COMPOSER Style:JAZZ RUIZ, HILTON Born:1952 NEW YORK, NY Career:PIANO Style:JAZZ With:CAL MASSEY / JOE NEWMAN / FRANK FOSTER / FREDDIE HUBBARD / GEORGE COLEMAN / RAHSAAN ROLAND KIRK SALLEY, LEO Born:1921 NEWARK, NJ Career:TRUMPET / ARRANGER Style:BLUES / JAZZ STABILE, DICK Born:1909 NEWARK. NJ Career:ALTO SAX / TENOR SAX / LEADER Style:BIG BAND VON SCHMIDT, ERIC Born:1930 WESTPORT, CT Career:GUITAR / HARMONICA Style:BLUES WASHINGTON, KENNY Born:1958 NEW YORK, NY Career:DRUMMER Style:JAZZ With:LEE KONITZ / BETTY CARTER / KENNY BURRELL / MILT JACKSON / GEORGE COLEMAN / TOMMY FLANAGAN / JAY McSHANN / BENNY GOODMAN WRIGHT, GENE ( EUGENE JOSEPH ) Born:1923 CHICAGO, IL Career:BASS Style:JAZZ With:GENE AMMONS / DAVE BRUBECK Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Tue, 28 May 1996 19:47:40 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Blues license plate frame In-Reply-To: <4ofehl$8v5@news1.t1.usa.pipeline.com> Live Blues or Die :):) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [28/5/96 15:44 PM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 28 May 1996 16:03:14 -0400 Reply-To: smirkyface From: smirkyface Subject: Re: Blues Jam Top 10 list I forgot this one. Someone reminded me of it this weekend and it's a claassic. **Don't bad mouth the club while the owner's standing behind you.** Their's a great story behind this, but I'm not allowed to tell it at this time. BRIAN MCLEAN PHOTOGRAPHY & SMIRKYFACE PRODUCTIONS "life's too short to live the blues" http://www.netaxs.com/~blmclean ========================================================================= Date: Tue, 28 May 1996 16:02:50 -0400 Reply-To: bob unger From: bob unger Subject: looking for Andre Prevos Sorry to post this personal page to blues-l, but I really need to get in touch with Andre Prevos and I dont have his address. Andre - please send me you e-mail address as soon as possible. I need to talk to you about your BluesBytes review..... Bob Unger bob@sun.bnkst.edu (good until June 30th) bu@octet.com (good for night night messages until June 30th when it becomes my permanent address) ========================================================================= Date: Tue, 28 May 1996 16:22:50 -0400 Reply-To: gm From: gm Subject: river jam in phila pa hope everyone had a good holiday.i wanted to thank everyone who replied to my request for insight regarding big jack johnson, luther "guitar jr johnson", and duke robillard. i was mistaken about the appearance of james cotton, indeed it was junior wells who was playing fri(5/24) night not mr. cotton.although i passed up the opportunity to see junior wells, i saw keisha brown, the holmes brothers and duke robillard perform at the river jam. the holmes brothers were a pretty amazing act and duke robillard blew me away, it was the first time i had seen any on these performers in concert and in fact the first time i had heard their music. Luther johnson wasnt able to make the river jam and i wasnt able to make the big jack johnson shows at warmdaddy's. i had a very enjoyable time watching chris duarte perform twice on sunday.he had the crowd in his hand and was very friendly in speaking to his fans after the second show.i dont know of his work with other bands or his standing among other blues/rock guitarists but i am curious to see if he continues to develop his own sound or tone while playing the guitar.he sure had a big smile on his face when i asked him where he was from and he replied, "AUSTIN, TEXAS!" Thanks again, george ========================================================================= Date: Tue, 28 May 1996 14:00:02 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: more of best ever Leonard said: >Does it not also bother anyone that an organization, magazine...etc can name >a CD/Artist..etc "BEST OF THE YEAR" over all the other peformers, CD of the >entire year. The awards (which I AM NOT KNOCKING) are totally 100% based on >opinion also. It doesn't bother me, but neither does someone saying that >The Rats are the best ever. I read once a year where somebody says that so and >so was the best of the year or so and so CD is best of the year. I think it's >the same thing. I ignore both types of statements... > >I couldn't pick a best of ever/year/week/month...etc. I could pick a favorite Didja ever notice how much Leonard likes to take positions on things? jest to facilitate discussion of course.... Even on no-content garbage-posts that everyone knows were never intended to actually contribute to the group, LW will take a position.... and fools like me will answer him.... Otay Leonard let's do it! 1. This is not a magazine 2. We do not *have* a "Best of the Year" poll, let alone "Best EVER".... (Would you like to be in charge of one?) So assuming we have ANY INTEREST WHATSOEVER in the "best" anything is a big assumption indeed.... 3. Whether or not we assume that all posts are opinion, (fairly obvious) posts asserting that your uncle Louie is the best kazoo player in East Bumbugger, Iowa, simply have no CONTENT other than opinion. Opinion is fine as long as it relates to experience, context, and art. When it is merely opinion it is meaningless. In the end, "SRV is the best ever" "Carpenters are the best ever" "T-Bone Walker is the best ever" "Mantovani is the best ever" All have the same value..... NONE. They are all simple assertions that offer nothing but opinion. No personal experience, no esthetic viewpoint, no history, no tradition, NOTHING. Just more noise and posturing in a world full of the same. Frankly "Best Ever" posts are the 'net equivalent of graffiti; only the close circle of friends of the graffiti-vandal GIVES A DAMN about the "art", or in this case, the opinion. The rest of us just put up with the visual pollution. Imagine a party full of blues fans. We are chatting with Shurman about Albert Collins. Right in the middle of a great story, some geek comes up with: "HEY DUDES, Jim Morrison was the best ever". They don't stay to hear the rest of the story, they merely go over to another small group and go: "HEY DUDES, Jim Morrison was the best ever". Would you consider that individual to be actually CONTRIBUTING to the quality of that party? Hmmm? whaddya think Leonard? Yes, ignore them, certainly! But the temptation to spill a tray of drinks on 'em would get rather high wouldn't it? I rest my case D "the best ever" C ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 28 May 1996 15:08:12 -0600 Reply-To: Gary Constantine From: Gary Constantine Subject: Cathi Norton CD????? I've been meaning to order Cati's CD for quite some time and now that I'm ready I've lost the address and cost info. Anybody help me out? Thanx, Gary ............ ========================================================================= Date: Tue, 28 May 1996 17:08:57 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: That Best Ever crap Comments: To: Don Cicchetti In-Reply-To: <199605281607.JAA18270@inet.lasierra.edu> > NOBODY cares who someone else thinks is "the greatest ever". There simply > isn't enough information there to respond to in any meaningful way. You > have several possible responses: Don - you're right that there isn't enough info in a best-best post to respond to and also that any response couldn't be meaningful due to the original post's lack of meat to discuss. You're wrong though as to NOBODY cares. The amount of time spent by us refuting others pet bests is huge. I believe you don't care and many others do not either - but the posts bear the witness. As soon as hell opens the flodgates are let loose at the same time. We just love to argue - don't we. > None of these are enjoyable, meaningful, conversations to most of us. Then why do we all go on and on - every time? I still like my original conversation that the listener is just as responsible as the penner, but that's really not a blues thread - better taken up in philosophy-l I guess. > welll unless it's Nigel of course.... P.S. I also think Nigel is the greatest - except maybe for Basil. BTW Eddie Hinton is someone everyone might consider listening to. Just discovered him and can't get him out of the player. He's on Bullseye and worth giving your ears over to. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 28 May 1996 17:22:36 -0400 Reply-To: "Daryl F. Bernard" From: "Daryl F. Bernard" Subject: "the best ever" post.... Comments: To: Don Cicchetti In-Reply-To: <199605282103.OAA01484@inet.lasierra.edu> I've been enjoying this lively discussion of "best ever" from SRV to Vanilla Ice and Bread to the current discussion on how to deal with "best ever" discussions and posts and opinions and...... Just makes me wonder if the dude who ORIGINALLY posted the SRV statement (I don't remember who it was) is still even around. Did he have ANY IDEA the consternation he would be causing by his little post. Almost makes me jealous, that one post would result in so much repercussion. Almost mekes me wish I had made that post....yeah, I wish I had made the post "heard round the world....." causing Bluesellers around the globe to jump to their keyboard in defense, in anger, in outrage, in denial....but I'll probably just keep lurking here in mid-Michigan, waiting for the next EC E-string/white guys should be on the cover/SRV was the greatest type post to stir things up again..... Daryl ========================================================================= Date: Wed, 29 May 1996 00:36:41 GMT Reply-To: dresserd@DNS.NXI.COM From: Derek Dresser Organization: Agate Internet Services (AIS) Subject: Re: new artists Comments: To: bit-listserv-blues-l@uunet.uu.net ethan r snow wrote: >I've discovered some great new artists recently. Primarily Chris >Smithers and Keb' Mo. Are there some other contemporary artists playing >in the acoustic country blues style. here are a few more you might want to check out. Paul Rishell (http://www.nxi.com/WWW/rishell) Steve James Paul Geremia Corey Harris Alvin Youngblood Hart there are more, these are a few off the top of my head. I just recently got Corey Harris and Alvin Youngblood hart, and haven't listened too closely yet, but the first impressions were good. The others are must have's! Enjoy Derek ========================================================================= Date: Tue, 28 May 1996 22:34:34 UT Reply-To: roger struve From: roger struve Subject: Re: Cathi Norton CD????? Comments: To: Gary Constantine I, being very proud to be a friend of said Cathi Norton, am also glad to relay the ordering information as i understand it: CD = $15. and can be ordered from CANORTON@journalism.indiana.edu regards, delta doc proud to be a friend of canorton roger ---------- From: Blues Music List on behalf of Gary Constantine Sent: Tuesday, May 28, 1996 3:08 PM To: Multiple recipients of list BLUES-L Subject: Cathi Norton CD????? I've been meaning to order Cati's CD for quite some time and now that I'm ready I've lost the address and cost info. Anybody help me out? Thanx, Gary ............ ========================================================================= Date: Tue, 28 May 1996 14:50:22 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Twisted Blues Solo of the Week Check out Junior Brown's latest, "Semi-Crazy." Go to track three, "I Hung It Up" and be prepared to be blown away. His guitar playing on this blues number (in a country style of course) is outstanding, hilarious and over the top. I can't get enough of this song. It begs the question of whether Junior Brown is a genius or just one twisted man? I think it's a healthy combination of both. The rest of the album is great as well. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Tue, 28 May 1996 22:13:54 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: more of best ever Comments: To: bit-listserv-blues-l@uunet.uu.net On May 28, 1996 13:58:50 in article , 'Leonard Watkins ' wrote: >Does it not also bother anyone that an organization, magazine...etc can name >a CD/Artist..etc "BEST OF THE YEAR" over all the other peformers, CD of the >entire year. The awards (which I AM NOT KNOCKING) are totally 100% based on >opinion also. It doesn't bother me, but neither does someone saying that >The Rats are the best ever. I read once a year where somebody says that so and >so was the best of the year or so and so CD is best of the year. I think it's >the same thing. I ignore both types of statements... > >I couldn't pick a best of ever/year/week/month...etc. I could pick a favorite >Just MVHO >LW Well, I wouldn't know about that..... But I DO know: LW is the BEST EVER at starting threads :-) -- Vincent vt@usa.pipeline.com ========================================================================= Date: Tue, 28 May 1996 22:19:03 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: Blues license plate frame Comments: To: bit-listserv-blues-l@uunet.uu.net On May 28, 1996 12:07:41 in article , 'Don Cicchetti ' wrote: >Previously I said: > >>>At the mall in town we have a store that will make a license plate frame >>>that says whatever you want.... >>> >>>I thought a blues theme would be cool. > >>>But I wanted to ask you all for more suggestions. > >>>Any ideas? > > >Vincent replied: > > >>Don, yes :-) >> >>"OASIS - The Best Ever" > > >HEY! none of the -piedmont stuff- OK? > >We're talking BLUES here! > >Besides *everyone* knows that Elastica is the BEST EVER!!! > >DC Oh no! I apologize Don, I didn't know you were such a "purist" - if it is the REAL DEAL hardcore blues - you've got to agree that: "Barry Manilow - the Best that there Ever was..." (personally I think Tiny Tim is the Best that there ever was - but then I'm not a purist - and have poor taste :-) -- Vincent vt@usa.pipeline.com ========================================================================= Date: Tue, 28 May 1996 15:49:28 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Blues license plate frame Note!! If you haven't been following this PLEASE don't jump in.... The sarcasm and irony level is nearing the radioactive! ;-] I said previously: >>We're talking BLUES here! >> >>Besides *everyone* knows that Elastica is the BEST EVER!!! >> >>DC Vincent replied: >Oh no! > >I apologize Don, I didn't know you were such a "purist" - if it is the REAL >DEAL hardcore blues - you've got to agree that: > >"Barry Manilow - the Best that there Ever was..." > >(personally I think Tiny Tim is the Best that there ever was - but then I'm >not a purist - and have poor taste :-) ha ha ha ha!!!! hee heee.... jeez Vincent, I didn't know you were so funny! In response: nahhhhhh.... I AM a purist and I know for a FACT that only Samoans can play Uke and TT is an imperialistic usurper... so there! I mean who OWNS Ukelele music anyway? Well it sure ain't white people!!! oh, and Manilow still rules! DC BTW, turns out that Manilow uses Elvis' old fake name when registering at hotels.... hmmmm.... the faint scent of hubris maybe?? DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 28 May 1996 19:04:12 EDT Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: Mayfair/Big Jack Johnson For southern New Englanders, Big Jack Johnson will be at Theodore's in Springfield, MA on June 13th (Thurs.) and at The Hungry Tiger in Manchester, CT on Sunday, June 16th. Dave Carpenter Blues Music Director - WHUS-FM University of Connecticut - Storrs, CT 06269 http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Tue, 28 May 1996 22:30:56 GMT Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: Blues license plate frame Comments: To: Don Cicchetti On Tue, 28 May 1996 09:03:09 -0800, you wrote: >At the mall in town we have a store that will make a license plate frame >that says whatever you want.... >I thought a blues theme would be cool. My Other Car Is A Terraplane *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Tue, 28 May 1996 09:23:29 -0400 Reply-To: parrishr From: parrishr Subject: Washington Folk Festival June 2 The D.C. Blues Society Band, featuring fellow Blueseller Steve Levine and legendary guitarist "Mad" Max Vadi, will be appearing this Sunday, June 2, at the Washington Folk Festival, Crystal Pool Stage, Glen Echo Park, at 3:00. Bill Kirchen will be playing on the same stage later that day. ========================================================================= Date: Tue, 28 May 1996 19:04:13 EDT Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: Johnny Winter Comments: To: Markmojo >Just wondering how Johnny's live shows went? >Also if anyone knows if he's healthy enough >to get out there and do a tour? I've heard mixed reviews of a show in Hartford recently. No idea about touring, but he is scheduled to play Toad's Place in New Haven, CT on 6/21. Dave Carpenter Blues Music Director - WHUS-FM University of Connecticut - Storrs, CT 06269 http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Tue, 28 May 1996 16:20:46 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Ok, no mo' "best ever" from me... I promise! Someone mentioned that I seemed kind of hostile today. If I have come across that way, I apologize. I'm from NYC and that passes for humor with us! Anyway... for those of you who missed it, the "best ever" posts were supposed to be FUNNY, not hostile. My beliefs about "best ever" posts are all pretty much in the last post reacting to LW's comments. *I* would like to see all "best ever" posts and even "best yadda ya" polls in magazines banned as pornography, but hey it's a free country. And actually porno is probably great intellectualism compared to most "Yadda-ya is the best ever" posts... IS there a qualitative difference between saying Yanni is the "best ever" and saying the same thing about pore ole SRV? Depends on whether you love Yanni I guess.... (do you think the dead can cringe? if so, how does Stevie feel about some of his fans??) oooohhhh oops sorry, there I did it again. Sarcasm and hostility all at once. I met Howard Stern once.... sheesh.... musta rubbed off. ;-] DC Besides, Cronin is right.... YINGWIE is the **BEST EVER** and everyone know it! ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 28 May 1996 18:21:48 +0000 Reply-To: thf4@WATERVALLEY.NET Comments: Authenticated sender is From: Tom Freeland Subject: Memphis Obsessions (long) This post is an attempt to start a general discussion of the basic recordings of Memphis music in the period 1950-1975. The question here is what is necessary to get a complete picture of Memphis music in that period. Just listing the recordings should blow anyone away with the quality of the music recorded in that 25 year period. Assume you have the "essential" stuff: The 3 Stax Boxes The first 2 Sun singles boxes on Bear Family (and were waiting impatiently for the other ones to come out) The Sun Blues Years box on Charley The Jerry Lee Lewis Box on Bear Family The Otis Redding box on Rhino / Atlantic The Hi Records set, and had any money left, you have, what, 62-64 CDs but STILL only a partial picture of post-war Memphis music. Laying aside the rock stuff at Ardent (or, for that matter, the Box Tops), I'm curious what is needed to fill out the set. It seems to me the big holes are: (1) Not enough Howlin' Wolf, even if you have the Chess Box. The Charly Sun Blues Box omits "Moanin' At Midnight," for instance. This NOT a complaint--the liner notes state that has omitted the tracks generally available, and specifically mentions Wolf as one for which there were intentional omissions. There's also the non-Chess stuff he recorded before leaving town. What Wolf recordings are needed to fill this out? (2) What else is missing (like Wolf) in the way of "generally available" stuff that is not on the Sun Blues box other than the Howlin' Wolf? (3) A HUGE gap in the listed CDs is B.B. King. What is the best way to get the Modern / RPM stuff the Biharis recorded? How far along there story do you go and still have it Memphis? (4) Other stuff the Biharis may have recorded in the Memphis area? As I understand it, Ike Turner was setting up sessions for them, including contract-breaking sessions with Howlin' Wolf. Suggestions? (5) Non-Sun rock and roll or rockabilly. Possibly not a blues-list topoic, but what do ya'll think? I suppose you would need the Charlie Feathers compilation (the name of which escapes me). (6) 60s soul from American and other studios or labels, most notably Goldwax. The James Carr is available (Goldwax) but, beyond that, I don't think the reissues are really there. Does anyone know any to recommend? (7) Soul artists who traveled to Memphis to record. You get those that Stax officially released (Sam and Dave) but the above list would still not give you "Memphis Soul Stew" or the Wilson Picket recordings, all of which Atltantic put out. (8) That Frank Frost record on Phillips International from the early 60s. (9) Non-single stuff from Stax, particularly live stuff (Live at the 4/4 Ballroom, the cds of the European tours, Albert King's live stuff). I suppose we could all live without Booker T's MCCLEMORE AVENUE album (covers of the entire Abbey Road album! Really!) or even perhaps Albert King's Elvis tribute album, but there is a lot of non-single material very much worth having. And does anyone out there know the story on the singles that were excluded from the 2nd and 3rd Stax boxes. What are they? How many are they? Are they of general interest? (10) The Newborn family. *None* of their stuff (as little as there has been) is on the Charly box. This is a virtually impossible hole to plug on CD. (11) Is there anything like a "story" after Stax collapsed and Hi faded? Any reissues that tell the story? (12) Finally, what have i missed? Tom Freeland ========================================================================= Date: Tue, 28 May 1996 18:35:01 -0500 Reply-To: Danielle From: Danielle Subject: to the blues brothers & sisters If you would like to receive one message per month about Jethro Easyfields, a blues based original songwriter, please respond to this email. Jethro recently recorded his debut album "On The Horizon" at Dockside Studio in the Louisiana bayou. Jethro's homepage can be found at: http://copper.ucs.indiana.edu/~dakaiser/jethro.html Peace, Danielle ========================================================================= Date: Tue, 28 May 1996 16:37:47 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Canned Heat On the Road Again Who's the current personnel? Vestine? James T? Vito?... Uncle Ray ---------- From: Dan Brown[SMTP:103043.3271@COMPUSERVE.COM] Sent: Tuesday, May 28, 1996 2:51 PM To: Multiple recipients of list BLUES-L Subject: Canned Heat On the Road Again Canned Heat is doing a short US tour this summer. Here are some dates and places: Sunday June 2, 1996 Grand Emporium 3822 Main Kansas City, MO 64111 Saturday June 8, 1996 Zyphyr Club 301 South West Temple Salt Lake City, UT 84101 Monday June 13, 1996 The Hot Spot 2150 Fairfield Ave. Fort Wayne, IN Saturday June 8, 1996 Sugar House 13th E. adn 21st So. Salt Lake City, UT Sunday June 9, 1996 Sunnyslope Blues Festival St. Chappele Winery Caldwell, ID Friday June 14, 1996 Backstage Cafe 133 West Liberty St. Louisville, KY Saturday June 15, 1996 Ramada Resorts & Conference Center/ Executive Inn One Executive Blvd. Owensboro, KY Saturday June 29, 1996 The Wild Duck 169 W. 6th Ave. Eugene, OR 97401 July 1 & 2, 1996 Yale Hotel 1300 Granville Vancouver, BC V6ZIM7 Wednesday July 3, 1996 Waterfront Blues Festival Tom McCall park Portland, OR Thursday July 4, 1996 4th of Jul'Ivar Myrtle Edwards Park Seattle, WA Friday July 5, 1996 Detour Tavern 221 Main Ave. South Renton, WA 98055 ========================================================================= Date: Tue, 28 May 1996 19:50:05 -0400 Reply-To: Stephanie Manna From: Stephanie Manna Subject: James Peterson's itinerary May 30,Big Cities,Rockford,Il May 31,June 1, Kingston Mines,Chicago,Il June 4,Boarshead Restaurant,Oklahoma City,OK June 6, Billys Blues,Houston,Tx June 7, JUNETEENTH BLUESFESTIVAL,Houston,Tx June 8, Filling Stations Mini Bluesfestival,Sheffield,Al June 12, Stevie Rays,Louisville,Ky June 15 BOOT HEEL BLUESFESTIVAL,Caruthersville,Mo June 19 Summerhouse,Siesta Key,Fl June 21 Sapphire Supper Club,Orlando,Fl June 22 Rays Bluesclub,West Palm Beach,Fl June 23 Five Oclock Club,Sarasota,Fl June 26 Alley Cats,Indian Rocks Beach,Fl June 27 Silver King, St. Petersburg,Fl June 28,29 Bluesship on Top,Ybor City,Fl June 30 Beach House, Bradenton Beach,Fl July 6 MISS. VALLEY BLUESFESTIVAL,Davenport,Ia July 28 POCONOS BLUEFESTIVAL,Big Boulder,Pa Aug 31 RIVERFRONT BLUESFESTIVAL,Peoria,Il Sept 1 DUSK TILL DAWN BLUESFESTIVAL,Rentiesville,OK Sept 6 BLUES TO THE POINT,Carolton,Ky ========================================================================= Date: Tue, 28 May 1996 17:28:54 -0700 Reply-To: Stan Ruffo From: Stan Ruffo Subject: Re: Canned Heat On the Road Again I saw Robert a few weeks ago, and he said he was getting ready to go out with Canned Heat.....so I guess it's so! Stan Ruffo Blues On Tap - Sundays KIOO 99.7 FM Visalia, CA ---------- From: Jim Witteveen[SMTP:hndful@UNISERVE.COM] Sent: Tuesday, May 28, 1996 11:40 AM To: Multiple recipients of list BLUES-L Subject: Re: Canned Heat On the Road Again Canned Heat will be playing : >July 1 & 2, 1996 >Yale Hotel >1300 Granville >Vancouver, BC V6ZIM7 Question: is Robert Lucas touring with Canned Heat? If he is, I'll be there with bells on! -Jim (hndful@uniserve.com) ========================================================================= Date: Tue, 28 May 1996 20:27:00 EDT Reply-To: Debra Eisert From: Debra Eisert Subject: Bluestown Has anyone read the new novel Bluestown by Geoffrey Becker? The Knight-Ridder news service published an interesting sounding review in today's Cincinnati Enquirer. "Can white men write the blues? It's less of a color issue than a metaphysical one in Bluestown (St. Martin's $21.95 228 pages), a first novel by an author who not only evokes the music's foremost practitioners, from Robert Johnson to Jimi Hendrix, in his prose, but also understands that, to paraphrase the late Albert Collins, the pain of loving and living can be found anywhere, even in a cheap guitar. ... Author Becker tells this story with a minimum of melody and instrumentation. He clearly understands the lesson most blues players absorb before they pick a note: all the fancy playing in the world is for naught if you don't tell the truth." I'd be curious if the actual product is as intriguing as the review. ##################################################################### Debra Eisert "It is the mark of an educated man to debra@iglou.com be able to entertain a thought without Cincinnati, OH accepting it." -- Aristotle ##################################################################### ========================================================================= Date: Wed, 29 May 1996 00:35:20 GMT Reply-To: jake jones From: jake jones Organization: trib.com Subject: HANS OLSON Comments: To: bit-listserv-blues-l@uunet.uu.net This guy is one exceptional talent, with an energy that just won't let go!!! His record company: BLOND SUN RECORDS PO BOX 304 TEMPE, ARIZONA 85180 ========================================================================= Date: Tue, 28 May 1996 17:36:11 EDT Reply-To: Robert Crocker From: Robert Crocker Subject: Going to the Dogs Dr. John describes as an "old song" one of my favourites off "Goin' Back to New Orleans" -- How Come My Dog Don't Bark (When You Come Around). And tell me nobody mentioned the great Rufus Thomas's Walkin' the Dog! Robo in Mississauga ========================================================================= Date: Wed, 29 May 1996 01:05:35 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: MyVIEW - live Hubert Sumlin @ Terra Blues Fri.96.05.24 Comments: To: bit-listserv-blues-l@uunet.uu.net Hubert Sumlin, Fri.96.05.24 @ Terra Blues, NYC. As many of you know, Hubert Sumlin is one of my all time favorite guitarists - I consider his playing on the Howlin' Wolf sides from the early 60's to be the pinnacle of electric blues. On Friday and Saturday nights at Terra Blues - Hubert was advertised to play solo acoustic. They were unusually early gigs - scheduled between 7 to 10pm. I was there Friday night - he played solo but electric. He was playing a mahogany colored wood finish Gibson slim-line semi-acoustic (the 335 shape) but it has a head like a Fender (it did say Gibson though). Hubert came on stage just after 7:30PM and played a slow blues instrumental, softly. There was not defined riff or theme, just some low keyed playing. I felt perhaps he was slowly warming up. The audience were quiet, and at the end sounded very appreciative. Second number was in the same vein, So was the third - except this one sounded kind of strange. Yes, like he was doodling. Still he looked happy, like someone has already described, he shrugged and chuckled a lot and went "hey...". Now I've heard Hubert play on his own in a hotel room with no audience - this is kind of like what he did - doodling. No, he does not normally play riffs or repetitive stuff, and yes here tonight he was playing some pretty good stuff in there somewhere. But it just lacked focus. Fourth number he sang very softly in keeping with the setting, this sounded distinctly better than the funny sounding third tune. Fifth - he's got a Hooker like boogie groove going, but he is still low keyed. There were places where it definitely sounded like he was making up lines as he was going on and trying different things. So you can tell there was no set list or rehearsal - he was definitely winging it. This stuff can be viewed as amazing, that someone can just get on stage and play without a set list or prepared tunes - improvising and playing at whim. Intimate - it is like being invited to his room and hearing him just play and sing a few phrases - so in a way it is a privilege to hear this degree of inventiveness. Er- but sorry, I did not enjoy it that much. Yes, I did enjoy his playing/doodling on his own in the hotel last year, but that's what I expected. Here I expected a SHOW, no, he need not jump up and down with his hair on fire. I've seen Hubert many other times when I said to myself that this is about as good as I've ever seen anyone, and I definitely would not have wanted to be elsewhere or seeing anyone else. This show did not come close to making me feel that way........ He did play "Red Rooster", "Howlin' for My Darling", "Killin' Floor", and "Feed Me" - a few known songs sparsely interspersed in amongst the short made up tunes. Hubert did two sets of one hour each, I think he must have done over 30 "numbers". Some of the tunes he just summarily ended. The audience was respectfully quiet and showed their appreciation at the end of each number. So may be lots of people enjoyed the set, seeing a side of Hubert rarely seen in public - and the bottom line is that he was happy. -- Vincent vt@usa.pipeline.com ========================================================================= Date: Wed, 29 May 1996 11:00:00 PDT Reply-To: David Blanken From: David Blanken Subject: Re: Canned Heat On the Road Again >Who's the current personnel? Vestine? James T? Vito?... > ^^^^^^^ >Uncle Ray Well, James T sure ain't in there. He currently resides in northern New South Wales, Australia and leads a band called The Last Volunteers. Cool band, doing old Canned Heat, Fred McDowell (et al) and original material. -Dave- ========================================================================= Date: Tue, 28 May 1996 21:39:25 -0400 Reply-To: Lacook01@AOL.COM From: "Lorri A. Cook" Subject: Re: Memphis Obsessions One of the things I love about this newsgroup is the invaluable organized lists of music-by-style/period/performers that crop up. I've learned so much by being able to get excellent suggestions on collections to buy. Although, with this wish list, I think I'll run out of money after the three Stax boxes. But, I'll have the rest on file for later on. Thanks, Tom, and all the rest of you Blues-l-ers! Lorri Cook ========================================================================= Date: Tue, 28 May 1996 18:43:26 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Memphis Obsessions (long) Dunno, Tom. Across the River in Arkansas? Maybe sometin' fell behind Lillian McMurray's desk. Uncle Ray ---------- From: Tom Freeland[SMTP:thf4@WATERVALLEY.NET] Sent: Tuesday, May 28, 1996 6:21 PM To: Multiple recipients of list BLUES-L Subject: Memphis Obsessions (long) This post is an attempt to start a general discussion of the basic recordings of Memphis music in the period 1950-1975. The question here is what is necessary to get a complete picture of Memphis music in that period. Just listing the recordings should blow anyone away with the quality of the music recorded in that 25 year period. Assume you have the "essential" stuff: The 3 Stax Boxes The first 2 Sun singles boxes on Bear Family (and were waiting impatiently for the other ones to come out) The Sun Blues Years box on Charley The Jerry Lee Lewis Box on Bear Family The Otis Redding box on Rhino / Atlantic The Hi Records set, and had any money left, you have, what, 62-64 CDs but STILL only a partial picture of post-war Memphis music. Laying aside the rock stuff at Ardent (or, for that matter, the Box Tops), I'm curious what is needed to fill out the set. It seems to me the big holes are: (1) Not enough Howlin' Wolf, even if you have the Chess Box. The Charly Sun Blues Box omits "Moanin' At Midnight," for instance. This NOT a complaint--the liner notes state that has omitted the tracks generally available, and specifically mentions Wolf as one for which there were intentional omissions. There's also the non-Chess stuff he recorded before leaving town. What Wolf recordings are needed to fill this out? (2) What else is missing (like Wolf) in the way of "generally available" stuff that is not on the Sun Blues box other than the Howlin' Wolf? (3) A HUGE gap in the listed CDs is B.B. King. What is the best way to get the Modern / RPM stuff the Biharis recorded? How far along there story do you go and still have it Memphis? (4) Other stuff the Biharis may have recorded in the Memphis area? As I understand it, Ike Turner was setting up sessions for them, including contract-breaking sessions with Howlin' Wolf. Suggestions? (5) Non-Sun rock and roll or rockabilly. Possibly not a blues-list topoic, but what do ya'll think? I suppose you would need the Charlie Feathers compilation (the name of which escapes me). (6) 60s soul from American and other studios or labels, most notably Goldwax. The James Carr is available (Goldwax) but, beyond that, I don't think the reissues are really there. Does anyone know any to recommend? (7) Soul artists who traveled to Memphis to record. You get those that Stax officially released (Sam and Dave) but the above list would still not give you "Memphis Soul Stew" or the Wilson Picket recordings, all of which Atltantic put out. (8) That Frank Frost record on Phillips International from the early 60s. (9) Non-single stuff from Stax, particularly live stuff (Live at the 4/4 Ballroom, the cds of the European tours, Albert King's live stuff). I suppose we could all live without Booker T's MCCLEMORE AVENUE album (covers of the entire Abbey Road album! Really!) or even perhaps Albert King's Elvis tribute album, but there is a lot of non-single material very much worth having. And does anyone out there know the story on the singles that were excluded from the 2nd and 3rd Stax boxes. What are they? How many are they? Are they of general interest? (10) The Newborn family. *None* of their stuff (as little as there has been) is on the Charly box. This is a virtually impossible hole to plug on CD. (11) Is there anything like a "story" after Stax collapsed and Hi faded? Any reissues that tell the story? (12) Finally, what have i missed? Tom Freeland ========================================================================= Date: Tue, 28 May 1996 21:27:29 -0400 Reply-To: Michael Kaloyanides From: Michael Kaloyanides Subject: Re: Blues license plate frame Comments: To: Don Cicchetti In-Reply-To: <199605281910.MAA26748@inet.lasierra.edu> Don, How about Don Cicchetti BEST EVER!! ========================================================================= Date: Wed, 29 May 1996 12:26:00 PDT Reply-To: David Blanken From: David Blanken Subject: Gearheads (was: RE: MyVIEW - live Hubert Sumlin) >I was there Friday night - he played solo but electric. He was playing a >mahogany colored wood finish Gibson slim-line semi-acoustic (the 335 shape) >but it has a head like a Fender (it did say Gibson though). Did it have diamond shaped "f" holes (as opposed to the "f" shaped ones)? Sounds like it could have been a Gibson Trini Lopez model. -Dave- ========================================================================= Date: Tue, 28 May 1996 16:21:30 GMT Reply-To: "Jennifer A. Zogott" From: "Jennifer A. Zogott" Organization: New York University Subject: _true blues_ in nyc Comments: To: bit-listserv-blues-l@uunet.uu.net Since, for some reason, New York City doesn't have any sort of a blues society, I'm launching a publication which will more or less take the place of a blues society newsletter for the NYC area. _true blues_ will publish its first monthly issue on July 1 with a cover story on Luther Allison. We will be reviewing albums and gigs by both local and national artists, and running at least one feature a month on a national artist who's playing in NYC, or a local artist who's made it big (August's scheduled cover story is Little Buster, September's is Jon Paris). _true blues_ will be distributed free at local blues clubs, music stores, etc., and will also be available by subscription for the sake of convenience or for out-of-towners. The first issue will run 16 pages and will have an initial press run of 5,000, though we expect to grow. It will be a newsletter format, offset print with photos. And ads. Please get in touch if you'd like to subscribe ($12/year), or advertise, or have your album reviewed, or write CD reviews or profiles, or whatever. The address is: _true blues_ 208 East 51st Street, Suite 347 New York, NY 10022 212/752-1447 This is a real bare-bones, grass-roots sort of operation, with the goal of giving adequate coverage to the local blues scene in NYC. Wish us luck. Jennifer Zogott Editor-in-Chief/Publisher * * * "How many bubbles in soap? How many chews in gum? How many rolls in a wheel? Where did eyeballs come from?" - Screamin' Jay Hawkins ========================================================================= Date: Wed, 29 May 1996 00:21:45 -0400 Reply-To: HippieLady From: HippieLady Organization: America Online, Inc. (1-800-827-6364) Subject: Re: JIMMY VAUGHN???? Comments: To: bit-listserv-blues-l@uunet.uu.net Jimmie Vaughan is currently in the studio laying down the tracks for his new release, which is scheduled to be out this summer. Beverly Howell ========================================================================= Date: Tue, 28 May 1996 23:23:55 -0500 Reply-To: Wordsmith From: Wordsmith Subject: Re: Major/minor keys Comments: To: Shaun T Cronin In-Reply-To: On Tue, 28 May 1996, Shaun T Cronin wrote: > Eric wrote: > > >Yes, that's about what it is. A 13th chord, used in blues and jazz, is > >little more than a Imaj7 with a IImin triad piled on top of it. Sounds so > >good! Out here in Evansville the music is mostly country and old rock; > >plain-vanilla I-IV-V progressions. Sometimes I feel I haven't heard a > >13th in years! > > Hhhm. I would say that a thirteenth chord is spelt 1,major3, 5, b7, 9(2), > 13(6). If you put a II minor triad on top of a Imaj7 then things get word. > In C, for example, you would get the 3 and the 4 in the same chord. > > A little strange I think. > > Shaun > > Shaun Cronin 'Woke up this morning between midnight and day. I was > shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son > House > > When it's all piled in the same octave then it sounds like a bunch of Martians playing. The Dm triad (on top of the Cmaj7), when it's up an octave (the 9th, 11th and 13th) then sounds cool. Defies all logic somehow. -- Eric ========================================================================= Date: Wed, 29 May 1996 01:37:58 -0400 Reply-To: Apicor 7 From: Apicor 7 Organization: America Online, Inc. (1-800-827-6364) Subject: Mark The Harper gigdates (NY Area Bluesman) Comments: To: bit-listserv-blues-l@uunet.uu.net TURQUOISE CITY RECORDING ARTIST MARK THE HARPER APRIL - JUNE Concert Schedule "one of NYC's finest Blues Harmonica Players" ...H. Beck, EASCOAST ROCKER/DOWNTOWN Magazine Featuring the guitar prowess of Alexander Rastopchin. Playing Traditional and Alternative Blues! Covers of the masters: Muddy, Sonny Boy, Little Walter, The Hook, SRV, Jimi, Stones, and alternative Blues originals that'll entertain you with a fresh sound. Please come out and see the band LIVE. CDs will be available at the gigs. In most cases, there is NO COVER CHARGE to attend these shows, tho you must be at least 21. Call the club for exact info before coming down. See you there! For more info or bookings, or to get on the mailing list call Turquoise City at (718) 548-0639, or write: Mark The Harper, P.O. Box 330 Grand Central Station, NY NY 10163 E-Mail: Bronxharp@aol.com 6/6 Fannie's Oyster Bar - 765 Washington St, NYC 212-255-5101 6/9 Scotland Yard - 72 Hudson St, Hoboken, NJ 201-222-9273 6/14 Stanhope House - Main & High St, Stanhope, NJ 201-347-0458 6/20 Original Dan Lynch's Blues Bar - 2nd Ave @14th St, NYC 212-677-0911 10-2 6/21 The All American Sports Bar - Ridgewood,NJ 201-447-1303 6/26 The Old Bay - 61-63 Church St., New Brunswick, NJ 908-246-3111 7/3 Original Dan Lynch's Blues Bar - 2nd Ave @14th St, NYC 212-677-0911 10-2 7/5 The Bayou - 580 Gramatan Ave., Mt Vernon, Westch NY 914-668-2634 10:30-2:30 Always call the club ahead to confirm our appearance, ...cuz sh-t happens! Please don't drive drunk! Available for private parties, wherever they may be. For booking information, call (718) 548-0639 ========================================================================= Date: Wed, 29 May 1996 10:54:41 +0500 Reply-To: "mr.gulshan zafar khan" From: "mr.gulshan zafar khan" Subject: Hooker and Beck Hey there. I was wondering if any of you people knew the name of an album which john lee hooker did with Jeff Beck? Being relatively new to blues, I would like to know which albums are considered "Essential". Thanks Antonio ========================================================================= Date: Wed, 29 May 1996 02:17:25 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Major/minor keys Comments: To: Wordsmith Eric replied, >When it's all piled in the same octave then it sounds like a bunch of >Martians playing. The Dm triad (on top of the Cmaj7), when it's up an >octave (the 9th, 11th and 13th) then sounds cool. Defies all logic somehow. That's funny. Playing stuff an octave higher or so can make it work but I still submit that what you are talking about is not a 13th chord. If I remember my theory correctly a 13th chord is built off a dominant chord. Therefore this chord is something else. But what? This chord is obviously one to be played on keyboard. Heaven forbid trying to play this on guitar (unless you can play two-handed). And as my theory papers are missing I hesitant to have a go. The best I can do is say that it is a slash chord (No. It's not one of those Guns 'n' Roses chords). A Cmaj7/Dm? Any takers? Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Wed, 29 May 1996 02:45:53 -0700 Reply-To: Stan Ruffo Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Stan Ruffo Subject: BOT Living Blues Top 20 Comments: To: Harp-L , Jim McGrath , Stan Works , "Anton Glovsky, Tradition Records" Stan Ruffo Productions 800 N. Ben Maddox Way, Suite 2200 Visalia, California 93292 ph.(209) 625-6049 steamin@valleynet.com / www.valleynet.com/~steamin TO: Jim McGrath PROGRAM: "Blues On Tap" w/ Steamin' Stan Ruffo STATION: KIOO 99.7FM (Kay-eye-oh-oh), Visalia, CA SUBJECT: Living Blues Top 20 for May 1996 DATE Sunday - May 28, 1996 Artist Title Label Doug MacLeod You Can't Take My Blues AudioQuest Johnny Dyer Jukin' Blind Pig Johnny Guitar Watson Three Hours Past Midnight Virgin Guitar Shorty Get Wise To Yourself Black Top Camille Howard X-Temporaneous Boogie Specialty Alvin Youngblood Hart Big Mama's Door Okeh Paul Black King Dollar HOB Bo Diddley A Man Amongst Men Atlantic Studebaker John Tremeluxe Blind Pig TJ Parker Last Time It's Gonna Rain Icebone Kelly Joe Phelps Lead Me On Burnside Joe Beard Blues Union AudioQuest Chubby Carrier Who Stole The Hot Sauce Blind Pig Clarence Gatemouth BrownLong Way Home Verve Coco Montoya Ya Think I'd Know Better Blind Pig John Mooney Against The Wall HOB Freddie King Live At the Elec Ballroom Black Top Buddy Guy Live / The Real Deal Silvertone Little Johnny The GiantsNo Mercy Corn Bread Sarah Brown Sayin' What I'm Thinkin' Blind Pig Blues On Tap reports to Living Blues and The Hard Report ========================================================================= Date: Tue, 28 May 1996 22:38:00 GMT Reply-To: Igor Isakovski From: Igor Isakovski Organization: MEDIS-informatika Subject: lyrics ALED>At the mall in town we have a store that will make a license plate frame >that says whatever you want.... ALED>I thought a blues theme would be cool. ALED>My first one was ALED>hey hey (on the top part) ALED>the blues is alright (on the bottom) ALED>But I wanted to ask you all for more suggestions. ALED>I want something that will let people know about the blues, is funny, and >makes some sense to the uninitiated. Lyrics would be nice. ALED>Any ideas? ALED>DC Not quite to the point, but talking about lyrics -- i got an idea. I wrote it few weeks ago. Somebody put music on! :-) TRIBUTE TO THE BLUES i get a bus from the mountains to catch a bed in my hometown and i got my self few beers for the ride she got in later on and she asked for a seat looking at all those beer cans around me we talked and we stared through the windows i have had blues in my head and feet full of blues... i was heading to my bed... the bus was slow & easy so was the landscape so was she but what's the use? when we get off she asked for a direction to the railway station and i said "i'll give you a ride" so we burst into a taxi she, my beer and i "why do you wear sunglasses when it's dark?", she wants to know. i didn't know what should i say so i kept singing inside of me, and we were heading to the railway station so she could catch a train to the airport then to catch a plain to the nearest harbor. she told me her name i forgot it and she asked what do i do for living i get out of myself i started looking at me from the top of the cab and all those boulevard's lights were shining back in my shades and i said "i live the blues" light another cigarette open the last can waiting for the end of it all. especially for the end of the lights. "do you have a passport?", she asks, i say "mhm", i have a passport for all of the worlds a man could think of. and, here i am stucked in the middle blues is murmuring while dragons keep buzzing all over the place P.S. DO NOT change the lyrics! DO NOT use it without permission! 10x. igor.isakovski@informa.mk long live the Blues! --- ~ SPEED 2.00 [NR] ~ "It's ME or That BLUES!" she said... I'll miss her.. ========================================================================= Date: Wed, 29 May 1996 05:56:44 -0400 Reply-To: Layla69642 From: Layla69642 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Kenny Wayne Shepherd Comments: To: bit-listserv-blues-l@uunet.uu.net Kenny Wayne Shepherd will be coming to the east coast in Sept. He's playing the Blues Festival At Radio City Music Hall on Sept 11th. He's playing with BB King, the Neville Brothers etc. You don't have to start your own fan-club...check out Ledbetter Heights. It includes a fan club address. Think he is great as well. Will be seeing him at Radio City. Can't wait!! ========================================================================= Date: Wed, 29 May 1996 10:06:24 GMT Reply-To: tdevit3@NEWS-S01.NY.US.IBM.NET From: tdevit3@NEWS-S01.NY.US.IBM.NET Subject: New Dave Hole CD Comments: To: bit-listserv-blues-l@uunet.uu.net There was a thread of interest re Dave Hole a few months ago...he has a new CD out Whole Lotta Blues...'old' actually since it is a pick of the tracks from his first four releases...could be of interest to people interested in sampling what Dave has to offer. The Oz blues CD Wilson Diesel (Short Cool Ones) is also worth a sound check..three Howling Wolf songs, My Babe, Someboby Loan Me, Sun is Shining, Sugar Babe, I can't Stand the Rain etc. ========================================================================= Date: Wed, 29 May 1996 10:34:06 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Cathi Norton CD????? In-Reply-To: <31AB6B3C.14DA@ccinet.ab.ca> Sales info: "Various Stages of Undress" - Cathi Norton Flat Rock Records # 00022 4 $ 15 (CD only) Can be ordered through: 1. Cathi Norton 5707 S. Handy Rd. Bloomington, IN 47401 812-824-2554 or 2. Flat Rock Records 1-800-664-0628 phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [29/5/96 6:27 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 29 May 1996 06:37:12 -0400 Reply-To: Apicor 7 From: Apicor 7 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Blues license plate frame Comments: To: bit-listserv-blues-l@uunet.uu.net Hey, y'all...how're ya doin... tell ya what I'd put on the plate, but first a little background.. Out of the back window of my beat-up ol' 82 Honda civic wagon, I have a 3/4 life-sized carboard cut-out of Muddy just peerin out and smilin at the people as we drive by, or as they walk by when Wanda (the Honda) is parked. Really makes people stop and stare! Nobody fucks with my car cuz the Mud Man is guarding it (not that anyone would want to anyway...). It's funny to hear people wonder out loud to eachother as they walk by..."who's dat man? Why, it must be BEEEEBEEE KING!", or something even more confounding. But I digress... My plate would say "Muddy Waters is my co-pilot" -Thank you Bluesfully, Mark The Harper, NYC ========================================================================= Date: Wed, 29 May 1996 07:48:41 -0500 Reply-To: James Foster From: James Foster Subject: Re: Memphis Obsessions (long) Comments: To: thf4@WATERVALLEY.NET At 6:21 PM 5/28/96, Tom Freeland wrote: >This post is an attempt to start a general discussion of the basic >recordings of Memphis music in the period 1950-1975. The question >here is what is necessary to get a complete picture of Memphis music >in that period. Just listing the recordings should blow anyone away >with the quality of the music recorded in that 25 year period. > > >you have, what, 62-64 CDs but STILL only a partial picture of >post-war Memphis music. Laying aside the rock stuff at Ardent (or, >for that matter, the Box Tops), I'm curious what is needed to fill >out the set. It seems to me the big holes are: >(6) 60s soul from American and other studios or labels, most >notably Goldwax. The James Carr is available (Goldwax) but, beyond >that, I don't think the reissues are really there. Does anyone know >any to recommend? Obviously, the O.V. Wright compilation of the Back Beat material would be essential at this point. A Goldwax compilation is just waiting to happen...although many of the singles by the likes of Spencer Wiggins, Percy Milem, and the Ovations are available as 45s (try Shangrai-La in Memphis...here in Austin, Antone's and a couple of other shops have these semi-regularly) there is much that is hard to find and undoubtably some unissued material that would be great to hear. However, the Goldwax material is sorta in dispute and, at the pace of the Carr reissues, we might have to wait many years to see any of this on CD. >(8) That Frank Frost record on Phillips International from the early >60s. I believe that much of this material is on the single Frost CD in the Charley Masterworks series. > >(9) Non-single stuff from Stax, particularly live stuff (Live at >the 4/4 Ballroom, the cds of the European tours, Albert King's live >stuff). I suppose we could all live without Booker T's MCCLEMORE >AVENUE album (covers of the entire Abbey Road album! Really!) Note to the above...some folks like the MCCLEMORE AVENUE album!!! > >(12) Finally, what have i missed? Jim Dickinson's stuff for the Jesters as well as his solo album on Atlantic, his work with Mud Boy and hte album "Belae Street Saturday Night" would all be necessary material. Furry Lewis' "4th and Beale" is a fun album from the period you mention. There is, as you know, so much great music (and stories) from this period, just waiting to be told. > >Tom Freeland ========================================================================= Date: Wed, 29 May 1996 07:54:38 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Mance Lipscomb Web There's a little blurb about Mance Lipscomb on the Texas Entertainment News Web page. A few nice pictures. The address is: http://www.TxEnt.com/txent/html_3_24_96/3mance.html -Jeff (a Mance-head) --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball NCAA Regional Host U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc09.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Wed, 29 May 1996 08:09:55 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Gatemouth on ACL According to the Texas Entertainment News Web page, Gatemouth Brown will be on this week's Austin City Limits. As usual, check your local listings... -Jeff --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball NCAA Regional Host U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc09.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Wed, 29 May 1996 09:15:24 -0400 Reply-To: Chris Smith From: Chris Smith Subject: offair Going nomail till the weekend. Hope this gets there before the listserv unsubs me! Chris Smith (chris@skerries.demon.co.uk) 'This country is full of decent, trusting people. And besides, we don't have to tell them the truth.' (Michelle Pfeiffer in 'Love Field') ========================================================================= Date: Wed, 29 May 1996 09:23:33 -0400 Reply-To: smirkyface From: smirkyface Subject: one of those jam nights.(long rant) I've got a question for those of you that attend blues jams on a regular basis. First, a little background. At the jam last night, things were going f & d until she walked in. She, is someone who's been around the local music scene since I moved to philly six years ago. She was bad then, and she's bad now. I've got nothing against someone who's bad, but tries there best, but when you're not that good and have an attitude, it doesn't make you many friends. I went to speak to my boss to tell him that I wasn't letting her on stage, so he should expect her to be putting up quite the protest. Gary, a fine blues guitarist, and new to the scene, told me he would be backing up (lets call her Pam) Pam when she got up on stage. I informed him that she would not be singing here, ever. He told me about her impressive credentials, that she's a pro, etc. Now I've talked to Pam a few times over the years, and I know she talks a good game. She leaves you with the impression that not to hear her sing would be to do your self a disservice. Pam approached me about putting her up soon and should she get her keyboard out of her car. I told her there was no need for that because I wasn't letting her sing. She accused me of discrimination, after assuring me of just how good a singer she was. This one sided argument went on for the next five minutes. When she stopped to catch her breath, I told her she could speak to the manager, which she did. Yes, he caved. He said she made a point that it's an open jam and we couldn't not let her sing without first hearing what she can or can't do. He said I could go take a break when she goes up on stage. Part of the reason I run the jam is that I know who's who on the local scene. I would think that my opinion mattered. When her time came to do her song, I put the best players up to back her (now I owe them my first born). She got into it with the keyboard player, he left the stage, then she spent the next few minutes trying to teach the guys the song she wanted to do. You tell people it's a blues jam, you'd think they'd do,.. blues. To say you could hear a pin drop, would be an appropriate metaphor. On stage, Pam put all the emotion into the lyrics she was butchering. She has quite a vocal range. If she stayed in one key, it might have been palatable. The band on the other hand, looked like they were caught in oncoming headlights. Every now on then someone on stage would pluck a note, mostly they just watched her writhing on her knees, trying to get the song across to an audience that was politely laughing behind cupped hands and my manager was hiding somewhere. IT WAS THAT BAD. Pam never made it to the second verse. She stood up, brushed off her knees and got off the stage. The band went into an impressive version of Clapton's "Crossroads". The audience came to life and cheered through most of the song. Pam put on her coat, grabbed her purse and left,.. quietly. My question is, as host, do I have to right not to let people perform if I have a valid reason for not letting them? Let me apologize now for ranting on, but I really had to get that out. f&d=fine & dandy BRIAN MCLEAN PHOTOGRAPHY & SMIRKYFACE PRODUCTIONS "life's too short to live the blues" http://www.netaxs.com/~blmclean ========================================================================= Date: Wed, 29 May 1996 21:22:25 -0400 Reply-To: "J. W. Patterson" From: "J. W. Patterson" Subject: James Foster"s POST Why have we received three or four postings of James Foster"s on Memphis music l950=75? jwp ========================================================================= Date: Wed, 29 May 1996 07:48:30 CST6CDT Reply-To: "Sara C. Oxton" From: "Sara C. Oxton" Organization: University of Minnesota Subject: Re: Memphis Obsessions (long) Comments: To: "Raymond O. Varner" Dare I invite people to consider buying Elvis records for THE COMPLETE Memphis picture from 1950-75? Even Albert King did an all-Elvis cover album. Sara _________________________________________ Sara C. Oxton Executive Secretary University of Minnesota Department of Food Science & Nutrition 1334 Eckles Ave. St. Paul, MN 55108 Ph: (612) 624-2787 Fax: (612) 625-5272 soxton@che2.che.umn.edu ========================================================================= Date: Wed, 29 May 1996 08:11:32 -0500 Reply-To: "Alice E. Brown" From: "Alice E. Brown" Subject: Re: Canned Heat On the Road Again Comments: To: Jim Witteveen Comments: cc: ABROWN@uasaturn.uark.edu In-Reply-To: <96May28.104047pdt.30759-28267+902@haven.uniserve.com> Yes he is. They will be at the Eureka Springs Blues Festival this weekend (May 30 thru June 2). Are any blues-lers coming this year? I'd love to meet some more of you. Alice On Tue, 28 May 1996, Jim Witteveen wrote: > Canned Heat will be playing : > >July 1 & 2, 1996 > >Yale Hotel > >1300 Granville > >Vancouver, BC V6ZIM7 > > Question: is Robert Lucas touring with Canned Heat? If he is, I'll be > there with bells on! > > -Jim (hndful@uniserve.com) > ========================================================================= Date: Wed, 29 May 1996 09:18:21 -0400 Reply-To: DMIELE From: DMIELE Organization: Exxon Research & Engineering Subject: Re: more of best ever (NBC) Comments: To: bit-listserv-blues-l@uunet.uu.net Don Cicchetti wrote: (stuff LW said and some stuff from Don snipped) > 3. Whether or not we assume that all posts are opinion, (fairly obvious) > posts asserting that your uncle Louie is the best kazoo player in East > Bumbugger, Iowa, simply have no CONTENT other than opinion. > > Opinion is fine as long as it relates to experience, context, and art. > When it is merely opinion it is meaningless. This was the best-ever post on this thread! :-) But seriously, Don wisely points out that however a "best-ever" statement is phrased (e.g. "LW is the best ever guitar picker, and I really mean it!), it is still nothing more than an opinion based solely on the stater's personal preference. The statement in and of it self has no value to the list without some analysis or background as to what criteria the individual used to make this judgement. None of us care who every one else thinks is the best, but we might care WHY they think it. Anyone want to talk about the Blues? ========================================================================= Date: Wed, 29 May 1996 09:49:17 -0400 Reply-To: BluesMojo@AOL.COM From: Doug Carlisle WSFM Subject: Commercial Radio Playlist WSFM "Surf 107" Box FM 107 Wilmington, NC 28402 "Houserockin' Blues" Host: Doug Carlisle Sundays 9am-12pm Reported to: "Hard Report" And Blues-L Web page: www.surf107.com Send E-mail for info regarding airplay for your band!! Hour 1 Lil Ed & Blues Imperials Can't Let These Blues Go Alligator Gary Moore Long Grey Mare Charisma Keb' Mo' Tell Everybody I Know Okeh/Epic Bob Bingham El Capitan Mitawan Brewer Phillips For You My Love Delmark Muddy Waters Tribute Band Trouble No More Telarc Bo Diddley Can I Walk you Home Code Blue Jimi Hendrix Bleeding Heart MCA (Jazz) David A. Stewart Lily Was Here Arista Eric Clapton How Long Blues Reprise Clarence Gatemouth Brown Somebody Else Verve Amos Milburn After Midnite Capitol Shuggie Otis The Hawks Epic/Legacy Hour 2 Steve LaRocca Can't Love Yourself Ikon Chubby Carrier Luziana Feelin' Blind Pig Ray Charles I Got A Woman Pablo William Clarke Complainer's Boogie Woogie Alligator's 25th Little Charlie & Nightcats I Could Deal With It Alligator's 25th Don Griffin Back to Chicago Vital Music Taj Mahal I Need Your Loving Private (Jazz) Sal Soghoian Stompin' At the Savoy HQS 1 Buddy Guy Talk to Me Baby Silvertone Beck, Bogert, Appice Black Cat Moan Epic Albert King Born Under a Bad Sign Code Blue Paul Black G-Baby House of Blues Hour 3 John Mooney Doggone Thing House of Blues Bukka White Drunken Leroy Blues Genes Bloodline Dixie Peach EMI Blodwyn Pig The Night Is Gone Viceroy Stevie Ray Vaughan Couldn't Stand the Weather Epic The Wallflowers 6th Avenue Heartache Interscope Otis Rush The Preacher/I Got a Woman Genes (Jazz) Grover Washington Jr. East River Drive Elektra Cotton Candy Baby, That's All Right Co-Ze Skeeter Brandon & Hwy 61 Success New Moon Kenny Wayne Shepherd One Foot on the Path Giant ========================================================================= Date: Wed, 29 May 1996 09:54:08 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Washington Folk Festival June 2 Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com * The D.C. Blues Society Band, featuring fellow Blueseller Steve Levine * and legendary guitarist "Mad" Max Vadi, will be appearing this Sunday, * June 2, at the Washington Folk Festival, Crystal Pool Stage, Glen Echo * Park, at 3:00. Bill Kirchen will be playing on the same stage later * that day. Warner Williams, Archie Edwards and Keith Patterson are some of the other blues artists scheduled to appear at the Washington Folk Festival this weekend. I think they're playing on Saturday. But come on Sunday to see the DC Blues Society band. :) -Steve ========================================================================= Date: Wed, 29 May 1996 07:07:47 -0700 Reply-To: Garry Segal From: Garry Segal Subject: Lyrics/Sexist etc... In response to the thread on not playing blues songs that contain lyrics about violence toward women. I am not a fan of violence towards anyone but also not a fan of changing history. Many of these songs were written with a bang zoom mentality (remember Ralph Kramden always threatening, but Alice always winning?) Did Albert Collins ever really throw a brick at someone? Were there brick throwing incidents by people who heard that song? Expressing frustration at a relationship by using graphic lyrics is to me poetic license. Political correctness has stifled alot of voices in this free speech society we supposedly live in and I dont think that is right. Sure plenty of bluesmen and women(Big Mama Thorton stories anyone?) have had some violent lives in and out of song. Should we edit them out of our record catalogs and broadcasts? Nope, its all part of the package folks IMHO Garry " it aint all pretty" ========================================================================= Date: Wed, 29 May 1996 09:24:55 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Gatemouth on ACL In-Reply-To: Having realized that the web info may have been on there for a while, I'd say there is minimal likelihood that Gatemouth is actually on ACL this week. In fact, I think I remember him being on this year already. Sorry.... -Jeff --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball NCAA Regional Host U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc09.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Wed, 29 May 1996 10:39:10 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0051 From: "DUTTWEILER.J" Subject: Copyright Question Date: Wednesday, 29 May 1996 10:38am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Copyright Question I have noticed, when looking and the author credits of songs, that sometimes when no author is listed it nevertheless has "copyright control" stated under the title. Can any of our resident copyright and/or legal experts render an opinion as to just what this means? Thanks. JD ========================================================================= Date: Wed, 29 May 1996 07:56:43 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: May 30 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- COLEMAN, DAVE (d/FREDDIE SLACK) d. 1989-0530, SEATTLE, WA 65 DEPARIS, SIDNEY (tpt/BESSIE SMITH) b. 1905-0530, CRAWFORDSVILLE, IN DESMOND, PAUL (asax/TAKE FIVE) d. 1977-0530, NEW YORK CITY, NY 52 GAINES, JOE (lead/HAWKS/HUMMING 4) b. 1919-0530, NEW ORLEANS, LA GOODMAN, BENNY (cl) b. 1909-0530, CHICAGO, IL GORDON, JOHN (tbn/HAMPTON/LLOYD PRICE) b. 1939-0530, NEW YORK CITY, NY GREENE, MADELINE (v) d. 1976-0530, CLEVELAND, OH 55 HOLMSTROM, RICK"LA HOLMES"(g/JOHNNIE DYER b. 1965-0530, FAIRBANKS, AK HORTON, PUG (v) b. 1932-0530, SHEFFIELD, UK JACKSON, MELVIN "LIL' SON" (g) d. 1976-0530, DALLAS, TX 59 LANE, MORRIS (tsax/LIONEL HAMPTON) d. 1967-0530, GARY, IN 40 MOBLEY, HANK (tsax) d. 1986-0530, PHILADELPHIA, PA 55 NEEDHAM, THERESA (of THERESA'S LOUNGE) b. 1912-0530, MERIDIAN, MS RENE, LEON (prod/songw/ROCKIN' ROBIN) d. 1982-0530, LOS ANGELES, CA 80 RYANES, JOHN (of THE MONOTONES) d. 1972-0530, NEWARK, NJ 31 SMITH, WILLIAM O. (g/COLEMAN HAWKINS) d. 1991-0530, NASHVILLE, TN 74 SNOW, VALAIDA (tpt) d. 1956-0530, NEW YORK CITY, NY 56 SOLOMON, BOBBIE (v) d. 1975-0530, LOS ANGELES, CA 31 STEPIN FETCHIT (v/comedy) b. 1902-0530, KEY WEST, FL SUN RA (keyb/arr) d. 1993-0530, BIRMINGHAM, AL 79 ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 29 May 1996 09:51:47 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Taj Mahal I confess I haven't really listened to Taj very much. Last night I listened to Taj and some India guys (Bhatt & ???, sorry no disrepect just forgetful) Taj sings his rear off on Ben E King's "Stand By Me"....What a voice. Very nice... So what (blues) CD would you recommend for a budding Taj fan Thanks LW 'private mail please" ========================================================================= Date: Wed, 29 May 1996 15:14:21 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: Blues license plate frame Comments: To: bit-listserv-blues-l@uunet.uu.net On May 28, 1996 15:49:28 in article , 'Don Cicchetti ' wrote: >Note!! > >If you haven't been following this PLEASE don't jump in.... > >The sarcasm and irony level is nearing the radioactive! ;-] > > Don's right you know - this is an epidemic - I'm out of my depth here..... > >I said previously: > >>>We're talking BLUES here! >>> >>>Besides *everyone* knows that Elastica is the BEST EVER!!! >>> >>>DC > >Vincent replied: > >>Oh no! >> >>I apologize Don, I didn't know you were such a "purist" - if it is the REAL >>DEAL hardcore blues - you've got to agree that: >> >>"Barry Manilow - the Best that there Ever was..." >> >>(personally I think Tiny Tim is the Best that there ever was - but then I'm >>not a purist - and have poor taste :-) > > >ha ha ha ha!!!! > >hee heee.... jeez Vincent, I didn't know you were so funny! > > >In response: > > >nahhhhhh.... > >I AM a purist and I know for a FACT that only Samoans can play Uke and TT >is an imperialistic usurper... so there! > >I mean who OWNS Ukelele music anyway? Well it sure ain't white people!!! > The trouble with you PURISTS is that you'll alway try to come up with some name that you think we've never heard of and try to blind us with FACTS. But we all know that the King of Ukulele is Tim the Tiny or Mr. Tiny to you. Anyone knows that the Samoans were merely PRIMITIVES compared to the true blue technical genius of the great TT - like I said the BestEST that there ever was. And what you're saying is RACIST. Uke knows NO color - just because Mr. Tiny is not of a certain race or background it doesn't mean he can't play rings around any Samoan. Next you'll be telling me Indians are better at playing the sitar - when everyone knows all they ever did was to ride round on horses and shooting arrows into innocent people who were just trying to honestly steal their land..... >oh, and Manilow still rules! > Ah! you see we do agree - and isn't it a SHAME that they are putting WHEELS on the cabin he was born in and started the whole history of the blues as we all know it.......What's the country coming to when the most revered relics are displayed like a traveling side-show? >DC > >BTW, turns out that Manilow uses Elvis' old fake name when registering at >hotels.... That wasn't you that I saw him with the other night checking into the local Ho-Jos? That red dress was very becoming Don....... -- Vincent vt@usa.pipeline.com ========================================================================= Date: Wed, 29 May 1996 11:16:44 -0400 Reply-To: HiP_RaGs From: HiP_RaGs Subject: COME_ON_IN_MY_KITCHEN query!!! Hi folks... Listening to TAJ MAHAL's version of COME ON IN MY KITCHEN from his MUMTAZ MAHAL (Best World Music Grammy Award Winner) album I listened to this song umpteen times and want a confirmation on the lyrics to it... "i been in the bottom i been down in louisiana too i been down ********* mama honey looking for you babe, u better come on in my kitchen coz it gone to be raining outta the door...." what is ********* ??? anybody has the whole lyrics for the song... thanks +===================================================================+ | _-\\|//-_ | | | // \\ | Laissez les bon temps roulez!! | | // ~~ ~~ \\ | Let the good times roll!! | | /d-(*)-(*)-b\ | ------------------------------ | | // L \\ | SANJAY 'RAGS' RAJAN | | // //|\\ \\ | sanjay_rajan@formtek.com | | ////`---'\\\\ | FORMTEK,INC. | | // //|||\\ \\ | PITTSBURGH, PA | | // /|||\ \\ | ------------------------------ | | -/---/\o/\---\- | Visualize Whirled Peas!! | | /"\ )| | +===================================================================+ ========================================================================= Date: Wed, 29 May 1996 15:37:54 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: Gearheads (was: RE: MyVIEW - live Hubert Sumlin) Comments: To: bit-listserv-blues-l@uunet.uu.net On May 29, 1996 12:26:00 in article , 'David Blanken ' wrote: >>I was there Friday night - he played solo but electric. He was playing a >>mahogany colored wood finish Gibson slim-line semi-acoustic (the 335 shape) >>but it has a head like a Fender (it did say Gibson though). > >Did it have diamond shaped "f" holes (as opposed to the "f" shaped ones)? >Sounds like it could have been a Gibson Trini Lopez model. > >-Dave- Yep, that's the one - diamond 'f' holes I mean with the evidence of his driving version of "Kansas City", then "If I Had a Hammer" is there any doubt that TRINI LOPEZ is the BEST that there EVER was? (with apologies to DC) -- Vincent vt@usa.pipeline.com ========================================================================= Date: Wed, 29 May 1996 08:58:13 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: one of those jam nights.(long rant) Brian said: (funny, but painful story edited) >I've got a question for those of you that attend blues jams on a regular basis. >First, a little background. > At the jam last night, things were going f & d until she walked in. >She, is someone who's been around the local music scene since I moved to >philly six years ago. She was bad then, and she's bad now. I've got >nothing against someone who's bad, but tries there best, but when you're >not that good and have an attitude, it doesn't make you many friends. edit edit > To say you could hear a pin drop, would be an appropriate metaphor. On >stage, Pam put all the emotion into the lyrics she was butchering. She has >quite a vocal range. If she stayed in one key, it might have been >palatable. The band on the other hand, looked like they were caught in >oncoming headlights. Every now on then someone on stage would pluck a note, >mostly they just watched her writhing on her knees, trying to get the song >across to an audience that was politely laughing behind cupped hands and my >manager was hiding somewhere. > >IT WAS THAT BAD. > >Pam never made it to the second verse. She stood up, brushed off her knees >and got off the stage. The band went into an impressive version of >Clapton's "Crossroads". The audience came to life and cheered through most >of the song. Pam put on her coat, grabbed her purse and left,.. quietly. > >My question is, as host, do I have to right not to let people perform if I >have a valid reason for not letting them? YES! Oh, and Brian! Did she accuse you of testosterone poisoning? ;-] sorry... couldn't resist... Man, I am really sympathetic to your plight. Wish the manager hadn't wimped out. Bet they don't wimp out next time.. We had a guy in college who was basically a no talent; let's call him Billy. There were a bunch of bands on campus and we would plan shows and invite them all, well except Billy. He couldn't sing, couldn't play, couldn't write songs, and spent a LONG time on stage soaking up the dwindling attention, doodling with his strings, talking to the crowd, telling lame jokes etc etc. So we planned a great show. Lots of bands, all good, and conveniently left Billy off the program. He shows up anyway and BEGS one of the organizers to play. She, being a sweet soul caves in and tells us all that "he's just going to play a couple of songs" oh yeah, fat chance! Anyway, when they told me I really got pissed and shall we say, "vented" in front of some friends and family who had come to the show. Soooo, my sister goes and sits down and promptly tells mom that: "that dang Billy showed up and begged his way onto the show, and I HATE him, he can't sing, can't play, and bores us all to death...." Well you can guess who was sitting behind her and overheard the whole thing.... Billy yep... I laughed for a long time, and felt a lot better! And it was a great show DC Today, I wouldn't let him anywhere near the stage for any reason. And yes he is still doing his same ole shtick... ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Wed, 29 May 1996 12:02:54 -0400 Reply-To: Leo Aspiras From: Leo Aspiras Subject: Re: More Howlin' Wolf Barbecue Hi all: THIS IS AN ADD-ON TO A PREVIOUS POST AROUND THE TIME OF THE N'AWLINS JAZZ FEST.....PLEASE DELETE NOW IF NOT INTERESTED.... The Washington Post's food section this morning does a review of the 'Smokestack Lightning' book........besides the (obligatory blues content) of Howlin' Wolf's Smokestack Lightning playing in the tape deck of the author's 1981 Volvo here are a few highlights: 1) The authors (Lolls Eric Elie and Frank Stewart) use to be roadies for Wynton Marsalis' band in 1991. This tour is where the idea for the book came. 2) They were on the road for 10 months eating everything from Carolina pulled pig to a kind of smoke-baked Texas cow's head known as barbacoa (from the West Indian word many believe to be the origin of the word barbecue). 3) Some of the barbecued meats they sampled was chicken, beef, turkey, deer sausage, Cornish game hens and mutton. The last baaaaaaaad meat is very popular in Owensboro, KY. Also, pig cheeks are highly prized in Chicago's South Side. 4) Some good/great barbecue joints/competitions they discovered: Dreamland - Tuscaloosa, AL. Cozy Corner - Memphis, TN. Moo & Oink - South Side of Chicago (meat market) Meat in the Middle barbecue competition - Perry, OK. Chuck's Smoke House - Hope, AK Big Pig Jig - Vienna, GA. Not affiliated with these people or book but do appreciate good barbecue.....have a few mean recipe's for the art myself....... scatman leo down d.c. way --LAA07193.833385594/falcon.dol-esa.gov-- ========================================================================= Date: Wed, 29 May 1996 12:04:37 EDT Reply-To: Dan Brown <103043.3271@COMPUSERVE.COM> From: Dan Brown <103043.3271@COMPUSERVE.COM> Subject: Re: Robert Lucas-Canned Heat Fito had asked me to come down and check out the new guys in his band. They were playing at the House of Blues on Sunset. So I showed up with a few friends to check them out. Well the band is all set up when this big ugly guy wearing sunglasses walks out and starts doing the first tune. He seems OK. Relaxed and getting warmed up. They start into "On the Road Again" and his harp playing was cutting it for someone that was new to the band. Three songs later he's getting hot on "Going up the Country" when he whips off his sunglasses. He had the biggest blackeye, I mean the whole right side of his face is out to here and I said to myself "Self this guy is gonna fit right in." DBear ========================================================================= Date: Wed, 29 May 1996 12:15:37 -0400 Reply-To: Dave Markovits From: Dave Markovits Subject: Meeting in Chicago I'll be at Jazz Record Mart before noon on Saturday. I am meeting a few folks at my place. We'll hoof it down there after that. I'm maybe a 10 minute walk. New City comes out today. I'll post more Chicago Blues events today. Bryan Lee is at the DePaul Music Center 111 South State Friday at Noon. Billy Branch and the S.O.B.'s are after at 1:oo. Close to the fest and free. Later; David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Wed, 29 May 1996 09:19:33 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: The DC and VT show - was blues license plates Once again... this may not make sense unless you've been following the thread... and maybe not even then! edit edit Previously I said: >>I AM a purist and I know for a FACT that only Samoans can play Uke and TT >>is an imperialistic usurper... so there! >> >>I mean who OWNS Ukelele music anyway? Well it sure ain't white >people!!! Vincent replied: >The trouble with you PURISTS is that you'll alway try to come up with some >name that you think we've never heard of and try to blind us with FACTS. >But we all know that the King of Ukulele is Tim the Tiny or Mr. Tiny to >you. Anyone knows that the Samoans were merely PRIMITIVES compared to the >true blue technical genius of the great TT - like I said the BestEST that >there ever was. > >And what you're saying is RACIST. Uke knows NO color - just because Mr. >Tiny is not of a certain race or background it doesn't mean he can't play >rings around any Samoan. > >Next you'll be telling me Indians are better at playing the sitar - when >everyone knows all they ever did was to ride round on horses and shooting >arrows into innocent people who were just trying to honestly steal their >land..... > >>oh, and Manilow still rules! >> > >Ah! you see we do agree - and isn't it a SHAME that they are putting WHEELS >on the cabin he was born in and started the whole history of the blues as >we all know it.......What's the country coming to when the most revered >relics are displayed like a traveling side-show? HA HA HA HA HA HEEE HOOOOOOO ROTFL BIGTIME!! whoooooo...... ok I give... UNCLE! May I have the envelope please. The "Shecky Greene Award" for dang-funny writing in the service of the blues goes to VINCENT!! yeaaaahhhh! >>BTW, turns out that Manilow uses Elvis' old fake name when registering at >>hotels.... > >That wasn't you that I saw him with the other night checking into the local >Ho-Jos? That red dress was very becoming Don....... No, I was in the blue dress on his right arm. Remember? The one you sold me because you outgrew it after all those cheezbuggas?? pssst... I think that hussy in the red dress was a MAN!! ssshhhhh! DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Wed, 29 May 1996 09:42:04 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: one of those jam nights.(long rant) >On May 29, 8:58am, Don Cicchetti wrote > >> We had a guy in college who was basically a no talent; let's call him >> Billy. There were a bunch of bands on campus and we would plan shows and >> invite them all, well except Billy. He couldn't sing, couldn't play, Billy C. said >Damn. > >Geez, Don, I _thought_ your name sounded familiar! > >Whatcha doin' Friday night? I just got this new harmonica.... OHHHH NOOOOO!!!! My sister still hates you! There's a leeson in here somewhere....when you pick a pseudonym, pick an unusual name! sorry Billy. Everyone knows it wasn't YOU anyway... You're way too hip to have gone to college in Southern California in the 70's.... ;-] >"Where a computer like the ENIAC is equipped with 18,000 vacuum tubes >and weighs 30 tons, computers in the future may have only 1,000 vacuum >tubes and weigh only1 1/2 tons." > Popular Mechanics, March 1949 Yeah, and now we WISH we still had those dang tubes, and the suppliers are jacking the price up daily! DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Wed, 29 May 1996 11:27:10 -0700 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: one of those jam nights.(long rant) Comments: To: Don Cicchetti In-Reply-To: Don Cicchetti "Re: one of those jam nights.(long rant)" (May 29, 8:58am) On May 29, 8:58am, Don Cicchetti wrote > We had a guy in college who was basically a no talent; let's call him > Billy. There were a bunch of bands on campus and we would plan shows and > invite them all, well except Billy. He couldn't sing, couldn't play, Damn. Geez, Don, I _thought_ your name sounded familiar! Whatcha doin' Friday night? I just got this new harmonica.... -- "Where a computer like the ENIAC is equipped with 18,000 vacuum tubes and weighs 30 tons, computers in the future may have only 1,000 vacuum tubes and weigh only1 1/2 tons." Popular Mechanics, March 1949 ========================================================================= Date: Wed, 29 May 1996 11:57:46 -0500 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Meeting in Chicago > > I'll be at Jazz Record Mart before noon on Saturday. I am meeting a few > folks at my place. We'll hoof it down there after that. I'm maybe a 10 > minute walk. > New City comes out today. I'll post more Chicago Blues events today. > Bryan Lee is at the DePaul Music Center 111 South State Friday at Noon. > Billy Branch and the S.O.B.'s are after at 1:oo. Close to the fest and > free. > > Later; > David Markovits > Metamor Technologies > 1 N. Franklin ste 1500 > Chicago,Illinois > 60606 > > (312)251-3299 > > E-Mail:Markovd@metamor.com > I will be at Jazz Record Mart around 10:00. 6'4'' tall, beard and with a cute little oriental woman with me. Can't miss me. Say hello to old man. Art, I'll see you there. Ranko ps. I will also be at blues fest all day Friday. Ian Angus, I plan to look for you. and Rob Varak too. ========================================================================= Date: Wed, 29 May 1996 13:00:44 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: More Howlin' Wolf Barbecue Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *2) They were on the road for 10 months eating everything from Carolina * pulled pig to a kind of smoke-baked Texas cow's head known as barbacoa * (from the West Indian word many believe to be the origin of the word * barbecue). Tough job, but someone's gotta do it! :-) I just read the Washington Post article. Sounds like a great book. -Steve ========================================================================= Date: Wed, 29 May 1996 12:09:53 -0400 Reply-To: Michael Kaloyanides From: Michael Kaloyanides Subject: Re: Major/minor keys Comments: To: Shaun T Cronin In-Reply-To: On Wed, 29 May 1996, Shaun T Cronin wrote: > Eric replied, > > >When it's all piled in the same octave then it sounds like a bunch of > >Martians playing. The Dm triad (on top of the Cmaj7), when it's up an > >octave (the 9th, 11th and 13th) then sounds cool. Defies all logic somehow. > > That's funny. Playing stuff an octave higher or so can make it work but I > still submit that what you are talking about is not a 13th chord. If I > remember my theory correctly a 13th chord is built off a dominant chord. > Therefore this chord is something else. But what? > > Shaun The chord consisting of 1,3,5,b7,9,11,13 is properly a DOMINANT 13TH, the dominant referring to the b7. BUT, and this is a big but, when musicians refer to a 13th chord they almost always mean the dominant 13th. A 13th with a major 7th is a very rare bird, but is called a 13th (without the dominant qualifier. Michael G. Kaloyanides Department of Music & Sound Recording University of New Haven ========================================================================= Date: Wed, 29 May 1996 13:23:28 -0400 Reply-To: TDominey From: TDominey Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Taj Mahal Comments: To: bit-listserv-blues-l@uunet.uu.net Without a doubt, YOU MUST BUY THIS RECORD: Taj Mahal - "Recycling the Blues and Other Related Stuff" Most of it is an amazing concert in San Francisco from the 70's. He's alone, and plays everything from banjo, to acoustic guitar, to thumb piano, and even a conch shell! There is even a handclapping, foot-stomping gospel song 'Rise Up Children Shake the Devil Out Your Soul' that leaves you breathless. The audience is incredibly responsive to the show - Taj Mahal works them into a frenzy! Let me know if you get it - I'd love to hear your opinion. ========================================================================= Date: Wed, 29 May 1996 12:32:36 -0600 Reply-To: James Bardsley From: James Bardsley Subject: Re: More Howlin' Wolf Barbecue Comments: To: Leo Aspiras In-Reply-To: <199605291602.MAA10237@fenix2.dol-esa.gov> I needed a gift for some friends of mine - big barbecue fans- who are for the moment exiled to New Jersey, and I picked up the hardback version of this book. I got to read the first chapter before I regretfully parted with it and it is /wonderful/. I'm lookng for my own copy now. - At 12:02 PM -0400 05/29/96, Leo Aspiras wrote: >Hi all: > >THIS IS AN ADD-ON TO A PREVIOUS POST AROUND THE TIME OF THE N'AWLINS JAZZ >FEST.....PLEASE DELETE NOW IF NOT INTERESTED.... > > >The Washington Post's food section this morning does a review of the >'Smokestack Lightning' book........besides the (obligatory blues content) of >Howlin' Wolf's Smokestack Lightning playing in the tape deck of the author's >1981 Volvo here are a few highlights: > >1) The authors (Lolls Eric Elie and Frank Stewart) use to be roadies for > Wynton Marsalis' band in 1991. This tour is where the idea for the > book came. > >2) They were on the road for 10 months eating everything from Carolina > pulled pig to a kind of smoke-baked Texas cow's head known as barbacoa > (from the West Indian word many believe to be the origin of the word > barbecue). > >3) Some of the barbecued meats they sampled was chicken, beef, turkey, deer > sausage, Cornish game hens and mutton. The last baaaaaaaad meat is very > popular in Owensboro, KY. Also, pig cheeks are highly prized in > Chicago's South Side. > >4) Some good/great barbecue joints/competitions they discovered: > > Dreamland - Tuscaloosa, AL. > Cozy Corner - Memphis, TN. > Moo & Oink - South Side of Chicago (meat market) > Meat in the Middle barbecue competition - Perry, OK. > Chuck's Smoke House - Hope, AK > Big Pig Jig - Vienna, GA. > >Not affiliated with these people or book but do appreciate good >barbecue.....have a few mean recipe's for the art myself....... > >scatman leo down d.c. way > >--LAA07193.833385594/falcon.dol-esa.gov-- Jim Bardsley "If we're treading on thin ice then we might as well dance." -Jesse Winchester @1971 ========================================================================= Date: Wed, 29 May 1996 10:59:24 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: New Dave Hole CD Comments: To: tdevit3@NEWS-S01.NY.US.IBM.NET tdevit3@NEWS-S01.NY.US.IBM.NET wrote: >There was a thread of interest re Dave Hole a few months ago...he has a >new CD out Whole Lotta Blues...'old' actually since it is a pick of the >tracks from his first four releases...could be of interest to people >interested in sampling what Dave has to offer. >The Oz blues CD Wilson Diesel (Short Cool Ones) is also worth a sound >check..three Howling Wolf songs, My Babe, Someboby Loan Me, Sun is >Shining, Sugar Babe, I can't Stand the Rain etc. I don't know what tracks are on the sampler but if you are into loud blues and blues/rock then check Dave Hole out. He burns. His slide playing is amazing (can get a little too much over the top at times) and he usually burns from the beginning to the end. The Wilson Diesel CD I have yet to hear. My sister was supposed to send me a copy but I've yet to receive it. For unfortunates:-) who were not born in Australia and have no idea what what the Oz music scene is about, here is some background on the CD. The Diesel part of Wilson Diesel is actually an American who moved to Australia and became a bona-fide star. Plays rock with a bluesy edge and is very popular with the teeny-bopper set. I think the Wilson is Chris Wilson. Not sure and that and his background as well. The participation of Diesel had me worried (Shaun's bias against teeny-bopper stars comes to the surface). I had visions of really badly performed blues tunes dancing around my ears. Some Ozzie Bluzellers have already mentioned that the CD sort of confirms my fears. Any opinions by those who have heard it? Could be worse. I heard what was a hard-rock band pretending to be a blues band by playing Otis Rush's "All Your Love" yesterday over a store's music system. Very bad. Very Painful. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Wed, 29 May 1996 17:52:24 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Mark the Harper - Re: Blues license plate frame Comments: To: bit-listserv-blues-l@uunet.uu.net Welcome to the Blues-L Mark. I wrote about you here once in my "review" when you played with John Primer and Magic Slim at Chicago B.L.U.E.S., and you were reported on the Blues-L to have played with James Cotton on the day before. I would have thought you'd put Little Walter or Big Walter on your license plate...... Or..... remembering your looks it may have said: "I AM Charlie Musselwhite...just shorter." -- Vincent vt@usa.pipeline.com On May 29, 1996 06:37:12 in article , 'Apicor 7 ' wrote: >Hey, y'all...how're ya doin... tell ya what I'd put on the plate, but >first a little background.. >Out of the back window of my beat-up ol' 82 Honda civic wagon, I have a >3/4 life-sized carboard cut-out of Muddy just peerin out and smilin at the >people as we drive by, or as they walk by when Wanda (the Honda) is >parked. Really makes people stop and stare! Nobody fucks with my car cuz >the Mud Man is guarding it (not that anyone would want to anyway...). It's >funny to hear people wonder out loud to eachother as they walk by..."who's >dat man? Why, it must be BEEEEBEEE KING!", or something even more >confounding. >But I digress... >My plate would say "Muddy Waters is my co-pilot" >-Thank you >Bluesfully, >Mark The Harper, NYC ========================================================================= Date: Wed, 29 May 1996 12:28:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: J.B. Hutto Last night about 3:30am, in the throes of insomnia, I turned on the tube. A film starring Richard Pryor, obviously made in the '70's, was on. Richard and two cohorts were in a bar plotting "a little breaking and entering". The music in the background, ostensibly from a juke box, was definitely J.B. Hutto. Now this would have been, probably, pretty anachronistic, in most ghetto bars in the '70's. But there it was. I didn't stay up to watch the credits. Which leads me to a J.B. Hutto story. J.B. was known for "walking the bar". When a friend saw him back about '69 or '70, J.B. got up on the bar, but this time he laid down on his back, and propelled himself along the length of the counter by his feet! My friend, watching from the back of the room, couldn't see him after he assumed his prone position, but he could trace his progress as people sitting at the bar lifted their drinks high as J.B. slid by. -Bonnie (don't offer her no barbecue) the K. If you see me in Chi-Town, I may have my "Babe" T-shirt on... ========================================================================= Date: Wed, 29 May 1996 17:57:25 GMT Reply-To: VT From: VT Subject: Re: 1996 Roots & Rhythm Catalog I found this in rec.music.bluenote.blues - be nice if we could invite Frank Scott to join us here too. -- Vincent vt@usa.pipeline.com On May 28, 1996 16:28:47 in , 'roots@hooked.net (Frank Scott)' wrote: >Roots & Rhythm's new 1996 catalog is now available. 72 pages long it features >more than 10,000 roots music recordings available from us by mail including >small label and hard to find imports. It includes more than 3,000 blues, >gospel >and zyedco listings. > >Contact us for a free copy. > >Frank Scott >Roots & Rhythm >P.O. Box 837 >El Cerrito, CA 94530, USA >Phone : (510) 525-1494; Fax : (510) 525-2904 >Web Site : http://www.bluesworld.com/roots.html ========================================================================= Date: Wed, 29 May 1996 14:58:44 -0400 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: BBQ'ing Tip - No Blues In-Reply-To: <832928687.7379.0@skerries.demon.co.uk> While we're on the topic of BBQ'ing, I thought I'd pass on a little tip a friend of mine gave me for cooking "the meat of the filthy swine" (ribs or chops) on to you all. Try brushing a mix of oyster sauce, lemon, garlic and oregano (I'll leave the portions of each up to your individual tastes) for the last 10-15 minutes. "THE BEST PORK - EVER". RW ps. No offence meant to any Zeller of Jewish persuasion. (or 4 legged little pigs) :-) ========================================================================= Date: Wed, 29 May 1996 13:52:15 -0400 Reply-To: DougLegacy From: DougLegacy Organization: America Online, Inc. (1-800-827-6364) Subject: NEW!!! ZYDECO PARTY BAND WEB PAGE!!! Comments: To: bit-listserv-blues-l@uunet.uu.net check it out - http://dances.com/dance/zpb.htm ========================================================================= Date: Wed, 29 May 1996 13:00:35 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: "Undress" info Hello everyone. (Knew that slug would get you - ha!) Although I haven't yet gotten the message posted by Gary Constantine (I've long ago given up figuring out this mailer), I did get Delta Doc Roger's answer to it. And since it's been at least a month since I plied you all with the information, I'll say: a) Thanks to Delta Doc for his helpful info. to Gary C. on my behalf b) Ordering info for Cathi Norton's "Various Stages of Undress" CD remains: Cathi Norton 5707 S. Handy Rd. Bloomington, IN 47401 $15 -- I'll pay the postage and rub lipstick all over it (the postage, that is). First 100 buyers get a bonus of snake oil. Cathi N. ========================================================================= Date: Wed, 29 May 1996 13:11:40 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: eRIC's BLUES DATES: May 30 Comments: To: James Carmin In-Reply-To: <199605291456.HAA15410@desiree.teleport.com> On Wed, 29 May 1996, James Carmin wrote: > ------------------------------------------------------------------------------- > artist notes/full name yyyy-mmdd, city/county state age > ------------------------------------------------------------------------------- > JACKSON, MELVIN "LIL' SON" (g) d. 1976-0530, DALLAS, TX 59 > ------------------------------------------------------------------------------- Rest in Peace Lil Son! -Jeff (blues come to Texas...) --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball NCAA Regional Host U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc09.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Wed, 29 May 1996 14:16:28 -0400 Reply-To: Neil Cassidy From: Neil Cassidy Subject: dating a National Looking for advice on how to identify a National Duolin. A friend purchased this guitar at an estate sale and doesn't have a clue. Any help appreciated Neil Cassidy Capital Unversity Columbus, OH ========================================================================= Date: Wed, 29 May 1996 14:45:15 EDT Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: WHUS Top 20 for May TOP 20 BLUES ALBUMS ON WHUS-FM for month ending 5/31/96 ARTIST ALBUM LABEL 1 Long John Hunter Border Town Legend Alligator 2 Cephas & Wiggins Cool Down Alligator 3 W.C. Clark Texas Soul Black Top 4 John Primer The Real Deal Code Blue 5 Tre` Delivered For Glory JSP 6 Joe Beard Blues Union Audioquest 7 Otis Grand Nothing Else Matters Sequel 8 Tommy Castro Exception to the Rule Blind Pig 9 Chicago Bob Nelson Back to Bogalusa Kingsnake 10 Harmonica Fats/Bernie Pearl Blow Fat Daddy Blow Bee Bump 11 John Hammond Found True Love Pointblank 12 Coco Montoya Ya Think I'd Know Better Blind Pig 13 Willie "Big Eyes" Smith Bagful of Blues Blind Pig 14 Guitar Shorty Get Wise To Yourself Black Top 15 Luther Allison Blue Streak Alligator 16 Luther "Guitar Jr." Johnson Slammin' On The West Side Telarc 17 Studebaker John & the Hawks Tremoluxe Bling Pig 18 Pat Boyack & the Prowlers On The Prowl Bullseye 19 Bobby Rush One Monkey Don't Stop No Show Waldoxy 20 Joe Hughes Texas Guitar Slinger Bullseye Dave Carpenter - Blues Music Director WHUS 91.7FM University of Connecticut Box U-8R 2110 Hillside Road Storrs, CT 06269-3008 Business line 860.486.4007 Studio line 860.429.WHUS Fax line 860.486.2955 WHUS web site - http://www.ucc.uconn,edu/~whusfm The Blues Bus Depot - http://ourworld.compuserve.com/homepages/davecarpenter Dave's e-mail - 103156.340@compuserve.com ========================================================================= Date: Wed, 29 May 1996 14:00:06 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: one of those jam nights.(long rant) Comments: To: smirkyface In-Reply-To: On Wed, 29 May 1996, smirkyface wrote: > My question is, as host, do I have to right not to let people perform if I > have a valid reason for not letting them? You not only have a right, you have a responsibility to both the bar and the patrons. The club has the obligation to enforce what you're decisions are, but it's understandable when there's a breakdown in communication, these things aren't etched in stone. But you must be sure you have your reasons properly stated. It's not that she has an attitude, or that she sings badly, it's that she disrupts the flow of the evening's performance. You wouldn't let someone on who is clearly too intoxicated. You wouldn't let on someone you've seen banging noise out of a guitar at volume ten without the least knowledge of what he's doing (one that happened to me long ago--when I asked him to stop, he did, and explained to me that he probably shouldn't have been trying to compose while on stage and should have just stuck to songs he knew--right). Your "Pam" causes a distrubance and prevents others from enjoying the jam. I agree with you. Be sure you have a follow up communication (friendly, reasoned) with the management. Steve ========================================================================= Date: Wed, 29 May 1996 12:10:21 -0700 Reply-To: chris@SPARKIE.OSL.STATE.OR.US From: Chris Adams Subject: Setting the record straight/Corey Harris I think it is quite obvious that I did not make the statement below, though it I must admit it is the first time in a long while that someone has complimented me for saying something they wished they had said. I never mentioned Corey Harris in my posts, and I will probably never mention the word "Rap" in any of my future posts. So there. Date: Tue, 28 May 1996 01:30:48 -0700 From: Shaun T Cronin Subject: Re: Corey Harris interview. Rap ain't blues. Glenn Adams wrote: >While I am deeply in love with Corey's Alligator album and I listen to it >frequently, I really have to strongly disagree with his statement in the >Living Blues interview (#126 March/April 96) that rap music is modern >blues for black youth in the 1990s. Corey states that rappers such as Ice >Cube are bluesmen telling the story of their life experience just as >bluesmen have been doing for the last several decades. > While I would agree that Ice Cube may be relating stories from his >life experience, Ice Cube certainly is not a bluesman. The blues are the >blues and rap is rap. I have been a blues fan since before Corey was born >and I personally dislike rap. Rap ain't blues. It never has been and it >never will be. I am suprised that a musician and songwriter of Corey's >caliber could make a statement like that. Chris Adams wrote the response I wanted to write (and worded it better) when he said that Harris was talking about function rather than form. There are a few of artists that I consider to be blues in terms of function. Their music has a feeling, or an essence, that I call the blues. IMHO, of course. While I don't like all rap/hip-hop, there are and has been a lot of great rap/hip-hop artists. I know a lot of people don't like the music and I have my opinions as why. But I agree with Corey Harris on this one. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Wed, 29 May 1996 14:18:22 -0600 Reply-To: James Bardsley From: James Bardsley Subject: Re: dating a National Comments: To: Neil Cassidy In-Reply-To: <9605291816.AA10511@athena.capital.edu> I generally date women, but for a National..... The best way is to get Bob Brozemans's excellent reference book "National Guitars". If you can't findit there, you can't find it. At 2:16 PM -0400 05/29/96, Neil Cassidy wrote: >Looking for advice on how to identify a National Duolin. A friend >purchased this guitar at an estate sale and doesn't have a clue. > >Any help appreciated >Neil Cassidy >Capital Unversity >Columbus, OH Jim Bardsley "If we're treading on thin ice then we might as well dance." -Jesse Winchester @1971 ========================================================================= Date: Wed, 29 May 1996 14:23:08 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: one of those Smirkyface (you gotta love that name) Well, if you're a jam leader, you know you gotta bite the bullet baby. You ain't a jam leader who promised (when he got hired) to be sure all the jammers were quality were you? I didn't think so. If someone stinks...the truth will out. If all you related was conscientiously true, the audience scalded the little lady and she learned something. (Thank God she noticed.) Sometimes jam leaders will quietly discriminate, but I doubt they could argue for outright (publicly) REFUSING to let someone up, and get away with it. I had a drummer once, who was well, not the greatest. He went to all the jams (in his own words) "after about a year of going and never being let up, I took some lessons." He continues to improve and has a great attitude. Jams can be merciless...both on the bad players AND the good ones. Sometimes a jammer will bring out the lowest common denominator in the other players; sometimes s/he'll kick their ass! (Last time I saw this was when Howard Levy jumped up and sat in on a piano jazz jam...an excellent band turned immediately into a SMOKIN' band!!! It was an unbelievable example. First time I saw Stuart literally fall off his chair at a concert....but ahem...I digress...) Anyway, a jam is ...a jam. In my book, that means you gotta take all comers. Jams can be.a merciless proving ground, and/or a great place to learn...jam leadering is a dirty job, but somebody's got to do it, and that's why you're pulling down those fabulous bucks to do it--right? Cathi N. ========================================================================= Date: Wed, 29 May 1996 14:38:20 -0700 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: one of those jam nights.(long rant) Comments: To: Steve Price In-Reply-To: Steve Price "Re: one of those jam nights.(long rant)" (May 29, 2:00pm) On May 29, 2:00pm, Steve Price wrote: > disrupts the flow of the evening's performance. You wouldn't let someone > on who is clearly too intoxicated. You wouldn't let on someone you've >-- End of excerpt from Steve Price Boy, oh, boy. I wish somebody had heard that rule one night when I was about 19. Went into this bar where my girlfriend worked ... she sleazed the band into letting me sit in, altho I was REALLY tore down.... *shudder* Friends don't let friends play drunk. -- "Where a computer like the ENIAC is equipped with 18,000 vacuum tubes and weighs 30 tons, computers in the future may have only 1,000 vacuum tubes and weigh only1 1/2 tons." Popular Mechanics, March 1949 ========================================================================= Date: Wed, 29 May 1996 19:59:13 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: Robert Lucas-Canned Heat Comments: To: bit-listserv-blues-l@uunet.uu.net So Robert Lucas IS with Canned Heat??? Check out his CD under the name of Luke and the Locomotives on AudioQuest: AUX1004 +LUCAS*ROBERT LUKE & THE LOCOMOTIVES 8.3/6 $12.29 AUDIOQUEST 7/94 \big man mambo don't your peaches look mellow feel like going home good morning little schoolgirl goodbye baby i'm so tired meet me in the bottom shed a tear slide on outta here stranger blues worried about my baby They do a great boogie on the last number - ala Canned Heat - "Goodbye Baby". Basically this is some really good drivin' blues. The sound quality is outstanding and very immediate. Some pretty humorous lyrics in his originals too. I find Robert's vocals to have a very distinct inflection in the way he drags out ending words on verses. I like it in limited doses, and sometimes annoying - but this is a fine album, where things just click so well. If I recall correctly this was named by one of the staff on Stereophile as one of his top sound quality albums. -- Vincent vt@usa.pipeline.com On May 29, 1996 12:04:37 in article , 'Dan Brown <103043.3271@COMPUSERVE.COM>' wrote: >Fito had asked me to come down and check out the new guys in his band. They >were >playing at the House of Blues on Sunset. So I showed up with a few friends to >check them out. Well the band is all set up when this big ugly guy wearing >sunglasses walks out and starts doing the first tune. He seems OK. Relaxed and >getting warmed up. > >They start into "On the Road Again" and his harp playing was cutting it for >someone that was new to the band. Three songs later he's getting hot on "Going >up the Country" when he whips off his sunglasses. He had the biggest blackeye, >I >mean the whole right side of his face is out to here and I said to myself >"Self >this guy is gonna fit right in." > >DBear ========================================================================= Date: Wed, 29 May 1996 13:25:21 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: IronMan MIKE CURTIS Itinerary WARNING: Commercial content (well, if you knew what clubs pay out here, you might disagree ;-) "IRONMAN" MIKE CURTIS itinerary (Solo: Electric Harmonica, Guitar, MIDI Bass Pedals, Vocals) 5/28 Studio City, CA - The Oyster House (9pm-1am) 5/31 Yorba Linda, CA - Main St. Restaurant (6pm-10pm) 6/1 Studio City, CA - The Oyster House (9pm-1am) 6/2 Studio City, CA - Smokin' Johnnies BBQ (7pm-??) 6/4 Studio City, CA - The Oyster House (9pm-1am) 6/7 Yorba Linda, CA - Main St. Restaurant (6pm-10pm) 6/8 Studio City, CA - The Oyster House (9pm-1am) 6/11 Studio City, CA - The Oyster House (9pm-1am) 6/14 Yorba Linda, CA - Main St. Restaurant (6pm-10pm) 6/15 Private party 6/18 Studio City, CA - The Oyster House (9pm-1am) 6/21 Studio City, CA - The Oyster House (9pm-1am) 6/22 Yorba Linda, CA - Main St. Restaurant (6pm-10pm) 6/23 Studio City, CA - Smokin' Johnnies BBQ (7pm-??) 6/25 Studio City, CA - The Oyster House (9pm-1am) 6/28 Yorba Linda, CA - Main St. Restaurant (6pm-10pm) 6/29 Studio City, CA - The Oyster House (9pm-1am) 7/2 Studio City, CA - The Oyster House (9pm-1am) 7/9 Studio City, CA - The Oyster House (9pm-1am) 7/12 Yorba Linda, CA - Main St. Restaurant (6pm-10pm) 7/13 Studio City, CA - The Oyster House (9pm-1am) 10/11-14 San Pedro, CA / Ensenada, MEX - K100 Blues On Tap BLUES CRUISE with Doug MacLeod, Steamin' Stan Ruffo, Martin Pugh, more. IronMan MIKE CURTIS plays electric harmonica, guitar, bass pedals (same time), and vocals. A few good reviews (haven't gotten a bad one yet :-) " ... best harmonica player I've ever heard" Walter Trout (John Mayall, Canned Heat) "The surprise was 'Iron' Mike Curtis .." Jon Pepper, Southland Blues 5/96 review of blues harmonica blowdown at the House of Blues ========================================================================= Date: Wed, 29 May 1996 21:29:33 UT Reply-To: roger struve From: roger struve Subject: Re: dating a National Comments: To: Neil Cassidy The best source for Nationals of quality that i have encountered is Willie's American Guitars. in St. Paul, Minnesota. 612-699-1913. Talk to Nate the owner...he is kind, couteous, responsible, trustworthy fertrue, and has a no questions asked return policy. He will be VERY STRAIGHT with you on the phone about any product that he has. HE doesn't want to waste your time, so he;ll tell you the pros and cons on every guitar he has. (mostly pros because he is an astute buyer). Tell 'em Delta Doc Roger sent you....its' good for a hello when i go to the store! regards,ddr ---------- From: Blues Music List on behalf of Neil Cassidy Sent: Wednesday, May 29, 1996 12:16 PM To: Multiple recipients of list BLUES-L Subject: dating a National Looking for advice on how to identify a National Duolin. A friend purchased this guitar at an estate sale and doesn't have a clue. Any help appreciated Neil Cassidy Capital Unversity Columbus, OH ========================================================================= Date: Wed, 29 May 1996 15:35:28 -0500 Reply-To: "Stine, Dave" From: "Stine, Dave" Subject: Re: Rosco(e) Gordon Has anyone seen, heard of, own any Rosco Gordon recordings? I'm playing guitar with his 2nd cousin. We're doing "No More Doggin," ("Just A Little Bit"'s just a little bit overdone), but there has to be more Rosco out there somewhere. Everything seems to out of print. ========================================================================= Date: Wed, 29 May 1996 20:44:28 GMT Reply-To: BluesBabe From: BluesBabe Organization: SoVerNet, Inc. Subject: BLUES IN VERMONT Comments: To: bit-listserv-blues-l@uunet.uu.net THE WEEK OF JUNE 4TH-JUNE 9TH The annual blues and jazz fest, comes to Burlington. Vermont . Appearing....James Carter...Sneakers Jazz band...MaxRoach and M:Boom ..John Santos and Machete Ensemble...Houston Person and Etta Jones... Jazz and Tap... big Jam Session with Bruce Sklar/Dave Grippo Septet...W.C. Clark meets our very own Big Joe Burrell and the Unknown Blues band ... and ...the "Acid Jazz Hip Hop Cosmic Dance Club...... we ain;t big here but WE ARE BEAUTIFUL!!!! If your in the area come see us in Vermont and enjoy... the BluesBabe:) aka SUZZIE ========================================================================= Date: Wed, 29 May 1996 16:56:30 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Robert Lucas-Canned Heat Comments: To: VT In-Reply-To: <4oiaah$sru@news1.t1.usa.pipeline.com> On Wed, 29 May 1996, VT wrote: > Check out his CD under the name of Luke and the Locomotives on AudioQuest: > AUX1004 +LUCAS*ROBERT LUKE & THE LOCOMOTIVES 8.3/6 > $12.29 AUDIOQUEST 7/94 > If I recall correctly this was named by one of the staff on Stereophile as > one of his top sound quality albums. Robert's other releases are similarly great sounding - Audioquest does not make bad sounding CD's. Add these to your pickings. Audioquest #1001 Usin' Man Blues (his first release) Audioquest #1011 Built For Comfort Audioquest #1021 Layaway BTW reviews of all of them are at - http://www.panix.com/~bsco/audioquest/ I also not that you have a price of $ 12.29 for the CD listed. Strategy sells them for $13.99 for the first CD and $12.99 for each second purchase (includes S&H and tax). Works out better than the $12.29 after S&H etc. is added on. Strategy is at - http://www.panix.com/~bsco/strategy/ Barry ========================================================================= Date: Wed, 29 May 1996 16:29:49 +0000 Reply-To: Tom Freeland Comments: Authenticated sender is From: Tom Freeland Subject: (Fwd) Re: Rosco(e) Gordon ------- Forwarded Message Follows ------- From: Self To: "Stine, Dave" Subject: Re: Rosco(e) Gordon Date: Wed, 29 May 1996 16:28:26 On 29 May 96 at 15:35, Stine, Dave wrote: > Has anyone seen, heard of, own any Rosco Gordon recordings? I'm > playing guitar with his 2nd cousin. We're doing "No More > Doggin," ("Just A Little Bit"'s just a little bit overdone), > but there has to be more Rosco out there somewhere. Anyone who owns the Sun blues stuff owns a fair amount of Rosco Gordon, because he recorded there before and after recording for Modern/RPM (sorry if I got the label-he-went-to wrong. I'm sure SOMEONE out there will correct me if I did). For a long stretch after the advent of Elvis, Gordon was the only blues or R&B act remaining at Sun. At the time of disputes Sam Phillips generated about his licensing of material at the start of his label days, Chess and Modern were battling it out as to who got whom; Chess got Howlin' Wolf and Rosco Gorden went to Modern. This reminds me of some of those disaster trades in baseball. Which is I guess my way of saying that I like Gordon fine but am not a huge fan-- I sort of wonder why Phillips kept trying with him. Tom Freeland ========================================================================= Date: Wed, 29 May 1996 16:43:56 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: Re: ROBERT LUCAS-CANNED HE > Three songs later he's getting hot on "Going > up the Country" when he whips off his sunglasses. He had the biggest > blackeye, I > mean the whole right side of his face is out to here and I said to > myself "Self > this guy is gonna fit right in." Maybe the black eye came from some relative of Henry Thomas who's "Bull Doze Blues" was ripped off and renamed "Going Up the Country" by Canned Heat. Don O. ========================================================================= Date: Wed, 29 May 1996 16:45:53 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Rosco(e) Gordon Comments: To: dstine@FSC.FOLLETT.COM > Has anyone seen, heard of, own any Rosco Gordon recordings? I'm playing > guitar with his 2nd cousin. We're doing "No More Doggin," ("Just A Little > Bit"'s just a little bit overdone), but there has to be more Rosco out > there somewhere. > > Everything seems to out of print. Brand new from our friends at Charly: CHY8162 GORDON*ROSCO ROSCO'S RHYTHM CHARLY 4/96 My copy is on order so I can't tell you much else about this. I believe the recently reissued Sun Box set has several RG cuts on it. Eliot Williams University of Wisconsin Department of Medicine williams@heme.medicine.wisc.edu ========================================================================= Date: Wed, 29 May 1996 14:51:07 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: One of those jam nights We have a lot of "pro invitational" jams here (and even more that are not officially but are nonetheless tightly controlled by the jam host). This means that the jam host has the final say on who sits in and who doesn't, what goes on the stage and what doesn't, etc. While it may discourage some, for most it's encouraging. It's nice to know that you won't be stuck on stage with the bluez version of Beavis and Butthead. There's one jam (at Cantors in Hollywood) that attracts some real buffoons. the guy running the jam can't control it. Some of these clowns won't get off stage when asked, or keep coming up midsong, etc. Even though I really like the guy who runs the jam, I don't attend it any more. (Also, it's on Saturday night). -- IronMan Mike Curtis ========================================================================= Date: Wed, 29 May 1996 17:07:34 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 05/30 B O R N : 05/30 ARBELLO, FERNANDO Born:1902 PONCE, PUERTO RICO Career:TROMBONE / ARRANGER Style:JAZZ / BIG BAND With:WILBUR DE PARIS / CLAUDE HOPKINS BECKETT, HARRY ( HAROLD WINSTON BECKETT Born:1935 ST. MICHAEL PARISH, BARBADOS Career:TRUMPET / FLUGELHORN Style:BIG BAND / JAZZ With:Graham Collier / Charles Mingus / Mike Westbrook / Tony Oxley / John Surman / Ray Russell / Stan Tracey Octet / Elton Dean / Dudu Pukwana's group Zila DePARIS, SIDNEY Born:1905 CRAWFORDVILLE, IN Career:TRUMPET / SINGER / LEADER Style:JAZZ With:Sam Taylor (1924) / Andrew Preer's Cotton ,Club Orchestra / Charlie Johnson (1926-7) / McKinney's Cotton Pickers (1929) /.Don Redman from 1932-6 / Noble Sissle / Willie Bryant / Charlie Johnson / Mezz Mezzrow / Benny Carter / Zutty Singleton / Charlie Barnet / Art Hodes (1942) / Roy Eldridge 1944 / Dick Ward's Band spring 1945 / Claude Hopkins (1946) ERWIN, PEE WEE ( GEORGE ERWIN ) Born:1913 FALLS CITY, NE Career:TRUMPET Style:JAZZ / BIG BAND With:COON SANDERS NIGHTHAWKS / JOE HAYMES / ISHAM JONES / FREDDY MARTIN / BENNY GOODMAN / RAY NOBLE / TOMMY DORSEY / KENNY DAVERN / WARREN VACHE SR. GARRICK, MICHAEL Born:1933 ENFIELD, MIDDLESEX, UK Career:PIANO / ORGAN / COMPOSER / TEACHER Style:JAZZ GOODMAN, BENNY ( BENJAMIN DAVID ) Born:1909 CHICAGO, IL Career:CLARINET / LEADER Style:JAZZ / BIG BAND With:Jules Herbuveaux / Ted Lewis / Ben Pollack / Benny Krueger / Isham Jones / Red Nichols / Arthur Bernstein / Nick Fatool / Fletcher Henderson / Ziggy Elman / Red Ballard / Corky Cornelius / Lionel Hampton / Gene Krupa / Harry James / Nate Kazebier / Pee Wee Irwin / Johnny Guarnieri / Chris Griffin / Murray McEachern / Hymie Schertzer / George Koenig / Art Rollini / Vido Musso / Harry Goodman / Vernon Brown / Bud Freeman / Jess Stacy / Dave Tough / Jerry Jerome / Charlie Christian / Teddy Wilson / Roy Eldridge / Billy Butterfield / Dave Barbour / Georgie Auld / Joe Bushkin / Red Norvo / Joe Rushton / Cootie Williams / Louie Bellson / Milt Bernhart / Terry Gibbs / Lee Castle / Martha Tilton / Helen Ward / Helen Forrest / Peggy Lee / Patti Page / Art Lund / Dick Haymes HORTON, PUG ( JOANNE BARBARA KITCHEMAN ) Born:1932 SHEFFIELD, UK Career:SINGER Style:BLUES KEANE, SHAKE ( ELLSWORTH KEANE ) Born:1927 ST.VINCENT, WEST INDIES Career:TRUMPET / FLUGELHORN Style:JAZZ With:MIKE McKENZIE / JOE HARROTT McKENNA, DAVE (DAVID J. ) Born:1930 WOONSOCKET, RICareer: PIANO Style:JAZZ / BIG BAND With:CHARLIE VENTURA-1949 / WOODY HERMAN 1950-51 / GENE KRUPA / STAN GETZ / ZOOT SIMS / EDDIE CONDON / BOBBY HACKETT / BOB WILBUR / PUG HORTON / WARREN VACHE / SCOTT HAMILTON PERRAZZA, ARMANDO Born:1924 HAVANA, CUBA Career:BONGOS / CONGA DRUM Style:LATIN / JAZZ / BIG BAND SHERWOOD, BOBBY ( ROBERT J. SHERWOOD ) Born:1914 INDIANAPOLIS, IN Career:TRUMPET / VOCAL / GUITAR / ARRANGER / COMPOSER / LEADER Style:BIG BAND / JAZZ STEPIN FETCHIT Born:1902 KEY WEST, FL Career:SINGER / COMEDY Style:BLUES / JAZZ TRUMBAUER, FRANKIE Born:1901 CARBONDALE, IL Career:C-MELODY SAX / ALTO SAX Style:JAZZ / BIG BAND With:BENSON ORCHESTRA / BIX BIEDERBECKE / JEAN GOLDKETTE / PAUL WHITEMAN / RUSS CASE Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Wed, 29 May 1996 17:48:30 -0400 Reply-To: Barronblu@AOL.COM From: Barron Ruth Subject: The Blues Barons at KB's and Mike N Angelo's Comments: To: buchman@mindspring.com, KIRKA@aol.com, hze@mindspring.com, vaylor@paradise.net, LIBDGB@emory.edu, ariane@ix.netcom.com, TSJ1@oddhiv1.em.cdc.gov, alf1@ccdod1.em.cec.gov, GFDATL@aol.com, Krazykat2@aol.com, TARGET7@aol.com, CoshHC@aol.com, HTNeditor@aol.com, maximize@mindspring.com, DKriests@netcom.com, CHerrell01@aol.com, Honse11@aol.com, mrhc74c@prodigy.com, 75477.551@compuserve.com, JTilley271@aol.com, Mitch_Leff@yr.com, SMOOTHIE@ix.netcom, LANDJ@fleishman.com, Ltldrmrby@aol.com, RaSwords@aol.com, WFY261@aol.com, JScales905@aol.com, ronb@monitormed.com, tharris@cyberatl.net, SLT1@cidhiv1.em.cdc.gov, abraxas1@minspring.com, mksheff@cennet.mc.peachnet.edu, Tasman3@aol.com, JPLHTN@aol.com, GandGSmith@aol.com, bogo@sohonet.com, Dranago@aol.com, magerton@dkmc.org, hebaugh@dkmc.org, chancock@dkmc.org, areeves@dkmc.org, Johnmffy@aol.com, best@madmen.com, jgilbert@dkmc.org, mrubenst@kilcody.com, sethmw@mindspring.com, JSulliva@kilcody.com, WBoylan210@aol.com hello folks, Allright we are gettin out of the hood for the next two weeks, Friday Night and Saturday Night May 31 and June 1, we will be at K'B's at i-85 and Clairmont. We start at 9:00 and there is no cover charge. K'B's is in Williamsburg plaza, coming from the North exit at clairemont, left on Clairmont, and then your first left into williamsburg plaza, KB's is at the back. Saturday night June 8, the Barons invade Buckhead, at Mike N Angelo's no cover,we start at nine. KB's is never real crowded on Saturday Nights, so if you are coming and have a choice please come on Saturday June 1, we would appreciate seeing you then! thanks for your support. Barron ========================================================================= Date: Wed, 29 May 1996 22:00:42 GMT Reply-To: VT From: VT Subject: Re: Robert Lucas-Canned Heat On May 29, 1996 16:56:30, 'Barry Silverberg ' wrote: > >On Wed, 29 May 1996, VT wrote: >> Check out his CD under the name of Luke and the Locomotives on AudioQuest: >> AUX1004 +LUCAS*ROBERT LUKE & THE LOCOMOTIVES 8.3/6 >> $12.29 AUDIOQUEST 7/94 >> If I recall correctly this was named by one of the staff on Stereophile as >> one of his top sound quality albums. > > Robert's other releases are similarly great sounding - Audioquest > does not make bad sounding CD's. Add these to your pickings. > > Audioquest #1001 Usin' Man Blues (his first release) > Audioquest #1011 Built For Comfort > Audioquest #1021 Layaway > I believe I did mention I had a problem with the inflection in his vocals - that is emphasized on his solo efforts - that's the reason I didn't mention the other albums. Please also note the thread was about Canned Heat - the link that I originally intended to make was the the Luke & Locomotives album had tracks that were in the same spirit of the Canned Heat Boogie. > BTW reviews of all of them are at - > > http://www > > I also not that you have a price of $ 12.29 for the CD listed. > Strategy sells them for $13.99 for the first CD and $12.99 for > each second purchase (includes S&H and tax). Works out better > than the $12.29 after S&H etc. is added on. > No, that's not my price - I don't sell CDs, neither do I promote anything, I do not have any affiliation with CD suppliers - I merely took that listing off of CD Connection (with whom I have no affiliation etc.) I leave the price on to give an indication of what people can get the CD for.... > Strategy is at - > > http://www -- Vincent vt@usa.pipeline.com ========================================================================= Date: Wed, 29 May 1996 15:38:08 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Disinformation Sorry to do this to the list. Apparently I attributed something to someone who didn't write what I said they wrote. The trouble is I accidentally deleted the post. I wasn't sure if the post was private or not but I think it was sent to the list. I apologize for the mistake and could someone re-send the post to me.:-) I'm a little touchy with the delete key today. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Wed, 29 May 1996 23:12:43 GMT Reply-To: "e.snow" From: "e.snow" Organization: BrightNet Setup Subject: southern Culture on the Skids Comments: To: bit-listserv-blues-l@uunet.uu.net Just listened to "Southern Culture on the Skids" Dirt Track Date cd. It is a lot of fun. Does anyone know if there on tour or have a web site with a tour schedule. ========================================================================= Date: Wed, 29 May 1996 22:32:50 GMT Reply-To: CKUT_online@babylon.montreal.qc.ca From: CKUT online Organization: Babylon, Montreal, Canada Subject: BBQ Tips I wasn't on-line last year during BBQ season and I'm sure that I missed a lot of good BBQ sauce recipes. Anyone who wants to send me their suggestions, please do so. You can send it to me privately if you think it will result in too much repetition for other 'zellers. If anyone is planning to come to Montreal during the Jazz Fest maybe we can organize a BBQ/jam? John Detcheverry, CKUT FM 90,3 ps: my private e-mail address is jdetche@autoroute.net ========================================================================= Date: Wed, 29 May 1996 20:00:06 -0400 Reply-To: James Leftwich From: James Leftwich Subject: The Ginz's favorites Thought you'd all get a kick out of this. This list is culled from the Book of Lists ('90s version): Allen Ginsburg's 11 Greatest Blues Songs. 1. "James Alley Blues," by Richard "Rabbit" Brown. 2. "Washington D.C. Hospital Center Blues," by Skip James. 3. "Jelly Bean Blues," by Ma Rainey. 4. "See See Rider Blues," by Ma Rainey. 5. "Young Woman's Blues," by Bessie Smith. 6. "Poor Me" (1934 version), by Charlie Patton. 7. "Black Girl," by Leadbelly. 8. "Levee Camp Moan Blues," by Texas Alexander. 9. "Last Fair Deal Gone Down," Robert Johnson. 10. "I'm so Lonesome I Could Cry," by Hank Williams, Sr. 11. "Idiot Wind," by Bob Dylan. Come by my page and get entered to win a free CD of the talented Sherman Robertson. ============================================================================= Jim Leftwich Jim's Blues N' Brews leftwich@cloud9.net http://www.cloud9.net/~leftwich "I'm on cloud9!" :) New CD Giveaway: Sherman Robertson ============================================================================= ========================================================================= Date: Wed, 29 May 1996 22:33:18 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Bad Credit? Slow Credit? No Credit? No Problem! Subject: Re: I'm mad, and here's why! Comments: To: bit-listserv-blues-l@uunet.uu.net On Mon, 27 May 1996 00:23:28 -0500, Richard Shurman wrote: >As the producer of the offending cut on "Albert Collins Live '92-93" it's >interesting to see the first reaction to Albert's risque (and clearly >good-naturedly humorous) "talking guitar." I'd like to make three points, >while regretting any real or imagined offense: No offense at all. I play lots of Albert on my show, and love him. Just don't want the word "mother fucker" on my show. It's fine and dandy otherwise. >1. Albert was obviously just mouthing the words in order to reiterate >what he was making the guitar "say." Anyone who knew him at all knows he >wasn't an uncouth or foul-mouthed person. >3. I'd like to suggest the cautionary note that the issue could have been >avoided by just previewing what was going to be played before putting it >out on the airwaves. I admitted as much. Kevan Smith cuthulu@rlabs.com the great purple hope for the blues ========================================================================= Date: Wed, 29 May 1996 17:54:46 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Things I Have Read For your amusement, here is a portion from an article in the latest Rolling Stone regarding the Lollapalooza and H.O.R.D.E tours. Jon Popper from Blues Traveller is talking about H.O.R.D.E here: "Despite the apparent cultural, satorial and musical connections to the Dead, Popper sees H.O.R.D.E not as a bastion of Birkenstock & roll but as part of a larger tradition of musical miscegenation that originated in New Orleans, before coming north as the blues and mutating into rock & roll. The singer makes an impassioned case for placing Blues Traveller's lightweight boogie in this nobel lineage, but oversteps the mark when he suggests that "if Muddy Waters was around now, he'd sound like us." And a write-up on the blues club, Harvelle's in the LA Times last weekend claimed that Albert and BB where brothers.:-) Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Wed, 29 May 1996 21:28:40 -0400 Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Memphis Obsessions (long) Comments: To: bit-listserv-blues-l@uunet.uu.net In article <9605282330.AA00282@WaterValley.Net> Tom Freeland writes: >This post is an attempt to start a general discussion of the basic >recordings of Memphis music in the period 1950-1975. The question >here is what is necessary to get a complete picture of Memphis music >in that period. >Assume you have the "essential" stuff: >The 3 Stax Boxes >The first 2 Sun singles boxes on Bear Family (and were waiting >impatiently for the other ones to come out) >The Sun Blues Years box on Charley >The Jerry Lee Lewis Box on Bear Family >The Otis Redding box on Rhino / Atlantic >The Hi Records set, Well I'd add to this list the LP box set of Sun Rockabilly on Charly titled " The Rocking Years" (even though this is a blues list, you mentioned " Memphis music, not strictly blues)- not reissued yet on CD, probably impossible to find. >(1) Not enough Howlin' Wolf, even if you have the Chess Box. The >Charly Sun Blues Box omits "Moanin' At Midnight," for instance. You need the 2 Bear Family CDs "Memphis Days-The Definitive Edition" Vol. 1 & 2 (BCD15460 and BCD 15500). Also, "Howling Wolf Rides Again" Flair/ Virgin Records (86295-2) which covers a lot of the Modern label recordings. I think this was also issued on Ace in England. >(2) What else is missing (like Wolf) in the way of "generally >available" stuff that is not on the Sun Blues box other than the >Howlin' Wolf? Many of Little Milton's recordings are missing but available on Rounder "The Sun Masters (SS35). Little Milton was just starting out here, and I'm not sure how essential these are as he hadn't really developed his own style yet (IMHO) - I'd suggest his Chess recordings first. I'm not sure I'd consider the latter as "Memphis recordings" since they were recorded elsewhere. A lot of Rosco Gordon's tunes aren't on the Sun box, but I don't know about availability of these - I have a number of them on LP. >(3) A HUGE gap in the listed CDs is B.B. King. What is the best way to get> the>Modern / RPM stuff the Biharis recorded? How far along there story> do you go and still have it Memphis? Everything BB recorded until at least Sept 1952 was recorded in Memphis. Quite a number of early BBs from this period can be found on the Virgin/ Flair or Ace label in England, although these are by no means complete. This is my favorite period BB and he's long overdue for some serious reissues of these recordings. You might have to spring for some of the Crown LP reissues which I think came out in either the 60s or 70s. Very hard to find. >(4) Other stuff the Biharis may have recorded in the Memphis area? >As I understand it, Ike Turner was setting up sessions for them, >including contract-breaking sessions with Howlin' Wolf. Suggestions? There was a 2 CD set on the Japanese P-Vine label that covered quite a bit of Ike's Kings of Rhythm recordings. This used to be listed in cdconnection but seems to have been deleted - I'm not sure of its availability. I think there's also an Ace CD titled "Rhythm Rockin' Years" that covers this period, but I haven't yet found it available here. >(5) Non-Sun rock and roll or rockabilly. Possibly not a blues-list> topoic, but what do ya'll think? I suppose you would need the>Charlie Feathers compilation (the name of which escapes me) - You may be thinking of Gone Gone Gone on Charly. An essential rockabilly collection from Memphis would be the Ace CD "Meteor Rockabillies". This set is guaranteed to get your toes tapping. The Meteor label was based in Memphis and was owned by Lester Bihari, brother of the Modern/RPM Biharis. Another essential Memphis Rockabilly would be Johnny Burnette Trio. Their complete recordings have been reissued by Bear Family - Rockabilly Boogie (BCD15474) For Sun Rockabilly - Warren Smith "So Long I'm Gone" on Charly and Billy Lee Riley - there's a single CD best of on Charly would do. And of course, you can't forget Elvis and Jerry Lee. >(7) Soul artists who traveled to Memphis to record. You get those>that Stax officially released (Sam and Dave) but the >above list would still not give you "Memphis Soul Stew" or the >Wilson Picket recordings, all of which Atltantic put out. Atlantic has put out reissues of many of the major Stax artists. The Best of Sam & Dave (Atlantic 7 81279-2). Wilson Pickett "A Man and a Half" ( R270287). I'd also recommend Mable John's "Stay out of the Kitchen" Stax SCD8578-2 - more obscure than the others but great vocals. I'm kind of partial to Isaac Hayes' "Hot Buttered Soul (SCD-4114-2) - definitely a period piece and it may be too syruppy for some. Definitely not blues, too many strings for some. >(8) That Frank Frost record on Phillips International from the early >60s. Available on a Charly reissue. >(11) Is there anything like a "story" after Stax collapsed >and Hi faded? Any reissues that tell the story? The only one I know of is a CD titled "It Came from Memphis" (Upstart 022) which is intended to be a companion piece to the Robert Gordon book by the same title. It may be of interest only to those with a broad taste in music - everything from Jessie Mae Hemphill to Drive Inn Danny with The Killers from Space (I'm serious here) to Big Ass Truck "I'm A Ram". I don't know but it works for me. >(12) Finally, what have i missed? The Samuel Charters produced 60s recordings of Furry Lewis, Memphis Willie B and Memphis Slim released on Prestige/Bluesville/Original Blues Classics. A compilation sampling all 3 artists is available titled "Beale Street Get- Down" (PRCD-9907). The original LPs by these artists have all been issued separately on the OBC label. Also - Memphis Archives labels releases - Memphis Blues Caravan Vol. 1 & 2 ( MA7008 & 7009) which are live recordings by various Memphis area artists from 1969-73. Also on this label - "Rock and Roll Sermon" (Memphis Archives MA7012) has sanctified music from 1946-56 which has a rocking yet blues based sound with non-blues subject content. Also, what collection of Memphis would be complete without a set of legendary Memphis DJ Dewey Phillips "Red Hot and Blue" Live radio broadcasts from 1952-64 (Memphis Archives MA7016)? The first set here from 1952 would be of particular interest to Blueszellers. Well, I've gone way beyond the typical post length so I'll quit here. I'm sure there are quite a few I've missed here. Art Schuna ========================================================================= Date: Thu, 30 May 1996 03:18:20 GMT Reply-To: vvisa@SIERRA.NET From: vvisa@SIERRA.NET Organization: Sierra-Net Subject: Guitar Mac and His Blues Express Comments: To: bit-listserv-blues-l@uunet.uu.net Guitar Mac and his Blues Express just released a new blues CD. Called Sizzle.. the best of the blues. keep your eye out for it as its one of the best blues CDs to hit the market this year. Guitar Mac is a performer and a radio personality in Sacramento. Ca. for more info. vvisa@sierra.net ========================================================================= Date: Thu, 30 May 1996 00:14:53 -0400 Reply-To: alison hardage From: alison hardage Subject: Gulf Coast Blues Society This June marks the sixth year ( without interruption ) that the Gulf = Coast Blues Society has been sponsoring Monday night jams at the Green = Iguana in South Tampa. The jams have been hosted primarily by Sarasota = Slim. For the past year his band has been hosting on alternating = Monday nights, sharing the job with former band mate, Dean Germain, ( = and his new band, House of Trouble ). Over the years, featured guest hosts have been Rock Bottom , Shaun = Brown, T.C. Carr, Kim Harpo, and James Peterson. Guest artists of = local and national renown such as Bird Dog Bobby, Philip =B3Nitro=B2 = Bozeman, Sean Chambers, Lewis Clark, Olin Dean, Dan Electro, Howlin=B9 = Bob Fieberts, Frankie Gearing, Loretta Glover, the Glover Sisters, = Blind Willie James, Johnny Love, Larry McCray, Molten Mike, Lucky = Peterson, Buzz Place, Greg Poulos, Wendy Rich, Willie Royal, and Dave = Ware have shown up either expectedly or unexpectedly. The musicians and fans in the audience have kept this thing cranking = for a long time. Tourists and foreign visitors know it as a = destination point when visiting this part of Florida. The Gulf Coast Blues Society has evolved from a casual organization of = dues paying members to a small, dedicated group that gets together a = few times a year to work on promoting and sponsoring an event. The = famous bucket passed by Sarasota Slim on Monday nights is the financial = backbone of the organization. Events have consisted of a Blue Year=B9s Eve extravaganza, catered by = Linda and Leonard of the ( unfortunately departed ) Blues Ship in Ybor = City ( before they had a club ), concerts featuring Chick Willis two = different years, a Floyd Miles concert, one of the Sarasota Slim - = Lucky Peterson reunion concerts at Skipper=B9s Smokehouse, a concert = featuring Frankie Gearing at The State Theater, a =B3Masters of the = Hammond B-3=B2 concert at the Blues Ship, and co-sponsorship of = concerts for Earl King, Matt =B3Guitar=B2 Murphy, and Charlie = Musselwhite. There is a substantial =B3pool=B2 of blues talent floating around the = Tampa Bay area, and the Gulf Coast Blues Society is dedicated to = encouraging the public=B9s appreciation of this form of music. This is = our first attempt at providing information via the internet, and we = hope that it will eventually serve as a viable substitute for the = =B3Bluesletters=B2 which we haven=B9t been able to muster enough energy = to publish for quite some time. We accept no advertising money, grant = money, etc. You may contact us at P.O. Box 13513, St. Petersburg, FL = 33733-3513 or, feel free to e-mail any inquiries to = sarasotaslim@interaccess.net ========================================================================= Date: Wed, 29 May 1996 21:42:11 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Things I Have Read If Muddy was around now and stepped in Blues Traveler, he'd scrape it off his shoe. So says a harp player with an abiding sense of tone and phrasing. Death to all note counting virtuosos. Uncle Ray ---------- From: Shaun T Cronin[SMTP:shaun@PACIFICNET.NET] Sent: Thursday, May 30, 1996 12:54 AM To: Multiple recipients of list BLUES-L Subject: Things I Have Read For your amusement, here is a portion from an article in the latest Rolling Stone regarding the Lollapalooza and H.O.R.D.E tours. Jon Popper from Blues Traveller is talking about H.O.R.D.E here: "Despite the apparent cultural, satorial and musical connections to the Dead, Popper sees H.O.R.D.E not as a bastion of Birkenstock & roll but as part of a larger tradition of musical miscegenation that originated in New Orleans, before coming north as the blues and mutating into rock & roll. The singer makes an impassioned case for placing Blues Traveller's lightweight boogie in this nobel lineage, but oversteps the mark when he suggests that "if Muddy Waters was around now, he'd sound like us." And a write-up on the blues club, Harvelle's in the LA Times last weekend claimed that Albert and BB where brothers.:-) Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Thu, 30 May 1996 00:45:55 -0400 Reply-To: Apicor 7 From: Apicor 7 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Lyrics/Sexist etc... Comments: To: bit-listserv-blues-l@uunet.uu.net yes, but Gary.. please... "If you gonna leave me for someone new... I'm gonna buy me a shotgun, to shoot at you" now who sed dat? Hint... he was just someone's fool. Then Muddy said one for the ladies when he warns the hoodlums not to bother his baby, cuz no tellin what she'll do.. the little girl she may cutcha, she may shoot ya too... Hooray for the mudster. ========================================================================= Date: Thu, 30 May 1996 00:27:42 -0500 Reply-To: scottd@INTERACCESS.COM From: Scott Dirks Subject: Re: Things I Have Read Comments: To: "Raymond O. Varner" At 09:42 PM 5/29/96 -0000, Raymond O. Varner wrote: >If Muddy was around now and stepped in >Blues Traveler, he'd scrape it off his shoe. >So says a harp player with an abiding sense >of tone and phrasing. Death to all note >counting virtuosos. > >Uncle Ray > > Before I ever heard any Blues Traveler music, I read a quote from John Popper in Blues Access that went something like this: 'Little Walter was the most overrated harp player in the history of the instrument'. I thought, man, this guy better have some SERIOUS chops to back up such a patently ludicrous statement. I mean, you don't have to like Little Walter's music, but you can't deny his innovations and pervasive influence. Now that I've heard Popper's music, I understand where that statement came from--he just DOESN'T GET IT. This guy has all the technique in the world, but he has no conception of what blues music is. No matter how much lip service he gives it. Scott http://www.geocities.com/SunsetStrip/4466 Check it out! ========================================================================= Date: Thu, 30 May 1996 00:27:38 -0500 Reply-To: scottd@INTERACCESS.COM From: Scott Dirks Subject: Re: J.B. Hutto Comments: To: Bonnie Kalmbach At 12:28 PM 5/29/96 CDT, Bonnie Kalmbach wrote: > Last night about 3:30am, in the throes of insomnia, >I turned on the tube. A film starring Richard Pryor, obviously made in >the '70's, was on. Richard and two cohorts were in a bar plotting "a >little breaking and entering". The music in the background, ostensibly >from a juke box, was definitely J.B. Hutto. Now this would have been, >probably, pretty anachronistic, in most ghetto bars in the '70's. But >there it was. I didn't stay up to watch the credits. > > Which leads me to a J.B. Hutto story. J.B. was known for >"walking the bar". When a friend saw him back about '69 or '70, >J.B. got up on the bar, but this time he laid down on his back, and >propelled himself along the length of the counter by his feet! >My friend, watching from the back of the room, couldn't see him >after he assumed his prone position, but he could trace his progress >as people sitting at the bar lifted their drinks high as J.B. >slid by. > > -Bonnie (don't offer her > no barbecue) the K. > >If you see me in Chi-Town, I may have my "Babe" T-shirt on... > > They don't make 'em like JB anymore, although his nephew Lil Ed comes close sometimes... Scott http://www.geocities.com/SunsetStrip/4466 Check it out! ========================================================================= Date: Thu, 30 May 1996 06:04:49 GMT Reply-To: Kathy Fieberling From: Kathy Fieberling Organization: Netcom Subject: Steve James in Denver Greetings all, Steve James, one of the premier accoustic blues players in the country, will be performing at The Denver Blues Company, 1430 Blake St. on Friday May 31st at 8pm. Tickets are $10 and will be available at the door. Steve only comes to Denver once or twice a year and should not be missed. He puts on a great show mixing traditional tunes and originals. Steve will also be putting on a workshop on Saturday evening at the Old Town Pickin' Parlor in Arvada. Call 421-2304 for more info on the show and workshop. Hope to see you there, Hugh ========================================================================= Date: Thu, 30 May 1996 06:37:11 GMT Reply-To: marc borms From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Re: Last CD in YOUR player Comments: To: bit-listserv-blues-l@news.Belgium.EU.net In my CD-player(s) for the moment : Kitchen : Blind John Davis : great pianist ! Living room : The Electric Kings : Europe's greatest bluesband !! Car : Charles Brown : Lucky so and so. embee. ========================================================================= Date: Thu, 30 May 1996 06:40:16 GMT Reply-To: jpstein@ARGON.EECS.BERKELEY.EDU From: Jeffrey Stein Organization: UC Berkeley Subject: Re: Acoustic Fingerpicking Types Comments: To: bit-listserv-blues-l@agate.berkeley.edu On Thu, 23 May 1996 12:16:24 -0700, Shaun T Cronin wrote: >So all you acoustic players could you help me with advice on, how to >improve my volume (not by plugging in:-)), how to get a crisp tone using >fingers and your preference regarding bare fingers or finger picks. In my opinion, the time spent getting used to finger picks is time very well spent, especially if your looking for more volume. You'll also find that yo get a crisp ringing tone from your steel-stringed acousic. I think that a player can get the most out of his guitar with finger picks. But what do I know? I've only been playing for thirty years <|Q ========================================================================= Date: Thu, 30 May 1996 06:54:27 GMT Reply-To: marc borms From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Re: MojoBluesBand? Comments: To: bit-listserv-blues-l@news.Belgium.EU.net I saw the Mojo BluesBand from Austria a few times about 10 years ago. The first time they played on a local festival, featuring Dana Gillespie on piano. The other times I saw them on a boogiewoogie festival with Katie Webster, Little Willy Littlefield, Axel Zwingenberger,.... Great gig ! And I like their cd with Champion Jack Dupree very, very much ... embee. ========================================================================= Date: Thu, 30 May 1996 06:56:53 GMT Reply-To: marc borms From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Re: Is Blues-L sleeping? Comments: To: bit-listserv-blues-l@news.Belgium.EU.net : Ok, folks, I have blues-L moved to my internet provider and am now wondering: : Is : blues-L taking a Memorial Day nap? Or is my internet provider not : getting me the mail? I have basically two message in the lasat 13 : hours. And very few yesterday. : Maybe it's that P.W. Fenton is on vacation? I agree, I miss PW.... embee. ========================================================================= Date: Thu, 30 May 1996 09:57:37 CDT Reply-To: sylviap@cartermill.com From: "sylviap@cartermill.com" Subject: Help Hello everybody, I am looking for Stanley Clark Video in FRance but it seems very difficult to find them. So I wonder if someone here know a web site where I may order them? May I have your opinion on James Taylor? Thank you very much (Big kiss for Lea and Keith) Hello to the others! Sylvia ========================================================================= Date: Thu, 30 May 1996 01:26:11 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Things I Have Read Comments: To: "Raymond O. Varner" Uncle Ray wrote: >If Muddy was around now and stepped in >Blues Traveler, he'd scrape it off his shoe. >So says a harp player with an abiding sense >of tone and phrasing. Death to all note >counting virtuosos. I'm a guitar player by trade but I love Sonny Boy II and Little Walter. Jon Popper's playing doesn't do all that much to me. The tone he has just grates on my nerves. I do get annoyed to when I see "Blues Traveller" filed under the blues category. It does happen! I wonder. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Thu, 30 May 1996 06:09:10 -0400 Reply-To: "Jon Duttweiler (by way of Jon & Laura Duttweiler )" From: "Jon Duttweiler (by way of Jon & Laura Duttweiler )" Subject: Sitting & Thinking - Frankie Lee, Going Back Home FRANKIE LEE GOING BACK HOME BLIND PIG #5013 Whenever someone speaks of "the blues," the one thing you can be sure of is that they probably mean something a little different from the next person who uses the term, or the last. And that's good, for it makes the blues a pretty large tent. From down-home delta style acoustic to up-town urban sophistication, the heart of the blues is its power to communicate - feeling, life, reality. And while much modern blues is centered around instruments, be it guitar, harmonica or piano, the ultimate instrument for communicating the blues is still the human voice! Frankie Lee (not to be confused with Frankie Lee Sims) can take a place in line with the likes of Bobby Bland, Johnny Taylor and O. V. Wright as a performer who epitomizes the use of that greatest of instruments. Among these performers there has never been a strict line between blues, soul and r&b. All flow together to form a pallet from which they garner whatever is needed for the moment. Lee, who was originally billed as "Little Frankie Lee," started as a gospel singer, and has been recording since the early '60s. Popular on the blues scene in and around Oakland, California, Lee shows on this latest release from Blind Pig that he is ready to become wider known. As the singers mentioned above, Frankie Lee knows how to use the vocal pallet, and from the first notes to the last of this disc, Lee treats the listener to a panoply of soul, blues and r&b. FINDERS KEEPERS / TOO BUSY THINKING ABOUT MY BABY / ONE STONE AT A TIME / WHAT'S THE MATTER BABY / DON'T MAKE ME CRY / GOT TO KEEP ON MOVIN' / LET THE GOOD TIMES ROLL / THE LOVE YOU SAVE TODAY / AIN'T THAT PECULIAR / ROCK MY SOUL / GOIN' BACK HOME / PARTY DOWN NY CD Takes FINDERS KEEPERS: Frankie Lee starts out this soul/blues number with a slow, horn infused, introduction, steadily building to a crescendo. The track then starts jumpin' as Lee takes off in classic Bobby Bland style. Incorporating hot horn work with biting lead guitar and tight rhythms, Frankie expounds on the dangers of losing what you love. This band is hot and tight, but the focus is definitely Lee's voice, and a fine focus it is! TOO BUSY THINKING ABOUT MY BABY: The pace slows down just a tad on this cut, a smooth as silk soul ballad. Frankie's voice takes on an Otis Redding like color as he effuses about no time for thinking about anything but the one he loves. Those hot horns are again evident on this track as well as some excellent background vocals from Lady Bianca, Jeannie Tracy and Pauline Lozano. This track is so smooth you'll just be sliding along with it. ONE STONE AT A TIME: A strong back-beat and piercing guitar tremolos open up this cut. Guitarist Bobby Murray does his best BB King imitation as Lee and company offer up another soul/blues number. A pared down sound compared to the first two numbers (no horns or backup vocals), the highlights of this track are Murray's guitar and Jim Pugh's organ, subtle but clearly present in the background, as well as Lee's gospel infected vocals. One of the highlight cuts of the disc. WHAT'S THE MATTER BABY: Big band brass greets you on the first few measures of this Frankie Lee original which give way to pure blues guitar and vocals. Frankie Lee shows he can sing straight blues with the best of 'em, and Murray's guitar is sharp and tasteful. Add in a wailing horn arrangement that would make BB proud, and you have another first rate track . DON'T MAKE ME CRY: Frankie gets back into the soul vein, '60s style. This cut has the sound and feel of any number of hits from those classic groups of that period. Lee's vocals are again silky smooth and coupled with wonderful harmonies from his backup singers. The soulful rhythmic charm of this cut will have you up and dancing with that significant other in your life. GOT TO KEEP ON MOVIN': Bobby Murray's guitar cries on the opening of this cut before Lee shows off his gospel roots. This cut has the pared down sound of "One Stone At a Time," showing off once again the tasteful playing of Murray. But it is definitely Lee's voice that takes center stage. Sounding all the world like a gospel singer, Lee infuses this cut with passion and emotion, building you up and holding you there with his voice alone. Another highlight track! LET THE GOOD TIMES ROLL: Though you've probably heard it done a hundred times before, Frankie does a wonderful job on this Sam Cooke classic. Lee's voice is every bit as soulful as Cooke's, and stands up well in comparison. Exceptional hornwork and rich backup vocals round out this cut, doing justice to the soul sounds of the sixties. THE LOVE YOU SAVE TODAY: If you don't like soul, pass this cut on buy. Frankie Lee does this Joe Tex song in exceptional style, sounding all the world like Otis Redding. Just like Redding, Lee envelops you with his voice, touching all those hidden hurts you keep locked inside. When this cut ends you'll feel like someone had gently wrung out the emotion in you. Let me tell you, Frankie Lee can sing soul! AIN'T THAT PECULIAR: The third of a back to back (to back) trio of covers of '60s soul classics, Lee turns this time to this Smokey Robinson tune. Lee's voice has a throatier quality here than Marvin Gaye's hit rendition of the same tune, though the instrumentation is very similar. Again, the highlight of this track is Lee's voice, begging the question of why he isn't better known? This man can sell a song with the best of them. ROCK MY SOUL: Back to soul/blues ala Little Milton or Bobby Bland. This cut, written by Bobby Murray, is mellow and, yes, I'm going to use the word again, soulful. Taking on a gospel flavor as in "Got To Keep On Movin'," this cut slows down the pace, exchanging depth of feeling for fervency. You guys want to melt the woman in your life? Take her hand and look her deep in the eyes as this song is playing, she'll melt before your very eyes - I guarantee it! GOIN' BACK HOME: Turning the tempo back up a notch, Lee and company take off on this moderate paced shuffle. While the liner notes list this as a Frankie Lee tune, it sounds for all the world like a reworking of Hop Wilson's "Black Cat Bone." Murray's guitar work is sufficiently stinging, and Jim Pugh again rounds out the sound with his organ. Lee's voice takes on the right touch of Texas gruffness for this cut, another highlight of the disc. PARTY DOWN: Lee and company close out the disc with this funky and aptly named "party" song. Big horn arrangement and upfront organ work characterize this cut, along with Lee's vocals, which border on a shout at times. Frankie Lee is solidly in the tradition of the great Stax and Motown soul singers of the '60s, with a generous helping of blues to boot. If Otis Redding, Bobby Bland and their like touch your soul, then putting on Frankie Lee will feel like "going back home." Reviewed by Jon Duttweiler Copyright NY CD Blues @1995-1996 All Rights Reserved. Unauthorized use prohibited. ========================================================================= Date: Thu, 30 May 1996 06:40:10 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1996, P.W. Fenton woke up in the familiar surroundings of his own bed. Got back from Germany last night and fired up the old 'puter this morning. Had a great time, but it's good to be back. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Thu, 30 May 1996 11:51:26 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Last CD in YOUR player Comments: To: marc borms >In my CD-player(s) for the moment : > >Kitchen : Blind John Davis : great pianist ! >Living room : The Electric Kings : Europe's greatest bluesband !! >Car : Charles Brown : Lucky so and so. > >embee. Embee, and everybody else - This connects to the "Best ever"-discussion.What makes you so sure that The Electric Kings are Europe=B4s greatest bluesband. I havn=B4t heard them but I=B4m sure they are= very good if you say so. But there must be hundreds of european bluesbands that you havn=B4t heard. I know a few that is really good and play in different styles, and I=B4m sure they could give the Electric Kings a match. Mr Bo ========================================================================= Date: Thu, 30 May 1996 11:08:56 GMT Reply-To: marc borms From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Re: Last CD in YOUR player Comments: To: bit-listserv-blues-l@news.Belgium.EU.net >In my CD-player(s) for the moment : > >Kitchen : Blind John Davis : great pianist ! >Living room : The Electric Kings : Europe's greatest bluesband !! >Car : Charles Brown : Lucky so and so. > Embee, and everybody else - This connects to the "Best ever"-discussion.What makes you so sure that The Electric Kings are Europe's greatest bluesband. I havn't heard them but I'm sure they are very good if you say so. But there must be hundreds of european bluesbands that you havn't heard. I know a few that is really good and play in different styles, and I'm sure they could give the Electric Kings a match. Of course, Mr. Bo. Telling to somebody band X is the best ever heard, is always the opinion of the teller himself. So I can only deal with the bands I've ever heard before... And when I have to make my choice, the Electric Kings are one of the best ( IMHO !) and for me, the very best European bluesband. embee. ========================================================================= Date: Thu, 30 May 1996 12:37:44 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Last CD in YOUR player Comments: To: marc borms >>In my CD-player(s) for the moment : >> >>Kitchen : Blind John Davis : great pianist ! >>Living room : The Electric Kings : Europe's greatest bluesband !! >>Car : Charles Brown : Lucky so and so. >> >Embee, and everybody else - This connects to the "Best >ever"-discussion.What makes you so sure that The Electric Kings are >Europe's greatest bluesband. I havn't heard them but I'm sure they are very >good if you say so. But there must be hundreds of european bluesbands that >you havn't heard. I know a few that is really good and play in different >styles, and I'm sure they could give the Electric Kings a match. > >Of course, Mr. Bo. >Telling to somebody band X is the best ever heard, >is always the opinion of the teller himself. So I can only deal >with the bands I've ever heard before... >And when I have to make my choice, >the Electric Kings are one of the best ( IMHO !) >and for me, the very best European bluesband. > >embee. OK, I see a mission for us. Lets make a list of our favorite recordings by european bluesbands/artists. Then everybody can catch up! Send them to me and I will collect a list. Everybody can include a small comment. Mr Bo The list so far: Living room : The Electric Kings Blue Soulution: Sven Zetterberg & The Chicago express ========================================================================= Date: Thu, 30 May 1996 08:22:23 -0400 Reply-To: Niles Frantz From: Niles Frantz Organization: GNN Subject: Re: Big Jack Johnson Comments: To: bit-listserv-blues-l@uunet.uu.net Please tell us more about Bug Jack's CD. What label will it be on? What's it called? What's the music like? What other musicians are on it? In article smirkyface wrote: >Big Jack Johnson was at WD's for the weekend, great show. I > talked to him >for a while after the show sunday, and I can say he is one > of the nicer >people that I've met. He gave his new and not yet released > CD to people >that were celebrating a birthday during his stay at WD's. Niles A loop is a loop is a loop. ========================================================================= Date: Thu, 30 May 1996 08:40:26 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Last CD in YOUR player Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com Home: Blind Blake - Ragtime Guitar's something (I forget the exact title, but it's the Yazoo disc). Car: Miles Davis - Kind of Blue ========================================================================= Date: Thu, 30 May 1996 09:02:53 -0400 Reply-To: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM From: Jim Smith Subject: Re: Taj Mahal Comments: To: ISTS024@UABDPO.DPO.UAB.EDU In-Reply-To: IMO his best blues release was "Oh So Good n Blue" which has not been released on CD. Some of the cuts are on a Sony compilation CD titled "Taj's Blues". I also like the bargain priced "Best of... Vol 1" (there never was a vol 2). Jim Smith >I confess I haven't really listened to Taj very much. Last night I listened >to Taj and some India guys (Bhatt & ???, sorry no disrepect just forgetful) >Taj sings his rear off on Ben E King's "Stand By Me"....What a voice. Very >nice... > >So what (blues) CD would you recommend for a budding Taj fan >Thanks > >LW 'private mail please" > ========================================================================= Date: Thu, 30 May 1996 09:01:45 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Europe's finest On 30 May 96, Bo Carlsson had this to say: > OK, I see a mission for us. Lets make a list of our favorite recordings by > european bluesbands/artists. Then everybody can catch up! Send them to me > and I will collect a list. Everybody can include a small comment. > Mr Bo > > The list so far: > > Living room : The Electric Kings > Blue Soulution: Sven Zetterberg & The Chicago express I suppose we should defintely add "The Instigators" (featurng our own Goren Swenningsson ) and that other Swedish Blues band, "The Nightcats" featuring some guy named Bo Something-or-other. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Thu, 30 May 1996 09:06:50 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: John Jackson in the Baltimore Sun Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com There is a great photo of the wonderful Piedmont blues singer/guitarist John Jackson in today's Baltimore Sun. The photo is on p. 15 of the "Live" supplement, with a blurb about Jackson and the benefit show he's playing tomorrow. -Steve ========================================================================= Date: Thu, 30 May 1996 09:37:23 -0400 Reply-To: RhythmShrk@AOL.COM From: Bernie Clarke Subject: Re: Rosco(e) Gordon In a message dated 96-05-29 16:41:07 EDT, you write: > > Has anyone seen, heard of, own any Rosco Gordon recordings? I'm playing > guitar with his 2nd cousin. We're doing "No More Doggin," ("Just A >Little > Bit"'s just a little bit overdone), but there has to be more Rosco out > there somewhere. > > Everything seems to out of print. There's a "best of" compilationof his VJ stuff out there. I think I got it out of the bargain bin somewhere. Good stuff! Bernie Clarke ========================================================================= Date: Thu, 30 May 1996 09:39:54 EDT Reply-To: Toby Levy From: Toby Levy Subject: Muddy Waters Now (was Re:Things I Have Read) In response to Shaun Cronin's quote of Jon Popper saying "If Muddy Waters was around now, he'd sound like us" I don't think Muddy would sound a bit like Blues Traveller and I especially don't think his harp player would sound anything like Jon Popper. I could think of a dozen harp players who would sound great playing with Muddy if he were around today, and at the moment my top choice would be: Blind Mississippi Morris If you haven't heard his cd on Icehouse, you should check it out! Toby ========================================================================= Date: Thu, 30 May 1996 09:41:53 -0400 Reply-To: bob unger From: bob unger Subject: Re: Last CD in YOUR player Coco Montoya - You'd Think I'd Know Better Bob Unger day: bob@sun.bnkst.edu night: bu@octet.com ========================================================================= Date: Thu, 30 May 1996 09:52:48 -0400 Reply-To: HiP-HeP_RaGs From: HiP-HeP_RaGs Subject: MELLON_JAZZ_FEST_PITTSBURGH!!! Hello blues-lovers.... blues brethern, jazz is gonna have a field day in PITTSBURGH, PA between the dates of June 7- June 15. anybody need complete schedule contact me by private email. ps>>> The 10th Mellon Jazz Fest is dedicated to GEORGE BENSON a Pittsburgh native and he is gonna be playing Thursday JUNE 13 with Nathan Davis & The Tomorrow Band. boy!!! am i excited.... +===================================================================+ | _-\\|//-_ | | | // \\ | Laissez les bon temps roulez!! | | // ~~ ~~ \\ | Let the good times roll!! | | /d-(*)-(*)-b\ | ------------------------------ | | // L \\ | SANJAY 'RAGS' RAJAN | | // //|\\ \\ | sanjay_rajan@formtek.com | | ////`---'\\\\ | FORMTEK,INC. | | // //|||\\ \\ | PITTSBURGH, PA | | // /|||\ \\ | ------------------------------ | | -/---/\o/\---\- | Visualize Whirled Peas!! | | /"\ )| | +===================================================================+ ========================================================================= Date: Thu, 30 May 1996 08:59:12 -0500 Reply-To: "Stine, Dave" From: "Stine, Dave" Subject: Just added yesterday-hey, this is fun. Home: Larry Garner "You Need To Live A Little" Car: Tracy Chapman cassette single "Give Me One Reason To Stay Here" Work: (I have that sort of job): Lloyd Jones "Trouble Monkey" ========================================================================= Date: Thu, 30 May 1996 10:01:42 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Europe's finest Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com My favorites include: Al Cook Robert Lighthouse (a Swedish guitarist/singer/harp player in DC) Sam Mitchell ========================================================================= Date: Thu, 30 May 1996 10:18:11 EST Reply-To: shannon oconnor From: shannon oconnor Subject: L/NBC...Dick Dale? Okay...please tell me about Dick Dale ("King of the Surf Guitar"). I know he's not considered "blues," so don't kick me around on that point. He's playing here in Cincinnati on June 10. My friends Sonny Moorman & the Dogs are opening for him, so I'll be at the show. I've been told I need to bring my industrial-grade ear plugs, and that he plays "really fast." What else? Opinions welcome. Shannon ========================================================================= Date: Thu, 30 May 1996 14:19:05 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: Re: Europe's finest In-Reply-To: <199605301309.JAA61064@osceola.gate.net> > On 30 May 96, Bo Carlsson had this to say: > > > OK, I see a mission for us. Lets make a list of our favorite recordings by > > european bluesbands/artists. Then everybody can catch up! Send them to me > > and I will collect a list. Everybody can include a small comment. > > Mr Bo > > > > The list so far: > > > > Living room : The Electric Kings > > Blue Soulution: Sven Zetterberg & The Chicago express > I would be interested in such a list, in particular if there was some desciptive analysis of what/how they played. The problem is that we hear little or no European blues unless you count Luther Allison or Johnny Mars in there, or for example Is John Mayall "European" at this point or Long John Baldry? oh and Freddy Fender was the best ev.... no I just can't do it..... phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [30/5/96 10:09 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 30 May 1996 07:20:18 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: May 31 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BONHAM, JOHN "BONZO" (d/LED ZEPPELIN) b. 1948-0531, REDDITCH, UK BROWN, CHARLIE (sax) d. 1994-0531, BROOKLYN, NY -- CRAWFORD, CHARLES (EBONY music writer) d. 1969-0531, LOS ANGELES, CA 44 DRAIN, CHARLES (v/THE TABS) b. 1939-0531, EUPORA, MS DUNBAR, RICHARD (of THE KNIGHT BROTHERS) b. 1939-0531, WASHINGTON, DC HARDWICK, OTTO "TOBY" (asax/ELLINGTON) b. 1904-0531, WASHINGTON, DC HOLLOWAY, RED (tsax) b. 1927-0531, HELENA, AR MOLTON, FLORA (slide g/gospel) d. 1990-0531, WASHINGTON, DC 82 SETTLES, WALTER (lead/FAIRFIELD FOUR) b. 1928-0531, COLUMBIA, TN SHIRLEY, JIMMY (g) b. 1913-0531, UNION, SC STRAYHORN, BILLY (p/arr) d. 1967-0531, NEW YORK CITY, NY 51 WILSON, GARLAND (p/boogie woogie) d. 1954-0531, PARIS, FRANCE 44 YANCY, MARVIN J. (prod/NATALIE COLE) b. 1950-0531, CHICAGO, IL ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 30 May 1996 10:20:34 -0400 Reply-To: Larry Corbett From: Larry Corbett Subject: Recording Studio's, why must Muscians pay? Here is a question perhaps some of you might be able to shed some light on, I know that there are many small recording studios out there, why is it that musicians must pay to get recorded? Was it like this in the past? Has the recording industry, (the small time stuff), changed it's practice or has it always operated in this fashion? Larry ========================================================================= Date: Thu, 30 May 1996 08:41:44 -0700 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Books, blues, barbeque Due to all the great press it's been getting on this list, I went looking for the 'Smokestack Lightnin' barbeque book on that fantastic new Web bookstore, Amazon.com. (If you haven't been there, it's a reader's dream come true. They didn't have it in yet, but their notification service will mail me when it arrives.) *However* -- while searching on keyword barbeque, I discovered there are barbeque books and books-on-tape by Jorma Kaukonen and Nat King Cole...hmmmm... And furthermore, while browsing the "recent reviews" section, I came across this blurb which I couldn't resist sharing with y'all. I'm sure lots of you will remember Mr. McInerney as the wunderkind of a few years back who opened the floodgates of whiney Gen-X trash literature (and I use the term advisedly) with his book "Bright Lights, Big City". Well, look what he's up to with the blues: ================================== The Last of the Savages : A Novel by Jay McInerney Hardcover List: $24.00 -- Amazon.com Price: $21.60 -- You Save: $2.40(10%) Availability: This item usually shipped within 2-3 days. McInerney's latest recounts nearly three decades of history through the lives of prep school roommates Patrick Keane and Will Savage. Keane, the narrator, goes the corporate law route. Savage is the rebellious scion of an aristocratic family from the Deep South. Anxious to atone for the misdeeds of a family whose history includes the brutal suppression of a slave rebellion, Savage becomes a leader of the 1970s counterculture and later, a music company executive whose mission is to record blues musicians. Along the way he marries a black singer at least in part to get a rise out of his family. ================================== Hoo boy. Without ever having so much as seen the cover, I'd bet this little gem gives us the *real* lowdown on the blues recording industry, wouldn't you? ):/ <--sarcastic smirk --Maggie (who is willing to consume all her words if the book should turn out to have ANY redeeming qualities...like an absence of commercial brand names used as adjectives) -- Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ "I'm not sure, but I think that ALL music started in New Orleans." --Ernie K-Doe ========================================================================= Date: Thu, 30 May 1996 09:20:01 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: Europe's finest In-Reply-To: Message of Thu, 30 May 1996 10:01:42 -0400 from On Thu, 30 May 1996 10:01:42 -0400 Steve Levine said: >Al Cook Another opportunity to say YEAH !. Living Blues did a short take of his "White King Of The Black Blues" cd. I think they disagreed with the title, however myself and my friends that have heard this cd, agree with the title completely I think it's an appropiate title....(I could be missing something though) They did like the CD, but how could you not like it..His vocals on a couple of tunes are too rough for some people, but he's still fabulous. LW ========================================================================= Date: Thu, 30 May 1996 09:15:00 -0700 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: Last CD in YOUR player Comments: To: bob unger In-Reply-To: bob unger "Re: Last CD in YOUR player" (May 30, 9:41am) The MCA Chess reissue of "Muddy and the Wolf" -- "Where a computer like the ENIAC is equipped with 18,000 vacuum tubes and weighs 30 tons, computers in the future may have only 1,000 vacuum tubes and weigh only1 1/2 tons." Popular Mechanics, March 1949 ========================================================================= Date: Thu, 30 May 1996 09:32:57 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: BB & Sampling Someone mentioned that a BB King tune was sampled in with another tune by some band...? Anyway a friend at work asked me if I had ever heard the blues song "How Blue Is Blue"...I fnally figured out he's talking about "How Blue Can You Get"..He wants to hear BB's version, so Live At The Regal will be in his hand shortly. When someone samples another's music do they pay royalties or anything like that for using the other's music.....???? LW ========================================================================= Date: Thu, 30 May 1996 07:37:48 -0800 Reply-To: James Carmin From: James Carmin Subject: Mike Vernon and Code Blue Comments: cc: bsco@PANIX.COM I'm sitting here listening to a wonderful recording, "The Blues Soul of Jay Owens," one of the excellent 5 Code Blue discs that I won from this month's NYCD Blues monthly giveaway (I love getting free music that's great), and I'm truly impressed. All of these (including the new one by Jay Owens "Movin' On", John Primer's "The Real Deal," The Hoax's "Sound Like This," and THE GREAT, I repeat, THE GREAT Sherman Robertson's "I'm the Man") are produced by Mike Vernon who, not so coincidentally, also produced one of my favorite Johnny Shines recordings, "Last Night's Dream" on Sire/Warner Brothers/Blue Horizon. Thanks to NYCD Blues and to Mike Vernon for getting this music out there and soundin' so damn good. James C. jcarmin@teleport.com ========================================================================= Date: Thu, 30 May 1996 10:42:54 -0400 Reply-To: Larry Corbett From: Larry Corbett Subject: Lyrics, Don't Leave Me What makes for good lyrics? I just put these lines together....what would make them better, what would make them work? Larry Hmmmmmm sugar you don't know what I feel ohhhh baby, you don't know what I feel I can't see you anymore babe, so many tears have made me blind Don't leave me, don't leave me, your cryin' won't make me stay Don't leave me, don't leave me, your cryin' won't make me stay I've got the whiskey bottle to my lips, gonna drink it dry When I told you that I loved you honey you turned to me and said When I told you that I loved you, you turned to me and said I can't hear you no more baby...man I wish you were dead I've got my walkin' shoes now hand me down my walkin' cane I've got my walkin' shoes now darlin' hand me down my walkin' cane I hear that lonesome whistle blowin' and the sky is ohh so red ========================================================================= Date: Thu, 30 May 1996 11:02:20 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Mike Vernon and Code Blue Comments: To: James Carmin In-Reply-To: <199605301437.HAA21750@desiree.teleport.com> On Thu, 30 May 1996, James Carmin wrote: > All of these (including the new one by Jay Owens "Movin' On", John Primer's > "The Real Deal," The Hoax's "Sound Like This," and THE GREAT, I repeat, THE > GREAT Sherman Robertson's "I'm the Man") are produced by Mike Vernon who, > not so coincidentally, also produced one of my favorite Johnny Shines > recordings, "Last Night's Dream" on Sire/Warner Brothers/Blue Horizon. Glad you put it that way - SHERMAN is GREAT. I think he is the absolute stealer on Code Blue. So far Mr. Primer has gotten the press (and deservedly so - based on history etc.) BUT Sherman's 2 CD's are not to be missed - Just ask Jon Duttweiler, our res- ident Sherman expert. > Thanks to NYCD Blues and to Mike Vernon for getting this music out there > and soundin' so damn good. Really our pleasure James .... and thanks for playing. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 30 May 1996 09:40:44 -0500 Reply-To: Keith Castleberry From: Keith Castleberry Subject: Q - Need Artist and Song Name A while back I heard a song and have been trying to find ever since. Here is the jist of the number : A guy decides to go to a fancy store and proceeds to buy, buy, buy and racks up quite a bill. The song talks about all the stuff he buys...then when he gets ready to check out...credit denied. It's a humerous little number. Anyone have an idea on this. I thought I heard it on an Alligator compilation, but have not been able to locate. Thanks. Keith Castleberry WYDH 105.9 FM "The Blues Cruise" P.O. Box 710 Atmore, AL 36504-0710 ========================================================================= Date: Thu, 30 May 1996 11:14:46 -0400 Reply-To: Dave Markovits From: Dave Markovits Subject: Chicago/JRM/Byther Smith The in store appearance, Saturday morning, at Jazz Record Mart is Byther Smith. He will be playing from 10-Noon. Byther's new album Mississippi Kid is out on Delmark. Jimmy Burns is playing from 10-Midnight on Friday and Saturday night at the store. This is what they told me yesterday and it was in the New City(paper) Jazz Record Mart is open from 10-Midnight Fri. and Sat. and until 8 on Sunday. Also; the sun is out today, although it's still cool. The King Biscuit Times has their Chicago Blues Fest issue out with great interviews with this years acts. I hope this helps. Enjoy; David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Thu, 30 May 1996 15:05:38 GMT Reply-To: DWhitwor From: DWhitwor Organization: dot.gov Subject: blue testing Comments: To: bit-listserv-blues-l@uunet.uu.net This is a test because I have the blues!!!!!! ========================================================================= Date: Thu, 30 May 1996 10:38:22 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Last CD in YOUR player In-Reply-To: <9605300915.ZM18629@IRIS3.cast.msstate.edu> Dead Crickets - Two Tons of Steel A local rockabilly outfit that knocked my socks off as the opening act for Anson Funderburgh last week. -Jeff (there, got the blues content in!) --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball NCAA Regional Host U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc09.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Thu, 30 May 1996 10:39:55 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: Last CD in YOUR player In-Reply-To: Message of Thu, 30 May 1996 10:38:22 -0500 from Johnny Young & Friends on Testament.... LW 'going to buy a mandolin...soon' ========================================================================= Date: Thu, 30 May 1996 10:41:26 -0500 Reply-To: "Stine, Dave" From: "Stine, Dave" Subject: "Blues" Traveler I saw "Blues" Traveler at the New Orleans Jazzfest last year. If they're where Muddy would have been by now have, I've been barkin' up the wrong mojo for 30 years. ========================================================================= Date: Thu, 30 May 1996 10:54:29 -0600 Reply-To: James Bardsley From: James Bardsley Subject: Re: L/NBC...Dick Dale? Comments: To: shannon oconnor In-Reply-To: <9604308334.AA833477167@smtpgate.swpco.com> He does play very fast, in the sense that his style is almost like mandolin strumming- eg, as in machine-gun, not bluegrass- and very intense. He plays super loud, not distorted much, and uses the guitar string equivalent of bridge cables. Mongo tone. DD is also one weird guy. Speaks of himself in the third person ( or was that Bob Dole?), raises lions and eagles on his ranch and is a legend in his own mind. I get a splitting headache every time I try to listen to the one DD CD I bought.....at least it's not a seizure, but I'm sure he has that effect on some people, too. Bring the ear plugs. At 10:18 AM -0500 05/30/96, shannon oconnor wrote: > Okay...please tell me about Dick Dale ("King of the Surf Guitar"). > I know he's not considered "blues," so don't kick me around on that > point. He's playing here in Cincinnati on June 10. My friends > Sonny Moorman & the Dogs are opening for him, so I'll be at the > show. I've been told I need to bring my industrial-grade ear > plugs, and that he plays "really fast." What else? Opinions > welcome. > > > Shannon Jim Bardsley "If we're treading on thin ice then we might as well dance." -Jesse Winchester @1971 ========================================================================= Date: Thu, 30 May 1996 11:19:52 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Chi-fest don't miss For all of you folks going to the Chicago fest, don't miss TEXAS JOHNNY BROWN on the Crossroads Stage, at 2:30 pm SUNDAY, JUNE 2. You WONT be disappointed! -Jeff --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball NCAA Regional Host U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc09.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Thu, 30 May 1996 12:50:58 -0400 Reply-To: James Leftwich From: James Leftwich Subject: Re: Mike Vernon and Code Blue Comments: To: Barry Silverberg In-Reply-To: On Thu, 30 May 1996, Barry Silverberg wrote: > Glad you put it that way - SHERMAN is GREAT. I think he is the > absolute stealer on Code Blue. So far Mr. Primer has gotten the > press (and deservedly so - based on history etc.) BUT Sherman's > 2 CD's are not to be missed - Just ask Jon Duttweiler, our res- > ident Sherman expert. > Find out how great Sherman Robertson is...come by my web page and be entered to win his _Here & Now_ CD. Just answer an obscenely easy trivia question and you're entered to win. ============================================================================= Jim Leftwich Jim's Blues N' Brews leftwich@cloud9.net http://www.cloud9.net/~leftwich "I'm on cloud9!" :) New CD Giveaway: Sherman Robertson ============================================================================= ========================================================================= Date: Thu, 30 May 1996 12:53:12 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0149 From: "DUTTWEILER.J" Subject: "Blues" Traveler Date: Thursday, 30 May 1996 12:52pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: "Blues" Traveler > I saw "Blues" Traveler at the New Orleans Jazzfest last year. > If they're where Muddy would have been by now have, I've been barkin' u > the wrong mojo for 30 years. As I rolled over to go to sleep during one of the few HOB shows I actually saw, my wife nudged me and said, "Its Blues Traveler, wake up, they're the blues, aren't they?" As I dozed off I mumbled "In their dreams, in their dreams " JD ========================================================================= Date: Thu, 30 May 1996 11:53:00 -500 Reply-To: Kris Chesky From: Kris Chesky Subject: Musician Health Survey Dear Blues Musician The College of Music at the University of North Texas is conducting a musician health survey. We are looking for all musicians, especially non-classical players (i.e., blues, jazz, rock) to participate. If you are a musician who plays just for fun or as a full-time professional, please help us by filling out the survey at - http://www.scs.unt.edu/surveys/msurvey/index.html Thanks alot, Dr. Kris S. Chesky Research Assistant Professor College of Music at UNT Kchesky@music.cmm.unt.edu ========================================================================= Date: Thu, 30 May 1996 13:11:25 -0400 Reply-To: MVinyl@AOL.COM From: Mike Vinyl Subject: Re: Q - Need Artist and Song Name Comments: To: edsel@atmore.gulf.net Sounds like the Coasters classic "Shopping For Clothes." ========================================================================= Date: Thu, 30 May 1996 17:18:26 GMT Reply-To: Stephanie Manna From: Stephanie Manna Subject: 20th Annual Juneteenth Blues Festival,Houston,TX The 20th Annual Juneteenth Blues Festival will be held in Houston,Tx. on June 6-8th,1996 at Miller Outdoor Theatre, in Hermann Park. Heres the agenda: June 5th (Wednesday) 5:30 PM Press party with special guest, Trudy Lynn at Hyatt Regency, downtown:1200 Louisianna June 6th (Thursday) CONCERTS AT MILLER OUTDOOR THEATRE: 8PM Willie Jaye 9PM Mark May and the Agitators 10PM "Texas" Johnny Brown June 7th (Friday) 12:00PM Lecture by Lawrence Hoffman, commissioned by the Smithsonian Institute to produce and annotate a 4 disc set illustrating the history of post-war blues: Houston Community College Central Campus; Fine Arts Building, 3517 Austin, room 113 next to Heinen Theatre. CONCERTS AT MILLER OUTDOOR THEATRE: 8PM Hamilton Loomis 9PM Billy Boy Arnold with Joe "Guitar" Hughes 10:15PM James Peterson June 8th (Saturday) 11AM-11PM Arts & Crafts Market (Miller Outdoor Theatre) CONCERTS AT MILLLER OUTDOOR THEATRE: 8PM Peter Mayes and the Texas House Rockers 8:45PM Presentation of the Blues Artist of the Year 9PM Trudy Lynn with her Touring Group 10PM Clarence "Gatemouth " Brown ALL THESE EVENTS ARE FREE! Thanks to the generous sponsorship of the City of Houston Parks & Recreation Department, Miller Theatre Advisory Board, The City of Houston Office of the Mayor, Budweiser, Continental Airlines, Warner Cable, KHOU Channel 11, KTRK Channel 13, KTSU 90.9FM, Houston SW Hilton, Hyatt Regency Downtown, The Houston Cronicle, Sumarts. FUTHER INFO:1-713-667-8000 ========================================================================= Date: Thu, 30 May 1996 12:11:47 -0500 Reply-To: toulouse@comm.net From: toulouse Organization: Toulouse Enterprises, Inc Subject: Re: Recording Studio's, why must Muscians pay? Comments: To: bit-listserv-blues-l@uunet.uu.net Larry Corbett wrote: > > Here is a question perhaps some of you might be able to shed > some light on, I know that there are many small recording studios > out there, why is it that musicians must pay to get recorded? > > Was it like this in the past? Has the recording industry, (the small > time stuff), changed it's practice or has it always operated in this > fashion? > > Larry Well Larry, part of it might be that the cost of the recording equipment warrants some type of financial retribution from the artist or label to the studio owners. There are many reasonable deals out there for the smaller, unsigned artists, which would attribute to the many independent recordings that have cropped up in the past 6 or 7 years. There are still many small studios that will do stuff on spec, but even when the bands don't pay up front or at all, it still cost someone, somewhere, something. Then if and when the records hit or sell, the payback begins. peace, toulouse@comm.net ========================================================================= Date: Thu, 30 May 1996 14:01:06 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Recording Studio's, why must Muscians pay? Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *Here is a question perhaps some of you might be able to shed *some light on, I know that there are many small recording studios *out there, why is it that musicians must pay to get recorded? It's called capitalism. Money is exchanged for goods and services. :-) -Steve ========================================================================= Date: Fri, 31 May 1996 04:24:08 -0400 Reply-To: Bronxharp From: Bronxharp Organization: America Online, Inc. (1-800-827-6364) Subject: BENEFIT in NJ 6/2 forCANCERstricken Bluesbabe! Comments: To: bit-listserv-blues-l@uunet.uu.net Dear Folks, Anyone who digs good blues and lives in the Northern NJ area (or close to it) should please mark this date SUN. JUNE 2 down on their calender. An important BENEFIT is taking place for a young woman by the name of Karon (pronounced KAY-RON) Brandt, who not only is a fine blues singer herself, but has also given unselfishly of herself to promote Blues bands, both established and unsigned ones on her cable TV show "The Blues", which has aired over the last couple of years in the NJ and NY area. This show has highlighted some established artists to a wider audience of previously non-blues fans, and has also given lots of exposure to the lesser known ones who have appeared. It was a non-profit show, and indeed, Karon has put a ot of her own bread into it to make it happen. This, however, is NOT a benefit for the show (!). It is a benefit to attempt to raise $$$$$ to help pay for her recent mounting medical bills. You see, Karon, fine young babe that she is, unfortunately has been stricken with cancer :( The benefit is taking place at a club called "MOTHER'S" on Rt 23 in Wayne, New Jersey, this Sunday, June 2. The number for MOTHER'S is 201-63te list of bands. The cover is ONLY $8 (...such a deal!) and goes towards the medical bills, and there will be many, many bands, mostly local Blues acts, and possibly some famous national act as well. Some of the bands performing are: Nasty Ned & The World Famous Chili Dogs, The Black Widow Band (with harp great Rod Papparozzi of the Hudson River Rats guesting), Mojo Hand, and Billy Hector & the Fairlanes. It starts in the early afternoon and will probably last till the wee hours. SO BE THERE AND HELP THIS GIRL OUT AND HEAR SOME FINE MUSIC, TOO!!! ----Your Freindly Neighborhood Bluesman (TM), Mark The Harper ========================================================================= Date: Fri, 31 May 1996 09:34:36 +0000 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Re: Electric Kings and European Bands Just wanted to add a few thoughts abut European blues bands and particularly the Electric Kings (I don't speak here of acoustic/country blues players....). Actually, I agree with Bo's comment .. but in some sense I do share emmbee's appreciation. The Electric Kings is a band (two guitars, drums, upright bass, drums, hca/vcls) that is composed of musicians which were previously playing in several very good and rather popular, at least in Benelux, Belgian bands (The Slime Hunters, Dizzy Dave, the HEalers...). All the members are very talented musicians tehcnically speaking, the are quite knowledgable about the music they play (they don't mention SRV as their first influence ...), altough still young they have a lot of experience and especially a great sound! Contrary to many , many, many, mnay, many European bands they have no blues/rock/SRV influence at all and their music is rooted in the sound of the 50's, finally they play both originals and well done covers. I sent a while ago a copy of their CD to Bill Shute (are you there Bill ???) which apparently was rather enthousiastic about the music they play (and I, MHO, value very much Bill's musical tastes .. :-) and they have "A SOUND", which differentiates them to many European bands I've had the opportunity to listen to over the last 16 years or so. In a private mail Bill Shute sent me after receiving the tape he said (hope Bill don't mind being quoted in this post): (snip) > The Electric Kings album was FANTASTIC. One of the best non-us bands > I've ever heard, and in my opinion better than many US bands I see > championed on blues-l. > I've played it three times. If I ever produce another recording session, > I wanted to know how they got that sound on the last track of the album!!! (snip) ... They often tour as opening acts for many US bands in Europe (the last tour of the Tribute to Muddy among others) , have played/been invited by many of them and people like Bob Margolin (LW, please no comment... :-), James Harman, RJ Misho, Ronnie Earl, .. and some others are apparently (according to what they told me, or to friends of mine) very enthousiastic about the Kings (some of them even used the word impressive...). The appreciation was always the samer: the Kings could very easily compete with MANY popular white Us bands. Some of you might know that I've done a weekly radio blues show during more than 11 years and that I'm writting for some mags since quite a nwumber of years thanks to which I have had the opportunity to hear, listen to, see, meet, ... really a lot of European "blues " bands which did send me their Cds, tapes, Lps, ... and -exception made of some Uk bands like Big Joe Louis which I do really appreciate - the Kings is certainly one of the most impressive European band I heard during the last five years or so. Obviuosly there are many bands I havent heard yet! Altough I know these cats quite well, I have NO interest or affiliation, .... If Bill Shute is out there on the Blues-L these days , I would be happy to hear his opinion as he already heard their CD. Jean-Pierre "Young Man" Urbain which is listening to the recently published Ali Farka Toure "Radio Mali" on World Circuit (which contains recordings done in the 70's and reissues a few cuts from his eary excellent Sonodick/SonAfric Lps from the 70's which were published under the name of Ali Toure Farke and not Ali Farka Toure). Great and real stuff and what I like about it is that it's a bit less "commercial" than his last three albums (no Ry Cooder, Taj, gatemouth, ...), much more intimate as he is mostly alone with his guitar. For those who really liked the Lps he did in the mid/late 70's, it's worth checking out (some overlap naturaly with these Lps, but who cares...). For Farka fans, just wanted to mention that contrary to hat the sleeves notes are saying, his early albums are not so rare as they have been reissued on Cd by Sonodisc France. ========================================================================= Date: Fri, 31 May 1996 02:41:16 -0500 Reply-To: scottd@INTERACCESS.COM From: Scott Dirks Subject: Re: Things I Have Read Comments: To: Mike Curtis At 02:56 PM 5/30/96 -0700, Mike Curtis wrote: > >> Before I ever heard any Blues Traveler music, I read a quote from John >> Popper in Blues Access that went something like this: 'Little Walter was the >> most overrated harp player in the history of the instrument'. I thought, >> man, this guy better have some SERIOUS chops to back up such a patently >> ludicrous statement. I mean, you don't have to like Little Walter's music, >> but you can't deny his innovations and pervasive influence. >> Now that I've heard Popper's music, I understand where that statement came >> from--he just DOESN'T GET IT. This guy has all the technique in the world, >> but he has no conception of what blues music is. No matter how much lip >> service he gives it. > >Are we talking about the same guy? John Popper, the million-notes-a-second >guy with Blues Traveler? Sorry, but what he has is speed, cleanness, and a >recognizable style centered around a certain lick. > >Tone? His tone is thin. Feel? Well, _I_ don't think he has any, but >that's my opinion. Resonance? Vibrato? The ability to express himself with >one sweet note? Smooth, glissando bending? Anything approaching >chromaticity? Not in anything I've ever heard. > >Poppers "trick" is to use higher pitched harmonicas (which play much faster) >and play on the highest notes (which are also faster). While there is some >variety in his solos, they all center around one particular "fast" lick. >Speaking purely in terms of harmonica mechanics, Popper has lousy technique >in general. But at what he does (fast and clean on high-pitched harmonicas >on the high notes), he's excellent. > >If you don't comprehend "soul", Little Walter can seem a little simplistic. >If you equate "soul" to the number of notes played, then LW comes up short. >But LW could milk one note until it turned to whipped cream. LW had killer >tone, vibrato, and some of the best musical "feel" I've heard. And remember >that this was back in the early 1950's. His stuff is still timely and >widely imitated today. Put Little Walter with any blues band today and he'd >still knock 'em dead, 45 years later. > >Also, while many fault Popper because he "doesn't play blues", I don't. Yes >the band is called "Blues Traveler", but so what. They're simply not a >blues band, any more so than Moody Blues, Blues Magoos, or many others who >have included the word "blue" and variants in their names or songs. A rose, >by any other name, would be a gzormitoff. I consider this a nonissue, and >look at his music on its own merit, apart from the band name. > >I like Blues Traveler, but in limited dosages. They have some interesting >songs, good lyrics, the band is pretty good, etc., but I find much of their >material repetitive. I have difficulty getting through an entire BT album >at one sitting. But a song or two here and there is enjoyable. > >Is Popper the "fastest ever"? Not in the least. And I think even John will >freely confirm this. > >One thing Popper deserves a lot of credit for is bringing the harmonica to >the attention of a whole new generation of people who weren't much aware of >it before BT. > > > > -- IronMan Mike Curtis Mike, You don't have to convince ME that Little Walter was great--I already worship the guy. I was exagerating a little to make my point re: Popper's technique--you're right, he doesn't really have all the technique in the world, but he has nailed a certain technical thing that most other harp players haven't, or haven't been able to get a handle on as well as he has anyway. And actually, I think his band is a pretty decnt pop band; they write some decent pop tunes with memorable hooks and perform them well, and that's not something everyone can do. But I peronally think that the name Blues Traveler is false advertising. You and I may know that it's not blues, but for whatever reason, their records DO sometimes end up filed in the blues section, and the fact that they're led by a harmonica player leads some people to judge them by blues standards, as if they were a blues band. You brought up an interesting point: I think we can all agree that there's no such thing as "best" anything when it comes to art and music, because there's no standard for "best"--it can't be measured objectively. How can you measure the "soul" you referred to? But one CAN measure fastest...not that I want to, but one could actually count notes per second or whatever, and arrive at a definitive "fastest". Here's what I think may happen too often: because people can't measure best because there's no acceptable yardstick that everyone can agree upon, they end up measuring things with the only yardstick they can find in order to determine what's "best". Hence those who think that John Popper is the "best" harp player, or Melvin Taylor is the "best" blues guitarist, etc. Scott http://www.geocities.com/SunsetStrip/4466 Check it out! ========================================================================= Date: Fri, 31 May 1996 02:41:08 -0500 Reply-To: scottd@INTERACCESS.COM From: Scott Dirks Subject: Re: L/NBC...Dick Dale? Comments: To: James Bardsley At 10:54 AM 5/30/96 -0600, James Bardsley wrote: >He does play very fast, in the sense that his style is almost like mandolin >strumming- eg, as in machine-gun, not bluegrass- and very intense. He plays >super loud, not distorted much, and uses the guitar string equivalent of >bridge cables. Mongo tone. >DD is also one weird guy. Speaks of himself in the third person ( or was >that Bob Dole?), raises lions and eagles on his ranch and is a legend in >his own mind. >I get a splitting headache every time I try to listen to the one DD CD I >bought.....at least it's not a seizure, but I'm sure he has that effect on >some people, too. Bring the ear plugs. > > >At 10:18 AM -0500 05/30/96, shannon oconnor wrote: >> Okay...please tell me about Dick Dale ("King of the Surf Guitar"). >> I know he's not considered "blues," so don't kick me around on that >> point. He's playing here in Cincinnati on June 10. My friends >> Sonny Moorman & the Dogs are opening for him, so I'll be at the >> show. I've been told I need to bring my industrial-grade ear >> plugs, and that he plays "really fast." What else? Opinions >> welcome. >> >> >> Shannon > > >Jim Bardsley > >"If we're treading on thin ice >then we might as well dance." > -Jesse Winchester @1971 > Jim, I've seen him, and I like him, but you're right about him being a weird dude. Coincidently he was playing here in Chicago tonight, and I heard him do an in studio guest shot on a radio station this afternoon before the show. The host started off by asking him one question, something inane like "What exactly IS surf guitar?", and DD took off for about 10 minutes non-stop on a rambling rant that covered his opinions on ecology, Native Americans, race relations, how much water he uses each week and where he gets it from, how he wants to raise his son, what he does with a scorpian when he finds one in his house, how much land he owns, raising wild jungle cats, and everything else under the sun EXCEPT surf guitar. The next words the host was able to get in were something like: "Ladies and gentlemen, Dick Dale....thanks for coming by, see you tonight at the show." Scott http://www.geocities.com/SunsetStrip/4466 Check it out! ========================================================================= Date: Fri, 31 May 1996 02:41:04 -0500 Reply-To: scottd@INTERACCESS.COM From: Scott Dirks Subject: Re: Europe's finest Comments: To: ISTS024@UABDPO.DPO.UAB.EDU At 09:20 AM 5/30/96 CDT, Leonard Watkins wrote: >On Thu, 30 May 1996 10:01:42 -0400 Steve Levine said: >>Al Cook > >Another opportunity to say YEAH !. Living Blues did a short take of his "White >King Of The Black Blues" cd. I think they disagreed with the title, however >myself and my friends that have heard this cd, agree with the title completely >I think it's an appropiate title....(I could be missing something though) >They did like the CD, but how could you not like it..His vocals on a couple of >tunes are too rough for some people, but he's still fabulous. >LW > > How could people not like it? Well, here's why *I* don't care much for it. Although the music is VERY well performed and enjoyable, the vocals bring to mind nothing so much as a bad Al Jolson/blackface/"Mammy" impersonation. It's embarassing after a while, it's so jive. It demeans the people he's imitating. And when he sings his original lyrics about picking cotton, whiskey stills, boll weevils and all that crap, it's just too much. (Maybe I'M missing something, though). See my review in the next issue of Blues Access for more on this one, if you're interested. And oh yeah, I thought the title was a bit much, too. Scott http://www.geocities.com/SunsetStrip/4466 Check it out! ========================================================================= Date: Fri, 31 May 1996 02:40:53 -0500 Reply-To: scottd@INTERACCESS.COM From: Scott Dirks Subject: Re: Last CD in YOUR player Comments: To: Bo Carlsson At 12:37 PM 5/30/96 +0100, Bo Carlsson wrote: >>>In my CD-player(s) for the moment : >>> >>>Kitchen : Blind John Davis : great pianist ! >>>Living room : The Electric Kings : Europe's greatest bluesband !! >>>Car : Charles Brown : Lucky so and so. >>> >>Embee, and everybody else - This connects to the "Best >>ever"-discussion.What makes you so sure that The Electric Kings are >>Europe's greatest bluesband. I havn't heard them but I'm sure they are very >>good if you say so. But there must be hundreds of european bluesbands that >>you havn't heard. I know a few that is really good and play in different >>styles, and I'm sure they could give the Electric Kings a match. >> >>Of course, Mr. Bo. >>Telling to somebody band X is the best ever heard, >>is always the opinion of the teller himself. So I can only deal >>with the bands I've ever heard before... >>And when I have to make my choice, >>the Electric Kings are one of the best ( IMHO !) >>and for me, the very best European bluesband. >> >>embee. > >OK, I see a mission for us. Lets make a list of our favorite recordings by >european bluesbands/artists. Then everybody can catch up! Send them to me >and I will collect a list. Everybody can include a small comment. >Mr Bo > >The list so far: > >Living room : The Electric Kings >Blue Soulution: Sven Zetterberg & The Chicago express > > I like: Mr. Bo & The Boosters The Instigators Knockout Greg & Blue Weather and that's just Sweden! The Mojo Blues Band from Austria is good too. >From Germany I like a band called BB & The Blues Shacks. Scott http://www.geocities.com/SunsetStrip/4466 Check it out! ========================================================================= Date: Fri, 31 May 1996 06:34:24 GMT Reply-To: marc borms From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Re: Last CD in YOUR player Comments: To: bit-listserv-blues-l@news.Belgium.EU.net : Living room : The Electric Kings Their CD is called 'Not for sale'. What about some other European toppers ? I like Diz Watson on piano, isn't he British ? embee. ========================================================================= Date: Fri, 31 May 1996 06:32:34 GMT Reply-To: marc borms From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Larry Garner Comments: To: bit-listserv-blues-l@news.Belgium.EU.net I listened to some fine music on the radio, and was pleased with the songs played/sung by Larry Garner from Baton Rouge. He made some electric recordings AND a few solo on guitar. Who tells me more about this 'coming' man ( That's what the deejay said ) ?? embee. ========================================================================= Date: Thu, 30 May 1996 23:41:53 -0700 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Subject: one of those jam nights...... Comments: cc: Don Cicchetti I saw Don C's post re. "the horrors of jams" (my quotes, y'all): Years ago, I was doing live sound for a blues club and they had a weekly Jam Night. There were several "less than desirable" regular "talents" (my quotes, and I'm being very kind here, too): The Yamaha SPX-90 multi-effects unit had just been invented and I had a couple of 'em in the rack, and soon they were fundamental in (a) me keeping my sanity during the tediously long jams, and (b) The host of the jam conspiring with me for a lot of laughs. Here's what we did: It started out with me, as a joke, "de-harmonizing" the vocal efforts of one particularily obnoxious, unrepentant, and talentless jammer who always showed up and insisted on doing such blues chestnuts as "Roadhouse Blues" by the Doors. This joking around with the SPX started with the host and I listening to our "de-harmonized" vocals (such as Darth Vader on the left side and Minnie Mouse on the right!) through head-phones. A few weeks of the same old same old, and we had progressed to throwing "short bursts" of our new-found fun into the house mix, while the unsuspecting jammer heard a perfectly normal (?) vocal through the monitors on-stage, and stood there baffled by the puzzled looks and hoots of laughter coming from the crowd. Eventually, we got bolder and bolder and tossed the whole mess into ALL the mixes - the jammer got wise to the prank and stalked off in a huff. Never to return , thank you God. Mean? Maybe. Twisted? A little. Necessary? YES!! ========================================================================= Date: Fri, 31 May 1996 02:20:00 -0400 Reply-To: Apicor 7 From: Apicor 7 Organization: America Online, Inc. (1-800-827-6364) Subject: To VINCENT at PIPELINE: Mistaken Identity! Comments: To: bit-listserv-blues-l@uunet.uu.net Dear Vincent, Thanks for the mention in your past post, but you have mistaken me for a colleague of mine. Yes, I have indeed gigged, jammed and sat in with greats at Chi Blues on many occasions, but NEVER with John Primer or Magic Slim. I have sat in at Chi Blues with Big Time Sarah, Big Daddy and the Kinsey Report, Michael Hill, and Eddy Clearwater. I was not present at the show you described, but I have a colleague who fits your "shorter musslewhite" description to a T. If he had tons of rings on his fingers, and tatooes, his name is Deak Harp, or Deak DeHarp. Yes, I know that since my semi-fame, some people in this geographic area have been coming up with some variations on my name , but I am the ONLY "The Harper". Deak is a very good player. However, I am in another league, both as a harp player, singer, and performer. Yes, he is dedicated and has potential, and may eventually attain my level. I am not intending to malign him here..., and I'm sorry if it sounds that way. He's very dedicated to the Blues, and is a good guy as well. But I just don't want people to think that HE's Mark the Harper. If you are in the NY area, please come see a show of miny put you on my e-mail (and snail mail list) if you like. Next NYC gig: Thurs, June 6, Fanny's Oyster Bar 765 Washington St, betw. w. 12 and Bethune 212-255-5101. No Cover 9 pm-1am. (very close to Chi Blues as a matter of fact). Take care, Vince... Mark THE Harper ========================================================================= Date: Fri, 31 May 1996 04:48:54 -0400 Reply-To: "jose.eric.s.maglanque" From: "jose.eric.s.maglanque" Subject: Blind Willie McTell: Yazoo vs. Sony-Legacy Comments: cc: bsco Just got the Sony-Legacy box set of Blind Willie McTell. How much overlap does this set have with the two McTell reissues in Yazoo, i.e., The Early Years and Doin That Atlanta Strut (?).... Help please -- I wanna know if the Yazoo sides are worth it even though I have 2 CDs worth of McTell elsewhere. Private e-mail pls. Thanks! - Delta Slim ========================================================================= Date: Thu, 30 May 1996 23:00:03 -0700 Reply-To: "H.R. Sarkissian" From: "H.R. Sarkissian" Organization: Primenet Subject: Re: Coco Montoya (was: Billboard's Top 15) Comments: To: bit-listserv-blues-l@uunet.uu.net >The new Coco Montoya is on Blind Pig. It's not as good as his first >one - the singing actually seems worse. However, the guitar playing >is very strong and the tune that's co-authored by Doug MacLoed is >the best one (just like the first album). Overall, it's a very >rock-country-blues sounding album (in that order). Do you know if Coco Montoya is on any live albums? Like something recorded at a festival or a concert. I've seen him a few times, solo and as part of Joh Mayall's Bluesbreakers, and love his raw live work. Also, i've been trying to catch him since New Year in California but no dice; any ideas what's the best way to search for concert dates for him on the Web? Thanks. H.R. Sarkissian ========================================================================= Date: Fri, 31 May 1996 01:55:07 -0400 Reply-To: Apicor 7 From: Apicor 7 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: holmes brothers - good show to see!? Comments: To: bit-listserv-blues-l@uunet.uu.net Yes, go check out the Holmes Brothers! They are an extremely soulful group. Varied in the different types of Blues they play.. Chicago, country, gospel, rockin', funky... interesting mix but it all works toghether. Incredible harmonies. Popsie the drummer has an incredible falsetto, and can front the band from behind his kit, although Wendell (gtr) does a fine job fronting up-front as well. These guys have paid their dues and you can hear it. They deserve the fame they are getting now. I should know... I used to go check them out (and jam with them) when they played for tips. Give my regards to Popsie,,, tell them "Mark The Harper" sent ya"! Enjoy! ========================================================================= Date: Thu, 30 May 1996 20:46:00 GMT Reply-To: Igor Isakovski From: Igor Isakovski Organization: MEDIS-informatika Subject: european bands listing AHSBC>OK, I see a mission for us. Lets make a list of our favorite recordings b >european bluesbands/artists. Then everybody can catch up! Send them to me >and I will collect a list. Everybody can include a small comment. >Mr Bo AHSBC>The list so far: AHSBC>Living room : The Electric Kings >Blue Soulution: Sven Zetterberg & The Chicago express Igor Isakovski from Macedonia suggests: * Blues Company - from Germany. The Band consists of the singer and guitarist Todor Todorovic, a native of Yugoslavia; the Jamaican Mike Titre on guitar, slide guitar and harmonica; Martin Schmachtenberger on drums; bassist Frizze Winacker. * Electric Blues Duo - from Europe. Frank Diez from Germany on guitar and Colin Hodgkinson on Fender bass. * Pete York & Friends - England. Pete York, drums; Colin Hodgkinson, bass; Miller Anderson, guitar & vocals; Zoot Money, piano & vocals; Chris Farlowe, vocals. You can find them all on InAkustik Inak 19001CD. Regards, Igor Isakovski, ASNOM 32/3-14, 91000 Skopje, Macedonia MegaFM 98, Radio Ravel 96.7 igor.isakovski@informa.mk P.S. Don't forget John Mayall & The Bluesbreakers :-) P.P.S. Lucky Peterson is coming to Skopje this summer, somewhere between June 26 and July 3! Hehehe. --- ~ SPEED 2.00 [NR] ~ Sattinger's Law: It works better if you plug it in. ========================================================================= Date: Thu, 30 May 1996 23:56:00 GMT Reply-To: Igor Isakovski From: Igor Isakovski Organization: MEDIS-informatika Subject: "Blues Brothers" Playlist The BLUES BROTHERS ON Commercial Radio Stations: MegaFM 98, Ravel 96.7 Program Host: Igor Isakovski, igor.isakovski@informa.mk PLAYLIST for 06/03/1996 Opening theme: The Blues Brothers "Soul Finger" Live In America Artist/Band Title Length 1. John Lee Hooker - Mama, You Got A Daughter 3.36 2. Junior Wells - Help Me (A Tribute to S.B.Williamson) 4.06 3. Jimmy Reed - The Sun Is Shining 2.52 4. Al Simmons & The Cats From Fresno . Old Folks Boogie 3.03 5. J.J. Cale - Bringing It Back 2.42 6. J.B. Hutto & His Hawks . Too Much Alcohol 2.30 7. Buddy Guy . (You Give Me) Fever /live/ 6.24 8. Led Zeppelin . Since I've Been Lovin' You 7.24 9. Gary Moore . Love That Burns 6.28 10. Peter Green . One Woman Love 5.22 11. B.B. King - Standing On The Edge Of Love 5.19 12. B.B. King . Why I Sing The Blues 8.37 13. John Mayall & The Bluesbreakers . Hartley Quits 2.55 14. Bernard Allison . Going Down 4.17 15. Electric Blues Duo . Roberta 3.07 16. Gary Moore & B.B. King . Since I Met You Baby 2.52 17. Eric Clapton . I'm Tore Down 3.02 18. Ike Turner - Prancin' 2.42 19. Earl Hooker - Hot 'N' Heavy 1.53 20. John Mayall & E.C. & The Bluesbreakers . Hideaway 3.13 21. The Blues Brothers . Flip Flop & Fly 3.35 22. Phil Guy . Professor's Boogie 6.58 23. Robert Cray . I'm Gonna Forget About You 3.11 24. Robert Cray . I Got Loaded 3.34 25. Robert Cray . Nothing But A Woman 3.56 26. The Blues Brothers . Sweet Home Chicago 7.52 total playing time: 111.30 minutes Album Publisher 1. Blues Before Sunrise THAT'S BLUES 2. The Blues Barons FNAC/VANGUARD 3. Greatest Hits CHARLY 4. RCD Blues Volume 16 RCD/ACE 5. Naturally JOHNNY BIENSTOCK MUSIC 6. The Blues Barons FNAC/VANGUARD 7. The Blues Barons FNAC/VANGUARD 8. Greatest Hits WEA MUSIC 9. Blues For Greeny VIRGIN 10. Legend DISKY 11. Today's Blues Masters RS RECORDS 12. The Best of B.B. King MCA 13. Barewires DECCA 14. Fresh Blues IN-AKUSTIK 15. Fresh Blues IN-AKUSTIK 16. After Hours VIRGIN 17. From The Cradle REPRISE 18. Blues Giants CASTLE 19. Blues Giants CASTLE 20. Blues Breakers DERAM 21. Best ATLANTIC 22. Tina Nu JSP 23. The Score CHARLY 24. Bad Influence HIGHTONE RECORDS 25. Strong Persuader HIGHTINE RECORDS 26. The Blues Brothers Soundtrack ATLANTIC Promotional CD copies can be send to: Igor Isakovski, ASNOM 32/3-14, 91000 Skopje, Macedonia, Europe Report to Living Blues, Global Pacific Records, Blues-L. --- ~ SPEED 2.00 [NR] ~ . . . . . . . . .. . . . . - United Colors Of Benneton ========================================================================= Date: Thu, 30 May 1996 22:45:40 -0500 Reply-To: EARTH JUICE From: EARTH JUICE Subject: Some of you folks just don't get it -- [ From: Earth Juice * EMC.Ver #2.10P ] -- To some of you "blues" fans out there: So ya don't think that Ice Cube is playing the blues,eh ???? There is room in my CD rack for both Ice Cube and Muddy Waters & ya know what ???? They are BOTH talking about the same exact stuff in their lyrics !!! Not to mention the screeching guitars that you can hear on BOTH of them. In music that is spread some 50 years apart you can hear the same vocals as well as the same sounds. & that sound that you hear is called FUNK !!! Some of you just aren't listening with both your mind & your ears !!!! When Ice Cube is dead .....more than a few of you will probably be subscribing to the newsgroup "alt.ice.cube" where you will be talking about "how to get Ice Cube Bootlegs....real cheap. "It's All The Way Live" !!! FUNK Chat Wend. & Sat Nights at 9pm est. - "Give Up Some Funk" mailto: earthjuice@prodigy.com http://pages.prodigy.com/funk/ ========================================================================= Date: Thu, 30 May 1996 22:45:43 -0500 Reply-To: EARTH JUICE From: EARTH JUICE Subject: Jimmie Vaughn - Living Off of The Dead ?? -- [ From: Earth Juice * EMC.Ver #2.10P ] -- >Jimmie Vaughan is currently in the studio laying down the tracks for his new release, which is scheduled to be out this summer. Does this guy still have a career ??? Stevie Ray was the FUNKIEST guitarist.....this side of Jimi Hendrix !!!! "It's All The Way Live" !!! FUNK Chat Wend. & Sat Nights at 9pm est. - "Give Up Some Funk" mailto:earthjuice@prodigy.com http://pages.prodigy.com/funk/ ========================================================================= Date: Thu, 30 May 1996 09:30:41 -0400 Reply-To: Antone Sommer From: Antone Sommer Subject: HELLO FROM TEXAS! DEAR MEMBERS OF BLUES-L, I WAS JUST ACCEPTED TO THE "L" THIS EVENING, AND WANTED TO SAY HELLO TO EVERYONE. I PLAY GUITAR FOR MR. ROBERT EALEY FROM FORT WORTH, TEXAS. AND ALSO DO THE BOOKING FOR THE BAND. AM LOOKING FORWARD TO HEARING FROM ANYONE ABOUT ANY BLUES RELATED STUFF. RECENTLY PERFORMED IN NEW ORLEANS AT THE "HOUSE OF BLUES" IN THE BLACK TOP BLUESARAMA SHOWCASE, SUNDAY MAY 5, 1996. IT WAS A COOL SHOW AS WE APPEARED ON THE SAME BILL WITH: W.C. CLARK, GUITAR SHORTY, EARL KING, MIKE MORGAN, GRADY GAINES, ROBERT WARD, TOMMY RIDGELY, DEREK O'BRIAN, AND SARAH BROWN. ROBERT EALEY HAS JUST RELEASED HIS FIRST CD ON BLACK TOP AND WE ARE REALLY EXCITED TO TOUR. ANYONE INTERESTED IN KNOWING MORE ABOUT ROBERT EALEY PLEASE E-MAIL ME AT tone@fastlane.net bluesfully yours, TONE SOMMER 3205 WILLING AVE. FORT WORTH TEXAS 76110 TEL/FAX 817-923-9220 E-MAIL tone@fastlane.net ========================================================================= Date: Fri, 31 May 1996 12:10:23 +1000 Reply-To: Richard Holliday From: Richard Holliday Subject: Jim Morrison Hi all, Don Cicchetti wrote: >Imagine a party full of blues fans. We are chatting with Shurman about >Albert Collins. Right in the middle of a great story, some geek comes up >with: > >"HEY DUDES, Jim Morrison was the best ever". > >They don't stay to hear the rest of the story, they merely go over to >another small group and go: > >"HEY DUDES, Jim Morrison was the best ever". > > >Would you consider that individual to be actually CONTRIBUTING to the >quality of that party? Undoubtedly; Jim WAS the best ever, but I'm not sure, exactly, what he was good at. Richard R.Holliday "One good thing about music, "When it hits, you feel no pain". R.N. Marley ========================================================================= Date: Fri, 31 May 1996 01:44:17 GMT Reply-To: Blues.Express@nntp.sierra.net From: vvisa@SIERRA.NET Organization: Sierra-Net Subject: Guitar Mac and His Blues Express Comments: To: bit-listserv-blues-l@uunet.uu.net Guitar Mac and His Blues Express have a new Cd, a follow up of Boiling Point- called SIZZLE. Its a real deal. Best of the Blues.Guitar Mac is known world wide as the Caliver Of The Blues . A performer and Radio personality. he is by far more then just another bluesman--- He is the Blues. for more information e-mail vvisa@sierra.net ========================================================================= Date: Thu, 30 May 1996 03:05:00 -0700 Reply-To: Karen-Marlies Schenck Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Karen-Marlies Schenck Organization: EUnet Belgium, Leuven, Belgium Subject: Re: L/NBC...Dick Dale? Comments: To: shannon oconnor shannon oconnor wrote: > > Okay...please tell me about Dick Dale ("King of the Surf Guitar"). > I know he's not considered "blues," so don't kick me around on that > point. He's playing here in Cincinnati on June 10. My friends > Sonny Moorman & the Dogs are opening for him, so I'll be at the > show. I've been told I need to bring my industrial-grade ear > plugs, and that he plays "really fast." What else? Opinions > welcome. > > Shannon Dick Dale is the undisputed king of the surf guitar. The stuff he does right now is a bit on the blunt side, but he's a legend. Total weirdo too, but very cool in his own way. He plays loud, yeah and he doesn't really play fast, he just tremolo picks everything, like a bouzouki player. But you're right, his music is probably as un-bluesy as it gets. He does kick SRV's ass on a lame version of "pipe line" they recorded for some stupid movie. Walter Broes ========================================================================= Date: Thu, 30 May 1996 19:59:23 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Q - Need Artist and Song Name Comments: To: edsel@ATMORE.GULF.NET > A while back I heard a song and have been trying to find ever since. Here is > the jist of the number : > A guy decides to go to a fancy store and proceeds to buy, buy, buy and racks > up quite a bill. The song talks about all the stuff he buys...then when he > gets ready to check out...credit denied. It's a humerous little number. > Anyone have an idea on this. I thought I heard it on an Alligator > compilation, but have not been able to locate. Thanks. Don't know about an Alligator compilation, but the original is Shopping for Clothes, awritten by Lieber & Stoller, recorded by The Coasters on Atlantic. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Thu, 30 May 1996 19:54:03 -0400 Reply-To: Jerry Zolten From: Jerry Zolten Subject: summer contact I'll be off the list through late August. Anyone wishing to contact me should call (814)632-7388 or write to me care of Penn State University, Altoona Campus, Altoona, PA 16603. Thanks. ========================================================================= Date: Thu, 30 May 1996 16:50:12 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Last CD in YOUR player Odd. I was mandolin shopping today...for the very same reason. Long live Johnny Young. Uncle Ray ---------- From: Leonard Watkins[SMTP:ISTS024@UABDPO.DPO.UAB.EDU] Sent: Thursday, May 30, 1996 3:39 PM To: Multiple recipients of list BLUES-L Subject: Re: Last CD in YOUR player Johnny Young & Friends on Testament.... LW 'going to buy a mandolin...soon' ========================================================================= Date: Thu, 30 May 1996 16:32:42 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Blues Jam Top 10 list Comments: To: blmclean@NETAXS.COM In-Reply-To: from "smirkyface" at May 28, 96 04:03:14 pm > I forgot this one. Someone reminded me of it this weekend and it's a claassic. > > **Don't bad mouth the club while the owner's standing behind you.** I had to can a drummer for this. Warned him a zillion times. The place is a dive, but it's also a well known blues oasis. Too bad - he was a good drummer... -- IronMan Mike Curtis ========================================================================= Date: Thu, 30 May 1996 16:27:52 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: That Best Ever crap Comments: To: bsco@PANIX.COM In-Reply-To: from "Barry Silverberg" at May 28, 96 05:08:57 pm > NOBODY cares who someone else thinks is "the greatest ever". There simply > isn't enough information there to respond to in any meaningful way. You > have several possible responses: I have no problem with these, as long as they remain in the realm of "my opinion". But when someone says "You can't argue that is the greatest all-time ", this is out of line. It's funny, because in the verifiable cases (i.e. John Popper) the artist doesn't share this exalted opinion. If a fan loves the way someone plays, that's great. But when that fan condemns me for not sharing their opinion, that's wrong. Music isn't competition. It's art. It's not the Superbowl, where the second greatest team in the world is a loser. It's a field where all participants can be winners. Even amateurs who play for their friends anniversary party, etc. -- IronMan Mike Curtis ========================================================================= Date: Thu, 30 May 1996 17:40:56 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: Last CD in YOUR player Soundtrack to "Heaven's Prisoner's." A great blues collection!! RJ Bauman ========================================================================= Date: Thu, 30 May 1996 15:44:12 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Things I Have Read Comments: To: shaun@PACIFICNET.NET In-Reply-To: from "Shaun T Cronin" at May 30, 96 01:26:11 am > I do get annoyed to when I see "Blues Traveller" filed under the blues > category. It does happen! I wonder. Interesting. I frequently shop the blues sections and have yet to find BT filed there. I have found Glen Campbell (under John Campbell) and was rather amused by that :-) -- IronMan Mike Curtis ========================================================================= Date: Thu, 30 May 1996 15:03:10 -0700 Reply-To: Guy Tapper From: Guy Tapper Subject: test Nothing from the list for a few hours. I wonder if everything is working alright. I know how to find out. * SRV is the greatest! * That outta wake 'em up if they're out there. Guy Tapper Marine Life Research Group Scripps Institution of Oceanography 9500 Gilman Dr. La Jolla CA 92093-0227 (619)534-2358 (619)534-6500 fax ========================================================================= Date: Thu, 30 May 1996 15:12:15 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Major/minor keys Comments: To: shaun@PACIFICNET.NET In-Reply-To: from "Shaun T Cronin" at May 29, 96 02:17:25 am > >When it's all piled in the same octave then it sounds like a bunch of > >Martians playing. You need space to make it work. However, a lot of keyboard chords have all the tension within the same octave, and work just fine. But they're almost always played someplace other than lower octaves. > > The Dm triad (on top of the Cmaj7), when it's up an > >octave (the 9th, 11th and 13th) then sounds cool. Defies all logic somehow. It's a G9 with C bass. G, B, D, F, A = 1, 3, 5, 7, 9. It would help to know the context in which you're playing (changes, key, etc.) -- IronMan Mike Curtis ========================================================================= Date: Thu, 30 May 1996 22:05:17 GMT Reply-To: Ken Peace From: Ken Peace Organization: U-NET limited Subject: Re: T-Birds First Comments: To: bit-listserv-blues-l@uunet.uu.net >Before the release of the Fabulous Thunderbirds first album GIRLS GO = >WILD, they recorded a stunning pure blues album produced by Doc Pomus. = >This recording included Roomful's horn section and Al Copley on piano. = >The material is mostly covers ranging from Otis Rush to Sonny Boy. It = >was never released. I'm assuming that the master is the property of Mr. = >Pomus' estate. But, I don't know that. Anyone have information on = >ownership and/or possible release of this project? >I'd love to see it released. My bootleg tape is worn and ragged. I'd settlle for a bootleg. Thank your lucky stars. Ken ========================================================================= Date: Thu, 30 May 1996 14:56:29 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Things I Have Read Comments: To: scottd@INTERACCESS.COM In-Reply-To: <199605300527.AAA07572@home.interaccess.com> from "Scott Dirks" at May 30, 96 00:27:42 am > Before I ever heard any Blues Traveler music, I read a quote from John > Popper in Blues Access that went something like this: 'Little Walter was the > most overrated harp player in the history of the instrument'. I thought, > man, this guy better have some SERIOUS chops to back up such a patently > ludicrous statement. I mean, you don't have to like Little Walter's music, > but you can't deny his innovations and pervasive influence. > Now that I've heard Popper's music, I understand where that statement came > from--he just DOESN'T GET IT. This guy has all the technique in the world, > but he has no conception of what blues music is. No matter how much lip > service he gives it. Are we talking about the same guy? John Popper, the million-notes-a-second guy with Blues Traveler? Sorry, but what he has is speed, cleanness, and a recognizable style centered around a certain lick. Tone? His tone is thin. Feel? Well, _I_ don't think he has any, but that's my opinion. Resonance? Vibrato? The ability to express himself with one sweet note? Smooth, glissando bending? Anything approaching chromaticity? Not in anything I've ever heard. Poppers "trick" is to use higher pitched harmonicas (which play much faster) and play on the highest notes (which are also faster). While there is some variety in his solos, they all center around one particular "fast" lick. Speaking purely in terms of harmonica mechanics, Popper has lousy technique in general. But at what he does (fast and clean on high-pitched harmonicas on the high notes), he's excellent. If you don't comprehend "soul", Little Walter can seem a little simplistic. If you equate "soul" to the number of notes played, then LW comes up short. But LW could milk one note until it turned to whipped cream. LW had killer tone, vibrato, and some of the best musical "feel" I've heard. And remember that this was back in the early 1950's. His stuff is still timely and widely imitated today. Put Little Walter with any blues band today and he'd still knock 'em dead, 45 years later. Also, while many fault Popper because he "doesn't play blues", I don't. Yes the band is called "Blues Traveler", but so what. They're simply not a blues band, any more so than Moody Blues, Blues Magoos, or many others who have included the word "blue" and variants in their names or songs. A rose, by any other name, would be a gzormitoff. I consider this a nonissue, and look at his music on its own merit, apart from the band name. I like Blues Traveler, but in limited dosages. They have some interesting songs, good lyrics, the band is pretty good, etc., but I find much of their material repetitive. I have difficulty getting through an entire BT album at one sitting. But a song or two here and there is enjoyable. Is Popper the "fastest ever"? Not in the least. And I think even John will freely confirm this. One thing Popper deserves a lot of credit for is bringing the harmonica to the attention of a whole new generation of people who weren't much aware of it before BT. -- IronMan Mike Curtis ========================================================================= Date: Thu, 30 May 1996 14:37:45 -0700 Reply-To: Rennie Selkirk From: Rennie Selkirk Organization: Space Physics Research Institute Subject: Re: Conservatives and race Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199605231553.IAA29737@inet.lasierra.edu>, Don Cicchetti wrote: > This isn't about left and right folks! > > I just want to say that a hell of a case can be made, both philosophically > and to a lesser extent politically, that civil rights are a basic, > CONSERVATIVE, American virtue, NOT a liberal one that requires the left to > force this change down America's throat. > A simple interpretation of the word 'conservative' is to be reluctant or unwilling to upset the status quo. As such, 'conservatism' in this country ranges from the preservation of a particular group's privileges motivated by selfish interest, as in the defense of the enduring edifice of Jim Crow in the South and its more Northern counterparts, to an expansive vision of the rights granted to the citizenry, a prime example being the ongoing defense of the First Amendment against intrusions of government power by the ACLU and other groups usually branded as hopelessly 'liberal' . Although it's hard to reconcile the inevitable oppression of those who don't happen to belong to the majority which is implicit in the former with any vision of a just society, there are those who would try to wrap this latter-day version of states' rights cause in the banner of the Jeffersonian ideal of minimal government. Hence the facile denunciation of the left 'forcing change down America's throat.' This two cents is mine alone (and not my employer's), Rennie Selkirk ========================================================================= Date: Thu, 30 May 1996 14:19:42 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Recording Studio's, why must Muscians pay? Comments: To: larryc@URSUS1.URSUS.MAINE.EDU In-Reply-To: <9605301420.AA14008@ursus1.ursus.maine.edu> from "Larry Corbett" at May 30, 96 10:20:34 am > Here is a question perhaps some of you might be able to shed > some light on, I know that there are many small recording studios > out there, why is it that musicians must pay to get recorded? > > Was it like this in the past? Has the recording industry, (the small > time stuff), changed it's practice or has it always operated in this > fashion? Music is a business. This implies a profit motive. Someone has to pay. Recording studios are expensive, even "cheap" ones. An average studio will have thousands of dollars in microphones alone, plus a good mixing console, multitrack, mixdown machines, effects, a LOT of custom wiring, etc. It's also VERY expensive to sound-proof and acoustically isolate the studio. While this sounds like overkill, trust me - it's necessary. These seemingly "little" things make a world of difference. Most records are failures. When a record company signs an artist, recording isn't "free". It's chalked up against future earnings. Bonuses are likewise "advances" on anticipated earnings. A lot of successful artists don't make a plug nickel until their third big-selling record. Notwithstanding, there are still some artists who end up with "free" recording time. Sometimes someone with a studio really appreciates your music and will record you "just for fun". -- IronMan Mike Curtis ========================================================================= Date: Thu, 30 May 1996 16:21:29 -0500 Reply-To: "Henry Busse Jr." From: "Henry Busse Jr." Subject: born 05/31 B O R N : 05/31 CASTAGNINO, BILL ( WILLIAM CASTAGNINO ) Born:1924 SAN FRANCISCO, CA Career:TRUMPET Style:BIG BAND / LATIN CASTRONARI, MARIO Born:1954 BERLIN, GERMANY Career:BASS / COMPOSER Style:JAZZ With:ALBERT MANGELSDORFF / HEINZ SAUER / DUNCON LAMONT / HOWARD RILEY / TONY MARSH / DAVID O'HIGGINS GIFFORD, GENE ( HAROLD EUGENE GIFFORD ) Born:1908 AMERICUS, GA Career:ARRANGER / CORNET / PIANO Style:JAZZ / BIG BAND HARDWICK, OTTO "TOBY" Born:1904 WASHINGTON, D. C.Career:ALTO SAX / CLARINET Style:JAZZ / BIG BAND With:NOBLE SISSLE / NEKKE SHAW / DUKE ELLINGTON HAYES, LOUIS ( SEDELL ) Born:1937 DETROIT, MI Career:DRUMMER / LEADER Style:JAZZ With:YUSEF LATEEF / HORACE SILVER / JOHN COLTRANE / CECIL TAYLOR / CANNONBALL ADDERLEY / OSCAR PETERSON / FREDDIE HUBBARD / JOE HENDERSON / JUNOIR COOK / WOODY SHAW / JOE FARRELL / McCOY TYNER HEATH, ALBERT "TOOTE" Born:1935 PHILADELPHIA, PA Career:DRUMMER Style:JAZZ With:JOHN COLTRANE / J.J. JOHNSON / CEDER WALTON / BOBBY TIMMONS / GEORGE RUSSELL / KENNY DREW / HERBIE HANCOCK / YUSEF LATEEF / ANTHONY BRAXTON HOLLOWAY, RED ( JAMES HOLLOWAY ) Born:1927 HELENA, AR Career:TENOR SAX / BARITONE SAX Style:BLUES / JAZZ With:ROOSEVELT SYKES / WILLIE DIXON / LLOYD PRICE / MUDDY WATERS / CHUCK BERRY / B.B. KING / LIONEL HAMPTON / JACK McDUFF / BIG BAND JUGGERNAUT / SONNY STITT QUA, WILLIAM EVEREST McKAY (WILLY, QUILL) Born:1953 ORANGE, NSW, AUSTRALIA Career:DRUMMER / REEDS / FLUTE Style:JAZZ With:Roger Frampton / Galapagos Duck 1973-76 / Quill's Folly 1976-81 / Vince Genova / Nebula / Indra Lesmana / Jimmy Witherspoon / Herb Ellis / Barney Kessel / Mark Murphy / Georgie Fame THOMPSON, EDDIE Born:1925 SHOREDITCH, LONDON, UK Career:PIANO Style:JAZZ With:TONY CROMBIE / RONNIE SCOTT / VIC ASH / FREDDY RANDALL / TOMMY WHITTLE Please comments and corrections to Henry Busse Jr. shuffle@ic.mankato.mn.us Henry Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Thu, 30 May 1996 16:53:52 -0400 Reply-To: BluesMojo@AOL.COM From: Doug Carlisle WSFM Subject: Last c/d in my player Greetings y'all!! The last c/d I recently listened to at home is Steve La Rocca's new c/d.........I also played it on my radio show...check out the playlist dated 5/29/96....he's on Ikon.....GET A COPY!!! Doug ========================================================================= Date: Thu, 30 May 1996 20:45:15 GMT Reply-To: bbbean@sheltonlink.com From: bbbean@SHELTONLINK.COM Organization: inlink Subject: Bootheel Blues Fest Comments: To: bit-listserv-blues-l@uunet.uu.net Is anyone planning to attend the Bootheel Blues fest in Caruthersville, MO June 15? I'll offer to serve as local tour guide for any 'zellers braving the wilds of swampeast MO. BBB B.B. Bean bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Thu, 30 May 1996 15:36:04 -0500 Reply-To: Mark Halverson From: Mark Halverson Subject: MINNESOTA BLUES FESTIVAL It was suggested a few hundred Blues List e-mails ago that I post a schedule for the 3rd annual Minnesota Blues Festival. The festival is a private venture held at the Brown County Fair grounds in New Ulm (those of you that speak German rejoice!), Minnesota. This is roughly 90 miles southwest of the Twin Cities. Here goes: Friday, June 14 5:00 Fabulous Hackmasters 7:00 Soulmates 9:00 Bryan Koenig & the Standback Blues Band 11:00 A.C. Reed & the Sparkplugs Saturday, June 15 1:00 Sweet Pea & JJ Louis Band 3:00 Radio X 5:00 Otis & the Alligators (one of my favorites & all time great at the Brokedown Palace, Washburn, Wisconsin - the USA's northernmost blues club!!! - ? ) 7:00 The Senders 9:00 Fenton Robinson 11:00 Tinsley Ellis Sunday, June 16 12:00 The Joel Johnson Band 2:00 R.J. Mischo & His Redhot Blues Band 4:00 Howard "Guitar" Luedtke and Blue Max 6:00 Uptown Rhythm Kings The festival apparently has had some growing pains, but still has a solid lineup. Crowds are much smaller & access much better than most festivals. Sponsored in part by New Ulm's Schell's brewery, a small family owned brewery which has been in business 140 years or so - which produces some excellent brews - a great brewery to tour if you have a couple hours to spare while in town. Tickets available at regional outlets and TicketMonopoly (507) 626-7919. Don't forget to check out the MCs on Saturday night - especially the one that looks a bit like Jerry Garcia (bless his blues-loving soul!!!) who has recently been squandering unreasonable amounts of time playing with Blues List and who authored this document. Also a good one day festival in the same area (Kasota, Minnesota) the next Saturday. More details on that later. 5/15; 5/22; 5/30; ========================================================================= Date: Thu, 30 May 1996 15:59:12 -0400 Reply-To: Larry Corbett From: Larry Corbett Subject: Lyrics: What sort of expressions might one use? I listen to a lot of older country blues and have noticed that artists use certain expressions in their lyrics...I would think that depending on the time and location of the artist that certain phrases and expressions may have been common in everyday life amoung their peers.... What might be some common expressions and phrases one might use in writting a country blues song today? How important is rhyme and is it bad to use cliche'. ie walking shoes, the lonesome whistle..etc.. I thought I read here a week or so ago a comment made by someone about writting lyrics...Charly Patten wrote about things in his life while other artists create fictional accounts, create the images..like Robert Johnsons Cross Road Blues...The Sun is goin' Dark Gonna catch me here.... The lyrics of a song are only part of the song...the guitar and musical score for example play very important roles.... Being a Northern New Englander, but a lover of country blues, the local expressions and collquialisms just don't work well for blues...could be just me..sayings like wicked good, ayeah, can't get tha from hea... I'd like to hear some current living collquialisms that might work in a simple country blues song. Can you help me out? Larry ========================================================================= Date: Thu, 30 May 1996 19:18:09 +0000 Reply-To: Pat Hertel From: Pat Hertel Subject: 'bye for a couple Going NOMAIL for a couple of weeks. I will check my e-mail from time to time if there are any private missives..... This is the best list ever :) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [30/5/96 15:16 PM] "Thursday's always sad..." ========================================================================= Date: Thu, 30 May 1996 11:12:55 -0800 Reply-To: James Carmin From: James Carmin Subject: Re: Q - Need Artist and Song Name Comments: cc: edsel@ATMORE.GULF.NET Keith Castleberry said: >A while back I heard a song and have been trying to find ever since. Here is >the jist of the number : >A guy decides to go to a fancy store and proceeds to buy, buy, buy and racks >up quite a bill. The song talks about all the stuff he buys...then when he >gets ready to check out...credit denied. It's a humerous little number. >Anyone have an idea on this. I thought I heard it on an Alligator >compilation, but have not been able to locate. Thanks. This would be "Clothes Line" by Little Charlie and the Nightcats on their first Alligator release "ALL THE WAY CRAZY," and adapted from something older that I can't quite remember but I know it's on the Atlantic Rhythm and Blues Series (that, despite me being one of the biggest Little Charlie and Rick Estrin fans, I think is much, much better; sorry I can't remember those details right now). James C. jcarmin@teleport.com ========================================================================= Date: Thu, 30 May 1996 11:45:13 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Europe's finest My favourite European blues/rock band is Normaal, a band from Holland. Actually they're not really a blues band, playing mainly three-chord rock in the vein of Georgia Satellites, except with stronger vocals and excellent, hilarious lyrics (if you can understand Dutch, that is) :-). They do play the odd pure blues song, like 8-cylinder blues, a tale of jealousy which anyone who's ever payed $2.00 for a litre of gas will understand :-) Apparently their concerts are wild, but I doubt that they'll be playing here anytime soon, since all of their lyrics are in Dutch... -Jim (hndful@uniserve.com)...returning to my roots for this pick... ========================================================================= Date: Thu, 30 May 1996 11:50:01 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Magic Sam Tribute Album I read in Living Blues that there is a Magic Sam tribute album out. I think Magic Slim and Eddie Shaw (I could be wrong here) contribute. Has anyone heard it and what is it like? Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Thu, 30 May 1996 11:49:51 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: BB & Sampling Comments: To: ISTS024@UABDPO.DPO.UAB.EDU LW asked: >When someone samples another's music do they pay royalties or anything like >that for using the other's music.....???? In some cases yes. There was a case a few years ago when rap artist Tone-Loc used a Van Halen riff (and the drums as well I think) as the basis of the song "Wild Thing." Van Halen were a little upset at first but I think the matter was eventually settled. When samples are obvious I think the artists that use them need permission from those who own the rights to the samples. On some CDs I have where sampling is obvious, the credits for each song that uses samples contains a credit that indicates the source of the sample. I'm not sure on royalties though. Useless trivia: The two most sampled drummers (this is hearsay) in rap are from one of the James Brown bands and John Bonham of Led Zeppelin. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Thu, 30 May 1996 14:18:41 -0400 Reply-To: Bluesagent From: Bluesagent Organization: America Online, Inc. (1-800-827-6364) Subject: Chris Cain in Chicago Comments: To: bit-listserv-blues-l@uunet.uu.net Just a note to anyone on the list that might be in Chicago this weekend for the Blues Festival- Chris Cain performs at Buddy Guy's Legends club Thursday, May 30 (as part of the Blind Pig Records Blues Revue that also includes Debbie Davies, Tommy Castro and Magic Slim) Then, you can catch Cain and his band on Friday, May 31 at Buddy Guy's (they go on at 11pm). Saturday, June 1 will find Cain in Davenport Iowa at the Lady Luck Casino for 2 shows at 7pm and 9pm. To date, these are Cain's only Chicago area performances this summer, so catch him if you can. ========================================================================= Date: Thu, 30 May 1996 11:31:56 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: L/NBC...Dick Dale? >He does play very fast, in the sense that his style is almost like mandolin >strumming- eg, as in machine-gun, not bluegrass- and very intense. He plays >super loud, not distorted much, and uses the guitar string equivalent of >bridge cables. Mongo tone. >DD is also one weird guy. Speaks of himself in the third person ( or was >that Bob Dole?), raises lions and eagles on his ranch and is a legend in >his own mind. >I get a splitting headache every time I try to listen to the one DD CD I >bought.....at least it's not a seizure, but I'm sure he has that effect on >some people, too. Bring the ear plugs. Interesting perspective, Jim! :-) I'm a big surf music buff, and Dick Dale was/is the King of the Surf Guitar, leading the trend of instrumental surf music (especially in Southern California, but in pockets all over the world) in the '60's. In the last few years he's had a major comeback in popularity with the release of a pair of albums on Hightone Records. I have Tribal Thunder, his second last album. The songs range from real Middle-eastern type sound in some songs to straight three-chord surf - heavy on the reverb, lightning-fast staccato picking, and a lot of fun. I've never had a chance to see him live, but from what I've heard, he's a blast - he pulls his guitar out of a hollow surfboard at the beginning of his shows, and goes wild for the next couple of hours. He does a great instrumental version of Ghostriders in the Sky, and (Obligatory blues content here) he played with Stevie Ray Vaughn on a version of 'Pipeline' for the soundtrack to 'Back to the Beach. Sure, bring your earplugs (probably a good idea at a lot of blues shows, even), but it should be good fun. ========================================================================= Date: Thu, 30 May 1996 14:01:06 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Recording Studio's, why must Muscians pay? Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *Here is a question perhaps some of you might be able to shed *some light on, I know that there are many small recording studios *out there, why is it that musicians must pay to get recorded? It's called capitalism. Money is exchanged for goods and services. :-) -Steve ========================================================================= Date: Thu, 23 May 1996 23:15:21 -0500 Reply-To: MR ROI W BROWN From: MR ROI W BROWN Subject: Dave Grusome I'm looking for the cassette album "Honest to Duke" with the song "Things ain't what they use to be" with the above artist & is a GRP Prod release. Can you help me? Thank you. Roi W. Brown ========================================================================= Date: Tue, 21 May 1996 00:13:30 -0400 Reply-To: J Mac Mast From: J Mac Mast Organization: CampusMCI Subject: Re: Johnny "Guitar" Watson Comments: To: bit-listserv-blues-l@uunet.uu.net Robert J. Dewar wrote: > > Wow, talk about a sobering experience reading about Mr. Watson`s > death.I have recently purchased "3 Hours Past Midnight" on Flair/ > Virgin,and was going to post to ask for what other releases the list > would recommend.He is someone who I`d always known about but had never > really gone looking for.And now he is gone. > I derive so much pleasure from discovering a talent like Johnny for the > first time that it doesn`t seem fair that he leave us so soon after that > discovery. > > Robert J Dewar Try to find "I Heard That" Charly CRB 1101 (UK). Ive got this on lp and am not sure if it is available on cd. This will cover Johnny's early Federal releases ('53-'54) and his early sixties King releases including the original "Gangster of Love". If you liked the Flair/Virgin material, I'm sure you'll love this. Mac ========================================================================= Date: Fri, 31 May 1996 10:39:29 +0100 Reply-To: ROBERT FORD From: ROBERT FORD Subject: Re: Q - Need Artist and Song Name Comments: To: James Carmin In-Reply-To: Your message of "Thu, 30 May 1996 11:12:55 -0800." <199605301812.LAA22800@desiree.teleport.com> In message <199605301812.LAA22800@desiree.teleport.com>, James Carmin writes: > Keith Castleberry said: > > >A while back I heard a song and have been trying to find ever since. Here is > >the jist of the number : > >A guy decides to go to a fancy store and proceeds to buy, buy, buy and racks > >up quite a bill. The song talks about all the stuff he buys...then when he > >gets ready to check out...credit denied. It's a humerous little number. > >Anyone have an idea on this. I thought I heard it on an Alligator > >compilation, but have not been able to locate. Thanks. > > This would be "Clothes Line" by Little Charlie and the Nightcats on their > first Alligator release "ALL THE WAY CRAZY," and adapted from something > older that I can't quite remember but I know it's on the Atlantic Rhythm > and Blues Series (that, despite me being one of the biggest Little Charlie > and Rick Estrin fans, I think is much, much better; sorry I can't remember > those details right now). > > James C. > jcarmin@teleport.com Sounds like "Shopping for Clothes" by the Coasters. Rob. ========================================================================= Date: Fri, 31 May 1996 06:15:53 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1961, Chuck Berry opened an amusement park in St Louis, Missouri called "Berryland". Hey, Steve Young. You just won the Super Bowl. What are you going to do now? "I'm going to Berryland!" P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 31 May 1996 06:43:39 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Immortal threads Regular readers of this list know that I long ago expressed concerns that the "newsgroup echo" of Blues-l, would cause endless threads (among many other "ills"). Especially threads which require little or no Blues knowledge. The thread about what's in your CD player is a great example. It's perfect. It doesn't require any knowledge of the Blues (or even any interest in the Blues). The thread was pretty old when I left for vacation, and it seems to be going stronger than ever upon my return. But even I was not prepared for what arrived in my mailbox this morning. A reply to a post of mine that I sent to Blues-l on the 28th of JANUARY!!! Where had it been read?... bit.listserv.blues-l P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "This kid was so young that when he did "Stormy Monday," his eagle flew on Tuesday" - Dick Waterman ========================================================================= Date: Fri, 31 May 1996 07:16:58 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... ADDENDUM Chuck Berry's "Berry Park", was actually in Wentzville, Missouri. The 30-acre complex had a swimming pool, miniature golf course, ferris wheel, a children's zoo, and a picnic grove with barbecue pits. Can anyone from the area tell us if it's still in operation? P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "This kid was so young that when he did "Stormy Monday," his eagle flew on Tuesday" - Dick Waterman ========================================================================= Date: Fri, 31 May 1996 08:26:38 -0400 Reply-To: Larry Corbett From: Larry Corbett Subject: Production Co. What are they? I probably asked the biggest and dumbest question yesterday about recording studios....but I think I've learned a little from your replies...so my next question is what are production companies and what is their part in getting a musicians music out to the public, do they do the promoting etc..? THanks again Larry ========================================================================= Date: Fri, 31 May 1996 12:39:04 GMT Reply-To: Stephanie Manna From: Stephanie Manna Subject: Chicago bound? For those lucky souls,(not me) going to Chicago, James Peterson will be at the Kingston Mines on May 31 and June 1st. I hope you'll say "howdy" from his agent/manager. I was at the Kingston Mines last year when he performed during the festival weekend. The Mines stays open and plays music till 5PM on Saturday and many of the other great bluesartists in town stopped by to jam or visit; such as: Big Time Sarah, Eddie Clearwater,Phil Guy, Billie Branch,Sugar Blue. I hope you all have a great time and get a chance to hear James Peterson and his smoking band! Stephanie ========================================================================= Date: Fri, 31 May 1996 12:41:18 GMT Reply-To: Stephanie Manna From: Stephanie Manna Subject: Cinncinatti bands Can anyone let me know some of the top Cincinnatti bands/performers and how to get a hold of them? A quick reply would be greatly appreciated,Stephanie ========================================================================= Date: Fri, 31 May 1996 07:47:06 CST6CDT Reply-To: "Sara C. Oxton" From: "Sara C. Oxton" Organization: University of Minnesota Subject: Re: Q - Need Artist and Song Name Comments: To: Ian Angus The song is indeed "Shopping for Clothes." If you heard it on Alligator, it was probably by Little Charlie & the Nightcats. I'm not a big fan of their version, but I have heard them do it live and assume they've recorded it at some point. Do yourself a big favor and buy the Coasters' original. "Man that suit it YOU" Sara _________________________________________ Sara C. Oxton Executive Secretary University of Minnesota Department of Food Science & Nutrition 1334 Eckles Ave. St. Paul, MN 55108 Ph: (612) 624-2787 Fax: (612) 625-5272 soxton@che2.che.umn.edu ========================================================================= Date: Fri, 31 May 1996 14:51:57 +0000 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Info request: US bands in Scnadinavia end of august I just had a telephone call from a festival organisor here in Blegium who is trying to get information concerning US blues bands/musicians who are planning to tour in Scandinavia end of August. Any informtion would be wellcome : with details about the place where these are suposed to play (name of Festival/gig, place, country) and (Important) how to get in touch with the organisors. Thansk to you all and have a nice weekend jean-Pierre "young Man" urbain ========================================================================= Date: Fri, 31 May 1996 08:03:28 -0500 Reply-To: Storm Bailey From: Storm Bailey Subject: Re: L/NBC...Dick Dale? >He does play very fast, in the sense that his style is almost like mandolin >strumming- eg, as in machine-gun, not bluegrass- and very intense. He plays >super loud, not distorted much, and uses the guitar string equivalent of >bridge cables. Mongo tone... >Jim Bardsley > Just saw a show w/ a brief DD interview, he attributes his style to drummers, said he was a big Gene Krupa fan back when... Storm ========================================================================= Date: Fri, 31 May 1996 08:20:03 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Jimmie Vaughn - Living Off of The Dead ?? Comments: To: EARTH JUICE In-Reply-To: <199605310245.WAA13424@mime4.prodigy.com> On Thu, 30 May 1996, EARTH JUICE wrote: > Does this guy still have a career ??? > Stevie Ray was the FUNKIEST guitarist.....this side of Jimi Hendrix I'm not even going to respond the the superlative in your post, but are you braindead? Jimmie had a career long before his younger brother and Stevie often said that his brother was his guitar idol. Give a listen to the Essential Fabulous Thunderbirds compilation and then re-evaluate your opinion of Jimmie. -Jeff (sheesh!) --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball NCAA Regional Host U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc09.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Fri, 31 May 1996 08:24:49 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: On this day... ADDENDUM Comments: To: "P.W. Fenton" In-Reply-To: <199605311124.HAA20672@osceola.gate.net> On Fri, 31 May 1996, P.W. Fenton wrote: > Chuck Berry's "Berry Park", was actually in Wentzville, Missouri. > The 30-acre complex had a swimming pool, miniature golf course, > ferris wheel, a children's zoo, and a picnic grove with barbecue > pits. And apparently it had a video camera in the women's restroom that got Chuck in lots of trouble... > Can anyone from the area tell us if it's still in operation? I don't think it is... --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball NCAA Regional Host U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc09.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Fri, 31 May 1996 06:49:27 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Things I Have Read >> I do get annoyed to when I see "Blues Traveller" filed under the blues >> category. It does happen! I wonder. > >Interesting. I frequently shop the blues sections and have yet to find BT >filed there. I have found Glen Campbell (under John Campbell) and was >rather amused by that :-) > I frequently see Blues Traveler filed under blues in stores where the staff are ignorant about music. Fortunately, the new record store in town has hired people who actually like music and know their stuff (incredible, but true!!!). Some other funny mis-filings I've seen - Roy Rogers (the singing cowboy) in the blues section with the slide guitarist (this was also screwed up at CDNow on the web), and Jimmie Rodgers (Blue Yodeler)/Jimmy Rodgers (Kisses Sweeter than Wine)/Jimmy Rogers (Blues master) always tend to be filed in strange places. -Jim (hndful@uniserve.com) ========================================================================= Date: Fri, 31 May 1996 09:49:36 -0400 Reply-To: "JOHN W. SCHARBROUGH" From: "JOHN W. SCHARBROUGH" Subject: Re: GEARHEADS: I won a guitar! Comments: To: bit-listserv-blues-l@uunet.uu.net Message-ID: <51f7cc$82915.16@tcnntp.trader.com> Date: Fri, 31 May 1996 13:41:21 GMT References: <96May22.122310pdt.30803-15629+549@haven.uniserve.com> Reply-To: FastJohn@trader.com (JOHN W. SCHARBROUGH) Organization: Traders' Connection, Inc. Posting-Version: TCON NNTPSend v 1.0.5 ; site 204.120.67.7 Lines: 7 The fretson a real Strat are bigger.Also lookat the pickguard on the side,single ply?Strats are triple.Also the tone switch is a 5 position. --- * Traders' Connection Web BBS * http://www.trader.com * info@trader.com ========================================================================= Date: Fri, 31 May 1996 07:53:39 -0600 Reply-To: Gary Constantine From: Gary Constantine Subject: The Edmonton Folk Festival Comments: To: mapleblue The line-up for the Edmonton Folk Festival has just been announced and there is a fine selection of artists to keep everybody happy. If you want to take in a Canadian festival this is likely the best choice. Great location for all of the stages. This is the seventeenth year for the festival so most of the growing pains have been eliminated. The festival runs from August 8 to August 11. An adult 4 day pass is $70 (CND). Thats around $45(US). If you want more information call (403) 429-1999 I have no personal stake or dealings with the festival. All disclaimers apply. Here's the artist lineup: *Jan Arden *Joan Armatrading *Les Barker *Blackie and the Rodeo Kings *Blue Rodeo *Bill Bourne and Shannon Johnson *Paul Brady *Les Bucherons *Richard Buckner *Captain Tractor *Rosanne Cash *Bruce Cockburn *Catie Curtis *Alpha Yaya Diallo and Bafing *Steve Earl and The Dukes *The Fairfield Four *The Flirtations *Four Bitchin' Babes *Four Men and a Dog *Lennie Gallant *Jimmie Dale Gilmore *John Hammond *Paul Hann *Bert Jansch *James Keelaghan *Paul Kelly *Luann Kowalek *Penny Lang *K.D. Lang *Anne Lederman Trio *Limpopo *David Lindley and Hani Naser *Laura Love Band *Jay McShann *Keb'Mo' *Terry Morrison *The Nields *A Night of Reckoning *Tim & Mollie O'Brien and the O'Boys *Ron Pearson *Wyckman Porteous *Lionel Rault *Red Thunder *The Duke Robillard Band *Tom Russell and Andrew Hardin *Martin Simpson *Chris Smith *Laura Smith *Takadja *Vattina *Gillian Welch and David Rollings *Scott Wicken *Dar Williams *Tim Williams *Victoria Williams *Wolfstone ========================================================================= Date: Fri, 31 May 1996 09:54:45 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Joe Louis Walker to Headline DC Blues Festival Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com >From the DC Blues Home Page (http://intelus.com:80/DCBlues/): JOE LOUIS WALKER TO PLAY 8TH D.C. BLUES FESTIVAL Joe Louis Walker, one of the blues premiere singer-guitarists will headline the Eighth Annual D.C. Blues Festival, scheduled for Saturday, September 7 at the Carter Barron Amphitheatre. The Verve recording artist has become one of the biggest stars in the international blues market, bringing a variety of influences into his far-ranging musical repertoire that literally covers the whole spectrum of blues, from rocking slide-guitar numbers to church-rooted soul-blues. Also on the festival will be Little Sammy Davis; 1994 National Blues Talent Competition winners and D.C.'s own, The Hardway Connection; Little Bit A' Blues (Warner Williams and Jay Summerour); the D.C. Blues Society band and two other acts to be named. In addition, there will be workshops (guitar, harmonica, vocal, children's percussion) and other activities. ========================================================================= Date: Fri, 31 May 1996 10:13:21 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: New England Blues-Lers! For anyone within earshot of Lawrence, Massachusetts..... Blues Audience Magazine is hosting an appreciation party for my band, Gate Street Blues, tonight at Smokey Joe's in Lawrence. Smokey's is a cool, fairly new club right downtown where it's actually fairly quiet at night. We were one of the first regional blues bands booked in there awhile back and have helped them get off the ground, as well as hooking them up with Blues Audience to help spread the word. If you're in the neighborhood, please stop by and say hi, catch some Chicago blues and meet the folks from Blues Audience over a cold adult beverage or two! We go on at about 9 pm and will have you on your feet boogying about 9:01. :) :) See ya! Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 31 May 1996 10:08:43 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Things I Have Read Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *Interesting. I frequently shop the blues sections and have yet to find BT *filed there. I have found Glen Campbell (under John Campbell) and was *rather amused by that :-) I once saw Chris Duarte in the country section (at Borders - where the staff usually has some knowledge of music!). I wouldn't be surprised if The Moody Blues were placed in the blues sections at some shops. :-) -Steve ========================================================================= Date: Fri, 31 May 1996 14:21:24 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Living Blues Sub and FREE CDs Comments: To: bit-listserv-blues-l@uunet.uu.net "Living Blues" magazine is offering a free CD for "new" subscribers - among the CDs offered are a number of compilations/samplers as well as: Buddy Guy - Live at the Checkboard Lounge (JSP) Johnny B. Moore - 911 Blues (Wolf) and the highly touted Sherman Robertson - I'm the Man (Code Blue). Time to subscribe if you haven't done so already...... (I have no affiliation etc.) -- Vincent vt@usa.pipeline.com ========================================================================= Date: Fri, 31 May 1996 14:31:18 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Junior Wells Comments: To: bit-listserv-blues-l@uunet.uu.net Has anyone seen Junior recently? How was he? I think someone said they were thinking of seeing him on May/29 at the Turning Point, Piermont, NY. I'm thinking of going to see him with Luther "Guitar Jr." Johnson at the Globe Theatre in Norwalk, CT tonight. Please copy me by e-mail as there is a delay in my receiving the list. Thanks -- Vincent vt@usa.pipeline.com ========================================================================= Date: Fri, 31 May 1996 09:47:03 +0000 Reply-To: Tom Freeland Comments: Authenticated sender is From: Tom Freeland Subject: Re: Blind Willie McTell: Yazoo vs. Sony-Legacy Comments: To: jose.eric.s.maglanque@AC.COM On 31 May 96 at 4:48, jose.eric.s.maglanque wrote: > Just got the Sony-Legacy box set of Blind Willie McTell. How much > overlap does this set have with the two McTell reissues in Yazoo, > i.e., The Early Years and Doin That Atlanta Strut (?).... Help > please -- I wanna know if the Yazoo sides are worth it even though I > have 2 CDs worth of McTell elsewhere. Private e-mail pls. Thanks! I'm replying in public because this topic is I think of general interest. The first Yazoo LP (THE EARLY YEARS) was/is one of the GREAT reissues of pre-war blues, and has some recordings that I consider perfect. The recordings are essential BUT as I understand it BMG is about to put out the recordings for which THEY have the rights. Further, the sound on the BMG reissue is OUTSTANDING I'm told, like nothing available on the market. If you have the SONY and get the BMG when available, you've covered that Yazoo set BUT The BMG set was *supposed* to come out last fall and has been delayed indefinitely. So I guess the question is how large a rush you are in. Tom Freeland ========================================================================= Date: Fri, 31 May 1996 09:36:09 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Fathers Day Tunes The nursing home that I played at a couple of months ago asked me to do a fathers day thang. Can some of you folks recommend some good tunes for fathers day.....? Doesn't really have to be blues, but I'd prefer blues. Also judging from last time they enjoy fast/boogie tunes more than slow ones.... Thanks LW (PRIVATE mail please) ========================================================================= Date: Fri, 31 May 1996 09:48:59 -0500 Reply-To: "Stine, Dave" From: "Stine, Dave" Subject: Re: On this day... ADDENDUM A reply from my friend, bluesman, and sometimes St Louis resident . . ______________________________ Forward Header __________________________________ Subject: RE: On this day... ADDENDUM Author: Technology Department at Internet Date: 5/31/96 9:38 AM No, as far as I know, Berry Park is closed and has been for some time. = The report of cameras is there is not exactly correct, as what really = happened was this: police found a camera hidden in the women's restroom = of a restauraunt/truckstop that Chuck owned. And this was several years = ago--maybe late '80s. But hey, if you read it on the 'net, it must be true--right? ---------- From: Stine, Dave[SMTP:dstine@fsc.follett.com] Sent: Friday, May 31, 1996 9:25 AM To: bsmith@carcomm.com Subject: Re: On this day... ADDENDUM Hey--any insight into this latest "Chuck" mystery? ______________________________ Forward Header = __________________________________ Subject: Re: On this day... ADDENDUM Author: Jeff Seale at Internet Date: 5/31/96 9:11 AM On Fri, 31 May 1996, P.W. Fenton wrote: =20 > Chuck Berry's "Berry Park", was actually in Wentzville, Missouri.=20 > The 30-acre complex had a swimming pool, miniature golf course, > ferris wheel, a children's zoo, and a picnic grove with barbecue=20 > pits. =20 And apparently it had a video camera in the women's restroom that got=20 Chuck in lots of trouble... =20 > Can anyone from the area tell us if it's still in operation? =20 I don't think it is... =20 --------------- Jeff Seale, PhD |Texas Tech Red = Raiders=20 Department of Biochemistry |Baseball NCAA = Regional Host=20 U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 = email: seale@bioc02.uthscsa.edu |Men's Basketball = Sweet 16=20 http://bioc09.uthscsa.edu/~seale/home.html |Football Copper Bowl = Champs ========================================================================= Date: Fri, 31 May 1996 09:52:59 +0000 Reply-To: Tom Freeland Comments: Authenticated sender is From: Tom Freeland Subject: THREAD REVIVES TO TORTURE PW (was Re: Immortal threads) Comments: To: pwfenton@GATE.NET On 31 May 96 at 6:43, P.W. Fenton wrote: > Regular readers of this list know that I long ago expressed concerns > that the "newsgroup echo" of Blues-l, would cause endless threads > (among many other "ills"). Especially threads which require little > or no Blues knowledge. When those new "CD in my player" (somehow this reminds me of the song title "Rats in my Kitchen".....) posts rolled in the other day I thought two things: (1) That thread was quiet the WHOLE TIME P.W. was gone (I swear, not one post) and now revives just in time to torture him on his return, and (2) It proves (sorta) his point about threads that cannot die. Oh, and the last few CDs in MY player (home AND work) have been that Charly Sun box. I'm not sure they'll EVER get replaced. Tom Freeland ========================================================================= Date: Fri, 31 May 1996 07:59:22 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: June 1 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BOONE, PAT (:-) b. 1934-0601, JACKSONVILLE, FL CHARLENE [CHARLENE D'ANGELO] (v) b. 1950-0601, HOLLYWOOD, CA DELGROSSO, RICH (g/mandolin) b. 1949-0601, DETROIT, MI EL, EDDIE (g) d. 1982-0601, CHICAGO, IL 67 JONES, CLARENCE W. (p/ragtime) d. 1949-0601, NEW YORK CITY, NY 59 KING,BETTY JACKSON(gospel/JACKSONIAN TRIO)d. 1994-0601, WILDWOOD, NJ 66 KNIGHT, MARIE (p/ROSETTA THARPE) b. 1918-0601, SANFORD, FL LEAKE, LAFAYETTE (p) b. 1919-0601, WINONA, MS LEANER, GEORGE (co-owner: ONE-DERFUL REC) b. 1917-0601, MS LOVELLE, HERBIE (d) b. 1924-0601, NEW YORK CITY, NY MCWILLIAMS, ELSIE (songw/JIMMIE RODGERS) b. 1896-0601, HARPERVILLE, MS MORISSETTE, ALANIS (:-) b. 1974-0601, OTTAWA, ONTARIO NELSON, NATE (lead/THE FLAMINGOS) d. 1984-0601, BOSTON, MA 52 OTTENSMAN, DON C. (DON O)(BLUES-L MEMBER) b. 1955-0601, DALLAS, TX PEPPER, ART (asax) d. 1982-0601, PANORAMA CITY, PA 56 RIDDLE, NELSON (arr/NAT KING COLE) b. 1921-0601, ORADELL, NJ RUFFIN, DAVID (co-lead/THE TEMPTATIONS) d. 1991-0601, PHILADELPHIA, PA 50 TAYLOR, KING MOSE (d/SAM MYERS) d. 1963-0601, CHICAGO, IL -- WILLIAMSON, SONNY BOY (#1) (hca) d. 1948-0601, CHICAGO, IL 34 WOOD, RON (g/ROLLING STONES) b. 1947-0601, LONDON, UK ------------------------------------------------------------------------------- ========================================================================= Date: Fri, 31 May 1996 09:27:10 -0700 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Re: Q - need song and artist name Mike Vinyl sez: >Sounds like the Coasters classic "Shopping For Clothes." That's definitely what it is. I have it on Atlantic's 7-cd boxed set, "Atlantic Rhythm & Blues." -- Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ "I'm not sure, but I think that ALL music started in New Orleans." --Ernie K-Doe ========================================================================= Date: Fri, 31 May 1996 09:31:18 -0700 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Nobel for Blues Traveller? Shaun quotes: >Jon Popper from Blues Traveller is talking about H.O.R.D.E here: >The singer makes an impassioned case for placing Blues Traveller's >lightweight boogie in this nobel lineage, Wow. I wonder which division of the coveted Swedish prize he sees his band as being eligible for? ;^) -- Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ "I'm not sure, but I think that ALL music started in New Orleans." --Ernie K-Doe ========================================================================= Date: Fri, 31 May 1996 10:13:43 -0500 Reply-To: "Stine, Dave" From: "Stine, Dave" Subject: Re: Popper NOT "Blues" Wow. Blues is indeed a passionate passtime (lifetyle?). My objection was to John Popper's presumputous comment comparing BT to a mythical, still-living Muddy Waters. Not to Blues Traveler as a band, a product, or as people. I wish 'em all the best. Who knows what Muddy would sound like? Does Popper? Who knows whether Jimi would be playing jazz guitar in Robert Johnson's band with Stevie Ray. I'm not a "I Brake for Unicorns" kind of guy. Why contemplate a 70 year old Marylin or a 60 year old Elvis? This speculation can get really ugly. I really enjoy the music these men (Muddy, Jimi, Robert Johnson) left behind. I don't need to fantacize about what they'd sound like now. Muddy was cool, was phrasing, was depth, was soul, was timing. . .was many things I just don't hear in BT. ========================================================================= Date: Fri, 31 May 1996 10:15:23 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: new Pat Boyack & the Prowlers Picked up the new Pat Boyack & the Prowlers cd On the Prowl (Bullseye BB9577). This one jumpin little blues cd. Pat Boyack is no guitar wanker like a lot of the younger guys. You can hear the Texas influence on his playing. Jimmy Morello is a dynamite vocalist and he is one hell of a showman on stage. Of course, you'll have to SEE them to know this. The cd reminds me a lot of the early T-birds without being a clone. When I think of the modern blues effort, I'd prefer to think that guys like Pat Boyack are it instead of KWS, Chris Duarte, etc. -Jeff (SEE this band, they don't disappoint) --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball NCAA Regional Host U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc09.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Fri, 31 May 1996 08:26:21 -0800 Reply-To: James Carmin From: James Carmin Subject: Doug MacLeod and Ernest Banks As has been mentioned here before, Doug MacLeod's new AudioQuest recording YOU CAN'T TAKE MY BLUES is great (and any disc that has Carey Bell on it you just know is going to be good). I've been doing some real close listening to it and think it's one of the best mostly acoustic cds I've heard for awhile (but I also like a lot the electric track "Handle it Yourself"). The liner notes are especially outstanding with complete lyrics AND notes to the songs by Doug himself--which really adds to the personal meaning of the tracks and says a lot about Doug too. Doug was highly influenced by Virginia guitarist Ernest Banks. So does Ernest Banks have any recordings 'cause I'd sure like to hear him? Can anyone tell us about Mr. Banks? James C. jcarmin@teleport.com ========================================================================= Date: Fri, 31 May 1996 11:22:00 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: THREAD REVIVES TO TORTURE PW (was Re: Immortal threads) Comments: To: Tom Freeland On 31 May 96, Tom Freeland had this to say: > When those new "CD in my player" (somehow this reminds me of the song > title "Rats in my Kitchen".....) posts rolled in the other day I > thought two things: > > (1) That thread was quiet the WHOLE TIME P.W. was gone (I swear, not > one post) and now revives just in time to torture him on his return, > and > > (2) It proves (sorta) his point about threads that cannot die. > > Oh, and the last few CDs in MY player (home AND work) have been > that Charly Sun box. I'm not sure they'll EVER get replaced. Of course it's not really torture, and I truely love for people with ANY interest to enjoy communicating their thoughts, feelings, and ideas with other people via the internet. Such activity has certainly enriched my life. But I am afraid that, for me, it seems Blues-L, or what's left of it, is no longer the community I sought to be a member of. What I once loved so dearly seems to have busted under it's own weight. I felt this way before my vacation. I just hadn't verbalized it. Folks who's insight, wit, wisdom, and knowledge I look forward to, hardly ever post anymore, unhappy as they are with the "new face" of Blues-l. I can't tell you how excited I was when, a few years ago, I performed a search on the word "Blues", and amongst the references to the Blues Brothers was something called "Blues-L". The mail that poured in the first day of my subscription was a godsend. This music that I loved so much, that was possessing me, was being discussed by people with a passion equal to my own. I had found EXACTLY what I was looking for. I'm sad to say I miss all that. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "This kid was so young that when he did "Stormy Monday," his eagle flew on Tuesday" - Dick Waterman ========================================================================= Date: Fri, 31 May 1996 10:28:54 +0000 Reply-To: Tom Freeland Comments: Authenticated sender is From: Tom Freeland Subject: Re: Junior Wells Comments: To: vt@USA.PIPELINE.COM On 31 May 96 at 14:31, VT wrote: > Has anyone seen Junior recently? How was he? > > I think someone said they were thinking of seeing him on May/29 at > the Turning Point, Piermont, NY. I've seen him twice in the last six months, in December and again in April; previously I'd seen him about a half dozen times over the years. These recent shows have been different in these ways: (1) His band has changed a LOT. Apparently, he is not playing that much in Chicago any more and the band is from all over the place. I'm sorry I don't know names, but the guitarist who used to be his bandleader is gone. I don't know the story on that. That said, he does have a pretty tight band. (2) At the December show, there was a really good lead guitarist from Tallahatchie County, Mississippi. Unfortunatley, he was replaced by a Swedish guy for the April show. The Swedish guy's soloing was all obvious tributes to specific "greats"-- 'oooh- he's doing B.B. King, oooh-- he's doing Albert now" etc. It was not particularly impressive. (3) While the December show was good, the April show was walk-through-by-the-numbers with Jr. delaying taking the stage so long the band began to comment on it. The only really great number in April was "Hoodoo Man" for which they sent the horns for a rest. In December, there were a number of high points, including the closer, a great cover of "Tonight I started Loving Her Again." I did not regret going either time. (4) While there was no hint of the "bad Jr."-- neither was a disaster, there was not hint of the "brillian Jr."-- neither show was a religious experience, either. Both shows were worth attending but not a lot higher praise than that. (5) If you can stand the funk-elements and the mouth-popping (I have no problem with either one, but a lot of people HATE it), you may still be unhappy with a Jr. Wells show. All that said, I am a fan of Jr. Wells and would definitely go see him whenever he is in town. Probably I made this sound harsher than it was, which is probably why I did not post reviews of the shows when I saw them. I would say its a "guarded go" recommendation. Tom Freeland ========================================================================= Date: Fri, 31 May 1996 10:12:30 -0700 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Collaborative songwriting thread? I got a huge kick out of Bonnie's sig line: > -Bonnie (don't offer her no barbecue) the K. >If you see me in Chi-Town, I may have my "Babe" T-shirt on... ...and when I said the line out loud (Don't Offer Her No Barbeque), it had such good meter that it *sounded* line a lyric line. So... Has this enlightened group ever tried to collaborate on a set of lyrics? I'll start, but everyone should feel free to amend or junk my efforts. (BTW, not to infer that Bonnie herself isn't a 'babe', but methinks she's referring to a shirt celebrating a talking pig. However, any interpretation that fosters imaginative response should be employed.) ------------------------------------------- DON'T OFFER HER NO BARBEQUE (first draft) See that gal at the bar, drinkin' gin and lookin' fine? That's my baby, let me tell you, and she's mine all mine. She's a sweet li'l thing, but I'm warnin' you, Don't offer her no barbeque. Oh, grill her up some sweet red peppers, Grill her up some ________ , But don't offer her no barbeque Or she jus might ____________________________ --Maggie (obviously in need of some diversion on a Friday) ========================================================================= Date: Fri, 31 May 1996 11:55:29 -0400 Reply-To: ChicaGOing_RAGS From: ChicaGOing_RAGS Subject: BLUES_PICTURES!!! Hello folks.... I need to see photographs of BLUES LEGENDS in action preferably in Black and White in order to continue and complete my "BLUES OVERTOOK ME LAST NITE..." ABSTRACT ART SERIES that I am working on. Is there a web site wherein I can find photographic gems. Right now, the following have been captured on canvas Robert Johnson Ma Rainey Muddy Waters Sonny Boy Williamson Lightning Hopkins Mississippi John Hurt Hound Dog Taylor... For those interested in the PITTSBURGH area, the series will be on display @ the EAST END FOOD CO-OP CAFE in POINT BREEZE starting tomorrow... +===================================================================+ | _-\\|//-_ | | | // \\ | Laissez les bon temps roulez!! | | // ~~ ~~ \\ | Let the good times roll!! | | /d-(*)-(*)-b\ | ------------------------------ | | // L \\ | SANJAY 'RAGS' RAJAN | | // //|\\ \\ | sanjay_rajan@formtek.com | | ////`---'\\\\ | FORMTEK,INC. | | // //|||\\ \\ | PITTSBURGH, PA | | // /|||\ \\ | ------------------------------ | | -/---/\o/\---\- | Visualize Whirled Peas!! | | /"\ | | +===================================================================+ ========================================================================= Date: Fri, 31 May 1996 15:56:15 GMT Reply-To: VT From: VT Subject: Re: Junior Wells Comments: To: Tom Freeland Tom, Thank you very much for your balanced thoughts - they were invaluable - and I really appreciate this. I saw Jr. some years ago with Buddy Guy at the Lone Star Cafe/Roadhouse in NYC and I thought they interacted well, and it was very enjoyable - but like you said not a religious experience. Obviously I been hearing the drunk and inept reports about him too - that's why I asked for feedback. I still consider him a legend and it's good to hear that you thought that _he_ was fine and problem was more with the band. On balance I'll probably go tonight just to see for myself, and with the other Junior (Luther "Gtr. Jr." Johnson) maybe the band will be good. Thanks again. -- Vincent vt@usa.pipeline.com On May 31, 1996 10:28:54, '"Tom Freeland" ' wrote: >On 31 May 96 at 14:31, VT wrote: > >> Has anyone seen Junior recently? How was he? >> >> I think someone said they were thinking of seeing him on May/29 at >> the Turning Point, Piermont, NY. > >I've seen him twice in the last six months, in December and again in >April; previously I'd seen him about a half dozen times over the >years. These recent shows have been different in these ways: > >(1) His band has changed a LOT. Apparently, he is not playing that >much in Chicago any more and the band is from all over the place. >I'm sorry I don't know names, but the guitarist who used to be his >bandleader is gone. I don't know the story on that. That said, he >does have a pretty tight band. > >(2) At the December show, there was a really good lead guitarist >from Tallahatchie County, Mississippi. Unfortunatley, he was >replaced by a Swedish guy for the April show. The Swedish guy's >soloing was all obvious tributes to specific "greats"-- 'oooh- he's >doing B.B. King, oooh-- he's doing Albert now" etc. It was not >particularly impressive. > >(3) While the December show was good, the April show was >walk-through-by-the-numbers with Jr. delaying taking the stage so >long the band began to comment on it. The only really great number >in April was "Hoodoo Man" for which they sent the horns for a rest. >In December, there were a number of high points, including the >closer, a great cover of "Tonight I started Loving Her Again." I >did not regret going either time. > >(4) While there was no hint of the "bad Jr."-- neither was a >disaster, there was not hint of the "brillian Jr."-- neither show was >a religious experience, either. Both shows were worth attending but >not a lot higher praise than that. > >(5) If you can stand the funk-elements and the mouth-popping (I have >no problem with either one, but a lot of people HATE it), you may >still be unhappy with a Jr. Wells show. > >All that said, I am a fan of Jr. Wells and would definitely go see >him whenever he is in town. Probably I made this sound harsher than >it was, which is probably why I did not post reviews of the shows >when I saw them. I would say its a "guarded go" recommendation. > >Tom Freeland ========================================================================= Date: Fri, 31 May 1996 09:01:21 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: one of those jam nights...... Previously: >It started out with me, as a joke, "de-harmonizing" the vocal efforts of >one particularily obnoxious, unrepentant, and talentless jammer who always >showed up and insisted on doing such blues chestnuts as "Roadhouse Blues" >by the Doors. This joking around with the SPX started with the host and I >listening to our "de-harmonized" vocals (such as Darth Vader on the left >side and Minnie Mouse on the right!) through head-phones. A few weeks of >the same old same old, and we had progressed to throwing "short bursts" of >our new-found fun into the house mix, while the unsuspecting jammer heard a >perfectly normal (?) vocal through the monitors on-stage, and stood there >baffled by the puzzled looks and hoots of laughter coming from the crowd. >Eventually, we got bolder and bolder and tossed the whole mess into ALL the >mixes - the jammer got wise to the prank and stalked off in a huff. Never >to return , thank you God. > >Mean? Maybe. Twisted? A little. Necessary? YES!! The question is: Which sounded WORSE? The "normal" vocals or the badly-harmonized processed ones.... ;-] DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Fri, 31 May 1996 09:14:56 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Conservatives and race I said previouly: >> This isn't about left and right folks! >> >> I just want to say that a hell of a case can be made, both philosophically >> and to a lesser extent politically, that civil rights are a basic, >> CONSERVATIVE, American virtue, NOT a liberal one that requires the left to >> force this change down America's throat. Rennie Selkirk said: >A simple interpretation of the word 'conservative' is to be reluctant or >unwilling Simple interpretations can lead to rather warped ideological screeds.... hmmmm read below! >to upset the status quo. As such, 'conservatism' in this country ranges from >the preservation of a particular group's privileges motivated by selfish >interest, >as in the defense of the enduring edifice of Jim Crow in the South and its more >Northern counterparts, to an expansive vision of the rights granted to the >citizenry, >a prime example being the ongoing defense of the First Amendment against >intrusions of government power by the ACLU and other groups usually branded >as hopelessly 'liberal' . Although it's hard to reconcile the inevitable >oppression >of those who don't happen to belong to the majority which is implicit in >the former >with any vision of a just society, there are those who would try to wrap >this latter-day >version of states' rights cause in the banner of the Jeffersonian ideal >of minimal >government. Hence the facile denunciation of the left 'forcing change >down America's >throat.' > >This two cents is mine alone (and not my employer's), Well.... this was almost a bit too facile for me, Rennie! Let me say this: There only group as full-of-shit as the far-right, is the far-left... Although I must say that the far left seems to write more complex and erudite screeds... Even by your own inadequate definition of conservatives being resistant to change, we can call civil rights a conservative virtue, being that these ideals are in the root documents of our nation. Oh, and BTW, a helluva case can be made for soggy-headed liberal programs mainly intended to salve the PC guilt of a bunch of lefty-trendies, having CAUSED the near-destruction of the African-American family. So who is REALLY the racist? Neither one, of course.... There are flaming bigots on the right and there are flaming bigots on the left. Don't point fingers my friend.... I'm just trying to figure who's more stupid and corrupt; Clinton or Dole... hmmm DC meet the new boss.... same as the old boss. ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Fri, 31 May 1996 11:16:48 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: On this day... ADDENDUM Comments: To: "Stine, Dave" In-Reply-To: <96May31.095232cdt.12678@fscmail.fsc.follett.com> Well, sorry about that - I just assumed that the cameras in the restroom were at his amusement park... -Jeff (shoulda just kept my mouth shut...) --------------- Jeff Seale, PhD |Texas Tech Red Raiders Department of Biochemistry |Baseball NCAA Regional Host U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet 16 http://bioc09.uthscsa.edu/~seale/home.html |Football Copper Bowl Champs ========================================================================= Date: Fri, 31 May 1996 12:33:43 -0400 Reply-To: Larry Corbett From: Larry Corbett Subject: Don't Offer Her NO Barbeque ------------------------------------------- DON'T OFFER HER NO BARBEQUE (first draft) See that gal at the bar, drinkin' gin and lookin' fine? That's my baby, let me tell you, and she's mine all mine. She's a sweet li'l thing, but I'm warnin' you, Don't offer her no barbeque. Just last Friday I was feelin' fine, had money in my pocket and a whole lot of time I got me a chicken, some fine old ribs too, decided I'd have me a barbeque While at the store I met this fine lookin' sweet tender thing I felt so good as I stood, talkin' to this sweetie I thought she understood Oh, grill her up some sweet red peppers, Grill her up some ________ , But don't offer her no barbeque Or she jus might ____________________________ --Maggie (obviously in need of some diversion on a Friday) ========================================================================= Date: Fri, 31 May 1996 12:45:43 -0400 Reply-To: MojoBandit@AOL.COM From: Dave Ruthenberg Subject: Re: Some of you folks just don't get it Comments: To: earthjuice@prodigy.com Well here is what I say....Aw, forget it, some things just aren't worth responding to. Dave ========================================================================= Date: Fri, 31 May 1996 11:29:51 -0700 Reply-To: Maggie Mortensen From: Maggie Mortensen Organization: Exarch Services Subject: Re: Collaborative songwriting thread? Comments: To: shannon oconnor shannon oconnor wrote: > > Oh, grill her up some sweet red peppers, > Grill her up some 'SHROOMS, > But don't offer her no barbeque > Or she jus might blow this room. > I LIKE it! But how about we put in for the purists: But don't offer her no barbeque Or she jus might dust your broom. --Maggie ========================================================================= Date: Fri, 31 May 1996 14:09:32 -0400 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: Re: Collaborative songwriting thread? In-Reply-To: <31AF287E.4C8@accesscom.net> OK, I'll bite. > DON'T OFFER HER NO BARBEQUE (first draft) > > > See that gal at the bar, drinkin' gin and lookin' fine? > That's my baby, let me tell you, and she's mine all mine. > She's a sweet li'l thing, but I'm warnin' you, > Don't offer her no barbeque. > > > > > Oh, grill her up some sweet red peppers, Grill her up some corn, > But don't offer her no barbeque Or she jus might turn you into torn > > > > > > > --Maggie (obviously in need of some diversion on a Friday) RW ========================================================================= Date: Fri, 31 May 1996 20:14:59 -0500 Reply-To: Patrik Urbansson From: Patrik Urbansson Subject: Re: Europe's finest It so happens that both Instigators and Nightcats are great Blues bands, especially live on stage. It might be hard to understand but there are some really fine European Blues bands out there and some of them are Swedish, like it or not. My favorite Swedish Blues recordings: J'Jivers: Dressed Up Sven Zetterberg & The Chicago Express: Permanently Blue Knockout greg & Blue Weather: Blues Disease Nightcats: Tune in the Blues All That Blues From Sweden: Compilation Patrik >> On 30 May 96, Bo Carlsson had this to say: >> OK, I see a mission for us. Lets make a list of our favorite recordings by >> european bluesbands/artists. Then everybody can catch up! Send them to me >> and I will collect a list. Everybody can include a small comment. >> Mr Bo >> >> The list so far: >> >> Living room : The Electric Kings >> Blue Soulution: Sven Zetterberg & The Chicago express > >I suppose we should defintely add "The Instigators" (featurng our own >Goren Swenningsson ) > >and that other Swedish Blues band, "The Nightcats" featuring some guy >named Bo Something-or-other. > >P.W. Fenton >Tampa, Florida >http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 31 May 1996 17:13:28 GMT Reply-To: Rob Varak From: Rob Varak Organization: John Marshall Law School Subject: Out of Touch (no blues) Comments: To: bit-listserv-blues-l@uunet.uu.net Hello y'all I just wanted to post and let everyone know that my net access is down. I'll be around JRM on Saturday to try and hook up with everyone. If _anything_ else gets set up (meetings, jams whatever) I would really appreceiate a call about it. My # is (708) 482-7996. Thanks a million. I look forward to seein' you guys and gals. Rob Varak ========================================================================= Date: Fri, 31 May 1996 13:31:40 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Collaborative songwriting thread? Comments: To: Wack_Ron/rfh@sask.aecl.ca On 31 May 96, Wack_Ron/rfh@sask.aecl.ca had this to say: > > > > Oh, grill her up some sweet red peppers, > Grill her up some corn, > > But don't offer her no barbeque > Or she jus might turn you into torn > > > > Oh cummon, Ron... "turn you into torn"? How about... "Or she'll show you her scorn" or... "all her patience is worn" or... "her blood lust is forlorn" P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "This kid was so young that when he did "Stormy Monday," his eagle flew on Tuesday" - Dick Waterman ========================================================================= Date: Fri, 31 May 1996 19:48:53 +0200 Reply-To: JORGE MUNOZ RODRIGUEZ From: JORGE MUNOZ RODRIGUEZ Subject: TREN 3 Playlist This weekend through the waves from RADIO 3, RNE: ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Friday 31 at Midnight, May 1996. ______________________________________________________________________________ Title (Composer) ARTIST Label ______________________________________________________________________________ * Mississippi Freight Train #1 JAMES COTTON Verve #9 Train (B.Robinson) GARY PRIMICH Amazing #9 Train (B.Robinson) TARHEEL SLIM Fury Fool In Love (I.Turner) COCO MONTOYA Blind Pig Monkey's Uncle COLD BLUE STEEL Icehouse Don't Be True (B.Kirchen/L.Kirchen) BILL KIRCHEN Black Top Jimmy, Jimmy (Eldred) LEE ROCKER & BIG BLUE Black Top Can't Say No (Rocker/DeBaun) LEE ROCKER & BIG BLUE Black Top World Of Trouble (K.Dykes) OMAR & THE HOWLERS Watermelon Born On The Bayou (Fogerty) CREEDENCE CLEARWATER REV. Fantasy Fannie Mae (Brown/Lewis/Robinson) BUSTER BROWN Fire Fannie Mae (Brown/Lewis/Robinson) CARL WEATHERSBY Evidence Somebody Help Me (Weathersby) CARL WEATHERSBY Evidence * Mississippi Freight Train #13 JAMES COTTON Verve * To Hell With It #12 CURTIS SALGADO Pr10rity The Blues Is My Best Friend (C.E.Smith) SONNY RHODES King Snake Everybody Talking (control) JOHNNY DYER Blind Pig Aw Baby (Jacobs) JOHNNY DYER Blind Pig Oh Baby (Jacobs) JOHNNY DYER Blind Pig Everything's Gonna Be Alright (Jacobs) FRANK FROST & SAM CARR Evidence Just A Feeling (Jacobs) FRANK FROST & SAM CARR Evidence I Just Keep Loving Her (Jacobs) LITTLE WALTER Ora Nelle/Charly Ora Nelle Blues (Brown) OTHUM BROWN Ora Nelle/Charly Blue Baby (Jacobs) LITTLE WALTER Tempo Tone/Charly I Just Keep On Loving Her (Jacobs) LITTLE WALTER & BABY FACE LEROY Delmark Rollin' And Tumblin' #1 (Leroy) LITTLE WALTER & BABY FACE LEROY Delmark Rollin' And Tumblin'('72) (Morganfield) MUDDY WATERS Chess Parthenogenesis: Nebulosity (Wilson/Fahey) Rollin' And Tumblin' CANNED HEAT Liberty * To Hell With It #1 CURTIS SALGADO Pr10rity ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Saturday 1 at Midnight, June 1996. ______________________________________________________________________________ * Mississippi Freight Train #1 JAMES COTTON Verve Last Night (Grimaldi) STUDEBAKER JOHN Blind Pig Cold Cold Heart (Grimaldi) STUDEBAKER JOHN Blind Pig This Soul Is Mine (Castro/Gilbert) TOMMY CASTRO Blind Pig Sho' Enough (Castro) TOMMY CASTRO Blind Pig Just The One I'm Looking For (Cropper/Floyd/Isbell) W.C.CLARK Black Top I Only Have Love For You (Mitchell/Randle/Hodges/Seymour) W.C.CLARK Black Top I Only Have Love (Mitchell/Randle/Hodges/Seymour) SYL JOHNSON Hi Records Baby I Will /Malone/Brown/Mitchell) PRESTON SHANNON Bullseye The Letter Song (J.Tex) SONNY RHODES King Snake She's Lookin' Good (R.Collins) LUTHER"GUITAR JR"JOHNSON Telarc Something You Got (C.Kenner) LUTHER"HOUSEROCKER"JOHNSON Ichiban * Mississippi Freight Train #13 JAMES COTTON Verve Go To The Mardi Grass (H.R.Byrd/T.Terry) PROFESSOR LONGHAIR Ron/Rounder A Lot Whole Of Twisting (H.R.Byrd) PROFESSOR LONGHAIR Rip/Rounder I Believe I'm Gonna Leave (H.R.Byrd) PROFESSOR LONGHAIR Rip/Rounder Big Chief #2 (E.King/W.Querzergue PROFESSOR LONGHAIR Watch/Rounder You Talk Too Much (R.Hall/Jones) JOE JONES Ric/Rounder I Don't Talk Too Much (Johnson) MARTHA NELSON Ric/Rounder Mama Don't Allow (control) BOBBY MITCHELL Ron/Rounder Genevieve (control) LENNY CAPELLO Ric/Rounder Cotton Candy (Capello/Ruffino) LENNY CAPELLO Ric/Rounder 90 Pounds Weakling (Capello) LENNY CAPELLO Ric/Rounder * To Hell With It #12 CURTIS SALGADO Pr10rity Everybody Knows (Malone) LONG JOHN HUNTER Alligator I Don't Know Why (Kirkpatrick) BOB KIRKPATRICK Jsp Big Feet (Kirkpatrick) BOB KIRKPATRICK Jsp Put The Shoe On The Other Foot (G.Collins/H.Williams) SONNY RHODES King Snake 6th Street Blues (Rocker/Eldred) LEE ROCKER & BIG BLUE Black Top Way Past Blue (J.Rip) JIMMY RIP House Of Blues Mr. B.K. (Hanson/Carey/Earl/Katz) RONNIE EARL Bullseye * To Hell With It #1 CURTIS SALGADO Pr10rity **************************************************************************** * TREN 3 -RADIO TRES -RADIO NACIONAL DE ESPANA -Sat. & Sun. at 00:00 hours * * (Seventeen years, next July, on the Air!) * **************************************************************************** Host & Programmer: Jorge Munoz elmakitren@canaldinamic.es ////\\\\ // ~ ~ \\ (-{.}{.}-) | /\ | _/\ -- / "When the train it left the station, \/\__/ there was two lights on behind..." *Er Makis* ========================================================================= Date: Fri, 31 May 1996 12:39:13 -0500 Reply-To: scottd@INTERACCESS.COM From: Scott Dirks Subject: Re: Recording Studio's, why must Muscians pay? Comments: To: Mike Curtis At 02:19 PM 5/30/96 -0700, Mike Curtis wrote: >> Here is a question perhaps some of you might be able to shed >> some light on, I know that there are many small recording studios >> out there, why is it that musicians must pay to get recorded? >> >> Was it like this in the past? Has the recording industry, (the small >> time stuff), changed it's practice or has it always operated in this >> fashion? > >Music is a business. This implies a profit motive. Someone has to pay. >Recording studios are expensive, even "cheap" ones. An average studio will >have thousands of dollars in microphones alone, plus a good mixing console, >multitrack, mixdown machines, effects, a LOT of custom wiring, etc. It's >also VERY expensive to sound-proof and acoustically isolate the studio. [edit] To the original poster: Not to mention blank tape, which can cost around $140 for each reel that'll get you about 15 minutes of recording time. Even super low budget releases sometimes use over a thousand of dollars worth of tape. A recording studio (which I think the original poster may be confusing with a record compnay) is a business, just like a gas station or a restaurant. To give away recording time (and that's TIME only, not including tape, etc.) is EXACTLY the same thing as a gas station giving away free gas, or a restaurant giving away free meals. It would be the absolute quickest way for a recording studio to cease to be a recording studio. Scott http://www.geocities.com/SunsetStrip/4466 Check it out! ========================================================================= Date: Fri, 31 May 1996 13:51:40 -0400 Reply-To: Bronxharp From: Bronxharp Organization: America Online, Inc. (1-800-827-6364) Subject: Phone Number for NJ Benefit for "Blues"Karon Comments: To: bit-listserv-blues-l@uunet.uu.net This internet thing is doing some funky stuff. I just checked the post and the number for the place where the benefit is looked cut off on my screen. the benefit is at MOTHER'S in WAYNE, NJ Their phone # is: 201-633-5544 For more info on this important benefit, please read the post entitled: BENEFIT in NJ 6/2 for CANCERstricken Bluesbabe. Thank you -MTH ========================================================================= Date: Fri, 31 May 1996 14:04:20 -0400 Reply-To: bob vanarsdall From: bob vanarsdall Subject: Re: Don't Offer Her NO Barbeque (3) Comments: cc: exarch@ACCESSCOM.NET ------------------------------------------- DON'T OFFER HER NO BARBEQUE (first draft) See that gal at the bar, drinkin' gin and lookin' fine? That's my baby, let me tell you, and she's mine all mine. She's a sweet li'l thing, but I'm warnin' you, Don't offer her no barbeque. (Maggie) Just last Friday I was feelin' fine, had money in my pocket and a whole lot of time I got me a chicken, some fine old ribs too, decided I'd have me a barbeque While at the store I met this fine lookin' sweet tender thing I felt so good as I stood, talkin' to this sweetie I thought she understood (Larry Corbett) Oh, grill her up some sweet red peppers, Grill her up some mirleton, too, But don't offer her no barbeque Or she just might cut on you. (Bob) I brought her back to my place, thinking I'd warm things up. Brought out my box, two glasses, and some ice. Got that grill to burning, slow fire to set the pace. Then just when I thought the time was right for me to lay on the meat, She tells me she don't eat nothing had a face. (Bob) ========================================================================= Date: Fri, 31 May 1996 13:07:37 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: NEW PAT BOYACK & THE PROWLER > From: Jeff Seale snip > Jimmy Morello is a dynamite vocalist and he is one hell of > a showman on stage. Of course, you'll have to SEE them to know this. > > The cd reminds me a lot of the early T-birds without being a clone. > > When I think of the modern blues effort, I'd prefer to think that > guys > like Pat Boyack are it instead of KWS, Chris Duarte, etc. Unfortunately, this band broke up for good back in March. Pat Boyack has picked up Lee McBee (former front man/vocalist for Mike Morgan and the Crawl) and has added bassist Eric Matthews (formerly with Teddy Morgan). They did their first few gigs together a couple of weeks back and sounded pretty good. Jimmy Morello has returned to California and is doing some gigs in the next few weeks with Joel Foy. He also has plans to do some touring in Europe and possibly some recording as well. The original Prowlers *were* a very good band. I was lucky to get to hear them from their first days to their last. It's a shame that the band members couldn't get along with each other. However, they did produce two albums that are pretty good and I'm sure each of them will go on to strong careers with other bandmates. Don O. ========================================================================= Date: Fri, 31 May 1996 14:17:18 -0400 Reply-To: BluesMojo@AOL.COM From: Doug Carlisle WSFM Subject: Blues Chart?? Could someone E-mail me the current top-25 Billboard Blues chart before Saturday afternoon?? Thanks, Bluesmojo@aol.com (Doug) ========================================================================= Date: Fri, 31 May 1996 18:54:19 UTC Reply-To: grtfled@idirect.com From: Ed Luskey Organization: wish I was at a Dead show Club! Subject: turning people onto the blues Comments: To: bit-listserv-blues-l@rutgers.edu Comments: cc: rec.music.bluenote.blues@news3.idirect.com Hey there, I was wonderin, if someone came up to you and said " I want to get turned onto the Blues, play me some"- what 3 tunes and by who would you play them? This might be a good thing for new listeners of the blues to take some suggestions and for people like me who want to hear more that I haven't heard before. So here are 3 tunes I would play someone: 1) Albert King- "I'll Play The Blues For You", it's on the double Cd set enititled Albert King The Ultimate Collection 2) Again, Albert King- "Phone Booth" from the above mentioned CD. 3) Howlin' Wolf- "Forty-Four", I got it from the box set. Ofcourse we could probably write 20k messages with suggestions and reasons but I guess 3 is a good way to start. TTYS Ed ========================================================================= Date: Fri, 31 May 1996 16:10:39 -0400 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: Re2: Collaborative songwriting thread? In-Reply-To: <199605311739.NAA57006@osceola.gate.net> P.W. Fenton had this to say: > Oh cummon, Ron... "turn you into torn"? > > How about... > > "Or she'll show you her scorn" > > or... > > "all her patience is worn" > > or... > > "her blood lust is forlorn" > The first two would work. The last might be a bit out of context. Wouldn't a 9 syllable line at the end keep the song rolling into a solo or another verse better than a 6? RW ========================================================================= Date: Fri, 31 May 1996 14:21:28 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: PW's comments (was: THREAD REVIVES...) > But I am afraid that, for me, it > seems Blues-L, or what's left of it, is no longer the community I > sought to be a member of. What I once loved so dearly seems to have > busted under it's own weight. As one who has been on the list since the day after its inception I feel qualified to comment on how it has changed. PW's comment is interesting to me because I can remember the same thing being said three years ago, and I don't think it's any more true now than it was then. In fact, on the whole I the list has changed in a positive direction. The number of knowledgeable and thoughtful people who post regularly is at least as high as ever, probably higher. I consider this the single most valuable source of information about blues-related music that I know of. Admittedly there is a lot of "noise" diluting the "signal" but this has always been true (and it's equally true that one person's noise is another's signal). I also think a certain amount of turnover (people signing off because they can't handle the volume or whatever) is inevitable. This used to bother me but I've concluded that for every knowledgeable listmember we lose we seem to gain another, thus achieving a kind of equilibrium. I've decided this must be part the natural history of a cyber-community and therefore have given up thinking we should try to change it. EW Eliot Williams University of Wisconsin Department of Medicine williams@heme.medicine.wisc.edu ========================================================================= Date: Fri, 31 May 1996 14:22:34 -0500 Reply-To: Mark Halverson From: Mark Halverson Subject: Muddying the waters As a contrast to Blues Traveller & Jon Popper, why not check out Mojo Buford on "Still Blowin' Strong" (Blue Loon BLR-021). Mojo played harp with Muddy for several years on different occassions and has just put out this release. This, friends, IS where Muddy Waters' band - at least in terms of his harp player - is at today. You will note the contrast. I think there are enough alumni from Muddy's bands out there still performing to know Blues Traveller is not in the line of decent (well, maybe a third cousin twice removed, or something). Maybe they should get together for an "all time Muddy band reunion" while they're still around and answer the question themselves. But anyway, what's wrong with a bunch of kids getting together and "playing the blues" and thinking they do it well? Better that than cowboy music. ========================================================================= Date: Fri, 31 May 1996 15:31:32 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Recording studio, musicians paying. Comments: To: larryc@ursus1.ursus.maine.edu Larry, I think it pretty simply comes down to the fact that recording studios are a business. They provide a service for which a lot of expensive equipment and talented personnel are required. If you're a musician and want to get your stuff recorded professionally, then it costs you money. Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 31 May 1996 12:37:52 -0700 Reply-To: emdrprac@DIRECT.CA From: "Roger B." Subject: Edmonton Folk Festival Hey Zellers: If anyone's going to be in Alberta in early August, I'd recommend this festival. Lots of roots music, some blues, and a great location. Their format is Thursday (evening), Friday (evening) and then the week-end with all daytime stages running (5 or 6 usually) plus a mainstage, mid-afternoon concert, and mainstage from 6 p.m. till around 11. It's set in a natural amphitheatre on the riverbanks of the North Saskatchewan River, in a park that is used for skiing during the winter. Easy access to all hotels, other clubs (usually a lot of good related bookings during the festival), etc...... Roger B. ----------------------------------------------------------------------- The line-up for the Edmonton Folk Festival has just been announced and there is a fine selection of artists to keep everybody happy. If you want to take in a Canadian festival this is likely the best choice. Great location for all of the stages. This is the seventeenth year for the festival so most of the growing pains have been eliminated. The festival runs from August 8 to August 11. An adult 4 day pass is $70 (CND). Thats around $45(US). If you want more information call (403) 429-1999 I have no personal stake or dealings with the festival. All disclaimers apply. Here's the artist lineup: *Jan Arden *Joan Armatrading *Les Barker *Blackie and the Rodeo Kings *Blue Rodeo *Bill Bourne and Shannon Johnson *Paul Brady *Les Bucherons *Richard Buckner *Captain Tractor *Rosanne Cash *Bruce Cockburn *Catie Curtis *Alpha Yaya Diallo and Bafing *Steve Earl and The Dukes *The Fairfield Four *The Flirtations *Four Bitchin' Babes *Four Men and a Dog *Lennie Gallant *Jimmie Dale Gilmore *John Hammond *Paul Hann *Bert Jansch *James Keelaghan *Paul Kelly *Luann Kowalek *Penny Lang *K.D. Lang *Anne Lederman Trio *Limpopo *David Lindley and Hani Naser *Laura Love Band *Jay McShann *Keb'Mo' *Terry Morrison *The Nields *A Night of Reckoning *Tim & Mollie O'Brien and the O'Boys *Ron Pearson *Wyckman Porteous *Lionel Rault *Red Thunder *The Duke Robillard Band *Tom Russell and Andrew Hardin *Martin Simpson *Chris Smith *Laura Smith *Takadja *Vattina *Gillian Welch and David Rollings *Scott Wicken *Dar Williams *Tim Williams *Victoria Williams *Wolfstone ========================================================================= Date: Fri, 31 May 1996 19:37:20 UTC Reply-To: grtfled@idirect.com From: Ed Luskey Organization: wish I was at a Dead show Club! Subject: Turning People Onto The Blues Comments: To: bit-listserv-blues-l@rutgers.edu Hey there, I was wonderin, if someone came up to you and said " I want to get turned onto the Blues, play me some"- what 3 tunes and by who would you play them? This might be a good thing for new listeners of the blues to take some suggestions and for people like me who want to hear more that I haven't heard before. So here are 3 tunes I would play someone: 1) Albert King- "I'll Play The Blues For You", it's on the double Cd set enititled Albert King The Ultimate Collection 2) Again, Albert King- "Phone Booth" from the above mentioned CD. 3) Howlin' Wolf- "Forty-Four", I got it from the box set. Ofcourse we could probably write 20k messages with suggestions and reasons but I guess 3 is a good way to start. TTYS Ed "you know my baby caught the Katy, left me with a mule to ride" ========================================================================= Date: Fri, 31 May 1996 15:49:12 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Re: BB & Sampling Whenever an artist samples a record, s/he is SUPPOSED to pay for it. The copyright law doesn't allow for free swiping of RECORDED music. Now, if an artist(s) would like to RE-RECORD that particular bass part, drum part, etc., fine. Then, the question would be whether it's enough to have to pay the SONGWRITER, not the record company, which is who you pay for a sample. That would depend on what was re-recorded, a melody or arrangment, for example, and how identifiable it is. To use Queen for two examples, when someone swipes the hand claps and stomps from "We Will Rock You" but re-records them themselves (say like in the Domino's Buffalo Wings commercial), they don't have to pay. In that case, it's not because it isn't identifiable as part of a particular song. Let's be honest: whenever we hear *boom boom clap* *boom boom clap*, we think "We Will Rock You." No, in that case it's because you can't copyright just a rhythm. But when Vanilla Ice (*patooie*) samples the baseline from "Pressure," he owes money because he used a RECORDED piece of music. As the law stands, you are REQUIRED to pay whenever you sample for use in a commercial recording. Probably not if it's just for your own use at home or with friends. But definitely if you are going to attempt to make money. (Whether you actually make money is irrelevant. All you gotta do is try.) What this means is that an owner of the record's copyright (as oppossed to the song's copyright) can keep you from releasing your song with the sample if you don't get permission to use it. Which can lead to real hassles, trust me. Besides, who wants to rip off a great blues man? They got ripped off enough already. Give 'em their 3 cents per album for the sample already. In the past decade or so, people have tried to get Congress to change the copyright law so that sampling would be more easy to do. But, Congress people tend to be old and not very hip, Al Gore's hair aside. (I know, Al is VP. That makes him president of the Senate. Also, he was a Senator during the times they were contemplating this. Give me some leeway.) Anyway, it hasn't happened. And you are indeed right. At least by some accounts, the two most sampled musicians in terms of drum parts are James Brown and Led Zeppelin. Gavin ========================================================================= Date: Fri, 31 May 1996 15:49:16 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Re: Jimmie Vaughn - Living Off of The Dead ?? I used to think Jimmie Vaughan was living off of SRV, too. But, I have listened to a lot of his stuff now, and I have changed my mind. Jimmie has talent, just not as much as SRV did. He can't help it that his last name is the same. Although I guess he could change it. But, whenever I hear this particular accusation, I am reminded of something SRV told me when I interviewd him in February of 1984. I asked him how he came to play guitar. His eyes lit up as he exaplained how Jimmie had taught him how to play after enticing him by saying "That's my guitar, Stevie. Don't touch it." So, of course, SRV had to defy his older bro. It's in our genes. I think SRV is probably proud of Jimmie. Somewehere, he's smiling that big, toothy grin. Gavin ========================================================================= Date: Fri, 31 May 1996 15:49:21 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Re: Some of you folks just don't get it Earth Juice wrote "There is room in my CD rack for both Ice Cube and Muddy Waters & ya know what ???? They are BOTH talking about the same exact stuff in their lyrics !!! Not to mention the screeching guitars that you can hear on BOTH of them. In music that is spread some 50 years apart you can hear the same vocals as well as the same sounds. "& that sound that you hear is called FUNK !!! "Some of you just aren't listening with both your mind & your ears !!!!" The blues is a lot more than lyrical content. In fact, technically, the blues means that the third, fifth, and seventh notes of the scale are flatted. But, leaving musical technicalities aside, while both Ice Cube and Mudy Waters are quite funky, I think there's only one person who would say that both Ice Cube and Muddy play the Blues. And that's Earth Juice. One man's opinion, Gavin ========================================================================= Date: Fri, 31 May 1996 15:49:26 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: New release list? Does anyone know how I can get onto a list for new releases? I had seen one once, and now it's gone. Gavin ========================================================================= Date: Fri, 31 May 1996 15:49:31 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Reviews and "What's in my CD player" Folks, just a request. But when you say, "you gotta get this" or "this was the last thing in my cd player," it would be great if you could say why. Just telling someone that they "hafta get this" doesn't tell them what they realy need to know about it: what's it sound like; what other artists do you think a person who likes this might also like; and so on. This is especially true when it's a small label disc Many record stores let you listen to what they have. But if they have to special order it, you can't. And there is nothing worse than getting a special order that you just can't stand. Gavin ========================================================================= Date: Fri, 31 May 1996 15:44:18 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: turning people onto the blues Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *I was wonderin, if someone came up to you and said " I want to get turned *onto the Blues, play me some"- what 3 tunes and by who would you play *them? I would probably play the original versions of songs that have been covered by rock bands. Maybe: Tore Down Killing Floor (aka "The Lemon Song") I Just Want to Make Love to You -Steve ========================================================================= Date: Fri, 31 May 1996 20:11:26 GMT Reply-To: Beckie Sansom From: Beckie Sansom Organization: The National Capital FreeNet Subject: Wild Child Butler Comments: To: bit-listserv-blues-l@uunet.uu.net Can anyone confirm if this artist did the song "Hippy`s Playground" If so,can you recommend a good CD.That damn song has been playing in my head for about a week now!! Robert J Dewar & Beckie Sansom -- xBeckie Sansom Gloucester, Ontario ========================================================================= Date: Fri, 31 May 1996 16:38:35 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: BB & Sampling Comments: To: Gavin Arneaux <102554.471@COMPUSERVE.COM> In-Reply-To: <960531194912_102554.471_HHV100-1@CompuServe.COM> On Fri, 31 May 1996, Gavin Arneaux wrote: > Whenever an artist samples a record, s/he is SUPPOSED to pay for it. The > copyright law doesn't allow for free swiping of RECORDED music. Correct me if I am wrong but I understood that you could use up to a certain number of bars and that would not require payment. I was told this in reference to advertising and music usage. Is my info wrong? Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Fri, 31 May 1996 16:42:42 -0400 Reply-To: ChicaGOing_RAGS From: ChicaGOing_RAGS Subject: ChicaGOing..... Fella bluezellers who gonna be in Chicago... Outta work.... See u in Chicago... +===================================================================+ | _-\\|//-_ | | | // \\ | Laissez les bon temps roulez!! | | // ~~ ~~ \\ | Let the good times roll!! | | /d-(*)-(*)-b\ | ------------------------------ | | // L \\ | SANJAY 'RAGS' RAJAN | | // //|\\ \\ | sanjay_rajan@formtek.com | | ////`---'\\\\ | FORMTEK,INC. | | // //|||\\ \\ | PITTSBURGH, PA | | // /|||\ \\ | ------------------------------ | | -/---/\o/\---\- | Visualize Whirled Peas!! | | /"\ | | +===================================================================+ ========================================================================= Date: Fri, 31 May 1996 20:26:24 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: BLUES & RHYTHM 110 OUT NOW Just thought I'd let all our readers and most importantly USA/Canada and overseas subscribers know that B&R 110 is out and you should get your copy soon. Whats in it? Interview with Rufus Thomas, Interview with Hadda Brooks, a feature on the Sun Blues Box which is interesting in itself as the Box set has been withdrawn!!!!, (instant collectors item), Obits on Booba Barnes, Jesse Austin, Guitar Gabriel, stuff on Luther Allison, The Burnley Blues Festival and definately no crap about SRV, Hendrix, useless folkies and other types who keep making thier way into blues mags these days disguised as "blues" artists. So look out for in in them funny little mail boxes some of you guys have. Oh, BTW, the Muddy discog is on the B&R web site with updates etc. Tony ========================================================================= Date: Fri, 31 May 1996 13:38:18 -0700 Reply-To: Rennie Selkirk From: Rennie Selkirk Organization: Space Physics Research Institute Subject: Re: Conservatives and race Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199605311617.JAA00681@inet.lasierra.edu>, Don Cicchetti wrote: > > Let me say this: > > There only group as full-of-shit as the far-right, is the far-left... There are loonies and doofuses everywhere, left, right and center. Only reason why the center is not considered to be full of shit too is because by definition its mythologies offend the fewest people. > Although I must say that the far left seems to write more complex and > erudite screeds... Fair enough criticism of my turgid prose. Though I'm hardly in the same league as George Will. > we can call civil rights a conservative virtue, being that these > ideals are in the root documents of our nation. If that's all you originally meant, then I agree wholeheartedly. Though I seem to remeber a certain clause in the Constitution which appeared to count one portion of the population as merely 3/5 human. Fortunately this hallowed document has never been so sacred that loony concepts like abolitionism and equal protection couldn't one day be incorporated into an amendment or two. > Oh, and BTW, a helluva case can be made for soggy-headed liberal programs > mainly intended to salve the PC guilt of a bunch of lefty-trendies, having > CAUSED the near-destruction of the African-American family. So who is > REALLY the racist? I'll pass on that standard bit of mythology for now. Perhaps over a couple of beers in a smokey blues bar sometime? You bring your clippings from the National Review and I'll bring mine from the Nation and we'll duke it out! > Neither one, of course.... There are flaming bigots on the right and > there are flaming bigots on the left. Don't point fingers my friend.... > Wouldn't think of it. Someone might bite it off and then how could I keep on pickin' dem blooze? Regards, Henry J. Boogie ========================================================================= Date: Fri, 31 May 1996 16:45:06 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: PW's comments (was: THREAD REVIVES...) Comments: To: williams@heme.medicine.wisc.edu On 31 May 96, Eliot Williams had this to say: > Admittedly there is a lot of "noise" diluting the "signal" but this > has always been true (and it's equally true that one person's noise > is another's signal). I also think a certain amount of turnover > (people signing off because they can't handle the volume or > whatever) is inevitable. This used to bother me but I've concluded > that for every knowledgeable listmember we lose we seem to gain > another, thus achieving a kind of equilibrium. I've decided this > must be part the natural history of a cyber-community and therefore > have given up thinking we should try to change it. EW I just wish that was the conclusion assumed by everyone when a few made the decision to "echo" the list to a public newsgroup in order to "improve" Blues-l. The "noise" to "signal" ratio really did increase when that was done, and it didn't solve any of the "problems" that inspired it. I've been here almost as long as Eliot, and I think we lost a bit of a natural filter when we opened up the ability to post to everyone regardless of interest or commitment. We never had as much of the juvenile baloney we have now, and threads took a whole lot less time to die. Deciding that it "must be part the natural history of a cyber-community" relinquishes responsibility for Blues-l's developments to blind luck, chance, and fate. Unlike Eliot, I haven't simply given up. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "This kid was so young that when he did "Stormy Monday," his eagle flew on Tuesday" - Dick Waterman ========================================================================= Date: Fri, 31 May 1996 16:54:00 EDT Reply-To: edward c liu From: edward c liu Subject: SITTING&THINKING LIVE: Sherman Roberston/John Primer Howdy all, It's a bit late, but this is the latest Sitting & Thinking LIVE review of the Sherman Robertson/John Primer double-header at Manny's Car Wash in New York City. -- Ed Edward C. Liu | "Ever since the world ended, I don't get edwick@cc.bellcore.com | out much anymore." | -- Mose Allison The opinions in this message are mine and not Bellcore's. Really! *------------------------------cut heer------------------------------* SHERMAN ROBERTSON/JOHN PRIMER MANNY'S CAR WASH, NEW YORK CITY MAY 16, 1996 Sherman Robertson Band Sherman Robertson - Lead Guitar, Vocals Ken Farmer - Keyboards Michael Alexander - Bass Roger Piazza - Drums John Primer Band John Primer - Lead Guitar, Vocals Dave Maxwell - Keyboards Matthew Scolar - Harmonica George Bass - Rhythm Guitar Al Brown - Bass Rick King - Drums Manny's Car Wash was graced on this Thursday night with two of the brightest new stars in the Code Blue catalog. Sherman Robertson is a relative newcomer to the blues field, while John Primer is a veteran of the Chicago scene ready to break out on his own. These two men are clearly in the vanguard of the younger generation of blues performers, and it was a true pleasure to see the two of them back-to-back. Sherman Robertson's brand of blues takes many different styles and fuses them together into a compelling brand of blues-rock, with more emphasis on the blues than the rock. Throughout his set, however, one could find an unmistakable Texas stamp. Sherman is a wonderful vocalist, capable of delivering very soulful, stirring vocals in "All Over the Countryside," a Robert Cray-ish heartache number, as well as powerful Chicago bellows for "Look on Yonder's Wall." He is also quite capable of using dynamics to his advantage, knowing when to shout and when to whisper. Sherman delivered the set through a red Fender Stratocaster, delivering plenty of single-coil bite. At times, he may evoke images of Stevie Ray Vaughan or Eric Clapton. However, Sherman is decidedly not one of the myriad SRV clones in the blues today; rather, the similarity arises from the strong influences of Albert King on Sherman's playing style. Sherman is also extremely capable at playing simultaneous rhythm and lead, producing a much fuller sound than one would expect from such a small quartet. The band's set consisted of a mixed bag of tunes, starting with a strong, upbeat Texas shuffle instrumental. From here, they had absolutely no difficulty in changing gears to pump out urban, funk-driven rhythms and vintage Chicago blues. In contrast to Sherman's stylistically varied set, John Primer stuck more to one thing: raw, hard-edged, 100% Grade A Certified Chicago blues. He is certainly qualified to play these blues: after a stint with the Muddy Waters band, he moved on to back Magic Slim, one of the best and hardest-working Chicago blues bands in the business. He has been featured on several excellent recordings both solo and with Magic Slim. However, with his move to Atlantic's Code Blue subsidiary, he is poised to make a big splash in the blues world. The set had the same crackling, electric energy one finds on old Muddy Waters or Howlin' Wolf albums. John's vocals are gruff and dirty, able to wrap themselves around vintage Chicago tunes like "Long Distance Call," as well as many John Primer originals. His vocals are all about power and drive. Perhaps there is less subtlety here, but when the work is executed this flawlessly, who cares? John's set was delivered through an Epiphone Sheraton II semi-hollowbody that produced fat-toned sting. His style of playing evoked images of B.B. and Freddy King, and his slide work can range from clear, glassy smoothness to a rapid-fire, bee-sting vibrato that screams out Muddy Waters. The band was a crack Chicago blues squad, but even within the confines of that city, there is much variation. They started off the set with two harp-driven instrumentals, one featuring chewy Sonny Boy Williamson II licks, and the other blown through a bullet mike for that heavily distorted Little Walter sound. After John's entrance, the band moved into Muddy ground with a gutbucket 12-bar. John's blues may vary in tempo, but they're all solidly from Chicago, even in the Latin-beats of "Don't You Lie To Me/I Get Evil." John is also a master at working a crowd; he threw in a hearty audience sing-along for his original "Talk To Me Baby" and again when closing the set with "The Blues Is Alright." The future of the blues looks very bright indeed. Reviewed by Edward C. Liu Copyright 1996 NY CD Blues Unauthorized use prohibited ========================================================================= Date: Fri, 31 May 1996 16:21:34 -0500 Reply-To: "Stine, Dave" From: "Stine, Dave" Subject: a little traveling music maestro. . . I'm new this week thought I'd take a peek I'm tired of this DISin' Guess I'll go home and listen . . .to some blues See some you in Shecago in the warm beer lines Peace Y'all David "Slim Fast" Stine Port Bluez and RAM magazine dstine@fsc.follett.com ========================================================================= Date: Fri, 31 May 1996 14:36:34 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Conservatives and race Previously: >> The only group as full-of-shit as the far-right, is the far-left... > >There are loonies and doofuses everywhere, left, right and center. >Only reason why the center is not considered to be full of shit too >is because by definition its mythologies offend the fewest people. "The center" is undefinable in terms of mythologies. All those who are capable of seeing the foolishness of both sides, are de facto "center" in my view, and they run a broad spectrum. Oh, and btw, we run this place, not the morons at the extremes. Now, if we could just get a candidate.... >> Oh, and BTW, a helluva case can be made for soggy-headed liberal programs >> mainly intended to salve the PC guilt of a bunch of lefty-trendies, having >> CAUSED the near-destruction of the African-American family. So who is >> REALLY the racist? > >I'll pass on that standard bit of mythology for now. Perhaps over a couple of >beers in a smokey blues bar sometime? You bring your clippings from the >National Review and I'll bring mine from the Nation and we'll duke it out! Disagree with the left, and you're a hard-righter.... Howwww PC! I NEVER EVER read the National Review, gives me indigestion... Anyway, I think we left the music behind here somewhere. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Fri, 31 May 1996 16:53:17 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Conservatives and race (no blues!) "I'm just trying to figure who's more stupid and corrupt; Clinton or Dole...." said DC, in another recent pithy post. >From up here in the frozen north, we watch frozen in horror - knowing that we, too, will be affected by whatever you do, and whoever you elevct. But I'll say this for Clinton - he does seem to be AWAKE, which is a great deal more than can say for his Doleful opponent, who seems to have all the charisma of a brain-dead lemming, moseying toward the edge of the cliff...I know this isn't supposed to be judged on charisma, but Dole's waffle factor is even higher than Clinton's. Richard the Elder ========================================================================= Date: Fri, 31 May 1996 17:07:53 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Edmonton Folk Festival Roger B recently passed on the list of participants at the Edmonton Folk Festival. For those of us with catholic tastes, it is indeed a marvel. I've been an informal consultant for the event for some time now, and each year it just gets better - ALL the praise goes to Terry Wickham, the artistic director, who does an inspired job. If you go, take rubber boots, because it always rains and the ground turns into gumbo; one of my best memories was watching Solomon Burke, in all his full finery, arriving at stage through the quagmire, safe and dry on the back of a golf cart. Thatwas the year, incidentally, when he ended his gospel workshop by handing out autographed Canadian $5 to children in the audience... I've been involved with festivals since the mid-'60s, and this is, without question, the very best of the lot. Richard ========================================================================= Date: Fri, 31 May 1996 17:05:33 -0500 Reply-To: Vicki Bean From: Vicki Bean Organization: inlink Subject: Re: Portrait Of The Blues Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199605271615.NAA19469@iceberg>, Rob Hutten wrote: > Just picked up a copy of a new book called "Portrait Of The Blues" > by Paul Trinka, with photographs by Val Wilmer. (removed text) > The standard disclaimer applies - I have no affiliation, etc... just > looks like a good book. Maybe I'll do up a proper review after I > finish reading it. > Thanks for the recommendation. I'm always looking for something new in the blues world of literature. Let us know what you think of the book when you're finished. Maybe we should start a whole segment of blues book discussions. Vicki -- vbean@sheltonbbs.com ========================================================================= Date: Fri, 31 May 1996 17:12:55 -0500 Reply-To: Vicki Bean From: Vicki Bean Organization: inlink Subject: Re: "Blues" Traveler Comments: To: bit-listserv-blues-l@uunet.uu.net In article , "DUTTWEILER.J" wrote: > Date: Thursday, 30 May 1996 12:52pm ET > To: Internet > From: DUTTWEILER.J@GOMAIL > Subject: "Blues" Traveler > > > > > I saw "Blues" Traveler at the New Orleans Jazzfest last year. > > If they're where Muddy would have been by now have, I've been barkin' u > > the wrong mojo for 30 years. > > As I rolled over to go to sleep during one of the few HOB shows I actually > saw, my wife nudged me and said, "Its Blues Traveler, wake up, they're the > blues, aren't they?" As I dozed off I mumbled "In their dreams, in their > dreams " > > JD I'm glad to see I'm not alone in wondering how the hell they keep getting booked as a blues act. Maybe, their attitude makes us blue? JD, you were right to not even look at the TV when you heard it was on HOB. VB -- vbean@sheltonbbs.com ========================================================================= Date: Fri, 31 May 1996 22:08:09 GMT Reply-To: bbbean@sheltonlink.com From: bbbean@SHELTONLINK.COM Organization: inlink Subject: Re: Lyrics: What sort of expressions might one use? Comments: To: bit-listserv-blues-l@uunet.uu.net In <9605301959.AA22121@ursus1.ursus.maine.edu>, Larry Corbett writes: >Being a Northern New Englander, but >a lover of country blues, the local expressions and collquialisms just don't >work well for blues...could be just me..sayings like wicked good, ayeah, can't >get tha from hea... How about: Well c'mon in my kitchen, Its come a nor'easter out tha... Whoah, baby don't you wanna go? well you can't get tha from hea so you're stuck in old Buffalo... Hot tamales and they're red hot ayeah, they're wicked good... BBB B.B. Bean bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Fri, 31 May 1996 18:36:40 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Best Blues Band in CT. 1996 Competition Round 4 Comments: cc: BluesWire@aol.com, dshonk@TOP.MONAD.NET Thursday night May 30th, the Connecticut Blues Society (a not for profit organization) held the FOURTH in a series of six shows called The Best Blues Band in Connecticut 1996 Competition. Over a six week period, 22 bands will compete for the opportunity to go Memphis for the The Blues Foundation Talent Contest. Thursday night's show: DATE CLUB BANDS May 30th Cafe 9 D. Smith Blues Band 250 State St. The Hornets New Haven, CT. XY Eli & Red House And the winner is: The Hornets! ------------------------------------------------------------------ Future dates and bands... June 6th Black-Eyed Sally's Jim Shepley Band 350 Asylum St. Johnny Vibrato & the Razorbacks Hartford, CT. Dan Pritchard Blues Band The Esquires June 13th Burke's Tavern Briefcase Full of Blues 13 Hope Street Brandy Bob & the Milkbone Daddys Niantic, CT Blue Steele Johnny & the Eastcoast Rockers June 20th Husky Blues THE FINAL with: 1254 Storrs Rd. Smokin' Opey Storrs, CT. The Triple Threat Blues Band Chris Tofield & The Blues Benders The Hornets ____________________________________________________________________________ The Blues Playground - Sundays at 9pm on 107 FM WCCC - Hartford, CT 50,000 watts of Blues Power! Host/programmer: Stew Crossen 18 Boxwood Drive Vernon, CT 06066-5106 Tel: 800.970.5151 Web: http://www.neca.com/~bfstew E: bfstew@neca.com Reporting to: Living Blues, The Hard Report, BluesWire, The Blues Audience Stew Crossen is a member of the Connecticut Blues Society ========================================================================= Date: Fri, 31 May 1996 18:35:32 EDT Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: Chicago bound? Comments: To: Stephanie Manna Anybody who's going to be in that area should seriously consider Stephanie's advice. James played in Hartford recently and it truly was the most fun I''ve had at a live show in quite some time. He's a terrific entertainer who really knows how to work a crowd. As I mentioned in a post around that time, James even had the "insurance guys in ties" rocking, clapping and yelling. In addition, James is a friendly and funny man. He left me with the feeling that I had a new friend. Stephanie, please tell James I said hi when you talk to him. Thanks. Dave Carpenter Blues Music Director - WHUS-FM University of Connecticut - Storrs, CT 06269 http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Fri, 31 May 1996 17:38:58 -0600 Reply-To: James Bardsley From: James Bardsley Subject: Re: Nobel for Blues Traveller? Comments: To: Maggie Mortensen In-Reply-To: <31AF1ED6.5A9@accesscom.net> At 9:31 AM -0700 05/31/96, Maggie Mortensen wrote: >Shaun quotes: > >>Jon Popper from Blues Traveller is talking about H.O.R.D.E here: >>The singer makes an impassioned case for placing Blues Traveller's >>lightweight boogie in this nobel lineage, > >Wow. I wonder which division of the coveted Swedish prize he >sees his band as being eligible for? > >;^) > >-- >Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA >~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ >"I'm not sure, but I think that ALL music started in New Orleans." > --Ernie K-Doe Well, tha would have to be the famous Piece Prize, of course. Jim Bardsley "If we're treading on thin ice then we might as well dance." -Jesse Winchester @1971 ========================================================================= Date: Fri, 31 May 1996 22:50:08 GMT Reply-To: Stephanie Manna From: Stephanie Manna Subject: Re: Chicago bound? Comments: To: "david m. carpenter" <103156.340@CompuServe.COM> Thanks Dave, I sure will let James know you said hi.(you certainly did make a new friend,thats the kind of person James is.) New CD is just a few days away,i can't wait. Stephanie On May 31, 1996 18:35:32, '"david m. carpenter" <103156.340@CompuServe.COM>' wrote: >Anybody who's going to be in that area should seriously consider Stephanie's >advice. James played in Hartford recently and it truly was the most fun I''ve >had at a live show in quite some time. He's a terrific entertainer who really >knows how to work a crowd. As I mentioned in a post around that time, James >even >had the "insurance guys in ties" rocking, clapping and yelling. In addition, >James is a friendly and funny man. He left me with the feeling that I had a >new >friend. > >Stephanie, please tell James I said hi when you talk to him. Thanks. > >Dave Carpenter >Blues Music Director - WHUS-FM >University of Connecticut - Storrs, CT 06269 >http://ourworld.compuserve.com/homepages/davecarpenter > > >. ========================================================================= Date: Fri, 31 May 1996 22:56:01 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Re: Blind Willie McTell: Yazoo vs. Sony-Le Comments: To: bit-listserv-blues-l@uunet.uu.net A point that is NOT always mentioned when it comes to the SONY 2CD BLIND WILLIE MCTELL is that it contains 3 tracks that are only available on this set - they're not even available in the DOCUMENT complete series. They come from the Uncle Art Satherly collection held at JEMF. Also, I understand that the complete 1956 "last" session (with 5 extra tracks) may soon see the light of day, that's if they can get around a few legal issues. eRIC ========================================================================= Date: Fri, 31 May 1996 22:53:23 GMT Reply-To: Buddy Donnelly From: Buddy Donnelly Organization: Shadow Information Services, Inc. Subject: Re: T-Birds First Comments: To: bit-listserv-blues-l@uunet.uu.net In message <01BB4BD0.706A0E20@ip-pdx15-60.teleport.com> - "Raymond O. Varner" writes: :> :>This is the second time I've posted this question. I believe that the = :>first post did not go through. If it did, my apologies. :> :>Before the release of the Fabulous Thunderbirds first album GIRLS GO = :>WILD, they recorded a stunning pure blues album produced by Doc Pomus. = :>This recording included Roomful's horn section and Al Copley on piano. = :>The material is mostly covers ranging from Otis Rush to Sonny Boy. It = :>was never released. I'm assuming that the master is the property of Mr. = :>Pomus' estate. But, I don't know that. Anyone have information on = :>ownership and/or possible release of this project? :> :>I'd love to see it released. My bootleg tape is worn and ragged. :> :>Uncle Ray Hey, if it's got Keith Ferguson on bass on it, I can't understand why you haven't worn it out sooner. I'll try to find out from him if he knows anything about it. He probably does, since he has one of the best archives of Austin music in the city. Buddy ========================================================================= Date: Fri, 31 May 1996 06:02:45 -0400 Reply-To: Antone Sommer From: Antone Sommer Subject: "hello from texas" To all members: Please accept sincere apologies for all caps (screaming) e-mail. It will not happen again. Thank you, Tone Sommer ========================================================================= Date: Fri, 31 May 1996 18:01:07 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: turning people onto the blues Comments: To: grtfled@idirect.com Ed wrote: >I was wonderin, if someone came up to you and said " I want to get turned >onto the Blues, play me some"- what 3 tunes and by who would you play >them? > >This might be a good thing for new listeners of the blues to take some >suggestions and for people like me who want to hear more that I haven't >heard before. I take two approaches. One is by giving someone a tape. I recently made a compilation tape for my girlfriend. She is a vocalist who while liking all the modern stuff is also a big Janis Joplin fan. I included Son House, Hound Dog Taylor, Magic Sam, Muddy Waters, Koko Taylor, Luther Allison and more. She now plays the tape a lot. Loves Koko Taylor and a Katie Webster track that I included on there. She also quite likes Sonny Boy Williamson II. I find a compilation tape gives the listener a lot of variety. When people first get into the blues, they seem to start at one point and then move out from there. A compilation tape, IMHO, is a good way for someone to find their own way into the blues. In one respect, three songs is a little limiting. Then again a friend came over once and I happened to slip a Son House CD into my player. My friend is not a blues fan by any means. But he really liked Son House so stealth is another method that I use to "convert" people.:-) I know I'm flouting the terms of the thread.:-) Finding three songs to choose is hard. I'll take the easy way out. Give them a tape of what you like and make it varied is a good bet. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Fri, 31 May 1996 22:02:38 -0500 Reply-To: SGLIWA From: SGLIWA Organization: Delphi (info@delphi.com email, 800-695-4005 voice) Subject: Re: Conservatives and race Comments: To: bit-listserv-blues-l@uunet.uu.net Don Cicchetti writes: >Oh, and BTW, a helluva case can be made for soggy-headed liberal programs >mainly intended to salve the PC guilt of a bunch of lefty-trendies, having >CAUSED the near-destruction of the African-American family. So who is >REALLY the racist? > >Neither one, of course.... There are flaming bigots on the right and >there are flaming bigots on the left. Don't point fingers my friend.... > >I'm just trying to figure who's more stupid and corrupt; Clinton or Dole... The African-American family survived the evils of slavery, Jim Crow, and institutionalized racism but in the past thirty years has been virtualy destroyed by the evil of the Welfare State and institutionalized liberalism. African-Americans have excelled in areas where one must succeed on merit and ability (sports, music, the military) instead of being treated as a "victimized" group. When the liberal politicians in order to maintain their power over African-Americans treat them as incapable and helpless victims and convince them that the only way they can succeed is to depend on "help" from the government, it is in fact those very same politicians who are the victimizers. Conservatives believe in treating people as individuals and not as groups. Of course there are racist and bigoted conservatives as well as racist and bigoted liberals. But the Conservative approach is the right (correct) one. The very thing that evil bigots deliberately tried to do for hundreds of years but failed to accomplish, namely destroy the African-American society and family, Liberalism has managed to accomplish in a scant thirty years. As for who's more corrupt between Clinton and Dole, if you have to ask you'll never understand. Clinton is the master of the "Big Lie." Steven James Gliwa ========================================================================= Date: Fri, 31 May 1996 22:36:06 EDT Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: Coco Montoya (was: Billboard's Top 15) Comments: To: "H.R. Sarkissian" H.R. Sarkissian asked: >Do you know if Coco Montoya is on any live albums? While Coco doesn't have any live solo releases (damn), he is on Mayall's live discs Behind the Iron Curtain, The Power of the Blues (both with Walter Trout also), and Cross Country Blues (on 9 tracks w/Kal David, the other 8 tracks have Don McMinn and Bobby Manuel on guitars). Dave Carpenter Blues Music Director - WHUS-FM University of Connecticut - Storrs, CT 06269 http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Fri, 31 May 1996 22:01:04 -0500 Reply-To: EARTH JUICE From: EARTH JUICE Subject: Re: Jimmie Vaughn - Living Off of The Dead ?? Comments: To: seale@bioc02.uthscsa.edu -- [ From: Earth Juice * EMC.Ver #2.10P ] -- Expanded recipient data: To: Kevin Amos \ PRODIGY: (VPKZ84B) Jeff Unlike you I have absolutely no need to buy "compilations" I already own a copy of every single T'birds album, I bought em when they first came out while living in Houston Texas during the early to mid 1980's. This was long before anyone outside of the state of Texas (& probably even you "Mr. Compilation Buyer" had heard of either the T'birds or Double Trouble. I have also seen both groups perform live DOZENS of times. Stevie also has been quoted many times as saying that Hendrix was his guitar idol. I stand by my opinions !!! - Live Funk Chat (P*Funk, Hendrix, Chick Corea, James Brown, Billy Cohham, Sly Stone, Living Colour, Johnyy Guitar Watson, War, Passport, AWB, Rick James, Robert Cray, Miles Davis, Lakeside, Stevie Ray Vaughn, D'Angelo, Jimmy Castor Bunch, Manu Dibango, ) on Prodigy Wend. & Sat. 9pm - 10pm est. mailto:earthjuice@prodigy.com http://pages.prodigy.com/funk -------- REPLY, Original message follows -------- > Date: Friday, 31-May-96 09:25 AM > > From: Jeff Seale \ Internet: (seale@bioc02.uthscsa.edu) > To: Earth Juice \ PRODIGY: (VPKZ84A) > > Subject: Re: Jimmie Vaughn - Living Off of The Dead ?? > > On Thu, 30 May 1996, EARTH JUICE wrote: > > > Does this guy still have a career ??? > > Stevie Ray was the FUNKIEST guitarist.....this side of Jimi Hendrix > > I'm not even going to respond the the superlative in your post, but are > you braindead? Jimmie had a career long before his younger brother and > Stevie often said that his brother was his guitar idol. > > Give a listen to the Essential Fabulous Thunderbirds compilation and then > re-evaluate your opinion of Jimmie. > > -Jeff (sheesh!) > > --------------- > Jeff Seale, PhD |Texas Tech Red Raiders > Department of Biochemistry |Baseball NCAA Regional > Host > U. of Texas Health Science Center @ San Antonio |Lady Raiders Sweet 16 > email: seale@bioc02.uthscsa.edu |Men's Basketball Sweet > 16 > http://bioc09.uthscsa.edu/~seale/home.html |Football Copper Bowl > Champs > > > -------- REPLY, End of original message -------- ========================================================================= Date: Fri, 31 May 1996 22:01:12 -0500 Reply-To: EARTH JUICE From: EARTH JUICE Subject: Re: Jimmie Vaughn - Living Off of The Dead ?? Comments: To: scottf@airmail.net -- [ From: Earth Juice * EMC.Ver #2.10P ] -- Expanded recipient data: To: Kevin Amos \ PRODIGY: (VPKZ84B) Scott Sorry you feel that way. I happen to be a huge fan of blues music however It bothers me when some fans: 1. Do not understand the historical context of the music and treat it in isolation. 2. Seem to have a need to "isolate" blues from the various forms of black music that it evolved from & other forms of black music that have evolved from it. 3. Wish to seperate the music from the socio-economic conditions that led to it's creation. As far as Stevie Ray/Jimmy Vaughn is concerned.........As a former resident of Houston Texas I have seen both Double Trouble and the Faboulous Thunderbirds play live DOZENS of times is different venues such as: Music Festivals - ex. Juneteenth Blues Festival Night Clubs - ex. Fitzgeralds Concert Halls - ex Madison Square Garden I also happen to own a copy of EVERY single album that the T'birds & Stevie Ray have ever done !!! And as s a native New Yorker who was actually there to witness the BIRTH of what is now called "Hip Hop" music I feel extremely qualified to speak on both subjects. What you don't seem to understand is the historical connection between the musical genres !!!! Perhaps you would like me to reccomend a few books ???? - Live Funk Chat (P*Funk, Hendrix, Chick Corea, James Brown, Billy Cohham, Sly Stone, Living Colour, Johnyy Guitar Watson, War, Passport, AWB, Rick James, Robert Cray, Miles Davis, Lakeside, Stevie Ray Vaughn, D'Angelo, Jimmy Castor Bunch, Manu Dibango, ) on Prodigy Wend. & Sat. 9pm - 10pm est. mailto:earthjuice@prodigy.com http://pages.prodigy.com/funk -------- REPLY, Original message follows -------- > Date: Friday, 31-May-96 09:28 AM > > From: Scott Ferman \ Internet: (scottf@airmail.net) > To: Earth Juice \ PRODIGY: (VPKZ84A) > > Subject: Re: Jimmie Vaughn - Living Off of The Dead ?? > > So it's OK for you to come onto a BLUES list and praise Ice Cube, playing > worthless rap shit, but then you trash JV, who only taught SRV how to > play? It's all in the way you live, only if we agree with your opinion, > right? > > > >-- [ From: Earth Juice * EMC.Ver #2.10P ] -- > > > >>Jimmie Vaughan is currently in the studio laying down the tracks for > >his new release, which is scheduled to be out this summer. > > > >Does this guy still have a career ??? > >Stevie Ray was the FUNKIEST guitarist.....this side of Jimi Hendrix > >!!!! > > > >"It's All The Way Live" !!! > >FUNK Chat Wend. & Sat Nights at 9pm est. - "Give Up Some Funk" > >mailto:earthjuice@prodigy.com > >http://pages.prodigy.com/funk/ > > > > > > > -------- REPLY, End of original message -------- ========================================================================= Date: Fri, 31 May 1996 20:09:27 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Port Townsend Fest Zellers, I plan to be at the Centrum Country Blues Festival in Port Townsend, WA on June 22nd and 23rd. I'd love to say "howdy" to any of my fellow listees. Ask John Jackson or The Phantoms of Soul where I might be found. Or just inquire if it's me on the next barstool. Uncle Ray ========================================================================= Date: Fri, 31 May 1996 20:16:02 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: turning people onto the blues Gee, Shaun that's a much more civilized method than mine. I go to record stores and slip J. B. Hutto albums into Joan Baez sleeves. Uncle Ray ---------- From: Shaun T Cronin[SMTP:shaun@PACIFICNET.NET] Sent: Saturday, June 01, 1996 1:01 AM To: Multiple recipients of list BLUES-L Subject: Re: turning people onto the blues Ed wrote: >I was wonderin, if someone came up to you and said " I want to get turned >onto the Blues, play me some"- what 3 tunes and by who would you play >them? > >This might be a good thing for new listeners of the blues to take some >suggestions and for people like me who want to hear more that I haven't >heard before. I take two approaches. One is by giving someone a tape. I recently made a compilation tape for my girlfriend. She is a vocalist who while liking all the modern stuff is also a big Janis Joplin fan. I included Son House, Hound Dog Taylor, Magic Sam, Muddy Waters, Koko Taylor, Luther Allison and more. She now plays the tape a lot. Loves Koko Taylor and a Katie Webster track that I included on there. She also quite likes Sonny Boy Williamson II. I find a compilation tape gives the listener a lot of variety. When people first get into the blues, they seem to start at one point and then move out from there. A compilation tape, IMHO, is a good way for someone to find their own way into the blues. In one respect, three songs is a little limiting. Then again a friend came over once and I happened to slip a Son House CD into my player. My friend is not a blues fan by any means. But he really liked Son House so stealth is another method that I use to "convert" people.:-) I know I'm flouting the terms of the thread.:-) Finding three songs to choose is hard. I'll take the easy way out. Give them a tape of what you like and make it varied is a good bet. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Fri, 31 May 1996 10:19:07 -0500 Reply-To: Patrick LeBlanc From: Patrick LeBlanc Organization: Mississippi Delta Blues Society Subject: Test Test ========================================================================= Date: Fri, 31 May 1996 23:11:47 -0500 Reply-To: Tom Kraft From: Tom Kraft Subject: Re: Jimmie Vaughn - Living Off of The Dead ?? Comments: To: EARTH JUICE At 10:01 PM 5/31/96 -0500, you wrote: >-- [ From: Earth Juice * EMC.Ver #2.10P ] -- > Expanded recipient data: > To: Kevin Amos \ PRODIGY: (VPKZ84B) > >Jeff > >Unlike you I have absolutely no need to buy "compilations" >I already own a copy of every single T'birds album, I bought em when >they first came out while living in Houston Texas during the early to >mid 1980's. This was long before anyone outside of the state of Texas >(& probably even you "Mr. Compilation Buyer" had heard of either the >T'birds or Double Trouble. Hey Earth, Jeff lives in San Antonio. It's Jimmie Vaughan not Vaughn. Just being picky. Tom Kraft I have also seen both groups perform live >DOZENS of times. > ========================================================================= Date: Sat, 1 Jun 1996 00:06:32 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Jimmie Vaughn - Living Off of The Dead ?? Comments: To: EARTH JUICE In-Reply-To: <199606010201.WAA20746@mime4.prodigy.com> On Fri, 31 May 1996, EARTH JUICE wrote: > Unlike you I have absolutely no need to buy "compilations" > I already own a copy of every single T'birds album, I bought em when > they first came out while living in Houston Texas during the early to > mid 1980's. This was long before anyone outside of the state of Texas > (& probably even you "Mr. Compilation Buyer" had heard of either the > T'birds or Double Trouble. I have also seen both groups perform live > DOZENS of times. I guess I thought about reply as sarcastically to this and EARTH JUICE's message in which he demonstrates his qualifications for addressing the subject of hip-hop (a native New Yorker). I suspect the source of desire to contradict you eminated from what comes across as the arrogance of your one line of dismissal of J. Vaughn, and neither does it sound like you caught the jist of the recommendation for the compilation album. I'm sure people would be much more interested in your opinions if you gave reasons for them instead dismissing others and bolstering yours with your credentials (listed above and elsewhere). The fact that you saw them dozens of times, and own the records, are you saying that you like their music? Why be so dismissive of J. Vaughn? Are you simply tired of listening to him after so long of an exposure? I'm honestly trying not to respond sarcastically and to engage you in a conversation that will lead somewhere. I don't think there's a single member of this list whose interest is limited to removing blues from a discussion of other genres (as you said in your hip-hop post), or from its historical situation, or its connections with anything. I think if you've drawn that conclusion you've sorely misread what has been going on here. Neither does anyone want to disabuse you of your firmly held convictions and opinions. It would just be more useful if you explained them. Steve ========================================================================= Date: Fri, 31 May 1996 23:42:11 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Jimmie Vaughn - Living Off of The Dead ?? Steve, Do as I did. Take a deep breath, hold it, exhale, and don't rise to the bait. Ignorance is it's own reward...or was it funk? I think George Clinton said that. Hmmm, maybe some roots of hip-hop expert can correct me. Uncle Ray ---------- From: Steve Price[SMTP:sprice@INAV.NET] Sent: Saturday, June 01, 1996 5:06 AM To: Multiple recipients of list BLUES-L Subject: Re: Jimmie Vaughn - Living Off of The Dead ?? On Fri, 31 May 1996, EARTH JUICE wrote: > Unlike you I have absolutely no need to buy "compilations" > I already own a copy of every single T'birds album, I bought em when > they first came out while living in Houston Texas during the early to > mid 1980's. This was long before anyone outside of the state of Texas > (& probably even you "Mr. Compilation Buyer" had heard of either the > T'birds or Double Trouble. I have also seen both groups perform live > DOZENS of times. I guess I thought about reply as sarcastically to this and EARTH JUICE's message in which he demonstrates his qualifications for addressing the subject of hip-hop (a native New Yorker). I suspect the source of desire to contradict you eminated from what comes across as the arrogance of your one line of dismissal of J. Vaughn, and neither does it sound like you caught the jist of the recommendation for the compilation album. I'm sure people would be much more interested in your opinions if you gave reasons for them instead dismissing others and bolstering yours with your credentials (listed above and elsewhere). The fact that you saw them dozens of times, and own the records, are you saying that you like their music? Why be so dismissive of J. Vaughn? Are you simply tired of listening to him after so long of an exposure? I'm honestly trying not to respond sarcastically and to engage you in a conversation that will lead somewhere. I don't think there's a single member of this list whose interest is limited to removing blues from a discussion of other genres (as you said in your hip-hop post), or from its historical situation, or its connections with anything. I think if you've drawn that conclusion you've sorely misread what has been going on here. Neither does anyone want to disabuse you of your firmly held convictions and opinions. It would just be more useful if you explained them. Steve ========================================================================= Date: Sat, 1 Jun 1996 06:51:46 UTC Reply-To: grtfled@idirect.com From: Ed Luskey Organization: wish I was at a Dead show Club! Subject: Re: Blues license plate frame Comments: To: bit-listserv-blues-l@rutgers.edu Don Cicchetti wrote: > > At the mall in town we have a store that will make a license plate frame > that says whatever you want.... > > I thought a blues theme would be cool. > > My first one was > > hey hey (on the top part) > > the blues is alright (on the bottom) > > But I wanted to ask you all for more suggestions. > > I want something that will let people know about the blues, is funny, and > makes some sense to the uninitiated. Lyrics would be nice. > > Any ideas? Yeah, if you have a clunker of a car how about: (top part) My baby caught the Katy... (bottom part) ..and left me with this mule to ride It's a line from a song called "She Caught The Katy And Left Me A Mule To Ride". Written by Taj Mahal/ Yank Rachel. I heard it on an Albert King CD. The line is almost exactly the same but in the song he sings "My baby caught the Katy and left me with *a* mule to ride". Replace "a" with "this" on the plate frame. I don't think anyone will undertsand unless they know the song, I think it's rather funny tho :-D Take care Ed ========================================================================= Date: Sat, 1 Jun 1996 04:35:27 -0400 Reply-To: TDominey From: TDominey Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Jim Morrison Comments: To: bit-listserv-blues-l@uunet.uu.net All I can say is, listen to the album LA Woman, specifically the track "Cars Hiss by my Window", and YOU TELL ME he didn't understand what the blues was about! Man oh man, vocal harmonica solo to boot. ========================================================================= Date: Sat, 1 Jun 1996 04:35:57 -0400 Reply-To: TDominey From: TDominey Organization: America Online, Inc. (1-800-827-6364) Subject: Code Blue Comments: To: bit-listserv-blues-l@uunet.uu.net Anyone know the homepage or e-mail address for Code Blue? ========================================================================= Date: Sat, 1 Jun 1996 06:08:57 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Code Blue Comments: To: TDominey In-Reply-To: <4oovdd$s8k@newsbf02.news.aol.com> On Sat, 1 Jun 1996, TDominey wrote: > Anyone know the homepage or e-mail address for Code Blue? Don't have it here with me but have you can get their e-mail at our home review page for them - http://www.panix.com/~bsco/codeblue/ there is an e-mail connect at the top of the page and their web page is in our links http://www.panix.com/~bsco/links/ Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sat, 1 Jun 1996 07:21:49 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: More labels on the web .... For anyone who keeps a links list on their web site, here are a number of labels that now have accessible sites you should add: Blue Ace is at http://www.panix.com/~bsco/blueace/ Earwig is at http://www.panix.com/~bsco/earwig/ Icehouse is at http://www.panix.com/~bsco/icehouse/ Ichiban is at http://www.panix.com/~bsco/ichiban/ JSP is at http://www.panix.com/~bsco/jsp/ King Snake is at http://www.panix.com/~bsco/kingsnake/ Modern Blues is at http://www.panix.com/~bsco/modernblues/ Tradition is at http://www.panix.com/~bsco/tradition/ Wild Dog is at http://www.panix.com/~bsco/wilddog/ Wolf is at http://www.panix.com/~bsco/wolf/ Barry ========================================================================= Date: Sat, 1 Jun 1996 07:14:42 -0400 Reply-To: RNABooking From: RNABooking Organization: America Online, Inc. (1-800-827-6364) Subject: of august Comments: To: bit-listserv-blues-l@uunet.uu.net >>I just had a telephone call from a festival organisor here in Blegium who is trying to get information concerning US blues bands/musicians who are planning to tour in Scandinavia end of August. Any informtion would be wellcome : with details about the place where these are suposed to play (name of Festival/gig, place, country) and (Important) how to get in touch with the organisors. Thansk to you all and have a nice weekend jean-Pierre "young Man" urbain<< We have Gary Primich coming over to Europe in August. Tornado Concerts in Amsterdam is organizing the tour. I know for certain is that he will perform at a festival in Luzern, Switzerland on Aug. 5, in Copenhagen (Mojo) on Aug 7, in Lund, Sweden (Gloris) on Aug 8, In Nottoden (Belmann) on Aug 9 & 10, in Oslo (Smuget) on Aug 14, and Sandane, Norway (Fjaere) on Aug 16. I then hope for him to play some shows in Holland, Belgium, German, France and Spain. I will also have Lavelle White in Europe in late September for the Handzame Blues Fest in Belgium and then go for four weeks of touring France, Spain, Holland, UK and Germany. Teddy Morgan will come to Europe in early September (he will play at a blues fest in Antwerpen, Belgium on Sept. 7) Ronnie Narmour RNA Booking Austin, Texas ========================================================================= Date: Sat, 1 Jun 1996 07:40:02 -0400 Reply-To: PHWoolfman@AOL.COM From: Pete Wulforst Subject: Re: Dave Grusome Comments: To: BYQZ74A@prodigy.com Try Dave Grusin and I think you'll have better luck. Totally unrelated: I just bought and heard for the first time Lurrie Bell's "Mercurial Son". First time through and I heard it mostly as background while I was doing something else, but I thought it sounded pretty interesting. Spooky, stripped-down blues, from a guy who, from what I have read, should know the blues first-hand, not only from his lineage (Carrie Bell), but fom some time spent down and out. Pete Wulforst ========================================================================= Date: Sat, 1 Jun 1996 09:21:45 -0400 Reply-To: JukeFreak@AOL.COM From: "(Karen Hanson)" Subject: Re: Muddying the waters Mark said: >I think there are enough alumni from Muddy's bands out there still >performing to know Blues Traveller is not in the line of decent (well, maybe >a third cousin twice removed, or something). Maybe they should get together >for an "all time Muddy band reunion" while they're still around and answer >the question themselves. Actually, there was a sort of Muddy Waters band reunion recently.... On April 4 at Buddy Guy's Legends in Chicago, a Muddy Waters Tribute band played, featuring Luther "Guitar Jr." Johnson, Jerry Portnoy, Willie "Big Eyes" Smith, Pinetop Perkins and Calvin Jones. I was not able to go, although I remember reading some mention of it here...wasn't that the weekend that Pinetop got arrested? I also remember reading an ad for some kind of reunion/tribute album; seems to me like Bob Margolin was in on this one. Boy, if there was a complete Muddy band reunion, there'd sure be a lot of harp players, wouldn't there... Junior Wells, James Cotton, Carey Bell, the aforementioned Portnoy...who else am I forgetting?? Karen, off to Chicago and Blues Fest!!!! ========================================================================= Date: Sat, 1 Jun 1996 09:21:47 -0400 Reply-To: JukeFreak@AOL.COM From: "(Karen Hanson)" Subject: Re: Lyrics: What sort of expressions might one use? Larry muses: >I listen to a lot of older country blues and have noticed that artists use >certain expressions in their lyrics...I would think that depending on the time >and location of the artist that certain phrases and expressions may have been >common in everyday life amoung their peers.... What might be some common >expressions and phrases one might use in writting a country blues song today? Larry, if you have to think about them, I doubt it would seem natural to use them in a song. I think I understand what you're trying to say. Mules and cows and boll weevils aren't a part of most contemporary people's lives and to include such references in newly-written songs seems contrived. On the other hand, to purposely include current phrases would also seem affected, I think. Say what comes naturally. >I thought I read here a week or so ago a comment made by someone about >writting lyrics...Charly Patten wrote about things in his life while other >artists create fictional accounts, create the images..like Robert Johnsons >Cross Road Blues...The Sun is goin' Dark Gonna catch me here.... Yes, this is the best thing about country blues, IMHO. These people were *poets,* nothing less. They used symbolism, extended metaphor, and imagery; they created vignettes, snapshots of life. They didn't tell a story so much as they presented a story and allowed it to express itself. You can visualize it, allow the music and rhythm to energize it, let it seep into your own brain and emotions, and interpret it however you feel at that precise moment. I wish I had more time to elaborate and give examples, but I've gotta catch a train for Chicago where I will be very happy to see a couple of new country blues artists, Corey Harris and Alvin Youngblood Hart. Maybe more later....' Karen ========================================================================= Date: Fri, 31 May 1996 15:28:14 -0700 Reply-To: Karen-Marlies Schenck From: Karen-Marlies Schenck Organization: EUnet Belgium, Leuven, Belgium Subject: Re: Jimmie Vaughn - ****** ** The **** ?? Comments: To: bit-listserv-blues-l@news.Belgium.EU.net CAN SOMEONE CHANGE THE TITLE OF THIS THREAD?!!!!!!!!!! I think it is ignorant, insulting and tasteless. Jimmie Vaughn is a great musician, and if all you SRV fans would bother to read any of the biographies out there, you'd see that Jimmie has been playing professionally since he was sixteen. Let's show some respect where it's due! Walter Broes ========================================================================= Date: Sat, 1 Jun 1996 08:48:49 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: June 2 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BLAND, CARROLL DEE (dj/blues patrol) d. 1989-0602, LITTLE ROCK, AR 42 BROOKS, ROOSEVELT "BABY" (g/TRIX REC) b. 1905-0602, GREENVILLE, SC BROWN, ROMAINE L. (p/v/RED CAPS) d. 1986-0602, NEW YORK CITY, NY 63 CARTER, BELL BOY (d/JIMMY VAUGHN) d. 1991-0602, ST. LOUIS, MO 51 CARTER, JOHNNY (of THE DELLS/FLAMINGOS) b. 1934-0602, CHICAGO, IL CASTON, LEONARD"BABY DOO"(p/WILLIE DIXON) b. 1917-0602, SUMRALL, MS CASTOR, JIMMY (v/arr/tsax) b. 1943-0602, NEW YORK CITY, NY COBB, JOYCE (v/STAX REC) b. 1945-0602, OKMULGEE, OK COHEN, PORKY (tbn/ROOMFUL OF BLUES) b. 1924-0602, SPRINGFIELD, MA DAVIS, WALTER JR. (p) d. 1990-0602, ITHACA, NY 57 GUEST, WILLIAM(of GLADYS KNIGHT/THE PIPS) b. 1941-0602, ATLANTA, GA JONES, JIMMY (v/HANDY MAN) b. 1937-0602, BIRMINGHAM, AL LEDBETTER, MARTHA PRIMOSE (v/LEADBELLY) d. 1968-0602, BROOKLYN, NY 63 MILLER, CHARLES (of WAR) b. 1939-0602, OLATHE, KS SNOW, VALAIDA (v/tpt) b. 1900-0602, WASHINGTON, DC STERLING, LOUIS (ceo/EMI) d. 1958-0602, LONDON, UK 79 TAVARES, CHUBBY (of THE TAVARES) b. 1950-0602, CAPE VERDE ISLANDS TURNER, OTHER (g/fife) b. 1907-0602, JACKSON, MS TURNER, SAMMY (v/BIG TOP REC) b. 1932-0602, PATERSON, NJ WASHBOARD SLIM (ROBERT YOUNG) (wbd) d. 1990-0602, PHILADELPHIA, PA 89 WATTS, CHARLIE (d/ROLLING STONES) b. 1941-0602, ISLINGTON, UK WILDMANN, DAVID (owner : META META REC) d. 1988-0602, PHILADELPHIA, PA 34 WILLIAMS, LEN (of THE NORFOLK JUBILEE QT) d. 1940-0602, NEW YORK CITY, NY 40 WILLIAMS, OTIS (lead/THE CHARMS) b. 1936-0602, CINCINNATI, OH ------------------------------------------------------------------------------- ========================================================================= Date: Sat, 1 Jun 1996 10:33:07 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: Portrait Of The Blues Comments: To: Vicki Bean I don't think I'll ever warm up to this one. The photography is excellent, but contrived. I thumbed through much of it and every single photo was meticulously posed. Way too slick for me. The artists seem to be secondary to the shots. I wish for a book of photos of bluesmen in action, or atleast in a normal state. It's either that or follow Mr. Waterman all over the place. :-) RJ Bauman > > > Just picked up a copy of a new book called "Portrait Of The Blues" > > by Paul Trinka, with photographs by Val Wilmer. > (removed text) > > The standard disclaimer applies - I have no affiliation, etc... just > > looks like a good book. Maybe I'll do up a proper review after I > > finish reading it. > > > Thanks for the recommendation. I'm always looking for something new in the > blues world of literature. Let us know what you think of the book when > you're finished. Maybe we should start a whole segment of blues book > discussions. > > Vicki > > -- > vbean@sheltonbbs.com > > ========================================================================= Date: Sat, 1 Jun 1996 09:15:17 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Muddying the waters Little Walter, George Smith, George Buford, Paul Oscher, Henry Strong... Uncle Ray ---------- From: (Karen Hanson)[SMTP:JukeFreak@AOL.COM] Sent: Saturday, June 01, 1996 1:21 PM To: Multiple recipients of list BLUES-L Subject: Re: Muddying the waters Mark said: >I think there are enough alumni from Muddy's bands out there still >performing to know Blues Traveller is not in the line of decent (well, maybe >a third cousin twice removed, or something). Maybe they should get together >for an "all time Muddy band reunion" while they're still around and answer >the question themselves. Actually, there was a sort of Muddy Waters band reunion recently.... On April 4 at Buddy Guy's Legends in Chicago, a Muddy Waters Tribute band played, featuring Luther "Guitar Jr." Johnson, Jerry Portnoy, Willie "Big Eyes" Smith, Pinetop Perkins and Calvin Jones. I was not able to go, although I remember reading some mention of it here...wasn't that the weekend that Pinetop got arrested? I also remember reading an ad for some kind of reunion/tribute album; seems to me like Bob Margolin was in on this one. Boy, if there was a complete Muddy band reunion, there'd sure be a lot of harp players, wouldn't there... Junior Wells, James Cotton, Carey Bell, the aforementioned Portnoy...who else am I forgetting?? Karen, off to Chicago and Blues Fest!!!! ========================================================================= Date: Sat, 1 Jun 1996 12:58:50 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Jimmie Vaughn - Living Off of The Dead ?? Comments: To: earthjuice@PRODIGY.COM In-Reply-To: <199606010201.WAA20764@mime4.prodigy.com> from "EARTH JUICE" at May 31, 96 10:01:12 pm > I happen to be a huge fan of blues music however It bothers me when > some fans: > 1. Do not understand the historical context of the music and treat it > in isolation. > 2. Seem to have a need to "isolate" blues from the various forms of > black music that it evolved from & other forms of black music that have > evolved from it. > 3. Wish to seperate the music from the socio-economic conditions that > led to it's creation. There's a BIG difference between "fan" and "student", and I think you've confused the two. A fan appreciates the music as music, and may be totally uninterested in nuts and bolts. A student of the Blues may not even like blues music, but will know background, roots, etc. Regarding Jimmy Vaughan, he's not flashy. He's just a solid and tasty guitarist. Unlike many guitarists, etc., he knows that the rest is a valid musical quantity and uses it to great effect in his solos, etc. -- IronMan Mike Curtis ========================================================================= Date: Sat, 1 Jun 1996 16:58:04 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Muddying the waters Comments: To: "Raymond O. Varner" In-Reply-To: <01BB4F9A.E137A9A0@ip-pdx02-57.teleport.com> On Sat, 1 Jun 1996, Raymond O. Varner wrote: > Actually, there was a sort of Muddy Waters band reunion recently.... On April > 4 at Buddy Guy's Legends in Chicago, a Muddy Waters Tribute band played, > featuring Luther "Guitar Jr." Johnson, Jerry Portnoy, Willie "Big Eyes" > Smith, Pinetop Perkins and Calvin Jones. I was not able to go, although I And coming soon to a player near you is ..... ta ta ta ta ....... Pinetop Perkins, Calvin "Fuzz Jones", Wille "Big Eyes" Smith with Ronnie Earl - Audioquest #1043 Eye To Eye. Due out in a few mos. Barry (Who just got back from an afternoon concert by Doug MacLeod and his two guitars - more on this later but must say live he rips way beyond what his CD's indicate). This man sat and explained to a packed audience the various blues styles and then picked each of them .. his best was his Piedmont picking and when he took out his National and his slide the audience was pin drop quiet. NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sat, 1 Jun 1996 10:45:13 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Cobras In the early 80's there was an R&B band in Austin called The Cobras. = They had Denny Freeman on guitar and a fine young singer who used the = stage=20 name Jr. Menlow, I believe. They issued a 10" LP. I'm very interested in acquiring that record. Anyone interested in doing=20 bizniss on that one? Also, is that same singer now fronting Tornado Alley? Do they have any product? Uncle Ray ========================================================================= Date: Sat, 1 Jun 1996 16:51:52 -0500 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: Lyrics: What sort of expressions might one use? Comments: To: JukeFreak@AOL.COM In-Reply-To: <960601092147_315670671@emout17.mail.aol.com> from "owner-blues-l@BROWNVM.BROWN.EDU" at Jun 1, 96 09:21:47 am In an earlier message, owner-blues-l@BROWNVM.BROWN.EDU said: ] Larry, if you have to think about them, I doubt it would seem natural to use ] them in a song. I think I understand what you're trying to say. Mules and ] cows and boll weevils aren't a part of most contemporary people's lives and Heh. Reminds me of a parody I saw Robert Klein perform in 19*mumblemumble* "MIddle-class, Well-Educated BLues" ends with the classic lines: "I got my mojo workin' but --" (band stops for the dramatic vocal climax) "What is a mojo, any way?" I guess you'd have had to been there... -- ========================================================================= Date: Sat, 1 Jun 1996 15:47:36 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Mandolin advise Zeller String-types, I'm a harp player looking for a new hobby instrument. I've settled on the mandolin, due to a thirty year fixation on Johnny Young. I know NOTHING about stringed instruments, except that guitar players are too damned loud, and are a neccesary evil to comp behind a good harp solo. Whoops! I guess I should be more civil if I'm looking for help. Anyway...I've been bewildered in my pursuit of a playable, yet inexpensive instrument. Any advice? Uncle Ray ========================================================================= Date: Sat, 1 Jun 1996 22:46:30 GMT Reply-To: "A.G. Lobdell" From: "A.G. Lobdell" Organization: Voyager Information Networks, Inc. Subject: HOB World Tour Comments: To: bit-listserv-blues-l@uunet.uu.net Heard Joe Cocker hired Steve Gornel to play lead guitar on his world tour!! This guy smokes!! He grew up with my brother in law who took me to see him at ciscos in the Detroit area. If you want to here an amazing up and coming blues guitarist who also write his own music don't miss it. He used to play with the Blue Collar Blues Band here in Detroit until he moved to San Fran. A.G. ========================================================================= Date: Sat, 1 Jun 1996 20:30:19 -0400 Reply-To: Curtis Hewston From: Curtis Hewston Subject: The Blue Highway Screen Saver I've now got for downloading the very updated SlideShow 5.0 -- the shareware screen saver/presentation software for Windows and Windows 95. It displays any images off your hard drive and comes with a lot of neat, new features, including wav file support. I also have zipped up for downloading 54 choice and original jpegs from my trip to New Orleans and the Delta last August. (Most of these you may have seen on The Delta Log, but 20 of them are new.) You'll need to register the screen saver with CMB Software ($18) -- which you can now do online or by e-mail. (For registered users of versions 4.x, upgrades are free, but you'll need to get a new registration code.) *** NOTE: For every new registration that comes from The Blue Highway, I get $2, which I donate to the Delta Blues Museum in Clarksdale. Proceeds through May total a modest but gratefully received $31. With the museum's blessing, I've also posted the details of their "Friends of the Delta Blues Museum" program, including a faxable application form. You can read all the details at: http://www.vivanet.com/~blues/scrsaver.html Enjoy. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Sat, 1 Jun 1996 16:51:12 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: HOB World Tour A. G., You know, I dearly love Joe Cocker...and I can't abide the HOB; so, thanks for giving me a reason to look forward to this tour. Uncle Ray ---------- From: A.G. Lobdell[SMTP:lobdell@VIXA.VOYAGER.NET] Sent: Saturday, June 01, 1996 10:46 PM To: Multiple recipients of list BLUES-L Subject: HOB World Tour Heard Joe Cocker hired Steve Gornel to play lead guitar on his world tour!! This guy smokes!! He grew up with my brother in law who took me to see him at ciscos in the Detroit area. If you want to here an amazing up and coming blues guitarist who also write his own music don't miss it. He used to play with the Blue Collar Blues Band here in Detroit until he moved to San Fran. A.G. ========================================================================= Date: Sun, 2 Jun 1996 01:00:17 GMT Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: Junior Wells Comments: To: Tom Freeland >On 31 May 96 at 14:31, VT wrote: >> Has anyone seen Junior recently? How was he? Sorry, I didn't see the original post. I saw Junior Wells two Fridays ago down here in Orlando. (I've been meaning to post a report.) I'd never seen him live, so I was very happy to. Damned if I didn't walk in 30 minutes before the show and get a booth 10 feet from the stage! I was mostly impressed with the band -- eight pieces, including a three-piece horn section (trumpet, tenor sax, trombone) which I thought added a lot. The Swedish guitarist is still with him, Tom, and he has a young, "Jewish" keyboard player who wore a Three Stooges T-shirt. Junior said at one point, "Who say's you gotta be black to play the blues? I got two Jews and a Swede!" (The other "Jew," also a guitarist, had a bad night, I thought.) Maybe I saw an average Junior Wells performance. Maybe not. But he was still head and shoulders above most of the acts that roll through town, if only for my actually seeing him do "Messin' With The Kid" and "Standing Around Crying." I'd drop another $10 on him easy. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Sat, 1 Jun 1996 22:14:01 -0400 Reply-To: alison hardage From: alison hardage Subject: Re: Mandolin advise Comments: To: "Raymond O. Varner" There's a great documentary about Yank Rachel called "Louie Blue-ie" (or something like that) in which he talks about being a child and how there is nothing worse to have to hear than the sound of someone plunking on a mandolin when they're just learning to play. Try your local bluegrassers' hangout and get some advice from them - or check with Gruhn Guitar in Nashville. They have a great web site and an extensive and impressive inventory of stringed instruments. George Gruhn is a mandoliner, I believe, and there's a real interesting demonstration of how they rebuilt an old A Model. Like all Gibsons, they suffer from weak necks near the headstock. Good Luck. ========================================================================= Date: Sat, 1 Jun 1996 22:21:46 -0400 Reply-To: alison hardage From: alison hardage Subject: Re: Mandolin advise Comments: To: "Raymond O. Varner" Me again with more on Gruhn Guitars (615) 256-2033, M-Sat. 9:30-5:30 CT. 400 Broadway Nashville, TN 37203 USA http://www.gruhn.com/~gruhn/index.html ========================================================================= Date: Sat, 1 Jun 1996 19:29:32 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Harmonica Blow-off Scheduled for this year's 7th Annual Bill Rhoades Harmonica Blow-off are Mark Hummel, Paul deLay, Mark duFresne, Steve Bailey, Bill Rhoades, and two more players yet to be named. The Blow-off will be held at Portland, OR's Melody Ballroom on Saturday July 6,1996. It's a(n) harmonica glutton's wet dream! Five hours of harmonica, with only token guitar and piano solos! Uncle Ray ========================================================================= Date: Sat, 1 Jun 1996 22:59:43 -0400 Reply-To: JukeFreak@AOL.COM From: "(Karen Hanson)" Subject: Re: Muddying the waters >Little Walter, George Smith, George Buford, Paul Oscher, Henry Strong... I meant ones who were still alive, and therefore would be available for a reunion. Karen ========================================================================= Date: Sat, 1 Jun 1996 22:59:49 -0400 Reply-To: JukeFreak@AOL.COM From: "(Karen Hanson)" Subject: Corey Harris at Chicago Just got back from Chicago Blues Festival and boy, am I charged about Corey Harris! First of all, the man is everywhere! He played a few times yesterday; today he played at least twice; and tomorrow he plays again at least twice! I first saw him this morning at the Front Porch Stage. Before he played a man from Senegal had performed on a West African instrument called a kora. He was a storyteller as well, and explained how in African culture, a song is always about something that has happened. I noticed that Harris was in the pit listening, smiling, taking pictures during this time. How does this all relate? Well, Harris's set on the Front Porch Stage was excellent, but rather short. I was glad to find him playing later at the Juke Joint Stage, which is very small and in the street, where you can get right up close. So I did. And as he played and I listened, I realized that Corey Harris is a storyteller, too. As he introduced each song he would tell a little background for each one he had written: when he had the chicken pox; or when his mother told him she was worried about him; or when he played the streets of New Orleans and saw people drinking too much. I began to think, for me, this is what makes the blues real. It isn't about expressing emotions (which to me usually appears to consist of grimacing while bending strings), or being "technically proficient" (god, I hate that phrase), or using stock verses about crossroads and mojos. It's about telling a story. Whether this story is told instrumentally, with voice, or with a combination of both (like Harris uses), it's the completeness, the genuineness, the realness of the story that counts. And you know what? The crowd listened to him, and they understood. It was terrific. More later....on Corey Harris, and also Alvin Youngblood Hart and Guy Davis! Karen, Yes! Acoustic! The Best Ever! ;-) ========================================================================= Date: Sat, 1 Jun 1996 23:02:19 -0400 Reply-To: J Mac Mast From: J Mac Mast Organization: CampusMCI Subject: Re: MojoBluesBand? Comments: To: bit-listserv-blues-l@uunet.uu.net smirkyface wrote: > > I'm just wondering if anyone else out there has heard of the MojoBluesBand? > This band hails from that blues mecca AUSTRIA. I just got their latest CD > "RYTHM & BLUES PARTY, THE JAZZLAND SESSION, it features Red Holloway on sax > and was recorded live at the Jazzland in Austria. This CD will be their > tenth release to date and they're trying to get together a US tour. If > anyone's interested in booking them, I can put you in contact with their US > contact person. > > Standard Disclaimer Applies, blah blah blah, yakkity shmakkity. > > p.s. did I mention that I like the CD? > > BRIAN MCLEAN > PHOTOGRAPHY > & > SMIRKYFACE > PRODUCTIONS > "life's too short to live the blues" > http://www.netaxs.com/~blmclean I'm an R & B / Blues dj in the Carolinas and this new cd has 5 cuts that are smokin' dance floors from Atlanta to Richmond. Having spun this band's music for close to a decade, in my humble opinion they are one of the world's great recording acts for jump blues. Their first six albums were on Bellaphon label from Austria and their more recent releases are on EMI Austria. They've recorded with Axel Zwingenberger and Dana Gillespie to mention a few. By the way my fellow djs and I shell out about $30 each for these Austrian import cds. I'm currently working with a record label in SC in attempt to buy US release rights for the Bellaphon material. Will post to group as this develops. Mac ========================================================================= Date: Sat, 1 Jun 1996 23:19:00 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: The Blues Playground playist 6/2/96 TO: Commercial Radio Promotion FROM: Stew Crossen - WCCC 107 FM - Hartford, CT SUBJECT: The Blues Playground Playlist AIR DATE: June 2, 1996 ____________________________________________________________________________ Playlist for THE BLUES PLAYGROUND 6-2-96 ARTIST ALBUM LABEL TRK The Allman Brothers Decade Of Hits '69-'79 Polydor 1 Duke Robillard 20 Years Of Stony Plain Disc 2 Stony Plain 1 Carey Bell Carey Bell's Blues Harp Delmark 1 Catfish Keith Fresh Catfish Fish Tail 1 Tommy Castro Exception To The Rule Blind Pig 4 Sherman Robertson Here And Now Code Blue 12 ZZ Hill The Blues Is Alright Volume 1 Malaco 1 Ernie Johnson I'm In The Mood For The Blues Waldoxy 1 Little Milton The Blues Is Alright Volume 1 Malaco 2 Bobby Rush One Monkey Don't Stop No Show Waldoxy 3 The Beat Daddy's South To Mississippi Waldoxy 3 Keri Leigh Arrival Waldoxy 6 Muddy Waters Chess Box Set Disc 3 MCA Chess 19 Madcat & Kane Key To The Highway Schoolkids 2 Mark Nomad Got To Carry On Blue Star 2 ____________________________________________________________________________ The Blues Playground - Sundays at 9pm on 107 FM WCCC - Hartford, CT 50,000 watts of Blues Power! Host/programmer: Stew Crossen 18 Boxwood Drive Vernon, CT 06066-5106 Tel: 800.970.5151 Web: http://www.neca.com/~bfstew E: bfstew@neca.com Reporting to: Living Blues, The Hard Report, BluesWire, The Blues Audience Stew Crossen is a member of the Connecticut Blues Society ========================================================================= Date: Sat, 1 Jun 1996 23:28:00 GMT Reply-To: Igor Isakovski From: Igor Isakovski Organization: MEDIS-informatika Subject: CODE BLUE address On Sat, 1 Jun 1996, TDominey wrote: > Anyone know the homepage or e-mail address for Code Blue? Here it is: codeblueus@aol.com igor.isakovski@informa.mk --- ~ SPEED 2.00 [NR] ~ "It's ME or That BLUES!" she said... I'll miss her.. ========================================================================= Date: Sun, 2 Jun 1996 00:09:23 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Re: BB & Sampling Comments: To: Barry Silverberg On Fri, 31 May 1996, I wrote "Whenever an artist samples a record, s/he is SUPPOSED to pay for it. The copyright law doesn't allow for free swiping of RECORDED music." Later that night (or early on June 1), Barry Silvernerg wrote: "Correct me if I am wrong but I understood that you could use up to a certain number of bars and that would not require payment. I was told this in reference to advertising and music usage. Is my info wrong?" Well, the weasel answer is "it depends." Trouble is, that's also the CORRECT answer. A lot of people have heard that there is some magic number for how much you can use. I have a riend who is a librarian. Her national libarary group has this 50-or-so page guideline on what can be photocopied, used, etc. It says "X number of lines of poetry, if the poem is over Y lines, but A number if it is less than B lines. Blah blah blah." It is completely and utterly worthless. The copyright law has no magic number or percentage. There is a four part test to decide if a copyright has been violated. A court (if you get sued) will look at things like: how much of the original you took/ sampled/ used/ recorded/ whatever you did with it; the character of your use (i.e. how much the work is "for profit"); the character of what you took; and a few other things. Then, the court weighs what it has found. (Yeah, a very "touchy feely" test, but it's all we got.) Again, let me emphasaize: there is no PERCENTAGE or NUMBERS test. You can violate it by using two bars of music, as Vanilla Ice *patooie* did with Queen's "Under Pressure." Heck, it is POSSIBLE to be in violation if it's just ONE NOTE, although this is only true for sampling and not for the song, i.e. the written part. Of course, someone has to be able to say "Hey, he took our note!" Highly, unlikely . . . unless the note is James Brown's "Hey!" or some such totally recognizable thing. Now, onto the nitty gritty. First, if you are using a sample for a strictly commercial venture, that's strike one. Advertising is high on the list, maybe the highest, because you are trying to sell a product. Interestingly, even though we all know that selling records or movies is commercial, courts looks at them as artistic ventures. Thank goodess. Still, if it's for another song, as rappers do, or a movie, the court will look at the type of film or song, e.g. independant or big company. Second, they look at how much you used. This is where you hear things like "If I change half of the notes, everything is okay" or "If I only sample four bars, that's legal." But, that's not true. True the court will look at how much is used. But, they wrap this into the next part of the test. That part is the nature of the piece you used. To demonstarte how these two parts work together, let me tell you about a case that involved a book. I know it's not music, but it is still very important copyright law. More importantly, the test is the same whether it's a book, music, movie, or poem. Unfortunately, I can't remember the exact case name (which is called "the style of the case," if you ever wanna impress your stuck up lawyer friends). But it involved Gerald Ford's memoirs and a magazine that published part of them before the book was released. As is common in all publishing fields, magazines were sent a review copy of Ford's memoirs. In the meantime, "Time" magazine (I think; it was one of the naional weeklies) had the rights to serialize parts of this book. Soon after, the book was going to be released. Now, everyone who was interested in that book was looking forward to one chapter in particular: what Ford knew about Watergate. (As one woman said to me "what else in there would anyone even care about?") "Time" (or whoever) DID NOT get the serialization right to this part. Hey, it was the hook, right? The publisher was not gonna give it away. They wanted to entice the public into buying the book. Well, one of the magazines that got a review copy publsihed a few hundred words out of the book's thousands upon thousands of words. Mostly, what they published were about Watergate. The book's publisher sued and won. The magazine said "Hey, we took less than 1% of the book. Besides, this is news." The court agreed with the publisher who said "They took THE HEART of the book. And it ain't news NOW. It's ten years old." So, if you take the heart of a work, you are judged more harshly. In music, that may be the big hook in the song, like, again Vanilla Ice *patooie* taking the bass line from Queen's "Under Pressure." A very small percentage of the song, but the KEY part, the "heart of the work," if you will. However, and here is the kicker, WHENEVER you sample PRE-RECORDED music, you are gonna hear about it if someone from the publisher hears about it. Why? Courts don't look too kindly on what they consider simple stealing. "Hey, if this guy/ woman/ group had any talent, they wouldn't be just stealing someone else's stuff." This is very different from using one line of someone's song in one that you have mostly written yourself. Think of Zeppelin's "squeeze my lemon 'til the juice runs down my leg" which they swiped from (God, I hope this is right) Robert Johnson. Had they actually SAMPLED the line from Johnson, Columbia would have been all over them like Patrick Roy on a loose puck. Now, I know this is quite confusing. Trust me, even the lawyers and courts don't get it right sometimes. It's like art or pornography. "I can't describe it, but I know it when I see it." So I'll give you a very easy rule: RULE ON SAMPLING: If you are sampling from someone else's pre-recorded music and your work is going to be used for ANY sort of commercial venture - and I mean ANY: advertsiing; selling a song of your own; in a film; even for use on stage with a live band - don't do it without permission. If you do, be ready for a lawsuit. If you're a musician and don't sell any copies or it's for a bar gig that you only make a few hundered bucks on, chances are they won't go after big money (although they could). They'll just get an injunction which is a fancy word for a court saying "Stop it, or you'll be in REAL big trouble next time." But, you'll have wasted several hundred bucks on attorney's fees. And if you are caught again, you could face severe penalties and even jail time for being in contempt of court for violating the injunction. Courts kinda see violating injunctions as thumbing your nose at them. Not a good thing. If you are doing it for purely commericial reasons (e.g. advertising) or your band makes a heap o' loot off of it, you'll get an injunction AND some serious fines. Usually, the fines plus the cost of the lawyer is MUCH more than you would have spent on a license or hiring a writer & performer. My advice to anyone thinking of sampling for commercial gain is simple: don't sample. Write and record your own stuff or hire someone to do it for you. You'll give someone a break, meet a nice person, and stay out of court. If you have to sample for true artistic reasons (e.g. you're a rapper) AND you plan to release the song, GET PERMSISION!!!!! There is nothing so bad for your career as getting that recording contract based on a great demo, getting the song relased, and then getting sued. Just as the song is headed up the charts - on its way to Number 1, no doubt - a court issues an injunction, and the single is pulled. Ow. You'll watch your career getting flushed. If you sample and it's for purely personal use (e.g. a song that only you and your friends will ever hear), who cares? Just don't try to sell it. One last note for those of you that I have now scared out of even making cassettes for use in your Walkman: a relatively new section of of the copyright act (section 1088) says that it is TOTALLY, COMPLETELY, 100% LEGAL FOR YOU TO MAKE NON-COMMERCIAL (for you, a friend, Mom, etc., but not to sell) COPIES OF PRE-RECORDED MUSIC! So, keep those mix tapes coming, and so will I. Just don't charge for 'em. Happy June 1, Gavin ========================================================================= Date: Sat, 1 Jun 1996 22:30:45 -0800 Reply-To: James Carmin From: James Carmin Subject: Chicago Blues Fest for the rest (of us) Those of us who aren't in Chicago right now, damn it, might want to check out the Chicago Tribune site for the Fest at: http://www.chicago.tribune.com/fun/blues/blues.htm Includes pictures of Sons of Blues, Bobby Parker and others, and an article on Alligator's Bruce Iglauer. A poor substitute for being in Grant Park though. James C. jcarmin@teleport.com ========================================================================= Date: Sat, 1 Jun 1996 22:34:33 -0800 Reply-To: James Carmin From: James Carmin Subject: John Kahn has died Just learned from the SF Chronicle that John Kahn, who played bass with the Paul Butterfield Blues Band, Nick Gravenites, and John Lee Hooker, and more recently with Jerry Garcia, has passed on Thursday May 30. James C. jcarmin@teleport.com ========================================================================= Date: Sat, 1 Jun 1996 22:39:32 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Muddying the waters "Mo-Jo" Buford and Paul Oscher(Brooklyn Slim) are still alive. Uncle Ray ---------- From: (Karen Hanson)[SMTP:JukeFreak@AOL.COM] Sent: Sunday, June 02, 1996 2:59 AM To: Multiple recipients of list BLUES-L Subject: Re: Muddying the waters >Little Walter, George Smith, George Buford, Paul Oscher, Henry Strong... I meant ones who were still alive, and therefore would be available for a reunion. Karen ========================================================================= Date: Sun, 2 Jun 1996 08:12:42 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: BB & Sampling Comments: cc: Gavin Arneaux <102554.471@COMPUSERVE.COM> Just a quick post to say that Gavin Arneaux' post about the legal ins-and-outs of sampling was brilliant - the sort of thing that provides practical information in a sensible, easy-to-understsand way, and a sterling example of the best way to use this blues resource that we have all established. Unless he objects strenuously, I'd like to copy it, and pass it on to the various musicians with whom I work (and to whom I sometimes lecture at music schools). If you missed the post, ask him to forward it to you. Richard the Elder ========================================================================= Date: Sun, 2 Jun 1996 13:14:54 GMT Reply-To: Russ Evans From: Russ Evans Organization: The Natural Environment Research Council Subject: Re: Dave Grusome Comments: To: bit-listserv-blues-l@britain.eu.net MR ROI W BROWN writes: >I'm looking for the cassette album "Honest to Duke" with the song >"Things ain't what they use to be" with the above artist & is a GRP >Prod release. Can you help me? Thank you. Don't you mean 'Grusin'? And is he not the 'G' in GRP? And if it's a vocal, is it possible that the number is listed as "Duke's Place"? (More or less the same tune, especially when you remember that there are several minor variants on the original instrumental). Oh, and isn't it by Mercer Ellington, too? Russ ========================================================================= Date: Sun, 2 Jun 1996 06:44:10 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Heart & Soul back on the air! Hi all. It looks like SDF-Radio is back up and running on the web, which means that the fourth installment of my one-hour show, Heart & Soul, is finally ready for your aural entertainment. This week the focus is on the work of Pinetop Perkins, as well as several tracks from the Sam Cooke's SAR Records box set. For those interested in checking it out, here's the playlist: 1.Loving Mother For You -Billy Boy Arnold 2.Wah Wah Blues - Earl Hooker (with Pinetop Perkins) 3.Hello, Little Baby - Snooky Pryor (with Pinetop Perkins) 4.Jealous-Hearted Man - Muddy Waters (with Pinetop Perkins) 5.Take Out Some Insurance - James Cotton (with Pinetop Perkins) 6.Yancey Special 7.Pinetoppin' 8.After Hours 9.Pinetop's Boogie Woogie - Pinetop Perkins 10.Somewhere There's A God - The Womack Brothers 11.Amazing Grace - The Soul Stirrers 12.Somebody - R.H. Harris & His Gospel Paraders 13.Evidence - Art Blakey & The Jazz Messengers To hear the show, you'll need IWave (for 14.4 connections) or RealAudio 2.0 (for 28.8 connections). I hope you'll all check it out, and I'd appreciate your feedback! And in case you missed it, the third show is also still available. The URL is: http://sdf-radio.colossus.net/ -Jim (hndful@uniserve.com) 'not affiliated with much of anything' ========================================================================= Date: Sun, 2 Jun 1996 09:39:00 EDT Reply-To: Debra Eisert From: Debra Eisert Subject: help -- who is ...? While trying to listen to the broadcast of the Chicago festival last night through static and a badly fading signal, I was impressed by what I could hear of the closer, a female singer named ____ Lynn. Can anyone give me her name, and maybe tell me something about her? If she has any cd's out, which to buy? I seem to have heard that she come from Houston. Thanks! ##################################################################### Debra Eisert "It is possible to store in the mind a debra@iglou.com million facts, and still be entirely Cincinnati, OH uneducated." -- Alec Bourne ##################################################################### ========================================================================= Date: Sun, 2 Jun 1996 11:03:24 -0500 Reply-To: MR BOB DAVIS From: MR BOB DAVIS Subject: Re: Jimmie Vaughn - Living Off of The Dead ?? Comments: To: sprice@inav.net, seale@bioc02.uthscsa.edu, wd6ehr@kaiwan009.kaiwan.com, redox245@electrotex.com, scottf@airmail.net Steve I can appreciate your position. Stevie Ray himself is a good example of the point I am getting to. This music that we are talking about (Which I refer to as FUNK) is nothing more than the most powerful force in popular music in the 20th century. When I listen to Stevie Ray's music I don't hear "a blues guitar hero", instead I hear "Jimi Hendrix biggest fan". When I listen to Jimi Hendrix I don't hear the "greatest rock guitarist of all time", I hear "James Brown & Chuck Berry on acid" . When I listen to James Brown I don't hear "The hardest working man in show business", I hear "Big Joe Turner movin and groovin". When I listen to P-Funk I don't hear "the greatest funk band of all time", I hear "Jimi Hendrix just havin some fun with all of us". When I listen to Chuck Berry, I don't hear "johnniebgoode", Instead I hear "a delta juke joint cleaned up for popular consumption" & finally back to the original points........... 1. When I listen to Ice Cube I don't hear "gangsta rap", instead what I hear is "Muddy Waters ......with FREEDOM" If you won't take my word for it, take a listen to the words & music from "I'm Ready" - Muddy Waters and compare it with the words and music of "The Nigga Ya Love To Hate" - Ice Cube. If you are willing to take the 10 min. or so required to do so you will discover: a. The topic is the same (What sometimes happens in situations involving white people & what I am prepared to do if anyone "starts some shit", especially if I am high at the time !!!) b. The beat and tone of the music is very similar. c. The price paid for ANY Black man in this situation who acts like a MAN is likely very high (Jail or worse) 2. Unfortunately for Jimmie Lee he just doesn't stack up. IMHO he is simply passable (it's not his fault.....everyone can't be GREAT) He is simply burdened with the fact that his "baby brother" is/was GREAT and is now dead. I challenge anyone on this list who wishes to elevate the discussion above "hero worship", move beyond "labels for music" (remember these labels originated in the fact that record companies had to create a mechanism to segregate markets) and talk about the factors which have enabled this music (Which I happen to call FUNK merely as a convenience) to evolve during the 20th century. This dicussion is what the FUNK web page, BB & chats are all about. Peace Live Funk Chat (P*Funk, Hendrix, Chick Corea, James Brown, Billy Cohham, Sly Stone, Living Colour, Kool & The Gang, War, Passport, AWB, Rick James, Cameo, Miles Davis, Lakeside, Stevie Ray Vaughn, D'Angelo, Jimmy Castor Bunch, Manu Dibango, ) on Prodigy Wend. & Sat. 9pm - 10pm est. mailto:earthjuice@prodigy.com http://pages.prodigy.com/funk -------- REPLY, Original message follows -------- > Date: Saturday, 01-Jun-96 01:08 AM > > From: Steve Price \ Internet: (sprice@inav.net) > To: Earth Juice \ PRODIGY: (VPKZ84A) > > Subject: Re: Jimmie Vaughn - Living Off of The Dead ?? > > On Fri, 31 May 1996, EARTH JUICE wrote: > > > Unlike you I have absolutely no need to buy "compilations" > > I already own a copy of every single T'birds album, I bought em when > > they first came out while living in Houston Texas during the early to > > mid 1980's. This was long before anyone outside of the state of Texas > > (& probably even you "Mr. Compilation Buyer" had heard of either the > > T'birds or Double Trouble. I have also seen both groups perform live > > DOZENS of times. > > I guess I thought about reply as sarcastically to this and EARTH > JUICE's message in which he demonstrates his qualifications for > addressing the subject of hip-hop (a native New Yorker). I suspect the > source of desire to contradict you eminated from what comes across as the > arrogance of your one line of dismissal of J. Vaughn, and neither does it > sound like you caught the jist of the recommendation for the compilation > album. I'm sure people would be much more interested in your opinions if > you gave reasons for them instead dismissing others and bolstering yours > with your credentials (listed above and elsewhere). > > The fact that you saw them dozens of times, and own the records, > are you saying that you like their music? Why be so dismissive of J. > Vaughn? Are you simply tired of listening to him after so long of an > exposure? I'm honestly trying not to respond sarcastically and to engage > you in a conversation that will lead somewhere. I don't think there's a > single member of this list whose interest is limited to removing blues > from a discussion of other genres (as you said in your hip-hop post), or > from its historical situation, or its connections with anything. I think > if you've drawn that conclusion you've sorely misread what has been going > on here. > > Neither does anyone want to disabuse you of your firmly held > convictions and opinions. It would just be more useful if you explained > them. > > Steve > > > -------- REPLY, End of original message -------- ========================================================================= Date: Sun, 2 Jun 1996 13:51:06 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: flame bait > From: MR BOB DAVIS > Subject: Re: Jimmie Vaughn - Living Off of The Dead ?? Well here's another one. Folks, we have seen this here before and undoubtedly will see it here again. Might I suggest we give this subject and sender exactly what it/he deserves? Ignore it and it will go away. Don O. ========================================================================= Date: Sun, 2 Jun 1996 14:08:29 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: Robert ealey Fans of Robert Ealey should look out for the re-issue of Robert's Topcat CD on Blacktop. WARNING This is the SAME CD put out by Topcat, with one less track. However, for some strange reason, they have chosen to re-title it "Turn Out the Lights". This has the same content as Topcat's "If You Need Me" (with one less track). I'm happy to see Robert getting the extra exposure Blacktop will give him, however retitling the CD is pretty obnoxious and will undoubtedly lead a few folks to unknowingly buy a CD they already have. As long as I'm crabbing, I must say I find it very annoying when CDs do not have the number and time the songs on the back of the CD. Topcat did, Blacktop doesn't. Don O. ========================================================================= Date: Sun, 2 Jun 1996 15:36:45 -0500 Reply-To: MR BOB DAVIS From: MR BOB DAVIS Subject: Re: JIMMIE VAUGHN - LIVING OFF Comments: To: don.o@chrysalis.org "thou doth protest too much" It seems to me that your goal is to keep the "blues" in a nice little box, unavailable to the masses (unlike it's practitioners who were commercial/popular musicians) Your personal attacts don't faze mw in the least, you see I understand your need to keep the blues "seggregated". Peace Bob Davis - Live Funk Chat (P*Funk, Hendrix, Chick Corea, James Brown, Billy Cohham, Sly Stone, Living Colour, Kool & The Gang, War, Passport, AWB, Rick James, Cameo, Miles Davis, Lakeside, Stevie Ray Vaughn, D'Angelo, Jimmy Castor Bunch, Manu Dibango, ) on Prodigy Wend. & Sat. 9pm - 10pm est. mailto:earthjuice@prodigy.com http://pages.prodigy.com/funk -------- REPLY, Original message follows -------- > Date: Sunday, 02-Jun-96 02:56 PM > > From: Don.o@chrysalis.or \ Internet: (don.o@chrysalis.org) > To: Earth Juice \ PRODIGY: (VPKZ84A) > > Subject: RE: JIMMIE VAUGHN - LIVING OFF > > > This dicussion is what the FUNK web > > page, BB & chats are all about. > > Swell. So keep it there. Your inflammatory bullshit pseudo- intellectual > blathering is the most inept post I have seen on blues-l in months. > Blues-l is a group of people that are interested in discussing blues, not > your inane lightweight opinions. Your complete ignorance is only exceeded > by your desire to exhibit it. A few may rise to your flame bait, but not > for long. > > > -------- REPLY, End of original message -------- ========================================================================= Date: Sun, 2 Jun 1996 16:07:04 -0400 Reply-To: Bronxharp From: Bronxharp Organization: America Online, Inc. (1-800-827-6364) Subject: Mark The Harper on Manhattan Cable TV 6/3 Comments: To: bit-listserv-blues-l@uunet.uu.net On Monday, June 3, NY area Bluesman Mark The Harper will be featured on an 11 minute segment of the Manhattan Cable TV (New York City) show "Young, Gifted, & Broke", on Channel 69. The program begins at 12:30 am (actually Tues. Morning). A full half-hour episode of the show will be devoted to Mark The Harper on either Mon. June 10 or 17. Stay tuned to this message area or newsgroup for the exact confirmed date. The full half-hour program will include parts of an interview with Mark, as well as footage from his historic 1994 European concert in Faro, audio segments from his debut album "Man On A Mission", and possibly footage from his 1986 appearance on "The Joe Franklin Show" as well. Y'all tune in now, y'hear? Thanks ========================================================================= Date: Sun, 2 Jun 1996 16:09:03 -0400 Reply-To: Bronxharp From: Bronxharp Organization: America Online, Inc. (1-800-827-6364) Subject: Blues in Greenwich Village & NJ This Week Comments: To: bit-listserv-blues-l@uunet.uu.net Harmonica-slinger Mark the Harper and the Journeymen will be tearing it up at Fannie's Oyster Bar in New York City this coming Thursday, June 6 from 9 pm - 1 am. Fannie's is at 765 Washington St in West Greenwhich Village, Manhattan (betw W. 12 and Bethune Sts). The # there is 212-255-5101. We will also be at Scotland Yard in Hoboken, NJ this coming Sunday, June 9 from 9 pm - 1 am. Scotland Yard is located at 72 Hudson Street, diagonally across from the PATH station. Their # is 201-222-9273 There is NO COVER for either show. We'll be rocking out with classic blues covers by the masters, including Muddy, Sonny Boy and Little Walter, and kickin' out some truly happening originals, too. CDs and tapes will be available. As usual, we will have the verrrry dangerous axeman, Alexander Rastopchin with us on lead guitar. Be there! ========================================================================= Date: Sun, 2 Jun 1996 17:17:31 -0400 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Koko Taylor's Getting Married! I received this note from Gerald Harris, son of the groom, and am posting here with his permission. His e-mail addreess is BlakCat@aol.com if you'd like to pass on your congratulations. Mr. Hays Harris is a Chicago businessman and quite the jazz and blues lover. --------------- Did you know... that on June 9th, 1996, Queen of the Blues--Koko Taylor will be marrying Mr. Hays Harris of Chicago, IL. Yep it's true! Reason I know is cause he's my dad. Among the invited guests are Dan Ackroyd, Oprah Winfrey, Michael Jordan, Mayor Richard Daley and Jesse Jackson. And guess who's giving the bride away...none other than Mr. Buddy Guy. It would have been the King of the Blues, B.B. King, but he'll be in Japan that weekend. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Sun, 2 Jun 1996 14:56:20 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: BB & Sampling Comments: To: rflohil@INFORAMP.NET In-Reply-To: from "Richard Flohil" at Jun 2, 96 08:12:42 am > > Just a quick post to say that Gavin Arneaux' post about the legal > ins-and-outs of sampling was brilliant - the sort of thing that provides > practical information in a sensible, easy-to-understsand way, and a > sterling example of the best way to use this blues resource that we have > all established. And I agree. Oftentimes those of us who haven't studied law come up with some mighty absurd conclusions based upon hearsay, but when we hear law explained properly from a knowledgeable person, then it all falls into place and makes a lot of sense. > Unless he objects strenuously, I'd like to copy it, and pass it on > to the various musicians with whom I work (and to whom I sometimes lecture > at music schools). If you missed the post, ask him to forward it to you. As would I (even though I think he may have covered this in the "fair use" part :-) -- IronMan Mike Curtis ========================================================================= Date: Sun, 2 Jun 1996 15:41:13 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Popper (was THINGS I HAVE READ) > You brought up an interesting point: I think we can all agree that there's > no such thing as "best" anything when it comes to art and music, because > there's no standard for "best"--it can't be measured objectively. How can > you measure the "soul" you referred to? But one CAN measure fastest...not > that I want to, but one could actually count notes per second or whatever, > and arrive at a definitive "fastest". Here's what I think may happen too > often: because people can't measure best because there's no acceptable > yardstick that everyone can agree upon, they end up measuring things with > the only yardstick they can find in order to determine what's "best". Hence > those who think that John Popper is the "best" harp player, or Melvin Taylor > is the "best" blues guitarist, etc. But Popper isn't the fastest, either. While most blues players concentrate on the slower more soulful styles, there are jazz players who use speed as well as other techniques required for jazz. And since the popularity of BT, I've seen a lot more harmonicists working on Popperesque "fast licks". BTW, Winslow Yerxa, publisher of Harmonica Information Press, has tabbed out Poppers solos on (I believe) four albums. I'm not knocking Popper. He has taken harmonica in a new direction and to a new audience. I just agree with him - no one can say anyone is "best". Music is subjective. It's not the Superbowl, where the second best team in the whole world is considered to be a "loser" - especially after having placed second several years in a row! Like all successful musicians and entertainers, Popper is a "winner". I guess it's more like hockey, where everyone makes the playoffs except a couple of teams :-) -- IronMan Mike Curtis ========================================================================= Date: Sun, 2 Jun 1996 18:44:11 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Jimmy Rogers &/or Ronnie Earl This weekend I was convinced to buy a CD by Jimmy Rogers and Ronnie Earl (on Bullseye, btw), and it blew me away. Does anyone have any suggestions for any other discs by either of these two? Gavin ========================================================================= Date: Sun, 2 Jun 1996 18:44:26 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Where stores file stuff I have read some stuff about finding Blues Traveler under blues. I wouldn't put down the store employees, though. Here's why. A few years ago, I knew the manager of one of the local Camelot stores. I was looking for Gerardo (remember, "Rico Suave"?) because my girlfriend really, REALLY wanted it for her birthday. (Yeah, I know: I'm WAY TOO nice.) I could not find it under rap. So, I finally asked a store clerk where it was. She said, "Oh, the owners make us put WHITE rappers under pop. Only black acts go in rap." So, next time you see Blues Traveler in the blues section, remeber, it may not be the clerk's fault. It may be his or her boss who is making them put it there. Then again, I have never really been comfortable with these categories in stores, mostly because I have to hunt all over the store for stuff. In one store I frequent, U-2, who has had huge success on both the album and singles charts, is filed under "alternative" while Frank Zappa, arguably one of the most cutting edge musicians ever, is under pop/rock. Meanwhile, Prince isn't under black/R&B (he's in pop/rock), but Hall & Oates is. I wish I could find a store that has the fewest categories manageable. I'd like to see (1) classical, (2) soundtracks and other various artist discs, and (3) pop/ rock/ R&B/ blues/ country/ etc. all in one place. (Yeah, I have left out a lot of categories like aerobic and comedy. But you get the picture.) I know that a lot of you will disagree, especially where blues is concerned. "Blues deserves its own category." Personally, I don't care about that; whether a musical style has its own place in a store does not concern me in the least. I am concerned about FINDING my music. I think that it would make it EASIER for me to find blues stuff in the store if there was one big category. I mean, if the store has Blues Traveler under blues, maybe they really do have that Chris Cain or Roben Ford or Little Walter disc, too. But maybe it's just been filed under rock (where I've seen Little Walter) . . . or pop (where I've seen Cain). . . or jazz (where I've seen Ford). However, if it was all filed alphabetically, I'd know exactly where to find them: Cain under "C;" Ford under "F;" and Little Walter under either "L" or "W," depending on the store. Okay, so it's not a perfect system. Better than leaving the store empty handed because Tinsley Ellis is under country and you never thought to look there, isn't it? Gavin ========================================================================= Date: Sun, 2 Jun 1996 18:55:18 -0400 Reply-To: Bronxharp From: Bronxharp Organization: America Online, Inc. (1-800-827-6364) Subject: HOLMES BROS atCancer Benefit tonight(6/2) Comments: To: bit-listserv-blues-l@uunet.uu.net I *THOUGHT* I posted this already, but when I checked the posts a couple of hours later, it was not on, (though a couple of my later ones were), so I figured I did something wrong when posting. So I am trying again. If this is a duplicate, I APOLOGIZE for the redundancy. As this is an important benefit for a good cause and deserving person, I wanted to make sure the latest word got out. Thank you. -------------------------------------------------------------------------- ------- Just placed a call to MOTHER's Rt. 23N, Wayne NJ to find out more specifics about Karon Brandt Benefit today (please refer to earlier post: "Benefit in NJ for Cancer-stricken Bluesbabe" (SUNDAY JUNE 2) I was told that THE HOLMES BROTHERS were headlining the shindig tonight, taking the stage at 10 or 10:30pm. The whole affair starts at 3 pm, and there will be great New Jersey Blues bands all day. ALL THIS FOR ONLY $8, proceeds to go to Karon's medical bills. The phone # for Mother's is 201-633-5544 I hope this gets posted in time! ---M.T.Harper ========================================================================= Date: Sun, 2 Jun 1996 19:15:14 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Jimmy Rogers &/or Ronnie Earl Comments: To: Gavin Arneaux <102554.471@COMPUSERVE.COM> In-Reply-To: <960602224411_102554.471_HHV49-1@CompuServe.COM> On Sun, 2 Jun 1996, Gavin Arneaux wrote: > This weekend I was convinced to buy a CD by Jimmy Rogers and Ronnie Earl > (on Bullseye, btw), and it blew me away. > Does anyone have any suggestions for any other discs by either of these > two? 2 that I like are ...... Ronnie Earl - Still River on Audioquest Joe Beard & Ronnie Earl - Blues Union on Audioquest Joe Harley does get a lot out of Ronnie Earl .... and Joe is also looking to get more out of Joe Beard. There's been plenty of rap here on the Joe Beard CD and it looks like more music will be due out from this team. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sun, 2 Jun 1996 19:38:19 -0400 Reply-To: USBLUE5@AOL.COM From: "Gordon, Rich" Subject: Re: Out of Touch (no blues) Comments: To: robbiev@interaccess.com I made it to Chicago Bluesfest on Friday. I was sporting the Blues-L sweatshirt. "Audit" came by to say hello. It was a pleasure meeting you. Rich Gordon ========================================================================= Date: Sun, 2 Jun 1996 19:13:54 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: Robert ealey At least one person was a little taken aback by my warning about the new Robert Ealey CD on Blacktop. Let me clarify things a bit. I like the CD. I like it a lot. I like Robert Ealey. I like him a lot. What I don't like is Blacktop re-titling a previously issued CD with the same content. This adds to the confusion about whether this is a new release or a reissue. If you look real close in the fine print on the back it says "Executive Producers for reissue-.." and that's the only clue that it is one (unless you have the track listing for the Topcat CD handy). The Blacktop Freddie King reissue had a banner across the front that said "Blacktop Classics" or something like that. The Robert Ealey reissue does not. My only concern was that blues-l members that had taken the trouble to find and purchase the original Topcat issue would re-purchase something they already had. Hope this clears things up and will mollify the concerns that I was mad at Robert Ealey. Don O. ========================================================================= Date: Sun, 2 Jun 1996 19:09:58 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Boozoo and the hazards of barbecuing Zydeco musician Boozoo Chavis had a steel barbecue pit slam down on his left hand on May 23, and the tips of the index and middle fingers of that hand had to be amputated. Apparently the injury hasn't slowed Boozoo. According to an article in the New Orleans Times-Picayune, Boozoo was up and playing the weekend after the accident. Michael Tisserand, who is writing a book about zydeco saw him onstage three days after the accident. The Times-Picayune quotes Tisserand as saying, "He was playing like he always plays -- like he has something to prove, and this time he was proving he could play with one hand tied behind his back, basically. He could. The dance floor was packed and he sounded great." Boozoo was scheduled for an appearance in New York on Friday and has a July 4 date at the Washington Monument. Bill Morgan From: The Big Easy ========================================================================= Date: Sun, 2 Jun 1996 17:35:44 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: 1996 Long Beach Festival The line-up has been announced for the Long Beach Blues Festival this year. The festival will run over all three-days of the Labour Day weekend and while I don't have a list of who is playing on what day here is what I remember (I was in the car listening to KLON at the time). Bobby Blue Bland, Gatemouth Brown, Lowell Fulson, Charles Brown, Johhny Copeland, Long John Hunter, Angela Strehi(sp?), Marcia Ball and Lou Ann Barton were all mentioned as being on the bill. And there were others. When I get a full list I will post it (unless someone gets in there before me). Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Sun, 2 Jun 1996 19:31:29 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: KNON LB poll May KNON Top 20 Blues Albums May 1996 Living Blues Poll 89.3 FM Dallas, Texas 55,000 watts Texas Blues Radio-Monday through Friday 6-8 pm artist/album/label 1. The Prowlers/On the Prowl/Bullseye 2. Bob Kirkpatrick/Going Back to Texas/JSP 3. Dickey Williams/Full Grown Man/Ichiban 4. Long John Hunter/Border Town legend/Alligator 5. Otis Grand/He Knows the Blues/Sequel 6. Ernie Johnson/In the Mood/Waldoxy 7. Otis Rush/Live In Japan 1986/Sequel 8. Studebaker John/Tremolux/Blind Pig 9. Lonnie Brooks/Live at Peppers/Blacktop 10. Bobby Patterson/Second Coming/Proud 11. Michael Osborn/A Background in the Blues/Blue Rock'It 12. Oscar Harpo Davis/Oscar Harpo Davis/self 13. Sonny Rhodes/Out of Control/KingSnake 14. Sarah Brown/Sayin What I'm Thinkin/Blind Pig 15. W.C. Clark/Texas Soul/Blacktop 16. Alligator 25th Anniversary/Alligator 17. Buddy Guy/The Real Deal/Silvertone 18. Preston Shannon/Midnight in Memphis/Bullseye 19. Duke Robillard/Duke's Blues/Pointblank 20. Harmonica Fats and Bernie Pearl/Blow Fat Daddy Blow/Bee Bump Don O. Blues Format Director don.o@chrysalis.org end ========================================================================= Date: Sun, 2 Jun 1996 19:31:32 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: New blues CDs: May The following new Blues CDs were received at KNON FM in Dallas during May 1996 Artist/Album/Label Dick Powell/Blue Plate Special/self Paul Black/King Dollar/HOB John Mooney/Against the Wall/HOB Eric Clapton/Crossroads 2/Polydor Harmonica Fats & Bernie Pearl/Blow Fat Daddy Blow/Bee Bump Various/KING R&B Box Sampler/King Various/Music from Heaven's Prisoners/Code Blue Bob Kirkpatrick/Going Back to Texas/JSP Bobby Patterson/Second Coming/Proud Kim Lembo/Mama Lion/Blue Wave Tommy Shreve Band/Blue River/Bayou Blues Coco Montoya/Ya Think I'd Know Better/Blind Pig Oscar Harpo Davis/Oscar Harpo Davis/self Michael Osborn/A Background in the Blues/Blue Rock'It Kenny Kay/High Winds Expected/self Texas Son/Bootleg Blues Guitar/self Willie May/Blue Decade/self Saffire/Cleaning House/Alligator Floyd Dixon/Wake Up and Live/Alligator Frank Frost & Sam Carr/Together/Evidence Paul deLay/Take it from the Turnaround/Evidence Carl Weathersby/Don't Lay Your Blues On Me/Evidence Brewer Phillips/Homebrew/Delmark Lacy Gibson/Crying For My Baby/Delmark Johnny B. Moore/Live at Blue Chicago/Delmark Alvin Youngblood Hart/Big Mama's Door/Okeh Bo Diddley/A Man Amongst Men/Code Blue end ========================================================================= Date: Sun, 2 Jun 1996 21:21:34 -0400 Reply-To: JammerV@AOL.COM From: "James V.P." Subject: un-subscribe blues-l un-subscribe blues-l ========================================================================= Date: Sun, 2 Jun 1996 22:06:56 -0400 Reply-To: "jose.eric.s.maglanque" From: "jose.eric.s.maglanque" Subject: DOCD's Gospel Classics and Vocal Groups Would anybody recommend Document Records' Gospel Classics series (Vol. 1 - 3) and their Negro/Black Vocal Groups series? Private e-mail pls. ========================================================================= Date: Sun, 2 Jun 1996 22:25:49 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Live CD's Does anyone know a RELIABLE source for any of the many live CD's I've been reading about on this discussion list? I have seen a lot of fly-by-night mail order companies, some of which have just taken my money and disappeared. (Hence, the name "fly-by-night.") Thanks in advance, Gavin ========================================================================= Date: Sun, 2 Jun 1996 22:26:07 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Re: BB & Sampling (copyright law: FAIR USE) I have gotten some very nice comments about my litle essay on sampling and copyright law. Thank you very much. But, Mike Curtis and Tom Freeland did mention something that I did not really touch upon, and that's "Fair Use." Like the other parts of the copyright law, this is pretty touchy feely. It's easier to say what the result of "Fair Use" is rather than what "Fair Use" actually is. The result of a court deciding that your use of a copyrighted work, whether it's a book, musical score, or sample, is that you have not infringed. Of course, you gotta go through a law suit to get there. "Fair Use" is typically seen in such areas as teaching, reviews, and news. For example, if a teacher copies a passage of a book for use in class (as a law school professor of mine once did with, of all things, an essaye by P.J. O'Rourke), that's usually "Fair Use." Same as quoting a small passage of a book for a review. No copyright violation. I am not sure how sampling could be "Fair Use." Unless . . . . I could see maybe someone who has an online or electronic magazine with CD reviews. If they used snippets of songs to emphasize a point, I think that it might be "Fair Use." As an example which seems to fit into some serious discussions here, if someone did a review that said "Blues Traveler is just not blues. Compare John Popper's harp work with Little Milton's ." Hmmm . . . interesting law school essay question. Sampling would probably also be "Fair Use" if a teacher sampled for a music test. Be warned: sample too much (or copy too much, etc.) and it's not "Fair Use." For example, you can't do a review of a book and say "This is really bad. Wanna know how bad? Here's the entire book." Not "Fair Use." Using the example of the online or electronic magazine (above), this would also not be "Fair Use:" "Stevie Ray Vaughan is much better than Blues Traveler ." Oh, yeah. It's also probably "Fair Use" to use musical snippets in your ads *IF* you are selling that artist's music as a merchant. Example: Sam Goody's can say "And while you're at the store, check out the new release by Bobbie Joe Billy Sue Jack on Mason-Dixon Line records" while playing a sample of the band's music in the background. It is *NOT*, however, okay to use a snippet to sell a product that the artist is not making any money from. So, you can't use "Start Me Up" by the Stones to sell computers . . . *UNLESS* you get Mick & Keith's permission first as Microsoft did. And you sure can't use "Start Me Up" to sell your line of pacemakers, no matter how gosh darn cute that is. But, you could probably use the same song to sell OFFICIALY LICENSED Stones merchandise, even if none of it is Stones CD's. Maybe. Okay, bottom ine on this one: "Fair Use" gets you out of trouble. But make sure you don't use too much of the copyrighted work. And make sure you fall under a "Fair Use" category, usually a teacher, reviewer, news media, or if you have the artist's implicit permission (selling their CD's). *TWO CAVEATS* 1) I am not licensed to practice in your state. So, this is not legal representation. I'm merely teaching you a little about the framework of copyright law. When in doubt, SEE A LAWYER!; 2) If you have ANY DOUBT - and I mean ANY DOUBT AT ALL - go see a lawyer. Look for one that specializes in intellectual property. (That's what copyrights, patents, and trademarks are called. Lawyers like to feel more important than they are.) Bring your work and the sampled work. *AND* tell them you only want them to spend 2 or 3 hours on the project MAX. If not, they will get everyone in the firm on it at $150 per hour which is totally unneccessary. Then, get them to write you an OPINION LETTER. And make sure they're HONEST about it. It will do you no good for them to say "yeah, it's okay" when it's not. You'll get sued AND lose. (Of course, this means the lawyers make money off of you TWICE.) You may not want to hear that you are infringing on a copyrighted work, but it's better than getting sued in some far off state. Now, an opinion letter will not insulate you from suit. BUT an honest, well-reasoned letter will show a court that you were trying (they call it "good faith"). This may keep you out of BOILING water. You may still be in HOT water, though. Oh, yeah. And if you get a negative opinion, don't go looking for a positive one. This isn't looking for a diagnosis for your back pain. This is a law suit in the making. Shopping for a good opinion looks really, REALLY bad. And one last thing (honest ;-]), as someone pointed out, I keep talking in terms of law suits. There's a good reason for that: big record companies will not stop at one letter if you have sampled their stuff. (1) It's bad economics, and (2) they can't afford the precedent. If they say "stop" and you answer "no, it's Fair Use," they WILL NOT say "oh, yeah, gee, sorry. Forget we ever said anything. Thanks for your patience." (If anyone has ever seen this simple three letter correspondence, please, send me copies. I need it for a book called "Things You Never See in Law." Right now, I'm looking for a transcript from a case - any case - in which the lawyer says, "you know what, Your Honor, my client did it. What a creep!" But, I digress . . . .) Let's say you sample B. B. King (to get this back where it started) from, say, "Live at the Regal," MCA will start with a cease & desist letter. They call it this because, somewhere in there, MCA's lawyers will say "Cease and desist your infringing use of Mr. King's guitar licks." (You know you're in trouble when they start calling him "Mr. King.") MCA will not stop until (1) you stop it, (2) you lose a law suit, or (3) you win a law suit. And their lawyers are on retainer. Trust me, if you don't lose, they'll wear you down. This is why I keep talking in terms of a lawsuit. They won't stop until you quit. If you don't quit, they WILL take you to court. So, just be careful. If you're a teacher or reviewer, use samples in moderation. If you are a business, make sure you are allowed to use the music. If you are a musician, you're probably infringing. Just wondering: "If a telephone rings in an empty room, does it make a sound?" (James McMurtry), Gavin P.S. For those of you that I have now made paranoid about your sign off lines that quote song lyrics, relax. There's about six thousand reasons that it's okay. Starting with, who would sue over a sign off line? ========================================================================= Date: Sun, 2 Jun 1996 22:41:29 -0400 Reply-To: JukeFreak@AOL.COM From: "(Karen Hanson)" Subject: Re: help -- who is ...? Comments: To: debra@iglou.com >While trying to listen to the broadcast of the Chicago festival >last night through static and a badly fading signal, I was >impressed by what I could hear of the closer, a female singer >named ____ Lynn. Can anyone give me her name, and maybe tell >me something about her? If she has any cd's out, which to buy? >I seem to have heard that she come from Houston. Thanks! Her name is Trudy Lynn and her newest CD I think is called Bring the Beef Home to Me on Jamstone (?). Not sure about that. She has an interesting song they play on the DMX a lot called "Instant Breakfast." I saw her and spoke with her at Blues Fest, but unfortunately did not get to hear her sing! :( Karen ========================================================================= Date: Sun, 2 Jun 1996 22:49:30 -0400 Reply-To: JukeFreak@AOL.COM From: "(Karen Hanson)" Subject: Re: Jimmy Rogers &/or Ronnie Earl Comments: To: 102554.471@compuserve.com >This weekend I was convinced to buy a CD by Jimmy Rogers and Ronnie Earl >(on Bullseye, btw), and it blew me away. > Does anyone have any suggestions for any other discs by either of these >two? For Jimmy Rogers, try Feelin' Good, recorded with Rod Piazza & his band (Blind Pig), or Ludella (Antones), which features Kim Wilson on harp. Karen ========================================================================= Date: Sun, 2 Jun 1996 22:29:39 -0500 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Re: help -- who is ...? > > Her name is Trudy Lynn and her newest CD I think is called Bring the Beef > Home to Me on Jamstone (?). Not sure about that. She has an interesting > song they play on the DMX a lot called "Instant Breakfast." I saw her and > spoke with her at Blues Fest, but unfortunately did not get to hear her sing! > :( > > Karen > Her latest release is "First Lady of Soul" on Ichiban. She also performed on Juke Joint stage with Francine Reed (another Ichiban woman), which I missed due to total chaos in Saturday's schedule. Overall, what I saw on Friday and Saturday was less than satisfying experience. I guess it was tough to follow the 1995 Fest. The absence of big names to keep peoples attention, the absence of quality names, the presence of House of Blues, the fact that schedule on Saturday was all screwed up, all contributed to bad impression. Best moments (to me): On Fest: Lonnie and Ronnie Brooks acoustic on Juke Joint stage Billy Branch/Carl Weathersby on Juke Joint stage Corey Harris on Juke Joint stage Off Fest: Byther Smith concert on Saturday morning in Jazz Mart. ... with Big Time Sarah and Barkin' Bill as guests Disappointments: Vance Kelly, started so good, and continued with "Now you didn't know we can play all kinds of songs." What a waste of talent! Howard and the White Guys - they are just as the name says. I guess for real blues treat this year we gotta go to Mississippi Valley Blues Fest. What a lineup this year, huh? Ranko ps. And who the hell is Paul Black and the Flip Kings, and how they deserved to be in there. I guess having new CD on House of Blues helps... There was way to much of House of Blues sites in the Fest for my taste. ========================================================================= Date: Mon, 3 Jun 1996 03:35:50 GMT Reply-To: Gitarzan From: Gitarzan Organization: Global Access Network ISP (614)717-1700 Subject: Re: Last CD in YOUR player Comments: To: bit-listserv-blues-l@uunet.uu.net On Thu, 30 May 1996 06:37:11 GMT, marc borms wrote: >In my CD-player(s) for the moment : > >Kitchen : Blind John Davis : great pianist ! >Living room : The Electric Kings : Europe's greatest bluesband !! >Car : Charles Brown : Lucky so and so. Last CD Elmore James - King of the Slide Guitar, before this online session. This CD John Lee Hooker - The Legendary Modern Recordings 1948-1954 went in. ========================================================================= Date: Mon, 3 Jun 1996 00:05:57 -0400 Reply-To: JukeFreak@AOL.COM From: "(Karen Hanson)" Subject: Re: help -- who is ...? Ranko said, about Trudy Lynn: >Her latest release is "First Lady of Soul" on Ichiban. She also >performed on Juke Joint stage with Francine Reed (another Ichiban woman), >which I missed due to total chaos in Saturday's schedule. They did not perform, only signed autographs and shook hands. They had no accompaniment, I think is the reason they did not perform. Francine sang a couple of songs a capella, but that's it. I was disappointed, too. >Overall, what I saw on Friday and Saturday was less than satisfying experience. >I guess it was tough to follow the 1995 Fest. The absence of big names to keep >peoples attention, the absence of quality names, the presence of House of Blues, >the fact that schedule on Saturday was all screwed up, all contributed to bad >impression. Oh, I was very satisfied (see my note)! But that's just me! :) I agree that the pervasive presence of the HOB was disturbing. I don't remember seeing them there at all last year. It seems everywhere you turned around, there they were! What did you think of Muddy's cabin? Karen ========================================================================= Date: Sun, 2 Jun 1996 23:59:33 -0400 Reply-To: JukeFreak@AOL.COM From: "(Karen Hanson)" Subject: Chicago Blues Festival And the fest is over..... But what a great weekend for acoustic blues! I already told you about Corey Harris--he was definitely the star of the weekend. I saw him play three out of the six times he was scheduled and each time was better than the last! He's got an incredible singing voice; it vibrates clear to the inside of your chest. He varies his tone and pitch, too--really keeps you involved. The best part is that he is just bursting with new material! He played at least five or six original songs that are not on his CD. Now about the rest: Guy Davis: A lot of fun! He related really well to the crowd, told jokes, played 12-string slide, sang several songs off his CD. He was obviously tickled to be in Chicago--took pictures of other artists, sat on the ground and listened to Alvin Youngblood Hart for quite a while. Which brings us to... Alvin Youngblood Hart: Another honest-to-goodness up-and-coming acoustic blues talent! I've had his CD for a few weeks now--in fact, I posted a note about it (no replies--people too busy arguing the merits of....well, somebody else). Unfortunately, he wasn't able to completely show off his talents when I saw him. He said his 12-string was lost somewhere in the twilight zone of misdirected airline luggage. He played a six string, occasionally flat on his lap with a slide that resembled a knife (couldn't see it that well--I'm pretty short). Paul Geremia: He played on the stage (but separately) with Guy Davis. I've heard his name before, but not his music. Wow. I've never seen anybody fingerpick like that! He uses bare fingers and just plucks the bejeebers out of those strings. He uses an actual bottleneck for a slide. His singing is impressive, too. I'm definitely going to check him out further! Now, two more things: To the young blond man with Blues-L written on tape on your t-shirt: I saw you and planned to say hi after Hart's set, but you disappeared! I know you must have seen me--I was the crazy woman in constant motion standing near the railing. Corey Harris's wife was sitting in front of me. And--what happened to Homesick James? I thought he was supposed to play! Is he ok? Karen ========================================================================= Date: Mon, 3 Jun 1996 04:17:48 GMT Reply-To: Mike Lynch From: Mike Lynch Organization: Wolfe Internet Access, L.L.C. Subject: Re: Some of you folks just don't get it Comments: To: bit-listserv-blues-l@uunet.uu.net EARTH JUICE wrote: (SNIP) >When Ice Cube is dead .....more than a few of you will probably be >subscribing to > the newsgroup "alt.ice.cube" where you will be talking about "how to >get Ice Cube Bootlegs....real cheap. UH, YEAH, WHAT HE SAID... (could you run that by me again?) Mike Lynch mlynch@wolfenet.com ========================================================================= Date: Mon, 3 Jun 1996 00:30:57 -0400 Reply-To: Bronxharp From: Bronxharp Organization: America Online, Inc. (1-800-827-6364) Subject: HOLMES BROS at Karon Cancer Benefit TONIGHT! Comments: To: bit-listserv-blues-l@uunet.uu.net Just placed a call to MOTHER's Rt. 23N, Wayne NJ to find out more specifics about Karon Brandt Benefit today (please refer to earlier post: "Benefit in NJ for Cancer-stricken Bluesbabe" (SUNDAY JUNE 2) I was told that THE HOLMES BROTHERS (Rounder recording artists) were headlining the shindig tonight, taking the stage at 10 or 10:30pm. The whole affair starts at 3 pm, and there will be great New Jersey Blues bands all day. ALL THIS FOR ONLY $8, proceeds to go to Karon's medical bills. The phone # for Mother's is 201-633-5544 I hope this gets posted in time! ---M.T.Harper ========================================================================= Date: Mon, 3 Jun 1996 04:32:33 GMT Reply-To: Mike Lynch From: Mike Lynch Organization: Wolfe Internet Access, L.L.C. Subject: Re: Wild Child Butler Comments: To: bit-listserv-blues-l@uunet.uu.net Beckie Sansom wrote: >Can anyone confirm if this artist did the song "Hippy`s Playground" >If so,can you recommend a good CD.That damn song has been playing in my >head for about a week now!! >Robert J Dewar & Beckie Sansom >-- >xBeckie Sansom >Gloucester, Ontario Yes, this is tune was done by Wild Child. I can't remember which label put out the LP that this tune was on (Chess?)...I think it has since been remastered and reissued, pehaps by Rooster Blues. This album also has the great "Lickin' Gravy" on it. Didn't Jimmy Dawkins write "Hippy Playground"? Regards, Mike Lynch mlynch@wolfenet.com ========================================================================= Date: Sun, 2 Jun 1996 22:11:11 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Idiots on Blues L (was re: JIMMIE VAUGHN - LIVING OFF) >Peace You end your message with this little sobriquet. Very nice. I thought when you first posted your idiotic flamebait that this was a one-off thing, and you would head back from whence you came. However, you are obviously an ignorant moron and are interested in nothing other than posting inflammatory, spiteful messages on Blues-L. I'm happy to see that you have now dared to sign your name to your work, rather than working under a pseudonym. I've been a member of blues-l for over a year now, and there are people who've been a part of our community since its inception. We are not interested in obvious flamebait posted from someone using their modem and keyboard as a sheild. Oh, yes, perhaps there may be a grain of truth to your opinions (I disagree, however); but I suggest that a little civility would go a long way in getting anyone to take you seriously. But I seriously doubt you are interested in intelligent discourse - flame wars and shouting matches are so much more fun to watch, aren't they? I, for one, much prefer well thought debates and discussions than tossing water on your flames, and I'm sure many agree. Sincerely, -Jim Witteveen (hndful@uniserve.com) ========================================================================= Date: Sun, 2 Jun 1996 23:39:10 -0700 Reply-To: Jason E Duran From: Jason E Duran Subject: Re: jimmy rodgers and/or Ronnie Earl You wrote: > >>This weekend I was convinced to buy a CD by Jimmy Rogers and Ronnie >>Earl(on Bullseye, btw), and it blew me away. Does anyone have any >>suggestions for any other discs by either of these two? I strongly recommend "Language of the Soul" (Bullseye Blues--released in) by Ronnie Earl and the Broadcasters. It is an all instrumental record which really shows you the kind of sophisticated player Earl is. Cool B-3 playing by jazzman Bruce Katz too (this will make you want to go out a by a Bruce Katz record as well--I suggest "Crescent Crawl" (Audioquest r. 1992). ========================================================================= Date: Mon, 3 Jun 1996 09:32:00 +0000 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Reissues, Black Top, ... I just wanted to second Don O.'s frustration concerning the reissue of Robert Ealy's excellent TopCat CD. I do totally agree with Don and feel indeed that more than often than what should happen labels putting out reissues forget to clearly inform the potential customers what their product is: a reissue of something which was previoulsy availbel on another label/on another format. I believe this to be important information for the customers/blues fan/reader even if the title has remained unchanged. While this holds for the companies, I would like to add that it should also hold for reviewers thqt are writing for blues mags. I dont' have it here at my office, but the last issue of Blues Revue has similiar problems. There are a few Cds in their review section which are discussed witouth even mentioning that these are straightforward reissues (sometimes with a few additional bonus tracks) of previously available CDs/LP, which even leads me sometimes to doubt that the reviewer really knew that this is a reissue. Just to quote those that come to my mind: Booba Barnes on Rooster which is out here since aq few years, Buddy Guy's JSP DJ album, a Black Top reissue, ... and a few more whose title escape me. I really find it a shame that a journal/magazine who's (official) aim is to promote blues and inform the reader what are the interesting products on the market is not clearly informative enough or sometimes even wrong. This would never happen with Blues &Rhythm !! and I don't think this is just IMHO. Jean-Pierre "young Man" Urbain ========================================================================= Date: Mon, 3 Jun 1996 10:12:13 -0700 Reply-To: Michael Yngman From: Michael Yngman Organization: Telia AB Subject: other newsgroups Comments: To: bit-listserv-blues-l@uunet.uu.net Hi Can anybody tell if there are more active newsgroups concerning Blues? I haven't found anymore than this one. //Mike ========================================================================= Date: Mon, 3 Jun 1996 01:36:47 -0700 Reply-To: Stan Ruffo From: Stan Ruffo Subject: Re: Track # & time, was Robert ealey Yes indeed! For a radio programmer (or DJ as it were), that is a very = important detail not to be overlooked. Track number and time printed on the back of a cd = package makes it possible for me to select a track that will fit in a particular = program segment without causing me to miss-time my next cue. If the = time isn't printed there....I may put the cd=20 down in favor of another package with the info on it. Stan --=20 Stan Ruffo - Blues On Tap, Sundays at 8pm on KIOO 99.7FM - Visalia, CA ---------- From: Don O[SMTP:don.o@CHRYSALIS.ORG] Sent: Sunday, June 02, 1996 12:08 PM To: Multiple recipients of list BLUES-L Subject: Robert ealey <> As long as I'm crabbing, I must say I find it very annoying when CDs do = not have the number and time the songs on the back of the CD. Topcat did, = Blacktop doesn't. Don O. ========================================================================= Date: Mon, 3 Jun 1996 01:58:16 -0700 Reply-To: Stan Ruffo Comments: RFC822 error: TO field duplicated. Last occurrence was retained. Comments: RFC822 error: TO field duplicated. Last occurrence was retained. Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Stan Ruffo Subject: BOT 6/2/96 playlist Comments: To: Vent Records Stan Ruffo Productions 800 N. Ben Maddox Way, Suite 2200 Visalia, California 93292 ph.(209) 625-6049 steamin@valleynet.com / www.valleynet.com/~steamin PROGRAM: "Blues On Tap" w/ Steamin' Stan Ruffo STATION: KIOO 99.7FM (Kay-eye-oh-oh), Visalia, CA SUBJECT: Playlist 2296 - Commercial Radio DATE & TIME: Sunday - June 2, 1996 8pm - 10pm Artist Title Label Track Long John Hunter Border Town Legend Alligator 1 Amos Milburn The Motown Sessions Motown 2 Jimmy Witherspoon 'Spoon & Groove Tradition 2 Little Charlie & The Night Alligator 25th Anni Alligator 2-4 James Harman Black & White Black Top 7 Pat Boyack On The Prowl Bullseye 2 The Bluebirds Swamp Stomp Icehouse 4 Lead Belly Shadow Of The Gallows Tradition 7 SRV Couldn't Stand The Weat Epic 5 Joey Razor Joint B Jump Hectic 8 Rod Piazza Alphabet Blues Black Top 2 Chuck Roberson Something Good For You Ecko 3 Mike Morgan & the Crawl Ain't Worried No More Black Top 1 The Merced Blue Notes Bad Bad Whiskey Specialty 17 Kenny Wayne Shepherd Ledbetter Heights Giant 5 Floyd Dixon Wake Up And Live Alligator 3 Greg Piccolo Acid Blue Fantasy 1 Roomful of Blues Turn It On, Turn It Up Bullseye 5 Fernest Arceneaux Zydeco Stomp JSP 8 Doug MacLeod You Can't Take My Blues AudioQuest 1 Toni Lynn Washington Blues at Midnight Tone Cool 4 Big Dave & The Ultrason No Sweat Schoolkids 2 Magic Dick & Jay Geils Bluestime Rounder 8 Mark May & the Agitators Call On The Blues Icehouse 4 Rev'd Billy C. Wirtz Pianist Envy HighTone 5 Blues On Tap reports to Living Blues and The Hard Report. This playlist is also available at the following record stores in Visalia. Disc Jockey, Wherehouse Entertainment, and Ragin Records. ========================================================================= Date: Mon, 3 Jun 1996 02:26:21 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Idiots on Blues L (was re: JIMMIE VAUGHN - LIVING OFF) Comments: To: Jim Witteveen Jim Witteveen wrote: >>Peace > >You end your message with this little sobriquet. Very nice. I thought when >you first posted your idiotic flamebait that this was a one-off thing, and >you would head back from whence you came. However, you are obviously an >ignorant moron and are interested in nothing other than posting >inflammatory, spiteful messages on Blues-L. I'm happy to see that you have >now dared to sign your name to your work, rather than working under a >pseudonym. I've been a member of blues-l for over a year now, and there are >people who've been a part of our community since its inception. We are not >interested in obvious flamebait posted from someone using their modem and >keyboard as a sheild. Oh, yes, perhaps there may be a grain of truth to >your opinions (I disagree, however); but I suggest that a little civility >would go a long way in getting anyone to take you seriously. But I seriously >doubt you are interested in intelligent discourse - flame wars and shouting >matches are so much more fun to watch, aren't they? I, for one, much prefer >well thought debates and discussions than tossing water on your flames, and >I'm sure many agree. I agree wholeheartedly with Jim here. If you want to dis-agree with someone, fine. But try and use some intelligence and maturity when arguing instead ridiculous assertions and empty opinions. Blues-L seems to have a few disagreements every now and again but civility seems to be the order of the day (in most cases). One of the things I enjoy about Blues-L is that I can disagree with someone (not that I try to) and have an intelligent discussion about our differences without resorting to the idiocy that people regard as standard on the 'Net. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Mon, 3 Jun 1996 02:26:26 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Curiousity Kitten at the Cat 'n' Fiddle (LA) Hi, gratuitous self promotion time. Curiousity Kitten, featuring Kitten on Vocals, me on guitar(yay!) and Red on bass, will be making their debut gig at the Cat'n'Fiddle, 6350 Sunset Blvd (213-468-3800) here in Hollywood on Tuesday night, June 4 at 8:00pm. It's an acoustic thing with originals and a few covers (and we do play a few blues tunes!). And it is free! So if you are in the area, come on by. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Mon, 3 Jun 1996 05:20:26 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Last night in Tampa As many of you know, I was booked to open for Johnny "Clyde" Copeland last night, at Skipper's Smokehouse in Tampa. The evening went off with out a hitch at this beautiful outdoor venue shaded by enormous oak trees. We were treated with unusually mild and dry weather. Florida normally begins it's hot and muggy cycle around now, but this was perfect. Because Johnny doesn't spend a great deal of time on stage (due to his heart condition), we did a rather long 75 minute opening set. We were very well received. We've played opening sets before and they can be frustrating because it seems like right about the time you are really feeling warmed up you have to get off the stage. Last night we really hit the ground running and had that warmed up feeling from the very first song. It was a very satisfying experience. There was about a half hour break in the action after our set, while Johnny's band set up all their gear. I changed into some dry clothes and headed out into the crowd to find a cold beer. I wound up getting in line behind none other than Jimmy Thackery who was in the audience to see the show. Turns out we're neighbors. He's been living about 5 minutes from my house for about a year now and I didn't even know it. Johnny's band did a whole set on their own without Johnny. The surprise treat was his 17 year old daughter, Shenekia. What a voice. Clear and strong, gospel drenched, liquid soul. She did about 4 or 5 Blues standards and the crowd loved her. During that set I got to return to the backstage area and meet Johnny. When I walked in he was sitting in a chair next to his wife, Sandra, strikingly handsome in a billowy all black suit. I got to talk to him for almost a half hour. On behalf of Blues-l, I extended everyone's good wishes for his successful recovery. He was well aware of the online Blues community, and asked me to thank all the good people that have prayed for him, and done so much for him. While we were talking a scene unfolded before my eyes that really slammed home the reality of his situation. As we spoke he began beeping. Almost instantly his wife reached into a large bag and pulled out a long 12 volt battery, similar to the batteries in a pro camcorder. Johnny opened his coat revealing a shoulder holster under his left arm (a lot like Dirty Harry's) disconnected a cable from the battery in the holster, swapped the two batteries, and reconnected the cable. His wife then produced another battery and Johnny performed the same swap in a second holster under his right arm. All of this while not skipping a beat in our conversation. I joked with him about being the first bionic Blues man. His wife said he was indeed the "6 million dollar man". Johnny has TWO artificial devices connected to him to assist his ailing heart. He has had them so long it has made the prospect of a transplant a much more difficult situation. It has increased the level of antibodies in his blood making the impending transplant much more dangerous. He'll need a nearly perfect match in order to survive. Johnny played the final set to a wildly appreciative audience. His performance was a lot more laid back than one would expect of the "Texas Twister", but it was solid, tasteful, and chock full of Texas soul. He closed with "Black Cat Bone" from the "Showdown" album and then he was joined by his daughter for a closing number that had many an eye moistened in the audience. A damn near perfect day in my life. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Mon, 3 Jun 1996 07:03:16 CDT Reply-To: William Shute From: William Shute Subject: Bill's picks for June--new/recent recordings From: Bill Shute Howdy, fellow blues-l-ers. I've been set no-mail off and on for the last few months and too busy with other things to write much, but I'll be reading and discussing blues-l daily until mid-July or so (when I take a trip to America's musical capital, Memphis). There are a lot of strong NEW albums out recently (I'll list reissues or unreleased archival material separately), and I wanted to highlight some of my personal favorites: T-BONE SINGLETON "Walkin The Floor" (JSP-UK cd) phenomenal Baton Rouge blues, produced by Larry Garner, from a man I first encountered on Wolf's LOUSISIANA SWAMP BLUES VOL 3. CISSY HOUSTON "Face To Face" (HOUSE OF BLUES-US cd) a soul-stirring, majestic all-Christian set of new recordings from the first lady of soul/gospel singing, someone who is as great a vocalist on the distaff side as, say, James Carr is on the male side. Brilliant mix of material, from Blind Willie JOhnson to a Christian "rewrite" of "How Sweet It Is (To Be Loved By You." Accompanied by the choir of the church where she is music director, New Hope Baptist Church. BOBBY PATTERSON "Second Coming" (Proud--US cd) Hot new collection from the Dallas soul/R&B man loved for his many 60s classics on Jetstar and 70s classics on Paula. L.V. BANKS "Let Me Be Your Teddy Bear" (Wolf--Austria CD) Vol. 41 of Chicago Blues Sessions. Here's another fine talent buried among the countless fine talents in Chicago. IN any other city he'd be a lauded, well-recorded bluesman (well, not in Houston, which is similarly overpopulated with talent). RUFUS THOMAS "Blues Thang" (Sequel--US cd) The master is back and in fine form. One of the year's best (I reviewed this on blues-l a few weeks ago). Enjoy the above! Bill Shute San Antonio, TX ========================================================================= Date: Mon, 3 Jun 1996 08:27:02 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Blues license plate frame Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com * At the mall in town we have a store that will make a license plate frame * that says whatever you want.... * * I thought a blues theme would be cool. How about "ROCKET 88"? -Steve ========================================================================= Date: Mon, 3 Jun 1996 17:59:05 EST Reply-To: N32W_at_NAVCOM@HQ.NCTSDG.NAVY.MIL From: N32W_at_NAVCOM@HQ.NCTSDG.NAVY.MIL Subject: Re: An Invitation/Introduction Comments: To: EARTH JUICE , efl@ix.netcom.com, EBLX86D@prodigy.com, bdwyer@nersp.nerdc.ufl.edu, acecsr@bitmailer.net, cj2irela@mechanical.watstar.uwaterloo.ca, TMACKLIN@jcvaxa.jcu.edu, damien@primenet.com, bambi@sirius.com, elson@westworld.com, rojoamor@einstein.com.ar, gwiz@dorsai.org, ozzie@inch.com, janski@niksula.hut.fi, jra@europa.com, jbowie@fred.net, mw@eis.net.au, vampidem@usa1.com, AESK83A@prodigy.com, wayne.hicks@prodigy.com, pyramus@wavenet.com, revolut@magicnet.net, rs1@mrc-lmb.cam.ac.uk, acid-jazz@ucsd.edu, blackexperience@listserv.prodigy.com, KXNN35A@prodigy.com, t-bird@salata.com, fchan@griffin.multimedia.edu D ========================================================================= Date: Mon, 3 Jun 1996 08:39:41 -0400 Reply-To: bob vanarsdall From: bob vanarsdall Subject: More Blues on Shortwave Found this on a usenet newsgroup (rec.radio.shortwave): Saturday Night Blues on CBC Radio at 0311 tune in on 9625 Northern Quebec Service. You can call the "Blues Line" 403-468-7468 and give your name, the song you want to hear, where you are calling from and why you want to hear the song. At 0400 there was the CBC News and then another hour of Blues music. So it is "Saturday Night Blues" on CBC Radio from after the 03 news (guess it starts) to 0500. Excellent signal on 6/2. Take care, Bruce in Gresham, OR BBC also runs Blues World, but the times and dates have been changing. I've only caught Blues World once, and can recommend it. Haven't heard the CBC show yet... Bob ========================================================================= Date: Mon, 3 Jun 1996 08:42:08 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: New blues CDs: May Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, don#f#o/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=don#f#o#a#CHRYSALIS#f#ORG@s1boca.corp.wrgrace.com *Paul deLay/Take it from the Turnaround/Evidence Is this new material, or the reissue of one of deLay's older albums? If it's new, I'm ordering it today! -Steve ========================================================================= Date: Mon, 3 Jun 1996 08:43:44 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: other newsgroups Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com, Michael#f#M#f#Yngman/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=Michael#f#M#f#Yngman#a#TELIA#f#SE@s1boca.corp.wrgrace.com *Hi *Can anybody tell if there are more active newsgroups concerning Blues? *I haven't found anymore than this one. *//Mike * There's rec.music.bluenote.blues -Steve ========================================================================= Date: Mon, 3 Jun 1996 09:17:52 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Curiousity Kitten at the Cat 'n' Fiddle (LA) Shaun wrote >Curiousity Kitten, featuring Kitten on Vocals, me on guitar(yay!) and Red >on bass, will be making their debut gig at the Cat'n'Fiddle, 6350 Sunset >Blvd (213-468-3800) here in Hollywood on Tuesday night, June 4 at 8:00pm. > >It's an acoustic thing with originals and a few covers (and we do play a >few blues tunes!). And it is free! So if you are in the area, come on by. > > >Shaun > >Shaun Cronin 'Woke up this morning between midnight and day. I was >shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son >House Are you going to do 'I Got Them Good Old Can't Spell Curiosity Blues'? :-) Chris Smith (chris@skerries.demon.co.uk) It's no good making things idiot-proof. They'll just build a better idiot. ========================================================================= Date: Mon, 3 Jun 1996 13:21:47 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: MyVIEW - Live - Junior Wells @ the Globe Fri.96.05.31 Comments: To: bit-listserv-blues-l@uunet.uu.net This show featured 2 Juniors - Luther "Guitar Jr." Johnson and Junior Wells. Thanks to the responses from the list especially that very balanced view from our Tom Freeland - I went. So this is part 2 of a MyVIEW...... Junior Wells, Friday 96.05.31 @ The Globe Theatre, Norwalk, CT. Well, for me there's good news and good news - some may regard the second as "bad" news.... but hey, that's life..... Let's get some prejudices out of the way: Funk can't sound like blues, blues can't sound like funk - not so..... Doing a James Brown is a James Brown imitation, not so...... Prearranged, rehearsed music can't sound fresh and "spontaneous" - not so..... A band with 3 horns will sound too big and over arranged - not so....... Someone who is reported to be drunk and inept is a has been - not so...... (thank god) Well, here's the good news - Junior Wells - is well, he looks clean and sharp, and I mean SHARP! I was concerned due to the reports we've had about his drunk and inept behavior of not so long ago. But my worries were allayed when Junior came on stage. He was wearing a tailored white suit - man, did it fit well and the creases were razor sharp. He looked so good it was BAD! He was wearing a white hat small "cowboy" style but with the middle of the peak pulled down to between his eyes - the hat looked tailor fitted too. He had gold jewelry, two necklaces a number of flashy rings and a gold $ sign on his jacket breast pocket - this was the only "improvised" thing - it looked like a brass bookmark....... Junior looked good slim sleek and hungry. The other good news (for me at least) Junior has pulled himself up and has completely re-invented himself - a self-proclaimed "Godfather of the Blues" (hmmm..... I wonder where he got that from?) he does "do a James Brown" and mixes in funk with blues, I was hesitant, but by mid-set I was into it and found myself enjoying myself and, more to the point, convinced. So die, die, die prejudices DIE! So much for appearances and "philosophy" what was his music like? The Junior Wells Blues Band had 3 horns - trumpet, tenor sax, and trombone ( the 'bone player seemed like the band leader), two guitarists, bass, drums and keys. (Just to confirm to the my Blues-L friends who kindly wrote to me when I asked about Junior - yes, one of the guitarists was from Stockholm.) The sound in the theatre was boomy - just way too much bass - I wish I had our DC with me to go shout and use irony at the soundman to get their act together. The band did two warm up numbers - the first was an instrumental that allowed each instrument to feature, they sounded nice and tight. The other featured the drummer on vocals. Then the man was announced and took the stage while the band played a funky tune ala James Brown jungle beat style. And a number of times I looked Junior sure "looked" like James Brown - when he was slimmer and younger - quite a feat for a man who is 61 and only 6 years younger than JB himself.... I did not know this song but it had the hook line of "Sure is Good" (or may have been - Sure Looks Good) - this song definitely has James Brown overtones - but the JB that I really like. So I was kind of in two minds - do I really want to see a James Brown show when it isn't JB? Anyway it was good to see Junior doing some side-stepping with the horn section. Well the next tune took that doubt straight out of my mind. Sans horns, Junior did "Hoodoo Man Blues" - very subdued but subtle arrangements with a great deal of dynamics. This was a "sublime" version of "Hoodoo Man". Junior's vocals were ranged from a whisper to a restrained scream/growl. His harp playing was a model of economy - no wasted notes - from a thin clear single note to full dirty sounds. This absolutely allayed my fears and doubts about Junior. "Got My Mojo Working" - a real driving version - reminded me of the drive of the Paul Butterfield Blues Band version. The band was real tight, the horns really do add to this without being overbearing. The audience are responding to the call and answer vocals. I didn't know the title to this next tune, but it was a very gentle laid back groove, but it really did groove - I really liked this. Took me absolutely ages ( in fact two days) before I got the link - this tune reminded me of J.J.Cale's "Sensitive Kind" - both in lyrics and tune - but I'm sure it was not that song. The arrangements were just superb on this. This is when I realized that this and other tunes must have been arranged and rehearsed - there is NO way a band can just get up on stage and play like this. But despite this "premeditation" the tune sounded fresh and not at all "regimented" - everyone was given space and allowed to have their say, there was no showboating, the guitar had a real nice subdued solo. A real treat. Junior spoke to the audience, but I'm sure he was deliberately just mouthing some words without sound (either that or I'm going deaf...) I heard him say "Just Like My Mama Told" and the next more up tempo song had just those word in. The horns really punch in this. I think "Little By Little" was the tune but with modified lyrics - "unnnnng-ung-ung .. baby that's the way I feel....." the band and audience joins in the chorus with hand clapping. A lowdown version of "Red Rooster" the guitars are subtle and the end of the phrase is played slurred and bent, but sounded just like a slide, I looked and neither guitarist had a slide. This turns out to be a "fun" song without it being mockery. The band do the response on dogs begin to bark - and someone did a very realistic bark and hounds begin to howl - just everyone was howlin'. The horns do just the right punctuation - of da-dA-LA-dA. Junior chants hmmm-um-um, the band replies ahhhh-ah-ah. Nice. The house is in his pocket (I've been in there since the second number) "Hey, hey - the Blues is Alright" is a rousing closer, the band is in full flight. Junior is struttin', the band is struttin'. This may not be the Bad Junior that we all know and love, but this is plenty bad enough. Yes. there's that funk element in there, it was there all the time, but to me it was so appropriate - as it adds to the swing. I thought this was the end, but Junior sings I'll be back don't go nowhere... and as he leaves the stage the 'bone man says they'll be back for more - and I need more. The second set opens with the expected instrumental, I think I heard "Goose Walk"` called out, this had an Afro/Caribbean feel to it, swinging and enjoyable, allowing the band to stretch out again. "Pick Up the Pieces" the Average White Band piece continued the drive, then the drummer got his vocal spot. To the riff of "Messin' With the Kid" Junior sang and played harp off stage and came on. But unfortunately there was some low bass feedback from his wireless mic, but the band kept playing while the soundman struggled to put things right. Junior gave up on that mic to sing and play into the old standard wired mic. Yes there was some commitment to this song, and not a perfunctory toss off of an old hit, and the horns did add to it. Yep Junior was bad...... Song about walking out, but "at least take off your shoes" swinging grooving, kind of reminded me of "Better Off With the Blues" but I did not hear that line....... Junior did plenty of his tongue click popping. "The Train" - the Ray Charles number - where Junior and the band (and audience) did the hey-a-ay-a, and un-u-un call and response as in the famous "What'd I Say" and in fact Junior actually sings "What'd I Say" mid way through. Riff and harp phrase like "Hoochie Koochie" brings in the next number, which turns out to be "Love Her with a Feeling". "Today I Started Loving You Again" - swinging big band sounding arrangement, the band chants "my loving, my loving" to the hook riff. This closes out the night. No, this is not the same "Bad Junior" of yesterday, this is a "new" Junior - he has pulled himself up and has re-invented himself. You can tell a lot of work has gone into the arrangements, the band was real tight and held on a tight rein. This is a first class professional show, without sounding affected or manufactured. Junior has updated his sound without losing his old touch, mixing in elements of funk with his brand of blues, it's up to you whether you like it or not....personally I loved it. -- Vincent vt@usa.pipeline.com ========================================================================= Date: Mon, 3 Jun 1996 09:27:23 -0400 Reply-To: JEFF YARBROUGH From: JEFF YARBROUGH Subject: The Jay Miley Band-CD-"Shelter" on Eclipse Records I recently read a very short review on The Jay Miley Band. It was enough to get me interested but not enough to get me to purchase the CD. Can anyone give me a overview of the type of blues this band plays,the overall musicianship of the band, vocal abilities of the singer etc. Bottom line: Is this artist worthy of being added to my CD collection. Thanks, Jeff. ========================================================================= Date: Mon, 3 Jun 1996 10:27:31 -0300 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: Portrait Of The Blues Comments: To: rjbauman@IQUEST.NET In-Reply-To: from "R.J. Bauman" at Jun 1, 96 10:33:07 am > I don't think I'll ever warm up to this one. > The photography is excellent, but contrived. > I thumbed through much of it and every single photo was meticulously > posed. Way too slick for me. > > The artists seem to be secondary to the shots. That's funny - I didn't get that impression at all from the book. Contrived? How so? Yes, most of the photos are posed, I would say. I don't think that's necessarily a bad thing. Maybe I'm too emotionally attached to the subject matter to be truly objective about this book. I'm about 3/4ths of the way through it, and Trinka's writing doesn't do a lot for me. I am enjoying the interview excerpts, however, and there are lots of them. More than half of the text is comprised of the words of the blues performers themselves. There are some annoying production glitches - typos and the like. I'm not sure how reliable some of Trinka's history is, either. But I still like the book, mostly because of the performers' own words. -Rob ========================================================================= Date: Mon, 3 Jun 1996 09:29:24 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Jimmie Vaughan-living off who? :( Wow. What's up with this Earth Juice guy? I can't believ anyone would even post such an ignorant question to this group. "Does this guy still have a career?" Hello? Are you the guy on Gilligan's Island who's been hiding in a cave on an uncharted island since his one-man sub sank in World War II ? Thanks to Jeff Seale for setting this loser straight? The Essential Fabulous Thunderbirds collection is a MUST HAVE cd. Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Mon, 3 Jun 1996 09:06:36 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Re: Lyrics: What sort of expressions might one use? I think there are a LOT of phrases from today that you could work into blues songs. Yeah, they may sound funny at first, but don't you think that may have been true the first time someone sang about farm animals or natural disasters? I suggest: Go on girl! Don't go there. You are gettin' on my last GOOD nerve. What's up with that? Gavin ========================================================================= Date: Mon, 3 Jun 1996 09:31:50 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1952, Frank Sinatra recorded the classic, Birth of the Blues, for Columbia Records. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Mon, 3 Jun 1996 08:32:55 CDT Reply-To: William Shute From: William Shute Subject: Roy Brown "live" album From: Bill Shute Back in the old days of lp's, you could often find a number of odd items in the budget bin. A cheesy-looking budget album, whether import or domestic, may well include an alternate take of a tune you already had (remember those Crown budget lps?), and some two dollar "import" may have an unauthorized, low-quality live show or an obscure "re-recording" of the artist you like. The Roy Brown cassette in question is in that tradition. ROY BROWN "Roy Brown, Live! Good Rockin' Tonight" Classics 7610, $1.99 cassette "Manufactured and licensed by Peachtree Music, Distributed by Classic Sound, Inc." songs: travelin blues/love for sale/boogie woogie blues/good rockin tonight/ let the four winds blow/boogie at midnight/love dont' love nobody/medley: losing hand, tin pan alley Perhaps this is a reissue of an obscure Brown live album I haven't seen or heard of, but it sounds like a transfer of a tape of a small-club l970s performance from some collector's archive. you know, the kind of thing that wolf has put out on Freddie King, Johnny Otis, and Howlin Wolf. Definitely an "after-hours" show, with a subdued audience probably well- juiced. The band stretches out as bands often do at 2 or 3 a.m., and brown is as much of a jazz singer as he is a blues shouter. The band is competent and doesn't get in the way. Mr. Brown talks to one of the musicians and calls him "Pee Wee," but if he's talking to Pee Wee Crayton, then Mr. Crayton must have incorporated some rock elements into his playing during this period, altho the playing on "Boogie Woogie Blues" is quite good and could be THE Pee Wee out of the spotlight. Of course, it could also be YOUR brother-in-law! If you like Brown's "Bluesway" album from the early l970s, you ought to like this live show. For those of us who never had the privilege of seeing Brown live, this is a nice document, whatever its "legitimacy." Light up a cigarette, down a few watery drinks, wait till three am, and it's just like you're there... Bill Shute San Antonio, TX (by the way, this "classics" label is in no way related to the fine french pre-war jazz reissue label, which is to pre-war jazz what Document is to pre-war blues) ========================================================================= Date: Mon, 3 Jun 1996 08:45:31 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Jr. Medlow [was: Cobras] Comments: To: "Raymond O. Varner" In-Reply-To: <01BB4FC8.F5866620@ip-pdx02-57.teleport.com> On Sat, 1 Jun 1996, Raymond O. Varner wrote: > In the early 80's there was an R&B band in Austin called The Cobras. They > had Denny Freeman on guitar and a fine young singer who used the stage > name Jr. Menlow, I believe. They issued a 10" LP. I'm > very interested in acquiring that record. Anyone interested in doing > bizniss on that one? > > Also, is that same singer now fronting Tornado Alley? > Do they have any product? I believe that Jr. does front Tornado Alley. Jr. has a solo cd out, but I can't recall the title at the moment. It was recently reviewed in Living Blues within the last 3-4 months. Since Jr. is from the Lubbock scene, I picked it up and like it a lot. There's more than just blues on that disc. Lots of James Brown type stuff. On a personal note, Jr. is dealing with cancer. It was in remission for a while. I'm not sure what the latest status is though. -Jeff (by popular request, the Big Sig is back!) ------------------------------------------------------------------------------ __ Jeff Seale, PhD | |___ University of Texas Health Sciences Center @ San Antonio ___|* | seale@bioc02.uthscsa.edu \ | http://bioc09.uthscsa.edu/~seale/home.html \/\ / \ / I woke up my sidekick, it's a long way to Llano \( I'll see you next summer, when the peach trees are ripe. -Joe Ely ========================================================================= Date: Mon, 3 Jun 1996 10:13:49 -0400 Reply-To: Dave Markovits From: Dave Markovits Subject: Chicago's Fest Another interesting weekend at Bluesfest. Fun but overall rather disappointing. I did get to say Hello to some zellers this weekend briefly(it was nice meeting you all)Ian Angus, Art Schuna, Ranko, Bonnie, John Chamberlain. I missed Rags, I left you a message? Nobody called about hooking up, so I headed to Byther Smith Barkin' Bill and Big Time Sarah at JRM. A great show Sat. morning. Fest highlights for me on Friday. I enjoyed Homesick James, Diamond Teeth Mary, DAve Myers, and Corey Harris quite a bit. I saw Billy Branch and SOB's on the main stage (good.) The salute to the Wolf was disappointing. These true Blues greats couldn't play together to save themselves. Little Smokey was decent. Saturday was all screwed up; technical difficulties on each stage, changing around of some lineups. Crazy. Lurrie Bell had the worst sound problems I have ever heard during his first set. It was lousy. He came back with pete allen, Aaron Burton, and Karen Carroll AND WAS GREAT THOUGH. I agree with Ranko, Vance Kelley is talented but why he had to play O'Jays songs is beyond me. Big Joe Duskin was changed to 6:00p.m. Joe was good. But having a piano player solo at 6:00 is rough, there were a lot of drunk assholes and it was hard to hear him. I recommended Phil Guy to a lot of folks. The Playboys were great, Phil came out for his big show 40 minutes later out of tune and sounding lousy. Disappointing. Sundays highlights for me were Pete Mayes w/Texas Johnny Brown. Terrific. Bobby Parker and Screamin Jay Hawkins who was terrific. My 2 cents; David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Mon, 3 Jun 1996 09:28:55 -0500 Reply-To: James Foster From: James Foster Subject: Re: Jr. Medlow [was: Cobras] Comments: To: Jeff Seale At 8:45 AM 6/3/96, Jeff Seale wrote: >On Sat, 1 Jun 1996, Raymond O. Varner wrote: > >> In the early 80's there was an R&B band in Austin called The Cobras. They >> had Denny Freeman on guitar and a fine young singer who used the stage >> name Jr. Menlow, I believe. They issued a 10" LP. I'm >> very interested in acquiring that record. Anyone interested in doing >> bizniss on that one? >> >> Also, is that same singer now fronting Tornado Alley? >> Do they have any product? > >I believe that Jr. does front Tornado Alley. Jr. has a solo cd out, but >I can't recall the title at the moment. It was recently reviewed in Living >Blues within the last 3-4 months. Since Jr. is from the Lubbock scene, I >picked it up and like it a lot. There's more than just blues on that disc. >Lots of James Brown type stuff. > >On a personal note, Jr. is dealing with cancer. It was in remission for a >while. I'm not sure what the latest status is though. > >-Jeff The fine Junior Medlow disc mentioned by Jeff is called "Thrill For Thrill", originally released on the Blue Train label. I believe it has been re-released and this is the disc reviewed by Living Blues. James Foster ========================================================================= Date: Mon, 3 Jun 1996 07:31:02 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: June 3 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BAKER, JOSEPHINE (v/dancer) b. 1906-0603, ST. LOUIS, MO BREWER, JIM BLIND (g/PHILO REC) d. 1988-0603, CHICAGO, IL 68 BROWN, TOM (b/MA RAINEY) b. 1888-0603, NEW ORLEANS, LA DENNIS, MIKE (of THE DOVELLS) b. 1943-0603, PHILADELPHIA, PA GARLAND, TERRY (g/FIRST WARNING REC) b. 1953-0603, JOHNSON CITY, TN GLEASON, RALPH J. (music critic) d. 1975-0603, BERKELEY, CA 58 HAYES, ROLAND (v) b. 1887-0603, CURRYVILLE, GA HOLMAN, EDDIE (v/R&B/GOSPEL) b. 1946-0603, NORFOLK, VA JONES, JOHN PAUL (b/LED ZEPPELIN) b. 1946-0603, SIDCUP, UK MAYFIELD, CURTIS(g/songw/prod/IMPRESSIONS b. 1942-0603, CHICAGO, IL MEMPHIS MINNIE (g) b. 1897-0603, ALGIERS, LA PICKENS, BUSTER (p/LIGHTNIN' HOPKINS) b. 1916-0603, HEMPSTEAD, TX PRUITT, CARL (b/MILLINDER/KIRK) b. 1918-0603, BIRMINGHAM, AL RANDOLPH, BOOTS (tsax) b. 1927-0603, PADUCAH, KY ROGERS, JIMMY (g/songw/CHESS REC) b. 1924-0603, RULEVILLE, MS STATON, DAKOTA (v/CAPITOL REC) b. 1931-0603, PITTSBURGH, PA STONE, HENRY(prod/owner:ROCKIN'/CHART REC)b. 1921-0603, BRONX, NY STRONG, HENRY (hca/MUDDY WATERS) d. 1954-0603, CHICAGO, IL 25 WILLIAMS, DENIECE (v) b. 1951-0603, GARY, IN ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 3 Jun 1996 09:50:33 -0500 Reply-To: "Stine, Dave" From: "Stine, Dave" Subject: of interest to "gitar" players only Thanks for all the help on Rosco Gordon (found a couple things on old, forgotten lps this weekend--dah). My latest query is: what works for you as a blues guitar player? How do you achieve your "blues tone"? I don't care so much about settings (unless it's part of the sound), but more about what guitar/amp combo give you that thrill. I know this is very subjective. . .I use a '63 Harmony Meteor through a Fender Blues DeLuxe and a Strat through a Blues DeVille. They come the closest to what I want to sound like. I'd like to hear from you. Thanks. David Stine dstine@fsc.follett.com (or we can share this) ========================================================================= Date: Mon, 3 Jun 1996 10:16:50 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Little Milton Question Does anyone know who plays harmonica in the Little Milton tune "Annie's Cafe" (I'm not sure if that's the complete title) Thanks (Private mail please) LW ========================================================================= Date: Mon, 3 Jun 1996 10:27:03 CDT Reply-To: William Shute From: William Shute Subject: re Jr. Medlow/Cobras From: Bill Shute I share Jeff Seale's high praise of Jr. Medlow. I do have the Cobras 10" somewhere in a box in storage, but wouldn't part with it (I see it going for forty bucks at Antone's. WOW! You couldn't give those away back in '84 or so when I got mine.) If you want an even better document of the Cobras during the Denny Freeman and Jr. Medlow period (post-Paul Ray), check out the amazing live CD on the German "Crosscut" label called DENNY FREEMAN AND THE COBRAS "Live At The Continental Club." How I wish I had been there back in 79-81!!! This CD captures it well. As I write this, I can still hear their smokin' cover of Harlem Shuffle!!! I think that CD is still in print. You still see it at various Austin record stores. Bill Shute San Antonio, TX ========================================================================= Date: Mon, 3 Jun 1996 11:26:37 -0400 Reply-To: Timothy Gallagher From: Timothy Gallagher Subject: subscribe to blues- I would like to subscribe to blues-. My address is /usr/spool/mail/tgallagh ========================================================================= Date: Mon, 3 Jun 1996 15:37:25 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: Jimmy Rogers &/or Ronnie Earl Comments: To: bit-listserv-blues-l@uunet.uu.net On Jun 02, 1996 22:49:30 in article , '"(Karen Hanson)" ' wrote: >>This weekend I was convinced to buy a CD by Jimmy Rogers and Ronnie Earl >>(on Bullseye, btw), and it blew me away. >> Does anyone have any suggestions for any other discs by either of >these >>two? > >For Jimmy Rogers, try Feelin' Good, recorded with Rod Piazza & his band >(Blind Pig), or Ludella (Antones), which features Kim Wilson on harp. > > >Karen Of course the classic Jimmy Rogers is: !MCA93000 +ROGERS*JIMMY CHICAGO BOUND 8.7/3 **** $10.67 &MCA 1/90 \act like you love me back door friend blues leave me alone chicago bound goin' away baby i used to have a woman last time luedella money, marbles & chalk out on the road sloppy drunk that's all right walkin' by myself you're the one with both Little and Big Walters and the Mud himself. This is an indispensible issue. "Walkin' By Myself" is worth the price all by itself.....actually so is "Act Like You Love Me" and "Sloppy Drunk" - aw heck the album is full of classics! -- Vincent vt@usa.pipeline.com ========================================================================= Date: Mon, 3 Jun 1996 08:33:07 -0800 Reply-To: Jordan From: Jordan Subject: June 1996 (San Francisco) Bay Area Blues Beat For inclusion in the June 1996 issue of Southland Blues Bay Area Blues Beat by Joseph Jordan SAN FRANCISCO: A BLUES BEAT SALUTE: The Bay Area was well represented at the ceremony for the bluesworld's greatest prize, the Handy Award, at this year's festivities in Memphis. The grand old Redwood City patriarch, John Lee Hooker, won "Traditional Blues Album of the Year" for his Chill Out release. By the way, John Lee and his Coast to Coast Blues Band absolutely tore it up in front of 5,000+ blues fans at this year's Santa Cruz Blues Festival over Memorial Day Weekend. He's going to need a new mantelpiece to display all the honors that he has earned in recent years. We love you, John Lee. San Francisco's Rosebud Management and Agency, shared in a total of eight Handy's. Rosebud books Luther Allison (who won in five major categories) and the respected agency also books Sonoma County's Charlie Musselwhite who won for "Best Instrumentalist - Harmonica." Rosebud also manages The Hook, and the dedicated country blues man, John Hammond, who won a Handy for "Acoustic Blues Artist of the Year." San Francisco's favorite bluesman from the City of Angels, Coco Montoya picked up a richly deserved Handy for "Best New Blues Artist." I'm claiming this one for the Bay Area, in that until just recently, his friend and manager, John Boncimino of Full Circle Talent lived and worked in Sausalito. (John has recently moved to L.A. and teamed up with Kevin Morrow to form, MB Management and will handle the fortunes of among others, Montoya, Keb' Mo', Musslewhite and the Blind Boys of Alabama. (Good luck down there John...don't be a stranger to us in San Francisco.) A salute too, to Coco's agent, Tom Gold of San Francisco. A Blues Beat nod goes to the "Blues Band of the Year" Handy Winners, Bay Arean Joe Louis Walker & the Bosstalkers. Blind Pig Records also had congrats coming toward its "Pig Pen" as three of its catalog artists won Handy's, (Montoya, Musselwhite and Jimmy Rogers.) Pretty good overall showing for this little burg to the North of y'all. BAY AREA BLUES BEAT BLUES FESTIVALS OF NOTE: 11th Annual Monterey Bay Blues Festival at the Fairgrounds, June 22nd & 23rd. Call 408-394-2652 for info. / 1st Annual Russian River Blues Festival in Guerneville, Sonoma County, June 29th & 30th. Call 707-869-3940 for info. LABELS TAKE NOTE: Probably the best blues band in the South Bay is a splendid, unsigned 6-piece called NiteCry. They've been pumping out excellent music and kicking around the Bay Area for almost a decade and have one sparkling independent release available, entitled, "Run for Cover." The band got some terrific news lately in that their friend and fan Joe Louis Walker has agreed to produce their second recording. If all goes well, it should be out in the fall. I'll keep you posted. LET'S HEAR IT FOR ENTREPRENEURSHIP: Maybe Horatio Alger was a bluesman? About a year ago, local favorite, stinging, Texas-style guitarist Kenny "Blue" Ray, showed some real pluck, and his story has a happy ending. Seems he, like a lot of us, have heard some electric blues on the soundtracks of several of Budweiser's recent commercials. He thought, "My stuff is at least as good as that," and apparently Bud has agreed. By sending a cassette of one of his tunes, "Blues for Albert" (King) to the right person in the Budweiser marketing department, Kenny just scored a remarkable coup of having his music accepted for a one year engagement on an upcoming commercial. His tune will even be played to callers "on hold" at the corporate offices in St. Louis. Right on, Mr. Ray! By the way, Kenny will have his fourth release, entitled "Pull The Strings" out by month's end. It's another good 'un. (Labels take note... again!) Is there is any blues-related info you want to know about in the Bay Area? Send a line to SB or e-mail me: sobluesmag@aol.com. See you next month. - End - Find my "Complete Bay Area Blues Beat Archive" at: http://www.glide.org/cny/students/joseph/default.html "Down these mean streets, a man must go." - Raymond Chandler - ========================================================================= Date: Mon, 3 Jun 1996 11:36:17 -0400 Reply-To: MB From: MB Subject: Big Jack Johnson's second guitarist I received two replies to my post about seeing Big Jack Johnson at Allentown's Mayfair. In that post, I mentioned that the second guitarist was a real smoker in his own right. The respondents were divided about his identity. One said that he is Leroy (the man from Sugarland) Foster. The other said that he is Rodger Montgomery. Any thoughts? Tie-breakers? Regards, MB _______ _______ ______ __ __ ______ _____ _______ _______ _______ | | | _ | __ \ |/ | | __ \ |_| _ | __| __| | | | < < | __ < | |__ |__ | |__|_|__|___|___|___|__|__|\__| |______/_______|___|___|_______|_______| MARK BLASS - ALLENTOWN, PA - blassms@ttown.apci.com - OPINIONS MY OWN ========================================================================= Date: Mon, 3 Jun 1996 11:35:36 EST Reply-To: mstringer@HEARST.COM From: Mark Stringer Subject: Muddy's best recording I have one Muddy Waters CD. It was produced by Johnny Winter. I like it and want to get another. Would someone please recommend a recording which they feel represents Muddy Waters at the height of his power. . Thanks Mark ========================================================================= Date: Mon, 3 Jun 1996 11:12:05 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Chicago's Fest Comments: To: Dave Markovits In-Reply-To: On Mon, 3 Jun 1996, Dave Markovits wrote: > Sundays highlights for me were Pete Mayes w/Texas Johnny Brown. Terrific. Dave and anyone else who saw Texas Johnny Brown, could you give a more detailed account of TJB's set. He was playing with Pete's band and not the Quality Blues band. I'd like to know how they sounded together, meshed, etc. Also, how was TJB received. Anyone who saw the set and would be willing to write a detailed review, I'd be happy to include it on the Texas Johnny Brown Web page ;-) ;-) Just email me. -Jeff ------------------------------------------------------------------------------ __ Jeff Seale, PhD | |___ University of Texas Health Sciences Center @ San Antonio ___|* | seale@bioc02.uthscsa.edu \ | http://bioc09.uthscsa.edu/~seale/home.html \/\ / \ / I woke up my sidekick, it's a long way to Llano \( I'll see you next summer, when the peach trees are ripe. -Joe Ely ========================================================================= Date: Mon, 3 Jun 1996 16:12:51 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: Immortal threads Comments: To: bit-listserv-blues-l@uunet.uu.net Paul, This is just a counterpoint: I find that the newsgroup is useful because it does not fill up my e-mail box. I can post via the regular e-mail address, but find it more convenient to post via the newsgroup - in the end this shouldn't make any difference to the list. Yes, there is a delay to my newsgroup (reader) but it is a matter of hours as opposed to days. So I am a little behind (but then I always was :-) With a full time day job it is difficult for me to keep right up to the minute anyway, so this delay doesn't bother me. I try not to post unless I think it would interest the list and sometimes timeliness is important, at other times it isn't at all. A newsgroup does NOT attract annoying individuals any more than any particular service provider - remember this list used to complain about aol - and yet some of the most valuable members came via that avenue. Life unfortunately is not perfection, we have to accept the rough with the smooth. Closing ourselves off probably is not the solution - just as trying to close off the blues and not accepting anything new. I can't come up with a "better" solution, but just like to point out that round about when we both joined I think there was a big fuss about the deterioation of the list and how some people were signing off. Yes we did lose a few people but we also gain some very significant persons since then, and I don't think the newsgroup echo had anything to do with that. -- Vincent vt@usa.pipeline.com On May 31, 1996 06:43:39 in article , '"P.W. Fenton" ' wrote: >Regular readers of this list know that I long ago expressed concerns >that the "newsgroup echo" of Blues-l, would cause endless threads >(among many other "ills"). Especially threads which require little >or no Blues knowledge. The thread about what's in your CD player is a >great example. It's perfect. It doesn't require any knowledge of >the Blues (or even any interest in the Blues). The thread was >pretty old when I left for vacation, and it seems to be going >stronger than ever upon my return. > >But even I was not prepared for what arrived in my mailbox this >morning. A reply to a post of mine that I sent to Blues-l on the >28th of JANUARY!!! > >Where had it been read?... bit.listserv.blues-l > >P.W. Fenton >Tampa, Florida >http://www.gate.net/~pwfenton/ > >"This kid was so young that when he did "Stormy Monday," >his eagle flew on Tuesday" - Dick Waterman ========================================================================= Date: Mon, 3 Jun 1996 16:15:36 GMT Reply-To: Stephanie Manna From: Stephanie Manna Subject: Mississippi Valley blues festival lineup On Jun 02, 1996 22:29:39, 'Ranko Vujosevic ' wrote: >I guess for real blues treat this year we gotta go to Mississippi Valley Blues >Fest. >What a lineup this year, huh? > >Ranko You Bet! After a few changes, here is the lineup: Lil Brian Terry & the Zydeco Travelers,Coco Montoya,Big Daddy Kinsey & the Kinsey Report,Robert Jones,Keb Mo,John Hammond & Duke Robillard,Mojo Blues competition Winner, Debbie Davies, James Peterson, The Johnny Nocturne Band,Otis Rush,Catfish Keith,Big Al Dupree with the Teddy Morgan Band,Kelley Hunt,Mem Shannon, Von Freemman,Blues Instigators,Dave Thompson Band,Miss Lavelle White,Smokey Wilson,Syl Johnson,Two Point Five, Omar Sharriff,WD Gospel Singers,Robert Lockwood,Taj Mahal. ========================================================================= Date: Mon, 3 Jun 1996 12:50:36 EDT Reply-To: Toby Levy From: Toby Levy Subject: Re: Last CD in Your Player I had brought a stack of cds to play at work today, but I got stuck on the second one in and its on its third play as I write this: Smokey Wilson - 88th Street Blues I love Smokey's voice and the band is just fabulous with Smokey on lead guitar with Rod Piazza on harp, Honey on piano, the late lamented Hollywood Fats on rhythm guitar, Larry Taylor on bass and Richard Innes on drums. As Larry Johnson would say "Blues me!, blues me!" Toby ========================================================================= Date: Mon, 3 Jun 1996 12:57:05 EDT Reply-To: Toby Levy From: Toby Levy Subject: Dorothy Live Yesterday I was priviledged to see the incredible 74 year oldDorothy Donegan kick out all the jams at the Syracuse Jazz fest. If you ever have an opportunity to see her, please do yourself a favor. She plays a lot of blues (actually, she plays a lot of everything including Beethoven and show tunes) and she puts on quite a show. I only have the Rosetta album released a few years ago "Dorothy Romps." Below I have listed the All Music Guide bio and discopgraphy. Does anyone know if any or all of these are in print? Toby -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= A brilliant virtuoso, Dorothy Donegan constantly switches between boogie-woogie, bop, stride, Art Tatum-style swing and classical music, sometimes in the same chorus! In concerts she often puts together spontaneous medleys of unrelated songs and is never shy to dance while she plays. She studied at the Chicago Conservatory and Chicago Music College and made her recording debut in 1942. Donegan made a sensational appearance in the film Sensations of 1945 but never caught on that big despite her remarkable technique. She recorded a lot less than one would expect (six obscure albums during 1954-63 and nothing during 1964-74) and was not really that well-known in the jazz world until the mid-'80s. A couple of live Chiaroscuro CDs from 1990-91 find her in peak form but she has to be seen to be fully appreciated. -- Scott Yanow D I S C O G R A P H Y (albums) September Song 1946 Jubilee Dorothy Donegan Piano 1954 MGM Dorothy Donegan Trio 1954 Jubilee Dorothy Donegan Live! 1958 Capitol Donneybrook with Dorothy 1959 Capitol Dorothy Donegan at the Embers 1960 Roulette Swingin' Jazz in Hi Fi 1963 Regina Makin' Whoopie 1979 Black & Blue Explosive Dorothy Donegan 1980 Progressive Live at the 1990 Floating Jazz Fest 1990 Chiaroscuro Incredible Dorothy Donegan Trio 1991 Chiaroscuro Dorothy Donegan Trio with Clark Ter 1993 Chiaroscuro Dorothy Romps- a Piano Retrospectiv 1994 Rosetta ========================================================================= Date: Mon, 3 Jun 1996 13:14:18 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Muddy's best recording Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *I have one Muddy Waters CD. It was produced by Johnny Winter. I like it and want *to get another. Would someone please recommend a recording which they feel *represents Muddy Waters at the height of his power. * IMHO, the Chess Box is the essential Muddy Waters collection. -Steve ========================================================================= Date: Mon, 3 Jun 1996 12:22:37 +0000 Reply-To: Tom Freeland Comments: Authenticated sender is From: Tom Freeland Subject: Re: Muddy's best recording Comments: To: mstringer@HEARST.COM I'm going to make a sweeping statement, of a kind much disliked on this list BUT INHO the recording THE BEST OF MUDDY WATERS is probably the GREATEST "best of" album ever compiled. If you MUST only buy one disk, that's a good one to start with. However, you would be far better served by purchasing the Chess/MCA Muddy Waters Box, which has a far more complete selection. Finally, the PLANTATION RECORDINGS (also Chess/MCA) has acoustic Muddy Waters recorded by the Libary of Recordings. It is 2ndary to the Muddy box and BEST OF but only in the context of MW recordings. Tom FreelandOn 3 Jun 96 at 11:35, Mark Stringer wrote: > I have one Muddy Waters CD. It was produced by Johnny Winter. I like > it and want to get another. Would someone please recommend a > recording which they feel represents Muddy Waters at the height of > his power. . Thanks Mark > ========================================================================= Date: Mon, 3 Jun 1996 12:49:41 -0700 Reply-To: Craig Edmundson From: Craig Edmundson Organization: University of Nebraska Medical Center Subject: Re: Muddy's best recording Comments: To: mstringer@HEARST.COM Mark Stringer wrote: > > I have one Muddy Waters CD. It was produced by Johnny Winter. I like it and want > to get another. Would someone please recommend a recording which they feel > represents Muddy Waters at the height of his power. I know of two (are there others?) that Johnny Winter produced: "Hard Again" (1977) and "King Bee" (1981). JW, Bob Margolin, and Willie Smith help out on both titles. I like both releases, but give the edge to Hard Again. I would also recommend "Muddy Waters at Newport," which would fit your "height of his power" requirement. Regards, Craig -------------------------------- Craig L. Edmundson cedmunds@netserv.unmc.edu cedmunds@probe.net http://www.probe.net/~cedmunds/ ========================================================================= Date: Mon, 3 Jun 1996 13:48:16 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Immortal threads (Don O. please ignore) Comments: To: VT On 3 Jun 96 at 16:12, VT wrote: > Paul, > > This is just a counterpoint: > A newsgroup does NOT attract annoying individuals any more than > any particular service provider - remember this list used to > complain about aol - and yet some of the most valuable members came > via that avenue. I never suggested that newsgroups attract annoying individuals. In fact, the post you responded to makes no mention of annoying individuals. It does blame "immortal threads" on newsgroups and that is a simple fact. When you subscribe to blues-l, the listserv starts sending you the very next posted message as mail. It doesn't send you a message that is 4 months old. It doesn't send you a message that is one hour old. Not so with newsgroups. Newsreaders give you instant access to thousands of newsgroups. Join a new one (to you) and the server feeds you the oldest message you haven't read first. Depending on the server you are connected to that can be anywhere from about 200 messages old to many thousands of messages old. Consequently, when someone asks for help naming a cat, a month later people are still making suggesttions even though the person who made the request said, "no more please", an hour after their original request. Listserves don't have that problem, newsgroups do. There are plenty more problems that newsgroups encourage. For instance, imagine you are a new to the internet, but your provider offers access to newsgroups. You are interested in hockey in St, Louis. So you search the 15 thousand name list of newsgroups for titles containing "Blues". Up pops blues-l... bingo! You've found it. You have complete access so you begin posting all the St. Louis hockey questions you have ever pondered. (This is not a fantasy, we recently all received hocky questions from someone looking for "St. Louis Blues" info) This does not happen when you must subscribe first before you can post. This only happens via newsgroups. So someone would like to use a newsreader to read Blues-l because their mailbox capacity is too small. Instead of telling them to get a bigger mailbox (they are cheap and plentiful), we create a newsgroup echo that increases the noise level, and the traffic for everyone else. Sounds fair? > Life unfortunately is not perfection, we have to accept the rough with the > smooth. Closing ourselves off probably is not the solution - just as > trying to close off the blues and not accepting anything new. I've never suggesting closing us off, or denying anyone access. There's a difference between leaving you front door standing open, and keeping it locked and asking people to ring the door bell if they want to enter. The latter is what we had before. Now the door is standing wide open and the mosquitos are thick. > I can't come up with a "better" solution, but... We didn't have a problem. Individuals, and a small number of them I might add, preffered using a newsreader. The list was forever changed for everyone in order to make those individuals happy. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Mon, 3 Jun 1996 19:12:37 +0100 Reply-To: Bo Carlsson From: Bo Carlsson On 30 May 96, Bo Carlsson had this to say: OK, I see a mission for us. Lets make a list of our favorite recordings by european bluesbands/artists. Then everybody can catch up! Send them to me and I will collect a list. Everybody can include a small comment. Mr Bo The list so far: Not for sale : The Electric Kings Blue Soulution: Sven Zetterberg & The Chicago express I suppose we should defintely add "The Instigators" (featurng our own Goren Swenningsson ) and that other Swedish Blues band, "The Nightcats" featuring some guy named Bo Something-or-other. Al Cook Robert Lighthouse (a Swedish guitarist/singer/harp player in DC) Sam Mitchell Big Joe Louis Mr. Bo & The Boosters The Instigators Knockout Greg & Blue Weather and that's just Sweden! The Mojo Blues Band from Austria is good too. =46rom Germany I like a band called BB & The Blues Shacks. I like Diz Watson on piano, isn't he British ? J. Leino and The Blues Guys from Finland. Veteran band with a deep knowing of the slow blues also. deep modern blues with the respect to Freddy King, Fenton Robinson, Jimmy Johnson etc. J. is a great singer and Jaska Heinonen, the guitarist plays tasty ,not nasty, blues guitar. They are gonna play this summer at the leading blues festival at Nordic Countries (Notodden Blues =46estival at Norway). Knucklebone Oscar and his hitmen. Trust me these young fellows are gonna be big in a near future. They have amazing performing skills. Oscar is a natural performer. I think that in any day he could have a theatre/screen career also. AND HEY HEY HEY. He could play some deep guitar also. They have "cold day in hell" on the set. And I am very sensitive when it is talk about versions of OR tunes. ANd Oscar played this song from my alltime favorite artist with a deep understanding of what the song actually is (on my mind). I almost cried (Finnish males don't cry) when I heard Oscar's version of this song.... Jouni, who likes from Sweden Svenne and from Norway R&B Express. Igor Isakovski from Macedonia suggests: * Blues Company - from Germany. The Band consists of the singer and guitarist Todor Todorovic, a native of Yugoslavia; the Jamaican Mike Titre on guitar, slide guitar and harmonica; Martin Schmachtenberger on drums; bassist Frizze Winacker. * Electric Blues Duo - from Europe. Frank Diez from Germany on guitar and Colin Hodgkinson on Fender bass. * Pete York & Friends - England. Pete York, drums; Colin Hodgkinson, bass; Miller Anderson, guitar & vocals; Zoot Money, piano & vocals; Chris Farlowe, vocals. You can find them all on InAkustik Inak 19001CD. P.S. Don't forget John Mayall & The Bluesbreakers :-) My favourite European blues/rock band is Normaal, a band from Holland. Actually they're not really a blues band, playing mainly three-chord rock in the vein of Georgia Satellites, except with stronger vocals and excellent, hilarious lyrics (if you can understand Dutch, that is) :-). They do play the odd pure blues song, like 8-cylinder blues, a tale of jealousy which anyone who's ever payed $2.00 for a litre of gas will understand :-) Apparently their concerts are wild, but I doubt that they'll be playing here anytime soon, since all of their lyrics are in Dutch... -Jim (hndful@uniserve.com)...returning to my roots for this pick... Hi. How about Wentus Blues Band - Chitlin' Circiut. Great record. I saw them at M=F6nster=E5s bluesfestival and they did a great gig. Regards Michael ========================================================================= Date: Mon, 3 Jun 1996 19:18:36 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Europes greatest - the list so far Well here is the list of Blues-L:s favorite euoropean bluesbands/recordings so far. But hey where is our Anglosaxian friends hiding. Is there nothing left of the british blues-boom? Not for sale : The Electric Kings Blue Soulution: Sven Zetterberg & The Chicago express I suppose we should defintely add "The Instigators" (featurng our own Goren Swenningsson ) and that other Swedish Blues band, "The Nightcats" featuring some guy named Bo Something-or-other. Al Cook Robert Lighthouse (a Swedish guitarist/singer/harp player in DC) Sam Mitchell Big Joe Louis Mr. Bo & The Boosters Knockout Greg & Blue Weather and that's just Sweden! The Mojo Blues Band from Austria is good too. =46rom Germany I like a band called BB & The Blues Shacks. I like Diz Watson on piano, isn't he British ? J. Leino and The Blues Guys from Finland. Veteran band with a deep knowing of the slow blues also. deep modern blues with the respect to Freddy King, Fenton Robinson, Jimmy Johnson etc. J. is a great singer and Jaska Heinonen, the guitarist plays tasty ,not nasty, blues guitar. They are gonna play this summer at the leading blues festival at Nordic Countries (Notodden Blues =46estival at Norway). Knucklebone Oscar and his hitmen. Trust me these young fellows are gonna be big in a near future. They have amazing performing skills. Oscar is a natural performer. I think that in any day he could have a theatre/screen career also. AND HEY HEY HEY. He could play some deep guitar also. They have "cold day in hell" on the set. And I am very sensitive when it is talk about versions of OR tunes. ANd Oscar played this song from my alltime favorite artist with a deep understanding of what the song actually is (on my mind). I almost cried (Finnish males don't cry) when I heard Oscar's version of this song.... Jouni, who likes from Sweden Svenne and from Norway R&B Express. Igor Isakovski from Macedonia suggests: * Blues Company - from Germany. The Band consists of the singer and guitarist Todor Todorovic, a native of Yugoslavia; the Jamaican Mike Titre on guitar, slide guitar and harmonica; Martin Schmachtenberger on drums; bassist Frizze Winacker. * Electric Blues Duo - from Europe. Frank Diez from Germany on guitar and Colin Hodgkinson on Fender bass. * Pete York & Friends - England. Pete York, drums; Colin Hodgkinson, bass; Miller Anderson, guitar & vocals; Zoot Money, piano & vocals; Chris Farlowe, vocals. You can find them all on InAkustik Inak 19001CD. P.S. Don't forget John Mayall & The Bluesbreakers :-) My favourite European blues/rock band is Normaal, a band from Holland. Actually they're not really a blues band, playing mainly three-chord rock in the vein of Georgia Satellites, except with stronger vocals and excellent, hilarious lyrics (if you can understand Dutch, that is) :-). They do play the odd pure blues song, like 8-cylinder blues, a tale of jealousy which anyone who's ever payed $2.00 for a litre of gas will understand :-) Apparently their concerts are wild, but I doubt that they'll be playing here anytime soon, since all of their lyrics are in Dutch... -Jim (hndful@uniserve.com)...returning to my roots for this pick... Hi. How about Wentus Blues Band - Chitlin' Circiut. Great record. I saw them at M=F6nster=E5s bluesfestival and they did a great gig. Regards Michael ========================================================================= Date: Mon, 3 Jun 1996 18:14:09 GMT Reply-To: CDN From: CDN Organization: AT&T WorldNet Services Subject: Re: Muddy's best recording Comments: To: bit-listserv-blues-l@uunet.uu.net I'll second this. Make sure it's the Chess 'Best of'. And if you like it, go for some of the other Chess reissues. -- Chuck ax031@lafn.org CDN@worldnet.att.net -----------------Reply Separator--------------------- I'm going to make a sweeping statement, of a kind much disliked on this list BUT INHO the recording THE BEST OF MUDDY WATERS is probably the GREATEST "best of" album ever compiled. If you MUST only buy one disk, that's a good one to start with. However, you would be far better served by purchasing the Chess/MCA Muddy Waters Box, which has a far more complete selection. Finally, the PLANTATION RECORDINGS (also Chess/MCA) has acoustic Muddy Waters recorded by the Libary of Recordings. It is 2ndary to the Muddy box and BEST OF but only in the context of MW recordings. Tom FreelandOn 3 Jun 96 at 11:35, Mark Stringer wrote: > I have one Muddy Waters CD. It was produced by Johnny Winter. I like > it and want to get another. Would someone please recommend a > recording which they feel represents Muddy Waters at the height of > his power. . Thanks Mark > ========================================================================= Date: Mon, 3 Jun 1996 13:49:15 -0500 Reply-To: Ranko Vujosevic From: Ranko Vujosevic Subject: Re: Muddy's best recording > I'm going to make a sweeping statement, of a kind much disliked on > this list BUT > > INHO the recording THE BEST OF MUDDY WATERS is probably the GREATEST > "best of" album ever compiled. > > If you MUST only buy one disk, that's a good one to start with. > > However, you would be far better served by purchasing the Chess/MCA > Muddy Waters Box, which has a far more complete selection. > > Finally, the PLANTATION RECORDINGS (also Chess/MCA) has acoustic > Muddy Waters recorded by the Libary of Recordings. It is 2ndary to > the Muddy box and BEST OF but only in the context of MW recordings. > > Tom FreelandOn 3 Jun 96 at 11:35, Mark Stringer wrote: > > > I have one Muddy Waters CD. It was produced by Johnny Winter. I like > > it and want to get another. Would someone please recommend a > > recording which they feel represents Muddy Waters at the height of > > his power. . Thanks Mark > > > Yeah, this is all true. Still, my fav Muddy is Hard Again. It is essential Muddy plus EXCELLENT production by Johhny Winter. Ranko ========================================================================= Date: Mon, 3 Jun 1996 13:57:27 -0500 Reply-To: 00LCSPECTOR@BSUVC.BSU.EDU From: "Lee C. Spector" <00lcspector@BSUVC.BSU.EDU> Subject: reissue problem The worst example, I can think of, is the reissue by Spann called I think, Cracked Spanner Bird, or something like that. It reissued the same tunes as another album, but called each tune a different name and then added some "sweetener" to it, as if Spann ever needed any help. In my opinion, it is the worst travesty that the recording business ever put forward, other than the fact that many great artists are so underrecorded. Lee Lee C. Spector Department of Economics ========================================================================= Date: Mon, 3 Jun 1996 18:59:40 GMT Reply-To: VT From: VT Subject: Re: Immortal threads (Don O. please ignore) Comments: To: "P.W. Fenton" Paul, I have absolutely no wish to argue with you. I understand the frustration of having people posting replies to threads which are old or out of date - and do see that it is much more likely coming from a newsgroup because of the "life" or persistence of posts there. However my counterpoint was just that, to some being able to receive the list via a newsgroup is a convenience - I find that so - and it isn't because my mailbox does not have the capacity. It is a nice option/choice. But if that convenience is outweighed by useless traffic/noise, then I'd forgo it too. However I thought the list should be informed to take a balanced decision. Sounds fair? -- Vincent vt@usa.pipeline.com On Jun 03, 1996 13:48:16, '"P.W. Fenton" ' wrote: >On 3 Jun 96 at 16:12, VT wrote: > >> Paul, >> >> This is just a counterpoint: > >> A newsgroup does NOT attract annoying individuals any more than >> any particular service provider - remember this list used to >> complain about aol - and yet some of the most valuable members came >> via that avenue. > >I never suggested that newsgroups attract annoying individuals. In >fact, the post you responded to makes no mention of annoying >individuals. It does blame "immortal threads" on newsgroups and >that is a simple fact. > >When you subscribe to blues-l, the listserv starts sending you the >very next posted message as mail. It doesn't send you a message that >is 4 months old. It doesn't send you a message that is one hour old. >Not so with newsgroups. Newsreaders give you instant access to >thousands of newsgroups. Join a new one (to you) and the server >feeds you the oldest message you haven't read first. Depending on >the server you are connected to that can be anywhere from about 200 >messages old to many thousands of messages old. > >Consequently, when someone asks for help naming a cat, a month later >people are still making suggesttions even though the person who made >the request said, "no more please", an hour after their original >request. > >Listserves don't have that problem, newsgroups do. > >There are plenty more problems that newsgroups encourage. For >instance, imagine you are a new to the internet, but your provider >offers access to newsgroups. You are interested in hockey in St, >Louis. So you search the 15 thousand name list of >newsgroups for titles containing "Blues". Up pops >blues-l... bingo! You've found it. You have complete access so you >begin posting all the St. Louis hockey questions you have ever >pondered. (This is not a fantasy, we recently all received hocky >questions from someone looking for "St. Louis Blues" info) > >This does not happen when you must subscribe first before you can >post. This only happens via newsgroups. > >So someone would like to use a newsreader to read Blues-l because >their >mailbox capacity is too small. Instead of telling them to get a >bigger mailbox (they are cheap and plentiful), we create a newsgroup >echo that increases the noise level, and the traffic for everyone >else. > >Sounds fair? > >> Life unfortunately is not perfection, we have to accept the rough with the >> smooth. Closing ourselves off probably is not the solution - just as >> trying to close off the blues and not accepting anything new. > >I've never suggesting closing us off, or denying anyone access. > >There's a difference between leaving you front door standing open, >and keeping it locked and asking people to ring the door bell if they >want to enter. > >The latter is what we had before. Now the door is standing wide >open and the mosquitos are thick. > >> I can't come up with a "better" solution, but... > >We didn't have a problem. Individuals, and a small number of them I >might add, preffered using a newsreader. The list was forever >changed for everyone in order to make those individuals happy. > >P.W. Fenton >Tampa, Florida >http://www.gate.net/~pwfenton/ > >"The large print giveth, and the small print taketh away" >- Tom Waits ========================================================================= Date: Mon, 3 Jun 1996 11:53:33 -0700 Reply-To: Mark Naftalin From: Mark Naftalin Subject: Revised Otis Spann Discography Blues and jazz discographer Eric LeBlanc has contributed additions and corrections to Richard Cotenas's extensive Otis Spann discography. The updated discography is available on 411- Winner. Also on 411-Winner: information on the next Winner CD, "East-West Live" by the Paul Butterfield Blues Band; information on Winner Records artists (Paul Butterfield Blues Band, Percy Mayfield, Ron Thompson); an extensive Michael Bloomfield discography; the publication "Bloomfield notes" (all issues); a selection of blues publicity photos; poetry by legendary blues percussionist Francis Clay; an archive of other blues-related materials; and information on me and my activities. Mark Naftalin 411-Winner ========================================================================= Date: Mon, 3 Jun 1996 14:30:37 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Europes greatest - the list so far Comments: To: Bo Carlsson In-Reply-To: On Mon, 3 Jun 1996, Bo Carlsson wrote: > Well here is the list of Blues-L:s favorite euoropean bluesbands/recordings > so far. But hey where is our Anglosaxian friends hiding. Is there nothing > left of the british blues-boom? > Sure, but they don't consider themselves part of Europe. ;^) Steve in Iowa ========================================================================= Date: Mon, 3 Jun 1996 14:34:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Texas Johnny Brown Comments: To: SEALE@BIOC02.UTHSCSA.EDU Jeff, I was blown away by Texas Johnny Brown! He's fantastic - and for a man his age. I thought he worked very well with the band. The crowd went crazy for him at his first few wonderfully complex lyric riffs. More later, Bonnie ========================================================================= Date: Mon, 3 Jun 1996 14:32:06 -0600 Reply-To: James Bardsley From: James Bardsley Subject: Re: Muddy's best recording Comments: To: Tom Freeland In-Reply-To: <9606031732.AA02513@WaterValley.Net> I thought "Folksinger" ( with a young Buddy Guy backing on acoustic guitar) was probably a great performance and certainly one of the best /ever/ recordings, as captured on the direct-from-master gold disc. At 12:22 PM +0000 06/03/96, Tom Freeland wrote: >I'm going to make a sweeping statement, of a kind much disliked on >this list BUT > >INHO the recording THE BEST OF MUDDY WATERS is probably the GREATEST >"best of" album ever compiled. > >If you MUST only buy one disk, that's a good one to start with. > >However, you would be far better served by purchasing the Chess/MCA >Muddy Waters Box, which has a far more complete selection. > >Finally, the PLANTATION RECORDINGS (also Chess/MCA) has acoustic >Muddy Waters recorded by the Libary of Recordings. It is 2ndary to >the Muddy box and BEST OF but only in the context of MW recordings. > >Tom FreelandOn 3 Jun 96 at 11:35, Mark Stringer wrote: > >> I have one Muddy Waters CD. It was produced by Johnny Winter. I like >> it and want to get another. Would someone please recommend a >> recording which they feel represents Muddy Waters at the height of >> his power. . Thanks Mark >> Jim Bardsley "If we're treading on thin ice then we might as well dance." -Jesse Winchester @1971 ========================================================================= Date: Mon, 3 Jun 1996 14:40:43 -0500 Reply-To: "Stine, Dave" From: "Stine, Dave" Subject: Bud blues Sorry for all the "noise" from my pc today--slow--boss is out. This has been driving me crazy since I first saw it: the beer ad (Bud, I believe) with the lions and the "reedy" sounding almost "Green Onions" song playing in the background. Anyone know who it is? I swear I have it in my collection somewhere and it has lyrics too. John Lee? It's got that 50's vibe. Any help appreciated. ========================================================================= Date: Mon, 3 Jun 1996 16:01:54 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Re: Where stores file stuff Jim Witteveen wrote " I wasn't really blaming the clerks for filing errors - just the lack of knowledge about _any_ type of music that many employees (especially in smaller chain stores) show. I think it would do a record store a lot of good to encourage their employees to learn something about all musical styles - I know a good staff keeps me shopping at one store in our town rather than the other." I agree wholeheartedly. And the best way to let the stores know how you like to be treated is to do just what you say: vote with your wallet. I know that I frequent a small store here even though its prices are a dollor more per disc than the chain stores. I am willing to spend the extra bucks because I get good, helpful, knowledgable service. I have actually found the worst service at the national chains. It seems that those stores are worried less about finding employees who know music and want to help customers than finding cute 17-year-old girls to draw men into the stores. Now, before I get flamed for that remark, I don't mean anything sexist by it. It is just what I have observed. I went to the mall here the other day. Stopped in at Sam Goody's, Turtles, Camelot, and Disc Jockey. Total number of male employees I saw (and I stayed ten or so minutes in each place): 3. All the rest looked were females who looked like they had stepped out of Noxema ads. To their credit, all were smart and at least tried to be helpful. But beyond that, nada. As a test, I asked in each store where Stevie Ray Vaughan was. I was *ACTUALLY* led to Easy Listening at one point. Now, while SRV is quite easy on MY ears, that's not where you normally put his music. And, no, the discs were not in the EL section. Gavin ========================================================================= Date: Mon, 3 Jun 1996 15:08:43 +0000 Reply-To: Tom Freeland Comments: Authenticated sender is From: Tom Freeland Subject: More notes on the new RL Burnside I have an as-released copy of the new R.L. Burnside album in hand. While the promo showed a Matador-Fat Possum co-release, this is on Matador only. Titled A ASS POCKET OF WHISKEY (as noted, scheduled for a June 18th release date), it has personnel Kenny Brown on guitar (he usually plays guitar on R.L.'s performances outside Marshall County), Judah Bauer (guitar, harmonica, vocals, casio sk-1), Russell Simins (drums), and Jon Spencer (guitar, Vocals, Drums, Theramin). I assume that Bauer, Simins, and Spencer are all in Jon Spencer Blues Explosion. Production is listed as Matthew Johnson (who is presently running Fat Possum) and recorded by Bruce Watson (who had the recording studio here where some of the Fat Possum material has been recorded, and who now works at FP). It is listed as recorded at Lunati Farms in Marshall County February of this year; I have no idea what Lunati Farms is. In the pictures, it does NOT look like Jr. Kimbrough's place. Further reactions to the music? So far, I like a lot of it. The opener ("Goin' Down South") is a standard from R.L.'s rep, played with LOUD alternative-ish guitars. R.L.'s singing (and shouting and yelling and talking) is DEAD ON here; I have been generally impressed lately with the strength of his singing in live performance, and this gets how deep and strong he has been of late. On the other hand, the shouting and singing by Spencer and Bauer (I don't know which is which) is obviously very influenced by R.L. but not nearly as effective. It sounds pretty mannered, and occasionally (the end of "Snake Drive," for instance) is very annoying. This is having heard it through twice. Gonna be a tough review. Picking up on that other thread: Are we sure this should be in the blues sections of the record stores? Oh, and the cover art is gonna annoy some folks also. (It annoyed my wife, for instance, who is not easily annoyed and was partly bothered because she said the drawing of R.L. did him a disservice. I should add here that she is an accomplished watercolorist and portrait artist). It is a drawing by rock poster artist Derek Hess. It has a drawing of R.L. in the foreground, in a t-shirt with a doubled-up belt in his hands; in the background are two (twinned) blonds in halter-and-very-short-cut-off-denims and red high heels, each with a flask in their hip pocket. Tom Freeland ========================================================================= Date: Mon, 3 Jun 1996 19:56:52 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Re: Europes greatest - the list so far OK - the Anglo-Saxons are here! The British Blues Scene? Well, much of it, if you read the mags we produce over - is dominated by "blues-rock" stuff or "hat" bands - ie guys with big hats/sun glasses banging out bad versions of Hooker/Muddy with a heavy dose of SRV and Hendrix. But the exceptions are: Big Joe Louis and The Blues Kings - great downhome/50's Chicago fronted by knowledgeable collector and critic Alasdair Blaazer. Otis Grand of course, still a great guitar player touring Europe regularly and cutting a new album in the USA. Bob Pearce, one of the best support bands around, with some fine original material. Lets not forget King Pleasure and The Biscuit Boys who recreate 40's/50's R&B ala Wynonie Harris, Amos Milburn, Joe and Jimmy Liggins, Calvin Boze - great show as well. There a or two more but I can't think who.. Bands like The Hoax are touted as "blues bands" but..... Tony ========================================================================= Date: Mon, 3 Jun 1996 15:21:06 -0500 Reply-To: Mark Halverson From: Mark Halverson Subject: Blue Moon Blues Festival The Blue Moon Blues Festival will take place inside and outside the Blue Moon night club in Kasota, Minnesota, from noon until 1:00 AM or so on SATURDAY, JUNE 22. Performers are primarily area bands and include: Joel Johnson; Joe T. Cook; Scooter Trash; The Slyders; Rhythm Doctors; The Hackmasters; Michael Williams & the Show Dogs; The Mighty Aces; The Crowns; Blue Max; Mojo Buford (longtime Muddy Waters harp player) and Bryan Koenig & the Stand Back Blues Band. For tickets or info call (507) 931-4843. Kasota is about 65 miles from the Twin Cities via US 169. Disclaimer - just a fan! 6/3. ========================================================================= Date: Mon, 3 Jun 1996 16:24:15 EST Reply-To: Bob German From: Bob German Organization: Luse Lehman Gorman Pomerenk &Schick Subject: blues Comments: To: KELLY@luselaw.com If you like blues, you missed a pretty decent festival this weekend. I missed Robert Jr. Lockwood's show Friday night, and Otis Rush on Saturday night, but what I caught Sunday was right up my alley. "Mr. Downchild," named after a song by I forgot who, was a British white guy by way of Cleveland, who played very well-studied authentic early Delta Blues guitar. He sang songs from the old masters, like Son House, Mississippi Fred McDowell, Robert Johnson, and the like. Catfish Hodge was the token player for the "overly white" folks in the audience. He was a mediocre guitar player, and his singing style was sort of "blues lounge singer". He bobbed his head annoyingly while he played, and his songs were interspersed with banter about his home in Malibu and the hard times in his past. Cephas and Wiggins closed out with Piedmont-style picking and harmonica-blowing. They were a lot of fun, and play a lot around the region. -------------------- Bob German, Administrator Luse Lehman Gorman ========================================================================= Date: Mon, 3 Jun 1996 16:24:51 EST Reply-To: Bob German From: Bob German Organization: Luse Lehman Gorman Pomerenk &Schick Subject: festival pt 2 That was the Western Maryland Blues festival, by the way. -------------------- Bob German, Administrator Luse Lehman Gorman ========================================================================= Date: Mon, 3 Jun 1996 13:43:44 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: More Blues on Shortwave Comments: To: rvana@INTERPATH.COM In-Reply-To: from "bob vanarsdall" at Jun 3, 96 08:39:41 am > > Found this on a usenet newsgroup (rec.radio.shortwave): > > Saturday Night Blues on CBC Radio at 0311 tune in on 9625 Northern Quebec > Service. You can call the "Blues Line" 403-468-7468 and give your name, > the song you want to hear, where you are calling from and why you want to > hear the song. At 0400 there was the CBC News and then another hour of > Blues music. So it is "Saturday Night Blues" on CBC Radio from after the > 03 news (guess it starts) to 0500. Excellent signal on 6/2. Are the times GMT? (EST+5/PST+8) -- IronMan Mike Curtis ========================================================================= Date: Mon, 3 Jun 1996 13:55:13 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Blues License plate frame - results Thank you all for some really cool ideas! But when I was standing in front of the counter having to decide, the following came into my head and I went with it. Living On Blues Power I really wanted something that most people would "get" rather than a really clever reference that blues fans would love but everyone else would go "huh?" over. Thanks for all the great ideas, and I hope you all use some of them on your cars! DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Mon, 3 Jun 1996 16:05:51 -0500 Reply-To: Cathi Norton From: Cathi Norton Subject: No mail Hiya... I'm going no-mail until June 24 when I return from parts East. Hope to catch up with a few blues-l-ers out there and ply some Various Stages...on a few unsuspecting victims when I'm not barefootin' it in the sand. Have fun...don't say nothin' about SRV while I'm gone. Cathi N. ========================================================================= Date: Mon, 3 Jun 1996 16:05:30 -0700 Reply-To: Craig Edmundson From: Craig Edmundson Organization: University of Nebraska Medical Center Subject: Re: Immortal threads (Don O. please ignore) Comments: To: VT Hello, In the past I have read this list both ways. Since I don't spend much time in the Usenet arena, I prefer getting blues-l as mail, which I use all the time. My blues interests are pretty narrow and I delete a lot of mail without reading it. So the "noise" factor doesn't bother me too much. I will confess that two-years ago I subscribed to blues-l with an ulterior motive, which was to get help finishing a project I had underway. But now that the project is complete, I am still lurking around. Why? Because so many bluezellers were kind enough to help me. Hopefully some day I can repay their kindness by helping someone else on this list. Craig -------------------------------- Craig L. Edmundson cedmunds@netserv.unmc.edu cedmunds@probe.net http://www.probe.net/~cedmunds/ VT wrote: > However my counterpoint was just that, to some being able to receive the > list via a newsgroup is a convenience - I find that so - and it isn't > because my mailbox does not have the capacity. > > It is a nice option/choice. But if that convenience is outweighed by > useless traffic/noise, then I'd forgo it too. However I thought the list > should be informed to take a balanced decision. ========================================================================= Date: Mon, 3 Jun 1996 21:10:32 GMT Reply-To: Budgie From: Budgie Organization: Hawklords Subject: Re: Muddy's best recording Comments: To: bit-listserv-blues-l@uunet.uu.net Somebody whose name got lost in the attrib shuffle said: > However, you would be far better served by purchasing the > Chess/MCA > Muddy Waters Box, which has a far more complete selection. Should I be having as much trouble finding this on CD as I am? Ron -- How many times a day do you answer the phone just to hear someone mispronounce your name, read a script to try to sell you something, and not take no for an answer until the fourth refusal? If you have found a way to deal with these people that is more fun than merely hanging up on them, get in touch! >:) ========================================================================= Date: Mon, 3 Jun 1996 14:19:53 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Some of you folks just don't get it Comments: To: mlynch@WOLFENET.COM In-Reply-To: <4otp4i$5ui@ratty.wolfe.net> from "Mike Lynch" at Jun 3, 96 04:17:48 am > > EARTH JUICE wrote: > (SNIP) > >When Ice Cube is dead .....more than a few of you will probably be > >subscribing to > > the newsgroup "alt.ice.cube" where you will be talking about "how to > >get Ice Cube Bootlegs....real cheap. yawn..... This is blues-l, not rap-l or ice-cube-l. Let us know when Ice Cube puts out a blues album. In the meantime, this simply isn't the forum for this. Maybe he sings about his life, but so do rock singers, country singers, jazz singers, polka singers, salsa singers, Slim Whitman, Roger Whittaker, and just about everyone else for that matter. Even opera is about life, but no one in their right mind would argue that "The Barber of Seville" is blues. Lyrical topical content doesn't make it "blues". The musical format makes it blues, and rap simply isn't blues. Not even close. -- IronMan Mike Curtis ========================================================================= Date: Mon, 3 Jun 1996 14:30:41 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Muddy's best recording Comments: To: Ranko Vujosevic Ranko wrote: > Yeah, this is all true. Still, my fav Muddy is Hard Again. It is >essential Muddy plus EXCELLENT production by Johhny Winter. This is my favourite Muddy as well. What I love about this album is the fun that they had recording this really comes through in the music. You can really hear how much fun Muddy was having by the way he is singing. He is having a hell of a good time. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Mon, 3 Jun 1996 17:28:33 EST Reply-To: Bob German From: Bob German Organization: Luse Lehman Gorman Pomerenk &Schick Subject: Little Sonny I heard a track on a local radio station a while back with a chorus of "My woman's name is trouble." When I called the station they told me the artist was "Little Sonny" -- I have yet to find it in any of the stores I frequent, but I want it. Anybody heard of him? -------------------- Bob German, Administrator Luse Lehman Gorman ========================================================================= Date: Mon, 3 Jun 1996 14:55:31 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Where stores file stuff Comments: To: 102554.471@COMPUSERVE.COM In-Reply-To: <960602224426_102554.471_HHV49-7@CompuServe.COM> from "Gavin Arneaux" at Jun 2, 96 06:44:26 pm While that's great if you are looking for a particular artist, it's a disadvantage if you're browsing. I suspect record stores sell more via browsing than "I know what I want - where is it" types. But even if they don't, those who know what they want will usually root around to find the specific recording they want, whereas browsers won't look through every record in the store - just what's convenient and promising. I tend to hit the blues sections, with brief forays into jazz and pop (or oldies if they have that separately). What I'd like is an easy to use alphabetical "master list" that shows exactly where each record/artist is filed. Some stores have this or functional equivalents. All record stores I've checked have rather large and imposing looking reference volumes. Some record stores have computerized indexes showing artist, song title, etc. -- IronMan Mike Curtis ========================================================================= Date: Mon, 3 Jun 1996 23:24:49 -0500 Reply-To: Goran Svenningsson From: Goran Svenningsson Subject: Re: Europes greatest - the list so far I think that Goodtime Charlie out of Norway is good enuff for the list! Sevenson ========================================================================= Date: Mon, 3 Jun 1996 23:25:00 -0500 Reply-To: Goran Svenningsson From: Goran Svenningsson Subject: Re: Jimmy Rogers &/or Ronnie Earl In response to my question earlier this year if Jimmy Rogers Chess stuff was planned for a release,Mary Katherine Aldin responded saying that we could possibly expect a collection released by MCA late this year containing Jimmy s Chess stuff. (Can t wait to hear it!!) Sevenson >Of course the classic Jimmy Rogers is: > > >!MCA93000 +ROGERS*JIMMY CHICAGO BOUND 8.7/3 >**** > $10.67 &MCA 1/90 > > \act like you love me > back door friend > blues leave me alone > chicago bound > goin' away baby > i used to have a woman > last time > luedella > money, marbles & chalk > out on the road > sloppy drunk > that's all right > walkin' by myself > you're the one > >with both Little and Big Walters and the Mud himself. > >This is an indispensible issue. "Walkin' By Myself" is worth the price all >by itself.....actually so is "Act Like You Love Me" and "Sloppy Drunk" - aw >heck the album is full of classics! >-- > >Vincent >vt@usa.pipeline.com ========================================================================= Date: Mon, 3 Jun 1996 18:26:53 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Vance Kelly I saw one or two posts re: disappointment with Vance Kelly. I lost the post(s) could someone reiterate (private ok). Reason I ask is that I have his first CD and liked it a lot, so hear- ing something like this prompts my interest. I remember a bit about what he played and why - that part is of interest. Help from anyone is much appreciated. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 3 Jun 1996 18:42:55 EDT Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: New blues CDs: May Hey Steve, The Paul deLay is a combination of The Other One and Paulzilla (3 tracks are left out). He has recorded a new one which will be released later this year. Dave Carpenter Blues Music Director - WHUS-FM University of Connecticut - Storrs, CT 06269 http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Mon, 3 Jun 1996 18:42:53 EDT Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Re: Big Jack Johnson's second guitarist MB Jack has been touring regularly now with the Roger Montgomery Band. One (maybe more) of his new discs was recorded with them also. Dave Carpenter Blues Music Director - WHUS-FM University of Connecticut - Storrs, CT 06269 http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Mon, 3 Jun 1996 23:04:18 GMT Reply-To: ghost From: ghost Organization: Harvard University Subject: Re: Conservatives and race, the *real* "Big Lie" Comments: To: bit-listserv-blues-l@uunet.uu.net In article SGLIWA writes: >The African-American family survived the evils of slavery, Jim Crow, and >institutionalized racism but in the past thirty years has been virtualy >destroyed by the evil of the Welfare State and institutionalized liberalism. > >African-Americans have excelled in areas where one must succeed on merit and >ability (sports, music, the military) instead of being treated as a "victimized" I usually don't get into these discussions in this group because the majority knows what a crock this is & is not afraid to speak up, but this one is just too easy a target to pass up. Merit? Ability? These are the only fields in America where you get ahead on ability & merit? Damn right they were the only fields in America where African-Americans were granted their just deserts (when Pat Boone wasn't getting rich off exceptionally lame cover versions of Black hits, that is; if they could have figured out some way for some White guy to claim the sports scores of some Black guy, they would have). Organized sports were desegrated fairly late in this century (see Ken Burns' "Baseball" documentary for the history). Harry Truman desegregated the military post WWII; until then there were no Black people "getting ahead on merit" there, at least not as far as merit & ability *should* have taken them. What about doctors, lawyers, scientists of every ilk, small-business people (running businesses where you cater to the larger community, & not just to Black special-interest fields like that all-important field, hair-straighening!) teachers on all levels of education, large-business executives, public media (radio, TV, print) personalities, social service workers, civil service employees? Technically, the civil service exam was supposed to be color-blind, at least in the midwest where I grew up, but I don't recall seeing any Black public employees as a child. What about bus drivers? I've read that it was a real boost for the Black passengers when the color bar on the bus-drivers' union in all northern states was finally cracked, & they could be "allowed" to drive the bus as well as ride. ========================================================================= Date: Mon, 3 Jun 1996 16:04:42 -0700 Reply-To: "James R. McCoy" From: "James R. McCoy" Organization: Oregon Public Networking Subject: Re: Muddy's best recording Comments: To: bit-listserv-blues-l@uunet.uu.net Ranko Vujosevic wrote: > > > I'm going to make a sweeping statement, of a kind much disliked on > > this list BUT > > > > INHO the recording THE BEST OF MUDDY WATERS is probably the GREATEST > > "best of" album ever compiled. > > > > If you MUST only buy one disk, that's a good one to start with. > > > > However, you would be far better served by purchasing the Chess/MCA > > Muddy Waters Box, which has a far more complete selection. > > > > Finally, the PLANTATION RECORDINGS (also Chess/MCA) has acoustic > > Muddy Waters recorded by the Libary of Recordings. It is 2ndary to > > the Muddy box and BEST OF but only in the context of MW recordings. > > > > Tom FreelandOn 3 Jun 96 at 11:35, Mark Stringer wrote: > > > > > I have one Muddy Waters CD. It was produced by Johnny Winter. I like > > > it and want to get another. Would someone please recommend a > > > recording which they feel represents Muddy Waters at the height of > > > his power. . Thanks Mark > > > > > > > Yeah, this is all true. Still, my fav Muddy is Hard Again. It is > essential Muddy plus EXCELLENT production by Johhny Winter. > > Ranko It's hard to disagree with the discussion thus far. I have to add though, that the Mobile Fidelity issue of "Folk Singer" is breathtaking. JRMc ========================================================================= Date: Mon, 3 Jun 1996 23:18:12 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Luther Allison's Handy Awards? Does anyone have a list of Luther Allison's 1996 Handy Awards? I need 'em, like, quick. Thanks. ============================================================================ Jef Jaisun eljefe@netcom.com ============================================================================ -- ========================================================================= Date: Mon, 3 Jun 1996 19:40:02 -0400 Reply-To: JukeFreak@AOL.COM From: "(Karen Hanson)" Subject: Re: Where stores file stuff >I have actually found the worst service at the national chains. It seems >that those stores are worried less about finding employees who know music and >want to help customers than finding cute 17-year-old girls to draw men into the >stores. > Now, before I get flamed for that remark, I don't mean anything sexist by >it. It is just what I have observed. I went to the mall here the other day. >Stopped in at Sam Goody's, Turtles, Camelot, and Disc Jockey. Total number of >male employees I saw (and I stayed ten or so minutes in each place): 3. All the >rest looked were females who looked like they had stepped out of Noxema ads. Hmmmm, Gavin, I never flame, but you've stepped in it here, buddy, and you're gonna have to smell it now. I would just like to know why you think a male 17-year-old would be better able to lead you to SRV than a female 17-year-old? And what's acne got to do with it? Karen ========================================================================= Date: Mon, 3 Jun 1996 23:30:17 GMT Reply-To: Mike Lynch From: Mike Lynch Organization: Wolfe Internet Access, L.L.C. Subject: Re: Jimmy Rogers &/or Ronnie Earl Comments: To: bit-listserv-blues-l@uunet.uu.net Gavin Arneaux <102554.471@COMPUSERVE.COM> wrote: > This weekend I was convinced to buy a CD by Jimmy Rogers and Ronnie Earl >(on Bullseye, btw), and it blew me away. > Does anyone have any suggestions for any other discs by either of these >two? > Gavin Run, don't walk to your nearest CD store and buy Jimmy Roger's "Chicago Bound" album on Chess. Not a bad tune on this disk... Mike Lynch mlynch@wolfenet.com ========================================================================= Date: Mon, 3 Jun 1996 18:59:48 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: new Paul deLay on evidence Since I've already had 2 enquiries on this I thought I'd mention this to the list and maybe save a few more. The new Paul deLay CD on Evidence, "Take it From the Turnaround", which was on the list I posted of new CDs received at KNON, is a reissue of 2 previous recordings, "Paulzilla" and "The Other One". Evidence has a new deLay CD in the can called "Ocean of Tears", and that really is a brand new recording. It's set for release later this year. Don O. ========================================================================= Date: Mon, 3 Jun 1996 19:20:42 -0500 Reply-To: Mark Halverson From: Mark Halverson Subject: Paul deLay info sought Coincidently, I was listening to the Paul deLay Evidence CD referred to in a recent posting when it arrived - even though I have the previous releases on "Criminal Records" (a pun there based on deLays former status as an inmate - described in some detail on the liner notes). Is Paul touring now? Where? Any midwest appearances in the works? How can he be reached? I think this is an emerging national act that I would like to see ASAP. ========================================================================= Date: Mon, 3 Jun 1996 19:50:28 EDT Reply-To: Robert Crocker From: Robert Crocker Subject: Re Little Sonny Bob German asks about Litttle Sonny. I think the song you heard was "A Woman Named Trouble". It's found on an Enterprise LP called "Black & Blue", (ENS-1018). Other Enterprise LP's are "New King of the Blues Harmonica", (ENS-1005) and "Hard Goin' Up", (ENS-1036). I don't know about the other two, but I'm reasonably sure that "New King ..." has been released on CD. It's a favourite of mine, and one which shouldn't be judged on the shabbiness of its liner notes. There was something recently on the List about an Ann Arbor Blues Fest - era release from Schoolkids' (?) records as well, which I've yet to track down. RC in Mississauga ========================================================================= Date: Mon, 3 Jun 1996 17:26:59 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Refocus - Conservatives and race Hey folks, this has gone far astray. Which I think is illustrative of the situation in US politics today. BOTH the right and the left have valid points to be made. MY problem was specifically with those who point fingers and try to paint an entire group as racists (in this case conservatives)... Racism is not "just politics" since I do not believe racists can be blues fans, so it was important to me to address this question in this forum. So I told the left to quit trying to paint the right as racists, a position most of you agree with. So then the right jumps in with "ah right, them lefties are all the problem" partisan chest thumping, and the left returns with a heated rebuttal and off we go..... Here on Blues-L in a microcosm, is the problem of the damaged and dysfunctional polity of the US in the late 20th century. Couple stories: I was on a martial arts list a year ago where the majority of list poobahs were lefty men. You *dared* not question the wisdom of feminists, vegetarians, pacifists (yes folks, rabid pacifists on a martial arts list) or any homosexual. These lefties were some of the most downright intolerant, bigoted, nasty mofo's I have ever met; unless you were a good lefty. Then they were nice.... Oh... the only other time they were nice was when a black, gay/lesbian, vege, or pacifist posted. Incredible... So we had this lesbian gal on the list, and all these good lefty men fell all over themselves "validating" her and agreeing with anything she said. Problem is; she didn't NEED their dang "validation" and just wanted to be treated like anyone else. And the more these lefty guys patronized her, the less happy she was. I decided to try an experiment. I told the list the following joke: Q. What do you call 25 really angry lesbians with guns? A. Militia Etheridge! I could FEEL the hammer about to drop on me for telling a joke about lesbians, when she posted back nearly a page of ha ha ha ha's etc etc rotfl etc etc and asked if she could share it with her friends. So, once she thought it was cool all the lefty-guys started leaving me alone... Very interesting.... Reminded me of a cartoon in the Utne reader of a lefty-guy in Birkentsocks, cupping his mouth and yelling out to a bunch of women: "Hey! you women.... uhhh this "goddess" thing is ok with ME!!" These idiots treat moderates like me, and gafabid an actual conservative, like SHIT then fall all over themselves trying to be "acceptable" to an obvious "victim of the patriarchy" like our "list lesbian". When all she wanted was to be treated like a PERSON! I got along with her because I *liked* her, and actually didn't care who she slept with, *not* because I did some gratuitous groveling to be acceptable in spite of my penis.... (I'm so sorry for having that....) Yet one has to ask the right: "Why do you think lefty social programs, feminism, ecology, etc came into being???" Are you really stupid enough to see them as "communist plots"? Nahhhh... they came about because people were doing nasty, vicious things to each other, and to the world. Stupid hateful things that your precious "free market" did not address. And many conservatives are still not addressing these things. There is a group loosely known as "neoconservatives" who believe strongly in all the basics of civil rights including feminism, but feel that the left's solutions are inadequate. Many of them used to be lefties, and still hold to many of the fundamental beliefs. The left, of course, just calls them racists, and THAT is what I objected to. *A "racist" is someone who wins an argument with a liberal* *MY* point is that you can be left, you can be right, you can be either and be my friend. This country needs your viewpoint as long as it values people and their basic worth and dignity. You cannot call entire groups racist and get away with it. DC I am so sick and tired of both the left and the right in the US, that I could just howl sometimes.... better write a song.... ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Mon, 3 Jun 1996 20:40:33 -0400 Reply-To: Chris Smith From: Chris Smith Subject: nomail Going nomail again for a coupla days. (Traveling to Lerwick for minor medical treatment - and don't want to be the subject of 'who is this asshole we keep getting bounce messages from?' post!) Chris Smith (chris@skerries.demon.co.uk) It's no good making things idiot-proof. They'll just build a better idiot. ========================================================================= Date: Mon, 3 Jun 1996 17:27:05 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: blues "Mr. Downchild" attributed to Rice Miller. It has been said that "Mr. Downchild" is an unrecorded song by Robert Johnson. Uncle Ray ---------- From: Bob German[SMTP:bobg@LUSELAW.COM] Sent: Monday, June 03, 1996 9:24 PM To: Multiple recipients of list BLUES-L Subject: blues If you like blues, you missed a pretty decent festival this weekend. I missed Robert Jr. Lockwood's show Friday night, and Otis Rush on Saturday night, but what I caught Sunday was right up my alley. "Mr. Downchild," named after a song by I forgot who, was a British white guy by way of Cleveland, who played very well-studied authentic early Delta Blues guitar. He sang songs from the old masters, like Son House, Mississippi Fred McDowell, Robert Johnson, and the like. Catfish Hodge was the token player for the "overly white" folks in the audience. He was a mediocre guitar player, and his singing style was sort of "blues lounge singer". He bobbed his head annoyingly while he played, and his songs were interspersed with banter about his home in Malibu and the hard times in his past. Cephas and Wiggins closed out with Piedmont-style picking and harmonica-blowing. They were a lot of fun, and play a lot around the region. -------------------- Bob German, Administrator Luse Lehman Gorman ========================================================================= Date: Mon, 3 Jun 1996 17:28:25 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Bud blues Stray Cat, Brian Setzer. Uncle Ray ---------- From: Stine, Dave[SMTP:dstine@FSC.FOLLETT.COM] Sent: Monday, June 03, 1996 7:40 PM To: Multiple recipients of list BLUES-L Subject: Bud blues Sorry for all the "noise" from my pc today--slow--boss is out. This has been driving me crazy since I first saw it: the beer ad (Bud, I believe) with the lions and the "reedy" sounding almost "Green Onions" song playing in the background. Anyone know who it is? I swear I have it in my collection somewhere and it has lyrics too. John Lee? It's got that 50's vibe. Any help appreciated. ========================================================================= Date: Mon, 3 Jun 1996 17:42:13 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: New blues CDs: May Steve, It's a reissue combo of the last two albums. The new record is in the can, and slated for release...soon. There is a gospel two beat on the new one called "I Win" that is a monster. I've heard the final mix, and it may be deLay's best yet, except for the first album, which was BRILLIANTLY produced by ME. But enough about me, what do you think about me... Uncle Ray ---------- From: Steve Levine[SMTP:Steve.Levine@CORP.WRGRACE.COM] Sent: Monday, June 03, 1996 12:42 PM To: Multiple recipients of list BLUES-L Subject: Re: New blues CDs: May *Paul deLay/Take it from the Turnaround/Evidence Is this new material, or the reissue of one of deLay's older albums? If it's new, I'm ordering it today! -Steve ========================================================================= Date: Mon, 3 Jun 1996 21:05:41 -0400 Reply-To: smirkyface From: smirkyface Subject: Big Daddy Kinsey Big Daddy Kinsey and the Kinsey report were at WD's this weekend. Great show and all that, but lets get down to the real interesting part of the night. During the first break, I went throught our menu. I explained, as I usually do, how the food is prepared. Being the health concious fellows that I knew they would be, they weren't interested in pork of any kind. Until I mentioned that we have chittlings on special. Big Daddy had the chittlings with greens on the side, and I do remember someone mentioning the fact that they hadn't had pork in over 15yrs. It was pork all around that night. Saturday night they all went the seafood route. Big Daddy had the Salmon Croquettes, mac and cheese on the side and a glass of cranberry juice. .....it's offical, I've got to get a life. BRIAN MCLEAN PHOTOGRAPHY & SMIRKYFACE PRODUCTIONS "life's too short to live the blues" http://www.netaxs.com/~blmclean ========================================================================= Date: Mon, 3 Jun 1996 20:17:29 -0500 Reply-To: Mark Halverson From: Mark Halverson Subject: Re: CD Number & Time At 14:08 02.06.96 -0500, Don wrote: > >As long as I'm crabbing, I must say I find it very annoying when CDs do not >have the number and time the songs on the back of the CD. Topcat did, Blacktop >doesn't. > As a half-assed blues DJ of sorts delving into excessive minutiae tonight, I would like to whole heartedly agree with Don's gripe expressed above. Number & times - which presumably can be incorporated with song title listings with little effort and at no cost - are a great aid to programmers. Especially at stations like mine where the equipment is old and doesn't even give a track's length readout beyond the first 15 tracks, or so. Your CD will in all likelihood be bypassed for airplay in those (many) situations where programmers need to fill a specific short block of time. Of course, there seems to be an inordinate number of mistakes in the seemingly simple process of labeling tract title & seguence on releases these days, so maybe this IS expecting too much. ========================================================================= Date: Mon, 3 Jun 1996 21:35:21 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Europes greatest - the list so far >On Mon, 3 Jun 1996, Bo Carlsson wrote: > >> Well here is the list of Blues-L:s favorite euoropean bluesbands/recordings >> so far. But hey where is our Anglosaxian friends hiding. Is there nothing >> left of the british blues-boom? >> > > Sure, but they don't consider themselves part of Europe. ;^) > > Steve in Iowa To quote an old headline (apocryphal, I think): FOG IN ENGLISH CHANNEL: CONTINENT ISOLATED. On the other hand, 'ENGLAND DISASTER' usually means we've lost another cricket match, so we do have a sense of proportion really. :-) Chris Smith (chris@skerries.demon.co.uk) It's no good making things idiot-proof. They'll just build a better idiot. ========================================================================= Date: Mon, 3 Jun 1996 21:37:47 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: MALACO Compilations MALACO's compilation CD's, The Blues Is Alright, volumes 1 & 2, are IMO, two damn fine discs. Check out ZZ Hill, Little Milton, Denis LaSalle, Johnny Taylor, Bobby Bland and more. And while I'm at it, The Blues Is Alright, Greatest Hits is a great disc too. MALACO Records The Blues Is Alright Volume 1 MCD 7430 The Blues Is Alright Volume 2 MCD7438 The Blues Is Alright Greatest Hits MCD7449 Stew Crossen ____________________________________________________________________________ The Blues Playground - Sundays at 9pm on 107 FM WCCC - Hartford, CT 50,000 watts of Blues Power! Host/programmer: Stew Crossen 18 Boxwood Drive Vernon, CT 06066-5106 Tel: 800.970.5151 Web: http://www.neca.com/~bfstew E: bfstew@neca.com Reporting to: Living Blues, The Hard Report, BluesWire, The Blues Audience Stew Crossen is a member of the Connecticut Blues Society ========================================================================= Date: Mon, 3 Jun 1996 18:48:54 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Conservatives and race, the *real* "Big Lie" Comments: To: jmf@DAS.HARVARD.EDU In-Reply-To: <4ovr1i$qie@necco.harvard.edu> from "ghost" at Jun 3, 96 11:04:18 pm >The African-American family survived the evils of slavery, Jim Crow, and >institutionalized racism but in the past thirty years has been virtualy >destroyed by the evil of the Welfare State and institutionalized liberalism. The problem with this kind of reasoning is that, for the "victim", there is no way out. The victim is under the complete control of the victimizer. A victim is powerless to take action to better him/herself. This is as sure a form of slavery as the type Mr. Lincoln abolished. Also, the demise of the family is not a racial phenomenon. The divorce rate is very high in the USA regardless of race, etc. History bears out that strong families are central to strong civilizations. When the family unit breaks down, so does the civilization. Why is it that, among all races, creeds, etc., here are always some who are very successful? It's simple, but not the answer most folks want to hear. These folks don't allow the great bleeding heart to "brand" them as "victims". They assume personal responsibility for their lives, which put them in control of their lives. Using what they have available, they put in the necessary time, effort, and available resources to make something of their lives. They're no smarter, better looking, etc., than anyone else. They're simply more determined and willing to work. When you talk to them, you'll find little room for bitterness. Sure they've experienced injustice. Who among us (regardless of externals) has not? But no one ever made a million by crying about it (well, except as a thespian, of course ;-) The only thing one accomplishes by bemoaning ones fate to the exclusion of other things is to severely limit ones available resources. Do what you can, with what you've got, where you're at. Maybe there are limited opportunities because of injustices. But there are still opportunities. Be alert to them, and don't expect them to be easy. There's only one "easy" way to make money, and if your relatives, like mine, aren't rich, you can rule that one out :-) I recently read a short biography of "El Pollo Loco", a very popular chicken fast food chain. It started in Mexico. The founder sold broiled chicken from a roadside stand. As bad a reputation as Mexico has for business, this fellow made a successful business, and actually expanded into the USA. I can't speak for the rest of the country, but El Pollo Loco is very widespread here in Southern California. Of course, selling broiled chicken isn't glamorous, but I'll bet he complains all the way to the bank :-) He did what he could, with what he had, where he was at. -- IronMan Mike Curtis ========================================================================= Date: Tue, 4 Jun 1996 02:37:52 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Bad Credit? Slow Credit? No Credit? No Problem! Subject: Re: Koko Taylor's Getting Married! Comments: To: bit-listserv-blues-l@uunet.uu.net On Sun, 2 Jun 1996 17:17:31 -0400, Curtis Hewston wrote: >that on June 9th, 1996, Queen of the Blues--Koko Taylor will be marrying Mr. >Hays Harris of Chicago, IL. But Katie Webster is still available, right? Kevan Smith cuthulu@rlabs.com the great purple hope for the blues ========================================================================= Date: Mon, 3 Jun 1996 23:29:18 -0400 Reply-To: Tom Moore From: Tom Moore Subject: Need little advice (and a comment on W.C Clark) Tom Moore wrote: > > Hi from Tom, > I'm a new subscriber to blues-L and have been enjoying all the > action going on out there in blues land. Only one problem though. I'm > using nestscape navigator and need to copy incoming mail to a separate > folder on my floppy drive so I can read them later. I can't seem to > figure out how to do this except by using "save as" with each individual > message. I need to find a way to save a whole batch at a time! Any > suggestions on a way to do this? It would help me a lot to stay > subscribed. Thanks. Oh, by the way, I seen W.C. Clark perform at the > Capitol Hill Station in Lansing MI on sunday night. Killer show. Some > of the smoothest playing I've seen in months! > Keep the Blues Happening, > Tom ========================================================================= Date: Mon, 3 Jun 1996 23:43:21 -0400 Reply-To: Tom Moore From: Tom Moore Subject: Re: Last CD in Your Player Comments: To: Toby Levy Sorry if this went out 2wice, I'm new to this E-mail stuff. Hi from Tom, I'm a new subscriber to Blues-L and have been enjoying all the action going on out there in BLUES LAND. Only one problem though. I'm using netscape navigator 2.0 and need to copy incoming mail to a separate folder on my floppy drive so I can read it later. I can't seem to figure out how to do this except by using "save as" with each individual message. I need to find a way to save a whole batch at a time? Any suggestions on a way to to this? It woud help me a lot to sta subscribed. Thanks! Oh, by the way, I saw W. C. Clark perform at the Capitol Hill Station in Lansing MI last sunday night. Killer show. Som of the smoothest playing I've seen in months! Keep the Blues Happening, Tom ========================================================================= Date: Mon, 3 Jun 1996 22:50:16 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Pud Brown dies at 79 Sorry to say I'm about a week late on this one. Traditional jazz clarinetist and saxophonist Pud Brown died of an apparent heart attack at his home in Algiers, La. last Monday, May 27. Albert "Pud" Brown came from a musical family that played professionally as the Brown Family Band. And Pud was billed as "the worlds youngest saxophonist" at the age of 5. He was born in Wilmington, Delaware but raised in Shreveport, La. where he said he learned to play jazz. In 1975, Brown ame to New Orleans for a two week gig but never left. In recent years, Brown played regularly at the Palm Court Cafe in the French Quarter. He played there with legendary guitarist/banjo player/singer Danny Barker up until the time of Barker's death. Brown's clarinet playing gave balance to a musical canvas that otherwise might have been one-sided given Barker's lyrical/vocal gifts. Barker and Brown share writing credits on the song "Palm Court Strut." Brown also had been a professional musician in Chicago and Los Angeles. He played with Kid Ory, Louis Armstrong, Coleman Hawkins, Lawrence Welk and Les Brown. Pud Brown's jazz funeral was held May 30, and there was a fitting tribute at the Palm Court Cafe, where he played from 1989 up until the night before his death. Bill Morgan From: The Big Easy ========================================================================= Date: Tue, 4 Jun 1996 09:07:37 +0200 Reply-To: "Henrik R. Lassen" From: "Henrik R. Lassen" Subject: Am. Folk & Blues Fest., 1970 on DR TV Comments: To: BLUES-L%BROWNVM.BITNET@SEARN.SUNET.SE I followed the fruitless search for Little Walter footage a while back with the same kind of attention that you might accord the dwindling news items generated by less and less energetic police investigations into a particularly gruesome double murder in your neighborhood. If nothing else, it became clear to me that there are indeed people out there who are trying to built up complete archives of such important info as bluespeople on film. A thankless task in this day and age, no doubt, but I'm sure your time will come and that our grandchildren will revere you, if that's any consolation. Anyway, for you information, Danish TV (DR 1) sent the following recordings from a concert at (probably) Falkonerteatret, Copenhagen last night. A whole hour of great blues. This was recorded at a 1970 concert, part of that year's American Folk and Blues Festival. DR 1 may have more from the same concert in their extensive archives, I wouldn't know. *Bukka White* Gibson Hill Blues, Poor Boy, Lighthouse Blues, Blues All Under My Pillow. *Champion Jack Dupree* (+ Willie Dixon, bs; and Clifton James, dr.) Whiskey Blues, When the Time Comes, The Railroad Blues. *Sonny Terry/Brownie McGhee* (+ Dixon, James, & Dupree on "Walk On") Ride and Roll, Life is a Gamble, Long Way From Home (Po' Boy), Walk On. *Walter 'Shakey' Horton* (+ Dixon, bs; James, dr; Lee Jackson, gtr; Lafayette Leake, pno) Walter's Boogie (?), That Ain't It (Hard-hearted Woman) ======== Henrik Lassen ======== ==== Odense, Denmark ==== "A young girl shouldn't marry a basket ball player - he always dribbles before he puts it in the hole...." Champion Jack Dupree ========================================================================= Date: Tue, 4 Jun 1996 07:00:35 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Bad Credit? Slow Credit? No Credit? No Problem! Subject: Re: KNON LB poll May Comments: To: bit-listserv-blues-l@uunet.uu.net On Sun, 2 Jun 1996 19:31:29 -0500, Don O wrote: >KNON Top 20 Blues Albums May 1996 Living Blues Poll >89.3 FM Dallas, Texas 55,000 watts >Texas Blues Radio-Monday through Friday 6-8 pm Can you bring back the Hour of Slack? Kevan Smith cuthulu@rlabs.com the great purple hope for the blues ========================================================================= Date: Tue, 4 Jun 1996 07:33:22 GMT Reply-To: Peter Gallagher From: Peter Gallagher Organization: XS4ALL, networking for the masses Subject: Re: Muddy's best recording Comments: To: bit-listserv-blues-l@relay1.uu.net I can't imagine ANYTHING by Muddy being better than Muddy "mississippi" Waters Live, available on Sky. THAT's Muddy at the height of his prowess imho. regards, PeterG Mark Stringer writes: >I have one Muddy Waters CD. It was produced by Johnny Winter. I like it and want >to get another. Would someone please recommend a recording which they feel >represents Muddy Waters at the height of his power. >. >Thanks >Mark -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ========================================================================= Date: Tue, 4 Jun 1996 04:18:33 -0400 Reply-To: Srv10354 From: Srv10354 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Blues photos Comments: To: bit-listserv-blues-l@uunet.uu.net Which artists do you carry? I am looking for photos of Stevie Ray Vaughan. srv10354@aol.com ========================================================================= Date: Tue, 4 Jun 1996 04:57:32 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1956, Elvis Presley made a second appearance on the Milton Berle Show, where he was presented with two Billboard Triple Crown awards for "Heartbreak Hotel". It was number one on the pop, R&B and Country & Western charts. The Blues had a baby, and they named that baby rock and roll. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Tue, 4 Jun 1996 05:12:43 -0400 Reply-To: TDominey From: TDominey Organization: America Online, Inc. (1-800-827-6364) Subject: WSCI-FM playlist #1, 6/3... Comments: To: bit-listserv-blues-l@uunet.uu.net Hello once again... Here is the latest playlist from WSCI-FM's "Erwin Music." Any comments, questions, are welcome: tdominey@aol.com Artist / Track / Label Rachid Taha / "Valencia" / Mango Sister Carol / "Blackman Time (Street Mix)" / Heartbeat Irakere / "Por Romper El Coco" / Legacy Aretha Franklin / "I Never Loved a Man" / Code Blue Cliff Jackson, Jellean Delk with the Naturals / "Frank, This is It" / Upstart Ben Vaughn / "Toestubber" / Bar None Records Toots & the Maytals / "Got to Be There" / Mango Eyuphuro / "We Awaka" / Realworld Rachid Taha / "Kelma" / Mango Buju Banton / "Champion" / Loose Cannon Stereolab / "Olv 26" / Elektra The Martinis / "Hung Over" / Upstart John Lee Hooker / "Sugar Mama (Live)" / Tomato WSCI-FM is a 100,000 watt public radio station in Charleston S.C. Any questions or correspondence: tdominey@aol.com ========================================================================= Date: Tue, 4 Jun 1996 05:15:17 -0400 Reply-To: TDominey From: TDominey Organization: America Online, Inc. (1-800-827-6364) Subject: WSCI-FM playlist #2, 6/3 Comments: To: bit-listserv-blues-l@uunet.uu.net Here is the latest playlist for WSCI-FM's "Blues in the Night." WSCI-FM is a 100,000 watt public radio station in Charleston, S.C. Any correspondence: tdominey@aol.com Questions / Comments welcome. Artist / Title / Label Junior Wells / "Good Morning Little School Girl" / Code Blue Albert King / "Born Under a Bad Sign" / Code Blue Charlie Musselwhite / "Stingaree" / Alligator Studebaker John & the Hawks / "Missing You" / Blind Pig Satan & Adam / "Sanctified Blues" / Rave On Records Bo Diddley / "I Can't Stand It" / Code Blue Hound Dog Taylor & the Houserockers / "Wild About you Baby" / Alligator Stevie LaRocca / "Stevie Shuffle" / IKON Records John Primer / "Tommorrow Might not be the Same" / Code Blue Corey Harris / "Roots Woman" / Alligator John Lee Hooker / "Hey, Hey (Live)" / Tomato Jessie Mae Hemphill / "She Wolf" / Upstart Sherman Robertson / "In the Here and Now" / Code Blue ========================================================================= Date: Tue, 4 Jun 1996 08:36:12 +0200 Reply-To: BIBGA@HHS.SE From: Gorgen Antonsson Subject: Re: Roy Brown tape The cheap Roy Brown tape someone (sorry, lost the name!) mentioned he had picked up some days back has indeed made the rounds before... It was reviewed in Blues unlimited back in 1987 (in no 148/149, the very last number!) when it appeared as Magnum Force MFLP-1025. I _think_ this is the same record as Intermedia QS 5027, which would date the recording as late 1970s and as a very much unauthorized recording. (Those of you with long memory will remember the story of this bootleg label and how they got their tapes, it was told last year.) The BU review (by Dave Penny) noted several mistitlings, all faitfully preserved on the tape version: "Travellin' blues" is "Hard luck blues", "Love for sale" is "Cheapest price in town", and "Boogie woogie blues" is "Roy Brown's boogie". And Pee Wee Crayton is definitely present; I qoute from Penny's review: "... Loosing (sic) Hand and Tin Pan Alley are bot atmospheric if overtly long workouts ... Pee Wee Crayton takes a monster solo on the former before stepping in for an unbilled vocal spot by interpolating Wee Baby and moving straight into Tin Pan Alley... Musicwise the Roy Brown is nice ..." [as opposed to a Big Joe Turner on the same label - my comment] So I guess it was worth $2 after all! Gorgen Antonsson, Stockholm ========================================================================= Date: Tue, 4 Jun 1996 08:09:45 -0400 Reply-To: Tom Morgan From: Tom Morgan Subject: 6/3 Bartender's Bop Playlist Yesterday's show was dedicated to some of the great new releases and an important issue that have arrived at the station in the last few weeks. Title Group Year Label -------------------- -------------------- ---- -------------- Rocketship Saffire 96 Alligator Bo Diddley is Crazy Bo Diddley 96 Code Blue 450 Pound Woman Dixon, Floyd 96 Alligator Put A Lid On It Squirrel Nut Zippers 96 Mammoth I Want My Money Back Saffire 96 Alligator It Ain't You Squirrel Nut Zippers 96 Mammoth You're So Cold Phillips, Brewer 96 Delmark That Mule Bo Diddley 96 Code Blue Don't Send Me No Dixon, Floyd 96 Alligator Flowers in the Graveyard Help is on the Way Timothea 96 Cititrax Things Are Seldom Saffire 96 Alligator What They Seem To Be Bad Businessmen Squirrel Nut Zippers 96 Mammoth Delta Nova Little, Bobby 95 North Magnolia King of Fools Ramsey, Pat 95 North Magnolia Apolitical Blues Phillips, Son 96 Barefoot Amazing Grace DeFranco, Ani 96 Righteous Barn Sound, The Neville Bros 96 A&M Me and Bobby McGee Elliott, Ramblin Rounder Jack Talking Fisherman Elliott, Ramblin Rounder Blues Jack Tramp on the Street Elliott, Ramblin Rounder Jack When Will I Be With Washington, Annetta Co-Ze You Missin Out Ricci, Jason 96 North Magnolia Sweet Little Angel Moore, Johnny B 96 Delmark Got the Blues So Bad Dixon, Floyd 96 Code Blue `'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`' http://redlt.com/tom/ -- Home of Jazz Roots & Record Companies on the Web Free-lance Writer--Author--Program Director WTJU 91.1--Internet Consultant ========================================================================= Date: Tue, 4 Jun 1996 08:13:48 -0400 Reply-To: FINNY49911 From: FINNY49911 Organization: America Online, Inc. (1-800-827-6364) Subject: Piano Blues, what are some good compilations? Comments: To: bit-listserv-blues-l@uunet.uu.net Are there any good representative compilations that collect blues played on the piano? I occasionally see some but don't know which ones to buy. Thanks. ========================================================================= Date: Tue, 4 Jun 1996 07:40:15 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Mr. Downchild Raymond O (what does the O stand for?) Varner and and Bob German commented on a "Mr. Downchild... a British white guy by way of Cleveland, who played very well-studied authentic early Delta Blues guitar." Please note that this guy, whoever he is, is no relation to Don Walsh, the leader of Canada's Downchild Blues Band, who has been known as Mr. Downchild since he started playing professionally in 1969, and who still leads his band, still uses the name, and is about to start work on his (I think) 14th album. Incidentally, the Downchild Band, and the original real Mr. Downchild, have had two of their albums released in the U.S., and the band works frequently in upstate New York and Florida. Do not accept imitations! Cheers, Richard the Elder ========================================================================= Date: Tue, 4 Jun 1996 13:37:00 BST Reply-To: Maurice Flood From: Maurice Flood Subject: Re: Muddy's best recording I'm not sure about being his best, but the one I enjoy most is Fathers and Sons on Chess. Take a listen to the version on this of "Long Distance Call". Regards, Maurice Mark Stringer writes: >I have one Muddy Waters CD. It was produced by Johnny Winter. I like it and want >to get another. Would someone please recommend a recording which they feel >represents Muddy Waters at the height of his power. >. >Thanks >Mark ========================================================================= Date: Tue, 4 Jun 1996 07:49:41 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Europe's Greatest I could have missed this, but has anyone mentioned Hans Theesink, the Dutch-born Austrian resident who, often appearing with tuba player Jon Sass, often appears on American and Canadian fiolk and blues festivals? He's a fine songwriter in the tradition, plays fine slide guitar (a steel-bodied National) and is a grand entertainer, Some people find his accent incongruous; I'm always charmed by it, and the two albums I have (one produced by Canada's Colin Linden) are excellent, and I'm always lookiong for more. Cheers, Richard the Elder ========================================================================= Date: Tue, 4 Jun 1996 12:40:08 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: Jimmy Rogers &/or Ronnie Earl Comments: To: bit-listserv-blues-l@uunet.uu.net Just for clarity - The issue Mary Katherine was referring to, is , I believe, a multiple (double?) CD of Jimmy Roger's Chess recordings - like the "complete recordings" series. "Chicago Bound" is/was a classic vinyl album on Chess, which has been available for years in the USA as a re-issue CD on MCA/Chess. -- Vincent vt@usa.pipeline.com On Jun 03, 1996 23:25:00 in article , 'Goran Svenningsson ' wrote: >In response to my question earlier this year if Jimmy Rogers Chess stuff >was planned for a release,Mary Katherine Aldin responded saying that we >could possibly expect a collection released by MCA late this year >containing Jimmy s Chess stuff. (Can t wait to hear it!!) > >Sevenson > > > >>Of course the classic Jimmy Rogers is: >> >> >>!MCA93000 +ROGERS*JIMMY CHICAGO BOUND 8.7/3 >>**** >> $10.67 &MCA 1/90 >> >> \act like you love me >> back door friend >> blues leave me alone >> chicago bound >> goin' away baby >> i used to have a woman >> last time >> luedella >> money, marbles & chalk >> out on the road >> sloppy drunk >> that's all right >> walkin' by myself >> you're the one >> >>with both Little and Big Walters and the Mud himself. >> >>This is an indispensible issue. "Walkin' By Myself" is worth the price all >>by itself.....actually so is "Act Like You Love Me" and "Sloppy Drunk" - aw >>heck the album is full of classics! >>-- >> >>Vincent >>vt@usa.pipeline.com ========================================================================= Date: Tue, 4 Jun 1996 14:29:58 GMT Reply-To: Gary Engle From: Gary Engle Organization: Capital Area Internet Service, Inc. Subject: Johnny Winter at the Bayou Comments: To: bit-listserv-blues-l@uunet.uu.net Johnny played the Bayou in Washington D.C. last Sat. June 1st. Played 1hr and 10min. Opened with Hideaway, then a song that sounded like the Freddie King song Sen-sa-shun with the words to Mojo Boogie. Other Songs I recognized were Humbuggin me. Sat down and played Slide guitar on 2 songs with his Firebird. One a slow blues the other was The sky is crying. Played a 2 song encore. He has a new bass player by the name of Mark Epstein who played a 5 string fender. Same drummer that he has had for awhile. Gear used: The Musicman Amps and his white Lazer. Gibson Firebird for Slide. Johnny played ok but moved very tentative or cautiously even when changing guitars. I don't know if he is ill or not but he was moving pretty slow. People who went to see the fiery Johnny of old may have been disappointed. People who went to see a living legend and pay respect to a guy who never got the respect he deserved went away Satisfied. At first I was a little dissapointed but then I think about all the other blues legends who don't "play like they used too" and it helped put it in the proper perspective for me. I've been following Johnny since the late '60's so he always has a tough act to follow for me. I also noticed that Rick Derringer is managed by Slatus also now so maybe they'll jam together on stage again someday. Although I heard Rick opened for Johnny a few weeks ago in Hartford CT but they didn't play on stage together. ...Gary gengle@erols.com ========================================================================= Date: Tue, 4 Jun 1996 07:49:31 CST6CDT Reply-To: "Sara C. Oxton" From: "Sara C. Oxton" Organization: University of Minnesota Subject: where to send playlists I've noticed a profusion of playlists being posted to the line. As a blues programmer in the Twin Cities, I'm delighted to know what everyone else across the country is playing on their stations. But I'm wondering, where do you send your playlists? The Fresh Air Radio playlist, where I broadcast, sends its list each month to Living Blues. I'm interested to learn about other periodicals that would include our playlist in a compilation. Don O. told me about the Hard Report, but I haven't been able to find much out about it. So any information from the d-jay constituency on the Blues-L would be much appreciated. Also, how do you guys go about compiling your playlists? Private email, please. Thanks in advance. Sara _________________________________________ Sara C. Oxton Executive Secretary University of Minnesota Department of Food Science & Nutrition 1334 Eckles Ave. St. Paul, MN 55108 Ph: (612) 624-2787 Fax: (612) 625-5272 soxton@che2.che.umn.edu ========================================================================= Date: Tue, 4 Jun 1996 08:40:07 -0400 Reply-To: Bronxharp From: Bronxharp Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Blues License plate frame - results Comments: To: bit-listserv-blues-l@uunet.uu.net hey, if you're gonna go with "living on Blues Power", wouldn't it make sense to have "Running on Blues Power", instead? I know about the Albert king song, of course, but if you're looking for something that the avg non-blues head would understand, ya gotta bend a little... ========================================================================= Date: Tue, 4 Jun 1996 12:59:30 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: Muddy's best recording Comments: To: bit-listserv-blues-l@uunet.uu.net On Jun 03, 1996 21:10:32 in article , 'Budgie ' wrote: >Somebody whose name got lost in the attrib shuffle said: > >> However, you would be far better served by purchasing the >> Chess/MCA >> Muddy Waters Box, which has a far more complete selection. > > >Should I be having as much trouble finding this on CD as I am? > >Ron > I don't think so. It is fairly easily available in the shops in the USA (you might have to order it). Having said that I have heard that it may be difficult to get elsewhere in the world. Anyway a number of on-line services list it as available, for example the All-Music Guide has links to these vendors: CDNOW http://cdnow.com The Entertainment Connection http://econnection.com Music Boulevard http://www.musicblvd.com CD Universe http://www.cduniverse.com and the ubiquitous CD Connection (at http://www.CDconnection.com or telnet to cdconnection.com) has it listed currently: MCA80002 WATERS*MUDDY CHESS BOX 9.6 $36.43 MCA 11/89 BEST SELLER I took the following from the All Music Guide (sorry about the formatting.... but I'm too lazy to manually straighten it out) Quote: AMG REVIEW The best of the best-ofs, it collects 72 classics from 1947 through the '70s. - Jas Obrecht ALBUM RELEASES date media label number 1989 CD Chess CHD3-80002 - CS Chess CHC6-80002 - LP Chess CH6-80002 - - Chess CH6-80002 - - Chess-MCA 3 80002 PERSONNEL name credit Muddy Waters Guitar, Vocal ALBUM TRACKS 1. I Just Want to Make Love to You 2. Long Distance Call 3. Louisiana Blues 4. Honey Bee 5. Rollin' Stone 6. I'm Ready 7. Hoochie Coochie 8. She Move Me 9. Standing Around Crying 10. Still a Fool 11. I Can't Be Satisfied 12. Gypsy Woman 13. Good Looking Woman 14. Mean Disposition 15. I Feel Like Going Home 16. Train Fare Home (Blues) 17. Mean Red Spider 18. Streamline Woman 19. Little Geneva 20. Rollin' and Tumblin' Part 1 21. Walkin' Blues 22. Evan's Shuffle (Ebony Boogie) 23. Stuff You Gotta Watch 24. Flood 25. Baby Please Don't Go 26. Blow Wind Blow 27. Smokestack Lighning 28. Young Fashioned Ways 29. Mannish Boy 30. Trouble No More 31. Forty Days and Forty Nights 32. Just to Be with You 33. Don't Go No Further 34. Diamonds at Your Feet 35. I Live the Life I Love (I Love the Life I Live) 36. Rock Me 37. Look What You've Done 38. Got My Mojo Working 39. Good News 40. Evil 41. She's Nineteen Years Old (Two Takes) 42. Close to You 43. Walking Thru the Park 44. Blues Before Sunrise 45. Lonesome Road Blues 46. Take the Bitter with the Sweet 47. She's into Something 48. I Feel So Good 49. I Wanna Put a Tiger in Your Tank 50. Lonesome Bedroom Blues 51. You Shook Me 52. You Need Love 53. Twenty Four Hours 54. Elevate Me Mama 55. So Glad I'm Living 56. Love Strikes Like Lightning 57. You Don't Have to Go 58. My Home is in the Delta 59. Good Morning Little Schoolgirl 60. Same Thing 61. You Can't Lose What You Ain't Never Had 62. I Got a Rich Man's Woman 63. Making Friends 64. Black Night 65. Bird Nest on the Ground 66. Country Boy 67. Sugar Sweet 68. Going Home 69. Who's Gonna Be Your Sweet Man When I'm Gone? End quote I have no affiliations etc. -- Vincent vt@usa.pipeline.com ========================================================================= Date: Tue, 4 Jun 1996 13:11:29 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: Muddy's best recording Comments: To: bit-listserv-blues-l@uunet.uu.net Mud's Blue Sky label recordings produced by Johnny Winters were generally regarded as good and a real treat in the Autumn of his life - which kind of "hints" at his peak being "elsewhere".... anyway, I also liked these Blue Sky recordings. There were 4 issued - all still available on CD: SoN34449 +WATERS*MUDDY HARD AGAIN 8.8/5 *** $8.95 &SONY 7/87 SoN34928 +WATERS*MUDDY I'M READY 10/1 $8.95 SONY 10/89 SoN37064 +WATERS*MUDDY KING BEE 8.5/4 ** $9.05 &SONY 10/89 SoN35712 +WATERS*MUDDY 'MISSISSIPP LIVE 9.2/5 *** $8.95 &SONY 10/89 Sony/CBS also issued a compilation from that series as: SoN46172 +WATERS*MUDDY BLUES SKY *** $10.86 &SONY 6/92 -- Vincent vt@usa.pipeline.com On Jun 04, 1996 07:33:22 in article , 'Peter Gallagher ' wrote: >I can't imagine ANYTHING by Muddy being better than Muddy "mississippi" >Waters Live, available on Sky. THAT's Muddy at the height of his prowess >imho. >regards, >PeterG > >Mark Stringer writes: > >>I have one Muddy Waters CD. It was produced by Johnny Winter. I like it and >want >>to get another. Would someone please recommend a recording which they feel >>represents Muddy Waters at the height of his power. >>. >>Thanks >>Mark >-- >----------------------------------------------------------------------------- >Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl >" I used to finish every sentence I started, but now I just ...." >--my sister, Christine ========================================================================= Date: Tue, 4 Jun 1996 08:18:53 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: Muddy's best recording In-Reply-To: Message of Tue, 4 Jun 1996 13:11:29 GMT from The Blue Sky recordings, excluding the live one, Muddy doesn't play much if any guitar. I like Down On Stovall, Folksinger, ONE MORE MILE. I like his guitar playing, so I tend to go with the ones where he plays alot. The solo on 19 Years Old on Miss. Muddy Live is one of my favorite solos. I think the Blue Sky has a lot of Johhny Winter & Margolin playing guitar. From what I've read on some of them Muddy didn't even touch his guitar. They are still very good, but IMHO I want to hear Muddy's tortured slide. Leonard Watkins excluding After The Rain & Elelctric Mud they are all good enough to own (IMHO) ========================================================================= Date: Tue, 4 Jun 1996 09:24:14 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Thanks all! (re: Jimmy Rogers & Ronnie Earl) Man, you folks are great. A couple of days ago I asked for suggestions on Jimmy Rogers and Ronnie Earl discs I should check out. Since then, I have had a great number of responses, way too many to count in fact. (Okay, I could count them, but I just don't have the time.) Anyway, a great big THANK YOU to everyone who gave me help. And anytime you want to suggest CD's by any other artists, feel free. I'm always looking for good music. Gavin ========================================================================= Date: Tue, 4 Jun 1996 09:19:40 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Europes greatest - the list so far Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com What about the Swiss guitarist/harp player/singer Walter Lineger, who used to work at the Ole Miss Blues Archive? I haven't heard his music, but I've heard very good things about him. And would Ben Andrews count? He was born in eastern Europe (I forget which country), but grew up in the States. -Steve ========================================================================= Date: Tue, 4 Jun 1996 08:12:34 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Huey Meaux update I heard on the news the other night that Huey Meaux got a 15 year sentence. I can't remember what his plea was (no contest, guilty, plea bargain, etc.). -Jeff ------------------------------------------------------------------------------ __ Jeff Seale, PhD | |___ University of Texas Health Sciences Center @ San Antonio ___|* | seale@bioc02.uthscsa.edu \ | http://bioc09.uthscsa.edu/~seale/home.html \/\ / \ / I woke up my sidekick, it's a long way to Llano \( I'll see you next summer, when the peach trees are ripe. -Joe Ely ========================================================================= Date: Tue, 4 Jun 1996 13:30:02 GMT Reply-To: Art Schuna From: Art Schuna Organization: UW-Madison Subject: Re: Vance Kelly Comments: To: bit-listserv-blues-l@uunet.uu.net In article , bsco@PANIX.COM says... > > I saw one or two posts re: disappointment with Vance Kelly. I > lost the post(s) could someone reiterate (private ok). Reason > I ask is that I have his first CD and liked it a lot, so hear- > ing something like this prompts my interest. I remember a bit > about what he played and why - that part is of interest. Help > from anyone is much appreciated. Barry - I think the disappointment mentioned on this list has to do with his live performance. Having seen him twice in the last 6 months, in performance he doesn't play much blues. He loves to do medleys of pop tunes - you get Barry White, the O' Jays, Smokey Robinson & the Miracles, etc. The first time I saw him in Madison, I thought he was just playing dance tunes for the college crowd at the Memorial Union on campus. But at the Chicago Blues Festival - you got the same thing. I agree with your assessment of his first CD. Unfortunately, I hear very little of that in his live performance. Art Schuna > > Barry > > NY CD BLUES - CD Reviews and On-Line Blues Catalogs > http://www.panix.com/~bsco/ > Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 4 Jun 1996 09:31:09 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0292 From: "DUTTWEILER.J" Subject: Re: Muddy's best recording Date: Tuesday, 4 June 1996 9:30am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: Muddy's best recording In-Reply-To: The letter of Tuesday, 4 June 1996 9:25am ET If you can find it, check out the Charly Red Box set of the Complete Muddy Waters. This set includes NINE CDs covering basically everything Muddy recorded through his Chess years, inclduing alternate takes, etc. JD ========================================================================= Date: Tue, 4 Jun 1996 13:38:35 GMT Reply-To: Art Schuna From: Art Schuna Organization: UW-Madison Subject: Re: eRIC's BLUES DATES: June 2 Comments: To: bit-listserv-blues-l@uunet.uu.net >TURNER, OTHER (g/fife) b. 1907-0602, JACKSON, MS I just wanted to say I was one of a relatively few people who caught Otha's performance at the Chicago Blues Festival on his birthday. Only the announcer and his granddaughter (I think) both referred to this as his 88th birthday. So eRIC, who's right here? Art Schuna ========================================================================= Date: Tue, 4 Jun 1996 09:42:54 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Piano Blues, what are some good compilations? Comments: To: FINNY49911 In-Reply-To: <4p199s$pqg@newsbf02.news.aol.com> On Tue, 4 Jun 1996, FINNY49911 wrote: > Are there any good representative compilations that collect blues played > on the piano? I occasionally see some but don't know which ones to buy. > Thanks. One that I like is Best of Piano Blues - Wolf #120.102 except for the 1 track by Charles Brown which sound like it came out of a meat grinder. 'Cept for that the lineup and sound is an all star cast - Little Brother Montgomery Sunnyland Slim Eddie Boyd Pinetop Perkins Big Moose Walker Jimmy Walker Al Broussard Henry Gray Mose Vinson Booker T. Laury Henry Townsend Piano Slim Big Joe Duskin Robert Shaw Charles Brown xxxx Jimmy McCracklin Liner notes also give city of the style which is nice to know. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 4 Jun 1996 08:56:37 CST6CDT Reply-To: "Sara C. Oxton" From: "Sara C. Oxton" Organization: University of Minnesota Subject: Re: Mr. Downchild Comments: To: Richard Flohil One of the highlights of the 1995 King Biscuit Festival for me was stumbling upon Mr. Downchild, Sam Carr, and "Mr. Oscar" set up and playing an impromptu gig on Cherry Street. I assumed that Oscar was the same Oscar that appears on many Frank Frost records. But I had no idea who Mr. Downchild was. At the time, I was knocked out by his guitar playing and singing. That is, until MRS. Downchild decided to plop her folding chair right in front of me, at which point I vacated the premises. Sara _________________________________________ Sara C. Oxton Executive Secretary University of Minnesota Department of Food Science & Nutrition 1334 Eckles Ave. St. Paul, MN 55108 Ph: (612) 624-2787 Fax: (612) 625-5272 soxton@che2.che.umn.edu ========================================================================= Date: Tue, 4 Jun 1996 10:00:15 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: What are we using for that blues guitar tone? Comments: To: dstine@fsc.follett.com Hi David! Jeez, you're going to get a million different answers to this one. Just goes to show you how everyone's "ear" differs in terms of what is "THAT TONE". I use onstage for amplification: '93 original Fender Blues DeVille 410 with the blue frame speakers. Guitars: '71 Les Paul Custom with Seymour Duncan "59s" in bridge and neck position. '75 ES-175 archtop, stock. and soon to arrive.....'96 Epiphone "Riviera", stock. I use GHS Boomers (10s or 11s) on them and play straight into the amp, no effects, although I occasionally use an Ibanez Tube Screamer on the archtop for a crunchy tone for Elmore James style slide. ..Works for me. The responses you get will be fun to read for us gearheads. :0 See ya! Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 4 Jun 1996 08:48:27 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: Portrait Of The Blues =========That's funny - I didn't get that impression at all from the book. Contrived? How so? Yes, most of the photos are posed, I would say. I don't think that's necessarily a bad thing.========== I don't think posed photographs are a bad thing by definition. I would much rather see artists in their natural state. As for the photos being contrived, that's just the word for it. There's more to the photos than "Hey, why don't you sit next to the piano and smile." It's more like, "Hey, let's move the piano over here and why don't you wear that suit you wore last tuesday oh, a vase of fresh flowers would add a nice touch." It's an invention. It's done by design. That's what I mean by contrived. I'm glad you like the interviews. I didn't take time to notice them. I will now. BTW, good work on the web, Rob. RJ Bauman Blues Society of Indiana ========================================================================= Date: Tue, 4 Jun 1996 14:10:57 GMT Reply-To: VT From: VT Subject: Posting to the Blues-L was Re: Immortal threads (Don O. please ignore) I've had a few more thoughts regarding old out of date threads and some of the problems we've had on posts to this list. I ask for your indulgence, and would be pleased to hear other lister's opinions on this: - I feel that the Blues-L should be open for as many people to READ as possible. - If people wish to POST then they should be SUBSCRIBERS. - This makes BLUES-L accessible, but means that the CASUAL poster is prevented from posting on a mere whim. However there is nothing to prevent them from posting if they care to subscribe first. (This means newsgroup should be READ ONLY - posting will be to the normal e-mail address by subscribers only) Does that sound fair? Is this technically feasible? -- Vincent vt@usa.pipeline.com ========================================================================= Date: Tue, 4 Jun 1996 09:24:13 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Re: Where stores file stuff Comments: To: Karen Hanson Karen Hanson wrote "I would just like to know why you think a male 17-year-old would be better able to lead you to SRV than a female 17-year-old? And what's acne got to do with it?" Again, I failed to be really clear. Sorry; I'll do my best to remedy that. I don't think a 17-year-old is better or less equipped than any other age to lead me to SRV, regardless of sex. In fact, to be fair, on that day, they were both equally bad. I mentioned the sex of the employees only because I did notice a huge disparity in the number of young females versus young men working in these stores. As I said, in four stores, I saw 3 young men and FIVE times that many young females, not including managers. (Yes, I counted; it was 15 to 3.) Now, I figure there are three possible explanations for this: 1) I had just been in all four stores at a time when 80% of the male clerks were not there, and, if I stayed around long enough, the male clerks would return and even up the numbers; 2) where I live, females are five times more likely than males to be good record store clerks; or 3) the managers had purposely hired more females. I am one who believes in the theory that the simplest explanation is usually the right one. (Is that called Ocaram's Razor?) In addition, the managers of all four stores are *gasp* white, middle-aged males. (What a surprise, huh?) So, I can only conclude that the stores hired based on a criteria that had nothing to do with the ability to do the job: looks. My point was suppossed to be this: the chain stores (at least here) seem to be more interested in how the employees look than the service they provide. Witness a five to one ratio in female to male employees. That's no accident. It's designed to draw in male customers, the group that buys anywhere from 65 to 80% of the records in this country, and to give the male managers something to look at. (Sure, you could argue that this is just good marketing then. I find it as sad as the way Hooters treats women or the way women are used in beer commercials. And it does not take away from the fact that the MAIN reason they were hired was for a reason OTHER THAN their ability to do the job.) In addition, all the employees, male and female, were attractive, young kids. Clearly, these folks were hired based, at least in part, on their looks. Either that or all of the qualified applicants were young and attractive. Again, I choose the simpler explanation. Of course, no one is worse at providing service just because they are young or of a certain sex or more attractive than average, just as a person is not better for having the opposite characteristics. However, if a chain decides "We can only hire young, attractive people to work in our stores," that means they are simply skipping a large portion of the population as potential employees. In skipping over these people, they will undoubtedly miss some employees who do know music AND who will be nice while serving your needs. That's why discrimination sucks. People are overlooked for all the WRONG reasons. As for why acne has anything to do with it, I have not a clue. If that was in response to my Noxema remark, I can only say that each of the employees I encountered could have stepped out of a commercial for that product. They were all young (I'd say 21 and under) and cute and fesh-faced. I didn't know Noxema had anything to do with acne. Which may be why, regardless of my stellar good looks and bouncy personality (yes, sarcasm), I shouldn't be hired to sell facial cleansing products. I have no experience with them. I hope that clears things up (pun intended), Gavin ========================================================================= Date: Tue, 4 Jun 1996 09:07:25 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: What are we using for that blues guitar tone? In-Reply-To: Message of Tue, 4 Jun 1996 10:00:15 -0500 from If I want a nasty slide tone, I use my Silvertone with it's amp (mic'd) and then of course my 72 Strat through the Vibrolux, however I prefer an old acoustic, just wood, fingers, wire and lots of heart. I hate pedals, I don't own one and don't need one. Leonard Watkins (playing too much electric) ========================================================================= Date: Tue, 4 Jun 1996 09:28:51 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Muddy's best record Says Jon Duttweiler: "If you can find it, check out the Charly Red Box set of the Complete Muddy Waters. This set includes NINE CDs covering basically everything Muddy recorded through his Chess years, inclduing alternate takes, etc." Just get it quick, though, because it's a bootleg, and MCA won their court case vs. Charly which means that, legally, it can't be sold any more! Muddy's estate and his publishers earn nothing on the sales of this set. Incidentally, could Chris Smith, or any of the other UK correspondents, give us the details on this case, which went down over there? Cheers, Richard the Elder ========================================================================= Date: Tue, 4 Jun 1996 07:21:04 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: June 4 Here's a few dates (b. born, d. death) for TODAY. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BUCKNER, JOE (p/TOMMY DEAN/VEEJAY REC) b. 1924-0604, ST. LOUIS, MO BURBANK, CHARLES (tsax/DAVE BARTHOLOMEW) d. 1995-0604, NEW ORLEANS, LA 67 DEBARGE, ELDRA (lead/DEBARGE) b. 1961-0604, GRAND RAPIDS, MI ELLIS, TINSLEY (g/ALLIGATOR REC) b. 1957-0604, ATLANTA, GA FENDER, FREDDY [BALDEMAR G. HUERTA SR.]v b. 1937-0604, SAN BENITO, TX GARDNER, SAMMY (1st DELMARK REC artist) b. 1926-0604, ST. LOUIS, MO HADLEY, ALBERT(lead/GOSPEL SOUL CHILDREN) d. 1987-0604, NEW ORLEANS, LA 37 HUTSON, LEROY (lead/THE IMPRESSIONS) b. 1945-0604, NEWARK, NJ KING, MORGANA (v) b. 1930-0604, PLEASANTVILLE, NY LAMBERT, LLOYD (b/GUITAR SLIM/SPECIALTY) b. 1928-0604, THIBODEAUX, LA LOVE, HOT SHOT (hca/SUN REC) d. 1980-0604, WEST MEMPHIS, AR 65 MINERVE, GEEZIL (asax/BUDDY JOHNSON) d. 1992-0604, NEW YORK CITY, NY 70 NELSON, OLIVER (tsax/arr) b. 1932-0604, ST. LOUIS, MO RHODES, TODD (p/KING REC) d. 1965-0604, DETROIT, MI 64 RUDD-MOORE, DOROTHY (p/songw) b. 1940-0604, NEW CASTLE, DE WARREN, EARLE (v/asax/BASIE/OTIS) d. 1994-0604, SPRINGFIELD, OH 79 ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 4 Jun 1996 07:21:46 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: June 5 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BUTLER, FLOYD (of FRIENDS OF DISTINCTION) b. 1937-0605, EL CAMPO, TX CARSON, EDDIE "BIG BLUES" (v/JOSIE REC) d. 1990-0605, TOLEDO, OH 66 DOBBS, ELRETA (tsax) b. 1957-0605, GREENSBORO, NC DYSON, RONNIE (v/CBS/COTILLION REC) b. 1950-0605, WASHINGTON, DC ERSKINE, PETER (d/WEATHER REPORT) b. 1954-0605, SOMERS POINT, NJ ESTES, JOHN "SLEEPY" (g/songw) d. 1977-0605, BROWNSVILLE, TN 78 HERBERT, MORT (b/LOUIS ARMSTRONG) d. 1983-0605, LOS ANGELES, CA 57 HORTON,VAUGHN (songw/CHOO CHOO CH'BOOGIE) b. 1911-0605, BROAD TOP, PA MARTINEZ, NARCISO(accord/tejano conjunto) d. 1992-0605, SAN BENITO, TX 80 POWELL, SPECS (d) b. 1922-0605, NEW YORK CITY, NY ROBINSON, ROBBIE (of THE FLARES) b. 1930-0605, GREENSBORO, NC STONE, FREDDIE(of SLY & THE FAMILY STONE) b. 1946-0605, VALLEJO, CA TWITTY, CONWAY (v) d. 1993-0605, SPRINGFIELD, MO 59 WASHBOARD SLIM (ROBERT YOUNG) (wbd) b. 1900-0605, MARSHALL, TX WINANS, MICHAEL (of THE WINANS/GOSPEL) b. -0605, ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 4 Jun 1996 14:38:00 GMT Reply-To: Peter Gallagher From: Peter Gallagher Organization: XS4ALL, networking for the masses Subject: Re: Muddy's best recording Comments: To: bit-listserv-blues-l@relay1.uu.net The "London Sessions" is way below par for Muddy - an album to avoid. (Did this one just slip your mind, Leonard?). I'm a great Muddy fan and even though the recording includes guests such as the late great Rory Gallagher, I still find the album a major disapointment. I trust that says enough (imho, of course). regards, PeterG Leonard Watkins writes (among other things): >excluding After The Rain & Elelctric Mud they are all good enough to own (IMHO) -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ========================================================================= Date: Tue, 4 Jun 1996 10:40:06 -0400 Reply-To: BluesMojo@AOL.COM From: Doug Carlisle WSFM Subject: Commercial Radio Playlist Doug Carlisle WSFM Box FM 107 Wilmington, NC 28402 E-mail: Bluesmojo@aol.com Web: www.surf107.com "Houserockin' Blues" Sundays 9am-12pm Reported to: "Hard Report" & Blues-L Hour 1 John Mayall Maydell Silvertone Gary Moore Merry Go Round Charisma Jimi Hendrix Once I Had A Woman MCA Roddy Jackson Moose on the Loose Specialty Nathan Cavaleri Back to the Blues Epic/EMI Keb' Mo' Love Blues Epic/Okeh (Jazz) George Howard Jade's World MCA Jimmy Witherspoon Playful Baby Stony Plain Amos Garrett Bad Bad Whiskey Stony Plain Eric Clapton Goin' Away Baby Reprise Lacy Gibson Easy Woman Delmark Hour 2 Clarence Gatemouth Brown Dockside Boogie Verve Taj Mahal Ooh Poo Pah Doo Private Charlie Musselwhite Stingaree Alligator's 25th Luther Allison Cherry Red Wine Alligator's 25th Johnny B. Moore Turn on Your Love Light Delmark Steamin' Stan Ruffo Potbellied Pig SRP Nighthawks Jail House Rock Genes Buddy Guy My Time After a While Silvertone (Jazz) Fattburger Night After Night Enigma Rev. Gary Davis Sun Goin' Down Genes Floyd Dixon My Song is Don't Worry Alligator Hour 3 Harry "The Hipster" Gibson I Got Framed Delmark Bukka White Shake 'em on Down Columbia/Lagacy Saffire Hungry Woman's Blues Alligator Jeff Beck I Ain't Superstitious Epic/Lagacy Brownie McGhee Lightnin' Hopkins Big Joe Williams Wimmin From Coast to Coast Capitol Sonny Terry Floyd Dixon She's Understanding Capitol Floyd Dixon Unlucky Girl Capitol (jazz) Grover Washington Jr. Brand New Age Columbia Lonnie Brooks I Want All My Money Back Alligator Kenny Wayne Shepherd One Foot on the Path Giant ========================================================================= Date: Tue, 4 Jun 1996 09:37:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Otha(r) Turner However old he may be, Othar left Legends at 2:00am Saturday night. (I was with my stay-out-all-night relatives). -Bonnie ========================================================================= Date: Tue, 4 Jun 1996 09:43:51 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: Muddy's best recording In-Reply-To: Message of Tue, 4 Jun 1996 14:38:00 GMT from On Tue, 4 Jun 1996 14:38:00 GMT Peter Gallagher said: >The "London Sessions" is way below par for Muddy - an album to avoid. >(Did this one just slip your mind, Leonard?). >I'm a great Muddy fan and even though the recording includes guests such >as the late great Rory Gallagher, I still find the album a major I agree 100% about any of the London Sessions. I personally don't care for any of those. (slipped my mind) Leonard Watkins >----------------------------------------------------------------------------- >Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl >" I used to finish every sentence I started, but now I just ...." > --my sister, Christine ========================================================================= Date: Tue, 4 Jun 1996 09:45:10 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: Otha(r) Turner In-Reply-To: Message of Tue, 4 Jun 1996 09:37:00 CDT from On Tue, 4 Jun 1996 09:37:00 CDT Bonnie Kalmbach said: >However old he may be, Othar left Legends at 2:00am Saturday night. >(I was with my stay-out-all-night relatives). I think Othar was THE highlight for me at the Sunflower last year. I had never seen a Fife and Drum band it was more than just a musical experience. The festival itself was more than just a music experience, gee I get chills just thinking about it. I wish we had a local club that would bring in some good blues acts. I haven't seen a good national blues artist in B'ham in a long long time. LW ========================================================================= Date: Tue, 4 Jun 1996 09:35:38 -0700 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: Muddy's best recording Comments: To: Maurice Flood In-Reply-To: Maurice Flood "Re: Muddy's best recording" (Jun 4, 1:37pm) On Jun 4, 1:37pm, Maurice Flood wrote: > Subject: Re: Muddy's best recording > I'm not sure about being his best, but the > one I enjoy most is Fathers and Sons on Chess. > > Take a listen to the version on this of > "Long Distance Call". I usually despise "me too" posts, but "Fathers and Sons" is excellent . "Lookie heah!" -- "Where a computer like the ENIAC is equipped with 18,000 vacuum tubes and weighs 30 tons, computers in the future may have only 1,000 vacuum tubes and weigh only1 1/2 tons." Popular Mechanics, March 1949 ========================================================================= Date: Tue, 4 Jun 1996 09:51:08 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Favorite Solo Since I mentioned Muddy's solo in 19 Years Old as one of my favorites, I was wondering what are some of your favorite solos. I like Andy Just and Mark Ford's harp solos in "Fool For Love" off of "Here We Go" live in Bremen (although it is self indulgent IMHO). Any Little Walter harp solo is good, I can't recall a specific one...Juke, Roller Coaster...you name it. Speaking of Little Walter, listening to Walter last night a friend and I came to the conclusion that because he was such a great harp player, his other talents were under appreciated by many. I think he plays better guitar than some of the "guitar heros" and I like his singing a lot...Just my thoughts Leonard Watkins ========================================================================= Date: Tue, 4 Jun 1996 10:03:11 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Mr. Downchild Comments: To: "Sara C. Oxton" In-Reply-To: On Tue, 4 Jun 1996, Sara C. Oxton wrote: > > I assumed that Oscar was > the same Oscar that appears on many Frank Frost > records. But I had no idea who Mr. Downchild was. Sara, Would this be Arthur Williams who was on the Paula album? He also plays harmonica on Big Bad Smitty's Mean Disposition. Smitty calls him Oscar in some of the songs. -Jeff (a Smitty-head) ------------------------------------------------------------------------------ __ Jeff Seale, PhD | |___ University of Texas Health Sciences Center @ San Antonio ___|* | seale@bioc02.uthscsa.edu \ | http://bioc09.uthscsa.edu/~seale/home.html \/\ / \ / I jumped bail from the Sweetwater County, now I'm on the run \( On my head is a 5 number bounty, for a crime I never done -Joe Ely ========================================================================= Date: Tue, 4 Jun 1996 11:36:25 -0400 Reply-To: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM From: Jim Smith Subject: New Rev Gary Davis Release In-Reply-To: <960604132414_102554.471_HHV61-8@CompuServe.COM> Well, Genes CD has done it again. Unreleased material from one of the blues greats. Much like their John Hurt Memorial Anthology release, "O, Glory" presents long unavailable recordings that sound as though they were recorded yesterday. "O, Glory" The Apostolic Studio Sessions, presents Rev Gary Davis in top form, playing guitar, piano, banjo and harmonica. The sound is great and the music even better. He's accompanied on harmonica by Larry Johnson on 4 of the cuts. The liner notes say this was the Rev's last studio album. The tracks are: Let's Get Together Sun Goin' Down Slippin Til My Gal Get In Lo, I'll Be With You Always God Will Take Care of You Mornin Train Out on the Ocean Sailing Right Now Birmingham Special There's Destruction in That Land O' Glory Soon My Work Will All be Done Jim Smith ========================================================================= Date: Tue, 4 Jun 1996 10:40:09 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Posting to the Blues-L was Re: Immortal threads (Don O. please ignore) Comments: To: VT In-Reply-To: <199606041410.OAA26296@pipe2.t2.usa.pipeline.com> On Tue, 4 Jun 1996, VT wrote: > - If people wish to POST then they should be SUBSCRIBERS. > > (This means newsgroup should be READ ONLY - posting will be to the normal > e-mail address by subscribers only) This is how it was supposed to be set up originally. If our listowner still reads the list, maybe he could tell us if it is still set up this way, and if not, why not? -Jeff ------------------------------------------------------------------------------ __ Jeff Seale, PhD | |___ University of Texas Health Sciences Center @ San Antonio ___|* | seale@bioc02.uthscsa.edu \ | http://bioc09.uthscsa.edu/~seale/home.html \/\ / \ / I jumped bail from the Sweetwater County, now I'm on the run \( On my head is a 5 number bounty, for a crime I never done -Joe Ely ========================================================================= Date: Tue, 4 Jun 1996 11:00:22 -0500 Reply-To: BRENNERC@CITY.BLOOMINGTON.IN.US From: BRENNERC@CITY.BLOOMINGTON.IN.US Organization: City of Bloomington, IN Subject: piano blues Hey, have you heard about "Play It Again, Professor!" a CD containing 14 tracks with various blues styles (blues, boogie woogie, New Orleans, stride, etc.)? Three pieces are solo, some with Alfred "Ugand" Roberts (conga player/collaborator of Professor Longhair), some with additional instruments and vocals - a diverse disc receiving excellent reviews. Check out Marc Allan's review in the Indpls. Star, 5/31/96, "Boogie 'Professor' has CD with class." Let me know if you want to hear it. Craig Brenner 1101 S. Fess Bloomington IN 47401 tel: 812-334-0415 or 349-3430 fax: 812-349-3483 e-mail: brennerc@city.bloomington.in.us ========================================================================= Date: Tue, 4 Jun 1996 11:59:56 EST Reply-To: mstringer@HEARST.COM From: Mark Stringer Subject: test direct to list ========================================================================= Date: Tue, 4 Jun 1996 12:14:35 -0400 Reply-To: Carbonic12 From: Carbonic12 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Bobby Radcliff? Comments: To: bit-listserv-blues-l@uunet.uu.net Yeah, he's around but I don't think he's been playing much. He has a physical problem with his hand (carpel tunnel-like) and is having difficulty playing. Contact Black Top Records for current updates. ========================================================================= Date: Tue, 4 Jun 1996 11:24:19 +0000 Reply-To: Tom Freeland Comments: Authenticated sender is From: Tom Freeland Subject: Re: Posting to the Blues-L was Re: Immortal threads (Don O. ple Comments: To: vt@USA.PIPELINE.COM In a carefully worded and measured post, On 4 Jun 96 at 14:10, VT wrote: > I've had a few more thoughts regarding old out of date threads and > some of the problems we've had on posts to this list. > (This means newsgroup should be READ ONLY - posting will be to the > normal e-mail address by subscribers only) > > Does that sound fair? > > Is this technically feasible? Answering the second first, the answer is yes. Last time this came up, Paul proposed it and I answered with guarded assent. The proposal then got buried in a mountain of personal animosity that lost the whole point of the suggestion. Let me make a further proposal. Couldnt someone who was a SUBSCRIBER but in NOMAIL STATUS post to the list? So that a newsgroup READER could be a SUBSCRIBER AND POST THAT WAY without getting email? Without much of a strain? And that way everyone didn't have to pay for the convenience to newsgroup readers? Just a suggestion. I personally think Paul is right that the newsgroup results in live-for-ever threads (and usually the most boring ones) and encourages hit-and-run flamebait BUT I don't want to see THIS discussion degenerate again into nastiness. Oh, and the last CD in my CD player at home is the R.L. Burnside backed by Jon Spencer Blues Explosion. At work, I'm still going with the Charly Sun box. Tom Freeland ========================================================================= Date: Tue, 4 Jun 1996 11:27:46 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Favorite Solo Comments: To: Leonard Watkins In-Reply-To: On Tue, 4 Jun 1996, Leonard Watkins wrote: > Speaking of Little Walter, listening to Walter last night a friend and I > came to the conclusion that because he was such a great harp player, his > other talents were under appreciated by many. I think he plays better guitar > than some of the "guitar heros" and I like his singing a lot...Just my > thoughts > > Leonard Watkins > LW's singing is sensational (I mean Little Walter's, sorry Leonard), but more than that, he worked the band in an amazing way. When MY band does an arrangement of an LW song (and the bass player in my band is a GENIUS with arrangments), people jump up and dance, people sing along, "OUT GO THE LIGHTS," people sometimes stop dead in their tracks, and their jaws drop, and when we close a set with an LW song the applause explodes. The LW songs stand up wonderfully well. They are alive. Songs by others that we cover are not as consistently so. Even a quiet slow one, like "Last Night" moves the audience. And I find his singing powerful, touching, moving. Steve Price ========================================================================= Date: Tue, 4 Jun 1996 11:28:00 -0500 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: Posting to the Blues-L was Re: Immortal threads (Don O. please > > - If people wish to POST then they should be SUBSCRIBERS. > > > > (This means newsgroup should be READ ONLY - posting will be to the normal > > e-mail address by subscribers only) > > This is how it was supposed to be set up originally. If our listowner still > reads the list, maybe he could tell us if it is still set up this way, and > if not, why not? You mean we HAVE a listowner? ========================================================================= Date: Tue, 4 Jun 1996 16:30:42 GMT Reply-To: blues@INAV.NET From: blues@INAV.NET Organization: Internet Navigator, Inc. Subject: New R.L. Burnside Comments: To: bit-listserv-blues-l@uunet.uu.net Anyone know anything more about R.L.'s rumored upcoming release backed by Jon Spencer Blues Explosion. What label? When? I've run some Web searches and not found out any news. Kyle ========================================================================= Date: Tue, 4 Jun 1996 12:42:31 -0400 Reply-To: Dave Markovits From: Dave Markovits Subject: Kansas City I'll be in Kansas City for the fest in July Sat. and Sun. If anyone is attending, please let me know. Also, if someone has the lineup for those days it would be appreciated. Thanks; David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Tue, 4 Jun 1996 16:38:15 GMT Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: Luther Allison's Handy Awards? Comments: To: Jef Jaisun On Mon, 3 Jun 1996 23:18:12 GMT, Jef Jaisun wrote: >Does anyone have a list of Luther Allison's 1996 Handy Awards? I need >'em, like, quick. Thanks. Blues Entertainer of the Year Contemporary Blues -- Male Artist of the Year Blues Instrumentalist -- Guitar Contemporary Blues Album of the Year (Blue Streak) Blues Song of the Year (Cherry Red Wine) *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Tue, 4 Jun 1996 17:07:57 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Re: Last CD in Your Player Comments: To: bit-listserv-blues-l@uunet.uu.net I SECOND THAT EMOTION. >From Toby Levy I had brought a stack of cds to play at work today, but I got stuck on the second one in and its on its third play as I write this: Smokey Wilson - 88th Street Blues ========================================================================= Date: Tue, 4 Jun 1996 10:20:08 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: What are we using for that blues guitar tone? Here's MY idea of good tone: Tom Anderson Basswood strat. NO wang bar, fixed bridge, Anderson PU's. and a second one in Eb. Heritage Custom one-off Les Paul style guitar with Anderson PU's in Cherry Red metalflake. into a Matchless DC-30 or one of two Pinnell Custom hotrods that once were Princetons or Vibrochamps and now will eat your leg.... Rarely used pedals: Mesa V-Twin, Demeter Tremulator. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 4 Jun 1996 14:31:53 -0300 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: Favorite Solo In-Reply-To: from "Leonard Watkins" at Jun 4, 96 09:51:08 am > Since I mentioned Muddy's solo in 19 Years Old as one of my favorites, I > was wondering what are some of your favorite solos. John Lee "Sonny Boy" Williamson's two harp solos in Big Joe Williams' "Don't You Leave Me Here" (1947) are two of my favourite solos of all time on any instrument. The first solo is perfect, and then the second one, although essentially identical, is just a bit *more* perfect. > Speaking of Little Walter, listening to Walter last night a friend > and I came to the conclusion that because he was such a great harp > player, his other talents were under appreciated by many. I think he > plays better guitar than some of the "guitar heros" and I like his > singing a lot... I know it's annoying, but I just had to "me too!" this. Did Walter ever record anything on solo guitar? Beautiful stuff he did behind Muddy on some of those early Chess recordings... -Rob ========================================================================= Date: Tue, 4 Jun 1996 13:32:12 EDT Reply-To: TRADITION@RYKO-MA.CCMAIL.COMPUSERVE.COM From: David Greenberg Subject: Have been no-mail.... For some reason, we haven't received any e-mail for the last three days. However, we are up and running again and you may want to repost anything that was sent to us during those days. Thanks. -Tradition Records ========================================================================= Date: Tue, 4 Jun 1996 17:36:44 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Re: Huey Meaux update Yep, Jeff its true dirty Huey pleaded guilty and copped 15 in the slammer. Child molestation - the lot. Betcha he trys to get the prison singing group a deal! Try Houston Chronicle web site for more info. TB ========================================================================= Date: Tue, 4 Jun 1996 13:43:54 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Favorite Solo Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *Since I mentioned Muddy's solo in 19 Years Old as one of my favorites, I *was wondering what are some of your favorite solos. I like Andy Just and *Mark Ford's harp solos in "Fool For Love" off of "Here We Go" live in Bremen *(although it is self indulgent IMHO). Any Little Walter harp solo is good, *I can't recall a specific one...Juke, Roller Coaster...you name it. I have many favorites, but if I had to choose one it would probably be Big Walter's solo in "Walking By Myself." -Steve ========================================================================= Date: Tue, 4 Jun 1996 12:51:06 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: Favorite Solo In-Reply-To: Message of Tue, 4 Jun 1996 14:31:53 -0300 from On Tue, 4 Jun 1996 14:31:53 -0300 Rob Hutten said: > >I know it's annoying, but I just had to "me too!" this. Did Walter >ever record anything on solo guitar? Beautiful stuff he did behind >Muddy on some of those early Chess recordings... I know he "took a guitar solo" on a couple of tunes on the EXTRAORDINARY "Blues World According To Little Walter". I don't think that's what you meant, but it's interesting to listen to him play a guitar solo. It's right scary that someone could have so much talent (like some of you). It's also interestin that Muddy's first gigs was playing harp. Leonard Watkins ========================================================================= Date: Tue, 4 Jun 1996 13:10:53 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: What are we using for that blues guitar tone? In-Reply-To: Message of Tue, 4 Jun 1996 10:20:08 -0800 from On Tue, 4 Jun 1996 10:20:08 -0800 Don Cicchetti said: > >into a Matchless DC-30 or one of two Pinnell Custom hotrods that once were >Princetons or Vibrochamps and now will eat your leg.... I was reading the Torres Tweed Mod on the Vibrochamp, I've considered it. Anyone ever tried it. I probally will not try it, I'm really fond of the Champ tone. It's a classic (IMHO) Leonard Watkins ========================================================================= Date: Tue, 4 Jun 1996 14:21:41 -0400 Reply-To: Linda Rebecca Rash From: Linda Rebecca Rash Organization: Emory University Subject: Howlin' Wolf video Comments: To: bit-listserv-blues-l@uunet.uu.net I remeber reading on this group that a video of Howlin' Wolf and other blues artists was going to be released this year. Does anyone have any current info about this? Please email me. Thanks! -- Linda Rash Phone: 404-727-6879 Emory University Libraries Internet: liblrr@emuvm1.bitnet Atlanta, Georgia ========================================================================= Date: Tue, 4 Jun 1996 13:34:45 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Posting to the Blues-L was Re: Immortal threads (Don O. ple Comments: To: Tom Freeland In-Reply-To: <9606041634.AA07177@WaterValley.Net> On Tue, 4 Jun 1996, Tom Freeland wrote: > Let me make a further proposal. Couldnt someone who was a SUBSCRIBER > but in NOMAIL STATUS post to the list? So that a newsgroup READER > could be a SUBSCRIBER AND POST THAT WAY without getting email? > Without much of a strain? And that way everyone didn't have to pay > for the convenience to newsgroup readers? Yes, this is the way that it was originally set up when we decided to add the newsgroup. I don't know who took it upon themselves to change it, but apparently they did without the knowledge of the group and it SHOULD BE CHANGED BACK. -Jeff ------------------------------------------------------------------------------ __ Jeff Seale, PhD | |___ University of Texas Health Sciences Center @ San Antonio ___|* | seale@bioc02.uthscsa.edu \ | http://bioc09.uthscsa.edu/~seale/home.html \/\ / \ / I jumped bail from the Sweetwater County, now I'm on the run \( On my head is a 5 number bounty, for a crime I never done -Joe Ely ========================================================================= Date: Tue, 4 Jun 1996 13:36:04 CST Reply-To: John Wells From: John Wells Subject: LW's vocals Steve Price wrote: LW's singing is sensational (I mean Little Walter's, sorry Leonard), but more than that, he worked the band in an amazing way. Steve Price *********************** Don't let him fool you, folks! I've heard him sing, and the other LW (Leonard Watkins) has real decent vocals ... even when he's NOT in the shower! "The Boogie Daddy" ========================================================================= Date: Tue, 4 Jun 1996 13:35:22 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: LW's vocals In-Reply-To: Message of Tue, 4 Jun 1996 13:36:04 CST from On Tue, 4 Jun 1996 13:36:04 CST John Wells said: > LW's singing is sensational (I mean Little Walter's, sorry >Leonard), but more than that, he worked the band in an amazing way. > >Don't let him fool you, folks! I've heard him sing, and the other LW >(Leonard Watkins) has real decent vocals ... even when he's NOT in >the shower! OK, fine, but just for thre record "Boogie Daddy" has never heard me sing in the shower.... Leonard Watkins ========================================================================= Date: Tue, 4 Jun 1996 13:41:44 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: preconceived opinions Have you ever had a negative opinion about someone's music, due to reviews or just the way you preceive them to be...? Well that happened to me recently One of my wifes co-workers send four cd's home with her, The Hoax, Kenny Wayne Sheppard(sp), Chris Anderson and Little Chris ????(harp player). I finally gave them all a decent shot (I had already heard KWS) and much to my surprise I lIKE THE HOAX cd... I was pleasantly shocked...I never seen them live but the CD was very enjoyable for ME....One day I'll learn :-) Leonard Watkins ========================================================================= Date: Tue, 4 Jun 1996 14:54:14 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0183 From: "DUTTWEILER.J" Subject: LW's vocals Date: Tuesday, 4 June 1996 2:54pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: LW's vocals > Don't let him fool you, folks] I've heard him sing, and the other LW > (Leonard Watkins) has real decent vocals ... even when he's NOT in > the shower] > > "The Boogie Daddy" Hmmmm, I guess that means you're familiar with BOTH? ;-) Sorry, couldn't resist. JD ========================================================================= Date: Tue, 4 Jun 1996 14:57:05 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: If you're thinking about buying an electric... ...don't overlook the latest batch of Japanese Fenders. They are both outstanding in quality, and inexpensive (a RARE combination). They are so good that "vintage/purist" types are even beginning to admit it. Of course they throw in some disclaimer like - "put a couple of good pick-ups in that baby and you'll have a real fine guitar there." That may (or may not) have been the case a few years ago, but (IMHO) it's not the case any more. For two hours now I have owned a Japanese 60's reissue Strat that I paid all of $399 for. It's pretty near perfect. I'll probably tweak it a little to suit my favorite strings and action, but it plays and sounds like a dream. The neck and it's pocket fit as tight as a surgical glove, and the whole guitar resonates with every string plucked. It has the quietest, smoothest, most evenly tapered volume pot I have ever experienced on a Strat. It even has those aged (faintly greenish) plastic parts that make some hearts beat faster. Please, if you find one you love, realize that people will try to talk you out of it. If you buy it, people will try and convince you you have made a mistake, or have taken a chance. Realize that these are most likely people who have spent from several hundred to thousands of dollars more than you (unnecessarily) and that has an effect on their judgement that's hard to control. My wife hasn't seen it yet, but that's a whole different problem. (Disclaimer - Unfortunately I have nothing to do with Fender) P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Tue, 4 Jun 1996 14:00:24 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: If you're thinking about buying an electric... In-Reply-To: Message of Tue, 4 Jun 1996 14:57:05 -0500 from On Tue, 4 Jun 1996 14:57:05 -0500 P.W. Fenton said: >Please, if you find one you love, realize that people will try to >talk you out of it. If you buy it, people will try and convince you >you have made a mistake, or have taken a chance. Realize that these >are most likely people who have spent from several hundred to >thousands of dollars more than you (unnecessarily) and that has an >effect on their judgement that's hard to control. IMHO if you find any guitar you love be it a KAY or D'Angelico , it matters not what others say. If you like then that's all that matters. Leonard Watkins ========================================================================= Date: Tue, 4 Jun 1996 20:07:00 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Favorite Solo Comments: To: ISTS024@UABDPO.DPO.UAB.EDU >Since I mentioned Muddy's solo in 19 Years Old as one of my favorites, I >was wondering what are some of your favorite solos. I like Andy Just and >Mark Ford's harp solos in "Fool For Love" off of "Here We Go" live in Bremen >(although it is self indulgent IMHO). Any Little Walter harp solo is good, >I can't recall a specific one...Juke, Roller Coaster...you name it. > > >Speaking of Little Walter, listening to Walter last night a friend and I >came to the conclusion that because he was such a great harp player, his >other talents were under appreciated by many. I think he plays better guitar >than some of the "guitar heros" and I like his singing a lot...Just my >thoughts > >Leonard Watkins Just a few Personal manager - Albert King is just great. Albert Collins playing on Big Walter Prices "This is my Tears" is really something. Buddy Guy on Got my Eyes on You from This is Buddy Guy, Live. Ike Turner - Just one More Time. I recall reading that Muddy Waters mentioned Little Walter as one of his favorite singers. Mr Bo ========================================================================= Date: Tue, 4 Jun 1996 12:11:50 PDT Reply-To: "Hugh T. Atkins" From: "Hugh T. Atkins" Subject: PULSE! June 1996 Blues Report ------- Hi, all For those of us near a Tower Records store be sure to pick up the June issue of PULSE! It contains their 1996 Blues Report section. Lots of reviews , a couple of articles and a two page 'map' of the Delta indicating the birthplace, resting place or long time residences of most(?) of the great Delta blues people. Good Stuff ! Hugh atkins@nosc.mil ------- ========================================================================= Date: Tue, 4 Jun 1996 14:15:36 -0600 Reply-To: James Bardsley From: James Bardsley Subject: Re: What are we using for that blues guitar tone? Comments: To: Don Cicchetti In-Reply-To: <199606041723.KAA19286@inet.lasierra.edu> 68 Gibson 335, albeit with a 355 neck, and Seymour Duncan Antiquity pickups. Custom-made Tele with Eliot Mechanic repro slab-board rosewood fretboard, maple neck ( I wish the frets were jumbos, but that's a project forthe future) with Tom Anderson stacked humbucker pickups recommended by my friend Don ( below) and usually used in single-coil mode. Through a perfectly updated 1952 Fender Pro amp or a Victoria 3x10" model. Outboard reverb unit. Seldom use any other pedals. Waiting on Victoria Reverb/Trem unit. -Jim At 10:20 AM -0800 06/04/96, Don Cicchetti wrote: >Here's MY idea of good tone: > >Tom Anderson Basswood strat. NO wang bar, fixed bridge, Anderson PU's. and >a second one in Eb. > >Heritage Custom one-off Les Paul style guitar with Anderson PU's in Cherry >Red metalflake. > >into a Matchless DC-30 or one of two Pinnell Custom hotrods that once were >Princetons or Vibrochamps and now will eat your leg.... > > >Rarely used pedals: > >Mesa V-Twin, Demeter Tremulator. > > >DC > > >____________________________________________________ >Don Cicchetti >La Sierra University Library Media Services >Audio/Video/Computer/Satellite >Studio Production, Event Services, Academic support >dcicchet@lasierra.edu > > >Time flies like an arrow >Fruit flies like a banana.... > >--- Groucho >____________________________________________________ James R. Bardsley, Ph.D. Assistant Dean, Plans and Programs LSU Medical Center-Shreveport (jbards@lsumc.edu) ========================================================================= Date: Tue, 4 Jun 1996 12:37:31 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Bo Diddley - "A Man Amongst Men" I just picked up the new Bo Diddley CD today, "A Man Amongst Men." If you are a fan of Bo then you will really like this album. If you aren't a fan then this album may convert you. The album opens with the storming "Bo Diddley is Crazy". When Bo sings, "I went out last night with the Devil's Daughter" and ends with a manical laugh you know the man is back in town. After 40 yrs he more than still has it. There are a few blues tunes here, "That Mule:, "Can I walk You Home" and "Oops, Bo Diddley." A funk/rap tune, "Kids Don't Do it" and more of that patented Bo Diddley beats. "Hey Baby" features the Shirelles on what is a very steamy take on that Bo Diddley groove. Other guests are Billy Boy Arnold, Johhny Guitar Watson, Johhnie Johnson, Ron Wood, Keith Richardsand, Richie Sambora (yes, the Bon Jovi guy), Jerry Portnoy and Jimmiue Vaughan. Simply this is a great album. Glad to hear Bo still in form. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Tue, 4 Jun 1996 13:58:36 -0500 Reply-To: "Stine, Dave" From: "Stine, Dave" Subject: Little Walter reminds me of a blues story. . .oh oh. . The main dude in our band is Ernie "Sugar Lips" Brown who is sight impaired. (He's blind.) He has his harps aligned by key (low to high) on a big, two-tiered music stand. Literally, he took the covers off of each harp and tapped the Braille code for that key onto the top so he can tell at a touch what key he's just grabbed. Besides playing guitar behind him and shouting out keys, one of my most important jobs is to see that drunks don't knock the music stand over or that they don't knock ERNIE over. Yeah, we like Little Walter a lot. (My humble contribution--don't have a favorite solo.) ========================================================================= Date: Tue, 4 Jun 1996 12:37:36 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Who Do You Love? I admit to having an obsession with this song. What I'm asking is does anyone know of some killer versions of this tune? My favourite is version Bo Diddley recorded for the "La Bamba" soundtrack (a great soundtrack that is doing serious time in my CD player). Though the original version is just a brilliant. Honourable mentions go to George Thorogood and The Doors. The opening track to the live George Thorogood album is a real rockin' cover of "Who Do You Love?". The Doors also open with "Who Do You Love?" on "Absolutey Live." While Thorogood's version is good-time rock'n'roll, The Doors version is very dark and full of menace, especially the distorted and heavily tremeloed slide guitar of Robby Krieger. Any know of some other versions of this song? Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Tue, 4 Jun 1996 19:34:06 GMT Reply-To: VT From: VT Subject: Re: Posting to the Blues-L was Re: Immortal threads Comments: To: Jeff Seale Comments: cc: Tom Freeland On Jun 04, 1996 10:40:09, 'Jeff Seale ' wrote: > >On Tue, 4 Jun 1996, VT wrote: > >> - If people wish to POST then they should be SUBSCRIBERS. >> >> (This means newsgroup should be READ ONLY - posting will be to the normal >> e-mail address by subscribers only) > >This is how it was supposed to be set up originally. If our listowner still >reads the list, maybe he could tell us if it is still set up this way, and >if not, why not? > >-Jeff > Jeff, I can't tell you why not :-) but I can tell you that one CAN definitely post via newsgroup - that's how I post sometimes. Also to reply to Tom Freeland: On Jun 04, 1996 11:24:19, '"Tom Freeland" ' wrote: >Let me make a further proposal. Couldnt someone who was a SUBSCRIBER >but in NOMAIL STATUS post to the list? So that a newsgroup READER >could be a SUBSCRIBER AND POST THAT WAY without getting email? >Without much of a strain? And that way everyone didn't have to pay >for the convenience to newsgroup readers? > >Just a suggestion. This is just the right suggestion. I think as Jeff implied, that's why the newsgroup was originally set up. My memory (which is not infallible) tells me that the newsgroup was set up to help the people who couldn't cope with the amount of e-mail, to READ the Blues-L - that was the intention. It was further suggested that people should SUBSCRIBE and go NOMAIL as one day it might be a requirement to be a subscriber to post to Blues-L. -- Vincent vt@usa.pipeline.com ========================================================================= Date: Tue, 4 Jun 1996 15:35:15 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0009 From: "DUTTWEILER.J" Subject: Janis Joplin on Cable Date: Tuesday, 4 June 1996 3:35pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Janis Joplin on Cable Just read a post that jarred my memory about this. I was "surfing" my cable channels over the weekend (can't remember what day) when I came across a broadcast of an old Dick Cavett (sp?) show on the Comedy Channel. One of his guests was Janis Joplin (couldn't tell who the other guy was). I cut in just before she got up to perform another number, which was exceptional. Janis didn't seem too stoned (though I'm sure she was, to some extent - we ALL were back then, huh?), and talked fairly coherently with Cavett. He asked her who her favorite artist was, who she was listening to at the time, to which she replied Tina Turner. Now, this had to be no later then 69, because Cavett didn't know who Tina was. Janis went on to explain she was the "show" of the Ike and Tina Turner Revue, best singer she ever heard, etc., etc. Found it pretty interesting. Does anyone know exactly when this show was originally broadcast? It had to be before Proud Mary became a hit for Ike & Tina, which is the first *I* remember hearing of them, because, as I said, Cavett didn't know the name at all. Just wondering - JD ========================================================================= Date: Tue, 4 Jun 1996 20:45:19 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Who Do You Love? Comments: To: Shaun T Cronin >I admit to having an obsession with this song. What I'm asking is does >anyone know of some killer versions of this tune? > >My favourite is version Bo Diddley recorded for the "La Bamba" soundtrack >(a great soundtrack that is doing serious time in my CD player). Though the >original version is just a brilliant. > >Honourable mentions go to George Thorogood and The Doors. The opening track >to the live George Thorogood album is a real rockin' cover of "Who Do You >Love?". The Doors also open with "Who Do You Love?" on "Absolutey Live." >While Thorogood's version is good-time rock'n'roll, The Doors version is >very dark and full of menace, especially the distorted and heavily >tremeloed slide guitar of Robby Krieger. > >Any know of some other versions of this song? > >Shaun Cronin 'Woke up this morning between midnight and day. I was >shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son >House Try the version on Santanas Havanna Moon - album. It=B4s really nearly a Fab Thunderbirds record with Santana on guitar, and of course Booker T Jones on keys. Really nice album. Mr Bo ========================================================================= Date: Tue, 4 Jun 1996 14:56:23 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: for Steve Bard Sorry to do this, but I can't seem to email his address anymore! Steve, Can you send me another email address. I tried to reply to your message yesterday and it kept bouncing. Same address that I've always used. -Jeff ------------------------------------------------------------------------------ __ Jeff Seale, PhD | |___ University of Texas Health Sciences Center @ San Antonio ___|* | seale@bioc02.uthscsa.edu \ | http://bioc09.uthscsa.edu/~seale/home.html \/\ / \ / I jumped bail from the Sweetwater County, now I'm on the run \( On my head is a 5 number bounty, for a crime I never done -Joe Ely ========================================================================= Date: Tue, 4 Jun 1996 13:05:04 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: PULSE! June 1996 Blues Report Hugh wrote: >For those of us near a Tower Records store be sure to pick up the >June issue of PULSE! It contains their 1996 Blues Report section. Lots >of reviews , a couple of articles and a two page 'map' of the Delta >indicating the birthplace, resting place or long time residences of >most(?) of the great Delta blues people. Good Stuff ! I picked up a copy today as well as I walked out of Tower with the new Bo Diddley, the new Metallica:-) and Janis Joplin's Greatest Hits. I've yet to read the whole "Blues Report" yet but it features Gatemouth, Corey Harris and and interview with Bruce Iglauer. Looks like a good read though. And I was heartened by the introduction to the piece that (to paraphrase a little) that given the activity of elder statesman like Gatemouth and youngbloods like Corey Harris that the blues is very much alive and well (as if we didn;t already know that:-)). All we need to do is keep listening.s Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Tue, 4 Jun 1996 13:05:08 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Favorite Solo Comments: To: Bo Carlsson Bo wrote: >Buddy Guy on Got my Eyes on You from This is Buddy Guy, Live. I remember sitting down and learning this solo many years ago. Still is one of my favourite solos. There are a few licks in there that I use all the time. Magic Sam and BB King have two of the most exciting solos on record, IMHO. Magic Sam's solo on "You Were Wrong" (Magic Sam-Live) is a brilliant. Simple but all so effective. Go for the throat intensity. BB's solo on "Everyday I have the Blues" (Live at the Regal) is magnificent. And when BB turns the tone up on the beginning of the second chorus and hits that bend it is all over. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Tue, 4 Jun 1996 12:59:42 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Posting to the Blues-L was Re: Immortal threads (Don O. ple Comments: To: seale@BIOC02.UTHSCSA.EDU In-Reply-To: from "Jeff Seale" at Jun 4, 96 01:34:45 pm > > On Tue, 4 Jun 1996, Tom Freeland wrote: > > > Let me make a further proposal. Couldnt someone who was a SUBSCRIBER > > but in NOMAIL STATUS post to the list? So that a newsgroup READER > > could be a SUBSCRIBER AND POST THAT WAY without getting email? > > Without much of a strain? And that way everyone didn't have to pay > > for the convenience to newsgroup readers? > > Yes, this is the way that it was originally set up when we decided to > add the newsgroup. I don't know who took it upon themselves to change > it, but apparently they did without the knowledge of the group and it > SHOULD BE CHANGED BACK. I respectfully disagree. There has been an epidemic of spamming (typically commercial in nature, to a zillion groups and lists a la Monty Pythons "Spam Spam Spam" routine; e.g. 300 line megaposts touting magazine subscription offers, etc.). By having the list restricted to subscribers only, it makes it more difficult for these IMHO criminals (if you pay "by the byte", they're stealing from you) to victimize yet more folks and pollute the internet with yet more junk mail. And when you're trying to hit every newsgroup and listserver on the Internet, you don't bother doing it individually. The whole appeal is the ease with which it is accomplished. There are even those who SELL software, perl scripts, etc., that will spam the entire internet. So don't expect this to ever stop. And complaining will do no good, either. Their MO is to 1. open a new internet account, 2. spew their spam, and 3. close the account so only the ISP has to suffer your complaints. If a nonsubscriber wishes to post, all he has to do is subscribe, post, and unsubscribe. Either that, or ask someone else to please forward it to the group. A minor inconvenience for those who choose an "unconventional" way to access the list. If we make it possible for anyone to post, it's much like leaving our front door open and unlocked - not terribly bright in our crime infested neighborhood. Smart folks keep their door locked, even if they're otherwise hospitable. -- IronMan Mike Curtis ========================================================================= Date: Tue, 4 Jun 1996 16:00:12 -0400 Reply-To: gm From: gm Subject: summer blues tour This is a multi-part message in MIME format. --------------43736E2F6508 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit check out this web site, i found out that southern comfort is sponsoring what they are calling "rock the blues tour 96" i am not affiliated with southern comfort, i dont even like the taste enjoy, george --------------43736E2F6508 Content-Type: text/html; charset=us-ascii Content-Transfer-Encoding: 7bit Southern Comfort Rocks The Blues Tour 1996 SC Blues navigation image map




Copyright of this site Brown-Forman Beverages Worldwide --------------43736E2F6508-- ========================================================================= Date: Tue, 4 Jun 1996 13:28:12 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: What are we using for that blues guitar tone? A '90 American Standard Strat, Maple neck and natural finish. Usually I use GHS strings, 11-52. The Strat has a very nice warm tone with great bottom end. The pickups seem to be a little hotter than other Strats I've played. Everything is Stock. Play through a Sound Tank Tube Screamer (very cheap versions that sound good) and a Cry Baby Wah into a Blues Deluxe. When I'm doing Classic Rock I have been known to use the odd effects or 10. It is a running joke in our band. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Tue, 4 Jun 1996 13:31:53 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: If you're thinking about buying an electric... Comments: To: pwfenton@GATE.NET In-Reply-To: <199606041858.OAA60820@osceola.gate.net> from "P.W. Fenton" at Jun 4, 96 02:57:05 pm I'm not usually one to throw in a "mee too", but in this case I feel it is warranted. A musical instrument is a very personal thing. When I first bought my Fender Coronado back around 1968, I received a lot of flak about it. I'm glad I didn't listen to them. I still feel the Coronado is the best guitar Fender ever made (well, except for the pickups - but I've changed to Carvin and DiMarzio dual sound). And of course, if I bring it into a guitar shop these days, everyone drools in its vicinity (I won't let them close enough to drool on the guitar ;-). But my point is, when I bought it, _I_ liked it. And I've NEVER been sorry for buying it. While there are a lot of cheaply made cheap guitars out there, there are also some mighty good inexpensive ones, too. Japanese Strats are just one example. Where an "expert" _can_ be of help is in letting you know some things you might want to look for in a guitar - things such as how the neck fits into the body, electrical qualities, which pickups have which sound qualities, setup techniques and tricks, etc. Don't underestimate the value of such knowledge. But in the end, YOU are the one that has to play it, so pick the one YOU like - and can afford! A lot of vintage gear is IMHO vastly overpriced, due to collectors and investors. -- IronMan Mike Curtis ========================================================================= Date: Tue, 4 Jun 1996 15:28:08 -0500 Reply-To: Timothy M Dellinger From: Timothy M Dellinger Subject: Re: Chicago Blues Festival In bit.listserv.blues-l you write: >already told you about Corey Harris--he was definitely the star of the >weekend. I saw him play three out of the six times he was scheduled and >each time was better than the last! He's got an incredible singing voice; it Corey Harris was *the* hit of the Fest. I'm glad that he and Guy Davis got to play multiple sets... I attended most all of them. I was rather miffed hen the schedule was juggled around, but I didn't really miss anyone I wanted to see. >Guy Davis: A lot of fun! He related really well to the crowd, told jokes, Definitely the best picker there. I like him very much also... and he has a very different style than Corey Harris, even though people like to lump them togather. This is definitely *the* new, exciting, emerging blues genre... I think that blues fans will get tired of the rock-n-roll style of blues and gravitate toward acoustic when more and more energetic musicians emerge playing country blues. There's certainly room for many styles. >To the young blond man with Blues-L written on tape on your t-shirt: I saw >you and planned to say hi after Hart's set, but you disappeared! I know you >must have seen me--I was the crazy woman in constant motion standing near the >railing. Corey Harris's wife was sitting in front of me. I hadn't been able to check email for a few weeks, so I hadn't read anything on the list and didn't know where anyone was meeting or anything. I saw *One* blues-l shirt the whole time (Guy Davis's first performance at Best Buy), but the guy disappeared. I don't own a blues'l shirt (frankly, I don't like the design that much), so I sort of improvised and hoped that someone would say hi. I've only met one other 'Zeller, and that was after the "you might be a blueneck if..." thread. He remembered all of my submissions and that made me happy. -- -- It is a miracle that curiosity survives Tim Dellinger formal education. -Albert Einstein tdelling@uiuc.edu ========================================================================= Date: Tue, 4 Jun 1996 15:56:26 +0000 Reply-To: Tom Freeland Comments: Authenticated sender is From: Tom Freeland Subject: Re: Posting to the Blues-L was Re: Immortal threads (Don O. Comments: To: wd6ehr@KAIWAN009.KAIWAN.COM On 4 Jun 96 at 12:59, Mike Curtis wrote: > > On Tue, 4 Jun 1996, Tom Freeland wrote: > > > > > Let me make a further proposal. Couldnt someone who was a > > > SUBSCRIBER but in NOMAIL STATUS post to the list? So that a > > > newsgroup READER could be a SUBSCRIBER AND POST THAT WAY without > > > getting email? Without much of a strain? And that way everyone > > > didn't have to pay for the convenience to newsgroup readers? > > > > Yes, this is the way that it was originally set up when we decided > > to add the newsgroup. I don't know who took it upon themselves to > > change it, but apparently they did without the knowledge of the > > group and it SHOULD BE CHANGED BACK. > > I respectfully disagree. > By having the list > restricted to subscribers only, it makes it more difficult for these > IMHO criminals (if you pay "by the byte", they're stealing from you) > to victimize yet more folks and pollute the internet with yet more > junk mail. And when you're trying to hit every newsgroup and > listserver on the Internet, you don't bother doing it individually. > The whole appeal is the ease with which it is accomplished. > If we make it possible for anyone to post, it's much like leaving > our front door open and unlocked - not terribly bright in our crime > infested neighborhood. Smart folks keep their door locked, even if > they're otherwise hospitable. So what are you saying, Mike? What is your disagreement? Seems to me you are AGREEING that posts should be limited to subscribers but noting that there is still a potential for abuse? Tom Freeland (Confused in Oxford) ========================================================================= Date: Tue, 4 Jun 1996 17:08:30 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: summer blues tour Comments: To: gm On 4 Jun 96 at 16:00, gm wrote: > check out this web site, i found out that southern comfort is sponsoring > what they are calling "rock the blues tour 96" > i am not affiliated with southern comfort, i dont even like the taste They have a very cool contest for a trip for four to New Orleans. Only problem is I live in one of the TWENTY SEVEN states where the contest is invalid. the site BTW is http://www.southerncomfort.com/ P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Tue, 4 Jun 1996 17:23:57 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Luther Allison To all the Blues-L'ers: I am thinking of getting two discs by Luther Allison, "Blue Streak" and "Soul Fixin' Man." Does anyone have any opinions on whether I should get one or the other . . . or both . . . or neither? If so, could you tell me a little about why you like (or don't) the disc(s)? Also, you can send it to me privately unless you think the info would be of interest to others. Thanks, Gavin ========================================================================= Date: Tue, 4 Jun 1996 14:46:47 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Black Church Arsons - What can we do? Hi Everybody! I'm sure you have all heard about the rash of arson attacks on black churches in the US south. This is the most reprehensible, evil, hate-crime we have seen in a long time. I don't know the total, but the number 35+ sticks in my memory. Think of all those black churches, all those pastors preaching, meeting you at the door, all those choirs singing till the rafters shake, all those years of love and effort to keep the church going, the kids who grew up on those pews. And some piece of garbage burns them down. We can talk about "the blues" all we want, but it don't mean a thing if we let attacks on the root culture of our art form go unanswered. Well I am sick and tired of being angry over this, and I am ready to put my money where my mouth is. What I want to know is: Is there a fund established anywhere to rebuild these churches? It would need to be administered by a reputable group. It is time to stand up and be counted. Let's find a way to rebuild these churches, and show people that '90's America is about more than video games and partisan politics. Whaddya say Blues-L Are you ready? I damn sure am.... Who do we give to? Where do we start? How do we volunteer? My wife and I are searching for a group to work with. If we find one I will let you know. If you know of one, let us all know. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 4 Jun 1996 18:06:32 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Luther Allison Comments: To: Gavin Arneaux <102554.471@COMPUSERVE.COM> In-Reply-To: <960604212356_102554.471_HHV59-2@CompuServe.COM> On Tue, 4 Jun 1996, Gavin Arneaux wrote: > I am thinking of getting two discs by Luther Allison, "Blue Streak" and > "Soul Fixin' Man." Does anyone have any opinions on whether I should get one or > the other . . . or both . . . or neither? If so, could you tell me a little > about why you like (or don't) the disc(s)? > Also, you can send it to me privately unless you think the info would be > of interest to others. Gavin - I would recommend that you consider Love Me Papa & Hand Me Down My Moonshine. Reasons are that these two CD's capture parts of Luther that you won't hear on the Radio. They are also earlier takes on this man and so offer a perspective to his current and future material. Love Me Papa is vintage deep blues from Luther circa 1977. This was originally on Black & Blue (the copy I have) but memory says it has been reissued on another label. He does some great orig- inal cuts - Love Me Papa It's Too Late Luther's Boogie some great covers - Standing At The Crossroad - Robert Johnson Last Night - Walter Jacobs Feelin' So Good (my favorite cut) - Junior Parker Hand Me Down My Moonshine is a fully acoustic CD side to Luther. First time I even imagined he did acoustic music. Not a bad cut on it. May be difficult to get but you can contact Strategy Re- cords at 203-266-7774 or http://www.panix.com/~bsco/strategy/ Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 4 Jun 1996 17:08:46 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Some of you folks just don't get it > The blues is a lot more than lyrical content. In fact, technically, the > blues means that the third, fifth, and seventh notes of the scale are flatted. Without getting into the "Is rap blues?" discussion, I must say that any definition of blues which hinges on or requires " the third, fifth, and seventh notes of the scale are flatted" would exclude an enormous amount of blues music, including most Piedmont, St. Louis, Kansas City, Texas, and West Coast style blues, not to mention the enormous amount of Soul Blues which has been produced in Atlanta, Houston and other cities in recent years. The blues is primarily about lyrics and a unique emotionalform of expression. 12-Bar Blues is just one form of blues, not the totality. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Tue, 4 Jun 1996 21:56:04 GMT Reply-To: George Myers From: George Myers Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Big Jack Johnson Comments: To: bit-listserv-blues-l@uunet.uu.net Jack will be at the Grand Emporium in Kansas City June 23 ========================================================================= Date: Tue, 4 Jun 1996 21:58:11 GMT Reply-To: George Myers From: George Myers Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Coco Montoya (was: Billboard's Top 15) Comments: To: bit-listserv-blues-l@uunet.uu.net Coco will be at the Grand Emporium in Kansas City July 25. ========================================================================= Date: Tue, 4 Jun 1996 22:09:26 GMT Reply-To: George Myers From: George Myers Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Taj Mahal Comments: To: bit-listserv-blues-l@uunet.uu.net Taj, the "Spiritual Leader" of the Ultimate Rhythm & Blues Cruise, returns for an unprecedented 3rd voyage 1/19-26 along with Etta James, Charles Brown, the Fabulous Thunderbirds, Maria Muldaur, Mike Finnigan, Joe Louis Walker, Chubby Carrier, Jimmy Thackery, and Billy Branch. Sailing from Montego Bay (where everyone gets "irie") to Santo Domingo, Virgin Gorda/Tortola, St. Croix (for the 2nd Annual St. Croix Blues Festival), and Ponce, Puerto Rico. There's no gig like this non-stop party on the planet. ========================================================================= Date: Tue, 4 Jun 1996 22:04:34 GMT Reply-To: George Myers From: George Myers Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Luther Allison Comments: To: bit-listserv-blues-l@uunet.uu.net Luther was unbelievable on the Ultimate Rhythm & Blues Cruise 5 that just ended in the Mediterranean. He went to bed one nite @ 8pm when he had a nite off just so he could wake up @ 2 am for the all nite jam! One nite Buckwheat Zydeco played the B-3 for Luther as backup. The URBC, the greatest gig on the planet! ========================================================================= Date: Tue, 4 Jun 1996 22:01:39 GMT Reply-To: George Myers From: George Myers Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Kansas City Comments: To: bit-listserv-blues-l@uunet.uu.net The Lineup at the Grand Emporium (Twice Honored as Best Blues Club in America) Friday: Debbie Davies Saturday: The Rudy Rotta Band from Italy opening for Roomful of Blues and it is also the Ultimate Rhythm & Blues Cruise Reunion Party Sunday: Blues Festival After Party 3832 Main (5 minutes from fest) 816-531-1504 ========================================================================= Date: Tue, 4 Jun 1996 17:52:48 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Black Church Arsons - What can we do? Comments: To: Don Cicchetti In-Reply-To: <199606042149.OAA02072@inet.lasierra.edu> I'm with you man. I heard a blurb on the Today show and I believe they said that these probably weren't related. C'mon! Maybe there are some copycats, but this is ridiculous. Surely there is something we can do. -Jeff ------------------------------------------------------------------------------ __ Jeff Seale, PhD | |___ University of Texas Health Sciences Center @ San Antonio ___|* | seale@bioc02.uthscsa.edu \ | http://bioc09.uthscsa.edu/~seale/home.html \/\ / \ / I jumped bail from the Sweetwater County, now I'm on the run \( On my head is a 5 number bounty, for a crime I never done -Joe Ely ========================================================================= Date: Tue, 4 Jun 1996 14:04:15 EST Reply-To: mstringer@HEARST.COM From: Mark Stringer Subject: Re: test direct to list reply ========================================================================= Date: Tue, 4 Jun 1996 14:08:02 EST Reply-To: mstringer@HEARST.COM From: Mark Stringer Subject: Re: piano blues Comments: To: BRENNERC@CITY.BLOOMINGTON.IN.US sorry just a test ========================================================================= Date: Tue, 4 Jun 1996 19:08:53 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: preconceived opinions Comments: To: Leonard Watkins In-Reply-To: On Tue, 4 Jun 1996, Leonard Watkins wrote: > Have you ever had a negative opinion about someone's music, due to reviews > or just the way you preceive them to be...? Well that happened to me recently > One of my wifes co-workers send four cd's home with her, The Hoax, Kenny Wayne > Sheppard(sp), Chris Anderson and Little Chris ????(harp player). I finally > gave them all a decent shot (I had already heard KWS) and much to my surprise > I lIKE THE HOAX cd... I was pleasantly shocked...I never seen them live but the > CD was very enjoyable for ME....One day I'll learn :-) ^^^^^^^^^^^^^^^^^^ Leonard - the only thing to learn is that a review is an opin- ion and unless it is a collaboration it is only one persons at that. I recently read a couple of issues of two of the blues' magazines and lo and behold the same disc got raves and rants. Not much help to someone trying to decide if they want to plop down the 15 or not. But the real crime in these reviews was a lack of information about what was actually on the disc. Just a few lines (no no not a self plug here) about a couple of the highlights on the disc. I think it was Don O who said that the best criteria for choosing to buy a disc would be ones ears - but barring that information is at least equal to opinion. One of the gifts of the internet and the web for publishing is the vast amount of space available relatively inexpensively so one doesn't have to sacrifice details for the cost of paper. End of my opinion! Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 4 Jun 1996 19:16:39 -0400 Reply-To: bob vanarsdall From: bob vanarsdall Subject: Re: Janis Joplin on Cable Jonathan D. asked about a Janis Joplin/Dick Cavett show: >Now, this had to be no later then 69, because Cavett >didn't know who Tina was. Janis went on to explain she was the "show" of the >Ike and Tina Turner Revue, best singer she ever heard, etc., etc. Found it >pretty interesting. > >Does anyone know exactly when this show was originally broadcast? It had to >be before Proud Mary became a hit for Ike & Tina, which is the first *I* >remember hearing of them, because, as I said, Cavett didn't know the name at >all. > I remember seeing her on Cavett immediately after Woodstock in the summer of '69. Parts of that show also show up in the movie bio "Janis", which came out sometime in the late 70's, and is probably available at video stores. In the interview she sports a long feather boa. Cavett's researchers somehow found out that Janis was going back to Port Arthur for her high school reunion right after the show, so Cavett commented on that, and then asked, "What was it like for you in high school, pretty normal, going to football games and proms and stuff?" Janis' smiling face cracked, and her eyes turned to steel. She looked at Cavett and said, "Man, they ran me out of Port Arthur and then they ran me out of Texas." She threw the feather boa over her shoulder, "Honey, now I'm going BACK." Bob ========================================================================= Date: Tue, 4 Jun 1996 23:36:12 GMT Reply-To: Joyce Boulan From: Joyce Boulan Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Re Little Sonny Comments: To: bit-listserv-blues-l@uunet.uu.net The release of Little Sonny called "Live at Ann Arbor Blues & Jazz Festival" is available at Schoolkids Record Store in Ann Arbor, Michigan. They can be reached by phone at 313-761-9430 or by email: label@schoolkids.com. Hope that helps. ========================================================================= Date: Tue, 4 Jun 1996 19:58:21 -0400 Reply-To: JukeFreak@AOL.COM From: "(Karen Hanson)" Subject: Re: Favorite Solo >LW's singing is sensational (I mean Little Walter's, sorry >Leonard), but more than that, he worked the band in an amazing way. >When MY band does an arrangement of an LW song (and the bass player in my band >is a GENIUS with arrangments), people jump up and dance, people sing >along, "OUT GO THE LIGHTS," people sometimes stop dead in their tracks, >and their jaws drop, and when we close a set with an LW song the applause >explodes. The LW songs stand up wonderfully well. They are alive. >Songs by others that we cover are not as consistently so. Good to hear you say so, Steve. I've heard people say that not only that LW's vocals were weak, but that his music is "bubble gum blues." Of course, I don't agree! :) > Even a quiet slow one, like "Last Night" moves the audience. And >I find his singing powerful, touching, moving. It's hard to find just one....but I'll vote for his solo on Muddy Waters's "She Moves Me," on the BEST OF... album. Also, "Blue And Lonesome," which has not only an emotion-packed solo, but the IMHO, the best singing LW ever did, and wonderful guitarwork by Luther Tucker. Oh, and the intro to "Blues With a Feeling," which has to be my favorite intro ever, except perhaps for MW's opening to "I Can't Be Satisfied." How is it possible to choose only one???? Karen ========================================================================= Date: Tue, 4 Jun 1996 17:09:27 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: preconceived opinions Comments: To: Barry Silverberg Barry Silverberg wrote: > Leonard - the only thing to learn is that a review is an opin- > ion and unless it is a collaboration it is only one persons at > that. I recently read a couple of issues of two of the blues' > magazines and lo and behold the same disc got raves and rants. > Not much help to someone trying to decide if they want to plop > down the 15 or not. But the real crime in these reviews was a > lack of information about what was actually on the disc. Barry has made a good observation here. A lot of reviews in many magazines (not just blues) seem to waste space talking about anything but the CD in question. In some of the rock magazines, the reviewers tend to spend time showing how cynical and clever they are (equating it with being cool) by slagging the band and nit-picking. I'd love to know by what criteria magazines choose which reviewer gets what CD. Sometimes I think mistakes are made. What is the point in having someone who dislikes a certain style reviewing an artist of that style. It has happened! A good review should be based on the merits of the CD and artist. Not on one's pre-concieved idea of what this artist should sound like. IMHO. > Just a few lines (no no not a self plug here) about a couple of the > highlights on the disc. I think it was Don O who said that the > best criteria for choosing to buy a disc would be ones ears - > but barring that information is at least equal to opinion. One > of the gifts of the internet and the web for publishing is the > vast amount of space available relatively inexpensively so one > doesn't have to sacrifice details for the cost of paper. I like the NY CD reviews as you get a feel for each cut. I have picked up a few CD's because of these reviews. I have also picked up a few based on Bluzellers' suggestions. Yet to be disappointed:-) Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Tue, 4 Jun 1996 18:54:21 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Chicago Report: 2 of 4 CHICAGO 1996: II (Part Two of a four part opinionated commentary on the 1996 Chicago Blues Fest.) DISAPPOINTMENTS: 1. Worst (IMHO) Performance: The Alligator 25th Anniversary Party at Navy Pier, Saturday Night. (Not an official Fest Event) Corey Harris was okay, but the venue was too big for his style. Tinsley Ellis and Son Seals attempted to prove that "Speed plus Volume equals Great Blues." Awful undistinguished stuff. And Koko Taylor had a brand new band, which sounded just as bad as Tinsley Ellis. I like Alligator - I hope this doesn't indicate the label's future direction. 2. Hubert Sumlin: I was really looking forward to hearing him in the Howlin Wolf Tribute. He mailed in a too-short performance. 3. The Rain: It rained on Saturday. Rather than risk another Spring cold, I left and missed Trudy Lynn and Francine Reed. Their CDs are great, and those who stayed say they were excellent live. 4. The schedule: For various reasons which (I suppose) were completely legitimate, the schedule on Saturday and Sunday was completely screwed up. Because Friday started late, the Santeria set was cut short. Several times I arrived early for sets and found they were half over. Some sessions just disappeared. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Tue, 4 Jun 1996 18:54:21 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Chicago Report: 3 of 4 CHICAGO 1996: III (Part Three of a four part opinionated commentary on the 1996 Chicago Blues Fest.) RANDOM NOTES: 1. HEY! I got to meet lots of Bluezellers, including, at long last, Bonnie the K., who said she thought I'd be a fat arrogant Englishman. (I thought she'd be more southern, and more like a librarian. She's neither.) Also really great to meet Ranko, Art, Dave, Adit, Art, Mike S. Said hello to Dick Shurman, who was very busy. And because I was wearing my Blues-L T-Shirt, I met the immortal Steve Greer, who actually founded Blues-L and ran it as a manual digest mailing list. He doesn't have Internet access right now, but says he'll be back. 2. Sociological Observation: Last year there were kites everywhere. This year I didn't see any. Is this a profound change? 3. I heard "Sweet Home Chicago" nine times, by actual count. Sue Conway's version was the only one worth hearing. 4. I'm not a House of Blues fan, and I sympathise with Ranko's comment that they were too pervasive at the Fest. But events like this have to be paid for, and you have to give HOB credit for putting up hard cash to help keep the festival going. And their food booth had the only decent southern cooking I could find - Jambalaya, Red Beans & Rice. But Muddy's cabin was a dumb idea - I'll bet there isn't one piece of wood in it which was there when Muddy lived in it. 5. Dumb Marketing Idea: The "Best Buy" computer training booth had a guy singing Dylan Songs almost all the time. 6. Good Marketing Idea: On the other hand, the "Best Buy" CD booth had a small stage which featured a variety of blues artists doing acoustic performances. I bought several CDs on the basis of those sets. 7. The posted schedule, on the official Blues Fest Booth, listed Corey Harris as "Corey Hart." 8. Why do some people go to a festival, go right down front, then talk in very loud voices throughout the set? Why do some people keep yelling the performer's name while he/she is singing? Why do some people sit near the acoustic stage with a radio playing? Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Tue, 4 Jun 1996 18:54:21 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Chicago Report: 4 of 4 CHICAGO 1996: IV (Part Four of a four part opinionated commentary on the 1996 Chicago Blues Fest.) IF I RAN THE CHICAGO BLUES FEST (and had unlimited funds) I WOULD 1. Spread the food booths out along Columbus in both directions, and have none on Jackson, to eliminate the crush in front of the Crossroads stage. 2. Separate the Juke Joint, Front Porch, and Best Buy stages further, so that only one performer is audible in any given place. (sometimes I could hear three at once.) 3. Regrade the park, to eliminate the small lakes which form after rain. 4. Install more payphones and more toilets. 5. Outlaw hack-sack players. 6. Provide more chairs in front of the side stages. (Crossroads and Juke Joint have none.) 7. Put bleachers in the VIP area. (I was there - the way the seats are set up, it is harder to see the stage than from the regular seats.) 8. Put in giant-screen video over the Petrillo stage, so that everyone could see, not just the media guys with cameras up front. 9. Make a schedule and stick to it. 10. Outlaw the phrase "City of Chicago Richard M. Daley Mayor." You'd think he built the place. 11. Ban "Sweet Home Chicago" except for Blues in the Schools performances. 12. Insist that at least one booth sell decent beer. Miller is cold and wet, but that's about it. 13. Keep putting on a great festival. This was my fourth, and I will definitely return to next year. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Tue, 4 Jun 1996 18:54:20 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Chicago Report: 1 of 4 CHICAGO 1996: I (Part One of a four part opinionated commentary on the 1996 Chicago Blues Fest.) HIGHLIGHTS: 1. My Favorite Performance: Byther Smith in concert at the Jazz Record Mart, Saturday morning. Not an official festival event, of course, but superb playing and singing. Guest vocalists Big Time Sarah and Barkin Bill were also excellent. (Last year my favorite performance was Floyd McDaniel, also at JRM. Is there a pattern here?) 2. Unexpected Delight: Jimmy "T99" Nelson showing up as a guest vocalist with Pete Mayes. I didn't even know he was still alive, let alone singing as well as ever. Sad that one of the greats of 40s-50s Blues got no billing at all. 3. Best Line: "The last time I was in this park, they threw tear gas at me. Thanks to Mayor Daley Jr. For inviting me this time." - Andy Cohen in the "Remembering Gary Davis" set. (Cohen, by the way, is a spectacular Piedmont style finger-picker. His recordings usually show up in the folk section of record stores, if they show up at all.) 4. Greatest Relief: Discovering that the screwed up schedule on Sunday meant that I hadn't missed Michael Hill's Blues Mob after all. Hill is writing the most interesting lyrics in blues today - rooted in blues, but with clear contemporary messages. He sang a new one, "Stag-o-lee Perspective," which I will buy his next CD just to get. 5. Funniest Performance: Screamin Jay Hawkins performing "Constipation Blues." This is bad taste at its very best - I had tears in my eyes from laughing. Screamin Jay, was overall, the best showman at the Fest - really played to the audience. 6. Great to see them: Diamond Teeth Mary, Homesick James. Both well past their prime, but still giving 110%. 7. Others I liked a lot: Vaan Shaw's acoustic performance; Corey Harris on the Juke Joint Stage; Willy Clayton (this is soul blues!); Sue Conway (never heard her before - WOW what a voice!); Guy Davis; the young girl from Blues in the Schools who sang on the main stage Friday Night. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Tue, 4 Jun 1996 17:03:14 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Downchild correction In a post I made yesterday, I supplied the song title "Mr. Down- child" as a Sonny Boy tune, then mentioned that it is thought to be an unrecorded Robert Johnson song. I was thinking of "From the Bottom". Sorry for the foolish error of juxta- position. Uncle Ray ========================================================================= Date: Tue, 4 Jun 1996 19:05:11 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Big Jack Johnson Speaking of Big Jack Johnson, at the Fest I heard that he could not get a commercial label to record the "New Africa Stringband" which was (IMHO) the most exciting band at the 1995 Chicago Blues Fest. He has, I was told, issued it on his own as an independent CD. Does anyone know if this is true? If so, where can I order the CD? Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Tue, 4 Jun 1996 20:17:09 EDT Reply-To: L McCaffrey From: L McCaffrey Subject: Re: What are we using for that blues guitar tone? Comments: To: Shaun T Cronin In-Reply-To: A sunburst '95 Strat Plus with rosewood fretboard. It is equiped with Lace Sensor gold pickups and a TBX tone control. I used to go through a Champ, but now I have a new Blues DeVille. (I love the Blues Deville, it has an incredible pure clean tone.) Sometimes I use a Cry Baby wah, but only for something funky, not the blues. Other than that, nothing, no pedals, nothing. ------------------------------------------------------------------------------ L McCaffrey ========================================================================= Date: Tue, 4 Jun 1996 20:22:28 EDT Reply-To: L McCaffrey From: L McCaffrey Subject: Strings I am using Fender (11's) now and have in the past used GHS strings. It's just about time to change strings again and I was thinking of trying something new. I want a string that will add to a new blues tone that I'm after. Any ideas on some good ones? LM ------------------------------------------------------------------------------ L McCaffrey ========================================================================= Date: Tue, 4 Jun 1996 20:41:12 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Re: Favorite Solo My favorite blues solo is SRVs in "Texas Flood." Now, before everyone jumps on me for naming SRV, let me point out 2 things: 1) I found the blues THROUGH SRV. I liked his music and then sought out others because of that; 2) I interviewed SRV in February of 1984 while he was on the "Texas Flood" tour, so I feel closer to him than any other bluesman. Wy do I like it so much? Probably very typical reasons: passion; lyricism; mood. There is no wasted note in that whole thing. It builds and subsides over and over until I'm worn out. It's actually a workout for me to listen to the live version on "Atlantic Blues" because it's ten minutes long. Gavin ========================================================================= Date: Tue, 4 Jun 1996 20:50:24 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: preconceived opinions Comments: To: Shaun T Cronin In-Reply-To: On Tue, 4 Jun 1996, Shaun T Cronin wrote: > What is the point in having someone who dislikes a certain style > reviewing an artist of that style. It has happened! Better yet remember that reviews in many cases are assignments. A reviewer is given a CD to review, so there may not be a match of appreciation of the artist/style etc or a knowledge of these factors. What is one of the joys of NY CD Blues is that writers pick what they want to review. Sometimes the CD gets a pass as a number of our writers are take-me-out-on-a-limbers who have a real interest in hearing something new. But the bottom line is that our reviews are fans writing for fans - plain and simple. > A good review should be based on the merits of the CD and artist. Not on > one's pre-concieved idea of what this artist should sound like. IMHO. Also what's nice to get down on paper is what is on that parti- cular CD, hence why we for the most part do cut by cuts. We'll try to give our "opinion" and then a boatload of facts and info on what's contained on this CD. Our opinions usually are quite obvious, but we do feel that the bottom line in a purchase of a CD is does it suit YOU. Will the sum total of the cuts and the styles and instruments on these cuts be a worthy expenditure of your cash. > I like the NY CD reviews as you get a feel for each cut. I have picked up a > few CD's because of these reviews. I have also picked up a few based on > Bluzellers' suggestions. Yet to be disappointed:-) Thanks Shaun and I also will say that I have as well gotten any number of CD's from recs here and enjoyed most. Last point is that some of the best CD's I own are ones I would never have gone out and purchased. Either I never heard of the artist or some other combination of factors but there are those that just by accident took me over. A great case in point here is my recent discovery of Eddie Hinton. Never heard of him, he didn't seem to do the type of cuts I like .... and yet I popped this one in and 3 days later it came out. For me a go get mus- ician and a couple of go get discs. Go figure? ... that is why I posed the question here a week or so back about what our fel- low blues-lers would be interested to see besides reviews to be able to get a take on the CD's they would purchase. I got some responses - not an overwhelming amount as i had hoped for. When I get the rest of the responses I will provide this at our site. Right now the vote is 60% artists bios, 30% liner notes and 10% assorted. Imagine being able to read a review (or several of a single CD), read the liner notes and read the artists bio (maybe even hear a music sample) and all before you bought the CD - now that's what I would call information. Barry. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Tue, 4 Jun 1996 21:03:47 -0400 Reply-To: Lacook01@AOL.COM From: "Lorri A. Cook" Subject: Re: If you're thinking about buying an electric... In a message dated 96-06-04 16:15:30 EDT, you write: P.W. Fenton writes, in defense of cheap electric guitars: >..don't overlook the latest batch of Japanese Fenders. They are >both outstanding in quality, and inexpensive (a RARE >combination). They are so good that "vintage/purist" types are even >beginning to admit it. Of course they throw in some disclaimer like >- "put a couple of good pick-ups in that baby and you'll have a real >fine guitar there." That may (or may not) have been the case a few >years ago, but (IMHO) it's not the case any more. I have to add that a couple of months ago, I was in the market for a beginner (read, cheap) electric guitar. I fell in love with a Mexican made Fender Telecaster, a "James Burton" model, whose tone just pulled at my heartstrings. To neatly weave together two threads, when I first heard it played at the shop, it was through a 60-watt straight out of the box Ampeg. I'm using a 60-watt Traynor Reverb Master to do my lesson exercises, and it sounds so sweet, I don't even mind that I'm not past the third string yet. Lorri A. Cook "Everybody makes it look easy" ========================================================================= Date: Tue, 4 Jun 1996 20:04:21 +0000 Reply-To: Tom Freeland Comments: Authenticated sender is From: Tom Freeland Subject: Re: Black Church Arsons - What can we do? Comments: To: dcicchet@LASIERRA.EDU On 4 Jun 96 at 14:46, Don Cicchetti wrote (in part): > I'm sure you have all heard about the rash of arson attacks on black > churches in the US south. This is the most reprehensible, evil, > hate-crime we have seen in a long time. I don't know the total, > but the number 35+ sticks in my memory. > What I want to know is: > > Is there a fund established anywhere to rebuild these churches? It > would need to be administered by a reputable group. > > It is time to stand up and be counted. Let's find a way to rebuild > these churches, and show people that '90's America is about more > than video games and partisan politics. > Who do we give to? Where do we start? How do we volunteer? > > My wife and I are searching for a group to work with. If we find > one I will let you know. If you know of one, let us all know. I do not know about an epidemic of church burnings. I do know that in the last year and a half or so, one church was burned in Amite County, Mississippi (Amite is one of the three most rural counties in Mississippi, had HORRENDOUS problems during the civil rights era, even by Mississippi standards. It is the home of civil rights activists Ann Moody (she wrote COMING OF AGE IN MISSISSIPPI) and Will Cambell (BROTHER TO A DRAGONFLY)). After that church was burned, it recieved a LOT of local publicity and some national (NY Times coverage). Local and national funds came in, and the church was rebuilt and then some, with the actual rebuilding work shared by volunteers in the white and black committee in the Amite County area. The rebuilding effort got similar local and national coverage. It is hard to say what would be a good source for information as to whether there is an epidemic, where the work needs to be done, and how to get recources there. The Southern Poverty Law Center would know about the burning instances themselves, because they monitor race crime activity. I am not so sure they would be a good place to send funds to build new churches-- they are building an endowment and have done quite well on their own with fund raising. They aren't building churches with that money. Tom Freeland ========================================================================= Date: Tue, 4 Jun 1996 18:08:23 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Favorite solo I can't ever figure out my favorite song, favorite LP, favorite guitar player, etc. However, my favorite solo hasn't changed in twenty plus years. It's Walter Horton's solo on "Walkin' By Myself". And to think it came close to not being recorded. Popular fact/history/mythology holds that Charles Edwards was slated to do this session, and fell out at the last minute. Bless Good Rockin' Charles! That solo is transcendent. If that wasn't a first(and only) take, I'll eat a bug. Not even Walter Horton could have pulled off that one four takes into a tedious session. Uncle Ray ========================================================================= Date: Tue, 4 Jun 1996 18:23:11 -0700 Reply-To: Rodney Mullins From: Rodney Mullins Subject: That tone...How do you do it? My bag o' tricks includes a 1976 Tobacco Sunburst Gibson Les Paul Standard with 100,000 miles on it, an early 1980's Lake Placid Blue Fender "The Strat" with Seymour Duncan's (staggered-pole, reverse staggered-pole, & some hi-output job of his in the treble position), a 1950's National 6-string lap steel, and a post-WWII "Old Kraftsman" archtop acoustic. The electric stuff is powered by an early Mesa/Boogie MkIIC with 3 matching satellite speakers, all containing ElectroVoice 12" speakers (EVO? EVM?). I like my "Tube Screamer" for blues, but I have a bunch of other pedals and rack junk left over from my prodigal rock days that I never use. The best sound, however, comes from my original Pignose with nothing but the guitar cord into it from the guitar. Too much stuff, from my days of excess. 8>) Rodney ========================================================================= Date: Tue, 4 Jun 1996 21:32:56 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Help - Blue Moon Records - Help Anyone have address, phone for Blue Moon? Much obliged, Beef Stew ____________________________________________________________________________ The Blues Playground - 107FM WCCC/Hartford, CT - 50,000 watts of Blues Power Stew Crossen 1.800.970.5151 18 Boxwood Drive bfstew@neca.com Vernon, CT 06066-5106 http://www.neca.com/~bftsew Reports to: Living Blues, The Hard Report, BluesWire, The Blues Audience ========================================================================= Date: Tue, 4 Jun 1996 18:41:54 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Strings Comments: To: L McCaffrey LM wrote: >I am using Fender (11's) now and have in the past used GHS strings. It's >just about time to change strings again and I was thinking of trying >something new. I want a string that will add to a new blues tone >that I'm after. Any ideas on some good ones? I use GHS 11's after switching from D'Addario 11's. I use Dean Markley on my other guitars. I found the GHS to have a brighter tone and they felt better that D'Addario. That is all MHO. I do like Dean Markley strings. But they don't make a 11-50 (or 52) set with a plain third. Does anyone know of a company that makes 11-52's with a plain third? As for finding that elusive blues tone, I think that comes from somewhere else:-) But try a heavier guage if you can handle it. That helps I think. In the end it is all subjective and based on what sounds good to you. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Tue, 4 Jun 1996 19:11:04 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Don O Excuse the personal post. Don, I accidently deleted your snail mail. Uncle Ray ========================================================================= Date: Wed, 5 Jun 1996 02:35:15 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: MyVIEW - Live - Bobby Radcliff @ the Bayou, Fri.96.05.24 Comments: To: bit-listserv-blues-l@uunet.uu.net Bobby Radcliff - Fri.96.05.31 @ the Bayou, Mt. Vernon, NY, 914-668 2634 I came up from attending the early gig by Hubert Sumlin @ Terra Blues, NYC, arriving just before midnight. Bobby Radcliff was in the middle of an instrumental, his band was just bassist and drummer. They were really swinging. Bobby was playing his big red Epiphone (335 shape) that I saw him play a year ago. The next number had lyrics about a Zydeco band - a jumping number, with a catchy hook line. Bobby played his guitar so that the end notes of each verse was in unison. The audience looked like they were really enjoying this. The intro was played so that the guitar sounded like it was playing both rhythm and lead. I think Bobby was picking with thumb and fingers. My guess at a title would be "Baby I Need Your Love" at least that was the chorus line. He played some really stinging notes during his solo - again, I think, he was snapping his treble strings (hooking the strings with his fingers). Absolutely blistering instrumental. He's hardly breaking a sweat - if you looked at him this seemed effortless, he had his eyes shut and looked as if he held his breath occasionally, but no face pulling or agonized expressions (but I think I saw some agonized expressions from wannabe guitarists :-) A BB King-esque introduction - but like the mid 60's BB. Stinging lines on the guitar - I'm pretty sure this was "Baby, Get Lost" - yeah! this is like sitting in on "Blues is King". No, Bobby was still Bobby, but there was definite "Blues is King" overtones - in other words smokin'! Would you believe, there was even more burnin' guitar than BB's own version. Hey, when he introduced the band he actually phrased his speaking voice like BB (!) it sounded like Martin "Lowdowl" on drums from Santa Barbara, CA and William Ottinger, bass, from Washington DC. He also had a very humorous patter about having CDs for sale, with only 185 days before Christmas wouldn't it be nice to shop early ........ I have to confess to not having any Bobby Radcliff CDs. But this was put right - I bought all three of his Blacktop issues from him. I always felt that it's better to buy direct from the artists themselves, as it puts more money directly into their pockets. The second and final set opened with a tune which had the lines "Please Have Mercy" - some nice big bends in there. "Serves Me Right to Suffer" - very defined riff but Bobby played round that. Took me a while to recognize the song because of the lyrics had "...she brings eyesight to the blind...." and the title was right there on the periphery consciousness. Of course once the title lines were sung - there was no doubt. I think the next was "My Baby Loves Me", but it kept reminding me of another song about a girl being his morning cup of coffee and tea at night, anyway my ramblings aside, this was an attractive tune, with almost pop inclinations (I know, keep those unpure thoughts off of this list!) I know this next tune - it's Magic Sam's "I Found a New Love" - I'd like to think this was prompted by my asking Bobby about Sam during the interval. Anyway I don't think anyone alive can do Magic Sam tunes like Bobby - he definitely has the spirit without being a note for note copyist. It was a pity that the audience was thinning out because this one really moves me. Bobby has that warble in his voice and plays the trills on the guitar. One from his latest album - an instrumental - on later listening it's the track "Hold It" - get his latest CD and you'll hear it too....... A riff like "Tramp" introduced this one - oh, it is "Tramp". So you can just about hear this for yourself with the stomping riff, and the struttin' lyrics. Another instrumental up tempo, very attractive hook, but unfortunately I can't put a title to it. " I Feel So Bad" - a cross between Otis Rush's treatment and Elvis's. Very up. Now this is a closer "Looking Good" - the Magic Sam instrumental closer - yes, this is kind of in the same ball park and feel as the version I liked by Sam himself - the one he did at the Royal Albert Hall (on the Late Great Magic Sam - on L&R now on Evidence). I'm sure Bobby hints at the banjo duel (from "Deliverance") this was a rousing closer - and I could have done with more. When I spoke to Bobby he confirmed that he was a resident in New York City and does play there in the clubs on a regular basis. I think, if you haven't seen Bobby Radcliff you should check him out. If you have seen him before, then you should know how good he is. -- Vincent vt@usa.pipeline.com ========================================================================= Date: Tue, 4 Jun 1996 21:11:20 -0500 Reply-To: Keith Castleberry From: Keith Castleberry Subject: Q - Help find Boxcar Willie Sorry to bother most of you with this....but...my town has a railroad festival each Oct. and I was elected to try to get Boxcar Willie and other railroad type personalities for performances. My question is, 1. does any one know how I could reach Boxcar Willie 2. Does anyone know if he is still around 3. if not, is there a counterpart to Blues-L on the web? Thanks. Keith Castleberry WYDH 105.9 FM "The Blues Cruise" P.O. Box 710 Atmore, AL 36504-0710 ========================================================================= Date: Wed, 5 Jun 1996 12:14:10 +0900 Reply-To: Taro Hasumi From: Taro Hasumi Subject: Re: Favorite Solo Comments: To: ISTS024@UABDPO.DPO.UAB.EDU Hound Dog Taylor's "Worried about you" and "It hurt me too" (especially that of "Live at Joe's place) are my favorite solo. Incredible guitar sound! Can even sound better than Little Walter , IMHO -- You can't put an arm around your memories - Johnny Thunders Taro Hasumi , Tokyo Japan jl25967@yamato.ibm.com or hasu@vnet.ibm.com ========================================================================= Date: Wed, 5 Jun 1996 13:01:00 PDT Reply-To: David Blanken From: David Blanken Subject: Re: What are we using for that blues guitar tone? An early 1980's reissue dot-neck Gibson 335 (in GLORIOUS cherry red) strung with a custom made set of D'Addario .11-.50 strings, a reissue 1965 Fender Deluxe Reverb and a cord (brand unknown). No pedals, no nuthin'. -Dave- ========================================================================= Date: Tue, 4 Jun 1996 19:34:07 -0500 Reply-To: David Melton From: David Melton Subject: Re: Strings Comments: To: Shaun T Cronin At 6:41 PM 6/4/96, Shaun T Cronin wrote: >LM wrote: > >>I am using Fender (11's) now and have in the past used GHS strings. It's >>just about time to change strings again and I was thinking of trying >>something new. I want a string that will add to a new blues tone >>that I'm after. Any ideas on some good ones? > >I use GHS 11's after switching from D'Addario 11's. I use Dean Markley on >my other guitars. I found the GHS to have a brighter tone and they felt >better that D'Addario. That is all MHO. > >I do like Dean Markley strings. But they don't make a 11-50 (or 52) set >with a plain third. Does anyone know of a company that makes 11-52's with a >plain third? > >As for finding that elusive blues tone, I think that comes from somewhere >else:-) But try a heavier guage if you can handle it. That helps I think. > >In the end it is all subjective and based on what sounds good to you. I made up my own set of strings based on the bottom 3 strings of the Ernie Ball regular slinky "heavy bottom", and the top 3 strings from a GHS ll set. But I moved the ll to an ll.5 which is just right for me. So it's 0ll 1/2, 0l5, 0l8, 030, 042, 052. I use either "Stay In Tune" brand or "Darco Funky" because they both make ll 1/2. They are a bit heavy for a lot of people, but the tone is much better, and once you get used to them you can bend like any other. I use the heaviest possible string I can without it sounding stiff. But that's just what I use, you got to use what feels good to you. Dave Melton ========================================================================= Date: Tue, 4 Jun 1996 22:26:50 +0000 Reply-To: thf4@WaterValley.Net Comments: Authenticated sender is From: Tom Freeland Subject: Re: Q - Help find Boxcar Willie Comments: To: Keith Castleberry On 4 Jun 96 at 21:11, Keith Castleberry wrote: > Sorry to bother most of you with this....but...my town has a railroad > festival each Oct. and I was elected > to try to get Boxcar Willie and other railroad type personalities for > performances. My question is, 1. does any one know how I could reach Boxcar > Willie 2. Does anyone know if he is still around 3. if not, is there a > counterpart to > Blues-L on the web? Thanks. I really try to make a policy of not laughing at questions that are asked in earnest. Particularly if I have information that might actually help the asker find what he is looking for. but ROFL Boxcar Willie? Blues-L? I am not ABSOLUTELY positive, but I am almost sure that Boxcar Willie is a regular at one of the theaters in Branson, Missouri. Perhaps if you find a visitor information bureau for Branson they can tell you which one? I also suspect that the Welk Organization (you know, that guy with the champagne and accordians) is responsible for the late-night tv advertised records of Mr. Willie; you could call THEM in Santa Monica CA and ask. But I suspect that you would have more luck in Branson. Doesn't old Willie have the look of a child molester or something similar to you folks out there? Tom Freeland ========================================================================= Date: Tue, 4 Jun 1996 13:31:53 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Bobby Radcliff? Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *Yeah, he's around but I don't think he's been playing much. He has a *physical problem with his hand (carpel tunnel-like) and is having *difficulty playing. Contact Black Top Records for current updates. He's scheduled to play at the Twist and Shout (Bethesda, MD) this Saturday. -Steve ========================================================================= Date: Tue, 4 Jun 1996 23:44:00 GMT Reply-To: Igor Isakovski From: Igor Isakovski Organization: MEDIS-informatika Subject: Blues Brothers update! Dear Blues-Lers, I thought You would like to know about "The Blues Brothers" update: Besides 2 Radio Stations I preliminary mentioned, "The Blues Brothers" will be on the air on Radio Uno Forte Station. Radio Uno Forte Station (104 FM) is situated in Ohrid, famous touristic center on the Lake of Ohrid. Commercial radio station, covering apr. half million listeners of the Macedonian population. Through summer, number of listeners reach the peak of 1 million. Radio Uno Forte Station was created in June, 1993 and in its concept is orientated to 16 to 45-year-old listeners. The music is specified in the field of rock, blues, jazz and dance. I'll be off the list for a while. You can contact me on my address. Sincerely, Igor Isakovski igor.isakovski@informa.mk --- ~ SPEED 2.00 [NR] ~ Definition of Upgrade: Take old bugs out, put new ones ========================================================================= Date: Tue, 4 Jun 1996 21:43:40 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Q - Help find Boxcar Willie Still around. Uncle Ray ---------- From: Tom Freeland[SMTP:thf4@WATERVALLEY.NET] Sent: Tuesday, June 04, 1996 10:26 PM To: Multiple recipients of list BLUES-L Subject: Re: Q - Help find Boxcar Willie On 4 Jun 96 at 21:11, Keith Castleberry wrote: > Sorry to bother most of you with this....but...my town has a railroad > festival each Oct. and I was elected > to try to get Boxcar Willie and other railroad type personalities for > performances. My question is, 1. does any one know how I could reach Boxcar > Willie 2. Does anyone know if he is still around 3. if not, is there a > counterpart to > Blues-L on the web? Thanks. I really try to make a policy of not laughing at questions that are asked in earnest. Particularly if I have information that might actually help the asker find what he is looking for. but ROFL Boxcar Willie? Blues-L? I am not ABSOLUTELY positive, but I am almost sure that Boxcar Willie is a regular at one of the theaters in Branson, Missouri. Perhaps if you find a visitor information bureau for Branson they can tell you which one? I also suspect that the Welk Organization (you know, that guy with the champagne and accordians) is responsible for the late-night tv advertised records of Mr. Willie; you could call THEM in Santa Monica CA and ask. But I suspect that you would have more luck in Branson. Doesn't old Willie have the look of a child molester or something similar to you folks out there? Tom Freeland ========================================================================= Date: Tue, 4 Jun 1996 21:45:23 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Strings Jesus, I thought we harp players obsessed over minutiea(sp?). Uncle Ray ---------- From: David Melton[SMTP:slydemann@EARTHLINK.NET] Sent: Wednesday, June 05, 1996 12:34 AM To: Multiple recipients of list BLUES-L Subject: Re: Strings At 6:41 PM 6/4/96, Shaun T Cronin wrote: >LM wrote: > >>I am using Fender (11's) now and have in the past used GHS strings. It's >>just about time to change strings again and I was thinking of trying >>something new. I want a string that will add to a new blues tone >>that I'm after. Any ideas on some good ones? > >I use GHS 11's after switching from D'Addario 11's. I use Dean Markley on >my other guitars. I found the GHS to have a brighter tone and they felt >better that D'Addario. That is all MHO. > >I do like Dean Markley strings. But they don't make a 11-50 (or 52) set >with a plain third. Does anyone know of a company that makes 11-52's with a >plain third? > >As for finding that elusive blues tone, I think that comes from somewhere >else:-) But try a heavier guage if you can handle it. That helps I think. > >In the end it is all subjective and based on what sounds good to you. I made up my own set of strings based on the bottom 3 strings of the Ernie Ball regular slinky "heavy bottom", and the top 3 strings from a GHS ll set. But I moved the ll to an ll.5 which is just right for me. So it's 0ll 1/2, 0l5, 0l8, 030, 042, 052. I use either "Stay In Tune" brand or "Darco Funky" because they both make ll 1/2. They are a bit heavy for a lot of people, but the tone is much better, and once you get used to them you can bend like any other. I use the heaviest possible string I can without it sounding stiff. But that's just what I use, you got to use what feels good to you. Dave Melton ========================================================================= Date: Wed, 5 Jun 1996 00:16:13 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: What are we using for that blues guitar tone? In-Reply-To: <31B5E7DC@smtp.nla.gov.au> I used to have a ca. 1946 Gibson LG-1, solid spruce top, mahagony sides and back, sweet, but the neck and frets and bracing needed more work than I could afford. I'd owned other vintage instruments (I have a 1947 Gibson 12 string with double X bracing, and I briefly owned a '30's small body Gibson, but I really couldn't afford it when I bought it and the proud owner I've never seen since), but I decided I needed a guitar that I wouldn't be fighting with, or begging to cooperate. So I bought a new guitar, a Gibson L-00 Blues King about three or four years ago. The guitar tech who adjusted the action after a few months also scalloped the bracing and it is sweet. It's a smaller body guitar with a smiling, melancholy song in its heart. Now the real secret. I get my tone from (whispering): bare fingers, no picks. My other axe is a Dobro, which I prefer with a glass rather than a metal slide. But I do like metal picks on this one sometimes. Two other ways I get my tone. (1) I blow Lea Oskar harmonicas into a green bullet reissue into a Gibson Skylark, which I find sweeter than a Champ. (2) I hold the harmonica in my hands and play it with every shred of emotion I find inside myself. I use two hands for this, both vintage, a left one and a right one. Steve Price ========================================================================= Date: Tue, 4 Jun 1996 23:35:28 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Black Church Arsons - What can we do? >On 4 Jun 96 at 14:46, Don Cicchetti wrote (in part): > >> I'm sure you have all heard about the rash of arson attacks on black >> churches in the US south. This is the most reprehensible, evil, >> hate-crime we have seen in a long time. I don't know the total, >> but the number 35+ sticks in my memory. >> What I want to know is: >> Is there a fund established anywhere to rebuild these churches? It >> would need to be administered by a reputable group. >> It is time to stand up and be counted. Let's find a way to rebuild >> these churches, and show people that '90's America is about more >> than video games and partisan politics. > >>> Who do we give to? Where do we start? How do we volunteer? Some good thoughts, Don. This kind of thing hits people closest to their heart - it's their faith and way of life that is being attacked here, and that hurts like nothing else. I don't know anything about funds, groups, etc. (not much news about this in Canada that I've heard), but I do know what _I'm_ going to do personally - I'm going to be travelling down to Mississippi this summer for Sunflower Festival in Clarksdale, and my friend and I will be stopping in at various (black) churches along the way. When they're passing the hat, I'll gladly pass along some of the money that I would otherwise spend on cd's to help out with any effort. But if anyone knows about an organized effort, pass the info along. And something we can all do on our own without spending a penny - stamp out racism in your own vicinity (as Don pointed out in a post a couple of weeks ago). Peoples hearts have to change before their actions do. Take care, -Jim. ========================================================================= Date: Wed, 5 Jun 1996 06:53:11 GMT Reply-To: marc borms From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Re: Europe's Greatest Comments: To: bit-listserv-blues-l@news.Belgium.EU.net Richard Flohil (rflohil@INFORAMP.NET) wrote: : I could have missed this, but has anyone mentioned Hans Theesink, the : Dutch-born Austrian resident who, often appearing with tuba player Jon : Sass, often appears on American and Canadian fiolk and blues festivals? : He's a fine songwriter in the tradition, plays fine slide guitar (a : steel-bodied National) and is a grand entertainer, Some people find his : accent incongruous; I'm always charmed by it, and the two albums I have : (one produced by Canada's Colin Linden) are excellent, and I'm always : lookiong for more. Hans Theessink is on the list for the Belgium Rhythm and Blues Festival on July 19/20/21, together with The Bo Weavils The Seatsniffers Last Call The Electric Kings --- El Fish Lamartrice Mc Queen Johnny Dyer Band Otis Rush Dirty Dozen Brass Band Clarence Gatemouth Brown Little Richard ---- Tony D.Band Anders Osborne Lynwood Slim Hans Theessinck Solomon Burke Bo Diddley Corey Harris, Koko Taylor, Kenny Neal and Lonnie Brooks embee. ps.Bluezellers, be there ! ========================================================================= Date: Wed, 5 Jun 1996 03:38:44 -0400 Reply-To: Apicor 7 From: Apicor 7 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Big Daddy Kinsey Comments: To: bit-listserv-blues-l@uunet.uu.net ....And what were they wearing? did you happen to see who designed their jeans and jackets.... dude, you sound like a gossip columnist. Why not tell us about the SHOW, I think we'd be more interested. Did he have Mad Dog Lester or Nate Armstrong on harp? ========================================================================= Date: Wed, 5 Jun 1996 09:59:08 +0200 Reply-To: Marco Riccato 394526/IL From: Marco Riccato 394526/IL Subject: Do you like Jimi Hendrix ":BLUES"? I've bought the last collection of blues songs by Jimi Hendrix and I enjoyed it perhaps too much ... What do you think about blues played by him? ##### ---------------------- #@ @# Marco Riccato # ^ # zaza@maya.dei.unipd.it | 0 | ---------------------- |___| ========================================================================= Date: Wed, 5 Jun 1996 10:25:46 +0200 Reply-To: JORGE MUNOZ RODRIGUEZ From: JORGE MUNOZ RODRIGUEZ Subject: Taj Mahal in Living Blues #127 In the review David Whiteis write about Taj Mahal "Phantom Blues", he says: "Ol' Slowhand turns in another stellar perfomance -this time digging into "his Buddy Guy lickbook- on *Love Her With A Feeling* (misattribued to "Sonny Thompson and Freddy King),..." And well, where is the missattribued? Because as far as I know, "You've got to love her with a feeling" it was recorded by Freddy King in Cincinnati August 26, 1960, and in the "Freddy King Sings" album, that song is credited to F.King & S.Thompson. In the Fedreal single 12384 is credited only to F.King. Buddy Guy does "Love her..." on "Slippin' In" CD and is credited to L.Fulsom. Out of the Lowell Fulsom recordings from 1946 to 1970 (Blues Records vol.1 Leadbitter/Slaven) there are no song titled "You've Got To Love Her With A Feeling" or "Love Her With A Feeling". So, where is the missattribued? Do someone knows if that song is really composed by Lowell Fulsom? or Lowell Fulsom as purchased the copyrights of that song!? Jorge, ////\\\\ // ~ ~ \\ (-{.}{.}-) TREN 3, on RADIO 3 - RNE. Weekends at Midnight. | /\ | _/\ -- / "When the train it left the station, \/\__/ there was two lights on behind..." *Er Makis* ========================================================================= Date: Wed, 5 Jun 1996 01:35:48 -0700 Reply-To: Jason E Duran From: Jason E Duran Subject: Re: what are we using for that blues guitar tone Fender Strat (Japanese--made way back in '90 or '91 =) ) with some Seymour Duncan Vintage Staggereds and a set of .11 or .12's (no particular brand) depending on what shape my fingers are in. Heavy picks. On the acoustic side I tend to use old Stellas with heavy guage Black Diamond strings. For slide I use pieces of brass pipe or old medicine bottles (which I am continually breaking) and tune to either open G or D. No picks. I'm also restoring an old Kay acoustic archtop (model K-11). This particular number was made between '53 and '57. (send me a mail if you know where I can find the original Kay parts) My main amp is a old Fender Yale Reverb (solid state). Not known as a blues amp but she's got a unique tone and has survived some real punishment (including a dead drop from a second story balcony to the pavement--try that with a tube amp.). A true road warrior. Effects: Boss PN-2 Tremelo/Pan stompbox. ========================================================================= Date: Wed, 5 Jun 1996 03:59:05 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: Rod Piazza At Rod and the Mighty Flyer's show last night, Dallas club owner Doug Henry (blues-l lurker) announced that the Mighty Flyers have just signed with Capricorn. I've been lucky enough to see them 3 times in the last 6 days and they have some great new songs. More later. Don O. ========================================================================= Date: Wed, 5 Jun 1996 05:08:24 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Strings Comments: To: Shaun T Cronin On 4 Jun 96, Shaun T Cronin had this to say: > As for finding that elusive blues tone, I think that comes from somewhere > else:-) But try a heavier guage if you can handle it. That helps I think. > > In the end it is all subjective and based on what sounds good to you. I think you are quite correct in saying that the "elusive Blues tone" comes from "somewhere else". I think that "somewhere else" is the hands of the musician doing the playing. I honestly believe that is where almost all of the tone comes from. There was a series of articles in Guitar Player where each month Dan Erlewine got his hands on a famous guitar player's axe and measured everything on it and passed on his observations. B.B. King's guitar had .09s on it. Here is a man playing Blues on very light strings through a solid state amplifier. Exactly what most gearheads would tell you NOT to do. I don't know of anyone who would seriously dismiss B.B.'s tone. I just shows to go ya. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Wed, 5 Jun 1996 05:21:46 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Love Her With A Feelin' Comments: To: JORGE MUNOZ RODRIGUEZ On 5 Jun 96, JORGE MUNOZ RODRIGUEZ had this to say: > In the review David Whiteis write about Taj Mahal "Phantom Blues", he says: > > "Ol' Slowhand turns in another stellar perfomance -this time digging into > "his Buddy Guy lickbook- on *Love Her With A Feeling* (misattribued to > "Sonny Thompson and Freddy King),..." > > And well, where is the missattribued? Because as far as I know, "You've got > to love her with a feeling" it was recorded by Freddy King in Cincinnati > August 26, 1960, and in the "Freddy King Sings" album, that song is credited > to F.King & S.Thompson. In the Fedreal single 12384 is credited only to F.King. > Buddy Guy does "Love her..." on "Slippin' In" CD and is credited to L.Fulsom. > Out of the Lowell Fulsom recordings from 1946 to 1970 (Blues Records vol.1 > Leadbitter/Slaven) there are no song titled "You've Got To Love Her With A > Feeling" or "Love Her With A Feeling". > > So, where is the missattribued? > Do someone knows if that song is really composed by Lowell Fulsom? or Lowell > Fulsom as purchased the copyrights of that song!? Actually, "You've Got To Love Her With A Feeling" is yet another example of a Tampa Red song that everyone else has laid claim to. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Wed, 5 Jun 1996 03:09:15 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Love Her With A Feelin' Comments: To: pwfenton@GATE.NET In-Reply-To: <199606050929.FAA59002@osceola.gate.net> from "P.W. Fenton" at Jun 5, 96 05:21:46 am > > Do someone knows if that song is really composed by Lowell Fulsom? or Lowell > > Fulsom as purchased the copyrights of that song!? Lowell ain't been to prison. His last name is "FulsoN" :-) -- IronMan Mike Curtis ========================================================================= Date: Wed, 5 Jun 1996 03:58:00 PDT Reply-To: Doug Cox From: Doug Cox Subject: new cd reviews >DOUG COX- Bone Bottle Brass or Steel " MMM CD 004 " Current Reviews > > >For interviews or info call 604-475-6988 >Distributed in Canada by Festival Distribution 1-800-633-8282 >Distributed in Europe by The Bear Family > > >"...a grand exploration of the diverse tones and moods that can be cast by a Dobro or a slide guitar..." > Robert Moyes, Monday Magazine, Victoria, BC > >" This is actually Doug Cox and friends like Long John Baldry, Bob Bossin, Ken Hamm, David Grier, John Reischman and plenty of others singing to and accompanying a lot of excellent dobro and slide guitar playing. Cox is the indefatigable Victoria singer-writer-instrumentalist with Travels With Charlie and a great lover of guitar-based roots music.Here he indulges all his passions from blues to folk, including a great instrumental of Joni Mitchell's Circle Game, John Baldry singing on Leadbelly's Good Morning Blues and the >gnarly I Like To Slide with Ellen McIlwaine." ***1/2 > > John P. McLaughlin, The Vancouver Province > >"...like his first disc, it sports an impressive line-up of guests...Cox sweeps across a lot of musical territory, from the theme to CBC-FM's DISC DRIVE program to the Dave Macon Rag, over to a tribute to Shari Ulrich's old '70s group Pied Pumkin to his backing Diamond Joe White on a piece of social-comment poetry titled The Layoff. The production is first rate as are the liner notes and hopefully Bone Bottle Brass or Steel will give Cox some recognition on a national rather than only a regional level." > > Peter North , The Edmonton Journal > >"...Cox has produced 13 outstanding tracks with an army of famous friends and fellow pickers and singers....a homey,delightful gem by an important local talent." > > Joseph Blake, The Times-Colonist, Victoria, BC > ========================================================================= Date: Wed, 5 Jun 1996 07:08:00 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Love Her With A Feelin' Comments: To: Mike Curtis On 5 Jun 96 at 3:09, Mike Curtis wrote: > > > Do someone knows if that song is really composed by Lowell Fulsom? or Lowell > > > Fulsom as purchased the copyrights of that song!? > > > Lowell ain't been to prison. His last name is "FulsoN" :-) Why you telling ME? (Besides, there is no prison named Fulsom either) P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Wed, 5 Jun 1996 06:51:35 -0500 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: Do you like Jimi Hendrix ":BLUES"? Comments: To: zaza@MAYA.DEI.UNIPD.IT In-Reply-To: from "Marco Riccato 394526/IL" at Jun 5, 96 09:59:08 am In an earlier message, Marco Riccato 394526/IL said: ] I've bought the last collection of blues songs by Jimi Hendrix and I ] enjoyed it perhaps too much ... ] ] What do you think about blues played by him? First, I think the blues was a huge ingredient of his rock stuff; Hendrix understood the blues, and it deeply colored all his later work. I liked the blues songs and blues-influenced songs ("My Friend" on "The Cry of Love" comes to mind). There's one song, though, that seems to only show up on the cheesy compilations and never on the "real" albums. The song is "Bleeding Heart" (People, people, people) Does anyone know the source of that song? -- * The most exciting phrase to hear in science, the one that heralds new * discoveries, is not "Eureka!" (I found it!) but "That's funny ..." * -- Isaac Asimov ========================================================================= Date: Wed, 5 Jun 1996 08:14:25 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Re: preconceived opinions As far as reviews go, I agree with Barry Silverberg that you rown ears are the best judge of whether you will like something. However, we can't alwasy hear stuff first. In that case, I find a reviewer that has the same tastes that I do. It takes a while b/c you have to read a LOT of that person's reviews AND have the music that is reviewed in order to decide "I can trust this person's opinion." Just athought, Gavin ========================================================================= Date: Wed, 5 Jun 1996 08:14:22 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Re: Some of you folks just don't get it Comments: To: Ian Angus Ian Angus wrote "I must say that any definition of blues which hinges on or requires ' the third, fifth, and seventh notes of the scale are flatted' would exclude an enormous amount of blues music, including most Piedmont, St. Louis, Kansas City, Texas, and West Coast style blues, not to mention the enormous amount of Soul Blues which has been produced in Atlanta, Houston and other cities in recent years. "The blues is primarily about lyrics and a unique emotional form of expression. 12-Bar Blues is just one form of blues, not the totality." I have to agree with the first part. Not every blues song will have faltted 3rd, 5th, and 7th notes. But, that still defines the blues. That's where the Blues gets its "sound" from. Still, to hold fast to that definition would preclude a lot of stuff that we think of as blues. Yet, we can not say that Blues can be defined by lyrical content. The Blues has embraced a myriad of subjects. To say that tackling a certain subject is or is not Blues is also too limiting. If we did this, a lot of stuff that we consider Blues would go out the widnow while a lot that isn't would be let into the house. ("Hey, you kids! Shut that door! I'm not paying to heat/cool the whole outdoors!!") Basically, I feel that Blues, like art or pornography, is not something I can define. But I know it when I see it/ hear it. And I have yet to find a rap song ro an alternative song that I would say is a Blues song. Gavin ========================================================================= Date: Wed, 5 Jun 1996 08:14:26 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Re: Black Church Arsons - What can we do? Comments: To: Don Cicchetti Reggie White, the Packers' future-hall-of-fame lineman, is a Reverend at a church down here, which I believe has been the subject of such a fire. They just filmed a segment for "Unsolved Mysteries" on the subject. If you catch that episode, I think there will be info on it. I can't give you any more than that right now 'cause it's all I know. Gavin ========================================================================= Date: Wed, 5 Jun 1996 07:43:03 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: Black Church Arsons - What can we do? In-Reply-To: Message of Tue, 4 Jun 1996 14:46:47 -0800 from On Tue, 4 Jun 1996 14:46:47 -0800 Don Cicchetti said: > >Think of all those black churches, all those pastors preaching, meeting you >at the door, all those choirs singing till the rafters shake, all those >years of love and effort to keep the church going, the kids who grew up on >those pews. And some piece of garbage burns them down. I thought in your past posts you were not a religious person. This confuses me I didn't know you were religious at all....Glad you are though. I agree, but I'm against ANY hate crime >Is there a fund established anywhere to rebuild these churches? It would >need to be administered by a reputable group. Your respect for GOD and churches impresses me, I misjudged you. Leonard Watkins ========================================================================= Date: Wed, 5 Jun 1996 08:46:11 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Chicago Report: 3 of 4 Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com Ian Angus writes: * ...But Muddy's cabin was a dumb idea - I'll bet there isn't *one piece of wood in it which was there when Muddy lived *in it. Can someone please tell me more about the cabin? Did the HOB do a good restoration job? What did the festival crowd think of the cabin? ========================================================================= Date: Wed, 5 Jun 1996 08:48:13 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Do you like Jimi Hendrix ":BLUES"? Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com * I've bought the last collection of blues songs by Jimi Hendrix and I * enjoyed it perhaps too much ... * * What do you think about blues played by him? I love his versions of Driving South, Hoochie Coochie Man, Killing Floor and Catfish Blues from the Radio One cd. -Steve ========================================================================= Date: Wed, 5 Jun 1996 07:46:40 -0500 Reply-To: T-Bone From: T-Bone Subject: Re: Janis Joplin on Cable Comments: To: bob vanarsdall In-Reply-To: On Tue, 4 Jun 1996, bob vanarsdall wrote: > Janis' smiling face cracked, and her eyes turned to steel. She looked at > Cavett and said, "Man, they ran me out of Port Arthur and then they ran me > out of Texas." She threw the feather boa over her shoulder, "Honey, now I'm > going BACK." Considering that she went to high school with Miami Dolphins coach Jimmy Johnson, I'm surprised she'd EVER want to go back. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "scott, gramercy just called me and told me they hate you." - julie walker (texas ranger) ========================================================================= Date: Wed, 5 Jun 1996 08:59:17 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: That tone...How do you do it? Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I get it from tongue blocking, a good tight seal around the harp and mic and proper breath control. Oh wait a second, this is Blues-l, NOT harp-l or guitar-l! Sorry! :-) -Steve ========================================================================= Date: Wed, 5 Jun 1996 07:49:14 -0500 Reply-To: T-Bone From: T-Bone Subject: Re: Chicago Report: 3 of 4 In-Reply-To: <9606042003.aa14472@admin.dis.on.ca> On Tue, 4 Jun 1996, Ian Angus wrote: > 8. Why do some people go to a festival, go right down front, > then talk in very loud voices throughout the set? Why do > some people keep yelling the performer's name while > he/she is singing? Why do some people sit near the > acoustic stage with a radio playing? In any large group of people, there are going to be some real assholes. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "scott, gramercy just called me and told me they hate you." - julie walker (texas ranger) ========================================================================= Date: Wed, 5 Jun 1996 08:41:12 CDT Reply-To: "Keith J. Frasier" From: "Keith J. Frasier" Subject: Lucky Peterson Has anyone heard Lucky Peterson's new album?. If so, any reviews? Thanks. -- ---------------------------------------------------------------------------- Keith J. Frasier keith@admin.stkate.edu College of St. Catherine, St. Paul, MN "It may be that my whole purpose in life is simply to serve as a warning to others." ---------------------------------------------------------------------------- ========================================================================= Date: Wed, 5 Jun 1996 09:33:06 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Blues and Ragtime? Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com I've been getting more and more into Piedmont blues recently and buying cds by lots of early Piedmont artists. My two favorites so far are Blind Boy Fuller and Blind Blake. Blake was a blues guitarist, but he was also called a ragtime guitarist. One thing that really strikes me about these early artists is the ragtime influence. I'm wondering where ragtime ends and blues begins, and vice versa. Was Scott Joplin influenced by the blues artists of his day? Are there any ragtime guitarists who didn't record as blues artists? Can any ragtime experts help me out here? Thanks, Steve ========================================================================= Date: Wed, 5 Jun 1996 08:42:30 CDT Reply-To: William Shute From: William Shute Subject: Bill's June picks--reissues/archival From: Bill Shute Here are some reissued CDs and CDs of previously unreleased vintage archival material (the latter becoming a more common phenomenon every day...which is great!) that's I'd like to plug to my fellow blues-l-ers. I don't have the time to review these individually, so I'll just make a few comments about each. You can certainly fire away with any questions via private e-mail. Many were released within the last 6 months,although some may be one or two years old...I just got them within the last 3 or 4 months. In no particular order: SAM & DAVE "Sam & Dave" Edsel EDCD 388 (UK) reissue of the lp of l962-63 Roulette singles, 12 tracks. Shows you that all that Sam & Dave were lacking in 62 was material on the level of what Hayes/Porter would later write for them and sympathetic production like they got at Stax. Still, Sam and DAve are in fine form and these are good, danceable records. THE WALLACE BROTHERS "Lover's Prayer" AVI/Excello CD 3014 (US) Their Sims label lp plus non-lp sides and sides that came out on the UK "Sue" label. Deep Southern soul at its best. RUFUS THOMAS "Live" Stax SCD-88019-2 (US) Reissue of "Doing the Push and Pull at PJ's", plus three tracks from Wattsstax. JIMMY SOUL "If You Want To Be Happy" ACE CDCHD 593 (UK) For me, the "Frank Guida sound" is an instant party, and this fine collection shows Mr. Soul's quite diverse talents. He was a first-rate R&B singer, despite his association with novelty songs. various "Swan's Soul Sides--Dance The Philly" KENT CD KEND 120 (UK) more wonderful 60s soul 45s from Philadephia on the Swan and Lawn labels DAVE "Baby" CORTEZ Sequel NEM CD 751 (UK) reissue of 3 65-66 Roulette albums:Organ Shindig, Tweetie Pie, and In Orbit BOOKER T> & THE MG's "Play the Hip Hits" Stax (UK) CDSXD 065 25 unreleased trax, covers of various 60s hits, an amazing collection thanks to my Euro blues-l friends for alerting me to this release MARGARET JOHNSON "l923-27" Document DOCD-5436 (Austria) Strong "classic blues" singer, w/ Sidney Bechet, Bubber Miley, Clarence Williams, Leecan & Cooksey strong material also like "If I Let YOu Get AWAy With It Once" (later covered by Tampa Red), "Who'll Chop Your Suey When I'm Gone," "When A GAtor Holler, Folks Say It's a Sign of Rain" CHARLES BROWN (with Johnny Moore's Blazers) "Snuff Dippin' Mama" Night TRain NTI CD 7017 CHARLES BROWN (with Johnny Moore's Blazers) "Walkin' In Circles" Night TRain NTI CD 7024 l945-48 material for "Exclusive Records" (a label later acquired by SwingTime) PRIME Charles Brown material hope you enjoy some of the above--check em out! Bill Shute San Antonio, TX ========================================================================= Date: Wed, 5 Jun 1996 09:54:09 -0400 Reply-To: smirkyface From: smirkyface Subject: Re: Big Daddy Kinsey >....And what were they wearing? did you happen to see who designed their >jeans and jackets.... >dude, you sound like a gossip columnist. >Why not tell us about the SHOW, I think we'd be more interested. >Did he have Mad Dog Lester or Nate Armstrong on harp? I don't write reviews of shows only because there are those on this list that do it extremely well. So I leave it to them. But since Apicor 7 asked about fashion, well.... ...Big Daddy Kinsey wore a strikingly handsome silk shirt with a tasteful paisley print(I assuming by the maker and what he paid for the shirt, that he got it off the rack at Lord & Taylor). His slacks were tailor made. Brownish in color(the material was dyed in a natural dye, the color wouldn't leech into his delicates during washing. He also mentioned that he uses a presoak), preshrunk cotton, 5 pocket casual fit, 30 length, sorry guys, I promised I wouldn't tell the waist, let's just say healthy. The shoes were Cole Haan, brown penny loafers with Dr. Scholls comfort insoles. He does his own hair, which looked tre cool, pulled back into a ponytail. I won't get into the hands, let's just say it's time to spend a day at the manicurist. On harp was Nate Armstrong, who wore a flannel shirt and work pants circa 19= 78. He wore the standard Kangol blues harp cap(soon available on QVC), with authentic sweat stains printed on it. Nate had the Saut=E9ed Shrimp that night. Next week Luther Allison will be at WD's. This should be fun, he has a flair for silk shirts and polyester slacks. OOOHHH! Watch for my in depth post on: RAYON and the ROAD(a blues mans nightmare) ;= ) BRIAN MCLEAN PHOTOGRAPHY & SMIRKYFACE PRODUCTIONS "life's too short to live the blues" http://www.netaxs.com/~blmclean ========================================================================= Date: Wed, 5 Jun 1996 08:44:17 -0500 Reply-To: "Maintainability Analysis Workspace [Ranko Vujosevic]" From: "Maintainability Analysis Workspace [Ranko Vujosevic]" Subject: (Fwd) Re: Chicago Report: 3 of 4 > Can someone please tell me more about the cabin? Did the HOB do a good > restoration job? What did the festival crowd think of the cabin? The funniest thing was that on the Cabin there was a table, which, in addition to some "We work for cummunity" PR bullshit says that HOB CEO Isaac ? restored it with help of some people who now their job. Speaking of an ego. Anyway, I personally would rather see Cabin stay where it was even if in ruines. I can then go take my son and tell him: "This is where Muddy lived," rather than taking him to the Fest and telling him: "Muddy lived in a cabin like this." But again, this may be a totally wrong way to go. IMO, Cabin looked totally out of place. Here you have a line of food tents, then you have a HOB tent, and then you have a Muddy's Cabin. I understand sponsorship is important. But not for the price of ruining the Fest as HOB did a very good job this year (at least for me). Best Buy is a much better example of a sponsor. Sure, there is Best Buy sign everywhere, but they put on a great lineup of acoustic acts, which was one of my favorite stops at the Fest. And there was no "Best Buy is all for cummunity" BS - just plain business. Just a frank opinion of a grumpy old man sick of House of Blues. Ranko ========================================================================= Date: Wed, 5 Jun 1996 08:53:11 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Homesick James & John Hurt I found a few used HSJ and MJH cds. I will get them today. I think the John Hurt is the LOCongress recordings and I can't recall the Homesick James. Can anyone recommend their favorite recordings of the two artists. I quickly listened and both sounded like they are very good....any opinions Leonard Watkins ========================================================================= Date: Wed, 5 Jun 1996 09:54:43 -0400 Reply-To: Andre Prevos From: Andre Prevos Subject: European blues artists I'm still on no-mail from the list but, since I'll be in the US for a few days, I've been reading the messages on the "bit-listserv" bulletin board. I saw mentions of groups from several European countries (including the United Kingdom!!) but, to my utter dismay :-) none from France. So, here goes: Patrick Verbeke (good guitar.vocal), some songs in English, many more in French. Benoit Blue Boy (vocal, harmonica) does blues and also cajun-inspired tunes. Good records. Paul Personne (been on the scene for the past 15 years), vocals, guitar, good songs, a little more on the rock side (at least this is how I see him --I have all his records). There are many other small groups and/or individual musicians. For their productions and/or addresses, see _Soul Bag_ which has a section (not on every issue) devoted to "Frenchie Blues". Enjoy!! Andre J.M. PREVOS (on no-mail but not yet out of his mind!) ========================================================================= Date: Wed, 5 Jun 1996 08:53:06 -0700 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: Some of you folks just don't get it Comments: To: Gavin Arneaux <102554.471@COMPUSERVE.COM> In-Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> "Re: Some of you folks just don't get it" (Jun 5, 8:14am) On Jun 5, 8:14am, Gavin Arneaux wrote: > Basically, I feel that Blues, like art or pornography, is not something I > can define. But I know it when I see it/ hear it. >-- End of excerpt from Gavin Arneaux Let me hear ya'll say "YEAH!" This is spooky -- Gavin's remark above is almost exactly what I was thinking early this morning.... -- "Where a computer like the ENIAC is equipped with 18,000 vacuum tubes and weighs 30 tons, computers in the future may have only 1,000 vacuum tubes and weigh only1 1/2 tons." Popular Mechanics, March 1949 ========================================================================= Date: Wed, 5 Jun 1996 15:05:52 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Do you like Jimi Hendrix ":BLUES"? > > >There's one song, though, that seems to only show up on the cheesy >compilations and never on the "real" albums. The song >is "Bleeding Heart" (People, people, people) > >Does anyone know the source of that song? It=B4s from Elmore James - there might be a earlier source that I don=B4t= know of. Bo ========================================================================= Date: Wed, 5 Jun 1996 10:10:09 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: HOB ruins fest Comments: To: Ranko Vujosevic On 5 Jun 96 at 8:44, Maintainability Analysis Work wrote: > I understand sponsorship is important. But not for the > price of ruining the Fest as HOB did a very good job this year (at > least for me). Aside from a sign claiming an interest in "community", and a sign crediting Tigrett with financing the restoration of Muddy's cabin, what exactly did House Of Blues do to "ruin" the festival? P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Wed, 5 Jun 1996 07:23:41 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: June 6 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ALBIN, PETER (g/JANIS JOPLIN) b. 1944-0606, SAN FRANCISCO, CA BONDS, GARY "U.S." [GARY L. ANDERSON] (v) b. 1939-0606, JACKSONVILLE, FL GETZ, STAN (tsax) d. 1991-0606, MALIBU, CA 64 GLASER, JOE (manager/ABC) d. 1969-0606, NEW YORK CITY, NY 72 GOERING, LES (g) b. 1956-0606, GREEN, GRANT (g) b. 1931-0606, ST. LOUIS, MO GREY, AL (tbn) b. 1925-0606, ALDIE, VA JEFFERSON, WILLIAM "FATS" (p) b. 1900-0606, WACO, TX LEARY, S. P. (d/MUDDY WATERS) b. 1930-0606, DALLAS, TX LUNCEFORD, JIMMIE (bandleader) b. 1902-0606, FULTON, MO NEAL, RAFUL (hca) b. 1936-0606, BATON ROUGE, LA REAVES, PEARL (v) b. 1928-0606, RALEIGH, NC SANDIFORD, PRESTON (p/HELEN HUMES) d. 1986-0606, BOSTON, MA 77 STUBBS, LEVI (lead/FOUR TOPS) b. 1936-0606, DETROIT, MI TANNER, GID (fiddle) b. 1885-0606, THOMAS BRIDGE, GA ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 5 Jun 1996 09:20:56 +0000 Reply-To: thf4@WaterValley.Net Comments: Authenticated sender is From: Tom Freeland Subject: Re: Blues and Ragtime? Comments: To: Steve Levine On 5 Jun 96 at 9:33, Steve Levine wrote: > I've been getting more and more into Piedmont blues recently and buying > cds by lots of early Piedmont artists. My two favorites so far are > Blind Boy Fuller and Blind Blake. Blake was a blues guitarist, but he > was also called a ragtime guitarist. One thing that really strikes me > about these early artists is the ragtime influence. I'm wondering where > ragtime ends and blues begins, and vice versa. Was Scott Joplin > influenced by the blues artists of his day? At the time, Joplin tried to present in a "serious" format a broad range of black music. In "The Ragtime Dance," he presented a range of black dance styles. In his surviving opera, "Treemonisha." There was a variety of black song forms. The first blues sheet music published had much of the form of classic ragtime. I don't know of Joplin's music evidencing direct blues influence, though. >Are there any ragtime > guitarists who didn't record as blues artists? Can any ragtime experts > help me out here? There is an old Yazoo LP called TO DO THIS YOU HAVE TO KNOW HOW: STRING RAGTIME. Unfortunately it never made it to CD. There is a LOT of ragtime in white country string band music. Probably my favorite string rag is the Dallas String Band's "The Dallas Rag." There is a LOT of ragtime on the Yazoo BEFORE THE BLUES sets, including "Dallas Rag." I don't think the borderlines are clear enough (or the recordings made early enough) to say one thing definitely is ragtime and another definitely is not. Tom Freeland ========================================================================= Date: Wed, 5 Jun 1996 10:19:08 EST Reply-To: mstringer@HEARST.COM From: Mark Stringer Subject: Re[2]: Do you like Jimi Hendrix ":BLUES"? Comments: To: Steve.Levine@CORP.WRGRACE.COM "Jelly 292" off Jimi Hendrix: BLUES, mix it with heavy amounts of alcohol, marijuana and sex. mark ========================================================================= Date: Wed, 5 Jun 1996 10:52:21 -0400 Reply-To: smirkyface From: smirkyface Subject: Blues Jams I'd like to thank everyone for putting up with my ranting on last weeks blues jam at WD's. I got a lot of email relating to similar happenings at other jams. Again, thanks for putting up with me. BRIAN MCLEAN PHOTOGRAPHY & SMIRKYFACE PRODUCTIONS "life's too short to live the blues" http://www.netaxs.com/~blmclean ========================================================================= Date: Wed, 5 Jun 1996 11:08:51 -0400 Reply-To: bob unger From: bob unger Subject: Re: Lucky Peterson Yes, I have Lucky's new cd. Anybody want it? I have his 2 previous cd's - "I'm Ready" and "Beyond Cool" which I think are fantastic....but his new one does nothing for me. Nothing at all like the previous one's. It reminds me of '70's funk (well, Bootsy Collins does play on it) So, anybody want it? Maybe we can trade. What do you got? BU bob@sun.bnkst.edu - day bu@octet.com - evenings ========================================================================= Date: Wed, 5 Jun 1996 11:04:07 EDT Reply-To: Mark Wiggins From: Mark Wiggins Subject: Sorry, old thread but couldn't resist I hate to bring up an old thread but something recently happened and I just couldn't resist. A few weeks back there was a thread on the things not to do at an open jam. I think I came across the list topper this past week. My band occasionally hosts an open jam in East Hampton, Ct. This last week Jaimo (?sp.) (one of the Allman Brothers' drummers) showed up. He came along with his wife (drummer too), who was trying to promote her new band Blue Angels Anyway, he decides to sit in and play a little. Unfortunately, I don't get to play with him because he's sitting in on my instrument, but this is when it happens. The owner of the club jumps up and wants to sing a song. The girl is a really good singer and knows a million songs. NOW WHAT SONG DO YOU THINK SHE PICKS? You guessed it, Stormy Monday. The poor guy probably has to play that song 2000 times a year, he goes to an open jam hoping for something different and wham. I just thought that it was really funny and definitely qualified for the #1 thing NOT to do at an open jam. It's like sitting in with Clapton and asking to play Layla...... Mark Wiggins DRUMMIN' OUT SUCCESS Operating Systems Programmer ___ ___ University Computer Center / _ _ \ 196 Auditorium Road, U-138 | |_| |_| | Storrs, Connecticut 06269-3138 | \___/ | Internet: WIGGINS@UCONNVM.UCONN.EDU | / \ | (860) 486-2792 Fax: (860) 486-5744 / \ /\___/\ / \ ========================================================================= Date: Wed, 5 Jun 1996 11:16:22 -0400 Reply-To: Ed Mezynski From: Ed Mezynski Subject: blues literature website If you are interested in reading about the blues and jazz, you might find some interesting volumes listed at this site. http://www.scinet.com/~musicbk/index.html They have sheetmusic for all shapes and styles of music as well. I have never used their services, only checked out the site. Oh, T-bone Walker's Imperial recordings have been in my cd player most lately. ed mezynski ========================================================================= Date: Wed, 5 Jun 1996 10:07:21 -0500 Reply-To: "Maintainability Analysis Workspace [Ranko Vujosevic]" From: "Maintainability Analysis Workspace [Ranko Vujosevic]" Subject: Re: HOB ruins fest Comments: To: "P.W. Fenton" In-Reply-To: "P.W. Fenton" "HOB ruins fest" (Jun 5, 10:10am) > Aside from a sign claiming an interest in "community", and a sign > crediting Tigrett with financing the restoration of Muddy's cabin, > what exactly did House Of Blues do to "ruin" the festival? > P.W. Fenton 1. Getting their artists booked. I don't think Paul Black and the Flip Kings would get chanse this year had they released their album on another label 2. Bringing the cabin to the Fest 3. Claiming to be my friends. Ranko ========================================================================= Date: Wed, 5 Jun 1996 08:33:07 -0700 Reply-To: chris@SPARKIE.OSL.STATE.OR.US From: Chris Adams Subject: Re: Othar Turner/Joe Callicott A few issues back, one of the blues rags had an article about the juke joint scene in Mississippi and Fat Possum Records. Mentioned was Kevin (I think) Brown, who has played with Junior Kimborough and some of the others. He is described as one of the most talented, aggressive, creative white blues slide players around. It also mentions that he grew up taking "lessons" from Othar Turner and Joe Callicott. Mind you, I believe he is fairly young, so this must have been when he was preteen or teenage. Anyone know more about this guy? What a way to learn! Christopher Adams On Tue, 4 Jun 1996 09:37:00 CDT Bonnie Kalmbach said: >However old he may be, Othar left Legends at 2:00am Saturday night. >(I was with my stay-out-all-night relatives). I think Othar was THE highlight for me at the Sunflower last year. I had never seen a Fife and Drum band it was more than just a musical experience. The festival itself was more than just a music experience, gee I get chills just thinking about it. I wish we had a local club that would bring in some good blues acts. I haven't seen a good national blues artist in B'ham in a long long time. LW ========================================================================= Date: Wed, 5 Jun 1996 10:20:42 -0600 Reply-To: James Bardsley From: James Bardsley Subject: Re: Kansas City Comments: To: George Myers In-Reply-To: <4p2bo3$i10@usenetw1.news.prodigy.com> Well, damn, George. Just once I wish you'd suprise me and come on board to post something, anything, that wasn't a commercial for the Emporium or the Blues Cruise. Both are wonderful venues- I've been to the Emporium and my only regret is that I didn't get to try the barbecue; only know from what I've heard from happy customers about the Cruise- but it's a little insulting that you only communicate here and on the Prodigy Blues Board when you have something to sell. Sort of like those annoying unsolicited phone salespersons..... -Jim At 10:01 PM +0000 06/04/96, George Myers wrote: >The Lineup at the Grand Emporium >(Twice Honored as Best Blues Club in America) >Friday: Debbie Davies >Saturday: The Rudy Rotta Band from Italy opening for Roomful of Blues and >it is also the Ultimate Rhythm & Blues Cruise Reunion Party >Sunday: Blues Festival After Party > >3832 Main (5 minutes from fest) >816-531-1504 James R. Bardsley, Ph.D. Assistant Dean, Plans and Programs LSU Medical Center-Shreveport (jbards@lsumc.edu) ========================================================================= Date: Wed, 5 Jun 1996 10:26:00 -0600 Reply-To: James Bardsley From: James Bardsley Subject: Re: Strings Comments: To: L McCaffrey In-Reply-To: I really like John Pearse's strings- some kind of nickle-silver combination. His "10"-set has the tone and feel of a much heavier string somehow- more like an 11 or 12- but is very playable and bendable. Before that I liked the Gibson BB King signature set on my 335, but I can't find them anymore. -Jim PS- didn't I hear somethingsome time back about some premium strings made in New Jersey somewhere? At 8:22 PM -0400 06/04/96, L McCaffrey wrote: >I am using Fender (11's) now and have in the past used GHS strings. It's >just about time to change strings again and I was thinking of trying >something new. I want a string that will add to a new blues tone >that I'm after. Any ideas on some good ones? > >LM > > >------------------------------------------------------------------------------ >L McCaffrey James R. Bardsley, Ph.D. Assistant Dean, Plans and Programs LSU Medical Center-Shreveport (jbards@lsumc.edu) ========================================================================= Date: Wed, 5 Jun 1996 10:32:19 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Texas Johnny Brown schedule Got the schedule in mail for Texas Johnny Brown's June gigs. You can check it out on the Texas Johnny Brown Web page: http://bioc09.uthscsa.edu/~seale/tjbrown.html Thanks for your support. ;-) -Jeff ------------------------------------------------------------------------------ __ Jeff Seale, PhD | |___ University of Texas Health Sciences Center @ San Antonio ___|* | seale@bioc02.uthscsa.edu \ | http://bioc09.uthscsa.edu/~seale/home.html \/\ / \ / I jumped bail from the Sweetwater County, now I'm on the run \( On my head is a 5 number bounty, for a crime I never done -Joe Ely ========================================================================= Date: Wed, 5 Jun 1996 10:36:10 -0500 Reply-To: "Stine, Dave" From: "Stine, Dave" Subject: IMHO blues is I'm new to BLUES-L. But I'm not new to the blues. I've listened and collected blues music for 30 years. I've hung out and played with whites and blacks alike. I'd count myself amongst those who have an almost religious reverence for America's greatest musical genre. Part of me wants to keep blues in a mental time capsule with visons of dusty Delta roads, fish frys, dancing, young Robert Johnson actually meeting the devil or the Hellhound out on a road late at night. That's my simplistic, mythical white boy view. And let me say here that I feel very priveldged to be a part of the "blues community" whatever that is. My point is that too many of us (me too, and Living Blues, and other "academics") want to hold "our blues" away in a safe little world where it can't be tainted. When Buddy Guy switched to what I consider rock guitar tone, I was offended. "That's not the blues," I thought. I wanted to keep it pure. And this gets into that whole ugly, who has right to play the blues, what is blues thing. Granted, I thought the whole Blues Brothers thing was a joke. But again, I'm assuming someone else's motivation and agenda, which I have no right to do. Get to the point, Dave. I've got to let go of the idea that I can "protect" the blues from corporations, rock guitar players looking to revive careers, or being in any way polluted. Blues players from the beginning DID IT FOR MONEY. And they just didn't play blues, but show tunes, and Tin Pan Alley, and whatever they could SELL to a crowd. I guess my point is that we worship the players and forget that it's survived because it's always had an audience. Who should judge the qualifications of that auience? Is there some blues test that one must pass? Stevie Ray passed but Jimmy Lee didn't? Blues Heaven passes; House of Blues doesn't. Reebok and Buddy. John Lee and Pepsi. C'mon. It's the music. We can mine the Delta juke joints for years, unearthing the Jr. Kimbroughs and Booba Barnes, but this is only part of the picture. Thank God the blues has a world audience. And I say EVERYONE, from the drunken slob at bluesfest to the natty Issac Tisgrett is welcome. I was allowed to play with blacks because the pervailing attitude was "if you want in, and can do it, you're in." And this is my attiude towards the blues--it needs all of us. We might not like every aspect of blues in the 90s, but I'm mighty glad we have the amount of talent--musicians and audience--that we have. Sorry to have "gotten off" here. Think of what we're missin' when we're so busy dissin.' Peace and Love, David M. Stine dstine@fsc.follett.com ========================================================================= Date: Wed, 5 Jun 1996 08:38:17 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Black Church Arsons - What can we do? Here's the actual data on these crimes. In the last 18 months, *30* black churches have been burned in the south. This according to KFI radio here in southern CA. Sounds like an epidemic to me. Matter of fact, it sounds kinda like Kristallnacht in America to me. For those of you who don't know, Kristallnacht (night of glass) was the first organized, general attack on the jews in germany. It was the beginning of the "final solution". 30 churches in 18 months? Something is going on here that is not at all cool. I'm still working to find more info on this, and who is doing something to rebuild. I'll let you know. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Wed, 5 Jun 1996 16:48:50 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Strings round gearheads necks >I really like John Pearse's strings- some kind of nickle-silver >combination. His "10"-set has the tone and feel of a much heavier string >somehow- more like an 11 or 12- but is very playable and bendable. Before >that I liked the Gibson BB King signature set on my 335, but I can't find >them anymore. >didn't I hear somethingsome time back about some premium strings made >in New Jersey somewhere? >>I am using Fender (11's) now and have in the past used GHS strings. It's >>just about time to change strings again and I was thinking of trying >>something new. I want a string that will add to a new blues tone >>that I'm after. Any ideas on some good ones? I want to ask you guitartists a question. Has anyone noticed a differense between strings that boasts "pure nickel wrap" and other strings? I try different strings now and then and I am quite picky about the gauge. But the brand....after 1 minute on stage I cant even remember the name of the strings. Even harder is to remember how the last set of strings sounded. I read about Buddy Guy, he was proud to remember the knot to use to mend a broken string. That=B4s the way he picked up some speed - jumping over the knot!!!. Mr Bo ========================================================================= Date: Wed, 5 Jun 1996 10:39:18 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: City STages - Joe Ely Although we are not getting anywhere close to City Stages, we will go to the unplugged show prior to CS. Joe Ely will be performing unplugged. We usually enjoy the unplugged show better than the entire weekend shows. Kevin Kinney from Drivin & Cryin will be doing unplugged also, whoever he/they are...???? Some of the folks at City Stages are: Duke Robillard, John Hammond, Tab Benoit, Johnny Cash, Randy Newman, Chris Durate(sp), Luther Alison,...about 200+ more acts and 250,000 people hanging around Leonard Watkins ========================================================================= Date: Wed, 5 Jun 1996 08:47:41 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Is DC religious? Some think so, some think not.... LW raised this, and even complimented me on it, so I thought I would respond. This issue of hate crimes against black churches is not just about religion. Certainly anyone who believes in God is going to be very unhappy with these events. But I think those who are agnostic and even atheist should be just as worried because it is a terrible hate crime that appears to be racially motivated. And the bottom line is that these churches represent one of the great wellsprings of African-American culture. So much of the music and art that we love comes straight from these churches, that for even an atheist, these events should be chilling. Remember, religious expression is protected under our Bill of Rights here in the US, and I have never met an atheist that did not believe in that document. Suppose the next target-of-the-month becomes American Atheists Inc, or the ACLU, or museums and institutes of science where the folks will pleasantly inform you that "there is no God"?? hmmm? (as if they knew, of course...) The point is that every American and every citezen of the world should be very concerned about all this. This is not a good time in America. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 4 Jun 1996 17:39:03 -0700 Reply-To: Karen-Marlies Schenck From: Karen-Marlies Schenck Organization: EUnet Belgium, Leuven, Belgium Subject: Re: Strings Comments: To: bit-listserv-blues-l@news.Belgium.EU.net > > B.B. King's guitar had .09s on it. Here is a man playing Blues on > very light strings through a solid state amplifier. Exactly what > most gearheads would tell you NOT to do. I don't know of anyone who > would seriously dismiss B.B.'s tone. > > I just shows to go ya. > > P.W. Fenton I wouldn't want to go as far as to dismiss BB's tone, he still has a really good tone, especially considering the gear he's using. Still, I really prefer the tone he had in the fifties, listen to any fifties BB recording for KILLER tone. Not that he seemed to stick with one guitar at that time, so that proves your point to a certain extent. (have seen fifties pics of BB with ES5, L5, first type goldtop LP, even tele and (!) strat!) I do think that a lot of players tone was better in the fifties, a lot of blues players using hollowbody gibsons with P90's switched to different, more practical guitars after that, and lost some of their tone along the way. (Chuck Berry is a very good example IMHO, his ES335 tone is nowhere near as cool as his ES350T tone!) And yes, as you may have noticed, I am a "gearhead". Walter Broes, Antwerp (Belgium) ========================================================================= Date: Wed, 5 Jun 1996 08:52:04 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Strings L McCaffrey said: >I am using Fender (11's) now and have in the past used GHS strings. It's >just about time to change strings again and I was thinking of trying >something new. I want a string that will add to a new blues tone >that I'm after. Any ideas on some good ones? Yes, I use John Pearse nickels. Very nice. Brighter than most other brands and a bit more tension for the same gauge, but very nice tone, and real articulate. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Wed, 5 Jun 1996 11:45:54 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: (Fwd) Re: Chicago Report: 3 of 4 Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com * IMO, Cabin looked totally out of place. Here you have a line of food *tents, then you have a HOB tent, and then you have a Muddy's Cabin. At least they didn't have Popper and Co performing in or near it! After all, if Blues Traveler is playing what Muddy would be doing if he was alive today, wouldn't it make sense to have them be part of where he grew up? :-) Personally, I think Muddy's cabin should be a permanant exhibit in the Smithsonian Museum of American History. -Steve ========================================================================= Date: Wed, 5 Jun 1996 17:01:01 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Churches on fire Comments: To: Don Cicchetti > >The point is that every American and every citezen of the world should be >very concerned about all this. This is not a good time in America. >Don Cicchetti Your, right Don. I see ugly things happening here in Sweden to. Poor kids get stabbed, houses get burned. Do the police see a connection between all this fires. It can=B4t be that hard to find proof when you have 30 burnings. Bo ========================================================================= Date: Wed, 5 Jun 1996 13:29:26 -0400 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: Re: Strings In-Reply-To: <"v01530501adda8d44202d(a)(091)206.101.8.77(093)*"@MHS> I'm using D'Addarrio 10's on my Strat and Medium Lights on my Taylor and applause acoustics. Will take _everyone's_ advice and try thicker strings next time I re-string. BTW, has anyone had any experience with "Nashville Straights?" Do they still make them? Haven't seen any around here for quiote a while. Never did get around to trying them. RW ========================================================================= Date: Wed, 5 Jun 1996 13:09:12 EDT Reply-To: L McCaffrey From: L McCaffrey Subject: Re: Strings Comments: To: "P.W. Fenton" In-Reply-To: <199606050916.FAA36564@osceola.gate.net> On Wed, 5 Jun 1996, P.W. Fenton wrote: > On 4 Jun 96, Shaun T Cronin had this to say: > > > > > As for finding that elusive blues tone, I think that comes from somewhere > > else:-) But try a heavier guage if you can handle it. That helps I think. > > > > I think you are quite correct in saying that the "elusive Blues tone" > comes from "somewhere else". I think that "somewhere else" is the > hands of the musician doing the playing. I honestly believe that is > where almost all of the tone comes from. > > I just shows to go ya. > > P.W. Fenton > Tampa, Florida > http://www.gate.net/~pwfenton/ > I totally agree with you that most of a players tone comes from the players fingers, and soul. But there are two kinds of tone, the one just mentioned and the mechanical tone that comes from the instruments. I'm pretty young still and am trying different instruments, amps, strings, etc. to get a feel for tone differences from them that I like. As for my "real tone".... I'm working on it.> ------------------------------------------------------------------------------ L McCaffrey ========================================================================= Date: Wed, 5 Jun 1996 13:21:24 EDT Reply-To: L McCaffrey From: L McCaffrey Subject: Re: Some of you folks just don't get it Comments: To: Gavin Arneaux <102554.471@COMPUSERVE.COM> In-Reply-To: <960605121422_102554.471_HHV72-1@CompuServe.COM> On Wed, 5 Jun 1996, Gavin Arneaux wrote: > Ian Angus wrote "I must say that any definition of blues which hinges on > or requires ' the third, fifth, and seventh notes of the scale are flatted' > would exclude an enormous amount of blues music, including most Piedmont, St. > Louis, Kansas City, Texas, and West Coast style blues, not to mention the > enormous amount of Soul Blues which has been produced in Atlanta, Houston and > other cities in recent years. > "The blues is primarily about lyrics and a unique emotional form of > expression. 12-Bar Blues is just one form of blues, not the totality." > I agree that the 12 bar progrssion is just 1 form of the blues. It is not possible to define blues but it is possible to define characteristics of "typical" blues. ie. the third fifth and seventh notes, bending notes etc. A blues song can have any form, it just varies in the amount of each characteristic included in that song. If you leave out too many of the characteristics or add too many non-blues characteristics you move into another style (ie. country, rock...) Although... in jazz, when one plays a 12 bar progression they are said to be playing a blues. But that is jazz, jazz and blues are two totally separate styles. LM ------------------------------------------------------------------------------ L McCaffrey ========================================================================= Date: Wed, 5 Jun 1996 17:31:42 GMT Reply-To: Jef Jaisun From: Jef Jaisun Organization: NETCOM On-line Communication Services (408 261-4700 guest) Subject: Re: Janis Joplin on Cable T-Bone (tbone1@IO.COM) wrote: : On Tue, 4 Jun 1996, bob vanarsdall wrote: : > Janis' smiling face cracked, and her eyes turned to steel. She looked at : > Cavett and said, "Man, they ran me out of Port Arthur and then they ran me : > out of Texas." She threw the feather boa over her shoulder, "Honey, now I'm : > going BACK." I saw that show when it first aired, and I think that was 1970. (Math = she was 27 when she died in October, 1970, -10 years back to high school graduation...) She also commented, as I recall, that she was going to go back to Port Arthur, walk up to the jerks who made her life hell and sneer, "Whadaya doin'? Still pumpin' gas?" She did a couple shows with Cavett, which are being reprised by VH-1 as part of a series called "Archive." My fave was probably the one you saw (but which must have been edited), when she got into a bitch match with an arrogant Raquel Welch. Needless to say, Janis prevailed. ============================================================================ Jef Jaisun eljefe@netcom.com ============================================================================ -- ========================================================================= Date: Wed, 5 Jun 1996 13:32:05 -0400 Reply-To: MARCIAG@VMS.CIS.PITT.EDU From: Marcia Grodsky Subject: Message for Terry Spring Sorry about this --- Terry, please contact me. Your t-shirt confirmation notice keeps bouncing. ---Marcia Grodsky marciag@vms.cis.pitt.edu ========================================================================= Date: Wed, 5 Jun 1996 13:37:43 -0400 Reply-To: gm From: gm Subject: arson of black churches This is a multi-part message in MIME format. --------------1023FFF6EFB Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit in regard to the recent discussion re: arson and black churches i found an interesting newspaper column about the incidents at http://www2.phillynews.com/inquirer/96/Jun/05/opinion/ george --------------1023FFF6EFB Content-Type: text/html; charset=us-ascii Content-Transfer-Encoding: 7bit Philadelphia Inquirer: Opinion
Philadelphia Online The Philadelphia Inquirer
Wednesday, June 5, 1996


[CONTENTS]


Opinion
Editorial Letters Commentary



Editorial

Du Pont standoff No. 2
Preserve his rights, but let's get the case moving.

Whether or not millionaire murder suspect John E. du Pont continues to insist he's the Dalai Lama, Tibet's highest spiritual ruler -- as he claimed last week -- he still has to answer to mere mortals in Delaware County. And the sooner, the better.

Bittersweet
SCI may live, but with a nasty political aftertaste.

Sometimes the measures taken to save a life are themselves painful.
So it is with New Jersey's State Commission on Investigations. Saving this worthy watchdog of government might require swallowing a bitter pill -- a provision that would allow the state attorney general to put a four-month hold on release of its reports when they touch on potentially criminal conduct.

The reform reformation
On welfare, Wisconsin breaks with doctrine but the Beltway crowd still prays, ``Cuts, cuts, cuts.''

To show voters that he still wants to ``end welfare as we know it,'' Bill Clinton recently endorsed the way a Republican governor, Wisconsin's Tommy Thompson, plans to move needy people into jobs. That left an outflanked Bob Dole questioning the sincerity of a President who loves to talk about replacing the current system, but who hasn't yet delivered.

Letters to the Editor
Inquirer.Opinion@phillynews.com

A look at the graffiti problem
Redirect energy of the taggers

Having just returned from Venice, where I noticed that several expensive shop windows bore deep scratches, I was gratified to discover from The Inquirer (May 19) that these were not unsuccessful robbery attempts of luxury items, but rather a new form of graffiti, which is also becoming popular in Philadelphia.

Decries damage to the memorial

As I read the May 28 article on the vandalism at the Philadelphia Vietnam Veterans Memorial, I am saddened.
Almost 28 years ago, I lost my brother to the Vietnam War. There were no answers, only questions. But the things that have made our tragedy easier to bear are the places that we can go to remember. Places where there is a name to touch. Places that we can find some peace. One is in Washington, D.C., one is at a cemetery, and one is at the Philadelphia Vietnam Veterans Memorial.

Commentary

Views of Israeli elections

Benjamin Netanyahu has managed to come from political nowhere to swiftly conquer the party, and now, in his first attempt, also the government. By now, his own pragmatism already has him moving away from the rigid concepts of many of his doctrinaire allies.

Claude Lewis / Looking at America

Church burnings don't intimidate; instead, they spark revolutions

It hardly seems coincidental that more than two dozen black churches, mostly in the South, have been destroyed by fire since January 1995. It is more likely that somebody is out there, under the cover of darkness, torching the churches while harboring the hope that black communities will be paralyzed.

Running out of time to make peace
Population growth, water use -- these are the time bombs waiting to undermine Mideast stability.

By Jessica Mathews
Beyond the short-term fate of the Mideast peace process, the larger meaning of Israel's election and of the terror bombings that preceded and shaped it is that peace takes a lot of time. Fear and hatred die slowly. But time to reach stability is something the Middle East may not have enough of.


Philadelphia Online -- The Philadelphia Inquirer -- Opinion
© Wednesday, June 5, 1996

--------------1023FFF6EFB-- ========================================================================= Date: Wed, 5 Jun 1996 12:40:50 -0500 Reply-To: "Stine, Dave" From: "Stine, Dave" Subject: My two cents--strings I agree with the fingers=tone school. For that reason I don't pay much attention either. I can make any string pretty rubbery in one night. My hands sweat a lot which doesn't help. I typically use Markleys 'cause I get 'em cheap and can, therefore, change 'em more frequently. I've tried D'Addario because somebody recommended them. No difference. Believe it or not, I've gotten the most life out of Guild Sidewinders. With Fender's recent acquisition of Guild I doubt that these strings will be available for long. I use 10s but my former colleague and B.B. nut used 9's on a George Benson Ibanez and got beautiful blues tone. (I recently gave Teddy Morgan one of my G strings to replace his broken E--he's got good tone.) ========================================================================= Date: Wed, 5 Jun 1996 12:50:55 -0500 Reply-To: akapil@MEDICINE.BSD.UCHICAGO.EDU From: "" Subject: Re: (Fwd) Re: Chicago Report: 3 of 4/Muddy's Cabin >* IMO, Cabin looked totally out of place. Here you have a line of food >*tents, then you have a HOB tent, and then you have a Muddy's Cabin. > >At least they didn't have Popper and Co performing in or near it! After >all, if Blues Traveler is playing what Muddy would be doing if he was >alive today, wouldn't it make sense to have them be part of where he >grew up? :-) > **Personally, I think Muddy's cabin should be a permanant exhibit in the **Smithsonian Museum of American History. > >-Steve > I disagree...... I think it was wrong to move it in the first place! It should have been restored where it stood and then left there. Muddy's cabin is not a painting or a work of art which may be simply moved to a museum. It is vital that its essence is preserved in its original surroundings because at the end of the day it was someones house which belongs in a certain environment. I hardly think that the Smithsonian would be able to provide anything even close to the Mississippi delta. Its like suggesting that the Taj Mahal in Agra or Shakespeares house in Stratford upon Avon should be moved to the Indian or the British Museums. All IMHO of course!! Adit. Aditya Kapil, PhD IBD Research Center Department of Medicine University of Chicago Ph: (312) 702 2283 FAX: (312) 702 2281 ========================================================================= Date: Wed, 5 Jun 1996 13:32:35 EDT Reply-To: L McCaffrey From: L McCaffrey Subject: Re: Lucky Peterson Comments: To: "Keith J. Frasier" In-Reply-To: I heard Lucky about a year ago for the first time. I really enjoyed it so I went and bought one of his CD's, the new one "Lifetime". If you want straight standard blues you may not like this compilation. It is really funky. When I first heard it i was a bit disappointed, but I don't mind it now (definitely not one of my favorites). He does a couple of covers on it, Sting's "We'll be together" and "Shining star"(I don't know who it's by) and does an alright job, but again really funky. I noticed that he uses a wah pedal an awful lot through out the CD, and he has probably overused it(IMHO). I give it 2 stars out of five. If i had the chance to do it over again, I probably would not buy it. It's not blues it's R&B funk. LM ------------------------------------------------------------------------------ L McCaffrey ========================================================================= Date: Wed, 5 Jun 1996 18:43:43 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Little junior parker I tried this ones before I bought a nice Muddy-CD on LRC (Lester recording Corporation). Low-key live recordings (from the 60-s I guess) with a lot of guitar in open G. And My question: On the cover is a listing of releases and it includes two with Junior Parker. Does anybody know anything about this one. I Would love to get the live recordings he did for Groove Merchant with Jimmy Mcgriff on CD. Mr Bo ========================================================================= Date: Wed, 5 Jun 1996 13:43:26 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re: Churches on fire Call me insensitive (I'm sure someone will...), but I think this issue should be viewed with a little perspective. That these churches are being burned is a horrible thing. I agree. But I'm sure each and every one of us can find horrible things going on in our own backyards, within reach of our volunteer time and efforts and dollars to make our neighborhoods better for people of all races, creeds, beliefs, gender, species, etc. Don't overlook people who need some form of a hand in your own community in order to make some convoluted gesture to a situation somewhere away from you. Buildings that are burned can and will be built again. Church congregations will find places to come together and worship and rejoice in their faith. But the people who are hungry and homeless and abused and lost and hurting and desperate and trapped in your own city, community, state, or county could benefit immeidately from the concern you're feeling for some transient structures miles and miles away. Shannon ========================================================================= Date: Wed, 5 Jun 1996 12:46:39 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: (Fwd) Re: Chicago Report: 3 of 4/Muddy's Cabin In-Reply-To: Message of Wed, 5 Jun 1996 12:50:55 -0500 from On Wed, 5 Jun 1996 12:50:55 -0500 said: >> >**Personally, I think Muddy's cabin should be a permanant exhibit in the >**Smithsonian Museum of American History. > >I disagree...... I think it was wrong to move it in the first place! It >should have been restored where it stood and then left there. Muddy's cabin >is not a painting or a work of art which may be simply moved to a museum. It >is vital that its essence is preserved in its original surroundings because >at the end of the day it was someones house which belongs in a certain >environment. I hardly think that the Smithsonian would be able to provide IMHO Muddy would approve 100%, the bottom line is one of the last noncommercial pure blues festivals is still alive due to the RENTING of Muddy's cabin. What that boils down to is people like Si Perry, Othar Turner, Jack Owens, Lonnie Pitchford......etc get a nice gig in August, that is attended by 99% blues lovers. As Mr. Stovall pointed out the rental of the cabin keeps it and the Sunflower Festival from being extinct. I think it's OK Leonard Watkins ========================================================================= Date: Wed, 5 Jun 1996 18:01:34 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Kenny Brown was Re: Othar Turner/Joe Callicott Comments: To: bit-listserv-blues-l@uunet.uu.net On Jun 05, 1996 08:33:07 in article , 'Chris Adams ' wrote: >A few issues back, one of the blues rags had an article about the juke joint >scene in Mississippi and Fat Possum Records. Mentioned was Kevin (I think) >Brown, who has played with Junior Kimborough and some of the others. He is >described as one of the most talented, aggressive, creative white blues >slide players around. It also mentions that he grew up taking "lessons" from >Othar Turner and Joe Callicott. Mind you, I believe he is fairly young, so >this must have been when he was preteen or teenage. Anyone know more about >this guy? What a way to learn! > >Christopher Adams > Chris, That man is Kenny Brown - when I spoke to him, he said he grew up following RL Burnside and Jr. Kimbrough around - this was May/18/95 at the Bottom Line in NYC. There's a picture of him with R.L. that I took, which Rob Hutten had placed on his Blues Net Web Site at: http://dragon.acadiau.ca/~rob/blues/pics/vt/vt.html That picture is at: http://dragon.acadiau.ca/~rob/blues/pics/vt/054-74.gif -- Vincent vt@usa.pipeline.com ========================================================================= Date: Wed, 5 Jun 1996 18:57:17 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Some of you folks just don't get it jazz and blues are two totally >separate styles. >L McCaffrey Now duck Mr McCaffrey. "I dont wanna hear none of that ble blop" Howling Wolf ========================================================================= Date: Wed, 5 Jun 1996 14:29:55 EDT Reply-To: Wayne Winkler From: Wayne Winkler Organization: East Tennessee State University Subject: HOB & Chi Fest This was my eleventh consecutive Chicago Blues Festival, and IMHO, there was more to enjoy this year than any year before. The addition of the Juke Joint stage and the Best Buy stage gave us some real musical treats. There are some improvements I think can be made, but overall, I thought the Festival was better than ever. If HOB "ruined" it, I don't see it - sure, their presence was pretty overwhelming at times, but the Festival committee could have done much worse in terms of sponsorship. SOMEONE has to pay for a "free" festival. Go ahead, call me a hireling of HOB - I had a good time! -Wayne- ========================================================================= Date: Wed, 5 Jun 1996 19:58:00 -0500 Reply-To: Goran Svenningsson From: Goran Svenningsson Subject: Re: Strings and things There s a lottta talk about different brands back and forth. According to the info I have, there is a *few* factories that manufacture strings and *lot of different brands out there. I am totally convinced that brands like Fender, Gibson and opthers like that buy pretty much from the same factory, then assemble their own sets. I usually string my Fenders with Ernie ball heavy bottom, skinny top 0.10-0.52 and my Gibsons with the same but top three strings one step fatter. (Cause of the shorter scale on Gibsons). A lotta times though, when my store is out of my stings I just asseble the same with what they ve got in stock. As long as it s the right alloy. I HATE stainless strings, -yuck! Bottom line: brands don t matter as long as it s your gauge! Sevenson "Hey Leonard, this mic is a bitch! It can t hear me no good!!" Little Walter ========================================================================= Date: Wed, 5 Jun 1996 14:45:27 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: Othar Turner/Joe Callicott Comments: To: chris@sparkie.osl.state.or.us On June 5, Chris Adams said: >>>A few issues back, one of the blues rags had an >>>article about the juke joint scene in Mississippi and >>>Fat Possum Records. Mentioned was Kevin (I think) >>>Brown, who has played with Junior Kimborough and >>>some of the others. He is described as one of the >>>most talented, aggressive, creative white blues >>>slide players around. It also mentions that he grew >>>up taking "lessons" from Othar Turner and Joe >>>Callicott. Mind you, I believe he is fairly young, so >>>this must have been when he was preteen or >>>teenage. Anyone know more about this guy? What a >>>way to learn! His name is Kenny Brown and he lives in northern Mississippi, near the Tennessee line just south of Memphis. He is not 'that' young. He has played with all of the blues artists in this area including road time with Mojo Buford. Like most free-lancing guitarists, he plays in all styles from Delta open tunings to Nashville Cat. He's a good guy and I'm pleased to see his name come across the list. He's certain to be playing behind somebody at Sunflower and King Biscuit festivals. Dick Waterman ========================================================================= Date: Wed, 5 Jun 1996 20:21:10 -0500 Reply-To: Goran Svenningsson From: Goran Svenningsson Subject: Re: What are we using for that blues guitar tone? After trying different amps (partly with help from L-ers) I decided to stick with my Tweed Bassman reissue. I Put new tubes in it, found a great rectifier tube (Sovtek). Sounds swell! On the other end of the line I got myself an 1952 ES 5 or a strat type w. Danelectro lipsticks into an Ibanez Tube King, by far the best tube dist (12AX7) I ve come across for bluespurpose. Essential for that old Willie Johnson sound. Into a Fender reverb tank, into a Jim Dunlop Tremolo, into the amp. Bluezers, they all have on/off switches so I like using them with moderation! Sevenson ========================================================================= Date: Wed, 5 Jun 1996 11:58:56 -0700 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Re: Jimmy Rogers &/or Ronnie Earl >This weekend I was convinced to buy a CD by Jimmy Rogers and Ronnie Earl >(on Bullseye, btw), and it blew me away. >Does anyone have any suggestions for any other discs by either of >these two? In my opinion, the hottest Jimmy Rogers (other than his Chess recordings from the 50s) has got to be his 1994 release "Bluebird". Backing Mr. Rogers are Carey Bell, Johnny Johnson, Jimmy D. Lane, Ted Harvey and I can't remember (maybe Dave Myers) who plays bass. Joe ========================================================================= Date: Wed, 5 Jun 1996 15:08:57 -0400 Reply-To: TLevy47@AOL.COM From: TLevy47@AOL.COM Subject: SITTING & THINKING - Odetta's First Album ODETTA SINGS BALLADS AND BLUES TRADITION #1004 This is more than just a disk full of heavenly music. It is a historical document. This is Odetta's first album, one that burst upon music scene of 1956 like an Independence Day fireworks display. Born in Birmingham Alabama at the beginning of the 1930s, she grew up in California where she received several years of operatic training and broke into show business playing in Finian's Rainbow, where she undoubtedly got to work with Sonny Terry who was also featured in the cast. Odetta was one of the earliest giants of the folk boom. This album moved a generation of young people to learn the acoustic guitar and sing songs from the great depression and before. Odetta's powerful alto is a great salesperson for the old songs. Only six of the 18 songs she sings here are given authorship credit, and two of them are credited to historians John and Alan Lomax. Bob Dylan has said more than once that it was Odetta that caused him to become a folk singer and that he learned every song on this album. The music has been "sonically cleansed" for new generations to discover on compact disk. SANTY ANNO / IF I HAD A RIBBON BOW / MULESKINNER BLUES / ANOTHER MAN DONE GONE / SHAME AND SCANDAL / JACK O' DIAMONDS / 'BUKED AND SCORNED / EASY RIDER / JOSHUA / HOUND DOG / GLORY, GLORY / ALABAMA BOUND / BEEN IN THE PEN / DEEP BLUE SEA / GOD'S GONNA CUT YOU DOWN / SPIRITUAL TRILOGY NY CD-Takes SANTY ANNO: Odetta sets out with a sailing song. Strumming out powerful chords on her guitar, she belts out a song about a group of adventurers that set out from Liverpool and sail around Cape Horn to get to San Francisco where's there plenty of gold. At the time this album was made Odetta was the darling of the San Francisco night clubs and this song must have been a real crowd pleaser. IF I HAD A RIBBON BOW: Picking notes quietly on the guitar, Odetta slows down and sings a quiet ballad of longing. The singer is a poor girl who in lacking only a few garments, feels she is cordoned off from high society. Here Odetta's operatic training can be detected. MULESKINNER BLUES: This song was a staple of folk singers in the 50s, but Odetta was probably the only woman to attempt it. Unabashedly taking a male point of view, she sings full throated lines like "I got three women waiting on a Saturday night just to draw my pay." An unidentified bass player supports Odetta's hearty guitar attack. The singer has been working on the railroad, but is ready for a change of scenery and offers the "Captain" his services to drive a group of mules across the wilderness. ANOTHER MAN DONE GONE: A haunting prison song. Odetta sets the guitar down and in a deep throated lament tells of an anonymous prisoner who fell at the hands of abusive jailors. The only other sound on this song is the mournful clapping of her hands. SHAME AND SCANDAL: In a heavy Jamaican accent, Odetta has a lot of fun singing a Caribbean folk song. The story concerns a Dutchman living on the island of San Sebastian who had a native woman for a wife. She fell in love with the Dutchman's brother and attempted to run off with him, but was caught and had to inflict a voodoo death on her husband. JACK O' DIAMONDS: Here's a lovely rollicking gambling blues. Gambling has destroyed many a person, a temptation as destructive as alcohol. "Put your Jack on the Queen, it will turn your money green" Odetta sings in a voice dripping with sarcasm. The mysterious bass player returns to enhance this number. 'BUKED AND SCORNED: Odetta uses her operatic voice here as she gently strums the guitar, singing a song of social protest. It's gentle lyrics with its message of hope for the future was a powerful message to the emerging Civil Rights movement of the 50s. EASY RIDER: A blues credited to Leadbelly, but as old as the blues itself. Odetta's great rendition is underlined by the fact that the song works better from a woman's point of view. Odetta sings with a desperate edge to her voice, as if she is at her wits end with all the bad luck she has seen. JOSHUA: Odetta gives this old spiritual new vitality with her spirited rendition. Those walls surely came tumbling down in the 50s and Odetta was at the front with her powerful fingers hitting all the right chords. HOUND DOG: A haunting blues given a compelling treatment by Odetta. Sung in a lazy moan, Odetta tells of a life where just everything has gone wrong. She begins with the startling statement that "God did forsake us" and continues with a catalog of all her problems, such as the well's gone dry and the chickens won't lay. All that's left for her is to watch her hound dog bay at the moon. GLORY, GLORY: THis is the familiar spiritual "When I Burden Down" sung acapella. Odetta sings softly and with great reverence. It's almost more a prayer than a song. ALABAMA BOUND: This is a great train blues. Her guitar emulating the rolling of the big wheels racing down the steel rails, Odetta plans her escape to a better life. As the shortest song on the album, barely a minute and a half, it is over far too soon. BEEN IN THE PEN: Odetta sings this prison blues in her bottom register. The singer has broken out of prison due to loneliness to see his woman. He knows he's going to be heading right back, but he'll risk anything to see his New Orleans woman if even just briefly. DEEP BLUE SEA: This one is a lullaby. As she describes a death at sea, she is singing gently and soothingly. You can practically see the baby in her arms being rocked to the time of the music. GOD'S GONNA CUT YOU DOWN: Odetta sings this moving spiritual without her guitar. Standing in the pulpit, Odetta explains that you may think you can get away with your sins, but sooner or later you will meet divine judgement. SPIRITUAL TRILOGY: Odetta closes this amazing initial recording with three spirituals: "Oh Freedom," "Come and Go With Me," and "I'm on my Way." Over six minutes, by far the longest track on the disk, Odetta is given a chance to show how she can shift gears as she is singing and playing so seamlessly you have to be paying strict attention to catch the transition. The first part of the trilogy declares the freedom from slavery that exists in heaven. The second part she exhorts everyone to come with her on the path to this freedom. The last part she is joyously on her way to the land of freedom. Reviewed by Toby Levy Copyright NY CD Blues - 1996 NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ ========================================================================= Date: Wed, 5 Jun 1996 12:23:18 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Churches on fire Shannon said: > Call me insensitive (I'm sure someone will...), but I think this > issue should be viewed with a little perspective. I would never do that. You clearly have an opinion that I disagree with, but that does not make you insensitive. > That these > churches are being burned is a horrible thing. I agree. But I'm > sure each and every one of us can find horrible things going on in > our own backyards, within reach of our volunteer time and efforts > and dollars to make our neighborhoods better for people of all > races, creeds, beliefs, gender, species, etc. Those things are not so specifically related to the culture and the traditions of the blues. These hate crimes relates directly to what we all love. >Don't overlook > people who need some form of a hand in your own community in order > to make some convoluted gesture to a situation somewhere away from > you. Buildings that are burned can and will be built again. > Church congregations will find places to come together and worship > and rejoice in their faith. Where do uninsured, poor black churches go when they are burned out? Are you SURE they will find a place? How in the world do you know that? How do they FEEL about it? How do they feel about America taking or not taking a stand against over 50 burnings (source: Philly Inquirer) of black churches since Jan. 1995?? This is an organized pattern of attacks by the worst sort of violent racists against one of the pillars of the black community, and it could very well be just the tip of the iceberg of what is planned by these evil people. Where do we, blues fans and musicians, stand? This is more relevant than most anything else I can think of, and is FAR from convoluted. This is *direct* response by a community of those who have benfited greatly from this same culture that is now under attack. >But the people who are hungry and > homeless and abused and lost and hurting and desperate and trapped > in your own city, community, state, or county could benefit > immeidately from the concern you're feeling for some transient > structures miles and miles away. We have this issue in front of us now. It is a concerted, planned, series of attacks as mentioned above. We owe this culture everything for our art form. If we see a homeless person today, well we should do what we can. That has NO bearing on this issue whatsoever.. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Wed, 5 Jun 1996 19:19:12 GMT Reply-To: Michael Blackmore Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Michael Blackmore Organization: JFK School of Government Subject: Re: Churches on fire Comments: To: shannon_oconnor@SWPCO.COM Please forgive this temporary off-topic post, but this is an important issue and I will not post on it again! Really and truly. In article <9605058340.AA834008160@smtpgate.swpco.com>, shannon oconnor wrote: > Call me insensitive (I'm sure someone will...), but I think this > issue should be viewed with a little perspective. That these > churches are being burned is a horrible thing. I agree. But I'm > sure each and every one of us can find horrible things going on in > our own backyards, within reach of our volunteer time and efforts > and dollars to make our neighborhoods better for people of all > races, creeds, beliefs, gender, species, etc. Don't overlook > people who need some form of a hand in your own community in order > to make some convoluted gesture to a situation somewhere away from > you. Buildings that are burned can and will be built again. > Church congregations will find places to come together and worship > and rejoice in their faith. But the people who are hungry and > homeless and abused and lost and hurting and desperate and trapped > in your own city, community, state, or county could benefit > immeidately from the concern you're feeling for some transient > structures miles and miles away. > > Shannon Shannon, No I wouldn't call you as much insensitive as perhaps ill-informed on this point. A couple of points you may or may not be aware of. First of all these are Afro-American churches in mostly poor neighborhoods that are being burned. The burnings are racially motivated, and are believed by government authorities to be part of an overall action my hate groups. Some of these churches may not be re-build because they are from poor communities who lack the resources. One of the most important points is to set aside the image of your traditional church, and recognize the unique role these churches play in the Afro-American community. They are focal points of the community, centers for charity, community and activism. The very things you say we should be focused on are centered in these churches. This is probably why they are being targeted by hate-groups. If you destroy the centres for organizing and community, you undermine the group you aim to destroy. Much of the civil rights movement was based out of churches like these. In fact that was a series of similar church burnings in the 50s that aimed at striking back at the civil rights movement by hate groups. This is a strong reflection of that. So no I don't think you are insensitive, as much as unaware of the special role these churches play. ========================================================================= Date: Wed, 5 Jun 1996 20:33:23 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: SITTING & THINKING - Odetta's First Album >ODETTA >SINGS BALLADS AND BLUES >TRADITION =A71004 > Only six of the 18 songs >she sings here are given authorship credit, and two of them are >credited to historians John and Alan Lomax. I have said it before and I say it again - the Lomaxes sure had a way to get folk-singers to sing their compositions. If I only could understand why they recorded it? I thought that they set out to collect folklore. Bo ========================================================================= Date: Wed, 5 Jun 1996 14:53:43 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Blues and Ragtime? In-Reply-To: <9606051434.AA12174@WaterValley.Net> On Wed, 5 Jun 1996, Tom Freeland wrote: > On 5 Jun 96 at 9:33, Steve Levine wrote: > > > I've been getting more and more into Piedmont blues recently and buying > > cds by lots of early Piedmont artists. My two favorites so far are > > Blind Boy Fuller and Blind Blake. Blake was a blues guitarist, but he > > was also called a ragtime guitarist. One thing that really strikes me > > about these early artists is the ragtime influence. I'm wondering where > > ragtime ends and blues begins, and vice versa. Was Scott Joplin > > influenced by the blues artists of his day? > > At the time, Joplin tried to present in a "serious" format a broad > range of black music. [edit] > > I don't think the borderlines are clear enough (or the recordings > made early enough) to say one thing definitely is ragtime and another > definitely is not. > Part of the reason I think the lines are not clear is that a lot of blues was absorbed by recordings that proliferated, and the form was the 12 bar I IV V that dominates electric urban blues today. It was a more open form, with I VI II V, I III IV V, and really endless combinations. I think we tend to think of those other combinations today as "rags," but "Ragtime" is I think an attempt, as Tom says, to be more serious and to be a distinct movement. Blake and Fuller certainly played rags, but I think calling them "Ragtime guitar players" is a later imposition that they didn't probably think of themselves. There are numbers of rags that Lead Belly played, and in fact what they played they didn't necessarily call "blues." Lemmon Jefferson called a lot of his work "blues," but he also played some rags. I think we're identifying a tradition that these players were probably less strict with than we are, and the boundaries surely blurr when the early urban women singers were singing blues and rags (like Bessie Smith) and being picked up by the country players (like Lead Belly, who we don't think of as a "Ragtime" guitar player). my $0.02. BTW, Steve, doesn't Ari Eisenberg live in your neck of the woods? He does a wicked Blind Blake. Steve Price ========================================================================= Date: Wed, 5 Jun 1996 12:57:41 -0700 Reply-To: Troy Meier From: Troy Meier Subject: Re: Churches on fire Comments: To: "michaelb@KSGRSCH.HARVARD.EDU" ---------- I've read, with interest but with frustration, the content of this thread. I'm certain most everyone on this list abhores and holds in disgust what has taken place as it relates to the string of hateful, violent acts against these churches. I have some reservations, though about its relevancy on the Blues-L. First, where's the blues (see music) content. This is why I (see "most of us") subscribe to he list. If I want diatribes about social political correctness I'll subcribe to the "Social-ills-L". Please excuse the use of sarcasm here, and I don't intend to impugn the importance of the problem, but it makes my point. Second, where was this thread when jewish synagoges were being burned and vandalized by this same cretonous ilk? Just seems inconsistent and irrelevant for discussion here. Any takers? ========================================================================= Date: Wed, 5 Jun 1996 13:01:54 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Some of you folks just don't get it Comments: To: LMCCAFFR@SCIENCE2.WATSTAR.UWATERLOO.CA In-Reply-To: from "L McCaffrey" at Jun 5, 96 01:21:24 pm > ... jazz and blues are two totally separate styles. While they are often widely divergent (as even the blues genre is, e.g. Jesse Fuller, Wynonie Harris, Stevie Ray Vaughn, and Muddy Waters), this is emphatically not always the case. There are abundant exceptions. Stevie Ray Vaughan is blues - right? But - what kind of music is Riviera Paradise? The changes and format are definitely and unarguably jazz, as are many (but not all) of SRVs licks. WORK SONG is jazz. But blues harpmeisters Butterfield and Clarke do it as blues. Miles Davis is undisputably jazz, yet he made much (excellent IMHO) use of the blues format. My musical style is a blend of blues and jazz influences, and I do a lot of jazz instrumentals (no one will argue that "Take 5" is blues ;-), but I'm considered to be a "blues artist" (although Southland Blues reviewer Jon Pepper is not the first to compliment me as "eclectic" :-) Saxophonist Hank Crawford, definitely a jazz player, nonetheless uses the blues format extensively - and he typically takes shorter solos, more traditionally associated with blues! Blues saxman Big Jay McNeely (who I've worked with extensively) likewise blends jazz and blues convincingly. I'm listening to George "Harmonica" Smith - definitely blues? But the guitar on many cuts of this album plays jazz. Stormy Monday - blues or jazz? It can be argued convincingly either way, with a plethora of examples. Little Walter, the epitome of blues harmonica, copped many of his licks from jazz horn players. This is a big reason why he was such an innovator, and his music is still incredibly popular today. Also, LWs guitarist had a definite jazz flavor to his playing. But blues/jazz isn't alone in having the boundaries blurred. This is true of many styles of music normally considered "divergent". Because musicians are 1. creative, 2. musically divergent, and 3. free to combine whatever they want, it's very hard to state categorically that ANY genres are mutually exclusive. -- IronMan Mike Curtis ========================================================================= Date: Wed, 5 Jun 1996 13:11:59 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Strings Comments: To: LMCCAFFR@SCIENCE2.WATSTAR.UWATERLOO.CA In-Reply-To: from "L McCaffrey" at Jun 5, 96 01:09:12 pm I heartily agree with this. There's a story about Eric Clapton, who sat in with a certain band. All they had for him to play through was a cheezy solid state amp. He tweaked a couple of controls and said he was ready. And it sounded exactly like classic Clapton. We frequently have the same discussion on harp-l regarding amps and mics. I've had sitting-in harp players accuse me of changing tone settings to make them sound bad. When I grab the mic and play a couple of licks, with big, beefy tone and LOUD volume, it puts the accusation to rest. It's pretty much the same with guitar. A great guitarist will sound great using anything, and a lousy one will likewise sound lousy using anything. In harmonica, I figure the player is responsible for a good 80% of the sound, with mic, amp, and effects being the other 20%. This ratio probably comes pretty close in guitar as well. Quality sound doesn't come in a stomp box, guitar, amplifier, etc. It comes in the musician. -- IronMan Mike Curtis ========================================================================= Date: Wed, 5 Jun 1996 13:26:53 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Do you like Jimi Hendrix ":BLUES"? One of my favourite Hendrix albums is "The Jimi Hendrix Concerts." I'm not sure if it is still available but it is worth owning if you like Jimi. On it are great versions of "Bleeding Heart", "Red House" and "Hear My Train A Comin'." This album was one that really turned me onto the blues. Especially "Bleeding Heart." Also on this album is an absolutely stunning version of "Stone Free." Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Wed, 5 Jun 1996 13:27:05 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: My two cents--strings Comments: To: "Stine, Dave" Dave Stine wrote: > I agree with the fingers=tone school. For that reason I don't pay much > attention either. I can make any string pretty rubbery in one night. My > hands sweat a lot which doesn't help. I typically use Markleys 'cause >I get > 'em cheap and can, therefore, change 'em more frequently. I've tried > D'Addario because somebody recommended them. No difference. Believe it or > not, I've gotten the most life out of Guild Sidewinders. With Fender's > recent acquisition of Guild I doubt that these strings will be available > for long. I use 10s but my former colleague and B.B. nut used 9's on a > George Benson Ibanez and got beautiful blues tone. I say there is a difference from string to string. When I switched from D'Addario to GHS there was a noticeable difference on tone. I liked the way GHS sounded. While I'm a card-carrying member of the "tone is ultimately in your hands" club I've found that things such as strings, cables etc. all influence your sound. I think it is worthwhile to pay attention to such things. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Wed, 5 Jun 1996 13:27:16 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Blues Standards for a Vocalist The vocalist that I play with is getting more and more into the blues (and she definitely has the "right" voice for it. We did an open mic recently where during singing "Trouble in Mind" we had people come up and start jamming (it was fun!). So she would like to expand her repitiore (sp?) of songs. I did suggest "Stormy Monday" but with the warning that most people are a little tired of hearing this song. But it is a standard and one she should know IMHO. Can anyone suggest some songs that the average blues jammer would know, that aren't overdone so I can make her a tape and list of songs for her to learn. Thanks, Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Wed, 5 Jun 1996 13:27:10 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Strings Comments: To: "P.W. Fenton" PW wrote: >B.B. King's guitar had .09s on it. Here is a man playing Blues on >very light strings through a solid state amplifier. Exactly what >most gearheads would tell you NOT to do. I don't know of anyone who >would seriously dismiss B.B.'s tone. Last I read BB was using 10s but PW is right. While there accepted ways that work with most people some just do their own thing. I would suspect though that BB would sound the same no matter what guitar he was playing. I remember reading an interview with BB where he talked about using "Black Diamond" strings. I have heard other guitarists refer to these strings as well. They seem to have been of a quite a heavy guage. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Wed, 5 Jun 1996 13:26:58 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Love Her With A Feelin' Comments: To: "P.W. Fenton" In-Reply-To: <199606051109.HAA38136@osceola.gate.net> from "P.W. Fenton" at Jun 5, 96 07:08:00 am > > > > Fulsom as purchased the copyrights of that song!? > > > > > > Lowell ain't been to prison. His last name is "FulsoN" :-) > > Why you telling ME? I'm not. Just using group reply to respond to all involved parties. > (Besides, there is no prison named Fulsom either) It's called "poetic license" :-) -- IronMan Mike Curtis ========================================================================= Date: Wed, 5 Jun 1996 20:23:05 GMT Reply-To: Steven Hirsch From: Steven Hirsch Organization: National Agricultural Library Subject: Re: Janis Joplin on Cable Comments: To: bit-listserv-blues-l@uunet.uu.net >Does anyone know exactly when this show was originally broadcast? It had to >be before Proud Mary became a hit for Ike & Tina, which is the first *I* >remember hearing of them, because, as I said, Cavett didn't know the name at >all. Can't answer your question about the show, and I don't remember offhand when the Ike and Tina version of "Proud Mary" came out, but I can say Dick Cavett doesn't know much about Rock, Blues, or R&B as far as I can tell, so I'm not surprised he'd never heard of Ike or Tina. I did see him interview Frank Zappa on PBS in the early 80s, and Zappa was trying to explain to him who Jim Morrison was, even at that late date. Steve ========================================================================= Date: Wed, 5 Jun 1996 21:34:49 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Blues Standards for a Vocalist Comments: To: Shaun T Cronin >The vocalist that I play with is getting more and more into the blues (and >she definitely has the "right" voice for it. We did an open mic recently >where during singing "Trouble in Mind" we had people come up and start >jamming (it was fun!). So she would like to expand her repitiore (sp?) of >songs. > >I did suggest "Stormy Monday" but with the warning that most people are a >little tired of hearing this song. But it is a standard and one she should >know IMHO. > >Can anyone suggest some songs that the average blues jammer would know, >that aren't overdone so I can make her a tape and list of songs for her to >learn. > >Thanks, > >Shaun > >Shaun Cronin 'Woke up this morning between midnight and day. I was >shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son >House As a vocalist its always usefull to have a battery of tematic songs - songs for different weather, times of the day, hollidays etc. So why not start with - The sun is shining, the sky is crying, Wee Wee hours, early in the morning, blue monday etc. They are all 12 bar stuff but makes a great contribution to a jam if pulled out at the appropriate sitution. ========================================================================= Date: Wed, 5 Jun 1996 20:28:58 GMT Reply-To: Steven Hirsch From: Steven Hirsch Organization: National Agricultural Library Subject: Re: Mandolin advise Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199606020214.WAA01272@sparky.interaccess.net>, alison hardage wrote: >There's a great documentary about Yank Rachel called "Louie Blue-ie" >(or something like that) Great documentary, but it's about Howard Armstrong not Yank Rachel. I'm pretty sure, I saw him years ago, and did see the documentary. Steve ========================================================================= Date: Wed, 5 Jun 1996 16:46:58 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Chris Duarte Dates In case anyone cares, I found this on a music industry forum. It is the upcoming dates for Chris Duarte: 6/14/96 Atlanta, GA The Cotton Club 6/15/96 Birmingham, AL City Stages, Linn Park 6/23/96 Racine, WI HarborFest - Mainstage (with the Fabulous Thunderbirds and Roben Ford) 6/26/96 Kalamazoo, MI State Theater 6/27/96 Chicago, IL Park West 6/28/96 Milwaukee, WI Summerfest Rock Stage 6/29/96 Minneapolis, MN Music in the Zoo (with Roben Ford and Thin Blue Line) 7/2/96 Indianapolis, IN The Patio 7/3/96 Peoria, IL The Riverfront 7/5/96 LaCrosse, WI LaCrosse RiverFest 7/6/96 Stevens Point , WI Pfiffner Pioneer Park 7/8/96 Springfield, MO Murphy's 7/9/96 Columbia, Mo The Blue Note 7/10/96 Fort Wayne, IN Piere's 7/11/96 Dayton, OH McGuffy's 7/12/96 Columbus, OH The Patio in The Brewery 7/13/96 Munster, IN Munster Town Hall Grounds 7/19/96 Pittsburgh, PA I.C. Light Amphitheater 7/26/96 Salt Lake City, UT Utah Jazz & Blues Fest (with Otis Rush) 8/3/96 Kalispell, MT Big Mountain Resort (with Elvin Bishop, John Mayall & The Bluesbrakers) Gavin ========================================================================= Date: Wed, 5 Jun 1996 16:47:03 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Re: Blues and Ragtime? Comments: To: Steve Levine Oooh, oooh, Mr. Kotter! Ooh, ooh, I know. The Blues was the precursor of pretty much every turn-of-the-century musical style incuding: jazz (subdivide that as far as you want), country, and ragtime. The Blues, which stemmed from the gospels of Southern blacks, gave popular music (in all its forms) two things it had never had before: flatted thirds, fifths, and sevenths (i.e. the Blues sound) and syncopation. (Several scholarly works have focused on the fact that only in the U.S. with the black slave population in close proximity to the white free people could such musical styles even grow.) Anyway, ragtime is greatly influenced by the Blues. It may not sound like it when you listen to the instrumentations. But if you dissect the music itself, you see it very clearly. The problem with a lot of the conventional wisdom on Blues and its influence is that it fails to consider how this style of music came about and when. Some people will say that Blues came after Ragtime and/or jazz. But his perception is due mostly to popularity. Ragtime and jazz became popular in national scope (with whites) before the Blues (an "evil, black" music played by "them") ever did, Ragtime before jazz. But the Blues is a post-Civil War phenomenon. It came about as blacks and whites began mingling (however uneasily) after the war. The white influence came in the instrumentation while the black influence was the scale and syncopation. The style did not become popular (i.e. palatable enough for big record companies to buy into) until well into the 20th century. By then, jazz was king, and Ragtime's day was pretty much over. Hope this helps, Gavin ========================================================================= Date: Wed, 5 Jun 1996 16:41:52 EST Reply-To: Saint Bob From: Saint Bob Organization: Luse Lehman Gorman Pomerenk &Schick Subject: Re: Blues standards Nobody Knows You When You're Down And Out. -----BEGIN PGP PUBLIC KEY BLOCK----- Version: 2.3 mQCNAjG0pycAAAEEAMvlAvcWCYlsder7lgubJR9aSSi8XW3PHmxyX/w4aB0G8bIa vxa46almBW+m+UtLG7UrLjoOuhynCas7fT2NZtu7/eNZ3TE3dLwpwaPDieqNcRTf 0FazBbOQXt9xu+zluOjjyNwq87OYdrE59qG7kAtiye169GDfiwB6vn1yZvu5AAUR tBBib2JnQGx1c2VsYXcuY29t =x/YY -----END PGP PUBLIC KEY BLOCK----- ========================================================================= Date: Wed, 5 Jun 1996 14:01:00 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Churches on fire Troy Meier said: >I've read, with interest but with frustration, the content of this thread. > > >I'm certain most everyone on this list abhores and holds in disgust what >has taken place as it relates to the string of hateful, violent acts >against these churches. > >I have some reservations, though about its relevancy on the Blues-L. > >First, where's the blues (see music) content. This is why I (see "most of >us") subscribe to he list. Just *think* how much blues music we would have to chat about on our shiny little computers if the Klan had had their way in the 19th century!! None! This music CAME from that culture and in no small measure from those churches. >If I want diatribes about social political >correctness I'll subcribe to the "Social-ills-L". Please excuse the use of >sarcasm here, and I don't intend to impugn the importance of the problem, >but it makes my point. Hey Troy, pardon me, but screw you with the political correctness shit... ok? I would like to not think of you as an uninformed idiot but you are making it hard. >Second, where was this thread when jewish synagoges were being burned and >vandalized by this same cretonous ilk? > >Just seems inconsistent and irrelevant for discussion here. Any takers? Whatcha wanna bet it's the same bunch of walking turds doing both crimes? These crimes relate DIRECTLY to the traditions and roots of the blues. DC sorry for the anger, but this was a little over the top.... ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Wed, 5 Jun 1996 17:12:14 EDT Reply-To: ron kraemer From: ron kraemer Subject: Robben Ford video? Just catching up on some digests... I read a post by someone saying they had a Robben Ford guitar instruction video, and I'd like to get my hands on one. How can I track one down? Something tells me Shaun might know... :) Thanks. Ron ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters (and in another life....) Ron Kraemer and the Hurricanes ************************************************************ ========================================================================= Date: Wed, 5 Jun 1996 16:12:44 -0500 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: Blues and Ragtime? > The Blues was the precursor of pretty much every turn-of-the-century > musical style incuding: jazz (subdivide that as far as you want), country, and > ragtime. [...] I thought it was all Funk! :) Sorry, couldn't resist. ========================================================================= Date: Wed, 5 Jun 1996 17:24:54 EDT Reply-To: ron kraemer From: ron kraemer Subject: Philly Blues at Penn's Landing A week or so late, but... I was at the Friday evening "Blues jam", and made it on Saturday as well. Overall impression is that I'm a bigger fan of the old format. Two days of nothin'-but-the-blues, and leave the zydeco/jambalaya jam for another day. Mixing it all together was a bit much. That said, there WAS a blues-only jam on the Friday before, May 21. The Holmes Brothers were very soulful, some blues, some gospel, and all great harmonies. Keisha Brown, a local Philly shouter, had the home crowd on her side throughout her set. Duke Robillard was my fave. I REALLY like his sound and style. Saturday I saw Luther "Guitar Jr." Johnson. He reminded me of Buddy Guy a bit. His playing was straight-ahead Chicago Blues. Caught more of Duke, then followed with Etta James. A true Queen of the Blues, and was treated by the Philly crowd as such. Great food, average beer, perfect location (right on the river). Ron ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters (and in another life....) Ron Kraemer and the Hurricanes ************************************************************ ========================================================================= Date: Wed, 5 Jun 1996 17:28:28 EDT Reply-To: ron kraemer From: ron kraemer Subject: Duke Robillard axe? At the Philly Blues jam, I wasn't close enough to see what kind of guitars Duke plays. He used 3. I know he had a Strat, a big white 335-looking beauty, and a fatter-bodied black guitar. That black guitar has a really fat and sweet sound to it. Kinda vague, I know. Any Duke fans out there that can fill in the blanks? Thanks. Ron ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters (and in another life....) Ron Kraemer and the Hurricanes ************************************************************ ========================================================================= Date: Wed, 5 Jun 1996 17:31:04 -0400 Reply-To: JukeFreak@AOL.COM From: "(Karen Hanson)" Subject: Re: Chicago Report: 3 of 4 (Muddy's cabin) >Can someone please tell me more about the cabin? Did the HOB do a good >restoration job? What did the festival crowd think of the cabin? Okay, here's a description. The cabin is mounted on wheels, like a mobile home, and it was sitting in the middle of Columbus at the far end of the fest. I expected to see a big crowd around it, but it was Saturday and raining and perhaps that had an effect. Probably about a dozen people were waiting in line, a dozen or so more standing around the outside. I did not go in. Instead, I looked in the windows and circled around the back. The front of the cabin reminded me of the Clampett's home, with a forward sloping tin roof over a porch that extended the whole width of the cabin (not very wide--maybe 12 feet?). On the porch, and inside also, were mounted photographs of Muddy and a few others, replicas of record albums, quoted lyrics from songs, and other memorabilia. The surprise was on the back porch. They had a TV mounted on porch that continuously played a documentary about the restoration of the cabin. It began with a short bio of Muddy, showed pictures of Clapton and Page, interviewed one of the Stovalls (Carter, maybe?), and then showed footage of bulldozers and workmen and such. My impression? It was slick, just like everything else the HOB does. According to the video, the entire cabin was disassembled and moved in pieces to New Orleans, where it was reassembled and missing pieces were added. (The roof had patches of rust, odd because the original roof was lost in a tornado--so what did they do, find rusty tin panels from someplace else? ) All in all, it looked like many restored historical cabins I have seen in national parks around the U.S. The difference is, this particular cabin was sitting in the middle of a street in Chicago. For me it was totally out of context. And no, I did not feel the presence of Muddy there. Someone mentioned the "pervasive presence" of the HOB. I agree. I don't remember noticing them at all last year. This year, the HOB signs were everywhere. I understand the necessity of providing funds for a fest. But it still bothers me. Anytime a substantial amount of money for any project comes from a single source, that source inevitably exercises a certain influence or even control over the project. So what will happen next year--the Fest will be headlined by Gregg Allman and John Goodman? Karen ========================================================================= Date: Wed, 5 Jun 1996 17:31:07 -0400 Reply-To: JukeFreak@AOL.COM From: "(Karen Hanson)" Subject: Re: Chicago Report: 3 of 4 >6. Good Marketing Idea: On the other hand, the "Best Buy" CD >booth had a small stage which featured a variety of blues >artists doing acoustic performances. I bought several CDs >on the basis of those sets. I liked it, too, but didn't you miss the Tower Records and JRM booths? And wouldn't it be nice if Best Buy actually had all those blues CDs in their stores? The one closest to me has about half that many. Btw, when Guy Davis was performing on the Juke Joint stage with Paul Geremia, he made the comment that they had some CDs with them for sale, but they could be purchased at Best Buy for a better price. >8. Why do some people go to a festival, go right down front, >then talk in very loud voices throughout the set? Why do >some people keep yelling the performer's name while >he/she is singing? Why do some people sit near the >acoustic stage with a radio playing? And why do people who are 6'6" tall always want to stand in front of ME???? Karen ========================================================================= Date: Wed, 5 Jun 1996 16:24:34 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: HOB & Chi Fest Comments: To: Wayne Winkler In-Reply-To: As a member of the Chi. Blues Festival Advisory (important word) Committee, I want to point out that it wasn't the Committee which was a party to the deal with HOB; that all came after we made our recommendations and the deal was done by someone in city politics. In Chicago especially, that should come as no surprise. Incidentally, it's been alleged that HOB wanted to charge admission to the cabin, but the Festival Coordinator said no. I should probably be discreet and bite my tongue about HOB, but I find it interesting that the self-professed "saviors" of the blues chose the following three acts to present: Paul Black, Jimmy Rip and John Mooney. Their criteria for who to "save" seem about as solid as their definition of "blues." ========================================================================= Date: Wed, 5 Jun 1996 21:20:57 GMT Reply-To: Steven Hirsch From: Steven Hirsch Organization: National Agricultural Library Subject: Re: Who Do You Love? Comments: To: bit-listserv-blues-l@uunet.uu.net In article , Bo Carlsson wrote: >>I admit to having an obsession with this song. What I'm asking is does >>anyone know of some killer versions of this tune? The version by Ronnie Hawkins and the Hawks. Just great. Most recently available on Across the Great Divide the Band compilation. Steve ========================================================================= Date: Wed, 5 Jun 1996 18:15:28 -0400 Reply-To: KLUKFan@AOL.COM From: Ken Larkins Subject: Jimi, Eric, Stevie Ray, or Buddy? I am interested in hearing ya'all's opinion on the A#1 BEST axe man to ever "jugar las azuls." Are the any new artists out there that one should be listening to? Lenny Kravitz is whom I consider to be the best thing to happen to Blues/Rock in the last 5 years... agree--or disagree? Stevie Ray Vaughn and Buddy Guy are my all-time favorites, although I have great respect and feelings for the music of the Allman Bros. (when Duane was still killing listeners), John Lee Hooker, Jeff Beck to mention only a few of my faves... Ken ========================================================================= Date: Wed, 5 Jun 1996 17:18:42 -0600 Reply-To: James Bardsley From: James Bardsley Subject: Re: Strings Comments: To: Mike Curtis In-Reply-To: <199606052011.NAA17891@kaiwan009.kaiwan.com> To add to this story is the one about the time Jeff Beck was sitting in with some pretty good American player- I forget who- but imagine it's, say, Robert Cray- and as the story goes Jeff was outside working on and under his sports car when it came time for him to come into the studio. He came in, washed /most/ of the grease off his hands, took the other guy's Strat, played his piece- /sounding EXACTLY like Jeff Beck/ and went back out to finish rebuilding his carberators. JIm At 1:11 PM -0700 06/05/96, Mike Curtis wrote: > > >I heartily agree with this. > >There's a story about Eric Clapton, who sat in with a certain band. All >they had for him to play through was a cheezy solid state amp. He tweaked a >couple of controls and said he was ready. And it sounded exactly like >classic Clapton. > >We frequently have the same discussion on harp-l regarding amps and mics. >I've had sitting-in harp players accuse me of changing tone settings to make >them sound bad. When I grab the mic and play a couple of licks, with big, >beefy tone and LOUD volume, it puts the accusation to rest. > >It's pretty much the same with guitar. A great guitarist will sound great >using anything, and a lousy one will likewise sound lousy using anything. >In harmonica, I figure the player is responsible for a good 80% of the >sound, with mic, amp, and effects being the other 20%. This ratio probably >comes pretty close in guitar as well. Quality sound doesn't come in a stomp >box, guitar, amplifier, etc. It comes in the musician. > > > > > -- IronMan Mike Curtis James R. Bardsley, Ph.D. Assistant Dean, Plans and Programs LSU Medical Center-Shreveport (jbards@lsumc.edu) ========================================================================= Date: Wed, 5 Jun 1996 17:14:44 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Love Her With A Feelin' > > > > > Fulsom as purchased the copyrights of that song!? > > > > > > Lowell ain't been to prison. His last name is "FulsoN" :-) True, but if you go down south or back to his home in Oklahoma, you'll find that a lot of people pronounce it Fulsom. Don't know why, but they do. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Wed, 5 Jun 1996 17:14:44 +0000 Reply-To: Ian Angus Comments: Authenticated sender is From: Ian Angus Subject: Re: Is DC religious? > This issue of hate crimes against black churches is not just about religion. > > Certainly anyone who believes in God is going to be very unhappy with these > events. But I think those who are agnostic and even atheist should be just > as worried because it is a terrible hate crime that appears to be racially > motivated. As a lifelong atheist, I agree totally with Don. Attacks on the black churches are heinous attacks on key institutions of the black community, regardless of what I think about gods and such. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Thu, 6 Jun 1996 00:49:13 +0200 Reply-To: JORGE MUNOZ RODRIGUEZ From: JORGE MUNOZ RODRIGUEZ Subject: Re: Love Her With A Feelin' Comments: To: "P.W. Fenton" At 05:21 5/06/96 -0500, P.W. Fenton wrote: >On 5 Jun 96, JORGE MUNOZ RODRIGUEZ had this to say: > >> In the review David Whiteis write about Taj Mahal "Phantom Blues", he says: >> >> "Ol' Slowhand turns in another stellar perfomance -this time digging into >> "his Buddy Guy lickbook- on *Love Her With A Feeling* (misattribued to >> "Sonny Thompson and Freddy King),..." >> >> And well, where is the missattribued? Because as far as I know, "You've got >> to love her with a feeling" it was recorded by Freddy King in Cincinnati >> August 26, 1960, and in the "Freddy King Sings" album, that song is credited >> to F.King & S.Thompson. In the Fedreal single 12384 is credited only to F.King. >> Buddy Guy does "Love her..." on "Slippin' In" CD and is credited to L.Fulsom. >> Out of the Lowell Fulsom recordings from 1946 to 1970 (Blues Records vol.1 >> Leadbitter/Slaven) there are no song titled "You've Got To Love Her With A >> Feeling" or "Love Her With A Feeling". >> >> So, where is the missattribued? >> Do someone knows if that song is really composed by Lowell Fulsom? or Lowell >> Fulsom as purchased the copyrights of that song!? > >Actually, "You've Got To Love Her With A Feeling" is yet another example >of a Tampa Red song that everyone else has laid claim to. > >P.W. Fenton >Tampa, Florida >http://www.gate.net/~pwfenton/ > > Exactly!, the great blues seminal, Tampa Red: "Love With A Feeling", Aurora, Ill. 16 June 1938. I think I'm gonna play this and the anothers one in my show next 16 june (casually?) like a homage to "The Guitar Wizard" Hudson Whittaker. Thanks, P.W. Jorge ////\\\\ // ~ ~ \\ (-{.}{.}-) TREN 3, on RADIO 3 - RNE. Weekends at Midnight. | /\ | _/\ -- / "When the train it left the station, \/\__/ there was two lights on behind..." *Er Makis* ========================================================================= Date: Wed, 5 Jun 1996 16:12:46 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: Churches on fire Shannon said: > Call me insensitive (I'm sure someone will...) And then said that the churches that have been burnt are: some transient > structures miles and miles away. Well, I won't call you insensitive, but I don't think that a small church is can simply be described as a 'transient structure', as if it had no value in and of itself. I believe in many communities people put their blood, sweat, and tears into these churches, and besides being places of worship they also become centers of community activity and gathering (and thus 'culture'). An organized attack (which is what this seems to be) on these people (and it is an attack on the people, not just on some building) is despicable and of great importance, and should cause concern. -Jim (hndful@uniserve.com) ========================================================================= Date: Wed, 5 Jun 1996 16:24:21 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Robben Ford video? Comments: To: ron kraemer Ron Kraemer asked: >I read a post by someone saying they had a Robben Ford guitar instruction >video, and I'd like to get my hands on one. How can I track one down? > >Something tells me Shaun might know... :) Well I do know. But it'll cost ya. The usual fee. A 55 gal drum of Guiness. Just off the top of my head I'd say that the videos that you are looking for are available from: Note Service Music, Dept GWJN6 PO Box 4340, Miami, Fl 330410 There are 4 videos available,. Back to the Blues Pt.1 and Pt2, Playin' the Blues and The Blues and Beyond. Playin' the Blues is for those just getting into the blues while the others require a good blues background and a little theoretical knowledge. I have the Book/CD of "The Blues and Beyond" and it is well worth checking out. The same company also has BB King videos, transcriptions of of a few albums (Buddy Guy, George Thorogood etc.) and collections of transcriptions from Blind Boy Fuller, Lonnie Johnson, Blind Blake, Mississippi John Hurt and the Rev. Gary Davis. I'm not affiliated blah, blah. Just a know-it-all:-) Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Wed, 5 Jun 1996 19:28:48 -0400 Reply-To: Kenneth Epstein From: Kenneth Epstein Organization: UltraNet Communications, Inc. Subject: Re: Muddy's best recording Comments: To: bit-listserv-blues-l@uunet.uu.net I like the Chess record of Folksinger; it has Buddy Guy on guitar. I just replaced my vinyl with the gold CD, recorded direct from the master tapes. It sounds awesome. This is a mostly acoustic set. _____________________________________________ Kenneth Epstein Email: Web: ========================================================================= Date: Wed, 5 Jun 1996 19:47:20 -0400 Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Othar Turner/Joe Callicott Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199606051524.IAA06683@sparkie.osl.state.or.us> Chris Adams writes: Mentioned was Kevin (I think) >Brown, who has played with Junior Kimborough and some of the others. He is >described as one of the most talented, aggressive, creative white blues >slide players around. It also mentions that he grew up taking "lessons" from >Othar Turner and Joe Callicott. Mind you, I believe he is fairly young, so I think you mean Kenny Brown who backs RL Burnside (and probably also Kimbrough on occassion). You'll see his name credited on the CD releases (Kimbrough's Sad Days Lonely Nights, and Burnside's Too Bad Jim). I saw him play the Mississippi Valley Festival last year with Burnside and they tore the place up. Very accomplished guitarist. Art Schuna Art Schuna ========================================================================= Date: Wed, 5 Jun 1996 20:04:17 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Re: Jimi, Eric, Stevie Ray, or Buddy? Comments: To: Ken Larkins New guitarists? Let's see: I like Chris Duarte. He has a definite Texas flavor to his playing, but it's still accessible to the mainstream. Kenny Wayne Sheppard's CD "Ledbetter Heights" is a whale of a disc, too. he was very youn when he recorded it (17, I believe). He has huge potential. While his chops are a bit wishy-washy right now, I can see a day when they become solid and often mimicked. He has a definite style that is clean and efficient (i.e. he doesn't just throw in as many notes as he can). I also like Keb' Mo' who has a new one coming out on June 18th. He plays a National steel guitar and has a very fluid style. Gavin ========================================================================= Date: Wed, 5 Jun 1996 20:23:45 -0400 Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Reflections on Chicago Blues Fest Comments: To: bit-listserv-blues-l@uunet.uu.net Best Performance Heard - I have to agree with Ian on this one, Byther Smith wins this one even though he wasn't "officially" part of the festival. He performed with Big Time Sarah and Barkin' Bill in Jazz Records Mart's performance space which wasn't more than 10 x 14 ft - what a show it was. Also picked up Byther's latest, "Mississippi Kid" (Delmark DE-691) which happened to just come out that day. This is a must own - run, don't walk disc. All 13 tracks are written by Byther. Best Jimi Hendrix Impersonator - Pistol Pete and the Professionals - I swear, the guy had all the sound, moves, etc of Jimi...and if I squinted my eyes just right, he looked a little like him. Did a nice job on Voodoo Child, even played the Woodstock version of Star Spangled Banner. He played the guitar with his tongue and behind his back like Jimi. He was a definitely out of place between a solo acoustic set by Guy Davis and David Bromberg and the rest doing their best Gary Davis impersonations. Definitely not for everyone, though the crowd seemed to groove on him. Busiest Man at the Festival - Has to go to Corey Harris. I really enjoyed his set and was glad to see he got so much exposure. But the 6 times he performed meant that some other performers were not allowed to perform. It seemed there was a lot of local talent that could have filled in. Did the CBF get a package deal here? Was their talent budget so limited? Best Save of the Festival - has to go to Lurrie Bell. They set up the Front Porch Stage for Joe Duskin and the Sunnyland Memorial Tribute. After a prolonged delay, Lurrie comes out with some musicians he obviously hadn't worked with. He'd call out the name of a song, the key he was going to play it in and started playing. The rest of the band followed. It started kind of shakey but got better as the set progressed. Joe didn't come on till the end of the day and Homesick James didn't show. Strangest Sight at the Festival - Muddy's cabin sitting on a Chicago street parked in next to the back side of the Art Institute with very modern looking glass walls. I took a picture of the cabin reflected from the Art Center walls - hope it turns out. I didn't bother to go in. I was glad I got to see it, though I wonder how close to the actual structure it looked. It would have benn better to see it commercial free. I spent all of my time at the Front Porch Stage, Saturday and Sunday. I avoided the House of the Blues stage and am sorry I missed Texas Johnny Brown, but he wasn't listed on the schedule (listed as Pete Mayes and his Texas House Rockers with special guests). I must admit I wasn't familiar with Pete Mayes and I was suspicious enough after seeing the rest of the HOB lineup that I decided not to go for it. I had a great time at this event, but don't think that it quite matched prior years' lineups, even with the extra stage. I liked the scheduling of most of the artists during the day and night performances. It allowed me to see who I wanted to see without wrestling the crowds to get into the seating area of Petrillo Music shell. Art Schuna ========================================================================= Date: Thu, 6 Jun 1996 00:25:06 GMT Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: Churches on fire Comments: To: shannon oconnor On Wed, 5 Jun 1996 13:43:26 EST, shannon oconnor wrote: > That these > churches are being burned is a horrible thing. I agree. But I'm > sure each and every one of us can find horrible things going on in > our own backyards Your well-intentioned response pains me nonetheless. These church burnings are not isolated incidents. There have been about 25 black church arson fires over the last 18 months in seven southern states, and the rate is increasing. (And let's don't forget the more prevalent acts of race-related vandalism that *do* hit us locally.) All this points to a conspiracy of efforts that we haven't seen since the days of government-sanctioned racism. Clearly, the concerns expressed here are not about "some transient structures miles and miles away," but for the culture and heritage of a people we have come to love and care for more than most and about a particular kind of painful humiliation that we have been blessed to feel a special compassion for. The people of blues-l are especially qualified to and can and should make an immediate impact on these remarkably cowardly acts. Tomorrow I hope to be speakng with the director of a group called Klanwatch at the Southern Poverty Law Center in Mongomery, Alabama. (The center has also been especially active in the area surveying citizen militia groups in the U.S.) If he has some ideas as to how blues-l might be able to support their efforts, I'll be sure to pass them on. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Wed, 5 Jun 1996 20:34:00 EDT Reply-To: edward c liu From: edward c liu Subject: SITTING AND THINKING: Holmes Bros, _Lotto Land_ Howdy all, Get this disc. Now. Trust me. -- Ed Edward C. Liu | "Ever since the world ended, I don't get edwick@cc.bellcore.com | out much anymore." | -- Mose Allison The opinions in this message are mine and not Bellcore's. Really! *------------------------------cut heer------------------------------* THE HOLMES BROTHERS LOTTO LAND ORIGINAL SOUNDTRACK RECORDING STONY PLAIN #1223 It is with distinct pleasure that we get to review this album by one of New York City's own. Although the actual brothers were born in Virginia, the Holmes Brothers are a familiar sight on the club listings in New York, appearing regularly at New York blues landmarks like Dan Lynch's Blues Bar and Terra Blues. Their debut album, released in 1989, artfully grafted elements of jazz, country, and urban funk into the blues to come up with a truly innovative and unique sound. It made a big splash in the blues world, leading them to international tours and recognition outside of the Big City, as well as three more albums afterward. Their latest contribution to the blues is the soundtrack to the John Rubino film "Lotto Land" (which, sadly, seems to have died a quiet death at the box office), which tells the tale of several residents in a Brooklyn ghetto and how their lives are thrown into turmoil by a missing multi-million lottery ticket that was sold in the neighborhood. The director provided the lyrics for all of these tunes, which are taken in, adopted, and delivered with gusto by the band. There's a lot of grit to be found here, which is appropriate considering the bittersweet plot line of the movie. With the Holmes Brothers in the business, we need not worry about the fate of the blues into the 21st century. FUNKY BUST / DON'T SPARE YOUR SWORD / I SEE YOU / TELL ME AGAIN / RADIO FACE / GEORGIA PEACH / BASEMENT BLUES / WIN BIG / ON THE ROCKS / SO EASY / SIMPLE THINGS / LOTTO LAND NYCD Takes FUNKY BUST: An instrumental driven by the chunky rhythms provided by Wendell Holmes' guitar and brother Sherman's bass. Much of the lead work on the track is taken by Andy Snitzer's wonderful tenor sax work, although Wendell gets in on the act with his straightforward guitar. With it's strong urban funk sensibilities, this feels like a track that James Brown's band could have produced in the early 60's. DON'T SPARE YOUR SWORD: Popsy Dixon takes lead vocals for this dramatically gritty slow blues. The band does this as a super-slow, heavily atmospheric blues as Popsy sings about hard times. He takes most of the track in a raspy baritone, exploding into his trademark falsetto occasionally, as though he were using it for punctuation. Gib Wharton's pedal steel work hovers over this track, counterpointing the other players and giving the track just the barest hints of country music. I SEE YOU: Sherman Holmes takes lead vocals for this track that's got a strong 50's rock-and-roll flavor. His vocals are delightfully gruff and hoarse, a real treat. Wendell Holmes provides a churning, pounding piano accompaniment, while his overdubbed rhythm guitar matches wits with Gib Wharton's. Break out your dancing shoes, 'cause you're going to need them. TELL ME AGAIN: Another track with a 50's rock-and-roll feel to it, although this one is more in the vein of a ballad than a driving rocker. Wendell Holmes takes lead vocals in a thin but meaty baritone, with the rest of the band providing backing vocals for him. The harmonies evoke images of some early Beatles tracks; the joy in listening to them doesn't come from pure harmony, but rather from the clashes and counterpoints that occur between the distinct voices. Again, the guitar interplay between Wendell and Gib is a delight. The solo (my guess is that it's by Gib) is pure delight. RADIO FACE: Wendell Holmes introduces this slow, romantic blues ballad with his wonderfully understated guitar. He continues as lead vocalist for this track; his gruff voice stands in strong contrast to the unabashedly sentimental lyrics. Again, Gib's pedal steel hangs above the fray, with his lilting slide notes finding their way between the cracks in the music. Andy Snitzer gets in the act later in the game, providing some torchy sax fills between Wendell's lyrics after the first verse and blowing a great sax solo as well. GEORGIA PEACH: Gib Wharton's pedal steel grabs your attention in the introduction to this 12-bar blues that mixes Memphis soul with the Grand Ole Opry and the best of 50's rockabilly . The tempo of the track isn't taken too quickly, but the really driving bass and rhythm guitar work make it feel faster than it really is. Wendell's harsh, gritty vocals are a sheer delight. BASEMENT BLUES: 100% pure urban blues instrumental that could have come from Chicago instead of New York. Much of the track is the conflict between Wendell's stinging guitar and Andy Breslau's chewy, Sonny Boy Williamson-inspired harmonica. It's a masterful slow, down and dirty blues. If you've been dissatisfied with the country and funk influences and want to bite into some real blues, this is the place to be. WIN BIG: The blues shuffle that got converted into rock-and-roll drives this upbeat rocker about the lottery. Wendell, Sherman, and Popsy trade off vocal chores singing about the great one dollar dream. The immensely agitated atmosphere of the track fits perfectly with the subject matter. Gib still finds room for the occasional slide lick or riff. He also clears out the rest of the band for a killer solo that's equal parts Duane Allman and Ry Cooder. ON THE ROCKS: Another slow ballad with especially strong roots in country-western music. Gib's pedal steel soars throughout this track as all Wendell, Sherman, and Popsy sing in close harmony for all the vocals. The results are surprisingly tender and revealing, again reminding one of the Beatles' close (or, at times, not so close) harmonies. It is perhaps one of the most beautiful tracks to be found on this disc. SO EASY: A slow, moody jazz waltz provides the backdrop for Popsy Dixon's appropriately understated vocals in another emotionally charged love song. His vocals are much cleaner than those on "Don't Spare Your Sword," fitting well with the more "clean" nature of this song's theme. Andy Snitzer returns for more torchy tenor work, and (as always) Gib Wharton's pedal steel is heavenly. SIMPLE THINGS: A Wendell Holmes tour-de-force. The bulk of this track is a solo vocal performance where he is backed only by his guitar. The vocals are a gruffly delivered croon, often dropping to a whisper, revealing tremendous emotional depth. His guitar is miked so that you can hear his pick dragging on the strings of his guitar as he strums out his rhythm, adding to the extremely intimate feel of the track. Some dialogue from the movie is spliced in before the rest of the band fades in, with Gib Wharton's slide slipping mercurially around Andy Snitzer's terrifically moving saxophone solo. LOTTO LAND: One last, uptempo number closes out this disc. This is a wonderful blend of jazz and funk, driven by core guitar-bass-drums trio of the Holmes Brothers. The addition of Jeff Haynes' bongos adds a nice touch to the track, as does Gib's slide rhythm work. This track is strongly evocative of the Allman Brothers at their improvisational best. Reviewed by Edward C. Liu Copyright 1996 NY CD Blues Unauthorized use prohibited NY CD Blues at http://www.panix.com/~bsco/ ========================================================================= Date: Wed, 5 Jun 1996 17:31:48 -0700 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Chicago Trip Report (Long) What I Did On My Summer Vacation by Joe Lempkowski I just returned from several damp days in the Chicagoland area and had some very good experiences, but I'll only relate the stories which pertain to the blues here. Last Thursday night, I went to the Harlem Avenue Lounge in beautiful Berwyn, IL. It is a neat club with a huge bar and the bartenders were very nice. Parking was difficult. Major Bonus: White Castle is right next door. It was here, I had the pleasure of meeting Scott Dirks. Scott is a nice guy and a very good harmonica player who hosts a jam night on alternating Thursday nights. He sports an excellent band which plays in the classic Chicago style. I found him to be a very cordial host allowing everyone who signed up (including me) to play at least a couple of songs. He is very laid back and allowed things to flow. He also has a pretty wicked amp and microphone. We should probably take up a collection for him so he can buy some newer equipment, rather than using that old stuff. ;-) Friday at the Fest: I got to meet Jack Oudiz at the Front Porch Stage. Jack and I spent a good chunk of the day following the Sons of Blues from the Front Porch Stage to the Juke Joint Stage and to the Petrillo Band Shell. Jack is a real blues fanatic flying on Southwest Airlines from California into St. Louis (probably making 3 stops along the way) and driving up to Chicago from there. He introduced me to a few of his friends and we talked about the blues for quite a while. I caught the Blues in the Schools show. This year featured students from two schools backed by Mose Rutues and Nick Charles from the Son of Blues. Billy Branch conducted off stage and Carl Weathersby oversaw the festivities from the stage removing his guitar so the kids would really be the focus. The kids did a great job with minimal education. The work these guys do with the kids is fantastic. They are introducing the blues to a whole new generation of people and some of the stories Billy, Carl and Mo tell about how the effects of the music has impacted the kid's lives are very uplifting. Seeing Billy Branch and Carl Weathersby play on the Juke Joint Stage was really exciting. They cranked through some standards tunes and played a couple of Carl Weathersby's originals with a great deal of intensity and feeling. As others have already stated, their performance in this setting was one the highlights of this year's festival. After they wrapped up here, we moved to seating by the Petrillo Band Shell to get away from the crowd for a while and hang out. We listened to the SOBs go through their sound check where they played a short version of "Going To Main Street" for my four year old daughter. Her face really lit up and I thought she was going to explode with excitement. This is her favorite blues song and the first song she ever reacted to as an infant. The SOBs performance started with the "Windy City Blues Babies." They featured some of their best alumni from the "Blues in the Schools" program. Earlier in the day, Jack and I had remarked that the girl that sang "Stormy Monday" last year had an incredible voice. This year she was the opening act at the Band Shell. She has a very good voice. Being selfish, I hope she sticks with singing. I'd like to enjoy listening to her for years to come. I thought the performance of the SOBs at the band shell was excellent. Band leader Carl Weathersby did most of the singing. He did songs off of his recently released CD on Evidence and from Billy Branch's 1995 Verve release. He possesses an awesome voice and a tremendous amount of soul. Carl is living proof that there are some great songwriters writing blues which reflect the current times. His songwriting skills got him nominated for a Handy award this past year. Billy Branch finished up their day showing why he is one of the hottest harp players on the planet. He demonstrated that he can play the traditional styles of blues at the Juke Joint stage in a very informal setting and at the band shell he demonstrated his ability to modernize some classic songs and make them his. While most harp players of his generation are still trying to cop Little Walter or George Smith licks, Billy is creating a sound that is his own, yet firmly planted in the tradition of the blues. He is capable of playing fast and has technique and tone that most harp players would die for. His playing posesses a great deal of feeling that really hits me. After they finished up for the evening, we walked around for a bit and ate. We hung out at the Best Buy stage and met a young guitar player named Walter. Sunday at the Fest: The weather was nice. It was crowded. My daughter said, "Can we go to the Blues Festival?" We caught L.V. Banks at the Best Buy tent. L.V. is a great singer and guitar player who plays regularly on the South Side. He was being backed by his son, Tre' and a harmonica player whose name I didn't catch. (As someone else reported the Best Buy stage sold them some albums. I bought a copy of the L.V. Banks release on Wolf and the Tre' CD on JSP. Both of these CD's are very enjoyable. The L.V. Banks album contains 9 tunes credited to Banks and all of the songs on the JSP recording were written by Tre'. They hung out to autograph CDs. Tre' had signed probably a dozen L.V. Banks. He seemed surprised (but thankful) when I placed a copy of his release in front of him for his signature. We talked for a bit. He looked like a real badass dressed in black leather suit topped with a black leather cowboy hat, but turned out to be very friendly. It was very crowded and it was getting hot so we went to the Shedd Aquarium for a while. We came back and caught Long John Hunter's performance at the Juke Joint Stage. After this we were pretty tired so we went by the Best Buy tent on the way out and met Casey Jones before leaving. We talked about his CD. He said he has sunk just about every cent he had into it. He had recently hooked up with some U.S. distributors and hoped to find some in Europe. All of the songs on the CD are credited to him and it is quite good. He is a very outgoing person a good singing voice. We split hoping to catch the SOBs at B.L.U.E.S. Etc that evening, but our daughter had different plans for us. Running around Grant Park had tired her out pretty badly. Monday Night @ Artis's: Billy Branch had told us he was playing at Artis's on Monday nights and that is the home of the SOBs. It is near 87th and Stony Island on the South Side of Chicago. My wife and I arrived there at about 10:00pm and it was packed. Artis's is the coolest club I've had the opportunity to visit. The people there were really nice. Cynthia, the bartender, got us a couple of seats at the bar and really took care of us. She is really sweet. After the first set was over, Billy and Carl came by. Billy introduced us to Ronnie Brooks. We talked with Ronnie for a while. After this the guy we met at the blues festival named Walter recognized my wife and started talking to us. He is playing in a blues band that has been playing around Chicago and in Wisconsin. He had some interesting stories to tell about an obnoxious harp player who was trying to walk on stage at his gig. We also met a nephew of Little Smokey Smothers. There were several blues musicians in the audience. Phil Guy stopped in for a while. Tre' was there for a bit. Jerry Porter (formerly with the Teardrops) was in attendance. A guy named Big Joe was there. There were also several singers there. During the middle of the second set a bunch of Japanese tourists came in. Billy immediately welcomed the group from the bandstand. He later told me they had been going to Artis's on the Monday after the Blues Festival for several years and that they are die hards visiting several clubs on the South Side during the festival, but they always ended up at Artis's before going home. After the SOBs blew the roof off the place and sounding better than I've ever heard them, they started bringing up people from the audience to play. Ronnie Brooks played a couple of tunes with a harmonica player whose name I didn't hear. Ronnie Brooks can play. He really tore it up. A band from Argentina called the Argentina Blues Band did a version of "Let The Good Times Roll." A woman who used to be a bartender @ Artis's named Sydell (sp?) did a tune. They brought up several more people. Billy invited me to play, but like an idiot, I had left my harps at home. I normally don't carry them with me. I didn't realize this would be a party-like atmosphere as opposed to a club date. Visiting Artis's is probably the most fun you can have with your clothes on. I will be going back there. The people were great and the music was incredible. It was a place where the world was checked at the door and everyone was there to have a good time. I learned a lot about the blues and people on Monday night. The blues had brought a really diverse group of people together for a real good time. I had a great time, met some really wonderful people and the music was awesome, too. That's what I did on my summer vacation. Regards, Joe ========================================================================= Date: Wed, 5 Jun 1996 19:40:45 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: (Fwd) Re: Chicago Report: 3 of 4 Comments: To: "Maintainability Analysis Workspace [Ranko Vujosevic]" In-Reply-To: <9606050844.ZM17139@quickdraw.ccad.uiowa.edu> On Wed, 5 Jun 1996, Maintainability Analysis Workspace [Ranko Vujosevic] wrote: > > Can someone please tell me more about the cabin? Did the HOB do a good > > restoration job? What did the festival crowd think of the cabin? [edit] > > Anyway, I personally would rather see Cabin stay where it was even if > in ruines. I can then go take my son and tell him: "This is where Muddy lived," > rather than taking him to the Fest and telling him: "Muddy lived in a cabin > like this." But again, this may be a totally wrong way to go I wasn't at the fest, but I've been dubious of this. I find it hard to believe that putting the cabin on the road is even a bit "educational" out of its context. Bring the plantation to Chicago and you'll start to get there. > > IMO, Cabin looked totally out of place. Here you have a line of food > tents, then you have a HOB tent, and then you have a Muddy's Cabin. Oh, dear. This just sounds like P.T. Barnum's hucksterism. Rather than rescuing a bit of American heritage, it sounds like a silly promo. I'd love to hear from someone who found it moving to see there. Steve Price ========================================================================= Date: Wed, 5 Jun 1996 20:45:21 -0400 Reply-To: "jose.eric.s.maglanque" From: "jose.eric.s.maglanque" Subject: blues research: end of the road now i know that my search has come to an end and that i can go no further: looking at the liner notes to document's "earliest negro vocal groups, vol. 2", a cut by the unique quartette is said to have been recorded on *cylinder* by none other than *thomas edison* himself. ... unless they find field recordings by african griots etched on tree barks :-) - delta slim 'i think i gone too far yonder' ========================================================================= Date: Thu, 6 Jun 1996 01:24:47 GMT Reply-To: Buddy Donnelly From: Buddy Donnelly Organization: Shadow Information Services, Inc. Subject: SHAGDates for June (corrected version) Comments: To: bit-listserv-blues-l@uunet.uu.net OOPS! SHAGDates got changed at the last minute! Date scheduled for at The Dugout in Athens OH Saturday June 8 has been cancelled. An additional TBA has been finalized, for Champagne IL (at Mabel's) on Thursday, June 20. Here's the total current scoop on SHAG: SHAG is touring this summer behind their Bootzilla/SOLID Records release "Bootsy Collins Presents SHAG Live!" (called The Best Fix Of The Century by URB Magazine) and mixing their first-ever studio CD, a conceptual thang named "Silver City," to be released on September 17, 1996. They've been working closely on the album with Gary "MUDBONE" Cooper of P-Funk All Stars, BRB, and Sly Fox fame (remember "Let's Go All The Way," the 1985-86 international top ten pop hit? Muddy was the songwriter and half of the singing duo.) "Silver City" will include full-bore Bootzilla Remixes (by Bootsy himself) of at least 2 songs, "Silver City Children" and "Must We Burn." And in other news, a quick SHAGTrip to Europe in August looks promising, and there will also be a new SHAGSite On Tha Webb long, long before that. SHAGDates for June are: Thursday, June 6...Cleveland...The Grog Shop Friday, June 7...Columbus OH...Ludlow's Thursday, June 13...E Lansing MI...The Small Planet Friday, June 14...Bloomington IN...The Bluebird Saturday, June 15...Indianapolis...The Vogue Wednesday, June 19...Iowa City IA...Gabe's Oasis Thursday, June 20...Champagne IL...Mabel's Friday, June 21...Kansas City MO...The Hurricane Saturday, June 22...Lawrence KS...The Bottleneck Wednesday, June 26...Richmond KY...Phone 3 Thursday, June 27...Oxford OH...The Stadium Friday, June 28...St Louis MO...The Side Door Saturday, June 29...Ames IA...People's As always: phone first, things change (this is rock'n'roll). And be kind. GIVEAWAY ANNOUNCEMENT: SHAGDates announces the Summer Vacation Wish You Were Here Picture Postcard Giveaway! This is simple: Mail us the coolest picture postcard you can find (or make) about whereever in the funk you are this summer to: SHAGMail PO Box 19444 Cincinnati OH 45219 The postcard must have your current mailing address on it, printed so we can read it the way your postoffice likes to see it. A new postcard will be chosen every night SHAG plays, and the sender can pick up at the SHAGStore that night a free SHAG/Bootsy tee shirt. In additon, SHAGDates will be awarding a few more prizes as the summer goes on based on the total stunning visual impact of certain postcards. (Which ones? We'll know 'em when we see 'em. But here's a hint: we like it realll funky.) As a special bonus to all who enter, you'll be logged in on the SHAGDates Roughly Monthly Mailing List. And people, if you used to get SHAGDates in the mail but you don't anymore, chances are you moved and didn't notify us. So this is a good way to bring us up to date. We don't like to lose track of a single starflower in this big cold world. Thanks, SHAG ========================================================================= Date: Wed, 5 Jun 1996 21:22:50 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Muddy's Cabin Comments: To: "" In-Reply-To: <199606051750.MAA06682@medicine> On Wed, 5 Jun 1996, wrote: > >* IMO, Cabin looked totally out of place. Here you have a line of food > >*tents, then you have a HOB tent, and then you have a Muddy's Cabin. > > > > > **Personally, I think Muddy's cabin should be a permanant exhibit in the > **Smithsonian Museum of American History. > > > I disagree...... I think it was wrong to move it in the first place! It > should have been restored where it stood and then left there. Muddy's cabin > is not a painting or a work of art which may be simply moved to a museum. It > is vital that its essence is preserved in its original surroundings because > at the end of the day it was someones house which belongs in a certain > environment. I hardly think that the Smithsonian would be able to provide > anything even close to the Mississippi delta. Its like suggesting that the > Taj Mahal in Agra or Shakespeares house in Stratford upon Avon should be > moved to the Indian or the British Museums. This is exactly why I said it reminded me of P.T. Barnum's huckstering. Barnum tried to buy Shakespeare's birth home in Stratford-upon-Avon when it was falling apart to have it shipped to his "museum" of oddities in New York. A historical preservation group was quickly formed to save it from that fate and it did. Here, Barnum got Muddy's cabin. Steve Price ========================================================================= Date: Wed, 5 Jun 1996 22:11:29 -0500 Reply-To: SGLIWA From: SGLIWA Organization: Delphi (info@delphi.com email, 800-695-4005 voice) Subject: Re: Conservatives and race, the *real* "Big Lie" Comments: To: bit-listserv-blues-l@uunet.uu.net ghost writes: >were granted their just deserts (when Pat Boone wasn't getting rich off >exceptionally lame cover versions of Black hits, that is; if they could have >figured out some way for some White guy to claim the sports scores of some >Black guy, they would have). Organized sports were desegrated fairly late >in this century (see Ken Burns' "Baseball" documentary for the history). >Harry Truman desegregated the military post WWII; until then there were >no Black people "getting ahead on merit" there, at least not as far as >merit & ability *should* have taken them. You have proven my point! The Conservative approach is to treat people as individuals while the Liberal approach is to treat people as groups. The right way to deal with these injustices is to eliminate the barriers and from that point on treat everyone the same, as individuals. The Liberal approach, if applied to sports, would be to correct for past discrimination by guaranteeing that a certain number of African Americans MUST be on each team and that the fences should be moved in 10 feet for African-American hitters. In music, no one is forced to buy a Black artist's product just because in the past White producers used to rip off black artists. People (like myself) buy Black music because they believe it to be a far superior product than "lame cover versions." In the military, someone like Colin Powell made it to the top on merit, not because before Truman African-American's suffered racism in the military. Again, I admit there are bigoted Conservatives as well as bigoted Liberals. And we both agree that the injustices of racist barriers needed to be abolished just as a matter of human decency. The difference is, now do we treat people as individuals or do we convince certain Americans that they will always be victims unless the rely on Big Brother Government to help them because they can't help themselves. African Americans have proven that they can dominate fields such as sports, music, etc. without special priveledges when just given an equal chance to succeed or fail on their own. No one forces teams to sign Black players, they sign them because they want the best. No one buys CD's by Black artist's under duress, they buy them because they're great. I am confident that if African Americans were not kept in a state of dependency on the Government, they are able to succeed in greater numbers in all fields. And that is the difference: Conservatives believe in individuals, Liberals believe in Government. ========================================================================= Date: Wed, 5 Jun 1996 21:36:13 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Muddy's Cabin Comments: To: Leonard Watkins In-Reply-To: On Wed, 5 Jun 1996, Leonard Watkins wrote: > On Wed, 5 Jun 1996 12:50:55 -0500 said: > >> > >**Personally, I think Muddy's cabin should be a permanant exhibit in the > >**Smithsonian Museum of American History. > > > >I disagree...... I think it was wrong to move it in the first place! It > >should have been restored where it stood and then left there. Muddy's cabin > >is not a painting or a work of art which may be simply moved to a museum. It > >is vital that its essence is preserved in its original surroundings because > >at the end of the day it was someones house which belongs in a certain > >environment. I hardly think that the Smithsonian would be able to provide > > IMHO Muddy would approve 100%, the bottom line is one of the last noncommercial > pure blues festivals is still alive due to the RENTING of Muddy's cabin. > > What that boils down to is people like Si Perry, Othar Turner, Jack Owens, > Lonnie Pitchford......etc get a nice gig in August, that is attended by 99% > blues lovers. As Mr. Stovall pointed out the rental of the cabin keeps it and > the Sunflower Festival from being extinct. I think it's OK > Leonard Watkins > But, Leonard, why not just sponsor the Sunflower Festival and stick their HOB tents everywhere, and not pretend to be doing everyone a favor of historical preservation (and as Ranko says, pretending to be my friend)? Steve Price ========================================================================= Date: Wed, 5 Jun 1996 22:36:10 -0500 Reply-To: SGLIWA From: SGLIWA Organization: Delphi (info@delphi.com email, 800-695-4005 voice) Subject: Re: Bo Diddley - "A Man Amongst Men" Comments: To: bit-listserv-blues-l@uunet.uu.net I agree that it's a great album and as a long time fan of Bo, it's great to see him back on a major label. I hope this is just the first CD of many more in his "comeback." I am a little disappointed, however, in the fact that there isn't enough of Bo's patented guitar antics on this CD. I've been dying for the past 20 years for Bo's live guitar sound to be captured on an album. It seems that no recording ever does his guitar work justice. But still, this is without a doubt the best album he's made in a while and it was long overdue. Steven James Gliwa ========================================================================= Date: Wed, 5 Jun 1996 22:07:05 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Love Her With A Feelin' Comments: To: Mike Curtis In-Reply-To: <199606052026.NAA19135@kaiwan009.kaiwan.com> On Wed, 5 Jun 1996, Mike Curtis wrote: > > > > > Fulsom as purchased the copyrights of that song!? > > > > > > > > > Lowell ain't been to prison. His last name is "FulsoN" :-) > > > > Why you telling ME? > > I'm not. Just using group reply to respond to all involved parties. > > > (Besides, there is no prison named Fulsom either) > > It's called "poetic license" :-) > A couple of album covers have it Fulsom. Most as Fulson. I'm pretty sure I've seen one, long ago, that had it Folsom, but I haven't been able to find it. I imagine it's supposed to be Fulson, but it has appeared the other way. Steve Price ========================================================================= Date: Thu, 6 Jun 1996 00:01:10 -0400 Reply-To: James Leftwich From: James Leftwich Subject: Chicago program Does anyone who was lucky enough to catch the Chicago festival have a spare program they'd be willing to sell or donate? ============================================================================= Jim Leftwich Jim's Blues N' Brews leftwich@cloud9.net http://www.cloud9.net/~leftwich "I'm on cloud9!" :) New CD Giveaway: Sherman Robertson ============================================================================= ========================================================================= Date: Thu, 6 Jun 1996 00:11:24 -0400 Reply-To: James Leftwich From: James Leftwich Subject: strings You can't beat this... Sam Ash here in New York is selling their own strings (I think commissioned by D'Addario) for 7 sets for $10 That's not a typo. I'm not sure if the offer is still good however. I've been using them and they sound good to me. ============================================================================= Jim Leftwich Jim's Blues N' Brews leftwich@cloud9.net http://www.cloud9.net/~leftwich "I'm on cloud9!" :) New CD Giveaway: Sherman Robertson ============================================================================= ========================================================================= Date: Thu, 6 Jun 1996 00:07:28 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Duke Robillard axe? Comments: To: ron kraemer In-Reply-To: Duke has tons of guitars including a bunch of Strats (he really like some Japanese ones) and archtops. The black one is a new Gibson L-5 he got a couple years ago for an endorsement. ========================================================================= Date: Wed, 5 Jun 1996 20:58:38 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Love Her With A Feelin' Comments: To: Steve Price In-Reply-To: from "Steve Price" at Jun 5, 96 10:07:05 pm > A couple of album covers have it Fulsom. Most as Fulson. I'm pretty > sure I've seen one, long ago, that had it Folsom, but I haven't been able > to find it. I imagine it's supposed to be Fulson, but it has appeared > the other way. Yup. Lowell Fulson was recently interviewed on KLON "Nothin' But The Blues", and did indeed comment on mislabeled records, as well as the "correct" spelling. -- IronMan Mike Curtis ========================================================================= Date: Thu, 6 Jun 1996 00:54:38 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: CajunZydeco&SwampPop*IS NOT*NewOrleans music Comments: To: michaelc@maui.netwave.net In-Reply-To: <199606060320.WAA24058@maui.netwave.net> On Wed, 5 Jun 1996 michaelc@maui.netwave.net wrote: > > As a person of Cajun heritage living in the suburbs of Chicago, > I take great exception to a exarch@ACCESSCOM.NET post > calling Cajun & Zydeco music -> "New Orleans music". > > Nothing could be further from the truth! > This is like labeling them "Chicago music" since this music > is played in Chicago all the time. I meant no disrespect. All I intended to say, to help clarify what the original post had said, was that the particular publication she was giving information about lists Cajun and Zydecco music performed regularly live in New Orleans--no one intended to imply that the music was native to the area. Merely that there was a publication that listed that music as it is performed in New Orleans. If the Reader in Chicago covered the Cajun and Zydecco scene there, folks on Blues-l would probably find that interesting as well. If the Reader really tried to cover Chicago's music, I imagine they'd have to cover a lot of different ethnic music. > Cajun and Zydeco music come from the Creative Spirit & Joie De Vivre > of Acadiana's people. They are *not* analogous to any Indian jewelry. > My sister would know that as she and her husband make jewelry > in southwest Colorado. They know both Cajun & Zydeco music and > Indian jewelry and would see the big fallacy in that analogy. The analogy had more to do with what we should call Cajun and Zydecco music when people not of that ancestry or region play it. I know of a band in Columbia, Missouri, that plays it, formerly from Des Moines, Iowa, and they are not Cajun, but their music is. (I think they used to be called the Mudbugs). The analogy with "Indian" Jewelry had to do with whether such a musical group is being fair to call the music they play "Cajun," and I think it in fact does describe what they play. Nothing disrespectful was said, meant, or intended. Neither was any distortion intended to imply that Cajun culture is primarily native to New Orleans. Steve Price > > A bientot, > Michael C. > Born of a cajun mother. > > > In article , Steve Price > wrote: > > >On Fri, 24 May 1996, Shane K. Bernard wrote: > > > >> Exarch/New Orleans wrote: > >> > >> >If you're one of the half million people who come to New Orleans for > >> >JazzFest, or if you have more than a passing interest in any form of > >> >New Orleans music (funk, zydeco, brassband, swamp pop, blues, r&b, rock/pop, > >> >Cajun, dixieland or jazz). . . . > >> > >> Maggie, > >> > >> I appreciate your efforts, but. . . . > >> > >> As a Cajun, professional historian, and author of a forthcoming book > >> on South Louisiana music, I have to wonder why you list Cajun, zydeco > >> and swamp pop as hailing from New Orleans . . . All three of these > >> genres hail from the 22-parish Acadiana region, which New Orleans does > >> not even border. In fact, the 1990 US census shows that New Orleans > >> possesses a Cajun population of only 1% (whereas in Acadiana > >> populations of 30-40% or more are common). For more information on > >> Cajun, zydeco, swamp pop, and Cajun/rural black Creole culture in > >> general, see the Cajun & Creole Pages at: > >> > >> http://http.tamu.edu:8000/~skb8721/l > >> > >> SKB > >> Cajun in Exile > >> Texas A&M University > >> > > Of course you are right that those forms don't "hail" from New > >Orleans, but they are present there, and have been for quite sometime. > >New Orleans has long been a nexus for many kinds of music to find an > >audience, and the music has come. If it stays long enough, I imagine it > >will be influenced by the other forms that reside in New Orleans as they > >will feel the influence of those forms. I don't think Maggie meant to > >usurp the music from its place of origin, only to point to its continuing > >presence in New Orleans as well. > > > > Moreover, as recordings proliferate, musicians will be playing it > >all with a love and relish who've never seen Spanish Moss. > > > > When I lived in New Mexico in the '70s there were a series of > >lawsuits to determine if anglos (as white people were called there) could > >make and market "Indian jewelry," or if they needed to call it > >"Indian-style jewelry." The result was that they could call it "Indian > >jewelry" but not "genuine Indian jewelry." that was before Native > >American swept the land. I'm glad that we don't have to worry about that > >sort of thing in music. > > > > Steve > ========================================================================= Date: Thu, 6 Jun 1996 07:14:35 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Who Do You Love? Comments: To: Steven Hirsch >In article , > Bo Carlsson wrote: I DID NOT!! >>>I admit to having an obsession with this song. What I'm asking is does >>>anyone know of some killer versions of this tune? ========================================================================= Date: Wed, 5 Jun 1996 23:59:29 -0400 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Blues and Ragtime? Comments: To: bit-listserv-blues-l@uunet.uu.net In article , Steve Price writes: > Blake and Fuller certainly played rags, but I >think calling them "Ragtime guitar players" is a later imposition that >they didn't probably think of themselves. There are numbers of rags that >Lead Belly played, and in fact what they played they didn't necessarily >call "blues." Lemmon Jefferson called a lot of his work "blues," but he >also played some rags. I think we're identifying a tradition that these >players were probably less strict with than we are, Great observation, Steve. Wherever they lived, the best entertainers mastered a number of styles in order to please the widest possible audience. As music professionals, they had to be prepared to please any crowd: a local jook joint, a fraternity party, the planter's picnic. That's why (yes! even in the Delta!! that backwater!) the sophisticated local performers could mix blues, ragtime and Tin Pan Alley comfortably. We've heard this rumored of Robert Johnson and others, but not much has been released, principally because the temporary recording crews who scouted through such places as the Spier's store in Jackson, Miss, or on Beale Street, were more interested in capturing blues performances to sell to the local audience than in running through the player's larger repertoire. Mercifully, a few samples were recorded. It has been one of the great joys of my life to be involved in the release of a portion of Richard "Hacksaw" Harney's work. If the graphics artist can finish up his end, the "Sweet Man" CD should be available from GENES in about a month. On this, you will hear one of the Delta's musician's musicians playing a lot of ragtime guitar and sounding sometimes like two or three guys at once. To illustrate this man's genius, please allow me to share this story. Just before the Handys, I saw Mr. and Mrs. Robert Lockwood in the Green Room. I had some photographs ready to give them, taken at last year's King Biscuit Blues Fest, and we had a nice conversation about this and that. Just before I walked away, I mentioned to Mr. Lockwood that the Hacksaw material would be out soon on CD. He sat forward in his chair and said, "I want a copy of that. Do you have my address?" Denise ========================================================================= Date: Thu, 6 Jun 1996 02:37:49 -0400 Reply-To: "jose.eric.s.maglanque" From: "jose.eric.s.maglanque" Subject: Re: What are we using for that blues guitar tone? My recipe for a good tone: - one vintage (25 yr. old) $57 electric (or $20 acoustic) - one part amp (whatever the club happens to have lying around) - one metal tube - ten fingers, and - a generous helping of *soul* Combine everything and bring to a boil. Let simmer. Serve hot. Cannot miss! ((((( 00 < - Delta Slim ~ # For real, though: Fellow musicians tell me I got good tone. Even in comparing themselves or others who use fancy gadgets and classy hardware. They ask me how I get it. I just use what's available and tweak knobs till I like what I hear. Hardly science, but that's all I know how. Maybe I'm mostly lucky, but I feel that what you play and how you play it tells on having a good "blues guitar tone." ========================================================================= Date: Thu, 6 Jun 1996 03:07:36 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Blues and Ragtime? Comments: To: DeniseTapp In-Reply-To: <4p5l31$c71@newsbf02.news.aol.com> On Wed, 5 Jun 1996, DeniseTapp wrote: > In article , Steve > Price writes: > > > Blake and Fuller certainly played rags, but I > >think calling them "Ragtime guitar players" is a later imposition that > >they didn't probably think of themselves. There are numbers of rags that > >Lead Belly played, and in fact what they played they didn't necessarily > >call "blues." Lemmon Jefferson called a lot of his work "blues," but he > >also played some rags. I think we're identifying a tradition that these > >players were probably less strict with than we are, > > Great observation, Steve. Wherever they lived, the best entertainers > mastered a number of styles in order to please the widest possible > audience. As music professionals, they had to be prepared to please any > crowd: a local jook joint, a fraternity party, the planter's picnic. > That's why (yes! even in the Delta!! that backwater!) the sophisticated > local performers could mix blues, ragtime and Tin Pan Alley comfortably. Denise, Well put. Chris Stracwitz made a big deal about this in his multi-volume recordings of Manse Lipscomb. Manse, he says, wasn't so much a blues man as a "songster," someone who could play in a variety of style before the myth of the bluesman (see Samuel Charters' book) became a sort of post war icon. And a lot of these players also influenced and were influenced by white players and styles. The same musicians had to play for both audiences, or rather, several audiences. A lot of black players were doing what we now think of as "white" country and western music, and whites playing their versions of blues songs. And people heard records and requested popular songs (surprise). In some ways the pure lines of demarcation make little sense, as a Mississippi player John Hurt sounds an awful lot like a piedmont player like Elizabeth Cotton, and did his own versions of songs and themes were as common to music in the piedmont. Steve Levine asked the original question, saying he was listening to a lot of Fuller and Blake. I also recommend Rev. Gary Davis, who I think I've read, gave Fuller lessons way back when. Denise helped put together the last recorded sessions of Davis, recently released as O, Glory from Adelphi, and it is a sensational collection. And don't for get Elizabeth Cotton. And Brownie McGhee. And John Cephus. And . . . Steve Price ========================================================================= Date: Thu, 6 Jun 1996 05:07:26 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Blues and Ragtime? Denise Tapp writes > >Mercifully, a few samples were recorded. It has been one of the great >joys of my life to be involved in the release of a portion of Richard >"Hacksaw" Harney's work. If the graphics artist can finish up his end, >the "Sweet Man" CD should be available from GENES in about a month. On >this, you will hear one of the Delta's musician's musicians playing a lot >of ragtime guitar and sounding sometimes like two or three guys at once. > >To illustrate this man's genius, please allow me to share this story. >Just before the Handys, I saw Mr. and Mrs. Robert Lockwood in the Green >Room. I had some photographs ready to give them, taken at last year's >King Biscuit Blues Fest, and we had a nice conversation about this and >that. Just before I walked away, I mentioned to Mr. Lockwood that the >Hacksaw material would be out soon on CD. He sat forward in his chair and >said, "I want a copy of that. Do you have my address?" > So do I! Let us know when it hits the shops, Denise - please! Chris Smith (chris@skerries.demon.co.uk) It's no good making things idiot-proof. They'll just build a better idiot. ========================================================================= Date: Thu, 6 Jun 1996 05:28:16 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1966, civil rights activist James Meredith was shot in Mississippi. 30 years later they're burning churches. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Thu, 6 Jun 1996 06:10:05 -0400 Reply-To: Sacre From: Sacre Subject: BLUES GAZETTE and gospel music I hope that many subscribers to BLUES-L are already fans of gospel music. Those who don't know them yet should try Brother joe MAY, Maggie INGRAM, the 5 Blind Boys and many others because if the lyrics are "religious" the music is often to be compared with the blues. I wished to point out that one magazine only, REJOICE!" (USA) dealt entirely with gospel music....but went out of business months ago. A couple of others are still in the bizness ( SCORE,...) but they specialize in "contemporary gospel" (and Tony Heilbut, THE historian of gospel music wrote somewhere, and adequately in my opinion, that its is indeed "temporary" and "con"). I'm glad to write that a new magazine (in English) called BLUES GAZETTE covers the blues (all styles, all eras) with contributors from USA (Maria Bainer,Larry Benicewicz, Len Kunstadt (now deceased), from the U.K. (Norman Darwen,Mick Rainsford), from Germany and Belgium (Jean Pierre URBAIN that you know as a Blues-L zeller, myself and others) but it has also a large section on "black gospel music" (with contributors like Opal Louis NATIONS (USA), Alan YOUNG (New Zealand) and yours truly - and another one on "Cajun/zydeco music" too by the way- The black gospel section deals mainly with "news, concert & record reviews" and articles about the artists of the Golden Age of Gospel (roughly 1945-1970) (The Gay Sisters, Rev. Maceo Woods, Rev. Jessy Dixon, "The gospel scene in Chicago today", etc...) The magazine, entirely in English- is printed in Belgium (Jean Pierre and myself are not involved in the management, just modest contributors): BLUES GAZETTE c/o Jacques DEPOORTER 22 Franciscus laan B-9112 SINAII Belgium Phone: 32 3 772 5298 (7-11 pm belgian time) Europe: sample issue BEF 220 ( IMO in belgian francs only) Four issues BEF 800 idem elsewhere sample issue BEF 260 ( idem ) US $ 9.- Four issues: >BEF 1050 (IMO belgian francs) US $ 35.- Come on, rejoice with us..... Robert SACRE ************************************************************************** Robert SACRE 117 Chaussee de Tongres B-4000 LIEGE (Rocourt) Belgium Ph: x-32-41-269022 Fax: x-32-41-541633 e-mail rsacre@vm1.ulg.ac.be ========================================================================= Date: Thu, 6 Jun 1996 06:38:13 -0400 Reply-To: "jose.eric.s.maglanque" From: "jose.eric.s.maglanque" Subject: Black Church Arsons ... i cannot believe how some people can be so misinformed/insensitive to this issue! > First, where's the blues (see music) content. This is why I (see "most of > us") subscribe to he list. If I want diatribes about social political > correctness I'll subcribe to the "Social-ills-L". Please excuse the use of > sarcasm here, and I don't intend to impugn the importance of the problem, > but it makes my point. of course, this is relevant to blues-l!!! this churches are not relics of blues' musical past.... neither are they simply structures... they are living and breathing entities. this arson crimes intend to kill the church, not the building! these churches are as much the wombs that nurtured and nurtures what we now call blues, as the cottonfield, the railway, the penitentiary, the levee have been!!! > some transient structures miles and miles away they may be miles and miles away, but it will never be 'transient' to me... the fact that it's thousands of miles away does not detract one iota on its importance to the music! HOW CAN THEY NOT BE RELEVANT!!! (yes, i'm shouting... i can't believe some of the responses to this thread :-< ) - Delta Slim (i think i broke my keyboard) oh yes, i am in manila, philippines... and we do try to take care of our own backyard... we also have arsonists and get mad at them too. the important point is that this is a crime against humanity, regardless of race or color. ========================================================================= Date: Thu, 6 Jun 1996 06:39:13 -0400 Reply-To: FORCELLAD@CCSUA.CTSTATEU.EDU From: Domenic Forcella Subject: Conservative and race I thought I could keep out of this but many of the posts are missing the point. YES, we can do something. The argument is what do we do. Well, as one conservative supporter pointed out, treat all people as individuals. And that is well and good but our society does not allow for all people have access to all others. What I mean by that, is the institutions that prepare us for entrance into society are not equal. Just compare that amount spent per pupil in a large urban city, Hartford with say Greenwich. At that point the individuals can never compete equally. So how do we address that, find stories that bolster our own stereotype about people. Less solve the problem by creating equal institutions for all. Forget about sports in this argument. First, the percentage of peolple that get to that level is not a realistic career goal for the vast majority. Second, talk about explotation, for every superstar there are many with dashed dreams. Follow the Marcus Camby (UMass) story. Lastly, as Dr. Manning Marable (NYU??) said during Black History Month, it's not color it's attitude. Sorry, I always wonder how one gets caught up in these long lived threads. Domenic Forcella Traveling with the Blues ========================================================================= Date: Thu, 6 Jun 1996 08:08:08 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0585 From: "DUTTWEILER.J" Subject: Hendrix on Cable Date: Thursday, 6 June 1996 8:08am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Hendrix on Cable Here's another report from your Cable Patrol I seem to be running in a serendipitous vein recently, having caught Janis Joplin by accident on VH-1 earlier in the week. Last night, again just surfing the cable while Muddy was playin g on my stereo, VH-1 was again showing old Dick Cavett, this time just a couple weeks after Woodstock. Obviously from the subject, Hendrix was his guest and it really was pretty good. Both seemed rather ill at ease with the other, not quite knowing how to act or react - somewhat humerous. Cavett asked him about playing the National Anthem at Woodstock and the "controversy" it caused. Hendrix looked up and, in almost a mumble, said "what controversy?" He said he was an American playing the National Anthem and felt he had done it fairly straight on, albeit in his own style. Hell, after seeing Roseanne butcher the song while grabbing her crotch on TV, Hendrix's version was the EPITOME of respect Anyway, what did he play? A not too short( ) medley combining Isabella with Machine Gun, though the Machine Gun part was fairly abbreviated. This was one of my favorite Hendrix songs back in the early 70s. Hendrix was actually somewhat subdued in his playing, which I actually enjoyed tremedously. In watching I realized that I still like Hendrix himself, its just all the "wannabes" that drive me crazy ;-) While Cavett introduced the music as "James Hendrix and the Hendrix Experience" the band was in transitional phase from the Experience to the Band of Gypsies. All in all, another pleasant surprise for this old "child of the sixties" - someone actually called me that yesterday at work (actually, I'm at the tail end of that, coming of age in the early seventies I'm still a youngster ;-)) JD ========================================================================= Date: Thu, 6 Jun 1996 08:07:17 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Jimi on "VH1 Archives" I don't know how many of you saw Jimi on "VH1 Archives" from a 1969 "Dick Cavett Show" episode. I was surprisingly disappointed in the music, but pleasantly surprised by the interview. The music was pretty passionless, IMNSHO. Jimi seemed to be going through the motions; no fire. (I am taking into comsideration that the sound track may not have been recorded well.) Cavett did say that Jimi had been sick. Of course, that would affect him. And it was t.v. Maybe he was hemmed in by the show's producers, or even by the physical limitations of the studio. But, it was very interesting to see him play. (BTW, does anyone know what the song(s) was/were that he played? I hate to admit it, but I didn't recognize them. But neither did my brother who has stuff by Hendrix that even Hendrix didn't know Hendrix had done.) The interview was more fun. I had never seen Jimi in such a setting. He semed to be a very humble guy, not as cocky as I would have expected. And soem interesting thoughts on "The Star Spangled banner" and stardom. Just one guy's opinion, Gavin ========================================================================= Date: Thu, 6 Jun 1996 08:35:39 -0400 Reply-To: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM From: Jim Smith Subject: Re: Homesick James & John Hurt Comments: To: ISTS024@UABDPO.DPO.UAB.EDU In-Reply-To: For John Hurt, definitely get Yazoo's "1928 Sessions", Vanguard's "Best of" which is a 2 LP on 1 CD concert and Genes CD's "Memeorial Anthology" which is a 2 CD set of a live concert a nd a 20 min interview with John Hurt conducted by Pete Seeger. Jim Smith >I found a few used HSJ and MJH cds. I will get them today. I think the John >Hurt is the LOCongress recordings and I can't recall the Homesick James. Can >anyone recommend their favorite recordings of the two artists. I quickly >listened and both sounded like they are very good....any opinions >Leonard Watkins > ========================================================================= Date: Thu, 6 Jun 1996 09:01:06 EDT Reply-To: ron kraemer From: ron kraemer Subject: "Feels like Rain" I'm in a squeeze... Anyone care to e-mail me as to which Buddy Guy release this is on? Is this possibly even the album name??? Private e-mail will do. Thanks. Ron ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters (and in another life....) Ron Kraemer and the Hurricanes ************************************************************ ========================================================================= Date: Thu, 6 Jun 1996 09:02:06 -0400 Reply-To: Niles Frantz From: Niles Frantz Organization: GNN Subject: Re: Big Jack Johnson's second guitarist Comments: To: bit-listserv-blues-l@uunet.uu.net In article MB wrote: >I received two replies to my post about seeing Big Jack > Johnson at >Allentown's Mayfair. In that post, I mentioned that the > second guitarist >was a real smoker in his own right. > >The respondents were divided about his identity. One said > that he is >Leroy (the man from Sugarland) Foster. The other said that > he is Rodger >Montgomery. > >Any thoughts? Tie-breakers? At the Chicago Blues Festival I heard that Rodger Montgomery had left Big Jack's band in March or April, and that he had been replaced by Leroy Foster. Who played with Jack depends on when you saw him. Niles A loop is a loop is a loop. ========================================================================= Date: Thu, 6 Jun 1996 03:47:25 GMT Reply-To: CKUT_online@babylon.montreal.qc.ca From: CKUT online Organization: Babylon, Montreal, Canada Subject: Re: Johnny Winter at the Bayou Comments: To: gengle@EROLS.COM Sat down to play slide? This the first time I've heard of Johnny Winter sitting down during his show! John Detcheverry, CKUT FM 90,3 ========================================================================= Date: Thu, 6 Jun 1996 09:16:13 EDT Reply-To: ron kraemer From: ron kraemer Subject: Re: Feels Like Rain. The answer is... ..it's on Buddy's album of the same name on Silvertone. Thanks to Rob in the UK. Gotta love the 'Net. Ron ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters (and in another life....) Ron Kraemer and the Hurricanes ************************************************************ ========================================================================= Date: Thu, 6 Jun 1996 08:09:00 PDT Reply-To: HSTOVALL@MEMPHIS1.HARRAHS.COM Comments: RFC822 error: Incorrect or incomplete address field found and ignored. Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: HSTOVALL@MEMPHIS1.HARRAHS.COM Subject: Muddy's Cabin - from H. Stovall Well, once again the debate rages, and the experts have given their opinions. Thanks to those of you who prefer that the cabin have been restored on site. Pity you weren't available when we could have used the funds to do that. But, since you kept your love of purity, and your genius, hidden away, we obviously missed a chance for you to do a much better job than we did. What in the hell do you folks want? We got a deal where the cabin returns to Stovall in five years, and gets restored IMMEDIATELY without government bureaucracy, and problems with lack of funds due to arts cutbacks. Next time, try your armchair quarterbacking on the day before the game, not during the highlight films. Also, let me clear up a few of the comments provided by our esteemed Ms. Karen Hanson: >The cabin is mounted on wheels, like a mobile home No, it's not. The cabin is built from the ground up on site from detailed construction plans, which allow it to be disassembled and loaded in pieces onto a transport vehicle. Jeez, if you can't get THAT fact right, I don't even know why I would read on. > I expected to see a big crowd >around it, but it was Saturday and raining and perhaps that had an effect. > Probably about a dozen people were waiting in line, a dozen or so more >standing around the outside. I did not go in. Instead, I looked in the >windows and circled around the back. There were lines all day long, due to our decision to limit the number of people allowed inside at any one time. The fact that people remained in line all day, even in the rain, shows the level of interest in seeing this exhibit. I guarantee that very few of these folks would have made the trip to Stovall to see this. I find it interesting that, though Ms. Hanson didn't find the time to go inside (sorry, fifteen minutes too much for you to wait?), she feels safe in offering a critique. Excellent, and typical. Why get all the facts, when you can offer a half-baked criticism in half the time? >The front of the cabin reminded me of the Clampett's home, with a forward >sloping tin roof over a porch that extended the whole width of the cabin (not >very wide--maybe 12 feet?). Thank you, from the TV generation. What it actually resembled, Ms. Historian, is the thousands of sharecropper cabins that existed all over the Delta through the 1930s, and up until the recent past. The construction was based on photographs of the cabin pre-tornado. These photos were displayed on the front porch, but Ms. Hanson didn't have time to look at them. >(The roof had patches of rust, odd because the original roof was lost >in a tornado--so what did they do, find rusty tin panels from someplace else?) As a matter fo fact, yes. Many of the items inside (oh, that's right, you didn't have time to see those, did you?) were taken from a cabin, also on Stovall plantation, that had remained untouched since being abandoned decades ago. The tar paper on the outside and tin roof on top are exactly what the structure would have looked like if the tornado had not hit it. Fortunately, we had not demolished this structure, and it was there to provide athentic materials for the restoration effort. >All in all, it looked like many restored historical cabins I have seen in >national parks around the U.S. The difference is, this particular cabin was >sitting in the middle of a street in Chicago. For me it was totally out of >context. I see. And are you equally bothered by a lunar module sitting in the lobby of a museum on the Washinton Mall, or would you rather visit that on the moon, where it rightfully belongs? >And no, I did not feel the presence of Muddy there. Next time come inside, and you'll have a better chance. >Someone mentioned the "pervasive presence" of the HOB. I agree. I don't >remember noticing them at all last year. This year, the HOB signs were >everywhere. FYI, HoB Chicago is scheduled to open November 23. What you saw at the fest is a awareness campaign to support that opening. On this point I agree, the HoB presence was a little large, but they achieved the marketing goals that I would agree are imperative in a pre-opening environment. >I understand the necessity of providing funds for a fest. But >it still bothers me. Anytime a substantial amount of money for any project >comes from a single source, that source inevitably exercises a certain >influence or even control over the project. So what will happen next >year--the Fest will be headlined by Gregg Allman and John Goodman? Brilliant. Now that we know what you don't approve of, we are waiting with bated breath to see your recommendations for "approved" sources of funding. Will you volunteer to do the legwork to get those funds? HoB has made a five year commitment to donate $20,000 annually to the Sunflower River Blues and Gospel Festival in Clarksdale, MS. For that they receive NO creative control. In fact, the rights of sponsors are always VERY clearly spelled out in contractual agreements, and I have yet to see any kind of artist control on any of them. In response to Steve Price, who writes, reasonably enough: > But, Leonard, why not just sponsor the Sunflower Festival and >stick their HOB tents everywhere, and not pretend to be doing everyone a >favor of historical preservation (and as Ranko says, pretending to be my >friend)? The answer is: Complete lack of commercial value. One of the things that has always set the Sunflower Festival apart is that it is so adamantly non-commercial. Unlike Chicago, we do not offer a 50,000+ target audience for sponsors. Let's remember, sponsors expect value for their marketing dollars -- this is not a donation, but an investment. Sunflower would never be able to ask more than about $5,000 for a Major Sponsorship (I know, I raise all the funds for it every year), and we have played hell trying to find sponsors to participate at that level. (Thank you Colt 45, Lady Luck Casino, and Sack and Save Food Stores!) We have survived so far with 50% of our funding coming from grant funds. This year we lost almost $20,000 in funding from the NEA due to cutbacks in Washington. Without the help from HoB, the festival would not have died, but it would have been drastically curtailed in scope just at a time when national awareness of Sunflower is at the highest level EVER. Also, HoB's closest club to C'dale is in New Orleans, a six hour drive - another strike against getting a pure sponsorship deal from them. A CHALLENGE: OK, all you purists. You have five years to come up with phase 2 of the Muddy deal. You have been so generous in offering advice of what we should have done. Now, please get real, and tell us what we should do in five years. And I mean, in terms of a plan, a budget, and where the funding comes from. Let's get that quarterbacking done before the game this time. Now, for those of you who have offered legitimate criticism, please understand that I realize this deal is not perfect. However, given the circumstances: 1. A rotting structure that was a legal liability ("attractive nuisance") to our family business. 2. No funds or plans readily available for reconstruction. 3. Loss of NEA funding for Sunflower I think we did a pretty good job. And thank you, Leonard Watkins, for having all the facts, and responding appropriately. Stovall ========================================================================= Date: Thu, 6 Jun 1996 09:13:37 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Blues and Ragtime? Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *Great observation, Steve. Wherever they lived, the best entertainers *mastered a number of styles in order to please the widest possible *audience. As music professionals, they had to be prepared to please any *crowd: a local jook joint, a fraternity party... Somehow I can't imagine Blind Blake or Charley Patton playing a frat party. "Hey you with the guitar, play some Hootie! FREEBIRRDD!!!!" :-) -Steve ========================================================================= Date: Thu, 6 Jun 1996 09:20:59 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: blues research: end of the road Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *now i know that my search has come to an end and that i can go no further: * *looking at the liner notes to document's "earliest negro vocal groups, vol. *2", a cut by the unique quartette is said to have been recorded on *cylinder* *by none other than *thomas edison* himself. Didn't Edison record Bessie Smith? ========================================================================= Date: Thu, 6 Jun 1996 10:00:10 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0673 From: "DUTTWEILER.J" Subject: Re: Blues and Ragtime? Comments: To: Steve.Levine@CORP.WRGRACE.COM Date: Thursday, 6 June 1996 9:59am ET To: Internet, GO-MAIN.LEVINE2@DOASMAIN.SNADS From: DUTTWEILER.J@GOMAIL Subject: Re: Blues and Ragtime? Steve Levine wrote: > *Great observation, Steve. Wherever they lived, the best entertainers > *mastered a number of styles in order to please the widest possible > *audience. As music professionals, they had to be prepared to please any > *crowd: a local jook joint, a fraternity party... > > Somehow I can't imagine Blind Blake or Charley Patton playing a frat > party. "Hey you with the guitar, play some Hootie] FREEBIRRDD]]]]" :-) > > -Steve No, but go back 50 years and its not too hard imagining them playing whatever WAS popular with that particular audience of the day. It was not uncommon for black bluesmen, or blues combos, to play for white audiences, either at Plantation parties or, yes, even fraternity parties at Southern Universities. As I recall reading one artist say, "the white folk always wanted the best for themselves." Well, it was kinda hard to argue with that, anyway you want to take it. JD ========================================================================= Date: Thu, 6 Jun 1996 17:10:13 +0300 Reply-To: T P Uschanov From: T P Uschanov Subject: Re: Little junior parker Comments: To: Bo Carlsson In-Reply-To: On Wed, 5 Jun 1996, Bo Carlsson wrote: > I bought a nice Muddy-CD on LRC (Lester recording Corporation). Low-key > live recordings (from the 60-s I guess) with a lot of guitar in open G. > And My question: On the cover is a listing of releases and it includes two > with Junior Parker. Does anybody know anything about this one. I Would love > to get the live recordings he did for Groove Merchant with Jimmy Mcgriff on > CD. I've seen at least two CDs of Parker's Groove Merchant recordings at various high street stores here. They're on Denon's midline series, also including a lot of other live recordings produced by Sonny Lester at various times. T P Uschanov, University of Helsinki, Finland, European Union tuschano@cc.helsinki.fi ### http://www.helsinki.fi/~tuschano/ "Omnia praeclara tam difficilia, quam rara sunt." (Baruch Spinoza, 1632-1677) ========================================================================= Date: Thu, 6 Jun 1996 10:27:28 -0400 Reply-To: MARCIAG@VMS.CIS.PITT.EDU From: Marcia Grodsky Subject: Blues-L T Shirt Update Several weeks ago Bob Unger suggested to me that he could add something to the t-shirt design to commemorate the upcoming "First Annual Blues-L Convention". I wasn't sure whether it would be feasible because I thought it would incur additional set-up charges, etc, but we may be able to avoid that if there's enough interest. What I need to know is whether there *is* enough interest. I haven't seen or heard much of anything about the convention on the list lately. Are many people planning to go? Would you be interested in this? Or should I just leave things stand as they are? I'd like to get this settled soon and announce a closing date for t shirt orders. You can send me private email on this, rather than clog up the list. One further thing --- I've caught up on all the order confirmations now. So if anybody has mailed an order and hasn't received a confirmation from me, let me know. I'm a little concerned about overseas orders. I was under the impression that there were several of them that were mailed some time ago, but I've only received one so far from outside North America. ---Marcia marciag@vms.cis.pitt.edu ========================================================================= Date: Thu, 6 Jun 1996 07:36:12 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: June 7 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BOOKER, BERYL (p/RED CAPS/CATS & FIDDLE) b. 1922-0607, PHILADELPHIA, PA BROOKS, HAROLD "TINA" (tsax) b. 1932-0607, FAYETTEVILLE, NC BUTLER, BILLY (lead/g/THE ENCHANTERS) b. 1945-0607, CHICAGO, IL COMEGYS, JAMES LEON (tbn/EDDIE VINSON) b. 1917-0607, MD CUFFEE, ED (tbn/BASIE) b. 1902-0607, NORFOLK, VA FARLOW, TAL (g) b. 1921-0607, GREENSBORO, NC GIOVANNI, NIKKI (gospel poet) b. 1943-0607, KNOXVILLE, TN HENDERSON, MICHAEL (b/MILES DAVIS) b. 1951-0607, YAZOO CITY, MS HUMPHREY, WILLIE (cl) d. 1994-0607, NEW ORLEANS, LA 93 JOHNSON, SHIRLEY (v) b. 1949-0607, FRANKLIN, VA JONES, TOM (:-) b. 1940-0607, PONTYPRIDD, WALES LEWIS, MEADE LUX (p/boogie woogie) d. 1964-0607, MINNEAPOLIS, MN 59 MILWAUKEE SLIM (ANGELO CHAMBERS) (d) d. 1993-0607, ST. PAUL, MN 68 PORTER, GENE (tsax/MODERN REC) b. 1910-0607, POCAHONTAS, MS PRINCE (everything) b. 1958-0607, MINNEAPOLIS, MN RAINER [RAINER PTACEK] (g/BILLY GIBBONS) b. 1951-0607, EAST BERLIN,GERMANY ROBINSON, PRINCE (tsax/MILLINDER) b. 1902-0607, PORTSMOUTH, VA ROBY, HEZEKIAH (d) d. 1972-0607, CHICAGO, IL 28 ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 6 Jun 1996 14:26:05 GMT Reply-To: marc borms From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Brooks,Neal,Taylor and Harris together Comments: To: bit-listserv-blues-l@news.Belgium.EU.net On BRBF'96 Koko Taylor, Kenny Neal, Corey Harris and Lonnie Brooks are top of the bill of the festival's third day (July,21st). Is this a unique concert with these guys regularly playin' together, or will they all take there own 40-minutes set ? embee. ========================================================================= Date: Thu, 6 Jun 1996 14:28:47 GMT Reply-To: marc borms From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Q : Blind John Davis Comments: To: bit-listserv-blues-l@news.Belgium.EU.net Hi everybody, I'm looking for any recordings of BJD. He was rather unknown to me but I really like his kinda playin'... I think this guy must be over 70 now, or did he already leave us ? Who knows anything more about John ? Thanks a lot, embee. ========================================================================= Date: Thu, 6 Jun 1996 11:01:31 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: 5th Annual Boston Blues Cruise season! Hi Blues fans within earshot of Beantown.... :) Last night I was an invited VIP (ha!) guest onboard the maiden voyage of the fifth season of Boston Blues Cruises, run by Sticky Mike's (club) and operating out of slip #60 at Rowes Wharf. Here's how it went, and some more info if you're interested. To get there was pleasantly easy, which is shocking for anything in Boston! Got good, inexpensive ($6) parking 2 minute's walk from the pier, and strolled right onto the boat, checking in on the VIP guest list. $10 apiece, normally, will get you on the boat. The boat was nothing special, basically a small ferry maybe 100 footer, 2 decks accessible to passengers, one enclosed, one covered but exposed to open air. Bars on both decks, drinks about $3.50, plenty of room to move around, easily accessible men's and ladies "head" (nautical term, ya know:) and some crappo food (pizza and steamed weenies). The band was set up on the fantail of the upper(exposed) deck, which surprised me. The wind and little bit of spray there was was right in their faces, keeping the players cold, and making the PA system fight the wind howl. But it was a GORGEOUS, warm evening after a Spring rain and the weather and water were calm, so it was actually damned near perfect with a jacket. The Boston skyline lighting up as the sun set was breathtaking! The band, Nasty J & The Grinders, hit promptly as the boat pulled out at 7 pm and played two long sets with a break and it concluded promptly the second the boat was tied up at the pier at 10 pm. I really enjoyed the band a lot. I had not heard anything good about them, so I was not expecting good music, I was expecting to make it a Schmooze Cruise, as the boat was filled with other band folk, club owners, and the like along with fans. Not so. Nasty J & Co. have a big, fat 50s-60s Chicago blues sound not unlike Duke Robillard's style and a really nice feel for the sounds of that period. They were spartan as a four piece (harp, guitar, bass, drums) but had big sound and a great groove. The rhythm guys were unexciting to watch, but were so tight as to be un-noticeable, which is my favorite criterion for judging rhythm sections. They were "in the pocket" as we like to say. :) Nasty J himself had reasonable stage presence and solid, but not stellar harp-playing, but he does have a super voice for blues and that's high on my list. The guitar player stole the show in my eyes. Super, big fat tone and wonderfully tasty licks which he learned from lessons with (none other than) the Duke himself. Young, about 6'6" and freckle faced, he dwarfed these large guitars and looked a lot like the '49ers Steve Young at quarterback. Not exactly your cut-from-the-mold blues guitarist, but boy could this kid (Nick) play! I loved it. Obligatory gear head section: Drums (spartan!) Bass, snare, high hat. Period. Bass....new Fender model I didn't recognize, undiscernable amp, Bag End cab. Harp....Suzuki harps, cheap imitation Astatic mic w/ volume control, played through a modded older Fender Bassman 4x8 (never heard of 8" spkrs in a Bassman). Guitar...Main axe: '60s Gibson ES335 (stock) Wow! What sound! 2nd axe for T-Bone Walker tunes: Big, fat-bodied Silvertone archtop like a Country Gentleman, blonde, w/single (new?) black P-90-ish pickup in the neck position. I covet this guitar. (sinner!) 3rd axe: Newish Fender Strat (Am. Standard) all played straight and neat through a Bassman-looking Victoria Custom (tweed) amp, lots of reverb. Okay, to end this babbling....I felt like the bend was just getting in stride when the plug was pulled (literally) promptly at ten pm when the boat was tied at the pier. This was too fucking rude. They were in the middle of a great, fast boogie featuring MY harp guy (the incomparable Pat Drzik) duelling harps with Nasty J, when some young crewman in white uniform literally pulled the plug and said "you guys are done, the music stops when we hit the pier." and then summarily dismissed the band and the (til then) jubilant boogy-ers and shufflers crowded on the dance floor. A shitty ending to what was really a fine night of blues out on the sea. I had a great time, and when my band Gate Street Blues plays this cruise in early September, will time our last set to end at 9:55 so we can finish with style and say good night and thank you to the crowd. I have the Blues Cruise schedule and line up for June/July if anyone's interested. Respectfully submitted, Riffin Rick (((( oo-) /- ....."I'm driftin' and driftin' like a ship out on the sea" F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 6 Jun 1996 10:10:48 -0500 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: Muddy's Cabin - from H. Stovall What to do with Muddy's Cabin in five years: 1) Sell it to McDonalds and it could be the McMuddy's Cabin. "Don't forget to collect all the McMuddy's Band Action Figures in each happy meal." - or - 2) Sell it to Disneyland and they can turn it into Muddy's World. "Don't miss the Sharecropper, a death-defying ride into the old South." The possibilities are endless... Bruce Roberts Austin, TX ========================================================================= Date: Thu, 6 Jun 1996 15:09:20 GMT Reply-To: Buddy Donnelly From: Buddy Donnelly Organization: Shadow Information Services, Inc. Subject: SHAGDates for June (corrected version) Comments: To: bit-listserv-blues-l@uunet.uu.net OOPS! SHAGDates got changed at the last minute! Date scheduled for at The Dugout in Athens OH Saturday June 8 has been cancelled. An additional TBA has been finalized, for Champagne IL (at Mabel's) on Thursday, June 20. Here's the current scoop: SHAG is touring this summer behind their Bootzilla/SOLID Records release "Bootsy Collins Presents SHAG Live!" and mixing their first-ever studio CD, a conceptual thang called "Silver City," to be released on September 17, 1996. They've been working closely on the album with Gary "MUDBONE" Cooper of P-Funk All Stars, BRB, and Sly Fox fame (remember "Let's Go All The Way," the 1985-86 international top ten pop hit? Muddy was the songwriter and half of the singing duo.) "Silver City" will include full-bore Bootzilla Remixes of at least 2 songs. And in other news, a quick trip to Europe in August looks promising, and there will also be a new SHAGSite On Tha Webb. SHAGDates for June are: Thursday, June 6...Cleveland...The Grog Shop Friday, June 7...Columbus OH...Ludlow's Thursday, June 13...E Lansing MI...The Small Planet Friday, June 14...Bloomington IN...The Bluebird Saturday, June 15...Indianapolis...The Vogue Wednesday, June 19...Iowa City IA...Gabe's Oasis Thursday, June 20...Champagne IL...Mabel's Friday, June 21...Kansas City MO...The Hurricane Saturday, June 22...Lawrence KS...The Bottleneck Wednesday, June 26...Richmond KY...Phone 3 Thursday, June 27...Oxford OH...The Stadium Friday, June 28...St Louis MO...The Side Door Saturday, June 29...Ames IA...People's As always: phone first, things change (this is rock'n'roll). And be kind. GIVEAWAY ANNOUNCEMENT: SHAGDates announces the Summer Vacation Wish You Were Here Picture Postcard Giveaway! This is simple: Mail us the coolest picture postcard you can find (or make) about whereever in the funk you are this summer to: SHAGMail PO Box 19444 Cincinnati OH 45219 The postcard must have your current mailing address on it, printed so we can read it the way your postoffice likes to see it. A new postcard will be chosen every night SHAG plays, and the sender can pick up at the SHAGStore that night a free SHAG/Bootsy tee shirt. In additon, SHAGDates will be awarding a few more prizes as the summer goes on based on the total stunning visual impact of certain postcards. (Which ones? We'll know 'em when we see 'em. But here's a hint: we like it realll funky.) As a special bonus to all who enter, you'll be logged in on the SHAGDates Roughly Monthly Mailing List. And people, if you used to get SHAGDates in the mail but you don't anymore, chances are you moved and didn't notify us. So this is a good way to bring us up to date. We don't like to lose track of a single starflower in this big cold world. Thanks, SHAG Buddy Donnelly shagpage@shadow.net ========================================================================= Date: Thu, 6 Jun 1996 10:18:12 -0500 Reply-To: David Silberberg From: David Silberberg Subject: Re: Black Church Arsons At 06:38 AM 6/6/96 -0400, jose.eric.s.maglanque wrote: >... i cannot believe how some people can be so misinformed/insensitive to this >issue! > > >HOW CAN THEY NOT BE RELEVANT!!! (yes, i'm shouting... i can't believe some of >the responses to this thread :-< ) > > I, too, cannot believe some of the responses to this thread - but perhaps in the other direction. Especially comments directed at Shannon, who (IMO) merely pointed out that we do not have to look to national acts of racisim and violence - we all have plenty of examples close to home. She never said that the burning of the churches wasn't an outrage, a terrible thing - only that we only need look in our own back yards for similar outrages. Don C. also said: >The point is that every American and every citezen of the world should be >very concerned about all this. This is not a good time in America.> Why the indictment of all America? Whether compared against our own past - where the violence was much more widespread and accepted - or compared against other countries today, this IS a good time in America, especially for minorities. When I grew up - in the fifties - was a good time - if you were White and Protestant and male; it was pretty good if you were White and Catholic / Jewish and female; it was rotten if you were "of color" or of the wrong religion in various locales. Politicians and the government were largely silent about the rampant outrages. Today, in other countries, it is not much better than that - in most, a lot worse - and that seems to be true of Great Britain and the European democracies as well as of the Balkans, the Islamic countries of the Middle East, the former Iron Curtain Countries, and Asia. Where are ethnic, racial, religious minorities (or women in general) not subject to more violence and racism than here in America? Where America fails is in comparison with our promise - with where we should be. "All men are created equal...."; "...certain unalienable rights..."; "...give me your tired, your poor, your huddled masses yearning to breath free..." - we HAVE failed to live up to these, we MUST make up for our racist past and the racist tendencies in our present, we CANNOT sit back and say, "Well, we're better than the rest", and not continue to fight and move forwared. We should not have 50 African-American churches burned - but I have not read that the authorities aren't diligently trying to solve these crimes. We should not have 50 African-American churches burned - but I doubt that you could find 1 in 10,000 Americans of any color that would support such outrages. We should not have 50 African-American churches burned - but that is not as devestating as reading news magazines like Time, Newsweek, or (especially) Business Week and seeing no Black faces - unless in an article about race. This, to me, is where the real struggle is. And all of this from me, a liberal Democrat who believe that Clinton is too far to the right.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Thu, 6 Jun 1996 11:23:11 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Blues tone and strings Comments: To: pwfenton@gate.net PW and Shaun both make some good points that so much of a player's tone comes from the hands, one each, left and right. :) (Thanks Ray) But strings do matter though. If you change strings on your fave-o-rite guitar from one brand to another, one gauge to another, or metal compostion or windings, things definitely sound different. So you play different sets (broken in) on your fave-o-rite axe until you find a set (Brand, size, compostion) that makes your ears smile, and ya go with it. ...'course, none of that jibes with the fact that despite (or maybe IN spite) of the strings, I still sound like "me" on whatever guitar I pick up. :) Okay, so maybe it's hands AND strings! No wait! Hands, strings and pickups. No, wait, hands, strings, pickups, guitars, cables and amps........ Oh no, Mr. Bill! Ohhhhhhhhhh! :) Riffin Rick [GHS Boomers, 11's for me, thanks!] F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 6 Jun 1996 10:13:01 -0500 Reply-To: "Maintainability Analysis Workspace [Ranko Vujosevic]" From: "Maintainability Analysis Workspace [Ranko Vujosevic]" Subject: Muddy's Cabin Revisited Mr. Stovall, this is just some honest comments from a proud purist: 1. I did got into the Cabin at the Fest and have to admit it caused no emotional feelings whatsoever (me being, after LW, the BIGGEST MW fan in the world, sorry Don C). It was just a remainder that corporate America is taking over another important things in my life. Believe me Mr Stovall, blues played one of major parts in my decision to move to this country. Actually, it was education, basketball, and blues. 2. This purist went to visit Sonny Boy's grave behind deserted Whitfield church near Tutwiler. I was overwhelmed by the entire experience - driving from Clarksdale to Tutwiler, asking people around to find Whitfield chirch, and finally finding the grave. Didn't feel any of that standing in front of Muddy's Cabin, knowing that right behind me is HoB tent for, as you nicely said it, "an awareness campaign to support that opening." What is next? Will they dig out good old Goat and bring his grave to 1997 Chicago Blues Fest. 3. I was willing to donate money for Cabin's restoration at the original site, as I was sure meny people on Blues-L, blues societies, and good people in blues industry would. Nobody asked us to do that! 4. Mississippi Valley Blues Fest is putting on, in my opinion, a better blues festival this year. They have sponsors, but no sponsor can control what acts they book for the fest, the way HoB this at Chicago this year. And, yes, MVBluesFest is put on by a bunch of purists from the society. 5. HoB will squeeze the last dollar from the blues and then purists like us gattered in blues societies will keep it alive and support starving musicians until new "blues explosion," when some other HoB will come up with some new "restoration ideas for the community." 6. You should understand that this is in no way criticism of you and your family's decision to deal with HoB. I can understand you reasons to did that. I am just afraid of what will happen next. BLUES BELONGS TO PURISTS AND EVERYBODY ELSE WHO ENJOYS IT - NOT TO CORPORATE AMERICA. IF THAT MEANS SUNFLOWER FEST WILL BE ONE DAY, ONLY TWO STAGES AT CHICAGO FEST... SO BE IT. I PERSONALLY WILL ENJOY IT MUCH MORE. I know, I know, you may say, but less number of musicians will get paid. Well, that would mean only no Paul Black's but only true blues musicians. I think all of this works against blues and against true blues musicians in a long run. Ranko Vujosevic ========================================================================= Date: Thu, 6 Jun 1996 10:31:49 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Muddy's Cabin - from H. Stovall Comments: To: HSTOVALL@MEMPHIS1.HARRAHS.COM In-Reply-To: <31B6F39F@smtpgate.harrahs.com> H. Stovall rather testily responds to criticism of the HoB's sponsorship of Muddy's Cabin. Many excellent and legitimate points for those who would like the cabin to be restored (in some manner) and for the Sunflower festival to be funded. Apologies for not catching all of the details the first time around. I think a lot of us think that if the HoB corporate heads want to rent Muddy's Cabin, they should have to live in. Maybe plan B might involve something along those lines in five years. Part of the criticism is the moving of the cabin, taking it out of context. I thought Ranko said it very well when he saw it in Chicago, here are a line of food booths, here's the HoB tent, and here's Muddy's cabin. Stovall's comments to Karen Hansen: > >this particular cabin was > >sitting in the middle of a street in Chicago. For me it was totally out of > >context. > > I see. And are you equally bothered by a lunar module sitting in the lobby > of a museum on the Washinton Mall, or would you rather visit that on the > moon, where it rightfully belongs? > > >And no, I did not feel the presence of Muddy there. > > Next time come inside, and you'll have a better chance. Perhaps that would have made a difference, and I'd love to hear the response of folks who went inside. But the analgy with the lunar module is good in the sense that the great marvel of going to the Smithsonian and seeing the lunar module is that it is totally out of context and odd and strange to see it sitting in a build like that. Thus, Muddy's Cabin. "Purists" (the common insult on blues-l, but I suppose there's some accuracy to it) probably feel that the cabin is being transformed from Muddy's cabin to HoB's cabin, and that instead of the presence of Muddy, we're not very subtly guided to feeling the presence of HoB. I hasten to add that if anyone's consciousness is raised about blues or the conditions of sharecroppers or southern culture in anyway, I'd be delighted. The context makes some of us dubious, but I'm VERY GLAD that Stovall responded to the questions and criticisms. The best argument Stovall made is the money going to the Sunflower Festival. $20,000 per year for a valuable festival, which he convincingly shows would NOT have warrented HoB's sponsorship is of value. [edit--Stovall continues:] > > A CHALLENGE: > OK, all you purists. You have five years to come up with phase 2 of the > Muddy deal. You have been so generous in offering advice of what we should > have done. Now, please get real, and tell us what we should do in five > years. And I mean, in terms of a plan, a budget, and where the funding > comes from. Let's get that quarterbacking done before the game this time. I have a distinct feeling that some of us will wait six years and then offer our criticisms on Blues-l and that it will be just as warmly welcomed. > > Now, for those of you who have offered legitimate criticism, please > understand that I realize this deal is not perfect. However, given the > circumstances: > 1. A rotting structure that was a legal liability ("attractive nuisance") > to our family business. > 2. No funds or plans readily available for reconstruction. > 3. Loss of NEA funding for Sunflower > I think we did a pretty good job. > > And thank you, Leonard Watkins, for having all the facts, and responding > appropriately. > > Stovall > Such a strange turn of events. As a vehicle for attracting corporate sponsorship to a worthy music festival, this must go in the history books somewhere. As a "historical preservation" project, it must surely also. I'm glad that Stovall concisely layed out the facts of the situation, and also admits that the deal is not perfect, but I doubt that any solution would have pleased everyone. The "purists" distaste for HoB doesn't make this deal more palatable, but the merits for Sunflower do. Once again, thank you for the facts. Steve Price ========================================================================= Date: Thu, 6 Jun 1996 11:41:53 EDT Reply-To: ron kraemer From: ron kraemer Subject: Re: Big Daddy Kinsey I'm reading through the Digest from yesterday, and read APICOR 7's "reply" to my Smirkyface'd friend's "blues diet" post. Knowing that APICOR 7 missed the joke from a few days ago, which tied in the and low-fat threads, I held off on defending Smirk's post. Glad I did, cuz Smirkyface can more than defend himself, as HE resisted flaming APICOR 7 clear back to APICOR 6. See at the Luther A. show, Smirk. Ron ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters (and in another life....) Ron Kraemer and the Hurricanes ************************************************************ ========================================================================= Date: Thu, 6 Jun 1996 12:13:15 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Harp player tone -amusing anecdote (was guitar tone) IronMan Mike Curtis shared a little gem with us about being accused of muddling with amp knobs to make a sit-in harp player sound bad in comparison. I saw something like this happen last night on the Blues Cruise in Boston. My harp guy Pat was invited onstage in the last song to accompany Nasty J & The Grinders. Pat had wanted to try playing through J's old modded Bassman and faux Astatic, but he started out on the vocal mike thru the PA and came out sounding big, fat and wonderfully nasty, vs. J who was thinner and reedier by comparison. In the middle of the song J decided he was being upstaged by Pat's tone, and they switched mike's as they played, which is what Pat had wanted in the first place. Again, Pat was fat and dirty, great 50s harp tone, and J sounded anemic. Get this! Twice more, T W I C E, in the same song (!) J switched mikes back and forth with Pat and was starting to look pissed. It was funny! I knew exactly what was going on, Pat is just a HUGE sounding player and pushes a shitload of air through his harps (that's why he blows em all the time) and J while a good player, didn't play with the same balls and lung power as Pat, and it showed glaringly. Pat and I had a good yuk about this later, and I just hadda give him a brotherly hug and tell him "Pat, you de MAN." :) Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 6 Jun 1996 12:18:12 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0775 From: "DUTTWEILER.J" Subject: Muddy's Cabin Revisited Date: Thursday, 6 June 1996 12:17pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Muddy's Cabin Revisited Ranko wrote: > Mr. Stovall, this is just some honest comments from a proud purist: > > 1. I did got into the Cabin at the Fest and have to admit it caused no > emotional feelings whatsoever (me being, after LW, the BIGGEST MW fan in > the world, sorry Don C). It was just a remainder that corporate America is > taking over another important things in my life. Believe me Mr Stovall, > blues played one of major parts in my decision to move to this country. > Actually, it was education, basketball, and blues. > > 2. This purist went to visit Sonny Boy's grave behind deserted Whitfield chu > near Tutwiler. I was overwhelmed by the entire experience - driving from > Clarksdale to Tutwiler, asking people around to find Whitfield chirch, > and finally finding the grave. Didn't feel any of that standing in front of > Muddy's Cabin, knowing that right behind me is HoB tent for, as you nicely > said it, "an awareness campaign to support that opening." What is next? Will > they dig out good old Goat and bring his grave to 1997 Chicago Blues Fest. This sounds like a personal problem to me, based soley on one's own perceptions and expectations. Reasonably people would agree that someone with NO interest whatsoever in the blues would feel nothing at EITHER site. Thus, that you felt something at Sonny Boy's grave and nothing at Muddy's cabin merely speaks to your OWN perceptions, and proves nothing substantive whatsoever. > 3. I was willing to donate money for Cabin's restoration at the original sit > as I was sure meny people on Blues-L, blues societies, and good people in > blues industry would. Nobody asked us to do that] Why should a blues "purist" wait to be asked? Do you have to be asked to help if you see someone run over in a road? The state of Muddy's cabin as it was on the Stovall Plantation was well known. Mr. Stovall might rightly respond that no one offered > 4. Mississippi Valley Blues Fest is putting on, in my opinion, a better blue > festival this year. They have sponsors, but no sponsor can control what acts > they book for the fest, the way HoB this at Chicago this year. And, yes, > MVBluesFest is put on by a bunch of purists from the society. This is mere subjective opinion. Do you have any EVIDENCE, other than opinons, that HOB controled the artist lineup at this years festival? In what way will MVB's be better? > 5. HoB will squeeze the last dollar from the blues and then purists like > us gattered in blues societies will keep it alive and support starving > musicians until new "blues explosion," when some other HoB will come up with > some new > "restoration ideas for the community." > snip < > > BLUES BELONGS TO PURISTS AND EVERYBODY ELSE WHO ENJOYS IT - NOT TO > CORPORATE AMERICA. IF THAT MEANS SUNFLOWER FEST WILL BE ONE DAY, ONLY TWO > STAGES AT CHICAGO FEST... SO BE IT. I PERSONALLY WILL ENJOY IT MUCH MORE. This seems to be the heart of the matter, an inate bias against anything that smacks of "corporate" America (BTW, WHO pays your salary, for WHOM do you work) AND a loss of "ownership" and "control." There seems to be great resentment among afficianados of many persuasions when their "pet" passions become more popular among the "masses." "True" blues fans look down their noses at the Johnny-come-latelies who presume to intrude upon their sanctum of sanctums. > I know, I know, you may say, but less number of musicians will get paid. > Well, that would mean only no Paul Black's but only true blues musicians. > I think all of this works against blues and against true blues musicians in > long run. > > Ranko Vujosevic Finally, this seems to be the ultimate in patronising elitism: "if some lose their jobs, so be it, that's just the cost of keeping the blues 'pure.'" Who defines a "true blues musician?" Are we to submit this to a "Blues Board of Purity"? What a bunch of CRAP I don't know anything about Paul Black, but if he (she/it?) can make money playing blues, more power to them. If you don't like them, don't buy it. But quit presuming to make value distinctions for everyone else. I'm not a big fan of HOB's, based soley upon not caring much for the TBS TV show. I would not pay to go stand up in a overcrowded bar to listen to a band - not my cup of tea. HOWEVER, in this whole discussion, I have never seen ONE SHRED OF CONCRETE EVIDENCE, not one substantial charge as to what HOB has done to negatively effect the state of the blues in this country. I think Mr. Stovall's post was reasoned and patient, and could probably be put succinctly as: either put up or shut up JD (just my own NSHO ) ========================================================================= Date: Thu, 6 Jun 1996 11:18:02 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Little junior parker Comments: To: T P Uschanov In-Reply-To: The CDs I've found of Jr. Parker's Groove Merchant etc. recordings are cheap and worthwhile, but they're a mishmash of the original LPs rather than straight reissues. So parts of the live LP are on different CDs, etc. ========================================================================= Date: Thu, 6 Jun 1996 11:23:11 CDT Reply-To: William Shute From: William Shute Subject: Mr. Stovall's comments From: Bill Shute Before Mr. Stovall blasts "you folks" (ie, all of us on blues-l), perhaps he should realize that 98% of blues-l posters (myself included) DID NOT take an uninformed stand on the issue of Muddy Waters' cabin. Speaking for myself (and for my many blues-l friends who did not address the topic on blues-l, which pretty much includes MOST of the people on blues-l I consider "knowledgeable" about blues in specific and life in general), Mr. Stovall seemed from the outset to be a sensible and savvy man who loves the blues and would do the best he could. And he obviously did. Dick Waterman's post early on in this issue seemed to put it all very clearly and rationally, and in my mind at least "closed the book" on this issue. That some people continue to discuss an issue when uninformed and present ignorant non-analyses of things they didn't even bother to investigate (or to visit) is inevitable on a free-form network such as blues-l. As someone who IS NOT one of those, I resent being tarred and feathered by Mr. Stovall with the same brush he is using (rightfully) on people such as Karen H. I understand why Mr. Stovall is pissed. I would be were I in his shoes. He worked hard to put together a good deal, and his deal is being trashed by people who don't even bother to look at what is in front of them. But that's what happens when you do ANYTHING in life. Get used to it. Consider the source. But don't speak in a patronizing, contemptuous way to a large and diverse international network of relatively knowledgeable people who are, on the whole, as committed to the blues and as non-self-aggrandizing as you are, Mr. Stovall, when only a handful (relatively speaking) of people are at fault.If you're having a bad day, don't dump your sh#t on me, pal! Bill Shute San Antonio, TX ========================================================================= Date: Thu, 6 Jun 1996 12:43:00 -0400 Reply-To: Dennis Miele From: Dennis Miele Organization: C/ICS Subject: Where is Blues-L?? Comments: To: bit-listserv-blues-l@uunet.uu.net Where is everyone? ========================================================================= Date: Thu, 6 Jun 1996 12:51:34 -0400 Reply-To: Niles Frantz From: Niles Frantz Organization: GNN Subject: Re: Chicago's Fest Comments: To: bit-listserv-blues-l@uunet.uu.net In article Jeff Seale wrote: >> Sundays highlights for me were Pete Mayes w/Texas Johnny > Brown. Terrific. > >Dave and anyone else who saw Texas Johnny Brown, could you > give a more >detailed account of TJB's set. He was playing with Pete's > band and not the >Quality Blues band. I'd like to know how they sounded > together, meshed, >etc. Also, how was TJB received. > >Anyone who saw the set and would be willing to write a > detailed review, >I'd be happy to include it on the Texas Johnny Brown Web > page ;-) ;-) >Just email me. Texas Johnny Brown took to the Crossroads Stage in a stunning purple suit and launched in to "Everyday I Have the Blues." The beat was more of a Texas shuffle than the traditional jump blues feel. A powerful medley including "Key To The Highway" and "Crawlin' Kingsnake" followed with Brown on solo guitar and the band laying out. Brown brought the band back in on a rollicking version of "Cherry Red," where Brown and bandleader Pete Mayes shared lead vocals. Before Brown, Mayes had performed: - Medley of "Kidney Stew" and "Society Woman" (T-Bone style) - "Movin' Out" (uptempo) - "Sweet Home Chicago" (one of 9 performances of the song I heard over the weekend) Following Brown, Mayes brought up Jimmy "T99" Nelson, who performed three songs. Mayes concluded the set with a rousing "Rock This Joint." Niles A loop is a loop is a loop. ========================================================================= Date: Thu, 6 Jun 1996 11:58:14 -0500 Reply-To: "Stine, Dave" From: "Stine, Dave" Subject: Corporate blues--IMHO--again Maybe the devil Robert Johnson made his pact with was Vocalion? IMHO, without corporate (define it yourself--to me it's taking money for service), blues music would have died many times over. Thanks to subsidies from Miller beer, small towns in my area have seen traveling blues and R&B acts. Thanks to PepsiCo, John Lee Hooker has replaced Jack Palance as the coolest older man on TV commercials. Other examples abound. You can't have it both ways. When you buy a major label CD are not you saying "I believe in corporate blues funding?" Do you bring homemade beer at a blues festival? There is no such thing as a blues purist. There are only "I brake for Unicorn" types who have created a romantic image of blues performers and history, and from that a "criteria" for "purity." What's more important? Muddy Waters' musical legacy or the reincarnated cabin he left years ago? HoB can't dig up and replant the whole Mississippi Delta region. But blues "purists," likewise can't save every cabin, house, apartment, roadhouse, church, grove of trees, graveyard, or out house that ever was occupied by a REAL bluesman. Nobody owns the blues. It just is. Why can't we all get along? David "white Rodney" Stine dstine@fsc.follett.com ========================================================================= Date: Thu, 6 Jun 1996 12:58:04 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Re: CajunZydeco&SwampPop*IS NOT*NewOrleans music All I can say is this: As one who is from New Orleans (and misses it dearly), I DO think of Cajun and Zydeo as New Orleans music. Yeah, you right, it's more properly thought of as music from the Bayous and outlying parishes. But, in N'Awlins, we tend to embrace all that is good from the Delta and Bayou regions. I mean, when you think of Cajun cookin', you think of the New Orleans chefs and restaurants. *YES*, that's just because they are more famous. But, we like to think that "If it came from Louisiana, it went through New Orleans on the way out." Unfortunately, that also includes all of the trash in the Mighty Mississippi River. But, I digress . . . . I think then that people not from the region or who are not music students/ historians should be excused for thinking that New Orleans is the home of Cajun and Zydeco music just as people not from the South or not students of country music think that Nashville is the home of country music. But, it is also good that you educated many folks about the falsity of this assumption. Waitin' for my Cajun Queen, Gavin Arneaux ========================================================================= Date: Thu, 6 Jun 1996 13:09:42 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Harp player tone -amusing anecdote (was guitar tone) Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com * I knew exactly what was going on, Pat is just a HUGE sounding player *and pushes a shitload of air through his harps (that's why he blows em all the *time) and J while a good player, didn't play with the same balls and lung power *as Pat, and it showed glaringly. Actually good harp tone comes from finesse, not power. Proper breathing does much more than heavy breathing. But this isn't harp-l, so I'll shut up now. :-) -Steve L ========================================================================= Date: Thu, 6 Jun 1996 12:17:16 -0500 Reply-To: "Maintainability Analysis Workspace [Ranko Vujosevic]" From: "Maintainability Analysis Workspace [Ranko Vujosevic]" Subject: Re: Muddy's Cabin Revisited In-Reply-To: "DUTTWEILER.J" "Muddy's Cabin Revisited" (Jun 6, 12:18pm) J. Duttweiler said: > I'm not a big fan of HOB's, based soley upon not caring much for the TBS TV > show. I would not pay to go stand up in a overcrowded bar to listen to a band > - not my cup of tea. HOWEVER, in this whole discussion, I have never seen ONE > SHRED OF CONCRETE EVIDENCE, not one substantial charge as to what HOB has done > to negatively effect the state of the blues in this country. Jon, I won't argue with your opinion, but speaking of facts, HoB "true blues artists" Paul Black and Jimmy Rip (I bet you never heard of them) played on HoB Crossroads Stage. if that's not a "negative effect the state of the blues in this country" what is it? There are no more deserving musicians who did not play the previous year? I also want to see a SHRED OF CONCRETE EVIDENCE of what HoB have done good to the state of blues in this country. TV show, Muddy's Cabin, and almost everything else I associate with them are not. Ranko "working for a non-profit organization" V. ========================================================================= Date: Thu, 6 Jun 1996 10:27:50 -0700 Reply-To: Troy Meier From: Troy Meier Subject: Re: Black Church Arsons Comments: To: "jose.eric.s.maglanque@AC.COM" ---------- > From: jose.eric.s.maglanque > To: Multiple recipients of list BLUES-L > Subject: Black Church Arsons > Date: Thursday, June 06, 1996 3:38 AM > >these churches are as much the wombs that nurtured and nurtures what > we now call blues, as the cottonfield, the railway, the penitentiary, the levee > have been!!! So what you are saying then is that everytime there is a prison riot or they tear one down, everytime a train crashes or is sabotaged, each time a cotton field is paved over, every time a levee breaks or is replaced or tore down this is cause for another irrellevant thread of guilt-driven, p.c. drivel? I think not. It's the MUSIC!! What progression or regression of blues music or the blues "scene" do these events foster? If they would have burnt down Parchman Farm 60 years ago the blues would have sprung out of another place. OK, maybe we wouldn't have some of the more popular artists derived from that place but equally talented ones would have been developed and blossomed in another. the important > point is that this is a crime against humanity, regardless of race or color. > Ya. I'm sure there is a forum for THESE types of discussions on another channel!! Hello? . . . ========================================================================= Date: Thu, 6 Jun 1996 13:37:49 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Muddy's Cabin Revisited Comments: To: "DUTTWEILER.J" On 6 Jun 96 at 12:18, DUTTWEILER.J wrote: > Ranko wrote: > > Mr. Stovall, this is just some honest comments from a proud purist: > > > > 1. I did got into the Cabin at the Fest and have to admit it caused no > > emotional feelings whatsoever (me being, after LW, the BIGGEST MW fan in > > the world, sorry Don C). It was just a remainder that corporate America is > > taking over another important things in my life. Believe me Mr Stovall, > > blues played one of major parts in my decision to move to this country. > > Actually, it was education, basketball, and blues. > > > > 2. This purist went to visit Sonny Boy's grave behind deserted Whitfield chu > > near Tutwiler. I was overwhelmed by the entire experience - driving from > > Clarksdale to Tutwiler, asking people around to find Whitfield chirch, > > and finally finding the grave. Didn't feel any of that standing in front of > > Muddy's Cabin, knowing that right behind me is HoB tent for, as you nicely > > said it, "an awareness campaign to support that opening." What is next? Will > > they dig out good old Goat and bring his grave to 1997 Chicago Blues Fest. > > This sounds like a personal problem to me, based soley on one's own > perceptions and expectations. Reasonably people would agree that someone with > NO interest whatsoever in the blues would feel nothing at EITHER site. Thus, > that you felt something at Sonny Boy's grave and nothing at Muddy's cabin > merely speaks to your OWN perceptions, and proves nothing substantive > whatsoever. > > > 3. I was willing to donate money for Cabin's restoration at the original sit > > as I was sure meny people on Blues-L, blues societies, and good people in > > blues industry would. Nobody asked us to do that] > > Why should a blues "purist" wait to be asked? Do you have to be asked to help > if you see someone run over in a road? The state of Muddy's cabin as it was > on the Stovall Plantation was well known. Mr. Stovall might rightly respond > that no one offered > > > 4. Mississippi Valley Blues Fest is putting on, in my opinion, a better blue > > festival this year. They have sponsors, but no sponsor can control what acts > > they book for the fest, the way HoB this at Chicago this year. And, yes, > > MVBluesFest is put on by a bunch of purists from the society. > > This is mere subjective opinion. Do you have any EVIDENCE, other than > opinons, that HOB controled the artist lineup at this years festival? In what > way will MVB's be better? > > > 5. HoB will squeeze the last dollar from the blues and then purists like > > us gattered in blues societies will keep it alive and support starving > > musicians until new "blues explosion," when some other HoB will come up with > > some new > > "restoration ideas for the community." > > snip < > > > > BLUES BELONGS TO PURISTS AND EVERYBODY ELSE WHO ENJOYS IT - NOT TO > > CORPORATE AMERICA. IF THAT MEANS SUNFLOWER FEST WILL BE ONE DAY, ONLY TWO > > STAGES AT CHICAGO FEST... SO BE IT. I PERSONALLY WILL ENJOY IT MUCH MORE. > > This seems to be the heart of the matter, an inate bias against anything that > smacks of "corporate" America (BTW, WHO pays your salary, for WHOM do you > work) AND a loss of "ownership" and "control." There seems to be great > resentment among afficianados of many persuasions when their "pet" passions > become more popular among the "masses." "True" blues fans look down their > noses at the Johnny-come-latelies who presume to intrude upon their sanctum of > sanctums. > > > I know, I know, you may say, but less number of musicians will get paid. > > Well, that would mean only no Paul Black's but only true blues musicians. > > I think all of this works against blues and against true blues musicians in > > long run. > > > > Ranko Vujosevic > > Finally, this seems to be the ultimate in patronising elitism: "if some lose > their jobs, so be it, that's just the cost of keeping the blues 'pure.'" Who > defines a "true blues musician?" Are we to submit this to a "Blues Board of > Purity"? What a bunch of CRAP I don't know anything about Paul Black, but > if he (she/it?) can make money playing blues, more power to them. If you > don't like them, don't buy it. But quit presuming to make value distinctions > for everyone else. > > I'm not a big fan of HOB's, based soley upon not caring much for the TBS TV > show. I would not pay to go stand up in a overcrowded bar to listen to a band > - not my cup of tea. HOWEVER, in this whole discussion, I have never seen ONE > SHRED OF CONCRETE EVIDENCE, not one substantial charge as to what HOB has done > to negatively effect the state of the blues in this country. > > I think Mr. Stovall's post was reasoned and patient, and could probably be put > succinctly as: either put up or shut up > > JD (just my own NSHO ) I've been a blues-ler for a couple of years at least and I have never posted a ME TOO post until now. Thank you Jonathan for saying what I wanted said. I wrote to Mr. Stovall just to apologize for my friends here. I can't believe some of the things that are being said. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Thu, 6 Jun 1996 17:46:27 GMT Reply-To: Buddy Donnelly From: Buddy Donnelly Organization: Shadow Information Services, Inc. Subject: SHAGDates for June (corrected version) Comments: To: bit-listserv-blues-l@uunet.uu.net OOPS! SHAGDates got changed at the last minute! Date scheduled for at The Dugout in Athens OH Saturday June 8 has been cancelled. An additional TBA has been finalized, for Champagne IL (at Mabel's) on Thursday, June 20. Here's the current scoop: SHAG is touring this summer behind their Bootzilla/SOLID Records release "Bootsy Collins Presents SHAG Live!" and mixing their first-ever studio CD, a conceptual thang called "Silver City," to be released on September 17, 1996. They've been working closely on the album with Gary "MUDBONE" Cooper of P-Funk All Stars, BRB, and Sly Fox fame (remember "Let's Go All The Way," the 1985-86 international top ten pop hit? Muddy was the songwriter and half of the singing duo.) "Silver City" will include full-bore Bootzilla Remixes of at least 2 songs. And in other news, a quick trip to Europe in August looks promising, and there will also be a new SHAGSite On Tha Webb. SHAGDates for June are: Thursday, June 6...Cleveland...The Grog Shop Friday, June 7...Columbus OH...Ludlow's Thursday, June 13...E Lansing MI...The Small Planet Friday, June 14...Bloomington IN...The Bluebird Saturday, June 15...Indianapolis...The Vogue Wednesday, June 19...Iowa City IA...Gabe's Oasis Thursday, June 20...Champagne IL...Mabel's Friday, June 21...Kansas City MO...The Hurricane Saturday, June 22...Lawrence KS...The Bottleneck Wednesday, June 26...Richmond KY...Phone 3 Thursday, June 27...Oxford OH...The Stadium Friday, June 28...St Louis MO...The Side Door Saturday, June 29...Ames IA...People's As always: phone first, things change (this is rock'n'roll). And be kind. GIVEAWAY ANNOUNCEMENT: SHAGDates announces the Summer Vacation Wish You Were Here Picture Postcard Giveaway! This is simple: Mail us the coolest picture postcard you can find (or make) about whereever in the funk you are this summer to: SHAGMail PO Box 19444 Cincinnati OH 45219 The postcard must have your current mailing address on it, printed so we can read it the way your postoffice likes to see it. A new postcard will be chosen every night SHAG plays, and the sender can pick up at the SHAGStore that night a free SHAG/Bootsy tee shirt. In additon, SHAGDates will be awarding a few more prizes as the summer goes on based on the total stunning visual impact of certain postcards. (Which ones? We'll know 'em when we see 'em. But here's a hint: we like it realll funky.) As a special bonus to all who enter, you'll be logged in on the SHAGDates Roughly Monthly Mailing List. And people, if you used to get SHAGDates in the mail but you don't anymore, chances are you moved and didn't notify us. So this is a good way to bring us up to date. We don't like to lose track of a single starflower in this big cold world. Thanks, SHAG Buddy Donnelly shagpage@shadow.net ========================================================================= Date: Thu, 6 Jun 1996 13:52:36 -0400 Reply-To: FORCELLAD@CCSUA.CTSTATEU.EDU From: Domenic Forcella Subject: Church Arson Being a person that does not care about what others think of me or in many cases their opinions, I will do my own thing. And that is prepare a PSA for my radio program. What I could use is the facts one more time. Numbers, locations, and any on-going programs, and law enforcement activities. Actually I could use some help from the more literate members of blues-l. Please respond privately and I will post results. When people talk something to death it always reminds me of a favorite quote from an old prof. "One lion on the move makes more progress than two seated intelluctuals." Domenic Forcella Traveling with the Blues ========================================================================= Date: Thu, 6 Jun 1996 14:29:27 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Muddy's Cabin Revisited Comments: To: "Maintainability Analysis Workspace [Ranko Vujosevic]" In-Reply-To: <9606061217.ZM19898@quickdraw.ccad.uiowa.edu> On Thu, 6 Jun 1996, Maintainability Analysis Workspace [Ranko Vujosevic] wrote: > Jon, I won't argue with your opinion, but speaking of facts, HoB "true > blues artists" Paul Black and Jimmy Rip (I bet you never heard of them) > played on HoB Crossroads Stage. if that's not a "negative effect the state of > the blues in this country" what is it? There are no more deserving musicians > who did not play the previous year? Ranko - why is this a negative effect on the state of the blues? Also re: deserving. I don't think that's the criteria for fests or clubs booking acts. I am not saying that this shouldn't be a criteria, just noting it isn't. > I also want to see a SHRED OF CONCRETE EVIDENCE of what HoB have done > good to the state of blues in this country. TV show, Muddy's Cabin, and > almost everything else I associate with them are not. Bringing the blues (sometimes) and the concept (all of the time) to bazillions of viewers and then bringing a piece of blues his- tory to another bazillion people sure sounds good for the blues. If it prompts 1/2 a bazillion people to start the journey and go and check out other blues artists from this beginning should not really hurt the blues. My guess is that the more consumers that there are for any part of the blues (rock, schlock or jock) is a boon to the whole industry. Imagine 1/2 of those 1/2 a bazillion newcomers going to the stores and asking for a Muddy or a SBW CD. Might change the whole industry - mightn't it. Not talking ethics - talking business, the blues business I hope. > Ranko "working for a non-profit organization" V. Barry "raising money for non-profit organizations" S. NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 6 Jun 1996 13:35:19 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Corporate blues--IMHO--again Comments: To: "Stine, Dave" In-Reply-To: <96Jun6.120222cdt.12680@fscmail.fsc.follett.com> On Thu, 6 Jun 1996, Stine, Dave wrote: > Maybe the devil Robert Johnson made his pact with was Vocalion? IMHO, > without corporate (define it yourself--to me it's taking money for > service), blues music would have died many times over. Yeah, like all the times that record companies stiffed writers and artists, all the times that promoters promised lies and cried all the way to the bank, and all the club owners who screw musicians. No one objects to money for services. Exploitation is exploitation, it hurts the very thing you're claiming it protects. Ranko is right, the "purists" will be collecting records and supporting unknowns when the media's feeding frenzy is over until the next corporate take-over. > > Thanks to subsidies from Miller beer, small towns in my area have seen > traveling blues and R&B acts. Thanks to PepsiCo, John Lee Hooker has > replaced Jack Palance as the coolest older man on TV commercials. Other > examples abound. Good for John Lee. I applaud Pepsico if this is really good for more than just Pepsico, but they're cashing in on each other, and I doubt the promotion extends beyond that. > > You can't have it both ways. When you buy a major label CD are not you > saying "I believe in corporate blues funding?" Do you bring homemade > beer at a blues festival? No, that's goods for money. That's capitalism working. And I don't claim the line is clear. > > There is no such thing as a blues purist. There are only "I brake for > Unicorn" types who have created a romantic image of blues performers and > history, and from that a "criteria" for "purity." Thank you for your thoughtful understanding. I guess some of us who disagree with you who have been attending concerts, collecting recordings, performing, trying to interest wider audiences, and encourage local societies and festivals don't know anything. Sorry we spoke. > > What's more important? Muddy Waters' musical legacy or the reincarnated > cabin he left years ago? HoB can't dig up and replant the whole Mississippi > Delta region. But blues "purists," likewise can't save every cabin, house, > apartment, roadhouse, church, grove of trees, graveyard, or out house that > ever was occupied by a REAL bluesman. No, and neither am I interested in trying to preserve every stick of wood or nail in a glass time capsule. New artists in every community need to be nurtured, old wood rots when hit by tornados and rain, and canny promoters want to make a buck. Sometimes canny promoters do something useful for society, and sometimes they don't in the long run. Sometimes though a shred of authenticity is worth the trouble. > > Nobody owns the blues. It just is. Why can't we all get along? I suspect we can when we respect each other's views. I'm afraid I took a bit unkindly to your characterizations of people who object a valuable part of culture being perceived as hijacked or disregarded. I wasn't at Chicago, didn't see Muddy's cabin, didn't see HoB's booths everywhere. There've been differing opinions on the value of HoB's presence there, and I've been interested in the discussion. I only object the characterizations of people interested in certain criticisms as somehow out of touch with reality. If you want to make a useful argument about the value of corporate sponsorship of such events, to preserve them, so that more people can have access to a kind of music that has always had a very limited commercial success, I'm sure the unicorns would love to hear it. I'm sure we'd agree on most things, David. > > David "white Rodney" Stine > dstine@fsc.follett.com > Steve Price ========================================================================= Date: Thu, 6 Jun 1996 13:43:48 -0500 Reply-To: Storm Bailey From: Storm Bailey Subject: Re: Muddy's Cabin Revisited-Paul Black Ranko said: > > Jon, I won't argue with your opinion, but speaking of facts, HoB "true >blues artists" Paul Black and Jimmy Rip (I bet you never heard of them) >played on HoB Crossroads Stage. if that's not a "negative effect the state of >the blues in this country" what is it? There are no more deserving musicians >who did not play the previous year? > Paul's been playing in my neighborhood since long before I got there, and over the years I've come to enjoy his slide playing and approach to the blues. So I was delighted to hear last fall, just after leaving Madison, that he got a decent record contract--even if it was with the evil HOB. What I've been hoping for now is to hear from others who now--however corporately--have a chance to hear him (and Andy Linderman, harp player for the Flip Kings). So, _has_ anybody actually heard this band? Can you tell us what you think? Though I do not know Paul well, I do think I can say that he doesn't care too much whether he's a "true blues person" or whatever. What do you think--good or bad--of the music? Storm "don't know enough not to like what hits me right" ========================================================================= Date: Thu, 6 Jun 1996 13:41:14 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Where is Blues-L?? Comments: To: Dennis Miele In-Reply-To: <31B70A94.2106@fpe.erenj.com> On Thu, 6 Jun 1996, Dennis Miele wrote: > Where is everyone? Oh, don't worry about it. We're having another of our recurring little flame wars - this time about Muddy's cabin. Oh, and the race thing has come up again. You're not missing anything as long as you've been subscribed for more than 6 months. -Jeff (sheesh!) ------------------------------------------------------------------------------ __ Jeff Seale, PhD | |___ University of Texas Health Sciences Center @ San Antonio ___|* | seale@bioc02.uthscsa.edu \ | http://bioc09.uthscsa.edu/~seale/home.html \/\ / \ / I jumped bail from the Sweetwater County, now I'm on the run \( On my head is a 5 number bounty, for a crime I never done -Joe Ely ========================================================================= Date: Thu, 6 Jun 1996 13:46:39 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Muddy's Cabin Revisited Comments: To: "P.W. Fenton" In-Reply-To: <199606061739.NAA10010@osceola.gate.net> On Thu, 6 Jun 1996, P.W. Fenton wrote: > I've been a blues-ler for a couple of years at least and I have never > posted a ME TOO post until now. Thank you Jonathan for saying what I > wanted said. I wrote to Mr. Stovall just to apologize for my friends > here. I can't believe some of the things that are being said. > Gosh, I love being apologized for. Hope you don't mind my wiping my mouth on the tablecloth. I'm glad we can have open discussions on blues-l about issues relating to the promotion and condition of blues without folks getting all hot headed and personal. Steve I don't know who Ranko is Price ========================================================================= Date: Thu, 6 Jun 1996 14:49:07 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: 3rd Pick of '96. Johnny B. Moore - Live At Blue Chicago (Delmark #688) Plenty of drop dead vocals - big bass, rough toned and honest. Entire CD is live and much of it feels so. Guests include the following - Melvina Allen (hear and believe), Karen Carroll, & Willie Kent. Johnny B. Moore shows his first (1st to me) sign of being a songwriter on cut 8 - Mean Mistreater. This cut is full of his strong lead guiatr and smokey raspy vocals. Quite a lot of covers and some of the best, all done JBM's way so it ain't just a rehash -- Rollin' & Tumblin', Sweet Little Thing, Boogie Chillen', Same Thing and others. Crosses a lot of blues icons doors - Morganfield, Dixon, Hooker, Bland, Tampa Red and a couple of others. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 6 Jun 1996 14:54:27 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: blues research: end of the road >*now i know that my search has come to an end and that i can go no further: >* >*looking at the liner notes to document's "earliest negro vocal groups, vol. >*2", a cut by the unique quartette is said to have been recorded on *cylinder* >*by none other than *thomas edison* himself. > >Didn't Edison record Bessie Smith? The *Emerson* company is said to have cut tests on her before she signed with Columbia. Whoever made the original post is getting over-excited, btw; that the Edison *Company* recorded the Unique Quartette does not mean that Thomas Alva Edison himself made the recording, any more than Henry Ford built all those Model-Ts! Chris Smith (chris@skerries.demon.co.uk) It's no good making things idiot-proof. They'll just build a better idiot. ========================================================================= Date: Thu, 6 Jun 1996 19:00:40 GMT Reply-To: Peter Gallagher From: Peter Gallagher Organization: XS4ALL, networking for the masses Subject: Re: Muddy's Cabin - from H. Stovall Comments: To: bit-listserv-blues-l@relay1.uu.net HSTOVALL@MEMPHIS1.HARRAHS.COM writes: >Well, once again the debate rages, and the experts have given their >opinions. [ chuckle :) ].... I was wondering how long you were going to be able to keep your tongue on this one - in the face of major criticism :-). As Mr. Stovall says himself, fellow 'Zellers: The deal is not _perfect_ but it ensures that the cabin doesn't disappear forever.... The cabin, as I understand it goes _back_ in 5 years, and in the meantime, the HOB (whom I readily admit I know precious little about) are donating a lot of money to a good (blues) cause... Ok - so they might make a buck on the side - maybe they make a LOT of bucks on the side... but what's the _important_ issue here? I was perhaps one of the first (Europeans) to point out the that cabin is not only a piece of American heritage, but one of _worldwide_ importance... and I voiced my concern at an early stage in the (at the time) unclear situation, which was very much based on rumour ... This is by no way an attack on any individual who has criticised the deal - on the contrary - we all have our opinions.... but I _sincerely_ hope that we can all look on the positive side of things and appreciate the efforts of the Stovalls to do the most important thing - namely: secure the safety of the cabin for the future! regards, PeterG -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ========================================================================= Date: Thu, 6 Jun 1996 15:07:02 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Hoochie Coochie author I know this seems like a dumb question for an -L veteran like me, but who wrote Hoochie Coochie Man? I've albums that separately cite Muddy or Willie Dixon as authors. Did they jointly pen this number in their days together, or what's up with that? Ready for a million replies, Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 6 Jun 1996 15:15:15 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0865 From: "DUTTWEILER.J" Subject: Re: Muddy's Cabin Revisited Date: Thursday, 6 June 1996 3:14pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: Muddy's Cabin Revisited Ranko wrote: > > I'm not a big fan of HOB's, based soley upon not caring much for the TBS T > > show. I would not pay to go stand up in a overcrowded bar to listen to a > band > > - not my cup of tea. HOWEVER, in this whole discussion, I have never seen > ONE > > SHRED OF CONCRETE EVIDENCE, not one substantial charge as to what HOB has > done > > to negatively effect the state of the blues in this country. > > > Jon, I won't argue with your opinion, but speaking of facts, HoB "tr > blues artists" Paul Black and Jimmy Rip (I bet you never heard of them) > played on HoB Crossroads Stage. if that's not a "negative effect the state o > the blues in this country" what is it? There are no more deserving musicians > who did not play the previous year? I did not realize there was an objective standard by which we could determine who was deserving to perform at a Blues fest and who was not. And, having not ever heard these artists, nor their performance in Chicago, I have no opinion one way or another whether they "deserved" to be there. I would serious doubt any other artist was "bumped" because of them, but if you have evidence to the contrary I'd be glad to "hear" it. > I also want to see a SHRED OF CONCRETE EVIDENCE of what HoB have don > good to the state of blues in this country. TV show, Muddy's Cabin, and > almost everything else I associate with them are not. I think the preservation of Muddy's cabin is an EXTREMELY positive thing, as is the continued support for the Sunflower Festival. The TV show was trite, but never-the-less raised the level of awareness of the blues in the country as a whole - again a positive thing. Their label, with its initial compilation release, also raised awareness of the blues and exposed classic blues to some who would never have had the experience otherwise. Again, a positive thing. The only negatives that you seem to be able to point to is that they have offended your elitist sensibilities. I say, get over it. > Ranko "working for a non-profit organization" V. Hmmm, bet its incorporated (making in part of "corporate" America) and it probably gets some of its money from profit generating corporations through donations. JD ========================================================================= Date: Thu, 6 Jun 1996 15:24:49 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Corporate blues--IMHO--again Comments: To: Steve Price In-Reply-To: On Thu, 6 Jun 1996, Steve Price wrote: > On Thu, 6 Jun 1996, Stine, Dave wrote: > > Thanks to subsidies from Miller beer, small towns in my area have seen > > traveling blues and R&B acts. Thanks to PepsiCo, John Lee Hooker has > > replaced Jack Palance as the coolest older man on TV commercials. Other > > examples abound. > Good for John Lee. I applaud Pepsico if this is really good for more > than just Pepsico, but they're cashing in on each other, and I doubt the > promotion extends beyond that. As I said in a different (but not different post) - given the ac- tially microscopic size of the blues audience - what prompts a co. like Pepsico to promote their products with a to the main culture obscure musician? Can't be that the promotion doesn't extend be- yond these ads. Up to the point that 10's of bazillions of people finally get a chance to see and hear JLH it has to do at the very least "something" for blues at large as to its permeating the cul- ture at large. Not that this was Pepsico's intention, but it has to have an effect of spreading the music. Barry (I personally drink Coke and eat Bumble Bee Tuna, although until they changed to Canola Oil I ate Chicken of the Sea Tuna) NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 6 Jun 1996 19:34:56 GMT Reply-To: bbreen@SPRYNET.COM From: bbreen@SPRYNET.COM Organization: Sprynet News Service Subject: Re: Coco Montoya (was: Billboard's Top 15) Comments: To: bit-listserv-blues-l@relay1.uu.net George Myers wrote: >Coco will be at the Grand Emporium in Kansas City July 25. See him if you get the chance. We saw Coco last Sunday at the Rhythm Room in Phoenix --a great concert He played alot of his new material from his new CD. Our favorite is still 'Am I Losing You' He's agreat artist and performer. We also really like his keyboard player and longtime 'partner in crime' --Benny Yee. --bill-- **************************************** Bill Breen bbreen@sprynet.com **************************************** ========================================================================= Date: Thu, 6 Jun 1996 12:44:52 -0700 Reply-To: Troy Meier From: Troy Meier Subject: Re: Churches on fire Comments: To: "dcicchet@LASIERRA.EDU" Don Cicchetti said: ---------- > Hey Troy, pardon me, but screw you with the political correctness shit... > ok? I would like to not think of you as an uninformed idiot but you are making it hard. > I can see that some members of this forum are not open to opposing opinions nor the rational discussion of ideas. They resort to name calling and "tough-guy" rantings to ensure their opinion is heard loudest amonst the din. Sir, uninformed I am not. I lived in the south for many moons; in fact marched alongside many of these chuchgoers for the cause. I admit to nothing more than being a diehard roots & blues fan who is concerned with the purposes of this forum, as stated in the FAQ. No Apologies . . . ========================================================================= Date: Thu, 6 Jun 1996 13:01:19 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Black Church Arsons Flames are coming in from all sides on this topic and like everyone else I have something to say as well:-) I agree 100% with Don C and all the others Bluzellers who are trying to find a way to do something and give their support to the communities that are being hurt by the arson attacks. Is it PC to be doing this? Hell no! It's called good old fashioned human kindness. It still exists in some pockets of the world including Blues-L. Don C has been criticized for not jumping in on other causes within other racial groups. This is stupid. How many causes can one take on. The arson attacks are closer to us due to the fact that they occur in the communities that created the music we all love. There are injustices occuring all over the world. But it is impossible to start diving in and getting involved in each one. Don C has chosen this one. We should support him and others that do likewise. I'm sure that Don C would support others involved with combatting racism and other injustices against other ethnic groups. If you can't do everything at least try to make a difference somewhere. But what does this have to do with the blues? Blues is about music but behind the blues there is a culture. A better understanding of the culture that created the blues leads to a better understanding of the blues. As much as I love talking about the music we should also take into account the culture and conditions that created the music. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Thu, 6 Jun 1996 13:01:25 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Black Church Arsons Comments: To: Troy Meier Try wrote: >So what you are saying then is that everytime there is a prison riot or >they tear one down, everytime a train crashes or is sabotaged, each time a >cotton field is paved over, every time a levee breaks or is replaced or >tore down this is cause for another irrellevant thread of guilt-driven, >p.c. drivel? I think not. It's the MUSIC!! What progression or regression >of blues music or the blues "scene" do these events foster? I think you miss the point. The churches form a very important part of the community. By destroying the church you a destroying the spiritual focus of the community. You are ripping out the soul of the community. It has an impact. This is not about guilt-driven PC crap. It is about caring for other humans. Shaun snip >the important >> point is that this is a crime against humanity, regardless of race or >color. >> >Ya. I'm sure there is a forum for THESE types of discussions on another >channel!! > >Hello? . . As I stated in another post, cultural discussion relevant to the blues should be aired on Blues-L. The music is important. But so are the people. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Thu, 6 Jun 1996 13:01:43 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Bo Diddley - "A Man Amongst Men" Comments: To: SGLIWA Steven James Gilwa wrote: >I agree that it's a great album and as a long time fan of Bo, it's great to >see him back on a major label. I hope this is just the first CD of many more >in his "comeback." > >I am a little disappointed, however, in the fact that there isn't enough of >Bo's patented guitar antics on this CD. I've been dying for the past 20 >years for Bo's live guitar sound to be captured on an album. It seems that >no recording ever does his guitar work justice. But still, this is without >a doubt the best album he's made in a while and it was long overdue. The album has been in my CD since I bought it. It would be great to of hear more of Bo's guitar. The others guitarists do a great job though except for one. I won't mention who he is but he plays on the second track and is part of a famous '80s hair band. His solo there just grates. Very third rate blues solo with no idea of what the song needed. IMHO of course. Other than that the album is great! Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Thu, 6 Jun 1996 14:59:24 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Hoochie Coochie author Comments: To: "" In-Reply-To: <01I5LCGQI9EQ003KAQ@SCI.WFBR.EDU> On Thu, 6 Jun 1996, wrote: > I know this seems like a dumb question for an -L veteran like me, but who > wrote Hoochie Coochie Man? I've albums that separately cite Muddy or > Willie Dixon as authors. Did they jointly pen this number in their days > together, or what's up with that? > > Ready for a million replies, > > Riffin Rick Willie. ========================================================================= Date: Thu, 6 Jun 1996 13:07:11 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Harp player tone -amusing anecdote (was guitar tone) Comments: To: MILLER@SCI.WFBR.EDU In-Reply-To: <01I5L5D5CR2O003GV2@SCI.WFBR.EDU> from "owner-blues-l@BROWNVM.BROWN.EDU" at Jun 6, 96 12:13:15 pm > ......... Pat is just a HUGE sounding player > and pushes a lot of air through his harps (that's why he blows em all the > time) Actually, one doesn't require a lot of wind for a big sound - but in a sense "wind" is involved in great tone and volume. Harmonica will accept only a certain amount of air before the reeds choke off. I haven't measured (nor do I plan to), but I'd guesstimate that 90% of the volume is achieved at something around 50% wind. The biggest factor in harmonica volume, tone, and precision is the players resonance. If you've ever heard an opera singer "up close" and noted his/her extremely BIG, LOUD, FAT voice, you know what resonance can do. This is also true of harmonica. In fact, the MOST important technique in the quest for harmonica perfection is resonance. Each note must be played with a different mouth "size". If one takes the harp from the mouth and "whistles" by blowing or drawing (well - permit me latitude on this - it actually makes a "rushing" sound), the note is the same. This resonance makes the harmonica VERY loud and full sounding, even when played without a microphone. Resonance is essential for smooth diaphragm and throat vibrato, and makes bending smooth and precise. Resonance is required to bend harmonicas with windsavers (little plastic flaps over the reedplate holes, opposite the reeds), such as typically found on chromatic harmonicas. This is why many harmonica players believe that notes on chromatic harmonicas cannot be bent. Without resonance, this is true, but with resonance, they can be bent quite deeply and smoothly, both blow and draw reeds. I use windsavers on my diatonics, and am able to play three fully chromatic octaves (no missing notes) on a C Major Lee Oskar diatonic - or any other brand for that matter. I prefer Lee Oskars because they play great, and outlast anything else on the market that I've tried (and I've tried just about everything) by an order of magnitude. I personally like their sound, too. As far as what the audience hears, there's not much difference bwtween harmonicas, but the player hears a LOT of difference between different brands and models. Something that sounds cheezy to you will affect your playing. Players with poor resonance are typically thin sounding (regardless of equipment), and have feedback problems even at moderate amplified levels. Players with incredible resonance, being much louder, will sound good through anything, be it a bullhorn, cheezy PA, a bright sounding Fender amp (the best harp amps are mellow), or anything else, and will be able to keep pace with the loudest guitarists. While harmonica is the easiest instrument to learn at beginner level, it is the most difficult of all musical instruments to play at virtuoso level. The biggest "step" in harmonica playing is developing proper resonance at each different note on each different harp. In my experience, the easiest way to develop good resonance is with a valved harp (windsavers are also referred to as "valves", as their purpose is to act as valves by sealing off unused reeds, thereby saving wind). Currently the only diatonics ("blues style" harmonicas) that come with windsavers are Suzuki Promaster Valved. I use Lee Oskar harps, and put windsavers on them myself (with Superglue, or Pliobond, Duco, or similar contact cement). -- IronMan Mike Curtis ========================================================================= Date: Thu, 6 Jun 1996 16:11:37 -0400 Reply-To: Hugh Hardy From: Hugh Hardy Subject: Junior Brown I heard Junior Brown on the radio the other day. I'm a blues player, but his approach - which had a nice bluesy flavour - was great. Any recommendations? Hugh Hardy ========================================================================= Date: Thu, 6 Jun 1996 15:28:23 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: New Office/PC I have moved to a new PRIVATE office and a brand new computer with a CD player and Altec Lansing speakers. Is that dangerous or what. I bring in my Harmony and hang it on my wall Monday, shut the door and play the blues. I have my employer's blessing on bringing my guitar....They know what makes me happy :-) Leonard Watkins (a new and improved LW) ========================================================================= Date: Thu, 6 Jun 1996 13:15:22 -0700 Reply-To: optasia@primenet.com From: Perry Schjolin Organization: Primenet Subject: The King Bees LIVE Comments: To: bit-listserv-blues-l@uunet.uu.net Hi all! The King Bees will be gigging at "The House of Blues" in Hollywood, on Sunset Blvd. Sunday night June 9th at 10:00PM. Hear original members Jamie James on Vocals, Michael Rummans on Bass and, introducting Scott Bruce on Drums. Hear the hits: My Mistake Shake-Bop The Big Rock AND MORE! If you're near LA, come out and join the fun Sunday, June 9th at "The House of Blues" in Hollywood, California. ========================================================================= Date: Thu, 6 Jun 1996 16:23:29 -0500 Reply-To: MR BOB DAVIS From: MR BOB DAVIS Subject: Re: Do you like Jimi Hendrix ":BLUES"? Date: Wed, 5 Jun 1996 09:59:08 +0200 From: Marco Riccato 394526/IL Subject: Do you like Jimi Hendrix ":BLUES"? I've bought the last collection of blues songs by Jimi Hendrix and I enjoyed it perhaps too much ... What do you think about blues played by him? ##### ---------------------- #@ @# Marco Riccato # ^ # zaza@maya.dei.unipd.it | 0 | ---------------------- |___| Marco Others may disagree with me but IMHO Hendrix is a great bluesman & doesn't get enough credit for it. I own a copy of the CD Blues: Jimi Hendrix ......and I wear it out. - Live Funk Chat (P*Funk, Hendrix, Chick Corea, James Brown, Billy Cohham, Sly Stone, Living Colour, Kool & The Gang, War, Passport, AWB, Rick James, Cameo, Miles Davis, Lakeside, Stevie Ray Vaughn, D'Angelo, Jimmy Castor Bunch, Manu Dibango, ) on Prodigy Wend. & Sat. 9pm - 10pm est. mailto:earthjuice@prodigy.com http://pages.prodigy.com/funk ========================================================================= Date: Thu, 6 Jun 1996 16:23:38 -0500 Reply-To: MR BOB DAVIS From: MR BOB DAVIS Subject: Re: Black Churches ------------------------------ Date: Tue, 4 Jun 1996 23:35:28 -0800 From: Jim Witteveen Subject: Re: Black Church Arsons - What can we do? >On 4 Jun 96 at 14:46, Don Cicchetti wrote (in part): > >> I'm sure you have all heard about the rash of arson attacks on black >> churches in the US south. This is the most reprehensible, evil, >> hate-crime we have seen in a long time. I don't know the total, >> but the number 35+ sticks in my memory. >> What I want to know is: >> Is there a fund established anywhere to rebuild these churches? It >> would need to be administered by a reputable group. >> It is time to stand up and be counted. Let's find a way to rebuild >> these churches, and show people that '90's America is about more >> than video games and partisan politics. > >>> Who do we give to? Where do we start? How do we volunteer? >>Some good thoughts, Don. This kind of thing hits people closest to their heart - it's their faith and way of life that is being attacked here, and that >>hurts like nothing else. I don't know anything about funds, groups, etc. (not much news about this in Canada that I've heard) , but I do know what >>_I'm_ going to do personally - I'm going to be travelling down to Mississippi this summer for Sunflower Festival in Clarksdale, and my friend and I >>will be stopping in at various (black) churches along the way. When they're passing the hat, I'll gladly pass along some of the money that I would >>otherwise spend on cd's to help out with any effort. But if anyone knows about an organized effort, pass the info along. And something we can all >>do on our own without spending a penny - stamp out racism in your own vicinity (as Don pointed out in a post a couple of weeks ago). Peoples >>hearts have to change before their actions do. >>Take care, >>-Jim. Thanks Jim I would encourage all list members to take this exchange to heart. I'm gonna pass this idea along to others. Thanks - Live Funk Chat (P*Funk, Hendrix, Chick Corea, James Brown, Billy Cohham, Sly Stone, Living Colour, Kool & The Gang, War, Passport, AWB, Rick James, Cameo, Miles Davis, Lakeside, Stevie Ray Vaughn, D'Angelo, Jimmy Castor Bunch, Manu Dibango, ) on Prodigy Wend. & Sat. 9pm - 10pm est. mailto:earthjuice@prodigy.com http://pages.prodigy.com/funk ========================================================================= Date: Thu, 6 Jun 1996 16:18:53 -0500 Reply-To: Steve Price From: Steve Price Subject: reasoned debate In-Reply-To: > Troy wrote: > > >So what you are saying then is that everytime there is a prison riot or > >they tear one down, everytime a train crashes or is sabotaged, each time a > >cotton field is paved over, every time a levee breaks or is replaced or > >tore down this is cause for another irrellevant thread of guilt-driven, > >p.c. drivel? > > This is not about guilt-driven PC crap. It is about caring for other humans. > > Shaun > Don Cicchetti said: ---------- > Hey Troy, pardon me, but screw you with the political correctness shit... > ok? I would like to not think of you as an uninformed idiot but you are making it hard. > Don'tcha just love when they prove their humanity by name-calling? I love these guys. I'm not letting my kids read blues-l, though. They can listen to the music and sing songs like Little Village, m.f., but they can't read blues-l. Steve ========================================================================= Date: Thu, 6 Jun 1996 17:23:09 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: HOB - An Overview (long) Comments: To: JONATXXX@gomail.doas.state.ga.us On June 6, Ranko said, > I also want to see a SHRED OF CONCRETE EVIDENCE of what HoB have don > good to the state of blues in this country. TV show, Muddy's Cabin, and > almost everything else I associate with them are not. OK, I have stayed out of this matter but I really can't let this statement go by without some factual imput. If you want to know how people are treated by HOB, ask some of the musicians who have played the venues. It is important - very important - that everyone realize that these three clubs (i.e. Cambridge, New Orleans, Los Angeles) are vastly different in size, in concept, in musical styles, in the way in which they serve their respective communities. The 225-capacity Cambridge club is surrounded by Harvard Square and will support all aspects of traditional music other than blues. They can program cajun, zydeco, bluegrass, klezmer and much more. The 1500-capacity Los Angeles club could not possibly exist on blues alone. They have a huge amount of land area on Sunset Boulevard and program a wide area of music including Nancy Sinatra, Fleetwood Mac, Tom Jones and whatever else is going to do the necessary numbers to be a successful enterprise. However, as obnoxious as these artists might be to members of this list, the profits from their engagements make it possible for the club to book money losing shows that are more closely alligned to a blues format. The 800-capacity New Orleans club has the advantage of being right in the touristy French Quarter and also brings forth the luxury of booking local artists named Nevile Brothers, Wolfman Washington, John Mooney, Johnny Adams, Irma Thomas, Allan Toussaint, etc. I have heard from low level blues bands (white and black) they when they finished their gigs at HOB, the staff is always available to help them load out. Most clubs just leave you on your own. I also know that HOB will let a band leave their equipment in the club overnight and then load them out in the morning and send them down the road to their next gig with a cooler packed fresh fruit, soft drinks, plenty of ice and a huge package of sandwiches so they don't have to eat road food. None of these things are required. It is simply an added details of attentive clubs who want the bands to return there. Am I a fan of HOB ? I think not. I feel their overbearing presence via their radio syndication will ultimately stiffle local radio and there is an obvious conflict between owning a record label and also controlling the venues where these artists might play. I have had people tell me that each HOB is readily available for benefits, charity offerings and political causes. A New Orleans resident told me that HOB has done marvelous work in trying to stay attuned to the city's social needs and has tried to meet their moral obligatations in this area. We simply must view HOB is totality and weigh their contributions to the blues community against what appears to be a pervasive appetite to devour every area into which it moves. Dick Waterman ========================================================================= Date: Thu, 6 Jun 1996 17:25:36 -0400 Reply-To: JukeFreak@AOL.COM From: "(Karen Hanson)" Subject: Re: Muddy's Cabin - from H. Stovall Comments: To: HSTOVALL@memphis1.harrahs.com Mr. Stovall, Thank you for your response to our discussion. I am sorry if you were offended by my note. I believe there is nothing more important in this world than showing respect to our fellow human beings. I meant no disrespect to the Stovall family (in fact, I don't remember mentioning them, except for the gentleman pictured in the video). My note was in response to someone who asked for a description of the cabin. I described it to the best of my ability. Of course, my description was flavored by many things, including my lack of knowledge of construction (I'm sure I saw wheels underneath, but, maybe not) and my distrust of the HOB. The description was entirely subjective and based on a single look. I didn't pretend it to be anything else. I also don't pretend to be an expert, not on history, blues, corporate funding, or much of anything else. And I certainly don't mean to speak for the entire membership of the Blues-L. Many, I suspect, would have described it differently. That's okay. This world is very large and can sustain many differing viewpoints. If the cabin had been restored on site, without the photographs, etc., all over it, without the television mounted on the back, perhaps my impression would have been different. I don't know. I also don't know how the deal was done to restore the cabin; I'm sure it's none of my business. Nevertheless, any time something is displayed publicly, such as the cabin, it is naturally subject to public opinion, both positive and negative. That, I suppose, includes my previous note, to which you responded to negatively. I appreciate your comments. Karen ========================================================================= Date: Thu, 6 Jun 1996 21:26:53 GMT Reply-To: Steve Franz From: Steve Franz Organization: Primal Art Subject: Magic Sam question Comments: To: bit-listserv-blues-l@uunet.uu.net I realize that it probably isn't Magic Sam's finest moment - but just for the sake of completeness - does anybody know where a copy of "Do the Camel Walk" might be found on CD or LP? (It was originally recorded and released as Chief single 7026 in 1961, as the flip side to "Every Night About This Time") Thanks for any help on this! Steve Franz stegy@inlink.com ========================================================================= Date: Thu, 6 Jun 1996 17:29:15 -0400 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: A short note of thanks... Comments: To: bit-listserv-blues-l@uunet.uu.net Thank you to all of those blueszellers (so many!!!:-) who sent me words of encouragement during my mom's sudden and severe illness. She is now recovering from quadruple heart bypass surgery and so far so good! To those of you who sent cards and letters, words do not convey my gratitude. This is a GOOD bunch of folks. Who could imagine that real friends can be made in a cyberworld that few understand (especially a few of our U.S. Senators :-)? The music is but the thread weaving us all together. Hopefully, I will see you in St. Louis (and the Sunflower in Clarkesdale!) if everything remains stable. BTW, how was Chicago??? AND to my girl Cathi...drop me a line sista woman and let's do that interview! Thanks again and God Bless, Lea Gilmore Baltimore, MD "Wild Women Don't Have the Blues" ========================================================================= Date: Thu, 6 Jun 1996 10:33:17 EST Reply-To: mstringer@HEARST.COM From: Mark Stringer Subject: Re[2]: Jimi, Eric, Stevie Ray, or Buddy? Comments: To: Gavin Arneaux <102554.471@COMPUSERVE.COM> John Paris is good fun. Howe Gelb from Giant Sand is very good. Inovative and different. I've never heard him play but I bet Iron Man Mike Curtis is a good player. Mark ========================================================================= Date: Thu, 6 Jun 1996 17:52:22 -0400 Reply-To: Jon & Laura Duttweiler From: Jon & Laura Duttweiler Subject: Sitting & Thinking - Big Walter Horton w/Hot Cottage WALTER SHAKEY HORTON WITH HOT COTTAGE STONY PLAIN #1208 Big Walter Horton is unquestionably the most underappreciated influential blues harpist of all time. While every bit as important to the evolution of the use of the harmonica in the blues as "Little" Walter Jacobs and Sonny Boy (Rice Miller) Williamsom, Horton is often overlooked. Not having the exuberant personality of his two peers, Big Walter quietly went about the business of transforming the blues harp and shaping its sound for a generation of players. Starting, perhaps, in 1964 with Sonny Boy Williamson recording with the Yardbirds, extending through the 1969 "Chicago sessions" with Fleetwood Mac and the "London Sessions" with Muddy Waters and Howlin' Wolf, white blues bands have enhanced their "legitimacy" by playing homage to, as well as music with, genuine blues legends. This Stony Plain CD continues that tradition and documents a session from 1972 where Big Walter (who also happened to play on the Chicago sessions with Fleetwood Mac) played with an obscure young Edmonton blues band called Hot Cottage . No, this band was not a fledging Mac, nor were the various members Claptons, Spencers, Greens or Gallaghers in the making. However, they were very respectful toward Horton and his music, and pretty good musicians in there own right. Steve Boddington plays guitar very much in the Jeremy Spencer/Peter Green vein. Singer Nancy Nash, who takes two songs on this disc, sounds like a young Janis Joplin in the making - incredibly at only 16 years of age! Other members of Hot Cottage were Lyndsey Umrysh on drums, Brian Koehli playing bass and Bob Derkash on piano. These recordings have a few rough edges, but the overall sound quality is quite good given when these sides were cut. Exceptional liner notes are provided by Richard Flohil, establishing the historical context of this recording. This disc is probably not essential Big Walter material, however these are still quite fine performances from a legitimate blues legend and stand up as far more then simply a historical curiosity. Big Walter fans certainly won't complain! BIG WALTER'S BOOGIE / HARD HEARTED WOMAN / JOHN HENRY / HOUND DOG / INTERVIEW / THEY CALL ME BIG WALTER / LOOKA HERE / SHAKEY'S EDMONTON BLUES / SUGAR MAMA / JOE CHICAGO / WORRIED WORRIED / TURKEY IN THE STRAW NY CD Takes BIG WALTER'S BOOGIE: Walter kicks off this song with just his harp for a few measures before Hot Cottage comes in, with a steady, pulsing boogie beat. Boddington takes off on a short, but sharply attacked solo. The similarities with Peter Green's playing will be apparent, which is not to take anything away from Mr. Boddington. The solos he contributes are sharp and tasty, with a great biting tone. This cut is basically the interplay between Horton's harp and Boddington's guitar, with some nice boogie piano thrown in for good measure. HARD HEARTED WOMAN: Slow blues, Chicago style, with Horton's harp moaning soft and low. Another Horton original, this cut shows that Horton's singing was close to his harp playing in ability to communicate and emote. The band is more in the background then on the first cut, giving the spotlight wholly to Shakey. Great harp based blues number from one of the all time masters. JOHN HENRY: Forty seconds of Big Walter Horton showing off some great chops on this traditional folk standard. Reminds us that those we often think of as "bluesmen" were (and are) MUSICIANS. HOUND DOG: This cut has Hot Cottage and its female vocalist, Nancy Nash, front and center. Nash does the vocals and unless you were told you would never know that she was only 16 when this was recorded. Small wonder this band was one of the local favorites, and Big Walter displays what a great sideman he was, flowing along with that great harp sound of his in the background. INTERVIEW: A minute plus interview from Big Walter with Holger Petersen, founder of Stony Plain who arranged this session. Walter waxes forth on his style and comparisons with "Little" Walter Jacobs. THEY CALL ME BIG WALTER: This cut is credited to Big Walter and Hot Cottage, apparently written for the session. Another slow Chicago blues, the sound of this cut is very much similar to Muddy Waters' '50s Chess sides. The band is slow and easy, in the groove, as Walter shifts from long, mellow runs to sharp, quit attacks on the harp. The lyrics of this track seem to imply a certain resentment "Big" Walter had toward all the attention "Little" Walter got. He sings, "The next man came, they call him Little Walter, I know. I'm just a man, I'm a man, can't even change my name." Whatever the case, this is a fine bit of Chicago blues! LOOKA HERE: Horton turns his considerable talents towards this Sonny Boy Williamson (Rice Miller) tune LOOK THIS UP! With a rolling, bouncing rhythm, this cut exudes a sense of frivolity not commonly associated with the blues. This cut also demonstrates how well Horton and the band played together, quite remarkable given, as the liner notes indicate, Horton would call out tunes in the studio and have a quick run through before rolling the tape. SHAKEY'S EDMONTON BLUES: Another cut written by Horton and Hot Cottage for this release, this tune is a slow, deep blues, propelled primarily by Horton's harp. All instrumental, Horton does give way to the band members to give them some time to sparkle. More tasty guitar work from Boddington and melodic piano fills from Derkash characterize this piece. SUGAR MAMA: Just Big Walter on this cut, which covers the Howlin' Wolf penned tune. Horton slows this number down a bit and turns it into an intense, deep moan. Horton's harp is mournful and melodic in accompanying himself, his vocals harkening back to the earliest Delta stylings. Apparently recorded with the rest of the band listening in the studio, they applaud appreciatively at the conclusion. JOE CHICAGO: Musically, this cut is very similar to the previous "Looka Here." Another instrumental attributed to Horton and Hot Cottage, piano and harp are equally in the forefront here before Boddington cuts in for a nice stinging, single string solo. Piano and guitar then take turns in their interplay with Horton's harmonica before fading out at the end. WORRIED WORRIED: This cut is subtitled "ala Chess 1952" and certainly brings to mind the classic sounds which came out of that studio during that time period. Another slow blues number written by Horton and Hot Cottage, Horton sings with a pinched quality that may be attributable more to the production trying to emulate that Chess sound then his actual voice. Nancy Nash takes over the vocals for the second verse and holds up admirably well for a 16 year old white girl singing with a grizzled, 54 year old blues veteran. TURKEY IN THE STRAW: Big Walter closes this disc out with another tune reminding us he's a songster as well as a bluesman. Short, but sweet, this cut illustrates how artificial some of our musical definitions really are. Big Walter and Hot Cottage may sound like an unlikely match, but they certainly made some fine music one week back in 1972. Thanks, Stony Plain, for letting us in on it! Reviewed by Jon Duttweiler Copyright NY CD Blues @1995-1996 All Rights Reserved. Unauthorized use prohibited. NY CD BLUES - http://www.panix.com/~bsco/ Blues Reviews and On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 6 Jun 1996 15:05:53 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: ANNOUNCEMENT : SONY/LEGACY'S ROOTS 'N BLUES SERIES Dear BLUES-L(isteners) Sometime in August (not July as originally planned), Sony/Legacy will issue the following in their award winning Roots 'N Blues series. This may be the last instalment in the series as producer Larry Cohn's contract has not been picked up. As the producer of this series, his knowledge of prewar blues has assured us all that every CD in this series is a jewel. A complete list of the series is available from the SONY Web site . For those who do not have a Web browser, I've attached the complete list. If you're new to this series, I suggest you listen to the ROOTS N' BLUES RETROSPECTIVE (1925-1950) 4CD boxset (Legacy C4K 47911). * Robert Johnson : The Complete (remastered) * Mississippi John Hurt : The Complete 1928 Okeh Sessions * A Boogie Woogie set including Albert Ammons, Count Basie, Champion Jack Dupree, Lemuel Fowler, Pete Johnson, Cripple Clarence Lofton, Memphis Slim, Big Maceo Merriweather, Walter Roland, Freddie Slack, Charlie Spand, Roosevelt Sykes, Hersal Thomas, Jimmy Yancey, etc. * Gene Autry : Blues Singer 1929-1933 NOTE : the announced blueswomen set has been postponed indefinately. HAND (Have A Nice Day!) eRIC "I saw Son House in about 1970 and he was on his last legs then! The story told of him was that he got out of the train at Edinburgh Waverley and looked up at the castle and said "MY, that's a big church...."" ~ private e-mail, Lindsay Marshall, (0ctober 20, 1994) ---------------------------------------------------------------------------- [Roots 'n Blues] ---------------------------------------------------------------------------- This series brings to light some of the most influential, soulful, and endearing music ever recorded. Featured artists include Robert Johnson, Bessie Smith, Leadbelly, and Muddy Waters. This is the music that influenced Led Zepplin, The Stones, Eric Clapton, and many others. Roots n' Blues Homepage Artist Title CD Cass. Catalog # Bishop, Elvin Tulsa Shuffle: The Best Of Elvin EK ET 57630 Bishop Bloomfield, Don't Say That I Ain't Your Man! Michael Essential Blues (1964-1969) CK CT 57631 Broonzy, Big Bill Good Time Tonight CK --- 46219 Dixon, Willie I Am The Blues CK CT 53627 Dixon, Willie The Big Three Trio CK --- 46216 Dupree, Champion Jack New Orleans Barrelhouse Boogie CK --- 52834 Fuller, Blind Boy East Coast Piedmont Style CK --- 46777 House, Son Father Of The Delta Blues: The C2K C2T 48867 Complete 1965 Sessions Johnson, Blind Willie The Complete Recordings C2K --- 52835 Johnson, Lonnie Steppin' On The Blues CK --- 46221 Johnson, Robert The Complete Recordings C2K C2T 46222 Leadbelly King Of The Twelve-String Guitar CK CT 46776 Mahal, Taj Taj's Blues CK CT 52465 McGhee, Brownie The Complete Brownie McGhee C2K C2T 52933 McTell, Blind Willie The Definitive Blind Willie C2K C2T 53234 Memphis Minnie Hoodoo Lady CK --- 46775 Miller, Emmett Minstrel Man From Georgia CK --- 66999 Otis, Johnny The Johnny Otis Show Live At EK --- 53628 Monterey Otis, Shuggie Shuggie's Boogie: Shuggie Otis EK ET 57903 Plays The Blues Smith, Bessie The Complete Recordings Vol. 1: C2K --- 47091 Empress Of The Blues Smith, Bessie The Complete Recordings Vol. 2: C2K --- 47471 Empress Of The Blues Smith, Bessie The Complete Recordings Vol. 3: C2K --- 47474 Empress Of The Blues Smith, Bessie The Complete Recordings Vol. 4: C2K --- 52838 Empress Of The Blues Smith, Bessie The Complete Recordings Vol. 5: C2K --- 57546 The Final Chapter Tampa Red The Guitar Wizard CK CT 53235 Various Booze And The Blues CK --- 67002 Various Cajun Dance Party: Fais Do-Do CK CT 46784 Various Cajun, Vol. 1 (1929-1939, CK CT 46220 Abbeville Breadkown) Various Good Time Blues CK --- 46780 Various Great Blues Guitarists: String CK CT 47060 Dazzlers Various Legends Of The Blues, Vol. 1 CK CT 46215 Various Legends Of The Blues, Vol. 2 CK --- 47467 Various Messed Up In Love And Other JK --- 52831 Tales Of Woe Various News & The Blues: Telling It CK CT 46217 Like It Is Various Preachin' the Gospel: Holy Blues CK --- 46779 Various Raunchy Business: Hot Nuts & CK --- 46783 Lollipops Various Roots N' Blues Retrospective C4K --- 47911 (1925-1950) Various Slide Guitar: Bottles, Knives & CK CT 46218 Steel, Vol. 1 Various Slide Guitar: Bottles, Knives & CK --- 52725 Steel, Vol. 2 Various The Beauty Of The Blues CK --- 47465 Various White Country Blues (1926-1938) C2K --- 47466 Waters, Muddy Blues Sky ZK ZT 46172 White, Bukka The Complete Bukka White CK --- 52782 White, Josh Blues Singer (1932-1936) CK --- 67001 Winter, Johnny Scorchin' Blues ZK ZT 52466 ---------------------------------------------------------------------------- ========================================================================= Date: Thu, 6 Jun 1996 17:09:51 -0500 Reply-To: scott d From: scott d Subject: Re: Muddy's Cabin Revisited Comments: To: "Maintainability Analysis Workspace [Ranko Vujosevic]" At 12:17 PM 6/6/96 -0500, Maintainability Analysis Workspace [Ranko Vujosevic] wrote: >J. Duttweiler said: > >> I'm not a big fan of HOB's, based soley upon not caring much for the TBS TV >> show. I would not pay to go stand up in a overcrowded bar to listen to a >band >> - not my cup of tea. HOWEVER, in this whole discussion, I have never seen >ONE >> SHRED OF CONCRETE EVIDENCE, not one substantial charge as to what HOB has >done >> to negatively effect the state of the blues in this country. > > > Jon, I won't argue with your opinion, but speaking of facts, HoB "true >blues artists" Paul Black and Jimmy Rip (I bet you never heard of them) >played on HoB Crossroads Stage. if that's not a "negative effect the state of >the blues in this country" what is it? There are no more deserving musicians >who did not play the previous year? > > I also want to see a SHRED OF CONCRETE EVIDENCE of what HoB have done >good to the state of blues in this country. TV show, Muddy's Cabin, and >almost everything else I associate with them are not. > > Ranko "working for a non-profit organization" V. > > Ranko, We're all entitled to our opinions; you may not think the artists you mentioned above qualify as blues artists, but in my opinion they are just as worthy of playing the Chicago Blues Festival as SRV or Johnny Winter (who both played the fest in years gone by), and maybe more worthy than Ronnie Baker Brooks, who is a so-so SRV wannabe, or Pistol Pete, who is an SRV/Hendrix/metal stylist, and both of these guys went over like gangbusters at the fest this year. There were plenty of deserving musicians who didn't get booked to play the fest this year--Magic Slim, Willie Kent, Johnny B. Moore, Jimmie Lee Robinson, Sam Lay, LV Banks, Taildragger, Otis Rush, Buddy Guy, and Billy Boy Arnold among others come to mind--and the HOB didn't have anything to do with their not being booked. If you've got a problem with the bookings at the fest, you need to direct your anger at the blues fest booking committee, which is made up of people active in the blues community (club owners, record label people, writers, etc.) in Chicago, and which by the way does not have a single representative from the HOB. I don't know if you've ever noticed this, but the vast majority of people who attend the Chicago Blues festival are NOT blues purists like us (a fraternity I'm proud to be a member of, BTW). They are people who MAY get out a couple of times a year to see a blues show, maybe pick up a blues CD every once in a while, and don't really know or care who played maracas on a Chess session in 1954. Those are the people whose wallets the HOB wants to lighten, and the target audience for their clubs and records and traveling exhibits and what not. And there will always be a lot more of them than there are of us. We should be glad they're out there, because it's their presence that makes record labels dig deep into the vaults for unissued material, makes it worthwhile for someone to see to it that Muddy's cabin still exists, and makes it possible for festival like the one in Chicago to happen at all. I don't work for the HOB, I don't agree with all of their work, and personally, I don't think what they did with Muddy's cabin was a good idea. But we can bitch and moan all we want, and we won't be able to turn back time and undo what they and Howard Stovall decided to do. They did it, it's done, and it's time to move on. Scott http://www.geocities.com/SunsetStrip/4466 Check it out! ========================================================================= Date: Thu, 6 Jun 1996 17:09:56 -0500 Reply-To: scott d From: scott d Subject: Re: Muddy's Cabin Revisited-Paul Black Comments: To: Storm Bailey At 01:43 PM 6/6/96 -0500, Storm Bailey wrote: >Ranko said: >> >> Jon, I won't argue with your opinion, but speaking of facts, HoB "true >>blues artists" Paul Black and Jimmy Rip (I bet you never heard of them) >>played on HoB Crossroads Stage. if that's not a "negative effect the state of >>the blues in this country" what is it? There are no more deserving musicians >>who did not play the previous year? >> >Paul's been playing in my neighborhood since long before I got there, >and over the years I've come to enjoy his slide playing and approach to the >blues. So I was delighted to hear last fall, just after leaving Madison, >that he got a decent record contract--even if it was with the evil HOB. >What I've been hoping for now is to hear from others who now--however >corporately--have a chance to hear him (and Andy Linderman, harp player >for the Flip Kings). So, _has_ anybody actually heard this band? Can >you tell us what you think? Though I do not know Paul well, I do think >I can say that he doesn't care too much whether he's a "true blues person" >or whatever. What do you think--good or bad--of the music? > >Storm >"don't know enough not to like what hits me right" > I'm a confessed blues purist; I never "got" SRV, much of Clapton's earlier blues work, or much of the stuff in that vein, which I always thought of as being by rock guys without any original ideas, so they just noodle on their licks over blues changes. I'd never even heard OF Paul Black before last week. I happened to walk up to the Crossroads stage at the blues fest during his performance. I was impressed--much more so than by several other "blues" acts that were also on the fest. His music struck me as kind of a cross between Ry Cooder, Little Feat, Elmore James and some other good stuff. He's good, he's got original ideas, he gets them over well, and I'd go see him again. Scott http://www.geocities.com/SunsetStrip/4466 Check it out! ========================================================================= Date: Fri, 7 Jun 1996 00:41:15 +0200 Reply-To: JORGE MUNOZ RODRIGUEZ From: JORGE MUNOZ RODRIGUEZ Subject: Re: Love Her With A Feelin' and finish! Comments: cc: Steve Price > >On Wed, 5 Jun 1996, Steve Price wrote: > >> > > > > Fulsom as purchased the copyrights of that song!? >> > > >> > > >> > > Lowell ain't been to prison. His last name is "FulsoN" :-) >> > >> > Why you telling ME? >> >> I'm not. Just using group reply to respond to all involved parties. >> >> > (Besides, there is no prison named Fulsom either) >> >> It's called "poetic license" :-) >> >A couple of album covers have it Fulsom. Most as Fulson. I'm pretty >sure I've seen one, long ago, that had it Folsom, but I haven't been able >to find it. I imagine it's supposed to be Fulson, but it has appeared >the other way. > > Steve Price > Thanks Steve, they're like the babys! I asked for a question and they get involved in: "M or N" Of course, this a misprint, and the one is not Johnny Cash and the other one is a poetic license and my first name doesn't MUNOZ, because the "N" is with a ~ on top and my ingles no es tan good como el vuestro pero bastante better que vuestro espa~nol... :)))) (Don't laugh Bluesman...) "I asked for water and she gave me gasoline" Que no pasais una, carajo! Gracias for all, folks! Jorge, ////\\\\ // ~ ~ \\ (-{.}{.}-) TREN 3, on RADIO 3 - RNE. Weekends at Midnight. | /\ | _/\ -- / "When the train it left the station, \/\__/ there was two lights on behind..." *Er Makis* ========================================================================= Date: Fri, 7 Jun 1996 00:13:27 -0500 Reply-To: Goran Svenningsson From: Goran Svenningsson Subject: New Bluesartists, Was Re: Jimi, Eric, Stevie Ray, or Buddy? >I am interested in hearing ya'all's opinion on the A#1 BEST axe man to ever >"jugar las azuls." Ohh god, here we go again!! Best, second third, by what standards? fastest? slowest? bluest? bendingenst? loudest? >Are the any new artists out there that one should be >listening to? Lenny Kravitz is whom I consider to be the best thing to >happen to Blues/Rock in the last 5 years... agree--or disagree? Disagree!!! Lenny s a cool rocker but the only thing he s got in common with blues is the scales he lays down his solos in. Yes I DO like Kravitz, but let s save him for another newsgroup. >Stevie Ray Vaughn and Buddy Guy are my all-time favorites, although I have >>great respect >and feelings for the music of the Allman Bros. (when Duane was still killing >listeners), John Lee Hooker, Jeff Beck to mention only a few of my faves... > It s amazing how so many people on the L refer to these very few artists over and over and over and over. Is that because yer new to this type of music and ready to explore, or is it because you think these guys are GODS? Ken, if you wanna listen to new BLUES artists in the sence that they are new to the recording business I d like to suggest Teddy Morgans CD on Antones called riding with style, Smokin Joe Kubek on Bullseye (Kinda SRV-ish at times). Rusty Zinns new CD On Black Top, Preston Shannons 2 CDs on Bullseye. Buy the live album with The Red Devils called King King, for American Recordings. Any Albert King record from the sixties on Stax (oops, not new but always hip.) Dear Ken, THATS blues according to me, (and to a few more, I think). Sevenson "It s not what you play, it s what you DON T play" Sevenson ========================================================================= Date: Thu, 6 Jun 1996 22:54:24 GMT Reply-To: Paolo Morati From: Paolo Morati Organization: Italia Online Subject: Need Zucchero Review Comments: To: bit-listserv-blues-l@uunet.uu.net I'd like to have reviews of Italian singer Zucchero's concerts which took place at the House of Blues in Los Angeles the 14th and 15th of April 1996 and of any other dates of his American Tour. Thanks Paolo p.morati@iol.it ========================================================================= Date: Thu, 6 Jun 1996 18:54:21 -0400 Reply-To: LeaGil From: LeaGil Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Black Church Arsons Comments: To: bit-listserv-blues-l@uunet.uu.net Ya know, I sat here pondering the many eloquent ways that I could tell the misinformed about the correlation(sp?) between blues MUSIC and the blues of LIVING. But no matter what I say, there will be arguments on both sides - never ending - incessantly stagnate. When I heard my dad talk about the lynching of his father - that's the blues; when I hear my mom talk about not being allowed to try on a hat in the "good " store because she "may make it greasy" - that's the blues; when I think about or see the pictures of those four young girls blown up in a most hateful display of ignorance - that's the blues; and hell yeah, when I hear about bombing after bombing of sacred places - that's the blues... So you may say, we don't need your social commentary.... Then you don't really understand what you are listening too. Some of you need to get out of your ivory towers and move away form your big buck CD players and take a moment to reflect on where the music really came and COMES from! Lea Gilmore Baltimore, Maryland (Expecting to get burnt in the flames...) BTW, The Friends Services is sponsoring trips to help rebuild the churches later this summer. I plan to go if my life lets me. If anyone would like any info,. just drop me a note. ========================================================================= Date: Thu, 6 Jun 1996 18:04:23 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Sitting & Thinking - Big Walter Horton w/Hot Cottage Comments: To: Jon & Laura Duttweiler In-Reply-To: <1.5.4.16.19960606215222.1987de68@popd.netcruiser> On Thu, 6 Jun 1996, Jon & Laura Duttweiler wrote: > Big Walter Horton is unquestionably the most underappreciated influential > blues harpist of all time. While every bit as important to the evolution of I probably know better than to say this, but didn't we just spend a whole week discussing statements like this? Someone else might argue that George "Harmonica" Smith is "unquestionably the most underappreciated influential blues harpist of all time". I'm not much of a harp afficiando. Was George Harmonica Smith influenced much by Big Walter? How do they compare? -Jeff ------------------------------------------------------------------------------ __ Jeff Seale, PhD | |___ University of Texas Health Sciences Center @ San Antonio ___|* | seale@bioc02.uthscsa.edu \ | http://bioc09.uthscsa.edu/~seale/home.html \/\ / \ / I jumped bail from the Sweetwater County, now I'm on the run \( On my head is a 5 number bounty, for a crime I never done -Joe Ely ========================================================================= Date: Thu, 6 Jun 1996 16:06:34 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Black Church Arsons David Silberberg said: >I, too, cannot believe some of the responses to this thread - but perhaps in >the other direction. > >Especially comments directed at Shannon, who (IMO) merely pointed out that >we do not have to look to national acts of racisim and violence - we all >have plenty of examples close to home. She never said that the burning of >the churches wasn't an outrage, a terrible thing - only that we only need >look in our own back yards for similar outrages. I'm sorry David, but Shannon was wrong for bringing that up in the context of 50 churches being torched in 18 months; an obvious racial hate crime. You and she can deny ANY action, any change, any actual rolling up of sleeves, and DOING something, by pointing out "bigger pictures" and things in "your own backyard". It's not right. Where are those things? Did Shannon list them in her area? What about your area, David? If you are not doing these things, and she is not, *why* are you so interested in criticizing someone ELSE who IS doing something? If you don't agree with what I or anyone else wants to do to rebuild some churches, FINE, but please keep your damn criticisms to yourself. Go criticze the freemen fer Pete's sake! Yeah, that's it look at the "big picture!..... >Don C. also said: >The point is that every American and every citezen of >the world should be >>very concerned about all this. This is not a good time in America.> >Why the indictment of all America? Whether compared against our own past - >where the violence was much more widespread and accepted - or compared >against other countries today, this IS a good time in America, especially >for minorities. The reason this is a bad time is precisely your response to this issue. You join in the braying criticism of those who want to help a bad situation while you remain silent about Mike Eisner making 300 gazillion dollars off kids sitting in front of televisions every night. Our country has money for so much frivolity, and people like you and Shannon sit at your shiny computers and criticize people for trying to donate to rebuild some churches. Is there a problem here with balance, David? If there is so much stuff to be done in your backyard, GO DO IT, instead of criticizing us. >Where America fails is in comparison with our promise - with where we should >be. "All men are created equal...."; "...certain unalienable rights..."; >"...give me your tired, your poor, your huddled masses yearning to breath >free..." - we HAVE failed to live up to these, we MUST make up for our >racist past and the racist tendencies in our present, we CANNOT sit back and >say, "Well, we're better than the rest", and not continue to fight and move >forwared. And some of us are going to take a little bite out of that job. Wanna help? >We should not have 50 African-American churches burned - but I have not read >that the authorities aren't diligently trying to solve these crimes. Have you read of anyone trying to *rebuild* them? I haven't. What a nice thing that would be! >We should not have 50 African-American churches burned - but I doubt that >you could find 1 in 10,000 Americans of any color that would support such >outrages. How many are giving to make it better, as opposed to how many are going to Blockbuster tonight? How many *right on this list* are criticizing those who are? >We should not have 50 African-American churches burned - but that is not as >devestating as reading news magazines like Time, Newsweek, or (especially) >Business Week and seeing no Black faces - unless in an article about race. >This, to me, is where the real struggle is. Then go and fight your struggle. Leave mine alone. I have spent much time, much wonderful time, in black churches, and I know that the music we love is partially rooted there. Don't criticize my struggle and I will honor yours. >And all of this from me, a liberal Democrat who believe that Clinton is too >far to the right.... And this from a committed moderate who thinks Bill is the biggest fraud since Nixon. So love and kindness and charity transcend don't they? DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Thu, 6 Jun 1996 16:18:51 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Churches on fire Troy said: >I can see that some members of this forum are not open to opposing >opinions nor the rational discussion of ideas. They resort to name calling >and "tough-guy" rantings to ensure their opinion is heard loudest amonst >the din. You called ME "politically correct" for wanting to right a terrible wrong! remember? Troy and I are going outside (off list) for a private discussion of this matter. Please excuse us. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Thu, 6 Jun 1996 19:21:09 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: talkin' loud and sayin' nothin' >Domenic Forcella writes >When people talk something to death it always reminds me of a favorite >quote from an old prof. "One lion on the move makes more progress >than two seated intelluctuals." > Let's not equate forward motion with progress, or progress with improvement. Obligatory blues content: I'm really blue, 'cause I can't think of any. Chris Smith (chris@skerries.demon.co.uk) It's no good making things idiot-proof. They'll just build a better idiot. ========================================================================= Date: Thu, 6 Jun 1996 19:35:19 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: New Office/PC >I have moved to a new PRIVATE office and a brand new computer with a CD player >and Altec Lansing speakers. Is that dangerous or what. I bring in my Harmony >and hang it on my wall Monday, shut the door and play the blues. I have my >employer's blessing on bringing my guitar....They know what makes me happy :-) > >Leonard Watkins (a new and improved LW) Leonard, are you TRYING to become a hate figure, or what? :-) And how do you play the thing when it's hanging on the wall? Chris Smith (chris@skerries.demon.co.uk) It's no good making things idiot-proof. They'll just build a better idiot. ========================================================================= Date: Thu, 6 Jun 1996 19:04:37 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: holmstrom/hash brown After the Rod Piazza and the Mighty Flyers gig at the Blue Cat in Dallas on June 4, the whole band (minus Rod and Honey) walked down the street to The Bone to sit in at Hash Brown's blues jam. That jam is broadcast live on the web every Tuesday from 10 pm to 2 am Central time. I believe they also archive each of those broadcasts so you can go to http://www.audionet.com and check it out yourself. Sam Myers sat in for 3 or 4 tunes around 12:30 and Holmstrom and company got up about 1:20. John Moscione was also sitting in on sax and harp. Don O. ========================================================================= Date: Thu, 6 Jun 1996 16:25:06 PST Reply-To: Greg Esquivel From: Greg Esquivel Subject: Coco Montoya in L.A. Coco Montoya will be playing at B.B.Kings on the universal citywalk June 7th and 8th. Greg E. ========================================================================= Date: Thu, 6 Jun 1996 20:08:01 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: reasoned debate Steve Price wrote >> > >Don'tcha just love when they prove their humanity by name-calling? I >love these guys. I'm not letting my kids read blues-l, though. They can >listen to the music and sing songs like Little Village, m.f., but they >can't read blues-l. > Why are your kids only allowed to listen to 'Little Village' mezzo forte, Steve? Oh yeah, I know - so the people next door won't hear Sonny Boy saying 'Shoot!' and 'Gosh durn it!' Chris Smith (chris@skerries.demon.co.uk) It's no good making things idiot-proof. They'll just build a better idiot. ========================================================================= Date: Thu, 6 Jun 1996 19:22:14 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: weeknight blues What does it take to get YOU out to see a blues band on a weeknight? I ask this question because I've been out to some very good shows lately where there were darn few folks in attendance. The Rod Piazza and the Mighty Flyers gig on Monday and Tuesday at the Blue Cat in Dallas is a good case. Cover charge was $10 and included free barbecue. The show was slated to start at 9pm and end at midnight. If you were a hardcore blues fan, you could get a ticket for both nights for $15. The way I looked at it, at that price, I was getting a barbecue dinner for $7.50 and getting the music for free. On Monday there were a total of 24 people in the club (and I think several of them were in the opening band). The skies were clear, proper promotion was done (radio and print), and there were no other major conflicts I can think of. This is in a major metropolitan area with over 4 million people. The second night was a little better, probably 75 people or so, but that was still pretty pitiful. Of the people that were there, some had come from over 100 miles away for these shows (including folks from Oklahoma City, Shreveport, La., and Waco). So what is it, specifically, that will get YOU off your couch on a weeknight? Is it the band? How many touring national acts would you leave your house for on a weeknight? Would you have to have an even earlier start time (6pm?). There are several club owners and booking agents on this list and I think maybe we could all benefit from this discussion (unlike some of the others going on here lately). Don O. ========================================================================= Date: Thu, 6 Jun 1996 17:06:50 PST Reply-To: Greg Esquivel From: Greg Esquivel Subject: test test ========================================================================= Date: Thu, 6 Jun 1996 20:33:44 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Q : Blind John Davis Marc Borms asked >Hi everybody, > >I'm looking for any recordings of BJD. He was rather unknown to me >but I really like his kinda playin'... > >I think this guy must be over 70 now, or did he already leave us ? > >Who knows anything more about John ? > >Thanks a lot, >embee. b. Hattiesburg, Miss 7 Dec 1913, d. Chicago 12 Oct 1985. Played on umpteen blues sessions in the thirties, although he said himself that he didn't care much for blues - and was an accomplished pop, jazz and stride player when given the chance. Records: 'Stompin' On A Saturday Night' (Alligator) 'Blind John Davis, 1938' (Story of Blues; the only one I know for sure is on CD - and it's not very good, frankly) 'Live In Hamburg' (Happy Bird) 'The Incomparable Blind John Davis' (Oldie Blues) 'Blind John Davis' (L+R) 'You Better Cut That Out' (Red Beans) and of course you can hear him on '30s albums by Big Bill Broonzy, Doctor Clayton, Bumble Bee Slim, Jazz Gillum, Lonnie Johnson, Memphis Minnie, Tampa Red, Washboard Sam, Casey Bill Weldon, Georgia White, Sonny Boy Williamson and the Yas Yas Girl - and many others of lesser note! Chris Smith (chris@skerries.demon.co.uk) It's no good making things idiot-proof. They'll just build a better idiot. ========================================================================= Date: Thu, 6 Jun 1996 19:39:28 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: sam myers/hash brown Talk about heaven. When he's in town, Sam Myers is doing a little duo gig with Hash Brown at Schooners in Dallas on Monday nights. They both sit down in chairs on that tiny stage and spend several hours with Sam playing a LOT of harp and doing some very different songs than you might hear with Anson and the Rockets. No cover charge, just a tip jar. They play from about 9 to midnight. I only got to see about 30 minutes of their show last Monday, but I emptied my wallet into the tip jar before I left. Superb. Don O. ========================================================================= Date: Thu, 6 Jun 1996 20:36:26 -0400 Reply-To: Chris Smith From: Chris Smith Subject: reviews Anyone looking for considered judgements on new releases could do worse than looking at 'Quiverings' on http://www.bluesworld.com. Marvin Hohman's prose is a bit stylised at times, but he's not afraid to call garbage by its right name - or good stuff, either. Chris Smith (chris@skerries.demon.co.uk) It's no good making things idiot-proof. They'll just build a better idiot. ========================================================================= Date: Thu, 6 Jun 1996 20:40:24 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Sitting & Thinking - Big Walter Horton w/Hot Cottage Jon & Laura Duttweiler wrote > >Big Walter Horton is unquestionably the most underappreciated influential >blues harpist of all time. (big snip) And my uncle, (to quote Don Cicchetti, I think) is the best kazoo player in East Bumbugger, Iowa. The above is not a meaningful statement! And actually, Noah Lewis is the most underappreciated influential blues harp player of all time. What - you dare to disagree with the finest swordsman in all France? En garde! :-) Chris Smith (chris@skerries.demon.co.uk) It's no good making things idiot-proof. They'll just build a better idiot. ========================================================================= Date: Thu, 6 Jun 1996 20:45:01 -0400 Reply-To: KLUKFan@AOL.COM From: Ken Larkins Subject: Hi all I just got on this list, and I don't know the proper ettiquite. I guess I should briefly introduce myself...I am a 32 yr old male who is enrolled at the university of louisville (a terrible school) where I am a jr. striving for an English degree. I have always enjoyed Blues/Rock music...I tend to believe that truly good rock-n-roll is a spinoff of the blues. I know that Jimmy Page, Eddie Van Halen, Billy Gibbons, Jimi, Eric, and all the greats were/are decipiles of early blues artists. That is why I love Rock with a blue tint to it. Stevie Ray is undoubtedly my all-time favorite musician, but I like most guitar oriented music. My father used to wear "Fangdango" out on his stereo, and I loved it ;-) I don't know if this is how any of you started thier romance with this ultra-cool type of music, but it has ruined me for most other styles of music. I could listen to Eric, Stevie Ray, Buddy Guy, Howlin' Wolf, and the Allman Bros. 48hrs. a day--this is not the music of choice of the kids I go to schoool with--they like (c)rap and other noise pollution, but I have tried to convert a few of them, with little success thus far...but I'll keep on tryin'. See You Guys, Ken ========================================================================= Date: Thu, 6 Jun 1996 19:45:18 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Muddy's Cabin - from H. Stovall I'm afraid the rage comes from Mr. Stovall on this one. I've taken another look at Karen's original post, and no where did I see any criticism of Mr. Stovall or his deal with HOB. Most of her post was descriptive. And although I didn't see the cabin up close and personal, I met with Mary Katherine Aldin a few days ago, and she showed me several of the photos that she took of the cabin during her visit to the Chicago Blues Festival -- Karen's description certainly fit those photos that I saw - can't vouch for the wheels though. I'm happy that the cabin will at some point be restored and returned to its provenience. And I'm glad the Sunflower Festival will receive some financial assistance. I don't have an HOB axe to grind, but this touring cabin thing just sounded silly from the start, primarily because of its being out of context. * This is a reflection on HOB's idea, not on the Stovalls.* If HOB gets some promotional mileage out of it, more power to them. I still think it's ridiculous. I also find sychronized swimming an absurdity, regardless of its success as an Olympic event. Furthermore, I wish to be excluded from any blanket apology to Mr. Stovall. And I'm wondering what his motives are for singling out Karen's post with such a bilious response. Finally, I'm struck by the irony of the gratitude shown below, since, if memory serves me, it was LW who last year was discouraged by several members of this list from snatching a piece of Muddy's Cabin for his own use. Bill Morgan HS>And thank you, Leonard Watkins, for having all the facts, and responding HS>appropriately. HS>Stovall From: The Big Easy ========================================================================= Date: Thu, 6 Jun 1996 20:53:50 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: The Best? Who says? ME! I have seen many, MANY posts on here saying things along the lines of "Oh, gosh, how can you measure the best? By whose standards, huh? Geez!" Look, folks, when someone says, "I think this guitarist is the best," the standards are CLEARLY AND TOTALLY SUBJECTIVE. The person saying "best" is setting his or her own standards. And you know what: that's just fine. "The Best," in any field, is not concrete. Therefore, the person making the statement is contributing his or her OPINION. Opinions can't be wrong; they can only be agreed or disagreed with. FACTS are right and wrong. For example, if I say "Stevie Ray Vaughan recorded an album named 'Texas Flood," I'm stating fact. It is either right or wrong. But if I say "Stevie Ray Vaughan's 'Texas Flood' is the best album ever," that's my opinion. It can't be right or wrong. But YOU can agree or disagree with it. So, let's be more thoughtful about attacking people who state their opinions about "the best." If YOUR opinion is that "you can't say what's best," then say that, and be done with it. Don't add on insulting stuff like "and if you think you can say what's best, then you're a doodyhead!" As I said in a post earlier today, I *LIKE* hearing someone else's well- thought- out opinion on what they think is the best. I have ben turned on to a lot of artists because someone piqued my interest by saying "This person is the best [fill in the blank.]" Among them are: Aretha Franklin; Marvin Gaye; Muddy Waters; Eric Clapton; The Allman Brothers; The Rolling Stones; The Beatles; The Doors; Del Amitri; U-2; Elvis Costello; John Prine; and John Coltrane. Each one of the artists was introduced to me by someone who started their recommendation with "This is the best . . . ." I can't imagine how poor my life would be had I turned off when I heard that line. Thinkin' too much, Gavin ========================================================================= Date: Thu, 6 Jun 1996 21:01:43 -0400 Reply-To: "jose.eric.s.maglanque" From: "jose.eric.s.maglanque" Subject: Re: Black Church Arsons Comments: To: trex Troy -- > So what you are saying then is that everytime there is a prison riot or > they tear one down, everytime a train crashes or is sabotaged, each time a > cotton field is paved over, every time a levee breaks or is replaced or > tore down this is cause for another irrellevant thread of guilt-driven, > p.c. drivel? Hello? You answered your own question -- your response is a self-fulfilling prophecy! > I think not. It's the MUSIC!! What music would you be referring to if all the hatred in the mid-decades of this century cut the umbilical cords that nurtured and nurtures the music that we love? You bet it IS the music!!! > What progression or regression > of blues music or the blues "scene" do these events foster? Well, it reveals a regression of mindsets such as yours, for one. If you view blues music today as "scenes" that you catch on to, I'm wasting my time right now. > If they would have burnt down Parchman Farm 60 years ago the blues would > have sprung out of another place. OK, maybe we wouldn't have some of the > more popular artists derived from that place but equally talented ones > would have been developed and blossomed in another. Blues is not wild grass; do you think Bukka White would have felt exactly the same if he was in the Angola State Pen instead of Parchman? Would Leadbelly have composed Parchman Farm Blues if he had been canned there instead of Angola? > Ya. I'm sure there is a forum for THESE types of discussions on another > channel!! I'm sure there are, but there aren't too many channels out there much concerned with THESE types of discussions, so I guess some of us will have to take the cudgels some, won't we? Besides, I think this is as good a channel as any to do it. Thanks... I hope your own backyard is safer than some black churches have been lately. - Delta Slim (not mad, just flabbergasted) ========================================================================= Date: Thu, 6 Jun 1996 18:05:26 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Sitting & Thinking - Big Walter Horton w/Hot Cottage Comments: To: seale@BIOC02.UTHSCSA.EDU In-Reply-To: from "Jeff Seale" at Jun 6, 96 06:04:23 pm > > Big Walter Horton is unquestionably the most underappreciated influential > > blues harpist of all time. While every bit as important to the evolution of > > I probably know better than to say this, but didn't we just spend a whole > week discussing statements like this? Not at all. We discussed statements like " is the greatest and you can't argue it", etc. Also, it seems that guitar fans tend more toward hero worship than harmonicists, but I could be way off, too :-) Big Walter was an incredible harp player. The best ever? Some believe so, and with good reason. He certainly has some great tunes and solos. Influential? Without a doubt incredibly influential - I doubt that ANY harmonica player hearing BW at the top of his form would NOT be influenced. Underappreciated? I sure think so! In fact, I sincerely doubt anyone who's "up" on harmonicology would argue this. > Someone else might argue that > George "Harmonica" Smith is "unquestionably the most underappreciated > influential blues harpist of all time". While George certainly was/is underappreciated, speaking as a harmonicist and bluesplayer I don't think he was in the same league as Big Walter. George was an incredible harmonica player and innovator, but Big Walter Horton is considered to be a legend, with good technical reasons. My favorite Big Walter tune is "Easy", usually listed as by "Jimmy and Walter" (Jimmy played a bass line and a couple of chords on guitar - and there was a drummer with brushed snare and hi hat on the session as well). Three repetitive verses, all rendered so differently as to almost constitute different songs. The NOTES are the same, but the EXPRESSION and VARIATION leaves one in awe - even one who doesn't play harp! And the improvised solo - sixteen of the nastiest, raunchiest, gutsiest notes ever produced on the instrument. It's a slow tune, probably based on the Ivory Joe Hunter tune "Since I Lost My Baby I Almost Lost My Mind". There's a juke box in the Burbank CA Fatburger that has this (as well as a ZILLION other great old blues CDs). When I play "Easy", without fail people go to the juke box to see who's playing - so it's not "just me" :-) I won't get much argument from other harmonicists that, had BW recorded only this one song, then dropped stone cold dead afterward, he would still be a blues harp legend based just on this one tune. It's really THAT good. Big Walters shortcomings (the ones I'm aware of) were 1. his inconsistent recording, and 2. the absolutely horrid backup bands on his solo efforts. (I understand he was also a drunk, but could still play incredible harp even when incapable of standing up - which I'm sure didn't help things). One of the worst albums of all time is BW's "Mouth Harp Maestro". In fact, it is generally acknowledged that his best work was sessions for other artists. Because of this, he never received the same recognition as the more aggressive, more perfectionist, and "bad attitude" Little Walter Jacobs, who hired only the creme de la creme for his backup. > I'm not much of a harp afficiando. Was George Harmonica Smith influenced > much by Big Walter? How do they compare? I honestly think that ANY harmonicist who's heard BW at his best couldn't help but be influenced. Maybe someone can comment biographically and authoritatively on George Smith, but I _think_ I hear some "Big Walter" influence in his work. But that's my opinion. Take that and $2.99 plus tax and tip to Denny's next time they have the Grand Slam special :-) How can you tell if someone is a musician? They look in the phone book under "gourmet" for Dennys. (24 hours :-) Both are great harmonicists. Both were underappreciated in their lifetimes. Both are underappreciated even now. The only quibbling point is on the relative degree. -- IronMan Mike Curtis ========================================================================= Date: Thu, 6 Jun 1996 18:18:35 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Sitting & Thinking - Big Walter Horton w/Hot Cottage Jeff, George Smith used the stage name "Big Walter" for a time. Uncle Ray ---------- From: Jeff Seale[SMTP:seale@BIOC02.UTHSCSA.EDU] Sent: Thursday, June 06, 1996 11:04 PM To: Multiple recipients of list BLUES-L Subject: Re: Sitting & Thinking - Big Walter Horton w/Hot Cottage On Thu, 6 Jun 1996, Jon & Laura Duttweiler wrote: > Big Walter Horton is unquestionably the most underappreciated influential > blues harpist of all time. While every bit as important to the evolution of I probably know better than to say this, but didn't we just spend a whole week discussing statements like this? Someone else might argue that George "Harmonica" Smith is "unquestionably the most underappreciated influential blues harpist of all time". I'm not much of a harp afficiando. Was George Harmonica Smith influenced much by Big Walter? How do they compare? -Jeff ------------------------------------------------------------------------------ __ Jeff Seale, PhD | |___ University of Texas Health Sciences Center @ San Antonio ___|* | seale@bioc02.uthscsa.edu \ | http://bioc09.uthscsa.edu/~seale/home.html \/\ / \ / I jumped bail from the Sweetwater County, now I'm on the run \( On my head is a 5 number bounty, for a crime I never done -Joe Ely ========================================================================= Date: Thu, 6 Jun 1996 20:39:23 -0400 Reply-To: BBGInc From: BBGInc Organization: America Online, Inc. (1-800-827-6364) Subject: Re: (Fwd) Re: Chicago Report: 3 of 4 Comments: To: bit-listserv-blues-l@uunet.uu.net > IMO, Cabin looked totally out of place. Here you have a line of food > tents, then you have a HOB tent, and then you have a Muddy's Cabin. > Oh, dear. This just sounds like P.T. Barnum's hucksterism. >Rather than rescuing a bit of American heritage, it sounds like a silly >promo. I'd love to hear from someone who found it moving to see there. What was really moving was to see that Muddy didn't live in total squalor and poverty. Afterall, he had that big screen TV hung up on the back porch. I mean great reception, movies always running, didn't look bad to me. Andy ========================================================================= Date: Thu, 6 Jun 1996 18:30:37 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: weeknight blues Don, "I'd gladly walk to Dallas, if I really had to..." I know what you mean. I've gone broke and disappointed many times promoting live blues. By recent approximate count, I'm 3 and 37 (a ratio of money makers to money losers). Yours Stubborn and Stupid, Uncle Ray ---------- From: Don O[SMTP:don.o@CHRYSALIS.ORG] Sent: Friday, June 07, 1996 12:22 AM To: Multiple recipients of list BLUES-L Subject: weeknight blues What does it take to get YOU out to see a blues band on a weeknight? I ask this question because I've been out to some very good shows lately where there were darn few folks in attendance. The Rod Piazza and the Mighty Flyers gig on Monday and Tuesday at the Blue Cat in Dallas is a good case. Cover charge was $10 and included free barbecue. The show was slated to start at 9pm and end at midnight. If you were a hardcore blues fan, you could get a ticket for both nights for $15. The way I looked at it, at that price, I was getting a barbecue dinner for $7.50 and getting the music for free. On Monday there were a total of 24 people in the club (and I think several of them were in the opening band). The skies were clear, proper promotion was done (radio and print), and there were no other major conflicts I can think of. This is in a major metropolitan area with over 4 million people. The second night was a little better, probably 75 people or so, but that was still pretty pitiful. Of the people that were there, some had come from over 100 miles away for these shows (including folks from Oklahoma City, Shreveport, La., and Waco). So what is it, specifically, that will get YOU off your couch on a weeknight? Is it the band? How many touring national acts would you leave your house for on a weeknight? Would you have to have an even earlier start time (6pm?). There are several club owners and booking agents on this list and I think maybe we could all benefit from this discussion (unlike some of the others going on here lately). Don O. ========================================================================= Date: Thu, 6 Jun 1996 21:01:33 -0500 Reply-To: MR BOB DAVIS From: MR BOB DAVIS Subject: Re: Philly Blues at Penn's Landing Date: Wed, 5 Jun 1996 17:24:54 EDT From: ron kraemer Subject: Philly Blues at Penn's Landing >>A week or so late, but... >>I was at the Friday evening "Blues jam", and made it on Saturday as well. Overall impression is that I'm a bigger fan of the old format. Two days of >>nothin'-but-the-blues, and leave the zydeco/jambalaya jam for another day. Mixing it all together was a bit much. >>That said, there WAS a blues-only jam on the Friday before, May 21. The Holmes Brothers were very soulful, some blues, some gospel, and all >>great harmonies. Keisha Brown, a local Philly shouter, had the home crowd on her side throughout her set. Duke Robillard was my fave. I >>REALLY like his sound and style. >>Saturday I saw Luther "Guitar Jr." Johnson. He reminded me of Buddy Guy a bit. His playing was straight-ahead Chicago Blues. Caught more of >>Duke, then followed with Etta James. A true Queen of the Blues, and was treated by the Philly crowd as such. >>Great food, average beer, perfect location (right on the river). >> Ron I agree with you completely Ron. For many years I have faithfully attened both events. This was the first year in recent memory that I did not attend. IMHO they made a huge mistake in combining both of these great events. I guess Philly just doesn't want to be known as a great music town. - Live Funk Chat (P*Funk, Hendrix, Chick Corea, James Brown, Billy Cohham, Sly Stone, Living Colour, Kool & The Gang, War, Passport, AWB, Rick James, Cameo, Miles Davis, Lakeside, Stevie Ray Vaughn, D'Angelo, Jimmy Castor Bunch, Manu Dibango, ) on Prodigy Wend. & Sat. 9pm - 10pm est. mailto:earthjuice@prodigy.com http://pages.prodigy.com/funk ========================================================================= Date: Thu, 6 Jun 1996 21:01:29 -0500 Reply-To: MR BOB DAVIS From: MR BOB DAVIS Subject: Re: Some of you folks just don't get it Date: Wed, 5 Jun 1996 08:14:22 EDT From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Re: Some of you folks just don't get it >> Ian Angus wrote "I must say that any definition of blues which hinges on or requires ' the third, fifth, and seventh notes of the scale are flatted' >>would exclude an enormous amount of blues music, including most Piedmont, St. Louis, Kansas City, Texas, and West Coast style blues, not to >>mention the enormous amount of Soul Blues which has been produced in Atlanta, Houston and other cities in recent years. >> "The blues is primarily about lyrics and a unique emotional form of expression. 12-Bar Blues is just one form of blues, not the totality." >> I have to agree with the first part. Not every blues song will have faltted 3rd, 5th, and 7th notes. But, that still defines the blues. That's where >>the Blues gets its "sound" from. Still, to hold fast to that definition would preclude a lot of stuff that we think of as blues. >> Yet, we can not say that Blues can be defined by lyrical content. The Blues has embraced a myriad of subjects. To say that tackling a >>certain subject is or is not Blues is also too limiting. If we did this, a lot of stuff that we consider Blues would go out the widnow while a lot that isn't >>would be let into the house. ("Hey, you kids! Shut that door! I'm not paying to heat/cool the whole outdoors!!") >> Basically, I feel that Blues, like art or pornography, is not something I can define. But I know it when I see it/ hear it. And I have yet to find a >>rap song ro an alternative song that I would say is a Blues song. >> Gavin ------------------------------ Hey guys...........I wasn't refering to any "technical" definition, I was refering to the raw emotion that the practitioner was feeling at the time he/she performed the song, which is what they are trying to get the listener to feel as well. That is the FUNK that I am refering to.........the cry for FREEDOM & RESPECT. You still don't get it ....do you ??? - Live Funk Chat (P*Funk, Hendrix, Chick Corea, James Brown, Billy Cohham, Sly Stone, Living Colour, Kool & The Gang, War, Passport, AWB, Rick James, Cameo, Miles Davis, Lakeside, Stevie Ray Vaughn, D'Angelo, Jimmy Castor Bunch, Manu Dibango, ) on Prodigy Wend. & Sat. 9pm - 10pm est. mailto:earthjuice@prodigy.com http://pages.prodigy.com/funk ========================================================================= Date: Thu, 6 Jun 1996 19:11:00 PDT Reply-To: Gary Joneson From: Gary Joneson Subject: Chicago Blues Festival For those that may have an interest, I now have a few photos from the 1996 Chicago Blues festival on the web page, Corey Harris, Lurrie Bell, Sugar Blue, Marie Dixon, Homesick James, Guy Davis, Billy Branch, Carl Weathersby, Phil Guy are the first up with more coming. http://www.island.net/~blues/chuck.htm Gary BluesWEB ========================================================================= Date: Thu, 6 Jun 1996 22:03:18 -0600 Reply-To: David Silberberg From: David Silberberg Subject: Re: Black Church Arsons In-Reply-To: <199606062309.QAA25606@inet.lasierra.edu> At 6:06 PM -0600 6/6/96, Don Cicchetti wrote: > >I'm sorry David, but Shannon was wrong for bringing that up in the context >of 50 churches being torched in 18 months; an obvious racial hate crime. >You and she can deny ANY action, any change, any actual rolling up of >sleeves, and DOING something, by pointing out "bigger pictures" and things >in "your own backyard". It's not right. > Don, please reread my original message, if not Shannon's: I did not "deny ANY action, any change, any actual rolling up of sleeves". I merely agreed with Shannon's message about looking to our own back yards, and commented on the negative responses to her messages, unwarranted in my opinion. > >If you are not doing these things, and she is not, *why* are you so >interested in criticizing someone ELSE who IS doing something?> >If you don't agree with what I or anyone else wants to do to rebuild some >churches, FINE, but please keep your damn criticisms to yourself. Go >criticze the freemen fer Pete's sake! Again, I made no criticism of anyone, nor do I have any criticism. But, if I had, I don't see why I should have to keep them to myself - especially since the topic was introduced by someone else (you). The injustices that I would refer to - those in my own back yard - have contributed to the contemporary blues scene in many ways, as have the burned churches: listen to Jimmy Dawkins or Luther Allison or Otis Rush singing about homelessness, joblessness, etc., and tell me that those concerns aren't relevant to the music, too. I do not criticize your actions or concern; let me know how, and I will join you in contributing to the rebuilding of the churches; I am as outraged as anyone, and for the same reasons as you - the church is a major foundation of African-American culture and the African-American community. > >The reason this is a bad time is precisely your response to this issue. >You join in the braying criticism of those who want to help a bad situation >while you remain silent about Mike Eisner making 300 gazillion dollars off >kids sitting in front of televisions every night. > >Our country has money for so much frivolity, and people like you and >Shannon sit at your shiny computers and criticize people for trying to >donate to rebuild some churches. Is there a problem here with balance, >David? > >If there is so much stuff to be done in your backyard, GO DO IT, instead of >criticizing us. Again and again, Don, I DID NOT CRITICIZE YOU OR YOUR CONCERNS OR YOUR ACTIONS! You have no idea how "silent" I am about Mike Eisner and his empire, as if Disney and ABC had anything to do with our topic. You have no idea how much money, or time, or effort I contribute to solving the problems of my various communities. And I fail to see how my response - which brought out other areas for concern in our society - became a reason that this is a bad time in America. > > > >>We should not have 50 African-American churches burned - but I have not read >>that the authorities aren't diligently trying to solve these crimes. > >Have you read of anyone trying to *rebuild* them? I haven't. What a nice >thing that would be! > > >>We should not have 50 African-American churches burned - but I doubt that >>you could find 1 in 10,000 Americans of any color that would support such >>outrages. > >How many are giving to make it better, as opposed to how many are going to >Blockbuster tonight > >How many *right on this list* are criticizing those who are? None, "right on this list", that I have seen - ESPECIALLY NOT ME!!! > > >>We should not have 50 African-American churches burned - but that is not as >>devestating as reading news magazines like Time, Newsweek, or (especially) >>Business Week and seeing no Black faces - unless in an article about race. >>This, to me, is where the real struggle is. > >Then go and fight your struggle. Leave mine alone. > >I have spent much time, much wonderful time, in black churches, and I know >that the music we love is partially rooted there. Don't criticize my >struggle and I will honor yours. Again, finally, just to make sure I am understood" I HAVE NOT, AND AM NOT, CRITICIZING what you consider to be "your struggle". If I were, I would say that my struggle involves helping people, while yours only rebuilds buildings, to place it on the level of your criticisms of me above (referring to Eisner and Blockbuster). But that would be unfair - I know (I really do) that you're as interested in helping the people as I am. Please give me the same consideration. I really should take this private - this will be my last public post on this - but I do feel the need to answer Don's public response with one of my own. David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Thu, 6 Jun 1996 22:53:01 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: Chess building What's the status of the Chess building and the planned Blues Heaven Foundation museum in Chicago? Anyone go by there during the Chicago blues fest? Also a great big THANK YOU to everyone that provided reviews of that festival. More would be welcome. Don O. ========================================================================= Date: Fri, 7 Jun 1996 00:19:01 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Re: Some of you folks just don't get it Comments: To: MR BOB DAVIS Mr. Bob Davis (a.k.a. Earth Juice) wrote "I wasn't refering to any 'technical' definition, I was refering to the raw emotion that the practitioner was feeling at the time he/she performed the song, which is what they are trying to get the listener to feel as well . . . . "You still don't get it ....do you ???" Actually, I do get it. What I was trying to point out, which many people understood, is that the only definition of the Blues ascribed to by musicologists is the technical one (flatted 3rd, 5th, & 7th of the scale). Other than that, it becomes a personal thing. For example, Wynton Marsalis once pointed out that much of what Duke Ellington did was basically the Blues. He used all the right notes. Now, I for one think that much of what The Duke did was indeed the Blues. But, there are very few Blues fans that I know who would agree. "Duke Ellington was swing, not Blues." I also think that Stevie Ray Vaughan played the Blues. I think most folks who are Blues fans would agree with this. (I could be wrong; I've never taken a poll of ALL Blues fans. :-)' But I'm willing to go out on a limb for that one.) However, I also know folks who think he was so far on the edge of the Blues that he was really rock 'n' roll. I can see that; I just disagree. My point is that to attempt a definition of the Blues beyond defining the scale diminishes the Blues itself. The Blues is more than just a few notes. It is also more than just lyrical content. Basically, the Blues is what the listener feels it is. Which makes it an opinion. My opinion differs from yours. I personally do not think Ice Cube can be classified as the Blues. You do. Yes, Ice Cube is passionate. On that we agree. However, for myself, the Blues MUST be about more than passion. Why? Because *ALL* of the music that I like is passionate. Passion makes art human. Passion helps us bridge the gap between ourselves and art. I feel that without passion, it just ain't music at all. That's the very reason that I do not like most of the synthesized dance music of the past 10 or 15 years. No passion. No humanity. Not music. In my opinion. Do I not get it? I do, more fully than you may realize. I just disagree with you that Ice Cube is the Blues. That doesn't mean I'm saying you are wrong. In fact, I do not believe that I *CAN* say that you're wrong. Why? Because it's your opinion. Opinions can not be right or wrong. Only assertions of fact can be right or wrong. "Stevie Ray Vuaghan put out an album called 'Texas Flood.'" Assertion of fact: it's either right or wrong. (In this case, it's right.) "Stevie Ray Vaughan played the Blues." Opinion: people either agree or disagree. I happen to agree. "Ice Cube plays the Blues." Opinion: people either agree or disagree. I happen to disagree. So, I understand your point of view and your arguments about why Ice Cube is the Blues. I just disagree. Do *YOU* get it now? Gavin ========================================================================= Date: Fri, 7 Jun 1996 01:32:45 -0400 Reply-To: DeniseTapp From: DeniseTapp Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Muddy's Cabin in retrospect Comments: To: bit-listserv-blues-l@uunet.uu.net First, many thanks to Howard Stovall for wasting his time on a few rabid dogs who have strayed to the blues newsgroup from bit.listserv.croatia. I thought his comments were very well thought out and quite amusing, considering the personal attacks he has endured from many of you, and I certainly was not offended. For those with very short memories, let me remind you that I started this entire controversy last August by mentioning that I had enjoyed a visit to Muddy's Cabin on the Stovall Plantation. I found the setting peaceful and lovely in the late afternoon, as did the handful of others sharing it with me that day, including Charlie and Henrietta Musselwhite. The fur really flew then, as I was accused by list members of being insensitive to the decades of economic enslavement which that cabin ON THAT SITE embodied. Which way do you want it?!? The truth is that a line was forming to purchase the cabin outright from the Stovalls, who, as Howard has told us before, were finding the decaying structure a liability. When Isaac Tigrett found out that certain groups were engaged in a bidding war for the ultimate hunk of blues memorabilia, he waded into the fray with this unique and very-beneficial-to-the-blues community alternative. Otherwise, you might have seen it relocated to a casino with slot machines for its interior decor or chopped into small pieces to build more Muddywood guitars. As for those of you who froth at the mouth at the notion of corporate support, why don't you ask the folks at "Living Blues" what percentage their advertising money shaves off the price you have to pay for a subscription or how much extra coverage they can afford to provide with this distasteful form of revenue. There is tremendous competition for corporate dollars out there among an abundance of good causes. Let's be grateful to the people who have many worthy options but choose to support the blues, instead of biting the hands that feed us. It's supposed to be about the music! Denise ========================================================================= Date: Fri, 7 Jun 1996 00:43:41 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: weeknight blues In-Reply-To: <01BB53D6.449A72E0@ip-pdx09-44.teleport.com> If it started at 6:00 or 7:00, I might bring my kids for a couple of hours. I don't drink, and so I'm not very interesting to bars except as a designated driver for a van load of folks that want to get looped. But they won't on a weeknight. They'd dig a barbeque though. I'm also a cheapskate (not on purpose, I'm just poor, I'd pay if I had the dough, but I don't), so anything with a low cover or no cover at all I'll go to. But I'm afraid I balk at $10 or $15 dollars, especially on a weeknight when I know I'm going to have to get up in a few hours if I try to stay to the end. Steve Price ========================================================================= Date: Fri, 7 Jun 1996 01:18:29 +0000 Reply-To: thf4@WaterValley.Net Comments: Authenticated sender is From: Tom Freeland Subject: Weird Muddy Stuff (Stovall's Cabin) The list came completely unglued the last couple of days over a number of issues, most notably Muddy Waters' (or to be more accurate, the Stovalls') cabin. Some things seem really clear to me: Nobody much has personally attacked Stovall. There have been a *LOT* of attacks on HOB and its percieved way of doing business. But only by implication (because of the view that the cabin should have stayed where it was) has Stovall been attacked. I think his overly-defensive reaction, *and* his snide attacks on people on this list were out of line. The implication in his post that blues fans sat idly by is also absurd; his plans as to what do do with his property were hardly made in public. At no time do I recall there being a public appeal for assistance in restoring the cabin on site. And I don't see how P.W. Fenton can apologize to him on anyone else's behalf (though that's what he said he did). The use of the money-- to support the Sunflower fest AND to replace lost NEA money seems to me an excellent use of blues money, whether the money was charity or (as seems more likely to me) promotion. AND I hope it works out. I have heard reports from both Jazz Fest and Chicago Blues that HOB's presence was ham-handed, particularly in the lineup related and promotion related issues on the stage is sponsered. An intensive promotional presence would be completely out of place at Sunflower; I hope they let the home-folks continue to run things. The cabin *does* belong to Stovall. I know (see below) that it is more than a minor headache for a private property owner to be the owner of a tourist location, much less a shrine. He got to do what he wanted to do and he did it, and the cabin (like most any other old tenant farmer cabin in the Delta, like John Hurt's house in Avalon, etc. etc.) was decaying and headed toward dust, and NO plan for the cabin whether it be move to the museum in Clarksdale or whatever involved restoring it on site, BUT And this is a VERY LARGE BUT This is a historical site of national importance. Everyone agrees with this. I think there are moral responsibilities that come with owning such a site. Here I am not speaking idly; my law office is on the national registery of historic places because of connections to William Faulkner (his novels were typed there) and other historical facts connected with it. I view it as part of owning such a place to try to keep it as close to its historic state as I can. Of course, it has changed, a lot (we even have computers). AND I think there is a responsibility to the public-- which comes from all over the world for Faulkner shrines, too. And taking Muddy's cabin out of the place where it was DOES change it and the place irrevocably. Something very important was lost when the cabin was moved. I honestly cannot see how anyone can deny it, unless they are simply hell-bent to be an apologist for HOB. And that seems to be one aspect of the dialogue on this issue. The cabin cannot represent or be the same thing in any form of traveling display, no matter how respectful. The site where it was is diminished, also, by its absence. Which does lead to the question of just *how* respectful the cabin restoration was. I do not believe that anyone other than Howard Stovall who defended HOB in the last two days claims to have seen the cabin. On the other hand, a lot of the folks who did see it in Chicago were not impressed. I'm looking forward to seeing the pictures someone promised to send me. I'll let you know what I see. Tom Freeland On 7 Jun 96 at 1:32, DeniseTapp wrote: > First, many thanks to Howard Stovall for wasting his time on a few rabid > dogs who have strayed to the blues newsgroup from bit.listserv.croatia. I > thought his comments were very well thought out and quite amusing, > considering the personal attacks he has endured from many of you, and I > certainly was not offended. > > For those with very short memories, let me remind you that I started this > entire controversy last August by mentioning that I had enjoyed a visit to > Muddy's Cabin on the Stovall Plantation. I found the setting peaceful and > lovely in the late afternoon, as did the handful of others sharing it with > me that day, including Charlie and Henrietta Musselwhite. > > The fur really flew then, as I was accused by list members of being > insensitive to the decades of economic enslavement which that cabin ON > THAT SITE embodied. > > Which way do you want it?!? > > The truth is that a line was forming to purchase the cabin outright from > the Stovalls, who, as Howard has told us before, were finding the decaying > structure a liability. When Isaac Tigrett found out that certain groups > were engaged in a bidding war for the ultimate hunk of blues memorabilia, > he waded into the fray with this unique and very-beneficial-to-the-blues > community alternative. Otherwise, you might have seen it relocated to a > casino with slot machines for its interior decor or chopped into small > pieces to build more Muddywood guitars. > > As for those of you who froth at the mouth at the notion of corporate > support, why don't you ask the folks at "Living Blues" what percentage > their advertising money shaves off the price you have to pay for a > subscription or how much extra coverage they can afford to provide with > this distasteful form of revenue. > > There is tremendous competition for corporate dollars out there among an > abundance of good causes. Let's be grateful to the people who have many > worthy options but choose to support the blues, instead of biting the > hands that feed us. > > It's supposed to be about the music! > > Denise > > ========================================================================= Date: Fri, 7 Jun 1996 09:51:16 -0700 Reply-To: Michael Yngman From: Michael Yngman Organization: Telia AB Subject: living blues awards Comments: To: bit-listserv-blues-l@uunet.uu.net Has this years living blues awards winners been selected yet. If so, can someone give me that info and where to find the winners Regards Mike ========================================================================= Date: Fri, 7 Jun 1996 03:14:46 -0700 Reply-To: Kelly Hoggard From: Kelly Hoggard Organization: The Wolfpack Subject: Re: Chess building Comments: To: don.o@CHRYSALIS.ORG Don O wrote: > > What's the status of the Chess building and the planned Blues Heaven Foundation > museum in Chicago? Anyone go by there during the Chicago blues fest? > > Also a great big THANK YOU to everyone that provided reviews of that festival. > More would be welcome. > > Don O. Yes, Don, I drove past 2120 S. Michigan St. on my way out of Chicago on Saturday Night after riding around Chicago in my van listening to the Blues Fest on my radio (sure beat standing in the rain). The facade looks nice with pix of blues greats (Willie?) visible inside the window. I guess I expected to see something going on but it wasn't so.... BTW, Vance Kelly was pretty cool, as was the opening act (James Montgomery?) at the Petrillo on Sat. night. Didn't see much else!! -- kelly@netusa1.net(Kelly Hoggard) The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! Check out their home page at http://www.netusa1.net/~kelly/ ========================================================================= Date: Fri, 7 Jun 1996 03:20:42 -0700 Reply-To: Kelly Hoggard From: Kelly Hoggard Organization: The Wolfpack Subject: Re: sam myers/hash brown Comments: To: don.o@CHRYSALIS.ORG Don O wrote: > > Talk about heaven. When he's in town, Sam Myers is doing a little duo gig with > Hash Brown at Schooners in Dallas on Monday nights. They both sit down in > chairs on that tiny stage and spend several hours with Sam playing a LOT of > harp and doing some very different songs than you might hear with Anson and the > Rockets. No cover charge, just a tip jar. They play from about 9 to midnight. > I only got to see about 30 minutes of their show last Monday, but I emptied my > wallet into the tip jar before I left. Superb. > > Don O. Ah! Another chance to plug our upcoming gig with Anson & The Rockets on June 30 here in Indy! For more info: http://www.netusa1.net/~kelly/anson.html Last year I saw The Rockets whip through 20 minutes of T-Bone Walker tunes that I'd never heard them do before. Anson later told me Sam is a walking encyclopedia of blues tunes. Sam calls 'em and they play 'em!! -- kelly@netusa1.net(Kelly Hoggard) The Wolfpack is Indianapolis, Indiana's premier jump, swing blues band! Check out their home page at http://www.netusa1.net/~kelly/ ========================================================================= Date: Fri, 7 Jun 1996 10:25:13 +0000 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Welcome to Bob (Robert) Sacre. I just want to publicly welcome Robert (Bob) Sacre on Blues-L. You finally made it .... Many zellers (eRic, Dick, Scott....) know Robert quite well and other zellers might know him from his many contributions to different magazines since decades, for having had the great idea to organize diferent conferences among which I should mention the Charlie Patton conference in 1984 (see the proceeding which have been published by les Presses Universitaires de Liege, Belgium), for his recent books on Cajun and Gospel Music, for being the man behind the Blues&Rhythm index, a regular contributor to Soul Bag... Bob is a very knowledgeable person and REAL collector (he has a "frutrastingly" huge collection .... :-). I've known him since 1983/1984 when I graduating from the University of Liege. He was a regular visitor to the weekly blueshow I did I Belgium during the period 1981-1991, and he was also a regular contributor to the Belgium mags Jazz in Time and Blues Notes that I've been editing/coordinating during 6 years for which he wrote numerous interesting things about blues, gospel,cajun,zydeco and african-Ameriacn literature. Bob also has the only existing University course on African- American music over here in Belgium (to which I attended with pleasure during the first year of its existnce). So just to summarize, if you have things to ask (and not only about his current hot specialties namely zydeco, cajun and gospel, literature stuffs on which he wrotte very interesting books), he will certainly be there to help you finding out what you're looking for... and NO, Bob is not a blues- rock SRV fan!! (correct me if I'm wrong...) Salut Robert, and don't worry too much about the sometimes boring flame wars, ... it's the Net!! Jean-Pierre "Young Man" Urbain ========================================================================= Date: Fri, 7 Jun 1996 03:56:36 -0500 Reply-To: scott d From: scott d Subject: Re: Sitting & Thinking - Big Walter Horton w/Hot Cottage Comments: To: Jeff Seale At 06:04 PM 6/6/96 -0500, Jeff Seale wrote: >On Thu, 6 Jun 1996, Jon & Laura Duttweiler wrote: > >> Big Walter Horton is unquestionably the most underappreciated influential >> blues harpist of all time. While every bit as important to the evolution of > >I probably know better than to say this, but didn't we just spend a whole >week discussing statements like this? Someone else might argue that >George "Harmonica" Smith is "unquestionably the most underappreciated >influential blues harpist of all time". > >I'm not much of a harp afficiando. Was George Harmonica Smith influenced >much by Big Walter? How do they compare? > >-Jeff Jeff, I think you're right on this one; George Smith MUST be "unquestionably the most underappreciated influential blues harpist of all time". Big Walter was rather well appreciated in his time (I think he had more recordings than Little Walter, for instance), but I don't know how influential he really was in the long run. George Smith didn't have many recordings on significant labels, but is definitely THE man when it comes to influence. Most of the big name harp players on the west coast (where so many of the harp players seem to be these days) like Rod Piazza, William Clarke, and Mark Hummel owe huge chunks of their styles to George Smith. Scott http://www.geocities.com/SunsetStrip/4466 Check it out! ========================================================================= Date: Fri, 7 Jun 1996 03:56:39 -0500 Reply-To: scott d From: scott d Subject: Re: Sitting & Thinking - Big Walter Horton w/Hot Cottage Comments: To: Mike Curtis At 06:05 PM 6/6/96 -0700, Mike Curtis wrote: [edit] >While George certainly was/is underappreciated, speaking as a harmonicist >and bluesplayer I don't think he was in the same league as Big Walter. >George was an incredible harmonica player and innovator, but Big Walter >Horton is considered to be a legend, with good technical reasons. While I might agree that Big Walter was a technically more accomplished, more innovative player than George Smith--and in fact I like BW's work better than GS's--I just don't hear much Big Walter influence in harmonica players today, and I listen to a lot of 'em. Most of the really well known blues harp players seem to be from the West Coast these days (as I mentioned in another post on this subject), and I can't think of one who sounds like he's ever been influenced by Big Walter. On the other hand, I can't think of one whose doesn't owe something to George Smith. >One of the worst albums of all time is BW's "Mouth Harp Maestro". [edit] What???? I consider Mouth Harp Maestro to be one of the BEST blues harp albums, certainly the best full length CD example of Horton's work as a front man. Are you sure you're not thinking of "Soul Of Blues Harmonica" on Chess? Now THAT one is a piece of crap, and certainly fits your description. Come to think of it, so does the one with "Hot Cottage" that started this discussion. [edit] >Both are great harmonicists. Both were underappreciated in their lifetimes. >Both are underappreciated even now. The only quibbling point is on the >relative degree. Amen. Scott http://www.geocities.com/SunsetStrip/4466 Check it out! ========================================================================= Date: Fri, 7 Jun 1996 03:56:44 -0500 Reply-To: scott d From: scott d Subject: Re: Sitting & Thinking - Big Walter Horton w/Hot Cottage Comments: To: "Raymond O. Varner" At 06:18 PM 6/6/96 -0000, Raymond O. Varner wrote: >Jeff, > >George Smith used the stage name "Big Walter" for >a time. > >Uncle Ray > George Smith also booked himself as "Little Walter" for a while after he first moved out to California. After he was found out, he called himself "Little Walter Jr." for a while. Scott http://www.geocities.com/SunsetStrip/4466 Check it out! ========================================================================= Date: Fri, 7 Jun 1996 11:02:08 +0000 Reply-To: J.Urbain@KE.RULIMBURG.NL From: Jean-Pierre Urbain Subject: Re: Muddy Waters on LRC A few days ago Bo Carlsson metioned a Cd (a boot) he bought on LRC (from Mr Sonny lester's collection !!) by Muddy Waters. If we're talking about the same Cd (LRC 9015) I thing that these are recordings from the 70's probably around 1977 recorded live in Nice. Details can be found in the excellent Complete Myddy Waters disco on BluesWolrd (http://www.bluesworld.com/MuddyQuarkHtml) Jean-Pierre "young Man" Urbain Here are the details taken from THE COMPLETE MUDDY WATERS DISCOGRAPHY by PHIL WIGHT FRED ROTHWELL who did a marvelous work in compiling all these infos. Muddy Waters vcl, gtr; probably Bob Margolin, Luther 'Guitar Jr.' Johnson gtr; Jerry Portnoy hca; Joe 'Pinetop' Perkins pno, vcl -1; Calvin Jones bass; Willie Smith drums; Dizzy Gillespie trumpet -2 Live at Nice Jazz Festival, France, 9 July 1977 Instrumental (incomplete) LRC CD 9015 Nicest Blues (instrumental, Back To The Chicken Shack) LRC CD 9015 Harmonica Rockin' (instrumental, Rocker) LRC CD 9015 Down Broke Down (Can't Get No Grindin') LRC CD 9015 Baby Rock And Roll (The Blues Had A Baby And They Named It Rock And Roll) LRC CD 9015 So Long (Honey Bee) -2 LRC CD 9015 Kansas City -2 LRC CD 9015 Note; The titles are as given on the CD, the correct titles are shown in the brackets ========================================================================= Date: Fri, 7 Jun 1996 01:13:18 GMT Reply-To: CKUT_online@babylon.montreal.qc.ca From: CKUT online Organization: Babylon, Montreal, Canada Subject: Re: Junior Brown Comments: To: hhardy@BCONNEX.NET I loved "Guit With It", which also features Jimmie Vaughan as a guest. I have a cassette of his earlier album but it's in the car and the name escapes me at the moment. "Guit Steel Blues" contains one of the best variations on the "Red House" intro and great novelty lyrics. John Detcheverry ========================================================================= Date: Fri, 7 Jun 1996 07:37:07 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0091 From: "DUTTWEILER.J" Subject: Re: Sitting & Thinking - Big Wal Date: Friday, 7 June 1996 7:36am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: Sitting & Thinking - Big Wal > On Thu, 6 Jun 1996, Jon & Laura Duttweiler wrote: > > > Big Walter Horton is unquestionably the most underappreciated influential > > blues harpist of all time. While every bit as important to the evolution > > I probably know better than to say this, but didn't we just spend a whole > week discussing statements like this? Someone else might argue that > George "Harmonica" Smith is "unquestionably the most underappreciated > influential blues harpist of all time". > > I'm not much of a harp afficiando. Was George Harmonica Smith influenced > much by Big Walter? How do they compare? It has been discussed in blues literature (as well as by Big Walter himself, though that might be discounted) that Horton was a influence on Little Walter Jacobs who certainly WAS an influence on George Smith. Whatever the case may be about that, while my statement *may* have been overly strong, I think many would agree. George Smith certainly was not the influence on others that Big Walter was and I stated that Big Walter encompassed both conditions, influential and underappreciated - and given the scope of his influence, it is easy to argue he is "the most" underappreciated. Opinion? Certainly. But not baseless. Besides, that's what reviews are all about. JD BTW, please note my statements reflect MY opinions only and in no way represent my wife's ;-) ========================================================================= Date: Fri, 7 Jun 1996 08:03:08 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0102 From: "DUTTWEILER.J" Subject: Re: Sitting & Thinking - Big Wal Date: Friday, 7 June 1996 8:03am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: Sitting & Thinking - Big Wal > Jon & Laura Duttweiler wrote > > > >Big Walter Horton is unquestionably the most underappreciated influential > >blues harpist of all time. > > (big snip) > > And my uncle, (to quote Don Cicchetti, I think) is the best kazoo player in > East Bumbugger, Iowa. The above is not a meaningful statement] And > actually, Noah Lewis is the most underappreciated influential blues harp > player of all time. What - you dare to disagree with the finest swordsman > in all France? En garde] :-) > > > Chris Smith (chris@skerries.demon.co.uk) > It's no good making things idiot-proof. They'll just build a better idiot. Any statement taken out of context is meaningless, which is exactly what you, and others, are doing with this one. The whole first paragraph of that review makes my point. There really is not enough space within the confines of a review to offer up a great deal of detail in support, but Walter Horton's influence is widely acknowledged to be as great as Little Walter's among blues harmonica. The fact that his solo recordings were few and far between is also hard to contest. Finally, he has never gotten as much press as, say, Little Walter or Sonny Boy Williamson (Rice Miller). Put all three together and I would say my opinion is pretty well substantiated. JD ========================================================================= Date: Fri, 7 Jun 1996 08:33:45 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: "Facts" and "Opinions" Comments: To: Gavin Arneaux <102554.471@CompuServe.COM> On 7 Jun 96, Gavin Arneaux had this to say: > That doesn't mean I'm saying you are wrong. In fact, I do not believe > that I *CAN* say that you're wrong. Why? Because it's your opinion. Opinions > can not be right or wrong. Only assertions of fact can be right or wrong. > "Stevie Ray Vuaghan put out an album called 'Texas Flood.'" Assertion of fact: > it's either right or wrong. (In this case, it's right.) "Stevie Ray Vaughan > played the Blues." Opinion: people either agree or disagree. I happen to > agree. "Ice Cube plays the Blues." Opinion: people either agree or disagree. > I happen to disagree. Gavin, I scratch my head every time I see this (rather popular) assertion, that opinions cannot be right or wrong simply because they are opinions. Opinions CAN be write or wrong. Perhaps, only the fact that it is YOUR OPINION cannot be challenged (since you are the single best authority on your own thoughts), but the opinion itself certainly can. If an opinion can be proven wrong (and it can) how then was it correct? If an opinion can be changed by experience and education, then how was it correct before? If you say, "I think the Blues is just a branch of Rock and Roll" That would be an opinion, and it would be wrong. I cannot dispute the fact that it is your opinion, but I can dispute what your opinion asserts. So the statement, "Stevie Ray Vaughan played the Blues", may be your opinion, but it is not indisputable. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 7 Jun 1996 08:46:07 EDT Reply-To: Mark Wiggins From: Mark Wiggins Subject: Church Burnings I'm on the East Coast and up early so I figured (seems how I hadn't had a posting yet) that you might not have heard this news yet. I copied breif blurb from the web. Sorry that I'm bringing bad news. ************************************************************** HEADLINE - BLACK CHURCH IN CHARLOTT CHARLOTTE, N.C. (Reuter) - Fire consumed a church attended mainly by blacks overnight Thursday, a fire department spokesman said early Friday. The blaze at Matthews Murkland Presbyterian Church was the latest in a series of churches that have raged throughout the south. ``The fire is out and under control,'' said Brian Shoemaker. It is under investigation. The blaze began about an hour before midnight EDT. Church burnings throughout the south have prompted a federal investigation. On Wednesday, South Carolina Gov. David Beasley promised to set up a $50,000 re and use an already existing toll-free number to help capture arsonists. Sincerely, Mark ========================================================================= Date: Fri, 7 Jun 1996 08:11:10 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: A Challenge I feel since I've been on Blues-l since the absolute beginning I can say the following: This list is going downhill, FAST. It used to be a great list now it's hard to remain a subscriber, becuase all of the bickering. This is not a political list, has nothing to do with the blues, whatsoever. The church burnings are relavent (IMHO) however, how in the world can we help the church burnings, when we can't have our little internet list without bickering and name calling. I did something really stupid a few weeks back and unsubscribed until I did an attitude adjustment. If you will notice I no longer use "LW" what I did there was no excuse for and the person who was on the other end did not deserve what I dealt them. I have apolgized many times, without any return acceptance of the apology. So this list that used to be a tremendous list has become an ego trip or something for some folks. I will not partake in any of it, PERIOD. I challenge each and every one of you to become a better 'eller. Please quit the name calling, whining, do it private mail. I know none of Ucare in the least, but I can not remain on here and be a part of this crap. I would like to have a restricted list and after a couple of chances and you still act like a child, then you are gone from the list. I know I will catch a lot of flak from this post, but some of you are ruining a list that 3 or 4 years ago was the finest list around. Sorry don't mean to sound self-righteous I just hate to see a list that was so good and special (IMHO) become what it has become. Are you tuff enuff to accept my challenge of being a better 'eller Leonard Watkins (flame me and expect hugs & kisses in return) ========================================================================= Date: Fri, 7 Jun 1996 06:35:25 -0700 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: back-door conversions (was re: Hi Al) Comments: To: bit-listserv-blues-l@cs.washington.edu Ken Larkins wrote: > but I have tried to convert a few of them, with little success thus far...but > I'll keep on tryin'. Not to fuel culture wars, but I did turn an ex-roomate onto some new (older) music recently, playing Curtis Mayfield, which he was psyched to recognize from samples that Ice-T had used... Adrian ========================================================================= Date: Fri, 7 Jun 1996 09:26:00 -0400 Reply-To: news@NEWS.NYU.EDU Comments: Resent-From: news@news.nyu.edu Comments: Originally-From: zogott@is2.nyu.edu (Jennifer A. Zogott) From: news@NEWS.NYU.EDU Organization: New York University Subject: Len Kunstadt Comments: To: bit-listserv-blues-l@uunet.uu.net Just heard the other night that Len Kunstadt died recently. He owned and ran the Spivey record label, and wrote a column on the NYC blues scene for a European blues publication. I used to run into him here and there, and he was rather eccentric, but a very nice person and very knowledgable. If anyone knew him better and knows more about him, and would like to write a short appreciation for _true blues_, a new NYC-area blues newsletter, please e-mail me. Thanks. Jennifer Zogott * * * "How many bubbles in soap? How many chews in gum? How many rolls in a wheel? Where did eyeballs come from?" - Screamin' Jay Hawkins ========================================================================= Date: Fri, 7 Jun 1996 06:38:19 -0700 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Re: Some of you folks just don't get it Comments: To: bit-listserv-blues-l@cs.washington.edu MR BOB DAVIS wrote: > Hey guys...........I wasn't refering to any "technical" definition, I > was refering to the raw emotion that the practitioner was feeling at > the time he/she performed the song, which is what they are trying to > get the listener to feel as well. > That is the FUNK that I am refering to.........the cry for FREEDOM & > RESPECT. Oh, you mean like Courtney Love trying to get over the loss of her husband. I think I get it now. She is one of the most expressive, emotional artists around these Seattle radio stations that surround me. Adriann ========================================================================= Date: Fri, 7 Jun 1996 09:40:01 -0400 Reply-To: Mike Cooper From: Mike Cooper Organization: Spring Grove Artisans Subject: HOB, MW's cabin: THE END IS NEAR! HOB involvement at Chi and with the MW cabin is, like all in life, ironic, and may herald the end of the current blues hysteria (purists be patient!) I can hear irony in BG's voice years ago in Europe, thanking the crowd when he couldn't get a gig in America. When someone yells out the name of a younger white rocker during a current, SRO BG show, his response seems to be, "shit, where were you when I was inventing that?" At Chi fest this year, our group stood 50 feet from the stage, and watched as a few drunken slobs gave the JBesque Bobby Parker the finger in reponse to his request to, "put up your hands!" We thought, what has happened to this festival? Dan Ackroyd, despite his results, is, IMHO, sincere, having grown up with the rock/blues like so many of us. Ironic also then, that he should be Gabriel. -- ------------------------ Mike Cooper Spring Grove Artisans coop@datawise.net ------------------------ ========================================================================= Date: Fri, 7 Jun 1996 08:40:54 CDT Reply-To: William Shute From: William Shute Subject: "Got My Mojo Working" query From: Bill Shute While listening last night to The Rockin' Ramrods 1960s rock'n'roll cover of "Got My Mojo Working," I noticed that it was credited to Preston Foster as composer. Is that the film actor? What did he have to do with it? I've seen other people listed as composer too. Was the song first performed by Ann Cole, not by Muddy Waters? I'd appreciate knowing the story of the composer credits on this one. Many times a false composer credit takes on a life of its own when someone covers a song with a wrong credit and thus perpetuates it. (Hudson Whittaker(aka Tampa Red) had this happen to him on many occasions, especially with Chuck Berry on "Don't Lie To Me." The Flamin' Groovies were one of the few rock artists to cover the song who knew enough about music to give Tampa proper composer credit on their cover of the song) Also, what's the original title of the song? "I Got My Mojo Working" or "Got my Mojo Working" or "Mojo Working" with (I Got My) in parentheses? Thanks in advance. Bill Shute San Antonio, TX ps, been listening to an old (93) but fine album a lot recently, NOBLE 'Thin Man' WATTS "King of the Boogie Sax" on Wild Dog, which features guest shots by Gatemouth Brown, Lucky Peterson (great keyboard work), and blues-l's Ann Rabson on hot piano on a few cuts. Anything Watts has done is great, but there was a nice lp in the 80s on either Flyright or Krazy Kat called "Blast Off" with his 50s sides, and an out-of-print album done around 89-90 with trumpeter Nat Adderly that'll interest those with more of a jazz leaning. pps, did you ever notice the correlation between amount of inherited (ie, unearned) wealth and level of arrogance? ========================================================================= Date: Fri, 7 Jun 1996 09:47:33 -0400 Reply-To: RhythmShrk@AOL.COM From: Bernie Clarke Subject: Re: Sitting & Thinking - Big Walter Horton w/Hot Cottage In a message dated 96-06-07 05:05:26 EDT, you write: >Most of the really well known blues harp players seem to be from the West >Coast these days (as I mentioned in another post on this subject), and I >can't think of one who sounds like he's ever been influenced by Big Walter. >On the other hand, I can't think of one whose doesn't owe something to >George Smith. Big BS in the above statement! Ask Jerry Portnoy about Big Walter sometime. The disciples of Big Walter are generally the ones that put tone above anything else. I also think that there are a whole lot of hot players from places other than the West Coast. Check out Gary Primich, Steve Guyger, Doug Jay, (tons of others). I agree that there are many amazing harp players on the scene on the West Coast, but to say that none are influenced by Big Walter is silly. BW is in the harp world one of the top three most influential. I would prsonally consider Little Walter, Sonny Boy and Big Walter the three most influential. Now to consider who I would go see first if they came back for a one night show, I would probably see George Smith because he was an incredible vocalist and songwriter and harp player. Thinking about it I would say that they are both legendary, Walter got there for harp chops and George got there for the whole show. Bernie Clarke ========================================================================= Date: Fri, 7 Jun 1996 09:39:51 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Weird Muddy Stuff (Stovall's Cabin) Comments: To: thf4@WaterValley.Net On 7 Jun 96, Tom Freeland had this to say: > The list came completely unglued the last couple of days over a > number of issues, most notably Muddy Waters' (or to be more accurate, > the Stovalls') cabin. > > Some things seem really clear to me: > > Nobody much has personally attacked Stovall. There have been a *LOT* > of attacks on HOB and its percieved way of doing business. But only > by implication (because of the view that the cabin should have stayed > where it was) has Stovall been attacked. I think his > overly-defensive reaction, *and* his snide attacks on people on this > list were out of line. The implication in his post that blues fans > sat idly by is also absurd; his plans as to what do do with his > property were hardly made in public. At no time do I recall there > being a public appeal for assistance in restoring the cabin on site. First, quite a few people have been severely critical of the agreement between the Stovalls and House of Blues. Since Howard Stovall took part in formulating that agreement, it is not unreasonable for him to feel that those criticisms were being levelled at him. Mr Stovall's angry reply, seemed to me, to be directed at ALL the criticism, but cited specific examples, many though not all of which were Karen's. The implication that Blues fans sat idly by would only be absurd if they hadn't. As far as anyone knows, and Mr. Stovall would be the authority on this, ONLY the House Of Blues came forward with a plan to save and restore the cabin. That would mean that EVERYONE else besides HOB and the Stovalls stood idly by. In most cases the first expressed CONCERN over the cabin's fate or condition by "Blues fans" came only AFTER someone else took action. > And I don't see how P.W. Fenton can apologize to him on anyone > else's behalf (though that's what he said he did). I'll explain it to you. I feel bad that my fellow Blues-ler's vehement criticism of the plan to restore and protect the cabin hurt the feelings of someone I feel was innocent of any wrong doing. On behalf of the portion of the list that did not take part in the trashing, I felt obligated to apologize. > The cabin *does* belong to Stovall. I know (see below) that it is > more than a minor headache for a private property owner to be the > owner of a tourist location, much less a shrine. He got to do what > he wanted to do and he did it, and > > the cabin (like most any other old tenant farmer cabin in the Delta, > like John Hurt's house in Avalon, etc. etc.) was decaying and headed > toward dust, and NO plan for the cabin whether it be move to the > museum in Clarksdale or whatever involved restoring it on site, BUT > > And this is a VERY LARGE BUT > > This is a historical site of national importance. Everyone agrees > with this. I think there are moral responsibilities that come with > owning such a site. First let me comment on your "VERY LARGE BUT" (how could I resist?). Whether this is a sight of "national importance" is debatable. No doubt it is of EXTREME importance to you and I, and the other members of this listserv. I would bet, however, that if I went to the Mall and asked 100 people at random, "How important to you is the cabin where Muddy Waters once lived?", anywhere from 80 to 100 of them would answer, "Who is Muddy Waters?" Second, I don't think that the critics of the "solution" understand the problem that the cabin was for the Stovalls. Howard used the phrase "attractive nuisance". I'm sure that, as an attorney, you are quite familiar with that term. I'm surprised that you would address the Stovall's "moral responsibilities" without first addressing their legal liability. For folks that may not understand that phrase as well as you: The Stovalls owned a sight that was, because of it's condition, a dangerous place for people to be. It was a place where people could be injured. Because of it's notoriety it was a place that also attracted curious Blues fans who wanted to examine and touch a piece of history. If someone had been seriously injured exploring that cabin, no "No Trespassing" sign or fence would have saved them. They would have lost the (not so proverbial) farm. Without the money to restore it and make it safe, it seems clear to me, they were facing the probability of having to remove it altogether. An agreement reached between the Stovalls and the ONLY INTEREST TO COME FORWARD WITH A SOLUTION, saved the cabin. I just don't think there is that much room for criticism by the rest of us. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 7 Jun 1996 08:52:14 -0500 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: weeknight blues I would say having earlier shows would make a big difference. When you get up at 6 AM it's real hard to stay out til 2 in the morning (I use to be able to do that). It would be nice to have shows that start at 7 or 8 instead of 10 or 11. Here in Austin a lot of club have started having happy hour shows (local bands, not touring acts). And some are very successful. You can hardly get into the Toni Price show on tuesday at the Continental Club from 6 - 8. Bruce Roberts Austin, TX ========================================================================= Date: Fri, 7 Jun 1996 08:54:20 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: "Got My Mojo Working" query In-Reply-To: Message of Fri, 7 Jun 1996 08:40:54 CDT from On Fri, 7 Jun 1996 08:40:54 CDT William Shute said: > >While listening last night to The Rockin' Ramrods 1960s rock'n'roll >cover of "Got My Mojo Working," I noticed that it was credited to >Preston Foster as composer. Is that the film actor? What did he >have to do with it? I've seen other people listed as composer too. >Was the song first performed by Ann Cole, not by Muddy Waters? Ann Cole was the first to record Mojo and yes, Preston Foster (I've never heard/read anyone dispute that) wrote it. I have no idea who Mr. Foster is. Leonard Watkins ========================================================================= Date: Fri, 7 Jun 1996 09:47:15 EDT Reply-To: "Tom Testagrossa, (Blues Guitarist) 226-6063 LKG2-2/pole Z7" From: "Tom Testagrossa, (Blues Guitarist) 226-6063 LKG2-2/pole Z7" Subject: A succinct response to end various Blues-l Flamefest... For all the recent "blues-l flamefest" postings...and posters taking heated debate into the next level.... Just listen to Albert Collin's "Put the Shoe on the Other Foot", enjoy the music, and try to understand the message...(repeat as needed) Personally, when interactions with others, and it's myriad of complex problems (life) starts getting to me (the blues) to the point that I begin acting in a way that I do not want to be, I either: I go through my record/tape/CD collection looking for/playing the music that best fits my present mood, and go through the collection till I get to the stuff that best fits the mood I'd rather be in! (I've been doing that since I could lift a tonearm...I'm sure I drove my folks crazy at times, but it's amazing the amount of enjoyment I got/still get from listening to all that music!) or I take out my guitar, plug in, and play (been doing that since I was 10) Usually I play the way I'm feeling...until I can get to a place where I'm feeling what I want to feel like...) I play real blues...because real blues is what we all live... After doing so, I can usually get back to feeling a bit more at ease and rational...I remember the positive things in my life...rather than focus on the negative...then I can go out and share, live, and promote a more positive and constructive solution to lifes problems... I'd suggest it to anyone who feels they need to hurl verbal insults (or stones, or bricks, or burn down someones place of worship...) because they'd rather pay attention to someones elses "percieved" faults, (or differance of opinion, or skin color, or whether or not someone born today can ever play real blues!) Tom T *********************************************************************** * * * The "Mighty" Tom Testagrossa - * * Guitarist for THE CHARLEY DEE BLUES BAND * * Check out our latest CD release "Rollin' & Tumblin' Blues" at * * http://www.angelfire.com/free/charlie.html * * E-MAIL: ttesta@kali.enet.dec.com * * Phone: Work (508)486-6063 (Voicemail)* *********************************************************************** ========================================================================= Date: Fri, 7 Jun 1996 10:01:11 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Hi all Ken Larkins wrote >I just got on this list, and I don't know the proper ettiquite. I guess I >should briefly introduce myself...I am a 32 yr old male who is enrolled at >the university of louisville (a terrible school) where I am a jr. striving >for an English degree. > >I have always enjoyed Blues/Rock music...I tend to believe that truly good >rock-n-roll is a spinoff of the blues. I know that Jimmy Page, Eddie Van >Halen, Billy Gibbons, Jimi, Eric, and all the greats were/are decipiles of >early blues artists. (snip) Welcome, Ken. Is a 'decipile' a pile of decibels, btw? If so, I think it may be a really useful word to describe the musicians so described! :-) Chris Smith (chris@skerries.demon.co.uk) It's no good making things idiot-proof. They'll just build a better idiot. ========================================================================= Date: Fri, 7 Jun 1996 10:02:23 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Jimi on "VH1 Archives"/ Seal For anyone who cares, on Sunday evening at 9 P.M., MTV will replay the Seal Unplugged show. Meanwhile, at 9:30 P.M., VH1 will replay the "Archives" show with Jimi Hendrix on "The DIck Cavvett Show" in 1969. Gavin ========================================================================= Date: Fri, 7 Jun 1996 07:11:09 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: June 8 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BROWN, LILLYN [LILLIAN THOMAS] (v) d. 1969-0608, NEW YORK CITY, NY 84 FOSTER, CURTIS (g/BLIND BOYS OF AL) b. 1959-0608, CINCINNATI, OH GARNES, SHERMAN (v/THE TEENAGERS) b. 1940-0608, NEW YORK CITY, NY HARMAN, JAMES (hca) b. 1946-0608, ANNISTON, AL HARPER, TONI (v/CANDY STORE BLUES) b. 1937-0608, LOS ANGELES, CA HARRIS, BEVERLY (of THE FLARES) b. 1937-0608, CA HASKINS, CLARENCE "FUZZY" (of FUNKADELIC) b. 1941-0608, ELKHORN, W. VA HORTON, YOGI (d/LUTHER VANDROSS) d. 1987-0608, NEW YORK CITY, NY 33 HUCKNALL, MICK (lead/SIMPLY RED) b. 1960-0608, MANCHESTER, UK JONES, ARTHUR (p/EARTHA KITT) d. 1963-0608, NORTHWOOD, UK 46 MORRIS, WILLIE (g/ADELPHI REC) b. 1906-0608, BOLTON, MS PIERCE, BILLIE (p/DEDE PIERCE) b. 1907-0608, MARIANNA, FL READING, BERTICE (v/GROOVE REC) d. 1991-0608, LONDON, UK 58 ROOT BOY SLIM [FOSTER MACKENZIE III] (v) d. 1993-0608, ORLANDO, FL 48 RUSHING, JIMMY "MR. 5X5" (v/COUNT BASIE) d. 1972-0608, NEW YORK CITY, NY 68 SCAGGS, BOZ (v) b. 1944-0608, OH SMITH, CHARLES EDWARD (prod/FOLKWAYS REC) b. 1904-0608, THOMASTON, CT SUFFERN, MICHAEL A. (BLUES-L member) b. 1956-0608, CHICAGO, IL WILLIAMS, ERNIE (v/d/HARLEN LEONARD) b. 1904-0608, WINSTON, NC WILLIAMS, FRANK "SWEET" (p/ATLANTIC REC) b. 1906-0608, NEW ORLEANS, LA ------------------------------------------------------------------------------- ========================================================================= Date: Fri, 7 Jun 1996 14:03:12 GMT Reply-To: bbbean@sheltonlink.com From: bbbean@SHELTONLINK.COM Organization: inlink Subject: Re: Corporate blues--IMHO--again Comments: To: bit-listserv-blues-l@uunet.uu.net In <96Jun6.120222cdt.12680@fscmail.fsc.follett.com>, "Stine, Dave" writes: > Thanks to subsidies from Miller beer, small towns in my area have seen > traveling blues and R&B acts. Thanks to PepsiCo, John Lee Hooker has > replaced Jack Palance as the coolest older man on TV commercials. Other > examples abound. FWIW, I think Corporate involvement in teh blues during the late 80s was one of the nest things that ever happened to the music. I wish they'd come back. BBB B.B. Bean bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Fri, 7 Jun 1996 14:09:35 GMT Reply-To: bbbean@sheltonlink.com From: bbbean@SHELTONLINK.COM Organization: inlink Subject: Re: Kenny Brown was Re: Othar Turner/Joe Callicott Comments: To: bit-listserv-blues-l@uunet.uu.net In <4p4i1u$s9s@news1.t1.usa.pipeline.com>, VT writes: >That man is Kenny Brown - when I spoke to him, he said he grew up following >RL Burnside and Jr. Kimbrough around - this was May/18/95 at the Bottom >Line in NYC. Kenny has been a fixture on the North Mississippi/memphis scene for years. Perpetually forming new bands (I've played in a couple of them) for a month or two and then disbanding, he's a little hard to get a handle on, but his real forte is Southern Redneck Blues/Rock (And I mean this with no disrespect). Last time I worked with him (several years ago) he was living in Nesbit. BBB B.B. Bean bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Fri, 7 Jun 1996 10:16:46 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Junior Brown >I heard Junior Brown on the radio the other day. I'm a blues player, but his >approach - which had a nice bluesy flavour - was great. >Any recommendations? >Hugh Hardy All of 12 Shades of Brown Guit With It Semi-Crazy (I bought 'Semi-Crazy' this week. 'Venom Wearin' Denim' contains the line of the year so far: 'If you give that gal a diamond ring, you'll get a diamondback'.) Chris Smith (chris@skerries.demon.co.uk) It's no good making things idiot-proof. They'll just build a better idiot. ========================================================================= Date: Fri, 7 Jun 1996 14:49:31 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: ANNOUNCEMENT : SONY/LEGACY'S ROOTS 'N BLUES SERIES Comments: To: bit-listserv-blues-l@uunet.uu.net On Jun 06, 1996 15:05:53 in article , 'Eric LeBlanc-CISTI ' wrote: >Sometime in August (not July as originally planned), Sony/Legacy will >issue the following in their award winning Roots 'N Blues series. >This may be the last instalment in the series as producer Larry Cohn's >contract has not been picked up. As the producer of this series, his >knowledge of prewar blues has assured us all that every CD in this >series is a jewel. > >* Robert Johnson : The Complete (remastered) >HAND (Have A Nice Day!) > >eRIC > Dear Uncle "HAND" eRIC - I see that Sony/Legacy have FINALLY tried to put right the appalling sounding Robert Johnson Complete set. Can you please tell us - is this set "remastered" from the original acetates or from the original LP "masters"? Are these of comparable sound quality to expensive gold disc? (I was under the impression these came from the LP "masters") -- Vincent vt@usa.pipeline.com ========================================================================= Date: Fri, 7 Jun 1996 10:50:10 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0230 From: "DUTTWEILER.J" Subject: Zydeco: Creole or Cajun? Date: Friday, 7 June 1996 10:49am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Zydeco: Creole or Cajun? I have a question for those more knowledgeable then I on this subject: is Zydeco considered Cajun or Creole music; or neither? It seems to me that it is more derrivative of Accadian language and culture, but I could be wrong. Chubby Carrier, on his latest disc, at least on one song, seems to term it Creole music. Any insight would be most appreciated. JD ========================================================================= Date: Fri, 7 Jun 1996 15:06:49 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: "Got My Mojo Working" query Comments: To: bit-listserv-blues-l@uunet.uu.net On Jun 07, 1996 08:54:20 in article , 'Leonard Watkins ' wrote: >On Fri, 7 Jun 1996 08:40:54 CDT William Shute said: >> >>While listening last night to The Rockin' Ramrods 1960s rock'n'roll >>cover of "Got My Mojo Working," I noticed that it was credited to >>Preston Foster as composer. Is that the film actor? What did he >>have to do with it? I've seen other people listed as composer too. >>Was the song first performed by Ann Cole, not by Muddy Waters? > >Ann Cole was the first to record Mojo and yes, Preston Foster (I've never >heard/read anyone dispute that) wrote it. I have no idea who Mr. Foster >is. >Leonard Watkins According to Hubert Sumlin - "Mojo" was an Ann Cole song, but Muddy Waters and band flew overnight back to Chess studios, Chicago to record "Mojo" BEFORE Ann Cole. -- Vincent vt@usa.pipeline.com ========================================================================= Date: Fri, 7 Jun 1996 10:06:16 -0500 Reply-To: "Stine, Dave" From: "Stine, Dave" Subject: blues tone stringers/and poll results I decided to do a test. Had to take the strings off my Am. Std. Strat last night. They were rubbery, corroded and wouldn't stay in tune. Got a gig tomorrow. Put on some Di Addario XLs. I'm gonna keep notes on how long they stay lively, etc., as well as how they sound--really try to pay attention. This is my main gitar and it really takes the brunt of my show-off stuff. I plan to try switching brands every time I change. I'll let you know what, IMHO, I find out. Here's a brief consensus on "Blues Tone equipment": Strats=7, Les Pauls=2, 335s=3, Fender amps=8 (2 Bassman, 3 Blues DeVilles), and an assortment of acoustics: Kay, Stella, Regal, Blues King, etc. Pretty much everyone was in agreement on stomp boxes--only occasional use--if at all. Thanks respondees. ========================================================================= Date: Fri, 7 Jun 1996 14:59:02 GMT Reply-To: skb8721@tam2000.tamu.edu From: "Shane K. Bernard" Organization: Texas A&M University (Student) Subject: Re: CajunZydeco&SwampPop*IS NOT*NewOrleans music Comments: To: bit-listserv-blues-l@uunet.uu.net Gavin Arneaux <102554.471@COMPUSERVE.COM> wrote: >We like to think that "If it came from Louisiana, it went >through New Orleans on the way out." Well, perhaps instead it took I-10 west . . . and that's why about 4.5 times as many Cajuns reside in metro Houston as in New Orleans. SKB Cajun in Exile ========================================================================= Date: Fri, 7 Jun 1996 11:15:55 -0400 Reply-To: Dave Markovits From: Dave Markovits Subject: Byther Smith Howdy Everybody; I saw Byther Smith and the Nightriders at Blues etc. last night. A lot of folks on the list saw him Sat. morning at Jazz Record mart and really enjoyed it. IMHO I think Byther is on top of his game and one of the very best Chicago Bluesmen there is. Byther sings with a powerful voice like every show he is playing could be his last. Last night's show was great, fine guitar playing and the new Nightriders are great. Floyd McDaniel's son plays bass. (I'm sorry his name slips my mind) The thing that I find great about Byther is he writes his own songs. The new album on Delamrk has 13 tunes, all written by Byther. It is fantastic, I can't recommend it enough. It is entitled Mississippi Kid. He seems to be playing all over the place. SOmeone told me he is playing in MAdison, Wisc. soon. He will be playing at the Riverbank Fest in Iowa City on Jun. 22. This Sunday night he will be at Buddy's Legends for their 7th anniversary party, he is the headliner. This is always an all-star jam, no cover, doors at 6. If you are near Chicago or anywhere check him out!! I told him about all the thumbs up he got from people on the list. He seemed amazed and grateful to be out in Cyberland. Take care:(No affiliation, just a rabid fan) David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Fri, 7 Jun 1996 11:17:23 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Hendrix's national anthem (was Hendrix on VH-1) The story about Jimi on Cavett and the question about the "controversy" it stirred up reminded me of something that happened 'bout 25 years ago and stuck with me all these years. I was living in Sao Paulo, Brasil in the early '70s and was desperate for any American rock albums to trickle their way into the Brasilian music stores. It was about '72 when I finally got my hands on the live Woodstock double album...my dad retrieved a copy of it on a trip home to New York. This was the first stuff I'd heard from that historical festival. We put the discs onto the ol' turntable and to my surprise dad sat and listened to it with me. When Hendrix's Star Spangled Banner came on with all the distorti- tion and effects simulating battle sounds, etc, I got really antsy thinking "dad must think I'm fucking nuts to listen to this loud rock shit." My dad is a patriotic Republican who served along with his big brother in World War II and I was sure there would be a lecture following the end of the album. Much to my shock and pleasure, he stood up, fired up a butt, and said "You know, that's one of the most beautiful things I've ever heard. How one man with nothing more than his hands and his imagination could create such a wonderful range of sounds and emotions, diving planes, bombs exploding, machine guns firing.....just amazing. I like this guy Jimi what's-his-name." Cool, huh? I remember it like it was yesterday. Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 7 Jun 1996 11:32:35 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Boston Blues Cruise schedule for June/July (by multiple request) Okay, heads up! I got multiple requests for this schedule, so I'll post it publicly so ya'all can download it at your leisure. Here goes: Sticky Mike's Blues*Cruise Live Blues Cruises Every Wednesday Night from 7-10 pm, boarding begins at 6:30 from #60 Rowes Wharf, downtown Boston, 21 positive ID required. Admission only $10 for LIVE bands. Info call: (617) 542-8000 Tickets available at Strawberries Records & Tapes AND Bostix June 12.....City Pete Poirier Band June 19.....Mark Nomad June 26.....George Leh & The Rockin' Shoes July 3......Memphis Train July 10.....All The Bad Apples July 17.....Peter Parcek Band July 24.....Bruce Marshall Group July 31.....Susan Tedeschi For those of you kind enough to ask when *I* will be playing this cruise, my boys Gate Street Blues will be playing in September as the cruise season winds down. I think we're scheduled for the first or second Wednesday in September when it's still nice n' warm. :) And thanks to all of you expressed an interest in coming out to see us! You guys are great. :) Disclaimer: I have no interest in the Sticky Mike's blues cruise series other than that I'd love to see you there some time, and I knew it would be of some interest to New Englanders out there, since it's not too well advertised except in the Boston Globe. Enjoy, friends! Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 7 Jun 1996 10:30:29 CDT Reply-To: William Shute From: William Shute Subject: NO SUBJECT From: set blues-l nomail ========================================================================= Date: Fri, 7 Jun 1996 10:41:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: HOB/sponsorship While I am grateful to HOB and other corporate and non-corporate sponsors of various blues-related causes, I do not feel anyone who gives money for an arts-related cause should attempt to influence the production, chose the artists, etc. - nor should the producers feel obligated in any way to do things that would please the contibutors - book their artists, etc. I as a contributor wouldn't expect it. There are any number of single and corporate contributors who are content to let the performers and blues societies do their thing. Think of all of the unpaid and poorly paid excellent work done by individuals such as Dick Shurman, Dick Waterman, Jim and Amy O'Neal, Micheal Frank, Marcia Grodsky, and all the blues societies to name a very few. Yes I got pretty darn mad and vented on my unsuspecting relatives when I saw HOB's Johnny or Jimmy Ripp at the Chicago blues fest. Damn! I thought - Byther should be up there - or Jimmy Dawkins - or Willie Kent, Magic Slim, the great Bonnie Lee, or a plethora of other fine Chicago artists. Talent-wise, there was no comparison. I wuz mad - I spell M-A-D!!...! I am workimg on my own report of the fest - but I thought I'd get most of the negative stuff out first. -Bonnie the K. ========================================================================= Date: Fri, 7 Jun 1996 10:35:27 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Standard tuning slide Did Muddy get most of his standard tuning slide influence from Robert Nighthawk ?????? Since I recently started jamming with a fantastic group of musicians I need to play more electric slide and I'm looking for more inspiration. The first time we jammed at my party, someone tried to hire us for a 4th of July Bar B Que. We had to laugh and explained to the person that we were not a band and most of us just met about 10 minutes ago.... The other guitar player is straight from India and is one of the best ryhthm players I ever played with. A very well rounded player, he can do it all. My wife and I both agree that he reminds us of Ron Prince (or Prince ???) the "other" guitar player with the Kinsey Report. I'm enjoying playing electric these days, but I'm still an acoustic player at heart Leonard Watkins ========================================================================= Date: Fri, 7 Jun 1996 08:48:40 -0800 Reply-To: James Carmin From: James Carmin Subject: When BLUES-L gives you the blues... When the hoo-hah on BLUES-L gives you the blues, do what I do: Shut off the computer and go listen to something like LOUIS MYERS's "Tell My Story Movin'," an exceptionally fine Evidence recording made shortly before Louis passed on. With guitar backup by John Primer and Steve Freund, and the excellent drumming of Mr. Sam Burton, how can this be bad? It's not. It's real good. James "shutting down my computer right now" C. jcarmin@teleport.com ========================================================================= Date: Fri, 7 Jun 1996 10:45:40 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Amazing Ryhthm Aces The ARA is coming to town later this month and someone asked me if i would play at a blues society membership drive on the same day. I want to see the ARA, but I always try to do what I can to help a blues society. So does anyone know if the ARA has their original lineup or what they are doing these days....have you seen them lately....Worth seeing...? THANKS Leonard Watkins ========================================================================= Date: Fri, 7 Jun 1996 10:48:24 CDT Reply-To: William Shute From: William Shute Subject: source for "Sequel" CDs From: Bill Shute I seem to be finding "sequel" label CDs (from England) rather haphazardly... see one at one store, see a few listed in a catalog, etc. Is there a reliable supplier in the US of Sequel CDs who has or can get quickly any item in the catalog? Sequel has done such amazing reissues (recently, I've been playing the heck out of the Joe Jones CD, the Jubilee Jezebels comp, and the philly "northern soul" comp "Ain't Nothin But A House Party," which contains Kenny Gamble/Thom Bell's first single from l961) I'd like to get more. I see from the recent Rufus Thomas album on Sequel that they now have a US branch. Do they do mailorder? Thanks. By the way, I accidentally sent a set no-mail post to blues-l instead of listserv. Sorry, I already corrected my error and sent it to listserv. BTW, LW pointed out about Preston Foster being the composer of "Mojo " in response to my question. Is that the star of l930s and 40s B-movies named Preston Foster or a similarly named musician/songwriter? Bill Shute San Antonio, TX (hungry for some lengua and chicharron) ========================================================================= Date: Fri, 7 Jun 1996 11:01:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Byther Smith Dave Markovits - who I was delighted to meet in Chicago/I'm always glad to see younger folk (with great/my taste) into the blues - wrote the same review of Byther's new album: MISSISSIPPI KID that I intended to write. 13 or more cuts and Byther is really deeply into his music - there's no showbiz here - just a fine artist very much into his idiom. Byther will be in Madison Saturday at the Harmony Bar. He has to compete with Shirly Johnson who is playing free of charge on the lake front terrace of the student union and Michael Hill's Blues Mob down the street at the Crystal Corner Bar. As there was very little advance publicity, I suspect he was a late booking to compete with the other two. I hope he gets a good crowd. I intend to do everything I can to publicize his gig. (I also like Michael Hill but Byther is my main man or one of them). -Bonnie ========================================================================= Date: Fri, 7 Jun 1996 10:08:10 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0206 From: "DUTTWEILER.J" Subject: Preston Shannon Date: Friday, 7 June 1996 10:07am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Preston Shannon Someone just recently mentioned Preston Shannon's two Bullseye CDs in response to a new poster's request for suggestions and/or listing of fav "blues" performers (which tended toward the 70s blues/rock performers). Having just heard one of Shannon's releases for the first time (sorry, can't remember which one and don't have it with me today) I can say this is a recommendation with which I can heartily concur. On one listen through, I will say also that Shannon strikes me much the way Sherman Robertson's first Code Blue release did, though there seems to be less stylistic variety with Shannon (not a knock, just an observation ). I will listen more, but my first impression is this guy is a most own for fans of current electric blues JD ========================================================================= Date: Fri, 7 Jun 1996 11:11:08 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Weird Muddy Stuff (Stovall's Cabin) Comments: To: "P.W. Fenton" In-Reply-To: <199606071348.JAA06454@osceola.gate.net> On Fri, 7 Jun 1996, P.W. Fenton wrote: > I just don't think there is that much room for criticism by the rest of > us. Stovall agreed that the deal is not perfect, and despite his testiness on some of the criticism, he certainly answered what he took to be legitimate criticism. Part of the queezy feeling some of us have had about this stems from Tom's very legitimate point that removing the thing from its context alters both the site where it stood and the thing itself. If it is to be meaningful to have Stovall's Muddy's cabin traveling the world, we are obliged to acknowledge that meaning changes when context changes. That's primarily what the discussion has been about. I respect the Stovalls's decision, shot my mouth off when I didn't understand the context of the decision, and still think it is legitimate to be concerned with removing it from its context. Your point that ONLY HoB had a solution doesn't answer Tom's concern that others weren't given much opportunity, and the responsibility to try to preserve something of significance. Tom also was not making the point that if you ask in a mall how many people care about Muddy's cabin, how many you'll get who know who Muddy was. People are uninformed about most public charities, etc. Tom's point was that everyone involved in THIS deal agreed that it was important to preserve Muddy's Cabin. Then the question is how. Once I got the facts (I'm slow but I get there), I agree with Mr. Stovall, that it's not a perfect deal, there are some legitimate concerns, but tying HoB's use of it to returning and to promoting the Sunflower festival (about which I know precious little, but folks seem to agree it is important) was an intelligent way to deal with HoB. Mr. Stovall is convinced that there was some real care taken in the actual preservation. Very well, then. The criticisms may seem like Monday morning quarterbacking, but they are legitimate. Steve Price ========================================================================= Date: Fri, 7 Jun 1996 11:08:21 CDT Reply-To: William Shute From: William Shute Subject: Lawrence Cohn/Legacy From: Bill Shute I am saddened to hear that Mr. Lawrence Cohn's contract was not renewed by SONY for the Legacy series. While it will be Sony's loss, it will be our loss too. Of course, a man such as LC will continue to be active in the music world, or so I HOPE, but at Sony he had access to the catalogs of the many labels made part of the Columbia family over the decades and could do AND DID DO some amazing things. Mr. Cohn brought quality blues reissues, at reasonable prices, into every shopping mall record store and every Wal-Mart in America. Those of us on blues-l would have found these releases whereveer they were available, but I don't think we can overestimate the importance of the many many seeds Mr. Cohn's work has planted. I know (and know of) a number of people who own only a handful of CDs, most of which are best-selling stuff from the charts, yet they own one or two of his fine Legacy blues reissues. Those releases, like Trojan Horses in the homes of their owners, may well eventually and subtly capture tens of thousands of people and turn them into future blues fans who buy new recordings by new artists, who go to blues clubs to see blues artists, and who someday may subscribe to blues-l. Many libraries also own Mr. Cohn's productions, and their value in terms of documenting great work to the general public is very important. Were I banished to the proverbial desert island and only allowed a few CD box sets, his 4-CD set BLUES AND ROOTS--THE RETROSPECTIVE would surely be one of them. Bill Shute San Antonio, TX ========================================================================= Date: Fri, 7 Jun 1996 12:10:24 EDT Reply-To: L McCaffrey From: L McCaffrey Subject: Re: "Facts" and "Opinions" Comments: To: "P.W. Fenton" In-Reply-To: <199606071242.IAA57384@osceola.gate.net> On Fri, 7 Jun 1996, P.W. Fenton wrote: > On 7 Jun 96, Gavin Arneaux had this to say: > > > That doesn't mean I'm saying you are wrong. In fact, I do not believe > > that I *CAN* say that you're wrong. Why? Because it's your opinion. Opinions > > can not be right or wrong. Only assertions of fact can be right or wrong. > > "Stevie Ray Vuaghan put out an album called 'Texas Flood.'" Assertion of fact: > > it's either right or wrong. (In this case, it's right.) "Stevie Ray Vaughan > > played the Blues." Opinion: people either agree or disagree. I happen to > > agree. "Ice Cube plays the Blues." Opinion: people either agree or disagree. > > I happen to disagree. > > Gavin, > > I scratch my head every time I see this (rather popular) assertion, > that opinions cannot be right or wrong simply because they are > opinions. Opinions CAN be write or wrong. Perhaps, only the fact > that it is YOUR OPINION cannot be challenged (since you are the > single best authority on your own thoughts), but the opinion itself > certainly can. > > If an opinion can be proven wrong (and it can) how then was it > correct? Opinions can never be proven wrong!!! If I was to say that T-Bone was the best blues guitarist in the history of blues, how can that be proven wrong. There is no factual evidence that I am wrong. What makes "the best blues guitarist"? Everybody has a different OPINION and everybody is correct. The very nature of an opinion is that it cannot be proven. > If you say, "I think the Blues is just a branch of Rock and > Roll" . That would be an opinion That would not be an opinion, just a misinformed person. LM> ------------------------------------------------------------------------------ L McCaffrey ========================================================================= Date: Fri, 7 Jun 1996 18:25:55 +0200 Reply-To: JORGE MUNOZ RODRIGUEZ From: JORGE MUNOZ RODRIGUEZ Subject: TREN 3 Playlist 8/9 June This weekend through the waves from RADIO 3, RNE: ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++= ++ Friday 7 at Midnight, June 1996. ____________________________________________________________________________= __ Title (Composer) ARTIST = Label ____________________________________________________________________________= __ * Mississippi Freight Train #1 JAMES COTTON = Verve Ozark Mountain Runnin=92 (Haden) (*) CHARLIE HADEN = Verve Vineyard Blues (Walker) (*) JOE LOUIS WALKER = Verve Two Trains Runnin=92 (Morganfield) (*) JOE LOUIS WALKER = Verve Sad Letter (Morganfield) (*) JAMES COTTON = Verve Bo Diddley Is Crazy (McDaniel) BO DIDDLEY Code= Blue Hey Baby (McDaniel) BO DIDDLEY Code= Blue Hey, Hey, Hey (Grimaldi) STUDEBAKER JOHN Blind= Pig John Lee Hooker Boogie (delaParra) CANNED HEAT Mausoleum= Class Boogie Down On The Weekend (B.Jones/H.Williams) LEE SHOT WILLIAMS Black= Magic * Mississippi Freight Train #13 JAMES COTTON = Verve 450 Pound Woman (F.Dixon) FLOYD DIXON = Alligator A Long Time Ago (F.Dixon) FLOYD DIXON = Alligator A Long Time Ago (O.Moore) FLOYD DIXON = Aladdin When Did You Leave Heaven (Bullock/Whiting)CHARLES BROWN = Verve Trouble Blues (C.Brown) SIN ELEFANTE = demo Hungry Man (M.Sanchez) BIG TOWN PLAYBOYS Blue= Horizon Mr.Blues Is Coming To Town (Nix/Glover) SUGAR RAY=92s FLYING FORTRESS = Ace Chalk And Roll (deLay) THE PAUL DeLAY BAND = Evidence The Other One (deLay/Hammond) THE PAUL DeLAY BAND = Evidence Bluepine (Whiting/Perkins) SUGAR BLUE = Alligator Worried Life Blues (Merriweather) (*) JAMES COTTON = Verve * To Hell With It #14 CURTIS SALGADO = Pr10rity President Clinton (C.E.Smith) SONNY RHODES King= Snake Ouchee Baby (Hughes) JOE GUITAR HUGHES Me &= My I Got love (Kirkpatrick) BOB KIRKPATRICK = Jsp * To Hell With It #1 CURTIS SALGADO = Pr10rity (*) From the last James Cotton album "Deep In The Blues" ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++= ++ Saturday 8 at Midnight, June 1996. ____________________________________________________________________________= __ * Mississippi Freight Train #1 JAMES COTTON = Verve=09 Still Alive And Well (Derringer) THE FOUR HORSEMEN Magnetic= Air Round Midnight (Mitchell/Brown PRESTON SHANNON = Bullseye Fanning The Flames (Cleary) TAJ MAHAL = Private Coatimundi (McDaniel) BO DIDDLEY Code= Blue Kick It Around With You (Parker) BOBBY PARKER Black= Top Your Love Is Everything (Weathersby/Wash) CARL WEATHERSBY = Evidence It=92s Good To Me (Johnson Jr.) LUTHER =ABGUITAR Jr=BB JOHNSON = Telarc * To Hell With It #14 CURTIS SALGADO = Pr10rity He=92s Got A Key (McDaniel) BO DIDDLEY Code= Blue I=92m Tore Up (Turner/Bass/Thompson) LEE SHOT WILLIAMS Black= Magic If It Wasn=92t For Bad Luck (Charles/Lewis) LEE SHOT WILLIAMS Black= Magic The Car Of Your Dreams (J.Kelly) TAJ MAHAL = Private Kids Don=92t Do It (McDaniel/S.Free) BO DIDDLEY Code= Blue * Mississippi Freight Train #13 JAMES COTTON = Verve Blues In My Sleep (Cotton) (*) JAMES COTTON = Verve All My Life (Frost) FRANK FROST & SAM CARR = Evidence That Mule (McDaniel) BO DIDDLEY Code= Blue Me And My Guitar (Russell/Blackwell) TOMMY CASTRO Blind= Pig How Long Must I Cry (Castro) TOMMY CASTRO Blind= Pig My Baby Loves To Do The Bump (Kearney) GUITAR SHORTY Black= Top Drowning On Dry Land (Gregory/Jones) LEE SHOT WILLIAMS Black= Magic Sunset Blues (Singleton) T-BONE SINGLETON = Jsp * To Hell With It #1 CURTIS SALGADO = Pr10rity **************************************************************************** * TREN 3 -RADIO TRES -RADIO NACIONAL DE ESPANA -Sat. & Sun. at 00:00 hours * * (Seventeen years, next July, on the Air!) * **************************************************************************** Host & Programmer: Jorge Munoz elmakitren@canaldinamic.es ////\\\\ // ~ ~ \\ (-{.}{.}-) TREN 3, on RADIO 3 - RNE. Weekends at Midnight. | /\ | _/\ -- / "When the train it left the station, \/\__/ there was two lights on behind..." *Er Makis* ========================================================================= Date: Fri, 7 Jun 1996 11:29:37 -0600 Reply-To: James Bardsley From: James Bardsley Subject: Re: CajunZydeco&SwampPop*IS NOT*NewOrleans music Comments: To: skb8721@tam2000.tamu.edu In-Reply-To: <4p9g97$d5m@news.tamu.edu> True, Gavin, ( because the shrimp fishing, the oil bidness and employment opportunities lured them there), but then, New Orleans isn't known for having an overabundance of cajuns. Creoles, maybe. If I want cajuns I look to Opelousas, Breau Bridge, Lafayette and Lake Charles, even Baton Rouge. -Jim in Shreveport, few cajuns here, either At 2:59 PM +0000 06/07/96, Shane K. Bernard wrote: >Gavin Arneaux <102554.471@COMPUSERVE.COM> wrote: > >>We like to think that "If it came from Louisiana, it went >>through New Orleans on the way out." > >Well, perhaps instead it took I-10 west . . . and that's why about 4.5 >times as many Cajuns reside in metro Houston as in New Orleans. > >SKB >Cajun in Exile James R. Bardsley, Ph.D. Assistant Dean, Plans and Programs LSU Medical Center-Shreveport (jbards@lsumc.edu) ========================================================================= Date: Fri, 7 Jun 1996 09:35:39 -0700 Reply-To: Troy Meier From: Troy Meier Subject: Re: Zydeco: Creole or Cajun? Comments: To: "JONATXXX@GOMAIL.DOAS.STATE.GA.US" ---------- Duttweiler.J asked: Is Zydeco considered Cajun or Creole music; or neither? It seems to me that it > is more derrivative of Accadian language and culture, but I could be wrong. > > Chubby Carrier, on his latest disc, at least on one song, seems to term it > Creole music. > > Any insight would be most appreciated. > > JD I have also heard many Zydeco aficionados , including many players themselves refer to the music they play as "Creole" (i.e., French-speaking blacks from the shores of the Gulf coast of Louisiana and East Texas) I have heard claims made from both cajun and creole musicians that one's type of music derived the other's - and vice versa. Troy Meier . . . ========================================================================= Date: Fri, 7 Jun 1996 16:42:44 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: When BLUES-L gives you the blues... Comments: To: bit-listserv-blues-l@uunet.uu.net On Jun 07, 1996 08:48:40 in article , 'James Carmin ' wrote: >When the hoo-hah on BLUES-L gives you the blues, do what I do: > >Shut off the computer and go listen to something like LOUIS MYERS's "Tell >My Story Movin'," an exceptionally fine Evidence recording made shortly >before Louis passed on. > >With guitar backup by John Primer and Steve Freund, and the excellent >drumming of Mr. Sam Burton, how can this be bad? It's not. It's real >good. > >James "shutting down my computer right now" C. >jcarmin@teleport.com James, How's this for nitpicking - that Louis Myers album is on EARWIG - I'm sure most people won't care, but I'm sure it makes a difference to a fine blues record company like Earwig. Anyway here are the refences to the two domestically available Louis Myers albums: !TES5026 +MYERS*LOUIS I'M A SOUTHERN MAN *** $12.64 &TESTAMENT 7/95 EAY4919 +MYERS*LOUIS TELL MY STORY MOVIN' $12.15 EARWIG 4/92 -- Vincent vt@pipeline.com ========================================================================= Date: Fri, 7 Jun 1996 12:50:12 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0297 From: "DUTTWEILER.J" Subject: Re: "Facts" and "Opinions" Date: Friday, 7 June 1996 12:49pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: "Facts" and "Opinions" In-Reply-To: The letter of Friday, 7 June 1996 12:28pm ET Aaaahhhhh Another of the recurring threads that never die JD ========================================================================= Date: Fri, 7 Jun 1996 12:43:38 -0400 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Billboard's Top 15 Billboard's Top 15 Blues Albums for the week ending June 8, 1996 1. Ledbetter Heights, Kenny Wayne Shepherd 2. Greatest Hits, Stevie Ray Vaughan & Double Trouble 3. Phantom Blues, Taj Mahal 4. Alligator Records 25th Anniversary Collection, Various Artists 5. Live: The Real Deal, Buddy Guy 6. From The Cradle, Eric Clapton 7. Long Way Home, Clarence "Gatemouth" Brown 8. A Man Amongst Men, Bo Diddley 9. Blues, Jimi Hendrix 10. Keb' Mo', Keb' Mo' 11. Blues For Greeny, Gary Moore 12. Heaven's Prisoners: A Blues Compilation, Soundtrack 13. Ya Think I'd Know Better, Coco Montoya 14. Some Rainy Morning, Robert Cray 15. Hot Biscuits: House Of Blues Sampler, Various Artists *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Fri, 7 Jun 1996 09:54:15 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: The Best? Who says? ME! - goofy thread FAQ Gavin said: > I have seen many, MANY posts on here saying things along the lines of >"Oh, gosh, how can you measure the best? By whose standards, huh? Geez!" > Look, folks, when someone says, "I think this guitarist is the best," >the >standards are CLEARLY AND TOTALLY SUBJECTIVE. The person saying "best" is >setting his or her own standards. > And you know what: that's just fine. > "The Best," in any field, is not concrete. Therefore, the person >making >the statement is contributing his or her OPINION. And opinion should be stated as opinion, i.e. "I like yadda ya best", as opposed to the "yadda ya is the best ever", which is a meaningless assertion by itself. > Opinions can't be wrong; they can only be agreed or disagreed with. And THIS is one of the great fallacies of our age. >FACTS are right and wrong. For example, if I say "Stevie Ray Vaughan recorded >an album named 'Texas Flood," I'm stating fact. It is either right or wrong. >But if I say "Stevie Ray Vaughan's 'Texas Flood' is the best album ever," >that's >my opinion. It can't be right or wrong. But YOU can agree or disagree with >it. Actually, opinions can even be even more wrong than incorrect facts, since opinions may represent a whole constellation of perceptions that may be colored by hate, stupidity, prejudice, or simple immaturity, while an incorrect fact may merely represent an honest mistake. A totally innocent, well-meaning person can get their facts wrong; those that have opinions informed by ignorance or other negatives, get EVERYTHING wrong, on purpose, especially their attitudes and desire to assert who "the best ever" is. And no one cares anyway. We want to know WHAT you like, WHY you like it, and HOW it matters to the blues community. People who post "the best ever" are almost always showing their ignorance. > So, let's be more thoughtful about attacking people who state their >opinions about "the best." If YOUR opinion is that "you can't say what's >best," >then say that, and be done with it. Don't add on insulting stuff like "and if >you think you can say what's best, then you're a doodyhead!" What we are saying is that your "best ever" posts BORE THE LIVING CRAP out of us, because they are so poorly informed. Remember, there are some serious blues people on this list. Make sure you can contribute something besides mere opinion, and people will enjoy listening. > As I said in a post earlier today, I *LIKE* hearing someone else's >well- >thought- out opinion on what they think is the best. I have ben turned on to a >lot of artists because someone piqued my interest by saying "This person is the >best [fill in the blank.]" Among them are: Ok, if it is well thought out, why not drop "the best"?? Tell us what you like. Why do you insist on using terminology that a lot of people are uncomfortable with? Did you think that posting this would make everyone *like* "yadda ya is the best ever" posts?? 9 times out of 10, "the best ever" posts are uninformed flamebait posted by chatroom people who are getting all the jollies they can before their "10-dat free time" online offer runs out. >Each one of the artists was introduced to me by someone who started their >recommendation with "This is the best . . . ." I can't imagine how poor my >life >would be had I turned off when I heard that line. And if there is serious content behind the comment we will isten too. But your posts will be lots better if you share your love for something rather than pontificate. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Fri, 7 Jun 1996 12:59:15 -0400 Reply-To: BluesBeatM@AOL.COM From: "(R. Schneider)" Subject: IF YOU'RE GONNA BE IN AUSTIN, TX See if you can catch The Willie May Band coming to Antone's in the next couple weeks. This one's a thriller, featuring a singer/ guitarist/ songwriter extraordinaire! S. S. ========================================================================= Date: Fri, 7 Jun 1996 13:00:23 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Zydeco: Creole or Cajun? >Date: Friday, 7 June 1996 10:49am ET >To: Internet >From: DUTTWEILER.J@GOMAIL >Subject: Zydeco: Creole or Cajun? > > > >I have a question for those more knowledgeable then I on this subject: is >Zydeco considered Cajun or Creole music; or neither? It seems to me that i= t >is more derrivative of Accadian language and culture, but I could be wrong. > >Chubby Carrier, on his latest disc, at least on one song, seems to term it >Creole music. > >Any insight would be most appreciated. > >JD Paul Oliver wrote an interesting article many years ago called 'Creoles, Cajuns and Confusion' ('Blues Unlimited' 4, 1963, reprinted in the booklet 'Back Woods Blues'). It's still worth reading if you can find it. He says in part (I summarize): 'Creole' is a French version of the Spanish 'criollo', which was used to describe the children of Spaniards born in the Spanish colonies. The French colonisers used it to describe anything from or made in the French colonies in the West Indies and Louisiana. Later the word was taken over by African Americans (mostly in New Orleans) and used to designate light-skinned blacks - 'Creoles of Color' was the term at first, later shortened to 'Creoles' as the original colonialist meaning became lost. (There is an element of pride in the French connection - see Jelly Roll Morton insisting that he was really Ferdinand La Menthe.) As applied to Louisiana music - and here I defer to those more expert than I am; please correct me! - I understand Cajun music to the music of the white French-speaking community (Acadians); Creole music to be Cajun music taken up and played by black French-speaking musicians, with varying amounts of influence from the older African-American traditions; and Zydeco to be the postwar hybrid music created by French-speaking black musicians in Southwest Louisiana and East Texas, basically by blending Creole music and rhythm 'n' blues. On the other hand, there was also a very African tradition of jur=E9s and ring shouts - which Lynn August has recently been reviving on his CDs, and which were first recorded by Alan Lomax in the thirties (there was an amazing double LP on Swallow called 'Louisiana Cajun and Creole Music 1934: The Lomax Recordings'). That the jur=E9s are sung in a mix of French and English, but sound very akin to African music, is just an indicator of how confusing an area this is! Lots of Cajun music has big blues influences on it, too. It's all a big musical gumbo. :-) Hope this helps. Chris Smith (chris@skerries.demon.co.uk) It's no good making things idiot-proof. They'll just build a better idiot. ========================================================================= Date: Fri, 7 Jun 1996 10:06:03 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Black Church Arsons David said: edit edit >Again, finally, just to make sure I am understood" I HAVE NOT, AND AM NOT, >CRITICIZING what you consider to be "your struggle". >Please give me the same consideration. Fair enough. Do me a favor though. When someone take up a little bandwidth (a lot less than these stupid "yadda ya is the best ever" posts btw) to get something good done, just delete the dang thing if you think it is innappropriate to the list. Many of the rest of us think it is VERY appropriate! Don't we get a chance to share what we care about? Isn't this better than another damn SRV fight? I have to wonder why this offends anyone, I really do. I too am finished with arguing this issue. Some of us are going to try to help rebuild some churches if we can find a way to do it. If anyone resents this, just delete the posts please. thank you DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Fri, 7 Jun 1996 13:07:13 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0313 From: "DUTTWEILER.J" Subject: Evil Corporate Sponsors Date: Friday, 7 June 1996 1:07pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Evil Corporate Sponsors I was viewing some of the .jpgs that Curtis Hewston has for use with the Slideshow Screensaver and zoomed in on the one of the plaque at Tutwiler commenorating W. C. Handy's first exposure to the blues. Down in the left hand corner it states the plaque was presented by the "National Music Council, the Mississippi Music Educators Association AND EXXON" (Capitals and exclaimation points are mine). Ah, those evil corporate sponsores runing the blues JD (This bit of satire was sponsored by... ;-) ========================================================================= Date: Fri, 7 Jun 1996 13:17:48 -0500 Reply-To: MARCIAG@VMS.CIS.PITT.EDU From: Marcia Grodsky Subject: Blues-L and the Future My third anniversary on Blues-L is coming up July 8, but today I feel like I'm not going to make it to that date. Up until this point I have studiously avoided participating in any of the flame wars that have cropped up on this list, and even as I write I'm a little dis- gusted with myself for even participating to this extent. But I have to say that I am both disgusted and shamed by the treatment received by Karen, Shannon, and David this past week. Not one of them said or did anything to warrant the viciousness of the attacks on them. I participate in this list for relaxation, enjoyment and in the hope that I can contribute something back to the people and the medium that have given me so much pleasure. I don't participate in it in order to give myself an ulcer, and right now my stomach is in knots from the sheer nastiness that I've seen here in recent weeks. I don't intend to discuss this any more, but if this continues I will be leaving this list and I'm sure that I won't be the only one. ---Marcia Grodsky ========================================================================= Date: Fri, 7 Jun 1996 10:27:43 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: "Facts" and "Opinions" Previously: >> If an opinion can be proven wrong (and it can) how then was it >> correct? L McCaffrey said: > Opinions can never be proven wrong!!! If I was to say that T-Bone was >the best blues guitarist in the history of blues, how can that be proven >wrong. There is no factual evidence that I am wrong. Whew! Ok, think hard.... If it can't be proven wrong, NEITHER can it be proven *right*, therefore it is unknowable, and is nothing but a meaningless assertion. >What makes "the >best blues guitarist"? Everybody has a different OPINION and everybody >is correct. The word "best", unqualifed by the words "to me" require the exclusion of all but one blues guitarist, so in reality, only ONE of the "best ever" posters is right, and EVERYONE ELSE is wrong. Oh, and which poster is the right one is *unknowable* (see above) So in the end "the best" is still a meaningless assertion. Why not say "*I* like yadda ya best"? Then tell us why? hmmm? >The very nature of an opinion is that it cannot be proven. -In your opinion....- but of course you can't prove that, can you? DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Fri, 7 Jun 1996 13:29:29 -0400 Reply-To: bob vanarsdall From: bob vanarsdall Subject: Re: Zydeco: Creole or Cajun? JD asked: >I have a question for those more knowledgeable then I on this subject: is >Zydeco considered Cajun or Creole music; or neither? It seems to me that it >is more derrivative of Accadian language and culture, but I could be wrong. > Zydeco is different from Creole and Cajun music, though it is more similar to Cajun than anything. It is a sort of parallel development to Cajun which incorporates more blues and Caribbean rhythms. Significant differences in instrumentation: the zydeco players all use the English accordion (the one with the piano-like keyboard on the right-side), Cajuns use the French button accordion, which plays different notes on the push and pull strokes. I really don't know what Creole music is anymore outside of an old jazz-oriented definition. In New Orleans at the turn of the century there were essentially two "schools" of musicians: those who came up on the streets and those who got classical school training. The "street-school" musicians were looked down on by the more classically-trained musicians, one discriminator being their ability to read music. Buddy Bolden and Jelly Roll Morton are good examples of the street musician (though Morton could read music); Sidney Bechet and Louis Gottchaulk were called "Creole" musicians. If you want to extend this further, I'd go out on a limb and continue both schools to contrast the Neville Brothers and the Marsalis family This, however, baits the question of what "Creole" is, which can cause lots of rancor. I've never heard a "definitive" version of what "Creole" actually means, because its meaning seems to have shifted in the mid-nineteenth century. Creole was originally applied to white decendants of French people (from France, not from Canada) born in the New World. Later, after various sorts of miscegenation occurred, "Creole" came to be attached to those folks with a direct lineage back to France, not including detours in Canada, but could be mixed race. In New Orleans you can still get in a fistfight in certain quarters, however, for including mixed-race folks among the Creoles. Muddying the water even further, people of Cajun origin have never been included among Creoles. Even more confusing is that Creole has a different definition down in the Caribbean and Brazil. Bob ========================================================================= Date: Fri, 7 Jun 1996 14:34:29 -0300 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: Standard tuning slide In-Reply-To: from "Leonard Watkins" at Jun 7, 96 10:35:27 am Leonard wrote: > Did Muddy get most of his standard tuning slide influence from > Robert Nighthawk ?????? Yup - Nighthawk was a childhood friend and huge influence on Muddy, although I suspect the influencing worked both ways. I read recently (in the liner notes of the excellent Testament slide guitar CD, I believe) that Houston Stackhouse was the true pioneer of standard tuning slide, and that he taught it to Nighthawk. So there's a definite Tommy Johnson -> Houston Stackhouse -> Robert Nighthawk -> Muddy Waters connection, but I think the standard tuning slide stuff originated with Stack. I don't think Tommy Johnson ever recorded a slide tune, did he? I hate to admit that I don't have his complete output. I did a three-hour presentation to a continuing-education guitar class on Wednesday night - I talked about the history & development of blues guitar, and brought in a bunch of my cds and videos. I did a blurb on the various tunings used by slide guitarists, and for an example of standard tuning slide I played Nighthawk's "Crying Won't Help You." Everyone loved it. Should have seen these people gettin' down to Booker White, though. Everyone one of 'em smiled and tapped their feet along with "Special Streamline", but when I showed 'em a video clip of Mr. White playing "Aberdeen Blues" and slapping both hands all over the strings of his National, they just ate it up. -Rob ========================================================================= Date: Fri, 7 Jun 1996 12:38:51 +0000 Reply-To: thf4@WaterValley.Net Comments: Authenticated sender is From: Tom Freeland Subject: Re: Evil Corporate Sponsors Comments: To: JONATXXX@GOMAIL.DOAS.STATE.GA.US > I was viewing some of the .jpgs that Curtis Hewston has for use with the > Slideshow Screensaver and zoomed in on the one of the plaque at Tutwiler > commenorating W. C. Handy's first exposure to the blues. Down in the left > hand corner it states the plaque was presented by the "National Music Council, > the Mississippi Music Educators Association AND EXXON" (Capitals and > exclaimation points are mine). > > Ah, those evil corporate sponsores runing the blues > > JD > > (This bit of satire was sponsored by... ;-) This is a perfect example of the positive use of sponsorship. Exxon helped pay for the sign. They got credit. They should have. That was a good thing. Sunflower Blues, Helena, whatever festival you name would not have happened (and not have been free) without sponsors. I approve of sponsorship, and believe that the sponsors should get credit for it-- the advertising gives them a reason to sponsor. I will bet anyone on the list that Exxon DID NOT interfere with the content. I will also bet anyone on the list that HOB's sponsorship in New Orleans and Chicago was not so benign. A very credible list member-- Bonnie Kalmbach-- seemed to think that this was true of their sponsorship in Chicago, and I've heard similar rumblings from New Orleans, from similarly credible sources.. Tom Freeland ========================================================================= Date: Fri, 7 Jun 1996 13:43:11 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re[2]: Black Church Arsons Comments: To: Don Cicchetti Okay, one more time, from the top... I have not argued that the church arsons are NOT a horrible, despicable crime that should be severely punished. I've had several private exchanges with Don C. and several others of you on this issue, and it appears that Don is the ONLY one with whom I can't reach a reasonable accord and who now feels the need to rank on me in public. I oppose and ACTIVELY WORK AGAINST all racially motivated crimes, be they offhand comments (someone saying they didn't get a job because the company "had to hire a black person to fill a quota"), discrimination (a black family being turned down for an apartment in the building where I live), or events on the scale of the church burnings. My belief is it shouldn't take something on the scale of the church arsons to make everyone of us face down racism in our daily lives. That's *my* motivation. I was not "wrong," Don, to bring up discriminatory "slights" in the context of churches being burned. If you can't take action where you live, what's the point of taking action at a distance? Never once did I deny that action should be taken. As for whether or not I listed "those things in my area" (meaning racial crimes), I certainly did in a post individually to you. And in part in my original post. And I suspect they're very similar occurances in my area, David's area, Shaun's area, your area.... I did not criticize anyone for taking action. What I did criticize is the linking of our need to do something about the church arsons (and *all* racial crimes on any scale) with some sort of "debt" we "owe" the people affected by these terrors for "giving" us blues music. To me that's an insulting and ludicrous connection. As much as I love blues music and work to support the music and the musicians, any humanistic "debts" I "owe" run much deeper than appreciation of a musical art form. We fight our fights for our own reasons; don't attempt to impose guilt or your reason on me. You don't know my background, you don't know my story, and you certainly don't know my actions (past and present). I take a major exception at the description of me sitting at my shiny computer and criticizing people for trying to rebuild some churches. I suspect David does, too. Again, I have not once criticized the action. But I sure as hell have criticized the motivation you tried to impose on me and other blues fans. To quote Shaun in a private exchange (I hope you don't mind Shaun, but you said it so perfectly)..."The past should never be forgotten. But it shouldn't be used as an excuse for action in the present." Say that the church burnings are despicable racial crimes. That they are. Ask for, or give us information on how we can help and make that information public. Give us updates on how the investigation is going, what's being accomplished. But do not tell me this is something I need to do because of some sort of "debt" as a blues fan. That's where you offend me, and that's where you lose me. Shannon ========================================================================= Date: Fri, 7 Jun 1996 10:40:14 -0700 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Re: Sitting & Thinking - Big Walter Horton w/Hot Cottage Jon, I've owned this album for years and almost never listen to it. This is not a good Big Walter album. I thought the backup band was poor. Big Walter recorded some great stuff. Unfortunately, this LP seemed like something that was released to capitalize on his stature. Big Walter and Hot Cottage may have made some fine music back in 1972, but it didn't appear on this album. Personally, I think this is one most people can pass on unless they need to have everything Big Walter recorded. Joe ========================================================================= Date: Fri, 7 Jun 1996 13:46:18 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Weird Muddy Stuff (Stovall's Cabin) Comments: To: Steve Price On 7 Jun 96, Steve Price had this to say: > Your point that ONLY HoB had a solution doesn't answer Tom's > concern that others weren't given much opportunity, and the > responsibility to try to preserve something of significance. Everyone on the planet had the opportunity to approach the Stovalls with a plan to deal with the cabin, just like the House of Blues did. The fact that it never occurred to them until *AFTER* HOB offered does not mean that they didn't have an opportunity, but speaks to how concerned they in fact were. > Tom also > was not making the point that if you ask in a mall how many people care > about Muddy's cabin, how many you'll get who know who Muddy was. People > are uninformed about most public charities, etc. Tom's point was that > everyone involved in THIS deal agreed that it was important to preserve > Muddy's Cabin. Tom said that the cabin was a historical site of NATIONAL importance. What I said, with my imaginary Mall survey, is that it may not be so. What is so very important to us is not so important to the rest of the nation. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 7 Jun 1996 10:55:25 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Re[2]: Black Church Arsons Ok, I wasn't going to do this anymore, but this needs a response... sorry Shannon said: edit edit > Say that the church burnings are despicable racial crimes. That > they are. Ask for, or give us information on how we can help and > make that information public. Give us updates on how the > investigation is going, what's being accomplished. Shannon, that is WHAT I WAS DOING when you jumped in with your criticism of putting this on the list, and your less than helpful, or appropriate suggestions to "do something in my own town". If you don't want to help, fine. Why try to hinder? And puhhleezze don't say you weren't doing that. > But do not tell > me this is something I need to do because of some sort of "debt" as > a blues fan. That's where you offend me, and that's where you lose > me. Well sister, your offense just breaks my heart.... But try to remember how much blues you would have without these African-American cultural traditions and you might be able to rethink what you owe, and what should be given back. Your offense at a simple project to help rebuild some churches is interesting.... You could have ignored these posts, but you chose to criticize... hmmmm DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Fri, 7 Jun 1996 12:53:30 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: Evil Corporate Sponsors In-Reply-To: Message of Fri, 7 Jun 1996 12:38:51 +0000 from On Fri, 7 Jun 1996 12:38:51 +0000 Tom Freeland said: > >This is a perfect example of the positive use of sponsorship. Exxon >helped pay for the sign. They got credit. They should have. That >was a good thing. Sunflower Blues, Helena, whatever festival you >name would not have happened (and not have been free) without >sponsors. I approve of sponsorship, and believe that the sponsors I don't recall any advertising of sponsors at the Sunflower last year. I didn't think they had "commercial sponsors"...I would like to know who sponsors the Sunflower so I can thank them. Just cause I don't remember doesn't mean they weren't there..... Leonard Watkins ========================================================================= Date: Fri, 7 Jun 1996 13:58:13 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0339 From: "DUTTWEILER.J" Subject: Re: Evil Corporate Sponsors Date: Friday, 7 June 1996 1:56pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: Evil Corporate Sponsors Tom Freeland wrote: > I will bet anyone on the list that Exxon DID NOT > interfere with the content. I will also bet anyone on the list that > HOB's sponsorship in New Orleans and Chicago was not so benign. A > very credible list member-- Bonnie Kalmbach-- seemed to think that > this was true of their sponsorship in Chicago, and I've heard > similar rumblings from New Orleans, from similarly credible sources.. > > Tom Freeland Without intending any offense to the veracity of Ms. K, she only offered her impression without substantiation. I still have yet to see ANY evidence whatsoever that HoB actually influence the artistic lineup at the Chicago Bluesfest, or any other label which was represented by artists there. Simply because HoB's was high profile DOES NOT mean they exerted any undue influence. I would think as a lawyer you would be more than a little interested to see such impressions/charges documented before being tossed about. JD ========================================================================= Date: Fri, 7 Jun 1996 11:07:00 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: A Challenge Comments: To: ISTS024@UABDPO.DPO.UAB.EDU >I feel since I've been on Blues-l since the absolute beginning I can say >the following: This list is going downhill, FAST. It used to be a great list >now it's hard to remain a subscriber, becuase all of the bickering. This is >not a political list, has nothing to do with the blues, whatsoever. The church >burnings are relavent (IMHO) however, how in the world can we help the church >burnings, when we can't have our little internet list without bickering and >name calling. I did something really stupid a few weeks back and unsubscribed >until I did an attitude adjustment. If you will notice I no longer use "LW" >what I did there was no excuse for and the person who was on the other end >did not deserve what I dealt them. I have apolgized many times, without any >return acceptance of the apology. So this list that used to be a tremendous >list has become an ego trip or something for some folks. Over the last few days, I have the tendency to agree with you, Leonard. After reading Mr. Stovall's reply to the HOB blasters I've steadily deleted all posts with HOB/Muddy's Cabin headers. We've got people flaming people for wanting to help other people. Then we get people I agree with sending venomous, vitriolic messages in reply. We've got a bit of a two-tiered system of subscribers - a small group of untouchables (who are spared flames) and the rest of us. We've got arguments that should be kept to private e-mail being put through to the entire list. However, LW (Whoops, I mean Leonard) :-) thinks the list should be closed - what good would that do??? The culprits in the last few days have been largely regular contributors who usually have good things to say. Here's the problem in a nutshell, and it's a problem with the whole internet - it is extremely easy to sit in your little room and tear a strip off somebody, flame someone, act like an idiot, be rude, arrogant, annoying, and just an out-and-out @$$hole without actually having to confront anyone. What safer place to vent? We are a community. We share a common love (blues, I hope), even though we disagree on politics, religion, social policy, corporate sponsorship, and whether the sky is blue or not. So be nice. Or just courteous. Or maybe even polite! Try this - ever read a post that frustrates you to no end, whip off a reply immediately, and regret saying something? Next time, file the message overnight, take another look at it in the morning, and ask yourself if it's really worth the aggrivation. This isn't life-or-death, folks, and sometimes I think we just take all this stuff far too seriously. Take care, -Jim (hndful@uniserve.com) ========================================================================= Date: Fri, 7 Jun 1996 13:01:57 +0000 Reply-To: thf4@WaterValley.Net Comments: Authenticated sender is From: Tom Freeland Subject: Re: Weird Muddy Stuff (Stovall's Cabin) P.W. Fenton, responding to my post about the Muddy's cabin comment, concluded by saying: >An agreement reached between the Stovalls and the ONLY INTEREST > TO COME FORWARD WITH A SOLUTION, saved the cabin. >I just don't think there is that much room for criticism by the rest of >us. Starting where he finished up: If we have "much room" for praise, as P.W. and others have done, why can't we see the problems with this solution? Do really think this is perfect? Or are you presenting this in a one-sided way (seeing it as all good) for rhetorical purposes? Next, you are wrong (and haven't followed this very closely) to say that HOB was the only solution. There were others wanting the cabin, the HOB was one of several. One of those was the blues tourism center that the Mayor and others in Clarksdale were trying to set up. In Stovall's defense, he may be able to say those plans may have been too far in the future to "save" the cabin, BUT there were other options. If you don't think there were other options, P.W., you weren't reading the posts about this on blues-L, much less following it locally. Once again, I have to wonder why you are seeing this in such a one-sided way. Earlier in his post, P.W. said: >As far as anyone knows, and Mr. Stovall would be the >authority on this, ONLY the House Of Blues came forward with >a plan to save and restore the cabin. That would mean that EVERYONE else >besides HOB and the Stovalls stood idly by. Stovall didn't say that. If he had it would have been untrue. You may not have seen this, but about a month ago, I sent to the list the text of an article in the Memphis Commercial Appeal about plans for a blues center in Clarksdale built around the cabin. There was a long-held assumption in this part of the world that the cabin was headed that way. Stovall was quoted in the article to the effect that no one had cleared those plans with *him*, but that is not the same as saying there were not other solutions. Admittedly, all the plans *I* had heard about had involved moving the cabin and not restoring it on site, so they all would be subject to the criticism I mentioned-- that it won't be the same somewhere else, and the site won't be the same without it. Frankly, I cannot comprehend why you cannot see why this is unfortunate, P.W. P.W. then said: >I'll explain it to you. I feel bad that my fellow Blues-ler's >vehement criticism of the plan to restore and protect the cabin hurt >the feelings of someone I feel was innocent of any wrong doing. On >behalf of the portion of the list that did not take part in the >trashing, I felt obligated to apologize. On the behalf of whom? Are you going to apologize to anyone for Stovall's snotty response, which DID directly attack Karen although the text of her post was about the Chicago installation (which he defended) and not the deal itself? Or your own arrogance in presuming to apologize for someone with whom you disagree? P.W. said: >Whether this is a sight of "national importance" is debatable. And said this was so 'cause folks in a mall would have never heard of Muddy Waters. No, it isn't very debatable. Would you argue that William Faulkner's home, presently a museum where anyone can see how Faulkner lived, is not of national importance because the waitresses at the local Shoneys (about 2 miles away, and if you don't believe me when I say they don't know who he is, I can tell you a funny story about it) don't know who William Faulkner is? Or that John Grisham's home *is* of national importance because everyone in the mall knows him? Muddy Waters never won a Nobel Prize for literature, but his role in the history of Chicago blues is fairly analagous to Faulkner's in southern literature. And here we have the cabin where he first recorded.... What is the difference? Perhaps you define "national importance" differently than I do.... >Second, I don't think that the critics of the "solution" understand >the problem that the cabin was for the Stovalls. Howard used the >phrase "attractive nuisance". I'm sure that, as an attorney, you are >quite familiar with that term. I'm surprised that you would address >the Stovall's "moral responsibilities" without first addressing their >legal liability. Here I have to assume you simply did not read the text of my post. I said: "I know (see below [a reference to the discussion of the historical site where I have my law firm]) that it is more than a minor headache for a private property owner to be the owner of a tourist location, much less a shrine." And, as an aside, you (and, I suppose, Stovall) don't really understand the doctrine of attractive nuisance. This wasn't one. Period. It *was* a real problem for Howard Stovall as a property owner. You seem to have overlooked that I acknowledged that in my post. Tom Freeland ========================================================================= Date: Fri, 7 Jun 1996 17:58:24 GMT Reply-To: bbbean@sheltonlink.com From: bbbean@SHELTONLINK.COM Organization: inlink Subject: Re: Muddy's Cabin - from H. Stovall Comments: To: bit-listserv-blues-l@uunet.uu.net In , Steve Price writes: >> A CHALLENGE: >> OK, all you purists. You have five years to come up with phase 2 of the >> Muddy deal. You have been so generous in offering advice of what we should >> have done. Now, please get real, and tell us what we should do in five >> years. And I mean, in terms of a plan, a budget, and where the funding >> comes from. Let's get that quarterbacking done before the game this time. > >I have a distinct feeling that some of us will wait six years and then >offer our criticisms on Blues-l and that it will be just as warmly >welcomed. I am absolutely positive that you are right. I've had the dubious honor of sitting on a couple of blues-related boards and staffs and it is amazing how many people can find fault with any given course of action - once the action has been implemented. Of course, anyone who's ever been to a coffee shop or barber shop knows that this isn't unique to the blues community. But all the same, it'd be nice if the Muddy's Cabin critics would take this as their cue to get involved with a local blues society, the Blues Foundation, or whatever group they think currently does the best job of preserving blues. BBB B.B. Bean bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Fri, 7 Jun 1996 14:03:10 -0400 Reply-To: Friday_RAGS From: Friday_RAGS Subject: BLUES_in PITT!!! The Mellon Jazz Fest got off to a start today @ 1 Mellon Place with SALSAMBA....cool beans.... On a Blues note, CLARENCE GATEMOUTH BROWN will be playing @ HARTWOOD ACRES AMPHITHEATRE @ 7:30 pm this SUNDAY. THE SOUTHERN COMFORT ROCKS THE BLUES '96 TOUR featurin' George Clinton & The P-FUNK All Stars Taj Mahal, the subdudes and Keb' Mo" will be performing Saturday JUNE 22 @ 3:30 pm @ STARLIGHT AMPHITHEATRE +===================================================================+ | _-\\|//-_ | | | // \\ | Laissez les bon temps roulez!! | | // ~~ ~~ \\ | Let the good times roll!! | | /d-(*)-(*)-b\ | ------------------------------ | | // L \\ | SANJAY 'RAGS' RAJAN | | // //|\\ \\ | sanjay_rajan@formtek.com | | ////`---'\\\\ | FORMTEK,INC. | | // //|||\\ \\ | PITTSBURGH, PA | | // /|||\ \\ | ------------------------------ | | -/---/\o/\---\- | Visualize Whirled Peas!! | | /"\ | | +===================================================================+ ========================================================================= Date: Fri, 7 Jun 1996 14:19:19 -0400 Reply-To: mjg@bradley.bradley From: mjg@BRADLEY.BRADLEY Subject: Alvin Youngblood Hart/Byther Smith Has anyone purchased Byther Smith's new Delmark record somewhere other than Jazz Record Mart? I was told that the release date was June 4, but I haven't seen it anywhere yet (couldn't wait so I mail-ordered from JRM). I did pick up Alvin Youngblood Hart's new record as per an earlier recommendation on this list (I think it was Karen, though I could be mistaken--many thanks, though). Like Lonnie Pitchford's "All Around Man" from a year or so ago, this disc is a highly original, very enjoyable acoustic guitar album that I would recommend ahead of the more publicized Corey Harris record. With several really cool cowboy songs, too!!! Mark (who can't wait to see Byther Smith at Legends on June 23) ========================================================================= Date: Fri, 7 Jun 1996 18:20:16 GMT Reply-To: bbbean@sheltonlink.com From: bbbean@SHELTONLINK.COM Organization: inlink Subject: Re: Muddy's Cabin Revisited Comments: To: bit-listserv-blues-l@uunet.uu.net In <9606061013.ZM19685@quickdraw.ccad.uiowa.edu>, "Maintainability Analysis Workspace [Ranko Vujosevic]" writes: >BLUES BELONGS TO PURISTS AND EVERYBODY ELSE WHO ENJOYS IT - NOT TO >CORPORATE AMERICA. IF THAT MEANS SUNFLOWER FEST WILL BE ONE DAY, ONLY TWO >STAGES AT CHICAGO FEST... SO BE IT. I PERSONALLY WILL ENJOY IT MUCH MORE. So you personally will enjoy it. How nice for you. Perhaps you will send a postcard to the hundreds of thousands (millions?) of fans who currently attend corporate sponsored blues festivals and tours. > >I know, I know, you may say, but less number of musicians will get paid. >Well, that would mean only no Paul Black's but only true blues musicians. >I think all of this works against blues and against true blues musicians in a >long run. > > Ranko Vujosevic Ranko- Ask some of your "TRUE" blues musicians how they liked the 70s. Ask them how much they enjoyed going months without gigs and then taking a back seat to disco. Also consider that without corporate support, your beloved true bluesman may possibly be edged out of the market by blues-rockers who manage to appeal to a more mainstream audience. I'm frequently called a purist. My tastes run to traditional and acoustic blues and jump blues. I find most blues/rock repetitive and boring. I have serious problems with the HOB and the whole Blues Brothers phenomenon. But I also live in the real world, and I've cashed paychecks from events that had corporate support and seen dozens of shows that never would have happened without some corporate bigwig dropping a few $$$ on the promoters. Should you be critical of HOB and their white-bread imitation of blues culture? Absolutely! Should blues societies, artists, and promoters give up corporate support? Don't be a damned fool. And if HOB accidentally does something that ends up promoting real blues, so much the better. BBB B.B. Bean bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Fri, 7 Jun 1996 11:31:56 -0700 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Re: Muddy's Cabin - from H. Stovall Bill writes: >Furthermore, I wish to be excluded from any blanket apology to Mr. >Stovall. And I'm wondering what his motives are for singling out >Karen's post with such a bilious response. Perhaps, it was the most convenient post available to him at the time. After all of the bullshit that has been posted on this subject in the past several months, I could see how the man has grown weary of reading the almost constant criticism about it and needed to vent his frustrations. Is this really that shocking considering how people have been bitching about this cabin and the deal swung with the HOB for the past several months. The cabin is private property. If you don't like the idea, don't support it. If it wasn't for people trying to make a buck, you wouldn't be listening to any of this stuff. People rarely invest a substantial sum of money without an expected return on their investment. If you are one of these philanthropic types, I will give you my address where you can send your contributions. The man asked for your ideas, send them to him. Lets get some closure on this item. Joe ========================================================================= Date: Fri, 7 Jun 1996 18:23:53 GMT Reply-To: skb8721@tam2000.tamu.edu From: "Shane K. Bernard" Organization: Texas A&M University (Student) Subject: Re: Zydeco: Creole or Cajun? Comments: To: bit-listserv-blues-l@uunet.uu.net "DUTTWEILER.J" wrote: >I have a question for those more knowledgeable then I on this subject: is >Zydeco considered Cajun or Creole music; or neither? It seems to me that it >is more derrivative of Acadian language and culture, but I could be wrong. Zydeco is Creole music (the most modern type of Creole music) and Cajun is, well, Cajun music. Basically, two ethnic groups of francophone heritage inhabit the 22-parish "Acadiana" region of South Louisiana (from which Cajun and zydeco music hail): these two ethnic groups are the Cajuns and the Creoles. Cajuns are white, and desend from 18th-century Acadian exiles from Nova Scotia, as well as from Spanish, German, and French settlers, among other ethnic groups, who inhabited the Louisiana frontier in earlier times. Their intermixing produced a new ethnic group, the Cajuns. Creoles are black or mixed-race, and descend from Afro-Caribbean slaves brought into the region. Yes, white Creoles exists, too, but I won't get into that -- just a case of one word possessing different meanings to different peoples. It's the black Creoles, however, who make zydeco music. The term "black Cajun" is occasionally heard, but this is a misnomer, IMHO, and since the birth of black Creole pride in the 1980s blacks of francophone heritage strongly discourage anyone from referring to them (or their music and culture in general) as "Cajun." In fact, some zydeco musicians stipulate in their contracts that their music is _not_ to be publicized as "Cajun music." (I have heard about zydeco musicians refusing to perform at concerts until the word "Cajun" was removed from marquees.) For more info, see the Cajun & Creole Pages, which I co-author with Creole journalist and deejay Herman Fuselier of Opelousas LA. SKB Cajun in Exile ========================================================================= Date: Fri, 7 Jun 1996 12:44:01 PDT Reply-To: Ted Gurley From: Ted Gurley Subject: Re: Evil Corporate Sponsors Congrats to Exxon for sponsoring the blues and the blues memories! ========================================================================= Date: Fri, 7 Jun 1996 11:49:56 -0700 Reply-To: Troy Meier From: Troy Meier Subject: Re: Zydeco: Creole or Cajun? Comments: To: "rvana@INTERPATH.COM" Bob wrote: (in part) ---------- > . . . the zydeco players all use the English accordion (the one with the piano-like keyboard on the right-side), Cajuns use the French button accordion, which plays different notes on the push and pull strokes. I freely admit the nitpicking on my part, but after returning from several Zydeco festivals over the last few years, I found that Zydeco accorianists(?) use both the button box (diatonic?) as well as the keyboard style (chromatic?). Boozoo Chavis is a name that comes to mind immediately as on who plays the button box almost exclusively. I've seen others who will switch back and forth between the two. I don't think that this is a true requisite separator between the two terms and/or genres of music. Yours was an informative post nonetheless. Troy Meier . . . ========================================================================= Date: Fri, 7 Jun 1996 18:04:34 GMT Reply-To: bbbean@sheltonlink.com From: bbbean@SHELTONLINK.COM Organization: inlink Subject: Chicago Musts Comments: To: bit-listserv-blues-l@uunet.uu.net I'm going to be in Chicago for a week or so at the end of this month. What would you recommend as the must-see clubs? I'm not sure how many nights I'll get out (I'll be playing M-F night til ??), but I'll definately be out and about Saturday and Sunday night. Tips on restaurants, museaums, etc. are also welcome. BBB B.B. Bean bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Fri, 7 Jun 1996 14:59:29 -0500 Reply-To: MARCIAG@VMS.CIS.PITT.EDU From: Marcia Grodsky Subject: Upcoming Blues Events in Pittsburgh We are suddenly being blessed with a huge amount of musical activity in the Pittsburgh area, after a long dry spell. Unfortunately, the same 24 people that Don O. saw in Dallas are apparently being recycled for blues events in Pittsburgh, because that's the number that I counted last week when I went to see Mem Shannon. . .the difference being that, while Don O. was including the opening band in his count, mine included the club owner and the barmaid. Part of the problem was the total lack of publicity. That particular club does a very poor job of getting the word out (one show that I'm particurly sore about missing) was announced the day *after* the event. So, in the interest of "getting the word out" I'm going to post the upcoming events that I have marked on my calendar. There's going to be a fair amount of rockabilly along with the blues, because I've been compiling this for my own use. JUNE EVENTS DATE ARTIST(S) VENUE 6/7 Double Bill: Smoking' Joe Kubek w/ B'Nois King Tobacco Road House Mike Morgan & the Crawl 6/7 The Butler Twins Buffalo Blues 6/7 U.P. Wilson (w/Norm Nardini) Moondog's 6/8 Dick Dale Graffiti 6/9 SAFFIRE (FREE) 3 Rivers Arts Festival 6/9 Gatemouth Brown (FREE) Hartwood Acres 6/13 Delta Masters: Moondogs R.L. Burnside Paul Wine Jones Corey Harris 6/14 Frantic Flattops (w/Cheri Knight) Gooski's 6/15 Carey Bell Buffalo Blues 6/15 Big Dave & the Ultrasonics Moondog's 6/17 Chris Smither (FREE) 3 Rivers Arts Festival 6/19 Big Jack Johnson Tobacco Road House 6/19 Big Sandy & His Fly Rite Boys Buffalo Blues 6/20 Sleepy La Beef Moondog's 6/21 Ronnie Dawson Serbian Hall (South Side) 6/22 Nathan & the Zydeco Cha Chas TRH 6/22 Chuck Berry Three Rivers Stadium 6/23 Magic Slim & the Teardrops Tobacco Road House 6/23 Taj Mahal Star Lake Amphitheatre Keb Mo Subdudes 6/24 Joe Ely Graffiti July and August are going to bring more great acts, but it's a little early to post dates. Some of the acts that are coming, however, include Luther Allison, the Tailgators, Los Lobos, Lavelle White, Bird Foster, Little Charlie and the Nightcats, Billy Boy Arnold, Guitar Shorty ( the "real" one, this time!), Philip Walker, and Marcia Ball. There will also be a number of additions for June, particularly for Buffalo Blues. They were supposed to get their complete schedule to me today, but I haven't received it yet. ---Marcia ========================================================================= Date: Fri, 7 Jun 1996 14:01:20 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Weird Muddy Stuff (Stovall's Cabin) On Fri, 7 Jun 1996, P.W. Fenton wrote: > On 7 Jun 96, Steve Price had this to say: > > > Your point that ONLY HoB had a solution doesn't answer Tom's > > concern that others weren't given much opportunity, and the > > responsibility to try to preserve something of significance. > > Everyone on the planet had the opportunity to approach the Stovalls > with a plan to deal with the cabin, just like the House of Blues did. > The fact that it never occurred to them until *AFTER* HOB offered does > not mean that they didn't have an opportunity, but speaks to how > concerned they in fact were. Or rather, how informed. > > > Tom also > > was not making the point that if you ask in a mall how many people care > > about Muddy's cabin, how many you'll get who know who Muddy was. People > > are uninformed about most public charities, etc. Tom's point was that > > everyone involved in THIS deal agreed that it was important to preserve > > Muddy's Cabin. > > Tom said that the cabin was a historical site of NATIONAL > importance. What I said, with my imaginary Mall survey, is that it > may not be so. What is so very important to us is not so important > to the rest of the nation. How many places on the national registery of historical sites would pass that mall test, P.W.? That still doesn't negate Tom's point. I understand yours, but it doesn't negate his. Steve Price (I know, this horse is long since dead) ========================================================================= Date: Fri, 7 Jun 1996 15:02:15 -0400 Reply-To: mjg@bradley.bradley From: mjg@BRADLEY.BRADLEY Subject: Big Joe Williams LPs Looking for some information prior to making an LP purchase: First, can somebody offer concise reviews of the LPs "Blues Bash" (Olympic Records 7115) and "Legacy of the Blues Vol. 6" (GNP- Crescendo/GNPS 10016) by Big Joe Williams? Also, as regards to the "Blues Bash" LP, on how many tracks does Big Joe perform with Lightnin' Hopkins and Brownie and Sonny? Are there any electric guitar tracks on either of these two LPs. Should I get them? Mark ========================================================================= Date: Fri, 7 Jun 1996 14:02:33 -0600 Reply-To: James Bardsley From: James Bardsley Subject: Re: Zydeco: Creole or Cajun? Comments: To: Chris Smith In-Reply-To: <834166443.3880.0@skerries.demon.co.uk> I think your description of cajun and zydeco music is right on, Chris. I'd only add that zydeco is at it's very core a 'borrowing' music- the original gumbo. Since the zydeco musicians in this era have been heavily influenced by rock and roll ( remember Louisiana was a real hotbed of rockabilly and swamp-rock in the 50s and 60s - that the more recent zydeco artists like Zachary Richard ( sometimes zydeco) and Terrance Simien- throw a lot of electric , rock and blues threads into their zydeco, too. I think one of the points at which cajun and zydeco diverge is that cajun- kind of like folk-- has been defined and accepted as having certain musical parameters or boundaries, and zydeco is endlessly evolving. -Jim At 1:00 PM -0400 06/07/96, Chris Smith wrote: >>Date: Friday, 7 June 1996 10:49am ET >>To: Internet >>From: DUTTWEILER.J@GOMAIL >>Subject: Zydeco: Creole or Cajun? >> >> >> >>I have a question for those more knowledgeable then I on this subject: is >>Zydeco considered Cajun or Creole music; or neither? It seems to me that = it >>is more derrivative of Accadian language and culture, but I could be wrong= =2E >> >>Chubby Carrier, on his latest disc, at least on one song, seems to term it >>Creole music. >> >>Any insight would be most appreciated. >> >>JD > >Paul Oliver wrote an interesting article many years ago called 'Creoles, >Cajuns and Confusion' ('Blues Unlimited' 4, 1963, reprinted in the booklet >'Back Woods Blues'). It's still worth reading if you can find it. He says >in part (I summarize): 'Creole' is a French version of the Spanish >'criollo', which was used to describe the children of Spaniards born in the >Spanish colonies. The French colonisers used it to describe anything from >or made in the French colonies in the West Indies and Louisiana. Later the >word was taken over by African Americans (mostly in New Orleans) and used >to designate light-skinned blacks - 'Creoles of Color' was the term at >first, later shortened to 'Creoles' as the original colonialist meaning >became lost. (There is an element of pride in the French connection - see >Jelly Roll Morton insisting that he was really Ferdinand La Menthe.) > >As applied to Louisiana music - and here I defer to those more expert than >I am; please correct me! - I understand Cajun music to the music of the >white French-speaking community (Acadians); Creole music to be Cajun music >taken up and played by black French-speaking musicians, with varying >amounts of influence from the older African-American traditions; and Zydeco >to be the postwar hybrid music created by French-speaking black musicians >in Southwest Louisiana and East Texas, basically by blending Creole music >and rhythm 'n' blues. > >On the other hand, there was also a very African tradition of jur=E9s and >ring shouts - which Lynn August has recently been reviving on his CDs, and >which were first recorded by Alan Lomax in the thirties (there was an >amazing double LP on Swallow called 'Louisiana Cajun and Creole Music 1934: >The Lomax Recordings'). That the jur=E9s are sung in a mix of French and >English, but sound very akin to African music, is just an indicator of how >confusing an area this is! Lots of Cajun music has big blues influences on >it, too. It's all a big musical gumbo. :-) > >Hope this helps. > > >Chris Smith (chris@skerries.demon.co.uk) >It's no good making things idiot-proof. They'll just build a better idiot. James R. Bardsley, Ph.D. Assistant Dean, Plans and Programs LSU Medical Center-Shreveport (jbards@lsumc.edu) ========================================================================= Date: Fri, 7 Jun 1996 12:06:44 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Church Rebuild project Hi Everybody! First, if I have been hard on some people, please accept my apology. That was not my intent. Frankly, I have been amazed and saddened at the negativity that some have expressed to this project. Be that as it may, I should not have responded to them. Sometimes the world ticks me off... On a more important note, there is some progress towards finding a project that is working on rebuilding some of the burned out churches! I will be speaking to someone this afternoon who is heading up a program, and have several other people calling me back or emailing. I'll let you know. For those who have been so supportive, thank you! DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Fri, 7 Jun 1996 14:13:02 -0500 Reply-To: James Foster From: James Foster Subject: TINA BROOKS, HAPPY BIRTHDAY! Harold Floyd "Tina" Brooks was born on this date (June 7) in 1932 in Fayetville, North Carolina. Tiny, like so many of the great soul-jazz players of the 1960s, played with R&B bands in the 1950s. Brooks initially recorded with Sonny Thompson's band in the early 50s as well as touring with the likes of Lionel Hampton and Amos Milburn. Eventually, Brooks signed with Blue Note in 1958 and appeared as a stellar sideman on many great recordings, such as Jimmy Smith's "THE SERMON" and Kenny Burrell's "ON VIEW AT THE FIVE SPOT CAFE". Tina also recorded four sessions as a leader; these amazing sessions are collected on Mosaic Records' "THE COMPLETE BLUE NOTE RECORDINGS OF THE TINA BROOKS QUINTET" [MR4-106, LP only], a now-out-of-print 4-LP set with liner notes by none other than blues scholar Robert Palmer. Brooks' only released solo album, "TRUE BLUE", has been released in a limited edition on CD by Blue Note. This is an excellent session and essential since the box set is no longer available. Brooks died in 1974, after a life-long battle with drug abuse. There is no better way to celebrate his life than by listening to his music. Enjoy! James Foster Austin, Texas ========================================================================= Date: Fri, 7 Jun 1996 14:17:42 -0500 Reply-To: scott d From: scott d Subject: Re: Welcome to Bob (Robert) Sacre. Comments: To: J.Urbain@KE.RULIMBURG.NL At 10:25 AM 6/7/96 +0000, Jean-Pierre Urbain wrote: >I just want to publicly welcome Robert (Bob) Sacre on Blues-L. > >You finally made it .... > >Many zellers (eRic, Dick, Scott....) know Robert quite well and other zellers >might know him from his many contributions to different magazines since [edit] Well, I don't know if I would say I know him "quite well", but I know him well enough to know that he is a music scholar of the highest order, is most unassuming about it, and is a true gentleman. The blues-l can only benefit from his presence here. Welcome Robert! Scott http://www.geocities.com/SunsetStrip/4466 Check it out! ========================================================================= Date: Fri, 7 Jun 1996 14:17:53 -0500 Reply-To: scott d From: scott d Subject: Re: Sitting & Thinking - Big Walter Horton w/Hot Cottage Comments: To: RhythmShrk@AOL.COM At 09:47 AM 6/7/96 -0400, Bernie Clarke wrote: >In a message dated 96-06-07 05:05:26 EDT, you write: > >>Most of the really well known blues harp players seem to be from the West >>Coast these days (as I mentioned in another post on this subject), and I >>can't think of one who sounds like he's ever been influenced by Big Walter. >>On the other hand, I can't think of one whose doesn't owe something to >>George Smith. > >Big BS in the above statement! Ask Jerry Portnoy about Big Walter sometime. > The disciples of Big Walter are generally the ones that put tone above >anything else. I also think that there are a whole lot of hot players from >places other than the West Coast. Check out Gary Primich, Steve Guyger, Doug >Jay, (tons of others). I agree that there are many amazing harp players on >the scene on the West Coast, but to say that none are influenced by Big >Walter is silly. BW is in the harp world one of the top three most >influential. I would prsonally consider Little Walter, Sonny Boy and Big >Walter the three most influential. Now to consider who I would go see first >if they came back for a one night show, I would probably see George Smith >because he was an incredible vocalist and songwriter and harp player. > Thinking about it I would say that they are both legendary, Walter got there >for harp chops and George got there for the whole show. > >Bernie Clarke Bernie, OK, Portnoy does have some elements of Big Walter's style in his own. Name another--none of the others you mentioned would qualify, IMO. I have checked out the harp players you mentioned and tons more. I didn't say most of the good harp players are on the west coast, I said most of the really well known ones are. Are you saying that Gary Primich, Doug Jay, and Steve Guyger are more well known than Rod Piazza, William Clarke, and say, Rick Estrin or James Harman? Sorry, I don't think so. There are great harp players everywhere, but it does seem that most of the really famous and influential ones are out of California these days. And most of those guys do owe something to George Smith stylistically. Which would seem to make Smith a more influential harp player than Big Walter. Scott http://www.geocities.com/SunsetStrip/4466 Check it out! ========================================================================= Date: Fri, 7 Jun 1996 14:17:47 -0500 Reply-To: scott d From: scott d Subject: Re: Sitting & Thinking - Big Wal Comments: To: "DUTTWEILER.J" At 08:03 AM 6/7/96 GMT, DUTTWEILER.J wrote: >Walter Horton's >influence is widely acknowledged to be as great as Little Walter's among blues >harmonica. OK, for the sake of discussion, please name one current or latter day harmonica player in whose style you can hear elements of Big Walter's style. I've been playing harp for 20+ years, and I've studied BW's style and consciously incorporate elements of it into my own playing, but I RARELY hear any other harp players doing it. And believe me, I'm actively listening for it. >The fact that his solo recordings were few and far between is also >hard to contest. Finally, he has never gotten as much press as, say, Little >Walter or Sonny Boy Williamson (Rice Miller). Put all three together and I >would say my opinion is pretty well substantiated. I don't know about that. Remember, SB II and LW both died in the '60s, and with the exception of a SB's Animals and Yardbirds mistakes, er, I mean albums, neither of them really recorded for a mainstream, crossover blues audience--they recorded singles for a black audience, and weren't album guys. The "fact" that his albums were "few and far between" seems really to be an opinion; in fact, just in the last decade of his life Big Walter had a solo album on Alligator, two albums on Blind Pig, an album on JSP, that piece-o-crap Hot Cottage album, an album for Red Lightnin', two albums for Crosscut Records, an album for Sire in England, and I think at least one or two more. These are all examples of complete unique albums devoted to his solo work, and don't include his solo work specifically recorded for compilation albums he shares with other artists--on Testament, Vanguard, L+R, Spivey and others. And it also doesn't include the singles he recorded for the black audience on Modern, United, States, and Cobra, which are all compiled on several well-distributed albums collecting his earlier work from the '50s. And it doesn't include ANY of his sessions behind other artists, which admittedly was the bulk of his work. I think he's underappreciated only in the sense that he's not very influential on the harp players who followed him, but he certainly got a good share of attention during his career. Scott http://www.geocities.com/SunsetStrip/4466 Check it out! ========================================================================= Date: Fri, 7 Jun 1996 14:40:10 -0500 Reply-To: MR FLOYD J BADEAUX From: MR FLOYD J BADEAUX Subject: New Member & Blues Web Site intro -- [ From: Floyd Badeaux * EMC.Ver #2.10P ] -- Just a note to introduce myself. Have been a music appreciation type person for over 60 years...including Blues, Gospel and other styles (no Rap please) I operate a small recording studio in Port Arthur, Texas (Johnny Winters country and the home town of Janis Joplin), and have organized a Blues Label and a Gospel Label. Our album products sold only by mail. Have recently set up a Web site. http://www.great-recordings.com Invite you to visit our Web site. Visitors may sign up for a free Blues Album drawing to be given away the first week in July. Look forward to future conversations. - Floyd Badeaux E-Mail: great_recordings@prodigy.com ========================================================================= Date: Fri, 7 Jun 1996 14:36:55 -0500 Reply-To: "Stine, Dave" From: "Stine, Dave" Subject: please don't un-subscribe--here's why I subscribed about a week ago. Whew! Seems much longer. Been into the blues for 30 yrs. Thus I have opinions. That the fact that I'm sitting on top of a mid-life crisis doesn't help. But back top my point. I subscribed because next to my family, blues is my most important thing. I've wanted to subscribe ever since reading about BLUES-L in Blues Revue Quarterly, oops I mean Blues Revue. I also write blues-related articles for the local (free) music newspaper where constroversy is encouraged. Or at least calling it as I see it. I jumped into the things to seek information, add my two cents, play devil's advocate, and lend MY OWN perspective. I regret using the "I brake for Unicorn" analogy to define blues purists. Steve Price rightly called me on it. We took our discussion off-list. Had some good chats. Realized that we live only a couple hundred miles apart, and plan to meet at Mississippi Valley this July. Had we not tangled on BLUES-L, we might not have ever gotten the chance to become blues friends. I agree that nastiness, name calling, and personal attacks make most of us wanna run. My wading in and getting my hands dirty in these discussions has gained me a new friend. Yeah most of us get enough "flaming" just driving home from work. But the engagement aspect of BLUES-L is, too me, as important as the updates, historical data, and the other not-so-trivial blues fact. Blues people are still a minority. We need all of us. Un-subscribing won't solve the bickering. I think that all of our awareness has been heightened in the past few days. Hey, there's a PERSON at the end of my Email. Think about it. Peace, David Stine dstine@fsc.follett.com ========================================================================= Date: Fri, 7 Jun 1996 15:39:36 -0400 Reply-To: bob vanarsdall From: bob vanarsdall Subject: Re: Zydeco: Creole or Cajun? Troy rightfully corrected me: >> . . . the zydeco players all use the English accordion (the one with the >piano-like keyboard on the right-side), Cajuns use the French button >accordion, which plays different notes on the push and pull strokes. > >I freely admit the nitpicking on my part, but after returning from several >Zydeco festivals over the last few years, I found that Zydeco >accorianists(?) use both the button box (diatonic?) as well as the >keyboard style (chromatic?). > >Boozoo Chavis is a name that comes to mind immediately as on who plays the >button box almost exclusively. I've seen others who will switch back and >forth between the two. I don't think that this is a true requisite >separator between the two terms and/or genres of music. Beware when someone says "all" - on a true/false test you can tell that is a false question -, perhaps I should have said "most". There is a lot of cross-over among zydeco and cajun bands, and the word "generally" is the only one which applies. For those with interest, however, the best and little-known place for hearing the breadth of zydeco is at the annual Zydeco Festival in Plaisance LA. I don't have dates, but some web searching can probably turn them up. If you go and don't end up sore down to your toes from dancing, "Jack, you dead" (Louis Jordan). Bob ========================================================================= Date: Fri, 7 Jun 1996 14:16:00 GMT Reply-To: Mr G M Smith From: Mr G M Smith Subject: HOB? We Should Be So Lucky! While I appreciate the concerns of some correspondents about about the influence of Big Corporations in the promotion of Blues I can't help but feel that compared to the situation that exists here in the UK,YOU DON'T KNOW WHEN YOU'RE WELL OFF! Firstly,as a previous UK 'eller pointed out,the "scene" here is dominated by blues/rock (hereinafter known as "blooze"). When we do get visited by "proper" Blues acts it costs an arm and a leg to go and see them. For his forthcoming visit BB King is playing in the acoustic disaster area known as the Albert Hall at 25quid a ticket. This is a lot of money to pay if you get the wrong seats and end up getting the stage sound in one ear and the echo in the other 1/4 of a second later. Secondly,what else do you expect in a nation where doctors feel for your credit card before they feel for your pulse? It is the perception of some of us over here that *everything* is up for grabs if the bucks are up front. I do hope that none of the complainants are Republican voters. If you are,then this is what you voted for,whether you knew it or not at the time. A similar situation exists here where the Conservatives are privatising everything and many of their supporters are getting some nasty shocks. As for HOB,as has been pointed out before,they are a business not philanthropic patrons of the arts. It would seem that they treat their acts very well indeed,a stark contrast to here where I have frequently been expected to move pub furniture to make space to set up before performing and where to play anything but "blooze" or the repertoire popularized by Ackroyd and Belushi is a real labour of love,'cos you'd better not be in it for the money,which is a joke. I wish they'd come over here. If,as seems to be the case,they use the money made by "pop" acts to subsidise promoting Blues,more power to them. I seem to recall Warner Bros Records doing much the same when acts of theirs like Randy Newman,Ry Cooder and Bonnie Raitt could hardly get arrested. Yours, Garry "Quite A Jolly Chap,Not Really A Whingey Git" Smith. ========================================================================= Date: Fri, 7 Jun 1996 17:42:36 -0400 Reply-To: Mert From: Mert Subject: 'Got my mojo workin' ' lyrics Can anyone send the lyrics to me 'cause i've trouble with English. Thanks in advance... Serdar Mert Turkey ========================================================================= Date: Fri, 7 Jun 1996 18:10:57 EST Reply-To: Jim Miller From: Jim Miller Subject: Reruns Comments: To: BLUES-L As an oldtimer (3yrs.) on this list I certainly have witnessed a lot of recurrent threads. Yet, I think we need to perhaps be a little careful about flaming individuals or just the thread itself simply because we have already gone through it. In fact I believe some of the growing hostile climate on Blues-l has to do with the "shut -the f**k up we already have been there" attitude some of us display when encountered with these reruns. It's not just those evil new members! I get sick of the same threads too ( it's almost like talking to Alzheimer patients) but if you are new to the list these threads are often the one's you want to bring up. I mean let's look at what we are objectively. This list is for the most part made up of white male, over 30 , college educated guitar players ( this lack of diversity is unfortunate but true).Whether we like it or not a lot of folks question and even ridicule how such a demographic group can claim to be playing this music. If you like to play this music and finally get a chance to talk about it on this new medium this often is something that you like to see discussed because someone has probably brought it up to you or you read some smug rock critic attacking the validity of such such a group claiming to be able to play blues. So ,as a new member of the group, you bring it up and soon you get responses like: "read the FAQ stupid" , "here we go again", " pleeese don't even bring this up". Welcome to Blues-L !! Yes, this often simply ends up being a shouting match but (surprise) even this thread does result in some interesting new arguments and points made. Today's Blues world has a lot of interesting contradictions and ironies which may never be resolved but so what? Culture is not some math problem to be solved. People want to talk about them whether the FAQ says you should or not. Let the new folks talk and the oldtimers can delete, delete, delete. This is a new medium and I think we need to learn that new folks are not in the same BLues-L world as us oldtimers. ========================================================================= Date: Fri, 7 Jun 1996 17:45:05 -0400 Reply-To: Mert From: Mert Subject: Big Daddy Kinsey Did he record any album after 'Ramblin' man' ? Is his son ,Donald, still with him? ========================================================================= Date: Fri, 7 Jun 1996 14:38:10 -600 Reply-To: FJG Comments: Authenticated sender is From: FJG Subject: Help me signoff Sorry to bug everyone but, What is the command to signoff or unsubscribe to blues-l? I've tried several commands such as: Signoff Blues-L Unsubscribe Blues-L Signoff Blues-L Unsubscribe Bues-L All have been sent to: listserv@brownvm.brown.edu What am I doing wrong? Thanks and sorry ========================================================================= Date: Fri, 7 Jun 1996 15:50:03 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Muddy's Cabin, Corporate Sponsorship, Blues Societies Comments: To: bbbean@sheltonlink.com BB Bean said: Of course, anyone who's ever been to a coffee shop or barber shop knows that this isn't unique to the blues community. But all the same, it'd be nice if the Muddy's Cabin critics would take this as their cue to get involved with a local blues society, the Blues Foundation, or whatever group they think currently does the best job of preserving blues. --------------------------- And as someone who is actively working in my local blues society and knows first-hand the trials and tribulations we're going through to put on a free blues festival next month, I offer a resounding "AMEN" to that sentiment. It's easy to criticize once the event is accomplished. As far as Cincinnati's blues fest is concerned, we had a major corporate sponsor threaten to reduce or even eliminate their sponsorship this year because we didn't hang their banner correctly on the stage last year. They didn't tell us this last year. They didn't send someone along, or even instructions along, with the banner on how exactly it should be hung. They waited until we were WELL into planning this year's event and said, "by the way..." And believe me, it was hung straight and tall and very prominently on the main stage (and we have video to prove it), so we still don't know exactly what their complaint was. Corporate sponsors are a necessary and vital part of what we're trying to do, and we try to please them. But like all of us, they have their own agendas and perspectives. Get involved, see how it runs from the inside. You *can* make a difference, and you can make your opinions and choices known. But you also learn where you need to compromise and often accept a LOT less than you ask for to have anything at all. We've campaigned to convince the city of Cincinnati to give the blues society (a relatively small, non-profit organization) a break on the rental of the stage/pavilion for our festival, and in one snap decision--after hours of volunteer time gathering statistics and information and working out valid reasons why we should get a break--the city said, "Nope. You can pay like anyone else." $250 per hour. Multiply that by 12 hours a day for a 2-day festival. $6000 is a lot of money to a small, non-profit organization, believe me. But with all that in mind, the festival will be free, July 13 & 14, outdoors in a really cool city park on the riverfront, and our headliners are Little Milton and Little Charlie & the Nightcats, along with some fine local and regional talent (H-Bomb Ferguson, Sonny Moorman & the Dogs, Cincinnati Blues Allstars, Kelly Richey, etc.). Come on in and enjoy yourselves... and feel free to offer your criticism of what we could've done better. But please, gently. :) Shannon ========================================================================= Date: Thu, 6 Jun 1996 23:58:39 -0700 Reply-To: Stan Ruffo From: Stan Ruffo Subject: Re: weeknight blues I too would really like to hear some of the comments made in answer to that question! Not only what it takes to get blues lovers out on a weeknight, but for any blues event. I kind of attribute some of the decline in attendance to "an election year" , but I don't believe that's the real problem...... Stan ---------- From: Don O[SMTP:don.o@CHRYSALIS.ORG] Sent: Thursday, June 06, 1996 5:22 PM To: Multiple recipients of list BLUES-L Subject: weeknight blues What does it take to get YOU out to see a blues band on a weeknight? I ask this question because I've been out to some very good shows lately where there were darn few folks in attendance. The Rod Piazza and the Mighty Flyers gig on Monday and Tuesday at the Blue Cat in Dallas is a good case. Cover charge was $10 and included free barbecue. The show was slated to start at 9pm and end at midnight. If you were a hardcore blues fan, you could get a ticket for both nights for $15. The way I looked at it, at that price, I was getting a barbecue dinner for $7.50 and getting the music for free. On Monday there were a total of 24 people in the club (and I think several of them were in the opening band). The skies were clear, proper promotion was done (radio and print), and there were no other major conflicts I can think of. This is in a major metropolitan area with over 4 million people. The second night was a little better, probably 75 people or so, but that was still pretty pitiful. Of the people that were there, some had come from over 100 miles away for these shows (including folks from Oklahoma City, Shreveport, La., and Waco). So what is it, specifically, that will get YOU off your couch on a weeknight? Is it the band? How many touring national acts would you leave your house for on a weeknight? Would you have to have an even earlier start time (6pm?). There are several club owners and booking agents on this list and I think maybe we could all benefit from this discussion (unlike some of the others going on here lately). Don O. ========================================================================= Date: Fri, 7 Jun 1996 14:53:26 -0700 Reply-To: Craig Edmundson From: Craig Edmundson Organization: University of Nebraska Medical Center Subject: Moratorium Hello, Without intending to offend anyone, I humbly suggest a moratorium on the Muddy's Cabin and Black Church Arson threads for the next few days. As they say, "Time heals all wounds..." Or was that, "Time Is On My Side?" Or was that, "Time Has Come Today?" Or was that, "Time Waits for No One?" :-) Craig Edmundson -------------------------------- Craig L. Edmundson cedmunds@netserv.unmc.edu cedmunds@probe.net http://www.probe.net/~cedmunds/ ========================================================================= Date: Fri, 7 Jun 1996 14:57:57 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Zydeco: Creole or Cajun? Comments: To: bob vanarsdall In-Reply-To: On Fri, 7 Jun 1996, bob vanarsdall wrote: > Significant differences in > instrumentation: the zydeco players all use the English accordion (the one > with the piano-like keyboard on the right-side), Cajuns use the French > button accordion, which plays different notes on the push and pull strokes. > Although some really big name Zydecco players, like Clifton Chenier, CJ Chenier, and Buckwheat Zydecco, use piano accordions, there are plenty that use button accordions, one-, two-, three-, and I think even five-row button accordions, and some Zydecco players play both. With Cajun music, they do tend to stick to the one row, four reed accordions. I'm glad Bob and Shane K. Bernard have discussed the ethnic origins of the music. In my (limited, distanced, but interested) experience, I hear a lot of the same songs in the repertoires of both groups, waltzes, two steps, but I also hear blues and R&B in the Zydecco of the last 30 years, largely led by Clifton Chenier in varying amounts. Zydecco I think tends also to have a heavier percussion to it. I've heard fiddle in both Zydecco and Cajun music, electric guitar, electric bass, drum kits, but the move in Cajun music seems to be to go back to the traditional instrumentation, including triangle instead of a drum kit. But certainly groups form and reform all the time, and experiment with sounds. In the earliest recorded (and reissued stuff), it's hard for me to hear much structural differences between the black and the white music of the area, in Amade Ardoin's recordings and others and their white contemporaries. The big differences seem to be more individualistic of the artists, rather than ethnic. These are WONDERFUL musical traditions to listen to. Whatever I've misrepresented here is due to my own ignorance and not due to corporate sponsorship which I acknowledge is sorely needed. Steve Price ========================================================================= Date: Fri, 7 Jun 1996 15:09:29 -0500 Reply-To: scott d From: scott d Subject: Re: Evil Corporate Sponsors Comments: To: "DUTTWEILER.J" At 01:58 PM 6/7/96 GMT, DUTTWEILER.J wrote: >Date: Friday, 7 June 1996 1:56pm ET >To: Internet >From: DUTTWEILER.J@GOMAIL >Subject: Re: Evil Corporate Sponsors > > > >Tom Freeland wrote: > >> I will bet anyone on the list that Exxon DID NOT >> interfere with the content. I will also bet anyone on the list that >> HOB's sponsorship in New Orleans and Chicago was not so benign. A >> very credible list member-- Bonnie Kalmbach-- seemed to think that >> this was true of their sponsorship in Chicago, and I've heard >> similar rumblings from New Orleans, from similarly credible sources.. >> >> Tom Freeland > >Without intending any offense to the veracity of Ms. K, she only offered her >impression without substantiation. I still have yet to see ANY evidence >whatsoever that HoB actually influence the artistic lineup at the Chicago >Bluesfest, or any other label which was represented by artists there. Simply >because HoB's was high profile DOES NOT mean they exerted any undue influence. > >I would think as a lawyer you would be more than a little interested to see >such impressions/charges documented before being tossed about. > >JD > > Maybe it's just that I've been in Chicago too long and this kind of stuff has lost it's shock value, but it doesn't seem like that big a deal to me that HOB sponsored a stage and got some of their artists on it. Wheeling and dealing is the way business is done. How do you suppose Alligator Records always has artists on the main stage at the fest every year? Bruce Iglauer is on the blues fest committee. Why do you suppose Honeyboy Edwards is on the fest every year? Earwig Records head Michael Frank is on the committee. Did anyone see or hear Sue Conway on the main stage? I've heard (although I can't confirm this) that she got on the fest because she has some connection in the city's recycling program, of all things. Is the problem that HOB happens to have had some blues/rock (read: white) artists on the fest, where all these others were more blues rooted? BTW, I caught part of the sets by both Paul Black and Jimmy Rip, and the large crowds that were there for both acts certainly didn't seem to mind their presence--they both went over like gangbusters. Once again, I'm not a huge fan of everything the HOB does, nor am I a big fan of blues/rock, but I just don't see what the big deal is. If it wasn't for the HOB, there may not have BEEN a Crossroads stage this year. Would that have been better than having a couple of objectionable (to a few) acts booked on the stage in the middle of an otherwise nice lineup? Scott http://www.geocities.com/SunsetStrip/4466 Check it out! ========================================================================= Date: Fri, 7 Jun 1996 15:09:23 -0500 Reply-To: scott d From: scott d Subject: Re: Standard tuning slide Comments: To: Rob Hutten At 02:34 PM 6/7/96 -0300, Rob Hutten wrote: > I read recently >(in the liner notes of the excellent Testament slide guitar CD, I believe) >that Houston Stackhouse was the true pioneer of standard tuning slide, and >that he taught it to Nighthawk. So there's a definite >Tommy Johnson -> Houston Stackhouse -> Robert Nighthawk -> Muddy Waters >connection, but I think the standard tuning slide stuff originated with >Stack. Didn't Tampa Red record all of his slide stuff in standard tuning? He was recording in the '20s, long before any of the others mentioned above. Tampa Red just doesn't get any respect :) Scott http://www.geocities.com/SunsetStrip/4466 Check it out! ========================================================================= Date: Fri, 7 Jun 1996 16:06:13 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Sitting & Thinking - Big Wal Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *OK, for the sake of discussion, please name one current or latter day *harmonica player in whose style you can hear elements of Big Walter's style. Annie Raines, Studebaker John, Carey Bell, Steve Levine :-), Billy Branch, Kim Wilson. ========================================================================= Date: Fri, 7 Jun 1996 16:15:43 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Sitting & Thinking - Big Walter Horton w/Hot Cottage Comments: To: wd6ehr/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=wd6ehr#a#KAIWAN009#f#KAIWAN#f#COM@s1boca.corp.wrgrace.com, BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *One of the worst albums of all time is BW's "Mouth Harp Maestro". In fact, *it is generally acknowledged that his best work was sessions for other *artists. Because of this, he never received the same recognition as the *more aggressive, more perfectionist, and "bad attitude" Little Walter *Jacobs, who hired only the creme de la creme for his backup. I think that this is a great album (except for him being called "Mumbles" on it). It has some excellent unamplified work by Horton. The worst Horton recording I've heard is Live at the El Macambo, mostly because of the lousy sound quality. -Steve ========================================================================= Date: Fri, 7 Jun 1996 13:25:17 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Reruns Jim Miller said: edit edit >In fact I believe some of the growing hostile climate on >Blues-l has to do with the "shut -the f**k up we already have been there" >attitude some of us display when encountered with these reruns. It's not just >those evil new members! I get sick of the same threads too ( it's almost like >talking to Alzheimer patients) In all seriousness, this was a good post. It is tiresome to go round and round with people, but fighting is even less fun, and when we discuss things instead of drop-kicking someone, we may learn something sometimes as well. But speaking of.... Old guy goes to the doc. Says, "I feel real bad, doctor" Doc runs a bunch of tests... Comes back in looking grim... Says: "Well, I have bad news and worse news...." uhhh... first you have cancer.... That's the GOOD news?? yeah, and you also have Alzheimer's welll... THANK GOD IT WASN'T CANCER! DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Fri, 7 Jun 1996 13:32:22 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Moratorium Craig Edmundson said: >Without intending to offend anyone, I humbly suggest a moratorium on the >Muddy's Cabin and Black Church Arson >threads for the next few days. As they say, "Time heals all wounds..." No offense taken. We are done with the arson wars. From now on it will only be info on what you can do if you want to help. Can't speak about the "Muddy's Cabin" brou-ha-ha, I deleted 'em all before I read 'em! Works for me... DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Fri, 7 Jun 1996 15:09:34 -0500 Reply-To: scott d From: scott d Subject: Re: Chicago Musts Comments: To: bbbean@sheltonlink.com At 06:04 PM 6/7/96 GMT, bbbean@sheltonlink.com wrote: >I'm going to be in Chicago for a week or so at the end of this month. What >would you recommend as the must-see clubs? I'm not sure how many nights >I'll get out (I'll be playing M-F night til ??), but I'll definately be >out and about Saturday and Sunday night. > >Tips on restaurants, museaums, etc. are also welcome. > >BBB > >B.B. Bean >bbbean@sheltonlink.com >Peach Orchard, MO http://www.cris.com/~Bbbean > > BBB, Hard to say without knowing what you like, but over the blues fest weekend I suggested to a lot of folks that they check out one of my favorite places, Smokedaddy BBQ at 1804 W. Division (directly across the street from one of Chicago's best jazz clubs, The Bop Shop, BTW). Great BBQ, including some vegetarian stuff, nice intimate atmosphere, and some really great off-the-beaten-path jazz and blues acts 5 or 6 nights a week (mostly blues, but occasional jazz on week nights). Everyone who went there on my recommendation got back to me with rave reviews. On Sunday nights check out: Taildragger & The Lazy Boys at the 5105 Club, 5105 W. North Ave. It's a friendly little neighborhood bar in a mostly black area, and Taildragger is a staunch Chicago blues traditionalist with a great band. LV Banks & His Swinging Blues Band at The New Tam Tam Lounge (a/k/a The Easy Living Lounge) 109th and Michigan Ave. Same basic deal as above, but LV is more of a string stretcher a la BB King and Freddie King, and also plays some great soul/R&B stuff. Check the Reader when you get to town for more. Scott http://www.geocities.com/SunsetStrip/4466 Check it out! ========================================================================= Date: Fri, 7 Jun 1996 14:56:00 -0600 Reply-To: bmpech@MSCD.EDU From: Bruce Pech Subject: Re: Standard tuning slide Comments: To: scott d In-Reply-To: <199606072009.PAA26058@home.interaccess.com> On Fri, 7 Jun 1996, scott d wrote: > Didn't Tampa Red record all of his slide stuff in standard tuning? He was > recording in the '20s, long before any of the others mentioned above. I think that most if not all of Tampa Red's slide playing is in open E (or D). BP Boulder, CO ========================================================================= Date: Fri, 7 Jun 1996 14:35:10 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: The Best? Who says? ME! - goofy thread FAQ In-Reply-To: <199606071657.JAA19961@inet.lasierra.edu> from "Don Cicchetti" at Jun 7, 96 09:54:15 am <"IMO the best" vs "THE BEST"> I also don't mind at all listening to opinions. I like Big Walters session playing. I think Mouth Harp Maestro is a terrible album. This doesn't mean that you have to agree. But when I say "Surely you can't seriously believe that ANYONE but BIG WALTER was the WORLDS ABSOLUTE GREATEST", this transcends opinion and becomes dogma. Dogma is something used as a substitute for fact - a POOR substitute. I enjoy sharing opinions, and am flattered when others choose to share them with me. I get very annoyed at those who try to tell me what I should have as opinions, and don't generally have a good opinion of those doing so. I think we can put this "GREATEST EVER" thingie to rest if we simply observe the following common-sense suggestions of etiquette: 1. Express your opinion as your opinion, and use IMHO, IMO, IMAO, and other "in my opinion" variants liberally. 2. NEVER say stuff like "Surely you can't disagree that ....". This is dogma and has no place in a scientific discussion. It's even bad in religion. 3. Have respect for others, regardless of how ridiculous their opinions are. Maybe others have suggestions to minimize problems of this nature? -- IronMan Mike Curtis Manners are to society as oil is to an engine. (I forget who) A clever saying proves nothing (Voltaire) ========================================================================= Date: Fri, 7 Jun 1996 17:36:47 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: LYLE LOVETT FANS!! LYLE LOVETT FANS!!! (And I know there are a few of you lurking out there in Blues-L Land): This weekend on "Austin City Limits" (PBS, check local listings for time and date although I think it's Saurday at 10 P.M. everywhere), they will be showing a great one from about 2 and a half years ago. It is a round-robin, all-acoustic guitar show featuring Lyle Lovett, Rodney Crowell, adn Willie Nelson. They all sit on stage. Each plays a song, and then the next guy plays and so on. Lyle performs two songs that are on no officially licensed album nowhere. (I can't vouch for possibel bootlegs.) One is called "That's Right, You're Not from Texas." If you like Lyle Lovett, DO NOT MISS THIS!!! You have been warned, Gavin ========================================================================= Date: Fri, 7 Jun 1996 17:36:59 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Re: "Facts" and "Opinions" Comments: To: "P.W. Fenton" P.W. Fenton wrote "If an opinion can be proven wrong (and it can) how then was it correct?" My understanding of the definitions of "fact" and "opinion" are that if it can be proven wrong, then it wasn't an "opinion;" it was an assertion of fact. For example, if I say "In my opinion, Stevie Ray Vaughan played harpsicord on 'Texas Flood," that's not really an opinion. True, I say "in my opinion." But neither that phrase nor "I think" transmogrifies the idea itself. The idea is an assertion of fact. It is not an OPINION whether SRV played harpsicord on "Texas Flood;" it's an assertion of fact. (And it happens to be wrong, for those who are wondering.) I think the key to your reasoning is PROVEN wrong. You can not prove an OPINION wrong. Only facts are right or wrong. Opinions are agreed with or disagreed with. If it can be proven wrong, it's not an opinion. Now, the facts on which I base my OPINION may be wrong. Yes, that would clearly undermine the VALIDITY of my opinion. P.W. Fenton also wrote "If an opinion can be changed by experience and education, then how was it correct before?" The opinion was neither CORRECT nor INCORRECT before. It was just different from the new opinion. Another example from my own life has to do with classical music. When I was younger (so much younger than today-ay), classical music was boring to me. That was my opinion . . . AT THAT TIME. Then, I was blown away by John Williams' "Star Wars" soundtrack. Which got me to listen to Wagner. Which led to other pieces by other composers. Now, I find much classical music to be exciting and beautiful. So, my opinion has changed. Was it wrong before? Nope. To me classical music WAS boring. Now, it is not. Later, P.W. Fenton wrote "If you say, 'I think the Blues is just a branch of Rock and Roll' That would be an opinion, and it would be wrong." Again, I think we are talking about someone making an assertion of fact under the GUISE of it being an opinion. Why? Because we can indeed MEASURE thetruth of this statement. To be a branch of something is to be a subset of it. Congress and the Supreme Court, for instance, are branches of our government; the government is not a branch of them. Now, since Rock & Roll came AFTER the Blues and indeed was BASED in part on the Blues, it can not be a branch of the Blues. Ergo, the statement was wrong. Thus, it was not an opinion (as it looked to be on its face), but was, rather, an assertion of fact which was proved to be incorrect. What the speaker did here was what I talked about above. S/he tried to cover an assertion of fact as an opinion. Just saying "I think" or "In my opinion" does not change the esscence of the idea. If that were true, I'd just say "I think I have a million dollars around here somewhere." (No, it didnt work. Sorry folks.) Of course, theone thing to rember about my whole "fact or opinion" argument: it's just . . . my opinion. Gavin ========================================================================= Date: Fri, 7 Jun 1996 14:30:42 -0700 Reply-To: Joel Beeson From: Joel Beeson Subject: 2 Held in Plot to Kill Black Disney Tourists (fwd) Comments: To: Ibtisam Barakat Comments: cc: "Kristi M. Wilson" , David Rees , Mary Jo Neitz , George Lipsitz , George Lewis , Melanie Jennings , JACQUE DUNN , Dick Doughty , Marnie Dilling , Jan Coester , Mario Chacon , Guillermo Calzada , Sarah Buchholz , Clancy Blair This message is in MIME format. The first part should be readable text, while the remaining parts are likely unreadable without MIME-aware tools. Send mail to mime@docserver.cac.washington.edu for more info. ---------------------------------107131352112887 Content-Type: TEXT/PLAIN; CHARSET=us-ascii Content-ID: > > June 7, 1996 > > 2 Held in Plot to Kill Black Disney Tourists > > [M] IAMI -- Two youths identified as members of > an all-white gang in Fort Myers, Fla., have > been charged with planning to disguise > themselves as Disney characters and then kill > black visitors to Walt Disney World. > > The youths, Kevin Foster and Christopher Black, > both 18, were indicted in Fort Myers on > Wednesday by a Lee County grand jury, which > accused them of plotting to mug Disney employees > at the popular theme park, in Orlando; don the > employees' costumes to conceal guns equipped > with silencers, and then shoot black tourists. > > The charges have received enormous attention > around the state, where attacks on tourists in > recent years have damaged Florida's reputation > as a leading vacation spot. > > Under questioning, the authorities say, Foster > and Black have both acknowledged being members > of the Fort Myers gang, which calls itself the > Lords of Chaos. > > They and four other members of the gang were > arrested on May 3 after what the police have > described as a crime rampage that peaked on > April 30 with the fatal shooting of a band > teacher at the high school that some of them > attended. The teacher was killed, the police > say, because he had interrupted gang members' > efforts to deface the school auditorium and > threatened them with discipline. > > "I think they were very serious" about the > Disney World plans, said the Lee County sheriff, > John McDougall. "Just look at what they did > before they were arrested. They were on a real > crime spree." > > More than a month after their arrest, Foster, > Black and two others remain jailed. The > additional two youths arrested last month were > freed on bond earlier this week and are expected > to testify against those four. > > Only Foster and Black have been charged with the > Disney World plot, which was disclosed, the > authorities say, by yet a seventh member of the > gang. That youth, the police say, was on his > initiation trip with the Lords of Chaos -- a > late-night drive to a local restaurant to kidnap > the manager, rob the cash registers and so > finance the visit to Orlando -- when officers, > alerted by a girlfriend of one gang member, made > the arrests. > > Investigators say that Foster was the gang's > leader and that he apparently exerted so much > dominance over the others that although they had > no prior criminal records, they not only took to > calling him God but also obeyed his every order. > > "It's not every day that we have these cases, > thankfully," said Steve Russell, an assistant > state attorney handling the prosecution. > > Home | Sections | Contents | Search | Forums | Help > > Copyright 1996 The New York Times Company > > ---------------------------------------------------------- ---------------------------------107131352112887 Content-Type: TEXT/PLAIN; CHARSET=iso-8859-1 Content-ID: [banner] [toolbar] June 7, 1996 2 Held in Plot to Kill Black Disney Tourists [M] IAMI -- Two youths identified as members of an all-white gang in Fort Myers, Fla., have been charged with planning to disguise themselves as Disney characters and then kill black visitors to Walt Disney World. The youths, Kevin Foster and Christopher Black, both 18, were indicted in Fort Myers on Wednesday by a Lee County grand jury, which accused them of plotting to mug Disney employees at the popular theme park, in Orlando; don the employees' costumes to conceal guns equipped with silencers, and then shoot black tourists. The charges have received enormous attention around the state, where attacks on tourists in recent years have damaged Florida's reputation as a leading vacation spot. Under questioning, the authorities say, Foster and Black have both acknowledged being members of the Fort Myers gang, which calls itself the Lords of Chaos. They and four other members of the gang were arrested on May 3 after what the police have described as a crime rampage that peaked on April 30 with the fatal shooting of a band teacher at the high school that some of them attended. The teacher was killed, the police say, because he had interrupted gang members' efforts to deface the school auditorium and threatened them with discipline. "I think they were very serious" about the Disney World plans, said the Lee County sheriff, John McDougall. "Just look at what they did before they were arrested. They were on a real crime spree." More than a month after their arrest, Foster, Black and two others remain jailed. The additional two youths arrested last month were freed on bond earlier this week and are expected to testify against those four. Only Foster and Black have been charged with the Disney World plot, which was disclosed, the authorities say, by yet a seventh member of the gang. That youth, the police say, was on his initiation trip with the Lords of Chaos -- a late-night drive to a local restaurant to kidnap the manager, rob the cash registers and so finance the visit to Orlando -- when officers, alerted by a girlfriend of one gang member, made the arrests. Investigators say that Foster was the gang's leader and that he apparently exerted so much dominance over the others that although they had no prior criminal records, they not only took to calling him God but also obeyed his every order. "It's not every day that we have these cases, thankfully," said Steve Russell, an assistant state attorney handling the prosecution. Home | Sections | Contents | Search | Forums | Help Copyright 1996 The New York Times Company ---------------------------------------------------------- ---------------------------------107131352112887-- ========================================================================= Date: Fri, 7 Jun 1996 14:44:35 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Sitting & Thinking - Big Walter Horton w/Hot Cottage Comments: To: RhythmShrk@AOL.COM In-Reply-To: <960607094727_129883880@emout19.mail.aol.com> from "Bernie Clarke" at Jun 7, 96 09:47:33 am > influential. I would prsonally consider Little Walter, Sonny Boy and Big > Walter the three most influential. Now to consider who I would go see first > if they came back for a one night show, I would probably see George Smith > because he was an incredible vocalist and songwriter and harp player. Perhaps a better question: If you were able to take a harp lesson from just one of these (BW, LW, SBWI/II, or GHS), which would you choose? Now how's THAT for the opposite of Hobsons' Choice ;-) > Thinking about it I would say that they are both legendary, Walter got there > for harp chops and George got there for the whole show. And I'd have to agree. Technically, BW had better chops. But George was certainly more entertaining as a musician/vocalist package. I like 'em both. -- IronMan Mike Curtis ========================================================================= Date: Fri, 7 Jun 1996 17:54:40 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: (Fwd) Re: Help me signoff ------- Forwarded Message Follows ------- From: "P.W. Fenton" Organization: The Second Ward To: "FJG" Date: Fri, 7 Jun 1996 17:15:10 -0500 Subject: Re: Help me signoff Priority: normal On 7 Jun 96, FJG had this to say: > Sorry to bug everyone but, > > What is the command to signoff or unsubscribe to blues-l? I've > tried several commands such as: > > Signoff Blues-L > Unsubscribe Blues-L > Signoff Blues-L > Unsubscribe Bues-L > > All have been sent to: listserv@brownvm.brown.edu > > What am I doing wrong? > > Thanks and sorry The correct form is: Signoff Blues-l Your problem has nothing to do with that though. Something has got the address attached to you messages wrong. is a bad address so nothing is coming back to you from the listserv. You need to correct that address in your mail software. Then it will all work. Hope you read this. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 7 Jun 1996 15:12:17 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: weeknight blues Comments: To: steamin@VALLEYNET.COM In-Reply-To: <01BB5471.528F9600@visalia2-22.valleynet.com> from "Stan Ruffo" at Jun 6, 96 11:58:39 pm My experience has been that: 1. Nightclubs aren't as popular these days as they used to be; 2. People don't drink as much as they used to; 3. there are about 75% less smokers than there used to be; 4. nightclubs in general aren't as clean and well maintained as they used to be; 5. the economy is bad and people don't have the disposable income they used to have; 6. more employers REQUIRE overtime of their employees, leaving less free time for nightclubbing. The glaring stat above is "smoking". It used to be that more than 75% of the adult population smoked. This has reversed, with an estimated 20% smokers today. With smoke-free workplaces, etc., people are not accustomed to smoke. Over the years, I've found people coming into clubs, getting asphyziated, and leaving, coughing and teary-eyed, NEVER TO RETURN. Sure it's just a couple per night, but over the years, nightclubbing has gone from being commonplace to being somewhat scarce. In January 1997, I hear that California is going "non-smoking" in bars. I think this will have an overall positive effect longrange on nightclubs. Because the above constitutes a "trend", it will take time to reverse, but if the clubs are smart, they'll band together and heavily promote "nonsmoking" to the general public. In time, maybe they can reclaim the many they've lost due to "pollution. -- IronMan Mike Curtis ========================================================================= Date: Fri, 7 Jun 1996 17:19:42 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: please don't un-subscribe--here's why Comments: To: "Stine, Dave" In-Reply-To: <96Jun7.144031cdt.12685@fscmail.fsc.follett.com> On Fri, 7 Jun 1996, Stine, Dave wrote: > I regret using the "I brake for Unicorn" analogy to define blues purists. > Steve Price rightly called me on it. We took our discussion off-list. Had > some good chats. Realized that we live only a couple hundred miles apart, > and plan to meet at Mississippi Valley this July. To duke it out, of course. > > Had we not tangled on BLUES-L, we might not have ever gotten the chance to > become blues friends. (I understand he has a mean left hook.) > Blues people are still a minority. We need all of us. Un-subscribing won't > solve the bickering. I think that all of our awareness has been heightened > in the past few days. Hey, there's a PERSON at the end of my Email. Think > about it. David, think? Me? I'm not sure . . . it's like, you put your lips together and blow, no, wait, first one foot then---no, it's um, oh, DARN! Can't we name call a little? > > Peace, > > David Stine > dstine@fsc.follett.com > Steve Price (Good to see this, David. We can all be friends.) ========================================================================= Date: Fri, 7 Jun 1996 17:31:01 -0500 Reply-To: Steve Price From: Steve Price Subject: Note on Zydecco While were on the subject, I thought I'd pass along the origin of the word as far as the best description I've seen. It comes from the song Les Haricots Sont Pas Sal (corrections of my French are always appreciated), which translates as the "snap beans don't have salt." But the cute part, the part that makes this kind of interesting is that to get from Les Haricots, you have to cut off the Le, elide the s, punch the r into a d (which is easy in French, or rather, which is easy for me in my lousy French), make the resulting word a special regional slang, and spell it like sounds. As American as gumbo, all right. Steve Price ========================================================================= Date: Fri, 7 Jun 1996 22:55:54 GMT Reply-To: ghost From: ghost Organization: Harvard University Subject: Re: Conservatives and race, the *real* "Big Lie" Comments: To: bit-listserv-blues-l@uunet.uu.net In article SGLIWA writes: >ghost writes: > >>were granted their just deserts (when Pat Boone wasn't getting rich off >>exceptionally lame cover versions of Black hits, that is; if they could have >>figured out some way for some White guy to claim the sports scores of some >>Black guy, they would have). Organized sports were desegrated fairly late >>in this century (see Ken Burns' "Baseball" documentary for the history). >>Harry Truman desegregated the military post WWII; until then there were >>no Black people "getting ahead on merit" there, at least not as far as >>merit & ability *should* have taken them. >You have proven my point! The Conservative approach is to treat people as >individuals while the Liberal approach is to treat people as groups. The right >way to deal with these injustices is to eliminate the barriers and from that >point on treat everyone the same, as individuals. The Liberal approach, if >applied >to sports, would be to correct for past discrimination by guaranteeing that a >certain number of African Americans MUST be on each team and that the fences >should be moved in 10 feet for African-American hitters. In music, no one is >forced to buy a Black artist's product just because in the past White producers >used to rip off black artists. People (like myself) buy Black music because >they believe it to be a far superior product than "lame cover versions." >In the military, someone like Colin Powell made it to the top on merit, not >because before Truman African-American's suffered racism in the military. Lot most of these discussions, you have proved that arguing with someone who can't read is just not worth it ("See! You've proved my point!" ----How?, pray tell?). Again, in short: Blacks did not succeed in segregated America, except in small segregated areas of venue. In all cases the "success" would have been *real* success had race not been a governing & deciding issue. The sales of records when the marketing was limited to just the small "race market" was infinitesimal when compared with sales when the market-barrier was finally burst (in the 60s, not co-incidentally at the same time as the Civil Rights movement). The fact that you in the 1990s prefer original Black versions from the 50s is irrelevant; in the 50s, you wouldn't have had any opportunity to hear the records unless you were living in a city with a large Black population, large enough to support a radio station that catered to their interests (& even those were late in coming). A friend of mine from New Hampshire is ignorant of many 60s hits; their New Hampshire radio station didn't play any records by Black people. That was their official policy. In the *60s*. They play them now, as "oldies". The "success" of Black players of professional sports was limited to what recognition they could get in segregated leagues in team sports, & they were usually banned from individual sports entirely. The huge success stories, & salaries, came after the bans were lifted & people were hired according to their perceived merit & estimated future worth onto integrated teams. Colin Powell wouldn't have been promoted to anything like his current rank in the segregated army. He would never have gotten an opportunity to use his skills in real-time combat. Watch any documentary on Blacks in the military in WWII & listen to the bitter stories of people who, even though able to force themselves into high-level training, were denied the opportunity to use that training. Equally horrible are the stories of people who weren't allowed the opportunity to use all their acquired-in-the-military civilian-job skills when back in civilian life. I notice you haven't addressed any of my points about professions other than the "early 3 to desegregate". Have you ever noticed that no-one ever casually brushes off the accomplishments of a brain surgeon with "Oh, well, they probably just had a natural talent for brain surgery"? If there had been for some reason been an early lifting of the ban on Black brain surgeons, I'll bet they would. So I was going to end here. These discussions are fruitless, & I've run into a couple inappropriately placed recently (I don't read rec.arts.libertarian.jerkos, if there is one, so why are they here?), wherein the posters always glom onto some completely unrelated issue & say "See! That's why there's a national debt! That's why the nuclear-family in America is breaking up! That's why I didn't get into Prestige University, which I think I deserve! That's why my dog ran away! And my S/O left me! And its raining!". Ever notice how all of the things blamed happened during "the last X-ty years", with X-ty being exactly the span of their lifetime? But anyway: I'd like to put in a word for above-averageness. Not undeniable superiority. You don't even need that in a brain surgeon; #s 2-30 are pretty damn good too, for your purposes. #1 is probably a better article-writer or public speaker, anyway, not the best surgeon after all. What about just normal, above-average people, like we all like to think *we* are, getting the opportunity to succeed? We all have a chance of acheiving brilliance *sometime*, even if not as consistantly as the bright-shining-star types. On the racial-equality issue (what we were discussing, thanks to jerko) I'm tired of hearing about the George Washington Carvers & the W.E.B. DuBoises & so forth. What about the #s 2-30, who didn't have quite as much drive, but probably had just as much talent? Why endorse a rotten system which grinds them down to nothing & extols the few who were able to reassemble themselves after grinding? Don't we need all the talent there is out there to try to straighten out this world? (Gee, that felt better) Next chapter: Mediocre people deserve to live too.... ========================================================================= Date: Fri, 7 Jun 1996 15:46:40 -0700 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Commercialization: At what cost? Here are some things I don't understand (and I am guilty of these periodically): 1. What level of commercial success does one need to achieve, before they are considered having "sold out"? I enjoy hearing a Magic Slim recording or Albert Collins recording on a commercial periodically. I don't think it is a sell out. I'd like to see my favorite acts be successful rather than languish in some cult status. Should John Lee Hooker have told PepsiCo to shove it? Muddy Waters was once asked about how he felt about receiving commercial success. He said (and I forget the actual quote) that it was nice to see it happen during his lifetime when he could enjoy it. 2. Why is it that we almost seem to wish the blues musicians and music we claim to love to languish in obscurity? People seem to forget that most of these performers are attempting earn a living off their music. Success would be something that most of these people would like to see in their lifetime. A lot of these performers have families to support and don't have cool day jobs. Commercialization and mass acceptance doesn't necessarily have to be bad. If I was a living blues musician who was struggling for commercial success, I would want one of my songs on the next HOB compilation CD. 3. How is success measured in the blues? Muddy Waters is a man whose music we all love. Muddy sold a lot of records and was considered a commercial success. People give Junior Wells a lot of grief on the list. His act hasn't changed in the fifteen years I've been seeing him. People seem to still expect him to play cuts off the Hoodoo Man LP just like they were recorded and are disappointed when he doesn't almost like he is committing an act of false advertising. 4. When did originality cease to be rewarding for blues musicians? When did being new and different cease to be rewarding in blues circles? Why is that so? Where are the rewards for originality? Muddy Waters and Little Walter were breaking new ground in Chicago at the time. Their music was considered cutting edge stuff at the time. They sounded different than the previous generation of bluesmen. Forty years later the current generation of musicians are trying to sound like the previous generation and are rewarded for it. This is especially true of harp players attempting to recreate the sounds of Little Walter or George Smith. (BTW, I really dig the work of both of these guys.) A few months back on harp-l, a person told me they thought Billy Branch or Carey Bell wasn't a good harp player because he doesn't sound like a "classic Chicago player" because he didn't sound enough like {insert your favorite size} Walter. 5. Why is commercial success viewed so negatively? 6. Where in the world in Carmen SanDiego? Joe ========================================================================= Date: Fri, 7 Jun 1996 16:14:32 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Corporate blues--IMHO--again Corporate sponsors can be swell....but, Back in the late '80s The Paladins had MILLER BEER sponsorship. When MILLER shipped out their table tents, posters, and buttons for the year, they had mis-"spelled" Dave Gonzalez's name as Dave Gomez. When Dave contacted MILLER to correct the miscue, MILLER said tough! We're not re-tooling the promo. Dave has been since known as "Guitar Gomez". BOTTOM LINE! (corporate) BOTTOM LINE!! Uncle Ray ---------- From: bbbean@sheltonlink.com[SMTP:bbbean@sheltonlink.com] Sent: Friday, June 07, 1996 2:03 PM To: Multiple recipients of list BLUES-L Subject: Re: Corporate blues--IMHO--again In <96Jun6.120222cdt.12680@fscmail.fsc.follett.com>, "Stine, Dave" writes: > Thanks to subsidies from Miller beer, small towns in my area have seen > traveling blues and R&B acts. Thanks to PepsiCo, John Lee Hooker has > replaced Jack Palance as the coolest older man on TV commercials. Other > examples abound. FWIW, I think Corporate involvement in teh blues during the late 80s was one of the nest things that ever happened to the music. I wish they'd come back. BBB B.B. Bean bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Fri, 7 Jun 1996 16:25:16 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: HOB/sponsorship I've tried to stay out of this, but I have two over-riding thoughts. 1. If Mr. Tiggrett (sp?) has any smarts, get a consultant of merit on board for his "good works". R. Shurman, D. Waterman, or... 2. I have a hard time imagining Muddy's cabin, from Stovall's, being towed around the country like some shit-assed alum- inum travel trailer. I think back to the dignity that Muddy exuded, in his tux and black tie, the first time I saw him in 1965. ---------- From: Bonnie Kalmbach[SMTP:KALMBACH@MACC.WISC.EDU] Sent: Friday, June 07, 1996 3:41 PM To: Multiple recipients of list BLUES-L Subject: HOB/sponsorship While I am grateful to HOB and other corporate and non-corporate sponsors of various blues-related causes, I do not feel anyone who gives money for an arts-related cause should attempt to influence the production, chose the artists, etc. - nor should the producers feel obligated in any way to do things that would please the contibutors - book their artists, etc. I as a contributor wouldn't expect it. There are any number of single and corporate contributors who are content to let the performers and blues societies do their thing. Think of all of the unpaid and poorly paid excellent work done by individuals such as Dick Shurman, Dick Waterman, Jim and Amy O'Neal, Micheal Frank, Marcia Grodsky, and all the blues societies to name a very few. Yes I got pretty darn mad and vented on my unsuspecting relatives when I saw HOB's Johnny or Jimmy Ripp at the Chicago blues fest. Damn! I thought - Byther should be up there - or Jimmy Dawkins - or Willie Kent, Magic Slim, the great Bonnie Lee, or a plethora of other fine Chicago artists. Talent-wise, there was no comparison. I wuz mad - I spell M-A-D!!...! I am workimg on my own report of the fest - but I thought I'd get most of the negative stuff out first. -Bonnie the K. ========================================================================= Date: Fri, 7 Jun 1996 19:30:39 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Re: Zydeco: Creole or Cajun? I for one would like to thank everyone who has added to this. I lived in New Orleans for many years. And still, I have learned a lot from Bluezellers. Lovin' learnin', Gavin ========================================================================= Date: Fri, 7 Jun 1996 19:30:46 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Re: The Best? Who says? ME! - goofy thread FAQ Comments: To: Don Cicchetti Don Cicchetti wrote "And opinion should be stated as opinion, i.e. 'I like yadda ya best', as opposed to the "yadda ya is the best ever", which is a meaningless assertion by itself." Later he wrote "Ok, if it is well thought out, why not drop 'the best'??" Saying, "this is just the best," is a valid style of communication called hyperbole. When I hear someone say something like "Artist X is the best," I understand that it is their opinion of Artist X. They are telling me how much they like this artist. Just as when someone says "I love B. B. King," I understand that they are (usually) talking of their extreme passion for his music, not their desire to someday date and maybe marry him. Don also wrote "Remember, there are some serious blues people on this list." Thank goodness. That's why I signed on. Are you suggesting that, if one feels the urge to make a list, s/he is no longer a serious blues fan? In additon, Mr. Cicchetti wrote "What we are saying is that your 'best ever' posts BORE THE LIVING CRAP out of us, because they are so poorly informed." I understand that the "Mojo" mag top 100 list bored you and many others. Given the response, though, there are many who WERE not bored by it. In fact, it appears that there are a lot of folks who really got stimulated by it. Moreover, many lists clearly are poorly informed. And many are not. By the way, you mention "your 'best ever' posts.'" I never posted a "best ever" list. I merely repsonded to the "Mojo" list. Don also asked "Did you think that posting this would make everyone *like* "yadda ya is the best ever" posts??" Nope. I didn't do it in the hopes of changing anyone's mind on that issue. I wrote the original post to make one point and one only: we need to be more sensitive and thoughtful about criticizing someone's opinion. Too often we attack the person and not the opinion. He also wrote "9 times out of 10, 'the best ever' posts are uninformed flamebait posted by chatroom people who are getting all the jollies they can before their '10-dat free time' online offer runs out." Now THAT is an assertion of fact. Have any research to back it up? Just kidding. I understand that what you're doing is, again, hyperbole. You are merely showing how madly you dislike "best of lists." In a different post, he wrote "If it can't be proven wrong, NEITHER can it be proven *right*, therefore it is unknowable, and is nothing but a meaningless assertion." Wow. Now that's a bold statement. You have just rendered a lot of scientific theory and maybe even the existence of God "nothing but a meaningless assertion." He also wrote "People who post 'the best ever' are almost always showing their ignorance." Well, that's your opinion. You are entitled to it. I just happen to disagree. As always, I may disagree with your opinion, but I would defend to the death your right to voice it, Gavin ========================================================================= Date: Fri, 7 Jun 1996 19:30:56 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Re: CajunZydeco&SwampPop*IS NOT*NewOrleans music Comments: To: "Shane K. Bernard" Shane K. Bernard wrote "Well, perhaps instead it took I-10 west . . . and that's why about 4.5 times as many Cajuns reside in metro Houston as in New Orleans." Or maybe the &%^^ Mississippi River Bridge traffic was just at a (&^&^%ing stand-still again, so they just decided to head west instead. Just being silly, Gavin ========================================================================= Date: Fri, 7 Jun 1996 16:39:09 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Zydeco: Creole or Cajun? Les Haricots sont pal sale"!...Zydeco is decidedly Arcadian(Cajun) and black. It is NOT, in my humble opinion, Creole. It was born in the western parishes, not in Orleans. Uncle Ray Go 'head on...rake me over the coals. I can take it. ---------- From: DUTTWEILER.J[SMTP:JONATXXX@GOMAIL.DOAS.STATE.GA.US] Sent: Friday, June 07, 1996 10:50 AM To: Multiple recipients of list BLUES-L Subject: Zydeco: Creole or Cajun? Date: Friday, 7 June 1996 10:49am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Zydeco: Creole or Cajun? I have a question for those more knowledgeable then I on this subject: is Zydeco considered Cajun or Creole music; or neither? It seems to me that it is more derrivative of Accadian language and culture, but I could be wrong. Chubby Carrier, on his latest disc, at least on one song, seems to term it Creole music. Any insight would be most appreciated. JD ========================================================================= Date: Fri, 7 Jun 1996 17:01:49 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Good news! Church rebuilding I spoke with Nelson Rivers of the NAACP a few minutes ago. I couldn't reach him earlier because he was on CNN "talkback live" this afternoon discussing the very subject. Did anyone see him? Turns out there are several organizations trying to raise money to rebuild the damaged and destroyed churches. Next week, Mr. Rivers will travel to many of the sites and determine what the needs are, and what is covered by insurance. Many sadly, are not covered. Once he knows what the needs are, he and the NAACP will form an umbrella organization to distribute money to the churches as needed for their restoration. They are also founding a reward fund to assist in the capture of the people responsible for these attacks. Donors may give to whichever fund they feel is appropriate. There are also needs for church-supply type items such as Bibles, and books, and hymnals, as well as other items he will discover on his trip. (which will probably include items such as piano's, organs, sound gear, etc, so there is plenty of opportunity to make a difference in some way or another. I will be speaking to him in the next ten days or so, and will then post how we can contribute to this effort. I want to see people going in to sing and worship in those places again. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Fri, 7 Jun 1996 20:25:26 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Apology to Bluezellers I want to apologize to my fellow 'zellers. Recently, I have been the subject of some flamebait which I took. And that's my problem. However, I have continued to answer it in public on the list. Which is your problem. In the future, any responses I might have to such flamebait will be kept in private. Thanks in advance, Gavin ========================================================================= Date: Fri, 7 Jun 1996 17:34:09 -0700 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Re: Zydeco: Creole or Cajun? Comments: To: bit-listserv-blues-l@cs.washington.edu Shane K. Bernard wrote: > The term "black Cajun" is occasionally heard, but this is a misnomer, > IMHO, and since the birth of black Creole pride in the 1980s blacks of > francophone heritage strongly discourage anyone from referring to them > (or their music and culture in general) as "Cajun." In fact, some > zydeco musicians stipulate in their contracts that their music is > _not_ to be publicized as "Cajun music." (I have heard about zydeco > musicians refusing to perform at concerts until the word "Cajun" was > removed from marquees.) Somebody recently posted, and I thought I saved but I must have misplaced, the actual section from Buckwheat Zydeco's standard contract where he indicates that he plays Creole or Zydeco, but *not* Cajun music. If anyone did save that message, I'd love to see a re-post... Adrian (Acadian in exile) > For more info, see the Cajun & Creole Pages, which I co-author with > Creole journalist and deejay Herman Fuselier of Opelousas LA. > > SKB > Cajun in Exile ========================================================================= Date: Fri, 7 Jun 1996 17:45:02 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: The goofy "best" thread redux Gavin said: > Saying, "this is just the best," is a valid style of communication >called >hyperbole. I love it! ha ha ha ha!! you're alright Gavin! Are you from Hollywood by any chance? Have you met Joe Isuzu? To many people hyperbole = BS.... Certainly to many of the experienced folks on this list. Wouldn't it be worthwhile taking the "BS factor" out of your posts by merely telling us about what you love instead of who "the best" is? Come on, be honest, it's better manners ain't it? >When I hear someone say something like "Artist X is the best," I >understand that it is their opinion of Artist X. They are telling me how much >they like this artist. Ok, but it also a conversation stopper, since it is a statement that automatically brings objections and counterpoints, when what we REALLY want to hear is WHY you LIKE them. > Don also wrote "Remember, there are some serious blues people on this >list." > Thank goodness. That's why I signed on. Are you suggesting that, if >one >feels the urge to make a list, s/he is no longer a serious blues fan? If you hang out for a while you will find that the people with the genuine face-time with the legends we love so much, NEVER make "the best" statements and lists. They *do* jump in when things like "my all-time top 20 list", come by; a thread that was very well liked, btw. I hate to say it, but it is usually alienated young guys from the blues-rock world who make "best ever" claims... sorry, but that has been my experience, and no I don't have, nor want, the data. > Don also asked "Did you think that posting this would make everyone >*like* "yadda ya is the best ever" posts??" > Nope. I didn't do it in the hopes of changing anyone's mind on that >issue. I wrote the original post to make one point and one only: we need to be >more sensitive and thoughtful about criticizing someone's opinion. Too often >we >attack the person and not the opinion. And sometimes the opinion is so silly that the person who wrote it can't tell the difference between a disagreement with the opinion and a putdown of them. I had someone *scream* at me once because a TV I had given her didn't work.... I ran over, and it turned out she hadn't plugged it in... Now how do you keep that person from feeling stupid?? you can't... And as I've said before: -T-Bone Walker is the greatest ever- -Canned Heat is the greatest ever- and -The Carpenters are the greatest ever- are equivalent statements with the same value in and of themselves: ZERO. > He also wrote "9 times out of 10, 'the best ever' posts are uninformed >flamebait posted by chatroom people who are getting all the jollies they can >before their '10-day free time' online offer runs out." > Now THAT is an assertion of fact. Have any research to back it up? >Just >kidding. I understand that what you're doing is, again, hyperbole. You are >merely showing how madly you dislike "best of lists." Not hyperbole. Most of these people are from online services such as AOL and they disappear after a week or two. I have yet to see someone who has been on this list for a long time who started out with "yadda-ya is the best ever"... Has anyone else? > In a different post, he wrote "If it can't be proven wrong, NEITHER can >it be proven *right*, therefore it is unknowable, and is nothing but a >meaningless assertion." > Wow. Now that's a bold statement. You have just rendered a lot of >scientific theory and maybe even the existence of God "nothing but a >meaningless >assertion." Very interesting how you put peoples opinions of the "best ever" right up there in the realm of Theology and Cosmology.... hmmm Ideas about God or Cosmology, that are believed, (or disbelieved) but unprovable may still be valid, because the activity of searching for those answers is a very sophisticated and rewarding one that involves so much interplay with others and serious thought, learning and growth. Making "best ever" statements is usually done from a perspective of very LITTLE exposure to the art form, by a typically immature person, and usually results in a pointless argument. One of the basic concepts of esthetics and art criticism is the idea that no single individual's opinions are definitive. (for them or anyone else... because definitive opinion is not the goal of the activity, enjoyment and enlightenment is) The art critic who is most effective is not the one that says "the best" the most often, but rather the one who says: Here is why I like Picasso", or "here is why I dislike Warhol" and is convincing and articulate. The realm of opinions all being equally valid and unprovable is mostly attractive to, shall we say, a certain demographic.... (oh gosh... he's an elitist...) DC BTW, Gavin does not stand alone here.... Saw a TV guide last night... little print- "is" big print- "SEINFELD THE BEST EVER TV COMEDY".... Well sorry... that's a stupid premise too. What sort of discussions does it bring about? Stupid pointless arguments... "Yes it is the best!" "No WAY!! "The Honeymooners" was way better!" "YOU'RE CRAZY!!" and on and on... But this is the conversation our culture is having with itself today... Don't look too deep, don't learn the way it actually works, perception is reality, and reality is yours to choose, and they're all equal. What a world. ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Fri, 7 Jun 1996 18:09:55 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Trouble, trouble, trouble... I haven't been on this list very long, and sometimes the personal negatives gets me down. However, I am jolted regularly to re-examine my views of blues, and it's political and cultural ramifications, by the varied posts that I find here. Damn the nay-sayers, full speed ahead. Keep me thinking. Keep me posting. Maybe my screed and drivel will be the acorn that a blind hog finds that will deliver us to the truth. It could happen! Uncle Ray ========================================================================= Date: Fri, 7 Jun 1996 18:43:35 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Zydeco: Creole or Cajun? Adrian, It seems we've entered into a twilight zone of symantic ravings. Clifton Chenier considered himself "Cajun". Apparently, Stanley Dural considers himself "Creole". Both gentleman have every right to call it what they want! Anyhow....I love my Zydeco. Il sont parits! They are gone! Uncle Ray ---------- From: Adrian Spidle[SMTP:spidle@FISH.WASHINGTON.EDU] Sent: Saturday, June 08, 1996 12:34 AM To: Multiple recipients of list BLUES-L Subject: Re: Zydeco: Creole or Cajun? Shane K. Bernard wrote: > The term "black Cajun" is occasionally heard, but this is a misnomer, > IMHO, and since the birth of black Creole pride in the 1980s blacks of > francophone heritage strongly discourage anyone from referring to them > (or their music and culture in general) as "Cajun." In fact, some > zydeco musicians stipulate in their contracts that their music is > _not_ to be publicized as "Cajun music." (I have heard about zydeco > musicians refusing to perform at concerts until the word "Cajun" was > removed from marquees.) Somebody recently posted, and I thought I saved but I must have misplaced, the actual section from Buckwheat Zydeco's standard contract where he indicates that he plays Creole or Zydeco, but *not* Cajun music. If anyone did save that message, I'd love to see a re-post... Adrian (Acadian in exile) > For more info, see the Cajun & Creole Pages, which I co-author with > Creole journalist and deejay Herman Fuselier of Opelousas LA. > > SKB > Cajun in Exile ========================================================================= Date: Fri, 7 Jun 1996 21:00:09 +0000 Reply-To: thf4@WaterValley.Net Comments: Authenticated sender is From: Tom Freeland Subject: Re: Zydeco: Creole or Cajun? Comments: To: Adrian Spidle On 7 Jun 96 at 17:34, Adrian Spidle wrote: > Somebody recently posted, and I thought I saved but I must have > misplaced, the actual section from Buckwheat Zydeco's standard contract > where he indicates that he plays Creole or Zydeco, but *not* Cajun > music. If anyone did save that message, I'd love to see a re-post... That was me. I got the contract language when he appeared at a local club. Unfortunately, I no longer have it. But what it said was that if anyone called him a Cajun or his music Cajun music either in promoting or advertising the show or from the stage, he would not perform. And it explained very clearly the distinction, at least from his perspective. Tom Freeland ========================================================================= Date: Sat, 8 Jun 1996 01:59:59 GMT Reply-To: Steve Franz From: Steve Franz Organization: Primal Art Subject: Magic Sam question Comments: To: bit-listserv-blues-l@uunet.uu.net I realize that it probably isn't Magic Sam's finest moment - but just for the sake of completeness - does anybody know where a copy of "Do the Camel Walk" might be found on CD or LP? (It was originally recorded and released as Chief single 7026 in 1961, as the flip side to "Every Night About This Time"). I have been able to find Sam's other singles on microgroove or CD, but not this one. Any ideas? Thanks! Steve Franz stegy@inlink.com ========================================================================= Date: Sat, 8 Jun 1996 02:18:47 GMT Reply-To: Steve Franz From: Steve Franz Organization: Primal Art Subject: cmsg cancel Comments: To: bit-listserv-blues-l@uunet.uu.net cancel ========================================================================= Date: Fri, 7 Jun 1996 22:32:37 -0400 Reply-To: Lacook01@AOL.COM From: "Lorri A. Cook" Subject: Re: A Challenge Jim Witteveen has, in my opinion, helped to clarify some of the problems within Blues-l of late, and offered some excellent suggestions for the future. My new mid-1996 resolution is to make better use of the "Outgoing Mail" file. Compose, store, review, then edit or delete as seems useful at least 6 hours later. As Jim had mentioned, it's a good idea whose time is way overdue on Blues-l. It's also pretty easy to get the flavor of a thread early, and avoid later recurrences of the same subject matter. Regarding P.W. Fenton and Leonard Watkins bemoaning the current sad state of affairs on Blues-l, I unfortunately have nothing to compare to. Rather than longing for the good old days, perhaps long-standing members will exercise some leadership in setting a high standard for communication of the ideas and subject matter that merit discussion within the newsgroup. Lorri A. Cook ========================================================================= Date: Fri, 7 Jun 1996 22:35:09 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Re: Commercialization: At what cost? Comments: To: Joe Lempkowski Joe, I think you wrote a well-thought-out piece. I agree with many, if not all, of your points. One I would like to address directly. You wrote "What level of commercial success does one need to achieve, before they are considered having 'sold out'?" It's true; a lot of "fans" seem to WANT their favorite artists to sell a very few records. Kinda like a special pleasure to keep for just themselves. Me, I don't like that. I WANT my favorite artists to sell well. In so doing, they ensure that the record company will renew their contract which ensures that they have a next album and that I can find their next album. It also means that they can do things we all strive for such as owning their own home and not worrying about where their next meal will come from. As long as they do not change their music in order to achieve that success. To me THAT is selling out. For example, IMNSHO, neither REM nor U-2 sold out. The world merely caught up to their style of music. But I feel that Heart did. Just one guy's opinion, Gavin ========================================================================= Date: Fri, 7 Jun 1996 22:35:17 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Re: Hendrix's national anthem (was Hendrix on VH-1) Comments: To: "" You may be interested to know (if you do not already) that "The Star-Spangled Banner" garnered Jimi the only Grammy nomination he ever got. It was for Best Contemporary Instrumental Performance. He lost to Henry Mancini's "Theme from 'Z' and Other Film Music." The only Grammy Jimi ever "won" was the "We're Sorry We Didn't Recognize Your Talent While You Were Alive" Award, the Lifetime Achievement Award. Standing next to a mountain, chopping it down with the edge of my hand, Gavin ========================================================================= Date: Fri, 7 Jun 1996 22:35:25 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Re: Mojo story (was: Re: "Got My Mojo Working" query) This reminds me that there was a law suit years ago over the copyright for that song. (Can any other attorneys remember the style of that case? It slip my ever-slipperier mind.) It was funny to read the way the Court of Appeals judge who wrote the opinion explained the term "mojo." If I find the case, I will post a copy of the judge's definition verbatim. Anyway, the funny thing was that s/he went on at length, many paragraphs, about voodoo and magic and the occult and religious beliefs and symbolic power. Then at the end, one sentence (I'm paraphrasing): "'Mojo' is also slang for male genitalia." Just chuckling, gavin ========================================================================= Date: Fri, 7 Jun 1996 19:56:26 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Muddy's Cabin. I'll be there! All I can say is that if Muddy's Cabin comes to LA I will go and make a pilgrimage. While some aspects of the HOB organization disturb me the chance to see and touch a place that is important in the history of the blues is too much to pass up. The majority of my blues heroes are gone. Seeing Muddy's Cabin will, in a way, give me some chance to get in touch with one of my musical heroes. I don't care about if it is covered in advertisments etc. The fact that I have a chance to see it is more important. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Fri, 7 Jun 1996 19:56:35 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: We Make Blues-L! The recent furor, name callings, anger etc that has plagued Blues-L has led to some poeple threatening to leave the list, give up the blues or go and actually see a show at the HoB (the horror!). Well the quality of this list is up to all of us. If you are upset about things then, if you are not a regular, how about stepping in every now and again and contributing. A question, an album review etc. doesn't take much time and you get the satisfaction of seeing your name and spelling misteaks in print (at least I do). The recent acrimony is hard to believe when, IMHO, the participants or contestants or opponents agreed overall on the issue but got caught up on issues within the issues. Yes, it is an issue that leads to emotions becoming overheated but we are all friends here, are we not? We all like the blues, do we not? We all agree that racism is something that should be countered at every turn, do we not? There is one way to make Blues-L a better place. We all work together. If you don't like what's going on then start helping by contributing. If you have a problem with someones position on an issue then go private. Blues-L is about the music and related aspects there of. The culture especially. We should be able to discuss that and all without getting to heated. So if you are still all riled about the whole issue I say go and put on a Muddy Waters/Son House/Little Walter etc CD, remember what Blues-L is about and come back smiling. I really do like this list and the people on it. Let's keep it a real cool place to hang out it. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Fri, 7 Jun 1996 22:21:51 -0400 Reply-To: PrePhoto From: PrePhoto Organization: America Online, Inc. (1-800-827-6364) Subject: p-funk?? Comments: To: bit-listserv-blues-l@uunet.uu.net Not that I have a problem, but how does george clinton tie into a taj mahal-keb mo-subdudes tour?? Everyone needs something to be curious about - right? Dave P. ========================================================================= Date: Fri, 7 Jun 1996 22:39:19 -0500 Reply-To: "Alice E. Brown" From: "Alice E. Brown" Subject: Eureka Springs Blues Festival, report Chicago wasn't the only place where blues could be heard last weekend. There was a pretty good festival here in the Ozarks. The entire Neal family was here (and I do mean the entire family, not just the perform- ing members but Mrs. Neal and all the grandchildren as well). I'd seen Kenny last year but this was the first time I'd ever seen Raful and was duly impressed. Jackie Neal was impressive too. I understand that this the first time they've been able to be together like this, in a long time. Bo Diddley was the headliner this year. Despite some back problems that required him to be seated for his performance, he was in great form. He was practically dancing in that chair anyway. On the acoustic side of things, Keb Mo and Martin Simpson were great. Jimmy Thackery & the Drivers and Canned Heat were playing across. I'll go see Jimmy every time he and his band comes to town. This was my first time to see Robert Lucas, I can see what all the ravings were about now. He gives 110% on stage and seems to really enjoy what he's doing. The highlight of the weekend was an acoustic set with Thackery, Lucas, and Tab Benoit. The announced schedule was for Thackery and Lucas, but Robert came out alone and did 30 minutes and left the stage, Jimmy and Tab came out tore things up for another 45 minutes. Lucas joined them the last number and the encore. If you've never heard Jimmy Thackery play acoustic, you've miss- ed a real treat. Last year at this same festival, Jimmy played a set with John Mooney, which I thoroughly enjoyed. This is the first time I've seen Tab Benoit and to be honest I wasn't sure what to expect. After reading some of the not so positive comments here on blues-l about just how talented he is or isn't, I was pleased with what I heard. One unex- pected pleasure was an unscheduled appearance by Larry McCray. He couldn't get a full band together so he did an acoustic set. He apolo- gized to the audience, saying that acoustic wasn't his forte' but he hoped we'd like it anyway. He needn't have worried, we would have loved anything he did. It was nice to see that he hasn't changed, he's one of the nicest people I've ever met. I got to hear Kelly Joe Phelps for a few minutes, but I liked what I heard. The song was "I shall not be moved", it was awesome. I hope he comes back this was again, I want to hear more. Acts that I missed were Deborah Coleman and Chubby Carrier. I don't that if other festivals have a similiar formats to Eureka Springs, but they don't have a central stage with one act following another, instead the acts are scattered across town at various clubs. The town has a trolley system that runs during the day (you can ride free if you show your festival wristband). At night they have blues buses that run until the wee hours of the morning. This would work even better if they could find a way to limit the traffic(there were too many people insist- ing on driving their cars through town. This is a very small town with narrow twisting streets.) The crowds got out of control at one of the downtown hotels at one point Saturday night. Nothing bad happened but more security was needed. I found myself becoming very impatient with the drunks. I heard someone saying on the bus that they didn't go see Bo Diddley because he was at the city auditorium and they did't sell booze there. I sitting there thinking, well it is a music festival, jerk! Also, too many teenagers in the streets with their hackysacks. All in all I had a good time. About the city auditorium, it had a wood floor, so when people tapped or stomped their feet, it sounded really cool. Those silly drunks don't know what they missed. Wow, this is longest post ever. Enough for now. Alice ========================================================================= Date: Fri, 7 Jun 1996 22:49:56 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Re: Zydeco: Creole or Cajun? TH>On 7 Jun 96 at 17:34, Adrian Spidle wrote: TH>> Somebody recently posted, and I thought I saved but I must have TH>> misplaced, the actual section from Buckwheat Zydeco's standard contract TH>> where he indicates that he plays Creole or Zydeco, but *not* Cajun TH>> music. If anyone did save that message, I'd love to see a re-post... TH>That was me. I got the contract language when he appeared at a local TH>club. Unfortunately, I no longer have it. But what it said was that TH>if anyone called him a Cajun or his music Cajun music either in TH>promoting or advertising the show or from the stage, he would not TH>perform. And it explained very clearly the distinction, at least TH>from his perspective. TH>Tom Freeland Also, Stanley Dural says as much in a video called "Zydeco Nite 'N' Day". It's a good introductory video with some pretty good information about zydeco and a good roster of performers both old guard and new. You'll also see that the musicians use both types of accordions. By the way, I've been told by a good source, and wish he was on this list to verify it, that Clifton Chenier started out on the button accordion as did many of the older players. And I had never heard about Clifton considering himself Cajun, but I don't find it impossible to believe. His rendition of "Big Mamou" on "60 Minutes with The King of Zydeco" is one of the finest Cajun tunes I've heard. I also think Clifton was the bluesiest of zydeco artists. I consider myself fortunate to have seen Clifton play. And playing from a seated position, he was the most exciting zydeco performer I'd ever seen. In case anyone is interested in the video (and I'm not in the business) it's put out by Island Visual Arts and features Boozoo Chavis, Rockin' Dopsie, Buckwheat Zydeco, Terrance Simien, John Delaphose, Nathan Williams, Clifton Chenier, The Sam Brothers Five, Zydeco Force, Bois Sec Ardoin and Canray Fontenot, Ambrose Sam and The Holy Ghost Church Choir. Regarding some other reference material on Cajuns: I enjoyed the book "The Cajuns: From Acadia to Louisiana" by William Faulkner Rushton. Also, there is at least one book out by Barry Jean Ancelet who is a Cajun and a Folklorist at Southwestern Louisiana University in Lafayette. Unfortunately I don't remember the name of the book. I believe Ancelet still MCs the Cajun shows at the Liberty Theatre in Eunice. LA. Shane or some other folks might want to add to this list of reference materials. Bill Morgan (not a Cajun, but born in Lafayette) From: The Big Easy ========================================================================= Date: Fri, 7 Jun 1996 20:59:40 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: We Make Blues-L! Right on, Josephine,...er, Shaun, right on! Uncle Ray ---------- From: Shaun T Cronin[SMTP:shaun@PACIFICNET.NET] Sent: Saturday, June 08, 1996 2:56 AM To: Multiple recipients of list BLUES-L Subject: We Make Blues-L! The recent furor, name callings, anger etc that has plagued Blues-L has led to some poeple threatening to leave the list, give up the blues or go and actually see a show at the HoB (the horror!). Well the quality of this list is up to all of us. If you are upset about things then, if you are not a regular, how about stepping in every now and again and contributing. A question, an album review etc. doesn't take much time and you get the satisfaction of seeing your name and spelling misteaks in print (at least I do). The recent acrimony is hard to believe when, IMHO, the participants or contestants or opponents agreed overall on the issue but got caught up on issues within the issues. Yes, it is an issue that leads to emotions becoming overheated but we are all friends here, are we not? We all like the blues, do we not? We all agree that racism is something that should be countered at every turn, do we not? There is one way to make Blues-L a better place. We all work together. If you don't like what's going on then start helping by contributing. If you have a problem with someones position on an issue then go private. Blues-L is about the music and related aspects there of. The culture especially. We should be able to discuss that and all without getting to heated. So if you are still all riled about the whole issue I say go and put on a Muddy Waters/Son House/Little Walter etc CD, remember what Blues-L is about and come back smiling. I really do like this list and the people on it. Let's keep it a real cool place to hang out it. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Fri, 7 Jun 1996 23:50:53 -0400 Reply-To: SRVCLUB@AOL.COM From: Lee Hopkins Subject: SRV Tribute to air on PBS Comments: To: texasflood@dmu.ac.uk I spoke with a knowledgeable soul at our local PBS station last weekend who says the artists' releases have been signed, and the SRV Tribute filmed in May 1995 will air during PBS pledge drives in August. Here in Dallas/Ft Worth, he said they would try to schedule it toward late August for reasons obvious to SRV fans (though I personally do not care for SRV tributes in August as opposed to his birthday in October). The CD and home video will probably follow this Fall. Lee Hopkins. srvclub@aol.com ========================================================================= Date: Fri, 7 Jun 1996 10:29:17 -0700 Reply-To: Craig Edmundson From: Craig Edmundson Subject: Re: We Make Blues-L! Comments: To: Shaun T Cronin Shaun T Cronin wrote: > time and you get the satisfaction of seeing your name and spelling misteaks If you make too many mistakes while grilling your steaks, they end up as "misteaks"! :-) Craig (a Grammar Patrol Wannabe) --------------------------------------- Craig L. Edmundson | cedmunds@probe.net http://www.probe.net/~cedmunds/ cedmunds@netserv.unmc.edu ========================================================================= Date: Fri, 7 Jun 1996 21:27:20 -0700 Reply-To: "Kenneth M. Sailors" From: "Kenneth M. Sailors" Organization: Personal Copy Subject: TTFN Hey all! Been a while since I've said anything so you all might say: "Who Cares?" but I'm head to the scrapple in the apple for a week & I'm goin' nomail. I'll check back in when I get back. Y'all be cool. And behave yourselfs, dammit! Eugie!Baange ("...just naturally crazy") ========================================================================= Date: Fri, 7 Jun 1996 08:38:20 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: weeknight blues Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *So what is it, specifically, that will get YOU off your couch on a weeknight? *Is it the band? How many touring national acts would you leave your house for *on a weeknight? Would you have to have an even earlier start time (6pm?). It usually depends on a couple of thingss - who is playing (if it's someone I haven't seen before and I really want to see I'll often go), how close the club is (when Tornado Alley was open it was very convenient for me since it was about a fifteen minute drive from home. Fleetwood's is about a 45 minute drive, so I hardly ever go there, but there are other reasons besides distance for that). -Steve ========================================================================= Date: Fri, 7 Jun 1996 22:06:43 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Junior Brown Chris Smith wrote: >>I heard Junior Brown on the radio the other day. I'm a blues player, but his >>approach - which had a nice bluesy flavour - was great. >>Any recommendations? >>Hugh Hardy > >All of > >12 Shades of Brown >Guit With It >Semi-Crazy > >(I bought 'Semi-Crazy' this week. 'Venom Wearin' Denim' contains the line >of the year so far: 'If you give that gal a diamond ring, you'll get a >diamondback'.) Don't forget the EP, "Junior High" which contains a amazing version of "Sugarfoot Rag" that ends up being a tribute to a certain guy from Seattle that played guitar ok back in the '60s. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Sat, 8 Jun 1996 00:01:11 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Zydeco: Creole or Cajun? Comments: To: Bill Morgan In-Reply-To: On Fri, 7 Jun 1996, Bill Morgan wrote: > > Also, Stanley Dural says as much in a video called "Zydeco Nite 'N' > Day". It's a good introductory video with some pretty good information > about zydeco and a good roster of performers both old guard and new. > You'll also see that the musicians use both types of accordions. By the > way, I've been told by a good source, and wish he was on this list to > verify it, that Clifton Chenier started out on the button accordion as > did many of the older players. Thanks for the video and book references. Very useful stuff. I'd like to add that there's a film by (I believe) Les Blank out on video (in my local library) about Clifton Chenier (he also did one on Lightenin' Hopkins). In that film there's a scene with Clifton and his uncle who has a button accordion. The uncle says to Clifton, (paraphrasing) you started out with one of these. Clifton says, no, he'd always played the piano accordion. But several do play both. > > And I had never heard about Clifton considering himself Cajun, but I > don't find it impossible to believe. There's a live cut on one of his albums in which he introduces himself as "the black Cajun." I thought it was on the 60 minute CD you mentioned, but I'm not sure. > His rendition of "Big Mamou" on > "60 Minutes with The King of Zydeco" is one of the finest Cajun tunes > I've heard. Quite a moving rendition. This is one song in both the black and white repertoires, which is why it seems like at least the music, and probably the musicians were mutually influential. > I also think Clifton was the bluesiest of zydeco artists. Much of his repertoire is straight from R&B and blues, some translated, some just recast. Everyday I have the blues, What'd I say, Let the Good Times Roll, Last Night, and others, but all completely his. > I > consider myself fortunate to have seen Clifton play. And playing from a > seated position, he was the most exciting zydeco performer I'd ever > seen. Me too! > > In case anyone is interested in the video (and I'm not in the business) > it's put out by Island Visual Arts and features Boozoo Chavis, Rockin' > Dopsie, Buckwheat Zydeco, Terrance Simien, John Delaphose, Nathan > Williams, Clifton Chenier, The Sam Brothers Five, Zydeco Force, Bois > Sec Ardoin and Canray Fontenot, Ambrose Sam and The Holy Ghost Church > Choir. > > Regarding some other reference material on Cajuns: I enjoyed the book > "The Cajuns: From Acadia to Louisiana" by William Faulkner Rushton. > Also, there is at least one book out by Barry Jean Ancelet who is a > Cajun and a Folklorist at Southwestern Louisiana University in > Lafayette. Unfortunately I don't remember the name of the book. I > believe Ancelet still MCs the Cajun shows at the Liberty Theatre in > Eunice. LA. > > Shane or some other folks might want to add to this list of reference > materials. > > > Bill Morgan (not a Cajun, but born in Lafayette) > > From: The Big Easy > Steve Price (not from Louisiana, but digging the music) ========================================================================= Date: Sat, 8 Jun 1996 00:25:14 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Re: Zydeco: Creole or Cajun? . WM>Also, there is at least one book out by Barry Jean Ancelet who is a WM>Cajun and a Folklorist at Southwestern Louisiana University in ^^^^^^^^^^^^^^^^^^^^^^^^^^^^ Of course I meant to say The University of Southwestern Louisiana (USL). Bill From: The Big Easy ========================================================================= Date: Sat, 8 Jun 1996 01:20:41 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Sitting & Thinking - Big Wal Comments: To: scott d In-Reply-To: <199606071917.OAA16283@home.interaccess.com> Just to name two, how could you (or anyone) listen to Carey Bell or Billy Branch (or read interviews with them) and not hear a lot of Big Walter influence? ========================================================================= Date: Sat, 8 Jun 1996 11:52:58 +0500 Reply-To: "mr.gulshan zafar khan" From: "mr.gulshan zafar khan" Subject: un-subscribe blues-l un-subscribe blues-l ========================================================================= Date: Sat, 8 Jun 1996 01:50:28 -0500 Reply-To: scott d From: scott d Subject: Re: Sitting & Thinking - Big Wal Comments: To: Steve.Levine@CORP.WRGRACE.COM At 04:06 PM 6/7/96 -0400, Steve Levine wrote: >*OK, for the sake of discussion, please name one current or latter day >*harmonica player in whose style you can hear elements of Big Walter's style. > >Annie Raines, Studebaker John, Carey Bell, Steve Levine :-), Billy >Branch, Kim Wilson. > > I guess we're getting into that dreaded opinion vs. fact area here. I haven't heard Annie Raines. But I don't hear it in Studebaker John, Billy Branch or Kim Wilson (anymore--Kim used to do some Big Walter-ish stuff, but doesn't seem to anymore). I'm not sure I'd consider Carey Bell much of a Big Walter disciple either. They were buddies and all that, but Carey's told me more than once that his main man is Little Walter. But if you're talking about Steve "Big Walter Jr." Levine, well, I can't argue with that :) When I think of Big Walter's style, I think of course of that huge tone (which very few people seem to be able to even come close to), a certain "popping" type of attack (which is the one thing I don't hear ANYONE copying), great chord work (again, who's even thinking about that today?) and melody based solos, which are all too rare in this age of "jamming". Someone mentioned Portnoy earlier in this thread--I guess he comes closest, but even he isn't THAT close when compared to people like Rod Piazza, who has George Smith's style down pat, and Steve Guyger, who's really a great Little Walter stylist. There was a guy in Chicago named Little Joe Berson who was a good friend of Big Walter, and Joe was one of the few guys who really studied the intracacies of Big Walter's style, and got deep into the parts that made BW such a great artist. Joe played with Jimmy Rogers for about 10 years, and then Joe died at about 42 years of age in 1988. (Joe told me, and other people have corraborated this, that the day Big Walter was doing his scene in the Blues Brothers movie, jamming live on Maxwell Street with John Lee Hooker, Walter wasn't able to play because he'd had a bunch of teeth pulled out that day, so Joe played BW's harp part while BW just pantomimed.) I haven't heard anybody else who was really seriously influenced by Big Walter since then. Scott http://www.geocities.com/SunsetStrip/4466 Check it out! ========================================================================= Date: Sat, 8 Jun 1996 01:50:39 -0500 Reply-To: scott d From: scott d Subject: Re: The Best? Who says? ME! - goofy thread FAQ Comments: To: Mike Curtis At 02:35 PM 6/7/96 -0700, Mike Curtis wrote: ><"IMO the best" vs "THE BEST"> > >I also don't mind at all listening to opinions. I like Big Walters session >playing. I think Mouth Harp Maestro is a terrible album. This doesn't mean >that you have to agree. I'm very curious about this. I really like this album a lot, and I've talked to lots of folks who consider it a classic, and one of Big Walter's best. I'm interested in hearing what it is that you don't like about it. Scott http://www.geocities.com/SunsetStrip/4466 Check it out! ========================================================================= Date: Sat, 8 Jun 1996 01:50:42 -0500 Reply-To: scott d From: scott d Subject: Re: Sitting & Thinking - Big Walter Horton w/Hot Cottage Comments: To: Mike Curtis At 02:44 PM 6/7/96 -0700, Mike Curtis wrote: >> influential. I would prsonally consider Little Walter, Sonny Boy and Big >> Walter the three most influential. Now to consider who I would go see first >> if they came back for a one night show, I would probably see George Smith >> because he was an incredible vocalist and songwriter and harp player. > >Perhaps a better question: If you were able to take a harp lesson from just >one of these (BW, LW, SBWI/II, or GHS), which would you choose? Now how's >THAT for the opposite of Hobsons' Choice ;-) > >> Thinking about it I would say that they are both legendary, Walter got there >> for harp chops and George got there for the whole show. > >And I'd have to agree. Technically, BW had better chops. But George was >certainly more entertaining as a musician/vocalist package. > >I like 'em both. > > > > -- IronMan Mike Curtis Me too. But now you've opened an interesting can 'o worms...geez, given the choice of a harp lesson any of the above, who would I choose? Well, I know a few people who took lessons from BW, and they seemed to consist of him playing some amazing lick and then saying "OK, now YOU play that...." Little Walter had a reputation of being a real bastard, but obviously Louis Myers learned some interesting stuff from him. SB II was also supposed to be a cranky, suspicious old coot, and not very generous. SB I on the other hand was said to be one of the most likable guys on the Chicago scene in his time, and he took the time to teach a 12 year old Billy Boy Arnold some stuff after Arnold found out where he lived and went up and knocked on his door. So I suppose maybe a lesson with him would probably be the most fruitful. But I think I'd have to go with Little Walter, since he had the most stuff that I want to get : ) Scott http://www.geocities.com/SunsetStrip/4466 Check it out! ========================================================================= Date: Sat, 8 Jun 1996 01:50:53 -0500 Reply-To: scott d From: scott d Subject: Re: Standard tuning slide Comments: To: Bruce Pech At 02:56 PM 6/7/96 -0600, Bruce Pech wrote: >On Fri, 7 Jun 1996, scott d wrote: > >> Didn't Tampa Red record all of his slide stuff in standard tuning? He was >> recording in the '20s, long before any of the others mentioned above. > >I think that most if not all of Tampa Red's slide playing is in open E (or >D). > >BP Boulder, CO I'm going on the word of a guitar player I know who plays some of Tampa Red's stuff (I play a lot of it too, but only on the record player). This guy can sound just like him, and I know he plays it all in standard tuning. I'm not much of a guitarist myself, but the reason I didn't question the standard tuning idea was that Tampa Red didn't play the types of licks that are common to open tunings; in particular, I can't recall any examples of him sliding chords, or "fretting" more than one string at a time with the slide. (I'm not saying he didn't, but on the 4 or 5 compilation albums I have of his work, I don't recall him doing this.) So you may very well be right; however it sounds to me like he was making an effort to play licks that didn't sound like typical open tuning slide licks. Which earns him yet another measure of my respect! Scott http://www.geocities.com/SunsetStrip/4466 Check it out! ========================================================================= Date: Sat, 8 Jun 1996 02:00:37 -0500 Reply-To: scott d From: scott d Subject: Re: Sitting & Thinking - Big Wal Comments: To: Richard Shurman At 01:20 AM 6/8/96 -0500, Richard Shurman wrote: >Just to name two, how could you (or anyone) listen to Carey Bell or Billy >Branch (or read interviews with them) and not hear a lot of Big Walter >influence? > > Dick, As a harmonica player, I have to tell you that I don't hear Big Walter as the dominant influence in either of their styles. It's there at times, but to my ear it's not the main ingredient. That's what this little debate was all about--who's more influential. I submit that George Smith was a more infuential harp player on what's come after him. My point is that you could name plenty of "name" harp players who are carrying the George Smith torch on, but not many who are doing the same for Big Walter. Scott ========================================================================= Date: Sat, 8 Jun 1996 03:09:48 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: COMMERCIALIZATION: AT WHA > Should John Lee Hooker have told PepsiCo to shove it? > > Muddy Waters was once asked about how he felt about receiving > commercial > success. He said (and I forget the actual quote) that it was nice > to > see it happen during his lifetime when he could enjoy it. I have, somewhere in the debris, a Muddy Waters commercial for Dr. Pepper. Yes, Muddy was a pepper, at least for awhile. Freddie King also did a very cool commercial for Lone Star Beer. There's also those Little Milton Coke commercials on one of the recent Chess compilations. So what? Does this diminish their greatness? Nope, all it did was give them some extra pocket change and get their name and music out there one more time to possibly hook another fan to their music. How many blues musicians have deals with music equipment companies? Strings, harps, drums, guitars, you name it. The blues is a business. The minute a musician expects to get payed for performing they are in business and in the very best tradition of blatant capitalism, they deserve to collect every penny they can for their performing and creative skills be it from a major festival appearance, an endorsement, or whatever. Don O. ========================================================================= Date: Sat, 8 Jun 1996 03:26:03 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: Re: HOB/SPONSORSHIP > From: "Raymond O. Varner" > 2. I have a hard time imagining Muddy's > cabin, from Stovall's, being towed around > the country like some shit-assed alum- > inum travel trailer. I think back to the > dignity that Muddy exuded, in his tux > and black tie, the first time I saw him in > 1965. I didn't know Muddy and I certainly would never presume to speak for him, but I like to think that somewhere he is laughing his ass off over this whole big to-do. Laughing that the Stovall's could help support a blues festival and make some money from a broken down old cabin, just because he recorded there and used to live in it. Laughing that anyone would spend that much money on it and haul it around the country. Laughing that dozens of folks could possibly spend so much time arguing, complaining, and fighting over the whole deal. I just can't help but imagine Muddy sitting on that big golden throne from the King Bee album on Blue Sky, a huge smile on his face, and a belly laugh welling up over the whole deal. Think about this long and hard. What would Muddy make of this whole thing? Makes me grin just to think about it. Don O. ========================================================================= Date: Sat, 8 Jun 1996 04:27:57 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Big Joe Williams LPs I tried to send this privately, but got a failed mail messsage. Mark, if you read it here, Demon don't think you exist! > >Subject:Re: Big Joe Williams LPs > > >>Looking for some information prior to making an LP purchase: >> >>First, can somebody offer concise reviews of the LPs "Blues Bash" >>(Olympic Records 7115) and "Legacy of the Blues Vol. 6" (GNP- >>Crescendo/GNPS 10016) by Big Joe Williams? >> >>Also, as regards to the "Blues Bash" LP, on how many tracks does >>Big Joe perform with Lightnin' Hopkins and Brownie and Sonny? >> >>Are there any electric guitar tracks on either of these two LPs. >> >>Should I get them? >> >>Mark > >I don't know about the GNP record. The Olympic LP is a rip-off IMHO - very >short >playing time, lousy sound. If you want the sessions it draws on, they are >available at greater length and in better quality on a number of CDs - one >on Tradition recently, one on Wolf, one on Legacy International, an >audiophile version (slightly different tracklisting) on DCC for $34.98(!), >also available in vinyl at the same price. I can tell you that the sound is >fantastic on the DCC, in line with the price. As I recall, Joe is with the >other three on all the tracks where he's present, except one where it's >just him and Sonny Terry, and plays either acoustic or amplified (not solid >body) guitar. He's on all tracks on 'Blues Bash', but I do urge you NOT to >buy it! > > >Chris Smith (chris@skerries.demon.co.uk) >I asked her for butter, and she gave me margarine (Paul Francis, a college >buddy of mine) > > ========================================================================= Date: Sat, 8 Jun 1996 04:30:27 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Zydeco: Creole or Cajun? In this thread it's been written: >> >> And I had never heard about Clifton considering himself Cajun, but I >> don't find it impossible to believe. > >There's a live cut on one of his albums in which he introduces himself as >"the black Cajun." I thought it was on the 60 minute CD you mentioned, >but I'm not sure. > >> His rendition of "Big Mamou" on >> "60 Minutes with The King of Zydeco" is one of the finest Cajun tunes >> I've heard. > >Quite a moving rendition. This is one song in both the black and white >repertoires, which is why it seems like at least the music, and probably >the musicians were mutually influential. > >> I also think Clifton was the bluesiest of zydeco artists. > >Much of his repertoire is straight from R&B and blues, some translated, >some just recast. Everyday I have the blues, What'd I say, Let the Good >Times Roll, Last Night, and others, but all completely his. > My 2 cents worth: A while back, I wrote notes for an Ace zydeco CD drawn from the Arhoolie catalogue, and in an interview by John Broven that was among my sources, Chris Strachwitz says he had a hard time getting Clifton to play the old-style stuff rather than R&B. Chris recalls one session where Clifton was forced back into the older style, because first the bass player's amp was out of whack, and then the lead guitarist's amp caught fire! Chris Smith (chris@skerries.demon.co.uk) I asked her for butter, and she gave me margarine (Paul Francis, a college buddy of mine) ========================================================================= Date: Sat, 8 Jun 1996 02:26:21 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Commercialization: At what cost? Comments: To: 102554.471@COMPUSERVE.COM In-Reply-To: <960608023509_102554.471_HHV55-1@CompuServe.COM> from "Gavin Arneaux" at Jun 7, 96 10:35:09 pm As a full time professional musician who LIKES to play many diverse styles, and has been in the business many years, this is a sensitive point with me. But I'll try to maintain civility :-) Actually, I'd simply like to shed some light on the topic from "the other side". A lot of this is my opinion. A lot of it is experience. Q. What do you call someone who does something for money? A. A professional. Q. What do you call someone who does something because they enjoy doing it, and makes no concessions in order to make money? A. A hobbyist. This is really what it boils down to. How many truckdrivers are accused of "selling out" because they take a job that pays more? How many physicians specialize in high profit fields? How many of us Zellers do work we don't particularly like because it pays better than what we'd really rather be doing if we didn't have to work? MOST people do work they don't necessarily like. Yet how fast we are to condemn a musician for doing the exact same thing we're all guilty of. A full time musician/entertainer that plays commercial material (s)he doesn't like is still a lot less "compromised" than most people with "day" jobs. The musician is still playing music, albeit not exactly what they'd like the best. But it's still music. How many fry cooks can say this? How many busboys? How many engineers? How many MDs and JDs? How many busdrivers are fulfilling their lifelong dream? How many store clerks? Bank tellers? Apartment managers? Etc.? Besides, how do you know the musician would rather be playing "your" type of music and has truly "sold out"? Speaking for myself, other than requests, I only play what I like. While this of course includes blues (I'm usually booked as a blues artist, and I love playing blues of course), I also like to play jazz, bossa nova, rock, oldies, standards, a few show tunes, a couple of polkas, a couple of country western tunes, and even a little classical and opera. If I play these, am I "selling out"? Not as far as I'm concerned. And I hope others don't think that, either. One thing we all need to understand is that the music business is incredibly competitive (especially here in Hollywood), and the term "starving musician" is in most cases unnecessarily redundant. In virtually any other field the top 20% have job security and generally make excellent money in their field. Within the top 20% of musicians, we have many working for LESS THAN minimum wage, working "day jobs" because there's no work, working part time, and more often than we'd like to admit, working for FREE. How many musicians would like to do it full time, being able to stay in town working music from 9am to 5pm, being able to support a family, etc.? If music paid the same as your "day job", instruments and maintenance were paid for by the employer, and the "gig" offered the exact same job security as a "day job", how many of us who play instruments would pass up the opportunity to play music as a full time professional? This is the TRUE size of the industry. The top 20% of this group contains people who have never made a plug nickel playing music. This 20% contains a hundred musicians competing for every job. Can you really blame anyone for tailoring their skills to suit the market? Isn't that what we ALL do when we take a job with a company? While I'm sometimes just as disappointed when someone I like "as is" "adapts to the market", I also understand, and withhold any criticism for their making what is most likely a wise decision - to eat! Remember J. Geils and Richard Salwitz (AKA Magic Dick) of the J. Geils Band? They're now playing real blues, like they did before the Geils band became noted for rock. If an artist REALLY loves the music, they'll likely come back home eventually. If YOU really like an artist, do YOU promote him/her? Do YOU attend their concerts? Buy their recordings? Talk them up to your friends? Call the appropriate radio stations to request their records? "Well - maybe a little, sometimes", you say? And you wonder why they're starving? Maybe if YOU and ALL the other fans of supported their work, they wouldn't have a need to seek greener pastures. From personal experience, self promotion is a LOT of work, discouraging, and expensive (flyers and mailers CO$T! Postage CO$T$! Demo tapes and promo packs CO$T! Etc.) If fans would use word of mouth to help publicise their favorites, try their best to show up for gigs, hype their recordings, etc., it would help immensely. If you don't - well, you know..... You know, even a SMALL core of stalwart fans can have an immense effect on a musical career. -- IronMan Mike Curtis ========================================================================= Date: Sat, 8 Jun 1996 13:17:14 GMT Reply-To: Mark Rader Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Mark Rader Organization: Communications Accessibles Montreal, Quebec Canada Subject: Re: New Member & Blues Web Site intro Comments: To: great_recordings@Tandem.CAM.ORG, prodigy.com@uunet.uu.net floyd: i would like to know more about your recordings and do you have a list of available material and a physical address? thanks, mark rader@cam.org ========================================================================= Date: Sat, 8 Jun 1996 09:33:17 -0400 Reply-To: bob vanarsdall From: bob vanarsdall Subject: List of Towns for Church Relief Following Dick Waterman's sage advise not to bitch and moan, but to go direct and ask questions, I apent some time trying to find relief agencies who were specifically targeting the problem of these curch burnings. Unfortunately, none of the major churches I talked with (Episcopal, AME, Friends, Baptist, AME-Zion) knew of agencies or funds which were dealing with this. All of them said their churches could use any money into their funding agencies, but I fear that is not as direct as most folks would like. Failing that, I tried to find a comprehensive list of the churches which have been burned so that folks could contact them directly. I haven't been able to find such a list, though I'm sure it exists somewhere. Here is a list of the towns in which predominantly black churches have been burned in this suspected arson campaign. If anyone wants to help, I suggest you call the local chamber of commerce in the town, ask about the affected congregation, and contact them directly. (Town) (Date of Church Burning) Bells TN 1/8/95 Denmark TN 1/3/95 Hardeman County TN 1/31/95 Boligee AL 12/22/95 Mebane NC 12/25/95 Mt. Moriah Baptist Church Gibson County TN 12/30/95 Knoxville TN 1/8/96 Green County AL 1/11/96 2 churches burned Orrum NC 1/26/96 Ohovah AME Church East Baton Rouge LA 2/1/96 4 churches burned Richmond VA 2/21/96 Hatley MS 3/5/96 Ruleville MS 3/20/96 Millen GA 3/27/96 Paincourtville LA 4/11/96 Barnwell SC 4/13/96 Effingham SC 4/26/96 Tigrett TN 5/14/96 Cerro Gordo NC 5/23/96 Mt. Pleasant Baptist Church Lumberton NC 5/24/96 Pleasant Hill Baptist Church Greensboro AL 6/3/96 Charlotte NC 6/6/96 Matthews-Murkland Presbyterian Church This information courtesy of Yonat Shimron of the Raleigh NC News & Observer. One caveat - all these burnings are under investigation, but there is not yet any link which connects them to any arsonist or cause. Let's stop this thread, contribute and/or pray if you want to, play some gospel, and get back to the blues. Bob ========================================================================= Date: Sat, 8 Jun 1996 09:37:28 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Big Walter Horton recommendations? Well, the Big Walter thread has really piqued my curiousity. Would you folks be so kind as to send me your reccommendations for my first BW purchase? As usual, I'd also be real happy if you told me WHY you like it so much. You can send to me pesonally unless you think it is something that might interest other 'Zellers, too. Inquisitively, Gavin ========================================================================= Date: Sat, 8 Jun 1996 13:29:02 GMT Reply-To: Mark Rader Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Mark Rader Organization: Communications Accessibles Montreal, Quebec Canada Subject: Re: New Member & Blues Web Site intro Comments: To: great_recordings@PRODIGY.COM floyd, is it possible to receive a list of your recordings and possibly a physical address? thanks, mark- rader@cam.org ========================================================================= Date: Sat, 8 Jun 1996 09:37:41 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Re: Commercialization: At what cost? Comments: To: Mike Curtis If you didn't read Iron Mike Curtis' last post on this thread, do. As usual, he gives a well-reasoned opinion of why we should be slower to condemn muscians that we feel have "sold out." At one point he asks (and I'm paraphrasing) "how many MD's, JD's, and engineers can say that they are doing what they would be doing if they didn't have to work for a living?" As an engineer who left the field out of sheer boredom and got my JD so that I could work in copyright and patent law, I have to say "Not me." (FYI, having a JD means I'm a lawyer. JD = Doctorate of Jurisprudence.) Don't tell the boss, but I got into this to make money until I could make a contact who would record my songs. (I like to say that I am a songwriter who works as a lawyer until I get My Big Break. :-) And let me tell you, it's DAMN HARD. I mean, I work in the darn field. I meet folks every day who make music for a living. And some of 'em are very good livings. Of course, I can not tell you who any of them are. Client-Attorney privelege and all. (Yes, I know. Everyone else says "Attorney-Client" privelege. But the privelege involved is one that the client owns and not the attorney. Out of respect for my subservient role in this relationship, I call it what it really is. But I digress . . . .) I mean you'd think that at least one of these men, women, or groups would actually have recorded one of my songs. They ain't bad songs. My friends like most of 'em. And let me tell you, when they DON'T like one of my songs, they let me know. IN NO UNCERTAIN TERMS. (I hear the words "suck" and "blow" a lot. Not two words attorneys are used to hearing. Okay, at least not from my friends, I'm not. But, again, I digress . . . .) If a certain one of our clients had recorded just one of my songs - ANY ONE - and put it on her last album, I could have made about $100,000 last year. Can you say "Hey, boss, I am outa here!"? So, let me tell you, if one of these clients came up to me and said, "Hey, a friend of mine heard this song and thought it would be great for a new vacuum cleaner commercial. Can he use it?", that would not suck (pun intended). At least I'd get my foot in the door. And yet . . . . SPEAKING/ WRITING AS A FAN, I sometimes do cringe when I see beloved acts in commercials. I usally defend them to nay-sayers. But inside I do cringe. It's a pure reaction; I can't help it. And it is only sometimes. However, I cringe for two reasons I have not seen really touched on in here. One, I cringe because I'd like to live in a society in which some of my favorite artists wouldn't have to hawk goods to make ends meet. (Actually, Mike Curtis touched on this point very well. So, I'll stop here.) Second, I can't help but feel in some of these situations, the artist is debasing herself or himself. But that is usually based on the commercial itself. For example, I LIKE the John Lee Hooker Pepsi commercial. I giggle at it. He's poking fun at himself and - dare I say - those who would scorn him for doing a commercial. (What? You don't see the tongue-in-cheek irony of this blues master pining away about not having shoes and then *poof* all of a sudden, just 'cause he drinks Pepsi, his biggest worry is a yacht even though he's STILL sittin' out on the street?) I also liked the Bo Diddley/ Nike commercials from a few years back. In other words, I like the ones that actually take the artist and his or her personality into account. Which means that I am usually only bothered by ones which compromise an artist's {currently overused term as applied to musicians to follow} "artistic integrity." So, for example, seeing Whitney Houston doing a commercial for AT$T doesn't bother me. Why? Because, to me, Whitney is prepackaged anyway. She lets the producer pick her songs and musicians (although in recent years, she has started helping in choosing the songs) and then comes in to sing over tracks that have already been laid down, usually with many synthesizers. IMNSHO, much of her music is soulless, which is sad given her obvious vocal talents. So, to see her in a souless commercial is not a shocker. (Although, I'll tell you what. When she let it all hang out at the Grammy's this year singing Gospel with CeCe Winans, I thought "Now THAT'S the Whitney I've been waiting to hear!" I can't wait for the soundtrack to "The Precher's Wife." She sings gospel WITH REAL MUSICIANS not synthesizers. I have heard one rough cut. Fantastic. It was recorded live in the church, as will be all of her singing for the film. No lip synching. Yet, once again, I digress.) The ones that bug me are the ones in which there seems to be no reagrd for the artist him or herself, where the company seems to have stripped the artist of his or her soul and is simply sending the none-too-subtle message "This star uses our product. So, you should, too. Violators will be shunned." But, right now, off the top of my head, I can't think of a current, national commercial that does that. I guess I spend too much time at work, in front of this computer screen. Bottom line on my opinion: I wish they didn't have to do it. But if they do, and that's their call, not mine, I hope they can do it with style. That's my two bits. Thoughtful, well-reasoned responses are welcomed and will be read. Flamebait will be met with Righteous Indignation . . . and no response. Just one guy's opinion, Gavin ========================================================================= Date: Sat, 8 Jun 1996 09:57:43 -0400 Reply-To: JEFF YARBROUGH From: JEFF YARBROUGH Subject: Information I recently heard portions of a cd by the band "The Mighty Jam". They play Rocking Blues. Can anyone give me their Label name and a phone number or e-mail address to contact this Label? Thanks, Jeff. ========================================================================= Date: Sat, 8 Jun 1996 10:00:03 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Commercialization: At what cost? Comments: To: Mike Curtis I hope everyone read Mike Curtis' post putting "selling-out" in perspective, wherein he wrote a whole lot more than just this little snippet: > Can you really blame anyone for tailoring their skills to suit the market? > Isn't that what we ALL do when we take a job with a company? As a musician I would like to personally thank him for laying it out so nicely. Of course for the musicians he is preaching to the choir, but my hope is that his post makes the point as succinctly to the amateur musicians and non-musicians who tend to look at this business so abstractly and idealistically. If you missed it, here is a good use for the newsgroup echo. Go back and find it. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Sat, 8 Jun 1996 14:12:19 GMT Reply-To: Mark Rader From: Mark Rader Organization: Communications Accessibles Montreal, Quebec Canada Subject: chicago blues fest Comments: To: bit-listserv-blues-l@Moderated-Postings.CAM.ORG for me the real blues fest highlight was saturday night at the checkerboard lounge- vance kelly was playing and it was definitely a show by the people for the people. kelly is an infectious performer as well as a fine guitarist and singer. the music was blues, soul and r&b, everything to keep the folks jumpin'. i was sitting with a sax man from bermuda who said he was going to sit in. we talked a while and he had never heard of syl austin or grady gaines so i wondered what he would be like in this setting. well he just knocked me and everbody else out. that sax just honked and rocked right where it should like he had been playing with kelly for years. phil guy got up and sang a couple numbers but did'nt play? dont know why. a couple other locals sat in but i cant remember their names and had never heard of them but all were first rate. at three a.m. i got a ride back downtown but stopped in the hood and ate half a dozen white castles then went to the hotel. thats the blues in chicago as it should be. ========================================================================= Date: Sat, 8 Jun 1996 10:36:24 -0400 Reply-To: bob vanarsdall From: bob vanarsdall Subject: Re: Commercialization: At what cost? Gavin said: > Second, I can't help but feel in some of these situations, the >artist is >debasing herself or himself. But that is usually based on the commercial >itself. For example, I LIKE the John Lee Hooker Pepsi commercial. I giggle at >it. He's poking fun at himself and - dare I say - those who would scorn >him for >doing a commercial. (What? You don't see the tongue-in-cheek irony of this >blues master pining away about not having shoes and then *poof* all of a >sudden, >just 'cause he drinks Pepsi, his biggest worry is a yacht even though he's >STILL >sittin' out on the street?) I also liked the Bo Diddley/ Nike commercials from >a few years back. There's a wonderful story about Picasso late in his life. A critic came to visit him and found Picasso signing his name to some brushstrokes on paper shopping bags. Picasso explained that there were people willing to pay for anything with his signature on it, and he was making some quick money. The critic asked if that didn't devalue the rest of his work. Picasso replied to the effect that those who appreciate his real work would recognize these for what they are, and never confuse them with his art. Those who didn't didn't count, and he was laughing all the way to the bank. Bob ========================================================================= Date: Sat, 8 Jun 1996 14:26:52 GMT Reply-To: James Lambert From: James Lambert Organization: BrightNet Setup Subject: fingerstyle picking country blues technique book -want Comments: To: bit-listserv-blues-l@uunet.uu.net What is the best textbook for learning the fingerstyle technique for country blues? I am somewhat fluent on chord work but need some help learning the fingerstyle picking. Any Suggestions? Thanks James ========================================================================= Date: Sat, 8 Jun 1996 14:39:54 GMT Reply-To: Mark Rader From: Mark Rader Organization: Communications Accessibles Montreal, Quebec Canada Subject: Re: COMMERCIALIZATION: AT WHA Comments: To: bit-listserv-blues-l@Moderated-Postings.CAM.ORG blues performers doing commercials? hey, back in the fifties i used to listen faithfully to WLAC radio, nashville and besides being able to buy (by mail) all the latest blues recordings, baby chickens and deep tone gutted mufflers, any night of the week you could hear muddy waters' commercial for silky straight, that wonderful thick concoction that kept the hair straight and patent leathery. so, that was my first exposure tho the "commercialization" of the blues and it wasn't so bad. rader, rader@cam.org ========================================================================= Date: Sat, 8 Jun 1996 10:07:07 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: List of Towns for Church Relief Comments: To: bob vanarsdall In-Reply-To: On Sat, 8 Jun 1996, bob vanarsdall wrote: > Failing that, I tried to find a comprehensive list of the churches which > have been burned so that folks could contact them directly. I haven't been > able to find such a list, though I'm sure it exists somewhere. Here is a There was an AP story and map listing all of the churches in the San Antonio paper this morning. I can bring it in and list all of the churches if people want it. -Jeff ------------------------------------------------------------------------------ __ Jeff Seale, PhD | |___ University of Texas Health Sciences Center @ San Antonio ___|* | seale@bioc02.uthscsa.edu \ | http://bioc09.uthscsa.edu/~seale/home.html \/\ / \ / I jumped bail from the Sweetwater County, now I'm on the run \( On my head is a 5 number bounty, for a crime I never done -Joe Ely ========================================================================= Date: Sat, 8 Jun 1996 11:37:03 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Best Blues Band in CT. 1996 Competition Round 5 Thursday night June 6th, the Connecticut Blues Society (a not for profit organization) held the FIFTH in a series of six shows called The Best Blues Band in Connecticut 1996 Competition. Over a six week period, 22 bands will compete for the opportunity to go Memphis for the The Blues Foundations International Blues Contest. Thursday night's show: DATE CLUB BANDS June 6th Black-Eyed Sally's Dan Pitchard Blues Band 350 Asylum St. The Esquires Hartford, CT. Jim Shipley Band Johnny Vibrato & The Razorbacks And the winner is..... Johnny Vibrato & The Razorbacks! ------------------------------------------------------------------------- Future dates and bands... June 13th Burke's Tavern Briefcase Full of Blues 13 Hope Street Brandy Bob & the Milkbone Daddys Niantic, CT Blue Steele Johnny & the Eastcoast Rockers June 20th Husky Blues THE FINALS with: 1254 Storrs Rd. Smokin' Opey Storrs, CT. The Triple Threat Blues Band Chris Tofield & The Blues Benders The Hornets Johnny Vibrato & The Razorbacks ____________________________________________________________________________ The Blues Playground - 107FM WCCC/Hartford, CT - 50,000 watts of Blues Power Stew Crossen 1.800.970.5151 18 Boxwood Drive bfstew@neca.com Vernon, CT 06066-5106 http://www.neca.com/~bftsew Reports to: Living Blues, The Hard Report, BluesWire, The Blues Audience ========================================================================= Date: Sat, 8 Jun 1996 10:37:26 -0500 Reply-To: Ted Gurley From: Ted Gurley Subject: A new chat area We've included a monthly chat topic at the "Plug In" website. This month it focuses on the convergence of blues with country music. (www.prenhall.com/~plugin). Who knows, maybe your comments will be included in the next edition of "Plug In: The Guide to Music on the Net" like PW Fenton and Curtis Hewston's in the first edition. -------------------------------------------------------------- Ted M. Gurley tgurley@onramp.net http://rampages.onramp.net/~tgurley Co-author "Plug In: The Guide to Music on the Net". Everything you want to know about your favorite band, music style, MIDI and more on the Net. Published by Prentice-Hall. At bookstores everywhere by Gurley & W.T.Pfefferle. Visit the companion wevsite at http://www.prenhall.com/~plugin ------------------------------------------------------- ========================================================================= Date: Sat, 8 Jun 1996 10:39:05 +0000 Reply-To: thf4@WaterValley.Net Comments: Authenticated sender is From: Tom Freeland Subject: Re: List of Towns for Church Relief Comments: To: rvana@INTERPATH.COM On 8 Jun 96 at 9:33, bob vanarsdall wrote: > Following Dick Waterman's sage advise not to bitch and moan, but to go > direct and ask questions .... > Here is a > list of the towns in which predominantly black churches have been burned in > this suspected arson campaign. > Hatley MS 3/5/96 > Ruleville MS 3/20/96 Ruleville is in the heart of the Delta. It was the home of Fannie Lou Hamer, one of the truly great heroes of the civil rights era, and James Eastland, one of the villians. It is a tiny predominately black town. I do not know anything about Hatley, which is just outside Amory about 30 miles south of Tupelo. Tom Freeland ========================================================================= Date: Sat, 8 Jun 1996 09:34:16 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: June 9 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ACE, JOHNNY (p/DUKE REC) b. 1929-0609, MEMPHIS, TN ALEXANDER, ARTHUR (v/songw) d. 1993-0609, NASHVILLE, TN 53 ARMSTRONG, TIPPY (g/BOBBY WOMACK) d. 1979-0609, TUSCALOOSA, AL 32 BARRON, KENNY (p) b. 1943-0609, PHILADELPHIA, PA DAVIS, CEDELL (g/FAT POSSUM REC) b. 1927-0609, HELENA, AR GOODE, MORT (prod/songw) d. 1993-0609, NEW YORK CITY, NY 80 JACKSON, FRUTELAND (g) b. 1953-0609, DODDSVILLE, MS JONES, CALVIN "FUZZY" (d/ANTONE'S REC) b. 1926-0609, GREENWOOD, MS JONES, CARL (owner: CJ REC) b. 1913-0609, WAXAHATCHIE, TX MERCER, WALLY (tsax/TRUMPET REC) b. 1912-0609, PENSACOLA, FL MILLER, BIG (v/tbn) d. 1992-0609, EDMONTON, ALBERTA 69 MURRAY, BOBBY (g/prod/MURRAY BROS REC) b. 1953-0609, NAGOYA, JAPAN PAUL, LES (g) b. 1915-0609, WAUKESHA, WS PERNA, RICHARD (tsax/LAMONT CRANSTON) d. 1980-0609, DENVER, CO 37 PORTER, COLE (:-) (songw) b. 1891-0609, PERU, IN SPRUILL, JIMMY "WILD" (g/FIRE REC) b. 1934-0609, WASHINGTON, NC WALLACE, RICHARD(of MIGHTY CLOUDS OF JOY) b. 1940-0609, GA WHALUM, WENDELL PHILLIPS (o/gospel) d. 1987-0609, ATLANTA, GA 56 WILSON, JACKIE (v/BRUNSWICK REC) b. 1934-0609, DETROIT, MI ------------------------------------------------------------------------------- ========================================================================= Date: Sat, 8 Jun 1996 12:41:30 -0500 Reply-To: Steve Price From: Steve Price Subject: "selling out" Maybe I missed something, or maybe I've been misunderstood, but I didn't think I read anywhere on the list criticism of an artist becoming successful. I've read complaints about people having to stand at concerts, about the choice of material, and so forth, but not for "selling out." I've also read objections to commercial sponsors, mostly HoB, for a variety of reasons. But I didn't think I read anywhere anyone criticizing an artist for "selling out." If anyone mistook me for saying that I object to John Lee Hooker doing a Pepsi commercial (which I haven't seen), all I said was I didn't think it was a major breakthrough for blues. I certainly didn't object to John Lee's making a buck, neither on the blues, nor for being John Lee Hooker. I didn't think anyone did. I do recall reading that some people didn't appreciate Buddy Guy taking long parts of his concerts to play what I guess folks are calling "blues-rock" or some such (if I've misunderstood the complaint, pardon me), but I thought they were both describing Buddy's choice of material, and their musical preferences. I don't recall anyone saying that was selling out. I thought we all hope this music and the artists are successful. I also recall Ranko ranting that when the corporate sponsorhips dry up again (of course we hope it doesn't, right?), that it will be the fans and the blues societies and buyers and collectors who will continue to try to foster the artistic talents of those who play the music and aren't commercially successful. That seems right. Did I miss something about selling out? Steve Price ========================================================================= Date: Sat, 8 Jun 1996 11:47:00 -0600 Reply-To: bmpech@MSCD.EDU From: Bruce Pech Subject: Re: Standard tuning slide Comments: To: scott d In-Reply-To: <199606080650.BAA22510@home.interaccess.com> On Sat, 8 Jun 1996, scott d wrote: > I'm going on the word of a guitar player I know who plays some of Tampa > Red's stuff (I play a lot of it too, but only on the record player). This > guy can sound just like him, and I know he plays it all in standard tuning. > > I'm not much of a guitarist myself, but the reason I didn't question the > standard tuning idea was that Tampa Red didn't play the types of licks that > are common to open tunings; in particular, I can't recall any examples of > him sliding chords, or "fretting" more than one string at a time with the > slide. (I'm not saying he didn't, but on the 4 or 5 compilation albums I > have of his work, I don't recall him doing this.) So you may very well be > right; however it sounds to me like he was making an effort to play licks > that didn't sound like typical open tuning slide licks. Which earns him yet > another measure of my respect! > > > Scott Scott -- You're correct that TR uses the slide almost exclusively to play single string melodies. He also does a lot of fretted fingerpicking ornamented with slide licks (e.g., "No Matter How She Done It"). While it's certainly possible that he played in standard tuning, everyone I know who's transcribed his tunes (Woody Mann, Ferguson & Gellis, Rich Delgrosso, Arlen Roth, Bob Brozman), has done so in open E or D -- sometimes capoing up a few frets to match the pitch of the recording. Hardly decisive evidence, but suggestive .... Whatever tuning he used, I wholeheartedly agree that Tampa Red merits a lot of respect. His tone, accuracy and fluidity are mind-boggling. -- BP Boulder CO ========================================================================= Date: Sat, 8 Jun 1996 12:04:53 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Big Walter Horton recommendations? Gavin and Others, If you are looking for initial exposure to Walter Horton, I recommend seeking out recordings by Jimmy Rogers, Johnny Young, and others where Walter appears as a sideman. I'm sure some will disagree, but I think some of Walter's best work was on other people's projects. Uncle Ray ---------- From: Gavin Arneaux[SMTP:102554.471@COMPUSERVE.COM] Sent: Saturday, June 08, 1996 1:37 PM To: Multiple recipients of list BLUES-L Subject: Big Walter Horton recommendations? Well, the Big Walter thread has really piqued my curiousity. Would you folks be so kind as to send me your reccommendations for my first BW purchase? As usual, I'd also be real happy if you told me WHY you like it so much. You can send to me pesonally unless you think it is something that might interest other 'Zellers, too. Inquisitively, Gavin ========================================================================= Date: Sat, 8 Jun 1996 15:29:01 -0500 Reply-To: Steve Price From: Steve Price Subject: How did you get into the blues? What brought all you folks to the blues? Was there a seminal moment when you heard something? Did you find it via Jazz, rock, r&B? Is it something you still feel new to, still exploring, or something you've been doing all your life? I'm still exploring, but I was brought up on blues. My dad was a huge fan, acoustic piedmont & delta, electric, harmonica, Muddy, Sonny & Brownie, B.B., Lightenin', and on and on. He loved the stuff and brought it home dozens of records at a time that he'd pile on the turn table in big stacks and play LOUD. He gave me my first Marine Band harmonica when I was five, took me to see Sonny, James Cotton, Paul Butterfield, Muddy, Charlie Musselwhite (20 years later), Clifton Chenier, and on and on. The only books I remember him giving me were a dictionary, a book on grammar when I majored in English in college, and Robert Palmer's Deep Blues. He got into it listening to all the early rock and r&B and blues on Alan Fried's radio broadcasts in Cleveland in the 40s and 50s. Later in his life he was a member of the Santa Barbara blues society, and the Long Beach blues society, was the treasurer briefly, and always went to the festivals, always went to clubs (he prefered the dives to HoB, but he went there, too), always willing to adventure at the record store. What's your story? How'd you get into this stuff. I'd love to know. Thanks. Steve Price ========================================================================= Date: Sat, 8 Jun 1996 13:34:33 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Port Townsend I'm headed to the Centrum Blues Fest in Port Townsend, WA on June 22nd and 23rd. Anyone else planning to be there? Uncle Ray ========================================================================= Date: Sat, 8 Jun 1996 16:32:51 -0400 Reply-To: RNABooking From: RNABooking Organization: America Online, Inc. (1-800-827-6364) Subject: Re: weeknight blues Comments: To: bit-listserv-blues-l@uunet.uu.net Weekdays are slow all over the world. Getting five gigs a week on a tour is doing good. Some clubs have built up a weekday following by consistently booking touring acts during the week as to get the better "routing" prices. The Rhythm Room in Phoenix and Brendan's in Denver come to mind. It takes a lot of promotion to make weekdays work. Seems most of the population is living for the weekend. Earlier shows help sometimes. God bless the club owner who does blues shows during the week. Chances are its costing him money to do it. Ronnie Narmour RNA Booking Austin, Texas ========================================================================= Date: Sat, 8 Jun 1996 16:47:26 -0400 Reply-To: Peter Welch From: Peter Welch Subject: Big Walter Horton Recommendations Some good Big Walter recordings: "Memphis Recordings, 1951" on the Japanese P-Vine label (A lot of this is available on the Virgin/Flair release, "Mouth Harp Maestro", but the P-Vine disc also has his 2 Cobra label cuts from 1956.). "Cotton Patch Hotfoot" is a great instrumental. The 2 Cobra sides are also available on the Jewel/Paula Anthology called "Chicago Blues Harmonicas". Some of Walter's other recordings done in the Sun studio are on the Charly Sun Blues Box, and also on a Rounder anthology CD called "Sun Records Harmonica Classics", which features the classic instrumental, "Easy" done with Jimmy DeBerry. You can also find a few of these Sun cuts by Walter on Bear Family's Joe Hill Louis disc, "The Be-Bop Boy." Some of my favorite Big Walter recordings as both a frontman and as a sideman are on the Pearl (Delmark) vinyl LP, "Chicago Blues Harmonica Kings". This has sides done for the States/United label, including nice stuff he did playing behind jump blues singer Tommy Brown. The other side of this LP has cuts by the obscure, but quite good, Chicago harp player, Alfred "Blues King" Harris. I hope Delmark will reissue this on CD soon. Some of Big Walter's best playing was done backing Johnny Shines on the J.O.B. label in 1953. These cuts are on the Paula (or Flyright) CD called "Dust My Broom", which also has good early sides by Robert Lockwood. I also have a Red Lightnin' LP called "An Offer You Can't Refuse", which has one side of stuff done with Robert Nighthawk on guitar...The other side of this LP has poorly-recorded live material done by Paul Butterfield. The Big Walter cuts are quite enjoyable. Big Walter also appears on some Vanguard and Testament compilations, playing both as frontman and as sideman to people like Johnny Young. This is all pretty good. As for later material, I like the Blind Pig recordings done in the late 70s. "Fine Cuts" and "Can't Keep Loving You" are both pretty worthwhile. -Peter ========================================================================= Date: Sat, 8 Jun 1996 14:24:01 -0700 Reply-To: exarch@accesscom.net From: Maggie Mortensen Organization: Exarch Services Subject: HoB: A Shred of Evidence Ranko Vujosevic wrote: > I also want to see a SHRED OF CONCRETE EVIDENCE of what HoB have done > good to the state of blues in this country. TV show, Muddy's Cabin, and > almost everything else I associate with them are not. Well, here's a shred for you: the House of Blues in New Orleans makes available, free of charge to any classroom teacher in the area, a complete, in-house multi-arts blues education program called "Blues Schoolhouse", in which the media of music, dance, spoken word and film are used to show city schoolchildren how blues music is the living ancestor of the rap and rock 'n roll they are listening to today, and its cultural significance to the African-American population. (And this in a city whose population is more than 60% black.) And I believe they even treat the kids to lunch in the restaurant. The kids are taught about Muddy, RJ, Bessie et al in a format of musical "informances" that even the most television-impaired can relate to. If THAT'S not a valuable contribution in these times of zero-arts-funding in the schools, then I don't know what is. --Maggie -- Maggie Mortensen<><>Exarch Services<><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ L'avenir appartient a ceux qui savent redemarrer a zero. --Paul Valery ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Sat, 8 Jun 1996 17:24:36 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: 60 Minute Man - HELP! Zellers, I was shame-facedly stumped this afternoon. A freind asked who wrote and who performed the most-famous version of "60 Minute Man." With a smile on my face, I said "Why it's , uh, um . . . ." And I had a brain fart! I just can not for the life of me remember who did this. I have checked everything in my collection: Howlin' Wolf, Bo Diddley, Little Milton, Little Walter, Muddy Waters, Wilie DIxon, etc., etc. etc. I am lost. It's like not being able to recall the name fo your favorite actor when someone asks you "Who was the guy in 'It's a Wonderul Life?'" AARRRGGGHHH!!!! Help me . . . . Gavin ========================================================================= Date: Sat, 8 Jun 1996 14:34:25 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Gator tail Vegetarians, read no further! A few years back I served gator sausage Po' Boys at the Owl Cafe in Seattle. There was a local musician that had family in Gainesville, Florida who would bring me fresh tail meat whenever he went to visit his people in Florida. Does anyone know of a legal source for gator tail through mail order? How about 'possum? I hear there's a packing house in Arkansas with inspected 'possum meat. "Greens and gravy is good to eat, but give me some of that sweet potatoes and 'possum meat!" -Troyce Key & J. J. Malone ========================================================================= Date: Sat, 8 Jun 1996 22:02:01 GMT Reply-To: Jim LeMaire From: Jim LeMaire Organization: Netcom Subject: NJ Blues Jam 6/27 The Skylands Blues Society of Northern NJ and Eastern PA will hold its June meeting and jam on Thursday 6/27 at: Lake Lenape Lodge Rt. 517 Andover NJ 201-786-5080 The host band will be G.W. Toye and the Blues Generators 8:00 G.W. Toye 8:45 short business meeting 9:00 Jam Musicians: sign up early if you want to play. For more info, call the SBS Blues Hotline at: 908-813-BLUS or write: Skylands Blues Society P.O. Box 857 Hackettstown, NJ 07840 ========================================================================= Date: Sat, 8 Jun 1996 18:13:39 -0400 Reply-To: bob vanarsdall From: bob vanarsdall Subject: 60 Minute Man - HELP! Comments: cc: 102554.471@COMPUSERVE.COM > Zellers, I was shame-facedly stumped this afternoon. A freind >asked who >wrote and who performed the most-famous version of "60 Minute Man." With a >smile on my face, I said "Why it's , uh, um . . . ." And I had a brain >fart! I "Most famous" was Clarence Carter of "Patches" fame. He is introduced as "the 60 Minute Man" to this day. Bob ========================================================================= Date: Sat, 8 Jun 1996 18:20:42 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: Re: WEEKNIGHT BLUES > God bless the club owner who does blues shows during the week. > Chances are > its costing him money to do it. > Ronnie Narmour > RNA Booking > Austin, Texas As a booking agent, what do you feel is the key to a successful weeknight gig, for both the club owner and the band? Is it in the promotion, is it the band, start time, amount of cover, or what? Just curious about your professional opinion, and I think a few others may be, too. Don O. ========================================================================= Date: Sat, 8 Jun 1996 18:20:25 -0500 Reply-To: Heather Loren Miller From: Heather Loren Miller Subject: Re: How did you get into the blues? Comments: To: Steve Price In-Reply-To: Hi, everyone. I must admit that my unhealthy fondness for Led Zeppelin in general and Robert Plant in particular got me into the blues, but it's been my need to confront racism--both those things I've been guilty of myself *and* the milieu in which we live--that has kept me in it. I also have a professional interest, since my area of specialization at LSU is African American literature and the blues. But no amount of fanaticism or guilt can motivate me better than hearing John Hammond, Jr. play the guitar. Take care. Heather ========================================================================= Date: Sat, 8 Jun 1996 23:46:54 GMT Reply-To: skb8721@tam2000.tamu.edu From: "Shane K. Bernard" Organization: Texas A&M University (Student) Subject: Re: Zydeco: Creole or Cajun? Comments: To: bit-listserv-blues-l@uunet.uu.net Great discussion . . . too bad it couldn't also be occuring at the same time on alt.culture.cajun. As a Cajun born and reared in Lafayette LA, as the son of a "swamp pop" musician from Opelousas, and as a professional historian with a specialized field in Cajun & Creole studies, I have some pretty strong opinions on this topic . . . but, of course, that doesn't necessarily make them _correct_. A great deal of debate on these matters occurs even among those of us born into the culture -- we can't even agree, for instance, on what really constitutes "traditional" Cajun music. Is it just the music of artists like Dennis McGee, Lawrence Walker, and Nathan Abshire, or also the music of artists like Zachary Richard and Wayne Toups? But, from my studies, I have found that traditionally in South Louisiana very few blacks of francophone heritage have called themselves "Cajuns" -- in fact, "Cajun" was the term hurled back at whites when they called blacks, well, the "N" word, as they say nowadays. (My black Creole friend and homepage co-author, Herman Fuselier of Opelousas, can testify to this.) In addition, after the birth of "black Creole" pride in the mid-1980s (when CREOLE INC, a cultural preservation organization, and Creole Culture Magazine, both of Lafayette, were founded by blacks of francophone heritage), increasing numbers of South Louisiana blacks rejected the term "Cajun" as applied to their culture. Anyone living in Lafayette when the "Cajundome" was chrisened will remember the bumperstickers sported by the area's black population: "It's our dome, too!" I don't think Clifton Chenier would refer to himself as "Cajun" in today's climate, and, in fact, I have heard from a reliable source that during his last years he was politely confronted by other black Creoles about his use of "Cajun." That's what I heard, anyway. Generally, in SW La. Cajuns are considered white, and Creoles are considered black or mixed-race; but, as I pointed out in my previous posting, "Creole" possesses more than one meaning -- there are white Creoles, too . . . but they really don't enter into discussions of Cajun and zydeco music. As for the instruments used by Cajun and zydeco musicians: not all play accordion, of course. There is the froittoir, too, or washboard (rubboard), and the fiddle, as well as the petite fer, or triangle. Pertaining to accordions, though: Cajun musicians use the single, double and triple row diatonic accordions, as do black Creole (zydeco) musicians, but the black Creoles also use piano key accordions. This is not meant to be an absolute statement -- I have seen a few Cajun musicians use piano key accordions, but this is usually not their instrument of choice. Then you have a variety of backing instruments: bass, drums, guitar, etc. With Cajun music, these backing instruments became common during the Cajun string band era (beginning ca. 1935), when the accordion was actually banished, not to reappear until the late 1940s/early 1950s. Ancelet's "Cajun Country" is good, all-around primer on Cajun culture, with some comparative info on black Creoles. A few good sources on Cajun & Creoles in SW La. follow: Ancelet, Barry Jean,. Cajun Music: Its Origins and Development. Louisiana Life Series, No. 2. Lafayette, La.: Center for Louisiana Studies/University of Southwestern Louisiana, 1989. ________. "Zydeco/Zarico: Beans, Blues and Beyond." Black Music Research Journal 8 (No. 1, 1988): 33-49. ________ and Elemore Morgan Jr. The Makers of Cajun Music (Musiciens cadiens et crioles). With a foreword by Ralph Rinzler. Austin, Tex.: University of Texas Press, 1984. ________, Jay Edwards, Glen Pitre et al. Cajun Country. Folklife in the South Series. Jackson, Miss.: University Press of Mississippi, 1991. Brasseaux, Carl A. The Founding of New Acadia: The Beginnings of Acadian Life in Louisiana, 1765-1803. Baton Rouge, La.: Louisiana State University Press, 1987. ________. From Acadian to Cajun: Transformation of a People, 1803-77. Jackson, Miss.: University Press of Mississippi, 1992. Broven, John. South to Louisiana: The Music of the Cajun Bayous. Gretna, La.: Pelican, 1983. ________. The People Called Cajuns: An Introduction to an Ethnohistory. Lafayette, La.: Center for Louisiana Studies/University of Southwestern Louisiana, 1983. You can find more related books listed at: http://http.tamu.edu:8000/~skb8721/readpage.html I could go on and on-- SKB Cajun in Exile ========================================================================= Date: Sat, 8 Jun 1996 19:57:32 -0400 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Church Fires in the News On the heels of yet another church fire in Charlotte, North Carolina, Thursday night, President Clinton devoted his Saturday radio addreess to the subject today. This, of course, has brought the cause a great deal of media attention -- on CNN and the major networks so far, and I imagine that we'll see much more this week. If you see this note in time, either the CBS or ABC Sunday morning news show (I can't remember which) will have a feature story about the fires. (That's at 9 a.m. Eastern time -- whichever channel it's on.) You may also be able to catch President Clinton's radio address rebroadcast on C-Span this weekend. (I imagine the text -- and maybe a RealAudio -- is out there on the web someplace. I'll have to look.) The news outlets are reporting that the actual number of suspicious black church fires stands at 30 over the last 18 months. There have been two in the last five days. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Sun, 9 Jun 1996 00:57:35 GMT Reply-To: Steve Franz From: Steve Franz Organization: Primal Art Subject: Magic Sam question Comments: To: bit-listserv-blues-l@uunet.uu.net I realize that it probably isn't Magic Sam's finest moment - but just for the sake of completeness - does anybody know where a copy of "Do the Camel Walk" might be found on CD or LP? (It was originally recorded and released as Chief single 7026 in 1961, as the flip side to "Every Night About This Time"). I have been able to find Sam's other singles on microgroove or CD, but not this song. Any ideas? Thanks! Steve Franz stegy@inlink.com ========================================================================= Date: Sat, 8 Jun 1996 22:05:15 -0400 Reply-To: Anita Samuel From: Anita Samuel Subject: Re: 60 Minute Man - HELP! Comments: To: bob vanarsdall In-Reply-To: BTW, Patches is a wonderful Father's Day song! Peace, nitra On Sat, 8 Jun 1996, bob vanarsdall wrote: > > Zellers, I was shame-facedly stumped this afternoon. A freind > >asked who > >wrote and who performed the most-famous version of "60 Minute Man." With a > >smile on my face, I said "Why it's , uh, um . . . ." And I had a brain > >fart! I > > > "Most famous" was Clarence Carter of "Patches" fame. He is introduced as > "the 60 Minute Man" to this day. > > Bob > ========================================================================= Date: Sun, 9 Jun 1996 02:04:24 GMT Reply-To: "JOHN W. SCHARBROUGH" From: "JOHN W. SCHARBROUGH" Organization: Traders' Connection, Inc. Subject: the Shifters new Hotline #,Sound Clip! Comments: To: bit-listserv-blues-l@uunet.uu.net Hello Houserocking blue fans! You can check out the latest Shifter dates and hear the Shifters jamming to a Hollywood Fats tune by calling the Shifters Hotline at 317-579-3157. The Shifters next live show dates Shi-Kay Lounge 1514 N. Emerson av. Indpls.,In..........July 13th The Slippery Noodle Inn 372 S. Meridian Indpls.,In.....July 19th-20th If you love "jumping blues" then please call this hotline number,listen, and leave a message! ************************************************************************** John Scharbrough FastJohn@trader.com Guitar player for the Shifters the Shifters booking info 317-546-1866 John or above E-mail ************************************************************************** --- * Traders' Connection Web BBS * http://www.trader.com * info@trader.com ========================================================================= Date: Sat, 8 Jun 1996 19:15:49 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Commercialization: At what cost? Comments: To: rvana@INTERPATH.COM In-Reply-To: from "bob vanarsdall" at Jun 8, 96 10:36:24 am > There's a wonderful story about Picasso late in his life. A critic came to > visit him and found Picasso signing his name to some brushstrokes on paper > shopping bags. Picasso explained that there were people willing to pay for > anything with his signature on it, and he was making some quick money. The > critic asked if that didn't devalue the rest of his work. Picasso replied > to the effect that those who appreciate his real work would recognize these > for what they are, and never confuse them with his art. Those who didn't > didn't count, and he was laughing all the way to the bank. A friend of mine had a ~2'x3' "painting" framed in his living room. It was a couple of scribbly looking black lines portraying a bullfight - the profile of the participants. Nothing impressive - until you looked at it for a couple of minutes. The artist had captured the sneer of the Toreador, the anger of the bull, and the whole "feel" of the bullfight, using just a PARTIAL outline. I remarked that "This artist has some great talent". My friend said "Well I sure hope so. His name is Picasso". -- IronMan Mike Curtis ========================================================================= Date: Sun, 9 Jun 1996 02:12:11 GMT Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: List of Towns for Church Relief Comments: To: Jeff Seale On Sat, 8 Jun 1996 10:07:07 -0500, Jeff Seale wrote: >On Sat, 8 Jun 1996, bob vanarsdall wrote: >> Failing that, I tried to find a comprehensive list of the churches which >> have been burned so that folks could contact them directly. I haven't been >> able to find such a list, though I'm sure it exists somewhere. Here is a >There was an AP story and map listing all of the churches in the San Antonio >paper this morning. I can bring it in and list all of the churches if >people want it. Bob and Jeff, CNN Interactive is doing a great job covering this story. See their page at: http://www.cnn.com/US/9606/08/arson.timeline/ for a list by date of 25 unsolved fires (according to the ATF). Five have apparently been solved and are not listed, but they do have a map with "all" 30 sites spotted. Also see: http://www.cnn.com/US/9606/08/clinton.radio.cnn/ for all the latest as of this (Saturday) afternoon. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Sat, 8 Jun 1996 19:12:02 -0700 Reply-To: Peggy Hall From: Peggy Hall Organization: Primenet (602)416-7000 Subject: Re: Zydeco: Creole or Cajun? Comments: To: bit-listserv-blues-l@uunet.uu.net James Bardsley wrote: : I think your description of cajun and zydeco music is right on, Chris. I'd : only add that zydeco is at it's very core a 'borrowing' music- the original : gumbo. Since the zydeco musicians in this era have been heavily influenced : by rock and roll ( remember Louisiana was a real hotbed of rockabilly and : swamp-rock in the 50s and 60s - that the more recent zydeco artists like : Zachary Richard ( sometimes zydeco) and Terrance Simien- throw a lot of Zachary RICHARD is a CAJUN artist not a ZYDECO artist. ========================================================================= Peggy Hall phall@primenet.com ****** Researching in Louisiana: BABIN, BREAUX, LE BLANC, RICHARD ****** -------------------------------------------------------------------------- ========================================================================= Date: Sun, 9 Jun 1996 03:40:52 GMT Reply-To: vvisa@SIERRA.NET From: vvisa@SIERRA.NET Organization: Sierra-Net Subject: Guitar Mac and his Blues Express Comments: To: bit-listserv-blues-l@uunet.uu.net Guitar Mac and His Blues Express have a new CD just released this month. its a great album, called SIZZLE. it has 2 tracks with Guitar Mac and Roy Rogers , just the 2 guitars. Also Featureing Ronnie Stewart on guitar on the rest of the CD. Guitar Mac is a performer and radio personality. For more information E-mail vvisa@sierra.net. Sacramento, California. Lady ========================================================================= Date: Sun, 9 Jun 1996 01:35:05 -0400 Reply-To: RAHalonen@AOL.COM From: Reeann Halonen Subject: Re: How did you get into the blues? In a message dated 96-06-08 16:31:54 EDT, you write: > What's your story? How'd you get into this stuff. I'd love to >know. Thanks. > > My parents were "radicals" in the 30's (and throughtout their lives) and I cannot remember a time that I didn't know who Woody Guthrie, Sonny and Brownie, Pete Seeger, Lee Hayes, Josh White, Lead Belly and Jimmy Rodgers were. From there it was a natural progression to Muddy, B.B, Otis Redding, Sam Cooke (I was the president of his fan club locally when I was 14 and I talked to him on the phone once....just a thrill) It has always been that the blues spoke to a very primal - basic place inside me somewhere.(Native American drumming does it for me too....go figure). Music is one of the most important ways my parents enriched our lives. .... Ree Anne ========================================================================= Date: Sun, 9 Jun 1996 02:18:27 -0500 Reply-To: MR TERRY W SPRING From: MR TERRY W SPRING Subject: Sixty Minute Man I don't know about Clarence Carter, but in the fifties it Was Billy Ward and the Dominoes. According to my old "Risky Blues" lp, writers were Rose Marks & William E. Ward. ========================================================================= Date: Sat, 8 Jun 1996 23:00:42 -0700 Reply-To: wizard@WESTWORLD.COM From: wizard@WESTWORLD.COM Organization: Doctor Audio Subject: The Doctor is in... (Doctor Audio, that is) Comments: To: bit-listserv-blues-l@uunet.uu.net Greetings! If you haven't yet visited Doctor Audio, you really should. Doctor Audio now features the most comprehensive search engine and ordering catalog for Midi, and Hard Disk recording equipment on the web. We also feature the *Doctor Audio Links* Page that connects you to scores of MIDI, audio, & sound utility resources. Doctor Audio is a Dealer for PC and Mac MIDI software, Hard Disk recording hardware and software, and Pro Audio products. Stop by and visit. Doctor Audio http://www.doctoraudio.com Thanks for your support, Doc ___________________________________________________________________ Hard Disk Recording and Pro Audio Sales... Los Angeles, CA USA ___________________________________________________________________ Doctor Audio http://www.doctoraudio.com ___________________________________________________________________ ========================================================================= Date: Sun, 9 Jun 1996 02:24:00 EDT Reply-To: Debra Eisert From: Debra Eisert Subject: Re: HoB: A Shred of Evidence And this is not just an empty offer. While staying in a French Quarter hotel a block from HoB this past spring, I saw what seemed to be hordes of kids downloading from buses into their building. While there are things I don't like about the HoB, I also am not aware of any other similar business which even attempts the educational efforts of this one. >Well, here's a shred for you: the House of Blues in New Orleans makes >available, free of charge to any classroom teacher in the area, a >complete, in-house multi-arts blues education program called "Blues >Schoolhouse", in which the media of music, dance, spoken word and film >are used to show city schoolchildren how blues music is the living >ancestor of the rap and rock 'n roll they are listening to today, and its >cultural significance to the African-American population. (And this >in a city whose population is more than 60% black.) And I believe >they even treat the kids to lunch in the restaurant. > >The kids are taught about Muddy, RJ, Bessie et al in a format of musical >"informances" that even the most television-impaired can relate to. > >If THAT'S not a valuable contribution in these times of zero-arts-funding >in the schools, then I don't know what is. > >--Maggie > >-- >Maggie Mortensen<><>Exarch Services<><>New Orleans USA >~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ >L'avenir appartient a ceux qui savent redemarrer a zero. >--Paul Valery >~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ > > ========================================================================= Date: Sun, 9 Jun 1996 03:39:07 -0400 Reply-To: Lamiaceae@AOL.COM From: Lamiaceae@AOL.COM Subject: How did you get into the blues? Comments: cc: sprice@inav.net, salvia@gnn.com Wrote: Steve Price Subject: How did you get into the blues? Q: "What brought all you folks to the blues? Was there a seminal moment when you heard something? Did you find it via jazz, rock, r&b? Is it something you still feel new to, still exploring, or something you've been doing all your life?" A: I was first exposed to the blues back in the late-nineteen-sixties during the previous "blues boon / blues revival." I first heard "heavy electric blues" by the Cream, Canned Heat, Fleetwood Mac, Jethro Tull, Savoy Brown, John Mayall, and Led Zeppelin. Later on I noticed the earlier work by John Mayall, the Paul Butterfield Blues Band, and B.B. King. I always liked this stuff, but my interests shifted with the times through heavy metal, aor, punk, new wave, grunge. Always retaining a love of the "better" examples of each style. I was aware of Willie Dixon, Muddy Waters, Robert Johnson, from seeing their names as writers. I did not really get off on the original stuff then. Also, sometime in the early-ninteen-seventies I discovered jazz, especially fusion. During the last two decades, my taste in jazz has tended to go backwards in time: fusion, modal, cool, bebop, swing, trad. During the late-nineteen-eighties we started to listen to Bernie Pearl's blues radio show on KLON 88.1 (Long Beach, CA). This exposed us to acoustic country blues. This prompted us to want to learn more about the blues. My wife and I have gotten hooked on the blues, all blues. We still love other types of music too. My wife, Char interviewed Bernie Pearl. We named one of our dogs Bernie Pearl. The two Bernies have met. We often go to blues festivals and blues at bars/night clubs. We now know personally most of the blues musicians in the Southern California area. I have photographed many of them, and Char now writes for King Biscuit Time on the Blues Net http://www.island.net/~blues/. Char is an avid reader on the history and personalities of the blues. This is by necessity, my abbreviated story. Lets hear from some others out there. Bye. Yours, Mike ========================================================================= Date: Sun, 9 Jun 1996 02:10:16 -0700 Reply-To: exarch@accesscom.net From: Maggie Mortensen Organization: Exarch Services Subject: Allons, enfants du grammar patrol > On Fri, 7 Jun 1996, Bill Morgan wrote: > > It's a good introductory video with some pretty good information > > about zydeco and a good roster of performers both old guard and new. Hmmm. Now, do we suppose that Mr. Morgan means to imply that this good roster of performers contains both young AND aged protectors, or is there some new Safire-inspired movement afoot to omit the prefix "van-" when the phrase "avant-garde" is rendered into English? And if the latter, you couldn't really say "old vanguard", could you? --Maggie ========================================================================= Date: Sun, 9 Jun 1996 02:34:26 -0700 Reply-To: exarch@accesscom.net From: Maggie Mortensen Organization: Exarch Services Subject: Re: Zydeco: Creole or Cajun? Peggy Hall wrote: > Zachary RICHARD is a CAJUN artist not a ZYDECO artist. Well, now. I saw Zachary get up on stage and sing with Beau Jocque's band at El Sid-o's in Lafayette on Mardi Gras this year, and he sure as hell was zydeco *that* night. Shane, is it time to call in Mr. Fuselier on this one? --Maggie -- Maggie Mortensen<><>Exarch Services<><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ L'avenir appartient a ceux qui savent redemarrer a zero. --Paul Valery ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Sun, 9 Jun 1996 20:30:39 +0000 Reply-To: Ian L Hughes From: Ian L Hughes Subject: Re: Recent Flame Wars On Fri, 7 Jun 1996 "Stine, Dave" begged: >Subject: please don't un-subscribe--here's why > Blues people are still a minority. We need all of us. Un-subscribing won't > solve the bickering. I think that all of our awareness has been heightened > in the past few days. Hey, there's a PERSON at the end of my Email. Think > about it. Dave, (and everyone else), I've thought about it. I've contributed nothing to the flame wars. I run my phone bill up downloading the contents of the digest each day. How many people realise exactly how big that mother is? I've learnt a lot and exchanged mail with some good and helpful people (no names since I don't want to offend anyone by omission). I live miles away from a venue where I can hear live blues-rock, let alone blues. I've enjoyed the reports of events I have no chance of ever seeing myself. I've recommended the list to others. I used to learn something useful most days. I could probably learn a fair bit from the current discussions of what is or is not New Orleans music, but the rest of the contents are getting to be such a drag that I skip over them just to get to the end of the digest. I'm getting to the stage where I wonder whether continuing to subscribe is worth the effort of reading the digests. One of these days, and it won't be long, nobody will notice, but I'll be gone. Because I believe to my soul that the list is not what it used to be. Regards, Ian Hughes ========================================================================= Date: Sun, 9 Jun 1996 12:28:45 -0500 Reply-To: Goran Svenningsson From: Goran Svenningsson Subject: Re: Sitting & Thinking - Big Wal >At 08:03 AM 6/7/96 GMT, DUTTWEILER.J wrote: >>Walter Horton's >>influence is widely acknowledged to be as great as Little Walter's among blues >>harmonica. and Scott Dirks replied; >OK, for the sake of discussion, please name one current or latter day >harmonica player in whose style you can hear elements of Big Walter's style. >I've been playing harp for 20+ years, and I've studied BW's style and >consciously incorporate elements of it into my own playing, but I RARELY >hear any other harp players doing it. And believe me, I'm actively >listening for it. Well,there s certainly one guy out there today where *I* can hear some influence from Big Walter, his name is............ .......SCOTT DIRKS!! Don t be shy about this Scott, I was in Chicago last easter and played with your band so let the world know, you have some clear elements from Big W:s style in your blowing! Sevenson ..."you better be careful, baby what you say or do"... John Brim ========================================================================= Date: Sun, 9 Jun 1996 08:10:58 -0400 Reply-To: "JOHN W. SCHARBROUGH" From: "JOHN W. SCHARBROUGH" Subject: Re: Jimmy Rogers &/or Ronnie Earl Comments: To: bit-listserv-blues-l@uunet.uu.net Message-ID: <697cc$733.55@tcnntp.trader.com> Date: Sun, 09 Jun 1996 12:03:03 GMT References: <960602224411_102554.471_HHV49-1@CompuServe.COM> Reply-To: FastJohn@trader.com (JOHN W. SCHARBROUGH) Organization: Traders' Connection, Inc. Posting-Version: TCON NNTPSend v 1.0.5 ; site 204.120.67.7 Lines: 13 "They call me mr Earl"is my favorite by Ronnie Earl.Every song is too cool.... ************************************************************************** John Scharbrough FastJohn@trader.com Guitar player for the Shifters the Shifters booking info 317-546-1866 John or above E-mail ************************************************************************** --- * Traders' Connection Web BBS * http://www.trader.com * info@trader.com ========================================================================= Date: Sun, 9 Jun 1996 08:19:46 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Allons, enfants du grammar patrol Maggie Mortensen wrote >> On Fri, 7 Jun 1996, Bill Morgan wrote: >> > It's a good introductory video with some pretty good information >> > about zydeco and a good roster of performers both old guard and new. > >Hmmm. Now, do we suppose that Mr. Morgan means to imply that this good >roster of performers contains both young AND aged protectors, or is there >some new Safire-inspired movement afoot to omit the prefix "van-" when >the phrase "avant-garde" is rendered into English? And if the latter, >you couldn't really say "old vanguard", could you? > >--Maggie 'Old guard' is a perfectly good metaphorical description for artists who perform in an older style - it comes from the changing of guard patrols, like the one we put outside Buckingham Palace for you Yanks to photograph :-) The 'avant-garde' in its original, non-metaphorical meaning is the forward patrol in an army - the one that goes into new and dangerous territory. And btw, that's what a 'forlorn hope' really is as well - from the Dutch 'verloren hoop', which means literally 'a troop sent forward'. Chris Smith (chris@skerries.demon.co.uk) I asked her for butter, and she gave me margarine (Paul Francis, a college buddy of mine) ========================================================================= Date: Sun, 9 Jun 1996 08:22:42 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: How did you get into the blues? Steve asks > What brought all you folks to the blues? Was there a seminal >moment when you heard something? Did you find it via Jazz, rock, r&B? >Is it something you still feel new to, still exploring, or something >you've been doing all your life? > About 1963, I heard Lazy Lester doing 'I'm A Lover Not A Fighter' on BBC Radio - believe it or not! It was in a programme revieiwing new LPs. I tried to inflict the few real blues records I could afford on my Rolling Stone-addicted pals at school, but they preferred the whitebread version of the blues (sound familiar? Alhough to be fair, I though the early Stones stuff was prety hot in its own way then, and still do.) Adolescence and the need to belong to a peer group being what they are, I pretty much gave up my interest in those old black singers,and went along with the majority - but then when I was at college, I read Paul Oliver's 'Blues Fell This Morning', and was amazed by the poetry of the songs and outraged by the racism that produced the social conditions the singers had lived in. By serendipity, Paul's 'Story of the Blues' book and accompanying LP came out about that time, and I bought 'em, and that was me lost! I'm still exploring, and hope to be till I croak. Chris Smith (chris@skerries.demon.co.uk) I asked her for butter, and she gave me margarine (Paul Francis, a college buddy of mine) ========================================================================= Date: Sun, 9 Jun 1996 08:24:58 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Zydeco: Creole or Cajun? Shane Bernard wrote >Great discussion . . . too bad it couldn't also be occuring at the >same time on alt.culture.cajun. > > I agree, and thanks, Shane, for your really interesting contributions. Dare I bring up 'coonass'? Is that derogatory from outside Cajun culture, or self-mocking from inside? Or is it both, like when it's ok for black people to call each other the 'n word', but not for white people to use it? Chris Smith (chris@skerries.demon.co.uk) I asked her for butter, and she gave me margarine (Paul Francis, a college buddy of mine) ========================================================================= Date: Sun, 9 Jun 1996 08:25:13 -0400 Reply-To: "JOHN W. SCHARBROUGH" From: "JOHN W. SCHARBROUGH" Subject: Re: What are we using for that blues guitar tone? Comments: To: bit-listserv-blues-l@uunet.uu.net Message-ID: <697cc$711a.df@tcnntp.trader.com> Date: Sun, 09 Jun 1996 12:17:10 GMT References: <01I5I8WKXISY002VF8@SCI.WFBR.EDU> Reply-To: FastJohn@trader.com (JOHN W. SCHARBROUGH) Organization: Traders' Connection, Inc. Posting-Version: TCON NNTPSend v 1.0.5 ; site 204.120.67.7 Lines: 17 I use a American standard Telecaster straigt in to the mixing board for recording, and for my main guitar live,with a American standard Strat for back-up through a Fender Twin(80's silver face) I guess the only tone for me is spelled FENDER. Dont buy none of that Jap-crap guitars.They have little bitty frets that dont last and dozens of other funky downfalls..... If you want to hear cool tone call my hotline...317-579-3157 ************************************************************************** John Scharbrough FastJohn@trader.com Guitar player for the Shifters the Shifters booking info 317-546-1866 John or above E-mail ************************************************************************** --- * Traders' Connection Web BBS * http://www.trader.com * info@trader.com ========================================================================= Date: Sun, 9 Jun 1996 08:28:13 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: 60 Minute Man - HELP! >> Zellers, I was shame-facedly stumped this afternoon. A freind >>asked who >>wrote and who performed the most-famous version of "60 Minute Man." With a >>smile on my face, I said "Why it's , uh, um . . . ." And I had a brain >>fart! I > > >"Most famous" was Clarence Carter of "Patches" fame. He is introduced as >"the 60 Minute Man" to this day. > >Bob 'Most famous' is a bit like 'best ever' - but IMHO the most famous version is the first one, by Billy Ward and the Dominoes (who included CLyde McPhatter). Chris Smith (chris@skerries.demon.co.uk) I asked her for butter, and she gave me margarine (Paul Francis, a college buddy of mine) ========================================================================= Date: Sun, 9 Jun 1996 07:31:05 -0500 Reply-To: "Bardsley, James R" From: "Bardsley, James R" Subject: Re: Zydeco: Creole or Cajun? Comments: To: exarch@accesscom.net Not to belabor the point, but "cajun" is both a class of people- as per a cultural heritage- and a form of music ( not to mention cuisine). Zydeco, however, is only a form of music. Zach is a cajun. He plays a lot of zydeco, too, though. He also plays some folk/rock and cajun styles. For all I know, he can cook Chinese food.. ..would I then be corrected if I said " Zachary Richard is a Chinese cook- " No, he's a cajun cook"....? Jim, A-plus in Philosophy 210 back in '69. At 2:34 AM 6/9/96, Maggie Mortensen wrote: >Peggy Hall wrote: > >> Zachary RICHARD is a CAJUN artist not a ZYDECO artist. > >Well, now. I saw Zachary get up on stage and sing with Beau Jocque's >band at El Sid-o's in Lafayette on Mardi Gras this year, and he sure as >hell was zydeco *that* night. > >Shane, is it time to call in Mr. Fuselier on this one? > >--Maggie > > >-- >Maggie Mortensen<><>Exarch Services<><>New Orleans USA >~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ >L'avenir appartient a ceux qui savent redemarrer a zero. >--Paul Valery >~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Sun, 9 Jun 1996 08:32:28 -0400 Reply-To: Nate Goldshlag From: Nate Goldshlag Organization: ZIPNET.NET - The NorthEast US's premier ISP Subject: Re: Zydeco: Creole or Cajun? Comments: To: bit-listserv-blues-l@uunet.uu.net In article , bob vanarsdall wrote: > instrumentation: the zydeco players all use the English accordion (the one > with the piano-like keyboard on the right-side), Cajuns use the French > button accordion, which plays different notes on the push and pull strokes. This is not true! Many zydeco musicians like Boozoo Chavis, Geno Delafose, his father the late John Delafose, Beau Jocque and others also use the diatonic accordion, which entered Cajun music via German immigrants at the turn of the century (until then Cajun music was fiddle based). In fact I prefer the rootsier sound of the diatonic accordion. Some zydeco musicians like CJ Chenier use the piano accordion exclusively and also the 3 row is used. Nate ---------------------------------------------------------------- Nate Goldshlag "People ask me why I don't get fat nate@reflection.com it's cause I like to dance like that. I eat as much as I can hold Cambridge, MA and go out and do the zydeco." -- Marcia Ball ========================================================================= Date: Sun, 9 Jun 1996 09:02:13 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1924, Jelly-Roll Blues was recorded on the General Records label by none other than Jelly Roll Morton P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 9 Jun 1996 09:03:58 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... part 2 On this day in 1970, P.W. Fenton, and his lovely wife Roz, received their second unexpected bundle of joy and named her Billie. Luckily it only took 2 times for them to realize what was making this happen. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 9 Jun 1996 09:20:50 -0400 Reply-To: Mike Cooper From: Mike Cooper Organization: Spring Grove Artisans Subject: URL for Howard/WB Perhaps someone at blues-l could help? I have the following as an address for Howard and the White boys, but it's incorrect: > > > http://www.net/~wellner/howard/ I've tried variations; no luck. HWB played an acoustic set behind Best Buy at Chi Blues. Here's an observation along those lines: when we first started going to ChiB, the woods were full of musicians. Single harp blowers all the way to full bands with generators, none of whom had permits. Chi apparently cracked down, as we saw only one act near the fountain, wearing badges. At the same time the Petrillo headliners seem to have been picked so as to mellow the crowd; don't think we'll ever see the rocker types of yesteryear. A more controlled environment, a more controllable crowd, a more commercialized presentation. -- ------------------------ Mike Cooper Spring Grove Artisans coop@datawise.net ------------------------ ========================================================================= Date: Sun, 9 Jun 1996 09:15:20 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... (one more time) On this day in 1958, Jerry Lee Lewis, with the help of his producer Sam Phillips, took out a full page ad in Billboard Magazine to explain his third marriage, this time to his 14 year old cousin Myra. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 9 Jun 1996 09:18:36 -0400 Reply-To: ATiczon@AOL.COM From: ATiczon@AOL.COM Subject: Gatemouth Brown and Saffire in Pittsburgh I am temporarily exiled from my island in the sun spending a few weeks in Pittsburgh. I found out last night that two interesting blues acts are scheduled for today, Clarence "Gatemouth" Brown is playing at Hartwood Acres, and Saffire - The Uppity Blues Women are playing at Point State Park Stage tonight at 7:30. My problem is I don't know many people in Pittsburgh and those I do know are not interested in Blues (go figure). Anyone on the list interesting in going to either one of these concert? If you are interested in hooking up with a fellow bluezeller could send me a note at ATICZON@AOL.COM. Michel ...temporarily exiled from the turquoise blue lagoons of Vanuatu ========================================================================= Date: Sun, 9 Jun 1996 09:47:47 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: URL for Howard/WB Comments: To: Mike Cooper On 9 Jun 96, Mike Cooper had this to say: > Perhaps someone at blues-l could help? I have the following as an address for Howard > and the White boys, but it's incorrect: > > > > > http://www.net/~wellner/howard/ > > I've tried variations; no luck. HWB played an acoustic set behind Best Buy at Chi > Blues. An tiny bit of the address was missing. A little web searching turned it up: http://www.mcs.com/~wellner/howard/ P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 9 Jun 1996 14:32:42 GMT Reply-To: Peter Ballantine From: Peter Ballantine Organization: SuperNet Inc. (908) 828-8988 Subject: Re: weeknight blues Comments: To: bit-listserv-blues-l@uunet.uu.net Don O wrote: >What does it take to get YOU out to see a blues band on a weeknight? > >I ask this question because I've been out to some very good shows lately where >there were darn few folks in attendance. > >So what is it, specifically, that will get YOU off your couch on a weeknight? >Is it the band? How many touring national acts would you leave your house for >on a weeknight? Would you have to have an even earlier start time (6pm?). > >There are several club owners and booking agents on this list and I think maybe >we could all benefit from this discussion (unlike some of the others going on >here lately). > >Don O. I've been bitching about this subject for awhile. Here in New Jersey, the starting time at several venues frequented by blues & roots acts is often 10 pm. Now, that usually means the main act takes the stage at 11:00 pm. (I recently saw John Hiatt & a twin bill of Sonny Burgess & Rosie Flores when this was the case.) For Hiatt, there were _no_ seats in the place; one either stood at the bar or stood on the dance floor. (I'm only 5'8" so forget a good view.) In the latter case, there were a total of 8 seats at 4 tables (other than the bar stools) and when the main act came on everyone stood on the dance floor in front of the tables (no one, by the way, danced, but many people talked (!) throughout the show- heads bobbing constantly, etc. The worst offenders were the opening act and their friends- the drummer yelled to his friend all night long about 18" from the back of my head.) Many great blues, soul and zydeco acts frequently appear at a Cajun restaurant in nearby New Brunswick NJ but I usually pass on them. The band usually starts around 10:30 pm and they are set-up in a foyer (no stage) which also serves as the main hall between the dining area and the bar & bathrooms. There is literally nowhere to sit and watch the band and very little space to stand (or, for that matter, dance). Now, James Carr is gonna be there in a week or so, so I'll take a day off from work and attend but I can't understand why acts that appeal to an adult crowd are featured in such uncomfortable places and at such late times. I get up at 4:00 am for work (yeah, I know, it's an obscene time but isn't an 11:00 pm show time a bit much even for you 9 to 5'ers?) When I read complaints about the lack of support for live music, I can only think that live music venues don't do much for their audiences. ========================================================================= Date: Sun, 9 Jun 1996 09:49:55 GMT-6 Reply-To: williams@heme.medicine.wisc.edu From: Eliot Williams Organization: UW Department of Medicine (HEME) Subject: Re: Zydeco: Creole or Cajun? > From: Peggy Hall > Zachary RICHARD is a CAJUN artist not a ZYDECO artist. He's most certainly a cajun, and very passionate - even radical - about preserving that culture but (ironically) I've heard him, both in concert and on national television, describe the music he plays as zydeco. EW Eliot Williams University of Wisconsin Department of Medicine williams@heme.medicine.wisc.edu ========================================================================= Date: Sun, 9 Jun 1996 14:45:10 GMT Reply-To: Peter Ballantine From: Peter Ballantine Organization: SuperNet Inc. (908) 828-8988 Subject: Re: Junior Brown Comments: To: bit-listserv-blues-l@uunet.uu.net Hugh Hardy wrote: >I heard Junior Brown on the radio the other day. I'm a blues player, but his > approach - which had a nice bluesy flavour - was great. >Any recommendations? >Hugh Hardy Junior Brown has a few CD's out on Curb (12 SHADES OF BROWN maybe another), including an EP (JUNIOR HIGH)that can often be found at a cheap price ($6-8). His latest is SEMI-CRAZY. While he wears a white hat, he is NOT your typical country HAT act, that's for sure! (Over in some of the country newsgroups, one can find people who claim he's not a country act [don't ask me the reason- too much emphasis on guitar?] and some CD stores put him in the BLUES section- I guess for the same reason. Actually, only a portion of his material is heavily instrumental, featuring his steel guitar/ electric guitar combination instrument (which he plays on a stand)- much of his material is retro-honky tonk & C&W ballads circa the 1950's. But, if you're into that,too, you'll like Junior Brown. ========================================================================= Date: Sun, 9 Jun 1996 11:04:37 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: The Blues Playground playlist 6/9/96 Comments: To: info@acerecords.co.uk TO: Commercial Radio Promotion FROM: Stew Crossen - WCCC 107 FM - Hartford, CT SUBJECT: The Blues Playground Playlist AIR DATE: June 9, 1996 ____________________________________________________________________________ Playlist for THE BLUES PLAYGROUND 6-9-96 ARTIST ALBUM LABEL TRK Robert Cray Strong Persuader Polygram 1 Koko Taylor Jump For Joy Alligator 3 Bill Perry Love Scars RaveOn 2 Monster Mike Welch These Blues Are Mine Tone-Cool 2 Albert Collins Cold Snap Alligator 5 Buddy Guy Damn Right I Got The Blues Silvertone 4 Mike Morgan Looky Here! Black Top 1 Joe Beard Blues Union AudioQuest 10 Roy Rogers Rhythm & Groove Pointblank 11 Hoosegow Mighty Homestead 1 Coco Montoya Ya Think I'd Know Better Blind Pig 3 Gatemouth Brown Long Way Home Gitanes 1 Bo Diddley A Man Amongst Men Code Blue 2 Robert Ealey Turn Out The Lights Black Top 11 Luther Gtr Jr Johnson Slammin' On The West Side Telarc 10 ____________________________________________________________________________ The Blues Playground - 107FM WCCC/Hartford, CT - 50,000 watts of Blues Power Stew Crossen 1.800.970.5151 18 Boxwood Drive bfstew@neca.com Vernon, CT 06066-5106 http://www.neca.com/~bftsew Reports to: Living Blues, The Hard Report, BluesWire, The Blues Audience ========================================================================= Date: Sun, 9 Jun 1996 11:04:41 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: LZ's "The Song Remains the Same" To any and all Led Zeppelin fans (and I *KNOW* there are some on thsi list): VH1 will be showing LZ's "The Song Remains the Same" on Friday from 9 P.M. to 12 midnight (Eastern) and on Saturday from 7 P.M. to 10 P.M. Sure, it will have commercials. But, if you don't have any other access to it, this ain't a bad way to see it. Gavin ========================================================================= Date: Sun, 9 Jun 1996 10:17:07 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: HOB: a sliver of evidence Well, this may not seem like much, the HoB radio hour is the only chance to hear Howlin Wolf on mainstream radio in San Antonio. (Of course, the SA College station has an afternoon of blues every weekend). The radio show may be a perfect example of how WE can alter the hoB situation. If you recall when it first came on the air, Marc Schiller was on the list and actively participating. At the time, the radio program was mostly blues-rock and we bitched a lot. After a while of our incessant complaining, the show shifted more toward true blues. Maybe I'm just pipe-dreaming, but we just may have had some influence on the content. Today's show was a birthday tribute to Howlin Wolf and the Bluesbreaker of the week was Sarah Brown. I'm not for a lot of the stuff that HoB does, but we CAN have an effect - especially if we're not seen as a bunch of hostile "purists." -Jeff (and I consider myself a purist!) ------------------------------------------------------------------------------ __ Jeff Seale, PhD | |___ University of Texas Health Sciences Center @ San Antonio ___|* | seale@bioc02.uthscsa.edu \ | http://bioc09.uthscsa.edu/~seale/home.html \/\ / \ / I jumped bail from the Sweetwater County, now I'm on the run \( On my head is a 5 number bounty, for a crime I never done -Joe Ely ========================================================================= Date: Sun, 9 Jun 1996 15:23:59 GMT Reply-To: Jim LeMaire From: Jim LeMaire Organization: Netcom Subject: NJ Blues Jam 6/27 The Skylands Blues Society will hold its June meeting and jam at: Lake Lenape Lodge Rt. 517 Andover, NJ 201-786-5080 Host band will be G.W. Toye and the Blues Generators 8:00 G.W. Toye 8:45 Short business meeting 9:00 Jam Musicians: sign up early if you want to play For more info, call the SBS blues hotline at: 908-813-BLUS or write: Skylands Blues Society P.O. Box 857 Hackettstown, NJ 07840 ========================================================================= Date: Sun, 9 Jun 1996 16:14:25 GMT Reply-To: skb8721@tam2000.tamu.edu From: "Shane K. Bernard" Organization: Texas A&M University (Student) Subject: Re: Zydeco: Creole or Cajun? Comments: To: bit-listserv-blues-l@uunet.uu.net Chris Smith wrote: >I agree, and thanks, Shane, for your really interesting contributions. Dare >I bring up 'coonass'? Is that derogatory from outside Cajun culture, or >self-mocking from inside? Or is it both, like when it's ok for black people >to call each other the 'n word', but not for white people to use it? We've discussed this issue a good deal on alt.culture.cajun; it's clearly a controversial topic among Cajuns. The matter seems to boil down to this: Who says it and what is the intent? I've been in Cajun nightclubs filled only with locals and heard the musicians yell "How many coonasses we got in here?" And everyone answers in the affirmative. I also know Cajuns who dislike the term "coonass" and who actively seek to discourage its use among Cajuns and non-Cajuns alike. In fact, I know some activists who have gone so far as to threaten legal action against radio personalities who have used the term on-the-air. SKB Cajun in Exile ========================================================================= Date: Sun, 9 Jun 1996 11:38:14 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Re: Allons, enfants du grammar patrol Many thanks for Chris for saving me from Maggie "The Terrible" Mortensen and the cyber witch hunt that is the grammar patrol (not sure if she's part of the new grammar patrol or the old). I must, however, turn myself in to the spelling police for misspelling the surname of John Delafose (I spelled it Delaphose). Let the flogging begin. Bill (who might also be guilty of parentheses abuse) Morgan The Maggie Mortensen arrest: CH>>> On Fri, 7 Jun 1996, Bill Morgan wrote: CH>>> > It's a good introductory video with some pretty good information CH>>> > about zydeco and a good roster of performers both old guard and new. CH>> CH>>Hmmm. Now, do we suppose that Mr. Morgan means to imply that this good CH>>roster of performers contains both young AND aged protectors, or is there CH>>some new Safire-inspired movement afoot to omit the prefix "van-" when CH>>the phrase "avant-garde" is rendered into English? And if the latter, CH>>you couldn't really say "old vanguard", could you? CH>> CH>>--Maggie And the exoneration from Chris Smith: CH>'Old guard' is a perfectly good metaphorical description for artists who CH>perform in an older style - it comes from the changing of guard patrols, CH>like the one we put outside Buckingham Palace for you Yanks to photograph CH>:-) The 'avant-garde' in its original, non-metaphorical meaning is the CH>forward patrol in an army - the one that goes into new and dangerous CH>territory. And btw, that's what a 'forlorn hope' really is as well - from CH>the Dutch 'verloren hoop', which means literally 'a troop sent forward'. CH>Chris Smith (chris@skerries.demon.co.uk) CH>I asked her for butter, and she gave me margarine (Paul Francis, a college CH>buddy of mine) From: The Big Easy ========================================================================= Date: Sun, 9 Jun 1996 12:05:13 -0500 Reply-To: "Bardsley, James R" From: "Bardsley, James R" Subject: Re: Zydeco: Creole or Cajun? Comments: To: Chris Smith Chris- a very good question. When I first arrived in Baton Rouge in 1980 from the very liberal and politically correct state of Oregon, my new boss introduced himself to me as a "coonass", and my reflex was to inhale sharply and wonder what the hell I'd gotten myself into. I fact, "coonass" is a perfectly acceptable term for cajuns, especially among cajuns, where it is pronounced as if one were referring to membership in an honored club or regiment. It can be used derisively by non-cajuns, but has no inherent pejorative (perjorative? I can't spell worth s***) value. Jim in Shreveport, Louisiana, not cajun country.... At 8:24 AM 6/9/96, Chris Smith wrote: >Shane Bernard wrote > >>Great discussion . . . too bad it couldn't also be occuring at the >>same time on alt.culture.cajun. >> >> >I agree, and thanks, Shane, for your really interesting contributions. Dare >I bring up 'coonass'? Is that derogatory from outside Cajun culture, or >self-mocking from inside? Or is it both, like when it's ok for black people >to call each other the 'n word', but not for white people to use it? > > >Chris Smith (chris@skerries.demon.co.uk) >I asked her for butter, and she gave me margarine (Paul Francis, a college >buddy of mine) ========================================================================= Date: Sun, 9 Jun 1996 13:07:32 -0400 Reply-To: Hugh Hardy From: Hugh Hardy Subject: country blues guitar I just heard a great version of "Mystery Train" on the radio. I believe = it was Pete Anderson playing. It was Dwight Yokam's version. Anyway, can anyone help me out in the CD selection department regarding = country blues players of the fingerpicking/Tele sound/aggressive type? I = have Pete Anderson's "Working Class" and it's great but doesn't quite = kick ass the way I want. Suggestions would be gratefully received. Hugh Hardy ========================================================================= Date: Sun, 9 Jun 1996 13:04:05 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Recent Flame Wars Comments: To: Ian L Hughes In-Reply-To: On Sun, 9 Jun 1996, Ian L Hughes wrote: > On Fri, 7 Jun 1996 "Stine, Dave" begged: > >Subject: please don't un-subscribe--here's why > > > > Blues people are still a minority. We need all of us. Un-subscribing won't > > solve the bickering. I think that all of our awareness has been heightened > > in the past few days. Hey, there's a PERSON at the end of my Email. Think > > about it. > > Dave, (and everyone else), [edit] > > I used to learn something useful most days. I could probably learn a fair > bit from the current discussions of what is or is not New Orleans music, > but the rest of the contents are getting to be such a drag that I skip over > them just to get to the end of the digest. > > I'm getting to the stage where I wonder whether continuing to subscribe is > worth the effort of reading the digests. > > One of these days, and it won't be long, nobody will notice, but I'll be gone. > Because I believe to my soul that the list is not what it used to be. Well, I hope (1) that hot heads chill (including me, and I apologize for any and all thoughtless contributions of mine), and (2) that folks like Ian stay on and help us learn and talk about this great music. But I also have to say, I had been on for months a year ago, logged off for a year because I couldn't handle the volume with the hardware I had at the time (a 1200 baud modem), and when I logged back on, folks were STILL talking about whether white folks can play the blues and whether SRV was the best--sheesh! Some things, it seems, never change. Maybe your tolerance for it changed. BUT (to quote Tom Freeland) and this is a very big BUT I ALWAYS learn from the discussions here no matter what flamebait grabs the spot light for a few seconds or days or even weeks. I think we can all be friends, love the music, and disagree about all kinds of things. I think there's ALWAYS going to be things of value here, and I also think there's ALWAYS going to inane stuff (like, not just who's best, but a steady stream of posts debating whether it's intelligent to speak in terms of best). Uncle Ray gave me a MUCH appreciated chill pill when I was starting to go after a certain insect on-list. We should all have an Uncle Ray who speaks such sense--hey, and we all do. Personally I've been finding the Cajun/Zydecco discussion fascinating, and I'm glad folks are responding to my question about how they got into blues. And so much more. Stick around, folks, there's plenty more to discover. (Hey Ian, how did you get into the blues?) Steve Price ========================================================================= Date: Sun, 9 Jun 1996 18:13:31 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Church Burnings and the Prez's speech Comments: To: bit-listserv-blues-l@uunet.uu.net Sorry this is a bit vague. I caught President Clinton's speech (to the Nation?) on Saturday morning (in a half awake state) on the radio on WINS - 1010 AM based in NYC - this isn't the normal thing I'd do on a Saturday morning after getting home at 3AM.... BUT His speech was concern about the burning of the Black Churches -30 in 18 months - he called it for what it was - racially motivated crime. From what I half caught it sounds as though he has mobilized many departments to investigate these crimes (apparently they already have 2 suspects in custody - later news reports hint at links to the Klu Klux Klan) Also toward the end of his speech he mentioned an organization which is coordinating efforts to aid the communities and Churches. DID ANYONE get the name of that organization? Perhaps we could coordinate with that organization? I am not an admirer of the Prez, but this speech was good and well balanced and the information and actions sounded RIGHT ON. PLUS what he said toward the end was actually great: I can't recall the exact words - but it was to the effect that one of the community said what had been burnt was not the Church they worshipped in but merely the BUILDING in which they worshipped. -- Vincent vt@pipeline.com ========================================================================= Date: Sun, 9 Jun 1996 14:26:07 -0400 Reply-To: Tom Morgan From: Tom Morgan Subject: Need some dates for these blues I am just finishing up a reference project and wonder if some kind soul could give me the recording dates for the following songs: Leadbelly's Good Night, Irene The Midnight Special Blind Lemon Jefferson's Matchbox Blues Alberta Hunter's You Can't Tell the Difference After Dark Second Hand Man Take Your Big Hands Off Also the years that Etta James released, the lps: 7 Year Itch and Stickin' With My Guns Thanks in advance.. Tom `'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`' http://redlt.com/tom/ -- Home of Jazz Roots & Record Companies on the Web Free-lance Writer--Author--Program Director WTJU 91.1--Internet Consultant ========================================================================= Date: Sun, 9 Jun 1996 14:27:09 -0400 Reply-To: WWCjr From: WWCjr Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Johnny Winter Comments: To: bit-listserv-blues-l@uunet.uu.net Saw Johnny last month here in NY. He was good as usual but he was real slow and careful on stage and he hardly opened his eyes the whole night. Don't know how far he is touring and he didn't play any new material. He is still one of the best. Bill ========================================================================= Date: Sun, 9 Jun 1996 18:36:52 GMT Reply-To: George Myers From: George Myers Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Junior Brown Comments: To: bit-listserv-blues-l@uunet.uu.net He has a live show that has to be seen to be believed. Incredible guitarist! ========================================================================= Date: Sun, 9 Jun 1996 13:55:43 +0000 Reply-To: thf4@WaterValley.Net Comments: Authenticated sender is From: Tom Freeland Subject: Re: Need some dates for these blues Comments: To: tm4q@POE.ACC.VIRGINIA.EDU On 9 Jun 96 at 14:26, Tom Morgan wrote: > I am just finishing up a reference project and wonder if some kind soul > could give me the recording dates for the following songs: > > Leadbelly's > Good Night, Irene A lot of times. Among them: The first time, at Angola 7/33, again in NYC in 1943 > The Midnight Special The first time, at Angola, 7/34. both again in NYC 2/5/35 There is a discography in the Ledbelly biography, which has more current info than is in D&G BUT that discography is itself quite flawed. I don't have the bio with me (its at my office). The above is from D&G, thru 1943. He recorded 'em again later. > Blind Lemon Jefferson's > Matchbox Blues April 1927, in Chicago. (D&G) > > Alberta Hunter's > You Can't Tell the Difference After Dark > Second Hand Man These two were recorded for ARC on March 20, 1935. > Take Your Big Hands Off dunno. Not in D&G Tom Freeland (can't help you with Etta James, I don't have the post war discography) ========================================================================= Date: Sun, 9 Jun 1996 18:40:53 GMT Reply-To: George Myers From: George Myers Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Rod Piazza Comments: To: bit-listserv-blues-l@uunet.uu.net That's good news, They'll be at the Grand Emporium in Kansas City on the 4th of July. ========================================================================= Date: Sun, 9 Jun 1996 18:38:31 GMT Reply-To: George Myers From: George Myers Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Kansas City Comments: To: bit-listserv-blues-l@uunet.uu.net I was asked to do this. If you aren't interested, gee, I guess you don't have to read it. ========================================================================= Date: Sun, 9 Jun 1996 15:22:13 EDT Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: Otis Grand touring? Hey All, A listenter asked me if I'd heard anything about Otis Grand touring in the U.S. and/or Canada. Can anyone help us? They also were looking for any info regarding Zoom? Thanks Dave Carpenter Blues Music Director - WHUS-FM University of Connecticut - Storrs, CT 06269 http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Sun, 9 Jun 1996 14:31:30 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Re: Church Burnings and the Prez's speech Very Briefly, just a few related items: The Southern Poverty Law Center has filed suit against the KKK, at least for the burning of a church in South Carolina -- two people allegedly responsible for one of the church fires in South Carolina are members of that malevolent society. And according to today's paper (the N.O. Times-Picayune), Rep. John Conyers Jr., D-Michigan, is one of the sponsors of a bill that enables federal prosecution of hate crimes aimed at churches. Kweisi Mfume of the NAACP has called for immediate passage of that bill in light of recent bombings and burnings. Finally, Morris Dees of the Southern Poverty Law Center has a new book on the shelves that may be of interest. The book is titled _Gathering Storm: America's Militia Threat_. Bill Morgan VT>I caught President Clinton's speech (to the Nation?) on Saturday morning VT>(in a half awake state) on the radio on WINS - 1010 AM based in NYC - this VT>isn't the normal thing I'd do on a Saturday morning after getting home at VT>3AM.... BUT VT>His speech was concern about the burning of the Black Churches -30 in 18 VT>months - he called it for what it was - racially motivated crime. From VT>what I half caught it sounds as though he has mobilized many departments to VT>investigate these crimes (apparently they already have 2 suspects in VT>custody - later news reports hint at links to the Klu Klux Klan) VT>Also toward the end of his speech he mentioned an organization which is VT>coordinating efforts to aid the communities and Churches. DID ANYONE get VT>the name of that organization? Perhaps we could coordinate with that VT>organization? VT>I am not an admirer of the Prez, but this speech was good and well balanced VT>and the information and actions sounded RIGHT ON. VT>PLUS what he said toward the end was actually great: I can't recall the VT>exact words - but it was to the effect that one of the community said what VT>had been burnt was not the Church they worshipped in but merely the VT>BUILDING in which they worshipped. VT>-- VT>Vincent VT>vt@pipeline.com From: The Big Easy ========================================================================= Date: Sun, 9 Jun 1996 13:33:39 -0700 Reply-To: exarch@accesscom.net From: Maggie Mortensen Organization: Exarch Services Subject: Scots, Scotch and Blues Siblings Last night I had the very great pleasure of escorting Bluezeller Bob Bonn on a club crawl of New Orleans during his visit here from his native Scotland. (This event was elevated from a merely 'great' pleasure to the status of 'very great' pleasure not only by the fact that Bob turned out to be extremely pleasant company, but also by his foresight in bringing me a bottle of 16-year-old single malt whiskey--Lagavullin by name--and treating me to a divine dinner at Gautreau's before essaying out to experience some blues.) First stop: John Mooney at the Maple Leaf Bar. The always-reliable Mr. Mooney's slide guitar wizardry becomes more complex and tantalizing every time I see him, and he pulled out a version of "Early in the Morning" like I've never heard him do before: soulful, gritty, and with teasing restraint in the solos. Superb as he is, though, my enjoyment of his shows has been forever compromised by the memory of his JazzFest show this year where he was accompanied by Mitch Woods, Jon Cleary, Paul Barrere and Richie Hayward. The power of that show is still echoing in my head a month later. Next stop--and herein lies a query to this list: Kenny Neal at Jimmy's Club. Not much hampered by a broken foot that had him on crutches and confined to a chair while performing, and seemingly unaffected by the sparse audience at this locale where he usually packs the joint, Mr. Neal slowed down his tempo considerably from his customary upbeat, wailing style, and I gotta say I thought his show was much improved by the change. (Bob preferred Neal's show quite a bit over Mooney's--a stylistic preference.) He emphasized lowdown, in-the-alley tunes like "Downhome Blues" and "Love Her with a Feelin" and his vocalizing sounded much more mature than the last time I saw him, a year or so ago. But the surprise for me was when he announced that all the players on stage with him were his brothers: Darnell (bass), Frederick (keys), and Graylan (drums)--the Neal Brothers. I suppose most of us know that Kenny is the grandson of Baton Rouge blues great Raful Neal, and I knew that Darnell played with him usually, but does anyone here know of any other blues group composed totally of sibilings? (Nevilles don't count.) I can't think of any. --Maggie -- Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ visualize clever signature line here ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Sun, 9 Jun 1996 15:14:24 -0500 Reply-To: "Bardsley, James R" From: "Bardsley, James R" Subject: Re: Zydeco: Creole or Cajun? Comments: To: skb8721@tam2000.tamu.edu Wow- I'm shocked . I've lived in Lousiana for 16 years- 8 in Baton Rouge- and I never have come across any negative connotation to "coonass". Sorry if I mislead anyone. -Jim At 11:14 AM 6/9/96, Shane K. Bernard wrote: >Chris Smith wrote: > >>I agree, and thanks, Shane, for your really interesting contributions. Dare >>I bring up 'coonass'? Is that derogatory from outside Cajun culture, or >>self-mocking from inside? Or is it both, like when it's ok for black people >>to call each other the 'n word', but not for white people to use it? > >We've discussed this issue a good deal on alt.culture.cajun; it's >clearly a controversial topic among Cajuns. The matter seems to boil >down to this: Who says it and what is the intent? > >I've been in Cajun nightclubs filled only with locals and heard the >musicians yell "How many coonasses we got in here?" And everyone >answers in the affirmative. > >I also know Cajuns who dislike the term "coonass" and who actively >seek to discourage its use among Cajuns and non-Cajuns alike. In >fact, I know some activists who have gone so far as to threaten legal >action against radio personalities who have used the term on-the-air. > >SKB >Cajun in Exile ========================================================================= Date: Sun, 9 Jun 1996 13:30:01 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: What are we using for that blues guitar tone? Comments: To: "JOHN W. SCHARBROUGH" John W. Scharbrough wrote: >spelled FENDER. Dont buy none of that Jap-crap guitars.They have little bitty >frets that dont last and dozens of other funky downfalls..... The "Jap-Crap" guitars as you called them are of a damn good qaulity. PW Fenton recently wrote a post on why he likes them and I play two Japanese fenders. One is a '62 reissue. It has a beautiful neck that plays oh so well and sounds great as well. Especially if you want a great tone for R&B style music. I've noticed no major problems. The frets are small and until I can afford a fret job I ain't complianin'. I also own a Japanese JD model Tele. This is another well made guitar. Before I bought this one I tried about 5 or 6 American made Teles (and a '71 Tele) and this model played the best and sounded the best. A great neck and a great feel and tone. The overall workmanship is very good, IMHO. Seriously, I recommend checking out the Japanese fenders if you are looking for a new guitar that doesn't cost too much. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Sun, 9 Jun 1996 20:17:39 GMT Reply-To: "JOHN W. SCHARBROUGH" From: "JOHN W. SCHARBROUGH" Organization: Traders' Connection, Inc. Subject: is this posted? Comments: To: bit-listserv-blues-l@uunet.uu.net I never see my post appear but occasionally get responses.If you see this post Plese give me a quick Hey or something....I tried to bring up my posts for the last year and nada....Thanks P.S.Still looking for a .GIF of Hollywood Fast... ************************************************************************** John Scharbrough FastJohn@trader.com Guitar player for the Shifters the Shifters Hotline,sound demo and voice mail!-317-579-3157 the Shifters booking info 317-546-1866 John or above E or voice mail ************************************************************************** --- * Traders' Connection Web BBS * http://www.trader.com * info@trader.com ========================================================================= Date: Sun, 9 Jun 1996 15:23:23 +0000 Reply-To: thf4@WaterValley.Net Comments: Authenticated sender is From: Tom Freeland Subject: Re: Scots, Scotch and Blues Siblings Comments: To: exarch@accesscom.net On 9 Jun 96 at 13:33, Maggie Mortensen wrote: > But the surprise for me was when he announced that all the players > on stage with him were his brothers: Darnell (bass), Frederick > (keys), and Graylan (drums)--the Neal Brothers. > > I suppose most of us know that Kenny is the grandson of Baton Rouge > blues great Raful Neal, and I knew that Darnell played with him > usually, but does anyone here know of any other blues group composed > totally of sibilings? (Nevilles don't count.) I can't think of any. I suppose its an almost, but when Jr. Kimbrough's son takes the stage with Jr.'s band you have R.L. Burnside's son Gary on bass and Kimbrough half-siblings on drum and guitar/vocals. R.L. has another (guitarist/bass player) son, and those families often have all-sibling combinations in Jrs. juke. Oh, and good news: Jr.'s was apparently open for the first time in a WHILE last Sunday. It MAY be open today, and may be back to being regular again. Or so I've heard-- I've not been out there yet this time 'round. I've missed it since it closed..... Tom Freeland ========================================================================= Date: Sun, 9 Jun 1996 13:31:42 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: June 10 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ALSTON-REEVES,SHIRLEY(lead/THE SHIRELLES) b. 1941-0610, PASSAIC, NJ BASS, JEANNE M. (owner: BETA REC) d. 1962-0610, HOLLYWOOD, CA 45 BLAKENEY, ANDY "BLAKE" (tpt/LES HITES) b. 1898-0610, QUITMAN, MS BROWN, ARELEAN (v) b. 1924-0610, TCHULA, MS BROWN, CLARENCE "JUNY BOY" (p) b. 1940-0610, NEW ORLEANS, LA DUKES, LAURA (bjo/FLYRIGHT REC) b. 1907-0610, MEMPHIS, TN GARVEY, MARCUS A. (:-) d. 1940-0610, LONDON, UK 53 GORDON, GEORGE "FATS" (p) b. 1916-0610, NEWARK, NJ GRANT, EARL (o/DECCA REC) d. 1970-0610, LORDSBURG, NM 39 HARDMAN, GLENN (p/CHAMPION REC) b. 1910-0610, PITTSBURGH, PA HARRIS, MICKI (v/THE SHIRELLES) d. 1982-0610, ATLANTA, GA 41 HOWLIN' WOLF (g/hca) b. 1910-0610, WEST POINT, MS JOHNSON, JACK (boxer) d. 1946-0610, RALEIGH, NC 68 JOHNSON, ROBERT "B.J." (hca) d. 1986-0610, PORTSMOUTH, NH 80 KENDALL, JOHN (of DOBELL'S) d. 1989-0610, LONDON, UK 56 KILBERT, PORTER (sax/RED SAUNDERS) b. 1921-0610, BATON ROUGE, LA KRESS, CARL (g/EDDIE LANG) d. 1965-0610, RENO, NV 57 LEWIS, WILLIE (asax/bsax) b. 1905-0610, CLEBURNE, TX LOEWE, FREDERICK (songw) b. 1904-0610, VIENNA, AUSTRIA MARTIN, CHINK (g) b. 1886-0610, NEW ORLEANS, LA MCDANIEL, HATTIE (d) b. 1895-0610, WICHITA, KS SMALL, BOYD (hca) b. 1960-0610, SPRINGFIELD, OR VOGEL-RAPP, JANET (of THE SKYLINERS) b. 1941-0610, PITTSBURGH, PA WEBB, CHICK (d/leader) d. 1939-0610, BALTIMORE, MD 30 WELLS, DICKY (tbn/BASIE) b. 1907-0610, CENTERVILLE, TN WESTON, JIMMY (lead/THE DANLEERS) d. 1993-0610, BROOKLYN, NY 57 WHITE, SCHOOLBOY (hca/LIGHTNIN' SLIM) b. 1928-0610, BATON ROUGE, LA WOOD, MITCHELL "BOOTY" (tbn/BASIE) d. 1987-0610, DAYTON, OH 68 ------------------------------------------------------------------------------- ========================================================================= Date: Sun, 9 Jun 1996 14:12:20 -0700 Reply-To: exarch@accesscom.net From: Maggie Mortensen Organization: Exarch Services Subject: Re: Gator Tail Comments: cc: "Raymond O. Varner" Guess I'll copy this to the list at large, since you, uh, never know when someone's going to need a supplier of gator meat... Unca Ray wrote: >A few years back I served gator sausage Po' >Boys at the Owl Cafe in Seattle. >Does anyone know of a legal source for gator >tail through mail order? How about 'possum? First off, Ray, I didn't know the Owl was yours! When I lived in Seattle (85-91) the Owl was a favorite hang--great joint! The New Orleans Yellow Pages reveals only one meat supplier that specifies gator meat AND advertises "we ship anywhere"-- Crescent City Meat Co. Inc. 1500 Edwards Ave. Harahan LA 504.733.1952 Nobody advertises possum meat, but I do know that I've seen signs on the store saying they sell it at: King Rogers Seafood (my favorite place to buy gumbo crabs) 1700 North Rampart St. NOLA 504.944.6150 (don't know if they ship, though) --Maggie -- Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ visualize clever signature line here ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Sun, 9 Jun 1996 15:58:34 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: blues families > From: Maggie Mortensen > but does anyone here know of any other blues group composed > totally of sibilings? (Nevilles don't count.) I can't think of > any. Carey Bell and family are a good example. He did an album on JSP called Dynasty (now out of print) that had most of his kids backing him up. Steve Bell plays harp, Lurrie plays guitar (he also had a solo album out on JSP years before the recent Delmark release), Tyson plays bass, and James plays drums. Don O. ========================================================================= Date: Sun, 9 Jun 1996 14:05:19 -0700 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Re: Scots, Scotch and Blues Siblings Comments: To: bit-listserv-blues-l@cs.washington.edu Maggie Mortensen wrote: > But the surprise for me was when he announced that all the players > on stage with him were his brothers: Darnell (bass), Frederick > (keys), and Graylan (drums)--the Neal Brothers. > > I suppose most of us know that Kenny is the grandson of Baton Rouge > blues great Raful Neal, and I knew that Darnell played with him > usually, but does anyone here know of any other blues group composed > totally of sibilings? (Nevilles don't count.) I can't think of any. Well, I did see the Kinsey Report as a trio once, just the 3 brothers, plus Big Daddy and Lester Davenport (Big Daddy's brother in law?). Mostly when I've seen the Kinseys they've had Ron Prince a non-relation, but I've also seen them once with another guitar player, whose name I never caught. Also seen them w/o Big Daddy twice, once w/ Lester D and once and w/ Nate Armstrong. I guess I've probably seen the Kinsey Report in some form or other more than most any other band. Adrian (thought Raful Neal was Kenny's dad, live'n'learn) ========================================================================= Date: Mon, 10 Jun 1996 00:37:26 +0300 Reply-To: T P Uschanov From: T P Uschanov Subject: Re: 60 Minute Man - HELP! Comments: To: Gavin Arneaux <102554.471@COMPUSERVE.COM> In-Reply-To: <960608212436_102554.471_HHV36-1@CompuServe.COM> On Sat, 8 Jun 1996, Gavin Arneaux wrote: > Zellers, I was shame-facedly stumped this afternoon. A freind asked who > wrote and who performed the most-famous version of "60 Minute Man." With a > smile on my face, I said "Why it's , uh, um . . . ." And I had a brain fart! I > just can not for the life of me remember who did this. I have checked > everything in my collection: Howlin' Wolf, Bo Diddley, Little Milton, Little > Walter, Muddy Waters, Wilie DIxon, etc., etc. etc. I am lost. It's like not > being able to recall the name fo your favorite actor when someone asks you "Who > was the guy in 'It's a Wonderul Life?'" AARRRGGGHHH!!!! Help me . . . . The answer is Billy Ward and the Dominoes, in 1951. (Rufus Thomas' late sixties version might be more familiar to some zellers.) T P Uschanov, University of Helsinki, Finland, European Union tuschano@cc.helsinki.fi ### http://www.helsinki.fi/~tuschano/ "Omnia praeclara tam difficilia, quam rara sunt." (Baruch Spinoza, 1632-1677) ========================================================================= Date: Sun, 9 Jun 1996 16:45:26 -0600 Reply-To: Lee Nichols From: Lee Nichols Organization: The Austin Chronicle Subject: Re: Zydeco: Creole or Cajun? Comments: To: bit-listserv-blues-l@uunet.uu.net In article , "DUTTWEILER.J" wrote: > I have a question for those more knowledgeable then I on this subject: is > Zydeco considered Cajun or Creole music; or neither? It seems to me that it > is more derrivative of Accadian language and culture, but I could be wrong. > JD I just thought I'd throw this into the fray. The following two paragraphs are from an article I wrote in The Austin Chronicle, and they are based on my personal observations during several trips to zydeco and Cajun dancehalls in Acadiana: " The racial wall between Cajuns and Creoles is complete idiocy. Of course, all racism is such, and a native Texan is hardly in any position to lecture anyone about their state's racial problems. But in most places, it's at least understandable. Most places have major cultural differences between people of different colors. I don't hang out with b-boys on East Twelfth Street [Austin's predominantly African-American neighborhood] for a variety of reasons, but the primary one is that I'd look pretty silly. "But in Louisiana, look inside a Cajun dancehall, and you'll find there's a big crowd of people in cowboy hats and cowboy boots, doing this shuffle dance to some guy playing the accordion and singing in French. Then go to the zydeco bar down the street, and you'll find there's a big crowd of people in cowboy hats and cowboy boots, doing this shuffle dance to some guy playing the accordion and singing in French. See the difference?" Yes, I know that's simplifying and ignoring the subtle diffences, but I hope my point is clear: That Cajuns and Creoles have a lot more in common than in difference; it really comes down to splitting hairs. It's like asking what is the difference between old-time string band music and bluegrass? or, if you want to throw in that stupid racial element, the difference between blues and rock & roll? (if Muddy Waters plays it, it's blues; if Elvis plays it, it's rock and roll). Sorry, I don't mean to overlook those subtle diffences between blacks and whites in Lousiana/East Texas -- I really find them fascinating -- but the hatred and the insistence (by both races) of imposing this huge, artificial wall between themselves really grates on me. Everyone over there should be required to read that Dr. Seuss story about the Star-bellied Sneetches and the Plain-bellied Sneetches. If you're interested in reading my entire story, go to http://www.auschron.com/issues/vol15/issue34/music.louisiana.html. Shane Bernard & Herman Fuselier's great Creole/Cajun/Swamp Pop pages also have a link to it. That page is http://http.tamu.edu:8000/~skb8721. Laissez les bon ton roulet, (did I spell that right?) Lee Nichols Austin, TX -- My opinions are not necessarily those of The Austin Chronicle and the opinions of The Austin Chronicle aren't necessarily mine. ========================================================================= Date: Sun, 9 Jun 1996 17:58:31 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Need some dates for these blues Tom Morgan wrote >I am just finishing up a reference project and wonder if some kind soul >could give me the recording dates for the following songs: > (prewar items, covered by Tom Freeland) > >Also the years that Etta James released, the lps: > >7 Year Itch This is published 1988 according the the label of my copy. >and >Stickin' With My Guns > This one don't know. Chris Smith (chris@skerries.demon.co.uk) I asked her for butter, and she gave me margarine (Paul Francis, a college buddy of mine) ========================================================================= Date: Sun, 9 Jun 1996 15:44:19 -0700 Reply-To: exarch@accesscom.net From: Maggie Mortensen Organization: Exarch Services Subject: Re: Scots, Scotch and Blues Siblings Thanks to everyone who pointed out my typo--Kenny Neal is Raful's SON, not grandson. Apologies all around. --Maggie Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ visualize clever signature line here ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Sun, 9 Jun 1996 18:16:26 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: source for "Sequel" CDs Comments: To: William Shute In-Reply-To: 19960607.104825.WSHUTE@SACADMIN Bill, For hard to finds or not so hard to finds give a try to Strategy Records at 1-203-266-7774 (also on our web site and standardly we got nothin' to do with the sales Karl/Strategy makes). Barry On Fri, 7 Jun 1996, William Shute wrote: > From: Bill Shute > > I seem to be finding "sequel" label CDs (from England) rather haphazardly... > see one at one store, see a few listed in a catalog, etc. > Is there a reliable supplier in the US of Sequel CDs who has or can get > quickly any item in the catalog? Sequel has done such amazing reissues > (recently, I've been playing the heck out of the Joe Jones CD, the > Jubilee Jezebels comp, and the philly "northern soul" comp "Ain't > Nothin But A House Party," which contains Kenny Gamble/Thom Bell's > first single from l961) I'd like to get more. > > I see from the recent Rufus Thomas album on Sequel that they now have > a US branch. Do they do mailorder? > > Thanks. > > By the way, I accidentally sent a set no-mail post to blues-l instead > of listserv. Sorry, I already corrected my error and sent it to listserv. > > > BTW, LW pointed out about Preston Foster being the composer of "Mojo " > in response to my question. Is that the star of l930s and 40s B-movies > named Preston Foster or a similarly named musician/songwriter? > > > > Bill Shute > San Antonio, TX > (hungry for some lengua and chicharron) > NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Sun, 9 Jun 1996 18:22:50 -0400 Reply-To: TQuil62782@AOL.COM From: "Tim Quilter." Subject: Re: BLUES-L Digest - 7 Jun 1996 to 8 Jun 1996 Please do not send any more of the Blues-L Digest. Thank you ========================================================================= Date: Sun, 9 Jun 1996 18:24:44 -0400 Reply-To: SliderDW@AOL.COM From: Don Williams Subject: Re: Scots, Scotch and Blues Siblings Comments: To: exarch@accesscom.net In a message dated 96-06-09 16:20:46 EDT, exarch@accesscom.net (Maggie Mortensen) writes: > >I suppose most of us know that Kenny is the grandson of Baton Rouge >blues great Raful Neal, and I knew that Darnell played with him >usually, but does anyone here know of any other blues group composed >totally of sibilings? (Nevilles don't count.) I can't think of any. > I always understood that Kenny Neal is actually the SON, not grandson, of Raful Neal??? Great thread, anyhow, and I can only think of the Bell-Harrington clan (Eddie Clearwater is Harrington, as is Carey Bell), and the recent marriage of Carey Bell to Willie Dixon's oldest daughter Patricia makes yet another connection, although not a sibling-ly one. (Chris Smith will now call me down for making up the word sibling-ly). Don Williams ========================================================================= Date: Sun, 9 Jun 1996 18:27:07 -0400 Reply-To: MojoBandit@AOL.COM From: Dave Ruthenberg Subject: Blues in the Schools (was HoB: A Shred of Evidence) Enough fawning over HoB already. There are other programs that promote blues education. The largest one is "Blues in the Schools" here in the Midwest. It is, as far as I know, privately funded and is headed by Robert Jones and Billy Branch. So, there are others doing the good things. It's just that HoB's enormous PR machine would have you think otherwise. Regards, Dave Ruthenberg ========================================================================= Date: Sun, 9 Jun 1996 15:52:52 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Gator Tail In the interest of accuracy about our beloved and defunct Owl Cafe. I didn't own it. I co-managed it. Good work, huh? It's out of business. And I thought we'd get rich like Donald Trump. Blues, seven nights a week in a Norwegian fishing neighborhood. Where DID we go wrong?! Uncle Ray, Management Consultant ---------- From: Maggie Mortensen[SMTP:exarch@accesscom.net] Sent: Sunday, June 09, 1996 9:12 PM To: blues-L@brownvm.brown.edu Cc: Raymond O. Varner Subject: re: Gator Tail Guess I'll copy this to the list at large, since you, uh, never know when someone's going to need a supplier of gator meat... Unca Ray wrote: >A few years back I served gator sausage Po' >Boys at the Owl Cafe in Seattle. >Does anyone know of a legal source for gator >tail through mail order? How about 'possum? First off, Ray, I didn't know the Owl was yours! When I lived in Seattle (85-91) the Owl was a favorite hang--great joint! The New Orleans Yellow Pages reveals only one meat supplier that specifies gator meat AND advertises "we ship anywhere"-- Crescent City Meat Co. Inc. 1500 Edwards Ave. Harahan LA 504.733.1952 Nobody advertises possum meat, but I do know that I've seen signs on the store saying they sell it at: King Rogers Seafood (my favorite place to buy gumbo crabs) 1700 North Rampart St. NOLA 504.944.6150 (don't know if they ship, though) --Maggie -- Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ visualize clever signature line here ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Sun, 9 Jun 1996 15:56:30 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Scots, Scotch and Blues Siblings Family bands?...how 'bout The Mississippi Shieks? Uh, here's a stretch, The Ford Bros. Uncle Ray ---------- From: Maggie Mortensen[SMTP:exarch@accesscom.net] Sent: Sunday, June 09, 1996 8:33 PM To: Multiple recipients of list BLUES-L Subject: Scots, Scotch and Blues Siblings Last night I had the very great pleasure of escorting Bluezeller Bob Bonn on a club crawl of New Orleans during his visit here from his native Scotland. (This event was elevated from a merely 'great' pleasure to the status of 'very great' pleasure not only by the fact that Bob turned out to be extremely pleasant company, but also by his foresight in bringing me a bottle of 16-year-old single malt whiskey--Lagavullin by name--and treating me to a divine dinner at Gautreau's before essaying out to experience some blues.) First stop: John Mooney at the Maple Leaf Bar. The always-reliable Mr. Mooney's slide guitar wizardry becomes more complex and tantalizing every time I see him, and he pulled out a version of "Early in the Morning" like I've never heard him do before: soulful, gritty, and with teasing restraint in the solos. Superb as he is, though, my enjoyment of his shows has been forever compromised by the memory of his JazzFest show this year where he was accompanied by Mitch Woods, Jon Cleary, Paul Barrere and Richie Hayward. The power of that show is still echoing in my head a month later. Next stop--and herein lies a query to this list: Kenny Neal at Jimmy's Club. Not much hampered by a broken foot that had him on crutches and confined to a chair while performing, and seemingly unaffected by the sparse audience at this locale where he usually packs the joint, Mr. Neal slowed down his tempo considerably from his customary upbeat, wailing style, and I gotta say I thought his show was much improved by the change. (Bob preferred Neal's show quite a bit over Mooney's--a stylistic preference.) He emphasized lowdown, in-the-alley tunes like "Downhome Blues" and "Love Her with a Feelin" and his vocalizing sounded much more mature than the last time I saw him, a year or so ago. But the surprise for me was when he announced that all the players on stage with him were his brothers: Darnell (bass), Frederick (keys), and Graylan (drums)--the Neal Brothers. I suppose most of us know that Kenny is the grandson of Baton Rouge blues great Raful Neal, and I knew that Darnell played with him usually, but does anyone here know of any other blues group composed totally of sibilings? (Nevilles don't count.) I can't think of any. --Maggie -- Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ visualize clever signature line here ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Sun, 9 Jun 1996 18:10:36 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Blues in the Schools (was HoB: A Shred of Evidence) Comments: To: Dave Ruthenberg In-Reply-To: <960609182706_323086917@emout08.mail.aol.com> On Sun, 9 Jun 1996, Dave Ruthenberg wrote: > Enough fawning over HoB already. There are other programs that promote blues > education. The largest one is "Blues in the Schools" here in the Midwest. It > is, as far as I know, privately funded and is headed by Robert Jones and > Billy Branch. So, there are others doing the good things. It's just that > HoB's enormous PR machine would have you think otherwise. Hey folks! Are there Blues in the Schools programs in your area, or associated with your local blues society? Under Ranko's leadership, the Johnson County Blues Society had a small but very successful Blues in the Schools program that I was fortunate enough to participate in last year. We are looking to start it up again in the fall, and I'll probably the one organizing it. What would make a Blues in the Schools program a valuable resource? What, if you think about it, would you like to see such a program teaching? What kind of resources would you like to see involved? Basic things--what to put on a handout, what to emphasize. Thanks. Next time I'll ask you how to fundraise. Steve Price ========================================================================= Date: Sun, 9 Jun 1996 19:12:58 -0400 Reply-To: PHWoolfman@AOL.COM From: Pete Wulforst Subject: Re: Commercialization: At what cost? Comments: To: joey@rafeeke-52.eng.sun.com As someone once told me, "I think you said some things that needed to be said." I'm particularly referring to the "breaking new ground" paragraph. I have no problem with someone who wants to emulate the old masters, but I'm more likely to gravitate to an artist who was trying to add a little twist to the mix. I know that there are many blues fans ( and I have encountered them both on the list and off) who are disturbed because, for the most part, bluesmen(persons) or blues/rock artists who are considered hot guitarists are the ones who sell the most records, CDs, whatever, and have the highest profiles. Even though this has never bothered me personally, (being a guitar player myself), I think it is a legitimate complaint. Now I'm going to veer off on to another tangent. I have encountered, particularly in reviews, folks who are of the opinion that Buddy Guy, for example, by playing loud, fast guitar is somehow selling out the blues in an effort to be the "new" (a little irony there) SRV or EC. IMHO, Buddy Guy is following his muse and nothing more. I have read interviews where Buddy has said that he wanted to use distortion, etc when he was with Chess, but was not allowed to do so. Indeed, again IMHO, on some on the Chess recordings, Buddy sounds like a man who is frustrated by his guitar tone. Also, on yet another tangent, equipment has come a long way. Much is made about Pat Hare's distorted tone and aggresive playing with Muddy. If Pat were alove and playing today, who knows what he'd be using to get his sound. Can you blame Michael Hill for cranking it up? What a tone he gets!! And as for subject matter, oh well, I've taken enough detours for one post. Sorry to ramble; there was a point in there somewhere. Pete. ========================================================================= Date: Sun, 9 Jun 1996 18:12:07 +0000 Reply-To: thf4@WaterValley.Net Comments: Authenticated sender is From: Tom Freeland Subject: More Family Bands Comments: To: exarch@accesscom.net On 9 Jun 96 at 13:33, Maggie Mortensen asked for siblings in bands. Raymond Varner noted that Chatmon family band (the Mississippi Sheiks) was a family band. The McCoy brothers played in several bands, including the Harlem Hamfats. The Hemphill family had a family band near Como (Jessie Mae Hemphill is a member of that family). The Dallas String Band was a band Coley Jones' father started. The Booker Orchestra, in Kentucky, was a family band, although I am unsure of the family relationships. And of course Memphis Minnie and Kansas Joe were husband and wife for a while. Tom Freeland ========================================================================= Date: Sun, 9 Jun 1996 23:20:10 GMT Reply-To: Marc Sykes From: Marc Sykes Organization: The National Capital FreeNet Subject: Re: Otis Grand touring? Comments: To: bit-listserv-blues-l@uunet.uu.net "david m. carpenter" (103156.340@COMPUSERVE.COM) writes: > A listenter asked me if I'd heard anything about Otis Grand touring in the U.S. > and/or Canada. Can anyone help us? Dave, I don't know much about Otis, or about his tour schedule per se, but I do know that he will be at the Ottawa BluesFest on July 7th, at 7:30 p.m.. For those who are interested, the BluesFest runs from Friday July 5th to Sunday July 7th, and features Robert Cray, Carey Bell, J. Geils & Magic Dick Bluestime, the Commitments, Johnny Copeland, Terrance Simien, Smokin' Joe Kubek, Holmes Brothers, Los Lobos, and Clarence "Gatemouth" Brown, among others. Check out our web page at http://www.cyberus.ca/~bluesfest for more info. Hope this helps! Marc Sykes CFRC-FM -- Marc Sykes ax271@freenet.carleton.ca or 4ms27@qlink.queensu.ca Kingston, Ontario, Canada ========================================================================= Date: Sun, 9 Jun 1996 18:25:42 +0000 Reply-To: thf4@WaterValley.Net Comments: Authenticated sender is From: Tom Freeland Subject: Re: Gator Tail Comments: To: exarch@accesscom.net On 9 Jun 96 at 14:12, Maggie Mortensen wrote: > Nobody advertises possum meat, but I do know that I've > seen signs on the store saying they sell it at: > > King Rogers Seafood (my favorite place to buy gumbo crabs) > 1700 North Rampart St. > NOLA > 504.944.6150 > (don't know if they ship, though) > I'm told that a knowing buyer of possum and racoon asks to see their feet. Because you don't want to be cheated and unknowingly buy, uh, one of a couple of domestic animals not usually thought of as food in our culture. So I guess you want a reputable provider for those particular items. Or you can take my route and not eat 'em. Tom Freeland (hears possum is really greasy) ========================================================================= Date: Sun, 9 Jun 1996 19:43:53 -0400 Reply-To: Martha W Alibali From: Martha W Alibali Organization: Psychology, Carnegie Mellon, Pittsburgh, PA Subject: Re: blues families Comments: To: bit-listserv-blues-l@moderators.uu.net In-Reply-To: <9606091558.0MFZ802@chrysalis.org> Is James Peterson Lucky's father? The stories about Lucky's father in Willie Dixon's book "I Am the Blues" make me wonder... Martha ========================================================================= Date: Sun, 9 Jun 1996 21:41:29 GMT Reply-To: Mary Ng From: Mary Ng Organization: Monash University Subject: 78 Stylus Comments: To: bit-listserv-blues-l@moderators.uu.net Hi, A bit off topic, however I have ruined my 78 stylus, & misplaced the address of Expert Pickups in Surrey UK...would anyone have their address or know of where I can obtain a proper stylus to play 78's (elliptical/truncated Shure stylus)... Thanks in advance... ========================================================================= Date: Mon, 10 Jun 1996 03:12:54 GMT Reply-To: puttb@EBTECH.NET From: puttb@EBTECH.NET Organization: Electro-Byte Technologies "Sarnia's Internet Provider" Subject: Blues Music Page Comments: To: bit-listserv-blues-l@uunet.uu.net Come try my Blues music page at http://www2.ebtech.net/~puttb/fin_blue.html Tell me what yu think, make suggestions, or just surf. Thanks ========================================================================= Date: Mon, 10 Jun 1996 03:13:36 GMT Reply-To: puttb@EBTECH.NET From: puttb@EBTECH.NET Organization: Electro-Byte Technologies "Sarnia's Internet Provider" Subject: Blues Brothers Page Comments: To: bit-listserv-blues-l@uunet.uu.net Come try my Blues Brothers page at http://www2.ebtech.net/~puttb/bluebros.html Tell me what yu think, make suggestions, or just surf. Thanks ========================================================================= Date: Sun, 9 Jun 1996 19:07:34 -0500 Reply-To: T-Bone From: T-Bone Subject: Re: Scots, Scotch and Blues Siblings In-Reply-To: <960609182442_410580808@emout08.mail.aol.com> Well, since I'm doing a set of page on Piedmont bluesmen (I'm working on it!), how about: Richard and Charlie Hicks (aka Barbecue Bob and Charlie Lincoln) Richard and Willie Trice John Jackson and John, Jr. Brownie and Stick McGhee Willie and Joe Walker Then of course there are the Edwards (Archie and Honeyboy), the Waters (Muddy and Ethyl), the Davises (Rev Gary and Debbie) and of course the musical Collinses (Albert, Bootsy, and Phil, the least talented of the family). T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "scott, gramercy just called me and told me they hate you." - julie walker (texas ranger) ========================================================================= Date: Sun, 9 Jun 1996 19:25:50 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Re: Blues Siblings There's the Gales Brothers in Memphis, Manuel (aka Little Jimmy King), Eugene and Eric. Also, there are several sons of Tabby Thomas, but I don't recall their names except for Chris who now lives in the Northwest I believe. and I don't know if any of them still play with Tabby or exactly what they are doing. And of course there are a bunch of funky Batistes here in New Orleans. The largest Jazzfest stage could barely hold that large (in number of individuals, not girth) musical family. Bill Morgan EX>I suppose most of us know that Kenny is the grandson of Baton Rouge EX>blues great Raful Neal, and I knew that Darnell played with him EX>usually, but does anyone here know of any other blues group composed EX>totally of sibilings? (Nevilles don't count.) I can't think of any. EX>--Maggie EX>-- EX>Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA EX>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ EX>visualize clever signature line here EX>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ From: The Big Easy ========================================================================= Date: Sun, 9 Jun 1996 17:42:34 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Recent Flame Wars Comments: To: sprice@INAV.NET In-Reply-To: from "Steve Price" at Jun 9, 96 01:04:05 pm My way of handling all of these is to go through received messages and kill out any threads I don't care for. Even reading @ 1200 WPM, there's too much (on this and the OTHER lists I receive) to read everything and allow time to respond to what's interesting to me, plus work, family, etc. Which brings up a seemingly insignificant but IMHO important side issue. When a thread changes character, in my opinion we should also alter the subject line. Even the megaliths we sometimes end up with (maybe something like: Flamebait, name-calling, insults, and why it's disgusting - was "Richard Nixons favorite low-octane green chili recipe") are preferable to a totally unrelated (now) subject. Of course, if we can keep it within 30 characters, all the better. -- IronMan Mike Curtis ========================================================================= Date: Sun, 9 Jun 1996 20:38:00 EDT Reply-To: Debra Eisert From: Debra Eisert Subject: Re: Blues in the Schools Fine with me! I applaud the good work by all. But, as Steve Price indicated, let's talk about some of the other less publicized programs. Who, what, when, how -- maybe such discussion can get more blues to more people. Can we share our successes (and -- gasp! -- failures?) so that others can build on them? At 06:27 PM 6/9/96 -0400, you wrote: >Enough fawning over HoB already. There are other programs that promote blues >education. The largest one is "Blues in the Schools" here in the Midwest. It >is, as far as I know, privately funded and is headed by Robert Jones and >Billy Branch. So, there are others doing the good things. It's just that >HoB's enormous PR machine would have you think otherwise. > >Regards, > >Dave Ruthenberg > > ##################################################################### Debra Eisert "I have enough money to last me the debra@iglou.com rest of my life -- if I never buy Cincinnati, OH anything!" Jackie Mason ##################################################################### ========================================================================= Date: Sun, 9 Jun 1996 18:15:05 -0500 Reply-To: Lawrence Bullock From: Lawrence Bullock Organization: Warehouse Repertory Theatre Subject: Robert Johnson's "Sweet Home Chicago" question Comments: To: bit-listserv-blues-l@uunet.uu.net I have recently become a Delta blues fan. Listening to "Sweet Home Chicago" by Robert Johnson I notice he sings "...back to that land of California, to my sweet home Chicago..." Is he just unmindful of geography or am I missing something here? I know blues musicians take license (artistic) with lyrics but I'm really curious about this one. cheers Lawrence Bullock -- "It's nice to be wanted, but it's not nice to be had." ========================================================================= Date: Sun, 9 Jun 1996 21:45:05 -0400 Reply-To: SliderDW@AOL.COM From: Don Williams Subject: Re: blues families Comments: To: alibali+@andrew.cmu.edu In a message dated 96-06-09 20:16:44 EDT, alibali+@ANDREW.CMU.EDU (Martha W Alibali) writes: > >Is James Peterson Lucky's father? > >The stories about Lucky's father in Willie Dixon's book "I Am the Blues" >make me wonder... > >Martha > Yes, James Peterson is Lucky Peterson's father. I don't know what was said in Willie Dixon's book, but Lucky Peterson appeared at the Willie Dixon Tribute for the Blues Heaven Foundation here in Southern California about 6 months ago, so it would appear that Lucky is on good terms.with the Dixon family. Don Williams ========================================================================= Date: Sun, 9 Jun 1996 21:44:07 -0400 Reply-To: "jose.eric.s.maglanque" From: "jose.eric.s.maglanque" Subject: Help: Sister ROSETTA THARPE and WILLIE MAE FORD SMITH Help, somebody! I need to get the complete recordings of: 1. Sister Rosetta Tharpe duets w/ her mother, Katy Bell Nubin (sp?), on piano; and 2. Willie Mae Ford Smith (particularly those with piano, organ and drums). Private e-mail, pls. Thanks in advance! - Delta Slim ========================================================================= Date: Sun, 9 Jun 1996 21:08:16 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Blues Magazine Index During an enjoyable visit with Mary Katherine Aldin last week, she showed me some samples of the blues related.projects that she is undertaking at the moment. One of those, a blues magazine index, I thought might interest others on this list. Mary Katherine's blues magazine index can be used to locate articles about specific blues artists in "Living Blues," "Blues & Rhythm" and "Juke Blues" magazines. Mary Katherine is selling the publication, and I have no financial stake in this project. But I suspect more than a handful of Blues-lers might find it a useful resource. You may contact Mary Katherine at mkaldin@beachnet.com for details. Bill Morgan From: The Big Easy ========================================================================= Date: Sun, 9 Jun 1996 21:27:14 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Gator Tail Comments: To: Tom Freeland In-Reply-To: <9606092339.AA08198@WaterValley.Net> On Sun, 9 Jun 1996, Tom Freeland wrote: > I'm told that a knowing buyer of possum and racoon asks to see their > feet. Because you don't want to be cheated and unknowingly buy, uh, > one of a couple of domestic animals not usually thought of as food in > our culture. So I guess you want a reputable provider for those > particular items. > > Or you can take my route and not eat 'em. > > Tom Freeland (hears possum is really greasy) > Frankly, and I mean no offense to anybody, but if you're going to eat the wild stuff, the domesticated stuff seems hardly less appetizing. Steve Price (hears that it tastes like chicken) (and admits to having eaten snails and frogs and gator) ========================================================================= Date: Mon, 10 Jun 1996 02:26:14 GMT Reply-To: Mitch Drumm From: Mitch Drumm Organization: Sonoma Interconnect,Santa Rosa,CA(us),http://www.sonic.net Subject: Re: 60 Minute Man - HELP! Comments: To: bit-listserv-blues-l@uunet.uu.net Gavin Arneaux (102554.471@COMPUSERVE.COM) wrote: : Zellers, I was shame-facedly stumped this afternoon. A freind asked who : wrote and who performed the most-famous version of "60 Minute Man." With a : smile on my face, I said "Why it's , uh, um . . . ." And I had a brain fart! I : just can not for the life of me remember who did this. I have checked : everything in my collection: Howlin' Wolf, Bo Diddley, Little Milton, Little : Walter, Muddy Waters, Wilie DIxon, etc., etc. etc. I am lost. It's like not : being able to recall the name fo your favorite actor when someone asks you "Who : was the guy in 'It's a Wonderul Life?'" AARRRGGGHHH!!!! Help me . . . . : : Gavin Original version so far as i know by the Dominoes, circa 1951. ========================================================================= Date: Sun, 9 Jun 1996 22:18:48 -0500 Reply-To: "Bardsley, James R" From: "Bardsley, James R" Subject: Re: Blues in the Schools (was HoB: A Shred of Evidence) Comments: To: MojoBandit@AOL.COM You know, I think this is really too much hysteria about HOB. Nobody said they were God, and they certainly aren't the Devil. It seems to me that Maggie's post was a reasonable response to a question that was asked. We all know there are other programs: we've seen " Sunday Morning" and "20-20" and the other TV shows that feaatured such programs. For God's sake, get a grip. HOB is admittedly a commercial venture. Blues Traveller and Kenny Wayne Shepard and godknowswhatelse will get more time there than John Mooney. But the fact that they do support Mooney and other artists like him , and that their treatment of musicians in general FAR exceeds the usual and customary , deserves credit. Jim At 6:27 PM 6/9/96, Dave Ruthenberg wrote: >Enough fawning over HoB already. There are other programs that promote blues >education. The largest one is "Blues in the Schools" here in the Midwest. It >is, as far as I know, privately funded and is headed by Robert Jones and >Billy Branch. So, there are others doing the good things. It's just that >HoB's enormous PR machine would have you think otherwise. > >Regards, > >Dave Ruthenberg ========================================================================= Date: Sun, 9 Jun 1996 22:33:13 +0000 Reply-To: thf4@WaterValley.Net Comments: Authenticated sender is From: Tom Freeland Subject: Active folks who recorded at Sun In its bio of Pinetop Perkins, the Sun Blues box states that Perkins is one of the few folks recorded on the set who is still active. Thinking about it, I came up with some others.... Course, a lot of folks who recorded at Sun are famously dead. Anyway, here is a question: Who is still alive and active that recorded at Sun? A start: Rufus Thomas (just came out with a new album) James Cotton (still recording and touring. Right, P.W.?) Honeyboy Edwards (still touring) Little Milton (still touring) Mose Vinson (still playing in Memphis on Beale!) Ike Turner (still touring) Jerry Lee Lewis (still recording and playing, had an album out last year) Carl Perkins (not playing much, but just published a co-written autobiography) Johnny Cash (still playing and recording) Charlie Feathers (alive but in very poor health, not active) There are backing musicians (Calvin Newborn comes to mind) who are still around, also Any others? Tom Freeland ========================================================================= Date: Sun, 9 Jun 1996 23:52:34 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: blues families Comments: To: Martha W Alibali On 9 Jun 96, Martha W Alibali had this to say: > Is James Peterson Lucky's father? > > The stories about Lucky's father in Willie Dixon's book "I Am the Blues" > make me wonder... He sure is. Makes you wonder what? P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 9 Jun 1996 23:46:28 -0500 Reply-To: "Eliot C. Williams" From: "Eliot C. Williams" Subject: Re: Need some dates for these blues >Tom Morgan wrote > >>I am just finishing up a reference project and wonder if some kind soul >>could give me the recording dates for the following songs: >>Stickin' With My Guns >> >This one don't know. Stickin' To My Guns was released in 1990 (Island). EW Eliot Williams University of Wisconsin Department of Medicine ecwillms@macc.wisc.edu ========================================================================= Date: Mon, 10 Jun 1996 00:52:28 -0400 Reply-To: Ted From: Ted Organization: USA OnRamp Subject: Churches on Fire Would anyone have any information regarding the names of the churches and their pastors so I could find out if they need any help. The purpose of this inquiry would be to find out what needs the churches have and then talk to the local churches here in Pittsburgh and see if I can get them to help. I use to raise money for home missions perhaps I could do something like that again. I also work as an insurance agent for a company that insures churches and I think we could persaude them to help also. I have talked to a couple of pastors already and I don't think anyone is going to help unless someone presents the need. Please respond if you think you can help me. Ted Lanzo email: rocky_rd@usaor.net ========================================================================= Date: Mon, 10 Jun 1996 01:02:33 -0400 Reply-To: JBrads7016 From: JBrads7016 Organization: America Online, Inc. (1-800-827-6364) Subject: Sweet Home Chicago, California Comments: To: bit-listserv-blues-l@uunet.uu.net There is a Port Chicago, California and Johnson supposedly had relative there. I grew up less than 20 miles away from Port Chicago, so I know it is a real place. Jim Bradshaw ========================================================================= Date: Mon, 10 Jun 1996 00:09:24 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: IronMans Itinerary (So. CA.) "IronMan" MIKE CURTIS (Solo: Electric Harmonica, Guitar, Bass Pedals, Vocals) Blues, Jazz, and Oldies 6/11 Studio City, CA - The Oyster House (9pm-1am) 6/14 Yorba Linda, CA - Main St. Restaurant (6pm-10pm) 6/15 Private party 6/18 Studio City, CA - The Oyster House (9pm-1am) 6/21 Studio City, CA - The Oyster House (9pm-1am) 6/22 Yorba Linda, CA - Main St. Restaurant (6pm-10pm) 6/23 Studio City, CA - Smokin' Johnnies BBQ (7pm-??) 6/25 Studio City, CA - The Oyster House (9pm-1am) 6/28 Yorba Linda, CA - Main St. Restaurant (6pm-10pm) 6/29 Studio City, CA - The Oyster House (9pm-1am) 7/2 Studio City, CA - The Oyster House (9pm-1am) 7/9 Studio City, CA - The Oyster House (9pm-1am) 7/12 Yorba Linda, CA - Main St. Restaurant (6pm-10pm) 7/13 Studio City, CA - The Oyster House (9pm-1am) 10/11-14 San Pedro, CA / Ensenada, MEX - K100 Blues On Tap BLUES CRUISE There is no cover charge or minimum, except the blues cruise of course :-) All have exceptionally good food, and in the opinion of this nonsmoker, "pollution" ranges from just the faintest hint of occasional smoke (Main St., Smokin' Johnnies) to mildly smokey (Oyster House). Smokin' Johnnies is medium loud (no you won't need ear plugs). The others are low to moderate volume. "The surprise was 'Iron' Mike Curtis ...." Jon Pepper, Southland Blues Magazine review of House of Blues 10th annual Blues Harmonica Blowdown 3/23/96 ========================================================================= Date: Mon, 10 Jun 1996 03:34:26 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Sweet Home Chicago, California >There is a Port Chicago, California and Johnson supposedly had relative >there. I grew up less than 20 miles away from Port Chicago, so I know it >is a real place. > >Jim Bradshaw Interesting. What's the source for the story of these supposed relatives. Jim? (Not being sceptical - I never heard this before and would like to know.0 Chris Smith (chris@skerries.demon.co.uk) I asked her for butter, and she gave me margarine (Paul Francis, a college buddy of mine) ========================================================================= Date: Mon, 10 Jun 1996 03:35:28 -0400 Reply-To: VentRec From: VentRec Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Commercialization: At what cost? Comments: To: bit-listserv-blues-l@uunet.uu.net In reading Mike's, well reasoned, post I saw this... >(I'm usually >booked as a blues artist, and I love playing blues of course), I also like >to play jazz, bossa nova, rock, oldies, standards, a few show tunes, a >couple of polkas, a couple of country western tunes, and even a little >classical and opera. If I play these, am I "selling out"? Not as far as >I'm concerned. And I hope others don't think that, either. It reminded me of the many times Johnny Shines told me the same thing (minus the rock, classical and opera part) about songs he (and Robert Johnson) would play. He told me they would play whatever it took to "put the change in the hat!" The question of "selling out" was not as important as "falling out" from lack of food! Mike McCracken ========================================================================= Date: Mon, 10 Jun 1996 03:50:07 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Scotch - the rest is details (was Scots, Scotch and Blues Siblings) Maggie Mortensen wrote >Last night I had the very great pleasure of escorting Bluezeller >Bob Bonn on a club crawl of New Orleans during his visit >here from his native Scotland. > >(This event was elevated from a merely 'great' pleasure to the >status of 'very great' pleasure not only by the fact that Bob turned out >to be extremely pleasant company, but also by his foresight in bringing >me a bottle of 16-year-old single malt whiskey--Lagavullin by name--and >treating me to a divine dinner at Gautreau's before essaying out to >experience some blues.) > I used to live on the island of Islay, where they make Lagavulin. Happy days! They also make Laphroaig, Bunnahabhainn, Bruichladdich (I lived 100 yards from the distillery), Ardbeg, Port Ellen, Caol Ila and Bowmore. And no, I am not making any of these names up. Chris Smith (chris@skerries.demon.co.uk) I asked her for butter, and she gave me margarine (Paul Francis, a college buddy of mine) ========================================================================= Date: Mon, 10 Jun 1996 03:44:38 -0400 Reply-To: VentRec From: VentRec Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Sweet Home Chicago, California Comments: To: bit-listserv-blues-l@uunet.uu.net I asked Johnny Shines about this once and he told me that the words are "aunt of California" meaning another good place to go and find work, decent living conditions, etc. Sorry to keep quoting Johnny but he's the only person I ever asked about this. (For what it's worth) Mike McCracken ========================================================================= Date: Mon, 10 Jun 1996 12:14:18 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Re: Muddy Waters on LRC Comments: To: J.Urbain@KE.RULIMBURG.NL No This is not the same tracks. I will check the number of my CD back home. Bewst WishesBo >A few days ago Bo Carlsson metioned a Cd (a boot) he bought on LRC (from Mr >Sonny lester's collection !!) by Muddy Waters. If we're talking about the >same Cd (LRC 9015) I thing that these are recordings from the 70's probably >around 1977 recorded live in Nice. Details can be found in the excellent >Complete Myddy Waters disco on BluesWolrd >(http://www.bluesworld.com/MuddyQuarkHtml) > > >Jean-Pierre "young Man" Urbain > > >Here are the details taken from > >THE COMPLETE MUDDY WATERS DISCOGRAPHY > >by >PHIL WIGHT FRED ROTHWELL > >who did a marvelous work in compiling all these infos. > > >Muddy Waters vcl, gtr; probably Bob Margolin, Luther 'Guitar Jr.' Johnson >gtr; Jerry Portnoy hca; >Joe 'Pinetop' Perkins pno, vcl -1; Calvin Jones bass; Willie Smith drums; >Dizzy Gillespie trumpet -2 > Live >at Nice Jazz Festival, > >France, 9 July 1977 > > Instrumental (incomplete) LRC CD 9015 > Nicest Blues (instrumental, > Back To The Chicken Shack) LRC CD 9015 > Harmonica Rockin' > (instrumental, Rocker) LRC CD 9015 > Down Broke Down > (Can't Get No Grindin') LRC CD 9015 > Baby Rock And Roll > (The Blues Had A Baby And > They Named It Rock And Roll) LRC CD 9015 > So Long (Honey Bee) -2 LRC CD 9015 > Kansas City -2 LRC CD 9015 > >Note; The titles are as given on the CD, the correct titles are shown in the >brackets ========================================================================= Date: Mon, 10 Jun 1996 07:25:00 PDT Reply-To: Meridith Farnworth From: Meridith Farnworth Subject: Such a Night! ok so it was really an afternoon, but I couldn't think of any catchy "afternoon" tunes to quote from ('cept maybe "afternoon delight" but that'd get me kicked off Blues-L, I'm sure)... After nearly 2 years of threatening to do so, I finally stepped out yesterday to catch my ol' e-pal, Blues-L's Riffin' Rick Miller and his Gate Street Blues Band playing some music! (-: What fun! My sidekick Maureen and I set out yesterday on the 100 mile (each way) trip from Cape Cod to "beautiful" (ha!) Billerica MA, which is up by the NH border. Rick had alerted me to this gig, as he does all his dates. It was a New England Blues blast / cookout at a club named Zoots. Gate Street was the first band of the day to play. You can, IMO, believe the Rickster when he makes statements about how very hot his harp man, Pat, is when he's playing!! yes, indeed! At first it was real hard to hear Pat over the bass, but a coupla tunes into the set the sound guy woke up and fixed that deal. It was a bit frustrating; we could see him playing the shit outta that harp, but we could just barely hear him. Once the sound was adjusted, we could enjoy the good bass sounds that Wes (I think? is that right, Rick?) was laying down behind the band. Gate Street's regular drummer was out of town, so the boys borrowed a real solid local drummer....unfortunately, I didn't catch his name. And Rick's playing, you ask? m-m, good! yessir....through the first 8 tunes, the man just could not put down his brand-spanking new beautiful cherry red Epiphone Riviera, which he'd just picked up on Thursday! And you can believe me when I say it sounded sweet! Rick played fast and accurately...no wasted picking but absolutely filled the (then near-empty, sadly enough) room with sound. For the last couple of songs he finally managed to put the newest addition to the Miller family down, and strapped on his big, fat Ibenez (sp?). Our friend did the slide thang on that'n. (-: And oh, BTW....if you're wondering, as I had been, if Mr. Miller can sing, my answer would be "yes, and quite nicely, too". He handled the lead vocals on such tunes as "Hoochie Coochie Man" and "Got My Mojo Workin". Overall, Gate Street had a real nice sound. That tone thing definitely be happening there. Yep, this man has to live in fear that I *will* show up at one of their regular night time gigs. I look forward to hearing them start to sizzle as the hours get late, as opposed to being limited to a 1hour and 15 minute set with (foggy) daylight streaming in through the blinds. Rick was a delightful host, introducing us (as it were) to his wife and youngster, and made us feel right at home. Hey, I could go on and on about this (and I'd love to comment on some of the other bands that we stuck around for), but it's past time for me to be on my way to work. I guess it's gonna be an ok day, too, since Rick was kind enough to give me one of his picks to carry in my mojo bag. outta here.... --Meri mfarn@fibusa.com p.s. Rick gave me his permission to snap some pictures of them playing, which of COURSE I took full advantage of....reprints will be available upon request. ========================================================================= Date: Mon, 10 Jun 1996 06:51:58 CDT Reply-To: William Shute From: William Shute Subject: Ellington on-line, query From: Bill Shute I've wondered for some time if there is a Duke Ellington network a la blues-l where Ellingtonians can share information, news, etc. If there is, could someone share the subscription info/address with me? Thanks in advance. Bill Shute San Antonio, TX ========================================================================= Date: Mon, 10 Jun 1996 08:27:53 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Church Burnings and the Prez's speech Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com There is a cnn story on the investigation at http://www.cnn.com/US/9606/09/church.fires.pm/index.html ========================================================================= Date: Mon, 10 Jun 1996 07:51:14 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Active folk who recorded at Sun Tom Freeland's list of people who recorded at Sun did not include Sleepy LaBeef, the remarkable rockabilly artist who cut any number of tracks there post-Sam Phillips. I'm just starting work on a Bear Family reissue sleeve note on Sleepy, and talked with him for an hour yesterday. If there are folk out there who have anecdotes, stories, reminiscences about this man, private e-mail would be appreciated. I know Sleepy ain't, strictly speaking, blues - but he has a wonderful knowledge of the idiom, and draws from the blues well-spring in everything he does. And, Lord knows, Sleepy is still active - he still does 200 dates a year, many of them in Europe. If you need to know more, the chapter on Sleepy in Peter Guralnick's Lost Highway delivers a wonderful portrait of the man. Regards to all, Richard the Elder ========================================================================= Date: Mon, 10 Jun 1996 08:10:07 -0500 Reply-To: "Maintainability Analysis Workspace [Ranko Vujosevic]" From: "Maintainability Analysis Workspace [Ranko Vujosevic]" Subject: Byther Smith If you ever had any doubts why Byther Smith should replace Jerry Garcia in the Grateful Dead, just listen to his "Cora, You Made a Man Out of Me" on new album "Mississippi Kid" (Delmark). The song has a strong Dead flavor itself, but the closing solo sounds like Jerry Garcia in his best acid days. Ranko Bytherhead ========================================================================= Date: Mon, 10 Jun 1996 09:38:22 -0400 Reply-To: USBLUE5@AOL.COM From: "Gordon, Rich" Subject: Re: weeknight blues Comments: To: don.o@chrysalis.org We the same problem in Rockford, IL. A local club, Big Cities, had James Peterson and Mike Morgan and the Crawl last month. Little or no one came. Cover was $4.00. Both shows got plenty of mention on the local blues radio shows. They even ran commercials for the Mike Morgan show. Still no one came. The Rockford area is about 150,000 people, and we're lucky to get maybe 500 people out to see Lonnie Brooks on a Saturday. Maybe weeknight shows should be earlier...right after work or at 7pm. Rich Gordon WXRX 104.9 FM Rockford, IL ========================================================================= Date: Mon, 10 Jun 1996 09:31:05 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Sitting & Thinking - Big Wal Comments: To: scottd/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=scottd#a#interaccess#f#com@s1boca.corp.wrgrace.com, BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *I guess we're getting into that dreaded opinion vs. fact area here. I *haven't heard Annie Raines. She is very strongly influenced by both Walters, and has that Big Walter tone. * But I don't hear it in Studebaker John, Billy *Branch or Kim Wilson (anymore--Kim used to do some Big Walter-ish stuff, but *doesn't seem to anymore). I admit I haven't heard anything by Studebaker John, but I've heard that Big Walter and Hound Dog Taylor were his biggest influences. Kim Wilson is probably more influenced bu Little Walter, but I've heard him use some Big Walter licks (especially the fast triplet run from "Walter's Boogie." Listen to "Boogie All Night" from the Tigerman album and you'll hear some BW. *I'm not sure I'd consider Carey Bell much of a *Big Walter disciple either. They were buddies and all that, but Carey's *told me more than once that his main man is Little Walter. I don't think that Bell sounds much like Walter, but the influence is there. He's recorded at least two Big Walter tributes that I know of: "Big Walter Strut" and "Easy" (but his version of Easy is very different than the original). *But if you're talking about Steve "Big Walter Jr." Levine, well, I can't *argue with that :) I'm still working on it, but occasionally I can sort of get that tone - I still have lots to learn though! -Steve ========================================================================= Date: Mon, 10 Jun 1996 09:39:04 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: the Bridge, Volume 2 I just saw that someone named Mike Curtis has a song on the disc "The Bridge, Volume 2" Is that Iron Mike Curtis of Blues-L fame? Gavin ========================================================================= Date: Mon, 10 Jun 1996 09:39:11 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Music Birthdays JUNE 9: Cole Porter, composer of such songs as "Night & Day" and "You Do Something to Me" (1892); Les Paul, inventor of the modern, solid-bodied electric guitar and inventor of multi-track recording (1923); Jackie Wilson, singer famous for his smooth vocals as showcased on songs such as "Lonely Teardrops" and "Your Love Keeps Lifting Me Higher" (1933); Mitch Mitchell of The Jimi Hendrix Experience (1947); JUNE 10: Frederick Lowe, composer of tunes for such films as "Paint your Wagon," "My Fair Lady," "Camelot," "Gigi," and "The Little Prince," the latter two for which he was nominated for Academy Awards (1904); Howlin' Wolf, blues pioneer (1910); Judy Garland (1922); JUNE 11: Carmine Coppola, composer and father of Francis Ford Coppola, on many of whose films he did the scoring, including "The Godfather, Part 2," for which he won the Oscar (1910); JUNE 12: Richard Sherman, composer nominated for the Oscar for his scores for "Chitty Chitty Bang Bang" and "Bedknobs and Broomsticks" and winner for his score for "Mary Poppins" (1928); Jim Nabors (1933); Roy Harper (1941); Chick Corea (1941); Brad Delp, lead singer of Boston (1951); Bun E. Carols of Cheap Trick (1951); Rocky Burnette, one hit wonder famous for his early 1980's rockabilly song "Tired of Toein' the Line" (1953) ========================================================================= Date: Mon, 10 Jun 1996 09:39:30 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: On this day in entertainment history JUNE 9: The Beatles tour Hong Kong and the Orient for the first time (1964); Princeton awards Bob Dylan an honorary degree (1970); Elvis plays New York City FOR THE FIRST TIME (1972); CBS signs a singer/ songwriter from New Jersey named Bruce Springsteen (1972) (No word if Bruce celebrated by seeing Elvis' first ever show in NYC.) JUNE 10: Janis Joplin Sings Lead for Big Brother & The Holding company for the first time (1966); The Beatles release the first single ever with purposely reversed tape segments, "Rain" (1966); "Darkness on the Edge of Town" by Bruce Springsteen is released (1978); Richard Pryor receives third degree burns over a large portion of his face and hands. He was freebasing coke OR eating milk and cookies (1980) JUNE 11: John Wayne dies (1979); Chuck Berry pleads guilty to income tax evasion (1979) JUNE 12: New York City incorporates (1665) (The next day this phrase is heard for the first time: "Hey! Watch where you're goin', ya bum!"); Jimmy Dorsey dies (1957); The Beatles are given the MBE (Members of the British Empire) Award for "Service in Export." Several members of the MBE resign in protest (1965); The film "The Kids are Alright," featuring The Who and their music, opens (1979); Bruce Springsteen, Linda Ronstadt, and Jackson Browne, among others, headline a concert to support nuclear disarmament which draws over 750,000 to Central Park (1982) JUNE 13: Clyde McPhatter, famous as the lead singer of the Drifters and as a solo artist, dies (1972) ========================================================================= Date: Sun, 9 Jun 1996 21:34:17 GMT Reply-To: CKUT_online@babylon.montreal.qc.ca From: CKUT online Organization: Babylon, Montreal, Canada Subject: Re: PULSE! June 1996 Blues Report Comments: To: shaun@PACIFICNET.NET We don't have Tower records in Montreal but if anyone is willing to mail me a copy of the article(s) or the whole magazine I'll certainly cover the cost. (Anybody own a scanner?) John Detcheverry, CKUT FM 90,3 ========================================================================= Date: Mon, 10 Jun 1996 09:58:00 EDT Reply-To: Debra Eisert From: Debra Eisert Subject: Re: weeknight blues I would definitely go for the earlier -- especially if the venue serves food. A local restaurant chain here features blues and barbeque (sigh -- life is good) but you must stake out a claim to your table early for the popular bands. Then it seems forever before they come on. I like the idea of a blues happy hour. debra who was just reminded that she shares a birthday with Howling Wolf! At 09:38 AM 6/10/96 -0400, you wrote: >We the same problem in Rockford, IL. A local club, Big Cities, had James >Peterson and Mike Morgan and the Crawl last month. Little or no one came. >Cover was $4.00. Both shows got plenty of mention on the local blues radio >shows. They even ran commercials for the Mike Morgan show. Still no one came. >The Rockford area is about 150,000 people, and we're lucky to get maybe 500 >people out to see Lonnie Brooks on a Saturday. Maybe weeknight shows should >be earlier...right after work or at 7pm. > >Rich Gordon >WXRX 104.9 FM >Rockford, IL > > ========================================================================= Date: Mon, 10 Jun 1996 10:11:45 -0400 Reply-To: smirkyface From: smirkyface Subject: Band Reviews? OK, I need some help here. I read all the reviews of bands that other 'zellers have seen. They are for the most part very detailed and I'm assuming accurate. How do you do this? Do you take notes at the shows, total recall, tape record your views? How do you'll do it? I see a lot of blues in a week, every week, I'm lucky if I can remember the name of the club I'm in. I could write a review of a bad band, but when the music's good and you're into the moment, well color me gone (GONE is a technical term, describing a higher state of consciousness, or unconsciousness). Any advice on how to be a ace #1 music reviewer, would be most welcomed. On another note, Lucky Peterson was at WD's last night for two shows. I was GONE after the first note. He informed us that he'll be getting married next year and we're all invited to the wedding. Friday he'll be on BET with George Clinton and Bootsy doing some live music. Sounds cool. I'll get more details from him later on today. Lucky and the band(the Organization) are hanging around Center City for the next couple of days. They'll be at Zanzibar Blue tonight for dinner(I'll have a complete review of the meal;)). I'm playing tour guide for the band today, so I'd better get going. ...Just remembered something. Lucky likes to go into the crowd with his guitar and play up close and personal. Last night, he jumped off stage and did the rounds through the audience. People were eating it up. After a while I lost sight of him, then I remembered that he likes to go out the front door walk around the building and come through the stage door. Doing a quick sprint out of the sound booth and weaving my way through the crowd, I got back stage to open the side door. Sure enough, here comes Lucky, playing all the time, not missing a beat. We talk for a little bit before we went back into the building. Most of the audience was still looking for him at the front of the club when we came through the curtain to head back on stage. Needless to say, the applause was well deserved BRIAN MCLEAN PHOTOGRAPHY & SMIRKYFACE PRODUCTIONS "life's too short to live the blues" http://www.netaxs.com/~blmclean ========================================================================= Date: Mon, 10 Jun 1996 07:20:02 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: June 11 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ALAN, SKIP (b/PRETTY THINGS) b. 1948-0611, LONDON, UK BEARD, FRANK (d/ZZ TOP) b. 1949-0611, FRANKSTON, TX COMPTON, J. GLOVER (p/ALBERTA HUNTER) d. 1964-0611, CHICAGO, IL 80 DEE, JOEY [JOSEPH DINICOLA] (v) b. 1940-0611, PASSAIC, NJ HARRIS, ACE (p/ERSKINE HAWKINS) d. 1964-0611, CHICAGO, IL 54 HIGGINBOTHAM, IRENE (songw) b. 1918-0611, WORCESTER, MA HUDSON, JAMES "POOKIE"(lead/THE SPANIELS) b. 1934-0611, GARY, IN JONES, EUGENE W. (d/FROGMAN HENRY) d. 1969-0611, NEW ORLEANS, LA 33 LASKER, JAY H. (ceo/VEEJAY/MOTOWN REC) d. 1989-0611, ENCINO, CA 65 LEE, BONNIE (v/DELMARK REC) b. 1931-0611, BUNKIE, LA MAULTSBY, PORTIA DR. (author) b. 1947-0611, ORLANDA, FL MCREE, JOHNSON "FAT CAT" JR. (prod) b. 1923-0611, MANASSAS, VA PURDIE, PRETTY (d) b. 1939-0611, ELKTON, MD RIDDLE, PHIL (d/BLUZBLASTERS) b. 1960-0611, DANVILLE, VA SCOTT, HAZEL (p/EXCLUSIVE REC) b. 1920-0611, PORT OF SPAIN, TRIN SCOTT, ISAAC (g) b. 1945-0611, PINE BLUFF, AR WATKINS, LOVELACE (v) d. 1995-0611, LAS VEGAS, NV 57 ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 10 Jun 1996 10:21:32 -0400 Reply-To: bob vanarsdall From: bob vanarsdall Subject: Review: WC Clark, Texas Soul (Blacktop) This one was playing on rotation at my local CD store, and came home with me after the first cut I heard. For admirers of the ZZ Hill/Malaco sound, this is a good bet. Clark's voice is very reminiscent of ZZ Hill's with maybe a touch of OV Wright, especially in phrasing and tone. The album has some tasty guitar work by Clark, but it is definitely not a guitar album. The interplay is between the horn section and Clark's voice, with that great punchy horn work of good soul. Songs: I Only Have Love for You Just the One I'm Looking For Reminiscing Why Do Things Happen to Me? Rough Edges Leave My Heart Alone That's Where It's At Funny How Time Slips Away (yes, the Willie Nelson tune) You'll Need Another Favor I Want to Keep You Ain't No Fun To Me Baby, What About Me? He's accompanied by (I think) mostly Austin musicians, including Tommy Shannon, and the "Kamakaze Horns", who really make the album hum. I don't know Clark's work, so this is in the order of "news to me" rather than "news". He appears to be maybe in his late 40's or early 50's. I've been keeping Blues-L reviews for some time now, especially for horn and soul-based stuff. Where'd he slip through? What else can anyone recommend? Jeff and you Texas folks - anyone seen him live? Bob ========================================================================= Date: Mon, 10 Jun 1996 10:32:40 -0500 Reply-To: MARCIAG@VMS.CIS.PITT.EDU From: Marcia Grodsky Subject: St. Louis convention, t-shirts, etc. Last week I posted a message saying that Bob Unger has suggested doing a sort-of special edition t-shirt to commemorate the "First Annual" blues-l convention that was supposed to be held in St. Louis this coming Labor Day weekend. I asked for some input as to whether it's still on, how many people are going, is there interest in this, etc. As of this morning I've received the following responses: Planning to go 1 Not going 3 Want to know more 5 before making de- cision What are you talking 4 about-never heard of it So, it seems like we need an update. Meanwhile, there sure doesn't seem to be enough interest in making a special t-shirt for it, so for now I guess we'll stick with the one we have. I will be re-posting the order form today or tomorrow. The deadline for orders will be June 21. If you've seen the order form and still have questions, feel free to e-mail me. If you haven't seen it yet, wait until I re-post it and see if your questions are answered. If not, I'll be happy to answer them. ---Marcia ========================================================================= Date: Mon, 10 Jun 1996 14:39:29 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: Scotch - the rest is details (was Scots, Scotch and Blues Siblings) Comments: To: bit-listserv-blues-l@uunet.uu.net On Jun 10, 1996 03:50:07 in article , 'Chris Smith ' wrote: >I used to live on the island of Islay, where they make Lagavulin. Happy >days! They also make Laphroaig, Bunnahabhainn, Bruichladdich (I lived 100 >yards from the distillery), Ardbeg, Port Ellen, Caol Ila and Bowmore. And >no, I am not making any of these names up. > > >Chris Smith (chris@skerries.demon.co.uk) >I asked her for butter, and she gave me margarine (Paul Francis, a college >buddy of mine) Heady stuff - Is the only made up name "Chris Smith"? - just joking - those sound like fine Scotches - I have only tasted Laphroaig - Isle of Islay malts are reputed to be very peaty in taste..... -- Vincent vt@pipeline.com ========================================================================= Date: Mon, 10 Jun 1996 14:48:47 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: Church Burnings and the Prez's speech Comments: To: bit-listserv-blues-l@uunet.uu.net Typical - I've been to the CNN Web Site - and as Curtis Hewitt and Steve have indicated they are doing a fine jopb covering this - but I was after the transcript of the President's speech from Saturday which is supposed to be at : http://www.cnn.com/US/9606/08/clinton.radio.cnn/transcript.html however this is what I found (or was that not found?) - QUOTE Not Found The requested object does not exist on this server. The link you followed is either outdated, inaccurate, or the server has been instructed not to let you have it. Please inform the site administrator of the referring page. END QUOTE Any other sources for that transcript - or did anyone get the name/details of the organisation coordinating aid for the churches? -- Vincent vt@pipeline.com On Jun 10, 1996 08:27:53 in article , 'Steve Levine ' wrote: >BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#B >ROWN#f#EDU@s1boca.corp.wrgrace.com >To: Netnews Server > >There is a cnn story on the investigation at > >http://www.cnn.com/US/9606/09/church.fires.pm/index.html ========================================================================= Date: Mon, 10 Jun 1996 09:53:48 -0500 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: Review: WC Clark, Texas Soul (Blacktop) > I don't know Clark's work, so this is in the order of "news to me" rather > than "news". He appears to be maybe in his late 40's or early 50's. I've > been keeping Blues-L reviews for some time now, especially for horn and > soul-based stuff. Where'd he slip through? What else can anyone recommend? > > Jeff and you Texas folks - anyone seen him live? He's been a regular in the Austin scene for a long time. He consistently puts on great shows. He plays guitar, but his true talent is his voice. I used to go see him all the time when he had a weekly gig at the old Flying Circus [a moment of silence please]. His other CD is "Heart of Gold". It's good to see him getting some recognition outside Texas. Bruce Roberts Austin, TX ========================================================================= Date: Mon, 10 Jun 1996 10:52:57 -0400 Reply-To: Sacre From: Sacre Subject: Saints and sinners It was embarassing - but heartwarming- to read posts with kind appreciations from my friends these last days, God bless them... I am happy to be on Blues-L...at last! I wish I had time to add some details to the controversy "cajun" and "zydeco/zarico" but the most important has been said, especially by Shane Bernard who knows what he's talking about, better than any non-SW Louisiana born people- 'nuff said! Jean Pierre "Young Man" U. said a word about the book "Charley Patton The Voice of the Delta" issued after an International Conference that I organized at University of Liege in 1984. We did it again in 1991 on the theme: " SAINTS AND SINNERS : Religion , Blues and (D) evil in African-American Music" with specialists like Paul OLIVER, Jon Michael SPENCER, Kip LORNELL, Steve TRACY,Mark HUMPHREY, Guido VAN RIJN, Chris SMITH ( a distinguished zeller ) Andre PREVOS ( a zeller too), Robert SPRINGER, Sebastian DANCHIN, Marylin THOMPSON, Mary Joyce JACKSON, Robert M.LEWIS, Peter ANTHONISSEN, Stephan RICHTER, Michel DEMEULDRE and yours truly. Each lecturer supplied a text. I am glad to announce that a book with all the essays on the theme above will come out of the University of Liege Press and Society of Musicology in fall 1996. All you always wanted to know about the differences between the blues-devil's music and gospel- God's music" and never dared to ask..... The book should totalize some 450 pages with illustrations and maps. It should cost around forty bucks and I'll give all the details (how to order and where to do it) as soon as I can. Don't forget folks, it's nice to speak about the blues and gospel but the more you read about them the more you know what to say and what else to ask.... HAND ( a borrowing from Uncle ERIC) Robert ************************************************************************** Robert SACRE 117 Chaussee de Tongres B-4000 LIEGE (Rocourt) Belgium Ph: x-32-41-269022 Fax: x-32-41-541633 e-mail rsacre@vm1.ulg.ac.be ========================================================================= Date: Mon, 10 Jun 1996 14:56:07 GMT Reply-To: VT From: VT Subject: Re: Church Burnings and the Prez's speech On Jun 10, 1996 08:27:53 in article , 'Steve Levine ' wrote: >There is a cnn story on the investigation at > >http://www.cnn.com/US/9606/09/church.fires.pm/index.html Oh, I forgot - this Web page has a link to the Blues-L - at least to the newsgroup echo at: bit.listserv.blues-l -- Vincent vt@pipeline.com ========================================================================= Date: Mon, 10 Jun 1996 10:57:21 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Gator Tail >On Sun, 9 Jun 1996, Tom Freeland wrote: >> I'm told that a knowing buyer of possum and racoon asks to see their >> feet. Because you don't want to be cheated and unknowingly buy, uh, >> one of a couple of domestic animals not usually thought of as food in >> our culture. So I guess you want a reputable provider for those >> particular items. >> >> Or you can take my route and not eat 'em. >> >> Tom Freeland (hears possum is really greasy) >> > > Frankly, and I mean no offense to anybody, but if you're going to >eat the wild stuff, the domesticated stuff seems hardly less appetizing. > > Steve Price (hears that it tastes like chicken) > (and admits to having eaten snails and frogs and gator) Just remember the immortal words of Jed Clampett: 'That's the thing about possum innards. They's jest as good the second day.' Chris Smith (chris@skerries.demon.co.uk) I asked her for butter, and she gave me margarine (Paul Francis, a college buddy of mine) ========================================================================= Date: Mon, 10 Jun 1996 10:58:59 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Limitations of Equipment (was Commercialization: At what cost?) Pete Wulforst writes > >IMHO, Buddy Guy is following his muse and nothing more. I have read >interviews where Buddy has said that he wanted to use distortion, etc when he >was with Chess, but was not allowed to do so. Indeed, again IMHO, on some on >the Chess recordings, Buddy sounds like a man who is frustrated by his guitar >tone. > >Also, on yet another tangent, equipment has come a long way. Much is made >about Pat Hare's distorted tone and aggresive playing with Muddy. If Pat >were alove and playing today, who knows what he'd be using to get his sound. > Can you blame Michael Hill for cranking it up? What a tone he gets!! And >as for subject matter, oh well, I've taken enough detours for one post. > Sorry to ramble; there was a point in there somewhere. > No gearhead myself (perhaps the only non-guitarist on this list, I sometimes think), but I do love the story about 'Rocket 88', and how Ike Turner and Sam Phillips invented fuzztone guitar as a result (a) the amp falling off the roof of the car on the way to the studio and (b) trying to fix the consequent vibrating cone by stuffing paper down beside it. Chris Smith (chris@skerries.demon.co.uk) I asked her for butter, and she gave me margarine (Paul Francis, a college buddy of mine) ========================================================================= Date: Mon, 10 Jun 1996 17:05:53 +0200 Reply-To: "M. Diewald" From: "M. Diewald" Organization: Universitaet Bayreuth Subject: Re: L/NBC...Dick Dale? Comments: To: bit-listserv-blues-l@uunet.uu.net Karen-Marlies Schenck writes: >shannon oconnor wrote: >> >> Okay...please tell me about Dick Dale ("King of the Surf Guitar"). >> I know he's not considered "blues," so don't kick me around on that >> point. He's playing here in Cincinnati on June 10. My friends >> Sonny Moorman & the Dogs are opening for him, so I'll be at the >> show. I've been told I need to bring my industrial-grade ear >> plugs, and that he plays "really fast." What else? Opinions >> welcome. >> >> Shannon >Dick Dale is the undisputed king of the surf guitar. The stuff he does >right now is a bit on the blunt side, but he's a legend. Total weirdo >too, but very cool in his own way. He plays loud, yeah and he doesn't >really play fast, he just tremolo picks everything, like a bouzouki >player. But you're right, his music is probably as un-bluesy as it gets. >He does kick SRV's ass on a lame version of "pipe line" they recorded for >some stupid movie. > Walter Broes Any recommendations what records of DD to buy?? Martin ========================================================================= Date: Mon, 10 Jun 1996 10:13:41 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: VH-1 What If...... Last night watching VH-1 with the Jimi on Dick Cavett, then Storytellers with Jackson Browne and seeing the advertisments for every kind of music except BLUES (I don't recall jazz either). Anyway wouldn't it be nice if WE could convince VH-1 that in edtion to their 8 track flasback they could have a regular BLUES show. It could be a 30 minute or hour show and they could run clips of Son House, Bukka White, Pre-SRV Buddy Guy, Muddy, Little Walter..etc they could call it "Influences" or whatever they want. If John Lee is popular enough for Pepsi to have him on a advertisement then you would think VH-1 could be persuaded to have a blues segment. So does VH-1 have an e-mail address and do you think WE blues fans (not just blues-l) could have enough impact on them to get them to consider the idea What you think Leonard Watkins ========================================================================= Date: Mon, 10 Jun 1996 17:19:05 +0200 Reply-To: "M. Diewald" From: "M. Diewald" Organization: Universitaet Bayreuth Subject: Re: What are we using for that blues guitar tone? Comments: To: bit-listserv-blues-l@uunet.uu.net I am using my Starfield Strats into an Boogie Studio .22 with a 4X10 cab. If I dont want to impress the neighbours, I use my Hughes&Kettner Crunch Master recording amp hooked up to the 4X10. It puts out HUGE 1.5 Watts of power and if you crank it, you get a wonderful blues sound (EL84 power stage clipping).... And all that at reasonable volume. Martin BTW: Hughes&Kettner make some great stuff: Check out the Tubeman recording amp --- Great sounds for guitar, bass, organ, you name it... the Crunch Master is no longer made but you can pick them up used for cheap and the trick is to hook them up to a cabinet, because that half rack space unit contains a complete tubeamp with output-transformer... ========================================================================= Date: Mon, 10 Jun 1996 10:31:04 -0500 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Re: VH-1 What If...... > Last night watching VH-1 with the Jimi on Dick Cavett, then Storytellers with > Jackson Browne and seeing the advertisments for every kind of music except > BLUES (I don't recall jazz either). Anyway wouldn't it be nice if WE could > convince VH-1 that in edtion to their 8 track flasback they could have a > regular BLUES show. It could be a 30 minute or hour show and they could run > clips of Son House, Bukka White, Pre-SRV Buddy Guy, Muddy, Little Walter..etc > they could call it "Influences" or whatever they want. If John Lee is > popular enough for Pepsi to have him on a advertisement then you would think > VH-1 could be persuaded to have a blues segment. I was channel surfing this weekend and caught Bo Diddley on a show on TNN called "Salute to the 50's". Bruce Roberts Austin, TX ========================================================================= Date: Mon, 10 Jun 1996 10:32:48 -0500 Reply-To: bolt From: bolt Subject: Re: weeknight blues >What does it take to get YOU out to see a blues band on a weeknight? > Personally, it doesn't take much to get ME out on a weeknight. People on this list would most likely be considered hardcore Blues fans, unfortunately there is not enough of the hardcore group to support most acts on a weeknight. Many of my friends are blues fans, but not what I would necessarily consider hardcore. To get them out on a weeknight, I would recommend: - Foremost, start the shows earlier (and on time). I understand clubs have to sell booze in order to make money, and the longer they keep you there, the more you buy. But I'd definitely be up to paying a slightly higher cover in order to ensure that the show starts on time and that I'd get out of there at a decent hour. I think it is very shortsided of both bands and club management to think that the general public keeps the same latenight hours that they do. - Make sure adequate seating is available. Most people don't want to work all day and then have to stand for 3 hours. Since you typically can't sleep late the next morning, make the event as comfortable as possible. - I think your example of combining a bar-b-que dinner with the show was an excellent idea. The inclusion of the dinner shouldn't be manditory though. Many people don't like to HAVE TO buy something that they might not want. - Shorter set breaks. Nothing kills an evening like an unbearably long set break, especially on a weeknight. Luther Allison has solved that problem, just play three hours straight, without a break. - Helpful promotion from the local music critics. Since there typically isn't very much of an advertising budget for weeknight shows. Some nice (free) mentions in the local newspaper always seems to help. Hence, it is key for the club owner to build a good working relationship with the local press. This may be a very underlooked factor. Just my thoughts. Reg Burns +++++++++++++++++++++++++++++++++++++++++++++++++ + I'll listen to reason when it comes out on CD + + + + bolt@neosoft.com Houston, TX + +++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Mon, 10 Jun 1996 10:33:00 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Re: Review: WC Clark, Texas Soul (Blacktop) Comments: To: bob vanarsdall In-Reply-To: Yep, seen him live. He puts on a hell of show. I think that the show that I saw only had one horn player. WC is known as the godfather of the Austin Blues scene. He played bass with SRV in the Triple Threat Review. I think he's in his late 50's. His other cd is also on Black Top - Heart of Gold. I think that Heart is more blues based than the latest with a little more emphasis on WC's guitar work. There was an ACL tribute to WC Clark a few years back with SRV, Jimmie, Angela Strehli, Lou Ann Barton, etc. WC did a killer version of Al Green's Take Me to the River. It's about time that WC got received a wider audience. -Jeff (near the Live Music Capital of the World) ------------------------------------------------------------------------------ __ Jeff Seale, PhD | |___ University of Texas Health Sciences Center @ San Antonio ___|* | seale@bioc02.uthscsa.edu \ | http://bioc09.uthscsa.edu/~seale/home.html \/\ / \ / I jumped bail from the Sweetwater County, now I'm on the run \( On my head is a 5 number bounty, for a crime I never done -Joe Ely ========================================================================= Date: Mon, 10 Jun 1996 11:26:35 -0400 Reply-To: Steve.Levine@CORP.WRGRACE.COM From: Steve Levine Subject: Re: Limitations of Equipment Comments: To: BLUES-L/OU=internet/PRMD=GRACE/ADMD=BLANK/C=US/DD.HPMEXT1=BLUES-L#a#BROWNVM#f#BROWN#f#EDU@s1boca.corp.wrgrace.com *No gearhead myself (perhaps the only non-guitarist on this list, I *sometimes think), but I do love the story about 'Rocket 88', and how Ike *Turner and Sam Phillips invented fuzztone guitar as a result (a) the amp *falling off the roof of the car on the way to the studio and (b) trying to *fix the consequent vibrating cone by stuffing paper down beside it. Another similar story I've heard is that Link Wray deliberately poked holes in his speaker(s) to get that distorted sound on "Rumble" and other classic guitar instrumentals. -Steve ========================================================================= Date: Mon, 10 Jun 1996 08:35:00 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: List of Towns for Church Relief bob vanarsdall said: edit edit >Failing that, I tried to find a comprehensive list of the churches which >have been burned so that folks could contact them directly. I haven't been >able to find such a list, though I'm sure it exists somewhere. Here is a >list of the towns in which predominantly black churches have been burned in >this suspected arson campaign. If anyone wants to help, I suggest you call >the local chamber of commerce in the town, ask about the affected >congregation, and contact them directly. That's one available option. I would suggest we wait for a week - 10 days and find out about the new organization being set up to assist with rebuilding these churches. I'll post the info DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Mon, 10 Jun 1996 10:33:48 CDT Reply-To: William Shute From: William Shute Subject: either Roy Rogers...or no blues in SA! From: Bill Shute We presently have no club in San Antonio that regularly features blues music (except for Jalapeno's, which has a house band playing and has no other artists). One club that opened recently and is featuring a somewhat eclectic mix of artists is offering Bay Area slide gtrist Roy Rogers (best known, I suppose, for his work w/ John Lee Hooker) and the manager stated in the paper that attendance at the Rogers gig will determine whether any more blues artists are booked in the future. I do not like Mr. Rogers' work (to put it kindly), so I hate to be put in a situation where I "vote for the blues" by paying to see an artist I dislike (w/ babysitting expenses, etc.). I guess I'll call the manager and give him/her my "vote for the blues," but not for Roy Rogers. (I'd pay to see the "other" Roy Rogers, of Happy Trails fame, but not this one. BTW, if you want REALLY hot guitar, check out the album of 1934 Transcriptions by the Farr Brothers (Hugh and Karl), on which the REAL Roy Rogers plays rhythm guitar, on JEMF records.). Speaking of South Texas blues, is there any word yet on the Antone's anniversary shows in July? Time to start making plans... Has anyone heard that radio ad for Budweiser beer that talks about the rich heritage of the blues or something and talks about the delta, then plays a tune in the background that is a variation on "Green Onions"??? It would take a pretty broad interpretation of "delta blues" to fit G.O. into it!!! Finally, and in another unrelated point, is the film LOTTOLAND out on video yet?Be sure to check out the soundtrack on the Stony Plain label. Bill Shute San Antonio, TX ========================================================================= Date: Mon, 10 Jun 1996 10:33:57 -0500 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: Commercialization: At what cost? Comments: To: wd6ehr@KAIWAN009.KAIWAN.COM In-Reply-To: <199606080926.CAA09097@kaiwan009.kaiwan.com> from "Mike Curtis" at Jun 8, 96 02:26:21 am In an earlier message, Mike Curtis said: ] Q. What do you call someone who does something for money? ] A. A professional. ] Q. What do you call someone who does something because they enjoy doing it, ] and makes no concessions in order to make money? ] A. A hobbyist. Q. What do you call a musician without a girlfriend? A. Homeless. ] How many truckdrivers are accused of "selling out" because they take a job ] that pays more? "Yeah, man, I really dug Fat Earl's early stuff-- you know, the long haul stuff he used to do -- loads of steel, y'know? Now he's gone commercial, man -- just doin' that local express jive for a fast buck." -- * The most exciting phrase to hear in science, the one that heralds new * discoveries, is not "Eureka!" (I found it!) but "That's funny ..." * -- Isaac Asimov ========================================================================= Date: Mon, 10 Jun 1996 11:23:40 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: What gets me out for blues on a weeknight? This is easy....a big name that I've been dying to see ....in a club that I know and like, nearby ....with a reasonable cover ($10 or less) ....early start time! 8:30 to 9 is good on a worknight ....and a babysitter. :) This is an interesting question in general, given Don's comments on declining attendance at blues clubs. Locally, here in Massachusetts, you can't swing a dead cat without hitting a "blues" club. In the past two or three years, many, many rock clubs have converted half time or full time to blues and there are now so many venues for my band to play in, we've (knock on wood) got as much or MORE work than we can handle. This is good and bad. The good reasons are obvious, but the bad are a little more subtle. I think it boils down to thinning out the available audience. We played Saturday night in one of the coolest clubs in New Hampshire to a small but appreciative crowd and everyone wondered where the heck is everybody tonite? Well, let's see, we've got NBA finals, NHL finals, blah, blah, blah...and it's a hot summer night....people are out relaxing elsewhere. Okay. Then, LAST night (Sunday) we opened a day long blues mini-festival that featured many big regional acts, including Vykki Vox, Kat In The Hat, KD Bell, Easy Ray and more, and on a drizzly, cool. completely drab Sunday when everyone should have been sleeping on the couch with the remote, the place was jammed full of eager blues hounds (from as far away as 2 1/2 hours (our own Meri Farnworth ;) and the sleepy burgh of Billerica literally pulsed with the muddy boom of bass guitar and the fat honk of great harp playing late, late into a Sunday night. These blues fans were willing to sacrifice sleep on (effectively) a work night, being being Sunday, but some days, in a great club, with a popular band, nobody's interested. What's up with that? I think at least around here, the prolifera- tion of blues and blues clubs has given a "finite" audience the power to pick and choose. No more "any blues will do, because that's all there is." Just some informed opinion, based on personal experience, Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 7 Jun 1996 19:54:13 -0700 Reply-To: Karen-Marlies Schenck From: Karen-Marlies Schenck Organization: EUnet Belgium, Leuven, Belgium Subject: Is there a Paladins Homepage? Comments: To: bit-listserv-blues-l@news.Belgium.EU.net Anyone know of a Paladins Site? ========================================================================= Date: Mon, 10 Jun 1996 12:05:45 -0400 Reply-To: Oded Maron From: Oded Maron Subject: Review: WC Clark, Texas Soul (Blacktop) Comments: To: rvana@interpath.com In-Reply-To: bob vanarsdall's message of Mon, 10 Jun 1996 10:21:32 -0400 From: bob vanarsdall soul-based stuff. Where'd he slip through? What else can anyone recommend? Jeff and you Texas folks - anyone seen him live? I just saw him this Friday night in Boston. He had Mark Kazanoff with him and did a bunch of tunes from "Texas Soul". Of course, he did "Cold Shot", which SRV made famous. I'm not sure about his other albums, but he reminded me a lot of Phillip Walker, both in his singing and in his guitar playing. So, to change topics a little bit, I would recommend Phillip Walker's albums on Hightone: "Someday you'll have these blues" and "The bottom of the top". Oded ========================================================================= Date: Mon, 10 Jun 1996 11:13:46 -0500 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: How did you get into the blues? Comments: To: sprice@INAV.NET In-Reply-To: from "Steve Price" at Jun 8, 96 03:29:01 pm In an earlier message, Steve Price said: ] What brought all you folks to the blues? Was there a seminal ] moment when you heard something? Did you find it via Jazz, rock, r&B? During the early 70's, I spent a lot of time hanging out with my older brother (I'm 37 now) who was pretty seriously into 60's rock and the stuff that grew out of it, and who had a great record collection -- including damned near everything Clapton had done up to that point. Two albums I remember are the "History of Eric Clapton" collection, which had a couple John Mayall tracks, and the Derek and the Dominoes cut of "Have you Ever Loved a Woman", and Fleetwood Mac's "Black Magic Woman" album, with Peter Green, Danny Kirwan, and Jeremy Spencer on guitars. Hot Stuff!! Something in the blues on those albums struck a resonance within me, and had a big influence on my tastes in the future. The Fleetwood Mac stuff was especially good, exposing me to the Elomore James sound second hand. >From Clapton's presence on "The London Howlin' Wolf Sessions", I got clued to the Wolf... Clapton also pointed me to Freddy and Albert King. Later, when Johnny Winter started getting airplay, I got a couple of his albums and was hooked. Pretty strange that it took a tossoff like "Rock and Roll Hoochie Koo" to point me to J.W., when damned near everything else he recorded was better. ;) < == [ IMHO ] Anyway, from listening to Winter and reading interviews with him, I discovered Muddy Waters and Robert Johnson. Somewhere in here I should mention Steppenwolf. Their bizarre interpretation and blues influence always appealed to me --- even tho I later realised that they had done some blatant ripoffs of blues standards. This led to humorous times -- a guy was teaching me "Messin' With the Kid", when I realised I knew it already -- as Steppenwolf's "Tighten Up Your Wig". Blame it on drugs...also give them credit for a pretty cool Sixties interpretation of "Hoochie Koochie Man". All this exploration took place across about 10 years, from age 13 to 23. To this day, Johnny Winter and Muddy Waters are the only real constants in my listening habits. ] Is it something you still feel new to, still exploring, or something ] you've been doing all your life? Yes. Still exploring, still changing. I've been from bloozerockfreakness to blues-nazi purism, but I've settled on the following: If it's fun to listen to, it's good. I'm still doing it; been listening to blues all along. Played in a few spectacularly unsuccessful rock bands, some of which became moderately successful after I left. Used to get involved in blues jams when I could; play a lotta acoustic stuff (R.Johnson wannabe). I hope ya'll still love me after you know what kinda weird stuff I wandered thro, gettin to the blues. -- ========================================================================= Date: Mon, 10 Jun 1996 12:27:12 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0484 From: "DUTTWEILER.J" Subject: Re: Church Burnings and the Prez Date: Monday, 10 June 1996 12:26pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: Church Burnings and the Prez In-Reply-To: The letter of Monday, 10 June 1996 11:03am ET Just FYI for those interested once they read the full text to Clinton's speach:those "Arkansas church burnings" he has "vivid" and "painful" memories of from when he was growing up as a kid in Arkansas? Never happened, nope, nada, nyet - not once according to the Arkansas Attorney General AND the head of the Arkansas chapter of the NAACP, no black Church in Arkansas has ever been deliberately burned down. Dig it JD ========================================================================= Date: Mon, 10 Jun 1996 12:38:00 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Blues tone (user-friendly reply to "Jap-crap") :) Fellow Blues-Lers Shaun and PW have both been very even-tempered (thankfully) in replying to what could easily be the worst bit of flame-bait amongst us on-line gearheads, the reference to Asian-made guitars as "Jap crap". I'd just like to add my own even-tempered $.02. Ten or even five years ago, I woulda joined the "any guitar that's not American is crap" crowd too. Experience has taught me better. I now own five really good quality guitars and it just occurred to me now that only 1 of them is US made, and that's my '71 Les Paul Custom. But my others are top quality instruments built by luthiers who are every bit as serious about it as the folks at Gibson USA or at Fender USA. Conversations with folks at Vintage Guitar magazine and other acknowledged experts led me to buy my '75 Ibanez 2355 (ES-175) archtop for it's outstanding quality and attention to detail. I've played the "real" article, Gibson ES-175, and not only would I stack mine against the Gibson any day, I'd challenge a dyed-in-the-wool Gibson-head (as I was) to play it and tell me the difference. Useless, rhetorical challenge, I know, but hey......:) I've also got a Yamaha jumbo-bodu 12 string that's over 20 years old and is still physically near perfect and warmer and fuller sounding to my ears than about 90% of anything made now, from anywhere, within it's price range (say around $500). ANd then there's my Gibson/Epiphone MD-30 dobro, made in ummmmmm.....Korea or Japan....well, on this list, we could start all KINDS of arguments over this one, (easy fellas :) but I've played lots of US made dobros, mostly older ones, that are comin' apart at the seams and rattle and vibrate in most un-musical ways, but hey, for my $700, you can have those American "collectors" and feed the market that keeps prices high, while I break in my beautifully built "replica", shall we call it. Lastly, I just took delivery and gigged this weekend with my new Epiphone "Riviera", having put down my bad-boy Les Paul for the first time in 2 years. All I can say is, if you like hollow/semi-hollow sound and don't have a couple thousand dollars to spend....well, let's see...ask John Lee Hooker about his Riviera. You want a sweet, fat and smooth playing 335-style instrument that is the very definition of value and quality, sorry fellas, this one's made in Korea. Let us not forget either, that Epiphone has been around since the mid- 1800's, way before Gibson or Fender. The fact that production facilities are not here in the US no longer means Jap crap. I have no doubt whatsoever that every one of my Asian guitars will play beautifully and last me through a lifetime of blues gigs. Value for the dollar and attention to detail in the tradition of fine luthiers. It works for me. *Disqualifier: My Asian electrics are all in the style of Gibson guitar models so maybe none of this applies to the so-called cheapo Jap-crap Fenders. I have heard of some problems with Asian built Strat types. Caveat emptor, as they say. No flames please :) Just trying to be helpful. Honest! Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Mon, 10 Jun 1996 11:37:05 CDT Reply-To: William Shute From: William Shute Subject: Dick Dale (reply) From: Bill Shute Regarding which Dick Dale album to buy, I'd go with his first on Hightone, TRIBAL THUNDER. It has all of Dale's best qualities in powerful form, and you'll know whether or not you want to investigate further. There's also a Rhino comp, but Mr. Dale has not consented to the reissue of his VERY early recordings (which are available on 3 european bootleg lp's, from the late l980s). By the way, before we say that Dick Dale's music has no blues content, listen to some of his early work where he often used a Bo Diddley beat. Also some of his early work (on those boot lps) contains the influence of westcoast R&B, and some blues influence also crept in via his devotion to Eddie Cochran (Cochran was clearly DD's main man in the early years, prior to the surf instros). Another interesting influence on Mr. Dale is middle-eastern music--I'd be very interested to know what ethnic musics he heard as a child. Finally, Mr. Dale is one of the nicest guys in music in terms of taking the time to meet with fans. When he played LIBERTY LUNCH in Austin right after the release of Tribal Thunder (and EVERY guitarist it Austin, it seemed, was standing at the foot of the stage, jaws dropped in awe, staring at the master's hands as he played), Dale sat on the foot of the stage after show, and talked with EVERY fan who came up to him, until the last person had been spoken to, about 90 minutes after the end of the show. Blues or not, I really don't think ANY serious student of the electric guitar can avoid the music and innovations of Dick Dale. You may not want to hear his music every day, but he made his mark, he is very important figure in the history of post-WWII guitar, and he is quite intelligent, articulate and philosophical (listen to his long and fascinating comments about the inpsirations for his INSTRUMENTAL compositions!!!). Bill Shute San Antonio, TX ========================================================================= Date: Mon, 10 Jun 1996 11:44:40 -0500 Reply-To: "Stine, Dave" From: "Stine, Dave" Subject: Quiet, all emcompassing observations (guitar and otherwise) My band did a wedding reception gig Sat. night. I used my old (to me--it's a '87 60w channel switching) Fender Concert amp. Although this is a great Rock 'n Roll amp (why I originally bought it), it didn't cut it for blues (why I got rid of it). The overdrive was just too "Rock." Perhaps I've gotten used to the "definition" I get from my Blues DeVille. *********GUITAR STUFF SIDE NOTE************** At the time I bought the Concert, I was also using a Squier Strat and a '62 Japanese reissue Tele, along with a couple American made guitars. Although the Strat was a gift from my wife and I HAD to use it, I found that I would have to kick the amp up another setting (number) to get the same Ooomph as with an Am. made Strat. The Tele i was never happy with the sound. I had the original pus rewired (overwound) and then replaced them with Seymour Duncans. Still didn't get what I wanted. Someone (a guitar builder friend of mine said it was the basswood body). Since then I've stayed with American made guitars. I play left-handed so this means Fender pretty much exclusively (Gibsons are rarer and very cost prohibitive. I haven't dismissed Japanese Fender by any means. Maybe they've really gotten better in the 5-6 years since I've played one. I know that the overall quality was very good on both, they played in tune, played well, and covered the normal range of sounds. When I find a big store that carries lefties as a rule, I'd really like to try a '57 reissue and that new Jazzmaster. Back to the wedding gig. . .After the obligatory "wedding" songs, we did straight blues. Our regular drummer couldn't do it so we used our former guitar player's (we used our former guitar player too) "jazz" drummer. Although timid at rehearsal, this guy was a freight train at the gig. Our harp player still high on another gig the night before was wild: impromptu lyrics, harp tricks, growls, stammers, you name it. In short, we were united, feeling good, and we played our Yas Yasses off. AND while were playing, the friends of the bride and groom were checking out the rap CDs that were omnipresent when we broke. Culture clash? Age clash? After living and breathing BLUES-L all week, it hit home again Sat. that the blues audience is small and really isn't part of the music of the younger generation. This crowd (sans parents) was in its early 20s,interracial, and lower-middle class. Maybe it's OUR blues which is a more harp-driven 50s/60s sound than say my friends Pistol Pete and Howard (and the White Boys) who tend to ROCK. But as Rich Gordon was commenting on getting people out to hear blues, it's a challenge in the Northern Illinois area. We've fronted for Teddy Morgan gratis, twice in collusion with our blues society just to get him some exposure. If the society hadn't been there, there would have been a handful of locals who hang out there anyhow. We (bluesellers) love it, but talk it at work or socially, and, at least I get, that sort of glassy eyed saved for Rip Van Winkle. ========================================================================= Date: Mon, 10 Jun 1996 11:31:02 EST Reply-To: mstringer@HEARST.COM From: Mark Stringer Subject: Mannys Car Wash Hat Trick Manny's Car Wash June 6th COREY HARRIS- great multy vocal singer, like Robert Johnson, sounded like two different people in one song. PAUL "WINE" JONES- awsome sound coming out of this guy. I'll definately pay money again and again to see him again and again. R.L. BURNSIDE- "King of the blues-l one chord jam" this guy can hypnotize yoou. If you like Howling Wolf you'll like R.L. Burnside. Hats of to Manny's Car Wash in NYC for assembling a killer 3 act show -Mark ========================================================================= Date: Mon, 10 Jun 1996 12:52:34 -0400 Reply-To: FORCELLAD@CCSUA.CTSTATEU.EDU From: Domenic Forcella Subject: Winthrop R&B Festival I am trying to get the dates and performers for the Winthrop R and B Festival. Is it on this Year? If anyone from the Northwest has any info, please let me know. Thanks, Domenic Forcella Traveling with the Blues ========================================================================= Date: Mon, 10 Jun 1996 11:42:26 -0500 Reply-To: "Maintainability Analysis Workspace [Ranko Vujosevic]" From: "Maintainability Analysis Workspace [Ranko Vujosevic]" Subject: (Fwd) either Roy Rogers...or no blues in SA! --- Forwarded mail from William Shute ... future. I do not like Mr. Rogers' work (to put it kindly), so I hate to be put in a situation where I "vote for the blues" by paying to see an artist I dislike (w/ babysitting expenses, etc.). I guess I'll call the manager and give him/her my "vote for the blues," but not for Roy Rogers. (I'd pay to see the "other" Roy Rogers, of Happy Trails fame, but not this one. BTW, if you want REALLY hot guitar, check out the album of 1934 Transcriptions by the Farr Brothers (Hugh and Karl), on which the REAL Roy Rogers plays rhythm guitar, on JEMF records.). Bill Shute San Antonio, TX ---End of forwarded mail from William Shute Coincidentally, review of Roy Rogers' latest album is printed in the newest Playboy. Vic Garbarini (who is that?) gave him very good reviews. Among all good albums released recently, how come they picked this one to review!? Corporate woodoo at work? Never liked him either (excluding listenable cooperation with Norton Buffalo (sp?)), but now I don't like him even more. Few months ago, a person who books acts (including blues) for a local bar asked me whether to book Roy Rogers, thinking I know what blues fans around here want. I told him that after booking Koko Taylor, Junior Wells, Otis Spann, Kinsey Report, I have a very nice opinion of their bar, and they shouldn't "mess with me." They didn't book him! Koko Taylor is coming back instead. I can go long ways of supporting genuine blues acts, and even longer ways of not supporting phony ones. Again, this is another of totally wrong perceptions and opinions of mine. But, I can't help there!!! Ranko ========================================================================= Date: Mon, 10 Jun 1996 10:00:16 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Commercialization: At what cost? Billy said: >"Yeah, man, I really dug Fat Earl's early stuff-- you know, the long haul >stuff he used to do -- loads of steel, y'know? Now he's gone commercial, man -- >just doin' that local express jive for a fast buck." Ha ha ha ha ha!!! I LOVE it! This kind of sums it up. Folks, it's ALL commercial.... Every last dang little bit of it.... Everyone wants to sell records, everyone wants to be heard.\ The only question that matters is: Is it any good? "commercial" is a total non-issue. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Mon, 10 Jun 1996 12:09:10 -0500 Reply-To: scott d From: scott d Subject: Re: Scots, Scotch and Blues Siblings Comments: To: exarch@accesscom.net At 01:33 PM 6/9/96 -0700, Maggie Mortensen wrote: [edit] > >I suppose most of us know that Kenny is the grandson of Baton Rouge >blues great Raful Neal, and I knew that Darnell played with him >usually, but does anyone here know of any other blues group composed >totally of sibilings? (Nevilles don't count.) I can't think of any. > >--Maggie The sons of blues harmonica player Carey Bell used to do some gigs around Chicago as The Bell Brothers; Lurrie on guitar, Steve on harp, James on drums and Tyson (I believe) on bass. They were good too!, but most seem to have drifted off into different, non-musical directions. Although Steve Bell did back up his brother Lurrie on Lurrie's Chicago Blues Fest performance last week. Scott http://www.geocities.com/SunsetStrip/4466 Check it out! ========================================================================= Date: Mon, 10 Jun 1996 12:09:14 -0500 Reply-To: scott d From: scott d Subject: Re: blues families Comments: To: Martha W Alibali At 07:43 PM 6/9/96 -0400, Martha W Alibali wrote: >Is James Peterson Lucky's father? Yes. Scott http://www.geocities.com/SunsetStrip/4466 Check it out! ========================================================================= Date: Mon, 10 Jun 1996 12:09:19 -0500 Reply-To: scott d From: scott d Subject: Re: Active folks who recorded at Sun Comments: To: thf4@WATERVALLEY.NET At 10:33 PM 6/9/96 +0000, Tom Freeland wrote: [edit] >Anyway, here is a question: Who is still alive and active that recorded >at Sun? > >A start: > >Rufus Thomas (just came out with a new album) >James Cotton (still recording and touring. Right, P.W.?) >Honeyboy Edwards (still touring) >Little Milton (still touring) >Mose Vinson (still playing in Memphis on Beale!) >Ike Turner (still touring) >Jerry Lee Lewis (still recording and playing, had an album out last >year) >Carl Perkins (not playing much, but just published a co-written >autobiography) >Johnny Cash (still playing and recording) >Charlie Feathers (alive but in very poor health, not active) > >There are backing musicians (Calvin Newborn comes to mind) who are >still around, also > >Any others? > >Tom Freeland Roscoe Gordon Eddie Snow (I think) Sammy Lewis (I heard he was still around, but not playing) Not on the blues box, but still around and performing as far as I know: Billy Riley Johnny Cash Scott http://www.geocities.com/SunsetStrip/4466 Check it out! ========================================================================= Date: Mon, 10 Jun 1996 13:18:31 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Re: weeknight blues Blues shows, weeknights and weekends, are getting bigger and more frequent here. Two reasons, I think. One, the shows feature just one artist. Two, they do start earlier, usually 9 P.M. but a significant number start at 8 P.M. This way us old fogies can get home at a decent hour for those jobs we don't really want to go to but which put (lean) meat and (baked not fried) potoatoes on the table. Yes, the earlier start times do detract fom the feel of the shows, IMNSHO. As summer gets nearer, even the 9 P.M. shows start in sunlight. But, I gladly trade a bit of lost atmosphere for getting to see and hear some blues. Gavin ========================================================================= Date: Mon, 10 Jun 1996 12:15:59 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: 5 Blind Boys Of Al. HELP ! My wife works with "low vision" people and each year there is a big event called "Night For Sight" which is a fund rasiser with entertainment. Since a lot of the patients are kids from the Alabama School For Deaf & Blind they would like to book The Five Blind Boys (some of them attended the AIDB school in Talledega) for next years "Night For Sight"... So can anyone e-mail me their manager/publicist/record label phone number so they can get in touch with them...... Thanks Leonard Watkins ========================================================================= Date: Mon, 10 Jun 1996 10:23:34 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Dick Dale (reply) Bill Shute said: (edit edit) >Regarding which Dick Dale album to buy, I'd go with his first on Hightone, >TRIBAL THUNDER. It has all of Dale's best qualities in powerful form, >and you'll know whether or not you want to investigate further. >Another interesting >influence on Mr. Dale is middle-eastern music--I'd be very interested to >know what ethnic musics he heard as a child. Dick said in an interview that his Lebanese uncles (Dick is half Lebanese) would come over and play their music for hours. "Miserlou" is a variation on a Greek folk song BTW. I think Dick just rocks! If you want to learn how to use your right hand (the biggest weakness in most players) go see Dick Dale, and learn some of the tunes! oh yeah... your right hand will be hurtin'... But get it down and your playing will really improve. >Blues or not, I really don't think ANY serious student of the electric >guitar can avoid the music and innovations of Dick Dale. You may not >want to hear his music every day, but he made his mark, he is very important >figure in the history of post-WWII guitar, and he is quite intelligent, >articulate and philosophical (listen to his long and fascinating comments >about the inpsirations for his INSTRUMENTAL compositions!!!). Absolutely! And try this: Put "Tribal Thunder" on the car stereo, loud... And head up the PCH (Pacific Coast Highway to the rest of you)... You will have a big ole grin on... I'm here to tell you. If you can't get to PCH, head for Myrtle Beach and pretend! DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Mon, 10 Jun 1996 13:24:35 -0400 Reply-To: Curtis Hewston From: Curtis Hewston Subject: Chicago Blues Festival Photos Now up on The Blue Highway are 20 very excellent photos by Niles Frantz from last week's Chicago Blues Festival. (His essay and Saturday's photos are still to come.) They're in The Gutbucket area, or you can go straight to: http://www.vivanet.com/~blues/chicago.html The subjects, in no particular order: Texas Johnny Brown, Jerry Ricks, David Bromberg, Homesick James, Ronnie Baker Brooks, Little Smokey Smothers, Diamond Teeth Mary, Carl Weathersby, Hubert Sumlin, Lonnie Brooks with Ronnie Baker Brooks, Vance Kelly, Phillip Walker, Long John Hunter, Byther Smith, Screamin' Jay Hawkins, Bobby Parker, Honeyboy Edwards, Jimmy "T99" Nelson, Willie Clayton, and Alvin Youngblood Hart with Guy Davis and Corey Harris. Sorry, no photos of Muddy's new cabin. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Mon, 10 Jun 1996 13:47:22 -0400 Reply-To: smirkyface From: smirkyface Subject: Chick Rodgers Just wondering if anyone out there's seen Melvia Chick Rodgers and Masheen Co.. I saw her a few months back, and she impressed me so much. She's about 5'5" 98lbs, sings with the power of some one twice her size, and she knows how to work a room. Any info on her present doings would be appreciated. BRIAN MCLEAN PHOTOGRAPHY & SMIRKYFACE PRODUCTIONS "life's too short to live the blues" http://www.netaxs.com/~blmclean ========================================================================= Date: Mon, 10 Jun 1996 13:42:59 -0400 Reply-To: SHAKEThemBLUESRAGS From: SHAKEThemBLUESRAGS Subject: MOONDOGS,PITTSBURGH > > PAUL "WINE" JONES- awsome sound coming out of this guy. I'll definately pay > money again and again to see him again and again. > > R.L. BURNSIDE- "King of the blues-l one chord jam" this guy can hypnotize you > If you like Howling Wolf you'll like R.L. Burnside. > PITTSBURGH AREA BLUEZELLERS..... CHECK THEM OUT @ MOONDOGS, BLANWOX this thursday.... +===================================================================+ | _-\\|//-_ | | | // \\ | Laissez les bon temps roulez!! | | // ~~ ~~ \\ | Let the good times roll!! | | /d-(*)-(*)-b\ | ------------------------------ | | // L \\ | SANJAY 'RAGS' RAJAN | | // //|\\ \\ | sanjay_rajan@formtek.com | | ////`---'\\\\ | FORMTEK,INC. | | // //|||\\ \\ | PITTSBURGH, PA | | // /|||\ \\ | ------------------------------ | | -/---/\o/\---\- | Visualize Whirled Peas!! | | /"\ | | +===================================================================+ ========================================================================= Date: Mon, 10 Jun 1996 13:35:44 -0400 Reply-To: Martha W Alibali From: Martha W Alibali Organization: Psychology, Carnegie Mellon, Pittsburgh, PA Subject: blues families/lucky peterson Comments: To: bit-listserv-blues-l@moderators.uu.net In-Reply-To: <199606100401.AAA71074@osceola.gate.net> Thanks to all who replied to my question about Lucky Peterson's father. The reason I wondered whether it was James Peterson was because of some stories Willie Dixon told in his book "I Am the Blues." Apparently Willie was Lucky's "manager" when Lucky was a 5 years old blues prodigy [!]. As Willie tells it in the book, Lucky's dad made things difficult for him... for example, he sometimes wouldn't allow Lucky to perform, even for a scheduled event with a big crowd waiting. I got the impression that Willie eventually stopped working with Lucky because of the problems with his dad. I wondered whether James was Lucky's father, because such behavior seems unlikely for a parent who is a performer himself! The stories about Lucky are near the end of "I Am the Blues"... I don't have the book here at work with me, but I'm pretty sure they were in the last chapter. Martha ========================================================================= Date: Mon, 10 Jun 1996 13:52:50 -0400 Reply-To: Charles L Isbell From: Charles L Isbell Subject: Re: Review: WC Clark, Texas Soul (Blacktop) In-Reply-To: <199606101605.MAA13320@fiber-bits.ai.mit.edu> (message from Oded Maron on Mon, 10 Jun 1996 12:05:45 -0400) From: Oded Maron | From: bob vanarsdall | soul-based stuff. Where'd he slip through? What else can anyone recommend? | Jeff and you Texas folks - anyone seen him live? | |I just saw him this Friday night in Boston. He had Mark Kazanoff with |him and did a bunch of tunes from "Texas Soul". Of course, he did |"Cold Shot", which SRV made famous. I'm not sure about his other |albums, but he reminded me a lot of Phillip Walker, both in his |singing and in his guitar playing. So, to change topics a little bit, |I would recommend Phillip Walker's albums on Hightone: "Someday you'll |have these blues" and "The bottom of the top". |Oded I was with Big O this past Friday and I have to agree with him that WC did seem very Philip Walkerish. I'd also recommend Philip Walker's stuff and, in particular, _Working Girl Blues_, though not before _The Bottom of The Top_. Peace. "You're not drunk until you have to grab the grass to keep from falling off the Earth." -\--/- Don't just adopt opinions | \/ | Some of you are homeboys develop them. | /\ | but only I am The Homeboy From hell -/--\- ========================================================================= Date: Mon, 10 Jun 1996 12:51:08 -0500 Reply-To: scott d From: scott d Subject: Re: Limitations of Equipment (was Commercialization: At what cost?) Comments: To: Chris Smith At 10:58 AM 6/10/96 -0400, Chris Smith wrote: >No gearhead myself (perhaps the only non-guitarist on this list, I >sometimes think), but I do love the story about 'Rocket 88', and how Ike >Turner and Sam Phillips invented fuzztone guitar as a result (a) the amp >falling off the roof of the car on the way to the studio and (b) trying to >fix the consequent vibrating cone by stuffing paper down beside it. > > >Chris Smith (chris@skerries.demon.co.uk) >I asked her for butter, and she gave me margarine (Paul Francis, a college >buddy of mine) > Chris, I don't play guitar (much), but I have to add that I heard a radio interview with Ike once during which he addressed the fuzz-tone on Willie Kizart's guitar. In addition to the above, he said that one of the amp's tubes had also broken as a result of the amp falling off the car. He was very specific about the tube, too; he said it was an amp with two 6L6 power tubes, and one broke right off in the socket, but that the amp still produced enough sound that they thought they could use it with only one tube. So for all you gearheads, just take a hammer and break off one of your 6L6s for the funky blues tone.... Scott http://www.geocities.com/SunsetStrip/4466 Check it out! ========================================================================= Date: Mon, 10 Jun 1996 12:57:22 -0500 Reply-To: scott d From: scott d Subject: Re: blues families/lucky peterson Comments: To: Martha W Alibali At 01:35 PM 6/10/96 -0400, Martha W Alibali wrote: >Thanks to all who replied to my question about Lucky Peterson's father. > >The reason I wondered whether it was James Peterson was because of some >stories Willie Dixon told in his book "I Am the Blues." Apparently >Willie was Lucky's "manager" when Lucky was a 5 years old blues prodigy >[!]. As Willie tells it in the book, Lucky's dad made things difficult >for him... for example, he sometimes wouldn't allow Lucky to perform, >even for a scheduled event with a big crowd waiting. I got the >impression that Willie eventually stopped working with Lucky because of >the problems with his dad. I wondered whether James was Lucky's father, >because such behavior seems unlikely for a parent who is a performer >himself! > >The stories about Lucky are near the end of "I Am the Blues"... I don't >have the book here at work with me, but I'm pretty sure they were in the >last chapter. > >Martha > Lucky's first record was a single on Willie's Yambo label when Lucky was around 5 years old. The songs were something like "Good Candy" and "One Two Three". I suspect Willie had visions of Lucky being the next Jackson Five.... Scott http://www.geocities.com/SunsetStrip/4466 Check it out! ========================================================================= Date: Mon, 10 Jun 1996 13:04:27 -0600 Reply-To: James Bardsley From: James Bardsley Subject: Re: Blues tone (user-friendly reply to "Jap-crap") :) Comments: To: MILLER@SCI.WFBR.EDU In-Reply-To: <01I5QQUTT91A004COK@SCI.WFBR.EDU> At 12:38 PM -0500 06/10/96, "" wrote: >Fellow Blues-Lers Shaun and PW have both been very even-tempered (thankfully) >in replying to what could easily be the worst bit of flame-bait amongst us >on-line gearheads, the reference to Asian-made guitars as "Jap crap". I'd >just like to add my own even-tempered $.02 worth. (SNIP) >Ten or even five years ago, I woulda joined the "any guitar that's not >American >is crap" crowd too. Experience has taught me better.The fact that >production facilities are >not here in the US no longer means Jap crap. > >I have no doubt whatsoever that every one of my Asian guitars will play >beautifully and last me through a lifetime of blues gigs. Value for the >dollar and attention to detail in the tradition of fine luthiers. It works >for me. > >*Disqualifier: My Asian electrics are all in the style of Gibson guitar >models >so maybe none of this applies to the so-called cheapo Jap-crap Fenders. I >have >heard of some problems with Asian built Strat types. Caveat emptor, as >they say. > >No flames please :) Just trying to be helpful. Honest! > >Riffin Rick Actually, I'd like to jump right in here. I went to my friendly local music store this weekend to drop off my Tele for a neck adjustment and had a chance to look at several Japanese-assemled Fender Teles- I was amazed. They had these gorgeous flamed-bookmatched models w/out binding or special detailing on sale for $399. There were some beautiful "special" models, with gold hardware, mother-of-toilet seat pickguards and binding- one was black with gold hardware and the "fender" logo on the headstock was a solid brass inlay; anonother was white with gold accents and what appeared to be wooden binding over the white body. Gorgeous instruments, all of them- the latter going for $600-something, I think. They played beautifully and the bodies were slightly lighter than my American , early 80s Tele Custom body. Qualit of the worksmanship was excellent. I couldn't tell in my short visit if the electronics were comparable or not to the American Teles. I've reported before that my 1989 Japanese-made Gretsch is better quality than any of the vintage american-made that I've owned or played. In fact , the worksmanship is better than my 68 335. Come to think of it, I've also got a Sigma (Japanese) Martin D41 that kicks butt for $500. I'm thinking of adding a Taylor concert cutaway to the family. I don't know the line all that well. Anyone want to jump in here? -Jim James R. Bardsley, Ph.D. Assistant Dean, Plans and Programs LSU Medical Center-Shreveport (jbards@lsumc.edu) ========================================================================= Date: Mon, 10 Jun 1996 14:08:03 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Open thank you to Mary Ng Mary, I tried to thank you for you for the info on "60 Minute Man," but it was returned as being undeliverabel to your address. So, thank you. Gavin ========================================================================= Date: Mon, 10 Jun 1996 17:40:50 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: Blues tone (user-friendly reply to "Jap-crap") :) Comments: To: bit-listserv-blues-l@uunet.uu.net On Jun 10, 1996 12:38:00 in article , '"" ' wrote: >Fellow Blues-Lers Shaun and PW have both been very even-tempered (thankfully) >in replying to what could easily be the worst bit of flame-bait amongst us >on-line gearheads, the reference to Asian-made guitars as "Jap crap". I'd >just like to add my own even-tempered $.02. > >Ten or even five years ago, I woulda joined the "any guitar that's not >American >is crap" crowd too. Experience has taught me better. I now own five really >good quality guitars and it just occurred to me now that only 1 of them is >US made, and that's my '71 Les Paul Custom. But my others are top quality >instruments built by luthiers who are every bit as serious about it as the >folks at Gibson USA or at Fender USA. [snip] >Lastly, I just took delivery and gigged this weekend with my new Epiphone >"Riviera", having put down my bad-boy Les Paul for the first time in 2 years. >All I can say is, if you like hollow/semi-hollow sound and don't have a couple >thousand dollars to spend....well, let's see...ask John Lee Hooker about his >Riviera. You want a sweet, fat and smooth playing 335-style instrument that >is the very definition of value and quality, sorry fellas, this one's made in >Korea. Let us not forget either, that Epiphone has been around since the mid- >1800's, way before Gibson or Fender. The fact that production facilities are >not here in the US no longer means Jap crap. > >I have no doubt whatsoever that every one of my Asian guitars will play >beautifully and last me through a lifetime of blues gigs. Value for the >dollar and attention to detail in the tradition of fine luthiers. It works >for me. > >*Disqualifier: My Asian electrics are all in the style of Gibson guitar >models >so maybe none of this applies to the so-called cheapo Jap-crap Fenders. I >have >heard of some problems with Asian built Strat types. Caveat emptor, as they >say. > Hubert Sumlin's regular guitar is a Squier Stratocaster by Fender. Big Jack Johnson' s regular guitar was a Fender Stratocaster Squier series. Both Asian made. Now for a bit of "pride of ownership" - I have a Squier Stratocaster by Fender made in Korea - which a fellow Blues-Ler helped me pick and buy, and only cost $179 - so it certainly qualifies as CHEAPO..... So what! I hear you cry, who are you anyway..... NObody - but this guitar has been played on stage by: Big Jack Johnson Magic Slim who both said that the guitar sounded real nice - this could have been them just being nice, but Magic Slim said that the strings were not good for him (he uses heavy gauge flat wound strings - is it any wonder have you seen his hands?) and!! Hubert Sumlin - played my favorite tune "Shake for Me" at HoB, Cambridge last year with Calvin Jones, Willie Smith and Dave Maxwell. He broke the E string on it, but for two days he played on that guitar in his hotel room, when he had other guitars to choose from. Hubert is a nice man, he was being nice, but you make up your own mind..... -- Vincent vt@pipeline.com ========================================================================= Date: Sun, 9 Jun 1996 20:15:05 -0700 Reply-To: Karen-Marlies Schenck From: Karen-Marlies Schenck Organization: EUnet Belgium, Leuven, Belgium Subject: Re: Blues tone (user-friendly reply to "Jap-crap") :) Comments: To: bit-listserv-blues-l@news.Belgium.EU.net (snip) Let us not forget either, that Epiphone has been around since the mid- > 1800's, way before Gibson or Fender. The fact that production facilities are > not here in the US no longer means Jap crap. > Riffin Rick >(snip) The Epiphone company you are mentioning has nothing to do whatsoever with the korean guitars you're talking about. It was bought by gibson in the 1950's, and while the gibson made epi's are great but different than original epiphones (they're really nothing but gibsons), the japanese and korean epiphones might be allright, but they just don't compare to original or gibson-made epis.(pre 1970). If you want a cool hollowbody cheap, get a 1950's Kay,Harmony, Supro, or student grade Gibson, Guild or Gretsch. Stay away from Korean made stuff, and don't try to be an epiphone guitar expert if you are not Walter Broes ========================================================================= Date: Mon, 10 Jun 1996 14:25:00 -0400 Reply-To: news@NEWS.NYU.EDU Comments: Resent-From: news@news.nyu.edu Comments: Originally-From: zogott@is2.nyu.edu (Jennifer A. Zogott) From: news@NEWS.NYU.EDU Organization: New York University Subject: Re: Len Kunstadt Comments: To: bit-listserv-blues-l@uunet.uu.net news@NEWS.NYU.EDU wrote: : Just heard the other night that Len Kunstadt died recently. He owned and : ran the Spivey record label, and wrote a column on the NYC blues scene for : a European blues publication. : : I used to run into him here and there, and he was rather eccentric, but a : very nice person and very knowledgable. : : If anyone knew him better and knows more about him, and would like to : write a short appreciation for _true blues_, a new NYC-area blues : newsletter, please e-mail me. Thanks. : : Jennifer Zogott P.S. My actual e-mail address is zogottj@turing.law.nyu.edu. Some strange "news" e-mail address was attached to my original post, but you can't reach me there. Thanks, Jennifer Zogott * * * "How many bubbles in soap? How many chews in gum? How many rolls in a wheel? Where did eyeballs come from?" - Screamin' Jay Hawkins ========================================================================= Date: Mon, 10 Jun 1996 13:57:02 -0500 Reply-To: Steve Price From: Steve Price Subject: Blues in Schools? Maybe because it was the weekend folks missed my post, but I've gotten zero replies to my questions below, except from someone wanting the same info. I'm really hoping you folks can help and I'm sorry to take up more bandwith repeating myself, but I honestly think it's worth it: Hey folks! Are there Blues in the Schools programs in your area, or associated with your local blues society? Under Ranko's leadership, the Johnson County Blues Society had a small but very successful Blues in the Schools program that I was fortunate enough to participate in last year. We are looking to start it up again in the fall, and I'll probably the one organizing it. What would make a Blues in the Schools program a valuable resource? What, if you think about it, would you like to see such a program teaching? What kind of resources would you like to see involved? Basic things--what to put on a handout, what to emphasize. Thanks. Next time I'll ask you how to fundraise. Steve Price ========================================================================= Date: Mon, 10 Jun 1996 11:59:39 -0700 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Re: Sitting & Thinking - Big Wal Scott, I beg to differ with some of your comments. You wrote: >When I think of Big Walter's style, I think of course of that huge tone >(which very few people seem to be able to even come close to), a certain >"popping" type of attack (which is the one thing I don't hear ANYONE >copying), great chord work (again, who's even thinking about that today?) >and melody based solos, which are all too rare in this age of "jamming". I think tone is a very personal thing and I agree with your comment that very few harp players have that big fat round tone that made Big Walter famous. The "popping" type of attack and great chord work which you consider rare, I think is being displayed by a lot of people. Billy Branch, James Cotton and Carey Bell employ a great deal of chording in their styles. Cotton uses tons of chords although I wouldn't call him a Big Walter stylist. When Billy Branch allows Carl Weathersby to handle vocal chores, almost all he plays are chords until he gets into the solo. I haven't seen Carey Bell in a few years, but I remember him playing a lot of chords. His style has changed over the years, but his most recent stuff features some pretty heavy chord work and a monster tone. Even some of his earlier work (late 60's / early 70's stuff) has a pretty heavy Big Walter influence. I hear a lot of Big Walter influence on these guys. Other folks in Chicago that I heard some of Big Walter's influence was: Dave Waldman who used to play with Smokey Smothers had a nice heavy tone. Scott Bradbury used to employ a lot of Big Walter style stuff in his playing. He would play with John Brim and had worked with Jimmy Rogers. These guys aren't big name players, but Walter had an influence on them. Big Leon Brooks had a big tone, as did Little Willie Anderson and both made substantial use of chords. (Although you might say they were Little Walter disciples.) If you look at most of the people that are influenced by George Smith, I would estimate that most of them are out of Calfornia. I also believe that the George Smith influence has mostly to do with the chromatic styles which Little Walter really pioneered and Smith added to it. The players you mentioned out of California are all pretty much George Smith imitators. Thay are all talented guys, but I don't hear a lot of originality in their playing. (I've been roasted on harp-l for making this statement there.) A guy named Gary Smith (who lives in San Jose) seems to have the big fat tone and some of the other Big Walter characteristics. A few other players in the Oakland area have some pretty big tone and have been influenced by Big Walter. They just don't have the backing of Alligator records. (BTW, the times I've seen Mark Hummel I didn't hear a whole lot of George Smith in his playing. Clarke and Piazza seem to almost be cloned at times.) George Smith was a great harp player, but Big Walter say's it all with far fewer notes. (I think his best work was backing other players.) In a time when "less is more" has been thrown out the window, is it any doubt you don't hear the Big Walter influence? FWIW, I'd take the lessons from Big Walter. Joe ========================================================================= Date: Mon, 10 Jun 1996 14:17:10 -0500 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: Commercialization: At what cost? Comments: To: joey@RAFEEKE-52.ENG.SUN.COM In-Reply-To: <199606072246.PAA15746@mtv5-broadcast.Eng.Sun.COM> from "Joe Lempkowski" at Jun 7, 96 03:46:40 pm In an earlier message, Joe Lempkowski said: ] 4. When did originality cease to be rewarding for blues musicians? When ] did being new and different cease to be rewarding in blues circles? Why ] is that so? Where are the rewards for originality? When it quit being music, made for the enjoyment of player and listener, and became a Significant Part of the Cultural Legacy. Billy "Don't want no epic document" Chambless -- * "You can't spend what you ain't got, you can't lose what you never had" ========================================================================= Date: Mon, 10 Jun 1996 15:17:52 -0400 Reply-To: Dave Markovits From: Dave Markovits Subject: R.l., Paul, Corey, Lucky R.l. Burnside, Paul "wine" Jones, and Corey Harris(Wow, he must live here now.(Just kidding Bill Morgan)will be here at Buddy Guy's Legends, this SAturday June 15th, 10p.m. 10 dollar cover charge. Although Legends is a bigger club, Mr. Burnside and Mr. Jones tore it up last time. Anybody going? Let me know. For those interested Lucky Peterson is playing Thurs. night at Blues etc. David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Mon, 10 Jun 1996 15:26:49 -0400 Reply-To: James Leftwich From: James Leftwich Subject: Re: "Facts" and "Opinions" Comments: To: Don Cicchetti In-Reply-To: <199606071730.KAA21548@inet.lasierra.edu> Why all the bickering? Just substitute "FAVORITE" instead of "BEST" And stop acting like babies ============================================================================= Jim Leftwich Jim's Blues N' Brews leftwich@cloud9.net http://www.cloud9.net/~leftwich "I'm on cloud9!" :) New CD Giveaway: Sherman Robertson ============================================================================= On Fri, 7 Jun 1996, Don Cicchetti wrote: > Previously: > > >> If an opinion can be proven wrong (and it can) how then was it > >> correct? > > L McCaffrey said: > > > Opinions can never be proven wrong!!! If I was to say that T-Bone was > >the best blues guitarist in the history of blues, how can that be proven > >wrong. There is no factual evidence that I am wrong. > > > Whew! Ok, think hard.... > > If it can't be proven wrong, NEITHER can it be proven *right*, therefore it > is unknowable, and is nothing but a meaningless assertion. > > > >What makes "the > >best blues guitarist"? Everybody has a different OPINION and everybody > >is correct. > > The word "best", unqualifed by the words "to me" require the exclusion of > all but one blues guitarist, so in reality, only ONE of the "best ever" > posters is right, and EVERYONE ELSE is wrong. > > Oh, and which poster is the right one is *unknowable* (see above) > > So in the end "the best" is still a meaningless assertion. > > Why not say "*I* like yadda ya best"? > > Then tell us why? > > hmmm? > > > > >The very nature of an opinion is that it cannot be proven. > > -In your opinion....- > > but of course you can't prove that, can you? > > > DC > > > ____________________________________________________ > Don Cicchetti > La Sierra University Library Media Services > Audio/Video/Computer/Satellite > Studio Production, Event Services, Academic support > dcicchet@lasierra.edu > > > Time flies like an arrow > Fruit flies like a banana.... > > --- Groucho > ____________________________________________________ > ========================================================================= Date: Mon, 10 Jun 1996 14:49:49 -0500 Reply-To: akapil@MEDICINE.BSD.UCHICAGO.EDU From: "" Subject: Re: Chick Rodgers Hi Melvia is one of my favourites in the Chicago scene. I go to watch her live atleast once or twice a month. She has her own backing band but also sings with a quite few Chicago local blues acts including The Howard Scott World Band, Rodney Brown Blues Band, Willie Kent and the Gents etc. She has a regular weekly spot on Wed or Thursdays at The Kingston Mines (2534 N Halsted). Aside from that she invariably sings on atleast one other night every week, in one of the other blues bars around town. regards, Adit. >Just wondering if anyone out there's seen Melvia Chick Rodgers and Masheen >Co.. I saw her a few months back, and she impressed me so much. She's about >5'5" 98lbs, sings with the power of some one twice her size, and she knows >how to work a room. Any info on her present doings would be appreciated. > > BRIAN MCLEAN > PHOTOGRAPHY > & > SMIRKYFACE > PRODUCTIONS > "life's too short to live the blues" > http://www.netaxs.com/~blmclean > > Aditya Kapil, PhD IBD Research Center Department of Medicine University of Chicago Ph: (312) 702 2283 FAX: (312) 702 2281 ========================================================================= Date: Mon, 10 Jun 1996 19:30:40 GMT Reply-To: Tony Burke From: Tony Burke Organization: Blues & Rhythm Magazine Subject: Re: Active folk who recorded at Sun Tony Burke, B&R Magazine, Bedford, UK Roscoe Gordon Big Lucky Carter Linda Gail Lewis Little Milton Hot Shot Love???? Billy The Kid Emmerson??? Is Billy still around?? What about Hot Shot?? BB King recorded at 706 Union don't ferget! TB ========================================================================= Date: Mon, 10 Jun 1996 15:44:49 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Blues tone (user-friendly reply to "Jap-crap") :) On 9 Jun 96 at 20:15, Walter Broes under the name Karen-Marlies Schenck wrote: > The Epiphone company you are mentioning has nothing to do > whatsoever with the korean guitars you're talking about. It was > bought by gibson in the 1950's, and while the gibson made epi's are > great but different than original epiphones (they're really nothing > but gibsons), the japanese and korean epiphones might be allright, > but they just don't compare to original or gibson-made epis.(pre > 1970). If you want a cool hollowbody cheap, get a 1950's > Kay,Harmony, Supro, or student grade Gibson, Guild or Gretsch. > Stay away from Korean made stuff, and don't try to be an epiphone > guitar expert if you are not Another great example of a foolish, not to mention costly, prejudice. The Korean made Epiphones are fine guitars that offer a substantial cost savings over their Gibson brethren. If you are looking at your guitar as a status symbol, or potential investment income then I would suppose you couldn't do better than a genuine Gibson, Guild, or Gretsch. However, if you are looking for a GUITAR TO USE, you'd be far wiser to pay $500 for an Epiphone Sheraton II covered with intricate mother of pearl inlays and binding on all edges, than to spend $2000 dollars (or more) on a Gibson ES-335 with plain dot markers, and partial binding, that plays no better than the Epiphone, that you'll be afraid to take out of it's case. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Mon, 10 Jun 1996 14:48:09 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: Blues tone (user-friendly reply to "Jap-crap") :) In-Reply-To: Message of Mon, 10 Jun 1996 15:44:49 -0500 from On Mon, 10 Jun 1996 15:44:49 -0500 P.W. Fenton said: >Gretsch. However, if you are looking for a GUITAR TO USE, you'd be >far wiser to pay $500 for an Epiphone Sheraton II covered with >intricate mother of pearl inlays and binding on all edges, than to If you are looking for a guitar TO USE, then why would you want all that fancy binding. Do you have mother of pearl screwdrivers. Leonard Watkins ========================================================================= Date: Mon, 10 Jun 1996 15:58:12 -0400 Reply-To: JAN543@AOL.COM From: "[Jan Ramsey]" Subject: WINNER OF THE '96 CHARLOTTE BLUES SOC. TALENT CONTEST Announcing. . . . . Lynchburg Virginia's very own Crawlin' Kingsnakes were last night's winner of the second annual Charlotte Blues Society's Blues Talent Contest! They snuffed out twelve other competing bands/performers for the top spot in the contest! Besides getting to represent Charlotte in the national competition in Memphis this October, the band will receive free recording time and a gig on an upcoming Living Blues Cruise to set sail in November with a photo session in the islands! The James River Blues Society (Lynchburg) is very, very proud of this band! This was their first time competing and it looks like all of their hard work has paid off! Jan Ramsey, President James River Blues Society Lynchburg, Virginia ========================================================================= Date: Mon, 10 Jun 1996 15:59:13 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Blues tone (user-friendly reply to "Jap-crap") :) Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU On 10 Jun 96 at 14:48, ISTS024%UABDPO.BITNET@BROWNVM wrote: > On Mon, 10 Jun 1996 15:44:49 -0500 P.W. Fenton said: > >Gretsch. However, if you are looking for a GUITAR TO USE, you'd be > >far wiser to pay $500 for an Epiphone Sheraton II covered with > >intricate mother of pearl inlays and binding on all edges, than to > > If you are looking for a guitar TO USE, then why would you want > all that fancy binding. Do you have mother of pearl screwdrivers. That model doesn't come any other way, Leonard. (The point of mentioning the inlays and bindings was to indicate that it wasn't cheaply thrown together.) P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Mon, 10 Jun 1996 21:29:33 -0500 Reply-To: Goran Svenningsson From: Goran Svenningsson Subject: Re: How did you get into the blues? Well, I think I possibly had one of the more unusual ways to get stung by the blues bee. At age of fifteen I wanted a guitar for x-mas, (in 1980), cause I wanted to start playing, just in general. I got the guitar and after taking classical beginners lessons as well as generic chord playing lessons I wanted to start soloing. At the time I was a rocker listening to Deep Purple, Judas Priest, Rainbow and sh*t like that, but I couldnt follow ANY soloing on their records, too dang fast. An older friend o mine said to check out blues soloing, not always fast and yet tasteful, boy was he right! By coincidence I found a record called "King of the blues guitar" with Albert King on Atlantic in a second-hand store. Four years later I booked my first trip to Chicago from cold Sweden, met Scott Dirks for the first time and the rest is as they say, history. Sevenson ========================================================================= Date: Mon, 10 Jun 1996 21:29:42 -0500 Reply-To: Goran Svenningsson From: Goran Svenningsson Subject: Re: Limitations of Equipment >Another similar story I've heard is that Link Wray deliberately poked >holes in his speaker(s) to get that distorted sound on "Rumble" and >other classic guitar instrumentals. > To take a little detour here, I heard that some of the heavy rocking dudes lowered the voltage feed into the amp to get more distortion at lower volume. Could that be true? Sevenson ========================================================================= Date: Mon, 10 Jun 1996 13:29:05 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Blues tone (user-friendly reply to "Jap-crap") :) Previously an actual excellent musician who gets paid to play said: > Let us not forget either, that Epiphone has been around since the mid- >> 1800's, way before Gibson or Fender. The fact that production facilities are >> not here in the US no longer means Jap crap. >> Riffin Rick >>(snip) Karen-Marlies Schenck aka Walter Broes replied: >The Epiphone company you are mentioning has nothing to do whatsoever with the >korean guitars you're talking about. It was bought by gibson in the 1950's, >and while the gibson made epi's are great but different than original >epiphones (they're really nothing but gibsons), the japanese and korean >epiphones might be allright, but they just don't compare to original or >gibson-made epis.(pre 1970). If you want a cool hollowbody cheap, get a >1950's Kay,Harmony, Supro, or student grade Gibson, Guild or Gretsch. Stay >away from Korean made stuff, and don't try to be an epiphone guitar expert if >you are not Yeah! Absolutely! Only those who have taken the --- *offical* --- EPIPHONE GUITAR HOTSHOT EXPERT AND DEMAGOGUE otherwise known as the EGHEAD test, may speak about these guitars, whether or not YOU enjoy them, make MUSIC (and money) with them, and especially if they sound good. Keep your mouth shut. Karen-Marlies Schenck aka Walter Broes, administers the EGHEAD test once a month at Vinnie's Ripoffhaus Vintage Guitars, and will be happy to let you talk after the test, *if* you pass. Of course he really knows that your guitar is crap anyway, and has a REAL guitar to sell you for only $32,954.00.... And it's a bargain cuz it has the one-year-only single-laminate Green on Purple pickguard and the "patent refused" pickups... You betcha.... DC hey Vincent, How'm I doin? ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Mon, 10 Jun 1996 20:24:53 GMT Reply-To: Mitch Drumm From: Mitch Drumm Organization: Sonoma Interconnect,Santa Rosa,CA(us),http://www.sonic.net Subject: Re: Active folks who recorded at Sun Comments: To: bit-listserv-blues-l@uunet.uu.net Tom Freeland (thf4@WATERVALLEY.NET) wrote: : : Anyway, here is a question: Who is still alive and active that recorded : at Sun? besides those you listed, these come to mind: Malcolm Yelvington Hardrock Gunter Billy Lee Riley Ed(win) Bruce BB King and Bobby Bland never had records issued on Sun, but I think they may have spent time in the studio on Union??? ========================================================================= Date: Mon, 10 Jun 1996 15:39:48 -0500 Reply-To: Vicki Bean From: Vicki Bean Organization: inlink Subject: Re: Koko Taylor's Getting Married! Comments: To: bit-listserv-blues-l@uunet.uu.net In article <31b3a161.76369974@news.prysm.net>, cuthulu@prysm.net wrote: > On Sun, 2 Jun 1996 17:17:31 -0400, Curtis Hewston > wrote: > > >that on June 9th, 1996, Queen of the Blues--Koko Taylor will be marrying Mr. > >Hays Harris of Chicago, IL. > Is this a joke? If not, that would explain Koko's new hair do and overall glow during the Handy Awards. She looked great! VBean -- vbean@sheltonbbs.com ========================================================================= Date: Mon, 10 Jun 1996 13:42:38 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Cheap vs. Expensive Guitars.... You know what bugs me about cheap guitars? The very real possibility that some smart aleck with one will blow me off of the stage! And it continually reminds me that I must keep focussed on the following: Telling a story with the music Testifying when I play.... (son you got to testify....) Caring about the audience Giving it my best I started with cheapo stuff as a kid, and people told me I sounded great. Now I'm an old fart and I have REAL EXPENSIVE STUFF, and I get about the same percentage of compliments... I have some really fancy guitars, and thought the difference should be really obvious, yet I played Shaun C's "much cheaper" Strat a while back and daggum, it sounded *really* good... Now, don't get me wrong, I reserve the right to fiddle around and better my tone as much as I like... (can't have my wife finding out I don't NEED this stuff....) But I must always remember that there is someone out there with a Korean guitar and a Solid State Peavey who will blow me out of my boots if I ever forget what really matters... DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Mon, 10 Jun 1996 15:32:54 -0500 Reply-To: "Maintainability Analysis Workspace [Ranko Vujosevic]" From: "Maintainability Analysis Workspace [Ranko Vujosevic]" Subject: Johnny Young and Big Walter Speaking of Big Walter... I have been listening Johnny Young's Chicago Blues (Arhoolie) all day long. With Otis Spann, Big Walter James Cotton, Jimmy Dawkins, and SP Leary, this is 65 minutes of pure Chicago Blues. Must be one of my favorite Chicago Blues albums of all time. John Brisbin wrote in liner notes of Lester Davenport's "When the Blues Hit You" (Earwig) that "for his first full album as a leader, Lester Davenport went right for "The Sunnyland Factor." It is well known in blues circles that just having Sunnyland around on a date seems to push the other musicians beyond their normal capabilities." This must have been the case with Otis Spann - Call it "Long attention Spann." Everything he messed with, he turned into pure blues. Ranko ========================================================================= Date: Mon, 10 Jun 1996 16:47:27 -0400 Reply-To: Tom Morgan From: Tom Morgan Subject: 6/10 Bartender's Bop Playlist The weather in Charlottesville reminded me so much of New Orleans that I just had to play some of my favorites from the Crescent City. Title Group Year Label -------------------- -------------------- ---- ------------- Walk Your Blues Away Professor Longhair 49 Rhino She Walks Right In Professor Longhair 49 Rhino Bad Neighborhood Ronnie & the 59 Rhino Delinquents Storm Warning Dr John 59 Rhino Misery Professor Longhair 57 Rhino Sahara Dr John 61 Rhino Hittin on Nothin Thomas, Irma Razor and Tie Down the Road (Junco Stone, Roland 61 Rhino Partner) Big Chief Professor Longhair 64 Rhino Break A Way Thomas, Irma Stateside It's Raining Thomas, Irma Stateside Ruler of my Heart Thomas, Irma Stateside While the City Thomas, Irma Stateside Sleeps Time Is On My Side Thomas, Irma Stateside Don't Make Me Stop Thomas, Irma 67 Chess Now Gris Gris Gumbo Ya Dr John 68 Rhino Ya Look Ka Py Py Meters 69 Rhino I Walk on Guilded Dr John 68 Rhino Splinters Little Old Money Meters 69 Rhino Maker Chicken Strut Meters 70 Rhino Familiar Reality Dr John 71 Rhino Zu Zu Mamou Dr John 71 Rhino Iko Iko Dr John 72 Rhino Stag O Lee Professor Longhair 74 Rhino They Asked For You Meters 75 Rhino Right Place Wrong Dr John 73 Rhino Time Trick Bag Meters 76 Rhino New Rules, The Thomas, Irma 86 Rounder Television Dr John 94 GRD Trying To Catch A Thomas, Irma 92 Rounder Cab in the Rain `'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`' http://redlt.com/tom/ -- Home of Jazz Roots & Record Companies on the Web Free-lance Writer--Author--Program Director WTJU 91.1--Internet Consultant ========================================================================= Date: Mon, 10 Jun 1996 17:48:37 -0400 Reply-To: Wack_Ron/rfh@SASK.AECL.CA From: Ron Wack Subject: Re: "Facts" and "Opinions" In-Reply-To: Why substitute anything. When you read, "he/she's the best whatever" shrug it off. There's too much pussy-footing around trying not to offend people by constantly being on guard with how someone might interpret, in all probability, a perfectly harmless statement. These are stressful times we're living in. The little things seem get to people far too easily. Let it go and enjoy the finer things in life. RW > Why all the bickering? Just substitute "FAVORITE" instead of "BEST" > > And stop acting like babies > > ======================================================================= ====== > Jim Leftwich Jim's Blues N' Brews > leftwich@cloud9.net http://www.cloud9.net/~leftwich > "I'm on cloud9!" :) New CD Giveaway: Sherman Robertson > ======================================================================= ====== > > > On Fri, 7 Jun 1996, Don Cicchetti wrote: > > > Previously: > > > > >> If an opinion can be proven wrong (and it can) how then was it > > >> correct? > > > > L McCaffrey said: > > > > > Opinions can never be proven wrong!!! If I was to say that T-Bone was > > >the best blues guitarist in the history of blues, how can that be proven > > >wrong. There is no factual evidence that I am wrong. > > > > > > Whew! Ok, think hard.... > > > > If it can't be proven wrong, NEITHER can it be proven *right*, therefore it > > is unknowable, and is nothing but a meaningless assertion. > > > > > > >What makes "the > > >best blues guitarist"? Everybody has a different OPINION and everybody > > >is correct. > > > > The word "best", unqualifed by the words "to me" require the exclusion of > > all but one blues guitarist, so in reality, only ONE of the "best ever" > > posters is right, and EVERYONE ELSE is wrong. > > > > Oh, and which poster is the right one is *unknowable* (see above) > > > > So in the end "the best" is still a meaningless assertion. > > > > Why not say "*I* like yadda ya best"? > > > > Then tell us why? > > > > hmmm? > > > > > > > > >The very nature of an opinion is that it cannot be proven. > > > > -In your opinion....- > > > > but of course you can't prove that, can you? > > > > > > DC > > > > > > ____________________________________________________ > > Don Cicchetti > > La Sierra University Library Media Services > > Audio/Video/Computer/Satellite > > Studio Production, Event Services, Academic support > > dcicchet@lasierra.edu > > > > > > Time flies like an arrow > > Fruit flies like a banana.... > > > > --- Groucho > > ____________________________________________________ > > > ========================================================================= Date: Mon, 10 Jun 1996 16:35:58 -0400 Reply-To: "Miele,Dennis" From: "Miele,Dennis" Organization: C/ICS Subject: Re: Blues tone (user-friendly reply to "Jap-crap") :) Comments: To: bit-listserv-blues-l@uunet.uu.net James Bardsley wrote: > I went to my friendly local music > store this weekend to drop off my Tele for a neck adjustment and had a > chance to look at several Japanese-assemled Fender Teles- I was amazed. > > They had these gorgeous flamed-bookmatched models w/out binding or special > detailing on sale for $399. Could these have been Fender's infamous Photo-Flames ( I think that's what they're called)? They are basically pictures(!) of "gorgeous flamed-bookmatched" tops embossed on the body! ========================================================================= Date: Mon, 10 Jun 1996 13:53:24 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Limitations of Equipment Sevenson said: >To take a little detour here, I heard that some of the heavy rocking dudes >lowered the voltage feed into the amp to get more distortion at lower >volume. yeah, it's true. Eddie and many others have done this. They take a Variac (allows you to smoothly lower the voltage, like a dimmer) and turn the volts down till they get the sound they like. It does change the tone, but it is very hard on the amp if you overdo it at all. It is known as the "amp about to melt down" tone... and that's pretty accurate actually. I wouldn't do that for any reason, personally. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Mon, 10 Jun 1996 15:53:39 -0500 Reply-To: Vicki Bean From: Vicki Bean Organization: inlink Subject: Re: Reflections on Chicago Blues Fest Comments: To: bit-listserv-blues-l@uunet.uu.net In article , Art Schuna wrote: > > Best Save of the Festival - has to go to Lurrie Bell. They set up the Front > Porch Stage for Joe Duskin and the Sunnyland Memorial Tribute. > After a prolonged delay, Lurrie comes out with some musicians he > obviously hadn't worked with. He'd call out the name of a song, > the key he was going to play it in and started playing. The rest > of the band followed. It started kind of shakey but got better as > the set progressed. Joe didn't come on till the end of the day and Homesick > James didn't show.> Please let the Memphis in May people know that you really like the Front Porch Stage Idea. My husband and I helped them develope this idea for the Beale Street Music Festival a few years ago, helped coordinated the talent and interviewed the guests. This years, they decided to do without it, adding instead a part-time gospel stage and (finally) a Memphis music stage. Although I think the new stages were great, I hated to loose the acoustic stage and those valuable interviews. > > I spent all of my time at the Front Porch Stage, Saturday and Sunday. > Please let them know that this is a great stage for blues enthusiasts. I believe they have a web page or e-mail, although I have never seen it myself. I just thought that if you ran across it, you might mention this to them. Thanks! VBean -- vbean@sheltonbbs.com ========================================================================= Date: Mon, 10 Jun 1996 13:47:54 -0700 Reply-To: Guy Tapper From: Guy Tapper Subject: Re: How did you get into the blues? > What brought all you folks to the blues? Was there a seminal >moment when you heard something? Did you find it via Jazz, rock, r&B? > The absolute seminal moment that led me to an appreciation of blues was in 1971 hearing Stormy Monday on the Allman Brothers Band at Fillmore East. The first blues albums I bought were "I'll Play the Blues for You" by Albert King and the live record of BB King and Bobby Bland together. Albert Collins was probably the first blues artist whose records I collected as regularly as my favorite rock performers. As I have delved into the music of the original blues players, it has been a constant source of amazement to me as to how many of the licks, phrases, and sometimes whole songs that I had assumed were original by the rock bands that played them were ripped off from the earlier originators. (This is also true of classical composers, but that's for another list.) BTW, I can still remember buying Hooker'n'Heat in '69 or '70 and not liking it a bit (I knew Canned Heat from their couple of radio hits around that time and didn't know Hooker at all.) I sold it to the first person who made an offer for it and haven't heard H'n'H since then, but I'll bet I'd appreciate it a whole lot more now. Guy Tapper Marine Life Research Group Scripps Institution of Oceanography 9500 Gilman Dr. La Jolla CA 92093-0227 (619)534-2358 (619)534-6500 fax ========================================================================= Date: Mon, 10 Jun 1996 15:59:58 -0500 Reply-To: Vicki Bean From: Vicki Bean Organization: inlink Subject: Re: p-funk?? Comments: To: bit-listserv-blues-l@uunet.uu.net In article <4pao3v$jg2@newsbf02.news.aol.com>, PrePhoto wrote: > Not that I have a problem, but how does george clinton tie into a taj > mahal-keb mo-subdudes tour?? > Everyone needs something to be curious about - right? > Dave P. Not sure but saw George in Memphis last May and it was great fun and memories! The group was outrageous and the show lasted around 3 hours, non-stop. Vicki -- vbean@sheltonbbs.com ========================================================================= Date: Mon, 10 Jun 1996 17:07:15 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Saints and sinners Bob Sacre describes me as ( a distinguished zeller ) Only by the single eye in the middle of my forehead, and the bright green fur, I can assure you. Chris Smith (chris@skerries.demon.co.uk) I asked her for butter, and she gave me margarine (Paul Francis, a college buddy of mine) ========================================================================= Date: Mon, 10 Jun 1996 16:11:32 -0600 Reply-To: James Bardsley From: James Bardsley Subject: Another Boy Wonder- Not! Comments: To: Joe Lempkowski In-Reply-To: <199606101859.LAA17070@mtv5-broadcast.Eng.Sun.COM> Daughter #1 came up from West Palm this weekend- the one who looks like Demi Moore- and eagerly pushed upon me this CD by 16-year-old "Josh Smith and the Rhino Cats"- "Woodsheddin". I really wish I could say something good about it, but it appears to be another variant on the "Monster Mike Welch" syndrome: eg, kid gets good enough to know where all the notes are, can play fast, can even sing a very little bit, but basically has no real chops nor taste. Hendrix- foo. Vaughn-foo. Hyperactive noodling-foo. Banal lyric-foo. Death by endless solo-foo. No breasts, but I imagine several people in the audience committed cultural suicide. Distortion-aardvaark-foo. Strat-through-Marshall-to-the-max chop socky. Young Josh is shown on the cover snarling at the camera for all his life. And I can't figure out why: my god, he ought to be orgasmically happy to have his own CD out. Why isn't this boy smiling? Maybe he knows how awfully bad it is, but I doubt it. Jim Bardsley "If we're treading on thin ice then we might as well dance." -Jesse Winchester @1971 ========================================================================= Date: Mon, 10 Jun 1996 17:15:23 -0400 Reply-To: RAHalonen@AOL.COM From: Reeann Halonen Subject: Re: Winthrop R&B Festival Comments: To: FORCELLAD@ccsua.ctstateu.edu In a message dated 96-06-10 12:56:22 EDT, FORCELLAD@CCSUA.CTSTATEU.EDU (Domenic Forcella) writes: >I am trying to get the dates and performers for the Winthrop R and B >Festival. Is it on this Year? > >If anyone from the Northwest has any info, please let me know. > > Hi, Yes the Winthrop Festival is set for July 19th, 20, and 21st. The three day event held at the Methow Valley along the Chewuck River will feature: Percy Sledge Elvin Bishop Omar & the Howlers Doyle Bramhall Frankie Lee Local Musicians include Duffy Bishop Too Slim and the Taildraggers The Alley Cats The Fat James Band (my really good friends) For more information you can call Allan Morrell at 509-996-2541 Hope this helps, Ree Anne ========================================================================= Date: Mon, 10 Jun 1996 17:24:58 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Harmonica aficianados query ... Some months ago I asked for Charlie Musselwhite recs and I just got his Blind Pig release ... The Harmonica According to CM. I am curious as to what the harmonica players and appreciators on the list think of this CD. I'll keep my opinion out of the way for the moment. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 10 Jun 1996 21:35:57 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: Church Burnings and the Prez's speech Comments: To: bit-listserv-blues-l@uunet.uu.net Here's the actual content of the Prez's speech: QUOTE President Clinton's weekly radio address June 8, 1996 Good morning. This morning I want to talk with you about a recent and disturbing rash of crimes that harkens back to a dark era in our nation's history. Just two days ago, when the Matthews-Murkland Presbyterian Church in Charlotte, North Carolina, was burned to the ground, it became at least the 30th African-American church destroyed or damaged by suspicious fire in the South in the past 18 months. And over the past few months, Vice President Gore has talked with me about the pain and anguish these fires in his home state of Tennessee have caused. Tennessee, sadly, has experienced more of them than any other state in the country. We do not now have evidence of a national conspiracy. But it is clear that racial hostility is the driving force behind a number of these incidents. This must stop. It's hard to think of a more depraved act of violence than the destruction of a place of worship. In our country during the '50s and '60s, black churches were burned to intimidate civil rights workers. I have vivid and painful memories of black churches being burned in my own state when I was a child. In 1963, all Americans were outraged by the bombing of the 16th Street Baptist Church in Birmingham that took the lives of four precious young children. We must never allow that to happen again. Every family has a right to expect that when they walk into a church or synagogue or mosque each week, they will find a house of worship, not the charred remnants of a hateful act done by cowards in the night. We must rise up as a national community to safeguard the right of every citizen to worship in safety. That is what America stands for. As president, I am determined to do everything in my power to get to the bottom of these church burnings as quickly as possible. And no matter how long it takes, no matter where the leads take us, we will devote whatever resources are necessary to solve these crimes. Today, more than 200 federal agents from the Bureau of Alcohol, Tobacco and Firearms and the FBI are working with state and local authorities to solve these cases. Fire investigators, national response teams, polygraph examiners and forensic chemists are combing through fire sites, interviewing witnesses and following leads. A task force, chaired by our assistant attorney general for civil rights, Deval Patrick, and our assistant secretary for the Treasury for enforcement, James Johnson, is coordinating these efforts. FBI Director Louis Freeh and ATF Director John Magaw are also serving on the task force. To date, there have been a number of arrests. Two of those in custody are known members of the Ku Klux Klan. So we're making progress, but we must do more. That is why today I am announcing four steps we are taking to fight back. First, I have asked the task force to report back on their progress and to let me know if there are other actions the federal government can take beyond those under way to stop these crimes. Second, I have instructed the ATF to inform churches of any steps they can take to protect themselves from arsonists. Churches throughout the South will be visited by ATF's special agents to answer any questions church leaders and parishioners may have. We are also making this information available to national church organizations for distribution to their members. Third, I'm announcing my support for the bipartisan legislation introduced by Congressmen John Conyers and Henry Hyde to make it easier to bring federal prosecutions against those who attack houses of worship. I look forward to working with Congress to make it even stronger. And finally, I'm announcing that we are establishing a new, toll-free number that is now available 24 hours a day, seven days a week. If you have information about who is responsible for these church fires, please call it. It's 1-888-ATF-FIRE. That's 1-888-ATF-FIRE. In the end, we must all face up to the responsibility to end this violence. We must say to those who would feed their neighbors what Martin Luther King called "the stale bread of hatred and spoiled meat of racism." That is not America. That is not our way. We must come together, black and white alike, to smother the fires of hatred that fuel this violence. I am pleased that the National Council of Churches of Christ, one of the largest interfaith groups in the country, has spoken out against these crimes and is mobilizing to assist in the rebuilding of damaged churches. I encourage communities everywhere where churches have been burned to roll up their sleeves and help the folks there to rebuild their churches. Religious freedom is one of the founding principles of our democracy. And the black church has historically been the center of worship, self-help and community life for millions of families in our country. That's why it was so hard for Rev. Terrance Mackey to break the news to his daughter last June, when they woke to find an ash-scarred field in the spot where only the day before stood their church home, Mount Zion AME Church in Greeleyville, South Carolina. Rev. Mackey reassured his daughter with these words. He told her they didn't burn down the church. They burned down the building in which we hold church. The church is still inside all of us. On June 15, Rev. Mackey, his daughter and his congregation will march from the site of the old church to a brand new building, and all America will march with them in spirit. We must all do our part to end this rash of violence. America is a great country because for more than 200 years we have strived to honor the religious convictions, the freedom, the extraordinary religious diversity of our people. The only way we can succeed in the 21st century is if we unleash the full power of those convictions and that diversity and refuse to let anything divide or defeat us. Thanks for listening. END QUOTE Looks like the organisation that is coordinating the aid to the Churches is: the National Council of Churches of Christ. Anyone with more information and how to get in touch with them? -- Vincent vt@pipeline.com ========================================================================= Date: Mon, 10 Jun 1996 17:35:18 EDT Reply-To: "david m. carpenter" <103156.340@COMPUSERVE.COM> From: "david m. carpenter" <103156.340@COMPUSERVE.COM> Subject: U.P. Wilson Live Hey New England, Last night I went to see U.P. Wilson at the Hungry Tiger in Manchester, CT. Having had several late nights recently and knowing that alarm would be going off at 6:00 this morning, I had no intentions of staying late, perhaps 10:30 or the end of the first set. Well, the first set ended, the break passed, the second set began and ended and there I was. It was just too good to leave. Raw Texas blues that rocked a surprisingly small crowd. U.P. smoked and the backing (Steve Meek on drums and Doug Zabel on bass) band was impressive. Wait till you hear U.P. play his guitar one handed. They're scheduled for the House of Blues in Cambridge on 6/19 and will be back in CT at the Maple Tree Cafe in Simsbury on Friday 6/21 and Black Eyed Sally's in Hartford on Friday the 28th. U.P. also mentioned a date in Maine, but I don't remember when or where. I strongly recommend that you see at least one of these shows. As much as I like his latest CD, I was not prepared for a night as good as last night. Real nice guys, too. Dave Carpenter Blues Music Director - WHUS-FM University of Connecticut - Storrs, CT 06269 http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Mon, 10 Jun 1996 15:57:21 -0400 Reply-To: Md1214 From: Md1214 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Jimmy Rogers &/or Ronnie Earl Comments: To: bit-listserv-blues-l@uunet.uu.net Ronnie Earl is IMHO a fabulous, under-appreciated blues guitarist. Over the last five years he's been gradually transitioning into jazz - his latest album, "Blues and Ballads" is another step in that direction. For more blues, you might think about "I Like it When it Rains" or his other stuff from the early 90's. You can get a good over-all picture from a compilation of his called "Test of Time". I just wish he'd come out to San Francisco. mvc md1214@aol.com ========================================================================= Date: Mon, 10 Jun 1996 17:03:21 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: R.l., Paul, Corey, Lucky Comments: To: Dave Markovits I was in Chicago this weekend to see Son Seals. Junior Wells was playing here too, in addition to the folks below. The Chicago Gospel Fest was this weekend also. I don't feel like I missed anything at the blues fest last week. Thanks to yo all for leaving behind copies of all Yank Rachel's Delmark and Wolf LP's for me at Jazz Record Mart!!! I couldn't believe my luck. Now I've got to figure out how to get a Thursday off to go see BB at Navy Pier in a few weeks. RJ Bauman > R.l. Burnside, Paul "wine" Jones, and Corey Harris(Wow, he must live here > now.(Just kidding Bill Morgan)will be here at Buddy Guy's Legends, this SAturday June 15th, 10p.m. 10 dollar cover charge. > > Although Legends is a bigger club, Mr. Burnside and Mr. Jones tore it up last time. Anybody going? Let me know. > > For those interested Lucky Peterson is playing Thurs. night at Blues etc. > > David Markovits > Metamor Technologies > 1 N. Franklin ste 1500 > Chicago,Illinois > 60606 > > (312)251-3299 > > E-Mail:Markovd@metamor.com > > ========================================================================= Date: Mon, 10 Jun 1996 15:31:04 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Jimmy Rogers &/or Ronnie Earl Comments: To: Md1214 mvc wrote: >Ronnie Earl is IMHO a fabulous, under-appreciated blues guitarist. Over >the last five years he's been gradually transitioning into jazz - his >latest album, "Blues and Ballads" is another step in that direction. For >more blues, you might think about "I Like it When it Rains" or his other >stuff from the early 90's. You can get a good over-all picture from a >compilation of his called "Test of Time". Ronnie Earl is one of the best post-SRV guitarists wielding a Strat at the moment. I'm not sure if he plays a Strat on the new album but I have the Jimmie Rodgers album woth Ronnie Earl and "Blues Guitar Virtuoso" and apart from being a stellar soloist he also knows how to back up a vocalist. An art that is not practiced enough by guitarists. BTW, Ronnie Earl will be in LA next Wednesday with Koko Taylor at the HoB. I'm pretty sure that I'll be there. Expect a report on the show Thursday week. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Mon, 10 Jun 1996 15:31:09 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Blues tone (user-friendly reply to "Jap-crap") :) Dennis Miele wrote: >Could these have been Fender's infamous Photo-Flames ( I think that's what >they're called)? >They are basically pictures(!) of "gorgeous flamed-bookmatched" tops >embossed on the body! Yes but they look good. The neck of my '62 reissue Strat has Fotoflame on it. Looks good and often fools people for a second or two. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Mon, 10 Jun 1996 18:31:56 -0400 Reply-To: Chris Smith From: Chris Smith Subject: nomail Going nomail - back Wednesday night UK time. Be good while I'm gone. Chris Smith (chris@skerries.demon.co.uk) I asked her for butter, and she gave me margarine (Paul Francis, a college buddy of mine) ========================================================================= Date: Mon, 10 Jun 1996 15:35:32 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Church Burnings and the Prez's speech VT said: (edit edit) >Looks like the organisation that is coordinating the aid to the Churches >is: > >the National Council of Churches of Christ. > >Anyone with more information and how to get in touch with them? I posted to them concerning this. I'll let you know what they say. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Mon, 10 Jun 1996 18:42:41 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Jimmy Rogers &/or Ronnie Earl Comments: To: Md1214 In-Reply-To: <4phun1$pt4@newsbf02.news.aol.com> On Mon, 10 Jun 1996, Md1214 wrote: > Ronnie Earl is IMHO a fabulous, under-appreciated blues guitarist. Over > the last five years he's been gradually transitioning into jazz - his > latest album, "Blues and Ballads" is another step in that direction. For > more blues, you might think about "I Like it When it Rains" or his other > stuff from the early 90's. You can get a good over-all picture from a > compilation of his called "Test of Time". I would agree that Ronnie Earl is fabulous, but as far as being underappreciated I would not agree. When he's in town he plays the larger venues and he seems to be able to cut records @ will. He just did a frying show in NY with the Holmes Brothers and he had a packed house for both shows. The Holmes Brothers BTW were in top form that night, and when Hubert Sumlin popped in for an unannounced guest appearance and picked with Ronnie and Band it was a small taste of magic. Talkin about underappreciated - how about a vote here for Will- ie "Big Eyes" Smith. I just happen to have his disc UB DA Judge on and it is very smooth blues. Not looking to start an "underappreciated" thread just got me a thinking when Ronnie Earl was mentioned. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Mon, 10 Jun 1996 17:56:05 -0500 Reply-To: Mark Halverson From: Mark Halverson Subject: crappy (i.e. cheap) gear So guitar gearheads, try this. I picked up a guitar at a pawn shop a couple years ago (I knew it wasn't a classic to begin with). An electric hollow body by Lyle. Has a Gibson ES style body (I think that's the series) complete with "f" holes with a Fender looking neck. It's been modified slightly, and plays OK (as well as I sound on any guitar, at least!). I was told that Lyle guitars were made by Fender as the Montgomery Wards "house" brand several years ago. I've seen a couple others around, under similar circumstances (discards). Who knows the full story? Other proud Lyle owners out there? Are these guitars worth anything other than as a non-prestigious working instrument? Related to this is a fad of sorts going around (at least) these parts. Several guitar virtuosos have acquired one or more of these old "off brand" hollow bodies to use as a second guitar (usually to the standard Strat). These second guitars are often played (no doubt for a mellower sound) rather than simply used as a beater for slide work, or something. Is this prevalent elsewhere? Which if any of these type of guitars have value? Personal favorites or recommendations? Is this sort of obscure info on one of the web guitar sites? I confess to knowing little about this, so spare any condescension. Thanks. ========================================================================= Date: Mon, 10 Jun 1996 16:41:02 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Church Arsons - We are on CNN This URL is for the "full story" section of CNN Interactive's story today on the church arsons: http://www.cnn.com/US/9606/10/texas.fire2/index.html Under "Related Newsgroup" they list Blues-L as having a thread on this subject. (!) DC ps I haven't been able to find the organization Clinton mentioned in his speech, anywhere... More to follow. ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Mon, 10 Jun 1996 20:11:17 -0400 Reply-To: SliderDW@AOL.COM From: Don Williams Subject: Re: 5 Blind Boys Of Al. HELP ! Comments: To: ISTS024@uabdpo.dpo.uab.edu In a message dated 96-06-10 13:54:00 EDT, ISTS024@UABDPO.DPO.UAB.EDU (Leonard Watkins) writes: > >My wife works with "low vision" people and each year there is a big event >called "Night For Sight" which is a fund rasiser with entertainment. Since >a lot of the patients are kids from the Alabama School For Deaf & Blind >they would like to book The Five Blind Boys (some of them attended the >AIDB school in Talledega) for next years "Night For Sight"... > >So can anyone e-mail me their manager/publicist/record label phone number so >they can get in touch with them...... > > Their last CD was on House of Blues Records, and I understand that their manager is the guy who is the booker for the L.A. House of Blues club (what a coincidence!). So you can probably get in touch with them through HoB. Don Williams ========================================================================= Date: Mon, 10 Jun 1996 20:17:59 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Blues-L Convention - June update This is an updated report on the Blues-L Convention, scheduled for St. Lous on August 31 - September 1-2 in conjunction with the St. Louis Blues Festival. Everything is moving smoothly except for the matter of hotels, which appears to be chaotic. The National Football League announced their 1996 schedule and it includes a September 2nd home game for the St. Louis Rams. The city is already going to be crowded with the blues festival, home games for the Cardinals and several major conventions. The Rams have 'taken over' the Drury Inn and voided all reservations for that weekend. The festival's travel agency has their lawyers on the case, but it appears that Blues-L members had better make other arrangements. The festival's travel agent is Regency Travel with a toll free number of 1-800-784-7581 and the assigned agency is Sharon Ratteree. She is moving people over to a Marriott that is 'about five or six blocks away' from the festival grounds. I have made arrangements for a room at the Embassy Suites next to the festival grounds and this will serve as a meeting place and message center for list members looking to connect with each other. To review a bit, the festival begins on Friday (August 31st) with a concert at the Fox Theater. This show will have BB King, Neville Brothers and Delbert McClinton. A number of excellent seats are being held aside for list members arriving from out of town. Saturday's announced artists include (partial list) Etta James, Earl King, Bobby Parker, Nappy Brown, Henry Townsend, Yank Rachell, Homesick James and many others. Sunday's show will include (patrial list) Wilson Pickett, Percy Sledge, Sam Moore. James Carr, Big Jay McNeely, Big Bad Smitty, Oliver Sain, Bel-Airs and many others. If there is to be any 'officlal' Blues-L gathering, it will be at a Sunday Brunch. I am talking to one of the hotels about setting aside a room for a buffet breakfast area. We would have to provide them with a minimum number of people but I'll deal with that later. If you have your own travel agent and can make your own housing arrangements for St. Louis that weekend, go for it. I am not advocating Regency Travel except that it would give me a better idea of how many plan on being there. There will be further updates on this as developments warrant. You can take this off-list and come to me with private mail or leave it out there in the open, whichever you prefer. Dick Waterman ========================================================================= Date: Mon, 10 Jun 1996 20:31:00 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Re: "Facts" and "Opinions" Comments: To: James Leftwich You wrote "Why all the bickering? Just substitute 'FAVORITE' instead of 'BEST'" I think that might work. Except for those times when it is your opinion that something is the best but not your favorite. For example, I think that Robert Johnson is one of the 10 or so best guistartists (IMNSHO) that I have ever heard. But he isn't even close to that position as far as my FAVORITE guitarists go. However, I think that in most cases, at least as far as I am concerned, you could use "favorite" and "best" intercgangably. On the other hand, I still don't think that it's a problem as long as one understand's that, at least as far as I am concerned, using the word "best" means I'm talking about my opinion. Just one guy's opinion, Gavin ========================================================================= Date: Mon, 10 Jun 1996 02:25:52 -0700 Reply-To: Karen-Marlies Schenck From: Karen-Marlies Schenck Organization: EUnet Belgium, Leuven, Belgium Subject: Re: Blues tone (user-friendly reply to "Jap-crap") :) Comments: To: bit-listserv-blues-l@news.Belgium.EU.net If this excellent musician is confusing korean instruments with the epiphone name with cool carved top instruments from another era, I react. In my post I mentioned STUDENT GRADE gibsons, guilds and gretsches, availble second hand as cheap as korean epiphones. These brands used to build professional quality guitars with less ornamentation, expertly built with great materials. They may look plain and lack the pearl inlay and gold hardware of your holy korean epiphones, but they are better guitars, and cheap too. If you sell your $500 epiphone, you lose a lot of money. If you sell a nice american guitar, you get your money back. I am a musician who gets paid to play too, one of my guitars is a japanese gretsch so a vintage-snob I am not, although I own some nice vintage stuff. I would just like to point out that by the time you replaced your epiphones' crappy pickups and tuners, you spent as much dough as you would have on a nice guitar that works, and will outlast the epi. guys like Ry cooder, David Lindley, Junior Watson etcetera play cool cheap vintage american guitars and sound GREAT. I'd rather spend $350 on a supro dual tone than $500 on a korean epi. You americans should realise how lucky you are having all this stuff available around the corner cheap. Walter Broes, Antwerp (Belgium) P.S. My girlfriends name is Karen-Marlies, and this is her computer. ========================================================================= Date: Mon, 10 Jun 1996 18:21:28 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: "Facts" and "Opinions" > You wrote "Why all the bickering? Just substitute 'FAVORITE' instead >of >'BEST'" Gavin Arneaux responded: > I think that might work. Except for those times when it is your >opinion >that something is the best but not your favorite. For example, I think that >Robert Johnson is one of the 10 or so best guistartists (IMNSHO) that I have >ever heard. But he isn't even close to that position as far as my FAVORITE >guitarists go. > However, I think that in most cases, at least as far as I am concerned, >you could use "favorite" and "best" intercgangably. > On the other hand, I still don't think that it's a problem as long as >one >understand's that, at least as far as I am concerned, using the word "best" >means I'm talking about my opinion. > > Just one guy's opinion, Gavin To say that something is "the best" but not "my personal favorite" conveys even less meaningful content than "yadda-ya is the best ever". Someone at that point has to wonder why "the best" isn't "your favorite" since "the best" is at least -readable- as "what you like" on a relative scale of preferences. "The best but not my favorite" is hard to understand at all without a lot of explaining. And in the end, what you are really informing us about, is NOT the blues, but how Gavin thinks... I submit, and don't take this wrong, that "how Gavin thinks" is perhaps a less interesting subject. Once again, "the best" simply muddies the waters and is finally self-referential and almost completely lacking in content. How about: "Hey, I just don't get how RJ does some of that stuff, man he impresses the daylights out of me with his guitar playing. It SOUNDS primitive, but it is really hard if you try to play it, because he has some many parts and rhythms going at once, and then he sings on top of it!" Personally, I like Hubert Sumlin's playing better, but RJ really gets me going... To say that, you have to think about -Robert Johnson and music-, as opposed to how you think and what your "the best ever" list is. Don't think I am getting on your case here. I really don't think you have understood some of the anti-"best" sentiment here quite yet. Nobody does what RJ did, he was the best, Nobody does what Muddy did, he was the best, Nobody does what T-Bone did, he was the best, Nobody does what Son House did, he was the best, Nobody does what Charlie Patton did, he was the best, Nobody does what Leadbelly did, he was the best, Nobody does what BB does, he is the best, Nobody does what Buddy does, he is the best, Nobody does what Otis does, he is the best, Are ALL true! and hundreds more. Depends on the mood I'm in. How can you choose? I know who I like, but you will like someone else. In the end, no matter what words you substitute, "the best ever" tells us nothing. DC oh and BICKER BICKER BICKER.... there, I feel so much better.... ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Mon, 10 Jun 1996 21:35:06 -0400 Reply-To: BLUZMANED@AOL.COM From: "Bluzman Ed@Aol.Com." Subject: WFBE playlist 6/8/96 WFBE 95.1 FM, Flint MI. Blue Highway Playlist for 4-13-96 The Blue Highway with The Bluzman, Ed Tremewan, can be heard every Saturday night from 9pm to midnight. Tonights feature album was Robert Ealey, Turn Out The Light. Artist, Song, Album, Label, Time --------------------9pm------------------ Robert Ealey, Please Mr Johnson, Turn Out The Light, Black Top, 6:04 ----------------------Intro Break------------------- Mark Sallings& Famous..., TW Bb Blues, Let it Be Known, Vent, 7:01 Mike Morgan/Crawl, Dark Lonely Street, Looky Here, Black Top, 8:04 Rufus Thomas, I Came Home This Morning, Blues Thang, Sequel, 7:59 -----------------------Break----------------------- Sid King & The 5 Strings, Thats Alright, Rockin on the Radio, Schoolkids, 2:35 Robert Ealey, Turn Out The Lights 3:43 One Love One KIss 2:50 She's A Rocket, Turn Out The Lights, Black Top, 4:50 ---------------------Break--------------------------- Amous Garrett, Buried Alive/Blues, Off The Floor Live, Stony Plain, 4:18 C D Morris, Leanne, Hoo Doo Man, Morris, 2:52 Joe Bell/Stinging Blades, Atoms In Motion, Dr. Blade, Big Hand Records, 4:41 Floyd Dixon, Livin' A Lie(Weak for a Woman), Wake Up & Live, Alligator, 4:58 ----------------------------10 pm break---------------------- Robert Ealey, I had A Dream, 4:53 Tica 3:32 Havin' A Party 3:30 All My Worries, Turn Out The Lights, Black Top, 3:14 -------------------------------------Break/Blues Update-------------------------- Robert Belfour, Catfish Blues, The Spirit Lives On, Hot Fox Records, 3:45 Big Joe Williams, Razor Sharp Blues, A Taste of Tradition, Tradition, 4:09 Willie May, Hoedown, Blue Decade, Willie May, 3:43 John Littlejohn, Been Around The World, Chicago Blues Star, Arhoolie, 5:20 ========================Break-===================== B B King/A Collins, Call It Stormy Monday, Blues Summit, MCA, 7:18 Magic Sam, What Have I Done Wrong, Give Me Time, Delmark, 4:35 Stevie Ray Vaughan, Flood In Texas,Texas Blues, Rhino, 10:23 =======================11 pm break-================= All Girl Set Saffire The Uppity ..., Love Me To Death, Cleaning House, Alligator,4:45 Carrie Smith, When I've Been Drinkin', Confessin'/Blues, Evidence, 4:09 Hoosegow, Intuition, Mighty, Homestead, 4:43 --------------------------------------Break----------------------------------- ----- Muddy/Tribute Band, Honey Bee,You're Gonna Miss Me....,TelArc, 5:19 Oliver and The Elements, Another Mule, Bone Idol, Spinner, 3:51 Anson/Rockets/Myers, Rent Man Blues,Tell me What I Want To..., Black Top, 4:29 Byther Smith, Knockdown, Housefire, Rounder, 3:32 -------------------------------------------Break------------------------------ ------ Maurice Davis, Brown Sugar, self produced cassette, 4:58 Mellow Fellows, Last Night, Street Party, Alligator, 3:44 Frank Frost/Sam Carr, Just A Feeling, Keep Yourself Together, Evidence, 4:24 ---------------------------------------------Break---------------------------- Robert Ealy, If You Need Me, 4:31 The River, Turn Out The Lights, Black Top, 4;29 Cow Cow Davenport, Cow Cow Blues, Boogie Woogie Blues, Biograph, 2:39 Bluz!!! ED ========================================================================= Date: Mon, 10 Jun 1996 20:37:35 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: U.P. Wilson Following Dave Carpenter's review, here's U.P.'s schedule for the NE US as I have it. This is the schedule from about 3 months ago, and doubtless things have changed some, but it may give you some places near you to call and check. U.P. puts on a great show. June 11 Big Easy, Portland ME June 12 House of Blues, Cambridge MA June 15 Stanhope House, Stanhope NJ June 20 Sam the Clams, Southington CT June 22 Blue Eyed Sally's, Hartford CT June 23 Amsterdam's, Providence RI June 26 Dinosaaur BBQ, Syracuse NY June 27 Terra Blues, NY NY *hey Barry!* June 28 Gilbert's Public House, Camden, ME June 29 Rupununi's, Bar Harbor, ME Don O. ========================================================================= Date: Mon, 10 Jun 1996 20:50:48 -0500 Reply-To: scott d From: scott d Subject: Re: Sitting & Thinking - Big Wal Comments: To: Joe Lempkowski At 11:59 AM 6/10/96 -0700, Joe Lempkowski wrote: >Scott, > >I beg to differ with some of your comments. > >You wrote: > >>When I think of Big Walter's style, I think of course of that huge tone >>(which very few people seem to be able to even come close to), a certain >>"popping" type of attack (which is the one thing I don't hear ANYONE >>copying), great chord work (again, who's even thinking about that today?) >>and melody based solos, which are all too rare in this age of "jamming". > >I think tone is a very personal thing and I agree with your comment that >very few harp players have that big fat round tone that made Big Walter >famous. > >The "popping" type of attack and great chord work which you consider rare, >I think is being displayed by a lot of people. Billy Branch, James Cotton >and Carey Bell employ a great deal of chording in their styles. Cotton >uses tons of chords although I wouldn't call him a Big Walter stylist. >When Billy Branch allows Carl Weathersby to handle vocal chores, almost >all he plays are chords until he gets into the solo. I haven't seen >Carey Bell in a few years, but I remember him playing a lot of chords. >His style has changed over the years, but his most recent stuff features >some pretty heavy chord work and a monster tone. Even some of his earlier >work (late 60's / early 70's stuff) has a pretty heavy Big Walter influence. >I hear a lot of Big Walter influence on these guys. Joe, I didn't meen to imply that other players don't use chords, I just meant that they don't use chords the way Big Walter did. He could play chords that were DEVASTATING. He'd use them not only as backing, but in solos in ways I don't hear very many people using them these days. For example, in the 5th through 8th bar of his solo on Jimmy Rogers' "Walkin' By Myself", or on his own version of "That Ain't It" on his Alligator album (among many others examples). As a matter of fact, it's when other harp players play "Walkin' By Myself" that it becomes so obvious to me that most have only a passing knowledge of his style and what seperated him from the rest. It's not a matter of playing the solo like the record (which BW himself didn't do), it's that so few have a grasp of what made it more than just a series of notes in a certain order--the attack, the phrasing, and the dynamics are what made up his style, and those are the things I don't hear very many people doing. >Other folks in Chicago that I heard some of Big Walter's influence was: >Dave Waldman who used to play with Smokey Smothers had a nice heavy tone. >Scott Bradbury used to employ a lot of Big Walter style stuff in his >playing. He would play with John Brim and had worked with Jimmy Rogers. >These guys aren't big name players, but Walter had an influence on them. >Big Leon Brooks had a big tone, as did Little Willie Anderson and both >made substantial use of chords. (Although you might say they were Little >Walter disciples.) I'm very familiar with all of these players--I played in a band with Dave Waldman for a few years, I've seen Bradbury with John Brim, and Willie Anderson (who I think is one of the overlooked masters of the blues harp) used to come out to sit in with my band. But who's heard of them? My argument wasn't that Big Walter wasn't a great harp player, it's just that he wasn't as influential a player as George Smith, and I think that by having to bring up the names of those relatively obscure players, you've proven my point. > >If you look at most of the people that are influenced by George Smith, >I would estimate that most of them are out of Calfornia. I also believe >that the George Smith influence has mostly to do with the chromatic styles >which Little Walter really pioneered and Smith added to it. The players >you mentioned out of California are all pretty much George Smith imitators. >Thay are all talented guys, but I don't hear a lot of originality in their >playing. (I've been roasted on harp-l for making this statement there.) Again, I think this reinforces my point. Many of the really well-known harp players ARE George Smith imitators, and far fewer play like Big Walter Horton. > >A guy named Gary Smith (who lives in San Jose) seems to have the big >fat tone and some of the other Big Walter characteristics. A few other >players in the Oakland area have some pretty big tone and have been influenced >by Big Walter. They just don't have the backing of Alligator records. > >(BTW, the times I've seen Mark Hummel I didn't hear a whole lot of George >Smith in his playing. Clarke and Piazza seem to almost be cloned at times.) > >George Smith was a great harp player, but Big Walter say's it all with far >fewer notes. (I think his best work was backing other players.) In a time >when "less is more" has been thrown out the window, is it any doubt you >don't hear the Big Walter influence? > >FWIW, I'd take the lessons from Big Walter. > Haven't heard Gary Smith, but if he's influenced by BW, I wish him success, and hope that he spreads the influence. We need MORE guys (and girls) who play like BW. (Hummel's George Smith streak comes out more in his chromatic playing than his diatonic, but it's there just under the surface in a lot of his playing.) Scott http://www.geocities.com/SunsetStrip/4466 Check it out! ========================================================================= Date: Mon, 10 Jun 1996 20:51:08 -0500 Reply-To: scott d From: scott d Subject: Re: Jimmy Rogers &/or Ronnie Earl Comments: To: Shaun T Cronin At 03:31 PM 6/10/96 -0700, Shaun T Cronin wrote: [edit] > >Ronnie Earl is one of the best post-SRV guitarists wielding a Strat at the >moment. [edit] I'm not so sure I'd call him "post-SRV"; didn't he begin his recording career 3 or 4 years before SRV? Scott http://www.geocities.com/SunsetStrip/4466 Check it out! ========================================================================= Date: Mon, 10 Jun 1996 21:40:25 -0500 Reply-To: SGLIWA From: SGLIWA Organization: Delphi (info@delphi.com email, 800-695-4005 voice) Subject: Re: 60 Minute Man - HELP! Comments: To: bit-listserv-blues-l@uunet.uu.net The original version of "60 Minute Man" was by the Dominoes in 1951. Rufus Thomas also recorded the song much later on the Stax label in the '60's. Steven James Gliwa ========================================================================= Date: Mon, 10 Jun 1996 20:50:54 -0500 Reply-To: scott d From: scott d Subject: Re: Active folk who recorded at Sun Comments: To: Tony Burke At 07:30 PM 6/10/96 GMT, Tony Burke wrote: >Tony Burke, B&R Magazine, Bedford, UK > > >Roscoe Gordon >Big Lucky Carter >Linda Gail Lewis >Little Milton >Hot Shot Love???? >Billy The Kid Emmerson??? > >Is Billy still around?? Maybe I'm wrong, but I thought I saw an obit on Emerson in Living Blues sometime in maybe the late 1980s. >What about Hot Shot?? According to the liner notes to JSP's "Anthology Of Harmonica Blues", Love was "killed in a car smash on Interstate 55 on June 4th 1980 at the age of 65". Scott http://www.geocities.com/SunsetStrip/4466 Check it out! ========================================================================= Date: Mon, 10 Jun 1996 21:36:38 -0400 Reply-To: James H Spence From: James H Spence Subject: Magic Sam on Charly? In-Reply-To: <199606110124.SAA04033@inet.lasierra.edu> I came across West Side Soul today - issued as a Charly CD, when I thought it was a Delmark release. I didn't purchase it because of previous discussions about Charly's business practices. So I have two questions: Does Charly have rights to Magic Sam's music, and is West Side Soul available as a Delmark CD? (I guess I have another question: how does this stuff end up in stores?) Jim Spence BGSU ========================================================================= Date: Mon, 10 Jun 1996 19:46:44 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Magic Sam on Charly? Comments: To: James H Spence Jim Spence asked: > I came across West Side Soul today - issued as a Charly CD, > when I thought it was a Delmark release. I didn't purchase > it because of previous discussions about Charly's business > practices. So I have two questions: Does Charly have rights > to Magic Sam's music, and is West Side Soul available as a > Delmark CD? (I guess I have another question: how does this > stuff end up in stores?) This is not the original "West Side Soul", which is on Delmark. The Charly CD is a compilation of earlier sides (I think). And a boot to boot:-) Shaun "Hoping I got all that right" Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Tue, 11 Jun 1996 02:40:17 GMT Reply-To: mark partin From: mark partin Organization: Adhesive Media, Inc. Subject: Re: Junior Brown Comments: To: bit-listserv-blues-l@uunet.uu.net If your in Austin, check junior out at the Continental Club. he's a regular! In article , Shaun T Cronin wrote: >Chris Smith wrote: > >>>I heard Junior Brown on the radio the other day. I'm a blues player, but his >>>approach - which had a nice bluesy flavour - was great. >>>Any recommendations? >>>Hugh Hardy >> >>All of >> >>12 Shades of Brown >>Guit With It >>Semi-Crazy >> >>(I bought 'Semi-Crazy' this week. 'Venom Wearin' Denim' contains the line >>of the year so far: 'If you give that gal a diamond ring, you'll get a >>diamondback'.) > >Don't forget the EP, "Junior High" which contains a amazing version of >"Sugarfoot Rag" that ends up being a tribute to a certain guy from Seattle >that played guitar ok back in the '60s. > >Shaun > >Shaun Cronin 'Woke up this morning between midnight and day. I was >shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son >House ========================================================================= Date: Tue, 11 Jun 1996 02:41:42 GMT Reply-To: mark partin From: mark partin Organization: Adhesive Media, Inc. Subject: Re: Junior Brown Comments: To: bit-listserv-blues-l@uunet.uu.net precisley my point. In article <4pf5k4$q5q@usenetw1.news.prodigy.com>, George Myers wrote: >He has a live show that has to be seen to be believed. Incredible >guitarist! ========================================================================= Date: Mon, 10 Jun 1996 22:54:24 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Re: Band Reviews? Comments: To: smirkyface Smirkyface wrote "How do you do this? Do you take notes at the shows, total recall, tape record your views? How do you'll do it? I see a lot of blues in a week, every week, I'm lucky if I can remember the name of the club I'm in. I could write a review of a bad band, but when the music's good and you're into the moment, well color me gone (GONE is a technical term, describing a higher state of consciousness, or unconsciousness)." This is, as usual, just my way of doing things. You gotta figure out what works best for you. For set lists, take short hand notes. Use your own set of symbols or abbreviations if you don't actually know shorthand. As for taking in a hand-held tape recorder, you gotta get the band's permission. NOTE: NOT THE CLUB OWNER'S; THE BAND' S PERMISSION. If not, it may get confiscated. As for what you like and dislike about the show, for me that's the easy part. If I like it, I'll rememebr why. If not, I'll take notes to remember exactly what I dislike. Since I don't like it, it doesn't matter that I'm, missing the show, eh? Just one guy's opinion, Gavin ========================================================================= Date: Tue, 11 Jun 1996 03:16:04 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: CHEAPO CDs Comments: To: bit-listserv-blues-l@uunet.uu.net Thought the list should know this - ROUNDER Records have issued a series of double CDs to celebrate their 25th Anniversary- labelled as 2 CDs for LESS than the price of ONE. These actually came out last year (1995). Of interest are: DEEP BLUE - 25 Years of Blues on Rounder Records - 2CDs - # CD AN 20/21 LOUISIANA SPICE - 25 Years of Louisiana Music on Rounder Records - 2 CDs - # CD AN 18/19. I just got the Deep Blue 2CD set at my local store for $8.99. I got the Louisiana one last year and can't remember what I paid for it - but I do remember it as cheap.... The Blues set has some real stunners - like it opens with Robert Nighthawk's "Mr. Bell's Shuffle" (with Carey Bell really blowing against Nighthawk's razor slide), followed by J.B. Hutto's "Jealous Hearted Woman" - and that's just openers...... Then, then there's "Lonesome Whistle" by Johnny Shines with Robert Jr. Lockwood - according to Shines the album this comes from "Hangin' On" Rounder 2023 - is where to hear his best guitar work...... Hey, at $9 for 2 CDs I shouldn't need to tell you any more....... Does anyone know what the others in the series are? -- Vincent vt@pipeline.com ========================================================================= Date: Mon, 10 Jun 1996 23:21:00 EDT Reply-To: edward c liu From: edward c liu Subject: SITTING AND THINKING: E.C. Scott, _Come Get Your Love_ Howdy all, Go ahead -- come get it! =8^). -- Ed Edward C. Liu | "Ever since the world ended, I don't get edwick@cc.bellcore.com | out much anymore." | -- Mose Allison The opinions in this message are mine and not Bellcore's. Really! *------------------------------cut heer------------------------------* E.C. SCOTT COME GET YOUR LOVE BLIND PIG #5019 One of the most fertile areas for the blues today must be the Delta. However, I'm not talking about the Mississippi Delta, as you might think -- rather, this is the Delta region of San Francisco's Bay Area. In the past few years, this region has produced a number of many talented blues artists, such as Little Charlie and the Nightcats, Roy Rogers, Preacher Boy and the Natural Blues, and Chris Cain. Now, Oakland-born artist E.C. Scott can join this roster of ever-growing blues talent from the West Coast. E.C.'s roots come from her upbringing at the choir at the St. John Missionary Baptist Church. Her introduction to the blues came afterwards, although she was initially afraid to sing in that way because, "it was so taboo, I felt I'd go blind or I'd be crippled the next day if I sang the blues." Thankfully, she's gotten over her fears to record her debut album for Blind Pig. Like many new artists recording today, she isn't afraid to add synthesizers or drum machines into the mix, but she does so in a way that honors the traditions of the blues without adhering slavishly to them. She also mixes equal shots of gospel and modern R&B in her music, with the same success as artists like Jay Owens. E.C. is also quite a talented songwriter as well. Of the dozen tracks here, E.C. wrote or co-wrote nine of them. They run the gamut of the usual blues suspects -- love won, lost, and suggested; good times or lack thereof on the weekends; and catching your cheating man. However, E.C. manages to take these old traditions and make them seem fresh and original again, and she also breaks new ground with what must be the first blues song about the Internet. Come get your love, because E.C. clearly gave a lot of it for this album. COME GET YOUR LOVE / TAKE THE GARBAGE OUT / YOU GOT THE WRONG NUMBER / SOMETHING WRONG GOING ON / I NEED A REAL MAN / I KEEP COMING BACK / BEFORE QUICK GET READY / THE FORECAST CALLS FOR BLUES / SUGAR ON THE FLOOR / I'VE GOT LOVE ON THE LINE / I AIN'T NEVER LOVED NOBODY / BRIGHT LIGHTS NYCD Takes COME GET YOUR LOVE: A pulsating drum machine and a wailing guitar by Chris Cobb set the tone for an upbeat blues that's got equal shots of soul and funk. E.C.'s clean alto vocals are wonderfully understated, with just enough seductive touches to keep and maintain your attention. Her vocal performance also bears the unmistakable stamp of her gospel singing background. TAKE THE GARBAGE OUT: The keyboard bass of Alex Marlowe gives another funk-blues. This number is an interesting combination of gritty, earthy lyrics ("You bought her a yacht, and a long, low-down mink/You got a computer, so she won't have to think") and the super-clean production values. The results of this push-and-pull is a blues that's a bit more polished, but still has dirt under the fingernails. YOU GOT THE WRONG NUMBER: A straightforward, churning blues shuffle that opens with a fat-toned salvo by Tim Landis' guitar. E.C.'s vocals are evocative Katie Webster or a younger Koko Taylor, with the same kind of definitive strength that lets you know this is not a woman to be messed with. She knows B.S. when she sees it, and she sees it here. The band does this this as a laid-back but insistent groove. SOMETHING WRONG GOING ON: A vintage blues, done to the riff of Bo Diddley's "I'm A Man" (or perhaps Koko Taylor's "I'm A Woman" would be better). The guitar pumping out the famous riff has got a heavy, crunchily distorted sound, which stands in strong contrast to E.C.'s clean but sultry vocal delivery. Like "Come Get Your Love," there's an undefinable but palpable undercurrent to her vocals -- a sort of edgy quality that communicates restrained emotions about to bubble over. I NEED A REAL MAN: Norbert Stachel's saxophone sets the tone for this romantic blues ballad that owes much to modern R&B and gospel. The combination of the crisp, perfect tempo of the drum machines and good old-fashioned vocal tunesmithing by E.C. and her backup singers creates a strong resonance that is quite enjoyable. The production is excellent, clean and well-mixed, although it may turn off those fans that want a higher grit content in their music. I KEEP COMING BACK: The band picks up the tempo again for a poppy, upbeat number. Again, there's a strong modern R&B feel to the track, with a keyboard synthesizer providing the central rhythmic hook. E.C.'s wonderful vocals get fill-in work by Chris Cain's sweet toned guitar work, and the background singers give this track the same kind of gospel flavor as "I Need a Real Man." Give a listen to Derrick Jones' excellent bass work, as well. BEFORE QUICK GET READY: No, that's not a typo in the title of this song -- E.C. sings exactly that in this tune to her cheating man "because that's how fast [he] lie." The lyrics to this E.C. original are a witty, sly come-on, as she chronicles the web of lies that her man has been spinning. Chris Cain returns to provide some sizzling lead guitar work in this return to a traditional, slow blues shuffle that's heavy on Jay Goudeau's bass. THE FORECAST CALLS FOR BLUES: A trip down the piano keyboard kicks off this upbeat shuffle that's gets infused with New Orleans flavor by the horn section of Rand Singer's sax and Larry Batiste's trombone.. E.C. states her vocals in a stark, almost clinical manner, half-singing and half-speaking them. Again, they're infused with an indomitable spirit that's not one to take any garbage from anybody. SUGAR ON THE FLOOR: A bittersweet slow ballad, introduced by wonderfully effective harmonizing by Rand Singer's sax and Tim Landis' guitar. E.C.'s vocals are simply heavenly here, supremely heartfelt, deeply emotional, and terribly romantic. She gives a performance that is as close as you can get to hearing a heart breaking on record. The rest of the band backs her very well, especially Rand Singer's atmospheric saxophone playing, but this is E.C.'s time to really shine in the spotlight. I'VE GOT LOVE ON THE LINE: The previously mentioned first blues song about the Internet. The track opens with the unique sound of a modem dialing up and making its connection, and leads into a funky blues about on-line romance. E.C.'s vocals are a total hoot, as she describes the experimental nature of love (or lust) by modem. Like the best novelty songs by Louis Jordan or Little Charlie and the Nightcats, this is a track that can stand equally well as a humor piece or as a musical statement. I AIN'T NEVER LOVED NOBODY: Another slow and torchy blues, led off by Norbert Stachel's wonderful saxophone. E.C.'s vocals are gritty as all get-out and infusing the lyrics with a deep, incalculable sadness. She communicates "down in the bottom" loud and clear with devastating effect. The rest of the band matches her mood, coloring this tune with dark overtones and one of the moodiest bass parts you'll ever hear. BRIGHT LIGHTS: A rollicking, piano-and-sax track that'll get your feet moving, guaranteed. E.C. and the band pack this closing track with a ton of energy and verve, making for an immensely enjoyable dancing blues. The entire band links together wonderfully well, from the pounding rhythm section to the chunky rhythm guitar work to the terrific piano and saxophone leads. Reviewed by Edward C. Liu Copyright 1996 NY CD Blues Unauthorized use prohibited NY CD Blues at http://www.panix.com/~bsco/ ========================================================================= Date: Mon, 10 Jun 1996 22:35:54 -0500 Reply-To: scott d From: scott d Subject: Re: Magic Sam on Charly? Comments: To: James H Spence At 09:36 PM 6/10/96 -0400, James H Spence wrote: > I came across West Side Soul today - issued as a Charly CD, > when I thought it was a Delmark release. I didn't purchase > it because of previous discussions about Charly's business > practices. So I have two questions: Does Charly have rights > to Magic Sam's music, and is West Side Soul available as a > Delmark CD? (I guess I have another question: how does this > stuff end up in stores?) > Jim Spence > BGSU > > Jim, As far as I know, the "West Side Soul" released by Charly shares only it's title with the Delmark release. I don't have it, but I think it's a collection of his pre-Delmark recordings. I've talked to Delmark head Bob Koester on a number of occasions, and although I've never asked him specifically about this, it seems to me he's mentioned that Delmark has the exclusive rights to all the music Magic Sam recorded while he was signed to the label (approx. '67-'69). The official release of "West Side Soul" is currently available on CD from Delmark. How does it end up in stores? That I can't tell you, although I guess wherever there's a market for something, somebody will find a way to reach that market, legally or not. Scott http://www.geocities.com/SunsetStrip/4466 Check it out! ========================================================================= Date: Mon, 10 Jun 1996 21:16:43 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Limitations of Equipment Comments: To: sevenson@MBOX300.SWIPNET.SE In-Reply-To: from "Goran Svenningsson" at Jun 10, 96 09:29:42 pm > > >Another similar story I've heard is that Link Wray deliberately poked > >holes in his speaker(s) to get that distorted sound on "Rumble" and > >other classic guitar instrumentals. > > > > To take a little detour here, I heard that some of the heavy rocking dudes > lowered the voltage feed into the amp to get more distortion at lower > volume. > > Could that be true? Well, I can't give you specifics as far as who does this, but from an electrical engineers standpoint, lowering power supply voltage will indeed give you more distortion at lower volume. If you're interested, you might try using a variac (variable autotransformer) to vary the mains voltage to the amp. Make certain you use one with enough current capacity to handle the amp at full volume. I would strongly recommend doing this _O_N_L_Y_ with an ALL TUBE amp. Solid state devices should be operated only at their rated voltage. Tubes will take abuses that will instantly destroy transistors and such. -- IronMan Mike Curtis ========================================================================= Date: Tue, 11 Jun 1996 03:23:06 GMT Reply-To: jackieo@MIDTOWN.NET From: Jack Oudiz Organization: Midtown Computer Services Subject: Some Notes on Chitown Fest Comments: To: bit-listserv-blues-l@uunet.uu.net My random thoughts about spending a recent week in Chicago: 1. The Fest was thin this year but still a gas. My personal highlights: Bobby Parker absolutely destroyed the Crossroads Stage on Sunday. Why he wasn't on Petrillo I dunno. The best live performer in the blues today IMHO. Walking back we ran into Billy Boy Arnold walking in a hurry. He was real upset when we told him that Bobby Parker had just finished. He said it was the only reason he came. The Rev. Gary Davis tribute was a delight. Leadbelly's niece told some great stories and Jerry Ricks/Andy Cohen/David Bromberg did the Rev. proud. It takes a real special talent to light up the huge Petrillo stage/bandshell. Luther Allison did it last year. Nobody I saw did it this year. Unless you count Screamin Jay. I don't. Still Long John and Phillip Walker reunion was fun. 2. The clubs are still the best reason to visit Chitown. 3. I don't think I can handle the North side clubs ever again. Drunk college kids and yuppies are a stone bummer. 4. The Checkerboard Lounge is still one of the few South Side clubs that is a real neighborhood hangout. Where you can still see blues played for the same audience it was played for 40 years ago. Saw two great sets by John Primer there on different nights. Dave Meyers was hanging out playing cards with the regulars one night. 5. By far the best event of the week was a Thursday blues street fest on E. 43 rd St at the Martin Luther King Center. A freebie that attracted several hundred neighborhood folks to hear Honeyboy, Shirley King (daughter of BB), Byther Smith, and Phil Guy. A real down home, sometime bawdy show. Free hot dogs and drinks and a moving annual award in honor of Theresa Needham given to Byther who cried at the surprise tribute. 6. Sugar Blue is good for one set for me. By then he has played every possible note that can be squeezed out of a diatonic harp. That Blues Traveller cat is just a cheap imitation. 7. Ah the HOB/Muddy Cabin. Well folks what can I say. The truth: It was as close to a fat lady sideshow freak as I could experience. But the WORST, I mean the fuggin most disgusting flagrant spit on the legacy of the blues was the fact that every single HOB booth (food, info, T-shirts, etc. was staffed by nothing but young, clean cut, well scrubbed white kids who looked imported from the Indiana suburbs. These morons couldn't even figure out what good PR it would be to hire some badly needing kids from the 'hood to make a few bucks for the weekend. Can't wait for HOB Chicago...How do you spell ho' Isaac. 8. Thanks Scott Dirks for turning me on to two of the best gigs of the week: Jimmy Burns (younger bro of Eddie Burns) doing an acoustic set one night at the Jazz Mart (Can't wait for that Delmark release this Fall that Scott is producing). The man has a voice that will curl your toes baby. The Howlin Wolf tribute with Taildragger and Necktie Nate and friends was a blast. 9. Jimmy Johnson is still doing it as good as ever. Ditto Son Seals. 10. Wrigley Field is still the best place to freeze your cajones off. Jack Oudiz P.S. Was great to meet you Joe L. ========================================================================= Date: Tue, 11 Jun 1996 04:21:46 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Bad Credit? Slow Credit? No Credit? No Problem! Subject: Re: Zydeco: Creole or Cajun? Comments: To: bit-listserv-blues-l@uunet.uu.net On Sun, 9 Jun 1996 16:45:26 -0600, Lee Nichols wrote: >Sorry, I don't mean to overlook those subtle diffences between blacks and >whites in Lousiana/East Texas -- I really find them fascinating -- but the >hatred and the insistence (by both races) of imposing this huge, >artificial wall between themselves really grates on me. Everyone over >there should be required to read that Dr. Seuss story about the >Star-bellied Sneetches and the Plain-bellied Sneetches. Just want to say that not all of us here in Lousiana/East Texas are racist. In fact, most common, everyday people, so to speak, really appreciate the multicultural variety in these parts. Just some of those older people in power still insist on the old ways. Like Mayor Bo Williams of Shreveport. >Laissez les bon ton roulet, (did I spell that right?) Laissez les bon temps roulez. Kevan Smith cuthulu@rlabs.com the great purple hope for the blues ========================================================================= Date: Tue, 11 Jun 1996 00:26:38 -0400 Reply-To: HippieLady From: HippieLady Organization: America Online, Inc. (1-800-827-6364) Subject: A LETTER FROM STEVIE RAY'S MOM Comments: To: bit-listserv-blues-l@uunet.uu.net Howell Productions, Inc., is very proud to be a part of the Stevie Ray Vaughan Memorial Scholarship Fund project, administered by the Communities Foundation of Texas, and Mrs. Martha Vaughan (Stevie and Jimmie's mother). Mrs. Vaughan asked me to post a public letter on her behalf, to answer the many, many letters she's received from Stevie's fans, inquiring about his faith and spirituality. We are very honored to be able to bring this letter to you on her behalf. We decided the best way to present this letter was via a web page. The URL is below, along with URL's for other pages we have designed regarding Stevie; to include the Stevie Ray Vaughan Memorial Scholarship Fund page, and a webpage that will feature the poetry of Joe Cook, Stevie's uncle...more Stevie related pages will be added in the near future. As noted on the referenced webpages, Mrs. Vaughan, The Stevie Ray Vaughan Memorial Scholarship Fund, and Joe Cook, now have an email address should you want to write them. That address is: SRVMemFund@aol.com An Open Letter from Martha Vaughan: http://members.aol.com/SRVMemFund/MVaughan.htm Poetry by Joe Cook: http://members.aol.com/SRVMemFund/JoeCook.htm The Stevie Ray Vaughan Memorial Scholarship Fund Page: http://members.aol.com/SRVMemFund/srvfund.htm Warmest Regards, Beverly Howell Howell Productions, Inc. ========================================================================= Date: Tue, 11 Jun 1996 04:33:27 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Bad Credit? Slow Credit? No Credit? No Problem! Subject: Re: Gator Tail Comments: To: bit-listserv-blues-l@uunet.uu.net On Sun, 9 Jun 1996 15:52:52 -0000, "Raymond O. Varner" wrote: >In the interest of accuracy about our >beloved and defunct Owl Cafe. I didn't >own it. I co-managed it. Good work, huh? >It's out of business. And I thought we'd >get rich like Donald Trump. Blues, >seven nights a week in a Norwegian >fishing neighborhood. Where DID we >go wrong?! You didn't book Hans Thiesnick (sp?) enough! Kevan Smith cuthulu@rlabs.com the great purple hope for the blues ========================================================================= Date: Tue, 11 Jun 1996 04:37:01 GMT Reply-To: Curtis Hewston From: Curtis Hewston Subject: Re: (Fwd) either Roy Rogers...or no blues in SA! Comments: To: "Maintainability Analysis Workspace [Ranko Vujosevic]" On Mon, 10 Jun 1996, Bill Shute wrote: >future. I do not like Mr. Rogers' work (to put it kindly), so Then Ranko wrote: > I can go long ways of supporting genuine blues acts, and even longer >ways of not supporting phony ones. Again, this is another of totally wrong >perceptions and opinions of mine. But, I can't help there!!! Neither can I, and admittedly I have my biases, but I think you couldn't do much worse than identifying Roy Rogers -- of all possible candidates -- as a "phony" blues act. He's an extraordinary slide guitarist -- among the best of his day -- who taught himself to play as a teen by listening to Robert Johnson. I know him to be a serious, diligent, thoroughly professional musician with no pretenses and a strong dislike for showmanship. And his reputation among his peers in the talent-laden S.F. bay area is impeccable. Your opinions seem pretty mean-spirited to me. So what's that all about exactly? Not that I'm out to change your minds, but these views could use a little balancing, lest the uninitiated go to dismissing him out of hand. And by the way, Rhythm & Groove has enjoyed a hundred good reviews like the one in Playboy. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Mon, 10 Jun 1996 23:43:39 -0600 Reply-To: Lee Nichols From: Lee Nichols Organization: The Austin Chronicle Subject: Re: Zydeco: Creole or Cajun? Comments: To: bit-listserv-blues-l@uunet.uu.net In article , Steve Price wrote: > > Whatever I've misrepresented here is due to my own ignorance and not due > to corporate sponsorship which I acknowledge is sorely needed. > > Steve Price Okay, I hate to turn this into a political discussion, but I really think zydeco and Cajun music are much better off without corporate sponsorship. Call me a left-winger (well, actually, I am), but I think one need only look at what's happened to country music since it evolved from a regional music form to a big mass-market vehicle (or, directly relevant to our discussion, look at Jo-El Sonnier's pathetic "crossover" albums). Corporations, caring more about the highest possible profits than the integrity of the music, tend to bastardize it and dumb it down to reach people who might not listen to the authentic, homespun variety. Here in Texas, country music has been destroyed by the corporate "boost." I live in Austin, which has an enormous wealth of country talent playing a unique, TEXAS-style country. But the main country station in town won't play these artists unless they're on a Nashville label (and conform to Nashville-style production, thus sounding like generic bands from anywhere). They have to go all the way to Tennessee just to get played on the station that's just a few blocks away from their houses and the clubs where they play! Trust me, if those guys in suits start sniffing around Acadiana, they'll turn the music we love into something that makes us sick. Artistically, Cajun and zydeco are better off on Maison de Soul, Jin, etc., or for wider exposure, Rounder and Arhoolie. Please note: I have finally cross-posted this discussion to alt.culture.cajun where it belongs, and I have changed the title to "Keep corporations out of zydeco" An Acadiana-loving Texan, Lee Nichols P.S. yes, I know that good albums occasionally come from major labels, and I know there are corporations with a conscience (Working Assets Long Distance company -- http://www.wald.com -- springs to mind) but these are few and far between. -- My opinions are not necessarily those of The Austin Chronicle and the opinions of The Austin Chronicle aren't necessarily mine. ========================================================================= Date: Mon, 10 Jun 1996 21:56:54 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: Limitations of Equipment Comments: To: dcicchet@LASIERRA.EDU In-Reply-To: <199606102056.NAA24767@inet.lasierra.edu> from "Don Cicchetti" at Jun 10, 96 01:53:24 pm > > Sevenson said: > > >To take a little detour here, I heard that some of the heavy rocking dudes > >lowered the voltage feed into the amp to get more distortion at lower > >volume. > > yeah, it's true. > > Eddie and many others have done this. They take a Variac (allows you to > smoothly lower the voltage, like a dimmer) and turn the volts down till > they get the sound they like. It does change the tone, but it is very > hard on the amp if you overdo it at all. I know Don isn't advocating dimmers for amp power control, so don't take this as a "reprimand" or anything of the sort. It's just a clarification - nothing more, nothing less. *** Don't use a lamp dimmer to control power on an amplifier *** While the variac will adjust voltage, it doesn't "do it" "like a dimmer". Yes the result LOOKS like a dimmer (which I'm sure is what Don meant), but the variac changes voltage, whereas the dimmer actually "chops up" the 60 Hz AC waveform by turning it on at different points of the leading edge (roughly 0-90 and 180-270 degrees of arc, depending on the trigger setting), giving less average power at >100% settings. I'd ordinarily let this pass as a harmless "exaggeration" (I use them frequently myself - sometimes it's better to save volumes of accurate but not-really-necessary text by "warping the truth" just a tad :-), except someone _might_ get the notion to try a $10 dimmer on their amp instead of a $200 variac. Trust me - the results would _not_ be pretty - soundwise OR amplifier-life wise. > It is known as the "amp about to melt down" tone... and that's pretty > accurate actually. Especially if you use a dimmer :-) -- IronMan Mike Curtis ========================================================================= Date: Tue, 11 Jun 1996 04:58:26 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: nomail Comments: To: bit-listserv-blues-l@uunet.uu.net On Jun 10, 1996 18:31:56 in article , 'Chris Smith ' wrote: >Going nomail - back Wednesday night UK time. Be good while I'm gone. > > Can't, won't, shalln't..... (try to be realistic this IS the Blues-L) but come back anyway.....(please?) -- Vincent vt@usa.pipeline.com ========================================================================= Date: Tue, 11 Jun 1996 00:49:24 -0400 Reply-To: HippieLady From: HippieLady Organization: America Online, Inc. (1-800-827-6364) Subject: LETTER FROM STEVIE RAY'S MOM... Comments: To: bit-listserv-blues-l@uunet.uu.net Howell Productions, Inc., is very proud to be a part of the Stevie Ray Vaughan Memorial Scholarship Fund project, administered by the Communities Foundation of Texas, and Mrs. Martha Vaughan (Stevie and Jimmie's mother). Mrs. Vaughan asked that we post a public letter on her behalf, in regard to the many letters she's received from Stevie's fans, inquiring about his faith and spirituality. We are very honored to be able to bring this letter to you on her behalf. We decided the best way to present this letter was via a web page. The URL is below, along with URL's for other pages we have designed regarding Stevie; to include the Stevie Ray Vaughan Memorial Scholarship Fund page, and a webpage that will feature the poetry of Joe Cook, Stevie's uncle...more Stevie-related pages will be added in the near future. As noted on the webpages referenced above, Mrs. Vaughan, The Stevie Ray Vaughan Memorial Scholarship Fund, and Joe Cook, now have an email address should you choose to write them. That address is: SRVMemFund@aol.com An Open Letter from Martha Vaughan: http://members.aol.com/SRVMemFund/MVaughan.htm Poetry by Joe Cook: http://members.aol.com/SRVMemFund/JoeCook.htm The Stevie Ray Vaughan Memorial Scholarship Fund Page: http://members.aol.com/SRVMemFund/srvfund.htm Warmest Regards, Beverly Howell Howell Productions, Inc. ========================================================================= Date: Mon, 10 Jun 1996 21:58:04 -0700 Reply-To: Stan Ruffo From: Stan Ruffo Subject: Re: either Roy Rogers...or no blues in AS! Bill, I have a "fuzzy" copy of that Bud commercial, as it has aired on Blues On Tap many times! Stan ---------- From: William Shute[SMTP:WSHUTE@ACCDVM.ACCD.EDU] Sent: Monday, June 10, 1996 8:33 AM To: Multiple recipients of list BLUES-L Subject: either Roy Rogers...or no blues in SA! From: Bill Shute <<>>> Has anyone heard that radio ad for Budweiser beer that talks about the rich heritage of the blues or something and talks about the delta, then plays a tune in the background that is a variation on "Green Onions"??? It would take a pretty broad interpretation of "delta blues" to fit G.O. into it!!! <<>> Bill Shute San Antonio, TX ========================================================================= Date: Tue, 11 Jun 1996 01:39:39 -0400 Reply-To: Martha W Alibali From: Martha W Alibali Organization: Psychology, Carnegie Mellon, Pittsburgh, PA Subject: Re: Some Notes on Chitown Fest Comments: To: bit-listserv-blues-l@moderators.uu.net In-Reply-To: <4pismd$6pf@ulysses.midtown.net> Excerpts from netnews.bit.listserv.blues-l: 11-Jun-96 Some Notes on Chitown Fest by Jack Oudiz@MIDTOWN.NET > 2. The clubs are still the best reason to visit Chitown. > > 3. I don't think I can handle the North side clubs ever again. Drunk > college kids and yuppies are a stone bummer. Didn't anybody go to Rosa's during blues fest? I haven't heard a word about it! Martha ========================================================================= Date: Tue, 11 Jun 1996 00:52:25 -0600 Reply-To: Lee Nichols From: Lee Nichols Organization: The Austin Chronicle Subject: Re: Zydeco: Creole or Cajun? Comments: To: bit-listserv-blues-l@uunet.uu.net I've tried twice before to post this, and it doesn't seem to be working. Please forgive me if you've seen it three times now. Lee In article , Steve Price wrote: > > Whatever I've misrepresented here is due to my own ignorance and not due > to corporate sponsorship which I acknowledge is sorely needed. > > Steve Price Okay, I hate to turn this into a political discussion, but I really think zydeco and Cajun music are much better off without corporate sponsorship. Call me a left-winger (well, actually, I am), but I think one need only look at what's happened to country music since it evolved from a regional music form to a big mass-market vehicle (or, directly relevant to our discussion, look at Jo-El Sonnier's pathetic "crossover" albums). Corporations, caring more about the highest possible profits than the integrity of the music, tend to bastardize it and dumb it down to reach people who might not listen to the authentic, homespun variety. Here in Texas, country music has been destroyed by the corporate "boost." I live in Austin, which has an enormous wealth of country talent playing a unique, TEXAS-style country. But the main country station in town won't play these artists unless they're on a Nashville label (and conform to Nashville-style production, thus sounding like generic bands from anywhere). They have to go all the way to Tennessee just to get played on the station that's just a few blocks away from their houses and the clubs where they play! Trust me, if those guys in suits start sniffing around Acadiana, they'll turn the music we love into something that makes us sick. Artistically, Cajun and zydeco are better off on Maison de Soul, Jin, etc., or for wider exposure, Rounder and Arhoolie. Please note: I have finally cross-posted this discussion to alt.culture.cajun where it belongs, and I have changed the title to "Keep corporations out of zydeco" An Acadiana-loving Texan, Lee Nichols P.S. yes, I know that good albums occasionally come from major labels, and I know there are corporations with a conscience (Working Assets Long Distance company -- http://www.wald.com -- springs to mind) but these are few and far between. -- My opinions are not necessarily those of The Austin Chronicle and the opinions of The Austin Chronicle aren't necessarily mine. ========================================================================= Date: Tue, 11 Jun 1996 00:56:33 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Active folk who recorded at Sun Comments: To: scott d In-Reply-To: <199606110150.UAA11608@home.interaccess.com> As far as I know, Billy Emerson is still among the living, last heard from in Florida somewhere. ========================================================================= Date: Tue, 11 Jun 1996 08:03:12 -0700 Reply-To: Michael Yngman Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Michael Yngman Organization: Telia AB Subject: Re: Sweet Home Chicago, California Comments: To: Chris Smith Chris Smith wrote: > > >There is a Port Chicago, California and Johnson supposedly had relative > >there. I grew up less than 20 miles away from Port Chicago, so I know it > >is a real place. > > > >Jim Bradshaw > > Hi. Back to the land flowing of milk and honey. To paradise or at least a better place than the delta. Placing Chicago in California is just an artists way of saying 'to a better place than this' In my opinion that is....I'm from Sweden (far away from both Chicago and California, So maybe Americans have a totally different explanation. Regards Mike ========================================================================= Date: Tue, 11 Jun 1996 01:08:42 -0600 Reply-To: Lee Nichols From: Lee Nichols Organization: The Austin Chronicle Subject: Re: Zydeco: Creole or Cajun? Comments: To: bit-listserv-blues-l@uunet.uu.net Okay, I've tried to post this four times now, and I don't think it's working. I apologize this results in multiple postings Lee In article , Steve Price wrote: > > Whatever I've misrepresented here is due to my own ignorance and not due > to corporate sponsorship which I acknowledge is sorely needed. > > Steve Price Okay, I hate to turn this into a political discussion, but I really think zydeco and Cajun music are much better off without corporate sponsorship. Call me a left-winger (well, actually, I am), but I think one need only look at what's happened to country music since it evolved from a regional music form to a big mass-market vehicle (or, directly relevant to our discussion, look at Jo-El Sonnier's pathetic "crossover" albums). Corporations, caring more about the highest possible profits than the integrity of the music, tend to bastardize it and dumb it down to reach people who might not listen to the authentic, homespun variety. Here in Texas, country music has been destroyed by the corporate "boost." I live in Austin, which has an enormous wealth of country talent playing a unique, TEXAS-style country. But the main country station in town won't play these artists unless they're on a Nashville label (and conform to Nashville-style production, thus sounding like generic bands from anywhere). They have to go all the way to Tennessee just to get played on the station that's just a few blocks away from their houses and the clubs where they play! Trust me, if those guys in suits start sniffing around Acadiana, they'll turn the music we love into something that makes us sick. Artistically, Cajun and zydeco are better off on Maison de Soul, Jin, etc., or for wider exposure, Rounder and Arhoolie. Please note: I have finally cross-posted this discussion to alt.culture.cajun where it belongs, and I have changed the title to "Keep corporations out of zydeco" An Acadiana-loving Texan, Lee Nichols P.S. yes, I know that good albums occasionally come from major labels, and I know there are corporations with a conscience (Working Assets Long Distance company -- http://www.wald.com -- springs to mind) but these are few and far between. -- My opinions are not necessarily those of The Austin Chronicle and the opinions of The Austin Chronicle aren't necessarily mine. ========================================================================= Date: Mon, 10 Jun 1996 23:32:17 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: CHEAPO CDs Comments: To: VT VT wrote: snip a bit >LOUISIANA SPICE - 25 Years of Louisiana Music on Rounder Records - 2 CDs - ># CD AN 18/19. Get this as well. This was my introduction to Cajun, Zydeco and all the other variants of Louisiana music. There is a lot of great stuff on this one. Don't aslk who, just get it. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Tue, 11 Jun 1996 01:16:11 -0600 Reply-To: Lee Nichols From: Lee Nichols Organization: The Austin Chronicle Subject: Re: Zydeco: Creole or Cajun? Comments: To: bit-listserv-blues-l@uunet.uu.net Okay, I've tried to post this a zillion times now, and something doesn't seem to be working right. I apologize if I've caused multiple annoying postings Lee In article , Steve Price wrote: > > Whatever I've misrepresented here is due to my own ignorance and not due > to corporate sponsorship which I acknowledge is sorely needed. > > Steve Price Okay, I hate to turn this into a political discussion, but I really think zydeco and Cajun music are much better off without corporate sponsorship. Call me a left-winger (well, actually, I am), but I think one need only look at what's happened to country music since it evolved from a regional music form to a big mass-market vehicle (or, directly relevant to our discussion, look at Jo-El Sonnier's pathetic "crossover" albums). Corporations, caring more about the highest possible profits than the integrity of the music, tend to bastardize it and dumb it down to reach people who might not listen to the authentic, homespun variety. Here in Texas, country music has been destroyed by the corporate "boost." I live in Austin, which has an enormous wealth of country talent playing a unique, TEXAS-style country. But the main country station in town won't play these artists unless they're on a Nashville label (and conform to Nashville-style production, thus sounding like generic bands from anywhere). They have to go all the way to Tennessee just to get played on the station that's just a few blocks away from their houses and the clubs where they play! Trust me, if those guys in suits start sniffing around Acadiana, they'll turn the music we love into something that makes us sick. Artistically, Cajun and zydeco are better off on Maison de Soul, Jin, etc., or for wider exposure, Rounder and Arhoolie. Please note: I have finally cross-posted this discussion to alt.culture.cajun where it belongs, and I have changed the title to "Keep corporations out of zydeco" An Acadiana-loving Texan, Lee Nichols P.S. yes, I know that good albums occasionally come from major labels, and I know there are corporations with a conscience (Working Assets Long Distance company -- http://www.wald.com -- springs to mind) but these are few and far between. -- My opinions are not necessarily those of The Austin Chronicle and the opinions of The Austin Chronicle aren't necessarily mine. ========================================================================= Date: Mon, 10 Jun 1996 23:29:49 -0700 Reply-To: Stan Ruffo Comments: RFC822 error: TO field duplicated. Last occurrence was retained. Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Stan Ruffo Subject: BOT Playlist 6/6/96 Comments: To: Michael McCracken , Sony Music , "Anton Glovsky, Tradition Records" , Vent Records Stan Ruffo Productions 800 N. Ben Maddox Way, Suite 2200 Visalia, California 93292 ph.(209) 625-6049 stan@ruffo.com / www.ruffo.com PROGRAM: "Blues On Tap" w/ Steamin' Stan Ruffo STATION: KIOO 99.7FM (Kay-eye-oh-oh), Visalia, CA SUBJECT: Playlist 2396 - Commercial Radio DATE & TIME: Sunday - June 9, 1996 8pm - 10pm Artist Title Label Track Guitar Mac Sizzle self 6 Ernie Johnson In The Mood Waldoxy 4 Geno Delafose That's What I'm Talkin' A Rounder 12 Mem Shannon A Cab Driver's Blues Hannibal 6 Wee Bea Booze Don't You Feel My Leg Delmark 4 Pat Boyack On The Prowl Bullseye 6 William Clarke Groove Time Alligator 13 Koko Taylor An Audience With The Qu Alligator 10 Smokey Wilson 88th St. Blues Blind Pig 2 Pat Boyack On The Prowl Bullseye 2 Peter Madcat Ruth Harmonicology Beancake 9 Big Bill Broonzy Steeped In Tradition Tradition 16 Teddy Morgan Ridin In Style Antone's 1 John Lee Hooker The Legendary Modern R Virgin 7 Little Walter Jacobs The Essential Little Walter MCA/Chess 1-8 Jesse Austin Baby's Back Roesch 10 Rod Piazza Alphabet Blues Black Top 7 Tommy Castro Exception To The Rule Blind Pig 9 Floyd Dixon Wake Up And Live Alligator 3 Rufus Thomas Blues Thang Sequel 5 Wille Murphy Piano Hits Atomic T. 2 Sonny Rhoades Out Of Control King Snake 2 Billy Boy Arnold Eldorado Cadillac Alligator 1 Monster Mike Welsh These Blues Are Mine Tone-Cool 1 Doug MacLeod You Can't Take My Blues AudioQuest 10 Blues On Tap reports to Living Blues and The Hard Report. This playlist is also available at the following record stores in Visalia. Disc Jockey, Wherehouse Entertainment, and Ragin Records. This show included an interview with Pat "heart attack" Boyack! ========================================================================= Date: Tue, 11 Jun 1996 02:38:01 -0400 Reply-To: Mgauf From: Mgauf Organization: America Online, Inc. (1-800-827-6364) Subject: Diddley, Guy releases Comments: To: bit-listserv-blues-l@uunet.uu.net Any comments on the new releases from Bo Diddley (w/everyone under the sun) and Buddy Guy Live? ========================================================================= Date: Tue, 11 Jun 1996 02:40:12 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Zydeco: Creole or Cajun? Comments: To: Lee Nichols In-Reply-To: On Mon, 10 Jun 1996, Lee Nichols wrote: > In article , Steve > Price wrote: > > > > > Whatever I've misrepresented here is due to my own ignorance and not due > > to corporate sponsorship which I acknowledge is sorely needed. > > > > Steve Price > > Okay, I hate to turn this into a political discussion, but I really think > zydeco and Cajun music are much better off without corporate > sponsorship. Call me a left-winger (well, actually, I am), but I think [edit discussion of how corporate sponsorship has ruined country music] Hi, Lee, Actually I kind of meant that as a joke. I'm not informed enough on the situation with Cajun or Zydeco music or culture be able to speak authoritatively on the value or function of corporate sponsorship. Actually, I kind of need corporate sponsorship myself this summer, so that's where it's sorely needed. Steve Price ========================================================================= Date: Tue, 11 Jun 1996 04:57:00 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1928, King Oliver and his band recorded Tin Roof Blues for Vocalion Records P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Tue, 11 Jun 1996 05:18:30 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Also on this day... On this day in 1963, George Wallace, governor of the State of Alabama actually stood in the doorway at the Universaity of Alabama to physically block the entrance of James Hood and Vivian Malone, two black students trying to register. Before the day was over Federal marshals convinced the governor to leave. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Tue, 11 Jun 1996 02:39:44 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: weeknight blues Comments: To: debra@IGLOU.COM In-Reply-To: <2.2.16.19960610101129.2c6f6906@iglou.com> from "Debra Eisert" at Jun 10, 96 09:58:00 am > > I would definitely go for the earlier -- especially if the venue serves food. > A local restaurant chain here features blues and barbeque (sigh -- life is > good) but you must stake out a claim to your table early for the popular > bands. Then it seems forever before they come on. I like the idea of a > blues happy hour. We have a few places here in Southern California that feature blues happy hour (The Blue Cafe in Long Beach is one). Also, my regular Friday gig (Main Street Restaurant, 4902 Main, Yorba Linda) starts at 6 pm (yes I know the thread concerns weeknite gigs), and they have excellent food and prices. I also play at Smokin' Johnnies BBQ, 11720 Ventura, Studio City, on some Sundays (5/23 and 6/14), starting around 7pm, and they also have exceptional BBQ and reasonable prices. However, my Tuesday/Saturday "regular" starts at 9 pm. Except for Main St., the crowd at all the others starts to pile in after 9pm. So the reason gigs don't start earlier is that the crowds don't support it. Which came first - the late gigs, or the late crowd? I suppose it's a moot point. Perhaps the problem is a lack of advertising? But where do you go to reach a blues audience? Many blues fans here in LA have never heard of Southland Blues, our major "local" blues publication. -- IronMan Mike Curtis ========================================================================= Date: Tue, 11 Jun 1996 02:30:01 -0700 Reply-To: Stan Ruffo From: Stan Ruffo Subject: Re: Diddley, Guy releases I haven't grown quite as fond of the new Bo Diddley as I have the new Buddy Guy....LIVE! The Real Deal (as it were). I like this disc because it sounds like a classic bluesman (Buddy Guy), leading a band (Saturday Night Live Band) of very good (though unrehearsed) musicians through several reasonably familiar tunes, all having a great time! For me, it breathes! Stan Blues On Tap - Sundays at 8pm on Visalia's KIOO 99.7FM ---------- From: Mgauf[SMTP:mgauf@AOL.COM] Sent: Monday, June 10, 1996 11:38 PM To: Multiple recipients of list BLUES-L Subject: Diddley, Guy releases Any comments on the new releases from Bo Diddley (w/everyone under the sun) and Buddy Guy Live? ========================================================================= Date: Tue, 11 Jun 1996 12:17:40 +0200 Reply-To: "F. van der Leeuw" From: "F. van der Leeuw" Subject: Re: "Facts" and "Opinions" In-Reply-To: <199606110124.SAA04033@inet.lasierra.edu> To all who want to share their knowledge on "facts" and "opinions" with us: The address of the linguist discussion list is: "Linguist@tamvm1.tamu.edu" Good luck. Frank van der Leeuw University of Amsterdam / Holland Institute of Generative Linguistics Department of Linguistics Spuistraat 210 1012 VT Amsterdam tel. (+31) 020-5253805 On Mon, 10 Jun 1996, Don Cicchetti wrote: > > You wrote "Why all the bickering? Just substitute 'FAVORITE' instead > >of > >'BEST'" > > Gavin Arneaux responded: > > > I think that might work. Except for those times when it is your > >opinion > >that something is the best but not your favorite. For example, I think that > >Robert Johnson is one of the 10 or so best guistartists (IMNSHO) that I have > >ever heard. But he isn't even close to that position as far as my FAVORITE > >guitarists go. > > However, I think that in most cases, at least as far as I am concerned, > >you could use "favorite" and "best" intercgangably. > > On the other hand, I still don't think that it's a problem as long as > >one > >understand's that, at least as far as I am concerned, using the word "best" > >means I'm talking about my opinion. > > > > Just one guy's opinion, Gavin > > > To say that something is "the best" but not "my personal favorite" conveys > even less meaningful content than "yadda-ya is the best ever". Someone at > that point has to wonder why "the best" isn't "your favorite" since "the > best" is at least -readable- as "what you like" on a relative scale of > preferences. > > "The best but not my favorite" is hard to understand at all without a lot > of explaining. And in the end, what you are really informing us about, is > NOT the blues, but how Gavin thinks... > > I submit, and don't take this wrong, that "how Gavin thinks" is perhaps a > less interesting subject. > > Once again, "the best" simply muddies the waters and is finally > self-referential and almost completely lacking in content. > > How about: > > "Hey, I just don't get how RJ does some of that stuff, man he impresses the > daylights out of me with his guitar playing. It SOUNDS primitive, but it > is really hard if you try to play it, because he has some many parts and > rhythms going at once, and then he sings on top of it!" Personally, I > like Hubert Sumlin's playing better, but RJ really gets me going... > > To say that, you have to think about -Robert Johnson and music-, as opposed > to how you think and what your "the best ever" list is. > > Don't think I am getting on your case here. I really don't think you have > understood some of the anti-"best" sentiment here quite yet. > > Nobody does what RJ did, he was the best, > Nobody does what Muddy did, he was the best, > Nobody does what T-Bone did, he was the best, > Nobody does what Son House did, he was the best, > Nobody does what Charlie Patton did, he was the best, > Nobody does what Leadbelly did, he was the best, > Nobody does what BB does, he is the best, > Nobody does what Buddy does, he is the best, > Nobody does what Otis does, he is the best, > > Are ALL true! and hundreds more. Depends on the mood I'm in. > > How can you choose? I know who I like, but you will like someone else. > In the end, no matter what words you substitute, "the best ever" tells us > nothing. > > DC > > oh and BICKER BICKER BICKER.... > > there, I feel so much better.... > > > ____________________________________________________ > Don Cicchetti > La Sierra University Library Media Services > Audio/Video/Computer/Satellite > Studio Production, Event Services, Academic support > dcicchet@lasierra.edu > > > Time flies like an arrow > Fruit flies like a banana.... > > --- Groucho > ____________________________________________________ > ========================================================================= Date: Tue, 11 Jun 1996 06:38:19 -0400 Reply-To: "jose.eric.s.maglanque" From: "jose.eric.s.maglanque" Subject: Help: Sister ROSETTA THARPE and WILLIE MAE FORD SMITH Help, somebody! I need directions to the complete recordings of: 1. Sister Rosetta Tharpe's duets w/ her mother, Katie Bell Nubin 2. Willie Mae Ford Smith Private e-mail, pls. Thanks in advance! - Delta Slim ========================================================================= Date: Tue, 11 Jun 1996 07:35:07 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0686 From: "DUTTWEILER.J" Subject: Re: Church Burnings and the Prez Date: Tuesday, 11 June 1996 7:35am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: Church Burnings and the Prez Vincent recently wrote: > Here's the actual content of the Prez's speech: > > QUOTE > President Clinton's weekly radio address > > June 8, 1996 > big snip < > I have vivid and painful memories of black churches being burned in my > own state when I was a child. Just to reiterate, there were NO (nope, not one, nada, zip, zero ) deliberate Church burnings in Arkansas during this, or any other time, according to both the state Attorney General AND the president of the Arkansas NAACP. Just FYI, reach your own conclusions. JD ========================================================================= Date: Tue, 11 Jun 1996 07:45:08 -0400 Reply-To: Tom Day From: Tom Day Subject: Re: CHEAPO CDs Comments: To: VT In-Reply-To: <4piodk$csn@news1.t1.usa.pipeline.com> On Tue, 11 Jun 1996, VT wrote: > > ROUNDER Records have issued a series of double CDs to celebrate their 25th > Anniversary- labelled as 2 CDs for LESS than the price of ONE. These > actually came out last year (1995). Of interest are: > > > Hey, at $9 for 2 CDs I shouldn't need to tell you any more....... > > Does anyone know what the others in the series are? > -- I have the Hills of Home one also. It's the "folk" edition of the series which has a decidely strong bluegrass leaning, but also has Mississippi John Hurt, Woody Guthrie and I believe Rory Block. It's another great buy. The series is also sold as a four pack (that's 8 cds) at Best Buys for $30. Sorry, can't remember what the fourth edition is. Tom ****************************************************************************** Tom Day And the butterflies fornicate in the wind... tday@umabnet.ab.umd.edu ****************************************************************************** ========================================================================= Date: Tue, 11 Jun 1996 12:30:49 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: Magic Sam on Charly? Comments: To: bit-listserv-blues-l@uunet.uu.net The deliberately same-titled "Westside Soul" on Charly is actually Magic Sam's Cobra recordings - tracks similar to the Paula/Jewel issue in the USA. It's a shame that they did this because Sam's Cobra recordings are actually very fine - and could have stood on their own without this ploy. Many have bought the Charly issue thinking that they were buying the Magic Sam classic album which, as Scott has correctly stated, is on Delmark. -- Vincent vt@pipeline.com On Jun 10, 1996 22:35:54 in article , 'scott d ' wrote: >At 09:36 PM 6/10/96 -0400, James H Spence wrote: >> I came across West Side Soul today - issued as a Charly CD, >> when I thought it was a Delmark release. I didn't purchase >> it because of previous discussions about Charly's business >> practices. So I have two questions: Does Charly have rights >> to Magic Sam's music, and is West Side Soul available as a >> Delmark CD? (I guess I have another question: how does this >> stuff end up in stores?) >> Jim Spence >> BGSU >> >> > >Jim, As far as I know, the "West Side Soul" released by Charly shares only >it's title with the Delmark release. I don't have it, but I think it's a >collection of his pre-Delmark recordings. > >I've talked to Delmark head Bob Koester on a number of occasions, and >although I've never asked him specifically about this, it seems to me he's >mentioned that Delmark has the exclusive rights to all the music Magic Sam >recorded while he was signed to the label (approx. '67-'69). The official >release of "West Side Soul" is currently available on CD from Delmark. > >How does it end up in stores? That I can't tell you, although I guess >wherever there's a market for something, somebody will find a way to reach >that market, legally or not. > > >Scott ========================================================================= Date: Tue, 11 Jun 1996 12:37:01 GMT Reply-To: Jeff Christiansen From: Jeff Christiansen Organization: University of Maine System Subject: Re: U.P. Wilson Live Comments: To: bit-listserv-blues-l@uunet.uu.net Greetings from Maine: The "Maine" date for U.P. is the Southern Maine Society Blues Festival, Sat. June 22, at the Westcustego Inn in No.Yarmouth, ME., about 15 miles from Portland. I've never heard U.P., but he sounds interesting. i don't care for the "crank it up and let 'er rip style", so i hope that's not what he's all about ... i think all the rest of the acts for the festival are "local". i was supposed to back up vocalist Pam Baker (on guitar) until i became intimate with my table saw thsi past Sunday eve. the doc says "son, you won't be playin' dah blooz fuh ah-while." i tore up my left thumb pretty good. i was wondering if anyone has tried using a splint for a slide!! hmmmmm: "Ripsaw Jeff". OF COURSE, i'll HAVE to try "Cross Cut Saw". whilrled peas, jc "david m. carpenter" <103156.340@COMPUSERVE.COM> wrote: >Hey New England, >Last night I went to see U.P. Wilson at the Hungry Tiger in Manchester, CT. >Having had several late nights recently and knowing that alarm would be going >off at 6:00 this morning, I had no intentions of staying late, perhaps 10:30 or >the end of the first set. Well, the first set ended, the break passed, the >second set began and ended and there I was. It was just too good to leave. Raw >Texas blues that rocked a surprisingly small crowd. U.P. smoked and the backing >(Steve Meek on drums and Doug Zabel on bass) band was impressive. Wait till you >hear U.P. play his guitar one handed. > They're scheduled for the House of Blues in Cambridge on 6/19 and will be >back in CT at the Maple Tree Cafe in Simsbury on Friday 6/21 and Black Eyed >Sally's in Hartford on Friday the 28th. U.P. also mentioned a date in Maine, but >I don't remember when or where. I strongly recommend that you see at least one >of these shows. As much as I like his latest CD, I was not prepared for a night >as good as last night. Real nice guys, too. >Dave Carpenter >Blues Music Director - WHUS-FM >University of Connecticut - Storrs, CT 06269 >http://ourworld.compuserve.com/homepages/davecarpenter ========================================================================= Date: Tue, 11 Jun 1996 13:45:49 +0100 Reply-To: Bo Carlsson From: Bo Carlsson Subject: Muddy on LRC The cd of Muddy Waters live that i mention is, as I wrote, on LRC (Lester Recording Corporation) and has the number: CDC 9050. It is mnamed "The Hoochie Coochie Man. There is very little information on the sleeve and it is not very accurate. It is recorded 1964 and that might be true. The personal differs from track to track but those who are listed is: Muddy, Otis Spann, George Smith (he is listed to play sax! But of course he plays harmonica) Sammy Lawhorn, Guitar and Luther Johnsson, bass, and that might be true since the fender-bass is played quite "guitaristic". (on some tracks you have no harp but accoustic bass) and Frances Clay, drums. The music is well recorded and one thing that is nice is to get a lot of Muddys playing in open G-tuning (he played mostly in standard tuning during his later career) I=B4ts also nice yo hear live-versions of songs like "Rolling and Tumbling" and "Walking blues". The track listing is very incorrect. but here it is: Country boy Baby please dont go Hootchie Coochie man Sitting and thinking 19 years old country jail Long Distance Call Rock me baby Sweet Little Angel Rosalie All Night Long Early Morning Blues All in all a very nice record. Bo ========================================================================= Date: Tue, 11 Jun 1996 08:23:31 -0500 Reply-To: Richard Flohil From: Richard Flohil Subject: Otis Grand Phew, this list is amazing! I'd never heard of Otis Grand, let alone his music, until someone asked whether he was touring. The name rang some sort of bell, and I remembered that his record company had sent me a review disc for my column (in The Record, Canada's music business weekly). Franklly, it hadn't rung much of a bell, because I'm getting 20-30 albums a week, but after reading the post, I found the thing in my pile of "stuff to listen to when I get the chance" and put the record on. I'll say no more, except that it's a rocking, Bobby Bland-drenched r&b record in the old style, with energy and good playing (and fine horn and B3 parts) to burn. I'm impressed! And thrilled that people share info (as well as opinions!) on this list. Thanks folk!! Richard the Elder PS: I haven't got the date to hand, but I know the band's coming into the Silver Dollar in Toronto around the time of their Ottawa visit in early July, and I sure hope that local folk will give them the support they deserve - I can't wait to see 'em! ========================================================================= Date: Tue, 11 Jun 1996 16:58:16 +0400 Reply-To: Peter Gannushkin From: Peter Gannushkin Organization: Russian Space Research Institute Subject: Re: Luther Allison's Handy Awards? Comments: To: bit-listserv-blues-l@uunet.uu.net Hi! > Jef Jaisun wrote in article = ... > Does anyone have a list of Luther Allison's 1996 Handy Awards? I need > 'em, like, quick. Thanks. The following is a complete list of W.C. Handy Blues Awards = winners: 1. Blues Entertainer of the Year: Luther Allison. 2. Blues Band of the Year: Joe Louis Walker & The Bosstalkers. 3. Contemporary Blues-Male Artist of the Year: Luther Allison. 4. Contemporary Blues-Female Artist of the Year: Koko Taylor. 5. Soul/Blues-Male Artist of the Year: Little Milton. 6. Soul/Blues-Female Artist of the Year: Etta James. 7. Traditional Blues-Male Artist of the Year: Jimmy Rogers. 8. Traditional Blues-Female Artist of the Year: Katie Webster. 9. Acoustic Blues-Artist of the Year: John Hammond. 10. Best New Blues Artist: Coco Montoya. 11. Blues Instrumentalist-Guitar: Luther Allison. 12. Blues Instrumentalist-Harmonica: Charlie Musselwhite. 13. Blues Instrumentalist-Keyboards: Pinetop Perkins. 14. Blues Instrumentalist-Bass: Willie Kent. 15. Blues Instrumentalist-Drums: Willie "Big Eyes" Smith. 16. Blues Instrumentalist-Other: Clarence "Gatemouth" Brown - = violin. 17. Contemporary Blues Album of the Year: Luther Allison: Blue = Streak. 18. Soul/Blues Album of the Year: Percy Sledge: Blue Night. 19. Traditional Blues Album of the Year: John Lee Hooker: Chill = Out. 20. Comeback Blues Album: Jimmy Johnson: I=C6m A Jockey. 21. Acoustic Blues Album of the Year: Rory Block: When A Woman = Gets The Blues. 22. Reissue Album of the Year: Otis Rush: So Many Roads. 23. Blues Song of the year: Cherry Red Wine - Luther Allison = (Luther Allison/Blue Streak). --=20 Best Regards, Peter Gannushkin. ========================================================================= Date: Tue, 11 Jun 1996 13:09:48 GMT Reply-To: Jeff Christiansen From: Jeff Christiansen Organization: University of Maine System Subject: Re: crappy (i.e. cheap) gear Comments: To: bit-listserv-blues-l@uunet.uu.net .... have never heard of Lyle guitars.-find it amazing that Fender would make a cheapo for Montgomery Ward. ... i think the use of cheapo guitars is not a new "fad". of course, alot of the "orginal" blues artists could afford nothing else. even more "modern" artists like Hound Dog Taylor used a "veg-o-matic" (cheapo with mucho rocker switches)... i would not be surprised if the King of Cheapo, Tiesco Del Ray (who got his name form the cheapo Japanese brand), who had/has (?) a column in Guitar Player on cheapo guitars, has a web page. (?)... my traditional use of cheapos, like other folks, is as slide guitar, since they often play like a baseball bat and don't like to stay in tune. i put on heavier strings, and tune one to open G, and another to the E (for Elmore of course)... my cheapo of choice has always been Supro, which often had fiberglass-type bodies. i've 4 or 5. one of them had a GREAT "Dairy Queen" quepy head stock. i''ve paid anywhere from $75 to $400 for them. like eveything else, once they are discovered to be "vintage", the price goes up. i currnetly have a Supro Duo-Tone that is a FINE example of Art Deco. i also have a Silvertone bass (Dan Electro for Sears), of the masonite variety. i've have great angst over whether to replace the ridiculous, one-piece bridge with something tune-able... jeff christiansen gorham, maine Mark Halverson wrote: >So guitar gearheads, try this. >I picked up a guitar at a pawn shop a couple years ago (I knew it wasn't a >classic to begin with). An electric hollow body by Lyle. Has a Gibson ES >style body (I think that's the series) complete with "f" holes with a Fender >looking neck. It's been modified slightly, and plays OK (as well as I sound >on any guitar, at least!). I was told that Lyle guitars were made by Fender >as the Montgomery Wards "house" brand several years ago. I've seen a couple >others around, under similar circumstances (discards). Who knows the full >story? Other proud Lyle owners out there? Are these guitars worth anything >other than as a non-prestigious working instrument? >Related to this is a fad of sorts going around (at least) these parts. >Several guitar virtuosos have acquired one or more of these old "off brand" >hollow bodies to use as a second guitar (usually to the standard Strat). >These second guitars are often played (no doubt for a mellower sound) rather >than simply used as a beater for slide work, or something. Is this >prevalent elsewhere? Which if any of these type of guitars have value? >Personal favorites or recommendations? Is this sort of obscure info on one >of the web guitar sites? >I confess to knowing little about this, so spare any condescension. Thanks. ========================================================================= Date: Tue, 11 Jun 1996 09:30:09 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0064 From: "DUTTWEILER.J" Subject: Muddy on LRC Date: Tuesday, 11 June 1996 9:29am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Muddy on LRC Bo recently wrote: > The music is well recorded and one thing that is nice is to get a lot of > Muddys playing in open G-tuning (he played mostly in standard tuning during > his later career) I=B4ts also nice yo hear live-versions of songs like > "Rolling and Tumbling" and "Walking blues". The track listing is very > incorrect. but here it is: > Country boy > Baby please dont go > Hootchie Coochie man > Sitting and thinking > 19 years old > country jail > Long Distance Call > Rock me baby > Sweet Little Angel > Rosalie > All Night Long > Early Morning Blues There is, then, another disc on LRC, part of the "Sonny Lester Collection" (if I'm remembering correctly) that matches the description given earlier on the list from the Muddy discography. I have that particular CD and it is also a quite nice performance and still readily available at a bargain bin price. I also have a bargain "Gold Collection" (can't remember the label, but they put out a number of blues and jazz artists with a Gold background for the packaging) that is also a "live" Muddy Waters. Anyone know the details for this disc? Thanks, JD ========================================================================= Date: Tue, 11 Jun 1996 06:20:33 -0700 Reply-To: Guy Tapper From: Guy Tapper Subject: Re: Church Burnings and the Prez > >Just to reiterate, there were NO (nope, not one, nada, zip, zero ) deliberate >Church burnings in Arkansas during this, or any other time, according to both >the state Attorney General AND the president of the Arkansas NAACP. > >Just FYI, reach your own conclusions. > >JD Sounds like maybe Bill has taken a page from Reagan's "it didn't really happen but it sounds good so I'll say it" book. Guy Tapper Marine Life Research Group Scripps Institution of Oceanography 9500 Gilman Dr. La Jolla CA 92093-0227 (619)534-2358 (619)534-6500 fax ========================================================================= Date: Tue, 11 Jun 1996 09:33:32 -0400 Reply-To: MARCIAG@VMS.CIS.PITT.EDU From: Marcia Grodsky Subject: Re-Post: Blues-L T Shirt Order Form & Instructions If possible, print out the order form, fill it in, and mail it. DO NOT EMAIL YOUR ORDER. Send your order through the U.S. mail, accompanied by a check. If you are outside the U.S., send me private email and we'll work on payment/ mailing arrangements on a case by case basis. If you can't print out the order form, just make sure that whatever you send me is very clear with respect to quantity, size(s), color(s), etc. And that your e-mail address (as well as your shipping address) is legible. T-shirts will be a good quality, 100% cotton. Sweatshirts will be a medium weight blend. Postage and handling, as in the past, are based on the chart that the University uses in its mail-order catalog. It's just too hard to figure each individual order. Any extra money collected through the p&H charges goes right into the pot for the Delta Blues Museum. All proceeds of the t-shirt sales go to the museum (as previously determined by vote of those Blues-L members who purchased the shirts during the initial sale). DEADLINE: All orders must be in by June 21. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ORDER FORM NAME: ADDRESS: CITY: STATE & ZIP: EMAIL ADDRESS: T-Shirts S M L XL XXL XXXL COLOR White w/ Blue & Black Blue w/ White & Black Black w/ White & Blue SWEATSHIRTS S M L XL XXL XXXL COLOR Lt.Gray w/ Dk. Blue Dk. Blue w/ White POSTAGE & HANDLING (U.S. orders only) $0 -$15.00 add $3.00 $16-$25.00 add $3.50 $26-$50.00 add $4.50 $51-$75.00 add $5.00 $76-$100.00 add $5.50 over $100.00 add $6.00 Make checks payable to: Marcia Grodsky Mail order form and check to: Marcia Grodsky Darlington Memorial Library 601 Cathedral of Learning University of Pittsburgh Pgh. Pa. 15260 ========================================================================= Date: Tue, 11 Jun 1996 13:31:07 GMT Reply-To: Undetermined origin c/o LISTSERV maintainer Comments: RFC822 error: Incorrect or incomplete address field found and ignored. Comments: RFC822 error: Incorrect or incomplete address field found and ignored. Comments: RFC822 error: Incorrect or incomplete address field found and ignored. Comments: RFC822 error: Mail origin cannot be determined. Comments: RFC822 error: Original tag data was -> @inlink.com () From: Undetermined origin c/o LISTSERV maintainer Organization: inlink Subject: Townsend/Lockwood/Homesick/Yank together! Comments: To: bit-listserv-blues-l@uunet.uu.net Yoshi's in Oakland, CA will present four of the greatest living bluesmen together Wed July 17 through Sun July 21. Henry Townsend, Robert Jr.Lockwood, Homesick James and Yank Rachel. Two shows nightly, eight and ten. Each artist will perform a couple of songs themself, then the four will jam for the remainder of the set. Yoshi's serves Japanese food. Their capacity is 280. This is an unbelievable lineup. They might as well call it "Giants of Country Blues." If you're going to be near the Bay area on these dates don't miss this one. There won't be many more like it. Joel Slotnikoff BLUES WORLD http://www.bluesworld.com ========================================================================= Date: Tue, 11 Jun 1996 08:46:22 -0500 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: Church Burnings and the Prez Comments: To: gtapper@UCSD.EDU In-Reply-To: from "Guy Tapper" at Jun 11, 96 06:20:33 am In an earlier message, Guy Tapper said: ] Sounds like maybe Bill has taken a page from Reagan's "it didn't really ] happen but it sounds good so I'll say it" book. Isn't it wonderful that the two major parties can set aside their differences and learn from one another? -- * The most exciting phrase to hear in science, the one that heralds new * discoveries, is not "Eureka!" (I found it!) but "That's funny ..." * -- Isaac Asimov ========================================================================= Date: Tue, 11 Jun 1996 10:01:11 -0400 Reply-To: MARCIAG@VMS.CIS.PITT.EDU From: Marcia Grodsky Subject: Whoops! Mistake in t-shirt order form! Paul Fenton just informed me that I left the prices out. Sorry about that! I'm a computer moron who doesn't know how to edit, so I had just re-typed the form. And of course, I didn't proofread it and screwed up. Rather than re-type the whole thing again and probably add new typos,I'm just going to list the prices here: T Shirts: S $14.00 M $14.00 L $14.00 XL $14.00 XXL $15.00 XXXL $16.00 Sweatshirts: S $23.00 M $23.00 L $23.00 XL $23.00 XXL $25.00 XXXL $26.00 Once again, my apologies. If you have any questions, email me. And remember, DEADLINE: June 21. ---Marcia ========================================================================= Date: Tue, 11 Jun 1996 07:30:27 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: June 12 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BLEYER, ARCHIE (owner: CADENCE REC) b. 1909-0612, CORONA, L.I., NY BRACKEN, VIVIAN (co-owner: VEE JAY REC) d. 1989-0612, GARY, IN 69 BURNETTE, ROCKY (g) b. 1953-0612, MEMPHIS, TN CHURCHILL, TREVOR(co-owner: ACE (UK) REC) b. 1941-0612, WINDERMERE, UK COLEMAN, HERB (lead/DELTA RHYTHM BOYS) d. 1974-0612, CANNES, FRANCE 46 COLLINS, LYN (v/JAMES BROWN) b. 1948-0612, LEXINGTON, TX COREA, CHICK (p) b. 1941-0612, CHELSEA, MA DORSEY, JIMMY (cl) d. 1957-0612, NEW YORK CITY, NY 53 FEATHERS, CHARLIE (g/rockabilly) b. 1932-0612, MYRTLE, MS GILMORE, BOYD (g/MODERN REC) b. 1910-0612, BELZONI, MS HUTTO, J. B. (g) d. 1983-0612, HARVEY, IL 54 JACKSON, MAURICE (of THE INDEPENDENTS) b. 1944-0612, CHICAGO, IL LANE, SONNY (g) d. 1987-0612, OAKLAND, CA 50 MAINER, J. E. (bjo/vln) d. 1971-0612, CONCORD, NC 72 OBERSTEIN, ELI (ceo/a&r/VICTOR/CBS REC) d. 1960-0612, WESTPORT, CT 58 ROBINSON, GEORGE "HCA" (hca/DELMARK REC) b. 1934-0612, ABERDEEN, MS SHAW, MILTON (of SHAW ARTISTS CORP) d. 1966-0612, NEW YORK CITY, NY 39 SNYDER, CLORICE V. (v) d. 1989-0612, NEW HOPE, MN 72 WILLIAMS, EDDIE(b/JOHNNY MOORE/3 BLAZERS) b. 1912-0612, ST. AUGUSTINE, TX ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 11 Jun 1996 09:35:21 -0500 Reply-To: Jeff Seale From: Jeff Seale Subject: Texas Johnny Brown Chi. review There's a review of Texas Johnny Brown's appearance at the Chicago Blues festival by Blues-L's own Niles Frantz available on the Texas Johnny Brown Web Page. There's also a beatiful photo of Johnny all decked out in his purple jacket and trademark hat. The review is at http://bioc09.uthscsa.edu/~seale/chi.html >From there you can go back to the TJB Web page if you like. -Jeff ------------------------------------------------------------------------------ __ Jeff Seale, PhD | |___ University of Texas Health Sciences Center @ San Antonio ___|* | seale@bioc02.uthscsa.edu \ | http://bioc09.uthscsa.edu/~seale/home.html \/\ / \ / I jumped bail from the Sweetwater County, now I'm on the run \( On my head is a 5 number bounty, for a crime I never done -Joe Ely ========================================================================= Date: Tue, 11 Jun 1996 09:54:06 CST Reply-To: John Wells From: John Wells Subject: Frank Swan; info? I am seeking information about a blues musician (drummer, primarily) named Frank Swan. He has been inactive in recent years (by choice), but once played with Albert King, Little Milton, and perhaps many others. I am uncertain as to whether or not he was recorded with any of the people he backed. But he spent about 30 years touring/playing, so any information, such as recordings, personal encounters, ets. will be appreciated. Thanks. "The Boogie Daddy" ========================================================================= Date: Tue, 11 Jun 1996 14:41:03 GMT Reply-To: skb8721@tam2000.tamu.edu From: "Shane K. Bernard" Organization: Texas A&M University (Student) Subject: Re: Zydeco: Creole or Cajun? Comments: To: bit-listserv-blues-l@uunet.uu.net Lee Nichols wrote: >They have to go all the way to Tennessee just to get played on >the station that's just a few blocks away from their houses and the clubs >where they play! Reminds of something swamp popper Bobby ("Later Alligator") Charles once told a Lafayette-area radio station that refused to play anything on his Rice'n'Gravy label of Abbeville LA because it was "a local record." Charles replied, "No, man, this is a _local_ radio station we're standing in, but this is an _international_ record!" SKB Cajun in Exile ========================================================================= Date: Tue, 11 Jun 1996 09:59:56 -0500 Reply-To: scott d From: scott d Subject: Re: Some Notes on Chitown Fest Comments: To: Martha W Alibali At 01:39 AM 6/11/96 -0400, Martha W Alibali wrote: >Excerpts from netnews.bit.listserv.blues-l: 11-Jun-96 Some Notes on >Chitown Fest by Jack Oudiz@MIDTOWN.NET >> 2. The clubs are still the best reason to visit Chitown. >> >> 3. I don't think I can handle the North side clubs ever again. Drunk >> college kids and yuppies are a stone bummer. > > >Didn't anybody go to Rosa's during blues fest? I haven't heard a word >about it! > >Martha > I stopped by late Sunday night for the "After Fest Jam with Little Mac Simmons" (who is a favorite of mine) and the place was abandoned, and the band was just sitting around talking. I don't know if they had a better crowd earlier, but it's a shame, because Mac & his band are really great, and Rosa's really is one the friendliest blues clubs in town. Scott http://www.geocities.com/SunsetStrip/4466 Check it out! ========================================================================= Date: Tue, 11 Jun 1996 10:00:00 -0500 Reply-To: scott d From: scott d Subject: Re: Active folk who recorded at Sun Comments: To: Richard Shurman At 12:56 AM 6/11/96 -0500, Richard Shurman wrote: >As far as I know, Billy Emerson is still among the living, last heard from >in Florida somewhere. > For once I'm glad to find out I "mis-remembered" something. Do you know whether he's active musically at all? Scott http://www.geocities.com/SunsetStrip/4466 Check it out! ========================================================================= Date: Tue, 11 Jun 1996 11:06:11 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0117 From: "DUTTWEILER.J" Subject: Duke/Peacock & MCA Date: Tuesday, 11 June 1996 11:06am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Duke/Peacock & MCA Does anyone on the list (how silly, of course someone on THIS list) know when MCA acquired the Duke/Peacock output? Thanks in advance for the info JD ========================================================================= Date: Tue, 11 Jun 1996 11:09:54 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: Epiphone slam? Huh? (Walter Broes) Sorry Walter, I miscued your address so I gotta post this to the group. Ummm, have we forgotten our manners, Walter? Jeez. I was merely speaking up in defense of what (despite your opinion, which you're entitled to) are clearly really nice quality instruments built in Asia. I in *NO* way pretend to be an Epiphone expert, but I do own two of them. What I was recanting to our interested fellow blues-lers was simply a bit of history, straight from Epiphone's own literature. I don't have it here in front of me, but having read it a few times, I remember that the company was started back in the 1800's by a Greek luthier who emigrated here to the US and the first production model was named after his son, nicknamed "Epi", and Epiphones were born. I only threw this in to the chat by way of saying to the "Jap-crap" thinkers that this isn't some young upstart company that throws guitars together without concern for quality and workmanship. Simply that the company's been around an AWFULLY long time, and that often goes a long way when one refers to "quality". Yes, we all know that Gibson acquired the name in 1947, and so yes you could say that today's Epiphone's are essentially Gibsons. I dunno, I don't have a problem with that, I didn't say otherwise. Les Paul seems to like 'em a lot. Anyway, I guess I don't want to "offend" anyone further by accidently comparing new Asian built Epi's with the old ones built here in the USA. You love the old ones, and I'm sure their great! I've never played one of them, but I'm pretty sure all I was saying is the new ones are super, affordable players that stack up really well against American version of the same model/styles for a lot less money. No, I'm *POSITIVE* that's all I said. Anyway, there's nothing I hate worse than having do defend myself verbally in front of the group. That's not what Blues-l is about. Sorry Walter that I dumped your address by mistake. But on the other hand, I hate like hell to be talked to like I'm an idiot, especially in "public". Enjoy your guitars, my friend. I do. Deal? Riffin Rick [not an expert, just a working musician] F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 11 Jun 1996 15:10:20 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: Church Burnings and the Prez Comments: To: bit-listserv-blues-l@uunet.uu.net On Jun 11, 1996 07:35:07 in article , '"DUTTWEILER.J" ' wrote: >Date: Tuesday, 11 June 1996 7:35am ET >To: Internet >From: DUTTWEILER.J@GOMAIL >Subject: Re: Church Burnings and the Prez > > >Vincent recently wrote: >> Here's the actual content of the Prez's speech: >> >> QUOTE >> President Clinton's weekly radio address >> >> June 8, 1996 >> big snip < >> I have vivid and painful memories of black churches being burned in my >> own state when I was a child. > >Just to reiterate, there were NO (nope, not one, nada, zip, zero ) deliberate >Church burnings in Arkansas during this, or any other time, according to both >the state Attorney General AND the president of the Arkansas NAACP. > >Just FYI, reach your own conclusions. > >JD I am apolitical - I cannot confirm or deny whether the President told a lie on this item or not - to me that piece is IRRELEVANT to the issue at hand. The sentiment of his address to me was RIGHT ON - let's NOT get side tracked by petty politics and address the issue at hand, which is what I believe he has done. -- Vincent vt@pipeline.com ========================================================================= Date: Tue, 11 Jun 1996 11:23:07 -0400 Reply-To: CULTured_RAGS From: CULTured_RAGS Subject: (Very Long) MELLON_JAZZ_FEST schedule For those who asked for the schedule.... here goes.... enjoy Jazz Live there is nothing like it... MELLON JAZZ FEST SCHEDULE Location PITTSBURGH, PA and its precincts Dates today to JUNE 16th, '96 Tuesday June 11 USAir Old South Dixieland Band USX Tower Plaza/600 Grant St./Downtown Noon-1:30 pm/FREE Boilermaker Jazz Band Dixie Doc and The Pittsburgh Dixieland AllStars The Balcony 5520 Walnut St/ShadySide/ (412) 687-0110 8:00 pm/FREE Charlie Sanders James Street Tavern 422 Foreland St/North Side/ (412) 323-2222 9:00 pm/FREE Wednesday June 12 Special Senior's Event Maureen Budway with Roger Humphries and RH Factor Vintage 401 N.Highland Avenue/East Liberty 1:00-2:30 pm/FREE 10th Anniversary Commemorative Event "Mellon Jazz Fest Honoree Walkway" Dedication Cermony Dave/Maureen Budway Quartet Pittsburgh History Center 1212 Smallman St/Strip District/ (412) 454-6000 5:00-7:00 pm/$ 5 admission Five Guys Named Moe Pittsburgh Banjo Club James Street Tavern 422 Foreland St/North Side/ (412) 323-2222 9:00 pm/FREE Thursday June 13 Late Edition Mellon Square/Willian Penn Place/Downtown 12:00-1:30 pm/FREE 1996 Mellon Jazz Fest Honoree George Benson, Nathan Davis & The Tomorrow Band Point State Park 7:30 pm/FREE Leroy Wofford Jam Session James Street Tavern 422 Foreland St/North Side/ (412) 323-2222 9:00 pm/FREE Friday June 14 Shades Point State Park 12:00-1:00 pm/FREE The Gift of Pittsburgh Jazz "Lady's Nite" featuring Dakota Staton The Hill House Kaufmann Auditorium 1835 Centre Ave/Hill District/ (412) 392-4430 6:00 pm dinner/ 7:30 pm concert $ 60 dinner $20 concert only Kenia & Pao Brazil Jazz Happy Hour at The Carnegie Museums Carnegie Musuem of Art 4400 Forbes Ave/Oakland 6:00-7:30 pm/FREE Henry Threadgill & Make A Move Point State Park 7:30 pm/FREE Dee Dee Bridgewater & trio South Park Performance Area Brownsville & McCorkle Roads/South Park 8:00 pm/FREE Pittsburgh Jazz on Film Maxine Sullivan: Love to Be in Love Mary Lou Williams: Music On My Mind The Carnegie Museums Carnegie Musuem of Art 4400 Forbes Ave/Oakland 8:00/$ 5; $ 4 for students/seniors/members Ahmad Jamal Dizzy's 108-14 19th Street/Strip District/ (412) 456-1395 8:00 pm and 11:00 pm/$ 22.50 David Sanchez with Roger Humphires Sonny Barbato, and Dwayne Dolphin Club Cafe 58 South 12th Street/South Side (412) 381-4469 9:00 pm/$ 8 Saturday June 15 "Jazzoo for Juniors" featuring Ken Karsh, Max Leake and H.B.Bennett Kids Kingdom @ Pitt Zoo 1 Hill Road/Highland Park/ (412) 665-3639 11:00 am and 1:00 pm/FREE with Zoo admission Jimmy Heath with Roger Humphires, Dwayne Dolphin Jimmy Ponder and The Jazz Workshop band Carnegie Library Auditorium/ 7101 Hamilton Ave/Homewood 3:00 pm/ $ 10; $ 5 for seniors and students John Zorn's Masada Water Shed Rodef Shalom Temple Levy Hall/4905 5th Ave/Oakland/ (412) 261-0554 8:00 pm/$ 15 @ door; $ 12 advance Pittsburgh Jazz on Film Maxine Sullivan: Love to Be in Love Mary Lou Williams: Music On My Mind The Carnegie Museums Carnegie Musuem of Art 4400 Forbes Ave/Oakland 8:00/$ 5; $ 4 for students/seniors/members Ahmad Jamal Dizzy's 108-14 19th Street/Strip District/ (412) 456-1395 8:00 pm and 11:00 pm/$ 22.50 David Sanchez with Roger Humphires Sonny Barbato, and Dwayne Dolphin Club Cafe 58 South 12th Street/South Side (412) 381-4469 9:00 pm/$ 8 Sunday June 16 "A Tribute to Fathers" Afro-American Institute Boys Choir Kehonia Koncept Bill Strayhorn Youth Orchestra Regent Theatre 5941 Penn Ave/East Liberty 4:00 pm/$ 12; $ 10 group rate Jazz at The Hill House The Hill House Kaufmann Auditorium 1835 Centre Ave/Hill District/ 5:30 pm - 9:00 pm/FREE Walt Harper & All That Jazz Hartwood Acres Amphitheatre Middle Road/Allison Park 7:30 pm/FREE Tim Stevens Project with Strings A Tribute to Tony Bennett Holiday Inn, University Center 100 Lytton Ave/Oakland 7:00 - 11:00 pm/FREE Ahmad Jamal Dizzy's 108-14 19th Street/Strip District/ (412) 456-1395 8:00 pm and 11:00 pm/$ 22.50 +===================================================================+ | _-\\|//-_ | | | // \\ | Laissez les bon temps roulez!! | | // ~~ ~~ \\ | Let the good times roll!! | | /d-(*)-(*)-b\ | ------------------------------ | | // L \\ | SANJAY 'RAGS' RAJAN | | // //|\\ \\ | sanjay_rajan@formtek.com | | ////`---'\\\\ | FORMTEK,INC. | | // //|||\\ \\ | PITTSBURGH, PA | | // /|||\ \\ | ------------------------------ | | -/---/\o/\---\- | "CULT"ivate ORGANIC WHIRLED PEAS | | /"\ | | +===================================================================+ ========================================================================= Date: Tue, 11 Jun 1996 11:24:00 PDT Reply-To: Meridith Farnworth From: Meridith Farnworth Subject: Re: WC Clark in Boston Oded had to go and rub this in: > I just saw him this Friday night in Boston. He had Mark Kazanoff with > him and did a bunch of tunes from "Texas Soul". ouch! I'd scanned the Bahston Globe Calendar on Thursday, none of the listings really caught my eye. Then, at eleven o'clock Friday night I finally kicked back to give it a thorough going-over. DANG! If the WC gig didn't jump right out at me. I looked at the listing, looked at the clock (70 miles to Boston), and started to cry. I can't believe I missed it (taught me a huge lesson, though...gots to do the final combing of the Globe on Thursday!). I'm looking forward to getting WC's new release...that man's sweet singing could talk me into committing a crime.... Is Gerald Spencer still playing bass in WC's Blues Revue? oooh, how angry I'll be with myself if I find out that he was in town with WC on Friday. --Meri (playing hookey from work today, and the sun's starting to burn through the fog!) mfarn@fibusa.com p.s. oh, yeah... I would've even gone out on a "school night" to see WC. no questions asked. ========================================================================= Date: Tue, 11 Jun 1996 11:39:11 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0137 From: "DUTTWEILER.J" Subject: Re: Church Burnings and the Prez Comments: To: vt@USA.PIPELINE.COM Date: Tuesday, 11 June 1996 11:38am ET To: GO-MAIN.VT@DOASMAIN.SNADS, Internet From: DUTTWEILER.J@GOMAIL Subject: Re: Church Burnings and the Prez > On Jun 11, 1996 07:35:07 in article , > '"DUTTWEILER.J" ' wrote: > > >Vincent recently wrote: > >> Here's the actual content of the Prez's speech: > >> > >> QUOTE > >> President Clinton's weekly radio address > >> > >> June 8, 1996 > >> big snip < > >> I have vivid and painful memories of black churches being burned in > my > >> own state when I was a child. > > > >Just to reiterate, there were NO (nope, not one, nada, zip, zero ) > deliberate > >Church burnings in Arkansas during this, or any other time, according to > both > >the state Attorney General AND the president of the Arkansas NAACP. > > > >Just FYI, reach your own conclusions. > > > >JD > > I am apolitical - I cannot confirm or deny whether the President told a lie > on this item or not - to me that piece is IRRELEVANT to the issue at hand. > > > The sentiment of his address to me was RIGHT ON - let's NOT get side > tracked by petty politics and address the issue at hand, which is what I > believe he has done. While I certainly agree that attention needs to be given to this issue, I think it is precisely the President who is playing politics with it. Waiting until the National Press picked up this story (for those of us living in the south, we have been aware of these burnings for months, and that it has not only been BLACK churches targeted) and then fabricating a "memory" to appear to be "in touch" with the communities feelings, he finally offers what is ALREADY being done, a Federal investigation. As a Georgian, I am often reminded by such theatrics on the part of the President the statement our Governor, Zell Miller, made (I believe) at the Democratic National Convention when nominating Mr. Clinton, "Bill Clinton FEE-ULS our pain." I am not making a case for the relative worth of one candidate vs. any other, just pointing out some hypocrisy. JD ========================================================================= Date: Tue, 11 Jun 1996 11:42:46 -0700 Reply-To: steve.roberts@OCTEL.COM From: Steve Roberts Subject: Josh S., The Blues-less Blues Fest of 1995, Etc. Hey all- Yesterday JBARDS brought up Josh Smith & the Rhino Cats, & I thought I'd throw in my .02, since it brings up one of my pet musical peeves. I saw JS & the RCs at last summer's Sarasota (Florida) Blues Fest, which has, historically, favored so-called prodigy acts (most notably Derek Trucks, who does a passable Duane imitation in front of an accomplished back-up band). My gripe with young Josh was the same as my beef with the festival itself. Was it entertaining? Yes, in the sense that I, personally, consider nearly all competent live music entertaining. But was it Blues? Barely..if at all. We've agreed upon the concept that rock's roots are blue, and that much of what's becoming popular in today's rock is strongly blues-oriented. We've also recognized that a certain number of new "blues" acts are strongly rock-oriented. (Some of us would put SRV in one of these groups, but we must wait the obligatory 4-1/2 days before we open <> can of worms again.) I, personally, enjoy good blues/rock fusion (if you'll pardon the use of that particular f-word), and have said as much here in the past. It's a natural affinity, I'm guessing, to many of Blues-Lers -- particularly those of us who "backed" into a love for the Blues from our original rock (i.e., LZ & Jimi) interests, and continue to appreciate both artforms. My problem comes with the increasing number of people fail to distinguish between the two. I sure woulda felt better about the whole Fest if there was a little more <> involved. With very few exceptions, the day was dominated by bluesrockers. Most of the audience didn't seem to care--they ate up Josh's noodling crowdwalk ("Cultural Suicide," in Jim's words). And by the time the sun set, even the headliner (taking his cue from the audience's apparent appreciation of the day's fare?) turned a decidedly blues-rock performance (no prize for guessing who--too many of you have seen the same show in your own towns!) I ended up feeling somewhat cheated...and real leery of this year's Fest, which has just been announced. Dr. John is headlining--anyone wanna tell me what to expect? Now, were I in JBARD'S shoes, what would trouble me most <> be that my daughter was into the Rhino Cats (for who among us doesn't have an embarrassing skeleton or two in the musical closet of their youth?), but that she may be mistaking Josh's rock-ish guitar whankings for The Blues. If ever there was a case for some gentle-but-firm parental guidance, James... BTW...He should also worry about telling a List full 'o musical preverts that he has a young-un who looks like Demi, but that's fodder for a whole different discussion... S- <> ========================================================================= Date: Tue, 11 Jun 1996 11:55:11 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0142 From: "DUTTWEILER.J" Subject: Taj Mahal Info Wanted Date: Tuesday, 11 June 1996 11:55am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Taj Mahal Info Wanted Okay, my mind is moving in MANY directions today, from the sacred to the profane, the ridiculous to the sublime ;-) I got to thinking about a Taj Mahal LP my older brother had in the early to mid-70s. If my memory is correct it was titled "Natch'l Blues" and one song I remember being on it was "She Took the Katy." I really like this LP at the time but have not seen it on CD, nor have I seen it listed in recommended releases from Taj that I have seen. Has anyone else seen this release and is it on CD now? Or has my mind gone off the deep end? (Rhetorical question, all - please, no answers to that one ;-)) JD ========================================================================= Date: Tue, 11 Jun 1996 10:57:14 -0500 Reply-To: "Stine, Dave" From: "Stine, Dave" Subject: goin' mobile--I meean NOMAIL Hey, I gotta go nomail for a couple days to get some WORK done. Briefly, I'm gonna stay out of ALL frays when I come back, but there's 2 things musician's should NEVER do: 1) Mess with another guys woman AND 2) Dis somebody's new axe--nomatter how you personally feel about it. Cheers, David "flamebait" Stine dstine@FSC.FOLLETT.COM ========================================================================= Date: Tue, 11 Jun 1996 11:50:20 -0400 Reply-To: "Miele,Dennis" From: "Miele,Dennis" Organization: C/ICS Subject: Re: Blues tone (user-friendly reply to "Jap-crap") :) Comments: To: bit-listserv-blues-l@uunet.uu.net > > I wrote: > > >Could these have been Fender's infamous Photo-Flames ( I think that's what > >they're called)? Shaun T Cronin wrote: > Yes but they look good. The neck of my '62 reissue Strat has Fotoflame on > it. Looks good and often fools people for a second or two. > No doubt they look good. I was just pointing out the reason that these gorgeous guitars were so cheap! (Remember: Beauty is only "skin" deep). ========================================================================= Date: Tue, 11 Jun 1996 08:59:29 -0700 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Leonard Watkins VH-1 Idea It is a cool idea. VH-1 has a messaging board at http://wh1.com/honmail.html. Joe ========================================================================= Date: Tue, 11 Jun 1996 12:25:55 -0400 Reply-To: RAHalonen@AOL.COM From: Reeann Halonen Subject: Re: Church Burnings and the Prez In a message dated 96-06-11 09:35:25 EDT, gtapper@UCSD.EDU (Guy Tapper) writes: >> >>Just to reiterate, there were NO (nope, not one, nada, zip, zero ) >deliberate >>Church burnings in Arkansas during this, or any other time, according to >both >>the state Attorney General AND the president of the Arkansas NAACP. >> >>Just FYI, reach your own conclusions. >> >>JD > >Sounds like maybe Bill has taken a page from Reagan's "it didn't really >happen but it sounds good so I'll say it" book. > > I'm almost amused at being in a position to even remotely sound like I am defending Bill but someone on this list saved his speech and posted it to the group and if it was correct, I don't think he said anything about Arkansas burnings....if I am recalling right, I think he said that Gore had "painful" memories of burnings in Tennessee. Forgive me if I am wrong. I did not save the post that quoted his speech.....going by memory and ya know I'm gettin' old too. Ree Anne ========================================================================= Date: Tue, 11 Jun 1996 12:34:12 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0150 From: "DUTTWEILER.J" Subject: Re: Church Burnings and the Pre Comments: To: RAHalonen@AOL.COM Date: Tuesday, 11 June 1996 12:33pm ET To: Internet, GO-MAIN.RAHALONE@DOASMAIN.SNADS From: DUTTWEILER.J@GOMAIL Subject: RE: Church Burnings and the Prez > I'm almost amused at being in a position to even remotely sound like I am > defending Bill but someone on this list saved his speech and posted it to th > group and if it was correct, I don't think he said anything about Arkansas > burnings....if I am recalling right, I think he said that Gore had "painful" > memories of burnings in Tennessee. Forgive me if I am wrong. I did not save > the post that quoted his speech.....going by memory and ya know I'm gettin' > old too. > Ree Anne Ree Anne, Having posted the original "response" to VT's posting of the Prez's speech, here is the excact offending section of the speech: > Here's the actual content of the Prez's speech: > > QUOTE > President Clinton's weekly radio address > > June 8, 1996 > big snip < >>>>>> I have vivid and painful memories of black churches being burned in my > own state when I was a child.<<<<<<<<< ========================================================================= Date: Tue, 11 Jun 1996 13:06:09 -0400 Reply-To: SliderDW@AOL.COM From: Don Williams Subject: Re: Duke/Peacock & MCA Comments: To: JONATXXX@gomail.doas.state.ga.us In a message dated 96-06-11 11:46:40 EDT, JONATXXX@GOMAIL.DOAS.STATE.GA.US (DUTTWEILER.J) writes: > > > >Does anyone on the list (how silly, of course someone on THIS list) know when >MCA acquired the Duke/Peacock output? > >Thanks in advance for the info > >JD I forwarded your post to Mary Katherine Aldin, who replied as follows: (quote from Mary Katherine's email to me): Duke and Peacock were owned by black Houston entrepreneur Don Robey, who in 1973 sold both companies to ABC Records, which was already home to blues figures such as B.B. King. Then in 1979 it came under the MCA banner when MCA purchased ABC. (end of quote) Don Williams ========================================================================= Date: Tue, 11 Jun 1996 12:14:32 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Active folk who recorded at Sun Comments: To: scott d In-Reply-To: <199606111500.KAA12474@home.interaccess.com> I don't know whether Billy Emerson is musically active, but he's usually involved with some kind of church music-- that's my best guess. ========================================================================= Date: Tue, 11 Jun 1996 12:20:49 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Duke/Peacock & MCA Comments: To: "DUTTWEILER.J" In-Reply-To: I think MCA bought Duke/Peacock in 1973. ========================================================================= Date: Tue, 11 Jun 1996 10:35:23 -0700 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Re: Sitting & Thinking - Big Wal Comments: To: scottd@interaccess.com Scott writes: >I didn't meen to imply that other players don't use chords, I just >meant that they don't use chords the way Big Walter did. He could play >chords that were DEVASTATING. He'd use them not only as backing, but in >solos in ways I don't hear very many people using them these days. If you mean making the chords almost the focal point of the solos, then you are correct. A lot of today's harp players don't seem to focus on this aspect. Why I don't know. Getting the tone that defined Big Walter's sound is no easy feat. Big Walter's tonal characteristics are what really made his style so great. It enabled him to say a lot with very few notes. It isn't what he was saying, but how he said it. George Smith was a very big influence on what has come out of California mostly because he was the harp man with any sort of history that was active here. Yes, he was a very talented harp player, but guys like Piazza and Clarke didn't have a large number of harp players to learn from like the Chicago guys. Therefore, the influence Smith had on these guys is not very subtle. Additionally outside of California, I can't think of too many harp players that have been influenced by George Smith, unless they play a shi*load of chromatic harp. The California crowd has had the luxury of being heavily recorded in the past few years and that is why the George Smith influence has become so prominent. Big Walter's influence has directly or indirectly influenced every harp player who has ever plugged into an amplifier. People have copped his licks and tried (and most have failed) to get the tone. The style of the blues has also changed. His influence is no longer as direct as it once was, but that doesn't diminish his contributions. Although nobody emulates John Lee Williamson anymore doesn't mean his days of influence have passed. They are more deeply embedded in the blues. George Smith has influenced a lot of the current generation of harp players, but a lot of them wouldn't be playing if it wasn't for Big Walter. Joe ========================================================================= Date: Tue, 11 Jun 1996 13:52:21 -0400 Reply-To: Bronxharp From: Bronxharp Organization: America Online, Inc. (1-800-827-6364) Subject: Blues On Manhattan Cable TV 6/17 Comments: To: bit-listserv-blues-l@uunet.uu.net New York based Blues/Blues-Rock artist MARK THE HARPER will be appearing on Manhattan Cable TV, on the show "Young, Gifted & Broke" to air MONDAY NIGHT, JUNE 17, at 12:30 am (so, actually Tues. morn) Channel 69 Included in the half hour segment will be footage of Mark's 1994 European concert, and interview. Please tune in! ========================================================================= Date: Tue, 11 Jun 1996 14:18:47 -0400 Reply-To: bob vanarsdall From: bob vanarsdall Subject: Re: Political hypocrisy Comments: cc: JONATXXX@GOMAIL.DOAS.STATE.GA.US No blues. Sorry folks, forgive me. I don't often do this, and promise to drop the subject after this. JD has been talking about Clinton's statement re: AR church burnings. >I am not making a case for the relative worth of one candidate vs. any other, >just pointing out some hypocrisy. > Just so we spread it around evenly: I heard a news report this morning that today is Robert Dole's last day in the senate after 22 years. He was going to deliver a farewell speech, and then retire officially at 1pm. He later said that he was pushing this forward to 2pm because he wanted to attend a senate republican lunch, as he has for 22 years, and he "...didn't want to pass up my last chance for a free lunch." (direct quote). As senate republican leader and presidential candidate this is an incredible slip. For the last 20 years the republicans have been touting "THERE'S NO SUCH THING AS A FREE LUNCH", and cutting all sorts of programs on the basis of pay-as-you-go. I want to know the value of these free lunches - there's no excuse for millionaires (some 60% of the senate) and folks with annual government salaries of $80,000+/year having lunch ON ME while cutting the Headstart and WIC programs. This could be satire if it weren't true. Bob ========================================================================= Date: Tue, 11 Jun 1996 11:45:30 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: MCA RECORDS SPOTLIGHTS THE MEN : B. B. KING AND BOBBY "BLUE" BLAND I just received the new MCA release sheets & here are the details for the upcoming B. B. KING and BOBBY "BLUE" BLAND sets, both available on June 18/1996. MCAD2-11443 : B. B. KING - HOW BLUES CAN YOU GET : CLASSIC LIVE PERFORMANCES 1964-1994 A 2 CD set with a few rare tacks, including 3 from his live in Japan set ("CHAINS AND THINGS", "SWEET SIXTEEN", "THE THRILL IS GONE"), 2 sides with the Crusaders ("NEVER MAKE A MOVE TOO SOON", "ALL OVER AGAIN"), 4 duets ("PLEASE SEND ME SOMEONE TO LOVE" w/Gladys Knight, "AIN'T NOBODY'S BUSINESS" with Ruth Brown, "T-BONE SHUFFLE" with Joe Louis Walker, "LET THE GOOD TIMES ROLL" with Bobby Bland). 29 tracks, 2-1/2+ hours MCAD2-11444 : BOBBY BLAND - THAT DID IT! : THE DUKE RECORDINGS V.3 (1965-1972) The last of 3 volumes, this 2 CD set contains 3 of his classic Duke albums : A TOUCH OF THE BLUES, THE SOUL OF THE MAN, and SPOTLIGHTING THE MAN. The tracks include "THESE HANDS (SMALL BUT MIGHTY)", "POVERTY", "DRIFTIN' BLUES", "GOOD TIME CHARLIE", "SAVE YOUR LOVE FOR ME", "CHAINS OF LOVE", etc. At least 2 tracks are unissued ("ANGEL CHILD", "THIS TIME I'LL BE TRUE"). CD notes by Dick Shurman. 54 tracks, 2-1/2+ hours. eRIC ========================================================================= Date: Tue, 11 Jun 1996 12:05:55 -0700 Reply-To: chris@SPARKIE.OSL.STATE.OR.US From: Chris Adams Subject: Farr Bros (was Roy Rogers) I second that! I have the CD on the Country Routes label. For those who are not familiar with the Farr Bros, they were an integral part of the Sons of the Pioneers (as was Roy Rogers) and they appeared in many films with the SOTP. However, their group recordings never really emphasized their jazz and swing influences. Listen to this disk and you will hear a mix of Wills/Grappelli/Venuti. Not for all blues tastes, but if western swing and jazz does it for you, this is real treat. Christopher Adams chris@sparkie.osl.state.or.us >BTW, if you want REALLY hot guitar, check out the album of 1934 Transcriptions >by the Farr Brothers (Hugh and Karl), on which the REAL Roy Rogers plays >rhythm guitar, on JEMF records.). >Bill Shute >San Antonio, TX ========================================================================= Date: Tue, 11 Jun 1996 15:59:06 -0400 Reply-To: BluesMojo@AOL.COM From: Doug Carlisle WSFM Subject: Commercial Radio Playlist WSFM Surf 107 Box FM 107 Wilmington, NC 28402 * Send Me Your C/Ds!!!!! * E-mail: Bluesmojo@aol.com "Houserockin' Blues" Sundays 9am-12pm Rated #1 show 2-years straight (Arbitron 12+ Sp. 94 & 95) Host: Doug Carlisle Hour 1 Albert Collins Bending Like a Willow Tree Alligator Jimi Hendrix Jelly 292 MCA Valerie Wellington A Fool for You Alligator Gary Moore I Loved Another Woman Charisma Bobby Marchan There is Something on Your Mind 1 & 2 Capricorn Archie Bell & The Drells Tighten Up Atlantic Keb' Mo' Victims of Comfort Epic/Okeh Eric Clapton Blues Leave Me Alone Reprise (jazz) Chick Corea Rumble GRP Lynn White So Good to be Bad Chelsea Ave. Catfish Keith Way Out West Fish Tail Lil Ed & Blues Imperials It's Alright Alligator's 25th Hour 2 Katie Webster Hard Lovin' Mama Alligator's 25th Clarence Gatemouth Brown I'll Be There Verve Buddy Guy Where is the Next One Coming From Silvertone Mojo Collins Love Triangle Jomo Taj Mahal Lonely Avenue Private Johnny Mars It Takes Time MM & K Doyle Bramhall Change It Antone's (jazz) The Rippington's Affair in San Miguel GRP The Shadows Just to be with You Wild Dog/Ichiban Delbert McClinton I Used to Worry Curb Steve Hackett The Stumble Herald Shirley Lewis Experience Blues Medley Stanhope House Hour 3 Buddy Guy Damn Right I've Got The Blues (Live) Silvertone Stevie Ray Vaughan Life Without You Epic BBM City Of Gold Virgin Chris Daniels & the Kings Roadhouse Music Flat Canyon Eric Clapton Heaven is One Step Away MCA Jerry Portney & the Streamliners Poison Kisses Indigo Duke Robillard Rule the World Pointblank (jazz) Herb Alpert My Abstract Heart A & M Kim Lembo Your Good Thing Blue Wave Willie May Let it Rain Booman Music Kenny Wayne Shepherd Everybody Gets the Blues Giant ========================================================================= Date: Tue, 11 Jun 1996 19:55:04 GMT Reply-To: Peter Ballantine From: Peter Ballantine Organization: SuperNet Inc. (908) 828-8988 Subject: Re: Active folks who recorded at Sun Comments: To: bit-listserv-blues-l@uunet.uu.net scott d wrote: >At 10:33 PM 6/9/96 +0000, Tom Freeland wrote: >[edit] > >>Anyway, here is a question: Who is still alive and active that recorded >>at Sun? >> >>A start: >> >>Rufus Thomas (just came out with a new album) >>James Cotton (still recording and touring. Right, P.W.?) >>Honeyboy Edwards (still touring) >>Little Milton (still touring) >>Mose Vinson (still playing in Memphis on Beale!) >>Ike Turner (still touring) >>Jerry Lee Lewis (still recording and playing, had an album out last >>year) >>Carl Perkins (not playing much, but just published a co-written >>autobiography) >>Johnny Cash (still playing and recording) >>Charlie Feathers (alive but in very poor health, not active) >> >>There are backing musicians (Calvin Newborn comes to mind) who are >>still around, also >> >>Any others? >> >>Tom Freeland > > >Roscoe Gordon >Eddie Snow (I think) >Sammy Lewis (I heard he was still around, but not playing) > > >Not on the blues box, but still around and performing as far as I know: > >Billy Riley >Johnny Cash > > >Scott > >http://www.geocities.com/SunsetStrip/4466 > >Check it out! Sonny Burgess- performer who created what some think is SUN's greatest 2-sided 45- RED HEADED WOMAN/WE WANNA BOOGIE- is alive and well. Released a CD on HIGHTONE back in 1992 produced by Dave Alvin and is about to come out with another (on ROUNDER, I think). Sonny is currently touring with rockabilly artist Rosie Flores and they put on a great show. Look for 'em. ========================================================================= Date: Tue, 11 Jun 1996 16:07:57 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Re: Jimi on Cavett surprises Here's something that I noticed about Jimi on the Dick Cavvet/ Archives show that I hadn't noticed before. Jimi's hands are/ were HUGE! I'll bet he can/ could reach a full octave without straining. No wonder I can't do what he does on that thing. (Okay, so there's more to it than just my hand size. Let's me fantasize, will ya?) By the way, you know what they say about guys with big hands? Big mittens. Gavin ========================================================================= Date: Tue, 11 Jun 1996 20:47:41 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: Church Burnings and the Prez Comments: To: bit-listserv-blues-l@uunet.uu.net My posting of the President's address was NOT meant to be a political statement. The fact that it was made and drew national and media attention on the problem of Church burnings and a focus on getting aid out is what really counts. Personally, I don't care if Clinton is or is not a hypocrite. I do care that someone with influence has actually come out and said the right things about this problem. Whether that person jumped on a band wagon, was a Johnny come lately is IMHO still IRRELEVANT. ..and even if Clinton was lying about that item, does it really negate the sentiments of his address? Might I suggest that we focus our energies on getting help and aid to those communities, instead of using it to focus on politics? -- Vincent vt@pipeline.com On Jun 11, 1996 11:39:11 in article , '"DUTTWEILER.J" ' wrote: >Date: Tuesday, 11 June 1996 11:38am ET >To: GO-MAIN.VT@DOASMAIN.SNADS, Internet >From: DUTTWEILER.J@GOMAIL >Subject: Re: Church Burnings and the Prez > > >> On Jun 11, 1996 07:35:07 in article , >> '"DUTTWEILER.J" ' wrote: >> >> >Vincent recently wrote: >> >> Here's the actual content of the Prez's speech: >> >> >> >> QUOTE >> >> President Clinton's weekly radio address >> >> >> >> June 8, 1996 >> >> big snip < >> >> I have vivid and painful memories of black churches being burned in >> my >> >> own state when I was a child. >> > >> >Just to reiterate, there were NO (nope, not one, nada, zip, zero ) >> deliberate >> >Church burnings in Arkansas during this, or any other time, according to >> both >> >the state Attorney General AND the president of the Arkansas NAACP. >> > >> >Just FYI, reach your own conclusions. >> > >> >JD >> >> I am apolitical - I cannot confirm or deny whether the President told a lie >> on this item or not - to me that piece is IRRELEVANT to the issue at hand. >> >> >> The sentiment of his address to me was RIGHT ON - let's NOT get side >> tracked by petty politics and address the issue at hand, which is what I >> believe he has done. > >While I certainly agree that attention needs to be given to this issue, I >think it is precisely the President who is playing politics with it. Waiting >until the National Press picked up this story (for those of us living in the >south, we have been aware of these burnings for months, and that it has not >only been BLACK churches targeted) and then fabricating a "memory" to appear >to be "in touch" with the communities feelings, he finally offers what is >ALREADY being done, a Federal investigation. > >As a Georgian, I am often reminded by such theatrics on the part of the >President the statement our Governor, Zell Miller, made (I believe) at the >Democratic National Convention when nominating Mr. Clinton, "Bill Clinton >FEE-ULS our pain." > >I am not making a case for the relative worth of one candidate vs. any other, >just pointing out some hypocrisy. > >JD ========================================================================= Date: Tue, 11 Jun 1996 20:52:59 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Re: Active folks who recorded at Sun Comments: To: bit-listserv-blues-l@uunet.uu.net ACTUALLY BOBBY BLUE BLAND RECORDED WITH ROSCO GORDON AT THE SUN STUDIOS. IT WAS RELEASED ON CHESS RECORDS, OR WAS IT MODERN? BB King and Bobby Bland never had records issued on Sun, but I think they may have spent time in the studio on Union??? ========================================================================= Date: Tue, 11 Jun 1996 14:02:58 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Isn't everyone proud of me? I'm staying completely out of the politics battle that is starting to come up about Bill C. and what he said. I don't care about Bill and Bob, I care about those churches. Let's remember what this is about, ok? DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 11 Jun 1996 14:05:30 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: More good rebuild news. Someone from Habitat for Humanity is in contact with me and they may be starting a rebuild project as well. YES!!! More to follow DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 11 Jun 1996 16:06:59 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Jimi on Cavett surprises Comments: To: Gavin Arneaux <102554.471@COMPUSERVE.COM> In-Reply-To: <960611200757_102554.471_HHV64-10@CompuServe.COM> Anyone who's seen pictures of the Plaster Casters' work knows Jimi didn't just have huge hands; he looms like Mt. Everest over their other creations. ========================================================================= Date: Tue, 11 Jun 1996 14:15:26 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Big hands for guitar Gavin said: > Here's something that I noticed about Jimi on the Dick Cavvet/ Archives >show that I hadn't noticed before. Jimi's hands are/ were HUGE! I'll bet he >can/ could reach a full octave without straining. No wonder I can't do what he >does on that thing. (Okay, so there's more to it than just my hand size. >Let's >me fantasize, will ya?) > By the way, you know what they say about guys with big hands? Big >mittens. It doesn't matter unless your guitar doesn't fit you. I have a friend who has small hands, and is a very good player. He gets into trouble with big stretches not because of his small hands, but because he insists on playing a full-size 25.5" scale strat. I keep telling him to play a 24.75" scale guitar (most gibsons for instance) but he won't listen. Oh well. Several custom makers also build 3/4-size strat-style guitars that are KILLER for people with smaller hands (you gals listening?). Makes sure your guitar fits you. Some of it is perception too. I got tired of my friend-who-never-practices telling me of what an advantage I have with my "huge hands". Well, he just thinks I have huge hands because I like huge baseball-bat necks on guitars and my little finger actually *works* (most of the time), so I told him to put his hand up against mine, and his hands were slightly larger... His eyes bugged right out.. Jimi, had really long fingers, no doubt, but that is not why he was so good. Jimi would have been just as good with little hands. It's the heart, and the commitment, not the hands. DC and yes if all things are equal, the large hands are an advantage, but only when the person with small hands plays a guitar that is too big for them. ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 11 Jun 1996 22:29:32 -0500 Reply-To: Goran Svenningsson From: Goran Svenningsson Subject: Re: crappy (i.e. cheap) gear A guitar doesnt have to be expensive or an old used-to-be cheapo to sound great, check this out; The guitar I use for slide is like a Fendertype flea market assembly. It s based on the super cheap Korean made Squire from ca -88. I ve kept the body and the Strat type bridge but I ve fixed it by putting on five springs tightening and the screws. It used to have a rosewood neck on but I bought a flat Allparts brand maple neck to make it easier to slide on. I think a big reason why this guitar sounds divine (it really does) is the pick-ups. It s got these very cheap pick-ups Squire put on their "strats" for a while. What s so special? Well, if you look at it from underneath it s got a magnetic bar laying across. I m not a guitar whiz but I can tell it s got a pretty powerful output and it s dead even from low to high end. Single string soloing straight into (for example) an old super reverb sounds round and fat but still single coil. I would say very Ry Cooderish. If I play through a small amp and crank it up,- MAN its raw! I play a lot of Elmore James stuff,and I try to be as true as possible to his type of sound, it works just GREAT playing on the mid or bass p-u! I string my guitar 13, 17, 22plain 42, 52, 62 and I tune it to an open Db, like Elmore but a half step down. To sum it up, I would describe these very cheap p.u s as mellowed P 90s but with the strat type high end. I wouldn t replace them for anyting else! If you can get em, try em, especially for slide! I wouldn t be surprised, (not very likely though), if these one day would be sought after,(remembering the Lipstick pick-up.) Sevenson "Dis mic is a bitch, Leonard...it can t hear me no..." Little Walter ========================================================================= Date: Tue, 11 Jun 1996 22:29:45 -0500 Reply-To: Goran Svenningsson From: Goran Svenningsson Subject: Record suggtion to opn mnded slide/swing diggers As I write this I m being blown away by this record I just picked up. "Stratosphere Boogie:The flaming guitars of Speedy West & Jimmy Bryant" Razor & Tie cat.no. RE 2067. Did you ever hear of these guys? Speedy West plays a 2 x eight string pedal steel and Jimmy Bryant plays a Fender Tele. I ve never heard anything that s been even close to what Speedy does on the pedal steel. The style(s) on this record is a mix between western swing/a touch of Charlie Christian and almost novelty music but all with an incredible swing timing. Can you imagine a pedalsteel player doing jazz solos/chords backed by a fast swing beat. Speedy does it over and over, combined with some spectacular sound effects with the slide bar. And Jimmy Bryant. He s gotta be the first guitarplayer in history playing jazz on a Fender Tele. He s got an incredible timing in his soloing as well. These recordings were gathered from a few Capitol recordings made in the early to mid 50s by Bryant and West and the sound quality is astonishing for being that old! This record has some stuff I didn t think could be played on a pedal steel, and Jimmy Bryant is also incredible through out this collection. WOW! Sevenson "Dis mic is a bitch, Leonard...it can t hear me no..." Little Walter ========================================================================= Date: Tue, 11 Jun 1996 17:16:00 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Jimi on Cavett surprises Comments: To: Richard Shurman On 11 Jun 96 at 16:06, Richard Shurman wrote: > Anyone who's seen pictures of the Plaster Casters' work knows Jimi didn't > just have huge hands; he looms like Mt. Everest over their other > creations. Actually, I saw the whole collection in person and thought Jimi was on the short side of the group. Maybe I've mixed up my rock stars. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Tue, 11 Jun 1996 22:34:05 -0500 Reply-To: Goran Svenningsson From: Goran Svenningsson Subject: Re: Jimi s hands Gavin said > Here's something that I noticed about Jimi on the Dick Cavvet/ Archives >show that I hadn't noticed before. Jimi's hands are/ were HUGE! I'll bet he >can/ could reach a full octave without straining. Check out the Film Jimi plays Monterey, some really good close ups that shows what you re saying: two frying pans with fingers. Blew me away too, first time I saw that flick. Sevenson "Dis mic is a bitch, Leonard...it can t hear me no..." Little Walter ========================================================================= Date: Tue, 11 Jun 1996 21:40:40 GMT Reply-To: leblanc@dao.nrc.ca From: Eric LeBlanc-CISTI Organization: Herzberg Institute of Astrophysics (DAO) Subject: Re: Johnny Young and Big Walter Comments: To: bit-listserv-blues-l@uunet.uu.net I SECOND THAT EMOTION. THE MANDOLIN-PIANO DUETS (!) BETWEEN JOHNNY YOUNG-OTIS SPANN ARE ALONE WORTH THE PRICE OF ADMISSION. Speaking of Big Walter... I have been listening Johnny Young's Chicago Blues (Arhoolie) all day long. With Otis Spann, Big Walter James Cotton, Jimmy Dawkins, and SP Leary, this is 65 minutes of pure Chicago Blues. Must be one of my favorite Chicago Blues albums of all time. ========================================================================= Date: Tue, 11 Jun 1996 15:00:59 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Jimi on Cavett surprises Mr. Shurman said: >Anyone who's seen pictures of the Plaster Casters' work knows Jimi didn't >just have huge hands; he looms like Mt. Everest over their other >creations. Ohhhh... So THAT'S the secret... Is it true folks? CAN you play like Jimi if you have a dinky willy? hmmm? What about the gals? Whatever will some of us DO?? DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 11 Jun 1996 15:23:46 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: crappy (i.e. cheap) gear Sevensen said: >A guitar doesnt have to be expensive or an old used-to-be cheapo to sound >great, check this out; > >The guitar I use for slide is like a Fendertype flea market assembly. >It s based on the super cheap Korean made Squire from ca -88. >I ve kept the body and the Strat type bridge but I ve fixed it by putting >on five springs tightening and the screws. edit edit >What s so special? Well, if you look at it from underneath it s got a >magnetic bar laying across. I m not a guitar whiz but I can tell it s got a >pretty powerful output and it s dead even from low to high end. >Single string soloing straight into (for example) an old super reverb >sounds round and fat but still single coil. I would say very Ry Cooderish. >If I play through a small amp and crank it up,- MAN its raw! edit edit >I play a lot of Elmore James stuff,and I try to be as true as possible to >his type of sound, it works just GREAT playing on the mid or bass p-u! >I string my guitar 13, 17, 22plain 42, 52, 62 and I tune it to an open Db, >like Elmore but a half step down. edit edit Not to disagree, because Goran has made some very good points... But please notice the SIZE of these strings! Half of his killer tone is right there... Of course there are great players with little strings... But for ME, there is no substitute for big strings. DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Tue, 11 Jun 1996 18:24:30 -0400 Reply-To: ac928@osfn.rhilinet.gov From: Jim McGlynn Subject: Re: Zydeco: Creole or Cajun? Kevan Smith wrote: >Just want to say that not all of us here in Lousiana/East Texas are >racist. In fact, most common, everyday people, so to speak, really >appreciate the multicultural variety in these parts. I wouldn't for a moment tar an entire population with the "racist" brush, but even fairly recently, there's been a certain presumption of how the world works that hasn't included much in the way of multiculturalism. Ten years ago, when my wife and I pulled into Lafayette for the first time in search of music and food, we made the official Lafayette tourist welcome center our first stop. I asked the thirty-ish woman behind the counter about clubs in the area where zydeco was played. "Zydeco? What's that?" "Y'know... the black French dance music." "I wouldn't know about that." "Uh, okay... does Clifton Chenier ring a bell?" "Yeah, I heard of Clifton Chenier." "Does he play in clubs around here?" "No place you'd wanna go." "How would you know that?" "And they wouldn't want you there nohow." "Wait a minute," I say. "You mean there's no clubs where black people and white people can have a good time without trouble?" "Where are you from?" "Boston." "That figures." End of conversation. I'm sure things have changed somewhat in the intervening years, but the South is still the South, n'cest pas? Jim -- ========================================================================= Date: Tue, 11 Jun 1996 18:15:33 -0400 Reply-To: MistyMtMan From: MistyMtMan Organization: America Online, Inc. (1-800-827-6364) Subject: NYC's ONLY FLOATING BLUES BAR! Gate' 6/17 Comments: To: bit-listserv-blues-l@uunet.uu.net Picture this... the sun sets... night awakens... you find yourself leaning against the railing of a boat watching the moon taking sips out of your glass... somehow you are transported to a place thick with scents sweet like magnolia on a wind swept Southern night... gone is the rushing street traffic and crowded subways... all that surrounds you now is the color blue... deep blue like a sapphire guitar riff... you're aboard New York City's only floating Blues bar... mmmmhhhhh... take it down to the water.. THAT'S RIGHT, FOLKS THE CURE FOR THE SUMMERTIME BLUES IS THE SUMMERTIME CRUISE! EVERY Wednesday in the summer, kicking off Wednesday, JUNE 19 w/ the one and only CLARENCE "GATEMOUTH" BROWN & Gate's Express!! (CD Release Party!) Coming JUNE 26: ROOMFUL OF BLUES!!! Where: Seaport Liberty Cruises, Pier 16, South Street Seaport, NYC Tickets: 212-630-8888 Time: 2 shows: 7 pm and 9:30 pm, RAIN or SHINE Price: $20 (discounts for groups of 20 or more) Ticket venues: Pier 16 ticket booth, (South St Seaport) Pier 83 ticket office (42nd St at Hudson River) Cash bar, food available on board. Must be 21 and over. ID req. Stay tuned to this area for future postings of these great parties!! ========================================================================= Date: Tue, 11 Jun 1996 11:56:45 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: goin' mobile--I meean NOMAIL Comments: To: dstine@FSC.FOLLETT.COM In-Reply-To: <96Jun11.110109cdt.12679@fscmail.fsc.follett.com> from "Stine, Dave" at Jun 11, 96 10:57:14 am > ...there's 2 things musician's should NEVER do: > > 1) Mess with another guys woman AND > > 2) Dis somebody's new axe--nomatter how you personally feel about it. yup - and for approximately the same reasons. We tend to take a very personal view of our instrument, just as we take a very personal view of our woman. It's not without reason that romantic terms are frequently used in expressing musicians' attitudes toward their instrument. The safest thing to do is keep ones comments and opinions 1. in the realm of opinion, and 2. in more of a kindly tone. For example, "I personally prefer , and while they're certainly playable, I don't really like 's all that much myself" is going to hurt a lot less feelings than " is a piece of garbage (with the implication that only an idiot with no taste would play one)". While there are "toy guitars", fortunately these are 1. obviously toys, and 2. very uncommon. I've owned a few VERY cheap electrics, and would not hesitate to play a gig with one if I had to, assuming of course that the action were set decently and the neck isn't in _too_ bad of shape. While it's true that in many cases "you get what you pay for", it's also true that there are some bargains out there - and some vastly overpriced stuff as well. If it weren't for collectors and investors artificially raising the prices, I seriously doubt vintage instruments and amps would be selling for 1/10th the price many are selling for. -- IronMan Mike Curtis ========================================================================= Date: Tue, 11 Jun 1996 15:29:45 -0700 Reply-To: Troy Meier From: Troy Meier Subject: Re: Record suggestion to opn mnded slide/swing diggers Comments: To: "sevenson@MBOX300.SWIPNET.SE" ---------- > As I write this I m being blown away by this record I just picked up. > > "Stratosphere Boogie:The flaming guitars of Speedy West & Jimmy Bryant" > Razor & Tie cat.no. RE 2067. > > Did you ever hear of these guys? > Speedy West plays a 2 x eight string pedal steel and Jimmy Bryant plays a > Fender Tele. > I ve never heard anything that s been even close to what Speedy does on the > pedal steel. > The style(s) on this record is a mix between western swing/a touch of > Charlie Christian and almost novelty music but all with an incredible swing > timing. > Can you imagine a pedalsteel player doing jazz solos/chords backed by a > fast swing beat. Speedy does it over and over, combined with some > spectacular sound effects with the slide bar. > These recordings were gathered from a few Capitol recordings made in the > early to mid 50s by Bryant and West and the sound quality is astonishing > for being that old! > > This record has some stuff I didn t think could be played on a pedal steel, > and Jimmy Bryant is also incredible through out this collection. > > WOW! > Sevenson As a Dobro/National and Pedal Steel player, Speedy has been my hero since the first time I heard him about 10 years ago. The MAN was way ahead of his time. Today I doubt many pros in this field could have kept up with him for sheer speed and diversity. The amazing thing about Speedy was that in the process, he was always tasteful and kept very emotional as a player. Troy ========================================================================= Date: Tue, 11 Jun 1996 16:08:05 -0800 Reply-To: Jim Witteveen From: Jim Witteveen Subject: Re: African-American church arsons Hi all. I've done some searching online about this issue, and in doing so, I came across a very neat site on the internet called Race and Reconciliation Online. I forwarded our question to them, and this is the reply I got. Check it out! >X-Sender: rronline@mail.netdoor.com >Date: Tue, 11 Jun 1996 15:02:32 -0500 >To: Jim Witteveen >From: rronline@netdoor.com (Race & Reconciliation Online) >Subject: Re: African-American church arsons > >...We were discussing what we can do to help >>people who've had their churches burnt down - either volunteering or >>monetary donations. I don't know if you'd know this, but any help or >>information that you could give me (or even if you could point me in the >>right direction) would be very much appreciated. >>>-Jim Witteveen (hndful@uniserve.com) > >Dear Jim, > >Thank you for your inquiry! In addition to your prayers, financial >assistance for the burned out congregations is most practical. The >Community Education and Fundraising Office of the National Council of >Churches has launched a special appeal and is raising money to help rebuild >the churches who have been victimized by arson. Checks should be made >payable and mailed to Church World Service, P.O. Box 968, Elkhart, IN >46515, and you can earmark them for "burned churches." For more >information, please call 1(800)456-1310. > >Jennifer Parker, Senior Editor >THE RECONCILER/Race & Reconciliation Online > > > ========================================================================= Date: Tue, 11 Jun 1996 16:15:58 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: crappy (i.e. cheap) gear I use a el cheapo Ibanez Sound Tank Tube Screamer (made of plastic-no metal casing) as part of my set up and it sounds great. Did get into an argument recently whether it somes close to sounding like a reissue TubeScreamer. I think it does a damn good job of getting the tone. My opponents didn't. Oh well. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Tue, 11 Jun 1996 16:16:04 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Record suggtion to opn mnded slide/swing diggers Goran wrote: >As I write this I m being blown away by this record I just picked up. > >"Stratosphere Boogie:The flaming guitars of Speedy West & Jimmy Bryant" >Razor & Tie cat.no. RE 2067. > >Did you ever hear of these guys? I first heard of these guys from a soundpage in Guitar Player. And I have the CD as well. Amazing stuff! Now if I could only slow everything down and learn the guitar parts. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Mon, 10 Jun 1996 17:29:04 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: Chicago Musts Comments: To: bbbean@sheltonlink.com If you like Italian, you've got to try Maggiano's Little Italy. It's just north of Planet Hollywood (never been there). This place is the real deal. As far as blues, I know Otis Rush is playing next week but forget where. It's in The Reader. RJ Bauman > I'm going to be in Chicago for a week or so at the end of this month. What > would you recommend as the must-see clubs? I'm not sure how many nights > I'll get out (I'll be playing M-F night til ??), but I'll definately be > out and about Saturday and Sunday night. > > Tips on restaurants, museaums, etc. are also welcome. > > BBB > > B.B. Bean > bbbean@sheltonlink.com > Peach Orchard, MO http://www.cris.com/~Bbbean > > ========================================================================= Date: Tue, 11 Jun 1996 19:07:35 -0400 Reply-To: Stephanie Manna From: Stephanie Manna Subject: Carl Weathersby I will be receiving Carl Weathersby's new CD,"Don't Lay Your Blues On Me" on the Evidence Record label shortly. I've heard he's quite a guitarist. How's his performance? He's been with the "Sons of Blues"for 14 years, so I'm sure some of you northerners have had a chance to see him. Tell me more. Thanks in advance, Stephanie ========================================================================= Date: Tue, 11 Jun 1996 19:16:01 -0400 Reply-To: TDominey From: TDominey Organization: America Online, Inc. (1-800-827-6364) Subject: Re: VH-1 What If...... Comments: To: bit-listserv-blues-l@uunet.uu.net So does VH-1 have an e-mail address and do you think WE blues fans (not just blues-l) could have enough impact on them to get them to consider the idea If I'm not mistaken, its - http://www.vh1.com. They most likely have a correspondence on there. Just for my two cents - saw a 1976 John Lee Hooker concert on BET one evening VERY late - it was the hardest most ferocious boogie I remember... ========================================================================= Date: Tue, 11 Jun 1996 19:33:04 -0400 Reply-To: Stephanie Manna From: Stephanie Manna Subject: Re: Len Kunstadt On Jun 10, 1996 14:25:00, 'news@NEWS.NYU.EDU' wrote: >news@NEWS.NYU.EDU wrote: >: Just heard the other night that Len Kunstadt died recently. He owned and >: ran the Spivey record label, and wrote a column on the NYC blues scene for >: a European blues publication. I didn't know him well, I spoke on the phone for a very long time with him and invited him out to Chicago B.L.U.E.S. to see James Peterson on tour. I saved the neat postcard he sent me and thought I'd share it with Blues-l, it says alot about him. "To Stephanie Manna, Once in a Blue Moon.POBox 1825 Palmetto florida 34220 from Len Kunstadt,Blues Life Journal and Spivey Records and Record Research Magazine July 12,1995.Thank you indeed for your priority mail envelope with goodies like James Peterson biographical info and that cassette,Lady Manna! It was indeed a delight talking to you via Ma Belle. You're definitely a priority! Will make the Thursday July 13'95 James Peterson Chicago B.L.U.E.S. clug gig.By your request I'll bring my kazoo.Do you know that I possess a book on the history of the kazoo and the methodology of playing it writtern by an educated lady kazooist. She did a great job. Makes my kazooing proud. Kazoo-ingly yours, Len " And he did come to the gig with his kazoo and sat in with the band! James Peterson said ,"he was a real sport!" ========================================================================= Date: Tue, 11 Jun 1996 19:46:31 -0400 Reply-To: Md1214 From: Md1214 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Jimmy Rogers &/or Ronnie Earl Comments: To: bit-listserv-blues-l@uunet.uu.net Yeah, is Ronnie pre- or post-SRV? It's only interesting because some of his very early stuff (by which I mean stuff like "Ronnie Johnny") sounds pretty darn Steviesque. So who learned from who? And where did Ronnie come from originally? In any case, of course, Ronnie has taken what he learned from others and incorporated it into his own thing. I think the guy is something of a pioneer. ========================================================================= Date: Tue, 11 Jun 1996 18:36:26 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: Diddley, Guy releases Comments: To: Mgauf The record could be a little better, but it's good. I've listened to it about 15 times. The video is awful. Terrible production. RJ Bauman > Any comments on the new releases from Bo Diddley (w/everyone under the > sun) and Buddy Guy Live? > > ========================================================================= Date: Tue, 11 Jun 1996 18:40:22 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: Sweet Home Chicago, California Comments: To: Michael Yngman There atleast 40 clubs in Chicago featuring blues. Indy has about a dozen. Chicago is heaven for me......... RJ Bauman =====Back to the land flowing of milk and honey. To paradise or at least a better place than the delta. Placing Chicago in California is just an artists way of saying 'to a better place than this' In my opinion that is....I'm from Sweden (far away from both Chicago and California, So maybe Americans have a totally different explanation. Regards Mike====== ========================================================================= Date: Tue, 11 Jun 1996 18:36:25 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: crappy (i.e. cheap) gear Comments: To: Jeff Christiansen =========>I picked up a guitar at a pawn shop a couple years ago (I knew it >wasn't a classic to begin with). An electric hollow body by Lyle. >Has a Gibson ES style body (I think that's the series) complete with >"f" holes with a Fender looking neck. It's been modified slightly, >and plays OK (as well as I sound on any guitar, at least!). I was >told that Lyle guitars were made by Fender========= Check out the Elvis Comeback Special and tell me that's not the same guitar . RJ Bauman ========================================================================= Date: Tue, 11 Jun 1996 19:02:17 -0600 Reply-To: George McClellan From: George McClellan Subject: Koko's Wedding, Chick Rodgers, & More It was my privelage to attend Koko Taylor's wedding this past Sunday evening to Mr. Hayes Harris. They are a tremendously happy couple, and it's nice to know two folks who have been through so much in life can come together and make life better for one another. There was a large group assembled for the wedding. Lots of family as both Koko and Hayes value their extended families highly. Lots of friends too as both are the kind of people who make and keep friends for life. Finally, lots and lots of blues people (musicians, agents, record companies, etc.). All in all, a great night for coming together as a community - a word used a lot around this list lately (and not always in the kindest of spirits). There was a lot of music at the reception, but particularly impressive were two Chicago women who I had not had the opportunity to see before. One was Chick Rodgers. Her soulful voice was the talk of both the ceremony (in which she sang) and the after-party. Another person who made a big impression on the crowd was Melvina Allen. She really rocked the house with four of five uptempo blues numbers. She mentioned she has a new CD out on Wolf (?) records, and I plan on looking it up this week. If it captures what I saw on Sunday, it should be dynamite. As a side note, Masheen Company served as house band for the reception, and they did a creditable job in what I imagine must have been an intimidating setting (playing in front of some of Chicago's best guitarists - Buddy Guy, Lonnie and Ronnie Brooks, Mighty Joe Young, Phil Guy, etc.) George Chicago "Just wondering if anyone out there's seen Melvia Chick Rodgers and Masheen Co.. I saw her a few months back, and she impressed me so much. She's about 5'5" 98lbs, sings with the power of some one twice her size, and she knows how to work a room. Any info on her present doings would be appreciated." Brian on June 10th and "Is this a joke? If not, that would explain Koko's new hair do and overall glow during the Handy Awards. She looked great!" Vicki on Jun10th ========================================================================= Date: Tue, 11 Jun 1996 20:02:40 -0400 Reply-To: Bronxharp From: Bronxharp Organization: America Online, Inc. (1-800-827-6364) Subject: Mark The Harper STANHOPE HOUSE DEBUT 6/14 (NJ) Comments: To: bit-listserv-blues-l@uunet.uu.net Mark the Harper & The Journeymen are making their Stanhope House Debut this Friday, June 14. Stanhope House is located at Main & High St, Stanhope, New Jersey 201-347-0458 Please be there! A good turn out their first time there may bring them many future gigs in this weel respected venue. They are really warmed up from a string of excellent gigs and are ready to BURN!! Smokin' harps and wailing guitars! Muddy and Sonny Boy and Little Walter and most notably... FRESH MTH originals... Come see "The Defector", Alexander Rastopchin kick butt on the Stratocaster. He toured the world with a (russian) state sponsored rock band for 10 years, but was forbidden to play the music of African American Blues artists, who's music he secretly learned to play from. So he defected to the United States 3 years ago to be able to unleash his pent up BLUES POWER on unsuspected Americans. Now watch out! He will wire you up. Hell, he will wire the whole building! And then there is Young Jason on the drums... ALL the girls love Jason. Come out, ladies, and you'll see why! (he's unattacehd, too). Jack will be on bass, and maybe... just maybe... he will treat us to his upright-slap bass in addition to that good ol" fender jazz he puts down so well... As for Mark, well... hey.. I'M MARK! Enough of this third person shit! Come out and see us, y'hear? You won't regret it! Our debut album "Man On A Mission" (Turquoise City CDs and cassettes) will be available. If you would like to get on our E-Mail list, please write to Bronxharp@aol.com Please stay tuned to this newsgroup for other upcoming concert info... Thank You. ========================================================================= Date: Tue, 11 Jun 1996 17:09:31 -0700 Reply-To: Douglas Edward Smith From: Douglas Edward Smith Organization: Stanford University, CA 94305, USA Subject: Keb Mo was awsome in SF Comments: To: bit-listserv-blues-l@uunet.uu.net Did anybody see Keb Mo play in the Southern Comfort Rocks the Blues Festival? I thought he was really, really, really good. He plays mostly his own material and does a lot of acoustic guitar and slide. But he can also pick up an electric guitar and jam, as he demonstrated. I think he's one of the best young musicians who retains elements of a classic, old style but has added his own fluorishes. I very strongly recommend seeing his show. He's also got a new album coming out July 18. Doug ========================================================================= Date: Tue, 11 Jun 1996 20:40:34 -0400 Reply-To: JBrads7016 From: JBrads7016 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Sweet Home Chicago, California Comments: To: bit-listserv-blues-l@uunet.uu.net My source for the possibility that Robert Johnson had relatives in Port Chicago, California was a thread on blues-l in the Fall of 1994. I have no way of knowing if it is true. Jim Brashaw ========================================================================= Date: Wed, 12 Jun 1996 01:08:02 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Bad Credit? Slow Credit? No Credit? No Problem! Subject: Re: Church Burnings and the Prez Comments: To: bit-listserv-blues-l@uunet.uu.net On Tue, 11 Jun 1996 20:47:41 GMT, VT wrote: >My posting of the President's address was NOT meant to be a political >statement. Though this is a somewhat "sheltered" list, Usenet in general is a cesspool of misinformation, slander and lies. I seldom believe anything I read on it. To give an example, here is a sick posting I found elsewhere. I do NOT support or believe anything contained below, except my sig. From: nich40@ix.netcom.com(fh) Newsgroups: soc.culture.jewish,soc.culture.african.american,soc.culture.african,misc.survivalism,alt.slack,alt.skinheads,alt.politics.white-power,alt.guinea.pig.conspiracy Subject: Re: Blacks burning their own churches to help the slickster get re-elected!! Date: 11 Jun 1996 20:38:43 GMT Organization: Netcom Lines: 8 Message-ID: <4pklgj$69m@sjx-ixn6.ix.netcom.com> References: <316D6B13.5106@whitey.com> <4pi3la$8e7@news.onramp.net> <4pjor7$g24@bignews.shef.ac.uk> NNTP-Posting-Host: lvx-nv7-16.ix.netcom.com X-NETCOM-Date: Tue Jun 11 1:38:43 PM PDT 1996 Xref: alterdial.uu.net soc.culture.jewish:253347 soc.culture.african.american:216154 soc.culture.african:55866 misc.survivalism:24167 alt.slack:86038 alt.skinheads:68410 alt.politics.white-power:59580 alt.guinea.pig.conspiracy:1547 It appears the party of gloom and doom have at last gotten the idea they need to win!! They find some kamikazi black churches in the south that are willing to burn them down for the cause. They then blame the whites to solidify their party base and the slickster gets 4 more. While good church goers get a new and better church!! I guess they saw it work in L.A. when they burned that down. I know, I know why would they do that? Well the pres. rebuilt L.A. and he did not get votes from that. Go figure. Kevan Smith cuthulu@rlabs.com the great purple hope for the blues ========================================================================= Date: Tue, 11 Jun 1996 18:55:44 EST Reply-To: shannon oconnor From: shannon oconnor Subject: Re[2]: Active folk who recorded at Sun For an answer to this question, check out Sun Studio's web page at http://www.sunstudio.com. My friends Sonny Moorman & the Dogs record there. Sometimes, the folks at Sun have been known to read this list. (John??) :) Shannon ______________________________ Reply Separator _________________________________ Subject: Re: Active folk who recorded at Sun Author: Tony Burke at INTERNET_TP Date: 6/10/96 4:58 PM Tony Burke, B&R Magazine, Bedford, UK Roscoe Gordon Big Lucky Carter Linda Gail Lewis Little Milton Hot Shot Love???? Billy The Kid Emmerson??? Is Billy still around?? What about Hot Shot?? BB King recorded at 706 Union don't ferget! TB ========================================================================= Date: Tue, 11 Jun 1996 22:02:00 EDT Reply-To: Debra Eisert From: Debra Eisert Subject: Re: Zydeco: Creole or Cajun? I'd love to blame that interaction on the south -- and several years ago, I would have -- but I think it is still societal. I've run into similar incidents in NY and OH (northern as well as Cincy) both. When will they ever learn? At 06:24 PM 6/11/96 -0400, you wrote: >Kevan Smith wrote: > >>Just want to say that not all of us here in Lousiana/East Texas are >>racist. In fact, most common, everyday people, so to speak, really >>appreciate the multicultural variety in these parts. > >I wouldn't for a moment tar an entire population with the "racist" brush, >but even fairly recently, there's been a certain presumption of how the >world works that hasn't included much in the way of multiculturalism. > >Ten years ago, when my wife and I pulled into Lafayette for the first >time in search of music and food, we made the official Lafayette tourist >welcome center our first stop. I asked the thirty-ish woman behind the >counter about clubs in the area where zydeco was played. > >"Zydeco? What's that?" >"Y'know... the black French dance music." >"I wouldn't know about that." >"Uh, okay... does Clifton Chenier ring a bell?" >"Yeah, I heard of Clifton Chenier." >"Does he play in clubs around here?" >"No place you'd wanna go." >"How would you know that?" >"And they wouldn't want you there nohow." >"Wait a minute," I say. "You mean there's no clubs where black people > and white people can have a good time without trouble?" >"Where are you from?" >"Boston." >"That figures." > >End of conversation. I'm sure things have changed somewhat in the intervening >years, but the South is still the South, n'cest pas? > >Jim > >-- > > ##################################################################### Debra Eisert "I have enough money to last me the debra@iglou.com rest of my life -- if I never buy Cincinnati, OH anything!" Jackie Mason ##################################################################### ========================================================================= Date: Tue, 11 Jun 1996 22:40:20 -0400 Reply-To: cdharris@skn.net From: "Christopher D. Harris" Organization: db Technology Subject: Need Cincinnati Resources Comments: To: bit-listserv-blues-l@uunet.uu.net Can anyone send me press info on Cincinatti. Newspapers, Music papers, or hot blues radio shows. I'm trying to find some outlets for possible interviews or press releases for Norton Buffalo. Norton has a new blues album coming out this year. ========================================================================= Date: Tue, 11 Jun 1996 22:46:35 -0400 Reply-To: cdharris@skn.net From: "Christopher D. Harris" Organization: db Technology Subject: Need Cincinnati Resources Comments: To: bit-listserv-blues-l@uunet.uu.net Can anyone send me press info on Cincinatti. Newspapers, Music papers, or hot blues radio shows. I'm trying to find some outlets for possible interviews or press releases for Norton Buffalo. Norton has a new blues album coming out this year. --Chris ========================================================================= Date: Wed, 12 Jun 1996 02:49:57 GMT Reply-To: Antonello Diteodoro From: Antonello Diteodoro Organization: The National Capital FreeNet Subject: Tony D. Band web site. Comments: To: bit-listserv-blues-l@uunet.uu.net Hey blues lovers, if anyone is interested in some Canadian blues visit the Tony D. Band web site at: http://www.comnet.ca/~tonyd -- "I've been crazy... Yes I'm still a fool, I've been crazy all of my life... ========================================================================= Date: Wed, 12 Jun 1996 02:20:52 GMT Reply-To: ALAS@BABYLON.BITNET From: ALAS@BABYLON.BITNET Subject: ALAS BABYLON ALAS BABYLON ========================================================================= Date: Wed, 12 Jun 1996 03:46:56 GMT Reply-To: raymond From: raymond Organization: Your Organization Subject: Re: Church Burnings Comments: To: bit-listserv-blues-l@uunet.uu.net In article <960607.084630.EDT.WIGGINS@UConnVM.UConn.Edu>, WIGGINS@UCONNVM.UCONN.EDU says... > > I'm on the East Coast and up early so I figured (seems how I hadn't had a >posting yet) that you might not have heard this news yet. I copied breif blurb >from the web. Sorry that I'm bringing bad news. >************************************************************** >HEADLINE - BLACK CHURCH IN CHARLOTT > >CHARLOTTE, N.C. (Reuter) - Fire consumed a church attended mainly by blacks >overnight Thursday, a fire department spokesman said early Friday. >The blaze at Matthews Murkland Presbyterian Church was the latest in a series >of churches that have raged throughout the south. >``The fire is out and under control,'' said Brian Shoemaker. It is under >investigation. The blaze began about an hour before midnight EDT. >Church burnings throughout the south have prompted a federal investigation. >On Wednesday, South Carolina Gov. David Beasley promised to set up a $50,000 re >and use an already existing toll-free number to help capture arsonists. > Sincerely, > Mark According to the Dallas Morning News today, Tuesday, June 11, a 13-year-old girl is head in connection with the Mathews-Murkland fire.that one. They are learning from the dope dealers: get kids to do your dirty work. ========================================================================= Date: Wed, 12 Jun 1996 05:22:02 GMT Reply-To: Mike Lattrell From: Mike Lattrell Organization: PANIX Public Access Internet and Unix, NYC Subject: Blues at South Street Seaport (NYC) Comments: To: bit-listserv-blues-l@uunet.uu.net The Christine Santelli Band will be performing from 7-9pm on Friday, June 14th in the Atrium at the South St. Seaport. (Lower Manhatten (NYC) just of Water St. & Fulton) This concert is free and open to the public as part of the South St. Seaport's Summer Concert Series. Check out the homepage for The Christine Santelli Band: http://www.panix.com/~specty/band.htm ========================================================================= Date: Wed, 12 Jun 1996 05:34:59 GMT Reply-To: Mike Lattrell From: Mike Lattrell Organization: PANIX Public Access Internet and Unix, NYC Subject: Slapmeat Johnson & the Titans at Manny's Car Wash Comments: To: bit-listserv-blues-l@uunet.uu.net If you had to describe the sound of "New York City Blues" (ala Texas, New Orleans, Chicago, ect.) it would be SLAPMEAT JOHNSON & THE TITANS Don't miss New York's own hardest hitting blues band, FUNKING things up at Manny's Car Wash on Saturday, June 15th. (3rd Ave & 88th St.) ========================================================================= Date: Wed, 12 Jun 1996 05:55:49 GMT Reply-To: Mark Jacobson From: Mark Jacobson Organization: AT&T WorldNet Services Subject: Debbie Davies in San Jose Comments: To: bit-listserv-blues-l@uunet.uu.net Debbie Davies will be in San Jose at JJ's on Stevens Creek Saturday 6/15, capacity is 150, so this is a great opportunity to see a hot guitarist in an intimate setting. Debbie was with Albert Collins' band from '89-'92 and is featured on the Iceman disc. C-Ya there. ========================================================================= Date: Wed, 12 Jun 1996 01:41:24 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: henry qualls/ne usa Henry Qualls will be taking his downhome Elmo, Texas blues to Massachusetts for several gigs in late June. His special guest and accompanist will be Hash Brown from Dallas. June 27, 9 pm, Sea Note, Hull MA June 28, 10 pm, The Tam, Brookline MA June 29. Noon-2pm Live on WMBR 88.1 FM, Cambridge MA (I will gladly pay you Tuesday if someone would tape the above for me) June 29, 9 pm, Zoots, Billerica MA If you're in the region, try to see Henry if you can. They just don't make 'em like him anymore. Don O. ========================================================================= Date: Wed, 12 Jun 1996 06:34:08 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Bad Credit? Slow Credit? No Credit? No Problem! Subject: Re: Church Burnings and the Prez Comments: To: bit-listserv-blues-l@uunet.uu.net Ditch the partisan politics. This list is about blues music, and GOPS and DEMS can at least join together for that. I've carefully restrained from political posting here, but if the situation warrants, I have several megabytes worth of political observation ...... and I'm communist. Kevan Smith cuthulu@rlabs.com the great purple hope for the blues ========================================================================= Date: Wed, 12 Jun 1996 08:38:15 -0500 Reply-To: Goran Svenningsson From: Goran Svenningsson Subject: Re: crappy (i.e. cheap) gear I said: >>I play a lot of Elmore James stuff,and I try to be as true as possible to >>his type of sound, it works just GREAT playing on the mid or bass p-u! >>I string my guitar 13, 17, 22plain 42, 52, 62 and I tune it to an open Db, >>like Elmore but a half step down. > Don Cicchettis reply: >Not to disagree, because Goran has made some very good points... > >But please notice the SIZE of these strings! > >Half of his killer tone is right there... Don, I guess you re partly right but I ve played these PU:s with my normal gauge (.10-.52) long before putting them on this slide guit. Sounded killer already there. > >Of course there are great players with little strings... > >But for ME, there is no substitute for big strings. > Couldnt agree more! Sevenson "Dis mic is a bitch, Leonard...it can t hear me no..." Little Walter ========================================================================= Date: Wed, 12 Jun 1996 02:10:51 -0500 Reply-To: scott d From: scott d Subject: Re: Sitting & Thinking - Big Wal Comments: To: Joe Lempkowski At 10:35 AM 6/11/96 -0700, Joe Lempkowski wrote: > > >Scott writes: > >>I didn't meen to imply that other players don't use chords, I just >>meant that they don't use chords the way Big Walter did. He could play >>chords that were DEVASTATING. He'd use them not only as backing, but in >>solos in ways I don't hear very many people using them these days. > >If you mean making the chords almost the focal point of the solos, then >you are correct. A lot of today's harp players don't seem to focus on this >aspect. Why I don't know. Getting the tone that defined Big Walter's sound >is no easy feat. Tell me about it! >Big Walter's tonal characteristics are what really made >his style so great. It enabled him to say a lot with very few notes. >It isn't what he was saying, but how he said it. > >George Smith was a very big influence on what has come out of California >mostly because he was the harp man with any sort of history that was active >here. Yes, he was a very talented harp player, but guys like Piazza and >Clarke didn't have a large number of harp players to learn from like the >Chicago guys. Therefore, the influence Smith had on these guys is not >very subtle. Very good point. > >Additionally outside of California, I can't think of too many harp players >that have been influenced by George Smith, unless they play a shi*load of >chromatic harp. The California crowd has had the luxury of being heavily >recorded in the past few years and that is why the George Smith influence >has become so prominent. My point exactly. > >Big Walter's influence has directly or indirectly influenced every harp player >who has ever plugged into an amplifier. People have copped his licks and >tried (and most have failed) to get the tone. The style of the blues has also >changed. His influence is no longer as direct as it once was, but that >doesn't diminish his contributions. Although nobody emulates John Lee >Williamson anymore doesn't mean his days of influence have passed. They are >more deeply embedded in the blues. > >George Smith has influenced a lot of the current generation of harp players, >but a lot of them wouldn't be playing if it wasn't for Big Walter. > >Joe > Or Little Walter, or Rice Miller, or James Cotton, or.... Scott http://www.geocities.com/SunsetStrip/4466 Check it out! ========================================================================= Date: Wed, 12 Jun 1996 02:10:04 -0500 Reply-To: scott d From: scott d Subject: Re: Record suggtion to opn mnded slide/swing diggers Comments: To: Goran Svenningsson At 10:29 PM 6/11/96 -0500, Goran Svenningsson wrote: >As I write this I m being blown away by this record I just picked up. > >"Stratosphere Boogie:The flaming guitars of Speedy West & Jimmy Bryant" >Razor & Tie cat.no. RE 2067. > >Did you ever hear of these guys? >Speedy West plays a 2 x eight string pedal steel and Jimmy Bryant plays a >Fender Tele. >I ve never heard anything that s been even close to what Speedy does on the >pedal steel. >The style(s) on this record is a mix between western swing/a touch of >Charlie Christian and almost novelty music but all with an incredible swing >timing. >Can you imagine a pedalsteel player doing jazz solos/chords backed by a >fast swing beat. Speedy does it over and over, combined with some >spectacular sound effects with the slide bar. >And Jimmy Bryant. He s gotta be the first guitarplayer in history playing >jazz on a Fender Tele. He s got an incredible timing in his soloing as >well. > >These recordings were gathered from a few Capitol recordings made in the >early to mid 50s by Bryant and West and the sound quality is astonishing >for being that old! > >This record has some stuff I didn t think could be played on a pedal steel, >and Jimmy Bryant is also incredible through out this collection. > >WOW! > You can say that again....coincidently, I just picked up this CD a few days ago too, and I haven't taken it out of my player yet. My head is spinning...these guys are so good in so many ways it's frightening. Not only are they both virtuosi of the highest order on their instruments, they're both incredibly MUSICAL players; swinging, melodic, witty, and interesting at every turn. And as many notes as they sometimes play (both of these guys can give the most amped-up speed metal wanker a run for the money in the velocity dept.), they don't waste a note. My friend Joe, who's been a fan of these guys for years, told me that in his day, no one believed that Jimmy Bryant could play as fast as he did with as much accuracy as he did--a lot of guitarists thought that he was speeding up tapes a la Les Paul. Bryant was a Fender endorser, so he used to go the the NAMM show and do demonstrations at the Fender booth to proove to the doubters that he was for real. The sound quality on this CD really is amazing too--compare it to the Junior Brown CD that was recorded last year, and the sound quality is just about equal, if not better. Scott http://www.geocities.com/SunsetStrip/4466 Check it out! ========================================================================= Date: Wed, 12 Jun 1996 08:38:11 -0500 Reply-To: Goran Svenningsson From: Goran Svenningsson Subject: Re: Big hands for guitar Don said. > >Makes sure your guitar fits you. > I always wanted a wollow body guitar that caved in enuff on the back to fit my belly! Sevenson "Dis mic is a bitch, Leonard...it can t hear me no..." Little Walter ========================================================================= Date: Wed, 12 Jun 1996 08:38:23 -0500 Reply-To: Goran Svenningsson From: Goran Svenningsson Subject: Re: Record suggestion to opn mnded slide/swing diggers Troy replied to my posting: >As a Dobro/National and Pedal Steel player, Speedy has been my hero since >the first time I heard him about 10 years ago. The MAN was way ahead of >his time. Today I doubt many pros in this field could have kept up with >him for sheer speed and diversity. The amazing thing about Speedy was that >in the process, he was always tasteful and kept very emotional as a >player. > and I m saying; You are absolutely true! By coincidence I just found another one of those pedal maniacs, check this out; A live record with guitarist Danny gatton s band called The Redneck Explosion. Recorded in -78 and it s out on a label called NRG Records out of Alpharetta CA. This is also a killer album for you who like the Speedy West thing. Danny is of course playing some cool stuff but yet again, how does one come up with these sounds and solos on a pedalsteel like Buddy Emmons does here, amazing!! Sevenson "Dis mic is a bitch, Leonard...it can t hear me no..." Little Walter ========================================================================= Date: Wed, 12 Jun 1996 09:13:00 GMT Reply-To: Mr G M Smith From: Mr G M Smith Subject: Epiphone etc If my memory serves me well,and I wouldn't bet the farm on that if I were you,didn't Gibson buy the rights to the Epiphone NAME while the staff and craftsmen,or a least a good number of them,went off to form GUILD guitars under Alfred C Dronge. (Great name!) Yours, Garry Smith. ========================================================================= Date: Wed, 12 Jun 1996 05:13:56 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1959, Chess/Checker records released Chuck Berry's "Chuck Berry on Top" album, and Bo Diddley's "Go Go Bo Diddley". P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Wed, 12 Jun 1996 05:16:42 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Also on this day... On this day in 1963, Medgar Evers, NAACP official, murdered in Jackson, Mississippi. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ ========================================================================= Date: Wed, 12 Jun 1996 06:37:52 -0400 Reply-To: FORCELLAD@CCSUA.CTSTATEU.EDU From: Domenic Forcella Subject: Debbie Davies at San Jose Besides Debbie, last I knew her band consisted of Danny Klien -orginal J.Geils Band & Kenny Pino -7 years with Johnny Copeland. Along with an experienced drummer who backed Popa Chubby. If they are all there you are in for a good show. To me it is a good way to introduce someone to the Blues. Domenic Forcella Traveling with the Blues ========================================================================= Date: Wed, 12 Jun 1996 07:26:00 EDT Reply-To: Debra Eisert From: Debra Eisert Subject: Gatemouth Brown question I'm listening to Gatemouth Brown's disk Long Way Home in my computer now -- and loving it, by the way. But I have a question for you guys. Liner notes indicate that "Don't Cry Sister" was written by J. J. Cale. Can you point me to other recordings of the song? The way he does it just sends shivers up and down my spine. A while back we had a thread about what we were currently listening to. What about using that idea -- and putting the title at the end of our posts like a sig? ##################################################################### Debra Eisert "I have enough money to last me the debra@iglou.com rest of my life -- if I never buy Cincinnati, OH anything!" Jackie Mason ##################################################################### ========================================================================= Date: Wed, 12 Jun 1996 11:37:50 +0100 Reply-To: RASTBURY@MACOLLAMH.UCD.IE From: Ray Astbury Subject: Re: How did you get into the blues? I suppose you could blame it on the Sunday Times. I had become interested in jazz while at school and when I went to university in 1958 I reckoned my grant would allow me to buy the occasional LP. So I bought a book published by the Sunday Times which listed a basic 50 record jazz collection. Those were the days when blues was regarded as a part of jazz so the 50 records included a few blues (not that I knew what blues was). So I dutifully bought Vogue LAE 12009 by Big Bill Broonzy (still have it and it still plays perfectly well after hundreds of plays; I never could understand how people could wear out LPs) and I never bought another jazz record, but went into Sonny & Brownie, Leadbelly, Muddy Waters and so on. Nearly forty years later I'm still as excited by the music as I was when I first listened to Big Bill, though my tastes have broadened over the years to include r & b, gospel, soul, even doo wop. Ray Astbury ========================================================================= Date: Wed, 12 Jun 1996 07:44:07 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0354 From: "DUTTWEILER.J" Subject: "The South is still the..." was Comments: To: ac928@OSFN.RHILINET.GOV Date: Wednesday, 12 June 1996 7:43am ET To: Internet, GO-MAIN.AC928@DOASMAIN.SNADS From: DUTTWEILER.J@GOMAIL Subject: "The South is still the..." was Zydeco: Creole or Cajun? Jim recently wrote: > "And they wouldn't want you there nohow." > "Wait a minute," I say. "You mean there's no clubs where black people > and white people can have a good time without trouble?" > "Where are you from?" > "Boston." > "That figures." > > End of conversation. I'm sure things have changed somewhat in the interveni > years, but the South is still the South, n'cest pas? > > Jim C'mon Jim, this from a guy from BOSTON? I can't remember the last time we had a riot down here over school integration. And SURELY there aren't that many bars in Boston that are TRULY "integrated" - i.e. not predominantly patronized by white customers with a few blacks interspersed now and then. The biggest difference between the South and the North is that in the south the segregation was the LAW, in the north it was just as powerful, simply unwritten. Yes, a lot has changed down here, but there are STILL places better left alone after dark when one's skin pigment might single one out. JD ========================================================================= Date: Wed, 12 Jun 1996 07:53:13 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: "The South is still the..." was In-Reply-To: Message of Wed, 12 Jun 1996 07:44:07 GMT from On Wed, 12 Jun 1996 07:44:07 GMT DUTTWEILER.J said: >> >> End of conversation. I'm sure things have changed somewhat in the interveni >> years, but the South is still the South, n'cest pas? I don't know what is implied with the above statement, but Mississippi had the most intergrated blues crowd of anyplace I've ever been Leonard Watkins (I hope this guy wasn't dissin the south) ========================================================================= Date: Wed, 12 Jun 1996 09:01:13 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: "The South is still the..." was Comments: To: ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU On 12 Jun 96 at 7:53, ISTS024%UABDPO.BITNET@BROWNVM wrote: > On Wed, 12 Jun 1996 07:44:07 GMT DUTTWEILER.J said: > >> > >> End of conversation. I'm sure things have changed somewhat in the interveni > >> years, but the South is still the South, n'cest pas? > > I don't know what is implied with the above statement, but Mississippi had the > most intergrated blues crowd of anyplace I've ever been > > Leonard Watkins (I hope this guy wasn't dissin the south) > Yeah.. you better watch out. MY compass direction can beat up YOUR compass direction. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Wed, 12 Jun 1996 08:00:12 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: John Hurt/Doc Watson I have listened to some live Doc Watson and he mentioned (couple times) John Hurt. I've been listening to MJH "Avalon Blues" on Flyright and I have to ask if MJH was as big a influence on Doc as it sounds. Did they ever play together Let The Mermaids Flirt With Me is just an incredible tune. Gotta love it If anyone would like to school me on MJH's guitar technique, I will be a very attentive student. He makes me want to throw my guitar away. Leonard Watkins ========================================================================= Date: Wed, 12 Jun 1996 08:15:39 -0500 Reply-To: bolt From: bolt Subject: Re: A Challenge I've yet to be the member of a list that isn't percieved (especially by some of the old guard) as "going downhill, FAST" or not as good as it used to be. It's just the dynamics of this information superhighway. I have much more of a problem with the volume than the content of most messages. There seem to be way too many posts that should be to the individual rather than to the group as a whole. Also, some individuals deem it necessary to comment on every subject tabled. To my way of thinking this not only creates unnecessary e-mail traffic, but also diminishes the effectiveness (for lack of a better word) of that individuals posts. Regardless, this is still the most enjoyable and informative group on the net. Reg Burns +++++++++++++++++++++++++++++++++++++++++++++++++ + I'll listen to reason when it comes out on CD + + + + bolt@neosoft.com Houston, TX + +++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Wed, 12 Jun 1996 10:16:27 -0300 Reply-To: Rob Hutten From: Rob Hutten Subject: Re: How did you get into the blues? In-Reply-To: from "Steve Price" at Jun 8, 96 03:29:01 pm > What brought all you folks to the blues? When I was 16 I was driving through town with my brothers and SRV's "Mary Had A Little Lamb" came on the radio. A couple weeks later I bought a cheap no-name strat clone and SRV's "Live Alive" album with the money I had save from haying that summer and started trying to learn his stuff. Then I would read interviews where Stevie was talking about these guys named King, Hendrix, Guy, etc so I bought their albums. Then I'd read interviews where Buddy talked about Muddy Waters, so I bought "Hard Again". Then I bought Sony/Legacy's "Legends Of The Blues Vol.1" because I had heard about this Robert Johnson guy and that's about when it all started. That one tape introduced me to John Hurt, Bessie Smith, Son House, Blind Willie Johnson, Lead Belly, Willie McTell, RJ, Booker White and many others. It's still one of my favourite compilations tapes, and it's the one I recommend to anyone just getting into blues. So, criticise SRV if you will, but he's the reason this purist got into the blues. I hardly listen to him any more... maybe I should toss "Texas Flood" into the player for a while... -Rob ========================================================================= Date: Wed, 12 Jun 1996 09:20:15 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Nobody's Home Has anyone had any contact with our listowner (Alan Rollins), in the past week or two? I've tried to reach him and I know of at least two other L-ers who've also tried to contact him, without ever getting a reply. It's been pretty common knowledge that he doesn't read the list, or participate in any discussions. But now there doesn't seem to be any way to contact him. I would like to suggest we contact the folks that run the Listserv and ask them to set us up with a new "listowner". While I'm at it, I'll volunteer myself for the job (as long as I can do it). I've been studying up on how this all works in an effort to figure out what we must do to maintain our newsgroup gateway, but still require that all people who wish to post to the list must be subscribed. I now exactly how to do that now, and I've learned a fair amount about what goes into "listowning" as a result. Are there any objections to any of these ideas? P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Wed, 12 Jun 1996 09:26:00 -0400 Reply-To: "Gerald Leddy 215.898.4480" From: "Gerald Leddy 215.898.4480" Subject: Test-Pleeze don't read Just a test, can't seem to post any longer. JL. ========================================================================= Date: Wed, 12 Jun 1996 09:39:29 -0400 Reply-To: ac928@osfn.rhilinet.gov From: Jim McGlynn Subject: Re: "The South is still the..." was Zydeco: Creole or Cajun? Jon Dutweiller responded to my anecdotal post about race matters in Cajun country by pointing out (quite correctly) the ugliness that attended the integration of schools in Boston in the '70's. Yes, of course, there are morons and yahoos everywhere and my area of the country has its share. But the exchange I reported occurred at an officially-sponsored visitor welcome center on Route 10S in Lafayette, where you'd expect that they'd encourage visitors to leave their money behind in any way that suits their fancies. And yet the person behind the counter didn't have a clue about (and in effect warned me away from) one of the main tourist draws of the area simply because it occurred in a racial context that was not her own. That kind of obliviousness to black culture by whites is, I believe, more usual in the South than any kind of "multiculturalist" enlightenment. But I'm sure that officialdom is now (eleven years later) a bit more attuned to the draw that indigenous music (white AND black) holds for visitors to Acadiana, for monetary reasons if nothing else. Jim McGlynn -- ========================================================================= Date: Wed, 12 Jun 1996 06:52:59 -0800 Reply-To: Bob Hardin From: Bob Hardin Subject: John Sebastian Going to see him on the 21st at a little guitar shop in Santa Monica (McCabe's) and, while I don't mind listening to a little Lovin' Spoonful, I'm hoping he'll play _a bunch_ of blues - like he's done on some of his older live stuff. Anybody seen him lately? Will I be dissappointed? Bob #---------------------------------------#----------------------------# | Bob & Becky Hardin | The Rule: | | email: hardin@pacificnet.net | There is _always_ an | | http://www.pacificnet.net/~hardin | exception to the rule. | #---------------------------------------#----------------------------# ========================================================================= Date: Wed, 12 Jun 1996 13:56:18 GMT Reply-To: marc borms From: marc borms Organization: Brussels Free Universities VUB/ULB Subject: Visiting Chicago... Comments: To: bit-listserv-blues-l@news.eunet.be A colleague and friend of mine, will be in Chicago from June 22 till June 30 and likes to know the hottest places in town to hear some blues ( and/or jazz). Someone already told me, Erwin Helfer is playin' at Andy's on friday night. ( Where is Andy's ?) Can you please give me some references,addresses where my friend can feel the blues ? Who is giggin' in Chicago those days ? Thanks in advance, embee. ps. please, also send me a private email too... ========================================================================= Date: Wed, 12 Jun 1996 07:14:31 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: June 13 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BEAL, EDDIE (p) b. 1910-0613, REDLANDS, CA BLIND TOM [THOMAS GREEN BETHUNE] (p) d. 1908-0613, HOBOKEN, NJ 59 CAMPBELL, JOHN (g) d. 1993-0613, NEW YORK CITY, NY 41 CARR, JAMES (v/GOLDWAX REC) b. 1942-0613, MS CHEATHAM, DOC (tpt) b. 1905-0613, NASHVILLE, TN EVERS, MEDGAR WILEY d. 1963-0613, JACKSON, MS 37 FALLS, ELLEN (BLUES-L MEMBER) b. 1954-0613, BOSTON, MA FREEMAN, BOBBY (v/ROMANCERS/JUBILEE REC) b. 1940-0613, SAN FRANCISCO, CA GOODMAN, BENNY (cl) d. 1986-0613, MANHATTAN, NY 77 JONES, RICHARD M. (p/TROUBLE IN MIND) b. 1892-0613, BARTON, LA MCPHATTER, CLYDE (v/DRIFTERS) d. 1972-0613, BRONX, NY 39 MOORE, BILL WILD (tsax/SAVOY REC) b. 1918-0613, TX PETTIFORD, IRA (tpt/JAY MCSHANN) d. 1981-0613, MINNEAPOLIS, MN 66 PIERCE, NORM (owner: CAVALIER REC) d. 1983-0613, UTAH, CA 78 RIDDLES, LESLIE (g/A. P. CARTER) b. 1905-0613, BURNSVILLE, NC TARPLIN, MARVIN (g/songw/THE MIRACLES) b. 1941-0613, ATLANTA, GA THOMAS, LAFAYETTE "THING" (g) b. 1928-0613, SHREVEPORT, LA WILSON, GARLAND (p/boogie woogie) b. 1909-0613, MARTINSBURG, W. VA ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 12 Jun 1996 14:09:31 GMT Reply-To: bbbean@sheltonlink.com From: bbbean@SHELTONLINK.COM Organization: inlink Subject: Bootheel Blues Festival Comments: To: bit-listserv-blues-l@uunet.uu.net Any 'zellers planning on attending the Bootheel Blues Festival this weekend? Send e-mail and we'll rendezvous. BBB B.B. Bean bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Wed, 12 Jun 1996 10:44:43 -0400 Reply-To: smirkyface From: smirkyface Subject: Re: Carl Weathersby >I will be receiving Carl Weathersby's new CD,"Don't Lay Your Blues On Me" >on the Evidence Record label shortly. I've heard he's quite a guitarist. >How's his performance? He's been with the "Sons of Blues"for 14 years, so >I'm sure some of you northerners have had a chance to see him. Tell me >more. Thanks in advance, Stephanie Carl's a great guy, he learned to play guitar from one of the best. ME, just kidding. He told me a story about when he was a kid, trying to learn how to play guitar. Every few months his fathers friend Albert would come into town for a visit. One day Carl's sitting on the porch listening to a new record of ALBERT KING, trying to get the licks down. He thought he was doing ok, until Albert sat next to him and said, boy that's not how you play that thing, you got to get the blues out of the guitar, it won't give it to you. Carl knew this guy for years, but didn't know he played guitar. He thought Albert was just riding him for no reason, because after all he(carl) could play guitar. Well Albert took the guitar from him and showed him how the tune really went. In that moment he realized that his father's friend Albert, was ALBERT KING. He said he'd never put the two together until then. Every time after that, Carl got a lesson from Albert when he was in town. That afternoon in Carl's hotel room, I got a guitar lesson from him. I learned more about blues guitar in one hour than I'd learned since I started playing. Performance wise, he's excellent. Great dynamics, tone, attiude. His chipped front tooth came about from trying to play with his teeth like Hendrix. He's a big Hendrix fan, next time he's in philly, he'll play some Hendrix tunes before Billy hits the stage. He let me play his guitar. A custom Tele, best discribed as butter, a rich fat sound that you would expect from a semi- hollow body. ...yup, I'm a big fan of his. BRIAN MCLEAN PHOTOGRAPHY & SMIRKYFACE PRODUCTIONS "life's too short to live the blues" http://www.netaxs.com/~blmclean ========================================================================= Date: Wed, 12 Jun 1996 10:46:47 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Nobody's Home Comments: To: "P.W. Fenton" In-Reply-To: <199606121322.JAA37278@osceola.gate.net> The last time we had a conversation about changing the list I was in touch with Alan while others claimed they couldn't reach him. I also had a conversation about the unfairness of some of the attacks point- ed at him without regard to what he really had to do to keep blues-l going along as smooth as it does. I think before we dump him he has earned the respect to be spoken to first. (re: as smooth as it is - for some it's smooth and for some it's not so smooth, but the smooth I am referrring to is that we have a list, you can post and read and just about everything gets delivered). As for you taking it over Paul I have my reservation. It is that the last thing you wanted to take over was eRIC's dates & that turned out to be too much for you to do (not a flame Paul - so please don't take it so) and I doubt that the ownership of a list is any smaller a task. I don't care who runs the list but if we get a listowner who then can not keep up with the work involved (knowing what to do and having the time to do it are 2 different things) we could all end up in the hole from hell with nothing rather than something. If I am wrong re: this task with eRIC's dates I am open to a correction. As far as having to subscribe to post I am against that but I will go with whatever the group decides. Since I am subscribed it doesn't do anything to my status, but I am against it on principle. Barry On Wed, 12 Jun 1996, P.W. Fenton wrote: > Has anyone had any contact with our listowner (Alan Rollins), in the > past week or two? I've tried to reach him and I know of at least two > other L-ers who've also tried to contact him, without ever getting a > reply. > > It's been pretty common knowledge that he doesn't read the list, or > participate in any discussions. But now there doesn't seem to be > any way to contact him. > > I would like to suggest we contact the folks that run the Listserv > and ask them to set us up with a new "listowner". While I'm at it, > I'll volunteer myself for the job (as long as I can do it). I've been > studying up on how this all works in an effort to figure out what we > must do to maintain our newsgroup gateway, but still require > that all people who wish to post to the list must be subscribed. I > now exactly how to do that now, and I've learned a fair amount about > what goes into "listowning" as a result. > > Are there any objections to any of these ideas? > > P.W. Fenton > Tampa, Florida > http://www.gate.net/~pwfenton/ > > "The large print giveth, and the small print taketh away" > - Tom Waits > NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Wed, 12 Jun 1996 14:45:47 GMT Reply-To: skb8721@tam2000.tamu.edu From: "Shane K. Bernard" Organization: Texas A&M University (Student) Subject: Re: Zydeco: Creole or Cajun? Comments: To: bit-listserv-blues-l@uunet.uu.net Jim McGlynn wrote: >End of conversation. I'm sure things have changed somewhat in the intervening >years, but the South is still the South, n'cest pas? It's my impression that today whites are more welcome in black Creole (zydeco) clubs than blacks are welcome in Cajun places -- I know several whites who regularly visit zydeco clubs that are frequented mainly by local blacks, but recently when a black tourist (who happened to be a federal prosecutor) tried to enter a well-known Cajun music club around Lafayette, he was denied entrance because of his race. (This also recently happened to a black tourist at one of the Cajun rural Mardi gras runs.) Naturally, the black prosecutor made an example of this nightclub. These events merely indicate that racism, of course, still exists in South Louisiana; but, no, I don't think it's as bad as it was 10+ years ago (when zydeco was just beginning to really catch on with white audiences outside its homeland) and it's certainly not as bad as it was in previous decades. For instance, in the 1940s black Creole musical pioneer Amede Ardoin was badly beaten by whites after he wiped his sweat away at a white dance (where he was performing) with a handkerchief offered by a white female. Ardoin never recovered from his wounds, emotional or physical, and died in an asylum a short time later. Lee Nichols, who's been contributing to this site, has a great article on this whole topic at the Austin Chrinicle web site . . . you can access it at: http://www.auschron.com/issues/vol15/issue34/music.louisiana.html SKB Cajun in Exile ========================================================================= Date: Wed, 12 Jun 1996 10:35:53 -0400 Reply-To: Hugh Hardy From: Hugh Hardy Subject: Big hands There have been lots of great players with either small or somewhat = disfunctional hands (a handicapp). Roy Buchanan hands fat little hands = and fat little fingers.=20 My hands are quite large but I'd trade them for Roy's. It's heart and brain that make all the difference. By the way, I love those baseball bat Fender necks. Also, people with small hands who insist on playing a latge scale like a = Strat or a Tele do so because there is a tone compromise with the = smaller scale. I have had to give up on Gibsons and short scale guitars = even though I enjoy aspects of them because my aggressive style and = musical direction really can't acccomodate a shorter scale. Regards, Hugh Hardy ========================================================================= Date: Wed, 12 Jun 1996 10:16:36 -0500 Reply-To: Mark Halverson From: Mark Halverson Subject: MINNESOTA BLUES FESTIVAL It was suggested a few thousand Blues List e-mails ago that I post a schedule for the 3rd annual Minnesota Blues Festival. The festival is a private venture held at the Brown County Fair grounds in New Ulm (those of you that speak German rejoice!), Minnesota. This is roughly 90 miles southwest of the Twin Cities. Here goes: Friday, June 14 5:00 Fabulous Hackmasters 7:00 Soulmates 9:00 Bryan Koenig & the Standback Blues Band 11:00 A.C. Reed & the Sparkplugs Saturday, June 15 1:00 Sweet Pea & JJ Louis Band 3:00 Radio X 5:00 Otis & the Alligators (one of my favorites & all time great at the Brokedown Palace, Washburn, Wisconsin - the USA's northernmost blues club!!! - ? ) 7:00 The Senders 9:00 Fenton Robinson 11:00 Tinsley Ellis Sunday, June 16 12:00 The Joel Johnson Band 2:00 R.J. Mischo & His Redhot Blues Band 4:00 Howard "Guitar" Luedtke and Blue Max 6:00 Uptown Rhythm Kings The festival apparently has had some growing pains, but still has a solid lineup. Crowds are much smaller & access much better than most festivals. Sponsored in part by New Ulm's Schell's brewery, a small family owned brewery which has been in business 140 years or so - which produces some excellent brews - a great brewery to tour if you have a couple hours to spare while in town. Tickets available at regional outlets and TicketMonopoly (507) 626-7919. Don't forget to check out the MCs on Saturday night - especially the one that looks a bit like Jerry Garcia (bless his blues-loving soul!!!) who has recently been squandering unreasonable amounts of time playing with Blues List and who authored this document. Also a good one day festival in the same area (Kasota, Minnesota) the next Saturday. More details on that later. 5/15; 5/22; 5/30; 6/12. ========================================================================= Date: Wed, 12 Jun 1996 11:46:06 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Nobody's Home Comments: To: Barry Silverberg On 12 Jun 96 at 10:46, Barry Silverberg wrote: > The last time we had a conversation about changing the list I was in > touch with Alan while others claimed they couldn't reach him. I also > had a conversation about the unfairness of some of the attacks point- > ed at him without regard to what he really had to do to keep blues-l > going along as smooth as it does. I think before we dump him he has > earned the respect to be spoken to first. If you have some way to get his attention, we all would welcome you doing so. > As for you taking it over Paul I have my reservation. It is that the > last thing you wanted to take over was eRIC's dates & that turned out > to be too much for you to do (not a flame Paul - so please don't take > it so) and I doubt that the ownership of a list is any smaller a task. > I don't care who runs the list but if we get a listowner who then can > not keep up with the work involved (knowing what to do and having the > time to do it are 2 different things) we could all end up in the hole > from hell with nothing rather than something. If I am wrong re: this > task with eRIC's dates I am open to a correction. Despite your disclaimer, I do take offense to your suggestion that I sought to take over something else that was too much for me. As far as my decision to stop my favor of reposting eRIC'S Blues dates. You have no knowledge as to why I actually stopped doing it, (not to mention no knowledge of why I started) so your speculations about what I have time for or don't have time for are baseless. But since you choose to make at look as though I have no time for responsibilities I take on, I will have to straighten this out for the sake of other list readers. I never wanted to "take over eRic's dates" as you put it. And it was never my "responsibility". As some may remember, eRIC used to post his dates himself on a daily basis (a day prior to the calendar date). Eventually eRIC's life got busier and busier and to save himself some trouble he began to put a whole weeks worth of dates together and post them once a week. I found that I no longer read them when they were in this form, so as a service to myself and others, I began snipping the 7 day files into individual days and re-posted them on a daily basis (incidentally on the same calendar day which was the way I preferred to read them). NO ONE ASKED ME OR ANYONE ELSE TO DO THIS. I did it mostly as a way to make sure I read them everyday. After I did this for a while, eRIC began just sending the weeklong files to me directly instead of posting the whole thing to the list. Since I was doing it on a daily basis anyway, I didn't object. Eventually eRIC, to save himself even more time, began sending me a whole months worth of dates in one big file. This was much more difficult for me to deal with, as they were just huge text files, but I perservered and did not object. He eventually sent me a huge file with around 6 months of dates. He apparently only wanted to deal with the dates a few times a year. He also began sending me corrections and additions. Suddenly, an innocent little task, that I started out doing for my OWN amusement, was becoming a good bit more than I had ever asked for. I told eRIC I was no longer interested in doing the repost, and never intended to start maintaining his database. I had also begun getting complaints from people who preferred to get the listings a day in advance. I announced to the list, that had gotten used to the daily posts once again, that I was no longer going to be doing it. I didn't have any reason to share this long story with the list at that time, as no one had anything but thanks for the work I had done. > As far as having to subscribe to post I am against that but I will go > with whatever the group decides. Since I am subscribed it doesn't do > anything to my status, but I am against it on principle. Since no one has ever objected to subscribing to Blues-l before I would love to know why you are now "against it on priciple". What principle would be involved here? P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Wed, 12 Jun 1996 10:43:00 +0000 Reply-To: thf4@WaterValley.Net Comments: Authenticated sender is From: Tom Freeland Subject: (Fwd) Re: Nobody's Home > I would like to suggest we contact the folks that run the Listserv > and ask them to set us up with a new "listowner". While I'm at it, > I'll volunteer myself for the job (as long as I can do it). I've been > studying up on how this all works in an effort to figure out what we > must do to maintain our newsgroup gateway, but still require > that all people who wish to post to the list must be subscribed. I > now exactly how to do that now, and I've learned a fair amount about > what goes into "listowning" as a result. > > Are there any objections to any of these ideas? I've got no problem with that. Make *SURE* that the FAQ and the subscription announcement tells them: (a) that they cannot post from the newsgroup but (b) they can post as a subscriber on "no mail" status and read the newsgroup and not get all the mail. If everyone understands that, I don't see how there can be a complaint. Tom Freeland ========================================================================= Date: Wed, 12 Jun 1996 11:57:13 EDT Reply-To: Toby Levy From: Toby Levy Subject: SITTING & THINKING: Joe Beard and Ronnie Earl JOE BEARD FEATURING RONNIE EARL AND THE BROADCASTERS BLUES UNION AUDIOQUEST #1039 Joe Beard, born in Mississippi in the late 30s, has lived in Rochester New York long enough to remember when Son House lived there. Joe, working a full time job as an electrician, plays the blues with his band The Blues Union mainly in the Rochester area. But a person with as much talent as Joe cannot remain hidden away in a corner of the country forever. After only thirty years of playing blues professionally, Joe makes an important recording here, and how fortunate we are that he is in the company of such stellar musicians as Ronnie Earl and the Broadcasters, and the engineers are the magicians from Audioquest. Ronnie Earl, acclaimed as one of the most innovative blues guitarists playing today, brings with him to the studio his accomplished keyboardist Bruce Katz. Joe Beard has his blues harp player Joe Dubuc sit in on three songs, and legendary tenor sax player David "Fathead" Newman sits in on two songs. Not withstanding all this talent, this cd is a showcase for Joe Beard's remarkable singing and guitar playing abilities. Joe also wrote about half the songs on the disk. LAY FOR ME SOMETIME / JUST TO BE WITH YOU / I COUNT THE DAYS YOU'RE GONE / SINNERS PRAYER / SALLY MAE / PLEASE DON'T LIGHT THE FLAME / FEETS OUT IN THE HALL / THINK / TELLING IT LIKE IT IS / DON'T KNOW WHY / LATE IN THE EVENING NY CD-Takes LAY FOR ME SOMETIME: Joe opens with an original composition, a country blues with lots of farmyard imagery. Joe opens the song alone on the guitar singing that he doesn't like chickens because he has a hen that only lays for other men. After the first verse, the band kicks in, with Bruce Katz prominent on the keyboards sounding all the world like a jook joint band. Joe's first guitar solo on the disk is a thing of beauty. JUST TO BE WITH YOU: An easygoing languid summertime slow blues. Joe cries out his testimony of love as the band cranks up the heat. Making his first appearance on the album is Joe's regular harp player, Joe Dubuc, who intensifies the mood of old time country blues brought to the city. Bernard Katz plays impressively, turning out lots of Otis Spann figures on the keyboards. I COUNT THE DAYS YOU'RE GONE: Another Joe Beard original, this one an easy rolling boogie. Joe Dubuc makes another appearance here, taking an extended solo. Joe Beard follows with a stinging solo in which he makes every note count. SINNERS PRAYER: This is a slow blues penned by the poet of the blues, Percy Mayfield. Bruce Katz takes the lead, stretching notes on his Hammond B3 Organ as Joe testifies "I am a prisoner, I need your love to set me free." A smoky, after hours mood is established by the sensuous saxophone of David "Fathead" Newman. Hammond B3 fans will love the solo turned in by Bruce Katz at the end of this song. SALLY MAE: A classic country boogie written by the legendary John Lee Hooker. Joe takes this one solo, playing haunting chords on his electric guitar while moaning the warning to Sally Mae that she will regret doing him wrong. PLEASE DON'T LIGHT THE FLAME: Joe Dubuk makes his final appearance on blues harp here on this cover of a Jimmy Reed shuffle blues. Joe Beard sings about what will happen if the woman of his choice decides to "put out my fire" he will respond grandly with much attention to detail. FEETS OUT IN THE HALL: A slow blues that is another Joe Beard original. He starts by laying down some pretty lines on his guitar with Bruce Katz backing him on the organ. Joe has lost his woman and he feels so bad, he can't get any sleep. When he lays down, the door to his bedroom is open and his feet stick out into the hall. Ronnie Earl takes a pretty solo here. THINK: This Jimmy McCracklin classic has been recorded by many blues bands, but the presence of David "Fathead" Newman makes this a very special rendition. The lyrics of this shuffle blues advise two people entering a relationship to think ahead to how they would feel if they were to break up later on "Just in case we both were wrong." TELLING IT LIKE IT IS: As Bruce Katz plays beautifully on piano, the rest of the band playing a slow blues, Joe begin talking. In a soft voice he explains how important it is to lay down ground rules in a relationship. He sings "I got to know where you are going, what you are doing and who are you doing it with." Ronnie Earl takes another fine solo here. DON'T KNOW WHY: The band picks up the tempo to a mid tempo shuffle as Joe sings his own composition, trying to understand why nothing he does pleases his woman anymore. He drives her around in a cadillac and she said her last man drove a rolls royce. LATE IN THE EVENING: Joe closes out the album with a beautiful country blues that he plays alone on his guitar as he sings about the pain he feels just before he lays down t take his rest, thinking about the woman he wishes was his own. Reviewed by Toby Levy Copyright NY CD Blues - 1996 NY CD BLUES - CD Reviews and On-Line Catalogs http://www.panix.com/~bsco/ ========================================================================= Date: Wed, 12 Jun 1996 10:58:04 CDT Reply-To: William Shute From: William Shute Subject: in honor of JB Hutto From: Bill Shute I saw on the list of births/deaths yesterday or the day before that the anniv. of JB Hutto's death passed, and I didn't see it commented on by anybody (pardon me if I missed something...I don't read EVERY line of EVERY post). Hutto's Delmark album SLIDEWINDER, while not probably regarded as among his greatest achievements, was a very important album for me when I was in high school. As a teenager without much historical background in the blues, I viewed Hutto as in a similar vein as my hero, Hound Dog Taylor, and as a man who stood proudly for raw music with feeling, which was VERY necessary in the pre-punk early 70s when art-rock and pretentious %$#&@#$ like Rick Wakeman, PFM, and Focus were being shoved down our throats, as was the abysmal "fusion" movement in jazz. Today, I would say that Hutto was more reminiscent of, say, Homesick James than of Hound Dog, but still all three men stood for (stand for in the case of Homesick) similar goals musically. The recent Hutto CD on Evidence, a reissue of a French album tho recorded in the US, is a nice intro to this slide guitar master and superb showman, and a man with a great sense of humor that comes through on his records. I'm sure you who saw him live (I never had the privilege) have stories to tell about his antics I must have played the Slidewinder album hundreds if not thousands of time as a teenager. I will always remember fondly Mr. JB Hutto, and I wanted to say a few words in his memory. If you haven't heard him and you like Hound Dog, Homesick, Elmore James, etc. give him a try. Bill Shute San Antonio, TX ========================================================================= Date: Wed, 12 Jun 1996 12:12:34 -0500 Reply-To: MILLER@SCI.WFBR.EDU From: "" Subject: FYI, Gate Street Blues hits Beantown! Comments: To: jds@head-cfa.harvard.edu, mfarn@fibusa.com, Melinda.Gromack@BANYAN.UMMED.EDU Howdy hey! It's my extreme pleasure to announce that the lads and I (of Gate Street Blues) have finally cracked the toughest of all nuts for an out of town band, and that is the Boston club scene. We've been working on this one for a while, and we've gotten the all's "go" to play tomorrow night, Thursday June 13 right smack in the middle of Faneuil Hall at the Marketplace Cafe, 300 Faneuil Hall, Boston (617) 227-9660. We go on at 9 pm and there's no cover, I'm told. If you're within earshot of Beantown and are looking for a good fix of blues on what promises to be a hot Spring night, please stop in and say hi! See you! Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 12 Jun 1996 12:13:59 -0400 Reply-To: TabbMan@AOL.COM From: John Moore Subject: Re: Carl Weathersby Comments: To: bluemoon@usa.pipeline.com I have seen Carl play numerous times.He just appeared at blues fest in chicago with Billy Branch and the SOB's.Ive never been dissapointed!!! By the way ,i have the same cd i highly recommend it. ========================================================================= Date: Wed, 12 Jun 1996 12:25:06 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: John Hurt/Doc Watson Comments: To: ISTS024@uabdpo.dpo.uab.edu On June 12th, Leonard Watkins said: >>>I have listened to some live Doc Watson and he >>>mentioned (couple times) John Hurt. I've been >>>listening to MJH "Avalon Blues" on Flyright and I >>>have to ask if MJH was as big a influence on Doc as it >>>sounds. Did they ever play together Doc Watson was already playing folk festivals when MJH was rediscovered in 1963. They certainly shared many festival stages together over the next few years but never played as a duet. Doc felt that his son, Merle, was a better blues guitarist that he was. I doubt if you could say that MJH was any influence on Doc's technique. >>>Let The Mermaids Flirt With Me is just an incredible >>>tune. Gotta love it And well you should. It's Jimmy Rodgers' "Waiting For A Train" with different lyrics. >>>If anyone would like to school me on MJH's guitar >>>technique, I will be a very attentive student. Philadelphia Jerry Ricks accompanied MJH onstage every time he played in the Philadelphia area. He can play John's style perfectly and usually includes a few of his songs in any performance. Dick Waterman ========================================================================= Date: Wed, 12 Jun 1996 12:28:24 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Active folks who recorded at Sun >At 10:33 PM 6/9/96 +0000, Tom Freeland wrote: >[edit] > >>Anyway, here is a question: Who is still alive and active that recorded >>at Sun? >> If this is 'at Sun' rather than 'on Sun', has anybody mentioned Frank Frost? Chris Smith (chris@skerries.demon.co.uk) I asked her for butter, and she gave me margarine (Paul Francis, a college buddy of mine) ========================================================================= Date: Wed, 12 Jun 1996 12:30:57 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Re: eRIC's BLUES DATES: June 13 Comments: To: jcarmin@teleport.com >>>Subj: eRIC's BLUES DATES: June 13 Today is the 91st birthday of Mrs. Evie House, widow of the greatest blues singer I ever heard . . . Dick Waterman ========================================================================= Date: Wed, 12 Jun 1996 11:18:14 -0700 Reply-To: Craig Edmundson From: Craig Edmundson Organization: University of Nebraska Medical Center Subject: Re: Nobody's Home Comments: To: "P.W. Fenton" P.W. Fenton wrote: > I would like to suggest we contact the folks that run the Listserv > and ask them to set us up with a new "listowner". While I'm at it, > I'll volunteer myself for the job (as long as I can do it). Thanks for volunteering to handle this, P.W. You are eminently qualified to serve as listowner. You have my vote! Craig -------------------------------- Craig L. Edmundson cedmunds@netserv.unmc.edu cedmunds@probe.net http://www.probe.net/~cedmunds/ ========================================================================= Date: Wed, 12 Jun 1996 11:34:35 -0500 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: "The South is still the..." was Comments: To: ISTS024@UABDPO.DPO.UAB.EDU In-Reply-To: from "Leonard Watkins" at Jun 12, 96 07:53:13 am In an earlier message, Leonard Watkins said: ] On Wed, 12 Jun 1996 07:44:07 GMT DUTTWEILER.J said: ] >> ] >> End of conversation. I'm sure things have changed somewhat in the interveni ] >> years, but the South is still the South, n'cest pas? ^^^^^^^^^^^^^^^^^^^^^^^^^ ] I don't know what is implied with the above statement, but Mississippi had the ] most intergrated blues crowd of anyplace I've ever been Some stereotypes are evil. Some stereotypes are okay. ========================================================================= Date: Wed, 12 Jun 1996 12:36:40 -0400 Reply-To: MojoBandit@AOL.COM From: Dave Ruthenberg Subject: Smooth, Daddy, Smooth I have to agree with Barry on this one. I have very few problems posting and receiving mail from this list. Why rock the boat when the waters are smooth and calm? I see no need to change list ownership. Dave ========================================================================= Date: Wed, 12 Jun 1996 16:26:50 GMT Reply-To: John Gowrie From: John Gowrie Organization: Netcom Subject: New Jersey Blues - Doc Lawrence and The Blues Fix Hello, I wanted to let everyone know that there is a new blues band that is going to be playing shows in the NJ area. Doc Lawrence and The Blues Fix is a five piece band playing a traditional Chicago styled blues show. We also get into some occasional funk and a little jazzier sounding blues. The band has several shows booked through June and a couple of dates in July and August right now. We are looking to develop a following of people who dig listening to blues music. You can check out our schedule of shows on our web page: http://www.netcom.com/~bassman1/bluesfix.html Or, send me some e-mail and I'll send you a list of upcoming gigs. If you decide to come to one of our shows, make sure you come up and say hello. We'll buy you a beer if you say you heard about us on the web. Nice deal, huh? Hope to see some of you soon, john gowrie (bassplayer for Doc Lawrence and The BLues Fix) ========================================================================= Date: Wed, 12 Jun 1996 12:36:12 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0527 From: "DUTTWEILER.J" Subject: Re: Nobody's Home Date: Wednesday, 12 June 1996 12:36pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: Nobody's Home > > I would like to suggest we contact the folks that run the Listserv > > and ask them to set us up with a new "listowner". While I'm at it, > > I'll volunteer myself for the job (as long as I can do it). I've been > > studying up on how this all works in an effort to figure out what we > > must do to maintain our newsgroup gateway, but still require > > that all people who wish to post to the list must be subscribed. I > > now exactly how to do that now, and I've learned a fair amount about > > what goes into "listowning" as a result. > > > > Are there any objections to any of these ideas? > > I've got no problem with that. Make *SURE* that the FAQ and the > subscription announcement tells them: (a) that they cannot post from > the newsgroup but (b) they can post as a subscriber on "no mail" > status and read the newsgroup and not get all the mail. If everyone > understands that, I don't see how there can be a complaint. > > Tom Freeland I would also like to suggest that, if it can be worked out, the FAQ gets posted to the newsgroup on, perhaps, a weekly basis. Or at least instructions on how to get the FAQ should be posted weekly. I have seen this done in other newsgroups and have found it extremely helpful when being a newbie to those groups. I have mixed emotions about making people subscribe in order to post (how many "subscribe" messages are going to get posted to the list? A lot, I bet), but, as I'm subscribed both at work and at home I really don't have too much of a problem with it. JD ========================================================================= Date: Wed, 12 Jun 1996 16:01:17 GMT Reply-To: bbbean@sheltonlink.com From: bbbean@SHELTONLINK.COM Organization: inlink Subject: Re: Active folks who recorded at Sun Comments: To: bit-listserv-blues-l@uunet.uu.net In <4pkiuo$r1g@earth.superlink.net>, Peter Ballantine writes: >scott d wrote: >>At 10:33 PM 6/9/96 +0000, Tom Freeland wrote: >>[edit] >> >>>Anyway, here is a question: Who is still alive and active that recorded >>>at Sun? Don't forget Barbara "I Need A Man" Pittman BBB B.B. Bean bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Wed, 12 Jun 1996 13:35:45 -0400 Reply-To: "Miele,Dennis" From: "Miele,Dennis" Organization: C/ICS Subject: Re: "The South is still the..." was Comments: To: bit-listserv-blues-l@uunet.uu.net Billy Chambless wrote: > Some stereotypes are evil. > > Some stereotypes are okay. What type is your stereo. Mine is Pioneer, is it okay?? :-) ========================================================================= Date: Wed, 12 Jun 1996 14:22:04 GMT Reply-To: Sunny From: Sunny Organization: UW Madison Subject: Re: Hendrix on Cable Comments: To: bit-listserv-blues-l@uunet.uu.net In article , "DUTTWEILER.J" wrote: <> ... old Dick Cavett, this time > just a couple weeks after Woodstock. Obviously from the subject, Hendrix was > his guest and it really was pretty good. Both seemed rather ill at ease with > the other, not quite knowing how to act or react - somewhat humerous. <> Was that the same show where Jimi tried to strangle Cavett? (He was just kidding, but it was a little alarming to see it on TV.) Was Jimi wearing a light blue kimono? When Dick asked if Jimi led a fairly normal life and got up in the morning like regular folks, did Jimi tell Cavett that indeed he "tries to get up every day? I saw that show back in 1969. Jimi was God, as far as I was concerned. ========================================================================= Date: Wed, 12 Jun 1996 13:54:20 -0400 Reply-To: SpLiT_EnDs_RAGS From: SpLiT_EnDs_RAGS Subject: ANDY_WARHOL_BLUES_NEXUS?? Hi folks..... Made a visit yet again to the Andy Warhol Museum and saw this new installation of VELVET UNDERGROUND POSTERS. VELVET UNDERGROUND was a group fronted by NICO with LOU REED and JOHN CALE among others which ANDY promoted as part of his POP ART SHOW. I chanced on a POSTER, it said the following : VELVET UNDERGROUND + CHARLEY MUSSELWHITE + INITIAL SHOCK @ SAN FRANCISCO AVALON, OCT 18, 19, 20, 1968. Any of u folks see that concert/show. Opinions, quips about this POP ART + BLUES connection would be cool to hear. ps>> I was about 8 months old then :) +===================================================================+ | _-\\|//-_ | | | // \\ | Laissez les bon temps roulez!! | | // ~~ ~~ \\ | Let the good times roll!! | | /d-(*)-(*)-b\ | ------------------------------ | | // L \\ | SANJAY 'RAGS' RAJAN | | // //|\\ \\ | sanjay_rajan@formtek.com | | ////`---'\\\\ | FORMTEK,INC. | | // //|||\\ \\ | PITTSBURGH, PA | | // /|||\ \\ | ------------------------------ | | -/---/\o/\---\- | "CULT"ivate ORGANIC WHIRLED PEAS | | /"\ | | +===================================================================+ ========================================================================= Date: Wed, 12 Jun 1996 11:12:10 -0700 Reply-To: chris@SPARKIE.OSL.STATE.OR.US From: Chris Adams Subject: Re: Jimmie Bryant and Speedy West Great stuff! If you want to hear much more from these guys, check out the (I think) out of print "Country Cabin Jazz", as well as most of the good country music from Capitol Records from the late 40's and 50's. These guys backed up just about everyone who played on the Capitol label in those days. Christopher Adams >Date: Tue, 11 Jun 1996 22:29:45 -0500 >From: Goran Svenningsson >Subject: Record suggtion to opn mnded slide/swing diggers > >As I write this I m being blown away by this record I just picked up. > >"Stratosphere Boogie:The flaming guitars of Speedy West & Jimmy Bryant" >Razor & Tie cat.no. RE 2067. > >Did you ever hear of these guys? >Speedy West plays a 2 x eight string pedal steel and Jimmy Bryant plays a >Fender Tele. >I ve never heard anything that s been even close to what Speedy does on the >pedal steel. >The style(s) on this record is a mix between western swing/a touch of >Charlie Christian and almost novelty music but all with an incredible swing >timing. >Can you imagine a pedalsteel player doing jazz solos/chords backed by a >fast swing beat. Speedy does it over and over, combined with some >spectacular sound effects with the slide bar. >And Jimmy Bryant. He s gotta be the first guitarplayer in history playing >jazz on a Fender Tele. He s got an incredible timing in his soloing as >well. > >These recordings were gathered from a few Capitol recordings made in the >early to mid 50s by Bryant and West and the sound quality is astonishing >for being that old! > >This record has some stuff I didn t think could be played on a pedal steel, >and Jimmy Bryant is also incredible through out this collection. > >WOW!> ========================================================================= Date: Wed, 12 Jun 1996 12:54:53 -0700 Reply-To: Craig Edmundson From: Craig Edmundson Organization: University of Nebraska Medical Center Subject: Re: in honor of JB Hutto Comments: To: William Shute William Shute wrote: > Hutto's Delmark album SLIDEWINDER, > I must have played the Slidewinder album hundreds if not thousands of time Also highly recommended is "Hawk Squat" on Delmark. Craig -------------------------------- Craig L. Edmundson cedmunds@netserv.unmc.edu cedmunds@probe.net http://www.probe.net/~cedmunds/ ========================================================================= Date: Wed, 12 Jun 1996 14:11:44 -0400 Reply-To: James Leftwich From: James Leftwich Subject: Re: Sweet Home Chicago, California Comments: To: JBrads7016 In-Reply-To: <4pga99$dn9@newsbf02.news.aol.com> I had always thought that "California" was a metaphor for "land of opportunity". I could (scratch that) probably am wrong... Jim On Mon, 10 Jun 1996, JBrads7016 wrote: > There is a Port Chicago, California and Johnson supposedly had relative > there. I grew up less than 20 miles away from Port Chicago, so I know it > is a real place. > > Jim Bradshaw > ============================================================================= Jim Leftwich Jim's Blues N' Brews leftwich@cloud9.net http://www.cloud9.net/~leftwich "I'm on cloud9!" :) New CD Giveaway: Sherman Robertson ============================================================================= ========================================================================= Date: Wed, 12 Jun 1996 12:54:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: King Biscuit Times Does anyone have the address for the publication "King Biscuit Times". Can anyone give me the issue number of - I believe - the most recent issue that has an article by Bruce Iglauer on traditional black bands losing gigs to white bar bands (this seems to happen more in the Chicago area where more traditional bands are based I would guess). Iglauer has of course recorded many white bands, but one concern he had - according to a friend who read the article - was that many of the traditional musicians have music as a sole source of income and getting decent paying white collar office job isn't always or even often - an option. -Bonnie ========================================================================= Date: Wed, 12 Jun 1996 13:12:33 -0500 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: "The South is still the..." was Comments: To: dmiele@FPE.ERENJ.COM In-Reply-To: <31BEFFF1.5B70@fpe.erenj.com> from "Miele,Dennis" at Jun 12, 96 01:35:45 pm In an earlier message, Miele,Dennis said: ] Billy Chambless wrote: ] ] > Some stereotypes are evil. ] > ] > Some stereotypes are okay. ] ] What type is your stereo. Mine is Pioneer, is it okay?? :-) Only if you play lotsa good blues on it. -- "They know you can't tell the dif'rence, once you get 'em in the dark" ========================================================================= Date: Wed, 12 Jun 1996 14:24:00 -0400 Reply-To: James Leftwich From: James Leftwich Subject: ear v. theory hullo I'm shopping for a guitar tutor to teach (what else?) blues. It seems every tutor I've come across through the years has stressed theory and being able to read music. They seem to rationalize that if I don't learn to read music my music will hit a dead end and I won't be able to write my own songs. Now, almost every professional blues musician I've met has said they don't read music and basically play by ear. To wit, the tutor inevitably responds "those guys are the exception". So, should I break out the Mel Bay or learn how to truly "hear" music? ============================================================================= Jim Leftwich Jim's Blues N' Brews leftwich@cloud9.net http://www.cloud9.net/~leftwich "I'm on cloud9!" :) New CD Giveaway: Sherman Robertson ============================================================================= ========================================================================= Date: Wed, 12 Jun 1996 14:31:15 -0400 Reply-To: Anita Samuel From: Anita Samuel Subject: Evie House's birthday Comments: To: Dick Waterman In-Reply-To: <960612123051_215817462@emout14.mail.aol.com> Dick, Is there an address to send a card? Anita On Wed, 12 Jun 1996, Dick Waterman wrote: > >>>Subj: eRIC's BLUES DATES: June 13 > > Today is the 91st birthday of Mrs. Evie House, widow of the greatest blues > singer I ever heard . . . > > Dick Waterman > ========================================================================= Date: Wed, 12 Jun 1996 19:45:56 -0500 Reply-To: Goran Svenningsson From: Goran Svenningsson Subject: Re: Test-Pleeze don't read >Just a test, can't seem to post any longer. > >JL. Fellas, I just cant keep from reading postings that say "no content" , "dont read" and so on. I get so damn nosey when I see these postings on my screen!! Am I the only one? Sevenson "Dis mic is a bitch, Leonard...it can t hear me no..." Little Walter ========================================================================= Date: Wed, 12 Jun 1996 14:39:54 -0400 Reply-To: ac928@osfn.rhilinet.gov From: Jim McGlynn Subject: Re: in honor of JB Hutto Bill Shute wrote: >I will always remember fondly Mr. JB Hutto, and I wanted >to say a few words in his memory. If you haven't heard him and you >like Hound Dog, Homesick, Elmore James, etc. give him a try. My local's got a used copy of Hutto's "Live at the Shaboo Inn", recorded in Connecticut. I think it may be a Euro import. I've had my eye on it, but haven't heard or read anything about it. Is this a worthy product? Thanks, Jim McGlynn -- ========================================================================= Date: Wed, 12 Jun 1996 14:46:14 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0026 From: "DUTTWEILER.J" Subject: Re: "The South is still the..." Date: Wednesday, 12 June 1996 2:46pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: "The South is still the..." > But the exchange I reported occurred at an officially-sponsored visitor > welcome center on Route 10S in Lafayette, where you'd expect that they'd > encourage visitors to leave their money behind in any way that suits > their fancies. And yet the person behind the counter didn't have a clue > about (and in effect warned me away from) one of the main tourist draws > of the area simply because it occurred in a racial context that was not > her own. That kind of obliviousness to black culture by whites is, > I believe, more usual in the South than any kind of "multiculturalist" > enlightenment. This still misses my point, in many ways. I think most who have grown up in the South will agree that white people in the South are far more aware of black culture than in most other parts of the country. My contention, based upon what you originally posted, was that the woman's statement about "not anyplace you would want to go" may have been based more upon safety concerns then being UNAWARE of black culture. Hell, what they called "soul food" up north was always just plain old country cooking down heuh ;-) JD ========================================================================= Date: Wed, 12 Jun 1996 14:30:43 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: ear v. theory Comments: To: James Leftwich On 12 Jun 96 at 14:24, James Leftwich wrote: > hullo > > I'm shopping for a guitar tutor to teach (what else?) blues. It seems > every tutor I've come across through the years has stressed theory and > being able to read music. They seem to rationalize that if I don't learn > to read music my music will hit a dead end and I won't be able to write my > own songs. > > Now, almost every professional blues musician I've met has said they don't > read music and basically play by ear. To wit, the tutor inevitably > responds "those guys are the exception". > > So, should I break out the Mel Bay or learn how to truly "hear" music? You shouldn't consider them mutually exclusive. Learn theory because it's a valuable tool. Learn to truely "hear" because that is also. You do not have to learn a word of theory in order to play the Blues. On the other hand it can enhance the experience, and it will definitely expand your horizons. Didn't we just get over a huge debate about this? P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Wed, 12 Jun 1996 13:44:03 -0600 Reply-To: Kevin Luke From: Kevin Luke Subject: Junior Brown web sites Since I'm in digest-mode, I don't know if anyone mentioned it but Junior Brown's home page is located at: http://www.clark.net/pub/bjpruett/jbweb/jbhome.htm Curb records also has a site: http://pathfinder.com/@@LsWN6AUAiN@RFrKe/curb/Artists/jb.html Kevin Luke luke@beast.amd.com "...and my wife thinks you're dead" ========================================================================= Date: Wed, 12 Jun 1996 20:11:52 -0500 Reply-To: Goran Svenningsson From: Goran Svenningsson Subject: Re: Sweet Home Chicago, California A few months ago I planted the "California,Chicago seed" myself and someone (a very wise person I think) told me that the land of California, sweet home Chicago referred to Chicago as the place to make good dough. In the beginning of this century California was a nickname for money, the wise person said. (My apologies for not remebering the "wise persons" name.) >I had always thought that "California" was a metaphor for "land of >opportunity". I could (scratch that) probably am wrong... > >Jim > > > >On Mon, 10 Jun 1996, JBrads7016 wrote: > >> There is a Port Chicago, California and Johnson supposedly had relative >> there. I grew up less than 20 miles away from Port Chicago, so I know it >> is a real place. >> >> Jim Bradshaw >> Sevenson "Dis mic is a bitch, Leonard...it can t hear me no..." Little Walter ========================================================================= Date: Wed, 12 Jun 1996 20:11:56 -0500 Reply-To: Goran Svenningsson From: Goran Svenningsson Subject: Re: "The South is still the..." was >Billy Chambless wrote: > >> Some stereotypes are evil. >> >> Some stereotypes are okay. > >What type is your stereo. Mine is Pioneer, is it okay?? :-) I ve heard that Pioneers are evil! I, myself, have a SONAB with Luxor speakers, is that OK or evil? Sevenson "Dis mic is a bitch, Leonard...it can t hear me no..." Little Walter ========================================================================= Date: Wed, 12 Jun 1996 18:45:40 GMT Reply-To: Robert Belew From: Robert Belew Organization: Prodigy Services Company 1-800-PRODIGY Subject: Re: Zydeco: Creole or Cajun? Comments: To: bit-listserv-blues-l@uunet.uu.net Maggie Mortensen wrote: > >Peggy Hall wrote: > >> Zachary RICHARD is a CAJUN artist not a ZYDECO artist. > >Well, now. I saw Zachary get up on stage and sing with Beau Jocque's >band at El Sid-o's in Lafayette on Mardi Gras this year, and he sure as >hell was zydeco *that* night. Speaking of Zachary Richard does anyone know how I can find some of His older recordings????? I understand there are about 15 titles. I have the A&M stuff and a Rounder release, I know there is one more on Rounder that I've yet to get. I contacted Zach's manager and Booking agent who are Anti-Fan and have no time to fool with us pesky little customers, so I learned nothing from them. Can anyone help? Block Dog ========================================================================= Date: Wed, 12 Jun 1996 14:06:51 -0500 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: "The South is still the..." Comments: To: JONATXXX@GOMAIL.DOAS.STATE.GA.US In-Reply-To: from "DUTTWEILER.J" at Jun 12, 96 02:46:14 pm In an earlier message, DUTTWEILER.J said: ] This still misses my point, in many ways. I think most who have grown up in ] the South will agree that white people in the South are far more aware of ] black culture than in most other parts of the country. My contention, based Yeah. One tends to get to know one's neighbors. ] upon what you originally posted, was that the woman's statement about "not ] anyplace you would want to go" may have been based more upon safety concerns ] then being UNAWARE of black culture. Heh. I can remember hearing that exact phrase from black friends; some plcaes aren't the coolest for outsiders. Sometimes "outsider" can mean a white face. I understand that the same is true in DC and Detroit, too. ] Hell, what they called "soul food" up north was always just plain old country ] cooking down heuh ;-) Oh, yeah. And I ain't passin' these greens until you let loose some o' dat cornbread. -- Billy "eeeeerrrrurp" Chambless ========================================================================= Date: Wed, 12 Jun 1996 14:50:41 -0600 Reply-To: Scott Berman From: Scott Berman Subject: second McDowell CD recommendations? Greetings: I can't thank you all enough for your first recommendation for a Fred McDowell CD. I bought MISSISSIPPI FRED MCDOWELL (aka Ain't Gonna Worry) on Arhoolie. Now, I'm ready to get another one. What would you all recommend? I was thinking about: THIS AIN'T NO ROCK & ROLL (Arhoolie) Good choice? Thanks in advance, Scott ______________________ Dr. Scott Berman Department of Philosophy St. Louis University St. Louis, MO 63103 bermansj@sluvca.slu.edu Office (314) 977-3160 Fax (314) 977-3874 ========================================================================= Date: Wed, 12 Jun 1996 22:52:54 GMT Reply-To: dresserd@DNS.NXI.COM From: Derek Dresser Organization: Agate Internet Services (AIS) Subject: missed opportunity Comments: To: bit-listserv-blues-l@uunet.uu.net I recently missed a great opportunity. I missed it because I wasn't paying close enough attention, I guess. This winter I played at a benifit concert for Johnny 'Clyde' Copeland. The plan was that in March, he would be coming to Maine, and the Southern Maine Blues Society would present him with the check at his show. Unfortunately his show was cancelled due to Johnny Copeland's health. Today I got the SMBS newsletter and found out that the show had been rescheduled, and he invited all the performers from the benefit backstage after the show. You can imagine the sinking feeling in my heart. I missed an opportunity to meet and thank one of the greats. Derek ========================================================================= Date: Wed, 12 Jun 1996 15:54:15 GMT Reply-To: "DUTTWEILER.J" Comments: TAO.JONATXXX.0059 From: "DUTTWEILER.J" Subject: Buster Benton & Joe Beard Date: Wednesday, 12 June 1996 3:54pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Buster Benton & Joe Beard I bought a Buster Benton CD (Blues At The Top on Evidence) a month or so ago and was just listening to it again and noticed that Joe Beard plays on some of the tracks. I was wondering what the current scoop on him is? He still playing, touring, recording? Buster is pretty funky, all in all, on this disc, and other musicians include Carl Weathersby, Billy Branch, Layayette Leak, Bob Stroger and Odie Payne - just to name the better known. JD (recent Buster Benton fan) ========================================================================= Date: Wed, 12 Jun 1996 23:00:48 GMT Reply-To: dresserd@DNS.NXI.COM From: Derek Dresser Organization: Agate Internet Services (AIS) Subject: Ronnie Earl Comments: To: bit-listserv-blues-l@uunet.uu.net Saw Ronnie Earl at Raoul's in Portland, Maine on Saturday night. He played a lot of his original stuff, and stuff by his idols, T-bone Walker, Magic Sam.... His jazzy blues stuff is pretty cool, but when he launches into a real blues solo, it is a religious experience!!! Derek ========================================================================= Date: Wed, 12 Jun 1996 20:11:48 -0500 Reply-To: Goran Svenningsson From: Goran Svenningsson Subject: Re: Jimmie Bryant and Speedy West >Great stuff! If you want to hear much more from these guys, check out the >(I think) out of print "Country Cabin Jazz", as well as most of the good >country music from Capitol Records from the late 40's and 50's. These guys >backed up just about everyone who played on the Capitol label in those days. > >Christopher Adams > > The collection I was raving about is actually partly a bunch of outtakes from the "Country Cabin Jazz" album, as well as "Two guitars country style" and "Steel guitar". Also a few 45 rpm single tracks appear on this compilation. Again: Speedy West & Jimmy Bryant on Razor & Tie RE 2067 Buy! Sevenson "Dis mic is a bitch, Leonard...it can t hear me no..." Little Walter ========================================================================= Date: Wed, 12 Jun 1996 21:15:00 -0500 Reply-To: Goran Svenningsson From: Goran Svenningsson Subject: Zachary Richard >Speaking of Zachary Richard does anyone know how I can find some of His >older recordings????? >I understand there are about 15 titles. >I have the A&M stuff and a Rounder release, I know there is one more on >Rounder that I've yet to get. >I contacted Zach's manager and Booking agent who are Anti-Fan and have no >time to fool with us pesky little customers, so I learned nothing from >them. > >Can anyone help? >Block Dog Hey Block Dog, I have a couple of Zach records on Rounder, AM and Arzed records. My advise would be to get the two rounder ones, (zachs bon ton RR 6027, mardi gras mambo RR 6037.) His Arzed stuff is very popish with just a little cajun flavoured accordion. All these recordings were made for the Quebec and french pop audience and the label that originally put these records out tried to launch a pop carrier for Zach. If you like the AM stuff and the Rounder stuff, I think that you d be a bit disappointed with his other stuff. FYI here s the address to his Management: Claude Thomas, PO box 305, Scott LA 70583, Ph. 318 269-9926 BTW. I bought my Arzed releases at Tower Records in NOLA, I m sure they ve still got em! Enjoy Sevenson "Dis mic is a bitch, Leonard...it can t hear me no..." Little Walter ========================================================================= Date: Wed, 12 Jun 1996 16:11:45 -0400 Reply-To: Dave Markovits From: Dave Markovits Subject: J.B. Hutto The aforementioned J.B. Hutto is the cousin of Byther Smith. Byther has talked about him as being his major influence. More Bytherings; David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Wed, 12 Jun 1996 20:15:46 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: Nobody's Home Comments: To: bit-listserv-blues-l@uunet.uu.net PW - I have no objections to you volunteering to become listowner - I certainly would not want the job. Below are some points that I would like the list to consider: 1. The list should remain UNmoderated and UNcensored. 2. Posting to the list either via the normal e-mail listserv or the newsgroup should be from SUBSCRIBERS ONLY. 3. The newsgroup echo should remain available for general reading - this does help people who choose not to receive the volumes of e-mail that the Blues-L generates (the posting restriction above will discourage hit and run posts or those relating to old threads) 4. Removing or unscribscribing someone from the list - although the listowner does have the power to do this - subscribers can only be removed at the consensus of the list, or there is a good technical reason such as mail bouncing from an account - the listowner will have to be held accountable. Not that I am suggesting anyone would abuse this power, but I would hate to have to suck up to a listowner to stay on the list, or find I have been unsubscribed because the listowner is p*ssed with me....... (nothing personal here PW - but this will need clarification) 5. The FAQ - needs to be updated on a regular basis - with detailed instructions on how to subscribe, UNsubscribe and set the Blues-L to nomail, digest, index etc. The Netiquette section should also be maintained and updated, but MUST have consensus from the list, ie: our "rules" on the FAQ canNOT be changed at someone's whim. The listowner owns the FAQ, but obviously can nominate someone responsible for the actual upkeep. Please note: I have no intention of casting any doubts on Paul's integrity, but feel these issues should be considered for ANYONE for the post of listowner. Our previous listowner David Pimmel did a fine job - he basically stayed out of the way and took care of the technical problems. He did lead a few debates and polls, but only as a normal subscriber. -- Vincent vt@pipeline.com On Jun 12, 1996 09:20:15 in article , '"P.W. Fenton" ' wrote: >Has anyone had any contact with our listowner (Alan Rollins), in the >past week or two? I've tried to reach him and I know of at least two >other L-ers who've also tried to contact him, without ever getting a >reply. > >It's been pretty common knowledge that he doesn't read the list, or >participate in any discussions. But now there doesn't seem to be >any way to contact him. > >I would like to suggest we contact the folks that run the Listserv >and ask them to set us up with a new "listowner". While I'm at it, >I'll volunteer myself for the job (as long as I can do it). I've been >studying up on how this all works in an effort to figure out what we >must do to maintain our newsgroup gateway, but still require >that all people who wish to post to the list must be subscribed. I >now exactly how to do that now, and I've learned a fair amount about >what goes into "listowning" as a result. > >Are there any objections to any of these ideas? > >P.W. Fenton >Tampa, Florida >http://www.gate.net/~pwfenton/ > >"The large print giveth, and the small print taketh away" >- Tom Waits ========================================================================= Date: Wed, 12 Jun 1996 15:58:57 EST Reply-To: mstringer@HEARST.COM From: Mark Stringer Subject: Re: ear v. theory Comments: To: James Leftwich It doesn't matter which road you take, as long as you get on it as much as possible. Hour after hour, day after day you got ta keep movin keep movin. (repeat until you become mezmorized) Mark _______________________________________________________________________________ hullo I'm shopping for a guitar tutor to teach (what else?) blues. It seems every tutor I've come across through the years has stressed theory and being able to read music. They seem to rationalize that if I don't learn to read music my music will hit a dead end and I won't be able to write my own songs. Now, almost every professional blues musician I've met has said they don't read music and basically play by ear. To wit, the tutor inevitably responds "those guys are the exception". So, should I break out the Mel Bay or learn how to truly "hear" music? ============================================================================= Jim Leftwich Jim's Blues N' Brews leftwich@cloud9.net http://www.cloud9.net/~leftwich "I'm on cloud9!" :) New CD Giveaway: Sherman Robertson ============================================================================= ========================================================================= Date: Wed, 12 Jun 1996 13:43:42 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: ear v. theory James Leftwich said: (edit edit) >Now, almost every professional blues musician I've met has said they don't >read music and basically play by ear. To wit, the tutor inevitably >responds "those guys are the exception". > >So, should I break out the Mel Bay or learn how to truly "hear" music? Both... But let me make a point about "exceptions". The tutor is right, in more ways than they know. The truth is, no one should try to play music for a living unless thry ARE an exception. Being broke your whole life is no fun at all. My daughter, who is 5, sings well and has a good sense of rhythm and pitch. She is surrounded by music and instruments are all over the house. I play an hour a day typically, and she loves to listen. These are the kinds of homes that "exceptions" tend to come from. Does that mean she will be a great musician? Not by itself.... We will know if she has a gift when she is older. If she does, and wants to work really hard, and loves it enough to immerse herself in music, and has the drive, well maybe. But only an "exception" (gifted) musician is going to make it today IMPO. I have recorded hundreds of people and you can see the gift when it is there; there is no mistaking it. Someone who is gifted and has a strong idea of what they want to sound like, and is already writing tunes, does not HAVE to learn theory and sight reading (they WILL learn theory BTW, but not in school necessarily) but they will benefit from it in most cases. However, if you have a clear vision of your art, don't care about playing sessions or in other environments where you have to sightread, and listen widely, you can go without the formal training if you wish. I would recommend against it however. Remember, the blues is literature and storytelling as well as music, so if someone has those talents in abundance, as well as a musical gift, and loves the blues, they may be wasting their time in formal classes. They should try a good teacher at least once though and see if it doesn't help. Oh, and never put down "playing by ear". My classical friends all acknowledge that ear training is one of the great weaknesses of traditional music training. They are amazed at what I can "hear" and how I can harmonize in my head, and on the guitar as the music is happening. Ever notice how symphony musicians can work on their parts while others are tuning up and playing other parts and it doesn't faze them? They're oblivious... They are purely sightreading, even though they are checking for mistakes with their ear. I could not do that to save my life. When I am working on a new tune, if my daughter turns her little cassette deck on in her room... whew... TURN THAT OFF! To truly play by ear requires tremendous focus and one is eaasily distracted. But when it is really happening, it is amazing.... DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Wed, 12 Jun 1996 15:41:56 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: Jerry ricks > Philadelphia Jerry Ricks accompanied MJH onstage every time he > played in the Philadelphia area. He can play John's style perfectly and > usually includes a few of his songs in any performance. > > Dick Waterman Which brings up the question of why doesn't Mr. Ricks have a record deal? IMO he may well be the most talented bluesman without one. Don O. ========================================================================= Date: Wed, 12 Jun 1996 20:53:25 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Philadelphia Jerry Ricks was Re: John Hurt/Doc Watson Comments: To: bit-listserv-blues-l@uunet.uu.net On Jun 12, 1996 12:25:06 in article , 'Dick Waterman ' wrote: >Philadelphia Jerry Ricks accompanied MJH onstage every time he played in the >Philadelphia area. He can play John's style perfectly and usually includes a >few of his songs in any performance. > >Dick Waterman 'Uncle' Dick, I remember you introducing Jerry Ricks on stage at the October/1990(?) Benson & Hedges Blues festival in NYC as "the best guitarist you've never heard of". I recall he shared the billing with John Hammond. I was most impressed with Jerry and his great sense of humor - especially when the audience just could not clap in time...... I'd appreciate more information on Jerry - availability of his recordings and where he plays/tours. -- Vincent vt@pipeline.com ========================================================================= Date: Wed, 12 Jun 1996 13:58:39 -0700 Reply-To: Mike Curtis From: Mike Curtis Subject: Re: ear v. theory Comments: To: leftwich@CLOUD9.NET In-Reply-To: from "James Leftwich" at Jun 12, 96 02:24:00 pm > > hullo > > I'm shopping for a guitar tutor to teach (what else?) blues. It seems > every tutor I've come across through the years has stressed theory and > being able to read music. They seem to rationalize that if I don't learn > to read music my music will hit a dead end and I won't be able to write my > own songs. > > Now, almost every professional blues musician I've met has said they don't > read music and basically play by ear. To wit, the tutor inevitably > responds "those guys are the exception". > > So, should I break out the Mel Bay or learn how to truly "hear" music? In my opinion, both. A musician with a bad ear (or undeveloped) is handicapped. So is one that can't read and doesn't understand at least a little theory, such as scales, harmony, chord progressions, modes, etc. Reading music is also a valuable skill, and one that is not that difficult to learn at a functional level. Sight reading is more difficult, and requires a lot of practice, but fortunately one can get by just fine with "fumble-along" level reading. While I know a lot of harmonica players who don't know theory (which IMHO is a significant factor as to why there are so many bad harmonica players, and might explain why the best harmonica players usually play another instrument), I know of NO guitarist that can function in a band environment without it. My one "caveat" is that learning to read music too early (and too well) can sometimes stifle ear development. I doubt this will be a problem with guitar, but a lot of keyboard and horn players can play ONLY by sheet music. Learn theory, work HARD on developing a good ear, and learn enough music reading to figure out the examples and exercises, and you'll probably do quite well. -- IronMan Mike Curtis ========================================================================= Date: Wed, 12 Jun 1996 17:20:59 -0400 Reply-To: Oded Maron From: Oded Maron Subject: Prison work songs I'm listening to "Murderer's Home", a collection of Lomax' 1957 recordings of prison work songs from Parchman farm. It's on Sequel, with liner notes by (blues-l's own???) Chris Smith. These are some amazingly haunting and powerful songs. The sound of hoes and axes providing sparse rhythm, the fact that the work hardly effects their breath control - this is some great raw blues and gospel. I have two questions: First, is there more of this released on CD? The liner notes say that the Lomaxes recorded there earlier. Second, the CD reminds me of a recording that I heard of postal workers in Ghana. They're humming a bluesy tune while producing a complicated, fast, polyrhythmic beat with their individual stamping machines. Has anyone else heard this, and where can I find it? Oded ========================================================================= Date: Wed, 12 Jun 1996 16:16:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Patriotic Blues Augh-h!! I got just off the phone with the our Music Director. She'd like me to program a half hour of patriotic blues or RnB to run during the local July 4th fireworks display. This is intended to compete with a local commercial station which plays "all-American" type rock - Beach Boys, etc to go along with the show. Now I don't mind doing this - but I'm a bit short of ideas - outside of Jimi Hendrix's "Star-Spangled Banner". Any other ideas out there, por favor?? -Bonnie ========================================================================= Date: Wed, 12 Jun 1996 21:20:04 GMT Reply-To: bbbean@sheltonlink.com From: bbbean@SHELTONLINK.COM Organization: inlink Subject: Updated blues and jazz page Comments: To: bit-listserv-blues-l@uunet.uu.net I have updated my music page and columns page with new links, search buttons, and new columns and reviews. General music (blues jazz,sax,harp): http://www.cris.com/~Bbbean/Music.shtml Index of reviews: http://www.cris.com/~Bbbean/column.html Latest column: http://www.cris.com/~Bbbean/jun96.html BBB B.B. Bean bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Wed, 12 Jun 1996 22:10:17 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: Active folks who recorded at Sun Comments: To: bit-listserv-blues-l@uunet.uu.net On Jun 12, 1996 12:28:24 in article , 'Chris Smith ' wrote: >>At 10:33 PM 6/9/96 +0000, Tom Freeland wrote: >>[edit] >> >>>Anyway, here is a question: Who is still alive and active that recorded >>>at Sun? >>> >If this is 'at Sun' rather than 'on Sun', has anybody mentioned Frank Frost? > Good choice. Frank Frost was on Pillips International - wasn't this part of Sam Phillips' Sun? -- Vincent vt@pipeline.com ========================================================================= Date: Wed, 12 Jun 1996 18:00:32 -0400 Reply-To: HippieLady From: HippieLady Organization: America Online, Inc. (1-800-827-6364) Subject: IN TRIBUTE: Walter Hyatt Comments: To: bit-listserv-blues-l@uunet.uu.net In Tribute: Walter Hyatt 46-year-old Nashville based recording artist Walter Hyatt, who was aboard the Valujet Flight 592 that crashed outside Miami, will be remembered as much for his warm, gentle spirit as for his music - intelligent, sweetly soulful jazz and blues-inflected country/western swing. Born October 25, 1949, Hyatt grew up in Spartansburg, South Carolina. In 1970 he formed the acoustic trio Uncle Walt's Band with Champ Hood and David Ball. They moved to Nashville in 1971, then to Austin in 1973, building a loyal following along the way. The band released three albums on their own label (re-released in 1991 on two albums, An American in Texas in 1976, and The Girl On the Sunny Shore by Sugar Hill Records). Uncle Walt's Band broke up in 1976 and Hyatt moved back to Nashville where he teamed up with a group of singer/songwriters (including Hood) to form the Contenders. They released one album on Moonlight Records. Two years later, Hyatt was back to Austin with a reunited Uncle Walt's Band. In 1983, the band split up for the final time, but not before influencing the now-burgeoning Texas singer-songwriter scene which included Lyle Lovett, Robert Earl Keen, and Butch Hancock. Hyatt began building a reputation as a talented solo artist and songwriter. His songs were recorded by B.J. Thomas and Jerry Jeff Walker, among others. He moved back to Nashville in 1987. One of Uncle Walt's Band's biggest admirers in the early '80's was singer/songwriter Lyle Lovett who opened several shows for the band at a small club in College Station, Texas. On Lovett's third album, Lyle Lovett and His Large Band, the members of Uncle Walt's Band provide backup vocals on one of the cuts. When Lovett took his big band on the road, he invited Hyatt to open the shows for him. In 1990, Lovett produced Hyatt's first solo release, the critically acclaimed King Tears, for MCA Masters Series label. Hyatt's second solo album, Music Town, (recorded with some help from his old bandmates, David Ball and Champ Hood) was released on the Sugar Hill label in 1993. At the time of his death, Hyatt was working on songs for his upcoming release with his new band, King Tears (Rick Gordon - guitar, Pick Plant - bass, Billy Block - drums). Hyatt is survived by his wife, Heidi, daughter Haley (age 20), son Taylor (age 6) and infant daughter Rose, all of Nashville; sister Kathy Clark of Atlanta; brother George of Lexington, SC; and mother Emma of Spartansburg. A trust fund has been set up at: Walter Hyatt Memorial Fund Second Presbyterian Church 3511 Belmont Boulevard Nashville, TN 37215 To follow in a separate email is information regarding a "Tribute to Walter Hyatt," scheduled for June 23, 1996. ### ========================================================================= Date: Wed, 12 Jun 1996 18:01:40 -0400 Reply-To: HippieLady From: HippieLady Organization: America Online, Inc. (1-800-827-6364) Subject: Walter Hyatt All Star Tribute Comments: To: bit-listserv-blues-l@uunet.uu.net A Tribute to Walter Hyatt An evening to benefit the family of this noted songwriter and friend... Sunday, June 23, 1996 Ryman Auditorium Nashville, TN 8:00 PM with special guests: Lyle Lovett David Ball Champ Hood Willis Alan Ramsey Hal Ketchum Marshall Chapman King Tears Matraca Berg Jeff Hanna David Olney Shelby Lynne Allison Moorer Pritchard Avenue Band Sarah Elizabeth Campbell Carol Elliott Sarah Martin Jim Hoke For more information, please contact Monterey Artists, Inc., at 615-321-4444. ### ========================================================================= Date: Wed, 12 Jun 1996 22:29:05 GMT Reply-To: skb8721@tam2000.tamu.edu From: "Shane K. Bernard" Organization: Texas A&M University (Student) Subject: Re: Note on Zydecco Comments: To: bit-listserv-blues-l@uunet.uu.net Steve Price wrote: > While were on the subject, I thought I'd pass along the origin of >the word as far as the best description I've seen. It comes from the >song Les Haricots Sont Pas Sal (corrections of my French are always >appreciated), which translates as the "snap beans don't have salt." But >the cute part, the part that makes this kind of interesting is that to >get from Les Haricots, you have to cut off the Le, elide the s, punch the >r into a d (which is easy in French, or rather, which is easy for me in >my lousy French), make the resulting word a special regional slang, and >spell it like sounds. As American as gumbo, all right. You're right about everthing, as far as I know, tho' Cajun/Creole folklorist Barry Jean Ancelet argues that "zydeco" and it's other lesser known forms (e.g., zarico, zodico, zologo) don't come from the song title "Zydeco sont pas salis." He argues the word "zydeco" already existed prior to the recording and popularization of that song -- in fact, he finds the word popping up in songs from the Indian Ocean island of Rodrigue, also inhabited by French speaking blacks. Ancelet has an entire article on the origin of the term "zydeco" called "Zydeco/Zarico: Beans, Blues and Beyond," in Black Music Research Journal 8 (No. 1, 1988): 33-49, which I can highly recommend (tho' you'd probably have to look it up in a university library). SKB Cajun in Exile ========================================================================= Date: Wed, 12 Jun 1996 18:37:58 -0400 Reply-To: TDominey From: TDominey Organization: America Online, Inc. (1-800-827-6364) Subject: WSCI Playlists 6/12... Comments: To: bit-listserv-blues-l@uunet.uu.net Greetings! Here is the latest playlists for "Blues in the Night" and "South to Louisiana" on WSCI-FM, 89.3 in Charleston, S.C. Any questions / comments / correspondence is always welcome! Artist / Song Title / Label "South to Louisiana" C.J. Chenier / "Man Smart, Woman Smarter" / Alligator 25th Chubby Carrier / "Luziana Feelin'" / Blind Pig Beausoleil / "Allons a Lafayette" / Arhoolie Aldus Roger / "The Last Waltz" / La Louisianne Records Big Joe Williams / "Louisiana Bound" / Arhoolie Professor Longhair / "Crawfish Fiesta" / Alligator 25th Hackberry Ramblers / "Grand Texas" / Flying Fish Clifton Chenier / "There's Something on My Mind" / Arhoolie Beau Jocque / "Motor Dude Special" / Rounder Chubby Carrier / "Creole Music" / Blind Pig Eddy Raven / "Crawfish Festival Time" / La Louisianne Records Wayne Tooups & the Crowley Aces / "Lafayette 2step" / Gazell Floyd Dixon / "Hey, Bartender" / Alligator 25th C.J. Chenier / "Banana Man" / Arhoolie "Blues in the Night" Albert King / "Blues Power (Live)" / Stax Freddie King / "Key to the Highway (Live)" / Black Top B.B. King / "Don't Answer the Door" / Code Blue [dig those three kings??] Lightnin' Hopkins / "California Mudslide" / Rhino Robert Nighthawk / "Anna Lee" / Chess R.L. Burnside / "Fireman Ring the Bell" / Fat Possum Hound Dog Taylor / "Look on Yonder's Wall" / Alligator 25th [the spookiest section of music I've done in a while...] Sugar Blue / "I Ain't Got You" / Alligator Bo Diddley / "A Man Amongst Men" / Code Blue Big Joe Williams / "Shake Your Boogie" / Arhoolie John Primer / "Come Back Baby" / Code Blue C.C. Adcock / "Bo's Bounce" / Code Blue Correspondence: Todd Dominey WSCI-FM Post Office Box 20,001 Charleston, S.C. 29413-0001 SEE YOU NEXT WEEK! ========================================================================= Date: Wed, 12 Jun 1996 19:13:13 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Lucky ... lucky. I was lucky enough to trade Bob for the Lucky CD he did not like. My reason was simple, I'd listen to anything Lucky Peterson felt should be committed to disc. Reactions - 1st part of the CD - yes very techno-rap-punk grooved. I wasn't asking if I liked it though. I was asking why did Lucky feel he should do this material. Of course no answer since I don't have Lucky here to ask, but for me a valid question, nonetheless. Middle cuts - transition from the above to a blues groove. Final cuts except the last - plenty of Lucky and the blues altho with an edge, moving on to straight hard contemporary blues with cuts #10. Final cut #11 worth the price of the disc many times over. Very beautiful rendition of the classic Sam Cooke gospel inspired cut with a slow tugging pace, plenty of organ & a well placed backup of Carolyn Sanford and Kristen Gray. Lucky Peterson - Lifetime (Verve / Gitanes) Last cut #11 - Change Is Gonna Come So - one person's liverwurst is anothers corned beef. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Wed, 12 Jun 1996 19:27:42 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Nobody's Home - Reply Comments: To: "P.W. Fenton" PW asked: >Has anyone had any contact with our listowner (Alan Rollins), in the >past week or two? Not in the past week or two, but recently I've communicated with Alan. He was always VERY slow to respond to my mails, but he eventually did respond. He was very helpful when I was having trouble posting to the list. >It's been pretty common knowledge that he doesn't read the list, or >participate in any discussions. He has been spending a lot of time helping with Delta Snake Blues, an internet blues publication. Keep trying. His e-mail is: blzlynx@polaris.net >>I'll volunteer myself for the job (as long as I can do it). Can you do it? Beef Stew ____________________________________________________________________________ The Blues Playground - 107FM WCCC/Hartford, CT - 50,000 watts of Blues Power Stew Crossen 1.800.970.5151 18 Boxwood Drive bfstew@neca.com Vernon, CT 06066-5106 http://www.neca.com/~bftsew Reports to: Living Blues, The Hard Report, BluesWire, The Blues Audience ========================================================================= Date: Wed, 12 Jun 1996 19:33:17 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Nobody's Home - Reply #2 At 10:46 AM 6/12/96 -0400, Barry Silverberg wrote: >I think before we dump him he has earned the respect to be spoken >to first. I strongly agree. >I don't care who runs the list but if we get a listowner who then can >not keep up with the work involved (knowing what to do and having the >time to do it are 2 different things) we could all end up in the hole >from hell with nothing rather than something. I strongly agree. >As far as having to subscribe to post I am against that but I will go >with whatever the group decides. I strongly agree. Beef Stew ____________________________________________________________________________ The Blues Playground - 107FM WCCC/Hartford, CT - 50,000 watts of Blues Power Stew Crossen 1.800.970.5151 18 Boxwood Drive bfstew@neca.com Vernon, CT 06066-5106 http://www.neca.com/~bftsew Reports to: Living Blues, The Hard Report, BluesWire, The Blues Audience ========================================================================= Date: Wed, 12 Jun 1996 19:25:46 -0400 Reply-To: MistyMtMan From: MistyMtMan Organization: America Online, Inc. (1-800-827-6364) Subject: CORRECTION FOR GATEMOUTH CRUISE DATE: 6/19 Comments: To: bit-listserv-blues-l@uunet.uu.net MY APOLOGIES, BUT THE DATE THAT I HAD POSTED IN THE HEADLINE FOR GATEMOUTH'S NYC SUMMERTIME CRUISE WAS INCORRECT. THE CORRECT DATE IS WED. JUNE 19. ALL THE OTHER INFO STILL APPLIES. Call 212-630-8888 for tickets. THANK YOU ========================================================================= Date: Wed, 12 Jun 1996 21:33:32 GMT Reply-To: Art Schuna From: Art Schuna Organization: UW-Madison Subject: Re: Carl Weathersby Comments: To: bit-listserv-blues-l@uunet.uu.net In article <199606112307.TAA18405@pipe10.h1.usa.pipeline.com>, bluemoon@USA.PIPELINE.COM says... > >I will be receiving Carl Weathersby's new CD,"Don't Lay Your Blues On Me" >on the Evidence Record label shortly. I've heard he's quite a guitarist. >How's his performance? He's been with the "Sons of Blues"for 14 years, so >I'm sure some of you northerners have had a chance to see him. Tell me >more. Thanks in advance, Stephanie I was driving down to the Chicago for the blues festival and mad as hell because I was stuck in the traffic. In lieu of seeing the Blues Festival in person, I was listening to it on the radio and happened to catch the Sons of the Blues performance. The guitarist caught my ear right away and when I reallized it was Carl Weathersby, I decided I had to find this new Evidence CD. I found it at the very first CD store I hit, and what made it even better, they had $2 off all blues CDs because of the festival. I picked this up as well as a pretty big stack of other new discs. I've only had one chance to listen to it so far, but first listen tells me this is an excellent release. He's got a very good blues voice and his guitar playing is superb. There are 4-5 self-written numbers which are very good and he makes the covers he does his own. An excellent first effort. If he gets to Madison either on his own or with the SOBs, you can bet I'll be there. Art Schuna ========================================================================= Date: Wed, 12 Jun 1996 19:40:43 -0400 Reply-To: Stew Crossen From: Stew Crossen Subject: Re: A Challenge - Reply At 08:15 AM 6/12/96 -0500, bolt wrote: >There seem to be way too many posts that should be to the individual >rather than to the group as a whole. I strongly agree. >Also, some individuals deem it necessary to comment on every subject >tabled. I strongly agree, but then freedom of speech is guaranteed. So I think thats something we just have to live with. >Regardless, this is still the most enjoyable and informative group on the Amen. Beef Stew (a former Houstonian) ____________________________________________________________________________ The Blues Playground - 107FM WCCC/Hartford, CT - 50,000 watts of Blues Power Stew Crossen 1.800.970.5151 18 Boxwood Drive bfstew@neca.com Vernon, CT 06066-5106 http://www.neca.com/~bftsew Reports to: Living Blues, The Hard Report, BluesWire, The Blues Audience ========================================================================= Date: Wed, 12 Jun 1996 23:27:22 GMT Reply-To: blueslvr@sirius.com From: "Roy W. Forgy" Organization: Sirius Connections Subject: Re: Debbie Davies in San Jose Comments: To: bit-listserv-blues-l@uunet.uu.net Mark Jacobson wrote: >Debbie Davies will be in San Jose at JJ's on Stevens Creek Saturday 6/15, >capacity is 150, so this is a great opportunity to see a hot guitarist >in an intimate setting. Debbie was with Albert Collins' band from >'89-'92 and is featured on the Iceman disc. C-Ya there. She will be at Moe's Alley in Santa Cruz on Friday the 14th too. rforgy@mci.newscorp.com blueslvr@sirius.com Boulder Creek, CA ========================================================================= Date: Wed, 12 Jun 1996 23:38:30 GMT Reply-To: Mike Lattrell From: Mike Lattrell Organization: PANIX Public Access Internet and Unix, NYC Subject: Blues at South Street Seaport (NYC) Comments: To: bit-listserv-blues-l@uunet.uu.net The Christine Santelli Band will be performing in the atrium at The South Street Seaport from 7-9pm on Friday, June 14th. This concert is part of The South Street Seaport Summer Concert Series and is free and open to the public. The Seaport is located in lower Manhatten(NYC) at Fulton & Water St. Visit The Christine Santelli Band homepage at: http://www.panix.com/~specty/band.htm ========================================================================= Date: Wed, 12 Jun 1996 17:12:35 -0700 Reply-To: Adrian Spidle From: Adrian Spidle Organization: University of Washington Subject: Re: Patriotic Blues Comments: To: bit-listserv-blues-l@cs.washington.edu Bonnie Kalmbach wrote: > > Augh-h!! I got just off the phone with the our Music Director. She'd like > me to program a half hour of patriotic blues or RnB to run during the > local July 4th fireworks display. This is intended to compete with a > local commercial station which plays "all-American" type rock - Beach > Boys, etc to go along with the show. > > Now I don't mind doing this - but I'm a bit short of ideas - outside of > Jimi Hendrix's "Star-Spangled Banner". Any other ideas out there, > por favor?? Whitey's on the Moon? Adrian (who sung that, again?) ========================================================================= Date: Thu, 13 Jun 1996 10:06:00 PDT Reply-To: David Blanken From: David Blanken Subject: "Walter Horton -Live at the El Macambo" - who's in the band? Someone mentioned this recording during the recent Big Walter thread as being one of the poorer examples of his work due to the rather poor sound quality. After years of listening to low-fi Magic Sam recordings ("Magic Sam Live" and the live recording on Black Top) I've become quite used to sacrificing sound quality for great music. And this CD has some GREAT music. Walter sounds very relaxed and gives each song a complete workout. My only problem with the album is the complete lack of session information. Nowhere in the liner notes is the backing band credited or mentioned. To my ears, it sounds a bit like the Aces (Louis Myers, Dave Myers and Fred Below). The guitar playing is definitely from the Louis Myers school of rhythm comping-behind-harp that I've been trying to perfect for years now (and this record has been a valuable teacher of). Does anyone have any idea who is playing on this record? -Dave- ========================================================================= Date: Wed, 12 Jun 1996 19:19:54 -0500 Reply-To: scott d From: scott d Subject: Re: King Biscuit Times Comments: To: Bonnie Kalmbach At 12:54 PM 6/12/96 CDT, Bonnie Kalmbach wrote: >Does anyone have the address for the publication "King Biscuit Times". >Can anyone give me the issue number of - I believe - the most recent >issue that has an article by Bruce Iglauer on traditional black bands >losing gigs to white bar bands (this seems to happen more in the Chicago >area where more traditional bands are based I would guess). > >Iglauer has of course recorded many white bands, but one concern he >had - according to a friend who read the article - was that many >of the traditional musicians have music as a sole source of income and >getting decent paying white collar office job isn't always or even often - >an option. > > -Bonnie > Bonnie, The issue you're looking for is the May/June '96 issue, a/k/a/ Volume 5, Number 3. Mike Beck is the editor, and the address is 1822 N. Campbell, #2, Chicago, IL 60647. The phone number is (312) 378-1352. The article you refer to isn't really by Iglauer, it's an interview with him that was conducted by George Hansen, and it's mainly concerned with Alligator's 25th Anniversary this year. Regarding the part you're interested in, here's what Bruce says: "The sad part of what's going on with the sort of white blues bar bands is that there are a lot of people who are not trying to make a living as preofessional musicians who are basically weekend players. The people who have no other way to make a living--and specifically I think of the black blues musicians who don't have the skill or the training to hold an office job during the week. Those guys are getting aced out of gigs! I worry about the black players who can't compete with the bands that are performing really cheaply." It's a really interesting interview, as all of Bruce's tend to be. Anyone who has any opinion at all about Bruce who hasn't met him really should read this article. Scott http://www.geocities.com/SunsetStrip/4466 Check it out! ========================================================================= Date: Wed, 12 Jun 1996 20:31:19 -0400 Reply-To: Niles Frantz From: Niles Frantz Organization: GNN Subject: Re: R.l., Paul, Corey, Lucky Comments: To: bit-listserv-blues-l@uunet.uu.net Clarence Spady -- who was featured in Living Blues' "40 Under 40" article in its 25th Anniversary Issue -- will be at Rosa's Lounge in Chicago this Friday and Saturday. He's a very talented young man, and it is well worth your time to check him out. Niles A loop is a loop is a loop. ========================================================================= Date: Thu, 13 Jun 1996 00:24:07 GMT Reply-To: cuthulu@prysm.net From: cuthulu Organization: Bad Credit? Slow Credit? No Credit? No Problem! Subject: Re: Church Burnings and the Prez Comments: To: bit-listserv-blues-l@uunet.uu.net On Wed, 12 Jun 1996 01:08:02 GMT, cuthulu wrote: >On Tue, 11 Jun 1996 20:47:41 GMT, VT wrote: > >>My posting of the President's address was NOT meant to be a political >>statement. > >Though this is a somewhat "sheltered" list, Usenet in general is a >cesspool of misinformation, slander and lies. I seldom believe anything >I read on it. I would just like to clarify that I meant no slight to VT by appending my message to the bottom of his. I was just pointing out what is all-too common in other newsgroups as a cautionary tale about what can happen here. I consider Blues-L to be a rare place of reasoned discourse and civility on Usenet, VT included. But my writing style is sometimes not the best. Kevan Smith cuthulu@rlabs.com the great purple hope for the blues ========================================================================= Date: Wed, 12 Jun 1996 20:35:36 -0400 Reply-To: Niles Frantz From: Niles Frantz Organization: GNN Subject: Re: Some Notes on Chitown Fest Comments: To: bit-listserv-blues-l@uunet.uu.net I saw one set of Little Mack Simmons. It was good, not great. I still love Rosa's and go there often. Niles A loop is a loop is a loop. ========================================================================= Date: Wed, 12 Jun 1996 21:07:47 -0400 Reply-To: Md1214 From: Md1214 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Junior Brown Comments: To: bit-listserv-blues-l@uunet.uu.net Yeah, his live show is unbelievable. I thought the energy level of his albums was pretty considerable until I saw him live. See Junior Brown if you get half a chance. mvc ========================================================================= Date: Thu, 13 Jun 1996 01:29:15 GMT Reply-To: Stephanie Manna From: Stephanie Manna Subject: James Peterson's new CD!/itinerary Today is the release date,(and I got my copy) of James Peterson's new CD on the Malaco/Waldoxy label, entitled,"Preachin' The Blues". It features 10 original tunes written by James Peterson. Vocals and lead guitar by James Peterson. He is backed up by Clayton Ivey on Hammond B-3 and piano,Paul Lee on drums,Joel Brodsky on bass, William Andrew Thomas, Big Mike Griffin,GW Rose on guitar and the TNT Horns. It was recorded at the new state of the art studio at Malaco/Waldoxy Records in Jackson, Mississippi. James Peterson is very proud of this CD and I think its his best to date. The cover and back are very well done and attractive. Liner notes are written by Brett Bonner of Living Blues magazine.Song titles: 1.Shoe On the Other Foot 2. Who Shot John? 3. Lost what I Had 4. Silky Silk 5. Come Home To Eat 6. The Bottom Line 7. Women's Pet 8. Why Mama Had To Cry 9. I've Got A Problem 10. Some Things A Man Shouln't Have To Do I hope you all get to hear this CD and come out to one of the upcoming CD release parties scheduled on his itinerary. Thanks for your support of the blues and it artists, Stephanie Manna 6/15 BOOT HEEL BLUESFESTIVAL, Caruthersville,Mo 6/19 Summer House,Siesta Key,Fl 6/21 Sapphire Supper Club,Orlando,Fl 6/22 Rays Blues Club,West Palm Beach,Fl. 6/23 Five Oclock Club,Sarasota,Fl. 6/26 Alley Cats,Indian Rocks Beach,Fl 6/27 Silver King Tavern,St. Petersburg,Fl 6/28&29 Blues On Top,Ybor City,Fl. 6/30 Beach House, Bradenton Beach,Fl. 7/4 Stevie Rays Blues Club,Louisville, Ky 7/5,6,7 The Bullpen,Rock Island,Il. 7/6 MISSISSIPPI VALLEY BLUESFESTIVAL, Davenport, Ia 7/11 Silver Moon,Darien,Wi 7/12&13 Kingston Mines,Chicago,Il 7/19&20 Blues On Top,Ybor City,Fl 7/24 OK Cafe,Marion,Oh 7/26&27 Tinys Grill,Utica,NY 7/28 POCONOS FESTIVAL, Lake Harmony, Pa 7/30 Dinasours BBQ,Syracuse,NY 7/31,8/1 Norwich Grill,Norwich,NY 8/2,3,4 Warm Daddys,Philadelphia,Pa 8/9 Fleetwoods, Alexandria,Va. 8/15,16,17,18 AJs, Destin,Fl. 8/28 Stevie Rays,Louisville,Ky. 8/31 MILLER RIVERFRONT BLUESFESTIVAL,Peoria, Il 9/1 DUSK TILL DAWN BLUESFESTIVAL,Rentiesville,Ok. 9/6 TWO RIVERS BLUESFESTIVAL, Carolton, Ky. ========================================================================= Date: Wed, 12 Jun 1996 21:31:39 EDT Reply-To: Gavin Arneaux <102554.471@COMPUSERVE.COM> From: Gavin Arneaux <102554.471@COMPUSERVE.COM> Subject: Re: ear v. theory Comments: To: James Leftwich James Leftwich asked "So, should I break out the Mel Bay or learn how to truly 'hear' music?" Both, IMNSHO. Which I think means I am agreeing with Don C. "Stop the world; I wanna get off." :-) Of course, it also means we both agree with Iron Mike. Something Mike should be scared about. :-) But, I digress . . . . If you learn to read music, you will open to yourself more music than if you don't. You will also open yourself to opportunities to play in situations where you are required to read music. But you also have to be able to hear the subtleties of the music, to visualize what's going on just by listening. In addition, a lot of what you may want to play is not available in printed form. Or it's significantly altered from the arrangement you want to play. So, learning to play be ear is useful. However, don't fall into the trap that I have seen many very good musicians fall into. And that is, don't let the creativity be "trained" out of you. I have watched many people with great talent - some prodigies, even - get so much musical instruction that their creativity was lost. They were taught "how to play" the "proper way" for so long that they lost the ability to create their own music. All they could do was play other people's music. And while they do so quite well, their own music has suffered greatly. (I think Mike mentioned this, too.) Just one guy's opinion,with whihc you may freely disagree, Gavin ========================================================================= Date: Thu, 13 Jun 1996 01:28:24 GMT Reply-To: Mark Rader Comments: RFC822 error: TO field duplicated. Last occurrence was retained. From: Mark Rader Organization: Communications Accessibles Montreal, Quebec Canada Subject: Re: Re-Post: Blues-L T Shirt Order Form & Instructions Comments: To: MARCIAG@VMS.CIS.PITT.EDU marcia, i want a t-shirt, you have the order form, p&h rates but i don't see the price for the shirts. i.e. i can't fill out the check amount. please help mark, rader@cam.org ========================================================================= Date: Wed, 12 Jun 1996 21:29:03 -0400 Reply-To: Bronxharp From: Bronxharp Organization: America Online, Inc. (1-800-827-6364) Subject: STANHOPE NJ DEBUT For THE HARPER 6/14 Comments: To: bit-listserv-blues-l@uunet.uu.net Mark the Harper & The Journeymen are making their Stanhope House Debut this Friday, June 14. Stanhope House is located at Main & High St, Stanhope, NJ 201-347-0458 Please be there! A good turn out their first time there may bring them many future gigs in this weel respected venue. They are really warmed up from a string of excellent gigs and are ready to BURN!! Smokin' harps and wailing guitars! Muddy and Sonny Boy and Little Walter and most notably... FRESH MTH originals... Come see "The Defector", Alexander Rastopchin kick butt on the Stratocaster. He toured the world with a (russian) state sponsored rock band for 10 years, but was forbidden to play the music of African American Blues artists, who's music he secretly learned to play from. So he defected to the United States 3 years ago to be able to unleash his pent up BLUES POWER on unsuspected Americans. Now watch out! He will wire you up. Hell, he will wire the whole damn building! And then there is Young Jason on the drums... ALL the girls love Jason. Come out, ladies, and you'll see why! (he's unattacehd, too). Jack will be on bass, and maybe... just maybe... he will treat us to his upright-slap bass in addition to that good ol" fender jazz he puts down so well... As for Mark, well... hey.. I'M MARK! Enough of this third person shit! Come out and see us, y'hear? You won't regret it! Our debut album "Man On A Mission" (Turquoise City CDs and cassettes) will be available. If you would like to get on our E-Mail list, please write to Bronxharp@aol.com Thank You. ========================================================================= Date: Wed, 12 Jun 1996 21:23:00 -0500 Reply-To: "Alice E. Brown" From: "Alice E. Brown" Subject: National Blues Week? Can anyone tell me if there is a National Blues Week, and if so, when it would be? Also, I'd like some information on Peter Green. A friend of mine does a local blues show on Friday night. Last week he played a cut from the album "Blues for Greenie" and talked about Peter Green. He said that Peter Green was dead. I knew that wasn't correct but I couldn't remember any of the details about his leaving music. Can someone fill me in? Thanks, Alice ========================================================================= Date: Wed, 12 Jun 1996 21:40:00 -0600 Reply-To: wmorga@BIGEASY.COM From: Bill Morgan Subject: Jimmy Nolan I was listening to the Records From the Crypt radio show on the New Orleans community radio station (WWOZ) this evening and heard a great song by Jimmy Nolan called "Wipe Your Tears." The only information I was able to get from the DJ was that it was recorded in 1958 and is on Federal Records, and there should be a reissue CD. Any additional information would be appreciated. Anyone own this CD or the LP -- impressions of Jimmy (or is it Jimmie?)? Thanks in advance. Bill Morgan From: The Big Easy ========================================================================= Date: Thu, 13 Jun 1996 03:09:11 GMT Reply-To: Mitch Drumm From: Mitch Drumm Organization: Sonoma Interconnect,Santa Rosa,CA(us),http://www.sonic.net Subject: Re: Jimmie Bryant and Speedy West Comments: To: bit-listserv-blues-l@uunet.uu.net Goran Svenningsson (sevenson@MBOX300.SWIPNET.SE) wrote: : >Great stuff! If you want to hear much more from these guys, check out the : >(I think) out of print "Country Cabin Jazz", as well as most of the good : >country music from Capitol Records from the late 40's and 50's. These guys : >backed up just about everyone who played on the Capitol label in those days. : > : >Christopher Adams : > : > : : The collection I was raving about is actually partly a bunch of outtakes : from the "Country Cabin Jazz" album, as well as "Two guitars country style" : and "Steel guitar". Also a few 45 rpm single tracks appear on this : compilation. : : Again: Speedy West & Jimmy Bryant on Razor & Tie RE 2067 : Buy! : Any fan of Jimmy and Speedy would be well served to pick up the recent cd by Jimmie Rivers and the Cherokees on Joaquin JR 2501. Recorded live at the 23 Club in Brisbane Ca, early 1960s. Rivers is a ripping electric guitar player steeped in jazz and swing. Steel man on this cd is Vance Terry. Both guys still active in Northern Ca. Tunes on the cd include songs associated with the likes of Art Pepper, Bob Wills, Artie Shaw, Bryant and West, Barney Kessel, and Benny Goodman. All instrunmental, with leads by both steel and electric guitar (a double neck solid body Gibson, no less). This cd is a reissue of the earlier lp by the same title (Brisbane Bop), but the cd has 7 additional songs not on lp. ========================================================================= Date: Wed, 12 Jun 1996 23:40:20 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: ear v. theory In-Reply-To: <960613013138_102554.471_HHV57-1@CompuServe.COM> I had privately posted James Leftwich that it would be a good and useful thing to learn to read while he's learning the instrument because he won't come back to it later, unless he takes up a new instrument. I also gave him the standard rap about things in the music store being available to readers that's not available to non-readers, or barely readers like me. But it also occurred to me that very few of any given guitar player's students go on to become session musicians or attain reading proficiency that renders all those books of sheet music in the stores available. Few write their own music. What occurred to me that he'll learn GUITAR faster if he learns to read and that's why all the teachers push it. Last year I had the DELIGHTFUL opportunity to take my very first guitar lesson (after 20 years of "self-education") with acoustic blue guitar artist Mary Flower. She said she always urges people to learn tab and to record the lessons. I doubt if her students are people whose records I want to collect (there maybe somebody) or who even have their own records out. But it facilitates learning the instrument. (Now I think to myself, "duh," as the new modern slang has it.) If folks have already made this point and I was snoozing (I was paying attention to this thread, I thought), sorry for the redundancy. Steve Price ========================================================================= Date: Thu, 13 Jun 1996 01:08:51 GMT Reply-To: jackieo@MIDTOWN.NET From: Jack Oudiz Organization: Midtown Computer Services Subject: Re: Some Notes on Chitown Fest Comments: To: bit-listserv-blues-l@uunet.uu.net scott d wrote: >> >>Didn't anybody go to Rosa's during blues fest? I haven't heard a word >>about it! >> >I stopped by late Sunday night for the "After Fest Jam with Little Mac >Simmons" (who is a favorite of mine) and the place was abandoned, and the >band was just sitting around talking. I don't know if they had a better >crowd earlier, but it's a shame, because Mac & his band are really great, >and Rosa's really is one the friendliest blues clubs in town. >Scott I could kick myself Scott but all the partying all week finally hit me Sunday after Petrillo and I headed right to bed. I really wanted to see Mack too. Martha I did go to Rosa's to catch Sugar Blue earlier in the week. I second Scott's opinion re: friendly, neighborhood kinda place. And Mama Rosa is still tending bar. ========================================================================= Date: Thu, 13 Jun 1996 05:26:01 GMT Reply-To: Hector Davila From: Hector Davila Organization: Internet Online Services Subject: Is your computer being bugged??? Comments: To: bit-listserv-blues-l@moderators.uu.net Is your computer being monitored by someone else? Is someone using your computer without your knowledge? Is your mate chatting online with someone else? Are your children chatting online with the wrong crowd? Now , you can monitor your computer with my private collection of keyboard recoders from around the world. Also known as:Keyboard Grabber, Keyboard Key Logger, Keyboard Monitor. PURPOSE: Captures keystrokes and sends & saves them to a hidden file. Now you can keep a record of any keyboard activity on your computer. Monitor your computer at home or office. My private collection of keyboard recorders is yours for only $9.95. You will receive 19 different programs on a 3 1/2 disk. For Dos,Windows,and Mac's.(some come with actual source codes) You'll get:Keycopy,Keyfake,Keyread,Keytrap,Keyrec,Keylogwn(Windows), Hackkey,Bagkeys,Getit,Playback,Robokey,Record,Encore, Kcap10,Ptm229N,Qwertman,GKG,Depl,Maclife(Mac). Just send $9.95 plus $1.00 for shipping and handling to: HLD PLUBLISHING COMPANY 1680 N. VINE ST. #1103 LOS ANGELES, CA. 90028 *All orders shipped within 48hrs. *100% Satisfaction unconditional money back guarantee. *Foreign orders add $2.00 for shipping and handling. ========================================================================= Date: Thu, 13 Jun 1996 01:38:56 -0400 Reply-To: Jinxblues@AOL.COM From: Dick Waterman Subject: Jerry ricks Comments: To: don.o@chrysalis.org >>>Which brings up the question of why doesn't Mr. >>>Ricks have a record deal? IMO he may well be the >>>most talented bluesman without one. After two compilations and 13 solo albums in Europe, Jerry Ricks is now finally working on his first US release. Jim O'Neal is recording him for Rooster Records. I will let you know when I hear anything about a release date. Dick Waterman ========================================================================= Date: Thu, 13 Jun 1996 02:48:34 -0400 Reply-To: Markmojo From: Markmojo Organization: America Online, Inc. (1-800-827-6364) Subject: Kenny Neal in Santa Clara Comments: To: bit-listserv-blues-l@uunet.uu.net Kenny Neal will be in Santa Clara on June 18th at JJ's on Stevens Creek. JJ's only fits 150 folks so it'll be a great place to see & hear Kenny get busy on the guitar. I saw Kenny in Nawlins last month, and he had all of his brothers in the band. Kenny's CDs are fairly decent, but he's three times better LIVE!!! Opening the show is a 17 year old Blues guitar phenom. C-Ya There!!! ========================================================================= Date: Thu, 13 Jun 1996 03:53:44 -0500 Reply-To: topcat@COMPUTEK.NET From: "" Subject: Re: in honor of JB Hutto Comments: To: William Shute Whenever I can find a proper home for it, there will be a release of some previously unreleased .B. Hutto with Muddy Waters, Big Mama Thornton, Big Joe Turner, George "Harmonica" Smithand B. Houston. From 4 roadshows they did together in the early 70's. Really great stuff. Enough for a big bo set of CD's. We're talking seriously with several big labels about releasing these recordings. Once we close a deal, I'll let ya'll know. This is just FYI that there will be some more unreleased J.B. Hutto coming sometime soon. Best regards ya'll! Richard Chalk TopCat Records ========================================================================= Date: Thu, 13 Jun 1996 06:01:44 -0400 Reply-To: Jon & Laura Duttweiler From: Jon & Laura Duttweiler Subject: Eddie C. Campbell Review EDDIE C. CAMPBELL THAT'S WHEN I KNOW BLIND PIG #5014 How can you ask for anyone with more of a blues pedigree than Eddie C. Campbell? Born in Mississippi, he left Clarksdale (the blues "capital" of the Delta!) for the Chicago West Side, where he lived near the Maxwell Street market, hung outside the 1145 Club and played with Muddy Waters at age 12! His earliest blues band consisted of, among others, Luther Allison and Willie Buckner and he was close friends with Magic Sam and Otis Rush. He was even thrown out of a recording studio once by Willie Dixon! Throughout the fifties and sixties Campbell played or recorded with the likes of Howlin' Wolf and Little Walter. He was Jimmy Reed's last band director in the '70s and played with Koko Taylor as well as spending time with Willie Dixon. His first solo album, "King of the Jungle," was released in 1977 on the Mr. Blues label (recently re-released by Rooster). But, as was the case for so many blues artists in the mid to late '70s, his career went into a lull and Campbell went to Europe. After almost a decade spent in Europe, Campbell finally came back to the US. in 1992. It is thus especially gratifying that Campbell's most recent release for Blind Pig Records finds him in such fine form! The disc is full of Campbell originals and shows off his originality in more ways than one, from his stinging kinetic guitar licks to his arresting vocals. Produced by Campbell himself, along with Jerry Del Giudice, the sound is excellent and the band is tight. Along with his galvanizing live performances, this disc should put Campbell right back where he's belonged all along - squarely in the center of the blues world! SISTER TAUGHT ME GUITAR / HEY, THE BLUES IS ALL RIGHT / THAT'S WHEN I KNOW / BUSTED / SLEEP / EARLY IN THE MORNING / I BEEN THINKIN' / SON OF SON'S / YOU MAKE ME FEEL ALL RIGHT / RUNNING WILD / DEVIL'S WALK NY CD Takes SISTER TAUGHT ME GUITAR: An autobiographical number, this cut is a compelling slowed down shuffle blues number. Eddie's guitar has a classic West Side sound to it, even while surrounded by the horns of Tom Elferdink and silky organ work by Ron Scott. Campbell's vocals are unique, very smooth yet with a certain underlying raw quality to them, sometimes soaring into falsetto to punctuate a line. With a driving rhythm section just under Campbell's guitar, this track is really a grabber. HEY, THE BLUES IS ALL RIGHT: Not the Milton Campbell "Blues is All Right" classic, this number bops to a jumpin' rhythm, a sort of "sophisticated" take on the classic blues boogie. Eddie's vocals reach deep into the throat on the one line of the song, "HEY! The blues is all right!" The guitar playing is light, fleet fingered fret work with a little string bending. A fun track. THAT'S WHEN I KNOW: This cut offers up Campbell's unique take on the blues. A shuffle number, yet with a chord progression vaguely reminiscent of Chuck Berry style rock 'n' roll. Eddie's characteristic stinging licks are back in the forefront along with the rolling rhythms and some laid back harp work thrown in by Campbell as well Background harmonies by Barbara Campbell and Jeff Taylor round out this cut. A Campbell winner. BUSTED: Another track showing off Campbell's originality, this is clearly blues yet traversing the route in a distinctly different style. A funky groove underlies the number with Campbell going from straight voice to falsetto to basso. Punctuating almost as a counterpoint is Karl Outten on organ using some sort of bell like effects, with Eddie just teasing with licks from his guitar. The whole effect is, at times, somewhat eerie but quite captivating. SLEEP: An easy tempo shuffle tune, this track features more of Campbell's stinging , well paced guitar licks. Also notable are the use of the horns as a counterpoint to the rhythm and well placed organ work. Campbell's vocals are more mellow on this cut, with a breezy quality to them. EARLY IN THE MORNING: Bassist Bill Watkiss and drummer Keith Hudson get this instrumental going with a propulsive, almost hypnotic beat. Ron Scott's organ then takes center stage for the rest of the cut. A nice "change of pace" track for the disc. I BEEN THINKIN': The bass and organ are again upfront on the start of this boogie beat cut. Campbell cuts in a little way into the tune with some staccato chord work, his vocals taking on a more rough hewn quality. Short, but sweet, track. SON OF SONS: Another autobiographic number from Eddie, this is a slowed down shuffle with more of that stinging guitar playing. The organ is again lying just under the mix, giving the song a "full" sound. Campbell gives what is just about a complete story of his life as he comments on the state of the world. YOU MAKE ME FEEL ALL RIGHT: This is an uptempo boogie number with, nevertheless, a mellow "feel" to it. The band settles into a rockin' rhythm that let's Eddie noodle a bit on guitar. His vocals take on a bit of a John Lee Hooker quality to them, displaying his vocal diversity. As Dick Shurman points out in the liner notes, Campbell has a way of taking blues vocals "where they've never gone before." RUNNING WILD: Campbell and the band take it up one notch higher for this track, speeding up the rhythm and settling into a steady driving groove. Another instrumental, Eddie steps up on guitar more on this number and shows that while he may not be into "smoking" his audience with licks, his phrasing and timing are as good as any and a pleasure to listen to. DEVIL'S WALK: Closing out the disc with one final slow paced shuffle, Campbell again regales with stinging, well phrased guitar licks. The band is again a rock steady platform upon which to play and Campbell's vocals are perfectly matched to this song about his woman "walkin' with the devil." Again as Dick Shurman notes, Eddie C. Campbell is an original and truly "an American resource to treasure." Reviewed by Jon Duttweiler Copyright NY CD Blues @1995-1996 All Rights Reserved. Unauthorized use prohibited. NY CD BLUES - http://www.panix.com/~bsco/ - "As Always" Blues Reviews and "NEW" On-Line Catalogs Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 13 Jun 1996 06:39:02 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Jimmy Nolen (was Nolan) Bill Morgan wrote >I was listening to the Records From the Crypt radio show on the New >Orleans community radio station (WWOZ) this evening and heard a great >song by Jimmy Nolan called "Wipe Your Tears." The only information I >was able to get from the DJ was that it was recorded in 1958 and is on >Federal Records, and there should be a reissue CD. > >Any additional information would be appreciated. Anyone own this CD or >the LP -- impressions of Jimmy (or is it Jimmie?)? > >Thanks in advance. > >Bill Morgan > >From: The Big Easy 'Wipe Your Tears' is (more likely was by now) on a Charly (yeah, I know) CD 268, 'Scratchin'', which also features Pete 'Guitar' Lewis and Cal Green. Jimmy Nolen (note sp) has 12 tracks from Federal vaults. He was born in Oklahoma in 1934, took up guitar in 1948, recorded with J.D. Nicholson in 1952; recorded under his own name and as a sideman for Elko from 1954, with Chuck Higgins on Dootone 1954-56. The Federal stuff is from 1955/6. Joined Johnny Otis 1957 - that's him on 'Willie And The Hand Jive' and the other Capitol hits. Made a single for Fidelity in 1959. Formed his own band 1959/60, and backed many West Coast blues artists, including George Smith on Sotoplay in 1962. Joined James Brown 1965, and that's Jimmy Nolen on 'Papa's Got A Brand New Bag' and many other gems of the period. Left JB 1970-72, but was back with him in 1983 when he suffered a fatal heart attack at the untimely age of 48. 'He was what we called a chanker' - James Brown. (With acknowledgements to Dave Penny's note for the CD referred to.) Chris Smith (chris@skerries.demon.co.uk) I asked her for butter, and she gave me margarine (Paul Francis, a college buddy of mine) ========================================================================= Date: Thu, 13 Jun 1996 10:59:52 GMT Reply-To: Peter Gallagher From: Peter Gallagher Organization: XS4ALL, networking for the masses Subject: Re: Nobody's Home Comments: To: bit-listserv-blues-l@relay1.uu.net I'm right VT 100%. Very good points and well put. regards, PeterG -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ========================================================================= Date: Thu, 13 Jun 1996 07:46:48 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: On this day... On this day in 1944, The wire recorder was patented by Marvin Camras. Wire recorders such as the enormous Magnecorder machine were the precursor of magnetic tape recorders. Recordings were made by magnetizing a long spool of fine wire. An edit was made by physically tying two ends of the wire together with a knot. When the knot passed over the playback head a loud pop was heard. Some clever souls during WWII started to edit recordings of political speeches to make them say things they hadn't actually said. But the edited recordings, when played over the airwaves, contained the tell-tale pops. Magnetic tape was invented as a means of quieting those edits. All in the name of political propaganda. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Thu, 13 Jun 1996 12:00:46 GMT Reply-To: Jeff Christiansen From: Jeff Christiansen Organization: University of Maine System Subject: Re: Patriotic Blues Comments: To: bit-listserv-blues-l@uunet.uu.net Bonnie: .... owing to the fact that Black Americans have generally got a raw deal (i apologize for this gross understatement) in the good ol' U S of A, i think you will find a PAUCITY of patriotic blues. is this music director on drugs or what? ... i could be wrong, but i don;t think the famous 'black regiment' of WWII was into blues... off the top of my head i recall a couple songs about going off to war, J.B.Lenior(?), but nothing in the "rah-rah" dept. pardon the sarcasm, but i don;t recall a "Go Get Shot Up, Come Back and SIt in the Back of the Bus Blues".... the only song that comes to mind at 7:55 this THurs. morning is Arthur Crudup's "Dig MySelf a Hole" (covered in the 70's by Downchild form Canada): ' i'm going to dig myself a hole, baby and move down underground and when i come up -- ain't gonna be no wars around hardly Partriotic fodder. will check tonight. jeff christiansen gorham, maine Bonnie Kalmbach wrote: >Augh-h!! I got just off the phone with the our Music Director. She'd like >me to program a half hour of patriotic blues or RnB to run during the >local July 4th fireworks display. This is intended to compete with a >local commercial station which plays "all-American" type rock - Beach >Boys, etc to go along with the show. >Now I don't mind doing this - but I'm a bit short of ideas - outside of >Jimi Hendrix's "Star-Spangled Banner". Any other ideas out there, >por favor?? > -Bonnie ========================================================================= Date: Thu, 13 Jun 1996 12:05:27 GMT Reply-To: bluesbabe suzzie From: bluesbabe suzzie Organization: SoVerNet, Inc. Subject: LIST OF CHURCHES and ADDRESSES Comments: To: bit-listserv-blues-l@uunet.uu.net The complete list of the recently burned churches and their addresses can be found in the 6 12 96 issue of U S A TODAY NEWSPAPER. ========================================================================= Date: Thu, 13 Jun 1996 12:08:01 GMT Reply-To: Jeff Christiansen From: Jeff Christiansen Organization: University of Maine System Subject: Re: Prison work songs Comments: To: bit-listserv-blues-l@uunet.uu.net O: ... i have a CD of Prison and Blues recorded by A.Lomax, recorded, i think, in Lousiana State Prison. it has zero liner notes. i will fetch it this eve. and get back to you...it IS truly awesome. i put together a tape for a friend to go with the book "Deep Blues" and started off some cuts from this CD. you are so right, it is powerful stuff, and you can hear alot of the vocal techniques that show up in the recorded Blues including Wolf's (and others') : AHHHHH-OOOOOOOOOO. jeff christiansen groham, maine Oded Maron wrote: >I'm listening to "Murderer's Home", a collection of Lomax' 1957 >recordings of prison work songs from Parchman farm. It's on Sequel, >with liner notes by (blues-l's own???) Chris Smith. These are some >amazingly haunting and powerful songs. The sound of hoes and axes >providing sparse rhythm, the fact that the work hardly effects their >breath control - this is some great raw blues and gospel. I have two >questions: >First, is there more of this released on CD? The liner notes say that >the Lomaxes recorded there earlier. Second, the CD reminds me of a >recording that I heard of postal workers in Ghana. They're humming a >bluesy tune while producing a complicated, fast, polyrhythmic beat >with their individual stamping machines. Has anyone else heard this, >and where can I find it? >Oded ========================================================================= Date: Thu, 13 Jun 1996 08:19:02 EDT Reply-To: Toby Levy From: Toby Levy Subject: Re: Patriotic Songs Comments: cc: kalmbach@macc.wisc.edu Bonnie, Off the top of my hairless head I recall a number of WWII Let's win the war songs from John Lee Sonny Boy Williamson where he talks about wanting to fly an airplane and shoot Japs. Then there's that bizarre song on Howling Wolf's last album about the space program putting a Black man on the moon. J.B. Lenoir's Eisenhower Blues could probably qualify as patriotism from certain pespectives. Is it Buddy or Junior Wells who does the song about having a brother in Korea? I'll mosey through my record collection tonight and see what else I can find. Toby ========================================================================= Date: Thu, 13 Jun 1996 12:30:58 GMT Reply-To: VT From: VT Subject: (Fwd) Re: Nobody's Home Paul asked me to forward this to the list. -- Vincent vt@pipeline.com >----- Forwarded message ("P.W. Fenton" ) -----< On 12 Jun 96 at 20:15, VT wrote: > PW - > > I have no objections to you volunteering to become listowner - I certainly > would not want the job. > > Below are some points that I would like the list to consider: > > 1. The list should remain UNmoderated and UNcensored. This has always been my attitude. I don't think I'd be here if it were otherwise. > 2. Posting to the list either via the normal e-mail listserv or the > newsgroup should be from SUBSCRIBERS ONLY. Well, you know I've been pitching that for a while now > 3. The newsgroup echo should remain available for general reading - this > does help people who choose not to receive the volumes of e-mail that the > Blues-L generates (the posting restriction above will discourage hit and > run posts or those relating to old threads) The posting restrictions will not be a magic cure for our ills. It won't, for instance, have much effect on old threads that won't die. It will, however, prevent spamming. You know those ads that get posted to 50 different newsroups at once. That won't be possible without subscribing (and it is now). > 4. Removing or unscribscribing someone from the list - although the > listowner does have the power to do this - subscribers can only be removed > at the consensus of the list, or there is a good technical reason such as > mail bouncing from an account - the listowner will have to be held > accountable. Not that I am suggesting anyone would abuse this power, but I > would hate to have to suck up to a listowner to stay on the list, or find I > have been unsubscribed because the listowner is p*ssed with me....... > (nothing personal here PW - but this will need clarification) I don't know what needs clarification. No one has ever done that in the history of this list, and I doubt that anyone would do it now. > Please note: I have no intention of casting any doubts on Paul's integrity, > but feel these issues should be considered for ANYONE for the post of > listowner. And I might add, that I invite anyone to volunteer. It doesn't have to be me. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Thu, 13 Jun 1996 07:39:18 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: June is Black Music Month June is supposed to be (according to the public Libraries) Black Music Month I haven't heard a thing about it....Anyone know anything about this. I have a book mark that has Scott Joplin on it, proclaiming June as Black Music Month. It's suppose to be a nationwide event...????? I guess blues-l is the only people to recognize it, but we recognize it every month Leonard Watkins ========================================================================= Date: Thu, 13 Jun 1996 08:52:53 EDT Reply-To: ron kraemer From: ron kraemer Subject: I missed Luther Allison :( I got the Blues. All psyched up to see Luther Allison last night at WarmDaddy's in Philly. Didn't plan on 4" of rain falling in a few hours, closing every road south, stranding me in the car with flood waters beginning to lap at my wheels. Two and a half hours later, I was still only 20 minutes from my house. The clincher will be when some of my Philly connections e-mail me saying it was the best show they've ever seen. Ron (floodin' down in Trenton) ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters (and in another life....) Ron Kraemer and the Hurricanes ************************************************************ ========================================================================= Date: Thu, 13 Jun 1996 08:18:45 EST Reply-To: scovillej@ISAIAH.CSPS.COM From: Jef Scoville Subject: Gate Street Blues in Beantown Rick, that's great! I'm planning on making it. Any other 'zellers going? Say hello (I'm mid 40's, red ponytail and beard). Jef scovillej@csps.com ========================================================================= Date: Thu, 13 Jun 1996 13:58:56 +0100 Reply-To: rof From: rof Subject: Re: Patriotic Blues Comments: To: Bonnie Kalmbach In-Reply-To: Your message of "Wed, 12 Jun 1996 16:16:00 CDT." <26061216160509@vms2.macc.wisc.edu> In message <26061216160509@vms2.macc.wisc.edu>, Bonnie Kalmbach writes: > Augh-h!! I got just off the phone with the our Music Director. She'd like > me to program a half hour of patriotic blues or RnB to run during the > local July 4th fireworks display. This is intended to compete with a > local commercial station which plays "all-American" type rock - Beach > Boys, etc to go along with the show. > > Now I don't mind doing this - but I'm a bit short of ideas - outside of > Jimi Hendrix's "Star-Spangled Banner". Any other ideas out there, > por favor?? > > -Bonnie Would songs about presidents do? Off the top of my head I can think of Pete Welding's compilation on Testament, of blues about Kennedy. There's also more than one song about Roosevelt i.e. Tell me why you like Roosevelt by Otis Jackson plus the one that Ry Cooder does on Into the Purple Valley (can't remember who the original's by). Good luck with it! Rob ========================================================================= Date: Thu, 13 Jun 1996 09:19:14 EDT Reply-To: Toby Levy From: Toby Levy Subject: Re: Patriotic Songs Comments: cc: kalmbach@macc.wisc.edu Bonnie, I just remembered another one: Sonny Rhodes has a song on his album "The Blues is My Best Friend" called "President Clinton" thanking him for saving the country (from what? George Bush?). Toby ========================================================================= Date: Thu, 13 Jun 1996 08:02:20 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: Patriotic Songs Comments: To: Toby Levy I haven't listened closely to the lyrics, but I know there is a Bessie Smith tune called "Do Your Duty" that might fit the bill. RJ Bauman > > Off the top of my hairless head I recall a number of WWII Let's win the > war songs from John Lee Sonny Boy Williamson where he talks about > wanting to fly an airplane and shoot Japs. > > Then there's that bizarre song on Howling Wolf's last album about the > space program putting a Black man on the moon. > > J.B. Lenoir's Eisenhower Blues could probably qualify as patriotism from > certain pespectives. > > Is it Buddy or Junior Wells who does the song about having a brother in > Korea? > > I'll mosey through my record collection tonight and see what else I can > find. > > Toby > > ========================================================================= Date: Thu, 13 Jun 1996 13:24:29 GMT Reply-To: Tommy Jansson From: Tommy Jansson Organization: Uppsala University Subject: Re: Otis Rush and Duke Comments: To: bit-listserv-blues-l@uunet.uu.net Rush recorded at least two singles on Duke. Is there any compilation where I can find them? Tommy ========================================================================= Date: Thu, 13 Jun 1996 13:38:26 GMT Reply-To: Art Schuna From: Art Schuna Organization: UW-Madison Subject: Re: Jimmy Nolen (was Nolan) Comments: To: bit-listserv-blues-l@uunet.uu.net In article <834661695.4964.0@skerries.demon.co.uk>, chris@SKERRIES.DEMON.CO.UK says... >'Wipe Your Tears' is (more likely was by now) on a Charly (yeah, I know) CD >268, 'Scratchin'', which also features Pete 'Guitar' Lewis and Cal Green. "Scratchin' " is a great CD. My bet is it's still available since it doesn't involve MCA/Chess or any other lawsuits that I'm aware of. Well worth the extra effort to track down. Art Schuna ========================================================================= Date: Thu, 13 Jun 1996 13:34:24 GMT Reply-To: bbbean@sheltonlink.com From: bbbean@SHELTONLINK.COM Organization: inlink Subject: Re: Harmonica aficianados query ... Comments: To: bit-listserv-blues-l@uunet.uu.net In , Barry Silverberg writes: > Some months ago I asked for Charlie Musselwhite recs and I just > got his Blind Pig release ... The Harmonica According to CM. I > am curious as to what the harmonica players and appreciators on > the list think of this CD. I'll keep my opinion out of the way > for the moment. I reviewed that CD for a now-defunct rag and gave it a thumbs up - Not for harmonica players only. I especially liked the latin-inflected stuff. BBB B.B.Bean bbbean bbbean@sheltonlink.com Peach Orchard, MO http://www.cris.com/~Bbbean ========================================================================= Date: Thu, 13 Jun 1996 13:42:41 GMT Reply-To: Art Schuna From: Art Schuna Organization: UW-Madison Subject: Re: ANDY_WARHOL_BLUES_NEXUS?? Comments: To: bit-listserv-blues-l@uunet.uu.net Speaking of Andy Warhol in the blues (how's this for a strange connection?), Andy was asked in a brief published interview shortly before his demise (I think it may have been in Vanity Fair) what he would do if he had more time left on this planet. His response was that he would have liked to learn to play the blues. My question is, if Andy did learn the blues, what tunes would he play? Art Schuna ========================================================================= Date: Thu, 13 Jun 1996 14:35:50 GMT Reply-To: 101460.2252@compuserve.com From: Stefan Rohrbach <101460.2252@COMPUSERVE.COM> Organization: CompuServe Incorporated Subject: Re: Taj Mahal Info Wanted Comments: To: bit-listserv-blues-l@uunet.uu.net "DUTTWEILER.J" wrote: >I got to thinking about a Taj Mahal LP my older brother had in the early to >mid-70s. If my memory is correct it was titled "Natch'l Blues" and one song I >remember being on it was "She Took the Katy." I really like this LP at the >time but have not seen it on CD, nor have I seen it listed in recommended >releases from Taj that I have seen. >Has anyone else seen this release and is it on CD now? Or has my mind gone >off the deep end? (Rhetorical question, all - please, no answers to that one >;-)) >JD IMHO "The Natch'l Blues" is by far the best blues album by Taj Mahal. It's a masterpiece and one of the best blues albums ever. "Corinna" could be the most transcendental piece of afro-american music. By the way: "She Caught the Katy" has been covered by "The Blues Brothers". I've been trying to order "The Natch'l Blues" (in the US) as CD - for a friend, that liked the LP very much when I played it for him - but without result. The LP was on Columbia, which was bought by Sony. The title is in the Sony music online-catalog, but the online CD-Shops CDnow and Music Boulevard both have it only as cassette, so it might be out of print as CD or LP. A discography of Taj Mahal can be found in the All Music Guide, wich can be accessed by Compuserve or CDnows Internet-site. Stefan Rohrbach, freelance journalist, 2560 Nidau, Switzerland ========================================================================= Date: Thu, 13 Jun 1996 08:43:41 CDT Reply-To: William Shute From: William Shute Subject: wire recorders/patriotic songs From: Bill Shute While I can't think of a patriotic blues song recorded on a wire recorder, I did want to make a brief comment on each of these two threads. RE PW Fenton's interesting piece on the wire recorder, the item that immediately came to mind was the wonderful old Leadbelly live album on the Playboy label from the mid-70s, which was recorded in l949 at the Univ. of Texas (I think) and was from a wire recording. That album was where I first heard of that odd method of recording. (by the way, has this ever been reissued on CD? I still have the promo poster of that album from the Playboy release) As for patriotic blues, I'll take Lightnin' Slim's classic "G.I.Blues." Bill Shute San Antonio, TX ========================================================================= Date: Thu, 13 Jun 1996 09:02:24 -0500 Reply-To: Billy Chambless From: Billy Chambless Subject: Re: ANDY_WARHOL_BLUES_NEXUS?? Comments: To: aaschuna@FACSTAFF.WISC.EDU In-Reply-To: <4pp5sh$iiu@news.doit.wisc.edu> from "Art Schuna" at Jun 13, 96 01:42:41 pm In an earlier message, Art Schuna said: ] Speaking of Andy Warhol in the blues (how's this for a strange connection?), ] Andy was asked in a brief published interview shortly before his demise (I ] think it may have been in Vanity Fair) what he would do if he had more time ] left on this planet. His response was that he would have liked to learn to ] play the blues. My question is, if Andy did learn the blues, what tunes would ] he play? He'd be original as hell, of course. Wonder how popular he'd be here.... "Got my fifteen seconds of fame -- "But that girl still don't know my name" .... ========================================================================= Date: Thu, 13 Jun 1996 09:43:46 -0400 Reply-To: parrishr From: parrishr Subject: ISO Jim Bardsley I am trying to send e-mail to fellow blueseller Jim Bardsley, but his server never heard of him. Does someone have another e-mail address for him besides whateverwhatever.lsumc.edu? Thanks, Ruth ========================================================================= Date: Thu, 13 Jun 1996 10:15:20 -0400 Reply-To: Dave Markovits From: Dave Markovits Subject: JB HUTTO (MIstake) I was wrong. I admit it. J.B Lenoir is Byther Smith's cousin. I realised this after I fired off the post. My apologies for the wrong J.B. David Markovits Metamor Technologies 1 N. Franklin ste 1500 Chicago,Illinois 60606 (312)251-3299 E-Mail:Markovd@metamor.com ========================================================================= Date: Thu, 13 Jun 1996 09:18:40 -0500 Reply-To: "Stine, Dave" From: "Stine, Dave" Subject: patriotic blues Shoot, I've been deleting mesaages all morning and lost the original string, oops, thread. I don't know who did it originally, but lurking on my Fleetwood Mac (the blues band NOT the pop icons) records is "The Worlds' In A Tangle" which is about joining to army to get "the Reds." Hope this helps. Oh yeah, I'm set to "MAIL". he he ========================================================================= Date: Thu, 13 Jun 1996 07:26:11 -0800 Reply-To: James Carmin From: James Carmin Subject: eRIC's BLUES DATES: June 14 Here's a few dates (b. born, d. death) for tomorrow. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BAKER, SAM (v/SOUND STAGE 77 REC) b. 1941-0614, JACKSON, MS BLYTHE, JIMMY (p) d. 1931-0614, CHICAGO, IL 30 BROTHER BONES (FREEMAN DAVIS) (bones) d. 1974-0614, LONG BEACH, CA 71 DURAL, GERALD (of BUCKWHEAT ZYDECO) b. 1957-0614, LAFAYETTE, LA EMBRY, SYLVIA "QUEEN" (b/JIMMY DAWKINS) b. 1941-0614, WABBASEKA, AR FOWLER, CHARLES (engineer/ERIC CLAPTON) b. 1962-0614, INDIANAPOLIS, IN FRANK, EDWARD (p/IMPERIAL/DUKE REC) b. 1932-0614, NEW ORLEANS, LA GALLAGHER, RORY (g) d. 1995-0614, LONDON, UK 47 GOLDSMITH, CLIFF (prod/GALAXY REC) d. 1991-0614, BURBANK, CA 66 HARRIS, WYNONIE "MR. BLUES" (v/KING REC) d. 1969-0614, LOS ANGELES, CA 54 KIRBY, JOHN (b) d. 1952-0614, HOLLYWOOD, CA 43 LAMARE, NAPPY (g/bjo) b. 1907-0614, NEW ORLEANS, LA LITTLE CAESAR [HARRY CAESAR] (v) d. 1994-0614, LOS ANGELES, CA 68 MACK, RED (v/tpt) d. 1993-0614, LOS ANGELES, CA 81 MILLER, MARCUS (b/MILES DAVIS) b. 1959-0614, NEW YORK CITY, NY PAYNE, LEON (g/songw) b. 1917-0614, ALBA, TX PRAYER, GEORGE (lead/THE MOROCCOS) b. 1938-0614, EAST ST. LOUIS, IL SIMMONS, JOHN (b/NAT KING COLE TRIO) b. 1918-0614, HASKELL, OK STONEMAN, POP (g) d. 1968-0614, NASHVILLE, TN 75 WALKER, JR. (sax/MOTOWN REC) b. 1931-0614, BLYTHEVILLE, AR WILSON, QUINN (b/VEE JAY REC) d. 1978-0614, EVANSTON, IL 69 ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 13 Jun 1996 10:27:51 EDT Reply-To: Newman/Rabson <71552.541@COMPUSERVE.COM> From: Newman/Rabson <71552.541@COMPUSERVE.COM> Subject: Re: Patriotic Songs Do Your Duty - refers to husbandly/boyfriendly duty - not patriotic duty in the usual sense. Ann ========================================================================= Date: Thu, 13 Jun 1996 10:27:42 EDT Reply-To: Newman/Rabson <71552.541@COMPUSERVE.COM> From: Newman/Rabson <71552.541@COMPUSERVE.COM> Subject: Re: songs about president If we're including songs about presidents Sonny Rhodes has recorded one about Clinton. I wish I could supply album title and all but the CD is over at my studio 'cause I'm learning some tunes off it. Ann ========================================================================= Date: Thu, 13 Jun 1996 10:27:47 EDT Reply-To: Newman/Rabson <71552.541@COMPUSERVE.COM> From: Newman/Rabson <71552.541@COMPUSERVE.COM> Subject: Re: Wipe Your Tears Bill and Chris and whoever - I've got a question - I'm looking for material for an album - from these comments this tune (Wipe Your Tears) sounds like it's special. Before I start calling my sources to try to find a copy - tell me, is this a song which I might consider (IYHO)? Is it a song a woman could sing (or change so she could sing)? Is it something an OK piano player, ear - know nothing about theory player could handle? Ann ========================================================================= Date: Thu, 13 Jun 1996 10:27:15 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: For The Record Since people are considering the advisability of making me listowner, and several people have listed their concerns about ANY listowner, I guess I should try to give you an idea of where I stand. First let me say that the word "listowner" has nothing to do with owning the list. The term was invented by the folks at L-Soft that wrote the "Listserv" software. It is simply the title given the person or persons that are authorized to perform various maintenance operations on the list. A whole slew of commands to the list server are available only to people known to the server as "listowners". Our list, Blues-L, if it's actually "owned" by anyone, is owned by the kind folks at American University where we are given space and computer time as a service to the public. As far as I know, the listowners, of Blues-l have always been nothing more than list administrators or maintainers. They have never been involved in moderating, censoring, or making editorial decisions for the list members. That is one of the things I love about this place, and something I hope will always remain the same. I have participated in a moderated list as a member and did not like it at all. Any time there is a personality conflict between a member and the moderator the potential for unfair treatment is clearly there, and rests totally in the hands of the moderator. Any criticism of the moderator is easily silenced, and the group eventually becomes a a reflection of that. I want no part of such an arrangement, either as a subscriber or administrator. IMO Blues-l should be open to anyone connected to the internet, including people obsessed with the magical healing powers of John Lee Hooker's music, and including anyone I might have a personal conflict with. If I become the "listowner" for Blues-L, something I would like to do, that I believe would benefit everyone, is have one or two additional people with "listowner" access. The listserv software is set up so that this can be done. It can also be set up so that their combined efforts (like trying to send different commands at the same time), don't bring the whole list to it's knees. I am usually monitoring this list close to 16 hours a day continuous. But I'd like to have one or two people who could be called upon to keep the list working, or help an individual, if for some reason I can not be reached. If for instance my internet access provider went down for a day, I wouldn't want that to mean that the list would go un-monitored. The only other issue that I think anyone has any concerns about is open access via the newsgroup. Blues-l has always been a list that requires you to subscribe in order to post. Somewhere around the time we added the newsgroup access, that setting got changed, unbeknownst to the membership. I don't think it was intentional, I think it was done in order to get the newsgroup connection working properly (which can be very tricky). I plan to restore Blues-L to a condition where only members can post. Anyone on the planet will be able to read the posts via the newsgroup but they won't be able to post until they subscribe. I believe I can also set up an automatic response to a non-member trying to post, that will give them instructions how to subscribe (and go "nomail" if need be). Concerning people who try to unsubscribe and write to the list address, (because they didn't keep the FAQ), I frequently write to those people now, and I am not the listowner. If I was the listowner I would feel it was my responsibility and duty to help those people. When I joined this list I was new to the internet, and didn't have the foggiest notion of what I was doing. I empathize with the message: "Help! How do I get outta here???" I have no interest in trashing Alan Rollins. We needed a listowner and Alan volunteered when no one else (including me) came forward. I thank him for every scrap of effort he has put forth on our behalf. I think Alan hasn't been able lately to devote the kind of attention I think is needed for this job. I think I am much more accessible, and spend much more time paying attention to every post that comes through this list than he has time to. I think I'd do a fine job as your listowner. thanks for reading, P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Thu, 13 Jun 1996 10:44:00 EDT Reply-To: edward c liu From: edward c liu Subject: Re: Nobody's Home Howdy all, VT wrote: >2. Posting to the list either via the normal e-mail listserv or the >newsgroup should be from SUBSCRIBERS ONLY. This is not a flame or a snide comment to anyone involved in this discussion. I was on another mailing list which had gotten listed as a "forum" on an Internet Service Provider (I use the term loosely), which treated it as the equivalent to a newsgroup. We had also managed to get listed on some stupid Internet White Pages service, so we also got some really stupid junk e-mail ads on the list as well. Despite the dross, the owner of the list was hesitant to set the list to "Global read, subscriber write" because EVERY note that was sent to the list by a non-subscriber would get sent to HIM instead of the list. Personally, I'm for "subscriber-only posting." However, doing it will probably add a decidedly non-trivial amount of e-mail (read: work) to the listowner. ObBluesComment: My roommate said that B.B. King is getting airplay on pop radio stations. There's some song where B.B. sings the introductioin before it goes into the pop part. Has anybody heard it? If so, who, what, where, &c? More ObBluesComment: The Dirty Dozen Brass Band's _Jelly_ is an album too awesome for words. -- Ed Edward C. Liu | "Ever since the world ended, I don't get edwick@cc.bellcore.com | out much anymore." | -- Mose Allison The opinions in this message are mine and not Bellcore's. Really! ========================================================================= Date: Thu, 13 Jun 1996 10:46:49 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: For The Record (correction) On 13 Jun 96 at 10:27, P.W. Fenton wrote: > Our list, Blues-L, if it's actually "owned" by anyone, is owned by > the kind folks at American University where we are given space and > computer time as a service to the public. What I meant to say was... The listserv is actually provided by Brown University of course, the newsgroup gateway is provided by American University. I'll be getting mail all day correcting that one. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Thu, 13 Jun 1996 11:13:27 -0400 Reply-To: Ian Angus From: Ian Angus Subject: Out of Service In the unlikely event that anyone is trying to reach me or wondering why I am not making my usual brilliant and insightful contributions to Blues-L ... The modem on my home computer has decided to die. Until I get it fixed, I can't participate in Blues-L. If you need to communicate with me, you can send email to my work address, shown below. -- -------------------------------------------------------------- IAN ANGUS ianangus@angustel.ca Angus TeleManagement Group http://www.angustel.ca 8 Old Kingston Road tel: 905-686-5050 ext 222 Ajax ON L1T 2Z7 Canada fax: 905-686-2655 -------------------------------------------------------------- ========================================================================= Date: Thu, 13 Jun 1996 10:06:53 CST Reply-To: John Wells From: John Wells Subject: Patriotic Blues Don't know of any specific songs, but I strongly suspect you can find some in the works of Lightnin' Hopkins and/or Blind Willie McTell. J. ========================================================================= Date: Thu, 13 Jun 1996 11:07:50 -0400 Reply-To: SliderDW@AOL.COM From: Don Williams Subject: Re: Otis Rush and Duke Comments: To: Tommy.Jansson@bibks.uu.se In a message dated 96-06-13 10:04:30 EDT, Tommy.Jansson@BIBKS.UU.SE (Tommy Jansson) writes: > >Rush recorded at least two singles on Duke. Is there any compilation >where I can find them? > >Tommy > "Homework" appears on a CD called Soul Shots Vol. 4: Urban Blues, a collection of Sixties Soul Classics, Rhino Records R 75758. Don Williams ========================================================================= Date: Thu, 13 Jun 1996 15:13:41 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Clarence Spady was Re: R.l., Paul, Corey, Lucky Comments: To: bit-listserv-blues-l@uunet.uu.net On Jun 12, 1996 20:31:19 in article , 'Niles Frantz ' wrote: >Clarence Spady -- who was featured in Living Blues' "40 Under >40" article in its 25th Anniversary Issue -- will be at Rosa's >Lounge in Chicago this Friday and Saturday. > >He's a very talented young man, and it is well worth your time >to check him out. >Niles I second that emotion I saw Clarence Spady at my local venue back in March - I was very very impressed. Clarence has a very melodic playing style on the guitar (he did a great version of "Oye Como Va" ala Santana), his vocals are good too - he does very different arrangement to covers without losing the sense or context. He also does his own originals. His organ player Mark Hamza - plays on the Hammond and gets that great sound and he plays very good lines on the bass pedals (there is no bassist in the group). I posted a "review" of his gig - if anyone wants a copy e-mail me. -- Vincent vt@pipeline.com ========================================================================= Date: Thu, 13 Jun 1996 11:15:07 -0400 Reply-To: BURNSIDE_RAGS From: BURNSIDE_RAGS Subject: Re: ANDY_WARHOL_BLUES_NEXUS?? ANDY WARHOL might sing them BLUES this way... Pop, I went Looking for my mojos All I got was NICO and the hues.... Silkscreen I tried Marilyn & Jackie too Got shot by a SCUM Manifester Oh!! Mama!! I got them blues.... +===================================================================+ | _-\\|//-_ | | | // \\ | Laissez les bon temps roulez!! | | // ~~ ~~ \\ | Let the good times roll!! | | /d-(*)-(*)-b\ | ------------------------------ | | // L \\ | SANJAY 'RAGS' RAJAN | | // //|\\ \\ | sanjay_rajan@formtek.com | | ////`---'\\\\ | FORMTEK,INC. | | // //|||\\ \\ | PITTSBURGH, PA | | // /|||\ \\ | ------------------------------ | | -/---/\o/\---\- | "CULT"ivate ORGANIC WHIRLED PEAS | | /"\ | | +===================================================================+ ========================================================================= Date: Thu, 13 Jun 1996 09:19:53 -0600 Reply-To: Watterworth Jay From: Watterworth Jay Subject: Blues and communists Comments: To: cuthulu In-Reply-To: <31be645a.969974@news.prysm.net> I wonder about the blues and the communist/socialist/labor movement of the 1930's. Are there any blues songs that came out of this era in our history? I think of Woodie Guthrie, but am sure I don't know much about it. Any of you scholars out there have any leads????? Jay Watterworth CU Boulder On Wed, 12 Jun 1996, cuthulu wrote: > Ditch the partisan politics. > > This list is about blues music, and GOPS and DEMS can at least join > together for that. > > I've carefully restrained from political posting here, but if the > situation warrants, I have several megabytes worth of political > observation ...... and I'm communist. > > > Kevan Smith > cuthulu@rlabs.com > the great purple hope for the blues > ========================================================================= Date: Thu, 13 Jun 1996 10:37:40 -0500 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Patsy Cline For all those interested, A&E Biography is doing a show on Patsy Cline tonight. Bruce Roberts Austin, TX ========================================================================= Date: Thu, 13 Jun 1996 11:26:59 -0400 Reply-To: SOO3713@ALPHA.CC.OBERLIN.EDU From: Owen Okie Subject: Montreaux Jazz Fest an others? Does anyone have any info (dates, lineups, etc) on Jazz and Blues fests in Europe this summer (or tours for that matter)? THe Montreaux jazz fest sounds particularily tempting.Any such info would be greatly appreciated. Please anwser to my E-Mail adress soo3713@alpha.cc.Oberlin.edu THANKS! Owen e ettter ========================================================================= Date: Thu, 13 Jun 1996 11:41:38 -0400 Reply-To: Tom Morgan From: Tom Morgan Subject: Re: Patriotic Songs In-Reply-To: <960613142751_71552.541_EHL83-3@CompuServe.COM> from "Newman/Rabson" at Jun 13, 96 10:27:51 am Some President songs: Dead Presidents Little Walter Jordan For President Jordan, Louis and the one that Anne mentioned: President Clinton Rhodes, Sonny `'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`' http://redlt.com/tom/ -- Home of Jazz Roots & Record Companies on the Web Free-lance Writer--Author--Program Director WTJU 91.1--Internet Consultant ========================================================================= Date: Thu, 13 Jun 1996 11:53:37 -0400 Reply-To: FORCELLAD@CCSUA.CTSTATEU.EDU From: Domenic Forcella Subject: Patriotic Songs A long time ago I seem to remember a Furry Lewis interview where he sang "our father who art in Washington, Nixon is his name" might tend to offend some people and might not be considered Patriotic by today's definition. Domenic Forcella Traveling with the Blues (but politically haven't traveled much past the 60s) ========================================================================= Date: Thu, 13 Jun 1996 09:15:40 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: Re: SITTING & THINKING : Joe Beard and Ronnie Earl Comments: cc: levyt@acchost.acc.af.mil Toby, Thanks for the review, but I have a correction that you should include when you archive it on NY CD BLUES . SINNER'S PRAYER was written by Lowell Fulson & Lloyd Glenn, and it is NOT included on the CD. A careful listen to this track will convince you that it actually plays LOST LOVE (also known as BABY PLEASE) - which was written by Percy Mayfield. Beard's version also includes a nice short reference to Mayfield's PLEASE SEND ME SOMEONE TO LOVE. As for JUST TO BE WITH YOU, the original was done by Muddy Waters with pianist Otis Spann. Keep up the good work. eRIC JOE BEARD FEATURING RONNIE EARL AND THE BROADCASTERS BLUES UNION AUDIOQUEST #1039 SINNERS PRAYER: This is a slow blues penned by the poet of the blues, Percy Mayfield. Bruce Katz takes the lead, stretching notes on his Hammond B3 Organ as Joe testifies "I am a prisoner, I need your love to set me free." A smoky, after hours mood is established by the sensuous saxophone of David "Fathead" Newman. Hammond B3 fans will love the solo turned in by Bruce Katz at the end of this song. JUST TO BE WITH YOU: An easygoing languid summertime slow blues. Joe cries out his testimony of love as the band cranks up the heat. Making his first appearance on the album is Joe's regular harp player, Joe Dubuc, who intensifies the mood of old time country blues brought to the city. Bernard Katz plays impressively, turning out lots of Otis Spann figures on the keyboards. ========================================================================= Date: Thu, 13 Jun 1996 11:27:33 -0500 Reply-To: Steve Price From: Steve Price Subject: Patriotic Songs Lead Belly had one that's kind of making fun of army life on a ten inch 33 1/3 rmp, which also had an anti-Hitler song. A verse from Army Life: The clothes that they they give you they said was mightfy fine Me and all my buddies could all get into mine Oh, but I don't want no more army life, Gee, but I wanna go home. Other verses making fun of army pay, food, etc. Also on the album is an anti-Jim Crow song. Sorry, but this is as close as I can think. Steve Price ========================================================================= Date: Thu, 13 Jun 1996 11:35:41 -0500 Reply-To: Steve Price From: Steve Price Subject: Patriotic Blues revisited I keep thinking of songs, like Lead Belly's "Bourgeois Blues," that are more like protest songs rather than like Beach Boys cute. I think someone mentioned this before. But I'm wondering if that radio show couldn't be better done with more of a freedom of speech twist, and the protest side of things be presented honestly and just as forthrightly as Born in the USA or something. In a previous post I mentioned Lead Belly's Bourgeois Blues, but Big Bill Broonzy had one about I wonder when I'll be called a man instead of boy. And Black Brown and White. I deleted the original post, and I can't remember who was asking for this. Sorry. Steve Price ========================================================================= Date: Thu, 13 Jun 1996 11:19:33 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: For The Record Comments: To: "P.W. Fenton" In-Reply-To: <199606131429.KAA70636@osceola.gate.net> On Thu, 13 Jun 1996, P.W. Fenton wrote: > Since people are considering the advisability of making me > listowner, and several people have listed their concerns about ANY > listowner, I guess I should try to give you an idea of where I stand. > Well, what I notice is that there already seems to be a coterie of people who know P.W. as "Paul," some sort of inside group already on a first name basis with the man. Will their posts receive prefered "Paul" status, and the rest of our posts only get "P.W." handling? On the other hand, the context I've noticed that some people call him "Paul" is usually in a phrase like "I'm going to have to disagree with you on this one, Paul." Hmmmm. . . . On the other hand, for those who have remained silent on the subject having a moderator with an iron fist, I've worked closely with Ranko on a number of programs . . . . ;^) (Sorry. Somehow I got "Bourgeois Blues" stuck in my head every time I see the words "Patriotic Blues" and this is the result.) Steve Price ========================================================================= Date: Thu, 13 Jun 1996 13:45:01 -0300 Reply-To: Rob Hutten From: Rob Hutten Subject: Mississippi cane fifes and quills Sorry about the low (but not non-existant!) blues content here... I collect (and attempt to play) a variety of wooden flutes & pipes, and I'm wondering how I could go about getting an authentic cane fife (or "fice" as I've heard them called) like the ones played by Napolean Strickland and Othar Turner. Likewise, I'd love to get a set of quills, the small panflute-like instruments traditionally played in parts of the south. Does anyone know if anyone in the South sells these? I realise that the fife & drum musicians in the area usually make their own instruments, so I'm not expecting these to be readily available via mail-order or whatever. However, if anyone has any leads, I'd be very grateful. Thanks, -Rob ========================================================================= Date: Thu, 13 Jun 1996 17:08:42 GMT Reply-To: VT From: VT Subject: John Renbourn (not much blues) You have to excuse me, this is only vaguely blues related, but I had to tell my friends..... John Renbourn @ the Turning Point, Piermont, NY - Wed.96.06.12 John Renbourn is in the "school" of British fingerpicking guitarists along with other names like Davy Graham and Bert Jansch. He is probably better known as one of the founding members of the Pentangle. That school of guitar playing had a distinction of playing a mixture of folk, blues, jazz and Brit, but without any inhibitions or adherence to any particular style. John plays mainly acoustic - I have always held him in high regard - to me he had a very clean technique, could play mind bogglingly complex stuff, but more to the point he was melodic, produced beautiful sounds out of his guitar and to me he had a real innate sense of rhythm. So there I was home from work and just sitting down with a glass of chilled wine and browsing through the schedules to see who was on locally over the weekend. My eyes caught the name Renbourn, and it was tonight - I'd forgotten, what time does he start, 8:00PM - and guess what time it is on my watch? yes 8:00PM. A quick call to the Turning Point confirmed he was on, and due to start in about 10 minutes - I am 40 minutes away by car........ I used to see John and people like Bert Jansch in my younger days in London at the Troubadour, and the fabled Les Cousins - I just could not miss him. I walked in just when John was finishing his set (argh!), but at least there was another to come. During the break I bumped into an old friend whom I hadn't seen for over a year, we went together upstairs to see John. It was great to meet another of my childhood heroes and be able to reminisce about those heady days in London. John told me his current guitar is a Franklin handmade from Seattle. He also confirmed that it was a Gibson J-50 that he played on "Waggoner's Lad" from Bert Jansch's LP "Jack Orion", he said that bass tone was a fluke, as he's never been able to reproduce it again. John started the second set with a pretty funky tune with lots of blues overtones - it took me quite a while before it clicked with me - it was Booker T. & the M.Gs' "Sweet Potato". Very rhythmic, fantastic runs and very well arranged. I noticed that his bends were very clean but had a very unique sound, his finger movements were a model of economy and he shook his fingers on the bends to add that vibrato. During this set he played mainly traditional British tunes - Celtic based stuff which had a vague Eastern sound. He explained that many Brit folk guitarists during the early 60's found that they could not earn money from their music in Britain, so it was fashionable and a necessity to hitchhike the South of France to busk - to eat. Of course Davy Graham somehow managed to miss France and miss out Spain altogether and ended up in Tangiers. He came back to Britain with this tuning for the guitar (EADGAD) to play North African music, but many folkies found that it was great to play Celtic type stuff on it - much to Davy's annoyance, he even tried to copyright that tuning..... Anyway so as not to bore you - John played a tune called I think "Little Nile" a piano piece written by composer Randy Weston(?). A very moody introduction which sounded like the acoustic guitar version of "Goodbye Pork Pie Hat" which some of you will know played by John McLaughlin on his classic "My Goal's Beyond" LP (2 points for knowing the composer of Pork Pie Hat). There were definite Arabic sounding lines, and he must have quoted from "'Round Midnight" too. The tempo changed to a more sprightly pace with swing. Really outstanding piece. (BTW for your interest John played Pork Pie Hat as a duet with Bert Jansch on the LP "Bert & John" during the mid 60's which preceded McLaughlin's more famous version by quite a time). John's guitar playing was every bit as good as I remembered it, he achieved some really beautiful tone, even compared with well love and often played recordings. He is a consumate acoustic guitar player. I know he is not blues, but I would really recommend you try to see John Renbourn if you like acoustic guitar playing. 'cuse my diversion...... -- Vincent vt@pipeline.com ========================================================================= Date: Thu, 13 Jun 1996 13:10:10 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: What's in a name? Comments: To: Steve Price On 13 Jun 96 at 11:19, Steve Price wrote: > Well, what I notice is that there already seems to be a coterie > of people who know P.W. as "Paul," some sort of inside group already on a > first name basis with the man. Will their posts receive prefered "Paul" > status, and the rest of our posts only get "P.W." handling? On the other > hand, the context I've noticed that some people call him "Paul" is > usually in a phrase like "I'm going to have to disagree with you on this > one, Paul." Hmmmm. . . . Well my real name is Paul Worthen Fenton, and when I first joined Blues-L, and for about the first year, I signed my posts "Paul Fenton". Around the time I joined Blues-l, I had begun to use "P.W." as my "stage name". (At the advice of Bonnie Kalmbach, I dropped the more phoney sounding "nickname" I had been using.) It caught on like wildfire. Everyone calls me P.W. I think of myself as P.W. In fact about the only person that calls me Paul any more is my wife. "Paul" actually looks odd to me when I read it. And for once in my life people don't question my signature which has always been PW Fenton. So it's the oldest 'ellers that call me Paul. Locally, my friends have taken to calling me "Dub". Which started out as "P-Dub" (short for P.W.). I have seen Sting saying, "People think that they are getting on my good side by calling me "Gordon" (which was his name). There is no Gordon Sumner... nobody close to me calls me that...even my checks say Sting." P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Thu, 13 Jun 1996 13:11:05 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: ANDY_WARHOL_BLUES_NEXUS?? >Speaking of Andy Warhol in the blues (how's this for a strange connection?), >Andy was asked in a brief published interview shortly before his demise (I >think it may have been in Vanity Fair) what he would do if he had more time >left on this planet. His response was that he would have liked to learn to >play the blues. My question is, if Andy did learn the blues, what tunes would >he play? > >Art Schuna In view of the famous soup cans, anything by Little Milton Campbell, Eddie C. Campbell, or Blind James Campbell. Don't hit me! I'm sorry! Chris Smith (chris@skerries.demon.co.uk) I asked her for butter, and she gave me margarine (Paul Francis, a college buddy of mine) ========================================================================= Date: Thu, 13 Jun 1996 12:07:40 -0500 Reply-To: scott d From: scott d Subject: Re: Chess building Comments: To: don.o@CHRYSALIS.ORG At 10:53 PM 6/6/96 -0500, Don O wrote: >What's the status of the Chess building and the planned Blues Heaven Foundation >museum in Chicago? Anyone go by there during the Chicago blues fest? > >Also a great big THANK YOU to everyone that provided reviews of that festival. >More would be welcome. > >Don O. > I didn't go there during the fest, but I did drive by a couple of days ago. It looks like the entryway/lobby has been remodeled recently, but it's not open to the public, and it doesn't appear that any more work is currently being done on the building. Scott http://www.geocities.com/SunsetStrip/4466 Check it out! ========================================================================= Date: Thu, 13 Jun 1996 12:08:06 -0500 Reply-To: scott d From: scott d Subject: Re: "Walter Horton -Live at the El Macambo" - who's in the band? Comments: To: David Blanken At 10:06 AM 6/13/96 PDT, David Blanken wrote: >Someone mentioned this recording during the recent Big Walter thread as >being one of the poorer examples of his work due to the rather poor sound >quality. After years of listening to low-fi Magic Sam recordings ("Magic Sam >Live" and the live recording on Black Top) I've become quite used to >sacrificing sound quality for great music. And this CD has some GREAT music. >Walter sounds very relaxed and gives each song a complete workout. > >My only problem with the album is the complete lack of session information. >Nowhere in the liner notes is the backing band credited or mentioned. To my >ears, it sounds a bit like the Aces (Louis Myers, Dave Myers and Fred >Below). The guitar playing is definitely from the Louis Myers school of >rhythm comping-behind-harp that I've been trying to perfect for years now >(and this record has been a valuable teacher of). > >Does anyone have any idea who is playing on this record? > > -Dave- That's a real good question. It's obviously a band that knows Walter's material and is comfortable with him, and just as obviously he's at ease with them. It does sound a BIT like The Aces, but I don't think it's them; they're following BW very closely, and I think that if it was The Aces they would have imposed thier will on him a little more. This of course is just my own opinion, based on the conversations with both Louis and Dave wherein they indicated a certain lack of respect for BW's abilities as a musician--I think they thought of him as kind of country, where they considered themselves more musically sophisticated. I've seen them play things the "right" way while backing other musicians, even though the guy they're backing is doing his thing a different way; that's obviously not the case with this recording--the band is there for BW at every turn, regardless of which way he's going. So who is this mystery band? Given the recording date of 7/25/73 indicated on the CD, it would be tempting to guess BW's buddy Eddie Taylor on guitar, since they'd recorded together on BW's Alligator CD relatively recently, but it's not his style at all. And I'm pretty sure the drummer isn't Frank Swan from the Alligator record, and it's probably not Fred Below or Odie Payne either. Here's my guess: I think that the recording date on the CD is wrong, and that in fact it was recorded in the late '70s with Ronnie Earl and his band. Here's why: I've got the JSP album of BW recorded live with Ronnie Earl in the late '70s, and I've also seen a video of BW that features Ronnie Earl and his band backing BW in a club, and the guitar playing and song arrangements and the way that the band follows and interacts with BW are all just about identical to the "El Mocombo" CD. If anyone has any other guesses I'd like to hear them (Mr. Shurman?), but based on the aural evidence I'm pretty well convinced that this is the situation. Scott http://www.geocities.com/SunsetStrip/4466 Check it out! ========================================================================= Date: Thu, 13 Jun 1996 12:07:47 -0500 Reply-To: scott d From: scott d Subject: Re: Visiting Chicago... Comments: To: marc borms At 01:56 PM 6/12/96 GMT, marc borms wrote: >A colleague and friend of mine, will be in Chicago from June 22 till >June 30 and likes to know the hottest places in town to hear >some blues ( and/or jazz). >Someone already told me, Erwin Helfer is playin' at Andy's on >friday night. ( Where is Andy's ?) > >Can you please give me some references,addresses where my friend >can feel the blues ? > >Who is giggin' in Chicago those days ? > >Thanks in advance, > >embee. > >ps. please, also send me a private email too... > embee, There are 8 or 9 clubs in Chicago that feature live blues 7 nights a week, and another 40 or more that have live blues on weekends or other nights during the week. It would be hard for me to put together a listing of who's playing where, but I would recommend that you pick up a Reader, which is a free weekly newspaper containing schedules for most of the above mentioned clubs, as soon as you get to town. The Reader is available free at most record stores and music clubs in Chicago. Scott http://www.geocities.com/SunsetStrip/4466 Check it out! ========================================================================= Date: Thu, 13 Jun 1996 13:29:44 -0400 Reply-To: ac928@osfn.rhilinet.gov From: Jim McGlynn Subject: Re: Otis Rush and Duke Tommy Jansson wrote: > >Rush recorded at least two singles on Duke. Is there any compilation >where I can find them? The track "Homework" is available on the CD "The Best Of Duke-Peacock Blues" (MCAD-10667). According to John Morthland's notes, Duke only released one single (Duke 356) by Rush. I don't know about availability or identity of the other track. Jim McGlynn -- ========================================================================= Date: Thu, 13 Jun 1996 10:33:10 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: JIMMY WITHERSPOON'S DATE OF BIRTH FINAL CORRECTED! BLUES-L(and) : In a recent GOLDMINE (May 24, 1996, vol. 22, #10, issue #413), Jimmy Witherspoon final corrects his date of birth. He was NOT born in 1923 or 1924 or on August 8th. He was born August 18, 1922, Gurdon, AR. Correct all you're reference books! eRIC (THE DATE MAN) ========================================================================= Date: Thu, 13 Jun 1996 13:33:42 -0400 Reply-To: NashHead From: NashHead Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Taj Mahal Info Wanted Comments: To: bit-listserv-blues-l@uunet.uu.net The Natch'l Blues Recycling The Blues & Other Related Stuff (Live) Taj Mahal Oooh So Good 'N Blues are all fine Taj blues releases...been trying to find them as CDs for some time... Al Kooper says they are available as imports from Japan, though I've never come across them. I was able to find them all for a silly $5 a piece as cassettes not too long ago. "DUTTWEILER.J" wrote: >I got to thinking about a Taj Mahal LP my older brother had in the early to >mid-70s. If my memory is correct it was titled "Natch'l Blues" and one song I >remember being on it was "She Took the Katy." I really like this LP at the >time but have not seen it on CD, nor have I seen it listed in recommended >releases from Taj that I have seen. >Has anyone else seen this release and is it on CD now? Or has my mind gone >off the deep end? (Rhetorical question, all - please, no answers to that one >;-)) >JD M-E Baer BaerFeat Productions ========================================================================= Date: Thu, 13 Jun 1996 17:51:11 GMT Reply-To: Jeff Christiansen From: Jeff Christiansen Organization: University of Maine System Subject: Re: patriotic blues Comments: To: bit-listserv-blues-l@uunet.uu.net Dave: ... think this might be the same song by Arthur Big Boy Crudup and Downchild callled "Dig Myself A Hole", which begins" "the world's in an uproar...." and talks about "them 'Reds'". "Stine, Dave" wrote: > Shoot, I've been deleting mesaages all morning and lost the original > string, oops, thread. I don't know who did it originally, but lurking on my > Fleetwood Mac (the blues band NOT the pop icons) records is "The Worlds' In > A Tangle" which is about joining to army to get "the Reds." > Hope this helps. > Oh yeah, I'm set to "MAIL". he he ========================================================================= Date: Thu, 13 Jun 1996 18:04:15 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Dobro - Little Feat Comments: To: bit-listserv-blues-l@uunet.uu.net Paul Barrere of Little Feat gets this unique electric slide sound and I often wondered what he plays to get that sound. On their latest album I note that he is creditted with playing a Dobro - is this an ELECTRIC Dobro? - and is that what he plays to get that Little Feat slide sound, or is it something else? -- Vincent vt@pipeline.com ========================================================================= Date: Thu, 13 Jun 1996 14:06:49 -0400 Reply-To: BENSONed_RAGS From: BENSONed_RAGS Subject: JAZZ+BLUES_FIESTA_in_PITT!! Tonite folks in PITTSBURGH & precincts... Head to see GEORGE BENSON @ POINT STATE PARK @ 7:30 pm with Dr. NATHAN DAVIS & THE TOMORROW JAZZ BAND And then head to see R.L.BURNSIDE and PAUL 'WINE' JONES @ MOONDOGS, BLAWNOX @ 9:00 pm GONNA BE A GREAT BLUESY, JAZZY EVENIN'.... +===================================================================+ | _-\\|//-_ | | | // \\ | Laissez les bon temps roulez!! | | // ~~ ~~ \\ | Let the good times roll!! | | /d-(*)-(*)-b\ | ------------------------------ | | // L \\ | SANJAY 'RAGS' RAJAN | | // //|\\ \\ | sanjay_rajan@formtek.com | | ////`---'\\\\ | FORMTEK,INC. | | // //|||\\ \\ | PITTSBURGH, PA | | // /|||\ \\ | ------------------------------ | | -/---/\o/\---\- | "CULT"ivate ORGANIC WHIRLED PEAS | | /"\ | | +===================================================================+ ========================================================================= Date: Thu, 13 Jun 1996 13:08:33 -0500 Reply-To: Bruce Roberts From: Bruce Roberts Subject: Antone's Records >From the Austin Chronicle's column "Dancing About Architecture" by Ken Lieck: " Followers of this column knew it was coming, but now it's official; Antone's Records has signed a distribution deal with Discovery Records and will be receiving marketing support and major distribution through the monstrous WEA (Warner/Elektra/Atlantic) network in North America and Warner Music International in Australia. This follows Arista/Texas as the second major distribution deal to be struck in the city. Antone's will remain in Austin, of course, with "A&R guidance" provided by founder Clifford Antone and CEO Harry Friedman. Discovery's Cary Barker admits that "we came along at a good time" to the floundering label, though the deal was not engineered as a rescue effort. Baker came to the table as a blues fan, and "If somebody [at Discovery] is really into something," he says "we find a way to do it." The first wave of joint releases comes on July 23 with Sue Foley's Walk In The Sun, Guy Forsyth's Needle Gun, and the Antone's 20th Anniversary compilation. Next, in August, Steve James, Teddy Morgan, and Candye Kane. The Forsyth and Kane albums will be re-releases of the current Antone's albums that Baker describes as having "limited" circulation so far. The keystone of Discovery's plans is the consolidation of Antone's 20-year blues catalog with Discovery's own 50-year jazz catalog, which includes the works of Dizzy Gillespie, Duke Ellington, Art Tatum, and Sarah Vaughan among other. The itnerary calls for the development of the blues and jazz catalogs in tandem, with a long-term goal of beginning what the label calls a "populace-targeted new recording series" to be guided by Clifford and tentatively titled the Antone's Home of the Blues Masters Series." Bruce Roberts Austin, TX ========================================================================= Date: Thu, 13 Jun 1996 14:16:56 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Zapp me! I don't know how many Blues fans share this thing I've got, but I'm all excited. Roger Troutman and Zapp! are coming to Tampa to play at the Club Atlanta on June 20th. I will be there with bells on. I just asked somebody where this club is and he gave me the recently quoted "Oh you don't want to go there" line, so I KNOW I'm gonna like it. Roger drives me crazy. Similar in many ways to the late Johnny "Guitar" Watson, he is just plain FUNKY, and plenty Bluesy, but it's out and out dance music. He is the master (and I mean no one else is even close) of the vocorder. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Thu, 13 Jun 1996 14:22:33 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Prison work songs >Oded Maron wrote: > >>I'm listening to "Murderer's Home", a collection of Lomax' 1957 >>recordings of prison work songs from Parchman farm. It's on Sequel, >>with liner notes by (blues-l's own???) Chris Smith. Yeah, guilty as charged. Try to see a copy of earlier releases with Alan Lomax's own notes; unsurprisingly, they're a helluva lot better than my stuff. (This is not false modesty, btw; I never felt more inadequate in my life than when annotating this CD and 'Blues in the Mississippi Night' - see the Rykodisc release of the latter with Lomax's notes and you'll get the point.) These are some >>amazingly haunting and powerful songs. The sound of hoes and axes >>providing sparse rhythm, the fact that the work hardly effects their >>breath control - this is some great raw blues and gospel. I have two >>questions: First, is there more of this released on CD? The liner notes say >>that the Lomaxes recorded there earlier. There are some prison recordings from the 30s by John and Alan on various Library of Congress LPs, and by Alan from 1959 in Parchman on the 'Sounds of the South' box set. Also worth attention are Harry Oster's recordings in Angola from the late 50s/early 60s, including one Murray Macon singing as he stamps out all the license plates for Louisiana. On Rosetta there's a stunning LP of women prisoners at Parchman in the 30s; Mattie Mae Thomas is in the Robert Johnson class as a demon-haunted lyricist and singer IMHO. Second, the CD reminds me of a >>recording that I heard of postal workers in Ghana. They're humming a >>bluesy tune while producing a complicated, fast, polyrhythmic beat >>with their individual stamping machines. Has anyone else heard this, >>and where can I find it? > >>Oded If you find it, please tell me where! Chris Smith (chris@skerries.demon.co.uk) I asked her for butter, and she gave me margarine (Paul Francis, a college buddy of mine) ========================================================================= Date: Thu, 13 Jun 1996 13:26:08 -0500 Reply-To: don.o@CHRYSALIS.ORG From: Don O Organization: Chrysalis * 96 Lines * 214.690.9295 * Telnet: chrysalis.org Subject: willie nelson A usually reliable source tells me that Willie Nelson has been in the studio working on an all blues album. Don O. rumormonger ========================================================================= Date: Thu, 13 Jun 1996 14:31:17 -0400 Reply-To: BENSONed_RAGS From: BENSONed_RAGS Subject: BOSTON_GLOBE_JAZZ/BLUES_FEST!! Bostonians and New Englanders.... and all those who love JAZZ/BLUES... The following are gonna play as part of the BOSTON GLOBE JAZZ & BLUES FEST Sunday June 16 @ HATCH SHELL COUNT BASIE ORCHESTRA TITO PUENTE JAZZ ENSEMBLE GATO BARBIERI Tuesday June 18 @ HARBORLIGHTS AL GREEN Thursday June 20 @ COPLEY SQUARE RICHARD ELLIOT Saturday June 22 @ HARBORLIGHTS ROBERT CRAY BAND MACEO PARKER LUTHER ALLISON Sunday June 23 @ HARBORLIGHTS SPYRO GYRA CHICK COREA Enjoy the shows... +===================================================================+ | _-\\|//-_ | | | // \\ | Laissez les bon temps roulez!! | | // ~~ ~~ \\ | Let the good times roll!! | | /d-(*)-(*)-b\ | ------------------------------ | | // L \\ | SANJAY 'RAGS' RAJAN | | // //|\\ \\ | sanjay_rajan@formtek.com | | ////`---'\\\\ | FORMTEK,INC. | | // //|||\\ \\ | PITTSBURGH, PA | | // /|||\ \\ | ------------------------------ | | -/---/\o/\---\- | "CULT"ivate ORGANIC WHIRLED PEAS | | /"\ | | +===================================================================+ ========================================================================= Date: Thu, 13 Jun 1996 11:40:29 -0700 Reply-To: Eric LeBlanc-CISTI From: Eric LeBlanc-CISTI Subject: history of BLUES DATE BLUES-L(and) : I've been mostly off the list these days , and only get to read the digest version. BLUES DATE actually grew out of a file I keep for a radio program I have. Before I started in radio (circ. 1968), the file was mostly on cards my father kept. His interest was in big band music. I started adding to it around 1958 or so. When I joined BLUES-L in the summer of 1993, I began posting these dates, and with the help of P. W. Fenton & James Carmin, the beast as continued on. I now have good news that soon the whole file will be available on BLUES WORLD . You'll be able to click on a date, and see who else was born on you're birthdate! More important (at least for me), you'll be able to see what dates I'M MISSING, which may motivate some of you to ask for dates/places next time you see you're favorite blues performers. It's never ending :-), but because of Joel Slotnikoff's kindness, BLUES DATE will live on. By the way, the daily postings on BLUES-L will continue. eRIC (THE DATE MAN) ========================================================================= Date: Thu, 13 Jun 1996 11:30:58 -0700 Reply-To: Joe Lempkowski From: Joe Lempkowski Subject: Visiting Chicago... Comments: cc: marc@SC1000.AZ.VUB.AC.BE Having visited Chicago quite a bit in the past year, I would recommend that you visit Rosa's. Rosa's is a cool club. Tony and Mama Rosa are a couple of really nice people. Recalling the address from memory: 3420 W. Armitage. They almost always feature an act worth seeing. On Thursdays, they feature Little Mac Simmons. I had a blast at Artis's (1249 E. 87th St.) a couple of weeks ago. Billy Branch and the SOBs play there on Monday nights. I think they are going to be in town during June, so don't miss them. The people there were very cool. Pick up a copy of the Reader. They list a lot of the activity in the clubs. Some clubs (with a description) are also listed on the Chciago Tribune web site: http://www.chicago.tribune.com/fun/blues/clubs.html Joe ========================================================================= Date: Thu, 13 Jun 1996 14:46:05 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: willie nelson Comments: To: don.o@chrysalis.org On 13 Jun 96 at 13:26, don.o@chrysalis.org wrote: > A usually reliable source tells me that Willie Nelson has been in the studio > working on an all blues album. That's a great rumor. I'll bet three things. 1. It'll be excellent. 2. It will increase public interest in the Blues 3. He won't try to sound like anyone but Willie Nelson. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Thu, 13 Jun 1996 13:49:14 CDT Reply-To: ISTS024@UABDPO.DPO.UAB.EDU From: Leonard Watkins Subject: Re: willie nelson In-Reply-To: Message of Thu, 13 Jun 1996 14:46:05 -0500 from On Thu, 13 Jun 1996 14:46:05 -0500 P.W. Fenton said: >That's a great rumor. I'll bet three things. > >1. It'll be excellent. > >2. It will increase public interest in the Blues > >3. He won't try to sound like anyone but Willie Nelson. I agree on all counts. I will buy it thats for sure. I've always liked Willie he plays/sings from the heart (at least it works for me) and he surrounds himself with great musicians. Leonard Watkins ========================================================================= Date: Thu, 13 Jun 1996 15:02:39 -0400 Reply-To: Chris Smith From: Chris Smith Subject: Re: Patriotic Songs >I haven't listened closely to the lyrics, but I know there is a >Bessie Smith tune called "Do Your Duty" that might fit the bill. > >RJ Bauman > Oh no, definitely not! is It's a masterpiece of filth (with gorgeous guitar by Eddie Lang). Bessie's social comment masterpiece is her self-composed 'Poor Man's Blues'. Chris Smith (chris@skerries.demon.co.uk) I asked her for butter, and she gave me margarine (Paul Francis, a college buddy of mine) ========================================================================= Date: Thu, 13 Jun 1996 13:57:36 -0500 Reply-To: Richard Shurman From: Richard Shurman Subject: Re: Otis Rush and Duke Comments: To: Don Williams In-Reply-To: <960613110750_326959096@emout19.mail.aol.com> I think Homework is also on one of the two Duke anthologies MCA issued about three years ago; as far as I know, it's the only one of Otis' 4 Duke cuts on CD. Only one single was issued, but I think at least one of the two unissued cuts is/are on some old K-Tel blues collection sold only on TV. I sic'd Rounder on these cuts when they were putting together "Angels In Houston," but the cuts couldn't be located then. ========================================================================= Date: Thu, 13 Jun 1996 14:38:44 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Re: Prison work songs Comments: To: Chris Smith On 13 Jun 96 at 14:24, Chris Smith wrote: > Yeah, guilty as charged. Try to see a copy of earlier releases with Alan Lomax's > own notes; unsurprisingly, they're a helluva lot better than my stuff. > (This is not false modesty, btw; I never felt more inadequate in my life > than when annotating this CD and 'Blues in the Mississippi Night' - see the > Rykodisc release of the latter with Lomax's notes and you'll get the > point.) > There are some prison recordings from the 30s by John and Alan on various > Library of Congress LPs, and by Alan from 1959 in Parchman on the 'Sounds > of the South' box set. Also worth attention are Harry Oster's recordings in > Angola from the late 50s/early 60s, including one Murray Macon singing as > he stamps out all the license plates for Louisiana. On Rosetta there's a > stunning LP of women prisoners at Parchman in the 30s; Mattie Mae Thomas is > in the Robert Johnson class as a demon-haunted lyricist and singer IMHO. I have a CD full of this stuff that was a bargain, but for some reason all the recordings are DRENCHED in reverb. I suppose they were trying to make the recordings sound more modern and stereo-like. A lot of that "electronically re-processed for stereo" stuff went on in the 50s and 60s. Can anyone recommend versions of these recordings that are the bone dry original recordings? I don't mind if they have been digitally "cleaned up", I just didn't like them being "dirtied up" with all that fake 'verb. As for the music itself, it is intensely moving. I play this CD whenever I'm in need of a "soul" injection. P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Thu, 13 Jun 1996 14:12:15 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: What's in a name? Comments: To: "P.W. Fenton" In-Reply-To: <199606131712.NAA49872@osceola.gate.net> Hey, P.W., As long as you know who you are, right? Actually, that's an interesting story. Was this part of a mid-life crisis, the whole thing, or a prefiguring of one? ;^) Blues Content: Harmonica Fats has a song Richard Nixon Blues, where the refrain is something like, I felt just like Richard Nixon. It's said to be a big hit with the family. Patriotic? Depends who you ask. Steve (but my friends call me Steve) Price ========================================================================= Date: Thu, 13 Jun 1996 14:49:07 -0500 Reply-To: "Stine, Dave" From: "Stine, Dave" Subject: Re: Is it too late for the thread? How I got, etc. In a hurry, if I can. I'm one of those middle age dinosaurs who came to the blues through the British invasion "cool" bands: Rolling Stones, Yardbirds, Animals, etc. Am I gonna' get flamed because the Beatles were too tame for me? Anyway, being inherently curious, even at 13-14, I would remember those weird names credited on the lps: Ellis McDaniel, McKinley Morganfield, Chester Burnett, Rice Miller, etc. etc. So I just started reading books, record jackets, whatever to figure out where these great songs came from. I don't know why I took to the blues, I'm the most unlikely blues candidate I know. (A German-blooded farm boy from a little mid-west town who never spoke to a black person until I was 18). I think it's a combination of 1) great stories--still my interest in the blues--you can have the modern, long solos, and 2) an appeal to my downbeat outlook on life--hmmm. (Sorry, if I got names mis-spelled.) Anyway, I moved from clarinet (I could read music at one time) to guitar 'cause it was cooler. Being a lefty, I got frustrated after 2 "righty" lessons and just switched the dang thing around to find it was easier to strum (not chord as righties imagine). I'm, I guess, a self taught ear-player who's always played "some blues" in every band I was in. Although I've done "rock," bluegrass, folk, and R&B. Four years ago, after losing my Yuppie job, my dad, and then "moving out for awhile," I decided that I had some small amount of blues credentials, and decided that it was blues all the way for me from now on. That's all I play, listen to, and review (for the free music rag in my area), and just about all I read about. Minor threads: I never learned to read music for guitar, although I can do the chord thing. The complicated jazzhead chords I'm better off (and 67 times faster) if I can use it in a song right away after someone shows me how. I have a bunch of books that I get about 2 days and 2 lessons out of before I justify quitting. I've been getting by for about 23 years just stealing--it's hard habit to break. If you're more left brained than I am, music, tabs, theory, whatever, is the way to go. I have and still own Asian-centric guitars as well as some very nice vintage and custom guitars. Now, however, if I can't take it into a club and not worry about it, I don't want to own it, so I'm down to "work" guitars. Since I can make one guitar sound as shi__y as the next, I don't worry much about their snob value. As of late, thanks to the overload of fast and furious hot new gitar players, pounds and pounds of reissues, 50s sounding horn blues bands, I'm finally discovering the likes of Son House, Charlie Patton (did he sing with lye-coated marbles in his mouth or what?), Blind Willie Johnson, and "other" acoustic blues players. Even the stuff that sounds bad on CD sounds more "real" to me than a lot of the blues that coming out, but I try to keep my ears open and head clear. That's my story. Be talking to ya' David "non for me thanks" Stine dstine@fsc.follett.com ========================================================================= Date: Thu, 13 Jun 1996 15:55:18 -0500 Reply-To: "P.W. Fenton" Comments: Authenticated sender is From: "P.W. Fenton" Organization: The Second Ward Subject: Lemme outta here! Comments: To: Michael Heicklen On 13 Jun 96 at 12:27, Michael Heicklen wrote: > Can somebody please tell me how to unsubscribe from this mailing list. > > Thanks. > To this address: listserv@brownvm.brown.edu send this message: signoff blues-l Don't put anything on the subject line. That's it! P.W. Fenton Tampa, Florida http://www.gate.net/~pwfenton/ "The large print giveth, and the small print taketh away" - Tom Waits ========================================================================= Date: Thu, 13 Jun 1996 15:17:18 -0700 Reply-To: exarch@accesscom.net From: Maggie Mortensen Organization: Exarch Services Subject: Zachary Richard Comments: cc: JUPU38A@PRODIGY.COM Robert Belew wrote: >Speaking of Zachary Richard does anyone know how I can find some of His >older recordings????? >I understand there are about 15 titles. The richest sourcce for zydeco recordings is believed to be a store called Floyd's, in Ville Platte, LA. (I think Shane mentioned it earlier in this thread.) I don't have the phone number handy, but it's undoubtedly listed. Undoubtedly you can arrange mail order by phone. --Maggie -- Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ visualize clever signature line here ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Thu, 13 Jun 1996 20:30:03 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: eRIC's BLUES DATES: June 14 Comments: To: bit-listserv-blues-l@uunet.uu.net On Jun 13, 1996 07:26:11 in article , 'James Carmin ' wrote: >Here's a few dates (b. born, d. death) for tomorrow. If you have any >corrections/additions, let me know at leblanc@dao.nrc.ca. > >------------------------------------------------------------------------------- >artist notes/full name yyyy-mmdd, city/county state >age >------------------------------------------------------------------------------- >GALLAGHER, RORY (g) d. 1995-0614, LONDON, UK >47 >------------------------------------------------------------------------------- Has it really been a year since Rory Gallagher died? I miss his energy. I believe that a posthumous compilation CD was released shortly after his death: GALLAGHER*RORY / BLUE DAY FOR THE BLUES $12.05 -- IRS35783 -- IRS -- 10/95 Song Titles: (back on my) stomping ground alexis as the crow flies barley & grape rag bullfrog blues calling card continental op don't start me talking empire state express i ain't no saint loop nothing but the devil off the handle pistol slapper blues public enemy no. 1 shin kicker Seems like a very nice collection - below is a listing of the CDs available: $14.55 GALLAGHER*RORY -- AGAINST THE GRAIN -- 8/1 GOP112 06/95 GOPACO (IMPORT) $12.05 GALLAGHER*RORY -- BLUE DAY FOR THE BLUES IRS35783 10/95 IRS $13.44 GALLAGHER*RORY -- BLUEPRINT GOP484 GOPACO (IMPORT) $10.63 GALLAGHER*RORY -- CALLING CARD -- 8.2/5 IRS13131 08/91 IRS $10.63 GALLAGHER*RORY -- DEFENDER -- 7/1 IRS13071 04/91 IRS $16.19 GALLAGHER*RORY -- DEFENDER EDS98 11/94 EDSEL (IMPORT) $13.69 GALLAGHER*RORY -- EDGED IN BLUE DWM719 06/92 DEM $18.03 GALLAGHER*RORY -- EDGED IN BLUE -- 9/2 EDS719 06/92 EDSEL (IMPORT) $19.41 GALLAGHER*RORY -- EDGED IN GLUE IXPGR052 IMPORTED CD 11 Track Collection $10.63 GALLAGHER*RORY -- FRESH EVIDENCE -- 9/1 IRS13070 03/91 IRS $32.89 GALLAGHER*RORY -- G.MEN 3CD BOX IMU10112 IMPORTED $36.96 GALLAGHER*RORY -- G.MEN BOOTLEG IXPGR049 IMPORTED CD 3 Cds $16.66 GALLAGHER*RORY -- GALLAGHER,RORY -- 8/1 IMU2312 IMPORTED $10.63 GALLAGHER*RORY -- IRISH TOUR '74 -- 5.8/4 IRS13130 08/91 IRS $16.19 GALLAGHER*RORY -- IRISH TOUR '74 EDS120 09/94 EDSEL (IMPORT) $17.85 GALLAGHER*RORY -- JINX EDS126 09/94 EDSEL (IMPORT) $18.07 GALLAGHER*RORY -- LIVE IN EUROPE-STAGE STRUCK -- 8.4/5 IRS13082 03/91 IRS $ 8.65 GALLAGHER*RORY -- TATTO CUJ315 CLASSICS (PASSPORT) $16.19 GALLAGHER*RORY -- TOP PRIORITY EDS123 11/94 EDSEL (IMPORT) $10.63 GALLAGHER*RORY -- TOP PRIORITY IRS13081 03/91 IRS I personally like "Edged in Blue" a compilation of mainly blues and "Irish Tour '74". Of course there an Italian bootleg called "Bullfrog Blues" that I reviewed for this list a while back too. Of course Rory was in a group called TASTE when he first started: $12.92 TASTE -- BEST OF -- 7.5/2 POL521999 05/94 POLYGRAM $19.41 TASTE -- LIVE ISLE OF WIGHT IXPTA004 IMPORTED CD $19.41 TASTE -- LIVE TASTE IXPTA006 IMPORTED CD $19.41 TASTE -- ON THE BOARDS IXPTA003 IMPORTED CD $10.09 TASTE -- TASTE BAE4 10/95 BACTERIA SOUR I was enamored with his singing along with his guitar on the track "Same Old Story" which was the B-side of a single and on their first album just called "Taste". That track is listed on the "Best of" CD but I'm not sure if it is the live version from "Live Taste" or the original single version. Taken from the All-Music Guide: Rory Gallagher Birth Mar 2 , 1949 - Ballyshannon, Ireland Death Jun 14, 1995 - Years Active Genre Rock Style Blues Rock Instruments Guitar, Vocal B I O G R A P H Y Irish blues-rock guitarist and singer Rory Gallagher was surely one of the most exciting of the British blues acts to be seen live, and his recorded output over the years guarantees him a prominent place among the British blues stars. Gallagher's band underwent a number of personnel changes over the years, but his playing and singing never slipped one iota since his glory days, when he played to stadium-sized crowds in Europe in the late '60s and early '70s. All of Gallagher's earlier releases have been reissued on American-based I.R.S., and his product is much more accessible than it was in the past. Gallagher died in June of 1995, leaving behind a recorded legacy that deserves to be discovered. -- Richard Skelly (sorry about the formatting below - but I confess I am too lazy to reformat it) D I S C O G R A P H Y (albums) Rory Gallagher 1971 Atlantic Deuce 1971 Atlantic Live in Europe/Stage Struck 1972 IRS Blueprint 1973 Polydor Tattoo 1973 Castle Irish Tour '74 1974 IRS Story So Far n/a 1974 Polydor Against the Grain 1975 Chrysalis In the Beginning n/a 1975 Springboard Sinner...and Saint 1975 Polydor Calling Card 1976 IRS Take It Easy Baby n/a 1976 Springboard Photo-Finish 1978 Chrysalis Top Priority 1979 IRS Story of Rory Gallagher n/a 197 Polydor Stage Struck 1980 Chrysalis Jinx 1982 Mercury Defender 1988 IRS Fresh Evidence 1988 IRS Bullfrog Interlude n/a 1992 Castle Communi Blue Day for the Blues n/a 1995 IRS D I S C O G R A P H Y (compilations) Best Years n/a 1976 Polydor First & Best n/a 197 Bellaphon Best of Rory Gallagher n/a 1988 Razor Edged in Blue 1992 Edsel Calling Hard (Pts. 1 & 2) n/a 1992 Castle Communi G. Men n/a 1994 Import RIP to a very fine musician. -- Vincent vt@pipeline.com ========================================================================= Date: Thu, 13 Jun 1996 16:30:42 -0400 Reply-To: DJANGO_RAGS From: DJANGO_RAGS Subject: BLUES-L mention ON CNN_ONLINE I was reading the stories about the CHURCH fires on CNN and noticed a mention of the bit.listserv.blues-L NEWSGROUP mentioned for "THREAD DISCUSSES CHURCH FIRES" Just thought I share this info with other bluezellers.. +===================================================================+ | _-\\|//-_ | | | // \\ | Laissez les bon temps roulez!! | | // ~~ ~~ \\ | Let the good times roll!! | | /d-(*)-(*)-b\ | ------------------------------ | | // L \\ | SANJAY 'RAGS' RAJAN | | // //|\\ \\ | sanjay_rajan@formtek.com | | ////`---'\\\\ | FORMTEK,INC. | | // //|||\\ \\ | PITTSBURGH, PA | | // /|||\ \\ | ------------------------------ | | -/---/\o/\---\- | "CULT"ivate ORGANIC WHIRLED PEAS | | /"\ | | +===================================================================+ ========================================================================= Date: Thu, 13 Jun 1996 13:47:55 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: BB on the Radio(Re: Nobody's Home) Comments: To: edward c liu edward c liu wrote: big snip: > ObBluesComment: My roommate said that B.B. King is getting >airplay on pop radio stations. There's some song where B.B. >sings the introductioin before it goes into the pop part. Has >anybody heard it? If so, who, what, where, &c? This question has been asked a few times. The song is called "Standing at a Broken Phone Booth with Change in My Hand" by The Primitive Radio Gods. It is on the soundtrack to the new Jim Carrey movie, "The Cable Guy." Pretty boring song overll, IMHO. The best thing about the song (by far) is BB's voice (which is sampled). "The Cable Guy" sound track also features a great cover of Jefferson Airplane's, "Somebody To Love" sung by Jim Carrey. And he does do that Grace Slick vibrato:-) Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Thu, 13 Jun 1996 13:48:01 -0700 Reply-To: Shaun T Cronin From: Shaun T Cronin Subject: Re: Patriotic Blues Comments: To: Bonnie Kalmbach Bonnie wrote: >Augh-h!! I got just off the phone with the our Music Director. She'd like >me to program a half hour of patriotic blues or RnB to run during the >local July 4th fireworks display. This is intended to compete with a >local commercial station which plays "all-American" type rock - Beach >Boys, etc to go along with the show. > >Now I don't mind doing this - but I'm a bit short of ideas - outside of >Jimi Hendrix's "Star-Spangled Banner". Any other ideas out there, >por favor?? Good. I now get to talk about Son House:-) Son House recorded the song "American Defense" for the Library of Congress. It is concerns WWII, specifically the Pacific War against Japan. There are least two versions of this CD floating around. Whether they are legit though is another question. On the 2nd CD (the one with alternate and unreleased sides) of "Son House-Father of the Delta Blues"(Sony/Legacy) there is a song called "President Kennedy" which concerns the death of JFK. Shaun Shaun Cronin 'Woke up this morning between midnight and day. I was shaun@pacificnet.net hugging the pillow where my baby used to lay.' Son House ========================================================================= Date: Thu, 13 Jun 1996 20:47:20 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: Otis Rush and Duke Comments: To: bit-listserv-blues-l@uunet.uu.net On Jun 13, 1996 11:07:50 in article , 'Don Williams ' wrote: >In a message dated 96-06-13 10:04:30 EDT, Tommy.Jansson@BIBKS.UU.SE (Tommy >Jansson) writes: > >> >>Rush recorded at least two singles on Duke. Is there any compilation >>where I can find them? >> >>Tommy >> >"Homework" appears on a CD called Soul Shots Vol. 4: Urban Blues, a >collection of Sixties Soul Classics, Rhino Records R 75758. > >Don Williams It's also on this CD: BEST OF DUKE-PEACOCK BLUES / BEST OF DUKE-PEACOCK BLUES $10.22 -- MCA10667 -- MCA -- 12/92 Brown/Nixon/Thornton/Ace/Rush Parker/Memphis Slim/Bland Golden Ears Rating: 6 with 1 responses All-Music Guide Rating: Recommended. A good or representative CD. Review: From the All-Music Guide: A sizzling sampler of '50s and '60s blues from Don Robey's Houston base firm. Bill Dahl -- AMG Song Titles: blue monday drivin' wheel goin' crazy hepcat's advice homework how can you be so mean keep on doggin' let your tears fall baby little richard's boogie living like a king mississippi steamboat my time is expensive rock savoy rock she sets my soul on fire stormy monday texas flood turn on your lovelight whoopin' & hollerin' -- Vincent vt@pipeline.com ========================================================================= Date: Thu, 13 Jun 1996 16:30:51 -0500 Reply-To: "Stine, Dave" From: "Stine, Dave" Subject: Rockford, yes! Well, ain't that the blues? Rockford, home of 'zellers me and Rich Gordon, and maybe some more quiet types, has been named, once again, by Money magazine THE WORST town in the U.S. to live. And we wonder why we can't stir up a blues hornet's nest. ========================================================================= Date: Thu, 13 Jun 1996 17:36:07 -0400 Reply-To: MojoBandit@AOL.COM From: Dave Ruthenberg Subject: Church Fires - Another Perspective I have been reading this thread with some amusement and a great deal of astonishment. It seems that people are becoming extremely offended over some non-salient points and eqaully irate because somebody has a differing opinion. With this as a backdrop, I dare add my two cents worth: First off, to assume that "we" (assuming this means well-meaning benevolent white folks) need to help "them" (assuming we are talking about supposedly itinerant, poor black parishoners) smacks of a type of racist, condescending thinking that I personally deplore. It has been quite fashionable for years for whites of a certain ilk (read: liberal) to assume that they are the protectors of black Americans from the evil hateful (read: conservative) whites. Frankly, I cannot imagine a more patronizing attitude. It reminds me of a story I read of an affluent white civil rights activist in 1966, who upon observing black people in a social setting remarked, "aren't they just the cutest things!" To me, that summarizes the thinking of these white people and many of those who have jumped on this issue. They treat blacks as pets or little children who need to be continually under the protection of these fine, right thinking white people. Folks, these arsons (if all these fires are indeed arsons - some may actually be non-accelerant fires) are deplorable. If this is an organized effort, then we have to trust those who are assigned the legal duty of bringing such thugs to justice, to do their job. We can speak out. But, beyond that - I believe we must let the wheels of justice turn. This is not 1966, it is not 1996. So, please stop assuming every black parish that has suffered this tragic loss is uninsured and all the members are destitute and have nothing in their lives to look toward other than the church. Such thinking is deplorably racist. Dave Ruthenberg ========================================================================= Date: Thu, 13 Jun 1996 17:35:56 -0400 Reply-To: MojoBandit@AOL.COM From: Dave Ruthenberg Subject: Stovall's Rant Re: Howard Stovall's recent post Wow - what was that all about! To disparage folks for having different opinions is something that is,unfortunately commonplace, but there is no need to belittle folks with personal attacks.. I speak of the personal diatribe directed at Karen Hanson by Howard Stovall. Tsk Tsk. No need for that! Howard - you and I have conversed by e-mail before and I have told you that I believe you have every right to sell off the cabin, but please, try to be a little more tolerant of those who don't agree with you. Dave Ruthenberg ========================================================================= Date: Thu, 13 Jun 1996 21:38:17 GMT Reply-To: VT From: VT Organization: PSINet/Pipeline USA Subject: Re: Prison work songs Comments: To: bit-listserv-blues-l@uunet.uu.net Chris, Weren't these recordings discussed recently here? - Jeff Seale posted about a cheap Laserlight CD and you identified the artists on the tracks.... are these the same recordings? Details of the laserlight CD: PRISON BLUES OF THE SOUTH / LIVE AT THE MISSISSIPPI & LOUI $6.24 -- LAS17026 -- LASERLIGHT -- 06/94 Song Titles: black woman duckin' & dodgin' early in the mornin' how i got in the penitentiary it makes a long time man feel bad jumpin' judy levee camp holler lonesome blues my baby got to go no more, my lawd old alabama old dollar minnie penitentiary blues prettiest train prison blues rock me mama rosie stackerlee tangle eye blues they'll miss me when i'm gone what makes a work song leader? whoa, buck -- Vincent vt@pipeline.com On Jun 13, 1996 14:22:33 in article , 'Chris Smith ' wrote: >>Oded Maron wrote: >> >>>I'm listening to "Murderer's Home", a collection of Lomax' 1957 >>>recordings of prison work songs from Parchman farm. It's on Sequel, >>>with liner notes by (blues-l's own???) Chris Smith. > >Yeah, guilty as charged. Try to see a copy of earlier releases with Alan >Lomax's >own notes; unsurprisingly, they're a helluva lot better than my stuff. >(This is not false modesty, btw; I never felt more inadequate in my life >than when annotating this CD and 'Blues in the Mississippi Night' - see the >Rykodisc release of the latter with Lomax's notes and you'll get the >point.) > >These are some >>>amazingly haunting and powerful songs. The sound of hoes and axes >>>providing sparse rhythm, the fact that the work hardly effects their >>>breath control - this is some great raw blues and gospel. I have two >>>questions: First, is there more of this released on CD? The liner notes say >>>that the Lomaxes recorded there earlier. > >There are some prison recordings from the 30s by John and Alan on various >Library of Congress LPs, and by Alan from 1959 in Parchman on the 'Sounds >of the South' box set. Also worth attention are Harry Oster's recordings in >Angola from the late 50s/early 60s, including one Murray Macon singing as >he stamps out all the license plates for Louisiana. On Rosetta there's a >stunning LP of women prisoners at Parchman in the 30s; Mattie Mae Thomas is >in the Robert Johnson class as a demon-haunted lyricist and singer IMHO. > >Second, the CD reminds me of a >>>recording that I heard of postal workers in Ghana. They're humming a >>>bluesy tune while producing a complicated, fast, polyrhythmic beat >>>with their individual stamping machines. Has anyone else heard this, >>>and where can I find it? >> >>>Oded > >If you find it, please tell me where! > > >Chris Smith (chris@skerries.demon.co.uk) >I asked her for butter, and she gave me margarine (Paul Francis, a college >buddy of mine) ========================================================================= Date: Thu, 13 Jun 1996 21:29:53 GMT Reply-To: Peter Ballantine From: Peter Ballantine Organization: SuperNet Inc. (908) 828-8988 Subject: Re: Zydeco: Creole or Cajun? Comments: To: bit-listserv-blues-l@uunet.uu.net >Speaking of Zachary Richard does anyone know how I can find some of His >older recordings????? >I understand there are about 15 titles. >I have the A&M stuff and a Rounder release, I know there is one more on >Rounder that I've yet to get. > >Can anyone help? >Block Dog EDITED MARDI GRAS MAMBO and ZACK'S BON TON are on ROUNDER and I'd try them as the easiest (if not cheapest) source. I can't recall the other, even smaller, label his earlier stuff is on- I'd try some of the Cajun-Zydeco mail order firms like FLOYDS RECORD SHOP, 434 EAST MAIN ST, VILLE PLATTE, LA. 70586 or ACE MUSIC, PO BOX 1934, BILOXI, MS. 39533 or ROOTS & RHYTHM (formerly DOWN HOME MUSIC) out of El Cerrito, CA. ========================================================================= Date: Thu, 13 Jun 1996 17:54:11 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Who can you listen to, no matter ... Who can you listen to, no matter what mood you are in .......? For me it's Jimmy Dawkins. I think on every CD he has done he is considstently original and fresh, and his razor guitar work hands me the blues. Who is yours? Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 13 Jun 1996 17:31:11 +0000 Reply-To: thf4@WaterValley.Net Comments: Authenticated sender is From: Tom Freeland Subject: Re: Otis Rush and Duke Comments: To: Jim McGlynn Comments: cc: mkaldin@beachnet.com On 13 Jun 96 at 13:29, Jim McGlynn wrote: > Tommy Jansson wrote: > > > >Rush recorded at least two singles on Duke. Is there any compilation > >where I can find them? I am ALMOST SURE that at least one of those singles is on the BLUES CLASSICS box that MCA is going to put out. It covers the whole range of blues labels in the MCA catalog, from Vocalion forward. When she was still on this list, Mary Katherine Aldin posted the track listing for that whole box, but I didn't save it. I'll email her and let you know what's on it. As I understand it, BLUES CLASSICS is nearing completion....... Tom Freeland ========================================================================= Date: Fri, 14 Jun 1996 00:39:12 +0200 Reply-To: Johan Hermans From: Johan Hermans Subject: Antwerp Blues Scene (new site in Belgium, Europe) Hey Blues Lovers Visit "The Antwerp Blues Scene" http://www.innet.be/~jhermans/blues. It contains a large list of blues-clubs, blues-bands and blues-concerts in Antwerp, Belgium. Information is both in Dutch and English. Blues-tourists can find the clubs and concerts they want to visit. Blues-bands can also find addresses of promoters and booking agencies in Belgium. -- jo \|/ @ @ --------------------------------------------------oOO-(_)-OOo---------- Johan Hermans, Software Engineer Email: jhermans@innet.be Leeuwenstraat 17 WWW: http://www.innet.be/~jhermans 2000 Antwerpen, Belgium Home: +32-3-226.57.86 Work: +32-2-299.47.04 (voice) +32-2-296.60.25 (fax) maintainer of The Antwerp Blues-Scene : http://www.innet.be/~jhermans/blues ----------------------------------------------------------------------- There are only 2 types of business, which have 'dealers' and 'users'. ;-) ========================================================================= Date: Thu, 13 Jun 1996 17:27:56 -0500 Reply-To: mark buechler From: mark buechler Subject: WORLD'S RECORD LURKER SPEAKS In-Reply-To: OK, OK, I yield, just like I did earlier with e-mail, and before that with word processors. I finally have to acknowledge that the benefits of listserv technology outweigh the drawbacks, and thus, after more than three years as a devoted blues-l lurker, I humbly submit my first post. This is not to say that the drawbacks don't exist. With Richard the Elder, Jack Oudiz, and others, I worry about the habits of mind fostered by listservs and the Web. I admit that I still cringe, for example, whenever I see someone asking if there are any good Web sites on a particular artist rather than any good books, as netsurfers settle for material dashed off by well-intended amateurs rather than by professional writers who have researched their subject for years, done dozens or hundreds of interviews, and submitted to an extensive review process prior to publication. I know, I know, there are some excellent web sites, especially in the blues arena, and some people don't have easy access to books, but I fear that net-savvy people will get in the habit of settling for web information just because it's easily accessible. I also think productive office work is going to grind to a halt over the next five years, compliments of the Internet and the toggle switch. (How many of you folks do all your blues-l reading and writing at work, hmmmmm? I remember when Craig Smoot got busted, and we've heard nary a peep from him in years.) But I have picked up an immense amount of top-notch information during my three years on the list--not just information, but insights too, and occasional bursts of eloquence and good will. What a great bunch of bluesheads out there, along with the occasional lost soul who wanders over from the mosh pit. Hell, I even like the arguments. They let personalities shine through, and that's often more interesting than the content of the messages. And there's always that delete key . . . Just curious--anyone out there been lurking longer than three years. (Respond in private if you don't want to blow your cover.) You'd have to have been on the list almost since the beginning--I first subscribed about 4 months after it started, if memory serves. For the record (not trying to restart old threads!): --I don't like what HOB is doing to the blues: How many pretty ribbons can you tie on a wolf before it becomes a toy poodle? --I can certainly tell the difference between blues and blues/rock, though I don't always dislike the latter (I think Clapton, Hendrix, and especially SRV are gods--just not specifically blues gods); if that make me a purist, so be it. --I think white people can play blues with the best black artists, but "cannot vocal like the black man," as Muddy Waters put it; if that makes me a racist, I'll at least have Muddy in my corner. --best line award: In a discussion on Albert King's guitar style, somebody said, "Yeah, but he only had five licks," and LW--er, Leonard--said, "No, he only *needed* 5 licks"--a perfect comment on the priority of feel, tone, restraint, soul, and groove over speed, volume, flash, and adrenalin. (Blues and blues/rock, eh?) --Sure do miss that Jim Hartac! Well, like Lucky in *Waiting for Godot,* once I start running my mouth I have trouble stopping. Time to go. I'll definitely post again before 1999. Mark Buechler (creeping step by painful step into the information age) P.S. Would somebody do me the favor of telling me if this message appeared on blues-l or not. According to the listserv, I have not been subscribed to blues-l since last August, but I have been receiving my 80-100 messages a day all the same. I can't set myself to REPRO status since I'm not officially subscribed, but I can't officially subscribe or I'll start getting two copies of every message, which is why I officially unsubscribed in the first place. Gotta love this new technology! ========================================================================= Date: Thu, 13 Jun 1996 17:29:10 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: June is Black Music Month Comments: To: ISTS024@UABDPO.DPO.UAB.EDU ==========June is supposed to be (according to the public Libraries) Black Music Month I haven't heard a thing about it....Anyone know anything about this. I have a book mark that has Scott Joplin on it, proclaiming June as Black Music Month. It's suppose to be a nationwide event...?????====== Am I dreaming or didn't you ask for assistance re doing a seminar at the library last year for black music month?? It started a good debate about fair use/copyright infringement, as I recall. FWIW, I've heard zip about it up here in Indy. There was a terrific library series here a couple of months ago, though. Thanks to the contributions of many (Jay Zachowski rules), including Mr. Waterman and Cathi Norton. I'd like to here from anyone who has reports on how black music month is being celebrated in their area. RJ Bauman ========================================================================= Date: Thu, 13 Jun 1996 17:29:11 +0000 Reply-To: rjbauman@iquest.net Comments: Authenticated sender is From: "R.J. Bauman" Subject: Re: willie nelson Comments: To: "P.W. Fenton" I really like Willy Nelson. BUT, if he doesn't do any better than what he did on Tab Benoit's latest I wouldn't touch it with a 10 foot pole. The CD is sure to have a great version of Night Life on it though. And I wouldn't be at all surprised if Tab shows up on a couple of tracks, since they are both on the same label. RJ Bauman > On 13 Jun 96 at 13:26, don.o@chrysalis.org wrote: > > > A usually reliable source tells me that Willie Nelson has been in the studio > > working on an all blues album. > > That's a great rumor. I'll bet three things. > > 1. It'll be excellent. > > 2. It will increase public interest in the Blues > > 3. He won't try to sound like anyone but Willie Nelson. > > P.W. Fenton > Tampa, Florida > http://www.gate.net/~pwfenton/ > > "The large print giveth, and the small print taketh away" > - Tom Waits > > ========================================================================= Date: Thu, 13 Jun 1996 18:55:14 -0400 Reply-To: smirkyface From: smirkyface Subject: Re: Who can you listen to, no matter ... >> Who can you listen to, no matter what mood you are in .......? >> For me it's Jimmy Dawkins. > >> Who is yours? >> >> Barry > >Mike Hill & the Blues Mob. Love the voice, the music, and the message. >Or anything by RUSH,..they are so a blues band ;) BRIAN MCLEAN PHOTOGRAPHY & SMIRKYFACE PRODUCTIONS "life's too short to live the blues" http://www.netaxs.com/~blmclean ========================================================================= Date: Thu, 13 Jun 1996 15:54:00 -0800 Reply-To: Don Cicchetti From: Don Cicchetti Subject: Re: Church Fires - Another Perspective Dave Ruthenberg said: (edit edit) >First off, to assume that "we" (assuming this means well-meaning benevolent >white folks) need to help "them" (assuming we are talking about supposedly >itinerant, poor black parishoners) smacks of a type of racist, condescending >thinking that I personally deplore. It has been quite fashionable for years >for whites of a certain ilk (read: liberal) to assume that they are the >protectors of black Americans from the evil hateful (read: conservative) >whites. Frankly, I cannot imagine a more patronizing attitude. Ok, you can characterize what some of us are doing this way if it amuses you. But the characterization rings false with the slightest examination, since many of us are conservatives ourselves. While many of the evil, hateful people who are burning these churches are undoubtedly white, no one needs protection from "whites", but rather from the subset of evil-hateful whites... See the difference? I wish we COULD have protected these churches, but we can't and we know it. We cannot protect people very often, but we can make a difference if we choose to. What we CAN do is to help with the rebuilding of those churches that are poor and uninsured. To that end, before I will recommend a place to send donations, I will be sure that they are being managed properly, and are going to places that truly need them. The black church in America has nurtured and improved the lives of millions of a blacks, and a few lucky whites like me. They have, of course, contributed GREATLY to the art forms we love as well. I do not know the motivations of others who will give, but my motivation is love, and gratefulness for what black churches have done for me, and for this country. >It reminds me >of a story I read of an affluent white civil rights activist in 1966, who >upon observing black people in a social setting remarked, "aren't they just >the cutest things!" To me, that summarizes the thinking of these white people >and many of those who have jumped on this issue. They treat blacks as pets or >little children who need to be continually under the protection of these >fine, right thinking white people. Very interesting how you have characterized anyone who reaches a hand out to help as a "pet-owner" on the basis of one unsupported story. Just imagine the characterizations I could concoct from the comments of "conservatives" during that era. But I believe civil rights and helping our fellow humans to be good conservative American virtues, don't you? No one is suggesting raising your taxes to rebuild churches are we? We simply will do what we can on our own, out of love and brotherhood. This sort of program is applauded by every conservative leader I know of. Why does it "astonish and amuse" you? >Folks, these arsons (if all these fires are indeed arsons - some may actually >be non-accelerant fires) are deplorable. If this is an organized effort, then >we have to trust those who are assigned the legal duty of bringing such thugs >to justice, to do their job. We can speak out. But, beyond that - I believe >we must let the wheels of justice turn. Good! And while justice turns some of us will rebuild some churches. Wanna help? This is not 1966, it is not 1996. So, >please stop assuming every black parish that has suffered this tragic loss is >uninsured and all the members are destitute and have nothing in their lives >to look toward other than the church. Such thinking is deplorably racist. If your house is burned down, would you consider it kind for someone to suggest that you "still have your car" so buck up, ok? We've assumed nothing. There are several organizations being formed that will decide which congregations need help the most, and we will raise our hands, and open our wallets and hearts and help them. I will post the information on this as soon as it is available. Would you like to join us? DC ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Studio Production, Event Services, Academic support dcicchet@lasierra.edu Time flies like an arrow Fruit flies like a banana.... --- Groucho ____________________________________________________ ========================================================================= Date: Thu, 13 Jun 1996 18:59:08 -0400 Reply-To: Jon & Laura Duttweiler From: Jon & Laura Duttweiler Subject: Re: Who can you listen to, no matter At 05:56 PM 6/13/96 GMT, Barry wrote: > Who can you listen to, no matter what mood you are in .......? > For me it's Jimmy Dawkins. I think on every CD he has done he > is considstently original and fresh, and his razor guitar work > hands me the blues. > > Who is yours? I think for me its Otis Rush, Albert King and, as a new one for me, Byther Smith. The intensity and emotions, both in the vocals and the guitar playing, can always grab me and take me away. Though Jimmy's good also ;-), I just don't have enough Dawkins (I only have "All For Business" which IS killer) to make that assessment. JD ========================================================================= Date: Fri, 14 Jun 1996 00:16:01 -0500 Reply-To: Goran Svenningsson From: Goran Svenningsson Subject: ZZ Top is back from twilight zone! Friends and musiclovers! I just heard a cassette with the full new record by ZZ top due to be released in Aug. Good news, it s more or less recorded live in the studio with a minimum of overdubs. I hear a harmonica here and there plus another guitar at times. But most of the time it s just the three Beards playing some really bluesy stuff. In some songs when Beard One goes off into a guitar solo and all you hear backing is the shuffle beat on REAL drums and bass. The material sounded very good to me (only heard it one time), there were no sequensers or synth bass lines, drum-machines and all that other NASA stuff they ve been using since the Eliminator album. It s just that little ol band from Texas again! Their wagon is rolling in the Tres Hombres and Tejas groove again. Sevenson "Dis mic is a bitch, Leonard...it can t hear me no..." Little Walter ========================================================================= Date: Thu, 13 Jun 1996 19:15:46 -0400 Reply-To: Barry Silverberg From: Barry Silverberg Subject: Re: Otis Rush and Duke Comments: To: Tom Freeland In-Reply-To: <9606132242.AA00166@WaterValley.Net> On Thu, 13 Jun 1996, Tom Freeland wrote: > I am ALMOST SURE that at least one of those singles is on the BLUES > CLASSICS box that MCA is going to put out. It covers the whole range > of blues labels in the MCA catalog, from Vocalion forward. When she > was still on this list, Mary Katherine Aldin posted the track listing > for that whole box, but I didn't save it. I'll email her and let > you know what's on it. As I understand it, BLUES CLASSICS is nearing > completion....... 1. The side that is included is Otis Rush - Homework. 2. Blues Classics seems completed in that prerelease cassettes are out. 3. Total # of CD's is 3. 4. Total # of tracks is 72. 5. Labels covered - Vocalion Brunswick Decca Aristocrat Chess Duke Peacock ABC BluesWay 6. July 30th is the stated release date. 7. Billed as a blues primer - IT IS. 8. From Furry Lewis 1927 Billy Lyons & Stack O Lee to B.B. King 1969 The Thrill is Gone 9. Will include 64 page booklet. Barry NY CD BLUES - CD Reviews and On-Line Blues Catalogs http://www.panix.com/~bsco/ Barry Silverberg ... bsco@panix.com ========================================================================= Date: Thu, 13 Jun 1996 16:53:00 CDT Reply-To: Bonnie Kalmbach From: Bonnie Kalmbach Subject: Patriotic Thanks Thanks to the many, many folks on blues-l who helped me out with suggestions for "patriotic" blues for my program on the Fourth of July. I think I now have some material to work with. A colleague at work said: "well, if you're going to do any RnB, how about "Get a Job"!! (I'll bet our illustrious governor, Tommy Thompson, would like that! -Bonnie ========================================================================= Date: Thu, 13 Jun 1996 20:11:25 EDT Reply-To: Jeffrey Krentz <100755.2005@COMPUSERVE.COM> From: Jeffrey Krentz <100755.2005@COMPUSERVE.COM> Subject: Re: CHEAPO CD's On Tue, 11 Jun 1996, VT wrote: > > ROUNDER Records have issued a series of double CDs to celebrate their 25th > Anniversary- labelled as 2 CDs for LESS than the price of ONE. These > actually came out last year (1995). Of interest are: > > > Hey, at $9 for 2 CDs I shouldn't need to tell you any more....... > > Doe I picked up the box, which actually includes NINE disks for less than $30 bucks a little while ago. The disks are: ( these four are 2 cd sets:) 1. Hills of Home (folk) 2. Lousianna Spice 3. Deep Blue 4. Hand Picked (bluegrass) Bonus disk sold only with the set is a 23 track gem that includes Sleepy LaBeef, Blue Sky Boys, Jonathan Richman, Klezmer Conservatory Band - and a whole lot more. Also includes a nice booklet. If you can find it - try to pick up the CD-ROM catalogue disk that Rounder has out. I got it for .01 - that's right, one cent, at Best Buy one day. It's a multimedia catalogue that you can search by artist, album, title, type of music, theme, etc. Most albums have a short clip of a song, a bio of the artists, links to related stuff. I bought six of them (all they had) and gave 'em out to a few friends. Hell, a jewel box costs more than that, wasn't much of a risk. The catalogue disk is also called 25 Years of Rounder Records. Big Head ========================================================================= Date: Thu, 13 Jun 1996 20:29:42 -0400 Reply-To: JEFF YARBROUGH From: JEFF YARBROUGH Subject: Re: Who can you listen to, no matter >X-Sender: toz@popd.ix.netcom.com >Date: Thu, 13 Jun 1996 18:59:08 -0400 >Reply-To: Jon & Laura Duttweiler >Sender: Blues Music List >From: Jon & Laura Duttweiler >Subject: Re: Who can you listen to, no matter >To: Multiple recipients of list BLUES-L > >At 05:56 PM 6/13/96 GMT, Barry wrote: >> Who can you listen to, no matter what mood you are in .......? >> For me it's Jimmy Dawkins. I think on every CD he has done he >> is considstently original and fresh, and his razor guitar work >> hands me the blues. >> >> Who is yours? > > >I think for me its Otis Rush, Albert King and, as a new one for me, Byther >Smith. The intensity and emotions, both in the vocals and the guitar >playing, can always grab me and take me away. > >Though Jimmy's good also ;-), I just don't have enough Dawkins (I only have >"All For Business" which IS killer) to make that assessment. > >JD > I think for me it's SRV or Buddy Guy for their intensity, The Allman Brothers for Greg's voice and their great jams or if I want to lay back, Lightin' Hopkins. Jeff ========================================================================= Date: Thu, 13 Jun 1996 19:49:54 -0500 Reply-To: T-Bone From: T-Bone Subject: Re: Who can you listen to, no matter ... In-Reply-To: On Thu, 13 Jun 1996, Barry Silverberg wrote: > Who can you listen to, no matter what mood you are in .......? > For me it's Jimmy Dawkins. I think on every CD he has done he > is considstently original and fresh, and his razor guitar work > hands me the blues. > > Who is yours? T-Bone Walker. (But then that should be no surprise.) T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "scott, gramercy just called me and told me they hate you." - julie walker (texas ranger) ========================================================================= Date: Thu, 13 Jun 1996 19:17:09 -0000 Reply-To: "Raymond O. Varner" From: "Raymond O. Varner" Subject: Re: Zachary Richard Floyd Solieau (pronounced swallow) in Ville Platte. Call him up. You'll be glad you did! Uncle Ray ---------- From: Maggie Mortensen[SMTP:exarch@accesscom.net] Sent: Thursday, June 13, 1996 10:17 PM To: Multiple recipients of list BLUES-L Subject: Zachary Richard Robert Belew wrote: >Speaking of Zachary Richard does anyone know how I can find some of His >older recordings????? >I understand there are about 15 titles. The richest sourcce for zydeco recordings is believed to be a store called Floyd's, in Ville Platte, LA. (I think Shane mentioned it earlier in this thread.) I don't have the phone number handy, but it's undoubtedly listed. Undoubtedly you can arrange mail order by phone. --Maggie -- Maggie Mortensen<><><>Exarch Services<><><>New Orleans USA ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ visualize clever signature line here ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Fri, 14 Jun 1996 02:22:17 GMT Reply-To: CKUT_online@babylon.montreal.qc.ca From: CKUT online Organization: Babylon, Montreal, Canada Subject: Re: Jimmy Nolan Comments: To: wmorga@BIGEASY.COM I also have a great cut from Jimmy Nolan playing "After Hours" from a compilation cd called "Texas Guitar Greats" (or something close to that. I believe this is the same Nolan who was James Brown's guitarist on his early hits. John Detcheverry, CKUT FM 90,3 ========================================================================= Date: Thu, 13 Jun 1996 22:51:51 -0400 Reply-To: Jon & Laura Duttweiler From: Jon & Laura Duttweiler Subject: Muddy Waters Discography In a post last week (or maybe the week before) someone listed a Web site that had a complete Muddy Waters discography. I have done a search for the site and can't seem to find it. Could someone please send up the URL again on this? It surely would be appreciated. Also, have I just not found it, or is there really no one site devoted to the Man himself, Muddy Mississippi Waters? If I have missed it, someone please enlighten me and blow away these mists of ignorance - otherwise, something must surely be done to right the egregious injustice!! JD (who feels like going home) ========================================================================= Date: Thu, 13 Jun 1996 22:53:48 -0500 Reply-To: MR TERRY W SPRING From: MR TERRY W SPRING Subject: Patriotic Blues The Patriotic Flag Waver by Dr. John ========================================================================= Date: Thu, 13 Jun 1996 22:49:30 -0400 Reply-To: JBrads7016 From: JBrads7016 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Church Fires - Another Perspective Comments: To: bit-listserv-blues-l@uunet.uu.net OK, but on the other hand, as a former pastor I can tell you there has never been a congregation that had its building destroyed by fire or natural disaster that did not appreciate financial or volunteer help. Even the best insurance is not enough to replace the loss. Jim Bradshaw ========================================================================= Date: Thu, 13 Jun 1996 22:49:29 -0400 Reply-To: JBrads7016 From: JBrads7016 Organization: America Online, Inc. (1-800-827-6364) Subject: Re: Blues and communists Comments: To: bit-listserv-blues-l@uunet.uu.net Leadbelly was closely involved with the Communist/Left wing of folk music. The Golden Gate Quartet was a gospel group that had some connections to the United Front which was a Communist sponsored anti-fascist coalition. I'll bet some others were. Jim Bradshaw ========================================================================= Date: Thu, 13 Jun 1996 23:08:26 -0400 Reply-To: Art Schuna From: Art Schuna Organization: VA Hospital Subject: Re: Patriotic Blues Comments: To: bit-listserv-blues-l@uunet.uu.net I missed most of this thread - hope these aren't repeats but how about: Dead Presidents - Little Walter In The Army Now - Bill Broonzy Atomic Bomb Blues - Homer Harris (these 2 are on News & The Blues CBS CK46217 Army Blues - Honeyboy Edwards Uncle Sam Done Called - Leroy Williams Junior's a Jap Girls Christmas For His Santa Claus - Willie Blackwell (this last one was mistitled on the master but I remember reading it's subject is something about bringing home a Japanese scalp for Christmas) - maybe not "patriotic", super-patriotic might be right (these 3 are on Mississippi Blues LoC REcordings 1940-42) There's a whole disc of recordings about President Kennedy on Testament 5007, Can't Keep From Crying Ration Blues - Louis Jordan G.I. Jive - Louis Jordan Korea Blues - Fats Domino Blues on The Moon - Byther Smith off his new disc Mississippi Kid - the title might not sound patriotic but the refrain starts "I'm so proud of America...", can't get much more patriotic than that. I could probably come up with a few more titles with a little digging but that's a start. Art Schuna ========================================================================= Date: Thu, 13 Jun 1996 10:01:28 -0700 Reply-To: Craig Edmundson From: Craig Edmundson Subject: Howlin' Wolf on CD-ROM Hello, Cub Koda's AMG biography of Howlin' Wolf mentions that, "live performance footage of him exists in the CD-Rom computer format." Could someone please identify this CD-ROM? Thank you. Craig --------------------------------------- Craig L. Edmundson | cedmunds@probe.net http://www.probe.net/~cedmunds/ cedmunds@netserv.unmc.edu ========================================================================= Date: Fri, 14 Jun 1996 02:22:17 GMT Reply-To: CKUT_online@babylon.montreal.qc.ca From: CKUT online Organization: Babylon, Montreal, Canada Subject: Re: Jimmy Nolen Comments: To: wmorga@BIGEASY.COM I also have a great cut from Jimmy Nolen playing "After Hours" from a compilation cd called "Texas Guitar Greats" (or something close to that. I believe this is the same Nolen who was James Brown's guitarist on his early hits. John Detcheverry, CKUT FM 90,3 ========================================================================= Date: Thu, 13 Jun 1996 23:00:15 -0500 Reply-To: Steve Price From: Steve Price Subject: Re: Who can you listen to, no matter In-Reply-To: <1.5.4.16.19960613225908.1987e586@popd.ix.netcom.com> On Thu, 13 Jun 1996, Jon & Laura Duttweiler wrote: > At 05:56 PM 6/13/96 GMT, Barry wrote: > > Who can you listen to, no matter what mood you are in .......? > > For me it's Jimmy Dawkins. I think on every CD he has done he > > is considstently original and fresh, and his razor guitar work > > hands me the blues. > > > > I think for me its Otis Rush, Albert King and, as a new one for me, Byther > Smith. The intensity and emotions, both in the vocals and the guitar > playing, can always grab me and take me away. > Mississippi John Hurt. His beautiful and delicate fingerpicking eases my mind not matter what, and his voice exudes depth, sadness, joy, satisfaction, kindness, understanding, pleasure. One of the deepest pleasures of my life was learning some of his tunes, something I'd dreamed of my whole life, but didn't think possible until someone showed me Candy Man Blues. What a revelation. I could listen to Creole Belle everyday and never get tired of it. I've been listening to that my whole life and it's just the epitome of simplicity and beauty. Unlike Leonard, Mississippi John Hurt makes me want to pick up my guitar, not throw it away. Steve Price